mehdi mahouzi

Despite the common thoughts of the poets who have stepped on the path of mysticism, each of them had a special style in depicting the ways and methods of conduct and their identification. In addition to the stylistic characteristics of a work, which play a decisive role in creating a different work, the spiritual and personality characteristics of the creator of the work also have an effect on this matter. In this article, the personality of Attar and Rumi has been analyzed based on the theory of the famous psychologist, Gustav Jung, from the perspective of introversion and extroversion in the face of the two categories of joiner and separation. Considering the influence of the childhood environment, different incidents and events in the lives of the two poets, the difference in their views and narratives about the character of the lover, which is the main focus of romantic lyric poetry, and the moods related to it, as well as the poetic style and personality type of the two poets, it can be acknowledged that Attar has an emotional introverted character and has spoken more about Hejran (separation) than Vesal (joiner), and despite many descriptions about Hejran (separation), Rumi does not consider Vesal (joiner) to be out of reach and has an emotional extroverted personality.

In Masnavi, Rumi has repeatedly tried to enlighten the minds of his audience to epistemological issues with mystical allusions, and by mentioning allegory and storytelling, he has raised the perceptual level of the companions and companions of Masnavi. By delving into the narrative allegories of Masnavi, one can find and hide mystical hints that their reflection and semantic expansion at the narrative levels, ultimately paves the way for unity and oneness in Masnavi. This unifying attitude and effect on mystical allusions has escaped the scrutiny of many scholars and narrators. This research has been written by library and descriptive study method and tries to show the role of Rumi's mystical allusions in the processing of narrative allegories based on the narratives of the fourth, fifth and sixth books of the spiritual Masnavi. In this research, by deepening and using the narrative allegories of Masnavi, the relationship between superstructure and depth of allegories as well as the method of processing mystical materials in four types (allusions, themes, examples and internal stories) was revealed. Finally, the role of mystical allusions in two levels of narrative allegory (superstructure and deep construction) entitled "symbol", "guidebook" and also the semantic connection between narrative levels were examined. Familiarity with the method of processing mystical material and examining the semantic link at narrative levels is one of the research results of the present article. This research can be considered as a step towards understanding the structure and content of Masnavi narrative allegories.

What makes Rumi’s an expression immortal is his deep knowledge of "God, man and the world." Rumi, with his self-knowledge and understanding of transcendent pleasures, tried not only to benefit from them, but also to share these experiences with others (students, disciples and future generations). The present study tries to become better acquainted with the principles of the school of thought, which are the spiritual horizons and mystical goals of the creator of the Masnavi, by reflecting on the better understanding of Rumi's thought structure in Masnavi. Deepening in the stories of Masnavi and how to realize the mystical perspectives of Rumi is one of the aims of this article, which has been studied and shown in a descriptive-analytical way in the stories of Masnavi (Books 4, 5 and 6). By analyzing the subject in this article, it was revealed for the first time that for Masnavi stories, a structure derived from Rumi's thought can be drawn, which creates a mental and semantic unity for the dynamic reader and diligent researcher who expresses each story and allegory in accordance with narrative levels..

This study attempted to reflect peace and friendship culture in children’s fiction in Iran by considering these two components in the UNESCO Statute of Peace. Following library research method, fifty storybooks which had been written and published in the 1990s and the 2000s were studied, and 14 books devoted exclusively to age group 6-8 years old underwent content analysis. Next, different types of peace culture promotion and education methods aimed at children in the books were analyzed. Results of the study revealed that although storybooks are believed to be preachers of peace and friendship, they mostly highlight such components as love, friendship and cooperation, and are not concerned with many other propositions of peace culture that are indispensable for peaceful coexistence in society.

The mysterious tale of the Old Woman and the Kingdom of AlbArslan in Attar’s MosibatNameh(Tragic Tales in Persian) has a great capacity for various decoding readings. The tale of the Old Woman and Malek Shah can be studied based on Campbell’s theories. One of the appropriate methods for understanding the mysterious structure of this tale is Campbell’s archetype of the hero’s journey. The hero is evoked to another land and thus starts his journey. In the course of his journey through the world he loses the only property in his life and stands against Malek Shah in an audacious fight and urges him to return the righteous properties of the peasants and finally frightens him of passing the bridge and encountering the grandeur of God. Eventually when the hero attains his rights he prays to God that Malek Shah is forgiven so that he could achieve perfection and maturity. Malek Shah is changed in sleep and returns to his previous status while carrying the Elixir of Life with him so that he could impart it on peasants and friends. In these journeys the trudging hero sets foot on a dangerous journey by answering the call of the albino dean of the kingdom to save the peasants of Iran. After passing various stages of battle, the hero not only succeeds in his mission and gains material blessings, but also attains a kind of self-recognition and spiritual perfection that in addition to being the function of the hero is based on Campbell’s theories on “the hero’s journey” that leads to a change in his land through praying and obeisance to God and by asking for God’s help.

Deviation from the linguistics norms is a characteristic of Rumi’s style. Sometimes his deviations give a very artistic aspect to his verse. The present research is to investigate adjectival and adjunctive compounds in Rumi’s Masnavi</em>; the ones which he decided to change their structure and meaning. These changes, no doubt, have been done in an attempt to give an artistic aspect to the language, separating it from the standard language. His coinages could be labeled as collocations, but their significance is that rather than being just grammatical compounds, they bear new meanings which are deviated from the common sense. Among the findings of this study one interesting is the abstract collocations Rumi has used. These compounds, which are the outcome of a creative and liberated mind like Rumi’s, are unprecedented and cannot be found in previous poets’ verse; moreover, they are encouraging for readers to relate the words of a compound and find how they make sense.

Zoroaster and Eynolghozat Hamadani both are of great mystics and thinkers of Iran who have had impressive and considerable effect on Intellectual, philosophical and mystical aspects after their ages.
However because of time recency from Zoroaster, Eynolghozat Hamadani affected from some of his Mystical thoughts, which amongst them are topics like Sepante Minoo and Angere Minoo That are the manifestation of beauty and splendor of mystic school of Eynolghozat; pure wisdom of Zoroaster which is also beyond desired wisdom of Eynolghozat; the theory of Ahasn System; Human –centered; being quintessential of goodness and badness among human being; Amshaspandan equals means of god’s grace. The present study explains common points in Zoroaster and Eynolghozat thoughts.

Lack of support of Safavid court of writers and artists made them to migrate to the Indian subcontinent. Gurkanis'(India's Mogul emperorship) warm welcome of Persian writers increased these migrations.The effect of Persian culture and language which was the official language of court contributed to the flourishing of all literary genres especially lexicography in this era. Lexicography can be categorized into three periods: first pre Moguls(7-9 century A.H.);second Mogul's era(10-13 century A.H.); third post Moguls(14 century A.H.). During the first period lexicographers relied merely on gathering poetic terms and disregarded vernacular or written language. Therefore, dictionaries written in this period are not deemed as comprehensive. The most serious works concerning lexicography are written during the second period, i.e. Mogul's emperorship. The most accomplished works in this genre –which is the subject of this paper-belong to this period. The third or recent period refers to the dominance of Britain over the continent and the disempowering of Moguls, a period in which the colonizers did their best to eliminate Persian language and substitute English language.

Bidel Dehlavi as the greatest mystical poet in the Indian Subcontinenthas unleashed the Indian School of Persian poetry from its formalform and style. To him the sonnet was the continuation of the thoughtsand ideas of Mowlavi’s in his ‘Shamsiyaat’. The present article is anattempt to come to an understanding of Bidel through the lens of hismystical sonnets where he upholds the idea that, in the process of themystical return a human being takes, all the forms of multiplicitydirect themselves towards a direction of unity. All those forms in theirdownward waft from the creator to the created are representationalwhich confer and illustrate the characteristics of the Creator. Themystical sonnets of Bidel dramatize a mystical epic which renders thelove of a human being for his eternal beloved. These sonnets frequentlycarry surreal layers of meaning in themselves thus making the poeticvocabulary he uses in his depiction of such a mystical expressions quiteperplexing to the readers as well as the researchers. All these said, hispoetry bears such an enthusiasm and attraction in itself that his use ofsuch meter and feet, rhythm and rhyme has all made it more invitingand effective to the readers.