انجمن ترویج زبان و ادب فارسی ایران پژوهش‌های ادب عرفانی HTTPS://JP 16 2 2023 02 20 The Psychocognitive Representation of Sublimated Nostalgia of Rumi in the Field of Narrative Discourse of Neynameh بازنمایی روان ادراکی نوستالژی تصعیدی مولانا در ساحت گفتمان روایی نی‌نامه 1 14 27246 10.22108/jpll.2023.127837.1601 FA اسماعیل نرماشیری دانشیار زبان و ادبیات فارسی، دانشکدة علوم انسانی و مدیریت، دانشگاه ولایت، ایرانشهر، ایران Journal Article 2021 04 05 Modern psychological studies convincingly prove that the variable nostalgia is in close relationship with the awareness and cognitive scope of people. Nostalgia, therefore, is actually a rational function capable of achieving innovative, productive bases via providing and using a background for rhetoric and discourse partners. Repressed, sublimative desires manifest themselves through either language or organism. This is essentially the reason why poems and poetry are deemed highly important in psychological studies. Drawing on these notions, Rumi succeeded in explaining a thoughtful, nostalgic world, defining a sublimative language in a skillful fashion. Using library research, the present study tries to find answers to two research questions: 1) Is it possible to consider Neynameh as a nostalgic, thoughtful text, and its linguistic codes as some sublimative behavioral language? 2) Can anyone elicit a significant relationship out of the mix of nostalgia and sublimation in Neynameh? Introduction Based on semantic semiotic understanding and structural linguistics, it can be said that there is a coherent and continuous connection between literature and psychoanalysis. So by relying on this belief, it can be acknowledged that poetry is important, and, due to its inherent ability, it “brings the language to the position of emergence” (Bashlar, 1998, p. 138). A very worthy part of the totality of literature is “an irreducible quality” (Barth, 1378: 65). This nature of irreducibility and quality of poetry is basically a mental-psychological result. Basically, in poetry, there is a continuous dialectic between the two elements of mind and psyche with profound cognitive and perceptive aspects. Therefore, behind that, they stimulate the mind to a creative effort to create rational psychological aspects. Based on this principle, it is no longer possible to say that poetry is merely a sensory category and is far from the dimensions of intellectual and documented experience. Of course, this is the neglected point that is less considered in the studies of literary texts and works. Therefore, “every thought is a poetic reflection, poetry is also a thought” (Gray, 1998, p. 89). It is important not to forget that “between enlightened and self-aware elements and unconscious elements, there are certain relationships in poetry” (Spender, 1998, p. 208). We should know if these elements appear in the mental-linguistic world of the poet in an emotional form. This poetic emotion is the same as poetic thought because the emotion in its existential truth cannot be characterized without thought and mental function. In any case, when in today's literary essays, emotional poetic language is spoken about, the meaning is the same as the emotion that was listed. This emotion is a variable of formal language and thought. Henry Meshunik considers poetry as a “word-subject” (Ahmadi, 2008, p. 88). It is a scholarly speech. Because the originality of the poem is an imaginative language, which contains the mental image with all its semantic dimensions in its center and scope. This is the dignity and exaltation that should be clarified. The poet not only reflects but also captures and expresses what belongs to poetry. And poetry is the true life and the expression of understanding and the universal scope of mind and soul. It is certain from here that nowadays poetry is considered a serious expression of the poet himself, and the words are the storehouse of his unconscious mind and the crystallization of his repressed wishes. Now, if the phenomenological intention is at work, it is the psychological study entries that can delve into the mental dimensions of language and a stable relationship between the depth of these two, which can explain the psycho-cognitive epistemological dimension of the poet from the perspective of poetry. This study tried to rely on these scientific foundations by using two psychological terms, nostalgia and sublimation, to examine the emergence and crystallization of one in the other in Rumi's Neynameh. We all know that Rumi benefited from a special intellectual and psychological system in creating his literary-mystical works. In his works, including Masnavi, intuitive knowledge is present alongside intellectual knowledge. He has tried a lot to include his learnings and personal and spiritual life experiences in the textual layers of Masnavi, especially in Neynameh. Review of the Literature So far, no research has been written with such a nature and approach; only two articles have been compiled on the subject of sublimation and nostalgia, which are briefly introduced: “Examination of the sense of nostalgia in Rumi's Masnavi with an attitude towards the functions of the desire to return” written by Marghoub and Sarami (2017) led to the conclusion that the sadness of homelessness and distance is the desire to renew the situation and to return to the original. It has also been said that by expressing the nostalgic feeling, Rumi expressed the desire to return in functions such as longing, seeking, the pain of separation, the function of interest except for the whole, the function of attraction to gender (sexual union), beauty, and conflict of right “The process of psychological sublimation from Maulvi's point of view” was written by Karim Pasand (2019). The author believes that Mawlavi considers the sublimation mechanism to be the cause of the flourishing of human's internal potential forces in a desirable way in the society, which causes human progress and excellence. On the other hand, with the help of the sublimation process, the inner desires of man, among other things, lead to acceptable and desirable channels in the society, including marriage. Methodology The present analytical study tried to answer two research questions by the method of library study: 1) Is it possible to consider Neynameh as a highly thoughtful nostalgic text and its language codes as a kind of sublimated behavioral language? 2) Is it possible to obtain a meaningful relationship from the combination of nostalgia and sublimation in Neynameh? Results The findings of this research show that Neynameh, which is presented with a discourse-narrative structure and with a nostalgic sublimation foundation, is in fact an extract of the perceptive and psychological psyche of Mowlana. As discussed in detail, modern psychological studies have proved in an argumentative and inferential way that the function of nostalgia is exclusively in the area of longing or remoteness, alienation, meanings, and concepts. When we actually believe that Mawlana is a thoughtful and reasonable mystic, then surely his type of nostalgia is active intellectual and not passive sensual like the romantics. Despite the fact that it has been said that mysticism is basically nostalgia in its essence, what is crystallized and noticeable in Neynameh is a combination of nostalgia and sublimation. Tailored and personalized creative vocabulary constructions including my friend, my secrets, my head and my moan, or poison, antidote, demsaz, mushtaq, hadith, blood, story, madman, Muharram, intelligence, unconsciousness, language, customer, ear, fish, water, and day have proven these two functions in a simultaneous hierarchy in a signistic way. The method of using the interrelated and concrete language propositions has created a meaningful, nostalgic, thoughtful interactive role and the sublimated conceptual function in Neynameh. This method of creative production and compilation of linguistic structures has led to transferring the pressure of internal psychological forces to the level of categories. The scholarly formulations in Neynameh have prepared this space and opportunity for Rumi to use the narration of Neynameh with two methods of direct and interventionist and indirect narration. It is quite clear that this kind of behavior and manner, as is evident in Neynameh, is completely specific and related to Mowlana himself. Basically, Neynameh's narration has a smooth-acting outcome, so in this way, Rumi can achieve exaltation and lightness through discursive space creation, and at the same time, he maintains the active and rational nostalgic foundations by observing the framework of structural thinking and documentary language elements. Another part of the findings of this research shows that Rumi has had a trend (not a situation) in Neynameh. His state-centered work has a sublimation function, and the linguistic propositions, exaggeration, and the proportionalization of each of them introduce the same flow and state-based principles. Therefore, what can be mentioned in Neynameh in general is that it is a purposeful and fundamentally nostalgic-sublime series. بیان مسئله: مطالعات جدید روان‌شناختی به‌طور اقناع‌کننده‌ای اثبات می‌کنند که متغیر نوستالژی با میزان آگاهی و گسترة شناختی افراد رابطه‌‌ای بسیار عمیق دارد؛ ازهمین‌رو، نباید نوستالژی را فقط مفهوم و برایندی حسی و حسرت‌آور از یادکرد گذشته‌های خاطره‌انگیز دانست که پیامدی فروکاسته و انفعالی درپی دارد. نوستالژی در فهم واقعی، کارکردی عقلانی و کنشی فعال تلقی می‌شود که می‌توان با ایجاد زمینة گفته‌پردازی و بهره‌گیری از شریک گفتمانی به مبانی خلاقانه و مولد آن دست یافت. روش: این مقاله درپی پاسخ‌دادن به این پرسش‌ها به‌روش مطالعة کتابخانه‌ای به‌شیوه‌‌ای تحلیلی است: 1) آیا می‌توان نی‌نامه را یک متن نوستالژیکی عالی متفکرانه و کدهای زبانی آن را نوعی زبان رفتاری تصعیدی دانست؟ 2) آیا می‌توان رابطه‌‌ای معنادار از امتزاج نوستالژی و تصعید در نی‌نامه به دست آورد؟ یافته‌ها و نتایج: تمایلات واپس‌زده و تصعیدی به هیچ شکلی در روند زندگی انسان فراموش نخواهند شد و پیوسته به هر طریقی فرد را در چنبره و مخمصة فشار نیروهای درونی قرار می‌دهد؛ بنابراین، این نیروها یا از مجاری زبان و یا از رهگذر ارگانیسم، خود را بروز می‌دهند؛ از اینجاست که شعر و شاعر در مطالعات روان‌شناختی بسیار مهم و جدّی به شمار می‌روند. قدر مسلم با اتکای همین مفاهیم، مولانا توانسته است نی‌نامه را با ساحتی گفتمانی روایی برای تبیین جهانی متفکرانه نوستالژی و زبانی تصعیدی مدبرانه فراهم آورد.

https://jpll.ui.ac.ir/article_27246_253d645b4cb199ae70b366726015888e.pdf

انجمن ترویج زبان و ادب فارسی ایران پژوهش‌های ادب عرفانی HTTPS://JP 16 2 2023 02 20 New Discoveries from Najm Razi’s Life and Works نویافته‏هایی از حیات و آثار نجم رازی 15 31 26580 10.22108/jpll.2021.129799.1632 FA محمدرضا موحدی دانشیار گروه زبان و ادبیات فارسی، دانشکدة ادبیات و علوم انسانی، دانشگاه قم، قم، ایران Journal Article 2021 07 29 The main aim of this study was to present valuable information about Najmuddin Razi’s life and works, which could be found in a newly found version of Bahr al-Haqiq's commentary (Version 37 found in Hassan Hassani Pasha Library). In this detailed report, Najm Razi’s first introduction of the masters following his way was presented in the following order: 1) Sheikh Majdaldin Baghdadi; 2) Najmuddin Kobra; 3) Tajuddin Ashnahi; and 4) Shahabuddin Suhrawardi. In the style of the scholars of rijal and hadith, he wrote the types and durations of their companionships, types of permission they received from the mentioned sheikh, their dates of study, and even the reason for their precedence and delay in dhikr, which contained new information about them. He then reported on his long journeys before and after the Mongol invasion. Based on this biography, it turned out that Najm Razi served Suhrawardi from the very first years of Afaqi’s career in 601, used his services several times in different cities, and received several licenses from him. The companionship of the midwife with Tajuddin Oshni in Hamedan, rejection of the idea that he escaped from Rey during the Mongol invasion, etc. were some other aspects addressed in this article. Another finding in this study was the possibility of Najmuddin returning to Iran from Anatolia (after the Mongol settlement) and settling in Khuzestan. It seemed that this version of the commentary, considering the date of its writing, must be a transcript of Najm Dayeh’s first writings. At this stage of writing this commentary, Najmuddin was strongly dependent on al-Kashf and al-Bayan al-Thalabi and quoted many cases by citing their sources from the very beginning of the introduction. The information extracted from this version was analytically compared with other findings obtained from his contemporaries in this regard. Introduction More than half a century has passed since the last research of our contemporary researchers about the life and works of Najm al-Din Razi, and despite many useful works and corrections of the works in the last few decades, even one page has not been added to those findings and many ambiguous points and some ideas about this character still remain. About some of the sources that have quoted information about the life and death of Sheikh Najmuddin, it should be said that these sources are general (such as the eloquent collection of Khawafi, Nafahat al-Ons by Jami, Al-Awamar al-Alaiyeh by Ibn Bibi, Tarikh Gozideh by Hamdalallah Mustafi, Ruzat al-Janan by Ibn Karbalai, as well as newer sources such as Khayampour's collection of speakers, Sadat Naseri's notes on Azar's fire, Malik al-Shaara Bahar's stylistics, the late Minawi's introduction to the message of wisdom and love, etc.) have only quoted older sources, which generally end with one or two main sources. For example, it can be said with certainty that the information provided by Abd al-Rahman Jami in Nafahat al-Ons about the life of Sheikh Najm al-Din Razi was quoted by Yafi in Marat al-Janan (Mohaddi, 2002, p. 32). Therefore, it was necessary to update our knowledge about this character by looking at newer and innovative sources. The main issue of this research is to what extent historical and bibliographic information can be extracted from the content of an explanatory text in Arabic. Review of the Literature Fortunately, with the provision of new lists and the collection and concentration of information related to manuscripts in banks and their processing, and the updating of our knowledge of written sources and manuscripts in the world's libraries, this possibility became available to contemporary researchers to open a new door to the life of Najm Razi. This good event was realized by obtaining one of the copies of Hassan Hassani Pasha's library. This library, which is now one of the richest manuscript libraries in the world in terms of quantity and quality, contains more than 150 manuscript collections, 125 of which belong to the libraries (Mottaghi, 2013, p. 352). Research Methodology This study is based on Najmuddin Razi’s life and works, which could be found in a newly found version of Bahr al-Haqiq's commentary (Version 37 found in Hassan Hassani Pasha Library). Results After introducing and presenting a report from the introduction of the version, these results were obtained: About the teachers of the Najm Dayeh Tariqat according to his own statement, we find information in this order: 1) Sheikh Majdaldin Baghdadi; 2) Najmuddin Kobra; 3) Tajuddin Ashnahi; and 4) Shahabuddin Suhrawardi. From Najm Razi's introduction to his commentary, we can understand that Tajuddin Oshenhi lived and taught in the days of Sheikhs, in Ray, Hamadan, and Dehistan (around present-day Shahrood). Contrary to the initial impression, Najm Dayeh's relationship with Sohrawardi was not one-time and short; rather, he has served Suhrawardi for many years. In the text of this introduction, he specifies or refers to many historical events of his life. Based on this biography in the introduction of Tafsir, it is clear that he came to Iran many times after the Mongol conquest and probably stayed in Khuzestan and especially in Shushtar. Najm Razi does not mention anything about Najmuddin Kobra’s exegesis. An assumption that the note at the end of the copy is not much later than the time indicated on the copy. It is possible that this version is a transcription of the first writing or spelling of Najm al-Din in his commentary. Based on this introduction, it can be definitely said that he was born in 572 A.H. From the detail that we see in this version, he has given his phrases with the expression "Qolto" after the elements of Taalbi. بیان مسئله: ادعای اصلی مقاله این است که در نسخۀ نویافته‏ای از تفسیر بحرالحقایق (نسخۀ شمارة 37 از کتابخانة حسن حُسنی‏پاشا) اطلاعات ارزشمندی از حیات و آثار نجم‏الدین رازی می‏توان یافت. نجم رازی در این گزارش مفصل، نخست استادان طریقت خود را به‏تصریح با این ترتیب معرفی می‏کند: 1) شیخ مجدالدین بغدادی؛ 2) نجم‏الدین کبری؛ 3) تاج‏الدین اُشنُهی؛ 4) شهاب‏الدین سهروردی. او به سبک عالمان رجال و حدیث، نوع و مدت مصاحبت، نوع اجازه‏نامۀ دریافتی از شیخ، تاریخ تلمّذ و حتی سبب تقدم و تاخّر آنها در ذکر را می‏آورد که دربردارندة اطلاعاتی تازه دربارة این استادان است. آنگاه گزارشی از سفرهای طولانی خود قبل از حملۀ مغول و پس از آن عرضه می‏دارد. روش: اطلاعات مستخرج از نسخة نویافتة تفسیر بحرالحقایق ، به‏شیوۀ تحلیلی با دیگر یافته‏های معاصران در این باب، مقایسه شده است. یافته‌ها و نتایج: براساس این شرح حال، معلوم می‏شود که نجم رازی از همان سال‏های نخستِ سیرِ آفاقی خود، در سال 601 ق. در خدمت سهروردی بوده؛ چندین نوبت در شهرهای مختلف از خدمتش بهره برده و چندین اجازه‏نامه از او دریافت کرده است. همنشینی دایه با تاج‏الدین اُشنهی در همدان و ردّ این پندار که او به هنگام حملۀ مغول از ری فرار کرده باشد و... از فروعات دیگر مقاله است. نیز طرح احتمال بازگشت نجم‏الدین از آناتولی به ایران (پس از استقرار مغول) و اقامت در خوزستان از دیگر یافته‏های این پژوهش است. به نظر می‏رسد این نسخه از تفسیر، با توجه به تاریخ کتابت آن، باید رونویسی از نخستین نگارش‏های نجم دایه در تفسیر خود باشد. نجم‏الدین در این مرحله از نگارش تفسیر، بسیار وابسته به الکشف و البیان ثعلبی است و از همان ابتدای مقدمه با ذکر منبع، نقل‌قول‏های بسیاری دارد.

https://jpll.ui.ac.ir/article_26580_1370bfa6df8fb7aff734a9018362f10f.pdf

انجمن ترویج زبان و ادب فارسی ایران پژوهش‌های ادب عرفانی HTTPS://JP 16 2 2023 02 20 Common Features of Attraction and Rapture in Mulavi and Attar's Mysticism جستاری در مقایسه و تطبیق وجوه اشتراک جذبه و کشش در عرفان مولوی و عطار 33 53 27324 10.22108/jpll.2023.135067.1727 FA علی بازوند استادیار گروه زبان و ادبیات فارسی، گروه زبان و دبیات فارسی، دانشگاه فرهنگیان، شهرکرد، ایران محمد شریفی کارشناس ارشد زبان و ادبیات فارسی، دبیر آموزش و پرورش همدان، نهاوند، ایران Journal Article 2022 09 08 Abstract Some believe that Mulavi's influence on Attar is so great that they consider Masnavi to be completely influenced by Attar's works in terms of form, format, and anecdotes. For this reason, this study seeks to introduce the attraction and rapture and show the common features of these two mystics in this regard. In the mystics' thought, attraction is a special gift given to man by God. Although in mystical thought, mystics invite people to a continuous effort to reach spiritual perfection, in their views, effort without grace (providence) is fruitless. Many eminent and influential Sufis have given originality and importance to the effort and struggle of the seeker and considered rapture and grace as secondary. Some other great mystics such as Molana and Attar consider attraction as the principle and believe that if there is no attraction, the seeker's effort will not lead anywhere. The obtained results indicate that Mulavi and Attar have a greater desire for rapture in order to complete the mystic's religion and sharia and to reach God. They have many features in common in this respect. And in their view, the seeker's efforts are necessary only to the extent that they let the light of rapture shine on the seeker and the seeker reaches the goal. Introduction It could be argued that the most attractive, readable, and influential part of Persian literature is associated with the topics of religious studies, love, mysticism, Sufism, mystics, Sufis, and their words of wisdom and beautiful literary anecdotes. This is due to the compatibility and harmony of those contents with the human soul, which is far away from its origin. In this regard, the sciences related to religion and mysticism have been considered the apex of sciences. Mysticism is the only science that has no purpose and goal other than connecting man to God. Just as every science has a set of major and basic terms and concepts, and clarifying them makes the understanding and comprehension of that science much easier for the reader and listener, evolution and expansion of that science makes the reader closer and more interested in its purpose and goal. Mysticism as science also has its own concepts and interpretations. This study examines attraction and rapture in the poetry of Mulavi and Attar as leading poets in mystical poetry and further investigates the mystical thought of Attar and Mulavi in relation to the concept of attraction and rapture. It then compares the views of these two prominent poets and mystics because both poets believe that in order to connect with God, the essence and basis of attraction and rapture on the part of God (Hazrat Haq) is necessary and essential so that the seeker can reach the final destination with effort and struggle. Review of the Literature Mystics believe that attaining the truth and spiritual perfection is possible in two ways: 1) The honest individual effort that leads the seeker to the court of truth: One of the ambiguous points of the discussion of attraction and rapture, which this study seeks to explain, is the necessity of attraction in certain subjects such as knowledge, monotheism, and mystical conditions. The other issue is the examination of the assumption of the abrogation of the duty of the seeker based on the teachings of Mulavi and Attar, with the explanation that whether the position of attraction and rapture means the destruction of effort. Or is the position of attraction the result and product of hard work? It seems that one of the serious ambiguities in this regard is its proof or negation in the thought of Attar and especially Mulavi. 2) It is God's attraction and providence (grace) that makes the servant get close to God without effort or after a little effort and seeking: In this regard, in one verse of Mulavi, it is said that: If the pull (inspiration) of God comes (to thee) /the running water will bubble up from the earth without thy well having been dug (sic.). It should be noted that the light of divine attraction and rapture has various levels and degrees, the radiation of which depends on the seeker: First, it depends on the wisdom, expediency, and providence of the Almighty, and secondly, on the talent, capacity, ability, and readiness of the seeker to receive the light of attraction. That is, sometimes a little attraction and inspiration pulls the servant forward, sometimes it puts him on the path, and sometimes it may lead someone to his destination. As it can be understood from all the sayings of the mystics about attraction, attraction in mystical terms is a divine gift that is given to the people of perfection by meeting certain conditions. In mystical texts, attraction is often mentioned in contrast to spiritual conduct (seluk), in such a way that in a common classification by Seyedan (2016), “people of perfection are divided into four groups: seekers (salekan) (non-fascinated seekers), the fascinated (the non-seeker fascinated), fascinated seekers, and those who are fascinated by seeker” (p. 32). Methodology This study adopts a library-based and comparative analytical research method and seeks to answer the following three research questions: 1) What are the places of attraction and rapture and their reflection in the works and thoughts of Mulavi and Attar? 2) What is the meaning of attraction and rapture in mystical spiritual conduct? 3) Is there a difference between attraction and rapture from Mulavi and Attar's points of view? Results Attraction and rapture are important and fundamental principles and strong pillars of the magnificent building of Mysticism and Sufism. Attraction is used with expressions such as ‘providence’, ‘grace’, ‘rapture’, ‘look’, ‘success’, and ‘kindness’ is a light that shines on the heart of a servant from God. It is considered God's special attention and grace to a servant, which makes him get closer to God without suffering and struggle or after a little effort. This attraction depends on God's expediency, wisdom, and providence and does not include every seeker. Perhaps those who endure many years of struggle and hardship until the end of their lives never succeed in receiving the light of attraction, and their efforts do not yield results and do not lead to success. On the other hand, there are those who, without fierce and long struggles, receive God's grace, and the light of divine attraction shines on them. That is, they travel a hundred years overnight. The seeker is obliged to strive and struggle and should not give up striving and struggling for the illusion of receiving and reaching the light of attraction, or even be seduced by his worship and efforts because grace and attraction come from God and no one can predict it. Therefore, the role of man is to do God's commandments. According to most mystics, as long as man is alive and breathing in this world, he should not reduce the level of his duties and obedience, even after attaining divine attraction. Nevertheless, according to a number of mystics, who are not few, after a servant has received God's grace and attraction, he no longer needs to strive and worship, and he is not obliged to do anything because all those actions and efforts taken to reach this level have been like tools that are not needed and not useful after achieving the goal. Among the great Iranian mystics and thoughtful poets, Mulavi and Attar more than others have discussed attraction and effort and how they are. Mulavi, who considers himself a student of Attar and mentions his greatness and magnitude everywhere, has differences from his master regarding this issue. While Mulavi calls the seeker to strive and struggle and tells him that his effort is the Dawn of Victory, he considers rapture to be prior to struggle and effort. It indicates that Maulvi is more inclined towards attraction and rapture, and in his opinion, the seeker's effort is useful as long as the light of attraction shines on him and the bird of rapture casts a shadow over his head. بیان مسئله: برخی معتقدند تأثیرپذیری مولوی از عطار تا آنجاست که مثنوی ازنظر شکل و قالب و اشتمال بر حکایات، کاملاً متأثر از آثار عطار است؛ به همین سبب این پژوهش به‌دنبال معرفی جذبه و کشش و نشان‌دادن وجوه اشتراک این دو عارف در این موضوع است. کشش در اندیشۀ عارفان موهبت خاصی است که خداوند برای انسان رقم می‌زند. در اندیشة عرفانی، عارفان آدمیان را برای رسیدن به کمال روحانی به جهدی مستمر دعوت می‌کنند؛ اما از نظرِ آنان جهدِ خالی از عنایت، بی‌ثمر است. بسیاری از صوفیان نامدار و تأثیرگذار، اصالت و اهمیّت را به مجاهده و تلاش سالک داده‌اند و جذبه و عنایت را فرع دانسته‌اند. برخی دیگر از عارفان بزرگ نظیر مولانا و عطار، کشش را اصل دانسته‌اند و معتقدند چنانچه جذبه و کشش نباشد، تلاش سالک راه به جایی نمی‌برد. روش: این پژوهش به‌روش توصیفی ـ تحلیلی و با استناد به منابع کتابخانه‌ای به انجام رسیده است. یافته‌ها و نتایج: نتایج به‌دست‌آمده نشان می‌دهد مولوی و عطار برای تکمیل دین و شریعت عارف و برای رسیدن به معبود، بیشتر به جذبه تمایل دارند و دارای وجوه اشتراک بسیاری در این زمینه هستند؛ از نظر آنها، مجاهدت‌های سالک تنها تا جایی لازم است که نور جذبه بر سالک بتابد و سالک به مقصود برسد.

https://jpll.ui.ac.ir/article_27324_13bfde51435d47eb6cf1f11e08c86730.pdf

انجمن ترویج زبان و ادب فارسی ایران پژوهش‌های ادب عرفانی HTTPS://JP 16 2 2023 02 20 A Study of ‘God as a King’ as a Major Conceptual Metaphor in Mersād al-‘Ebād کلان‌استعارة مفهومیِ «خداوندگاری به منزلة کشورداری» در مرصادالعباد 55 74 27049 10.22108/jpll.2022.133471.1699 FA ناصر جابری دانشیار زبان و ادبیات فارسی، گروه زبان و ادبیات فارسی، دانشکدة ادبیات و علوم انسانی، دانشگاه خلیج فارس، بوشهر، ایران سکینه شریفی کارشناس ارشد زبان و ادبیات فارسی، گروه زبان و ادبیات فارسی، دانشکدة ادبیات و علوم انسانی، دانشگاه خلیج فارس، بوشهر، ایران Journal Article 2022 04 28 Abstract Mersād al-‘Ebād is an important work in the field of Persian literature. Its language and expression are eloquent and sometimes poetic, and it is a wonderful book in terms of visual-rhetoric aspects. Given the recognition of allegory in our rhetorical sciences, the study of the images of Mersād al-‘Ebād has often been directed towards its allegorical aspects and its metaphors have been examined from ancient perspectives. Notwithstanding that this work has metaphorical clusters based on a social and political attitude. Due to the dispersion and extent of these clusters, the present study uses the theory of conceptual metaphor to examine this book from a novel perspective. The research method is analytical-descriptive, and the scope of the research is the text of Mersād al-‘Ebād. The results of this research show that small metaphorical threads that are connected with each other can be recognized in the text and can be called micro-metaphors. These nets of metaphors in the text are as follows: the descent of the soul into the body as the enthronement of a king, God's treasure as the king's treasure, the devil as a criminal and condemned by the sultan, cultivating the soul as raising a bird of prey, and propagation of religion as an organization to inform the king. Each of these five micro-metaphors had its own subcategories, which are explained in the text of the research by mentioning the examples and drawing diagrams. Also, the accuracy of the metaphors shows that their unification can be placed under the grand metaphor of ‘God as a King’. Introduction Mersād al-‘Ebād is a magnificent work. Its language is special and distinctive, and one of its characteristics is the use of mystical concepts with the help of terms related to government, state management, and court. This distinctive feature attracts the attention of the audience and raises the question of whether the existence of the metaphor of “God as a king” is a unique feature of Mersād al-‘Ebād, or whether we can find evidence for it in other mystical and religious texts. There are verses in the Holy Qur'an that can be analyzed based on the intended metaphor, and some of them are briefly mentioned in the text of the article. It can be definitely stated that this metaphor has an ancient history. However, research about its antiquity in religious and mystical texts is beyond the scope of the present study. A brief look at some mystical prose books shows that this attitude exists in other mystical texts in a scattered form. Among the four books Kashf al-Mahjūb, Kashf al-Asrar, Asrar al-Tawheed, and Tazkarat al-Awaliya, a more significant presence of this metaphor could be found in Kashf al-Asrar. For example, in one of its parts, it is stated that: Each king in the past had his own horse and marked it with a special sign so that others would not follow it due to the presence of that mark. Nobody would seek the ownership of a horse that would have the special sign of the king. But any horse that does not have this special mark, will always be harmed by the people. This is the example of God's servants (as cited in Rokni, 1996, p. 155). As can be seen, this example can be examined under the metaphor ‘God as the king’. Therefore, the use of this metaphor in other important mystical books is not unprecedented, but definitely, this topic is more elaborated in Mersād al-‘Ebād than in other texts, and it can be considered an obvious and impressive feature of this work. This has motivated us to examine it with the help of conceptual metaphor theory in the present article. The most creative metaphors of Mersād al-‘Ebād are related to the second and third parts of the book. The concepts used in these two sections are more about religion, human creation, creation, the kingdom of God, and descriptions of the system and order of God's court. Therefore, in the present study, it has been assumed that in Mersād al-‘Ebād, metaphors are connected like a chain, and some conceptual micro-metaphors can be analyzed under a macro-metaphor. The relationship between allegory and conceptual metaphor is one of the topics and questions that can be raised in this field, but the allegory is analyzed within a paragraph. However, a conceptual metaphor sometimes flows in several chapters of a work and sometimes throughout it. Therefore, there exists a relationship between conceptual metaphors, whose similes can be included under a macro metaphor and explain it. The research question posed in the study is the following: Which macro-metaphor can be explained in this work and what are its subcategories? To answer this question, the theory of conceptual metaphor and conceptual metaphor is used. Metaphorical concepts have been extracted and their relationships have been examined separately to determine the link between metaphorical concepts in each metaphoric cluster and finally their position in the macro metaphor. The authors of this study have determined the conceptual metaphors by carefully examining the language of Lumât and found that the four conceptual metaphors of God is love, love is the king, love is the sun, and love is a mirror are the main pillars of Lumât's worldview. The researchers of this study have compared the conceptual metaphors of love in the language of poetry and everyday language, and for this purpose, they have extracted and compared the metaphorical expressions from the everyday language and the Persian poems of the 80s. Based on Kovecses's point of view, they have shown that both language types of love metaphors as well as the main mappings between the destination concepts about love and the origin domain concepts have been used equally. Another article titled "Research on the Conceptual Metaphor of Mysticism is a Pub in Divan Hafez" (Anonymous, 2017) has been published, in which the authors, by examining the metaphorical mappings derived from May and the tavern, have finally reached the point of view that "mysticism is a tavern". Thus, it is not easy to understand metaphysical concepts in mysticism. Review of the Literature In terms of research background, although the conceptual metaphor is a relatively new topic, many research projects have been conducted in this area. Some of the fundamental studies in this field are as follows: In the book Metaphors we live with, George Lakoff and Johnson (2015) have addressed the theoretical issues and the introduction of the theory of conceptual metaphor and how to use it. This work, which is very well-known in Iran and played an important role in the spread of this theory, tries to show that in conceptual metaphor, a more familiar and often concrete domain is used to understand the conceptual relationships of an abstract domain. Kovecses (2013) in his book Metaphor: A Practical Introduction introduced the conceptual metaphor, mental spaces, metaphorical images and its basic concepts with scientific prose and away from complications. Another work in this field is published under the title Metaphor written by Hawkes (2015). This book examines the views of Aristotle and the works of contemporary linguists and anthropologists. Hashemi wrote the book Sufis Love in the Mirror of Metaphors (2014) about the Sufis' perception of love. In this book, she first explains and analyzes the conceptual metaphor and related matters in detail. Then, by explaining the micro and macro metaphors, she elaborates on the concept of love in the minds of mystics and how they perceive this concept. The book Metaphorical Language and Conceptual Metaphors by Davari et al. (2013), contains a collection of articles on topics such as language and metaphor, epistemology and conceptual metaphor from the perspective of cognitive linguistics, conceptual metaphors in the verses of the Qur'an, the emergence of conceptual metaphorical language for the future, and the analysis of the art of religious and mystical speech from the perspective of critical discourse. Articles have also been written in this field, which include some examples that are more related to the topic. The article "Linking politics with mysticism in Mersād al-‘Ebād of Najmuddin Razi" by Safari and Zaheri Abdevand (2009) is one of the useful works related to the present study and perhaps the closest research to this present text. The authors have tried to explain Najmuddin Razi's political point of view and one of the important points expressed is Razi's special attitude about the superiority of the position of the king over prophecy and knowledge, which generally shows the importance of the monarchy system and the special position of the king in his intellectual system. The authors have also analyzed Razi's special view on the relationship between mysticism and politics. In "System of Conceptual Metaphors of Lumât " by Bakhtiari Nasab and Mahmoudi (2018), the authors have determined its conceptual metaphors by carefully examining the language of Lumat and found that the four conceptual metaphors of God is love, love is the king, love is the sun, and love is a mirror are the main pillars of Lumaat's worldview. And finally, in the article "a comparative study of the conceptual metaphor "Love is war" in the conceptualization of "Fana" in Diwan Shams and the Qur'an" (2018), Mobasheri and Valizadeh Pasha stated that "Fana" is a spiritual matter that is conceptualized with the objective domain of "war". In this way, by understanding the conceptual metaphor of "love is war", it will be easier to understand some transcendental concepts. However, the investigation of conceptual metaphor in Mersād al‘Ebād as done in the upcoming research is new and fresh, and this research can provide the reader with a new perspective on conceptual metaphor in this work. Methodology The method of this research is based on library and analytical-descriptive approaches. In this way, the views of theorists such as Lakoff and Kovecses were first studied and what could be used in the research from their point of view was understood and taken into account. In the second step, the examples from the book Mersād al-Ebād were extracted, discussed, and analyzed based on the theory of conceptual metaphor. Conclusion The present study showed that the macro-metaphor of God is the king is extensive. Razi used the metaphor "The descent of the soul into the body as the enthronement of a king" when he intended to depict the descent of the soul into the human body. Since enthronement was familiar to him and the people of his time, this metaphor could depict the degrees of a glorious descent that he believed in. On another occasion, he intended to depict the heart as a rare gem in the universe and described the value and distinctive position of the man with the help of it. Following the mystics' beliefs, for this purpose, he used the metaphor of "God's treasury is like the king's treasury". Therefore, these two first metaphors were both used to describe the descent and status of the soul. Razi has also used the story of Adam and Iblis. Accordingly, the well-known enemy of man is Iblis, and his enmity with man and the story of his soul and the punishment that followed it can be understood with the help of the metaphor of "Iblis as a criminal". In this metaphor, the punishment of Iblis is exactly like the punishments of criminals in the past ages. On the other hand, it has elevated the position of man - as is common in religious thinking - as much as possible. On another occasion, he used the metaphor "Cultivating the soul as raising a bird of prey" to express this separation of the soul and its descent. This metaphor could well express the need for the soul to return to its origin and destination. In addition to these four metaphors, another metaphor has been used from the laws of state administration, and it is as follows: "propagation of religion as an organization to inform the king" is adapted from the laws of state administration, which express the duties of the soul during separation, and letters from God sent to him. بیان مسئله: مرصادالعباد اثری بدیع و ممتاز در پهنۀ ادب فارسی است؛ زبان و بیان آن گوشنواز و گاه شاعرانه است و ازنظر تصویری ـ بلاغی کتابی شگرف به شمار می‌آید. با توجه به شناختگی و شهرگیِ تمثیل در علوم بلاغیِ ما، مطالعۀ تصاویر مرصادالعباد اغلب متمایل به بررسی جنبه‌های تمثیلی آن بوده است و استعاره‌های آن در قالب دیدگاه‌های کهن بررسی شده است؛ حال آنکه مرصادالعباد خوشه‌های استعاریِ مبتنی بر نگرش سیاسی ـ اجتماعی دارد و با توجه به پراکندگی و گستردگی این خوشه‌ها می‌توان با نظریۀ استعارۀ مفهومی، نگاهی تازه به این اثر داشت. روش: روش تحقیق تحلیلی ـ توصیفی است و دامنۀ پژوهش مبنی بر متن مرصادالعباد است. نتایج و یافته‌ها: این تحقیق نشان داد رشته‌های استعاری در پیوند با یکدیگر، در متن تأمل‌برانگیز است و می‌توان آنها را خُرداستعاره نامید. شبکۀ خرداستعاره‌های به‌‌هم‌پیوسته از این قرار است: «هبوط روح در تن به‌منزلۀ جلوس پادشاه»، «خزانه‌داری خداوند به‌منزلۀ گنجینه‌داری پادشاه»، «ابلیس به‌منزلۀ مجرم و محکوم‌شده ازسوی سلطان»، «پرورش روح به‌منزلۀ پروردنِ باز شکاری»، «تبلیغ دین به‌منزلة تشکیلات اطلاع‌رسانی پادشاه». این پنج استعارۀ خرد، هریک دارای زیرمجموعه‌هایی بوده‌اند که در متن تحقیق با ذکر شاهدمثال و ترسیم نمودارهایی تبیین شده‌اند. همچنین، دقت در خُرداستعاره‌ها نشان می‌دهد که می‌توان مجموعۀ آنها را ذیل کلان‌استعارۀ «خداوندگاری به‌منزلة کشورداری» قرار داد.

https://jpll.ui.ac.ir/article_27049_1a8311b11788d083ed8010117a31bdec.pdf

انجمن ترویج زبان و ادب فارسی ایران پژوهش‌های ادب عرفانی HTTPS://JP 16 2 2023 02 20 Fostering Theological Concepts through Verses and Narrations in the Preface of Amir Khusrow Dehlavi's Masnavi بازتاب مفاهیم کلامی در دیباچۀ مثنوی‌های امیرخسرو دهلوی (با تمرکز بر منظومه‌های هشت بهشت، شیرین و خسرو و مجنون و لیلی) 75 92 26334 10.22108/jpll.2022.126943.1570 FA پروانه سیدی دانشجوی دکتری زبان و ادبیات فارسی، گروه زبان و ادبیات فارسی، دانشکدة ادبیات و علوم انسانی، دانشگاه صفهان، اصفهان، ایران زهره نجفی دانشیار زبان و ادبیات فارسی، گروه زبان و ادبیات فارسی، دانشکدة ادبیات و علوم انسانی، دانشگاه اصفهان، اصفهان، ایران جنان ایزدی استادیار گروه فلسفه و کلام اسلامی، دانشکدة الهیات، دانشگاه اصفهان Journal Article 2021 01 17 In this paper, we have investigated the fostering of theological concepts through verses and narrations in the preface of Amir Khusrau Dehlavi's Masnavi. The research type is analytical-descriptive and its method is library. After investigating the prefaces from a theological point of view, we have come to the conclusion that Amir Khusrau Dehlavi has quoted verses from the Holy Quran or hadiths of the infallible Imams, either directly or indirectly and implicitly, in most of the verses that contain theological concepts. Thus, he sought to achieve two goals: One is that he attempted to foster theological concepts by quoting verses and hadiths in order to make his beliefs believable to his audience, and on the other hand, he sought to pay tribute to the Holy Quran and the hadiths of the infallible Imams. Among the three poems investigated, theological concepts in the preface of the poem Hasht Behesht are more than the other two poems, and in the preface of this poem, the poet has discussed diverse and various concepts of theology. Most of the theological concepts used in the preface of these three poems are concepts that have been repeated in other poets' poems before Dehlavi, however, Dehlavi is one of the prominent poets in terms of verses, hadiths and narrations that have been used to document and foster theological concepts. بیان مسئله: دیباچۀ منظومه‌های غنایی همواره جایگاهی برای بیان اعتقادات و دیدگاه‌های شاعران است که پیش از ورود به داستان با طرح برخی مسائل کلامی، در تبیین اندیشه‌های خویش می‌کوشند. امیرخسرو دهلوی نیز به همین روش در منظومه‌های خود به پرورش مفاهیم کلامی می‌پردازد. روش: در این مقاله برجستگی مفاهیم کلامی در دیباچة مثنوی‌های امیرخسرو دهلوی با تمرکز بر مثنوی‌های «هشت بهشت»، «شیرین و خسرو» و «مجنون و لیلی» بررسی می‌شود. یافته‌ها و نتایج: پس از بررسی دیباچه‌ها ازنظر برجستگی مفاهیم کلامی، نتیجۀ به‌دست‌آمده این است که امیرخسرو دهلوی در بیشتر ابیاتی که متضمّن مفاهیم کلامی است، به آیاتی از قرآن کریم و یا احادیثی از ائمۀ معصوم ـ چه به‌صورت مستقیم و چه به روش غیرمستقیم و ضمنی ـ استناد کرده و از این راه به‌دنبال رسیدن به دو هدف بوده است؛ نخست آنکه به برجسته‌سازی مفاهیم کلامی با استناد به آیات و روایات بپردازد تا عقایدش را با این شیوه برای مخاطبانش باورپذیر کند و ازسوی دیگر، درپی ادای احترام به قرآن کریم و احادیث ائمۀ معصوم بوده است. از میان سه منظومۀ بررسی‌شده، مفاهیم کلامی در دیباچۀ منظومۀ «هشت بهشت» بیش از دو منظومۀ دیگر است و شاعر در دیباچۀ این منظومه به بحث دربارة مفاهیم متنوّع و متعدّدی از علم کلام پرداخته است.

https://jpll.ui.ac.ir/article_26334_34061f26ed8148fcd960f0a949e6c509.pdf

انجمن ترویج زبان و ادب فارسی ایران پژوهش‌های ادب عرفانی HTTPS://JP 16 2 2023 02 20 Imaginative Criticism of Sana'i Ghaznavi's Ghazals from the Perspective of Gilbert Durand نقد تخیلی غزلیات سنایی غزنوی از منظر ژیلبر دوران 93 114 26975 10.22108/jpll.2022.127438.1585 FA راضیه ایمانی نسب دانشجوی دکتری زبان و ادبیات فارسی، گروه زبان و ادبیات فارسی، دانشکدة ادبیات و علوم انسانی، دانشگاه ارومیه، ارومیه، ایران محمدامیر عبیدی نیا استادیار زبان و ادبیات فارسی، گروه زبان و ادبیات فارسی، دانشکدة ادبیات و علوم انسانی، دانشگاه ارومیه، ارومیه، ایران Journal Article 2021 02 15 Abstract In literary and artistic works, imagination plays an essential role. The existence of different definitions of this term each explains different aspects of the word. In fact, imagination is a defense mechanism so that the poet and writer can overcome their inner inflammations and anxieties. One of the reasons for paying attention to imagination and imaginative structures is to explain the thoughts and feelings of poets and writers. The presence of bold symbols with positive valuation makes it possible to study Sana'i lyric poems according to Gilbert Durand's theory. The abundance of symbols related to his poems confirms the poet's ability to overcome internal worries and turmoil. In Sanai lyric poems, unpleasant symbols, along with the use of pleasant symbols, and the poet's desire to use safety symbols are combined to present a desirable image of the beloved and to express the poet's psychological characteristics. Introversion, self-knowledge, positivism, and adaptation to adversity are revealed in the shadow of the poet's attention to the symbols of introversion. The motherly symbols of the "beloved's threshold" and "the vessel and its contents" express humility, the lover's desire for peace, and the beloved bow. Disrupting the natural order of cycles, passionate descriptions of the future and the past, along with contradictory descriptions, are other ways in which the poet escapes time to show the evolution of the beloved and the steadfastness of the lover. Poets like Sanai, who tend to use the symbols of the nocturnal system, especially the soothing symbols of water and soil, are usually positive-minded, peaceful, moderate, adaptable, and so sad. They solve problems with a peaceful gesture. In each of the works, depending on the tendency and frequency of the symbols of this theory, new aspects of the imagination, and psychological and intellectual characteristics of the poet or writer can be achieved. Introduction The ideas of people like Henry Carbone, Gaston Bachelard, Gilbert Durand, and some constructivists led to the emergence of a positive view of imagination. With regard to the concept of mystery and revelation in Islamic mysticism, using Suhrawardi's examples and Jung's teachings, Gilbert Durand was able to identify the symbols of distress caused by the passage of time and human coping in two general groups. He examines imagination in its various manifestations and after that, by examining artistic images, he obtains the main inner characteristics of the creator of the work. The bold presence of the nocturnal system (with a positive value) and the similarities of the thought of the era with the Eastern doctrines caused this method to be taken into consideration for the analysis of Sana'i sonnets. The main focus of the present study is to find the central images and symbols of Sana'i sonnets and the special attention of the poet to the nocturnal system. Also, reaching the topics that are conveyed by these symbols is another goal of this research. Methodology After defining the statistical population of the research, in order to find the symbols of the nocturnal system by studying Sana'i lyrical poems several times, the related symbols were extracted and categorized, and the symbols were described and analyzed using the library method. Then, based on the frequency, amount, type and quality of symbols, and the relative characteristics of the poet's personality were discussed as much as possible. Review of the Literature According to the theory of Gilbert Durand, mysterious symbols include symbols of refuge, symbols of fluids and drinks, balanced symbols, and colors. In the symbols of refuge, man recreates rebirth by taking refuge in safe places and overcoming inner worries. Symbols of refuge in Senai's sonnets appear in the poet's desire to rest in places such as ruins, Koi Maqamari, pagodas, etc. Senai's exposure to unfavorable social conditions, the experience of adverse psychological states, and the characteristics of the poet's nature cause him to turn to the refuge. By sinking into oneself, hidden forces do not always remain hidden. By entering the symbols of the shelter, the self-fulfilling person becomes the creator of the expanse that is pleasing to him. In the sonnet, frequent refuges such as the lover's house and the soil of the lover's feet show that the barriers of distance from the beloved have been reduced in the poet's thoughts and imagination. These maternal and feminine symbols express a sense of peace. Perhaps one of the reasons for the poet's attachment to the image of soil can be seen in connection with his personality. The predominance of the soil element indicates that the person is phlegmatic, sad, and affected. Containers and liquids are also other mysterious symbols. These symbols are reminiscent of the Yunus complex. The abundant use of drinks and dishes is also prominent in the lyrics to represent the sense of security. Tears are also among the symbols of shelter and fluids that Sana'i turns to relieve his inner inflammation. Senai's imagination in the sonnets seeks to use symbols with positive values. In many cases when the poet has used symbols with negative values, he is trying to balance those symbols. He reduces the fear caused by dark, descending, and animal symbols by adding traits and characteristics. By using red, black, white, and yellow colors, besides describing the beauty of his lover and expressing ascetic images, Sanai also expresses his annoyance. In the use of colors, the pleasant and unpleasant moods go hand in hand, so that along with the description of a balanced situation, the unfavorable conditions and the reluctance of the lover can also be arranged. Cyclical patterns such as circles emphasize the endless repetition of time. They depict the pattern of night and day, the night of partying, and the morning of connection. In the rotating symbols with the image of the change of seasons, the spring of connection replaces the winter of separation and absence. In Sana'i ghazals, the cycles are mostly short-lived, so that the lover can achieve connection. Sometimes the poet seeks to reduce his anxiety by disrupting the natural pattern of cycles in his imagination. The images of the garden, spring, flower tree, full moon, and the like describe a lover with a distinct attribute of renewal. The imbalance in the cycles also leads to the immortality of the lover, and the lover is freed from the sadness of the passage of time and decay in this way. The use of savior symbols and the passionate description of the future and the past in the lyrics also express the evolved existence of the beloved. Using the unity of opposites, Sanai reaches a lover who is protected from the events of the time. Wandering in the descriptions of the beloved in sonnets is a balm for the lover's soul to reduce boredom. Results The amount of use of symbols of the nocturnal system in Sana'i is more, better, and more artistic than other symbols. Examining the symbols of Ghazliat mainly indicate the dominance of suitable mental and emotional states. The abundant use of imagery of relaxation, such as soil and water, shows the poet's mastery over worries and his desire to reach relief. The colors also describe well the unfavorable and most favorable conditions of love. Sometimes the lover finds peace in connection with nature. Cyclical and rhythmic symbols, symbols of progress to overcome the anxiety caused by time lean towards the symbols of new beginnings and immortality, and thus the poet tries to create images that promise an imminent connection. The poet describes his lover in the way he likes by freeing himself from limitations and paradoxical images. All these actions represent the poet's mental effort to achieve the desired conditions. People like Sanaei, who tend to use more positive symbols, are peaceful people who solve problems in a peaceful way. بیان مسئله: در آثار ادبی و هنری، تخیل نقشی اساسی دارد. وجود تعریف‌های گوناگون از این اصطلاح، هریک سبب تبیین جنبه‌های متفاوتی از آثار می‌شود. یکی از دلایل توجه به تخیل و ساختارهای تخیلی، تبیین اندیشه و احساس شاعران و نویسندگان است. درواقع تخیل مکانیزمی دفاعی است تا شاعر و نویسنده بتواند بر التهاب‌ها و تشویش‌های درونی خود فائق آید. روش: وجود پررنگ نمادهای دارای ارزش‌گذاری مثبت، امکان بررسی غزلیات سنایی را طبق نظریۀ ژیلبر دوران با شیوه‌ای توصیفی ـ تحلیلی میسر می‌کند. یافته‌ها و نتایج: فراوانی نمادهای مربوط‌به این منظومه بر توانایی شاعر در غلبه بر نگرانی‌ها وآشوب‌های درونی صحّه می‌گذارد. در غزلیات سنایی تلطیف نمادهای ناخوشایند،کاربرد نمادهای خوشایند و رغبت شاعر برای بهره‌گیری از نمادهای ایمنی‌بخش برای ارائة تصویر مطلوب از معشوق و بیان ویژگی‌های روانی شاعر شکل می‌گیرند. درون‌گرایی، خودشناسی، مثبت‌انگاری، سازگاری با ناملایمات در سایة توجه شاعر به نمادهای درون‌بودگی آشکار می‌شود. نمادهای مادرمثالیِ «خاک کوی معشوق» و «ظرف و مظروف‌ها» بیانگر خاکساری، میل به سکون و آرامش عاشق و بزرگداشت معشوق‌اند.کاربرد نمادهای پیشرفت، ریتم‌دار و آغاز دوباره، وصال و امید وصال را برای شاعر ممکن می‌کند. برهم‌زدن نظم طبیعی چرخه‌ها، توصیفات پرشور از آینده وگذشته به همراه توصیفات پارادوکسیکال از دیگر شیوه‌های زمان‌گریزی شاعر است تا جاودانگی، تکامل‌یافتگی معشوق و ثبات‌قدم عاشق را هویدا کند. افرادی مانند سنایی که متمایل به استفاده از نمادهای منظومة شبانه به‌ویژه نمادهای آرمیدنِ خاک و آب هستند، معمولاً انسان‌هایی مثبت‌اندیش، صلح‌جو، معتدل، سازگار و تاحدی اندوهناک‌اند که مسائل را با حرکتی مسالمت‌آمیز حل می‌کنند. در هریک از آثار، بسته به میزان تمایل و بسامد نمادهای این نظریه می‌توان به جنبه‌های جدیدی از تخیل، ویژگی‌های روانی و فکری شاعر یا نویسنده دست یافت.

https://jpll.ui.ac.ir/article_26975_a783585d5cfe61857b7f6807dcf2f313.pdf

انجمن ترویج زبان و ادب فارسی ایران پژوهش‌های ادب عرفانی HTTPS://JP 16 2 2023 02 20 The Mystical Disposition of Shah Dai Allah Shirazi مشرب عرفانی شاه‌داعی‌الله شیرازی 115 132 26758 10.22108/jpll.2022.128907.1619 FA خدیجه کیانی دانشجوی دکتری زبان و ادبیات فرسی، گروه زبان و ادبیات فارسی، دانشکدة ادبیات، دانشگاه اصفهان، اصفهان، ایران محسن محمدی فشارکی دانشیار زبان و ادبیات فارسی، گروه زبان و ادبیات فارسی، دانشکدة ادبیات، دانشگاه اصفهان، اصفهان، ایران محمود براتی دانشیار زبان و ادبیات فارسی، گروه زبان و ادبیات فارسی، دانشکدة ادبیات، دانشگاه اصفهان، اصفهان، ایران Journal Article 2021 05 29 Abstract One of the basic topics in mystical research is to know the mystical tradition and disposition of each mystic. In fact, explaining the mystical tradition and disposition of mystics is the first step in recognizing their opinions and thoughts. The present study has been done with the aim of explaining the mystical tradition and disposition of Shah Dai Shirazi in a solid and scientific way. In this research, using a descriptive-analytical method, first, the mystical disposition of Shah Dai was determined by examining the goal and purpose of the mystic, the method of achieving the goal, the topics and concepts raised in his works, his educational system, and mystical language. Then, his mystical tradition was examined. In order to explain his mystical tradition, the origin and destination of the mystical journey and the steps between the origin and the destination are discussed. Examining these cases, we consider a combination of the first and second mystical traditions as Shah Dai’s ideas. In general, it can be said that the mystical mystic in the theoretical discussion belongs to the second mystical tradition and in practice behaves in accordance with the first mystical tradition. Introduction From the beginning of Sufism and Islamic mysticism, although the mystics shared the same principles, they differed in their behavior. With the passage of time, these differences became deeper and wider, and the basis for the emergence of different methods and dynasties was provided. From the 6th century, these differences became more fundamental and gradually showed themselves in the principles. With the peak of these differences in the 7th century, the foundations and principles of Gnosticism underwent evolution and transformation until new boundaries were formed in Islamic Gnosticism and new methods and principles emerged. These ways of thinking are fundamentally different from other ways in method, approach, goal, subject, and language and are known as the second mystical tradition. Shah Dai Allah Shirazi is one of the greatest mystics who lived in the 9th century AH. He is one of the caliphs of Shah Nematullah Vali Kermani and has been giving lectures in Shiraz for thirty years. First, he gave his hand of devotion to Sheikh Abu Ishaq Bahrami, then he went to Kerman in order to fulfill his soul and desire to visit Shah Nematullah Vali. He has an honorable position as a poet and thinker. Review of the Literature Mystical insight is a set of characteristics and criteria that can be used to achieve the perspective and thought of a mystic and to determine his method in the path of mysticism. The vision of each mystic, like the personal style of poets, has subtle and sometimes imperceptible differences from the vision of other mystics. The first step in explaining the mystic's mysticism is to determine his mystical tradition. To deal with this issue, several issues are examined: 1) goal and destiny, 2) method of reaching the goal, 3) topics and concepts, 4) educational system, and 5) mystical language. Methodology The current research is based on the works of Shah Dai Shirazi, including the generalities of Divan poems, treatises, and Golshan. The purpose of this study is to investigate the mystical view of Shah Dai and to explain and analyze his mystical vision, that is, to express the background and sources of mystical works and the way, thought, and destiny that he followed. This research has been done using the library documentation method and analytical-descriptive approach. First, notes were prepared from Shah Dai's books on the topics in question, and then these notes were separated. The notes related to each topic were placed together. Result By examining the mystical vision of Shah Dai, we observe a fusion of the first and second mystical traditions. It is necessary to know the issue of existence in the discussion of the goal and destiny and the achievement of knowledge, like the mystics of the second tradition, in addition to knowing the man and knowing the truth. Shah Dai talks about reaching knowledge. Regarding the method and means of attaining knowledge, although like the mystics of the second tradition, besides discovery and intuition, he also gives credit to intellectual and narrative methods. However, he considers love superior to discovery and intuition. Subjects and concepts also have different forms and contents in the mystical vision of Shah Dai. In his works, in addition to the topics and concepts of the first tradition, we also see the special topics of the second tradition, such as the perfect human being, fixed nobles, and the unity of existence. In addition, some concepts in the intellectual system have traces of both traditions, such as monotheism, manifestation, etc., these concepts mostly represent the integration of the first and second mystical traditions in the works of Shah Dai. Shah Dai's educational system, like the mystics of the second tradition, is based on a disciple and on the basis of master and a student. Although the disciple relationship is very prominent in his works, signs of the master-student relationship can also be seen in some of his treatises. In the discussion of vision and expression of origin and destination and according to authorities, Shah Dai's thought system is in accordance with the first mystical tradition, and what he presents about the course and conduct is fundamentally different from the second mystical tradition. بیان مسئله: یکی از موضوعات اساسی در پژوهش‌های عرفانی، شناخت سنت و مشرب عرفانی هر عارف است. درواقع تبیین سنت و مشرب عرفانی عارفان، نخستین گام در شناخت آرا و اندیشه‌های آنان است. این پژوهش با هدف تبیین سنّت و مشرب عرفانی شاه‌داعی شیرازی با روشی مضبوط و علمی انجام شده است. روش: نویسندگان در این پژوهش می‌کوشند با روشی توصیفی ـ تحلیلی، نخست با بررسی هدف و غایت عارف، روش رسیدن به هدف، موضوعات و مفاهیم مطرح‌شده درآثار وی، نظام تربیتی و زبان عرفانی او، به تعیین سنّت عرفانی شاه‌داعی بپردازند و سپس مشرب عرفانی وی بررسی شود. برای تبیین مشرب شاه‌داعی، به مبدأ و مقصد سیروسلوک و مراحل میان مبدأ و مقصد پرداخته شده است. یافته‌ها و نتایج: با بررسی این موضوعات، تلفیقی از سنّت اول و دوم عرفانی را اندیشه‌های شاه‌داعی می‌توان دید؛ به طورکلی می‌توان گفت مشرب عرفانی شاه‌داعی در بحث نظری به سنّت دوم عرفانی گرایش دارد و در سلوک عملی منطبق با سنّت اول عرفانی است.

https://jpll.ui.ac.ir/article_26758_ba056015193a4db56c54763970e9a9fd.pdf

انجمن ترویج زبان و ادب فارسی ایران پژوهش‌های ادب عرفانی HTTPS://JP 16 2 2023 02 20 A Critique and Report of Arabic Verses of the Letters of Ayn al-Quzat Hamedani نقد و معرفی منابع ابیات عربی نامه‌های عین‌القضات همدانی 133 154 27442 10.22108/jpll.2023.136691.1751 FA سعید طاهری دانشجوی دکتری زبان و ادبیات فارسی، دانشکدة ادبیات و علوم انسانی، گروه زبان و ادبیات فارسی، دانشگاه شهید بهشتی، تهران، ایران احمد خاتمی استاد زبان و ادبیات فارسی، دانشکدة ادبیات و علوم انسانی، گروه زبان و ادبیات فارسی، دانشگاه شهید بهشتی، تهران، ایران Journal Article 2023 02 01 Abstract Due to their simple language and pedagogical structure, the letters of Ayn al-Quzat Hamedani, have always been a source of reflection to help researchers and scholars find their way to the themes and principles of mysticism. Since Ayn al-Quzat Hamedani used 204 Arabic verses in these letters - without regard to repetitive ones- we should know the names of Arabic poets and his familiar and favorite divans, from which he selected many Arabic verses and included them in the letters to develop an accurate understanding of his thoughts. The Arabic verses in the text of the letters in many cases differ from the original text, and in some cases, they are inserted incorrectly into the text. The present study tries to refer to the original Arabic texts to name the main poet of the verses and the cases that have been distorted by mentioning their different forms. Among the Arabic texts, Ayn al-Quzat Hamedani is more interested in critical texts and words, and his knowledge of Arabic literature is mostly limited to these sources as well as the educational sources of the old schools. The Arabic verses he included in his letters are mentioned as examples in most dictionaries and critical texts. Among the Arab poets, Ayn al-Quzat Hamedani was more interested in the Iranian Arabic-writing poets such as Abivardi and the poets of Mukhadarm and early Islam poets, besides Mutnabi and Umar ibn Abi Rabia. Introduction Islamic philosophers and scientists have access to a wealth of valuable resources thanks to the rise of Islam and the Qur'an's central role. This miraculous text has demonstrated a variety of functions. One of these functions is mysticism, which has long been associated with many well-known Islamic scientists and poets. Abul Ma'ali Abdullah bin Muhammad bin Ali Hamadani, also known as Ayn al-Quzat, was one of these genuine mystics who died in a mystical manner. The book Preludes contains Ain al-Qudzat's main ideas, the pamphlet-like book "Letters", written in simple language and with references to Qur'anic verses as well as Persian and Arabic poetry, which is sufficient to understand his thoughts. But because the author wrote this work separately and haphazardly while experiencing ups and downs in his life, it has authoring flaws that frequently resulted in numerous abrogation and mistakes (as cited in Hasani & Mansouri, 2013). The copies that the proofreaders used to correct the letters all belong to the 7th century AH and later, and the 159 letters that are available to us now do not include all the letters because Ayn al-Quzat in the book Preludes explicitly said that their total was more than a few volumes. This means that the text of the letters has been confused and edited from various angles (Hassani & Mansouri, 2013). One of the confusions of the text of the letters, despite the determination of the proofreaders to present a sophisticated text, is related to the Arabic verses, which have been written in various aspects. Due to the scribes' lack of Arabic language proficiency and the letters' dispersed copies, many of the Arabic verses cited in them were altered and rendered meaningless, making them useless today. On the other hand, learning about the major poets who contributed to these verses, the texts they referenced, and the narratives and events that led to them can help the reader comprehend the author's mindset and points of interest in addition to elucidating the precise and original form of these verses. Review of the Literature The referencing of Arabic verses has traditionally been done in the context of texts such as Marzban-nameh, Kelile va Demne, and Tarikh Jahangosha, and it remains a common practice. In recent years, Saeed Waez has referenced the Arabic verses of Ain al-Qodat letters up to the middle of the second volume in two issues (Waez, 2004a,b). However, the continuation of his work has unfortunately not been published. Waez consulted many sources in his research and was successful in extracting the correct form of the verses and their main poet in many cases. Nevertheless, since his research only progressed to the middle of the book, and there were differences regarding the number of verses and the contents surrounding them, it was deemed necessary to start from the beginning of the book and find the original and correct form of the verses from Arabic texts. It is important to quote the name of the poet and any important content surrounding these verses so that the reader has access to a correct version of these verses. Methodology Since Ayn al-Quzat passed away young and was unable to use additional Arabic sources, the Arabic verses in the letters have special requirements and, based on their quantity, are from a wide range of poets. As a result, one cannot rely on a small number of sources when looking for the proper format of verses and the names of their poets. In order to find the references of these verses, first, fifteen to twenty primary and comprehensive sources such as Aghani, Damiya al-Qasr and Osrat’e Ahl al-Asr, Yatimah al-Dahr, and Al-dorr’o Al-Farid by Al-Mustasim, which are related to the history of Arabic literature and have narrated a large volume of poems, were selected. Then, by finding the verses or the names of their poets or a different version of them, the primary and trustworthy sources, such as the poets' divans or other sources, have been referred to ensure the recording and the poet's name. The authors have made an effort to direct the reader toward an accurate representation of the poem or its poet. Although a number of primary and comprehensive sources were used to begin the work to look for verses, no special classification was made to gain confidence and continue the search, and the authors' objective during the work was to find more sources for verses. Every text, treatise, and epitome that could have aided the authors in this way has thus been consulted. In some cases, internet sources have been used, but everything discovered using this technique has been cross-referenced with trustworthy printed sources, leaving no room for doubt as to the verse's authenticity. Results There are 204 complete Arabic verses (not counting repeated verses) in the text of the letters, some of which have been mistranslated due to the scribes' summary writing and lack of knowledge of Arabic (as cited in Osiran, & Monzavi, 1983, vol. 1, p. 313, line 2 and vol. 2, p. 471, line 15) or are among other verses and do not have a specific author (ibid., vol. 1, p. 175, line 1; vol. 1, p. 183, line 13; vol. 1, p. 342, line 13; Vol. 2, p. 31, line 6; Vol. 2, p. 112, line 13; Vol. 2, p. 122, line 6 and Vol. 2, p. 12, line 12). As a result, these verses frequently lack literary imagery and suffer from the same fate as the Persian poem written by a non-Persian speaker. And it has become impossible to trace them in Arabic sources that tend to quote Jahili verses or verses with strange words and special grammatical and rhetorical points (ibid., vol. 1, p. 372, line 11; vol. 2, p. 30, line 15 and Volume 2, page 425, line 1). The majority of these 204 verses, along with everything else that has been discovered from that time period, were written by Jahiliyyah and Mukhadram poets, with the remaining verses being the creations of Iranian poets who wrote Arabic poetry as well as famous Arab poets. بیان مسئله: نامه‌های عین‌القضات همدانی با توجه به زبان ساده و ساختار درس‌گونۀ آنها در راه‌یابی محققان و پژوهشگران به مسائل و مبادی عرفان همواره محل تأمل بوده است. عین‌القضات همدانی در این نامه‌ها از 204 بیت عربی، بدون شمارش ابیات تکراری، بهره برده است؛ به همین سبب، برای شناخت دقیق‌تر اندیشۀ او، بهتر است نام شاعران عربی و دیوان‌های مأنوس و محبوب وی ـ که ابیات عربی بسیاری را از آنها انتخاب کرده و در نامه‌ها گنجانده است ـ را شناخت. ابیات عربی مندرج در متن نامه‌ها در بسیاری اوقات با صورت اصلی آنها متفاوت است و گاهی نیز به‌صورتی نادرست در متن درج شده است. روش: نویسندگان مقاله درپی آن بوده‌اند تا با رجوع به متون اصلی عربی، سرایندة اصلی ابیات و نیز ابیات تحریف و تصحیف‌شده‌ را با ذکر صورت‌های متفاوتشان ذکر کنند. یافته‌ها و نتایج: عین‌القضات همدانی در میان متون عربی، به متون نقد و لغت علاقۀ خاص‌تری دارد و اطلاع و دانش وی از ادبیات عرب بیشتر به این شاخه و نیز به منابع آموزشی مدارس قدیم محصور بوده است. ابیات عربی که وی در نامه‌های خود گنجانده، در بیشتر لغت‌نامه‌ها و متون نقد برای مثال ذکر شده است و غیر از این، وی در میان شاعران عربی، در کنار متنبی و عمر بن ابی‌ربیعه، بیشتر به ایرانیان عربی‌سرا مثل ابیوردی و شاعران مخضرم و صدر اسلام توجه دارد.

https://jpll.ui.ac.ir/article_27442_db41f3966125c82876bf04c862141e5e.pdf

انجمن ترویج زبان و ادب فارسی ایران پژوهش‌های ادب عرفانی HTTPS://JP 16 2 2023 02 20 A Critique on the Correction of Shams Tabrizi's Discourses and the Necessity of Its Re-correction نقدی بر تصحیح «مقالات» شمس تبریزی و ضرورت تصحیح مجدد آن 155 172 27499 10.22108/jpll.2023.136281.1742 FA بهمن نزهت استاد زبان و ادبیات فارسی، گروه زبان و ادبیات فارسی، دانشکدة ادبیات و علوم انسانی، دانشگاه ارومیه، ارومیه، ایران Journal Article 2022 12 31 The mode of expression and teaching method of great masters in pedagogical circles is often called ‘Majlis-Gooyi’. Shams Tabrizi has also paid attention to this mystical tradition in his mystical narrations and has conveyed most of the important mystical teachings and categories to his audience and students through this method. The numerous and diverse surviving versions of Shams Tabrizi's writings have somehow prevented the presentation of a revised and correct text of Shams's Discourses. Therefore, in the scientific-critical correction of this work, which was done by Movahed, there are some shortcomings in the corrected text, which sometimes caused ambiguities in the text and made it difficult for the readers to understand. In the present study, while criticizing the mentioned correction based on the versions available in the Konya Museum, the importance and validity of the old versions of the discourses have been investigated in an analytical manner and the necessity of re-correction has been explained. Among the old editions of Shams's Discourses, the third edition of Konya Museum, No. 2155, is of particular importance due to its antiquity and historical validity, the comprehensiveness and consistency of the text, and the logical sequence of Shams's words. The relative absence of additions and scribes' corrections in this version is another finding of this research. By considering this version as the basis, it is possible to provide a re-correction and uniform text of the discourses, and other old versions can be used as replacement versions according to their preference and prioritization to fix the defects and problems of the base version. Introduction Shams's speeches are full of stories, similes, and individual sentences that are separated from their origin and disturb the integrity of the text in which they are located, making it difficult for the reader to understand the structure of this type of literature. The actual order of the contents of the discourses, as it is today, is somewhat ambiguous. The disciples of Shams and Rumi wrote some of his words regularly in written form, and transmitted other works orally to others and the next generation through lessons and sermons. This method of written and oral transmission of his words, which of course was accompanied by the intervention of scribes and preachers, can be one of the reasons for the confusion and disorganization of the Discourses. In reconstructing the original text, it is necessary to distinguish between the oral and written transmission of Shams' words. The known versions of the Discourses (six original and old versions, three selected versions, and seven almost new versions that were written from the original version) and their textual changes and differences show how much attention these texts have received during the eight centuries that have passed since Shams' death. This study aims to criticize the correction of Shams Tabrizi's Discourses done by Movahed (1990). Review of the Literature The current edition of the Discourses cannot be the final version of Shams's lectures. As mentioned, the original versions of the articles are very similar to each other in terms of writing history. In the meantime, Wali al-ddin's version seems a little old compared to all of them. In the scientific correction of ancient texts, the use of the existing copies, which are small and incomplete, is a scientific and original rule. Wali al-ddin's version only includes the first part of the Discourses, and not all of Shams's interpretations are included in it. Due to the existence of the third version of the Konya Museum, the characteristics of which were mentioned earlier, we can present an almost unified narrative of Shams's narrations. Because the third edition of the Konya Museum correctly and completely preserves the first part of Shams's narrations, which is included in the old version of Wali al-Din. In reviewing the Discourses based on the third edition of the Konya Museum in terms of authenticity and comprehensiveness, it is possible to use the editions of Wali al-Din, Dar al-Mathnavi, and Fatih in terms of age and inclusion of other parts of the Discourses as alternative versions. In comparative correction, due to the involvement of the corrector’s taste, the probability of error in recording suspicious cases is high. Errors are minimized in the correction based on the base copy and referring to the alternative version. Methodology One of the difficult and undesirable obstacles in correcting the text of articles is the existence of multiple versions with different narratives of the works, which makes it difficult for the proofreader to recognize the authenticity and historical identity of these versions. In this study, while criticizing Movahd’s correction based on the versions available in the Konya Museum, the importance and validity of the old versions of the articles have been investigated analytically and based on the principles of manuscript research. Then, the necessity of re-correction has been explained. Results The results of the study showed that the additions or discrete parts are more in the first version of the Konya Museum than in Wali al-Din’s version. In the last part, the correction can be inserted separately under the title of additions. We think that maybe with this method it is possible to present at least three different parts of the Discourses based on the basic version and without using analogical or eclectic correction. The method of analogical correction is mostly used for works that are unique to one copy and erroneous. However, there are six original versions of the Discourses with unique features that can play a very useful and scientific role in providing an almost revised text with corrections based on the original version. بیان مسئله: شیوة بیان و روش تعلیمی مشایخ بزرگ عرفان که در محافل عرفانی غالباً به‌صورت وعظ و تذکیر بود، تحت عنوان «مجلس‌گویی» یاد شده است. شمس تبریزی نیز در بیان تقریرات عرفانی خود به این سنت عرفانی توجه داشته و بیشتر تعالیم و مقولات مهم عرفانی را با این شیوه به مخاطبان و شاگردان خود انتقال داده است. نسخه‌های متعدد و متنوع بازمانده از تقریرات شمس تبریزی به‌نوعی مانع از ارائة متنی منقّح و صحیح از مقالات شمس شده است؛ ازاین‌روی در تصحیح علمی ـ انتقادی این اثر که موحّد انجام داده است، کاستی‌هایی در متنِ مصَحَّح آن دیده می‌شود که گاهی موجب ابهام‌هایی در متن شده و فهم آن را برای خوانندگان مشکل کرده است. روش: در این نوشته ضمن نقد تصحیح یادشده، براساس نسخه‌های موجود در موزة قونیه به‌شیوة تحلیلی و براساس اصول نسخه‌پژوهی به بررسی اهمیت و اعتبار نسخه‌های کهن مقالات پرداخته شده است و ضرورت تصحیح مجدد آن تبیین می‌شود. یافته‌ها و نتایج: از میان نسخه‌های کهن «مقالات» شمس، نسخة سوم موزة قونیه به شمارة 2155 به‌دلیل قدمت و اعتبار تاریخی، جامعیّت و یکدست‌بودن متن و توالی منطقی سخنان شمس اهمیت خاصی دارد. عاری‌بودن نسبی این نسخه از الحاقات و تصحیف کاتبان نیز یکی دیگر از یافته‌های این تحقیق است. با اساس قراردادن این نسخه می‌توان تصحیحی مجدد و متنی یکدست از مقالات ارائه داد؛ دیگر نسخه‌های کهن نیز برای نسخه‌بدل برحسب ارجحیت و اولویت‌بندی آنها برای رفع نقایص و مشکلاتِ نسخة اساس استفاده می‌شود.

https://jpll.ui.ac.ir/article_27499_106101aeb36898e99f842a4d144d23f3.pdf

انجمن ترویج زبان و ادب فارسی ایران پژوهش‌های ادب عرفانی HTTPS://JP 16 2 2023 02 20 Miracles are the foundation for the Mythical Figure of Mystics Based on Joseph Campbell’s Theory کرامات زمینه‌ساز چهره‌ای اسطوره‌ای از عارفان براساس نظریات جوزف کمپبل 173 190 27484 10.22108/jpll.2023.135000.1726 FA علیرضا عبادی دانشجوی دکتری تاریخ ایران اسلامی، گروه تاریخ، دانشکده ادبیات و علوم انسانی، دانشگاه فردوسی، مشهد، ایران. نجم الدین گیلانی استادیار گروه تاریخ، دانشکده ادبیات و علوم انسانی، دانشگاه فردوسی مشهد، ایران Journal Article 2022 09 05 Abstract One of the controversial issues of Islamic mysticism is the conception of dignified power for Sufi sheikhs, which has a great semantic and content affinity with miracles. The difference is that miracles for the prophets are the extraordinary deeds of the saints. With the organization of sects in the middle of the fifth century AH and the severe weakness of the Seljuk government after the defeat of Sanjar (d. 552 AH) from Ghozan and the collapse of social and political conditions, miracles found a different symbolic dignity and referred to the superhuman works of the sect. Mystics are no longer mere spiritual persons; rather, they are portrayed as mythical heroes with divine power who break the divine order and laws governing nature. Miracles depict the path of the seeker’s journey like the journey of the hero of the myths, in which the sheikh went through a very difficult path in order to achieve such a superhuman power and benefit his disciples and supporters from it. Joseph Campbell's theory of monomyth (one myth) is very much in line with the seeker's spiritual journey. In this study, by collecting written mystical and historical sources related to the path of the mystic's movement to perfection and by matching those concepts to the three stages of separation, accession, and return of Campbell's theory, we can come to the conclusion that the purpose of creating miracles is the creation of mythical figures of mystics is to introduce them as religious heroes of the new age. Introduction One of the characteristics of mystics is the supernatural power attributed to them. This extraordinary act places mystics in the position of a unique actor whose actions must be analyzed at a very distinct level from other members of the society. The conformity of his supernatural actions with the external reality is not so important, but the believability of superhuman actions is important. These superhuman behaviors make Pir and Murshid mythological heroes. Human society in every place and time needs a mythical space where social activists can establish strong bonds with the society by breathing in that space. In fact, heroes are the adventurers of the ethnic spirit of a civilization. This study seeks to explain how the miracles of mystics are connected with myth. In fact, the current research seeks to find an answer to this research question: What was the purpose of making miracles for mystics? Review of the Literature In relation to the topic of this study, no independent research has been done. Despite this, a lot of research has been done on the commonalities of epic and mysticism. For example, Karamati Moghadam (2014), in the book From Beyond the Epic to the Heights of Mysticism, mentions common themes such as the perfect human being in the epic and Pir in mysticism, Phoenix, Number Seven, and so on. He follows Haft Khan and Haft Vadi Suluk, and in the last two chapters of the book, he deals with the similarity of extraordinary issues in epic and miracles in mysticism. No study has mentioned the fact that miracles are made for the reason that religious heroes introduce the new world to the society. On the other hand, many articles have been written about the adaptation of Joseph Campbell's theories to epic studies. However, regarding the analysis of mystical texts based on Campbell's theory, we can only refer to the article by Samizadeh and Khojasteh (2016) entitled structural analysis of the hero's journey in epic and mysticism based on Joseph Campbell's theory, and the other by Rafiei Rad and Namvar Motlaq (2014) entitled adaptation of the mystic's four journeys in the perspective of Mulla Sadra and Joseph Campbell's monotheistic theory. The first article analyzes Attar’s Mantiq al-tayr while emphasizing the two archetypes of hero and Journey based on the three main stages of Campbell's theory, without going into the details of the story of the birds and Sheikh Sanan. The second article also deals with the comparison of mystical concepts with Campbell's theory, based on Mulla Sadra’s asfar al-arbaʿah. None of these two articles deal with the role of virtues in creating the heroic character of mystics. Methodology The present study is carried down based on library sources using the descriptive-analytical method. Joseph Campbell's monomyth theory has been used to analyze the mythical aspects of mystics. Conclusion From the middle of the 4th century AH, extensive structural changes took place in the political and social system of Khorasan. Religion, which covered all aspects of life with strong support, provided the ground for the creation of its own special myths. The most important religious group that was able to attract many followers by creating myths was the mystics. The mystics' basic tool for creating myths was the description of miracles like the lives of the mentor of the Tariqat. In this way, the Pir of the Tariqat became the mythical hero who provided a valuable spiritual model for the Salek (seeker). This idea is also confirmed by Campbell's monomyth theory. This theory establishes a similar pattern of three stages (separation, accession, and return) for the hero's journey, which is the same among all the narratives of the heroes' lives in the world. The miracle-like narration of the life of mystics is also very compatible with this theory. The steps of the hero's journey (separation or departure, rejection of the invitation, unseen assistance, crossing the first threshold, and the belly of the whale), the rite of Tasharof (the road of tests, meeting with the Goddess, reconciliation with the father, Gods), and so on can be adapted to the miracle-like narrative of the mystics, which all form the basis of the mythical aspect of mystics. بیان مسئله: یکی از مباحث پرمناقشة عرفان اسلامی، متصورشدن قدرت کرامت‌گونه برای شیوخ متصوفه است که قرابت معنایی و محتوایی بسیاری به معجزه دارد. با این تفاوت که معجزه مخصوص پیامبران و کرامت، کارهای خارق‌العادة اولیاءالله است. با سازمان‌یافتن طریقت‌ها در میانه‌های قرن پنجم هجری و ضعف شدید حکومت سلجوقی بعد از شکست سنجر (م. 552 ق.) از غزان و فروپاشی اوضاع اجتماعی و سیاسی، کرامت مدلولی متفاوت یافت و به کارهای فوق‌بشری مرشد طریقت اشاره می‌کرد. پیر و مراد دیگر تنها یک شخص روحانی صرف نیست؛ بلکه مانند قهرمانان اسطوره‌ای با قدرت الهی تصویر می‌شود که نظم و قوانین الهی حاکم بر طبیعت را می‌شکند. کراماتْ مسیر سفر سالک را مانند سفر قهرمان اسطوره‌ها ترسیم می‌کند که شیخ از مسیر بسیار سخت و صعبی گذر کرده تا توانسته است به چنین قدرت مافوق‌انسانی دست یابد و از ثمرات آن، مریدان و حامیانش را بهره‌مند کند. نظریة «تک‌اسطورة» جوزف کمپبل، انطباق بسیاری با مسیر سفر روحانی سالک دارد. روش: در این مقاله منابع مکتوب عرفانی و تاریخی مربوط‌به سیر حرکت عارف تا رسیدن به کمال گردآوری شد؛ سپس آن مفاهیم با سه مرحلة «جدایی»، «تشرف» و «بازگشت» نظریة کمپبل تطبیق داده شد. نتایج و یافته‌ها: از تطابق یادشده به این نتیجه می‌توان رسید که هدف از خلق کرامات، ساخت چهره‌ای اسطوره‌ای از عارفان است تا آنان را قهرمانان مذهبی عصر جدید معرفی کنند.

https://jpll.ui.ac.ir/article_27484_169418eb11088f26e7f8e23484de47dd.pdf