بررسی ویژگی های زبانی در دیوان خطی خاوری کوزه کنانی (مقاله علمی وزارت علوم)
درجه علمی: نشریه علمی (وزارت علوم)
آرشیو
چکیده
حاج میرزا معصوم خاوری کوزه کنانی شاعر و عالم دینی قرن سیزدهم هجری و از سخنوران دوره بازگشت ادبی است. آثار منظوم نفیس خطی خاوری حدود بیست و پنج هزار بیت است که به شیوه شاعران عصر بازگشت سروده شده است. این آثار نشان می دهد خاوری شاعرانی مانند ابوالعلاء گنجوی، فلکی شروانی، خاقانی، جامی، نظامی و محتشم کاشانی را در سرودن اشعار در نظر داشته است و به نوعی احیاکننده شیوه آنان است. پرسش پیش روی مقاله این است که با توجه به کاوش ویژگی های زبانی و بررسی آنها در سه سطح آوایی، لغوی، نحوی، باید نسبت شعری خاوری را با کدام دوره ادب فارسی (خراسانی یا عراقی) در عصر بازگشت بررسی کرد؟ در این مقاله نشان داده شد که جغرافیای محل زندگی شاعر در آذربایجان و کاشان تأثیری شگرف بر زبان و بیان شاعر گذاشته است و کلام شاعر متأثر از محیط و اوضاع محل زندگی اوست. استباط کلی ما این است که خاوری با توجه به شخصیت مذهبی اش شعر و ادب را همانند ابزاری برای انتقال مفاهیم دوست داشتنی و مؤکد خود به کار برده است.Investigating Linguistic Coordinates in the manuscript of Khavari Koze Kanani’s Divan
Haj Mirza Masoum Khavari Koze Kanani was a poet and religious scholar of the 13 th century Hijri and one of the speakers of the period of ‘Literary Return’. His works of exquisite calligraphy have about 25000 verses, which were written in the styles of the poets of the mentioned period. This shows that Khavari considered poets, such as Abul Ala Ganjavi, Falki Sharvani, Khaqani, Jami, Nezami, and Mohtsham Kashani, in writing his poems and somehow revived their ways. To explore linguistic coordinates in his poems and investigating them at the phonetic, lexical, and syntactical levels, it is first necessary to ask which period of Persian literature (Khorasani or Iraqi) Khavari's poetry has been related to in the era of ‘Literary Return’. In this article, we showed that the poet's place of residence in Azerbaijan and Kashan had a tremendous impact on his language and expression. In fact, his speech was affected by the environment and conditions of his place of residence. Our general inference was that Khavari had used poetry and literature as a means of conveying his favorite and emphasized concepts, while taking into account his religious personality. Introduction: ‘Literary Return’ is a period in the history of Iranian literature from the second half of the 12 th century to the emergence of constitutional literature in the early 14 th century. There is a strong possibility that the expression of ‘return’ was used for the first time by Ustad Malek al-Shoara-ye Bahar. The forms of poetry used in the period of ‘Literary Return’ lack any originality. Poems like Ghazal, Masnavi, Qet’e, and quatrain are among the most common forms that have attracted the attention of poets in this period. However, the rhythms (measures) of the poems do not indicate any particular transformation and freshness. There were two groups of poets in this period. Some people like Saba, Majmar, and Yaghma were only poets. Some others, such as Mirza Habib Esfahani, Qa’em Maqam Farahani, and Neshat Esfahani, wrote poetry besides being engaged in other professions. An increase in the volume of poems and number of poets compared to the previous periods strengthened most of the poems by returning to the basic principles of Khorasani style of poetry. It goes without saying that the poets of Khorasani, Iraqi, and Azerbaijani styles have had a significant impact on the poetry of later periods. Their poetic themes with poetic music and their subtle literary arts have always been the focus of poets, especially during the period of ‘Literary Return’. On the one hand, "Khaqan Association" was the inheritor of the experiences of the two Moshtagh and Neshat associations, while its members were experienced poets and writers, who were familiar with the details of ancient poetry. On the other hand, it was connected to the court of Fath Ali Shah, which was similar to those of Sultan Mahmud Ghaznavi and Sultan Sanjar. Saljuq had established a system for poets and gave them the title of ‘Salah’ (Goodness). He invited them in the hope of getting the mentioned title, while the center of all of the poets was Malik al-Shoara Sabai Kashani. Research innovation: In this article, while announcing the corrected work of Khavari Koze Kanani's Divan and introducing its existing version, we studied the linguistic coordinates of his works and measured the ratio of his poetry with those of the previous poets. We showed that changes in the poets’ places of residence had a significant impact on their poetic languages. Method: Library and field Research materials: descriptive Conclusion: Based on our study, the following results could be drawn: Khavari Koze Kanani was one of the judges and commentators of Saba and Khaqan literary associations. The poet’s thought and language was the result of the consensus of the prominent poets of that time for returning to the styles of the past. Literary associations in those days were as institutions. For the first time in the history of Persian poetry, Dari Persian and its path-breaking direction were approved. Like most of the poets of the ‘Return Period’, Khavari had a simple, mature, and fluent poetic language. Of course, it was influenced by the poetry of the 6th century and later. Some (phonetic, lexical, and syntactic) coordinates of Khorasani style could be seen in the oriental poetry. Linguistically, the style of the oriental poetry was an imitation of Khorasani and Iraqi styles and an inspiration from Azerbaijani style, which was unique in its kind. The main reason for the simple language of the poetry of the return period, which was not so prominent, could be the fact that all of them were in the valley of imitation. Thus, the poems of all the poets were almost the same. They were all written in the same way, except for their appearances, which were in different colors and compositions. The religious nature of Khavari's poetry placed his Divan in a unique and memorable way. Khavari's migration from Azerbaijan to Kashan at a young age indicated the existence of an independent literary school called Kashan Literary School, which was effective in forming his poetry. Khavari had in his mind the migration plans of people like Kalim, Bashi, Talib, and Yaghma from Hamedan, Yazd, Amol, and Jandaq, respectively. They settled in Kashan and put a significant effect on his personal poetic style in terms of linguistic, intellectual, and literary coordinates. 8. Although Khavari's poems were far from ambiguity and complexity compared to those of his contemporaries, they had some special features, as well as beautiful and rare combinations of words based on Khorasani, Iraqi, and Azerbaijani styles. Since he was a community poet in Kashan, his poetry was different. All these cases not only showed his language characteristics, but also had great effects on his personal style.
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