نشریه مطالعات عرفانی
پیاپی 13 (بهار و تابستان 1390)

Gnosis (Mysticism) is a philosophy and meditation school leading the way farer through the reality and truth recognition on the basis of gnostics’ intectual intuition to attain his aim.Gnostics adjusted Qorānic concepts and prophetic sayings to the man’s inner state and inner world, and ultimately offered a perfect thought. This unique characteristic is clearly revealed in Mowlānā and ibn Fārez works. By seventh century, practical way farring, mystic spiritual practices and sufies ‘way farring experiences were sufism and gnosis’ backbone and invaluable support.However, during the seventh century, due to ibn ‘Arabi and his followers appearance, there was a significant revolution in Sufism and Gnosis. In this era, those two great characters, Mowlānā and ibn fārez, were elegant in accordance to this Gnositic revolution in philosophical shape.Mowlānā accomplished mystic spiritual practices, however,he did not refuse to mention arguements about Unity of Existance and Unity of Vision in his couplets.There was a difference between Rumi‘s Unity of Existance and that of ibn ‘Arabi and his followers – inb fārez was similar to ibn ‘Arabi and Mowlānā in deep emotion, love, splendour, and divine beauty. His words contained more unity tone, although sometimes he uttered some speeches to please Unity of Vision supporters. Distinguishing the similarities between Mowlānā and ibn Fārez thoughts is one of the most momentous issues to be studied in this paper. There would be a variety of discussions such as splendour and divine beauty, love and mystical concert, intellectual faculty, plurality of religons, mystic beauty- worshipping and… to be investigated. The most important point to be considered is that there has been some differences between Mowlānā and ibn fārez but the considerable point is the commonality in these two characters thought which was more notable them their differences.

This article starts with an introduction entitled “A glance at the types and levels of revelational language in the dialogue between God and man”. It offers a brief review about the background of the types and levels of revelational language in old theological and mystical texts in order to show the diversity and difference in this area. Then, it considers the essence of the religious or traditional revelation as a scale and a standard for a better understanding of the revelation of the hearts in a chapter entitled “a prologue to semantics of revelation”. Next comes the main idea of the article, “The Revelation of the Hearts” which alludes to the essence and status of one of the most subtle and lovely levels of revelation. This discussion starts with a glance at the old theological sources and then presents the essence and status of the revelation of the hearts according to Rumi. The works and the views of the mystics about the essence, status, and authority of the “Revelation of the Hearts” presented in this article can be profitable for research about religious language, one of the important and sensitive areas of the modern religious studies.

Mowlānā’s poetry is significantly different from Persian poetic traditions and the works of other poets. His works convey complex and wonderful meanings specially when they address the experience of disappearance and unawareness. This experience, together with the experience of a revelational context in the opening of speeches in Mowlānā’s Diwān, makes some of his dramatizations extremely wonderful. Meanings sometimes become so complicated that one cannot assign a definite meaning to a piece of his work. Unfelt and emotional meanings are sometimes so rich that one confuses the addressor and the addressee. Mowlānā’s perplexing mystic experiences have given rise to poems unparalleled in works before and after him. This paper distinguishes two semantic and syntactic forms in Mowlānā’s sonnets and analyses their characteristics. It also attempts to uncover deep meanings in some of his selected poems.

Based on Mowlavi’s (Rumi) Mathnavi, death is not a sudden event that terminates man’s life. It is an event that continues throughout a lifetime. People experience it many times and in different forms before they actually die. This claims is rooted in Mowlavi’s beliefs that there are stages and types for death. Based on Mowlavi’s Mathnavi, sleep, evolution, changes in "Continual Creation", and deliberate death are but some of the types of death man can experience. Although these may seem figurative at the first glance, they actually arise from other fundamental beliefs expressed in Mowlavi’s Mathnavi. The kinds of conclusions and discussion presented in Mowlavi’s Mathnavi about types of death reveal that Mowlavi’s considers these not figuratively but as real types of death. He regards all these as experiences of death and believes that by making death tangible and by eliminating the fear of death that results from ignorance, he can develop insight on this issue.

A controvertial and yet- to- be solved issue about Mathnavi is the reasons for discontinuation of Mathnavi of Rumi meetings at the close of Book I and the delayed start of Book II.different reasons could be found for this delay in Mathnavi and works of other poets contemporary with Mowlānā. However, none of there reasons by itself seems convincing enough. Therefore, researchers, both contemporary and those living in previous centuries, have been looking for other reasons, which considered altogether prove to be convincing enough, and can often be inferred from Mathnavi. In this article, the researcher provides a background to the discussion, presents a summary of the views and ideas of the view holder in the part, explicates Mathnavis ideas and then classifies the ideas and views taking the three speaker- address- and text- oriented approaches and then draws new conclusions this new classification, rather than forvsing on the reasons for the postponement of, mostly high lights the background, reasons and explicit and implicit mystical teachings of Mathnavi. There apply to the understanding of similar cases in Mathnavi (for examples untimely and sudden silent in Book VI and other works (like the mystics interest in keepings a low profile or keeping silent) this new classification explores a number of previously unexplored reasons and factors of delay such as the role of patience and silence, Mathnavis recommendation for silenc, literary and stylistics devices, the address’s role and his wisdom and will, will be brought to light.

Scholars in mysticism use metaphoric language certainly not to tell stories but to discuss other mystic topics. Among Muslim scholars, Jalāl al-din Mowlavi has used this method. One of the most important and longest stories in his work is the story of Hoosh-Roba palace or Zāt al-Sowar palace intended to explain man’s mystic journey. Among Christians, Trezā Avilaie (1515- 1582) expresses the same issue in the valuable work called "the palace". This paper mainly concentrates on the comparable aspects of the mentioned works, showing how man’s self has been compared to a beautiful palace.

The Primordial Covenant (Alast) verse is one of the Quranic verses that have an extensive reflection in mowlānā’s poetry and semantically speaking has a structural relationship with issues that the creation, the remembrance and the spiritual audition are most important. The Mowlānā’s Shams lyrical poems are a locus of manifestation of the effects that the spiritual audition has exerted on him. The composing poetry and the mystical concert and dance are of most important among these effects. The disciple begins a spiritual wayfaring that gets started by the inculcation of the remembrance of God by his master, this issue and the continuous remembrance of God, have close relationship with spiritual audition and spiritual concert and dance. therefore, in deep structure of some Mowlānā’s lyrical poems a semantic relationship between Creation Verses and the remembrance of The Primordial Covenant and the spiritual audition is shown that can be understand by interpretation of these examples. The subject matter of this paper is this very issue.

Mystic expression and interpretation has always been a challenging issue in the field of mystic language. This challenge, which stems from the inadequacy of language in dealing with mystic experiences, has led to the mystic application of the artistic possibilities of language. One such possibility is allegory. This article studies the allegories of light and water as two of the most significant allegories regarding the concept of 'the unity of being' in Mathnavi. In addition to denoting the existential concept of 'the unity of being'(the relation between truth and individuals), these allegories cover many of the other features of this notion. Relying on the uncountable nature of light and water, this research explores the capability of these allegories in mirroring the semantic clusters of the experience of unity. Among the issues that these allegories reflect are the paradoxical relations between such dichotomies as unity and division, appearance and reality, similarity and difference, the concept of the perfect man, mortality, and the theory of constant creation.