چکیده:
بررسی قصهگویی مولانا در قالب مثنوی، تحقیق دربارة روایتهای او را در قالبهای دیگر شعر مورد غفلت قرار داده است. در این مقاله با روشی توصیفی- تحلیلی، ظرفیتهای قصهگویی مولانا در قالبهای شعری غزل، رباعی و قطعه را بررسی کرده و دریافتیم اگرچه شاعران فارسیزبان در زمینة صورت شعر، بیشترین محدودیتها را داشتهاند، اما شاعر خلاقی مانند مولانا توانسته است در همین تعداد قالبهای شعر فارسی -بسته به شرایطی که در کلیت یک روایت مشاهده میکرده است- برای صورتبخشی به آن روایت از فرم هنری متناسب با آن کمک بگیرد و از آنجا که شکل و فرم یک اثر روایی وقتی به کمال هنری خود نزدیک میشود که بتواند مناسبترین شکل بیانِ محتوای مرتبط با آن را ارائه دهد در قصهگویی عرفانی به پویایی در فرم برسد. بر همین اساس او غزل را برای بازنمایی رخدادهایی که در نتیجه شدت تأثرات عاطفیاش در مکاشفات عرفانی با آن روبهرو میشده، برگزیده است. با ساختار منسجم و یکتای رباعی، تجارب برقآسا و بسیط عرفانیاش را هماهنگ کرده است. از بدایع قصهگویی او در قالب قطعه اینکه از 17 قطعه- قصة او، 15 قطعه در بیان قصههای رمزی است که وحدت مضمون در این قطعات، القاگر وحدت در کلیت تجربههای روحانی او است. بنابراین، ساختار خاص و شکلی قصههایش، نحوة ظهور این قصهها در قالبهای خاص داستانی را مشخص کرده است. همچنین در مقام مقایسه، 84/2 درصد قصهگویی او در غزل است در حالیکه او 27/10 درصد رباعی- قصه و 05/7 درصد قطعه- قصه دارد و این نشان میدهد که مولانا بعد از مثنوی، بیش از هر قالبی در رباعی قصه گفته است.
The study of Rumi's storytelling in the form of Masnavi has neglected the study of his narratives in other forms of poetry. In this article, through a descriptive-analytic method, we study the capacity of Rumi's storytelling in poems of Ghazal, Ruba'i, and Stanza. We found that although Persian poets had the most constraints in the field of poetry, a creative poet like Rumi could have been in the same number of Persian poems, depending on the circumstances in which the narrative was viewed as a whole, to formulate the narrative from an artistic form appropriate to get help. On this basis, he chose the ghazal to represent the events that were followed by the emotional effects of his emotional revelations. With a cohesive, unique structure, he has adapted his wisdom and mystical wisdom. From the narrative of his storytelling in the form of Stanza that consists of 17 Stanza of his poem, 15 pieces in the expression of the narrative stories, the unity of the theme in these pieces, is the cause of unity in the totality of his spiritual experiences. Therefore, the specific structure and style of his stories have revealed the manner in which these stories appeared in particular story forms. Also, in comparison to 2.84%, his storytelling is in a ghazal, while he has 10.27% of the quatrains and 7.05% of the story, and this shows that after the Masnavi, Maulana has said more than any figure in the Ruba'i. Keywords: Molana, Storytelling, Ghazal, Ruba'i, Stanza. Introduction The form of Persian poetry has been considered the most inflexible aspect of poetry in classical Persian literature, which, unlike its Two other aspects language and meaning, remained almost unchanged throughout the classical period. Whatever the reason for this immutability, a closer examination of the poems of some mystical poets shows that sometimes genius and unconventional poets like Rumi have shown innovations in this limited system due to necessity and to be more effective, which are very important and original in their own way. Rumi is famous for his innovation and creativity in different fields of Persian poetry such as language, imagery, and his defamiliarization in many of the fields that have been studied so far. But his innovations in the field of poetic forms are no less than his linguistic deviations. The freshness of mystical experiences that he has reached in the world of revelation is his main motivation in escaping from all the literary norms before him and his new searches for different literary elements. In the field of poetic forms, original mystical experiences have forced Rumi to escape from the closed system of poetic forms to defamiliarize himself in this field as well. A poet like him has considered the proportions between form and content of mystical experiences and the correlation between the two for the success of a narrative. Paying attention to this important point has made him act very intelligently in choosing the appropriate form of the poem for the content of the experience in which he tells the story and uses each poetic form for its own purpose so that in most of the less-known forms of storytelling in Persian literature, such as Ghazal and quatrain, he has written a significant number of mystical stories. Despite Rumi's innovations in the field of poetic form, this aspect of his poetic initiatives has not been considered and analyzed in detail and statistically. Was Rumi's motive for telling stories in a form other than the Masnavi, just for entertainment, or is the choice of the form of the poem consistent with his mystical experiences? In which of the poetic formats did Rumi tell the most stories and how many of these stories are in each format and what are their features? We have tried to find answers based on statistics to these questions and analyze each one in detail in this article to analyze the innovation and initiatives of Rumi in the field of Persian poetic forms. Literature Review Research in the story in the works of Rumi in the contemporary era has especially focused on the form of Masnavi. So that the research on Rumi's story-telling in non-Masnavi forms has been very limited. Nevertheless, in the last few decades, especially in the research of Rumi, the narrative Ghazal has been discussed in the Divan-e Shams. Narrative Ghazal is considered the second form studied among contemporary researchers after the form of Masnavi. Apparently, for the first time, Dr. Shafiei Kadkani mentioned the narrative Ghazal in the Divan-e Shams in the introduction to Shams' Ghazaliat. Dr. Pournamdarian, in the story of the prophets in Divan-e Shams, has elaborated on Rumi's story about divine prophets in the form of Ghazal. Also, in the book "Meeting with Simorgh" and the article "research in a Ghazal of Attar", he has provided valuable information about the experience of the poet's meeting with himself in the form of Ghazal, which can be generalized to the narrative Ghazals of other Persian-speaking mystics. Another book, which was collected by Mohammad Daneshgar from the collection of articles of the Molavi Conference (2008), has several articles in which Rumi's story-telling in Divan-e Shams and its dimensions (point of view, characterization, time and place, etc.) are discussed. "Narrative and Story in Shams' Ghazalyat" and "Shams Divan's narrative Ghazal" and "Reflection on the perspective of the stories of Shams' Ghazalyat" are among these articles that focus on examining the story in Shams' Ghazalyat. Ali Garavand has discussed in detail about the types of stories in Shams' Ghazalyat in the book "About narration in Shams Ghazaliat". Articles "In the presence of Faraman; Interpretation of Rumi Narrative Ghazal" and "Storytelling in Shams's Ghazals" and "Examination of Narrative Ghazal Structure from Shams's Ghazals" by different authors are among other researches that have not revealed any new words on the study of Rumi's narrative form. The research about other forms of narration is much less than this amount; for example, despite the age and popularity of quatrain in different periods of Persian poetry from the past and present, there is very little research on the narrative quatrain. There is no mention of storytelling in quatrain in none of the two books "Raba'i and Raba'i Writers until the end of the 8th century" and "Evolution Raba'i in Farsi". Seyyed Ali Mirafazli neither in his collection of articles nor in his book "Charkhati; Research in the history of Persian quatrains" which is all about the formal characteristics of quatrains, did not mention the story-telling of mystics in this format. In the article "Mulana's Artistic Behaviors in Ruma's quatrains" the story narrative in Rumi's quatrains is mentioned and examples of his quatrains are given. In the article "Analysis of Rumi's quatrains from a narrative point of view", storytelling in Rumi's quatrains has been discussed more extensively. Therefore, despite some scattered research, a comparison has not been made between the storytelling formats in Shams and the characteristics of each format in storytelling. Method The research method in this article is the descriptive-analytical method and the use of library resources. First, we have checked all the forms of Persian poetry available in the Divan-e Shams (based on Forozanfar's edition). And with the definition we have given of narration, we have analyzed and compared the presence of narration and different elements of the story in different poetic formats. We have also tried to show the relationship between the form and the content of the story narrated by Rumi. Results Contrary to the relatively common belief that Rumi is a poet with the largest number of stories in the form of Masnavi and his short narratives in the Divan-e Shams were only from entertainment, we have shown that the dynamics and attention to the form in Rumi's stories are such that there is the greatest match coordination the narrative form and the content of the story that it is intended to represent. It is true that Ghazal - his stories are formed as a result of strong emotional impressions and the symbolic expression of his mystical experiences. But due to the special structure of Ghazal in Farsi, it is possible to show his vivid and unified experiences as much as his quatrains-tales, which are more in number than his narrative Ghazals. The domination of mystical experiences in Rumi is so much that even in the form of Stanza, which is mostly told to tell real stories and with the intention of education, Rumi has turned into a form for showing secret stories in which the lover and the beloved meet in a symbolic space. 4. This research shows that Rumi has more narrations in quatrain than Ghazal.
خلاصه ماشینی:
در اين مقاله با روشي توصيفي- تحليلي، ظرفيت هاي قصه گويي مولانا در قالب هاي شعري غزل ، رباعي و قطعه را بررسي کرده و دريافتيم اگرچه شاعران فارسيزبان در زمينۀ صورت شعر، بيشترين محدوديت ها را داشته اند، اما شاعر خلاقي مانند مولانا توانسته است در همين تعداد قالب هاي شعر فارسي -بسته به شرايطي که در کليت يک روايت مشاهده ميکرده است - براي صورت بخشي به آن روايت از فرم هنري متناسب با آن کمک بگيرد و از آنجا که شکل و فرم يک اثر روايي وقتي به کمال هنري خود نزديک ميشود که بتواند مناسب ترين شکل بيانِ محتواي مرتبط با آن را ارائه دهد در قصه گويي عرفاني به پويايي در فرم برسد.
عمق تجارب و تازگي لحظه هايي که او در عالم مکاشفه به آن رسيده است ، محرک اصلي او در گريز از همۀ هنجارهاي ادبي پيش از خود و تازه جوييها او در عناصر مختلف ادبي است ؛ مولانا که در بيشتر زمينه هاي شعري به عادت ستيزي و هنجارگريزي شناخته ميشود، چگونه توانسته است در نظام بستۀ قالب هاي شعر فارسي نوآوري داشته باشد؟ و اين تازگيهاي او تا چه اندازه است ؟ در نگاه نخست ، «مثنوي» قالب اصلي قصه گويي در ادبيات فارسي است که به دليل محدوديت نداشتن در تعداد ابيات و نو شدن قافيه در هر بيت ، فرم مناسب قصه پردازي و گاه مهم ترين آن محسوب ميشود و معمولاً از توانش يا ظرفيتي که ديگر قالب هاي شعري مانند غزل و حتي قالب هاي کوتاه تر مانند رباعي در زمينۀ قصه گويي دارند، غفلت شده است .