جستجوی مقالات مرتبط با کلیدواژه "divan-e shams" در نشریات گروه "ادبیات و زبان ها"

The depictions derived from the subjective mystical experiences, in Molvi's lyrical poetry, have not been analyzed specifically and independently, in one place and in a regular manner; Although in a general way, the types and branches of Molvi's imaginations and imagery have been included in the cycle of research. This research claims that Maulvi was able to express the pure images of his internal and intuitive experiences, which are generally indescribable, in the Ghazalyat of Shams, and this is a rare event that Maulvi went through and managed to express the most abstract experiences. In this research, which is based on the descriptive-analytical method, with library and citation tools, and in the theoretical framework of Gadamer's hermeneutics, after reviewing the opinions of various researchers about the separation of mystical experiences, those poems of Divan Shams which, in particular, are manifestations They are considered to be one of Molavi's personal mystical experiences, based on the current feeling in the ghazal, they are divided into four categories: pride and warning, reprimand and blame, the need to recognize oneself, and joy and forgiveness, and for example, a ghazal from each of these categories is examined. and analysis has been done.

Perdition as the ultimate step into God and the highest efforts of the mystics in the Divan of Shams is an excellent manifestation. In this concept, dance has a significant role and the music has a great importance. Hence, in Sufism, music and its instruments are respected and desirable, and have impressive effects in the ascension of the peripatetic to the highest level of mysticism.What is happening to a peripatetic is unutterable, the tongue is unable to interpret it, and somewhat can be comprehended by the excitement of the peripatetic, which is accompanied by sounds of music instruments. Mawlawi has benefited greatly from the influence of music on the way to the God, and he repeatedly used the musical instruments in describing the area of perdition and saw himself as many of those instruments as the beloved in those levels. This research has been implemented on evaluating the extent of perdition and its relationship with music and dance and its effect on the nature of the peripatetic.

Mystical experience, as a type of religious experience, has characteristics that each of the religious philosophers and mystics have listed characteristics according to their point of view. Walter Stacey is one of these renowned scholars who in the book Mysticism and Philosophy has seven basic characteristics including monotheistic vision or unifying consciousness, timelessness-impossibility, sense of objectivity or reality, sense of peace and tranquility, sense of holiness and sanctity and divinity, Has mentioned paradoxes, and inexpressibility for mystical experience. Divan-e Shams contains manifestations of Rumi's mystical experiences, including objective and subjective experiences. Rumi's objective experiences have manifested themselves in the form of mystical fables, mystical springs, transformations, mystical epics, and wonderful encounters In her psychic experiences, in which God really speaks in the language of Rumi, categories such as pride and warning, questioning and reproach, the need to recognize oneself, and enthusiasm and forgiveness can be seen. Analysis and explanation of the sonnets of each category requires knowledge of the theoretical foundations of mysticism, attention to the structure and meaning of the sonnet, as well as mastery of the poet's mental system. In this research, one of Rumi's mystical fables has been studied. In this narration, Rumi has used the code "thief" to express the manifestations of one of his objective experiences. The present study, while deciphering this poem using other lyric poems of Divan-e Shams, has discussed all the features considered by Stacey for mystical experience.

One of the sciences widely reflected in Persian literary texts is medicine. Rumi is one of the poets who have knowledge in various sciences, and like many of the scholars of the ancient era, he possessed medical knowledge. However, he has never artificially and conspicuously reflected such knowledge in his works. Concerning the herbal terms, medical statements, and medicinal plants mentioned in Divan-e Shams, this research tries to show to what extent and for what purposes Rumi has used such medical contents and terms. In fact, Rumi does not merely intend to express the concepts of medicine or traditional medicine in Divan-e-Shams; rather, as is clear from his mystical practices, he employs medical terms as a means of expressing his views and ideas. Research method, research background and purposeIn Persian literature, there are scattered researches on reflection of medical themes in poets' divans. One example is Golshani’s Medicine and Medical Themes and its Reflection in Persian Literature (2012), in which poetic themes in medicine are studied based on ancient medical texts. “The Manifestation of Medicine in Ancient Literature” in which medical themes in Masnavi-ye-Ma'navi, Divan-e Shams, Saadi’s Bustan, Khamsa of Nizami and the poems of Attar and Khaqani are extracted (Zanjani and Asadi, 2002: 117), "Biography of Physicians in Persian Literature" that highlights the ethics of physicians in Persian literary texts (Kollahdoozan, 2004: 98), and "Medicinal Terms and Medical Themes in Attar's Works" that deals with Attar’s medical terms, medicinal plants, medical position and medicine (Bahmani Motlagh and Toni, 2013:29) are all examples of such research.This research mainly aims to make ancient texts more comprehensible. By adopting inductive approach, it studies relevant couplets where medical concepts are stated or implied; and also explains Rumi's intentions in employing such terms. First, treatment methods including preventive methods, medication therapy, and other therapies reflected in Divan-e Shams are categorized; then, all medicines are listed and classified based on their predominant features into recreational, analgesic, narcotic, tonic, and mood stabilizers.

1-3- Preventive methodsHuman beings have always been looking for ways to maintain their health. Abstinence, Cupping, and stability of mood are preventive methods reflected in Divan-e Shams. Rumi believes that physical abstinence along with spiritual abstinence will be the way forward. Therefore, the poet considers the divine calamities, which are a means of purifying the human soul and spirit from material belongings, to be as similar to cupping, which was practiced in order to remove blood and impurities from the human body (Ibn Sina, 1991: J 1: 491). In addition, human existence is made up of four elements. Any disruption of moderation among them causes illness in the individual (Golshani, 2012: 5). In Divan-e Shams, four temperaments have been repeatedly mentioned so as to explain Rumi's intentions. Referring to the inflammation caused by cholecystitis (Ibn Sina, 1991: 1/281), the poet states that materialists neglect their very existence out of arrogance due to the weakness in them.2-3- Medication TherapyIn his poems, Rumi mentions various herbal medicines, compounds, herbal and minerals, which are classified as follows:Recreational: Badeh, Sharbat, Mosalas.Analgesic: Tootiya, Golshekar, Marham, Matbookh, Manbal.Narcotics: Afsantin, Afyoon, Teryagh.Tonic: Belador, Pest, Sormeh, Sabr, Lekhlekheh, Marjan, Moshk, Maajoon, Mofarreh, Nil.Stabilizer drugs: Balileh, Pelpel,Anbar, Laal.3-3- Other treatmentsSurgery: Rumi refers to the concept of surgery in his sonnets (1268/3, 1337/3, 1428/3, 1474/3, 2263/5). The poet introduces the presence of the beloved as an ointment that relieves pain and pulls out old trachoma with a fork. Fasd or Bloodletting: It is a kind of blood withdrawal to remove impurities (Ibn Sina, 2013, vol. 1: 471). One of the blood vessels mentioned in Divan-e Shams is Akhal or brachial vein (1337/3, 3082/6, 3102/6, 322/7), bloodletting of which is beneficial for most human diseases (Jorjani, 1978: 193).

Rumi has employed medical terms and concepts in a natural way and, unlike some other poets, his goal has been to explain moral and mystical points, not to boast.On the one hand, Rumi transmits the symptoms and treatment methods of physical diseases to the realm of the human spirit, and this demonstrates the fact that his main focus is the soul not the body. And if ever the human body gets attention, it is because body is the carrier of human soul; on the other hand, Rumi's intense inner feelings and emotions are not the result of rational reason and thought, but the result of intuition and revelation inasmuch as he points to the mystical nuances by expressing the medical and scientific themes of his time with no poetic artificial fabrication.One of the most important things about the use of medicine and medical terms in Rumi's poetry is that, for Rumi, referring to the properties of drugs has no intrinsic validity. He rather uses them in order to explain the minute points of spiritual medicine and further to contrast it with physical medicine. From the various properties of a medicine, he selects the ones that are most suitable for explaining his spiritual medicine.

Love is one of the most important concepts expressed in Divan-e Shams, where it has a human personality with specific behavioral characteristics. The human traits attributed to love, and the manner of occurrence of these features in the path of mysticism is important given Mowlavi's perception of love. In this research, the traits and behaviors of love as an acting being were extracted from Divan-e Shams, and the actions of love on the path of the lover's uprising in reaching God, were categorized in five main stages. Manifesting its traits to the lover, love moves from its most intense incarnation, which is “bloodthirsty”, to its most delicate expression which is “mother”. The most intense image of love shows characteristics related to ”pleasure” and “being loved” , and these concepts are most frequent. Then there’s “enmity” with images like “aggressive”, “bloodthirsty”, etc. The third feature is love’s being “guide”. These images, emphasizes on the affectionate aspects of love. That is in conflict with the image of love as a powerful being which is seen at the first look at Divan-e Shams.

Aesthetics is interested in the beauty of the poem on two levels: supra-structural (form), and infra-structural (content). From the infra-structural point of view, we distinguish some genres such as epico-mystical poetry. Divan-e-shams, the known example of epico-mystical iranian poetry, with its supra and infra-structural aesthetics elements, makes the sense more powerful and impressive. In this work, Rumi often gives a musicality resulting from different arrangements of vowels, and consonants, elements of the supra-aesthetic structure of poetry, to induce mystical meanings. We follow the transmission of its aesthetic elements in the French translation of Eva de Vitray-Meyerovitch, via the different stylistic processes, defined by Vinay & Darbelnet, such as Emprunt, Calque, Literal translation, Transposition, Modulation, Equivalence, and Adaptation. The transmission of the aesthetic elements of the poetry of Rumi to the French «language-culture» was difficult, sometimes strange, even pleasant and beautiful. This is stemming from the level of translating ability of the translator, as well as the level of “permeability” of the French language to the Persian linguistic and cultural elements. The linguistic horizon of Mirovich’s translation, different from the aesthetic horizon of Rumi’s poetry, is shaped by the translator’s interaction between the cultures of the target and source language, which has its own characteristics as an independent literary work.

The importance of Dīvān-e Kabīr in the history of Persian literature has led to generation of varied copies of this great work. Nonetheless, contrary to Mathnavi, due to various reasons, a verified text or comprehensive commentary on Dīvān-e Shams is still non-existent. There are still ghazals (odes) by Rumi which could not be found in the print manuscripts; whereas a good number of ghazals inKoliyat have not been composed by him without a shadow of a doubt.  The explanations made by the correctors of Dīvān-e Shams regarding selection of their manuscripts reveal that jungs (literary miscellanies) have not been the focus of their attention, despite the fact that numerous ghazals in these literary miscellanies are attributed to Rumi or Shams-e Tabrizi. It seems that collecting these ghazals could yield benefits in correcting and completing forthcoming editions; though their authenticity could be questioned. In this paper, besides presenting ghazals attributed to Shams or Rumi in jung 3528 of Tehran University and jung 13609 of Library of the Islamic Consultative Assembly, it is discussed that a number of ghazals in the two literary miscellanies are present in Dīvān-e Shams as well with minor differences, and some vary in terms of the number of verses. Nonetheless, a number of ghazals in the two literary miscellanies are not present in the existing editions of Dīvān-e Shams. Some ghazals in the two Shiite jungs have mistakenly been attributed to Rumi or Shams by the scribers due to similarities in “Khamoosh” (Silent) or “Shams” pen-names. A number of other ghazals have also been composed in emulation orimitation of Rumi, while their contents and linguistic features indicate that they do not belong to him.

The present paper aims at studying the relationship between language and cultural conceptualizations in Rumi’s poems. In order to do so, the cultural linguistics theory adapted for identifying the cultural-metaphorical system of Persian language as well as the historical and mythological model of "water and fire". Water and fire representations are quite frequent in the six chapters of Masnavi-e Ma’navi and in Divan-e Shams. Rumi has referred to the Classical elements in 1888 verses. He used water in 524 verses and fire in 574 verses. Water and fire as two opposing elements of the classical elements have two distinct characteristics in the natural world. But these two elements have supernatural features and depict a kind of long-standing contradiction of mind and love in literary concepts and metaphors, especially the mystical ones when occurred within one verse. The purpose of this study is to achieve an understanding of the cognition through the utilization of container schema of the words Del (heart), head, and eye. By investigating the functions of these schemata, a more accurate understanding of the individual and social characteristics of this poet would be obtained. The main achievements of this research are as follows: 1. In Persian literature, Del represents intuitive understanding, and the eye represents the apparent senses (five senses) and is the most frequent tool for the perception of reality. The frequency of Del schema in Rumi's poems compare to the eye schema somehow shows Rumi's intuitive personality. 2. Head in Persian is the container of concepts related to thought, but in the Rumi's poems, it is the container of the terms related to love. The concept of love as an entity in the head as the container has been expressed in different words in the poems of Rumi. Analyzing these words expresses passionate love and, to some extent, the love between friends in Rumi's emotional view.

The present paper aims at studying the relationship between language and cultural conceptualizations in Rumi’s poems. In order to do so, the cultural linguistics theory adapted for identifying the cultural-metaphorical system of Persian language as well as the historical and mythological model of "water and fire". Water and fire representations are quite frequent in the six chapters of Masnavi-e Ma’navi and in Divan-e Shams. Rumi has referred to the Classical elements in 1888 verses. He used water in 524 verses and fire in 574 verses. Water and fire as two opposing elements of the classical elements have two distinct characteristics in the natural world. But these two elements have supernatural features and depict a kind of long-standing contradiction of mind and love in literary concepts and metaphors, especially the mystical ones when occurred within one verse. The purpose of this study is to achieve an understanding of the cognition through the utilization of container schema of the words Del (heart), head, and eye. By investigating the functions of these schemata, a more accurate understanding of the individual and social characteristics of this poet would be obtained. The main achievements of this research are as follows: 1. In Persian literature, Del represents intuitive understanding, and the eye represents the apparent senses (five senses) and is the most frequent tool for the perception of reality. The frequency of Del schema in Rumi's poems compare to the eye schema somehow shows Rumi's intuitive personality. 2. Head in Persian is the container of concepts related to thought, but in the Rumi's poems, it is the container of the terms related to love. The concept of love as an entity in the head as the container has been expressed in different words in the poems of Rumi. Analyzing these words expresses passionate love and, to some extent, the love between friends in Rumi's emotional view.

Inserting tale-like verses in his ghazals is among Rumi’s command of composing this literary genre. This is an altered way he employs to convey the notion of mysticism. The fusion of tales and ghazals results in some certain narrative ghazals through which Rumi presents us with his ideas. These narrative ghazals reflect some pure experiences of mysticism that help the readers digest them much better. They have been studied and explored by many researchers throughout recent years; however, they have hardly been studied via a morphological approach. Introduced by Vladimir Propp, morphology is a relatively new approach in analyzing stories in order to recognize the functions and principles of a story. The present article aims at studying through a morphological approach a ghazal by Rumi in order to give a comprehensive understanding of “descension and ascension” as realized by Rumi.

Many of our fundamental concepts such as time، quantity، state، change، act، cause، purpose، way of doing، modality، and even concepts of categories understood through metaphoric concepts. To show his theosophical world، mevlana mostly used metaphoric concepts. Feeding is one of the most commonly used concept in Divan e-Shams for showing all the materialistic and spiritual realms and other family words helped the poet to reflect these concepts. Life of Sofia and attention to reduce feeding، esurience، fasting and avoiding businesses and valuing the trust theory caused unconscious adoption of such metaphor for mevlana. Accordingly، the eight categories of beauty، wisdom، mystery، citation، hearing (samaa’)، joy، love and light as a feed can be explained. In this paper، using the metaphor of contemporary cognitive theory to explain this metaphor will be discussed. Finally، it is clear that the notion of «Feed mysticism» the fundamental proposition of text feed a metaphorical thinking that he has released over the Divan-e Shams.

In the present paper, the authors initially define customs and traditions, and point out the spiritual and aesthetic reasons and motivations of Rumi in addressing it. Then the customs reflected in “Divan-e Shams” are classified into four main categories, namely, religious, Sufi, Divani and social customs. Providing appropriate evidence, Social customs are introduced and classified in more detail.