كليدواژه :
تاريخ منظوم كاشاني , ظفرنامۀ مستوفي , شهنشاه‌نامۀ تبريزي , اسماعيليان ايران , حسن صباح , خورشاه , هولاكوخان
چكيده فارسي :
در اين پژوهش به تصوير ترسيم‌شده از اسماعيليان الموت و رهبران ايشان در سه منظومۀ تاريخي مهم دورۀ ايلخاني، يعني تاريخ منظوم كاشاني، ظفرنامۀ مستوفي و شهنشاه‌نامۀ تبريزي پرداخته مي‌شود و همچنين انگيزه‌هاي مغولان براي نابودي نزاريان ايران بررسي خواهد شد؛ افزون‌بر آن، مقايسه‌اي نيز با تاريخ جهانگشاي جويني، جامع‌التواريخ و تاريخ گزيده به عمل آمد تا نگرش كلي هر شاعر نسبت‌به اين حادثۀ تاريخي و علل ديدگاه‌هاي متفاوت و اختلاف‌نظر ميان آنها بهتر مشخص شود.
به نظر مي‌رسد سه رويكرد متفاوت در اين آثار وجود دارد: در ظفرنامه از پيشوايان اسماعيلي و پيروان آنها تصويري بسيار نكوهيده ارائه شده است و مستوفي نسبت‌به آنها نگاهي متعصبانه و بدبينانه دارد. اين تصوير منفي و ضدديني از حسن صباح و جانشينان او، به نگاه و بيان جويني بسيار نزديك است؛ اين در حالي است كه در تاريخ گزيده كه مستوفي آن را پنج سال پيش از ظفرنامه به پايان رسانده است، چنين نگاه سخت‌گيرانه‌اي ديده نمي‌شود. كاشاني همانند خواجه رشيدالدين نگرش معقول‌تر و متعادل‌تري نسبت‌به اسماعيليان دارد و صفات منفي كمتري به آنها نسبت داده است كه معمولاً رنگ ديني ندارد. در شهنشاه‌نامه به‌ندرتاز اسماعيليان به بدي ياد مي‌شود و هيچ‌گاه از صفات و كلماتي كه بار معنايي ديني دارد، دربارة آنها استفاده نشده است. تبريزي بارها خورشاه، آخرين رهبر اسماعيلي را ستوده و از نابودي اسماعيليان ابراز تأسف كرده است. شايد دليل اين رويكرد در شهنشاه‌نامه اين باشد كه تبريزي جنبش اسماعيليان را قيامي ايراني با آرمان‌هاي ملي مي‌دانسته و روحيۀ ايران‌دوستي او در تفسير اين حادثۀ تاريخي مؤثر بوده است.
چكيده لاتين :
This study examines how the Ismailis of Alamut portrayed in three important historical epics of the Ilkhanid era-Kashani’s Tarikh Manzoom, Zafarnameh of Mostufi, Tabrizi’s Shahanshahnameh- and also The Mongols' motives for the extermination of the Ismailis of Iran have been discussed. In addition, a comparison is made with Jame-al-Tavarikh, Tarikhe Jahangoshaye Joveyni and Tarikhe Gozideh, in order to better determine each poet's general attitude to this historical event and the causes of their different viewpoints.
There appear to be three different approaches to these works: In Zafarnameh have been created a very negative image from Ismaili leaders and their followers, and Mostufi has a fanatical view to them. This negative image of them is very close to the look and expression of Joveyni. Like Rashid-al-Din Hamadani, Kashani has a more rational and balanced attitude toward the Ismailis and has attributed less negative traits to them that usually have no religious color. Shahanshahnameh rarely has mentioned Ismailis in a negative way and never used religious interpretations about them. Tabrizi has repeatedly praised the latest Ismaili leader and has expressed regret over the destruction of the Ismailis. Perhaps the reason for this approach in the Shahanshahnameh is that Tabrizi regarded the Ismaili movement as an Iranian uprising and his Iranian-friendly spirit was effective in interpreting this historical event
2- Introduction
Historians and writers have always been interested in the history of the Ismaili sect and their views and opinions throughout history. Each author and historian has presented a different picture of this group based on their ideology and worldview. For example, Sunni theologians and writers portrayed the Ismailia as an atheism religion in Islam. There are also different views among the historians who wrote their history during the Ismaili period of Iran or in the early decades after the collapse of the Ismailis.
The main purpose of this study is to describe and explain the approach of the poets of the historical epics of the Ilkhanid era to the Ismailis of Alamut. To this end, it has been studied how the Ismailis of Iran were depicted in three important historical epics of the Ilkhanid period, Kashani’s Tarikh Manzoom, Zafarnameh of Mostufi, Tabrizi’s Shahanshahnameh.
3- Material & Methods
Kashani’s Tarikh Manzoom, Zafarnameh of Mostufi and Tabrizi’s Shahanshahnameh is the three most important historical poems of the Ilkhanid era. Tarikh Manzoom is one of the public Mongol dates that Shams Kashani ended it in the early reign of Sultan Muhammad Khodabandeh . In this poem, which contains more than 8,000 bits, the history of the Mongols people is narrated from the beginning to the time of this Ilkhan. Zafarnameh, by Hamdollah Mostufi, has three types: Islamic, Ahkami (Ajami) and Sultani. The poet has detailed the life of Hassan Sabbah and his successors in Ahkami section. Furthermore in the Sultani part, in the section on the conquest of Ismailia by Hulagu Khan, this group has been mentioned again. Shahnamehnameh is another important historical poem written by Ahmad Tabrizi in the court of Sultan AbuSa'id, in which the poet narrated the situation of Genghis Khan and his successors until two years after the last Ilkhan's death.
This article discusses how to utilize linguistic and rhetorical tools and how to refer to the discourse of religion in the three above mentioned poems and discusses the motives mentioned by the poets for conquering the Ismailis. A comparison has also been made with Jame-al-Tavarikh, Tarikhe Jahangoshaye Joveyni and Tarikhe Gozideh to determine the poets' general view of this subject, the extent to which they have been influenced by prose and poetic works, and how they interacted with the power center.
4- Discussion of Results & Conclusions
Although all three historical epics have been composed in the Ilkhanid court, by examining how the Ismailis were portrayed in the three historical epics and also by Hulagu Khan's motives for attacking the Ismailis, it identified that There are three approaches in these works:
Mostufi has presented a very negative image of the Ismailis with a religious approach, for personal and ideological reasons, which is close to the Joveyni views. Like Rashid-al-Din Hamadani, Kashani has spoken about the Ismailis in a softer and more moderate language, and has used fewer negative traits. Tabrizi, perhaps because of his Iranian-orientated tendency, usually has presented a positive image of the Ismailis and rarely dispraised them. Therefore, it can be seen that each of these poets had a different approach to this issue according to their beliefs and views. They have in many cases consciously and purposefully used traits, combinations and imaginary elements and have been purposeful in how they narrate, omit, or emphasize certain events.
