Masnavi Ma'navi, one of the progenitors of mystical anthologies, involves some topics about death, exclusively over voluntary death. One of the reasons that the writer intends to deal with this topic is to express Rumi's attitudes and concepts plus accounting for one of the most important mystical points presented in Masnavi. In fact, this type of death in mysticism is based on the relation, namely 'they die before they are dead', so that the mystic traveler can find his way into the heavens and get a rebirth.Knowing about the voluntary death, Rumi is of a believe that the most significant barrier to have a voluntary death is ill spirit, hence Id. In his view point, the means of achieving a voluntary death are as follows: ascetism, and dedicated love and attention to God. The greatest outcome for achieving a voluntary death as he believes is the unity of visibility and the source of visibility.

The writers and poets of Persian literary texts have always used diverse rhetorical techniques to transfer their concepts more clearly. One of the most commonly used literary techniques is simile. This popularity is to the extent that no literary text could be found without benefiting from simile’ s artistic capacity for conveying concepts. Mawlawī also used simile with various structures along with appropriate literary techniques in Masnavi which is one of the most eloquent Persian mystical-educational texts. Among the similes in the Masnavi Ma’ navi, a type of simile is observed that has a satiric theme and Mawlawī has used it to convey special concepts. This kind of simile is named satiric simile. Like many other innovations, the tradition of using satirical techniques in mystical poems begins with Sanai. In addition to the possible influence of Sanai, Mawlawī brings into existence his various innovations in satire. One of the type of satires in Masnavi is the meaningful similes that have satirical backgrounds. Explaining the functions of various similar aspects in satiric similes is one of the important purposes of this research. The present research attempted to study the found cases in Masnavi Ma’ navi based on their rhetorical structure using a descriptive-analytic method.

Searching the reasons for the superiority of one text over another with the same theme and the same subject has long been a vital question up on the minds of literary critics. Dealing with these types of texts, this critical question has always been outstanding in the mind of serious literary critics that why the narration of one author is more cohesive than the other's. So analyzing the structures and the components of the more influential narrations, and comparing their intellectual foundation to the similar narrations can probably offer the answer to the question and, undoubtedly, a very beneficial method in literary studies. The logical structures of better narrations are definitely one of the main reasons of their superiority. The authors, in present essay, have analyzed the superiority of the allegory of Elephant in Masnavi- Ma'anavi over the same allegory inḤadiqat al-Ḥaqiqa and have shown, eliciting the rhetorical methods of each work, that Masnavi is indeed more coherent in comparison with Ḥaqiqa in every respect.

In traditional rhetoric, pun and saj’ (Persian rhymed prose) are two figures of speech that shape the beauty of language through musicality of speech. Abdolghaher Jorjani considers the merit of pun in conceptual requirement; it is well received when meaning calls for it. In Masnavi Ma'navi, by Jalaleddin Mohammad Balkhi aka. Rumi, the use of pun and saj’ is remarkable, but the linkage created between these figures of speech and meaning gives a distinctive feature to Rumi’s poetry. This can be observed, for instance, in binary oppositions which have made use of the literary device of pun and saj’. Accordingly, the hypothesis of this research is that many binary oppositions in Masnavi are related to those words which have pun or saj’ in them, and the opposition between verbal balance and conceptual distinction adds to the eloquence. As the theoretical background of the research, a structuralist approach to literary criticism is initially considered to extract binary oppositions, which are then are separated and classified based on the puns and saj/. The research method is descriptive and the results of analyses are as follows: (1) binary oppositions in Masnavi are accompanied by puns and saj’; (2) among all types of binary oppositions in pun and saj’, pun in different initial letters and parallel use of saj’, which both have the strongest sense of musicality,  show the most frequency; (3) many of the binary oppositions appearing in the words with pun or  saj’are not included in diction rules of the language and are Rumi’s poetical innovations; (4) the function of binary oppositions accompanied by pun and saj; is considerable in rhyme making or verse making.

The role and importance of all kinds of rhetorical sentences in transition of theosophical concepts is very significant, and Molana like the other famous theosophists in order to teach and express theosophical experiences and emotions, has employed various linguistic tools like rhetorical sentences with spiritual concepts. It is obvious that rhetorical sentence is one the most important elements of theosophical language. In the present paper, it has been tried to diversify these sentences in great Masnavi through library and analytical methods; by studying the use of interjection methods which are the most important categories of rhetorical sentence. According to each of the spiritual meanings, the view of experts is analyzed and collected. Spiritual meanings of interjection of the second book of Masnavi according to frequency, are as follow: reverence and admiration, punishment and reprehension, guidance and training, praying and praise, supplication and litigation, prohibition and regression, abhorrence and disgust, kindness and affection, wondering and notification. The author also intends to separate various kinds of interjection which have their own spiritual meanings and phrases that come with interjection which contains the secondary meaning. Accordingly, the new categories are presented.

Rumi is one of the poets living in the Mongol period,a period in which people's social morality and their intellectual and cultural foundations declined. The collapse of social morality and human values in the conquered lands created a spirit of submission among the masses. However, in their work, some great Persian-speaking thinkers and poets, paid attention to anti-oppression tendencies and consequently human and social values. Considering the dominant atmosphere of their time, they found a special way to fight against moral and social vices in the society, the unorganized socio-political situation, and the injustices of the rulers. Wherever he has the opportunity, Rumi has also criticized various people in the society, including officials and the common people and their reprehensible behavior in Masnavi. In this research, the authors examined the themes of social ethics in Rumi's poems through investigating them. The results of the research show that he is moderate and has not gone too far in this regard.

Among the problems about the relation between emotions and art, the question of whether emotions can be mentioned as a tool for a better understanding of artwork or not has received special attention from scholars. Some have spoken of the destructive role of emotional engagement with the artwork, and some have pointed to its positive role. This paper investigates the mystical views of Rumi in Masnavi Ma'navi to explore the role of emotions in a better understanding of artworks. The findings of the research, which was accomplished using the descriptive-analytical method, show the following: From Rumi's point of view, an emotional engagement with an artwork can pave the way for a better understanding of the work as well as its messages by creating empathy with the work and changing the way we pay attention to it. In Masnavi, Rumi deliberately and consciously chooses the method of artistic expression through the language of poetry and allegorical stories, and one of the basic elements that increase the influence of artistic expression is the influential role of emotions in all the stories of Masnavi.Keywords: Rumi, Emotions, Understanding Artwork, Masnavi Ma'navi, EmpathyAmong the problems about the relation between emotions and art, the question of whether emotions can be mentioned as a tool for a better understanding of artwork or not has received special attention from scholars. Some have spoken of the destructive role of emotional engagement with the artwork, and some have pointed to its positive role. The first group believes that to better understand an artwork, any emotions should be removed from it, and the other group believes that although in some cases emotions prevent the understanding of the artwork, it is not the case that they are absolutely like this, and by the way, in many cases, An emotional engagement with artwork has led to a better understanding of that, and it can even be said that it is impossible to understand some aspects of artwork without the emergence of emotions.This paper, while examining the mystical views of Rumi in Masnavi Ma'navi, analyzes the role of emotions in the better understanding of works of art. For this purpose, we have first expressed the point that one of the reasons for distinguishing Masnavi Ma'navi from previous educational works such as the Masnavis of Attar and Sana'i was Rumi's use of the artistic expression, that is, the use of poetry and allegory. He has expressed the highest meanings using poetry and in the form of many parables and stories. Rumi has chosen this method quite consciously and believes that people will not understand difficult and complex subjects except through interpretation and allegory. In this way, although he is not interested in writing poetry and using parables and stories, he inevitably turns to this method because he has no other way to express transcendental truths. He believes that if poetry and allegory are used, the power of penetrating meaning increases so much that the unsaid can be expressed. Irrational things can be made reasonable with the help of allegory.In the next step, our speech has been directed to the point that one of the factors that make artistic forms such as poetry and stories can help an artwork to have more impact, is the issue of emotional engagement. If the use of art multiplies the capacity to convey meaning, emotions can accelerate and strengthen this process and performance. Therefore, our main mission in this paper is to present an analysis of the importance of how emotions can play a positive role in understanding artworks, as well as conveying the meaning of that work, according to Rumi's opinions. Our analysis in this regard has several parts. First, emotions cause empathy with the artwork. Second, emotions will draw attention to the characteristics of the work, and finally, emotional engagement will lead to the acquisition of knowledge outside of the work itself. These three cases are reviewed in the article respectively.The findings which were carried out using a descriptive and analytical method, show the following: First, in Rumi's mystical point of view, emotions can lead to being in a situation that causes one to get closer to a phenomenon and, as a result, understand it better. This state of closeness has different degrees: from low degrees of empathy with a phenomenon to an ultimate spiritual union, absorption, and even annihilation in it. Among these themes, what is most related to art is empathy. Rumi has repeated references to this matter that if we empathize with a phenomenon, we will find the possibility of understanding it better; Because we get a more personal experience of that phenomenon. Empathy with a phenomenon not only leads to a better understanding of it; But sometimes, if there is no empathy, there is no understanding at all, and this issue is especially true about works of art.The second thing that is obtained from the analysis of this research is that according to Rumi, when emotions appear, our attention is drawn to something and we will pay attention to it in a different way than before. This characteristic of emotions, which has been likened to a "spotlight", will lead to a better understanding of the phenomenon to which our attention has been drawn. Mowlavi's references to emotions such as anger and love confirm this. This point is also true about artworks. In an emotional engagement with an artwork, the spotlight property of emotions makes some aspects of the work of art stand out and draw attention to them, which the audience would otherwise not pay attention to.In addition to empathy and attracting attention, emotional encounter makes us understand other things (except the work itself) better, for example, the message the author intended to convey. Of course, this message cannot be considered completely apart from the work, but it is different from the understanding of the work itself. Or the judgment we have about the work of art is something beyond the understanding of the work itself. In this case, it should also be said that the characters of Rumi's stories are designed in such a way that an emotional engagement with them causes an opening in the levels of human consciousness, and this is a point that the audience of Masnavi will face in practice.As the last step, we have shown that Rumi himself, as the first audience of his work, ultimately empathizes with the stories he narrates. Throughout the Masnavi, it happens many times that during a story, Rumi puts the purest mystical subtleties in the mouths of the characters and speaks on their behalf. Rumi himself has sympathized with his work and his audience will do the same. This emotional engagement and empathy make Rumi's concerns become the concerns of his audience. In fact, it can be said that one of the basic elements that make poetry and allegory to be chosen as suitable vessels for conveying meaning is emotions, and one of the things that made Masnavi so influential is the mediating role of emotions in understanding and conveying meanings. Finally, "The story of Hilal, who was a faithful servant..." from the sixth book of the Masnavi, has been analyzed as a practical example in line with the theory proposed in this paper.

Abstract Dằqữgḣἳ’s Story is an allegorical explanation of the "whole thing" rule, and rather a mention of the unity of existence in the specific tone and context of Rumi's mysticism; Without it being necessary to consider him as the existential unity of theoretical mysticism. The relation of Daqoqi's story to the Rumi is the relation of the rule of "the whole thing" to the mysticism of Ibn Arabi, that anyone who does not pay attention to their meaning and meanings has not been able to understand the essence of theoretical mysticism as well as the spiritual Masnavi. The present article believes that despite the many differences between Ibn Arabi's mysticism and Rumi's mysticism, monotheism of the Almighty is the most basic concept around which both schools have been formed.The most important similes used in Dằqữgḣἳ’s Story are candle = light, tree and human. The important thing in common with the mentioned parables is that: all three are upright and upright: and this is proportional to the length and depth of existence. All three are related to burning; And at the same time, all three are related to cultivation.Existence is one with light, and light is one of the divine names. Light and existence are pure unity and all multitudes are the emergence of this unity; The truth of man is the truth of light.Extended AbstractIntroductionIn Ibn-Arabi's mysticism, there is a rule known as "the whole object for the whole object"; It means "everything exists in everything". The importance of this rule is to such an extent that according to Ibn Arabi, anyone who does not understand it, his monotheism is not complete: "All things are in everything, and the knowledge of this is fan al-Tawheed la tarifah" (Ibn Arabi , 1367, p. 33); We know that monotheism is the basic principle of Islam and the unity of existence is the most fundamental principle in Ibn Arabi's mysticism; The fact that the lack of recognition of the mentioned rule is equated with the lack of recognition of the most basic religious and mystical teachings and rulings is a deep and very meaningful statement and shows its great importance. Now, from a logical point of view, if the content of the rule is true that "everything exists in everything", this clause will also be true that: "everything exists in one thing." Or in other words, "everything exists in one thing"; In the first encounter, this interpretation confronts the human mind with this basic challenge: How can everything exist in one thing?! But the mentioned rule is accepted in the main theoretical mysticism and it is considered to be the completion and completion of monotheism; To the extent that it has been emphasized by the supporters of theoretical mysticism and the students of the school of Ibn Arabi; For this reason, they have used subtleties and subtleties in explaining it; It is stated in the sources: He gave me the mirror, polished your face like a mirror, no one saw you without your face The reed that you have appeared in all your mirrors out of grace is the reed of your face (quoted by Adham Ozlati, 2011, p. 404). Jami says in a subtle interpretation: “The existence, which was the essence of the dear God, all things are in Him and He is in everything.” “This is the expression of what the sage says that everything is included in everything” (Jami, 1360 p. 33) What we are trying to deal with in examining the story of Daqoghi is the explanation of the presence of "all in one" and "one in all" and "all in all"; In such a way that it is compatible with the teachings of theoretical mysticism, Maulavi mysticism and also with many ruling principles. Therefore, in this article, we will explain the meaning of the rule "everything" and the summary of the story of Dằqữgḣἳ, and then we will mention, explain and explain examples of the mystical points of this story, which are in the context of the rule has been From this review, we can conclude: Although Molvi's mysticism and Ibn Arabi's mysticism have important substantive differences, they also have many aspects in common. One of these common aspects is the ratio of Dằqữgḣἳ’s Story with the rule of "everything"; In short, the story of Daqoghi is the basis of "everything" in the mysticism of Ibn Arabi. Background of the research: An article with detailed specifications has been published that examines the rule with three readings in the works of Imam Khomeini: Yathrabi, Seyed Mohammad Javad, Yusuf Thani, Seyed Mahmoud, Zare, Mohammad Amin. (2018). Explanation and analysis of the principle of "the whole object for the whole object" in three readings in the mystical works of Imam Khomeini. Published in Javidan Kherad magazine. ConclusionThe most important similes used in , Dằqữgḣἳ's story are candle = light, tree and human. The important commonality of the above-mentioned parables is that: all three are upright and erect: and this is proportional to the path of length and depth of existence. All three are related to burning; And at the same time, all three are related to cultivation; Both the candle and the tree are potential burning material; As a result, they become light by burning; At the same time, this burning means cultivation of the low aspect of one's existence; Just as in the aforementioned parables, light was the common feature of a candle and a tree, in humans, according to Rumi's interpretation, it is necessary to reach from the stage of rawness to the maturity of burning; A very thoughtful and meaningful interpretation is attributed to Rumi, who considers the result of his life to be three words:The result of my life is no more than three words: I was raw, I was cooked, I was burntIt has also been said:The result of my life is no more than three words. I burned and burned and burnedExistence is one with light. Light is one of the divine names. Light and existence are pure unity and all multitudes are the emergence of this unity; The truth of me is the truth of light. In his works, Ibn Arabi talks about Alkun tree, which is a tree of light. All three parables mentioned above are prominent parables of existential unity; And we mentioned that the rule of "everything" itself is one of the branches of unity.Dằqữgḣἳ's story emphasizes the rule of "the whole object" with the two approaches of thematic analysis and citing examples; Thematic analysis includes such things as the analysis of the relationship between parts and the whole, seeing a friend in a human being, the sea in a drop, the sun in a particle, hourly and hourless, kinship and non-kinity, kinship and kinshiplessness, greetings to the righteous, and seeing the beloved in is all; Mentioning an example is also a description of the transformation of candles, trees and humans into each other.According to what was mentioned, despite the many differences that exist between Ibn Arabi's mysticism and Molvi's mysticism, there are many common principles and topics that can be found in each of these two schools, but with their own tone and language. It is stated; Monotheism of the Most High is the most basic concept around which both schools are formed; With regard to this approach and the discussed topics, the famous expression of Sheikh Baha'i shows itself again: whoever says your praise in a language, is like a nightingale to singing a ghazal and a nightingale to a song.

Jacques Derrida's dissemination theory is one of the key and important concepts in philosophy and literature, which deals with the analysis of language and the transmission of meaning in literary texts. According to this theory, meaning and reality are created through language and texts, and each text and speech has different dimensions and exposures that change based on historical, cultural, and social conditions. In this theory, dissemination means the effect or impact of language on the meaning and identity of the text, and it shows that language and text can never convey the meaning absolutely and transparently, and meaning is always exposed and influenced by language and text. Dissemination actually consists of these different linguistic and cultural influences and roles that are present in parts of the literary text. In this research, the authors analyzed and reread the story of Hunting and Lion from the first book of Masnavi Ma'navi, based on Jacques Derrida's model of change of meaning, using the descriptive-analytical method and relying on library studies. The results show that the story of Hunting and Lion consists of twenty-seven parts, four of which are considered as an internal discussion and have a narrative, interpretive, and allegorical approach and are in the domain of changing meaning because they bring up another story and are separated from the narrative structure governing the story. In addition, in the twenty-three parts in which Rumi talks about the story of Hunting and Lion, only the first few verses are dedicated to the narration, and the other verses include Rumi's description and interpretations and show changes in meaning.

AbstractThe story of the ‘Jewish King and Minister’ in Masnavi Ma'navi, in the first reading, shows a way in the policy that the landlords divide the followers of a religion. From epistemological and intellectual perspectives, it has also shown the misconceptions and mistakes of human beings in reasoning. In this story, Mowlana, by showing the plan of the minister to destroy the religion of Christianity, has practically shown how wrong reasoning, as well as judging and acting on that argument, causes disaster. The results show that the mistake of the Jewish king and the minister has a cognitive origin and it goes back to their misconceptions. They have thought about the subject (= Christianity) with a bipolar fundamentalist mentality and based on this mentality, they have evaluated, judged, and finally issued a verdict. Keywords: Epistemology, Reasoning, Fundamentalism, Mowlana, the Jewish King and the Minister.  IntroductionMowlana in Masnavi Ma'navi, in addition to proposing theological, mystical, epistemological, and ontological issues, also paid thoughtful attention to social harms resulting from people's misunderstandings of spiritual concepts and issues and has shown their unfortunate consequences in the form of a story. The story of ‘the Jewish King and the Minister’ in Masnavi is an example of religious wars and tensions in which Mowlana explained its causes and factors and showed its unfortunate consequences.Mowlana has given great importance to how people think and imagine. In his thought, it is important that people's imaginations are correct. Therefore, criticizing people's mentality and how they think is one of the topics that Mowlana tackled. In Mowlana's thought, it has been very important that what a person imagines to be true may not be true. In other words, the thought and belief that a person has a correct idea is not really correct and is wrongly formed. He has mentioned this issue in Masnavi with various parables. For this reason, he has emphasized correct thinking and avoiding perceptual errors, because the occurrence of such errors will lead to unfortunate consequences such as wrong valuation, wrong judgment, and wrong behavior. In the mentioned story, Mowlana shows the work of the king and the minister in creating division among the Christians in such a way that the reader realizes their mistake at the end, and by reflecting and following the source of this mistake, he finds out that the way of reasoning. The result obtained from this reasoning has caused the formation of wrong ideas in the minds of the king and the minister.By criticizing the fundamental propositions hidden in the justifications that the king and the Jewish minister had in mind for their actions, it is determined that there are logical objections to some of them. In some cases, even though there is logical truth in the inference, the assumptions are incorrect due to contradictions with the realities of the outside world. Therefore, it is possible to determine and explain precisely why and how the king and the minister had a mistake in thinking and made a wrong judgment due to a mistake in knowing the facts and committing a crime.  Review of the LiteratureIn the explanation of this story, according to the tradition of explanation and interpretation in the past, Masnavi commentators explained the important mystical concepts and terms, mentioning its sources and background in the works before Mowlana, and also deciphering the characters and elements of the story. Commentators have preferred to pay more attention to the story at a symbolic level than a real and historical level. For this reason, elements and persons have interpreted it mystically. For example, Nicholson (1999) has stated in the description of the story that in the physical world, the secret king of the sensual soul, the secret minister of the false illusions of the mind, Jesus, the soul, and Christians are spiritual powers.Angharawi (2002) also wrote about the conclusion of the story, which can be interpreted both in relation to the real world and the mental world. According to the real world, what is meant by the King of the Jews is the devil of an elf and the minister is the devil of a man. But as for the mental world, what is meant by the King of the Jews is the soul, and the minister is the power of illusion, and what is meant by Jesus is the spirit, and Christians are spiritual powers. Regarding the general reference to the story, Sheikh Adina Mohammad Khwarazmi (n.d) has stated that the purpose of mentioning the story is to express the envy and hatred of their false thoughts and their tricks toward their true thoughts. As it appears from these researchers, the mentioned story has been interpreted from a mystical point of view and in a symbolic way to express spiritual concepts.Of course, sometimes it has been noticed at the social and political level, like what Forouzanfar (1993) said in the description of the story, the main aim and purpose of this story is to criticize the religious prejudices that ignorant people are caught up in any age and the presidential aspirants use it as a museum of their dirty teachings to deceive the common people and achieve the presidency and wealth. In addition to such materials that are mentioned in the explanations of Masnavi Ma'navi regarding the mentioned story and are directly part of the background of the debates about this story, there are also materials about Mowlana's point of view about the errors of thought that are related to the present topic. Regarding the errors of thought, Golizadeh et al. (2011), after expressing the similarities between two thinkers, Francis Bacon and Rumi, consider their differences in the way to get rid of these errors to reach the truth.  MethodologyIn the present epistemological study, the reasoning and justification of the Jewish minister and king for what they do are analyzed in an analytical way, so that the flaws and defects of their thought structure emerge.  ResultsIn this story, Mowlana has shown the misperceptions and miscalculations of the Jewish minister and king so that the role of cognitive errors in the occurrence of a disaster can be seen. By focusing on the assumption that "anyone who has a religion other than Judaism is an enemy of God and His religion", the king and the minister committed such a criminal act and justified their work with the same premise that they are destroying the enemies of God and the divine religion. However, all those justifications are false, because they are based on false assumptions. Their cognitive structure about religion is a two-pole fundamentalist, who have made propositions on the basis of truth for themselves. Based on those propositions, they have argued and justified Christianity. There are false presuppositions in the cognitive propositions of the king and the minister, and their knowledge about religion lacks the necessary conditions.The mind and thoughts of the Jewish king and the minister have been formed in such a way that they consider Christians as infidels and enemies of God. This is why they consider it permissible to kill and betray them. It is clear that such thinking originates from the fact that the king and the Jewish minister consider themselves right and the other wrong. All the justifications are incorrect because they originate from misconceptions and anyone who reads the story with an epistemological pathology approach will understand that the Jewish king and the minister are cognitively mistaken. Therefore, the main cause of all the actions of the Jewish king and the minister has been wrong ideas about other religions and a wrong understanding of the truth of religion.The king and the minister are examples of one-dimensional and absolutist characters. When in power, such personalities adopt authoritarian policies and always seek to suppress the opposition and limit them. Such characters do anything to achieve their goals, contrary to the principle that "the end does not justify the means". For them, due to the fact that they have Machiavelli's personality traits, the goal justifies the means, and in order to reach the goal, they consider all the ways and means to be permissible and legal for themselves, and they justify them to themselves. Therefore, their personality traits, each of which is influenced by the other, can be drawn as the following chain:Appearance → One-Dimensionality → Absolutism → Extremism → Authoritarianism