خلاصة:
در تعریفات شعر از سه عنصر عاطفه، تخیل و موسیقی سخن می‌رود. متون نثر فارسی در دوره‌های گوناگون، کم و بیش از عناصر شعری بهره برده‌اند.آثار صوفیانه و عارفانه به اقتضای اهداف و مضامینشان، گرایشی بیشتر به شاخصه‌های شعری داشته‌اند تا آنجا که گاه درک ظرایف معنایی و نمودهای زیباشناختی این متون به تحلیل تصاویر و جلوه‌های موسیقایی آن‌ها وابسته است. بر اساس این اهمیت، هدف مقالۀ حاضر، بررسی کارکرد یکی از عناصر کلیدی شعر؛ یعنی موسیقی در کشف‌المحجوب هجویری به عنوان یکی از مهم‌ترین متون نثر عارفانه است تا میزان و کیفیت شعروارگی آن از این منظر مشخص شود. یافته‌های این پژوهش توصیفی- تحلیلی نشان می‌دهند، موسیقی درونی و معنوی، کارکردی تعیین‌کننده در نثر هجویری داشته و به القای مؤثرترِ مفاهیم و ذهنیات، مدد بارز می‌رسانند. نمود موسیقی درونی که تناسب و جذابیت لفظی- آوایی را ارتقا می‌بخشد، بیشتر از معنوی بوده است. سجع به خصوص متوازی، جناس به‌ویژه زاید، تکرار واژه، واج‌آرایی و نیز تضاد از مصادیق بارزتر موسیقی درونی و معنوی در کشف‌المحجوب هستند که غالباً در این مواضع نمود می‌یابند: ذکر نام اولیاء و توصیف شخصیت و احوالشان، حکایت‌ها و نقل سخنان مشایخ و ارشادهای آنان و نیز تبیین اصطلاحات عارفانه؛ اعم از مفاهیم مرتبط با توحید، معرفت نفس، مرگ، فنا و بقای عرفانی، مراتب سلوک و نکوهش نفس و دنیای مذموم.
In the definitions of poetry, three elements of emotion, imagination, and music are mentioned. Persian prose texts have used more or less poetic elements in different periods. Sufi and mystical works, according to their goals and themes, have had a greater tendency towards poetic features, to the extent that understanding the subtleties of meaning and aesthetic expressions of these texts is dependent on the analysis of their images and musical effects. Based on this importance, the purpose of this article is to examine the function of one of the key elements of the poem; that is, music is one of the most important mystic prose texts in Kashf al-Mahjub Hujwiri, so that the level and quality of its poetry can be identified from this point of view. The findings of this descriptive-analytical research show that inner and spiritual music has a decisive function in Hujwiri's prose and helps to induce more effective concepts and mentalities. The expression of inner music that enhances verbal-phonetic harmony and appeal has been more than spiritual. Saj'; especially parallel, pun; especially periphrasis, repetition of words, phonology, and contrast are among the most obvious examples of inner and spiritual music in Kashf al-Mahjub, which often appear in these positions: mentioning the names of guardians (Oulia) and describing their personalities and conditions, anecdotes and reciting the words of the sheiks and their instructions and also explaining mystical terms, including concepts related to monotheism, knowledge of the self, death, annihilation and mystical survival, levels of behavior and condemnation of the self and the reprehensible world.Keywords: Semantic Function, Music of Words, Sufi Prose, Kashf al-Mahjub Hujwiri. IntroductionIn the opinion of many rhetoricians, poetry consists of three elements: emotion, imagination, and music, which are expressed in a beautiful language; in other words, poetic art reaches its peak when emotional and imaginative words appear in a melodious language.Poetic elements are not specific to poetry, and they can appear in prose as well. Sufi and mystical prose also have a special tendency towards poetic qualities due to its subject and content. It can be said that this type of prose, which by its nature has a mystical experience and is similar to the poetic experience, by using strong language and using music (along with imagination), characterizes the inductive value of the text. In the meantime, one of the most important and influential mystical texts, which has the characteristic of poetry in notable situations, is Kashf al-Mahjub Hujwiri.Kashf al-Mahjub is the only existing work of Hujwiri and the oldest independent mystical work in the Persian language, which has made a lot of use of musical effects, and made its tone attractive and out of dryness and monotony. Hujwiri's prose in the introduction of Ahval Mashayekh is rhythmic and rhymed, which takes a major share of the beauty and pleasantness of the whole work. In addition to the Saj', other musical instruments have a special appearance in other parts of the book. With the knowledge of the effect of music, Hujwiri used these elements to induce his emotions and thoughts, and he has placed the burden of a large part of the reason for the durability and attractiveness of his work on the shoulders of the musical element. The most important goal of this research (besides several sub-goals) is to explain the most prominent forms of inner and spiritual music in Kashf al-Mahjub and analyze their relationship with Hujwiri's thematic approaches. Literature ReviewAbout Kashf al-Mahjub, research studies have been conducted that mostly look at the story and content dimensions of this work; among them: Akbar Nahvi and Nahid Dehghani (2009) who have discussed the general structure of this book and the author's way of explaining the main ideas and themes. Soraya Sharifi and Ghadamali Sarrami (2013) have also examined the issue of the governorship from the point of view of Hujwiri, relying on popular opinions in this field, until the end of the fifth century. Hossein Yazdani (2015) has explained the examples of Sharia in Kashf al-Mahjub and the opposition to avoiding Sharia.In the meantime, no research was found that analyzes the details of musical effects and their thematic-semantic function in Kashf al-Mahjub. MethodologyIn this article, by using the descriptive-analytical method, after the complete investigation of Kashf al-Mahjub and extracting all the inner and spiritual effects of music, the findings have been categorized. The basis of the arrangement of the topics of the article was on the techniques with frequency and the priority of the plan was based on the amount of abundance. The analysis is based on selected evidence. DiscussionSaj' and puns are the most important and frequent musical factors in Kashf al-Mahjuband. These literary devices are present in almost all parts of Kashf al-Mahjub. From the positions of mentioning the names of saints and describing their personalities and conditions to stories and quoting the words of the sheiks and their instructions, as well as explaining mystical terms.Among the three types of Saj', Hujwiri has a special view on the parallel Saj', especially in the beginning of the introduction of mystics and sheiks. By using the rhythm from Saj', in addition to raising the musical level of his speech, he presents melodious images of the mystical character he is looking for, and it is in these parts that he uses time, music, and image at the same time.After Saj', puns, especially periphrasis and then Moharraf, Khat, Tam, Qalb (types of puns), and derivation play a significant role in increasing the composition and effect of Kashf al-Mahjoob.By repeating words, in addition to inducing music resulting from repetition, Hujwiri has shown the great importance of certain concepts. These repetitions are mainly seen in the introduction and description of religious and mystical leaders, quoting their words and explaining mystical terms.In the phonemes used in Kashf al-Mahjub, phoneme repetition, like word repetition, has a two-way role (phonetic and content); but compared to that, the more prominent and visible goal seems to be the addition of the music of the word. In the description of mystics, Hujwiri has made good use of the musical power of phonology and has increased the effect of speech by using the combination of music and imaginative images.Hujwiri's abundant use of the contrast device has enhanced the musical value of his work from the point of view of content balance. Most of the available evidence in this field can be seen in the discussions related to the explanation of mystical terms, which are mainly dual and contradictory concepts. Proportions are often of ordinary proportions, which mainly revolve around natural phenomena.Repetition of special topics such as "repentance", "death and survival", "science and its derivatives", "poverty and wealth", "absence and presence", "consent" and " Sahv and Sokr" or (alertness drunkenness( and their related words. On the one hand, music enhances Hujwiri's speech, and on the other hand, it shows their great importance in his thought and speech.
(
, 
, 
)
