Conclusion
Without wasting a word, Shabistari set out the credentials certifying his work as art according to that Aristotelian (and widespread medieval) way of thinking: (1) a date and (2) a cause invoked by (3) one or more thinking agents (himself and/or his Shaykh). The major change sought may have been his own license to teach, and closely connected to that would have been the teaching material itself which would change the understanding and spiritual path of his students.
It may be that the title of the book as we now have it reflects that Shabistari’s primary change was indeed achieved (as it must have been, of course, but it is pleasing to have it documented).
Book of Gulshan Rãz authored by the Sheikh
Al-Kamil, Star of the Nation and Religion, Mahmoud
Shabistari (may Allah sanctify his soul)
And multiple his openings (victories/illuminations)
(Thanks to Dara for the translation)
The context of the poem is set up by the use of astronomical cycle-dates, which in the simplest terms tie it in to the beginning of the Ilkhanate, the adoption of Islam as the official religion, the historic evidence of divine grace favouring the Ilkhanids, and now – in this poem and all the great names associated with it – the evidence of that culture’s correct spirituality, too.
Shabistari’s very orthodox presentation of the spiritual journey in terms of circuits that return to their points of origin is especially satisfactory in this context, as it echoes the divinely propelled astronomical cycles by which all these activities are initiated.
The timing of Lahiji’s contribution to this work of art is a matter of continuing research as it does not closely continue the Ilkhanate cycle. This is hardly surprising, since the Ilkhanate no longer existed in his time, and it is possible that his timing reflects an older cycle connected with the founding of particular Sufi orders that had a strong impact on the Ilkhanids and on the Saffavids who were established by his time – but that is a matter for further research.