احتمالِ اشاره فردوسی به جوی مولیانِ رودکی (مقاله علمی وزارت علوم)
درجه علمی: نشریه علمی (وزارت علوم)
آرشیو
چکیده
شاعران به بهانه های گوناگون از شعرایِ پیشین یا همعصرِ خود یاد یا به آنها اشاره می کنند. در کنارِ فوایدِ تاریخی گوناگون، گاهی می توان در گشودنِ گره های معنایی و تصحیحی نیز از این نمونه ها کمک گرفت. این یادکردها و اشارات بیشتر در میان شاعرانِ درباری رواج داشته و عمدتاً بازتاب دهنده رقابت ها و طبع آزمایی های شاعرانه بوده است. از آنجا که فردوسی شاعرِ دربار نبوده و گونه شعری شاهنامه نیز نَقلی است، نمی توان نمونه های چندان چشمگیری از این نمونه ها در آن یافت. غیر از دقیقی که پیشروی فردوسی در سرودن شاهنامه ابومنصوری بوده، فردوسی فقط یک بار در سخن از به نظم درآوردن کلیله و دمنه از رودکی نیز یاد کرده است. در کنارِ این یادکرد می توان با قیدِ احتمال، یک اشاره نیز به دست داد که تاکنون مغفول بوده است. پادشاهی هرمزد نوشین روان در شاهنامه، خطبه ای غنایی با زبانی کنایی و چندپهلو دارد. بیتی از این خطبه می تواند یادآورِ مطلعِ قصیده «جوی مولیان» و دارای ایهامی به چنگ نوازی رودکی باشد. این مسئله در دست نویس های شاهنامه بر نویسش های بیتِ فردوسی تأثیر نهاده و مصحِحان را نیز بر سر گزینشِ نویسش های «باد» و «بوی» و «یاد» به تردید افکنده است. در این مقاله کوشش شده است با درنگ بر معنا و بافتِ چندپهلویِ خطبه پادشاهی هرمزد نوشین روان، گزارش هایِ پیشینِ این بخش از شاهنامه را نقد شود. سپس، در کنارِ به دست دادنِ اشاره احتمالیِ فردوسی به مطلعِ قصیده جوی مولیان، نویسش هایِ «باد» و «بویِ یار» در اشاره فردوسی و بیتِ رودکی توجیه معنایی و نسخه شناختی شده است.The Possibility of Ferdowsi's Reference to Rudaki's Juyi Moulian
Poets often reference one another, reflecting the competitions and poetic challenges that characterize their relationships. However, since Ferdowsi was not a court poet and the narrative genre of the Shahnameh limits such references, striking examples are rare. Apart from Daqiqi, who preceded Ferdowsi in composing the Shahnameh of Abu Mansuri, Ferdowsi only mentions Rudaki's versification of Kalila and Dimna once. Additionally, there exists a reference that has largely gone unnoticed. The kingship of Hormozd Noushin-Ravan in the Shahnameh features a lyrical address marked by irony and ambiguity. A verse from this address may evoke the opening of the poem "Juyi Moulian" and carries implications related to Rudaki's harp playing. This connection has impacted the manuscripts of Ferdowsi's verses and has led to uncertainty among editors regarding the choice of the terms "bād" (wind), "bui" (fragrance), and "yād" (memory). In this article, we aimed to critique previous interpretations of this section of the Shahnameh by exploring the meaning and multi-layered context of the royal address of Hormozd Noushin-Ravan. We also proposed Ferdowsi's possible reference to the opening of "Juyi Moulian" and analyzed the terms "bād" and "bui-ye yār" in Ferdowsi's verse and Rudaki's work from a semantic and textual criticism perspective.
Keywords: Rudaki, Ferdowsi, Juy-e Moulian, Editing.
Introduction
Despite the extensive nature of the Shahnameh, Ferdowsi offers little significant insight into his personal life, affairs, and relationships. His references to age and some contemporary court poets primarily serve to elucidate the process of composing the Shahnameh. Unlike Nizami Ganjavi, we have scant information about Ferdowsi's wife and family; the Shahnameh only reveals that his son, who was often critical of him, passed away at the age of 37. It is likely that at the onset of Hormozd Noushin-Ravan's reign, he subtly alluded to his deceased wife in one of his verses.
Ferdowsi's mentions of other poets are equally minimal. This scarcity may stem not only from the professional demands of narrative poetry, but also from Ferdowsi's non-courtly status. As Ferdowsi was not embroiled in the rivalries, friendships, and enmities of court poets and remained distanced from the centers of power, it is not surprising that he had little engagement with his contemporaries.
Aside from Daqiqi, Ferdowsi makes only general references to the poetic compositions that preceded him. He does mention Rudaki in connection with the history and composition of Kalila and Dimna, as well as the method of its creation. Beyond these few examples, he does not name any other poets and his references do not directly invoke the poetry of others.
However, at the beginning of Hormozd Noushin-Ravan's reign in the Shahnameh, there is a notable mention of an apple tree that Tamuz speaks to in a veiled manner, praising the lost beauty of its spring now transformed by yellow and red apples. In this context, certain verses evoke Rudaki and his famous poem "Juyi Moulian" through their ironic and ambiguous language.
Materials & Methods
In this article, we analyzed a section of Ferdowsi's Shahnameh. Our examination began by seeking to establish the accurate meaning of the verses. Following this, we critiqued previous interpretations and existing commentaries related to the selected verses. Through this comprehensive analysis, we aimed to uncover the original context and identify a previously overlooked reference, in which Ferdowsi alluded to Rudaki's renowned poem and his harp playing. This discovery also aided in correcting a specific verse from the Shahnameh. The primary materials for our study included the most significant editions of the Shahnameh and the poems of Rudaki.
Research Findings
The investigation into Ferdowsi's Shahnameh revealed intricate layers of meaning and intertextual references, particularly to Rudaki and his poem "Juyi Moulian". The analysis of the sermon delivered by Hormozd Noushin-Ravan suggested that Ferdowsi employed both the language and syntactic structure reminiscent of Rudaki's work, particularly in the third verse of this sermon. This verse not only evoked Rudaki's harp playing through the term "Chang", but also highlighted the ambiguity and irony present in the context.
The study further explored the discrepancies found in the manuscripts of the Shahnameh, particularly concerning the terms "bād" (wind), "bui" (fragrance), and "yād" (memory). These variations appeared to echo similar inconsistencies in Rudaki's verses, indicating a potential influence of Rudaki's poetic style on Ferdowsi's writing. The critical examination of both Ferdowsi and Rudaki’s verses supported the notion that these textual issues might stem from a shared poetic tradition.
Additionally, the association between the narratives within the Shahnameh and Rudaki's life, particularly through the figure of Max, the governor of Herat, reinforced the idea that Ferdowsi's references to Rudaki were intentional and deliberate. The findings proposed that Ferdowsi’s subtle allusions to his predecessor's work served to enrich the narrative and engage with the poetic heritage of his time, ultimately contributing to the thematic depth of the Shahnameh.
Discussion of Results & Conclusion
Taking into account the figurative language and ambiguous context of the sermon in the story of Hormozd Noushin-Ravan within the Shahnameh, it was reasonable to suggest that Ferdowsi referenced Rudaki and his poem "Juyi Moulian". In the third verse of this 14-verse sermon, Ferdowsi not only employed the language and syntactic structure reminiscent of the opening of "Juyi Moulian", but he also implied Rudaki's harp playing through the term "Chang". An examination of the Shahnameh manuscripts revealed variations in the recordings of the words "buy", "bād", and "yād" in the relevant verse, which might echo similar discrepancies found in Rudaki's works. This suggested that the confusion in Rudaki's writings could have influenced the manuscripts of the Shahnameh. A closer look at Rudaki's verse indicated that there was no doubt about the readings "bād-e juy" in the first hemistich and "buy-e yār" in the second. These readings were not only supported by textual criticism, but also aligned more coherently with the overall logic of the discourse.
The manuscripts of the Shahnameh further showed that in Hormozd Noushin-Ravan's sermon, the forms "bād-e šarm" in the first hemistich and "buy-e yār" in the second were preferable to other variants. This connection with Rudaki's verse was significant as it was reinforced by the consistency found across the Shahnameh manuscripts. Juxtaposing Rudaki's verse with Ferdowsi's enhanced the quality of both texts and bolstered our hypothesis regarding Ferdowsi's influence from Rudaki, particularly given that the narrator of the story of Hormozd Noushin-Ravan was Max, the governor of Herat.
From this analysis, we could tentatively propose that Ferdowsi, in the latter part of the story of Noushin-Ravan while discussing the versification of Kalila and Dimna, alluded to Rudaki. When he reached the narrative of Hormozd Noushin-Ravan and saw the name of the narrator, Max, he was reminded once again of Rudaki and the tale of his poem "Juyi Moulian", which related to Nasr ibn Ahmad's stay in Herat. Consequently, he composed the sermon in the style of ode poets and began the story with a reference to King Hormozd Noushin-Ravan. Thus, in crafting the third verse of this sermon, he drew upon the opening of "Juyi Moulian", subtly recalling Rudaki and his harp playing.
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