مولانا

This interdisciplinary study is a mystical reconsideration of Elif Shafak’s The Forty Rules of Love (2011), FRL hereafter, based on the theologian Mircea Eliade’s perspective on the notion of sacred life as hierophany. Considering the huge bulk of reviews analyzing the Eastern Sufi aspect of the novel as a mystical stand, this investigation probes the compatibility of Eliade’s Universalist spiritual stand with the Sufi perspective reflected in the novel, considering the Islamic tradition through focusing on Maulana’s mystical transformation via Shams of Tabriz. It also pays attention to the Western cultural manifestations absent in most of the reviews and considers the Orientalist features attributed to the novel by some critics. The investigation concludes that the form of Sufism represented in the novel is close to Maulana’s original perspective, and there is a spiritual congruity between Maulana’s Islamic stand, being affected by Ibn Arabi, and Eliade’s Western Christian one. This justifies the depiction of the characters’ mystical transformation within FRL as being touched by Islamic principles and not totally submissive before the Orientalist discourse.

The dynamism of Rumi's thought is embedded not only in the meanings of his poems but also in the structure of his speech, word choices, and the morphology of the verbs he employs. The manner in which he expresses himself and the content of his poetry reflect the continuous dynamism of his thought. This dynamism can be examined through semiotics in conjunction with discourse linguistics. Rumi's active thought and evocative language are evident throughout the entire Divan-e Shams and are closely related to the poet's worldview. From this vast sea of poetry, we have selected several ghazals from the Divan-e Shams, which serve as clear examples of the connection between form and content, By focusing on these ghazals, this study aims to illuminate Rumi's mystical perspective through an analysis of time, verb manifestations, and vocabulary, illustrating how everything is in a state of becoming, and movement, and how a person is never at rest from this motion. Our methodological approach is based on the subject-centered semiotics of Jean-Claude Coquet, a French semiotician and phenomenologist who shifted away from object-centered semiotics to emphasize the subject and its transformations. One of the key themes in his works is the concept of time and manifestation, which is linked to linguistic discourse. We aim to explore the indicators of aspects, manifestation, and time in these ghazals, seeking to achieve an important understanding that these discursive indicators are not only present in the morphology of words and verbs but are also embedded in their meanings.

  In the views of Molavi and Heidegger, the lack of knowledge of authentic existence regarding being and its possibilities leads it to become absorbed in the ordinary concerns of the world, causing it to forget itself as an independent individual. However, authentic and true existence, in addition to being aware of its possibilities, perceives itself as unfamiliar and heterogeneous in the world. It feels fear and alienation from "being in the world" and seeks to achieve authentic openness through this fear-awareness and contemplation of death—which is attained by overcoming conventional perceptions. The foundation of the breakthroughs of the existence of authentic being lies in listening and heeding the inner call; typically, these heartfelt calls are heard in border situations, and it is in such circumstances that the conditions for returning to authenticity and escaping inauthenticity are created. Fear-awareness and consequently death-awareness also manifest in emergency and exceptional conditions. In fact, it is through the process of these two propositions that a person can reach individuality and transform from a dispersed individual into a singular being. From the moment an individual steps into the realm of existence, they strive to resolve this feeling of unfamiliarity and alienation of "being in the world" in two ways: either by immersing themselves in the affairs of the surrounding world and its desires or by attempting to reach a higher openness by avoiding daily habits.

It is often assumed that the discourses of jurisprudence (fiqh) and mysticism (irfan), and by extension, jurists (fuqaha) and mystics (sufis), hold an antagonistic or contradictory relationship, as though fiqh and Sufism are inherently irreconcilable. Both discourses are also perceived as monolithic and impermeable, rigorously avoiding any form of interaction with one another. However, throughout history, numerous figures have emerged who, while attaining high positions in jurisprudence, also exhibited profound mystical inclinations, to the extent that they could be described as mystic-jurists (arif-faqih). Similar perceptions exist regarding the relationship between the discourses of Sufism and politics. Yet, in reality, the three discourses of politics, jurisprudence, and Sufism have historically shared numerous dependencies, connections, and convergences. On the other hand, when we examine the discursive elements of politics, jurisprudence, and Sufism, we find instances where they appear irreconcilable. This study seeks to explore how seemingly incompatible discourses were integrated in the life and persona of Rumi (Mawlana). Our approach involves textual analysis and the application of discourse analysis theory. In the end, we demonstrate that the political, jurisprudential, economic, and mystical discourses were interwoven throughout all periods of Rumi’s life. The notion that Rumi’s life can be divided into two entirely separate and opposing phases is, therefore, incorrect.

The issue of death has been one of the main issues of concern to most of the world’s poets and philosophers. Well-known poets such as Rumi in Persian literature and Henry Vaughan in English literature have addressed this issue a lot in their poems. They do not consider death as the end of life, but introduce it as the gate of the eternal life. Mullah Sadra, the great Islamic and Iranian philosopher, also considers death to be a release from the bondage of the body because human beings have the tendency to connect with the eternal essence of God. Following the principle of substantial motion. According to mystics and theosophists, it is better for a person to experience death before physical death by ignoring physical ties, so that he can cope with it more easily and join the eternal essence of God, which the ultimate goal. The present research is a descriptive-analytical investigation of Rumi and Henry Vaughan’s poems based on Mulla Sadra’s opinions regarding the concept of death. The results of the research show that although these three people lived in historical, linguistic and geographical periods far from each other, they have many similar personal and religious beliefs regarding death.

 Since the first human societies were formed, human behavior with other members of the society also became important because human behavior as a social being is directly related to the formation of his/her interactions with the members of the society. Thinkers and sociologists have expressed the principles of sociology in every period with care and consideration in how people communicate with each other and based on these principles they have determined social values and anti-values.

This research was done with descriptive analytical method.

Maulana Jalaluddin Muhammad Balkhi, a mystic, thinker and poet of the 7th century, is no exception to this rule. He observes the smallest actions and interactions of humans and by examining human interactions and reactions, he expresses their behavioral problems, and by criticizing wrong actions and interactions, he presents to everyone the right way to interact with others and the proper way of social life and the way to reach happiness.

One of the most important teachings and educational principles of mystical and Sufi schools is to hide secrets and protect the privacy of Mago secrets. Rumi registers his name as the most prominent guardian of the mysteries of mysticism by choosing the nickname "silent" in the sonnets of Shams and emphasizing silence and silence at the end of each short story or long anecdotes in Masnavi. The breadth of Rumi's imagination and the horizons of his vision, which can unite eternity and eternity, have been able to create an image of the breadth of existence through this, and this important reason has caused his poetry to have its own imagination, color, smell and character.. In some of his poems, in the face of the usual tricks of the imagination, the person becomes so entangled that he can hardly imagine a limit to the process of his imagination. In this research, the authors have tried to identify and introduce the language of mysticism and the tendency to mow Rumi in his works in a descriptive-analytical way and with a library method. Examining Rumi's poems, it can be concluded that Rumi in his works, voluntarily and consciously refuses to specify his inner state, and therefore, in response to this state, sometimes he is silent in the face of these conditions and sometimes they are insignificant. Takes into account; And sometimes he expresses this situation in the labyrinth of poems or during anecdotes.

Since Plato, the word “ideology” refers to “Idealism” and “Semanticism.” Nowadays, the term “ideology,” in terms of meaning, is a text which can be divided into critical and neutral approaches. Adopting a critical approach, Marx considered ideology as a set of ideas that represent the interests of classes. Although Masnavi is socially and mystically ideological, Rumi adopts a critical position toward ideology. Informed by Rumi’s discourse, this study investigates the basics of the critique of the critique of ideology and the truth and falsity of ideology in Rumi’s Masnavi. The results of this study show that Rumi employs concepts such as originalism, holism, withdrawal, levels of knowledge, and partial and general reason to showcase the importance of the critique of the critique of ideology. By echoing the truth and falsity of ideology, Rumi explores its self-revealing and discursive characteristics.
 

  Symbolism in literary texts is considered one of the most practical and significant elements of imagery. This article examines and analyzes Rumi's techniques in the symbolic depiction of the "self" in the Divan-e Shams—with a particular focus on animal symbols. The statistical sample of this study is the Divan-e Shams. Using a descriptive-analytical method, this article seeks to answer the questions: which animals are symbolically used in Rumi's ghazals to depict the self and its states, and what characteristics of the self are represented by each of these animals? To achieve this goal, first, definitions of symbols and the self, along with their various types, were provided. Then, the imaginative innovations of the ghazals were examined by citing examples, along with the reasons these animals were chosen as symbols of the self. The animal symbols related to the self in the ghazals were explained by considering the cultural background of each. The results of this research indicate that Rumi is a symbolist poet with a creative skill in crafting animal imagery. Furthermore, it demonstrates that animals such as the "dog, donkey, crow, cow, snake, horse, owl, pig, wolf, and fox" are among those whose symbolic representations in the ghazals, considering the significant traits of each, serve as symbols of the commanding self or other aspects of it. For example, the carnal desires of the sleeping dog, such as "greed, anger, and lust," each awaken within a person and attack the carrion of the world. Among these animals, the "dog" has the highest frequency, appearing in 17 instances.

With the help of science and reason, contemporary man has almost obtained what he needed for the comfort of life, and having welfare,but he is confused and has no peace. The existence of facilities and relative comfort and well-being are not peaceful. Those who have forgotten the value of the blessings that God has given them. This research shows how one can be comforted by deeply understanding the teachings of great people such as Maulana - Wayne Dyer and others. The purpose of this article is to explain some internal and external factors of peace from the point of view of Maulana -Dair, which is investigated by descriptive, comparative, and analytical methods. It seems that by knowing the factors of peace, the conclusion will be reached that the range of human discretion is limited and he should make the most of all the blessings of life with the same existing conditions.

In the western philosophical tradition from the pre-modern, modern, and post-modern eras, different narratives of the concept of “truth” can be seen. In the meantime, Martin Heidegger presents a narrative of truth. He considers the concept of "truth" to be the same as the issue of "being" and "existence”. From his point of view, the way to reach "being" also passes only through the existence of Dasein - as the enlightenment of existence. This means that the truth can be reached with the possibilities hidden in human existence. Among all the possibilities of human existence, Heidegger insists on the possibility of "seeing" and calls it the purest manifestation of truth or "being”. Accordingly, he assumes other fundamental possibilities of human existence, such as understanding, curiosity, and thinking, as a kind of "seeing”. In the mystical tradition, including in the mind and language of Rumi, the concept of "seeing" has a prominent presence and crystallization, and he used "eyes" or "seeing" for everything, including the heart, soul, ears, etc. believes, as if everything is "seeing. Although Heidegger's and Rumi’s perception of the concept of truth and its relationship with the concept of "seeing" cannot be claimed to be the same, the ontological approach of the two gave various dimensions and manifestations of the concept of "seeing" and its relationship with the concept of "truth" in the works of Rumi's poetry and prose.

According to the close connection between epistemology and ontology, it can be said: the foundation of the ontology in each idea is based on its epistemology. Ontology deals with the research about the phenomena that exist in the real world and the attitude of humans towards existence and is based on the ideological view that they have adopted. The thinkers have found that; human cognitive abilities play a significant role in interpreting the phenomena of the universe; they have studied the phenomenon of recognition, its scope, and tools. In this descriptive and analytical study, epistemology and ontology are compared from the perspective of Molana and Kant, and the similarities and differences between these two attitudes are discussed. By considering the opinions of Molana and Kant, we come across two different approaches. Molana considers philosophy insufficient in knowing the facts and defines the whole nature of cognition and epistemology based on metaphysics. In the category of ontology, he believes that absolute existence belongs to the creator of existence, and he is the source of all existence. In his view, humans use sensory and intellectual power to communicate to manifestations of existence, and to communicate with the Supreme Being they use intuitive cognition. Kant's main concern is thought and cognition. Based on this, he believed that without epistemology, we cannot deal with ontology. He claimed that the power of reason alone cannot deal with metaphysical issues. This is even though he believed in metaphysics and did not reject it.

Analyzing the Elements of Rumi's Mystical Language in Majalese-Saba'

Abstract
Although Majalese-Saba' shines less in the bright light of Masnavi and Shams's lyrics, but it is one of Rumi’s works in inspiration his mystical thought to the audience. In this compact book, through his pleasant and beautiful prayers, Rumi shows an example of the spiritual and mystical relationship between man and God, and then using rhetorical tools, he reveals his esoteric thought. In expressing these ideas, simile, conceptual metaphor, narration, binary oppositions, paradox and interpretation have more effective role in constructing his mystical language. The information of this article has been collected by library method and analyzed using qualitative-descriptive method. The result of the research shows that mystical language is not an independent language and against other languages, but it is a special application of a common language that is personalized by the signs of the mystical system.
Keywords: Rumi, mystical language, emotional language, conceptual metaphor

Responsibility in the sense of acknowledging one's role in experiences plays an important role in the way humans deal with themselves and society. Responsibility is an issue related to all areas of life, and from the point of view of research, it is an interdisciplinary issue that is also investigated in various areas, including religious, mystical, literary and social sciences, despite the fact that it is related to the field of psychology. In this article, the issue of responsibility has been investigated from two psychological and literary-mystical perspectives. From the psychological viewpoint, responsibility has been investigated using Alfred Adler's school of thought and from the literary-mystical point of view, Rumi's school of thought has been taken into consideration. Maulana and Adler consider humans to be responsible in dealing with problems and both of them are against thinking that humans are victims. Both Rumi and Adler ideology seek for the root of problems within the human being and see the external problems as a reflection of the human being. As they believe, in order to solve the external problems, the internal issues should be resolved, first. Adler does not consider the feeling of unhappiness to be dependent on external factors and social conditions, but considers it an internal factor, and Rumi believes that all external factors act according to God's will and divine providence, in accordance with a person's internal merits, and the person himself is responsible for their performance.

 tion involves relinquishing all material and spiritual attachments to uncover the ultimate truth. It is a fundamental aspect of Sufism and a central theme in mysticism, as highlighted in various mystical texts. This essay undertakes a descriptive and analytical comparison of the perspectives on abstraction by Jalāl-al Din Rumi and Jiddu Krishnamurti. The research aims to identify similarities and differences in the intellectual frameworks of these two prominent Eastern mystics. The findings reveal that Rumi and Krishnamurti share commonalities in various aspects such as simultaneous recognition of material and spiritual abstraction, disassociation from nationality or territorial constraints, transcendence beyond reason and knowledge, self-negation, abstraction intertwined with love, and abstraction leading to self-discovery. However, distinctions emerge in their approaches towards reliance on mentors and teachers, as well as their relationship with established religions and ideologies. Overall, the shared beliefs between these two mystics outweigh their points of divergence, underscoring the similarity in their epistemological and experiential foundations. This mutual ground reflects the essence of true mysticism.

Language is perhaps the most important cultural evolutionary phenomenon of humankind. The artist’s particular view of the world is necessarily manifested in a particular way of expression; In other words, each particular view occurs in a specific language, and the artist must use a language other than ordinary language to convey his new mental forms; he inevitably uses metaphors, symbols and codes to visualize his conscience. Many words of any language, in addition to their central and general meaning, have implicit meanings and their use in the text is emotionally charged and this causes ambiguity and expansion of meaning. Every poet has something in his poetry that is unique to him and has signs of the poet’s personal and psychological characteristics. In the case of a poet like Rumi, these features are quite prominent, his lyric is selfidentification. This article deals with the “secret” in the lyrics of the Shams; Criticizes the aspects of showing Rumi’s thoughts and emotions in them. In this regard, library and inductive research methods, fractional analysis, have been used. In Rumi’s intellectual evolution, he relied especially on the element of music and dance (Samaa) and these topics are the beginning of our discussion. Then in continue, I will talk about the cryptic aspects of the myths and stories of the prophets. In the fourh chapter, I will talk about the cryptic aspects related to astronomy and at the end I finished this article with the codes that are related to the letters.

In most of the researches conducted on the Masnavi, the features of Maulavi's language style have been less criticized and analyzed grammatically. In this article, the use of various letters in the Masnavi has been investigated based on the coordinates of the Khorasani style from a linguistic point of view. The main question of the research is, what are the most important stylistic features of Rumi regarding the use of different letters in Masnavi? The method of collecting information in this article is based on library studies and the research is done in a descriptive-analytical way. The findings indicate that Masnavi-Manavi is a very rich work with extraordinary lexical diversity in terms of grammatical features; So, in this research, it is tried to analyze the style and structure of all types of letters in Masnavi. The result of the research shows that Maulvi has provided the language prominence with the unconventional uses of letters in different morphological and syntactic levels and as a result the double influence of Masnavi on the audience.

By adding the term of non-visual metaphor and showing its mechanism, the range of knowledge expands. This tool helps to distinguish the realm of imagination, which is the creator of the mythical structure of a part of the human mind in the structure of his language, from the realm of sensory perception and introspective perception in order to recognize the invisible existence from the visible existence. This research deals with the construction, application and functioning of the non-visual metaphor and chooses Neynameh of Rumi as a good example and measures it with this tool.

 Sufi behavior and character is not limited to one or more specific aspects, because in their behavioral system, many special and even unique customs can be seen, and adherence to them was sometimes considered as a condition of Sufiism. This behavior of ours also appeared in Sufi living areas, including in the way of living and making a living, which sometimes forced them to wander and wander. The main purpose of this essay is to investigate and analyze the behavior of flaner as one of the behaviors of Sufis in Attar"s Masnavis and Molana"s Masnavi and to analyze and explain Attar"s and Molana"s views in this regard.

 The research method in this article is descriptive-analytical based on library studies and document analysis.

 The findings of the research indicate that Attar and Molana do not have a positive view of flaner and begging and if begging and poverty are praised in some verses and anecdotes of these two mystical poets, the meaning of poverty. God is the only one who is truly in need; Both Attar and Molana are opponents of tyranny, unemployment, and begging as a type of abnormal social behavior.

 The results of the research show that Attar and Molana do not consider Tawakkul as the permission of begging and roaming dervishes and others, and they are strongly against begging for a living based on egoism and gluttony. Attar"s approach in Elahinameh is more critical than his other Masnavies, and Molana has condemned flaner in many ways in the six books of Masnavies.