مقایسه سبکی غزلی از حیدری وجودی با غزلی از مولوی (با رویکرد مطالعه زمینه کوچک) (مقاله علمی وزارت علوم)
درجه علمی: نشریه علمی (وزارت علوم)
آرشیو
چکیده
مناسب ترین راهِ شناخت جنبه های فکری، زبانی و ادبی یک شاعر یا نویسنده، مقایسه سبکی است. این مقایسه اگر گسترده باشد، باید همه یک اثر از دو شاعر یا نویسنده با هم مقایسه شود و اگر به صورت فشرده باشد، مقایسه سبکی با دو غزل نیز امکان پذیر است. در این مقاله غزلی از مولوی، شاعر کلاسیک و عارف بزرگ، با غزلی از حیدری وجودی، شاعر معاصر و عارف، با رویکرد «micro-context» مقایسه سبک شناختی می شود. هر دو غزل ازنظر وزن عروضی (فاعلاتن فاعلاتن فاعلاتن فاعلن) و حرف «رَوِی» یکسان هستند. این مقایسه در سه سطح سبک شناسانه، یعنی زبانی، ادبی و فکری بررسی و تحلیل می شود. حاصل این پژوهش نشان می دهد که هر دو غزل هم ازلحاظ زبانی و هم ازنظر فکری با هم نزدیک اند و در مسائل بسیاری شبیه هم اند؛ نیز مشابهت فکری بیانگر این است که عرفان حیدری وجودی متأثر از عرفان مولوی بوده است.A Comparison of the Styles of a Lyric by Haidari Wujodi and a Lyric by Mawlawi (A Micro-context Approach)
The most appropriate method for understanding a poet or writer's intellectual, linguistic, and literary aspects is through a style comparison. If this comparison is broad, it is necessary to compare the entire body of work produced by the two poets or writers; if it is concise, it is also possible to compare the stylistic components of the two lyrics. Using a micro-context approach and cognitive style, this article compares two lyrics (Ghazals)—one by Haydari Wujodi, a contemporary poet and mystic, and the other by Mawlawi, a classical poet and great mystic—that are identical in terms of the prosaic weight of both lyrics “Failatun Failatun Failatun Failun” and the word “narrator”. The comparison has been performed based on three stylistic levels: linguistic level, literary level, and intellectual level. The findings of this study show that both lyrics are comparable to one another and share similar language and intellectual characteristics. In addition, the intellectual similarities suggest that Haydari’s mysticism was influenced by Mawlawi’s mysticism. Introduction Since the start of the study of stylistics up until the present, researchers in this area have offered numerous definitions. Here, dealing with the definitions will be nothing more than repeating them; hence, two brief definitions seems to be sufficient: “Stylistics is a science or system that discusses style” (Shamisa, 2001, p. 13). This definition refers to two points: one is the nature of the style, and the second is the function of style. According to Charles Bally, “the task of stylistics is to see what the types of expression structures are in a certain period and how they express feelings and thoughts” (Ghiashi, 1989, p. 11). Therefore, style, in general, includes three important linguistic, literary, and intellectual elements, from which the style of language, literary, and intellectual type of each writer can be distinguished. These three elements depend on the environmental, cultural, political, and religious conditions that every writer or poet is affected by these conditions. This impressionability appears in their words; for example, Hafez's words seem more ambiguous from a literary point of view. Ferdowsi's language is full of original Persian words and epic and mythological themes, and the dominant element in Mawlawi's intellectual system is mysticism. In fact, Mawlawi's poetry cannot be compared with any other poet in terms of meaning and content. Because he was not only a mystic and a poet, but he was also the greatest scholar of religion. Over the years, dozens of researchers have described and developed his works, and hundreds of poets have been influenced by him, which is proof of the breadth of Mawlawi's knowledge. Ghulam Haider, the son of Maulana Shafiullah, nicknamed Haidari Wujoudi, a contemporary Afghanistan mystic and poet, is among those who are influenced by Mawlawi's thoughts. He was born in 1939 in Panjshir province and died in 2020 due to coronavirus. Although Haidari Wujoudi did not have more than elementary education, due to his study and talent and also his enthusiasm and interest in mysticism, he is the owner of a poetic divan consisting of several thousand verses. In this study, the stylistic analysis of both sonnets has been done with the approach of studying a small context. By examining this type of approach, two pieces of poetry or two stories can be compared. In this stylistic comparison, Ghazal No. 144 by Mawlawi and one Ghazal by Haidari Wujoudi (2019, p. 82) have been selected in a prosody weight and they have been stylistically compared from three linguistic, literary, and intellectual perspectives. Materials and Methods This study has been carried out by the analytical-descriptive method and is based on library research. In this research, a six-verse ghazal by Haidari Wujoudi and a seven-verse ghazal by Mawlawi (Kuleyaat Shams Tabrizi) have been selected, both of which are in the same weight (Ramel Mothman Mahzauf), and analyzed with a micro-context approach. In this regard, the stylistic and comparative results of both (differences and similarities) have been reported statistically. Research Findings The overall findings of this research show that Haidari Wujoudi's way of thinking is consistent with Mawlawi's. This harmony is due to mystical vision. Also, the use of mystical themes shows the common features between both lyrics. In terms of language, there are more similarities than differences between both lyrics. But in the literary segment, both in terms of innovative art and the science of expression (simile, metaphor, irony, and permission), the difference seems to be greater. In this sense, the literary level of Haidari's lyrics is higher than Mawlawi's. From this point of view, it can be said that Haidari's existential mysticism in this lyric is theoretical mysticism and Mawlawi's mysticism is of practical mysticism type. Discussion of Results and Conclusion The collection of Haidari Wujoudi’s work (Divan) is considered one of the most important literary-mystical works in Persian literature. In addition to his surviving printed works, there are about 500 audio tapes of Mawlawi Masnawi ’s series, which have not been arranged or edited until now. As mentioned before, Mawlawi's lyrics (Ghazals), known as Shams's ghazals, are at a high level in terms of meaning and mystical content, and it is not easy to compare them with any ghazal or any poet. In this study, two lyrics by Mawlawi and Haidari Wujoudi were chosen not merely for the purpose of stylistic comparison but rather because of the similarities between the two, particularly Haidari Wujoudi's perception of Mawlawi. Mawlawi's lyrics are full of passion and love, and despair and hopelessness are not seen in them. Haidari Wujoudi's poems also have the same characteristics because his mysticism is of the type of romantic mysticism, and the essence of Haidari's lyrics is love, which is the common ground between both lyrics.
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