| چکیده انگلیسی مقاله |
Abstract:
Besides writing lyrics, Shahryar has had other genres of poem including couplets and so on. Shahryar’s special couplets are specified by description and using free and pure images. From the subject and content point of view, his poems represent his external aspects of his life and also his interests and social, cultural and historical aspects, as well as his internal aspect of his personal life. The couplet of “Afsaneye Shab” with 1622 lines in 40 titles and various subjects is the longest couplet of Shahryar and is one of the most outstanding contemporary poets of Iran. This poem is some cuts of different parts of life mixed with some national historical and religious events of Iran, which is sometimes mixed with the poet’s life and his personal interests and memories in the form of stream of consciousness. Interestingly, all imaginary and real events of this poem have happened at night, which Shahryar has described it in a new method via using some aspects of spoken language presented in the greatest images of natural events and perspectives at night Introduction "Afsaneh Shab" is one of the long and outstanding masnavis in contemporary Persian poetry and the most important masnavi of Shahriar, which has been the focus of interest of the poet himself. In my opinion, this poem, along with “Hozain Del” (Delusions of the Heart) and “Haydar Baba”, have formed a trilogy that well show the central idea in Shahriar's poetic and intellectual trajectory. The first question in the current research is Shahriar, lyricist master, was also successful in writing masnavis. Moreover, what are the characteristics of “Afsaneh Shab” that make it one of the leading contemporary Masnavis? In this article, while taking a quick look at Shahriar's masnavi writing, the structural-content analysis of this masnavi has been done by applying structuralism approach. Accurate and comprehensive understanding of the character and art of any poet is possible only by studying and examining all his poetic achievements. This article tries to better understand the poetry of Shahriar, who is famous for his lyrical poetry, by reviewing his masnavi writing career, to examine and analyze this outstanding masnavi in terms of structure and content, and to open a new window to Shahriar's poetic world to the readers of Persian poetry. Research method This research was carried out in a descriptive-analytical way, using library sources and reading books and articles related to the subject, including Divan Shahriar, in such a way that after reviewing the works of this poet, his “Afsaneh Shab” will be investigated and discussed using the approach of structuralism, and after explaining its structure, the data of the poem under literary components (narrative, description, simile, irony, diagnosis and hint) and linguistic components (syntax and vocabulary), structural-content of the poem will be analyzed by quoting sufficient evidence from the text of the poem. Structuralism believes in creating a coalition between the components of a whole and seeks to examine the special role of each component in relation to the whole structure (organization). My method and approach in examining “Afsaneh Shab” is the application of structuralist criticism in a descriptive-analytical way. In the poem “Afsaneh Shab”, the masnawi form, Bahr Ramel Mesdes Makhboun, which is suitable for telling the story, is also suitable for the subject of the poem, which narrates the historical events and the narrator-poet's memories. On the one hand, the simple language and the use of syllabic constructions and the use of description, irony, allusion, simple and sensual similes, and direct and indirect internal monologues on the other hand are in harmony with the overall structure of the poem, and in this way, it is clear that it seems that irregular components of the long poems have a coherent and systematic structure. Discussion In Shahriar's work, twelve masnavis (a total of 2557 couplets) are recorded in the following order: “Afsaneh Shab”, “Sher o hekmat” (Poetry and Wisdom), “Ghoroob Neishabur” “Neishabur Sunset”, “Dar Neishabur” (In Neishabur), “Ziarate Kamal al-Mulk” (Kamal al-Mulk's Pilgrimage), “Roohe Parvaneh” (Butterfly's Spirit), “Sedaye Khoda” (God's Voice), “Rumi dar Khanqah Shams” (Rumi in the Shams Khanqah), Gul and Bulbul Islam (Rose and Nightingale of Islam”, Janemadar (mother's spirit), “tarejanan” (The Tar of Love) and “Shabikhone Eshgh” (The Incursion of Love”. Shafi'i Kadkani, in a general comment about contemporary Persian masnavis, considers only Shahryar and two other poets, Hamidi Shirazi and Khanleri, to be the writers of "several good and excellent masnavis" (Shafii Kadkani, 1368: 217). Shahriar's masnavis make up, in every aspect, a full and complete divan. Masnavi provided a field for him to practice poetry without the restrictions of sonnets and rhyme limits of odes. Therefore, his masnavis are more about the events of his life and show the interaction of the poet with others. These "others" are sometimes mountains, forests, and seas, sometimes the night, the village, and the people of the village, and sometimes history, myths, events, and real, historical, and mythical people. Thus, it can be said that the external aspects of Shahriar's poetic life are more reflected in some of his masnavis and the internal aspects of his life in his ghazals. On the other hand, Shahriar's novelties have found more opportunity and opportunity to appear in his masnavis. "Afsaneh Shab" is the most important masnavi of Shahriar and one of the long and outstanding masnavis of contemporary Persian poetry. The structure of this poem while being long and detailed and despite the seemingly different parts and mixing of various topics, is coherent firstly in designing the topics related to Iran (both historical Iran and contemporary Iran) and secondly, in the fact that it is "nocturnal" and "Iranian elements" along with "night elements" as a string or rather like a single color have given all these components and parts a shape which has related them to each other. From the point of view of structuralism, the narrative framework of “Afsaneh Shab” can be justified and analyzed; "At the root of the idea of structuralism, there is the idea of "system": a complete and self-regulating existence that adapts to new conditions by changing its characteristics while maintaining its systematic structure" (Scholes, 2019: 27). The presence of an active narrator, who is the poet himself, is also undeniable in creating structural coherence between the different parts of the poem. From the structural point of view and the compatibility of some materials and materials of the poem with its content, considering the main theme of the poem which is generally nostalgic for the narrator and the reader, "the context of night" was chosen perfectly. It can be said that regardless of the order and sequence of the existing parts, Afsaneh Shab has three important and main parts from the point of view of content and subject: the first part, the part that is mainly related to Shahriar's poetic and romantic worlds and escapes from memories. The poet's childhood, adolescence and youth and the requirements of such times have been described. This part is one of the best parts of Afsaneh Shab. The second part can be called Shahriar's "admiration for night"; here, the poet looks at the night and the secrets and capacities of the night as a temporal and spatial possibility. In this part, Shahryar seems as if he has not seen the day at all or does not want to see it, as if what he has experienced - both himself and others throughout history - all happened at night, and of course he sees the positive aspects of the night deeply and therefore this poem is also a praise and tribute to the night. The third part of the masnavi of Afsaneh Shab, in terms of subject and content, is related to the history of Iran and the memory of Iranian elements, and it includes parts and sections that the poet wrote using his historical knowledge, which is either based on historical writings or arising from the poet's hearings. Narration is the most important method and technique in Afsaneh Shab, and as a narrator-poet, Shahryar has narrated the poem by using the rhetorical elements of analogy, personification and description. His similes are more sensual and eloquent, that is, with the removal of adjectives, and are often followed by a personification after one or two verses. This association makes the work of the poet easier in description and makes his descriptions more objective, more pictorial and more effective, because simile and metaphor - especially a kind of metaphor (personification) - are one of the most important tools of description. The extensive use of the morphological and syntactic structure of the spoken language and the use of slang expressions, and allusions have both made the language of the poem simple and attractive, and increased its impact on the reader. Conclusion Undoubtedly, Shahryar is a poet of ghazal, but his masnavis by surpassing the limitations of the ghazal and the rhyming restrictions of the ode, have given him an opportunity to subdue his inner unrest and let his thoughts and imagination fly regardless of the place and people. For this reason, Shahriar's masnavis are mostly the result of the events of his life and the society of his time and indicate his interaction with others, be it real or historical persons or social and cultural issues. In a comparison, it can be said that the external aspects of Shahriar's poetic life are more reflected in his masnavis and the internal aspects of his life in his ghazals. If we want to learn about the historical events of the age and the important preoccupations of a group of people in the society from Shahriar's poetry, his masnavis have provided us with such a possibility. The various topics under the forty independent sections are, on the one hand, a manifestation of the poet's art and power of description and imagery, and on the other hand, are the result of his social and historical perspective on various historical, cultural, religious, and national issues. Linguistic novelties and abandoned fantasy and, in his own words, "inspiration" in some of his masnavis, including “Afsaneh Shab”, have found more opportunity and possibility to appear. From this point of view, Shahriar, the poet of “Afsaneh Shab”, is no less than Shahriar of ghazal composer, and in his artistic career, this poem could clearly be the result of the "central idea" in his poetic career. References Aghakhani Bizhani, M., Sadeghi, E., Foroozandeh, M. (2012). “Structural Analysis of Khanlari’s the Eagle and Yushij’s the Serivili House according to Bremond’s and Greimas’s Theories”. Specialized Quarterly Journal of Fiction Studies, Vol. 1, No. 1, PP. 5-19. Alizadeh, J. (1995). ]by effort[, As simple and beautiful, (A collection of articles about Shahriar), Tehran: Nashre Markaz. Borhani, M. (1995). “Masnavis of Shahriar” Quoted in: As simple and beautiful (A collection of articles about Shahriar), by effort: jamshid Alizadeh, Tehran: Nashre Markaz. (pp. 285-290). 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