بررسی پاردوکس و کارکردهای آن در بیان تجربۀ وحدت وجود در شعر عهد تیموری

عرفا برای تبیین اندیشه‌ها و تجارب عرفانی و انتقال این مفاهیم به دیگران و اقناع مخاطبان خویش، از ظرفیت‌های هنری زبان در قالب بیان پارادوکسی و متناقض‌نمایی بهره برده‌اند. عارفان تجارب عرفانی خود را فراتر از حدّ تقریر و توصیف می‌دانند و عده‌ای نیز بیان و توصیف آن را حتی ناممکن می‌شمارند. این حقایق و معارف بنا به احوال سالک، بسیار متفاوت و متغیر خواهند بود؛ اما آنچه هست اینکه چرا بازتاب این موارد در ساخت زبان به‌راحتی امکان‌پذیر نیست و اصولاً چرا پس از بازتاب زبانی آن‌ها، گزاره‌های حاصل، غیر قابل درک به‌نظر می‌رسند و در برخورد اول گاه متناقض و خلاف عادت جلوه می کنند که می‌توان متناقض‌گونگی را از ویژگی تجربه عرفانی محسوب نمود. شعر عرفانی و هنری حوزه هرات عهد تیموری، یکی از شاهکارهای ادب عرفانی در ادوار گذشته به شمار می‌ رود که در گسترش و رونق بخشیدن عرفان تعلیمی نقش بارز دارد که متاسفانه جلوه‌های مفاهیم عرفانی و ابزار بیانی آن، کم‌تر مورد توجه پژوهشگران قرار گرفته‌ است و شهرت آن بیشتر در تجلی هنر است. این پژوهش، کارکرد پارادکس را به عنوان یک ابزار بیانی زبان عرفان تبیین نموده و نقش آن را در بازخوانی تجربه وحدت وجود در شعر عرفانی حوزه هرات برجسته ساخته‌است. حاصل بدست آمده از این تحقیق، عبارت از آن است که ابزار بیانی متناقض‌نما، با توجه به تناقض‌نمائی تجربه .وحدت وجود و شرایط گوینده و مخاطب جامعه عهد تیموری در حوزه هرات، یکی از بهترین و زیباترین شیوۀ بیان هنرمندانه و عارفانه است.

investigating the paradox and its function in expressing the experience of the unity of existence in the poetry of the timurid era

investigating the paradox and its function in expressing the experience of the unity of existence in the poetry of the timurid era[1]mysticism is the knowledge of unseen truths, and in other words, mysticism is the knowledge of the truth through names and attributes, and man’s reaching the position of eternal life in god’s presence. the mystic of god, through inner journey, passes through the mystical stations one after the other and until it reaches the position of annihilation and connecting with the truth. every school and way of thinking has its principles and rules, and mysticism also has certain rules and principles, and anyone who steps on the path of true knowledge needs a leader and a guide, and under his supervision he should study mystical teachings and conduct exercises as well as. he becomes mystical and in this way he achieves the perception of states and positions and the discovery of secrets, which is referred to as a mystical experience. mystical experience is the collection of perceptions and knowledge of the mystic’s secrets, which after cultivating and nurturing the soul, he is inspired.  every mystical experience is specific to the mystic who has received it, and because these perceptions are discovery and intuition and are received through inner intuition, to express them, the mystic cannot use the language of expressions, and those truths and long meanings do not fit into the ordinary language. thus, he uses a language appropriate to those experiences and resorts to code, simile, metaphor, and paradox. of course, sometimes resorting to the language of allusion is completely conscious and on purpose, so as not to expose the secrets.  because not everyone is confidant of secrets. in order to explain mystical thoughts and experiences to others and to convince the audience, mystics use the artistic capacities of language in the form of paradoxical and contradictory expression and other types of allusive language. however, many of them consider mystical experiences beyond the explanation and description, and some consider it impossible to express and describe. these facts and knowledge are very different and variable according to the condition of the seeker. the question is why it is not possible to reflect these mysterious situations in the construction of conventional and standard language.  and why after their linguistic reflection, the resulting propositions seem incomprehensible, and at first glance, sometimes seem contradictory and contrary to habit. this paradox has caused thinkers and linguists to pay special attention to the language of mysticism and the means of mystic expression. since mystics do not use only the external forms of language, but also all the symbolic, allusive, pictorial, visual, music, dance and other symbols and conceptual signs of a society’s culture in expressing the mystical experience. the special type of expression and the use of different types and methods of language make the covering of the mystical experience more concrete and make it more difficult to understand the meaning from the form of words. according to this introduction, the purpose of this article is to examine the mystical language and the means of expressing the mystical experiences and understandings found in the texts of the mystical poems of the timurid era. understanding the characteristics of the language and expressing the mystical experiences of this period and its style depends on the text, and from the text and its texture, the characteristics of the language and the means of expressing the mystical experience of this era can be obtained. for the correct understanding of the experiences and the divine mystical mysteries of this period, we need to understand the concept of the environment of the text and to know the contexts of the origin of the text and in other words extratextual contexts and the culture, thought and politics of the timurid era society.