بررسی ساختاری سنت های ادبی در نظیره های مخزن الاسرار از قرن هفتم تا دهم هجری «بر پایه استعاره، تشبیه، تمثیل و کنایه» (مقاله علمی وزارت علوم)
درجه علمی: نشریه علمی (وزارت علوم)
آرشیو
چکیده
منظومه مخزن الاسرارِ نظامی از آثار ارشمند در حوزه ادبیات تعلیمی است که مورد اقبال و تقلید شعرای بسیاری قرار گرفته است. بررسی نظیره های این مثنوی از دیدگاه های ساختاری و محتوایی، تأثیرپذیری این شاعران از نظامی گنجوی و ویژگی های سبکی این اثر را آشکار می سازد. در پژوهش حاضر 8 نظیره مخزن الاسرار از قرن هفتم تا دهم هجری شامل مطلع الانوار ، صفانامه ، روضه الانوار ، المشاهد ، مظهرالآثار ، نقش بدیع ، مظهرالاسرار و تحفه الاحرار مورد مطالعه قرار گرفته است. هدفِ پژوهش بررسی سنت های ادبی در اشعار نظیره گویان مخزن الاسرار و یافتن میزان تأثیرپذیری ساختاری و محتوایی (سبکی، بیانیِ) آن ها با این منظومه است. بیان میزان به کارگیری نظیره پردازان مخزن الاسرار از مهارت های کاربرد سنت های ادبی در نسبت با این مثنوی و یافتن نوآوری ساختاری و محتوایی آن ها از دیگر هدف های این پژوهش است. یافته ها نشان می دهند که ارتباط مخزن الاسرار و نظیره های آن، ماهیتی تقلیدی دارد به طوری که اثر پسین، بازسرایی و بازآفرینی معنایی از پیش گفته شده در شکل و بافتی تقلیدی از مخزن الاسرار است و این تقلید چیزی از ویژگی های فردیِ مقلّد را در خود ندارد که سبب تفاوت آن ها از اثر الگو شود. این ارتباط زمینه های تقلید، تداعی، تلفیق و وابستگی را شامل می شود. علاوه براین هیچ یک از نظیره گویان نتوانستند به هم طرازی و عمق سخن و اندیشه نظامی برسند و بیشتر به ظاهر و ساختار بیرونی مخزن الاسرار توجه داشته اند. نظامی تمام آرایه های بلاغی را بیشتر برای مضمون پردازی و آراستن لفظ و صورت به خدمت می گیرد و حتی ساده ترین معانی را چنان هنرمندانه به تصویر می کشد که نظیر آن را در هیچ یک از مقلّدان وی نمی توان یافت.A Structural Analysis of Literary Traditions in the Imitative Works of Makhzan al-Asrar from the 7th to the 10th Century AH: Based on Metaphor, Simile, Allegory, and Allusion
Nizami Ganjavi's Makhzan-ul-Asrar (The Treasury of Secrets) stands as a foundational work in educational literature, widely admired and frequently imitated by subsequent poets. An examination of the naẓīreh compositions (parallels) inspired by this masnavi , analyzed through structural and thematic perspectives, reveals the extent of Nizami's influence on these poets and highlights the distinctive stylistic characteristics of his original work. The present study investigates eight such naẓīreh s of Makhzan-ul-Asrar , composed between the 7th and 10th centuries AH. These include "Mutala-ul-Anwar," "Safana-mah," "Rawza-ul-Anwar," "Al-Mushahid," "Mazhar-ul-Athar," "Naqsh-ul-Badi'," "Mazhar-ul-Asrar," and "Tahfa-ul-Ahrar" by Abdur Rahman Jami. The primary objective of this study is to scrutinize the literary traditions evident in these parallel poems and to ascertain the degree of their structural and thematic (stylistic and rhetorical) influence by Makhzan-ul-Asrar . A secondary aim is to evaluate the extent to which the imitators employed literary traditions in their engagement with Nizami's masnavi and to identify any structural or thematic innovations they introduced. The findings demonstrate that the relationship between Makhzan-ul-Asrar and its imitators is fundamentally imitative. The later works function as a retelling and re-creation of previously articulated meanings, presented within a form and context that directly emulates Makhzan-ul-Asrar . This imitation often lacks distinctive individual characteristics from the imitator that would significantly differentiate their work from the original model. This imitative relationship encompasses aspects of imitation, association, integration, and dependence. Furthermore, none of the imitators achieved the thematic coherence and intellectual depth characteristic of Nizami's discourse and thought, often prioritizing the external appearance and superficial structure of Makhzan-ul-Asrar . Nizami masterfully employs all rhetorical devices to develop themes and to adorn language and form, portraying even the simplest meanings and topics with an artistry unparalleled by his imitators. Introduction This study undertakes an examination of eight naẓīreh compositions, or imitations, of Nizami's Makhzan-ul-Asrar ("The Treasure of Secrets"), which were created between the 7th and 10th centuries AH. These selected works include "Matla'-ol-Anwar," "Safanameh," "Rowzat-ol-Anwar," "Al-Mashahid," "Mazhar-ol-Asar," "Naqsh-e Badie'," "Mazhar-ol-Asrar," and "Tohfat-ol-Ahrar." The primary objective of this research is to investigate the literary traditions evident in these parallel poems and to ascertain the extent of their structural and thematic (stylistic and rhetorical) influence by Nizami's original work. A further aim is to assess the imitators' application of these literary traditions and to identify any structural or thematic innovations they may have introduced. The analysis reveals that the relationship between Makhzan-ul-Asrar and its imitations is fundamentally one of imitation. The subsequent works predominantly function as a re-narration and re-creation of pre-existing meanings, adhering closely to a form and context that directly emulates Nizami's masterpiece. Consequently, this imitation often lacks individual characteristics of the imitator that would significantly distinguish it from the model work. This intricate relationship encompasses aspects of direct imitation, association, synthesis of elements, and literary dependence. Moreover, the findings indicate that none of the imitators successfully matched the intellectual depth and thematic coherence present in Nizami's discourse and thought, often concentrating more on the external appearance and structural elements of Makhzan-ul-Asrar . Nizami, in contrast, skillfully employs all rhetorical devices primarily for thematic development and to enrich the linguistic form of his poetry, portraying even the most straightforward meanings with an artistry that remains unparalleled by his imitators. Materials and Methods This research was executed using a descriptive-analytical methodology, primarily drawing upon extensive library resources. Initially, the study defines and describes key concepts, including stylistics, rhetoric, overarching themes, and the nature of literary imitation ( naẓīreh ). Subsequently, it provides a concise introduction to the eight chosen imitations of Makhzan-ul-Asrar , composed between the 7th and 10th centuries AH. This introduction highlights the prominent stylistic, rhetorical, and thematic features of each individual work. Following this introductory phase, a comprehensive comparative analysis of these works with Nizami's Makhzan-ul-Asrar is undertaken, noting their specific differences and similarities. By meticulously examining the application of style, rhetoric, and themes within the imitations, the distinctive strengths and weaknesses of each work are elucidated. Furthermore, through the comparative analysis of these masnavi s against Nizami's original, the stylistic, rhetorical, and thematic values inherent in the imitations are precisely determined. This study concurrently demonstrates the profound extent of Nizami's enduring influence on the literary output of subsequent poets. Discussion and Analysis Nizami primarily employs all rhetorical devices for thematic creation and to adorn the language and form of his poetry. His objective is to enhance the aesthetic quality of his words and to forge a novel, sophisticated poetic style. Nizami portrays even the most straightforward meanings and subjects with such innovative artistry that no comparable achievement can be found among his imitators. In contrast, within the imitations, rhetorical techniques are predominantly utilized for the purpose of explaining and emphasizing pre-existing meaning. In these later works, literary devices primarily serve to clarify the ideas articulated by the poet and to present them in a slightly modified form. Among the naẓīreh compositions, "Al-Mashahid" by Shah Da'i, alongside "Gowhar-e Fard" and "Mazhar-ol-Asrar" by Abdi Beyg Shirazi, exhibit notable structural and stylistic similarities. Specifically, in "Mazhar-ol-Asrar," there is a more discernible application of both verbal and spiritual figures of speech. The poet endeavors to maintain an equal balance between form and meaning. However, this balance risks disruption if the focus shifts excessively towards form, thereby diminishing the importance of the underlying meaning. In "Tohfat-ol-Ahrar," the deployment of these elements is less prominent; nevertheless, the presence of epic elements and terminology associated with the profession of secretaryship is particularly noteworthy. Conclusion The structural deployment of similes, metaphors, and allegories within these poems significantly influenced the respective poetic languages of their authors. The elevated frequency of these rhetorical devices in Nizami's work contributes to a poetic language that is both more elusive and more imaginative. Conversely, the language of his imitators tends to be simpler and clearer, attributable to a lower frequency of such sophisticated devices. This distinction underscores that Nizami, even when employing explicit and seemingly simple similes, consistently aimed to render his language more imaginative and, consequently, more elusive and complex. This artistic intention is notably absent in his imitators, whose poetic language is, by comparison, more readily understandable than Nizami's. One contributing factor to the observed differences in the structure of similes and metaphors between Makhzan-ul-Asrar and its naẓīreh compositions is the fact that the imitators were direct followers of Nizami's established style. Concurrently, the broader stylistic differences among these poets must also be taken into account. Nizami, and the Azerbaijani style in general, exhibits a pronounced inclination towards linguistic complexity and the inherent elusiveness of poetic imagery. However, while poets such as Amir Khosrow, Jami, and Khajoo engaged in imitation, their stylistic approaches did not achieve the same degree of complexity or elusiveness. Furthermore, disparities in the structure of similes, metaphors, and allegories among these poets are also linked to their distinct worldviews, their unique philosophical attitudes toward existence, and the varying geographical regions in which they resided.
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