ضرورت تصحیحِ دوباره دیوان غزالی مشهدی (مقاله علمی وزارت علوم)
درجه علمی: نشریه علمی (وزارت علوم)
آرشیو
چکیده
غزالی مشهدی از شاعرانی است که در قرن دهم هجری بنابه دلایلی به هند مهاجرت کرد. وی آثاری به نظم و نثر دارد که یکی از آنها دیوان اشعارش، موسوم به آثار الشباب است. این دیوان شامل مقدمه ای به نثر و اشعاری در قالب قصیده، ترکیب بند، ترجیع بند، غزل، مثنوی، قطعه و رباعی است که در سال 1388 با تصحیح حسین قربانپور آرانی، ذیل انتشارات علمی و فرهنگی به چاپ رسیده است. این چاپ نخستین تلاش برای نشر دیوان این شاعر مشهور سبک هندی بوده است. در این چاپ، با وجود کوشش مصحّح که در مقدمه بدانها اشاره کرده، سهو و خطاهای بسیاری به بخش های مختلف دیوان راه یافته است. بیشترین خطاها در کاربرد علائم نگارش و سجاوندی است. این لغزش ها موجب غلط خوانی اشعار شده است؛ حتی ممکن است سبب بدفهمی مقصود شاعر شود. ایراد دیگری که کار خواننده را دشوار می کند، آن است که هم در مقدمه و هم در یادداشت های دیوان، در بیشتر اوقات، ارجاعات ارائه شده به شعر غزالی و یا حتی به آثار محققّان دیگر نادرست است. افزون بر این، سهو و سهل انگاری در مراحل تایپ اشعار موجب شده است گاه حرف یا حروف و یا نشانه ای اضافه وارد متن شود و گاه برعکس آن، حرف یا حروفی از واژه بیفتد. در بخش یادداشت های دیوان هم، مصحّح محترم در بیشتر اوقات فقط به توضیح معنای لغوی واژه و یا اصطلاح بسنده کرده است که همین توضیحات هم به طور متعدد، ارتباطی با معنای مقصود شاعر ندارد. همه اینها موجب شده است تا این تصحیح، ویژگی های یک تصحیح علمی و انتقادی را نداشته باشد.The Necessity of Re-Correcting the Divan of Ghazali Mashhadi
Ghazali Mashhadi is one of the poets who migrated to India in the 10th century for some reason. He has some works in verse and prose, one of which is his Divan of poems known as Asar al-Shabab . This Divan includes an introduction in prose and some poems in the form of Ghasideh (ode), Tarkib-band (poem of several stanzas of equal size), Tarji’-band (strophe poem), Ghazal (sonnet or lyric poem), Mathnavi (couplet poem), Qet’eh (an elegy consisting of only two lines and rhyming in the last hemistiches), and quatrain, which were published with Hossein Qorbanpour Arani’s corrections by Elmi va Farhangi (Scientific and Cultural) Publications in 2009. In this edition, despite the mentioned correcting efforts in the introduction, many errors have found their way into different parts of this Divan. Most of the errors were related to punctuation. These slips could cause the wrong reading of the poems and might even cause misunderstanding of the poet’s intention. Another problem that could make the reader’s job difficult was that the references given to Ghazali's poetry or even to other scholars’ works were incorrect both in the introduction and notes of the Divan in many cases. In addition, the mistakes and carelessness in the steps of typing the poems had sometimes caused (an) extra letter or letters or a sign to enter the words or be omitted from them in the texts. Also, in the section of notes, the honorable editor had only explained the literal meanings of the words or terms, which had nothing to do with the meanings intended by the poet in many cases. Introduction In the last century, researchers have taken a great approach toward correcting and printing valuable Persian literary texts. Of course, it should be noted that any effort in this field must be accompanied by great care in order to produce a criticizable and referenceable work. One of the texts that was corrected and published for the first time in 2009 is Ghazali Mashhadi’s Divan . “Ghazali was born in 930 Hijri (1522 AD) in Mashhad. He went to Qazvin when he was young and served in the Safavid army of Shah Tahmasb” (Golchin-e Ma'ani, 1990, p. 933). According to the author of Tazkirah Majma’ al-Khawas , Ghazali was forced to leave Iran because of religious fanatics. “Due to his atheism and intemperance in Iraq, they aimed at killing him and thus, he fled from there to Deccan” (Bada’oni, 1869, p. 170). Regarding the poetic style and technical features of Ghazali's words, there is no explicit and clear information in the existing Tazkirahs. For the first time, Zabihullah Safa commented on Ghazali's rhetorical style. "Strength and coherence, along with fluency of words and clarity of meaning, are the characteristics of Ghazali's speech in all types of his poetry. Throughout his poems, his speech is firm and strong and at the same time fluent and clear." (Safa, 1989, p. 704). Materials and Methods The present study was done using a descriptive-analytical method relying on library sources. For this purpose, the different sections of correction of the Divan were reviewed and criticized based on content analysis by using reliable sources. Discussion of Results and Conclusions In the introduction, the editor raised a discussion about Ghazali being influenced by other poets. He has considered a few poets, including Amir Khosrow Dehlavi, Hassan Dehlavi, and Bab Afghani, as the poets, by whom Ghazali Mashhadi has been influenced. To prove his claim, he mentioned only one verse, in which Ghazali mentioned the names of those poets. In another part, he mentioned some Ghazals (sonnets) by Ghazali and concluded that he had composed them under the influence of Hafez. It should be said that there were no sonnets with such a rhyme and rhythm in the two authentic editions of Hafez’s Divan , i.e., Natel Khanlari's correction and Ghani and Qazvini's correction. In another part of the introduction, he said about Ghazali's style that “He has been a powerful, eloquent, and prolific poet and strength and coherence, along with fluency of words and clarity of meanings, are among the characteristics of Ghazali's speech in all types of his poetry”. This was despite the fact that on the next page, his judgment has been violated. Of course, Ghazali's speech has not been without weakness in his lyrical poetry and he has had deficiencies in terms of grammar and language like any other poet. Another part of the problems of Ghazali's Divan was caused by mistakes in the spelling of words. These mistakes could be divided into two groups. The first group included the cases in which an additional letter or dot has been used in the structure of a word. The second group was the reverse of the previous one, that is, the problems caused by omitting a letter from a word. The use of punctuation marks in the Divan of Ghazali Mashhadi could be criticized from two perspectives. First of all, their applications did not follow a specific and uniform approach or procedure. In some parts, there was no need to use these marks, while they had not been used in some other parts where they were needed. The editor had not used the punctuation mark of letter stillness (indicating the pronunciation of a consonant without a vowel sound after it) in some parts where it was necessary either. The second criticism was that he used punctuation marks and even vowels incorrectly in many cases. Since this caused wrong reading of the poems, it might create ambiguity and disturbance in conveying the meanings of the words as well. There were several cases that required accuracy in the semantic context of the words and correction of some words and expressions. In the section of notes, the editor has only mentioned the literal meanings of the words and terms. This was despite the fact that these explanations had nothing to do with the poet’s intended meaning in many cases. All these cases would require a more accurate and scholarly correction of the Divan of Ghazali Mashhadi once again.
تبلیغات
