مجله ادبیات عرفانی
پیاپی 9 (پاییز و زمستان 1392)

Mystical knowledge and intuitive experiences of mystics can not be included in limited circle of words and needs a metaphorical language. One way for sensorying up of images is using the element of color. In mystical literature، many of mental affairs and abstract concepts can be displayed through colors. This article is library-based and draws upon the psychology of colors، it investigates the colors of soul، emotions، feelings and traits، and also light colors and colors of seven subtle bodies in mystical literature. The mystic، in each of seven centers of the subtle bodies، has different perceptions of colors; perceptions that shows the stages of development and inner discovery. In coordination between inside and outside، the color of his cloak indeed accords with the mystic’s spiritual rank and internal affairs; but from another viewpoint، color is the mystery of veil upon soul and wordly interests that must be passed by to ascend to God and discoloration.

Mystic texts are among the fruitful branches of Persian literature. Because of their transparent relationships with mystical and human experience and imagination, they constitute the foundations of artistic originations and indescribable lingual experiences. One of the structural features which connects all mystical texts of Persian literature is the discourse-based relationship. The main profession of Attar of Nishapur, the great poet and thinker of the 12th century, is poetry; however, through compiling Tazkirat al-Awliya, he tried to make use of the same discourse which he pursued in Mantiq-ut-Tayr. Although he adopted the majority of components of Tazkirat al-Awliya from previous mystic works such as Al- Risala al-Qushayriyya, Kashf-ul-Mahjub and Tabaqat al-Sufiyah, his aesthetic and linguistic behavior in creating the microcosm of this text is completely different, in such a way that all parts which have been allocated to Tazkirat al-Awliya and remembrance of the mystics have the same discourse-based structure. Some pale shadows of this structural pattern can be found in Kashf-ul-Mahjub, Tabaqat al-Sufiyah, and Al- Risala al-Qushayriyya, too; but Attar has given depth and direction to this pattern and has taken over a special style. The present paper is trying to find answers to two research questions which are directly related to the structure of Tazkirat al-Awliya. 1- How is the emancipation metanarrative of Islamic mysticism represented in mystical discourse? 2- How does Attar juxtapose the emancipation meta-narrative with discourse to create the narrative structure of Tazkirat al-Awliya? The metanarrative which is seen in Tazkirat al-Awliya is the “saga of emancipation.” This saga brings into existence the discourse of the “journey of mankind in the world.” With the metaphor of “journey,” he realizes the saga of sin and repentance. Therefore, his narrations start with repentance and end in death. In Tazkirat al-Awliya, the selected people start their journey with self-identification and repenting of their sins and then turn into identified agents and then their behavior and speech will influence the others and eventually their journey ends in death.

Death is one of the major and important thoughts in Sanaie’s works. He views the phenomenon of death from varied angles and perspectives and depicts it in the most eloquent and delicate expressions. The basic question in this article is explaining the reasons of Sanaei''s multiple and sometimes various views to death. The results of the article show that these varied perspectives can be attributed to his thinkingrealms (wisdom، asceticism، and mysticism) as well as his relativistic ontological views which have been reflected in the form of: death loving، death hating and death accepting in Sanaei''s works. This affair indicates thatSanaie has marvelous and delicate experience and thoughts in the aforementioned three entityrealms. This research has beendoneby content and descriptive analysis method.

Between the literary schools of the west and the ideas، latent in the old Persian literary texts، there are many similarities. Rereading these similarities with a new and comparative look can result in many great findings and also expand our knowledge of these two domains. Surrealism is an influential school whose characteristics can be seen in the philosophy of illumination، though they are different in many aspects. Referring to Sohrevardi’s texts on one side and also the manifesto of surrealism and surrealist works on the other side، this study compares the seven techniques of surrealism— 1. grotesque 2. dream 3. automatic writing 4. madness 5. objective chance 6. ready-made. and 7. Satire— with the ideas of Sohrevardi. The findings show that، despite many similarities between these two، they have different beginnings، ends and also different approaches.

In this article، the metaphors of growth in Baha-e Valad’s Ma’arif have been، based on the model of conceptual metaphor، analyzed. M etaphors of growth، here، include vegetative terms for onceptualization of abstract concepts. The center of these metaphors can be explained with the statement ''existence is vegetation،'' for the main concepts— God، universe، and human— in Baha-e Valad’s text have been demonstrated through vegetative metaphors. Since metaphors is at the service of human understanding in contemporary theory، the article interprets Baha-e Valad’s important ideology about theological and mystical issues such as pantheism، free will and determinism، manifestation and vision، by explaining and analyzing Ma،arif،s metaphors which are reflections of his personal beliefs and contextual ideology of his society.

Mathnavi Ma’navi of Jalal ad-Din Mohammad Mawlavi (Rumi) (604-672A. Hj.) contains particular epistemology which is a key element in understanding the poet’s thoughts and works. The components of this epistemology are sometimes expressed transparently and sometimes they can be understood or inferred from the poetics، considerations، and the conclusion of the speeches and stories. This descriptive-analytic research، based on the inductive study of the text and comparing Mawlavi and Husserl’s ideas، shows that the major components and requirements of epistemology of Mawlavi in Mathnavi are consistent with the theoretical and practical requirements of Husserl''s phenomenological approach. It means that these views have been opened to Mawlavi’s epistemology from long time ago. These components are: transcendental attitude and belief in meditative Ego، suspension of presupposition in the cognitive activity (Epoch)، rejection of traditional and imitative knowledge، overemphasis on direct perception، intuition and personal experiences، multi-dimensionality of phenomena and giving a new definition to everything and paraphrasing. The analysis indicates that the ideas such as deletion of Hejab (cover or veil)، killing of Nafs (the sensual ego) and mystical isolation actually match the phenomenological approach because of referring to objects; deletion of the margins of cognitive activity and achieving intuitional perception.

Sense of taste is the most commonly used one، in Mowlavi’s works، to represent all aspects of spiritual and materialistic realms; other words from similar group have also helped the poet to reflect these concepts. Sufis’ life style and their paying too much attention to having little food، hunger، fasting، avoiding business، and valuing the theory of trust caused Mowlavi to pay attention to sense of taste. The origin of sense integration goes back to one of the basic principles of poets; that is، the d enial of causality and God''s seizing and this has a distinctive nature in Mowlaviˊs language. This poetic image in Mathnavi and Divan-e Shams reflects his unique and artistic attitude toward inner and outside senses which is related to his unseen-oriented worldview. In this study this relation is to be studied. In this study، besides analyzing sense of taste، cases of merging this sense with other senses (hearing، sight) will be discussed.