مؤلفه های ادب غنایی در داراب نامه (فیروزشاه نامه) بیغمی (مقاله علمی وزارت علوم)
درجه علمی: نشریه علمی (وزارت علوم)
آرشیو
چکیده
یکی از مهم ترین داستان های بلند عامیانه فارسی، داراب نامه یا فیروزشاه نامه بیغمی است. این داستان از جمله داستان های نقالی است که در قرن نهم کتابت شده و اغلب از سوی محققان ازنظر انواع ادبی ارسطویی بررسی شده است. برخی آن را حماسی و برخی غنایی نامیده اند و برخی نیز ترکیبی از این دو نوع ادبی دانسته اند. در این مقاله که به روش توصیفی-تحلیلی و با تکیه بر منابع چاپی و کتابخانه ای نوشته شده است، نگارنده در پی پاسخ به این پرسش است که این متن چگونه از منظر نوع ادبیِ غنایی قابل بررسی است. نوع ادبی غنایی در این متن به صورت «وجهی» به کار رفته است؛ یعنی بخشی از درون مایه متن را می توان از این منظر بررسی کرد. مؤلفه هایی مانند روایت غنایی که به شکل تک گویی، شخصیت پردازی غنایی و گفت وگوی غنایی در متن مشاهده می شود، باعث می شود که زبان کارکرد عاطفی داشته باشد. در این مواقع راوی یا نقال به زبان متن خود کارکرد شعری نیز می دهد. همچنین گونه های مختلف ادب غنایی مانند شکوائیه، تغزل وارگی، مناجات و نیایش، فتح نامه، هجویه و مفهوم «دم را غنیمت شمردن» باعث تقویت وجه غنایی در متن این کتاب می شود.The Components of lyric Genre in Darab Nameh (Firooz Shah Nameh) by Bighami
One of the most important Persian long folk tales is Darab Nameh or Firozshah Nameh Bighami. This tale is one of the narrative stories written in the 9th century. This tale has often been examined by scholars in terms of Aristotelian literary genres. Some have called it epic and some have called it lyrical, and some have considered it a combination of these two literary genres. In this article, which is written in a descriptive-analytical method and relying on library sources, the author seeks to answer the question, how can this text be examined from the perspective of lyrical genre? The lyrical literary genre is used in this text in a "modal" manner; That is, a part of the content of the text can be examined from this point of view. Components such as lyrical narration, which can be seen in the form of monologue, lyrical characterization and lyrical dialogue in the text, make the language have an emotional function. In these cases, the narrator also gives the language of the text a poetic function. As well as, different types of lyrical literature, such as complaints, lyricism, invocations and prayers, victory prose, satire, and the concept of “seizing the time” strengthen the lyrical mode of the text of this book.
Extended Abstract
Introduction
One of the most important Persian folktales is Darab Nameh or Firuzshah Nameh of Bighami. This story is one of the narrative stories written in the 9th century. It has often been examined by scholars in terms of Aristotelian literary genres. Placing these stories under one of the Aristotelian literary genres causes some of the characteristics of the work to be ignored. Iranian folk tales are a special genre of literature that, if we want to criticize them from the perspective of Aristotelian literary genres, both the epic mode and the lyrical and didactic mode can be seen in it. The main problem of the article is, how is the reflection of the features of the lyrical mode in the text of Darab Nameh (Firouzshah Nameh) of Bighami? And what components of this literary genre can be seen in the text of the work? From the perspective of genre criticism, narration and lyric are basically two different things. This means that the lyrical literary work is usually not a narrative (cf. Freedman 1963: 1), but as Heather Dubrow (2009: 8) points out, one of the common aspects of genre rules and social rules is that "they differ from culture to culture”. In the literary and cultural history of Iran, there are many lyrical components (various emotions) in love stories.
Research methodology
This article is written in a descriptive-analytical method, relying on library sources. At first, the lyrical elements were collected from the reliable literary genre sources, and then by reading the text of Darab Nameh Bighami, the lyrical mode of this text was analyzed from this point of view. The method of this article gives a warning to the critics of the field of long folk tales not to place these works completely under one of the Aristotelian literary genres.
Discussion
The lyrical modes in Bighami's Darab Nameh have caused a large part of the text to express human emotions and feelings and to be presented in a poetic language. The lyrical genre is much more inclined to the poetic function of the language than other literary types. Bighami's Darab Nama has always been presented as a simple prose by researchers. While this text has used poetic expression many times. Also, unlike old folk tales where the omniscient narrator often casts a shadow over all the story's components, the narrator in this story sometimes allows the story's characters to be alone and talk alone. The narrator always shows the soliloquy of the character of the story with the conventional term "he said to himself". In addition to breaking the authority of the omniscient and creating an emotional atmosphere in the story, such monologues allow the reader to directly experience the emotions, feelings, thoughts and mentalities of the characters in the story. An important part of the characters in the story are lovers and beloveds. The narrator sometimes allows these characters to talk. These conversations are effective factors in strengthening the lyrical language of the text. The lyricism that manifests itself in the form of description of nature and description of the beloved in the text continuously gives this text a lyrical language. Also, plaintive, prayerful, satirical expressions are used in the text. The narrator sometimes creates a lyrical subjectivity in the text by relying on the concept of "seizing the time". The high frequency of these components in the text of the book has made a significant part of this work take on the characteristic of lyricism.
Conclusion
Considering that the long folk tale Darab Nameh (Firouz Shahnameh) by Bighami has often been examined by Iranian researchers from the perspective of the theory of Aristotelian literary genres, this Research draws the audience's attention to the fact that this story cannot be placed under a specific type of Aristotelian literary genre. Therefore, it is better to check its various modes. In this article, the lyrical mode of the work was researched. Components such as lyrical narrative, which is used in the form of emotional monologue, lyrical dialogue, and lyrical characterization in this text, make the narrative take on an emotional tone. Lyrical narration means a narration in which the speaker uses words and sentences whose emotional and literary aspect is superior to their informative and referential aspect. Therefore, in the lyrical narrative, the omniscient authority is broken in the story. In this way, the narrator allows the characters to talk in their solitude. In these cases, the direction of the message is towards the speaker and language has an emotional function. On the other hand, despite the fact that the language of this story is presented in a simple way, it has a poetic language in many cases; This means that the author or narrator has paid attention to the way of presenting his message. Poetic language has been used in this text in various ways: the narrator has either created a poetic text himself or has created lyrical moments in his narration by referencing other poetry. In addition to these cases, various modes of lyrical literature have appeared in the text of Darab Nameh (Firouzshah Nameh).
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