mevlana

The current research is a semantic analysis of verses from Mevlana’s Divan-e-Kabir due to the lexicon and phrases edition, and syntactic relationships in the verses. The mentioned verses in the article, are difficult ones of Mevlana’s poetry, which have created a big challenge for both the commentators and the translators, who have been editor themselves. Even these translators have not been able to find a suitable equivalent for some verses. First, these verses have been studied from the perspective of authenticity of manuscripts according to the manuscripts used by professor Farozanfar in edition of Divan-e-Kabir and 4 authentic new versions. Then the reflection of the incorrect edition of these verses in the interpretations and translations of Arberry and Nicholson has been studied.The mentioned verses are studied under the title "Effect of edition on translation". Then the verses that the translators have not been able to analyze correctly in the source language and have provided an inappropriate equivalent in the target language have been discussed, under the title "Translation based on a misapprehension of the text".In both titles, the effect of incorrect edition on the understanding of commentators and translators is obvious. Therefore, it has been tried to present the original form of these verses to the readers

Mevlana’s Divan-e Kabir is one of the pivotal texts in mystical researches. In the last fifty years, the critical edition of Divan by Froozanfar has been the base for all the literary researches done on Mevlana’s ghazals. However, the textual authenticity of this edition is under question.The method of Professor Forouzanfar's edition and selection Konya 770 manuscript as the basic version has been studied and investigated critically, in this article. There are different points of view about Manuscript of Konya. In this article, the authors have precisely described Manuscript of Konya and have enumerated the criticisms that are available about it. In addition, the authors mention some Ghazals that are not authentic, because these are not mentioned in other authentic manuscripts. These Ghazals have been just written in Konya 770 manuscript, although that was expected other manuscripts that have a majority of ghazals, include these ghazals, too. Among these Ghazals, some of them are not cited be Mevlana, and some of the verses should not regarded as an independent ghazal, because, these verses are in the middle of another ghazals. Studying these Ghazals illuminate that Konya770 (Faz) are not authentic enough to be the basis of Forouzanfar's edition. The reasonable method of edition for Divan-e- Kabir according to different manuscripts that are not complete is to select ones are the low-volume but are authentic.

The Study of love and its meaning, not as a philosophical, literary or social concept, but as a multidimensional concept, has stretched different aspects of human life, from the adventure of mysterious creation to the mechanical life in today's world, and it has been in the idea of the scholars of the different nations, from Plato and Avicenna to Simon de Beauvoir and Sternberg. For this reason, we recognize love as a motivating category that made created enthusiasm in different layers of human life, and it has been manifesting at the highest level of human mental experience. Among the works in which a specific concept of love is expressed, we can mention The Symposium of Plato and The King and Slave Girl of Mevlana. Each of these two works has showed the metamorphosis of the concept of love and its types. This paper, relying on the relationship between wisdom and philosophy, studies the truth of love, the types of love, and its functions and requirements in these two works. The most important conclusions of this study are that love in the idea of Plato and Mevlana, has an evolutionary path. The base of Plato and Mevlana’s attitude to love is philosophical, and according to this view they have studied the nature and essence of love, and then they classified the categories of love based on its quality. In the wisdom view to the concept of love, there is a significant relationship between the higher and lower of its types. Mevlana is influenced by ancient Greek philosophy in the story of The King and Slave Girl.

Many of our fundamental concepts such as time، quantity، state، change، act، cause، purpose، way of doing، modality، and even concepts of categories understood through metaphoric concepts. To show his theosophical world، mevlana mostly used metaphoric concepts. Feeding is one of the most commonly used concept in Divan e-Shams for showing all the materialistic and spiritual realms and other family words helped the poet to reflect these concepts. Life of Sofia and attention to reduce feeding، esurience، fasting and avoiding businesses and valuing the trust theory caused unconscious adoption of such metaphor for mevlana. Accordingly، the eight categories of beauty، wisdom، mystery، citation، hearing (samaa’)، joy، love and light as a feed can be explained. In this paper، using the metaphor of contemporary cognitive theory to explain this metaphor will be discussed. Finally، it is clear that the notion of «Feed mysticism» the fundamental proposition of text feed a metaphorical thinking that he has released over the Divan-e Shams.

In his writings, Mevlānā’s utilizes numerous allegories and similes to the allegories to convey his thoughts and teachings. In some cases, the allegories highly resemble each other. For example, depicting a lion, in all cases, it is described in circumstances that would mistakenly render it as a cow. This allegory is a symbol, an implicit and explicit synthesis of a being whose constituent elements, the lion and the cow, each represent an independent symbol. It demonstrates Mevlānā’s adeptness at creating an original symbol, for the intended synthesis, out of these elements. The religion of Islam and the Prophet’s tradition asserted that the realities of diverse aspects of Messengership, namely, the Word of God, the Messenger of God and the God’s saint, which can be called theophanies, are identical. Therefore, in order to create a symbol that symbolizes a theophany, Mevlānā combines the symbol of the Divine, the lion, with the symbol of the world, the cow. Thus, to symbolize both aspects, he uses the symbol of the lion in the image of a cow. Although this symbol is utilized in Divān-e-Shams, its highest application is in Mathnawī. The repetition of this symbol is corroborative of its herein identified conceptual structure which describes the mode of applying this symbol throughout Mathnawī. Thus, it unveils its significance, function and embodiment in Mevlānā’s thought and language.

There is no doubt that the whole world and whatever in it is created to the direction of perfection; thus if enjoying the world is to the direction of perfection it is in fact the introduction to the perfection. In Imam Ali’s point of view the materialistic world is indecent if one pays attention to its impermanent longings and its material is not used to the direction of the satisfaction of the blessed divine. From Mevlana’s point of view the world is like a witch whose enchanting misleads you. It is like a prison in which one is captured. They believe the seeker of the eternity is the happy one and the seeker of impermanence is the one caught in adversity.