Basic Contents
of the Dissertation
The word
“Symbol” is originated in the Greek word of “Sumbolon”, which means attaching
two separate pieces to each other. Sumbolon is a derivative of the verb
“Sumballoo”, meaning a thing that has been split into two Parts. Nevertheless,
it is notable that the Greek defined symbol as purporting simile and metaphor.
The fact of the matter however is that both in the west and the east, symbol is
something beyond the figures of speech that we know of in rhetoric. For, in
figurative language, the farthest purport is “mystery”, in which the corollary
between the initial meaning and the second meaning is hidden. The difference
between a symbolic perception and an allegorical perception is that the latter
only gives a general concept or an idea that differs from itself; but the
former is itself an idea that becomes sensible and comes to scene.
The word mystery corresponds to “Ramz”,
which is an Arabic word also used in Persian language. Ramz is a trilateral
infinitive, the meaning of which is allusion by lips, eyes, eyebrows, mouth,
hand or tongue. This word has been used in different meanings in Persian
language, including allusion, secret, secrecy, allegory, consideration, point,
paradox , sign, symptom, alluding, alluding secretly, special indication from
which a point can be realized, a secrete between two or limited number of
persons unknown to outsiders, and expression of meaning by signs and
conventional signs. All those meanings have one thing in common, that is lack
of expressiveness and implicitness. The Holly Qur’an has used the word Ramz, only once:
{قالَ رَبِ اجعَل لي
آیةً قالَ آیَتُکَ الاّ تُکَلّم الناس ثَلاثَة ایام الاً رمزاً}. [1,25]
“He said: “O’ my Lord! Give me a
sign!” Allah said: “your sign is that you will not speak to anyone for three
days but by gestures”. (Surah Al Imran, 41.)
According to the Symbolists, nature
was nothing but a mobile perception. Objects are not fixed things, but rather
are things that we comprehend by our senses. They are inside us! They are us,
ourselves! In this sense, Symbolism finds common grounds with the Eastern
Gnosticism.
Mulana Jalāl’ud-dīn Mohammad Ibn Hossein Khatibi is great poet of Eastern
Gnosticism known as Maulavī, also called “Khodavandegar (Master)” was born in Balkh Balkh
in 1231 or 1239A.D for Mecca , accompanied by Jalāl’ud-dīn, who was then a six year
old boy; and then went to Baghdad
Sufism though of unity in form, is not
a unique language in meaning. In other words, all Sufi sheikhs do not use the
language in the same way. Accordingly, Ahmad Ghazāli’s language differs from
that of ‘Attār;
and Maulavī’s language varies from those of Hāfez, Sa‘di and ‘Erāqī. Therefore, we should note that
Gnostic language is of different varieties. Explanatory frameworks of Sufis in
applying the language also differ. In instructive verses where the main
objective of the poet is to transfer the idea and to teach basics of Gnostics
to readers, the language is clearer and there is a corollary relation between
the imaginary purports and the meanings, which help clarify the meaning. In the
verses, the poet often explains main elements of the parable in different
styles through allegorical similes. Therefore, nothing unclear will remain for
the readers; and the reader will be able to facilely construct the words that
are mentioned in mythical and metaphorical manner and to find out the poet’s
intention, by referring to the general atmosphere of the poetry and the mental
background of the poet.
Among these verses, Maulavī’s verses
enjoy special status. It appears that Maulavī starts the verse meaningfully and
with the aim of explaining certain specific concepts according to a
pre-designed plan. However, before materializing the pre-designed meaning
intended in the plan, accumulation of points and concepts arising from
contemplations moves him away from the planned route and diverts him towards
the contemplations. And, he, thought initially ruling the words, design and
meaning, becomes overwhelmed by diverse meanings and concepts coming from the
vast area of unawareness and raiding the domain of awareness, making him
conquered and occupied by meanings. Meanwhile, until the time when he will
finally return to himself, he has already illustrated part of his spiritual ecstasies
and states and disclosed part of his inner secret. When Maulavī rules the words
and meanings, he considers his addressee and clarifies his points by
description and interpretation through similes and allegories. However, when he
becomes occupied and surrendered by meanings and words, he forgets the
addressee and becomes unable to explain the ambiguities; leaving it to the
addressee to make interpretation and explanation.
Maulavī’s works consist of both poetry and prose. It also contains verses
in Arabic, Turkish and even Greek. All of his other works are in Persian
language. Those in prose are mostly dictated by him, with the exception of
Makatib (Correspondences), part of which have been his own transcript. These
letters however do not entail Gnostic points. They mostly contain personal
letters written to the nobles at the request of disciples.
Mathnavī is also
influenced by the Plato’s story to the effect that Plato had realized all
secrets and mysteries of knowledge in his earlier ecstasy; and any time that he
finds an opportunity he releases himself from the prison of material, and
returns to his primary state.
Rūmī makes use of many forms of
symbolism drawn from numerous traditional sources. To understand fully the
Mathnavī, one must know the symbolism of language of the Qur’an, of various traditional sciences
ranging from the numerical symbolism of letters to alchemy, of various
traditional cosmologies and the like. The richness of the symbolism employed Rūmī
corresponds to the vastness of the spiritual vision he possessed and the
universality of his perspective. Through his magic pen the picture (sūrat
Persian Literature has Different Construction of types Particularly Gnostic and Sufi’s Literature
Sometimes has special Inferences or it is difference of understanding ;example
understanding only Superficial Qur’anic verses and Anecdotes
Meanings so must to Demonstration
of this point and Explaining to extracting the meanings .One of the important
characteristics Sufi’s languages according to idea of all Sufis and mystics
which has taken it out from external text to entrance into the inner.
So many of writers,
Orientalists and Maulavī’s specialists from West, Arab and Persian who were
become under the influence of Maulavī’s thought and they wrote in different
fields. some of them Reynold Alleyne Nicholson is famous Englishman Orientalist who said in his book “Introduction
to the Mathnavi” that Rūmī
is follower of Ibn al-‘Arabī in unity of being issue,also Arthur
John Arberry is Islamic
specialist and
very active in Islamic studies
and translation of The Holy Qur’an and Tales from the Mathnavī. Lady Annemarie
Schimmel German Orientalist another Maulavī’s specialists is she consider who introduced Rūmī to West
in her book “Rūmī a Spiritual
Treasury ”.Then professor Henry
Corbin is philosopher, theologian from France who said in his book “Creative
Imagination in the Sufism of Ibn al-‘Arabī”
that Rūmī was under the
influence of Ibn al-‘Arabī’s
school and its teachings from path his friend Sadr’ud-din of Qonya. Also Johann Wolfgang von Goethe is philosopher and German
writer who referred to beauty of Rūmī’s poetry in his book “Rūmī’s Songs”.Another one Maurice
Barres is French novelist, journalist who translated
some of Rūmī’s poetry to French language and explained about composer dance in his book “A research in east
countries”. At last William C.Chittick is translator and interpreter of
classical Islamic philosophical and mystical texts who said in his book
“Sufi Path of Love: The Spiritual Teachings of Rūmī”: Rūmī was not influenced by Ibn al-‘Arabī’s
school but is greater from that.There are Arabic
writers who were become under Rūmī’s thought ,one of them ‘Abdelaziz Sahib Aljawaher and his book
“Translation of Mathnavī”, from Egypt people Mahomad ‘Abdel Salam in his book “Rūmī and
translation of Mathnavī”, Also from
Iraq people Dr. Ayad Jamal al-din who
now one of members of Iraqi parliament and in his book “Transalation of Mathnavī”. Several persons in Georgia they
wrote about Rūmī , one of them Elizbar
Javelidza in his book “Origins of Turkish
literature” about Rūmī’s world
outlook (in Russian language),Davit Kobidze investigated with due attention the
creation of the poet in the “History of Persian Literature,also Akaki Gatserelia wrote about Rūmī and
Georgian noblewoman(Gorje Khatoon),She was wife of Seljuk prince in his article
“fellowship of Gorje Khatoon and Jalāl’ud-dīn
Rūmī” in
literature magazine "Tsiskari",
by the way she ordered
to building Rūmī’s shrine . In
1970, the Georgian readers received Magali Todua’s translation of Jalāl’ud-dīn Rūmī’s poetry in a
separate collection with the title - “I am white falcon”, where the poems from Rūmī’s
divan as well as fables from his poem “Mathnavī Ma’navī” were included.
A number of Rūmī’s ghazals and rubaias were translated also by Alexandre
Gvakharia, Alexandre Elerdashvili and Nomadi Bartaia. Recently, the
translations were made by Giorgi Lobzhanidze.Here, we have also to mention Rūmī’s
several ghazals that were translated by Tamaz Chkhenkeli based on its literal
translations.
At last there are many of Iranian writers and Maulavī’s specialists who
wrote about Mathnavī in different fields Such as Philosophy,Gnostic perspective
and Qur’anic
Themes, Some of them very famous in Mathnavī explanation like Badi’u al Zaman Forūzānfar,‘Abdulhossein ZarrinKub , Hadi Sebzwari, and Dr. Pournamdarian who
pointed to symbolic aspect in symbolic allegories of Persian literature,
especially pointed to some symbolic aspect in Mathnwi allegories in his book “Symbol
and symbolic allegories in Persian literature”, which has analytical
Style for symbolic
allegories, but author this research expanded this analysis and attempted to follows it depending on
analytical Style.
So this research it used by analytical Style
for Mathnavī allegories.
this study which comprise three Chapter, Chapter one by title “conceptions of
Symbolism in Persian literature” contain three section has many subjects such
as section one:(Symbolism and its School, Priciples Of Symbolism),
section two: (Symbolism in Mazda Yasna Ancient Religion, Mazda Yasna And Its
Impact On Persian Literature), section three: (Symbolism in Persian Literature,
Sūfīsm Language, Life History Of Maulavī, Mathnavī And Symbolism.)
chapter two by title “Art and thought in Mathnavī” contain two section
such as section one: (Reflection of Rūmī’s Attachment to Birthplace in
Mathnavī, The Role of Great Characters in the Formation of Rūmī's
Thought),section two:( Rūmī’s Philosophy, Qur’anic Themes & Concepts in
Mathnavī, The Philosophical Principle of Duress (Djabr) &
FreeWill(Ikhtiyar) in the Creation of Rūmī's Mathnavī, The Effect
of Philosophical Terms of Ibn al-‘Arabī on Rūmī’s Mathnavī,Superego in Rūmī’s
Thought).
Chapters three by title “Symbolism and Mathnavī allegories implications”
contain three sections. Such as section one: (Ethical and Educational
Allegories), section two: (Religious and Gnostic Allegories), section three :(
Social and Historical Allegories).
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