نشریه تحقیقات تمثیلی در زبان و ادب فارسی
پیاپی 27 (بهار 1395)

Symbol, or sign, stands for something more than what it is. Nezami has been the first poet who has paid attention to the symbols manifesting the mystery of poet’s heart through symbol. He has abundantly used the water symbolism as means of expressing the deep mysteries of Makhzan-ul-Asrar. In his words, there is a kind of interrelationship and prebuilt similarity between words and meanings. In this article, an attempt is made to trace the symbolic significance of water as symbol of honor, sky, world, wine and existence.

Sacred Defense poetry, displays many mysteries and parables. Some of these parables are rooted in historical-religious atmospheres pertaining to the battles. parable of flying, which represents martyrdom, is used to refer to the testimony of the newest symbolic lyrics of the period. Parable of flying, represents the ascent of the soul to heaven and light, after death. This mystical-mythological parable, is reproduced in the Sacred Defense Poetry, and is used solely for the expression of martyrdom.

Death and thinking about it, have definitely occupied the minds of poets, writers, mystics, and thinkers throughout the history. In fact, thinking about death has overshadowed the thoughts and the works of many writers and thinkers particularly in the Persian literature. Mystic poets like Sanai, Attar, and Molana have always cherished death in their poems and believe that death is inevitable and cannot be escaped. They, however, believe that true and voluntary death is possible through abstinence and the purification of the soul. Inspired by the Quran’ verses and Ahadith, they presume that we need to voluntarily surrender ourselves before the real death comes.In this short article, the author attempts to describe and analyze the views of mystic poets like Sanai, Attar, and Molana in relation to the concepts of death and voluntary death as well as the ways by which a voluntary death can be realized. Their views of death will be depicted through some examples of their poems.

Walking though hard ways, without Trusting master and disciple is not possible. Thus the need for attendance of the spiritual master has been among the major issues at the center of sufism. Except for a small number of sufis, like Ovagsian who considered discovery journey is merely possible through meditation; that most sufi scholars have emphasized the need for choosing master, believing that success in the journey through ups and downs on the way to perfection, can not be achieved without the help of a master. In this paper, we provide a comprehensive definition of master in the Theasosophy. We include the master and to need to follow master.

Allegory is one of the most important expressing arrays. Allegory is an inferential artistic and skillful style, with the aim of better transferring of concepts and meanings to the addressees. The definitions by the scholars about allegory are somewhat different with each other. Some consider it as complex metaphor with pseudo-complex form, some have placed idioms in the group of metaphors, and some have regarded styles and some others have considered metaphoric stories as allegories. Despite all the differences, authors have considered mystic allegoric narratives about thankfulness and ingratitude, with precision. Ingratitude indicates ignoring the blessings by the beneficent, and it has considerations that are divided into verbal gratitude for confessing the blessings, cordial thankfulness for God’s blessings and practical thanking regarding obedience to the beneficent. Thanking is analyzed in the rational domain and is one of the mystic aspects. To express reprehension of ingratitude, mystics have benefitted from allegories. The structures of the mentioned allegories have two upper and lower layers. In the lower layer, i.e. in the depth, the upper layer attains meaningful extensions, causing the inclusion to be increased. It is why that allegory is appropriately referred to as the extensive metaphor or the paraphrased symbol.

Reflection of the allegorical and verbal names for Allah in the works of Sheikh Farid al-Din Attar Neishabouri, especially in his Masnavi collection of poems, is of great importance and value. In order to find out how the names for Allah is used in the works of this mystic poet, it is necessary to be aware of his opinion about His names and attributes. This paper firstly specifies Attar’s ideas in this regard, and then according to research data concludes that he doesn’t consider His names to be confined to what He has given to Himself in the Devine Book of Quran. Then it studies the way some of His names have been reflected verbally, realistically and allegorically, giving examples from his works and considering their different aspects of form and concept. Careful study of allegorical and symbolic stories of Attar makes it clear that his spiritual disposition is "pantheism" and, therefore, full compliance and real unity between the Divine Names and Attributions is evident in his works. This feature makes works of Attar a collection of the Divine Names that often are expressed with short allegories and mystically.

Allegory is one of the essential literary genre which has been of interest among the speakers; its essentiality is due to the fact that it is the result of thoughts and ideas which has been one in descriptive-analytic method. A variety of allegorical stories, tools and elements in Makhzan-ul- Asrar (The treasury of secrets) has been investigated. In this study, after extraction of allegories, the graph of frequencies has been drawn. As a result of this study, Makhzan-ul- Asrar, parable has widely been used as the tale allegory and Nizami has benefited the national epic, religious and historical allusions and animals to express his allegories.