تحلیل دگردیسیِ حکایتِ (آبگیر و سه ماهی) در مثنوی (مقاله علمی وزارت علوم)
درجه علمی: نشریه علمی (وزارت علوم)
آرشیو
چکیده
مولانا برای بیان نکات عرفانی حکایتِ «آبگیر و سه ماهیِ» کلیله و دمنه را در مثنوی بازآفرینی می کند. تحلیل دگردیسی معناییِ این حکایت، شگرد مولانا برای تبدیل مضامین محدود آن به مفاهیم گسترده عرفانی و چگونگی آفرینش ساختاری نو، هدف اصلی پژوهش حاضر است. این مقاله به شیوه توصیفی تحلیلی به نقد دلایلی می پردازد که مولانا بر آن اساس، حکایتِ کلیله را «قشر قصه» و داستان خویش را «مغز جان» می خواند. یافته ها نشان می دهد که مولانا با استفاده از مضامین قرآنی، احادیث نبوی، سخنان صوفیه و امثال و حِکم، مفاهیم مُلهم از تجارب عرفانیِ خود را در فضای کلی قصه القاء می کند و با توسل به نوعی شیوه سخن پردازی در تفسیر افکار و اعمال سه شخصیت اصلیِ حکایت، بر درک نکته ها و رمزها تأکید می ورزد و در اشاره به ماجراهای داستانی از طریق کارکرد ترغیبی اقناعیِ پیام های خود، مباحث عرفانی را می گسترد و به هنگام نقل ماجرا های میانی در قالب تمثیل های گوناگون و با استفاده از قابلیت های ویژه زبان عرفان، درون مایه قصه را برای تصویر عوالم معنوی بسط می دهد و در بیان محتوا بر اساس دو مقوله حکمت و هدف، نمادهای عالیِ متن خود را می آفریند تا قصه مثنوی را ضمن حفظ مشابهت ظاهریِ روایت، در بافتاری متمایز از حکایتِ کلیله عرضه کند.The Metamorphosis of the Fable "The Three Fish" in Rumi’s Masnavi
In his Masnavi, Rumi recreated the fable "The Three Fish" from Kalileh and Demneh to convey mystical ideas. This study aims to analyze the semantic metamorphosis of "The Three Fish", Rumi’s techniques in expanding its themes into mystical concepts, and the development of a new structural framework. Through a descriptive-analytical approach, this study examines why Rumi viewed the fable in Kalileh and Demneh as the outer layer of the story, with his own narrative serving as the spiritual core. The findings reveal that Rumi infused his mystical insights drawn from his experiences into the story, relying on Quranic themes, prophetic hadiths, Sufi teachings and proverbs. He employed a specific rhetorical style to interpret the thoughts and actions of the fable's main characters, emphasizing subtle points and symbols. Rumi also introduced mystical dialogues, weaving persuasive messages into narrative events. Using metaphors, allegorical descriptions, and the unique language of mysticism, Rumi expanded the story's motif in order to illustrate spiritual dimensions. Additionally, he crafted his own symbolic representations rooted in wisdom, setting Masnavi apart from Kalileh and Demneh while maintaining a surface resemblance. IntroductionRumi borrowed the fable "The Three Fish" from Kalileh and Demneh and transformed it within his unique epistemic system, re-narrating and altering its content through specific appropriations in line with the human-centered nature of Masnavi. The term metamorphosis can help investigate Rumi’s appropriative approach, as it refers to an effective method for transforming themes in an evolutionary course where the fable changes into a symbolic story. In the spiritual realm of the work, Rumi introduces his distinctive mystical hermeneutics approach, creating new themes and recreating a new experience of expression, interpretation, and understanding. The present study tried to answer the following questions: How do the simple meanings of Kalileh and Demneh’s succinct story transform into inclusive and lofty symbols in Masnavi? How does Rumi guide the audience to understand the underlying themes of his story? In various stages of transforming the fable from a literary form to mystical concepts, Rumi seems to have expanded the potential reach of language to enter the realm of unparalleled perception. He then relies on his own thoughts regarding the vast possibilities of interpretation to connect the outer layer of the story to the spiritual core, thus creating a literary-mystical genre. The extent of expansion of conceptual and semantic domains of the mystical text becomes crucial in the transformation process. Because of the ineffable nature of the mystical experience, the text becomes ambiguous and complex. Rumi explains the surface meanings of the fable within his framework of Sufi hermeneutics, based on the principle of association of ideas in the mystical domain to create new themes. By carefully choosing precise words, he provides the audience with access to the mystical experience, helping them unravel a new epistemic experience and engaging them in the process of creating concepts influenced by contextual knowledge.Literature ReviewResearchers have analyzed the fables of Kalileh and Demneh and the stories of Masnavi by using theoretical approaches, acknowledging the influence of the former on the latter. A portion of the related literature infers that Rumi brought the stories of Masnavi closer to contemporary stories by employing specific storytelling elements. Others believe that Rumi, inspired by Kalileh and Demneh, could orient the audience towards specific mystical and ethical issues. Some researchers state that both Kalileh and Demneh and Masnavi use animal allegories to explain the problem-solving method in relation to some key concepts, including the enmity between story characters; however, Kalileh and Demneh’s perspective is materialistically triumphant, while Masnavi is meaning-oriented. The present study is different from the related literature in that it approached the topic by examining the expression of mystical meanings through deep interpretations found in Sufi hermeneutics and Rumi’s precise insights, with a focus on a specific fable, namely The Three Fish.MethodologyThe present study used a descriptive–analytical method to examine Rumi’s particular interpretation. It aimed to shed light on how Rumi could transform the theme of Kalileh and Demneh’s fable through a metamorphosis of its content, and how he used it in his didactic framework so that it led to a more comprehensive understanding of mystical concepts.ConclusionRumi refers to the form and content of Kalileh and Demneh’s fable as a legend and a story, respectively—which indicates his particular approach to the theme of the story. After the superficial narration of the fable, the description of the characters the wise and the stupid can be found in 21 instances, from verse 2280 to the end of verse 2508 in the fourth book. Rumi thus links the theme of Kalileh and Demneh’s fable to the purposes of Masnavi’s story. He considers the story of The Three Fish valuable from a literary perspective. Yet, the popularity of the fable gets Rumi to transform it from a literary form (the husk of the story) into a form with lofty mystical concepts (the spiritual kernel). That is why Rumi considers Masnavi’s story as distinct and prominent in the realm of Sufism. However, Rumi’s art and craft is not merely limited to the thematic transformation. He actually introduces radical changes to the function of language by changing it from the factual to the symbolic. Interpreting the characters also enables Rumi to persuasively convey the meaning of inexpressible concepts and themes such as wisdom, existence, annihilation, the nature of spiritual journey, the forms and shapes of the unseen universe, love, and divine spirit. Using the symbolic language, he adds to the conceptual dimension of asceticism, mysticism, and ethics, expanding their instances from the unidimensional experience of the material world to the vast multidimensionality of the system of thought in the spiritual realm—thus providing a ground for the spiritual explanation of the concepts in the story.The metamorphosis of "The Three Fish" operates on several terrains, including insightful references to Quranic concepts, prophetic hadiths, proverbs, and mystical sayings. Moreover, other factors facilitating the metamorphosis include Rumi’s mental interpretation and various spiritual understandings in the setting of the story; his use of metaphorical, allegorical, and symbolic language; and content-orientedness based on a particular Quranic expression. Rumi also allows the reader to appropriate the themes of the story so that they can achieve a better understanding of its inner meanings and themes. However, the translator of Kalileh and Demneh—for some reasons—does not provide such an opportunity for the reader. The linguistic, rhetorical, and artistic innovations of Masnavi’s story can be found in the creation of multiple images of fixed concepts of Kalileh and Demneh’s fable, as in themes of patriotism, genuine repentance, the dominion of mercy over wrath, the guiding reason, the principle of faith, the philosophy of consultation, admonition and sermon, loyalty to the covenant, and the prophetic mission—all of which are found in the realm of novel mystical themes, leading to an understanding of the inner and intermediate themes of the story. To persuade the audience, Rumi expands the very simple structure of Kalileh and Demneh’s fable in line with his own epistemic perspective. He creates a thematic structure within Sufi hermeneutics and spiritual insights found in the mystical space of poetry. Thus, Rumi successfully imbues the structured framework and orderly cohesion of Masnavi’s story with a different form of meaning.
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