كليدواژه :
هاتفي , هجونامه , تقليد , فردوسي , ابيات منسوب
چكيده فارسي :
در هجونامۀ منسوب به فردوسی سه بیتِ معروف وجود دارد كه ضبط اصلیِ آن ها مطابق با كهن ترین منابع چنین است:
درختی كه تلخ آمد او را سرشت ور از جوی خُلدش به هنگامِ آب
سرانجام گوهر به كار آورد گرش درنشانی به باغ بهشت
به بیخ انگبین ریزی و شیرِ ناب همان میوۀ تلخ بار آورد
این سه بیت كه به احتمالِ بسیار، بر الگوی دو بیت از آفرین نامۀ بوشكور بلخی ساخته شده، به دلیلِ شهرتِ انتساب به فردوسی و هجونامۀ نامدارِ او بسیار مورد توجّه و تقلیدِ شعرای دیگر قرار گرفته است؛ به طوری كه می توان آن را یكی از پرتقلیدترین قطعاتِ شعریِ منسوب به فردوسی و حتّی تاریخ شعر فارسی دانست. قدیمی¬ترین استقبال از این سه بیت در فرامرزنامۀ بزرگ (اواخر قرن پنجم) است و پس از آن از سدۀ هشتم و نهم به بعد، گویندگانِ مختلف به نظیره¬گوییِ آن برخاسته اند كه مشهورترینِ آن ها چهار بیتِ هاتفی جامی است. در این مقاله چهارده نمونه از تقلیدها و قطعاتِ مشابهِ سه بیتِ منسوب به فردوسی، به ترتیبِ تاریخی معرّفی و بررسی شده است.
چكيده لاتين :
1. Introduction
According to the main text of Shahnameh, the Sasanian Yazdgerd III after awareness of defeated his armies toward Arabs and to be killed Rostam Farrukhzad, he consults with the elders of court and says to them “he wants to go of Baghdad to Marv and stay near ruler there Mahoe Suri that he is his bred. Farrukhzad one of the leaders of that community to Yazdgerd says:
كه این را یكی داستان است نو
به بدگوهران بر بس ایمن مشو
بكوشی كزو رنگ بیرون كنی
كه هرچند بر گوهر افسون كنی
تو بر بند یزدان نیابی كلید
چو پروردگارش چنان آفرید
In Cairo manuscript (796 AH) after the third line the three bits is as follows:
گرش درنشانی به باغ بهشت
درختی كه تلخ آمد او را سرشت
به بیخ انگبین ریزی و شیرِ ناب
ور از جوی خُلدش به هنگامِ آب
همان میوۀ تلخ بار آورد
سرانجام گوهر به كار آورد
The lines except Cairo handwritten (796 AH) do not exist in any of the editions basis editing of Dr. Khaleghi Motlagh and also editions of Saint-Joseph, Saadlou and margins of Zafarnameh and it is extension. The main references of fame and using the three mentioned lines the name of Ferdowsi, satire is attributed to him. For the reason that popularity Ferdowsi’s lampoonery and reputation with enhancement and development of lines called satire from the early eighth century onwards, the three bits of writings and various narratives of satire entered the literary and historical sources and alone or with the number of their back and forth lines called Ferdowsi was written. Poet of the lines anyone who is probably he considered to older example to verse them and as previously researchers have noted to it, these two lines belong to Abushakur Balkhi, Forth century poet it is available in his the book Mathnavi “Afarinnameh”:
اگر چرب و شیرین دهی مر ورا
درختی كه تلخش بود گوهرا
همان میوۀ تلخت آرد پدید
از او چرب و شیرین نخواهی مزید
2. Discussion
The three well-known lines attributed to Ferdowsi due to the important issue and the form of its human-social, visual and expression construct of the poem and famousness of that called Ferdowsi particularly in the form of satire section and addressed to Sultan Mahmud Ghaznavi, it attracted the attention of many different poets and several examples according to its pattern were composed so that these bits we can consider as one of the full more imitation the poem sonnets in Persian literature history. To the best of my research, the oldest example like this lines-which is likely imitated them- three bits is in the poem “large Faramarz-nama” (probably composed in the late fifth century) and then there are other similar examples that most notably of them is four lines belong to Abdollah Hatefi Jami it became a new model for following a number of poets and in Qassim Husseini Gonabadi’s lyrics, poem of Zarrin Ghaba-nama, sonnet of Vali Gholi Beyg Shamlou, Arefi, Mohebbi and etc. is imitated of that.
3. Conclusion
In this article, fifteen similar examples to imitate the three famous bits attributed to Ferdowsi was shown that the most repetition word/content element/ image maker in the lines and sonnets is the word “Serešt” with eight times ingemination and then words and compounds are located such as “Češme /Āb Behešt” (6 times), “Behešt and its belongings” (Bāq, Tāvus, Anjir, Kabab and Morq” (5 times), “Jibrail” (5 times), “Mey, Angabin, Shir and Golāb” (4 times), “Hur” (3 times), “Āb Hayat” (3 times) and “Derakht” (2 times), respectively. The other point, because Hatefi in his well-known imitation from lines attributed to Ferdowsi, “Zāq” has replaced to “Deraxt” in the first bit and conditional section of speech and to impact of this change, creatures and other animals have brought in part of his speech such as: “Bačče Mār af 'i ', Bačče Div, Bačče xuk, Kudake Zangi and Bache Joqd. In other words, element of plant and tree (“Deraxt” and “Nān”) in the original and ancient samples of this literature, in previously imitations generally has become to animal and human.
Another noteworthy point, the number of lines is this imitation sonnets that in most examples (nine cases) to following the original pattern (lines attributed to Ferdowsi) is the three bits and three samples also with imitation from Hatefi’s lines have gone to parody of this content
and format. The longest adapted is five lines, as well and it belong to Amir Ali Shirnavaei.
