unity

The old translations of the Holy Qur’an in Persian language, especially the first interpretations, represent duality of unity and disunity from the literary and historical perspective. Unity is manifested in special sensitivity, accuracy and carefulness in translating key words and fundamental concepts. It is also displayed in fidelity in conveying special meanings along with choosing the most appropriate words, including verbs, nouns, and adjectives. Disunity, on the other hand, is seen in exemplification and interpretation, i.e. interpretations based on religious beliefs and opinions as well as intellectual and ideological-political differences of various Islamic sects. In this essay, with a descriptive-analytical method and by analyzing and comparing the translations of Surah Al-Hamd and the first verses of Surah Al-Baqarah, which can be called the Manifesto of Islam and the Manifesto of Faith, respectively, in two old commentaries and translations, Abulfotuh Razi and Atiq Sourabadi, we achieved interesting results in the pathology and the reason to deal with examples of translated phrases. Finally, we concluded that unity in the translation of the Holy Qur’an is considered as a prologue to Islamic unity and then the unity of divine religions. The disunity in translation, on the other hand, preluded religious and theological differences between Islamic sects, which has been apparent in the first translations of the Qur’an in the early centuries.

This research has been conducted in a descriptive-analytical manner based on library studies.With an introduction regarding the role of the unity of poetic elements, referred to with terms such as unity, coherence, and vertical axis, we will gradually accompany the formation of a ghazal to propose a method for the unity of elements in Persian poetry.This approach will help us answer the question (hypothesis) of whether maintaining the unity of poetic elements contributes to the flourishing of poetry, using the eight criteria outlined in this study.

One of the most important mystical ideas that have been common among mystics for a long time and have been expressed in different ways is the subject of the unity of existence. This idea of monotheism, influenced by Muslims' belief in the oneness of God, has existed in the words of mystics since the beginning, and traces of this type of thinking can be seen in the texts of mystic poetry and prose. In the works of Ibn Arabi, this topic becomes a theory under the title of "unity of existence". In his works, Ibn Arabi explained the theory of the unity of existence and explained and expanded it. This subject has been widely discussed in mystical works after Ibn Arabi with terms such as "unity", "multiplicity", "unity in plurality", "multiplicity in unity", "unity of intuition" etc. Mystics and poets following Ibn Arabi's ideas, after him, have tried to explain this issue in their works and have turned to allegory to explain this topic. Asiri Lahiji is one of the commentators of Ibn Arabi's thoughts. The unity of existence is one of the most important themes of his works. He has used various similes to explain his thoughts of existential unity. In this research, we intend to analyze the allegories of the unity of existence in the works of Asiri Lahiji with the descriptive-analytical method and library tools. The purpose of the research is to answer the question of how the unity of existence is expressed in Asiri's thought .

The concept of unity is one of the spiritual, ambiguous and fundamental concepts in the field of mysticism and philosophy. And metaphor is the main and most important tool that the mystic poets, including Biddle Dehlavi and Rumi, have used to make tangible abstract mystical concepts such as unity. In this study, we will examine and analyze unity in the Masnavis of these two great poets (Erfan, Telesm e heyrat, Mohit e azam, Towre marefat and Masnavi e manavi) based on the theory of cognitive metaphor. After identifying the types and cognitive functions of metaphors, we will determine the views and ideas of Biddle and Rumi through them. After examining the works of both poets, we find that Rumi used more metaphors referring to natural, accessible, and religious things; Biddle, on the other hand, used more metaphors about human artifacts. Accordingly, in line with their pedagogical intentions in using metaphors, Rumi's main aim is to make the unit more comprehensible to the audience; but Biddle has also sought drama and thematization. Both put more emphasis on the use of some metaphors under the influence of their geographical environment, lifestyle and life experiences.

The idea of the unity of existence in the history of Islamic mysticism is linked to the name of Ibn Arabi, and the influence of this idea is such that it can be claimed that there is no writing or poem about mysticism after Ibn Arabi that has not represented this idea in any way. The discussion of unity and plurality, which is one of the most important issues related to the idea of unity of existence and the concept of manifestation, has been due to its contradictory nature to explain and Enlightenment many allegories in the works of Ibn Arabi and his commentators. In this research, which has been done by descriptive-analytical method, the types of these allegories in the poems of Shams Maghribi, who is one of the most famous poets of existential unity in Persian poetry, have been studied and analyzed. Considering the remarkable influence of Shams al-Maghribi on Ibn Arabi and his works, it became clear that most of the allegories he used about unity and plurality are rooted in Ibn Arabi's own works, and he made the fewest poetic acquisitions in these allegories because of the way he used them. Ibn Arabi has been very careful about these allegories, and any intrusion and occupation by the Maghrebi could have distorted the concepts.

Nostalgia or the feeling of loneliness or sadness resulting from alienation from a psychological point of view is heartbreak and a person's longing for his past. This feeling appears as a manifestation of unconscious human behavior. Nostalgia, or feeling lonely and sad, manifests itself within the framework of longing for home, lover, family, happy childhood and adolescence, and favorable political, social, economic, and religious conditions in the past. The result of this research shows that Abd al-Wahhab al-Bayati and Simon Behbehani, as followers of the romantic school of contemporary literature (Arabic and Persian), used nostalgia as one of the basic and necessary foundations in their poetry and based on psychological sources and indicators are presented among the poets of nostalgia, although al-Bayati's words and feelings are more attractive and emotional Compared to Simin Behbehani. This research studies the poems of Abd al-Wahhab al-Bayati and Simon Behbehani with an analytical and descriptive approach based on library sources. Its aim is to discover the components of nostalgia and to know the intellectual and poetic lines of these two poets.

A Significant part of Literary texts in both Arabic and Persian Languages is included in Committed Literature. Instilling the Authenticity of Imam Ali to the Audience is the Objective Manifestation of this type of Literature in the Past era. Seyyed Hemyari and Naser Khosrow are among the Poets who Praised the Qualities of Imam Ali with Heartfelt knowledge, Sincerity, and thought. They Wrote good Poems with themes from the Verses of the Holy Quran, Hadiths and Historical events. Based on the Descriptive-analytical Method, this Research Compares some Persuasion Techniques in the Poems of both Poets in Depicting the Righteousness of Imam Ali. On the other hand, Persuasive tactics have been Measured with the Criterion of Coherence, which is Proposed in Halliday's Role-Oriented theory. The Lexical, Grammatical and Linking Coherence of the text has helped both poets to Convince the Audience by Creating an Atmosphere of Confirmation and Explanation and Sometimes Expansion and Renewal in order to reach the Authenticity of Imam Ali. Lexical Cohesion, Especially Repetition, which is Considered one of the Main Techniques of Persuasion, has a high Frequency in the Poetry of both Poets. Also, causal Relationship has a more Significant role in Shaping Persuasion Techniques than other Components of Cohesiveness. Grammatical Coherence is less used in Persuasion Techniques by the Two Poets. The Reason for the Authors' interest in these two Poets is the Almost Similar life and age Conditions of the two Poets and of Course their way of thinking, which is to inform the people of their time about the Virtues of Imam Ali.

Structural unity is an essential element in epic narration, as the epic work has a beginning, middle, and end to reach its ultimate goal. This essence has been considered since the time of Aristotle. In Persian epics, despite the dominance of cohesive plot over the narration of each story, in the macro-structure fashioning the collection of stories within a work, in some cases we come across episodic stories lacking a clear causal relation with the stories before and after them. In such cases, we encounter narratives in multiple levels. This particular form of narration is the ground for the core discussion in Ferdowsi's Shahname. While some scholars assert that Shahnameh is episodic and structurally incoherent, others admit to a coherent structure, disregarding the idea that its episodic nature has spawn the structure to break. The episodic nature of such stories as “Rostam and Sohrab” and “Bijan and Manijeh” has long been considered by scholars, but apart from these two, there are other episodic stories in Shahnameh. In addition, in other Persian epics, despite being more integrated in structure (and, of course, more abridged) than Shahnameh, episodic stories could still be unmasked. Unveiling these episodes is possible through carefully distinguishing between the “pattern fashioning the episodes” and the “macro and recurrent pattern fashioning the structure of the work.” These pieces also lose the coherent connection with what comes before and after them in the narrative line of the work; consequently, they are deemed sub-episodic narratives. This can indicate the structural difference between the stories of this ilk and other epic stories. The recurrence of such a characteristic in Persian epic narratives leads us to explore what this feature is and discover why. The questions that arise in this regard could be answered adopting a critical approach: What is the essence of the structure of episodic narratives? What mythological archetypes shape the structure of these pieces? How is the process of embedding them within the macro and integrated structure of epic narratives? And, how do they relate to the macro-structure fashioning epic narratives? In order to achieve reliable results, and of course to keep the paper at a reasonable length, the two important epics of Shahnameh and Bahmannameh have been selected as the excerpt in this study.

Eleven episodic stories have been gleaned through a thorough examination of the two works of Shahnameh and Bahmannameh. The titles are as follows: Rostam and Tahmineh, Akvan Div, Bijan and Manijeh, Shapoor and Mehrak's daughter, Bahram Gur and four sisters, Bahram Gur and Barzin's daughters, Bahram Gur and the daughter of an old jeweler, Bahram Choobin in the palace of the woman of magic, Bahman meets a fairy, Barzin Azar and daughter of Borasp, Rostam of Tur and daughter of khan of China. With an all-inclusive perspective toward the totality of the narrative of these stories, as well as the functions and elements that make up their structure, the recurrent narrative minima in the structure of the stories are extracted as follows: (1) disappearance of a creature, (2) giving reports, (3) receiving reports, (4) prohibition, (5) violation of prohibition, (6) mediation, (7) absence (departure of the hero), (8) deformation, (9) Deception (Evil), (10) Conflict (Battle), (11) Elimination of Evil, (12) Marriage (Wedding), (13) Return. These minima are the recurrent and reduced elements in the structure of such stories that cannot be further broken down with respect to the structure, act as materials and codes in the structure of the mythological narrative, and play a fundamental role in the formation, permutation, and conveyance of the mythological narrative. Such a characteristic, on the one hand, is the tool to convey and articulate myth in various forms, and on the other hand, due to the stability of these codes (despite the variety of superstructures and forms), it is possible to investigate the mythological deep-structures, as well as evolution of structures. In the structure of the episodic stories under study, the chain of narrative minima corresponds to the same sequence of thirteen extracted minima; in other words, certain minima with the same sequence are repeated in the structure of episodic stories. Although the number of these minima is not the same in all stories or all the supposed minima are not included in one story, their sequence has been preserved and each minimum is in its supposed place within the story structure, elucidating the distinct structure of episodic stories in epic narratives. This structure owns its distinctive characteristics that make it significantly different from the macro-structure fashioning epic narratives in terms of the type and structural position of narrative minima. For instance, the initial change in episodic stories that leads to movement in the story world occurs with the “disappearance of a creature (usually a horse and sometimes a bird of prey).” The function of “evil” in these stories is almost identical to that of “deception” and, unlike the function of “evil” in epic stories, it is not grounded on conflict. Moreover, unlike epic narratives, the element of “conflict or battle” in these stories is not based on war and fierce rivalry, and instead issues such as love, affection and female attraction play a significant role. These elements mark the existence of patterns and deep-structures that are not analogous to the macro-structure of epic in episodic stories, therefore leading to a break with the structure of epic narrative. The recurrence of a similar structure in these pieces also signposts the existence of a unique deep-structure in them that could lead our way to narrative origins that are not the same as the narrative origin of “epic”.

The scrutiny of mythological deep-structure of the eleven episodic stories in this paper (based on the extractive structure) shows that all of these episodic pieces hinge on the structure of fairy tales. The remarkable recurrence of episodes based on fairy tales within epic narratives, and their structural and deep-structure incongruity with the macro-structure of epic narratives, reveals the existence of a particular narrative style or tradition for fairy tales dating back to a farther past than Ferdowsi’s and other epic poets of the Islamic era. On the other hand, the remarkable differences between the deep-structure and superstructure of these episodes denote the great antiquity of mythological deep-structures, as in terms of the roles, characteristics, and actions of fairies, they maintain considerable connections with the traditions related to the goddesses of fertility and viridity. Despite the replacement of rituals like Zoroastrianism with these ancient rituals (and even ritual enmity with fairies in Zoroastrianism), the narrative form of fairy tales continued to evolve along with the evolution of epic narratives until the later periods of Iranian epic narration. However, due to the demonic reading of fairies in Zoroastrianism, the visible manifestation of fairy tales turned out to be more latent in the formal literature of the Sassanid era, and this has been effective in disguising the pattern of fairy tales from superstructure to deep-structure of episodic stories. The mythological root, antiquity, global spread, and the attractiveness of fairy tales among the masses, are the reasons these stories have stood the test of time among Persian narrative traditions. Since the main source of fairy tales in epic narratives has been folk tales, they have usually entered epic works through oral and popular narratives generation to generation, far from the direct intrusion of the ruling ideologies and power structures. The reason explaining the episodic nature of fairy tales within the macro-structure of epics is on the one hand the informal current of narration of these stories, and on the other hand the essential difference between the structure and deep-structure of fairy tales and the deep-structure based on heroic familiarization in epic stories. Despite the noticeable dissimilarities between the structure of episodic stories and the macro-structure of epic narratives, but given the importance of structural unity and cohesion in the of epic narratives, epic narrators within oral and generation-to-generation narration, in order to link these stories with the archetypal and conventional structure in epic stories, they have used the connecting elements that act as a link between “episodic stories” and the “macro-structure of the work.” These connecting elements embody some elements of heroic familiarization or elements of the dragon-slaying myth; nonetheless, the inclusion of such elements and the episodic nature of these stories, together with their lack of structural connection with the macro-structure of the epic are evident, all remarking the essential difference between fairy tales and epic stories.

Mystical literature is the most extensive field of literature in Iran that plays an important role in fostering ethics and culture. Mystical poetry is a poem written by the Lord of Meanings in expressing spiritual principles and truths, and mystical poets have transmitted these teachings in the language of symbolism and symbolism. The researcher first refers to the definition of symbol and then introduces Rumi and his place in mystical literature to his view on unity.What can be considered about Rumi's poetry and thought is the development of mystical and moral thoughts in the works of this precious poet.In this research, which has been done in a descriptive-analytical (library) way, by studying the spiritual Masnavi, several stories were examined in which the importance of unity and love for the god and return to the main position is beautifully displayed using various symbols. Has been.Keywords:Mystical poetry, symbol, symbol in Masnavi, unity

Determinism and free will have always been  among the most important and controversial issues of ideology of Muslims. They have historically provoked various disputes and judgments among the thinkers of theology, philosophy, and mysticism. The theological theory of the Mu'tazilites and Ash'arites on this subject comes to the fore by acknowledging the issue of duality between the obligated man and God. However, each endeavor ultimately leads to a different answer to the question of how the obligated man is related to God. By presupposing independence of Man from God and looking at them as two separate facts, theologians have tried to examine the issue of determinism and free will in a way that they do not face any problems in justifying the discussion of obligation and punishment for deeds in addition to preserving both the appearances of narrative and rational arguments based on the refusal of reincarnation and unity of God and Man. By relying on their intuitive experience of their unity with the absolute existence of God in the position of nearness to the supererogatory (Nawafil), mystics have presented another presentation of the relationship between Man and God. For Islamic theologians, determinism and free will are reasonable additions to the two independent parties of God and the obligated human being, whose duality is assumed to be certain, while mystics consider creatures as a ray of God’s absolute existence according to their intuitive experience of the way of relation between God and Man. They deny realization of a reasonable addition in the light of such a unity since a reasonable addition can be only imagined between two separate and independent issues, while they do not believe in the realization of such independence on both sides of the relationship between God and Man according to their theory of existence. Mystics examine the issue of determinism and free will in the light of the unity of God and slavery to Him, which is revealed in nearness to the supererogatory. In this view, which arises from a chimerical experience, they speak of a kind of determination that occurs due to separation from their own human attributes and annihilation in God considering the position of nearness to the supererogatory. To achieve this position, such annihilation and appearance of God’s attributes inside their hearts are required. Here, mystics deny their free will as an attribute of human nature. Moreover, they introduce their own free will as a description of God’s attributes that is manifested in them considering appearance of God’s names in their hearts and the fact that their creation has been reflected in the form of truth.

Unity is of the central concepts in mystical thinking. Mawlana has used metaphor to elucidate this concept, similar to numerous other inexplicit mystic concepts. In this study, metaphors used for the concept of unity by Mawlana's in Masnavi Ma’navi</em> (The Spiritual Couplets</em>) have been studied and analyzed based on Lakoff and Johnson’s Conceptual Metaphor Theory. The present study aimed at understanding Mawlana’s view about the concept, his style of introducing that to the audience, and the factors affecting his choice of metaphors, through analyzing the metaphors and identifying their type and cognitive functions. Accordingly, we first extracted instances of unity metaphors and then analyzed and described them. In Masnavi</em>, Mawlana has used seven meta-metaphors of light, man, natural element, object, place and container, growing entities, and abstract concept; most of which are ontological metaphors. Through these metaphors, all the features and functions of the concept of unity are displayed to the audience, though via observing confidentiality principle. Rumi's eloquence as an orator, congenial relationwith the public, poetic style, and living environment have been influential in choosing simple, tangible and popular metaphors. Nonetheless, there is a category of metaphors, such as “unity is colorlessness” or “unity is thought”, in which the presented image of unity is highly abstract; as if it needs to be interpreted by special target audience or elites. In these metaphors, the image used to introduce the abstract concept of unity is itself abstract and needs to be clarified.

 In ancient times, philosophizing was not mere theorizing, and the philosopher did not count on the mere consideration of the equations of the universe and nature: "The fundamental lesson of philosophy is" inviting man to change himself, "and therefore, philosophy, must be the process of" transformation through existence, life, and the search for wisdom. ""(Davidson, A.I.: 1990). According to Swami Sivananda, "philosophy, the perfection of knowledge (Vedanta), and the knowledge of the eternal existence of Brahmavidya, which speaks of the infinite existence of the mode of asension (Yogasastra). Philosophy, consciousness of existence, wisdom, and mind your way to reason. An ethical and rational epistemic, which, in the light of reason and law, and the delivery of the phenomena of the universe to their ultimate causes, tries to reveal the reality of supernatural phenomena. "In the meantime, the thought of a person such as Tagore can guide and send messages on the path to excellence. Tagore considers the unity of humanity with divinity to be the ultimate goal of the path, and imagines that a multitude of people has the divine unit, and the true backing of this spiritual alliance is love.
Man is, above all else, a lover, and he has love, freedom, and perfection with man. Love is another name for understanding perfection.This perception of the existence, which leads to the unity of man with the whole - the penetrating soul: "In love, the differences are overwhelming, and the human soul brings about its perfection, as it comes and ends in the infinite tower.Therefore, love is a great prosperity. This conception and this look in the world can have clear and implicit messages for education. These messages are sometimes expressed by themselves, sometimes by other people, and in this article, they intend to include additional implicit messages in addition to their expression and extraction.The present article seeks to examine the educational outlook of this noble poet of the Indian subcontinent, in the framework of his worldview and his philosophy.A study of the specific angles of life, experiences, and ideas of this thinker makes us aware of the value of his thoughts and activities and allows us to apply the results and implications of the plan to the present.

Descriptive, analytical, and inference is a descriptive method. In theoretical foundations, Latin resources and mainly scientific articles were used. In the part of educational findings and ideas, in addition to the point of view of Tagore and other scholars, the implications and implications of the scholar were based on his theoretical foundations.

Education without foundation and especially philosophical foundations cannot be trusted and cited. Most of the principles and methods of education in the world, and even Iran, are based on Western foundations. But with the knowledge of the boundaries of knowledge, it can be used along with Western, Iranian and Islamic foundations of Eastern ideas like India. Because in Tagore's thought is devoted to issues that are valuable, such as unity, empathy and unity of human societies; finally, Indian cultural similarities - at least with the West - with Iran, concerns and similar issues to the peoples of this region, such as identity preservation while universal unity. Globalization can have good messages for educational systems, especially Iran.  In the field of education of Tagore, education is regarded as a means of deliverance, escape, and the means of human excellence on a global and all-wise and comprehensive level.  "The conditions of education are imposed on children," says Tagore, "those who have not committed a sin and do not deserve to be punished. Do not allow the goals of education to fail due to its methods. The flow of education, even the most modest, is easy and natural, with the least suffering (Roy, 1916). In the training and skills of women and girls, Tagore was a precursor between the points and the paternal who, while identifying the vacuum of neglect of the role of girls and their disastrous consequences, set foot. Tagore believes that the coherence of school with society is a necessity and we have to link rational education to artistic and professional education that deals with the emotions and feelings of a person. Therefore, he himself included music and literature in his curriculum (Tripathi, V.: 2011).The importance and priority of art in the teaching of the Tagore is that of the child's imagination and the uniformity of its diverse personality. Art is for him both the language of education and its content and relation with the general unity and spirituality. And finally believed that nationalistic tendencies with global thoughts and feelings are not necessarily inconsistent. The ideal human being in has the benefit of a true spirit that fulfills regional and national interests, and its geography of democracy is transcendental and even beyond. In fact, Tagore believes in cultural integration and global unity and denounces aggressive nationalism (Das, D, 2014).

  India is a region in southern Asia. The vast ocean of wondrous philosophies, cultures, religions, and history that brings with it a sense of enthusiasm, joy, and pleasure to anyone.
 Rabindranath Tagore Tagore is the most experienced Indian pedal. The artistic and wise poet of the artist, who, with a single copy of his predecessors, and the benefit of other cultures and new ideas, was able to make progress in the development of human thought and civilization, and to contribute to the promotion and promotion of great human values ​​in his own contribution. His multidimensional philosophy is an open and deep approach to the truth of the universe, the world and the universe; a comprehensive view of life and the indissoluble bond of all its elements; it combines philosophy with mysticism, which teaches infinite love, spiritual aspirations, and absolute liberty. The pedagogical views of Tagore are reflected in his Shantiniktan, the University of Visawabarathi and the Sherinakatan Center, and his works and life. He believes in the possibility of recognizing the truth that exists throughout the world and the existence of a serous man. Education is a flow of understanding of this fact, and it wants to establish a strong and continuous relationship between human flourishing. It is only a free and creative person who can use his capacity, under the guidance of mentors and mentors, to understand the inner world of the universe and to help achieve the individual and collective supreme educational goals in various fields of national and international scholarship.

Invitation to national unity and cohesion is one of the main themes in sustainability literature. Therefore, one of the most important discourses among the poets of the Islamic awakening in Persian and Arabic contemporary poetry is the issue of unity and public invitation to solidarity and the formation of a single line against the enemies. This important socio-political category, the main sources of which are the guidelines of Holy Quran and the hadiths of the Prophet (PBUH), is widely reflected in the contemporary period and in the poems of bilingual poets; In a way, these poets consider the factor of unity in religious and national fields as one of the main factors of victory and success of Muslims in their political and social arenas. In this article, we will examine and analyze their views on the issue of unity by passing over the poems of the most important Persian and Arabic contemporary poets in the field of sustainability literature. The approach of this research shows that these poets, while enumerating the dangers of division, consider unity in its two Islamic and national spheres as the basis for achieving goals and defeating the conspiracies and plans of the enemy.

An examination of Adunis' poems shows that the contrary opposites have a special status in his thinking; they play a crucial role in conveying the poet's new and favored concepts. One of the most important oppositions, which is found at high frequency in his poems, is the opposition of light and darkness. By using analytical-descriptive method, the present article attempts to evaluate two opposite and commonly used concepts of light and darkness in Adunis's poems based on mystical analysis. In this way, Adunis' special view about the nature and objects becomes clear, revealing aspects of the mystical thoughts in his poetry. The results show that concepts such as good and evil, inward and outward worlds, guidance and deviation are reflected in these two concepts. According to Adunis, one must abandon the intrinsic nature of them and unite darkness with light and reach a point where all opposing elements and multiples are united. To achieve this goal, the poet puts away material things and relies on a particular concept called "madness", and in this way, reveals the Truth and provides the knowledge of the ultimate nature of being.

Ajaib-Nname is written document from the fifth to twelfth centuries. This study hypothesizes that there is a relationship between Ajaib-nameh and mythological views. To text it, eight texts of this genre were described and analyzed. Using Foucault's theory of genealogy, it was revealed that collective imagination in Ajaib-nameh has a relationship with the quasi-mythological motifs, despite the former's methods and objectives. The evolution of these texts has been explained in three distinct eras, including the geography-based era, the narrative era, and time-based era. The intensity and weakness of imagination in these texts are highlighted in three colors: yellow, orange and dark red.

The present research is about the most important symbol in the field of thought and language of Jalāl al-Dīn Muhammad Balkhī, which has been dramatically and questionably repeated in most of his works, especially Mathnavi, and deserves revising. Its reading and revising can provide new fields of research in the works of Mowlavi. The sun and the light have intertwined with religious, mystical, and mythical ideas and beliefs and manifested in a particular way in Mowlavi's thought system, what can be considered, in its turn, one of his poetic privileges. When the fundamental symbols of Mowlavi's thoughts are analyzed through a symbolic approach, the amazing depth of the particular thinking of this symbolic mystic would be better revealed; because a prism of symbols, tied to the sun, moves around this center and displays well its unitary idea. With the help of sun image, Mowlavi exhibits the hidden unity of this world's interior, and has resolved the internal and psychological conflicts using a creative and artistic psychoanalysis. The sun has not only been able to put the man mind on the borders of perfection and beauty, but also has improved his power, spirituality, hope and insight.

Manṭiq uṭ-Ṭayr (The Conference of the Birds) and Gulshan-i Raz (Rose Garden of Secrets), written about a century apart, are based on suluk (mystical journey). The authors of these two books consider mystical path (tariqat) as a difficult path; Farid ud-Din Attar in Manṭiq uṭ-Ṭayr calls it "valley" and Mahmud Shabestari in Gulshan-i Raz speaks about "obstacles". Gulshan-i Raz speaks about four obstacles to suluk and, in Manṭiq uṭ-Ṭayr, Attar believes in seven valleys: request, love, knowledge, detachment, Unity, wonderment and finally poverty and annihilation. If the stages of suluk put forth by these two mystics are analyzed based on seven valleys in Manṭiq uṭ-Ṭayr and forty stages of suluk (as mentioned by the Muslim mystics), it becomes clear that Shabestari puts forth "repentance" and not " request" as the first stage of suluk. In contrast to Attar, Shabestari proposes concepts for stages of "love" and "Unity (tohid)" which are accompanied by shaṭḥiyyāt and tamat (ecstatic sayings), but Attar considers wonderment as necessary for Unity. The fourth valley in Attar’s suluk, “detachment”, like the stages of love (mohabbat), patience (sabr), exertion (jahd), worship (ibadat), and obedience to God (taslim), is not present in Shabestari’s poetry. Similarly, the stages of piety (vara), sincerity (ikhlas), and saintship (vilayat) are present in Shabestari’s poetry while they are nowhere to be seen in Manṭiq uṭ-Ṭayr. The two poets cite 27 common stages and both of them do not mention a number of stages. In this descriptive-analytical study, seven valleys of Attar and the forty stages of suluk, as basis of the research, are evaluated in Manṭiq uṭ-Ṭayr and Gulshan-i Raz, and common and controversial concepts and terms are outlined in them.

Unity and plurality are important philosophical issues that have impact on other philosophical rules. Unity and plurality link profoundly with existence And quiddity. Unity is coextensive with existence. Most of philosophers including Mulla sadra classify existence and Unity among secondary intelligibles and quiddity among primary intelligibles. Considering that primary intelligible has referent in external world and the understanding of the secondary intelligibles based on primary intelligible, It must be said the result of the belief of Mulla sadra is that we form and constitute existence concept based on quiddity and And this point is incompatible with other rules of transcendent philosophy. By criticizing the famous philosophers' view, this paper thinks that existence and quiddity are primary intelligibles and quiddity and plurality are secondary intelligibles. By criticizing the famous philosophers' view, this paper thinks that existence and quiddity are primary intelligibles and quiddity and plurality are secondary intelligibles.

Ibn-al-Faridh is one of the most eminent Sufi poets in Arabic literature; Maulana (Rumi), on the other hand, is regarded as the master of love and mysticism in Persian literature. The most beautiful and the most significant mystical notions could be find in their poetry.
These two mystics have considerable similarities in their worldviews and thoughts, which are completely overlapping in many mystical subjects. For both, the foundation and the basis of their belief is built upon “the unity of being” and its perception. The notion of “the unity of being” is one of the most important debates which has been discussed in mysticism from very old times. It was in the 7th century AH that Ibn Arabi expressed it in a philosophical framework. Therefore, the beliefs of the two mentioned great mystics resemble very much those of Ibn-Arabi in some aspects, with the difference that Ibn-Arabi has discussed the question of “the unity of being” in a reasonable and logical way, while Maulana and Ibn Fariz have expressed it in the language of love and poetry.
Although these two great mystics have suggested special ways of spiritual wayfaring, they have reached the same result, i.e., reaching unity through Love, intuition, annihilation, and so on. Thus, there was a need to investigate the notion of “unity of being” and the way to reach it according to the thoughts and the poetic works of these two mystic poets.