مقايسه تحليلي مقامات حريري با مقامات سيوطي

Analytical comparison between Hariri’s Maqamat and Soyouti’s Maqamat

بي شك مقامه از جمله فنوني است كه ريشه در تاريخ كهن ادب عربي دارد و از بدو ظهور تا به امروز نويسندگان و كاتباني نامور و شهير در اين فن ظاهر شده وقدرت و مهارت خود را در اين زمينه به نمايش گذاشته اند. از جمله اين نويسندگان مي توان به حريري(446 - 516) و سيوطي (849-911) اشاره كرد. حريري در اين فن پنجاه مقامه و سيوطي سي مقامه از خود به يادگار گذاشته اند. با وجود اينكه موضوع نهايي كل مقامات حريري به گدايي و تكديگري ختم ميشود، اما وي با ابراز قدرت و مهارت لغوي و همچنين استفاده از صنايع بياني و بديعي دوران خود، گوي سبقت را از ديگر مقامه نويسان ربوده است. مقام و منزلت حريري را در اين زمينه شايد نتوان با كسي ديگر مقايسه كرد. اين مقامات مملو از سجع و تعقيدات كلامي وكنايات گوناگون است كه از نقطه نظر ادبي بسيار حايز اهميت اند، بطوري كه بسياري از عبارات و جملات آنرا بعنوان شاهد در لابه-لاي كتب بلاغي ميتوان مشاهده كرد. منزلت سيوطي در انشا و مقامه نويسي در حد بالايي نيست. اين امر براي كسي مثل سيوطي كه كل هم و غم خويش را صرف تاليف و تدريس كرده بعيد نمي نمايد، و مجالي براي زيبا نويسي و محسنات بديعي باقي نمي گذارد؛ با وجود اين، سيوطي در زمينه ادبيات و مقامه نويسي بي بهره نمانده و خود را از اين چشمه لايتناهي محروم نكرده است. مقامات او بي شك به پاي مقامات حريري نمي رسد، چرا كه اسلوب علمي بر اكثر آنها حاكم بوده و مملو از متون ديني و اقوال علما و دانشمندان است و بيشتر جنبه موعظه و خطابه هاي ديني دارد تا يك فن ادبي.

Undoubtedly, Maqameh (Maqamat pl.) or Rhythmic Composition is one of techniques that have been stemmed in ancient history of Arabic literature and since the beginning of it emergence, several salient and well- known writers and authors appeared in the field of this technique and represented their power and skill in this regard. Of these writers, one may refer to Hariri (446-516h.) and Soyouti (849-911h.). In this technique, Hariri and Soyouti have purposed fifty and thirty Maqameh as reminiscent works in this field. Despite of this fact that in general the final subject of all Maqamat of Hariri has led to begarry and poverty but he has overtaken other writers of Maqameh (rhythmic composition) by showing his lexical power and skill as well as employing speech and prosodic literary terms at his time. One may not compare position and stand of Hariri in this field with any other writer. These rhythmic compositions (Maqamat) are full of colloquial rhythms and metalepsis and different allusions that are important in terms of literary persepective so that many of these phrases and sentences may be observed through rhetoric books. Soyouti does not possess higher position in writing of composition and maqameh. This point is not probable for someone like Soyouti, who has made all his efforts for writing and teaching so no time might be remained for him for well- writing and prosodic advantageous implications; nevertheless, Soyouti has not be deprived from writing in the literary field and rhythmic compositions as well as benefitting from such endless spring. His rhythmic compositions are not certainly at same level with Hariri’s Maqamat since a scientific method has governed on most of his writings and they are full of religious texts and quotations from literati and scientists and they are mostly filled with religious admonishments and speeches than a literary technique