Mytho-Mystic Literature
Year:2014 | Volume:10 | Issue:34|Papers Count:11

Kherqeh-pushi (wearing the clock) is a customary ritual in Sufism. This ritual is usually accompanied with kherqeh-andakhtan (dedicating the clock) or takhriqe-kherqeh (tearing the clock) and kherqeh-az-sar-beh-dar-avrdan or kherqeh-az-sar-bar-kashidan (underssing the clock). Kherqeh-andakhtan (dedicating the clock) used to occur often in the state of ecstasy (vajd) and especially Serna. kherqeh-az-sar-beh-dar-avrdan (underssing the clock), besides that happens when two Sufis wish to do away with misunderstandings. Similarly, Kherqeh-az-sar-bar-kashidan (underssing the clock) was a way of punishing the culprit Sufi in Khangah. It seems that there is a connection between kherqeh-pushi (wearing the clock) and kherqeh-suzi (burning the clock), even though there was no citable and valid evidence about it in Sufi texts. Kherqeh-suzi (burning the clock) has a widespread use in mystical poems, as in the poems of Attar Neishapouri, Saadi, Mulavi, Qasem Anvar, Fakhredin Araqi and especially Hafez. By considering Kherqeh-pushi, the present article, tries to analyze the concept of kherqeh-suzi (burning the clock) in mystical texts, especially in the works of Attar and Hafez.

During several centuries, what has remained of the fasinating ritual of “trial by ordeal” is swearing. Trial by ordeal was a common ritual among the nations and religions, and was considered a judicium Dei and the ultimate test to distinguish innocencent from guilty. Some instances of it have been cited in Vis and Ramin, Masnavi, Solaman va Absal, Makhzan al-Asrar, History of Yaqoubi, Haft Eqlim, Asar al Belad va Akhbar al Ebad, Tadhkirat-ul-Awliya, Avesta, Torah, Pahlavi texts and code of Hammurabi inscription. “Passing of Siyavash through the fire” is the most familiar example of trial by ordeal in the collective memory of Iranians. The reasons why the “myth of trial by ordeal” in Shahnameh is an outstanding example, is the main subject of the present article. So, at first, the significance of fire among the ancient nations and religions is considered. Then, after citing some tests of “passing through the fire” in historical, religious and literary texts, the myth of “passing of Siyavash through the fire” as the most impressive and lasting instance is introduced.

Dreaming has been among those things preoccupied the mind of man from the very begining of the life of him; in a way that he has constantly tried to discover the world of -dream. Theologists, psychologists, psychoanalysts, biologists, mystics and other reserchers analyze this extraordinary phenomenon from their points of view. In addition to analyzing the phenomenon of dreaming, the mystics have narrated their own and the others dreams and set aside a chapter of their books to these narrations. Hence, it seems that by analyzing these narrations, it can be entered into their world and discover their preoccupations. The present article, tries to analyze and categorize dreams which been narrated in Risala Qushayriyya, written by AbU al-Qasim al-Qushayri al-Naysaburi (b. 986) by referring to the various theories on dreaming.

Freud's psychoanalytic theory has deeply influenced the literary works and works of art, and gave rise to psychological criticism. Personal unconscious and structure of mind theories are the most eminent results of Freudian outlook. According to these theories, the structure of mind has a tripartite structure: ego, id and super ego. Each one reflects a dimension of the human mind. In the story of Siyavash, as narrated in Shahnameh, the prominent characters are the representative of the tripartite; Sudabeh as the symbol of id, Siyavash as the super ego and Kavus as the ego. Action and reaction each one of them explains the structure of human mind. In the same way, and from another perspective, Afrasiab, king of Turan, can be seen as symbol of ego, Garsivaz, the brother of Afrasiab, as the symbol of id and Siyavash as the symbol of super ego. Based on such an analysis, the present article reconsiders the story of Siyavash.

The mystics, implicitly or explicitly- through suing symbols and allegories- have referred to inexplicability of mystical experience. They believe that the importance and perfection of “meaning” is such that “form” cannot express it. According to them, meaning and form are contradictory; and this contradiction is rooted in their view concerning “secret”. The mystics believe that there is a “secret” about “meaning” which human language is unable to express, and at the same time, they want to hide it. The temptation of expressing, on one hand, and inability of language in expressing the 'meaning', on the other, leads to a deep contradiction that is a part of the heritage of mysticism. The relationship of form and meaning has been widely proposed by Jalal al-Din Rumi, and his meditations have led to delicate and exact lingual results. His emphasis on inexplicability of mystical experience, leads him to the kingdom of “silence.”

There are common grounds in the world's great literary works which have their roots in adaption or following common patterns. “Suluk” (spiritual journey) and struggle towards perfection are instances of these common grounds. There are remarkable similarity between the story of Sheikh Sanan, composed by Faridad-Din Attar (1145 -1221) in Mantiq-ut-Tayr, and Siddhartha, a novel written by Hermann Hesse, the German contemporary poet and novelist. Referring to the similarities and differences between these works, and by analyzing the actions of characters, the present article shows that the main characters in both works are trying to reach perfection through suluk, in which worldly love is one of the important parts of this spiritual Journey.

During the history, political and social events have always influenced myths. One of the most important contemporary events which has influenced political, social, cultural and literary structures of Iran is the 1953 coup d'etat in the country. After the coup d'etat, Iranian contemporary novelists, by avoiding direct expression, used an ambiguous, symbolic and mythical language for expressing social problems and informing the masses and intellectuals. Suvashun, written by Simin Daneshvar (1921 -2012), is one of the most prominent Persian novels which by using national and religious myths, reflects the social and intellectual state of Iranian people after the 1953 coup. Daneshvar recreates the mythical characters, narrations and situations and combines them with Islamic and Iranian ones. By using descriptive and analytic methods, based on mythical criticism, this article tries to study the reflection of myth in Suvashun.

Satire is a reaction against imbalance and dissatisfactions. It offers an artistic way for objection and reform. Satire literature, like cartoon and comedy, behind its amusing cover, criticizes social inadequacies adopting less harsh methods. Humorous language of some mystical texts reflects their social and cultural circumstances. These works are literary media for objecting and criticizing false beliefs. In the same way, surrealists mock the European man and European Christian society by adopting humorous ironies in the disturbed years of the World War I. The influence of Islamic mysticism on surrealism leads to a number of similarities, among them humorous language. The present article, by confessing to the differences between surrealism and Islamic mysticism, tries to compare satire and humorous language through employing a comparative method.

Solitude is one of the stages of “Suluk” in practical mysticism; and it has two aspects: inward and outward. The outward aspect refers to keeping apart from others for achieving self-purification. The inward aspect relates to peace of mind, continuity of meditation, repeating the name of God (zekr), leaving the worldly interests and finally servitude of God. Solitude is the basic pillar of a spiritual journey and has its own rituals. So, “the guides” in mysticism recommend solitude highly. In the various periods of Islamic mysticism, development of the concept of solitude shows the dynamism of practical mysticism. The present article considers the rituals of solitude.

The mystical poems of Ibn Abdollah Shoshtari (d. 668 A.H), Andalusian famous poet and mystic, have a different and special structure and style. He has expressed mystical contents in the forms of Zajal and Muwashaah which are the traditional forms of oral strophic poetry. In comparison with Arabic classic poetry, his poems have a different structure; they are in a colloquial dialect, therefore, they are welcomed by the public. Indeed, he has composed the mystical poems, not for mystics, but for the general public. The aim of the present article is to review the innovations of Shoshtari in the mystical poetry. So, first we consider his place in mysticism and Arabic literature, and then, his mystical, simple and uncomplicated poems which have been composed in a colloquial dialect, would be examined. And finally, we study the forms of Zajal and Muwashaah, and then the sample poems of him are presented.