خلاصة:
رباعی از مهمترین و قدیمترین قالبهای شعر فارسی است. این قالب مشهور جز آنکه در شعر کلاسیک جایگاه ویژهای دارد و شاعران بزرگی چون خیام را به خود جذب کرده است، میان مردم نیز بسیار رواج دارد. در مناطق مختلف و اقوام گوناگون با نامها و کارکردهای متفاوت در آیینها و مراسم سوگ و سرور خوانده میشود و خنیاگران محلی آن را با ساز و آواز مینوازند و میخوانند. رباعیهای مردمی ویژگیهایی دارد که آن را از نوع کلاسیک آن متمایز میکند. روش مطالعهی بررسی موردی و براساس طرحی جامع باعنوان «بومی سرودهای ایرانی» انجام شده که تمامی گونههای شعری را شناسایی میکند. در این پژوهش 14گونه رباعی در مناطق مختلف ایران و کشورهای فارسی زبان شناسایی شد که به گویش محلی بود. این گونههای بومی رباعی در شرق ایران با نامهای «روایی»، «چهاربیتی»، «غریبی»، «باخرزی»، «اردهخوانی»، «فلکخوانی»، «موریگی»، «ارده»، «ربّایی» و در شمال ایران باعنوان «ربایی خئون» و «امیری» و در جنوب ایران به «رباهی»، «داربازی» و «خیام-خوانی» شهرت دارد. بیشترین کاربرد رباعی در خراسان بزرگ است. این مقاله برای نخستین بار این گونهی مهم را معرفی میکند.
The Tradition of Reading Ruba'i among IraniansIntroductionIn books on rhetoric, Ruba'is are mostly considered as formal, and by its name account, a foreign type of poetry, while it is one of the oldest forms of Farsi poetry. Ruba'i is a descendent of Pahlavi language in Iran's pre-Islamic era, the dialectical versions of which could be observed in some texts. Besides the theoretical debates on the form and content of Ruba'i, it is important to study its function and style of reading among people. This study is to investigate the idea that Ruba'i was common among people and should not be considered as a classic form. No evidence except Pahlavi texts are given to suppose this idea. This study, however, performed a field study on 14 types of Ruba'is with their customary functions in different areas of Iran. The results indicate that Ruba'is were common among people of Iran, singing it in their happy and sad ceremonies.Reading Ruba'is has been prevalent in different areas of Iran which is different from the formal and classic Ruba'is. Public Ruba'i has tremolo and additions; it is compatible with the language and dialect of the area; it is sometimes accompanied with music; it is often performed customarily in wedding or mourning ceremonies. Reading Ruba'is is sometimes performed through dance and games; the poems often do not have the title of Ruba'i and they do not have any particular poet. In fact, they take a title in each area. These titles are mostly the changed and manipulated versions of Ruba'is such as Rabayi, Ravayi, and Rabahi, meaning that they follow the content. The poems are simple and without much literary devices, carrying themes of daily life, while the classic Ruba'i often has a mystic and philosophical meaning.Review of the literature, aims, and research methodThere have been many studies on Ruba'is in classic literature. However, few have attempted to investigate reading Ruba'is and their function among people. To show the prevalence of this literary form among people, Zolfaqari (2015) conducted a field study on 600 types of folk poems which were considered Ruba'i. The comparison and analysis of their structure revealed the following results.The tradition of reading Ruba'i in IranReading Ruba'i and couplet is the basic of musical songs of southern and central Khorasan. The common songs in Khorasan and Tajikistan in the form of Ruba'i are known as Gharibi which shows the sorrows of a Tajik. Gharibis were also sung in Iran and Afqanistan. They were sometimes known as quatrain in the Northern Khorasan (Yousefzadeh, 2009, p. 143), differentiating between their own quatrains and those of the other areas, considering them regional or foreign. Reading Falak (heaven) is a complaint poem about the destructive events of the world in Khorasan. In the Ruba'is of Falak, Falak is the destiny of the human, thus, the poet complains about the unkind behavior of Falak.Ravayi or Ruba'i is a type of happy poetry in Dameghan which were sung by ladies in wedding ceremonies. They are not accompanied by music, and their content is about the bride and groom.In Sistan, the feminine mourning ceremonies are known as Ravayi, or Ardeh (shouting). They are sung in group or individually without any musical instrument.In the desert area of Dameghan, the epic and heroic poems are sometimes sung as Ruba'i, and ladies read Ruba'i in wedding and groom (Damad Sadkani) ceremonies. Marvegi is a type of happy songs and musical instrument in Marv city which is sung in wedding and happy ceremonies. It is actually a public Ruba'i taken from Bukhara.In the north of Iran, Ruba'i or Tabari Khaun/Tabari Khan is a type of poem in Mazandarani dialect which is sung in Tirgan or Tirmasinzeh ceremonies. In the south of Iran, particularly in Abadeh city, when families take the bride to the groom's house, they sing some poems which are known as Rabahi. Reading Khayam, or Khayami or Shaki is a type of music in Bushehr city which is performed in the wedding, circumcising, and other happy ceremonies.References Ahmadi Panah Semnani, M. (1998). The music of the neighbor. Journal of Poetry, 23, 116-119.Ahmadi Panah Semnani, M. (2004). Song and writing songs in Iran. Soroush.Ahmadi Rishehri, A. (1996). Sangestan. Navid Shiraz.Ajami, M. (1997). A research on oral poems of Tajikestan. Journal of Poetry, 21.Akrami, R. (2004). Tirmasinzeh songs. Book of the Month, 67 & 68, 90-93.Amanov, R. (2002). Public Ruba'I and exquisite secrets. Soroush.Amanov, R., & Shadi Gol, O. (1976). Ruba'is of Tajikistan. Erfan.Ameri, J., & Tabatabai, H. (2017). Local music of desert area. Hableh Rood.Babachahi, A. (1989). Shereh in south of Iran. The Cultural Institute of Eghbal.Boostan, B., & Darvishi, M. (1991). A review of traditional and local music of Iran. Artistic Studies.Dolatshah Samarghandi. (1959). On poets (edited by Mohammad Ramezani). Kalaleh Khavar.Fatemi, S. (2014). Ceremony and music in Iranian cultures. Mahoor.Homayi, J. (2000). Intimate secrets. Morvarid.Homayi, J. (2002). Rhetoric techniques and literary devices. Homa Press.Honari, R. (1962). Husbandry among villagers and nomads of Ghuchan. Payam Novin, 4(6).Javid, H. (2007). An introduction to local music in Iran. Sooreh Mehr.Mahdavi, H. (2013). Ceremonies and customs of Iranians. Afkar.Maraghi, A. (1993). Community of languages. Institute of Research on Culture.Mashayekhi, M. (2009). Culture of people in Tayba and Bakherz. Mohaghegh.Masoomi, N., & Khalov, M. (1965). Folklore of people in Afghanistan in Tajik alphabet. Doshanbeh.Mirafzali, A. (1997). Farsi and Ruba'i. Journal of poetry. 21(4).Mohebi, M. (1961). Book of the week. 41, 861.Nasri Ashrafi, J. (2004). Drama and music in Iran. Aroon.Noorjanov, N. (1999). Traditional theatre of Tajikestan and reminiscent of ancient culture. Journal of Art, 24(4).Ohad al-Din Kermani. (1987). Divan of Rubayat. Soroush.Payandeh Langeroodi, M. (1979). Traditions and customs of Gil and Deylam. Center of Culture.Razavian, F. (1993). Songs and music of locals in southern Khorasan. Received from: http://www.persiancarpetassociation.comRazi, H. (2004). Ceremonies of water. Behjat.Sedaghat Kish, J. (1987). Rubahi in weddings of Abadeh. Chista, 42, 177-183.Shafiee Kadkani, M. (1989). Music of poetry. Agah.Shahrani, E. (1994). Tajik and Pakestanian couplets. Research Center of Farsi Language in Iran and Pakistan.Shamisa, S. (1984). A review of Ruba'i in Farsi poetry. Tehran.Shams Gheis Razi. (1981). On the poems of foreigners (edited by Mohammad Ghazvini). Zavar.Shariatzadeh, A. (1992). The culture of Shahroodi people. Pazineh.Sharifian, M. (2003). About mourning, music, and custom of mourning in Bushehr. Dirin.Sharifian, M., & Nasrashrafi, J. (2009). The lyrics of Khayami album. Mahoor.Tabatabayifar, R. (2002). Ghatool village during the history: a monography. Naghsh Bayan.Taheria, M. (1965). A history of Dameghan culture and a selection of Dameghan's folk cultures. Magazine of Education Organization in Dameghan.Vahidian Kamiar, T. (1978). Analyzing the rhyme of folk poetry. Agah.Vahidian Kamiar, T. (1991). Analyzing the source of rhyme in Farsi poetry. Astan Ghods Razavi.Yousefzadeh, A. (2009). Musicians of northern Khorasan and its repertoire (translated into Farsi by Alireza Manafzadeh). Mahoor.Zarinkoob, A. (1978). Unveiled poetry and non-lying poetry. Javidan.Zolfaqar, H. (2015). 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ملخص الجهاز:
رباعي ادامه ي شکلي از فهلويات در ايران قبل از اسلام است و شکل هاي گويشي رباعي نيز در متون ديده شده ؛ مانند اين رباعي اوحدالدين کرماني که تأثير گويش محلي در آن آشکار است : خيزم در دلدار زنم بوک دبـــو خود را به درش درافکنم بوک دبو من خود دانم که او قبولم نکند با اين همـــه جاني بکنم بوک دبو (اوحدالدين کرماني، ١٣٦٦ : ١٣٧) شفيعي کدکني در کتاب موسيقي شعر، رباعي را نوعي شعر ايراني خالص برميشمارد که سال ها قبل از تولد رودکي در مجامع صوفيه با آن سماع ميکرده اند.
شمس قيس رازي (١٣٦٠: ١١٩) ابداع وزن ترانه در معناي رباعي ملحون را به رودکي (د ٣٢٩ ق ) و دولتشاه سمرقندي (١٣٣٨: ٢٦) به يعقوب ليث صفاري (د ٢٦٥ ق ) نسبت داده اند؛ اما جلال الدين همايي معتقد است : رودکي مخترع رباعي نبوده و قبل از وي هم اين وزن در فارسي سابقه داشته ؛ اما رودکي بيش از ديگران از آن بهره برده است ؛ بنابراين بايد ريشه ي رباعي را در لحن اورامن و نظاير آن در اشعار و موسيقي زبان پهلوي جست وجو کنيم (رک.
سيدعلي ميرافضلي هم در اغلب مقاله ها و کتاب هاي خود مانند جنگ رباعي (١٣٩٣) و چهار خطي (١٣٩٦)، تلاش کرده است تا رباعيات سرگردان را معرفي کند؛ اما در اين کتاب ها به جنبه ي مردمي رباعيخواني و کارکرد آن در آيين ها کمتر پرداخته شده است .