همایون جمشیدیان

The story Hana, in the anthology "Weather for Several Days of the Year" by Aiin Nowruzi, probes into the recounting of a man's separation from his beloved, Darya. Yet, intriguingly, the narrative often veers towards the man's niece, Hana, born around the time of his parting with Darya. Through subtle cues in the text, it becomes apparent that the narrator's feelings, actions, and words carry deeper, symbolic connotations. The author intricately weaves details, seemingly diverting attention from the central theme, perhaps to conceal its true essence. The aim here is to decode and interpret the concealed meanings while striving for coherence within the narrative. Employing a Freudian psychoanalytic lens, the text is explored akin to a dream, where an underlying, more significant level remains obscured beneath the surface. Adopting an inductive research approach, the analysis unravels the symbols and signs embedded within the text, which serve as manifestations of the narrator's subconscious. These symbols, while holding inherent meanings, are suppressed expressions of truths concealed by the narrator, from both himself and the audience. Central questions arise: What causes the ambiguity and contradictions in the narrator's discourse and actions? What roles do the symbols play in the narrative, and can they be organized into a meaningful structure? By dissecting the components of the text and its supporting evidence, it becomes evident that the narrator channels the sorrow of separation from Darya, his longing to reunite, and his desire for offspring through mechanisms like displacement and integration, manifested as symbols such as darkness, underground spaces, numbers, and unconventional behavior and speech. Hana operates on two levels: the surface events recounted by the narrator and the deeper layer of inferred ambiguities and contradictions. To address this dissonance, it is proposed that the narrator not only conceals truths from the audience but also from himself. Through the lens of Freudian psychoanalysis, the story is revisited and interpreted, ultimately revealing that Darya is veiled behind the narrative. The entirety of the tale, supported by textual evidence, emerges as a dream experienced by the narrator upon waking, showcasing elements of displacement and integration. Darya's presence permeates the narrative, subtly observed despite her name remaining unspoken.

In his quatrains, Khayyam has raised issues or questions about the fundamental issues of man and existence and has provoked reactions since those days. On the other hand, in the repository of military secrets, one can see concepts, symbols and images that are used identically or with slight differences in Khayyam's quatrains and seem to be a response to those poems. After analyzing and classifying these concepts and images at the level of the fundamental issues of man and existence, it was concluded that Nizami responded to it from a mystical perspective by taking the concepts and images of Khayyam and the topics and issues that he raised. Shadi has presented a philosophical surprise.

According Roland Barthes, “Writerly Text” are symbolic and it is not possible to understand hidden layers except by passing through the formal and superficial level. One of Sohrab Sepehri's poems "The Voice of Meeting" is such kind of text that narrates the intuitive experience of poet. In this poem, first the narrator reports his intuitive experience, encountering with the singer fruits and their circumstances and actions with ambiguity. At the end of intuition, the narrator indirectly, as well as during the conversation, deals with issues that obstacle intuitive reports. The main question of the article is what this poem has the unmentioned or hidden meaning and what concepts are clarified or created through the works that has the same horizon. In this article, this poem is interpreted with the method of hermeneutics and intertextual analysis and using other works of Sepehri, the Qur'an, and mystical concepts as a pre-texts. Through these works, the meaning of the codes in the experiences of the narrator become clearer. The results show that in the narrator's intuition, the happiness of fruits is on account of confronted with the hidden surface of the universe or the "expanded world". Attitudes toward the surface and utilitarianism prevent confrontation with the upper level of universe. Sepehri's poems as a whole and this poem show that revelation does not stop at a specific time or specific place. Evidences from Sepehri's biography also confirm this

Death has always been an important matter in human history. Everyone takes a stance on it based on his/her epistemological and ontological orientation and reaches psychological state, emotions and lifestyle as a result of essential beliefs in it. Some do not believe in the life after death; some feel afraid of it; and others, like Socrates, see the soul of the real philosopher as longing fordeath. Some have considered the grief over death to be unwise, because no one will ever experience death in life. According to some, the grief over death is pointless because we live a short life and would return to nonexistence before we realize it. Obviously, such an idea is based on the assumption that there is no world after death. In addition to these perceptions of death, differences could also be seen in the views of religious people. In Ashʿari theology, the man, despite piety, restlessly feels afraid of the “final moment”. In contrast, the intuitionists, and here Attar, basically have an approach to death which is the result of revelation; not just knowing and believing, and this is derived from their intuitive epistemology and ontology. Attar's view of existence and death is based on intuitive experience. These experiences emanate from man's encounter with the hidden layer of the universe. Attar maintains that intuitive perception is attained only through the language of dreams or the language of deep reflection. How existence has been depicted in Attar’s intuitive experiences and the impact this view has on the perception of death are the main problems of this article. To answer the question, Attar's Masnavies that both explain his mystical teachings and represent his states were analyzed. The results showed that Attar's attitude towards death emanates from his intuition-based epistemological and ontological view. Intuition is one of the means of acquiring recognition which is achieved via facing the depth or hidden layer of the universe.  His works show that without intuition there would be no way to reach the truth of existence and death. Ontologically, in contrast to the tangible and material world, which appears to be dreams and fantasies, there are many other worlds whose components, like tangible components of this world, move towards God passionately and with great love; the spiritual world and the world after death is buried below the surface of this world. According to Attar, existents in the universe apparently do their destined physical affairs but inwardly they yearn for moving towards the origin of the universe. Humans are generally caught in a mirage. The one who reaches the treasure at depth of the sea of the world will see God as a shining sun in this world. In the form of the allegory of Ayaz and the Sultan, the loving face of the Sultan is depicted, which is revealed only in intuition and by "leaving the number". God, the world and man are united. With such an attitude to existence, with death, the part reaches the whole and becomes the whole that was once separated from Him by form. Death can be experienced through quasi-death experiences like annihilation, the self-manifestation of God, and the experience of the state of resurrection in this world; such experiences is feasible for almost everyone. Some intuitive images of the mystic's encounter with death and eternal life are: appearance of the sun from nowhere, increase of light with death, feeling the sun inside, eating the sun, landing of the sun, and fading the dew in the sea. Mystics seem to live in two worlds simultaneously. Individuals will be able to have such experiences based on their efforts to transcend the external senses. Such an attitude will be effective in reducing the boredom of mundane life and giving meaning to existence and death. Death is not a tragic event at the end of life as mystics keep experiencing it in various forms in this world. Such an attitude is supported in Qur’an, the stories of the prophets, and the stories and experiences of the mystics. The man’s destiny is not separate from existence. Before self-purification, man, depending on the level of the universe, becomes enchanted by the light reflected from the sun, i.e. God, while he himself is a part of the light and like all existents is moving towards the source of light. In this view, with death, man goes to the whole as a part of it. Since God is light and has breathed from his soul into man, then return is the return of light to light. Such an attitude towards existence and death removes the boredom and gives life and death a different meaning. The exquisiteness of death experience is possible only through the intuitive understanding of the universe. In light of the intuitive experience of existence, death takes on a different color, and not only is its dreadfulness removed, but also it becomes a desirable thing and a prelude to a blissful union; which is what the mystics yearn for in their life.

In some anecdotes, Saadi himself has clarified the existence of a different level of meaning by telling stories and interpreting them. However, there are also anecdotes that can be considered to have another level of possible meaning, which can be found via interpretation. The story of "the Pious and the King" from the second chapter of Saadi's Golestan has signs of such stories in terms of characters, speeches, actions and events. This descriptive-analytical research concerned answering the questions of the meaning of the unusual actions of the characters and how the understanding of the hidden meaning becomes possible through the works having the same horizon of expectation. In this study, the hermeneutics and specifically the "hermeneutic cycle" as well as the theory of intertextuality were used. In other words, through the grid of Qur’anic signs and texts that overlap with Saadi's "mental horizon" and has emphasized common concepts through simile or description, as well as Saadi's own interpretations of other stories, another level of meaning of the text was specified. The findings show that at its deeper level, this story suggests the relationship between man and the devil, who seeks to mislead humans with various tricks. Saadi's anecdote seems to be an extension of ayah 64 of Surah Al-Isra as is the case with the order of the ayah.

Pantheism is one of the dominant concepts in mystical thought, and it is said that this concept is basically originated from mystical experiences of mystics. Attar Neishabouri as a Muslim mystic (Sufi) was influenced by the concept of Pantheism and tried to express the concept in the form of literary images in his verses. In this article, Authors intended to discover how images in Attar’s verses are employed to illustrate Pantheism. As a result, it is known that Attar used four images including ‘Hidden Apparent’, ‘Ocean’, Sun’ and, ‘Simorq’ in high frequency in his verses to depicting the abstract notion of Pantheism. Also, as there are three approach to Pantheism, i.e. Identity, Metaphysics of levels and Manifestation, the Authors tried to demonstrate the connection between images and these three approaches to Pantheism. One of the common characteristics between these images are being paradoxical especially when it comes to realm of mystical experience.

According to William James, mystical experiences have four characteristics: ineffability, noetic quality, transiency and passivity; these marks can be found in almost all texts that narrates mystical experiences. In the present article, those ghazals of Āttār that indicate mystical experiences have been extracted, categorized and analyzed. Also, in these poems, some other marks such as heterogeneous imaginations of mystical intuition and missing the mystic have been found. The results of the research show that after coming face to face with the Holy, the mystic is unable to explain Him; for everyone comprehends Him by his/her own way. The mystic misses himself/herself in the process of revelation; after facing the Holy, also, he claims that he/she knows himself/herself much better, and sometimes he/she claims that has obtained knowledge of the outer world. The reports about this knowledge, like the relation of part to whole and the fact that the part contains all of components of the whole, show that there are a lot of similarities between them and the subjects of holography. The mystic complains that facing with the Holy is transient. During the experience, he is passive and there is a profound sense of being taken over.

Modern-minded man، as the modern time necessities، believes in the concrete world، and if does not deny metaphysics، he finds it unperceivable and unreachable and hence، ignores some of his potential and spiritual abilities. Metaphysics form man’s spiritual life، absence of which results in mental nervousness and leads to nihilism، and thus death، men’s inevitable final destiny، appears like a monster. To be away from which and forget it، man requires engaging himself in the concrete، and not reflecting upon death at all. This paper attempts to investigate the questions as: How does Molavi perceive metaphysics? How does he engage himself with it? And while he follows his religious and spiritual way of thinking، how the face of death is displayed in Molavi’s thoughts? Molavi’s works represent a human’s perception and experience gained from the Prophets’ teachings which were put into practice in Molavi’s own life. One can find lots of Molavi''s couplets dealing with the same، pondering upon which can smooth the harshness of the concrete world in the light of the spiritual world، and generate yet another type of world.

Intertextuality refers to far more than the influences of texts on each other. A text has a multidimensional relationship with a variety of writings and the meaning arises in a context associated with the intertextuality. Molavi’s sonnets, the revelation and mystical experiences, reflect the history of Quranic characters. In these poems, the events are repeated for another person. These stories are not so unique that happened in the past only. Quranic characters perform various rules in Molavi’s sonnets. In poem that is reviewed in this article, events that happened to Adam have been reported as an experienced as human being. This research shows that the connection between this poem and Quran is as metaphoric relation. It means that a word or phrase literally denotes an object or idea for an analogical relation. The first-person perspective of the narrator in reflects the writer’s emotional feeling and the narrative poem based on the vertical axis complies with the verses about Adam in Quran.

In this essay, "Where is Khezr?" composed by Dr. Taqi Pournamdarian, is analyzed based on an intertextual approach. The purpose of this research is to illuminate the relation of pictures in this poem with classic poem, showing the relation of components of mystical, epic, lyric genres and the type of their combination in the creation of contemporary romantic poem. The word "Khezr" has mystical and epic implications. According to the feature of Khezr who is the helper of the lost, it is expected that the narrator of "Where is Khezr?" be confused and wandering in spiritual journey abstinence domains. Such implications can be observed in words and terms like "darkness", "alkahest" (i.e. water of life), "the desert of night". On the other hand, based on the content of poem, there would rise this question that how are elements of poem and its different semantic implications interrelated to each other? The results of the current research shows that this poem is lyric and it describes an earthly beloved, but there are symbols of other genres. The narrator of the poet passes difficult stages like an epic hero to reach their target, for example s/he passes darkness land. Fourfold sections of the poem associates four seasons. These seasons are periodical like epic time and do not have linear circuit. Separation and tinker would occur simultaneously with passing of different seasons. This poem is the product of conflux and different genre association which is emerged from the unconscious of the poet who had lived in the ecology of cultural worlds. In this article the intertextual analysis of poem was applied and components of different genres were compared and analyzed and their ratio in producing a coherent and structured text was also reviewed.

The result of this article shows that Anima is a creature with asurprising face,manner in Sepehri’s` poems. Anima has manyfaces. Sometimes it is called clearly wind or water,sometimes itcan be suggested by the affects it imposes on the atmosphere. Animaimmediately appears,disappears in night in form of a dream.Dialogue of the narrator with anima is the most ambiguous andimaginative content in Sepehri’s poems. The most important ofnarrator’s concern is to reach anima by passing the difficult way inmind,spirit. The dialogue,relation to Sepehri,comparing withthe last series,has a different meaning aspect in the first series