چکیده:
Tohid Shalchian Nazer For the mystics, the allusion is the opposite of the explicit. They have used symbolism to understand their intentions and to escape the abyss of slander and defamation. It is impossible to understand the truth of the meaning of the symbols without understanding the allusion they have made. The interpretation of idol is of great importance and status among the mystics due to its high frequency among their texts. In this essay, we intend to answer the question that what is the difference between Rumi's reference to the interpretation of idol in Masnavi-ye-Ma'navi and Shams Maghribi's reference to the above interpretation? One of the best ways to better understand what mystics have said is to use comparisons between different references to a single word or expression. One of the determining issues in these references is the genre or type of literature used by the owner of the work. Concerns that are inherent in the minds of Rumi and Maghribi are also other determining factors in the difference in reference to the same interpretation. We have shown that Rumi in Masnavi is concerned with preaching and teaching, therefore, the interpretation of idol in his work is often negative. There is no such concern in the thought of the Maghribi. In his view, the idol is often the manifestation of the beauty and glory of God; but in Rumi's view, it is often the manifestation of the human soul and multiplicity.
خلاصه ماشینی:
He has composed the following regarding this: «So if you see in this Divan of poetry, ruins, ruinous places, and intoxication o o Idol, girdle, rosary, crucifix, Magian, Christian, infidel, monastery, and wine flask o o Wine, witness, candle, and night-stay, uproar of the bond and the sound of the drunkard o o Wine, tavern, and the rogue of ruins, beloved, cupbearer, and the man of prayer o o The melody of the arghanon and the moan of the reed, morning wine, assembly, and successive cups o o Jar, cup, pitcher, and wine-seller, the act of being a beloved in wine-drinking o o Running from the mosque toward the tavern, resting there for a while o o Devoting oneself to wine, laying head and soul upon the wine o o Flower, rose garden, garden cypress, and tulip, the tale of dew, rain, and hail o o 142 Line, mole, stature, height, and eyebrow, sideburn, cheek, and face of tresses o o Lip, tooth, and playful intoxicated eye, head, foot, waist, finger, and hand o o Do not be distracted by the surface of that speech, go and realize the purpose of that speech o o Do not get caught up in the head and foot of the expression, if you see a sign from the masters o o Refine your vision so you may see finely, pass through the skin so you may see the core o o If you do not hold a vision of the appearances, where will you turn?
Therefore, in one expression, it can be said that the intention of the 'idol' in the poems of Shams-e-Maghribi is the form and the manifestation of the beauty and majesty of the Presence of the Truth, in which the Presence of the Truth has actually manifested and appeared in that form and manifestation, and the mystic directs love toward that form and manifestation.
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