بررسی منصب قصّه خوان و آیین های درباری مربوط به آن در طول تاریخ ادب شفاهی ایران (تا دوره قاجار) (مقاله علمی وزارت علوم)
درجه علمی: نشریه علمی (وزارت علوم)
آرشیو
چکیده
دربار پادشاهان از دیرباز، جلوه گاه آیین ها و مناسباتی بوده که با ریشه های ادب و تاریخ هر ملّت پیوند خورده است و به تبع آن، فرهنگ و تمدّن پیشینیان به گونه ای تسلسل وار، در پیدایش فرهنگ آیندگان تأثیرگذار بوده است. قصّه گویی و قصّه خوانی به عنوان یکی از مناصب و تشکیل دهنده آیین های ادبی در دربار، سنّت دیرین ادب شفاهی را تجدید حیات نموده است. درباره این منصب در ادوار مختلف ادبی می توان گفت: بعضی از نویسندگان، تشکیل اوّلین دوره قصّه گویی ایرانی را مربوط به دوره کیانیان و هخامنشیان و بعضی، خنیاگران عهد اشکانی یعنی«گوسانان» می دانستند. در دوره های بعدی یعنی دوره های سامانیان تا غزنویان، «موبدان» و «ندیمان» این نقش را همراه با حماسه خوانی ایفا کردند و یک ندیم می بایستی دارای مجموعه آدابی از جمله: شاعری، خنیاگری، شیواسخنی و نمایش پردازی می بود. در دوره مغولان نیز، قصّه های ایرانی در اثر تلخی های حمله مغولان بیشتر جنبه مذهبی پیدا کرد. در دربار صفویّه، قصّه خوانی به اوج شکوفایی خود رسید و این منصب در دربار قاجار با عنوان «نقّال باشی» تجدیدی دوباره پیدا می کند. این جُستار به روش تحلیل کیفی سعی بر آن دارد تا به بررسی این منصب و به تبع آن تغییرات آیین ها و آداب آن در دربار پادشاهان ایرانی بپردازد.Investigating and Studying Narrators and Storytellers' Notable Position and Ceremonial Customs of the Court in Association with That during Iranian Oral History of (Oral History of Iran until Qajar Dynasty Era
Introduction The Court of kings and dynasties were manifestation of ceremonial customs and occasions which pertain to the roots of literature and history of their nations. Consequently, culture and civilization of our antecedents influenced creation of their descendants' culture in sequential and continual way. Narration and storytelling, known as a notable position at the Court of Emperors and Kings and as constituents of literal customs of the court, have revived and rejuvenated the ancient tradition of oral literature. Regarding such a position, it could be said that some of the authors believe that commencement of the first period of storytelling in Iran returns to The Achaemenid Empire and Kianian Dynasty, but some others believe that it comes from The Gusans of the Parthian Empire. In following periods, since Samanid Dynasty until Ghaznavid Empire, the role of narration and storytelling was played by Zoroastrian Clerics and the mates – servants and maids – as well as reading epics. Servants or maids were to learn and acquire an agglomeration of literal issues and skills such as poems, reciting, eloquence and performance. During The Ilkhanate Era (the Mughals Dynasty), Iranian stories became more religious due to bitterness of Mughal Attacks. At the Court of Safavid Dynasty, narration and storytelling reach its peak of prosperity and then the Court of Qajar gave this position a new lease of live, titled " Reciter ". This current research has tried to investigate and study this position and its evolutions their ceremonial customs at the court of Iranian Kings. Methodology In the present study, the authors believe that by searching historical and literary sources, storytelling and narration as one of the literary positions in the court of kings and sultans, explaining the rituals and relations related to it and introducing and recognizing the letters left by the storytellers and Although the court narrators are brief in their research, a part of the article deals with the background of storytelling related to the Arab government and its connection with court storytelling in Persian literature. Discussion The performance of the ancient tradition of storytelling in Iran is revealed to us by studying the oldest historical documents and Persian literature; However, considering the fact that emirs and kings have played an important role in the history of Iran as the main supporters and encouragers of Persian literature and its sub-branches, the answer to these questions is to what extent kings were buyers and wanted to tell stories or tell stories. And it is unknown to us with what status and rank the storytelling position as well as the position of storytelling was prevalent in their court. Following the answers to these questions, oral literature in the field of narration and story is considered and researched as the most basic way of communicating with the audience as well as how it is transmitted and promoted in the court of kings. The search for the roots of Iranian culture and history in connection with the early storytelling, the degree of commitment and support of princes and kings to the literary position of storytelling and how to create and spread this artistic and literary taste in the court has necessitated this research. Conclusion Noting that the first literary societies about sultans were established in various historical periods, it can be said that literary positions and professions, including storytelling, first appeared in the court of opportunity by addressing the properties and the chosen ones, whose characteristics are as follows: Are: 1- Generally, the storytellers of the court, due to the special type of their audience and their affiliation with the Shah in meetings and travels, were required to know the legends and life stories of the previous rulers or to quote the Shahnameh and other epic texts. Many storytellers were the court of the poet and in their poems they used nicknames derived from their names and nicknames; also, because the stories about praising Mamdouh were in parallel with the poetry, court storytellers can be considered as rivals of poets, who sometimes gained superiority over court poets by gaining a higher position. 3- Familiarity and awareness of musical instruments and musical instruments have been among the necessary conditions for storytellers who have been able to enter the court; as in the book of Qaboosnameh, the storytellers are mentioned as "Khanyagars" who narrated the poems of the poets with their instruments and songs. 4- Other special skills and techniques of court storytelling are the ability to narrate the story and bring short and poetic anecdotes, often in the form of Masnavi, which was expressed before the story and to attract the attention of the audience with the term "pre- reading".
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