جلوه‌های هنرآفرینی کاربردِ مفاهیم قرآنی در اشعار عرفانی حزین لاهیجی

بیان مسئله: زبان ادبی، به‌ویژه شعر، بستری مناسب برای تجلّیِ آموزه‌های قرآنی شاعرانی است که به پشتوانه ارجاع‌دادن اندیشه‌هایشان به کلام مقدّس وحی، امکان دریافت و تفسیر معنویِ سروده‌های خود را برای مخاطبان فراهم می‌آورند. در این زمینه، حزین لاهیجی، شاعر صوفی‌مسلک قرن دوازدهم، به‌شیوه‌های گوناگونْ تحت تاثیر قرآن قرار گرفته و با الهام از آیات آسمانی، به فرایند خوانش و تحلیل سروده‌های عرفانی خود یاری رسانده است. پژوهش حاضر تلاشی برای واکاوی شیوه‌های اثرپذیری حزین لاهیجی از قرآن کریم در تببین برخی مضامین عرفانی است. در این پژوهش، نگارندگان بر آن هستند با بررسی سروده‌های شاعر به سه پرسش زیر پاسخ دهند: حزین به چه شیوه‌هایی از کلام وحی تاثیر پذیرفته است؟ عمده‌ترین مفاهیم عرفانی ارجاع داده‌شده شعر حزین به مضامین قرآنی کدام‌ است؟ حزین در اشعار عرفانی، چگونه بن‌مایه‌های قرآنی را با تصرّفات شاعرانه همسو کرده است؟روش: روش پژوهش، توصیفی  تحلیلی و با تکیه بر سروده‌های حزین لاهیجی است.یافته‌ها و نتایج: تاثیرپذیری حزین به دو فرم صریح و غیرصریح، گاه از محتوا وگاهی از واژگان قرآن نمود می‌یابد؛ به‌گونه‌ای که مفردات، ترکیبات، مضامین و حوادث قرآنی، همسو با سروده‌هایش، زمینه تنوّع بیان و تبلور اندیشه‌های عرفانی وی را ایجاد می‌کند. نتایج پژوهش گویای آن است که مفاهیم ناب حوزه عرفان مانند «توکّل»، «تجلّی»، «استقامت»، «قُرب»، «فنا» و «بقا»، به ‌پشتوانه آیات مبین الهی، تاویلی روحانی یافته‌اند. افزون‌بر این، هنجارشکنی‌های عامدانه حزین، بخشی از سروده‌های وی را در هاله‌ای از تصرّفاتِ شاعرانه فروبرده است.

Investigating the Intertextual Relations of the Holy Quran and Lahiji’s Sad Mystical Poems

AbstractLiterary language and poetry in particular is a suitable platform for the manifestation of Qur’anic teachings by poets, who enable the audience to receive and interpret their poems spiritually by referring their thoughts to the Holy Words of Revelation. In this regard, Hazin Lahiji, a 12thcentury Sufi poet, has been influenced by the Qur’an in various ways. Inspiration through divine verses has helped the process of reading and analyzing his mystical poems. His sad poems are accordingly affected in both explicit and implicit forms. Sometimes, they are reflected in the content and sometimes by the words of the Qur’an in such a way that the contents, compositions, themes, and events of the Qur’an, in line with his poems, have created the ground for the variety of expressions and crystallization of his mystical thoughts. The present study was an attempt to investigate Lahiji’s method of composing sad poems, which is referred to as ‘intertextuality’ or ‘proportionality’ in modern linguistic discussions. In this view, the authors intended to answer the following 3 questions by examining the poet’s poems: 1) In what ways have his sad poems been influenced by the word of revelation? 2) What are the main mystical concepts of sad poetry that refer to Quranic themes? 3) How has Hazin aligned Qur’anic themes with poetic acquisitions in his mystical poems? This research was based on a descriptiveanalytical method for analyzing Lahiji’s sad poems. The results of this study showed that Lahiji used the techniques of adaptation, simile, allegory, allusion, interpretation, and quotation to translation. The rhetorical layers of his mystical language were adorned with the words of the divine dictators in such a way that the simple interaction between the absent text [the Qur’an] and the present text [poetry] in his poem had made his creativity unfruitful. The pure concepts of mysticism, such as ‘trust’, ‘manifestation’, ‘endurance’, ‘nearness’, ‘annihilation’, and ‘survival’, with the support of divine verses were found in Rohani’s interpretations. In addition, deliberately sad norms and unusual distances from Qur’anic characters, such as Khidr had plunged some of his poems into an aura of poetic appropriation. Keywords: The Holy Quran, Intertextuality, Mysticism, Sad Lahiji  IntroductionIslamic mysticism has a close and unbreakable connection with the Qur’an. The Quran is a valuable and methodical version of the salvation of human beings. In addition to its ritual and religious aspects, it has a rich, literary, and artistic text, as well as all the characteristics of a work of art in terms of structure and content. Hazin Lahiji as a poet, historian, and Shiite scholar was one of the prominent figures who used the Indian style in his poems in the 12th century AH. With an attitude in Orfa’s style, he weaved Qur’anic sparkles into the fabric of his poetic thoughts. He turned to poetry based on pure Islamic teachings. He was in touch with the Qur’an since childhood. He was influenced by heavenly verses in various ways and the luminous words of revelation were his intellectual reference in discovering the creative realm of language that spread over the poet’s soul by mixing with the holy verses of God that artistically polished the chiseled words of his compositions.Although the flow of the Qur’an in the vein of sad poems is understandable in the way of simple gestures, it is sometimes accompanied by subtleties that are not accessible to everyone and require their own insight. In addition to this, sometimes, adapting and guaranteeing and sometimes alluding to some of the Quranic stories and characters in an overt and hidden form have become the basis of the poet’s thinking. A deep look at Lahiji’s poems showed that in his eyes, Quranic verses were sometimes adapted by keeping the structure and the same spiritual meaning, while they were sometimes used in a new concept by changing the structure. In addition, part of the effects of the Quran in Hazin Lahiji’s poetry was the reflection of stories, such as Moses’ (PBUH) going to Mount Toor, the story of Khizr (PBUH) and the water of life, etc. For this reason, in this research, Hazin Lahiji’s creativity in the use of verses was examined in a descriptiveanalytical way by assessing the evidence, comparing the verses, and explaining their differences, and how the poet used the water of revelation. It could be explained that Lahiji had innovated in combining Quranic words with Persian words and sometimes by creating innovative and deconstructive similes. He broke the traditional patterns of Persian grammar and made some Quranic compounds and sentences into a singular noun.  Review of the LiteratureMohammad Ali Lahiji, a mystic and poet of the 12th century AH, was born in Isfahan. “His chastity is ‘sad’ which has a real relationship with his gloomy life” (KhanKhatak, 2014, p. 33). Lahiji migrated to India for political reasons during the reign of ‘Mohammed Shah’ and settled in the city of Benares (cf. Seddighi, 2005, pp. 915). He died at the age of 77 and was buried in the tomb he had already planned in Fatiman Benares (cf. Bahar, 1958). Lahiji was a servant of love and this love is the leaven of his mysticism. He imagined love in religion. It can be said that love is spread in the body and soul of Lahiji so much that in his opinion, it is the foundation of the world system and support. Sometimes it is considered a universal monument. His sad poems have moral, social, and mystical themes. One of the factors of his fame is the abundance of information and the environment that he had in Arabic and Persian languages (Jaafari, Jafari, p. 54).Hazin has been a mystic in his daily life and this mystical nature rules his poetry. It is also the most prominent feature of his poetry. The color of Hazeen’s mystical inclination can be recognized in all stages of his life because he received his primary education from Sheikh Khalilullah Taleghani, who was a perfect mystic. In addition, Hazin studied many works of mystical poets and imitated some of them (KhanKhatak, 2014, p. 82). The trace of Lahiji’s mystical worldview is reflected in the structure and content of his compositions that are based on Quranic teachings. Lahiji, in his fullofexcitement life, reaches new understandings one after another, and with the help of a friend, and with the opening of doors to the garden of wisdom, every particle becomes a mirror of his enlightening glory. Therefore, in the language of poetry, he declares that the awake one is ‘Kon’ and the drunken one is ‘Alst’, and by removing the illusion of being, he watches the manifestation of Yosef of Love without any barriers and veils and witnesses the world. He knows the manifestations of God and the divine names and finds ‘unity’ in ‘multiplicity (cf. Dabiran, 2003, p. 127).Among the mystical themes in Lahiji’s mystical poems, the following can be mentioned:1 Manifestation: ‘Manifestation’ in the word means becoming visible, and the term literally connotes “the appearance of the essence and attributes of divinity in the heart of a mystic” (Haeri, 2016, p. 29). Hajviri (1992, p. 504) has said in the expression of manifestation that “the manifestation of the light of the truth will be according to the fate of the hearts of the future ones when they will be worthy to see the truth with their hearts”. Manifestation as one of the fundamental themes in the realm of theoretical mysticism has always been favored by Lahiji.2 Proximity: ‘Proximity’ is one of the spiritual conditions, which, in addition to its high position in the Holy Quran, is also highly regarded in mystical works. This mode is sometimes used ironically in the cover of the allegory of ‘bracket frame’. Although the commentators have carried the Qur’anic term ‘Qab Qosin’ to the closeness between the Prophet (PBUH) and Gabriel, in mysticism, especially mystical literature, this expression is used to indicate the union between the servant and the Lord. Hazin Lahiji sometimes uses this term in the manner of Orfa to denote the spiritual concept of closeness. The closeness that the seeker can achieve by purifying himself from sin.