گونه های نوآوری لاهوتی در طرز قافیه بندی شعر (مقاله علمی وزارت علوم)
درجه علمی: نشریه علمی (وزارت علوم)
آرشیو
چکیده
ابوالقاسم لاهوتی در ادبیات معاصر ایران یکی از شاعران نوآور معرفی شده، اما تاکنون چگونگی نوآوری های او بررسی نشده است. او یکی از شیوه های برجسته نوآوری در شعر را در قافیه بندی تازه یافته و از سه الگوی قافیه جدید بهره برده است. در قافیه بندی نوع اول که برخی پژوهشگران آن را چلیپایی نامیده اند، مصرع اول هر بند با مصرع سوم هم قافیه می شود و مصرع دوم با مصرع چهارم. لاهوتی در شعرهای «به شاللائی فیورست»، «سرای تمدن»، «یانکاکوپالا»، «دوست وطن دوست»، «یتیمان جنگ جهانگیر»، «به مبارزان توده»، «ایران»، «دو دریا» و «دختر آفتاب» از قافیه چینی نوع اول بهره برده است. در قافیه چینی نوع دوم (قافیه مارپیچ/حلزونی)، مصرع اول هر بند با مصرع چهارم هم قافیه می شود و مصرع دوم با مصرع سوم که لاهوتی در شعر «مرحمت حکمران» از این قالب استفاده کرده است. در سومین نوع (قافیه زنجیری)، هر بند دارای سه مصرع است و چینش قافیه بدین گونه اس ت ک ه در همه بن دها مص رع ه ای اول و س وم هم قافیه اند و مصرع دوم در هر بند با مصرع های اول و سوم بند بعدی هم قافیه شده و در واقع تمامی قافیه های شعر همچون حلقه های زنجیر به هم متصل می شوند. شعر «پلید» در دیوان لاهوتی نمونه این قافیه چینی است؛ اما لاهوتی همواره یکدستی این سه نوع قافیه بندی را رعایت نکرده است و گاه در یک شعر قافیه های نوع اول و دوم را ترکیب کرده و گاهی به مانند سانِت های شعر غربی بیت آخر اشعار را با قافیه مثنوی سروده است؛ البته این الگوهای قافیه بندی منشأ غربی دارد. برخی این کار لاهوتی را متأثر از شعر ترکیه قلمداد کرده اند و برخی این تأثیر و تأثر را حاصل سرمشق هایی از شاعران دیگر (که با زبان و ادبیات ترکیه و فرانسه آشنا بوده اند) دانسته اند. لاهوتی در پانزده سروده خویش از قافیه چینی ترکیبی نوع اول و دوم و سوم استفاده کرده است. برخی معتقدند این طرز قافیه چینی نوعی زمینه سازی برای پدیدآمدن شعر نیمایی است.Lahuti’s Innovations in Creating Rhyme Schemes in Poetry
Abu al-Qasim Lahuti is one of the innovative poets in contemporary Persian literature. However, so far, his innovations have not been studied in detail. Lahuti views the alteration of the rhyming scheme as the prominent enabler of innovation in poetry. Some have attributed the origin of this rhyming style to the Western poetry. Yet, others believe that it has a Turkish origin. In view of the fact that Lahuti had some connections with the socialist Soviet Union, it can be argued that such innovations in his poetry may have had a Russian origin. Lahuti has mostly relied on "alternate", "enclosed", and "chain" rhyming styles in order to innovate in his poetry. In alternate rhyming, the first verse of each stanza rhymes with the third verse and the second verse rhymes with the fourth verse. In enclosed rhyming, the first verse of each stanza rhymes with the fourth verse and the second verse rhymes with the third verse. In chain rhyming, each stanza has three verses and the arrangement of rhymes is such that in all stanzas, the first and third verses rhyme, and the second verse of each stanza forms a rhyme with the first and third verses of the next stanza. It should, however, be pointed out that he has never limited himself to only one of the three kinds of rhyming schemes and has sometimes combined them in his poetry. Furthermore, he has also sometimes used the Masnavi (rhyming pair) form in the last verse in his poems, just as is the case with the sonnet in Western poetry. Overall, Lahuti’s particular attention to the role of rhyme schemes as grounds for innovation in poetry could be further regarded as a precursor to Nimayi poetry. Of course, Lahuti himself tried to shorten and lengthen not only rhymes but also hemistiches (مصراع, mesrâ’). Keywords: Abu al-Qasim Lahuti, Rhyme, Innovation.IntroductionThe Constitutional Era literature marks the origin of modern Iranian literature, characterized by innovations in Persian poetry. Most poets of this period sought novelty and innovation. Poetry during this era underwent extensive changes in both form and content, with each poet contributing to this transformation to the best of their ability. Abolqasem Lahouti is one of the prominent figures of Constitutional Era poetry who made significant strides in the path of innovation. He discovered one of the prominent methods of innovation in poetry through the use of new rhyming schemes, which have Western origins. The importance of researching Lahouti’s poetry lies in introducing his method of arranging rhymes, which can serve as a strategy for contemporary poets striving to modernize their poetry. In his quest to modernize his poetry, Lahouti utilized three new types of rhyming schemes: the first type (alternating/cross rhyme), the second type (spiral/helix rhyme), and the third type (chain rhyme), and even a fourth type (a combination of all types of rhyme schemes). Materials and MethodsIn examining the types of rhyming schemes in Russian poetry, dactylic rhyme is divided into three categories: paired (parnaya rifmovka), cross (perikrestnaya rifmovka), and ring (kolcevaya). The latter two types of rhymes correspond to the first type (alternating/cross rhyme) and the second type (spiral/helix rhyme). Although Lahouti spent a significant portion of his life in the Soviet Union, this similarity in rhyme schemes should not mislead us into considering him influenced by Russian literature. Lahouti used the first type of rhyming scheme, where the first line of each stanza rhymes with the third line, and the second line rhymes with the fourth line, in poems such as “To the Shalalai of the Forest”, “The Civilization Hall”, “Yankakopala”, “The Patriot Friend”, “The Orphans of the World War”, "To the Fighters of the Masses”, "Iran”, "Two Seas”, and “The Sun’s Daughter”.Lahouti employed the second type of rhyming scheme (spiral/helix rhyme), where the first line of each stanza rhymes with the fourth line, and the second line rhymes with the third line, in the poem "The Governor's Mercy". Lahouti used the third type of rhyming scheme (chain rhyme), where all the rhymes in the poem are connected like links in a chain, in the poem "Impure" in his divan. It should be noted that Lahouti's method was not merely the use of one of these three types of rhyming schemes; in various poems, he combined the first and second types of rhyming schemes and sometimes, like Western sonnets, composed the last couplet in the form of a couplet rhyme. Abolqasem Lahouti went so far as changing the position of the rhyme that sometimes his poems cannot be categorized under any specific order or sequence. Research FindingsThe present research first studied reliable library resources and categorized their contents. Describing, comparing, and analyzing the related data led to the advancement of the study and achieving the results. Lahouti's use of different rhyming schemes demonstrates his innovative approach to poetry. His ability to blend various rhyming styles and adapt them to his poetic needs highlights his creativity and influence on modern Persian poetry. The findings suggest that Lahouti's work can serve as a valuable reference for contemporary poets seeking to innovate in their poetry. Discussion of Results and ConclusionsLahouti's innovations in rhyming schemes have significantly contributed to the evolution of modern Persian poetry. His use of alternate, enclosed, and chain rhyming styles, along with his ability to combine these schemes, showcases his versatility and creativity. The study of Lahouti's poetry reveals that his approach to rhyme was not merely technical but also artistic, aiming to enhance the overall aesthetic and emotional impact of his work. The findings support the hypothesis that Lahouti's innovations were influenced by various literary traditions, including Western and Russian poetry, yet he managed to create a unique style that remains influential. Future research could further explore the impact of Lahouti's innovations on subsequent generations of poets and the broader literary landscape. AcknowledgmentThe author would like to thank the individuals and organizations who contributed to the research, including the library staff and literary scholars who provided valuable insights and resources.
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