چکیده:
یکی از مهمترین خصوصیات شاعران متبحر، بهویژه سرایندگانی که با اشعار داستانی سروکار دارند، قدرت تصویرآفرینی آنها است و اگر این تصویرآفرینی درعینحال با انسجام همراه باشد؛ یعنی اجزای داستان به هم مربوط باشند و تلفیق قضایا در هم بهطرزی شایسته صورت گرفته باشد، بهطبع تاثیر بیان نیز بر خواننده بیشتر خواهد بود. در این گفتار منظور ما بررسی انسجام روایت در شاهنامهی فردوسی است. بهطبع در هر اثر ادبی دیگری که به وسعت شاهنامه باشد، امکان برخی ضدونقیضگوییهای جزئی وجود دارد؛ زیرا دامنهی روایت بسیار گسترده است؛ اما در شاهنامه انسجام روایت هم در سطح صحنهها و هم در سطح کل داستان چشمگیر است. در این مقاله ابتدا انسجام روایت شاهنامه را در سطح صحنهها بررسی کردیم و دیدیم که فردوسی چگونه با دقت، وحدت تصاویر و اجزای داستان را در روایت واحد حفظ میکند و سپس رابطهی داستان زال و رودابه را با منطق روایی شاهنامه موردبررسی قرار دادیم و دیدیم که انسجام کلیتری نیز در سراسر این حماسهی سترگ، موجود و بهآسانی قابلتشخیص است.
Notes on the Literary Unity of the Shahnameh Mahmoud Omidsalar Jordan Center for Persian Studies University of California, Irvine Introduction One of the most important abilities of great poets, especially those who deal with narrative poetry, is their ability to create compelling images. When this ability is paired with coherence and unity throughout their narrative, that is, when parts of the tale connect well together, the story has greater impact on its readers. Ferdowsi’s Shahnameh is the best example of that artistic and coherent narrative in Persian literature, which entails the creation of a perfect balance between image and word at every turn. Ferdowsi’s images are so vivid that his poem may be viewed as cinema as well as text. The present study considers the cinematic features and coherence of Ferdowsi’s storytelling in the episode of Rustam’s first fight during the reign of Kayqubad. Creation of images, use of movement, sound, and point of view are discussed in this episode along with Ferdowsi’s artistic use of repetition and emphasis to achieve a tight ordered, logical coherence in his narration of scene and episode. The story of Zal and Rudabeh is the second example. This story is a tale of transformation that fits seamlessly into the overall narrative of the Shahnameh. It propels the poem through its transition from the age of ancient kings in whom heroism, royal authority, and magical potency are united, to the era of a different line of rulers whose reign is governed by their political authority alone. This process moves along two parallel lines: the transfer of the magical wisdom of the king to the person of a sage, who functions as the crown’s chief advisor; and the transfer of his heroic aspects to a great warrior who serves as Iran’s chief hero or jahan-pahlavan. The story of Zal and Rudabeh is the narrative expression of this transformation. During his reign, Manuchehr’s heroic and magical functionalities are transferred away from him. The former is transferred to Zal and the latter to Sam and finally to Rustam. Just as Manuchehr’s reign is a transitional reign, Zal’s character is also a transitional character. After Sam’s death, Zal is appointed to his father’s office of jahan-pahlavan. However, because of his great wisdom that prevents him from committing the kind of violence that heroes are called to practice, he is not a suitable for the office. He serves as a caretaker hero until Rustam comes of age and can assume the duties of the country’s chief hero Research Method This article is a qualitative research and we have analyzed the content of the text and used the inductive approach in it. Discussion In this article, we first examined the coherence of the narrative of Ferdowsi’s Shahnameh at the level of scenes. One of the best examples of cinematic expression in the Shahnameh, in which both image and sound are used to present the story in a completely cinematic way, is the scene of the first war of the young Rustam in the kingdom of Kayqubad. In the verses of this section, we analyzed the invention of images, the use of movement, sound and point of view; we also perused Ferdowsi's method in choosing words, repetitions and emphases to find out what role these factors play in creating the coherence of the narrative. Then, in order to find a more general coherence, we examined the relationship between the story of Zal and Rudabeh and the narrative logic of the Shahnameh. In this story, a fundamental change in the nature of the kingdom is expressed. This change can be seen in the reign of Manuchehr as a period of transition in which the two special functions of Pahlavani and wisdom or enchantment (heroic and magical functionalities) that were previously concentrated in the person of the king, are taken from him. Sam becomes the Jahan-Pahlavan while wisdom is transferred to Zal. It seems that the story of Zal and Rudabeh is a symbolic expression of this second transition and the concentration of wisdom / enchantment in the person of Zal. Just as Manuchehr's governance is a transitional one, so is Zal an intermediary figure. This feature is quite evident in what happens after Sam's death which led Zal to become Jahan-Pahlavan. In other words, Zal, who inherited the office of Jahan-Pahlavan from Sam, is not a suitable person for this job because he is the embodiment of wisdom, not audacity and courage. One of the important aspects of Zal's life is his love for Rudabeh, which can be considered as Zal's transition from nature to civilization, because Zal and Rudabeh's love is implicitly a test for Zal to become civilized. In this story, Zal, who had grown up with Simorgh in the nature and far from human culture, moves towards civilization and no trace of the savage life that had made him naked and raw-eating, remains in his being; on the other hand, he possesses characteristics such as knowledge and abstinence. The story of his transition from nature to civilization and his absorption of the enchantment / wisdom aspect of the kings before Manuchehr, and his rise to the position of chief adviser to the monarch for the rest of his life are exactly located where it should be in the text of the Shahnameh. Conclusion One of the aspects of narrative coherence in Ferdowsi's Shahnameh is the coherence of narrative at the level of scenes. Examining the verses related to the first battle of Rustam in the reign of Kayqubad, we saw how Ferdowsi carefully maintains the unity of the images and components of the story in a single narrative. The words of the Shahnameh have been chosen in such a way as to intensify the inductive power of the images. In these verses, Ferdowsi is like a director who sends movement and energy into the story by changing the direction of the camera and controlling the sequence of scenes. The strategic poetic choosing of words is another aspect which shows that Ferdowsi knows in advance what he wants to say in the next scenes and chooses the words of his verses very carefully. In Ferdowsi's narrative, the visual unity between the two scenes of a single story is carefully preserved, and Ferdowsi pays attention not only to the subject, but also to the logic of the narrative. The coherence of the Shahnameh is not limited to each of its narrations, but if we examine the whole Shahnameh from this point of view, we will notice that there is a general coherence in it. The relation of Zal and Rudabeh's story with the narrative system of the Shahnameh reveals how well this general coherence works. This story has a very deep connection with the narrative logic of the Shahnameh symbolically. In this story, “love” is used in perfect harmony with other elements of the narrative as a constructive element of civilization, culture and self-knowledge. Key Words: Shahnameh, Narration Coherence, Narration Logic, Cinema, Zal and Rudabeh Bibliography Alizade, H. (2015) “Reflection of the Myth of Siavash in the Shahname and Cinema”. Pazh, No. 18, pp. 97-112. Asadi, Ali ibn Ahmad. (1975) Garshaspname. Ed. H. Yaghmaei, Tehran: Tahoori. Dabashi, Hamid. )2019 (The Shahnameh: The Persian Epic as World Literature, New York: Columbia University Press. Dehghanpour, H., J. Kazzazi and M. Pourrezaeian. (2010). “The Shahname and its Cinematic Aspects: The Tragedy of Siavash”. Honar-ha-ye Namayesh-I va Mousighi, No. 40, pp. 85-97. Ferdowsi, Abu’l-Qasem. (1987). Shahname. Ed. J. Khaleghi-Motlagh, New York: Mazda Publishers and Bibliotheca Persica. Hanif, Muhammad. (2005) Scenic capabilities of the Shahname, Tehran: Soroosh. Hansen, Kurt Heinrich. (1954) Das iranische Konigsbuch: Aufbau und Gestalt des Schahname von Firdosi. Hamburg: Verlag der Akademie der Wissenschaften und der Literature in Mainz. Hashemi, M. (2008) “The Cinematic Functions of Sound Effects in the Shahname”. Faslname-ye Honar, No. 75, pp. 342-356. Hoviatdoust, H. (2012) “The Cinematic Aspects in the Images of the Shahname”. M.A. Thesis: The University of Tehran. Ibn al-Athir, Ali. (1962) al-masal al-saer fi adab al-katib va al-saer. Ed. A. al-Haufi and B. Tabbaneh, Cairo: Al Fagalah. Khaqani,Afzal al-din Badil. (2003) Divan. Ed. Z. Sajjadi. Tehran: Zavvar. Naderpour, N. (1992) “A love as ambition of Simorgh”. Iranshenasi, No. 15, pp. 458-468. Rastegar Fasaie, M. (1974) Illustration in the Shahname. Shiraz: University of Pahlavi. Shafiei Kadkani, M. (1996) Figure of Speech In the Persian Poetry. Tehran: Agah. Tha’alebi, Abu Mansur. (1900). Ghorar Akhbar Moluk al-Fors wa Siyarihim. Ed. H. Zotenberg. Paris. Tusi, Muhammad ibn Mahmoud. (2003) Ajayib al-Makhlughat va Gharaib al-Mowjudat. Ed. M. Sotoude, Tehran: Elmi Farhangi. Zabeti Jahromi, A. (1999) Cinema and the Structure of Poetic Images in the Shahname. Tehran: Ketab Fara.
خلاصه ماشینی:
مقدمه شاهنامه به دليل اينکه حماسه ي ملي ايران خوانده شده ، غرامت سنگيني پرداخته است ، بدين معني که تا همين چندساله ي اخير، بيشتر مطالعات مربوط به آن به رابطه ي کتاب با هويت و مليت ايراني يا با سنت اساطيري و پهلواني هند و اروپايي يا با تحقيقات زبان شناسي (از فقه اللغه تا دستور و امثالهما) محدود ميشد و جنبه هاي شعر فردوسي در مقام يک شاهکار ادبي به خوديخود کمتر موردتوجه بود؛ البته برخي از اهل فن از قديم به ارزش هنري شاهنامه واقف بودند، چنان که ضياءالدين ابن الاثير (٦٣٧-٥٥٨) در باب شاهنامه ميگويد که شاهنامه ازنظر بلاغي در زبان فارسي مقامي را دارد که قرآن در زبان عربي، در ميان اعراب دارا است .
درنظرنگرفتن اين جنبه از داستان باعث شده است که برخي از محققان در توالي اتفاقات اين داستان تناقضاتي ملاحظه کنند و سردرگم شوند؛ براي مثال هانسن در کتاب «nigsbuchDas iranische Ko» که باعنوان شاهنامه ي فردوسي ساختار و قالب ، به فارسي ترجمه شده است ، دليل رفتن سام به مازندران و گرگساران را که به فاصله ي کوتاهي بعد از رسيدن زال به او صورت ميگيرد، درست درک نکرده و اينکه سام به فاصله ي کوتاهي بعد از بازيافتن زال او را ترک ميکند و به جنگ مازندرانيان و گرگساران ميرود، در نظرش غيرمعقول جلوه کرده است ( ,٣٧-٣٦ :١٩٥٤ ,Hansen ٤٤-٤٢)؛ اما با توجه به اين نکته که قبلا عرض کرديم ؛ يعني اينکه در اين زمان منوچهر از پهلواني خلع شده و عملکرد پهلواني او به جهان پهلوان سام منتقل گشته است ، به طوريکه شخص شاه ديگر نميتواند خود را در معرض خطرات نبرد قرار دهد، چاره اي غير از اين نيست که جهان پهلوانش به اين مهم بپردازد.