RELIGION & MYSTICISM
Year:2018 | Volume:15 | Issue:57 |Papers Count:19

Sufism that can be mentioned as one of the most important social and cultural factors was formed in Islamic community since early centuries and grew up rapidly. it was introduced into literature via Sanaee, and outstanding works appeared in this field in both verse and prose such as those of Rumi’ s and Attar’ s. Impressed by these works and the domination of the spirit and culture of Sufism over the social atmosphere of seventh, eighth, and ninth centuries, the love stories that were more appealing than other kinds of stories due to their emotional and sensational perspectives, were more evolved and while keeping the characteristics of former works took up new colors. This paper is trying to study some of the most outstanding works of these centuries, namely Hasht Behesht by Amir Khosro Dehlavi, 7th century, Jamshid va Khorshid by Salman Savoji, Homa va Homayoon by Khajavi Kermani(eighth century), and Leili va Majnoon by Maktabi Shirazi (Ninth Century), and explore the shared elements that depict the effectiveness of the composers by Sufi mindsets. The result of the writers reveals that the effectiveness was not limited to only the evolution of the characters’ behavior, but the love words and statements have further meanings under the influence of Sufism. In other words, one can admit that the earthly and virtual love are enhanced as high as heavenly loves so that the love and mysticism are intertwined so much that no one can determine any borderline between their love or mystical status.

Resorting to a wide range of themes, and symbolizing them accordingly, is a very common technique employed by mystics and poets to express their innermost meanings. Due to the wide range of conceptual resources available, which are affected by different variables, such mystic poets as Sana’ ee, Attar, Molawi, Sa’ adi, Hafez, Eraghi, Awhadi and others have resorted to all linguistic and rhetorical devices in hand, to further develop their mystic thoughts and get them across. Surprisingly, they have even used concepts from chess, an interesting mental exercise that is straightly associated with epic and scenes of battleground, apparently having very little to do with mystic notions. The present study was an attempt to thoroughly review Persian mystic poetry for the purpose of analyzing poems for the notions borrowed from chess. The findings indicate that Iranian mystic poets, in general and Molawi, in particular must have owned a deep understanding of chess since they have been able to display mystic issues and poetic thoughts through the delicacy and precision inherent in chess.

Spirituality is one of the most important discussions in the world today, especially in the west, which the Khaledeh philosophy disciples and traditionalists including Seyed Hassan Nasr have special emphasis on it. The main purpose of this paper is to explain spirituality from Seyed Hassan Nasr's viewpoint conducted through the content analysis in explaining data. The findings of the research show that the claims made by Nasr such as sublime unity of religions despite the superficial difference and admitting the righteousness and reasons by the entire spiritual and pseudo spiritual manners and achieving spirituality is not possible so that this will lead to a sort of eclectic spirituality. This paper strives to first deal with better understanding of Nasr's desired spirituality and mysticism through his intellectual roots such as traditionalism, sublime unity of religions and philosophy, so that his spiritual explanation on the basis of his intellectual poetry could be better and more clearly understood. Then, the analysis and study of Nasr's viewpoint about spirituality is investigated.

One of the significant fields of culture that has benefitted a great deal from mystical teachings is cinema, and a branch of comparative studies is dedicated to the interdisciplinary relationship between literature and cinema. A lot of mystical concepts that are mental and abstract are illustrated in objective pictures through cinematic tricks and creative imagination of cinematographers, which has been appealing to the audience. Dariush Mehrjooyee who is one of the outstanding directors of cinema in Iran has been dealing with mystical thoughts in some of his cinematic works. The present paper investigates the movie called Pari (Fairy) from the mystical issues point of view, especially Islamic mysticism, and the elements of plot and characterization are also studied. The most important point emphasized in the movie is the company of mentor throughout the spiritual journey. Since the main character of the movie does not have a true understanding of the spiritual journey, he will not accompany the mentor, and this will add to his internal conflict. In the final episode of the movie, the director indicates the lifesaving feature of the mentor so that the main character of the movie comes to peace by submission to the mentor and accepting him as the spiritual journey guide, a new comprehension of the truth.

Tarikh-e Beyhaghi is one of the important Persian prose works written by Abolfazl Beyhaghi, an elite of the Ghaznavid Dynasty. The book was written in the fifth Hegira century based on the official letters and documents of the King's court as well as the author's diaries. At an early age, Beyhaghi learned didactic and writing skills from Bunasr Moshkan, the minister of the Ghaznavid Divan-e Rsaael Dynasty (the highly confidential correspondence department). Thanks to his flair and enthusiasm for reading and writing, Behayaghi became prominent enough to be entrusted with the managerial affairs of the Divan-e Rsaael after the demise of his supervisor, Moshkan. His book, part of which remained to date, included both historical and literary texts. While religious fanaticism, degeneration of ethical values, insecurity, indecency, and the greed for wealth and power among the officials was highest, Beyhaghi delineated events during the Ghaznavid dynasty both meticulously and impartially in very rhythmic words. As a result, he created a unique piece of work that unequivocally mirrored his age. The present study is an attempt at reflecting the overt and covert layers of ideology, Sharia, and ethics of the officials he worded.

Ever since Arabic Language and Literatue tied up with mysticism, profound and massive works of prose and verse flourished throughout the territory of Iran. If mysticism is assumed to be the artistic account of religion, the mystic of this territory especially poets have been able to afford it pretty well and perfectly. The unbreakable tie between literature and mysticism, especially in the field of poetry, due to its appealing and balanced aspect, kept on in the contemporary era and it seems that it will last forever. The Arabic and Persian literature have always been the manifestation of mysticism and relevant issues so that the readers could have polished their soul through reading it. Yusuf El Khal is an outstanding Syrian poet who in the contemporary Arabic poetry he has reflected a lot of mystical themes in his poetry divan. Ahmad Shamloo, too, is an innovative poet in the blank verse of Persian language whose poetry consists of concepts such as life and death, holiness of love, freedom, reality of existence, and monism. Due to the contemporaneity of these two poets and their shared mystical thoughts on some concepts such as monism, divine love, mystical wine, freedom, survival and non-existence, reality of universe, satisfaction and surrender, both poets emphasized that the structure and poetic language are much alike. In this regard, the writers have studied data through descriptive analytic method.

Philosophy and mysticism has been the arena for poets throughout the literary eras. Poetry, philosophy, and mysticism are among the intersection of literature with religious thoughts. Hammami mingled his mystical poems with philosophy, advice, and recommendation, and impressed by the Koran and Ahlulbayt hadith, he tried to convey the philosophical concepts to the audience through simple and straightforward by his poems coming from heart. These themes include following Ahlul bayt (pbut), not loving the world, defiance against fancy, self-crusade, and learning from old age. The writers of this paper endeavor to deal with the study and explanation of the poet's poetry in terms of philosophy and mysticism.

Sa'di is one of the great poets and first class of Iranian literature who has influenced many poets' ideas and words. The attachment of Shahriar to Iraqi style poets, in particular Saadi, has led him to gaze at poetry themes. The impact of poetry poetry is one of the most attractive categories of literary criticism. The purpose of this research is to compare the mystical themes used in the Saadi and Shihryan dialects. The elements and themes are common in the sonnets of these two poets, and Shahriyan Gholzaliyah can be studied through the influence of Saadi's sonnets, according to the comparative approach.

Mystical tourism as a social and cultural reality has positive tasks and functions in society. Knowledge tourism is a branch of cultural tourism that has a direct relationship with mysticism so that the tourist set up a targeted journey to gain knowledge or to visit holy mystical places. Psychological recovery, peace of spirit, enjoying spiritual atmosphere, observing different manifestation of customs, spiritual products, inclinations (mystical-spiritual), deserting life, grace, sustainable peace, resources and benefit discovery, economic and commercial evolution, acquiring abundant income, job creation, understanding spiritual culture, retrieving national pride, cultural behavior (Islamic-Iranian), commemoration of cultural legacy, understanding life styles, preserving cultural resources, emerging cultural exchanges, mutual connection and exchange (host and guest), balance, interaction, reformation, urban development, etc. are among the most important functions and positive works in this field in society. This research tries to extract an array of effective factors over the expansion and growth of mystical tourism industry in Zanjan Province. Therefore, by offering solutions and proposals in terms of entrepreneurship ecosystem and creating correct planning based on realities and need (host and guest), removing lack of facilities and services, increasing trust and social capital among local community and tourists, stability, precise control and supervision in the field of economy, welfare services, hygiene, etc., one can help a great deal to development solutions and removing the barriers of development in this field in Zanjan Province.

The interpretations that mystics offer on holy texts are usually paradoxical and are always opposed by some people. This paper tries to investigate the nature of holy texts and relevant interpretations so as to show why these interpretations are usually paradoxical. The studies reveal that since the holy texts have multi-layer cores and meanings, during interpretation, the mystic endeavors to skip the superficial meanings and arrive at the core meanings, which most often are not in harmony with superficial meanings, and thus they are not matched with the best interest of the superficial seekers. That's why these kinds of interpretations are in contrast with religious principles. Whereas in terms of the level of understanding and knowledge and capacities of human beings, the intake and comprehension of different levels of meanings in the holy books are in proportion to the status of a person is necessary to pass through toward reality.

The idea of poverty and poor in the eyes of mystics and Sufis has a great deal of importance. Khajeh Abdullah defines poverty that "poverty is a name for expressing disdain for asset and wealthiness of one self. " Najmuddin Razi deems it as an alter ego for dignity and honor. Ghashiri calls it the slogan of prophets and embellishment of pure people, and he takes dervishes as the select people by God and positioning of His secrets. Nouri considers the poverty to be accompanied by peace and self-sacrifice, and Abusahl Khashab views it as glorious and heavenly. Abu Hefs defines it with generosity and open-handedness as well as superiority of giving to taking while Ibn Jala deems the nobility of a poor worth caring for. Abdurrazaq Kashani takes a poor as a person who knows nothing as asset and existence but God. Mowlana Jalaluddin deems poverty to be mingled with contentment, security, virtue, coyness, spiritual nobility, and eventually the light of the Almighty. And Sa'di, too, views it along with forgiveness, contentment, and liberty. Shabestari finds the jobs done in Solouk in agreement with poverty and Hafiz collectively sees values all within poverty including contentment, joy, pleasure, throne of king, anti-avarice, high aspiration, benevolence, modesty, richness of love, taking pride in heaven, and domination over stars. Allama Iqbal Lahori takes poverty to have mysticism, adventure, glory, and honor inside and a set of philosophical, valuable, and ritual teachings as its virtues and blessings. A poor human being is the ideal man for Iqbal.

Persian poetry is full of romantic and mystical images. It is full of intuitive and mystical themes. Among classical Persian poets, Sanai is one of the pioneers of mystical poetry. Sanai was a modernist poet and a founder of mystical and esoteric poetry. He presented mystical themes in literature by using symbolic language. He used symbolic and metaphorical language and in this way he revived Ode. Considering these facts about Sanai, it seems so important to have a linguistic approach to mystical and symbolic contents of Sanai ’ s poems. So in this study the researcher has tried to present the history of Language, its functions and also the definition of symbolic language. In addition, the content of mystical and symbolic language of some mystical poets, specially Sanai, was examined. It was shown that how Sanai used symbolic language to speak about mysticism and his beloved in his two-valuable works, "Hadighatolhaghighah" and " Seirolebad elalmaad".

Islam is the ritual of mercy and righteousness, the religion of Khatam and Akmal, mysticism and divine religions. The Qur'an and its main themes embody the principles and values of human rights; justice, fairness, equality and the symbol of wisdom and knowledge. The principles that emphasize the undeniable right to liberty and freedom, independence and sovereignty of man on his own destiny and deduces human values from the religious principles that the Almighty God directs and invites people to follow. In fact, religion includes the agenda, human rights, including "self-determination" and its teachings. Hence, wisdom and mysticism are also celestial and earthly teachings, bridges, and connecting rings of religious doctrines with all divine religions. Accordingly, the prophets' invitation and the manner of their propaganda are all based on the freedom of choice, and human beings, in the Quranic verses, free and free prophets, and the Prophet also act as the gospel and the warner of the description, in order to choose a completely free path of guidance or disorientation. In this paper, the philosophical and mystical components and components of the right to self-determination in Quranic verses are reviewed and, by putting together the statements about these elements and components, it is referred to the Quranic view of self-determination.

Creative misreading is based on the idea of the presence of an inherited relationship amongst literary works; however, not a relationship based on alignment and congruency or continuation; rather, a new relationship involving a fundamental dialectic, a relationship between the recognizing the power of the past and the deviation from its domination. With the aim of getting out of the shadow of his or her literary parent, the literary child initiates a defensive move; a move whose direction and approach are not passive; rather, it will ultimately lead to artistic creation. The techniques of creative misreading can voluntarily (consciously) and involuntarily (unconsciously) help the succedent text to escape the anxiety of being affected. One of the factors affecting the creative misreading of literary works is the element of association. In the current paper, a story from Masnavi by Rumi has been chosen which was created by Rumi through combination of and extraction from two other stories. The timeless and placeless nature of Rumi’ s story, the closeness between the point of view of the third person and the first person, the indefinite main character and utilizing interpretive narrator instead of descriptive narrator, associating the Fetyan Group due to the characterization of the poet, internal monologues, soliloquies of the poet, stream of consciousness, and prolixity of dialogues, among others, are some of the techniques used in the creation of the new story in line with creative misreading influenced by the association element. Therefore, after introducing and discussing the theory of creative misreading, understanding the element of association and its characteristics, the influence of association on story elements in order to avoid the influence tension from the two source stories is discussed in detail.

Love is the most important mystical issue that other mystics have talked about it and mentioned its importance before Qazali. However, Qazali is the first mystic who has written a unique paper on mystical love. In his paper, Qazali talks about love in a way that at the very beginning we realize that we are dealing with a centralized text and whatever he has talked about is in a way in connection with love. Therefore, we, too, with this in mind have written about love after a short introduction just like an emotion that has influenced not only human beings but also the whole universe and whatever existing in the universe is rotating around it and gains its power from. Then, we have pointed out to the beloved that whatever or whoever it is summons the lover toward itself, and finally we have indicated the love that is the source of the realization of love and its features from Qazali’ s point of view. The entire information of this paper is obtained through library methodology whereby the data is analyzed through descriptive method. The most important result of this study is that events are “ narration” and originally a centralized narration within which the core of the structure is love and the overall building blocks of the structure are oriented and impressed by.

Patience is one of the mystic statuses as well as basic foundations in the mystical demeanor. In the holy Quran patience along with its accessories have been cited 104 times and the prophet Muhammad has regarded patience as one of the two rules of faith. Mystics following the revelation and prophecy for proceeding demeanor have considered the achievement of patience dignity and reverence toward it as essential an affair and each has provided a definition and an arrangement for patience. This research has been conducted according to the documentary and library method so that the Persian mystical prose on the basis of original texts elucidates what types and levels the patience can have from perspective of mystical and finality it determines the role and impact of patience on the spiritual and material life in general and in particular.

The study of Hafiz‟ divan for any conditions and for every research subject is enjoyable and educational. But no one should doubt that love, in his heavenly lyrics, would never quench the thirst of the researcher, rather, it makes him or her thirstier. This paper endeavors to once more deal with this familiar topic and compare Hafiz‟ thoughts with those of philosophers and mystics, and reveal the share of Hafiz in terms of “ love tariqa” along with a pile of issues that come along with this human emotion. The information available in the paper comes from the books and documents amassed and then the research data are analyzed through descriptive method. To reveal the Hafiz‟ thought in this regard, the general issues of love is first discussed in the form of a triangle in Hafiz‟ divan. The triangle base is love and the other sides are beloved and lover. The outcome is that whatever said by Hafiz is the product of his personal experience and is different from those who have described „ love‟ with „ wisdom‟ .