نشریه عرفان پژوهی در ادبیات
پیاپی 2 (پاییز و زمستان 1401)

Inquiring about the true meaning of life and making an attempt to find an answer to it has been one of the mental concerns for man so far. A number of researchers and scholars from different fields have investigated its nature and tried their best to come up with an answer to it. The Islamic-Iranian mysticism is one of the fields that has paid special attention to life, its aims, and the ways to achieve them. Therefore, it can answer a wide range of questions that we face every day. This research with descriptive-analytical approach aims to focus on the true meaning of life from Abu Sa’id Abul-Khayr’s viewpoint and investigate the book Asrar al-Tawhid fi Maghamat al-Sheikh Abusa'id to find out a response to the essence of life and the meaningful life components in this great Sufi mystic’s belief. According to the findings of the present study, perspectival, creative, and experiential values that Frankle considers as the ways of finding meaning are crystallized in the ideas and deeds of Abu Saeed Abu Alkheir. He displays the perspectival values in his Asrar Al Tuhid through severe austerity, abandoning worldly attachments, self-mortification, and achieving freedom via renouncing self-centeredness. Similarly, Abu Saeed demonstrates creative values through his cultivating an intense passion for poetry, establishing romantic mysticism, believing in joy, and equating Sama with kind of worship. Finally, he represents reveals the experiential values through loving God and humans, thinking about the plight of human existence, being generous, sacrificing, serving humans, and tolerance.

The truth of love, as the highest existential truth, is one of the most fundamental issues of mysticism that many mystics have written in this field. Ahmad al-Ghazali and Najmuddin Razi are two mystics (fifth and seventh centuries) who have discussed very influential issues in the field of mystical love.The results of this study indicate that Al-Ghazali and Razi believe that the true representative is created only through love and according to the theory of the unity of existence, all manifestations of existence are a reflection of the form of truth. The lover loves all these manifestations and this romantic look is the reason why the whole universe is beautiful. According to these two mystics, before entering the world, man was a trustee of the essence of love, and both mystics, quoting the verse "Yahbham and Yahbunah", know the beginning of lovemaking from God and the intellect in the path of love and the seeker to the imperfect god. And they know poorly.Mirror and mirror-holding is another issue that has been raised in Mursad al-Abbad and Ghazali's works, which is like a mirror in which the mystic Jamal Hagh looks at the beautiful and conscious heart, and the lover can find his perfection of beauty only in the mirror of love and desire. The divisibility of love is another material that is indirectly extracted in Mursad al-Abbad and Ghazali's works, and the existing material indicates the belief of these two mystics in dividing love into different types.

The high position of Rumi and Shams in mystical literature has led to the formation of various narratives about their lives and thoughts,, they help us understand their biography. At the same time, the multiplicity and variety of narratives and the complexity of these two characters make it difficult to reach reality . In this research by reviewing historical sources especially by using the information contained in Shams's Maghalat and comparing these narrations we try to answer these questions in a descriptive-analytical manner: Was the meeting between Shams and Rumi a coincidence? What facts can be found about these two characters from Shams's first conversation with Rumi? What was the effect of this meeting on Shams himself? How does Shams view his relationship with Rumi? The result of this research showed that Shams's view of their first meeting and also his view of Rumi and the type of relationship with him is different from the descriptions in the memoirs, just as Shams's face in the Maghalat differs from his mythical and celestial face in the memoirs and even poems of Rumi.Shams's Maghalat lifts the face of Rumi from the obedient and obedient follower to the level of leader of leader ,Also it transforms the face of Shams from an extraterrestrial man to an terrestrial face.

 The present study expresses the common views of Rumi and Ibn Arabi on the levels of Prophet Moses (AS) in the field of Islamic mysticism. Ibn Arabi and Rumi have many common views and thoughts about this divine prophet, and the reason for this is their common intellectual foundations, especially the Holy Quran, as the main source and source of knowledge, and then Islamic hadiths and teachings and statements of previous mystics. Therefore, both mystics have provided comprehensive definitions regarding the position of Moses in the system of creation. In this article, with a descriptive-analytical method, expressing the basics of Rumi and Ibn Arabi's thoughts about the hierarchy and existence of Moses, with similar allegories by him with five axes: A: The sincerity and transcendence of Prophet Moses, B: The order of completion, C: The murder of the children of Israel by the order of Pharaoh, D: The controversy and victory of the miracles of Moses over the magic of Pharaoh, p: The murder of the children of Israel. Belief in the moments of death, according to Ibn Arabi and Rumi, and after explaining and applying common and different concepts and components, we have achieved the same results.

Since the language of mysticism is mysterious and Cryptic, the mystical speech in specific spiritual cases is, manifested as Shitahit in expressing its observations and findings. Therefore, paradoxes have a close relationship with the divine mysteries in a way that it can reflect private thoughts of a Sufi mystic in higher mystical stags. In this arena, Attar Neyshaboori is a mystical poet whose school has devoted a special section of his Ghazals to these Shitahit in such a way that we can find the foundation of his mystical thoughts in the analysis of his Ghazals Shitahit. This article aims at analyzing the Shitahit in Attar Neyshaboori’s Divan of Ghazals. It also tries to analyze the main verses of Attar's Divan in which the concept of “Shitahit” is hidden by inductive-analytic method. So, in this way, the analytical philosophy of Attar’s views on Shitahit based on its construing motif and the importance of his views in this regard can be explained and clarified to see to what extent and in what way the “Shitahit” have infiltrated into Attar Neyshaboori’s Divan of Ghazals and odes.

Spiritual evolution and progress, which mystics interpret as a mystical journey, is an abstract matter. According to cognitive science the theories, the use of image schemas is what makes it possible to express these experiences. Path schema is one of the most important schemas of mystical journey. This research tries to investigate and analyze the use of this schema by Sanā'ie and Qāzi. This research was based on a descriptiveanalytical method. The units of analysis were the distiches and stanzas that contained path schemas in the mentioned works. The scope of our research was the entire contents of Tamhidāt (Preparations) and Hadiqah al-Haqiqah (Garden of Truth). Schemas are largely fundamental; however, the differences between the mystics’ lived experiences and worldviews and those of other schools have differentiated this group from other groups’ schools of thought. Sana'ie and Ain al-Qudzāt paid a lot of attention to the destination and saw the values of the phenomena with regard to their functional roles in connection to God. We assessed this attention by mentioning the evidence in Hadiqah al-Haqiqah and Tamhidāt. Nonetheless, a minor difference was found in the two mystics’ worldviews, which had made Sana'ie see spiritual progress with physical experience in an upward path, while Ghāzi saw it as a circular path. In fact, considering sub-goals is another manifestation of bodily experiences. There were also differences detected between the two mystics in this field as well.

There are several descriptions in Persian, Arabic and Turkish on the lyric with the first to attributed is which" دوش وقت صلبحدم در چرخ پایان یافتم/ در میان دانه خشللخاش سلندان یافتم" :verseof Jalaluddin Rumi. The most detailed known description was probably written in Arabic by Yusuf ibn Haj Hamza Malati in the city of Caesarea and presented to the Ottoman Sultan Salim I. There is a few information about this exegete; except that he was a Sufi from the Kobraviyah dynasty who lived in the second half of the ninth century and the first half of the tenth century AH and probably wrote his work between 918-926 AH. His shaikh, Sayyed Obaidullah Shirazi Tostari, is also one of the unknown elders who had a monastery and disciples in Caesarea. The only known manuscript of this exegete, entitled "Sharh Ghazal Mullah Jalaluddin" No. 1859, is preserved in the Hagia Sophia Library in Istanbul. Since it is in Arabic, it has received no attention from Rumi's research and mysticism. In this article, while introducing Yusuf Ibn Hamza Malati, aspects of the importance and content of his description are explained. This description is from various sources due to the symbolic nature of the words and the difference in the words' recordings in the versions. One of the interesting points in this book is the perfect Arabic marking of words. It shows how a person probably of Turkic descent in the Ottoman Empire in the 10th century read these verses. Some of the sources mentioned in this commentary, such as Ishaq Khotlani's treatise, have remained unknown in the history of Persian literature.

Mystical experience, as a type of religious experience, has characteristics that each of the religious philosophers and mystics have listed characteristics according to their point of view. Walter Stacey is one of these renowned scholars who in the book Mysticism and Philosophy has seven basic characteristics including monotheistic vision or unifying consciousness, timelessness-impossibility, sense of objectivity or reality, sense of peace and tranquility, sense of holiness and sanctity and divinity, Has mentioned paradoxes, and inexpressibility for mystical experience. Divan-e Shams contains manifestations of Rumi's mystical experiences, including objective and subjective experiences. Rumi's objective experiences have manifested themselves in the form of mystical fables, mystical springs, transformations, mystical epics, and wonderful encounters In her psychic experiences, in which God really speaks in the language of Rumi, categories such as pride and warning, questioning and reproach, the need to recognize oneself, and enthusiasm and forgiveness can be seen. Analysis and explanation of the sonnets of each category requires knowledge of the theoretical foundations of mysticism, attention to the structure and meaning of the sonnet, as well as mastery of the poet's mental system. In this research, one of Rumi's mystical fables has been studied. In this narration, Rumi has used the code "thief" to express the manifestations of one of his objective experiences. The present study, while deciphering this poem using other lyric poems of Divan-e Shams, has discussed all the features considered by Stacey for mystical experience.

Great mystical works are like mirror that show one origination and tell one concept in different forms. As mystics are speakers of hearts that search for their origination, this works get universal. The aim of this research is to find signs of theory of ideas in Hopkins and Rumi's expressions and points. The base of work is Rumi's sonnets and Hopkins poems, then analysis of their poems to find their similarities in this field. The result is that both have noticed to this concept in symbolic and explicit method. Both have used nature and its figures and elements for expressing this concept. Moreover, this subject in both of the poets is along with concepts such as manifestation, utopia, beauty, instress, etc. The issues that make relationship these two thinking in this field. Althogh there are some deference in the method of proposing this issue between these two poets. Rumi expresses it in various figures and alyigorical methods. On the other hand Hokins proposes a controversy concept from theory of idea. The other aim of this study is introducing Hopkin, s philosophical thoughts as an unknown poet in Iran.

Looking at the prominent works of mystical literature, we see major differences in the use of mystical terms.If we know the Sadness and mystical joy is one of the mystical state that has always been affect the mystic In the way of life and conduct, This concept can have different manifestations in mystical worksThe present study, with a descriptive-descriptive method, following the expression of the differences and the evolution of this concept By revealing the inner passions of the mysticsThe effect of each of the interactions on their works and followed by the kind of attitude of attitude to these concepts accurately examineTherefore , as if each of these prominent men represented a stage in the mystical course of the Shari'ah (Sanai), Tartath (Attar), verity (Molavi) And with their constant research, their works can be from the beginning to the end of these stages. And depending on these mystical experiences and their existential capacity, "Sadness and mystical joy" are different.

Reader-oriented theories of literary criticism maintain that meaning is not something fixed in the mind of the author or hidden in the text; rather, meaning is shaped when the reader interacts with the text. This article draws on aesthetics of reception by The Jauss and Iser to study seven select commentaries on the Masnavi. More specifically, an aesthetic analysis was conducted on The Song of the Reed, as well as three stories from the first book of Masnavi (The King and the Maid; The Lion and the Prey; The Jewish King). The main aim was to find out what components of the ‘horizon of expectation’ influenced the various commentators’ opinions about the main themes of these stories. Using a descriptive-analytical method, 200 select verses were studied, and it was found that each commentator had created a meaning for The Masnavi verses influenced by his horizon of social and literary expectation.