A Critique of Hossein Pourfaraj's Book on Sepehri's Azure Philosophy

 Firstly, in the view of this writer, Soroush Dabbagh's Sepehri-studies project is of the type  cultural-intellectual work, but with strong religious dimensions; and secondly, the main product of this project is the unveiling of a modern spiritual mystic who lives in society and possesses his own epistemological system. In the modern mysticism project, Soroush Dabbagh has made every effort to explore and methodically understand Sohrab Sepehri from the various angles of his thought, thereby rescuing this contemporary thinker from the bitter isolation of his audience's simplistic understanding. What this project facilitates is, first, to gaze upon Sohrab Sepehri with the eye of insight, and then to grasp his existential spiritual experiences. Experiences that are beautifully embedded in his surviving works and can indeed be theorized, as Soroush Dabbagh has done.

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A Phrase That Entered the Mind's Summer Pasture[1]

Sohrab Sepehri in the Eyes and Heart of Soroush Dabbagh

The author has previously written about the schema of modern mysticism, Soroush Dabbagh's important project. In that piece, I noted that this thinker has, in a way, undertaken a pathology of classical mysticism and, in turn, has endeavored to offer a remedy. That article observed: "The 'Schema of Modern Mysticism' is a project that scholarly re-reads classical mysticism and offers an epistemological, ontological, and anthropological, as well as ethical/political/devotional, reading of modern mysticism, and specifies its relationship with ancient mysticism—which, according to Soroush Dabbagh himself, is one of generality and specificity in some respects. This project touches upon a crucial matter that necessitates a kind of transition from ancient mysticism to modern mysticism and renders it justified in the discerning eyes of the aware."[2] As you know, Soroush Dabbagh's schema of modern mysticism has so far passed through eight fundamental steps, and this project remains open. The eight steps traversed in the schema of modern mysticism, seven of which are reflected in the two books "In Sepehri's Sphere" and "Sepehri's Azure Philosophy", are as follows: Spiritual Solitude (1), A Schema of Modern Mysticism (2), In the Absence of the Other's Suffering (3), How Green I Am Today (4), Mystical Conduct and the Political Affair (5),  Death Flows in the Acacia's Mind (6), Jurisprudential Rituals and Mystical Conduct (7), and The Modern Wayfarer and the Encounter with the Transcendent (8). Indeed, in this project, Soroush Dabbagh has truly undertaken a blessed exploration of the various dimensions of modern mysticism's reading of God, the Other, death, and so forth, and through this, has introduced a new discourse. This talented thinker speaks of the necessity of moving from classical mysticism to modern mysticism and thus renews and refreshes this way of proceeding; in his own words: "Modern mysticism," as I have previously stated, has been formed under this type of religiosity and is oriented towards a critical re-reading of the mystical tradition; for we have grown up in this tradition, and our educational and epistemic background is intertwined with it. Others can build other modern mysticisms based on existing mystical traditions and seek out different components and elements within them. I have nothing to do with them, affirmatively or negatively, and I pursue my own project independently. Sepehri is a poet who wrote poetry in the Persian language and belongs to our tradition. Incidentally, Sepehri also read Hölderlin's poems.[3]"

Now let us address the main issue of this writing. As you know, Soroush Dabbagh's attachment is to religious intellectualism. Religious intellectualism is a school of thought that, in his own interpretation, moves in the gap between tradition and modernity, and in this context, considers religion the most important component of tradition: "Religious intellectuals are more preoccupied with religion and religious knowledge, and they contemplate theology, mysticism, jurisprudence, exegesis, Islamic philosophy, and their anthropological, ontological, epistemological foundations and principles, and assess their relationship with modern teachings. According to their diagnosis and concern, religion is the most important and weightiest component of tradition, and in a religious society like ours, addressing this component of tradition gives substance to intellectual work."[4]

In the author's view, although Soroush Dabbagh, in the generality of his religious/intellectual activities, operates as a religious intellectual, his theorizing in the field of mysticism __and particularly regarding Sohrab Sepehri__ is in fact a kind of cultural-intellectual endeavor; an endeavor which, in his own words: If someone is familiar with the components of the new world (such as modern science, modern philosophy, modern art and literature...) and, on the other hand, within the thick Iranian-Islamic tradition, is more preoccupied with categories such as identity, Iranian culture, history and civilization, and inquires about their situation in the new world, and researches and reflects upon it, and presents the results of his intellectual work before others, he can be called a cultural intellectual or a secular intellectual.[5]

Although he himself places this important matter under the rubric of religious intellectualism and refrains from naming it under the rubric of cultural intellectualism: (ISNA:) You did not name your project religious intellectualism and called it religious reform. Is there a deliberate intention in this naming? That is, is your work not a continuation of intellectualism and is it something new?

(Soroush Dabbagh:) No. It falls under the same project of religious intellectualism, with an emphasis on some of its other dimensions. In the series of articles on modern mysticism, I have tried to expand and advance a dimension of the religious intellectualism project that has been less addressed. Part of the work is focused on critiquing and re-reading the teachings of traditional mysticism, such as the critique of the concept of "annihilation in God"; part of the work also has a positive aspect and is focused on explaining the constituents and components of the mode of Muslim and spiritual life in the modern world.[6]

In any case, the author of this work maintains that Soroush Dabbagh's project of modern mysticism is precisely part of the cultural-intellectual endeavor. If the cultural intellectual moves in the gap between tradition and modernity and emphasizes the non-material blessings of life, and again if this same intellectual is attached to Iranian-Islamic culture and has his heart set on "both former values and modern understanding and wisdom"; then, from this perspective, Soroush Dabbagh's theorizing __both regarding this substantial project and regarding its Case Study: Sohrab Sepehri,__ is exactly on the axis of this cultural-intellectual approach, and indeed emerges through this very path.

Now, consider this definition of culture by Tylor: Culture is that complex whole which includes knowledge, belief, art, law, morals, custom, and any other capabilities and habits acquired by man as a member of society.[7] At any rate, in the author's view, culture is an all-encompassing, non-material whole and can truly accommodate religion as one pillar within itself. Therefore, what Soroush Dabbagh seeks in the aforementioned project is this: The project of modern mysticism is a project of the cultural-intellectual type, which indeed has more pronounced religious dimensions. This project unveils the cultural/secular potentials of Iranian-Islamic society and sheds light on its distinct lines of demarcation from traditional mysticism. For instance, in Soroush Dabbagh's own words: Modern mysticism... entails abandoning 'selflessness' and 'annihilation in God' (fanāʾ fi-llāh) in the first sense, and elevating and adopting 'selflessness' in the second sense, and striving to realize its components and constituents in the attitude and consciousness of the wayfarer. In other words, one can become 'selfless' in the path of spiritual wayfaring and embrace it; but a selflessness that is not contingent upon metamorphosis, immersion, and annihilation in the Infinite; rather, it arrives with attributes such as will, lightness of being, and tranquility. In fact, what is condemned and rejected in modern mysticism is 'psychological egoism'; because in it, the 'self' is central and the 'other' is not taken into account; but the modern wayfarer, in the words of Henry Sidgwick, is at peace with 'rational egoism' and takes it seriously. In other words, the 'altruism' and openness towards others that is central to modern mysticism does not preclude taking oneself seriously in a reasonable manner. 'Self-love' and taking the 'self' into account and loving it, in a reasonable and balanced way, is of course permissible and adoptable; in contrast, 'psychological egoism,' which is intertwined with 'selfishness,' self-centeredness, and narcissism, is unjustified. On the other hand, 'selflessness' in the first sense is also to be abandoned, because in it, the subsistence, identity, and independence of the wayfarer do not remain, and their existence is dissolved, obliterated, and vanishes.

In summary, it can be conceived that the justified and path-opening 'selflessness' envisioned by modern mysticism, on the one hand, abandons 'psychological egoism' and, on the other hand, deems the first meaning of 'selflessness,' which is synonymous with 'annihilation in God,' as unjustified, yet it is at peace with 'rational egoism.' Furthermore, the modern wayfarer who has become 'selfless,' in order to 'reabsorb the climate of the soul' and see the 'hidden half of things,' to use Dariush Shayegan's phrase in New Enchantment, possesses sharp eyes and a receptive, agile consciousness.[8]

Nevertheless, according to what has been said, firstly, Soroush Dabbagh's project of modern mysticism is an intellectual, cultural project, and of course, one with strong religious dimensions; and secondly, this project has a prominent prophet named Sohrab Sepehri, the poet of the "Eight Books." This project indeed moves beyond classical mysticism and some of its fundamental principles, and thus considers life as bathing and cooling off in the pool of the present moment.

Nevertheless, this writer proceeds here to analyze the "model mystic" of this distinguished project and endeavors to offer an opinion on the matter. As I mentioned, Soroush Dabbagh's project of modern mysticism is a project of the cultural intellectual type with powerful religious dimensions, not a project of the religious intellectual type with strong cultural dimensions. The author believes that the boundaries and limits of the theory of "modern mysticism" ultimately lead to the emergence of a theory that is more of the cultural intellectual type than the religious intellectual type. If we compare the theories attributed to religious intellectualism with Soroush Dabbagh's theory of modern mysticism, we find that these theories and the aforementioned theory are, of course, divergent and non-synonymous __both in terms of subject and in terms of outcome__; thus, religious intellectual theories consider religion in the position of a fundamental institution as their independent variable, and the theory of modern mysticism considers the "spiritual wayfaring of seekers" in the position of constructors of a new current as this variable. In any case, the author reiterates with emphasis that he considers Soroush Dabbagh's theory of modern mysticism, firstly, to be of the cultural intellectual type with very strong religious dimensions, and secondly, to be on a correct and indeed vital path; and therefore, he deems this theory __after contemplating it under the rubric of cultural intellectual theories__ to benefit from a prominent model figure such as Sohrab Sepehri. And now, "you yourself read the detailed account from this summary."

Now we arrive at the main topic of this discussion: the examination and analysis of the book "Sepehri's Azure Philosophy" by Soroush Dabbagh. I mentioned earlier that Soroush Dabbagh has taken Sohrab Sepehri as the case study for his modern mysticism project, and therefore his two recent books, "In Sepehri's Sphere" and "Sepehri's Azure Philosophy," are indicative of this auspicious choice. If Soroush Dabbagh has chosen Ludwig Wittgenstein (1889-1951) as his model philosopher in analytic philosophy, the choice of Sohrab Sepehri in modern mysticism is also indicative of the model role of the poet of "The Sound of Water's Footfall" for this religious modernist. Although it goes without saying that this sharp-witted thinker also has an enamored and passionate heart for the Khorasan school and its renowned poets and derives abundant benefit from that circle as well.

Nevertheless, the author's focus here is on the two aforementioned books by Soroush Dabbagh concerning Sohrab Sepehri. This writer does not, in this space, undertake an analysis of the text of these two fine books and is more inclined towards the output of this project. This piece here wishes to contemplate the sweet fruits of this particular project and to theorize the most important contribution of this approach.

(1)

The first issue the reader must certainly pay attention to is that Soroush Dabbagh's Sepehri studies is not an independent project; rather, this project is a small part of a larger project: As I understand it, if we wish to inquire into the boundaries and limits of spiritual wayfaring in the contemporary disenchanted world under the Iranian-Islamic tradition and enumerate its components and constituents, we must not ignore Sepehri and his enduring spiritual legacy. Sohrab, as a modern seeker with profound spiritual concerns, by shedding light on his reflections upon categories such as death, love, wind, rain, the Transcendent, sorrow, azure philosophy, solitude, dreams…, has organized a system. It is fitting that we too take provisions from this enduring legacy for ordering and arranging our own spiritual wayfaring in these tumultuous times.[9]

(2)

Now, this being the case, Soroush Dabbagh's interest in Sohrab Sepehri stems from the "lushness of the pasture of perception" and not from mere simplistic pleasure-seeking. There is no harm if the reader, through contemplation and deep understanding of the Eight Books, sweetens their own palate (consequently); but it is ill if one, on this path, is merely content with the taste and fails to grasp the property of the nourishment. In any case, in the author's belief, Soroush Dabbagh, in his encounter with Sohrab Sepehri, both finds his "days turn orange," and follows "the trace of the narrative to the white text." From Sohrab, he both sweetens the taste of his mouth and renders the cup of his being spiritual and full of meanings.

Nevertheless, Sohrab Sepehri catches both the eye and the heart of Soroush Dabbagh. For, in his own words: “In Nietzsche’s phrase, he gives off his own scent and does not, at first glance, remind us of anyone else; much agreement and disagreement has formed around him; this attests to the importance his works have found in our intellectual and literary sphere, like other influential figures. This artist’s way of seeing, his conduct, and his life differed from that of his contemporaries, and this very fact, at the time, provoked talk, gossip, and the taunts of several writers. For instance, Ahmad Shamlou criticizes his political conduct and his indifference to what was happening in society, and Reza Baraheni calls him an ‘aristocratic baby Buddha.’ Baraheni considers him a callous person who does not share the sorrows of others, who has buried his head in his own collar, adopted political escapism, and lives detached from the issues unfolding around him[10].” In any case, the author believes that this religious intellectual does not seek merely hedonistic fare from Sohrab Sepehri but is, to a large extent, in search of “illuminated perception.” He searches and seeks, and seeks and finds. In encountering the “author of the Eight Books,” Soroush Dabbagh seems to journey to eight vast lands, and besides benefiting from the groves, he is not deprived of insights; and, of course, he does not leave others empty-handed nor does he cast them from his sight.

(3)

The third point is the outcome of the first and second points. First, empty your mind of the foregoing contributions. The author asks: Who is Sohrab Sepehri?! If someone has not glanced at the works and thoughts of Soroush Dabbagh and other Sepehri scholars, and reads Sepehri merely to relieve fatigue or pass leisure time, they will certainly sum up Sohrab Sepehri in a few short sentences and a few superficial words, describing him, for example, as “the poet from Kashan.” Such a type regards literati and culture-creators solely for pleasure and gratification, and does not cast a glance at the “Green Volume” that echoes through their works. And so on and so forth.

Now consider these two points:

• One can view Sohrab Sepehri’s poems and writings not only with a literary/hedonistic gaze but also with an epistemic/spiritual one; and through him, irrigate one’s thoughts at the “edge of the water of knowledge.”
• And that this contemporary poet can be considered part of a living and, indeed, fundamental current, and be accorded special standing and esteem.

Now, keeping these two points in mind, the author repeats his question: Who is Sohrab Sepehri?! Here, the author seeks the answer to his question from the lips of Soroush Dabbagh himself. From Soroush Dabbagh’s perspective, Sohrab Sepehri is not a frivolous poet, nor a means of passing time, but a modern, spiritual, aesthetically discerning mystic, and therefore one can repeatedly delve into his works and thoughts: “Sepehri is a poet who wrote poetry in the Persian language and belongs to our tradition. As it happens, Sepehri also read the poems of Hölderlin.

What matters here and is of use to us is the formulation of his spiritual and inner experiences; experiences that have flowed into the various poems of ‘Eight Books.’ Sepehri, in addition to Eastern mysticism, was also familiar with the Islamic mystical tradition; the poems of the book ‘The East of Sorrow’ possess an epic tone, are passionately composed, and echo the tone of Rumi in the ‘Divan-e Shams’.

At the same time, Sohrab is a wayfarer who, unlike Rumi, lived in the present disenchanted world. Hence, one can draw upon his ideas, outlook, and lived experience, and seek a new understanding of the limits and boundaries of spiritual wayfaring in the present day. Moreover, one can also draw upon the experiences and states of other modern wayfarers to accomplish this important task”[11].

Therefore, for Soroush Dabbagh, Sohrab Sepehri is a modern mystic with a spiritual and, of course, tangible existentiality; and thus he must be understood as a modern wayfarer in search of the evolution of the transcendent.[12] It should be understood that it is his green spiritual wayfaring that leads him to poetry and fresh-tonguedness, and not his poetry that leads him to spiritual wayfaring and "sleeping in the text of the elements." At any rate, in the opinion of this writer __and contrary to the interpretation of "Nima Afrasiabi";[13]__ the author considers Soroush's Sepehri to have a significant and, of course, vital difference from the general Sepehri, and likewise regards the creator of Eight Books __like Soroush Dabbagh__ as a modern wayfarer, but with "pigeon-like experiences" and "fresher than love." Soroush Dabbagh, firstly, considers Sohrab Sepehri a full-fledged, demystifying spiritual mystic; secondly, he recognizes him as free from the classical, wonder-loving, mystifying mystics. For he says: "In modern mysticism too, the wayfarer of the path escapes the trap of multiplicity and attains existential solitude, but this solitude does not turn into separation; a solitude that, rather than being aligned with Platonic metaphysics, is suited to weak metaphysics. In fact, on the one hand, the modern mystic does not experience the world as blind, deaf, and standing on its own feet, and does not, like Camus and Hedayat, consider darkness, bitterness, and meaninglessness as constitutive of the surrounding world; rather, he seeks a joyful and soul-caressing sanctity and spirituality in the world; but this sanctity does not derive from Platonic metaphysics and is not based on a sacred realm separate from the surrounding world, and has less metaphysical baggage. In the contemporary era, Sepehri is a good example of a modern mystic who is not much in accord with Platonic metaphysics and is at the same time intimate with the existential solitude that arrives in the "fluid intimacy of space" with a "transparent fear"; a fear that pertains to the boundless existence and the "wordless vastness" and is accompanied by pleasant spiritual states."[14]

(4)

Considering all the above is the main goal of this essay. As I mentioned, Soroush Dabbagh's Sepehri-studies project constructs a modern mystic out of Sohrab Sepehri and firmly rescues him from popular and superficial views. This project, in the author's opinion, demonstrates how a mystic with "pigeon-like experiences" breathes spirit into the body of soulless words and how he lovingly gives logical realization to "the possibility of becoming a bird." At any rate, in the author's view, Sohrab Sepehri is not primarily a poet who wants to become a mystic, but rather a mystic who emerges from poetry; he is someone whose spiritual journeys stir this fresh-tonguedness and enchantment within him and transform him into the poet of "moist truths." They take him to the "vicinity of the earth's beginning" and make him "familiar with the habit of the tree."

Now that this is the case, and Sohrab Sepehri, according to Soroush Dabbagh's project, is a modern mystic with spiritual and mystery-unveiling aspects of existence; we ask: What is the probable outcome of this conception of Sohrab Sepehri?! And is this probable outcome positive or negative?! In the author's view, the most important characteristic of Soroush Dabbagh's Sepehri-studies project is the unveiling of Sepehri the theorist, not the neutral Sepehri. It is the unveiling of a Sepehri who carries a profound meaning in his bag behind his allusions and intimations, and is therefore the creator of moist and refreshing spiritual nourishment. At any rate, the most important achievement of Soroush Dabbagh's project is precisely this: that he introduces Sohrab Sepehri in the stature of a formulator of novel meanings, or in his own words, "pigeon-like" meanings, and transforms him from merely a "modern mystic poet" into a "modern mystic poet-theorist." He opens a new chapter regarding him and places him in the ranks of Abu Sa'id Abu'l-Khair, Rumi, and Attar.

Now someone might ask: what is the characteristic of this characteristic? The answer is clear: Sohrab the theorist, behind his mysticisms, puts his self on display and makes himself unique. Although he is a mystic, he possesses a doctrine and is never indifferent to God or the other. In this characteristic, he invents his own language and establishes his own style. He reveals his positions and pursues his goals. In short, it is at this stage that Sohrab becomes Sohrab in the true sense of the word, and indeed becomes someone to whom one can pay attention and rely upon, and whose works and thoughts can be analyzed.

Now let me speak a bit more expansively: in the belief of this writer, the mysticism of any mystic constitutes the private, existential aspect of his being and keeps his pure experiences solely for him. It invites him to the flight of mind and consciousness across all distant horizons and leads him to an unshared spiritual life. Nevertheless, what has been said reveals the mystic to the mystic himself but takes him away from society. It immerses him in moist, transcendent experiences and even leaves him unaware of himself. Under these conditions, it is as if the mystic's "I" also becomes a foreign entity to him and is considered an outsider in his eyes. In short, up to this point, mystical experiences are exclusive to mystics and can never be transferred to another. These pristine reflections are private and unshared, and they cannot be considered communal or in commonality.

But (after that) an event can overturn this matter. What is that event?! This event precisely relates to the moment of the mystic's return to society, and in this critical juncture, it reveals hidden treasures. The returned mystic freely places his private experiences at the disposal of people and allows people to benefit from these pure gems. He pours these spiritual nourishments from his own mouth into the souls of others and makes his wayfaring experiences communal and public. In short, it is under these conditions that the mystic, through sharing his experiences with the other—in the form of a linguistic and teleological texture—contributes to the birth of shared meanings, and thus transforms from a solitary wayfarer into an active one.

Of course, it is also necessary to mention that here, neither can the mystic express his entire experience without omission, nor can the audience grasp the wayfarer's expression without omission. In short, here we are faced with the emergence of two "failed translators"; a failed translation that arises both from the spiritual wayfarer and from the spirituality-seeking audience. Although the failure of the audience is, of course, compounded compared to the mystic's failure, and in addition to their own failure, it also encompasses the wayfarer's failure.

Consequently, the most important advantage of Soroush Dabbagh's project is that this project makes Sohrab Sepehri a mystic of considered opinion and worthy of attention, and regards him, behind his poeticisms, as the bearer of lofty and profound meanings. This project considers Sohrab Sepehri an active and, of course, receivable mystic and regards him among the ranks of life-building thinkers. A look at the two published books by Soroush Dabbagh reveals how Sohrab Sepehri is, firstly, a mystic, secondly, a poet, thirdly, the possessor of an open worldview and, of course, an epistemological system specific to himself; and how he can truly, in the stature of a theorist mystic like Muhyiddin Ibn Arabi, possess glory and grandeur. Soroush Dabbagh's works show well that Sohrab Sepehri is not a neutral poet of frivolous thought; and therefore, his works possess an intelligent, shrewd design. The quality of the use of concepts in "Hasht Ketab" (Eight Books) is the result of Sohrab Sepehri having another intention and purpose in using these concepts; and indeed, through this, he wanted to convey a special meaning to us. According to Soroush Dabbagh's works, Sepehri uses the concept of "dream" in sometimes non-public meanings such as "emptiness" and re-understands it differently.[15] For example, in "The Descent into Nothingness," Soroush Dabbagh unveils his pristine experiences of the desert and the recollection of "childhood nostalgias and the age of myths"[16] and even shows what an existential-mystical understanding he has, for instance, of the concept of "sorrow."[17]

Thus, Soroush Dabbagh's project transforms Sohrab Sepehri from a mystically-inclined poet, a semi-mystic passive figure, into an officially recognized mystic poet and theorist, and therefore considers him to possess formulated existential unveilings. Thus, the sweet fruit of Soroush Dabbagh's project is the unveiling and introduction of an active modern wayfarer who is never indifferent to the other, nature, the transcendent, and so forth, and who knows that "if he plucks a blade of grass, it will die."

In conclusion, I must say that, firstly, in the view of this writer, Soroush Dabbagh's Sepehri-studies project is of the type of cultural intellectual work, but with strong religious strains; and secondly, the main product of this project is the unveiling of a modern spiritual mystic who lives in society and possesses his own epistemological system. In the modern mysticism project, Soroush Dabbagh has made his utmost effort to methodically explore and understand Sohrab Sepehri from the various angles of his thought, and thus to rescue this contemporary thinker from the bitter isolation of his audience's simplistic understanding. What this project facilitates is, first, to gaze upon Sohrab Sepehri with the eye of insight, and then to grasp his spiritual existential experiences. Experiences that are beautifully embedded in his surviving works and can indeed be theorized, as Soroush Dabbagh has done; and thus, in Sepehri's own words:

If you come to visit me/Come behind nowhere/Behind nowhere is a place/Behind nowhere, the veins of the air are full of messengers/Who bring news from the blossomed flower of the farthest bush of earth/On the sands, too, are the hoofprints of the steeds of delicate riders who at dawn/Went to the hilltop of the poppies' ascension/Behind nowhere, the umbrella of desire is open:/So that the breeze of thirst may run in the base of a leaf/The sound of rain's bell rings/Here, one is alone/And in this solitude, the shadow of an elm flows into eternity/If you come to visit me/Come softly and slowly, lest it crack/The delicate china of my solitude![18]

Hossein Pourfaraj

18/2/1395

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[1] -Here, it is fitting to express my utmost gratitude and appreciation to my esteemed teacher and dear friend Soroush Dabbagh, who has shown me the greatest attention and kindness. His noble scholarly character and openness to criticism, which is a trait of every distinguished thinker, is worthy of recognition and praise. I wish the very best for this dear, beauty-perceiving individual in the "Modern Mysticism Project" and the rest of his scholarly/research activities.

[2] -By the same author, A Glimpse into Soroush Dabbagh's Schema of Modern Mysticism, published at:

http://booyebaran.ir/?p=21757

[3] - Soroush Dabbagh's interview with ISCA News: Soroush Dabbagh: Modern Mysticism Must Replace Traditional Mysticism, at:

http://www.iscanews.ir/news/104733/

Published in: "The Azure Philosophy of Sepehri" under the title: Re-reading the Modern Mysticism Project.

[4] -See: Religious Intellectualism and Metallic Sour Grape Juice?! (Official website of Soroush Dabbagh)

[5] -See: The Distinction Between Religious Intellectualism and Cultural Intellectualism, at:

http://www.mehrnameh.ir/article/2692/%D8%AA%D9%85%D8%A7%DB%8C%D8%B2-%D8%B1%D9%88%D8%B4%D9%86%D9%81%D9%83%D8%B1%D9%8A-%D8%AF%D9%8A%D9%86%D9%8A-%D9%88-%D8%B1%D9%88%D8%B4%D9%86%D9%81%D9%83%D8%B1%D9%8A-%D9%81%D8%B1%D9%87%D9%86%DA%AF%DB%8CC

[6] - The Azure Philosophy of Sepehri, Re-reading the Modern Mysticism Project.

[7] -See: Book: Definitions and the Concept of Culture, Dariush Ashouri, Publisher: Agah

[8] -See: A Schema of Modern Mysticism No. 4 (How Green I Am Today), Soroush Dabbagh: at the address:

http://www.begin.soroushdabagh.com/pdf/229.pdf

[9] -Introduction to the book "Sepehri's Azure Philosophy", Soroush Dabbagh, Serat Publishing.

[10] -Ibid., Soroush of Sepehri, (article by Nima Afrasiabi).

[11] -Ibid., Re-reading the Modern Mysticism Project.

[12]- This evolution of the transcendent in Sohrab's works appears in an article under the same title in the book "In Sepehri's Sphere" by Soroush Dabbagh.

[13] - Nima Afrasiabi, in a scholarly article, has named Soroush Dabbagh's project "Soroush of Sepehri." This fine article can be seen and considered in the book "Sohrab's Azure Philosophy" under the aforementioned title, see.

[14] -Schema of Modern Mysticism (1)/published in "In Sepehri's Sphere."

[15] -See: Sepehri's Azure Philosophy/Life-Wishers; The Concept of Dream in Sepehri's Eight Books.

[16] -See: Sepehri's Azure Philosophy/The Descent into Nowhereland.

[17] -See: In Sepehri's Sphere/The Sorrowful Delicate Thought.

[18] -Eight Books/Green Volume/An Oasis in a Moment.

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A Critique of the Book Sepehri's Azure Philosophy

A Phrase That Entered the Mind's Summer Pasture

An Article by Hossein Pourfaraj

18/2/1395

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