نگاهى به آثار حضرت بهاءالله

12/16/2016

Pazhuheshnameh ﷲ ﻧﮕﺎﻫﻰ ﺑﻪ ﺁﺛﺎﺭ ﺣﺿﺭﺕ ﺑﻬﺎء

ﻧﮕﺎﻫﻰ ﺑﻪ ﺁﺛﺎﺭ ﺣﻀﺮﺕ ﺑﻬﺎءﷲ

۹  ﺷﻤﺎﺭﮤ  ﻧﮕﺎﺭﺵ: ﻧﺎﺩﺭ ﺳﻌﻴﺪﻯ

ﺍﮔﺮ ﭼﻪ ﻣﻮﻟﺪ ﺣﻀﺮﺕ ﺑﻬﺎءﷲ ﺍﻳﺮﺍﻥ ﺑﻮﺩ ﻭ ﻅﻬﻮﺭ ﺍﻣﺮ ﺑﻬﺎﺋﻰ ﺷﮕﻔﺖﺗﺮﻳﻦ ﻭ ﺷﮑﻮﻫﻤﻨﺪﺗﺮﻳﻦ ﺣﺎﺩﺛﻪ ﺩﺭ ﺗﺎﺭﻳﺦ ﺍﻳﺮﺍﻥ ﻭﺟﻬﺎﻥ٬ ﺍﻣّﺎ ﺗﺎﮐﻨﻮﻥ ﻧﻮﻳﺴﻨﺪﮔﺎﻥ ﻭ ﺍﻧﺪﻳﺸﻤﻨﺪﺍﻥ ﺍﻳﺮﺍﻥﺩﺭ ﺭﻭﻳﮕﺮﺩ ﺧﻮﻳﺶ ﺑﻪ ﺍﻳﻦ ﺭﺧﺪﺍﺩ ﺍﻳﺮﺍﻧﻰ ﺍﺯ ﺗﺤﻘﻴﻖ ﻋﻠﻤﻰ ﻭ ﺟﺪّﻯ ﺳﺮ ﺑﺎﺯ ﺯﺩﻩ ﻭ ﺩﺭ ﻧﺘﻴﺠﻪ ﺗﻨﻬﺎ ﻣﻨﺒﻊ ﺩﺍﻭﺭﻯ ﺩﺭ ﻣﻮﺭﺩ ﺩﻳﺎﻧﺖ ﺑﻬﺎﺋﻰ ﻟﻌﻦ ﻭ ﻁﻌﻦ ﺳﻨّﺖ ﭘﺮﺳﺘﺎﻥ ﻓﺮﻫﻨﮕﻰ ﻭ ﺗﮑﻔﻴﺮ ﻭ ﺗﮑﺬﻳﺐ ﺳﺮﺍﻥ ﻣﺬﻫﺒﻰ ﺑﻮﺩﻩ ﻭ ﻣﻰﺑﺎﺷﺪ. ﺍﻳﻦ ﻣﻘﺎﻟﻪ ﮐﻮﺗﺎﻩ ﺩﻋﻮﺗﻰ ﺍﺳﺖ ﺍﺯ ﻫﻢﻭﻁﻨﺎﻥ ﻋﺰﻳﺰ ﺑﻪ ﺍﺗّﺨﺎﺫ ﺭﻭﺵ ﻋﻠﻤﻰ ﻭﺍﻧﺼﺎﻑ ﻭﺍﺳﺘﻘﻼﻝ ﻧﻈﺮﻯ ﺩﺭ ﺧﺼﻮﺹ ﻧﻬﻀﺖ ﺟﻬﺎﻧﻰ ﺑﻬﺎﺋﻰ ﮐﻪ ﻣﺎﻳﻪٴ ﺍﻓﺘﺨﺎﺭ ﺍﻳﺮﺍﻥ ﻭ ﺍﻳﺮﺍﻧﻴﺎﻥ ﺍﺳﺖ. ﺍﮔﺮﭼﻪ ﺩﻳﺎﻧﺖ ﺑﻬﺎﺋﻰ ﺩﺍﺭﺍﻯ ﺍﺑﻌﺎﺩ ﮔﻮﻧﺎﮔﻮﻥ ﺍﺳﺖ ﺍﻣّﺎ ﻫﺴﺘﻪ ﻭ ﺭﻭﺡ ﺍﻳﻦ ﻧﻬﻀﺖ ﺭﻭﺣﺎﻧﻰ٬ ﺍﺟﺘﻤﺎﻋﻰ٬ ﻓﺮﻫﻨﮕﻰ٬ ﻭ ﺍﺧﻼﻗﻰ ﻣﺠﻤﻮﻋﻪٴ ﮐﺘﺎﺑﻬﺎ٬ ﺍﻟﻮﺍﺡ ﻭ ﻧﺎﻣﻪﻫﺎﺋﻰ ﺍﺳﺖ ﮐﻪ ﺍﺯ ﻗﻠﻢ ﺣﻀﺮﺕ ﺑﻬﺎءﷲ ﻧﺎﺯﻝ ﺷﺪﻩ ﺍﺳﺖ. ﺑﺪﻳﻦ ﺟﻬﺖ ﺩﺭ ﺍﻳﻦ ﻣﻘﺎﻟﻪ ﻣﺨﺘﺼﺮ٬ ﺑﻪ ﺑﺮﺭﺳﻰ ﻭﻳﮋﮔﻴﻬﺎﻯ ﮐﻠّﻰ ﺍﻳﻦ ﺁﺛﺎﺭ ﻭ ﺳﺎﺧﺘﺎﺭ ﭘﻴﺎﻡ ﺁﻥ ﻣﻰﭘﺮﺩﺍﺯﻳﻢ. ﺩﺭ ﺍﺑﺘﺪﺍ ﺑﻪ ﻣﻘﺼﻮﺩ ﺍﺻﻠﯽ ﻭ ﻏﺎﻳﺖ ﻧﻬﺎﺋﻰ ﻧﮕﺎﺭﺵ ﺍﻳﻦ ﺁﺛﺎﺭ ﺗﻮﺟّﻪ ﻣﻰﻧﻤﺎﺋﻴﻢ ﻭ ﺩﺭ ﭘﺮﺗﻮ ﺁﻥ ﺑﻪ ﺑﺮﺧﻰ ﺍﺯ ﻭﻳﮋﮐﻴﻬﺎﻯ ﺁﺛﺎﺭ ﺣﻀﺮﺕ ﺑﻬﺎءﷲ ﻧﻈﺮ ﻣﻰﺍﻓﮑﻨﻴﻢ. ﺁﻧﮕﺎﻩ ﺑﻪ ﻣﺮﺍﺣﻞﮔﻮﻧﺎﮔﻮﻥ ﻧﺰﻭﻝ ﺍﻳﻦ ﺁﺛﺎﺭ ﺩﻗّﺖ ﮐﺮﺩﻩ ﻭ ﻭﺣﺪﺕ ﻭ ﺧﻼّﻗﻴّﺖ ﭘﻴﺎﻡ ﻧﻬﻔﺘﻪ ﺩﺭ ﺁﻥ ﺍﻗﻴﺎﻧﻮﺱ ﻣﻮّﺍﺝ ﺭﺍ ﺑﺮﺭﺳﻰ ﻣﻰﻧﻤﺎﺋﻴﻢ. ﻫﺪﻑ ﻧﻬﺎﺋﻰ ﺁﺛﺎﺭ ﺣﻀﺮﺕ ﺑﻬﺎءﷲ ﺩﺭ ﺣﻘﻴﻘﺖ ﻣﻰﺗﻮﺍﻥ ﮔﻔﺖ ﮐﻪ ﺗﻤﺎﻣﻰ ﻭﻳﮋﮔﻴﻬﺎﻯ ﺁﺛﺎﺭ ﺣﻀﺮﺕ ﺑﻬﺎءﷲ ﻭ ﻧﻴﺰ ﺳﺎﺧﺘﺎﺭ ﭘﻴﺎﻡ ﻣﻮﺩﻭﻉ ﺩﺭ ﺁﻥ ﺁﺛﺎﺭ ﺭﺍ ﻣﻰﺗﻮﺍﻥ ﺍﺯ ﻫﺪﻑ ﻭ ﻏﺎﻳﺖ ﺣﻀﺮﺕ ﺑﻬﺎءﷲ ﺍﺯ ﻅﻬﻮﺭ ﺧﻮﺩ ﻭ ﻧﺰﻭﻝ ﺁﺛﺎﺭ ﺍﺳﺘﻨﺘﺎﺝ ﻧﻤﻮﺩ. ﺍﻳﻦ ﻫﺪﻑ ﺑﺎﺭﻫﺎ ﺩﺭﺧﻮﺩ ﺁﺛﺎﺭ ﺣﻀﺮﺕ ﺑﻬﺎءﷲ ﻣﻮﺭﺩ ﺗﺼﺮﻳﺢ ﻗﺮﺍﺭ ﮔﺮﻓﺘﻪ ﺍﺳﺖ. ﺑﻪ ﻋﻨﻮﺍﻥ ﻣﺜﺎﻝ ﺩﺭ ﺁﺧﺮﻳﻦ ﺍﺛﺮ ﺣﻀﺮﺕ ﺑﻬﺎءﷲ ﮐﻪ ﻭﺻﻴّﺘﻨﺎﻣﻪٴ ﺍﻳﺸﺎﻥ ﺑﺮﺍﻯ ﺩﻧﻴﺎ ﻭ ﺟﺎﻣﻌﻪٴ ﺑﻬﺎﺋﻰ ﺍﺳﺖ ﺍﻳﻦ ﻣﻘﺼﻮﺩ ﺗﮑﺮﺍﺭ ﻭ ﺗﺄﮐﻴﺪ ﻣﻰﺷﻮﺩ ﮐﻪ ﻣﺒﺎﺩﺍ ﺩﺭ ﺍﻳﻦ ﻣﻮﺭﺩ ﺷﺒﻬﻪ ﻭ ﺳﻮء ﺗﻔﺎﻫﻤﻰ ﭘﻴﺪﺍ ﺷﻮﺩ ﻳﺎ ﺁﻧﮑﻪ ﺁﺛﺎﺭ ﺣﻀﺮﺗﺶ ﺑﺸﮑﻠﯽ ﮐﻪ ﻣﻐﺎﻳﺮ ﺁﻥ ﻫﺪﻑ ﺷﮑﻮﻫﻤﻨﺪ ﺍﺳﺖ ﻣﻮﺭﺩ ﺗﻌﺒﻴﺮ ﻭ ﺗﻔﺴﻴﺮ ﻗﺮﺍﺭ ﮔﻴﺮﺩ. ﺩﺭ ﺍﻳﻦ ﺍﺛﺮ ﮐﻪ ﺑﻪ "ﮐﺘﺎﺏ ﻋﻬﺪ" ﻳﺎ "ﮐﺘﺎﺏ ﻋﻬﺪﻯ" ﻣﻮﺳﻮﻡ ﺍﺳﺖ ﭼﻨﻴﻦ ﻣﻰﻓﺮﻣﺎﻳﻨﺪ: "ﻣﻘﺼﻮﺩ ﺍﻳﻦ ﻣﻈﻠﻮﻡ ﺍﺯ ﺣﻤﻞ ﺷﺪﺍﻳﺪ ﻭ ﺑﻼﻳﺎ ﻭ ﺍﻧﺰﺍﻝ ﺁﻳﺎﺕ ﻭ ﺍﻅﻬﺎﺭﺑﻴّﻨﺎﺕ٬ ﺍﺧﻤﺎﺩ ﻧﺎﺭ ﺿﻐﻴﻨﻪ ﻭ ﺑﻐﻀﺎء ﺑﻮﺩﻩ ﮐﻪ ﺷﺎﻳﺪ ﺁﻓﺎﻕ ﺍﻓﺌﺪﻩٴ ﺍﻫﻞ (۱)" ﻋﺎﻟﻢ ﺑﻨﻮﺭ ﺍﺗّﻔﺎﻕ ﻣﻨﻮّﺭ ﮔﺮﺩﺩ ﻭ ﺑﻪ ﺁﺳﺎﻳﺶ ﺣﻘﻴﻘﻰ ﻓﺎﺋﺰ ﺩﺭ ﺍﻳﻦ ﺑﻴﺎﻥ ﺣﻀﺮﺕ ﺑﻬﺎءﷲ ﻣﺆﮐّﺪ ﻣﻰﺳﺎﺯﺩ ﮐﻪ ﻋﻠّﺖ ﺍﻳﻨﮑﻪ ﺍﻳﺸﺎﻥ ﺣﺎﺿﺮ ﺷﺪﻧﺪ ﺗﻦ ﺑﻪ ﻫﺰﺍﺭﺍﻥ ﻧﻮﻉ ﺁﺯﺍﺭ ﻭﺳﺘﻢ ﻭ ﺣﺒﺲ ﻭ ﺯﺟﺮ ﺩﺍﺩﻩ ﻭ ﺑﻪ ﻧﺰﻭﻝ ﺁﻳﺎﺕ ﻭ ﺁﺛﺎﺭ ﺍﻟﻬﻰ ﭘﺮﺩﺍﺧﺘﻪ ﻭ ﺍﻣﺮ ﺧﻮﺩ ﺭﺍ ﺁﺷﮑﺎﺭﺍ ﺑﻪ ﺗﻤﺎﻣﻰ ﻋﺎﻟﻤﻴﺎﻥ ﺍﺑﻼﻍ ﻧﻤﺎﻳﻨﺪ ﺗﺤﻘﻖ ﻓﺮﻫﻨﮓ ﻭﺩﺍﺩ ﻭ ﻣﺤﺒّﺖ ﻭ ﺍﻟﻔﺖ ﻭ ﺩﻭﺳﺘﻰ ﺩﺭ ﻋﺎﻟﻢ ﺑﺸﺮﻯ ﻭ ﺭﻳﺸﻪ ﮐﻨﺪﻥ ﻓﺮﻫﻨﮓ ﮐﻴﻨﻪ ﻭ ﺧﺸﻮﻧﺖ ﺍﺯ ﺩﻟﻬﺎﻯ ﻧﻮﻉ ﺑﺸﺮﺳﺖ. ﺩﺭ ﻫﻤﻴﻦ ﺑﻴﺎﻥ ﺣﻀﺮﺕ ﺑﻬﺎءﷲ ﻣﺘﺬﮐﺮ ﻣﻰﺷﻮﻧﺪ ﮐﻪ ﺍﻳﻦ ﻓﺮﻫﻨﮓ ﻋﺸﻖ ﻭ ﻣﺤﺒّﺖ ﺑﻪ ﺍﺗّﺤﺎﺩ ﻭ ﺍﺗّﻔﺎﻕ ﻧﻮﻉ ﺍﻧﺴﺎﻥ ﻣﻨﺠﺮ ﺷﺪﻩ ﻭ ﺍﻳﻦ ﻣﺤﺒّﺖ ﻭﺍﺗّﺤﺎﺩ ﺑﻪ ﺁﺳﺎﻳﺶ ﺣﻘﻴﻘﻰ ﻣﺮﺩﻡ ﺑﺸﺮ ﺧﻮﺍﻫﺪ ﺍﻧﺠﺎﻣﻴﺪ. ﺑﻪ ﻋﺒﺎﺭﺕ ﺩﻳﮕﺮ ﻣﻘﺼﻮﺩ ﺍﺻﻠﯽ ﺍﺯﻧﮕﺎﺭﺵ ﮐﺘﺎﺑﻬﺎ ﻭ ﺍﻟﻮﺍﺡ ﻣﺘﻌﺪّﺩ ﺗﻮﺳّﻂ ﺣﻀﺮﺕ ﺑﻬﺎءﷲ ﺗﺤﻘﻖ ﻧﻈﺎﻡ ﻣﺤﺒّﺖ ﻭ ﺩﻭﺳﺘﻰ ﻭ ﺻﻠﺢ ﻭ ﻳﮕﺎﻧﮕﻰ ﺩﺭ ﺭﻓﻊ ﻓﺮﻫﻨﮓ ﺑﻴﮕﺎﻧﮕﻰ ﻭ ﺧﺸﻮﻧﺖ ﺍﺯ ﺻﺤﻨﻪٴ ﺣﻴﺎﺕ ﺑﺸﺮﺳﺖ. ﺑﺪﻳﻦﺟﻬﺖ ﺍﺳﺖ ﮐﻪ ﺁﺛﺎﺭﺣﻀﺮﺕ ﺑﻬﺎءﷲ ﻋﻠﻴﺮﻏﻢ ﮔﻮﻧﺎﮔﻮﻥ ﻭ ﺗﻨﻮﻉ ﺳﺮﺷﺎﺭ ﺁﻥ ﻫﻤﮕﻰ ﺍﻧﻌﮑﺎﺳﻰ ﺍﺯ ﺍﻳﻦ ﻏﺎﻳﺖ ﻭﺍﻻﺳﺖ ﺑﻄﻮﺭﻳﮑﻪ ﻣﻰﺗﻮﺍﻥ ﺍﺻﻮﻝ ﻣﺮﺑﻮﻁ ﺑﻪ ﺻﻮﺭﺕ ﻭ ﻣﺤﺘﻮﺍﻯ ﺁﻥ ﺭﺍ ﺍﺯ ﻫﻤﺎﻥ ﻏﺎﻳﺖ ﺍﺳﺘﻨﻄﺎﻕ ﻭ ﺍﺳﺘﺨﺮﺍﺝ ﻧﻤﻮﺩ. ﺍﻭّﻟﻴﻦ ﺧﺼﻮﺻﻴّﺖ ﺁﺛﺎﺭ ﺣﻀﺮﺕ ﺑﻬﺎءﷲ ﮐﻪ ﺩﺭ ﻁﻮﻝ ﺗﺎﺭﻳﺦ ﺭﻭﺣﺎﻧﻰ ﺑﻰﺳﺎﺑﻘﻪ ﺑﻮﺩﻩ ﺍﺳﺖ ﻧﻔﻰ ﺣﺪﻳﺚ ﻭ ﻧﻘﻞ ﻗﻮﻟﻬﺎﻯ ﺷﻔﺎﻫﻰ ﺑﻌﻨﻮﺍﻥ ﮐﻼﻡ ﺭﺳﻤﻰ ﺩﻳﻨﻰ ﺍﺳﺖ. ﻫﻤﻪٴ ﺍﺩﻳﺎﻥ ﺍﻟﻬﻰ ﺩﺭ ﻭﺍﻗﻊ ﺑﻤﻨﻈﻮﺭ ﺍﻳﺠﺎﺩ ﺍﻟﻔﺖ ﻭ ﻣﺤﺒّﺖ ﻭ ﻳﮕﺎﻧﮕﻰ ﺩﺭ ﻣﻴﺎﻥ ﭘﻴﺮﻭﺍﻥ ﺧﻮﺩ ﺑﻮﺟﻮﺩ ﺁﻣﺪﻧﺪ ﺍﻣّﺎﻣﺘﺎﺳﻔﺎﻧﻪ ﺑﻪ ﺧﺎﻁﺮ ﻣﺤﺪﻭﺩﻳّﺘﻬﺎﻯ ﻓﺮﻫﻨﮕﻰ٬ ﮐﻼﻡ ﺍﻟﻬﻰ ﺩﺭ ﺍﮐﺜﺮ ﻣﻮﺍﻗﻊ ﺻﺮﻓﺎً ﺑﺸﮑﻞ ﺭﻭﺍﻳﺘﻬﺎﻯ ﺷﻔﺎﻫﻰ ﺍﺯ ﭘﻴﺎﻣﺒﺮ ﻅﺎﻫﺮ ﺷﺪ. ﺑﻪ ﻫﻤﻴﻦ ﺟﻬﺖ ﺍﺳﺖ ﮐﻪ ﺩﺭ ﺑﺴﻴﺎﺭﻯ ﺍﺯ ﺍﺩﻳﺎﻥ ﮐﺘﺐ ﻣﻘﺪﺳﻪ ﭼﻴﺰﻯ ﺟﺰ ﺭﻭﺍﻳﺘﻬﺎﻯ ﺷﻔﺎﻫﻰ ﻳﺎ ﺩﺍﺳﺘﺎﻧﻬﺎﺋﻰ ﺩﺭ ﻣﻮﺭﺩ ﺯﻧﺪﮔﻰ ﭘﻴﺎﻣﺒﺮ ﻧﻴﺴﺖ. ﺍﻳﻦ ﺍﻣﺮ ﺑﺘﺪﺭﻳﺞ ﺗﻐﻴﻴﺮ ﻣﻰﻳﺎﺑﺪ ﺑﻄﻮﺭﻳﮑﻪ ﺗﻮﺭﺍﺕ ﺑﺎ ﺫﮐﺮ ﺩﻩ ﻓﺮﻣﺎﻥ ﺑﻪ ﮐﻼﻡ ﺍﻟﻬﻰ ﺑﻄﻮﺭ ﻣﺴﺘﻘﻴﻢ ﺗﺄﮐﻴﺪ ﻣﻰﮐﻨﺪ ﻭ ﺍﻧﺠﻴﻞ ﺑﺎﻧﻘﻞ ﺑﻴﺎﻧﺎﺕ ﺣﻀﺮﺕ ﻣﺴﻴﺢ ﺯﻣﻴﻨﻪﺍﻯ ﻣﺤﮑﻢ ﺑﺮﺍﻯ ﺍﺳﺘﻔﺎﺿﻪ ﺍﺯ ﻭﺣﻰ ﺑﺪﺳﺖ ﻣﻰﺩﻫﺪ ﻭ ﻗﺮﺁﻥ ﮐﺮﻳﻢ ﻣﺴﺘﻘﻴﻤﺎً ﻭ ﺗﻤﺎﻣﺎً ﺍﻧﻌﮑﺎﺱ ﻭﺣﻰ ﺍﻟﻬﻰ ﺍﺳﺖ. ﺍﻣّﺎ ﺑﺎ ﺍﻳﻦ ﻭﺻﻒ ﺣﺘّﻰٰ ﺩﺭ ﺯﻣﺎﻥ ﺍﺳﻼﻡ ﻧﻴﺰ ﺭﻭﺍﻳﺘﻬﺎﻯ ﺷﻔﺎﻫﻰ ﻣﺮﺟﻌﻴّﺖ ﻭ ﻣﺮﮐﺰﻳّﺖ ﻳﺎﻓﺖ ﻭ ﺑﺪﻳﻦﺗﺮﺗﻴﺐ ﺍﻳﻦ ﻣﺴﺌﻠﻪ ﮐﻪ ﮐﻼﻡ ﺍﻟﻬﻰ ﭼﻴﺴﺖ ﻭ ﺍﺯ ﮐﺠﺎ ﻣﻴﺘﻮﺍﻥ ﻣﻄﻤﺌﻦ ﺑﻪ ﺻﺤّﺖ ﺍﻧﺘﺴﺎﺏ ﺍﻳﻦ ﺭﻭﺍﻳﺘﻬﺎ ﺑﻪ ﭘﻴﺎﻣﺒﺮ ﺷﺪ ﺧﻮﺩ ﻋﻠّﺘﻰ ﺍﺳﺎﺳﻰ ﺑﺮﺍﻯ ﺍﻳﺠﺎﺩ ﺍﺧﺘﻼﻑ ﻭ ﮐﻴﻨﻪ ﻭ ﺗﻔﺮﻗﻪ ﺩﺭ ﻣﻴﺎﻥ ﻣﺆﻣﻨﺎﻥ ﮔﺮﺩﻳﺪ. ﺍﻳﻦ ﺍﻣﺮ ﺑﺎﻋﺚ ﻅﻬﻮﺭ ﻓﺮﻗﻪﻫﺎﻯ ﮔﻮﻧﺎﮔﻮﻥ ﺩﺭ ﺩﺍﺧﻞ ﺍﺩﻳﺎﻥ ﻣﺨﺘﻠﻒ ﮔﺮﺩﻳﺪ ﺩﺭ ﻧﺘﻴﺠﻪ ﮐﻼﻡ ﺍﻟﻬﻰ ﺑﺠﺎﻯ ﺁﻧﮑﻪ ﺑﻪ

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12/16/2016

Pazhuheshnameh ﷲ ﻧﮕﺎﻫﻰ ﺑﻪ ﺁﺛﺎﺭ ﺣﺿﺭﺕ ﺑﻬﺎء

ﻭﺣﺪﺕ ﻭﺍﺗّﺤﺎﺩ ﺑﻴﺎﻧﺠﺎﻣﺪ ﺧﻮﺩ ﺑﺎﻋﺚ ﺗﻔﺮﻗﻪ ﻭ ﺩﺷﻤﻨﻰ ﮔﺮﺩﻳﺪ ﺍﻳﻦ ﻣﻄﻠﺐ ﺗﺎ ﺑﻪ ﺣﺪّﻯ ﺟﺪّﻯ ﺍﺳﺖ ﮐﻪ ﺣﺘّﻰٰ ﻣﺤﻘﻘﺎﻥ ﻭ ﻣﻮﺭﺧﺎﻥ ﮔﻮﻧﺎﮔﻮﻥ ﺩﺭ ﻣﻮﺭﺩ ﺍﻳﻨﮑﻪ ﺁﻳﺎ ﻓﻰﺍﻟﻤﺜﻞ ﺍﻧﺎﺟﻴﻞ ﺍﺭﺑﻌﻪ ﺗﺎ ﭼﻪ ﺣﺪّ ﺩﺍﺭﺍﻯ ﺳﻨﺪﻳﱡﺖ ﻭ ﺍﻋﺘﺒﺎﺭﺳﺖ ﻭ ﺗﺎﭼﻪ ﺍﻧﺪﺍﺯﻩ ﻣﻨﺒﻊ ﺷﻨﺎﺳﺎﺋﻰ ﺑﺮﺍﻯ ﺩﺭﮎ ﻭﺣﻰ ﺍﻟﻬﻰ ﺑﻪ ﺣﻀﺮﺕ ﻣﺴﻴﺢ ﺍﺳﺖ ﺩﺳﺘﺨﻮﺵ ﺍﺧﺘﻼﻓﻬﺎ ﻭ ﻣﻨﺎﻗﺸﺎﺕ ﺟﺪّﻯ ﺑﻮﺩﻩ ﻭ ﻫﺮﻳﮏ ﺩﺭ ﺍﻳﻦ ﻣﻮﺭﺩ ﻧﻈﺮﻯ ﺍﺑﺮﺍﺯ ﻣﻰﻧﻤﺎﻳﺪ. ﻧﺰﺍﻉ ﻣﻴﺎﻥ ﺷﻴﻌﻪ ﻭ ﺳﻨﻰ ﻭ ﻳﺎ ﺩﻳﮕﺮ ﻓﺮﻕ ﺍﺳﻼﻣﻰ ﺩﺭ ﻣﻮﺭﺩ ﺻﺤﺖ ﺍﺣﺎﺩﻳﺚ ﻧﻤﻮﻧﻪٴ ﺩﻳﮕﺮﻯ ﺍﺯ ﻫﻤﻴﻦ ﻭﺍﻗﻌﻴّﺖ ﺍﺳﺖ. ﺍﻣّﺎ ﭼﻨﺎﻧﮑﻪ ﺩﻳﺪﻳﻢ ﺣﻀﺮﺕ ﺑﻬﺎءﷲ ﺻﺮﻳﺤﺎً ﺍﻋﻼﻥ ﻣﻰﻧﻤﺎﻳﺪ ﮐﻪ ﺗﻨﻬﺎﺩﻟﻴﻞ ﻧﺰﻭﻝ ﺁﻳﺎﺕ ﻭﺍﻅﻬﺎﺭ ﺑﻴّﻨﺎﺕ ﺗﻮﺳّﻂ ﺍﻳﺸﺎﻥ ﺭﻳﺸﻪ ﮐﻦ ﺳﺎﺧﺘﻦ ﮐﻴﻨﻪ ﻭ ﺩﺷﻤﻨﻰ ﻭ ﺍﻳﺠﺎﺩ ﻭﺩﺍﺩ ﻭﺩﻭﺳﺘﻰ ﺩﺭ ﻗﻠﻮﺏ ﺁﺩﻣﻴﺎﻥ ﺍﺳﺖ. ﺑﺪﻳﻦﺟﻬﺖ ﻭﺍﺿﺢ ﺍﺳﺖ ﮐﻪ ﺑﺎﻳﺪ ﺩﺭ ﺻﻮﺭﺕ ﭼﻨﻴﻦ ﺁﺛﺎﺭﻯ ﻧﻴﺰ ﺗﺤﻮﻟّﻰ ﺑﻨﻴﺎﺩﻯ ﺻﻮﺭﺕ ﮔﻴﺮﺩ. ﺍﻳﻦ ﺍﻣﺮ ﺍﺯ ﻣﻬﻤﺘﺮﻳﻦ ﺍﺻﻮﻝ ﺩﺭ ﺍﺭﺗﺒﺎﻁ ﺑﺎ ﺁﺛﺎﺭ ﺑﻬﺎﺋﻰ ﻭ ﻓﺮﻫﻨﮓ ﺑﻬﺎﺋﻰ ﺍﺳﺖ. ﺑﻪ ﺗﺼﺮﻳﺢ ﺗﻤﺎﻡ ﮐﺘﺐ ﻣﻘﺪﺳﻪٴ ﺑﻬﺎﺋﻰ ﺗﻨﻬﺎ ﺁﺛﺎﺭﻯ ﺭﺍ ﻣﻰﺗﻮﺍﻥ ﺍﺛﺮ ﺍﻟﻬﻰ ﺩﺍﻧﺴﺖ ﻭ ﺑﺮﺍﻯ ﺁﻥ ﻣﺮﺟﻌﻴّﺖ ﻭ ﺳﻨﺪﻳّﺖ ﺧﺎﺹّ ﻗﺎﺋﻞ ﺷﺪ ﮐﻪ ﺑﻪ ﻗﻠﻢ ﺣﻀﺮﺕ ﺑﻬﺎءﷲ ﻧﻮﺷﺘﻪ ﺷﺪﻩ ﻳﺎ ﺁﻧﮑﻪ ﺗﻮﺳّﻂ ﮐﺎﺗﺒﺎﻥ ﺍﻳﺸﺎﻥ ﺩﺭ ﻫﻨﮕﺎﻡ ﻧﺰﻭﻝ ﺑﻪ ﻗﻠﻢ ﺁﻣﺪﻩ ﻭ ﺑﻪ ﺗﺼﻮﻳﺐ ﺣﻀﺮﺕ ﺑﻬﺎءﷲ ﺭﺳﻴﺪﻩ ﺑﺎﺷﺪ. ﺩﺭ ﮐﺘﺎﺏ ﺍﻗﺪﺱ ﮐﻪ ﻣﻬﻤﺘﺮﻳﻦ ﮐﺘﺎﺏ ﺷﺮﻳﻌﺖ ﺑﻬﺎﺋﻰ ﺍﺳﺖ ﺣﻀﺮﺕ ﺑﻬﺎءﷲ ﻧﻈﺮ ﺑﻪ ﺍﻫﻤﻴّﺖ ﺍﻳﻦ ﻣﻄﻠﺐ ﺍﺯ ﺍﻳﻦ ﺍﻣﺘﻴﺎﺯﺧﺎﺹّ ﺁﺛﺎﺭﺧﻮﺩ ﺑﺪﻳﻦ ﺗﺮﺗﻴﺐ ﻳﺎﺩ ﻣﻰﮐﻨﻨﺪ: "ﻗﺪ ﺯﻳّﻨﺖ ﺍﻻﻟﻮﺍﺡ ﺑﻄﺮﺍﺯ ﺧﺘﻢ ﻓﺎﻟﻖ ﺍﻻﺻﺒﺎﺡ"٬ ﮐﻪ ﻣﻀﻤﻮﻥ ﺁﻥ ﺍﻳﻨﺴﺘﮑﻪ ﺍﻟﻮﺍﺡ ﺍﻳﺸﺎﻥ ﺑﺎ ﺯﻳﻨﺖ ﻣﻬﺮ ﺍﻳﺸﺎﻥ ﺁﺭﺍﺳﺘﻪ ﺷﺪﻩ ﺍﺳﺖ. ﺍﻣّﺎ ﺍﮔﺮ ﭼﻪ ﺭﻭﺍﻳﺘﻬﺎﻯ ﺷﻔﺎﻫﻰ ﺩﺭ ﺍﻣﺮ ﺑﻬﺎﺋﻰ ﻓﺎﻗﺪ ﻣﺮﺟﻌﻴّﺖ ﺍﺳﺖ ﺍﻳﻦ ﺍﻣﺮ ﺑﻪ ﻣﺤﺪﻭﺩﻳّﺖ ﺩﺍﻣﻨﻪٴ ﺁﺛﺎﺭ ﻣﺮﺟﻊ ﻣﻨﺠﺮ ﻧﻤﻰﺷﻮﺩ. ﻋﻠّﺖ ﺍﻳﻦ ﺍﻣﺮ ﻭﻳﮋﮔﻰ ﺩﻳﮕﺮ ﺁﺛﺎﺭ ﺣﻀﺮﺕ ﺑﻬﺎءﷲ ﺍﺳﺖ ﮐﻪ ﺑﺎﺯ ﺩﺭ ﺗﺎﺭﻳﺦ ﺍﺩﻳﺎﻥ ﺑﻰﺳﺎﺑﻘﻪ ﻣﻰﺑﺎﺷﺪ ﻭ ﺁﻥ ﮐﺜﺮﺕ ﻭ ﺗﻨﻮﻉ ﮐﻤّﻰ ﻅﻬﻮﺭﻭﺣﻰ ﺩﺭ ﺍﻳﻦ ﺩﻳﺎﻧﺖ ﺍﺳﺖ. ﺑﺪﻳﻦﺗﺮﺗﻴﺐ ﮐﻪ ﺑﺨﻼﻑ ﺍﺩﻳﺎﻥ ﮔﺬﺷﺘﻪ ﮐﻪ ﻣﻌﻤﻮﻻً ﺩﺍﺭﺍﻯ ﻳﮏ ﮐﺘﺎﺏ ﻣﻘﺪّﺱ ﻣﻰﺑﺎﺷﻨﺪ ﺍﺯ ﻗﻠﻢ ﺣﻀﺮﺕ ﺑﻬﺎءﷲ ﮐﺘﺎﺑﻬﺎﻭ ﺍﻟﻮﺍﺡ ﺑﺴﻴﺎﺭﻯ ﮐﻪ ﺷﻤﺎﺭ ﺁﻥ ﺍﺯ ﺩﻫﻬﺎ ﺟﻠﺪ ﮐﺘﺎﺏ ﺑﻤﺮﺍﺗﺐ ﺑﻴﺸﺘﺮ ﺍﺳﺖ ﻧﺎﺯﻝ ﺷﺪﻩ ﺍﺳﺖ. ﺑﻪ ﻋﻼﻭﻩ ﺩﺭ ﺍﻳﻦ ﺩﻳﺎﻧﺖ ﻧﺰﻭﻝ ﻭﺣﻰ ﺗﻌﻄﻴﻞ ﻭ ﺍﻧﻘﻄﺎﻉ ﻧﺪﺍﺷﺘﻪ ﺍﺳﺖ ﻭ ﺑﺪﻳﻦﺗﺮﺗﻴﺐ ﻫﻤﻪٴ ﺁﺛﺎﺭ ﺣﻀﺮﺕ ﺑﻬﺎءﷲ ﺍﻋﻢّ ﺍﺯ ﮐﺘﺎﺏ ﻳﺎ ﻟﻮﺡ ﻳﺎ ﻧﺎﻣﻪ ﻭ ﺭﺳﺎﻟﻪ ﻫﻤﮕﻰ ﮐﻼﻡ ﺍﻟﻬﻰ ﻭ ﻭﺣﻰ ﺭﺑّﺎﻧﻰ ﺗﻠﻘﻰ ﺷﺪﻩ ﻭ ﻟﺬﺍ ﻫﻤﮕﻰ ﺍﺯ ﻣﺮﺟﻌﻴّﺖ ﮐﺎﻣﻞ ﺑﺮﺧﻮﺭﺩﺍﺭﺳﺖ. ﺍﻳﻦ ﺍﻣﺮ ﺑﺪﻳﻦﻣﻌﻨﻰ ﺍﺳﺖ ﮐﻪ ﺗﺎﺭﻳﺦ ﺑﺸﺮ ﻭﺍﺭﺩﻣﺮﺣﻠﻪٴ ﻳﮕﺎﻧﻪﺍﻯ ﺷﺪﻩ ﺍﺳﺖ ﮐﻪ ﻣﺴﺘﻌﺪّ ﭘﺬﻳﺮﺵ ﺗﺠﻠّﻰ ﺣﻘﺎﺋﻖ ﺍﻟﻬﻰ ﺑﻨﺤﻮﻯ ﺁﺷﮑﺎﺭ٬ ﻫﻤﻪ ﺟﺎﻧﺒﻪ ﻭ ﮐﻠّﻰ ﺷﺪﻩ ﺍﺳﺖ ﺩﺭ ﻋﻴﻦ ﺣﺎﻝ ﻫﻤﻴﻦ ﺍﻣﺮ ﺑﻴﺎﻧﮕﺮ ﺍﻳﻦ ﻭﺍﻗﻌﻴّﺖ ﺍﺳﺖ ﮐﻪ ﺩﺷﻮﺍﺭﻳﻬﺎﻯ ﻣﺴﺎﺋﻞ ﺩﻧﻴﺎﻯ ﮐﻨﻮﻧﻰ ﺑﻤﺮﺍﺗﺐ ﭘﻴﭽﻴﺪﻩﺗﺮ ﺍﺯ ﮔﺬﺷﺘﻪ ﺑﻮﺩﻩ ﻭ ﺭﺍﻩ ﺣﻞّ ﺍﻳﻦ ﻣﺴﺎﺋﻞ ﻭ ﻣﺸﮑﻼﺕ ﻧﻴﺰ ﺑﺎﻳﺪ ﺩﺭ ﭘﺮﺗﻮ ﻅﻬﻮﺭ ﮐﻠّﻰ ﺍﻟﻬﻰ ﺻﻮﺭﺕ ﭘﺬﻳﺮﺩ. ﺍﺯ ﺍﻳﻦ ﺟﻬﺖ ﺍﺳﺖ ﮐﻪ ﺣﺘّﻰٰ ﺫﮐﺮ ﻓﻬﺮﺳﺖﻭﺍﺭ ﻫﻤﻪٴ ﺁﺛﺎﺭ ﺣﻀﺮﺕ ﺑﻬﺎءﷲ ﺩﺭ ﭼﻨﻴﻦ ﻣﻘﺎﻟﻪﺍﻯ ﺍﻣﮑﺎﻥﭘﺬﻳﺮ ﻧﻴﺴﺖ. ﺍﻣّﺎ ﺑﻪ ﻋﻨﻮﺍﻥ ﻧﻤﻮﻧﻪ ﻣﻰﺗﻮﺍﻥ ﺍﺯ ﺁﺛﺎﺭﻯ ﻧﻈﻴﺮ ﮐﻠﻤﺎﺕ ﻣﮑﻨﻮﻧﻪ٬ ﭼﻬﺎﺭﻭﺍﺩﻯ٬ ﻫﻔﺖ ﻭﺍﺩﻯ٬ ﺟﻮﺍﻫﺮﺍﻻﺳﺮﺍﺭ٬ ﮐﺘﺎﺏ ﺍﻳﻘﺎﻥ ﮐﺘﺎﺏ ﺑﺪﻳﻊ٬ ﺳﻮﺭﻩٴ ﻣﻠﻮﮎ٬ ﮐﺘﺎﺏ ﺍﻗﺪﺱ٬ ﻟﻮﺡ ﺍﺑﻦ ﺍﻟﺬﺋﺐ ﻭ ﺍﻟﻮﺍﺣﻰ ﻧﻈﻴﺮ ﺍﺷﺮﺍﻗﺎﺕ ﻭ ﺗﺠﻠّﻴﺎﺕ ﻭ ﻁﺮﺍﺯﺍﺕ ﻭ ﻣﻘﺼﻮﺩ ﻭ ﻏﻴﺮﻩ ﻧﺎﻡ ﺑﺮﺩ. ﻳﮑﻰ ﺩﻳﮕﺮ ﺍﺯ ﻭﻳﮋﮔﻴﻬﺎﻯ ﺑﺴﻴﺎﺭ ﻣﻬﻢّ ﺁﺛﺎﺭ ﺣﻀﺮﺕ ﺑﻬﺎءﷲ ﺗﺼﺮﻳﺢ ﻗﺎﻋﺪﻩٴ ﺗﻔﺴﻴﺮ ﻭ ﺗﻌﺒﻴﺮ ﺁﻥ ﺁﺛﺎﺭ ﻣﻰﺑﺎﺷﺪ. ﺑﻪ ﻋﺒﺎﺭﺕ ﺩﻳﮕﺮ ﺁﺛﺎﺭ ﺣﻀﺮﺕ ﺑﻬﺎءﷲ ﻧﻪ ﺗﻨﻬﺎﻣﺠﻤﻮﻋﻪﺍﻳﺴﺖ ﮐﻪ ﺩﺭ ﺑﺎﺭﻩٴ ﻫﺴﺘﻰ ﺳﺨﻦ ﻣﻰﮔﻮﻳﺪ ﺑﻠﮑﻪ ﺑﻌﻼﻭﻩ ﻣﺠﻤﻮﻋﻪﺍﻯ ﺍﺳﺖ ﮐﻪ ﺩﺭ ﻣﻮﺭﺩ ﺧﻮﺩ ﻭ ﺭﻭﺵ ﺗﻌﺒﻴﺮ ﻭ ﺗﻔﺴﻴﺮ ﻧﻴﺰ ﺑﻪ ﮔﻔﺘﮕﻮ ﻣﻰﭘﺮﺩﺍﺯﺩ ﻭ ﻋﻠّﺖ ﺍﻳﻦ ﺍﻣﺮ ﺭﺍﺑﺎﺗﻮﺟّﻪ ﺑﻪ ﻏﺎﻳﺖ ﻧﺰﻭﻝ ﺁﺛﺎﺭﺗﻮﺳّﻂ ﺣﻀﺮﺕ ﺑﻬﺎءﷲ ﻣﻰﺗﻮﺍﻥ ﺑﻪ ﺁﺳﺎﻧﻰ ﻣﻠﺘﻔﺖ ﺷﺪ. ﮐﻼﻡ ﺍﻟﻬﻰ ﺍﮔﺮ ﭼﻪ ﻫﺪﻓﺶ ﻫﻤﻮﺍﺭﻩ ﺍﻳﺠﺎﺩ ﺍﻟﻔﺖ ﻭ ﻳﮕﺎﻧﮕﻰ ﻭ ﻭﺣﺪﺕ ﺑﻮﺩﻩﺍﺳﺖ ﺍﻣّﺎ ﻋﺪﻡ ﺍﺗّﻔﺎﻕ ﺩﺭ ﻣﻮﺭﺩ ﺗﻌﺒﻴﺮ ﻭ ﺗﻔﺴﻴﺮﮐﻼﻡ ﺍﻟﻬﻰ ﻫﻤﻴﺸﻪ ﺑﻪ ﺍﺧﺘﻼﻑ ﻭﺍﻧﺸﻘﺎﻕ ﺩﺭ ﺩﺍﺧﻞ ﺍﺩﻳﺎﻥ ﻣﻨﺠﺮ ﺷﺪﻩﺍﺳﺖ. ﺍﻣّﺎ ﺍﺯ ﺁﻧﺠﺎ ﮐﻪ ﻫﺪﻑ ﺻﺮﻳﺢ ﺣﻀﺮﺕ ﺑﻬﺎءﷲ ﺍﺯ ﻧﺰﻭﻝ ﺁﻳﺎﺕ ﻣﺤﻮ ﮐﻴﻨﻪ ﻭ ﺩﺷﻤﻨﻰ ﺍﺯﺩﻟﻬﺎﻯ ﻣﺮﺩﻡ ﺑﻮﺩﻩﺍﺳﺖ ﺑﺪﻳﻦﺟﻬﺖ ﻫﻤﺎﻥ ﺁﺛﺎﺭ ﺑﻨﺤﻮﻯ ﺑﺪﻳﻊ ﻭ ﺷﮕﺮﻑ٬ ﺍﺻﻞ ﺍﺳﺎﺳﻰ ﺗﻌﺒﻴﺮ ﻭ ﺗﻔﺴﻴﺮ ﮐﻼﻡ ﺍﻟﻬﻰ ﺩﺭ ﺍﻳﻦ ﺩﻳﺎﻧﺖ ﺭﺍ ﻣﻮﺭﺩ ﺑﺮﺭﺳﻰ ﺻﺮﻳﺢ ﻗﺮﺍﺭ ﺩﺍﺩﻩ ﻭ ﺁﻧﺮﺍ ﻳﮑﻰ ﺍﺯ ﺍﺻﻮﻝ ﺍﺳﺎﺳﻰ ﻣﺪﻧﻴّﺖ ﺑﻬﺎﺋﻰ ﻗﺮﺍﺭ ﺩﺍﺩﻩ ﺍﺳﺖ. ﺍﻳﻦ ﺍﺻﻞ ﺗﻌﺒﻴﺮ ﻭ ﺗﻔﺴﻴﺮ ﺩﺭ ﺍﺻﻄﻼﺡ ﺑﻬﺎﺋﻰ ﺍﺻﻞ ﻋﻬﺪﻭ ﻣﻴﺜﺎﻕ ﻧﺎﻣﻴﺪﻩ ﻣﻰﺷﻮﺩﻭ ﺑﺪﻳﻦ ﺗﺮﺗﻴﺐ ﮐﻪ ﺁﺛﺎﺭﺣﻀﺮﺕ ﺑﻬﺎءﷲ ﺑﺎ ﺻﺮﺍﺣﺖ ﮐﺎﻣﻞ ﻣﻌﻴّﻦ ﻣﻴﻨﻤﺎﻳﺪ ﮐﻪ ﺍﮔﺮ ﭼﻪ ﺗﻌﺎﺑﻴﺮ ﻭ ﺗﻔﺎﺳﻴﺮ ﺍﻓﺮﺍﺩﮔﻮﻧﺎﮔﻮﻥ ﺍﺯﺁﺛﺎﺭ ﺍﻳﺸﺎﻥ٬ ﺟﺎﺋﺰﺳﺖ ﺍﻣّﺎ ﺗﻨﻬﺎ ﺗﻔﺴﻴﺮ ﻭ ﺗﻌﺒﻴﺮﻯ ﮐﻪ ﻣﺮﺟﻌﻴّﺖ ﺩﺍﺷﺘﻪ ﻭ ﻻﺯﻡ ﺍﻻﺗﺒﺎﻉ ﺍﺳﺖ ﺗﻔﺴﻴﺮﻭ ﺗﻌﺒﻴﺮﻯ ﺍﺳﺖ ﮐﻪ ﺗﻮﺳّﻂ ﭘﺴﺮ ﺍﺭﺷﺪ ﺍﻳﺸﺎﻥ ﻳﻌﻨﻰ ﺣﻀﺮﺕ ﻋﺒﺪﺍﻟﺒﻬﺎء ﺻﻮﺭﺕ ﭘﺬﻳﺮﺩ. ﺗﻌﻴﻴﻦ ﺣﻀﺮﺕ ﻋﺒﺪﺍﻟﺒﻬﺎء ﺑﻌﻨﻮﺍﻥ ﺟﺎﻧﺸﻴﻦ ﺭﺳﻤﻰ ﻭﻣﻄﺎﻉ ﺣﻀﺮﺕ ﺑﻬﺎءﷲ ﺑﻨﺤﻮ ﮐﺘﺒﻰ ﺗﻮﺳّﻂ ﺁﺛﺎﺭ ﻣﺨﺘﻠﻒ ﺣﻀﺮﺕ ﺑﻬﺎءﷲ ﻣﺨﺼﻮﺻﺎً ﻭﺻﻴّﺘﻨﺎﻣﻪٴ ﺍﻳﺸﺎﻥ ﺑﺎ ﮐﺘﺎﺏ ﻋﻬﺪ ﺻﻮﺭﺕ ﭘﺬﻳﺮﻓﺘﻪ ﺍﺳﺖ ﻭ ﺑﺪﻳﻦﺗﺮﺗﻴﺐ ﻫﻴﭽﮕﻮﻧﻪ ﺍﺑﻬﺎﻣﻰ ﺩﺭ ﻣﻮﺭﺩ ﻣﺮﺟﻊ ﺩﻳﺎﻧﺖ ﺑﻬﺎﺋﻰ ﻭ ﻧﻴﺰ ﺗﻌﺒﻴﺮ ﻭ ﺗﻔﺴﻴﺮ ﻧﻬﺎﺋﻰ ﺁﺛﺎﺭ ﺣﻀﺮﺕ ﺑﻬﺎءﷲ ﻧﻤﻰ ﺗﻮﺍﻧﺴﺖ ﺑﺎﻗﻰ ﺑﻤﺎﻧﺪ. ﺑﺪﻳﻦﺟﻬﺖ ﺍﺳﺖ ﮐﻪ ﺗﻌﺎﺑﻴﺮ ﺍﻓﺮﺍﺩﮔﻮﻧﺎﮔﻮﻥ ﺍﺯﺁﺛﺎﺭ ﺣﻀﺮﺕ ﺑﻬﺎءﷲ ﺩﺭﺳﺎﻳﻪٴ ﺗﻌﺒﻴﺮ ﻭ ﺗﺒﻴﻴﻦ ﺣﻀﺮﺕ ﻋﺒﺪﺍﻟﺒﻬﺎء )ﻭ ﭘﺲ ﺍﺯ ﺣﻀﺮﺕ ﻋﺒﺪﺍﻟﺒﻬﺎء ﺣﻀﺮﺕ ﻭﻟﯽ ﺍﻣﺮﷲ( ﻗﺮﺍﺭ ﮔﺮﻓﺘﻪ ﻭ ﺑﺪﻳﻦﺗﺮﺗﻴﺐ ﻭﺣﺪﺕ ﺩﺭ ﮐﺜﺮﺕ٬ ﺍﺻﻞ ﺍﺳﺎﺳﻰ ﺑﺮﺧﻮﺭﺩ ﺑﻪ ﮐﻼﻡ ﺍﻟﻬﻰ ﺩﺭ ﺍﻳﻦ ﺩﻳﺎﻧﺖ ﻣﻰﮔﺮﺩﺩ. ﺑﻪ ﻫﻤﻴﻦ ﺗﺮﺗﻴﺐ ﺍﮔﺮﭼﻪ ﺩﺭ ﺩﻳﺎﻧﺖ ﺑﻬﺎﺋﻰ ﺗﻨﻬﺎ ﻳﮏ ﻣﺮﺟﻊ ﻧﻬﺎﺋﻰ ﻭ ﻣﻄﺎﻉ ﻭﺟﻮﺩ ﺩﺍﺭﺩ ﺩﺭﻋﻴﻦ ﺣﺎﻝ ﺍﻣﺘﻴﺎﺯﺍﺕ ﺭﺅﺳﺎﻯ ﻣﺬﻫﺒﻰ ﭼﻮﻥ ﮐﺸﻴﺶ ﻭ ﺁﺧﻮﻧﺪ ﻭ ﻏﻴﺮﻩ ﺑﮑﻠﯽ ﺣﺬﻑ ﺷﺪﻩ ﺍﺳﺖ. ﺑﺎﻟﻌﮑﺲ ﻫﻤﻪٴ ﺍﻓﺮﺍﺩ ﺑﻬﺎﺋﻰ ﺑﺎﻳﮑﺪﻳﮕﺮ ﺑﺮﺍﺑﺮ ﻭ ﻣﺴﺎﻭﻯ ﺗﻠﻘﻰ ﺷﺪﻩ ﻭ ﻣﻄﺎﻟﻌﻪ ﻭ ﺩﺭﮎ ﺁﺛﺎﺭ ﻣﻘﺪﺳﻪٴ ﺑﻬﺎﺋﻰ ﻭﻅﻴﻔﻪ ﻭ ﻓﺮﻳﻀﻪﺍﻯ ﺍﺳﺖ ﮐﻪ ﻧﻪ ﻓﻘﻂ ﺑﻪ ﺩﺍﻧﺸﻤﻨﺪﺍﻥ ﻭ ﻧﺨﺒﮕﺎﻧﻰ ﻣﻌﺪﻭﺩ٬ ﺑﻠﮑﻪ ﺑﺮ ﺗﻤﺎﻣﻰ ﺍﻓﺮﺍﺩ ﺑﻬﺎﺋﻰ ﺷﺎﻣﻞ ﻣﻴﮕﺮﺩﺩ. ﺩﺭ ﻭﺍﻗﻊ ﺁﺋﻴﻨﻪٴ ﻋﻬﺪ ﻭ ﻣﻴﺜﺎﻕ ﺍﺻﻞ ﺩﻣﮑﺮﺍﺳﻰ ﺭﻭﺣﺎﻧﻰ ﺩﺭﺍﻳﻦ ﺩﻳﺎﻧﺖ ﺍﺳﺖ ﻳﻌﻨﻰ ﺁﻧﮑﻪ ﺻﺮﻓﻨﻈﺮ ﺍﺯ ﻣﺮﺟﻊ ﻣﻨﺼﻮﺹ ﺗﻤﺎﻣﻰ ﺍﻓﺮﺍﺩ ﺑﻬﺎﺋﻰ ﺩﺍﺭﺍﻯ ﺣﻖ ﺗﻌﺒﻴﺮ ﻣﺴﺎﻭﻯ ﺑﻮﺩﻩ ﻭ ﻫﻴﭽﻴﮏ ﻧﻤﻰﺗﻮﺍﻧﺪ ﺗﻌﺒﻴﺮ ﺷﺨﺼﻰ ﺧﻮﺩ ﺭﺍ ﺑﻪ ﺩﻳﮕﺮﺍﻥ ﺗﺤﻤﻴﻞ ﮐﻨﺪ. ﺑﻪ ﻋﻼﻭﻩ ﺍﻳﻦ ﺍﻣﺮ ﺑﻪ ﺍﻳﻦ ﻣﻌﻨﻰ ﺍﺳﺖ ﮐﻪ ﻫﻤﻪٴ ﺍﻓﺮﺍﺩ ﺑﻬﺎﺋﻰ ﻣﻮﻅﻔﻨﺪ ﮐﻪ ﺁﺛﺎﺭ ﺣﻀﺮﺕ ﺑﻬﺎءﷲ ﺭﺍ ﺧﻮﺩ ﻣﺴﺘﻘﻴﻤﺎً ﻣﻄﺎﻟﻌﻪ ﮐﻨﻨﺪﻭ ﺩﺭﻧﺘﻴﺠﻪ ﺍﺩﺍﺭﻩٴ ﺟﺎﻣﻌﻪ ﺑﻬﺎﺋﻰ ﺻﺮﻓﺎً ﺍﺯ ﻁﺮﻳﻖ ﻣﺆﺳّﺴﺎﺗﻰ ﮐﻪ ﺑﺮ ﺍﺳﺎﺱ ﺍﻧﺘﺨﺎﺑﺎﺕ ﻋﻤﻮﻣﻰ ﺩﻣﮑﺮﺍﺗﻴﮏ ﺑﺮﮔﺰﻳﺪﻩ ﺷﺪﻩ ﺍﻧﺪ ﺑﺮ

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12/16/2016

Pazhuheshnameh ﷲ ﻧﮕﺎﻫﻰ ﺑﻪ ﺁﺛﺎﺭ ﺣﺿﺭﺕ ﺑﻬﺎء

ﺍﺳﺎﺱ ﺍﺻﻞ ﻣﺸﻮﺭﺕ ﺻﻮﺭﺕ ﻣﻰ ﭘﺬﻳﺮﺩ. ﺑﻪ ﻋﺒﺎﺭﺕ ﺩﻳﮕﺮ ﺍﺻﻞ ﺗﻌﺒﻴﺮ ﻭ ﺗﻔﺴﻴﺮ ﺑﺎﺍﺻﻞ ﻭﺿﻊ ﻗﺎﻧﻮﻥ )ﺗﺸﺮﻳﻊ ﻭ ﺗﻘﻨﻴﻦ( ﻫﻤﺮﺍﻩ ﺷﺪﻩ ﻭ ﻟﺬﺍ ﺑﺠﺎﻯ ﻋﻠﻤﺎء ﻭ ﺭﺅﺳﺎء ﻣﺬﻫﺒﻰ ﮐﻪ ﺑﻪ ﺍﺳﺘﻨﺘﺎﺝ ﺍﺣﮑﺎﻡ ﻭ ﻗﻮﺍﻧﻴﻦ ﭘﺮﺩﺍﺧﺘﻪ ﻭ ﺍﺟﺘﻬﺎﺩ ﻣﻰﻧﻤﺎﻳﻨﺪ ﻭ ﻋﺎﻣّﻪ ﻣﺮﺩﻡ ﺑﻪ ﺗﻘﻠﻴﺪ ﺍﺯ ﺁﻧﻬﺎ ﻣﻰﭘﺮﺩﺍﺯﻧﺪ ﺩﺭ ﺍﻳﻦ ﺩﻳﺎﻧﺖ ﻫﻤﮕﻰ ﻣﺴﺎﻭﻯ ﺑﻮﺩﻩ ﻭ ﻭﺿﻊ ﻗﻮﺍﻧﻴﻦ ﻏﻴﺮﻣﻨﺼﻮﺹ ﺻﺮﻓﺎً ﺍﺯ ﻁﺮﻳﻖ ﻣﺸﻮﺭﺕ ﻣﺆﺳّﺴﺎﺕ ﺍﻧﺘﺨﺎﺑﺎﺕ ﻳﻌﻨﻰ ﺑﻴﻮﺕ ﻋﺪﻝ ﻭ ﺩﺭ ﺭﺃﺱ ﺁﻧﻬﺎ ﺑﻴﺖ ﻋﺪﻝ ﺟﻬﺎﻧﻰ ﺻﻮﺭﺕ ﻣﻰﭘﺬﻳﺮﺩ. ﺑﻪ ﻋﺒﺎﺭﺕ ﺩﻳﮕﺮ ﺗﻤﺎﻳﻞ ﺣﻀﺮﺕ ﺑﻬﺎءﷲ ﺑﺮﻣﻮﺩّﺕ ﻭ ﺍﺗّﺤﺎﺩ ﻣﻨﺠﺮ ﺑﻪ ﺍﻳﻦ ﺍﺻﻞ ﮔﺮﺩﻳﺪ ﮐﻪ ﺁﺛﺎﺭ ﺍﻳﺸﺎﻥ ﺑﺮﺍﻯ ﻋﺪّﻩﺍﻯ ﻣﻌﺪﻭﺩ ﺍﺯ ﺭﺅﺳﺎﻯ ﻣﺬﻫﺒﻰ ﮐﻪ ﻧﺴﺒﺖ ﺑﻪ ﺩﻳﮕﺮﺍﻥ ﮐﺴﺐ ﻗﺪﺭﺕ ﻧﻤﻮﺩﻩ ﻭ ﺧﻮﺩ ﺭﺍﻣﺘﺨﺼّﺺ ﻭ ﻋﺎﻟﻢ ﻗﻠﻤﺪﺍﺩﮐﺮﺩﻩ ﻭ ﺗﻮﺩﻩٴ ﻣﺮﺩﻡ ﺭﺍ ﺩﺭ ﻧﻘﺶ ﮐﻮﺩﮎ ﺟﺎﻫﻞ ﺗﺼﻮﻳﺮ ﻧﻤﺎﻳﻨﺪ ﻧﺎﺯﻝ ﻧﺸﻮﺩ. ﺑﺎﻟﻌﮑﺲ ﺣﻀﺮﺕ ﺑﻬﺎءﷲ ﺑﺮﺁﻥ ﺑﻮﺩ ﮐﻪ ﺟﺎﻣﻌﻪﺍﻯ ﺭﻭﺣﺎﻧﻰ ﺭﺍ ﺑﻨﺎ ﻧﻬﻨﺪﮐﻪ ﺩﺭ ﺁﻥ ﻫﻤﻪٴ ﺍﻓﺮﺍﺩ ﺑﻬﺎﺋﻰ ﺑﺎ ﺍﻋﺘﻤﺎﺩ ﻭ ﺍﺭﺯﺵ ﻭ ﺗﻮﺍﻧﺎﺋﻰ ﺧﻮﻳﺶ ﺑﻪ ﻣﻄﺎﻟﻌﻪٴ ﻣﺴﺘﻘﻴﻢ ﮐﻼﻡ ﺍﻟﻬﻰ ﭘﺮﺩﺍﺧﺘﻪ ﻭ ﻟﺬﺍ ﺟﺎﻣﻌﻪﺍﻯ ﺩﻣﮑﺮﺍﺗﻴﮏ ﻭ ﺭﻭﺣﺎﻧﻰ ﻣﺒﺘﻨﻰ ﺑﺮ ﺍﺻﻞ ﻣﺸﻮﺭﺕ ﺑﺎ ﺧﻀﻮﻉ ﻭ ﻓﺮﻭﺗﻨﻰ ﻭ ﺍﺣﺘﺮﺍﻡ ﻣﺘﻘﺎﺑﻞ ﺑﻮﺟﻮﺩ ﺁﻳﺪ. ﺍﻳﻦ ﺍﻣﺮ ﺑﻪ ﺣﺪّﻯ ﺍﻫﻤﻴّﺖ ﺩﺍﺷﺖ ﮐﻪ ﺣﻀﺮﺕ ﺑﻬﺎءﷲ ﺁﻧﺮﺍ ﺑﻪ ﺍﺻﻠﯽ ﻣﺘﺎﻓﻴﺰﻳﮏ ﻣﺒﺪّﻝ ﺳﺎﺧﺘﻪ ﻭ ﺩﺭ ﻣﺮﮐﺰﻣﺒﺎﺣﺚ ﺍﻟﻬﻴﺎﺕ ﺑﻬﺎﺋﻰ ﻗﺮﺍﺭ ﺩﺍﺩ. ﺑﺪﻳﻦ ﺗﺮﺗﻴﺐ ﮐﻪ ﺁﻥ ﺣﻀﺮﺕ ﺍﺯ ﺍﺻﻞ ﻋﺪﺍﻟﺖ ﺍﻟﻬﻰ ﺍﻳﻦ ﺍﻣﺮ ﺭﺍ ﻧﺘﻴﺠﻪ ﮔﺮﻓﺘﻪ ﮐﻪ ﮐﻼﻡ ﺍﻟﻬﻰ ﺑﺎﻳﺪﺑﺮﺍﻯ ﻫﻤﻪٴ ﺍﻓﺮﺍﺩ ﺑﺸﺮ ﻗﺎﺑﻞ ﺩﺭﮎ ﻭ ﻓﻬﻢ ﺑﺎﺷﺪ ﺗﺎ ﻫﻤﮕﻰ ﺑﺘﻮﺍﻧﻨﺪ ﻣﺴﺘﻘﻴﻤﺎً ﻭ ﺑﺪﻭﻥ ﻭﺳﺎﻁﺖ ﻳﺎ ﺗﻘﻠﻴﺪ ﺩﻳﮕﺮﺍﻥ ﺑﻪ ﺣﺠﻴّﺖ ﻭﻣﺮﺟﻌﻴّﺖ ﺁﻥ ﻭﺍﻗﻒ ﺷﻮﻧﺪ ﺑﺪﻳﻦﺗﺮﺗﻴﺐ ﺁﺛﺎﺭ ﺣﻀﺮﺕ ﺑﻬﺎءﷲ ﮐﻮﺷﺶ ﺭﺅﺳﺎء ﻭ ﻋﻠﻤﺎء ﻣﺬﻫﺒﻰ ﺭﺍ ﮐﻪ ﻣﻌﻤﻮﻻً ﻋﺎﻣّﻪ ﻣﺮﺩﻡ ﺭﺍ ﺍﺯ ﺩﺭﮎ ﮐﻼﻡ ﻋﺎﺟﺰ ﺩﺍﻧﺴﺘﻪ ﻭ ﻫﺮﮔﻮﻧﻪ ﺷﻨﺎﺧﺘﻰ ﺍﺯ ﮐﻼﻡ ﺍﻟﻬﻰ ﺭﺍ ﻣﺸﺮﻭﻁ ﺑﻪ ﺍﻧﻮﺍﻉ ﻭﺍﻗﺴﺎﻡ ﻋﻠﻮﻡ ﻋﺠﻴﺐ ﻭ ﻏﺮﻳﺐ ﺩﺍﻧﺴﺘﻪ ﻭ ﻟﺬﺍ ﻭﺍﺑﺴﺘﮕﻰ ﻣﺮﺩﻡ ﺑﻪ ﺧﻮﺩ ﺭﺍ ﻭﻅﻴﻔﻪ ﺍﻯ ﺭﻭﺣﺎﻧﻰ ﻭ ﻣﺬﻫﺒﻰ ﻗﻠﻤﺪﺍﺩ ﻣﻰﻧﻤﻮﺩﻧﺪ ﺑﺎ ﻗﺎﻁﻌﻴّﺖ ﻭ ﻗﺪﺭﺕ ﻧﻔﻰ ﻣﻰ ﻧﻤﺎﻳﺪ. ﺍﺯ ﺁﻥ ﮔﺬﺷﺘﻪ ﺁﺛﺎﺭ ﺣﻀﺮﺕ ﺑﻬﺎءﷲ ﻫﻤﻮﺍﺭﻩ ﻭ ﻣﮑﺮﺭﺍً ﻣﺘﺬﮐﺮ ﻣﻰﮔﺮﺩﺩ ﮐﻪ ﺩﺭ ﻫﻤﻪٴ ﺍﺩﻳﺎﻥ ﺭﺅﺳﺎ ﻭ ﻋﻠﻤﺎء ﺩﻳﻨﻰ ﺑﻮﺩﻧﺪﮐﻪ ﭘﻴﺎﻣﺒﺮﺍﻥ ﺍﻟﻬﻰ ﺭﺍ ﺗﮑﻔﻴﺮ ﻧﻤﻮﺩﻧﺪ ﻭ ﺣﮑﻢ ﺑﻪ ﻗﺘﻞ ﺁﻧﻬﺎﺩﺍﺩﻧﺪ ﻭ ﺍﻳﺸﺎﻥ ﺭﺍﻣﺨﺎﻟﻒ ﮐﺘﺐ ﻣﻘﺪﺳﻪٴ ﻗﺒﻞ ﻗﻠﻤﺪﺍﺩ ﮐﺮﺩﻧﺪ. ﻋﻠﻤﺎء ﻳﻬﻮﺩﻯ ﺣﻀﺮﺕ ﻣﺴﻴﺢ ﺭﺍ ﻧﭙﺬﻳﺮﻓﺘﻨﺪ ﻭ ﺟﻤﻬﻮﺭ ﻋﻠﻤﺎء ﻳﻬﻮﺩﻯ ﻭ ﻣﺴﻴﺤﻰ ﺣﻀﺮﺕ ﻣﺤﻤّﺪ ﺭﺍ ﺍﻧﮑﺎﺭﻧﻤﻮﺩﻩ ﻭ ﻫﻨﻮﺯﻫﻢ ﻣﻰﮐﻨﻨﺪ. ﺑﺪﻳﻦ ﺗﺮﺗﻴﺐ ﭼﻪ ﺩﺭ ﻗﻀﺎﻭﺕ ﺭﻭﺣﺎﻧﻰ ﻭﭼﻪ ﺩﺭ ﺳﻠﻮﮎ ﻋﺮﻓﺎﻧﻰ ﺍﻓﺮﺍﺩ ﺑﺸﺮ ﻧﺒﺎﻳﺪﺧﻮﺩ ﺭﺍ ﻭﺍﺑﺴﺘﻪ ﻭ ﻣﺘّﮑﻰ ﺑﻪ ﻗﻀﺎﻭﺕ ﻋﻠﻤﺎء ﻭ ﺭﺅﺳﺎﻯ ﺳﻨﺖ ﭘﺮﺳﺖ ﻧﻤﺎﻳﻨﺪ ﺑﻠﮑﻪ ﺑﺎﻳﺪ ﺑﻪ ﭼﺸﻢ ﺧﻮﺩ ﺑﺒﻴﻨﻨﺪ ﻭ ﺑﻪ ﮔﻮﺵ ﺧﻮﺩ ﺑﺸﻨﻮﻧﺪ ﮐﻪ ﭼﺸﻢ ﻭ ﮐﻮﺷﺶ ﺭﺍ ﺧﺪﺍﻭﻧﺪ ﺑﻪ ﻫﻤﻴﻦ ﺟﻬﺖ ﺑﻪ ﺁﺩﻣﻰ ﻋﻄﺎ ﻓﺮﻣﻮﺩﻩ ﺍﺳﺖ. ﺍﻣّﺎ ﻣﻬﻤﺘﺮﻳﻦ ﻭﻳﮋﮔﻰ ﺁﺛﺎﺭ ﺣﻀﺮﺕ ﺑﻬﺎءﷲ ﺑﻪ ﻣﺤﺘﻮﺍﻯ ﭘﻴﺎﻡ ﺁﻥ ﺁﺛﺎﺭ ﻣﺮﺑﻮﻁ ﻣﻰﮔﺮﺩﺩ. ﺑﺎﺭ ﺩﻳﮕﺮ ﺩﺭ ﺍﻳﻨﺠﺎ ﺑﺎﻳﺪ ﺑﻪ ﻏﺎﻳﺖ ﻧﻬﺎﺋﻰ ﻧﺰﻭﻝ ﺁﺛﺎﺭ ﺣﻀﺮﺕ ﺑﻬﺎءﷲ ﺗﻮﺟّﻪ ﮐﻨﻴﻢ ﺗﺎ ﺑﺘﻮﺍﻧﻴﻢ ﻭﺣﺪﺕ ﻭ ﺍﻧﺴﺠﺎﻡ ﺩﺭﻭﻧﻰ  ﻫﻤﻪٴ ﺁﺛﺎﺭ ﺍﻳﺸﺎﻥ ﺭﺍ ﺍﺯ ﺍﺑﺘﺪﺍ ﺗﺎ ﺑﻪ ﺍﻧﺘﻬﺎء ﺑﻪ ﻭﺿﻮﺡ ﺑﺒﻴﻨﻴﻢ. ﺍﻳﻦ ﺍﺻﻞ ﺑﺎ ﺯﻳﺒﺎﺋﻰ ﻭ ﻋﻈﻤﺖ ﻓﻮﻕ ﺍﻟﻌﺎﺩﻩﺍﻯ ﺩﺭ ﺍﻭﻟﻴﻦ ﺑﺎﺭﻗﻪٴ ﻭﺣﻰ ﺍﻟﻬﻰ ﺑﺮ ﺣﻀﺮﺕ ﺑﻬﺎءﷲ ﺻﺮﻳﺤﺎً ﺁﺷﮑﺎﺭ ﻭ ﺩﺭﺧﺸﺎﻥ ﺷﺪﻩ ﺍﺳﺖ. ﺣﻀﺮﺕ ﺑﻬﺎءﷲ ﺑﺎ ﺻﺮﺍﺣﺖ ﺍﺯ ﺍﻭّﻟﻴﻦ ﺗﺠﺮﺑﻴﺎﺕ ﻭﺣﻰ ﺗﻮﺳّﻂ ﺧﻮﺩ ﺳﺨﻦ ﮔﻔﺘﻪﺍﻧﺪ. ﺍﻳﻦ ﺗﺠﺮﺑﻴﺎﺕ ﺍﻭّﻟﻴﻪ ﺭﺍ ﺍﻭﺍﺳﻂ ﺩﻭﺭﺍﻥ ﺯﻧﺪﺍﻧﻰ ﺍﻳﺸﺎﻥ ﻫﺠﺮﻯ ﻗﻤﺮﻯ ﻣﺤﻴﻂ ﺗﺎﺭﻳﮏ ﻭ ﺗﻨﮓ ﺳﻴﺎﻫﭽﺎﻝ ﺯﻣﻴﻨﻪٴ ۱۲٦۹  ﻭ ﺩﺭ ﺁﻏﺎﺯ ﺳﺎﻝ ۱۸٥۲  ﺩﺭ ﺳﻴﺎﻫﭽﺎﻝ ﻁﻬﺮﺍﻥ ﺻﻮﺭﺕ ﮔﺮﻓﺖ. ﺩﺭ ﺳﺎﻝ ﻅﻬﻮﺭ ﻓﺮﻫﻨﮕﻰ ﺑﺪﻳﻊ ﮔﺮﺩﻳﺪ ﮐﻪ ﺑﺎ ﻧﻮﺭ ﻣﺤﺒّﺖ ﻭ ﻭﺳﻌﺖ ﻧﻈﺮ ﻭ ﺭﻭﻳﮑﺮﺩﻯ ﺟﻬﺎﻥ ﺷﻤﻮﻝ ﻭﻋﺎﻁﻔﻪﺍﻯ ﺁﮐﻨﺪﻩ ﺍﺯﻋﺸﻖ ﺑﻪ ﻫﻤﻪٴ ﻣﺮﺩﻡ ﺑﺸﺮ ﻣﺸﺨﺺ ﻣﻰ ﮔﺮﺩﺩ. ﺑﮕﺬﺍﺭﻳﺪ ﺑﻪ ﺗﻮﺻﻴﻒ ﺧﻮﺩ ﺣﻀﺮﺕ ﺑﻬﺎءﷲ ﺍﺯﺍﻭﻟﻴﻦ ﻧﺰﻭﻝ ﻭﺣﻰ ﺑﺮ ﻗﻠﺐ ﺍﻳﺸﺎﻥ ﺭﺟﻮﻉ ﮐﻨﻴﻢ: "ﺍﻣّﺎ ﺳﺠﻦ ﮐﻪ ﻣﺤﻞّ ﻣﻈﻠﻮﻡ ﻭ ﻣﻈﻠﻮﻣﺎﻥ  ﻧﻔﺲ ﺍﺯ ﺳﺎﺭﻗﻴﻦ ﺍﻣﻮﺍﻝ ﻭ ﻗﺎﺗﻠﻴﻦ ۱٥۰ ﺑﻮﺩ ﻓﻰﺍﻟﺤﻘﻴﻘﻪ ﺩﺧﻤﻪٴ ﺗﻨﮓ ﻭ ﺗﺎﺭﻳﮏ ﺍﺯ ﺁﻥ ﺍﻓﻀﻞ ﺑﻮﺩ ... ﺍﻣّﺎ ﻣﺤﻞّ ﺗﺎﺭﻳﮏ ﻭ ﻣﻌﺎﺷﺮ ﻗﺮﻳﺐ ﻧﻔﻮﺱ ﻭ ﻗﺎﻁﻌﻴﻦ ﻁﺮﻕ ﺑﻮﺩ ﻣﻊ ﺍﻳﻦ ﺟﻤﻌﻴّﺖ٬ ﻣﺤﻞ ﻣﻨﻔﺬ ﻧﺪﺍﺷﺖ ﺟﺰ ﻁﺮﻳﻘﻰ ﮐﻪ ﻭﺍﺭﺩ ﺷﺪﻳﻢ. ﺍﻗﻼﻡ ﺍﺯﻭﺿﻔﺶ ﻋﺎﺟﺰ ﻭ ﺭﻭﺍﺋﺢ ﻣﻨﺘﻨﻪﺍﺵ (۲) "... ﺧﺎﺭﺝ ﺍﺯ ﺑﻴﺎﻥ ... ﺩﺭ ﺷﺒﻰ ﺍﺯ ﺷﺒﻬﺎ ﺩﺭ ﻋﺎﻟﻢ ﺭﺅﻳﺎ ﺍﺯ ﺟﻤﻴﻊ ﺟﻬﺎﺕ ﺍﻳﻦ ﮐﻠﻤﻪٴ ﻋﻠﻴﺎ ﺍﺻﻐﺎء ﺷﺪ "ﺍﻧّﺎ ﻧﻨﺼﺮﮎ ﺑﮏ ﻭ ﺑﻘﻠﻤﮏ ﺩﺭ ﺑﻴﺎﻥ ﻓﻮﻕ ﺣﻀﺮﺕ ﺑﻬﺎءﷲ ﺍﻭّﻟﻴﻦ ﻧﺪﺍء ﻭﺣﻰ ﺍﻟﻬﻰ ﺑﻪ ﺧﻮﺩ ﺭﺍ ﺑﺎ ﺍﻳﻦ ﺗﺮﺗﻴﺐ ﻣﻌﺮﻓﻰ ﻣﻰﻓﺮﻣﺎﻳﻨﺪ: "ﺍﻧّﺎ ﻧﻨﺼﺮﮎ ﺑﮏ ﻭ ﺑﻘﻠﻤﮏ" ﺍﻳﻦ ﺟﻤﻠﻪٴ ﮐﻮﺗﺎﻩ ﺣﺎﻭﻯ ﺩﺭﻳﺎﺋﻰ ﺍﺯ ﻣﻌﺎﻧﻰ ﺭﻭﺣﺎﻧﻰ ﻭ ﺍﺟﺘﻤﺎﻋﻰ ﺍﺳﺖ ﮐﻪ ﺑﺤﺚ ﺁﻥ ﺍﺯﺣﻮﺻﻠﻪٴ ﺍﻳﻦ ﻣﺨﺘﺼﺮ ﺧﺎﺭﺝ ﺍﺳﺖ. ﺍﻣّﺎ ﺩﺭ ﺍﺭﺗﺒﺎﻁ ﺑﺎ ﺑﺤﺚ ﻣﻮﺟﻮﺩ ﺑﺎﻳﺪ ﺑﻪ ﻳﮏ ﻣﻌﻨﺎﻯ ﺍﺳﺎﺳﻰ ﺍﻳﻦ ﺟﻤﻠﻪ ﺗﺄﮐﻴﺪ ﻧﻤﺎﺋﻴﻢ. ﺩﺭ ﺍﻳﻦ ﺟﻤﻠﻪ ﺧﺪﺍﻭﻧﺪ ﺑﻪ ﺣﻀﺮﺕ ﺑﻬﺎءﷲ ﻣﻰﻓﺮﻣﺎﻳﻨﺪ ﮐﻪ ﻣﺎ ﺗﺮﺍ ﺑﺘﻮﺳّﻂ ﺧﻮﺩﺕ ﻭ ﻗﻠﻤﺖ ﻧﺼﺮﺕ ﻭ ﻳﺎﺭﻯ ﻣﻰﮐﻨﻴﻢ. ﻣﻔﻬﻮﻡ ﻧﺼﺮﺕ ﺯﻣﻴﻨﻪٴ ﺑﺴﻴﺎﺭ ﻁﻮﻻﻧﻰ ﺩﺭ ﮐﺘﺐ ﻣﻘﺪﺳﻪ ﺩﺍﺭﺩ ﭼﺮﺍ ﮐﻪ ﭘﻴﺎﻡ ﺍﻟﻬﻰ ﻭ ﺩﻳﺎﻧﺖ ﺭﻭﺣﺎﻧﻰ ﺑﺎﻳﺪ ﺍﺷﺎﻋﻪ ﻭ ﺗﺒﻠﻴﻎ ﮔﺮﺩﺩ ﻭ ﺩﺭ ﻋﺎﻟﻢ ﺑﺸﺮﻯ ﻭ ﻗﻠﻮﺏ ﻣﺮﺩﻡ ﻧﻔﻮﺫ ﮐﻨﺪ. ﺑﺪﻳﻦﺟﻬﺖ ﺑﺎﻳﺪ ﮐﻪ ﺍﻣﺮ ﺍﻟﻬﻰ ﺗﻮﺳّﻂ ﻣﺮﺩﻡ ﻭ ﺑﻪ ﺗﺄﻳﻴﺪ ﺍﻟﻬﻰ ﻧﺼﺮﺕ ﻭ ﻳﺎﺭﻯ ﺷﻮﺩ. ﺩﺭ ﺍﺩﻳﺎﻥ ﮔﺬﺷﺘﻪ ﺍﻳﻦ ﻧﺼﺮﺕ ﺑﺼﻮﺭﺕ ﺣﮑﻢ ﺟﻬﺎﺩ ﻣﺘﻈﺎﻫﺮ ﻣﻰﺷﺪ ﻭ ﻟﺬﺍ ﻧﺼﺮﺕ ﺩﺭ ﺑﺮﺧﻰ ﻣﻮﺍﻗﻊ ﺑﺸﮑﻞ ﺍﺳﺘﻔﺎﺩﻩٴ ﺍﺯ ﺷﻤﺸﻴﺮ ﻭﺧﺸﻮﻧﺖ ﺑﺮﺍﻯ ﺩﻓﺎﻉ ﻭ ﺗﺮﻭﻳﺞ ﺩﻳﺎﻧﺖ ﻅﺎﻫﺮ ﻣﻰﮔﺮﺩﻳﺪ. ﺁﻧﭽﻪ ﮐﻪ ﺩﺭ ﺍﻭّﻟﻴﻦ ﺗﺠﺮﺑﻪٴ ﻭﺣﻰ ﺑﻪ ﺣﻀﺮﺕ ﺑﻬﺎءﷲ ﺗﺄﮐﻴﺪ ﻣﻰ ﮔﺮﺩﺩ ﻧﺴﺦ ﻭ ﻧﻔﻰ ﻫﺮﮔﻮﻧﻪ ﺧﺸﻮﻧﺖ ﺍﺯ ﺻﺤﻨﻪٴ ﺩﻳﺎﻧﺖ ﻭ ﺗﺪﻳﻦ ﺍﺳﺖ. ﺩﺭ ﺑﻴﺎﻥ ﻓﻮﻕ ﺧﺪﺍﻭﻧﺪ ﺑﻪ ﺣﻀﺮﺕ ﺑﻬﺎءﷲ ﺍﻋﻼﻥ ﻣﻰﺩﺍﺭﺩﮐﻪ ﺍﻳﺸﺎﻥ ﻭ ﺍﻣﺮﻯ ﮐﻪ ﺑﺮ ﺍﻳﺸﺎﻥ ﻭﺣﻰ ﺷﺪﻩ ﺍﺳﺖ ﺻﺮﻓﺎً ﺍﺯ ﻁﺮﻳﻖ ﻭﺟﻮﺩ ﺣﻀﺮﺕ ﺑﻬﺎءﷲ ﻭ ﻗﻠﻢ ﺍﻳﺸﺎﻥ ﻧﺼﺮﺕ ﺧﻮﺍﻫﺪ ﻳﺎﻓﺖ. ﺑﻪ ﻋﺒﺎﺭﺕ ﺩﻳﮕﺮ ﻗﻠﻢ ﺟﺎﻯ ﺷﻤﺸﻴﺮ ﻧﺸﺴﺘﻪ ﻭ ﺣﮑﻤﺖ ﻭ ﺑﻴﺎﻥ ﺟﺎﻳﮕﺰﻳﻦ ﺧﺸﻮﻧﺖ ﻭ ﻗﻬﺮ ﻭ ﺗﺤﻤﻴﻞ ﻣﻰﮔﺮﺩﺩ.

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12/16/2016

Pazhuheshnameh ﷲ ﻧﮕﺎﻫﻰ ﺑﻪ ﺁﺛﺎﺭ ﺣﺿﺭﺕ ﺑﻬﺎء

ﺍﻫﻤﻴّﺖ ﺍﻳﻦ ﺣﮑﻢ ﺑﺤﺪّﻯ ﺍﺳﺖ ﮐﻪ ﻣﻰﺗﻮﺍﻥ ﺑﻪ ﺟﺮﺃﺕ ﺍﺩّﻋﺎ ﻧﻤﻮﺩ ﮐﻪ ﺣﮑﻢ ﻧﻔﻰ ﺷﻤﺸﻴﺮ ﺩﺭ ﻭﺍﻗﻊ ﻫﺴﺘﻪٴ ﺟﻬﺎﻥ ﺑﻴﻨﻰ ﺑﺪﻳﻊ ﺑﻬﺎﺋﻰ ﺍﺳﺖ. ﭼﻨﺎﻧﮑﻪ ﻣﻰﺑﻴﻨﻴﻢ ﺍﻭّﻟﻴﻦ ﺗﻈﺎﻫﺮ ﺍﻳﻦ ﺣﮑﻢ ﺗﺄﮐﻴﺪ ﺑﺮ ﺁﺯﺍﺩﻯ ﻋﻘﻴﺪﻩ ﻭ ﺩﻳﻦ ﻭ ﻭﺟﺪﺍﻥ ﺍﺳﺖ ﺑﻄﻮﺭﻳﮑﻪ ﻫﺮﮔﻮﻧﻪ ﺗﺤﻤﻴﻞ ﻋﻘﻴﺪﻩٴ ﺭﻭﺣﺎﻧﻰ ﺑﺮ ﺍﻓﺮﺍﺩ ﺍﻧﺴﺎﻥ ﻣﻄﻠﻘﺎً ﻣﻨﺘﻔﻰ ﻣﻰﮔﺮﺩﺩ. ﻭ ﻟﺰﻭﻡ ﺭﻋﺎﻳﺖ ﺷﺮﻑ ﻭ ﺣﻴﺜﻴّﺖ ﺗﮏ ﺗﮏ ﺍﻓﺮﺍﺩ ﻧﻮﻉ ﺍﻧﺴﺎﻥ ﺍﺳﺖ. ﺑﺪﻳﻦ ﺗﺮﺗﻴﺐ ﺍﺳﺖ ﮐﻪ ﺍﻭّﻟﻴﻦ ﺑﺎﺭﻗﻪٴ ﻭﺣﻰ ﻭ ﺍﻭّﻟﻴﻦ ﺍﻧﻌﮑﺎﺱ ﻗﻠﻢ ﺩﺭ ﺍﻳﻦ ﺩﻭﺭ ﻧﻮﻳﻦ ﻧﻔﻰ ﺧﺸﻮﻧﺖ ﺍﺯ ﺻﺤﻨﻪٴ ﺣﻴﺎﺕ ﺍﻧﺴﺎﻥ ﺍﺯ ﺟﻤﻠﻪ ﺧﺸﻮﻧﺖ ﻣﺬﻫﺒﻰ ﻭ ﺗﺤﻤﻴﻞ ﺁﺭﻣﺎﻧﻬﺎﻯ ﺩﻳﻨﻰ ﻭ ﺗﮑﻔﻴﺮ ﺍﻓﺮﺍﺩ ﻭ ﺳﻠﺐ ﺣﻘﻮﻕ ﺍﺟﺘﻤﺎﻋﻰ ﺑﺨﺎﻁﺮ ﺍﻋﺘﻘﺎﺩ ﻣﺬﻫﺒﻰ ﻭ ﻭﺟﺪﺍﻧﻰ ﺍﺳﺖ. ﺍﻳﻦ ﺍﺻﻞ ﺻﺪﻫﺎ ﺑﺎﺭ ﺩﺭ ﺁﺛﺎﺭ ﺣﻀﺮﺕ ﺑﻬﺎءﷲ ﺗﺄﮐﻴﺪ ﻭ ﺗﮑﺮﺍﺭ ﻣﻰ ﮔﺮﺩﺩ ﮐﻪ ﺑﻪ ﻋﻨﻮﺍﻥ ﻧﻤﻮﻧﻪ ﺑﻪ ﻳﮏ ﺑﻴﺎﻥ ﺍﺷﺎﺭﻩ ﻣﻰ ﮐﻨﻴﻢ: "ﻧﺼﺮﺕ ﺍﻣﺮﷲ ﺍﻟﻴﻮﻡ ﺍﻋﺘﺮﺍﺽ ﺑﺎﺣﺪﻯ ﻭ ﻣﺠﺎﺩﻟﻪ ﺑﻨﻔﺴﻰ ﻭ ﻣﺤﺎﺭﺑﻪ ﻣﻊ ﺷﻴﺌﻰ ﻧﺒﻮﺩﻩ ﻭ ﻧﺨﻮﺍﻫﺪ ﺑﻮﺩ. ﺑﻠﮑﻪ ﻣﺤﺒﻮﺏ ﺁﻥ ﺍﺳﺖ ﮐﻪ ﻣﺪﺍﻳﻦ ﻗﻠﻮﺏ ﺑﻪ ﺳﻴﻒ ﻟﺴﺎﻥ ﻭ ﺣﮑﻤﺖ ﺑﻴﺎﻥ ﻣﻔﺘﻮﺡ ﺷﻮﺩ ﻧﻪ ﺑﻪ ﺳﻴﻒ ﺣﺪﻳﺪ. ﭘﺲ ﻫﺮ ﻧﻔﺴﻰ ﮐﻪ ﺍﺭﺍﺩﻩٴ ﻧﺼﺮ ﺍﻟﻬﻰ ﻧﻤﺎﻳﺪ ﺑﺎﻳﺪ ﺍﻭّﻝ ﺑﻪ ﺳﻴﻒ ﻣﻌﺎﻧﻰ ﻭ ﺑﻴﺎﻥ ﻣﺪﻳﻨﻪٴ ﻗﻠﺐ ﺧﻮﺩ ﺭﺍ ﻧﺼﺮﺕ ﻧﻤﺎﻳﺪ ﻭ ﺍﺯ ﺟﻤﻴﻊ ﻣﺎﺳﻮﻯﷲ ﻣﻄﻬّﺮ ﺳﺎﺯﺩ ﻭ ﺑﻌﺪ ﺑﻤﺪﺍﻳﻦ ﻗﻠﻮﺏ ﺗﻮﺟّﻪ ﮐﻨﺪ. ﺍﻳﻦ ﺍﺳﺖ ﻧﺼﺮﺕ ﺍﻣﺮﷲ (۳)" ﮐﻪ ﺍﻟﻴﻮﻡ ﺍﺯ ﻣﺸﺮﻕ ﺍﺻﺒﺢ ﻣﻠﻴﮏ ﺍﺳﻤﺎء ﺍﺷﺮﺍﻕ ﻓﺮﻣﻮﺩﻩ ﭼﻨﺎﻧﮑﻪ ﻣﻰﺑﻴﻨﻴﻢ ﺷﺮﻭﻉ ﺁﺛﺎﺭ ﺣﻀﺮﺕ ﺑﻬﺎءﷲ ﺑﺎ ﺗﺄﮐﻴﺪ ﺑﺮ ﺍﺻﻞ ﻣﺤﺒﱡﺖ ﻭ ﻭﺩﺍﺩﺳﺖ ﻭ ﭘﺎﻳﺎﻥ ﺁﺛﺎﺭﺷﺎﻥ ﻧﻴﺰ ﭼﻨﺎﻧﮑﻪ ﺩﺭ ﺁﺧﺮﻳﻦ ﺍﺛﺮ ﺍﻳﺸﺎﻥ ﻳﻌﻨﻰ ﮐﺘﺎﺏ ﻋﻬﺪ ﻣﺆﮐّﺪ ﺷﺪﻩ ﺍﺳﺖ ﻫﻤﺎﻥ ﺍﺻﻞ ﺍﻟﻔﺖ ﻭ ﺻﻠﺢ ﻭ ﺩﻭﺳﺘﻰ ﺩﺭ ﻫﻤﻪٴ ﺷﺌﻮﻥ ﻭ ﺭﻭﺍﺑﻂ ﻓﺮﺩﻯ ﻭ ﺍﺟﺘﻤﺎﻋﻰ ﻭ ﺑﻴﻦ ﺍﻟﻤﻠﻠﯽ ﺍﺳﺖ ﺑﻪ ﻫﻤﻴﻦ ﺟﻬﺖ ﺑﻪ ﻗﺴﻤﺘﻰ ﺍﺯﻭﺻﻴﺘﻨﺎﻣﻪٴ ﺣﻀﺮﺕ ﺑﻬﺎءﷲ٬ ﮐﺘﺎﺏ ﻋﻬﺪ٬ ﺍﺷﺎﺭﻩ ﻣﻰ ﮐﻨﻴﻢ: "ﺍﻯ ﺍﻫﻞ ﻋﺎﻟﻢ ﻣﺬﻫﺐ ﺍﻟﻬﻰ ﺍﺯ ﺑﺮﺍﻯ ﻣﺤﺒّﺖ ﻭ ﺍﺗّﺤﺎﺩ ﺍﺳﺖ ﺍﻭ ﺭﺍ ﺳﺒﺐ ﻋﺪﺍﻭﺕ ﻭ ﺍﺧﺘﻼﻑ ﻣﻨﻤﺎﺋﻴﺪ ... ﺑﺮﺍﺳﺘﻰ ﻣﻰﮔﻮﻳﻢ ﺗﻘﻮﻯ ﺳﺮﺩﺍﺭ ﺍﻋﻈﻢ ﺍﺳﺖ ﺍﺯ ﺑﺮﺍﻯ ﻧﺼﺮﺕ ﺍﻣﺮ ﺍﻟﻬﻰ ﻭﺟﻨﻮﺩﻳﮑﻪ ﻻﻳﻖ ﺍﻳﻦ ﺳﺮﺩﺍﺭ ﺍﺳﺖ ﺍﺧﻼﻕ ﻭ ﺍﻋﻤﺎﻝ ﻁﻴّﺒﻪٴ ﻁﺎﻫﺮﻩٴ ﻣﺮﺿﻴﻪ ﺑﻮﻧﺪﻩ ﻭ ﻫﺴﺖ. ﺑﮕﻮ (٤) ". ﺍﻯ ﻋﺒﺎﺩ ﺍﺳﺒﺎﺏ ﻧﻈﻢ ﺭﺍ ﺳﺒﺐ ﭘﺮﻳﺸﺎﻧﻰ ﻣﻨﻤﺎﺋﻴﺪ ﻭ ﻋﻠّﺖ ﺍﺗّﺤﺎﺩ ﺭﺍ ﻋﻠّﺖ ﺍﺧﺘﻼﻑ ﻣﺴﺎﺯﻳﺪ : ﻣﺮﺍﺣﻞ ﺳﻪﮔﺎﻧﻪٴ ﺩﺭ ﻧﺰﻭﻝ ﺁﺛﺎﺭ ﺣﻀﺮﺕ ﺑﻬﺎءﷲ ﺍﮐﻨﻮﻥ ﻣﻰﺗﻮﺍﻧﻴﻢ ﺁﺛﺎﺭ ﺣﻀﺮﺕ ﺑﻬﺎءﷲ ﺭﺍﻣﺴﺘﻘﻴﻤﺎً ﺑﺮﺭﺳﻰ ﮐﻨﻴﻢ. ﺑﺮﺍﻯ ﺩﺭﮎ ﺑﻬﺘﺮ ﺍﻳﻦ ﺁﺛﺎﺭ ﺑﺎﻳﺪ ﺗﻮﺟّﻪ ﮐﻨﻴﻢ ﮐﻪ ﺗﻤﺎﻣﻴّﺖ ﺁﺛﺎﺭ ﺣﻀﺮﺕ ﺑﻬﺎءﷲ ﻣﺠﻤﻮﻋﻪﺍﻯ ﻭﺍﺣﺪ ﻭ ﻣﻨﺴﺠﻢ ﺭﺍ ﺗﺸﮑﻴﻞ ﻣﻰﺩﻫﺪ ﺑﻄﻮﺭﻳﮑﻪ ﻫﺮﻳﮏ ﺍﺯ ﺁﺛﺎﺭ ﺭﺍ ﺑﺎﻳﺪ ﺑﺮ ﺍﺳﺎﺱ ﻣﻨﻄﻖ ﻭ ﭘﻴﺎﻡ ﮐﻠّﻰ ﺁﻥ ﻣﺠﻤﻮﻋﻪ ﻣﻮﺭﺩ ﺑﺮﺭﺳﻰ ﻭ ﺷﻨﺎﺧﺖ ﻗﺮﺍﺭ ﺩﺍﺩ. ﺍﻣﺎ ﭼﻨﺎﻧﮑﻪ ﮔﻔﺘﻪ ﺷﺪ ﺍﺯ ﻗﻠﻢ ﺣﻀﺮﺕ ﺑﻬﺎءﷲ ﻫﺰﺍﺭﺍﻥ ﻟﻮﺡ ﻭ ﮐﺘﺎﺏ ﻣﺮﻗﻮﻡ ﺷﺪﻩﺍﺳﺖ ﻭ ﺑﺪﻳﻦ ﺟﻬﺖ ۱۲٦۹) ۱۸٥۲   ﺳﺎﻝ ﻳﻌﻨﻰ ﺍﺯﺳﺎﻝ ٤۰ ﺑﺎﻳﺪ ﮐﻪ ﺑﻪ ﻁﺮﺡ ﻭ ﺳﺎﺧﺘﺎﺭ ﮐﻠﯽ ﺍﻳﻦ ﻣﺠﻤﻮﻋﻪ ﺗﻮﺟّﻪ ﻧﻤﻮﺩ. ﺁﺛﺎﺭ ﺣﻀﺮﺕ ﺑﻬﺎءﷲ ﺩﺭ ﻣﺪّﺕ  ﻩ.ﻕ( ﻧﺎﺯﻝ ﺷﺪﻩ ﺍﺳﺖ ﻭ ﺍﻳﻦ ﺁﺛﺎﺭ ﺍﺯ ﺟﻬﺎﺕ ﮔﻮﻧﺎﮔﻮﻥ ﻣﺘﻨﻮﻉ ﻭ ﺳﺮﺷﺎﺭ ﻣﻰﺑﺎﺷﺪ. ﺍﻣّﺎ ﺍﻳﻦ ﮐﺜﺮﺕ ۱۳۰۹) ﻣﻴﻼﺩﻯ ۱۸۹۲  ﻩ.ﻕ( ﺗﺎ ﺳﺎﻝ ﻣﻄﺎﻟﺐ ﻭ ﻣﺒﺎﺣﺚ ﻭ ﺁﺛﺎﺭ٬ ﻣﺒﺘﻨﻰ ﺑﺮ ﻭﺣﺪﺗﻰ ﺑﺎﻁﻨﻰ ﻭ ﺑﻨﻴﺎﺩﻯ ﺍﺳﺖ ﮐﻪ ﻫﻤﺎﻫﻨﮕﻰ ﻭ ﺧﻼﻗﻴّﺖ ﺑﻰﻧﻈﻴﺮﻯ ﺭﺍ ﺩﺭ ﺗﻤﺎﻣﻰ ﺍﻳﻦ ﺁﺛﺎﺭ ﻫﻮﻳﺪﺍ  ﻣﻴﻼﺩﻯ ﺩﺭ ۱۸۱۷   ﺳﺎﻝ ﺩﺭ ﺗﺒﻌﻴﺪ ﻭ ﺯﻧﺪﺍﻥ ﺑﺴﺮ ﺑﺮﺩﻩ ﺷﺪﻩ ﺍﺳﺖ. ﺣﻀﺮﺕ ﺑﻬﺎءﷲ ﺩﺭﺳﺎﻝ ٤۰  ﻣﻰﺳﺎﺯﺩ. ﺑﺎﻳﺪ ﺗﻮﺟّﻪ ﺩﺍﺷﺖ ﮐﻪ ﺍﻳﻦ  ﺗﻮﺳّﻂ ﺭﺅﺳﺎء ۱۸٥۲  ﻁﻬﺮﺍﻥ ﻣﺘﻮﻟﺪ ﺷﺪﻧﺪ ﻭ ﭘﺲ ﺍﺯ ﻅﻬﻮﺭ ﺣﻀﺮﺕ ﺑﺎﺏ ﺩﺭ ﺟﺮﮔﻪٴ ﺭﻫﺒﺮﺍﻥ ﺁﻥ ﺁﺋﻴﻦ ﺍﻟﻬﻰ ﺑﻮﺩﻧﺪ ﺗﺎ ﺁﻧﮑﻪ ﺩﺭﺳﺎﻝ  ﻣﺎﻩ ﺩﺭ ﺳﻴﺎﻫﭽﺎﻝ ﻁﻬﺮﺍﻥ ﻣﺤﺒﻮﺱ ﺷﺪﻧﺪ ﻭ ﭼﻨﺎﻧﮑﻪ ﺩﻳﺪﻳﻢ ﺍﻳﻦ ﺯﻣﺎﻥ٬ ﺳﺮﺁﻏﺎﺯ ﻧﺰﻭﻝ ﻭﺣﻰ ﺑﺮ ﺣﻀﺮﺕ ٤ ﺳﻴﺎﺳﻰ ﻭ ﻣﺬﻫﺒﻰ ﺑﻪ ﻣﺪّﺕ ﺳﺎﻝ ﻳﻌﻨﻰ ﺗﺎ ۱۰  ﺑﻬﺎءﷲ ﺍﺳﺖ. ﭘﺲ ﺍﺯ ﺁﺯﺍﺩﻯ ﺍﺯ ﺳﻴﺎﻫﭽﺎﻝ ﺣﻀﺮﺕ ﺑﻬﺎءﷲ ﺑﺪﺳﺘﻮﺭ ﺩﻭﻟﺖ ﺍﻳﺮﺍﻥ ﺑﻪ ﺑﻐﺪﺍﺩ ﺗﺒﻌﻴﺪ ﮔﺮﺩﻳﺪ ﻭ ﻣﺪّﺕ  ﻣﻴﻼﺩﻯ ﺩﺭ ﺑﻐﺪﺍﺩ ﺑﻮﺩﻧﺪ. ﭘﺲ ﺍﺯ ﺁﻥ ﺑﻪ ﺗﺤﺮﻳﮏ ﺩﻭﻟﺖ ﺍﻳﺮﺍﻥ ﻭ ﺑﻪ ﺩﺳﺘﻮﺭ ﺩﻭﻟﺖ ﻋﺜﻤﺎﻧﻰ ﺣﻀﺮﺕ ﺑﻬﺎءﷲ ﺍﻭّﻝ ﺑﻪ ۱۸٦۳ ﺳﺎﻝ  ﺳﺎﻝ( ﻭ ﺁﻧﮕﺎﻩ ﺑﻪ ﻋﮑّﺎﺗﺒﻌﻴﺪ ﮔﺮﺩﻳﺪﻧﺪ ﻭ ﺩﺭ ﻗﺸﻠﻪٴ ﻧﻈﺎﻣﻰ ﺁﻥ ﺷﻬﺮ ﻣﺤﺒﻮﺱ ٥ ً ﻣﺎﻩ( ﻭ ﺑﻌﺪ ﺑﻪ ﺍﺩﺭﻧﻪ )ﻣﺪّﺕ ﺣﺪﻭﺩﺍ ٤  ﺍﺳﺘﺎﻧﺒﻮﻝ )ﻣﺪّﺕ (. ﺍﮔﺮ ﺑﻪ ﺁﺛﺎﺭ ۱۸۹۲   ﺗﺎ ﺳﺎﻝ ۱۸٦۸   ﺳﺎﻝ ﺁﺧﺮ ﺣﻴﺎﺕ ﺣﻀﺮﺕ ﺑﻬﺎءﷲ ﺩﺭ ﺗﺒﻌﻴﺪ ﻋﮑّﺎ ﺳﭙﺮﻯ ﮔﺮﺩﻳﺪ) ﺍﺯﺳﺎﻝ ۲٤ ﺷﺪﻧﺪ. ﺑﺪﻳﻦ ﺗﺮﺗﻴﺐ ﺣﻀﺮﺕ ﺑﻬﺎءﷲ ﺑﺎﻧﮕﺎﻫﻰ ﺗﺤﻠﻴﻠﯽ ﻧﻈﺮ ﺍﻧﺪﺍﺯﻳﻢ ﺧﻮﺍﻫﻴﻢ ﺩﻳﺪﮐﻪ ﺍﻳﻦ ﺁﺛﺎﺭ ﺭﺍ ﻣﻴﺘﻮﺍﻥ ﺑﻪ ﺳﺮ ﻣﺮﺣﻠﻪٴ ﻧﺰﻭﻝ ﺗﻘﺴﻴﻢ ﻧﻤﻮﺩ. ﺧﻮﺩ ﺣﻀﺮﺕ ﺑﻬﺎءﷲ ﺩﺭﻳﮑﻰ ﺍﺯ ﺁﺛﺎﺭﺧﻮﻳﺶ ﺑﻪ ﻁﻮﺭﺿﻤﻨﻰ ﺑﻪ ﺍﻳﻦ ﺳﻪ ﻣﺮﺣﻠﻪ ﺍﺷﺎﺭﻩ ﮐﺮﺩﻩﺍﻧﺪ. ﺑﻴﺎﻥ ﺍﻳﺸﺎﻥ ﺑﺪﻳﻦ ﻗﺮﺍﺭ ﺍﺳﺖ: (٥)" "ﺍﺳﻤﻊ ﺍﺳﻤﻊ ﻫﺬﺍ ﺻﺮﻳﺮ ﻗﻠﻤﻰ ﺍﺭﺗﻔﻊ ﺍﻣﺎﻡ ﻭﺟﻮﻩ ﺍﻟﻌﺮﻓﺎء ﺛﻢّ ﺍﻟﻌﻠﻤﺎء ﺛﻢّ ﺍﻟﻤﻠﻮﮎ ﻭﺍﻟﺴّﻼﻁﻴﻦ ﺩﺭ ﺍﻳﻦ ﺑﻴﺎﻥ ﺣﻀﺮﺕ ﺑﻬﺎءﷲ ﺧﺎﻁﺮﻧﺸﺎﻥ ﻣﻰﺳﺎﺯﻧﺪﮐﻪ ﻧﺪﺍﻯ ﻗﻠﻢ ﺍﻳﺸﺎﻥ ﺩﺭ ﺍﺑﺘﺪﺍﺩﺭ ﻣﻘﺎﺑﻞ ﻋﺮﻓﺎء ﻭ ﺁﻧﮕﺎﻩ ﺩﺭ ﻣﻘﺎﺑﻞ ﻋﻠﻤﺎء ﻭ ﺳﭙﺲ ﺩﺭ ﻣﻘﺎﺑﻞ ﭘﺎﺩﺷﺎﻫﺎﻥ ﻭﺯﻣﺎﻣﺪﺍﺭﺍﻥ ﺳﻴﺎﺳﻰ ﺑﻠﻨﺪ ﮔﺮﺩﻳﺪﻩ ﺍﺳﺖ. ﺑﺪﻳﻦ ﺗﺮﺗﻴﺐ ﻣﻰﺗﻮﺍﻥ ﺁﺛﺎﺭ ﺣﻀﺮﺕ ﺑﻬﺎءﷲ ﺭﺍ ﺍﺯ ﺟﻬﺖ ﻣﺨﺎﻁﺒﺎﻥ ﺍﻳﺸﺎﻥ ﺗﻘﺴﻢﺑﻨﺪﻯ ﻧﻤﻮﺩ. ﺁﺛﺎﺭ ﺍﻭّﻟﻴﻪٴ ﺍﻳﺸﺎﻥ ﺑﻪ ﺯﺑﺎﻥ ﻋﺮﻓﺎﻧﻰ ﻭ ﺧﻄﺎﺏ ﺑﻪ ﺍﻫﻞ ﻋﺮﻓﺎﻥ ﻧﺎﺯﻝ ﺷﺪ. ﺩﺭ ﺍﻭﺍﺋﻞ ﻭ ﺍﻭﺍﺳﻂ ﺩﻭﺭﺍﻥ ﺍﻗﺎﻣﺖ ﺍﻳﺸﺎﻥ ﺩﺭ ﺑﻐﺪﺍﺩ ﺍﻳﻦ ﺯﺑﺎﻥ ﻭﺳﻴﻠﻪٴ ﻧﺰﻭﻝ ﻭﺣﻰ ﺑﻮﺩ. ﺍﻣّﺎ ﺩﻭﻣﻴﻦ ﻣﺮﺣﻠﻪٴ ﺁﺛﺎﺭﺷﺎﻥ ﺧﻄﺎﺏ ﺑﻪ ﻋﻠﻤﺎء ﻣﺬﻫﺒﻰ ﻭ ﺩﺭ ﺍﺭﺗﺒﺎﻁ ﺑﺎ ﮐﺘﺐ ﻣﻘﺪﺳﻪ ﺗﺠﺪﻳﺪ ﺍﺩﻳﺎﻥ ﻭ ﺗﻔﺴﻴﺮ ﺣﻘﺎﺋﻖ ﻧﻬﻔﺘﻪ ﺩﺭ ﮐﺘﺎﺑﻬﺎﻯ ﺁﺳﻤﺎﻧﻰ ﻧﺎﺯﻝ ﮔﺸﺖ. ﺩﺭ ﺍﻳﻨﺠﺎ ﻣﺨﺎﻁﺐ ﺣﻀﺮﺕ ﺑﻬﺎءﷲ ﺭﺅﺳﺎﻯ ﻣﺬﻫﺒﻰ ﻭ ﺑﺪﻧﺒﺎﻝ ﺁﻧﻬﺎ ﺍﻫﻞ ﺍﺩﻳﺎﻥ ﺑﻮﺩﻧﺪ ﻭ ﺁﺛﺎﺭ ﺍﻳﻦ ﺩﻭﺭﺍﻥ ﺑﻪ ﺣﻞ ﻭ ﭘﺎﺳﺨﮕﻮﺋﻰ ﺍﺷﺘﺒﺎﻫﺎﺕ ﻭﺍﻋﺘﺮﺍﺿﺎﺕ ﺳﺮﺍﻥ ﻣﺬﻫﺒﻰ ﻣﻌﻄﻮﻑ ﺍﺳﺖ. ﺑﺪﻳﻦ ﺗﺮﺗﻴﺐ ﺁﺛﺎﺭ ﺩﻭﺭﺍﻥ ﺍﻭﺍﺧﺮ ﺍﻗﺎﻣﺖ ﺣﻀﺮﺕ ﺑﻬﺎءﷲ ﺩﺭﺑﻐﺪﺍﺩ ﺑﻌﻼﻭﻩٴ ﺁﺛﺎﺭﻯ ﮐﻪ ﺗﺎ ﻳﮏ ﺳﺎﻝ ﻗﺒﻞ ﺍﺯ ﺗﺒﻌﻴﺪ ﺑﻪ ﻋﮑّﺎ ﻧﮕﺎﺷﺘﻪ ﺷﺪﻩ ﺍﺳﺖ ﻣﺘﻌﻠﻖ ﺑﻪ ﺍﻳﻦ ﺩﻭﺭﻩ ﻣﻰﺑﺎﺷﺪ.

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12/16/2016

Pazhuheshnameh ﷲ ﻧﮕﺎﻫﻰ ﺑﻪ ﺁﺛﺎﺭ ﺣﺿﺭﺕ ﺑﻬﺎء

http://www.pazhuheshnameh.org/index2.php?option=com_content&task=view&id=203&pop=1&page=0&Itemid=139 ﺩﺭ ﺍﻳﻨﺠﺎﺳﺖ ﮐﻪ ﺁﺛﺎﺭ ﺣﻀﺮﺕ ﺑﻬﺎءﷲ ﺑﻪ ﻣﺎﻫﻴّﺖ ﺭﻭﺣﺎﻧﻰ ﻫﺴﺘﻰ ﻭ ﺧﺼﻠﺖ ﺭﻭﺣﺎﻧﻰ ﺍﻧﺴﺎﻥ ﺗﺄﮐﻴﺪ ﮐﺮﺩﻩ ﻭ ﺩﺭ ﺁﻥ ﻭﺍﺣﺪ٬ ﺗﻌﺒﻴﺮ ﻣﺎﺩﻯ ﻫﺴﺘﻰ ﻭ ﺑﻨﻴﺎﺩﮔﺮﺍﺋﻰ ﻭ ﻗﺸﺮﭘﺮﺳﺘﻰ ﻣﺬﻫﺒﻰ ﺭﺍ ﻣﺮﺩﻭﺩ ﻣﻰﺷﻤﺎﺭﺩ. ﺁﺛﺎﺭ ﺣﻀﺮﺕ ﺑﻬﺎءﷲ ﺗﻤﺎﻣﻴّﺖ ﻫﺴﺘﻰ ﺭﺍ ﺑﻌﻨﻮﺍﻥ ﺁﻳﻨﻪ ﺍﻯ ﺍﺯ ﺍﺳﻤﺎء ﻭﺻﻔﺎﺕ ﺍﻟﻬﻰ ﻣﺘﻌﺎﻟﯽ ﻣﻰﺑﺨﺸﺪ ﻭ ﻫﻤﻪ ﭼﻴﺰ ﺭﺍ ﻣﻈﺎﻫﺮ ﺗﻘﺪّﺱ ﻭ ﺗﻘﺪﻳﺲ ﻣﻰﺷﻤﺎﺭﺩ. ﻧﻪ ﺗﻨﻬﺎ ﺍﻧﺴﺎﻥ ﺑﻠﮑﻪ ﻁﺒﻴﻌﺖ ﻧﻴﺰ ﺍﺯ ﺟﻼﻝ ﻭﺟﻤﺎﻝ ﺣﻖ ﺣﮑﺎﻳﺖ ﻣﻰﮐﻨﺪ ﻭ ﺩﺭ ﻫﻤﻪ ﭼﻴﺰ ﻣﻰﺗﻮﺍﻥ ﭼﻬﺮﻩٴ ﻣﺤﺒﻮﺏ ﺣﻘﻴﻘﻰ ﺭﺍ ﺗﻤﺎﺷﺎ ﮐﺮﺩ. ﺩﺭ ﻭﺍﻗﻊ ﺁﺛﺎﺭ ﺣﻀﺮﺕ ﺑﻬﺎءﷲ ﺗﻤﺎﻣﻴّﺖ ﻫﺴﺘﻰ ﻭ ﻭﺟﻮﺩ ﺭﺍ ﺑﻪ ﺷﮑﻞ ﮔﻔﺘﮕﻮﺋﻰ ﻣﻴﺎﻥ ﻋﺎﺷﻖ ﻭ ﻣﻌﺸﻮﻕ ﺗﺮﺳﻴﻢ ﻣﻰ ﻧﻤﺎﻳﺪ. ﺍﻳﻦ ﮔﻔﺘﮕﻮ ﻣﻴﺜﺎﻕ ﻭ ﻋﻬﺪﻯ ﺍﺳﺖ ﮐﻪ ﻣﺎﺑﻴﻦ ﺧﺪﺍ ﻭ ﺧﻠﻖ ﺑﺴﺘﻪ ﻣﻰﺷﻮﺩ ﻭ ﺍﻳﻦ ﻣﻴﺜﺎﻕ ﺍﺯﻟﯽ ﺩﺭ ﻫﺮﻟﺤﻈﻪ ﺗﮑﺮﺍﺭ ﻭ ﺗﺠﺪﻳﺪ ﻣﻰﮔﺮﺩﺩ. ﺍﻳﻦ ﻣﻴﺜﺎﻕ ﻫﻤﻪ ﺟﺎﻧﺒﻪ ﺑﺸﮑﻞ ﺩﻭﻗﻮﺱ ﻧﺰﻭﻝ ﻭ ﺻﻌﻮﺩ ﺩﺭﻣﻰﺁﻳﺪ ﮐﻪ ﺍﻭّﻟﯽ ﺑﻪ ﺻﺪﻭﺭ ﺧﻠﻖ ﺍﺯ ﺣﻖ ﻭ ﺩﻭّﻣﻰ ﺑﻪ ﻋﺮﻭﻕ ﺧﻠﻖ ﺑﻪ ﻁﺮﻑ ﻣﺤﺒﻮﺏ ﺍﺷﺎﺭﻩ ﻣﻰ ﻧﻤﺎﻳﺪ. ﺁﺩﻣﻰ ﻣﻴﺘﻮﺍﻧﺪ ﺗﺠﻠّﻰ ﺣﻖ ﺭﺍ ﺩﺭ ﻫﻤﻪ ﭼﻴﺰ ﻭ ﺍﺯ ﺟﻤﻠﻪ ﺩﺭ ﻭﺟﻮﺩ ﺧﻮﺩ ﻣﺸﺎﻫﺪﻩ ﮐﻨﺪ ﻭ ﺍﻳﻦ ﻧﻈﺮ ﻭﺣﺪﺕ ﺍﺳﺖ ﮐﻪ ﺑﻪ ﺍﻭ ﺍﻣﮑﺎﻥ ﻣﻰﺩﻫﺪ ﮐﻪ ﺗﺠﺮﺑﻪٴ ﻫﺴﺘﻰ ﺭﺍ ﺑﻪ ﺗﺠﺮﺑﻪٴ ﺑﻬﺸﺖ ﻣﺒﺪّﻝ ﺳﺎﺯﺩ ﻭ ﻟﺬّﺕ ﺭﺍﺳﺘﻴﻦ ﺭﺍ ﮐﻪ ﻣﻘﺎﻡ ﻣﻌﺮﻓﺖ ﺣﻖ ﻭ ﺩﻳﺪﻥ ﺻﻮﺭﺕ ﺯﻳﺒﺎﻯ ﻣﺤﺒﻮﺑﺴﺖ ﺩﺭ ﺍﻳﻦ ﺯﻧﺪﮔﻰ ﺯﻭﺩﮔﺬﺭ ﻣﻴﺴﺮ ﺳﺎﺯﺩ. ﻧﻴﺎﺯ ﺑﻪ ﺗﺬﮐﺮ  ﺭﺍ ﺩﺭ ﺑﺮ ۱۸۹۲  ﺗﺎ ۱۸٦۷   ﺳﺎﻝ ﺁﺧﺮ ﺯﻧﺪﮔﻰ ﺣﻀﺮﺕ ﺑﻬﺎءﷲ ﻣﺮﺗﺒﻂ ﺷﺪﻩ ﻭ ﺩﻭﺭﺍﻥ ۲٥  ﺑﺎﻻﺧﺮﻩ ﺁﺛﺎﺭﺳﻮّﻣﻴﻦ ﻣﺮﺣﻠﻪٴ ﻧﺰﻭﻝ ﻭﺣﻰ ﺑﻪ ﻣﻰﮔﻴﺮﺩ. ﺩﺭ ﺍﻳﻦ ﺁﺛﺎﺭ ﻣﺨﺎﻁﺐ ﺍﺻﻠﯽ ﻫﻤﻪٴ ﻣﺮﺩﻡ ﺟﻬﺎﻥ ﻭ ﺯﻣﺎﻣﺪﺍﺭﺍﻥ ﺳﻴﺎﺳﻰ ﺁﻧﻬﺎﺳﺖ. ﺍﮐﻨﻮﻥ ﺍﻳﻦ ﺳﺆﺍﻝ ﭘﻴﺶ ﻣﻰﺁﻳﺪ ﮐﻪ ﺁﻳﺎﺁﺛﺎﺭﻯ ﮐﻪ ﺩﺭ ﺍﻳﻦ ﺳﻪ ﻣﺮﺣﻠﻪ ﻧﺎﺯﻝ ﺷﺪﻩ ﺍﺳﺖ ﺑﺎ ﻳﮑﺪﻳﮕﺮ ﭼﻪ ﺍﺭﺗﺒﺎﻁﻰ ﺩﺍﺭﻧﺪ ﻭ ﺁﻳﺎﺭﺍﺑﻄﻪ ﺍﻳﻦ ﺳﻪ ﻣﺮﺣﻠﻪ ﺑﺎ ﺍﺻﻮﻝ ﺟﻬﺎﻥﺑﻴﻨﻰ ﺣﻀﺮﺕ ﺑﻬﺎءﷲ ﭼﻴﺴﺖ؟ ﺩﺭﭘﺎﺳﺦ ﺑﻪ ﺍﻳﻦ ﺳﺆﺍﻝ ﺑﺎﻳﺪ ﺑﻴﺎﻥ ﻧﻤﻮﺩ ﮐﻪ ﺍﻧﺘﺨﺎﺏ ﺍﻳﻦ ﺳﻪ ﻣﺮﺣﻠﻪ ﺑﻬﻴﭽﻮﺟﻪ ﺍﻣﺮﻯ ﺗﺼﺎﺩﻓﻰ ﻧﺒﻮﺩﻩ ﺍﺳﺖ.  ﺑﺎﻟﻌﮑﺲ ﻫﺮ ﻳﮏ ﺍﺯﺍﻳﻦ ﺳﻪ ﻣﺮﺣﻠﻪ ﺑﻴﺎﻧﮕﺮ ﻳﮑﻰ ﺍﺯﺍﺻﻮﻝ ﺑﻨﻴﺎﺩﻯ ﻭ ﺿﺮﻭﺭﻯ ﺟﻬﺎﻥﺑﻴﻨﻰ ﺑﻬﺎﺋﻰ ﺍﺳﺖ ﺩﺭ ﻭﺍﻗﻊ ﺟﻬﺎﻥﺑﻴﻨﻰ ﺣﻀﺮﺕ ﺑﻬﺎءﷲ ﺭﺍ ﻧﻤﻰﺗﻮﺍﻥ ﺑﺪﻭﻥ ﺗﺄﮐﻴﺪ ﺑﻪ ﺍﻳﻦ ﺳﻪ ﺍﺻﻞ ﻣﺨﺘﻠﻒ ﻭ ﺩﺭﮎ ﻭﺣﺪﺕ ﻭ ﻫﻤﺎﻫﻨﮕﻰ ﻧﺎﮔﺴﺴﺘﻨﻰ ﻣﻴﺎﻥ ﺍﻳﻦ ﺍﺻﻮﻝ ﺷﻨﺎﺳﺎﺋﻰ ﻧﻤﻮﺩ. ﺑﻪ ﻋﺒﺎﺭﺕ ﺩﻳﮕﺮ ﺳﻪ ﻣﺮﺣﻠﻪ ﺁﺛﺎﺭ ﺣﻀﺮﺕ ﺑﻬﺎءﷲ ﻧﻤﺎﻳﺸﮕﺮﺳﻪ ﺣﻠﻘﻪٴ ﺿﺮﻭﺭﻯ ﻭ ﺍﻧﻔﮑﺎﮎ ﻧﺎﭘﺬﻳﺮ ﻣﺠﻤﻮﻋﻪٴ ﺯﻳﺒﺎ ﻭﭘﻴﻮﺳﺘﻪﺍﻯ ﺍﺳﺖ ﮐﻪ ﺍﺭﻣﻐﺎﻥ ﺣﻀﺮﺕ ﺑﻬﺎءﷲ ﺑﻪ ﻋﺎﻟﻢ ﺍﻧﺴﺎﻧﻰ ﺑﻮﺩﻩ ﻭ ﺁﻳﻨﻪ ﺍﻯ ﺍﺯﻣﺪﻧﻴﺖ ﻧﻮﻳﻦ ﺟﻬﺎﻧﻰ ﺁﻳﻨﺪﻩٴ ﺑﺸﺮ ﺑﺪﺳﺖ ﻣﻰﺩﻫﺪ. ﺍﺯ ﺁﻥ ﮔﺬﺷﺘﻪ ﺗﺮﺗﻴﺐ ﻅﻬﻮﺭ ﺍﻳﻦ ﺳﻪ ﻣﺮﺣﻠﻪ ﻧﻴﺰ ﺍﻣﺮﻯ ﺗﺼﺎﺩﻓﻰ ﻭ ﺍﺗّﻔﺎﻗﻰ ﻧﻴﺴﺖ ﺑﻠﮑﻪ ﺑﺎﻟﻌﮑﺲ ﻫﺮ ﻣﺮﺣﻠﻪ ﻣﺒﺘﻨﻰ ﺑﺮ ﻣﺮﺣﻠﻪٴ ﺩﻳﮕﺮ ﺑﻮﺩﻩ ﻭ ﻫﺮ ﻣﺮﺣﻠﻪٴ ﭘﻴﺸﻴﻨﻰ ﭘﻴﺶ ﻓﺮﺽ ﻣﺮﺣﻠﻪٴ ﺑﻌﺪﻯ ﺑﺎﺷﺪ.  ﺍﺻﻞ ﺍﺳﺖ ﮐﻪ ﻫﺮﻳﮏ ﺍﺯ ﺍﻳﻦ ﺍﺻﻮﻝ ﻣﻮﺿﻮﻉ ﻓﺎﺋﻖ ﻳﮑﻰ ﺍﺯ ۳ ﺑﻨﺎﺑﺮﺍﻳﻦ ﺟﻬﺎﻥﺑﻴﻨﻰ ﻧﻬﻔﺘﻪ ﺩﺭ ﺁﺛﺎﺭ ﺣﻀﺮﺕ ﺑﻬﺎءﷲ ﻣﺒﺘﻨﻰ ﺑﺮ ﻭﺣﺪﺕ ﺳﻪ ﺩﻭﺭﺍﻥ ﻧﺰﻭﻝ ﻭﺣﻰ ﺑﺮﺍﻳﺸﺎﻥ ﻣﻰﺑﺎﺷﺪ. ﺍﻳﻦ ﺟﻬﺎﻥ ﺑﻴﻨﻰ ﮐﻪ ﺩﺭ ﻁﻮﻝ ﺗﺎﺭﻳﺦ ﺷﺮﻕ ﻭ ﻏﺮﺏ ﺳﺎﺑﻘﻪ ﻧﺪﺍﺷﺘﻪ ﻭ ﻓﺨﻴﻢﺗﺮﻳﻦ ﺗﺸﻌﺸﻊ ﻓﺮﻫﻨﮓ ﺭﻭﺣﺎﻧﻰ٬ ﻓﻠﺴﻔﻰ٬ ﻭﺍﺟﺘﻤﺎﻋﻰ ﺍﺳﺖ ﻋﺒﺎﺭﺗﺴﺖ ﺍﺯﻭﺣﺪﺕ ﻧﺎﮔﺴﺴﺘﻨﻰ ﺳﻪ ﺍﺻﻞ: ﺧﺼﻠﺖ ﺭﻭﺣﺎﻧﻰ ﻫﺴﺘﻰ٬ ﻫﺸﻴﺎﺭﻯ ﺗﺎﺭﻳﺨﻰ ﻭ ﻧﻈﺮﮔﺎﻩ ﺟﻬﺎﻥ ﺷﻤﻮﻝ. _ ﺧﺼﻠﺖ ﺭﻭﺣﺎﻧﻰ ﻫﺴﺘﻰ: ۱ ﭼﻨﺎﻧﮑﻪ ﺩﻳﺪﻳﻢ ﺁﺛﺎﺭ ﺍﻭّﻟﻴﻪٴ ﺣﻀﺮﺕ ﺑﻬﺎءﷲ ﺑﻴﺸﺘﺮ ﺍﺯﺯﺑﺎﻥ ﻭ ﻟﺤﻦ ﻋﺮﻓﺎﻥ ﺑﺮﺍﻯ ﺍﺭﺍﺋﻪٴ ﻓﺮﻫﻨﮓ ﺑﺪﻳﻊ ﺭﻭﺣﺎﻧﻰ ﺍﺳﺘﻔﺎﺩﻩ ﻣﻰﮐﻨﺪ. ﺑﻪ ﻫﻤﻴﻦ ﺍﺛﺮ ﺍﻳﻦ ﺩﻭﺭﺍﻥ ﻳﻌﻨﻰ ﭼﻬﺎﺭﻭﺍﺭﻯ٬ ٤  ﺟﻬﺖ ﺍﺳﺖ ﮐﻪ ﺁﺛﺎﺭ ﺍﻳﻦ ﺩﻭﺭﺍﻥ ﺩﺭ ﺩﻭﺭﺍ ﺩﻭﺭ ﻣﻘﻮﻻﺕ ﻋﺮﻓﺎﻧﻰ ﺣﺮﮐﺖ ﻣﻰﻧﻤﺎﻳﺪ ﺑﻪ ﻋﻨﻮﺍﻥ ﻣﺜﺎﻝ ﻫﻔﺖ ﻭﺍﺩﻯ٬ ﮐﻠﻤﺎﺕ ﻣﮑﻨﻮﻧﻪ ﻭ ﻗﺼﻴﺪﻩٴ ﻋﺰّ ﻭﺭﻗﺎﺋﻴﻪ ﻫﻤﮕﻰ ﺯﺑﺎﻥ ﻋﺮﻓﺎﻥ ﺭﺍ ﺑﮑﺎﺭ ﻣﻰﮔﻴﺮﺩ. ﺍﻣّﺎ ﺍﻳﻦ ﺍﻣﺮ ﭼﻨﺎﻧﮑﻪ ﺫﮐﺮ ﺷﺪ ﺍﻣﺮﻯ ﺗﺼﺎﺩﻓﻰ ﻧﺒﻮﺩ. ﻋﻠّﺖ ﺍﻳﻦ ﺍﻣﺮ ﺍﻳﻦ ﺍﺳﺖ ﮐﻪﺷﺎﻟﻮﺩﻩٴ ﺟﻬﺎﻥﺑﻴﻨﻰ ﺑﻬﺎﺋﻰ ﺑﺮ ﺗﻌﺒﻴﺮﻯ ﺭﻭﺣﺎﻧﻰ ﺍﺯﻫﺴﺘﻰ ﺍﺳﺘﻮﺍﺭﺳﺖ ﻭﺍﻳﻦ ﺗﻌﺒﻴﺮ ﺭﻭﺣﺎﻧﻰ ﻭﺟﻮﺩ ﭘﻴﺶ ﺫﻫﻦ ﺗﻤﺎﻣﻰ ﺩﻳﮕﺮ ﺍﺻﻮﻝ ﻭ ﺗﻌﺎﻟﻴﻢ ﺍﻳﻦ ﺩﻳﺎﻧﺖ ﻣﻰﺑﺎﺷﺪ. ﺑﺪﻳﻦ ﺟﻬﺖ ﺍﺳﺖ ﮐﻪ ﻓﻰﺍﻟﻤﺜﻞ ﺍﺻﻞ ﺩﻭّﻡ ﮐﻪ ﺍﺻﻞ ﻫﺸﻴﺎﺭﻯ ﺗﺎﺭﻳﺦ ﺍﺳﺖ ﻧﻤﻰﺗﻮﺍﻥ ﺍﺯﺍﻳﻦ ﺍﺻﻞ ﺟﺪﺍ ﺳﺎﺧﺖ ﻭ ﺍﮔﺮ ﮐﻪ ﭼﻨﻴﻦ ﺍﻧﻔﺼﺎﻟﯽ ﺻﻮﺭﺕ ﮔﻴﺮﺩ ﺩﻳﮕﺮ ﺁﻥ ﺍﺻﻞ ﻣﺤﺘﻮﻯ ﻭ ﻣﻔﻬﻮﻣﻰ ﮐﺎﻣﻼً ﻣﺘﻔﺎﻭﺕ ﺧﻮﺍﻫﺪ ﻳﺎﻓﺖ. ﺍﺻﻞ ﺗﺎﺭﻳﺦ ﺩﺭ ﻭﺍﻗﻊ ﻣﺒﺘﻨﻰ ﺑﺮ ﺍﺻﻞ ﺭﻭﺣﺎﻧﻴّﺖ ﺍﺳﺖ ﮐﻤﺎﺁﻧﮑﻪ ﻋﺮﻓﺎﻥ ﺑﻬﺎﺋﻰ ﺍﺯﺍﺻﻞ ﺗﺎﺭﻳﺦ ﺍﻧﻔﮑﺎﮎ ﻧﺎﭘﺬﻳﺮ ﻣﻰﺑﺎﺷﺪ. ﺩﻧﻴﺎﺋﻰ ﮐﻪ ﺩﺭ ﺁﻥ ﺧﻮﺩ ﺭﺍ ﻣﻰﻳﺎﺑﻴﻢ ﺩﻧﻴﺎﺋﻰ ﺍﺳﺖ ﮐﻪ ﻳﺎ ﺍﺯ ﻁﺮﻳﻖ ﺟﻬﺎﻥﺑﻴﻨﻰ ﻣﺎﺩّﻯ ﻭ ﺿﺪ ﺭﻭﺣﺎﻧﻰ ﻣﻤﺴﻮﺥ ﮔﺮﺩﻳﺪﻩ ﻭ ﻳﺎ ﺁﻧﮑﻪ ﺍﺯ ﺑﻴﻤﺎﺭﻯ ﺳﻨﺖ ﭘﺮﺳﺘﻰ ﻣﺬﻫﺒﻰ ﻣﺴﻤﻮﻡ ﺷﺪﻩﺍﺳﺖ. ﺍﻳﻦ ﺩﻭ ﺟﻬﺎﻥﺑﻴﻨﻰ ﺍﮔﺮﭼﻪ ﺩﺭ ﺗﻀﺎﺩّ ﺑﺎ ﻳﮑﺪﻳﮕﺮ ﻗﺮﺍﺭ ﺩﺍﺭﻧﺪ ﺍﻣّﺎ ﺍﺯ ﺑﺴﻴﺎﺭﻯ ﺟﻬﺎﺕ ﺑﺎ ﻳﮑﺪﻳﮕﺮ ﺷﺒﺎﻫﺖ ﺩﺍﺭﻧﺪ. ﺳﻨّﺖ ﭘﺮﺳﺘﻰ ﻣﺬﻫﺒﻰ ﺍﺯ ﺭﻭﺡ ﺧﻼّﻕ ﻭ ﻧﻮﺁﻓﺮﻳﻦ ﺩﻳﺎﻧﺖ ﻳﻌﻨﻰ ﺍﺯ ﺟﻨﺒﻪٴ ﻋﺮﻓﺎﻥ ﻭ ﺍﻟﻬﺎﻡ ﻏﻔﻠﺖ ﮐﺮﺩﻩ ﻭﺩﻳﺎﻧﺖ ﺭﺍ ﺑﻪ ﺍﻣﺮﻯ ﺍﻳﺴﺘﺎ ﻭ ﺧﺸﮏ ﻭ ﺭﺍﮐﺪ ﻭ ﻗﺸﺮﻯ ﻣﺒﺪّﻝ ﻣﻰﺳﺎﺯﺩ. ﺑﺪﻳﻦ ﺗﺮﺗﻴﺐ ﺩﻳﺎﻧﺖ ﺑﺠﺎﻯ ﺗﮑﺎﻣﻞ ﻭ ﻭﺩﺍﺩ ﺑﻪ ﺗﺸﻮﻳﻖ ﺭﻳﺎ ﻭ ﻗﻬﺮ ﻭ ﺧﺸﻮﻧﺖ ﻭ ﻧﻔﺮﺕ ﻭﻧﺎﺷﮑﻴﺒﺎﺋﻰ ﻣﻰﺍﻧﺠﺎﻣﺪ. ﻓﺮﻫﻨﮓ ﻣﺎﺩﻯ ﻧﻴﺰ ﺑﺎ ﻁﺮﺩ ﺣﻘﺎﺋﻖ ﺭﻭﺣﺎﻧﻰ ﻭ ﺟﻨﺒﻪٴ ﺭﻭﺣﺎﻧﻰ ﻫﺴﺘﻰ٬ ﺍﻧﺴﺎﻥ ﻭﺟﺎﻣﻌﻪ ﺭﺍ ﻫﺮﭼﻪ ﺑﻴﺸﺘﺮ ﺍﺯ ﺍﺭﺯﺵ ﻭ ﻣﻘﺎﻡ ﻭ ﺷﺮﻑ ﺭﺍﺳﺘﻴﻦ ﻋﺎﺭﻯ ﮐﺮﺩﻩ ﻭ ﻧﺴﺒﻴﺖ ﮔﺮﺍﻧﻰ ﻣﻄﻠﻖ ﻭﻓﺮﻫﻨﮕﻰ ﻭ ﺍﺧﻼﻗﻰ ﺭﺍ ﺗﺸﻮﻳﻖ ﻣﻰﻧﻤﺎﻳﺪ. ﺍﻳﻦ ﻓﺮﻫﻨﮓ ﻧﻴﺰ ﺩﺭ ﻧﻬﺎﻳﺖ ﺑﻪ ﺳﺘﺎﻳﺶ ﻭ ﭘﺮﺳﺘﺶ ﻗﺪﺭﺕ ﭘﺮﺩﺍﺧﺘﻪ ﻭ ﻓﺮﻫﻨﮓ ﻋﺸﻖ ﻭ ﻧﺜﺎﺭ ﻭ ﺍﻳﺜﺎﺭ ﺭﺍ ﻣﻨﺘﻔﻰ ﻣﻰﻧﻤﺎﻳﺪ. ﺍﻧﺪﻳﺸﻪٴ ﻣﺎﺩﻯ ﺁﺩﻣﻬﺎ ﺭﺍ ﺻﺮﻓﺎً ﺑﻪ ﻣﺠﻤﻮﻋﻪ ﺍﻯ ﺍﺯ ﺳﺎﺋﻘﻪﻫﺎﻯ ﻣﺎﺷﻴﻨﻰ ﺍﻗﺘﺼﺎﺩﻯ ﻭ ﻳﺎ ﻣﺠﺴﻤﻪﺍﻯ ﺍﺯﺍﻧﮕﻴﺰﺵ ﺟﻨﺴﻰ ﺗﻘﻠﻴﻞ ﻣﻰﺩﻫﺪ ﻭ ﻣﻔﻬﻮﻡ ﺷﮑﻮﻫﻤﻨﺪ ﻭ ﻓﺨﻴﻢ ﺁﺩﻣﻰ ﺑﻌﻨﻮﺍﻥ ﺻﻮﺭﺕ ﻭ ﻣﺜﺎﻝ ﺧﺪﺍ ﺭﺍ ﺑﻪ ﺑﺎﺩ ﺗﻤﺴﺨﺮ ﻣﻰﮔﻴﺮﺩ. ﺗﻌﺠﺒﻰ ﻧﺪﺍﺭﺩ ﮐﻪ ﺩﺭ ﭼﻨﻴﻦ ﻓﺮﻫﻨﮕﻰ ﻫﺰﺍﺭﺍﻥ ﺩﺷﻮﺍﺭﻯ ﻓﺮﻫﻨﮕﻰ ﻭ ﺍﺧﻼﻗﻰ ﺑﻮﺟﻮﺩ ﺁﻳﺪ ﻭ ﺁﺩﻣﻴﺎﻥ ﺍﺯ ﻳﮑﺪﻳﮕﺮ ﻭ ﺍﺯﻁﺒﻴﻌﺖ ﺑﻴﮕﺎﻧﻪ ﻭ ﺑﻴﮕﺎﻧﻪﺗﺮ ﮔﺮﺩﻧﺪ. ﺍﻣّﺎ ﺩﺭ ﻋﻴﻦ ﺣﺎﻝ ﻭﺍﮐﻨﺶ ﺑﻨﻴﺎﺩﮔﺮﺍﺋﻰ ﻣﺬﻫﺒﻰ ﺑﻪ ﺍﻳﻦ ﻣﺪﻧﻴّﺖ ﻣﺎﺩﻯ ﻧﻴﺰ ﺧﻮﺩ ﺑﻪ ﺍﻳﻦ ﺍﻧﺤﻄﺎﻁ ﺩﺍﻣﻦ ﻣﻰﺯﻧﺪ ﻭ ﺑﺎ ﺗﮑﻴﻪ ﺑﺮ ﺍﻋﺘﻘﺎﺩﺍﺕ ﺟﺰﺋﻰ٬ ﻗﺸﺮﻯ ﻭ ﭘﻮﺳﻴﺪﻩ ﺑﻪ ﻧﻔﺮﺕ ﺁﺩﻣﻰ ﺍﺯ ﺁﺩﻣﻰ٬ ﺗﺸﻮﻳﻖ ﻗﻬﺮ ﻭ ﺧﺸﻮﻧﺖ ﻭ ﺗﺮﻭﻳﺞ ﻣﺮﺩﺳﺎﻻﺭﻯ ﻭ ﺗﻌﺼّﺐ ﻣﺬﻫﺒﻰ ﻭ ﻧﺎﺷﮑﻴﺒﺎﺋﻰ ﻋﻘﻴﺪﺗﻰ ﻣﻰﺍﻧﺠﺎﻣﺪ.

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12/16/2016

Pazhuheshnameh ﷲ ﻧﮕﺎﻫﻰ ﺑﻪ ﺁﺛﺎﺭ ﺣﺿﺭﺕ ﺑﻬﺎء

http://www.pazhuheshnameh.org/index2.php?option=com_content&task=view&id=203&pop=1&page=0&Itemid=139 "ﻭ ﺳﺎﻟﮏ ﺑﻌﺪ ﺍﺯ ﺳﻴﺮ ﻭﺍﺩﻯ ﻣﻌﺮﻓﺖ ﮐﻪ ﺁﺧﺮ ﻣﻘﺎﻡ ﺗﺤﺪﻳﺪ ﺍﺳﺖ ﺑﺎﻭّﻝ ﻣﻘﺎﻡ ﺗﻮﺣﻴﺪ ﻭﺍﺻﻞ ﺷﻮﺩ ﻭ ﺍﺯﮐﺄﺱ ﺗﺠﺮﻳﺪ ﺑﻨﻮﺷﺪ ﻭ ﺩﺭ ﻣﻈﺎﻫﺮ ﺗﻔﺮﻳﺪ ﺳﻴﺮ ﻧﻤﺎﻳﺪ. ﺩﺭ ﺍﻳﻦ ﻣﻘﺎﻡ ﺣﺠﺎﺏ ﮐﺜﺮﺕ ﺑﺮ ﺩﺭﺩ ﻭ ﺍﺯﻋﻮﺍﻟﻢ ﺷﻬﻮﺕ ﺑﺮ ﭘﺮﺩ ﻭ ﺩﺭ ﺳﻤﺎء ﻭﺣﺪﺕ ﻋﺮﻭﺝ ﻧﻤﺎﻳﺪ ﺑﮕﻮﺵ ﺍﻟﻬﻰ ﺑﺸﻨﻮﺩ ﻭ ﺑﭽﺸﻢ ﺭﺑّﺎﻧﻰ ﺍﺳﺮﺍﺭ ﺻﻨﻊ ﺻﻤﺪﺍﻧﻰ ﺑﻴﻨﺪ ﺑﺨﻠﻮﺗﺨﺎﻧﻪٴ ﺩﻭﺳﺖ ﻗﺪﻡ ﮔﺬﺍﺭﺩ ﻭ ﻣﺤﺮﻡ ﺳﺮﺍﺩﻕ ﻣﺤﺒﻮﺏ ﺷﻮﺩ ... ﺩﺭ ﺍﺷﻴﺎء ﺑﻨﻈﺮ ﺗﻮﺣﻴﺪ ﻣﺸﺎﻫﺪﻩ ﮐﻨﺪ ﻭ ﺍﺷﺮﺍﻕ ﺗﺠﻠّﻰ ﺷﻤﺲ ﺍﻟﻬﻰ ﺭﺍ ﺍﺯﻣﺸﺮﻕ ﻫﻮﻳّﺖ ﺑﺮ ﻫﻤﻪٴ ﻣﻤﮑﻨﺎﺕ ﻳﮑﺴﺎﻥ ﺑﻴﻨﺪ ﻭ ﺍﻧﻮﺍﺭ ﺗﻮﺣﻴﺪ ﺭﺍ ﺑﺮ ﺟﻤﻴﻊ ﻣﻮﺟﻮﺩﺍﺕ ﻣﻮﺟﻮﺩ ﻭ ﻅﺎﻫﺮ ﻣﺸﺎﻫﺪﻩ ﮐﻨﺪ ... ﻣﻼﺣﻈﻪ ﺩﺭ ﺷﻤﺲ ﻅﺎﻫﺮﻯ ﻓﺮﻣﺎﺋﻴﺪ ﮐﻪ ﺑﺮﻫﻤﻪٴ ﻣﻮﺟﻮﺩﺍﺕ ﻭ ﻣﻤﮑﻨﺎﺕ ﺑﻴﮏ ﺍﺷﺮﺍﻕ ﺗﺠﻠّﻰ ﻣﻰﻧﻤﺎﻳﺪ ﻭ ﺳﺎﺯﺩ ﻭ ﻟﺬّﺕ ﺭﺍﺳﺘﻴﻦ ﺭﺍ ﮐﻪ ﻣﻘﺎﻡ ﻣﻌﺮﻓﺖ ﺣﻖ ﻭ ﺩﻳﺪﻥ ﺻﻮﺭﺕ ﺯﻳﺒﺎﻯ ﻣﺤﺒﻮﺑﺴﺖ ﺩﺭ ﺍﻳﻦ ﺯﻧﺪﮔﻰ ﺯﻭﺩﮔﺬﺭ ﻣﻴﺴﺮ ﺳﺎﺯﺩ. ﻧﻴﺎﺯ ﺑﻪ ﺗﺬﮐﺮ ﻧﻴﺴﺖ ﮐﻪ ﭼﻨﻴﻦ ﺭﻭﻳﮑﺮﺩﻯ ﺑﻪ ﻫﺴﺘﻰ ﺭﻭﻳﮑﺮﺩ ﻭﺩﺍﺩ ﻭ ﺍﻟﻔﺖ ﻭ ﻋﺸﻖ ﻭ ﻣﺤﺒّﺖ ﺍﺳﺖ ﺭﻭﻳﮑﺮﺩﻯ ﺍﺳﺖ ﮐﻪ ﺳﺘﻴﺰ ﻭﺟﺪﺍﻝ ﺭﺍ ﺑﻪ ﺻﻠﺢ ﻭ ﻋﺮﻓﺎﻥ ﻣﺒﺪّﻝ ﻣﻰﺳﺎﺯﺩ ﻭ ﺷﺮﺍﻓﺖ ﻭ ﻋﻈﻤﺖ ﻭ ﺯﻳﺒﺎﺋﻰ ﻓﺮﺩ ﻓﺮﺩ ﺁﺩﻣﻴﺎﻥ ﺭﺍ ﻣﺆﮐّﺪ ﻣﻰﺳﺎﺯﺩ. ﺑﮕﺬﺍﺭﻳﺪ ﺑﻪ ﭼﻨﺪ ﻧﻤﻮﻧﻪ ﺍﺯ ﺑﻴﺎﻧﺎﺕ ﺣﻀﺮﺕ ﺑﻬﺎءﷲ ﺩﺭ ﺍﺛﺮ ﺍﻳﺸﺎﻥ ﺑﻨﺎﻡ ﮐﻠﻤﺎﺕ ﻣﮑﻨﻮﻧﻪ ﻧﮕﺎﻥ ﮐﻨﻴﻢ: ﻳﺎﺍﺑﻦ ﺍﻟﺮّﻭﺡ: ﻓﻰ ﺍﻭّﻝ ﺍﻟﻘﻮﻝ ﺍﻣﻠﮏ ﻗﻠﺒﺎً ﺟﻴّﺪﺍً ﺣﺴﻨﺎً ﻣﻨﻴﺮﺍً ﻟﺘﻤﻠﮏ ﻣﻠﮑﺎً ﺩﺍﺋﻤﺎً ﺍﺯﻟﻴﺎً ﻗﺪﻳﻤﺎ. ﮐﻪ ﻣﻀﻤﻮﻥ ﺁﻥ ﺍﻳﻨﺴﺖ ﮐﻪ ﻗﺒﻞ ﺍﺯﻫﺮﭼﻴﺰ ﺍﻭّﻝ ﮐﻼﻡ ﺣﻖ ﺍﻳﻦ ﺍﺳﺖ ﮐﻪ ﺑﺎﻳﺪ ﮐﻪ ﺻﺎﺣﺐ ﺩﻟﯽ ﭘﺎﮎ ﻭ ﺻﺎﻑ ﻭ ﺭﻭﺷﻦ ﺷﻮﻯ ﺗﺎ ﺑﺘﻮﺍﻧﻰ ﺳﻠﻄﻨﺖ ﺩﺍﺋﻤﻰ ﺍﺑﺪﻯ ﺑﺪﺳﺖ ﺁﻭﺭﻯ.  ﻳﺎ ﺍﺑﻦ ﺍﻟﻮﺟﻮﺩ: ﺻﻨﻌﺘﮏ ﺑﺎﻳﺎﺩﻯ ﺍﻟﻘﻮﺓ ﻭ ﺧﻠﻘﺘﮏ ﺑﺎﻧﺎﻣﻞ ﺍﻟﻘﺪﺭﺓ ﻭﺍﻭﺩﻋﺖ ﻓﻴﮏ ﺟﻮﻫﺮ ﻧﻮﺭﻯ ﻓﺎﺳﺘﻐﻦ ﺑﻪ ﻋﻦ ﮐﻞ ﺷﻴﻰء ﻻﻥّ ﺻﻨﻌﻰ ﮐﺎﻣﻞ ﻭﺣﮑﻤﻰ ﻧﺎﻓﺬ ﻻﺗﺸﮏ ﻓﻴﻪ ﻭ ﻻﺗﮑﻦ ﻓﻴﻪ ﻣﺮﻳﺒﺎً. ﺑﺪﻳﻦ ﻣﻀﻤﻮﻥ ﮐﻪ ﻣﻦ ﺗﻮ ﺭﺍ ﺑﺎ ﺩﺳﺘﻬﺎﻯ ﻧﻴﺮﻭ ﭘﺮﺩﺍﺧﺘﻢ ﻭ ﺗﺮﺍ ﺑﺎ ﺍﻧﮕﺸﺘﺎﻥ ﻗﺪﺭﺕ ﺳﺎﺧﺘﻢ ﻭ ﺟﻮﻫﺮ ﻧﻮﺭ ﺧﻮﺩ ﺭﺍ ﺩﺭ ﻭﺟﻮﺩﺕ ﺑﻪ ﻭﺩﻳﻌﻪ ﮔﺬﺍﺭﺩﻡ. ﭘﺲ ﺑﻪ ﺁﻧﭽﻪ ﮐﻪ ﺩﺭ ﺗﻮﺳﺖ ﺍﺯ ﻫﻤﻪ ﭼﻴﺰ ﻣﺴﺘﻐﻨﻰ ﺷﻮ ﭼﺮﺍ ﮐﻪ ﺳﺎﺧﺘﻪٴ ﻣﻦ ﮐﺎﻣﻞ ﺍﺳﺖ ﻭ ﺣﮑﻢ ﻣﻦ ﻧﺎﻓﺬﺳﺖ ﭘﺲ ﺗﺮﺩﻳﺪﻯ ﺩﺭ ﺁﻥ ﻣﮑﻦ.  ﻳﺎ ﺍﺑﻦ ﺍﻻﻧﺴﺎﻥ: ﻻﺗﺤﺮﻡ ﻭﺟﻪ ﻋﺒﺪﻯ ﺍﺫﺍ ﺳﺄﻟﮏ ﻓﻰ ﺷﻴﻰﱠ ﻻﻥ ﻭﺟﻬﻪ ﻭﺟﻬﻰ ﻓﺎﺧﺠﻞ ﻣﻨّّﻰ. ﺑﺪﻳﻦ ﻣﻀﻤﻮﻥ ﮐﻪ ﻭﻗﺘﻰ ﺑﻨﺪﻩٴ ﻣﻦ ﺍﺯﺗﻮ ﭼﻴﺰﻯ ﺧﻮﺍﺳﺖ ﺍﻭ ﺭﺍ ﻣﺤﺮﻭﻡ ﻭ ﻁﺮﺩ ﻣﮑﻦ ﭼﺮﺍ ﮐﻪ ﺻﻮﺭﺕ ﺍﻭ ﺻﻮﺭﺕ ﻣﻦ ﺍﺳﺖ ﭘﺲ ﺍﺯ ﻣﻦ ﺷﺮﻣﻨﺪﻩ ﺷﻮ.  ﺍﻯ ﺩﻭﺳﺖ: ﺩﺭ ﺭﻭﺿﻪٴ ﻗﻠﺐ ﺟﺰ ﮔﻞ ﻋﺸﻖ ﻣﮑﺎﺭ ﻭ ﺍﺯ ﺫﻳﻞ ﺑﻠﺒﻞ ﺣﺐّ ﻭﺷﻮﻕ ﺩﺳﺖ ﻣﺪﺍﺭ. ﻣﺼﺎﺣﺒﺖ ﺍﺑﺮﺍﺭ ﺭﺍ ﻏﻨﻴﻤﺖ ﺩﺍﻥ ﻭ ﺍﺯ ﻣﺮﺍﻓﻘﺖ ﺍﺷﺮﺍﺭ ﺩﺳﺖ ﻭﺩﻝ ﻫﺮ ﺩﻭ ﺑﺮﺩﺍﺭ. ﺍﻯ ﭘﺴﺮ ﺭﻭﺡ: ﻗﻔﺲ ﺑﺸﮑﻦ ﻭ ﭼﻮﻥ ﻫﻤﺎﻯ ﻋﺸﻖ ﺑﻪ ﻫﻮﺍﻯ ﻗﺪﺱ ﭘﺮﻭﺍﺯ ﮐﻦ ﻭ ﺍﺯ ﻧَﻔﺲ ﺑﮕﺬﺭ ﻭ ﺑﺎ ﻧَﻔَﺲ ﺭﺣﻤﺎﻧﻰ ﺩﺭ ﻓﻀﺎﻯ ﻗﺪﺱ ﺭﺑّﺎﻧﻰ ﺑﻴﺎﺭﺍﻡ.  ﺍﻯ ﺑﺮﺍﺩﺭﺍﻥ: ﺑﺎ ﻳﮑﺪﻳﮕﺮ ﻣﺪﺍﺭﺍ ﻧﻤﺎﺋﻴﺪ ﻭ ﺍﺯﺩﻧﻴﺎ ﺩﻝ ﺑﺮﺩﺍﺭﻳﺪ ﺑﻪ ﻋﺰّﺕ ﺍﻓﺘﺨﺎﺭ ﻣﻨﻤﺎﺋﻴﺪ ﻭﺍﺯﺫﻟّﺖ ﻧﻨﮓ ﻣﺪﺍﺭﻳﺪ. ﻗﺴﻢ ﺑﺠﻤﺎﻟﻢ ﮐﻪ ﮐﻞ ﺭﺍ ﺍﺯﺗﺮﺍﺏ ﺧﻠﻖ ﻧﻤﻮﺩﻡ ﻭ ﺍﻟﺒﺘﻪ ﺑﻪ ﺧﺎﮎ ﺭﺍﺟﻊ ﻓﺮﻣﺎﻳﻢ. ﺍﻯ ﺍﺑﻨﺎء ﻏﺮﻭﺭ: ﺑﺴﻠﻄﻨﺖ ﻓﺎﻧﻴﻪ ﺍﻳّﺎﻣﻰ ﺍﺯ ﺟﺒﺮﻭﺕ ﺑﺎﻗﻰ ﻣﻦ ﮔﺬﺷﺘﻪ ﻭ ﺧﻮﺩ ﺭﺍ ﺑﺎﺳﺒﺎﺏ ﺯﺭﺩ ﻭ ﺳﺮﺡ ﻣﻰﺁﺭﺍﺋﻴﺪ ﻭﺑﺪﻳﻦ ﺳﺒﺐ ﺍﻓﺘﺨﺎﺭ ﻣﻰﻧﻤﺎﺋﻴﺪ. ﻗﺴﻢ ﺑﺠﻤﺎﻟﻢ ﮐﻪ ﺟﻤﻴﻊ ﺭﺍ ﺩﺭ ﺧﻴﻤﻪٴ ﻳﮑﺮﻧﮓ ﺗﺮﺍﺏ ﺩﺭﺁﻭﺭﻡ ﻭ ﻫﻤﻪٴ ﺍﻳﻦ ﺭﻧﮕﻬﺎﻯ ﻣﺨﺘﻠﻔﻪ ﺭﺍ ﺍﺯ ﻣﻴﺎﻥ ﺑﺮﺩﺍﺭﻡ ﻣﮕﺮ ﮐﺴﺎﻧﻰ ﮐﻪ ﺑﻪ ﺭﻧﮓ ﻣﻦ (٦). ﺩﺭﺁﻳﻨﺪ ﻭ ﺁﻥ ﺗﻘﺪﻳﺲ ﺍﺯ ﻫﻤﻪٴ ﺭﻧﮕﻬﺎﺳﺖ ﺩﺭﺍﻳﻦ ﺗﻔﺴﻴﺮ ﺭﻭﺣﺎﻧﻰ ﺍﺯﻫﺴﺘﻰ٬ ﺣﻀﺮﺕ ﺑﻬﺎءﷲ ﺑﻪ ﻣﺴﺌﻠﻪٴ "ﺳﻠﻮﮎ" ﺗﻮﺟّﻪ ﻧﻤﻮﺩﻩ ﻭ ﺩﻭ ﺍﺛﺮ ﺍﻳﺸﺎﻥ ﻳﻌﻨﻰ ﻫﻔﺖ ﻭﺍﺩﻯ ﻭ ﭼﻬﺎﺭﻭﺍﺩﻯ ﻣﺴﺘﻘﻴﻤﺎً ﺑﻪ ﺟﻮﺍﻧﺐ ﻣﺘﻔﺎﻭﺗﻰ ﺍﺯ ﺳﻠﻮﮎ ﺁﺩﻣﻰ ﺩﺭﺟﻬﺖ ﺧﺪﺍ ﺗﻮﺟﻪ ﻣﻴﮑﻨﺪ ﺑﺤﺚ ﺩﺭ ﻣﻮﺭﺩ ﺟﺰﺋﻴﺎﺕ ﺍﻳﻦ ﺁﺛﺎﺭ ﺧﺎﺭﺝ ﺍﺯ ﺍﻣﮑﺎﻥ ﺍﻳﻦ ﻣﻘﺎﻟﻪ ﺍﺳﺖ ﺍﻣّﺎ ﺑﻪ ﺫﮐﺮ ﺑﻴﺎﻧﻰ ﺍﺯ ﻫﻔﺖ ﻭﺍﺩﻯ ﺑﻌﻨﻮﺍﻥ ﻧﻤﻮﻧﻪ ﺍﮐﺘﻔﺎ ﻣﻰﮐﻨﻴﻢ.

6/12

12/16/2016

Pazhuheshnameh ﷲ ﻧﮕﺎﻫﻰ ﺑﻪ ﺁﺛﺎﺭ ﺣﺿﺭﺕ ﺑﻬﺎء

ﻣﻮﺟﻮﺩ ﻭ ﻅﺎﻫﺮ ﻣﺸﺎﻫﺪﻩ ﮐﻨﺪ ... ﻣﻼﺣﻈﻪ ﺩﺭ ﺷﻤﺲ ﻅﺎﻫﺮﻯ ﻓﺮﻣﺎﺋﻴﺪ ﮐﻪ ﺑﺮﻫﻤﻪٴ ﻣﻮﺟﻮﺩﺍﺕ ﻭ ﻣﻤﮑﻨﺎﺕ ﺑﻴﮏ ﺍﺷﺮﺍﻕ ﺗﺠﻠّﻰ ﻣﻰﻧﻤﺎﻳﺪ ﻭ ﺍﻓﺎﺿﻪٴ ﻧﻮﺭ ﺑﺎﻣﺮ ﺳﻠﻄﺎﻥ ﻅﻬﻮﺭ ﺑﺮ ﻫﻤﻪٴ ﺍﺷﻴﺎء ﻣﻰﻓﺮﻣﺎﻳﺪ ﻭ ﻟﻴﮑﻦ  ﺩﺭﻫﺮﻣﺤﻞ ﺑﺎﻗﺘﻀﺎﻯ ﺍﺳﺘﻌﺪﺍﺩ ﺁﻥ ﻣﺤﻞ ﻅﺎﻫﺮ ﻣﻰﺷﻮﺩ ﻭ ﺍﻋﻄﺎﻯ ﻓﻴﺾ ﻣﻰﮐﻨﺪ ﻣﺜﻞ ﺍﻳﻨﮑﻪ ﺩﺭ ﻣﺮﺁﺕ ﺑﻘﺮﺻﻬﺎ ﻭ ﻫﻴﺄﺗﻬﺎ ﺟﻠﻮﻩ ﻣﻴﻨﻤﺎﻳﺪ ﻭ ﺍﻳﻦ ﺑﻮﺍﺳﻄﻪٴ ﺧﻮﺩ ﻣﺮﺁﺕ ﺍﺳﺖ ﻭ ﺩﺭ ﺑﻠﻮﺭ ﻧﺎﺭ ﺍﺣﺪﺍﺙ ﻣﻴﮑﻨﺪ ... ﻭ ﻫﻤﻴﻦ ﺍﻟﻮﺍﻥ ﻫﻢ ﺑﺎﻗﺘﻀﺎﻯ ﻣﺤﻞ ﻅﺎﻫﺮ ﻣﻰﺷﻮﺩ ﻣﺜﻞ ﺍﻳﻨﮑﻪ ﺩﺭ ﺯﺟﺎﺟﻪٴ ﺯﺭﺩ ﺗﺠﻠّﻰ ﺯﺭﺩ ﻭ ﺩﺭ ﺳﻔﻴﺪ ﺗﺠﻠّﻰ ﺳﻔﻴﺪ ﻭ ﺩﺭ ﺳﺮﺥ ﺗﺠﻠّﻰ ﺳﺮﺥ ﻣﻼﺣﻈﻪ ﻣﻰﺷﻮﺩ. ﺍﻣّﺎ ﻧﻈﺮ ﺳﺎﻟﮏ ﻭﻗﺘﻰ ﺩﺭ ﻣﺤﻞّ ﻣﺤﺪﻭﺩﺍﺕ ﻳﻌﻨﻰ ﺩﺭ ﺯﺟﺎﺟﺎﺕ ﺳﻴﺮ ﻣﻰﻧﻤﺎﻳﺪ ﺍﻳﻦ ﺍﺳﺖ ﮐﻪ ﺯﺭﺩ ﻭ ﺳﺮﺥ ﻭ  (۷). ﺳﻔﻴﺪ ﻣﻰﺑﻴﻨﺪ. ﺑﺎﻳﻦ ﺟﻬﺖ ﺍﺳﺖ ﮐﻪ ﺟﺪﺍﻝ ﺑﻴﻦ ﻋﺒﺎﺩ ﺑﺮ ﭘﺎ ﺷﺪﻩ ﻭ ﻋﺎﻟﻢ ﺭﺍ ﻏﺒﺎﺭ ﺗﻴﺮﻩﺍﻯ ﺍﺯﺍﻧﻔﺲ ﻣﺤﺪﻭﺩﻩ ﻓﺮﺍ ﮔﺮﻓﺘﻪ ﺍﮔﺮ ﭼﻪ ﺁﺛﺎﺭ ﺍﻭﻟﻴّﻪٴ ﺣﻀﺮﺕ ﺑﻬﺎءﷲ ﺑﻴﺸﺘﺮ ﺍﺯ ﺯﺑﺎﻥ ﻭ ﻣﻘﻮﻻﺕ ﻋﺮﻓﺎﻧﻰ ﺑﺮﺍﻯ ﺑﻴﺎﻥ ﺣﻘﺎﺋﻖ ﻧﻮﻳﻦ ﺍﺳﺘﻔﺎﺩﻩ ﻣﻰﻧﻤﺎﻳﺪ ﺍﻣّﺎ ﺍﺯﻫﻤﺎﻥ ﺍﻭّﻝ ﻧﻈﺮﮔﺎﻩ ﺍﻳﺸﺎﻥ ﺑﺎ ﻧﻈﺮﮔﺎﻫﻬﺎﻯ ﻣﺘﺪﺍﻭﻝ ﻋﺮﻓﺎﻧﻰ ﮐﻴﻔﺎً ﺗﻔﺎﻭﺕ ﺩﺍﺭﺩ. ﺑﻪ ﻋﻨﻮﺍﻥ ﻣﺜﺎﻝ ﺗﺎﺭﻳﺦ ﻓﺮﻫﻨﮓ ﺍﺩﻳﺎﻥ ﮔﻮﻧﺎﮔﻮﻥ ﺁﮐﻨﺪﻩ ﺍﺯ ﺳﺘﻴﺰ ﻋﺮﻓﺎء٬ ﻓﻘﻬﺎء٬ ﻭ ﻓﻼﺳﻔﻪ ﻣﻰﺑﺎﺷﺪ ﮐﻪ ﻫﺮﻳﮏ ﺑﻪ ﺑﺮﺗﺮﻯ ﻳﮑﻰ ﺍﺯ ﻗﻮﺍﻯ ﺍﻧﺴﺎﻧﻰ ﺑﺮﺍﻯ ﺩﺳﺘﺮﺳﻰ ﺑﻪ ﺣﻘﻴﻘﺖ ﺩﻳﻨﻰ ﺗﺄﮐﻴﺪ ﻭ ﺍﺻﺮﺍﺭ ﻭﺭﺯﻳﺪﻩ ﺍﺳﺖ. ﻋﺎﺭﻑ ﺗﻤﺎﻣﻰ ﻫﺴﺘﻰ ﺭﺍ ﺑﻪ ﺷﻬﻮﺩ ﻭ ﻋﺸﻖ ﺗﺄﻭﻳﻞ ﻣﻰﻧﻤﺎﻳﺪ ﻭ ﺧﺮﺩ ﻭ ﺍﺭﺍﺩﻩ ﺭﺍ ﻧﺎﭼﻴﺰ ﻣﻰﭘﻨﺪﺍﺭﺩ. ﻓﻘﻴﻪ ﻭ ﻋﺎﻟﻢ ﻣﺬﻫﺒﻰ ﺍﺭﺍﺩﻩ ﺭﺍ ﺍﺳﺎﺱ ﮔﺮﻓﺘﻪ ﻭ ﺑﻪ ﺍﻁﺎﻋﺖ ﺑﻰﭼﻮﻥ ﻭﭼﺮﺍﻯ ﺍﺣﮑﺎﻡ ﺍﻟﻬﻰ ﻳﻌﻨﻰ ﺷﺮﻳﻌﺖ ﺗﻮﺟّﻪ ﻣﻰﮐﻨﺪ. ﺩﺭﺟﻬﺎﻥﺑﻴﻨﻰ ﺍﻳﻦ ﮔﻮﻧﻪ ﺍﻓﺮﺍﺩ٬ ﻫﺴﺘﻰ ﺭﻭﺣﺎﻧﻰ ﻭ ﺩﻳﺎﻧﺖ ﺩﺭ ﻧﻬﺎﻳﺖ ﺍﺭﺍﺩﻩٴ ﺑﻰﭼﻮﻥ ﻭﭼﺮﺍﻯ ﺣﻖّ ﺍﺳﺖ ﮐﻪ ﺑﺪﻭﻥ ﺗﻔﺴﻴﺮ ﻭﺗﺄﻭﻳﻞ ﺑﺎﻳﺪ ﻣﻮﺭﺩﻋﻤﻞ ﻗﺮﺍﺭﮔﻴﺮﺩ. ﺍﺯ ﻁﺮﻑ ﺩﻳﮕﺮ ﻓﻼﺳﻔﻪ٬ ﻫﺴﺘﻰ ﺭﺍ ﺍﺳﺎﺳﺎً ﺍﻣﺮﻯ ﻋﻘﻼﻧﻰ ﮔﺮﻓﺘﻪ ﻭ ﺧﺪﺍ ﻭﺩﻳﺎﻧﺖ ﻭ ﺧﻠﻖ ﺭﺍ ﺑﻪ ﻋﻨﻮﺍﻥ ﺧﺮﺩ ﻭ ﺗﻌﻘﻞ ﻭ ﺳﻠﺴﻠﻪٴ ﻋﻘﻮﻝ ﻭ ﻗﻮﺍﻧﻴﻦ ﻋﻘﻼﻧﻰ ﺗﻌﺒﻴﺮ ﻣﻰ ﻧﻤﺎﻳﻨﺪ. ﻧﺰﺍﻉ ﺍﻳﻦ ﮔﺮﻭﻩﻫﺎ ﺍﺯ ﻣﻬﻤﺘﺮﻳﻦ ﻋﻮﺍﻣﻞ ﻭ ﻋﻠﻞ ﺳﺘﻴﺰ ﻭ ﺩﺷﻤﻨﻰ ﺩﺭ ﻋﺎﻟﻢ ﺍﺩﻳﺎﻥ ﺑﻮﺩﻩ ﺍﺳﺖ ﺑﻄﻮﺭﻳﮑﻪ ﺁﻧﭽﻪ ﮐﻪ ﺑﺎﻳﺪﻋﻠّﺖ ﻣﺤﺒّﺖ ﻭ ﺍﺗّﺤﺎﺩ ﻭ ﺷﻨﺎﺳﺎﺋﻰ ﻣﻰﺷﺪ ﺑﻪ ﻭﺳﻴﻠﻪﺍﻯ ﺑﺮﺍﻯ ﺩﺷﻤﻨﻰ ﻭ ﻋﻨﺎﺩ ﻭ ﻏﺮﻭﺭ ﻣﺒﺪّﻝ ﻣﻰﮔﺮﺩﻳﺪ. ﺍﻣّﺎ ﺍﺯ ﻫﻤﺎﻥ ﺍﻭّﻝ ﺁﺛﺎﺭ ﻋﺮﻓﺎﻧﻰ ﺣﻀﺮﺕ ﺑﻬﺎءﷲ ﺑﻪ ﻫﻤﺎﻫﻨﮕﻰ ﻭ ﻭﺣﺪﺕ ﻗﻮﺍﻯ ﺍﻧﺴﺎﻧﻰ ﻭ ﺍﻋﺘﺒﺎﺭ ﺧﺮﺩ ﻭ ﻋﺸﻖ ﻭﺍﺭﺍﺩﻩ ﺑﺮﺍﻯ ﺷﻨﺎﺳﺎﺋﻰ ﺣﻘﻴﻘﺖ ﺗﺄﮐﻴﺪ ﻧﻤﻮﺩ. ﭼﻬﺎﺭﻭﺍﺩﻯ ﻳﮑﻰ ﺍﺯﺍﻳﻦ ﺁﺛﺎﺭ ﺍﺳﺖ ﮐﻪ ﺩﺭﻭﺍﻗﻊ ﺍﻭﺝ ﺷﻨﺎﺳﺎﺋﻰ ﺭﺍ ﻧﻪ ﺩﺭ ﻋﻘﻞ ﻭ ﻧﻪ ﺩﺭ ﺍﺭﺍﺩﻩ ﻭ ﻧﻪ ﺩﺭ ﻋﺸﻖ ﺑﻠﮑﻪ ﺩﺭ ﻭﺣﺪﺕ ﺍﻳﺸﺎﻥ ﻳﻌﻨﻰ ﺩﺭ ﻓﺆﺍﺩ ﺑﺎﺯ ﻣﻰﻳﺎﺑﺪ. ﭼﻨﺎﻧﮑﻪ ﻣﻰﺑﻴﻨﻴﻢ ﺣﺘّﻰٰ ﻧﻈﺮﻳﻪٴ ﻣﻌﺮﻓﺖ ﺣﻀﺮﺕ ﺑﻬﺎءﷲ ﻧﻴﺰ ﺑﻪ ﻭﺣﺪﺕ ﻭ ﺁﺷﺘﻰ ﻭ ﻭﺩﺍﺩ ﻣﻰﺍﻧﺠﺎﻣﺪ. ﻳﮑﻰ ﺍﺯ ﻧﺘﺎﻳﺞ ﺍﻳﻦ ﻫﻤﺎﻫﻨﮕﻰ٬ ﺁﺷﺘﻰ ﻣﻴﺎﻥ ﻋﺮﻓﺎﻥ ﻭﺩﻳﺎﻧﺖ ﻭ ﺗﻄﺎﺑﻖ ﺣﻘﻴﻘﺖ ﻋﺮﻓﺎﻧﻰ ﻭ ﺗﻌﺎﻟﻴﻢ ﻭ ﺍﺣﮑﺎﻡ ﻣﺬﻫﺒﻰ ﺍﺳﺖ. ﺍﻳﻦ ﺍﻣﺮ ﻳﻌﻨﻰ ﻫﻤﺎﻫﻨﮕﻰ ﺍﺣﮑﺎﻡ ﺩﻳﻨﻰ ﻭ ﺣﻘﻴﻘﺖ ﻋﺮﻓﺎﻧﻰ ﺯﻣﻴﻨﻪﺍﻯ ﺍﺳﺎﺳﻰ ﻭ ﻣﺎﺑﻌﺪﺍﻟﻄﺒﻴﻌﻰ ﺩﺭ ﻧﻈﺎﻡ ﻋﺮﻓﺎﻧﻰ ﺣﻀﺮﺕ ﺑﻬﺎءﷲ ﺩﺍﺭﺩ. ﺑﺪﻳﻦ ﺗﺮﺗﻴﺐ ﮐﻪ ﺑﺮﺍﺳﺎﺱ ﺁﺛﺎﺭ ﻋﺮﻓﺎﻧﻰ ﺍﻳﺸﺎﻥ٬  ﺁﻏﺎﺯ ﻭ ﺍﻧﺠﺎﻡ ﺳﻠﻮﮎ ﺭﻭﺣﺎﻧﻰ ﻧﻪ ﺫﺍﺕ ﺧﺪﺍ ﺑﻠﮑﻪ ﻣﻈﻬﺮ ﺧﺪﺍ ﻳﻌﻨﻰ ﭘﻴﺎﻣﺒﺮ ﺍﻭﺳﺖ. ﻗﻮﺱ ﻧﺰﻭﻝ ﻭ ﺻﻌﻮﺩ ﻧﻪ ﺍﺯﺫﺍﺕ ﺧﺪﺍ ﺑﻠﮑﻪ ﺍﺯﺣﻘﻴﻘﺖ ﭘﻴﺎﻣﺒﺮﺍﻥ ﺳﺮﭼﺸﻤﻪ ﻣﻰﮔﻴﺮﺩ ﭼﺮﺍ ﮐﻪ ﺫﺍﺕ ﺣﻖ ﺁﻧﭽﻨﺎﻥ ﻣﻘﺪّﺱ ﻭ ﻣﻨﺰﻩ ﺍﺯﻫﺮﮔﻮﻧﻪ ﺍﺳﻢ ﻭ ﺻﻔﺖ ﻭ ﻭﺻﻒ ﻭ ﻣﺤﺪﻭﺩﻳﺘﻰ ﺍﺳﺖ ﮐﻪ ﺑﻬﻴﭽﻮﭼﻪ ﺍﻣﮑﺎﻥ ﺍﺭﺗﺒﺎﻁ ﺑﺎ ﺷﻨﺎﺳﺎﺋﻰ ﺁﻥ ﺑﺮﺍﻯ ﺧﻠﻖ ﻣﻤﮑﻦ ﻧﻴﺴﺖ. ﺑﻨﺎﺑﺮﺍﻳﻦ ﺻﺮﻓﺎً ﺗﺠﻠّﻰ ﻭ ﻅﻬﻮﺭ ﺣﻖ٬ ﻭ ﻧﻪ ﺫﺍﺕ ﺍﻭ٬ ﺍﺳﺖ ﮐﻪ ﺑﺎ ﻫﺴﺘﻰ ﻣﺨﻠﻮﻕ ﻣﺮﺗﺒﻂ ﻣﻰﮔﺮﺩﺩ. ﺑﻪ ﻋﺒﺎﺭﺕ ﺩﻳﮕﺮ ﭘﻬﻨﻪٴ  ﺣﻘﻴﻘﺖ ﭘﻴﺎﻣﺒﺮﺍﻥ ﺍﺳﺖ ﮐﻪ ﻫﻢ ﻏﺎﻳﺖ ﺳﻠﻮﮎ ﻋﺮﻓﺎﻧﻰ ﺍﺳﺖ ﻭ ﻫﻢ ﺳﺮﺁﻏﺎﺯ ﺗﺸﺮﻳﻊ ﻭ ﺍﻟﻬﺎﻡ ﺭﺑﺎﻧﻰ. ﺑﺪﻳﻦ ﺟﻬﺖ ﻧﻤﻰ ﺗﻮﺍﻧﺪ ﺗﻀﺎﺩ ﻭ ﺗﻌﺎﺭﺿﻰ ﻣﻴﺎﻥ ﺗﺸﺮﻳﻊ ﻭ ﻋﺮﻓﺎﻥ ﺑﻮﺟﻮﺩ ﺁﻳﺪ. ﺍﺯﺍﻳﻦ ﻧﻈﺮﺳﺖ ﮐﻪ ﺩﺭﺳﺮﺗﺎﺳﺮ ﺁﺛﺎﺭ ﺣﻀﺮﺕ ﺑﻬﺎءﷲ ﻫﻢ ﻋﺮﻓﺎﻥ ﻭ ﻫﻢ ﺍﺣﮑﺎﻡ ﺗﻌﺒﻴﺮﻯ ﺑﺪﻳﻊ ﻣﻴﮕﺮﺩﺩ ﻭﺍﺣﮑﺎﻡ ﻭ ﺣﻘﺎﺋﻖ ﻋﺮﻓﺎﻧﻰ ﺑﻴﮑﺪﻳﮕﺮ ﭘﻴﻮﻧﺪ ﻣﻰﻳﺎﺑﻨﺪ. ﺍﺯﺍﻳﻦ ﺭﻭﺳﺖ ﮐﻪ ﻫﻢ ﺩﺭﺁﺛﺎﺭ ﺍﻭّﻟﻴﻪ ﻣﺜﻞ ﮐﻠﻤﺎﺕ ﻣﮑﻨﻮﻧﻪ ﻭ ﻫﻢ ﺩﺭ ﺁﺛﺎﺭ ﻣﺘﺄﺧﺮ ﻣﺎﻧﻨﺪ ﮐﺘﺎﺏ ﺍﻗﺪﺱ٬ ﺣﻀﺮﺕ ﺑﻬﺎءﷲ ﺗﺄﮐﻴﺪ ﻣﻴﻔﺮﻣﺎﻳﻨﺪ ﮐﻪ ﺍﺣﮑﺎﻡ ﺭﺍ ﺻﺮﻓﺎً ﻭ ﺻﺮﻓﺎً ﺑﺎﻳﺪﺑﺨﺎﻁﺮ ﻣﺤﺒّﺖ ﻭ ﻋﺸﻖ ﺑﻪ ﺟﻤﺎﻝ ﻣﺤﺒﻮﺏ ﻣﻮﺭﺩ ﻋﻤﻞ ﻗﺮﺍﺭ ﺩﺍﺩ. ﻋﺮﻓﺎﻥ ﻭ ﻋﺸﻖ ﻭ ﻋﻤﻞ ﻣﺜﻠﺜﻰ ﻣﻘﺪّﺱ ﺭﺍ ﺗﺸﮑﻴﻞ ﺩﺍﺩﻩ ﻭﺍﻳﻦ ﺳﻪ ﺟﻬﺖ ﺍﺯ ﻳﮑﺪﻳﮕﺮ ﺟﺪﺍﺋﻰﭘﺬﻳﺮ ﻧﻤﻰﺑﺎﺷﻨﺪ. _ ﻫﺸﻴﺎﺭﻯ ﺗﺎﺭﻳﺨﻰ: ۲  ﭼﻨﺎﻧﮑﻪ ﺩﻳﺪﻳﻢ ﺍﻭّﻟﻴﻦ ﺁﺛﺎﺭ ﺣﻀﺮﺕ ﺑﻬﺎءﷲ ﺑﺮ ﺍﺻﻞ ﺗﻌﺒﻴﺮ ﺭﻭﺣﺎﻧﻰ ﻫﺴﺘﻰ ﻭ ﻟﺰﻭﻡ ﺍﺭﺗﺒﺎﻁ ﺑﺎ ﻓﻴﺾ ﺍﻟﻬﻰ ﻭ ﺍﺭﺯﺷﻬﺎﻯ ﺭﻭﺣﺎﻧﻰ ﺗﺄﮐﻴﺪ ﻧﻤﻮﺩ. ﺑﺪﻳﻦ ﺗﺮﺗﻴﺐ ﻫﺮﮔﻮﻧﻪ ﻣﺪﻧﻴّﺘﻰ ﺑﺎﻳﺪ ﺑﻪ ﺗﻤﺎﻣﻴّﺖ ﻗﻮﺍﻯ ﺍﻧﺴﺎﻧﻰ ﺍﺯﺟﻤﻠﻪ ﺟﻨﺒﻪٴ ﺭﻭﺣﺎﻧﻰ ﺁﺩﻣﻰ ﺗﻮﺟّﻪ ﮐﻨﺪ ﻭ ﺩﺭ ﺳﺎﻳﻪٴ ﺍﺭﺯﺷﻬﺎﻯ ﺭﻭﺣﺎﻧﻰ ﻭ ﺍﻓﺎﺿﺎﺕ ﺭﺑّﺎﻧﻰ ﺑﻪ ﺭﺷﺪ ﻭ ﺗﮑﺎﻣﻞ ﻓﺮﺩ ﻭﺟﺎﻣﻌﻪ ﻣﻨﺠﺮ ﺷﻮﺩ. ﺍﻣّﺎ ﺁﺛﺎﺭ ﺣﻀﺮﺕ ﺑﻬﺎءﷲ ﺑﻪ ﺫﮐﺮ ﺍﻳﻦ ﺍﺻﻞ ﺍﮐﺘﻔﺎء ﻧﻤﻰﮐﻨﺪ ﺑﻠﮑﻪ ﺑﺎﻟﻌﮑﺲ ﺍﻳﻦ ﺍﺻﻞ ﺭﺍ ﺑﺎ ﺍﺻﻞ ﺩﻳﮕﺮﻯ  ﭘﻴﻮﻧﺪ ﻣﻰﺩﻫﺪ ﻭ ﺁﻥ ﺍﺻﻞ ﺩﻭّﻡ ﺍﺻﻞ ﻫﺸﻴﺎﺭﻯ ﺗﺎﺭﻳﺨﻰ ﺍﺳﺖ. ﺗﺮﮐﻴﺐ ﺍﻳﻦ ﺩﻭﺍﺻﻞ ﺟﻬﺎﻥﺑﻴﻨﻰ ﺣﻀﺮﺕ ﺑﻬﺎءﷲ ﺭﺍ ﺍﺯ ﺩﻳﮕﺮ ﺟﻬﺎﻥﺑﻴﻨﻰﻫﺎﻯ ﻣﺬﻫﺒﻰ ﻭ ﻓﺮﻫﻨﮕﻰ ﻣﺘﻤﺎﻳﺰ ﻣﻰﺳﺎﺯﺩ. ﺩﺭ ﻭﺍﻗﻊ ﻫﻤﻪٴ ﺍﻫﻞ ﺍﺩﻳﺎﻥ ﺑﻪ ﺿﺮﻭﺭﺕ ﻫﺪﺍﻳﺖ ﺍﻟﻬﻰ ﻭ ﺍﺳﺘﻔﺎﺿﻪ ﺍﺯ ﻓﻴﺾ ﻭﺣﻰ ﻭ ﺍﻟﻬﺎﻡ ﺗﺄﮐﻴﺪ ﻣﻰﻧﻤﺎﻳﻨﺪ ﺍﻣّﺎ ﺍﻳﻦ ﺍﻋﺘﻘﺎﺩ ﺩﺭ ﭼﻬﺎﺭﭼﻮﺏ ﺍﻧﺪﻳﺸﻪﺍﻯ ﺍﻳﺴﺘﺎ ﻭ ﻧﻈﺮﮔﺎﻫﻰ ﺿﺪ ﺗﺎﺭﻳﺨﻰ ﻣﺤﺪﻭﺩﺳﺖ. ﺁﺛﺎﺭ ﺩﻭﺭﻩٴ ﺩﻭّﻡ ﺣﻀﺮﺕ ﺑﻬﺎءﷲ ﺑﺎ ﺻﺮﺍﺣﺖ ﻭ ﻗﺎﻁﻌﻴّﺖ ﺷﮕﻔﺖﺍﻧﮕﻴﺰﻯ ﻫﺸﻴﺎﺭﻯ ﺗﺎﺭﻳﺨﻰ ﺭﺍ ﻣﺆﮐّﺪ ﺳﺎﺧﺘﻪ ﻭ ﺁﻧﺮﺍ ﺩﺍﺧﻞ ﺻﺤﻨﻪٴ ﺍﻟﻬﻴﺎﺕ ﻭ ﻓﻠﺴﻔﻪٴ ﺭﻭﺣﺎﻧﻰ ﻣﻰﻧﻤﺎﻳﺪ. ﻣﺸﮑﻞ ﺍﻧﺪﻳﺸﻪٴ ﺿﺪ ﺗﺎﺭﻳﺨﻰ ﺩﺭ ﺍﻳﻦ ﺍﺳﺖ ﮐﻪ ﻭﺣﻰ ﻭ ﮐﻼﻡ ﺍﻟﻬﻰ ﺭﺍ ﻏﻴﺮ ﻗﺎﺑﻞ ﺗﻐﻴﻴﺮ ﻭ ﺛﺎﺑﺖ ﻣﻰﺑﻴﻨﺪ ﺩﺭ ﺣﺎﻟﻴﮑﻪ ﺻﺤﻨﻪٴ ﺟﺎﻣﻌﻪ ﻭ ﻁﺒﻴﻌﺖ ﻭ ﺗﺎﺭﻳﺦ ﺭﺍ ﻣﺤﮑﻮﻡ ﺑﻪ ﺗﻐﻴﻴﺮ ﻭ ﺗﺤﻮﻝ ﻣﻰﻳﺎﺑﺪ. ﻧﺘﻴﺠﻪٴ ﺍﻳﻦ ﺍﻣﺮ ﺍﻳﻦ ﺍﺳﺖ ﮐﻪ ﭼﻨﻴﻦ ﺭﻭﻳﮑﺮﺩﻯ ﺑﻪ ﻣﺬﻫﺐ ﻧﺎﭼﺎﺭ ﺩﺳﺘﺨﻮﺵ ﺗﻨﺎﻗﻀﻰ ﻏﻴﺮ ﻗﺎﺑﻞ ﺣﻞ ﻣﻰﮔﺮﺩﺩ. ﺑﻌﻨﻮﺍﻥ ﻣﺜﺎﻝ ﺍﻋﺘﻘﺎﺩ ﺑﻪ ﺍﻳﻨﮑﻪ ﻭﺣﻰ ﻭ ﺍﻟﻬﺎﻡ ﺍﻟﻬﻰ ﺑﻪ ﭘﺎﻳﺎﻥ ﺭﺳﻴﺪﻩ ﻭ ﮐﻼﻡ ﺍﻟﻬﻰ ﺗﺠﺪﻳﺪ ﻭ ﺍﺑﺪﺍﻉ ﻧﮕﺸﺘﻪ ﻭﺩﻳﺎﻧﺖ ﻓﺮﺩ ﺁﺧﺮﻳﻦ ﺩﻳﺎﻧﺖ ﻣﻰﺑﺎﺷﺪ ﺑﻪ ﺭﮐﻮﺩ ﻓﺮﻫﻨﮕﻰ ﻭ ﺍﻧﺤﻄﺎﻁ ﺭﻭﺣﺎﻧﻰ ﻣﻨﺠﺮ ﻣﻰﮔﺮﺩﺩ ﭼﺮﺍ ﮐﻪ ﺗﻌﺎﻟﻴﻢ ﻭﺍﺣﮑﺎﻡ ﻭﺍﺻﻮﻟﯽ ﮐﻪ ﺻﺮﻓﺎً ﺩﺭ ﺍﺭﺗﺒﺎﻁ ﺑﺎ ﺷﺮﺍﻳﻂ ﺍﺟﺘﻤﺎﻋﻰ ﻭ ﺗﺎﺭﻳﺨﻰ ﻭ ﻓﺮﻫﻨﮕﻰ ﺑﺨﺼﻮﺻﻰ ﻧﺎﺯﻝ ﺷﺪﻩ ﻭ ﺑﺮﺍﻯ ﺁﻥ ﺷﺮﺍﻳﻂ ﻭ ﺩﻭﺭﺍﻥ ﺳﻮﺩﻣﻨﺪ ﻭ ﻣﺘﺮﻗﻰ ﺑﻮﺩﻩ ﺍﺳﺖ ﺑﺼﻮﺭﺗﻰ ﺿﺪ ﺗﺎﺭﻳﺨﻰ ﺗﺼﻤﻴﻢ ﮐﻠّﻰ ﻳﺎﻓﺘﻪ ﻭ ﺑﻨﺤﻮﻯ ﺍﻧﻌﻄﺎﻑ ﻧﺎﭘﺬﻳﺮ ﻭ ﺧﺸﮏ

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12/16/2016

Pazhuheshnameh ﷲ ﻧﮕﺎﻫﻰ ﺑﻪ ﺁﺛﺎﺭ ﺣﺿﺭﺕ ﺑﻬﺎء

http://www.pazhuheshnameh.org/index2.php?option=com_content&task=view&id=203&pop=1&page=0&Itemid=139 ﻳﮑﻰ ﺍﺯﻣﻬﻤﺘﺮﻳﻦ ﺁﺛﺎﺭ ﺩﻭﺭﻩٴ ﺩﻭّﻡ٬ ﮐﺘﺎﺏ ﺍﻳﻘﺎﻥ ﺍﺳﺖ ﮐﻪ ﺩﺭ ﺍﻭﺍﺧﺮ ﺩﻭﺭﺍﻥ ﺍﻗﺎﻣﺖ ﺣﻀﺮﺕ ﺑﻬﺎءﷲ ﺩﺭ ﺑﻐﺪﺍﺩ ﻧﺎﺯﻝ ﮔﺮﺩﻳﺪ ﺍﻳﻦ ﮐﺘﺎﺏ ﺩﺭﺣﻘﻴﻘﺖ ﺍﻧﻘﻼﺑﻰ ﺑﻨﻴﺎﺩﻯ ﺩﺭ ﺻﺤﻨﻪٴ ﻓﺮﻫﻨﮓ ﻭﺍﻟﻬﻴﺎﺕ ﺑﻮﺟﻮﺩ ﺁﻭﺭﺩ ﻭ ﺍﻓﻖ ﻧﻮﻳﻨﻰ ﺩﺭ ﻣﻘﺎﺑﻞ ﺩﻳﺪﮔﺎﻥ ﺁﺩﻣﻴﺎﻥ ﺑﺮﮔﺸﻮﺩ. ﺍﻋﺘﻘﺎﺩ ﺑﻪ ﺍﺻﻞ ﺗﺎﺭﻳﺦ ﺩﺭ ﻓﻠﺴﻔﻪﻫﺎﺋﻰ ﻧﻈﻴﺮ ﻓﻠﺴﻔﻪٴ ﻫﮕﻞ٬ ﻣﺎﺭﮐﺲ٬ ﺩﻳﻠﺘﺎﻯ ﻭﻏﻴﺮﻩ ﻣﻮﺟﻮﺩﺳﺖ ﻭ ﺩﺭ ﻭﺍﻗﻊ ﺁﻧﭽﻪ ﮐﻪ ﺍﻳﻦ ﮔﻮﻧﻪ ﻓﻠﺴﻔﻪﻫﺎ ﺭﺍ ﺍﺯﺍﻓﮑﺎﺭ ﮔﺬﺷﺘﻪ ﻣﻤﺘﺎﺯ ﻣﻰﺳﺎﺯﺩ ﻫﻤﻴﻦ ﺩﻳﺪﮔﺎﻩ ﭘﻮﻳﺎ ﻭ ﺗﺎﺭﻳﺨﻰ ﺁﻧﻬﺎﺳﺖ ﺍﻣّﺎ ﮐﺘﺎﺏ ﺍﻳﻘﺎﻥ ﺍﺯ ﻫﻤﻪٴ ﻓﻠﺴﻔﻪ ﻫﺎﻯ ﻏﺮﺏ ﻭ ﺷﺮﻕ ﻓﺮﺍﺗﺮ ﺭﻓﺘﻪ ﻭ ﻫﺸﻴﺎﺭﻯ ﺗﺎﺭﻳﺦ ﻧﻮﻳﻨﻰ ﺭﺍ ﺍﺭﺍﺋﻪ ﻣﻰﮐﻨﺪ. ﻣﮑﺎﺗﺐ ﻣﺰﺑﻮﺭ ﺍﮔﺮﭼﻪ ﺍﺻﻞ ﺗﺤﻮﻝ ﻭ ﺗﮑﺎﻣﻞ ﺭﺍ ﺩﺭ ﺻﺤﻨﻪٴ ﺗﺎﺭﻳﺦ ﻣﻮﺭﺩ ﻗﺒﻮﻝ ﻗﺮﺍﺭ ﺩﺍﺩﻧﺪ ﺍﻣّﺎ ﺑﻨﺤﻮﻯ ﺍﺯ ﭘﺎﻳﺎﻥ ﺗﺎﺭﻳﺦ ﺳﺨﻦ ﮔﻔﺘﻨﺪ ﻭ ﺩﺭ ﺍﻧﺪﻳﺸﻪﺍﻯ ﺧﻴﺎﻟﯽ ﻣﺪﻳﻨﻪٴ ﻓﺎﺿﻠﻪﺍﻯ ﺭﺍﺗﺼﻮﻳﺮ ﻧﻤﻮﺩﻧﺪ ﮐﻪ ﺑﺰﻭﺩﻯ ﺗﺄﺳﻴﺲ ﺷﺪﻩ ﻭ ﭘﺎﻳﺎﻥ ﺳﻴﺮ ﺩﻳﺎﻟﮑﺘﻴﮏ ﺗﺎﺭﻳﺦ ﺭﺍ ﺗﺮﺳﻴﻢ ﻣﻰﻧﻤﺎﻳﺪ. ﺍﺯ ﺁﻥ ﮔﺬﺷﺘﻪ ﻫﻴﭽﻴﮏ ﺍﺯﺍﻳﻦ ﻣﮑﺎﺗﺐ ﻧﺘﻮﺍﻧﺴﺖ ﺍﻧﺪﻳﺸﻪٴ ﺗﺎﺭﻳﺨﻰ ﺭﺍ ﻭﺍﺭﺩ ﺻﺤﻨﻪٴ ﺍﻟﻬﻴﺎﺕ ﻧﻤﺎﻳﺪ ﻭ ﺻﺮﻓﺎً ﺍﺯ ﺗﺤﻮّﻝ ﺗﺎﺭﻳﺦ ﻭ ﻓﺮﻫﻨﮓ ﺍﻧﺴﺎﻥ ﺳﺨﻦ ﮔﻔﺘﻪ ﺑﺪﻭﻥ ﺁﻧﮑﻪ ﺗﺠﺪﻳﺪ ﻭ ﺗﺤﻮّﻝ ﺭﺍ ﺩﺭ ﺯﻣﻴﻨﻪٴ ﮐﻼﻡ ﺍﻟﻬﻰ ﺻﺎﺩﻕ ﺑﻴﺎﺑﺪ. ﺍﻳﻦ ﺍﻓﺮﺍﺩ ﻳﺎ ﺩﻳﺎﻧﺖ ﺭﺍ ﺑﮑﻠﯽ ﺧﺮﺍﻓﻪ ﻭﺗﻮﻫّﻢ ﻭ ﺩﺭﻭﻍ ﺩﺍﻧﺴﺘﻪ ﻭ ﻳﺎ ﺁﻧﮑﻪ ﺁﻧﺮﺍ ﺍﻣﺮﻯ ﺍﺯﻟﯽ ﻭ ﺍﺑﺪﻯ ﻳﺎﻓﺘﻨﺪ. ﺍﺯ ﻫﻤﻴﻦ ﺟﺎ ﺑﻮﺩ ﮐﻪ ﻫﻤﻪٴ ﻁﺮﻓﺪﺍﺭﺍﻥ ﺩﺳﺘﻪٴ ﺩﻭّﻡ ﻣﺠﺒﻮﺭ ﺷﺪﻧﺪ ﮐﻪ ﺍﺩﻳﺎﻥ ﻭﺍﻋﺘﻘﺎﺩﺍﺕ ﺩﻳﻨﻰ ﺭﺍ ﺭﺩ ﻧﻤﻮﺩﻩ ﻭ ﺁﻧﺮﺍ ﺻﺮﻓﺎً ﺍﻧﻌﮑﺎﺳﻰ ﮐﻮﺩﮐﺎﻧﻪ ﺍﺯﺍﺻﻮﻝ ﻋﻘﻼﻧﻰ ﻭ ﺍﺧﻼﻗﻰ ﺗﻠﻘﻰ ﻧﻤﺎﻳﻨﺪ. ﺣﻀﺮﺕ ﺑﻬﺎءﷲ ﻧﻪ ﺗﻨﻬﺎ ﻫﺴﺘﻰ ﺭﺍﺩﺍﺋﻤﺎً ﺩﺭ ﺗﻐﻴﻴﺮ ﻭ ﺗﺤﻮﻝ ﻭ ﺗﮑﺎﻣﻞ ﻣﻰﻳﺎﺑﺪ٬ ﻧﻪ ﺗﻨﻬﺎ ﺗﻌﺒﻴﺮ ﻭ ﺗﻔﺴﻴﺮ ﺁﺩﻣﻰ ﺍﺯ ﻭﺣﻰ ﺍﻟﻬﻰ ﻭ ﮐﻼﻡ ﺭﺑّﺎﻧﻰ ﺭﺍ ﻗﺎﺑﻞ ﺗﻐﻴﻴﺮ ﻭ ﺗﮑﺎﻣﻞ ﻣﻰﻳﺎﺑﺪ٬ ﺑﻠﮑﻪ ﺑﻌﻼﻭﻩ ﺧﻮﺩ ﻭﺣﻰ ﺍﻟﻬﻰ ﻭ ﻫﺪﺍﻳﺖ ﺭﺑﺎﻧﻰ ﺭﺍ ﻧﻴﺰ ﻣﺸﻤﻮﻝ ﺍﺻﻞ ﺗﺤﻮﻝ ﻭ ﺗﮑﺎﻣﻞ ﻣﻰﺷﻤﺎﺭﺩ. ﺑﺪﻳﻦ ﺗﺮﺗﻴﺐ ﺍﺻﻞ ﺍﻭّﻝ ﺁﺛﺎﺭ ﺣﻀﺮﺕ ﺑﻬﺎءﷲ ﻳﻌﻨﻰ ﺗﺄﮐﻴﺪ ﺑﺮ ﺍﺭﺯﺷﻬﺎﻯ ﺭﻭﺣﺎﻧﻰ ﺑﺠﺎﻯ ﺁﻧﮑﻪ ﺑﻪ ﺗﻮﺟﻴﻪ ﺳﻨﺖﮔﺮﺍﺋﻰ ﻣﺬﻫﺒﻰ ﻳﺎ ﺳﻨﺖ ﭘﺮﺳﺘﻰ ﺩﻳﻨﻰ ﻣﻨﺠﺮ ﺷﻮﺩ ﺑﺎﻟﻌﮑﺲ ﺑﺮ ﺿﺮﻭﺭﺕ ﺗﮑﺎﻣﻞ ﺭﻭﺣﺎﻧﻰ ﻭ ﭘﻴﺸﺮﻓﺖ ﻣﺴﺘﻤﺮ ﻓﺮﻫﻨﮕﻰ ﻭ ﺍﺟﺘﻤﺎﻋﻰ ﻣﻰﺍﻧﺠﺎﻣﺪ. ﻫﺸﻴﺎﺭﻯ ﺗﺎﺭﻳﺦ ﺁﺛﺎﺭ ﺣﻀﺮﺕ ﺑﻬﺎءﷲ ﺑﻴﺶ ﺍﺯﻫﺮﭼﻴﺰ ﺩﺭ ﻣﻔﻬﻮﻡ "ﺗﺠﺪﻳﺪ ﻭ ﺗﮑﺎﻣﻞ ﺍﺩﻳﺎﻥ٬ ﺍﺳﺘﻤﺮﺍﺭ ﻅﻬﻮﺭﺍﺕ ﺍﻟﻬﻰ ﻭ ﺗﺪﺭﻳﺞ ﻭ ﺗﮑﺎﻣﻞ ﻅﻬﻮﺭ ﺍﻟﻬﻰ" ﻣﻨﻌﮑﺲ ﻣﻴﮕﺮﺩﺩ. ﺷﺎﻟﻮﺩﻩٴ ﺍﻳﻦ ﺍﺻﻞ ﺗﺄﮐﻴﺪ ﺣﻀﺮﺕ ﺑﻬﺎءﷲ ﺑﺮ ﻭﺣﺪﺕ ﺍﺩﻳﺎﻥ ﻭ ﭘﻴﺎﻣﺒﺮﺍﻥ ﺍﺳﺖ. ﺍﺯﻧﻈﺮ ﺣﻀﺮﺕ ﺑﻬﺎءﷲ ﺩﺭ ﻭﺍﻗﻊ ﺍﻁﻼﻕ ﺍﺻﻞ ﺗﺎﺭﻳﺦ ﺑﻪ ﮐﻼﻡ ﺍﻟﻬﻰ ﻭ ﻓﻴﺾ ﺭﺑّﺎﻧﻰ ﺁﻳﻨﻪ ﺍﻯ ﺍﺯﺍﻳﻦ ﺣﻘﻴﻘﺖ ﺍﺳﺖ ﮐﻪ ﻫﻤﻪٴ ﭘﻴﺎﻣﺒﺮﺍﻥ ﻭ ﻫﻤﻪٴ ﺍﺩﻳﺎﻥ ﻋﻠﻴﺮﻏﻢ ﺗﻨﻮﻉ ﺷﮑﻞ ﻅﻬﻮﺭﺷﺎﻥ ﺣﻘﻴﻘﺘﻰ ﻭﺍﺣﺪ ﻭ ﻳﮑﺴﺎﻥ ﻣﻰﺑﺎﺷﻨﺪ. ﺑﺪﻳﻦ ﺟﻬﺖ ﺍﺳﺖ ﮐﻪ ﮐﺘﺎﺏ ﺍﻳﻘﺎﻥ ﺍﺯ ﭘﻴﺎﻣﺒﺮﺍﻥ ﺑﻌﻨﻮﺍﻥ "ﻣﻈﺎﻫﺮ ﺍﻟﻬﻰ" ﺳﺨﻦ ﻣﻰﮔﻮﻳﺪ ﻭﻟﯽ ﺣﻘﻴﻘﺖ ﺍﻳﻦ ﻣﻈﺎﻫﺮ ﺭﺍ ﮐﻪ ﺗﺠﻠّﻰ ﺍﻟﻬﻰ ﻭ ﻭﺣﻰ ﺭﺑّﺎﻧﻰ ﺍﺳﺖ ﻳﮑﻰ ﻣﻰﺷﻤﺎﺭﺩ. ﺑﺪﻳﻦ ﺗﺮﺗﻴﺐ ﭘﻴﺎﻣﺒﺮ ﺩﺍﺭﺍﻯ ﺟﻨﺒﻪ ﺍﻯ ﺍﻧﺴﺎﻧﻰ ﺑﺮ ﺩﻧﻴﺎﺋﻰ ﮐﻪ ﺯﻧﺪﻩ ﻭ ﻣﺘﻐﻴﺮ ﻭ ﭘﻮﻳﺎﺳﺖ ﺗﺤﻤﻴﻞ ﻣﻰ ﮔﺮﺩﺩ. ﺍﻣّﺎ ﺍﻳﻦ ﺗﻨﺎﻗﺾ ﻣﻴﺎﻥ ﻣﻘﺘﻀﻴﺎﺕ ﺯﻣﺎﻥ ﻭ ﺍﺣﮑﺎﻡ ﮔﺬﺷﺘﻪ ﺭﺍ ﻣﻰﺗﻮﺍﻥ ﺑﻪ ﺩﻭ ﺻﻮﺭﺕ ﭘﻨﻬﺎﻥ ﮐﺮﺩ. ﺑﻨﻴﺎﺩﮔﺮﺍﺋﻰ ﻣﺬﻫﺒﻰ ﺭﺍﻩ ﺣﻞ ﺍﻭّﻝ ﺍﺳﺖ ﮐﻪ ﺑﺎ ﻗﻬﺮ ﻭ ﺯﻭﺭ ﺍﺣﮑﺎﻡ ﻭ ﺗﻌﺎﻟﻴﻢ ﻭ ﺷﻌﺎﺋﺮ ﻋﺘﻴﻘﻪ ﺭﺍ ﮐﻪ ﺩﻳﮕﺮ ﺍﺭﺗﺒﺎﻁ ﻭ ﻣﻨﺎﺳﺒﺘﻰ ﺑﺎ ﻟﻮﺍﺯﻡ ﺗﮑﺎﻣﻞ ﻓﺮﺩﻯ ﻭ ﺍﺟﺘﻤﺎﻋﻰ ﻧﺪﺍﺭﺩ ﺑﺮ ﺟﺎﻣﻌﻪ ﺗﺤﻤﻴﻞ ﻣﻰﻧﻤﺎﻳﺪ ﻭ ﺩﺭ ﻭﺍﻗﻊ ﻣﻰﮐﻮﺷﺪ ﮐﻪ ﺗﮑﺎﻣﻞ ﺟﺎﻣﻌﻪ ﻭ ﺗﺎﺭﻳﺦ ﺭﺍ ﻣﺘﻮﻗّﻒ ﺳﺎﺧﺘﻪ ﻳﺎ ﺁﻧﺮﺍ ﻣﻮﺭﺩ ﺍﻧﮑﺎﺭ ﻗﺮﺍﺭ ﺩﻫﺪ. ﺍﻣّﺎ ﺯﻧﺪﮔﻰ ﺯﻧﺪﻩ ﺍﺳﺖ ﻭ ﺗﻐﻴﻴﺮ ﻭ ﺩﮔﺮﮔﻮﻧﻰ ﻭﻳﮋﮔﻰ ﺫﺍﺗﻰ ﺁﻥ. ﻗﻮﺍﻯ ﺭﻭﺣﺎﻧﻰ ﻭﺟﻮﺩ ﺩﺭ ﺷﺮﺍﻳﻂ ﮔﻮﻧﺎﮔﻮﻥ ﺑﻪ ﺍﺷﮑﺎﻝ ﺧﻼّﻕ ﻧﻮﻳﻨﻰ ﺧﻮﺩ ﺭﺍ ﻣﺘﻈﺎﻫﺮ ﻣﻰﺳﺎﺯﺩ ﻭ ﺑﺸﮑﻞ ﻓﺮﻫﻨﮓ ﻭ ﻗﺎﻧﻮﻥ ﻧﻴﺰ ﺑﺎﻳﺪ ﺑﺎﺯﺍء ﺍﻳﻦ ﺗﺤﻮﻝ ﻭ ﺩﮔﺮﮔﻮﻧﻰ ﺗﻐﻴﻴﺮ ﭘﺬﻳﺮﺩ ﺗﺎ ﺁﻧﮑﻪ ﺩﻳﺎﻧﺖ ﻧﻪ ﻣﺎﻧﻊ ﺗﮑﺎﻣﻞ ﻭ ﭘﻴﺸﺮﻓﺖ ﺑﻠﮑﻪ ﺳﺒﺐ ﺭﺷﺪ ﻭ ﺍﺭﺗﻘﺎء ﺟﺎﻣﻌﻪ ﮔﺮﺩﺩ. ﺑﻪ ﻫﻤﻴﻦ ﺟﻬﺖ ﺍﺳﺖ ﮐﻪ ﺑﻨﻴﺎﺩﮔﺮﺍﺋﻰ ﻣﺬﻫﺒﻰ ﻣﻌﻤﻮﻻً ﺍﺯ ﺁﺯﺍﺩﻯ ﻋﻘﻴﺪﻩ٬ ﺁﺯﺍﺩﻯ ﺳﺨﻦ٬     ﺁﺯﺍﺩﻯ ﺣﻘﻮﻕ٬ ﻭ ﺩﻣﮑﺮﺍﺳﻰ ﺭﺍﺳﺘﻴﻦ ﻫﺮﺍﺳﻰ ﺩﺍﺭﺩ ﭼﺮﺍﮐﻪ ﺍﺯ ﺗﻀﺎﺩ ﺁﺭﻣﺎﻧﻬﺎﻯ ﮐﻬﻨﻪ ﺑﺎ ﻭﺍﻗﻌﻴﺎﺕ ﺧﻼّﻕ ﺗﺎﺭﻳﺨﻰ ﺑﺨﻮﺑﻰ ﺁﮔﺎﻩ ﺍﺳﺖ. ﺭﺍﻩ ﺣﻞ ﺩﻭّﻡ ﺍﻳﻦ ﺍﺳﺖ ﮐﻪ ﺗﺤﻮّﻝ ﺍﺟﺘﻤﺎﻋﻰ ﻭ ﺗﺎﺭﻳﺨﻰ ﻣﻮﺭﺩ ﻗﺒﻮﻝ ﻗﺮﺍﺭ ﮔﺮﻓﺘﻪ ﻭ ﺩﺭ ﻧﺘﻴﺠﻪ ﮐﻼﻡ ﺍﻟﻬﻰ ﻭ ﻭﺣﻰ ﺭﺑّﺎﻧﻰ ﺑﻪ ﻧﻘﺸﻰ ﺣﺎﺷﻴﻪﺍﻯ ﻧﺎﭼﻴﺰ٬ ﻓﺮﻋﻰ ﻭ ﻳﺎ ﺍﺻﻼً ﻣﻨﻔﻰ ﺍﻧﺤﻄﺎﻁ ﻳﺎﺑﺪ ﺩﺷﻤﻨﻰ ﺑﺎ ﺍﺩﻳﺎﻥ ﮐﻪ ﺗﺎ ﺣﺪّﻯ ﺯﺍﺋﻴﺪﻩٴ ﻫﻤﻴﻦ ﺗﻨﺎﻗﺾ ﺑﻨﻴﺎﺩﻯ ﺍﺳﺖ ﻳﮑﻰ ﺍﺯ ﺷﮑﻠﻬﺎﻯ ﺍﻳﻦ ﺷﻖّ ﺩﻭّﻡ ﺍﺳﺖ ﮐﻪ ﺑﮑﻠﯽ ﺩﻳﺎﻧﺖ ﺭﺍ ﻣﺠﻤﻮﻋﻪﺍﻯ ﺍﺯﺧﺮﺍﻓﺎﺕ ﻭ ﺍﺳﺎﻁﻴﺮ ﻭ ﻣﺎﻧﻌﻰ ﺩﺭ ﺟﻬﺖ ﺁﺯﺍﺩﻯ ﻭ ﺗﮑﺎﻣﻞ ﻗﻠﻤﺪﺍﺩ ﻣﻰﻧﻤﺎﻳﺪ. ﺍﻣّﺎ ﺷﻖّ ﺩﻳﮕﺮﻯ ﻫﻢ ﻭﺟﻮﺩ ﺩﺍﺭﺩ ﻭ ﺁﻥ ﺍﻳﻦ ﮐﻪ ﺍﻫﻞ ﺍﺩﻳﺎﻥ ﺧﻮﺩ ﺭﺍ ﺑﺎ ﭘﻴﺎﻣﺒﺮ ﻭ ﮐﻼﻡ ﺍﻟﻬﻰ ﻣﺴﺎﻭﻯ ﻭ ﻣﻌﺎﺩﻝ ﺗﻠﻘﻰ ﮐﺮﺩﻩ ﻭ ﻟﺬﺍ ﺩﻳﺎﻧﺖ ﺭﺍ ﺻﺮﻓﺎً ﺑﻪ ﻣﻔﻬﻮﻣﻰ ﻓﺎﻗﺪ ﻫﺮﮔﻮﻧﻪ ﺗﻌﻴّﻦ ﻭ ﻣﺤﺘﻮﺍﺋﻰ ﺗﻘﻠﻴﻞ ﺩﺍﺩﻩ ﺗﺎ ﺁﻧﮑﻪ ﺑﺘﻮﺍﻧﻨﺪ ﺑﻪ ﺧﻮﺩ ﺣﻖ ﺩﻫﻨﺪ ﮐﻪ ﺩﺭ ﺁﻥ ﺩﻳﺎﻧﺖ ﮔﺬﺷﺘﻪ ﺭﺍ ﺑﻪ ﺁﻳﻨﺪﻩ ﺍﻯ ﺍﺯﻣﻘﺘﻀﻴﺎﺕ ﻭ ﺍﺻﻮﻝ ﻓﺮﻫﻨﮕﻰ ﺣﺎﺿﺮ ﺗﻘﻠﻴﻞ ﺩﻫﻨﺪ. ﺍﻣّﺎ ﭼﻨﻴﻦ ﺭﺍﻩ ﺣﻠّﻰ ﺩﺭ ﻭﺍﻗﻊ ﻁﺮﺩ ﺩﻳﺎﻧﺖ ﻭﺍﻋﻼﻥ ﻣﺮﮒ ﺭﻭﺡ ﻣﺬﻫﺐ ﺍﺳﺖ.  ﻋﻠّﺖ ﺍﻳﻦ ﺑﻦﺑﺴﺖ ﻓﺮﻫﻨﮕﻰ ﻭ ﺭﻭﺣﺎﻧﻰ ﭘﻴﺶ ﻓﺮﺿﻰ ﻏﻠﻂ ﻫﻤﻪٴ ﺍﻳﻦ ﺍﻓﺮﺍﺩ ﻭ ﮔﺮﻭﻫﻬﺎﺳﺖ. ﺑﺪﻳﻦ ﺗﺮﺗﻴﺐ ﮐﻪ ﺍﻳﺸﺎﻥ ﺗﺤﻮّﻝ ﻭ ﺗﻐﻴﻴﺮ ﺭﺍ ﺩﺭ ﻣﻮﺭﺩ ﺍﻧﺴﺎﻥ ﻭ ﺟﺎﻣﻌﻪ ﺻﺎﺩﻕ ﻣﻰﺩﺍﻧﻨﺪ ﻭﻟﯽ ﺗﺤﻮّﻝ ﻭ ﺩﮔﺮﮔﻮﻧﻰ ﻭ ﺍﺑﺪﺍﻉ ﺭﺍ ﺩﺭ ﺳﻄﺢ ﻭﺣﻰ ﺍﻟﻬﻰ ﻭ ﮐﻼﻡ ﺭﺑّﺎﻧﻰ ﻭ ﻓﻴﺾ ﻗﺪﺳﻰ ﻣﺠﺎﺯ ﻧﻤﻰﺷﻤﺎﺭﻧﺪ. ﺍﺛﺎﺭ ﺣﻀﺮﺕ ﺑﻬﺎءﷲ ﺍﻳﻦ ﭘﻴﺶ ﻓﺮﺽ ﺭﺍ ﺑﮑﻠّﻰ ﺩﺭﻫﻢ ﺷﮑﺴﺖ ﻭﺍﻋﻼﻥ ﺩﺍﺷﺖ ﮐﻪ ﺍﮔﺮﭼﻪ ﺫﺍﺕ ﺍﻟﻬﻰ ﺍﺯﻟﯽ ﻭ ﻏﻴﺮﻗﺎﺑﻞ ﺗﻐﻴﻴﺮﺳﺖ ﺍﻣﺎ ﺗﺠﻠّﻰ ﻭ ﻅﻬﻮﺭ ﺣﻘﺎﺋﻖ ﺍﺯﻟﯽ ﺩﺭ ﺻﺤﻨﻪٴ ﻣﻤﮑﻦ ﻭ ﺣﺎﺩﺙ ﺗﺎﺭﻳﺨﻰ ﺑﻨﺎﭼﺎﺭ ﺍﻣﺮﻯ ﻣﺸﺮﻭﻁ ﻭ ﺗﺎﺭﻳﺨﻰ ﺍﺳﺖ. ﺑﺪﻳﻦ ﺗﺮﺗﻴﺐ ﮐﻪ ﻫﻤﺎﻧﮕﻮﻧﻪ ﮐﻪ ﻓﻴﺾ ﺍﻟﻬﻰ ﺩﺭ ﻫﻤﻪٴ ﺍﺷﻴﺎء ﺩﺭ ﻫﺮ ﻟﺤﻈﻪ ﺍﺑﺪﺍﻉ ﻭ ﺗﺠﺪﻳﺪ ﻣﻰﮔﺮﺩﺩ ﻭﺗﻌﻄﻴﻞ ﻭ ﭘﺎﻳﺎﻧﻰ ﺑﺮﺍﻯ ﻓﻴﺾ ﺍﻟﻬﻰ ﻧﻴﺴﺖ ﺑﻪ ﻫﻤﻴﻦ ﺗﺮﺗﻴﺐ ﻧﻴﺰ ﻭﺣﻰ ﻭ ﺍﻟﻬﺎﻡ ﺭﺑّﺎﻧﻰ ﻭ ﮐﻼﻡ ﺍﻟﻬﻰ ﺑﻤﻮﺍﺯﺍﺕ ﺗﮑﺎﻣﻞ ﺍﺟﺘﻤﺎﻋﻰ ﻭ ﺭﻭﺣﺎﻧﻰ ﻋﺎﻟﻢ ﺍﻧﺴﺎﻧﻰ ﺧﻮﺩ ﺭﺍ ﺗﺒﺪﻳﻞ ﺳﺎﺧﺘﻪ ﻭ ﺑﻪ ﺷﮑﻠﯽ ﮐﻪ ﻣﻨﺎﺳﺐ ﻣﻘﺘﻀﻴﺎﺕ ﺟﺪﻳﺪ ﺑﻮﺩﻩ ﻭ ﺑﺎﻋﺚ ﺗﮑﺎﻣﻞ ﺟﺎﻣﻌﻪٴ ﺑﺸﺮﻯ ﻣﻰﮔﺮﺩﺩ ﺟﻠﻮﻩ ﻣﻰﻧﻤﺎﻳﺪ. ﺑﻪ ﻫﻤﻴﻦ ﺟﻬﺖ ﺍﺳﺖ ﮐﻪ ﻧﻪ ﺗﻨﻬﺎ ﺍﻧﺴﺎﻥ ﻣﻮﺟﻮﺩﻯ ﺍﺳﺖ ﭘﻮﻳﺎ ﻭ ﺗﺎﺭﻳﺨﻰ٬ ﻧﻪ ﺗﻨﻬﺎ ﻧﻤﺎﺩﻫﺎﻯ ﺍﺟﺘﻤﺎﻋﻰ ﻭ ﻓﺮﻫﻨﮕﻰ ﭘﺪﻳﺪﺍﺭﻯ ﻣﺘﺤﻮﻝ ﻭ ﻣﺘﮑﺎﻣﻞ ﺍﺳﺖ. ﺑﻠﮑﻪ ﺑﻪ ﻋﻼﻭﻩ ﺷﮑﻞ ﻫﺪﺍﻳﺖ ﺍﻟﻬﻰ ﻭ ﮐﻼﻡ ﺍﻟﻬﻰ ﻧﻴﺰ ﺍﻣﺮﻯ ﺗﺎﺭﻳﺦ ﻭ ﻣﺘﺮﻗﻰ ﺍﺳﺖ.

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12/16/2016

Pazhuheshnameh ﷲ ﻧﮕﺎﻫﻰ ﺑﻪ ﺁﺛﺎﺭ ﺣﺿﺭﺕ ﺑﻬﺎء

ﻣﻰﮔﻮﻳﺪ ﻭﻟﯽ ﺣﻘﻴﻘﺖ ﺍﻳﻦ ﻣﻈﺎﻫﺮ ﺭﺍ ﮐﻪ ﺗﺠﻠّﻰ ﺍﻟﻬﻰ ﻭ ﻭﺣﻰ ﺭﺑّﺎﻧﻰ ﺍﺳﺖ ﻳﮑﻰ ﻣﻰﺷﻤﺎﺭﺩ. ﺑﺪﻳﻦ ﺗﺮﺗﻴﺐ ﭘﻴﺎﻣﺒﺮ ﺩﺍﺭﺍﻯ ﺟﻨﺒﻪ ﺍﻯ ﺍﻧﺴﺎﻧﻰ ﻭ ﺟﻨﺒﻪ ﺍﻯ ﻏﻴﺒﻰ ﻭ ﺍﻟﻬﻰ ﺍﺳﺖ. ﺣﻘﻴﻘﺖ ﭘﻴﺎﻣﺒﺮﺍﻥ ﻳﻌﻨﻰ ﺟﻨﺒﻪٴ ﻏﻴﺒﻰ ﻭ ﺍﻟﻬﻰ ﺍﻳﺸﺎﻥ ﺣﻘﻴﻘﺘﻰ ﺍﺳﺖ ﻭﺍﺣﺪ ﻭ ﺗﻌﺪﺩ ﻭ ﺗﻨﻮﻉ ﺩﺭ ﺁﻥ ﺭﺍﻫﻰ ﻧﺪﺍﺭﺩ. ﺍﻣّﺎ ﻅﻬﻮﺭ ﺁﻥ ﺣﻘﻴﻘﺖ ﻗﺪﺳﻰ ﺩﺭ ﺗﺎﺭﻳﺦ ﻳﻌﻨﻰ ﺷﮑﻞ ﺧﺎﺹ ﻅﻬﻮﺭ ﭘﻴﺎﻣﺒﺮ ﻭ ﻳﺎ ﺗﻌﺎﻟﻴﻢ ﻭ ﺍﺣﮑﺎﻡ ﺍﻭ ﻣﺸﻤﻮﻝ ﺗﻨﻮﻉ ﻭ ﺩﮔﺮﮔﻮﻧﻰ ﺍﺳﺖ ﭼﺮﺍ ﮐﻪ ﺩﺭﻣﺎﻥ ﺑﻴﻤﺎﺭﻳﻬﺎﻯ ﺍﻧﺴﺎﻥ ﺍﺳﺖ ﻭ ﺑﺎ ﺗﻐﻴﻴﺮ ﺑﻴﻤﺎﺭﻯ ﺑﺎﻳﺪ ﮐﻪ ﺩﺭﻣﺎﻥ ﻧﻴﺰ ﻋﻮﺽ ﮔﺮﺩﺩ. ﺑﺪﻳﻦ ﺟﻬﺖ ﺍﮔﺮ ﻫﻢ ﺟﻨﺒﻪٴ ﺍﻧﺴﺎﻧﻰ ﭘﻴﺎﻣﺒﺮﺍﻥ ﺑﺎ ﻳﮑﺪﻳﮕﺮ ﺗﻔﺎﻭﺕ ﺩﺍﺭﺩ ﺍﻣّﺎ ﺩﺭ ﻭﺍﻗﻊ ﻫﻤﮕﻰ ﺣﻘﻴﻘﺘﻰ ﻳﮑﺴﺎﻥ ﻫﺴﺘﻨﺪ. ﺍﻳﻦ ﺣﻘﻴﻘﺖ ﻭﺍﺣﺪ ﺩﺭ ﻁﻮﻝ ﺗﺎﺭﻳﺦ ﻭ ﺑﺎﺯﺍء ﺗﮑﺎﻣﻞ ﺑﺸﺮﻯ ﺧﻮﻳﺸﺘﻦ ﺭﺍ ﺑﺸﮑﻠﻬﺎﻯ ﻣﺘﻔﺎﻭﺗﻰ ﻣﺘﻈﺎﻫﺮ ﻣﻰﺳﺎﺯﺩ ﺗﺎ ﺁﻧﮑﻪ ﺗﻤﺪّﻥ ﺑﺸﺮ ﺭﺍ ﻳﮏ ﻗﺪﻡ ﺑﻪ ﭘﻴﺶ ﺑﺮﺩ ﻭ ﻓﺮﻫﻨﮓ ﻭ ﻣﺪﻧﻴّﺖ ﺧﻼّﻕ ﻭ ﺑﺪﻳﻌﻰ ﺑﻴﺎﻓﺮﻳﻨﺪ. ﺍﻳﻦ ﺳﻴﺮ ﺗﮑﺎﻣﻠﯽ ﺍﺩﻳﺎﻥ ﺭﺍ ﭘﺎﻳﺎﻧﻰ ﻧﻴﺴﺖ ﻭ ﺑﺪﻳﻦ ﺟﻬﺖ ﺍﺳﺖ ﮐﻪ ﺣﻀﺮﺕ ﺑﻬﺎءﷲ ﻅﻬﻮﺭ ﺧﻮﺩ ﺭﺍ ﭘﺎﻳﺎﻥ ﺗﺎﺭﻳﺦ ﻧﺪﺍﻧﺴﺘﻪ ﺑﻠﮑﻪ ﺍﺯ ﻅﻬﻮﺭﺍﺕ ﻧﺎﻣﺤﺪﻭﺩﻯ ﺩﺭ ﺁﻳﻨﺪﻩ ﺳﺨﻦ ﮔﻔﺘﻪ ﺍﻧﺪ. ﺍﺯ ﺍﻳﻨﺠﺎﺳﺖ ﮐﻪ ﺍﺻﻞ ﻭﺣﺪﺕ ﻭﺗﮑﺎﻣﻞ ﻣﻈﺎﻫﺮ ﻣﻘﺪّﺳﻪ )ﭘﻴﺎﻣﺒﺮﺍﻥ( ﮐﻠﻴﺪ ﺣﻞ ﺩﺷﻮﺍﺭﻳﻬﺎ ﻭ ﻣﺴﺎﺋﻞ ﺑﻐﺮﻧﺞ ﮐﺘﺐ ﻣﻘﺪﺳﻪ ﻣﻰﮔﺮﺩﺩ. ﺑﻌﻨﻮﺍﻥ ﻣﺜﺎﻝ ﻣﺴﺌﻠﻪٴ ﺭﺟﻌﺖ ﻭ ﺧﺎﺗﻤﻴّﺖ ﺩﺭ ﺳﺎﻳﻪٴ ﻫﻤﻴﻦ ﺍﺻﻞ ﻗﺎﺑﻞ ﺩﺭﮎ ﻣﻰﺷﻮﺩ ﻫﻤﻪٴ ﭘﻴﺎﻣﺒﺮﺍﻥ ﺩﺭ ﺣﻘﻴﻘﺖ ﻳﮑﻰ ﻫﺴﺘﻨﺪ ﻭ ﻟﺬﺍ ﻫﻤﻪٴ ﺍﻳﺸﺎﻥ ﻋﻠﻴﺮﻏﻢ ﺗﻔﺎﻭﺕ ﻅﺎﻫﺮﻯ ﺭﺟﻌﺖ ﻳﮑﺪﻳﮕﺮﻧﺪ. ﻫﻤﻪٴ ﭘﻴﺎﻣﺒﺮﺍﻥ ﻣﻈﺎﻫﺮ ﺍﺳﻤﺎء ﻭ ﺻﻔﺎﺕ ﺍﻟﻬﻰ ﻫﺴﺘﻨﺪ ﻭﭼﻮﻥ ﺍﻭّﻝ ﻭ ﺁﺧﺮ ﺍﺯﺍﺳﻤﺎء ﺍﻟﻬﻰ ﺍﺳﺖ ﻫﻤﻪٴ ﭘﻴﺎﻣﺒﺮﺍﻥ ﺍﻭﻟﻴﻦ ﭘﻴﺎﻣﺒﺮ ﻭﺁﺧﺮﻳﻦ ﭘﻴﺎﻣﺒﺮ ﻣﻰﺑﺎﺷﻨﺪ. ﺑﻪ ﻋﺒﺎﺭﺕ ﺩﻳﮕﺮ ﻫﺮﺁﻧﭽﻪ ﮐﻪ ﺑﻪ ﻧﻔﻰ ﺗﺎﺭﻳﺦ ﻭ ﻫﺸﻴﺎﺭﻯ ﺗﺎﺭﻳﺦ ﻣﻨﺠﺮ ﻣﻰﺷﺪ ﺩﺭ ﺗﻌﺒﻴﺮ ﺧﻼّﻕ ﻭ ﺑﺪﻳﻊ ﺣﻀﺮﺕ ﺑﻬﺎءﷲ ﺩﺭ ﻭﺍﻗﻊ ﺑﻪ ﺩﻟﻴﻞ ﻗﺎﻁﻌﻰ ﺑﺮ ﺳﻴﺮ ﻭﻗﻔﻪﻧﺎﭘﺬﻳﺮ ﺗﺎﺭﻳﺦ ﻭ ﺗﮑﺎﻣﻞ ﻓﺮﻫﻨﮓ ﻭ ﺍﺩﻳﺎﻥ ﻭ ﻟﺰﻭﻡ ﮐﻨﺶ ﻭ ﻭﺍﮐﻨﺶ ﻣﺘﻘﺎﺑﻞ ﺩﻳﺎﻧﺖ ﻭ ﻣﺪﻧﻴّﺖ ﺍﺟﺘﻤﺎﻋﻰ ﻣﺒﺪّﻝ ﻣﻰﮔﺮﺩﺩ. ﺑﺮﺍﻯ ﻧﻤﻮﻧﻪ ﺑﻪ ﺩﻭ ﺑﻴﺎﻥ ﺍﺯ ﮐﺘﺎﺏ ﺍﻳﻘﺎﻥ ﺍﺷﺎﺭﻩ ﻣﻴﺸﻮﺩ ﺗﺎ ﺟﻠﻮﻩﻫﺎﺋﻰ ﺍﺯﺍﻧﻘﻼﺑﻰ ﺑﻨﻴﺎﻧﻰ ﺩﺭ ﺍﻟﻬﻴﺎﺕ ﺁﺷﮑﺎﺭ ﮔﺮﺩﺩ: "ﻭ ﺍﻳﻦ ﻣﻘﺎﻡ ﻣﺨﺘﺺّ ﺑﻪ ﺍﻧﺒﻴﺎء ﻭ ﺍﻭﻟﻴﺎﻯ ﺍﻭﺳﺖ ... ﺍﻳﺸﺎﻧﻨﺪ ﻣﺤﺎﻝّ ﻭ ﻣﻈﺎﻫﺮ ﺟﻤﻴﻊ ﺻﻔﺎﺕ ﺍﺯﻟﻴّﻪ ﻭ ﺍﺳﻤﺎء ﺍﻟﻬﻴﻪ. ﻭ ﺍﻳﺸﺎﻧﻨﺪ ﻣﺮﺍﻳﺎﺋﻰ ﮐﻪ ﺗﻤﺎﻡ ﺣﮑﺎﻳﺖ ﻣﻰﻧﻤﺎﻳﻨﺪ ﻭﺟﻤﻴﻊ ﺁﻧﭽﻪ ﺑﻪ ﺍﻳﺸﺎﻥ ﺭﺍﺟﻊ ﺍﺳﺖ ﻓﻰﺍﻟﺤﻘﻴﻘﻪ ﺑﻪ ﺣﻀﺮﺕ ﻅﺎﻫﺮ ﻣﺴﺘﻮﺭ ﺭﺍﺟﻊ ﻭﻣﻌﺮﻓﺖ ﻣﺒﺪء ﻭ ﻭﺻﻮﻝ ﺑﻪ ﺍﻭ ﺣﺎﺻﻞ ﻧﻤﻰﺷﻮﺩ ﻣﮕﺮ ﺑﻪ ﻣﻌﺮﻓﺖ ﻭ ﻭﺻﻮﻝ ﺍﻳﻦ ﮐﻴﻨﻮﻧﺎﺕ ﻣﺸﺮﻗﻪ ﺍﺯ ﺷﻤﺲ ﺣﻘﻴﻘﺖ. ﭘﺲ ﺍﺯ ﻟﻘﺎء ﺍﻳﻦ ﺍﻧﻮﺍﺭ ﻣﻘﺪﺳﻪ ﻟﻘﺎءﷲ ﺣﺎﺻﻞ ﻣﻰﺷﻮﺩ ﻭ ﺍﺯﻋﻠﻤﺸﺎﻥ ﻋﻠﻢﷲ ﻭ ﺍﺯ ﻭﺟﻬﺸﺎﻥ ﻭﺟﻪﷲ ﻭﺍﺯﺍﻭﻟﻴّﺖ ﻭﺁﺧﺮﻳّﺖ ﻭ ﻅﺎﻫﺮﻳّﺖ ﻭ ﺑﺎﻁﻨﻴّﺖ ﺍﻳﻦ ﺟﻮﺍﻫﺮ ﻣﺠﺮﺩﻩ ﺛﺎﺑﺖ ﻣﻰﺷﻮﺩ ﺍﺯ ( ﻭ ﻫﻤﭽﻨﻴﻦ ﺳﺎﺋﺮ ﺍﺳﻤﺎء ﻋﺎﻟﻴﻪ ﻭ ﺻﻔﺎﺕ ﻣﺘﻌﺎﻟﻴﻪ ﻟﻬﺬﺍ ﻫﺮ ۸)" ﺑﺮﺍﻯ ﺁﻥ ﺷﻤﺲ ﺣﻘﻴﻘﺖ ﺑﺎﻧّﻪ "ﻫﻮ ﺍﻻﻭﻝ ﻭﺍﻻﺧﺮ ﻭﺍﻟﻈﺎﻫﺮ ﻭﺍﻟﺒﺎﻁﻦ ﻧﻔﺴﻰ ﮐﻪ ﺑﻪ ﺍﻳﻦ ﺍﻧﻮﺍﺭ ﻣﻀﻴﺌﻪ ﻣﻤﺘﻨﻌﻪ  ﻭ ﺷﻤﻮﺱ ﻣﺸﺮﻗﻪٴ ﻻﺋﺤﻪ ﺩﺭ ﻫﺮ ﻅﻬﻮﺭ ﻣﻮﻓﻖ ﻭ ﻓﺎﺋﺰ ﺷﺪ ﺍﻭ ﺑﻪ ﻟﻘﺎءﷲ ﻓﺎﺋﺰ ﺍﺳﺖ ﻭ ﺩﺭ ﻣﺪﻳﻨﻪٴ ﺣﻴﺎﺕ ﺍﺑﺪﻳﻪٴ ﺑﺎﻗﻴﻪ ﻭﺍﺭﺩ. ﻭ ﺍﻳﻦ ﻟﻘﺎء ﻣﻴﺴﺮ ﻧﺸﻮﺩ ﺑﺮﺍﻯ ﺍﺣﺪﻯ ﺍﻻّ ﺩﺭ ﻗﻴﺎﻣﺖ ﮐﻪ ﻗﻴﺎﻡ ﻧﻔﺲﷲ ﺍﺳﺖ ﺑﻪ ﻣﻈﻬﺮ ﮐﻠﻴّﻪٴ ﺧﻮﺩ. ﻭ ﺍﻳﻦ ﺍﺳﺖ ﻣﻌﻨﻰ ﻗﻴﺎﻣﺖ ﮐﻪ ﺩﺭ ﮐﻞّ ﮐﺘﺐ ﻣﺴﻄﻮﺭ ﻭﻣﺬﮐﻮﺭ ﺍﺳﺖ ﻭ ﺟﻤﻴﻊ ﺑﺸﺎﺭﺕ ﺩﺍﺩﻩ ﺷﺪﻩﺍﻧﺪ ﺑﻪ ﺁﻥ ﻳﻮﻡ. ﺣﺎﻝ ﻣﻼﺣﻈﻪ ﻓﺮﻣﺎﺋﻴﺪ ﮐﻪ ﺁﻳﺎ ﻳﻮﻣﻰ ﺍﺯﺍﻳﻦ ﻳﻮﻡ ﻋﺰﻳﺰﺗﺮ ﻭ ﺑﺰﺭﮔﺘﺮ ﻭ ﻣﻌﻈّﻢﺗﺮ ﺗﺼﻮﺭ ﻣﻴﺸﻮﺩ ﮐﻪ ﺍﻧﺴﺎﻥ ﭼﻨﻴﻦ ﺭﻭﺯ ﺭﺍ ﺍﺯﺩﺳﺖ ﺑﮕﺬﺍﺭﺩ ﻭ ﺍﺯ ﻓﻴﻮﺿﺎﺕ ﺍﻳﻦ ﻳﻮﻡ ﮐﻪ ﺑﻪ ﻣﺜﺎﺑﻪٴ (۹).؛ ﺍﺑﺮ ﻧﻴﺴﺎﻥ ﺍﺯ ﻗِﺒَﻞ ﺭﺣﻤﺎﻥ ﺩﺭ ﺟﺮﻳﺎﻥ ﺍﺳﺖ ﺧﻮﺩ ﺭﺍ ﻣﺤﺮﻭﻡ ﻧﻤﺎﻳﺪ "ﻭﭼﻮﻥ ﺳﺮﺍﺝ ﻁﻠﺐ ﻭ ﻣﺠﺎﻫﺪﻩ ﻭ ﺫﻭﻕ ﻭ ﺷﻮﻕ ﻭ ﻋﺸﻖ ﻭ ﻭﻟﻪ ﻭ ﺟﺬﺏ ﻭ ﺣﺐّ ﺩﺭ ﻗﻠﺐ ﺭﻭﺷﻦ ﺷﺪ ﻭ ﻧﺴﻴﻢ ﻣﺤﺒّﺖ ﺍﺯ ﺷﻄﺮ ﺍﺣﺪﻳﻪ ﻭﺯﻳﺪ ﻅﻠﻤﺖ ﺿﻼﻟﺖ ﺷﮏ ﻭ ﺭﻳﺐ ﺯﺍﺋﻞ ﺷﻮﺩ ﻭﺍﻧﻮﺍﺭ ﻋﻠﻢ ﻭ ﻳﻘﻴﻦ ﻫﻤﻪٴ ﺍﺭﮐﺎﻥ ﻭﺟﻮﺩ ﺭﺍ ﺍﺣﺎﻁﻪ ﻧﻤﺎﻳﺪ. ﺩﺭ ﺁﻥ ﺣﻴﻦ ﺑﺸﻴﺮ ﻣﻌﻨﻮﻯ ﺑﻪ ﺑﺸﺎﺭﺕ ﺭﺣﻤﺎﻧﻰ ﺍﺯﻣﺪﻳﻨﻪٴ ﺍﻟﻬﻰ ﭼﻮﻥ ﺻﺒﺢ ﺻﺎﺩﻕ ﻁﺎﻟﻊ ﺷﻮﺩ٬ ﻗﻠﺐ ﻭﻧﻔﺲ ﻭ ﺭﻭﺡ ﺭﺍ ﺑﻪ ﺻﻮﺭ ﻣﻌﺮﻓﺖ ﺍﺯ ﻧﻮﻡ ﻏﻔﻠﺖ ﺑﻴﺪﺍﺭ ﻧﻤﺎﻳﺪ ... ﻭ ﺩﻣﺎﻍ ﺟﺎﻥ ﭼﻮﻥ ﺍﺯﺯﮐﺎﻡ ﮐﻮﻥ ﻭ ﺍﻣﮑﺎﻥ ﭘﺎﮎ ﺷﺪ ﺍﻟﺒﺘﻪ ﺭﺍﺋﺤﻪٴ ﺟﺎﻧﺎﻥ ﺭﺍ ﺍﺯ ﻣﻨﺎﺯﻝ ﺑﻌﻴﺪﻩ ﺑﻴﺎﺑﺪ ﻭﺍﺯﺍﺛﺮ ﺁﻥ ﺭﺍﺋﺤﻪ ﺑﻪ ﻣﺼﺮ ﺍﻳﻘﺎﻥ ﺣﻀﺮﺕ ﻣﻨّﺎﻥ ﻭﺍﺭﺩ ﺷﻮﺩ ﻭ ﺑﺪﺍﻳﻊ ﺣﮑﻤﺖ ﺣﻀﺮﺕ ﺳﺒﺤﺎﻧﻰ ﺭﺍ ﺩﺭ ﺁﻥ ﺷﻬﺮ ﺭﻭﺣﺎﻧﻰ ﻣﺸﺎﻫﺪﻩ ﮐﻨﺪ ﻭ ﺟﻤﻴﻊ ﻋﻠﻮﻡ ﻣﮑﻨﻮﻧﻪ ﺭﺍ ﺍﺯﺍﻁﻮﺍﺭ ﻭﺭﻗﻪٴ ﺷﺠﺮﻩٴ ﺁﻥ ﻣﺪﻳﻨﻪ ﺍﺳﺘﻤﺎﻉ ﻧﻤﺎﻳﺪ ﻭ ﺍﺯﺗﺮﺍﺏ ﺁﻥ ﻣﺪﻳﻨﻪ ﺗﺴﺒﻴﺢ ﻭ ﺗﻘﺪﻳﺲ ﺭﺏ ﺍﻻﺭﺑﺎﺏ ﺑﻪ ﮔﻮﺵ ﻅﺎﻫﺮ ﻭ ﺑﺎﻁﻦ ﺷﻨﻮﺩ ﻭ ﺍﺳﺮﺍﺭ ﺭﺟﻮﻉ ﻭ ﺍﻳﺎﺏ ﺭﺍ ﺑﻪ ﭼﺸﻢ ﺳﺮﻣﻼﺣﻈﻪ ﻓﺮﻣﺎﻳﺪ ... ﻭ ﺍﻳﻦ ﻣﺪﻳﻨﻪ ﺩﺭ ﺭﺃﺱ ﻫﺰﺍﺭ ﺳﻨﻪ ﺍﻭ ﺍﺯﻳﺪ ﺍﻭ ﺍﻣﻞّ ﺗﺠﺪﻳﺪ ﺷﻮﺩ ﻭ ﺗﺰﺋﻴﻦ   ﻳﺎﺑﺪ ﭘﺲ ﺍﻯ ﺣﺒﻴﺐ ﻣﻦ٬ ﺑﺎﻳﺪ ﺟﻬﺪﻯ ﻧﻤﻮﺩ ﺗﺎ ﺑﻪ ﺁﻥ ﻣﺪﻳﻨﻪ ﻭ ﺍﺻﻞ ﺷﻮﻳﻢ ﻭ ﺑﻪ ﻋﻨﺎﻳﺖ ﺍﻟﻬﻴﻪ ﻭ ﺗﻔﻘّﺪﺍﺕ ﺭﺑّﺎﻧﻴّﻪ ﮐﺸﻒ ﺳﺒﺤﺎﺕ ﺟﻼﻝ ﻧﻤﺎﺋﻴﻢ ﺗﺎ ﺑﻪ ﺍﺳﺘﻘﺎﻣﺖ ﺗﻤﺎﻡ ﺟﺎﻥ ﭘﮋﻣﺮﺩﻩ ﺭﺍ ﺩﺭ ﺭﻩ ﻣﺤﺒﻮﺏ ﺗﺎﺯﻩ ﻧﺜﺎﺭ ﻧﻤﺎﺋﻴﻢ ﻭ ﺻﺪﻫﺰﺍﺭ ﻋﺠﺰ ﻭ ﻧﻴﺎﺯ ﺁﺭﻳﻢ ﺗﺎ ﺑﻪ ﺁﻥ ﻓﻮﺯ ﻓﺎﺋﺰ ﺷﻮﻳﻢ. ﻭ ﺁﻥ ﻣﺪﻳﻨﻪ ﮐﺘﺐ ﺍﻟﻬﻴﻪ ﺍﺳﺖ ﺩﺭ )ﻋﻬﺪﻯ ﻣﺜﻼً ﺩﺭ ﻋﻬﺪ ﻣﻮﺳﻰ ﺗﻮﺭﺍﺕ ﺑﻮﺩ ﻭ ﺩﺭ ﺯﻣﻦ ﻋﻴﺴﻰ ﺍﻧﺠﻴﻞ ﻭﺩﺭ ﻋﻬﺪ ﻣﺤﻤّﺪ ﺭﺳﻮﻝﷲ ﻓﺮﻗﺎﻥ ﻭ ﺩﺭ ﺍﻳﻦ ﻋﺼﺮ ﺑﻴﺎﻥ ﻭ ﺩﺭ ﻋﻬﺪ ﻣﻦ ﻳﺒﻌﺜﻪ ﷲ ﮐﺘﺎﺏ ﺍﻭ.( _ ﻧﻈﺮﮔﺎﻩ ﺟﻬﺎﻥﺷﻤﻮﻝ: ۳ ﺳﻮّﻣﻴﻦ ﻣﺮﺣﻠﻪٴ ﺁﺛﺎﺭ ﺣﻀﺮﺕ ﺑﻬﺎءﷲ ﮐﻪ ﺩﺭ ﻁﻰ ﺁﺧﺮﻳﻦ ﺳﺎﻟﻬﺎﻯ ﺯﻧﺪﮔﻰ ﺍﻳﺸﺎﻥ ﻧﺎﺯﻝ ﺷﺪﻩ ﺍﺳﺖ ﺑﺎ ﺧﻄﺎﺏ ﺑﻪ ﺭﺅﺳﺎء ﻭﺯﻣﺎﻣﺪﺍﺭﺍﻥ ﺳﻴﺎﺳﻰ ﺟﻬﺎﻥ ﺁﻏﺎﺯ ﮔﺮﺩﻳﺪﻩ ﻭﺑﺎ ﺗﻌﺎﻟﻴﻢ ﺍﺟﺘﻤﺎﻋﻰ ﺩﻳﺎﻧﺖ ﻧﻮﻳﻦ ﺑﺮﺍﻯ ﺍﻳﺠﺎﺩ ﺗﻤﺪّﻧﻰ ﻧﻮﻳﻦ ﻭﺭﺍﺳﺘﻴﻦ ﻣﺸﺨﺺ ﻣﻰﮔﺮﺩﺩ. ﺑﻪ ﻫﻤﻴﻦ ﺟﻬﺖ ﺍﻳﻦ ﻣﺮﺣﻠﻪ ﻣﺒﺘﻨﻰ ﺑﺮ ﺍﺻﻞ ﺳﻮّﻣﻰ ﺍﺳﺖ ﮐﻪ ﺍﮔﺮﭼﻪ ﺑﺎ ﺍﺻﻮﻝ ﻗﺒﻠﯽ ﻣﺘﻔﺎﻭﺕ ﻣﻰﺑﺎﺷﺪ ﺍﻣّﺎ ﺗﺤﻘﻖ ﺭﺍﺳﺘﻴﻦ ﺁﻥ ﺩﺭ ﺍﺻﻞ ﻧﻴﺰ ﻣﻰﺑﺎﺷﺪ. ﭼﻨﺎﻧﮑﻪ ﺩﻳﺪﻳﻢ ﺍﺻﻞ ﺑﺮ ﻟﺰﻭﻡ ﺍﺳﺘﻔﺎﺩﻩ ﺍﺯ ﻓﻴﺾ ﺭﻭﺣﺎﻧﻰ ﻭ ﺍﺭﺯﺷﻬﺎﻯ ﻣﻌﻨﻮﻯ ﺑﺮﺍﻯ ﺗﮑﺎﻣﻞ ﺟﺎﻣﻌﻪ ﻭ ﻓﺮﺩ ﺳﺨﻦ ﮔﻔﺖ. ﺍﻣّﺎ ﺍﺻﻞ ﺩﻭّﻡ ﮔﻮﺷﺰﺩ ﺳﺎﺧﺖ ﮐﻪ ﺍﺭﺯﺷﻬﺎ ﻭﺍﺣﮑﺎﻡ ﻭ ﺗﻌﺎﻟﻴﻢ ﻣﺬﻫﺒﻰ ﻧﻴﺰ ﺑﺎﻳﺪ ﺗﺠﺪﻳﺪ ﻭ ﺍﺑﺪﺍﻉ ﺷﻮﺩ ﻭﮔﺮﻧﻪ ﺧﻮﺩ ﻣﺬﻫﺐ ﻣﻴﺘﻮﺍﻧﺪ ﺑﺠﺎﻯ ﺗﮑﺎﻣﻞ ﻭ ﺍﺭﺗﻘﺎء ﺑﻪ

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12/16/2016

Pazhuheshnameh ﷲ ﻧﮕﺎﻫﻰ ﺑﻪ ﺁﺛﺎﺭ ﺣﺿﺭﺕ ﺑﻬﺎء

ﺳﻨّﺖﭘﺮﺳﺘﻰ ﻭ ﺗﺤﺠّﺮ ﻓﮑﺮﻯ ﻭ ﺭﮐﻮﺩ ﻓﺮﻫﻨﮕﻰ ﺑﻴﺎﻧﺠﺎﻣﺪ. ﺑﻪ ﻋﺒﺎﺭﺕ ﺩﻳﮕﺮ ﺍﺻﻞ ﺩﻭّﻡ ﺑﺮ ﺿﺮﻭﺭﺕ ﺍﻧﻄﺒﺎﻕ ﻓﻴﺾ ﺭﺣﻤﺎﻧﻰ ﺑﺎ ﻣﻘﺘﻀﻴﺎﺕ ﺧﻼّﻕ ﻭ ﭘﻮﻳﺎﻯ ﺗﺎﺭﻳﺦ ﻭﺟﺎﻣﻌﻪ ﺗﺄﮐﻴﺪ ﻣﻰﻧﻤﺎﻳﺪ. ﺍﺯﺍﻳﻨﺠﺎﺳﺖ ﮐﻪ ﺿﺮﻭﺭﺗﺎً ﺍﻳﻦ ﺳﺆﺍﻝ ﭘﻴﺶ ﻣﻰﺁﻳﺪ ﮐﻪ ﺁﻳﺎ ﻣﻘﺘﻀﻴﺎﺕ ﺍﺻﻠﯽ ﺟﻬﺎﻥ ﻓﻌﻠﯽ ﭼﻴﺴﺖ ﻭ ﺁﻧﭽﻪ ﮐﻪ ﻧﻴﺎﺯ ﺍﻳﻦ ﻋﺼﺮﺳﺖ ﻭ ﺳﺒﺐ ﺗﮑﺎﻣﻞ ﻭ ﭘﻴﺸﺮﻓﺖ ﻭ ﺁﺯﺍﺩﻯ ﻭﻟﻄﺎﻓﺖ ﺁﺩﻣﻴﺎﻥ ﺍﺳﺖ ﭼﻪ ﻣﻰﺑﺎﺷﺪ؟ ﺑﻪ ﻋﺒﺎﺭﺕ ﺩﻳﮕﺮ ﻧﺘﻴﺠﻪٴ ﻣﻨﻄﻘﻰ ﻭﺣﺪﺕ ﺍﺻﻞ ﺍﻭّﻝ ﻭ ﺍﺻﻞ ﺩﻭّﻡ ﺁﺛﺎﺭ ﺣﻀﺮﺕ ﺑﻬﺎءﷲ ﺍﻳﻦ ﺍﺳﺖ ﮐﻪ ﺑﺎﻳﺪ ﻓﻴﺾ ﺍﻟﻬﻰ ﻭ ﺗﻌﺎﻟﻴﻢ ﺭﻭﺣﺎﻧﻰ ﻧﻴﺰ ﺩﺭ ﺍﻳﻦ ﺩﻭﺭﻩ ﺍﺯ ﺗﮑﺎﻣﻞ ﺗﺎﺭﻳﺨﻰ ﺑﺸﮑﻠﯽ ﺩﺭﺁﻳﺪ ﮐﻪ ﺑﺎ ﺭﻭﺡ ﻋﺼﺮ ﻭ ﻣﻘﺘﻀﺎﻯ ﺗﮑﺎﻣﻞ ﺣﺎﻝ ﻭ ﺁﻳﻨﺪﻩٴ ﺑﺸﺮ ﻣﻄﺎﺑﻘﺖ ﻳﺎﺑﺪ. ﺍﺻﻞ ﺳﻮّﻡ ﺣﻀﺮﺕ ﺑﻬﺎءﷲ ﭘﺎﺳﺦ ﺑﻪ ﺍﻳﻦ ﺳﺆﺍﻝ ﺍﺳﺖ ﻳﻌﻨﻰ ﺁﻧﮑﻪ ﻭﻳﮋﮔﻰ ﺍﺳﺎﺳﻰ ﻣﺪﻧﻴّﺖ ﺭﻭﺣﺎﻧﻰ ﻭ ﻓﺮﻫﻨﮕﻰ ﻧﻮﻳﻨﻰ ﺭﺍ ﮐﻪ ﻣﻘﺘﻀﺎﻯ ﺭﺷﺪ ﻭﭘﻴﺸﺮﻓﺖ ﺍﻳﻦ ﻣﺮﺣﻠﻪٴ ﺍﺯﺗﺎﺭﻳﺦ ﺍﺳﺖ ﻣﺸﺨﺺ ﻭ ﺁﺷﮑﺎﺭ ﻣﻰﺳﺎﺯﺩ. ﺍﺻﻞ ﺳﻮّﻡ ﺁﺛﺎﺭ ﺣﻀﺮﺕ ﺑﻬﺎءﷲ ﺭﻭﻳﮑﺮﺩ ﺟﻬﺎﻥﺷﻤﻮﻝ ﻳﺎ ﺑﻪ ﺯﺑﺎﻥ ﺩﻳﮕﺮ ﺍﺻﻞ "ﻭﺣﺪﺕ ﻋﺎﻟﻢ ﺍﻧﺴﺎﻧﻰ" ﻭ "ﺻﻠﺢ ﻋﻤﻮﻣﻰ" ﺍﺳﺖ ﻫﻤﭽﻨﺎﮐﻪ ﻗﺒﻼً ﺩﻳﺪﻳﻢ ﺁﺛﺎﺭ ﺣﻀﺮﺕ ﺑﻬﺎءﷲ ﻫﻤﮕﻰ ﺑﻤﻨﻈﻮﺭ ﺍﻳﺠﺎﺩ ﺩﻭﺳﺘﻰ ﻭ ﺍﺗّﺤﺎﺩ ﻭ ﻋﺸﻖ ﺑﺮ ﺍﺗّﻔﺎﻕ ﺩﺭ ﻋﺎﻟﻢ ﺑﺸﺮﻯ ﻧﺎﺯﻝ ﺷﺪﻩ ﺍﺳﺖ. ﺩﻳﺪﻳﻢ ﮐﻪ ﺍﺻﻞ ﻋﺮﻓﺎﻧﻰ ﺍﻳﺸﺎﻥ ﺑﻪ ﻟﺰﻭﻡ ﺍﻗﺪﺍﻡ ﺑﻪ ﻫﻤﻪٴ ﺁﺩﻣﻴﺎﻥ ﻭ ﺗﺄﮐﻴﺪ ﺑﺮ ﺗﻘﺪﻳﺲ ﻭ ﻣﻘﺎﻡ ﻓﺮﺩ ﻓﺮﺩ ﺁﺩﻣﻴﺎﻥ ﻣﻌﻄﻮﻑ ﺑﻮﺩ. ﺑﻪ ﻫﻤﻴﻦ ﺗﺮﺗﻴﺐ ﺩﻳﺪﻳﻢ ﮐﻪ ﺍﺻﻞ ﻫﺸﻴﺎﺭﻯ ﺗﺎﺭﻳﺨﻰ ﺣﻀﺮﺕ ﺑﻬﺎءﷲ ﺑﻪ ﺁﺷﺘﻰ ﻭ ﺻﻠﺢ ﻣﻴﺎﻥ ﻫﻤﻪٴ ﺍﺩﻳﺎﻥ ﻭ ﻟﺰﻭﻡ ﺍﺣﺘﺮﺍﻡ ﻭ ﺍﻋﺘﻘﺎﺩ ﺑﻪ ﻫﻤﻪٴ ﭘﻴﺎﻣﺒﺮﺍﻥ ﻭ ﺗﺼﺪﻳﻖ ﻭﺣﺪﺕ ﻣﺬﺍﻫﺐ ﻭ ﻣﻈﺎﻫﺮ ﻣﻘﺪﺳﻴﻪ ﺗﺄﮐﻴﺪ ﮐﺮﺩﻩ ﻭ ﮐﻴﻨﻪ ﻭ ﺳﺘﻴﺰ ﻭ ﺗﻌﺼّﺐ ﻣﺬﻫﺒﻰ ﺭﺍ ﺍﺯ ﺭﻳﺸﻪ ﻣﺤﻮﻣﻰﻧﻤﺎﻳﺪ. ﺟﺎﻯ ﺗﻌﺠّﺐ ﻧﻴﺴﺖ ﮐﻪ ﺍﺻﻞ ﺳﻮّﻡ ﺣﻀﺮﺕ ﺑﻬﺎءﷲ ﻫﻢ ﺗﺄﮐﻴﺪ ﻭ ﺗﻌﻤﻴﻢ ﺻﺮﻳﺢ  ﻫﻤﺎﻥ ﺍﺻﻞ ﺍﻟﻔﺖ ﻭ ﺍﺗّﺤﺎﺩ ﺑﺎﺷﺪ. ﺍﻳﻦ ﺍﺳﺖ ﮐﻪ ﻭﺣﺪﺕ ﻋﺎﻟﻢ ﺍﻧﺴﺎﻧﻰ ﺩﺭ ﺣﻘﻴﻘﺖ ﻫﺪﻑ ﺩﻳﺎﻧﺖ ﺑﻬﺎﺋﻰ ﻭ ﻫﺴﺘﻪٴ ﻣﺮﮐﺰﻯ ﺗﻤﺎﻣﻰ ﺍﺣﮑﺎﻡ ﻭ ﺗﻌﺎﻟﻴﻢ ﻭ ﺍﻋﺘﻘﺎﺩﺍﺕ ﺑﻬﺎﺋﻰ ﺭﺍ ﺗﺸﮑﻴﻞ ﻣﻰﺩﻫﺪ. ﺍﺯﻧﻈﺮ ﺣﻀﺮﺕ ﺑﻬﺎءﷲ ﻋﺎﻟﻢ ﺍﻧﺴﺎﻧﻰ ﺍﺯ ﻧﻈﺮ ﺣﻘﻴﻘﺖ ﺍﺻﻠﯽ ﺗﺠﻠّﻰ ﻭ ﺍﻧﻌﮑﺎﺱ ﻳﮏ ﺣﻘﻴﻘﺖ ﺭﻭﺣﺎﻧﻰ ﺍﺳﺖ. ﺑﺪﻳﻦ ﺟﻬﺖ ﺩﻳﺎﻧﺖ ﺑﻬﺎﺋﻰ ﺑﺮ ﻭﺣﺪﺕ ﺭﺍﺳﺘﻴﻦ ﺁﺩﻣﻴﺎﻥ ﺗﺄﮐﻴﺪ ﻣﻰﻧﻤﺎﻳﺪ ﻭ ﻟﺬﺍ ﻟﺰﻭﻡ ﻋﺸﻖ ﺑﻪ ﻫﻤﻪٴ ﺍﻧﺴﺎﻧﻬﺎ ﺻﺮﻓﻨﻈﺮ ﺍﺯ ﺟﻨﺴﻴّﺖ٬ ﻣﻠﻴّﺖ٬ ﻗﻮﻣﻴّﺖ٬ ﻧﮋﺍﺩ٬ ﺯﺑﺎﻥ ﻳﺎ ﺍﻋﺘﻘﺎﺩﺍﺕ ﻣﺬﻫﺒﻰ ﺍﻳﺸﺎﻥ ﺭﺍ ﺑﻪ ﻧﻬﺎﻳﺖ ﺷﺪّﺕ ﻣﻮﺭﺩ  ﺗﺄﮐﻴﺪ ﻗﺮﺍﺭ ﻣﻰﺩﻫﺪ. ﺣﻀﺮﺕ ﺑﻬﺎءﷲ ﺍﻋﻼﻥ ﻧﻤﻮﺩ ﮐﻪ ﺩﻳﺎﻧﺖ ﺑﺎﻳﺪ ﺳﺒﺐ ﺍﻟﻔﺖ ﻭ ﻣﺤﺒّﺖ ﺑﺎﺷﺪ ﻭ ﺍﮔﺮ ﮐﻪ ﭼﻨﻴﻦ ﻧﺒﺎﺷﺪ ﻧﺪﺍﺷﺘﻦ ﻣﺬﻫﺐ ﺑﻬﺘﺮ ﺍﺯﺩﺍﺷﺘﻦ ﺁﻥ ﺍﺳﺖ. ﺑﺪﻳﻦ ﺟﻬﺖ ﺍﺻﻞ ﻭﺣﺪﺕ ﻋﺎﻟﻢ ﺍﻧﺴﺎﻧﻰ ﻗﺒﻞ ﺍﺯﻫﺮﭼﻴﺰ ﺑﻪ ﻟﺰﻭﻡ ﺍﺭﺗﺒﺎﻁ ﻭ ﻣﻌﺎﺷﺮﺕ ﻫﻤﻪٴ ﺍﻗﻮﺍﻡ ﻭﺍﺩﻳﺎﻥ ﺑﺎ ﻳﮑﺪﻳﮕﺮ ﺗﺄﮐﻴﺪ ﻣﻰﮐﻨﺪ. ﺑﺠﺎﻯ ﺣﮑﻢ ﻧﺠﺎﺳﺖ ﻳﺎ ﺳﻠﺐ ﺣﻘﻮﻕ ﺩﻳﮕﺮﺍﻥ ﺑﺨﺎﻁﺮ ﺍﻋﺘﻘﺎﺩﺍﺕ ﻣﺬﻫﺒﻰ ﻳﺎ ﻧﮋﺍﺩﻯ ﻳﺎ ﺟﻨﺴﻰ ﺁﻧﻬﺎ٬ ﺣﻀﺮﺕ ﺑﻬﺎءﷲ ﺍﺯ ﻟﺰﻭﻡ ﻣﻌﺎﺷﺮﺕ ﺑﺎ ﻫﻤﻪٴ ﻣﺮﺩﻡ ﻭ ﺧﺼﻮﺻﺎً ﺑﺎ ﻣﻌﺘﻘﺪﺍﺕ ﺑﻪ ﺳﺎﺋﺮ ﺍﺩﻳﺎﻥ ﺳﺨﻦ ﮔﻔﺖ ﻭ ﻫﻤﻪٴ ﺁﺩﻣﻴﺎﻥ ﺭﺍ ﭘﺎﮎ ﻭ ﻁﺎﻫﺮ ﻭ ﻣﻘﺪّﺱ ﻭ ﻋﺰﻳﺰ ﺍﻋﻼﻥ ﻧﻤﻮﺩ. ﺣﻀﺮﺕ ﺑﻬﺎءﷲ ﺁﺗﺶ ﮐﻴﻨﻪ ﻭ ﺗﻌﺼّﺐ ﻣﺬﻫﺒﻰ ﺭﺍ ﻳﮑﻰ ﺍﺯﻣﻬﻤﺘﺮﻳﻦ ﻋﻮﺍﻣﻞ ﺧﺸﻮﻧﺖ ﻭ ﺍﻧﺤﻄﺎﻁ ﺍﺟﺘﻤﺎﻋﻰ ﺩﺍﻧﺴﺖ ﻭ ﺑﺎ ﺍﻋﻼﻥ ﻭﺣﺪﺕ ﺍﺩﻳﺎﻥ ﻭ ﻭﺣﺪﺕ ﻋﺎﻟﻢ ﺍﻧﺴﺎﻧﻰ ﺍﻳﻦ  ﺁﺗﺶ ﺭﺍ ﺧﺎﻣﻮﺵ ﺳﺎﺧﺖ ﺗﺎﺁﻧﮑﻪ ﻋﺎﻟﻢ ﺑﺸﺮﻯ ﺑﻪ ﺁﺯﺍﺩﻯ ﻭ ﺻﻠﺢ ﻭ ﺗﮑﺎﻣﻞ ﻧﺎﺋﻞ ﺷﻮﺩ. ﺍﻣّﺎ ﺍﺻﻞ ﻭﺣﺪﺕ ﻋﺎﻟﻢ ﺍﻧﺴﺎﻧﻰ ﻭ ﺻﻠﺢ ﻋﻤﻮﻣﻰ ﺍﺯ ﻟﺰﻭﻡ ﺭﻭﻳﮑﺮﺩﻯ ﺟﻬﺎﻥ ﺷﻤﻮﻝ ﺑﻪ ﻫﻤﻪٴ ﺩﺷﻮﺍﺭﻳﻬﺎﻯ ﺟﻬﺎﻥ ﻓﻌﻠﯽ ﻧﻴﺰ ﺳﺨﻦ ﮔﻔﺖ  ﺩﻧﻴﺎ ﺍﺯﻧﻈﺮ ﺣﻀﺮﺕ ﺑﻬﺎءﷲ ﺟﺎﺋﻰ ﺍﺳﺖ ﮐﻮﭼﮏ ﮐﻪ ﺑﻪ ﻫﻤﻪٴ ﺁﺩﻣﻴﺎﻥ ﺗﻌﻠﻖ ﺩﺍﺭﺩ ﻭ ﮐﺮﻩٴ ﺯﻣﻴﻦ ﻳﮏ ﻭﺟﺐ ﺧﺎﮐﻰ ﺍﺳﺖ ﮐﻪ ﺧﺎﻧﻪٴ ﻫﻤﻪٴ ﺍﻧﺴﺎﻧﻬﺎﺳﺖ ﻭ ﺑﺎﻳﺪ ﻫﻤﮕﺎﻥ ﺍﺯ ﻫﻤﻪٴ ﻣﻨﺎﺑﻊ ﻭ ﺍﻣﮑﺎﻧﺎﺕ ﺧﺎﻧﻪٴ ﺧﻮﻳﺶ ﺑﺮﺧﻮﺭﺩﺍﺭ ﺑﺎﺷﻨﺪ. ﺑﻪ ﻫﻤﻴﻦ ﺟﻬﺖ ﺣﻀﺮﺕ ﺑﻬﺎءﷲ ﺍﺯ ﻭﺣﺪﺕ ﺩﺭ ﮐﺜﺮﺕ ﺳﺨﻦ ﮔﻔﺖ ﻭ ﻟﺰﻭﻡ ﻋﺸﻖ ﺑﻪ ﻧﻪ ﺗﻨﻬﺎ ﻭﻁﻦ ﻣﻠّﻰ ﺑﻠﮑﻪ ﺑﻪ ﻋﺎﻟﻢ ﺍﻧﺴﺎﻧﻰ ﺭﺍ ﺗﺄﮐﻴﺪ ﻓﺮﻣﻮﺩ. ﺟﻮﺍﻣﻊ ﻣﻠّﻰ ﺑﺎﻳﺪ ﺩﺭ ﺳﺎﻳﻪٴ ﻗﺮﺍﺭﺩﺍﺩﻫﺎﻯ ﺑﻴﻦﺍﻟﻤﻠﻠﯽ ﮐﻪ ﺗﻮﺳّﻂ ﻧﻴﺮﻭﺋﻰ ﺟﻬﺎﻧﻰ ﺗﻨﻔﻴﺬ ﮔﺮﺩﺩ ﺑﻪ ﺻﻠﺢ ﻭ ﺁﺭﺍﻣﺶ ﺩﺳﺖ ﻳﺎﺑﻨﺪ ﻭ ﺍﺭﺗﺒﺎﻁ ﻭ ﺍﺗّﺤﺎﺩ ﻭ ﻣﻌﺎﺷﺮﺕ ﻣﻴﺎﻥ ﻣﺮﺩﻡ ﺩﻧﻴﺎ ﺑﻪ ﺣﺪّﻯ ﺑﺮﺳﺪ ﮐﻪ ﺩﻳﮕﺮ ﻫﻴﭽﮑﺲ ﺩﺭ ﻫﻴﭻ ﮐﺠﺎ ﺑﻴﮕﺎﻧﻪ ﻭ ﻏﺮﻳﺐ ﻧﺒﺎﺷﺪ. ﻧﺎﺑﺮﺍﺑﺮﻯ ﺍﻓﺮﺍﻁﻰ ﻭ ﻅﺎﻟﻤﺎﻧﻪٴ ﺍﻗﺘﺼﺎﺩﻯ ﭼﻪ ﺩﺭ ﺳﻄﺢ ﻁﺒﻘﺎﺕ ﺩﺭ ﺩﺍﺧﻞ ﻳﮏ ﮐﺸﻮﺭ ﻭ ﭼﻪ ﺩﺭ ﺳﻄﺢ ﺭﻭﺍﺑﻂ ﺑﻴﻦﺍﻟﻤﻠﻠﯽ ﺗﻮﺳّﻂ ﺣﻀﺮﺕ ﺑﻬﺎءﷲ ﻁﺮﺩ ﻭ ﻧﻔﻰ ﮔﺮﺩﻳﺪ ﻭ ﺑﺠﺎﻯ ﺁﻥ ﺍﺯ ﺿﺮﻭﺭﺕ ﺳﺎﺧﺘﺎﺭﻯ ﺑﻴﻦ ﺍﻟﻤﻠﻠﯽ ﻭ ﺍﺧﻼﻕ ﻭ ﻓﺮﻫﻨﮕﻰ ﺟﻬﺎﻥﺷﻤﻮﻝ ﺳﺨﻦ ﺭﻓﺖ. ﺑﺮﺍﻯ ﺗﺤﻘﻖ ﭼﻨﻴﻦ ﻫﺪﻓﻰ ﺣﻀﺮﺕ ﺑﻬﺎءﷲ ﺩﺭ ﺁﺛﺎﺭ ﺩﻭﺭﺍﻥ ﺳﻮّﻡ ﺍﺻﻮﻝ ﻭ ﺗﻌﺎﻟﻴﻢ ﺍﺟﺘﻤﺎﻋﻰ ﻧﻮﻳﻨﻰ ﺭﺍ ﻣﺆﮐّﺪ ﻓﺮﻣﻮﺩ ﮐﻪ ﻫﻤﻪٴ ﺁﻧﻬﺎ ﻟﻮﺍﺯﻡ ﺗﺤﻘﻖ ﺁﺯﺍﺩﻯ ﻭﺍﺗّﺤﺎﺩ ﻭﻋﺪﺍﻟﺖ ﺩﺭ ﻋﺎﻟﻢ ﺍﻧﺴﺎﻧﻰ ﺑﻮﺩﻩ ﻭ ﻫﺮﮔﻮﻧﻪ ﺧﺸﻮﻧﺖ ﺭﺍ ﺍﺯﺻﺤﻨﻪٴ ﺭﻭﺍﺑﻂ ﺍﻧﺴﺎﻧﻰ ﻁﺮﺩ ﻣﻰﻧﻤﺎﻳﺪ. ﺗﺄﮐﻴﺪ ﺑﺮ ﺗﺤﺮﻯ ﻣﺴﺘﻘﻼّﻧﻪ ﻭ ﺁﺯﺍﺩﺍﻧﻪٴ ﺣﻘﻴﻘﺖ ﺑﺪﻭﻥ ﺗﻘﻠﻴﺪ ﺍﺯ ﺩﻳﮕﺮﺍﻥ٬ ﺗﺴﺎﻭﻯ ﺣﻘﻮﻕ ﺯﻥ ﻭ ﻣﺮﺩ٬ ﻁﺮﺩ ﺍﻧﻮﺍﻉ ﺗﻌﺼﺒﻬﺎﻯ ﺧﺸﻮﻧﺖﺁﻣﻴﺰ ﻭﺟﺎﻫﻼﻧﻪٴ ﻧﮋﺍﺩﻯ٬ ﺗﻌﺪﻳﻞ ﻣﻌﻴﺸﺖ٬ ﺗﺄﺳﻴﺲ ﻣﺤﮑﻪٴ ﮐﺒﺮﺍﻯ ﺑﻴﻦ ﺍﻟﻤﻠﻠﯽ ﻭ ﺩﻳﮕﺮ ﺗﻌﺎﻟﻴﻢ ﺣﻀﺮﺕ ﺑﻬﺎءﷲ ﻟﻮﺍﺯﻡ ﭼﻨﻴﻦ ﻣﺪﻧﻴّﺖ ﺑﺪﻳﻊ ﺟﻬﺎﻧﻰ ﺍﺳﺖ. ﻭﺣﺪﺕ ﺳﻪ ﺍﺻﻞ ﺗﻌﺒﻴﺮ ﺭﻭﺣﺎﻧﻰ ﻫﺴﺘﻰ٬ ﻫﺸﻴﺎﺭﻯ ﺗﺎﺭﻳﺨﻰ ﻭ ﻧﻈﺮﮔﺎﻩ ﺟﻬﺎﻥﺷﻤﻮﻝ٬ ﻭﻳﮋﮔﻰ ﻣﻨﺤﺼﺮ ﺑﻔﺮﺩ ﺟﻬﺎﻥ ﺑﻴﻨﻰ ﺣﻀﺮﺕ ﺑﻬﺎءﷲ ﻭ ﺁﺛﺎﺭ ﺍﻭﺳﺖ. ﭼﻨﻴﻦ ﺟﻬﺎﻥ ﺑﻴﻨﻰ ﺷﮑﻮﻫﻤﻨﺪ ﻭ ﺷﮕﺮﻓﻰ ﺩﺭ ﺗﺎﺭﻳﺦ ﺩﻳﻨﻰ ﻭ ﻓﺮﻫﻨﮕﻰ ﺑﻰﺳﺎﺑﻘﻪ ﺍﺳﺖ. ﺍﻳﻦ ﺟﻬﺎﻥ ﺑﻴﻨﻰ ﺍﺳﺖ ﮐﻪ ﮐﻠﻴﺪ ﺣﻞ ﻣﺸﮑﻼﺕ ﺍﻳﺮﺍﻥ ﻭ ﻫﻤﻪٴ ﺟﻬﺎﻥ ﺭﺍ ﺩﺭ ﻧﻴﻤﻪٴ ﺩﻭّﻡ ﻗﺮﻥ ﻧﻮﺯﺩﻫﻢ ﻣﻴﻼﺩﻯ ﺩﺭ ﺑﺤﺒﻮﺣﻪٴ ﻣﻈﻠﻮﻣﻴّﺖ٬ ﺗﺒﻌﻴﺪ ﻭ ﺣﺒﺲ ﺁﻥ ﺣﻀﺮﺕ ﺑﻪ ﺩﻧﻴﺎ ﺍﺭﺍﺋﻪ ﻧﻤﻮﺩ. ﺻﺮﻓﻨﻈﺮ ﺍﺯ ﻣﻘﺎﻡ ﺣﻀﺮﺕ ﺑﻬﺎءﷲ ﺑﻪ ﻋﻨﻮﺍﻥ ﭘﻴﺎﻣﺒﺮﻯ ﻧﻮﻳﻦ ﻭ ﻣﻈﻬﺮﮐﻠّﻰ ﺍﻟﻬﻰ٬ ﺟﻬﺎﻥﺑﻴﻨﻰ ﻓﺮﻫﻨﮕﻰ ﺍﻳﺸﺎﻥ ﺍﮐﺴﻴﺮ ﺍﺭﺗﻘﺎء ﻭ ﭼﺸﻤﻪٴ ﺣﻴﺎﺕ ﺩﻧﻴﺎﻯ ﺁﺷﻔﺘﻪ ﻭ ﺳﺮﮔﺮﺩﺍﻥ ﮐﻨﻮﻧﻰ ﺍﺳﺖ. ﺍﻳﻦ ﻣﻘﺎﻟﻪ ﺭﺍ ﺑﺎ ﺫﮐﺮ ﭼﻨﺪ ﻧﻤﻮﻧﻪ ﺍﺯ ﺁﺛﺎﺭ ﺩﻭﺭﻩٴ ﺳﻮّﻡ ﺣﻀﺮﺕ ﺑﻬﺎءﷲ  ﭘﺎﻳﺎﻥ ﻣﻰﺩﻫﻴﻢ: "ﺍﻣﺮﻭﺯ ﺍﻧﺴﺎﻥ ﮐﺴﻰ ﺍﺳﺖ ﮐﻪ ﺑﻪ ﺧﺪﻣﺖ ﺟﻤﻴﻊ ﻣﻦﻋﻠﯽﺍﻻﺭﺽ ﻗﻴﺎﻡ ﻧﻤﺎﻳﺪ. ﺣﻀﺮﺕ ﻣﻮﺟﻮﺩ ﻣﻰﻓﺮﻣﺎﻳﺪ "ﻁﻮﺑﻰٰ ﻟﻤﻦ ﺍﺻﺒﺢ ﻗﺎﺋﻤﺎً ﻋﻠﯽ ﺧﺪﻣﺔ ﺍﻻﻣﻢ" ﻭ ﺩﺭ ﻣﻘﺎﻡ ﺩﻳﮕﺮ ﻣﻰﻓﺮﻣﺎﻳﺪ "ﻟﻴﺲ ﺍﻟﻔﺨﺮ ﻟﻤﻦ ﻳﺤﺐﺍﻟﻮﻁﻦ ﺑﻞ ﻟﻤﻦ ﻳﺤﺐّ ﺍﻟﻌﺎﻟﻢ". ﻓﻰ ﺍﻟﺤﻘﻴﻘﻪ ﻋﺎﻟﻢ ﻳﮏ ﻭﻁﻦ ﻣﺤﺴﻮﺏ ﺍﺳﺖ ﻭ ﻣﻦ ﻋﻠﯽ ﺍﻻﺭﺽ ﺍﻫﻞ ﺁﻥ"؛

http://www.pazhuheshnameh.org/index2.php?option=com_content&task=view&id=203&pop=1&page=0&Itemid=139

10/12

12/16/2016

Pazhuheshnameh ﷲ ﻧﮕﺎﻫﻰ ﺑﻪ ﺁﺛﺎﺭ ﺣﺿﺭﺕ ﺑﻬﺎء

"ﻁﺮﺍﺯ ﺩﻭّﻡ ﻣﻌﺎﺷﺮﺕ ﺑﺎ ﺍﺩﻳﺎﻥ ﺍﺳﺖ ﺑﻪ ﺭﻭﺡ ﻭ ﺭﻳﺤﺎﻥ٬ ﻭ ﺍﻅﻬﺎﺭ ﻣﺎ ﺍﺗﻰﺑﻪ ﻣﮑﻠﻢ ﺍﻟﻄﻮﺭ٬ ﻭ ﺍﻧﺼﺎﻑ ﺩﺭ ﺍﻣﻮﺭ. ﺍﺻﺤﺎﺏ ﺻﻔﺎ ﻭ ﻭﻓﺎ ﺑﺎﻳﺪ ﺑﺎ ﺟﻤﻴﻊ ﺍﻫﻞ ﻋﺎﻟﻢ ﺑﺮﻭﺡ ﻭ ﺭﻳﺤﺎﻥ ﻣﻌﺎﺷﺮﺕ ﻧﻤﺎﻳﻨﺪ ﭼﻪ ﮐﻪ ﻣﻌﺎﺷﺮﺕ ﺳﺒﺐ ﺍﺗّﺤﺎﺩ ﻭﺍﺗّﻔﺎﻕ ﺑﻮﺩﻩ ﻭﻫﺴﺖ ﻭﺍﺗّﺤﺎﺩ ﻭ ﺍﺗّﻔﺎﻕ ﺳﺒﺐ ﻧﻈﺎﻡ ﻋﺎﻟﻢ ﻭ ﺣﻴﺎﺕ ﺍﻣﻢ ﺍﺳﺖ. ﻁﻮﺑﻰ ﺍﺯ ﺑﺮﺍﻯ ﻧﻔﻮﺳﻰ ﮐﻪ ﺑﺤﺒﻞ ﺷﻔﻘﺖ ﻭ ﺭﺃﻓﺖ ﻣﺘﻤﺴﮑﻨﺪ ﻭ ﺍﺯ ﺿﻐﻴﻨﻪ ﻭ ﺑﻐﻀﺎء ﻓﺎﺭﻉ ﻭ ﺁﺯﺍﺩ. ﺍﻳﻦ ﻣﻈﻠﻮﻡ ﺍﻫﻞ ﻋﺎﻟﻢ ﺭﺍ ﻭﺻﻴﺖ ﻣﻰﻧﻤﺎﻳﺪ ﺑﻪ ﺑﺮﺩﺑﺎﺭﻯ ﻭ ﻧﻴﮑﻮﮐﺎﺭﻯ. ﺍﻳﻦ ﺩﻭ ﺩﻭ ﺳﺮﺍﺟﻨﺪ ﺍﺯ ﺑﺮﺍﻯ ﻅﻠﻤﺖ ﻋﺎﻟﻢ ﻭ ﺩﻭ ﻣﻌﻠّﻤﻨﺪ ﺍﺯ ﺑﺮﺍﻯ ﺩﺍﻧﺎﺋﻰ ﺍﻣﻢ" (۱۲) "ﻻﺑﺪ ﺑﺮ ﺍﻳﻦ ﺍﺳﺖ ﻣﺠﻤﻊ ﺑﺰﺭﮔﻰ ﺩﺭ ﺍﺭﺽ ﺑﺮﭘﺎ ﺷﻮﺩ ﻭ ﻣﻠﻮﮎ ﻭ ﺳﻼﻁﻴﻦ ﺩﺭ ﺁﻥ ﻣﺠﻤﻊ ﻣﻔﺎﻭﺿﻪ ﺩﺭ ﺻﻠﺢ ﺍﮐﺒﺮ ﻧﻤﺎﻳﻨﺪ ﻭ ﺁﻥ ﺍﻳﻨﺴﺘﮑﻪ ﺩﻭﻝ ﻋﻈﻴﻤﻪ ﺑﺮﺍﻯ ﺁﺳﺎﻳﺶ ﻋﺎﻟﻢ ﺑﻪ ﺻﻠﺢ ﻣﺤﮑﻢ ﻣﺘﺸﺒّﺚ ﺷﻮﻧﺪ ﻭ ﺍﮔﺮ ﻣَﻠِﮑﻰ ﺑﺮ ﻣَﻠِﮑﻰ ﺑﺮﺧﻴﺰﺩ ﺟﻤﻴﻊ ﻣﺘّﻔﻘﺎً ﺑﺮ ﻣﻨﻊ ﻗﻴﺎﻡ ﻧﻤﺎﻳﻨﺪ. ﺩﺭ ﺍﻳﻦ ﺻﻮﺭﺕ ﻋﺎﻟﻢ ﻣﺤﺘﺎﺝ ﻣﻬﻤّﺎﺕ ﺣﺮﺑﻴّﻪ ﻭﺻﻔﻮﻑ ﻋﺴﮑﺮﻳﻪ ﻧﺒﻮﺩﻩ ﻭ ﻧﻴﺴﺖ ﺍﻻّ ﻋﻠﯽ ﻗﺪﺭ ﻳﺤﻔﻈﻮﻥ ﺑﻪ ﻣﻤﺎﻟﮑﻬﻢ ﻭ ﺑﻠﺪﺍﻧﻬﻢ. ﺍﻳﻨﺴﺖ ﺳﺒﺐ (۱۳) " ﺁﺳﺎﻳﺶ ﺩﻭﻟﺖ ﻭ ﺭﻋﻴّﺖ ﻣﻤﻠﮑﺖ " ﺍﺯ ﺟﻤﻠﻪ ﺍﻣﻮﺭﻯ ﮐﻪ ﺳﺒﺐ ﺍﺗّﺤﺎﺩ ﻭ ﺍﺗّﻔﺎﻕ ﻣﻴﮕﺮﺩﺩ ﻭ ﺟﻤﻴﻊ ﻋﺎﻟﻢ ﻳﮏ ﻭﻁﻦ ﻣﺸﺎﻫﺪﻩ ﻣﻰﺷﻮﺩ ﺁﻧﺴﺘﮑﻪ ﺍﻟﺴﻦ ﻣﺨﺘﻠﻔﻪ ﺑﻴﮏ ﻟﺴﺎﻥ ﻣﻨﺘﻬﻰ ﮔﺮﺩﺩ ﻭ ﻫﻤﭽﻨﻴﻦ ﺧﻄﻮﻁ ﻋﺎﻟﻢ ﺑﻪ ﻳﮏ ﺧﻂ. ﺑﺎﻳﺪ ﺟﻤﻴﻊ ﻣﻠﻞ ﻧﻔﻮﺳﻰ ﺗﻌﻴﻴﻦ ﻧﻤﺎﻳﻨﺪ ﺍﺯ ﺍﻫﻞ ﺍﺩﺭﺍﮎ ﻭ ﮐﻤﺎﻝ ﺗﺎ ﻣﺠﺘﻤﻊ ﺷﻮﻧﺪ ﻭ ﺑﻤﺸﺎﻭﺭﺕ ﻳﮑﺪﻳﮕﺮ ﻳﮏ ﻟﺴﺎﻥ ﺍﺧﺘﻴﺎﺭ ﮐﻨﻨﺪ ﭼﻪ ﺍﺯ ﺍﻟﺴﻦ ﻣﺨﺘﻠﻔﻪٴ ﻣﻮﺟﻮﺩﻩ ﻭ ﭼﻪ ﻟﺴﺎﻥ ﺟﺪﻳﺪ ﺗﺎﺯﻩ ﺍﺧﺘﺮﺍﻉ ﻧﻤﺎﻳﻨﺪ ﻭ ﺩﺭﺟﻤﻴﻊ ﻣﺪﺍﺭﺱ ﻋﺎﻟﻢ ﺍﻁﻔﺎﻝ ﺭﺍ (۱٤) " ﺑﻪ ﺁﻥ ﺗﻌﻠﻴﻢ ﺩﻫﻨﺪ ﻣﺮﺍﺟﻊ: ۳۰۹ _ ﺣﻀﺮﺕ ﺑﻬﺎءﷲ٬ ﻣﺠﻤﻮﻋﻪٴ ﺍﻟﻮﺍﺡ ﻣﺒﺎﺭﮐﻪٴ ﺣﻀﺮﺕ ﺑﻬﺎءﷲ ﺟﻞّ ﺍﺳﻤﻪﺍﻻﻋﻈﻢ ٬ ﺹ ۱

۱٥_۱٦ ﺹ ۲ ٬ ﺑﺪﻳﻊ ۱۳۸ ٬ _ﺣﻀﺮﺕ ﺑﻬﺎءﷲ٬  ﻟﻮﺡ ﺍﺑﻦ ﺍﻟﺬﺋﺐ ٬ ﻻﻧﮑﻨﻬﺎﻳﻦ ۲ ۲٥۳ ﺑﺪﻳﻊ٬ ﺹ ۱٤۸ ٬ ﻻﻧﮕﻨﻬﺎﻳﻦ ۱  _ﺣﻀﺮﺕ ﺑﻬﺎءﷲ٬ ﺁﻳﺎﺕ ﺍﻟﻬﻰ ﺟﻠﺪ ۳ ٤۰۰_٤۰٤ _ ﺣﻀﺮﺕ ﺑﻬﺎءﷲ٬ ﻣﺠﻤﻮﻋﻪٴ ﺍﻟﻮﺍﺡ ﻣﺒﺎﺭﮐﻪٴ ﺣﻀﺮﺕ ﺑﻬﺎءﷲ ﺟﻞ ﺍﺳﻤﻪ ﺍﻻﻋﻈﻢ ﺹ ٤ ۲٦۰ _ﺣﻀﺮﺕ ﺑﻬﺎءﷲ٬ ﺍﺷﺮﺍﻗﺎﺕ٬ ﻁﻬﺮﺍﻥ٬  ﺑﺪﻭﻥ ﺗﺎﺭﻳﺦ٬ ﺹ ٥

ﻣﻴﻼﺩﻯ ﻣﺆﺳّﺴﻪ ﻣﻌﺎﺭﻑ ﺑﻬﺎﺋﻰ ۱۹۹٤ ٬ : ﮐﻠﻤﺎﺕ ﻣﺒﺎﺭﮐﻪٴ ﻣﮑﻨﻮﻧﻪ٬ ﺩﺍﻧﺪﺍﺱ ٤ _ ﺣﻀﺮﺕ ﺑﻬﺎءﷲ٬ ﻧﻔﺤﺎﺕ ﻓﻀﻞ ٦ ۱۱۲_۱۰۸ ﺑﺪﻳﻊ٬ ﺹ ۱۲۱ ٬ ﻣﺆﺳّﺴﻪ ﻣﻠّﻰﻣﻄﺒﻮﻋﺎﺕ ﺍﻣﺮﻯ٬ ﻁﻬﺮﺍﻥ ۳  _ﺣﻀﺮﺕ ﺑﻬﺎءﷲ٬ ﺁﺛﺎﺭ ﻗﻠﻢ ﺍﻋﻠﯽ ﺟﻠﺪ ۷ ۳   _ ﻗﺮﺁﻥ ﮐﺮﻳﻢ٬ ﺳﻮﺭﻩٴ ﺣﺪﻳﺪ٬ ﺁﻳﻪٴ ۸ ۹٥_۹٤ ﻣﻴﻼﺩﻯ٬ ﺹ ۱۹۸۸ ٬ _ ﺣﻀﺮﺕ ﺑﻬﺎءﷲ٬ ﮐﺘﺎﺏ ﺍﻳﻘﺎﻥ٬ ﻣﺆﺳّﺴﻪ ﻣﻠﯽ ﻣﻄﺒﻮﻋﺎﺕ ﺑﻬﺎﺋﻰ ﺁﻟﻤﺎﻥ٬ ﻫﻮﻓﻬﺎﻳﻢ ۹ ۱۲۹_۱۳۱ _ ﻫﻤﺎﻥ ﮐﺘﺎﺏ ٬  ﺹ ۱۰ _ ﺣﻀﺮﺕ ﺑﻬﺎءﷲ٬ ﻣﺠﻤﻮﻋﻪﺍﻯ ﺍﺯﺍﻟﻮﺍﺡ ﺟﻤﺎﻝ ﺍﻗﺪﺱ ﺍﺑﻬﻰ ﮐﻪ ﺑﻌﺪ ﺍﺯ ﮐﺘﺎﺏ ﺍﻗﺪﺱ ﻧﺎﺯﻝ ﺷﺪﻩ٬ ﻟﺠﻨﻪ ﻧﺸﺮ ﺁﺛﺎﺭ ﺍﻣﺮﻯ ﺑﻠﺴﺎﻥ ۱۱ ۱۰۱ ﺑﺪﻳﻊ٬ ﺹ ۱۳۷ ٬ ﻓﺎﺭﺳﻰ ﻭ ﻋﺮﺑﻰ٬ ﻻﻧﮑﻨﻬﺎﻳﻦ

۱۸ _ ﻫﻤﺎﻥ ﮐﺘﺎﺏ٬ ﺹ ۱۲ ۹۹ _ ﻫﻤﺎﻥ ﮐﺘﺎﺏ٬ ﺹ ۱۳                  ۹۹ _ ﻫﻤﺎﻥ ﮐﺘﺎﺏ٬ ﺹ ۱٤

ﺑﺴﺘﻦ ﺍﻳﻦ ﭘﻨﺠﺮﻩ

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11/12

12/16/2016

Pazhuheshnameh ﷲ ﻧﮕﺎﻫﻰ ﺑﻪ ﺁﺛﺎﺭ ﺣﺿﺭﺕ ﺑﻬﺎء

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12/12