مجله پژوهش های ادب عرفانی (گوهر گویا)
سال سیزدهم شماره 1 (پیاپی 40، بهار 1398)

Narratology or grammar of narration is a systematic and coherent approach to the study of the structure of narration, which, by examining the various layers of a literary work, would achieve hidden meanings or meanings beyond the text of that literary work and enhances the comprehension of the text. This research examines the allegory as a type of narrative according to the most coherent narrative rules and regulations that Gerard Genette’s theories hold on five general principles (Order, Duration, Frequency, Mood, and Voice). And afterwards, for example, several of the common allegories of Sanai, Attar and Maulana have been examined in terms of the narrative rules of Gerard Genette. It turns out that in addition to the ambiguity of the allegory, anachronism, speed and acceleration of allegory in the transmission of mystical concepts and its frequency power and repetition in persuading the audience, have played a major role in sustaining the allegory as a mystical favorite literary genre. And in the course of this study, the evolution of the allegory in these three mystics is also revealed.

Surveying and explicating mystical tradition and disposition of mystic poets are one of the most fundamental literary-mystical studies. In fact, these are the first step to recognize ideas and thoughts of the mystic poets; and until clarifying whether the poet belongs to the first or the second mystical tradition group, many of his mystical poetry could not be well understood. In this study after the introduction, it was declared whether Awhadi Maraghai belongs to the first or the second mystical tradition group. In fact, by surveying his goal and the ultimate end, his method to approach this goal, discussed themes and concepts, his mystical language, and the educational system it was declared that Awhadi was a poet of the first mystical tradition group. Then, his mystical disposition was surveyed. To survey his mystical disposition some issues were considered including, searching for his journey beginning and ultimate end, stages between them and their order, the amount and the type of each stage effects on mystical journey, the characteristics and abilities that are necessary to go through these stages and how to reach them. By elucidating these issues, his mystical disposition was recognized.

The story of "a person who, in the time of the David (AS), always prayed: O'God! Give me legit aliment without endeavor", is a symbolic story at the end of which Mowlavi reveals the mysteries and expresses the epilogue as an author-centered narrator. In this case, there is no argument, but the quality of the dialogue and the internal and external layers of the story suggest that there is another purpose behind this symbolic story. The main question is that: If Rumi's goal in this story was to achieve a definite moral outcome (killing the soul), then why have the continuous dialogues about "Jahd" and "Tawakkul" been expressed? The possible answer may be that this seemingly unified story has two parts. In the first section, the issues of "Jahd" and "Tawakkul" are presented without reaching a definite conclusion that suggests that the two concepts co-exist in the context of the story. The second section argues about the subject of the soul and struggling with it to reach to the moral teaching that “the cow of the soul (nafs) must be killed”.

The attributes of God are divided into two categories of Jamal (Beauty) and Jalal (Glory), which include God's Grace and Wrath, respectively. The manifestation of each of these attributes in the mystic's heart creates traces in his mind, speech, and behavior. This article deals with the explanation of these traces in the mystic and their significance, hierarchy and order, their preconditions and results, and terminologies used in relation to each of them in the writings of Roozbehan Baqli. The purpose of this article is to help the reader understand the mystical disposition of the great sixth century mystic Roozbehan Baqli. In this research, library data collection method and descriptive-analytical method were used. Providing Ruzbahan's definitions and analysis of Fear and Hope, Contraction and Expansion, Awe and Accustom, the expression of hierarchy and their order, the terminologies that Roozhbehan brought about with these states and positions, and the importance of each of these to him are some innovations in this research. In the viewpoint of this great mystic, Fear is necessary at the beginning of the path for the mystic, but then he can achieve God at the Hope stage. Roozhbehan states that the Contraction and Expansion are steps after Fear and Hope, and Awe and Accustom come after the Contraction and Expansion. He divides the Contraction into three types, and states that Accustom is the mystic's position at the stage of observing Beauty. Terminologies used by Roozbehan about Glory attributes are Wrath, Fear, Contraction, Awe, and Eternity (without beginning); and attributes of Beauty are Grace, Hope, Expansion, Accustom, Eternity (without end), Observation, and Love.

In the definitions of poetry, three elements of emotion, imagination, and music are discussed. Persian prose texts have always benefited more or less from poetic elements in different eras. In the meantime, given their themes and subjects, Sufi and Mystic works have tended toward more poetic characteristics so that understanding formal semantic subtleties and delicacies of these texts sometimes rested on the analysis of their images and musical influences. Based on this importance, the purpose of the present study is to examine the function of two main poetic elements, namely, imagination and music, of Tazkirat al-Awliyā, one of the most notable mystic prose, to determine its poetic level and quality. The findings of this descriptive-analytical study show that musical influence of this work is more evident and more diverse than imagination. Both elements have a decisive and important function in Attar's prose. Rhyme, pun, oxymoron, and alliteration are among the most prominent examples of inner and spiritual music in Tazkirat al-Awliya often expressed when introducing these topics: mentioning the names of Awliyā (saints of God) and describing their personality and character, explaining Tawheed (monotheism), self-knowledge, death, mystical death and survival, contrast between micro and macro concepts of existence, codes of conduct, self-criticism, and condemned world. Also, from imagery perspective, Attar more noticeably made use of simile, irony, paradox, symbol, personification, and allusion in introducing and describing characters, moods and conducts of mystics, and quoting them, as well as explaining their revelations and focusing on formal-semantic aspects of the mystics’ names.

Interpretive texts constitute an important part of literature history in the Islamic world. Each of the interpreters has a method for interpreting the Quran according to the specialized knowledge, the audience, geographical areas, historical periods, religious beliefs, and so on. Although all of them belong to the category of interpretations or interpretive texts, it is necessary to show the differences and similarities of different interpretations and their classification. Since the interpretations of Quran have three main genre characteristics including multiplicity, similarity, and difference, the genre approach is a suitable instrument for classifying these kinds of texts. Therefore, in this research, it has been attempted to investigate Safi interpretation and its meta-textual, textual, and intertextual analysis based on a genre approach. The results of this research are: Safi interpretation belonged to interpretation or Qur'anic interpretation genre and mystical subgenre; Safi Ali Shah has influenced men of government and with that influence, he expanded Ne’matollahi Dynasty and promoted and consolidated the tradition-oriented discourse of the government. He composed Safi interpretation at the request of the disciples in order to propagate and establish the Ne’matollahi Dynasty. The target audiences were all of people, the main external functions were guiding-advertising and sociopolitical. This interpretation is under the category of inferential-esoteric interpretations and the dominant interpretive approach of the text is the literary-mystical approach. It is also related to two examples of earlier texts, Ghazali’s Meshkat al-Anvar and Molavi’s Masnavi Ma’navi.