دانشگاه اصفهان فنون ادبی 20088027 9 1 2017 04 21 Serenading prologues in Shahnameh براعت استهلال های تغزّل گونه در شاهنامه 173 186 21407 10.22108/liar.2017.21407 FA محمود عباسی دانشیار گروه زبان و ادبیات فارسی دانشگاه سیستان و بلوچستان، زاهدان، ایران یعقوب فولادی دانشجوی دکتری زبان و ادبیات فارسی دانشگاه سیستان و بلوچستان، زاهدان، ایران Journal Article 2015 07 15 When we look deeply at the structure of Iranian famous letter–Shahnameh of Ferdowsi- it becomes clear that besides its stable and rigid content, format and process of narration of its stories are also done scholarly and intelligently. The prologues of the stories are one of the most effective methods in the disciplined structure of stories. From among numerous numbers of story prefaces in Shahnameh, there are ten of them that are exhaustive prologue; three of which are more alike in structure and have some differences with other ones. These three prefaces include prologues of “KeyKhosrow”, “Rostam and Esfandyar”, and Kingdom of Hormozd” stories, which have a similar structure with Serenading. They have obvious similarities with Serenading in: a) number of verses, b) theme, situation, narration, and their characteristic, which recall the first Serenading of odes to mind. So, we can say that the three mentioned prefaces have some features in common both in prologue and serenading. According to the structure (number of verses, pseudonym verse, subject, narration and characteristic), they are like serenading and, from the aspect of prophecy, they take the burden of prologue. These three serenading prologues, however, have some differences with ode serenading. <br />They should have an amount of indirect and summarized expression of the text because they have the prophecy of being a prologue; on this basis, the story they narrate on the ground of nature is allegorical and the natural characters used within them are symbols of the original characters of the story which symbolically express the sense of the story. <br />The concept of these primary verses is somehow close to the whole text of the story; so, after reading them, we understand the feelings of happiness and sorrow which we would confront with in the whole text. But, ode serenading has not such a prophecy, since the main purpose of serenading is to create interest and emotion in the reader about the principal intention of the poet. There are three reasons why such prologues exist in Shahnameh: first, era of Ferdowsi; because in this era, Samanids and Ghaznavids, poetry in the genre of Khorasani was in its highest place and all around Iran and Khorasan was full of poets and poetry. Second, the genre of Khorasani poetry. The main sense of this genre was ode and the related poets had a realistic and concrete view to the surrounding nature. <br /> It is good to say about the mentioned factors that living in an environment which is full of poetry would irresistibly affect the poets and their sensations. The third factor is the entire familiarity of Ferdowsi with the poetic genres and poetry technics of his era. All of these factors had affected Ferdowsi’s serenading and Khorasani genre of poetry. A point to add is the fact that the art of prologue is not the result of serenading ode. However, this is not separated from serenading ode and hasn’t been changed. Such an art has been existed independently and had been used in the poems, but without any special name until the 8^th century which Khatib Ghazvini in his summary of “Meftah al-Olum” of Sakaki with the title of ”Talkhis al-Meftah fi al-ma’ani val bayan val badie’” called it prologue. وقتی به ساختار نامة نامورِ قوم ایرانی، شاهنامة فردوسی، ژرف می­نگریم؛ علاوه بر محتوی و بُن­مایه­های سخت و سُتوارش، قالب داستان­ها و روند روایت آن­ها هم به جای خود بسیار هوشمندانه و عالمانه هستند. یکی از شگردهایی که سهم افزونی در این داستان­ها دارد، براعت استهلال­های آن­ها می­باشد. از شُمار فراوان مقدمه­های داستان­های شاهنامه ده مقدمه براعت استهلال کامل هست؛ که از این ده براعت استهلال، سه­ مقدمة آن از نظر ساختار بیشتر به یکدیگر شباهت دارند و با هفت­ مقدمة دیگر دارای تفاوت­هایی می­باشند. این سه دیباچه، براعت استهلال داستان­های «کیخسرو»، «رستم و اسفندیار» و «پادشاهی هرمزد» هستند؛ که ساختاری شبیه تغزّل­های قصیده دارند. یعنی از نظر: الف) تعداد بیت­ها، ب) موضوع، فضا، روایت و شخصیت آن­ها و ج) بیت تخلّص(گریز) هم­خوانی­های بارزی با تغزّل دارند، به گونه­ای که تغزّل قصاید را به ذهن تداعی می­کنند. در این پژوهش به روش تطبیقی- تحلیلی با نگاهی بر تغزّل در قصیدة پارسی و براعت استهلال در ادب پارسی و کاربردِ آن در شاهنامه؛ ساختار سه براعت استهلال مذکور و قیاس و سنجش آن­ها با دیگر براعت استهلال­های شاهنامه و تغزّل قصاید بررسی شده است. در آخر نیز به چرایی و چگونگی به وجود آمدن این پدیده پرداخته‌ایم. https://liar.ui.ac.ir/article_21407_4ec01a10046077a34d14a9989ac5b967.pdf