نشریه عرفان پژوهی در ادبیات
سال سوم شماره 1 (پیاپی 5، بهار و تابستان 1403)

One of the significant parts of the mystical language is mystical paradoxes called Shath. It is possible to analyze mystical paradoxes using the model proposed in this research based on dynamic discourse. This pattern shows that one of the reasons for violating the norms of language in mystical paradoxes is the attention paid to the telos in the language and thought of mystics. The purpose of this research is to propose a model for the interpretation of mystical paradoxes from an epistemological perspective. The basis of this model is founded upon the mystics' teleological and transcendental views about man and his existential truth. Based on this, by examining the categories of identity/ becoming, and attainment/ telos, we have explained and analyzed the ability to interpret the mystical paradoxes based on the model of dynamic discourse. The mystic's specific outlooks at the gem of man’s existence and knowing its value has caused his words to take on a kind of abnormality in the eyes of superficial thinkers. However, his passionate paradoxical words and actions are the result of mystic’s belief in the fluid and dynamic nature of his identity, which does not stop going on despite of reaching a certain destination, Indeed, the constant dynamism, becoming and transformation are a part of the nature and truth of his being. Since mysticism is synonymous with transformation, dynamic discourse, due to its dynamic nature and constant movement as well as its inclusion of such concepts as becoming and telos,

Persian mystical ghazal is a combination of earthly romantic and transcendental mystical situations that the poet tries to present to his audience through linguistic arrangements and imaginary images. Maulana Jalaluddin Balkhi is the greatest mystic ghazal writer in the history of Persian mystic poetry, who has been able to express his spiritual worlds in the form of ghazal in the best way. Since the lover in mystical poetry has attributes that are borrowed from earthly love poems, in many mystic sonnets, the audience gets confused between the choice of earthly and heavenly lover. Identifying the beloved types of Persian poetry by relying on its existential fields along with adopting a suitable research method in which the position of the experiencer, the subject of the experience, the content of the experience and the linguistic structure of the narrative are studied in a structural relationship can overcome this confusion. In the present research, after introducing the types of lovers in Persian poetry, according to its existence, one of Rumi's sonnets was studied in the proposed structure, and while showing the relationship between the above-mentioned four components in the interpretation of the sonnet, it was determined that the sonnet lover is "colorless and unmarked", an earthly lover. It is with the existential dimension of theology.

The romantic gaze and perspective of lovers, especially in the tale of Layla and Majnun, is a recurring theme in Persian poetry. This article compares the poetic themes of Attar and Jami with the visual representation in Jami’s “Haft Orang” manuscript. It examines the similarities and differences in their narratives, focusing on the climax of the lovers’ meeting. Attar emphasizes the union and Majnun’s well-being, while Jami provides more details about Layla and Majnun’s eye contact and Majnun’s loss of consciousness. The visual representation captures Majnun’s arrival at Layla’s tent but not their meeting gaze. The research method is descriptive-analytical, using library sources and manuscripts. Findings indicate both poets use the tale according to their poetic styles, with notable differences in form and content. In Attar’s text, the climax is the union of the lovers, focusing on Majnun’s well-being and his loss of consciousness. In contrast, Jami’s narrative includes more details about Layla recognizing Majnun, their eye contact, and Majnun losing consciousness. Attar’s narrative concludes with a sarcastic conversation emphasizing Majnun’s self-sacrifice, while Jami’s narrative describes the lovers’ meeting until dawn and then returns to the metaphor of returning to one’s previous state. The visual representation depicts Layla’s tent in a tranquil space, surrounded by flowers and rocks, with Majnun hidden among the flowers. The painting captures the moment Majnun arrives at Layla’s tent dressed as a shepherd, gazing at Layla, who is caressing a lamb

Carl Gustav Jung, the founder of the analytical psychology, is one of the structuralism psychologists whose most famous term in his theory is called "Archetype". An archetype is an eternal image of inherited ideas in the collective unconscious mind, which is as old as human history. Among the types of archetypes in his theory, Jung considers the "self" to be the most important because it is the central core of personality and leads to an important factor called the "individuation process". Using the analytical descriptive method, this research analyzes the characteristics of the self in four epistles of Suhrawardi called The chant of Gabriel's wing, In the state of childhood, epistle of the birds and Red Intellect. According to the studies, it seems that the "self" in these epistles is a homodiegetic narrator and is represented in the form of a self as a child and a self as a bird, which goes through many ups and downs to reach personal and spiritual excellence and a level of individualization process. Self in Sohrawardi's works invite the audience to a range of elevation and the author in different levels of personality in the individuation of deep construction of the text.

Place semiotics is the explanation and interpretation of symbolic concepts and meanings of place that connect cultural, historical, and emotional associations to a specific discourse space. Through the experiences, memories, and narratives we create, places are mixed with different meanings and sometimes they create influential identities in the field of knowledge. One of the influential texts of Persian mystical literature, which is rich and prominent in terms of containing codes and spatial symbols, is the sonnets of Shams, which has been analyzed by thematic content analysis method in this research. By studying the signs and symbols used in Rumi's lyrics, along with their placement in specific places and spaces, one can understand the meanings intended by the poet and the broad themes of his intellectual system. The analysis shows that many places in Shams's sonnets have gone beyond the physical and objective location features and have reached symbolic transcendence. The network narration in many spatial signs of Ghazal, during a conversation that induces mystical hints, brings the audience into a discourse action, which due to aesthetic manifestations, images, rhetorical tricks, fluidity, and displacement of place causes the emergence of new meanings, works very effectively.

As a social institution, the Sufism community has special literature and rituals, rites, and rituals that the implementation of these rules and regulations governing in monasteries is necessary and mandatory for the disciples and even elders, and mentors. One of these rites and rituals is event telling. "event" in the term of Sufis and the education system of the monastery and its etiquettes, is a reprimand from a dervish who has made a literary abandon towards a elder or another dervish, and he must admit his mistake and apologize in the presence of an elder. Due to the fact that event can be seen sporadically in poets' poems as well as some Sufi books, and the only reliable sources that deal with this ritual in more detail are the books "urad al-Ahbab and Fuss-ul-Adab" by Abul Al-Makhir Bakhrezi an " The perfect human being is Azizuddin Nasfi", the authors in this essay, relying on these and other mystical texts, have examined and analyzed the customs and rules of "event", which can be mentioned as follows: Not harboring grudges and speaking openly about the offended disciple, telling the event in the presence of the elders and their disciple, The place of the adventure is clean and empty of foreigners, Repentance of the erring disciple, Paying compensation and punishment such as standing in a row of shoes, throwing turbun and doing stripping head and feet by the errant disciple, Throw a party resolved for animosity

Its hint and application is image-creating and causes a change of style and creation of a personal style. Religious, historical, mythological and epic ideas and points are the mouthpieces of poets' allusions, and Attar is one of the poets who has many religious allusions, but he has not stopped paying attention to epics and myths. In the usual manner of the Sufis, he has turned to interpretation in most of the references and hints to the names and titles of the prophets and has brought them up according to his own inclination, desire and need. In Diwan Attar, the religious allusion of the story of Yusuf (PBUH) and the epic allusion of the story of Rostam have been used a lot. By examining the interpretations of these two stories in Attar's court, this descriptive-analytical essay has answered the question of how and to what extent Attar interpreted these two stories. Meanwhile, the symbolic-allegorical basis of Attar's Masnavies reinforces the assumption that he is a tavilist. The findings show that Attar's interpretations of these two stories are sometimes flattering and have a didactic tendency, and in three areas: words, character of people and the story as a whole (in opposite or different meanings from the first meanings), It happened. Attar uses epic and mysticism as the two sides of the coin of Iranian identity and shows that along with mysticism, the epic spirit is still alive in the 6th-7th centuries and part of the people's thoughts and imaginations is order gives

Hossein Monzavi is a poet who has brought major changes in the field of Ghazal and is considered among the innovators of this field. An important part of his thoughts regarding God, man and the universe is hidden in the depths of isolated sonnets, but factors such as the lack of mysticism in the contemporary era and his unassumingness in the field of mysticism have created the impression that he is a purely romantic poet. The present essay, with the descriptive-analytical method and with the aim of formulating the spiritual thoughts reflected in the isolated sonnet, has investigated how he looked at mystical topics and has extracted and recorded the attitude of this poet about each of the examples of mysticism from among his sonnets. The findings of the research indicate that concepts such as the necessity of self-knowledge, freedom from attachments, tolerance of suffering, belief in the covenant of trust, the importance of leaving the world and sensuality, patience, gratitude, submission and satisfaction, belief in the unity of existence, the superiority of love to reason, in the sonnets. He is seen and his love oscillates between permission and truth. The high frequency of mystical concepts and its significant emotional impact show that these concepts are not only a means of thematization and expressive games and have taken an important part of the poet's mental concerns, but they are completely consistent with what he saw in the mystical tradition of Persian poetry. It can be, it is not; Therefore,

Among the Persian texts, we encounter a few anecdotes that, although in structure, they can be equated with other similar anecdotes, have different themes. The theme of these anecdotes is blaming one of the properties of religion. These anecdotes are related to time periods and different speakers and the sharing of their structure makes the reader's mind aware of the fundamental system that the anecdotes have come up with. In this essay, based on the structuralism school and using the Propp method in the morphology of folk tales, we first have discussed the structural analysis of these anecdotes. Then the relationship between this surface structure and its deep structure (society and religion) is explored and explained. The result is that these anecdotes come from a hierarchical system in which, on the basis of the blaming thought and the principles of magnanimity, the friends are blamed to learn the enemies and to persuade them to turn to the right path.

Abū Muhammad Al- Murta`esh is one of the famous Sufis of the 3rd and 4th centuries of Hijri. He was a peasant born from the people of Neyshābūr, who after repenting and turning to an ascetic life, was educated by the great sheikhs of the Malamatis and the school of Baghdad, namely Abū Hafṣ Haddād (d. 270/881), Abū ʿUthmān al-Ḥīrī (d. 298/910) and Al-Junayd al-Baghdādī (d. 298/910). His influence from both schools is fully visible in his words, method and character. Like other Malamatis, he emphasized a lot on humiliating the self, avoiding hypocrisy, and hiding virtues, and like the sobrieties (Ahle al-Sahv), he advised a lot on obeying the rules of Shari'ah, and he didn't like Samā (mystic singing and dancing) and šaṭḥiyyāt (ecstatic statements). He struggled hard in treating path (sulūk) and considered poverty (Faqr) as the basis of Sufi conduct. According to him, the mystical stages (Maqāmāt) are: patience (Sabr), sincerity (Ikhlāṣ), love, poverty and monotheism (Tawḥīd). He died at 328/939 in Shaunizia, Baghdad, and was buried there. Many Sufis have company with him, but only Abū Naṣr al-Sarrāj (d. 378/988) has been mentioned as a disciple of his cloak, which does not seem accurate. In this qualitative research, the data related to him gathered from hagiographies, mystical works and historical books and analyzed with the approach of content analysis and using the Clark and Barwan method.

The stories of Haftapikar Nizami and the novel Shazdeh Kochlu are considered valuable works that employ unique narrative techniques, and the present research has conducted an analytical-comparative examination of the rules governing the structure of each. Initially, we have outlined the fictional elements of Nizami and Exupery by illustrating the seven-stage behavior of the seven figures and the little prince, and finally, through the lens of Lacan's psychoanalytic theory, we have assessed the storytelling approach in each text. Jacques Lacan's psychoanalytic theory revolves around the idea of the unconscious mind and posits a comparison between the unconscious mind and the structure of language, examining the ways in which language encodes and reveals the unconscious structures of the human mind. The findings suggest that the seven celestial bodies passed by the little prince in the novel are dissimilar to the seven mystical journeys in the story of the seven military figures. In the same manner that Bahram Gore attains his truth and enlightenment by traversing through the seven spheres and planets in Haftapikar, the little prince also discovers the fundamental truth represented by the rose, through his journey across the seven planets. Additionally, the analysis of key story elements reveals that both authors have incorporated the tradition of storytelling within a story, and to elevate the engagement of their tales, they have employed techniques such as dynamic scenes, unconventional external descriptions, and multiple plot twists. Nevertheless, important nuances can be discerned in the content of the two texts, with the seven figures in Haftapikar being capable of mystical interpretation, whereas the mysticism depicted in the realm of The Little Prince is a form that does not exist in Iranian culture or thought but rather a form of perfectionism. Tashraf, or self-perception, denotes the level of existence of a human being, embodying their moral values, behavioral patterns, and cognitive development. It holds greater significance during adolescence, serving as a critical stage for personality development.Keyword: Haftapikar: The Little Prince; Military; Mystical Elements; Jacques Lacan.