جستجوی مقالات مرتبط با کلیدواژه « sultan walad » در نشریات گروه « علوم انسانی »

Gnomic verses are artistic images which can be various angles, may be used in the beginning, middle or the end of the allegory and can analogize abstract notions to sensible ones or vice versa. This research is a study performed via the ‘library-based’ approach and, while pointing to the background of gnomic verses, investigates the Triple Couplet Poetries of Sultan Walad’s, namely Ebteda Nameh, Rabab Nameh and Enteha Nameh, and with respect to the angles, position, and structure of gnomic verses, demonstrate the quality of how this literary adornment is made use of. Results of the study show that (1) in using this artistic symbol, Sultan Walad has more benefited from the double-sided type gnomic verse and analogizes subjective, abstract and mental notions to sensible types. (2) There are times that both hemistiches of a verse are equivalent in meaning to the previous verses and help present the gnomic verse through more than one single verse. (3) Sometimes the bases of the gnomic verse are fictitious, imaginary or legendary. (4) There are times that gnomic verses are depicted in two running inter-related verses. (5) In quite a number of the gnomic verses, one of the bases of the gnomic equative is pretermitted and hidden in the meaning and concept of the verse.

After believing in the unity of Allah, the issue of “Saint and Sanctity” is one of the most fundamental issues in Islamic mysticism ideology. Saint literally means closeness, affection, victory, seigniory, etc.; however, in Sufism terminology it means the one who goes through denying human traits and worshiping Allah to achieve a higher form of life. Shams-i Tabrīzī and his devotee, Sultan Walad, like most of mystics, believe that saint is the one who becomes united with Allah. In their beliefs although knowing the real saint is even harder than knowing Allah, real aficionados should truly know the saints and avoid following dishonest plaintiffs. Moreover, both of them categorized the saints into two groups of “hidden” and “well-known”. In their views, even though all the saints came from one source, each receive their share from Allah based on their innate capacity. Further, the place of the “beloved” is higher than “lovers”. Besides, the Pole is considered as the king of saints who is the ultimate purpose of the creation. This study investigated the influence of Shams-i Tabrīzī on Sultan Wald regarding to the issue of sanctity.

Sultan Baha'uddin Muhammad Walad, the eldest son of Rumi Jalaluddin Mohammad Balkhi, has numerous valuable works in the field of mystical poetry that can no doubt be traced to Rumi's poetic moment in his poetic world. The Sultan Walad Divan, which contains about thirteen thousand distiches, has been written in a simple yet sophisticated way to the extent that some of these sonnets come from the similarity of the father's poems mistakenly recorded in the Divan Kabir sonnets and named after Rumi. When we began the critical correction of this Divan, we encountered two types of manuscripts whose differences were so far from being relevant to the error and arrest of the scribes; rather, they reported on two different versions of this noble court. In the present article, we have tried to prove, in addition to presenting their differences, with various evidences, that both writers are probably the creator of this work, Sultan Walad. We will also introduce a unique version of the Divan, written by Nizam al-Din, Sultan Walad‟s brother-in-low, which includes both writings and is likely reviewed and revised by Sultan Walad himself.

Rhyme is one of the factors influencing the aesthetic creation, and is one of the components of the compilation of the poetry, which has a prominent position in Persian poetry, and the Persian poets have long been concerned with its application. As the Persian poetry evolves, the application of the rhyme becomes more visible and the poets have gone through a variety of words. Among those that types of rhyme play a major role in the poetry of his poetry, is Sultan Walad, who has used a variety of words in rhyme position in his lyrics. This research, with a text-oriented approach, and from the angle of statistics deals with the types of rhyme and their functions in Sultan-Walad’s lyrics; thus the rhymed and non- rhymed poems and the various types of rhyme in the lyrics of the poet, which include a considerable amount of his Diwan were studied and finally It was found that the his rhymed lyrics are much more than non-rhymed lyrics, and the frequency of all kinds of rhymes also shows that the verbal rhyme are the most frequent type of rhymes in the sultan Walad's lyrics. On the other hand, the functions of rhyme in his lyrics were also investigated from the musical, inductive and rhetorical points of and we concluded that the poet has used the rhyme for his purposes, including: aestheticizing, expressing his thoughts, and reflecting his own feelings and ...in his poetry.

The music of poetry is what makes the verse interesting. This factor is manifested in a unique way in Sultan Walad Ghazals, which is highly represented in the phonetic balance. The poet has increased the variety in rhythm using quantitative balance regarding metric features and using different meters. Sultan Walad has created special kind of rapture and fascination in his Ghazals using the cyclic meter in a way that cyclic meter is most frequent in the fast rhythms of this kind of poem. In the application of qualitative phonetic balance, he uses repetition, and by repeating different Persian vowels and consonants he has increased the aesthetic feature of his Ghazals. The long vowel /a/ is very frequent while /o/ is the least frequent vowel in his use of repetition. Sultan Walad has created rhythmic aspects in his poems by the application of vowel and consonant repetition while the most frequent repetition is in the initial consonant and the least frequent is the repetition of the initial vowel and consonant. The poet's use of repetition is more obvious in the rhyme. Therefore, it can be said that Sultan Walad has created a special kind of music in his Ghazals using different kinds of balance, regarding same sounds (including consonants), and same letters which can be studied from different aspects. An analytical-descriptive method is used in this research through which we have identified phonetic balance in Sultan Walad’s Ghazals, and in addition to analyzing each, we measured and showed the frequencies using charts and tables.

Masnavi-i Manavi is an impressive work in the realm of Islamic mysticism, where Molavi using his Quranic discourse, provides disciples with many teachings. He also has certain opinions regarding Quranic interpretations and by means of his mystic intuition, he tried to explicate different semantic aspects of Quranic ayahs. The first person who imitating Molana wrote another Masnavi was his son Sultan Walad who enjoyed the teachings of Masnavi-i Manavi. Although he found a new way of experience in mysticism, his cognition and logic are very much affected by Mevlevi Order especially his fathers. Pondering on his three Masnavies reveals that many Quranic interpretations available in Molana’s Masnavi have been reflected in his work. In the present article, the authors try to examine the viewpoints of Molana with regard to Quranic interpretation and meanings and weigh how much they influenced Sultan Walad's Masnavies.
The results points to the fact that Molana and his follower, Sultan Walad, consider their writings as Quranic interpretation and believe that the words of Allah's fāni spiritual men are illuminating for human beings as are the Quran's divine revelations. As a result, the Quran's interpreters are those who have really reached Allah not the servants of their desires. In their viewpoints, the Quran has different layers of meaning and merely relying on the surface layer does not befit Allah's spiritual men at all. Molana believes that Allah's wvasel (joined) men can only understand up to the third layer of the Quran, but Sultan Walad believes that spiritual men understand up to the third layer and understanding a layer beyond that is only in the monopoly of Allah's true lovers.

Bahā al-dīn Muhammad- known as Sultān Walad- is considered as one of the founders of the Mawlawiya order. He always reveres and respects the elders of Mawlawiye and follows their orders. He was not only the student of his father Jalal al-din Rumi but also a follower of Seyyed Borhān al-Din Mohaqeq Termezi. He was one of those who realized the reality of Shams Tabrīzī and Shams Tabrīzī also communicated the divine secrets to his heart. Moreover، Sultān Walad was satisfied with the Salāh al-din Zarkub caliphate and called him the ruler of the universe and believed in his uniqueness. Also، he was a follower of Hesām al-din Chalabī and believed that through his guidance and sanctity one can receive Allah. After Hesām al-din death he lost his delightful leader and mourned and grieved a lot. However، Hesām al-din came to his dream and directed him toward Karim al-din Bektamer. Although Sultān Walad gained a lot from him during seven years، he didn’t introduce him to his followers. There are several reasons why he did so from our point of view: 1- the utmost adoration of followers of Sultān Walad to him; 2- the desire of Sultān Walad to show the holiness of Rumi family; 3- the social power of Sultān Walad and Karim al-din reputation avoidance and; 4- the mystical beliefs of Sultan Walad. In this article we will try to delineate the spiritual relationships of Sultān Walad and elders of Mawlawiya order.