تحلیل لیلی و مجنون نظامی و هفت پیکر بهرام اردبیلی بر اساس نظریه بینامتنیت (مقاله علمی وزارت علوم)
درجه علمی: نشریه علمی (وزارت علوم)
آرشیو
چکیده
بهرام اردبیلی در هفت سروده با عنوان هفت پیکر، از لیلی و مجنون نظامی تأثیر پذیرفته است، او از زاویه دید لیلی و مجنون ، برش هایی از این منظومه غنایی را بازخوانی کرده است، خوانشی که در آن، خواننده وجهه ای فعال به خود می گیرد، شاعر با ایجاد معناهای چندگانه و تصویری تر کردن مفاهیم، ارائه تصاویر تودرتو با نظامی، قابلیت چندمعنایی در متن ایجاد می کند که مخاطب با تأویل آن، گویی دوباره شعر را می نویسد. در این پژوهش به شیوه ای توصیفی و تحلیلی، به روابط مشترک و متقابل در تصاویر و مفاهیم لیلی و مجنون نظامی و هفت پیکر بهرام اردبیلی خواهیم پرداخت، همان گونه که در نظریه بینامتنیت، روابط تقلیدی و تقابلی در ساختار دو متن، بررسی خواهد شد. اردبیلی در فرایند این تأثیرپذیری با تکیه بر شعر نظامی، شعری تصویری تر و سنّت شکنانه ارائه داده است که یادآور تفکر تصویرگرای نظامی در شعر است. همچنین، اردبیلی در دیدگاه خود در مفاهیمی چون اتحاد عاشق و معشوق، مرگ دوستی درراستای وصال با معشوق، امید به وصال و اشاره به بخش هایی از روایت اصلی لیلی و مجنون از نظامی تأثیر پذیرفته است.Analysis of Layla and Majnun by Nizami and Haft Paykar by Bahrami Ardabili Based on Intertextuality Theory
Bahram-e Ardebili has been influenced by Nizami's Layla and Majnun in his seven poems entitled Haft Peykar . He reinterprets portions of this lyrical masterpiece from the perspective of Layla and Majnun , a reading that engages the reader actively. By creating multiple meanings and providing more vivid imagery, the poet establishes a layered representation of Nizami, generating a text with multifaceted meaning that allows the audience to reinterpret the poem as if rewriting it. This descriptive-analytical research investigates the common and reciprocal relationships in the images and concepts of Nizami's Layla and Majnun and Bahram-e Ardebili's Haft Peykar . In this process of influence, Ardebili has produced a more visual and traditional-breaking poetry, reminiscent of Nizami’s imagistic thinking in his verse. Additionally, Ardebili's perspectives on concepts such as the union of lover and beloved, the death of friendship in pursuit of union with the beloved, hope for reunion, and references to aspects of the original narrative of Layla and Majnun by Nizami have also been influenced.
Keywords: Nizami, Bahram-e Ardebili, Love, Influence.
Introduction
Bahram Ardabili, formerly known as Taher Alafi, was born in 1942 and is among the poets of the Other Poetic Movement and a signatory of the Volume Poetry Declaration. His collection of poems titled A Passerby in the Dreams of Butterflies has been published. Among the characteristics of his poetry are a nuanced language, the discovery of new and undisclosed layers of imagery, an emotionally rich semantic background related to mysticism and introspection, enlivening nature, and the highlighting and use of substitution techniques in sentence structures" (Tite, 2021, p. 53). Ardabili views the story of Layla and Majnun from a different perspective, which provides a basis for examining the process of influence; because meaning hinges on the discovery of what we refer to as ‘literary tradition’. In other words, Ardabili, drawing on Nizami in some of his poems, creates something new. Thus, exploring the relationships between the two works to uncover techniques and meanings is essential. This research employs a descriptive-analytical approach and utilizes library resources to investigate the influences of Layla and Majnun by Nizami on the poetry of Bahram Ardabili. It also analyzes the relationships between images and concepts in the poems of the two poets in order to uncover meaning. This is crucial, as part of the meaning relies on uncovering relationships between texts and considering literary tradition to reveal "deconstruction" in Ardabili's poetry. Intertextuality explains that no statement exists except as derived from another statement and that no assertion exists except as a quotation of another. In fact, intertextuality is the conscious use of all or part of a previous text in the present text (Ajieh & Ghaderi, 2020, p. 66).
Materials and Methods
This study, with a qualitative and analytical-descriptive approach, examines two texts: Layla and Majnun by Nizami and Haft Paykar by Bahram Ardebili based on the theory of intertextuality. The theory of intertextuality, first proposed by Julia Kristeva based on the ideas of Mikhail Bakhtin, emphasizes the interaction and connections between texts and demonstrates that no text exists independently of previous texts; rather, it is situated within a network of references, adaptations, and reciprocal influences. "Intertextual analysis examines the relationship of a text with other preceding or contemporary texts" (Kakavand Ghalenoei & Najjar Noubari, 2017, p. 47). To collect the data, the original text of both works has been reviewed based on credible versions, and then, through content analysis, intertextual elements are extracted and analyzed. This study aims to show how Bahram Ardebili, by rereading Layla and Majnun , has placed its romantic, mystical, and philosophical concepts in a new context, and what differences and similarities in narrative style, characterization, and themes exist between the two works.
Research Findings
The findings of the research indicate that these two works are not only independently significant in the culture of Persian literature but also are intertwined in a complex relationship with each other and other literary texts. The repeated use of motifs, characters, and similar structures between these two works clearly demonstrates intertextual influence and interaction. In Layla and Majnun , the concepts of love and madness are presented both as essential elements of the story and as spiritual and mystical ideas, which can be clearly related to Islamic teachings. This phenomenon is also evident in Haft Paykar , where Bahram Ardebili employs allegories and mystical symbols to portray complex lyrical concepts. The influences of classical Persian texts are clearly visible in both works. In Layla and Majnun , the story of Majnun and Leyli's love is reminiscent of the romantic tales in Shahnameh , where human relationships are subject to fate and destiny. This inclination towards narratives in which love stands as a powerful force against the laws of nature and destiny is also observed in Haft Paykar .
Bahram Ardebili’s Haft Paykar specifically utilizes a multilayered structure in which the main story resides within various narrative layers. This approach allows the reader to understand how each layer of the story refers to another text. Similarly, in Layla and Majnun , the love story of Majnun and Leyli is heavily influenced by similar narratives in the history of Persian literature, particularly those that reference symbols of endless love and the failures that arise from it. The comparison of the main characters in both works is also noteworthy from an intertextual perspective. The symbols and motifs present in Layla and Majnun and Haft Paykar are interesting in their own right. In Layla and Majnun , symbols such as night, desert, madness, and flight often serve as markers of reaching perfection and knowledge. In Haft Paykar , there are similar symbols that depict love and the quest for truth and spiritual perfection. In both works, the intertextual relationships drawn from various texts and stories significantly contribute to the reconstruction and interpretation of the main concepts of these texts. Moreover, the semantic connections of these works with other cultural and religious texts, through the concept of “love” as a spiritual and destructive force, are especially prominent.
Discussion of Results and Conclusions
Bahram Ardebili, by establishing a connection between his poems and Nizami's Layla and Majnun , or in other words, by reinterpreting the lyrical epic of Layla and Majnun in the form of seven poems titled Haft Paykar , enhances its multiple meanings. Like Nizami, Ardebili regards imagery as the main component of poetry; this is something that Nizami openly acknowledged, referring to it as the essence of poetry. Ardebili demonstrates his belief in this matter by embedding imagery and creating extensive networks of connections among symbols. Ardebili’s perspective on the beloved has been influenced by Nizami. His beliefs in the union of lover and beloved, hope for reunion, the death of friendship in pursuit of the beloved, and the spirit of self-sacrifice for the beloved are among these influences.
The reference to Majnun rescuing the gazelles in captivity and Majnun's calmness in meeting Leyli also points to the original narrative of Nizami's story. Nizami likens love to a breeze, and Ardebili also attributes this quality to love. On the other hand, Nizami does not see a place for advice or admonitions in love; Ardebili interprets love as containing awareness. Nizami provides an image of Hayoun and highlights his remarkable attribute of speed, and Ardebili also refers to the image of Hayoun and this characteristic. In terms of ideological discussions, Ardebili, like Nizami, believes in voluntary poverty and the afterlife, reflecting it in his poetry.
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