ﺗﺄﻣﻠﻲ ﺑﺮ ﺗﻤﺜﻴﻞ در ﻣﻨﻈﻮﻣﻪ ي ﻏﻨﺎﻳﻲ ﭼﻨﻴﺴﺮﻧﺎﻣﻪ

A reflection on allegory in the lyric poetry of Chenisernameh

ﭼﻨﻴﺴﺮﻧﺎﻣﻪ ﻣﻨﻈﻮﻣﻪ اي ﻏﻨﺎﻳﻲ و ﻧﻴﻤﻪ ﻣﻌﺮوف در اذﻫﺎن ﻣﺮدم اﻳﺮان ﺑﻪ ﺗﻘﻠﻴﺪ از ﺧﺴﺮو ﺷﻴﺮﻳﻦ ﻧﻈﺎﻣﻲ در ﻫﺰار ﺑﻴﺖ از ﺷﺎﻋﺮ ﻗﺮن ﻳﺎزدﻫﻢ ازادراﻛﻲ ﺑﻴﮕﻼري ﻣﻲ ﺑﺎﺷﺪ. ﻣﻮﺿﻮع اﻳﻦ ﻣﻨﻈﻮﻣﻪ ي ﺟﺬاب و ﻋﻮام ﭘﺴﻨﺪ داﺳﺘﺎن ﻟﻴﻼ و ﭼﻨﻴﺴﺮﺷﺎه ﺑﻪ ﻫﻤﺮاه ﺣﻮادث ﺑﺴﻴﺎر ﮔﻴﺮا و ﻫﺪﻓﻤﻨﺪ ﻣﻲ ﺑﺎﺷﺪ ﻛﻪ ﺿﺮورت اﻳﺠﺎب ﻣﻲ ﻧﻤﻮد ﺑﻌﺪي از اﺑﻌﺎد آﺛﺎر ﻣﺬﻛﻮر ﻛﻪ ﻫﻤﺎﻧﺎ وﺟﻮد ﻗﺎﺑﻞ ﻣﻼﺣﻈﻪ ي ﺗﻤﺜﻴﻞ در اﻳﻦ داﺳﺘﺎن ﻣﻮرد ﺑﺮرﺳﻲ، ﻛﻨﻜﺎش و ﺗﻄﺒﻴﻖ ﻗﺮار ﮔﻴﺮد ﺗﺎ اﻓﻖ اﻧﺪﻳﺸﻪ ي اﻳﻦ ﺷﺎﻋﺮ ﺑﻴﺸﺘﺮ ﻣﻮرد ﺗﻔﺤﺺ ﻗﺮار ﮔﻴﺮد ﺗﻤﺜﻴﻞ در اﻳﻦ ﻣﻨﻈﻮﻣﻪ ﺑﻪ ﺻﻮرت ﻋﺮﻓﺎﻧﻲ و ﻧﻤﺎدﻳﻦ اﺳﺖ و ﻧﺤﻮه ي ﻧﮕﺮش ﺷﺎﻋﺮ ﺑﻪ اﻳﻦ ﻣﻘﻮﻟﻪ ﺑﻪ ﺻﻮرت ﺗﻮﺻﻴﻔﻲ ﺗﺤﻠﻴﻠﻲ و ﻛﺘﺎﺑﺨﺎﻧﻪ اي ﺑﺎ اﻫﺪاف ﻳﺎدآوري ارزش و ﻗﺎﺑﻠﻴﺖ ﺗﻤﺜﻴﻞ در ﺑﻴﺎن ﻳﻚ ﻳﺎ ﭼﻨﺪ ﻣﻔﻬﻮم ﻋﺮﻓﺎﻧﻲ ﻳﺎ اﺧﻼﻗﻲ و ﺗﺒﻴﻴﻦ ﻧﺘﻴﺠﻪ ي ﻣﻮرد ﻧﻈﺮ اﻳﻦ ﺷﺎﻋﺮ ﻛﻪ ﺑﺎ ﻃﺮح ﺗﻤﺜﻴﻞ در داﺳﺘﺎن، ﻣﻨﻈﻮر و ﻫﺪﻓﻲ ﺧﺎص را دﻧﺒﺎل ﻣﻲ ﻛﻨﻨﺪ و ﻫﻤﭽﻨﻴﻦ ﺷﻨﺎﺳﺎﻳﻲ داﺳﺘﺎن ﻏﻨﺎﻳﻲ ﭼﻨﻴﺴﺮﻧﺎﻣﻪ ﭘﺮداﺧﺘﻪ ﻣﻲ ﺷﻮد و ﺑﺎ ﺗﻮﺟﻪ ﺑﻪ ﺳﺆاﻻت و ﻓﺮﺿﻴﻪ ﻫﺎي ﭘﮋوﻫﺶ ﻋﻠﺖ ﮔﺮاﻳﺶ ادراﻛﻲ ﺑﻴﮕﻼري ﺑﻪ ﻣﻘﻮﻟﻪ ي ﺗﻤﺜﻴﻞ در ﻣﻨﻈﻮﻣﻪ ي ﻏﻨﺎﻳﻲ ﭼﻨﻴﺴﺮﻧﺎﻣﻪ ﺑﻪ ﺻﻮرت ﺗﺸﺒﻴﻬﻲ و ﻋﺮﻓﺎﻧﻲ و ﻧﻤﺎدﻳﻦ از روي اراده اﺳﺖ اﻣﺎ ﮔﺎﻫﻲ ﻫﻢ اﺟﺒﺎري اﺳﺖ و آن زﻣﺎﻧﻲ اﺳﺖ ﻛﻪ ﺷﺎﻋﺮ ﻧﻤﻲ ﺗﻮاﻧﺪ ﻣﻔﺎﻫﻴﻢ ﻓﻜﺮي ﺧﻮد را ﺑﻪ راﺣﺘﻲ ﺑﻴﺎن ﻛﻨﺪ در ﺣﻮزه ي ﺳﺒﻚ ﺷﻨﺎﺳﻲ در ﺗﻚ و ﺗﻮﻛﻲ از اﺑﻴﺎت آن ﮔﺎه ﮔﺎﻫﻲ ﺑﻪ ﺳﺒﻚ ﻏﺰل ﻫﻨﺪي ﺗﻤﺜﻴﻠﻲ اراﺋﻪ ﻣﻲ ﺷﻮد و ﺑﻪ ﻋﺒﺎرت دﻗﻴﻖ ﺗﺮ اﻳﻦ ﻣﻨﻈﻮﻣﻪ اي ﻣﺜﻨﻮي اﺳﺖ ﻛﻪ ﺷﺎﻋﺮ در دوران ﺳﺒﻚ ﻫﻨﺪي از دو ﺳﺒﻚ ﺧﺮاﺳﺎﻧﻲ و ﻋﺮاﻗﻲ در ﺳﺮاﻳﺶ آن ﺑﻬﺮه ﺟﺴﺘﻪ، ﻳﻌﻨﻲ اﻳﻦ ﻏﺰل ﺳﺒﻚ ﻫﻨﺪي ﻧﻴﺴﺖ ﻛﻪ ﺷﺎﻋﺮ آن را در ﻫﺮ ﺑﻴﺖ در ﻣﺼﺮاع اول ﻣﻤﺜﻞ ﻳﺎ ﺗﻤﺜﻴﻞ را ذﻛﺮ ﻛﻨﺪ ﻳﺎ در ﻣﺼﺮاع دوم ﺗﻤﺜﻴﻞ را ﻋﺮﺿﻪ دارد.

Chenisernameh is a lyric and semi-popular poetry in the minds of the Iranian people, imitating Khosrow and Shirin of Nizami in a thousand verses from the 11th century poet named Mr. Edraki Biglari. The subject of this fascinating and popular poetry is the story of Leila and Cheniser Shah along with very interesting and purposeful events. It was necessary to study, explore and adapt some of the dimensions of the mentioned works, that is, the considerable existence of allegory in this story, to further explore the horizon of thought of this poet. In this poetry, allegory is mystical and symbolic and the poet's attitude to this category is descriptive-analytical and a library with the aim of reminding the value and ability of allegory in expressing one or more mystical or moral concepts and explaining the desired result of this poet. In the poetry, he pursues a specific purpose and also identifies the lyrical story of Chenisernameh. According to the research questions and hypotheses, the reason for Biglari's perceptual tendency to the category of allegory in the lyric poetry of Chenisernameh is metaphorical, mystical and symbolic, but sometimes it is obligatory and that is when the poet can not express his intellectual concepts easily. In the field of stylistics, in a small number of verses, allegory is sometimes presented in the style of Indian allegorical ghazal, and more precisely, this is a Mathnawi poetry that the poet used both Khorasani and Iraqi styles to compose it during Indian periods, meaning that this ghazal is not an Indian style that the poet mentions in every verse in the first stanza of allegory or in the second stanza of allegory.