Iranian Persian Language and Literature Promotion Society Research on Mystical Literature HTTPS://JP 1 2 2007 06 22 Mowlavi’s Poetic Motives and the Sources of Inspiration in Divan-e Shams Mowlavi’s Poetic Motives and the Sources of Inspiration in Divan-e Shams 185 210 16263 FA Reza Rohani Assistant Professor, University of Kashan Journal Article 2016 06 14 Paying attention to and reflecting on the causes and motives which play an important role in composing poems have been taken into consideration by philosophers and poets since a long time ago. Most of them have considered a celestial and unseen source for poetry. In this article, first a background on the source of inspiration is introduced and then Mowlavi’s poetic motives are discussed in detail. The author has divided Mowlavi’s poetic motives and his source of inspiration into two general classes -- amatory and external -- and has explained and sometimes analysed each one by providing examples. An attempt has been made to show that Mowlavi has referred to his poetic motives and sources sometimes intentionally or consciously and sometimes unintentionally or unconsciously. The origin of these motives returns to love and the beloved's appearance, attraction and call. Of course, the eagerness, request and need of the audience in addition to the concerns of guiding are effective in Mowlavi’s approach to the love-centered, rhythmic speech. Paying attention to and reflecting on the causes and motives which play an important role in composing poems have been taken into consideration by philosophers and poets since a long time ago. Most of them have considered a celestial and unseen source for poetry. In this article, first a background on the source of inspiration is introduced and then Mowlavi’s poetic motives are discussed in detail. The author has divided Mowlavi’s poetic motives and his source of inspiration into two general classes -- amatory and external -- and has explained and sometimes analysed each one by providing examples. An attempt has been made to show that Mowlavi has referred to his poetic motives and sources sometimes intentionally or consciously and sometimes unintentionally or unconsciously. The origin of these motives returns to love and the beloved's appearance, attraction and call. Of course, the eagerness, request and need of the audience in addition to the concerns of guiding are effective in Mowlavi’s approach to the love-centered, rhythmic speech. https://jpll.ui.ac.ir/article_16263_42222be93beacfff44c36286784825e4.pdf