جغرافیای دل در آثار بهائی

12/15/2016

Pazhuheshnameh ﯽ ﺟﻐﺭﺍﻓﻳﺎﯼ ﺩﻝ ﺩﺭ ﺁﺛﺎﺭ ﺑﻬﺎﺋ

ﺟﻐﺮﺍﻓﻴﺎﯼ ﺩﻝ ﺩﺭ ﺁﺛﺎﺭ ﺑﻬﺎﺋﯽ

۱۳۸۱  ﺷﻬﺮﻳﻮﺭ ۱۰

http://www.pazhuheshnameh.org/index2.php?option=com_content&task=view&id=291&pop=1&page=0&Itemid=139 ﺟﻤﻴﻊ ﺁﻧﭽﻪ ﺩﺭ ﺁﺳﻤﺎﻧﻬﺎ ﻭ ﺯﻣﻴﻦ ﺍﺳﺖ ﺑﺮﺍﯼ ﺗﻮ ﻣﻘﺮّﺭ ﺩﺍﺷﺘﻢ ﻣﮕﺮ ﻗﻠﻮﺏ ﺭﺍ ﮐﻪ ﻣﺤﻞّ ﻧﺰﻭﻝ ﺗﺠﻠّﯽ ﻭ ﺍﺟﻼﻝ ﺧﻮﺩ ﻣﻌﻴّﻦ ﻓﺮﻣﻮﺩﻡ ﻭ ﺗﻮ ﻣﻨﺰﻝ ﻭ ﻣﺤﻞّ ﻣﺮﺍ ﺑﻪ ﻏﻴﺮ ﻣﻦ ﮔﺬﺍﺷﺘﯽ ﭼﻨﺎﻧﭽﻪ ﺩﺭ ﻫﺮ ﺯﻣﺎﻥ ﮐﻪ ﻅﻬﻮﺭ ﻗﺪﺱ ﻣﻦ ﺁﻫﻨﮓ ﻣﮑﺎﻥ ﺧﻮﺩ ﻧﻤﻮﺩ ﻏﻴﺮ ﺧﻮﺩ ﺭﺍ ﻳﺎﻓﺖ. ﺍﻏﻴﺎﺭ    (1)  ﺩﻳﺪ ﻭ ﻻﻣﮑﺎﻥ ﺑﻪ ﺣﺮﻡ ﺟﺎﻧﺎﻥ ﺷﺘﺎﻓﺖ ﻭ ﻣﻌﺬﻟﮏ ﺳﺘﺮ ﻧﻤﻮﺩﻡ ﻭ ﺳﺮّ ﻧﮕﺸﻮﺩﻡ ﻭ ﺧﺠﻠﺖ ﺗﻮ ﺭﺍ ﻧﭙﺴﻨﺪﻳﺪﻡ  ﻳﺎ ﺍﺑﻦ ﺍﻟﺮّﻭﺡ .(2)  ﻓﯽ ﺍﻭّﻝ ﺍﻟﻘﻮﻝ ﺍﻣﻠﮏ ﻗﻠﺒﺎً ﺟﻴّﺪﺍً ﺣﺴﻨﺎً ﻣﻨﻴﺮﺍً ﻟﺘﻤﻠﮏ ﻣﻠﮑﺎً ﺩﺍﺋﻤﺎً ﺑﺎﻗﻴﺎً ﺍﺯﻻً ﻗﺪﻳﻤﺎ )ﻳﻌﻨﯽ ﻗﺒﻞ ﺍﺯ ﻫﺮ ﺳﺨﻦ ﺩﻳﮕﺮ ﺩﻟﯽ ﺑﺪﺳﺖ ﺁﻭﺭ ﮐﻪ ﭘﺎﮎ ﻭ ﻓﺮﻳﺒﺎ ﻭ ﺗﺎﺑﻨﺎﮎ ﺍﺳﺖ ﺗﺎ ﺁﻧﮑﻪ ﺳﻠﻄﻨﺘﯽ ﺩﺍﺋﻤﯽ٬ ﭘﺎﻳﺪﺍﺭ٬ ﺍﺯﻟﯽ ﻭ ﺍﺑﺪﯼ ﺑﺪﺳﺖ ﺁﻭﺭﯼ(. ﻁﻮﺑﯽ ﺍﺯ ﺑﺮﺍﯼ ﻧﻔﺴﯽ ﮐﻪ ﻗﻠﺐ ﻭ ﺑﺼﺮ ﻭ ﺳﻤﻊ ﺭﺍ ﺍﺯ ﺩﻧﻴﺎ ﻭ ﺁﻧﭽﻪ ﺩﺭ ﺁﻥ ﺍﺯ ﺁﺛﺎﺭ ﻭ ﺍﺛﻤﺎﺭ ﻭ ﻗﺼﺺ ﻭ ﺍﺧﺒﺎﺭ ﺍﺳﺖ ﻣﻘﺪّﺱ ﻧﻤﻮﺩ ﻭ ﺑﻪ ﮐﺘﺎﺑﻬﺎﯼ ﺁﺳﻤﺎﻧﯽ ﻭ ﺁﺛﺎﺭ ﻋﺮﻓﺎﻧﯽ ﺑﺎﺭﻫﺎ ﺩﺭ ﺧﺼﻮﺹ ﺩﻝ ﺳﺨﻦ ﮔﻔﺘﻪ ﺍﻧﺪ. ﺩﻝ ﮐﻪ ﺑﺎ ﻭﺍﮊﻩ ﻫﺎﯼ ﻗﻠﺐ ﻭ ﻓﺆﺍﺩ ﻭ ﺳﺮّ ﻭ ﺻﺪﺭ ﻧﻴﺰ ﻣﺸﺨّﺺ ﻣﯽ ﮔﺮﺩﺩ ﻣﺨﺰﻥ ﺍﺳﺮﺍﺭ ﺍﻟﻬﯽ ﻭ ﺣﻘﺎﺋﻖ ﺭﺑّﺎﻧﯽ ﺗﻌﺮﻳﻒ ﺷﺪﻩ ﺍﺳﺖ. ﺍﻟﺒﺘّﻪ ﻣﺮﺍﺩ ﺍﺯ ﺩﻝ ﻫﻴﭽﻴﮏ ﺍﺯ ﺍﻧﺪﺍﻡ ﺟﺴﻤﺎﻧﯽ ﺁﺩﻣﯽ ﻧﻴﺴﺖ ﺑﻠﮑﻪ ﺍﻳﻦ .ﺩﻝ ﺣﻘﻴﻘﺖ ﻭﺟﻮﺩ ﺍﻧﺴﺎﻥ ﺍﺳﺖ ﺁﺛﺎﺭ ﺑﻬﺎﺋﯽ ﺁﮐﻨﺪﻩ ﺍﺯ ﺑﺤﺚ ﺩﺭ ﻣﻮﺭﺩ ﺩﻝ ﺍﺳﺖ. ﺑﺪﻳﻦ ﺗﺮﺗﻴﺐ ﺁﺛﺎﺭ ﺣﻀﺮﺕ ﺑﺎﺏ ﻭ ﺣﻀﺮﺕ ﺑﻬﺎءﷲ ﺍﺻﻞ ﺩﻝ ﺭﺍ ﻣﻮﺭﺩ ﺗﺄﻳﻴﺪ ﻭ ﺗﺄﮐﻴﺪ ﻗﺮﺍﺭ ﻣﯽ ﺩﻫﺪ. ﺍﻣّﺎ ﻫﻤﺎﻧﻨﺪ ﻫﺮ ﻣﻔﻬﻮﻡ ﺩﻳﮕﺮﯼ٬ ﺍﺻﻞ ﺩﻝ ﺩﺭ ﺁﺛﺎﺭ ﺑﻬﺎﺋﯽ ﻣﻌﺎﻧﯽ ﻧﻮﻳﻦ ﻭ ﺷﮑﻠﻬﺎﯼ ﺑﺪﻳﻌﯽ ﺑﺨﻮﺩ ﻣﯽ ﮔﻴﺮﺩ ﻭ ﺩﺭ ﻧﺘﻴﺠﻪ ﺍﺻﻮﻝ ﮔﺬﺷﺘﻪ ﺑﻪ ﺯﻳﻮﺭ ﻣﻌﺎﻧﯽ ﻭ ﻣﻔﺎﻫﻴﻢ ﺟﺪﻳﺪ ﻭ ﺷﮕﻔﺖ ﺍﻧﮕﻴﺰﯼ ﺁﺭﺍﺳﺘﻪ ﻣﯽ ﮔﺮﺩﺩ. ﺍﻳﻦ ﺗﻌﺒﻴﺮ ﺟﺪﻳﺪ ﺍﺯ ﻣﻔﻬﻮﻡ ﺩﻝ ﺗﺎ ﺑﺪﺍﻥ ﺣﺪ ﮔﺴﺘﺮﺩﻩ ﻭ ﻫﻤﻪ ﺟﺎﻧﺒﻪ ﺍﺳﺖ ﮐﻪ ﺑﻪ ﺟﺮﺃﺕ ﻣﯽ ﺗﻮﺍﻥ ﮔﻔﺖ ﺳﺎﺧﺘﺎﺭ ﺗﻌﺎﻟﻴﻢ ﺑﻬﺎﺋﯽ ﺭﺍ ﻣﯽ ﺗﻮﺍﻥ ﺩﺭ ﻫﻤﻴﻦ ﺍﺻﻞ ﺑﻄﻮﺭ ﺁﺷﮑﺎﺭ ﻣﺸﺎﻫﺪﻩ ﮐﺮﺩ. ﺩﺭ ﺍﻳﻦ .ﻣﻘﺎﻟﮥ ﮐﻮﺗﺎﻩ ﺑﻪ ﺳﻪ ﻣﻔﻬﻮﻡ ﻋﻤﺪﮤ ﺩﻝ ﺩﺭ ﺁﺛﺎﺭ ﺑﻬﺎﺋﯽ ﺍﺷﺎﺭﻩ ﻣﯽ ﮐﻨﻴﻢ ﻭ ﺭﺍﺑﻄﮥ ﻣﻴﺎﻥ ﺁﻥ ﺳﻪ ﺍﺻﻞ ﺭﺍ ﻧﻴﺰ ﺑﺮﺭﺳﯽ ﻣﯽ ﻧﻤﺎﺋﻴﻢ ﻋﻨﻮﺍﻥ ﺍﻳﻦ ﻣﻘﺎﻟﻪ ﺟﻐﺮﺍﻓﻴﺎﯼ ﺩﻝ ﺩﺭ ﺁﺛﺎﺭ ﺑﻬﺎﺋﯽ ﺍﺳﺖ. ﻋﻠّﺖ ﺍﻧﺘﺨﺎﺏ ﺍﻳﻦ ﻭﺍﮊﻩ ﺭﺍ ﺑﺎﻳﺪ ﺩﺭ ﻣﻔﻬﻮﻡ ﻋﺮﻓﺎﻧﯽ ﺳﻠﻮﮎ ﺟﺴﺘﺠﻮ ﻧﻤﻮﺩ. ﺩﻝ ﺣﻘﻴﻘﺖ ﻭﺟﻮﺩ ﺁﺩﻣﯽ ﻭ ﻏﺎﻳﺖ ﻫﺴﺘﯽ ﺍﻭﺳﺖ. ﺑﺪﻳﻦ ﺗﺮﺗﻴﺐ ﺩﺭ ﺁﺛﺎﺭ ﻋﺮﻓﺎﻧﯽ ﺯﻧﺪﮔﯽ ﺁﺩﻣﯽ ﺑﻪ ﻋﻨﻮﺍﻥ ﻳﮏ ﺳﻔﺮ ﻭ ﺳﻠﻮﮐﯽ ﻣﺨﺎﻁﺮﻩ ﺁﻣﻴﺰ ﺗﻌﺒﻴﺮ ﺷﺪﻩ ﺍﺳﺖ. ﺩﺭ ﻭﺍﻗﻊ ﻣﺮﺍﺣﻞ ﮔﻮﻧﺎﮔﻮﻥ ﺗﮑﺎﻣﻞ ﺭﻭﺣﺎﻧﯽ ﺍﻧﺴﺎﻥ ﻧﻴﺰ ﺑﻌﻨﻮﺍﻥ ﻭﺍﺩﯼ ﻫﺎ ﻳﺎ ﺷﻬﺮﻫﺎﯼ ﻣﺨﺘﻠﻔﯽ ﮐﻪ ﺑﺎﻳﺪ ﺩﺭ ﺍﻳﻦ ﺳﻔﺮ ﺭﻭﺣﺎﻧﯽ ﻁﯽ ﮔﺮﺩﺩ ﺗﻠّﻘﯽ ﺷﺪﻩ ﺍﺳﺖ. ﺍﺯ ﺍﻳﻨﺠﺎﺳﺖ ﮐﻪ ﻣﻔﻬﻮﻡ ﺩﻝ ﺑﻌﻨﻮﺍﻥ ﺷﻬﺮﺳﺘﺎﻧﯽ ﮐﻪ ﺑﺎﻳﺪ ﺑﺪﺍﻥ ﺭﺳﻴﺪ ﺗﺎ ﺁﺩﻣﯽ ﺍﺯ ﺑﻴﮕﺎﻧﮕﯽ ﺭﻫﺎﺋﯽ ﻳﺎﻓﺘﻪ ﻭ ﺑﻪ ﺣﻘﻴﻘﺖ ﻫﺴﺘﯽ ﺧﻮﺩ ﻧﺎﺋﻞ ﺷﻮﺩ ﺗﻌﺮﻳﻒ ﻣﯽ ﮔﺮﺩﺩ. ﺁﺛﺎﺭ ﺣﻀﺮﺕ ﺑﻬﺎءﷲ ﻧﻴﺰ ﺍﺯ ﺩﻝ ﺑﻌﻨﻮﺍﻥ ﺷﻬﺮ ﻭ ﺷﻬﺮﺳﺘﺎﻥ ﻭ ﺷﻬﺮﺑﻨﺪ ﻭ ﻣﺪﻳﻨﻪ ﻭ ﻣﻘﺎﻡ ﺳﺨﻦ ﻣﯽ ﮔﻮﻳﺪ. ﺍﻣّﺎ ﺗﻌﺒﻴﺮ ﺑﺪﻳﻊ ﺍﺻﻞ ﺩﻝ ﺩﺭ ﺁﺛﺎﺭ ﻣﻘﺪّﺳﮥ ﺑﻬﺎﺋﯽ ﺑﺪﻳﻦ ﻣﻌﻨﯽ ﺍﺳﺖ ﮐﻪ ﺟﻐﺮﺍﻓﻴﺎﯼ ﻧﻮﻳﻨﯽ ﺍﺯ ﺷﻬﺮﺑﻨﺪ ﺩﻝ ﺍﺭﺍﺋﻪ ﺷﺪﻩ ﺍﺳﺖ. ﺑﺤﺚ ﺩﺭ ﻣﻮﺭﺩ ﺟﻐﺮﺍﻓﻴﺎﯼ ﺩﻝ ﺩﺭ ﺁﺛﺎﺭ ﺑﻬﺎﺋﯽ ﺭﺍ ﻣﯽ ﺗﻮﺍﻥ ﺣﺪ ﺍﻗﻞ ﺑﻪ ﺳﻪ ﺑﺤﺚ ﺗﻘﺴﻴﻢ ﻧﻤﻮﺩ. ﺑﺤﺚ ﺍﻭّﻝ ﻣﺮﺑﻮﻁ ﺑﻪ ﺭﺍﻩ ﺭﺳﻴﺪﻥ ﺑﻪ ﺷﻬﺮ ﺑﻨﺪ ﺩﻝ ﺍﺳﺖ. ﺑﻪ ﻋﺒﺎﺭﺕ ﺩﻳﮕﺮ ﺑﺎﻳﺪ ﺩﻳﺪ ﮐﻪ ﭼﮕﻮﻧﻪ ﻣﯽ ﺗﻮﺍﻥ ﺑﻪ ﺍﻳﻦ ﻣﻘﺎﻡ ﻭﺍﻻﯼ ﻫﺴﺘﯽ ﺩﺳﺖ ﻳﺎﻓﺖ ﻭ ﭼﻪ ﻁﺮﻳﻘﯽ ﺭﺍ ﺩﺭ ﺳﻠﻮﮎ ﺭﻭﺣﺎﻧﯽ ﺑﺮﺍﯼ ﺩﺳﺘﻴﺎﺑﯽ ﺑﻪ ﺣﻘﻴﻘﺖ ﺑﺎﻳﺪ ﺑﺮﮔﺰﻳﺪ. ﺑﺤﺚ ﺩﻭﻡ ﻣﺮﺑﻮﻁ ﺑﻪ ﻭﻳﮋﮔﻴﻬﺎﯼ ﮐﻠّﯽ ﺍﻳﻦ ﺷﻬﺮ ﺍﺳﺖ. ﺑﺎﻳﺪ ﺩﻳﺪ ﮐﻪ ﺑﻮﻡ ﺷﻨﺎﺳﯽ ﺍﻳﻦ ﺷﻬﺮ ﺑﻪ ﭼﻪ ﺷﮑﻞ ﺍﺳﺖ ﻭ ﺭﺍﺑﻄﻪ ﻣﻴﺎﻥ ﺁﺩﻣﯽ ﻭ ﻣﻨﺎﺑﻊ ﻁﺒﻴﻌﯽ ﺍﻳﻦ ﻗﺴﻤﺖ ﺍﺯ ﻫﺴﺘﯽ ﭼﮕﻮﻧﻪ ﺍﺳﺖ. ﻭ ﺑﺎﻻﺧﺮﻩ ﺑﺤﺚ ﺳﻮﻡ ﻣﺮﺗﺒﻂ ﺑﻪ ﺧﺼﺎﻝ ﺍﺧﻼﻗﯽ ﻭ ﻓﺮﻫﻨﮕﯽ ﺳﺎﮐﻨﺎﻥ ﺍﻳﻦ ﺷﻬﺮﺳﺖ ﻭ ﺑﺎﻳﺪ ﺩﻳﺪ ﮐﻪ ﺷﻬﺮﻭﻧﺪ ﺷﻬﺮ ﺩﻝ ﭼﮕﻮﻧﻪ ﺭﻓﺘﺎﺭ ﻣﯽ ﻧﻤﺎﻳﺪ ﻭ ﻓﻠﺴﻔﮥ ﺯﻧﺪﮔﯽ ﻭ ﺍﺭﺯﺷﻬﺎﯼ ﺣﺎﮐﻢ ﺑﺮ ﻧﻬﺎﺩﻫﺎﯼ ﺍﺟﺘﻤﺎﻋﯽ ﺩﺭ ﺍﻳﻦ ﺷﻬﺮ ﭼﮕﻮﻧﻪ ﻣﯽ ﺑﺎﺷﺪ. ﺑﺪﻳﻦ ﺗﺮﺗﻴﺐ ﺑﺤﺚ ﺩﺭ ﻣﻮﺭﺩ ﺩﻝ ﺩﺭ ﺁﺛﺎﺭ ﺑﻬﺎﺋﯽ ﻫﻤﮥ ﺟﻮﺍﻧﺐ ﻋﻤﺪﮤ ﻣﻮﻗﻒ ﺍﻧﺴﺎﻥ ﺩﺭ ﺟﻬﺎﻥ ﺑﻴﮑﺮﺍﻥ ﻫﺴﺘﯽ ﺭﺍ ﺩﺭ ﺑﺮ ﻣﯽ ﮔﻴﺮﺩ.   ﻗﺒﻞ ﺍﺯ ﺁﻏﺎﺯ ﺑﺤﺚ ﺩﺭ ﻣﻮﺭﺩ ﺟﻐﺮﺍﻓﻴﺎﯼ ﺷﻬﺮ ﺩﻝ ﺩﺭ ﺁﺛﺎﺭ ﺑﻬﺎﺋﯽ ﻻﺯﻣﺴﺖ ﺑﻪ ﭼﻨﺪ ﮔﻔﺘﺎﺭ ﺍﺯ ﺁﺛﺎﺭ ﺣﻀﺮﺕ ﺑﻬﺎءﷲ ﺩﺭ ﻣﻮﺭﺩ ﺩﻝ ﺍﺷﺎﺭﻩ ﺷﻮﺩ ﺗﺎ ﺍﻫﻤﻴّﺖ ﻭ ﻣﺮﮐﺰﻳّﺖ ﺍﺻﻞ ﺩﻝ ﺩﺭ ﺁﺛﺎﺭ ﺍﻳﺸﺎﻥ ﻣﺸﺨّﺺ ﮔﺮﺩﺩ. ﭘﺲ ﺍﺯ ﺁﻥ ﺑﻪ ﺟﺰﺋﻴﺎﺕ ﺗﻌﺒﻴﺮ ﻧﻮﻳﻦ ﺩﻝ ﺩﺭ ﺩﻳﺎﻧﺖ ﺑﻬﺎﺋﯽ ﺧﻮﺍﻫﻴﻢ ﭘﺮﺩﺍﺧﺖ. ﺣﻀﺮﺕ ﺑﻬﺎءﷲ ﻣﯽ ﻓﺮﻣﺎﻳﻨﺪ: ﺧﺎﮎ ﺍﯼ ﭘﺴﺮ

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12/15/2016

Pazhuheshnameh ﯽ ﺟﻐﺭﺍﻓﻳﺎﯼ ﺩﻝ ﺩﺭ ﺁﺛﺎﺭ ﺑﻬﺎﺋ

ﻁﻮﺑﯽ ﺍﺯ ﺑﺮﺍﯼ ﻧﻔﺴﯽ ﮐﻪ ﻗﻠﺐ ﻭ ﺑﺼﺮ ﻭ ﺳﻤﻊ ﺭﺍ ﺍﺯ ﺩﻧﻴﺎ ﻭ ﺁﻧﭽﻪ ﺩﺭ ﺁﻥ ﺍﺯ ﺁﺛﺎﺭ ﻭ ﺍﺛﻤﺎﺭ ﻭ ﻗﺼﺺ ﻭ ﺍﺧﺒﺎﺭ ﺍﺳﺖ ﻣﻘﺪّﺱ ﻧﻤﻮﺩ ﻭ ﺑﻪ .(3)  ﺑﺼﺮ ﻭ ﺳﻤﻊ ﺧﻮﺩ ﺩﺭ ﺁﻧﭽﻪ ﻅﺎﻫﺮ ﺷﺪﻩ ﺗﻔﮑّﺮ ﮐﺮﺩ.ﺍﻭ ﺍﺯ ﺍﻫﻞ ﺑﻬﺎء ﺍﺯ ﻗﻠﻢ ﺍﻋﻠﯽ ﺩﺭ ﺻﺤﻴﻔﮥ ﺣﻤﺮﺍء ﻣﺬﮐﻮﺭ ﻭ ﻣﺴﻄﻮﺭ ﺍﯼ ﺑﺮﺍﺩﺭ ﻣﻦ ﻗﻠﺐ ﻟﻄﻴﻒ ﺑﻤﻨﺰﻟﮥ ﺁﺋﻴﻨﻪ ﺍﺳﺖ. ﺁﻧﺮﺍ ﺑﺼﻴﻘﻞ ﺣﺐّ ﻭ ﺍﻧﻘﻄﺎﻉ ﺍﺯ ﻣﺎﺳﻮﯼ ﷲ ﭘﺎﮎ ﮐﻦ ﺗﺎ ﺁﻓﺘﺎﺏ ﺣﻘﻴﻘﯽ ﺩﺭ ﺁﻥ ﺟﻠﻮﻩ ﻧﻤﺎﻳﺪ ﻭ ﺻﺒﺢ ﺍﺯﻟﯽ ﻁﺎﻟﻊ ﺷﻮﺩ... ﻭ ﭼﻮﻥ ﺍﻧﻮﺍﺭ ﺗﺠﻠّﯽ ﺳﻠﻄﺎﻥ ﺍﺣﺪﻳّﻪ ﺑﺮ ﻋﺮﺵ ﻗﻠﺐ ﻭ ﺩﻝ ﺟﻠﻮﺱ ﻧﻤﻮﺩ ﻧﻮﺭ ﺍﻭ ﺩﺭ ﺟﻤﻴﻊ ﺍﻋﻀﺎء ﻭ ﺍﺭﮐﺎﻥ ﻅﺎﻫﺮ ﻣﯽ ﺷﻮﺩ... ﺯﻳﺮﺍ ﮐﻪ ﺻﺎﺣﺐ ﺑﻴﺖ ﺩﺭ ﺑﻴﺖ ﺧﻮﺩ ﺗﺠﻠّﯽ ﻧﻤﻮﺩﻩ ﻭ ﺍﺭﮐﺎﻥ ﺑﻴﺖ ﻫﻤﻪ ﺍﺯ ﻧﻮﺭ ﺍﻭ ﺭﻭﺷﻦ ﻭ ﻣﻨﻮّﺭ ﺷﺪﻩ ﻭ ﻓﻌﻞ ﻭ ﺍﺛﺮ ﻧﻮﺭ ﺍﺯ ﻣﻨﻴﺮ .(4)  ﺍﺳﺖ. ﺍﻳﻨﺴﺘﮑﻪ ﻫﻤﻪ ﺑﺎﻭ ﺣﺮﮐﺖ ﻧﻤﺎﻳﻨﺪ ﻭ ﺑﻪ ﺍﺭﺍﺩﮤ ﺍﻭ ﻗﻴﺎﻡ ﮐﻨﻨﺪ ﻭ ﺍﻳﻨﺴﺖ ﺁﻥ ﭼﺸﻤﻪ ﺍﯼ ﮐﻪ ﻣﻘﺮّﺑﻴﻦ ﺍﺯ ﺁﻥ ﻣﯽ ﻧﻮﺷﻨﺪ  – ﺩﻝ ﺑﻌﻨﻮﺍﻥ ﻁﺮﻳﻖ ﺳﻠﻮﮎ ﻭ ﺭﻭﺵ ﺷﻨﺎﺳﺎﺋﯽ ﺣﻘﻴﻘﺖ 1  ﻗﺒﻞ ﺍﺯ ﻫﺮﭼﻴﺰ ﺍﺻﻞ ﺩﻝ ﺍﺻﻞ ﺳﻠﻮﮎ ﺭﻭﺣﺎﻧﯽ ﺍﺳﺖ. ﻫﺪﻑ ﺍﺯ ﺳﻠﻮﮎ ﺭﻭﺣﺎﻧﯽ ﺭﺳﻴﺪﻥ ﺑﻪ ﺣﻘﻴﻘﺖ ﻫﺴﺘﯽ ﺍﺳﺖ. ﺩﺭ ﻧﺘﻴﺠﻪ ﺍﺻﻞ ﺩﻝ ﺩﺭ ﺁﺛﺎﺭ ﺑﻬﺎﺋﯽ ﻗﺒﻞ ﺍﺯ ﻫﻤﻪ ﺍﺻﻠﯽ ﺍﺳﺖ ﻣﻌﺮﻓﺖ ﺷﻨﺎﺳﺎﻧﻪ. ﺑﻪ ﻋﺒﺎﺭﺕ ﺩﻳﮕﺮ ﻣﻔﻬﻮﻡ ﺩﻝ ﭘﻴﺶ ﺍﺯ ﻫﺮﭼﻴﺰ ﺑﺤﺜﯽ ﺍﺳﺖ ﺩﺭ ﺑﺎﺭﮤ ﺭﻭﺵ ﺩﺭﮎ ﺣﻘﻴﻘﺖ. ﻫﻤﭽﻨﺎﻧﮑﻪ ﺑﺎﺭﻫﺎ ﺩﺭ ﺁﺛﺎﺭ ﺑﻬﺎﺋﯽ ﺗﺄﮐﻴﺪ ﺷﺪﻩ ﺍﺳﺖ ﺍﻭّﻟﻴﻦ ﺗﻌﻠﻴﻢ ﺣﻀﺮﺕ ﺑﻬﺎءﷲ ﺍﺻﻞ ﺗﺮﮎ ﺗﻘﺎﻟﻴﺪ ﻭ ﺗﺤﺮّﯼ ﺣﻘﻴﻘﺖ ﺍﺳﺖ ﺑﺪﻳﻦ ﺗﺮﺗﻴﺐ ﺍﻭّﻟﻴﻦ ﻣﻔﻬﻮﻡ ﺩﻝ ﻫﻤﺎﻥ ﺍﺻﻞ ﺗﺤﺮّﯼ ﺣﻘﻴﻘﺖ ﺍﺳﺖ. ﺍﻟﺒﺘّﻪ ﺑﺤﺚ ﺟﺎﻣﻊ ﺩﺭ ﻣﻮﺭﺩ ﻧﻈﺮﻳّﻪ ﺣﻘﻴﻘﺖ ﻭ ﺭﻭﺵ ﻧﻴﻞ ﺑﻪ ﺣﻘﻴﻘﺖ ﺧﺎﺭﺝ ﺍﺯ ﺣﻮﺻﻠﮥ ﺍﻳﻦ ﻣﻘﺎﻟﮥ ﮐﻮﺗﺎﻩ ﺍﺳﺖ ﻭ ﻧﻴﺎﺯﻣﻨﺪ ﻣﻘﺎﻟﻪ ﻭ ﮐﺘﺎﺑﯽ ﺟﺪﺍﮔﺎﻧﻪ. ﺍﻣّﺎ ﺑﺎﻳﺪ ﺩﺭ ﺍﻳﻨﺠﺎ ﻫﺮ ﻗﺪﺭ ﻫﻢ ﺑﺎﺧﺘﺼﺎﺭ٬ ﻁﺮﺣﯽ ﮐﻠّﯽ ﺍﺯ ﻣﻔﻬﻮﻡ ﺣﻘﻴﻘﺖ ﻭ ﺳﻠﻮﮎ ﺩﺭ ﺁﺛﺎﺭ ﺑﻬﺎﺋﯽ ﺭﺍ ﺗﺼﻮﻳﺮ ﻧﻤﺎﺋﻴﻢ. ﺍﺯ ﺁﻧﺠﺎ ﮐﻪ ﺍﺻﻞ ﺗﺮﮎ ﺗﻘﺎﻟﻴﺪ ﻭ ﺗﺤﺮّﯼ ﺣﻘﻴﻘﺖ ﺍﻭّﻟﻴﻦ ﺗﻌﻠﻴﻢ ﺣﻀﺮﺕ ﺑﻬﺎءﷲ ﺍﺳﺖ ﺑﻬﻤﻴﻦ ﺟﻬﺖ ﺑﺴﻴﺎﺭﯼ ﺍﺯ ﺁﺛﺎﺭ ﺍﻳﺸﺎﻥ ﻣﺴﺘﻘﻴﻤﺎً ﺑﻪ ﺑﺤﺚ ﺩﺭ ﺑﺎﺭﮤ ﺭﻭﺵ ﺷﻨﺎﺳﺎﺋﯽ ﺣﻘﻴﻘﺖ ﭘﺮﺩﺍﺧﺘﻪ ﺍﺳﺖ. ﺍﻳﻦ ﺑﺤﺚ ﺑﺸﮑﻞ ﺗﺤﻘﻴﻖ ﺩﺭ ﺑﺎﺭﮤ ﺷﺮﺍﻳﻂ ﺳﻠﻮﮎ ﻭ ﻟﻮﺍﺯﻡ ﻭ ﺭﻭﺵ ﺷﻨﺎﺳﺎﺋﯽ ﻅﺎﻫﺮ ﻣﯽ ﮔﺮﺩﺩ. ﺩﺭ ﺁﻏﺎﺯ ﺍﻳﻦ ﻣﻘﺎﻟﻪ ﺟﻤﻠﻪ ﺍﯼ ﺍﺯ ﻳﮑﯽ ﺍﺯ ﺁﺛﺎﺭ ﻋﺮﻓﺎﻧﯽ ﻭ ﺍﺧﻼﻗﯽ ﺣﻀﺮﺕ ﺑﻬﺎءﷲ٬ ﻳﻌﻨﯽ ﮐﻠﻤﺎﺕ ﻣﮑﻨﻮﻧﻪ٬ ﻧﻘﻞ ﮔﺮﺩﻳﺪ. ﺟﺎﻟﺐ ﺍﺳﺖ ﮐﻪ ﻧﻪ ﺗﻨﻬﺎ ﺍﻳﻦ ﺑﻴﺎﻥ ﺍﻭّﻟﻴﻦ ﺑﻴﺎﻥ ﺍﺯ ﺳﻠﺴﻠﻪ ﺑﻴﺎﻧﻬﺎﯼ ﮐﻠﻤﺎﺕ ﻣﮑﻨﻮﻧﻪ ﺍﺳﺖ ﺑﻠﮑﻪ ﺑﻌﻼﻭﻩ ﺣﻀﺮﺕ ﺑﻬﺎءﷲ ﺩﺭ ﻫﻤﺎﻥ ﺑﻴﺎﻥ ﺑﻪ ﺍﻳﻨﮑﻪ ﺍﻳﻦ ﻣﻄﻠﺐ ﭘﻴﺶ ﻓﺮﺽ ﻫﺮﮔﻮﻧﻪ ﺑﺤﺚ ﻭ ﺑﻴﺎﻥ ﺩﻳﮕﺮﯼ ﻧﻴﺰ ﻣﯽ ﺑﺎﺷﺪ ﺗﺄﮐﻴﺪ ﻓﺮﻣﻮﺩﻩ ﺍﻧﺪ. ﺍﻳﻦ ﺑﻴﺎﻥ ﺑﺪﻳﻦ ﺗﺮﺗﻴﺐ ﺍﺳﺖ: ﻳﺎ ﺍﺑﻦ ﺍﻟﺮّﻭﺡ ﻓﯽ ﺍﻭّﻝ ﺍﻟﻘﻮﻝ ﺍﻣﻠﮏ ﻗﻠﺒﺎً ﺟﻴّﺪﺍً ﺣﺴﻨﺎً ﻣﻨﻴﺮﺍً ﻟﺘﻤﻠﮏ ﻣﻠﮑﺎً ﺩﺍﺋﻤﺎً ﺑﺎﻗﻴﺎً ﺍﺯﻻً ﻗﺪﻳﻤﺎً. ﺩﺭ ﺍﻳﻦ ﺑﻴﺎﻥ ﺯﻳﺒﺎ ﻭ ﺷﮑﻮﻫﻤﻨﺪ ﺣﻀﺮﺕ ﺑﻬﺎءﷲ ﺍﻭّﻟﻴﻦ ﻗﻮﻝ٬ ﮔﻔﺘﺎﺭﯼ ﮐﻪ ﭘﻴﺶ ﻓﺮﺽ ﻫﺮﮔﻮﻧﻪ ﺑﺤﺚ ﻋﺮﻓﺎﻧﯽ ﻭ ﺍﺧﻼﻗﯽ ﺍﺳﺖ٬ ﺑﻪ ﺷﮑﻞ ﻟﺰﻭﻡ ﺩﺳﺘﻴﺎﺑﯽ ﺑﻪ ﺩﻝ ﭘﺎﮎ ﻣﻌﺮّﻓﯽ ﻣﯽ ﻓﺮﻣﺎﻳﻨﺪ. ﺩﺭ ﺍﻳﻦ ﺑﻴﺎﻥ ﺗﺄﮐﻴﺪ ﻣﯽ ﺷﻮﺩ ﮐﻪ ﺍﮔﺮ ﺁﺩﻣﯽ ﺩﻝ ﺭﻭﺷﻦ ﻭ ﺗﺎﺑﻨﺎﮎ ﻳﺎﺑﺪ ﺩﺭ ﺁﻧﺼﻮﺭﺕ ﺑﻪ ﻫﻤﻪ ﭼﻴﺰ ﺩﺳﺖ ﻳﺎﻓﺘﻪ ﺍﺳﺖ ﻳﺎ ﺑﻪ ﻋﺒﺎﺭﺕ ﺩﻳﮕﺮ ﺩﺳﺘﻴﺎﺑﯽ ﺑﻪ ﻗﻠﺐ ﭘﺎﮎ ﻭﺳﻴﻠﻪ ﻭ ﺗﻀﻤﻴﻦ ﺩﺳﺘﻴﺎﺑﯽ ﺑﻪ ﺳﻠﻄﻨﺖ ﺩﺍﺋﻤﯽ ﻭ ﭘﺎﻳﺪﺍﺭ ﺍﺳﺖ. ﻳﮑﯽ ﺍﺯ ﻣﻬﻤّﺘﺮﻳﻦ ﺁﺛﺎﺭ ﺣﻀﺮﺕ ﺑﻬﺎء ﷲ ﮐﺘﺎﺏ ﻣﺴﺘﻄﺎﺏ ﺍﻳﻘﺎﻥ ﺍﺳﺖ. ﺍﻳﻦ ﺍﺛﺮ ﮐﻪ ﺩﺭ ﺍﻭﺍﺧﺮ ﺍﻗﺎﻣﺖ ﺣﻀﺮﺕ ﺑﻬﺎءﷲ ﺩﺭ ﺑﻐﺪﺍﺩ ﻧﺎﺯﻝ ﺷﺪﻩ ﺍﺳﺖ ﺍﺯ ﺩﻭ ﺑﺨﺶ ﺗﺸﮑﻴﻞ ﻣﯽ ﻳﺎﺑﺪ. ﺑﺨﺶ ﺍﻭّﻝ ﺑﺤﺜﯽ ﺍﺳﺖ ﺩﺭ ﻣﻮﺭﺩ ﺭﺍﻩ ﺩﺭﺳﺖ ﺗﺤﻘﻴﻖ ﻭ ﺷﻨﺎﺳﺎﺋﯽ. ﺑﻪ ﻋﺒﺎﺭﺕ ﺩﻳﮕﺮ ﺑﺨﺶ ﺍﻭّﻝ ﮐﺘﺎﺏ ﺍﻳﻘﺎﻥ ﮔﻔﺘﺎﺭﯼ ﺍﺳﺖ ﺩﺭ ﺧﺼﻮﺹ ﻣﺴﺌﻠﮥ ﺭﻭﺷﻦ. ﺑﺨﺶ ﺩﻭﻡ ﺗﻮﺿﻴﺤﯽ ﺍﺳﺖ ﺩﺭ ﻣﻮﺭﺩ ﺍﺻﻞ ﻣﻈﻬﺮﻳّﺖ ﮐﻪ ﺍﺯ ﻁﺮﻳﻖ ﺁﻥ ﺑﻪ ﺍﻧﻮﺍﻉ ﭘﺮﺳﺸﻬﺎ ﺩﺭ ﺑﺎﺏ ﺍﻟﻬﻴﺎﺕ ﻭ ﺩﺷﻮﺍﺭﻳﻬﺎﯼ ﻣﺮﺑﻮﻁ ﺑﻪ ﺗﺮﮎ ﻣﻌﺎﻧﯽ ﮐﺘﺐ ﻣﻘﺪّﺳﻪ ﭘﺎﺳﺦ ﺩﺍﺩﻩ ﻣﯽ ﺷﻮﺩ. ﺍﻣّﺎ ﺍﺯ ﻧﻘﻄﻪ ﻧﻈﺮ ﺧﻮﺩ ﺣﻀﺮﺕ ﺑﻬﺎءﷲ ﺍﺻﻞ ﻣﻄﻠﺐ ﻫﻤﺎﻥ ﺑﺨﺶ ﺍﻭّﻝ ﺍﺳﺖ ﻭ ﺩﺭ ﻭﺍﻗﻊ ﺑﺮﺍﯼ ﺭﺳﻴﺪﻥ ﺑﻪ ﺣﻘﻴﻘﺖ ﺭﻭﺣﺎﻧﯽ ﻭ ﺗﻮﻓﻴﻖ ﺩﺭ ﺳﻠﻮﮎ ﻋﺮﻓﺎﻧﯽ ﻫﻤﺎﻥ ﺑﺨﺶ ﺍﻭّﻝ ﮐﺎﻓﯽ ﺍﺳﺖ. ﺩﺭ ﺣﻘﻴﻘﺖ ﺣﻀﺮﺕ ﺑﻬﺎءﷲ ﺑﺨﺎﻁﺮ ﺿﻌﻒ ﺗﮑﺎﻣﻞ ﺭﻭﺣﺎﻧﯽ ﻣﺮﺩﻡ ﺑﻮﺩ ﮐﻪ ﺑﺴﻴﺎﺭﯼ ﺍﺯ ﺳﺆﺍﻻﺕ ﺳﻨّﺘﯽ ﺩﺭ ﻣﻮﺭﺩ ﺣﻘّﺎﻧﻴّﺖ ﭘﻴﺎﻣﺒﺮ ﺍﻟﻬﯽ ﺭﺍ ﺩﺭ ﺑﺨﺶ ﺩﻭﻡ ﮐﺘﺎﺏ ﺍﻳﻘﺎﻥ ﻣﻮﺭﺩ ﺑﺤﺚ ﻗﺮﺍﺭ ﻣﯽ ﺩﻫﻨﺪ ﻭﺍﻻّ ﻣﻄﺎﻟﺒﯽ ﮐﻪ ﺩﺭ ﻫﻤﺎﻥ ﺑﺨﺶ ﺍﻭّﻝ ﻧﺎﺯﻝ ﺷﺪﻩ ﺍﺳﺖ ﺑﺮﺍﯼ ﺣﻞّ ﺩﺷﻮﺍﺭﻳﻬﺎﯼ ﺍﻟﻬﻴّﺎﺕ ﻭ ﺭﺳﻴﺪﻥ ﺑﻪ ﺣﻘﻴﻘﺖ ﮐﺎﻓﯽ ﺑﻮﺩﻩ ﺍﺳﺖ. ﺑﺮﺍﯼ ﺩﺭﮎ ﻣﻄﻠﺐ ﺑﺎﻻ ﻻﺯﻣﺴﺖ ﺑﻪ ﺍﻳﻦ ﻧﮑﺘﻪ ﺗﻮﺟّﻪ ﮐﻨﻴﻢ ﮐﻪ ﭼﻪ ﭘﺮﺳﺸﻬﺎ ﻭ ﻣﻘﻮﻻﺗﯽ ﺩﺭ ﺍﺭﺗﺒﺎﻁ ﺑﺎ ﺷﻨﺎﺳﺎﺋﯽ ﭘﻴﺎﻣﺒﺮ ﺍﻟﻬﯽ ﻣﻮﺟّﻪ ﻭ ﺩﺭﺳﺖ ﺍﺳﺖ ﻭ ﭼﻪ ﭘﺮﺳﺸﻬﺎ ﻭ ﻣﻘﻮﻻﺗﯽ ﻧﺎﻣﻮﺟّﻪ ﻭ ﻧﺎﺩﺭﺳﺖ. ﮐﺘﺎﺏ ﺍﻳﻘﺎﻥ ﺍﺯ ﺍﺑﺘﺪﺍ ﺧﻮﺍﻧﻨﺪﮤ ﺧﻮﻳﺶ ﺭﺍ ﻣﺘﻮﺟّﻪ ﺗﻨﺎﻗﻀﯽ ﻋﺠﻴﺐ ﻭ ﺳﻬﻤﻨﺎﮎ ﺩﺭ ﺗﺎﺭﻳﺦ ﺍﺩﻳﺎﻥ ﻣﯽ ﻧﻤﺎﻳﺪ. ﺑﺪﻳﻦ ﺗﺮﺗﻴﺐ ﮐﻪ ﺩﺭ ﻁﻮﻝ ﺗﺎﺭﻳﺦ ﭘﻴﺮﻭﺍﻥ ﺍﺩﻳﺎﻥ ﮔﻮﻧﺎﮔﻮﻥ ﻫﻤﮕﯽ ﺑﺎ ﺷﻮﺭ ﻭ ﺍﺷﺘﻴﺎﻕ ﻣﻨﺘﻈﺮ ﻅﻬﻮﺭ ﻣﻮﻋﻮﺩ ﺧﻮﺩ ﺑﻮﺩﻩ ﻭ ﻫﻤﺮﺍﻩ ﺑﺎ ﺍﻟﺘﻤﺎﺱ ﻭ ﺷﻮﻕ ﺍﺯ ﺧﺪﺍﻭﻧﺪ ﺗﻘﺎﺿﺎ ﻣﯽ ﮐﺮﺩﻧﺪ ﮐﻪ ﻫﺮﭼﻪ ﺯﻭﺩﺗﺮ ﻣﻮﻋﻮﺩ ﺭﺍ ﻅﺎﻫﺮ ﻓﺮﻣﺎﻳﺪ ﺗﺎ ﺁﻧﮑﻪ ﺍﻳﺸﺎﻥ ﺑﻪ ﺭﺿﺎﯼ ﺍﻟﻬﯽ ﻧﺎﺋﻞ ﺷﺪﻩ ﻣﻮﻋﻮﺩ ﺧﻮﺩ ﺭﺍ ﺷﻨﺎﺧﺘﻪ٬ ﻭ ﺑﻪ ﺍﺭﺍﺩﮤ ﺍﻟﻬﯽ ﺗﻦ ﺩﺭ ﺩﻫﻨﺪ. ﺍﻣّﺎ ﺩﺭ ﻋﻴﻦ ﺣﺎﻝ ﻫﺮ ﺯﻣﺎﻥ ﮐﻪ ﺧﺪﺍﻭﻧﺪ ﺍﻳﻦ ﺩﻋﺎ ﺭﺍ ﺍﺟﺎﺑﺖ ﻓﺮﻣﻮﺩ ﻭ ﻣﻮﻋﻮﺩ ﺍﻟﻬﯽ ﺭﺍ ﻅﺎﻫﺮ ﻓﺮﻣﻮﺩ ﻫﻤﺎﻥ ﭘﻴﺮﻭﺍﻥ ﻣﺸﺘﺎﻕ ﮐﻪ ﺩﺭ ﺍﻧﺘﻈﺎﺭ ﻣﻮﻋﻮﺩ ﺩﺭ ﺷﻮﺭ ﻭ ﺍﻟﺘﻬﺎﺏ ﺑﻮﺩﻧﺪ ﺑﺮ ﺿﺪّ ﻣﻮﻋﻮﺩ ﺑﺮﺧﺎﺳﺘﻪ٬ ﺍﻭ ﺭﺍ ﻣﻮﺭﺩ ﻟﻌﻦ ﻭ ﻁﻌﻦ ﻗﺮﺍﺭ ﺩﺍﺩﻩ ﺑﻪ ﺩﺷﻨﺎﻡ ﻭ ﻧﻔﺮﻳﻦ ﻋﻠﻴﻪ ﻭﯼ ﻭ ﭘﻴﺮﻭﺍﻥ ﺁﺋﻴﻦ ﺟﺪﻳﺪ ﻣﺸﻐﻮﻝ ﺷﺪﻩ٬ ﺑﻪ ﺁﺯﺍﺭ ﻭ ﺍﺫﻳّﺖ ﺍﻳﺸﺎﻥ ﭘﺮﺩﺍﺧﺘﻪ ﻭ ﺣﺘّﯽ ﺗﺎ ﺑﻪ ﺁﻧﺠﺎ ﭘﻴﺶ ﻣﯽ ﺭﻭﻧﺪ ﮐﻪ ﻗﺼﺪ ﻗﺘﻞ ﻣﻮﻋﻮﺩ ﺧﻮﺩ ﺭﺍ ﻣﯽ ﮐﻨﻨﺪ. ﺍﻳﻦ ﻣﻄﻠﺐ ﺩﺭ ﺗﺎﺭﻳﺦ ﻫﻤﮥ ﺍﺩﻳﺎﻥ ﺗﮑﺮﺍﺭ ﻣﯽ ﺷﻮﺩ ﻭ ﺑﺮﺍﺳﺘﯽ ﮐﻪ ﻋﺠﻴﺐ ﺗﺮﻳﻦ ﻭ ﻏﺮﻳﺐ ﺗﺮﻳﻦ ﻭﺍﻗﻌﻪ ﺩﺭ ﺗﺎﺭﻳﺦ ﺩﻳﻨﯽ ﺍﺳﺖ. ﺑﻪ ﻫﻤﻴﻦ ﺟﻬﺖ ﺍﺳﺖ ﮐﻪ ﺣﻀﺮﺕ ﻣﺴﻴﺢ ﺗﻮﺳّﻂ ﭘﻴﺮﻭﺍﻥ ﺣﻀﺮﺕ ﻣﻮﺳﯽ ﻣﻮﺭﺩ ﻁﺮﺩ ﻭ ﺍﻧﮑﺎﺭ ﻗﺮﺍﺭ ﻳﺎﻓﺖ ﻭ ﺣﻀﺮﺕ ﻣﺤﻤّﺪ ﺑﺘﻮﺳّﻂ ﻫﻢ ﻳﻬﻮﺩﻳﺎﻥ ﻭ ﻫﻢ ﻣﺴﻴﺤﻴﺎﻥ ﻣﻮﺭﺩ ﺗﮑﻔﻴﺮ ﻭ ﺗﮑﺬﻳﺐ ﻗﺮﺍﺭ

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12/15/2016

Pazhuheshnameh ﯽ ﺟﻐﺭﺍﻓﻳﺎﯼ ﺩﻝ ﺩﺭ ﺁﺛﺎﺭ ﺑﻬﺎﺋ

ﮔﺮﻓﺖ. ﻗﺮﺁﻥ ﮐﺮﻳﻢ ﺁﮐﻨﺪﻩ ﺍﺯ ﺁﻳﺎﺗﯽ ﺍﺳﺖ ﮐﻪ ﻫﻤﮕﯽ ﺍﺯ ﮐﻮﺗﻪ ﻧﻈﺮﯼ ﺍﻧﺴﺎﻧﻬﺎ ﻭ ﻋﻨﺎﺩ ﻭ ﺩﺷﻤﻨﯽ ﺍﻳﺸﺎﻥ ﺑﺎ ﭘﻴﺎﻣﺒﺮﺍﻥ ﻣﻮﻋﻮﺩ ﺧﻮﻳﺶ ﺳﺨﻦ ﻣﯽ ﮔﻮﻳﺪ. ﺑﯽ ﺟﻬﺖ ﻧﻴﺴﺖ ﮐﻪ ﻗﺴﻤﺖ ﻋﻈﻴﻤﯽ ﺍﺯ ﻗﺮﺁﻥ ﻣﺠﻴﺪ ﺑﻴﺎﻥ ﺍﻳﻦ ﺩﺍﺳﺘﺎﻥ ﺑﻴﺪﺍﺩﮔﺮﯼ ﺍﺳﺖ. ﺍﻣّﺎ ﮐﺘﺎﺏ ﺍﻳﻘﺎﻥ ﻓﻘﻂ ﺑﻪ ﺫﮐﺮ ﺍﻳﻦ ﻭﺍﻗﻌﻴّﺖ ﺩﺭﺩﻧﺎﮎ ﺍﮐﺘﻔﺎ ﻧﻤﯽ ﮐﻨﺪ. ﺑﺎﻟﻌﮑﺲ ﺣﻀﺮﺕ ﺑﻬﺎءﷲ ﺍﻳﻦ ﻭﺍﻗﻌﻴّﺖ ﺭﺍ ﻣﻮﺭﺩ ﺗﺤﻠﻴﻞ ﻗﺮﺍﺭ ﺩﺍﺩﻩ ﻭ ﺍﺯ ﺧﻮﺍﻧﻨﺪﻩ ﺍﯼ ﮐﻪ ﺟﻮﻳﺎﯼ ﺣﻘﻴﻘﺖ ﺍﺳﺖ ﻭ ﻗﺼﺪ ﺳﻠﻮﮎ ﺭﻭﺣﺎﻧﯽ ﺩﺍﺭﺩ ﻣﯽ ﺧﻮﺍﻫﻨﺪ ﮐﻪ ﺗﺄﻣّﻞ ﻧﻤﺎﻳﺪ ﺗﺎ ﺑﻔﻬﻤﺪ ﮐﻪ ﻋﻠّﺖ ﺍﻳﻦ ﺗﻨﺎﻗﺾ ﻋﺠﻴﺐ ﭼﻴﺴﺖ ﺗﺎ ﺁﻧﮑﻪ ﺍﺯ ﺍﻳﻦ ﺗﺠﺮﻳﻪ ﻣﮑﺮّﺭ ﺗﺎﺭﻳﺨﯽ ﭘﻨﺪ ﻭ ﻋﺒﺮﺗﯽ ﺁﻣﻮﺧﺘﻪ ﺷﻮﺩ ﻭ ﺍﺷﺘﺒﺎﻩ ﮔﺬﺷﺘﻪ ﺗﮑﺮﺍﺭ ﻧﺸﻮﺩ. ﻣﻄﻠﺒﯽ ﮐﻪ ﺣﻀﺮﺕ ﺑﻬﺎءﷲ ﺗﺄﮐﻴﺪ ﻣﯽ ﻓﺮﻣﺎﻳﻨﺪ ﺍﻳﻦ ﺍﺳﺖ ﮐﻪ ﻭﺍﺿﺢ ﺍﺳﺖ ﮐﻪ ﭘﻴﺮﻭﺍﻥ ﺍﺩﻳﺎﻥ ﻣﻌﻤﻮﻻً ﺍﺯ ﺭﻭﺵ ﺻﺤﻴﺢ ﺷﻨﺎﺳﺎﺋﯽ ﺣﻘﻴﻘﺖ ﺭﻭﺣﺎﻧﯽ ﺗﺨﻄّــــــــــــــﯽ ﻭﺭﺯﻳﺪﻩ ﺍﻧﺪ ﻭ ﺍﺯ ﺷﺮﺍﻳﻂ ﻭ ﻟﻮﺍﺯﻡ ﺳﻠﻮﮎ ﺑﻪ ﺩﻭﺭ ﻣﺎﻧﺪﻩ ﺍﻧﺪ. ﺑﻪ ﻋﺒﺎﺭﺕ ﺩﻳﮕﺮ ﭘﺮﺳﺸﻬﺎ ﻭ ﻣﻘﻮﻻﺕ ﻳﻌﻨﯽ ﺭﻭﺵ ﺍﻳﺸﺎﻥ ﺩﺭ ﺍﺭﺗﺒﺎﻁ ﺑﺎ ﻅﻬﻮﺭ ﭘﻴﺎﻣﺒﺮ ﺟﺪﻳﺪ ﻏﻠﻂ ﻭ ﻧﺎﺩﺭﺳﺖ ﺑﻮﺩﻩ ﺍﺳﺖ. ﺍﺯ ﻧﻈﺮ ﺣﻀﺮﺕ ﺑﻬﺎءﷲ ﺭﺳﻴﺪﻥ ﺑﻪ ﺣﻘﻴﻘﺖ ﺭﻭﺣﺎﻧﯽ ﻣﺴﺘﻠﺰﻡ ﮐﺎﺭﺑﺮﺩ ﺭﻭﺵ ﺻﺤﻴﺢ ﺍﺳﺖ ﻭ ﺍﻳﻦ ﺍﻣﺮ ﺑﺪﻳﻦ ﻣﻌﻨﯽ ﺍﺳﺖ ﮐﻪ ﻗﺒﻞ ﺍﺯ ﻫﺮﭼﻴﺰ ﺍﺯ ﺷﺨﺺ ﻣﺪّﻋﯽ ﺩﻳﺎﻧﺖ ﺟﺪﻳﺪ ﭼﻪ ﺳﺆﺍﻻﺗﯽ ﺭﺍ ﺑﺎﻳﺪ ﭘﺮﺳﻴﺪ ﻭ ﺍﺯ ﭼﻪ ﺳﺆﺍﻻﺗﯽ ﺑﺎﻳﺪ ﺍﺣﺘﺮﺍﺯ ﮐﺮﺩ. ﭘﺮﻭﺍﺿﺢ ﺍﺳﺖ ﮐﻪ ﭘﺮﺳﺸﻬﺎ ﻭ ﻣﻘﻮﻻﺕ ﻭ ﺭﻭﺵ ﻧﺎﻣﺸﺮﻭﻉ ﻭ ﻧﺎﺩﺭﺳﺖ ﻫﻤﺎﻥ ﭘﺮﺳﺸﻬﺎ ﻭ ﻣﻘﻮﻻﺗﯽ ﺍﺳﺖ ﮐﻪ ﺩﺭ ﻁﻮﻝ ﺗﺎﺭﻳﺦ ﺍﺩﻳﺎﻥ ﺗﻮﺳّﻂ ﭘﻴﺮﻭﺍﻥ ﺍﺩﻳﺎﻥ ﮔﺬﺷﺘﻪ ﺩﺭ ﻣﺤﻀﺮ ﭘﻴﺎﻣﺒﺮ ﺟﺪﻳﺪ ﻣﻄﺮﺡ ﺷﺪﻩ ﺍﺳﺖ. ﻳﮏ ﺳﺎﻟﮏ ﺭﺍﺳﺘﻴﻦ ﺑﺎﻳﺪ ﺑﻪ ﺗﺎﺭﻳﺦ ﺍﺩﻳﺎﻥ ﻣﺮﺍﺟﻌﻪ ﮐﻨﺪ ﻭ ﺑﻔﻬﻤﺪ ﮐﻪ ﭘﻴﺮﻭﺍﻥ ﺍﺩﻳﺎﻥ ﮔﺬﺷﺘﻪ ﺑﺮﺍﯼ ﺣﻘّﺎﻧﻴﺖ ﻣﻮﻋﻮﺩ ﺧﻮﻳﺶ ﭼﻪ ﺷﺮﻁ ﻭ ﺷﺮﻭﻁﯽ ﺭﺍ ﻣﻄﺮﺡ ﮐﺮﺩﻧﺪ ﻭ ﺭﻭﺵ ﻗﺒﻮﻝ ﺍﺩّﻋﺎﯼ ﭘﻴﺎﻣﺒﺮ ﺭﺍ ﭼﮕﻮﻧﻪ ﺗﻌﺮﻳﻒ ﮐﺮﺩﻧﺪ. ﺳﺎﻟﮏ ﺭﺍﺳﺘﻴﻦ ﺑﺎ ﭼﻨﻴﻦ ﺑﺮﺭﺳﯽ ﺗﺎﺭﻳﺨﯽ ﻣﺘﻮﺟّﻪ ﻣﯽ ﺷﻮﺩ ﮐﻪ ﺁﻥ ﺭﻭﺵ٬ ﺁﻧﮕﻮﻧﻪ ﭘﺮﺳﺸﻬﺎ ﻭ ﺁﻧﮕﻮﻧﻪ ﺩﻟﻴﻞ ﻭ ﺣﺠّﺖ ﻫﻤﮕﯽ ﻧﺎﻣﺸﺮﻭﻉ ﻭ ﻧﺎﺩﺭﺳﺖ ﺑﻮﺩﻩ ﻭ ﺑﺎﻳﺪ ﺑﮑﻠّﯽ ﺁﻧﻬﺎ ﺭﺍ ﺑﻪ ﮐﻨﺎﺭ ﮔﺬﺍﺭﺩﻩ ﺗﺎ ﺁﻧﮑﻪ ﺑﺘﻮﺍﻥ ﺍﻣﮑﺎﻥ ﺩﺳﺘﻴﺎﺑﯽ ﺑﻪ ﺷﻬﺮ ﺩﻝ ﺭﺍ ﺑﻴﺎﺑﺪ. ﺑﺎﻳﺪ ﺗﻮﺿﻴﺢ ﺩﺍﺩ ﮐﻪ ﮐﺘﺎﺏ ﺍﻳﻘﺎﻥ ﺩﺭ ﻭﺍﻗﻊ ﭘﺎﺳﺨﯽ ﺍﺳﺖ ﺑﻪ ﺳﺆﺍﻻﺕ ﮔﻮﻧﺎﮔﻮﻥ ﺩﺭ ﺍﺭﺗﺒﺎﻁ ﺑﺎ ﺣﻘّﺎﻧﻴّﺖ ﺩﻳﺎﻧﺖ ﺑﺪﻳﻊ. ﺍﻳﻦ ﮐﺘﺎﺏ ﺑﻪ ﺍﻋﺘﺮﺍﺿﺎﺕ ﻣﺘﺪﺍﻭﻝ ﻣﻴﺎﻥ ﻣﺮﺩﻡ ﻧﺴﺒﺖ ﺑﻪ ﺁﺋﻴﻦ ﺟﺪﻳﺪ ﺗﻮﺟّﻪ ﮐﺮﺩﻩ ﻭ ﺑﻪ ﺁﻥ ﭘﺎﺳﺦ ﻣﯽ ﺩﻫﺪ. ﺍﻣّﺎ ﺑﺤﺚ ﺍﺻﻠﯽ ﺣﻀﺮﺕ ﺑﻬﺎءﷲ ﻧﻪ ﭘﺎﺳﺦ ﺍﻳﻦ ﺍﻋﺘﺮﺍﺽ ﻳﺎ ﺁﻥ ﺍﻋﺘﺮﺍﺽ ﺑﻪ ﺧﺼﻮﺹ ﺍﺳﺖ. ﺑﺎﻟﻌﮑﺲ ﺑﺤﺚ ﺣﻀﺮﺕ ﺑﻬﺎءﷲ ﺩﺭ ﺑﺨﺶ ﺍﻭّﻝ ﮐﺘﺎﺏ ﺍﻳﻘﺎﻥ ﻣﻌﻄﻮﻑ ﺑﻪ ﺍﻳﻦ ﺍﺳﺖ ﮐﻪ ﺁﻳﺎ ﺍﻳﻦ ﺍﻋﺘﺮﺍﺿﺎﺕ ﻭ ﺭﻭﺵ ﻧﻬﻔﺘﻪ ﺩﺭ ﺁﻥ٬ ﻣﺸﺮﻭﻉ ﻭ ﻣﻮﺟّﻪ ﺍﺳﺖ ﻳﺎ ﺁﻧﮑﻪ ﻫﻤﮕﯽ ﺍﻳﻦ ﺍﻋﺘﺮﺍﺿﺎﺕ ﻭ ﺳﺆﺍﻻﺕ ﺍﺳﺎﺳﺎً ﻧﺎﻣﺸﺮﻭﻉ ﻭ ﻧﺎﺩﺭﺳﺖ ﺍﺳﺖ ﻭ ﻫﻤﮕﯽ ﺭﺍ ﺑﺎﻳﺪ ﺑﻪ ﺩﻭﺭ ﺭﻳﺨﺖ ﺗﺎ ﺁﻧﮑﻪ ﺑﻪ ﺳﺆﺍﻝ ﺻﺤﻴﺢ ﻭ ﺭﻭﺵ ﺩﺭﺳﺖ ﺷﻨﺎﺳﺎﺋﯽ ﭘﻴﺎﻣﺒﺮ ﺍﻟﻬﯽ ﺩﺳﺖ ﻳﺎﻓﺖ. ﺍﻋﺘﺮﺍﺿﺎﺕ ﻭ ﺳﺆﺍﻻﺗﯽ ﮐﻪ ﺩﺭ ﮐﺘﺎﺏ ﺍﻳﻘﺎﻥ ﻣﻮﺭﺩ ﺑﺤﺚ ﻗﺮﺍﺭ ﻣﯽ ﮔﻴﺮﺩ ﺍﻋﺘﺮﺍﺿﺎﺕ ﻭ ﺳﺆﺍﻻﺗﯽ ﺍﺳﺖ ﮐﻪ ﺗﻮﺳّﻂ ﻳﮏ ﺷﺨﺺ ﻣﺴﻠﻤﺎﻥ ﻣﻄﺮﺡ ﺷﺪﻩ ﺍﺳﺖ. ﺣﻀﺮﺕ ﺑﻬﺎءﷲ ﺑﻴـﺎﻥ ﻣﯽ ﻓﺮﻣﺎﻳﻨﺪ ﮐﻪ ﺭﻭﺵ ﺑﺮﺭﺳﯽ ﺣﻘﻴﻘﺖ ﺁﻧﭽﻨﺎﻧﮑﻪ ﺩﺭ ﻣﺤﺘﻮﺍﯼ ﺍﻳﻦ ﺳﺆﺍﻻﺕ ﻭ ﺍﻋﺘﺮﺍﺿﺎﺕ ﻣﻄﺮﺡ ﺍﺳﺖ ﻧﺎﺩﺭﺳﺖ ﻭ ﻧﺎﻣﺸﺮﻭﻉ ﺍﺳﺖ. ﺑﺪﻳﻦ ﺗﺮﺗﻴﺐ ﮐﻪ ﺳﺎﻟﮏ ﺗﺎ ﺯﻣﺎﻧﯽ ﮐﻪ ﺍﺳﻴﺮ ﺍﻳﻨﮕﻮﻧﻪ ﻁﺮﺯ ﻓﮑﺮ ﻭ ﺍﻳﻨﮕﻮﻧﻪ ﺍﻭﻫﺎﻡ ﺍﺳﺖ ﺗﻮﺍﻧﺎﺋﯽ ﺩﺭﮎ ﺣﻘﻴﻘﺖ ﺭﻭﺣﺎﻧﯽ ﺭﺍ ﻧﺨﻮﺍﻫﺪ ﻳﺎﻓﺖ. ﺑﺮﺍﯼ ﺗﻮﺿﻴﺢ ﺍﻳﻦ ﻣﻄﻠﺐ ﺣﻀﺮﺕ ﺑﻬﺎءﷲ ﺑﻪ ﺧﻮﺍﻧﻨﺪﮤ ﺧﻮﺩ ﻣﺘﺬﮐّﺮ ﻣﯽ ﺷﻮﻧﺪ ﮐﻪ ﻣﺴﻴﺤﻴﺎﻥ ﻧﻴﺰ ﺩﻗﻴﻘﺎً ﻫﻤﻴﻦ ﻧﻮﻉ ﭘﺮﺳﺸﻬﺎ ﻭ ﺍﻋﺘﺮﺍﺿﻬﺎ ﺭﺍ ﻧﺴﺒﺖ ﺑﻪ ﺣﻀﺮﺕ ﻣﺤﻤّﺪ ﮐﺮﺩﻧﺪ ﻭ ﺑﺮ ﺍﺳﺎﺱ ﺩﻗﻴﻘﺎً ﻫﻤﻴﻦ ﺭﻭﺵ ﻭ ﻣﻘﻮﻻﺕ ﺑﻮﺩ ﮐﻪ ﺑﻪ ﻧﻔﯽ ﻭ ﻁﺮﺩ ﻭ ﺁﺯﺍﺭ ﺣﻀﺮﺕ ﻣﺤﻤّﺪ ﭘﺮﺩﺍﺧﺘﻨﺪ. ﺑﻪ ﻫﻤﻴﻦ ﺳﺎﻥ ﻫﻤﺎﻥ ﭘﺮﺳﺸﻬﺎ ﻭ ﺭﻭﺵ ﺑﻮﺩ ﮐﻪ ﺗﻮﺳّﻂ ﻳﻬﻮﺩﻳﺎﻥ ﺑﺮﺍﯼ ﺑﺮﺭﺳﯽ ﺍﺩّﻋﺎﯼ ﺣﻀﺮﺕ ﻣﺴﻴﺢ ﻭ ﺣﻀﺮﺕ ﻣﺤﻤّﺪ ﺍﺳﺘﻔﺎﺩﻩ ﮔﺮﺩﻳﺪ ﻭ ﺑﻪ ﺍﺗّﮑﺎء ﻫﻤﺎﻥ ﺭﻭﺵ ﻭ ﻫﻤﺎﻥ ﭘﺮﺳﺸﻬﺎ ﺑﻮﺩ ﮐﻪ ﺣﻀﺮﺕ ﻣﺴﻴﺢ ﻭ ﺣﻀﺮﺕ ﻣﺤﻤّﺪ ﻣﻮﺭﺩ ﺍﻧﮑﺎﺭ ﻗﺮﺍﺭ ﮔﺮﻓﺘﻨﺪ. ﺑﺪﻳﻦ ﺗﺮﺗﻴﺐ ﺍﮔﺮ ﺁﺋﻴﻦ ﺟﺪﻳﺪ ﺭﺍ ﻣﯽ ﺗﻮﺍﻥ ﺑﻪ ﺍﺗّﮑﺎء ﺍﻳﻦ ﺭﻭﺵ ﺍﻧﮑﺎﺭ ﻧﻤﻮﺩ ﺩﺭ ﺁﻧﺼﻮﺭﺕ ﺑﺎﻳﺪ ﻫﻤﺎﻥ ﺩﻳﺎﻧﺘﯽ ﮐﻪ ﺷﺨﺼﯽ ﺳﺎﻟﮏ ﺑﺪﺍﻥ ﻣﻌﺘﻘﺪ ﻭ ﻣﺘﻤﺴّﮏ ﺍﺳﺖ ﺭﺍ ﻧﻴﺰ ﺑﺎﻳﺪ ﻣﻮﺭﺩ ﺍﻧﮑﺎﺭ ﻗﺮﺍﺭ ﺩﺍﺩ. ﺍﻣّﺎ ﺍﮔﺮ ﻫﺮﻳﮏ ﺍﺯ ﺍﻳﻦ ﭘﻴﺎﻣﺒﺮﺍﻥ ﺭﺍ ﻗﺒﻮﻝ ﮐﻨﻴﻢ ﺩﺭ ﺁﻧﺼﻮﺭﺕ ﺑﺎﻳﺪ ﺭﻭﺵ ﻧﺎﺩﺭﺳﺘﯽ ﺭﺍ ﮐﻪ ﻫﻤﻮﺍﺭﻩ ﺑﻪ ﻧﻔﯽ ﺍﻳﺸﺎﻥ ﻣﻨﺠﺮ ﺷﺪﻩ ﺍﺳﺖ ﺑﻪ ﺩﻭﺭ ﺭﻳﺰﻳﻢ. ﺑﺤﺚ ﺩﻝ ﺑﺤﺚ ﺩﺭ ﻣﻮﺭﺩ ﺭﻭﺵ ﺷﻨﺎﺳﺎﺋﯽ ﺣﻘﻴﻘﺖ ﺭﻭﺣﺎﻧﯽ ﺍﺳﺖ. ﺩﺭ ﺍﻳﻨﺠﺎﺳﺖ ﮐﻪ ﺣﻀﺮﺕ ﺑﻬﺎءﷲ ﺍﺯ ﺿﺮﻭﺭﺕ ﺗﻄﻬﻴﺮ ﺩﻝ ﺑﺮﺍﯼ ﻧﻴﻞ ﺑﻪ ﺣﻘﻴﻘﺖ ﺳﺨﻦ ﻣﯽ ﻓﺮﻣﺎﻳﻨﺪ. ﭘﺎﮐﺴﺎﺯﯼ ﺩﻝ ﺩﺭ ﻭﺍﻗﻊ ﻫﻤﺎﻥ ﺍﺻﻞ ﺗﺮﮎ ﺗﻘﺎﻟﻴﺪ ﺍﺳﺖ ﻳﻌﻨﯽ ﺁﻧﮑﻪ ﺑﺎﻳﺪ ﺁﺩﻣﯽ ﺩﻝ ﺧﻮﺩ ﺭﺍ ﺍﺯ ﻫﻤﮥ ﺗﻘﺎﻟﻴﺪ ﻭ ﺳﻨّﺘﻬﺎﯼ ﮔﺬﺷﺘﻪ ﭘﺎﮎ ﻭ ﺁﺯﺍﺩ ﺳﺎﺯﺩ ﺗﺎ ﺁﻧﮑﻪ ﺍﺯ ﻫﺮﮔﻮﻧﻪ ﺗﻌﺼّﺐ ﻭ ﭘﻴﺸﺪﺍﻭﺭﯼ ﺭﻫﺎ ﺷﻮﺩ ﻭ ﺩﺭ ﻧﻴﺘﺠﻪ ﺑﺠﺎﯼ ﺗﺒﻌﻴّﺖ ﮐﻮﺭ ﮐﻮﺭﺍﻧﻪ ﺳﻨّﺘﻬﺎ ﻳﺎ ﻣﺮﺍﺟﻊ ﻓﺮﻫﻨﮕﯽ ﻭ ﺗﻘﻠﻴﺪ ﺍﺯ ﭘﻴﺸﻮﺍﻳﺎﻥ ﻭ ﺳﺮﺍﻥ ﻣﺬﻫﺒﯽ٬ ﺑﻪ ﭼﺸﻢ ﺧﻮﺩ ﺑﺒﻴﻨﺪ ﻭ ﺑﻪ ﮔﻮﺵ ﺧﻮﺩ ﺑﺸﻨﻮﻧﺪ ﻭ ﻣﺴﺘﻘﻼﻧﻪ ﻭ ﺑﺪﻭﻥ ﺍﺗّﮑﺎء ﺑﻪ ﻗﻀﺎﻭﺕ ﺩﻳﮕﺮﺍﻥ ﺩﺳﺖ ﺑﻪ ﻗﻀﺎﻭﺕ ﺑﺰﻧﺪ. ﺩﺭ ﺍﻳﻨﺠﺎﺳﺖ ﮐﻪ ﻣﻔﻬﻮﻡ ﺩﻝ ﺩﺭ ﻭﺍﻗﻊ ﺩﻳﺎﻟﮑﺘﻴﮏ ﻧﻔﯽ ﻭ ﺍﺛﺒﺎﺕ ﻣﯽ ﮔﺮﺩﺩ. ﻳﻌﻨﯽ ﺁﻧﮑﻪ ﺍﻭّﻝ ﺑﺎﻳﺪ ﺗﻘﺎﻟﻴﺪ ﺭﺍ ﻧﻔﯽ ﮐﺮﺩ ﺗﺎ ﺁﻧﮑﻪ ﺍﺛﺒﺎﺕ ﺣﻘﻴﻘﺖ ﻣﻤﮑﻦ ﮔﺮﺩﺩ. ﺩﻝ ﺁﺩﻣﯽ ﺑﺎﻳﺪ ﺍﻭّﻝ ﺍﺯ ﻏﺒﺎﺭ ﺗﻴﺮﮤ ﺗﻘﻠﻴﺪ ﻭ ﺍﻭﻫﺎﻡ ﭘﺎﮎ ﮔﺮﺩﺩ ﺗﺎ ﺁﻧﮑﻪ ﻫﻤﺎﻧﻨﺪ ﺁﻳﻨﻪ ﺍﯼ ﺷﻔّﺎﻑ ﻗﺎﺑﻞ ﺗﺠﻠّﯽ ﺍﻧﻮﺍﺭ ﺭﺧﺴﺎﺭ ﺯﻳﺒﺎﯼ ﺍﻟﻬﯽ ﺷﻮﺩ ﻭ ﻧﻮﺭ ﺣﻘﻴﻘﺖ ﺩﺭ ﺁﻥ ﻣﻨﻌﮑﺲ ﮔﺮﺩﺩ. ﺑﻪ ﻋﻨﻮﺍﻥ ﻣﺜﺎﻝ ﺩﺭ ﺳﺮﺗﺎﺳﺮ ﺗﺎﺭﻳﺦ ﺍﺩﻳﺎﻥ ﻫﻤﻮﺍﺭﻩ ﻣﺮﺩﻡ ﻋﺎﺩﯼ ﺑﻪ ﻗﻀﺎﻭﺕ ﻋﻠﻤﺎء ﻭ ﺭﻫﺒﺮﺍﻥ ﻣﺬﻫﺒﯽ ﺧﻮﻳﺶ ﺍﻋﺘﻤﺎﺩ ﮐﺮﺩﻩ٬ ﺑﻪ ﺗﻘﻠﻴﺪ ﺍﺯ ﻓﺘﻮﺍﯼ ﺍﻳﺸﺎﻥ ﭘﺮﺩﺍﺧﺘﻪ٬ ﻭ ﻗﺒﻮﻝ ﻣﻮﻋﻮﺩ ﺭﺍ ﻣﺸﺮﻭﻁ ﺑﻪ ﺁﻥ ﺩﺍﻧﺴﺘﻨﺪ ﮐﻪ ﻋﻠﻤﺎء ﺍﻳﺸﺎﻥ ﻣﺪّﻋﯽ ﻅﻬﻮﺭ ﺑﺪﻳﻊ ﺭﺍ ﺗﺼﺪﻳﻖ ﻧﻤﺎﻳﻨﺪ. ﻋﺎﻣّﮥ ﻣﺮﺩﻡ ﺩﺭ ﺳﺮﺗﺎﺳﺮ ﺗﺎﺭﻳﺦ ﭼﻨﻴﻦ ﮔﻤﺎﻥ ﮐﺮﺩﻧﺪ ﮐﻪ ﺭﻫﺒﺮﺍﻥ ﻭ ﺩﺍﻧﺸﻤﻨﺪﺍﻥ ﻣﺬﻫﺒﯽ ﺑﻬﺘﺮ ﺍﺯ ﺍﻳﺸﺎﻥ ﺣﻘﻴﻘــﺖ ﺭﺍ ﻣﯽ ﺷﻨﺎﺳﻨﺪ ﻭ ﺑﻪ ﺍﺳﺮﺍﺭ ﻭ ﻣﻌﺎﻧﯽ ﮐﺘﺐ ﻣﻘﺪّﺳﻪ ﺑﻬﺘﺮ ﺁﺷﻨﺎ ﻫﺴﺘﻨﺪ. ﺩﺭ ﻧﺘﻴﺠﻪ ﮔﻤﺎﻥ ﮐﺮﺩﻧﺪ ﮐﻪ ﺧﻮﺩ ﺍﻳﺸﺎﻥ ﻧﻤﯽ ﺗﻮﺍﻧﻨﺪ ﻣﺴﺘﻘﻼﻧﻪ ﺑﻪ ﻣﻌﺎﻧﯽ ﺁﺳﻤﺎﻧﯽ ﭘﯽ ﺑﺮﻧﺪ ﻭ ﺩﺭ ﻧﺘﻴﺠﻪ ﻗﻼّﺩﮤ ﺗﻘﻠﻴﺪ ﺭﺍ ﺑﺎ ﺭﻏﺒﺖ ﻭ ﺷﻮﻕ ﺑﺮ ﮔﺮﺩﻥ ﺧﻮﺩ ﺍﻧﺪﺍﺧﺘﻨﺪ. ﺍﻣّﺎ ﮐﺘﺎﺏ ﺍﻳﻘﺎﻥ ﺑﺎ ﻗﺎﻁﻌﻴّﺖ ﺗﻤﺎﻡ ﺍﻳﻦ ﻧﻮﻉ ﻁﺮﺯ ﻓﮑﺮ ﺭﺍ ﺩﺭ ﻫﻢ ﻣﯽ ﺷﮑﻨﺪ. ﺑﻪ ﺷﻬﺎﺩﺕ ﺣﻀﺮﺕ ﺑﻬﺎءﷲ ﻓﺮﺩ ﻓﺮﺩ ﺁﺩﻣﻴﺎﻥ ﻗﺎﺩﺭ ﻧﻪ ﮐﻪ ﻣﺴﺘﻘّﻼً ﺑﻪ ﺷﻨﺎﺳﺎﺋﯽ ﭘﻴﺎﻣﺒﺮ ﮐﻪ ﻣﻈﻬﺮ ﺍﻣﺮ ﺍﻟﻬﯽ ﺍﺳﺖ ﻣﻮﻗﻦ ﺷﻮﻧﺪ ﻭ ﺩﺭ ﺍﻳﻦ ﻣﻮﺭﺩ ﻫﻴﭽﮕﻮﻧﻪ ﻧﻴﺎﺯﯼ ﺑﻪ ﻗﻀﺎﻭﺕ ﺍﺣﺪﯼ ﻧﺪﺍﺭﺩ. ﻧﻪ ﺗﻨﻬﺎ ﻫﻴﭽﮑﺲ ﺑﻪ ﻗﻀﺎﻭﺕ ﻭ ﺗﺼﺪﻳﻖ ﻫﻴﭽﮑﺲ ﺩﻳﮕﺮ ﻧﻴﺎﺯ ﻧﺪﺍﺭﺩ ﺑﻠﮑﻪ ﺑﺎﻟﻌﮑﺲ

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12/15/2016

Pazhuheshnameh ﯽ ﺟﻐﺭﺍﻓﻳﺎﯼ ﺩﻝ ﺩﺭ ﺁﺛﺎﺭ ﺑﻬﺎﺋ

ﭘﻴﺶ ﻓﺮﺽ ﺍﻭّﻝ ﺷﻨﺎﺳﺎﺋﯽ ﺣﻘﻴﻘﺖ ﺍﻋﺘﻤﺎﺩ ﺑﻪ ﻗﺪﺭﺕ ﻓﻄﺮﯼ ﻭ ﺫﺍﺗﯽ ﺧﻮﻳﺸﺘﻦ ﻭ ﻧﻔﯽ ﻫﺸﻴﺎﺭﺍﻧﮥ ﺗﻘﻠﻴﺪ ﻭ ﻋﺪﻡ ﻭﺍﺑﺴﺘﮕﯽ ﺑﻪ ﻧﻔﯽ ﻳﺎ ﺗﺼﺪﻳﻖ ﺩﻳﮕﺮﺍﻥ ﺍﺳﺖ. ﺑﻪ ﻋﺒﺎﺭﺕ ﺩﻳﮕﺮ ﺗﻄﻬﻴﺮ ﻗﻠﺐ ﻳﻌﻨﯽ ﺁﻧﮑﻪ ﺍﺯ ﻫﺮﮔﻮﻧﻪ ﭘﻴﺸﺪﺍﻭﺭﯼ ﻭ ﻅﻨﻮﻥ ﻭ ﺍﻭﻫﺎﻣﯽ ﮐﻪ ﻣﺤﺼﻮﻝ ﺗﻌﺼّﺒﻬﺎﯼ ﻗﻮﻣﯽ ﻭ ﻣﺬﻫﺒﯽ ﻭ ﻧﮋﺍﺩﯼ ﻭ ﺟﻨﺴﯽ ﻭ ﮔﺮﻭﻫﯽ ﮔﻮﻧﺎﮔﻮﻥ ﺍﺳﺖ ﺭﻫﺎﺋﯽ ﻳﺎﺑﺪ ﻭ ﺑﻪ ﻧﺤﻮ ﺁﺯﺍﺩ ﻭ ﻫﺸﻴﺎﺭ ﺩﺳﺖ ﺑﻪ ﻗﻀﺎﻭﺕ ﻣﺴﺘﻘّﻞ ﺑﺰﻧﺪ. ﺩﺭﺳﺘﯽ ﺍﻳﻦ ﻣﻄﻠﺐ ﻣﻮﻗﻌﯽ ﺁﺷﮑﺎﺭ ﻣﯽ ﺷﻮﺩ ﮐﻪ ﺗﻮﺟّﻪ ﻧﻤﺎﺋﻴﻢ ﮐﻪ ﺩﺭ ﺳﺮﺗﺎﺳﺮ ﺗﺎﺭﻳﺦ ﺍﺩﻳﺎﻥ ﻋﻠﻤﺎء ﻭ ﺭﺅﺳﺎﯼ ﻣﺬﻫﺒﯽ ﺑﺰﺭﮔﺘﺮﻳﻦ ﺩﺷﻤﻦ ﭘﻴﺎﻣﺒﺮ ﺟﺪﻳﺪ ﺑﻮﺩﻩ ﺍﻧﺪ ﻭ ﺩﺭ ﺍﻳﻦ ﻣﻮﺭﺩ ﻫﺮﮔﺰ ﺍﺳﺘﺜﻨﺎﺋﯽ ﻧﺒﻮﺩﻩ ﺍﺳﺖ. ﭘﺲ ﺩﺭ ﺁﻥ ﺻﻮﺭﺕ ﭼﮕﻮﻧﻪ ﻣﯽ ﺗﻮﺍﻥ ﺗﺤﻤّﻞ ﺧﻮﺩ ﺭﺍ ﮐﻪ ﻣﻮﻫﺒﺖ ﺍﻟﻬﯽ ﺍﺳﺖ ﮐﻨﺎﺭ ﮔﺬﺍﺭﺩ ﻭ ﺧﻮﺩ ﺭﺍ ﺫﻟﻴﻞ ﻭ ﺧﻮﺍﺭ ﻧﻤﻮﺩﻩ ﻭ ﺑﻪ ﺗﻘﻠﻴﺪ ﮐﻮﺭﮐﻮﺭﺍﻧﮥ ﺍﻭﻫﺎﻡ ﺳﻨّﺖ ﭘﺮﺳﺘﺎﻥ ﭘﺮﺩﺍﺧﺖ؟ ﺍﮐﻨﻮﻥ ﻣﯽ ﺗﻮﺍﻧﻴﻢ ﺑﻪ ﻁﻮﺭ ﻓﺸﺮﺩﻩ ﻭﻳﮋﮔﯽ ﺍﺳﺎﺳﯽ ﻣﻔﻬﻮﻡ ﺩﻝ ﺭﺍ ﺑﻌﻨﻮﺍﻥ ﻣﻘﻮﻟﻪ ﺍﯼ ﻣﻌﺮﻓﺖ ﺷﻨﺎﺳﺎﻧﻪ ﻣﻮﺭﺩ ﺑﺮﺭﺳﯽ ﻗﺮﺍﺭ ﺑﺪﻫﻴﻢ. ﺩﺭ ﻭﺍﻗﻊ ﺍﺻﻞ ﺗﻄﻬﻴﺮ ﺩﻝ ﺑﻌﻨﻮﺍﻥ ﺷﺮﻁ ﻻﺯﻡ ﺑﺮﺍﯼ ﺷﻨﺎﺳﺎﺋﯽ ﺣﻘﻴﻘﺖ ﻫﻤﺎﻥ ﺍﺻﻞ ﺷﮏ ﻣﻨﻈّﻢ ﺍﺳﺖ. ﺩﺭ ﻓﻠﺴﻔﮥ ﻏﺮﺏ ﺩﮐﺎﺭﺕ ﻓﺮﺍﻧﺴﻮﯼ ﺑﻮﺩ ﮐﻪ ﺑﺮﺍﯼ ﺩﺭﻳﺎﻓﺖ ﺣﻘﻴﻘﺖ ﺍﺯ ﺿﺮﻭﺭﺕ ﺷﮏ ﻣﻨﻈّﻢ ﺳﺨﻦ ﮔﻔﺖ. ﺑﻪ ﮔﻔﺘﮥ ﻭﯼ ﺁﺩﻣﯽ ﺑﺎﻳﺪ ﺩﺭ ﻫﺮ ﺁﻧﭽﻪ ﮐﻪ ﺩﻳﺪﻩ ﻭ ﺷﻨﻴﺪﻩ ﻭ ﺑﺎﻭﺭ ﮐﺮﺩﻩ ﻳﻌﻨﯽ ﺩﺭ ﻫﻤﮥ ﺗﺼّﻮﺭﺍﺕ ﻭ ﺑﺎﻭﺭﻫﺎﯼ ﻋﺎﺩﯼ ﺧﻮﺩ ﺷﮏّ ﻧﻤﺎﻳﺪ ﺗﺎ ﺁﻧﮑﻪ ﺑﺘﻮﺍﻧﺪ ﺑﻪ ﺣﻘﻴﻘﺘﯽ ﮐﻪ ﻏﻴﺮ ﻗﺎﺑﻞ ﺷﮏّ ﺍﺳﺖ ﺩﺳﺖ ﻳﺎﺑﯽ ﻧﻤﺎﻳﺪ. ﺭﻭﺵ ﺷﮑّﺎﮐﺎﻧﮥ ﺩﮐﺎﺭﺕ ﮐﻪ ﺩﺭ   ﺩﺭﺁﻣﺪ ﻳﻌﻨﯽ ﺁﻧﮑﻪ ﺣﻘﻴﻘﺖ (Objectivily)  ﻗﺮﻥ ﻫﻔﺪﻫﻢ ﻣﻄﺮﺡ ﮔﺮﺩﻳﺪ ﺩﺭ ﻗﺮﻧﻬﺎﯼ ﻫﺠﺪﻫﻢ ﻭ ﭘﺲ ﺍﺯ ﺁﻥ ﺑﺸﮑﻞ ﻣﻔﻬﻮﻡ ﻋﻴﻨﻴّﺖ  ﺑﻌﻨﻮﺍﻥ ﻋﺎﻣﻠﯽ ﮐﻪ ﻣﺴﺘﻘﻞ ﺍﺯ ﭘﻴﺸﺪﺍﻭﺭﻳﻬﺎﯼ ﺷﺨﺼﯽ ﻭ ﮔﺮﻭﻫﯽ ﻗﺎﺑﻞ ﺍﺛﺒﺎﺕ ﻋﻤﻮﻣﯽ ﻭ ﺗﺠﺮﺑﯽ ﺑﺎﺷﺪ ﻣﻌﺮّﻓﯽ ﮔﺮﺩﻳﺪ. ﺍﻳﻦ ﺍﻣﺮ ﺑﻨﻴﺎﻥ ﻓﻘﻪ ﺍﻟﻤﻌﺮﻓﻪ ﻋﻠﻢ ﺟﺪﻳﺪ ﺭﺍ ﺗﺸﮑﻴﻞ ﺩﺍﺩ. ﺍﻣّﺎ ﺑﺤﺚ ﺣﻀﺮﺕ ﺑﻬﺎءﷲ ﺩﺭ ﺧﺼﻮﺹ ﺩﻝ ﺍﺯ ﻣﻔﻬﻮﻡ ﺷﮏ ﺩﮐﺎﺭﺗﯽ ﻭ ﻋﻴﻨﻴّﺖ ﻋﻠﻤﯽ ﺑﻤﺮﺍﺗﺐ ﻓﺮﺍﺗﺮ ﻣﯽ ﺭﻭﺩ. ﺟﺰﺋﻴّﺎﺕ ﺍﻳﻦ ﺑﺤﺚ ﺧﺎﺭﺝ ﺍﺯ ﺣﻮﺻﻠﮥ ﺍﻳﻦ ﻣﻘﻠﮥ ﮐﻮﺗﺎﻫﺴﺖ. ﺍﻣّﺎ ﺑﺎﻳﺪ ﺑﻪ ﺍﺧﺘﺼﺎﺭ ﺧﺎﻁﺮﻧﺸﺎﻥ ﺷﺪ ﮐﻪ ﺣﻀﺮﺕ ﺑﻬﺎءﷲ ﺑﺎ ﺗﺄﮐﻴﺪِ ﺑﺮ ﺗﺮﮎ ﺗﻘﺎﻟﻴﺪ ﻭ ﺿﺮﻭﺭﻳﺎﺕ ﺗﻤﺴّﮏ ﺑﻪ ﺯﻳﻮﺭ ﺍﻧﺼﺎﻑ ﻭ ﺍﺳﺘﻘﻼﻝ ﺍﻧﺪﻳﺸﻪ ﺍﺻﻞ ﺷﮏ ﻣﻨﻈّﻢ ﺭﺍ ﻣﻮﺭﺩ ﺗﺄﻳﻴﺪ ﻗﺮﺍﺭ ﻣﯽ ﺩﻫﻨﺪ ﺍﻣّﺎ ﻧﻈﺮﮔﺎﻩ ﺣﻀﺮﺕ ﺑﻬﺎءﷲ ﺑﺎ ﻧﻈﺮﮔﺎﻩ ﺩﮐﺎﺭﺕ ﻳﺎ ﻓﻠﺴﻔﮥ ﺭﻭﺷﻨﮕﺮﯼ ﻗﺮﻥ ﻫﺠﺪﻫﻢ ﻭ ﻣﻔﻬﻮﻡ ﻋﻴﻨﻴّﺖ ﮔﺮﺍﺋﯽ ﺁﻥ ﺯﻣﻴﻦ ﺗﺎ ﺑﻪ ﺁﺳﻤﺎﻥ ﻓﺎﺻﻠﻪ ﺩﺍﺭﺩ. ﺑﺪﻳﻦ ﺗﺮﺗﻴﺐ ﮐﻪ ﺍﮔﺮ ﭼﻪ ﺷﮏّ ﻻﺯﻣﮥ ﺷﻨﺎﺳﺎﺋﯽ ﺣﻘﻴﻘﺖ ﺍﺳﺖ ﺍﻣّﺎ ﺷﺮﻁ ﮐﺎﻓﯽ ﺳﻠﻮﮎ ﺧﻼّﻕ ﻧﻴﺴﺖ. ﺗﻔﺎﻭﺕ ﺭﺍ ﻣﯽ ﺗﻮﺍﻥ ﺩﺭ ﻣﻔﻬﻮﻡ ﻓﺎﻋﻞ ﺷﻨﺎﺳﺎﺋﯽ ﺟﺴﺘﺠﻮ ﻧﻤﻮﺩ. ﺑﺪﻳﻦ ﺗﺮﺗﻴﺐ ﮐﻪ ﻓﺎﻋﻞ ﺷﻨﺎﺳﺎﺋﯽ ﻳﻌﻨﯽ ﺫﻫﻴﻨﻴّﺘﯽ ﮐﻪ ﻣﺸﻐﻮﻝ ﺷﮏّ ﻣﯽ ﺷﻮﺩ ﺩﺭ ﺍﻧﺪﻳﺸﮥ ﻓﻠﺴﻔﮥ ﺭﻭﺷﻨﮕﺮﺍﺋﯽ ﺍﺳﺎﺳﺎً ﺩﺳﺘﮕﺎﻫﯽ ﺍﺳﺖ ﻣﻨﻄﻘﯽ ﺑﺪﻭﻥ ﺁﻧﮑﻪ ﻧﺸﺎﻧﯽ ﺍﺯ ﺩﻳﮕﺮ ﺟﻮﺍﻧﺐ ﺧﻼّﻕ ﻭﺟﻮﺩ ﺁﺩﻣﯽ ﺩﺭ ﺍﻭ ﭘﻴﺪﺍ ﺷﻮﺩ. ﺍﻣّﺎ ﺩﺭ ﺍﻧﺪﻳﺸﮥ ﺣﻀﺮﺕ ﺑﻬﺎءﷲ ﺍﮔﺮ ﭼﻪ ﻓﺎﻋﻞ ﺷﻨﺎﺳﺎﺋﯽ ﺑﺎﻳﺪ ﺩﺳﺖ ﺑﻪ ﺷﮏّ ﻣﻨﻈﻢ ﺯﻧﺪ ﻭ ﺍﺯ ﻫﺮ ﮔﻮﻧﻪ ﺩﺍﻡ ﺗﻘﻠﻴﺪ ﺭﻫﺎﺋﯽ ﻳﺎﺑﺪ ﺍﻣّﺎ ﺍﻳﻦ ﻓﺎﻋﻞ ﺻﺮﻓﺎً ﺩﺳﺘﮕﺎﻫﯽ ﻣﻨﻄﻘﯽ ﻭ ﺍﺑﺰﺍﺭﯼ ﺫﻫﻨﯽ ﻧﻴﺴﺖ ﺑﺎﻟﻌﮑﺲ ﻓﺎﻋﻞ ﺷﻨﺎﺳﺎﺋﯽ ﺍﺯ ﻧﻘﻄﻪ ﻧﻈﺮ ﺣﻀﺮﺕ ﺑﻬﺎءﷲ ﺗﺤﻘﻖ ﻭ ﺗﺒﻠﻮﺭ ﻫﻤﮥ ﺟﻮﺍﻧﺐ ﺁﻓﺮﻳﻨﻨﺪﮤ ﻭﺟﻮﺩ ﺁﺩﻣﯽ ﺍﺳﺖ. ﻳﻌﻨﯽ ﺁﻧﮑﻪ ﻓﺎﻋﻞ ﺷﻨﺎﺳﺎﺋﯽ ﮐﻪ ﺑﻪ ﺳﻠﻮﮎ ﺭﻭﺣﺎﻧﯽ ﻣﯽ ﭘﺮﺩﺍﺯﺩ ﻭ ﻗﺼّﮥ ﺭﺳﻴﺪﻥ ﺑﻪ ﺣﻘﻴﻘﺖ ﺭﺍﺳﺘﻴﻦ ﻫﺴﺘﯽ ﺭﺍ ﻣﯽ ﮐﻨﺪ ﺑﺎﻳﺪ ﮐﻪ ﻧﻪ ﺗﻨﻬﺎ ﺑﻪ ﺯﻳﻮﺭ ﺧﺮﺩ ﻭ ﻣﻨﻄﻖ ﺁﺭﺍﺳﺘﻪ ﺑﺎﺷﺪ ﺑﻠﮑﻪ ﺑﺎﻳﺪ ﺩﺭ ﻋﻴﻦ ﺣﺎﻝ ﺑﻪ ﻁﺮﺍﺯ ﺍﺧﻼﻕ ﺭﻭﺣﺎﻧﯽ ﻭ ﻋﺸﻖ ﻭ ﻣﺤﺒّﺖ ﻋﻤﻮﻣﯽ ﻧﻴﺰ ﻣﺰﻳّﻦ ﺑﺎﺷﺪ. ﺩﺭ ﺍﻳﻨﺼﻮﺭﺕ ﺍﻳﻦ ﺫﻫﻦ ﺷﻨﺎﺳﻨﺪﻩ ﻭﺣﺪﺗﯽ ﺍﺯ ﺧﺮﺩ ﻭ ﻋﺸﻖ ﻋﻤﻮﻣﯽ ﻭ ﺍﺧﻼﻕ ﮐﻠّﯽ ﺍﺳﺖ. ﭼﻨﻴﻦ ﺫﻫﻨﯽ ﺑﺎ ﭘﺮﺩﺍﺧﺘﻦ ﺑﻪ ﺷﮏّ ﻣﻨﻈﻢ ﻗﺎﺩﺭﺳﺖ ﮐﻪ ﺑﻪ ﺣﻘﻴﻘﺖ ﺭﻭﺣﺎﻧﯽ ﻧﺎﺋﻞ ﺷﻮﺩ. ﺍﻳﻨﺠﺎﺳﺖ ﮐﻪ ﺣﻀﺮﺕ ﺑﻬﺎءﷲ ﺍﺯ ﺷﺮﺍﻳﻂ ﺍﺧﻼﻗﯽ ﺳﻠﻮﮎ ﺳﺨﻦ ﻣﯽ ﮔﻮﻳﻨﺪ. ﺍﺯ ﻧﻘﻄﻪ ﻧﻈﺮ ﺣﻀﺮﺕ ﺑﻬﺎءﷲ ﺳﺎﻟﮏ ﺣﻘﻴﻘﺖ ﺑﺎﻳﺪ ﺑﻪ ﺯﻳﻮﺭ ﺍﻧﺼﺎﻑ ﻭ ﺍﺳﺘﻘﻼﻝ ﺁﺭﺍﺳﺘﻪ ﮔﺮﺩﺩ ﻭ ﺑﺎﻳﺪ ﺍﺯ ﻫﺮﮔﻮﻧﻪ ﺣﺐ ﻭ ﺑﻐﻀﯽ ﻓﺎﺭﻍ ﺷﻮﺩ ﮐﻪ ﻣﺒﺎﺩﺍ ﺁﻥ ﺣﺐ ﺑﺨﺼﻮﺹ ﻳﺎ ﺁﻥ ﺑﻐﺾ ﺑﺨﺼﻮﺹ ﻣﺎﻧﻊ ﺷﻨﺎﺳﺎﺋﯽ ﺣﻘﻴﻘﺖ ﺑﺸﻮﺩ. ﺍﻣّﺎ ﺍﮔﺮ ﭼﻪ ﻫﺮﮔﻮﻧﻪ ﺣﺐ ﻭ ﺑﻐﻀﯽ ﻧﺴﺒﺖ ﺑﻪ ﻫﺮﮔﻮﻧﻪ ﻋﻘﻴﺪﻩ ﻭ ﻧﻈﺮ ﮔﺮﻭﻩ ﺧﺎﺻﯽ ﺭﺍ ﺑﺎﻳﺪ ﺗﺮﮎ ﮐﺮﺩ ﻭ ﺍﺯ ﻫﺮ ﻧﻮﻉ ﭘﻴﺸﺪﺍﻭﺭﯼ ﺑﺎﻳﺪ ﺑﺮﺣﺬﺭ ﺷﺪ ﺍﻣّﺎ ﺩﺭ ﻋﻴﻦ ﺣﺎﻝ ﺍﻳﻦ ﺷﮏّ ﻭ ﺍﻧﺼﺎﻑ ﺑﺎﻳﺪ ﺑﺎ ﻋﺸﻖ ﻭ ﺣﺒّﯽ ﻋﺎﻡ ﻭ ﮐﻠﯽ ﻧﺴﺒﺖ ﺑﻪ ﻫﻤﮥ ﻫﺴﺘﯽ ﻫﻤﺮﺍﻩ ﮔﺮﺩﺩ. ﺩﺭ ﻧﺘﻴﺠﻪ ﺍﻳﻦ ﻣﺤﺒّﺖ ﻋﺎﻡ ﺑﻪ ﺧﺪﺍ ﻭ ﺧﻠﻖ ﺍﻭ ﺑﺎﻳﺪ ﺑﺎ ﺗﻤﺴّﮏ ﺑﻪ ﺍﺻﻮﻝ ﮐﻠّﯽ ﻭ ﻋﻤﻮﻣﯽ ﺍﺧﻼﻗﯽ ﻧﻴﺰ ﻫﻤﺮﺍﻫﯽ ﺷﻮﺩ. ﺩﺭ ﭼﻨﻴﻦ ﺷﺮﺍﻳﻄﯽ ﺍﺳﺖ ﮐﻪ ﺁﻳﻨﮥ ﭘﺎﮎ ﺩﻝ ﺟﻠﻮﻩ ﮔﺮ ﻧﻮﺭ ﺯﻳﺒﺎﯼ ﺣﻘﻴﻘﺖ ﺍﻟﻬﯽ ﻣﯽ ﮔﺮﺩﺩ. ﻧﻈﺮﮔﺎﻩ ﺑﯽ ﻧﻈﻴﺮ ﺣﻀﺮﺕ ﺑﻬﺎءﷲ ﺩﺭﻳﭽﮥ ﻧﻮﻳﻨﯽ ﺩﺭ ﻣﻘﺎﺑﻞ ﭼﺸﻤﺎﻥ ﺁﺩﻣﻴﺎﻥ ﻣﯽ ﮔﺸﺎﻳﺪ ﻭ ﻫﺮ ﺁﻧﭽﻪ ﺭﺍ ﮐﻪ ﺩﺭ ﻓﻠﺴﻔﮥ ﺷﺮﻕ ﻭ ﻏﺮﺏ ﻣﺜﺒﺖ ﻭ ﺳﺎﺯﻧﺪﻩ ﺍﺳﺖ ﺩﺭ ﭘﺮﺗﻮ ﭼﺎﺭﭼﻮﺑﯽ ﺑﺪﻳﻊ ﻭ ﺧﻼّﻕ ﺑﻪ ﻳﮑﺪﻳﮕﺮ ﭘﻴﻮﻧﺪ ﻣﯽ ﺩﻫﺪ. ﻧﺘﻴﺠﮥ ﻧﻈﺮﻳّﻪ ﺍﯼ ﺍﺳﺖ ﮐﻪ ﻋﺮﻓﺎﻥ ﺷﺮﻕ ﻭ ﭘﺪﻳﺪﺍﺭﺷﻨﺎﺳﯽ ﻫﻮﺳﺮﻝ ﻳﺎ ﺷﮏ ﺩﮐﺎﺭﺗﯽ ﻏﺮﺑﯽ ﺭﺍ ﺑﻪ ﻫﻢ ﻣﯽ ﺁﻣﻴﺰﺩ ﻭ ﺍﺯ ﻫﺮ ﺩﻭ ﻓﺮﺍﺗﺮ ﻣﯽ ﺭﻭﺩ. ﺍﺯ ﺍﻳﻨﺠﺎﺳﺖ ﮐﻪ ﻣﯽ ﺗﻮﺍﻥ ﻓﻬﻤﻴﺪ ﭼﺮﺍ ﺣﻀﺮﺕ ﺑﻬﺎءﷲ ﺩﺭ ﺳﺮﺗﺎﺳﺮ ﺁﺛﺎﺭ ﺧﻮﻳﺶ ﺩﺭ ﺑﺤﺚ ﺷﺮﺍﻳﻂ ﺳﻠﻮﮎ ﺍﺯ ﺿﺮﻭﺭﺕ ﺧﻀﻮﻉ ﻭ ﺧﺸﻮﻉ٬ ﻣﺤﺒّﺖ ﺑﻪ ﻫﻤﮥ ﻋﺎﻟﻢ ﺍﻧﺴﺎﻧﯽ٬ ﺭﺣﻢ ﺑﻪ ﺣﻴﻮﺍﻧﺎﺕ ﻭ ﻣﺤﺒّﺖ ﷲ ﺳﺨﻦ ﻣﯽ ﮔﻮﻳﻨﺪ. ﺑﻪ ﻋﻨﻮﺍﻥ ﻣﺜﺎﻝ ﺑﻪ ﻳﮏ ﺑﻴﺎﻥ ﺩﺭ ﻣﻮﺭﺩ ﺩﻝ ﺑﻪ ﻋﻨﻮﺍﻥ ﺍﺻﻠﯽ ﻣﻌﺮﻓﺖ ﺷﻨﺎﺳﯽ ﺩﺭ ﮐﺘﺎﺏ ﺍﻳﻘﺎﻥ ﺍﮐﺘﻔﺎء ﻣﯽ ﮔﺮﺩﺩ. ﺍﯼ ﺑﺮﺍﺩﺭ ﻣﻦ٬ ﺷﺨﺺ ﻣﺠﺎﻫﺪ ﮐﻪ ﺍﺭﺍﺩﻩ ﻧﻤﻮﺩ ﻗﺪﻡ ﻁﻠﺐ ﻭ ﺳﻠﻮﮎ ﺩﺭ ﺳﺒﻴﻞ ﻣﻌﺮﻓﺖ ﺳﻠﻄﺎﻥ ﻗﺪﻡ ﮔﺬﺍﺭﺩ ﺑﺎﻳﺪ ﺩﺭ ﺑﺪﺍﻳﺖ ﺍﻣﺮ ﻗﻠﺐ ﺭﺍ ﮐﻪ ﻣﺤﻞّ ﻅﻬﻮﺭ ﻭ ﺑﺮﻭﺯ ﺗﺠﻠّﯽ ﺍﺳﺮﺍﺭ ﻏﻴﺒﯽ ﺍﻟﻬﯽ ﺍﺳﺖ ﺍﺯ ﺟﻤﻴﻊ ﻏﺒﺎﺭﺍﺕ ﺗﻴﺮﮤ ﻋﻠﻮﻡ ﺍﮐﺘﺴﺎﺑﯽ ﻭ ﺍﺷﺎﺭﺍﺕ ﻣﻈﺎﻫﺮ ﺷﻴﻄﺎﻧﯽ ﭘﺎﮎ ﻭ ﻣﻨﺰّﻩ ﻓﺮﻣﺎﻳﺪ ﻭ ﺻﺪﺭ ﺭﺍ ﮐﻪ ﺳﺮﻳﺮ  ﻭﺭﻭﺩ ﻭ ﺟﻠﻮﺱ ﻣﺤﺒّﺖ ﻣﺤﺒﻮﺏ ﺍﺯﻟﯽ ﺍﺳﺖ ﻟﻄﻴﻒ ﻭ ﻧﻈﻴﻒ ﻧﻤﺎﻳﺪ ﻭ ﻫﻤﭽﻨﻴﻦ ﺩﻝ ﺭﺍ ﺍﺯ ﻋﻼﻗﮥ ﺁﺏ ﻭ ﮔﻞ ﻳﻌﻨﯽ ﺍﺯ ﺟﻤﻴﻊ ﻧﻘﻮﺵ ﺷﺒﺤﻴّﻪ ﻭ ﺻﻮﺭ ﻅﻠﻴّﻪ ﻣﻘﺪّﺱ ﮔﺮﺩﺍﻧﺪ ﺑﻪ ﻗﺴﻤﯽ ﮐﻪ ﺁﺛﺎﺭ ﺣﺐ ﻭ ﺑﻐﺾ ﺩﺭ ﻗﻠﺐ ﻧﻤﺎﻧﺪ ﮐﻪ ﻣﺒﺎﺩﺍ ﺁﻥ ﺣﺐّ ﺍﻭ ﺭﺍ ﺑﻪ ﺟﻬﺘﯽ ﺑﯽ ﺩﻟﻴﻞ ﻧﻴﻞ ﺩﻫﺪ ﻭ ﻳﺎ ﺑﻐﺾ ﺍﻭ ﺭﺍ ﺍﺯ ﺟﻬﺘﯽ ﻣﻨﻊ ﻧﻤﺎﻳﺪ... ﻭ ﺑﺎﻳﺪ ﺩﺭ ﮐﻞّ ﺣﻴﻦ ﺗﻮﮐّﻞ ﺑﻪ ﺣﻖّ ﻧﻤﺎﻳﺪ... ﻭ ﻧﻔﺲ ﺧﻮﺩ ﺭﺍ ﺑﺮ ﺍﺣﺪﯼ

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12/15/2016

Pazhuheshnameh ﯽ ﺟﻐﺭﺍﻓﻳﺎﯼ ﺩﻝ ﺩﺭ ﺁﺛﺎﺭ ﺑﻬﺎﺋ

http://www.pazhuheshnameh.org/index2.php?option=com_content&task=view&id=291&pop=1&page=0&Itemid=139 ﻧﺘﻴﺠﮥ ﺍﻳﻦ ﺍﻣﺮ ﺍﻳﻨﺴﺘﮑﻪ ﺷﻬﺮ ﺩﻝ ﺷﻬﺮ ﻣﺤﺒّﺖ ﻭ ﺍﺗّﺤﺎﺩ ﺍﺳﺖ٬ ﺷﻬﺮﯼ ﺍﺳﺖ ﮐﻪ ﺗﺒﻌﻴﺾ ﻭ ﺍﺧﺘﻼﻑ ﻭ ﮐﻴﻨﻪ ﻭ ﻧﻔﺎﻕ ﺭﺍ ﺩﺭ ﺁﻥ ﺭﺍﻫﯽ ﻧﻴﺴﺖ. ﺷﻬﺮﯼ ﺍﺳﺖ ﮐﻪ ﻁﺒﻴﻌﺖ ﻭ ﺁﺩﻣﯽ ﻫﺮﺩﻭ ﻣﻘﺪّﺱ ﻭ ﻋﺰﻳﺰ ﺗﻠﻘّﯽ ﻣﻴﮕﺮﺩﻧﺪ ﻫﻤﮥ ﺁﺩﻣﻴﺎﻥ ﺑﻌﻨﻮﺍﻥ ﺻﻮﺭﺕ ﻭ ﻣﺜﺎﻝ ﺧﺪﺍ ﺷﮑﻮﻫﻤﻨﺪ ﻭ ﺯﻳﺒﺎ ﻭ ﺟﻠﻴﻞ ﺗﻌﺮﻳﻒ ﻣﯽ ﺷﻮﻧﺪ. ﺩﺭ ﻧﺘﻴﺠﻪ ﺷﻬﺮ ﺩﻝ ﺍﻧﻌﮑﺎﺱ ﻭﺣﺪﺕ ﺣﻖّ ﺩﺭ ﻋﺎﻟﻢ ﺧﻠﻖ ﻭ ﻅﻬﻮﺭ ﻓﺮﻫﻨﮓ ﻭﺣﺪﺕ ﻋﺎﻟﻢ ﺍﻧﺴﺎﻧﯽ ﺍﺳﺖ. ﺍﻣّﺎ ﻅﻬﻮﺭ ﺗﺠﻠّﯽ ﺍﻟﻬﯽ ﺩﺭ ﻋﺎﻟﻢ ﭘﺪﻳﺪﺍﺭﻫﺎ ﻭ ﻓﻨﻮﻣﻦ ﻫﺎ ﺍﻣﺮﯼ ﺗﺎﺭﻳﺨﯽ ﻭ ﻭﻗﻔﻪ ﻧﺎﭘﺬﻳﺮ ﺍﺳﺖ. ﺍﺯ ﺍﻳﻨﺠﺎﺳﺖ ﮐﻪ ﻣﻔﻬﻮﻡ ﺩﻝ ﺩﺭ ﺁﺛﺎﺭ ﺑﻬﺎﺋﯽ ﺩﺳﺘﺨﻮﺵ ﺗﺤﻮّﻟﯽ ﻫﻤﻪ ﺟﺎﻧﺒﻪ ﻣﯽ ﺷﻮﺩ.  ﭼﻮﻥ ﺷﻬﺮ ﺩﻝ ﻧﻪ ﺷﻬﺮ ﺫﺍﺕ ﺧﺪﺍ ﺑﻠﮑﻪ ﺷﻬﺮ ﺟﻠﻮﮤ ﺗﺠﻠّﯽ ﺍﻟﻬﯽ ﺍﺳﺖ ﻭ ﺍﻳﻦ ﺗﺠﻠّﯽ ﺑﺮ ﻁﺒﻖ ﻣﻘﺘﻀﻴﺎﺕ ﺗﮑﺎﻣﻞ ﺧﻠﻖ ﻭ ﺗﮑﺎﻣﻞ ﺗﺎﺭﻳﺦ ﺍﻭّﻻً  ﺗﺮﺟﻴﺢ ﻧﺪﻫﺪ ﻭ ﺍﻓﺘﺨﺎﺭ ﻭ ﺍﺳﺘﮑﺒﺎﺭ ﺭﺍ ﺍﺯ ﻟﻮﺡ ﻗﻠﺐ ﺑﺸﻮﻳﺪ... ﻭ ﻏﻴﺒﺖ ﺭﺍ ﺿﻼﻟﺖ ﺷﻤﺮﺩ ﻭ ﺑﻪ ﺁﻥ ﻋﺮﺻﻪ ﻫﺮﮔﺰ ﻗﺪﻡ ﻧﮕﺬﺍﺭﺩ... ﺑﻪ ﻗﻠﻴﻞ ﻗﺎﻧﻊ ﺑﺎﺷﺪ ﻭ ﺍﺯ ﻁﻠﺐ ﮐﺜﻴﺮ ﻓﺎﺭﻍ... ﻏﻔﻠﺖ ﺭﺍ ﺑﻪ ﻧﺎﺭ ﺣﺐ ﻭ ﺫﮐﺮ ﺑﺴﻮﺯﺍﻧﺪ ﻭ ﺍﺯ ﻣﺎﺳﻮﯼ ﷲ ﭼﻮﻥ ﺑﺮﻕ ﺩﺭﮔﺬﺭﺩ ﻭ ﺑﺮ ﺑﯽ ﻧﺼﻴﺒﺎﻥ ﻧﺼﻴﺐ ﺑﺨﺸﺪ ﻭ ﺍﺯ ﻣﺤﺮﻭﻣﺎﻥ ﻋﻄﺎ ﻭﺍ ﺣﺴﺎﻥ ﺩﺭﻳﻎ ﻧﺪﺍﺭﺩ. ﺭﻋﺎﻳﺖ ﺣﻴﻮﺍﻥ ﺭﺍ ﻣﻨﻈﻮﺭ ﻧﻤﺎﻳﺪ ﺗﺎ ﭼﻪ ﺭﺳﺪ ﺑﻪ ﺍﻧﺴﺎﻥ... ﻭ ﺁﻧﭽﻪ ﺑﺮﺍﯼ ﺧﻮﺩ ﻧﻤﯽ ﭘﺴﻨﺪﺩ ﺑﺮﺍﯼ ﻏﻴﺮ ﻧﭙﺴﻨﺪﺩ ﻭ ﻧﮕﻮﻳﺪ ﺁﻧﭽﻪ ﺭﺍ ﻭﻓﺎ ﻧﮑﻨﺪ... ﻭ ﺑﺮ ﻋﺎﺻﻴﺎﻥ ﻗﻠﻢ ﻋﻔﻮ ﺩﺭﮐﺸﺪ ﻭ ﺑﻪ ﺣﻘﺎﺭﺕ ﻧﻨﮕﺮﺩ ﺯﻳﺮﺍ ﺣﺴﻦ  .(5) ﺧﺎﺗﻤﻪ ﻣﺠﻬﻮﻝ ﺍﺳﺖ  – ﺷﻬﺮ ﺩﻝ ﺷﻬﺮ ﻭﺣﺪﺕ ﻭ ﻅﻬﻮﺭ 2 ﭼﻨﺎﻧﮑﻪ ﺩﻳﺪﻳﻢ ﻣﻔﻬﻮﻡ ﺩﻝ ﺩﺭ ﺁﺛﺎﺭ ﺣﻀﺮﺕ ﺑﻬﺎءﷲ ﺭﻭﺵ ﺭﺳﻴﺪﻥ ﺑﻪ ﺣﻘﻴﻘﺖ ﻭ ﺟﺎﺩّﮤ ﻭﺻﻮﻝ ﺑﻪ ﻣﻘﺼﺪ ﺭﺍﺳﺘﻴﻦ ﺭﺍ ﺗﺸﮑﻴﻞ ﺩﺍﺩ. ﺍﻣّﺎ ﺁﺛﺎﺭ ﺍﻣﺮ ﺑﻬﺎﺋﯽ ﻣﻔﻬﻮﻡ ﺩﻝ ﺭﺍ ﺑﻌﻨﻮﺍﻥ ﺧﻮﺩ ﺣﻘﻴﻘﺖ ﻭ ﺧﻮﺩ ﻣﻘﺼﻮﺩ ﻧﻴﺰ ﻣﻌﺮّﻓﯽ ﻣﯽ ﻧﻤﺎﻳﺪ. ﺑﻪ ﻋﺒﺎﺭﺕ ﺩﻳﮕﺮ ﺷﻬﺮ ﺩﻝ ﺷﻬﺮ ﻧﻴﻞ ﺑﻪ ﺣﻘﻴﻘﺖ ﺭﺍﺳﺘﻴﻦ ﺍﺳﺖ. ﺑﺪﻳﻦ ﺗﺮﺗﻴﺐ ﺍﺻﻞ ﺩﻝ ﻧﻪ ﺗﻨﻬﺎ ﺍﺻﻠﯽ ﻣﻌﺮﻓﺖ ﺷﻨﺎﺳﺎﻧﻪ ﺑﻠﮑﻪ ﺍﺻﻞ ﺍﺳﺎﺳـﯽ ﻫﺴﺘﯽ ﺷﻨﺎﺳﯽ ﺍﻣﺮ ﺑﻬﺎﺋﯽ ﺍﺳﺖ. ﻫﺴﺘﮥ ﺍﻳﻦ ﺍﻧﺪﻳﺸﻪ ﺩﺭ ﻫﻤﮥ ﮐﺘﺐ ﺁﺳﻤﺎﻧﯽ ﻣﻮﺟﻮﺩﺳﺖ. ﺗﻮﺭﺍﺕ ﻣﻘﺪّﺱ ﺍﺯ ﺁﺩﻣﯽ ﺑﻪ ﻋﻨﻮﺍﻥ ﺻﻮﺭﺕ ﻭ ﻣﺜﺎﻝ ﺧﺪﺍ ﺳﺨﻦ ﻣﯽ ﮔﻮﻳﺪ ﻭ ﺍﻧﺠﻴﻞ ﻣﺒﺎﺭﮎ ﺍﺯ ﺣﻀﻮﺭ ﻣﻠﮑﻮﺕ ﺍﻟﻬﯽ ﺩﺭ ﺩﺭﻭﻥ ﺍﻧﺴﺎﻥ ﺧﺒﺮ ﻣﯽ ﺩﻫﺪ ﻭ ﺍﺣﺎﺩﻳﺚ ﻗﺪﺳﯽ ﺍﺳﻼﻣﯽ ﻧﻴﺰ ﺟﺎﻳﮕﺰﻳﻦ ﺧﺪﺍﻭﻧﺪ ﺩﺭ ﻗﻠﺐ ﻋﺒﺪ ﻣﺆﻣﻦ ﺭﺍ ﺍﻋﻼﻥ ﻣﯽ ﻧﻤﺎﻳﺪ. ﺍﻣّﺎ ﺑﻪ ﺍﺯﺍﯼ ﺗﮑﺎﻣﻞ ﺭﻭﺣﺎﻧﯽ ﺁﺩﻣﻴﺎﻥ ﺍﻳﻦ ﺍﺻﻞ ﺩﺭ ﺁﺛﺎﺭ ﺣﻀﺮﺕ ﺑﺎﺏ ﻭ ﺣﻀﺮﺕ ﺑﻬﺎءﺍﻟﻠﻠﻪ ﺑﻪ ﺷﮑﻠﻬﺎﯼ ﻧﻮﻳﻨﯽ ﻅﺎﻫﺮ ﻣﯽ ﮔﺮﺩﻧﺪ. ﺩﺭ ﺗﺄﻳﻴﺪ ﻫﺴﺘﮥ ﻋﺮﻓﺎﻧﯽ ﻫﻤﮥ ﮐﺘﺐ ﺁﺳﻤﺎﻧﯽ ﺣﻀﺮﺕ ﺑﻬﺎءﷲ ﺩﺭ ﮐﻠﻤﺎﺕ ﻣﮑﻨﻮﻧﻪ ﻣﯽ ﻓﺮﻣﺎﻳﻨﺪ: ﻳﺎ ﺍﺑﻦ ﺍﻟﻮﺟﻮﺩ .(6) ﻓﺆﺍﺩﮎ ﻣﻨﺰﻟﯽ ﻗﺪّﺳﻪ ﻟﻨﺰﻭﻟﯽ ﻭ ﺭﻭﺣﮑﻢ ﻣﻨﻈﺮﯼ ﻁﻬّﺮﻫﺎ ﻅﻬﻮﺭﯼ )ﺑﺪﻳﻦ ﻣﻀﻤﻮﻥ ﮐﻪ ﺍﯼ ﭘﺴﺮ ﻫﺴﺘﯽ٬ ﺩﻝ ﺗﻮ ﺧﺎﻧﮥ ﻣﻦ ﺍﺳﺖ ﭘﺲ ﺁﻧﺮﺍ ﺑﺮﺍﯼ ﻧﺰﻭﻝ ﻣﻦ ﭘﺎﮎ ﮐﻦ ﻭ ﺭﻭﺡ ﺗﻮ ﻣﻨﻈﺮ ﻣﻦ ﺍﺳﺖ ﭘﺲ ﺁﻧﺮﺍ ﺑﺮﺍﯼ ﻅﻬﻮﺭﻡ ﺗﻄﻬﻴﺮ ﮐﻦ( ﺍﻣّﺎ ﺍﺯ ﺍﻳﻨﮑﻪ ﺁﺩﻣﯽ ﺻﻮﺭﺕ ﻭ ﻣﺜﺎﻝ ﺧﺪﺍﺳﺖ ﻳﺎ ﺁﻧﮑﻪ ﺩﺭ ﺁﺩﻣﯽ ﻋﺮﺵ ﺧﺪﺍﺳﺖ ﻫﺮﮔﺰ ﻧﺒﺎﻳﺪ ﺗﺼﻮّﺭ ﺣﻠﻮﻝ ﻭ ﻧﺰﻭﻝ ﻭ ﺗﺠﺴّﻢ ﻭ ﺗﺠﺴّﺪ ﺫﺍﺕ ﺍﻟﻬﯽ ﺭﺍ ﻧﻤﻮﺩ. ﺍﻣﺮ ﺑﻬﺎﺋﯽ ﺑﻴﺶ ﺍﺯ ﻫﺮ ﺩﻳﺎﻧﺘﯽ ﺑﺮ ﺗﻘﺪﻳﺲ ﻭ ﺗﻨﺰﻳﻪ ﻣﻄﻠﻖ ﺫﺍﺕ ﺧﺪﺍﻭﻧﺪ ﺗﺄﮐﻴﺪ ﻧﻤﻮﺩﻩ ﺍﺳﺖ ﻭﺑﺎ ﻫﺮﮔﻮﻧﻪ ﺗﻮﻫّﻢ ﻭﺣﺪﺕ ﺧﻠﻖ ﻭ ﺣﻖّ ﻗﺎﻁﻌﺎﻧﻪ ﻣﺨﺎﻟﻔﺖ ﻣﯽ ﻭﺭﺯﺩ. ﺩﺭ ﻧﻈﺮﮔﺎﻩ ﺍﻣﺮ ﺑﻬﺎﺋﯽ ﺫﺍﺕ ﺧﺪﺍﻭﻧﺪ٬ ﻏﻴﺐ ﻣﻨﻴﻊ ﻻﻳﺪﺭﮎ ﺍﺳﺖ ﻳﻌﻨﯽ ﻏﻴﺐ ﺍﺳﺖ ﻭ ﺍﺯ ﭼﺸﻢ ﺧﻠﻖ ﭘﻨﻬﺎﻥ ﺍﺳﺖ٬ ﻣﻨﻴﻊ ﺍﺳﺖ ﻭ ﺷﻨﺎﺳﺎﺋﯽ ﺍﻭ ﺑﺮﺍﯼ ﺁﺩﻣﻴﺎﻥ ﻣﻤﺘﻨﻊ ﺍﺳﺖ ﻭ ﻻﻳﺪﺭﮎ ﺍﺳﺖ ﻭ ﺭﺍﻫﯽ ﺑﻪ ﺣﻘﻴﻘﺖ ﺣﻖّ ﻧﻴﺴﺖ. ﺑﺪﻳﻦ ﺟﻬﺖ ﺍﺳﺖ ﮐﻪ ﺍﺯ ﻧﻘﻄﻪ ﻧﻈﺮ ﺁﺛﺎﺭ ﺑﻬﺎﺋﯽ ﺭﺳﻴﺪﻥ ﺑﻪ ﺷﻬﺮ ﺩﻝ ﻳﻌﻨﯽ ﺭﺳﻴﺪﻥ ﺑﻪ ﺣﻘﻴﻘﺖ ﺭﺍﺳﺘﻴﻦ ﺑﻬﻴﭽﻮﺟﻪ ﺭﺳﻴﺪﻥ ﺑﻪ ﺫﺍﺕ ﺧﺪﺍ ﻳﺎ ﺍﺩﺭﺍﮎ ﺫﺍﺕ ﺍﻟﻬﯽ ﻧﺒﻮﺩﻩ ﻭ ﻧﻴﺴﺖ. ﺑﺎﻟﻌﮑﺲ ﻣﺮﺍﺩ ﺍﺯ ﺣﻘﻴﻘﺖ ﺭﺍﺳﺘﻴﻦ ﺁﻥ ﺣﻘﻴﻘﺘﯽ ﺍﺳﺖ ﮐﻪ ﺩﺭ ﺳﻄﺢ ﻋﺎﻟﻢ ﻣﺨﻠﻮﻕ ﻗﺎﺑﻞ ﺍﺩﺭﺍﮎ ﻭ ﻣﺸﺎﻫﺪﻩ ﺍﺳﺖ. ﺍﻣّﺎ ﺍﻭﺝ ﺷﻨﺎﺳﺎﺋﯽ ﺁﺩﻣﯽ ﺑﻪ ﺟﻠﻮﻩ ﻭ ﻅﻬﻮﺭ ﺣﻖّ ﺩﺭ ﻋﺎﻟﻢ ﺧﻠﻖ ﻣﺮﺗﺒﻂ ﻣﯽ ﮔﺮﺩﺩ. ﺑﺪﻳﻦ ﺗﺮﺗﻴﺐ ﺷﻬﺮ ﺩﻝ ﮐﻪ ﻋﺮﺵ ﺧﺪﺍﺳﺖ ﻣﻨﺰﻝ ﻭ ﻋﺮﺵ ﺗﺠﻠّﯽ ﺧﺪﺍﻭﻧﺪ ﺩﺭ ﺟﻬﺎﻥ ﺷﻬﻮﺩ ﺍﺳﺖ ﻭ ﻧﻪ ﻣﻨﺰﻝ ﻭ ﻋﺮﺵ ﺫﺍﺕ ﺧﺪﺍﻭﻧﺪ. ﺍﮐﻨﻮﻥ ﻣﯽ ﺗﻮﺍﻧﻴﻢ ﺑﻪ ﻧﺤﻮ ﻣﺨﺼﺘﺮ ﺑﻪ ﻭﻳﮋﮔﻴﻬﺎﯼ ﺍﺳﺎﺳﯽ ﺷﻬﺮ ﺩﻝ ﺍﺷﺎﺭﻩ ﮐﻨﻴﻢ. ﺷﻬﺮ ﺩﻝ ﺷﻬﺮ ﻭﺣﺪﺕ ﺍﺳﺖ ﭼﺮﺍ ﮐﻪ ﺍﻳﻦ ﺷﻬﺮ ﺑﻪ ﺻﺮﻑ ﺗﺠﻠّﯽ ﻁﻠﻌﺖ ﺍﻟﻬﯽ ﻣﺮﺗﺒﻂ ﺍﺳﺖ. ﺷﻬﺮ ﺩﻝ ﺷﻬﺮ ﺁﻳﻨﻪ ﻫﺎﯼ ﺭﻧﮕﺎﺭﻧﮕﯽ ﺍﺳﺖ ﮐﻪ ﺩﺭ ﺁﻥ ﺁﻳﻨﻪ ﻫﺎ ﺟﺰ ﺗﺠﻠّﯽ ﺧﺪﺍﻭﻧﺪ ﻭ ﺟﺰ ﺭﺧﺴﺎﺭ ﻣﺤﺒﻮﺏ ﺭﺍ ﻧﻤﯽ ﺗﻮﺍﻥ ﺩﻳﺪ. ﺧﻼﻑ ﻧﻈﺮﮔﺎﻩ ﺧﻮﺩ ﻭ ﻣﻨﻄﻖ ﮐﻪ ﻣﺤﺪﻭﺩ ﺑﻪ ﺩﺍﻣﻨﮥ ﭘﺪﻳﺪﺍﺭﻫﺎﯼ ﻫﺴﺘﯽ ﻧﮕﺎﻩ ﻣﯽ ﺍﻓﮑﻨﺪ ﻭ ﺩﺭ ﻭﺭﺍء ﮐﺜﺮﺗﻬﺎﯼ  ﺑﻪ ﺩﻝ ﻋﺮﺵ ﺧﺪﺍﺳﺖ ﻭ ﺁﻳﻨﮥ ﻅﻬﻮﺭ ﺍﺳﻤﺎء ﻭ ﺻﻔﺎﺕ ﺍﻟﻬﯽ ﺍﺳﺖ.  ﭘﺪﻳﺪﺍﺭﻫﺎ ﺑﻪ ﺣﻘﻴﻘﺖ ﻭﺍﺣﺪﯼ ﮐﻪ ﻣﺒﺪﺃ ﻫﻤﮥ ﺁﻧﻬﺎﺳﺖ ﻧﺎﻅﺮ ﺍﺳﺖ.  ﻋﺒﺎﺭﺕ ﺩﻳﮕﺮ ﻫﺴﺘﯽ ﻫﻤﻪ ﭼﻴﺰ ﺑﻪ ﺟﻬﺖ ﺗﺠﻠّﯽ ﺍﻟﻬﯽ ﻣﺮﺗﺒﻂ ﻣﯽ ﮔﺮﺩﺩ ﻭ ﺩﺭ ﺁﻥ ﺁﺩﻣﯽ ﺟﻬﺖ ﺗﺠﻠّﯽ ﺑﻪ ﺷﮑﻞ ﺩﻝ ﻅﺎﻫﺮ ﻣﯽ ﮔﺮﺩﺩ. ﺑﻨﺎﺑﺮﺍﻳﻦ ﺩﻝ ﺁﺩﻣﯽ ﻧﺸﺎﻥ ﺧﺪﺍﺳﺖ ﻭ ﺣﮑﺎﻳﺖ ﺍﺯ ﺟﻬﺖ ﻭﺣﺪﺕ ﻭ ﻅﻬﻮﺭ ﺗﺠﻠّﯽ ﺍﻟﻬﯽ ﻣﯽ ﮐﻨﺪ. ﺍﺯ ﺍﻳﻨﺠﺎﺳﺖ ﮐﻪ ﺍﻭﺝ ﺷﻨﺎﺳﺎﺋﯽ ﻭ ﻏﺎﻳﺖ ﺁﺭﺯﻭﻫﺎ ﻭ ﺑﻬﺸﺖ ﺁﺩﻣﯽ ﺑﻪ ﺷﻨﺎﺳﺎﺋﯽ ﺧﻮﻳﺸﺘﻦ ﺧﻮﻳﺶ ﻳﻌﻨﯽ ﺷﻨﺎﺳﺎﺋﯽ ﺗﺠﻠّﯽ ﻭ ﻧﺸﺎﻧﮥ ﺍﻟﻬﯽ ﺩﺭ ﻭﺟﻮﺩ ﺧﻮﺩ ﻣﻌﻄﻮﻑ ﻣﯽ ﮔﺮﺩﺩ. ﺍﻣّﺎ ﻧﻈﺮﮔﺎﻩ ﺩﻝ ﻫﻤﻪ ﭼﻴﺰ ﺭﺍ ﺁﻳﻨﮥ ﺧﺪﺍ ﻣﯽ ﻳﺎﺑﺪ ﻭ ﺩﺭ ﻫﻤﻪ ﭼﻴﺰ ﻭﺣﺪﺕ ﻣﯽ ﺑﻴﻨﺪ ﻭ ﻫﻤﻪ ﭼﻴﺰ ﺭﺍ ﻣﻘﺪّﺱ ﻭ ﻋﺰﻳﺰ ﻣﯽ ﺷﻤﺎﺭﺩ ﻭ ﻫﻤﻪ ﭼﻴﺰ ﺭﺍ ﻋﺸﻖ ﻣﯽ ﻭﺭﺯﺩ.

5/9

12/15/2016

Pazhuheshnameh ﯽ ﺟﻐﺭﺍﻓﻳﺎﯼ ﺩﻝ ﺩﺭ ﺁﺛﺎﺭ ﺑﻬﺎﺋ

 ﭼﻮﻥ ﺷﻬﺮ ﺩﻝ ﻧﻪ ﺷﻬﺮ ﺫﺍﺕ ﺧﺪﺍ ﺑﻠﮑﻪ ﺷﻬﺮ ﺟﻠﻮﮤ ﺗﺠﻠّﯽ ﺍﻟﻬﯽ ﺍﺳﺖ ﻭ ﺍﻳﻦ ﺗﺠﻠّﯽ ﺑﺮ ﻁﺒﻖ ﻣﻘﺘﻀﻴﺎﺕ ﺗﮑﺎﻣﻞ ﺧﻠﻖ ﻭ ﺗﮑﺎﻣﻞ ﺗﺎﺭﻳﺦ ﺍﻭّﻻً  ﺑﻪ ﺷﮑﻠﻬﺎﯼ ﺑﺪﻳﻊ ﻭ ﻧﻮﻳﻨﯽ ﺧـــــــﻮﺩ ﺭﺍ ﺁﺷﮑﺎﺭ ﻣﯽ ﻧﻤﺎﻳﺪ ﺩﺭ ﻧﺘﻴﺠﻪ ﺷﻬﺮ ﺩﻝ ﻧﻴﺰ ﺩﺭ ﻫﺮ ﻋﻬﺪ ﻭ ﻋﺼﺮ ﺑﻨﺎﯼ ﺟﺪﻳﺪ ﻣﯽ ﻳﺎﺑﺪ ﻭ ﺗﺰﺋﻴﻦ ﺑﺪﻳﻊ ﻣﯽ ﻳﺎﺑﺪ ﻭ ﺷﻘﺎﻳﻖ ﻭ ﺭﻳﺎﺣﻴﻦ ﺷﮕﻔﺖ ﺍﻧﮕﻴﺰ ﺗﺎﺯﻩ ﺍﯼ ﺩﺭ ﺁﻥ ﻣﯽ ﺭﻭﻳﺪ. ﻋﻠّﺖ ﺍﻳﻦ ﺍﻣﺮ ﭘﺮﻭﺍﺿﺢ ﺍﺳﺖ. ﺩﻝ ﺁﺩﻣﯽ ﻣﺤﻞّ ﺟﻠﻮﮤ ﺗﺠﻠّﯽ ﻭ ﻓﻴﺾ ﺧﺪﺍﺳﺖ. ﺍﻣّﺎ ﺍﻳﻦ ﺟﻠﻮﻩ ﻭ ﻓﻴﺾ ﺍﻟﻬﯽ ﺩﺭ ﺑﺎﻻﺗﺮﻳﻦ ﺷﮑﻞ ﺧﻮﺩ ﭼﻴﺰﯼ ﻧﻴﺴﺖ ﺟﺰ ﺣﻘﻴﻘﺖ ﭘﻴﺎﻣﺒﺮﺍﻥ ﺍﻟﻬﯽ ﻳﺎ ﺑﺎﺻﻄﻼﺡ ﺑﻬﺎﺋﯽ ﻣﻈﺎﻫﺮ ﻣﻘﺪّﺳﮥ ﺍﻟﻬﯽ. ﭼﻨﺎﻧﮑﻪ ﺩﻳﺪﻳﻢ ﺫﺍﺕ ﺧﺪﺍﻭﻧﺪ ﺑﺮﺗﺮ ﺍﺯ ﻫﺮﮔﻮﻧﻪ ﺍﺭﺗﺒﺎﻁ ﻳﺎ ﺍﺩﺭﺍﮎ ﺁﺩﻣﯽ ﺍﺳﺖ. ﺁﺩﻣﯽ ﻣﯽ ﺗﻮﺍﻧﺪ ﺻﺮﻓﺎً ﺑﻪ ﺗﺠﻠّﯽ ﺧﺪﺍﻭﻧﺪ ﺩﺭ ﺟﻬﺎﻥ ﭘﺪﻳﺪﺍﺭﻫﺎ ﺁﻧﻬﻢ ﺑﻪ ﺍﻗﺘﻀﺎﯼ ﺩﺭﺟﮥ ﺗﮑﺎﻣﻞ ﺍﻳﻦ ﭘﺪﻳﺪﺍﺭﻫﺎ ﺗﻮﺟّﻪ ﻧﻤﺎﻳﺪ. ﺍﻣّﺎ ﺍﻳﻦ ﺗﺠﻠّﯽ ﮐﻪ ﻫﻤﺎﻥ ﮐﻼﻡ ﺍﻟﻬﯽ ﻋﺮﺻﮥ ﺍﺳﻤﺎء ﻭ ﺻﻔﺎﺕ ﺍﻟﻬﯽ ﺍﺳﺖ ﭼﻴﺰﯼ ﻧﻴﺴﺖ ﺟﺰ ﺣﻘﻴﻘﺖ ﻣﺸﺘﺮﮎ ﭘﻴﺎﻣﺒﺮﺍﻥ ﺍﻟﻬﯽ ﮐﻪ ﺑﺎﻗﺘﻀﺎﯼ ﺩﺭﺟﮥ ﺗﮑﺎﻣﻞ ﺧﻠﻖ ﺩﺭ ﻫﺮ ﻋﻬﺪ ﻭ ﻋﺼﺮ ﺑﺸﮑﻞ ﺗﺎﺯﻩ ﺍﯼ ﺩﺭ ﺩﻧﻴﺎﯼ ﺑﺸﺮ ﻅﺎﻫﺮ ﻣﯽ ﮔﺮﺩﻧﺪ. ﺩﺭ ﻧﺘﻴﺠﻪ ﻏﺎﻳﺖ ﻋﺮﻓﺎﻥ ﻭ ﺣﻘﻴﻘﺖ ﺷﻬﺮﺑﻨﺪ ﺩﻝ ﭼﻴﺰﯼ ﻧﻴﺴﺖ ﺟﺰ ﻅﻬﻮﺭ ﺗﺎﺯﮤ ﭘﻴﺎﻣﺒﺮ ﺍﻟﻬﯽ ﺩﺭ ﻋﺎﻟﻢ ﺍﻧﺴﺎﻧﯽ. ﺩﻝ ﺁﺩﻣﯽ ﻧﺸﺎﻥ ﻭ ﺟﻠﻮﻩ ﻭ ﺁﻳﻨﻪ ﺍﯼ ﺍﺯ ﺣﻘﻴﻘﺖ ﭘﻴﺎﻣﺒﺮ ﺍﺳﺖ ﻭ ﺑﺪﻳﻦ ﺟﻬﺖ ﺍﺳﺖ ﮐﻪ ﺭﺳﻴﺪﻥ ﺑﻪ ﺧﻮﻳﺸﺘﻦ ﺧﻮﻳﺶ ﺷﻨﺎﺳﺎﺋﯽ ﻭ ﻋﺸﻖ ﺑﻪ ﻣﻈﻬﺮ ﺍﻣﺮ ﺍﻟﻬﯽ ﺩﺭ ﻭﺍﻗﻊ ﺣﻘﻴﻘﺘﯽ ﺍﺳﺖ ﻭﺍﺣﺪ. ﺑﺪﻳﻦ ﺟﻬﺖ ﺍﺳﺖ ﮐﻪ ﭘﻴﻮﻧﺪ ﺑﻪ ﺧﻮﺩ ﺭﺍﺳﺘﻴﻦ ﻭ ﭘﻴﻮﻧﺪ ﺑﻪ ﭘﻴﺎﻣﺒﺮ ﻫﺮﺩﻭ ﭘﻴﻮﻧﺪ ﺑﻪ ﺷﻬﺮﺳﺘﺎﻥ ﺗﺎﺑﻨﺎﮎ ﺩﻝ ﺍﺳﺖ. ﭘﺲ ﻣﻔﻬﻮﻡ ﺩﻝ ﺩﺭ ﺁﺛﺎﺭ ﺑﻬﺎﺋﯽ ﺑﻪ ﻅﻬﻮﺭ ﺍﺳﻤﺎء ﻭ ﺻﻔﺎﺕ ﺍﻟﻬﯽ ﺩﺭ ﺩﻧﻴﺎﯼ ﭘﺪﻳﺪﺍﺭﻫﺎ ﻣﻌﻄﻮﻑ ﻣﯽ ﮔﺮﺩﺩ ﻭ ﺩﺭ ﻧﺘﻴﺠﻪ ﺍﻣﺮﯼ ﺗﺎﺭﻳﺨﯽ ﻣﯽ ﮔﺮﺩﺩ ﻭ ﺩﺭ ﻧﺘﻴﺠﻪ ﻋﺮﻓﺎﻥ ﻭ ﺷﺮﻳﻌﺖ ﻭﺣﺪﺕ ﻭ ﺁﺷﺘﯽ ﻣﯽ ﻳﺎﺑﻨﺪ. ﺍﻣّﺎ ﻋﻼﻭﻩ ﺑﺮ ﺗﻌﺒﻴﺮ ﺗﺎﺭﻳﺨﯽ ﺩﻝ ﺍﻣﺮ ﺑﻬﺎﺋﯽ ﺍﻳﻦ ﺟﻬﺖ ﻭﺣﺪﺕ ﺭﺍ ﺩﺭ ﺍﺻﻞ ﻭﺣﺪﺕ ﻋﺎﻟﻢ ﺍﻧﺴﺎﻧﯽ ﺟﻠﻮﻩ ﮔﺮ ﻣﯽ ﺑﻴﻨﺪ. ﺑﺪﻳﻦ ﺗﺮﺗﻴﺐ ﻋﺮﻓﺎﻧﯽ ﮐﻪ ﺍﺯ ﺩﻝ ﺑﻪ ﻋﻨﻮﺍﻥ ﻋﺮﺵ ﺧﺪﺍ ﺳﺨﻦ ﻣﯽ ﮔﻮﻳﺪ ﺍﻣّﺎ ﻧﺎﺑﺮﺍﺑﺮﯼ ﺣﻘﻮﻕ ﺯﻥ ﻭ ﻣﺮﺩ ﺭﺍ ﻣﯽ ﭘﺬﻳﺮﺩ ﻭ ﺑﻪ ﻧﺠﺎﺳﺖ ﮔﺮﻭﻫﻬﺎﯼ ﮔﻮﻧﺎﮔﻮﻥ ﺁﺩﻣﻴﺎﻥ ﺑﻌﻠّﺖ ﺍﻋﺘﻘﺎﺩ ﺭﻭﺣﺎﻧﯽ ﻳﺎ ﻁﺒﻘﮥ ﺍﺟﺘﻤﺎﻋﯽ ﻳﺎ ﺭﻧﮓ ﭘﻮﺳﺖ ﺁﻧﻬﺎ ﻣﻌﺘﻘـــــــــــــــــﺪ ﻣﯽ ﺷﻮﺩﻭ ﺍﺯ ﺗﺒﻌﻴﺾ ﺣﻘﻮﻕ ﮔﺮﻭﻫﻬﺎﯼ ﮔﻮﻧﺎﮔﻮﻥ ﺩﻓﺎﻉ ﻣﯽ ﮐﻨﺪ ﻭ ﻓﺮﻫﻨﮓ ﺧﺸﻮﻧﺖ ﻧﮋﺍﺩﯼ٬ ﺟﻨﺴﯽ٬ ﻣﻠّﯽ ﻭ ﺩﻳﻨﯽ ﺭﺍ ﺗﺸﻮﻳﻖ ﻣﯽ ﮐﻨﺪ ﻭ ﺩﺭ ﺗﻨﮕﻨﺎﯼ ﺑﻴﮕﺎﻧﮕﯽ ﻓﺮﻫﻨﮕﯽ ﻭ ﮐﻴﻨﻪ ﻭ ﻧﻔﺮﺕ ﺑﻪ ﮔﺮﻭﻫﻬﺎﯼ ﮔﻮﻧﺎﮔﻮﻥ ﺍﻧﺴﺎﻧﯽ ﺍﺳﻴﺮ ﻣﯽ ﺷﻮﺩ ﻋﺮﻓﺎﻧﯽ ﺍﺳﺖ ﺷﻬﺮ ﺩﻝ ﺩﺭ ﻣﻌﻨﺎﯼ ﺭﺍﺳﺘﻴﻦ ﺧﻮﻳﺶ ﺩﺭ ﻫﻤﻪ ﭼﻴﺰ ﺟﻠﻮﻩ ﺭﺧﺴﺎﺭ ﻣﺤﺒﻮﺏ ﺭﺍ ﻣﯽ ﺑﻴﻨﺪ ﻭ ﺩﺭ ﺗﻮ ﺧﺎﻟﯽ ﻭ ﻣﺠﺎﺯﯼ. ﺍﺯ ﺍﻳﻦ ﺭﻭﺳﺖ ﮐﻪ  ﻧﺘﻴﺠﻪ ﻳﮕﺎﻧﮕﯽ ﻭ ﻭﺣﺪﺕ ﻭ ﻭﺩﺍﺩ ﻳﻌﻨﯽ ﻭﺣﺪﺕ ﻋﺎﻟﻢ ﺍﻧﺴﺎﻧﯽ٬ ﺻﻠﺢ ﻋﻤﻮﻣﯽ٬ ﺣﻘﻮﻕ ﺍﻧﻔﮑﺎﮎ ﻧﺎﭘﺬﻳﺮ ﻫﻤﮥ ﺍﺩﻳﺎﻥ٬ ﻭ ﺗﻘﺪّﺱ ﻁﺒﻴﻌﺖ ﻭ ﺑﺪﻳﻦ ﺟﻬﺖ ﺍﺳﺖ ﮐﻪ ﻫﺴﺘﮥ ﻣﺮﮐﺰﯼ ﻫﻤﮥ ﺗﻌﺎﻟﻴﻢ ﺣﻀﺮﺕ ﺑﻬﺎءﷲ ﺍﺻﻞ ﻭﺣﺪﺕ ﻋﺎﻟﻢ ﺑﺸﺮ ﺭﺍ ﺑﺎ ﺗﻤﺎﻡ ﻭﺟﻮﺩ ﺗﺮﻭﻳﺞ ﻭ ﺗﻌﻤﻴﻢ ﻣﯽ ﺑﺨﺸﺪ.  ﺍﻧﺴﺎﻧﯽ ﺍﺳﺖ. ﻳﮑﯽ ﺍﺯ ﺑﻴﺎﻧﺎﺕ ﺣﻀﺮﺕ ﺑﻬﺎءﷲ ﺩﺭ ﻣﻮﺭﺩ ﺷﻬﺮﺑﻨﺪ ﺩﻝ ﺑﻌﻨﻮﺍﻥ ﺧﺎﻧﮥ ﺧﺪﺍ ﻭ ﺟﻬﺖ ﻭﺣﺪﺕ ﺭﺍ ﻣﯽ ﺗﻮﺍﻧﺪﺭ ﻣﺜﻨﻮﯼ ﺣﻀﺮﺕ ﺑﻬﺎءﷲ ﻣﺸﺎﻫﺪﻩ ﮐﺮﺩ. ﺩﺭ ﺍﻳﻨﺠﺎ ﺑﻪ ﻗﺴﻤﺘﯽ ﺍﺯ ﺍﻳﻦ ﺍﺛﺮ ﺯﻳﺒﺎ ﺍﺷﺎﺭﻩ ﻣﯽ ﺷﻮﺩ: ﺍﻳﻦ ﺩﻝ ﻋﺎﺷﻖ ﺑﻮﺩ ﻋــﺮﺵ ﺍﻟﻪ                                                 ﭼﻮﻧﮑﻪ ﭘﺎﮎ ﺁﻣﺪ ﺯ ﻗﻴﺪ ﻣﺎﺳـﻮﺍﻩ ﭼﻮﻥ ﺯﺣﺒّﺶ ﺑﻴﺖ ﺍﻭ ﻣﻌﻤﻮﺭﺷـﺪ                                                                                   ﺍﻭ ﺑﻪ ﺑﻴﺖ ﻭ ﺑـــﻴـﺖ ﺍﻭ ﻣﺴﺘــــﻮﺭﺷـﺪ ﺑﻴﺖ ﺍﻭ ﺍﺯ ﺳﻨﮓ ﻭ ﮔﻞ ﻧﺒﻮَﺩ ﺑــﺪﺍﻥ                                                 ﺑﻴﺖ ﺍﻭ ﺟﺰ ﺩﻝ ﻧﺒﺎﺷـــﺪ ﺍﯼ ﺟـﻮﺍﻥ ﭼﻮﻧﮑﻪ ﻗﻠﺒﺖ ﭘﺎﮎ ﺷﺪ ﺍﺯ ﻧـــﻮﺭ ﺍﻭ                                                 ﺷﺪ ﻣﻘﺎﻣﺶ ﭼﻮﻧﮑﻪ ﺁﻣﺪ ﻁــﻮﺭ ﺍﻭ ﭼﻮﻧﮑﻪ ﺑﻴﺖ ﷲ ﻋﺎﺷﻖ ﺷﺪ ﺗﻤـﺎﻡ                                                 ﺟﻠﻮﻩ ﻣﻌﺸﻮﻕ ﺁﻣﺪ ﺑــﺮ ﺩﻭﺍﻡ ﺭﺍﺯ ﻋﺸﻖ ﺁﻣﺪ ﺣﺠﺎﺏ ﻋﻘﻞ ﺳﻮﺧﺖ 

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12/15/2016

Pazhuheshnameh ﯽ ﺟﻐﺭﺍﻓﻳﺎﯼ ﺩﻝ ﺩﺭ ﺁﺛﺎﺭ ﺑﻬﺎﺋ

                                                ﺧﺮﻣﻦ ﻋﺮﻓﺎﻥ ﻭ ﻋﻠﻢ ﻭ ﻓﻀﻞ ﺳﻮﺧﺖ ﭼﻮﻧﮑﻪ ﻏﻴﺮﺵ ﻧﻴﺴﺖ ﺩﺭ ﺑﻴــﺖ ﺍﯼ ﭘﺴﺮ                                                 ﺟﻤـــــــﻠﻪ ﺣﮑﻢ ﺍﻭ ﺑﺪﺍﻥ ﺗﻮ ﺳﺮ ﺑﺴـــﺮ ﭘﺲ ﺗﻮ ﭼﺸﻢ ﻭ ﮔﻮﺵ ﻭ ﺩﺳﺖ ﺍﺯ ﺍﻭ ﺑﺪﺍﻥ                                               ﺍﻭ ﺑﺒﻴﻨـــﺪ ﺍﻭ ﺑﮕﻴــــﺮﺩ ﺁﻥ ﺯﻣــﺎﻥ     

ﺩﺭ ﻫﻔﺖ ﻭﺍﺩﯼ ﺣﻀﺮﺕ ﺑﻬﺎءﷲ ﺩﺭ ﺗﻮﺻﻴﻒ ﺷﻬﺮ ﺩﻝ ﺷﻬﺮ ﺁﻳﻨﻪ ﻫﺎﯼ ﻭﺣﺪﺕ ﭼﻨﻴﻦ ﻣﯽ ﻓﺮﻣﺎﻳﻨﺪ: ﺩﺭ ﺍﻳﻦ ﻣﻘﺎﻡ ﺣﺠﺎﺏ ﮐﺜﺮﺕ ﺑﺮﺩﺭﺩ ﻭ ﺍﺯ ﻋﻮﺍﻟﻢ ﺷﻬﻮﺕ ﺑﺮ ﭘﺮﺩ ﻭ ﺩﺭ ﺳﻤﺎء ﻭﺣﺪﺕ ﻋﺮﻭﺝ ﻧﻤﺎﻳﺪ. ﺑﮕﻮﺵ ﺍﻟﻬﯽ ﺑﺸﻨﻮﺩ ﻭ ﺑﻪ ﭼﺸﻢ ﺭﺑّﺎﻧﯽ ﺍﺳﺮﺍﺭ ﺻﻨﻊ ﺻﻤﺪﺍﻧﯽ ﺑﺒﻴﻨﺪ. ﺑﺨﻮﻟﺘﺨﺎﻧﮥ ﺩﻭﺳﺖ ﻗﺪﻡ ﮔﺬﺍﺭﺩ ﻭ ﻣﺤﺮﻡ ﺳﺮﺍﺩﻕ ﻣﺤﺒﻮﺏ ﺷﻮﺩ... ﻣﻼﺣﻈﻪ ﺩﺭ ﺷﻤﺲ ﻅﺎﻫﺮﯼ ﻓﺮﻣﺎﺋﻴﺪ ﮐﻪ ﺑﺮ ﻫﻤﮥ ﻣﻮﺟﻮﺩﺍﺕ ﻭ ﻣﻤﮑﻨﺎﺕ ﺑﻴﮏ ﺍﺷﺮﺍﻕ ﺗﺠﻠّﯽ ﻣﯽ ﻧﻤﺎﻳﺪ ﻭ ﺍﻓﺎﺿﮥ ﻧﻮﺭ ﺑﻪ ﺍﻣﺮ ﺳﻠﻄﺎﻥ ﻅﻬﻮﺭ ﺑﺮ ﻫﻤﮥ ﺍﺷﻴﺎء ﻣﯽ ﻓﺮﻣﺎﻳﺪ ﻭﻟﻴﮑﻦ ﺩﺭ ﻫﺮ ﻣﺤﻞّ ﺑﺎﻗﺘﻀﺎﯼ ﺍﺳﺘﻌﺪﺍﺩ ﺁﻥ ﻣﺤﻞّ ﻅﺎﻫﺮ ﻣﯽ ﺷﻮﺩ ﻭ ﺍﻋﻄﺎﯼ ﻓﻴﺾ ﻣﯽ ﮐﻨﺪ... ﻭ ﻫﻤﭽﻨﻴﻦ ﺍﻟﻮﺍﻥ ﻫﻢ ﺑﻪ ﺍﻗﺘﻀﺎﯼ ﻣﺤﻞ ﻅﺎﻫﺮ ﻣﯽ ﺷﻮﺩ ﻣﺜﻞ ﺍﻳﻨﮑﻪ ﺩﺭ ﺯﺟﺎﺟﮥ ﺯﺭﺩ ﺗﺠﻠّﯽ ﺯﺭﺩ ﻭ ﺩﺭﺳﻔﻴﺪ ﺗﺠﻠّﯽ ﺳﻔﻴﺪ ﻭ ﺩﺭ ﺳﺮﺥ ﺗﺠﻠّﯽ ﺳﺮﺥ ﻣﻼﺣﻈﻪ ﻣﯽ ﺷﻮﺩ. ﭘﺲ ﺍﻳﻦ ﺍﺧﺘﻼﻓﺎﺕ ﺍﺯ ﻣﺤﻞّ ﺍﺳﺖ ﻧﻪ ﺍﺯ ﺍﺷﺮﺍﻕ ﺿﻴﺎء... ﺍﻣّﺎ ﻧﻈﺮ ﺳﺎﻟﮏ ﻭﻗﺘﯽ ﺩﺭ ﻣﺤﻞّ ﻣﺤﺪﻭﺩﺍﺕ ﻳﻌﻨﯽ ﺩﺭ ﺯﺟﺎﺟﺎﺕ ﺳﻴﺮ ﻣﯽ ﻧﻤﺎﻳﺪ ﺍﻳﻨﺴﺘﮑﻪ ﺯﺭﺩ ﻭ ﺳﺮﺥ ﻭ ﺳﻔﻴﺪ ﺑﻴﻨﺪ ﺑﺎﻳﻦ ﺟﻬﺖ ﺍﺳﺖ ﮐﻪ ﺟﺪﺍﻝ ﺑﻴﻦ ﻋﺒﺎﺩ ﺑﺮﭘﺎ ﺷﺪﻩ ﻭ ﻋﺎﻟﻢ ﺭﺍ ﻏﺒﺎﺭ ﺗﻴﺮﻩ ﺍﺯ .(8)  ﺍﻧﻔﺲ ﻣﺤﺪﻭﺩﻩ ﻓﺮﺍ ﮔﺮﻓﺘﻪ ﻭ ﺑﻌﻀﯽ ﻧﻈﺮ ﺑﺎﺷﺮﺍﻕ ﺿﻮء ﺩﺍﺭﻧﺪ ﻭ ﺑﺮﺧﯽ ﺍﺯ ﺧﻤﺮ ﻭﺣﺪﺕ ﻧﻮﺷﻴﺪﻩ ﺍﻧﺪ ﺟﺰ ﺷﻤﺲ ﭼﻴﺰﯼ ﻧﺒﻴﻨﻨﺪ ﺩﺭ ﮐﺘﺎﺏ ﻣﺴﺘﻄﺎﺏ ﺍﻳﻘﺎﻥ ﺣﻀﺮﺕ ﺑﻬﺎءﷲ ﺩﺭ ﺗﻮﺻﻴﻒ ﺗﺠﺪﻳﺪ ﺷﻬﺮ ﺩﻝ٬ ﺷﻬﺮ ﻅﻬﻮﺭ ﻭ ﺗﺠﻠّﯽ ﺍﻟﻬﯽ٬ ﺩﺭ ﺍﻋﺼﺎﺭ ﮔﻮﻧﺎﮔﻮﻥ ﭼﻨﻴﻦ ﻣﯽ ﻓﺮﻣﺎﻳﻨﺪ: ﻭ ﭼﻮﻥ ﺳﺮﺍﺝ ﻁﻠﺐ ﻭ ﻣﺠﺎﻫﺪﻩ ﻭ ﺫﻭﻕ ﻭ ﻋﺸﻖ ﻭ ﻭﻟﻪ ﻭ ﺟﺬﺏ ﻭ ﺣﺐ ﺩﺭ ﻗﻠﺐ ﺭﻭﺷﻦ ﺷﺪ ﻭ ﻧﺴﻴﻢ ﻣﺤﺒّﺖ ﺍﺯ ﺷﻄﺮ ﺍﺣﺪﻳّﻪ ﻭﺯﻳﺪ ﻅﻠﻤﺖ ﺷﮏّ ﻭ ﺭﻳﺐ ﺯﺍﺋﻞ ﺷﻮﺩ ﻭ ﺍﻧﻮﺍﺭ ﻋﻠﻢ ﻭ ﻳﻘﻴﻦ ﻫﻤﮥ ﺍﺭﮐﺎﻥ ﻭﺟﻮﺩ ﺭﺍ ﺍﺣﺎﻁﻪ ﻧﻤﺎﻳﺪ... ﺑﻪ ﻗﺴﻤﯽ ﮐﻪ ﺧﻮﺩ ﺭﺍ ﺻﺎﺣﺐ ﭼﺸﻢ ﺟﺪﻳﺪ ﻭ ﮔﻮﺵ ﺑﺪﻳﻊ ﻭ ﻗﻠﺐ ﻭ ﻓﺆﺍﺩ ﺗﺎﺯﻩ ﻣﯽ ﺑﻴﻨﺪ... ﻭ ﺩﺭ ﺟﻤﻴﻊ ﺍﺷﻴﺎء ﺍﺳﺮﺍﺭ ﺗﺠﻠّﯽ ﻭﺣﺪﺍﻧﻴّﻪ ﻭ ﺁﺛﺎﺭ ﻅﻬﻮﺭ ﺻﻤﺪﺍﻧﻴّﻪ ﻣﻼﺣﻈﻪ ﮐﻨﺪ... ﺑﻪ ﻣﺼﺮ ﺍﻳﻘﺎﻥ ﺣﻀﺮﺕ ﻣﻨّﺎﻥ ﻭﺍﺭﺩ ﺷﻮﺩ ﻭ ﺑﺪﺍﻳﻊ ﺣﮑﻤﺖ ﺣﻀﺮﺕ ﺳﺒﺤﺎﻧﯽ ﺭﺍ ﺩﺭ ﺁﻥ ﺷﻬﺮ ﺭﻭﺣﺎﻧﯽ ﻣﺸﺎﻫﺪﻩ ﮐﻨﺪ ﻭ ﺟﻤﻴﻊ ﻋﻠﻮﻡ ﻣﮑﻨﻮﻧﻪ ﺭﺍ ﺍﺯ ﺍﻁﻮﺍﺭ ﻭﺭﻗﮥ ﺷﺠﺮﮤ ﺁﻥ ﻣﺪﻳﻨﻪ ﺍﺳﺘﻤﺎﻉ ﻧﻤﺎﻳﺪ ﻭ ﺍﺯ ﺗﺮﺍﺏ ﺁﻥ ﻣﺪﻳﻨﮥ ﺗﺴﺒﻴﺢ ﻭ ﺗﻘﺪﻳﺲ ﺭﺏّ ﺍﻻﺭﺑﺎﺏ ﺑﻪ ﮔﻮﺵ ﻅﺎﻫﺮ ﻭ ﺑﺎﻁﻦ ﺷﻨﻮﺩ... ﭼﻪ ﺫﮐﺮ ﻧﻤﺎﻳﻢ ﺍﺯ ﺁﺛﺎﺭ ﻭ ﻋﻼﻣﺎﺕ ﻭ ﻅﻬﻮﺭﺍﺕ ﻭ ﺗﺠﻠﻴّﺎﺕ ﮐﻪ ﺑﻪ ﺍﻣﺮ ﺳﻠﻄﺎﻥ ﺍﺳﻤﺎء ﻭ ﺻﻔﺎﺕ ﺩﺭ ﺁﻥ ﻣﺪﻳﻨﻪ ﻣﻘﺪّﺭ ﺷﺪﻩ. ﺑﯽ ﺁﺏ ﺭﻓﻊ ﻋﻄﺶ ﻧﻤﺎﻳﺪ ﻭ ﺑﯽ ﻧﺎﺭ ﺣﺮﺍﺭﺕ ﻣﺤﺒّﺖ ﷲ ﺑﻴﻔﺰﺍﻳﺪ. ﺩﺭ ﻫﺮ ﮔﻴﺎﻫﯽ ﺣﮑﻤﺖ ﺑﺎﻟﻐﮥ ﻣﻌﻨﻮﯼ ﻣﺴﺘﻮﺭ ﻭ ﺑﺮ ﺷﺎﺧﺴﺎﺭ ﻫﺮ ﮔﻞ ﻫﺰﺍﺭ ﺑﻠﺒﻞ ﻧﺎﻁﻘﻪ ﺩﺭ ﺟﺬﺏ ﻭ ﺷﻮﺭ. ﺍﺯ ﻻﻟﻪ ﻫﺎﯼ ﺑﺪﻳﻌﺶ ﺳﺮّ ﻣﻮﺳﻮﯼ ﻅﺎﻫﺮ ﻭ ﺍﺯ ﻧﻔﺤﺎﺕ ﻗﺪﺳﻴّﻪ ﺍﺵ ﻧﻔﺤﮥ ﺭﻭﺡ ﺍﻟﻘﺪﺱ ﻋﻴﺴﻮﯼ ﺑﺎﻫﺮ... ﻭ .(9) ﺍﻳﻦ ﻣﺪﻳﻨﻪ ﺩﺭ ﺭﺃﺱ ﻫﺰﺍﺭ ﺳﻨﻪ ﺍﻭ ﺍﺯﻳﺪ ﺍﻭ ﺍﻗﻞّ ﺗﺠﺪﻳﺪ ﺷﻮﺩ ﻭ ﺗﺰﺋﻴﻦ ﻳﺎﺑﺪ... ﻭ ﺁﻥ ﻣﺪﻳﻨﻪ ﮐﺘﺐ ﺍﻟﻬﻴّﻪ ﺍﺳﺖ ﺩﺭ ﻋﻬﺪﯼ  – ﺩﻝ ﺑﻪ ﻋﻨﻮﺍﻥ ﻓﻠﺴﻔﮥ ﺍﺧﻼﻕ 3 ﭼﻨﺎﻧﮑﻪ ﺩﻳﺪﻳﻢ ﺁﺛﺎﺭ ﺑﻬﺎﺋﯽ ﺷﻬﺮ ﺩﻝ ﺭﺍ ﺷﻬﺮ ﻅﻬﻮﺭ ﻭ ﺗﺠﻠّﯽ ﺍﻟﻬﯽ ﻣﯽ ﻳﺎﺑﺪ ﺷﻬﺮﯼ ﮐﻪ ﺩﺭ ﺁﻥ ﻫﻤﻪ ﭼﻴﺰ ﺍﺯ ﺗﺠﻠّﯽ ﺍﻟﻬﯽ ﻭ ﺯﻳﺒﺎﺋﯽ ﻁﻠﻌﺖ ﺭﺣﻤﺎﻧﯽ ﺣﮑﺎﻳﺖ ﻣﯽ ﮐﻨﺪ. ﺩﺭ ﺍﻳﻦ ﺷﻬﺮ ﻣﻴﺎﻥ ﻁﺒﻴﻌﺖ ﻭ ﺍﻧﺴﺎﻥ ﺳﺘﻴﺰﯼ ﻧﻴﺴﺖ ﭼﻪ ﮐﻪ ﻫﺮ ﺩﻭ ﻣﻈﺎﻫﺮ ﻭ ﻣﺠﺎﻟﯽ ﺻﻔﺎﺕ ﺍﻟﻬﯽ ﻣﯽ ﺑﺎﺷﻨﺪ. ﺩﺭ ﺍﻳﻦ ﺷﻬﺮ ﺧﺎﮐﺶ ﺑﻪ ﺗﺴﺒﻴﺢ ﻭ ﺗﻘﺪﻳﺲ ﻣﺸﻐﻮﻟﺴﺖ ﻭ ﻫﻤﮥ ﺫﺭﺍﺗﺶ ﻁﻮﺭ ﻣﻮﺳﻮﯼ ﺍﺳﺖ. ﺩﺭ ﺍﻳﻦ ﺷﻬﺮﺳﺖ ﮐﻪ ﺍﺿﺪﺍﺩ ﺑﻴﮑﺪﻳﮕﺮ ﻣﯽ ﭘﻴﻮﻧﺪﻧﺪ ﺑﯽ ﺁﺏ ﺭﻓﻊ ﻋﻄﺶ ﻣﯽ ﮔﺮﺩﺩ ﻭ ﺑﯽ ﻧﺎﺭ ﺣﺮﺍﺭﺕ ﻣﺤﺒّﺖ ﷲ ﺍﻓﺰﻭﺩﻩ ﻣﯽ ﮔﺮﺩﺩ. ﺷﻬﺮﯼ ﺍﺳﺖ ﮐﻪ ﻫﻤﻪ ﭼﻴﺰ ﺑﻪ ﺍﻋﺘﺒﺎﺭ ﺟﻬﺖ ﻭﺣﺪﺕ٬ ﺟﻬﺖ ﻣﺸﻴّﺖ ﺍﻟﻬﯽ ﺟﻬﺖ ﺗﺠﻠّﯽ ﺭﺑّﺎﻧﯽ ﻣﻠﺤﻮﻅ ﻣﯽ ﮔﺮﺩﺩ ﻭ ﺩﺭ ﻧﺘﻴﺠﻪ ﻫﻤﻪ ﭼﻴﺰ ﺯﻳﺒﺎ ﻭ ﺷﮑﻮﻫﻤﻨﺪ ﻣﯽ ﺷﻮﺩ. ﺍﺯ ﺍﻳﻦ ﺭﻭﺳﺖ ﮐﻪ ﻣﯽ ﺗﻮﺍﻥ ﺳﻮﻣﻴﻦ ﻭﻳﮋﮔﯽ ﻣﻔﻬﻮﻡ ﺩﻝ ﺩﺭ ﺁﺛﺎﺭ ﺑﻬﺎﺋﯽ ﺭﺍ ﺑﻪ ﺳﺎﺩﮔﯽ ﺍﺯ ﺑﻮﻡ ﺷﻨﺎﺳﯽ ﺷﻬﺮ ﺩﻝ ﺍﺳﺘﻨﺘﺎﺝ ﻧﻤﻮﺩ. ﻣﻔﻬﻮﻡ ﺳﻮﻡ ﺩﻝ ﺑﻪ ﻓﻠﺴﻔﮥ ﺍﺧﻼﻕ ﻭ ﻓﺮﻫﻨﮓ ﺳﺎﮐﻨﺎﻥ ﺷﻬﺮﺳﺘﺎﻥ ﻓﺆﺍﺩ ﻣﺮﺗﺒﻂ ﺍﺳﺖ. ﺑﻪ ﻋﺒﺎﺭﺕ ﺩﻳﮕﺮ ﺍﻭّﻟﻴﻦ ﻣﻔﻬﻮﻡ ﺩﻝ ﺑﻪ ﺭﺍﻩ ﻭ ﺭﻭﺵ ﺭﺳﻴﺪﻥ ﺑﻪ ﺣﻘﻴﻘﺖ ﻣﺮﺑﻮﻁ ﺷﺪ ﻭ ﻣﻔﻬﻮﻡ ﺩﻭﻡ ﺁﻥ ﺑﻪ ﺳﺎﺧﺘﺎﺭ ﻫﺴﺘﯽ ﺭﺍﺳﺘﻴﻦ ﻣﻌﻄﻮﻑ ﮔﺮﺩﻳﺪ. ﺣﺎﻝ ﺑﺎﻳﺪ ﺩﻳﺪ ﮐﻪ ﺧﺼﺎﻝ ﺍﺧﻼﻗﯽ ﻭ ﻓﺮﻫﻨﮕﯽ ﮐﺴﯽ ﮐﻪ ﺑﻪ ﺍﻳﻦ ﺷﻬﺮ ﺍﺻﻞ ﺩﻝ ﺍﺻﻠﯽ ﺍﺧﻼﻗﯽ ﻣﯽ ﮔﺮﺩﺩ ﻭ ﺩﺭ ﻭﺍﻗﻊ ﺯﻳﺮﺑﻨﺎﯼ ﻓﻠﺴﻔﮥ ﺍﺧﻼﻕ ﺩﺭ ﺍﻣﺮ ﺑﻬﺎﺋﯽ ﺭﺍ ﺗﺸﮑﻴﻞ ﻧﺎﺋﻞ ﺷﺪﻩ ﺍﺳﺖ ﭼﻴﺴﺖ. ﺍﻳﻨﺠﺎﺳﺖ ﮐﻪ  ﻣﯽ ﺩﻫﺪ.

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12/15/2016

Pazhuheshnameh ﯽ ﺟﻐﺭﺍﻓﻳﺎﯼ ﺩﻝ ﺩﺭ ﺁﺛﺎﺭ ﺑﻬﺎﺋ

ﻫﻤﭽﻨﺎﻧﮑﻪ ﺩﻳﺪﻳﻢ ﺣﻀﺮﺕ ﺑﻬﺎءﷲ ﮐﻠﻤﺎﺕ ﻣﮑﻨﻮﻧﮥ ﺧﻮﺩ ﺭﺍ ﺑﺎ ﺗﺄﮐﻴﺪ ﺑﺮ ﻟﺰﻭﻡ ﺗﻄﻬﻴﺮ ﻗﻠﺐ ﺁﻏﺎﺯ ﻧﻤﻮﺩﻧﺪ. ﭘﺎﮐﯽ ﻗﻠﺐ ﺑﻤﻌﻨﺎﯼ ﺁﻥ ﺍﺳﺖ ﮐﻪ ﺁﺩﻣﯽ ﺩﻝ ﺧﻮﺩ ﺭﺍ ﺍﺯ ﻫﺮ ﺗﻌﻠّﻘﯽ ﺁﺯﺍﺩ ﻧﻤﺎﻳﺪ ﻭ ﺍﺯ ﻫﺮﭼﻪ ﮐﻪ ﻏﻴﺮ ﺧﺪﺍﺳﺖ ﻓﺎﺭﻍ ﮔﺮﺩﺩ. ﺩﺭ ﻧﺘﻴﺠﻪ ﺁﺩﻣﯽ ﺑﺎ ﻫﻤﮥ ﻣﻮﺟﻮﺩﺍﺕ ﺑﺮ ﺍﺳﺎﺱ ﻭﻳﮋﮔﯽ ﺷﮑﻮﻫﻤﻨﺪ ﻭ ﺯﻳﺒﺎ ﻭ ﻣﻘﺪّﺱ ﺁﻥ ﻣﻮﺟﻮﺩﺍﺕ ﺭﻓﺘﺎﺭ ﻣﯽ ﻧﻤﺎﻳﺪ. ﻳﻌﻨﯽ ﺍﺻﻞ ﺍﺧﻼﻕ ﺍﺻﻞ ﻣﺤﺒّﺖ ﻭ ﻭﺩﺍﺩ ﻭ ﻋﺸﻖ ﻭ ﺍﺣﺘﺮﺍﻡ ﺍﺳﺖ. ﭘﺎﮐﯽ ﻗﻠﺐ ﺩﺭ ﺣﻘﻴﻘﺖ ﺑﻪ ﻣﺴﺌﻠﮥ ﺍﻧﮕﻴﺰﻩ ﻭ ﻧﻴّﺖ ﺁﺩﻣﯽ ﺩﺭ ﺭﻓﺘﺎﺭ ﻭ ﮐﺮﺩﺍﺭﺵ ﻣﺮﺑﻮﻁ ﻣﯽ ﮔﺮﺩﺩ. ﺁﻧﭽﻪ ﮐﻪ ﺭﻓﺘﺎﺭ ﺭﺍﺳﺘﻴﻦ ﺍﺧﻼﻗﯽ ﺭﺍ ﺍﺯ ﺭﻓﺘﺎﺭﻫﺎﯼ ﺩﻳﮕﺮ ﻣﺘﻤﺎﻳﺰ ﻭ ﻣﻤﺘﺎﺯ ﻣﯽ ﺳﺎﺯﺩ ﻭ ﺍﻧﮕﻴﺰﮤ ﺭﻓﺘﺎﺭﯼ ﺑﺪﻳﻦ ﺟﻬﺖ ﺍﺳﺖ ﮐﻪ ﻗﺎﻧﻮﻥ ﺑﺎ ﺍﺧﻼﻕ ﺗﻨﺎﻭﺏ ﻣﯽ ﻳﺎﺑﺪ ﭼﻪ ﮐﻪ ﻗﺎﻧﻮﻥ ﮐﺎﺭﯼ ﺑﻪ ﻧﻴّﺖ ﺍﻓﺮﺍﺩ ﺩﺭﺍﻋﻤﺎﻟﺸﺎﻥ ﻧﺪﺍﺭﺩ. ﻫﻤﺎﻧﻘﺪﺭ ﮐﻪ ﺭﻓﺘﺎﺭ ﻓﺮﺩ ﺍﺯ ﻗﺎﻧﻮﻥ ﺗﺨﻄّﯽ ﻧﻨﻤﻮﺩ ﺍﺯ ﻧﻘﻄﻪ ﻧﻈﺮ ﻗﺎﻧﻮﻧﯽ ﺍﺷﮑﺎﻟﯽ ﺩﺭ ﮐﺎﺭ ﻧﻴﺴﺖ. ﺍﻣّﺎ ﻫﺮ ﺭﻓﺘﺎﺭ ﻣﻄﺎﺑﻖ ﺑﺎ ﻗﺎﻧﻮﻥ ﺿﺮﻭﺭﺗﺎً ﺍﺧﻼﻗﯽ ﻧﻴﺴﺖ. ﺩﺭ ﺍﺧﻼﻗﯽ ﺑﻮﺩﻥ ﺭﻓﺘﺎﺭ ﻣﺴﺌﻠﮥ ﺍﻧﮕﻴﺰﻩ ﻭ ﻧﻴّﺖ ﻧﻘﺶ ﺍﺳﺎﺳﯽ ﻭ ﻣﺮﮐﺰﯼ ﺩﺍﺭﺩ. ﺭﻓﺘﺎﺭﯼ ﮐﻪ ﺑﺨﺎﻁﺮ ﮐﺴﺐ ﺧﻮﺍﻫﺸﻬﺎﯼ ﻧﻔﺴﺎﻧﯽ ﻭ ﺑﺨﺎﻁﺮ ﭘﺎﺩﺍﺵ ﻣﺎﺩّﯼ ﻭ ﻳﺎ ﺟﻠﺐ ﺗﻮﺟّﻪ ﺍﻓﺮﺍﺩ ﺑﺎ ﻧﻴﻞ ﺑﻪ ﻗﺪﺭﺕ ﻭ ﻣﻘﺎﻡ ﺍﻧﺠﺎﻡ ﮔﺮﺩﺩ ﻓﺎﻗﺪ ﺍﺭﺯﺵ ﺍﺧﻼﻗﯽ ﺍﺳﺖ. ﺍﻳﻨﺠﺎﺳﺖ ﮐﻪ ﻗﻠﺐ ﭘﺎﮎ ﻭ ﺩﻝ ﻟﻄﻴﻒ ﭘﻴﺶ ﻓﺮﺽ ﻫﺮ ﻓﻌﻞ ﺍﺧﻼﻗﯽ ﺍﺳﺖ. ﺣﻀﺮﺕ ﺑﻬﺎءﷲ ﻗﺒﻞ ﺍﺯ ﻫﺮ ﭼﻴﺰ ﺍﺯ ﺁﺩﻣﯽ ﻣﯽ ﺧﻮﺍﻫﻨﺪ ﮐﻪ ﺑﻪ ﺯﻳﻮﺭ ﺣﺴﻦ ﻧﻴّﺖ ﻣﺰﻳّﻦ ﺷﻮﺩ ﺗﺎ ﺁﻧﮑﻪ ﻫﻤﮥ ﺍﻋﻤــــــــــﺎﻝ ﺍﻭ ﺁﺋﻴﻨﻪ ﺍﯼ ﺍﺯ ﻓﻌﻞ ﺍﻟﻬﯽ ﮔﺮﺩﺩ. ﻗﻠﺐ ﭘﺎﮎ ﺑﻤﻨﺰﻟﮥ ﻅﻬﻮﺭ ﺗﺎﺑﻨﺎﮎ ﺍﺳﻤﺎء ﻭ ﺻﻔﺎﺕ ﺍﻟﻬﯽ ﺩﺭ ﻋﺮﺵ ﻭﺟﻮﺩ ﺁﺩﻣﯽ ﺍﺳﺖ ﺑﺪﻳﻦ ﺗﺮﺗﻴﺐ ﺑﺎ ﺗﻄﻬﻴﺮ ﺩﻝ ﺁﺩﻣﯽ ﺑﻪ ﺻﻔﺎﺕ ﺍﻟﻬﯽ ﻣﺘّﺼﻒ ﻣﯽ ﺷﻮﺩ ﻭ ﺑﻪ ﺍﺧﻼﻕ ﺭﺣﻤﺎﻧﯽ ﻣﺘﺨﻠّﻖ ﻣﯽ ﮔﺮﺩﺩ. ﺧﺪﺍﻭﻧﺪ ﻫﻴﭻ ﮐﺎﺭﯼ ﺭﺍ ﺑﺨﺎﻁﺮ ﻏﺮﺽ ﻳﺎ ﺧﻮﺍﻫﺸﯽ ﺍﻧﺠﺎﻡ ﻧﻤﯽ ﺩﻫﺪ ﭼﺮﺍ ﮐﻪ ﺍﺣﺘﻴﺎﺟﯽ ﺑﻪ ﻏﻴﺮ ﺧﻮﺩ ﻧﺪﺍﺭﺩ. ﻓﻌﻞ ﺍﻟﻬﯽ ﻋﺎﻡ ﻭ ﮐﻠّﯽ ﺍﺳﺖ ﻭ ﻣﻴﺎﻥ ﻫﻴﭽﮑﺲ ﺗﺒﻌﻴﺾ ﻭ ﺗﻔﮑﻴﮏ ﻗﺎﺋﻞ ﻧﻤﯽ ﺷﻮﺩ. ﻫﻤﺎﻧﻄﻮﺭ ﮐﻪ ﺣﻀﺮﺕ ﺑﻬﺎءﷲ ﺩﺭ ﭘﻴﺎﻣﻬﺎﯼ ﺧﻮﺩ ﺧﻄﺎﺏ ﺑﻪ ﺳﻠﻄﺎﻥ ﻋﺒﺪﺍﻟﻌﺰﻳﺰ ﺗﺄﮐﻴﺪ ﻓﺮﻣﻮﺩﻩ ﺍﻧﺪ ﻣﻈﺎﻫﺮ ﺣﻖّ ﺑﺎ ﻫﻤﻪ ﻳﮑﺴﺎﻥ ﺭﻓﺘﺎﺭ ﻣﯽ ﮐﻨﻨﺪ ﻭ ﻫﻤﻪ ﺭﺍ ﻣﺸﻤﻮﻝ ﻣﺤﺒّﺖ ﻭ ﻭﺩﺍﺩ ﻣﯽ ﺳﺎﺯﻧﺪ. ﺧﻮﺭﺷﻴﺪ ﺑﻪ ﻫﻤﮥ ﺍﺷﻴﺎء ﻣﯽ ﺗﺎﺑﺪ ﻭ ﺍﺑﺮ ﺍﻟﻬﯽ ﺑﺮ ﻫﻤﻪ ﭼﻴﺰ ﺳﺎﺑﻪ ﻣﯽ ﮔﺴﺘﺮﺩ ﻭ ﺑﺎﺭﺍﻥ ﺍﻟﻬﯽ ﺑﺮ ﻫﻤﻪ ﭼﻴﺰ ﻣﯽ ﺑﺎﺭﺩ. ﭘﺲ ﺩﻝ ﭘﺎﮎ ﻣﺴﺘﻠﺰﻡ ﺗﺨﻠّﻖ ﺑﻪ ﺍﺧﻼﻕ ﺍﻟﻬﯽ ﺍﺳﺖ ﻭ ﺍﻳﻦ ﺍﻣﺮ ﺑﺪﻳﻦ ﻣﻌﻨﯽ ﺍﺳﺖ ﮐﻪ ﺁﺩﻣﯽ ﻓﻌﻞ ﺧﻮﺩ ﺭﺍ ﺑﻤﻨﻈﻮﺭ ﺟﻠﺐ ﻣﻨﺎﻓﻊ ﺷﺨﺼﯽ ﻭ ﺍﻏﺮﺍﺽ ﻧﻔﺴﺎﻧﯽ ﻳﺎ ﺑﻪ ﺍﻣﻴﺪ ﮐﺴﺐ ﭘﺎﺩﺍﺵ ﺍﺯ ﺩﻳﮕﺮﺍﻥ ﺍﻧﺠﺎﻡ ﻧﺪﻫﺪ. ﺑﻪ ﻫﻤﻴﻦ ﺗﺮﺗﻴﺐ ﻋﻤﻞ ﺁﺩﻣﯽ ﮐﻪ ﺍﺯ ﺩﻝ ﺑﺮﺧﻴﺰﺩ ﻭﻳﮋﮔﯽ ﻋﻤﻮﻣﯽ ﻭ ﮐﻠّﯽ ﺩﺍﺭﺩ. ﻫﺪﻓﺶ ﺧﺪﻣﺖ ﺑﻪ ﻫﻤﮥ ﺑﺸﺮ ﺍﺳﺖ ﻭ ﺑﻪ ﻫﻤﻪ ﻧﻮﻉ ﺍﻧﺴﺎﻥ ﻣﻬﺮ ﻣﯽ ﻭﺭﺯﺩ. ﺍﺯ ﺍﻳﻨﺠﺎﺳﺖ ﮐﻪ ﺩﻝ ﭘﺎﮎ ﺁﻏﺸﺘﻪ ﺍﺯ ﻣﺤﺒّﺖ ﺧﺪﺍﺳﺖ ﻭ ﺍﻳﻦ ﻣﺤﺒّﺖ ﺍﻟﻬﯽ ﻧﺎﮔﺴﺴﺘﻨﯽ ﺍﺯ ﻣﺤﺒّﺖ ﺑﻪ ﻫﻤﮥ ﻧﻮﻉ ﺑﺸﺮﺳﺖ. ﺑﻪ ﻫﻤﻴﻦ ﺟﻬﺖ ﺍﺳﺖ ﮐﻪ ﺁﺛﺎﺭ ﺣﻀﺮﺕ ﺑﻬﺎءﷲ ﻣﮑﺮّﺭﺍً ﺑﺮ ﺍﻳﻦ ﺍﻣﺮ ﺗﺄﮐﻴﺪ ﻣﯽ ﻧﻤﺎﻳﻨﺪ ﮐﻪ ﺁﺩﻣﯽ ﺑﺎﻳﺪ ﺍﻋﻤﺎﻟﺶ ﺭﺍ ﺩﺍﻡ ﺧﻮﺍﻫﺸﻬﺎ ﻭ ﺁﺭﺯﻭﻫﺎﯼ ﺷﺨﺼﯽ ﺭﻫﺎ ﻧﻤﺎﻳﺪ٬ ﺑﻠﮑﻪ ﻋﻤﻞ ﺭﺍ ﺻﺮﻓﺎً ﺑﺨﺎﻁﺮ ﺭﺿﺎﯼ ﺍﻟﻬﯽ ﻭ ﺑﺨﺎﻁﺮ ﺍﻧﺴﺎﻧﻴّﺖ ﺍﻧﺠﺎﻡ ﺩﻫﺪ. ﺍﺯ ﻧﻈﺮ ﺣﻀﺮﺕ ﺑﻬﺎءﷲ ﻧﻔﺲ ﻋﻤﻞ ﻧﻴﮏ ﻋﺎﻟﻴﺘﺮﻳﻦ ﭘﺎﺩﺍﺵ ﻭ ﺟﺎﺫﺏ ﺗﺮﻳﻦ ﺑﻬﺸﺖ ﺍﻟﻬﯽ ﺍﺳﺖ. ﺩﺭ ﮐﺘﺎﺏ ﻣﺴﺘﻄﺎﺏ ﺍﻗﺪﺱ ﺣﻀﺮﺕ ﺑﻬﺎءﷲ ﻣﯽ ﻓﺮﻣﺎﻳﻨﺪ:  ﻳﻌﻨﯽ ﺍﻋﻤﺎﻝ ﺧﻮﺩ ﺭﺍ ﺩﺍﻣﯽ ﺑﺮﺍﯼ ﻭﺻﻮﻝ ﺑﻪ ﺁﺭﺯﻭﻫﺎ ﻭﺧﻮﺍﻫﺸﻬﺎﯼ ﺧﻮﺩﺗﺎﻥ ﻗﺮﺍﺭ ﻧﺪﻫﻴﺪ. ﺁﺛﺎﺭ ﻻ ﺗﺠﻌﻠﻮﺍ ﺍﻻﻋﻤﺎﻝ ﺷَﺮَﮎ ﺍﻵﻣﺎﻝ٬  ﺣﻀﺮﺕ ﺑﻬﺎءﷲ ﺁﮐﻨﺪﻩ ﺍﺯ ﺗﺄﮐﻴﺪ ﺑﺮ ﺍﺻﻞ ﺩﻝ ﺑﻪ ﻋﻨﻮﺍﻥ ﺍﺻﻠﯽ ﺍﺧﻼﻗﯽ ﺍﺳﺖ. ﻳﮑﯽ ﺍﺯ ﻣﻬﻤّﺘﺮﻳﻦ ﻭ ﭘﻴﭽﻴﺪﻩ ﺗﺮﻳﻦ ﻣﻈﺎﻫﺮ ﺍﻳﻦ ﺍﺻﻞ ﺭﺍ ﻣﯽ ﺗﻮﺍﻥ ﺩﺭ ﺍﻳﻦ ﺑﻴﺎﻥ ﺣﻀﺮﺕ ﺑﻬﺎءﷲ ﺩﺭ ﮐﻠﻤﺎﺕ ﻣﮑﻨﻮﻧﻪ ﻣﺸﺎﻫﺪﻩ ﮐﺮﺩ: ﺍﯼ ﭘﺴﺮ ﺧﺎﮎ ﺟﻤﻴﻊ ﺁﻧﭽﻪ ﺩﺭ ﺁﺳﻤﺎﻧﻬﺎ ﻭ ﺯﻣﻴﻦ ﺍﺳﺖ ﺑﺮﺍﯼ ﺗﻮ ﻣﻘﺮّﺭ ﺩﺍﺷﺘﻢ ﻣﮕﺮ ﻗﻠﻮﺏ ﺭﺍ ﮐﻪ ﻣﺤﻞ ﻧﺰﻭﻝ ﺗﺠﻠّﯽ ﺟﻤﺎﻝ ﻭ ﺍﺟﻼﻝ ﺧﻮﺩ ﻣﻌﻴّﻦ ﻓﺮﻣﻮﺩﻡ ﻭ ﺗﻮ ﻣﻨﺰﻝ ﻭ ﻣﺤﻞّ ﻣﺮﺍ ﺑﻪ ﻏﻴﺮ ﻣﻦ ﮔﺬﺍﺷﺘﯽ ﭼﻨﺎﻧﭽﻪ ﺩﺭ ﻫﺮ ﺯﻣﺎﻥ ﮐﻪ ﻅﻬﻮﺭ ﻗﺪﺱ ﻣﻦ ﺁﻫﻨﮓ ﻣﮑﺎﻥ ﺧﻮﺩ ﻧﻤﻮﺩ ﻏﻴﺮ ﺧﻮﺩ ﺭﺍ ﻳﺎﻓﺖ .(10)  ﺍﻏﻴﺎﺭ ﺩﻳﺪ ﻭ ﻻﻣﮑﺎﻥ ﺑﺤﺮﻡ ﺟﺎﻧﺎﻥ ﺷﺘﺎﻓﺖ ﻭ ﻣﻌﺬﻟﮏ ﺳﺘﺮ ﻧﻤﻮﺩﻡ ﻭ ﺳﺮّ ﻧﮕﺸﻮﺩﻡ ﻭ ﺧﺠﻠﺖ ﺗﻮ ﺭﺍ ﻧﭙﺴﻨﺪﻳﺪﻡ ﺩﺭ ﺍﻳﻦ ﺑﻴﺎﻥ ﻧﻪ ﺗﻨﻬﺎ ﺍﺻﻞ ﺩﻝ ﺑﻪ ﻣﺴﺌﻠﮥ ﺗﺎﺭﻳﺦ ﻭ ﺗﺠﺪﻳﺪ ﻅﻬﻮﺭ ﻣﻈﺎﻫﺮ ﻣﻘﺪّﺳﻪ ﻣﺮﺗﺒﻂ ﻣﯽ ﮔﺮﺩﺩ ﺑﻠﮑﻪ ﺑﻌﻼﻭﻩ ﺍﺷﺘﻐﺎﻝ ﻭ ﺍﺭﺗﺒﺎﻁ ﺁﺩﻣﯽ ﺑﺎ ﻫﺮ ﺁﻧﭽﻪ ﮐﻪ ﺩﺭ ﺁﺳﻤﺎﻥ ﻭ ﺯﻣﻴﻦ ﺍﺳﺖ ﻣﻮﺭﺩ ﺗﺄﺋﻴﺪ ﻗﺮﺍﺭ ﻣﯽ ﮔﻴﺮﺩ ﺑﺸﺮﻁ ﺁﻧﮑﻪ ﺍﻳﻦ ﺍﺭﺗﺒﺎﻁ ﻫﺪﻑ ﻧﺸﻮﺩ ﻭ ﺁﺩﻣﯽ ﺑﻪ ﺁﻥ ﺩﻝ ﻧﺒﻨﺪﺩ. ﺑﺎﻟﻌﮑﺲ ﮐﺎﺭ ﻭ ﺛﺮﻭﺕ ﻭ ﮐﺴﺐ ﻭ ﻣﺎﻝ ﺑﺎﻳﺪ ﺑﺎ ﺍﻧﻘﻄﺎﻉ ﺩﻝ ﺍﺯ ﻫﺮﭼﻪ ﮐﻪ ﻏﻴﺮﺧﺪﺍﺳﺖ ﻫﻤﺮﺍﻩ ﮔﺮﺩﺩ. ﺩﺭ ﺁﻧﺼﻮﺭﺕ ﻧﺤﻮﮤ ﺍﺭﺗﺒﺎﻁ ﺑﺎ ﻫﺴﺘﯽ ﻣﺎﺩّﯼ ﻧﻴﺰ ﺩﺳﺘﺨﻮﺵ ﺗﺤﻮّﻟﯽ ﺍﺳﺎﺳﯽ ﻣﯽ ﮔﺮﺩﺩ ﻳﻌﻨﯽ ﺁﻧﮑﻪ ﺁﺩﻣﯽ ﺩﺭ ﺟﻬﺎﻥ ﻣﺎﺩّﯼ ﺑﻪ ﺗﮑﺎﭘﻮ ﻭ ﮐﺎﺭ ﻣﯽ ﭘﺮﺩﺍﺯﺩ ﺍﻣّﺎ ﻫﺪﻓﺶ ﺍﺯ ﺍﻳﻦ ﺗﮑﺎﭘﻮ ﺧﺪﻣﺖ ﺑﻪ ﻫﻤﮥ ﻋﺎﻟﻢ ﺍﻧﺴﺎﻥ٬ ﺍﺭﺗﻘﺎء ﻣﻘﺎﻡ ﺍﻧﺴﺎﻥ٬ ﻅﻬﻮﺭ ﺟﻮﺍﻫﺮ ﻣﻌﺎﻧﯽ ﺍﺯ ﻣﻌﺪﻥ ﺍﻧﺴﺎﻧﯽ٬ ﮐﻤﮏ ﺑﻪ ﻭﺣﺪﺕ ﻧﻮﻉ ﺑﺸﺮ ﻭ ﺗﺮﻭﻳﺞ ﺻﻠﺢ ﻭ ﻭﺩﺍﺩ ﻭ ﻳﮕﺎﻧﮕﯽ ﺩﺭ ﺟﻬﺎﻥ ﺍﺳﺖ. ﭘﺲ ﺩﻝ ﺁﺩﻣﯽ ﺑﺎﻳﺪ ﻣﺤﻞّ ﺗﺠﻠّﯽ ﺧﺪﺍﻭ ﺻﻔﺎﺕ ﺍﻭ ﺑﺎﻗﯽ ﺑﻤﺎﻧﺪ ﻭ ﺩﺭ ﺍﻳﻦ ﺷﺮﺍﻳﻂ ﺍﺳﺖ ﮐﻪ ﺍﻳﻦ ﺍﻧﺴﺎﻥ ﻣﯽ ﺗﻮﺍﻧﺪ ﺑﻪ ﻁﻮﺭ ﺷﺎﻳﺴﺘﻪ ﺩﺭ ﺩﻧﻴﺎﯼ ﻣﺎﺩّﯼ ﻭ ﺻﺤﻨﮥ ﺭﻭﺍﺑﻂ ﺍﺟﺘﻤﺎﻋﯽ ﺑﻪ ﺣﺮﮐﺖ ﻭ ﺗﮑﺎﭘﻮ ﺩﺭ ﺁﻳﺪ ﻭ ﺑﻪ ﺁﻧﭽﻪ ﮐﻪ ﻻﺋﻖ ﻣﻘﺎﻡ ﺍﻭﺳﺖ ﺩﺳﺖ ﻳﺎﺑﺪ. ﺑﺮﺭﺳﯽ ﻣﺴﺌﻠﮥ ﺩﻝ ﺑﻌﻨﻮﺍﻥ ﺍﺻﻠﯽ ﺍﺧﻼﻗﯽ ﺧﻮﺩ ﻣﺴﺘﻠﺰﻡ ﻣﻘﺎﻟﻪ ﺍﯼ ﻣﺴﺘﻘﻞ ﺍﺳﺖ ﻭ ﺗﻔﺼﻴﻞ ﺁﻥ ﺧﺎﺭﺝ ﺍﺯ ﺍﻣﮑﺎﻥ ﺍﻳﻦ ﻣﻘﺎﻟﻪ. ﺍﻳﻨﺴﺘﮑﻪ ﺍﻳﻦ ﺑﺤﺚ ﺭﺍ ﺑﺎ ﺫﮐﺮ ﺩﻭ ﮔﻔﺘﺎﺭ ﺍﺯ ﺣﻀﺮﺕ ﺑﻬﺎءﷲ ﺧﺎﺗﻤﻪ ﻣﯽ ﺩﻫﻴﻢ: ﺍﯼ ﺑﻨﺪﮤ ﻣﻦ

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Pazhuheshnameh ﯽ ﺟﻐﺭﺍﻓﻳﺎﯼ ﺩﻝ ﺩﺭ ﺁﺛﺎﺭ ﺑﻬﺎﺋ

.(11)  ﺩﻝ ﺭﺍ ﺍﺯ ﻏﻞ ﭘﺎﮎ ﮐﻦ ﻭ ﺑﯽ ﺣﺴﺪ ﺑﻪ ﺑﺴﺎﻁ ﻗﺪﺱ ﺍﺣﺪ ﺑﺨﺮﺍﻡ ﻫﺮ ﺍﻣﺮﯼ ﮐﻪ ﻗﻠﺐ ﺭﺍ ﺭﺍﺣﺖ ﻧﻤﺎﻳﺪ ﻭ ﺑﺮ ﺑﺰﺭ ﮔﯽ ﺍﻧﺴﺎﻥ ﺑﻴﻔﺰﺍﻳﺪ ﻭ ﻧﺎﺱ ﺭﺍ ﺭﺍﺿﯽ ﺩﺍﺭﺩ ﻣﻘﺒﻮﻝ ﺧﻮﺍﻫﺪ ﺑﻮﺩ. ﻣﻘﺎﻡ ﺍﻧﺴﺎﻥ ﺑﻠﻨﺪ ﺍﺳﺖ .(12)  ﺍﮔﺮ ﺑﻪ ﺍﻧﺴﺎﻧﻴّﺖ ﻣﺰﻳّﻦ ﻭﺍﻻّ ﭘﺴﺖ ﺗﺮ ﺍﺯ ﺟﻤﻴﻊ ﻣﺨﻠﻮﻕ ﻣﺸﺎﻫﺪﻩ ﻣﯽ ﺷﻮﺩ ﻣﺄﺧﺬﻫﺎ (Dundas ٬1994 ٬  )ﻣﺆﺳّﺴﮥ ﻣﻌﺎﺭﻑ ﺑﻬﺎﺋﯽ 4   – ﺣﻀﺮﺕ ﺑﻬﺎءﷲ٬ ﮐﻠﻤﺎﺕ ﻣﮑﻨﻮﻧﻪ. ﻧﻔﺤﺎﺕ ﻓﻀﻞ /ﺟﻠﺪ 1 .1  – ﺣﻀﺮﺕ ﺑﻬﺎءﷲ٬ ﮐﻠﻤﺎﺕ ﻣﮑﻨﻮﻧﻪ. ﻧﻔﺤﺎﺕ ﻓﻀﻞ ﺹ 2 .103 ٬ ﺹ 23   ﺷﻤﺎﺭﮤ INBA  – ﺣﻀﺮﺕ ﺑﻬﺎءﷲ 3 .113 – 114  ﺑﺪﻳﻊ( ﺹ 121 – ﺣﻀﺮﺕ ﺑﻬﺎءﷲ٬ ﻫﻔﺖ ﻭﺍﺩﯼ. ﺁﺛﺎﺭ ﻗﻠﻢ ﺍﻋﻠﯽ ﺟﻠﺪ ﺳﻮﻡ )ﻣﺆﺳّﺴﮥ ﻣﻠّﯽ ﻣﻄﺒﻮﻋﺎﺕ ﺍﻣﺮﯼ ﻁﻬﺮﺍﻥ 4 .128 – 126 – ( ﺹ 1998 Hofheim, Baha’I Verlag)    – ﺣﻀﺮﺕ ﺑﻬﺎءﷲ٬ ﮐﺘﺎﺏ ﺍﻳﻘﺎﻥ 5 .13  – ﺣﻀﺮﺕ ﺑﻬﺎءﷲ٬ ﮐﻠﻤﺎﺕ ﻣﮑﻨﻮﻧﻪ. ﻧﻔﺤﺎﺕ ﻓﻀﻞ ﺹ 6

.186 – 187  – ﺣﻀﺮﺕ ﺑﻬﺎءﷲ٬ ﻣﺜﻨﻮﯼ ﻣﺒﺎﺭﮎ. ﺁﺛﺎﺭ ﻗﻠﻢ ﺍﻋﻠﯽ ﺟﻠﺪ ﺳﻮﻡ ﺹ 7 .129 – 112  – ﺣﻀﺮﺕ ﺑﻬﺎءﷲ٬ ﻫﻔﺖ ﻭﺍﺩﯼ٬ ﺁﺛﺎﺭ ﻗﻠﻢ ﺍﻋﻠﯽ ﺟﻠﺪ ﺳﻮﻡ ﺹ 8 .129 131  – ﺣﻀﺮﺕ ﺑﻬﺎءﷲ٬ ﮐﺘﺎﺏ ﺍﻳﻘﺎﻥ ﺹ 9

.24  – ﺣﻀﺮﺕ ﺑﻬﺎءﷲ٬ ﮐﻠﻤﺎﺕ ﻣﮑﻨﻮﻧﻪ. ﻧﻔﺤﺎﺕ ﻓﻀﻞ ﺹ 10 .28  – ﺣﻀﺮﺕ ﺑﻬﺎءﷲ٬ ﮐﻠﻤﺎﺕ ﻣﮑﻨﻮﻧﻪ. ﻧﻔﺤﺎﺕ ﻓﻀﻞ ﺹ 11 .304 ( ﺹ 1920 ٬  – ﺣﻀﺮﺕ ﺑﻬﺎءﷲ٬ ﻣﺠﻤﻮﻋﮥ ﺍﻟﻮﺍﺡ ﻣﺒﺎﺭﮐﮥ ﺣﻀﺮﺕ ﺑﻬﺎءﷲ ﭼﺎﭖ ﻣﺼﺮ٬ )ﻣﻄﺒﻌﮥ ﺳﻌﺎﺩﮤ ﻣﺼﺮ 12

ﺑﺴﺘﻦ ﺍﻳﻦ ﭘﻨﺠﺮﻩ

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