نامه فرهنگستان
سال هفدهم شماره 2 (پاییز و زمستان 1397)

The article before you is the second part of the lectures on the Masnavi Ma’navi that covers the second to fourth sessions. Rumi’s action contrary to tradition at the beginning of Masnavi, association of ideas and plots in Masnavi’s stories, the way the composition of the Masnavi’s verses began in narratives, Shams’ articles and its reflection on Rumi’s rhetoric, Masnavi’s similarities to the holy Qur’an, two Rumi’s existential aspects, prose topics in Masnavi, and description and criticism of Rumi’s state are the topics have been discussed in this section. It is also described under the heading of Mawlana’s action contrary to tradition and his Innovation.

Masnavi’s verses are the selection of evidence of Shahidi Dede, one of the elders of the Rumi (875-958 AH), and Golshan-e Tawhid is another name of his work, which is in order and in weight to create a link between the compositions, which have been selected from the six-volume Masnavi in a scattered manner and in different timing frame. Masnavi has been composed for the better understanding of the compositions. Compositions and Golshan-e Tawhid, from various perspectives, indicate the position of Hazrat Mawlana Jalal al-Din Muhammad Balkhi and Masnavi-ye Sharif in the circle of the Mawlawiyah elders, disciples and monasteries. In this report, there are a number of choices and ways of linking the compositions. Shahidi Dede has got benefit from semantic, verbal and cited Rumi’s words, chants or speech to establish the link between these compositions Compositions and Golshan-e Tawhid have been published in Mashhad by the efforts of Dr. Reza Ashrafzadeh and Dr. Mohammad-Hossein Khosrowan by publication of Golvazhe-ye Farhang va Adab in the series of Children’s Thoughts Publishing House in 1993. This print is a bug in the way of correction and recording of print versions and errors that are referred to in this report.

Shams’ articles are a text provided by Shams’ words, during which he resided in Konya and was accompanied by Mawlana. Articles are important for understanding Shams’ personality and thought, as well as better understanding of Mawlana, but the text is very complex and vague, even in some cases without any specific link, because: 1) Shams speaks briefly and with remark and avoids speaking and attending in public; 2) This book is not written by Shams, but his words that others have written, although some of its contents may have been modified by himself later on; 3) The existing versions of Shams’ Articles are very messy. One of the ways to explain some of the stories and to resolve the ambiguities of the articles is to refer to the works of Rumi and his son, Sultan Valad. The scholars who have studied the works of Sultan Valad, have all come to the conclusion that his books are not literally supreme; nevertheless, the importance of his works, in particular, of his Masnavi in clarifying some of the events of Shams and Rumi’s life, as well as his superiority in history of Turkish poem has been emphasized. In this article, after a brief introductory statement, some examples of his poetry and prose are mentioned which are effective in explaining or detailing some vague and concise points of Shams’ Articles.

Edris Bedlisi (861-926/ 1457-1520), son of Sheikh Hosam al-Din, was one of the emperors of his time who emigrated to Anatolia during the reign of King Ismail and came to the court of Sultan Bayazid II. He became the Sultan’s special scribe and courtier, and Sultan Bayazid commissioned him to compose Tarikh-e Al-e Osmān in Persian, in the style of Tārikh-e Jahangoshā, Tarikh-e Vassāf al-Hazrah, and Tārikh-e Mo’ini, but sultan, because of the misconceptions, did not deliver the promised reward to Edris Bedlisi. Then Edris went to Mecca and from there wrote a lamentable letter to the king. In the present article, the author intends to re-read and introduce Edris’ text after a brief description of Sultan Bayazid and Edris Bedlisi.

Sa’di’s Golestan, considered one of the masterpieces of Persian literature, has also attracted the attention of Ottoman poets, writers and secretaries and was read with enthusiasm. This valuable work has also been translated and described throughout the centuries in the Ottoman Empire and for the better understanding of it, Golestan dictionaries have been written. In addition, some poets and writers of this country, have written burlesques of Saʻdi’s Golestan in Persian and Ottoman languages, including the Shokrollah Sherwani’s Nakhlestan, Kamal Pashazadeh’s Negarestan, Sheikh Shoja Gourani’s Sonbolestan, Nargesi’s Nahalestan, and others. These burlesques are of great significance and there are many manuscripts in different libraries. The purpose of this article is to examine the style and content of the burlesques of Sa’di’s Golestan and their similarities and differences with Golestan-e Sa’di based on answering the following questions: 1) Have the imitators of Sa’di’s Golestan been able to produce the riming prose? 2) Have these burlesques been mere imitations, or have the authors been able to write a work belonging to their own society? 3) How successful have these works been?