دانشگاه اصفهان فنون ادبی 20088027 8 4 2016 12 21 A Survey into the reflection of generic and particular Norooz in Nizami’s Seven Domes تحلیل بازتاب مراسم آیینی نوروز عام و خاص در هفت‌گنبد نظامی 51 68 21099 10.22108/liar.2016.21099 FA فزونه دوانی دانشجوی دکتری زبان و ادبیات فارسی، واحد نجف آباد، دانشگاه آزاد اسلامی، نجف آباد، ایران محمد فشارکی استاد گروه زبان و ادبیات فارسی، واحد نجف آباد، دانشگاه آزاد اسلامی، نجف‌آباد، ایران محبوبه خراسانی استادیار گروه زبان و ادبیات فارسی، واحد نجف آباد، دانشگاه آزاد اسلامی، نجف آباد، ایران Journal Article 2014 11 26 Continuous renewal and rebirth of nature have been construed by our past masters to be a kind of death and reborn; the plants growing green, the sunrise and the sunset, day and night, different positions of moon, all lead to belief that natural phenomena have souls that were in line with the cosmic soul. Death and rebirth, in their view, was a transformation; hence, monthly or yearly religious and ritual carnivals were held to show this association and union. Norooz (New Day) was one of these annual ceremonies which were held according to the rotation of sun around earth. This renewal of nature and the related ceremonies were at the focus of Persian poets. Nizami in his Seven Domes (Haft Gonbad) refers to Norooz traditions and its roots in a mystical way. Seven Domes has been written in two main parts: 1. the life of Bahram Goor and his marriage with princess; 2. some stories which are told by princesses. The main hypothesis of this essay is the presence of some signs signifying Norooz and the related traditions and rituals. The first part the book deals with the relation of Norooz and sacred marriage and the second part has some hints to Farvardingan, general and particular Norooz. Research method of this essay is a comparative and documented one which surveys by a non-mythological approach and by means of sociology, anthropology, and history. The first part of the book focuses on the life and death of Bahram, nicknamed Goor (the tomb or zebra[1]). Bahram was visiting Khournagh palace in which he enters a room and sees the portrait of seven princesses; he then gets married with all the seven. After that, he decides to build a seven dome palace which is excellently beautiful and full of patterns and colors. The order to build the domes was issued at the first day of winter (Nizami, 1388: 84&1866-1870), and Bahram’s exit from the last dome was coincided with Norooz (Nizami, 1388: 167&4524-4530). By focusing on these two sacred times (night of Yalda which is when sun is born and the beginning of spring), Nizami develops a fertile ground for cultivating carnivals like generic and particular Norooz. A survey of the story of the second dome (generic Norooz) Generic Norooz is on the first of Farvardin (Iranian month) which id the time when sun arrives at ram and the beginning of spring. It is said that God created the universe in this day when all seven stars were on the peak of circulation. The theme of this story is related with myths of this day such as 1. Myth of Jamshid and Norooz; 2. The battle of Granny cold; 3. Granny midmonth. 1, 1 Myth of Jmashid and Norooz Golden crown, cup of Jamshid and golden costume are associative of myth of Jamshid, as the progenitor of Norooz; also identification of Jamshid and Mehr (seventh Iranian month) (Zener, 1388:196) and the presence of Norooz- related signs (Nizami, 1388: 105&106&2556, 25570) paves the way for presenting generic or small Norooz. 1, 2 The battle of granny cold, granny midmonth Nizami identifies the figure of old woman in the court as granny cold (Nizami, 1388: 108&2637) and likens the battle of old woman and sallow handmaiden (Nizami, 1388: 110&2730-2732) to the leave of granny cold and firing the universe which is associative of the beginning of the season of warmth and the carnival of centenary and the story of old woman (granny) (Nizami, 1388: 111-112&2774&2772-2774); all these is a reconstruction of granny midmonth. A survey of the story of the seventh dome (particular Norooz) 6th of Farvardin is called Khordad rooz; that is, the great Norooz or particular Norooz. In this day, “Jamshid sat on the throne, invited the lords and set some good traditions” (Dehkhoda, Entry for Norooz). Some important events have been attributed to this day. 2, 1 Peon of Norooz In Sassanid period, on 6th of Farvardin, a handsome and voluble man used to come to the king and offered some Norooz congratulations. Nizami has inserted some of this congratulations or enunciations of the throne in his poems (Nizami, 1388: 157&4197-4198). Also, the dialogue between eunuch and Venus is considered as congratulation to the king for 6th of Farvardin. 2, 2 Union with beloved 6th of Farvardin is the birthday of Prophet Zoroaster. It seems that the story of eunuch and Venus is a recreation of going to bed of Zoroaster’s parents that undoubtedly associates 6th of Farvardin. According to Zoroastrian texts, in spite of several blockages by devils, Zoroaster’s parents went to bed and his sperm bound in his mother’s womb (Razi, 1384: 80). این مقاله بر تحلیل علمی-تاریخی آیین نوروز در ‌هفت‌پیکر نظامی متمرکز است. مردمان فلات ایران از دیرباز هرساله با بیداری طبیعت در فصل بهـار، به پیشواز رویش گل‌ها و سرسبزی درختان کهن‌سال می‌رفتند و با جشنی نمادین همراه با نیایش‌هـایی آیینی به قدردانی از ایزدان می‌پرداختند تـا با جلب رضایت خدایان، به باززایی گیاهان و برکتبخشی زمین کمک کنند. این جشن ملی با گذر زمان با نام نوروز از زمـان کورش بزرگ تاکنون از فراز و نشیب‌های بسیاری گذر کرده، اما هر بار پیروزمندتر از پیش خود را نشان داده است. نویسندگان و شاعران بسیاری تحت تأثیر این جشن ملی- مردمی آثاری گرانقدر برجای گذاشته‌اند؛ در این میان، ‌هفت‌پیکر نظامی گنجوی مجموعه‌ای بزرگ و بی‌نظیر از فرهنگ ایرانی است که با زبان رمز به بیان اسطوره‌ها و آیین‌های نوروزی و سنن مرتبط با آن پرداخته است. روش تحقیق در این پژوهش تطبیقی- اسنادی است که با رویکردی برون اسطوره‌ای و از منظر جامعه‌شناسی، مردم‌شناسی، فرهنگ و تاریخ به نقد و بررسی پرداخته شده است. بر اساس نتایج تحقیق، نظامی با بازآفرینی هنرمندانه باورها، اسطوره‌ها و طرح ازدواج بهرام گور با هفت شاهدخت به مسئله ازدواج مقدس و نوروز نظر داشته است. وی در گنبد اول، اسطورۀ کاووس را با زبانی رمزی و تمثیلی به تصویر کشیده است تا یادآور سیاوش و جشن فروردینگان شود و سپس با آوردن نمادها و نشانه‌هایی از نوروز عام و خاص در گنبد دوم و هفتم یادی از مراسم و سنن نوروز ایرانی کرده است.

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