RESEARCHES IN MYSTICAL LITERATURE GAWHAR-I GUYA)
Year:2018 | Volume:12 | Issue:2 (37)|Papers Count:6

Religious language is the source of many metaphors and their penetration into literature. Literature, especially mystical literature, has been influenced by religion and Quran's conceptualization. The current paper aims to explore the conceptualization of love in the poems of Rumi and how they are inspired by Quran, using conceptual metaphor. The application of the conceptual metaphor theory could clarify the inter-textual dimensions of Rumi’ s poems from a cognitive viewpoint. We aim at assessing the extent of influence of Quran on Rumi with an analytic-descriptive method. To do so, all love metaphors from thirty sonnets was derived in an attempt to find an answer to the question that which metaphors or other cognitive schemes are used in Quran and Rumi’ s poems to conceptualize love. Our comparison and analysis shows that in both texts, there is a universal metaphor of the beloved for God. In Shams’ literary-poetical discourse, four metaphors of love as a key, as a journey, as a plant, and as a reign could be derived. The origins of the concepts show a deep Quran influence on Shams’ sonnets.

Molavi's Masnavi contains transcendental thoughts and wise and thoughtful stories. This work has long been considered by scholars and has been explored from different perspectives. One of the issues that has a special position in Mowlana's thought is the issue of gender and homogeneity in his works, especially in Masnavi. ‘ Gender’ or ‘ attractiveness of gender’ is a category in which Rumi manifests the whole being and, from his point of view, in all manifestations of creation, including human relations, the tendency of mankind to the prophets and divine religions, as well as the tendency of human beings to faith, evil, goodness, friendship, hostility, love, hatred that are ongoing. It is worth mentioning that the discussion of gender in the works of poets and writers, of the followers and the late Mowlana has also been considered to be important, but its various uses and effects have been abundant and diverse in the spiritual and other works of Mowlavi. First, the viewpoint of the mystics must be presented and explained, then, Molavi's ideas should be recognized and categorized. Therefore, examples of gender issue are mentioned in the writings of some of the writers before Rumi, and then the various dimensions and effects of this category are examined and analyzed in Masnavi.

Pain and suffering as a philosophical, religious and psychological subject is man’ s twin. This topic has found its way to mythologies and legends under the title of good and evil and has been the focus of attention and a philosophical and theological challenge. In the literature and mystical texts, the concept of pain and suffering is beyond mere argument and explanation and is more intuitive. Hence, the mystic presents intellectual concepts as tangible entities. In this way, he eases the understanding of those concepts for the ordinary mind while trying to emotionally persuade the audience. Building upon one of the challenging anecdotes of Masnavi (The Dialogue of the Sufi and the Judge), the present paper seeks to investigate Mowlavi’ s mystical approach to the concept of pain and suffering. Mowlavi’ s allegorical viewpoint about the presentation of pain and suffering shows that pain and suffering have been connected to joy and pleasure on the one hand, and cognition, spiritual perfection and providence on the other hand. Through these stories, Mowlavi has had an eye on the nature of pain and suffering, their sources and the ways to dispense with grief and has made it believable by means of proper allegories.

The present study is a descriptive-analytic study based on the Halliday functional grammar approach in the field of relationship between text situation and context situation, to review the obvious apocalypse discourse in the various stages of mystical experiences of Ruzbihan Baqli. “ Kashf al-asrar wa mukashafat al-anwar” is Ruzbihan Baqli autobiography that its content is based on “ the way of retelling, without the concern about transfer the mentality to the audience” . Ruzbihan Baqli, in the position of the experimenter, prefers the observation to the other stages of discovery, attempts to retelling his intuitive experiences and dreams, that most of which are based on the “ manifestation of the essence and attributes of God” through eltebas. In each of his mystical experiences in various situations, such as "awakening, a state between sleep and awakening and sleep, " he has experienced certain emotional states such as grief, confusion, astonishment, happiness and the drunkenness, regarding his spiritual talent and his viewpoint and relation relative to each participant. In the textual structure of the apocalypse discourse of this work, which focuses on the retelling of the three mystical experiences of “ addressing, manifestation, and ascension” , the main characteristic of experiences is “ incomprehensibility” , “ passive mode” and “ transience” . The specific course of the linguistic processes in various stages of the apocalypse from “ material” to “ subjective” in order to explanation the ascendant of the human from “ seeker” to the “ mortality” . In all experiments, the “ location” adverb has the highest frequency, and in each experience, audience encountered a different atmosphere. When each location changes, the circumstances and characteristics of the experience will also vary. The author is more accurate in describing locations that are relate to the primary modes of apocalypse, but the locations of occurrence of the final stages of apocalypse under the domination of mystical states cannot be described with precision. Throughout the sequential application of peripheral elements, Ruzbihan eliminates ambiguity in its speech and makes the desired information more specific and restrictive. In this way, he outlines the atmosphere of his own experience clearly for the audience.

Before the advent of cognitive linguistics, metaphor was considered as an approach to embellish texts, and a method for artistic innovations. However, when the conceptual metaphor theory was put forward, instrumental metaphor was used for thinking and thought which are pervasive in everyday life and conceptualize many of abstract concepts. Emotion-related metaphors especially love metaphor, are frequently used in literary texts. The present article studies the conceptual metaphor of love and related semantic clusters in Tazkirat al-Awliyā by Attar. Theoretical bases of this article include linguistics and Lakoff and Johnson‟ s theory about metaphor, criterion for classification of conceptual metaphor of love, and Afrashi and Hesami‟ s classification (1392). Descriptive analysis of all types of metaphors and extraction of related mappings showed that, to conceptualize love, Attar in Tazkirat al-Awliyā took advantage of tangible domains of place, objective concepts, living beings and some mental concepts as the source domain. Statistical analysis of conceptual metaphor of love shows that, out of the 166 metaphors found, object-based metaphors and structure-based metaphors had the highest frequencies respectively. These two types of metaphors, in sum, comprise 43. 45 percent of all metaphors used in this area. In terms of usage, orientational metaphor ranked third and living beings metaphor and mental metaphor were placed in the following ranks. On the other hand, visual metaphor (1 case) and emotion-based metaphor (2 cases) had the minimum number of usage in Tazkirat al-Awliyā , respectively. Furthermore, objective metaphor wasn‟ t used in the concept under study.

Hadiqat al-Hagiqa and Shariat al-Tariqa from Sanaī Qaznavi, is one of the most important and influential poems in the Persian Sufi literature, which have been repeatedly corrected, interpreted, and described to this day. Nevertheless, it should be said that none of the Hadiqa’ s interpretations are comprehensive, and none its corrections has been free from errors. The research questions in this study are as follows: which of the Hadiqa’ s verses refer to the Quranic verses and hadiths? This issue is neglected in the interpretations written for this poetic collection by the commentators. And, which verses need to be corrected? In the present research, the version of Hediqa corrected and interpreted by Mohammad Taghi Modarres Razavi has been selected for investigating. According to the vertical and horizontal axis of the verses, the accuracy of the homogeneous verses and the alternative version is incorrect for some of the terms, the preferred phases are proposed. Also, some verses referring to the Quranic verses or hadiths are interpreted.