جستجوی مقالات مرتبط با کلیدواژه "مثنوی" در نشریات گروه "علوم انسانی"

The use of allegory and anecdotes in the literature of nations is one of the ways of conveying concepts, the impact and durability of which is far greater on the audience than other types of speech. It is so important to take advantage of allegory that most of the verses of the Quran are allegory and the great God has used this kind of expression to present deep educational content. Allegory in Persian literary texts also has a long history. It is one of the means of conveying educational concepts, especially among the preachers and Majlis Goyans and mystics. Maulana Jalaluddin has used anecdotes and similes in order to have more impact, so much so that his spiritual masnavi is a collection of occasional anecdotes that he has been able to make good use of. One of these stories is the story of the castle of Zat al-Soor, which is part of the parables of Masnavi, and Jalil has connected the end of this book to its beginning. In this article, the author decodes this story and answers the question whether the story of Dej Hosh Raba is over or not. The research was written in a descriptive-analytical method using library sources and the results indicate that the story of Kahl at the end of the Masnavi is actually the continuation of the story of Dej Hosh Raba.

 tion involves relinquishing all material and spiritual attachments to uncover the ultimate truth. It is a fundamental aspect of Sufism and a central theme in mysticism, as highlighted in various mystical texts. This essay undertakes a descriptive and analytical comparison of the perspectives on abstraction by Jalāl-al Din Rumi and Jiddu Krishnamurti. The research aims to identify similarities and differences in the intellectual frameworks of these two prominent Eastern mystics. The findings reveal that Rumi and Krishnamurti share commonalities in various aspects such as simultaneous recognition of material and spiritual abstraction, disassociation from nationality or territorial constraints, transcendence beyond reason and knowledge, self-negation, abstraction intertwined with love, and abstraction leading to self-discovery. However, distinctions emerge in their approaches towards reliance on mentors and teachers, as well as their relationship with established religions and ideologies. Overall, the shared beliefs between these two mystics outweigh their points of divergence, underscoring the similarity in their epistemological and experiential foundations. This mutual ground reflects the essence of true mysticism.

Sleep is a complex and wonderful phenomenon that has long been the focus of human attention and has occupied his mind. And it has an important and special place in the religion of Islam. Islamic scholars had a special interest in the category of dreams and they created rich and fruitful works in this field. Since the knowledge and awakening of human beings is one of the goals of mystics and mystical texts, the category of sleep and awakening has always been important to them. This article examines sleep and awakeness in Rumi's Masnavi, following the Quranic verses and Islamic traditions, considers sleep and awakeness to be an important matter and considers it to have different types and functions. In his Masnavi, Rumi does not talk about sleep in detail and regularly wherever necessary, He uses sleep and wakefulness as a tool in the service of his mystical goals In his view, the world is like a dream and the hereafter is like an awakeness that we try in this articleLet's look at these two functions of sleep and awakeness from his point of view.

In most of the researches conducted on the Masnavi, the features of Maulavi's language style have been less criticized and analyzed grammatically. In this article, the use of various letters in the Masnavi has been investigated based on the coordinates of the Khorasani style from a linguistic point of view. The main question of the research is, what are the most important stylistic features of Rumi regarding the use of different letters in Masnavi? The method of collecting information in this article is based on library studies and the research is done in a descriptive-analytical way. The findings indicate that Masnavi-Manavi is a very rich work with extraordinary lexical diversity in terms of grammatical features; So, in this research, it is tried to analyze the style and structure of all types of letters in Masnavi. The result of the research shows that Maulvi has provided the language prominence with the unconventional uses of letters in different morphological and syntactic levels and as a result the double influence of Masnavi on the audience.

The roots of many literary stories can be found in historical narratives. In this research, we focus on four historical and literary narratives that have a special type of deception as their motif. At first, we give a summary of each of these four narratives (descriptive level) and then we explain their commonalities and differences (analytical level). The first narrative is about a Persian man named Zopyrus, who helped Darius the Great to conquer Babylon. The second narrative tells the story of a man from the companions of the ruler of the Hephthalites, who led to the defeat of the Sassanid army by gaining the trust of Peroz I. The third narrative depicts the conflict between crows and owls which ends in favor of the first group with the cleverness and cunning of a crow. The fourth narrative is the story of a Jewish king who, with the trick of his minister, causes internal conflict and mass killing of Christians. In all these narratives, gaining the enemy’s trust by harming oneself is used as a motif, but the method of processing this motif is different in the aforementioned stories. This research, according to its topic and method, is conducted as library research. The findings of this research show that the main plot is the same in these four narratives, but their processing is different. In addition, the historical narrative of Zopyrus can be considered an ancient source for three other narratives; a source that has been neglected until now.

Jalāl al-Dīn Muḥammad Rūmī refers to self-knowledge as “soul-knowledge.” The question of the nature of the “soul” and the levels and methods of its intuition is among the significant issues that Rumi seeks to address. He considers the Almighty as the “soul of souls” and the deepest layer of human existence, attributing the following characteristics to the human soul: the soul is the mirror of the universe, so that all realms of existence, including matter, the imaginal world, intellect, and divinity, have a counterpart within the human being. Rumi believes that the enrichment of the human soul depends on self-awareness and the soul’s knowledge of hidden truths. He holds that the heart and soul of a person can progress from the mineral level to the supra-rational level and annihilation in Allah (fanāʾ fi Allah), reaching a stage where the reality of realities manifests within them. From Rumi’s perspective, one should not mistake his “self” for his “body” and reside in a foreign abode, as the human heart possesses a vastness that can attain the status of the “universal being.” The levels of human existence from Rumi’s viewpoint include: 1. body; 2. spirit; 3. intellect; 4. the spirit of Revelation; 5. annihilated spirit in Allah. The most significant obstacles to soul-knowledge, according to Rumi, are egotism, excessive attention to the animalistic aspect and the body, sins, and desires. On the other hand, polishing the heart is the most crucial method for attaining self-knowledge. This research, using a descriptive-analytical method, will examine the nature of the human soul (self) and its inner levels, as well as the obstacles and factors of intuitive self-awareness from Rumi’s perspective.

Khumsa "Makhira" or "Muhirah" was written in imitation of Khumsa Nizami (the founder of Khumsa Sarai in Persian literature) and by a poet named Abdul Wahab bin Muhammad Mahmoud bin Muhammad Omar Kermani in the 9th century AH. (15 AD). In Türkiye, it is kept in the libraries of Istanbul University and Hagia Sophia Library. This essay is the result of the bibliographic and stylistic analysis of the second volume of this Khamsa titled "The World List."

The current research is a theoretical study that was conducted using a library method and a descriptive-analytical method, and its sources are based on the version of the Istanbul Library (913 AH).

The findings of the research show that this poem was written following the military poetry of Khosrow and Shirin. Despite this, except for the weight, it has no resemblance or proportion. The poet believes that the legend of Khosrow and Shirin has nothing new to say and a new plan should be thought of. Aladdin has created original and sometimes beautiful and pleasant ballads following Nizami, and this can be seen as one of the advantages of his style. The content of this work is educational and in the field of philosophy and mysticism.

The poems are simple and fluent in terms of language. But the number of Arabic words in it is very high. The number of verses in this masnavi is not significant. Despite this, he has used a variety of rows. In terms of rhyme, "verb" and "noun" respectively constitute the most types of words in rhyme. Puns are widely used among innovative industries. In terms of rhetoric, it has various rhetorical techniques and industries; And sometimes it contains strong and creative similes. Among the types of similes, eloquent similes and then detailed similes are the most frequent. After simile, metaphor is the most frequent among expressive arts. The frequency of metaphor in the play is more than that of Makaniyyah. The poet has made the most of current references. The content of the work is educational and mystical, and during these discussions, he praises the Prophet, describes nature, flocks and herds from the past, etc., and in general, it can be said that he is more skilled in expressing lyrical themes than educational ones. themes

Comparison of Rumi's Different Perceptions of Quranic Verses infih-e Ma-fih and Masnavi Faye with Educational Approach Molavi is one of the most famous poets in the seventh century whose valuable verses and narrations are replete with divine teaching, verses from the Holy Quran and Hhadises. His different Interpretations of Quran verses and Hhadises in his works (fih-e-ma-fih) show that he has complete understanding over the Islamic and Quran science. The understanding of his words would be impossible without a sound knowledge of his interpretation of Holy Quran as it happens that the poet has more than one interpretations of the same verse. The difficulty in understanding Molavi’s Interpretations is mainly originated from his skillful use of signs and symbols. These symbols are considered as secrets whose decoding seems to be very difficult. In this paper, the researcher tries to investigate the speeches which have different meanings, helping the readers to interpretation this mystic poet.

The recent acquaintance of Western societies, especially America, with Rumi and his poems, must have been due to Coleman Barks' translations; A translator who get acquainted with Rumi in 1976 by his friend Robert Bly for the first time.Coleman Barks translated Rumi's poems, while he had no acquaintance with Persian language and literature. He re-translated those poems using previous translations by Arbery and Nicholson.In response to the main question of this research, which seeks the reasons for the success of Coleman Bark's translations, we having studied on a number of Bark's translations which are selected among Barks' various books and comparing those with the original text. Eventually with the help of Andre Lefevre's theory we analyzed those translations, and finally, the reasons are as follow:1. The need of modern American society and readers for the human, universal, and boundless concepts that have manifested themselves in Rumi's poetry as mysticism.2. Barks' clever choice of Rumi, among other Eastern poets, because in Rumi's poetry, themes and ideas is deep and astonishing, and has the potential to be reduced to today's paradigms.3. The style he uses in translating these poems, which is the free style of American poetry, is based on the translation pattern of Andre Lefrvere.

Conceptual metaphor in the context of cognitive semantics emphasizes the role of experiences in structuring categories of the mind and perceiving concepts. The elements of nature are one of the most experimental fields for explaining the mystical worldview. Since the sea and the sun are two great and majestic phenomena, they have attracted the attention of Rumi in depiction; Therefore, in this research, we have aimed to examine the conceptual metaphor of the perfect man, relying on the two elements of the sea and the sun, in order to explain the attributes and role of the perfect man. statistical society is the first office of Maulana's masnavi.The data analysis method is descriptive with analytical content. This research shows that "Sun" and "Sea" in the first book of Rumi's Masnavi, as two colorful elements, serve to explain Rumi's worldview towards the perfect human being, with all their manifestations, and clarify concepts such as " Survival is "unity", "destruction" and "the need to work with the old". The results of this research show that Rumi created a network of metaphors by using the metaphorical aspects of the sun and the sea and related and contrasting image clusters, all of which represent the macro metaphor of "Man is the perfect light" and "the perfect man is the sea". These sub-metaphors are: sun, moon, star, lamp, oyster, fish and pearl, all of which explain the position and role of a perfect human being. The roles of a perfect human are: guidance, therapy and improvement.

Jalāl al-Dīn Moḥammad Balkhi explains some outstanding artistic forms and special mystical themes in the form of Arabic poetry as the expression of Mathnavi teachings. This research examines the linguistic and literary aspects of this type of poems through the study of all-Arabic verses and stanzas of Mathnavi and it shows the amount of innovations in their structure and through Arabic poems, he pays attention to the most important purposes of Rumi in the presentation of themes. The aim is to analyze the artistic standards of Arabic poems, the heresies of Rumi in the structural domain of these poems and the quality of explaining the concepts considered by him to express the content. In order to know about the necessity of the existence of Mathnavi Arabic poems, the method of combining Arabic verses with Persian verses was studied in the method of content analysis and with an aesthetic approach. For this purpose, 123 verses and 99 stanzas were examined in six books of Mathnavi. The results show that in some cases it is not possible to express the meaning except in Arabic. The main reason for this, apart from criticizing the character of the grammar scholars, departure from the normal norms of language, the fusion of Rumi's thoughts and findings from Arabic and Persian sources, the creation of multiple meanings in a new form and the deepening of mystical experiences through the creation of a special Mathnavi language. On this evolutionary path, certain linguistic priorities occur in construction and form. In this regard, Mevlânâ does many creative things to deepen the foundations of Mathnavi thought and in this way, it smooths the uneven path of expressing Mathnavi themes in conveying its various purposes.

Likoff and Johnson"s research in the field of metaphor proved that the uses of metaphor are not limited to the field of literary studies. They believe that metaphor is rooted in thinking and one of its manifestations is language. Therefore, conceptual metaphor is a term in linguistics that refers to understanding an idea or a conceptual field based on another idea or conceptual field. . Based on this theory of contemporary metaphor, the functions of the metaphor of noor and image clusters related to it, i.e. vision and hearing, knowledge, noor, God, etc., were expressed and discussed in Masnavi. The purpose of this research was to find out how the conceptual metaphor of noor in the Masnavi can have a purposeful semantic correspondence with the contemporary theory of linguistics.

Therefore, in this research, the conceptual metaphor of noor based on the theory of Likoff and Johnson in the first book of the Masnavi has been investigated with a descriptive analytical method.

Rumi has used the conceptual metaphor of noor in Masnavi as a linguistic tool to expand the meanings and epistemic concepts. For this reason, the writers have analyzed the first book of the Masnavi to get the conceptual metaphor of noor along with the semantic mediators and they have found that knowledge in the first book of the Masnavi is an epistemological category and Rumi is in agreement with this conceptual idea that the universe is light. He considered pure noor as vision, hearing, noor, existence, etc., as well as a means to explain the category of annihilation and survival.

In this regard, significant results have been achieved. Several meanings have been obtained, including noor as a perfect human being, as the sun, moon, food, etc. And the general result is that the assumptions of conceptual metaphor are suitable for analyzing and explaining the abstract categories considered by Molavi Bastari.

The main purpose of this research is to investigate and analyze the factors preventing a person from promoting and growing spiritual intelligence according to Rumi and Sana"i based on the two works of Masnavi and Hadiqeh. Therefore, an attempt has been made to first examine spiritual intelligence as one of the inner and sublime skills in order to find spiritual and valuable life issues from the point of view of prominent thinkers in this field, then the obstacles of each of the components and propositions of this type of intelligence that It is abbreviated as SQ. Let"s analyze it from the mystical point of view of Rumi and Sanai.

The present research has been carried out in a descriptive-analytical way based on library studies and the Sandekavi method. The statistical community of the research includes Masnavi Manavi and Hadiqeh Sanai. In order to achieve the goals of the research, examples and samples will be analyzed and analyzed based on the components of spiritual intelligence psychologists such as Gardner, Zohar and Marshall.

The findings of the research indicate that in the two works under review, Rumi and Sana"i paid attention to the factors, veils and obstacles that prevent the soul from transcending and reaching high levels of spirituality in the form of various components and propositions. Seekers of the path of tariqat have been warned against getting trapped.

The results of this research show that Rumi and Sanai are in line with the modern psychology of spiritual intelligent components, including having critical and creative thinking, attention to the sacred and sublime, trust, avoiding imitation, patience, raising They have considered the threshold of tolerance, the social mission of the individual as a member of the society, etc., and for each of these propositions, they have well analyzed and explained the obstacles and roadblocks in order to improve the capacity of intelligent spiritual excellence.

The concept of unity is one of the spiritual, ambiguous and fundamental concepts in the field of mysticism and philosophy. And metaphor is the main and most important tool that the mystic poets, including Biddle Dehlavi and Rumi, have used to make tangible abstract mystical concepts such as unity. In this study, we will examine and analyze unity in the Masnavis of these two great poets (Erfan, Telesm e heyrat, Mohit e azam, Towre marefat and Masnavi e manavi) based on the theory of cognitive metaphor. After identifying the types and cognitive functions of metaphors, we will determine the views and ideas of Biddle and Rumi through them. After examining the works of both poets, we find that Rumi used more metaphors referring to natural, accessible, and religious things; Biddle, on the other hand, used more metaphors about human artifacts. Accordingly, in line with their pedagogical intentions in using metaphors, Rumi's main aim is to make the unit more comprehensible to the audience; but Biddle has also sought drama and thematization. Both put more emphasis on the use of some metaphors under the influence of their geographical environment, lifestyle and life experiences.

The two terms, “faith” and “belief”, due to their common semantic field and widespread usage, are used interchangeably, without clear conceptual boundaries between them, not only among ordinary people, but also among elites, such as some poets and writers. However, they exhibit significant distinctions in their true meanings and concepts. In this regard, “faith holders” and “believers” have obvious differences in their perception of God and the way of communicating with Him, the way of perceiving and interacting with existence, as well as their perception of religion and religious experiences. In contrast to many poets inclined towards mysticism and gnosis who often did not perceive a distinction between faith and belief, Rumi, similar to most of the mystic Muslim intellectuals, places “faith” and “disbelief” in opposition and explicates their origin, causes of creation, and their impacts. In fact, he separates his path from the mystical poets preceding him. In Rumi's intellectual framework, which is similar to the views of philosophers such as Kierkegaard, faith is a fluid and ever-evolving matter, while belief is something fixed and static. Consequently, faith is an unlimited affair stemming from an individual’s experiential inclination towards God and is attained through the spiritual journey of the self. On the other hand, belief is established in community and society, evolving through various means such as individuals, books, documents, and exoteric developments. Faith belongs to the impossible, while belief belongs to the possible affairs. Believers are dogmatic and antagonistic, fearing that others challenge their convictions. However, faith holders are tolerant. Those in faith are always in an endless relationship with God and continue this relationship in love, while others have a transactional relationship with God, viewing their religion as a means to achieve worldly and otherworldly desires.

The following article examines one of the religious foundations of the Mehr religion called "The Myth of Descent and Ascension" in Ganjavi Nezami’s Haft peykar and Masnavi. The purpose of writing the article is to highlight the common beliefs of Masnavi Haft peykar and Mehr religion about descent and ascension.

This article has been compiled using a descriptive-analytical method with comparison and interpretation. The method of collecting information has also been a library.

The concept of descent is one of the important and frequent themes of mystical literature, which also has a wide expression in spiritual masnavis. In Masnavi, it is mentioned about the sadness of parting and the obstacles to ascension, the desire for ascension and connection, and the relationship based on love between man and God.

Rumi believes that the most important factor in a person"s downfall is the cycle of self-righteous love and the pain of parting in a person. In the Masnavi, heaven means the place of closeness to God, and therefore the descent is the separation of the soul from its original source, and the ascension is the loss of a drop of the soul in the sea of truth. The myth of ascent is emphasized more in Haft peykar; The main hero experiences a stage of recognition and introspection in this test by walking in the seven domes, which has many similarities with the seven steps of Mithras. The stories of Haft Gonbad are also surprisingly compatible with Mithraic themes and rites.

Criticism of methodology and analysis of literary works is one of the important topics in the field of scientific and research works, which can shed light on the intertextual influence of literary texts, especially in fiction. In the present study, the authors, using the method of content analysis and comparative comparison, found one of the ways of espionage in the war in seven famous literary and historical stories "King of Jahud and Nasranian" in Masnavi and Hayat Al-Hayvan Demiari, "Boom and Ghorab" in Kelileh. and Demeneh, "Firouzshah and Hitalian" in Tabari's history, "Shaghad and Rostam" in Ferdowsi's Shahnameh, "Zaba and Qasir Ebn-e Saad" in Balami's history, "Bibi Seti and Abu Muslim" in Abu Muslimnameh. The results showed that the method of espionage in the story of King of Jahud and the Christians in Masnavi and Hayat al-Haiwan is stronger than other stories in terms of structure and content. The method of penetrating is based on a kind of cognitive warfare, which without any military conflict, and only with mastering the power of knowledge and identifying the religious beliefs of the enemy, created differences among the fearful and destroyed them. This principle has not been observed in other stories.

Without a doubt, a large portion of the pleasant nature of Rumi’s work is related to his manner of expression and his method of diction. Rumi-researchers have often spoken of the allure of Rumi’s expression, yet many of the charming secrets of this language still remain unknown; it seems there are no solutions in this field but the meticulous analysis and the detailed study of his way of writing. Therefore, the author of this essay was determined to understand the language of Rumi to the best of her abilities; for this reason, compound sentences were chosen from Masnavi-ye-Ma’navi so that by analyzing them she could gather more information about Rumi’s usage of different sentence types that has resulted in the coherence of his work.Because of the large volume of couplets in Masnavi, we chose about 1372 couplets from the first book and obtained substantial results by examining them. Based on the results, in Rumi’s Masnavi-ye-Ma’navi, compound sentences are used considerably more often than simple sentences, and among these sentences, ones that consist of one independent clause and one dependent clause are higher in frequency. In some of these compound sentences, Rumi removes conjunctions, giving the readers freedom to choose the appropriate conjunctions themselves and find the independent and dependent clauses based on that; or, in some compound-complex sentences, one clause can simultaneously be dependent and independent, meaning that depending on the clauses that come before and after it, its role changes.

Semiotics aims to uncover the conventions that give rise to meaning and assigns each word as a sign based on the concepts of the signifier and the signified, as well as signification. This research examines the word "Alast" ("Am I not your Lord?" Quran:7/172) in Masnavi Manavi using an analytical-descriptive method and relies on layered semiotics. As an abstract sign, the word carries various meanings. Jalāl-al Din Rumi, like other Quranic words, has undergone semantic evolution and has created innovative interpretations within its context. Whenever he refers to the word, he establishes specific semantic links with a particular concept. This article investigates these specific semantic connections. The research results indicate that Rumi has employed this word in semantic fields with a unique artistic function. By mastering the mystical, philosophical, historical, and psychological content, and most importantly, the Quran and Hadiths, Rumi has effectively expressed profound content through this word. His intention was not merely to use the word as rhetoric.

The metaphor of humanism from Lakoff and Johnson's point of view means assigning some aspects of human existence(the destination field)to mental concepts and inanimate objects(origin field) orThe significance of this metaphor is that by taking advantage of the knowledge that it has about many aspects of his existence, he can help to better understand and accept abstract concepts by humanizing themThe aim of this study was to compare the humanism of death in Hadigheh and Masnavi based on Lakoff and Johnson's viewpoint and by documentary method.The findings show that death anthropomorphism in these two works is depicted in the form of a generalmetaphor of "death as a human with social relations and interaction", which has two subcategories of "Death as human with relation and confrontational interaction" and "Death as human with relations and amicable interaction".The results of his research show that, in Sanaei's thinking, death is in relation and "confrontational" interaction, as a colonel, warrior and murderer who seeks to exercise power to the lower hand, and in loving relations, in the form of shepherds, old andguests,he"cooperates"with other people.In Rumi's thought, the humanization of death is more than a "confrontational type, in which death as a judge, a martyr, colonel and warrior is at odds with people such as thecriminal,theconvictandthereceiverofawareness.Consequently,in Sanaei's thought, a person is introduced as helper In fact, based on a military and violent atmosphere,Rumi has drawn the relationship between man and death,but Sanaei has also focused on the relationship and interaction of peace, solidarity and tranquility.