ویژگی‌های آواها و ترانه‌های کار کاسبان محلی در بازارهای سنتی رشت

آواها و ترانه‌های کار، یکی از جلوه‌ها و عناصر فرهنگ عامه به شمار می‌روند. بررسی و مطالعه در زمینۀ این عناصر هویتی و فرهنگی در جامعۀ ایرانی به منظور بازشناسی میراث فرهنگی و تاریخی که در بستر اقتصادی و زندگی روزمرۀ مردمان ایران زمین شکل گرفته به منزلۀ یکی از موضوعات بکر و بااهمیت در حوزۀ مردم شناسی ضرورتی اجتناب ناپذیر است. از این رو، بازارهای گیلان یکی از بازارهای مهم و بااهمیت به شمار می‌آیند، زیرا کاسبان بازار با آواها و ترانه‌‌های کار شور خاصی به فضای بازار می‌بخشند. در این مطالعه تلاش شد تا با حضور در میادین و بازارهای سنتی در رشت و ثبت و ضبط و تحلیل محتوای آواهای کار بازاریان، ترانه‌های کار کاسبان از جنبه‌های زبانی و واژگانی، زیبایی‌شناسانه و ادبی و جنبه‌های محتوایی و مضمونی بررسی شود. زبان محلی، بیان ساده و عامه، استفاده از ریتم و قافیه، زبان طنز، جمله های ندا، توصیف کیفیت، تازگی، ارزانی و مضامین مذهبی و اجتماعی از جمله مهم ترین ویژگی‌های عمومی، زبانی، زیبایی شناسانه و محتوایی ترانه‌ها و آواهای کار در بازارهای رشت به شمار می رود. کاسبان بازار به مثابۀ کنشگری اقتصادی با خواندن این ترانه‌ها، ضمن تبلیغ کالای خود نقش مهمی در بازتولید هویت و فرهنگ محلی و ملی دارند.

Typology of Titles of Persian Quatrain

Quatrain is one of the most popular forms of Persian folk poetry. In the early literary works and in different regions in Iran, various names are used to refer to Quatrain: Fahlavi, Tarāne, Hājiyāni, Qaribi, Faryād, Scaron;arve and so forth. The question is if these different names correspond to different genres with distinct characteristics, or they are merely different names that all belong to one autonomous genre, based on the generic and literary criteria. To answer this question, the structure and content of approximately five thousand three hundred Persian Quatrains were studied, including Čārbeiti, Seytak, Scaron;arve, Ferāqi, Faryād, Falaki, Kallegi, Hazāragy, Hoseinā, Najmā, and Scaron;arbe. The results show that, based on the generic and literary criteria, all of the abovementioned have the same structural and content features and should be classified under the Quatrain genre.Introduction In different regions of Iran and in the neighboring Persian speaking countries, various names are used to refer to Quatrain. For example, lsquo;Čārbeiti rsquo;, lsquo;Ferāqi rsquo;, and lsquo;Faryād rsquo; are used in Khorasan, lsquo;Kallegi rsquo; in Sarkavir, lsquo;Seytak rsquo; in Sistan, lsquo; Scaron;arve rsquo; in Bushehr, lsquo;Hazāragy rsquo; in Afghanistan, lsquo;Falaki rsquo; in Tajikistan, lsquo; Scaron;arbe rsquo; in Arak, and lsquo; Scaron;arme rsquo; in Fars. Moreover, in the early Persian literary works, Quatrain is referred to as lsquo;Fahlavi rsquo;, lsquo;Tarāne rsquo;, lsquo;Beit rsquo;, and lsquo;Robāi rsquo;. Even some musical terms such as lsquo;Jam scaron;idi rsquo;, lsquo;Sarhaddi rsquo;, lsquo;Kuče Bāqi rsquo;, lsquo;Hājiyāni rsquo;, and lsquo;Da scaron;ti rsquo; have been used to address Quatrain.Most of the abovementioned names have been so popular over such a long period of time that they have persuaded some researchers to consider each of them as an autonomous genre. However, studying these terms, using scientific methods and literary classification criteria might revise this common opinion, as there are great similarities between these different names.This study aims to investigate if these different names correspond to different genres with distinct characteristics, or they are merely different names that all belong to one autonomous genre. To this aim, the structure and content of approximately one thousand five hundred Persian Quatrain is studied.The structural and content features of Persian quatrain in different regions have been extensively investigated in previous studies by other researchers like Nasiri Jami (2001), Naseh (2014), Bahrampur (2015), and Zolfaghari (2015b). However, different names used in different regions of Iran to refer to Quatrain have not been studied and analyzed thus far.DiscussionIn comparison to many other types of poetry in the early Persian literary works, a very limited number of Quatrains were recorded, where they are referred to as lsquo;Fahlavi rsquo;, lsquo;Tarāne rsquo;, lsquo;Beit rsquo;, and lsquo;Robāi rsquo;. In the following section, the reasons that these names are allocated to these Quatrains are explained.Dobeiti (in Persian): This name refers to the number of verses in a Quatrain, which means two verses. Quatrain is a short poetic form that expresses an autonomous content only within two verses, along with rhymes in the first, second and fourth hemistich. Most of the Quatrains have emotional content expressed by an intimate, simple, and casual language in the prosodic meter bahre hazaj, and they have been widely used as lyrics for many songs.Robāi: This name refers to the number of the verses as well. Robai is very similar to Dobeiti, in terms of having two verses and, most importantly, the same rhyme scheme. Consequently, sometimes by mistake, Robai has been used to refer to Dobeiti. However, Dobeiti and Robai are totally different in terms of meter, content, language, and applications.Fahlavi: Dobeiti and Fahlavi are considered the same mainly because of their historical background in the preIslamic period. Indeed, Fahlaviat refers to the poems which are composed in different dialects of the Pahlavi language. These poems have been used as lyrics for songs, mostly in the form of Quatrain. Considering that Fahlaviat have been popular before Dobeiti and the fact that the only difference between these two Quatrains is in the syllabic meter, the current hypotheses put forward by this study is that Dobeiti is an extension of Fahlavi (Bahar, 1976, p. 41).Tarāne: The melodized Dobeiti is called Tarāne (Shams Gheis, 2009, p. 142). In other words, whenever Dobeiti is presented along with musical instruments, it is called Tarāne. In the past, Robai and Dobeiti were often taken as synonymous with Tarāne by mistake.Beit: In the Persian literature, two hemistiches together form a Beit (verse). Beit also stands for all forms of Persian poem. Singing lsquo;Beit rsquo; means singing Persian poem, and that is why sometime lsquo;Beit rsquo; is used to refer to Dobeiti.Other terms like lsquo;Jam scaron;idi rsquo;, lsquo;Sarhaddi rsquo;, lsquo;Kuče Bāqi rsquo;, lsquo;Hājiyāni rsquo;, lsquo;Bidagāni rsquo;, lsquo;Gharibi rsquo;, and lsquo;Da scaron;ti rsquo; have been used to refer to Quatrain all of which have the characteristics of Quatrain studied in this article. In fact, these terms are musical expressions mainly used to refer to different musical Magham. Therefore, due to the correlation between Quatrain and music, the corresponding musical Magham has sometimes been used to refer to Quatrain.ConclusionIn this paper, the structural and content features of the investigated samples are taken into account, and a comparative analysis is drawn between them. The results showed that Quatrain has been referred to by many different names due to its popularity in different eras and regions. For example, in early Persian literary works, Quatrain has been named as lsquo;Fahlavi rsquo;, lsquo;Tarāne rsquo;, lsquo;Beit rsquo;, and lsquo;Robāi rsquo;, while in oral literature, it has mostly been known as Čārbeiti, Seytak, Scaron;arve, Ferāqi, Faryād, Falaki, Kallegi, Hazāragy, Hoseinā, Najmā, Scaron;arbe, and Scaron;arme. Indeed, all the abovementioned terms are different names for referencing to a unique genre, which is Quatrain.References Bahar, M. T. (1976). Bahar and Persian literature (vol. 1). Ketabhaye Jibi.Bahrampur, Gh. (2015). Charbeiti: the continuation of the tradition of oral poetry in Iran. Culture and Folk Literature, 6, 75112.Naseh, M. M. (2014). A review of the Quatrains from Birjand. Fekre Bekr.Nasiri Jami, H. (2001). A structural and content analysis of the oriental songs. Mohaghegh.Shams Gheis, M. (2009). Almo rsquo;jam fi Ma rsquo;ayir Ash rsquo;ar Ajam (edited by Mohammad Ghazvini, Mohammad Taghi Modarres Razavi and Sirus Shamisa). Rowzane.Zolfaghari, H. (2015b). Application and features poetic couplet in a variety of popular literature. Adab Pazhuhi, 32, 6395.