مجله پژوهش های ادب عرفانی (گوهر گویا)
سال شانزدهم شماره 2 (پیاپی 49، پاییز و زمستان 1401)

Modern psychological studies convincingly prove that the variable nostalgia is in close relationship with the awareness and cognitive scope of people. Nostalgia, therefore, is actually a rational function capable of achieving innovative, productive bases via providing and using a background for rhetoric and discourse partners. Repressed, sublimative desires manifest themselves through either language or organism. This is essentially the reason why poems and poetry are deemed highly important in psychological studies. Drawing on these notions, Rumi succeeded in explaining a thoughtful, nostalgic world, defining a sublimative language in a skillful fashion. Using library research, the present study tries to find answers to two research questions: 1) Is it possible to consider Neynameh as a nostalgic, thoughtful text, and its linguistic codes as some sublimative behavioral language? 2) Can anyone elicit a significant relationship out of the mix of nostalgia and sublimation in Neynameh?

The main aim of this study was to present valuable information about Najmuddin Razi’s life and works, which could be found in a newly found version of Bahr al-Haqiq's commentary (Version 37 found in Hassan Hassani Pasha Library). In this detailed report, Najm Razi’s first introduction of the masters following his way was presented in the following order: 1) Sheikh Majdaldin Baghdadi; 2) Najmuddin Kobra; 3) Tajuddin Ashnahi; and 4) Shahabuddin Suhrawardi. In the style of the scholars of rijal and hadith, he wrote the types and durations of their companionships, types of permission they received from the mentioned sheikh, their dates of study, and even the reason for their precedence and delay in dhikr, which contained new information about them. He then reported on his long journeys before and after the Mongol invasion. Based on this biography, it turned out that Najm Razi served Suhrawardi from the very first years of Afaqi’s career in 601, used his services several times in different cities, and received several licenses from him. The companionship of the midwife with Tajuddin Oshni in Hamedan, rejection of the idea that he escaped from Rey during the Mongol invasion, etc. were some other aspects addressed in this article. Another finding in this study was the possibility of Najmuddin returning to Iran from Anatolia (after the Mongol settlement) and settling in Khuzestan. It seemed that this version of the commentary, considering the date of its writing, must be a transcript of Najm Dayeh’s first writings. At this stage of writing this commentary, Najmuddin was strongly dependent on al-Kashf and al-Bayan al-Thalabi and quoted many cases by citing their sources from the very beginning of the introduction. The information extracted from this version was analytically compared with other findings obtained from his contemporaries in this regard. 

Some believe that Mulavi's influence on Attar is so great that they consider Masnavi to be completely influenced by Attar's works in terms of form, format, and anecdotes. For this reason, this study seeks to introduce the attraction and rapture and show the common features of these two mystics in this regard. In the mystics' thought, attraction is a special gift given to man by God. Although in mystical thought, mystics invite people to a continuous effort to reach spiritual perfection, in their views, effort without grace (providence) is fruitless. Many eminent and influential Sufis have given originality and importance to the effort and struggle of the seeker and considered rapture and grace as secondary. Some other great mystics such as Molana and Attar consider attraction as the principle and believe that if there is no attraction, the seeker's effort will not lead anywhere. The obtained results indicate that Mulavi and Attar have a greater desire for rapture in order to complete the mystic's religion and sharia and to reach God. They have many features in common in this respect. And in their view, the seeker's efforts are necessary only to the extent that they let the light of rapture shine on the seeker and the seeker reaches the goal.

Mersād al-‘Ebād is an important work in the field of Persian literature. Its language and expression are eloquent and sometimes poetic, and it is a wonderful book in terms of visual-rhetoric aspects. Given the recognition of allegory in our rhetorical sciences, the study of the images of Mersād al-‘Ebād has often been directed towards its allegorical aspects and its metaphors have been examined from ancient perspectives. Notwithstanding that this work has metaphorical clusters based on a social and political attitude. Due to the dispersion and extent of these clusters, the present study uses the theory of conceptual metaphor to examine this book from a novel perspective. The research method is analytical-descriptive, and the scope of the research is the text of Mersād al-‘Ebād. The results of this research show that small metaphorical threads that are connected with each other can be recognized in the text and can be called micro-metaphors. These nets of metaphors in the text are as follows: the descent of the soul into the body as the enthronement of a king, God's treasure as the king's treasure, the devil as a criminal and condemned by the sultan, cultivating the soul as raising a bird of prey, and propagation of religion as an organization to inform the king. Each of these five micro-metaphors had its own subcategories, which are explained in the text of the research by mentioning the examples and drawing diagrams. Also, the accuracy of the metaphors shows that their unification can be placed under the grand metaphor of ‘God as a King’.

In this paper, we have investigated the fostering of theological concepts through verses and narrations in the preface of Amir Khusrau Dehlavi's Masnavi. The research type is analytical-descriptive and its method is library. After investigating the prefaces from a theological point of view, we have come to the conclusion that Amir Khusrau Dehlavi has quoted verses from the Holy Quran or hadiths of the infallible Imams, either directly or indirectly and implicitly, in most of the verses that contain theological concepts. Thus, he sought to achieve two goals: One is that he attempted to foster theological concepts by quoting verses and hadiths in order to make his beliefs believable to his audience, and on the other hand, he sought to pay tribute to the Holy Quran and the hadiths of the infallible Imams. Among the three poems investigated, theological concepts in the preface of the poem Hasht Behesht are more than the other two poems, and in the preface of this poem, the poet has discussed diverse and various concepts of theology. Most of the theological concepts used in the preface of these three poems are concepts that have been repeated in other poets' poems before Dehlavi, however, Dehlavi is one of the prominent poets in terms of verses, hadiths and narrations that have been used to document and foster theological concepts.

In literary and artistic works, imagination plays an essential role. The existence of different definitions of this term each explains different aspects of the word. In fact, imagination is a defense mechanism so that the poet and writer can overcome their inner inflammations and anxieties. One of the reasons for paying attention to imagination and imaginative structures is to explain the thoughts and feelings of poets and writers. The presence of bold symbols with positive valuation makes it possible to study Sana'i lyric poems according to Gilbert Durand's theory. The abundance of symbols related to his poems confirms the poet's ability to overcome internal worries and turmoil. In Sanai lyric poems, unpleasant symbols, along with the use of pleasant symbols, and the poet's desire to use safety symbols are combined to present a desirable image of the beloved and to express the poet's psychological characteristics. Introversion, self-knowledge, positivism, and adaptation to adversity are revealed in the shadow of the poet's attention to the symbols of introversion. The motherly symbols of the "beloved's threshold" and "the vessel and its contents" express humility, the lover's desire for peace, and the beloved bow. Disrupting the natural order of cycles, passionate descriptions of the future and the past, along with contradictory descriptions, are other ways in which the poet escapes time to show the evolution of the beloved and the steadfastness of the lover. Poets like Sanai, who tend to use the symbols of the nocturnal system, especially the soothing symbols of water and soil, are usually positive-minded, peaceful, moderate, adaptable, and so sad. They solve problems with a peaceful gesture. In each of the works, depending on the tendency and frequency of the symbols of this theory, new aspects of the imagination, and psychological and intellectual characteristics of the poet or writer can be achieved.

One of the basic topics in mystical research is to know the mystical tradition and disposition of each mystic. In fact, explaining the mystical tradition and disposition of mystics is the first step in recognizing their opinions and thoughts. The present study has been done with the aim of explaining the mystical tradition and disposition of Shah Dai Shirazi in a solid and scientific way. In this research, using a descriptive-analytical method, first, the mystical disposition of Shah Dai was determined by examining the goal and purpose of the mystic, the method of achieving the goal, the topics and concepts raised in his works, his educational system, and mystical language. Then, his mystical tradition was examined. In order to explain his mystical tradition, the origin and destination of the mystical journey and the steps between the origin and the destination are discussed. Examining these cases, we consider a combination of the first and second mystical traditions as Shah Dai’s ideas. In general, it can be said that the mystical mystic in the theoretical discussion belongs to the second mystical tradition and in practice behaves in accordance with the first mystical tradition.

Due to their simple language and pedagogical structure, the letters of Ayn al-Quzat Hamedani, have always been a source of reflection to help researchers and scholars find their way to the themes and principles of mysticism. Since Ayn al-Quzat Hamedani used 204 Arabic verses in these letters - without regard to repetitive ones- we should know the names of Arabic poets and his familiar and favorite divans, from which he selected many Arabic verses and included them in the letters to develop an accurate understanding of his thoughts. The Arabic verses in the text of the letters in many cases differ from the original text, and in some cases, they are inserted incorrectly into the text. The present study tries to refer to the original Arabic texts to name the main poet of the verses and the cases that have been distorted by mentioning their different forms. Among the Arabic texts, Ayn al-Quzat Hamedani is more interested in critical texts and words, and his knowledge of Arabic literature is mostly limited to these sources as well as the educational sources of the old schools. The Arabic verses he included in his letters are mentioned as examples in most dictionaries and critical texts. Among the Arab poets, Ayn al-Quzat Hamedani was more interested in the Iranian Arabic-writing poets such as Abivardi and the poets of Mukhadarm and early Islam poets, besides Mutnabi and Umar ibn Abi Rabia.

The mode of expression and teaching method of great masters in pedagogical circles is often called ‘Majlis-Gooyi’. Shams Tabrizi has also paid attention to this mystical tradition in his mystical narrations and has conveyed most of the important mystical teachings and categories to his audience and students through this method. The numerous and diverse surviving versions of Shams Tabrizi's writings have somehow prevented the presentation of a revised and correct text of Shams's Discourses. Therefore, in the scientific-critical correction of this work, which was done by Movahed, there are some shortcomings in the corrected text, which sometimes caused ambiguities in the text and made it difficult for the readers to understand. In the present study, while criticizing the mentioned correction based on the versions available in the Konya Museum, the importance and validity of the old versions of the discourses have been investigated in an analytical manner and the necessity of re-correction has been explained. Among the old editions of Shams's Discourses, the third edition of Konya Museum, No. 2155, is of particular importance due to its antiquity and historical validity, the comprehensiveness and consistency of the text, and the logical sequence of Shams's words. The relative absence of additions and scribes' corrections in this version is another finding of this research. By considering this version as the basis, it is possible to provide a re-correction and uniform text of the discourses, and other old versions can be used as replacement versions according to their preference and prioritization to fix the defects and problems of the base version.

One of the controversial issues of Islamic mysticism is the conception of dignified power for Sufi sheikhs, which has a great semantic and content affinity with miracles. The difference is that miracles for the prophets are the extraordinary deeds of the saints. With the organization of sects in the middle of the fifth century AH and the severe weakness of the Seljuk government after the defeat of Sanjar (d. 552 AH) from Ghozan and the collapse of social and political conditions, miracles found a different symbolic dignity and referred to the superhuman works of the sect. Mystics are no longer mere spiritual persons; rather, they are portrayed as mythical heroes with divine power who break the divine order and laws governing nature. Miracles depict the path of the seeker’s journey like the journey of the hero of the myths, in which the sheikh went through a very difficult path in order to achieve such a superhuman power and benefit his disciples and supporters from it. Joseph Campbell's theory of monomyth (one myth) is very much in line with the seeker's spiritual journey. In this study, by collecting written mystical and historical sources related to the path of the mystic's movement to perfection and by matching those concepts to the three stages of separation, accession, and return of Campbell's theory, we can come to the conclusion that the purpose of creating miracles is the creation of mythical figures of mystics is to introduce them as religious heroes of the new age.