چکیده:
میرزا کاظم طبیب یزدی شاعر و طبیب برجسته امّا گمنام عصر قاجار از خاندان حکیمان کرمان و منسوب به شجرۀ ناظمالأطباء کرمانی است. دیوان شعر ایشان در قالب نسخـۀ خطّی منحصربهفردی در میان فرزندان و نوادگان وی به یادگار مانده است. در غزلیّات میرزا کاظم التزام ویژهای به چشم میخورد که به نظر میرسد باید خود او را مبدع این نوع التزام دانست. التزام، اعنات یا لزوم مالایلزم صنعتی از صنایع بدیع لفظی است که در کتب بدیعی تنها به مصادیق محدودی از آن اشاره شده است؛ درحالی که این صنعت در شمار تفنّنهای شاعرانه و دارای مصادیق متعدّدی است؛ از جملـۀ این مصادیق، التزام بهکاررفته در غزلیّات میرزا کاظم است که در این نوشتار توصیف خواهد شد.
Mirza Kazem Tabib Yazdi، was a significant but anonymous poet and physician of Qajar Period and from the Hakiman Family of Kerman. He was also in the family tree of the Nazem al-Atebba’of Kerman. In 1214AS/1250AH، he was born in Yazd. He passed his elementary level of education in Yazd and then moved to Isfahan to further his education. As the number of physicians were quite few during the Qajar Period، Mirza Kazem was ordered by the ruler of Yazd، Jalal aldole the son of Zal alsoltan، to go to Abarkooh to practice medicine and to stay there for the rest of his life. Eventually in the year 1304 HS/1343 HA he died with 90 years of age in Abarkooh. Only one complete handwritten version and one half-complete handwritten pre-version of Mirza Kazem Habib's Divan is available today. His Divan has more than 4200 verses and has been written in Sonnet، ode، Masnavi، Msmt، Tarji’ band، Tarkib band، quatrains and sub forms like Mostazad and refrain Mosammat and etc. In his poems he has selected the name "BASIR/Sage" for himself as a pseudonym which has remained with his offspring as their family name in the Pahlavi Period. Mirza Kazem is one of the innovative poets of the Qajar period. His innovation is observed in the figurative literature and literary elements that he has used from novel verbal commitment، which is also called Eltezam، E'nat or Lozoom ma yalzam. In the book of Badi'(novelty) there has been only limited applicability of this literature، while Eltezam is one of the poetic pleasures of poets and has various applications. This literature has been used in Mirza Kazem's sonnets which seems that it could be assumed that he has been the founder of it، due to his massive use of the literature.
In many of Badi' (novelty) Persian and Arabic books، paying attention to a letter(s) or the sound before، the deletion of one or a few letters، or the repetition of one or more words in a poem are examples of the application of Eltezam. Now، the definition of this literature could be more than these uses. In fact، Eltezam in general terms means the use of any kind of adverb which its use is not necessary and the poet uses it for aesthetic creation and by committing him/herself to using it، makes his/her own task difficult.
The eltezam used in Mirza Kazem Tabib's poetry seems to be a creation of his own، which we have named Eghtezaye Darsadr. Using this literature gives the poem a certain music، yet only in the beginning words. From among the 165 sonnets which exist in Mirza Kazem Tabib Yazdi's Divan، 128 of them have been created with a careful consideration of Eltezam، which have made a total of 1272 verses of the Divan. The first commitment observed in these sonnets is their number of verses. Mirza Kazem Tabib has written most sonnets in ten verses، in such way that in the total of these sonnets only two of them have nine verses. Yet the commitment or Eltezam which we are concerned with here is the commitment that the poet feels in using a certain letter in a certain place of a verse. The poet seems to have attempted to make such a collection but it has remained unfinished. In the first section of this collection he has finished all verses of his sonnets with the first letter of the alphabet and hence he has named this section as "Bab A". Then he has continued orderly، in every sonnet of this section، he has considered a letter from the alphabet and has begun the first and second verses of the poem with that very letter. In the following sections، "Bab B"، "Bab T" and "Bab C”، he does the same، and only after a few sonnets from "Bab J" the collection is remained unfinished.
This literature، besides its aesthetic contribution and beauty that it has to the poem، has a few disadvantages too such as the use of rare archaic words and sometimes even changing the spelling of the words. Although these examples are the result of the difficulty of the Elztezam literature، but it is also received as a kind of frailty on the part of Mirza Kazem's poetry language. In general، as this special Eltezam adds a new pleasure to the elements of poetry، it is very crucial to know.
خلاصه ماشینی:
التزام ، اعنات یا لزوم مالایلزم صنعتی از صنایع بدیع لفظی است که در کتب بدیعی تنها بـه مصـادیق محـدودی از آن اشاره شده است ؛ درحالی که این صنعت در شمار تفنن های شاعرانه و دارای مصادیق متعددی است ؛ از جملـه ایـن مصـادیق ، التزام به کاررفته در غزلیات میرزا کاظم است که در این نوشتار توصیف خواهد شد.
برای مثال صاحب «معالم البلاغه » صنعت لزوم مالایلزم یا اعنات را از جملـۀ صنایع بدیع لفظی بـه شـمار آورده و از یـک مصداق کاربرد این صنعت در علم قافیه برای تعریف آن استفاده کرده است : از جملـۀ محسنات لفظی، لـزوم مـالایلزم یـا اعنـات است «و آن عبارت است از اینکه متکلم قبل از حرف روی در قوافی ابیات یا قبل از حرفی که بـه منزلــۀ حـرف روی اسـت در فواصل فقرات ، حرفی یا حرکتی را التزام کند؛ یعنی تکرار آن را در آخر ابیات و فقرات بر خود ملزم نمایـد در حـالتی کـه آوردن آن واجب نباشد و بدون آن سجع و قافیه تمام باشد» (رجایی، ١٣٥٣: ٢٦٨).
التزام یا اعنات یا لزوم ما لایلزم صـنعتی اسـت کـه در اغلب کتب بدیع فارسی و عربی به چند مصداق محدود آن نظیر رعایت حرف یا حروف یا حرکت پیش از روی، حذف یـک یا چند حرف از کلام ، تکرار یک یا چند کلمه در سطح شعر اشاره شده است ؛ حال آنکه تعریف این صنعت میتواند مصادیقی فراتر از این چند مورد داشته باشد.