واژگان و فرهنگ هندی در سروده های فارسی مخلص لاهوری (مقاله علمی وزارت علوم)
درجه علمی: نشریه علمی (وزارت علوم)
آرشیو
چکیده
رای رایان آنندرام لاهوری (1107‑1164 ق.) متخلّص به «مخلص»، از شاعران و نویسندگان زبردست هندوی هند در سده دوازدهم است که زبان پارسی را پاس می داشته است. از او به جز دیوان اشعار، نوشته های مفید و مهمی در زمینه های گوناگون فرهنگ نویسی، تذکره نویسی، وقایع نویسی، خاطره نویسی، سفرنامه نویسی و... برجای مانده است. دیوان مخلص، مجموعه اشعار فارسی و ریخته اوست که دست نوشت هایی از آن در کتابخانه رضا (رامپور، هند)، کتابخانه مولانا آزاد (علیگر، هند) و کتابخانه موزه بریتانیا (لندن) نگهداری می شود و نگارندگان آن را تصحیح کرده و تعلیقاتی بر آن نگاشته اند. از جلوه های کم وبیش برجسته سروده های او عبارت است از: کاربرد برخی واژگان هندی که در سروده های دیگران کمتر دیده می شود؛ کاربرد برخی واژگان فارسی و عربی با معنایی به جز آنچه در فارسی ایرانی شناخته و رایج است؛ بازتاب برخی از آداب و رسوم هندی. در این پژوهش کوشش شده ست تا به شیوه استقرایی، بازتاب اینگونه واژه ها و آیین ها در سروده های مخلص لاهوری، بررسی و گزارش شود و به این پرسش پاسخ داده شود که زبان و فرهنگ هندی تا چه اندازه در سروده های فارسی این شاعر هندوی هندی زبان پارسی گوی، بازتاب داشته است. این پژوهش در زمینه فرهنگ نویسی و فرهنگ پژوهشی و واژه شناسی در زبان و ادب هندی و فارسی کاربرد دارد.Vocabulary and Indian Culture in the Persian Poems of Mukhlis Lahori
Rai Rayan Anand Ram Lahori (1107-1164 A.H.), known as ‘Mukhlis’, is one of India's great Hindu poets and writers. Apart from Diwan poems, his important writings in various fields of lexicography, biography writing, chronicle writing, memoir writing, and travelogue writing have been left by him. Mukhlis’ Diwan is a collection of his Persian poems and Rekhta, manuscripts of which are kept in Reza Library (Rampur, India), Moulana Azad Library (Aligarh, India), and British Museum Library (London), and the authors have corrected it and added notes on it. In his Diwan , there is the use of some Indian words that are less common in other people's poems, as well as the use of some Persian and Arabic words with a meaning other than what is common in Iranian Persian, and the reflection of some Indian customs. In the present study, an attempt has been made to investigate and report the reflection of such words and rituals in the Mukhlis’ poems and to answer the question of how much India and the Indian culture is reflected in the Persian poems of this Persian-speaking Indian Hindu poet. This research is applied in the direction of lexicography, cultural research, and lexicology in the Indian and Persian languages and literature. Introduction Rai Rayan Anand Ram Lahori, mostly referred to as "Anand Ram Mukhlis" in the books of biography and history, was sometimes separated from Mukhlis Kashani by the name of Mukhlis Lahori. In poetry, he was a student of Mirza Abdul Qadir Bedil (d. 1720) - the pinnacle of Indian style - and also one of the students and then one of the very close friends and companions of Siraj ul Din Ali Khan Arezoo (d. 1756) - a well-known Indian poet, writer, and scientist. He had strong ties with other poets and scientists of his time, especially Hazin Lahiji (d. 1766 AD). His works are Diwan Poems , Mirat ul Istelah , Chamanistan Sokhn , Roqaat , Karname Eshgh , Hangameh Eshgh , Pari Khane , Badaye va Vaqaye , Tazkerat ul Shoara , Savane ul Ahval , Rahat ul Afras . Mukhlis’ Diwan is a collection of Persian poems written by him. His compositions include 500 sonnets, 150 quatrains, several historical articles with historical values, and several scattered verses in the Urdu language. It is no wonder a poet like Mukhlis, whose mother language and culture are Indian, and Persian language and culture is his second language and culture, sometimes uses the words of his native language in his Persian poems, especially where his words are inspired by his native culture. It is on this basis that not only Indian Persian speakers but also Iranian Persian speakers who went to India, sometimes used Indian words in their compositions. However, some people did not like this work and did not consider it correct, and this point of view became the subject of debates about the legitimacy or wrongness of this method. Khan Arezoo made the twenty-seventh chapter of his book Mosmer for this special discussion and issued a fatwa on its authenticity. However, he considered it to be too much and he considered excesses to be unacceptable (Mosmer, p. 153). As he spoke in 28 chapters about the manipulations of Persian speakers in Indian vocabulary and Mukhlis, who is Arezoo's student, he repeated the teacher's fatwa in Mirat ul Istelah and considered the injustice to be characteristic of unripe and novices: Some loved ones believe that it is not right to use Indian words in Persian poems, don’t accept; because these things are straiting (sic.) for the unbelievers and beginners, and the people of power and talent are free... (Mukhlis-Lahori, p. 418, 447) Based on this belief, Mukhlis used Indian words in his poems without going too far, especially in places where his speech was based on Indian culture and there was no word to express it in Persian. Apart from these, there are some Persian words in his speech that are either not used in Iranian Persian or are used in other meanings; therefore, they can be misleading and deceptive for Iranians. It should be mentioned that such usages also arose from the fact that Persian is his second language and not from the language of ordinary people, i.e. the original speakers, who learned more from books and the language of poets and writers, and this is the background to Persian in vocabulary. Also, in the structure, sometimes changes are found in Iranian Farsi. The transformations open the way for protest and criticism of some Persian writers and on the other hand, some consider him innocent in these transformations. Because whoever learns the language not by hearing and from the language of normal and common speakers, but by analogy and from books and diwan, will inevitably undergo some transformations. Since there is no space to examine this debate here, we will leave it in its place and skip it by mentioning a report by Khan Arezoo in Mosmer : Some of the poets of India said to one of the poets of Iran: Mullah! You have learned Farsi from your elders and your teachers like Khaqani and Anwari (Arezoo, p. 31). Materials and Methods: In this research, our main sources are the manuscripts of Diwan Mukhlis of Lahore. We have given the complete and correct definitions of these words in three different sections (i.e. Indian vocabulary, Farsi or Arabic words with different or unusual meanings, and Indian customs after extracting Indian or Persian and Arabic words that have different and unusual meanings using inductive and library methods, especially using dictionaries and words. Research Findings The results of the study show that sometimes the same words have different meanings in two different languages, and this issue has been evident in the Diwan of Mukhlis Lahori. The traces of the poet's native language and native culture are always evident in writing poetry in a second language, and this is also the case in the Diwan of Mukhlis Lahori. Discussion of Results and Conclusions Based on the results of this study, it can be concluded that: Mukhlis Lahori, a Persian-speaking Indian Hindu, one of the worthy students of Bedil Dehlavi and Khan Arezoo, was a capable poet and writer who has made the Persian language and culture forever indebted to him with the useful and important works he created in various fields. Since he is sincerely Hindu and Indian when he composes and writes in Farsi, consciously or unconsciously, he takes advantage of his native words and culture and puts them in his Farsi poems. Since Indian Farsi has differences from Iranian Farsi and Mukhlis learned Persian mostly from Persian texts and not from natives of Iran. Sometimes in his words, he uses words that are characteristic of literary and ancient Persian texts and in standard Persian. Iranians do not use these words in everyday language There are differences in the meanings of some words in Persian and Hindi, thus knowledge is necessary for a better understanding of the sincere poetry of Lahori and his contemporaries.
تبلیغات
