معرفی یوسف و زلیخای صاحب اصفهانی و مقایسه محتوایی روایت آن با روایت یوسف و زلیخای طغان شاهی (مقاله علمی وزارت علوم)
درجه علمی: نشریه علمی (وزارت علوم)
آرشیو
چکیده
داستان یوسف و زلیخا از داستان های عبری است که روایت آن در سوره ای با نام یوسف در قرآن کریم آمده است. این داستان بعد از ورود اسلام به ایران مدّنظر بسیاری از ادیبان قرار گرفت و در روایت ها و اوزان مختلفی به نظم درآمد. از مهم ترین یوسف و زلیخاهایی که اکنون در دسترس دانش دوستان است، می توان به یوسف و زلیخای طغان شاهی و یوسف و زلیخای جامی اشاره کرد که دو روایت متفاوت را بازگو می کنند. محمدکاظم صاحب اصفهانی ملقب به مسیح البیان از شاعران عهد عالم گیر، از ایران به هند سفر می کند و ضمن اشتغال به داروغگی دارالشفای پادشاهی، با طبع موزون خود، آثاری را به یادگار می نهد. ازجمله مثنوی های او صباحت یوسفی است که شاعر آن را در بحر خفیف به رشته نظم کشیده است. نگارندگان در این پژوهش ضمن معرفی کامل اثر، روایت آن را با روایت یوسف و زلیخای منسوب به فردوسی مقایسه نموده اند. نتیجه به دست آمده این است که ازنظر نوع روایت، زبان، وزن و مضمون سازی های ادبی، تفاوت آشکاری بین این دو اثر وجود دارد. نوع پژوهش بنیادی است که با روش تحلیل محتوای کیفی، متن یادشده بررسی شده است.Introducing Saheb Isfahani’s Yusuf and Zulaikha and Comparing the Content of Its Narration with the Narration of Taghanshahi’s Yusuf and Zulaikha
The story of Yusuf and Zulaikha is a Hebrew story narrated in the Holy Quran in a Surah titled ‘Yusuf’. After Islam was introduced in Iran, many literary scholars focused their attention on it, and different narratives of it were written in the form of poems with various meters. Toghanshahi's Yusuf and Zulaikha and Jami's Yusuf and Zolaikha are among the most important stories of Yusuf and Zulaikha currently available to knowledge enthusiasts. They are two different narrations of this story. Mohammad Kazem Saheb Isfahani, also known as Masih al-Bayan, one of Alamgir's era poets, travels from Iran to India and, while employed as a physician in the royal hospital, due to his talent in poetry, composes and leaves behind several books. Sabahat Yousefi is one of his masnawis that he composed following Bahr Khafif meters. In this study, in addition to introducing this work, this narration will be compared with the narration of Yusuf and Zulaikhai attributed to Ferdowsi. The results showed that there is a clear difference between these two works in terms of the type of narration, language, meter, and literary themes. This study is fundamental in terms of type. The aforementioned text will be analyzed using the qualitative content analysis method.
Introduction
Anushirvan the Just's era was a glorious era when many stories of various nations were translated into Middle Persian, and many stories popular among Iranians were gathered. After the Sassanids and with the introduction of Islam in Iran, this tradition continued with the translation and exegesis of Quranic Surahs and Ayahs. The lives of the prophets and the righteous in the Qisas al-Anbiya and general histories were the inspiration of literary scholars’ and historians’ writings. The narrators, exegetes, and poets showed great interest in the story of Prophet Yusuf in the Quranic narratives. The oldest existing work is a Yusuf and Zulaikhai attributed to Ferdowsi by biographers and some orientalists which, later, turned out to not belong to Ferdowsi due to stylistic and historical reasons. The poet of this work is unknown, and it is known as Toghanshahi's ‘Yusuf and Zulaikhai’ as suggested by Mojtaba Minovi (1975). Composing love stories under the title Yusuf and Zulaikha was common in the next era as well, and Jami's Yusuf and Zulaikha is one of the strongest of these collections.
Mohammad Saheb Isfahani in one of his Masnawis titled Sabahat Yousefi, has written about the story of Yusuf and Zulaikha. This study is a narratological analysis and complete introduction of the Sabahat Yousefi version and an attempt to compare the narration with Taghanshahi’s narration and show their similarities and differences. The reason for choosing Taghanshahi’s narration was to compare the oldest existing narration of Yusuf and Zulaikha with a narration from the Safavid period and to show the similarities and differences between the two narrations from the two Shiite poets.
Materials and Methods
This study is conducted based on the descriptive-analytical method using library research and the comparative study of two narratives of Yusuf and Zulaikha's story, one from the Seljuk period and one from the Safavid period. This study is an attempt to answer the following four research questions:
1) What is the basis and arrangement of Sabahat Yousefi’s story?
2) What does Masih al-Bayan focus on the most in the narration?
3) Has the poet been innovative in the narrative, ideas, and goals employed?
4) What is the meter followed in the work and the history of this meter in the narrations of Yusuf and Zulaikha?
Research Findings
In Saheb Isfahani's work, due to the story's theme, the most frequently used words are separation, parting, division, being divided, dividing, tulip, candle, tear, shouting, shrieking, supplication, crying, and weeping. The state of being apart and the lover's absence are not expressed similarly in Taghanshahi’s and Saheb Isfahani’s works.
In this versified story, simple structures are more common in the verbs' and nouns' structures. This may be the main reason for the articulacy and eloquence of this work. Simple verbs are placed at the end of hemistichs or verses, as rhymes (either a repeated word or two rhyming words), under the influence of the regular syntax of the language.
In the poet's use of Persian nouns and adjectives, mostly, words with simple structures and those that belong to the ghanaei literature are used, and if compound structures are used in a word, they are mostly novel.
The poet's biggest strength in the lexical field is the construction of conjunctive, non-conjunctive, adjectival, and additive compounds, which shows the power of the poet's creativity.
Discussion of Results and Conclusions
Saheb Isfahani, with the pen name Masih al-Bayan, was a poet and physician in Aurangzeb's court and composed a Diwan and five Masnawis on various subjects, one of which, called Sabahat Yousefi, follows Bahr Khafif meters and tells the story of Prophet Yusuf (PBUH) as concisely as possible. Of course, the poet sometimes uses expatiation in the narration of the story to describe some parts of the story more. In this work, he did not neglect the subtleties of the Indian style period and the specific themes of this style, and the words with the highest frequency in this work are mirror, tulip, bud, longing, tears, separation, love, and crying your heart out.
Comparing this work with Taghanshahi's narration shows that the narration style of Taghanshahi's Yusuf and Zulaikhai is historical, but Saheb Isfahani's narration style is concise and scattered. In addition, judging the story elements’ value shows that the use of story and story elements by the author of Taghanshahi' Yusuf and Zulaikhai is stronger and more attractive, but in linguistic and rhetorical comparisons, Saheb Isfahani, who is a follower of the Indian school of style, gets the better of his peer.
In the story, the poet's narrative turns into a Shiite religious narrative, and the poet finds the events of Karbala much harsher than the events of Jacob's separation from Yusuf. Sometimes, he uses fables and allegories in the stories, which result in faint traces of Sufi attitudes being found in the text. The poet’s Sufi attitude is perhaps more influenced by the creation of the theme from the concepts related to wisdom and Irfan.
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