فصلنامه مولوی پژوهی
پیاپی 9 (پاییز و زمستان 1389)

A glance at Kolliat Shams illustrates that at least five different forms in Mawlānā's lyrics have been deviated from the literary norm. This may be known as an innovation and transformation in the field of sonneteering. In the mystical concepts, the poet addresses to the receiver from three different perspectives. In Mawlānā's poems, unlike the traditional literature forms where the narrator is usually a lover, the narrator has three character personality types: the lover, the beloved, the nester, and sometimes a composition of characters. Also, the addressee has three character personality types: the beloved, the lover, and the peripatetic or composition of them.Love and guidance are two main concepts in these five forms. Therefore, there are three genres in Mawlānā's lyrics: first, the literarylyric, second, the didactic literature and third a composite of the didactic-lyric sonnets or sonnet-odes.

There is no doubt that Shamsodin Mohamdade Tabrizi, as one of the greatest theosophists in the Islamic theosophy's arena, is a well-known mystic of the seventh century. After migration, he based a new way of the theosophy's culture between Moslems considering the great fundamental mutation he made with Mowlavi's thoughts. Shams has left to us many interesting ideas in diverse chapters of theosophy in his only collection of essays called the Maghalat, each of which seems to be unique by itself. One of these ideas is his discussion on "Sighting the God".In this article, first we introduce "Sighting the God theory" briefly, next we describe Shams's theory in a categorized way and then we find out the way that his concepts and thoughts have affected Mowlana's opinion and his poems in Masnavi and the way he has reflected this issue in his book.

Mystics believe that all beings are the manifestations of God's existence. This idea, referred to as the passing away of human's essence and attributes by mystics, is called pantheism (union with God) in Ebn-e Arabi's school of thought. Some scholars have remarked on pantheism in Mowlavi's Masnavi and his other works but they have mentioned nothing about his intention and the social roles of pantheism in Masnavi which is a didactic collection. Although Masnavi is resonating with joy and vitality, definitely it embraces social goals. Therefore, it is of necessity to clarify this issue. This paper emphasizes that, to understand Mowlavi's purpose in introducing pantheism, we should, in addition to the passing away of the essence and attributes and annihilation (Fana) in God, consider polemics brought forward to in Masnavi. This shows that Mowlavi seeks a didactic and social goal which is to create unity among people and to denounce sectarianism and division which spreads prejudice among people, and which divides and makes the Islamic community loose and defenseless against the enemies.

Ibn-e-Arabi is one of the greatest mystics of the Islamic world and is the founder of the theoretical mysticism. He has collected the sporadic and disorganized terms of mysticism, and has added various parts to them based on his exceptional talent and his personal experiences and mystical observations. He has elevated the theoretical mysticism in the Islamic world to such a position that none of the mystics and Sufis can escape his impact and influence. This effect which is also revealed in the beliefs and opinions of great Mowlana has been so considerable that analysts know "Masnavi" as the comprehensive interpretation of the Ibn-e-Arabi ideology. Nevertheless, because contents of "Masnavi" have been used in a sporadic and disorganized way in reflecting mystical inclination of Ibn-e-Arabi, proving this claim requires some reasons.The present paper investigates the effect of Ibn-e-Arabi on Mowlavi concerning the unity of existence and the unity of religions. First, the above-mentioned subjects have been discussed and explored from the view point of these two scholars and mystics, and then their similarities have been compared to arrive at a free and independent view.

The account of the influential role of the Mowlana’s thoughts on philosophers, poets, mystics, and writers of the subcontinent is, without any doubt, one of the fundamental issues in the Persian culture and literature of that part of the world. The evidence for this key role is the fact that for centuries many scholars, both in the east and west, have discussed the impact of his thoughts on the Iranian culture, particularly Iranian mysticism. Of course, there were other studies which focused on the trace of his thoughts in the school of thoughts of nations and countries other than Iran. To deal with this wide influence is surely beyond the scope of any work of this nature. Therefore, this study has confined its aim at expounding on the place and role of Mowlana’s thoughts in the evolution of mystic and poetic thoughts of the subcontinent.

Symbol is an image that presents mysterious meaning. From mystical vantage point, a mystic is a being who finds beyond the outward surface of global objects a hidden world and who wants to uncoverthe ultimate truth through symbolism.The term "symbolical archetypes" is an expression that I use for those symbols that exist in the archetypes. Besides carrying rhetorical beauties, Masnavi is of symbols and mysterious allegories (symbolic allegories) and archetypes that Mawlānā has used to achieve his great goal, a goal which aims at securing human being's salvation sheltered by the Islamic attitude, thought and mysticism.In this article, the writer has surveyed some important symbols in Masnavi, then she has explained the term "SymbolicalArchetype"with a special focus on the Archetype of Death. In this article two kinds of symbolical archetypes have been studied.- Mysterious Allegory in the story of a fighter in a battle.- Mysterious Allegory in the story of a Jewish king and a woman with her infant. In this sample it has been shown that how a mysterious allegory can take place in the heart of this Archetype and how a symbol can reveal itself in the allegory.Since Mawlānā himself decided to explain the symbols in his subsequent legend, therefore his attaining his personal and private symbols hidden in Mawlānā's works seems to be available and obvious.

Mawlānā, regarding to extended and artistic spaces which are left as a memorials is almost a pole in the studies concerning to Comparative literature. The influence of modern western literary schools from Iranian- Islamic Mysticism especially Mawlānā in particular in Barok, Symbolism is worthy to explore. The period of "Change of Roman" in Europe after the schools and historie's experiences with very rich backup from Myths to Existentialism, if one want to summarize some obvious features, it's certain that its important feature is "Stream of Consciousness" and related languages with it, a full mysterious, symbolic and difficult language and sometimes externally meaningless. James Joyce (according to some people) who is greatest novelist in New Style that has very influence, can reveal very interesting points in realm of the similarities of Idea, Form, Language, History and Culture in terms of concerning of his works with streams of consciousness and its resulted artistic consequences in comparing with Mawlānā.