معرفی رسائل العشاق و بررسی شیوه سیفی نیشابوری در آداب کتابت و انشای نامه های عاشقانه فارسی در سده ششم هجری (مقاله علمی وزارت علوم)
درجه علمی: نشریه علمی (وزارت علوم)
آرشیو
چکیده
سیفی نیشابوری، از ادبای سده ششم، قدیمی ترین مجموعه نامه های عاشقانه فارسی را با عنوان رسائل العشاق و وسایل المشتاق فراهم کرده است. او در این اثر، صد نامه در موضوعات مختلف عشقی ترتیب داده است تا هر گرفتار عشقی به اقتضای شرایطش یکی از آنها را برگزیند و برای معشوق یا محبوب یا مخدوم خویش بفرستد. او برای نگارش نامه های صمیمانه و عاشقانه، از اصول و شیوه ای موسوم به «عهود استرسال» سخن می گوید. نویسندگان این مقاله کوشیده اند ضمن معرفی این اثر، با مراجعه به متون فنِّ ترسّل و منشآت موجود در ادب فارسی، به ویژه آثار نزدیک به روزگار سیفی، ساختار نامه های رسائل العشاق و نیز برخی آرای وی در نگارش نامه های عاشقانه (عهود استرسال) را بررسی کنند. این بررسی ها نشان می دهد سیفی ساختار نامه ها را با توجه به ارکانی مانند ابتدای نامه (شاملِ عنوان نامه، تسمیه، مقدمه یا صدر نامه، دعای بر پیامبر اکرم و آل او)، رکن کلام (شاملِ اما بعد و متن نامه) و رکن خاتمه تنظیم کرده است. همچنین خود را موظف کرده است در شواهد شعری تاحدّ امکان به نام شاعر اشاره کند؛ البته در خاتمه آورده است که هرگاه شخصی بخواهد یکی از این نامه ها را برای معشوق یا محبوب بفرستد، لازم است «تسمیه» را از ابتدای آن بردارد؛ شاید به این دلیل که این عنوان، اجلّ از آن است که در ابتدای هر نامه ای قرار بگیرد. سپس احتمالاً برای ایجادنشدن خلل در پیوستگی کلام سفارش می کند در رونویسی و ارسال نامه ها، نام شاعران حذف شود؛ همانگونه که معمول مراسلات است.An Introduction to Rasāyel-ul-Oshāgh and Investigation of Seyfi Neyshabouri's Method in Writing and Composing Persian Romantic Letters During 6th Hegira Century
Seyfi Neyshabouri, a 6 th century literary man, has compiled the oldest complex of romantic letters known as "Rasāyel-ul-Oshāgh va Vasāyel-ul-Moshtāgh". He has provided one hundred letters in different subjects for all lovers to select their own oppropriate one and send it for their beloved. He has used of a way known as "sending convenants" (Ohud-e-Estersāl) to write friendly and romantic letters. The authors in this article have tried to introduce this work and, by referring to persian books on writing and composing techniques, especially those related to this work, discuss about the construction of letters included in it and its author's opinions on writing letters. Findings showed that Seyfi has composed letters by considering elements such as preface (including title, citing God's name (Tasmiyeh), introduction or "Sadrnāme", prayer for the Prophet and its family), main context (including a part referred to "Ammā Baad" and main text) and conclusion of the letter. In conclusion, he has suggested that one may delete Tasmīyeh and poet's name, if he/she want to send a letter for his beloved. Introduction The study of letters and materials provided by Seyfi about letter writing help us to be acquainted with structure, conventions and techniques of letter writing during 6 th century, before and after it. Seyfi has written Rasāyel-ul-Oshāgh with an appropriate introduction about it's writing reason, defining love hierarchy and then one hundred romantic letters about different issues of lovers, and a conclusion. He has presented it to "Fakhr-ul-Moāli Mohammad ibn Mahmood ibn Zakariā". This book is a functional work. So, its author's purpose has been for reader to send its letters for his/ her beloved by some modifications in them. The book is not written with a difficult and ornated prose and is not fulled with arabic unaquainted words. Only introduction and first and second letters as well as the start of some letters are ornated. One major characteristic of this work is using of Khorasani style poems as an example. This has turned it to a precious treasure of poems attributed to the time before the Mogul attack. Principles of writing romantic letters in Ras ā yel-ul-Osh ā gh Totally, letters included in Rasāyel-ul-Oshāgh have three main parts: introduction, main text and concluding remarks. These parts have the following sections: the letter's start (Rokn-e-Sadr-e-Maktoob): Sadr-e-Maktoob or written start is the first section of a letter and is seen within written literary works through prayer sentences, praise and citing addressee's features, poetical and rythmical phrases, description of spring and autumn, and persian and arabic poems. Subsections are: 1) The letter title: title has been referred to as the first part of the letter involving name and nickname of the addressee and the letter writer. Seyfi has avoided from citing words such as sender and receiver and has provided the letters' subject in title. However, the work's concluding remarks involves weighted and interesting suggestions for readers to modify letters by citing sender and receiver name. 2) Tasmiyeh (bi-smi llāhi rahmāni r-rahīm): the phrase "bi-smi llāhi rahmāni r-rahīm" (means "in the name of god, the compassionate, the mercifull") is appeared at the start of all letters and then sentences such as "va bi-hil houl val ghovvah" (by the movement and power of God), "va bi-hil ghovvah" (by the help of God) and "va bi-hil Avn" (by the assistance of God) are added to it. At the end of the book, he has stated: "starting a letter with "bi-smi llāhi rahmāni r-rahīm" isn't a common principle of letter sending (Estersāl); so, one who want to send a letter for his beloved is better to delete it." It seems that by Estersāl he means friendly and informal letters known as "Ikhvāniāt" which have not been started by Tasmīyeh or God praise. The reason is the value the Muslim consider for using of "bi-smi llāhi rahmāni r-rahīm". 3) introduction or Sadrnāmeh:one major principle in letter writing has been paying attention to using of nickames. All letters in Rasāyel-ul-Oshāgh are started by citing or praying for a beloved one. 4) prayer for Holy Prophet and his family: most times, the author uses phrase "be haghe Mohammad va āleh" (means "for the sake of Mohammad and his family") at the end of introduction of letters. Sometimes he has used of swearing sentences (sentences in which one take an oath). Main text (Rokn-e-Sharh-e-Ishtiāgh) This section includes the following subsections: 1) the letter extention (Ammā Baad): all letters except for some are continued by an addressing phrase as "Ammā Baad…" (means "anyway") and then comes main text of letter. 2) main text of letter: this subsection involves the major part of letters. Rasāyel-ul-Oshāgh have a climate similar to odes (lyric poems) which may be attributed to the author's interest in lyric poems. A characteristic of all letters is their context explaining function, events, and mutual behaviour of lovers. The author's opinion about mutual romantic relationships is a realistic one influenced by the public culture. In letters ordering, Seyfi cosiders a certain sequence and tries to discuss about subjects only once a time from both lover and beloved perspectives. Conclusion (Rokn-e-Khatm-e-Maktoob): Letters are ended by a conclusion. Almost all letters (in except of letters No. 21, 34, 49, 91, and 99) have a hemistich, a couplet(s) in their end. These couplets or hemistiches are in continuation of the letters' subject. Conclusion Analysis of Rasāyel-ul-Oshāgh and Seyfi's suggestions at the end of the book showed that: 1- Rasāyel-ul-Oshāgh includes one hundred letters about lovers and their mutual issues which put Occurrence school of versifying in the mind of readers. 2- studying letters and looking at the author's cues in conclusion part indicates that he has composed them considering elements such as preface (including title, Tasmīyeh, introduction, and praying for Prophet), main text (including a part known as "Amma Baad" and the letter text) and conclusion. Seyfi have tried to discuss about issues once a time from both lover and beloved perspectives. 3- Seyfi has regulated his book structure by including introduction (preface), main text and conclusion parts. He has obliged himself to cite the poets' name as much as possible and wants readers to cite their name if it is dropped unintentionally. Also, he has started all letters by citing God's name; but in conclusion he emphasizes that to use of these letters, one may delete this phrase and suggests that it is better to remove the poets' name as it is common in letter writing.
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