مجله عرفانیات در ادب فارسی (ادب و عرفان)
پیاپی 42 (بهار 1399)

The Qurchr('39')an has long been the focus of many commentators of jurists, theologians, philosophers and muhaddith. And each, according to his own taste, has given an interpretation of its verses. But the Sufis and mystics, relying on their own discovery, intuition and knowledge, have interpreted the Qurchr('39')an in a way different from those of other commentators. In general, considering the course of these interpretations from the first to the later periods, we have noticed similarities and differences in their interpretive approaches. In order to understand the common and different features between these interpretations, and clarifying their currents, “Royat” verse (143 Araf) which is one of the verses considered in most Quranic interpretations, (even interpretations that selectively interpret the verses) is taken into consideration. It was chosen so that we could achieve the goals of the article. Therefore, in this research, the evolution of mystical interpretations from the first one to the interpretation of Abdul Razzaq Kashani have been examined with regard to this versre. The interpretations considered here are: Tafsir attributed to Imam Sadegh Salmichr('39')s , Haghayegh o tafsir, Lataief Al-Esharat Qoshairi, Kashf al-Asrar Meybodi, Araes Al-Bayan Roozbehan Baqli and The Tavilat Al Qurchr('39')an by Abdul Razzaq Kashani. The results of the research show that the interpretations of Siri go from simplicity to difficulty and that the interpreters have interpreted and coded based on the narration of the verse.

The question of determinism is one of the very old issues that has always preoccupied human mind. The key question is whether one is autonomous in onechr('39')s actions or they do not have any intentional behavior and that all they do is through deterministic measures. In this descriptive-analytic article, we attempt to examine the issue of determinism and authoritarianism in the poems of Khayyam, Hafez, and IlyaAboumazi comparatively and based on a library method. The results show that Hafezchr('39')s contribution to the case of "determinism and will" and "fate and fortune" is greater than those of Khayyam and IlyaAboumadi.

 In the post-Islamic centuries, especially after the Mongol invasion, a form of secular worship called Sufism and mysticism emerged, which affected other aspects of Iranian culture, including literature. Mysticism includes certain stages and degrees which the seeker of the path of truth must go through. Many writers, including Rumi, Sanai, Jami, and Attar, have devoted their literary works to recounting these stages and degrees. In the meantime, Attar, as the pioneer of mystical literature, was followed by many other poets and writers. The tradition of seclusion and the corner of monasteries was a refuge that many such people sought and this gradually led to the creation of mystical literature. Attar, as one of the most important poets and scholars in the field of mysticism, in Mantiq al-Tair, which reflects the essence of his mystical thought, has had a special concern for the stages and houses of conduct which we have undertaken to examine in this article.

The rise of mysticism from which many meanings, mystical experiences and teachings had entered the field of language led to the formation of a specific language called mystical language. It is divided into two kinds: expression and gesture. During his journey to truth, a mystic achieves ideas, facts and experiences that could not possibly be expressed other than in simple words and this is because of the nature of this kind of education. Mystics, however, by using all the capacities of language have transferred their mystical finding in the limited forms of words to each other. The great mystic of sixth century, Ahmed Ghazali, as one of the pioneers of Islamic mysticism, provided mystical ideas and experiences through his innovative interpretations of the cult in his great books. In this study an attempt is made for reviewing his opinions about language and way of speaking and for investigating his works linguistically. The results show he benefits from all the capacities there are in gesture and expression of language to explain ideas and experiences as well as their spiritual experiences that are hard to express through words.

The story " the stuning castle" or also called " Ghalchr('39')e Zatosoor"  starts from the 3582nd couplet of the sixth part of Masnavi Manavi. Moulana composes the verse through 1293 couplets to portrait the story of three princes who take the journey to see the daughature of Chinachr('39')s king. This seemingly unfinished story which has appeared with a little difference in the articles of Shams Tabrizi can be considered as the extreme limit of Moulanachr('39')s thoughts and his bearing. This story will analyze and assess this narrative from the viewpoint of characterization and its various themes. The instrument to analyze this narrative, Greimas actantial model, can assess the characters and the story lines around three axes namely, "desire", "transmission"and "power".  The value object and main purpose of the narrative is the "lovemaking and consummating the daughter of Chinachr('39')s king". What makes the princes try hard to attain this aim is "their love and the fall of their eyes and hearts" for the carven image on the wall of the castle. On the "transmission" axis, "the talks of princeschr('39') father" is the main reason to persuade them to go to the castle and to see the portraite of kingchr('39')s daughter; then after meeting her they have benefited from her love and passion. On the "power" axis, the first protagonist of these princes is the "love power", and their main antagonist is " rationalism instead of  love" and "selfishness, arrogance and egotism" which leads them toward fatality.

In mysticism, the pilgrim’s progress plays a significant role throughout the path to reaching God, the Almighty. The mystic’s perception of the nature of this spiritual journey plays a fundamental role in shaping his actions. Various mystics have chosen different ways for achieving this objective. Some of the measures undertaken by them are "self-knowledge", "austerity" and "love and affection for God". Seyed Haidar Amoli, following Ibn Arabi, chooses the method of "self-knowledge" and decides to follow the path of "piety" through its different stages. He considers the ultimate end of this spiritual journey to be the observation of the unseen world based on knowledge, which can be gained through cognition of the divine nature, while Mir Seyed Ali Hamedani follows the path of Kabrouyeh and Shatar, which is based on the method of "love and affection". This spiritual journey can start through the love of the mystic and finally reaching God. it can also be in the form of sacrifice of the lover for the beloved and becoming eternal by joining the divine power and the unity of the lover and the beloved. However, both directions reach the same destination and both mystics believe in a way of love and affection towards the creator.