بررسی بلاغت قصر و حصر در مثنوی‌های چهارگانۀ «بیدل دهلوی»
محورهای موضوعی : پژوهشهای ادبیات کلاسیک ایران
مریم بیات
1
,
فوزیه پارسا
2
*
,
ناهید عزیزی
3
1 - دانشجوی دکتری زبان و ادبیات فارسی، واحد بروجرد، دانشگاه آزاد اسلامی، بروجرد، ایران
2 - استادیار گروه زبان و ادبیات فارسی، واحد بروجرد، دانشگاه آزاد اسلامی، بروجرد، ایران
3 - استادیار گروه زبان و ادبیات فارسی، واحد بروجرد، دانشگاه آزاد اسلامی، بروجرد، ایران
کلید واژه: بیدل دهلوی, علم معانی, قصر و حصر, مثنوی‌های بیدل.,
چکیده مقاله :
بیدل دهلوی، مهم‌ترین شاعر پارسی‌گوی هند و از مهم‌ترین شاعران تاریخ ادب پارسی است. از او، حجم بزرگی از مثنوی‌ها برجا مانده است که هرچند تحت شعاع درخشش غزلیات وی مانده‌اند، از بهترین نمونه‌های مثنوی‌سرایی در سبک هندی به شمار می‌روند. اگر از مثنوی‌های پراکنده و کوتاه بیدل صرف‌نظر کنیم، از او چهار مثنوی مستقل و بلند برجامانده که به ترتیب زمان ارائه، عبارتند از «محیط اعظم»، «طلسم حیرت»، «طور معرفت» و «عرفان». آنچه در نگاه نخست در این مثنوی‌ها، نظر را جلب می‌کند و مطابق انتظار از سبک هندی نیز هست، غنای بیانی و سرشاری تصاویر است؛ اما در نگاه دوباره، شگردهای برگرفته از دانش معانی در این مثنوی‌ها خودنمایی می‌کند. بیدل خود نیز در «طلسم حیرت»، مخاطبان را ترغیب می‌کند که در مطالعۀ مثنوی‌هایش، حسن لفظ و معنا را با هم ببینند و به زیبایی‌های هر دو لایۀ سخن وی توجه نمایند. در اجابت خواست بیدل و بنا به لزوم واکاوی سخن بر اساس سنجه‌های دانش معانی، در این مقاله به بررسی یکی از مهم‌ترین شگردهای علم معانی، یعنی قصر و حصر در مثنوی‌های چهارگانۀ بیدل پرداخته می‌شود. روش بررسی در این مقاله، توصیفی و تحلیلی است. یافته‌های مقاله، گویای توجه ویژۀ بیدل به شگردهای معانی، مطابق با وعدۀ خودش به مخاطبانش است. در این باره، قصر و حصر، حضوری پررنگ در مثنوی‌های بیدل دارد. بخش چشمگیری از قصرها در مثنوی‌های بیدل، از نوع قصر بی‌ادات است که همسو با ذات معنی‌گرا و فشرده‌ساز سبک هندی است. همچنین قصر صفت بر موصوف در مثنوی‌های بیدل، حضور پررنگ‌تر از قصر موصوف بر صفت دارد که نتیجۀ انتزاع‌گرایی و توصیف‌گرایی شعر این شاعر است. همچنین هرچند مثنوی «عرفان»، شهرت و اهمیت اندیشه‌ای بیشتر دارد، مثنوی «طلسم حیرت» به لحاظ بلاغی در مرتبۀ بالاتر قرار دارد و پس از آن، مثنوی «عرفان» و سپس «طور معرفت» و «محیط اعظم» قرار می‌گیرند.
A Rhetorical Analysis of Qasr and Hasr
in the Four Masnavis of Bidel Dehlavi
Maryam Bayat*
Fawzia Parsa **
Nahid Azizi***
Bidel Dehlavi, the most prominent Persian-speaking poet of India and one of the most significant figures in the history of Persian literature, left behind a large corpus of masnavis. Although these works have often been overshadowed by the brilliance of his ghazals, they stand among the finest examples of masnavi composition in the Indian Style (Sabk-e Hendi). Setting aside his shorter and scattered masnavis, four major independent and lengthy masnavis remain from Bidel: Mohit-e Aʿzam, Telesm-e Heyrat, Tur-e Maʿrefat, and Erfan, listed in chronological order. At first glance, these masnavis captivate the reader with their rhetorical richness and vivid imagery, a feature consistent with expectations of the Indian Style. However, upon closer examination, stylistic strategies rooted in semantic rhetoric (maʿānī) become prominent. In Telesm-e Heyrat, Bidel himself encourages readers to observe both the beauty of diction and the depth of meaning, and to appreciate the dual aesthetic layers of his verse. In response to Bidel’s own appeal and the necessity of examining poetry through rhetorical standards, this article focuses on one of the central devices of semantic rhetoric: Qasr and Hasr (emphatic restriction and limitation), as employed in Bidel’s four masnavis. The methodology adopted is descriptive and analytical. The findings reveal Bidel’s distinctive attention to rhetorical strategies, in line with his poetic promises to readers. Qasr and Hasr appear extensively throughout Bidel’s masnavis. A significant portion of these constructions is of the implicit type (without particles), aligning with the dense, meaning-oriented character of the Indian Style. Additionally, restriction of adjective to subject (qasr-e ṣifat bar mawṣūf) appears more frequently than restriction of subject to adjective (qasr-e mawṣūf bar ṣifat), reflecting Bidel’s abstract and highly descriptive poetic style. While Erfan is better known and philosophically weightier, Telesm-e Heyrat ranks highest rhetorically, followed respectively by Erfan, Tur-e Maʿrefat, and Mohit-e Aʿzam.
Keywords: Bidel Dehlavi, semantic rhetoric, Qasr and Hasr, Bidel’s masnavis.
Introduction
Mowlana ʿAbd al-Qādir Bidel Dehlavi, one of the most eminent Persian-speaking poets of the Indian subcontinent, holds a distinguished place in the history of Persian literature. As a leading figure of the Sabk-e Hendi (Indian Style), his poetry is characterized by conceptual intricacy, innovative imagery, and profound mystical-philosophical reflections. While Bidel is primarily celebrated for his complex and allusive ghazals, his masnavis also present rich content and stylistic brilliance worthy of scholarly attention.
Among Bidel’s surviving works are four major independent masnavis: Mohit-e Aʿzam, Telesm-e Heyrat, Tur-e Maʿrefat, and Erfan. These works are not only significant for their mystical and philosophical themes but also for their rhetorical structure and artistic expression. In Telesm-e Heyrat, Bidel explicitly invites readers to appreciate both the lexical artistry and the deeper meanings of his masnavis. This authorial guidance justifies a detailed rhetorical analysis of these texts, particularly through the lens of maʿānī (semantics), focusing on the device of qasr and hasr (restriction and limitation).
Statement of the Problem
Aesthetic analysis is central to literary studies, and rhetoric—especially the branch of semantics—serves as a key tool in uncovering textual beauty. Semantics addresses how language conforms to the communicative context and the psychological state of the audience, and among its tools, qasr and hasr plays a fundamental role. This device involves the rhetorical restriction of a specific attribute to a particular subject, or vice versa, to emphasize or clarify meaning.
In Persian, Qasr and Hasr appears both with explicit markers (such as "only," "just," "none but") and implicitly, through word order and stylistic strategies. Bidel’s poetry, and particularly his masnavis, exemplify dense layers of meaning and stylistic nuance. This study investigates the application of Qasr and Hasr in Bidel’s four major masnavis, asking: how does Bidel utilize this rhetorical technique? What variations exist in frequency, form, and complexity among the masnavis?
Significance of the Study
This research is important for several reasons. First, Bidel’s masnavis, compared to his ghazals, have received limited rhetorical analysis, despite the poet’s own call for deeper semantic engagement with these texts. Second, Qasr and Hasr is a foundational rhetorical device that fosters emphasis, clarity, and interpretive depth. Third, the Sabk-e Hendi style—characterized by abstraction, ambiguity, and layered meanings—naturally lends itself to the use of such rhetorical mechanisms.
By analyzing Qasr and Hasr in Bidel’s masnavis, this study aims to uncover aspects of his poetic technique that extend beyond imagery and symbolism, offering new insights into his stylistic mastery and linguistic innovation.
Conclusion
The findings indicate that Qasr and Hasr is used extensively and creatively throughout Bidel’s four masnavis, both with explicit particles and through implicit stylistic cues. The device appears in two structural modes: restricting the adjective to the subject and restricting the subject to the adjective. Key observations include:
Telesm-e Heyrat exhibits the highest frequency and greatest complexity of Qasr and Hasr, especially in implicit forms. It ranks highest among the masnavis in rhetorical sophistication.
Erfan, despite its prominence for mystical content, ranks second in rhetorical refinement. It contains a high number of adjective-to-subject restrictions, reflecting its abstract and descriptive style.
Tur-e Maʿrefat holds an intermediate position, with notable use of subject-to-adjective restriction, suggesting a different rhetorical balance.
Mohit-e Aʿzam, Bidel’s earliest masnavi, relies more on explicit markers and simpler structures, indicative of his earlier poetic development.
Overall, the research affirms that Bidel was a master of both semantic depth and rhetorical subtlety. His masnavis, often overshadowed by his ghazals, offer a rich field for rhetorical and stylistic study. Analyzing the use of Qasr and Hasr in these works provides a clearer picture of the nuanced artistry embedded in Bidel’s poetic practice and opens up pathways for further rhetorical studies within the Sabk-e Hendi tradition.
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----------------------- (1991) Meanings and expressions. Thanks to the efforts of Mahdekht Bano Homai. Tehran: Amir Kabir.
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* Ph.D Student in Persian Language and Literature, Borujerd Branch, Islamic Azad University, Borujerd, Iran.
byatm9206@gmail.com
** Corresponding Author: Assistant Professor, Department of Persian Language and Literature, Borujerd Branch, Islamic Azad University, Borujerd, Iran.
F.parsa@iaub.ac.ir
*** Assistant Professor, Department of Persian Language and Literature, Borujerd Branch, Islamic Azad University, Borujerd, Iran.
n.azizi@iaub.ac.ir
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Gage, Mark Foster (2019) Aesthetic theories. Translated by Ehsan Hanif. Tehran: New Thought Publication.
Homai, Jalaluddin (1982) Rhetoric techniques and literary industries. Tehran: Amir Kabir.
----------------------- (1991) Meanings and expressions. Thanks to the efforts of Mahdekht Bano Homai. Tehran: Amir Kabir.
Kazazi, Mir Jalaluddin (1994) Aesthetics of Persian speech 2: meanings. Third edition. Tehran: Publishing Center.
Khwaja Abdullah Ansari (1993) Collection of Persian letters. First edition. Tehran: Tos.
Khakian, Nusratoleh (2023) "Examination of 30 poems by Bidel Dehlavi from the perspective of semantics". A quarterly journal of criticism, analysis and aesthetics of texts. Volume 6. Number 2. pp. 97-115.
Kikhai Farzaneh, Ahmad Reza; companion, manijeh (2016). "Aesthetics of Bidel Dehlavi's Ghazals". The third national conference of the third millennium and humanities.
Mirzaei, Mohammad Saeed; Salehinia, Maryam (2019) "An attempt to draw the pattern of narrative communication in Biddle's masnavis". poetry study No. 44. pp. 243-263.
Nikoyi, Alireza (2012) "A Reflection on the Allegorical Structure of Beadle Dehlavi's Spell of Astonishment". Journal of Theology of Art. Number 1. 51-80.
Rajaei, Mohammad Khalil (1971) Teachers of rhetoric. Second edition. Tehran: University of Tehran.
Rezanjad, Gholamhossein (1989) The principles of rhetoric. Tehran: Al-Zahra.
Safi, Rifat Al Sadat; Najarian, Mohammadreza; Kahdoi, Mohammad Kazem (2014) "Comparison of Beadle's Spell of Astonishment with Spirit's Journey of Nosy". Mystical literature magazine. No. 13. 85-113.
Shamisa, Cyrus (1997) meanings Fourth edition. Tehran, Mitra.
------------------- (2000) Expression and meanings. Tehran, Mitra.
Taftazani, Saad al-Din Masoud bin Omar (1997) A brief description of the meanings. Qom, Dar Zakhaer.
Zahedi, Zainuddin (1967) speech method Mashhad: Ferdowsi University.