Mytho-Mystic Literature
Year:2021 | Volume:17 | Issue:64|Papers Count:10

In the thematic classifications of Persian poetry, we encounter a type of literature whose subject is the struggle against the tyranny of rulers and those in power. In recent times, this type of literature has been referred to as protest literature. In mystical poetry, protest literature can be seen separately and alongside other literary genres. So far, the connection between this genre and the mystical literature has not been studied much. Using a descriptive-analytical method, the aim of the present article is first to classify mystical and Sufi poets from the perspective of protest and then to express the reasons for the opposition of protest literature with mystical poetry in different periods. The results show that due to the spirit of indulgence and deep tolerance, mystical poets do not have a suitable ground for protest and criticism and despite a handful of examples, most mystical poets have been reluctant to address protest themes. Also, the results of the research indicate that due to their intellectual principles, deterministic view, complete reliance on God, surrender to God's will, and sometimes due to severity of the rulers or interacting with powerful people, the mystical poets refused to protest.

Kā r-Nā mag ī Ardashī r ī Pā pakā n (The Book of the Deeds of Ardeshir, Son of Papak), a mythological and epic text in Middle Persian (Pahlavi) language, introduces the founder of the Sassanid state as a hero and a mythological figure. The main question of the present research is why and how this text confronted with the rival, Parthian discourse, and tried to dominate its own discourse. The important hypothesis of the research is that human, natural and supernatural forces in this narrative, in coordination with each other, have presented a new discourse that refers to another type of thought and, consequently, another kind of lifestyle. In the narration of Kā r-Nā mag, by the efforts of himself and his allies, as well as with the help of other characters and absorbing his competitors, the hero engages in a continuous battle. The present study, with a mythological approach and based on Joseph Campbell's hero's journey steps, examines the influential factors leading to the complex path to victory. The present study uses a descriptive-analytical method to explain the reason for the hero's journey. Through the narration of Kā r-Nā mag, it becomes clear how the country saved from disunion and the kingdom of Iranshahr maintained its cohesion. Each of the characters in the book plays a role in leading Iranshahr back to national unity and is reminiscent of the role of the Iranian mythological liberation figures.

The depth of Hallaj's words and their being mysterious have caused the Muslim mystics to resort to a special language to reflect his states. Metaphor, in terms of the capabilities of illustration and transmission of concepts, is the most important lingual tool for explaining the inexpressible experiences of the mystics. When words fail in expressing the ideas, pictorial metaphors help the mystic to better express his/her mystical experiences and inner concepts. Using descriptive-analytical method and based on library resources, the present article attempts to show how mystics, especially Attā r Neishapouri and Hujwī rī , conceptualize Hallaj's spiritual experiences and analyze his complex personality. The study shows that Attā r has used metaphorical concepts more than Hujwī rī to show the mystical world of Hallaj. The results show that the motion scheme is used more than other schemas and with its help the abstract concepts of enthusiasm, vesā l (joining), knowledge, satisfaction, etc. are represented. Thus, the motion scheme is the dominant one; it shows that the mystics consider the universe to be in constant flux and evolutionary process. At the same time, it shows that Attar's style is more artistic and mystical than Hujwī rī 's style.

In Iranian thought, mysticism, along with Islamic jurisprudence, theology, philosophy, has opened new horizons in exegesis (tafsī r) and has had remarkable achievements in this field. The works that reflect the discovery and intuition of mystics are proof of this claim. In the field of practical and theoretical mysticism, Muslim mystics often justified their interpretive approach by referring to Quranic verses and hadiths, and in addition, they also used to introduce their own epistemological and ontological foundations. Among the mystics who engaged in practical mysticism, Abu Said Abul-Khayr, puts decontextualization at the center of his interpretations in various fields, including verses and hadiths, poetry, quotations, deeds, everyday events, and so on. In this approach, the intention of the author/speaker is discussed, but the context from which the verse, hadith and so on arises, is put aside. Abu Said Abul-Khayr removes all verses, hadiths, deeds etc. from the historical context and interprets them according to the mystical circumstances and context. The creation of new meanings and interpretations, the presentation of new horizons and worlds, are the results of such a view. By using a descriptive-analytical method, the present article deals with these issues in detail.

One of the topics discussed in Sufi books is the dividing into stages and classification of spiritual journey (suluk). The history of dividing into stages of suluk is in line with the history of Islam, but among the Sufis, the prevalence of this dividing and classification has been clear since the second century AH. From the very beginning of the spread of mysticism, differences between mystics about the classifications were seen, and even in the various writings of a mystic, these differences were visible. In this research, an attempt has been made to show the effective factors in the method of dividing into stages of suluk and to explain the reasons for these classifications. For this purpose, among the famous works of mystics, two important works-Manṭ iq-uṭ-Ṭ ayr by Attar of Nishapur and Manā zel al-Sā erī n by Khwaja Abdullah Ansari-have been selected and the method of classification of suluk have been compared in them by using the descriptive-analytical method. The results show that different mystical experiences, methods of suluk, types of Fiqhi (Islamic law) attitude and socio-political conditions have caused differences in dividing and classification of spiritual journey (suluk); and thus, differences in the method of naming, the order and number of spiritual stations, etc. have been formed.

In the present research, using Roland Barthes’ symbolic codes, a part of the story of the journey of the birds from Attar's Mantiq-ut-Tayr (The Conference of the Birds) is examined. According to Barthes's semiotic theory, unlike the constructivist schools, the main role in creating the meaning of literary texts is played by the reader, not the writer. Many classical literary works create conditions for the reader to understand only one meaning, or rather the only meaning of the story, but works such as Mantiq-ut-Tayr constantly postpone the semantic implication and ask the reader to think creatively and create meaning. Mantiq-ut-Tayr uses a variety of symbols and has a collection of intertwined symbolic codes, and therefore does not impose a definite and final meaning on the reader. In the present article, the five codes (hermeneutic, proairetic, symbolic, cultural and semantic) are identified in Manṭ iq-uṭ-Ṭ ayr by using analytical-descriptive method. The results show that the five codes have been used throughout the book, and so it is a written text, and the reader is not bound by the meanings imposed by the poet, but in a step-by-step process he/she creates multiple meanings.

By studying the ancient and folk roots of religious and mystical songs, we can find the oldest Persian poems in these songs. In the present article, by using analytical-descriptive method, we compare religious songs with mystical ones from the perspective of performance. One of the most important issues regarding the composition and performance of these songs is the precise identification of the fields of religious and mystical songs. Thus, the form, language and content of the songs are described and analyzed. The research findings show that religious and mystical themes, as two different areas, have formed the main theme of the songs; the content and performance of the songs show the difference between the two themes, and the songwriters were aware, from the beginning, of the difference between the two fields of thought, mysticism and religion. The composers and performers of religious songs are darā vish, chā vosh-khā nā n, tazieh-khā nā n and noha-khā nā n. The creators and performers of mystical songs are called ā shiq, suz-khā n, beit-khan and tasnif-khā n. The tone of these songs is sincere and the music is mostly based on the lyrics.

From way back, the life and death of plants and trees have been the focus of human attention. Man has equated four seasons with his/her life cycle, and has made stories about the worship of plants and their healing power. He/she used to tie ribbons around trees and asked them to heal. Behind the views of primitive man lies the fact that he/she sought healing from the tree and that worshiping the tree was not his/her goal. Our ancestors, in search of youth and immortality, were absorbed in phenomena that they thought were the eternal source of these forces. These trends can be seen in mythological contexts. In the present article, we examine the plant motifs in four contemporary fiction books: Derakht-e Anjir-e Maā bed (The Fig Tree of the Temples) by Ahmad Mahmoud, Bā ghe Anā ri (The Pomegranate Garden) by Mohammad Sharifi, Jā ee Digar (An Another Place) by Goli Taraghi and Kā jhā ye Mowarrab (The Diagonal Pines) by Ali Changezi. Our research method is descriptive-analytical and after extracting the data, we analyze the motifs. The main question is whether these motifs are present symbolically or in the form of a mythological narrative? The results show that in these works, the plant themes are present symbolically and implicitly and are also seen in the form of mythological narratives. It is necessary to explore these stories from a mythological point of view in order to recognize the mythological elements and to distinguish vulgarity and superstition from the mythological facts.

Existence originates from a first source that is the origin of the universe. This first source (the Unity) manifests himself in all phenomena and a holistic mystic, by observing these manifold of phenomena, reaches the source of the existence or the Unity. With the eyes of the heart, he/she sees the First Principle in all corners of the universe. Is this view, which was formed by Ibn Arabi, also visible in Sabk-e Hindi (Indian style)? Was Saib Tabrizi, as one of the pillars of the Indian style, fascinated by this view? The data of the research show that Saib Tabrizi has considered the unity of being in his Divan and has introduced it as a way to the true gnosis and theoretical knowledge. The present research has been done by analytical-descriptive method and its data is collected from library sources. The results of the study show that Saib Tabrizi, like the mystics who believe in the unity of being, considers the world of plurality as a symbol and manifestation of a single truth and seeks to discover this first source (the Unity).

Rostam is a mythological character whose name can be put alongside the new ideals of Iranians; and mentioning his name in various fields of Iranian culture shows that mythological figures still have the ability to meet the historical needs of Iranians. If we agree that myth and history can lead to the formation of epic, the questions will arise in which historical or mythological (or even epic) context does the character of Rostam, as the most prominent national hero of Iranians and Shā hnā meh, come from and which Iranian/ Aneran god or character does he represent? In order to answer these questions and by examining the available sources, the authors have studied the role of Rostam and his counterparts in the myths, the history and the epics of Iran and the neighboring nations. The findings of the present study which are based on library resources and comparative-analytical method, show that Rustam of Shā hnā meh is the inheritor of “ Indian Indra” (from the mythological point of view), “ Surena of Carrhae” (from the historical point of view) and “ Indian Bhishma” (from the epic point of view).