Document Type : علمی- پژوهشی

Author

• Mahmood Fotoohi

Professor of Ferdowsi University of Mashhad.IRAN

Abstract

Abstract
In the 16^th century (11the AH), the ideas of Shiite philosopher, Mullā Sadrā (1572-1640 AD / 979-1050 AH) brought about fundamental changes in Islamic ontology, especially some of his innovative ideas on the originality of existence, and Substantial Motion. Simultaneously with these changes, the imaginative style of Persian poetry (indo-Persian poetry) underwent changes, with a dynamic view to existence and substance of nature.
The article is actually a comparative study on philosophy and poetry, which deals with the "Substantial Motion of nature" as a common theme in poetry of Saeb Tabrizi (1006-1087 AH), the Persian poet of the 16th century, and Mulla Sadra's transcendental wisdom, and tries to show the similarity between Sadra's philosophical thought and Saeb's poetic attitude to movement in essence of nature.

Highlights

Substantial Motion of the Universe in the Indo-Persian Poetry

an Existential Reading of Saeb-e Tabrizi's Poem

 

Mahmood Fotoohi Rudmajani

Ferdowsi university of Mashhad

Abstract

In the 16^th century (11the AH), the ideas of Shiite philosopher, Mullā Sadrā (1572-1640 AD / 979-1050 AH) brought about fundamental changes in Islamic ontology, especially some of his innovative ideas on the originality of existence, and Substantial Motion. Simultaneously with these changes, the imaginative style of Persian poetry (indo-Persian poetry) underwent changes, with a dynamic view to existence and substance of nature.

The article is actually a comparative study on philosophy and poetry, which deals with the "Substantial Motion of nature" as a common theme in poetry of Saeb Tabrizi (1006-1087 AH), the Persian poet of the 16th century, and Mulla Sadra's transcendental wisdom, and tries to show the similarity between Sadra's philosophical thought and Saeb's poetic attitude to movement in essence of nature.

Keywords: Indo-Persian poetry, Saeb Tabrizi, transcendental wisdom, Mulla Sadra, substantive motion.

Introduction

The article examines the "Substantial Motion" in Saeb's poetic imagery in five topics:

• dynamism in poetic images
• metaphorical simmer of existence
• representation of motion in stillness (motion of colors, motion on a painting screen, motion of particles within steel, flowing of water within a pearl)
• particle changes
• intensification of movement with poetic exaggeration.

From the middle of the 11th century AH / 17th, AD, the subject of Persian poetry imagination was changed and many poets paid much attention to the particle structure and Substantial motion of nature. This issue significantly distinguished the dynamic imagination in Persian poetry from the previous period. The commotion depicted by the Persian poets is not in the magnificent views of the universe - such as mountains, sea, sky, clouds, whales, trees, etc. - but in the particles and thin layers of objects. Thin imagination and a close look at the particles and thin details of the universe increased, and the narrow-mindedness in the structure of the nucleus of the world led Persian poetry to imagination with the microscopic layers of beings. This Persian poetry transformation coincided with the emergence of philosophical theories about the originality of existence, the substantial motion of being, the intensity and gradual nature of existence in the philosophical school of Mulla Sadra in Isfahan in the 11th century AH.

Discussion

Mulla Sadra argues that the hierarchy of existence are dynamic and constantly in a transcendental movement. This motion flows in the essence of existence and in its different hierarchies. Nature is flowing and existence is fluid; and the world is being re-created at every moment and is being modernized. This is why Mulla Sadra has been called the philosopher of transformations and movements and his philosophy has been called "dynamic philosophy".

Simultaneously with Mullah Sadra's dynamic philosophy, a dynamic poetic movement was present in Isfahan called Indo-Persian style. The imagination of Indo-Persian poets is generally sharp and anxious. Their minds are rapidly imagining carefully in the midst of thin particles and filaments and narrow strands. In the works of poets who are highly imaginative, we see dynamic processes like boiling within phenomena. Their verses are full of effervescent and stormy images. The following samples are high-frequency dynamic images in Saeb and Biddle's Divan:

“madness storm in the particle; storm inside the drop; particle dance in a tornado; storm of oh; tornado of Oh; thunder of moment; tornado in the vein; thunder inside the vein; the smell of flowers running into the song; whirling of color in the sling; anxious of water within the pearl; boiling inside the particle; protruding color from the glass;  fluttering of color; jumping color from the picture; whirling of color in the tableau;   flowing of substance in sword; fluttering of wave in mirror;  twisting hair in fire; twisting paper in fire;  Jumping particle out of the fire.”

Another concept that Mulla Sadra has proposed in his theory of substantive motion is the concept of "substantial revolution". In Mulla Sadra's works, the terms such as "substantial revolution", "intrinsic transformation" and "revolution of objective existence" have been mentioned a lot. (see Sadr al-Din Shirazi, 1050: Asfar, 4/68, 8/368, 1/306, 4/68, 4/250 And 9/117, 9/346 and 8/375 as well as philosophical treatises, 1/210, 246 and 234).

Mulla Sadra interpreted the "substantial revolution" or "inherent transformation" in these words: “The fire heats water and gradually transforms water from liquid to vapor”. In the definition of revolution, Mullah Sadra says: "The revolution of an object is the transformation of the nature of something into the nature of something else in terms of meaning and concept." (Asfar, 8/368). For instance, changing deer umbilical cord blood to musk is a revolution. Both the nature of blood and musk are separate, but if blood becomes the navel, its essence and nature have been changed.

Saeb Tabrizi also believes that the world of existence and human existence is under a continuously aesthetic revolution. "We must be eager for a revolution that turns deer umbilical cord blood into pure musk," he says. Saeb also created the image of the "color revolution" to illustrate changing the color of his beloved's face.

Conclusion

In conclusion, it is observed that an existential idea has been released in two ways in the same historical period in parallel: Mulla Sadra has expressed his view of the essential motion of nature in a philosophical way (argumentative and deductive method), and at the same time, Saeb uses the poetic devices (imagination, metaphor, allegory) to show the idea of the inner movement of nature. Assuming that Saeb and Sadra have never seen each other or are unaware of each other's ideas, accepting this assumption does not detract from the very similarity of their attitudes and ideas about existence and nature.

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Keywords

• Indo-Persian poetry
• Saeb Tabrizi
• transcendental wisdom
• Mulla Sadra
• substantive motion

Main Subjects

• Lyrical and Didactic Literature