Iranian Persian Language and Literature Promotion Society Research on Mystical Literature HTTPS://JP 12 1 2018 05 22 Gipsy’s Position in Persian Literature based on Shams’ Divan Gipsy’s Position in Persian Literature based on Shams’ Divan 1 24 22893 10.22108/jpll.2018.104940.1098 FA Mahdie Jalali PhD Candidate, Islamic Azad University of Dehaghan, Isfahan, Iran. Hossain Aghahosaini Professor of Language and Literature, University of Isfahan, Iran 0000-0002-3943-0038 Maryam Mahmoodi Associate Professor, Head of Persian Language and Literature Department, Islamic Azad University of Dehaghan, Isfahan, Iran. Journal Article 2017 06 22 Different meanings are given in dictionaries for ‘<em>gipsy’</em>. Gipsy’s presence in oral literature, mythology books, ancient history, and contemporary works is different. In Persian literature, this word, with its affiliations, has a prominent function in Shams’ Divan (collection). Before Mowlana, it was used only as a word without a symbol, metaphor, and code. But, Mowlana places this word in alignment with Rindi (= libertine) of Hafez or sometimes higher than that. In Shams’ Divan, Serena (Gipsyian instrument) creates meaning in conjunction with dance, music, homelessness, misconduct, and other Gipsyian affairs such as ney (=reed/ flute) in Masnavi. The manifestation of this element in Shams’ Divan can be viewed from several perspectives: sometimes its presence is only at the level of the sign and is more of a similitude; sometimes it transcends the sign and word, and appears as a symbol of a mystical concept. The results of this study shows that gypsy and its affiliations, considering its role in Mowlana’s odes, has become a mystical symbol, contrary to its position in pre-Rumi texts. The symbol which changes the stagnation and anonymity of this term into dynamism and reputation, and contains many mystical concepts. Different meanings are given in dictionaries for ‘<em>gipsy’</em>. Gipsy’s presence in oral literature, mythology books, ancient history, and contemporary works is different. In Persian literature, this word, with its affiliations, has a prominent function in Shams’ Divan (collection). Before Mowlana, it was used only as a word without a symbol, metaphor, and code. But, Mowlana places this word in alignment with Rindi (= libertine) of Hafez or sometimes higher than that. In Shams’ Divan, Serena (Gipsyian instrument) creates meaning in conjunction with dance, music, homelessness, misconduct, and other Gipsyian affairs such as ney (=reed/ flute) in Masnavi. The manifestation of this element in Shams’ Divan can be viewed from several perspectives: sometimes its presence is only at the level of the sign and is more of a similitude; sometimes it transcends the sign and word, and appears as a symbol of a mystical concept. The results of this study shows that gypsy and its affiliations, considering its role in Mowlana’s odes, has become a mystical symbol, contrary to its position in pre-Rumi texts. The symbol which changes the stagnation and anonymity of this term into dynamism and reputation, and contains many mystical concepts. https://jpll.ui.ac.ir/article_22893_0c5042cb3f85ced80f331b271e5346a0.pdf