مولوی

In his works and poems, Jalaluddin Mohammad Molavi, a mystic poet and scholar of the 7th century (AH), has presented comprehensive theoretical and epistemological topics about science, wisdom and knowledge. From the methodological point of view, his arguments are a subcategory of logic. In the present research, a collection of Molavi's poems and thoughts about knowledge has been extracted by a documentary method and categorized with different logical patterns. His approaches of gaining knowledge are also introduced. Based on the result of this research, in most cases Molavi uses logical (scientific) and literary approaches to introduce knowledge. In this research, only his logical method is introduced and analyzed briefly. Division and classification, matching and comparison, analysis and pathology, and description and semiotics are the major methods used by Molavi to introduce knowledge, instill it, and persuade the audience.

Reason is one of the most important powers of human cognition in the mystical tradition of Rumi, and in cases where love and its conflict are pursued, it is condemned and hinders the movement and flight of the seeker, and it traps the mystic in a relationship and a kind of dead end, and he makes and flies. He praises him. Considering the extent of reflection and expression of the category of reason that has been indirectly and occasionally directly mentioned in Mem and Zain, we can deduce from the characteristics of reason. The present study, using a descriptive-analytical method, deals with reason and its levels based on Rumi's intellectual paradigms and relying on the textual trends and propositions in the work of Mem and Zain. While examining the implications in the text, it has been tried to show that the mainstay of Khani's theories in expressing the path of the levels of reason was based on Rumi's mystical school. The result of this research shows that a great mystic like Rumi, who in his valuable and profound works, especially the Mathnavi and the Ghazals of Shams, has quenched the thirsty souls and souls of the valley of mysticism, knowledge and love with the clear water of his mystical-romantic words. The writer of Mem and Zain has also not been deprived of this clear water, and by retaining the motifs of Rumi's intellectual paradigms in her work, she can invite the Mem or the seeker to stay away

One of the disputed stories in the Qur'an, which is related to the discussion of the infallibility of the prophets, is the story of Adam. Regardless of the controversies about whether this story is real or symbolic, the appearance of these verses indicate Adam's disobedience to God's command. A group of Islamic theologians, who believe in the absolute infallibility of the prophets, did not consider this disobedience of Adam as a sin and tried to justify his disobedience based on the concept of Taki Awla (abandoning a better act and doing good one). The purpose of this article is to examine the strength of this justification and criticize it.

This article has been done by descriptive-analytical method and collecting information from library sources.

In this research, the most important justification of Islamic and Shiite theologians for Adam's disobedience in eating from the forbidden tree, i.e.  Tarki Awla or disobeying God's advisory prohibition was investigated. First, it was pointed out that Adam's action was not an instance of Tarki Awla, but it was the commission of God's compulsory prohibition. And since according to the Usulian rules, divine prohibitions indicate the existence of corruption in the prohibited act, it should be concluded that committing God's prohibition in any case, whether it is a compulsory, advisory or Tanzihi prohibition, is intellectually wrong, and committing a wrong act is not compatible with the prophets' infallibility thought.
In the following, the claim that God's command to Adam was advisory was examined. By stating the definitions and criteria of advisory prohibition mentioned in ʿIlm al-Usūl and applying them to Adam's actions, I came to the conclusion that God's command to Adam was not advisory.
Then, by proposing another fundamental discussion in ʿIlm al-Usūl that the negative imperative verb has initial semantic appearance in forbiddance unless there were some evidences indicating that action is permissible, it was shown that God's command to Adam was compulsory prohibition. Then, the evidences mentioned in the verses 117-119 of Surah Taha that Shia theologians claimed for being God's prohibition advisory was investigated and it was shown that the divine warning to Adam for leaving paradise and falling into hardships cannot be the proofs of being God's prohibition of eating from the tree as advisory prohibition.
 In addition, the words such as disobedience, misleading, and injustice used in the Quran about Adam's actions have initial appearance in violation of God's compulsory prohibition and committing a sin.
On the other hand, on the assumption of accepting the justification of Tarki awla regarding Adam's disobedience, it seems that this justification is still incompatible with the theory of the prophets' absolute infallibility in the Shi'ite tradition. Because accepting that Adam's action was an instance of Tarki awla is in the meaning of accepting that he committed a mistake and was tempted by Satan, which the reasons for infallibility in the Shia theory are against both.

The final result is that, according to the author's opinion, the justification of Tarki Awla and being God's command advisory is not successful in defending the infallibility of Prophet Adam, and it is better to carry these verses in the same apparent meaning according to the principle of apparent authenticity or use other justifications for Adam's action that are mentioned in theological sources, such as: committing the prohibition of God in heaven, or the omission of a noun i.e. the children of Adam, or disobedience due to forgetfulness or error, etc. Of course, deciding on their strengths and weaknesses requires another research.

The collection of poems by Molana Jalal al-Din Balkhi (Rumi) contains 1983 rubaiyat (quatrains). In the Divan-e Shams, there are rubaiyat that we find either in their exact wording or with minor and major variations in other texts. Part of this issue relates to a phenomenon in the history of Persian rubaiyat known as “wandering or itinerant rubaiyat”. Many famous rubaiyat are shared among Abu Sa'id Abul Khair, Khaje Abdullah Ansari, Attar, Afzal Kashani, Ouhad Kermani, Molana, and several other poets.              

A close study of Ruba'iyat (quatrains) by Rumi reveals that not all shared quatrains between Rumi and other poets can be categorized under the title of “wandering quatrains”. Reducing the commonalities between Rumi and others to issues of interference, mixing, or misattributions overlooks the manner in which Rumi engaged with literary heritage, which is an integral part of his personal style. Rumi was constantly reinterpreting, updating, and correcting literary heritage. His interventions in the works of others sometimes had an aesthetic and literary aspect, while at other times they had a doctrinal and educational dimension. Often, these interventions were made with the intention of elevating the original text, highlighting certain sections, or adapting it to the existing context.              

Previously, articles have been written on the source identification and authenticity of Ruba'iyat by Rumi. Most of these articles, depending on their writing context, have a limited scope and have only mentioned a few similarities. In this regard, it is worth noting one book and one academic thesis.              

Dr. Ali Baradaran Rad, in the second chapter of the book Rubaiyat of Molana (Mashhad, 1398 SH), has examined 212 shared rubaiyat between Molana and others, noting the differences in the narratives. Ms. Mahnaz Nazemi Anbaran, in her valuable research titled Examining the Authenticity of Molana's Rubaiyat, which is her academic thesis (Tabriz, 1399), has extracted and analyzed 384 shared and similar rubaiyat between the Divan-e Shams and other texts, evaluating them in detail. Out of these 384 rubaiyat, 259 have been found in other texts either in the exact wording or with slight variation.              

The approach of both studies is the source identification of Rumi's Ruba'iyat. Source identification and authenticity determination are the first and indeed important steps in establishing intertextual relationships. Rumi's method of engaging with earlier texts has been one of adaptation and revision. With the help of his memory and creativity, he would recall the Ruba'iyat he had memorized and, depending on the occasion, would modify them in his texts. Such occurrences have been repeated numerous times in his Ruba'iyat. The extent of Rumi's modifications to the pretexts varies widely. At times, he has recited or written down the exact same lines (in his prose works), and his disciples have included them in his poetry collection. The Divan-e Shams is full of Ruba'iyat by others, and I believe that most of them were recited by Rumi in the company of friends and disciples or quoted in his writings. In some cases, Rumi has made significant creative alterations to the poetry of others, producing new works. In these latter instances, it can be very challenging to determine what the original text was and to what extent the later text has drawn from it. In any case, Rumi's engagement with pretexts is considered part of his personal style in composing Ruba'iyat.              

The Rubaiyat of Molana reflects a mirror of diverse voices and countless intertextual implications. Recognizing these voices and uncovering earlier texts aids in a better understanding of Molana's works and the quality of the emergence of his Rubaiyat (as a subsequent text). Source tracing involves peeling back the astonishing layers of Molana's mind and its accumulated treasures. It can be claimed that reading the Rubaiyat of others was one of the factors that strengthened Molana's poetic ability and served as a starting point for many of his poems. Molana possessed a rich memory and a dynamic mind, engaging in the rereading and reproduction of the Rubaiyat of others.              

Some of Rumi's adaptations can also be studied and examined under the term “plagiarism”. What we encounter in Rumi's poetry is a re-creation of literary heritage. He engages in an active dialogue with literary texts and contributes to this dialogue by elevating the words of his predecessors. Another type of intertextual relationship in Rumi's quatrains is “responding”. “In the terminology of ancient poets, responding to a poem with another poem is meant”. The poet's aim in this act is to demonstrate his superiority over others. Rumi employs this method to respond to one of Khayyam's quatrains. In his quatrain, Khayyam considers asceticism to be futile in the face of divine will; Rumi replies that futile asceticism is not true asceticism but merely a semblance of it.Genealogy, authenticity verification, and source tracing of Ruba'iyat by Molana is an important step in understanding the vast field of studies related to Molana and in grasping his critical perspective on ancient texts. It reveals the various levels of lexical and conceptual relationships between his Ruba'iyat and the heritage of Persian poetry. The very high frequency of this editorial behavior prompts us to consider Molana's quotations from earlier texts as a significant stylistic factor. Molana's critical view of previous texts and his manipulation of them goes beyond what is typically discussed in literary studies as inspiration and adaptation.              

To say that the compilers of the Divan-e Shams included the rubaiyat of others as the words of Rumi and incorporated them into his poetry, while not incorrect, should not lead us to overlook Rumi's interest in such works and their role in shaping his poetic world. In my opinion, it is not permissible to exclude these rubaiyat from the Divan-e Shams. However, to ensure that the contributions of other poets in creating this magical world are preserved, we must carefully note each of these instances in the commentary and explanations. Although, due to the loss of many texts available to Rumi and because of his integrative mind, finding all of these instances is impossible.

This research explores the common teachings of Molavi (Rumi) and Eckhart regarding three essential concepts: pantheism, love, and seclusion. It is well-established that the central theme of mysticism is "God," and mystics strive to establish a spiritual connection between God and humankind. Molavi, the Persian Muslim mystic of the 13th century, and Meister Eckhart, the Christian mystic of the same period, both addressed this profound subject eloquently, inviting humanity across all times and places toward God through a transhistorical and trans geographical perspective. However, the relative obscurity surrounding Eckhart stems from his condemnation by the Church, which accused him of heretical statements, particularly concerning pantheism, leading to the confiscation of his works. On the other hand, the foundation of all mystical schools—whether Islamic or Christian—is pantheism. Both Molavi and Eckhart emphasized this concept, and scholars widely regard them as pantheistic mystics. Undoubtedly, mystics connect with God through their hearts, attain unity through love, and view detachment from others and the practice of seclusion as a pathway to fostering divine love. This study, based on a descriptive-analytical method, investigates the mystical concepts of pantheism, love, and seclusion in Molavi’s poetry and Eckhart’s thoughts, presenting their most significant shared teachings.

In this paper, the issue of selfishness and narcissism, which is one of the important causes of human suffering and social injustice, is examined from Rumi's point of view and psychology, in that it is presented as a personality disorder called narcissistic. Appropriate recommendations and strategies for treatment and quitting the disease have been suggested.Moreover, "true self" and "false self", which are deceptive shadows of the real me, as well as selfishness from a different perspective, have been considered as positive selfishness, which is necessary for the preservation and protection of self-esteem. It can be stated that,for centuries, according to the holistic view and knowledge of human nature, as well as the theorists of modern psychology, each with its own expression,Rumi, has identifiednarcissism and conceit as a disease and behavioral disorder that is caused by false illusions and suspicions that are in turn due to factors such as wealth, position, beauty,scientific degrees, inappropriate flattery and praise of those around, etcthis feeling is strengthened in the person. This research is an attempt to better understand the harms and consequences of this disease, by changing the mindset and vain beliefs and by knowing the real self to be the basis of good thoughts and deeds, as Rumi has emphasized in his valuable teachings by expressing many anecdotes and moral points in the form of allegory.

In this research, the story of "Arab man and his wife" from Mawlawi's Masnavi has been deeply analyzed using the fundamental concepts of Jacques Lacan's psychoanalytic theory. The main goal of this research is to explain the psychological structure of the characters in the story and analyze the complexities of their interpersonal relationships based on Lacan's key concepts such as the imaginary field, the mirror stage, the absence of the symbolic field or the father's name, another small and real object. By using psychoanalytic discourse analysis tool, the hidden and unconscious layers of the story have been revealed and its various meanings and symbols have been interpreted. In this analysis, the role of language in the formation of identity and interpersonal relationships in the structure of personality is especially emphasized. The findings of this research show that the story of an Arab man and his wife, beyond a mystical story, contains complex layers of personality psychology and interpersonal relationships. Using Lacan's key concepts, one can achieve a deeper understanding of the characters' motivations, conflicts, and hidden desires. For example, by analyzing the concept of the mirror stage, it is possible to understand how identity and self-feeling are formed in the character of Arab women. Also, by examining the concept of the father's name, we can understand the role of authority and law in the interpersonal relationships of this couple.

Maulavi, one of the most prominent peaks of mystical literature, has used allegory in his works in the best way to express his mystical thoughts in the explanation and interpretation of verses and hadiths and the explanation of mystical terms and thoughts. Even though Molavi's sonnets do not have a didactic aspect like his other works; But it is influenced by his way of expression in the use of allegory. In this research, we intend to answer this question by examining the first 200 ghazals of Molavi's Ghazliat Divan, whether Molavi used allegory in his sonnets. The aim of the research is to investigate the extent and manner of using allegory in Ghazalyat by Molavi. The method of the current research is descriptive-analytical and it was done with library tools and extracting files from sources and documents. The results of the research show that Molavi also used parables to express his thoughts in Ghazalyat. Parables used in sonnets are both compact and short parables and narrative parables

One of the most used aspects of allegory is related to its use in poetry. Poets use allegory to visualize their ideas with the audience.Maulavi's Rumi is one of the poets whose many verses have become popular among people as parables. Allegory is a symbolic method of Maulvi, who expresses his thoughts and ideas in various topics with allegories, interpretations and similes in order to make his worldview tangibleIt is a symbolic allegory of Maulavi's methods formethods better understanding of ideas. Because this visualization mystical concepts easier to understand and gives an objectivity aspect to subject by using metaphor. Therefore, it is necessary to explain Rumi's mental images which are expressed by the metaphor method; To determine how successful he was to in this way. Maulavi's style of poetry, the researcher in this research has tried to collect a library based on the study of books and with a descriptive-analytical method. The purpose of the present research is the degree of images related to the world and the hereafter in spiritual masnavis, the frequency and plurality of literary arts used and the scale of influence of verses, hadiths, myths and how to use each of the items mentioned by This famous poet of the Persian language will pay attention and specify. The result of the research shows that Maulvi has benefited well with the language of allegory and by using permitted types of metaphors, similes, irony, etc. It uses simile and irony the most and has taken advantage.

The present paper deals with the contemporary American scholar William Chittick and the Imam Husayn legacy of his famous Arafah Supplication. Chittick's English translation is intended to address and exert influence on mysticism-oriented men of letters. One has to enquire how Chittick achieved conveying transference of such sublime mystical concepts embedded in the Arafah Supplication. An appropriate answer lies in Chittick's deep interest in Islamic mysticism with special reference to the Arafah Supplication, followed by other Ashura-oriented concepts. He has done his best to convey so far as feasible the beatitudes of Imam al-Husayn's mysticism within the framework of his legacy if supplications and the Ashura epics.

The concept of happiness has always been a subject of morality and mysticism. It has been studied in philosophy from two perspectives: Epicurean hedonism and Aristotelian bliss. Epicurus (341-270 BC), a philosopher of the Hellenistic period of ancient Greece, considered lasting pleasure as the ultimate good of man and presented a practical method that leads to happiness and is sustainable. For Rumi (1207-1273 AD), happiness is similarly sustainable and does not decline with external and internal factors. In this article, an attempt has been made to investigate whether there is a connection between Epicurean hedonism and Rumi’s hedonism through library study and data comparison and analysis. We compared several features from Epicurean and Rumi’s perspectives on happiness based on historical genealogy. The results showed that pleasure from Epicurus’s perspective is lasting and expressed in the end as eudaimonia or happiness (bliss). The goal of his philosophy is to achieve lasting happiness. In this way, man tries to achieve ataraxia by creating limits to his temporary and unstable pleasures. On the other hand, Epicurus’s practical philosophy expresses features that have commonalities with some of the views of Muslim mystics, including those of Rumi.

Prophet Abraham (peace be upon him), in addition to his prophetic status, embodies the image of a mystic who successfully passes different stages of spiritual journey and the struggle against the self, which manifest in various forms such as the “denial of Azar, the sacrifice of his offspring, and the fire of Nimrod”. He ascends from the stage of annihilation in Allah to the station of subsistence by Him and becomes an Allah’s friend. This article employs a descriptive-analytical method to explore the truths and subtleties of the story of Prophet Abraham (peace be upon him) through reflections on the poetry of Ibn Farid of Egypt and Jalal al-Din Muhammad Rumi, both of whom stand at the pinnacle of theoretical and practical mysticism. In this research, the commonalities in the poetry of these two renowned poets are first examined and analyzed in three sections: "Abraham (peace be upon him) and the Birds", "Abraham (peace be upon him) and the Fire of Nimrod", and "Abraham (peace be upon him) and the Stars". Subsequently, the distinctions in each poet’s interpretation of the stages of Prophet Abraham's (peace be upon him) status, his relationship with Azar, and the sacrifice of his son are elucidated. The findings indicate that Ibn Farid, unlike Molavi, does not adopt an allegorical perspective on the birds. In discussing the fire of Nimrod, Ibn Farid attributes the extinguishing of the fire and its transformation into a rose garden as the result of Abraham’s connection to the state of unity and survival after annihilation. Conversely, Molavi views the fire of Nimrod as the fire of the self, which, when transcended, transforms into flowers and basil. Ibn Farid perceives the stars as manifestations of the Divine, while Molavi argues that the prophets did not initially attain the stage of monotheism and ascribe independent existence to beings. Ibn Farid delves into the inner secrets and allegorical meanings of the rituals of Hajj, considering the status of Abraham as a special guardianship, Mecca as the Divine Presence, and the pilgrim as the manifestation of the Hidden Presence in the four pillars. Molavi, on the other hand, regards Azar and the sacrifice of the son as liberation from the attachments of the self and nature..

One of the subjects of economics is the theory of the fatigue puzzle or the thrift puzzle. What is raised in conventional economics regarding this theory challenges the economic doctrines of contentment in the spiritual Masnawi; Based on these theories, Rumi's advice to contentment actually prevents the society from economic growth.

Method and Research: 

This article aims to answer the question, "What is the difference between conventional economic theory and contention in the Masnavi?"

With a descriptive and library method. to answer The findings of this research show that contrary to what has been suggested about the Masnavi by the mentioned theories, Rumi's call to contentment at the individual level does not reduce consumption at the macro level. The concept of contentment in the Masnavi, in addition to implying comfort and well-being in worldly life and peace, in some cases encourages the increase of the final desire to consume; For example, in Masnavi, Rumi has mentioned charity, charity, zakat, etc., which increase the consumption of others and financial circulation

Love is one of the most important issues of Mysticism and Sufism, and its priority and delay are different for Mystics. Some pundits have found love as a way to reach Mysticism, and others see it as the post-mystical stage. Azizi, who has created the new Shatha following the ancient mystics, explained love like many experts.The scope of this article is to examine his views on the subject of love ritual, which is actually an examination of the method of romantic conduct, in his works of poetry and prose, such as " yek Livan Shateh Dagh, Malakut Takalom, Tarjome ye zakhm, Sharji Awaz, Qose Ghazal" etc.The author of this research tries to examine the intellectual framework and the place of love and the way of love in the mentality of Ahmad Azizi.The hypothesis of this work is that Azizi prefers love to mysticism, but in practice he sees both as one. The result of the research was that Azizi believed in the union of love and cognition and did not see them separately from each other. He commented on Roozbahan's style of love and Molavi's style of expression.

In his literary works, Jalāl al-Dīn Muḥammad Rūmī paid great attention to the native language of his family, which originated in the Vakhsh, Balkh, and eastern Khorasan regions. Therefore, understanding the native dialects of these regions is crucial for a more thorough appreciation of his works. In Ghazaliyate Shams  , alongside “khod”, “ khish” and “khishtan”, the pronoun “khode khod” is also sometimes observed. This study aims to investigate the contemporary usage of“khode khod.”. To achieve this, the study first presents evidences the usage of “khode khod” in Ghazaliyate Shams  and other relevant texts. It then demonstrates its continuity and survival in certain modern dialects. Subsequently, with the help of the author's dialectal intuition, its various aspects are carefully examined. The findings indicate that, "khode khod" in the Persian dialects common in Balkh, Herat, the Hazara regions of Afghanistan, eastern South Khorasan and eastern Khorasan Razavi, and some ancient texts belonging to these regions, is a "reflexive pronoun" and can assume the  grammatical cases of direct object, indirect object, and genitive case  in a sentence.It is also necessary to state that stylistics and linguists agree on the importance of paying attention to the differences resulting from geographical variables in Persian varieties and styles.

Dằqữgḣἳ’s Story is an allegorical explanation of the "whole thing" rule, and rather a mention of the unity of existence in the specific tone and context of Rumi's mysticism; Without it being necessary to consider him as the existential unity of theoretical mysticism. The relation of Daqoqi's story to the Rumi is the relation of the rule of "the whole thing" to the mysticism of Ibn Arabi, that anyone who does not pay attention to their meaning and meanings has not been able to understand the essence of theoretical mysticism as well as the spiritual Masnavi. The present article believes that despite the many differences between Ibn Arabi's mysticism and Rumi's mysticism, monotheism of the Almighty is the most basic concept around which both schools have been formed. The most important similes used in Dằqữgḣἳ’s Story are candle = light, tree and human. The important thing in common with the mentioned parables is that: all three are upright and upright: and this is proportional to the length and depth of existence. All three are related to burning; And at the same time, all three are related to cultivation. Existence is one with light, and light is one of the divine names. Light and existence are pure unity and all multitudes are the emergence of this unity; The truth of man is the truth of light.

The review and analysis of confrontation/ interaction of thinkers thought and the artistic experience owners is subject that in set of literary researches can be considered –in spite of cultural differs - underlie of better understanding of discourse thinking of authors. Mewlana and Kazantzakis in this ground are two important thinkers of Islam and Christianity world that can be analyzed their texts in various aspects by attitude of comparative. One of the most important attitude, was thought variety in the selfish field especially beliefs, feelings and emotions, desires  ground that present article analyze and scrutinize this problem. Writer in this article analyzed the most significant common elements of texts mewlana and Kazantzakis emphasis on character natures on one hand and the most obvious thoughts, emotions, desires elements on the other hand by analytical- critical method.  The results of this research shows in spite of uncommon attitude, both of them figure on principle of endless prosperity  and happiness and pay attention to selfish ground by life prescriptions by regard to different dimensions.

Present study aims at analyzing the concept of insolence towards Almighty in the story of Amid Khorasan, narrated by Attar and Rumi. The theory of negation and affirmation is the research’s theoretical basis. This study, which is conducted in a descriptive-analytical method, aims to analyze the contradiction of insolence towards God in the story of Amid Khorasan narrated by the Conference of the birds and Masnavi. Finally, it provides a correct interpretation of Attar’s and Rumi’s viewpoints using the evidence in their works, and the theory of negation and affirmation.The concept of insolence in the narration of the Conference of the birds and Masnavi does not follow the same discourse, since Attar's narration praises the insolence towards God and Rumi's blames it. In total, both poets have common approaches towards insolence in their works. It means insolence towards God is reflected in Attar’s and Rumi’s view in two states. While insolence is reprehensible in the servantship state, it is praiseworthy in the love state. Therefore, the difference between Attar's and Rumi's narration of the same story does not mean their attitudes are different, but rather it shows that they try to address a facet of different aspects of insolence.

The concept of the Unity of Being is one of the fundamental principles in Islamic mysticism, extensively discussed and elaborated upon by two of its greatest mystics, Muḥyiddīn Ibn Arabi and Jalāl al-Dīn Rumi. This article presents a comparative analysis of their theories on the Unity of Being and examines the impact of these theories on the mystical conduct of their followers. Ibn Arabi, with a philosophical and rational approach, proposes the Unity of Being as an ontological principle wherein God is the absolute existence, and all creatures are manifestations of Him. In contrast, Rumi, through an experiential and emotional approach, explains the Unity of Being via love and mystical experience, where divine love is the driving force for closeness to God and experiencing unity. The comparative analysis reveals that the differing approaches of these two thinkers have had varied influences on the mystical paths of their followers; Ibn Arabi's followers were guided toward a path based on philosophical thought and rational understanding, while Rumi's followers pursued a path rooted in love and spiritual ecstasy. These differences highlight the richness of Islamic mysticism and the diversity of its spiritual paths. In conclusion, suggestions for future research in the field of Islamic mysticism and the Unity of Being are offered, which can contribute to a deeper understanding of this concept and its applications in the contemporary world.