بارقه های کلام مغلوب در آثار حلاج (مقاله علمی وزارت علوم)
درجه علمی: نشریه علمی (وزارت علوم)
آرشیو
چکیده
حسین بن منصور حلاج، از عارفان مجذوب قرن سوم هجری است که زبان را ظرف بیان احوال شورانگیز و هیجان های تند عاطفی خویش قرار داده و در جای جای آثارش پیوسته از ذات مشاهده و دیدن الله و تجلّی صفات و ذات خداوند در عالم سخن می گوید. از آنجا که او بیشتر تحت تأثیر احساسات و هیجانات روحی و باطنی خویش بوده و بخش اعظم آثارش از شمار شطحیات و متون ساخت شکن به شمار می آید، در این پژوهش به شیوه توصیفی-تحلیلی، ویژگی های کلام مغلوب از حیث ساخت و محتوا در مجموعه آثار وی مورد بررسی قرار گرفته و تلاش شده به این سؤال اصلی پاسخ داده شود که چه عوامل و عناصری در مغلوب بودن کلام وی مؤثر بوده است؟ به دلیل غلبه هیجان های عاطفی، عمده ترین ویژگی های یک متن مغلوب از قبیل: ابهام، تأویل پذیری، مشاهده، دریافت وحی و الهام در آثار وی دیده می شود. همچنین زبان، تخیل و تصاویر در آن متناسب با تجربه های ناب عرفانی، کاملاً جنبه شخصی یافته و حلاج برای بیان احوال خویش که فراتر از سطح ادراک عادی و تجربه های معمولی است، به قطب استعاری زبان متوسل شده است و به مدد تشبیه، استعاره و رمز، ناب ترین تجربه های شخصی و شهودی خویش را تجسم بخشیده و مفاهیم عرفانی و دریافت های درونی برگرفته از عالم قدسی خود را از طریق تصاویر حسی و ملموس به تصویر کشیده است. حسین بن منصور حلاج، از عارفان مجذوب قرن سوم هجری است که زبان را ظرف بیان احوال شورانگیز و هیجان های تند عاطفی خویش قرار داده و در جای جای آثارش پیوسته از ذات مشاهده و دیدن الله و تجلّی صفات و ذات خداوند در عالم سخن می گوید. از آنجا که او بیشتر تحت تأثیر احساسات و هیجانات روحی و باطنی خویش بوده و بخش اعظم آثارش از شمار شطحیات و متون ساخت شکن به شمار می آید، در این پژوهش به شیوه توصیفی-تحلیلی، ویژگی های کلام مغلوب از حیث ساخت و محتوا در مجموعه آثار وی مورد بررسی قرار گرفته و تلاش شده به این سؤال اصلی پاسخ داده شود که چه عوامل و عناصری در مغلوب بودن کلام وی مؤثر بوده است؟ به دلیل غلبه هیجان های عاطفی، عمده ترین ویژگی های یک متن مغلوب از قبیل: ابهام، تأویل پذیری، مشاهده، دریافت وحی و الهام در آثار وی دیده می شود. همچنین زبان، تخیل و تصاویر در آن متناسب با تجربه های ناب عرفانی، کاملاً جنبه شخصی یافته و حلاج برای بیان احوال خویش که فراتر از سطح ادراک عادی و تجربه های معمولی است، به قطب استعاری زبان متوسل شده است و به مدد تشبیه، استعاره و رمز، ناب ترین تجربه های شخصی و شهودی خویش را تجسم بخشیده و مفاهیم عرفانی و دریافت های درونی برگرفته از عالم قدسی خود را از طریق تصاویر حسی و ملموس به تصویر کشیده است.The Glimmers of Recessive Words in Hallaj Works
Hossein Ibn Mansour Hallaj is one of the fascinating mystics of the 3rd century of Hijri, who used language as a container to express his passionate situations and strong emotional emotions, and in every place of his works, he constantly speaks, observes and sees the essence of God and the manifestation of God's attributes and essence in the world of speech. Since he was mostly influenced by his spiritual and inner feelings and emotions and most of his works are considered to be deconstructive texts, in this research, in a descriptive-analytical way, the characteristics of the defeated word in terms of the structure and content of his collection of works have been examined and an attempt has been made to answer the main question, which factors and elements were effective in the defeat of his words? Due to the predominance of emotional emotions, the main features of a defeated text such as: ambiguity, interpretability, receiving inspiration and revelation and observation are reflected in her works. Also, the language, imagination and images in it have found a completely personal aspect in accordance with the pure mystical experiences. In order to express his situation, which is beyond the level of normal perception and ordinary experiences, Hallaj resorted to the metaphorical pole of language and with the help of simile, metaphor and code, he embodied his purest personal and intuitive experiences and mystical concepts and He has depicted his inner perceptions taken from the sacred world through sensory and tangible images.
Extended Abstract
Introduction
Mystical prose works can be categorized into two main groups: those that delve into "the world of reason and thought" and those that are connected to "the realm of taste and soul" (Zarrin Koob, 1983: 139). Within these works, mystics and Sufis discuss two types of knowledge: personal and intuitive knowledge and formal knowledge. Personal knowledge stems from intuitive experiences and inner perceptions, while formal knowledge is associated with the common sciences among Sufis. Sufis have long been cognizant of these two types of knowledge in their works and have employed specific terms to articulate them. For instance, "mystical knowledge" contrasts with "confirmatory knowledge" as proposed by Buabdullāh Antāki (d. 239 AH) or interpretations, such as "common science" and "perceived mysticism", "news science", and "inspirational and secret science", as well as "speech that is the product of time", "speech that is said by referring to "Kerāsa" (notebooks and books), "established speech", and "assertive speech", which can be found in the works of other mystics and Sufis, including Abul Hasan Kharqāni (d. 471 AH) and Khājeh Abdullāh Ansāri (d. 481 AH) (cf. Fotuhi, 2010: 36-37).
In his book "Tamhidāt" (preparations), Ain al-Qudhāt Hamedāni (d. 525 A.H.) occasionally employs the terms "inverted words" and "inverted line" (Hamedāni, 1991: 318), as well as "the language of geometrical spells and inversions" (ibid.: 327) to describe speech resulting from the spiritual superiority of the mystic. Ahmad al-Ghazāli also refers to odd speech originating from a mystic’s spiritual effervescence, such as "This is my lord", "I am the Truth", and "I am the most holy; what is the greatest is my status", in Savāneh (events) as fickle and chameleonic, which are far from being tame (Ghazāli, 1996: 129).
In Kashf al-Mahjub, Hajwiri (d. 470 AH) categorizes the words of the Sufis into "established" and "defeated" words. In his critique of the words of Hallāj (d. 309 AH), he states: "And in the sentence, just know that his words cannot be set as an example; he is not able to overcome what he has defeated, while the words of an able person should be imitated to the possible extent" (Hajwiri, 2006: 232).
One of the significant and remarkable works in the realm of the defeated language is Hallāj's collection with the most intricate being his book "Tawāsin". The content of this book, detailing his mystical experiences, is linguistically intricate. His other works, such as Bostān al-Ma'refa, a book of narratives, Quranic interpretation, mystical experiences, and poetry, reflect his mental states, the unconscious import of his heart, and his mystical experiences. Sometimes, he uses simple interpretations, while at other times, he employs codes, metaphors, and allusions, as well as mystical parables. Hajwiri describes Hallāj as "a man overwhelmed in meaning and a spender of litigation" and states: "Abul Maghith al-Hussein Ibn Mansoor Hallāj, may God be pleased with him, was an inebriate person and enthusiast of this mystical path and had a strong attitude and great courage" (Hajwiri, 2006: 229). Attar also praises him, attributing qualities, such as "killing in the path of Allah, the lion of the research forest, the valiant honest man, and the drowned in the stormy sea", being both in "the ultimate burning and longing" and "the intensity of the flame of parting" (Attar, 1384: 583). However, Shams Tabrizi consistently expresses a purely negative view of Hallāj (cf. Behnāmfar et al., 2023: 91).
Research methodology
The research was conducted using a descriptive-analytical method. Initially, a thorough examination of Hallāj's works was undertaken, extracting evidence and samples. Subsequently, the acquired data and information were categorized and analyzed based on content, form, and style. Finally, the motives and causes of the defeated word in Hallāj's writings were addressed.
Discussion
In defeated texts, the author discusses encounters with, observations of, and conversations with God, often claiming to receive inspiration and revelation. The brevity of words and repeated phrases in defeated texts creates the impression that the authors are being inspired by someone else to speak in that particular language. The overwhelming nature of the speaker's own situation in these texts leads to a sense of contradiction within the text itself, resulting in tension between the author's thoughts and the form of words he has employed in the absence of his own language. The key features of defeated words include receiving inspiration and revelation, non-self-writing, semantic distribution, interpretability, concealment of ideology, and contradictions, all of which were prominently evident in Hallāj's collection of works.
The fervor evident in his expression bestowed a distinct poetic hue to his words, rendering his speech at times contentious, brimming with emotion, and frequently thought-provoking. He was found to be deeply immersed in his mystical reveries and inner spiritual emotions. Throughout his book, Hallāj declared: "I saw God with the eyes of my heart" (Hallāj, 1379: 376); "O' my Holy One! You appeared to me as if you were inside me" (ibid.: 394); "My eyes see their beloved one" (ibid.: 420); and "I have a beloved one, whom I visit in solitude" (ibid.: 380). These words, born of an inner and intuitive experience involving a form of conversation and direct encounter with God, imparted a quality that transcended the realm of intellectual experiences and ordinary consciousness and language, leading him to an ideal and sacred realm.
Conclusion
In conclusion, Hallāj's works were imbued with the language of discovery and intuition, often stemming from his profound emotional attachment and mystical experiences. Throughout his writings, he delved into the essence of experience, encounters, and observations attributing his knowledge to inspiration and revelation. His words alluded to an inner quality, reflecting direct conversations and heavenly encounters with God, at times appearing as if someone else was speaking through him. His language of metaphor expanded the scope for expressing his intuitive experiences, employing grand phenomena of creation, such as light, sun, and moon, alongside recurring symbols like wine, sea, and bird, to evoke images of his ideal and sacred world. The prevalence of intense emotional and mystical sentiments in his works occasionally led to a play of symbols in texts like Tavāsin, where each sign neutralized the meaning of the preceding one, resulting in apparent contradictions. This peculiar speech born from his spiritual fervor was a testament to his profound connection with the Truth. Hallāj regarded love and affection as the foundation of existence, viewing the entire cosmos as a manifestation of the Truth and its signs. Consequently, the majority of his works exhibited defeated speech characterized by inspiration and revelation, interpretation, selfless writing, aporic crisis, odd speech originating from spiritual effervescence, and a contradictory view.
References
<em>Holy Quran.</em>
Ahmadi. B. (2005). <em>Sakhtar va Tavil Matn</em>. Tehran: Publishing center.
Aristotle. (1992). <em>Fan khatabeh</em>. translated by Parkhida Maleki. Tehran: Iqbal.
Attar Neishabouri. F. M. (2005). <em>Tazkira-ul-Awliya</em>. corrected by Mohammad Istalami. Tehran: Zovar.
Baghli Shirazi. R. (2002). <em>Hallaj Ta'alim Sufianeh</em>. translated by Qasim Mirakhori. Tehran: Shafi'i.
Behnam-Far. M., Naseri, S. F., Rahimi, S. M. (2022). “Simai Hallaj and Bayezid in the mirror of Shams Tabrizi's essays”. <em>Journal of Lyrical Literature Researches</em>. Vol. 20, Issue 39. 83-98.
Faali. M. T. (2001). <em>Tajarobe Dini va Mokashefate Erfani</em>. Tehran: Islamic Culture and Thought Research Center.
Fanari. M. (1989). <em>Misbah-Alons</em>. Tehran: Fajr.
Fotouhi. M. (2006). <em>Balaghat Tasvir</em>. Tehran: Sokhan.
Fotouhi. M. (2009). “From the possessive word to the defeated word”. <em>Scientific-Research Quarterly of Literary Criticism.</em> Vol. 3, Issue 10, 35-62.
Fotouhi. M. (2012). <em>Sabk Shenasi: Nazariyeha, Rooykardha va Raveshha</em>. Tehran: Sokhan.
Ghazali. A. (1997). <em>Savaneh (in the collection of Farsi works of Ahmad Ghazali)</em>. by Ahmad Mujahid. Tehran: University of Tehran.
Hallaj. H. M. (2000). <em>Majmooe Asar Hallaj</em>. translation and commentary by Qasim Mir-Akhuri. Tehran: Yadavaran publishing.
Hamdani. A. Q. (1994). Tamhidat . with introduction, correction, revision and suspension by Afif Asiran. Tehran: Manochehri.
Hojwiri. A. A. (2005). <em>Kashf-ul-Mahjub</em>. corrected and annotated by Mahmoud Abedi. Tehran: Soroush.
Hossein-zadeh. M. (2008). “Conceptualization of revelation and inspiration in words, Quran and narration”. <em>Quran Knowledge</em>. second year. Issue 2. pp. 72-45.
Ibn Arabi. M. (1984). <em>Fotouhat Makiyeh</em>. Volume 13. Beirut: Dar Sader.
Jabri. S. (2008). “Metaphor in the Mystical Language of Meibdi”. <em>scientific-research quarterly Kavosh-nameh Farsi</em>. Vol. 9, Issue 17, 58-29.
Mohabati. M. (2008). “The interpretation of selfless writing: a new analysis of the literary views of Ain-al-Qadat Hamdani”. <em>Literary Criticism Quarterly</em>. Q2. No.8. pp. 53-72.
Rezaei. I. (2012). "Revelation and inspiration and its types and levels in Maulavi's Masnavi". <em>Tabriz University Faculty of Literature and Humanities Journal</em>. year 46. pp. 19-41.
Sajjadi. S. J. (1994). <em>Farhang Loghat va Estelahat va tabirat Erfani</em>. Tehran: Tahori Library Publications.
Salimi. H. and Alavi, B. (2022). “Multiplicity and suspension of definitive meaning in Shafi'i Kodkani's poem based on symbol and paradox”. <em>Journal of Lyrical Literature Researches</em>. Volume 20. Number 39. pp. 175-192.
Sattari. J. (1993). <em>Madkhali bar Ramz Shenasi Erfani</em>. Tehran: Publishing center.
Shamisa. S. (2006). <em>Naghd Adabi</em>. Tehran: Mitra.
Siyouti. J. (1984). <em>Al-Itqan fi Ulum al-Qur'an</em>. 2 vol. translated by Mehdi Haeri Qazvini. Tehran: Amir Kabir.
Sojodi. F. (2007). <em>Neshane Shenasi Karbordi</em>. Tehran: Nasher Alam.
Zarinkoub. A. (1983). <em>Arzesh Miras Sofiye</em>. Tehran: Amir Kabir.
Zarinkoub. A. (2011). <em>Sholah Toor</em>. Tehran: Sokhn.