بررسی تطبیقی عناصر روایت در غزل روایی گذشته و معاصر فارسی (مقاله علمی وزارت علوم)
درجه علمی: نشریه علمی (وزارت علوم)
آرشیو
چکیده
غزل روایی یکی از فرم های تازه غزل در دوران معاصر است و به غزلی اطلاق می شود که داستانی را بازگو کند. به عبارتی دیگر شاعر غزل را به متنی تبدیل می کند که در آن وقایعی ازپیش انگاشته شده و به طور آگاهانه در توالی یکدیگر قرار می گیرد. در این نوع غزل عناصر داستانی به شکل پررنگی حضور دارد است و پی رنگ آن از الگویی روایی پیروی می کند. سابقه غزل روایی در شعر فارسی به ادبیات کهن فارسی بازمی گردد. غزل رواییِ گذشته، علاوه بر بیان مسائل عاشقانه، در عرفان نیز حضوری پررنگ دارد و نمونه هایی از آن را در دیوان عطار و مولانا می توان دید. در شعر معاصر کسانی همچون سیمین بهبهانی و محمدسعید میرزایی به نحو مشهودی از روایت در غزل بهره برده اند. غزل روایی گذشته، در کاربست عناصر روایت به ویژه شخصیت، صحنه پردازی و پی رنگ با غزل روایی معاصر تفاوت هایی دارد. این جستار بر آن است با روشی توصیفی تحلیلی مبتنی بر خوانش و تحلیل نمونه، مشابهت ها و مغایرت های عناصر روایت در غزل روایی دیروز و امروز را به دست دهد. می توان گفت غزل روایی گذشته فضایی ذهنی و کلی دارد؛ اما غزل روایی معاصر به مسائل عینی و جزئی در جامعه نظر می افکند. موضوعات غزل های روایی گذشته موضوعاتی عاشقانه، قلندرانه و عارفانه است؛ اما موضوع غزل روایی معاصر، آیینی و اغلب اجتماعی است. شخصیت های غزل روایی گذشته در تقابلی دوگانه میان عاشق و معشوق، سالک وپیر متغیر است؛ اما در غزل روایی امروز، شخصیت هایی تنها از بطن جامعه برگزیده می شوند. زمان و مکان در غزل روایی پیشین کلی و عمومی است؛ اما غزل روایی معاصر متمایل به جزئی گرایی است. درمجموع، غزل روایی معاصر اجتماعی تر، عینی تر، نمایشی تر و جزءنگرتر از غزل روایی گذشته است؛ اما ازنظر پی رنگ و خط سیر روایت، غزل روایی گذشته کامل تر از غزل روایی معاصر است.A Comparative Study of Story and Narrative Elements in Classical and Contemporary Persian Narrative Ghazal
In the classic Persian narrative ghazals, in addition to expressing romantic issues, there is also a strong presence in mysticism, and examples of it can be seen in the Attar and Rumi’s divan. In contemporary Persian poetry, poets such as Simin Behbahani and Mohammad Saeed Mirzaei have evidently used narration in ghazal. There are clear differences between the contemporary Persian narrative ghazals in the use of narrative elements, especially the character and description of the scene and plot, with the classical Persian narrative ghazals. This research aims to analyze and criticize the similarities and differences of narrative elements in classical and contemporary Persian narrative ghazal using a descriptive-analytical method based on sample reading and analysis. It can be said that the past narrative has a general, subjective, and transcendent state, but the contemporary narrative ghazal considers objective and minor issues in the society. The themes of classical Persian narrative ghazals are romantic, general, and mystical, but the subject of contemporary narrative ghazals is social realities and issues. Keywords: Persian Ghazal, Narrative, Narrative Ghazal, Traditional Ghazal, New Ghazal. IntroductionIn the contemporary era, the Persian narrative ghazal was one of the poetic movements that emerged in the seventies. This type of ghazal was officially introduced with the publication of two books of poetry by Mohammad Saeed Mirzaei and was welcomed by young poets to the extent that its influence extended to the 1990s. But before the form of narrative ghazal became known as a trend in today's poetry, it can be seen in the sixties, especially in the poems of Simin Behbahani.Research works on the subject of narrative poetry of the past can be seen in several articles: Heydari (2007) who has found four constructions of address, backbiting, soliloquy, and dialogue in narrative ghazal. In addition, Garavand (2009) is a worthy research in the field of understanding the structure of the story in the Ghazliat of Shams. In the field of contemporary narrative ghazal, we can also refer to the critical article on young Ghazal (Akhlaghi, 2006) and the article on cinematic narrative styles in Ghazal (Fesharaki & Safaei, 2013). It should be mentioned that, so far, no independent research work has been observed on the subject of comparison of past and contemporary narrative ghazal. The purpose of this research is to analyze these distinctions and categorize them. It aims to answer the question of: What similarities and contrasts are there between the past and present narrative ghazals in the use of narrative elements? MethodsThe type of this research is theoretical and the method of collecting materials and data is library-based using related sources. The research method was descriptive-analytical. In this way, according to the previous sources, the most prominent characteristics of the narrative ghazal of the classical Persian poets (Sanaei Ghaznavi, Attar, Molana, Hafez Shirazi, etc.) were extracted, categorized, and analyzed. Then, the contemporary narrative ghazals (the ghazals of Hossein Monzavi, Simin Behbahani, Mohammad Saeed Mirzaei, Biyabanki, Hamed Ebrahimpour, Mozhgan Abbaslou, etc.) were studied. In the following, the prominent changes in the story elements in the new ghazal compared to the classical Persian ghazal were examined and criticized. Research FindingsIn the classical Persian story, heroic and sometimes dynamic characters are seen, but the contemporary narrations, with the exception of religious ghazals, are more anti-hero. They include characters such as a child who has to work on the street, a poor child, an absurdity who intends to suicide, a man who does not reach his favorite woman, a woman who betrayed the man, and so on. In general, contemporary Persian narrative characters are from different strata of the society, which has given these categories of ghazals a social taste.In romantic and descriptive ghazals, the story is weaker, and often the lover remains in the burning and separation. In contemporary narrative ghazals, a space full of bitterness, grief, and despair in the context of the narrative is seen, so that endings usually lead to the death of a personality without causing a node. The field of narrative in the past is sometimes a mental space. Sometimes it is a public space like a garden and market. The time of the event is general (at night and in the morning). In the contemporary narrative, there is a scene of urban environment events and the street has a strong presence. Discussion of Results and ConclusionThe dominant subject of mystical narrative ghazals is the passing of the seeker/mystic through the achievement of maturity and perfection. In this regard, Attar's narrative ghazals on the subject of the story of Halaj and Sheikh Sanaan have the most frequency in the experience of meeting the beloved and mystical beloved (Sharif Nasb & Karami, 2012, p. 270).In contemporary poetry and ghazals, the subject and the interior derived from urban life and modern society become more diverse. Themes such as death, failure in love, loneliness, poverty, child citizenship, women's citizenship, war, misunderstanding, and diminishing ethics are the main issues of these ghazals. There are, of course, ritual issues such as Ashura, the imposed war, and the waiting for a savior. In contemporary narrative ghazals, the main personality of the ordinary and low-income classes is the marginalization of an urban society, and suffers from social problems. Inaction and submission to the disadvantage can be considered anti-hero. In the study of the past poem, the Freitak pattern (introduction, narrative, and conclusion) can be seen. The plot in classical narrative ghazals is generally a kind of storytelling. In most contemporary narrative ghazals, the lack of a stable state is evident, and the narrative is formed with an unstable situation. Usually, the unstable situation of the main character forces the story to do an unwanted practice: childhood work, crossroads, beyguards and sales, newspaper distribution, sale of a memorial bangle, work on the day of closure, and so on.
تبلیغات
