چهرۀ اسماعیلیان ایران در منظومه‌های تاریخی دورۀ ایلخانی

در این پژوهش به تصویر ترسیم‌شده از اسماعیلیان الموت و رهبران ایشان در سه منظومۀ تاریخی مهم دورۀ ایلخانی، یعنی تاریخ منظوم کاشانی، ظفرنامۀ مستوفی و شهنشاه‌نامۀ تبریزی پرداخته می‌شود و همچنین انگیزه‌های مغولان برای نابودی نزاریان ایران بررسی خواهد شد؛ افزون‌بر آن، مقایسه‌ای نیز با تاریخ جهانگشای جوینی، جامع‌التواریخ و تاریخ گزیده به عمل آمد تا نگرش کلی هر شاعر نسبت‌به این حادثۀ تاریخی و علل دیدگاه‌های متفاوت و اختلاف‌نظر میان آنها بهتر مشخص شود. به نظر می‌رسد سه رویکرد متفاوت در این آثار وجود دارد: در ظفرنامه از پیشوایان اسماعیلی و پیروان آنها تصویری بسیار نکوهیده ارائه شده ‌است و مستوفی نسبت‌به آنها نگاهی متعصبانه و بدبینانه دارد. این تصویر منفی و ضددینی از حسن صباح و جانشینان او، به نگاه و بیان جوینی بسیار نزدیک است؛ این در حالی است که در تاریخ گزیده که مستوفی آن را پنج سال پیش از ظفرنامه به پایان رسانده ‌است، چنین نگاه سخت‌گیرانه‌ای دیده نمی‌شود. کاشانی همانند خواجه رشیدالدین نگرش معقول‌تر و متعادل‌تری نسبت‌به اسماعیلیان دارد و صفات منفی کمتری به آنها نسبت داده ‌است که معمولاً رنگ دینی ندارد. در شهنشاه‌نامه به‌ندرتاز اسماعیلیان به بدی یاد می‌شود و هیچ‌گاه از صفات و کلماتی که بار معنایی دینی دارد، درباره آنها استفاده نشده ‌است. تبریزی بارها خورشاه، آخرین رهبر اسماعیلی را ستوده و از نابودی اسماعیلیان ابراز تاسف کرده ‌است. شاید دلیل این رویکرد در شهنشاه‌نامه این باشد که تبریزی جنبش اسماعیلیان را قیامی ایرانی با آرمان‌های ملی می‌دانسته و روحیۀ ایران‌دوستی او در تفسیر این حادثۀ تاریخی موثر بوده ‌است.

The face of the Ismailis of Iran in the historical epics of the Ilkhanid period

This study examines how the Ismailis of Alamut portrayed in three important historical epics of the Ilkhanid eraKashani’s Tarikh Manzoom, Zafarnameh of Mostufi, Tabrizi’s Shahanshahnameh and also The Mongols’ motives for the extermination of the Ismailis of Iran have been discussed. In addition, a comparison is made with JamealTavarikh, Tarikhe Jahangoshaye Joveyni and Tarikhe Gozideh, in order to better determine each poet’s general attitude to this historical event and the causes of their different viewpoints.  There appear to be three different approaches to these works: In Zafarnameh have been created a very negative image from Ismaili leaders and their followers, and Mostufi has a fanatical view to them. This negative image of them is very close to the look and expression of Joveyni. Like RashidalDin Hamadani, Kashani has a more rational and balanced attitude toward the Ismailis and has attributed less negative traits to them that usually have no religious color. Shahanshahnameh rarely has mentioned Ismailis in a negative way and never used religious interpretations about them. Tabrizi has repeatedly praised the latest Ismaili leader and has expressed regret over the destruction of the Ismailis. Perhaps the reason for this approach in the Shahanshahnameh is that Tabrizi regarded the Ismaili movement as an Iranian uprising and his Iranianfriendly spirit was effective in interpreting this historical event 2  Introduction      Historians and writers have always been interested in the history of the Ismaili sect and their views and opinions throughout history. Each author and historian has presented a different picture of this group based on their ideology and worldview. For example, Sunni theologians and writers portrayed the Ismailia as an atheism religion in Islam. There are also different views among the historians who wrote their history during the Ismaili period of Iran or in the early decades after the collapse of the Ismailis. The main purpose of this study is to describe and explain the approach of the poets of the historical epics of the Ilkhanid era to the Ismailis of Alamut. To this end, it has been studied how the Ismailis of Iran were depicted in three important historical epics of the Ilkhanid period, Kashani’s Tarikh Manzoom, Zafarnameh of Mostufi, Tabrizi’s Shahanshahnameh. 3 Material Methods   Kashani’s Tarikh Manzoom, Zafarnameh of Mostufi and Tabrizi’s Shahanshahnameh is the three most important historical poems of the Ilkhanid era. Tarikh Manzoom is one of the public Mongol dates that Shams Kashani ended it in the early reign of Sultan Muhammad Khodabandeh . In this poem, which contains more than 8,000 bits, the history of the Mongols people is narrated from the beginning to the time of this Ilkhan. Zafarnameh,  by Hamdollah Mostufi, has three types: Islamic, Ahkami (Ajami) and Sultani. The poet has detailed the life of Hassan Sabbah and his successors in Ahkami section. Furthermore in the Sultani part, in the section on the conquest of Ismailia by Hulagu Khan, this group has been mentioned again. Shahnamehnameh is another important historical poem written by Ahmad Tabrizi in the court of Sultan AbuSa’id, in which the poet narrated the situation of Genghis Khan and his successors until two years after the last Ilkhan’s death. This article discusses how to utilize linguistic and rhetorical tools and how to refer to the discourse of religion in the three above mentioned poems and discusses the motives mentioned by the poets for conquering the Ismailis. A comparison has also been made with JamealTavarikh, Tarikhe Jahangoshaye Joveyni and Tarikhe Gozideh to determine the poets’ general view of this subject, the extent to which they have been influenced by prose and poetic works, and how they interacted with the power center. 4 Discussion of Results Conclusions     Although all three historical epics have been composed in the Ilkhanid court, by examining how the Ismailis were portrayed in the three historical epics and also by Hulagu Khan’s motives for attacking the Ismailis, it identified that There are three approaches in these works: Mostufi has presented a very negative image of the Ismailis with a religious approach, for personal and ideological reasons, which is close to the Joveyni views. Like RashidalDin Hamadani, Kashani has spoken about the Ismailis in a softer and more moderate language, and has used fewer negative traits. Tabrizi, perhaps because of his Iranianorientated tendency, usually has presented a positive image of the Ismailis and rarely dispraised them. Therefore, it can be seen that each of these poets had a different approach to this issue according to their beliefs and views. They have in many cases consciously and purposefully used traits, combinations and imaginary elements and have been purposeful in how they narrate, omit, or emphasize certain events.