ﺑﺮرﺳﯽ و ﺗﺤﻠﯿﻞ ﻣﺤﺘﻮاﯾﯽ ﻣﻨﺎﺟﺎتﻫﺎي اﻟﻬﯽﻧﺎﻣﻪ ﻋﻄﺎر ﻧﯿﺸﺎﺑﻮري

Content study and analysis of Attar Neyshabouri's Elahiname

ﻣﻨﺎﺟﺎت ﯾﮑﯽ از ﻧﯿﺎزﻫﺎي ﻓﻄﺮي ﺑﺸﺮي اﺳﺖ و در آﺛﺎر ﻋﺎرﻓﺎن و ﺷﺎﻋﺮان ﻧﻤﻮد ﺑﯿﺸﺘﺮي دارد. ﺷﯿﺦ ﻓﺮﯾﺪ اﻟﺪﯾﻦ ﻋﻄﺎر ﻧﯿﺸﺎﺑﻮري از ﺳﺮدﻣﺪاران ﺷﻌﺮ ﻋﺮﻓﺎﻧﯽ ﻓﺎرﺳﯽ در ﺟﺎي ﺟﺎي آﺛﺎر ﺧﻮد در ﺻﺪد ﻓﺮو ﻧﺸﺎﻧﺪن ﻋﻄﺶ ﻧﺎﺷﯽ از ﻋﺸﻖ ﺑﻪ ﺧﺪاوﻧﺪ اﺳﺖ. وي در آﺛﺎر ﺧﻮد ﮔﺎﻫﯽ ﺑﻪ ﻣﻨﺎﺟﺎت ﻣﺴﺘﻘﯿﻢ ﺑﺎ ﺧﺪا و ﮔﺎه از زﺑﺎن ﻗﻬﺮﻣﺎﻧﺎن داﺳﺘﺎنﻫﺎﯾﺶ ﺑﺎ ﭘﺮوردﮔﺎر ﺑﻪ راز و ﻧﯿﺎز ﭘﺮداﺧﺘﻪ اﺳﺖ. ﻣﻨﺎﺟﺎتﻫﺎي ﻣﻮﺟﻮد در ﻣﻨﻈﻮﻣﻪﻫﺎي او ﮔﺎه ﺑﻪ ﻣﻨﻈﻮر ﺳﺘﺎﯾﺶ ﻣﺤﺾ ﺧﺪاوﻧﺪ، ﮔﺎه ﺑﺮاي رﻓﻊ ﻧﯿﺎز ﺧﻮد ﯾﺎ دﯾﮕﺮي و ﮔﺎه ﺑﻪ ﺟﻬﺖ ﺷﮑﺎﯾﺖ و اﻋﺘﺮاض ﺻﻮرت ﮔﺮﻓﺘﻪ اﺳﺖ. ﯾﮑﯽ از وﯾﮋﮔﯽﻫﺎي اﻧﺤﺼﺎري ﻋﻄﺎر در ﺳﺮودن ﻣﻨﺎﺟﺎت، آوردن ﻣﻨﺎﺟﺎت ﭘﺲ از ﻧﻘﻞ ﺣﮑﺎﯾﺖ اﺳﺖ ﺑﻪ ﮔﻮﻧﻪاي ﮐﻪ ﻣﻀﻤﻮن ﻣﻨﺎﺟﺎت ﻣﺸﺎﺑﻪ ﺑﺎ ﻣﻀﻤﻮن ﺣﮑﺎﯾﺖ اﺳﺖ و ﻋﻄﺎر از ﻣﻀﻤﻮن ﺣﮑﺎﯾﺖ اﻟﻬﺎم ﻣﯽﮔﯿﺮد و ﺧﻮد را ﺑﻪ ﺷﺨﺼﯿﺖ داﺳﺘﺎﻧﯽ ﻣﺎﻧﻨﺪ ﻣﯽﮐﻨﺪ و ﺑﺎ اﯾﻦ روش ﻋﺮض ﻧﯿﺎز ﻣﯽﮐﻨﺪ. اﻟﻬﯽﻧﺎﻣﻪ ﭘﺮ ﻣﻨﺎﺟﺎتﺗﺮﯾﻦ اﺛﺮ ﻋﻄﺎر اﺳﺖ ﮐﻪ ﻣﻨﺎﺟﺎت اوﻟﯿﻦ آن ﺳﺘﺎﯾﺶ ﻣﺤﺾ ﺧﺪاﺳﺖ و از ﻫﻤﺎن آﻏﺎز ﺗﻘﺎﺿﺎ و ﻋﺮض ﻧﯿﺎز ﻣﻄﺮح اﺳﺖ و ﻋﻄﺎر ﺧﻮاﻫﺎن رﺣﻤﺖ و ﺑﺨﺸﺎﯾﺶ ﺧﺪاوﻧﺪ اﺳﺖ. ﺑﯿﺸﺘﺮ ﻣﻨﺎﺟﺎتﻫﺎي ﻏﯿﺮ ﻣﺴﺘﻘﯿﻢ ﻋﻄﺎر در اﯾﻦ ﻣﻨﻈﻮﻣﻪ ﺑﻪ ﺻﻮرت ﻣﻨﺎﻇﺮه ﻣﯿﺎن ﺷﺨﺼﯿﺖ داﺳﺘﺎﻧﯽ ﺣﮑﺎﯾﺖ ﺑﺎ ﺧﺪاوﻧﺪ ﯾﺎ ﺟﺒﺮﺋﯿﻞ، ﻫﺎﺗﻒ و ﯾﺎ ﻧﺪاي ﻏﯿﺒﯽ اﺳﺖ. اﯾﻦ ﭘﮋوﻫﺶ ﺑﻪ ﺑﺮرﺳﯽ و ﺗﺤﻠﯿﻞ ﻣﺤﺘﻮاﯾﯽ ﻣﻨﺎﺟﺎتﻫﺎي ﻋﻄﺎر در اﯾﻦ ﻣﻨﻈﻮﻣﻪ ﻣﯽﭘﺮدازد.

Prayers are one of the innate needs of human beings and more visible in the works of mystics and poets. Sheikh Farid al-Din Attar Neyshabouri, one of the leaders of Persian mystical poetry, is trying to quench his thirst for love of God. In his works, he sometimes prays directly to God and Sometimes, in the language of the heroes of stories, he deals with mystery and need for God. Prayers in his poems are sometimes for the pure praise of God, sometimes for the needs of oneself or others, and sometimes for complaint and protest. One of Attar's exclusive characteristics in composing prayers is to bring prayers after narrating the story in such a way that the content of the prayers is similar to the content of the story. Attar is inspired by the content of the story and pretends to be a fictional character, in this way he states the need.Elahiname is the most praiseworthy work of Attar's work, the first of which is the pure praise of God, and from the very beginning, there has been a demand and a wide range of needs, and Attar wants God's mercy and forgiveness. Most of Attar's indirect prayers in this mathnavi are in the form of a debate between the fictional character of the story of God or Gabriel, Hatef, or the unseen voice. This research examines and analyzes the content of Attar's prayers in this mathnavi.