گونه های نوآوری لاهوتی در طرز قافیه بندی شعر

ابوالقاسم لاهوتی در ادبیات معاصر ایران یکی از شاعران نوآور معرفی شده، اما تاکنون چگونگی نوآوری­ های او بررسی نشده است. او یکی از شیوه ­های برجستۀ نوآوری در شعر را در قافیه ­بندی تازه یافته و از سه الگوی قافیۀ جدید بهره برده است. در قافیه­ بندی نوع اول که برخی پژوهشگران آن را چلیپایی نامیده‌اند، مصرع اول هر بند با مصرع سوم هم­ قافیه می ­شود و مصرع دوم با مصرع چهارم. لاهوتی در شعرهای «به شاللائی فیورست»، «سرای تمدن»، «یانکاکوپالا»، «دوست وطن­ دوست»، «یتیمان جنگ جهانگیر»، «به مبارزان توده»، «ایران»، «دو دریا» و «دختر آفتاب» از قافیه­ چینی نوع اول بهره برده است. در قافیه­ چینی نوع دوم (قافیۀ مارپیچ/حلزونی)، مصرع اول هر بند با مصرع چهارم هم ­قافیه می­ شود و مصرع دوم با مصرع سوم که لاهوتی در شعر «مرحمت حکمران» از این قالب استفاده کرده است. در سومین نوع (قافیۀ زنجیری)، هر بند دارای سه مصرع است و چینش قافیه بدین­ گونه است که در همۀ بندها مصرع­های اول و سوم هم ­قافیه ­اند و مصرع دوم در هر بند با مصرع­های اول و سوم بند بعدی هم ­قافیه شده و در واقع تمامی قافیه ­های شعر همچون حلقه ­های زنجیر به هم متصل می­شوند. شعر «پلید» در دیوان لاهوتی نمونۀ این قافیه‌چینی است؛ اما لاهوتی همواره یکدستی این سه نوع قافیه­ بندی را رعایت نکرده است و گاه در یک شعر قافیه­­ های نوع اول و دوم را ترکیب کرده و گاهی به­ مانند سانِت­های شعر غربی بیت آخر اشعار را با قافیۀ مثنوی سروده است؛ البته این الگوهای قافیه‌بندی منشا غربی دارد. برخی این کار لاهوتی را متاثر از شعر ترکیه قلمداد کرده ­اند و برخی این تاثیر و تاثر را حاصل سرمشق‌هایی از شاعران دیگر (که با زبان و ادبیات ترکیه و فرانسه آشنا بوده ­اند) دانسته ­اند. لاهوتی در پانزده­ سرودۀ خویش از قافیه­ چینی ترکیبی نوع اول و دوم و سوم استفاده کرده است. برخی معتقدند این طرز قافیه‌چینی نوعی زمینه ­سازی برای پدیدآمدن شعر نیمایی است.

lahuti’s innovations in creating rhyme schemes in poetry

the major part of the history of jahangosha is about the mongols and their wars, conquests, destructions, killings, and looting in iran, which was written by joveyni in beautiful technical prose. joveyni was not just a narrator, but with the power of his pen, he depicted events and scenes for the reader like a powerful painter. in this study, based on library research and using a descriptive-analytical method, joveyni’s depiction of the violence and killing of mongols in the history of jahangosha has been investigated. the purpose of the study is to show the artistic methods of joveyni in depicting and accurately and effectively conveying the crimes of bloodthirsty mongols. the findings of the research show that joveyni presented accurate descriptions and images of the characteristics of the mongol army, murders, looting, and destruction caused by the devastating attacks of the mongols with the appropriate and accurate use of imagery, simile, irony, and metaphor, respectively. the images of the history of jahangosha are generally alive and dynamic. the harmony of images and fantasy elements with the theme and content of the work is well respected. the use of specific and related words is another technique used to depict the violence of the mongols. keywords: joveyni, the history of jahangosha, imaging, violence, killing. introductionthe history of jahangosha is one of the outstanding works written in literary and technical prose. a significant part of the volumes of the trilogy of the history of jahangosha, especially the first volume, is the narrative of the devastating attacks of the mongols on the great land of iran in the early 7th century ah, which was accurately, elegantly, and artistically depicted by the talented pen of joveyni. in these attacks, the mongols did not refrain from destroying and burning cities, mass killings, looting property, ripping open stomachs, mutilating, torturing, and cowardice. there is no similar event in the history of iran. this study aims to show the artistic methods of joveyni in depicting and accurately and effectively conveying the crimes of bloodthirsty mongols in the three volumes of the history of jahangosha. therefore, the main question of the research is: how did joveyni depict the scenes of violence and crime of the mongols?materials and methodsin this study, by referring to all three volumes of the history of jahangosha, based on library research and the descriptive-analytical method, joveyni’s descriptions and depictions of the mongol armies and their violence and massacres have been examined. in this method, the necessary data were first collected by reading the book and extracting the target material. then, the data were categorized and analyzed. research findingsthe images of the violence and killing of the mongols presented by joveyni are divided into three main categories:descriptions and images related to the characteristics of the mongol armies, including terrible shouts, speed of action, abundance and multitude, sinister and destructiveness, fierceness, strength and courage, invincibility, and ruthlessness.descriptions and images related to the attacks of the mongols, including description and image of the enemy’s siege, image and description of throwing stones, arrows, and oil bottles at the enemy, and description and image of the methods of attack and destructive invasion of the mongols.descriptions and images of destruction, murders, and looting are presented mainly using similes, metaphors, and irony.in using imaginary images to depict the violence and killing of the mongols, joveyni used similes the most. after simile, joveyni used irony, especially current irony, followed by metaphor. he has also used innovative figures of speech such as exaggeration, illusion, proportion, contrast, etc. for illustration. discussion of results and conclusionby using appropriate and beautiful similes and metaphors and various ironic interpretations, as well as choosing the right words, joveyni was able to describe and depict accurately the characteristics of the mongol armies, their lightning, and devastating attacks. descriptions and images that are painful and at the same time clear and provide a detailed account of the destructions, murders, and lootings of the mongols. he used various figures of speech such as simile, metaphor, irony, contrasts and proportions, allusions, etc.in addition, the use of original verbal figures of speech such as allusions and puns, the creation of rhythm, and adding appropriate attributes to words are joveyni’s rhetorical tricks that depict the images of bloodthirsty mongol armies and their devastating attacks along with their murders, looting, and crimes. it has been beautifully and elegantly depicted as a painting in front of the reader. the depiction of elements such as sun, stars, lightning, the four elements of matter (earth, water, air, and fire), flood, wind, rain, storm, sea, etc. are also prevalent in the book. in addition, animals such as lions, wolves, snakes, hawks, eagles, and whales, and even supernatural elements such as doom, bad fate, angels of death, etc, played a prominent role in the illustrations.