Introduction
Nowruz is one of the oldest and most revered national celebrations among Iranians and among several nations that share historical and cultural connections with Aryan civilization. Given the origins of mysticism and its profound relationship with Iranian culture, as well as the manifestation of this connection in mystical literary works, the study of Nowruz as one of the most significant symbols of Iranian identity becomes particularly important. Examining the concept, philosophical foundations, and symbolic dimensions of Nowruz within mystical literature provides valuable insights into the ways in which mystics have interpreted and represented this ancient celebration. Furthermore, exploring the perspectives of mystics regarding Nowruz and its various dimensions contributes to a deeper understanding of the cultural and spiritual significance attributed to this traditional ritual. Several scholars and authors have examined Nowruz, Iranian rituals and customs, the representation of celebrations in Persian poetry, and the relationship between Nowruz and Persian language and literature. Among these works are by Abu Rayhan al-Biruni’s (1974) Instruction in the Elements of the Art of Astrology, Attar Nishapuri’s Nowruznameh, Habibollah Bozorgzad’s National and Religious Festivals and Holidays in Pre-Islamic Iran, Mir Jalaleddin Kazzazi’s Parnian Pandar. However, despite the existence of these studies, no independent research has yet been conducted specifically on the representation and interpretation of Nowruz in mystical poetry and the works of mystical poets. Accordingly, the present study seeks to address the following question:
· How is the Nowruz celebration represented in the works of mystical poets, and what perspectives do these poets express regarding this ancient Iranian tradition?
Method
This study employed a descriptive-analytical method and content analysis. The corpus comprised all mystical poems by Sanai, Attar and Rumi.
Results
Through the study and analysis of mystical works, with particular emphasis on the poetry of Sanai, Attar and Rumi, it can be concluded that mystics approached Nowruz from a spiritual and symbolic perspective, viewing it not only as the first day of spring and an ancient national celebration of Iranians but also as a manifestation of inner and outer renewal. From the mystical viewpoint, Nowruz represents both the internal and external renewal of the mystic, as well as the spiritual and material renewal of the world. The essence of Nowruz as a significant cultural phenomenon is not rejected by mystics; rather, in their poetry, it is integrated with sacred and mystical concepts, including the beloved, the night of destiny, the manifestation of God’s divine beauty, spiritual expansion and joy, union, the manifestation of truth and the ultimate stage of the mystical journey. Nevertheless, mystics generally did not assign particular importance to Nowruz as a national celebration in its social and ceremonial sense. Furthermore, mystical poets demonstrated limited attention to social customs, including Nowruz traditions. Influenced by Sufi principles of asceticism, simplicity, and detachment from worldly affairs, they often avoided participation in courtly celebrations and ceremonial gatherings. For instance, the Nowruz-related poems found in Sanai’s Divan are primarily associated with his presence at royal courts and are categorized among his panegyric poems. Another factor contributing to the limited representation of Nowruz in mystical poetry may be the presence of religious considerations and certain prejudices among some Sufi figures, as well as historical attempts to diminish or eliminate pre-Islamic Iranian traditions during certain periods of the development of Sufism. Consequently, the perspectives of the poets examined in this study regarding Nowruz are largely consistent, with no significant differences observed in their poetic interpretations of the celebration. Ultimately, the Nowruz envisioned by mystics differs fundamentally from the Nowruz experienced by the general public. For mystics, this celebration is not confined to a particular time or occasion; rather, every moment represents a form of renewal. Therefore, from the perspective of the people of truth, every day is a Nowruz.
Discussion and Conclusion
The term Nowruz appears with relatively low frequency in the poetry of Sanai, Attar and Rumi. However, the various applications and interpretations of Nowruz in the works of these mystical poets can be categorized into four main aspects: (1) Nowruz as the beginning of spring; (2) Nowruz as a celebration and festival; (3) Nowruz as a symbol for the expression of mystical concepts; and (4) Nowruz as an Iranian national tradition and a popular social celebration. From the mystical perspective, the concept of celebration is not restricted to a specific time or external occasion. Every moment represents a form of renewal for the mystic; therefore, for the people of truth, every day can be regarded as Nowruz. A mystic poet such as Rumi, whose poetry is deeply rooted in spiritual experience, interprets renewal through a transcendent perspective and presents himself as a form of sacred celebration that seeks to remove the chains of worldly imprisonment and liberate all beings from sorrow. In Attar’s perspective, the person of truth is the child of the present moment, and Nowruz represents a blessed and auspicious time. For the mystic, the true celebration occurs when the flame of divine love is kindled within the soul; at such a stage, both night and day become occasions of celebration and spiritual renewal. Mystics therefore approach Nowruz primarily through an inward and spiritual interpretation. For them, the authentic Nowruz is achieved through witnessing the presence of the eternal beloved and perceiving the beauty of the Creator, rather than through dependence on external forms of joy and celebration. Accordingly, the Nowruz of the mystic exists within the heart and inner world, whereas the Nowruz of the ordinary world is experienced through external perception and outward manifestations. Although mystical poets did not devote considerable attention to national rituals, including the ancient celebration of Nowruz, their poetry does reflect a degree of attachment to the national and cultural heritage of their homeland. Such expressions, however, are generally presented within the limits of necessity and through the use of symbolic language and allusion, consistent with the principles and worldview of mystical literature.