مجله عرفانیات در ادب فارسی (ادب و عرفان)
پیاپی 14 (بهار 1392)

Prayer is the most beautiful sign of God's serving and mosque is the place of spiritual relationship. Unlike some of the temples in different religions, mosques usually are built in crowded places. Mosques, with their doors open and with the most beautiful architectural and artistic landmarks in each period, have always been accessible to Muslims. Although Rumi was a mystic and attached to monasteries which were more casual than mosques, all through Masnavi he stresses on the importance of Mosque. For him, the mosque is a purified heart of a Gnostic where every being creature serves God. Other tips highlighted in Masnvi are emphasis on prayer and its virtues, and spiritual and physical purity of mosque. This paper attempts to contemplate on Masnavi’s stories with the mosque in their focus and tries to discern Mowlavi’s point of view about this sacred place.

One of the most important factors which forms the literary content of a poem is the poet’s cognition and views about fatalism or free will. With this approach, drawing a conclusion becomes difficult because sometimes the poet reveals himself as a fatalist and sometimes talks about free will. Nowadays, cognitive psychologists describe poet’s dual approaches according to attributive styles. Psychologists believe that those who stick to fatalism have external control place and those with free will tendency have self control place. Saadi’s cognitive elements in his qazals include the place of internal and external controls as well as the cognitive errors which are the results of his control. The place of everybody’s control shows the person’s self esteem in controlling the events or his belief in destination, chance and uncontrollable factors. Cognitive errors include erroneous beliefs and self-made rules as well as the person’s mistakes. This study tries to prove that Saadi has his control places, and his cognitive errors have not only deviated him but have all been organized and controlled by him. Two cognitive errors which have been analyzed in this study are two-dimensional thought and tragedy creating. In a two-dimensional thought, the poet accepts his beloved with perfect love and passion; there is a perfect love without any defect. Tragedies are resulted from dual thoughts, and that means tragedy because of not having beloved. Since the two mentioned errors have been used by the poet as psychological elements, they have been named cognitive challenges in the present article.

Although the poetry of " Ghajar " period is bounded by literary traditions, this has caused it to be the subject of criticism. But it is noteworthy that artistic creativity has been represented in poetry of this period.A leading figure in Bazgasht school, Ghaani has represented aesthetic manifestation in structures that can be considered as a milestone of the period. Focusing on manner of composing rather than the reason of it, he proves himself to be a distinct poet among his contemporaries and one who cannot be ignored in Persian literature. When being considered in structured linguistic context, poetical imageries of Ghaani represent their artistic aspects. In other words, pondering about one aspect of literary elements of Ghaani’s poetry makes his work to be considered as an anaphoric poetryhowever, taking into account the whole elements of poetry, the consistent structure of his work appears.

Zorvanism was one of the common religions in ancient Iran. Considering Ahuramazda and Ahriman, some Iranian came to the conclusion that zorvan was their father in heavens. This idea came to Islamic Iran too, because in the Arabic proveb”time is a sharp sword”one can see the effect of time (zorvan). In sofist texts, time is regarded as a two- edged sword, with a sharp satanic edge and a soft divine one.It is a kind of interpretation in which two dimentions of zorvan can be seen.This study searches this point in sofist texts.

In "Modern poetics”, “the text” is considered as the literature’s internal essence. In other words, just the dominant side of literary work is of nobility, the belief that comes from structuralism. Some of the most controversial issues in poetics are related to "discourse" and "discourse Analysis". In order for a text to be fully understood, five basic elements including language, music, imagery, human experience (emotional structure), and also the intertextuality issue should be taken into account. There is no doubt that this method has found its way from linguistics and played an important role in literary criticism. In contemporary Arabic inquiries the word ”khatab” is equivalent of “discourse”. On the other hand, Sohrab Sepehry is a stylist poet who has become a top one among his contemporaries, and synchronic has reached a prominent point in his works. In this article Sepehry’s poem that is fluctuating between nature and super natural is studied descriptively and analytically according to discourse analysis method.

Projected indices of rulers’ characters are vividly shown in the mirror of Malekoshoaraye Bahar’s poem. Bahar, as the greatest poet of his time and as a voice of Iranian people, was able to express the nation’s expectations as well as to criticize and judge the rulers’ actions. He has an optimistic view towards the rulers of his time and combines the bitter advice and sweet eulogy to warn and to advise them in the hope of better future days. However, when the words don’t work, he removes the bawdy mask from the rulers’ faces and scandalizes them. Although his poems are overwhelmed with ugly pictures of rulers of his time, the clear positive picture of future is obviously seen. In this paper, an attempt is made to investigate Ghajar dynasty kings’ characters and performance in his viewpoint.

In this paper which has been organized based on an explanation of analogy works of Jaami’s Rubaiyat - a treatise on explanation of pantheism and ideas of Ebne Arabi school – a brief explanation is given about the allegory, pantheism and manifestation. At the beginning, allegories of the text are categorized, described and explained in 8 separate sections comprising: “light and sun”, “fire”, “mirror”, “glass”, “ water flow”, “sea”, “ words & numbers” in order to help interpreting and analyzing “pantheism and manifestation” which is the main topic of “explanation of Jami’s Rubaiyat on pantheism” and also the common subject of conceptual mysticism in Ebne Arabi school. Jaami, with the help of these analogies, has tried to explain the theory of pantheism through manifestation in cosmology. In mystics’ cosmological viewpoint about existence unity, the real existence is unique both in nature and predication, and it is elusive, intangible and incomprehensible by its names and numerous adjectives; However, it is by manifestation in eye-catching world that the real existence becomes understandable.

From the first days of mystical contemplation, there have been significant differences between mystics’ interpretation of religion and that of canonists. Canonists have restricted religion to sharia and regard everything else as apostasy. Mystics, on the other hand, are liberal in their point of view and believe that religion covers a more expanded semantic field than that presented by canonists. Differences in interpretation have led to various clashes between mystics and canonists. The former considers the latter as being naïve and superficial while the latter considers the former as being pagan and apostate. The clashes between these two groups are rooted in two factors: (1) canonists’ superficial interpretation of religion and their focus on the outer layer along with their layman behavior have led them to consider mystics as pagans and apostates; (2) mystics’ unorthodox behavior and their blatant and superfluous remarks which contradict religion, especially when interpreted superficially, along with fake mystics’ behavior inspired by the social ills of the 5th and 6th century sowed the seeds of hostility with canonists. The researcher aims at scrutinizing Sheykh Jaam’s manuscripts to show that he goes beyond sharia and delves into deeper layers of tariqa and haqiqa.