چکیده:
Kamal al-Din Ali Mohtasham Kashani, who is famous for his Ashura elegies, has achieved immortality in the art of poetry and Tarkib-band as a result of backgrounds from the works of previous generations. In this research, a general review is conducted of three items that have the potential to create a foundation for acquiring knowledge of poetry and elegy from this religious poet, which are: Mowlana Hassan Kashi, a mystic and poet of the seventh and eighth Hijri centuries; Nur al-Din Hamza bin Ali, known as Azari Isfarayini, a less-known Shiite Sufi of the eighth and ninth Hijri centuries; and Mohammad bin Ali bin Suleiman Ravandi, a Sunni writer, historian, and poet of the sixth Hijri century. At the end of the research, we have reached the conclusion that although Mohtasham's benefit from the poems of Hassan Kashi and Azari Isfarayini does not appear to be significant, the possibility of poet Kashani being influenced by the Tarkib-band of Ravandi, in the elegy of Sayyid Fakhr al-Din Ala al-Dawla Arabshah, along with the other two cases, cannot be ignored; rather, considering its greater antiquity, it may even have a clearer justification.
خلاصه ماشینی:
At the end of the research, we have approached the conclusion that although Mohtasham's utilization of the compositions of Hasan Kashi and Azari Isfarayini does not seem plausible, the possibility of the Kashani poet being influenced by Rawandi's tarkib-band in the elegy of Sayyid Fakhr al-Din Ala al-Dawla Arabshah, alongside the other two cases, cannot be ignored; rather, considering its greater antiquity, it may even have a clearer justification.
According to one of the contemporary connoisseurs, when he observed the tarkib-band of this Ashura enthusiast on the walls of the courtyard of Kadhimayn (AS) in beautiful Iranian Nastaliq script, he wrote in his travel diary: "The work that Mohtasham, the beloved of Kashan, has left in the land of Iraq has often been more impactful on them than the influence of Muthanna (commander of the Qadisiyah army) or Jahangiri like Nadir; because today we only read the names of Muthanna and Nadir in our histories, but the people of that land see and read Mohtasham's poem, which is formally and directly a reproach and curse upon their own ancestors, on the forehead of these buildings in large Nastaliq script: زان تشنگان هنوز به عیوق میرسد/ فریاد العطش ز بیابان کربلا" (Bastani Parizi, 1357 SH, Vol. 3: 19-20).
Therefore, in addition to the compositions of Molla Hasan Kashani and Azari Esfarayini, the mentioned cases can also be evidence for the claim of the possibility of Mohtasham being influenced by Rawandi's poem, and even, considering its antiquity relative to the other two poets, it may claim superiority in precedence and pioneering over them, and religious duality, as we know, does not create an obstacle in these fields.
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