جستجوی مقالات مرتبط با کلیدواژه « احمد جام » در نشریات گروه « ادبیات و زبان ها »

The concept of episteme and the means of achieving it in Sufi texts and writings have always been among the important thinking priorities of Sufi writers and luminaries. Furthermore, the issue of supernatural wonders or miraculous acts performed by Sufi spiritual masters (Karāmāt) is regarded as one of the most evident aspects of their manners and has come to be known as a true test and criterion for assessing the spiritual status of the saintly people. This research aims to answer these two questions: What is knowledge/episteme in Sheikh-e Jam’s view? And what is the connection between Sheikh Ahmad-e Jam's distinguishing supernatural wonders, i.e. transformation of the essence (qalb-e jowhar), and the definition of epistemology in his school of thought? To that aim, first, the status and definition of epistemology in the texts of Sufism are examined and then, the definition of the same concept in Sheikh-e Jam's writings and the features of knowledge and episteme in his works are explicated. Based on his writings, we can safely assume that Sheikh-e Jam thinks of knowledge as the elixir (as in alchemy) which leads to the transformation of the mystic's nature; he is also of the belief that achieving this knowledge coincides with gaining a special power to interfere with the essence of the objects. Then, the significance of the “transformation of the essence” in Sheikh-e Jam's writings and its connection with the doctrines of Karamiyya Islamic sect will be investigated. After these three introductions, the connection between the miraculous acts of Sheikh-e Jam and his specific epistemological stance will be illuminated. In view of that, the logic of narrating such spiritual feats will make sense in the field of contrastive discourse, beyond that of forgery and fabrication.

Changes in linguistic potentials and the expansion of vocabulary storage, and the development of syntetic and rhetoric patterns in different periods of time may result in different readings and recreation of the texts. Tadhkirah (memorandum) and biographies are no exceptions. Infact, each revision of literary texts creates a new picture of the previous text. In order to find the facts in the texts with real and historical basis, especially in the history of literature, comparing writings in different periods of time and the differences between narratives according to linguistic features and intellectual features of that period is very important. It shows the difference in people’s thoughts in each period and the effect of external factors on the creation of the literary works. In " Maqamat-e Zhandeh Pil" there is a narration about Ahmad-e Jam which is narrated in one of the manuscripts of Tehran University too, but in a different way. In addition to correcting this manuscript, this research aims at finding those instances that show how narrators and those who write memorandums with some subtle changes in describing his characteristics and manners through a sentence or just a word demonstrate an obscure picture of Sheikh-e Jam. Comparing these two narratives show that in addition to some linguistic and rhetoric differences, there are some changes in the setting, and description of the events and actions which indicate that the narrators have not been that loyal to the original text. However, their similarity in sentencing and narration indicates the existence of an alder narration of the story which has probably been the source of both these manuscripts. Considering contents, both writers explicitly illustrate the same historical and geographical information about the subject with no discordance. Furthermore, this story is a clear document indicating the power and state of Suffiya in that era.

Illiteracy is one of the traits some writers have attributed to Ahmad Jam. These writers know his whole speeches spiritual intuition and divine inspirations. According to these writers if all traces and writings of Ahmad Jam are under the impact of” DIEX EX MACHINA” therefore, a question is posed: what is all this similarity between his traces with writings of the sheiks before him? We believe these arent accidental. Thus, these writers indirectly wanted to equalize him with the illiterate prophet and increase his prominence and status for the posterity in this way by means of this persistence in the role of inspiration in sheikh’s traces. In this article, we have tried to answer these questions starting with an introduction to revelation and heart inspiration. Then we have tried to compare sheikh Jam's prose traces with six of his preceding mystical traces and we have allocated a time for the survey and the analysis of interpretive similarities, clarifying the differences and resemblances of these traces. We prove that Ahmad Jam had totally been familiar with his preceding mystical heritage and these traces are a combination of divine inspiration and compliance with speeches and writings of preceding sheiks.

From the first days of mystical contemplation, there have been significant differences between mystics’ interpretation of religion and that of canonists. Canonists have restricted religion to sharia and regard everything else as apostasy. Mystics, on the other hand, are liberal in their point of view and believe that religion covers a more expanded semantic field than that presented by canonists. Differences in interpretation have led to various clashes between mystics and canonists. The former considers the latter as being naïve and superficial while the latter considers the former as being pagan and apostate. The clashes between these two groups are rooted in two factors: (1) canonists’ superficial interpretation of religion and their focus on the outer layer along with their layman behavior have led them to consider mystics as pagans and apostates; (2) mystics’ unorthodox behavior and their blatant and superfluous remarks which contradict religion, especially when interpreted superficially, along with fake mystics’ behavior inspired by the social ills of the 5th and 6th century sowed the seeds of hostility with canonists. The researcher aims at scrutinizing Sheykh Jaam’s manuscripts to show that he goes beyond sharia and delves into deeper layers of tariqa and haqiqa.

Literary elements have its source in imagination of writer and poets and artful using of these elements of eloquence make the writer to be distinguished. This paper aims at studying some indicator of literary manifestation in prose of Sheikh Ahmad Jaam . His prose at first indicates his power in influence in deployment of technical and creative prose that is also is with – protect from firmness of simple prose- at beginning of sixth century of Hegriy. Second, his prose is a sign for the art of sheikh in using of literary manifestation. The art arises from his individual literary talent and imaginative faculty. Ahmad Jaam not only uses literary manifestation and skillfully makes delicate and elegant literary works, but also  uses  his  special  method  to  be  more  concise  and  effective.  This method  which  is  rare  and  innovative  consists of  a  lot  of  elements  of eloquence such as: comparison, repetition, metaphor, proverb, allusion and etc.  Also,  his  employed  method  indicates  his  influence  on  Persian language and literature.

Sheikh Ahmad Jām is among the mystics whose interlink of life events and charismatic characters have been a source of misunderstanding their true face. This misinterpretation is sometimes very great; for instance, the distance between the two Sheikh Jām’s pictures, one in Maghāmāt-e Zhende Pil, and the other originated from his works, is as great as the distance between myth and reality. The contradictions and paradoxes related to his character and thought have made him one of the most controversial figures in Persian mysticism. This article, after defining the concept of charisma, briefly deals with Iranian charismatic mystics, and then, referring to some unbelievable charismas of Sheikh Ahmad Jām mentioned in Maghāmāt-e Zhende Pil, brings multiple evidence in order to come as close as possible to the true character of Ahmad Jām.