جستجوی مقالات مرتبط با کلیدواژه « غزلیات شمس » در نشریات گروه « ادبیات و زبان ها »

The recent acquaintance of Western societies, especially America, with Rumi and his poems, must have been due to Coleman Barks' translations; A translator who get acquainted with Rumi in 1976 by his friend Robert Bly for the first time.Coleman Barks translated Rumi's poems, while he had no acquaintance with Persian language and literature. He re-translated those poems using previous translations by Arbery and Nicholson.In response to the main question of this research, which seeks the reasons for the success of Coleman Bark's translations, we having studied on a number of Bark's translations which are selected among Barks' various books and comparing those with the original text. Eventually with the help of Andre Lefevre's theory we analyzed those translations, and finally, the reasons are as follow:1. The need of modern American society and readers for the human, universal, and boundless concepts that have manifested themselves in Rumi's poetry as mysticism.2. Barks' clever choice of Rumi, among other Eastern poets, because in Rumi's poetry, themes and ideas is deep and astonishing, and has the potential to be reduced to today's paradigms.3. The style he uses in translating these poems, which is the free style of American poetry, is based on the translation pattern of Andre Lefrvere.

In order to understand the meaning of existence, Heidegger analyzes the existential possibilities of the German word for existence, i.e. Dasein, and among these possibilities, he pays special attention to the relationship between language and existence. In addition to speaking, he considers silence as one of the linguistic possibilities. According to Heidegger, linguistic silence has the potential to reveal existence much more broadly than just speaking. This revelation of existence and hearing the voice of existence in silence gives it an interpretive quality, which Heidegger calls hermeneutics. Since in our mystical heritage, Mawlana Jalaluddin Muḥammad (Rumi) speaks of silence and reticence in most of his ghazals, the authors of this article believe that in the light of Heidegger's conception of silence, new horizons of this concept can be opened up in the ghazals of Shams in order to show its interpretive and hermeneutic features in the following propositions: “from the unworldliness of Dasein to the annihilation of the truth-seeker in the general sense and its connection with silence”, “from Dasein's transition from the linguistic position to the linguistic annihilation of the truth-seeker in the specific sense and its connection with silence”, “the hermeneutics of silence and the reception of genuine speech from Dasein to the truth-seeker”, and “Rumi's hermeneutic silence and the reception of genuine speech” as proof of this claim. By proposing genuine silence, Rumi provides a ground for the soul and the world of existence to speak up and to display the shortcomings and inadequacies of language and to reveal the secrets of the universe. Attention to the hermeneutic aspect of silence in the ghazals of Shams distinguishes the present article from the existing research and a new achievement in the field of Rumi research will emerge.

Happiness is one of the emotions that have received a lot of attention in positive psychology today, and sages and mystics have made great efforts in understanding and how to present and apply it in their words and works. For this reason, analyzing and properly presenting these views through examining the texts and introducing their precise characteristics to the audience can clarify the paths for positive thinking and happy living and through reflection, concentration, indoctrination and thinking in the teachings obtained from the texts. Literary and mystic, first clear the way of knowledge in the mind and finally by repeating the beliefs of these teachings, it can lead to a suitable solution to achieve happiness. With the same aim, this research examines the view of happiness and its connection with self-awareness in Rumi"s thoughts in his sonnets.

The method of research is to analyze the qualitative content of the theme and the statistical community of all the sonnets of Rumi known as sonnets of Shams

Molavi"s sonnets show the connection between happiness and self-awareness in various axes. Among them: knowing one"s original scheme, which leads to understanding human defections and abilities. Realizing one"s relationship with God and this world, the experience of love, according to Molavi, love for God and other people is the cause of happiness. Staying away from hostility and enmity and understanding the tenderness of love at a high level makes a person happy. Understanding and communication with nature, which sometimes leads to growth and freshness with self-awareness. Molavi sees the root of many joys within the human being. The self that must go through the superficial stages of cognition and reach self-awareness and belief.

Jalaluddin Mohammad Molavi is one of the mystics who have been able to invite his audience to live happily and get rid of the sad dependencies of existence by representing the visible and hidden cognitive images of happiness through his sonnets. This has emerged by drawing paths of self-awareness and knowledge of man in the world in a skillful texture and full of aesthetic symbols and sublime musical dimensions of speech in Rumi"s lyrics.

Russian formalism is one of the most influential approaches of literary criticism that examines literature from a linguistic perspective. The formalist approach often looks at the forms of literary texts and believes that it is the literary forms that carries meaning and meaning is nothing but the connections between the formal components of the word.In this article, the researcher has studied three lyrics of Rumi from the perspective of Russian formalism based on the theory of Jacobsen and Grammon in a descriptive-analytical method. It is worth mentioning that Rumi has created tones in the lyrics through repeated words, symmetry, imagery, metaphor, expression, pauses, emphasis and etc., which interact with the emotional dimension of the work. The role of structural art, which is one of the principles of formalism, has an aesthetic aspect in Rumi's lyrics and has led to innovation in the construction and form of verses in order to become richer and more artistic through harmony, de-familiarization, anomaly, metaphorical and figurative images.

In love mysticism, the issue of encountering the systems of signs and the act of signifying in a special way has led to the representation and organization of the macro-sign of the world unity or the state of presence. That is the way that the referential and arbitrary function of language turns to be absent, and the signs acquire symbolic functions and deeper layers of meaning. The signifying aspects of allegories and metaphors reconstructing the atmosphere of presence in the world before the annihilation dates back to the pre-language stage. Based on this, the experience of presence in line with the experiencer's lived time, and the time split in the place dimension with a different structure and passing from an active and physical place comes out in atmosphere in the field of intuitive experience in a different surface structure, and passing over an actional and physical place. Among the mystic writings, Rumi’s sonnets, from semiotics’ perspective, are allegories and metaphors reconstructing presence atmosphere or diverse and multi-layered unity. The main question in this article is that how the artistic reconstruction of the author-narrator of Shams-e Tabrizi’s sonnets in representing the atmosphere of presence existent in the lingual-narrative codes of the text is organized? The research methodology is descriptive-analytical, and properly in line with the epistemology that governs the text. The result demonstrates that, through narrating based on the presence, the author-narrator of Shams-e Tabrizi’s sonnets has utilized each of the allegories and micro-macro metaphors with signifiers of biological and epistemological domains so as to explain the nature of the mysterious, ambiguous, opaque, devouring, indeterminate, inseparable, infinite and extended atmosphere of the unity world.

 The great mystics each have their own language and pictorial and symbolic system. Those who have had pure personal experiences have their own personal images and interpretations. Rumi has given a secret meaning to the words of everything and everyone, according to the association of meanings that took place in his mind. The scope of Rumi's cryptography includes animals, plants, constellations, myths, prophets, etc.; Therefore, the investigation of all aspects of cryptography and mystical terms in Rumi's Ghazals requires extensive research. In the present research, monastic symbols in Rumi's Ghazals have been investigated. This research seeks to answer the question: How are monastic customs and symbols reflected in Molavi's poetry? The results show that Rumi has used a variety of words and terms in creating new symbolic meanings. The most important result of the present research is that, due to Rumi's creativity in cryptography, Rumi's sonnets cannot be interpreted according to the mystical terms found in Sufi books; Because the mystical terms used show the conscious mind of the writers who have their own intellectual style. Some of the customs and traditions that have found symbolic meaning in Diwan Shams are: pir, food, farashi, sama, etc. The purpose of this research is to reflect monastic symbols in Diwan Shams Molavi. The research method is documentary and library, and text analysis is obtained through evidence.

Voghoo and Vasukht are traits of Indian poetic style; a style which was at its supreme height in the Safavid period (1501: Tabriz to 1736: Isfahan). These traits could be regarded as the traits with which Persian poets of this period tried to emulate their predecessors. Although these two traits belonged to the Indian poetic style, poets of other poetic styles utilized these traits in composing their poems. Jalal ad-Din Mohammad Rumi (1207-1273) was one of such poets whose commitment to Voghoo and Vasukht could be recognized in Sham Tabrizi’s Divan amply. After exemplifying some instances of Voghoo and Vasukht in Tabrizi’s predecessors, the present study analyzes his Divan for identifying these two traits. The study assumes that while struggling with his melancholic love for the beloved, Rumi as a mystical amorous poet loses his command on logic and restraint, and starts disclosing intimate accounts of the transpirations between himself and the beloved.Keywords: Poetic Style, Voghoo, Vasukht, Rumi, Societies, Social behavior, Shams Tabrizi.

Persian language literary texts have always been considered as one of the most important examples and most effective elements of teaching and explaining educational and moral teachings of the society. Now, taking into account the fact that mystical texts inherently and in themselves have the mission of teaching and conveying uplifting teachings, it can be seen that examining and analyzing the educational aspects of these works with different research approaches is a necessity. Molana is one of the most prominent mystical-educational figures of Persian literature, and by examining his speech, we can reveal the efficient ways of connecting mysticism and education. He uses all linguistic and rhetorical techniques to explain and communicate his spiritual teachings. In this context, the science of meanings and its rhetorical tools, especially the secondary purposes of the sentences, due to the fact that it deals more with the subtleties and inner capacities of the words, thoughts, and teachings of the mystic, has been able to serve the guiding mission of this poet. The purpose of the author in the current research is to investigate, understand, and introduce the intersection of education and mysticism by using commands and prohibitions in Molana's sonnets.an Shams's poems, as a romantic-mystical work, be considered as an educational work? And how and to what extent was command and prohibition able to serve the educational aspect of Rumi's words? The research method in this article is analytical-descriptive with a case study of Shams's poetry. The results show that according to Rumi's audience-centered approach in his words, as well as the fact that in the use of commands and prohibitions, the presence of the audience is alive and dynamic, in this work, despite its non-educational and lyrical nature, he was able to express his educational thoughts in both direct and indirect ways with the aim of guidance and education.

A symbol and code is a type of expression that contains an intangible concept and truth and allows the speaker to escape the limitations of sensory language. Rumi, who is a mystic poet, uses the symbol to express his mystical ideas, this article investigates the purpose of Rumi's parrot symbolism in Shams's poetry and tries to show his attractive and mysterious interpretations of this symbol. . More than 80 stanzas are the frequency of use of parrot in Shams's sonnets, and from their symbolism are important concepts such as: the flight of the soul to the upper world, expansion and expansion, mystical zeal, silence and silence, association of angels, messianic tail, happiness and its opposite relationship with the raven. And the owl is extracted. This article is done with a descriptive-analytical method and by examining the mentioned concepts, it tries to explain the poet's thought pattern regarding the parrot in Shams's sonnets.

Although annihilation literally means destruction, but in the path of mysticism, it is a high level of knowledge that is manifested in the presence of a friend, and in the words of Abolhassan Kharghani: "A friend, when he comes with a friend, sees just friend, does not see himself." Mystics, theoretical and practical, have addressed this issue. Exciting anecdotes have been narrated from the great mystics, each of which reveals their credibility as well as the true meaning of annihilation. After a detailed search in the wonderful world of mystics and finding examples of theories of mystics and experts in their definitions and interpretations on the subject of annihilation, and then finding illustrative examples of anecdotes and practical experiences of annihilation quoted in authentic mystical books and texts Yes, we have turned to the sun's lyric poems. Rumi's spontaneity is a manifestation of annihilation that ranges from the selection of percussion and melodic weights, repeated intermediate rhymes, breaking the rules of language and even the form of poetry, small and large language and poetic norms, paradoxical expression, to creating spaces. Includes eerie and so-called surreal. We looked for examples of each of these effects in Rumi's sonnets and placed them in a regular category. The narrator of Rumi's sonnets confronts annihilation in three positions: conscious, semi-conscious and unconscious. The conscious narrator of the sonnets consciously and logically speaks of annihilation and educates the disciples, and in a theoretical sense, speaks of annihilation and reveals its conditions and details. The half-conscious narrator of these sonnets is in a state of fascination and perdition, but he has not completely lost it yet; Knows and speaks of his wisdom with a fascinated state; In fact, sparks of his subconscious shine in the middle of consciousness. But the unconscious narrator of Rumi's sonnets narrates the unspoken and abandoned, unselfish and mortal, impossible and lost moment of presence and meeting. It is the unconscious release of the narrator who speaks. It is in these moments that the singer of Shams's lyric poems encounters wonderful and unprecedented moments; Moments full of astonishment, and confusing. I am the narrator in these third type narratives; Because individuality and in other words: Rumi's personal experiences are expressed in this section. Finally, a surprising variety is created in Shams's sonnets, which includes some of Rumi's norm-breaking in form, weight, rhyme and language.

In the 19th century, following the emergence of literary schools such as romanticism and surrealism, which rejected and despised clear meaning in literary works and promoted ambiguity instead, literary theories also looked at ambiguity as a value in literary works. ; Because by making the reader participate in the meaning creation process, it creates a kind of interaction between the reader and the text. Shams Tabrizi's poetry is one of the texts that has ambiguity in its artistic meaning. This ambiguity lies in the whole of Maulvi's poetry and the rhetorical device, language and semantic field of his poetry have been affected. It is that each of these elements have been created under the influence of factors that are very similar to the components of the school of surrealism. This research, which is written in a descriptive-analytical way, aims to show what effect the surrealist atmosphere ruling Shams's lyrical poetry has had on the ambiguity of this text and the emergence of ambiguous rhetorical forms. The findings of this research indicate that in eighty-two percent of Shams' sonnets, ambiguous rhetorical forms are created in a surrealistic atmosphere, and among the rhetorical elements simile, recognition, and code, which appear under the influence of the poet's unconscious, are possible in the poem. have the most expression compared to other rhetorical elements.

Problem Statement: 

Martin Seligman, the father of positive psychology, in search of what Aristotle called the “good life”, by focusing on the positive aspects of human beings, replaced virtues and abilities with the components of the Guidelines for Diagnosing Psychological Disorders. This new movement has been formed with the motivation of optimizing the quality of life by promoting mental happiness in the context of satisfaction with the past, the happiness of the present, and hopeful optimism for the future. The Welfare Theory refers to positive emotion, positive relationships, meaning, fascination, and achievement to achieve prosperity. The six virtues of justice, altruism, excellence, wisdom, courage and moderation, and twenty-four abilities underlie it.

 Research Methods: 

The present study, using content analysis and statistical findings, investigates the characteristics of the Welfare Theory in Shams’ sonnets based on Seligman’s positive psychology in order to introduce new dimensions of this work with a different perspective. 

Because the common goals of literary and mystical works with positive psychology are to acquire satisfaction from the past, hope for the future, and gain satisfaction in the present in order to cultivate a capable human being on the path to prosperity and meaningful life, the mysterious ocean of Shams’ lyric poems with the dominance of music and love, the field of wave formation and expression is one of the elements of the Welfare Theory that has been addressed in this interdisciplinary research. As a result, it looks at the ideas of Rumi and Seligman’s adaptation to the category of prosperity and the necessities of human endeavor in this direction to achieve perfection.

Review and introduction of some effective suffixes in making Amplification in Persian language Based on a case study of Rumi's poems Amplification is very important in Persian language and literature. But unlike many other rhetorical elements, little attention has been paid to it, and the methods of its construction have often been limited to the same old views. In the classical view, Amplification is divided into three types of Amplification, hyperbole, and Bombast based on the limits of magnification, but no importance is given to the methods of its construction. Accordingly, in this research, the suffix is considered as one of the effective methods in making Amplification and is the basis of research. The main question is which extensions can be effective in creating amplification. The research method was such that in the first stage, Rumi's Masnavi and Shams Ghazal Divan were studied based on the form and use of amplificated elements and then the hypothesis was strengthened that Rumi used suffixes in a special way to make amplification. This study, in addition to finding and inventing some unique and innovative words of Rumi, showed that a range of suffixes are effective in amplification. Suffixes that make the place amplificated include "lan", "kadeh", "stan". Suffixes that amplificate the possessiveness of an adjective include "nak", "bareh", "mand" and "gin". Suffixes that have been linked to the topic of amplification with the help of the simile and the amplification in the simile relation; Like "Wash" and "Anne" And suffixes that combine the adjective with the concept of plurality and abundance Constructions such as "eh" and the suffix "gray" which expresses a behavior, work or adjective that is associated with abundance And finally, the suffixes "-K" and "-Ki", which are used for miniaturization and its special use, show that, at least in the world of poetry, it can be used indefinitely with different attributes and names.

In Saussure's and Structural linguistics, the binary oppositions stem from the bipolarity of the logic of human mind and language and then are used in other sign systems. Thus, in sign systems, such as literary texts, oppositions are one of the most fundamental signs and patterns of analysis that provide the basis for understanding the subjective concepts. In this essay, the micro-textual oppositions in the Masnavi and the sonnets of Shams were extracted using binary oppositions with macro symbols and then were analyzed and compared. The findings showed that the binary oppositions in Masnavi, which were made by the macro symbols, are often within a logical and natural relationship with each other and share common themes. In most cases, macro symbols symbolize the divine and spiritual spirit, and in these meanings Rumi puts the spiritual world in contrast with the physical world. But in the sonnets, the animals in opposition with hawk are different. Also, norm-breaking and the abnormal relationship in opposing relations are both more frequent and more prominent in terms of frequency and diversity, and consequently natural and abnormal interactive images are more frequent and more diverse. The abnormalities mostly refer to the elimination of opposites and the unification of opposing poles or the displacement of positive and negative poles in different ways. There are examples of conflict and abnormalities in both texts with similar and common themes and in some cases the oppositions have been processed only in one of the two texts studied.

Rumi (Mawlānā) is a mystic who has discussed the subject of man and perfect man comprehensively. In his poetry, he introduces a touchstone for being complete and becoming complete. Having contemplated the spiritual life of man and ways to direct him toward perfection, Rumi has gained a great status in Islamic and Iranian mysticism.

The present article attempts to compare the major theories of perfection in psychology with Rumi’s Shams Sonnets through an analytical descriptive method and then juxtaposes Rumi’s idea of perfect man with that of psychologists, including Allport, Moslow, Rogers, Frankl, Fromm, Jung, and Perls.

The results show that bearing the problems, overcoming the crises, caring for others’ needs, and fellowship are of the commonalities that the so-called psychologists and Rumi share regarding the process of perfection. Jung and Fromm’s ideas, each with 29% and 22%, are the most similar and Perls and Rogers’s ideas, each with 4% and 7%, are the least similar to Rumi’s elements of reaching perfection.

Rumi has addressed the content of perfect man in the context of Iranian mysticism and has maintained a personal psychological view toward man and the process of perfection in The Works of Shams and this makes him analogous to the psychologists, such as Moslow, Jung, and Fromm.

Cultural semiotics is one of the types of the semiotics of new criticism with which the hidden layers of Shams Ghazals can be explored. Jalal ad-Din Muhammad Rumi, also known as Molavi, has expressed his mystical thoughts in Ghazals elegantly and with great capacity. Explaining astronomical myths is one of the most important codes in cultural semiotics. In this article, the descriptive-analytical method and content analysis method were used to study and analyze astronomical myths in the first seventy Ghazals of Shams. The results showed that Shams Ghazals are the manifestation of astronomical myths‎that‎ have‎influenced‎Moulavi’s‎ subconscious.‎Also,‎it‎was‎ found‎that‎ this mystic poet has used these astronomical myths and beliefs to explain his intellectual and mystical patterns. The ancient beliefs and myths have long considered the astronomy and astronomical phenomena to be influential in their destiny. Accordingly, in the present study, astronomical myths in Shams Ghazals were investigated.

...communicative sense is based on the "I-you" interaction. Due to this type of interaction in the construction of the identity-status of the subjects, in other words, their placement in the interaction of the agents of the context of romantic mysticism is different from other classical literary genres And this leads to the formation of a distinct aspect of perceptual-aesthetic ambiguity. Ghazaliyat Shams is one of the texts in which the interaction of the subjects within its text and consequently the epistemological-artistic ambiguity that has been formed on the basis of the me-you interaction has been formed, ignoring it will cause a purely tasteful interpretation of it. Accordingly, in this article, the action of constructing the "I-you" interaction of the narrators-textual agents of the narrator-lover and the beloved in Shams's sonnets with the intention of reading in line with the epistemology governing the text has been identified and explained. To denote this interaction, some concepts and terms of thinkers in the field such as Buber, Levinas, Bakhtin, Sartre, Gabriel Marcel, Landowski and Byung-Chul Han have been cited. The result shows that the logic of "I-you" in the sonnets of Shams can be divided under four headings: a) expression of silence and lack of precise coding b) disregard for hierarchy and passing through confrontations c) incompleteness Invisibility d) Postponement of the "self" formulated, all of which symbolically represent the passage of the common order of symptoms and the experience of the world of unity.

Despite it is said that the antiquity of Logos dates back to Ancient Greek Civilization, it seems that the term is much older than that of Ancient Greek Civilization, perhaps as old as the presence of human beings on    Earth. According to western intellectuals, the discussion of Logos has seriously begun since the beginning of Greek civilization. The term "Logos" meaning logic or reason, and prior to the serious emergence of philosophy, it used to be utilized with other words such as “Mythos” meaning "belief" and "sensory perception". With the emergence of philosophy in Greece. the term "Logos" gradually began to differ from the word Mythos, and each of the two terms became a special school representative of thoughts and started to struggle with each other, in a way that, according to the scholars of philosophy, the whole history of philosophy can be considered as the conflict between Mythos and Logos in a way that, in the end, by drawing a distinction between that terms, the degree of rationality has been highlighted in Logos, thus, it dominated Mythos. In this way, as it turns out to be, the "word" in the Islamic tradition is also tied to the issue of creation, and in fact, is the cause the emergence of beings. The existence of such perception of the word “Logos” in the Islamic tradition embraces various areas such as philosophy, mysticism, theology, so forth. Similarly, Logos, as the concept of language, word, speech, etc. can be studied first in the Qur'an and then in the tradition of Iranian-Islamic mysticism.

background and Purpose of the studyNo single investigation has specifically been conducted regarding the topic of the current study. Nevertheless, the finding of studies that are indirectly related to the current study are pointed out here. These include the book "Mysticism and Thought" by Omid Hamedani, and some articles entitled "Language in the Language of Rumi" by Mohammad Taghavi, "The Theological Functions of Silence in the Works of Rumi" by Qasem Kakai and Ashkan Bahrani, "Ambiguity and Duality Language in Rumi's Masnavi" by Ali Badami and "The Nature of Language and Its Limitations in Rumi's Theory" by Ghodratollah Taheri. Among them is the book "Mysticism and Thought" by Omid Hamedani, articles entitled "Language in the language of Rumi" by Mohammad Taghavi, "The Theological Functions of Silence in Rumi's Works" by Qasem Kakai and Ashkan Bahrani, "Ambiguity and Duality of Language in Rumi's Masnavi" by Ali Badami and "The Nature of Language and Its Limitations in Rumi's Theory" by Ghodratollah Taheri. However, what distinguishes the present study from the other studies mentioned above is the analysis of different areas of language (logos) in Rumi's mystical system reflecting on Heidegger's ontological views. Still, among the research carried out, in most cases, the openness and the concealment feature of the language (logos) in Rumi's poems and works, particularly based on the text of his poems either without a theoretical approach, or with a combined theoretical approach, including the Philosophy of Language, Linguistics, etc. have been briefly noted. A descriptive-analytical method, along with library resources has been applied for the purpose of this research. In the present study, the researcher aims to have a new design, classification and analysis of Logos in Mathnawi and Ghazals by Shams from Heidegger's ontological perspective on the concept of Logos and its descriptions.

In the discussion of the book “Being and Time’ Heidegger finds it necessary to examine the concept of Logos and to etymologize the Greek word ’Logos’ in order to clarify the concept of phenomenology as the knowledge of phenomena. He refers to Greek language to find out about the origin of the word ‘Logos’ so that he can gain a deeper understanding of the word “Logos”. Heidegger's attempt to understand the term Logos by means of etymology can also be considered a historical study that is not unlike the philosophical function of the term "restoration". Heidegger's insistence on the historical study of the Logos is due to the fact that there is little evidence to guide the true meaning of the Logos, and it is clear that the Logos cannot be studied on the basis of contemporary components, and therefore, history must be referred to. He seeks out his answer though the analysis of Heraclitus’ works and scrutinizing his fiftieth part of the treatise. Eventually, he ascribed some features to Logos and makes its nature even clearer: Logos as "discourse"; Logos as Being-true or Being-false (either uncoveredness or concealment); and Logos as a reflector. All Heidegger mentioned about the Logos and its characteristics can also be seen in Rumi's poems, including Masnawi and lyric poems:Paradoxical aspect of uncoveredness or concealment of language (Logos) in Shams’ Masnavi and Ghazals (lyric poems)The dominance of covering aspect over openness in Shams’s Masnavi and GhazalsThe language (Logos) is like a covering dust in Shams’s Masnavi and Ghazals ShamsThe language (Logos) as cover upThe language (Logos) as an immature and imperfect phenomenon .

When Heidegger speaks of Logos in “Being and Time” and conducts a phenomenological study of this phenomenon, in fact, he tries to explain a connection between Logos and reality. As defining phenomenology, Heidegger first describe Logos as uncoveredness, and during the etymology of the term, he referred to its connection with the Greek Aaletheia. But then, he finds it like an overlapping phenomenon and considers apophatic function of speech as the main reason for occurring the overlap, as the most basic and lowest level of language function. In accordance with the world of mysticism, Rumi also uses language or Logos in various places in his poems with regard to what he notes as reality, examines language or logos and pays attention to its strengths and weaknesses.  Rumi expresses the openness and obscurity of the logos (language) in the representation of what he considers as “truth”, and eventually, like Heidegger, he states that the language (Logos), at its lowest level, is more leading in covering up than it is in revealing. In the end, through the obscurity aspect of Logos, Rumi indicates that Logos is an immature and imperfect phenomenon. Through his poems, he also acknowledges that language is an obstacle and a veil to perceive what in the world of conduct is called truth.  

The subject of the perfect man is one of the most important topics in Islamic Sufism, so much so that it can be said that the axis of all beliefs and principles of Islamic mysticism is summarized in this issue. Almost all mystics and Sufis have spoken about this subject, but Rumi has given more importance to this issue and especially in Masnavi and Divan Shams he has repeated it with more branches and depth. As it can be concluded, one of the most important pillars of Rumi's worldview and thinking is the theory of the perfect man. The present study aims to answer the main question of what commonalities and differences the image of a perfect human being has in these two works and why.

In this regard, using descriptive-analytical method, all the offices of Masnavi and Divan Ghazaliyat Shams have been examined from this perspective.

The most widely used rhetorical image in Masnavi and Shams lyric poems in describing the perfect man in the order of the sun and its belongings is the mirror, the shadow of truth, and alchemy and alchemy. The most widely used images are the manifestation of divine attributes in the perfect man and his caliphate, secrecy and secrecy, moral growth and promotion of disciples, and liberation from worldly attachments, respectively.

In depicting the perfect man in Masnavi and Ghazals of Shams, Rumi has used elements of natural phenomena, human artifacts, animals and historical figures. Most of this belongs to natural phenomena and then to human artifacts. The most important characteristic of the perfect man in the rhetorical images around him in these two works is his insight and the place of manifestation of divine attributes. Hence, the most important feature and nature of a perfect human being in Rumi's view are summarized in these two attributes.

In all types of literature, dreams and related phenomena are among the most important foundations of poets and writers, which have been viewed from different angles. In most cases, Rumi does not express his message naturally and is based on a structure based on linguistic habits and the Sufi system of thought. The dream is also intertwined in Rumichrchr('39')s mind with a multifaceted attitude and finds a different manifestation every moment. In this research, with a descriptive-analytical method and a library method, by examining Rumichrchr('39')s lyric poems and Levinaschrchr('39')s book "From Existence to Existence", the concept of a night owl and sleep aversion from the perspective of Rumi and Emmanuel Levinas from the perspective of the American school has been studied. The results of the study suggest that both thinkers believe that drowsiness is one of the first features in the course and behavior and the basis of movement. The invitation of Rumi and Levinas is an invitation to go beyond the situation of a captive human being in the world and to abandon theoretical customs and to engage in true conduct with the help of true awakening and to address the "other". Levinas substitutes another God for an infinite position, and in the opinion of another Rumi, the same is the beloved, and Shams in the position of the beloved is for Rumi a mixture of earthly and heavenly attributes and is similar to what Levinas says about another