فصلنامه مولوی پژوهی
پیاپی 10 (بهار 1390)

Archetypes are universal symbols that indicate equal things in most cultures and countries. Some of the poets and artists have inadverdently utilized these archetypes that exist in their unconscious. One of the most important of these archetypes is the archetype of the self. In his poems, Mewlana has frequently referred to both the sea and fish archetypes as they can be seen in other cultures. Sea as a symbol of God is in fact the very unconscious that reflects God’s image in it, and the self, which is God’s image that should be recognized, is referred to the very belivers who have been adrifted on the divine sea and who have traversed various stages of “the Solouk” in order to attain God’s understanding. They could achieve God’s understanding by self-knowledge and by establishing a relation between their conscious and unconscious selves in order for them to obtain the second rebirth.

Romouz-e Taherin” is one of the rarest interpretations that have been composed in the Indian Suncontinent during the 12th century. Its composer, Bagher Ali Khan, has chosen some lines out of the Six Books of Masnavi to interpret. The exclusive manuscript of this book is being preserved in the collection of manuscripts of the Isfahan University.This article is an attempt to introduce this work and its poet who has not been acknowledged any where else and who has not been cited in the bibliography of Masnavi’s interpretations. Additionally, it introduces the linguistic characteristics, the style and the degree of the poet’s success in resolving Masnavi Ma’navi’s interpretations.

In order to tell tales of Masnavi, Jalal al_din Mowlavi relinquishes the central story and tells about another issue, that has associations with, depending on the significance of the meaning and the purposes. Certainly, he resumes the original story after several times of narrative fragmentaion and retells the end of the story and its relation with the forthcoming story. There are various reasons why Mowlana interrupts the story and focuses on religous, ethical and mystical issues. One can understand from Mowlana’s words that one of the most important reasons why such interruption occurs in the narration of the Masnavi’s stories deals with Mowlavi’s addressees. These addressees fall into two groups. One refers to those addresses that were present in the assembly of writers. The second one refers to Masnavi’s assumed addressees who were in attendance the time when Masnavi was orally and spontaneously recited in the presence of the enthusiastic audience. The present article aims to study the addresses’ impact on Mowlavi’s narration style and to investigate the escapedes of the stories and the causes of fragmentation at the same time it returns to the story of this outstanding literary work.

Parable is the best and the most expressive ground to convey goals, especially the spiritual ones. Through this vantage point, tales are like grounds that assist the reader to reach the delicate and unknown realm of Mawlānā's witty remarks and to know the exalted meanings of Masnavi - that provides a ladder of ascent to the horizon of human perfection.The present author aims at analyzing one of the rarest parables of Masnavi called Daghooghi and determining Mawlānā's goal in recalling this fable.

Literature is a mirror of the status and issues of every society. Undoubtedly, the political, social and economical changes can leave their effects on the point of views of their poets and writers. The destructive Mongol invasion of Iran, the massacre of many people and the destruction of cities and villages consequently left their deleterious spiritual and moral impact on the minds of the people, dilapidated human values and made indecent behavior prevalent, the repercussions of which can be better seen in the works of many poets such as Obeyed Zakani and Seyfe Farghani. Mowlavi, whose life had been concurrent with this historical calamity, turned to mysticism in order to bring peace and tranquility to his people and to invite them to asceticism and spirituality. Also, one can see the effects of this political and social calamity by reflecting on his works which express the grave effect of this gross event on his mind and thoughts. Whereas many literary critics have accused Mowlavi of remaining silent, of not criticizing the Mongol and of being absorbed in a mystical state of mind during the invasion, this paper aims to examine and analyze the Mongol invasion in the works of Mowlavi in order to prove that Mowlavi was not indifferent to the calamity that had befallen to his society at that time.

Psychoanalytic criticism is a relatively new branch of literary criticism that links literature to psychology. That mystical texts are introverted is due to their special significance in this area of criticism. Masnavi-e Manavi is one of the most valuable Islamic texts on mysticism which is distinguished in this regard and which brings literature closer to psychology. This is because of the fact that in Masnavi, Mawlānā does not restrict himself to regulations and rules of theorization or to the rules of writing Masnavi and of storytelling and expresses the realities and mystical experiences without any restraint or without any need to decorations.In the field of psychology, Jung's views and theories could be congruent to mysticism and they could be a ground for literary research and psychoanalytical criticism. Therefore, it is timely and beneficial to study Masnavi through psychoanalytic analysis. One of Jung's theories is referred to as the principle of opposites. It is feasible to study this principle and its repercussions and subordinates in Masnavi. This article aims at conducting a comparative analysis of the principle of opposites from Jung and Mawlānā's views. It also studies the role of opposites in the process of individuation and self-development through those views.

Love is one of the important subjects of Plato's philosophy as well as one of the most basic thoughts of Mawlānā. Plato who has devoted his Symposium and Phaedrus to this topic believes that loving "beauty" gets us nearer to wisdom in every process of wisdom, that is, from the lowest stage of wisdom that has connections with feeling (e.g. seeing the beauty of sth) loving begins with "beauty" and loving is with it up to getting to form of beauty. Actually, we can say that love, which acts as the force to move from the tangible world to the sensible world, can change the beliefs to wisdom.Most of Mawlānā's ideas that are related to love can be found in the Symposium and Phaedrus. Like Plato, Mawlānā believes that beauty of forms is transitory. So similar to Plato's love, Mawlānā's love is not limited to surface beauty but it goes farther than details and ends up with ideal beauty.