نقدِ نگاهِ اسطوره ای در شعرِ مهدی اَخَوانِ ثالث (مقاله علمی وزارت علوم)
درجه علمی: نشریه علمی (وزارت علوم)
آرشیو
چکیده
نقدِ نگاهِ اسطوره ای در شعرِ مهدی اَخَوانِ ثالث اسد آبشیرینی* چکیده اخوان ثالث را نمی توان بیرون از هندسه ای که جهان اسطوره ای برای او ترسیم می کند، تصوّر کرد. آن اندازه ای که اندیشه ی اسطوره ای اسباب آشنایی زدایی ها و فرم را در شعر او بنیاد نهاده است، به همان میزان نیز پی ریز آن نقاط آسیب زایی شده که از آن دریچه می توان با ذهنیّت و زبان شاعر روشن فکر های ایرانی، نقبی به سوی امتناع تعقّل مدرن زد. اخوان در شاهکار های خود، زمستان، آخر شاهنامه و از این اوستا، به منطقه ای از ساحت اندیشه ی اسطوره ای پای نهاده که باستان گرایی و موسیقی، قدّیس پنداری و اهریمن سازی، غم گذشته و گریه بر ربع و اطلال و دمن، آن هم در عصر آه و آهن و آهک زنده، راه را بر هر تجربه ی تاریخ هم زمانی ای مسدود کرده است. نگارنده در این جستار، با عطف نظر به اندیشمندان عصر روشنگری، سعیش بر آن بوده که با پیش کشیدن نمونه هایی عینی، میراث هنری اخوان ثالث را ازمنظری آسیب شناسانه در پرتو تفکّر اسطوره ای، با مخاطب خویش به بحث و تحلیل بگذارد. * استادیار زبان و ادبیات فارسی دانشگاه شهید چمران اهواز asadabshirini@gmail.com تاریخ دریافت مقاله: 28/11/1400 تاریخ پذیرش مقاله: 21/3/1401Critique of the Mythical Thought in Mehdi Akhavan Sales’ Poetry
Dr. Asad Abshirini Assistant Professor of Persian Language and Literature, Shahid Chamran University of Ahvaz, Ahvaz, Iran Introduction Akhavan Sales’s poetry cannot be appreciated out of the conceptual framework which the mythological world has drawn for him. As much as the mythical thought has acted as a means of defamiliarization and thus constituted the form of his poetry, it has also laid the foundations for those harmful points, through these harms, the weakness of mentality and language of Iranian poet-intellectuals in understanding modern rationality is revealed. Akhavan, in his masterpieces such as Zemestan (Winter), Akhare-Shahnameh (The End of Shahnameh, and Az in Avesta (From This Avesta), has set foot in an area of mythological realm, where archeology and music, sanctification and demonization, nostalgia, etc., have blocked the way for any experience of historical contemporaneity. We know Akhavan from his archaic and ingenious language and his commitment to meter and rhyme and that traditional tenderness that suits his senses and emotions, and we know more that artistic device of "myth" in the structure and form of his poetry has strongly linked his art of “Khorasan” to that of “Mazandaran" (Akhavan-Sales, 1385: 13) of Nimai Yush. The point is that this artistic device of "myth" gradually "transcends the limits of its" art-making function "in the poet's" work "and, in the form of a dominant" insight "dominates the artist's mind. Thus, it takes him away from his artistic "motives" and brings him closer to "ideological" harms. As long as we are in the magnetic field of the enchantment of the mind and language of the poet, we will be unable to argue about the “what” and the “how” of his poetry. It is only by taking a "distance" and standing outside the gravitation of his artistic system that one can discuss the merit or demerit of his poetry. What we are looking for in this research is a starting point that will allow the audience to take an "ontological" look, not only at the legacy of Akhavan in particular, but at all contemporary poet-intellectuals in general. Research Methodology, Background and Purpose Most of the research that has been done so far on myths in contemporary poetry and Akhavan’s poetry is of admiring nature, but lacks the pathological analysis and the distance that has been adopted in this research. Therefore, in this research, by giving concrete examples, the author has tried to discuss and analyze the artistic heritage of the Akhavan from a pathological point of view in the light of mythical thought using critical analytical method of Enlightenment thinkers. Discussion At the beginning of this research, I will try to introduce the framework of mythical thought to the reader in a short introduction. Now, in this section, by presenting discussions on the form of Akhavan’s poetry specially from his three collections, The Winter (1335), The End of Shahnameh (1338) and From This Avesta (1344), which have formed the basis of his artistic life, in a more objective way. I also try to further explore the generalities of the aforementioned theoretical view. The Music of Akhavan’s Poetry What forms the mythical thought in Akhavan's poetry is its music. It is music that allows him to fly his mind and language to "God and beyond the desert of God" (Akhavan, 1384: 76). The magic of the music of Akhavan's poetry is the first factor that empties its poet and his audience of "individuality" and leads them to the unitary world of primitive myths. 3- 1- 1 Mythological Language Following the dominance of the mythical mythological in Akhavan’s poetry, after music, what tangibly evokes the audience from today to yesterday is the poet's retrospective language. The diction and syntax that Akhavan uses is a parole that will have no future other than the mythological past of language. 3 - 1-1- 2 Revivalism In the poem “Payam” (Message) by relying on this archaic language, Akhavan finds it possible to sanctify and purify
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