مجله ادبیات عرفانی
پیاپی 11 (پاییز و زمستان 1393)

Sanaei versifies exquisite poems by applying pictorial and compound qualities of alphabetic letters in his Divan. A comprehensive theory that may cover the cultural background of Sanaei’s art and which is able to enfold an inclusive understanding، is an obvious need for studying these qualities. In the present article، the author deals with semiotics of Sanaei’s literal attitude and explains all of his literal poems. The Pierce semiotics theory has a very close relationship with the prevalent rhetorical criticism in Persian language، while it also encompasses a higher interpretative potentiality and helps us reach a more intricate conclusion. In this research، Pierce’s icon، index، symbol، and well known triad and their semiotic transformative process in Sanaei’s Divan are explored. The singular، lineal and involved semiotic processes are the three forms that the author differentiates. The findings show that semiosis of letters of the alphabet in Sanaei’s Divan، has a very easy attribute to its object and interpretation. Keywords: semiotics، Charles Sanders Pierce، Sanaei، letters of alphabet. [1] Assistant Professor، Persian language and literature; Payam-e-Noor University. Mortezaheydari. 58@gmail. com Keywords

In this paper، we are trying to scrutinize the attitudes of Sanai، Attar and Rumi، as the three milestones in the history of mystical poem، toward the critical concept of Love. The theoretical base of this article is the theory of cognitive metaphors. Firstly، we have mentioned the record of the research and then we have continued the discussion in the four sections of specifying the metaphors، examining the history of metaphors in the resources before Sanaie، analyzing the metaphors cognitively and scrutinizing the process of transformation of conceptual metaphors of love from Sanai to Rumi. This study shows the extent of innovation and imitation of these three figures in utilization or creation of love metaphors. It demonstrates، in addition، the concept of love''s changes، as the most critical term of mysticism، during history. The three personages are the three notables in history of mystical poem، love is the most critical mystical term and the theory of cognitive or conceptual metaphors، between the theories about metaphors، seems to be the most suitable one for analyzing opuses like those which have been reviewed in this paper.

Since narration is included in all Persian literature stories، studying fictional works from their specific narrative method point of view would illustrate values and arts lying in these works better، and according to the findings one is able to assay the story teller’s abilities in forming narrative structure along with content. Mossibat-Nameh is the last of Attar’s triple narrative story mathnavies. Having specific narrative methods and deep structure originated from mysticism and mystical teachings، wayfarer’s process narrative in Mossibat-Nameh is capable of studying and analyzing the role of “narrator” and the way it is connected to mystical concepts. Narrator role in Mossibat-Nameh is studied in this paper by means of three point of views، narrator’s level of participation، visibility and reliability; along with determining narrator’s various forms of cognitive and ideological orientations. Then it is explained why and how these narrative features connect with mystical theme of the work، through which it is displayed Attar not only benefited from the characteristics of a modern narrative in his work unawares، but also applied narrator’s role and orientation purposefully in order to achieve his mystical goals. Attar’s applying of three narrators in two various levels of fiction، in order to convey a sense of distance and wondering which is the goal of wayfarer’s process to his audience، to emphasize on intuitive nature of spiritual knowledge، to represent the distance between truth and false، to put emphasis on importance of viewpoint، and to apply narrator’s simultaneity orientation in proportion to meaning of time in mysticism، are of most important achievements in present study.

Roozbahan has offered a completed plan about Mystical Journey in Mashrab-Al-Arvah and has organized his spread ideas in it. He believed that there are thousand stages between traveler and God. All stages he mentioned in this book are not the same. In his idea The Stage had a wide meaning and wasn’t merely limited to stages of journey to God. Before Roozbahan this view has been common among Mystics that there are thousand stages between traveler and God but Roozbahan for the first time has named and described details of these stages. In addition، he has characterized the stairs of mystics in this plan. He divided the travelers to twenty groups. This division has important aspects that distinguish it from other divisions. In this plan Roozbahan has assimilated between stages of Mystical Journey and Stairs of Saints. Despite of important views of Roozbahan about the Foundations of Islamic mysticism، his ideas has not surveyed as well yet. In this paper we will survey theoretical foundations of Roozbahan views about stages of Journey to God in Mashrab-Al-Arvah.

The allegorical narratives of \ «Elephant in the city of the blind\» written by Sanei in his book Hadigh al-Hadigheh are based on Kimiyaye Sa’adat penned by Ghazali. The aim of this study was to explore the hypertextual relationship of these two versions. To this purpose، using Gerard Genette’ theory of hypertextuality، the link between Sanaei and Ghazali’s versions was investigated with the results suggesting the presence of some text size variations and new semantic implications that could be analyzed based on quantitative transformation and pragmatic transformation. The former revealed that Sanaei had employed augmentation in his version by expanding the number of proportions from 21 in Ghazali’s version to 42 in his narrative. The latter was examined in two semantic layers. Transformations in the first layer consisted of changes in characters and events made by Sanaei. In the second layer، transformations indicated that with respect to the inability of the intellect in knowing God، Sanaei had just extended what his ancestors had stated about intellect and ego of man to the common intellect and soul، positing that the human and world intellect and ego are incapable of construing the divine mysteries either individually or collectively.

Express their thoughts and ideas، recognizing Islam has always been a symbol of mystery and interest Getting there. So that the works of Shaykh al-Ishraq Sohrevardi mystic and philosopher، has occupied a vast field Iranian mystery and symbolism. There is no doubt that the secret is in the special language of the mystics. This allegorical style selection Masnavi is evident in works such as Sanai and Attar nishabori seen. But among philosophers Rmzgrayy underused. Meanwhile، the story of \ «Hayy ibn Yaqzan\» as one of the few stories Ramsay - philosophy، the philosophers such as Ibn Tufayl، Ibn Shaykh al-Ishraq and Plato before it is placed. Ibn Rumi''s sake and to showcase the characters in \ «ney\» and \ «Hayy\» the essence of the human searcher seeking the lost reality portrayed. Thus، in contrast Rumi and Ibn sake of a separate entity within the realm of philosophy and thought، mysticism، and others have created. Outlook tries to comparative and analytical methods Homogeneity and heterogeneity، and the dimensions and facets of the character based on his study of the American schoo The thinking of philosophers and mystics، and the close proximity of the two would not open.