تحلیل و بررسی بن مایه ها و شبکه های تداعی در اشعار درکی قمی (مقاله علمی وزارت علوم)
درجه علمی: نشریه علمی (وزارت علوم)
آرشیو
چکیده
ملا محمدامین قمی متخلّص به «درکی»، ازجمله شعرای کمترشناخته شده قرن یازدهم هجری است. وی چند سال در حیدرآباد دکن زندگی کرد و بقیه زندگی خویش را در شهرهای قم، اصفهان و هرات سپری کرد. بررسی شعر درکی قمی به خصوص غزلیات او نشان می دهد که این شاعر پیرو سبک هندی با زبانی روان و معتدل است؛ اما اغماض و کلام معماگونه شاعران طرز خیال در اشعارش راه ندارد و بسیاری از خصایص رایج سبک هندی در شعرش دیده می شود. از عناصر سبکی درخور توجه در شعر درکی قمی، افزونی بسامد بن مایه ها و خلق شبکه تداعی درباره آن هاست. این پژوهش به شیوه توصیفی- تحلیلی و با استناد به منابع کتابخانه ای؛ کاربرد ده بن مایه را در شعر این شاعر بررسی و تحلیل کرده است. نتایج پژوهش نشان می دهد درکی قمی بر کاربرد بن مایه های رایج سبک هندی و ساختن شبکه تداعی درباره آن ها تأکید و تکیه دارد. وی اغلب این بن مایه ها را از محیط اطراف خود یا از باورهای عامیانه برگزیده و برای خلق مضامین تازه استفاده کرده است.An Analysis of some Motifs and Association Networks in Darki Qomi’s Poetry
Mullah Mohammad Amin-e Qomi, known also by his pen name Darki, is one of the less-known poets of the 11th century AH (? -1063 AH). An investigation of Darki Qomi’s poetry, especially his ghazals (or lyric poems) shows that his poems represent many characteristics of the Indian Style of Persian poetry. A considerable stylistic feature in Qomi Darki’s poetry is a high frequency of occurrence of motifs and the creation of a network of associations around such motifs. This research, which has been conducted in a descriptive-analytical manner by referring to library sources, deals with the study and analysis of ten particular motifs in his poetry. The results show that Darki Qomi often derives these motifs from his surroundings or the common beliefs of the people around him and makes use of them within a network of associations in order to create new motifs. Introduction In addition to the characteristics of the Indian Style such as the multiplicity of allegories and proverbs, the use of colloquial expressions and market jargon, creation of special structures, inspiration from everyday experiences and the surroundings, introduction of new themes, narrow-mindedness, imagination, etc., some further stylistic features have also been introduced as central elements of this style of poetry. One of them is the use of old and new themes or motifs and the creation of a new network of associations around such themes. Poets adopting the Indian Style often take into account a theme as the fundamental or central element of their intended image and, then, by associating words and other elements which have some kind of relationship in terms of congruence or contradiction, etc., expand the chain of associations around that theme to create a network of images whereby each element of a given theme evokes another one and that other one, in its own right, brings about another association and this process goes on. One of the Indian Style poets who pays special attention to this stylistic characteristic is Darki Qomi. Discussion In poetry, a ‘theme’ is mostly regarded as a high-frequency repetitive element in a poet’s work or as various illustrations of a given phenomenon; that is why a ‘motif’ or ‘theme’ has been attributed to whatever is the center of a network of images and a field of associations (Shafiee Kadkani, 1997). Examining the themes and discovering network of their relevant images in a poet’s poems, while it helps to better understand the poet’s poetry, is a way to get familiar with his/her attitudes and ways of thinking as well as his/her level of creativity and capability. Although poets have typically made use of many themes as fixed foundations of different styles, it is only the Indian Style in which poets have insisted on extreme use of motifs to find strange and alien meanings, to create a series of labyrinthine associations, and to create new themes. As a result, using motifs has turned into a stylistic characteristic in the Indian Style. Darki Qomi is among the less-known poets of the Indian Style who was a contemporary of Shah Abbas II. In his poems, in addition to the abundant evidence of using elements and features of the Indian Style, one may also observe such characteristics as the use of colloquial expressions and allusions, allegories, special numerical dependencies, sensory associations, specific similes, paradoxes, etc. The use and association of sequential themes may also be found in his poems in abundance. Darki Qomi, like many other Indian poets, pays special attention to natural elements and phenomena and the objects around them. Such special attention is manifested in the form of extracting poetical themes from human observations in the nature and the environment surrounding the poet; consequently, most of the themes of his poetry are sensory in nature, being the results of his own experiences and observations. Such motifs as ‘eggs of steel’, ‘cuckoo and cypress’, ‘porcelain’, ‘image’, ‘wounds’, ‘Homa’ (or ‘the bird of happiness”), ‘velvet sleep’, ‘paper flower’, ‘linen and moon’, ‘quicksand’, ‘saffron’, ‘cotton’, ‘kohl’, ‘Hindu’, ‘crazy’, etc. are among the most widely used and high-frequency components of the poems of Darki Qomi. He has employed such themes and the chain of associations around them mostly in his ghazals in order to create romantic, love-oriented themes. Conclusions Darki Qomi is an Indian Style poet who is committed to creating a network of associations around old and new motifs which are typical of the said-above style. He has employed those themes which have been prevalent in the Indian Style with a high frequency, mostly in the form of twin (pair) or multiple elements. Since he has paid the highest attention to the congruence or observance of harmonic peers in dealing with such themes, he has often had a network of associations in his mind around every motif and has used them to create poetic topics. In the present study, some of the themes and associations which are all sensory and are derived from the poet’s own environment or form the beliefs of lay folks have been explored. It was found that the motifs ‘cuckoo and cypress’, ‘image’ and ‘porcelain’ constituted the most frequent network of associations in Qomi’s poetry.
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