مولانا

Eric Bern, the prominent psychologist divides human personality in to three basic structural aspects, namely Parent, Adult, and Child in his transactional analysis. He believes when each aspect plays its own role on a just time, in compliance with the balance and interaction, one's mental health would be shown and a noble healthy man can, in this situation, provide proportion with the help of reasoning and deduction (Adult) between his instinct (Child) and education and training (Parent). Balance disruption of clues between child and parent is a sign of imbalance in the psyche and human behavior; if the adult creates balance between the child and the parent, the image of Perfect Human will be appeared, but if the rough, arrogant and caviler parent dominates the child the one will use the social masks and will seek others' love narcissistically and incompetently and will follow the profit and loss worldly and otherworldly. Masnavi Ma'navi contains several human groups, from every spectrum of behavior and belief that their different psychological and behavioral features have been reflected and scrutinized. So the researcher can accomplish a transactional analysis on heroes of his stories psychoanalytically. The authors, in present essay, analyze the aspects of "Parent" and "Adult" in Masnavi's characters and make their clues highlighted in Mowlavi's description of his characters' behavior.

فرض ما در پژوهش پیش رو این است که تنها با غزلی (رو سر بنه به بالین ...) رو به رو هستیم و هیچ آگاهی-ای پیرامون شرایط سروده شدن آن نداریم. این که این غزل واپسین سروده¬ی مولانا است یا خیر؟ خطاب¬های آن به کدام شخص حقیقی تاریخی بر می¬گردد؟ پیام¬های آن به کدام رویدادهای لحظه¬ای در زمان سرودن می-تواند برگردد؟  و ... موضوع پژوهش ما نیست. از نگاه ما شعری پیش روی ماست که در بستر سنت شعری و روایت¬گری عرفانی سروده شده است. بنابرین آن چه از آگاهی¬های ما پیرامون این سروده به یاری ما می¬آید، کاربرد اصطلاحی هر یک از واژه¬ها و نشانه¬های این شعر با توجه به زمان تألیف اثر، بستر سنتی که اثر در آن شکل گرفته و نیز منظومه¬ی فکری و واژگانی سراینده¬ی این شعر است.

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Muslim thinkers have discussed "Origin of beauty" and "Origin of enjoying the masterpieces of art" in their works and there is a long tradition of this problem in Western philosophy. In this discussion, philosophers have tried to explore the source of beauty inspiration to the artist, to make clear why and how the audience of the artwork understand beauty, and to provide a framework to discuss the "quality of understanding beauty". To answer to this problem, two main approaches are introduced. On the on hand, Pythagoras and the Pythagoreans believe that the origin of the beauty of art is its narration of the Spheres. According to this view, known as "Musicauniversalis,” the distance in music is equal to the distance between the sun and other planets, and enjoying art is resultedfrom understanding of the harmony of the Spheres. On the other hand, Muslim philosophers believe that the beauty of art is due to the narration of the beauty of heaven. Thedefenders of theory of "Representation of heaven" believe that human beings in their presence in heaven have tasted its beauty and in encountering the material beauties of this world,recollectthe heavenly beauty, and in fact, this association and remembrance is enjoyable for him. Rumi as a Muslim thinker, expresses both theories and apparently defends the second one.

Human beings as a Percipient creature always deals with “understanding” and every action and reaction of him is accompanied with understanding. From early times, this permanent and significant feature of understanding has made the scholars to investigate the structure and methods for achieving a valid understanding. Augustine as a Christian impressive saint in early middle age and Rumi as a mystic and Moslem scholar at the late part of this period are examples of such scholars. One of the principles of their existential hermeneutics is believing in the impact of existential factors in understanding. These two scholars do not separate the Communicating vessels of understanding domain from emotional and voluntary domain. The motto” Credo ut intelligam” of Augustine which is equivalent with “the faith is the same as discrimination and understanding” of Rumi, indicates the common ideas of these two thinkers.                         
To confirm this motto, the philosophical common basis of this theory is discussed and then has been tried to discuss the Rumi’s view based on necessity of cognation between subject and object. Finally tried to claim that misunderstanding of Augustinian’s motto is the product of factors such as the difference between the point of view and ignoring the degrees or levels of faith and understanding in two forms: interreligious and out of religion.Therefore, by introducing three degrees of faith and two domains of understanding and knowing their relationship as dialectic, I have triedto explain and eliminate these misunderstandings.

The poetic and mystical aspects of Rumi’s Masnavi are very striking, but, as in other texts, the influence of the poet’s historical era is detectible so that it reflects the social realities of its period. Therefore, Masnavi could also be considered as historical evidence that may be used by contemporary historians as a source of information about the time of the poet. “Tabriz’s Muhtasib” is a poem in Masnavi that apparently reveals some of the poet’s viewpoints on his time. This research argues that the changes in the character Muhtasib and in the location of the story correspond with the abolition of the establishment of Hisbah and the election of Tabriz as the capital of the Ilkhanate Empire on the one hand and the importance of Omar, the second caliph of the Rashidun Caliphate, in Hisbah affairs and Rumi’s interest in him on the other. These events influenced Rumi’s recreation of this ancient story and caused it to contain historical connotations.

The full text is available here
http://www.socratesjournal.com/index.php/socrates/article/view/46

http://online.pubhtml5.com/gqct/xbvz/

"Abstract
The impact of Persian literature on world culture and literature is undeniable. Persian poets such as Firdowsi, Sa’di, Hafiz, Rumi and Khayyam who deal with universal themes beyond a particular place and time are among the most widely-known literary figures of the world; their works are translated into different languages. Despite the fact that there are different translations of Persian literature in English, it is still not clear whether Persian literature has gained its appropriate place in the world. We study the reception of Persian literature in general and classical Persian poetry in particular in Britain and The United States to see whether it is rightly introduced to these countries or not. A close study of the reception of Persian poetry in Anglophone world in general and in Britain and The United States in particular reveals that while Persian literature is introduced and taught in these countries, it is still far from being truly known there. Those who have been familiar with Persian literature have mainly known it through translations by western scholars, and this has led to problems and misconceptions. As Edward Said argues in Orientalism, the orient is never truly depicted by the west. The best way would be to have Persian scholars of English literature translate Persian works into English.
Keywords: Classical Persian Poetry, Anglophone World, Translation, Britain, The United States.
"

In mystical thought, in addition to high position of "love" as a place for famous characters, there is a "beloved" position which is considered as a place for hidden and mystic characters. Examining the theories of the great Sufis from the beginning up to the end of the 7th century AD, it can be claimed that there is such a viewpoint about different steps of love in the works by Ahmad al-Ghazali, 'Ain al-Quzat Hamedani, Roozbehan Baghi Shirazi, Shams Tabrizi and Sultan Walad, derived from the phrase "یُحِبُّهم" (He loves them), a Quranic term that has repeated in a hadith from the Holy Prophet (pbuh).  In comparison with the position of "lover", "beloved" places in a very higher position in transcendental mystical thought. At the level of love for God, the wayfarer comes to a place in which the position of lover and beloved changes, and this will be the time God loves the creature, and he stands on the position of beloved one. Anyone who wants to achieve such a position should meet someone who has already reached the position of beloved. According to Sultan Walad, Shams Tabrizi is one of those who has already reached the position of beloved, and Mowlana is also attained this position after meeting him. By studying Mowlavi's life as an example, and adapting the procedure he passed to get the "beloved position" to what was introduced by Jung as individuation process (exploring the shadow, emerging of anima, personification of the wise), it can be concluded that these two processes are adaptable, and Shams Tabrizi, as a wise man, has brought about the evolution of Mowlavi's personality and his rebirth.