‌موضوع و کارکرد ‌اشعار پراکنده ‌در ‌داستان‌های عامۀ ‌فارسی؛ مطالعۀ موردی: داستان ‌بوستان ‌خیال مقالة

مؤلف: طاهری‌اوروند، صفی‌اله‌ ؛ خراسانی، محبوبه ؛

فرهنگ و ادبیات عامه آذر و دی 1399 - شماره 35 ، ب (Ministry of Science (‎26 صفحة - من 225 إلی 250 )

الکلمات المفتاحية: داستان‌های عامیانه استشهاد بوستان خیال خیال احمد آبادی صفویّه. Boostan-i- Khayal Khayal Ahmad Abadi Safavid. Allusion Folk stories

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خلاصة:

اهمیت قصه های عامه بر کسی پوشیده نیست. این قصهها روایتهای شفاهی بوده که بعدها مکتوب شدهاند و از نظر نثر داستانی و ساختار متنی اهمیت دارند. دورة صفوی از نظر اشتمال بر تعداد بسیاری از این داستانها شایان توجه است. از نظر سبکی درآمیختگی نظم و نثر از ویژگیهای نثر داستانی این دوره است. اشعار فراوانی در نثر داستانی دیده میشود که قابلیت تحقیق دارد. از این رو، در این پژوهش از میان داستانهای عامۀ عصر صفوی داستان بوستان خیال یکی از بلندترین داستانهای عامه تالیف میرمحمدتقی الجعفری الحسینی مشهور به خیال احمدآبادی شاعر و داستانپرداز قرن دوازدهم هجری در شبه قارة هند برگزیده شد. هدف این . پژوهش تحلیل اشعار پراکنده در این داستان است که براساس موارد زیر تحلیل میشود: 9 بررسی موضوعات شعری و تنوع بهکارگیری آنها در خلال داستان، 1. چگونگی بهکارگیری این اشعار در خلال متن و ارتباط آنها با متن داستان، 5. شناسایی سرایندگان اشعار. روش تحقیق کیفی و کمی و توصیفی تحلیلی است. یافته های پژوهش در بخش موضوع بیانگر این است که به ترتیب موضوعات توصیفی، عاشقانه، اندرزی، اجتماعی، انتقادی، حماسی، دعایی، اعتقادی و مدحی بیشترین تا کمترین بسامد را دارند و بر اساس کارکرد میتوان چگونگی بهکارگیری اشعار را در ارتباط با نثر داستان در چهار بخش تایید، تاکید، تکمیل و توصیف قرار داد که در بخش تکمیل با 33 درصد، توصیف 55 درصد، تاکید 1 درصد و تایید 1 درصد بهترتیب بیشترین تا کمترین میزان را دارا هستند. کوشش داستانپرداز بیشتر در بهکارگیری اشعار شاعرانی چون صائب، سعدی، حافظ، جامی، مولوی، فردوسی، نظامی، عطار و... است.

The historical, social, and literary significance of folk tales is a generally accepted notion. Since these stories are oral narratives that were later written, they are important in terms of narrative prose and textual structure. The Safavid period is also noteworthy in terms of profiling many of these stories. So far as the style is concerned, the combination of order and prose is one of the characteristics of fictional prose of this period. There are many poems in fiction that can be studied. However, in this study, among the popular stories of the Safavid era, the story of Bustan-i Khayal (Garden of Imagination) is selected as one of the largest and most famous folk tales with a collection of historical tales and stories of demons and fairies, written by Mir Mohammad Taqi Al-Jaafari Al-Husseini nicknamed "Khayal", and also known as Khayal Ahmadabadi. The storyteller lived in the twelfth century AH in the Indian subcontinent. The purpose of this study is to analyze the scattered poems in the story of Bustan-i Khayal, following these objectives: 1. an investigation of the poetic themes and the variety of their use within the story, 2. their connection with the text of the story, 3. identifying the poets of the poems. The research methods are quantitative, qualitative, and analytical. The scattered poems in this work were extracted and analyzed based on the subject, function, and identification of their poets. The findings in the subject section indicate that the descriptive, romantic, emotional, social, critical, epic, prayerful, doctrinal, and praiseworthy topics have the highest to the lowest frequency, respectively. Based on the functions, we can group the poems in relation to the prose of the story into four sections: confirmation, emphasis, completion, and description. Their order is: completion 55%, description 33%, emphasis 9%, and approval 2%. The storyteller tries to use more poems of Saeb, Saadi, Hafiz, Jami, Mowlavi, Ferdowsi, Nizami, Attar, etc. Research background: There are several studies conducted in relation to the topic of our research. Aq Qaleh (2016), researched 224 printed Persian texts belonging to this period up to the year 700 (Hijri), of which 136 texts contained Persian poems and 88 works lacked Persian poetry. Soltani (2013) discusses the characteristics of folk tales, the characteristics of Safavid period prose, its related perspectives, and peoplechr('39')s interest in the Safavid era to tell and read stories. Faghihi (1994) conducted a PhD dissertation on the collection, translation and description of poems in the second half of the sixth century. Aims, questions, and assumptions The study follows these aims: 1. Identifying the poets 2. Examining the poetic topics and the variety of their use within the stories 3. The use of these poems in the text and their relationship with the story To these aims, the following research questions were raised: 1. What is the literary value and significance of the poems in the prose folk tales of the Safavid period? 2. What is the frequency of using poems in each of the selected folk tales of the Safavid period? 3. During the prose of the story, which of the Persian language poets has been martyred the most? The hypotheses are: 1. The use of these poems in the context of the story is rhetorical and for the completion of the content of the story. 2. The poetry of famous Persian poets has been martyred in fictional prose. 3. The verses are given in order to complete, confirm, emphasize, and describe the story Results and discussion In this literary-fiction story, the author talks about the world of human beings and their connection with the transcendental existence. According to Mahjoub, this story is the longest story in Persian. "Bustan-i Khayal is one of the greatest folk tales or a collection of historical tales and stories of demons and fairies. It has fifteen volumes written by Mir Mohammad Taqi Al-Jafari Al-Husseini alias Khayal" (Mahjoub, 2014, p. 620). The Safavid period is important in terms of having different types of stories. Safa has introduced a large number of them in his history of literature (Volume 5, Part 3). In the current study, however, scattered verses of this work have been extracted and examined in terms of their subject and function. Thematically, these verses have been categorized from various descriptive, romantic, admonishing, social, critical, epic, prayerful, doctrinal, and praiseworthy aspects. So far as their functions are concerned, they are categorized into four groups of confirmation, emphasis, completion, and description. Conclusion According to the descriptive verse statistics, love affairs are in the first place, and advice is in the third place. The manner the verses are used in the narration of the story shows that these verses are directly related to the text of the story; that is, if it is a matter of wisdom and advice, the verses that refer to advice and counsel are given, and if it is lyrical and romantic, emotional and romantic verses are used. However, if it is an epic, epic poems related to heroism and battle are included in the text of the story. Examining how the verses are used and functioned in the text of the story, it was found that the narrator has included the verses in the text according to the confirmation, emphasis, completion, and description of the story. Poems in the completion section with 55%, description 33%, emphasis 9% and 2% confirmation have the highest to the lowest distribution, respectively. The storytellerchr('39')s effort in using poems is manifested through verses that are in the category of proverbs and are common in the language of the people. Of the 592 verses, 190 verses, which account for 32.09% of the total number of poems, contribute to the poems that have become popular. Apart from Ahmadabadichr('39')s imaginary poems, most of the verses are from Saeb, Saadi, Hafez, Jami, Rumi, Ferdowsi, Nezami, Attar, etc., respectively. Few verses have been recited from Kaleem Kashani, Amir Khosrow Dehlavi, Abu Saeed Abolkhair, Asir Shahrestani, Bidel Dehlavi, Milli Mashhadi, Naziri Neyshabouri, Mohtasham Kashani, Anvari, and others. References Homaee, J. (1999). Techniques and figures of speech. Homa. Khayal Gojarati, M. T. (2013). Boostan-i- khayal (edited by Seyed Kamal Haj Seyed Javadi and Pouran Zeinali). Pazooheshkadeh Honar. Mahjoob, M.J. (2014). Iranian Folk Literature (edited by Hassan Zolfaghari). Cheshmeh. Safa, Z. (1967). History of Literature in Iran. University of Tehran. Safari Aq Qaleh, A. (2016). Scattered Persian poems in texts up to 700 Hijri. Mahmoud Afshar. Shamisa, S. (1997). Stylistics of prose. Mitra.

ملخص الجهاز:

است که به ترتيب موضوعات توصيفي، عاشقانه ، اندرزي، اجتماعي، انتقادي، حماسي، دعايي، اعتقادي و مدحي بيشترين تا کم ترين بسامد را دارند و بر اساس کارکرد ميتوان چگونگي به کارگيري اشعار را در ارتباط با نثر داستان در چهار بخش تأييد، تأکيد، تکميل و توصيف قرار داد که در بخش تکميل با ٥٥ درصد، توصيف ٣٣ درصد، تأکيد ٩ درصد و تأييد ٢ درصد به ترتيب بيشترين تا کم ترين ميزان را دارا هستند. ١. مقدمه اهميت داستان هاي عامه از نظر تاريخي، اجتماعي، ادبي و ديني بر کسي پوشيده نيست و از آنجا که اين قصه ها روايت هاي شفاهي بوده که بعدها مکتوب شده اند از نظر نثر داستاني و ساختار متني آن اهميت دارند. (برخوردار فراهي، ١٣٧٣: ٣٣٩) نمونه هاي استشهاد به ابيات فارسي در بوستان خيال استخراج شده و از نظر موضوع و چگونگي کاربرد آن ها در ادامه تحليل شده است . «عشـق را بـا هـر دلـي نسـبت بـه قـدر جـوهر اسـت قطره بر گل شبنم و در قعر دريا گـوهر اسـت » (همان : ٢) جدول ١: تقسيم بندي موضوعي ابيات مقدمه کتاب بوستان خيال Table 1: Thematic division of verses of Boostan-i- khayal Introduction {مراجعه شود به فایل جدول الحاقی} 233 درصد ١٠٠ ١٣/٣٤ ٢٦/٦٦ ٦٠ اشعار مقدمه کتاب بوستان خيال بر اساس کارکرد با توجه به استخراج ابيات موجود در خلال نثر داستان و تحليل آن ها، ٤ نوع کارکرد براي ذکر اين ابيات در بافت داستان شناسايي شد که با عناوين : تأييد، تأکيد، تکميل و توصيف در اين مقاله تحليل و بررسي شده اند.

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