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

Intertextuality is a new approach to reading and criticizing literary texts. According to this theory, each text is formed by borrowing from previous texts. In other words, no text is produced independently. Gérard Genette, a theoretician in this field, proposes three types of links between literary pieces: explicit and announced, non-explicit and undeclared, and implicit between two or more texts. Since mystical texts present a more coherent and precise communication, the theory of intertextuality can be applied very effectively to such texts. Ghazali's Sawānih and Fakhreddin Iraqi's Lama’at are two of the well-known mystical texts. Discovering the relationship between these two texts, hence, helps us know the characteristics of some works that are influenced by mystical texts. In this article, a descriptive-analytical method is used to find examples of Ghazali’s influences on Iraqi based on the theory of intertextuality. Findings suggest that in writing Lama’at, Iraqi is independent in terms of language, but he has made intertextual use of Sawānih’s structure and content: He has added points to the original writing and has altered several points from Sawānih, interpreting various parts of the former piece, deleting some parts, and adding some others.

The present article examines the concept of "Wilayat" in the works of Iraqi and al-Nabulsi, as one of the important elements of Islamic mysticism and Sufism, and the purpose of comparing their votes is to express their similarities and differences. The result of this comparative study is the concept of Wilayat in Iraqi and Nablusi’s works, which has been done by descriptive-analytical method, expresses this main resemblance that in Iraqi’s and Nablusi’s thought, "Wali/Vali" means two real "al-Insān al-Kāmil" and "Pir" who have attained the rank of Fana, the status of a lover and intuition. From this point of view, it can be said that in Nablusi’s and Iraqi’s thought, the Wilayat is more focused on the ideas of ibn Arabi and this intellectual commonality of theirs is, above all, the result of the description of Ibn Arabi's works, especially Fusus al-Hakam by them. But the most important difference between the two mentioned, and their dynasty in the concept in question is that in the Iraqi and Suhrawardi works, the wilayat is "Wahhabi" by God, and in Nablusi's and Naqshbandi's thought, it has an "acquired" aspect. From this perspective, Iraqi and Suhrawardiyeh believe that for the Wilayat, divine care must be taken; also it will be from the charter of Khatam al-Anbiya. But in Nablusi's and Naqshbandiyya's thought, first of all, anyone can reach the position of Wilayat, and secondly, special Wilayat is the result of the immediate manifestation of the God's Wilayat after the realization of individual annihilation.

The present study examines the mystical concept of distress in the poems of Fakhr-al-Din Iraqi. The concept refers to the separation from God; it awakens the soul of man from forgetfulness, makes him/her eager to meet the Beloved and leads him/her to seek God. The mystical concept of distress is presented in Iraqi poetry in two different ways: First, in the form of an unpleasant and intense pain that is not never desired by the devotee and it is hard and sometimes impossible for him/her to bear it; but, in order to achieve spiritual development, she/he has to be patient until reaching God. The second manifests itself in a pleasant way, so that the lover desires it and considers it as a cure. With regard to the concept of distress, the present study examines the two concepts of nearness (gorb) and distance (bod) from an epistemological perspective. Also, by using descriptive-analytical method, an attempt is made to study the issue of distress in Iraqi intellectual system, and to resolve the contradiction on the issue of distress in his poetry divan.

The word “kharābāt” in Persian literature, and especially in mystical literature, is one of the most frequent words. Due to various and sometimes contradictory meanings of this word which has thousand colors, it has been accepted in mystical literature. In the texts of Persian poetry and prose the word kharābāt and kharābāti (who belongs to kharābāt), and in particular, in the texts of mystical poetry and prose which are full of this contradictory word, because each Persian poets and writers use the word kharābāt in the different meanings. In this article, the different meanings of the word have been explored in Persian literature, and also the point of views of many Persian-speaking writers and poets, and in particular, the point of view of mystic Fakhr-al-Din Iraqi, have been explained in detail in this regard.

The verbal music in poem, named  aesthetics, is the first and most important element of the beauty of poem and can fascinates addressee. Rhyme, radif in verbal music plays a very important role and serves as a pillar and reference in the music of every line. In this text, we explore types of rhyme and radif and their musical roles in Iraqi's sonnets. Iraqi is the great mystic and poet who lived in 7th century. We evaluated rhyme and radif, used in his poem book from different angels, in a descriptive-analytical way. The following results were achieved: Sonnets, have used common and frequently used rhythms.  His expression is fluent and understandable. 63% of the rhyme words  are ended with high syllable, in form of obligated  mordaf  to main redf and absolute mordaf to main redf. This issue provides the context for music of word and beautifies the thoughts. 24% of the rhymes ended with simple syllable have been in obligated and absolute form. In these  rhymes, for having the necessary condition for fluency of the music, vowels or a suitable radif with a high syllable have been used. 64% of Iraqi's sonnets have radifs, so the last consonant of the rhyme with poor pronunciation in these sonnets is well-pronounced and the necessary music of the poem is achieved. The phonetic relationship between the chains and sub-chains in the chain of words, between rhyme and radif, and the other words in each line has a good harmony and nice beautiful music.But in Iraqi's sonnets, contents are similar and  imagination is low, and repetitions of rhyme,  radif and the first line (Matla') are in excess of need.

Love is one the key concepts in Ibn Arabi mysticism that provides the base of the creation of existence. Ibn Arabi has own logic and style for expressing the truths of love. For this reason, Henry Corbin uses “dialectic of love” for Ibn Arabi style. He considers love as an essence that its truth is not obvious, since it is perceivable by experience, it has no unknown truth, because it can be understood by knowledge of presence (Farhanipour, 2015:46- 47). Fakhreddin Eraqi is one of the eminent scholars that have propagated the ideas of Ibn Arabi. Eraqi has reflected his ideas on love in his works including Lamat(Tastes) Oshaq Nameh( the Book of Lovers) and Ghazals. He is sometimes the narrator of Ibn Arabi thoughts in this scope and sometimes he retell his intuitions and observations in love. This article aimed at studying Iban Arabi ideas on love in Eraqi ghazals. This research was conducted by content analysis and the main ideas and thoughts of Ibn Arabi and Eraqi on love have been compared. The results showed that Eraqi’ ghazals are influenced by Ibn Arabi dialectic of love and the main difference lies in the manner of poetic expression and imaginative language of Eraqi.

Mystics have paid special Attention to the reflections and thoughts of Ibn-e-Arabi - the greatest mystic of the seventh century H.S.- immediately after their dissemination. Afterward, he has had a great impact on different areas of theoretical and practical mysticism and many in Iran have tried to explain and disseminate his thoughts. Fax rod- din Iraqi is one of the best expositors of his works. Iraqi Occasionally analyzed and disseminated his mystical and philosophical subjects with detailed scientific expressions and sometimes with poetical phrases. Some views of Ibn-e-Arabi have been adapted to his. But sometimes they are accompanied by innovation which has been achieved as a result of his mystical experience as well as his intuition. The basic representation of these thoughts is in the realm of the cosmos. Because of this, comparative analysis of the thoughts and ideas of these two great mystics is crucial.The method according to which the principles of this paper were gathered together was library based and the gained results were analytically and descriptively put forward. Areas such as Fundamental Mystical Reflections, Mystical Ontology, Five Divine Existences, Love, World of Prototype, Manifestation, Perfect Man and Authority were analyzed. One of the most significant results of this study was that Iraqi was impressed with Ibn –e-Arabi’s views and you couldn’t find mystical and philosophical thoughts of Ibn-e-Arabi which was not reflected in Iraqi’s works. Iraqi’s innovation in applying these thoughts was represented itself in poetic imagination and explanation of the poet.

The celebrated poem of Ahmad Hatif of Isfahn, known in Persian as the Hatef’s Tarjiband is studied in the present paper from a historical point of view to reveal the status of this poet in Persian poetry, as well as its mystical content. First a short history of Tarjiband as a poetic form is revised, then the sixteen poets who have written a mystical Tarjiband are presented. All of these Tarjibands have the same rhythm and the refrain “He is one and there is naught but He” after each strophe. The total number of these Tarjibands is twenty one because some of these sixteen poets have written two Tarjibands. Searching the Persian poetical texts it is found that this kind of Tarjiband was begun from seventh century by Fakhr al-Din ‘Araghi and other poets before Hatif. Forsat al-Dowleh, a poet from Shiraz has continued this tradition. But among all these similar poems it is the work of Hatif that is rested popular and the others are approximately forgotten.

One of the important books on symbolic words and expressions of Sufism is Rashf-ol-Alhaz fi Kashf-ol- Alfaz by Sharaf id-Din Hosein Ibn-e Olfati Tabrizi, edited by Najib Mayel Heravi. The book consists of 300 mystical and Gnostic expressions. The same contents are attributed to both Fakhr id-Din Araqi in an appendix to his Divan, edited by Saeed Nafisi, as "Estelahat-e Fakhr id-Din Araqi", and to Aziz Nasafi, in a book entitled "Loqat va Estelah-at-e Orafa". The overall sameness of the three copies, whether in their divisions of the contents or in their entries and definitions, proves that one of them must have been the original book. Yet, misattribution of the book to these two authors is not in doubt; nor is it possible to identify the real author unless a reliable copy is available. Relying on the exhaustive review of all the available copies and manuscripts, and the analytical- comparative study of them could provide a text with a careful edition.