شاهنامه احمد شاه درانی؛ منظومة حماسی تاریخی ناشناخته از عصر افشاری

One of the three main types of Persian epic poetry is the historical epic, which is more than seven centuries old and has continued until now. These works are important from two aspects of historical-political information and stylistic value. One of the epic works of the Afsharia period is the Shahnameh of Ahmad Shah Durrani written by Nizamuddin Ishrat Sialkoti, which is composed in 10476 verses. Since less attention has been paid to the epic works of the mentioned period, it is necessary to investigate and research in this field. Therefore, the aim of this research is to introduce and analyze the content style of Ahmad Shah Darrani's Shahnameh, an unknown historical epic system of the Afshari period. In this article, the researcher has analyzed the text of this Shahnameh in a descriptive-analytical way, using the method of layered analysis, in three linguistic, literary and intellectual layers. In terms of style, the poem shows that in this period, with the decline of the Indian style, a literary return has begun, and the poem was written with a return to the Khorasani style.
 

Introduction

One of the three main types of Persian epic poetry (national, religious and historical epics), is the historical epic that is more than seven centuries old and has continued until now. These works are important from two aspects of historical-political information and stylistic value. One of these epic works is the Shahnameh of Ahmad Shah Durrani, which was written in 10,476 verses by Nizamuddin Ishrat Sialkoti (known as Ferdowsi Thani) in the 12th century about the events and wars of this king. Until today, no independent research, with a literary approach, has been published about this system. However, due to the importance of the text in the history of Afghanistan-Pakistan and the position of Ahmad Shah Durrani, whom some people today call him as the father and founder of Afghanistan, the only photographic version of this poem, due to the effort and introduction of Seyyed Faizul Rahman Raed Qureshi in Afghanistan during the Republic in 750 The page has been published (2021/2019; unpublished). This article introduces, examines the style and content of this Shahnameh in a descriptive and analytical way. Considering that Sialkoti was the most prominent epic poet of this era and according to his contemporaries, he was Ferdowsi of his era, knowing his poems is of great importance in analyzing the evolution of Persian epic poetry in this period, which was the time of transition from the Indian style to the school of literary return. Due to Nader's conquests and his generals, the spirit of epics and, as a result, of epics, has increased in this period. In this article, in addition to introducing the Shahnameh of Ahmad Shah Darrani composed by Nizamuddin Ishrat Sialkoti, we analyzed the style and content of this unknown work. As a result of this article, the knowledge of the history of Persian literature will increase about the development process of epic writing in the forefront of the return school.
 
2-Research Method
Since only one photographic copy of the system manuscript is available, the manuscript has been corrected by analogical method. In this article, in continuation of the previous research, an attempt has been made to provide a revised and corrected text of the work, which is cited everywhere in this article. Then, based on data extraction from available sources (poetry notes and historical books) and in a descriptive-analytical way, a comprehensive analysis of this historical epic has been tried.
To describe and analyze the style of the system, we have analyzed the text in three layers using the "layered stylistics" method. In each layer, we first described the structural elements of that layer, then we examined the role of these elements in the style of the period and the personal style of the poet, and finally we analyzed the content of the ideological layer of the text. With this approach, we have examined the text in three linguistic, literary (rhetorical) and intellectual (ideological) layer.
 
3-Discussion
Epic language is a luxurious, archaic language with heavy and old words and strong rhythm. The linguistic layer itself has three smaller layers: phonetic, lexical and syntactic layers. In the phonetic layer, the elements that formed the external and internal music of the poem are discussed. The outer music of the poem is similar to Ferdowsi's Shahnameh, Bahr Matgarb. Puns and phonemes are also important in inner music. Spiritual puns in this work are often compound puns. All kinds of verbal puns are also mainly used in rhymes. The poet has also used repetition of syllables, repetition of words, rejection of al-Sadr, rejection, and images in different positions. In the lexical layer, according to the poet's belonging to the literary school, it is important to imitate the lexical level of Ferdowsi's Shahnameh. Although compared to the Shahnameh, there are more Arabic words in the work. Also, there are many original compositions made with the purpose of praising Ahmad Shah, and colloquial and colloquial words in the text. In the syntactic layer, the most important features include the precedence of the verb over other sentence components and noun rhymes.
At the literary level of the work, the artistic creations of the system have been examined, provided that they have stylistic value. These features or
It is considered as an example of the poet's personal style, or the transition qualities from one era to another, or the combination of stylistic qualities of two different eras. All of these qualities have been analyzed in two sections: imaginary images and innovative tricks. Sorkhayal in epic language is more simile (Shafi'i Kodkani, 1366: 9). In Shahnameh of Ahmad Shah Darrani, Sialkoti used more perceptible to perceptible similes and singular similes, in most cases he removed the simile in order to observe the brevity in the epic depiction. The most frequent metaphor in the Shahnameh of Ahmadiyya is the metaphor of Makaniyya (recognition) in the form of "metaphorical addition" followed by the metaphor of Masrha. Allusions are also mainly current, which increase the quality of describing war scenes by increasing the brevity and exaggeration of the epic work.
Ahmadi's Shahnameh has also strongly imitated Ferdowsi's Shahnameh in Badi Manavi. At the same time, in the literary (rhetorical) layer, from a spiritual point of view, arrays of exaggeration, allusion, assimilation of adjectives, and contradictions have appeared in the text in a way that has given character to the poem.
In the intellectual layer, the specific thought and attitude of the author and the ideological level of a literary text are examined. Since this work is a historical epic, the poet's attitude towards history and politics plays a fundamental role in this layer. Because the author of this work was also the author of Naderi's Shahnameh and he praised Nader in Naderi's Shahnameh and criticized him here, it can be said that Darrani's attitude towards the ruling system was not positive and in a political system The absolute dictatorship has praised Mamdouh just to get financial support. The prevalence of selling art to politics in this autocratic culture has been so far, that the poet considers his change of approach as a natural thing and does not express any shame (Sialkoti, 1403: verse number 2 and 80-81). Ahmadi's Shahnameh is a description of the events of Nader Shah's murder, the collapse of Iran and the collapse of the Afshari government, the establishment of Ahmad Shah's government, and the description of his wars in India and Iran, especially the campaign to India and the war with the Indians. He has observed brevity in describing historical events and has avoided mentioning details. In his work, he adheres to the authenticity of historical events and avoids any distortion. One of the characteristics of Ahmad Shah's Shahnameh is its Saqinamehs, which testify to the prevalence of mysticism in Islamic civilization for several centuries before the composition of the poem. After the end of each event, the poet composes Saqinameh, which was written under the influence of Nizami. There are a total of 92 Saqi Namahs in this work. Mentioning Saqinameh is an opportunity for the poet to express his opinions and criticize the issues in his society and time. The themes of Saqinamehs mainly include taking advantage of life, gaining pleasure, aversion to asceticism and pretending and defending pure mystical opinions. He also mentioned a lot about religious beliefs, especially the praise of the Prophet (PBUH). Although this poet is a Sunni, he did not neglect the praise of the Ahl al-Bayt of the Prophet
 
4-Conclusion
Ishrat Sialkoti is one of the foremost poets of the period of literary return, and he wrote his Shahnameh in the Khorasani style, but he also shows some elements of other styles in his poetry. In the ideological layer of the poem, rather than expressing his political attitude, the poet has repeated the voice of those in power with a propaganda role. Of course, Sialkoti has expressed gentle and mystical opinions in Saqinamehs, and has sometimes restrained Mamdouh from violence. The religious view of the poet is also very balanced.
In terms of style, linguistic and literary level, the poem has average values. The tendency to repeat old epic words, the use of simple Arabic words, the abundance of noun rhymes, the use of the old form of verbs, the presentation of the verb over other parts of the sentence, which increases the strength of epic poetry, are some of the stylistic characteristics of this system. Puns have a special value in the system, which is more specific on the spiritual level, compound puns, and on the verbal level, participle puns. The poet has used Al-Nada a lot in his letters. In verses, the verb precedes the other parts of the sentence, and when it is delayed, it is in the position of the row. At the literary level, there are many sensory similes, current allusions, exaggerations mixed with exaggeration and epic composite images. Another important point of this work is the high frequency of Makaniyeh metaphor compared to Masraha and the preference of compact metaphors over broad similes, as well as the preference of nominal metaphors over metaphorical images.
 
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