نگارش خودکار، جلوه ای از سوررئالیسم در آثار منظوم عرفانی (مورد مطالعه: سیرالعباد الی المعاد، منطق الطّیر و دفتر سوّم مثنوی معنوی) (مقاله علمی وزارت علوم)
درجه علمی: نشریه علمی (وزارت علوم)
آرشیو
چکیده
نگارش خودکار به عنوان یکی از اصول اساسی سوررئالیست ها، در آثار عرفانی که حاصل تجربه های شخصی و شهودی و لحظه های شور و هیجان شدید عاطفی است، از اهمیت خاصی برخوردار است. در چنین نگارشی، نویسنده مغلوب احوال خویش است و به جهت غلبه عواطف و هیجان های ناشی از تجربه عرفانی بر فرآیند خلق سخن تسلط ندارد. این شیوه نگارش در آثار کسانی چون سنایی، عطّار و مولوی که سخن آ ن ها معمولاً حاصل لحظات شور و جذبه و جنون عاشقانه است، نمود بارزی یافته است. لذا در این پژوهش، تلاش می شود تا به شیوه توصیفی - تحلیلی، مهم ترین اصل سوررئالیست ها یعنی نگارش خودکار در مثنوی های سیرالعباد الی المعاد سنایی، منطق الطّیر عطّار و دفتر سوّم مثنوی مولوی مورد بررسی و تجزیه و تحلیل قرار گیرد. چنین می نماید که هر سه شاعر در لحظه های شور و جذبه و هیجان های تند عاطفی خویش، تحت تأثیر عشق و جذبه و الهام به بیان عواطف پرداخته اند که بیانگر تجربه هایی از نوع سوررئالیسم ناب به شمار می آید و گواه نبوغ راستین و عاطفه و نگرش عمیق آ ن هاست که با تمام گسستگی ها و آشفتگی هایشان، از روحی واحد و یگانه سرچشمه می گیرد.Automatic writing: a manifestation of surrealism in works of mystical poems (case of study: Seir al-Ebad elal-Ma'ad, The Conference of the Birds, and the third book of Masnavi)
Automatic writing is very important because it is one of the basic principles of surrealists in mystical works that are the result of personal and intuitive experiences and moments of intense emotional excitement. In this kind of writing, the author is overwhelmed by his/her circumstances and does not have control over the process of creating speech due to the overcoming of emotions caused by mystical experience. This way of writing is prominent in the works of Sanai, Attar, and Rumi, for example, whose words are usually the result of passionate moments and romantic madness. Therefore, in this research, the most important principle of the surrealists, i.e., automatic writing, is investigated and analyzed through a descriptive-analytical method in the Seir al-Ebad elal-Ma'ad by Sanai, The Conference of the Birds by Attar, the third book of Masnavi by Rumi. It seems that all three poets expressed their emotions under the influence of love, passion, and inspiration in their moments of intense emotional excitement, which is considered as pure surrealism experiences. It is a proof of their true genius and deep emotion and attitude, which, with all their dissociations and disturbances, originates from a single soul.
Extended
1.Introduction
Sufism and surrealism have a close relationship with each other so that Andrei Burton, the founder of surrealism, was influenced by various texts and theories in proposing his own theory. Among the influential texts on the thought of Burton and his followers are mystical texts and especially mystical poetry. Some the common elements of surrealism and mystical poetry are automatic writing or occult revelations, which are flourished in some mystical creative works, such as: Siral Abad al-Ma'ad by Sana'i Ghaznavi, Mantiq Al-Tair by Attar Neishabouri, and the third book of the spiritual Masnavi of Molavi. Sana’i in the moments of love and passion, Attar in the moments of discovery and intuition, and Molavi in the moments of passion, fascination and romantic insanity have written experiences that are considered as pure surrealism experiences. Being free from the control of reason is called insanity, and this is one of the states in which one can reach the hidden forces within a person, and this is one of the principles of knowing the source of surrealist creation. Therefore, this research aimed at recognizing and explaining as many mystical works as possible and examining their compliance with theories and literary schools to investigate and analyze this issue in the works of Sana'i as a leading poet, Attar who following Sana'i, and Molavi as a complement. The necessity of research is the prominence of these three poets and their influential place in the field of mystical poems. Considering this fact, the present study examines the element of automatic writing as an important principle in the school of surrealism in the aforementioned works to find basic answers to the following questions: First, in what form is automatic writing manifested in these works? And secondly, what factor or factors gave rise to automatic writing in each of these works?
2-Research methodology
Using a descriptive-analytical method, the present study examines the factor of "automatic writing" in selected mystical works including: Sir al-Abad al-Ma'ad by Sana'i, Mantiq Al-Tair by Attar Neishabouri, and the third book of the spiritual Masnavi of Molavi. First, the necessary data were collected and categorized, and finally the research findings were reviewed and analyzed.
3-Discussion
Surrealism refers to an artistic-literary school in Europe that started in the 20th century (Tahmasabi and Amini, 2014, p. 28). This School was born in France (Toloei Azar et al., 2018, p. 5). Surrealism in French means beyond reality, behind reality and super-reality (Mohammadian and Shahsanam, 2019, p. 142). Understanding the art of surrealism means that a person is aware of his inner existence and does not feel any interest in communicating with his objective and external world and only sees himself in the realm of the inner world and individual ideas and dreams and seeks freedom from external realities, and he relies on super-reality. In the moments of romantic and mystical discovery and intuition, Sana’i describes love and its various states in such a way that his speech is automatic and unconscious like the words of the surrealists, which is spontaneous and without thinking from the mind to the pen or to the speech. Especially in his lyrical sonnets, Sana’i wrote poetry as the surrealists at the height of his ecstasy and inner transformation. The same method can be seen in his couplet “Sir Al-Abad Al-Ma'ad”. Mantiq Al-Tair of Attar includes a comprehensive story that involves many anecdotes. Another name for Mantiq Al-Tair is Maqāmāt-uṭ-Ṭuyūr (birds’ ranks). Each bird is a symbol of a person who is trying to reach a dear and honorable goal. In such an experience, whatever is said is metaphorical (Abadi and Pournamdarian, 2011, p. 18). The mystical experience that Attar portrays in Mantiq Al-Tair is very similar to the experiences that the surrealists have also talked about. One of these ideas is the experience of the mystic meeting at the peaks of the mystical path. This idea indicates the belief in the existence of two souls for humans, one of which is imprisoned in the prison of the body and the other has a position in the spiritual world. The same idea has been presented in various forms in the mystical and enlightenment literature, and its records can be found even in pre-Islamic works (Poornamdarian, 1988, p. 241). In Mantiq Al-Tair, automatic writing first appears with phrases about irrationality. Attar states that in order to speak automatically, we need to get away from wisdom and reason and walk in a world beyond logic and reality.Molavi's surrealist experiences are full of original and fresh images. He does not organize the experience of others, nor the awareness and content of his mind and memory, but he portrays his inner revolutions and uncontrollable emotions. In his poems, Molavi has dealt a lot with the nature of speech, its goals and the way of creation. Of course, this does not mean that he has deliberately begun to formulate a new theory of poetry, but when he inevitably talks about the words that flow uncontrollably on his tongue and the fire that ignites from within, it is as if he is responding to those who have asked about the practical nature of his poetry.He says many times in his sonnets: when I am not drunk, there is no salt in my speech, because when I am sober, my speech is all nonsense.
4-Conclusion
Mystical poetry started in Iran after Islam and poets such as Sanai, Attar, and Rumi, who came one after the other, provided the means for its evolution. Sanai is considered the initiator of this path and Attar is the continuation and evolution of this path. As many views and theories of Sana'i can be found in the poetry of Attar and Molavi. Even the surrealist ideas in Rumi's poems seem to be a retelling of Sana'i views. The occult interpretations of Sanai's poetry were transmitted to Rumi through Attar, and by studying the works of Sanai and Attar, he reached a higher understanding of the occult interpretations or automatic writing. Therefore, this point is almost the same in the poems of all three poets. Elements such as love, irrationality or madness, imagination, symbolization or visualization of surrealistic images, drunkenness and drunkenness have appeared in the poetry of all three poets. The prominent role of the moment of illumination or manifestation of the beloved is also undeniable in the automatic writing of the discussed poets. Beloved, who appears as an inner guide or elder, prompts the poet to express his mystical experiences and intense emotions. Of course, Attar emphasizes rationality, Sanai emphasizes love, and Maulvi emphasizes passion and romantic madness. It appears from their words that they do not control the process of speech creation in moments of illumination, discovery and mystical intuition, and their language is full of contradictions and complexities in such situations, which is especially evident in Siral Abad to Al Maad Sana'i.
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