كليدواژه :
راوي , ﺷﺎﻫﻨﺎﻣﮥ ﻓﺮدوﺳﯽ , ﭼﻬﺎرﻣﻘﺎﻟﻪ , رواﯾﺖ ﺷﻌﺮ , اﺑﻮدﻟﻒ
چكيده فارسي :
در ﭘﯿﺸﯿﻨﮥ ادب ﭘﺎرﺳﯽ از آﻏﺎز ﺗﺎ ﺗُﺮك ﺗﺎز ﺗﺎﺗﺎر، آﯾﯿﻨﯽ ﺑﻮد ﮐﻪ ﺷـﺎﻋﺮان در اﻧﺠﻤـﻦ ﻫـﺎي درﺑـﺎري ﺷﻌﺮ ﺧﻮد را ﺑﻪ ﺧﻮاﻧﻨﺪة ﺧﻮش آوازي ﻣﯽﺳﭙﺮدﻧﺪ ﮐﻪ آن را ﺑﻪ ﻫﻤﺮاﻫﯽ ﻣﻮﺳﯿﻘﯽ ﺑﺨﻮاﻧﺪ و از اﯾـﻦ رﻫﮕﺬر، اﺛﺮ ﺳﺨﻦ ﺷﺎﻋﺮ اﻓـﺰون ﺗـﺮ ﻣـﯽ ﺷـﺪ. ﻧﻈـﺎﻣﯽ ﻋﺮوﺿـﯽ در ﺑـﺎب دﺑﯿـﺮي ﻣﺠﻤـﻊ اﻟﻨـﻮادر ﭼﻬﺎرﻣﻘﺎﻟﻪ داﺳﺘﺎﻧﯽ درﺑﺎرة ﻓﺮدوﺳﯽ دارد ﮐﻪ در آن از ﭼﻨﺪ ﻣﺮد ﺗﻮﺳﯽ ﻧﺎم ﻣﯽﺑﺮد و ﯾﮑﯽ از آﻧﺎن را ﭘﯿﺸﮑﺎر و دﯾﮕﺮي را ﻧﺴ٘ﺎخ و ﺳﻮﻣﯽ را راوي ﻓﺮدوﺳﯽ ﻣﯽﺧﻮاﻧﺪ. در اﯾﻦ ﻣﻘﺎﻟـﻪ ﺑـﺮآﻧﯿﻢ ﺗـﺎ ﺑـﻪ ﮐﻤﮏ ﻣﻨﺎﺑﻊ ﺗﺎرﯾﺨﯽ و ادﺑﯽ در دﺳﺘﺮس، اﯾﻦ ﺳﻪ ﺗﻦ را ﺑﺸﻨﺎﺳﯿﻢ، ﺳﭙﺲ ﺑﺎ ﺷـﻨﺎﺧﺘﯽ ﮐـﻪ از آﯾـﯿﻦ رواﯾﺖ ﺷﻌﺮ دارﯾﻢ، راﺳﺘﯽ ﯾﺎ ﻧﺎدرﺳﺘﯽ اﯾﻦ ﺳﺨﻦ ﻋﺮوﺿﯽ را ﺑﺮرﺳﯽ ﮐﻨﯿﻢ. ﻧﺴﺨﻪﺷﻨﺎﺧﺘﯽ ﻣﯽﮐﻮﺷﯿﻢ ﺗﺎ ﺿﺒﻂ درﺳﺖ ﺑﯿﺘﯽ از ﻓﺮدوﺳﯽ را ﮐﻪ ﻋﺮوﺿﯽ ﭘﺸﺘﻮاﻧﮥ ﺳﺨﻦ ﺧويش كرده است در يابيم
چكيده لاتين :
Throughout Persian literature history, from the start until the invasion of Tatar Turks, there was a ritual among the people in which poets would permit their poems to a canorous singer at king’s conventions to be recited along with music; this way, the word effect of the poet would be increased. Nizâmi Aruzi in a chapter on Clerking in his book Châhâr Maghâleh (Four Discourses), tells a story about Ferdowsi in which, some men from Tous city are mentioned. One of these men is introduced as Ferdowsi’s, attendant: another as his copyist and the third one is his reciter. In this article, I am trying to identify these three people through historical and literal resources, and then, based on our knowledge on narrative rituals of Persian poems, fact-check the story that Aruzi has written. Furthermore, through codicological analysis, we would try to provide the correct registration of the verse by Ferdowsi that Aruzi has based his story on.
