Abstract:
مرثیه بر اشعاری اطلاق میشود که در ماتم گذشتگان سروده شده باشد. از لحاظ نوع ادبی، مرثیـه را جـزء اشـعار غنـایی بـه حساب میآورند. مرثیه ممکن است در هر قالبی سروده شده باشد؛ اما قالب قصیده پرکاربردترین قالب برای سـرودن مرثیـه است . خاقانی علاوه بر اینکه در سرودن مدح ، هجو، حبسیه و هجو تبحر فراوانی داشته ، در سرودن مرثیه هم ، توانـایی خـود را به اثبات رسانده است . مرثیه های خاقانی، اغلب در قالب قصیده و در بحر رمل سروده شده است . خاقانی به تناسـب فـرد متوفی، برای هر کدام از مرثیه های خود، لحن و سبک خاصی بکار می برد. مرثیه هایی که در رثای رجال حکومتی و مـذهبی است ، عمدتا، با ذکر مقدمه ای در ناپایداری جهان و بی وفایی روزگار شروع مـیشـود. خاقـانی بعضـی از مراثـی را بـا ذکـر مقدمه ای در احوال ناگوار و داغدار خود آغاز میکند؛ این مورد، غالبا در اشعاری که شاعر در رثای همسر خود سروده ، نمود پیدا میکند. شاعر در رثای فرزند خود با دعوت از همه به گریستن ، آنها را به همدلی فرا مـیخوانـد. همچنـین متناسـب بـا شخص متوفی از صفات و تشبیهات متناسب او استفاده میکند.
Elegy in word is derived from Rasa-Yarso means weeping on dead people. It is also defined as enumerating deceased benefits and composing the poem about. Elegy is categorized into different parts as follows: 1. Courtier 2. Personal 3. Religious 4. Philosophical 5. Social 6. Fictional.
Not only did Khaghani prove himself at composing praise and commendation، lampoon and imprisoned poems، but also he proved himself at composing elegy. Commentators of khaghani’s poems know him as an exclusive poet regarding elegy- making. Also Khaghani composed some odes in loyalty mourning and the world transience as well as personal، courtier and religious elegies which are sub- categories of philosophical elegies. Khaghani’s “Ivane Madayen” ode is considered as a social elegy. In this article، one just analyzes the elegies that Khaghani composed about people. This type of elegies in Khaghani’s Divan are categorized in three parts: a) Personal and family elegies which are about Khaghani’s son، wives، girl، son-in-law، uncle and his cousin، b) Courtier or ceremonial elegies which are about Nosrat od-Din Espahbud Leyalvashir، Fakhr od-Din Manuchehr Shervanshah، Shervanshah’s children (Azed od-Din Fariborz and aljijak) and other courtier men، c) Religious elegies composed about Imam Mohammad Yahya، Sheikh ol-Islam Abu Mansoor Hafade، Azed od-Din bu Emran and other religious characters.
There have not been any comprehensive research projects conducted about Khaghani’s elegies. Nasrollah Imami had presented summarized explanations in “Composing elegy” book at Persian courtesy، in the part about Khaghani that were valuable، and he used them as the reference in this article. Two valuable articles were written about comparative literature: comparison of Khaghani’s and Hogo’s elegies about sorrow of their sons by Reza Irandust Tabrizi and “Elegy composing in Persian and Arabic courtesy with the help of comparing Khaghani Shervani and Abolhasan Tahami’s elegy by Naser Mohseniniya and Arezu Yazdanpanah Kermani. In Persian courtesy، elegy is often versified and it may have different genres، but the most frequently used genre up to the end of 8th century is the ode، and fragment genre، Refrain and compounding are next ranks. Among Khaghani’s elegies، twenty-one elegies are composed in ode genre، sixteen of which have row and five others do not have any row.
After ode، Fragment genre has more applicability in Khaghani’s Divan in elegies. Generally، he composed nineteen Fragments about the courtier and religious men. Khaghani also composed four composite-tie about his son mourning and government’s personnel. One thing to be noticed by poet about elegy is the proportion of verse with subject. Most of prosodic verses couldn’t be used in elegy. From the beginning of Persian poetry to the end of 8th century، Ramal poetical meter (faelaton foot) is the most usable and Gharib poetical metre (faoulon foot) is less usable one among others. In Khaghani’s Divan Ramal poetical meter with fifteen cases، the most usable poetical meter is elegy. After future، Mozare octagonal poetical meter (mafoulo faelato mafailo faelon) and khafif poetical meter (faelaton mafaelon faelon) are placed next with six cases. Mojtas poetical meter (mafaelon faalaton mafaelon faelon) monsareh poetical meter (moftaelon faelato moftaelon fa) and gharib poetical meter (faoulon faoulon faoulon faal) are less usable poetric matre in Khaghani’s Divan about composing elegy.
In Khaghani’s elegies like other poet’s elegies، imagination has been shown differently. Although Khaghani couldn’t hide his influence from the coming event، he also does not give up imagology. According to the conducted studies، one should say that Khaghani made nice images in elegy; images followed by formality، but its amount is less than Khaghani’s other odes. Simile is presented more than other imaginations in Khaghani’s elegies. Next step belongs to the metaphor. In addition to simile and metaphor among literary verses، hyperbole is of high frequency. This craft was so effective in making and activating marvelous tone. In courtier elegies، the poet tires to compensate lack of emotional burden by the help of exaggeration and where there is high emotional، aspect of exaggeration has no space or it is not suitable. After hyperbole، allegory is of high frequency among Khaghani’s elegies. Khaghani had basically used allegory in his uncle’s elegy and Imam Mohammad Yahya، Abu Mansoor hafade and Naser od-Din Ibrahim. In most of elegies، Khaghani starts his ode with an introduction on world transience and disloyalty of the day. Khaghani basically gives speech about universe transience and disloyalty at the beginning of men’s courtier and religious elegies.
Some of Khaghani’s elegies starts with poet’s mournful mood and the beaten poem. Khaghani started composing all his elegies about her wife’s mourning with description of his unpleasant mood. The beginning of Khaghani’s odes which he had composed، was followed by the addressee’s invitation to unanimity. All the factors are at the service of content in Khaghani’s elegies and they are used to activate the meaning of mourning and sorrowful space. One of these factors is row. Row is at the service of elegy content in accordance with the aspect of proportion in long vowel as well as semantic proportion. Of other factors used in relation with elegy one can name the adjectival proportion and similes for the deceased. For example، Khaghani used items like garden sight، cypress- figure and brilliant sun and in mourning of his wife، and in the morning of prophet’s names as well as religious men in making-image.
Machine summary:
"خاقانی عمدتا در شروع مرثیه های رجال درباری و مذهبی، از ناپایداری دنیا و بی وفایی سخن میگوید: آسمـــــان را گسستــــه شـــــد زنجیـــــر داد فــریـــــــاد خــــــوان نخواهـــــــد داد بــــر زمــین صــد هــزار خــون ریــــزست یــــک دیـــــت آسمــــــان نخـواهــــــد داد 10 (خاقانی، ١٦٨:١٣٦٨) بعضی از مراثی خاقانی با مقدمه ای در احوال سوگوار و مصیبت دیده شاعر شروع میشود: راه نفســـم بســـته شـــد از آه جگرتـــــاب کــو هــم نفســی تــا نفســی رانــم از ایــن بــاب (همان : ٥٦) 11 رفــــت روز مـــن بـــــه پیشـــین ای دریـــغ کــــار بــــر نــامــــد بــــآیین ای دریــغ (همان : ٧٨٠) خاقانی در تمام مرثیه هایی که در رثای همسر خود سروده ، شعر خود را با شرح احوال ناگوار خود شروع کرده : 12 بـــس وفــــــا پـــرورد یــــــاری داشتـــــم بـــس بــراحـــــت روزگـــاری داشتـــــــم (همان : ٣٠٧) شروع قصایدی که خاقانی در رثای فرزند خود سروده ، با دعوت از مخاطب به همدلی است : صبحگــاهی سر خونــاب جگـر بگشـاییـــد ژالـــه صــبحدم از نــرگس تــــر بگشــاییــــد (همان : ١٥٨) ز آتش دل چـو رسد دود سوی روزن چشــم از ســوی رخنــه دل جــان بـــه شــرر بــاز دهیــد (همان : ١٦٢) لنــواز مـن بیمــار شمــاییـــد همــــه بهــر بیمــــار نــوازی بــــه مــن آییــــد همــــه (همان : ٤٠٦) خاقانی همه مخاطبان خود را همدرد و همدل خود دانسته : همه هم حالت و هـم غصـه و هـم درد منیـد پاســخ حـــال مــن آراســته تـــر بـــاز دهیـــد (همان : ١٦٣) همه هـم خوابــه و هـم درد دل تنـگ منیــد مرکـــب خـــواب مـــرا تنـــگ ســـفر بگشـــایید (همان : ١٥٩) از این روست که آنها را دعوت به گریستن میکند."