Sufism and Mysticism
mir jalil akrami; Ahmad farshbafian; saber masoumi
Abstract
The treatise *Fi Haqiqat el-eshq* (Munesol oshshaq) by Sohrawardi (549-587 AH), while referring to the mystical manifestations of love and its states in the two stories of the creation of Adam and the Prophet Yusuf, provides the possibility of analysis and interpretation through the lens of Roland Barthes' ...
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The treatise *Fi Haqiqat el-eshq* (Munesol oshshaq) by Sohrawardi (549-587 AH), while referring to the mystical manifestations of love and its states in the two stories of the creation of Adam and the Prophet Yusuf, provides the possibility of analysis and interpretation through the lens of Roland Barthes' five codes. Barthes' model is a systematic and creative approach to analyzing narratives and stories. Barthes views every text dynamic, and possessing semantic multiplicity, believing that the fertility and fluidity of the text distinguish one text from another. Sohrawardi, while discussing the mystery of the creation of beauty, love, and sorrow in a Neoplatonic manner and utilizing Zoroastrian thought and subtle Quranic points, delves into their place in Illuminationist cosmology and epistemology. Mystics such as Ghazzali and Baqli Shirazi consider beauty, love, and sorrow as fundamental elements of spiritual journeying, with love being the result of the manifestation of beauty and sorrow resulting from fear. This article, using an analytical-descriptive method, examines the hidden voices in Sohrawardi's * Fi Haqiqat el-eshq * and reveals aspects of the codes to the reader. Given the wide range of symbols the mentioned treatise is of the type of open texts, where the reader is not passive; rather, by employing their creativity, they utilize their own inventive method in an attempt to stabilize meaning. Barthes' suggestion for this type of reading is the invention of a method through which the text is deconstructed and disseminated, and the reader is present as the producer of the text.
Lyrical and Didactic Literature
ali shahlazadeh; mir jalil akrami
Abstract
The extent and depth of the lyric literature concepts along with the examples variety of this literary genre in the area of Persian literature are considered as the most outstanding features of Persian language and literature.While the creation of other literary genres (epic and didactic) has shown weaknesses ...
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The extent and depth of the lyric literature concepts along with the examples variety of this literary genre in the area of Persian literature are considered as the most outstanding features of Persian language and literature.While the creation of other literary genres (epic and didactic) has shown weaknesses in some periods of history, lyric literature has been encountered with growing attention and increasing evolution.But what it takes to understand the various aspects of this literary genre as a point of ambiguity has the sufficiency to express and research about is that under what constraints lyric prose works are impressively low in number comparing to forms and types of its poetry.The lack of a determined and proposed theory in the case of Persian prose method makes it difficult to find an answer to this question.Therefore, it was attempted foremost by referring to prose works and books related to writing principles and rules to elicit some of the definitions and criteria of Persian prose, so by the way of setting the necessity of providing the lyric words and the frameworks of Persian prose essays against each others, the theoretical impediments to the growth and development of prose lyric works become more clear.Since the present study focuses on theoretical components, the literary criticism and analysis of lyric prose texts and fragments are neglected and four theoretical factors were introduced as possible contributing factors to lyric prose deficit in Persian literature.
Mir Jalil Akrami; Hadi Dini
Abstract
The mystical manifestations of self-control in Attar's Mathnawies (Manṭiq-uṭ-Ṭayr, Ilāhī-Nāma, Asrār-Nāma and Muṣībat-Nāma) Mir-Jalil Akrami1/ Hadi Dini2 1 Professor of Persian Language and Literature, Tabriz University (corresponding author), E-mail:m-akrami@tabrizu.ac.ir 2 M.A. ...
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The mystical manifestations of self-control in Attar's Mathnawies (Manṭiq-uṭ-Ṭayr, Ilāhī-Nāma, Asrār-Nāma and Muṣībat-Nāma) Mir-Jalil Akrami1/ Hadi Dini2 1 Professor of Persian Language and Literature, Tabriz University (corresponding author), E-mail:m-akrami@tabrizu.ac.ir 2 M.A. of Persian Language and Literature, Tabriz University Abstract The most important type of jihad is the struggle against the soul and its desires, and this is of considerable importance that it is regarded as the Greater Jihad. The soul is one of the most fundamental concept in Islamic mysticism Attar-e-Neishaburi has visualized his ideas about the soul in the form of anecdotes, stories, narratives and a plentiful supply of allegories in his Mathnawi's. From his point of view, the desires of the soul are regarded to be the worst enemy of man and an intermediary between Satan and the human beings; the soul is the greatest barrier and obstacle to the perfection of the seeker's paths; not only must the seekers strive to struggle against this enemy, but they must also take care of its invasions. Key words: struggle against the soul, Attar-e-Neishaburi, mystical manifestations. Soul from lexical point of view: From lexical point of view, the word soul has various meanings such as spirit, ego, object truth, blood, flesh, evil eye, intention, disgrace, defect, strength, punishment, magnitude, dominance, venerability (Shad, 1335, vol. 7: 4368-4367) (Ma'alov, 1973: 826), and essence, near, ambition, verdict, punishment, moisture, water, mind, breath of the eternal (Dehkhoda, 1342: under soul). Soul as a mystical term: The mystics and Sufis agree in the fact that the soul is the source of evil, and it is considered to be the cause of the immorality and despicable acts, which is divided into two types: 1) sins 2) immorality like arrogance, envy, stinginess, anger, rancor, and other contemptible meanings in Sharia and wisdom (Hujwīrī, 1992: 246-245). The struggle against the soul (Greater Jihad): Wise men and the mystics believe that self-control is one of the most difficult tasks facing mankind and in order to overcome it, self-improvement and many endeavors are needed; therefore, the uppermost type of jihad is the struggle against the soul and is referred to as the Greater Jihad. The struggle against the soul in Mysticism: The soul has been regarded as the greatest enemy of Man by the mystics, so fighting against it is considered as the greatest jihad. Frequently and in different forms, the seekers were demanded to struggle against the desires of the soul. In all matters of mysticism, self-improvement of the soul has been taken into account. The soul from Attar's perspective: Attar-e-Neishaburi has visualized his ideas about the soul in the form of anecdotes, stories, narratives and a plentiful supply of allegories; and in his tallest story, The Conference of the Birds, he expresses the involvement of Sheikh San'an with the soul and his scandal. In his Mathnawi's, Attar depicts various traits of soul in human existence, such as egotism, ambition, wrath, lust, greed, etc. The inciting nafs (An-nafs al-ʾammārah) is considered by Attar, and the sense of soul in his poems is the inciting nafs, not the self-accusing (An-nafs al-luwwāmah) one; hence, he always condemns and denounces it. According to Attar, the desire of the soul is the worst enemy of mankind which is regarded as an intermediary between Satan and the human beings; it is also the biggest obstacle to the perfection of the seekers. Attar compares the soul to a house full of sensual pleasures and lusts which must be wiped up from the soul desires. In Attar's view, the soul is placed in front of God that the seeker must abandon it and go through the divine's straight path: خدایت گر ازین پرسد مرا گیر فضولی از دماغ ما برون کن (عطار، 1386ب: 105) تو را چند از هوا راه خدا گیر خدایا نفس سرکش را زبون کن The manifestation of struggle against the soul in Attar's Mathnawies: Attar in his mathnawies, which are considered as major mystical sources, orders the seekers of the right way to throw off the veils of the soul, and makes them more familiar with the inciting nafs and its degrading traits. He draws up the various manifestations of this struggle in front of seekers of the truth in order to make it easy to overcome the obstacles and difficulties of this uphill and arduous way. In this section, the most important components of the struggle against the soul are expressed in his four-dimensional mathnawies (Manṭiq-uṭ-Ṭayr, Ilāhī-Nāma, Asrār-NāmaandMuṣībat-Nāma): Self-defeating in mysticism does not mean self-immolation or humiliation; but the main purpose is to subjugate the inciting nafs; in this way, the seeker humiliates the inciting nafs whenever it orders to do sinful and evil deeds, and quarrel with its rebellion so as to shame it from re-ordering misconducts, and lay the grounds for self-perfection. In Asrār-Nāma, Attar says: The soul is like an unbeliever who will never become a Muslim, and should be beheaded. One of the manifestations of piety is giving up the unstable and disloyal world. The seeker should not demand the world, even if the world is looking for it; he should have no desire for the beauty of the world and be deceived by its adornments and blessings. Attar points out that attachment to the world is one of the obstacles to the way of success. Even the smallest belonging to the world will keep the seeker from continuing the journey: لاجرم مهجور معنی آمدی ز آفرینش چشمِ جانِ کُل بدوز نُزل حق هر لحظه بیش آید تو را (عطار، 1386: 262) بستۀ مردار دنیی آمدی هرچه پیشت آید از گرمی بسوز چون بسوزی هرچه پیش آید تو را Leaving greed and ambition: The love of property and position causes the corruption of religion and faith in mankind, which is a means of snobbishness, and it's one of the greatest obstacles in the course of journey. Attar states: leave off the wealth and authorities of the world. Do not depend on anything which is a barrier to the path and leads you astray. Leaving arrogance and pride: Attar believes that pride leads to the disappearance of arrogance and distracts him from knowing the divine. Pride stems from self-control over the soul and sprit of mankind. Proudness leads to self-confidence and makes people ignore the causes of the world: بود آن حضرتش در پیش، بیپیش به جوهر از دو گیتی بیش گردد (عطار، 1386 ب: 135) مقرب آن بود کامروز بیخویش همه حق بیند و بیخویش گردد Poverty: according to Attar, poverty is not meant to be material, but he sees poverty as needing God and not requiring others. From his point of view, poverty means jihad and self-control and the passage from existence to reach God. That is why Attar in Manṭiq-uṭ-Ṭayr calls poverty as the seventh and last resort: بعد ازین روی روش نبود تو را گر بود یک قطره قُلزُم گرددت (عطار، 138۳: 380) هفتمین وادیّ فقر است و فنا در کشش افتی روش گم گرددت
Mohammad Ebrahimpour Namin; MirJalil Akrami
Volume 70, Issue 236 , December 2017, , Pages 1-40
Abstract
In the past half-century and especially in the past two decades the expression “mystical epic” has gained significant prevalence in the field of literary studies, and even some researchers have assumed the existence of a “mystical epic” as an independent genre in Persian literature. ...
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In the past half-century and especially in the past two decades the expression “mystical epic” has gained significant prevalence in the field of literary studies, and even some researchers have assumed the existence of a “mystical epic” as an independent genre in Persian literature. This study on the basis of the genre theory shows that against some similarities between some aspects of epic texts and some of examples of sufist literature, it is not possible to verify this assumption from the point of view of genre critic, because the acceptance of such genre is not matched with the intention of the sufi authors which is an important factor in determining the genre, and also it does not create any useful augury for the reader and lastly it does not offer any help for an accurate and reasonable classification of the species of Persian literature. Furthermore in explaining the extant similarities paying attention to the “mode” and the phenomenon “mixture of species” and the wonderful stability of the eastern and especially Persian forms of literature and also the interchange of the themes and concepts between various forms makes a reasonable explanation and formulation more possible.
mir jalil akrami; mohammad pashaei
Volume 66, Issue 227 , January 0, , Pages 1-19
Mir Jalil Akrami; Majid Vahedpour
Volume 69, Issue 233 , January 0, , Pages 1-26
Abstract
The sonnet from the sixth century have a significant, serious and formal, functional and presence in the Persian literature, and cone in the form of dominant means of artistic creation by the major poets. Such kind poems although, has a language quality and special meaning which making that more distinctive ...
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The sonnet from the sixth century have a significant, serious and formal, functional and presence in the Persian literature, and cone in the form of dominant means of artistic creation by the major poets. Such kind poems although, has a language quality and special meaning which making that more distinctive and recognized from the other kinds of poems, so it couldn’t keep itself away from the other language elements effect of the previous period – that mainly are imagerable elements -. Some of these elements in its natural movement are moved from a period to another.Of course, the attitude and poets mental aspect (field) and cultural geography that is grow up, changes how to using of these elements. Among the different elements of language , we can speak of bureaucratic elements. These elements whether in the language field or in the meaning field ,when keep on their function, cause of creating images that are no longer possible. The problem related to the to court when are used in the Persian odes, hardly could departure of its surface meaning and often are used in the lexican meaning. These are attributable to the extroversion and poems emotional aspects that rhetorical is in this way. Figurative meaning of such elements is more in sonnet that show itself. The expansion of figure of speech in sonnet and changing of such elements attribute to odes causes whatever helps to the lyric of literature language –bureaucratic elements , are parodies by the poets. By analyzing of Persian sonnet in the studying period (course) we get this pint that the elements related all the bureaucratics somehow keep on their live in this poetical genre. In this article among the various bureaucratic elements of court, we had analyzed the army elements, the composition bureaucratic element .bureaucratic elements, by the view of rhetorical function.
mir jalil Akrami; Masood dehgani
Volume 67, Issue 229 , January 0, , Pages 23-41
Mir Jalil Akrami; Hosein Rasoolzade
Volume 67, Issue 230 , January 0, , Pages 49-71
Abstract
One of the innovations of literaryin the constitutional period was "drama". After the prose plays that were experienced by Akhoundzadeh and Mirza Aqa Tabrizi, Verse dramas also was writed by borroweing from Persian classics works, such as Ferdowsi's Shahnameh and nizami worls. Verse plays are divided ...
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One of the innovations of literaryin the constitutional period was "drama". After the prose plays that were experienced by Akhoundzadeh and Mirza Aqa Tabrizi, Verse dramas also was writed by borroweing from Persian classics works, such as Ferdowsi's Shahnameh and nizami worls. Verse plays are divided into three types: 1) verse plays that have been implemented 2) Plays that were associated with the music “opera” 3) plays that have the elements of poetry in high frequency and not displyed in scence. This plays that named (close drama) or (dramatic poets) is important result in current poetry. (idela) and (afsae) and some of shahriar poets divided in this group. This paper will discuss the effects of other plays elemen (such as form and language and image) in current literature and specialy feachers of th (close drama) or (dramatic poets). Some works af akhvan sales (mardo markab) and monoochehr sheybani and shahriar review in this paper.Key words: irony, kinds of irony, ParvinE’tesami.
Assadollah vahed; Mir Jalil Akrami; Mahnaz Samandari
Volume 68, Issue 231 , January 0, , Pages 137-155
Abstract
Interaction, effect and influence of culture, language and literature among different nationalities in unavoidable. Considering effecting on other cultures and languages and at the same time, being impressionable from them, has a long term and noticeable history for Persian language and literature. Turkish ...
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Interaction, effect and influence of culture, language and literature among different nationalities in unavoidable. Considering effecting on other cultures and languages and at the same time, being impressionable from them, has a long term and noticeable history for Persian language and literature. Turkish literature and language is among the ones that has had the most interaction with Farsi language and literature. In specific time periods, this relation has been highlighted because of the political necessities, and alternatively, it is observable due to the emerging technologies and fluidity of European and western countries. Edebiyate-e Divani is defined as a six-centuries long Turkish literature, from 13th century up to mid nineteens century, which can be considered as Islamic Turkish epoch until literature of “edebiyate tenzimi”. Majority of created literary works in Divani-e Othmany period, are affected by Farsi traditional literature and also has been saturated by Farsi words and phrases to the extent that with a glance and nontechnical investigation, it can be traced easily. Based on the Othman literary works and also considering researchers of next periods, it can be concluded that this influence is not limited to the unconscious fluidity and indirectly effect, but also it has been tried intentionally to make the literary works as much as possible similar to the Farsi poets and their works in a mimicry way. In this paper, considering Turkish Edebiyate-e Divani in Saljoughian and ottoman epoch, the effect of Persian poets on the works of poets in this period has been investigated.
