پيدايش و تحول چهار پاره سرايي در ايران

Genesis and evolution of the sonnet (chahar-pare) composing in Iran

دربارۀ «چهار‌پاره» يا «دوبيتي‌هاي پيوسته» پيش از اين به‌اجمال و اشاره، اينجا و آنجا سخن به ميان آمده است، اما در مورد پيدايش، تحول و به‌ويژه تأثير شعر نوگراي عثماني بر رويكرد شاعران ايراني به اين قالب نوپديد بحث مستوفي و درخوراعتنايي صورت نگرفته است. نويسندۀ مقاله ضمن جست‌وجو در باب منشأ اين قالب شعري، با اشاره به رواج آن در ادبيات فرانسه درصدد يافتن پاسخ سؤالات زير است:1 آيا شاعران ايراني تحت تأثير ادبيات اروپا و به طور خاص فرانسه به سرودن چهارپاره پرداخته‌اند؟ 2 شعر نوگراي عثماني تا چه اندازه در رويكرد شاعران ايراني به اين قالب تأثيرگذار بوده است؟ 3 چهارپاره‌سرايي در ايران دقيقاً از چه زماني آغاز شده و نخستين بار كدام شاعر به سرودن شعر در اين قالب برخاسته است؟ مقاله در پي تبيين اين فرضيه است كه در دورۀ تنظيمات و مشروطۀ عثماني، شاعران نوگراي از طريق آشنايي با ادبيات فرانسه به سرودن شعر در اين قالب روي آورده‌اند؛ تا اينكه پس از استقرار نظام مشروطه در ايران، برخي از شاعران تجددخواه ايراني، كه با شعر نوگراي ترك انس و الفتي داشتند، با تأسي به اقران ترك خويش، به خلق آثاري در اين قالب پرداخته‌اند. مقاله با بحث دربارۀ نخستين نمونه‌هاي چهار‌پاره و سرايندگان آنها، روند تحوّل چهارپاره‌سرايي را بررسي كرده و با نقد چند نظر كوشيده است به ابهامات موجود در اين زمينه اندك پرتوي بيفشاند

Abstract Persian "Sonnets" (chaharpare) or "continuous quatrains" are already mentioned briefly here and there but the emergence, evolution and the influence of the modern ottoman poetry on the inclination of Persian poets to this new poetic form have not been thoroughly discussed yet. The author of this paper, while studying the origin of this form of poetry by referring to its currency in French literature, seeks to answer the following questions: 1 – Did the Iranian poets compose sonnets under the influence of European and especially French literature? 2 – How much did the ottoman modern poetry influence the inclination of Iranian poets to this form? 3 –When did sonnet composing begin exactly and who first composed his poem in this form?    It seems that there is no doubt about the idea that this form of sonnets or continuous quatrains as a new form in Persian poetic was borrowed from the European and especially French literature, but it is disputable whether the Iranians received this form and its special rhyme scheme directly from Europeans or they got accustomed with it through an intermediary language?    From the viewpoint of the author these continuous quatrains were first considered by modern Turkish poets of Tanzimat and constitutional Revolution period such as Akif Paşa (1316 AH), and later Ibrahim Şinasi (d. 1871 CE), Ziya Paşaa (d. 1881 CE), Namik Kemal (d. 1888 CE) and the poets of the next generation such as Recaizade Ekrem Beik (d. 1914 CE) and Abdülhak Hamit Tarhan (d. 1937 CE) Tevfik Fikret (d. 1915 CE) who were familiar with french poetry and literature (Habib, 1340: 95) then this form entered Iranian literature via Turkish language and literature. On the one hand the distant priority of the Turkish modernist poets in using this form and on the other hand the familiarity of the first Iranian sonnetcomposer poets such as Ja’far Xamene’i, Lahuti and Taqi Raf’at with the modern ottoman poetry and literature confirms the correctness of this hypothesis. First sonnets and first iranian sonnetcomposers    The researchers of the contemporary persian poem have generally considered the poem “Fulfillment of the Covenant” ( vafa be ‘ahd) of Ab alQasem Lahuti, which is composed in 1908 CE/1327 AH, the first persian sonnet (cf. SHafi‘i Kadkani, 1390: 423425 SHams Langrudi, 65/1). However it is difficult to accept this opinion. Doubt about this view stems from this fact that there is no witness which shows that he was familiar with french literature and ottoman modern literature when composing this poem. The available evidences show that lahuti has composed his poem according to his iranian models of sonnet. In other words before Lahuti some other iranian poets such as Ja‘far Xamene’i who were familiar with french and modern ottoman literature have composed such sonnets and Lahuti has been accustomed with this poetic form via their poems. The sonnet which is published two years before “Fulfillment of the Covenant” by Lahuti in Azarbayejan newspaper at 15 rabi’ alāxar 1325 confirms this opinion (cf. Maqṣudi, 1356: 697). With regard to what Brown and Ariyanpur (Brown, 1335: 317 Ariyanpur, 1372: 454/2) have stated about Xamene’i and his poem and also considering the existing exles of his poetry one can infer that because of his familiarity with french language and also modern turkish literature he has had definitely more necessary literary and theoretical capabilities than Lahuti for composing sonnets, and he began to compose sonnets before Lahuti. So with regard to these evidences one can consider Ja‘far Xamene’i the first or one of the first iranian sonnetcomposers during the Constitutional Revolution. The sonnet form in its historical trend has undergone changes in regard to the rhyme (in this paper five sorts of it are discussed). In the end one kind of it, in which the second and fourth hemistiches rhyme with each other, has gained popularity and acceptance. This form of poetry, because of its concomitance with a kind of romantic poetry, in the course of time has changed to the original form of the poems with the romantic theme .