تحلیل محتوای غنایی منشآت خاقانی مقالة

منشآت خاقانی نمونه‌ای فاخر از کیفیت نثر فارسی است که با وجود اهمیت بسیار، پژوهشگران کمتر به آن توجه کرده‌اند. ازسوی دیگر، ادبیات غنایی منثور نیز در مقایسه با نوع منظوم آن، مغفول مانده است و برخی این نوع کلام را برای ادب غنایی، کارآمد ندانسته‌اند. این پژوهش با تکیه بر روش تحلیل محتوا و با بررسی جنبه‌های غنایی متن منشآت، پرتوی بر شناخت ادب غنایی منثور می‌‌افکند. با این هدف، نخست با توجه به گونه‌های شناخته‌شدة ادب غنایی، مانند حسب‌حال، مدح، هجو، شکواییه و...، متن کتاب بادقت مطالعه و قطعات دربردارندة محتوای غنایی استخراج و براساس فراوانی معرفی شد. برپایة نتایج، همان اندازه که نثر به طبیعت زبان نزدیک‌تر است، منشآت نیز سیمای عاطفی خاقانی را آشکارتر بازمی‌تاباند؛ حسب‌حال‌ها، مدایح، هجویه‌ها و شکواییه‌ها به‌ترتیب بیانگر تنهایی و سرگشتگی خاقانی، طبع والایش، ناسازگاری او با محیط پیرامونش و خاطر نازک و سریع‌التأثیر اوست. نمونه‌های به‌دست‌آمده بیانگر آن است که بر‌خلاف تصور رایج، نثر فارسی هیچ نقصانی در بیان محتوای غنایی ندارد و گاهی بنابر مقیدنبودن نویسنده به محدودیّت رعایت وزن، نثر غنایی تأثیرگذاری و برجستگی ادبی بیشتری نیز دارد.

AbstractMonsha’at of khaghani is a glorious example of the qualities of Persian prose that, despite its great importance, has received little attention from scholars. On the other hand, the prose lyric literature has been neglected in comparison with its poetic type, and some have not considered this type of language to be effective for lyric literature. This research intends to study both cases by relying on the content analysis method and examining the lyrical aspects of Monsha’at text. With this aim, first, according to the known types of lyrical literature such as autobiography, praise, epigram, complaint, etc. the book was studied carefully and parts containing lyrical content were extracted and then introduced based on frequency. According to the results of the study, as prose is closer to the nature of language, Monsha’at more clearly reflects Khaghani's emotional images, autobiography, loneliness and bewilderment, praises, his high character, epigrams, incompatibility with his surroundings, and his delicate and quick-witted grievances. The obtained samples indicate that, contrary to the popular belief, Persian prose has no shortcomings in the expression of lyrical content, and in some cases, due to the author's lack of adherence to the poetry meter limit, lyrical prose has more literary impact and prominence.Introduction The collection of Monsha’at is the tradition of recording and collecting letters written by the owners of the pen to others. This tradition is an opportunity for the advent of the qualities of prose, as a form of a word, which also contains information about the author's intellectual world and surroundings. It can be said that among the types of Persian prose, essays and letters are the only ones that in their kind, theoretically, have a cohesive structure and this is a feature that has long been associated with this type of word from Persian literature. Among the most famous in this field, the least heard name is Afzal al-Din Badil ibn Ali known as Khaghani Shervani whose verses cause his prose to be forgotten. In many places, Khaghani has considered his poetry and prose equal believing that he is excelled in both fields. However, it seems that the historical literary taste of his audience has not considered these two categories as one. In this study, the authors intend to look at another aspect of the Monsha’at text. The nature of the lyrical literature which is rooted in the emotional motivation of the speaker and the delicate nature of Khaghani make us believe that, without a doubt, Monsha’at cannot be away from the manifestations of the lyrical literature. Accordingly, we have defined the purpose of the present study to investigate the lyrical content of Khaghani’s Monsha’at based on the content analysis method.Materials and MethodsIn this research, Khaghani's Monsha’at is analyzed categorically. First, the desired text (such as film, story, lecture, article, magazine, etc.) is broken down into parts. The components are then divided into categories; for example, political, economic, and social categories. Afterward, by counting the abundance of each category, their percentages are determined using appropriate statistical methods (Fotuhi, 2014, p. 151).In the data collection process, an attempt was made to adapt the method to the research field, while ignoring the sampling, to study the whole text of Khaghani's Monsha’at and at the same time to define the unit of analysis in accordance with the structure of a prose work. Therefore, we defined a paragraph as a unit of analysis in order to analyze the text of Khaghani's Monsha’at from the perspective of recognizing lyrical qualities according to their background emotions and feelings.Discussion of Results and ConclusionsKhaghani's Monsha’at in general is an example of the lyrical literature because it is a collection of Ekhvani letters that includes other aspects of lyrical literature in accordance with the type of behavior of the audience with the author and Khaghani's personal situation. In Mansha’at, we see the characteristical reflection of Khaghani more calmly than in his collection of poems where he is known as a proud poet. He does not utter a word of boasting throughout Monsha’at. In contrast, with a soft and unassuming language, he devotes most of the emotional content of his letters to Hasb-e-hal, in which he speaks of his loneliness, isolation, helplessness, despair, surrender, and other passive states. His praise comes from the usual form of praise of Persian literary poetry and is often a gentle word in honor of the audience.His satires (Hajveye-ha) do not refer to a specific person but show his boredom with the environment. Khaghani's complaints (Shekvaeye-ha) are also different from what we see in the Divan, and unlike the satires (Hajveye-ha), they are completely personal and do not have the usual social or political practice in the complaints of Persian literature. Hadith Nafs, elegies, condolences, and descriptions of passion are other titles of lyrical words which could be introduced in the text of Monsha’at even though examples of them are few. It can be said that among the literary works of Persian literature, Khaghani's Monsha’at is the richest one in terms of conformity with the lyrical literature, and therefore it can be researched to understand the content and linguistic qualities of lyrical prose.

برپايۀ نتايج ، همان اندازه که نثر به طبيعت زبان نزديک تر است ، منشآت نيز سيماي عاطفي خاقاني را آشکارتر بازميتاباند؛ حسب حال ها، مدايح ، هجويه ها و شکواييه ها به ترتيب بيانگر تنهايي و سرگشتگي خاقاني، طبع والايش ، ناسازگاري او با محيط پيرامونش و خاطر نازک و سريع التأثير اوست . از معدود پژوهش هاي صورت گرفته دربارة منشآت چنين برميآيد که در تنها اثر منثور خاقاني «نثر داراي ساختار سخت شاعرانه است و توصيفات فراوان سبب ايجاد اطناب در سبک نوشته شده است » (باراني، ١٣٧٩: ٥٢-٥٣) و نيز اينکه «همان عناصر سبکي، گرايش هاي زباني، هنري و فکري که در قصايد پرصلابت او مشاهده ميشود، با شدت و تندي بيشتر در رسايل او جلوه گر است ، با اين تفاوت که منشآت گوي سبقت از قصايد ميربايد و دشوارتر و غريب تر ميشود، به ويژه آنکه سخنور از قيد و بندهاي نظم فارغ است » (مهدويفر، ١٣٩٦: . تعريف هاي بالا با همۀ شمول خود، از عهدة شناساندن مفهومي مانند ادب غنايي برنميآيد؛ حتي اگر جسته وگريخته تکمله هايي بر آن بيفزاييم ؛ شميسا دربارة زمان آغاز اين نوع ادبي، بر آن است که «ادب غنايي مربوط به دوره اي است که بعد از شکل گرفتن اجتماعات و پيداشدن شهرها و به وجود آمدن قوانين و نظام و رسيدن انسان به خودشناسي و حرکت به سوي فرديت ، بشر خود را در تضاد و تعارض با اجتماع و قوانين يافته است و احيانا احساس انزوا و تنهايي و نااميدي کرده است » (شميسا، ١٣٩٤: ١٣٢).