تمثيل‌هاي شطحي در آثار عين‌القضات همداني (با تأكيد بر نامه‌ها و تمهيدات)

Pseudo-disbelief Allegories in the Works of Ein al-Qozat Hamedani (with Emphasizing on Letters and Arrangements)

از آﻧﺠﺎﯾﯽ ﮐﻪ ﺑﯿﺎن ﺗﺠﺎرب ﻋﺮﻓﺎﻧﯽ در ﻗﺎﻟﺐ زﺑﺎن ﻣﺤﺪود و ﻧﺎﮐﺎرآﻣﺪ ﻣﺎدّي، ﮐﺎري ﺑﺴﯿﺎر دﺷﻮار و ﭼﺎﻟﺶﺑﺮاﻧﮕﯿﺰ اﺳﺖ، ﻋﺮﻓﺎ ﺑﺮاي ﺗﺒﯿﯿﻦ و ﺗﻔﻬﯿﻢ اﻧﺪﯾﺸﻪﻫﺎ و ﺗﺠﺮﺑﻪﻫﺎي ﻋﺮﻓﺎﻧﯽ ﺧﻮﯾﺶ و اﻗﻨﺎع ﻣﺨﺎﻃﺒﺎن، از ﻇﺮﻓﯿﺖﻫﺎي ﻫﻨﺮي زﺑﺎن، ﭼﻮن ﺗﻤﺜﯿﻞ ﺑﺴﯿﺎر ﺑﻬﺮه ﺑﺮدهاﻧﺪ. ﻋﯿﻦاﻟﻘﻀﺎت ﻫﻤﺪاﻧﯽ، از ﺟﻤﻠﻪ ﻋﺮﻓﺎﯾﯽ اﺳﺖ ﮐﻪ اﯾﻦ ﺷﮕﺮد زﺑﺎﻧﯽ در آﺛﺎرش ﺟﺎﯾﮕﺎﻫﯽ وﯾﮋه ﯾﺎﻓﺘﻪ اﺳﺖ؛ اﻣّﺎ ﻧﮑﺘﮥ ﺷﺎﯾﺎن ﺗﻮﺟﻪ آن اﺳﺖ ﮐﻪ ﮔﺎه دﺳﺖ ﺑﻪ ﺑﯿﺎن ﺧﺎﺻﯽ از ﺗﻤﺜﯿﻞ ﻣﯽزﻧﺪ ﮐﻪ ﻋﻼوه ﺑﺮ ﺳﻄﺢ ﻇﺎﻫﺮي ﮐﻼم، در ﺳﻄﺢ ﻣﻌﻨﻮي ﻫﻢ ﺑﺎ ﺳﺎﺧﺘﺎري ﻣﺘﻨﺎﻗﺾﻧﻤﺎ و ﭘﺎرادوﮐﺴﯽ روﺑﻪرو ﻫﺴﺘﯿﻢ. اﯾﻦ ﺷﮑﻞ از ﺑﯿﺎن ﺗﻤﺜﯿﻠﯽ را ﮐﻪ ﺑﻮﯾﯽ از ﺳﺎﺧﺘﺎرﻫﺎي ﺷﻄﺤﯽ در زﺑﺎن ﺑﻪ ﻫﻤﺮاه دارد، ﻣﯽﺗﻮان ﺗﻤﺜﯿﻞﻫﺎي ﺷﻄﺤﯽ ﻧﺎﻣﯿﺪ. در اﯾﻦ ﻣﺨﺘﺼﺮ، ﺳﻌﯽ ﺷﺪه اﺳﺖ اﯾﻦ روﯾﮑﺮد و ﮐﺎرﺑﺮد ﺗﻤﺜﯿﻞ در آﺛﺎر ﻋﯿﻦاﻟﻘﻀﺎت ﻫﻤﺪاﻧﯽ ﺑﺎ ﺷﯿﻮة ﺗﻮﺻﯿﻔﯽ – ﺗﺤﻠﯿﻠﯽ ﻣﻮرد ﺑﺮرﺳﯽ ﻗﺮار ﮔﯿﺮد و ﺑﺮ اﺳﺎس ﺧﻮﺷﻪﻫﺎي ﺗﺼﻮﯾﺮي و ﻣﻮﺗﯿﻒﻫﺎي ﺑﺮآﻣﺪه از ﺟﻬﺎنﺑﯿﻨﯽ ﺧﺎص ﻋﺎرف، ﻃﺒﻘﻪﺑﻨﺪي ﺷﻮد. از آﻧﺠﺎﯾﯽ ﮐﻪ ﺑﺴﺎﻣﺪ ﺗﻤﺜﯿﻞ در ﻧﺎﻣﻪﻫﺎ و ﺗﻤﻬﯿﺪات، ﺑﯿﺶ از ﺳﺎﯾﺮ آﺛﺎر ﻋﯿﻦاﻟﻘﻀﺎت ﻫﻤﺪاﻧﯽ اﺳﺖ، در اﯾﻦ ﮋوﻫﺶ، اﯾﻦ دو اﺛﺮ ﻣﺒﻨﺎي ﮐﺎر ﻗﺮار ﮔﺮﻓﺘﻪ اﺳﺖ.

Since the expression of mystical experiences in the form of a limited and inefficient material language is a very difficult and challenging task, the mystics have used the artistic capacities of the language as a parable to explain and understand their mystical thoughts and experiences and to persuade the audience. Ein al-Qodat Hamedani is one of the mystics who has found this linguistic sense in his works. But it is worth noting that sometimes the judge makes a certain statement of the allegory that, in addition to the apparent level of the word, we are faced with a paradoxical and contradictory structure at the spiritual level. This form of allegorical expression, which brings to mind the structures of Pseudo-disbelief in the language, can be called "Shathi allegories". In this brief, it is intended that this approach and application of allegory in the works of Ein-al-Qozat Hamedani be examined and based on the cluster of images and motifs derived from the particular mystic worldview. Since the frequency of the allegory in the letters and arrangements is more than other works of Ein al-Khedat Hamedani, the two works have been constructed in this study.