مستزاد از صنعت تا قالب (مقاله علمی وزارت علوم)
درجه علمی: نشریه علمی (وزارت علوم)
آرشیو
چکیده
تصور عموم چنین است که مستزاد از نخست به عنوان قالب شعری وارد حوزه ادبیات شده است، قالبی که تا دوره مشروطه چندان توجهی به آن نمی شد. امروزه این امر باعث برخی دشواری ها در تعریف و طبقه بندی انواع آن می شود. بررسی های ما نشان می دهد تا قرن نهم در هیچ یک از متون ادبی نامی از مستزاد به میان نیامده است؛ اما جالب است که پس از این تاریخ اصطلاح مستزاد تنها در کتاب های مربوط به بدیع و در کنار دیگر صنایع ادبی معرفی می شود و برخی از نویسندگان به تقسیم بندی آن دست می زنند. تا جایی که دریافته ایم نخستین بار در کتاب درّه نجفی (1362) مستزاد به عنوان یک قالب شعری در کنار قالب هایی چون قصیده، غزل و ... قرار گرفته است. دقیقاً پس از این کتاب اصطلاح مستزاد از مباحث بدیعی وارد قلمرو قالب های شعری می شود. اغلب نویسندگانی که پس از نجف قلی میرزا دست به نگارش کتاب های بلاغی زده اند راه دره نجفی را پیش گرفته اند که تا دوره حاضر نیز ادامه یافته است. با این توضیح که در جایی از این آثار اشاره ای به سابقه و خاستگاه مستزاد دیده نمی شود. ما در پژوهش حاضر، در حد وسع، با بررسی منابع کهن و معاصر، بر آنیم تا صحت این ادعا را اثبات کنیم که مستزاد از یک صنعت ادبی به یک قالب شعری دگرگون شده است. همچنین تلاش می کنیم سیر این تحول را نشان بدهیمMustazad from a Literary Device to a Form
The general opinion is that Mustazad entered the field of literature as a form of poetry from the beginning, a form that did not receive much attention until the constitutional period. Today, this causes some difficulties in defining and classifying its types. A review of literature shows that the name of Mustazad was not mentioned in any of the literary texts until the 9th century. But after this date, the term Mustazad was introduced only in books related to rhetoric and other literary arrays, and some writers started dividing it. It is placed as a poetic array in the book Dorra Najafi (1330 AH) for the first time next to forms such as ode, sonnet, etc. After this book, the term Mustazad enters the realm of poetic forms. Most of the writers who started writing rhetorical books after Najafgholi Mirza followed the path, which has continued until today. In the present study, we intend to prove the truth of the claim that Mustazad has been transformed from a literary array to a poetic form by examining ancient and contemporary sources as much as possible. We also try to show the course of this evolution. Keywords : Persian Poetry, Constitutional Era Poetry, Poetic Forms, Literary Devices, Mustazad. Introduction In rhetorical texts, we sometimes come across terms that we have carelessly passed by many times, without having the correct image and definition of that term in mind. "By examining rhetorical books, we can clearly understand that for many categories and essays in the realm of rhetoric, it is not possible to give a comprehensive definition" (Rukhshandehmand & Fouladi, 2023, p. 60). One of these terms is mustazad, which is mentioned as a poetic form in all literary books after the Constitutional Era. Even though Mustazad has been one of the most popular poetic forms since the Constitutional Era and considerable works have been written about it, little attention has been paid to it in contemporary rhetorical books. Even great professors like Allameh Homaei end the topic with a short and general definition. This has caused the initial form of Mustazad and its origin to be neglected. The subject of Mustazad can be the subject of research in two ways: 1) in terms of defining and dividing its types, which few studies in this field have taken such an approach; 2) from the point of view of the origin of Mustazad and finding a reason for its diversity and multiplicity. In the current research, we have followed the second view to address the origin of Mustazad. Materials and Methods We first examine the most important books on literary techniques, from the past to the present, to capture the first signs of the emergence of Mustazad. Then, we will examine them to find sufficient reasons to prove our claim. In this way, we will use the library method in this research. Research Findings The results show that before it was known as a poetic form, Mustazad was a literary device that was occasionally used along with other literary arrays. An underused literary device that mostly had a technical aspect or was used only in certain circles. Due to the fact that additional parts can be added after the poem is written, it is likely that mustazad could be attributed to Abu Said, Attar, and Rumi. This term has been introduced as a form since the Constitutional Era. Discussion of Results and Conclusion In his book ‘ The History of Arabic Literature’ , Umar Farrukh quotes a poem by Abdul Muttalib, the Prophet's grandfather, which is Mustazad. Farroukh writes that after the attack of Abraha, Abdul Muttalib visited the door of the Kaaba and sang like this: لاهُمّ، انّ العبد یمنع رحله فامنَع حلالک لا یغلبن صلیبهم و محالهم عدواً محالک اِن کنت تارکهم و قبلتنا فامراً ما بدا لک (Faroukh, 1981, p. 151) Although the author does not mention Mustazad, this poem can be the reason for the prevalence of Mustazad in Arab literature before Islam. We should point out that Mustzad is called ‘Mardouf’ in Arabic poetry, and it seems that the term ‘Mustazad’ was created by Iranian writers because such a term is not found in any Arabic source. In the Persian texts of the first centuries, Mustazad has not been mentioned. Radoviani's Tarjoman al-Balagha and Rashid al-Din Vatvat’s Hadaiq al-Sehr fi Daghaegho al-SHer did not deal with the subject of Mustazad. Of course, nothing has been said about poetic forms. Shamsuddin Qais Razi has not written anything about this topic. In the book Al-Mojam Fi Ma'ayir Al-Ashaar Al-Ajam , he deals with poetry in a chapter that refers to poetic forms. Four types of forms can be extracted from Qais Razi: ode, sonnet, masnavi, and quatrain. These four forms are the main and most used forms of Persian poetry, and most of the great literary works were written in these four forms. We notice that until the 8th century AH, there was no mention of Mustazad either as a form or as a literary device. For the first time, Rami Tabrizi mentions Mustazad and lists its types. It cannot be supposed that Mustazad is a form and comes among a poetry device, while there is no name of other forms. According to the results of this study, for the first time, Najafaqoli Mirza mentioned Mustazad in the topic of types of poetry in the Durra Najafi . He enumerates eleven types of forms in this order: sonnet, tashbib, ode, ghat’e, quatrain, frad, masnavi, tarjie, tarkib, musammat and mustazad. After him, Zoka al-Molk also places Mustazad in the section of poetic forms in his book Elm Badi . He calls this section "types of poetry" and refers to forms such as ode, sonnet, ghat’e, quatrain, dobeiti, tarjieband, musammat, mukhammas, and mustazad. In general, the innovative books after the Constitution have followed the path of Najafaqoli Mirza and Zoka al-Mulk. There is no mention of the background of Mustazad in these books. In addition, the haste and ambiguity in the definition, and not mentioning its various forms, is proof of the inaccuracy of the scholars in this regard. Among the contemporary writers, only Zainul Abdin Motamen realized that Mustazad was primarily a craft, not a form. In the book Evolution of Persian Poetry, it is said that: "This type of poetry was also common in ancient times, but it was not considered one of the official types of poetry and it was considered a kind of recommended poetic art" (Motamen, 1960, p. 118). In sum, we believe that Mustazad has been transformed from a literary device to a form for at least three reasons: 1) Mustazad is not mentioned as a form in any ancient text, and this term is seen only in original books; 2) Famous Persian poets, from Nizami to Saadi and Hafez, have written poems about Mustazad, and there is no valid document to attribute the three famous Mastazads to Abu Saeed, Attar, and Molana; 3) In Abdulghahar's Aruz Homayun , Mustazad is explicitly mentioned as a literary device. Besides, one of his contemporaries, Zainul Abdin Motamen, has pointed out this issue.
تبلیغات
