بررسي ساختار شناختي مقامات حميدي و گلستان سعدي

A comparison between the structure of Hamidi’s Maqamat and Sa’di’s Golestan

اين پژوهش با تحليل ساختارشناسانۀ دو اثر گلستان سعدي و مقامات حميدي به بيان تشابهات و تمايزات آنها از ابعاد گوناگون ساختاري مي‌پردازد. مقامه‌نويسي يكي از پيچيده‌ترين و متكلف‌ترين سبك‌هاي نوشتاريِ فني و مصنوع بوده كه با مقامات بديع‌الزمان همداني به عنوان يك نوعِ ادبيِ مستقل پذيرفته شده است. مقامه تحت‌تأثير سبك نثر مصنوع به اوج خود رسيد و با افول نثر مصنوع، رواج خود را از دست داد. با اين همه به عنوان يك نوع ادبي برخي از نويسندگان در دوره‌هاي بعد تحت تأثير سبك مقامه‌نويسي قرار گرفته‌اند. سعدي در گلستان از جمله كساني است كه اگرچه از مقامات حميدي تأثير پذيرفته است، به هيچ وجه نمي‌‌توان او را مقلد قاضي بلخي دانست. گلستان و مقامات حميدي در برخي از جنبه‌ها مشتركاتي با هم دارند و اين امري طبيعي است؛ زيرا در آثار روايي رعايت بعضي از اصول حاكم بر اين گونه آثار، فرض و لازم بود. در اين پژوهش، با بررسي هر دو اثر گرانقدر مقامات و گلستان از منظر ساختار‌شناختي، بر عناصراصلي در ساختار داستان‌ها، از قبيل زاويه ديد، عنصر شخصيت، راوي، طرح يا پيرنگ، زمان و مكان، تمركز و تأكيد شده است.

Abstract Maqamat are successive stories in which the hero is the same in all of them. The hero does strange things or in other words stunts and in the end disappears and no one knows his conclusion and again in another story appears in a new character. Maqame can be considered as the highest grade of Picaresque stories that was customary in Spain in the sixtheenth century. Picaresque derived from the Spanish word Picaro which means janusfaced, sly and cunning and Picaresque was the attribute for romances that proceed to Picaros’ actions.   The main Maqame in Farsi, is Hamidi’s Maqamat composed by judge Hamid odDin Balkhi (d. 559 AH) who was chief justice of Balkh that wrote it in (551 AH) following Maqamat of Badi’ ozZaman Hamedani and Hariri. In discussing about structure of the story, elements such as subject, theme, characterization, plot, point of view, setting, language, time and place are considered as main topics.    Hamidi’s Maqamat imitating of Arabic Maqamat, in most cases has used Arabic words and compounds and did not welcome to Persian style statements as much. That is the reason it is full of complex and difficult words and idioms. Saadis profound knowledge of Persianlanguage capabilities, understanding peoples alive and vibrant slang and proficiency in fusion power of Persianlanguage, more use of prefix and simple verbs, utilization of metonyms, observance the brevity and briefness, abstaining from difficult words, avoiding of hyperbaton and formality, accuracy in selecting the words, all are effective factors at his innovative work which is Golestan.   In some of Golestan stories, Sa’di himself is the hero and the main character. In some he plays an important role and in some others plays the minor role or is only a spectator and event viewer. The characters are static in Hamidi’s Maqamat. That means at the end of the story, the characters are the same they have been at the beginning. Story events have low impact on them and do not change them. The space and scene of the story in Maqamat, because Balkhi has tendency to periphrasis description, transmits to reader with more details while Saadis descriptions are very brief and he quickly passes through the atmosphere and the scene of the story.    Plot of Hamidi’s Maqamat in comparison with Golestan, is more consistent and somewhat follows the logic. But the plot of lots of Golestan stories is not more than a joke or sketch, and those stories that involve advice has been written without any sketch.    Most of the Maqamat stories narrate from the exterior view perspective and the narrator as omniscient leads the story characters. But in Golestan the view perspective is fisrt person and the author is a storyteller. From the characterization perspective, story characters in both Magahamat and Golestan do not change. In lots of Golestan stories, the omniscient narrator (author) or third person narrator and other characters have tangible presence. Sometimes Sa’di himself is the hero of the story whole in Hamidi’s Maqamat the main character as the hero of the story even does not have a specified name.     Intense interest of Hamid odDin Balkhi in word prolongation to describe time and space has caused the time and space factors are not interesting and clear to the reader. Sometimes also in Golestan the time and space factors are vague, concise and unknown. In Hamidi’s Maqamat all of the stories bring up from the view of unlimited omniscient, but Ghazi Balkhi as says narrated me my friend who … yet tries to express events as if he had been the looker on and supervisor himself by being in one of the story heroes show