ﺗﻌﺎﻣﻞ ﺗﺼﻮﯾﺮﺳﺎزه ﻫﺎي ﭘﻮﯾﺎ و اﯾﺴﺘﺎ در ﭘﻮﯾﺎﯾﯽ ﺗﺼﺎوﯾﺮ ﻣﻌﻠﻘﮥ اﻣﺮواﻟﻘﯿﺲ

Interaction of Dynamic and Static Illustrators in the Dynamics of Imro al-Qays's Moallaghe Images

ﭼﮑﯿﺪه زﻧﺪﮔﯽ در ﺑﺎدﯾﻪ و ﻋﺪم اﺳﺘﻘﺮار داﺋﻢ در ﯾﮏ ﻣﮑﺎن از وﯾﮋﮔﯽ ﻫﺎي ﺷﻌﺮي ﺷﺎﻋﺮان ﻋﺮب ﺟﺎﻫﻠﯽ، ﺑﻪ وﯾﮋه اﻣﺮؤاﻟﻘﯿﺲ ﺑﻮده اﺳﺖ؛ ﻋﺎﻣﻠﯽ ﮐﻪ ﺳﺒﺐ ﺷﺪه ﺗﺎ اﯾﻦ ﺣﺮﮐﺖ و ﭘﻮﯾﺎﯾﯽ ﺑﻪ ﻋﻨﻮان ﻋﻨﺼﺮي ﻏﺎﻟﺐ در ﺷﻌﺮ آﻧﺎن ﺑﻪ ﺷﻤﺎر آﯾﺪ، ﺑﻪﻃﻮريﮐﻪ ﻫﻤﻮاره ﻧﻮﻋﯽ دﮔﺮدﯾﺴﯽ در ﺷﻌﺮ آﻧﺎن ﻫﻤﭙﺎي ﮔﺬر زﻣﺎن و ﮔﺮدش روزﮔﺎر وﺟﻮد داﺷﺘﻪ اﺳﺖ. در ﻣﻌﻠﻘﮥ اﻣﺮؤاﻟﻘﯿﺲ ﻧﯿﺰ ﮐﻪ ﺳﺮآﻣﺪ ﺷﻌﺮ ﺟﺎﻫﻠﯽ ﺑﻪ ﺷﻤﺎر ﻣﯽ رود، ﺣﺮﮐﺖ ﺑﻪ ﻣﻮازات اﯾﺎم در ﺷﻌﺮش رخ ﻣﯽ ﻧﻤﺎﯾﺪ و ﻋﻨﺼﺮي ﻣﺆﺛﺮ در ﺳﺎزه ﻫﺎي ﺗﺼﻮﯾﺮي ﺷﻌﺮ و ﻧﯿﺰ ﻋﺎﻣﻠﯽ ﻣﻬﻢ در ﭘﯿﺸﺒﺮد آن ﻣﯽﮔﺮدد ﺗﺎ ﺟﺎﯾﯽ ﮐﻪ ﻣﯽ ﺗﻮان ادﻋﺎ ﮐﺮد ﻣﻬﻢ ﺗﺮﯾﻦ ﻣﻼط اﻧﺴﺠﺎم و ﭘﯿﻮﺳﺘﮕﯽ اﺟﺰاء ﻣﻌﻠﻘﮥ او ﻫﻤﯿﻦ ﻋﻨﺼﺮ ﭘﻮﯾﺎﯾﯽ اﺳﺖ. ﻋﻨﺼﺮي ﮐﻪ زاﯾﯿﺪه روﯾﮑﺮد واﻗﻊﮔﺮاﯾﺎﻧﮥ ﺷﺎﻋﺮ و ﻧﮕﺎه ﺣﺴﯽ او ﺑﻪ ﻃﺒﯿﻌﺖ و ﺣﺎﺻﻞ ﺳﯿﺮ ﻣﺘﻮازن زﻧﺪﮔﯽ او ﺑﺎ ﺟﻬﺎن ﭘﯿﺮاﻣﻮن اوﺳﺖ. ﺣﺮﮐﺘﯽ از درون ﺑﻪ ﺑﯿﺮون ﮐﻪ ﺧﻂ ﺳﯿﺮ ﭘﻮﯾﺎﯾﯽ را از ﻋﻮاﻃﻒ و اﺣﺴﺎﺳﺎت دروﻧﯽ او ﭘﯽ ﮔﺮﻓﺘﻪ، آن را در ﺟﻬﺎن ﺑﯿﺮوﻧﯽ او ﺑﻪﺗﺪرﯾﺞ وﺳﻌﺖ ﻣﯽﺑﺨﺸﺪ و در ﻧﻬﺎﯾﺖ ﻧﺒﺾ اﺣﺴﺎس او را در ﻋﺎﺷﻘﺎﻧﻪﻫﺎﯾﺶ ﺑﻪ ﭘﻮﯾﺶ ﺳﻬﻤﮕﯿﻦ ﻃﺒﯿﻌﺖ در ﺗﺼﺎوﯾﺮ ﭘﺎﯾﺎﻧﯽ ﻗﺼﯿﺪه ﭘﯿﻮﻧﺪ ﻣﯽ زﻧﺪ. ﺑﺪﯾﻦ ﺗﺮﺗﯿﺐ ﺗﺼﺎوﯾﺮِ ﺣﺮﮐﺖ، ﻋﻨﺼﺮي ﻣﻬﻢ و ﺑﺮﺟﺴﺘﻪ در ﺳﯿﻤﺎي ادﺑﯽ ﺷﻌﺮ اﻣﺮؤاﻟﻘﯿﺲ ﻣﯽﮔﺮدد. ﭘﮋوﻫﺶ ﺣﺎﺿﺮ ﮐﻪ ﺑﻪ ﺷﯿﻮۀ ﺗﻮﺻﯿﻔﯽ ـ ﺗﺤﻠﯿﻠﯽ و ﺑﺎ ﻫﺪف اﯾﺠﺎد ﻧﮕﺎﻫﯽ ﺗﺎزه ﺑﻪ ﺗﺼﻮﯾﺮﮔﺮي در ﻣﻌﻠﻘﮥ اﻣﺮؤ اﻟﻘﯿﺲ اﻧﺠﺎم ﮔﺮدﯾﺪه در ﭘﯽ ﭘﺎﺳﺦ ﺑﻪ اﯾﻦ ﭘﺮﺳﺶ اﺳﺖ ﮐﻪ ﺗﺼﺎوﯾﺮ ﭘﻮﯾﺎﯾﯽ در ﻣﻌﻠﻘﮥ او از ﭼﻪ ﺳﺎزه ﻫﺎﯾﯽ ﻓﺮاﻫﻢ آﻣﺪه و اﯾﻦ ﺳﺎزه ﻫﺎ ﭼﮕﻮﻧﻪ در دﺳﺘﯿﺎﺑﯽ ﺑﻪ ﺗﺼﻮﯾﺮ ﮐﻠﯽ ﺣﺮﮐﺖ و ﺣﯿﺎت در اﯾﻦ ﻗﺼﯿﺪه ﻣﺆﺛﺮ ﺑﻮده اﻧﺪ؟ اﯾﻦ ﺑﺮرﺳﯽ ﻧﺸﺎن ﻣﯽدﻫﺪ ﮐﻪ ﺗﺼﻮﯾﺮِ ﺣﺮﮐﺖ در ﻣﻌﻠﻘﮥ اﻣﺮؤاﻟﻘﯿﺲ ﺣﺎﺻﻞ ﺣﻀﻮر ﻓﻌﺎل ﺳﺎزهﻫﺎي اﯾﺴﺘﺎ و ﭘﻮﯾﺎﯾﯽ ﭼﻮن اﻧﻮاع ﺳﺎزهﻫﺎي زﺑﺎﻧﯽ، ﺑﻼﻏﯽ، ﻣﺆﻟﻔﻪﻫﺎي رواﯾﯽ و ﻧﯿﺰ ﻋﻨﺎﺻﺮ ﻣﻮﺛﺮ زﻣﺎن و ﻣﮑﺎن اﺳﺖ ﮐﻪ در اﯾﻦ ﮔﻔﺘﺎر ﺑﺎ ﻋﻨﻮان ﺗﺼﻮﯾﺮﺳﺎزه ﯾﺎ ﺳﺎزهﻫﺎي ﺗﺼﻮﯾﺮي ﻣﻌﺮﻓﯽ ﻣﯽﺷﻮﻧﺪ. ﺳﺎزهﻫﺎﯾﯽ ﮐﻪ ﮔﺎه ﻣﺴﺘﻘﻞ و ﮔﺎه در ﺗﻌﺎﻣﻞ ﺑﺎ ﯾﮑﺪﯾﮕﺮ ﻣﻮﺟﺐ ﺑﺮﺟﺴﺘﮕﯽ ﺳﯿﻤﺎي ﮐﻠﯽ ﺣﺮﮐﺖ در ﺷﻌﺮ او ﺷﺪه اﺳﺖ.

Living in desert and not being permanently settled in one place have been the poetic features of the pagan Arab poets, especially Imro al-Qais; The factor that has caused this movement and dynamism to be considered as a dominant element in their poetry, so that there has always been a kind of metamorphosis in their poetry along with the passage of time. In Imro al-Qais’s Muallaqa, which is considered to be the foremost of ignorant poetry, parallel movement occurs in his poetry and becomes an effective element in the pictorial structures of the poem and also an important factor in its advancement, so that it can be claimed this dynamic element is the most important mortar of the coherence and continuity in his components of Muallaqa. An element that is born of the poet's realistic approach and his sensory view of nature and the result of his life balanced with the world around him. An inward-outward movement that originates from his inner feelings, gradually expands it into his out world, and finally connects the pulse of his romances to the paradigm shift of nature in the final images of the poem. In this way, the images of movement become an important and prominent element in the literary image of Imro al-Qais's poet. The present study, which has been done in a descriptive-analytical manner and with the aim of creating a new look at illustration in the Imro al-Qais’s Muallaqa, seeks to answer the question of what structures provided dynamic images in his poetry and how these structures achieve a general picture of movement and life were they effective in this poem? This study shows that the image of motion in the Imro al-Qais’s Muallaqa is the result of the active presence of static and dynamic structures such as linguistic, rhetorical narrative components and also effective elements of time and place that referred to as structures images or pictorial structures. Structures that sometimes independently and sometimes in interaction with each other have made the general image of movement in his poetry stand out