از زن ستيزي تا زن ستايي در حديقه الحقيقه سنايي

Misogyny and Female Eulogistic in Sanaii’s Hadighat-ul- Haghighah

به اعتبار پژوه شهاي گسترده و متقن بزرگان حوزه ي تحقيق ادب فارسي، حكيم سنايي غزنوي - شاعر بزرگ قرن پنجم - از جمله اولين كساني است كه اصطلاحات عاشقانه را با اصطلاحات صوفيانه بهم درآميخته و طرحي نو درافكنده است. از ديگر سو در هر دو حوزه ي عشق و عرفان، زيبايي در اوج قرار دارد و چون زن نمود آشكاراي زيبايي است لذا محبوب و معشوق همواره در شمايل زن تجلي يافته است؛ ازين جهت رويكرد سنايي به مقوله ي زن م يتواند توجيه پذير باشد. البته در شعر سنايي زن نيز مانند ديگر موجودات، اصل محاسبه نم يشود و تنها جنبه ي نمودي دارد، يعني اگر در كلام وي از بد يهاي زن سخن گفته م يشود دليل بر بد بودن ذاتي زن نيست و به عكس سخن راندن از خوب يهاي وي نيز مبتني بر پاك طينتي اش اثري كامل تر در « حديقه الحقيقه » نم يباشد. با توجه به اينكه از ميان آثار اين شاعر بيان انديش ههاي سنايي م يباشد، لذا اين پژوهش با استناد به اين اثر عرفاني انجام پذيرفته است.

With respect to the researches done by the great literary figures of the Persian literature, Sanaii Ghaznavi, a great 5th century poet, has been considered as one of the pioneers; those who combined the amatory phrases with mystic ones for the first time; by such a way he initiated an innovative style. On the other hand both fields of amatory and mystic poetry were endowed with beauty, and since women were assumed as the embodiment of beauty, therefore their image as beloved has been institutionalized. This could somehow justify Sanaii’s attitude towards the role of women in poetry. It should also be added that in Sanaii’s poems, women were not given their proper status. Although he might be offensive towards women, but it does not necessarily mean that women were regarded evil; while eulogistically writing in praise of women did not necessarily mean that they were reputed good either. An attempt was made in this article to trace the aforementioned elements in Sanaii’s Hadighat-ul-Haghighah and bring out their importance.