This Ghazal represents a unique gem of the art of “al-Mulamma'” (between Arabic and Persian), where Kamal, with his mystical insight, crafts a “call for quenching” for the thirsty souls in the valley of bewilderment, evoking the story of our master Moses and al-Khidr and the symbolism of the “whale” that returns to life in the eye of eternity.
English Translation
O thirsty one in the valley of passion, leave behind the narrow streams and come forth, to the course of the streams, to lead you to the deep sea of Truth.
For we have brought the water of union close to the lips of every thirsty soul; so the cups overflowed with our words, “Say, say!”
For those pitchers are brimming with that divine bounty: and their Lord gave them a pure drink, and we stand at the edge of the watering place, waiting for our desires and yours to be fulfilled.
How long will this weep from thirst last, my beloved (my eye)? Open your eyes and let your tears of need flow, perhaps the water of the spring is the path to the spring of life.
If you find al-Khidr spring, pay attention: how does the whale revive in the spring of eternity? (If you are guided to the source of the Prophet al-Khidr, then awaken from your heedlessness and see how the soul (the whale), returns alive and vibrant in the waters of eternity after its annihilation.)
If you remember the young man’s words to the Prophet al-Khidr: “For I forgot the whale”, so be like that fish (the whale) that made its way through the sea in a swarm until it reached the meeting of the divinely supported knower (al-Khidr).
If you are sincere in seeking the Truth, the Most High, then do not stray from the sanctuary Kamal (the poet), for after him, you will not find a guardian to guide you to the right path, nor a mentor (you will not find a guardian or mentor after me to guide you to the Truth).
Contextual and Gnostic Footnotes
The Symbolism of “The Whale and the Eye of Eternity”: Sheikh Kamal Khujandi uses the story of the journey of Moses to refer to the “behavior of the gnostic,” and the dead whale that returns to life represents the “heedless heart” that lives by the light of Knowledge, when touched by the water of truth (the spring of eternity), and forgetfulness here is the wonder of ecstasy that makes the seeker forget his material self in order to find his soul.
The station of “Their Lord gave them to drink”: Sheikh Kamal affirms that the guide is nothing but a “pitcher” or an intermediary, while the true giver of drink is God Almighty, and the Quranic quotation refers to the school of “spiritual intoxication”; Where the knower drinks the Creator’s wine, in which the attributes of humanity are erased.
The allusion in “Say, say”: It is a rhetorical brilliance in Sheikh Kamal’s work; On one hand, it mimics the sound of water, and on the other, it seems to be derived from the imperative verb “say,” meaning the repetition of the remembrance of truth that fills the cups with hearts.
Boasting about “guidance”: The sheikh concludes his poem with a high note of “boasting,” for he sees himself as the final link in his time, and that “perfection” (his name and attribute) as the ultimate goal for the seekers, and this statement is not conceit, but rather “speaking of God’s grace” and declaring his station as a guiding saint in Tabriz.
Summary of the Ghazal
In this ghazal, Sheikh Kamal calls upon every soul thirsting for certainty to abandon the valleys of metaphor for the sea of truth. For him, love is the water of life that makes… The dead (whale) lives forever, and he confirms that reaching the source of greenery requires the company of “Sheikh Kamal”; The guide is the one who alerts the seeker to the source of knowledge that flows before him while he is oblivious to it.
Vocabulary
الوَادِي الهَوَى: the state of attachment to other than God.
جُويِبَان: watercourses or streams.
مَالَتِ الأَكْوَابُ: the cups bent.
قُلْ قُلْ: an onomatopoeic word for the sound of water in a pitcher.
إِبْرِيق: a drinking vessel with a neck.
پِيشِ لَب: on the verge of the mouth. (A metaphor for closeness)
آبِ چَشْم: Water of the eye (tears)
Bargushaa: Open or run
An-Nun: The whale
Ayn al-baqa: The spring of eternal life
Nasit al-hut: A reference to the noble verse in Surah Al-Kahf
Ashna: Knower or expert
Talabkar: The seeker/searcher
Waliyyan murshida: The spiritual guide
Extra Information
The similarity between the twelfth ghazal of Sheikh Kamal Khujandi and the poems of Mawlana Jalal al-Din Rumi is not merely coincidental, but rather the fruit of profound spiritual and literary discipleship
Persian sources confirm that Sheikh Kamal Khujandi built his poems on rich cultural and literary foundations, composing poetry in emulation of great masters such as Rudaki (father of the current Persian language, born near the city of Rudak, in present-day Tajikistan, he was famous during the Samanid era in Khorasan), Sheikh Saadi Shirazi, Mawlana Jalal al-Din Rumi, and Hafez Shirazi, a contemporary and rival of Sheikh Kamal Khujandi in ghazal poetry.
A detailed explanation of this influence and similarity based on what is mentioned in the sources.
Sheikh Kamal Khujandi and the “School of Integration”
Sheikh Kamal is classified among the eighth-century poets who created a new style called the “Cycle of Integration.” (Integration Period); where these poets blended elements of “passionate Ghazal,” which reached its zenith with Sheikh Saadi Shirazi, with “mystical Ghazal,” whose most perfect example is Mawlana Jalal al-Din Rumi. Therefore, Sheikh Kamal’s borrowing of Rumi’s terminology and symbolism is part of this approach, which combines Mawlana’s “intoxication” and Saadi’s “sobriety.”
The Symbolism of “Their Lord Gave Them to Drink” and the Divine Drink
The use of the phrase “Their Lord Gave Them to Drink” is a quotation from Surah Al-Insan (Chapter 76 of the Quran), and it is one of the fundamental pillars in Rumi’s poetry for expressing “spiritual intoxication” and annihilation in the Beloved.
For Rumi, the meaning is repeated to indicate that Truth is the true giver of drink, and that the gnostic finds sufficiency in this drink.
According to Sheikh Kamal: In Ghazal No. 12, he employs the same Mevlana (Mawlana) style when he says that these “pitchers” are overflowing with what the Lord has promised, indicating that he draws from the same “spring” of divine love established by Rumi.
The Art of “Illumination” and Imitation
The twelfth ghazal is an “illuminated” poem (combining the two (Arabic and Persian), an art form in which Mawlana Rumi also excelled in the Divan of Shams (Tabrizi). This similarity in form confirms that Sheikh Kamal was influenced not only by the meanings but also by the “Khanqah music” and the rhetorical devices prevalent in the Mawlawi dhikr circles.
The Wasl Circle in Tabriz
There is evidence an indirect historical connection links Sheikh Kamal to the legacy of Mawlana Jalal al-Din al-Balkhi al-Rumi; Kamal was a friend and contemporary of Shams al-Maghribi. Studies indicate that al-Maghribi’s Divan is replete with reflections of Rumi’s legacy and imitations of his ghazals. Since both Sheikh Kamal and Shams al-Maghribi were in the same Sufi milieu in Tabriz, Rumi’s legacy was the primary guide for their spiritual experiences.
Therefore, Sheikh Kamal Khujandi followed Jalal al-Din Rumi in his footsteps by employing mystical Qur’anic symbols such as “(their Lord gave them drink)” to demonstrate his adherence to the “school of divine love.”; Although his style tends towards the eloquence and verbal “perfection” characteristic of the Tabriz school, the Mevlevi spirit is the driving force behind this ghazal, and it is this spirit that makes his poems described as such because they are “God’s secrets” and not mere flirting.
Saadi and Rumi: Two Pinnacles of Different Styles
Studies classify Sheikh Saadi Shirazi as the ultimate representative of romantic Ghazal, while they consider Mawlana Rumi the ultimate representative of mystical Ghazal, and this means that, despite being contemporaries, they led two distinct currents in literature and Sufism.
Saadi’s School: The Eye The moderate scholar
Sheikh Saadi is distinguished by his “easy yet profound” language; It is a clear, direct language, inclined towards critiquing society and refining morals.
The Sufi Vision: Saadi’s Sufism is a “human-ethical” Sufism, concerned with presenting sermons and wisdom, far removed from the uncontrolled ecstatic states of mysticism.
Clarity and Criticism: Sheikh Saadi’s school is characterized by “clarity.”, where the gnostic is present-minded, critical of flaws, and uses beauty as a tool for self-cultivation.
The school of Mawlana: The eye of the ardent lover.
In contrast, Mawlana Jalal al-Din Rumi represents the pinnacle of “gnosis of intoxication” and absolute annihilation.
Ecstasy and secrecy: His poetry is not directly didactic like Saadi’s, rather, it is a “spiritual outpouring” and a linguistic revolution emanating from moments of union and connection.
The spiritual state: what may appear to some as “pointless madness,” is, according to the adherents of this school, “the annihilation of the self” so that only the Beloved remains. It is a state where adhering to the standards of direct criticism is difficult.
Are they opposites or two sides of the same coin, for one currency?
Sources confirm that the two poets (Saadi and Rumi) are in harmony within a broad philosophical framework, namely “Unity of Being,” but the difference lies in their “approach.”; Saadi viewed divine beauty through the lens of humanity and morality, while Rumi viewed truth through spiritual ecstasy and inner ecstasy.
Sheikh Kamal Khujandi and the Fusion Between them
Sheikh Kamal Khujandi came in the eighth century to be the fruit of this development; Since his poetry is classified within the “cycle of integration,” Sheikh Kamal was able to fuse “Saadi’s sobriety” (the elegance of expression and clarity of intention) with “Rumi’s intoxication” (the profound mystical themes), resulting in the emergence of a new style that combines moderation and contemplation.
In conclusion, Sheikh Saadi represents “the voice of the knowing intellect” that sees in Moderation and criticism are paths to perfection, but for, Rumi, was the “volcano of love,” who believed that truth is too profound to be expressed in direct language.
As the sources stated, history has found no room for development after them except by blending these two great approaches, which is clearly evident in the ghazals of Sheikh Kamal Khujandi. We will now study it.
The reason for the “universality” of the Mevlevi school, in contrast to the “literary” nature of the schools of Sheikh Saadi and Sheikh Kamal Khujandi, lies in the Sufi path and the nature of the mystical experience of each of them.
Based on the sources, the reasons can be summarized in the following points:
The Knowledge of “Intoxication” versus the Knowledge of “Sobriety”
Mawlana Rumi: This represents the pinnacle of “the gnostic’s Ghazal,” and this type of gnosis transcends language to become a profound spiritual state (like Sama’), which facilitated its transformation into a systematic school (method) that spreads across borders because it addresses the “ecstasy” that has no language.
Sheikh Saadi: He represents the pinnacle of awakening and moderation. Saadi’s Sufism is a “human-ethical” Sufism that focuses on education and direct preaching, which makes him closer to a “teacher” than to the founder of a “path.”
Mawlana Rumi did not compose poetry for the sake of literature, but rather the “Mathnawi” was a practical path to transform Divine truth into a lived reality; He was like a beacon illuminating humanity’s path to salvation.
Sheikh Kamal Khujandi: Although he was a spiritual guide with a Sufi lodge (khanqah) and followers in Tabriz, his school leaned towards verbal perfection and refined eloquence. He was described as someone whose presence was more beautiful than his poetry, implying that his secrets were kept private. In his person and direct presence, he did not establish a proselytizing “practical system” like the Mevlevi Order.
Aesthetic “integration” versus spiritual “revolution.”
Sheikh Kamal Khujandi came to combine Rumi’s intoxication with Saadi’s sobriety, and this fusion made his poetry a delight for literary figures and connoisseurs of taste who enjoy the “subtlety of meaning and the precision of the wording,” but as for Rumi, he was a spiritual “volcano” that shattered traditional molds; so people were drawn to him, not to the “craft.”
The Secret of the Spread of Mevlevi Order
Rumi opened the door of “annihilation in the Beloved” to all humanity, considering love to be the ultimate truth. This universal spirit caused his school to spread like a “spiritual contagion” everywhere.
Meanwhile, Sheikh Saadi and Sheikh Kamal Khujandi remained guardians of the beauty of language and the wisdom of conduct. If you wish to “be refined,” read Sa’di; if you wish to “taste” the perfection of meaning, read Kamal; but if you wish to “fly spiritually,” follow our master.
Arabic Translation
يُمَثِّلُ هَذَا النَّصُّ دُرَّةً فَرِيدَةً مِنْ فَنِّ “المُلَمَّعِ” (بَيْنَ العَرَبِيَّةِ وَالفَارِسِيَّةِ)، حَيْثُ يَصُوغُ كَمَال بَبَصِيرَتِهِ العِرْفَانِيَّةِ “نِدَاءَ السُّقْيَا” لِلأَرْوَاحِ الظَّامِئَةِ فِي وَادِي الحَيْرَةِ، مُسْتَحْضِرًا قِصَّةَ سَيِّدِنَا مُوسَى وَالخَضِرِ وَرَمْزِيَّةَ “الحُوتِ” الَّذِي يَعُودُ حَيًّا فِي عَيْنِ البَقَاءِ
إِيُّهَا العَطْشَانُ فِي وَادِي الهَوَى، دَعْ عَنْكَ السَّوَاقِيَ الضَّيِّقَةَ وَهَلُمَ لمَجْرَى الجَدَاوِلِ، لِتُفْضِيَ بِكَ إِلَى بَحْرِ الحَقِيقَةِ اللَّجِّيّ
فقَدْ أَدْنَيْنَا مَاءَ الوَصْلِ مِنْ شِفَاهِ كُلِّ ضَامٍ؛ فمَالَتِ الأَكْوَابُ بـ (قُلْ قُلْ) قَوْلُنَا
فإِنَّ تِلْكَ الأَبَارِيقَ مُتْرَعَةٌ مِنْ ذلك الفَيْضِ الإلهي: وَسَقَاهُمْ رَبُّهُمْ شَرَابًا طَهُورًا؛ فَنَحْنُ نَقِفُ عَلَى شَفِيرِ السُّقْيَا، نَنْتَظِرُ نَيْلَ المَرَامِ لَنَا وَلَكُمْ
فإِلَى مَتَى هَذَا النَّحِيبُ مِنَ الظَّمَأِ يَا قُرَّةَ عَيْنِي؟ فأفْتَحْ بَصِيرَتَكَ أَمَامَكَ، وَأَجْرِ دُمُوعَ الإفْتِقَارِ؛ لَعَلَّ مَاءَ العَيْنِ يَكُونُ هُوَ السَّبِيلَ لِعَيْنِ الحَيَاةِ
لَوْ وَجَدْتَ الخِضْرَ عَيْنًا فَانْتَبِه، كَيْفَ يُحْيِي النُّونُ فِي عَيْنِ البَقَاء (إِذَا مَا هُدِيتَ إِلَى مَنْبَعِ الخَضِرِ النَبي، فَاسْتَيْقِظْ مِنْ غَفْلَتِكَ؛ وَأنْظُرْ كَيْفَ تَعُودُ الرُّوحُ، النُّونُ/الحُوتُ، حَيَّةً نَاضِرَةً فِي مِيَاهِ البَقَاءِ بَعْدَ فَنَائِهَا)
فإِنْ كُنْتَ تَذْكُرُ قَوْلَ الفَتَى للخِضر، النَبي: فَإِنِّي نَسِيتُ الحُوتَ، فَكُنْ مِثْلَ تِلْكَ السَّمَكَةِ (الحُوت) الَّتِي إتَّخَذَتْ سَبِيلَهَا فِي البَحْرِ سَرَبًا حَتَّى بَلَغَتْ لِقَاءَ العَارِفِ الـمُؤَيَّدِ (الخِضر)
فإِنْ كُنْتَ صَادِقًا فِي طَلَبِ الحَقِّ تَعالى، فَلَا تَنْأَ عَنْ حِمَى كَمَالٍ؛ فَإِنَّكَ لَنْ تَجِدَ مِنْ بَعْدِهِ وَلِيًّا يَأْخُذُ بِيَدِكَ إِلَى سَوَاءِ السَّبِيلِ، ولا مُرشدا (لم تَجد بَعدی وَلیا مُرشدا)
الهَوَامِشُ السِّياقِيَّةُ وَالعِرْفَانِيَّةُ
رَمْزِيَّةُ “الحُوتِ وَعَيْنِ البَقَاءِ”: يَسْتَخْدِمُ الشيخ كَمَال خُجَنْدِي قِصَّةَ رِحْلَةِ سَيِّدِنَا مُوسَى لِيُشِيرَ إِلَى “سُلُوكِ العَارِفِ”، و الحُوتُ الـمَيِّتُ الَّذِي يَعُودُ لِلحَيَاةِ يُمَثِّلُ “القَلْبَ الغَافِلَ” الَّذِي يَحْيَا بِنُورِ الـمَعْرِفَةِ حِينَ يَمَسُّهُ مَاءُ الحَقِيقَةِ (عَيْنِ البَقَا)، و النِّسْيَانُ هُنَا هُوَ دَهْشَةُ الوَجْدِ الَّتِي تَجْعَلُ السَّالِكَ يَذْهَلُ عَنْ مَادَّتِهِ لِيَجِدَ رُوحَهُ
مَقَامُ “سَقَاهُمْ رَبُّهُمْ”: يُؤَكِّدُ الشيخ كَمَال أَنَّ المُرْشِدَ لَيْسَ إِلَّا “إِبْرِيقًا” أَوْ وَاسِطَةً، بَيْنَمَا السَّاقِي الحَقِيقِيُّ هُوَ اللهُ تعالى، و الإقْتِبَاسُ القُرْآنِيُّ يُشِيرُ إِلَى مَدْرَسَةِ “السُّكْرِ الرُّوحِيِّ”؛ حَيْثُ يَتَجَرَّعُ العَارِفُ شَراب الخَالق، الَّذي يمْحُو فِيهِ صِفَاتِ البَشَرِيَّةِ
تَوْرِيَةُ “قُلْ قُلْ”: هِيَ بَرَاعَةٌ بَدِيعِيَّةٌ عِنْدَ الشيخ كَمَال؛ فَهِيَ مِنْ جِهَةٍ تُحَاكِي صَوْتَ المَاءِ، وَمِنْ جِهَةٍ أُخْرَى كَأَنَّهَا إشْتِقَاقٌ مِنْ فِعْلِ الأَمْرِ “قُلْ”، أَيْ تَرْدِيدُ ذِكْرِ الحَقِّ الَّذِي يَمْلأُ أَكْوَابَ القُلُوبِ
المَفَاخَرَةُ بِـ “الإِرْشَادِ”: يَخْتِمُ الشَّيْخُ غَزَلَهُ بِنَبْرَةٍ عَالِيَةٍ مِنَ “المَفَاخَرَةِ”، فهُوَ يَرَى نَفْسَهُ حَلْقَةَ الوَصْلِ الأَخِيرَةَ فِي زَمَانِهِ، وَأَنَّ “الكَمَالَ” (اِسْمُهُ وَصِفَتُهُ) هُوَ الغَايَةُ لِلْمُرِيدِينَ، و هَذَا القَوْلُ لَيْسَ عُجْبًا، بَلْ هُوَ “تَحَدُّثٌ بِنِعْمَةِ اللهِ” وَإِعْلَانٌ عَنْ مَقَامِهِ كَوَلِيٍّ مُرْشِدٍ فِي تِبْرِيز
مُلَخَّصُ الغَزَلِ
يَدْعُو الشَّيْخُ كَمَال فِي هَذَا الغَزَلِ كُلَّ نَفْسٍ ظَامِئَةٍ لِلْيَقِينِ أَنْ تَهْجُرَ أَوْدِيَةَ الـمَجَازِ نَحْوَ بَحْرِ الحَقِيقَةِ، و العِشْقُ عِنْدَهُ هُوَ مَاءُ الحَيَاةِ الَّذِي يَجْعَلُ الـمَيِّتَ (الحُوتَ) يَحْيَا أَبَدًا، وَيُؤَكِّدُ أَنَّ الوُصُولَ إِلَى مَنْبَعِ الخَضِرِ يَسْتَلْزِمُ صُحْبَةَ “الشيخ كََمَالٍ”؛ فَالـمُرْشِدُ هُوَ الدَّلِيلُ الَّذِي يُنَبِّهُ المُرِيدَ لِيُبْصِرَ العَيْنَ الَّتِي تَجْرِي بَيْنَ يَدَيْهِ وَهُوَ غَافِلٌ عَنْهَا
المُفْرَدَاتُ
الوَادِي الهَوَى: مَقَامُ التَّعَلُّقِ بِغَيْرِ اللهِ
جُويِبَان: مَجَارِي المِيَاهِ أَوْ الجَدَاوِلِ
مَالَتِ الأَكْوَابُ: اِنْحَنَتِ الكُؤُوسُ
قُلْ قُلْ: حِكَايَةُ صَوْتِ المَاءِ فِي الإِبْرِيقِ
إِبْرِيق: مِشْرَبَةٌ ذَاتُ عُنُقٍ
پِيشِ لَب: عَلَى شَفَا الفَمِ (كِنَايَةٌ عَنِ القُرْبِ)
آبِ چَشْم: مَاءُ العَيْنِ (الدَّمْعُ)
بَرگُشَا: اِفْتَحْ أَوْ أَجْرِ
النُّون: الحُوتُ
عَيْنِ البَقَا: عَيْنُ الحَيَاةِ الأَزَلِيَّةِ
نَسِيتُ الحُوت: إِشَارَةٌ لِلآيَةِ الكَرِيمَةِ فِي سُورَةِ الكَهْفِ
آشْنَا: عَارِفٌ أَوْ خَبِيرٌ
طَلَبْكَار: المُرِيدُ البَاحِثُ
وَلِيًّا مُرْشِدَا: الهَادِي الرُّوحِيُّ
معلومات إضافية مفيدة
التَّشَابُهُ بَيْنَ الغَزَلِ (الثَّانِي عَشَرَ) لِلشَّيْخِ كَمَال خُجندي، وَأَشْعَارِ مَوْلَانَا جَلَال الدِّينِ الرُّومِيِّ لَيْسَ مُجَرَّدَ مُصَادَفَةٍ، بَلْ هُوَ ثَمَرَةُ تَتَلْمُذٍ رُوحِيٍّ وَأَدَبِيٍّ عَمِيقٍ
تُؤَكِّدُ الـمَصَادِرُ الفارسية، بأَنَّ الشَّيْخَ كَمَال خُجَنْدِي بَنَى قَصَائِدَهُ عَلَى أُسُسٍ ثَقَافِيَّةٍ وَأَدَبِيَّةٍ غَنِيَّةٍ، حَيْثُ نَظَمَ الشِّعْرَ مُقْتَدِيًا بِكِبَارِ العُظَمَاءِ مِثْلَ رُّودَكِي (أب اللغة الفَارسية الحَالية، ولد بالقُرب من مدينة رودک، طاجيكستان الحالية، أشتهر في عَهد السامانيين في خُراسان)، وَالشيخ سَعْدِي الشيرازي، وَمَوْلَانَا جلال الدين البلخي الرُّومِي، وَحَافِظ الشيرازي، المعاصر والمنافس الشعري الغزلي للشيخ كمال خُجندي
تَفْصِيلُ هَذَا التَّأَثُّرِ وَالتَّشَابُهِ بِنَاءً عَلَى مَا وَرَدَ فِي الـمَصَادِرِ
الشيخ كَمَال خُجَنْدِي وَ”مَدْرَسَةُ التَّكامل”
يُصَنَّفُ الشَّيْخُ كَمَال ضِمْنَ شُعَرَاءِ القَرْنِ الثَّامِنِ الَّذِينَ أبْتَكَرُوا نَمَطًا جَدِيدًا يُسَمَّى “دَوْرَةَ التَّكامل”؛ حَيْثُ قَامُوا هؤلاء الشعراء بِمَزْجِ عَنَاصِرِ “الغَزَلِ العَاشِقِ” الَّذِي بَلَغَ ذُرْوَتَهُ عِنْدَ الشيخ سَعْدِي الشيرازي، مَعَ “الغَزَلِ العَارِفِ” الَّذِي يُمَثِّلُ مَوْلَانَا جلال الدين البلخي الرُّومِيُّ نَمُوذَجَهُ الأَتَمَّ، لِذَا، فَإِنَّ إسْتِعَارَةَ الشيخ كَمَال لِـمَصْطَلَحَاتِ الرُّومِيِّ وَرَمْزِيَّاتِهِ هِيَ جُزْءٌ مِنْ هَذَا الـمَنْهَجِ الَّذِي يَجْمَعُ بَيْنَ “سُكْرِ” مَوْلَانَا وَ”صَحْوِ” سَعْدِي
رَمْزِيَّةُ “سَقَاهُمْ رَبُّهُمْ” وَالـشراب الإِلَهِي
الإشْتِرَاكُ فِي عِبَارَةِ “از سقاهم ربهم ابریقهاست” هُوَ إقْتِبَاسٌ مِنْ سُورَةِ الإِنْسَانِ، وَهُوَ مِنَ الرَّكِائزِ الأَسَاسِيَّةِ فِي شِعْرِ الرُّومِيِّ لِلتَّعْبِيرِ عَنِ “السُّكْرِ الرُّوحِيِّ” وَالفَنَاءِ فِي الـمَحْبُوبِ
عِنْدَ الرُّومِي: يَتَكَرَّرُ الـمَعْنَى لِيُشِيرَ إِلَى أَنَّ الحَقَّ هُوَ السَّاقِي الـحَقِيقِيُّ، وَأَنَّ العَارِفَ يَسْتَغْنِي بِهَذَا الشَّرَابِ عَنِ الكَوْنَيْنِ
عِنْدَ الشيخ كََمَال: فِي الغَزَلِ رقم ١٢، يَسْتَخْدِمُ نَفْسَ الـنَّفَسِ الـمَوْلَوِيِّ (مولانا) حِينَ يَقُولُ إِنَّ هَذِهِ “الأَبَارِيقَ” مُتْرَعَةٌ بِمَا وَعَدَ بِهِ الرَّبُّ، مِمَّا يَدُلُّ عَلَى أَنَّهُ يَغْرِفُ مِنْ نَفْسِ “مَشْرَبِ” العِشْقِ الإِلَهِيِّ الَّذِي أَسَّسَهُ الرُّومِي
فَنُّ “الـمُلَمَّعِ” وَالـمُحَاكَاةِ
الغَزَلُ الثَّانِي عَشَرَ هُوَ قَصِيدَةٌ “مُلَمَّعَةٌ” (تَجْمَعُ بَيْنَ العَرَبِيَّةِ وَالفَارِسِيَّةِ)، وَهُوَ فَنٌّ بَرَعَ فِيهِ مَوْلَانَا الرُّومِيُّ كذلك فِي دِيوَانِ شَمْسٍ (التبريزي)، و هَذَا التَّوَافُقُ فِي القَالِبِ يُؤَكِّدُ أَنَّ الشيخ كَمَال، لَمْ يَتَأَثَّرْ بِالـمَعَانِي فَحَسْبُ، بَلْ أَيْضًا بِـ “الـمُوسِيقَى الخَانْقَاهِيَّةِ/خانقاه” وَالأَسَالِيبِ الـبَدِيعِيَّةِ الَّتِي كَانَتْ رَائِجَةً فِي حَلَقَاتِ الذِّكْرِ الـمَوْلَوِيَّةِ
حَلْقَةُ الوَصْلِ فِي تِبْرِيز
ثَمَّةَ دَلِيلٌ تَأرِيخِيٌّ غَيْرُ مُبَاشِرٍ يَرْبِطُ الشيخ كَمَال، بِتُرَاثِ مَوْلَانَا جلال الدين البلخي الرومي؛ فَقَدْ كَانَ كَمَال صَدِيقًا وَمُعَاصِرًا لِـ شَمْسِ الـمَغْرِبِيِّ، حيث تُشِيرُ الدِّرَاسَاتُ إِلَى أَنَّ دِيوَانَ الـمَغْرِبِيِّ مَمْلُوءٌ بِـ “إنْعِكَاسَاتِ تُرَاثِ مَوْلَانَا” وَمُحَاكَاةِ غَزَلِيَّاتِهِ، وَبِمَا أَنَّ الشيخ كمال وَ شَمس الـمَغْرِبِيَّ، كَانَا فِي بِيئَةٍ صُوفِيَّةٍ وَاحِدَةٍ فِي تِبْرِيز، فَقَدْ كَانَ تُرَاثُ الرُّومِيِّ هُوَ الـمُوجِّهَ الرَّئِيسَ لِـوجدِيهما
لذلك، فالشَّيْخُ كَمَال خُجَنْدِي تَبِعَ خُطَى جَلَال الدِّينِ الرُّومِيِّ فِي إسْتِخْدَامِ الـرُّمُوزِ القُرْآنِيَّةِ الـعِرْفَانِيَّةِ مِثْلَ (سَقَاهُمْ رَبُّهُمْ) لِيُثْبِتَ انْتِمَاءَهُ لِـ “مَذْهَبِ العِشْقِ الإلهي”، وَرَغْمَ أَنَّ صِيَاغَتَهُ تَمِيلُ لِلرَّصَانَةِ وَ”الكَمَالِ” اللَّفْظِيِّ الَّذِي يُمَيِّزُ مَدْرَسَةَ تِبْرِيز، إِلَّا أَنَّ الرُّوحَ الـمَوْلَوِيَّةَ هِيَ الـمُحَرِّكُ لِهَذَا الغَزَلِ، وَهِيَ الَّتِي جَعَلَتْ قَصَائِدَهُ تُوصَفُ بِأَنَّهَا “أَسْرَارُ اللهِ” وَلَيْسَتْ مُجَرَّدَ غَزَلٍ
سَعْدِي وَالرُّومِي: قِمَّتَانِ لِنَمَطَيْنِ مُخْتَلِفَيْنِ
تُصَنِّفُ الدِّرَاسَاتُ الشَّيْخَ سَعْدِي الشيرازي، بِأَنَّهُ الـمُمَثِّلُ الأَتَمُّ لِلْغَزَلِ العَاشِقِ، بَيْنَمَا تَعْتَبِرُ مَوْلَانَا الرُّومِيَّ الـمُمَثِّلَ الأَكْمَلَ لِلْغَزَلِ العَارِفِ، و هَذَا يَعْنِي أَنَّهُمَا، رَغْمَ تَعَاصُرِهِمَا، كَانَا يَقُودَانِ تَيَّارَيْنِ مُتَمَايِزَيْنِ فِي الأَدَبِ وَالتَّصَوُّفِ
مَدْرَسَةُ سَعْدِي: عَيْنُ العَارِفِ الـمُعْتَدِلِ
يَمْتَازُ الشَّيْخُ سَعْدِي بِلُغَتِهِ “السَّهْلِ الـمُمْتَنِعِ”؛ فَهِيَ لُغَةٌ صَافِيَةٌ، مُبَاشِرَةٌ، وَتَمِيلُ إِلَى نَقْدِ الـمُجْتَمَعِ وَتَهْذِيبِ الأَخْلَاقِ
الرُّؤْيَةُ الصُّوفِيَّةُ: تَصَوُّفُ سَعْدِي هُوَ تَصَوُّفٌ “بَشَرِيٌّ-أَخْلَاقِيٌّ”، يَهْتَمُّ بِتَقْدِيمِ الـمَوَاعِظِ وَالـحِكْمَةِ بَعِيدًا عَنْ شَطَحَاتِ الوَجْدِ الـخَارِجِ عَنِ السَّيْطَرَةِ
الوُضُوحُ وَالنَّقْدُ: مَدْرَسَة الشيخ سعدي تَتَّسِمُ بِـ “الصَّحْوِ”، حَيْثُ يَكُونُ العَارِفُ حَاضِرَ الذِّهْنِ، نَاقِدًا لِلْعُيُوبِ، وَمُسْتَخْدِمًا لِلْـجَمَالِ كَأَدَاةٍ لِتَرْبِيَةِ النَّفْسِ
مَدْرَسَةُ مَوْلَانَا: عَيْنُ الـمُحِبِّ الـمُسْتَهَامِ
فِي الـمُقَابِلِ، يُمَثِّلُ مَوْلَانَا جَلَال الدِّينِ الرُّومِيُّ ذُرْوَةَ “عِرْفَانِ السُّكْرِ” وَالفَنَاءِ الـمُطْلَقِ
الوَجْدُ وَالـخَلْسَةُ: شِعْرُهُ لَيْسَ تَعْلِيمِيًّا مُبَاشِرًا كَسَعْدِي، بَلْ هُوَ “فَيْضٌ رُوحِيٌّ” وَثَوْرَةٌ لُغَوِيَّةٌ تَنْبِعُ مِنْ لَحَظَاتِ الإتِّـحَادِ وَالوَصْلِ
الـمَقَامُ الرُّوحِيُّ: مَا قَدْ يَبْدُو “جُنُونًا بِلَا هَدَفٍ” لِلْبَعْضِ، هُوَ عِنْدَ أَهْلِ هَذِهِ الـمَدْرَسَةِ “فَنَاءُ الأَنَا” لِيَبْقَى الـمَحْبُوبُ وَحْدَهُ، وَهُوَ مَقَامٌ يَصْعُبُ الِالْتِزَامُ فِيهِ بِمَعَايِيرِ النَّقْدِ الـمُبَاشِرِ
هَلْ هُمَا ضِدَّانِ أَمْ وَجْهَانِ لِعُمْلَةٍ وَاحِدَةٍ؟
تُؤَكِّدُ الـمَصَادِرُ أَنَّ الشاعرين (سعدي ومولانا) يَنْسَجِمَانِ ضِمْنَ إِطَارٍ فَلْسَفِيٍّ كَبِيرٍ هُوَ “وَحْدَةُ الوُجُودِ”، و لَكِنَّ الإخْتِلَافَ كَانَ فِي “الـمَشْرَبِ”، فسَعْدِي نَظَرَ لِلْـجَمَالِ الإِلَهِيِّ مِنْ خِلَالِ الـمِرْآةِ الإِنْسَانِيَّةِ وَالأَخْلَاقِيَّةِ، أما مَوْلَانَا نَظَرَ لِلْـحَقِيقَةِ مِنْ خِلَالِ الإحْتِرَاقِ الرُّوحِيِّ وَالوَجْدِ الذَّاتِيِّ
الشيخ كَمَال خُجَنْدِي وَالـمَزْجُ بَيْنَهُمَا
جَاءَ الشَّيْخُ كَمَال خُجَنْدِي فِي القَرْنِ الثَّامِنِ لِيَكُونَ ثَمَرَةً لِهَذَا التَّطَوُّرِ؛ حَيْثُ يُصَنَّفُ شِعْرُهُ ضِمْنَ “دَوْرَةِ التَّكامل”، فقَدْ تَمَكَّنَ الشيخ كَمَال مِنْ صَهْرِ “صَّحْوِ سَعْدِي” (رَصَانَةِ الـلَّفْظِ وَوُضُوحِ القَصْدِ) مَعَ “سُكْرِ مَوْلَانَا” (الـمَضَامِينِ العِرْفَانِيَّةِ العَمِيقَةِ)، مِمَّا أَدَّى إِلَى نُشُوءِ نَمَطٍ جَدِيدٍ يَجْمَعُ بَيْنَ الإعْتِدَالِ وَالـمُشَاهَدَةِ
الـخُلَاصَةُ، الشَّيْخُ سَعْدِي يُمَثِّلُ “صَوْتَ العَقْلِ العَارِفِ” الَّذِي يَرَى فِي الإعْتِدَالِ وَالنَّقْدِ طَرِيقًا لِلْكَمَالِ، أَمَّا مَوْلَانَا، فَكَانَ “بُرْكَانَ العِشْقِ” الَّذِي يَرَى أَنَّ الـحَقِيقَةَ أَكْبَرُ مِنْ أَنْ تُقَالُ بِلُغَةٍ مُبَاشِرَةٍ، وَكَمَا قَالَتِ الـمَصَادِرُ، فَإِنَّ التَّارِيخَ لَمْ يَجِدْ بَعْدَهُمَا مَجَالًا لِلتَّطَوُّرِ إِلَّا بِالـمَزْجِ بَيْنَ هَذَيْنِ الـمَنْهَجَيْنِ العَظِيمَيْنِ، وَهُوَ مَا نَرَاهُ جَلِيًّا فِي غَزَلِِيَّاتِ الشَّيْخِ كَمَال خُجندي، الَّتِي نَدْرُسُهَا الأن
فسَبَبِ “العَالَـمِيَّةِ” للـمَدْرَسَةِ الـمَوْلَوِيَّةِ مُقَابِلَ “أَدَبِيَّةِ” مَدْرَسَةِ الشيخ سَعْدِي وَ الشيخ كَمَال خُجَنْدِي يَكْمُنُ فِي الـمَشْرَبِ الـمَسْلَكِيِّ وَطَبِيعَةِ التَّجْرِبَةِ العِرْفَانِيَّةِ لِكُلِّ مِنْهُمْ
بِنَاءً عَلَى الـمَصَادِرِ، يُمْكِنُ تَلْخِيصُ الـأَسْبَابِ فِي النِّقَاطِ التَّالِيَةِ
عِرْفَانُ “السُّكْرِ” مُقَابِلَ عِرْفَانِ الصَّحْوِ
مَوْلَانَا الرُّومِي: يُمَثِّلُ ذُرْوَةَ “غَزَلِ العَارِفِ”، و هَذَا الـنَّمَطُ مِنَ العِرْفَانِ يَتَجَاوَزُ اللُّغَةَ لِيُصْبِحَ “حَالَةً” رُوحِيَّةً وَجَدِيَّةً (مِثْلَ السَّمَاعِ)، مِمَّا سَهَّلَ تَحْوِيلَهُ إِلَى مَدْرَسَةٍ مَنْهَجِيَّةٍ (طَرِيقَةٍ) تَنْتَشِرُ عَبْرَ الـحُدُودِ لِأَنَّهَا تُخَاطِبُ “الوَجْدَ” الَّذِي لَا لُغَةَ لَهُ
الشَّيْخُ سَعْدِي: يُمَثِّلُ قِمَّةَ الصَّحْوِ وَالِاعْتِدَالِ، فتَصَوُّفُ سَعْدِي هُوَ تَصَوُّفٌ “بَشَرِيٌّ-أَخْلَاقِيٌّ” يَهْتَمُّ بِالتَّرْبِيَةِ وَالـمَوْعِظَةِ الـمُبَاشِرَةِ، مِمَّا جَعَلَهُ أَقْرَبَ إِلَى “الـمُعَلِّمِ” مِنْهُ إِلَى صَاحِبِ “الطَّرِيقَةِ”
ومَوْلَانَا، لَمْ يَنْظِمِ الشِّعْرَ لِلأَدَبِ، بَلْ كَانَ “الـمَثْنَوِيُّ” مَسَارًا عَمَلِيًّا لِتَحْوِيلِ الـحَقِيقَةِ الإِلَهِيَّةِ إِلَى وَاقِعٍ مُعَاشٍ؛ فَكَانَ كَـ “الـمَنَارَةِ” الَّتِي تُضِيءُ لِلإِنْسَانِيَّةِ طَرِيقَ الوُصُولِ
الشيخ كََمَال خُجَنْدِي: رَغْمَ أَنَّهُ كَانَ شَيْخًا مُرْشِدًا لَهُ خَانْقَاهٌ (تَكِيَّةٌ) وَمُرِيدُونَ فِي تِبْرِيز، إِلَّا أَنَّ مَدْرَسَتَهُ كَانَتْ تَمِيلُ إِلَى “الكَمَالِ” اللَّفْظِيِّ وَالرَّصَانَةِ الـبَدِيعِيَّةِ، و كَانَ يُوصَفُ بِأَنَّ “صُحْبَتَهُ (حُضُورَهُ) كَانَتْ أَجْمَلَ مِنْ شِعْرِهِ”، مِمَّا يَعْنِي أَنَّ سِرَّهُ كَانَ مَحْصُورًا فِي شَخْصِهِ وَحُضُورِهِ الـمُبَاشِرِ، وَلَمْ يُؤَسِّسْ “نِظَامًا مَسْلَكِيًّا” تَبْشِيرِيًّا كَالـمَوْلَوِيَّةِ
“التَّكامل” الـجَمَالِيُّ مُقَابِلَ “الثَّوْرَةِ” الرُّوحِيَّةِ
جَاءَ الشيخ كَمَال خُجَنْدِي، لِيَجْمَعَ بَيْنَ سُكْرِ الرُّومِي وَصَّحْوِ سَعْدِي، و هَذَا الـمَزْجُ جَعَلَ شِعْرَهُ مَتَاعًا لِلأَدَبَاءِ وَأَرْبَابِ الذَّوْقِ الَّذِينَ يَسْتَمْتِعُونَ بِـ “لَطَافَةِ الـمَعْنَى وَدِقَّةِ اللَّفْظِ”، وأَمَّا الرُّومِي، فَقَدْ كَانَ “بُرْكَانًا” رُوحِيًّا هَدَمَ القَوَالِبَ التَّقْلِيدِيَّةَ؛ فَانْجَذَبَ النَّاسُ إِليه، لَا إِلَى “الصَّنْعَةِ”
سِرُّ إنتشار الـمَوْلَوِيَّةِ
الرُّومِي فَتَحَ بَابَ “الفَنَاءِ فِي الـمَحْبُوبِ” لِجَمِيعِ البَشَرِ، مُعْتَبِرًا الـحُبَّ هُوَ الـحَقِيقَةُ العُلْيَا، و هَذَا النَّفَسُ العَالَـمِيُّ جَعَلَ مَدْرَسَتَهُ تَنْتَقِلُ كَـ “عَدْوَى رُوحِيَّةٍ” في جميع الأرجاء
بَيْنَمَا بَقِيَ الشَيخ سَعْدِي وَ الشيخ كَمَال خُجَنْدِي حُرَّاسًا لِـجَمَالِ اللُّغَةِ وَحِكْمَةِ السُّلوكِ؛ فَإِذَا أَرَدْتَ أَنْ “تَتَأَدَّبَ” قَرَأْتَ لسَعْدِي، وَإِذَا أَرَدْتَ أَنْ “تَتَذَوَّقَ” كَمَالَ الـمَعْنَى قَرَأْتَ لكَمَال، لَكِنْ إِذَا أَرَدْتَ أَنْ “تَطِيرَ روحياً” اتَّبَعْتَ مَوْلَانَا
Persian Text
إیها العَطشان في الوادي الهَوا
جوی جویبان جانب دریا بیا
آب را پیش لب هر تشنهای
مَالت الأکَواب قُل قُل قُولنا
از سقاهم ربهم ابریقهاست
ما به لب پیش لب ما و شما
گریه تا چند از عطش ای نور چشم
پیش چشمت آب چشمی برگشا
لو وَجدتَ الخِضر عِینا فأنتبهْ
کیفَ یَحیی النُون فی عِین البَقا
از نسیت الحوت اگر یادیت هست
همچو آن ماهی بخضری آشنا
گر طلبکاری مشو دور از کمال
لم تَجد بَعدی وَلیا مُرشدا
