اهميت متون علمي در شرح و تصحيح چهار بيت از حافظ

The importance of scientific Texts in editing and commentary on some lines of Hafez

حافظ نه مانند خواجوست كه يكسره به قصد خلق ايهام، واژه‌اي را در بيت بي‌پروا يله كند و نه مانند خاقاني است كه لطف سخنش در تزاحم اظهار علم و فضل ياوه شود. ايهامات علمي او همه برخاسته از مراتب دانشش است. نمونه‌هاي پيش روي، سنتزي است متعادل از وجه علمي سخن با بُعد شاعرانگي كلام، ازاين‌روي لازم است اجزاي آن دسته از بيت‌هايي كه پس‌زمينه‌هايي علمي دارند، از هر نظر دقيق بررسي شود. فرض ما اين است كه در اين‌گونه بيت‌ها كمتر جزء عبث و نمايشي وجود دارد. هرچند بسياري از معارف قرون وسطايي ما در قياس با علوم روز چندان سهمي از علم ندارد، با اين همه سخن شاعراني چون خاقاني و حافظ در بيشتر موارد به‌طوردقيق بر همان‌گونه داده‌هاي آن اعصار قابل‌تطبيق است. در اين نوشته، بيت‌هايي از حافظ را ضمن توجه تام به روايت نسخه‌ها و بوطيقاي وي به دستياري متون متداول علمي عصري‌اش مورد تصحيح علمي-انتقادي- تحقيقي قرار داده‌ايم. درصورتي‌كه اين روش ازمنظر حافظ‌پژوهان رهيافتي اطمينان‌بخش به شمار آيد، مي‌توان اميدوار بود كه در موارد ديگري از ديوان حافظ نيز كه محل اختلاف است، گره‌گشا باشد.

Hafez is not a poet like Khajoo that apply a word in his poem, merely in order to create double entendre, and He is not follow Khaghani's way in paling the grace of poem through abundance of scientific expression. Rather his poem is balanced synthesis of scientific aspect of word with poetical dimension of speech. Hi use this rhetorical figure (ihām) on the basis of his detailed Knowledge about scientific texts. So it is necessary to survey the series of couplets which have scientific background, considering every aspect. Our hypothesis is that, there is no sort of conventional word-play thing in such couplets. Although most of our medieval knowledge in comparison to modern sciences are almost nothing, in most cases the speech of poets like Khaghani and Hafez is exactly according to the facts of those ages. In this paper as an instance, meanwhile paying a complete attention to the variant readings and Hafez poetic art also by getting help from common scientific texts of the Hafez age, we have critically edited some couplets of Hafez. If this method receive verification from Hafezian scholars, we can be hopeful that it can be effective and solving in other cases of Divan-e Hafez. Introduction: So far Hafezian scholars have enumerated various factors in creation of different variants of Hafez poems. The nature of different variants at the first step is studied considering this aspects: whether these reforms were made by the poet himself? Have the scribes had any influence in its formation? o‎r other factors than these two have been the source of different variants? Hafez researchers believe that the most important determinant of different variants is not the scribes errors and mistakes, but they are related to the following agents: Unwillingness of Hafez to collect his poems The evolutionary rudiments of his aesthetical points of view The socio-political situations of his time Changing of individual and particular cases into general We can expand this list by two important points: The evolution of Hafez knowledge: Perhaps the evolution of Hafez knowledge in different branches of science of his time has been a reason for the substitution of some of the variants. Hafez textual researches: This factor can be the one of main and the most effective reasons of different variants. Therefore intertextuality will be the authentic method in critical edition of Hafez’s poem. Goals: “The establishment of a reliable text” of Divan-e Hafez -like his poem and character- is an exception in the world of text edition. For edition of Divan-e Hafez it is not the scientific method to collate one particular copy of divan with other manuscripts and note the variants in the footnotes without any critical review. On the contrary, for each different variant several explanatory essays are necessary, these notes along with paying attention to the different versions of manuscripts and exploring aesthetical and rhetorical aspects of Hafez’s poem should be assessed totally, and only in this case -maybe- it is possible to perceive Hafez’s mind and language. This burden is heavy enough to be carried by only one person, that is to say it is necessary for the scholars to research the various layers of Hafez’s multiplanar poem from a special angle where the differences exist. This article is -we hope- a small step in that direction. Methods: In process of creation of art works, Hafez does not believe in “beginning from nothing”. He is the poet of selections and motivations. Instead of using his mind power for creation of art works at the same level, as the poets before his time, through literary critical criterions, which he has learned at the schools of rhetoric and poetic specialists, he strains “Persian/Arabic texts in literary as well as in scientific fields” and as an eloquent poet, selects what he approves of mentally and linguistically, and recreates by exceeding artistic genius values, his knowledge and reflecting incidents of his time. In the process of researching the textual relationships between Hafez poem and Persian/Arabic poetry/prose as well as scientific texts, it turns out that throughout his life time, he has been researching on these resources. There are evidences in the Divan-e Hafez which show that some of the different variants have a root in his researches in scientific texts. For example: حيلت / حالت / طاقت كوه اندوه فراقت به چه حيلت بكشد حافظ خسته كه از ناله تنش چون نالي است (Hafez,1387Š: 129)