مجله پژوهش های ادب عرفانی (گوهر گویا)
سال دوازدهم شماره 3 (پیاپی 38، پاییز 1397)

The linguistic signs of mystical texts, in terms of historical transformation of their linguistic levels, have created a noticeable variety of motivated and arbitrary implications. This study aims to show, through the examination of linguistic signs in the different areas of Samʼaniʼs Rawh-al-Arvah languages, varieties of linguistic implications of this text in terms of motivatedness and arbitrariness. Different varieties of linguistic implicationsappeared in levels of mythical religious language, the allegorical and virtual language, and in the conceptual and rational language of this text. This has led to the creation of a text with unique thoughts and language. To achieve to variety of linguistic implications of this text, we used the theories and views on historical evolution of linguistic implications and investigated the signification of linguistic signs of this text in the course of its historical evolution. In the end, we classified the different types of implications in text of Rawh-al-Arvah in terms of their motivatedness or arbitrariness, and showed the relationship of each category with the conceptual and logical language along with the visual and virtual language of this text. All of these implications consist four different parts which include both motivatedness and arbitrariness implications.

The ‘expression of comportment’ is one of the 22 chapters of the book ‘Al-Ensan Al-Kamel written by Aziz al-Din Nasafi in the seventh AH. In this chapter, he attempts to educate and motivate his audience by introducing and explaining the steps of comportment and its necessities. In this study, it is tried to become acquainted with the predominant speech of Nasafi about the concept of comportment and the conversational mechanisms and tools he adapted in this work by benefiting from the ‘text and meaning relationship with situational context’ theory in the systematic functional grammar of Halliday and investigating the parts in which an ideological and semantic value exists. Also, it is tried to express the relationship between the three-fold layers of situational context which are ‘range, nature and manner of speech’ and language semantic layers which are ‘ideational meta-function, interpersonal, and textual’. The author of this chapter has used the directive-didactic speech, and as it is apparent from the range and nature of speech that its audience is a ‘beginner Dervish’ and the persistence on ideological concepts are the most outstanding expressive mechanism of Nasafi. Intensifying methods, negation and exception, presentation of negation particles, the use of intensifying words in the negative sentences structure, the order of ‘syntactic structure’, placing imperative and deprecation verbs (mostly from knowing and understanding infinitives) at the beginning of sentences and the high use of these infinitives, using simple and understandable allegories and similes in an informal language and, especially, various repetitions are all among the expressive tools of Nasafi in the field of transferring his thoughts to his audience with an intensified tone. The range of speech in the different chapters of this chapter concerns the instruction of the main concepts of comportment. The central characters of the comportment conversations are the ‘wayfarer’ and ‘the old one/Guide’ which are the representation of mental and materialistic procedures, respectively.

The story of Lili and Majnoon has been frequently referred to in the explanation of mystical elements in Persian literature. The present study aims at investigating the reason and the mystical functions of the story. The results of this research showed that Ozra’s sovereignty of love over the relations between the lovers and the beloved and its compatibility with the love are among the most important reasons why mystics refer to such a story. Also, the justification of earthly love and explanation of lyrical and mystical issues are the two key functions of this story. Earthly love is justified in three ways in this story: an introduction to the love, clothing, and manifestation of the truth in appearances. In addition, issues such as anti-rationalism, mystics’ ambiguous language, the unity of the lover with the truth, negation of selfishness, the state of satisfaction are explained in the story. Mystics used not only the totality of the story but also the special events of it from time to time. Sometimes, they have reiterated the events of it and embellished them with heroic events.

According to cognitive approach of language, human experience of entities and substances prepares experiential basis for cognation of abstract concepts. Using the conceptual metaphor theory, this study focuses on cases in which Mowlana conveys tangible areas of the entities and substances on the abstract domain of ‘love’ in his sonnets. The results of the research show that four mega metaphors of ‘God is king’, ‘Love is force’, ‘Theosophy is food’, and ‘Theosophy is light’ dominate the text and organize micro metaphors on its environment. These micro metaphors, based on existing correspondences, has conceptualized some of the most important functions of love such as: mortality, survival, attraction, submission, expansion, manifestation, meditation, and unity of existence. The study of these metaphors from the point of view of source realms reflects the power of their visualization. They also show the complexity of the concept of love in terms of the principles of ‘highlighting’ and ‘hiding’. Also, the comparison of the frequency of metaphors and their cognitive functions reveals three types of metaphors: multi-function with high frequency, single-function with high frequency, and single-function with low frequency. The first type of metaphors, because of its extensive field of reference, has a special ability to conceptualize different aspects of love. But, the metaphors of the second type and some of the third type metaphors can emphasize specific function. Also, the comparison of the positive and negative functions of love, Mowlana introduces love as a positive, sweet, and pleasant experience that living without it is impossible; however, it necessitates the destruction of apparent existence

By carefully reading the well-known Hafiz’s verse that says: Man malak budam o ferdowse barin jayam bud/Adam avard dar in deyre xarababadam, this question arises for most readers/listeners regarding: who is the verse’s ‘I’ narrator who called himself the angel of heaven and Adam as the reason for his falling in the world? Glossarists and scholars have brought up seven different views about this, among which verse interpretation with the language of the Adam (mankind type) or human soul is more famous and more acceptable. But, with the precision in the semantic structure of the first hemistich in which the speaker called himself the ‘angel’, and the syntactic logic of the verse that the first hemistich’s narrator is first person singular and the subject of the second hemistich is third person singular which lead to the degradation of the ‘I/narrator’s verse’, another possibility is that the verse probably is from the Devil’s language observing the adventure of his prostration to Adam (pbuh) and expulsion from paradise and falling into the lower world. With this proposed interpretation, Hafiz’s verse also will be an evidence of the issue of praising Devil in Persian literature and the examples of this angle’s plaintive mute language about his stand-in and the first dignity and excommunication and past separation of himself.

Cognitive therapy is one of the dominant approaches of contemporary psychology for the treatment of mental disorders, which is based on the reconstruction and modification of distorted cognitions and irrational and dysfunctional thoughts. Allegory is also one of the most effective and practiced methods that psychotherapists use in the process of cognitive therapy. In this descriptive-analytical study, some allegories of Rumi's Masnavi that imply the cognitive distortions of bipolar thinking and filtering of mind are presented and examined based on the explanation of the cognitive approach. The obtained results show that Rumi's allegories in Masnavi, while being in harmony with the original Iranian and Islamic culture, due to their proper structure, the technique of message recording in the mind of the audience, and inserting subtle points in how the allegory is presented in the text and the transmission process of concepts have particular potential in cognitive therapies. Because it links the theoretical and abstract concepts with vivid and dynamic images, it can be the most effective model and practical guide in the cognitive reconstruction of these distortions