از قافیه تا نحو حماسی در شاهنامه بر پایه قافیه های «نام» و «کام»
آرشیو
چکیده
شاهنامه فردوسی، یکی از برجسته ترین شاهکارهای ادب فارسی است که نگاه پژوهشگران زیادی را در حوزه های مختلف به خود جلب کرده است. شاهنامه به سبب وجوه مختلف ادبی، زبانی و بلاغیِ آن همواره فراتر از یک متن منظوم و متن های مشابه خود در همین قالب می باشد و زبان حماسی این اثر و استفاده از الگوهای مشترک نحوی در ابیات آن از مهم ترین مؤلفه های این تمایز و برجستگی محسوب می شود. جایگاه منحصربه فرد قافیه در مصراع و بیت، چه از نظر موسیقیایی و چه از جهت سبک شناسی، بررسی و تحلیل آن را در تاریخ تحولات گوناگون شعر فارسی نه تنها توجیه می کند، بلکه ضروری می نماید. با بررسی این عنصر بسیار اثرگذار در بیت، می توان به نتایج ارزشمندی در تحلیل ابیات و شیوه بیت سازی فردوسی در شاهنامه دست یافت. در تمام تحقیقاتی که در خصوص قافیه صورت پذیرفته، یکی از نکاتی که هرگز به آن توجه نشده است، این موضوع است که آیا قافیه می تواند بر الگوی نحوی بیت تأثیر عمیقی بگذارد؟ با توجه به اینکه بیت سازی فردوسی در شاهنامه بر مبنای الگوهای دستوری مشخصی صورت گرفته است، به نظر می رسد که این الگوها شیوه بیت سازی او را در این اثر معین می کند. در پژوهش پیش رو کوشیده شده است تا با بررسی و دسته بندی ابیاتی با قافیه «نام و کام» در پنج منظر معنایی، که اساس تقسیم بندی آنها بر مبنای نقش های دستوری مختلفی است که در بیت آمده، به الگوهای نحوی مشترک این ابیات دست پیدا کنیم. نتایج به دست آمده از این پژوهش که به روش کتابخانه ای انجام شده است، نشان می دهد که می توان با تقسیم بندی قافیه ها و با توجه به نقش نحوی آنها به درک درست تری نسبت به تأثیر قافیه بر نحو جمله داشت.From Rhyme to Epic Syntax in the Shahnameh Based on the Rhymes of "Naam" and "Kam"
IntroductionThe most important topic discussed in this article is the study of epic syntax based on rhyme in the Shahnameh. According to the findings of this research, epic syntax is the way language is used in the literary genre of epic. Accordingly, there is a close relationship between the epic literary genre and the language used in it. In this article, we aim to examine the role of rhyme in the formation of specific syntactic patterns in the Shahnameh based on the two rhymes of "kam and naam" and to show the effect of rhymes on the syntax of the verse and its rhetoric. Examining the rhymes in the Shahnameh that have a syntactic structure and how Ferdowsi rhymes in this work can lead us to a correct understanding of the method of verse formation and the construction of its syntactic patterns.This research seeks to answer the following questions:Does the use of conjunctions and attributive verbs in verses that have "kam va nam" rhymes affect the grammatical role of rhyme in the verse?Does the use of supplication verbs in verses that have these rhymes create a common syntax between the verses?Is the number of syntactic patterns of these rhymes in Shahnameh diverse and different? In which syntactic role is this diversity greater?The aim of this study is to examine and classify different syntactic patterns of verses from the Shahnameh with respect to the two rhymes "kam and nam". Research MethodologyThe research method in this study was first conducted in a statistical and frequency manner and then in an analytical and descriptive manner using a library method. DiscussAmong the rhymes that Ferdowsi used in composing the Shahnameh, the words "kam and nam" are used in 151 rhymes. In this study, we placed these rhymes in 5 semantic perspectives and examined them in terms of syntax. One of the most widely used patterns of "nam and kaam" is the predicate + relative verb + predicate, in which Ferdowsi mentions the names of people and places. In some cases, the verb of the sentence is irrelevant and the "nam" is placed in the object position, while the second stanza is still an explanation of the first stanza. In these verses, the second stanzas are adjectives whose rhetorical role can be to further introduce a character. In the third stanza, "nam and kaam" are placed in the position of rhyme, while Ferdowsi's purpose in using this rhyme is to ask someone's name and surname, and in the second stanza, "kaam" means desire and wish, and finally, the fourth and fifth stanzas include the most diverse syntactic patterns. ConclusionIn his work, Ferdowsi has a special treatment of the syntax of verses and rhymes, which we called "epic syntax" in this research. Based on the two rhymes of "kaam and nam", we sought to analyze the syntactic role and common pattern of verses and examined it based on five perspectives.Based on the findings of this research, whenever Ferdowsi uses a conjunction in a verse; the rhyme “nam and kaam” is placed in the position of the predicate. In all the verses of the first perspective and the first pattern of this perspective, we witness conjunctions, while in the second pattern, which is among the most widely used patterns, we encounter more conjunctions.Among all the verses that rhyme with "nam and kaam," there are only three verses that have a prayerful content, and the syntax of the two stanzas is also similar.In the third perspective, Ferdowsi's purpose in using the rhyme "nam" is to ask for a person's name; and the rhyme "kaam" in the second stanza means desire and wish. The notable point is that about 60 percent of the verses that are included in this perspective are in the stories "Kamos Keshani and Rostam and Esfandiar".
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