Kulliat Azad Bilgerami

‫‪ // ٤٢‬ﮐﻠﻴ‪‬ﺎﺕ‪ ‬ﺁﺯﺍﺩ ﺑﻠﮕﺮﺍﻣﻲ‬ ‫ﺑﻨــــــﺪﻩ ﺁﺯﺍﺩ ﺍﺯ ﻧﻮﺍﺯﺷــــــﺎﻥ‬ ‫ﮔﺸﺖ ﻣﺸﻬﻮﺭ ﺩﺭ ﺗﻤـﺎﻡ ﺟﻬـﺎﻥ‪١‬‬ ‫ﺁﺯﺍﺩ ﻛﺘﺐ ﻣﻘﺪ‪‬ﻣﺎﺗﻲ ﻭ ﺩﺭﺳﻲ ﺭﺍ ﻧﺰﺩ ﻃﻔﻴﻞ ﻣﺤﻤ‪‬ﺪ ﺑﻠﮕﺮﺍﻣﻲ ﻭ ﻋﻠﻮﻡ ﻟﻐﺖ ﻭ ﺣﺪﻳﺚ ﻭ ﺳﻴﺮ ﻧﺒﻮﻱ ﻭ‬ ‫ﻓﻨﻮﻥ ﺍﺩﺏ ﺭﺍ ﭘﻴﺶ ﻣﻴﺮ ﻋﺒﺪﺍﻟﺠﻠﻴﻞ ﺑﻠﮕﺮﺍﻣﻲ ﻛﻪ ﺟﺪ‪ ‬ﻣﺎﺩﺭﻱ ﺍﻭ ﺑﻮﺩ‪ ،‬ﺧﻮﺍﻧﺪﻩ ﺑﻮﺩ‪ .‬ﻋﺮﻭﺽ ﻭ ﻗﻮﺍﻓﻲ ﻭ‬ ‫ﺑﺮﺧﻲ ﺍﺯ ﻓﻨﻮﻥ ﺍﺩﺑﻴ‪‬ﺎﺕ ﺭﺍ ﻧﺰﺩ ﻣﻴﺮ ﺳﻴ‪‬ﺪ ﻣﺤﻤ‪‬ﺪ ﭘﺴﺮ ﻣﻴﺮ ﻋﺒﺪﺍﻟﺠﻠﻴﻞ ﻛﻪ ﺩﺍﻳﻲ ﺁﺯﺍﺩ ﺑﻮﺩ‪ ،‬ﺗﺤﺼﻴﻞ ﻛﺮﺩ‪.‬‬ ‫ﺳﭙﺲ ﺩﺭ ﻣﺪﻳﻨﺔ ﻣﻨﻮ‪‬ﺭﻩ ﻧﺰﺩ ﺷﻴﺦ ﻣﺤﻤ‪‬ﺪ ﺣﻴﺎﺕ ﺳ‪‬ﹾﻨﺪﻱ )ﻡ‪ ١١٦٣ :‬ﻫ( ﺻﺤﻴﺢ ﺑﺨﺎﺭﻱ ﻭ ﺳﺎﻳﺮ ﻣﻔﺮﺩﺍﺕ ﺭﺍ‬ ‫ﺧﻮﺍﻧﺪﻩ ﻭ ﺍﺟﺎﺯﺓ ﺻﺤﺎﺡ ﺳﺘﹼﻪ ﺍﺯ ﺍﻭ ﮔﺮﻓﺖ‪ .‬ﺩﺭ ﻣﻜﹼﺔ ﻣﻜﺮ‪‬ﻣﻪ ﺍﺯ ﺷﻴﺦ ﻋﺒﺪﺍﻟﻮﻫﺎﺏ ﻃﻨﻄﺎﻭﻱ )ﻡ‪ ١١٥٧ :‬ﻫ(‬ ‫ﺑﻌﻀﻲ ﻓﻮﺍﻳﺪ ﻋﻠﻢ ﺣﺪﻳﺚ ﺭﺍ ﻳﺎﺩ ﮔﺮﻓﺖ‪ .‬ﻛﺘﺎﺏ ﻫﺪﺍﻳﻪ ﺩﺭ ﻓﻘﻪ ﺭﺍ ﺩﺭ ﻣﺤﻀﺮ ﺳﻴ‪‬ﺪ ﻋﺒﺪﺍﷲ ﺑﻠﮕﺮﺍﻣﻲ‬ ‫ﺧﻮﺍﻧﺪﻩ ﺑﻮﺩ‪ .‬ﺩﺭ ﺍﻳﻦ ﺑﺎﺭﻩ ﻣﻲﻧﻮﻳﺴﺪ‪:‬‬ ‫”ﺷﺎﻩ ﺍﺳﺪﺍﷲ ﻧﺒﻴﺮﻩ ﻭ ﺻﺎﺣﺐ ﺳ ‪‬ﺠﺎﺩﻩ ﻭﺟﻴﻪﺍﻟﺪ‪‬ﻳﻦ ﻋﻠﻮﻱ ﮔﺠﺮﺍﺗﻲ ﻗﺪ‪‬ﺱ ﺳﺮ‪‬ﻩ ﺷﺮﺡ ﻣﻮﺍﻗﻒ‬ ‫ﺑﻪ ﺧﺪﻣﺖ )ﻋﺒﺪﺍﷲ( ﮔﺬﺭﺍﻧﻴﺪ ﻭ ﻣﻦ ﻫﺪﺍﻳﻪ )ﺩﺭ( ﻓﻘﻪ ﺗﺤﺼﻴﻞ ﻧﻤﻮﺩﻡ“‪.٢‬‬ ‫ﺷﺮﺡ ﺣﺎﻝ ﺍﺳﺘﺎﺩﺍﻥ ﺁﺯﺍﺩ‬ ‫‪ -١‬ﻣﻴﺮ ﻋﺒﺪﺍﻟﺠﻠﻴﻞ ﺑﻠﮕﺮﺍﻣﻲ )ﻡ‪ ١١٣٨ :‬ﻫ(‬ ‫ﻣﻴﺮ ﻣﺬﻛﻮﺭ ﺟﺪ‪ ‬ﻣﺎﺩﺭﻱ ﺁﺯﺍﺩ ﺑﻮﺩ؛ ﺍﻭ ﺩﺭ ﺳﺎﻝ ‪ ١٠٧١‬ﻫﺠﺮﻱ ﺩﺭ ﺑﻠﮕﺮﺍﻡ ﺯﺍﺩﻩ ﺷﺪ ﻭ ﺩﺭ ﺳﺎﻝ‬ ‫‪ ١١٣٨‬ﻫﺠﺮﻱ ﺩﺭ ﺷﺎﻫﺠﻬﺎﻥﺁﺑﺎﺩ ﺩﺭﮔﺬﺷﺖ ﻭ ﺍﻣﺎ ﺩﺭ ﺑﻠﮕﺮﺍﻡ ﻣﺪﻓﻮﻥ ﮔﺮﺩﻳﺪ‪ .‬ﻣﻴﺮ ﻋﺒﺪﺍﻟﺠﻠﻴﻞ ﻋﺎﻟﻢ‬ ‫ﻣﺘﺒﺤ‪‬ﺮﻱ ﺑﻮﺩ ﻭ ﺑﺮ ﺯﺑﺎﻥﻫﺎﻱ ﻋﺮﺑﻲ‪ ،‬ﻓﺎﺭﺳﻲ‪ ،‬ﺗﺮﻛﻲ ﻭ ﻫﻨﺪﻱ ﺗﺴﻠﹼﻂ ﻛﺎﻣﻞ ﺩﺍﺷﺖ ﻭ ﺩﺭ ﺷﻌﺮ ﻭﺍﺳﻄﻲ‬ ‫ﺗﺨﻠﹼﺺ ﻣﻲﻛﺮﺩ‪ .‬ﺍﺯ ﻃﺮﻑ ﺍﻭﺭﻧﮓﺯﻳﺐ )‪ ١٠٦٨-١١١٨‬ﻫ( ﺩﺭ ‪‬ﺳﹾﻨﺪ ﺑﻪ ﺳﻤﺖ ﻭﻗﺎﻳﻊﻧﻮﻳﺴﻲ ﻭ‬ ‫ﻣﻴﺮ ﺑﺨﺸﻲﮔﺮﻱ ﻣﻨﺼﻮﺏ ﺷﺪﻩ ﺑﻮﺩ‪ .‬ﺩﺭ ﻋﻠﻮﻡ ﺩﻳﻨﻲ ﻣﺎﻧﻨﺪ ﺣﺪﻳﺚ ﻭ ﻓﻘﻪ ﻭ ﺗﻔﺴﻴﺮ ﻭ ﻏﻴﺮﻩ ﻭ ﺩﺭ ﻋﻠﻮﻡ‬ ‫ﻟﻐﺖ‪ ،‬ﻣﻮﺳﻴﻘﻲ ﻭ ﺷﻌﺮﮔﻮﻳﻲ ﻣﻬﺎﺭﺕ ﺗﺎﻡ ﺩﺍﺷﺖ‪ .‬ﺁﺯﺍﺩ ﺑﻠﮕﺮﺍﻣﻲ ﺍﺯ ﻣﻴﺮ ﻣﺬﻛﻮﺭ ﻛﺘﺐ ﻟﻐﺖ ﻭ ﺣﺪﻳﺚ ﻭ‬ ‫ﺳﻴﺮ ﻧﺒﻮﻱ ﻭ ﻓﻨﻮﻥ ﺍﺩﺏ ﻓﺮﺍﮔﺮﻓﺘﻪ ﺑﻮﺩ‪ .٣‬ﺩﺭ ﻭﺍﻗﻊ ﺍﻳﻦ ﺗﺮﺑﻴﺖ ﻭ ﭘﺮﻭﺭﺵ ﻣﻴﺮ ﻋﺒﺪﺍﻟﺠﻠﻴﻞ ﺑﻮﺩﻩ ﻛﻪ ﺯﻣﻴﻨﺔ‬ ‫ﻇﻬﻮﺭ ﺷﺨﺼﻲ ﻣﺎﻧﻨﺪ ﺁﺯﺍﺩ ﺭﺍ ﻓﺮﺍﻫﻢ ﻛﺮﺩ‪ .‬ﺁﺯﺍﺩ ﻧﻴﺰ ﺩﺭ ﺫﻛﺮ ﻭ ﺳﺘﺎﻳﺶ ﻣﻴﺮ ﻋﺒﺪﺍﻟﺠﻠﻴﻞ ﻫﻴﭻ ﻧﻜﺘﻪﺍﻱ ﺭﺍ‬ ‫ﻓﺮﻭﻧﮕﺬﺍﺷﺘﻪ ﺍﺳﺖ ﻭ ﻫﺮ ﻣﻮﻗﻊ ﻛﻪ ﻓﺮﺻﺘﻲ ﺑﻪ ﺩﺳﺖ ﺁﻭﺭﺩﻩ‪ ،‬ﺩﺭ ﻣﻨﺎﻗﺐ ﺁﻥ ﺑﺰﺭﮔﻮﺍﺭ ﻗﻠﻢ ﺭﺍ ﺑﻪ ﺟﻮﻻﻥ‬ ‫‪ .١‬ﺩﻳﻮﺍﻥ ﺁﺯﺍﺩ )ﻓﺎﺭﺳﻲ( )ﺧ ﹼﻄﻲ(‪ ،‬ﺑﺮﮒ ‪.٢٥٨‬‬ ‫‪ .٢‬ﻣﺂﺛﺮﺍﻟﻜﺮﺍﻡ‪ ،‬ﺹ ‪.٢٣٨‬‬ ‫‪ .٣‬ﺧﺰﺍﻧﺔ ﻋﺎﻣﺮﻩ‪ ،‬ﺹ ‪١٢٣-٤‬؛ ﺳﺮﻭ ﺁﺯﺍﺩ‪ ،‬ﺹ ‪٢٥٣-٨٦‬؛ ﻣﺂﺛﺮﺍﻟﻜﺮﺍﻡ‪ ،‬ﺹ ‪.٢٥٣‬‬

‫ﻣﻘﺪ‪‬ﻣﻪ ﺩﺭ ﺍﺣﻮﺍﻝ ﻭ ﺁﺛﺎﺭﹺ ﻣﻴﺮ ﻏﻼﻡ ﻋﻠﯽ ﺁﺯﺍﺩ ﺑﻠﮕﺮﺍﻣﻲ ‪٤٣ //‬‬ ‫ﺩﺭﺁﻭﺭﺩﻩ ﺍﺳﺖ‪.‬‬ ‫ﺁﺯﺍﺩ ﻣﻲﮔﻮﻳﺪ ﻛﻪ ﺍﻭ ﻣﻴﺮ ﻋﺒﺪﺍﻟﺠﻠﻴﻞ ﺭﺍ ﺩﺭ ﺳﻦ‪ ‬ﻫﻔﺪﻩ ﺳﺎﻟﮕﻲ ﻧﺨﺴﺘﻴﻦ ﺑﺎﺭ ﺩﺭ ﺑﻠﮕﺮﺍﻡ ﺩﻳﺪﻩ ﺑﻮﺩ‪.١‬‬ ‫ﺳﭙﺲ ﺩﺭ ﺳﺎﻝ ‪ ١١٣٤‬ﻫﺠﺮﻱ ﺑﺮﺍﻱ ﺗﺤﺼﻴﻞ ﻧﺰﺩ ﻣﻴﺮ ﺑﻪ ﺷﺎﻫﺠﻬﺎﻥﺁﺑﺎﺩ ﺭﻓﺖ ﻭ ﺣﺪﻭﺩ ﺩﻭ ﺳﺎﻝ ﺩﺭ ﻧﺰﺩ‬ ‫ﻭﻱ ﻛﺘﺐ ﺍﺣﺎﺩﻳﺚ ﺧﻮﺍﻧﺪ‪.‬‬ ‫ﻣﻴﺮ ﻋﺒﺪﺍﻟﺠﻠﻴﻞ ﻧﺎﺑﻐﺔ ﺭﻭﺯﮔﺎﺭ ﺑﻮﺩ ﻭ ﺑﻪ ﻗﻮﻝ ﺁﺯﺍﺩ‪:‬‬ ‫”ﺑﺎ ﺍﻣﻴﺮ ﺧﺴﺮﻭ ﺩﻫﻠﻮﻱ ﻣﺸﺎﺑﻬﺖ ﺗﻤﺎﻡ ﺩﺍﺷﺖ“‪ ،‬ﻭ ﺧﻮﺩ ﻣﻴﺮ ﭼﻨﻴﻦ ﮔﻔﺘﻪ ﺍﺳﺖ‪:‬‬ ‫ﺍﮔﺮﭼـﻪ ﻣﻴـﺮ ﺧﺴــﺮﻭ ﺑـﻮﺩ ﺍﺳــﺘﺎﺩ ﻧﺪﺍﺭﺩ ﭼﺮﺥ ﭼـﻮﻥ ﺍﻭ ﺩﻳﮕـﺮﻱ ﻳـﺎﺩ‬ ‫ﺑـــﻪ ﻓﻜـــﺮ ﺩﻭﺭ ﺩﻭ ﭘـــﺮﻭﺍﺯ ﺩﺍﺭﺩ ﻧﺒــﻲ ﻧﺒــﻮﺩ ﻭﻟــﻲ ﺍﻋﺠــﺎﺯ ﺩﺍﺭﺩ‬ ‫ﺩﺭ ﺍﻧﻮﺍﻉ ﺳﺨﻦ ﺷﻮﺭ ﺟﻬـﺎﻥ ﺍﺳـﺖ ﺑﻪ ﻗﺪﺭﺕ ﺧﺴﺮﻭ ﺻﺎﺣﺒﻘﺮﺍﻥ ﺍﺳـﺖ‬ ‫ﻭﻟﻲ ﻣـﻦ ﻫـﻢ ﺍﺯﻳـﻦ ﮔﻠﺪﺳـﺘﺔ ﻧـﻮ ﺩﺭﻳﻦ ﻋﺼﺮﻡ ﺑﻪ ﺟﺎﻱ ﻣﻴـﺮ ﺧﺴـﺮﻭ‬ ‫ﻛﻤـﺎﻝ ﺍﺯ ﻫـﺮ ﻧﻤـﻂ ﺩﻟﺨــﻮﺍﻩ ﺩﺍﺭﻡ ﺍﻣﻴـــﺪ ﺗﺮﺑﻴــــﺖ ﺍﺯ ﺷــــﺎﻩ ﺩﺍﺭﻡ‪٢‬‬ ‫ﺁﺯﺍﺩ ﺗﺼﺮﻳﺢ ﻣﻲﻛﻨﺪ ﻛﻪ‪” :‬ﺗﺸﺎﺑﻪ ﺍﻳﺸﺎﻥ ﺑﺎ ﺍﻣﻴﺮ ﺧﺴﺮﻭ ﻫﻢ ﺍﺯ ﺭﺍﻩ ﺟﺎﻣﻌﻴﺖ ﻋﻠﻢ ﻭ ﻋﻤﻞ ﻭ ﻫﻢ ﺍﺯ‬ ‫ﺟﻬﺖ ﻣﺼﺎﺣﺒﺖ ﺍﺭﺑﺎﺏ ﺩﻭﻝ‪ ،‬ﭼﻪ ﺍﻣﻴﺮ ﺧﺴﺮﻭ ﺍﺯ ﺁﻏﺎﺯ ﺗﺎ ﺍﻧﺠﺎﻡ ﺑﺎ ﺳﻼﻃﻴﻦ ﺩﻫﻠﻲ ﺑﺴﺮ ﺑ‪‬ﺮﺩ ﻭ ﻫﻔﺖ‬ ‫ﭘﺎﺩﺷﺎﻩ ﺭﺍ ﺧﺪﻣﺖ ﻛﺮﺩ‪ .‬ﻃﺮﻓﻪ ﺁﻧﻜﻪ ﻋﻼﻣﻪ ﻣﺮﺣﻮﻡ ﻫﻢ ﺑﻪ ﻟﻮﺍﺯﻡ ﺧﺪﻣﺖ ﻫﻔﺖ ﭘﺎﺩﺷﺎﻩ ﺩﻫﻠﻲ ﺍﺯ ﺳﻼﻃﻴﻦ‬ ‫ﺗﻴﻤﻮﺭﻳﻪ ﭘﺮﺩﺍﺧﺖ‪ .‬ﻳﻌﻨﻲ ﺧﻠﺪ ﻣﻜﺎﻥ ﻋﺎﻟﻤﮕﻴﺮ ﻭ ﺷﺎﻩ ﻋﺎﻟﻢ ﻭ ﻣﺤﻤ‪‬ﺪ ﻣﻌﺰﺍﻟﺪ‪‬ﻳﻦ )ﺟﻬﺎﻧﺪﺍﺭ ﺷﺎﻩ( ﻭ‬ ‫ﻣﺤﻤ‪‬ﺪ ﻓﺮﺥﺳﻴﺮ ﻭ ﺭﻓﻴﻊ ﺍﻟﺪﺭﺟﺎﺕ ﻭ ﺷﺎﻫﺠﻬﺎﻥ ﺛﺎﻧﻲ ﻭ ﻣﺤﻤ‪‬ﺪ ﺷﺎﻩ“‪.٣‬‬ ‫ﺍﺯ ﺁﺛﺎﺭ ﻣﻴﺮ ﻋﺒﺪﺍﻟﺠﻠﻴﻞ ﺑﻠﮕﺮﺍﻣﻲ »ﻣﺜﻨﻮﻱ ﺍﻣﻮﺍﺝ ﺍﻟﺨﻴﺎﻝ« ﺩﺭ ﻭﺻﻒ ﺑﻠﮕﺮﺍﻡ ﺍﺳﺖ ﻭ ﺩﺭ ﺁﻥ »ﺍﻛﺜﺮ‬ ‫ﻗﻮﺍﻋﺪ ﻣﻮﺳﻴﻘﻲ ﻫﻨﺪﻱ ﺿﺒﻂ ﻧﻤﻮﺩﻩ« ﺍﺳﺖ‪ ،٤‬ﻭ ﻗﻄﻌﺔ ﺗﺎﺭﻳﺦ ﻓﺘﺢ ﻗﻠﻌﺔ ﺳﺘﺎﺭﻩ ﺑﻪ ﻋﺮﺑﻲ ﻭ ﻓﺎﺭﺳﻲ ﺭﺍ‬ ‫ﺑﻪ ﻧﺎﻡ »ﮔﻠﺰﺍﺭ ﻓﺘﺢ ﺷﺎﻩ« ﻭ »ﻃﻮﻱﻧﺎﻣﺔ ﻓﻴﺮﻭﺯﻱ ﺷﺎﻩ ﻋﺎﻟﻤﮕﻴﺮ« ﺳﺮﻭﺩﻩ ﺍﺳﺖ‪ .‬ﺩﺭ ﺍﻳﻦ ﺭﺳﺎﻟﻪ‪ ،‬ﻳﺎﺯﺩﻩ‬ ‫ﻗﻄﻌﺔ ﺗﺎﺭﻳﺦ ﻓﺘﺢ ﻗﻠﻌﺔ ﺳﺘﺎﺭﻩ ﻛﻪ ﺩﺭ ﻳﻚ ﺷﺐ ﺳﺮﻭﺩﻩ‪ ،‬ﮔﺮﺩﺁﻣﺪﻩ ﺍﺳﺖ‪ .‬ﻋﻼﻭﻩ ﺑﺮ ﺍﻳﻦ‪ ،‬ﺩﻳﻮﺍﻥ ﺷﻌﺮ ﺑﻪ ﻋﺮﺑﻲ‬ ‫ﻭ ﻓﺎﺭﺳﻲ‪ ،‬ﻣﺜﻨﻮﻱ ﭘ‪‬ﺪ‪‬ﻣ‪‬ﺎﻭ‪‬ﺕﹾ‪ ،‬ﺟﻮﺍﻫﺮﺍﻟﻜﻼﻡ )ﻟﻐﺖ ﻣﻨﻈﻮﻡ ﻋﺮﺑﻲ‪ ،‬ﻓﺎﺭﺳﻲ‪،‬ﺗﺮﻛﻲ ﻭ ﻫﻨﺪﻱ(‪ ،‬ﺍﻧﺸﺎﻱ ﺟﻠﻴﻞ‪،‬‬ ‫‪ .١‬ﻣﺂﺛﺮﺍﻟﻜﺮﺍﻡ‪ ،‬ﺹ ‪.٢٥٣‬‬ ‫‪ .٢‬ﺳﺮﻭ ﺁﺯﺍﺩ‪ ،‬ﺹ ‪.٢٦٣‬‬ ‫‪ .٣‬ﻫﻤﺎﻥ‪ ،‬ﺹ ‪.٢٦٣-٤‬‬ ‫‪ .٤‬ﻫﻤﺎﻥ‪ ،‬ﺹ ‪.٢٦٥‬‬

‫‪ // ٤٤‬ﮐﻠﻴ‪‬ﺎﺕ‪ ‬ﺁﺯﺍﺩ ﺑﻠﮕﺮﺍﻣﻲ‬ ‫ﺍﻧﺸﺎﻱ ﻋﻘﺪﺍﻟﺜﻤﻴﻦ‪ ،‬ﻣﺜﻨﻮﻱ ﺩﺭ ﺟﺸﻦ ﻃﻮﻱ ﻣﺤﻤ‪‬ﺪ ﻓﺮﺥﺳﻴﺮ‪ ،‬ﻣﺜﻨﻮﻱ ﻧﻴﺮﻧﮓ ﺗﺼﻮﻳﺮ‪ ،‬ﺭﺳﺎﻟﺔ ﺗﻌﺮﻳﺐ‪،‬‬ ‫ﺭﺳﺎﻟﺔ ﻣﻮﺳﻴﻘﻲ‪ ،‬ﺭﺳﺎﻟﺔ ﺭﻳﺎﺽ ﺍﻟﻨﻌﻴﻢ ﻓﻲ ﺍﺣﻮﺍﻝ ﻧﺒﻲ ﺍﻟﻜﺮﻳﻢ)ﺹ( ﺍﺯ ﺩﻳﮕﺮ ﺗﺄﻟﻴﻔﺎﺕ ﻣﻴﺮ ﻋﺒﺪﺍﻟﺠﻠﻴﻞ ﻣﻲﺑﺎﺷﺪ‪.‬‬ ‫ﺁﺯﺍﺩ ﺑﻠﮕﺮﺍﻣﻲ ﺩﺭ ﻣﺪﺡ ﻣﻴﺮ ﻣﺬﻛﻮﺭ ﻭ ﻫﻤﭽﻨﻴﻦ ﺩﺭ ﻭﻓﺎﺕ ﺍﻭ ﻗﺼﺎﻳﺪﻱ ﻏﺮﺍ ﺑﻪ ﻋﺮﺑﻲ ﻭ ﻓﺎﺭﺳﻲ ﺩﺍﺭﺩ‬ ‫ﻭ ﺍﺷﻌﺎﺭ ﭘﺮﺍﻛﻨﺪﻩﺍﻱ ﻧﻴﺰ ﺩﺭ ﺳﺘﺎﻳﺶ ﻭ ﺗﺠﻠﻴﻞ ﺍﻭ ﺩﺭ ﺩﻳﻮﺍﻥ ﺁﺯﺍﺩ ﺩﻳﺪﻩ ﻣﻲﺷﻮﺩ‪ .‬ﺁﺯﺍﺩ ﺩﺭ ﻣﺪﺡ‬ ‫ﻣﻴﺮ ﻋﺒﺪﺍﻟﺠﻠﻴﻞ ﻗﺼﻴﺪﻩ ﺍﻱ ﺑﻪ ﻣﻄﻠﻊ‪:‬‬ ‫ﺍﺩﺭﻙ ﻋــﻴﻼ ﻟﻘــﺎﺀ ﻣﻨــﻚ ﻳﻜﻔﻴــﻪ ﻃﺮﻓﻚ ﺍﻟﻨـﺎﻋﺲ ﺍﳌﻤـﺮﺍﺽ ﻳﺸـﻔﻴﻪ‬ ‫ﺑﻪ ﻋﺮﺑﻲ ﺳﺮﻭﺩﻩ ﺍﺳﺖ ﻛﻪ ‪ ٣٧‬ﺑﻴﺖ ﺩﺍﺭﺩ‪ .‬ﺳﻴ‪‬ﺪ ﺍﺣﻤﺪ ﺑﻦ ﻋﺒﺪﺍﷲ ﻳﻤﻨﻲ ﺑﺮ ﺁﻥ ﺷﺮﺡ ﻧﻮﺷﺘﻪ ﻭ ﺧﻮﺩ‬ ‫ﺁﺯﺍﺩ ﺣﺎﺷﻴﻪ ﺑﺮ ﺁﻥ ﻧﮕﺎﺷﺘﻪ ﺍﺳﺖ ﻭ ﻣﻮﻻﻧﺎ ﺳﻴ‪‬ﺪ ﻣ‪‬ﺼﻄﻔﻲ ﺑﻦ ﻋﻤﺮ ‪‬ﺳﻮﺭﺗﻲ ﺑﺪﻳﻨﮕﻮﻧﻪ ﺳﺘﺎﻳﺶ ﻛﺮﺩﻩ ﺍﺳﺖ‪:‬‬ ‫”ﻫﺬﺍ ﻗﺼﻴﺪﺓ ‪‬ﻳﺤ ‪‬ﻖ ﺍﻥ ﻳﻐﺒﻂ ﻓﻴﻬﺎ“ ﻳﻌﻨﻲ ﺍﻳﻦ ﻗﺼﻴﺪﻩ ﺑﻪ ﺣﻖ ﻻﻳﻖ ﺭﺷﻚ ﺍﺳﺖ‪ .١‬ﻣﻘﺒﻮﻝ ﺍﺣﻤﺪ ﺻﻤﺪﺍﻧﻲ‬ ‫ﺩﺭﺑﺎﺭﺓ ﻣﻴﺮ ﻣﺬﮐﻮﺭ ﮐﺘﺎﺑﻲ ﺑﻪ ﺯﺑﺎﻥ ﺍﺭﺩﻭ ﺑﻪ ﻧﺎﻡ »ﺣﻴﺎﺕ ﺟﻠﻴﻞ« ﻧﮕﺎﺷﺘﻪ ﻭ ﭼﺎﭖ ﮐﺮﺩﻩ ﺍﺳﺖ ﮐﻪ ﺁﻧﺠﺎ ﺷﺮﺡ‬ ‫ﮐﺎﻣﻞ ﺍﺯ ﺁﻥ ﻣ‪‬ﺮ ‪‬ﺩ ﻓﺎﺿﻞ ﺑﻪ ﺧﻮﺑﻲ ﺁﻣﺪﻩ ﺍﺳﺖ‪.‬‬ ‫‪ -٢‬ﻣﻴﺮ ﻃﻔﻴﻞ ﻣﺤﻤ‪‬ﺪ ﺑﻠﮕﺮﺍﻣﻲ )ﻡ‪ ١١٥١ :‬ﻫ(‪،‬‬ ‫ﻣﻴﺮ ﻃﻔﻴﻞ ﻣﺤﻤ‪‬ﺪ ﺑﻦ ﺳﻴ‪‬ﺪ ﺷﻜﺮﺍﷲ ﺍﻟﺤﺴﻴﻨﻲ ﺍﹸﺗﹾﺮ‪‬ﻭ‪‬ﹶﻟﻮﻱ ﺑﻠﮕﺮﺍﻣﻲ ﺟﺎﻣﻊ ﻋﻠﻮﻡ ﻇﺎﻫﺮﻱ ﻭ ﺑﺎﻃﻨﻲ ﺩﺭ ﻗﺼﺒﺔ‬ ‫ﹶﺍﹾﺗﺮ‪‬ﻭ‪‬ﻟﻲ )ﺩﺭ ﺍﻳﺎﻟﺖ ﺍﺗﹼﺮﺍﭘﺮﺍﺩﺵ ﻫﻨﺪ( ﺩﺭ ﺳﺎﻝ ‪ ١٠٧٣‬ﻫﺠﺮﻱ ﺑﻪ ﺩﻧﻴﺎ ﺁﻣﺪ‪ .‬ﺩﺭ ﻫﻔﺖ ﺳﺎﻟﮕﻲ ﻫﻤﺮﺍﻩ ﻋﻢ‪‬‬ ‫ﺧﻮﺩ ﺍﺣﺴﻦ ﺍﷲ ﺑﻪ ﺩﻫﻠﻲ ﺁﻣﺪﻩ ﻭ ﻫﻤﺎﻧﺠﺎ ﻣﺸﻐﻮﻝ ﺑﻪ ﺗﺤﺼﻴﻞ ﺷﺪ‪ .‬ﻣﻘﺪ‪‬ﻣﺎﺕ ﺭﺍ ﻧﺰﺩ ﻋﺎﺭﻑ ﻣﺸﻬﻮﺭ ﺩﻫﻠﻲ‪،‬‬ ‫ﺳﻴ‪‬ﺪ ﺣﺴﻦ ﺭﺳﻮﻝ ﻧﻤﺎ )ﻡ‪ ١١٠٣ :‬ﻫ(‪ ،‬ﺧﻮﺍﻧﺪ‪ .‬ﺩﺭ ﺳﻦ‪ ‬ﭘﺎﻧﺰﺩﻩ ﺳﺎﻟﮕﻲ ﺑﻪ ﺑﻠﮕﺮﺍﻡ ﺭﻓﺖ ﻭ ﻛﺘﺎﺏﻫﺎﻱ ﺩﻳﮕﺮ‬ ‫ﺩﺭﺳﻲ ﺭﺍ ﻧﺰﺩ ﺳﻴ‪‬ﺪ ﻣﺮﺑ‪‬ﻲ ﺑﻠﮕﺮﺍﻣﻲ )ﻡ‪ ١١١٧ :‬ﻫ(‪ ،‬ﺳﻴ‪‬ﺪ ﺳﻌﺪﺍﷲ ﺑﻠﮕﺮﺍﻣﻲ )ﻡ‪ ١١١٩ :‬ﻫ(‪ ،‬ﻗﺎﺿﻲ ﻋﻠﻴﻢ ﺍﷲ‬ ‫)ﻡ‪ ١١١٥ :‬ﻫ( ﻭ ﻣﻮﻻﻧﺎ ﻗﻄﺐﺍﻟﺪ‪‬ﻳﻦ ﺷﻤﺲﺁﺑﺎﺩﻱ ﻓﺮﺍﮔﺮﻓﺖ‪ .‬ﭘﺲ ﺍﺯ ﺗﺤﺼﻴﻞ ﻋﻠﻮﻡ ﺩﺭ ﺑﻠﮕﺮﺍﻡ ﺭﺣﻞ‬ ‫ﺍﻗﺎﻣﺖ ﺍﻓﻜﻨﺪ ﻭ ﺗﻤﺎﻡ ﻋﻤﺮ ﺧﻮﻳﺶ ﺭﺍ ﺩﺭ ﺧﺪﻣﺖ ﺩﺭﺱ ﻭ ﺗﺪﺭﻳﺲ ﮔﺬﺭﺍﻧﻴﺪ‪ .‬ﺍﻭ ﺩﺭ ﺗﺎﺭﻳﺦ ‪ ٢٤‬ﺫﻱﺍﻟﺤﺠ‪‬ﺔ‬ ‫‪ ١١٥١‬ﻫﺠﺮﻱ ﺩﺭﮔﺬﺷﺖ ﻭ ﺩﺭ ﺑﻠﮕﺮﺍﻡ ﻣﺪﻓﻮﻥ ﮔﺮﺩﻳﺪ‪ .‬ﺁﺯﺍﺩ ﺑﻠﮕﺮﺍﻣﻲ ﺩﺭ ﺣﻖ ﺍﺳﺘﺎﺩ‪ ‬ﺧﻮﺩ ﮔﻔﺘﻪ ﺍﺳﺖ‪:‬‬ ‫ﺷﺎﮔﺮﺩ ﺧـﺎﺹ ﻣﻴـﺮ ﻃﻔﻴـﻞ ﻣﺤﻤ‪‬ـﺪﻡ ﺍﻭ ﺩﺭ ﻋﻠﻮﻡ ﻋﻘﻠﻲ ﻭ ﻧﻘﻠﻲﺳﺖ ﺭﻫﺒﺮﻡ‬ ‫ﻧﻴﺰ ﻗﻄﻌﺔ ﺗﺎﺭﻳﺦ ﻭﻓﺎﺕ ﺍﺳﺘﺎﺩ ﺧﻮﺩ ﺭﺍ ﭼﻨﻴﻦ ﺳﺮﻭﺩﻩ ﺍﺳﺖ‪:‬‬ ‫ﺍﻓﺴــﻮﺱ ﻛــﻪ ﺁﻓﺘــﺎﺏ ﻣﻌﻨــﻲ ﺍﺯ ﺣﻠﻘﺔ ﺁﺳﻤﺎﻥ ﺑـﺮﻭﻥ ﺭﻓـﺖ‬ ‫‪ .١‬ﻣﺂﺛﺮﺍﻟﻜﺮﺍﻡ‪ ،‬ﺹ ‪.٢٦٢‬‬

‫ﻣﻘﺪ‪‬ﻣﻪ ﺩﺭ ﺍﺣﻮﺍﻝ ﻭ ﺁﺛﺎﺭﹺ ﻣﻴﺮ ﻏﻼﻡ ﻋﻠﯽ ﺁﺯﺍﺩ ﺑﻠﮕﺮﺍﻣﻲ ‪٤٥ //‬‬ ‫ﺗﺎﺭﻳﺦ ﻭﺻﺎﻝ ﺍﻭ ﺧـﺮﺩ ﮔﻔـﺖ »ﻋﻼﻣﻪ ﺍﺯ ﺟﻬﺎﻥ ﺑﺮﻭﻥ ﺭﻓﺖ‪«١‬‬ ‫= ‪ ١١٥١‬ﻫﺠﺮﻱ‬ ‫ﻫﻤﭽﻨﻴﻦ ﺩﺭ ﺭﺣﻠﺖ ﺍﺳﺘﺎﺩ ﻗﺼﻴﺪﻩﺍﻱ ﺑﻪ ﻋﺮﺑﻲ ﺳﺮﻭﺩﻩ ﺍﺳﺖ ﻛﻪ ﺩﺭ ﻣﺂﺛﺮﺍﻟﻜﺮﺍﻡ‪ ٢‬ﺩﺭﺝ ﺍﺳﺖ‪ .‬ﺍﻭ ﭘﺲ‬ ‫ﺍﺯ ﺭﺣﻠﺖ‪ ‬ﺍﺳﺘﺎﺩ‪ ‬ﺧﻮﺩ ﻓﺮﻳﻀﺔ ﺣﺞ ﺭﺍ ﺍﺩﺍ ﻛﺮﺩﻩ ﻭ ﺍﺯ ﻃﺮﻑ ﺍﺳﺘﺎﺩ ﻋﻤﺮﻩ ﺑﺠﺎ ﺁﻭﺭﺩﻩ ﺍﺳﺖ‪.٣‬‬ ‫‪ -٣‬ﺷﻴﺦ ﻋﺒﺪﺍﻟﻮﻫﺎﺏ ﻃﻨﻄﺎﻭﻱ )ﻡ‪ ١١٥٧ :‬ﻫ(‬ ‫ﺷﻴﺦ ﻃﻨﻄﺎﻭﻱ ﺍﺯ ﻋﻠﻤﺎﻱ ﺍﻛﺎﺑﺮ ﻣﺼﺮ ﺑﻮﺩﻩ‪ ،‬ﺯﻣﺎﻧﻲ ﻛﻪ ﺁﺯﺍﺩ ﺩﺭ ﺳﺎﻝ ‪ ١١٥١‬ﻫﺠﺮﻱ ﺑﺮﺍﻱ ﺯﻳﺎﺭﺕ ﺣﺮﻣﻴﻦ‬ ‫ﺷﺮﻳﻔﻴﻦ ﺑﻪ ﻣﻜﹼﺔ ﻣﻜﺮ‪‬ﻣﻪ ﺭﻓﺘﻪ ﺑﻮﺩ‪ ،‬ﺷﻴﺦ ﻧﻴﺰ ﺍﺯ ﻣﺼﺮ ﺑﻪ ﻣﻜﹼﻪ ﺁﻣﺪﻩ ﺑﻮﺩ‪ ،‬ﻫﻤﺎﻧﺠﺎ ﻧﺰﺩ ﺷﻴﺦ ﺑﻪ ﺗﺤﺼﻴﻞ‬ ‫ﻋﻠﻮﻡ ﺣﺪﻳﺚ ﭘﺮﺩﺍﺧﺖ‪ .‬ﺧﻮﺩ ﺁﺯﺍﺩ ﻣﻲﻧﻮﻳﺴﺪ‪:‬‬ ‫”ﺩﺭ ﻣﻜﹼﺔ ﻣﻌﻈﹼﻤﻪ ﻭ ﻃﺎﺋﻒ ﻣﻌﺪﻥ ﺍﻟﻠﻄﺎﺋﻒ ﺻﺤﺒﺖ ﺷﻴﺦ ﻋﺒﺪﺍﻟﻮﻫﺎﺏ ﻃﻨﻄﺎﻭﻱ ﻗﺪ‪‬ﺱ ﺳﺮ‪‬ﻩ‬ ‫ﺩﺭﻳﺎﻓﺘﻢ ﻭ ﻓﻮﺍﻳﺪ ﻓﻦ‪ ‬ﺣﺪﻳﺚ ﺑﺮ ﮔﻔﺘﻢ“‪.٤‬‬ ‫ﺁﺯﺍﺩ ﻣﻲﮔﻮﻳﺪ ﻛﻪ ﺷﻴﺦ ﺍﺷﻌﺎﺭ ﻋﺮﺑﻲ ﻭﻱ ﺭﺍ ﺑﺴﻴﺎﺭ ﭘﺴﻨﺪﻳﺪﻩ ﻭ ﻭﻗﺘﻲ ﺍﺯ ﻣﻌﻨﻲ ﻛﻠﻤﺔ ﺁﺯﺍﺩ ﻛﻪ ﺗﺨﻠﹼﺺ‬ ‫ﺍﻭ ﺑﻮﺩ‪ ،‬ﺑﺎ ﺧﺒﺮ ﮔﺸﺖ‪ ،‬ﺑﺴﻴﺎﺭ ﺧﻮﺷﺤﺎﻝ ﮔﺮﺩﻳﺪ ﻭ ﮔﻔﺖ ”َﺍﻧﺖ ﻣﻦ ﻋﺘﻘﺎﺀﺍﷲ“‪ ،٥‬ﺷﻤﺎ ﺍﺯ ﺁﺯﺍﺩﺷﺪﮔﺎﻥ ﺧﺪﺍ‬ ‫ﻫﺴﺘﻴﺪ‪ .‬ﺍﺯ ﺗﺼﺎﻧﻴﻒ ﺷﻴﺦ ﻃﻨﻄﺎﻭﻱ ﻛﺘﺎﺏ ﺑﺬﻝ ﺍﻟﻌﺴﺠﺪ ﻓﻲ ﺣﺴﻴﻨﻲ ﻣﻦ ﺍﺳﺮﺍ ﺍﺣﻤﺪ ﻭ ﻋﻘﺪﺍﻟﺰﹼﺑﺮﺟﺪ ﻣﻦ‬ ‫ﺣﺮﻭﻑ ﻣﺤﻤ‪‬ﺪ ﺭﺍ ﻣﻲﺗﻮﺍﻥ ﻧﺎﻣﺒﺮﺩ‪ .‬ﺷﻴﺦ ﺩﺭ ﺳﺎﻝ ‪ ١١٥٧‬ﻫﺠﺮﻱ ﻭﻓﺎﺕ ﻳﺎﻓﺖ‪.‬‬ ‫‪ -٤‬ﺷﻴﺦ ﻣﺤﻤ‪‬ﺪ ﺣﻴﺎﺕ ﺳ‪‬ﻨﺪﻱ ﻣﺪﻧﻲ )ﻡ‪ ١١٦٣ :‬ﻫ(‬ ‫ﺷﻴﺦ ﺳﻨﺪﻱ ﻋﺎﻟ ﹺﻢ‪ ،‬ﻋﺎﻣﻞ ﻭ ﻣﺤﺪ‪‬ﺙ‪ ‬ﺑﺰﺭﮒ ﺑﻮﺩﻩ‪ .‬ﺍﺳﻢ ﭘﺪﺭ ﺍﻭ ﻣﻠﹼﺎ ﻗﺎﺭﻳﻪ ﺍﺳﺖ ﻛﻪ ﺍﺯ ﻗﺒﻴﻠﺔ ﭼﺎﭼ‪‬ﺮﺍ ﺑﻮﺩ ﻛﻪ‬ ‫ﺩﻳﻬﻲ ﻧﻴﺰ ﺑﻪ ﻫﻤﻴﻦ ﺍﺳﻢ ﺩﺭ ‪‬ﺳﹾﻨﺪ )ﭘﺎﻛﺴﺘﺎﻥ( ﻭﺍﻗﻊ ﺍﺳﺖ ﻭ ﻫﻤﻴﻦ ﻣﺤﻞﹼ ﺟﺎﻱ ﺗﻮﻟﺪ ﺷﻴﺦ ﻣﺤﻤ‪‬ﺪ ﺣﻴﺎﺕ‬ ‫ﺍﺳﺖ‪ .‬ﺍﻭ ﺩﺭ ﻧﻮﺟﻮﺍﻧﻲ ﺑﻪ ﺯﻳﺎﺭﺕ ﺣﺮﻣﻴﻦ ﺷﺮﻳﻔﻴﻦ ﺭﻓﺖ ﻭ ﺩﺭ ﻣﺪﻳﻨﺔ ﻣﻨﻮ‪‬ﺭﻩ ﺳﻜﻮﻧﺖ ﮔﺰﻳﺪ‪ .‬ﻫﻤﺎﻧﺠﺎ‬ ‫ﺗﺤﺼﻴﻼﺕ ﺧﻮﺩ ﺭﺍ ﺑﻪ ﭘﺎﻳﺎﻥ ﺭﺳﺎﻧﺪ‪ .‬ﺩﺭ ﻓﻦ‪ ‬ﺣﺪﻳﺚ ﻣﻬﺎﺭﺕ ﻭ ﺗﺴﻠﻂ ﭘﻴﺪﺍ ﻛﺮﺩ ﻭ ﺳﺮﺁﻣﺪ ﺭﻭﺯﮔﺎﺭ ﺧﻮﺩ‬ ‫ﺷﺪ‪ .‬ﺁﺯﺍﺩ ﺩﺭ ﺍﻗﺎﻣﺖ ﻣﺪﻳﻨﻪ ﺍﺯ ﺷﻴﺦ ﻋﻠﻢ ﺣﺪﻳﺚ ﺭﺍ ﻓﺮﺍﮔﺮﻓﺘﻪ ﺑﻮﺩ‪ ،‬ﻣﻲﮔﻮﻳﺪ‪:‬‬ ‫‪ .١‬ﺳﺮﻭ ﺁﺯﺍﺩ‪ ،‬ﺹ ‪.٢٥٢‬‬ ‫‪ .٢‬ﻣﺂﺛﺮﺍﻟﻜﺮﺍﻡ‪ ،‬ﺹ ‪.١٣٧‬‬ ‫‪ .٣‬ﻫﻤﺎﻥ‪ ،‬ﺹ ‪.١٣٧‬‬ ‫‪ .٤‬ﻫﻤﺎﻥ‪ ،‬ﺹ ‪.٢٩٥‬‬ ‫‪ .٥‬ﻫﻤﺎﻥ‪ ،‬ﺹ ‪.١٤٣‬‬

‫‪ // ٤٦‬ﮐﻠﻴ‪‬ﺎﺕ‪ ‬ﺁﺯﺍﺩ ﺑﻠﮕﺮﺍﻣﻲ‬ ‫”ﺑﻪ ﺧﺪﻣﺖ ﺷﻴﺨﻨﺎ ﻭ ﻣﻮﻻﻧﺎ ﺷﻴﺦ ﻣﺤﻤ‪‬ﺪ ﺣﻴﺎﺕ ‪‬ﺳﻨﺪﻱ ﻣﺪﻧﻲ ﺣﻨﻔﻲ ﻗﺪ‪‬ﺱ ﺳﺮ‪‬ﻩ ﺻﺤﻴﺢ ﺑﺨﺎﺭﻱ‬ ‫ﻗﺮﺍﺋﺖ ﻧﻤﻮﺩ ﻭ ﺍﺟﺎﺯﺕ ﺻﺤﺎﺡ ﺳﺘﹼﻪ ﻭ ﺳﺎﻳﺮ ﻣﻔﺮﺩﺍﺕ )ﺍﺯ( ﻣﻮﻻﻧﺎ ﮔﺮﻓﺖ“‪.١‬‬ ‫ﺷﻴﺦ ﻣﺤﻤ‪‬ﺪ ﺣﻴﺎﺕ ﺳ‪‬ﻨﺪﻱ ﺩﺭ ﺳﺎﻝ ‪ ١١٦٣‬ﻫﺠﺮﻱ ﻓﻮﺕ ﻛﺮﺩ ﻭ ﺩﺭ ﻗﺒﺮﺳﺘﺎﻥ ﺑﻘﻴﻊ ﺩﻓﻦ ﺷﺪ‪ .‬ﺁﺯﺍﺩ ﺍﺯ‬ ‫ﻛﻠﻤﺔ »ﺭﺣﻠﺔ ﺷﻴﺨﻲ« ﺗﺎﺭﻳﺦ ﻭﻓﺎﺕ ﺍﻭ ﻳﺎﻓﺘﻪ ﺍﺳﺖ‪.٢‬‬ ‫ﺷﻴﺦ ﺩﺭ ﻋﺮﻳﻲ ﺗﺄﻟﻴﻔﺎﺕ ﺯﻳﺎﺩﻱ ﺩﺍﺭﺩ ﺍﺯ ﺁﻥ ﺟﻤﻠﻪ‪ :‬ﺍﻻﻳﻘﺎﻑ ﻋﻠﻲ ﺳﺒﺐ ﺍﻻﺧﺘﻼﻑ‪ ،‬ﺭﺳﺎﻟﺔ ﻓﻲ ﺭﺩ‬ ‫ﺑﺪﻋﺔ ﺍﻟﺘﻌﺰﻳﺔ‪ ،‬ﲢﻔﺔ ﺍﻻﻧﺎﻡ ﻓﻲ ﺍﻟﻌﻤﻞ ﺑﺤﺪﻳﺚ ﺍﻟﻨﹼﺒﻲ ﻋﻠﻴﻪ ﺍﻟﺼﹼﻠﻮﺓ ﻭ ﺍﻟﺴ‪‬ﻼﻡ‪ ،‬ﺭﺳﺎﻟﺔ ﻓﻲ ﺍﻟﻨﻬﻲ ﻋﻦ ﻋﺸﻖ‬ ‫ﺻﻮﺭﺍﻟﻤﺮﺩ ﻭ ﺍﻟﻨﺴﻮﺍﻥ‪ ،‬ﺭﺳﺎﻟﺔ ﻓﻲ ﺍﺑﻄﺎﻝ ﺍﻟﻀﺮﺍﺋﺢ‪ ،‬ﺷﺮﺡ ﺍﻟﺘﺮﻏﻴﺐ ﻭ ﺍﻟﺘﺮﻫﻴﺐ ﻟﻠﻤﻨﺬﺭﻱ‪ ،‬ﻣﻘﺪﻣﺔ ﻓﻲ‬ ‫ﺍﻟﻌﻘﺎﺋﺪ‪ ،‬ﲢﻔﺔ ﺍﻟﻤﺤﺒ‪‬ﻴﻦ ﻓﻲ ﺷﺮﺡ ﺍﻻﺭﺑﻌﻴﻦ )ﺍﻟﻨﻮﻭﻳﺔ(‪ ،‬ﺷﺮﺡ ﺍﻟﺤﻜﻢ ﺍﻟﻌﻄﺎﺋﻴﺔ‪ ،‬ﺷﺮﺡ ﺍﻻﺭﺑﻌﻴﻦ‬ ‫)ﻟﻤﻠﹼﺎ ﻋﻠﻲ ﻗﺎﺭﻱ(‪ ،‬ﺷﺮﺡ ﺣﻜﻢ ﺍﻟﺤﺪﺍﺩﻳﺔ‪ ،‬ﻣﺨﺘﺼﺮﺍﻟﺰﻭﺍﺟﺮ ﻻﺑﻦ ﺣﺠﺮ ﻭ ﺍﻟﺒﺸﺎﺭﺓ ﻻﻫﻞ ﺍﻻﺷﺎﺭﺓ‪.٣‬‬ ‫‪ -٥‬ﻣﻴﺮ ﺳﻴ‪‬ﺪ ﻣﺤﻤ‪‬ﺪ ﺷﺎﻋﺮ ﺑﻠﮕﺮﺍﻣﻲ )‪ ١١٠١-١١٨٥‬ﻫ(‬ ‫ﺳﻴﺪ ﻣﺤﻤﺪ ﺷﺎﻋﺮ ﻓﺮﺯﻧﺪ ﻣﻴﺮ ﻋﺒﺪﺍﻟﺠﻠﻴﻞ ﺑﻠﮕﺮﺍﻣﻲ ﺍﺳﺖ ﻛﻪ ﺩﺭ ﺳﺎﻝ ‪ ١١٠١‬ﻫﺠﺮﻱ ﺩﺭ ﺑﻠﮕﺮﺍﻡ ﺑﻪ ﺩﻧﻴﺎ‬ ‫ﺁﻣﺪﻩ ﻭ ﻛﺘﺐ ﺩﺭﺳﻲ ﻧﺰﺩ ﺍﺳﺘﺎﺩ ﺍﻟﻤﺤﻘﹼﻘﻴﻦ ﻣﻴﺮ ﻃﻔﻴﻞ ﻣﺤﻤ‪‬ﺪ ﺑﻠﮕﺮﺍﻣﻲ ﻭ ﺍﺯ ﭘﺪﺭ ﺧﻮﺩ ﻣﻴﺮ ﻋﺒﺪﺍﻟﺠﻠﻴﻞ‬ ‫ﺑﻠﮕﺮﺍﻣﻲ ﺧﻮﺍﻧﺪﻩ ﺑﻮﺩ‪ .‬ﺍﻭ ﺩﺭ ﺳ‪‬ﻨﹾﺪ ﻣﻨﺼﺐ ﻭﻗﺎﻳﻊﻧﮕﺎﺭﻱ ﻭ ﻣﻴﺮ ﺑﺨﺸﻲﮔﺮﻱ ﺩﺍﺷﺖ‪ .‬ﺍﻭ ﺑﻪ ﺻﻔﺎﺕ ﺣﻤﻴﺪﻩ‬ ‫ﻣﺘﹼﺼﻒ ﺑﻮﺩ ﻭ »ﺷﺎﻋﺮ« ﺗﺨﻠﹼﺺ ﻣﻲﻛﺮﺩ‪ .‬ﺍﺯ ﺁﺛﺎﺭ ﻭﻱ »ﺍﻟﺠﺰﺀ ﺍﻻﺷﺮﻑ ﻣﻦ ﺍﻟﻤﺴﺘﻄﺮﻑ«‪) ٤‬ﻣﻨﺘﺨﺐ ﻛﺘﺎﺏ‬ ‫ﻣﺴﺘﻈﺮﻑ( ﻭ »ﺗﺒﺼﺮﺓ ﺍﻟﻨﺎﻇﺮﻳﻦ«‪ ٥‬ﺍﺳﺖ ﻛﻪ ﺷﺎﻣﻞ ﻭﻗﺎﻳﻊ ﺳ‪‬ﻨﺪ ﺍﺯ ﺳﺎﻝ ‪ ١١٠١‬ﺗﺎ ‪ ١١٨٢‬ﻫﺠﺮﻱ ﻣﻲﺑﺎﺷﺪ‬ ‫ﻭ ﻣﺜﻨﻮﻱ ﻣﺨﺘﺼﺮ ﺑﻪ ﻧﺎﻡ »ﻧﺎﺯ ﻭ ﻧﻴﺎﺯ« ﮐﻪ ﻧﺴﺨﺔ ﻣﻨﺤﺼﺮ ﺑﻪ ﻓﺮﺩ ﺩﺭ ﮐﺘﺎﺑﺨﺎﻧﺔ ﺧﺪﺍﺑﺨﺶ‪ ،‬ﭘﺘﻨﺎ ﻧﮕﻬﺪﺍﺭﻱ‬ ‫ﻣﻲﺷﻮﺩ‪ ،‬ﺍﻣﺎ ﺑﺴﻴﺎﺭ ﻓﺮﺳﻮﺩﻩ ﺍﺳﺖ‪ .‬ﺩﺭ »ﺗﺒﺼﺮﺓ ﺍﻟﻨﺎﻇﺮﻳﻦ« ﺩﺭﺑﺎﺭﺓ ﮔﺮﺩﺁﻭﺭﻱ ﺩﻳﻮﺍﻥ ﺧﻮﺩ ﺍﺷﺎﺭﻩ ﮐﺮﺩﻩ‬ ‫ﺍﺳﺖ ﺍﻣﺎ ﻣﺘﺄﺳ‪‬ﻔﺎﻧﻪ ﺩﻳﻮﺍﻧﺶ ﻓﻌ ﹰﻼ ﭘﻴﺪﺍ ﻧﻴﺴﺖ‪ .‬ﺁﺯﺍﺩ ﺩﺭﺑﺎﺭﺓ ﺷﺎﻋﺮﻱ ﻭﻱ ﻧﻮﺷﺘﻪ ﺍﺳﺖ‪:‬‬ ‫‪ .١‬ﺳﺮﻭ ﺁﺯﺍﺩ‪ ،‬ﺹ ‪.٢٩٣‬‬ ‫‪ .٢‬ﻣﺂﺛﺮﺍﻟﻜﺮﻡ‪ ،‬ﺹ ‪.١٤٦‬‬ ‫‪ .٣‬ﻗﺎﺿﻲ ﻋﺒﺪﺍﻟﹼﻨﺒﻲ ﻛﻮﻛﺐ‪ :‬ﻓﻬﺮﺳﺖ ﻣﻔ ﹼﺼﻞ ﻣﺨﻄﻮﻃﺎﺕ ﻋﺮﺑﻴﻪ ﻛﺘﺎﺑﺨﺎﻧﺔ ﺩﺍﻧﺸﮕﺎﻩ ﭘﻨﺠﺎﺏ‪ ،‬ﻻﻫﻮﺭ‪ ،‬ﺝ ‪ ،١‬ﺹ ‪.٢٢٧-٣٠‬‬ ‫‪ .٤‬ﺍﻟﻤﺴﺘﻄﺮﻑ ﻓﻲ ﻛﻞ ﻓﻲ ﻣﺴﺘﻈﺮﻑ ﺗﺄﻟﻴﻒ ﺷﻬﺎﺏﺍﻟ ‪‬ﺪﻳﻦ ﻣﺤ ‪‬ﻤﺪ )‪ ٧٦٠-٨٥٠‬ﻫ( ﺩﺭ ﺁﺩﺍﺏ ﻭ ﻣﻮﺍﻋﻆ ﻣﻲﺑﺎﺷﺪ‪ .‬ﺑﺨﺸﻲ ﺍﺯ‬ ‫ﺍﻳﻦ ﮐﺘﺎﺏ ﺩﺭ ﺗﺒﺼﺮﺓ ﺍﻟﻨﺎﻇﺮﻳﻦ ﺁﻭﺭﺩﻩ ﺷﺪﻩ ﺍﺳﺖ‪.‬‬ ‫‪ .٥‬ﺍﻳﻦ ﻛﺘﺎﺏ ﺳﺎﻟﻨﺎﻣﺔ ﻋﻠﻤﻲ ﻭ ﻓﺮﻫﻨﮕﻲ ﻭ ﺳﻴﺎﺳﻲ ﺷﺒﻪ ﻗﺎ ‪‬ﺭﻩ ﺍﺳﺖ‪ ،‬ﺍﻟﺒﹼﺘﻪ ﺑﻴﺸﺘﺮ ﻣﻄﺎﻟﺐ ﻣﺮﺑﻮﻁ ﺑﻪ ﻣﻌﺎﺻﺮﺍﻥ ﻭ ﻣﻌﺎﺷﺮﺍﻥ ﻭ‬ ‫ﺑﺰﺭﮔﺎﻥ ﺑﻠﮕﺮﺍﻡ ﺍﺳﺖ‪ .‬ﻫﻨﻮﺯ ﺑﻪ ﭼﺎﭖ ﻧﺮﺳﻴﺪﻩ ﺍﺳﺖ‪ .‬ﺑﺮﺍﻱ ﻧﺴﺨﻪﻫﺎﻱ ﺧ ﹼﻄﻲ ﺁﻥ )ﺭﻙ‪ :‬ﻓﻬﺮﺳﺖ ﻣﺸﺘﺮﻙ‪ ،‬ﺝ ‪ ،١٢‬ﺹ‬ ‫‪.(١٨٩٥‬‬

‫ﻣﻘﺪ‪‬ﻣﻪ ﺩﺭ ﺍﺣﻮﺍﻝ ﻭ ﺁﺛﺎﺭﹺ ﻣﻴﺮ ﻏﻼﻡ ﻋﻠﯽ ﺁﺯﺍﺩ ﺑﻠﮕﺮﺍﻣﻲ ‪٤٧ //‬‬ ‫”ﻣﻴﺮ‪ ،‬ﻃﺒﻌﻲ ﻭﻗﹼﺎﺩ ﻭ ﺫﻫﻨﻲ ﻧﻘﹼﺎﺩ ﺩﺍﺭﺩ‪ ...‬ﻣﻬﺎﺭﺕ ﺯﺑﺎﻥ ﻋﺮﺑﻲ ﻭ ﻓﺎﺭﺳﻲ ﻭ ﻫﻨﺪﻱ ﺍﺯ ﺣﺪ‪ ‬ﺍﻓﺰﻭﻥ‬ ‫ﺍﺳﺖ ﻭ ﺍﺷﻌﺎﺭﺍﻟﺴﻨﺔ ﺛﻼﺛﻪ ﺩﺭ ﺧﺰﺍﻧﺔ ﺣﺎﻓﻈﺔ ﻋﺎﻟﻲ ﺍﺯ ﺣﺼﺮ ﺑﻴﺮﻭﻥ‪ .‬ﺳﺨﻦ ﺭﺍ ﺍﻛﺜﺮ ﺍﻭﻗﺎﺕ ﻣﻮﺯﻭﻥ‬ ‫ﻣﻲﻛﻨﺪ ﻭ ﺟﻮﺍﻫﺮ ﺁﺑﺪﺍﺭ ﺩﺭ ﺳﻠﻚ ﻧﻈﻢ ﻣﻲﻛﺸﺪ“‪.١‬‬ ‫ﺁﺯﺍﺩ ﻧﺰﺩ ﻣﻴﺮ ﺳﻴ‪‬ﺪ ﻣﺤﻤ‪‬ﺪ ﺑﻠﮕﺮﺍﻣﻲ ﻋﺮﻭﺽ ﻭ ﻗﻮﺍﻓﻲ ﻭ ﺑﺮﺧﻲ ﺍﺯ ﻓﻨﻮﻥ ﺍﺩﺏ ﺭﺍ ﺧﻮﺍﻧﺪﻩ ﺑﻮﺩ‪ .‬ﺩﺭ ﺍﻳﻦ‬ ‫ﺑﺎﺭﻩ ﻣﻲﻧﻮﻳﺴﺪ‪:‬‬ ‫”ﻭ ﻋﺮﻭﺽ ﻭ ﻗﺎﻓﻴﻪ ﻭ ﺑﻌﺾ ﻓﻨﻮﻥ ﺍﺩﺏ ﺍﺯ ﺧﺪﻣﺖ ﻭﺍﻻ ﺩﺭﺟﺖ ﻣﻴﺮ ﺳﻴ‪‬ﺪ ﻣﺤﻤ‪‬ﺪ ﺧﻠﻒﺍﻟﺼﹼﺪﻕ‬ ‫ﻋﻼﻣﺔ ﻣﺮﺣﻮﻡ )ﻣﻴﺮ ﻋﺒﺪﺍﻟﺠﻠﻴﻞ ﺑﻠﮕﺮﺍﻣﻲ(… ﺗﻠﻤ‪‬ﺬ ﻛﺮﺩ“‪.٢‬‬ ‫ﻭﻓﺎﺕ ﺍﻭ ﺩﺭ ﺳﺎﻝ ‪ ١١٨٥‬ﻫﺠﺮﻱ ﺍﺗﻔﺎﻕ ﺍﻓﺘﺎﺩ‪ .‬ﺁﺯﺍﺩ ﻗﺼﻴﺪﻩﺍﻱ ﺩﺭ ﺭﺣﻠﺖ ﻣﻴﺮ ﻣﺬﻛﻮﺭ ﺳﺮﻭﺩﻩ ﻭ ﺍﺯ‬ ‫ﺍﻳﻦ ﻣﺼﺮﻉ ﺗﺎﺭﻳﺦ ﻳﺎﻓﺘﻪ ﺍﺳﺖ‪:‬‬ ‫»ﺭﻓﺖ ﻗﺪﺳﻲ ﺯﻣﺎﻥ ﺳﻴ‪‬ﺪ ﻣﺤﻤ‪‬ﺪ ﺍﺯ ﺟﻬﺎﻥ«‪٣‬‬ ‫ﺳﻔﺮﻫﺎﻱ ﺁﺯﺍﺩ‬ ‫ﺁﺯﺍﺩ ﺩﺭ ﻋﻤﺮ ﺧﻮﺩ ﺳﻪ ﺳﻔﺮ ﻃﻮﻻﻧﻲ ﻧﻤﻮﺩﻩ ﻭ ﺗﻔﺼﻴﻞ ﺁﻧﻬﺎ ﺭﺍ ﺩﺭ ﺗﺬﻛﺮﻩﻫﺎﻱ ﺧﻮﺩ ﺩﺭﺝ ﻛﺮﺩﻩ ﺍﺳﺖ‪.‬‬ ‫ﺳﻔﺮ ﺍﻭ‪‬ﻝ‬ ‫ﺩﺭ ﺳﺎﻝ ‪ ١١٣٤‬ﻫﺠﺮﻱ ﺑﻪ ﺍﺗﹼﻔﺎﻕ ﻣﻴﺮ ﻋﻈﻤﺖ ﺍﷲ ﺑﻴﺨﺒﺮ ﺑﻠﮕﺮﺍﻣﻲ )ﻡ‪ ١١٤٢ :‬ﻫ( ﺑﻪ ﺷﺎﻫﺠﻬﺎﻥﺁﺑﺎﺩ ﻧﺰﺩ ﺟﺪ‪‬‬ ‫ﻣﺎﺩﺭﻱ ﺧﻮﺩ ﻣﻴﺮ ﻋﺒﺪﺍﻟﺠﻠﻴﻞ ﺑﻠﮕﺮﺍﻣﻲ )ﻡ‪ ١١٣٨ :‬ﻫ( ﺭﻓﺖ ﻭ ﺩﻭ ﺳﺎﻝ ﺩﺭ ﺁﻧﺠﺎ ﺑﻮﺩ ﻭ ﺍﺯ ﻣﻴﺮ ﻋﺒﺪﺍﻟﺠﻠﻴﻞ‬ ‫ﺑﻠﮕﺮﺍﻣﻲ ﺍﻛﺘﺴﺎﺏ ﻓﻴﺾ ﻛﺮﺩ‪ ،٤‬ﺳﭙﺲ ﺩﺭ ﺳﺎﻝ ‪ ١١٣٧‬ﻫﺠﺮﻱ ﺑﻪ ﺑﻠﮕﺮﺍﻡ ﺑﺎﺯﮔﺸﺖ‪.‬‬ ‫ﺳﻔﺮ ﺩﻭ‪‬ﻡ‬ ‫ﺩﺭ ﺫﻱﺍﻟﺤ ‪‬ﺠﺔ ‪ ١١٤٢‬ﻫﺠﺮﻱ ﺑﻪ ﺳﻴﻮﺳﺘﺎﻥ‪ ٥‬ﺭﻓﺖ‪ .‬ﺳﻴﻮﺳﺘﺎﻥ ﻣﻨﻘﻄﻪﺍﻱ ﺍﺳﺖ ﺩﺭ ﺳ‪‬ﹾﻨﺪ‪ .‬ﺁﻧﺠﺎ ﺩﺍﻳﻲ ﻭ ﺍﺳﺘﺎﺩ‬ ‫ﺍﺳﺘﺎﺩ ﻭﻱ ﻣﻴﺮ ﺳﻴ‪‬ﺪ ﻣﺤﻤ‪‬ﺪ ﺑﻠﮕﺮﺍﻣﻲ ﻣﺘﺨﻠﹼﺺ ﺑﻪ ﺷﺎﻋﺮ )ﻡ‪ ١١٨٥ :‬ﻫ( ﺑﻪ ﺳﻤﺖ ﻭﻗﺎﻳﻊﻧﻮﻳﺴﻲ ﻭ‬ ‫‪ .١‬ﺳﺮﻭ ﺁﺯﺍﺩ‪ ،‬ﺹ ‪.٢٩١‬‬ ‫‪ .٢‬ﻫﻤﺎﻥ‪ ،‬ﺹ ‪.٢٩٣‬‬ ‫‪ .٣‬ﻫﻤﺎﻥ‪ ،‬ﺹ ‪.٢٨٦‬‬ ‫‪ .٤‬ﺁﺯﺍﺩ ﺑﻠﮕﺮﺍﻣﻲ‪ ،‬ﺧﺰﺍﻧﺔ ﻋﺎﻣﺮﻩ‪ ،‬ﺹ ‪١٢٤‬؛ ﺁﺯﺍﺩ ﺑﻠﮕﺮﺍﻣﻲ‪ ،‬ﻏﺰﻻﻥ ﺍﻟﻬﻨﺪ )ﻧﺴﺨﺔ ﺧ ﹼﻄﻲ ﻣﻮﺯﺓ ﻣﹼﻠﻲ‪ ،‬ﻛﺮﺍﭼﻲ‪ ،‬ﺷﻤﺎﺭﺓ ‪-١٣١/٢‬‬ ‫‪ ،(N.M.1968‬ﺹ ‪.١٠٩‬‬ ‫‪ .٥‬ﺻﺎﺣﺐﹺ ﻧﺸﺘﺮ ﻋﺸﻖ ﺳﻴﻮﺳﺘﺎﻥ ﺭﺍ ﺳﻴﺴﺘﺎﻥ ﻧﻮﺷﺘﻪ ﺍﺳﺖ‪ ،‬ﺹ ‪١٧٦‬؛ ﺁﺯﺍﺩ ﺑﻠﮕﺮﺍﻣﻲ‪ ،‬ﻏﺰﻻﻥ ﺍﻟﻬﻨﺪ‪ ،‬ﺹ ‪.١١٠‬‬

‫‪ // ٤٨‬ﮐﻠﻴ‪‬ﺎﺕ‪ ‬ﺁﺯﺍﺩ ﺑﻠﮕﺮﺍﻣﻲ‬ ‫ﻣﻴﺮ ﺑﺨﺸﻲﮔﺮﻱ ﻣﺄﻣﻮﺭ ﺑﻮﺩ‪ .‬ﺁﺯﺍﺩ ﺍﺯ ﺭﺍﻩ ﺷﺎﻫﺠﻬﺎﻥﺁﺑﺎﺩ‪ ،‬ﻻﻫﻮﺭ‪ ،‬ﻣ‪‬ﻠﺘﺎﻥ ﻭ ﺍﹸﻭﭺ ﺑﻪ ﺳﻴﻮﺳﺘﺎﻥ ﺭﻓﺖ ﻭ ﺩﺭ‬ ‫ﺩﻫﻢ ﺑﻴﻊﺍﻻﻭ‪‬ﻝ ‪ ١١٤٣‬ﻫﺠﺮﻱ ﺑﻪ ﺁﻥ ﺩﻳﺎﺭ ﺭﺳﻴﺪ‪ .‬ﻣﻴﺮ ﻣﺬﻛﻮﺭ ﺁﺯﺍﺩ ﺭﺍ ﺑﻪ ﻧﻴﺎﺑﺖ ﺧﻮﺩ ﺑﻪ ﻫﺮ ﺩﻭ ﻣﻨﺼﺐ‬ ‫ﻣﻨﺼﻮﺏ ﻛﺮﺩ ﻭ ﺧﻮﺩ ﺑﻪ ﺑﻠﮕﺮﺍﻡ ﺭﻓﺖ‪ .‬ﺁﺯﺍﺩ ﺩﺭ ﻏﻴﺎﺏ ﻣﻴﺮ ﺳﻴ‪‬ﺪ ﻣﺤﻤ‪‬ﺪ ﺑﻪ ﻣﺪ‪‬ﺕ ﭼﻬﺎﺭ ﺳﺎﻝ ﺩﺭ ﺳﻴﻮﺳﺘﺎﻥ‬ ‫ﻭﻇﺎﻳﻒ ﻣﺤﻮﻟﻪ ﺭﺍ ﺑﻪ ﻧﺤﻮ ﺍﺣﺴﻦ ﺍﻧﺠﺎﻡ ﺩﺍﺩ‪ .‬ﺍﻟﺒﺘﹼﻪ ﺩﺭ ﺧﻼﻝ ﻛﺎﺭ ﻳﻚ ﺑﺎﺭ ﺍﻧﻔﺼﺎﻝ ﺧﺪﻣﺖ ﺭﺥ ﺩﺍﺩ‪ .‬ﺍﻳﻦ‬ ‫ﺭﻭﻳﺪﺍﺩ ﺑﺮ ﻭﻱ ﺍﺛﺮﻱ ﻧﻬﺎﺩ‪ ،‬ﻭﻟﻲ ﻣﻲﮔﻮﻳﺪ ﻛﻪ ”ﺩﺭ ﺧﻮﺍﺏ ﺍﻭ ﺭﺍ ﺣﻀﺮﺕ ﻣﺨﺪﻭﻡ ﻟﻌﻞ ﺷﻬﺒﺎﺯ‪ ١‬ﻗﺪ‪‬ﺱ ﺳﺮ‪‬ﻩ‬ ‫ﺑﺸﺎﺭﺕ ﻣﻲﺩﻫﺪ ﻛﻪ ﻛﺎﺭ ﺷﻤﺎ ﺩﺭﺳﺖ ﺧﻮﺍﻫﺪ ﺷﺪ ﻭ ﭼﻨﻴﻦ ﺷﺪ“‪.٢‬‬ ‫ﺁﺯﺍﺩ ﺍﺯ ﺳﻴﻮﺳﺘﺎﻥ ﺩﺭ ﺍﻭﺍﺳﻂ ﺳﺎﻝ ‪ ١١٤٧‬ﻫﺠﺮﻱ ﺑﻪ ﺑﻠﮕﺮﺍﻡ ﺑﺮﮔﺸﺖ‪ .‬ﺩﺭ ﺣﻴﻦ ﺳﻔﺮ ﺩﺭ ﺷﻬﺮ ﺑ‪‬ﻬﻜﹼ ‪‬ﺮ‬ ‫ﺑﺎ ﺷﻴﺦ ﺣﺰﻳﻦ ﻻﻫﻴﺠﻲ‪ ١١٠٣ -١١٨٠) ٣‬ﻫ( ﻛﻪ ﺍﻭ ﻧﻴﺰ ﺍﺯ ﺍﻳﺮﺍﻥ ﺑﻪ ﺟﺎﻧﺐ ﻫﻨﺪﻭﺳﺘﺎﻥ ﻋﺎﺯﻡ ﺑﻮﺩﻩ ﻣﻼﻗﺎﺕ‬ ‫ﻧﻤﻮﺩ ﻭ ﺩﺭ ﻻﻫﻮﺭ ﺑﺎ ﻭﺍﻟﺔ ﺩﺍﻏﺴﺘﺎﻧﻲ )‪ ١١٢٤-١١٧٠‬ﻫ(‪ ٤‬ﺩﻳﺪﺍﺭ ﻛﺮﺩ‪ .‬ﻭﻗﺘﻲ ﺍﻭ ﺑﻪ ﺷﺎﻫﺠﻬﺎﻥﺁﺑﺎﺩ ﺭﺳﻴﺪ‬ ‫ﻣﻌﻠﻮﻡ ﺷﺪ ﻛﻪ ﭘﺪﺭﺵ ﺳﻴ‪‬ﺪ ﻣﺤﻤ‪‬ﺪ ﻧﻮﺡ )ﻡ‪ ١١٦٥ :‬ﻫ( ﻭ ﺍﻓﺮﺍﺩ ﺧﺎﻧﻮﺍﺩﺓ ﺍﻭ ﺩﺭ ﺷﻬﺮ ﺍﻟﻪﺁﺑﺎﺩ ﻣﻲﺑﺎﺷﻨﺪ‪ .‬ﺍﻭ‬ ‫ﻧﻴﺰ ﺍﺯ ﻃﺮﻳﻖ ﺍﻛﺒﺮﺁﺑﺎﺩ )ﺁﮔﺮﻩ( ﺑﻪ ﺍﻟﻪﺁﺑﺎﺩ ﺭﻓﺖ‪ .‬ﺍﺯ ﺁﻧﺠﺎ ﺑﻪ ﻟﻜﻬﻨﻮ‪ ٥‬ﻭ ﺑﻠﮕﺮﺍﻡ ﺭﻓﺖ ﻭ ﺳﭙﺲ ﺑﻪ ﺍﻟﻪﺁﺑﺎﺩ‬ ‫ﺑﺮﮔﺸﺖ‪ .‬ﺑﻌﺪﹰﺍ ﺩﻭﺑﺎﺭﻩ ﺑﻪ ﺑﻠﮕﺮﺍﻡ ﺭﻓﺖ ﻭ ﺷﻮﻕ ﺯﻳﺎﺭﺕ ﺣﺮﻣﻴﻦ ﺷﺮﻳﻔﻴﻦ ﺩﺭ ﺩﻝ ﻭﻱ ﺷﻌﻠﻪﻭﺭ ﺷﺪ‪.‬‬ ‫ﺳﻔﺮ ﺳﻮ‪‬ﻡ‬ ‫ﺁﺯﺍﺩ ﺩﺭ ﺯﻣﺎﻥ ﻛﻮﺩﻛﻲ ﺧﻮﺍﺑﻲ ﺩﻳﺪﻩ ﺑﻮﺩ ﻛﻪ ﮔﻮﻳﺎ ﺩﺭ ﻣﺴﺠﺪﻱ ﺩﺭ ﻣﻜﹼﺔ ﻣﻌﻈﹼﻤﻪ ﺍﺳﺖ ﻭ ﺳﺮﻭﺭ ﻛﺎﺋﻨﺎﺕ‬ ‫ﺣﻀﺮﺕ ﻣﺤﻤ‪‬ﺪ ﻣﺼﻄﻔﻲ)ﺹ( ﺩﺭ ﻣﺤﺮﺍﺏ ﻣﺴﺠﺪ ﺣﻀﻮﺭ ﺩﺍﺭﻧﺪ‪ .‬ﻭﻱ ﺩﺭ ﺧﺪﻣﺖ ﺁﻥ ﺣﻀﺮﺕ ﺭﻓﺖ ﻭ‬ ‫ﺣﻀﺮﺕ ﻣﺘﻮﺟﺔ ﺍﻭ ﺷﺪﻧﺪ ﻭ ﺑﺎ ﺗﺒﺴ‪‬ﻢ ﺑﺎ ﺍﻭ ﺻﺤﺒﺘﻲ ﻓﺮﻣﻮﺩﻧﺪ‪ .٦‬ﺩﺭﺑﺎﺭﺓ ﺁﻥ ﺭﻭﻳﺎ ﺩﺭ ﺍﺷﻌﺎﺭ ﺯﻳﺮ ﺍﺷﺎﺭﻩ‬ ‫ﻧﻤﻮﺩﻩ ﺍﺳﺖ‪:‬‬ ‫‪ .١‬ﻋﺜﻤﺎﻥ ﺍﻣﻴﺮﻛﺒﻴﺮ )‪ ٥٧٣-٦٧٣‬ﻫ( ﺍﺯ ﻋﺮﻓﺎﻱ ﻣﻌﺮﻭﻑ ﺳﻨﺪ ﺍﺳﺖ ﻛﻪ ﺍﺯ ﻣﺮﻗﺪ ﺑﻪ ﻣ‪‬ﻠﺘﺎﻥ ﻭ ﺍﺯ ﺁﻧﺠﺎ ﺑﻪ ﺍﹶﺟ‪‬ﻮﺩ‪‬ﻫﻦ‪ ‬ﺭﻓﺖ‪ .‬ﻣﺮﻗﺪ‬ ‫ﺍﻭ ﺩﺭ ﺳﻴﻬﻮﻥ )ﺳ‪‬ﻨﺪ( ﺍﺳﺖ‪.‬‬ ‫‪ .٢‬ﻣﺂﺛﺮﺍﻟﻜﺮﺍﻡ‪ ،‬ﺹ ‪.٢٧٤-٥‬‬ ‫‪ .٣‬ﺑﺎﻫﻢ ﺻﺤﺒﺖﻫﺎ ﺩﺳﺖ ﺩﺍﺩ ﻭ ﺟﺰﻭﻱ ﺍﺷﻌﺎﺭ ﺑﻪ ﺧﻂ ﺧﻮﺩ ﺑﺮ ﺳﺒﻴﻞ ﻳﺎﺩﮔﺎﺭ ﺗﺴﻠﻴﻢ ﻣﻦ ﻧﻤﻮﺩ‪ .‬ﺧﺰﺍﻧﺔ ﻋﺎﻣﺮﻩ‪ ،‬ﺹ ‪.١٩٤‬‬ ‫‪ .٤‬ﺑﺎﻫﻢ ﺗﺎ ﺷﺎﻫﺠﻬﺎﻥﺁﺑﺎﺩ ﺳﻔﺮ ﻛﺮﺩﻳﻢ ﻭ ﺑﻌﺪ ﻭﺭﻭﺩ ﺷﺎﻫﺠﻬﺎﻥﺁﺑﺎﺩ‪ ،‬ﻓﻘﻴﺮ ﻳﻚ ﻫﻔﺘﻪ ﺗﻮﻗﻒ ﻛﺮﺩﻩ‪ ،‬ﺭﺍﻩ ﺍﻟﻪﺁﺑﺎﺩ ﮔﺮﻓﺖ ﻭ ﺍﻭ ﺩﺭ‬ ‫ﺩﻫﻠﻲ ﺭﺣﻞ ﺍﻗﺎﻣﺖ ﺍﻓﻜﻨﺪ… ﺑﻌﺪ ﺍﻳﻦ ﺳﻌﺎﺩﺕ ﺑﻪ ﻣﻠﻚ ﺩﻛﻦ ﺍﻓﺘﺎﺩ‪) .‬ﺧﺰﺍﻧﺔ ﻋﺎﻣﺮﻩ‪ ،‬ﺹ ‪.(٤٤٨‬‬ ‫‪ .٥‬ﺍﻭ ﺑﻪ ﺗﺎﺭﻳﺦ ‪ ١٨‬ﺫﻱﺍﻟﺤ ‪‬ﺠﺔ ‪ ١١٤٨‬ﻫﺠﺮﻱ ﺑﻪ ﻟﻜﻬﻨﻮ ﺭﻓﺖ ﻭ ﺩﺭ ﺁﻧﺠﺎ ﺩﺭ ﺗﻜﻴﺔ ﺳ‪‬ﻴﺪ ﺟﻌﻔﺮ ﺭﻭﺣﻲ ﺭﻧﺒﻴﺮﭘﻮﺭﻱ‬ ‫)ﻡ‪ ١١٥٤ :‬ﻫ( ﭼﻨﺪ ﺭﻭﺯ ﻣﺎﻧﺪ‪) .‬ﺳﺮﻭ ﺁﺯﺍﺩ‪ ،‬ﺹ ‪.(٢٠٧-٨‬‬ ‫‪ .٦‬ﻣﺂﺛﺮﺍﻟﻜﺮﺍﻡ ﺹ ‪.٢٩١‬‬

‫ﻣﻘﺪ‪‬ﻣﻪ ﺩﺭ ﺍﺣﻮﺍﻝ ﻭ ﺁﺛﺎﺭﹺ ﻣﻴﺮ ﻏﻼﻡ ﻋﻠﯽ ﺁﺯﺍﺩ ﺑﻠﮕﺮﺍﻣﻲ ‪٤٩ //‬‬ ‫ﺑـﻪ ﺍﻟﻄـﺎﻑ‪ ‬ﺭﺳـﻮﻝ ﻫﺎﺷـﻤﻲ ﺁﺯﺍﺩ ﻣـﻲﻧـﺎﺯﺩ ﺷﺒﻲ ﺩﺭ ﺧﻮﺍﺏ ﺍﻳﻦ ﺑﻴﺪﺍﺭ ﺭﺍ ﺑﺨﺸﻴﺪ ﺩﺳـﺘﺎﺭﻱ‬ ‫ﺻﻔﺎ ﭘﺮﻭﺭﺩﻩ ﺟﺎﻳﻲ ﺩﻳﺪ ﺷـﺐ ﺁﺯﺍﺩ ﺩﺭ ﺭﻭﻳـﺎ ﻧﺒﺎﺷﺪ ﺟﺰ ﻃـﻮﺍﻑ‪ ‬ﺁﺳـﺘﺎﻥ ﺩﻭﺳـﺖ ﺗﻌﺒﻴـﺮﻱ‬ ‫ﺁﺯﺍﺩ ﻣﻲﮔﻮﻳﺪ ﻛﻪ ﺍﺯ ﻫﻤﺎﻥ ﻭﻗﺖ ﺩﺭ ﺧﺎﻃﺮﺓ ﺍﻭ ﺟﻠﻮﺓ ﺟﻤﺎﻝ ﺁﻥ ﺣﻀﺮﺕ)ﺹ( ﻣﺤﻔﻮﻅ ﻣﺎﻧﺪﻩ ﻭ ﻫﺮ‬ ‫ﻭﻗﺖ ﻛﻪ ﺑﻪ ﻳﺎﺩ ﺁﻥ ﺧﻮﺍﺏ ﻛﻮﺩﻛﻲ ﻣﻲﺍﻓﺘﺎﺩ‪ ،‬ﺟﻮﺵ ﻣﺤﺒ‪‬ﺖ ﻭ ﻋﻘﻴﺪﺕ ﻭ ﺧﺪﻣﺖ ﺍﻓﺰﻭﻥ ﻣﻲﺷﺪ ﺗﺎ ﺍﻳﻨﻜﻪ‬ ‫ﺭﻭﺯ ﺩﻭﺷﻨﺒﻪ ‪ ٣‬ﺭﺟﺐ ﺍﻟﻤﺮﺟﺐ ‪ ١١٥٠‬ﻫﺠﺮﻱ ﺍﺯ ﺑﻠﮕﺮﺍﻡ ﭘﻴﺎﺩﻩ ﻋﺎﺯﻡ ﺣﺠﺎﺯ ﮔﺮﺩﻳﺪ‪ .‬ﻣﻲﮔﻮﻳﺪ‪:‬‬ ‫ﺗﺮﺍ ﺻـﺪ ﺁﻓـﺮﻳﻦ ﺁﺯﺍﺩ ﺑـﺎ ﺍﻳـﻦ ﻧـﺎﺗﻮﺍﻧﻲﻫـﺎ ﭘﻴﺎﺩﻩ ﺍﺯ ﻭﻃﻦ ﺁﻫﻨﮓ‪ ‬ﮔﻠﮕﺸ ‪‬ﺖ ﻋﺮﺏ ﮐﺮﺩﻱ‬ ‫ﻛﻠﻤﺔ »ﺳﻔﺮ ﺧﻴﺮ« )= ‪ ١١٥٠‬ﻫ( ﺗﺎﺭﻳﺦ ﺁﻏﺎﺯﹺ ﺳﻔﺮ ﺍﺳﺖ‪ .‬ﺍﻭ ﺑﺪﻭﻥ ﺍﻃﻼﻉ ﺧﺎﻧﻮﺍﺩﺓ ﺧﻮﺩ ﺍﺯ ﺑﻠﮕﺮﺍﻡ‬ ‫ﺑﻴﺮﻭﻥ ﺁﻣﺪ ﻭ ﺍﺯ ﺑﻲﺭﺍﻫﻪ ﺭﺍﻩ‪ ‬ﺣﺠﺎﺯ ﺭﺍ ﭘﻴﺶ ﮔﺮﻓﺖ‪ .‬ﭘﺲ ﺍﺯ ﺳﻪ ﺭﻭﺯ ﻭﺍﺑﺴﺘﮕﺎﻥ ﻭ ﺧﻮﻳﺸﺎﻭﻧﺪﺍﻥ ﺍﻭ ﺍﺯ‬ ‫ﺍﻳﻦ ﻗﻀﻴﻪ ﺑﺎ ﺧﺒﺮ ﺷﺪﻧﺪ‪ .‬ﺑﺮﺍﺩﺭﺵ ﺳﻴ‪‬ﺪ ﻏﻼﻡ ﺣﺴﻦ ﺗﺎ ﺳﻪ ﻣﻨﺰﻝ ﺑﻪ ﺳﺮﺍﻍ ﺍﻭ ﺭﻓﺖ‪ ،‬ﻭﻱ ﺭﺍ ﻧﻴﺎﻓﺖ ﻭ‬ ‫ﻧﺎﭼﺎﺭ ﺑﺮﮔﺸﺖ‪ .‬ﺁﺯﺍﺩ ﺗﺎ ﻣﺎﻟﻮﻩ ﻧﺰﺩﻳﻚ ﮔﺠﺮﺍﺕ ﭘﻴﺎﺩﻩ ﺭﻓﺘﻪ ﺑﻮﺩ‪ ،‬ﺍﻭ ﺑﻪ ﭘﻴﺎﺩﻩ ﺭﻭﻱ ﻋﺎﺩﺕ ﻧﺪﺍﺷﺖ ﺩﺭ ﻧﺘﻴﺠﻪ‬ ‫ﭘﺎﻫﺎﻱ ﻭﻱ ﻭﺭﻡ ﻛﺮﺩ ﻭ ﺁﺑﻠﻪﺩﺍﺭ ﺷﺪ‪ .‬ﺍﺯ ﺣﺴﻦ ﺍﺗﹼﻔﺎﻕ ﻧﻮﺍﺏ ﺁﺻﻒ ﺟﺎﻩ )ﺑﻨﻴﺎﻧﮕﺬﺍﺭ ﺳﻠﻄﻨﺖ ﺁﺻﻔﻴﻪ ﺩﺭ‬ ‫ﺩﻛﻦ( ﻫﻤﺮﺍﻩ ﻟﺸﻜﺮﻳﺎﻥ ﺧﻮﺩ ﺩﺭ ﺁﻥ ﺯﻣﺎﻥ ﺩﺭ ﻣﺎﻟﻮﻩ ﭼﺎﺩﺭ ﺯﺩﻩ ﺑﻮﺩ‪ .‬ﺷﺨﺼﻲ ﻛﻪ ﺁﺯﺍﺩ ﺭﺍ ﻧﻤﻲﺷﻨﺎﺧﺖ‬ ‫ﺑﺎ ﻧﻬﺎﻳﺖ ﺍﺣﺘﺮﺍﻡ ﻭﻱ ﺭﺍ ﻣﻬﻤﺎﻥ ﻛﺮﺩ ﻭ » ‪‬ﺭ ﹾﺕ«‪ ١‬ﻣﺰﻳ‪‬ﻦ ﺑﺮﺍﻱ ﺳﻮﺍﺭﻱ ﻧﻴﺰ ﺍﻫﺪﺍ ﻛﺮﺩ‪ .‬ﺁﺯﺍﺩ ﺩﺭ ﻭﺻﻒ ﺁﻥ‬ ‫ﺭ‪‬ﺕ ﻣﺜﻨﻮﻱ ﺳﺮﻭﺩﻩ ﺍﺳﺖ ﻛﻪ ﻣﻄﻠﻊ ﺁﻥ ﺍﻳﻦ ﺍﺳﺖ‪:‬‬ ‫ﺭ‪‬ﺕ‪ ‬ﺭﻧﮕﻴﻦ ﻟﺒﺎﺱ ﻭ ﺧﻮﺵ ﺍﻟـﻮﺍﻥ ﺭﺍﻩ ﺭﻓﺘـــﻲ ﺑﺴـــﺎﻥ ﺗﺨـــ ‪‬ﺖ ﺭﻭﺍﻥ‬ ‫ﻫﻤﺎﻥ ﺳﺎﻝ ﺩﺭ ﺗﺎﺭﻳﺦ ‪ ٢٢‬ﺷﻌﺒﺎﻥ ﺍﻟﻤﻌﻈﹼﻢ ﺁﺯﺍﺩ ﺑﺎ ﻧﻮ‪‬ﺍﺏ ﺁﺻﻒ ﺟﺎﻩ ﻣﻼﻗﺎﺕ ﻛﺮﺩ ﻭ ﻳﻚ ﺭﺑﺎﻋﻲ‬ ‫ﺑﻪ ﺧﺪﻣﺖ ﺍﻭ ﮔﺬﺭﺍﻧﻴﺪ‪:‬‬ ‫ﺭﺑﺎﻋﻲ‬ ‫ﺍﻱ ﺣﺎﻣﺊ ﺩﻳﻦ ﻣﺤﻴﻂ ﺟﻮﺩ ﻭ ﺍﺣﺴﺎﻥ ﺣﻖ ﺩﺍﺩ ﺗـﺮﺍ ﺧﻄـﺎﺏ ﺁﺻـﻒ ﺷـﺎﻳﺎﻥ‬ ‫ﺍﻭ ﺗﺨــﺖ ﺑــﻪ ﺩﺭﮔــﺎﻩ ﺳــﻠﻴﻤﺎﻥ ﺁﻭﺭﺩ ﺗـﻮ ﺁﻝ ﻧﺒـﻲ ﺭﺍ ﺑـﻪ ﺩ ﹺﺭ ﻛﻌﺒـﻪ ﺭﺳـﺎﻥ‪٢‬‬ ‫ﻻﺯﻡ ﺑﻪ ﺫﻛﺮ ﺍﺳﺖ ﺑﺎ ﻭﺟﻮﺩﻱ ﻛﻪ ﺁﺯﺍﺩ ﻣﻮﺯﻭﻧﻲ ﻃﺒﻊ ﻭ ﻗﺪﺭﺕ ﺳﺨﻦﮔﻮﻳﻲ ﺩﺍﺷﺖ‪ ،‬ﺍﻣ‪‬ﺎ ﺩﺭ ﺗﻤﺎﻡ‬ ‫ﻋﻤﺮ ﺍﺯ ﻣﺪﺡﮔﻮﻳﻲ ﺍﻣﺮﺍ ﻭ ﺳﻼﻃﻴﻦ ﺍﺣﺘﺮﺍﺯ ﻛﺮﺩ‪ ،‬ﻣﮕﺮ ﺭﺑﺎﻋﻲ ﻣﺬﻛﻮﺭ ﻓﻘﻂ ﺑﺮﺍﻱ ﺍﺳﺘﻌﺎﻧﺖ ﺩﺭ ﺳﻔﺮ ﺣﺞ‬ ‫ﺑﺮ ﻗﻠﻢ ﻭ ﺩﻫﻨﺶ ﺟﺎﺭﻱ ﺷﺪ‪ .‬ﻋﻼﻭﻩ ﺑﺮ ﺭﺑﺎﻋﻲ ﻣﺬﻛﻮﺭ‪ ،‬ﺁﺯﺍﺩ ﺩﻭ ﺑﻴﺖ ﺩﻳﮕﺮ ﺑﻪ ﻋﺮﺑﻲ ﺩﺭ ﻣﺪﺡ ﻧﻮ‪‬ﺍﺏ‬ ‫‪ .١‬ﻳﻚ ﻧﻮﻉ ﺳﻮﺍﺭﻱ ﺍﺳﺖ ﻛﻪ ﻓﻴﻞ ﺁﻥ ﺭﺍ ﻣﻲﻛﺸﺪ‪.‬‬ ‫‪ .٢‬ﺳﺮﻭ ﺁﺯﺍﺩ‪ ،‬ﺹ ‪.١٩٢‬‬

‫‪ // ٥٠‬ﮐﻠﻴ‪‬ﺎﺕ‪ ‬ﺁﺯﺍﺩ ﺑﻠﮕﺮﺍﻣﻲ‬ ‫ﻧﻈﺎﻡﺍﻟﺪ‪‬ﻭﻟﻪ ﺷﻬﻴﺪ )‪ ١١٦٤‬ﻫ( ﺳﺮﻭﺩﻩ ﺍﺳﺖ ﻭ ﺩﺭﺑﺎﺭﺓ ﻫﺮ ﺩﻭ ﻗﻄﻌﻪ ﺷﻌﺮ ﻳﻌﻨﻲ ﺩﺭ ﻣﻮﺭﺩ ﺭﺑﺎﻋﻲ ﻓﺎﺭﺳﻲ ﻭ‬ ‫ﺩﻭ ﺑﻴﺖ ﻋﺮﺑﻲ ﭼﻨﻴﻦ ﻧﻮﺷﺘﻪ ﺍﺳﺖ‪:‬‬ ‫”ﺭﻭﺯﻱ ﺩﺭ ﻋﺮﺽ ﺭﺍﻩ ﻓﻴﻞ ﺳﻮﺍﺭﻱ ﻧﻮ‪‬ﺍﺏ ﻭ ﻓﻴﻞ ﺳﻮﺍﺭﻱ ﻓﻘﻴﺮ )ﺁﺯﺍﺩ( ﺑﺮﺍﺑﺮ ﻣﻲﺭﻓﺖ ﻭ ﺑﺎﻫﻢ‬ ‫ﺣﺮﻑ ﺩﺍﺷﺘﻴﻢ‪ .‬ﺣﺪﻳﺚ ﺟﺒﻞ ﹸﺍﺣﺪ ﻣﺬﻛﻮﺭ ﺷﺪ ﻛﻪ ﻫ‪‬ﺬﺍ ‪‬ﺟ‪‬ﺒﻞﹲ ﻳ‪ ‬ﺤﺒ‪‬ﻨﺎ ﻭ ﻧ‪‬ﺤ‪‬ﺒ‪‬ﻪ‪ ،‬ﻓﻘﻴﺮ ﺁﻥ ﺭﺍ ﻧﻈﻢ ﻛﺮﺩﻡ‬ ‫ﻭ ﺍﺧﻼﺹ ﻧﻮ‪‬ﺍﺏ ﺭﺍ ﺑﺎ ﺧﻮﺩ ﺍﻗﺘﺒﺎﺱ ﺣﺪﻳﺚ ﺷﺮﻳﻒ ﺍﺩﺍ ﺳﺎﺧﺘﻢ‪:‬‬ ‫ﻫ‪ ‬ﻮ ‪‬ﻧﺎﺻ‪‬ﺮ‪ ‬ﺍ ‪‬ﻻﺳ‪‬ﹶﻠﺎ ﹺﻡ ﺳ‪‬ﻠﹾ ﹶﻄﺎﻥﹸ ﺍﹾﻟ ‪‬ﻮ ‪‬ﺭﻱ ﹶﺍﺑ‪‬ﹶﻘﺎﻩ‪ ‬ﹶﻓـﻲ ﺍﹾﻟ ‪‬ﻌـﻴﺶﹺ ﺍﻟﹾﻤ‪‬ﺨﻠﱠـﺪ‪ ‬ﺭﺑـﻪ‬ ‫‪‬ﺣـﺎ ‪‬ﺯ ﺍﹾﻟ ‪‬ﻤ‪‬ﻨﺎﻗ‪‬ـ ‪‬ﺐ ‪‬ﻭ ﺍﻟﹾ ‪‬ﻤـﺄ‪‬ﺛ ‪‬ﺮ ﻛﺜﻠﱠﻬـﺎ ‪‬ﺟ‪‬ﺒــﻞﹸ ﺍﻟﹾ ‪‬ﻮﹶﻗــﺎﺭﹺ ﻳ‪‬ﺤ‪‬ﺒ‪‬ﻨــﺎ ‪‬ﻭ ﳓﺒــﻪ‬ ‫ﻓﻘﻴﺮ ﺳﻮﺍﻱ ﺍﻳﻦ ﻗﻄﻌﺔ ﻋﺮﺑﻲ ﻛﻪ ﺑﻪ ﻃﺮﻳﻖ ﺍﺧﻼﺹ ﺑﺮ ﺯﺑﺎﻥ ﮔﺬﺷﺖ ﻭ ﺭﺑﺎﻋﻲ ﻛﻪ ﺩﺭ ﺍﺳﺘﻌﺎﻧﺖ‬ ‫ﺳﻔﺮ ﺣﺞ ﻧﺴﺒﺖ ﺑﻪ ﻧﻮ‪‬ﺍﺏ ﺁﺻﻒ ﺟﺎﻩ ﻧﻈﻢ ﺷﺪ‪ ،‬ﻟﺐ ﺑﻪ ﻣﺪﺡ ﺩﻭﻟﺘﻤﻨﺪﻱ ﻧﮕﺸﻮﺩﻩ“‪.١‬‬ ‫ﻧﻮ‪‬ﺍﺏ ﺁﺻﻒ ﺟﺎﻩ ﺁﺯﺍﺩ ﺭﺍ ﺧﺮﺝ ﺳﻔﺮ ﺩﺍﺩ‪ .‬ﺍﻭ ﺍﺯ ﻃﺮﻳﻖ ﺑﻬﻮﭘﺎﻝ ﻭ ﺑﺮﻫﺎﻧﭙﻮﺭ ﺑﻪ ﺗﺎﺭﻳﺦ ‪ ١٠‬ﺫﻱﻗﻌﺪﻩ‬ ‫ﻭﺍﺭﺩ ﺑﻨﺪﺭ ‪‬ﺳﻮﺭﺕ ﺷﺪ ﻭ ﺑﻪ ﺗﺎﺭﻳﺦ ‪ ٢٤‬ﺫﻱﻗﻌﺪﻩ ﺳﻮﺍﺭ ﻛﺸﺘﻲ ﺷﺪﻩ ﻭ ﺑﻪ ﺭﻭﺯ ‪ ١٨‬ﻣﺤﺮ‪‬ﻡ ﺑﻪ ﺳﺎﺣﻞ ﺟﺪ‪‬ﻩ‬ ‫ﺭﺳﻴﺪﻩ ﻭ ‪ ١٩‬ﻣﺤﺮ‪‬ﻡ ﺑﻪ ﺷﻬﺮ ﻭﺍﺭﺩ ﺷﺪ‪ ٢٣ .‬ﻣﺤﺮﻡ ﺑﻪ ﻣﻜﹼﻪ ﺭﺳﻴﺪ ﻭ ‪ ٢٦‬ﻣﺤﺮ‪‬ﻡ ﺭﺍﻫﻲ ﺷﻬﺮ ﻣﺪﻳﻨﻪ ﺷﺪ ﻭ‬ ‫‪ ٢٥‬ﺻﻔﺮ ﺑﻪ ﺁﻧﺠﺎ ﺭﺳﻴﺪ‪ ١٤ .‬ﺷﻮ‪‬ﺍﻝ ﺑﺎﺭ ﺩﻳﮕﺮ ﺑﻪ ﻣﻜﹼﻪ ﻣﺮﺍﺟﻌﺖ ﻧﻤﻮﺩ ﻭ ﻣﻨﺎﺳﻚ ﺣﺞ ﺭﺍ ﺑﺠﺎ ﺁﻭﺭﺩ‪ .‬ﺍﺯ‬ ‫ﻛﻠﻤﺔ »ﻋﻤﻞ ﺍﻋﻈﻢ« )= ‪ ١١٥١‬ﻫ( ﺗﺎﺭﻳﺦ ﺑﺠﺎ ﺁﻭﺭﺩﻥ ﻣﻨﺎﺳﻚ ﺣﺞ ﺑﻪ ﺩﺳﺖ ﻣﻲﺁﻳﺪ‪ .‬ﺩﺭ ﻣﺪ‪‬ﺕ ﺍﻗﺎﻣﺖ ﺩﺭ‬ ‫ﺷﻬﺮ ﻣﺪﻳﻨﻪ ﭘﻴﺶ ﺷﻴﺦ ﻣﺤﻤ‪‬ﺪ ﺣﻴﺎﺕ ﺳﻨﺪﻱ ﺻﺤﻴﺢ ﺑﺨﺎﺭﻱ ﻭ ﺩﺭ ﻣﻜﹼﺔ ﻣﻜﺮ‪‬ﻣﻪ ﻧﺰﺩ ﺷﻴﺦ ﻋﺒﺪﺍﻟﻮﻫﺎﺏ‬ ‫ﻃﻨﻄﺎﻭﻱ ﺩﺭﺱ ﺣﺪﻳﺚ ﺧﻮﺍﻧﺪ‪ .‬ﺩﺭ ﺣﻴﻦ ﺍﻗﺎﻣﺖ ﺩﺭ ﻣﺪﻳﻨﻪ ﻭ ﻣﻜﹼﻪ ﺍﻭ ﻋﺘﺒﺎ ‪‬ﺕ ﻋﺎﻟﻴﺎﺕ ﻭ ﻣﺰﺍﺭﺍﺕ‪ ‬ﻣﻘﺪ‪‬ﺳﻪ‬ ‫ﺭﺍ ﺯﻳﺎﺭﺕ ﻛﺮﺩ‪ .‬ﺩﺭ ﺭﺑﻴﻊﺍﻻﻭ‪‬ﻝ ‪ ١١٥٢‬ﻫﺠﺮﻱ ﺑﻪ ﻃﺎﻳﻒ ﻭ ﻧﻮﺍﺣﻲ ﺁﻥ ﺭﻓﺖ ﻭ ﺑﻪ ﺯﻳﺎﺭﺕ ﻣﺰﺍﺭ ﻋﺒﺪﺍﷲ‬ ‫ﺑﻦ ﻋﺒ‪‬ﺎﺱ ﻣﺸﺮ‪‬ﻑ ﺷﺪ‪ .‬ﺩﺭ ﺍﻭﺍﺧﺮ ﺭﺑﻴﻊﺍﻟﺜﺎﻧﻲ ﻫﻤﺎﻥ ﺳﺎﻝ ﭘﺲ ﺍﺯ ﻃﻮﺍﻑ ﺧﺎﻧﺔ ﻛﻌﺒﻪ ﺑﻪ ﺑﻨﺪﺭ ﺟﺪ‪‬ﻩ ﺭﺳﻴﺪ ﻭ‬ ‫ﺭﻭﺯ ﺳﻮ‪‬ﻡ ﺟﻤﺎﺩﻱﺍﻻﻭﻟﻲ ﺳﻮﺍ ﹺﺭ ﻛﺸﺘﻲ ﺷﺪ ﻭ ﭘﺲ ﺍﺯ ﻫﺸﺖ ﺭﻭﺯ ﺑﻪ ﺑﻨﺪﺭ »ﻣﺨﺎ« ﻣﻌﺮﻭﻑﺗﺮﻳﻦ ﺑﻨﺪﺭ ﻳﻤﻦ‬ ‫ﺭﺳﻴﺪ‪ .‬ﭼﻬﺎﺭ ﺭﻭﺯ ﺩﺭ ﺁﻧﺠﺎ ﻣﺎﻧﺪ‪ ،‬ﻭ ﺍﻳﻦ ﻓﺮﺻﺖ ﺭﺍ ﻏﻨﻴﻤﺖ ﺷﻤﺮﺩ ﻭ ﺑﻪ ﺯﻳﺎﺭﺕ ﻣﺰﺍﺭ ﺣﻀﺮﺕ ﺍﺑﻮﺍﻟﺤﺴﻦ‬ ‫ﻋﻠﻲ ﺑﻦ ﻋﺒﺪﺍﷲ ﺷﺎﺫﻟﻲ ﻣﺸﺮ‪‬ﻑ ﮔﺸﺖ‪ .‬ﻛﺸﺘﻲ ﺍﻭ ‪ ٢٩‬ﺟﻤﺎﺩﻱﺍﻻﻭﻟﻲ ﺑﻪ ﺑﻨﺪﺭ ﺳ‪‬ﻮﺭﺕ ﻟﻨﮕﺮ ﺍﻧﺪﺍﺧﺖ ﻭ ﺍﻭ‬ ‫ﺭﻭﺯ ‪ ٢‬ﺟﻤﺎﺩﻱﺍﻵﺧﺮ ﺩﺭ ﺑﻨﺪﺭ ‪‬ﺳﻮﺭﺕ ﭘﻴﺎﺩﻩ ﺷﺪ ﻭ ﺩﺭ ﺗﺎﺭﻳﺦ ‪ ١١٥٢‬ﻫﺠﺮﻱ )= ﺳﻔﺮ ﺑﺨﻴﺮ(‪ ،‬ﺳﻔﺮ ﺣﺠﺎﺯ‬ ‫ﺍﻭ ﺑﻪ ﭘﺎﻳﺎﻥ ﺭﺳﻴﺪ‪ .‬ﺍﻭ ﭘﺲ ﺍﺯ ﺳﻔﺮ ﺣﺞ ﺑﻨﺎ ﺑﻪ ﺩﻋﻮﺕ ﻧﻮ‪‬ﺍﺏ ﺁﺻﻒ ﺟﺎﻩ ﺑﻪ ﺍﻭﺭﻧﮓﺁﺑﺎﺩ ﺭﻓﺘﻪ ﻭ ﺗﺎ ﺁﺧﺮ‬ ‫ﻋﻤﺮ ﺩﺭ ﺁﻧﺠﺎ ﻣﺎﻧﺪ‪.‬‬ ‫‪ .١‬ﺳﺮﻭ ﺁﺯﺍﺩ‪ ،‬ﺹ ‪١٩١-٢‬؛ ﺧﺰﺍﻧﺔ ﻋﺎﻣﺮﻩ‪ ،‬ﺹ ‪١٢٦‬؛ ﻣﺂﺛﺮﺍﻟﻜﺮﺍﻡ‪ ،‬ﺹ ‪.٢٩٣‬‬

‫ﻣﻘﺪ‪‬ﻣﻪ ﺩﺭ ﺍﺣﻮﺍﻝ ﻭ ﺁﺛﺎﺭﹺ ﻣﻴﺮ ﻏﻼﻡ ﻋﻠﯽ ﺁﺯﺍﺩ ﺑﻠﮕﺮﺍﻣﻲ ‪٥١ //‬‬ ‫ﺁﺯﺍﺩ ﺩﺭﺑﺎﺭﺓ ﺳﻔﺮ ﺣﺞ ﻣﺜﻨﻮﻱ »ﻃﻠﺴﻢ ﺍﻋﻈﻢ« ﻛﻪ ﺍﺳﻢ ﺗﺎﺭﻳﺨﻲ ﺁﻥ ﺍﺳﺖ‪ ،‬ﺳﺮﻭﺩﻩ ﺍﺳﺖ ﻭ ﺩﺭ ﻣﺂﺛﺮﺍﻟﻜﺮﺍﻡ‬ ‫ﺍﺑﻴﺎﺗﻲ ﺍﺯ ﺍﻳﻦ ﻣﺜﻨﻮﻱ ﺩﺭﺝ ﻛﺮﺩﻩ ﺍﺳﺖ‪ .١‬ﻫﻤﭽﻨﻴﻦ ﺭﻭﻳﺪﺍﺩ‪ ‬ﺳﻔ ﹺﺮ ﺣﺠﺎﺯ ﺭﺍ ﺑﻪ ﻧﺜﺮ ﻓﺎﺭﺳﻲ ﻧﻮﺷﺘﻪ ﺍﺳﺖ ﻛﻪ‬ ‫ﺟﺰﻭﻱ ﻧﺴﺨﺔ ﻳ ‪‬ﺪ ﺑﻴﻀﺎ ﻣﻮﺟﻮﺩ‪ ،‬ﺩﺭ ﻛﺘﺎﺑﺨﺎﻧﻪ ﻭ ﻣﻮﺯﺓ ﺳﺎﻻﺭ ﺟﻨﮓ ﺣﻴﺪﺭﺁﺑﺎﺩ ﺑﻪ ﺷﻤﺎﺭﺓ ‪ ٥٤٦‬ﺍﺳﺖ‪.٢‬‬ ‫ﺁﺭﺯﻭﻱ ﺳﻔﺮ ﺣﺠﺎﺯ‪ ،‬ﺑﺎﺭ ﺩﻳﮕﺮ‬ ‫ﺁﺯﺍﺩ ﻣﻲﺧﻮﺍﺳﺖ ﮐﻪ ﺩﻭﺑﺎﺭﻩ ﺑﻪ ﺯﻳﺎﺭﺕ ﺣﺮﻣﻴﻦ ﺷﺮﻳﻔﻴﻦ ﻣﺸﺮ‪‬ﻑ ﮔﺮﺩﺩ ﻭ ﻣﻨﺎﺳﮏ ﺣﺞ ﺭﺍ ﺍﺩﺍ ﮐﻨﺪ‪ .‬ﺩﺭ‬ ‫ﺍﻳﻦ ﺑﺎﺭﻩ ﻣﻲﮔﻮﻳﺪ‪:‬‬ ‫ﻃﻠﺒﺪ ﺯ ﺣﻖ ﺗﻌﺎﻟﻲ ‪‬ﭘﺮ ﻭ ﺑﺎﻝ ﻫﻤـﺖ ﺁﺯﺍﺩ ﺩﻝ ﺍﻭ ﺩﻭﺑﺎﺭﻩ ﺧﻮﺍﻫﺪ ﺳﻔﺮ ﺣﺠﺎﺯ ﮐـﺮﺩﻥ‬ ‫*‬ ‫ﺩﻭﺑـﺎﺭﻩ ﻣـﻲﻃﻠـﺒﻢ ﻃـﻮﻑ ﮐﻌﺒـﻪ ﺭﺍ ﺁﺯﺍﺩ ﺧﺪﺍ ﺩﻫـﺪ ﺑـﻪ ‪‬ﭘـﺮ ﻭ ﺑـﺎﻝ ﻣـﻦ ﺗﻮﺍﻧـﺎﻳﻲ‬ ‫*‬ ‫ﺷــﻨﻮ ﻋــﺮﺽ ﺁﺯﺍﺩ ﻳــﺎ ﺷــﺎﻩ‪ ‬ﻳﺜــﺮﺏ ﺑـﻪ ﮐـﻮﻱ ﺧـﻮﺩﺵ ﺑـﺎﺭ ﺩﻳﮕـﺮ ﺑﺨـﻮﺍﻧﻲ‬ ‫*‬ ‫ﺩﺭ ﺧــﺎﻃﺮ ﺁﺯﺍﺩ ﺗﻤﻨﺎﺳــﺖ ﮐــﻪ ﮔــﺮﺩﺩ ﻳﮑﺒــﺎﺭ ﺩﮔــﺮ ﮔــﺮﺩ ﺳــﺮ ﮐﻌﺒــﺔ ﺍﺷــﺮﻑ‬ ‫*‬ ‫ﺯﺩﻡ ﺑﻪ ﺳـﻴﺮ ﺑﻬﺸـﺖ ﺣﺠـﺎﺯ ﺑـﺎﺭ ﺩﮔـﺮ ﺍﮔــﺮ ﮐﻨﻨــﺪ ﮐﺮﺍﻣــﺖ ﻣــﺮﺍ ‪‬ﭘــﺮﹺ ﺗﻮﻓﻴــﻖ‬ ‫ﺁﺭﺯﻭﻱ ﺯﻳﺎﺭﺕ ﮐﺮﺑﻼ ﻫﻢ ﺩﺍﺭﺩ‪:‬‬ ‫ﺭﺳﺎﻥ ﺁﺯﺍﺩ ﺭﺍ ﺩﺭ ﮔﻞ ﺯﻣﻴﻦ ﮐﺮﺑﻼ ﻳـﺎﺭﺏ ﻧﺪﺍﺭﺩ ﺟﺰ ﻃﻮﺍﻑ ﻻﻟﻪﺍﻱ ﺍﻳﻦ ﺑﺎﻍ ﻣﻄﻠﻮﺑﻲ‬ ‫ﺳﻔﺮﻫﺎﻱ ﻛﻮﺗﺎﻩ‬ ‫ﺁﺯﺍﺩ ﺑﻪ ﺳﻴﺮ ﻭ ﺳﻔﺮ ﻋﻼﻗﺔ ﻓﺮﺍﻭﺍﻥ ﺩﺍﺷﺖ‪ .‬ﺩﺭ ﻣﻮﺭﺩ ﻋﻼﻗﺔ ﺧﻮﺩ ﺑﻪ ﺳﻴﺮ ﻭ ﺳﻴﺎﺣﺖ‪ ،‬ﭼﻨﻴﻦ ﻣﻲﻧﻮﻳﺴﺪ‪:‬‬ ‫”ﺣﻖ ﺳﺒﺤﺎﻧﻪ ﻋﻠﻴﻢ ﺍﺳﺖ ﻛﻪ ﻫﻼﻝﻭﺍﺭ ﻣﻘﺼﻮﺩ ﺍﺯ ﺍﻳﻦ ﺳﻴﺮ ﻭ ﺳﻔﺮ ﻧﻪ ﺗﻦﭘﺮﻭﺭﻱ ﺑﺎﺷﺪ ﺣﺎﺷﺎ ﻭ‬ ‫ﻛﻠﹼﺎ ﺑﻠﻜﻪ ﻣﺎﻧﻨﺪ ﺑﺪﺭ ﻣﻨﻈﻮﺭ ﺷﻜﺴﺖ ﻧﻔﺲ ﺑﻮﺩ‪ .‬ﭼﻨﺪﻱ ﻃﺮﻳﻘﺔ ﺁﺏ ﺭﻭﺍﻥ ﺍﺧﺘﻴﺎﺭ ﺍﻓﺘﺎﺩ ﻛﻪ ﻣ‪‬ﺸﺖ‬ ‫ﮔﻴﺎﻫﻲ ﺑﻪ ﻧﺸﻮ ﻭ ﻧﻤﺎ ﺩﺭﺁﻳﺪ ﻭ ﻟﺨﺘﻲ ﺭﻭﺵ ﺑﺎﺩ ﺻﺒﺎ ﭘﺴﻨﺪ ﺁﻣﺪ ﻛﻪ ﻏﻨﭽﻪ ﭼﻨﺪ ﻟﺐ ﺑﻪ ﺗﺒﺴ‪‬ﻢ‬ ‫‪ .١‬ﻣﺂﺛﺮﺍﻟﻜﺮﺍﻡ‪ ،‬ﺹ ‪.٢٩١-٦‬‬ ‫‪2. M. Ashraf: Catalogue of the Persian Mss. In the Salar Jung Museum & Library, Hyderabad, Vol., II, p.155.‬‬

‫‪ // ٥٢‬ﮐﻠﻴ‪‬ﺎﺕ‪ ‬ﺁﺯﺍﺩ ﺑﻠﮕﺮﺍﻣﻲ‬ ‫ﮔﺸﺎﻳﺪ ﺍﻣﻴﺪﻭﺍﺭﻡ ﻛﻪ ﺍﻳﻦ ﺳﻴﺎﺣﺖ ﭘﺎﻱ ﺷﻜﺴﺘﻪ ﺭﺍ ﺩﺳﺘﮕﻴﺮﻱ ﻛﻨﺪ ﻭ ﻗﻠﻤﺮﻭ ﺳﻴﺮ ﻓﻲ ﺍﷲ ﺭﺍ ﺟﺎﺩﻩ‬ ‫ﻣﺴﺘﻘﻴﻢ ﺷﻮﺩ“‪.١‬‬ ‫ﻫﻤﺎﻧﻄﻮﺭ ﻛﻪ ﮔﻔﺘﻪ ﺷﺪ ﺁﺯﺍﺩ ﭘﺲ ﺍﺯ ﺳﻔﺮ ﺣﺞ ‪ ٢٧‬ﺫﻱﻗﻌﺪﺓ ‪ ١١٥٢‬ﺍﺯ ﺑﻨﺪﺭ ‪‬ﺳﻮﺭﺕ ﺑﻪ ﺍﻭﺭﻧﮓﺁﺑﺎﺩ‬ ‫)ﺩﻛﻦ( ﺭﻓﺘﻪ ﻭ ﻫﻤﺎﻧﺠﺎ ﺳﺎﻛﻦ ﺷﺪ‪ .‬ﺍﻭ ﺩﺭ ﺍﻗﺎﻣﺖ ‪ ٤٨‬ﺳﺎﻟﻪ ﺩﺭ ﺩﻛﻦ ﺑﺎﺭﻫﺎ ﺑﻪ ﺍﻃﺮﺍﻑ ﺁﻥ ﻣﻤﻠﻜﺖ ﺭﻓﺘﻪ ﻭ‬ ‫ﺑﻪ ﺳﻴﺮ ﻭ ﺳﻴﺎﺣﺖ ﭘﺮﺩﺍﺧﺘﻪ ﺍﺳﺖ‪ .‬ﺍﻭ ﭘﺲ ﺍﺯ ﻣﺮﺍﺟﻌﺖ ﺍﺯ ﺍﻳﻦ ﺳﻔﺮ ﺑﺮﻛﺖ ﺍﺛﺮ ﺩﺭ ﻋﺸﺮﺓ ﺍﺧﻴﺮ ﺫﻳﻘﻌﺪﺓ‬ ‫‪ ١١٥٢‬ﻫﺠﺮﻱ ﻭﺍﺭﺩ ﺭﻭﺿﺔ ﻣﻘﺪ‪‬ﺳﺔ )ﺧﻠﺪﺁﺑﺎﺩ( ﮔﺮﺩﻳﺪ ﻭ ﺑﻪ ﺯﻳﺎﺭﺕ ﺧﻔﺘﮕﺎﻥ ﺍﻳﻦ ﻣﻜﺎﻥ ﻣﺸﺮ‪‬ﻑ ﮔﺸﺖ‪.٢‬‬ ‫ﺑﻪ ﺗﺎﺭﻳﺦ ‪ ٢‬ﺭﻣﻀﺎﻥ ‪ ١١٥٤‬ﻫﺠﺮﻱ ﺑﻪ ﻗﻠﻌﺔ ﻣﺤﻤ‪‬ﺪﺁﺑﺎﺩ ﺑﻴﺪﺭ ﺭﻓﺘﻪ‪ ،‬ﺩﺭ ‪ ٤‬ﻣﺤﺮ‪‬ﻡ ‪ ١١٥٥‬ﻫﺠﺮﻱ ﺑﻪ ﺳﻴﺮ‬ ‫ﺣﻴﺪﺭﺁﺑﺎﺩ ﭘﺮﺩﺍﺧﺖ ﻭ ‪ ١٩‬ﺻﻔﺮ ﺩﺭ ﻫﻤﺎﻥ ﺳﺎﻝ ﺍﺯ ﺣﻴﺪﺭﺁﺑﺎﺩ ﺑﻴﺮﻭﻥ ﺁﻣﺪﻩ ﻭ ﺑﻪ ‪ ١٥‬ﺟﻤﺎﺩﻱﺍﻻﻭ‪‬ﻝ ﺩﻭﺑﺎﺭﻩ‬ ‫ﺑﻪ ﺍﻭﺭﻧﮓﺁﺑﺎﺩ ﺑﺮﮔﺸﺘﻪ ﺍﺳﺖ‪ .‬ﻭﻗﺘﻲ ﻛﻪ ﻧﻮ‪‬ﺍﺏ ﻧﻈﺎﻡﺍﻟﺪ‪‬ﻭﻟﻪ ﺷﻬﻴﺪ ﺩﺭ ﺳﺎﻝ ‪ ١١٥٨‬ﻫﺠﺮﻱ ﺑﻪ ﺻﻮﺑﻪﺩﺍﺭﻱ‬ ‫ﺍﻭﺭﻧﮓﺁﺑﺎﺩ ﻣﺄﻣﻮﺭ ﮔﺸﺖ‪ ،‬ﺩﺭ ‪ ٢٧‬ﺫﻳﻘﻌﺪﺓ ‪ ١١٥٩‬ﻫﺠﺮﻱ ﺁﺯﺍﺩ ﺭﺍ ﺑﺎ ﺧﻮﺩ ﺑﻪ »ﺳﺮﻱﺭ‪‬ﹾﻧ ‪‬ﮓ ‪‬ﭘﺘﹶ ‪‬ﻦ« ﺑ‪‬ﺮﺩ ﻭ ﺩﺭ‬ ‫ﺻﻔﺮ ‪ ١١٦١‬ﻫﺠﺮﻱ ﺑﻪ ﺍﻭﺭﻧﮓﺁﺑﺎﺩ ﺑﺎﺯﮔﺸﺖ‪ .‬ﺍﻭ ﺩﺭ ﺳﺎﻝ ‪ ١١٦٠‬ﻫﺠﺮﻱ ﺑﻪ ﮔﻠﺒﺮﮔﻪ ﺭﻓﺖ ﻭ ﺑﻪ ﺯﻳﺎﺭﺕ‬ ‫ﻣﺰﺍﺭﺍﺕ ﺧﻮﺍﺟﻪ ﮔﻴﺴﻮﺩﺭﺍﺯ ﻭ ﻣﻮﻻﻧﺎ ﻋﻼﺀﺍﻟﺪ‪‬ﻳﻦ ﺍﻧﺼﺎﺭﻱ ﻧﺎﻳﻞ ﺁﻣﺪ‪ .‬ﺁﺯﺍﺩ ﺩﺭ ﺳﺎﻝ ‪ ١١٦١‬ﻫﺠﺮﻱ‬ ‫ﺑﻪ ﺑﺮﻫﺎﻧﭙﻮﺭ ﺭﻓﺖ‪ ٣‬ﻭ ﺑﺎﺯ ﺑﻪ ﺍﻭﺭﻧﮓﺁﺑﺎﺩ ﺑﺮﮔﺸﺖ‪ .‬ﺳﭙﺲ ﺩﺭ ﺳﺎﻝ ‪ ١١٦٢‬ﻫﺠﺮﻱ ﺩﻭﺑﺎﺭﻩ ﺑﻪ ﺩﻳﺪﺍﺭ ﺷﻬﺮ‬ ‫ﺑﺮﻫﺎﻧﭙﻮﺭ ﺷﺘﺎﻓﺖ ﻭ ﭘﺲ ﺍﺯ ﺳﻴﺮ ﻭ ﺳﻴﺎﺣﺖ ﺁﻥ ﺩﻳﺎﺭ ﺑﻪ ﺍﻭﺭﻧﮓﺁﺑﺎﺩ ﺑﺎﺯﮔﺸﺖ‪.‬‬ ‫‪ .١‬ﺳﺮﻭ ﺁﻭﺍﺯ‪ ،‬ﺹ ‪.٢٩٥‬‬ ‫‪ .٢‬ﺁﺯﺍﺩ ﺑﻠﮕﺮﺍﻣﻲ‪ :‬ﺭﻭﺿﺔ ﺍﻻﻭﻟﻴﺎ‪ ،‬ﺹ ‪.١٤‬‬ ‫‪ .٣‬ﺻﺎﺋﺐ ﺗﺒﺮﻳﺰﻱ ﺩﺭ ﻭﺻﻒ ﺑﺮﻫﺎﻧﭙﻮﺭ ﻏﺰﻟﻲ ﺩﺍﺭﺩ ﻛﻪ ﻳﻚ ﺑﻴﺖ ﺁﻥ ﺍﻳﻦ ﺍﺳﺖ‪:‬‬ ‫ﺗﻮﺗﻴــﺎ ﺳــﺎﺯﺩ ﻏﺒــﺎﺭ ﺍﮔــﺮﻩ ﻭ ﻻﻫــﻮﺭ ﺭﺍ ﭼﺸﻢ ﻣﻦ ﺗﺎ ﺧﺎﻛﻤﺎﻝ ﮔﺮﺩ ﺑﺮﻫﺎﻧﭙﻮﺭ ﺧﻮﺭﺩ‬ ‫ﺁﺯﺍﺩ ﻧﻴﺰ ﻏﺰﻟﻲ ﺩﺭ ﺭﺩﻳﻒ ﺑﺮﻫﺎﻧﭙﻮﺭ ﺳﺮﻭﺩﻩ ﺍﺳﺖ‪ .‬ﺍﻭ ﺭﺍﺟﻊ ﺑﻪ ﺍﻳﻦ ﺷﻬﺮ ﻣﻲﮔﻮﻳﺪ ﻛﻪ‪” :‬ﺷﻬﺮ ﺑﺮﻫﺎﻧﭙﻮﺭ ﮔﺮﺩ )ﻭ ﻏﺒﺎﺭ(‬ ‫ﺑﺴﻴﺎﺭ ﺩﺍﺭﺩ ﻧﻮﻋﻲ ﻛﻪ ﻫﻴﭻ ﺷﻬﺮ ﺑﻪ ﮔﺮﺩ ﺍﻭ ﻧﻤﻲﺭﺳﺪ“‪ .‬ﻣﺂﺛﺮﺍﻟﻜﺮﺍﻡ‪ ،‬ﺹ ‪.١٠١‬‬ ‫ﺩﻣﻴﺪ ﺭﻭﺡ ﺑـﻪ ﻗﺎﻟـﺐ ﻫـﻮﺍﻱ ﺑﺮﻫـﺎﻧﭙﻮﺭ‬ ‫ﻭ ﻏﺰﻝ ﺍﻳﻦ ﺍﺳﺖ‪:‬‬ ‫ﻓـﺰﻭﺩ ﻧـﻮﺭ ﺑﺼـﻴﺮﺕ ﻟﻘـﺎﻱ ﺑﺮﻫـﺎﻧﭙﻮﺭ‬ ‫ﺩﻣﺎﻍ ﻋﺎﻟﻤﻴـﺎﻥ ﺭﺍ ﭼـﻪ ﺗـﺎﺯﮔﻲ ﺑﺨﺸـﺪ ﻃــﺮﺍﻭﺕ ﭼﻤــﻦ ﺩﻟﮕﺸــﺎﻱ ﺑﺮﻫــﺎﻧﭙﻮﺭ‬ ‫ﺳﻮﺍﺩ ﺍﻋﻈﻢ ﺍﻭ ﺑﺴﻜﻪ ﻧﻮﺭ ﺍﻓﺸﺎﻥ ﺍﺳـﺖ ﺯ ﺁﻓﺘــﺎﺏ ﺯﻧــﺪ ﺩﻡ ﺳــﻬﺎﻱ ﺑﺮﻫــﺎﻧﭙﻮﺭ‬ ‫ﻧﺼــﻴﺮ ﻭﺍﻟــﻲ ﻛﺸــﻮﺭ ﺑﻨــﺎﻱ ﺑﺮﻫــﺎﻧﭙﻮﺭ‬ ‫ﺑﻪ ﻧﺎﻡ ﺍﺷﺮﻑ ﺑﺮﻫﺎﻥ ﺩﻳﻦ ﻏﺮﻳﺐ* ﻧﻤﻮﺩ‬ ‫ﻏﺒﺎﺭ ﺧﻴـﺰ ﺑـﻮﺩ ﻛﻮﭼـﻪﻫـﺎﻱ ﺑﺮﻫـﺎﻧﭙﻮﺭ‬ ‫ﻓﺘــﺎﺩ ﺑﺴــﻜﻪ ﮔــﺬﺭ ﻟﺸــﻜﺮ ﻣﺤ ‪‬ﻤــﺪ ﺭﺍ‬ ‫ﺑــﻪ ﺳــﺮﺯﻣﻴﻦ ﻭﺭﻕ ﺍﺑــﺮ ﺧﺎﻣــﺔ ﺁﺯﺍﺩ ﻧﻤــﻮﺩ ﺳــﺒﺰ ﻧﻬــﺎﻝ ﺛﻨــﺎﻱ ﺑﺮﻫــﺎﻧﭙﻮﺭ‬ ‫ﺩﻳﻮﺍﻥ ﻓﺎﺭﺳﻲ ﺁﺯﺍﺩ )ﺧﻄﹼﻲ(‪ ،‬ﺑﺮﮒ ‪.١٨٥‬‬ ‫* ﺑﻨﻴﺎﻧﮕﺬﺍﺭ ﺷﻬﺮ ﺑﺮﻫﺎﻧﭙﻮﺭ‬

‫ﻣﻘﺪ‪‬ﻣﻪ ﺩﺭ ﺍﺣﻮﺍﻝ ﻭ ﺁﺛﺎﺭﹺ ﻣﻴﺮ ﻏﻼﻡ ﻋﻠﯽ ﺁﺯﺍﺩ ﺑﻠﮕﺮﺍﻣﻲ ‪٥٣ //‬‬ ‫ﺁﺯﺍﺩ ﺩﺭ ‪ ١٤‬ﺷﻮ‪‬ﺍﻝ ‪ ١١٦٢‬ﻫﺠﺮﻱ ﺑﻪ ﹶﺍﺭﻛﺎﺕﹾ ﺭﻓﺖ ﻭ ﻳﻚ ﺳﺎﻝ ﻭ ﭼﻨﺪ ﻣﺎﻩ ﺩﺭ ﺁﻥ ﺷﻬﺮ ﺍﻗﺎﻣﺖ‬ ‫ﺩﺍﺷﺖ‪ .‬ﺭﺳﺎﻟﺔ ﺷﻤﺎﻣﺔ ﺍﻟﻌﻨﺒﺮ ﻓﻴﻤﺎ ﻭﺭﺩ ﻓﻲ ﺍﻟﻬﻨﺪ ﻣﻦ ﺳﻴ‪‬ﺪ ﺍﻟﺒﺸﺮ )ﻋﺮﺑﻲ( ﺭﺍ ﺩﺭ ﻫﻤﺎﻧﺠﺎ ﺗﺄﻟﻴﻒ ﻛﺮﺩ‪ ،١‬ﻭ‬ ‫ﺩﺭ ‪ ١٥‬ﺟﻤﺎﺩﻱﺍﻻﻭ‪‬ﻝ ‪ ١١٦٤‬ﻫﺠﺮﻱ ﺑﻪ ﺍﻭﺭﻧﮓﺁﺑﺎﺩ ﺑﺎﺯﮔﺸﺖ‪ .‬ﺳﭙﺲ ﺩﺭ ‪ ٧‬ﺷﻌﺒﺎﻥ ‪ ١١٦٥‬ﻫﺠﺮﻱ‬ ‫ﺑﻪ ﺣﻴﺪﺭﺁﺑﺎﺩ ﺭﻓﺖ ﻭ ‪ ٥‬ﺫﻱﺍﻟﺤ ‪‬ﺠﻪ ﺑﻪ ﺍﻭﺭﻧﮓﺁﺑﺎﺩ ﺑﺮﮔﺸﺖ‪.‬‬ ‫ﺩﺭ ﺭﻣﻀﺎﻥ ‪ ١١٦١‬ﻫﺠﺮﻱ ﺑﺎﺭ ﺩﻳﮕﺮ ﻗﺼﺪ ﻣﺴﺎﻓﺮﺕ ﺑﻪ ﺣﺠﺎﺯ ﻛﺮﺩﻩ ﺑﻮﺩ‪ ،‬ﻟﻴﻜﻦ ﺍﻳﻦ ﺳﻔﺮ ﻋﻤﻠﻲ‬ ‫ﻧﺸﺪ‪ .‬ﺩﺭ ﺍﻳﻦ ﻣﻮﺭﺩ ﻣﻲﻧﻮﻳﺴﺪ‪:‬‬ ‫”ﺩﺭ ﻋﺸﺮﺓ ﺍﺧﻴﺮ ﺭﻣﻀﺎﻥ ﻛﺜﻴﺮﺍﻟﻔﻴﻀﺎﻥ ﺳﻨﺔ ﺍﺣﺪﻱ ﻭ ﺳﺘﹼﻴﻦ ﻭ ﻣﺎﺋﺔ ﻭ ﺍﻟﻒ )‪ ١١٦١‬ﻫ( ﻣﺰﺍﺝ ﺑﻨﺪﻩ‬ ‫ﺭﺍ ﻭﺣﺸﺘﻲ ﺑﻬﻢ ﺭﺳﻴﺪ‪ .‬ﺑﻪ ﺧﺎﻃﺮ ﺍﻓﺘﺎﺩ ﻛﻪ ﺍﺯ ﻫﻤﻪ ﻗﻄﻊ ﻧﻈﺮ ﺑﺎﻳﺪ ﻛﺮﺩ ﺳﺮﻱ ﺑﻪ ﺩﻳﺎﺭ ﻋﺮﺏ ﺑﺎﻳﺪ‬ ‫ﻛﺸﻴﺪ‪ ،‬ﻭ ﺍﻳﻦ ﺩﺍﻋﻴﻪ ﺑﻪ ﻣﺜﺎﺑﺔ ﻗﻮ‪‬ﺕ ﮔﺮﻓﺖ ﻛﻪ ﻋﻨﻘﺮﻳﺐ ﺑﻮﺩ ﻛﻪ ﺍﺯ ﻣﻤﻜﻦ ﻗﻮ‪‬ﺕ ﺑﻪ ﺟﻠﻮﻩﮔﺎﻩ ﻓﻌﻞ‬ ‫ﺧﺮﺍﻣﺪ‪ .‬ﻧﺎﮔﺎﻩ ﺷﺐ ‪ ٢٧‬ﻣﺎﻩ ﻣﺬﻛﻮﺭ ﻃﺮﻑ ﺳﺤﺮ ﺩﺭ ﻋﺎﻟﻢ ﺭﺅﻳﺎ ﺍﻧﺪﻳﺸﻪ ﻣﺘﻮﺟﻪ ﺷﻌﺮ ﮔﺮﺩﻳﺪ‪ ،‬ﺑﻴﺘﻲ‬ ‫ﻣﻮﺯﻭﻥ ﺳﺎﺧﺘﻢ ﻭ ﻣﻌﺎﹰ ﺍﺯ ﺧﻮﺍﺏ ﺑﻴﺪﺍﺭ ﺷﺪﻡ‪ .‬ﺑﻴﺖ ﺑﻪ ﻳﺎﺩ ﻣﺎﻧﺪ ﻭ ﺁﻥ ﺍﻳﻦ ﺍﺳﺖ‪:‬‬ ‫ﭼﻪ ﺧﻮﺵ ﮔﻔﺖ ﮔﻮﻳﻨﺪﺓ ﻧﺎﻡﺩﺍﺭ ﻣﻜﺶ ﺩﺳﺖ ﺍﺯ ﺩﺍﻣـﻦ ﺭﻭﺯﮔـﺎﺭ‬ ‫ﻟﺨﺘﻲ ﺑﻪ ﺗﺄﻣ‪‬ﻞ ﺭﻓﺘﻢ‪ .‬ﺩﺍﻧﺴﺘﻢ ﻛﻪ ﮔﻮﻳﻨﺪﻩ ﺳﺮﻭﺵ ﻏﻴﺒﻲ ﺍﺳﺖ ﻭ ﻣﺨﺎﻃﺐ ﺑﻨﺪﻩ‪ ،‬ﺍﻣﺘﺜﺎﻝ ﺍﻣﺮ ﻏﻴﺐ‬ ‫ﻭﺍﺟﺐ ﺩﻳﺪﻡ ﻭ ﺍﺭﺍﺩﻩﺍﻱ ﻛﻪ ﺗﺼﻤﻴﻢ ﻳﺎﻓﺘﻪ ﺑﻮﺩ‪ ،‬ﻓﺴﺦ ﻧﻤﻮﺩﻡ“‪.٢‬‬ ‫ﻻﺯﻡ ﺑﻪ ﺫﻛﺮ ﺍﺳﺖ ﻛﻪ ﺁﺯﺍﺩ ﻭﻗﺘﻲ ﻛﻪ ﺩﺭ ﺳﺎﻝ ‪ ١١٥٠‬ﻫﺠﺮﻱ ﻋﺎﺯﻡ ﺣﺠﺎﺯ ﺑﻮﺩ ﻭ ﺩﺭ ﻣﺎﻟﻮﻩ ﺑﺎ ﻧﻮ‪‬ﺍﺏ‬ ‫ﺁﺻﻒ ﺟﺎﻩ ﻣﻼﻗﺎﺕ ﻛﺮﺩﻩ ﻭ ﺍﺯ ﺍﻭ ﻛﻤﻚ ﺧﻮﺍﺳﺖ‪ ،‬ﺩﺭ ﺁﻥ ﻭﻗﺖ ﻧﻮ‪‬ﺍﺏ ﺁﺻﻒ ﺟﺎﻩ ﺑﺮﺍﻱ ﺗﻨﺒﻴﻪ ﻗﻮﻡ ﻣﺮﻫﺘﻪ‬ ‫ﺑﻪ ﺷﻬﺮ ﺑﻬﻮﭘﺎﻝ ﻭﺍﺭﺩ ﺷﺪﻩ ﺑﻮﺩ‪ ،‬ﺁﺯﺍﺩ ﻧﻴﺰ ﺩﺭ ﺭﻛﺎﺏ ﻧﻮ‪‬ﺍﺏ ﺑﻮﺩ ﻭ ﻫﻤﺮﺍﻩ ﺍﻭ ﻋﻠﻴﻪ ﻣﺮﻫﺘﻪﻫﺎ ﺟﻨﮓ ﻛﺮﺩ‪ .‬ﺍﻭ‬ ‫ﻃﺮﻓـﻪ ﺷـﻮﺭ ﻗﻴـﺎﻣﺘﻲ ﺑﺮﺧﺎﺳـﺖ‬ ‫ﺩﺭ ﺍﻳﻦ ﺑﺎﺭﻩ ﺩﺭ ﻣﺜﻨﻮﻱ »ﻃﻠﺴﻢ ﺍﻋﻈﻢ« ﻣﻲﮔﻮﻳﺪ‪:‬‬ ‫ﻓﻮﺝ ﺍﺳﻼﻡ ﻭ ﻛﻔﺮ ﺻﻒ ﺁﺭﺍﺳﺖ‬ ‫ﻛــﺮﺓ ﺁﺗﺸــﻴﻦ ﺗــﻮﭖ ﻭ ﺗﻔﻨــﮓ ﻛﺮﺓ ﻧﺎﺭ ﺳـﺎﺧﺖ ﻋﺮﺻـﺔ ﺟﻨـﮓ‬ ‫ﻛــﺎﻓﺮﺍﻥ ﭼــﻮﻥ ﺳــﭙﻨﺪﻭﺭ ﻓﺮﻳــﺎﺩ ﺭﻓــﺖ ﺍﺯ ﺧــﺎﻙ ﺁﺗﺸــﻴﻦ ﺑﺮﺑــﺎﺩ‬ ‫ﭼﻮﻥ ﻫﻤـﺎ ﻧـﺎﻭﻙ ﺳـﺒﻚ ﺭﻓﺘـﺎﺭ ﺯﺩﻩ ﺩﺭ ﻣﻐــﺰ ﺍﺳــﺘﺨﻮﺍﻥ ﻣﻨﻘــﺎﺭ‬ ‫ﻣﻦ ﻫﻢ ﺁﻥ ﺭﻭﺯ ﺩﺭ ﺻﻒ‪ ‬ﺍﺳـﻼﻡ ﺑـﺎ ﻳﻜـﻲ ﺫﻭﺍﻟﻔﻘـﺎﺭ ﺧـﻮﻥ ﺁﺷـﺎﻡ‬ ‫‪ .١‬ﺳﺮﻭﺩ ﺁﺯﺍﺩ‪ ،‬ﺹ ‪.٢٩٥‬‬ ‫‪ .٢‬ﻫﻤﺎﻥ‪ ،‬ﺹ ‪.٢٩٢‬‬

‫‪ // ٥٤‬ﮐﻠﻴ‪‬ﺎﺕ‪ ‬ﺁﺯﺍﺩ ﺑﻠﮕﺮﺍﻣﻲ‬ ‫ﻗـــﺪﻡ ‪‬ﭘـــﺮ ﺩﻻﻧـــﻪ ﺍﻓﺸـــﺮﺩﻡ ﺣﻤﻠــﻪﻫــﺎ ﺑــﺮ ﻣﺨﺎﻟﻔــﺎﻥ ‪‬ﺑــﺮﺩﻡ‬ ‫ﺗﺸـــﻨﮕﻲﻫـــﺎﻱ ﺭﻭﺯﺓ ﺭﻣﻀـــﺎﻥ ﻛـﺮﺩﻩ ﺍﺯ ﻛـﺎﻡ ﺗـﺎ ﺟﮕـﺮ ﺑﺮﻳـﺎﻥ‬ ‫ﺳــﻔﺮ ﻛﻌﺒــﻪ ﻭ ﺻــﻴﺎﻡ ﻭ ﺟﻬــﺎﺩ ﺍﻳﻦ ﺳﻪ ﺩﻭﻟﺖ ﺑﻬﻢ ﻣـﺮﺍ ﺭﻭ ﺩﺍﺩ‪١‬‬ ‫ﺁﺯﺍﺩ ﺗﺎ ﻣﻮﻗﻊ ﺗﺄﻟﻴﻒ ﺧﺰﺍﻧﺔ ﻋﺎﻣﺮﻩ )= ‪ ١١٧٦‬ﻫ( ﺍﺯ ﮔﻮﺷﻪ ﻭ ﻛﻨﺎﺭ ﻣﻤﻠﻜﺖ ﺩﻛﻦ ﺑﻪ ﺳﻴﺮ ﻭ ﺳﻴﺎﺣﺖ‬ ‫ﭘﺮﺩﺍﺧﺘﻪ ﺑﻮﺩ‪ ،‬ﺧﻮﺩ ﻣﻲﮔﻮﻳﺪ‪:‬‬ ‫”ﺩﺭ ﺳﻨﺔ ﺍﺛﻨﻴﻦ ﻭ ﺧﻤﺴﻴﻦ ﻭ ﻣﺎﺋﺔ ﻭ ﺍﻟﻒ ﻣﻄﺎﺑﻖ »ﺳﻔﺮ ﺑﺨﻴﺮ« )= ‪ ١١٥٢‬ﻫ( ﺍﺯ ﺣﺠﺎﺯ ﺳﺮﻱ‬ ‫ﺑﻪ ﺩﻳﺎﺭ ﺩﻛﻦ ﻛﺸﻴﺪﻡ ﻭ ﺩﺭ ﺧﺠﺴﺘﻪ ﺑﻨﻴﺎﺩ ﺍﻭﺭﻧﮓﺁﺑﺎﺩ ﺭﻧﮓ ﺍﻗﺎﻣﺖ ﺭﻳﺨﺘﻢ ﻭ ﭼﻨﺪ ﺑﺎﺭ ﺑﻪ ﺗﻤﺎﺷﺎﻱ‬ ‫ﺍﻃﺮﺍﻑ ﺩﻛﻦ ﺑﺮﺧﺎﺳﺘﻢ‪ .‬ﺍﻛﻨﻮﻥ )= ‪ ١١٧٦‬ﻫ( ﺩﺭ ﺩﺍﺭﺍﻻﻣﻦ ﺍﻭﺭﻧﮓﺁﺑﺎﺩ ﮔﻮﺷﻪ ﮔﻴﺮﻡ ﻭ ﺍﺯ ﺧﺎﻙ‬ ‫ﺁﺳﺘﺎﻥ ﻓﻘﻴﺮ ﺳﺮﻣﻪﻛﺶ ﺩﻳﺪﺓ ﺿﻤﻴﺮ ﻋﻤﺮ ﺗﻨﮓ ﻣﺎﻳﻪ ﺑﻪ ﺷﺼﺖ ﻭ ﻳﻚ ﻛﺸﻴﺪﻩ ﻭ ﺁﻓﺘﺎﺏ ﺯﻧﺪﮔﻲ‬ ‫ﺑﻪ ﻟﺐ ﺑﺎﻡ ﺭﺳﻴﺪﻩ‪ ،‬ﺣﻖ ﺗﻌﺎﻟﻲ ﺧﺎﺗﻤﻪ ﺑﺨﻴﺮ ﮔﺮﺩﺍﻧﺪ“‪.٢‬‬ ‫ﺍﺯﺩﻭﺍﺝ ﻭ ﺍﻭﻻﺩ‬ ‫ﺁﺯﺍﺩ ﺭﺍﺟﻊ ﺑﻪ ﺗﺄﻫﻞ ﺧﻮﺩ ﺑﻪ ﺗﻔﺼﻴﻞ ﺳﺨﻦ ﻧﮕﻔﺘﻪ ﺍﺳﺖ‪ ،‬ﺩﺭ ﺷﺠﺮﺓ ﻃﻴ‪‬ﺒﻪ ﻫﻤﻴﻦ ﻗﺪﺭ ﻧﻮﺷﺘﻪ ﺍﺳﺖ ﻛﻪ‬ ‫”ﺍﻳﻦ ﺑﻨﺪﻩ ﻛﺪﺧﺪﺍ ﺷﺪﻩ ﺍﺳﺖ ﺑﻪ ﺩﺧﺘﺮ ﹸﺧﺮﺩ ﻋﺒﺪﺍﻟﻮﺍﺣﺪ ﺑﻦ ﺳﻴ‪‬ﺪ ﺳﻌﺪﺍﷲ ﺑﻦ ﺳﻴ‪‬ﺪ ﻣﺮﺗﻀﻲ ﺑﻦ ﺳﻴ‪‬ﺪ‬ ‫ﻓﻴﺮﻭﺯ ﺑﻦ ﺳﻴ‪‬ﺪ ﻋﺒﺪﺍﻟﻮﺍﺣﺪ ﻗﺪ‪‬ﺱ ﺳﺮ‪‬ﻩ“‪.٣‬‬ ‫ﺁﺯﺍﺩ ﭘﺴﺮﻱ ﺑﻪ ﻧﺎﻡ ﻧﻮﺭﺍﻟﺤﺴﻴﻦ‪ ٤‬ﺩﺍﺷﺖ‪ .‬ﻧﻮﺭﺍﻟﺤﺴﻴﻦ ﺩﺭ ﺳﺎﻝ ‪ ١١٤٣‬ﻫﺠﺮﻱ ﻣﺘﻮﻟﹼﺪ ﺷﺪ ﻭ ﺩﺭ ﺳﺎﻝ‬ ‫‪ ١١٦٨‬ﻫﺠﺮﻱ ﺩﺭ ﻧﻮﺟﻮﺍﻧﻲ ﺩﺭ ﺁﺏ ﻏﺮﻕ ﻭ ﺩﺭﮔﺬﺷﺖ‪ .‬ﺩﻛﺘﺮ ﻓﻀﻞﺍﻟﺮ‪‬ﺣﻤﻦ ﻧﺪﻭﻱ ﺩﺭ ﻣﻘﺪ‪‬ﻣﺔ‬ ‫ﺳﺒﺤﺔ ﺍﻟﻤﺮﺟﺎﻥ )‪ (٣-٢/١‬ﻧﻮﺷﺘﻪ ﺍﺳﺖ ﻛﻪ ﺁﺯﺍﺩ ﺩﻭ ﭘﺴﺮ ﺩﺍﺷﺖ‪ ،‬ﻳﻜﻲ ﻧﻮﺭﺍﻟﺤﺴﻴﻦ ﻭ ﺩﻳﮕﺮﻱ ﻏﻼﻡ ﺷﺎﻩ‬ ‫ﻣﺮﺩﺍﻥ‪ .‬ﺍﻟﺒﺘﹼﻪ ﺩﺭﺑﺎﺭﺓ ﻏﻼﻡ ﺷﺎﻩ ﻣﺮﺩﺍﻥ ﺍﻃﻼﻋﻲ ﺑﻴﺸﺘﺮ ﻧﺪﺍﺩﻩ ﺍﺳﺖ ﻭ ﻧﻪ ﻣﺄﺧﺬ ﺧﻮﺩ ﺭﺍ ﺫﻛﺮ ﻛﺮﺩﻩ ﺍﺳﺖ‪ .‬ﺍﻣ‪‬ﺎ‬ ‫ﺑﻪ ﻧﻈﺮ ﻣﻲﺭﺳﺪ ﻛﻪ ﺩﺭ ﺳﺎﻝ ‪ ١١٤٣‬ﻫﺠﺮﻱ ﺑﻪ ﺧﺎﻧﺔ ﺁﺯﺍﺩ ﭘﺴﺮﻱ ﻣﺘﻮﻟﺪ ﺷﺪ ﻛﻪ ﻧﺎﻣﺶ ﺭﺍ ﻏﻼﻡ ﺷﺎﻩ ﻣﺮﺩﺍﻥ‬ ‫ﮔﺬﺍﺷﺘﻨﺪ‪ .٥‬ﻇﺎﻫﺮﺍﹰ ﺑﻌﺪﹰﺍ ﻫﻤﻴﻦ ﭘﺴﺮ ﺑﻪ ﻧﻮﺭﺍﻟﺤﺴﻴﻦ ﻣﻮﺳﻮﻡ ﻳﺎ ﻣﺸﻬﻮﺭ ﮔﺮﺩﻳﺪ ﻭ ﺩﺭ ﻧﻮﺟﻮﺍﻧﻲ ﺑﻪ ﺳﺎﻝ‬ ‫‪ .١‬ﻣﺂﺛﺮﺍﻟﻜﺮﺍﻡ‪ ،‬ﺹ ‪.٢٩٤‬‬ ‫‪ .٢‬ﺧﺰﺍﻧﺔ ﻋﺎﻣﺮﻩ‪ ،‬ﺹ ‪.١٢٥‬‬ ‫‪ .٣‬ﺁﺯﺍﺩ ﺑﻠﮕﺮﺍﻣﻲ‪ :‬ﺷﺠﺮﺓ ﻃ‪‬ﻴﺒﻪ )ﺧ ﹼﻄﻲ(‪ ،‬ﺑﺮﮒ ‪.٦٩‬‬ ‫‪ .٤‬ﻣﻘﺒﻮﻝ ﺍﺣﻤﺪ ﺻﻤﺪﺍﻧﻲ‪ :‬ﺣﻴﺎﺕ ﺟﻠﻴﻞ‪ ،‬ﺝ ‪ ،٢‬ﺹ ‪ ١٦٨‬ﻭ ﺩﻛﺘﺮ ﻧﺪﻭﻱ ﺩﺭ ﻣﻘﺪ‪‬ﻣﺔ ﺳﺒﺤﺔ ﺍﻟﻤﺮﺟﺎﻥ‪ ،‬ﺹ ‪ ٣‬ﺍﺳﻢ ﻓﺮﺯﻧﺪ‬ ‫ﺁﺯﺍﺩ ﺭﺍ ﻧﻮﺭﺍﻟﺤﺴﻦ ﻧﻮﺷﺘﻪﺍﻧﺪ‪.‬‬ ‫‪ .٥‬ﺁﺯﺍﺩ ﺗﺎﺭﻳﺦ ﺗﻮﻟﺪﺵ ﺭﺍ ﭼﻨﻴﻦ ﮔﻔﺘﻪ ﺍﺳﺖ‪E :‬‬

‫ﻣﻘﺪ‪‬ﻣﻪ ﺩﺭ ﺍﺣﻮﺍﻝ ﻭ ﺁﺛﺎﺭﹺ ﻣﻴﺮ ﻏﻼﻡ ﻋﻠﯽ ﺁﺯﺍﺩ ﺑﻠﮕﺮﺍﻣﻲ ‪٥٥ //‬‬ ‫‪ ١١٦٨‬ﻫﺠﺮﻱ ﺩﺭﮔﺬﺷﺖ‪ ،‬ﭼﻨﺎﻧﻜﻪ ﺍﺯ ﻣﺮﺛﻴﺔ ﺁﺯﺍﺩ ﻧﻴﺰ ﭘﻴﺪﺍﺳﺖ ﻛﻪ ﺍﻭ ﻳﻚ ﭘﺴﺮ ﺩﺍﺷﺖ‪ .‬ﺻﺪ‪‬ﻳﻖ ﺣﺴﻦ ﺧﺎﻥ‬ ‫ﺩﺭ ﺷﻤﻊ ﺍﻧﺠﻤﻦ ﻣﻲﻧﻮﻳﺴﺪ‪:‬‬ ‫”ﻧﻮﺭﺍﻟﺤﺴﻴﻦ ﻓﺮﺯﻧﺪ ﻣﻴﺮ ﺁﺯﺍﺩ ﺑﻠﮕﺮﺍﻣﻲ ﺍﺳﺖ‪ .‬ﮔﺎﻫﻲ ﺑﻪ ﺣﻜﻢ ﺍﺭﺙ ﺷﻌﺮ ﻧﻈﻢ ﻣﻲﻛﺮﺩ‪ ،‬ﺍﺯﻭﺳﺖ‪:‬‬ ‫ﺑــﻲﺍﻧﻴﺴــﻲ ﺁﻣــﺪﻳﻢ ﺍﺯ ﺧﺎﻧــﺔ ﺩﻧﻴــﺎ ﺑــﺮﻭﻥ ﭼﻮﻥ ﺷﺮﺭ ﺗﻨﻬﺎ ﺳﻔﺮ ﻛﺮﺩﻳﻢ ﺍﺯ ﺧﺎﺭﺍ ﺑـﺮﻭﻥ“‪١‬‬ ‫ﻣﻄﻠﻊ ﻭ ﻣﺎﺩ‪‬ﺓ ﺗﺎﺭﻳﺦ ﻣﺮﺛﻴﺔ ﺁﺯﺍﺩ ﺩﺭ ﻓﻮﺕ ﻓﺮﺯﻧﺪﺵ ﭼﻨﻴﻦ ﺍﺳﺖ‪:‬‬ ‫ﻗﻴﺎﻣــﺖ ﺑــﺮ ﺳــﺮ ﺍﻳــﻦ ﺑﻮﺳــﺘﺎﻥ ﺭﻓــﺖ ﻛﻪ ﻳﻚ ﮔﻞ ﺩﺍﺷﺖ ﺁﻥ ﻫﻢ ﻧﻮﺟﻮﺍﻥ ﺭﻓﺖ‬ ‫ﺍﮔــــﺮ ﭘﺮﺳــــﻨﺪ ﺗــــﺎﺭﻳﺦ ﻭﻓــــﺎﺗﺶ ﺑﮕﻮ »ﻧﻮﺭﺍﻟﺤﺴـﻴﻦ ﺁﻩ ﺍﺯ ﺟﻬـﺎﻥ ﺭﻓـﺖ«‪٢‬‬ ‫)= ‪ ١١٦٨‬ﻫ(‬ ‫ﭘﺲ ﺍﺯ ﻭﻓﺎﺕ ﻧﻮﺭﺍﻟﺤﺴﻴﻦ‪ ،‬ﺁﺯﺍﺩ ﻧﻮﺓ ﭘﺴﺮﻱ ﺧﻮﺩ ﺍﻣﻴﺮ ﺣﻴﺪﺭ ﺑﻠﮕﺮﺍﻣﻲ‪ ٣‬ﺭﺍ ﻛﻪ ﺩﺭ ﺁﻥ ﺯﻣﺎﻥ ﺑﭽﻪﺍﻱ‬ ‫ﺳﻪ ﺳﺎﻟﻪ ﺑﻮﺩ ﻧﺰﺩ ﺧﻮﺩ ﺁﻭﺭﺩ ﻭ ﺑﻪ ﭘﺮﻭﺭﺵ ﺍﻭ ﻫﻤ‪‬ﺖ ﮔﻤﺎﺷﺖ‪” .‬ﺳﻴ‪‬ﺪ ﺍﻣﻴﺮ ﺣﻴﺪﺭ ﺑﻦ ﻧﻮﺭﺍﻟﺤﺴﻴﻦ ﺑﻦ‬ ‫ﻣﻴﺮ ﻏﻼﻡ ﻋﻠﻲ ﺁﺯﺍﺩ ﺑﻠﮕﺮﺍﻣﻲ ﺑﻪ ﺗﺎﺭﻳﺦ ﻧﻮﺯﺩﻫﻢ ﺟﻤﺎﺩﻱ ﺍﻻﻭ‪‬ﻝ ﺳﻨﺔ ﻳﻜﻬﺰﺍﺭ ﻭ ﻳﻜﺼﺪ ﻭ ﺷﺼﺖ ﻭ ﭘﻨﺞ‬ ‫ﭘﺴــﺮ ﺩﺍﺩ ﺧﻠﹼــﺎﻕ ﻋــﺎﻟﻲ ﺟﻨــﺎﺏ‬ ‫ﺗﻮﻟﹼﺪ ﻳﺎﻓﺖ‪ .‬ﭼﻨﺎﻧﭽﻪ ﺟﺪ‪‬ﺵ ﮔﻮﻳﺪ‪:‬‬ ‫ﻗﺭﻢ ﻛﺮﺩ ﺻـﺎﺣﺐ ﺷـﺮﻑ ﺁﻓﺘـﺎﺏ‪٤‬‬ ‫ﺑـﻪ ﻓﺮﺯﻧـﺪ ﻣـﻦ ﻣﻴـﺮ ﻧﻮﺭﺍﻟﺤﺴـﻴﻦ‬ ‫ﺧــﺮﺩ ﺳــﺎﻝ ﺗــﺎﺭﻳﺦ ﻣــﻴﻼﺩ ﺍﻭ‬ ‫ﺍﻣﻴﺮ ﺣﻴﺪﺭ ﺯﻳﺮ ﺳﺎﻳﺔ ﺁﺯﺍﺩ ﻋﻼﻗﻪ ﺑﻪ ﻋﻠﻢ ﻭ ﺍﺩﺏ ﭘﻴﺪﺍ ﻛﺮﺩ ﻭ ﭼﻨﺪﻳﻦ ﺍﺛﺮ ﻣﻬﻢ‪ ‬ﺍﺯ ﺧﻮﺩ ﺑﻪ ﻳﺎﺩﮔﺎﺭ‬ ‫ﻣﺮﺍ ﺍﺯ ﻓﻀﻞ ﻳﺰﺩﺍﻧﻲ ﻋﻄﺎ ﺷﺪ ﻧﻬــﺎﻝ ﺗــﺎﺯﺓ ﺑــﺎﻍ ﺳــﻴﺎﺩﺕ‬ ‫‪E‬‬ ‫ﻏﻼﻡ ﺷﺎﻩ ﻣﺮﺩﺍﻥ ﮔﺸﺘﻪ ﻧﺎﻣﺶ ﺩﻟﻢ ﺭﺍ ﻛﺮﺩﻩ ﺧﻮ ‪‬ﺭﻡ ﺍﺯ ﻭﻻﺩﺕ‬ ‫ﻧﻮﺷﺘﻪ ﻣﺼﺮﻋﻲ ﺗﺎﺭﻳﺦ ﺳﺎﻟﺶ »ﻧﻬﺎﻝ ﺳـﺒﺰ ﺑﺴـﺘﺎﻥ ﺳـﻴﺎﺩﺕ«‬ ‫)‪ ١١٤٣‬ﻫ(‬ ‫ﺗﺒﺼﺮﺓﺍﻟﻨﺎﻇﺮﻳﻦ‪ ،‬ﺹ ‪.١٦٢‬‬ ‫‪ .١‬ﺑﺮﺍﻱ ﺗﻔﺼﻴﻞ ﺭﻙ‪ :‬ﺗﺒﺼﺮﺓ ﺍﻟﻨﺎﻇﺮﻳﻦ )ﺧ ﹼﻄﻲ( ﺗﺄﻟﻴﻒ ﺳ‪‬ﻴﺪ ﻣﺤ ‪‬ﻤﺪ ﺷﺎﻋﺮ ﺑﻠﮕﺮﺍﻣﻲ‪ ،‬ﺹ ‪ ١٦٢‬ﻭ ﺷﻤﻊ ﺍﻧﺠﻤﻦ‪ ،‬ﺹ ‪.٤٦٤‬‬ ‫‪ .٢‬ﻛﻠﻴﺎﺕ ﺁﺯﺍﺩ )ﺧ ﹼﻄﻲ(‪ ،‬ﺑﺮﮒ ‪٤٨-٩‬؛ ﺩﻳﻮﺍﻥ ﺁﺯﺍﺩ )ﺧ ﹼﻄﻲ(‪ ،‬ﺑﺮﮒ ‪.٥٨-٩‬‬ ‫‪ .٣‬ﺳ‪‬ﻴﺪ ﺍﻣﻴﺮ ﺣﻴﺪﺭ‪ ،‬ﺍﻣﻴﺮ ﺗﺨﹼﻠﺺ ﺧﻠﻒ ﻣﻴﺮ ﻧﻮﺭﺍﻟﺤﺴﻴﻦ ﺍﺯ ﺍﺣﻔﺎﺩ ﻣﻴﺮ ﻏﻼﻡ ﻋﻠﻲ ﺁﺯﺍﺩ ﻭ ﻣﻌﺎﺻﺮ ﺍﻳﻦ ﺧﺎﻛﺴﺎﺭ ﺍﺳﺖ‪.‬‬ ‫ﻫﺮ ﭼﻨﺪ ﻓﻘﻴﺮ ﺁﻥ ﻭﺍﻻﺗﺒﺎﺭ ﺭﺍ ﺗﺎ ﺑﻪ ﺗﺤﺮﻳﺮ ﺍﻳﻦ ﺍﻭﺭﺍﻕ ﻧﺪﻳﺪﻩ‪ ،‬ﺍ‪‬ﻣﺎ ﺻﻔﺎﺕ ﺣﻤﻴﺪﺓ ﺍﻭ ﺑﺴﻴﺎﺭ ﺷﻨﻴﺪﻧﻲ ﺍﺯ ﺻﺎﺣﺐ ﻃﺒﻌﺎﻥ‬ ‫ﻋﻬﺪ ﺷﺎﻩ ﻋﺎﻟﻢ ﭘﺎﺩﺷﺎﻩ ﺍﺳﺖ“‪ .‬ﻋﻠﻲ ﺍﺑﺮﺍﻫﻴﻢ ﺧﺎﻥ ﺧﻠﻴﻞ‪ :‬ﺻﺤﻒ ﺍﺑﺮﺍﻫﻴﻢ‪ ،‬ﺫﻳﻞ ﻣﺎ ‪‬ﺩﺓ ﺍﻟﻒ )ﺷﻤﺎﺭﺓ ‪ (٣٥٥‬ﻋﻼﻭﻩ ﺍﺯ ﺍﻳﻦ‬ ‫ﺭﻙ‪ :‬ﻋﻠﻲ ﺣﺴﻦ‪ :‬ﺻﺒﺢ ﮔﻠﺸﻦ‪ ،‬ﺹ ‪٣٩‬؛ ﺳﺎﻣﻲ‪ :‬ﻗﺎﻣﻮﺱ ﺍﻻﻋﻼﻡ‪ ،‬ﺏ ‪.١٠٤١‬‬ ‫‪D.N. Marshal: Mughals in India, p.73; C.A. Storey: Persian Literature, Section II, Fascieulus, p.554-5.‬‬ ‫‪ .٤‬ﻧﺸﺘﺮ ﻋﺸﻖ‪ ،‬ﺝ ‪ ،١‬ﺹ ‪.٩٥‬‬

‫‪ // ٥٦‬ﮐﻠﻴ‪‬ﺎﺕ‪ ‬ﺁﺯﺍﺩ ﺑﻠﮕﺮﺍﻣﻲ‬ ‫ﮔﺬﺍﺷﺖ‪ ،‬ﺍﺯ ﺁﻥ ﺟﻤﻠﻪ‪ :‬ﺭﺳﺎﻟﻪ ﺩﺭ ﺫﻛﺮ ﺍﺣﻜﺎﻡ ﻋﺸﺮ ﻭ ﺧﺮﺍﺝ ﻭ ﻣﺎﻟﻜﺎﻥ ﺯﻣﻴﻦ ﻭ ﺑﻴﺎﻥ ﻋﺎﺷﺮ ﻭ ﺁﻧﭽﻪ ﻣﺘﻌﻠﹼﻖ‬ ‫ﺑﻪ ﺁﻥ ﺍﺳﺖ‪ ،١‬ﺳﻮﺍﻧﺢ ﺍﻛﺒﺮﻱ‪ ،٢‬ﻣﻨﺘﺨﺐ ﺍﻟﻨﺤﻮ‪ ٣‬ﻭ ﺗﺤﻘﻴﻖ ﺍﻻﺻﻄﻼﺣﺎﺕ‪ ٤‬ﻭ ﺩﻳﻮﺍﻥ ﺷﻌﺮ‪ ٥‬ﻓﺎﺭﺳﻲ‬ ‫ﻣﻨﺘﺨﺐ ﺍﻟﺼﺮﻑ‪ ،٦‬ﻛﻠﻤﺎﺕ ﺍﻟﻨﺒﻴﻞ ﺷﺮﺡ ﺍﻧﺸﺎﻱ ﻣﻴﺮ ﻋﺒﺪﺍﻟﺠﻠﻴﻞ‪ ،٧‬ﺑﺼﺎﻳﺮﺍﻟﻤﺘﻌﻠﻤﻴﻦ‪) ٨‬ﺩﺭ ﺍﺧﻼﻕ( ﻭ…‬ ‫ﻭﻱ ﺩﺭ ﺳﺎﻝ ‪ ١٢١٧‬ﻫ‪ ١٨٠٢/‬ﻡ ﻭﻓﺎﺕ ﻳﺎﻓﺖ‪» .‬ﻭﺍﻱ ﻭﻳﻼ ﺍﻣﻴﺮ ﺣﻴﺪﺭ ﺭﻓﺖ« ﻣﺎﺩ‪‬ﺓ ﺗﺎﺭﻳﺦ ﻭﻓﺎﺕ ﺍﻭﺳﺖ‪.‬‬ ‫ﺩﻳﮕﺮ ﺍﻓﺮﺍﺩ ﺧﺎﻧﻮﺍﺩﺓ ﺁﺯﺍﺩ‬ ‫ﭘﺪﺭ ﺁﺯﺍﺩ ﻣﻴﺮ ﺳﻴ‪‬ﺪ ﻧﻮﺡ ﺑﻪ ﺩﺧﺘﺮ ﻣﻴﺮ ﺳﻴ‪‬ﺪ ﻋﺒﺪﺍﻟﺠﻠﻴﻞ ﻛﺪﺧﺪﺍ ﺷﺪﻩ ﺑﻮﺩ ﻭ ﺍﺯ ﺍﻭ ﺳﻪ ﭘﺴﺮ ﻭ ﺩﻭ ﺩﺧﺘﺮ‬ ‫ﺑﻪ ﺩﻧﻴﺎ ﺁﻣﺪ‪ .‬ﺍﺳﺎﻣﻲ ﭘﺴﺮﺍﻥ ﻏﻼﻡ ﻋﻠﻲ ﻣﺘﺨﻠﹼﺺ ﺑﻪ ﺁﺯﺍﺩ‪ ،‬ﻏﻼﻡ ﺣﺴﻦ ﻭ ﻏﻼﻡ ﺍﻣﺎﻡ ﺻﺎﺩﻕ ﺍﺳﺖ‪.‬‬ ‫ﻏﻼﻡ ﺣﺴﻦ ﺑﻦ ﻧﻮﺡ ﺑﺎ ﺩﺧﺘﺮ ﺑﺰﺭﮒ ﺳﻴ‪‬ﺪ ﻣﺤﻤ‪‬ﺪ ﺍﺷﺮﻑ ﺑﻦ ﻋﺒﺪﺍﻟﻌﺰﻳﺰ ﺍﺯﺩﻭﺍﺝ ﻧﻤﻮﺩ ﻭ ﺩﻭ ﺩﺧﺘﺮ ﺍﺯ‬ ‫ﺍﻭ ﻣﺘﻮﻟﺪ ﺷﺪ‪ .٩‬ﻏﻼﻡ ﺣﺴﻦ ﺩﺭ ﺳﺎﻝ ‪ ١١٥٥‬ﻫﺠﺮﻱ ﺩﺭ ﺣﻤﻠﻪﻫﺎﻱ ﻗﻮﻡ ﻣﺮﻫﺘﻪ ﺑﻪ ﻛﺸﺘﻲ ﻣﺴﺎﻓﺮﺑﺮﻱ ﻛﻪ‬ ‫ﻋﺎﺯﻡ ﻣﻜﹼﻪ ﺑﻮﺩ ﺑﻪ ﺷﻬﺎﺩﺕ ﺭﺳﻴﺪ‪ .‬ﺁﺯﺍﺩ ﺩﺭ ﻣﺮﺛﻴﺔ ﺑﺮﺍﺩﺭ ﺧﻮﺩ ﻣﻲﮔﻮﻳﺪ‪:‬‬ ‫ﺗﺎﺭ ﻧﻔﺴـﻢ ﮔﺴﺴـﺘﻪ ﺷـﻮﺭﻡ ‪‬ﺑﺮﺩﻧـﺪ ﺑﺎﺯﻭﻱ ﻣـﺮﺍ ﺷﻜﺴـﺘﻪ ﺯﻭﺭﻡ ﺑ‪‬ﺮﺩﻧـﺪ‬ ‫ﺩﺍﻍ ﺍﺳﺖ ﺩﻟﻢ ﻛﻪ ﺭﻓﺖ ﻧﻮﺭﹺ ‪‬ﺑﺼﺮﻡ ﻧـﺎﺭﻡ ﺑﮕﺬﺍﺷـﺘﻨﺪ ﻭ ﻧـﻮﺭﻡ ‪‬ﺑﺮﺩﻧـﺪ‪١٠‬‬ ‫‪ .١‬ﺍﻳﻦ ﺭﺳﺎﻟﻪ ﺑﻪ ﺍﻧﮕﻠﻴﺴﻲ ﻧﻴﺰ ﺗﺮﺟﻤﻪ ﻭ ﺩﺭ ﻛﻠﻜﺘﻪ ﺩﺭ ﺳﺎﻝ ‪ ١٧٩٨‬ﻡ ﺑﻪ ﭼﺎﭖ ﺭﺳﻴﺪﻩ ﺍﺳﺖ‪ .‬ﺭﻙ‪:‬‬ ‫‪Edward Edwards: Persian Printed Books in the British Museum, p.124, 602.‬‬ ‫‪ .٢‬ﺭﻙ‪ :‬ﺣﻜﻴﻢ ﺣﺒﻴﺐﺍﻟﺮﺣﻤﺎﻥ‪ :‬ﺛﻼﺛﺔ ﻏﺴﺎﻟﻪ‪ ،‬ﺗﺮﺟﻤﻪ ﻭ ﺗﻌﻠﻴﻘﺎﺕ ﻋﺎﺭﻑ ﻧﻮﺷﺎﻫﻲ‪ ،‬ﺹ ‪ ٥١‬ﻭ ‪.١٧٦‬‬ ‫‪ .٣‬ﺭﻙ‪ :‬ﺍﺣﻤﺪﻱ ﻣﻨﺰﻭﻱ‪ :‬ﻓﻬﺮﺳﺖ ﻣﺸﺘﺮﻙ ﻧﺴﺨﻪﻫﺎﻱ ﺧ ﹼﻄﻲ ﻓﺎﺭﺳﻲ ﭘﺎﻛﺴﺘﺎﻥ‪ ،‬ﺝ ‪ ،١٣‬ﺹ ‪.٢٩٥٠‬‬ ‫‪ .٤‬ﺩﺭﺑﺎﺭﺓ ﺍﺻﻄﻼﺣﺎﺕ ﺍﺩﺑﻲ‪ ،‬ﺩﻭ ﻧﺴﺨﺔ ﺧ ﹼﻄﻲ ﺍﺯ ﺍﻳﻦ ﻛﺘﺎﺏ ﺩﺭ ﻛﺘﺎﺑﺨﺎﻧﺔ ﻣﺠﻠﺲ ﺷﻮﺭﺍﻱ ﺍﺳﻼﻣﻲ ﺗﻬﺮﺍﻥ ﻭ ﻛﺘﺎﺑﺨﺎﻧﺔ‬ ‫ﻋﻤﻮﻣﻲ ﺣﻀﺮﺕ ﺁﻳﺔﺍﷲ ﺍﻟﻌﻈﻤﻲ ﻣﺮﻋﺸﻲ ﻧﺠﻔﻲ ﻗﻢ ﻣﻮﺟﻮﺩ ﺍﺳﺖ‪ ،‬ﻭ ﻧﮕﺎﺭﻧﺪﻩ ﺑﺎ ﻛﻤﻚ ﺍﻳﻦ ﺩﻭ ﻧﺴﺨﻪ ﻣﺘﻦ ﻣﻨﻘﺢ ﺁﻥ ﺭﺍ‬ ‫ﺁﻣﺎﺩﻩ ﻛﺮﺩﻩ ﺍﺳﺖ‪ .‬ﻧﺴﺨﻪﺍﻱ ﺍﺯ ﺁﻥ ﺩﺭ ﻣﺮﮐﺰ ﻣﻴﮑﺮﻭﻓﻴﻠﻢ ﻧﻮﺭ‪ ،‬ﺩﻫﻠﻲﻧﻮ ﻧﻴﺰ ﻧﮕﻬﺪﺍﺭﻱ ﻣﻲﺷﻮﺩ ﻭ ﺑﺮ ﺍﺳﺎﺱ ﺍﻳﻦ ﺗﮏ‬ ‫ﻧﺴﺨﻪ‪ ،‬ﻣﺘﻦ ﮐﺘﺎﺏ ﺑﻪ ﮐﻮﺷﺶ ﺷﻬﻨﺎﺯ ﺧﺎﻧﻢ ﺗﺼﺤﻴﺢ ﻭ ﺍﺯ ﻃﺮﻑ ﻣﺮﮐﺰ ﺗﺤﻘﻴﻘﺎﺕ ﻓﺎﺭﺳﻲ ﺧﺎﻧﺔ ﻓﺮﻫﻨﮓ ﺟﻤﻬﻮﺭﻱ‬ ‫ﺍﺳﻼﻣﻲ ﺍﻳﺮﺍﻥ‪ ،‬ﺩﻫﻠﻲﻧﻮ ﺍﻧﺘﺸﺎﺭ ﻳﺎﻓﺘﻪ ﺍﺳﺖ ﺍﻣﺎ ﻣﺼﺤﺢ ﺩﺭﺑﺎﺭﺓ ﻧﺴﺨﻪﻫﺎﻱ ﺩﻳﮕﺮ ﺍﻃﹼﻼﻉ ﻧﺪﺍﺭﺩ‪.‬‬ ‫‪ .٥‬ﺭﻙ‪ :‬ﺁﻗﺎ ﺑﺰﺭﮒ ﺗﻬﺮﺍﻧﻲ‪ :‬ﺍﻟﺬﺭﻳﻌﻪ ﺍﻟﻲ ﺗﺼﺎﻧﻴﻒ ﺍﻟﺸﻴﻌﻪ‪ ،‬ﺝ ‪ ،٩‬ﺹ ‪ ٢٠٠‬ﻭ ﺑﻴﺎﺽ ﺁﺯﺍﺩ )ﺧ ﹼﻄﻲ( ﻛﺘﺎﺑﺨﺎﻧﺔ ﻧﺪﻭﺓﺍﻟﻌﻠﻤﺎ‬ ‫ﻟﻜﻬﻨﻮ )ﻫﻨﺪ(‪ ،‬ﺹ ‪.١٩٠-٩٢‬‬ ‫‪ .٦‬ﺭﻙ‪ :‬ﻓﻬﺮﺳﺖ ﻣﺸﺘﺮﻙ‪ ،‬ﺝ ‪ ،١٣‬ﺹ ‪.٢٩٤٩‬‬ ‫‪ .٧‬ﺭﻙ‪ :‬ﻋﺎﺭﻑ ﻧﻮﺷﺎﻫﻲ‪ :‬ﻓﻬﺮﺳﺖ ﻛﺘﺎﺑﻬﺎﻱ ﻓﺎﺭﺳﻲ ﭼﺎﭖ ﺳﻨﮕﻲ ﻭ ﻛﻤﻴﺎﺏ ﻛﺘﺎﺑﺨﺎﻧﺔ ﮔﻨﺞ ﺑﺨﺶ‪ ،‬ﺝ ‪ ،١‬ﺹ ‪.٤١١‬‬ ‫‪ .٨‬ﻧﺴﺨﺔ ﺧ ﹼﻄﻲ ﺁﻥ ﺩﺭ ﻛﺘﺎﺑﺨﺎﻧﺔ ﺩﺍﻧﺸﮕﺎﻩ ﺍﺳﻼﻣﻲ ﻋﻠﻴﮕﺮﻩ ﺩﺭ ﺧﻴﺮﺓ ﺍﺣﺴﻦ ﺑﻪ ﺷﻤﺎﺭﺓ ‪ ٨٩١.٥٥٢٦/٢‬ﻣﻮﺟﻮﺩ ﺍﺳﺖ‪ .‬ﺭﻙ‪:‬‬ ‫ﻗﻴﺼﺮ ﺍﻣﺮﻭﻫﻮﻱ‪ :‬ﻓﻬﺮﺳﺖ ﻣﺨﻄﻮﻃﺎﺕ ﺫﺧﻴﺮﺓ ﺍﺣﺴﻦ ﻣﺎﺭﻫﺮﻭﻱ‪ ،‬ﺹ ‪.٧١‬‬ ‫‪ .٩‬ﺁﺯﺍﺩ ﺑﻠﮕﺮﺍﻣﻲ‪ :‬ﺷﺠﺮﺓ ﻃ‪‬ﻴﺒﻪ )ﺧ ﹼﻄﻲ(‪ ،‬ﺹ ‪.٦٩‬‬ ‫‪.١٠‬ﺁﺯﺍﺩ ﺑﻠﮕﺮﺍﻣﻲ‪ :‬ﺳﺮﻭ ﺁﺯﺍﺩ‪ ،‬ﺹ ‪.٢١٤-٥‬‬

‫ﻣﻘﺪ‪‬ﻣﻪ ﺩﺭ ﺍﺣﻮﺍﻝ ﻭ ﺁﺛﺎﺭﹺ ﻣﻴﺮ ﻏﻼﻡ ﻋﻠﯽ ﺁﺯﺍﺩ ﺑﻠﮕﺮﺍﻣﻲ ‪٥٧ //‬‬ ‫ﻏﻼﻡ ﺍﻣﺎﻡ ﺻﺎﺩﻕ ﺑﻦ ﻧﻮﺡ ﻛﻪ ﺑﺮﺍﺩﺭ ﻛﻮﭼﻚ ﺁﺯﺍﺩ ﺑﻮﺩ ﻭ ﻣﻴﺮ ﺳﻴ‪‬ﺪ ﻣﺤﻤ‪‬ﺪ ﺷﺎﻋﺮ ﺑﻠﮕﺮﺍﻣﻲ ﺍﻭ ﺭﺍ‬ ‫ﺑﻪ ﻓﺮﺯﻧﺪﻱ ﮔﺮﻓﺘﻪ ﺑﻮﺩ‪ ،‬ﺑﺎ ﺩﺧﺘﺮ ﺳﻴ‪‬ﺪ ﻋﻨﺎﻳﺖ ﺍﷲ ﺑﻦ ﺳﻴ‪‬ﺪ ﻛﺮﻡ ﺍﷲ ﺑﻦ ﺳﻴ‪‬ﺪ ﻣﺮﺗﻀﻲ ﺑﻦ ﺳﻴ‪‬ﺪ ﻓﻴﺮﻭﺯ ﺑﻦ‬ ‫ﺳﻴ‪‬ﺪ ﻋﺒﺪﺍﻟﻮﺍﺣﺪ ﻗﺪ‪‬ﺱ ﺳﺮ‪‬ﻩ ﺍﺯﺩﻭﺍﺝ ﻛﺮﺩ‪ .١‬ﺁﺯﺍﺩ ﺩﺭﺑﺎﺭﺓ ﻏﻼﻡ ﺍﻣﺎﻡ ﺻﺎﺩﻕ ﭼﻨﻴﻦ ﻧﻮﺷﺘﻪ ﺍﺳﺖ‪:‬‬ ‫”ﺍﻭ ﺧﺎﻟﻲ ﺍﺯ ﺣﻴﺜﻴﺖ ﻋﻠﻤﻲ ﻧﻴﺴﺖ ﻭ ﺍﻻﻥ ﺑﻪ ﺧﺪﻣﺖ ﻋﻼﻣﻪ ﻓﻬﺎﻣﻪ ﻣﻴﺮ ﻃﻔﻴﻞ ﻣﺤﻤ‪‬ﺪ ﻣﺪﻇﻠﹼﻪ‬ ‫ﺍﺳﺘﻔﺎﺩﻩ ﺑﺮﻣﻲﺩﺍﺭﺩ“‪.٢‬‬ ‫ﻏﻼﻡ ﺍﻣﺎﻡ ﺻﺎﺩﻕ ﺩﺭ ﺳﺎﻝ ‪ ١١٨٣‬ﻫﺠﺮﻱ ﻓﻮﺕ ﺷﺪ‪ .‬ﺁﺯﺍﺩ ﺩﺭ ﺭﺛﺎﻱ ﺍﻭ ﻏﺰﻟﻲ ﺳﺮﻭﺩﻩ ﺍﺳﺖ ﮐﻪ ﻣﻄﻠﻊ‬ ‫ﻭ ﻣﻘﻄﻊﺍﺵ ﮐﻪ ﺷﺎﻣﻞ ﻣﺎﺩﺓ ﺗﺎﺭﻳﺦ ﻭﻓﺎﺕ ﺍﺳﺖ‪ ،‬ﭼﻨﻴﻦ ﺍﺳﺖ‪:‬‬ ‫ﭼﺮﺍ ﻓﺮﻭ ﻧﭽﻜﺪ ﺧﻮﻥ ﺯ ﺩﻳـﺪﺓ ﺗـﺮ ﻣـﺎ ﻛﻪ ﺭﺧﺖ ﺑﺴﺖ ﺯ ﻋﺎﻟﻢ ﻏﻼﻡ ﺣﻴﺪﺭ ﻣﺎ‬ ‫ﻛﺸــﻴﺪ ﻧﺎﻟــﺔ ﺗــﺎﺭﻳﺦ ﺭﺣﻠــﺘﺶ ﺁﺯﺍﺩ ﺳﻮﻱ ﺍﻟﻪ ﺳـﻔﺮ ﻛـﺮﺩ ﻧـﺎﺯ ﭘـﺮﻭﺭ ﻣـﺎ‪٣‬‬ ‫)= ‪ ١١٨٣‬ﻫﺠﺮﻱ(‬ ‫ﻣﺬﻫﺐ ﻭ ﻋﻘﻴﺪﺓ ﺁﺯﺍﺩ‬ ‫ﺁﺯﺍﺩ ﺣﻨﻔﻲ ﻣﺬﻫﺐ ﺑﻮﺩ ﭼﻨﺎﻧﻜﻪ ﺧﻮﺩ ﺻﺮﺍﺣﺖ ﻛﺮﺩﻩ ﺍﺳﺖ‪:‬‬ ‫”ﺍﻟﺤﺴﻴﻨﻲ ﻧﺴﺒﺎﹰ ﻭ ﺍﻟﻮﺍﺳﻄﻲ ﺍﺻ ﹰﻼ ﻭ ﺍﻟﺒﻠﮕﺮﺍﻣﻲ ﻣﻮﻟﺪﹰﺍ ﻭ ﻣﻨﺸﺎﺀً ﻭ ﺍﻟﺤﻨﻔﻲ ﻣﺬﻫﺒﹰﺎ ﻭ ﺍﻟﭽﺸﺘﻲ‬ ‫ﻃﺮﻳﻘﺘﹰﺎ…“‪ .٤‬ﺍﻭ ﻣﺤﺐ ﺍﻫﻞ ﺑﻴﺖ ﺑﻮﺩ‪.‬‬ ‫ﺍﻭ ﺍﺭﺍﺩﺕ ﻓﺮﺍﻭﺍﻥ ﺑﻪ ﺣﻀﺮﺕ ﭘﻴﺎﻣﺒﺮ)ﺹ( ﻭ ﺣﻀﺮﺕ ﻋﻠﻲ)ﻉ( ﺩﺍﺷﺖ‪ .‬ﻭﻱ ﺭﺍﺟﻊ ﺑﻪ ﻧﺎﻡ ﻭ ﺗﺨﻠﹼﺺ‬ ‫ﺧﻮﺩ ]ﻏﻼﻡ ﻋﻠﻲ ﺁﺯﺍﺩ[ ﺗﻮﺿﻴﺢ ﺩﺍﺩﻩ ﺍﺳﺖ ﻭ ﻣﻲﻧﻮﻳﺴﺪ ”ﺣﻀﺮﺕ ﻟﺴﺎﻥ ﺍﻟﻐﻴﺐ )= ﺧﻮﺍﺟﻪ ﺣﺎﻓﻆ(‬ ‫ﻗﺪ‪‬ﺱ ﺳﺮ‪‬ﻩ ﺳﻴﺼﺪ ﻭ ﭘﻨﺠﺎﻩ ﺳﺎﻝ ﺗﺨﻤﻴﻨﹰﺎ ﭘﻴﺶ ﺍﺯ ﺍﻳﻦ ﺑﻪ ﻧﺎﻡ ﻭ ﺗﺨﻠﹼﺺ ﻓﻘﻴﺮ ﺍﻳﻤﺎ ﻧﻤﻮﺩﻩ ﻭ ﺍﺯ ﻋﻨﺎﻳﺖ‬ ‫ﺑﻲﻧﻬﺎﻳﺖ ﺑﻪ ﺯﺑﺎﻥ ﻋﻘﻴﺪﺗﻤﻨﺪ ﺗﻜﻠﹼﻢ ﻓﺮﻣﻮﺩﻩ ﻛﻪ‪:‬‬ ‫ﻓﺎﺵ ﻣﻲﮔﻮﻳﻢ ﻭ ﺍﺯ ﮔﻔﺘﺔ ﺧﻮﺩ ﺩﻟﺸﺎﺩﻡ ﺑﻨﺪﺓ ﻋﺸﻘﻢ ﻭ ﺍﺯ ﻫﺮ ﺩﻭ ﺟﻬـﺎﻥ ﺁﺯﺍﺩﻡ‬ ‫»ﺑﻨﺪﺓ ﻋﺸﻖ« ﺗﺮﺟﻤﺔ »ﻏﻼﻡ ﻋﻠﻲ« ﺍﺳﺖ ﭼﻪ ﻋﺸﻖ ﻋﺒﺎﺭﺕ ﺍﺯ ﺍﻣﻴﺮﺍﻟﻤﺆﻣﻨﻴﻦ ﻋﻠﻲ)ﻉ( ﺑﺎﺷﺪ‪ .‬ﭼﻨﺎﻧﭽﻪ‬ ‫ﺭﻭﺡﺍﻻﻣﻴﻦ ﻣﻲﮔﻮﻳﺪ‪:‬‬ ‫ﻫﺮ ﭼﻪ ﮔﻮﻳﻢ ﻋﺸﻖ ﺯﺍﻥ ﺑﺮﺗﺮ ‪‬ﺑﻮ‪‬ﺩ ﻋﺸـﻖ ﺍﻣﻴﺮﺍﻟﻤـﺆﻣﻴﻦ ﺣﻴـﺪﺭ ‪‬ﺑـ ‪‬ﻮﺩ‬ ‫‪ .١‬ﺁﺯﺍﺩ ﺑﻠﮕﺮﺍﻣﻲ‪ :‬ﺷﺠﺮﺓ ﻃ‪‬ﻴﺒﻪ )ﺧ ﹼﻄﻲ(‪ ،‬ﺹ ‪.٦٩‬‬ ‫‪ .٢‬ﻫﻤﺎﻥ‪ ،‬ﺹ ‪.٦٤‬‬ ‫‪ .٣‬ﺩﻳﻮﺍﻥ ﻓﺎﺭﺳﻲ ﺁﺯﺍﺩ )ﺧ ﹼﻄﻲ(‪ ،‬ﺹ ‪٦٦‬؛ ﻛﻠﻴﺎﺕ ﻓﺎﺭﺳﻲ ﺁﺯﺍﺩ )ﺧ ﹼﻄﻲ(‪ ،‬ﺹ ‪.٢٩‬‬ ‫‪ .٤‬ﺳﺮﻭ ﺁﺯﺍﺩ‪ ،‬ﺹ ‪.٢٩١-٢‬‬

‫‪ // ٥٨‬ﮐﻠﻴ‪‬ﺎﺕ‪ ‬ﺁﺯﺍﺩ ﺑﻠﮕﺮﺍﻣﻲ‬ ‫ﻣﺤﺒ‪‬ـﺖ ﺿـﺮﺑﺖ ﻣﺴـﺘﺎﻧﺔ ﺍﻭﺳـﺖ“‪١‬‬ ‫ﻭ ﻣﺴﻴﺤﺎﻱ ﻛﺎﺷﻲ ﮔﻮﻳﺪ‪:‬‬ ‫”ﻋﻠﻲ ﺑﺎﺷﺪ ﻛﺴﻲ ﻛﺶ ﻋﺸﻖ ﺧﻮﺍﻧﻲ‬ ‫ﺁﺯﺍﺩ ﺧﻮﺩ ﺑﺎﺭﻫﺎ ﭼﻨﻴﻦ ﮔﻔﺘﻪ ﻭ ﻋﺸﻖ ﻭ ﻋﻼﻗﺔ ﺧﻮﺩ ﺑﻪ ﺍﻣﻴﺮﺍﻟﻤﺆﻣﻨﻴﻦ ﺣﻀﺮﺕ ﻋﻠﻲ)ﻉ( ﺭﺍ ﻧﺸﺎﻥ ﺩﺍﺩﻩ ﺍﺳﺖ‪:‬‬ ‫ﮔﺮ ﭼﻪ ﻏﻼﻡ ﻋﻠﻲ ﺍﺯ ﻫﻤﻪ ﺁﺯﺍﺩ ﺷﺪ ﻓﻬﻢ ﻛﻦ ﺍﺯ ﻧﺎﻡ ﺍﻭ‪ ،‬ﺑﻨﺪﺓ ﺣﻴﺪﺭ ﺑـﻮﺩ‬ ‫*‬ ‫ﺣﻴﺪﺭ ﻛﻪ ﻏﻼﻣﻴﺶ ﺷﺮﻑ ﺩﺍﺩ ﻣـﺮﺍ ﺩﺍﺭﺩ ﻧﻈــﺮ ﻋﻨــﺎﻳﺘﺶ ﺷــﺎﺩ ﻣــﺮﺍ‬ ‫*‬ ‫ﺁﺯﺍﺩ ﮔﺮ ﭼﻪ ﺩﺍﻡ ﻋﻼﺋﻖ ﮔﺴﺴﺘﻪ ﺍﺳـﺖ ﺑﺎﺷــﺪ ﻏــﻼﻡ ﺷــﺎﻩ ﻭﻻﻳــﺖ ﭘﻨــﺎﻩ ﺭﺍ‬ ‫*‬ ‫ﺩﺍﻧﺪ ﻫﻤﻪ ﻛﺲ ﻛﻪ ﻣﻦ »ﻏـﻼﻡ ﻋﻠـﻲ«ﺍﻡ ﺍﺣﺴــﺎﻥ ﻓﺮﻣــﻮﺩ ﻭ ﻛــﺮﺩ »ﺁﺯﺍﺩ« ﻣــﺮﺍ‬ ‫ﺑ‪‬ﻴﺮﺍﻡ ﺧﺎﻥ‪ ٢‬ﺑﻴﺘﻲ ﺩﺍﺭﺩ ﻛﻪ ﺩﺭ ﺁﻥ ﻛﻠﻤﺔ »ﻏﻼﻡ ﻋﻠﻲ« ﺭﺍ ﺑﻪ ﻛﺎﺭ ﺑﺮﺩﻩ ﺍﺳﺖ‪:‬‬ ‫ﺷﻬﻲ ﻛﻪ ﺑﮕﺬﺭﺩ ﺍﺯ ﻧﹸﻪ ﺳﭙﻬﺮ ﺍﻓﺴـﺮ ﺍﻭ ﺍﮔﺮ ﻏﻼﻡ ﻋﻠﻲ ﻧﻴﺴﺖ ﺧﺎﻙ ﺑﺮ ﺳﺮ ﺍﻭ‬ ‫ﺁﺯﺍﺩ ﻣﻲﻧﻮﻳﺴﺪ‪:‬‬ ‫”ﺍﮔﺮ ﻣﻦ ﺩﺭ ﻋﻬﺪ ‪‬ﺑﻴﺮﺍﻡ ﺧﺎﻥ ﻣﻲﺑﻮﺩﻡ‪ ،‬ﺍﻳﻦ ﻣﻄﻠﻊ ﺭﺍ ﻛﻪ ﺑﻪ ﻧﺎﻡ ﻣﻦ ﻣﻨﺎﺳﺐ ﺍﻓﺘﺎﺩﻩ ﺑﻪ ﻋﻮﺽ ﻧﻘﺪ‬ ‫ﺟﺎﻥ ﺍﺯ ﺍﻭ ﻣﻲﺧﺮﻳﺪﻡ“‪.٣‬‬ ‫ﻃﺮﻳﻘﺔ ﺗﺼﻮ‪‬ﻑ‬ ‫ﺁﺯﺍﺩ ﻧﻮﺷﺘﻪ ﺍﺳﺖ ﻛﻪ ﻃﺮﻳﻘﺘﹰﺎ ﭼﺸﺘﻲ ﺍﺳﺖ‪ .٤‬ﺍﻭ ﺩﺭ ﺳﺎﻝ ‪ ١١٣٧‬ﻫﺠﺮﻱ ﺑﻪ ﺩﺳﺖ ﻣﻴﺮ ﺳﻴ‪‬ﺪ ﻟﻄﻒ ﺍﷲ‬ ‫ﻣﻌﺮﻭﻑ ﺑﻪ ﺷﺎﻩ ﻟﺪ‪‬ﻫﺎ ﺑﻠﮕﺮﺍﻣﻲ ﺑﻪ ﻃﺮﻳﻘﺖ ﺻﻮﻓﻴﺎﻥ ﭼﺸﺘﻲ ﺩﺭﺁﻣﺪ‪ .‬ﺍﻟﺒﺘﹼﻪ ﺩﺭ ﺑﻌﻀﻲ ﺗﺬﻛﺮﻩﻫﺎ‪ ٥‬ﺳﺎﻝ ﺑﻴﻌﺖ ﺍﻭ‬ ‫‪ ١١٣٠‬ﻫﺠﺮﻱ ﺩﺭﺝ ﺍﺳﺖ ﻛﻪ ﺩﺭﺳﺖ ﻧﻴﺴﺖ‪ .‬ﺍﻭ ﺧﻮﺩ ﻧﻮﺷﺘﻪ ﺍﺳﺖ ﻛﻪ ”ﺩﺭ ﺳﻨﺔ ﺳﺒﻊ ﻭ ﺛﻠﺜﻴﻦ ﻭ ﻣﺎﺋﺔ ﻭ‬ ‫ﺍﻟﻒ )‪ ١١٣٧‬ﻫ( ﺷﺮﻑ ﺑﻴﻌﺖ‪ ‬ﺟﻨﺎﺏﹺ ﻣﺴﺘﻄﺎﺏ ﺳﻴ‪‬ﺪﺍﻟﻌﺎﺭﻓﻴﻦ ﻣﻴﺮ ﺳﻴ‪‬ﺪ ﻟﻄﻒ ﺍﷲ ﺑﻠﮕﺮﺍﻣﻲ ﺍﻧﺪﻭﺧﺖ“‪.٦‬‬ ‫‪ .١‬ﺧﺰﺍﻧﺔ ﻋﺎﻣﺮﻩ‪ ،‬ﺹ ‪.١٢٣‬‬ ‫‪ .٢‬ﺭﻙ‪Prof. Sukumar Ray: Bairam Khan, edited by M.H.A. Beg, published by Institute of Central and :‬‬ ‫‪West Asian Studies, University of Karachi, 1992.‬‬ ‫‪ .٣‬ﺁﺯﺍﺩ ﺑﻠﮕﺮﺍﻣﻲ‪ :‬ﺧﺰﺍﻧﺔ ﻋﺎﻣﺮﻩ‪ ،‬ﺹ ‪.٤٥٩‬‬ ‫‪ .٤‬ﺳﺮﻭ ﺁﺯﺍﺩ‪ ،‬ﺹ ‪.٢٩١‬‬ ‫‪ .٥‬ﻣﺤﺒﻮﺏ ﺍﻟﺰﻣﻦ ﺗﺬﻛﺮﺓ ﺷﻌﺮﺍﻱ ﺩﻛﻦ‪ ،‬ﺝ ‪ ،١‬ﺹ ‪٢٥٦‬؛ ﺗﺬﻛﺮﻩﻧﻮﻳﺴﻲ ﻓﺎﺭﺳﻲ ﺩﺭ ﻫﻨﺪ ﻭ ﭘﺎﻛﺴﺘﺎﻥ‪ ،‬ﺹ ‪.٢٥٦‬‬ ‫‪ .٦‬ﺳﺮﻭ ﺁﺯﺍﺩ‪ ،‬ﺹ ‪٢٩٣‬؛ ﻣﺂﺛﺮﺍﻟﻜﺮﺍﻡ‪ ،‬ﺹ ‪١٠٣‬؛ ﺧﺰﺍﻧﺔ ﻋﺎﻣﺮﻩ‪ ،‬ﺹ ‪.١٢٤‬‬

‫ﻣﻘﺪ‪‬ﻣﻪ ﺩﺭ ﺍﺣﻮﺍﻝ ﻭ ﺁﺛﺎﺭﹺ ﻣﻴﺮ ﻏﻼﻡ ﻋﻠﯽ ﺁﺯﺍﺩ ﺑﻠﮕﺮﺍﻣﻲ ‪٥٩ //‬‬ ‫ﺷﺮﺡ ﺣﺎﻝ ﻣﻴﺮ ﺳﻴ‪‬ﺪ ﻟﻄﻒ ﺍﷲ ﻣﻌﺮﻭﻑ ﺑﻪ ﺷﺎﻩ ﻟﺪ‪‬ﻫﺎ ﺑﻠﮕﺮﺍﻣﻲ )‪ ١٠٥٣-١١٤٣‬ﻫ(‬ ‫ﻣﻴﺮ ﺳﻴ‪‬ﺪ ﻟﻄﻒ ﺍﷲ ﻣﻌﺮﻭﻑ ﺑﻪ ﺷﺎﻩ ﻟﺪ‪‬ﻫﺎ ﻓﺮﺯﻧﺪ ﺳﻴ‪‬ﺪ ﻛﺮﻡ ﺍﷲ ﺍﺯ ﺍﺣﻔﺎﺩ ﺳﻴ‪‬ﺪ ﻣﺤﻤﻮﺩ ﺍﻛﺒﺮ ﺑﻠﮕﺮﺍﻣﻲ ﺍﺳﺖ‪.‬‬ ‫ﺳﻴ‪‬ﺪ ﻛﺮﻡ ﺍﷲ‪ ،‬ﺑﺰﺭﮒ ﻋﻬﺪ ﻭ ﻋﻤﺪﺓ ﻋﺼﺮ ﻭ ﺻﺎﺣﺐ ﺍﺧﻼﻕ ﻭ ﺻﻔﺎﺕ ﻧﻴﻜﻮ ﺑﻮﺩ‪ .‬ﻣﻴﺮ ﺳﻴ‪‬ﺪ ﻟﻄﻒ ﺍﷲ ﺩﺭ‬ ‫ﺳﺎﻝ ‪ ١٠٥٣‬ﻫﺠﺮﻱ ﻣﺘﻮﻟﺪ ﺷﺪ‪ .‬ﺍﻭ ﻧﻴﺰ ﺑﺮ ﻃﺮﻳﻘﺔ ﭘﺪﺭ ﺭﻓﺘﻪ ﻭ ﺑﻪ ﺯﻭﺩﻱ ﺩﺭ ﺯﻣﺮﺓ ﺻﺎﺣﺐ ﻛﻤﺎﻻﻥ ﻭ ﺍﺯ‬ ‫ﺍﻛﻤﻞ ﺍﻭﻟﻴﺎ ﻣﺤﺴﻮﺏ ﺷﺪ‪ .‬ﻟﻘﺐ ﺍﻭ ﺳﻴ‪‬ﺪﺍﻟﻌﺎﺭﻓﻴﻦ ﻭ ﺳﻴ‪‬ﺪﺍﻻﻭﻟﻴﺎ ﺍﺳﺖ‪ .‬ﺩﺭ ﻋﻨﻔﻮﺍﻥ ﺷﺒﺎﺏ ﻫﻤﺮﺍﻩ ﭘﺪﺭ‬ ‫ﺑﻪ ﺑﻨﮕﺎﻝ ﺭﻓﺖ ﻭ ﺩﺭ ﺁﻧﺠﺎ ﺩﺭ ﺧﺪﻣﺖ ﺷﺎﻩ ﺍﻋﻈﻢ ﺭﻳﺎﺿﺖﻫﺎ ﻛﺸﻴﺪ ﻭ ﻣﺮﺍﺗﺐ ﺑﻠﻨﺪ ﻭ ﻣﺪﺍﺭﺝ ﺍﺭﺟﻤﻨﺪ‬ ‫ﻃﻲ ﻛﺮﺩ‪ .‬ﺳﭙﺲ ﺩﺭ ﻧﺰﺩ ﻧﻮ‪‬ﺍﺏ ﻧﺠﺎﺑﺖ ﺧﺎﻥ )ﻡ‪ ١٠٧٥ :‬ﻫ( ﺧﺪﻣﺖ ﻧﻤﻮﺩ ﻭ ﺑﻌﺪ ﺍﺯ ﺁﻥ ﺩﺭ ﺳﻦ‪ ‬ﺑﻴﺴﺖ ﻭ‬ ‫ﺩﻭ ﺳﺎﻟﮕﻲ ﺍﺯ ﻋﻼﻳﻖ ﺩﻧﻴﺎ ﺩﺳﺖ ﻛﺸﻴﺪ‪ ،‬ﺑﻪ ﺳﻴﺮ ﻭ ﺳﻴﺎﺣﺖ ﭘﺮﺩﺍﺧﺖ‪ ،‬ﺳﭙﺲ ﺑﻪ ﺷﻬﺮ ﺑﺮﻫﺎﻧﭙﻮﺭ ﻧﺰﺩ ﺷﺎﻩ‬ ‫ﺑﺮﻫﺎﻥ ﺭﺍﺯ ﺍﻟﻬﻲ ﻛﻪ ﺍﻛﺎﺑﺮ ﺻﻮﻓﻴﺔ ﺁﻥ ﺩﻳﺎﺭ ﺑﻮﺩ‪ ،‬ﺭﻓﺖ‪ .‬ﭼﻨﺪﻱ ﺑﻌﺪ ﺑﻪ ﻛﺎﻟﭙﻲ ﻭ ﺩﺭ ﺧﺪﻣﺖ ﻣﻴﺮ ﺳﻴ‪‬ﺪ ﺍﺣﻤﺪ‬ ‫ﺑﻦ ﻣﻴﺮ ﺳﻴ‪‬ﺪ ﻣﺤﻤ‪‬ﺪ ﺗﺤﺼﻴﻞ ﻧﻤﻮﺩ ﻭ ﻃﺮﻳﻘﺔ ﭼﺸﺘﻴﻪ ﺭﺍ ﺍﺧﺘﻴﺎﺭ ﻛﺮﺩ ﻭ ﺑﻪ ﺑﻠﮕﺮﺍﻡ ﺑﺎﺯﮔﺸﺖ ﻭ ﺣﺪﻭﺩ ﻫﻔﺘﺎﺩ‬ ‫ﺳﺎﻝ ﺩﺭ ﮔﻮﺷﺔ ﺍﻧﺰﻭﺍ ﻣﺎﻧﺪ‪ .‬ﺍﻭ ﺑﻪ ﺗﺎﺭﻳﺦ ‪ ١٤‬ﺟﻤﺎﺩﻱﺍﻻﻭ‪‬ﻝ ‪ ١١٤٣‬ﻫﺠﺮﻱ ﺩﺭ ﺑﻠﮕﺮﺍﻡ ﻭﻓﺎﺕ ﻳﺎﻓﺖ ﻭ ﺩﺭ‬ ‫ﺟﻮﺍﺭ ﺣﻮﻳﻠﻲ ﻣﻴﺮ ﻧﻮﺍﺯﺵ ﻋﻠﻲ ﻓﻘﻴﺮ ﺑﻠﮕﺮﺍﻣﻲ ﻣﺪﻓﻮﻥ ﮔﺮﺩﻳﺪ‪ .‬ﺁﺯﺍﺩ ﺍﺯ ﺁﻳﺎﺕ ﻗﺮﺁﻧﻲ ﺯﻳﺮ ﺗﺎﺭﻳﺦ ﻭﻓﺎﺕ‬ ‫ﺷﺎﻩ ﻟﺪ‪‬ﻫﺎ ﺭﺍ ﻳﺎﻓﺘﻪ ﺍﺳﺖ‪.‬‬ ‫»ﰲ ﺟ‪‬ﻨﺎﺕ‪ ‬ﺍﻟﻨﻌﻴﻢ«‪ ١‬ﻭ » ‪‬ﻭﹶﻟﻬ‪‬ﻢ‪ ‬ﺭﹺﺯﹶﻗﻬﻢ ‪‬ﻓﻴ ‪‬ﻬﺎ ﺑ‪‬ﻜ ‪‬ﺮﹰﺓ ﻭ ﻋﺸﻴ ﹰﺎ«‪.٢‬‬ ‫ﺁﺯﺍﺩ ﺩﺭ ﺳﻨﺔ ‪ ١١٣٧‬ﻫﺠﺮﻱ ﺑﺮ ﺩﺳﺖ ﺷﺎﻩ ﻟﺪ‪‬ﻫﺎ ﺑﻴﻌﺖ ﻛﺮﺩﻩ ﺑﻮﺩ‪ .‬ﺍﻭ ﺩﺭ ﺍﻧﻴﺲ ﺍﻟﻤﺤﻘﹼﻘﻴﻦ ﻣﻨﺎﻗﺐ ﻭ‬ ‫ﺍﺣﻮﺍﻝ ﻭ ﻛﻤﺎﻻﺕ ﻭ ﻛﺮﺍﻣﺎﺕ ﻭ ﻣﻜﺘﻮﺑﺎﺕ ﺷﺎﻩ ﻟﺪ‪‬ﻫﺎ ﻭ ﻓﺮﺯﻧﺪﺍﻥ ﻭ ﻣﺮﻳﺪﺍﻥ ﺍﻭ ﺭﺍ ﺟﻤﻊ ﻧﻤﻮﺩﻩ ﺍﺳﺖ‪ .‬ﺍﻳﻦ‬ ‫ﻛﺘﺎﺏ ﻫﻨﻮﺯ ﺑﻪ ﺻﻮﺭﺕ ﻧﺴﺨﻪﻫﺎﻱ ﺧﻄﻲ ﺩﺭ ﮐﺘﺎﺑﺨﺎﻧﻪﻫﺎ ﻧﮕﻬﺪﺍﺭﻱ ﻣﻲﺷﻮﺩ‪.‬‬ ‫ﺧﺼﺎﺋﻞ ﻭ ﻭﻳﮋﮔﻲﻫﺎﻱ ﺍﺧﻼﻗﻲ ﺁﺯﺍﺩ‬ ‫ﺁﺯﺍﺩ ﻃﺒﻌﹰﺎ ﺷﺨﺼﻲ ﻗﺎﻧﻊ‪ ،‬ﺑﺬﻟﻪﮔﻮ‪ ،‬ﺷﮕﻔﺘﻪ ﻃﺒﻊ‪ ،‬ﺧﻮﺵ ﺍﺧﻼﻕ‪ ،‬ﻣﻨﻜﺴﺮ ﻣﺰﺍﺝ ﻭ ﻣﻌﺘﻘﺪ ﻭ ﻣﺘﻌﻬﺪ ﺑﻪ ﺩﻳﻦ‬ ‫ﺍﺳﻼﻡ ﻭ ﺍﺭﺯﺵﻫﺎﻱ ﺍﺳﻼﻣﻲ ﻭ ﺍﻧﺴﺎﻧﻲ ﻭ ﻧﻴﺰ ﺑﻲﻧﻴﺎﺯ ﺍﺯ ﺛﺮﻭﺕ ﻭ ﺩﻭﻟﺖ ﺩﻧﻴﻮﻱ ﺑﻮﺩ‪ .‬ﺑﺎ ﻭﺟﻮﺩﻱ ﻛﻪ‬ ‫ﺑﺎ ﺍﻣﺮﺍ ﻭ ﺭﺅﺳﺎ ﺣﺸﺮ ﻭ ﻧﺸﺮ ﺩﺍﺷﺖ‪ ،‬ﺍﻣ‪‬ﺎ ﻫﻴﭻ ﻭﻗﺖ ﺍﺯ ﺁﻧﺎﻥ ﺑﺮﺍﻱ ﺧﻮﺩ ﻣﻨﺼﺐ ﻭ ﻣﻘﺎﻡ ﻧﺨﻮﺍﺳﺖ ﻭ ﺍﮔﺮ‬ ‫ﺧﻮﺩ ﺁﻧﺎﻥ ﻣﻲﺧﻮﺍﺳﺘﻨﺪ ﻛﻪ ﺑﻪ ﺁﺯﺍﺩ‪ ،‬ﻣﻘﺎﻡ ﻭ ﻣﻨﺼﺒﻲ ﺑﺪﻫﻨﺪ ﺑﺎ ﻛﻤﺎﻝ ﺍﺳﺘﻐﻨﺎﻱ ﻭ ﺑﻲﻧﻴﺎﺯﻱ ﺍﺯ ﻗﺒﻮﻝ ﺁﻥ‬ ‫ﺍﺟﺘﻨﺎﺏ ﻛﺮﺩ‪ .‬ﺍﻭ ﺍﺳﺘﻐﻨﺎ ﻭ ﺑﻲﻧﻴﺎﺯﻱ ﺧﻮﺩ ﺭﺍ ﭼﻨﻴﻦ ﺗﻌﺮﻳﻒ ﻛﺮﺩﻩ ﺍﺳﺖ‪:‬‬ ‫‪ .١‬ﺳﻮﺭﺓ ﺣﺞ )‪ ،(٢٢‬ﺁﻳﺔ ‪.٥٦‬‬ ‫‪ .٢‬ﺳﻮﺭﺓ ﻣﺮﻳﻢ )‪ ،(١٩‬ﺁﻳﺔ ‪.٦٢‬‬

‫‪ // ٦٠‬ﮐﻠﻴ‪‬ﺎﺕ‪ ‬ﺁﺯﺍﺩ ﺑﻠﮕﺮﺍﻣﻲ‬ ‫”ﺍﺯ ﺁﻥ ﺭﻭﺯﻱ ﻛﻪ ﻧﺎﺻﻴﺔ ﺍﺧﻼﺹ ﺑﺎ ﺁﺳﺘﺎﻥ ﺑﻴﺖ ﺍﷲ ﺁﺷﻨﺎ ﺷﺪ‪ .‬ﺑﻴﮕﺎﻧﮕﻲ ﺍﺯ ﺭﺳﻮﻡ ﺍﺑﻨﺎﻱ ﺭﻭﺯﮔﺎﺭ‬ ‫ﺑﻬﻢﺭﺳﻴﺪﻩ ﻭ ﻣﻌﻨﻲ ﺗﺨﻠﹼﺺ ﺁﺯﺍﺩ ﺑﻪ ﻗﺪﺭ ﺍﺳﺘﻮﺍﺭ ﺟﻠﻮﻩ ﺍﻓﺮﻭﺯ ﮔﺮﺩﻳﺪ“‪.١‬‬ ‫ﺍﻭ ﻣﻲﮔﻮﻳﺪ‪:‬‬ ‫‪‬ﻣﻬﺮ ﺑﺮ ﻟﺐ ﮐـﺮﺩ ﺁﺯﺍﺩ ﺍﺯ ﺛﻨـﺎﻱ ﺍﻏﻨﻴـﺎ ﻧﻴﺴﺖ ﺍﺭﺑﺎﺏ ﺩﻭﻝ ﺭﺍ ﺑﺎﺭ ﺩﺭ ﺩﻳﻮﺍﻥ ﻣﺎ‬ ‫ﺁﺯﺍﺩ ﻣﻲﮔﻮﻳﺪ ﻛﻪ ﺻﻠﻪ ﺑﺮ ﺩﻭ ﻗﺴﻢ ﺍﺳﺖ ﺍﹸﺧﺮﻭﻱ ﻭ ﺩﻧﻴﻮﻱ‪ .‬ﺍﻭ‪‬ﻝ ﺍﻟﺬﻛﺮ ﻧﺼﻴﺐ ﺁﻧﺎﻥ ﻣﻲﺷﻮﺩ ﻛﻪ‬ ‫ﻣﺪﺍﺣﻲ ﺧﺎﻧﺪﺍﻥ ﻧﺒﻮ‪‬ﺕ ﻭ ﺍﻛﺎﺑﺮ ﺩﻳﻦ ﺭﺍ ﭘﻴﺸﻪ ﺳﺎﺧﺘﻪﺍﻧﺪ ﻭ ﭼﺸﻢ ﺑﻪ ﺛﺮﻭﺕ ﻭ ﺟﻮﺍﻳﺰ ﺍﹸﺧﺮﻭﻱ ﺩﻭﺧﺘﻪﺍﻧﺪ‪،‬‬ ‫ﻭ ﺻﻠﺔ ﺩﻧﻴﻮﻱ ﺑﻪ ﻣﺪﺡ ﻭ ﺳﺘﺎﻳﺶ ﺍﻣﺮﺍ ﻭ ﺳﻼﻃﻴﻦ ﺣﺎﺻﻞ ﻣﻲﺷﻮﺩ‪ .‬ﺍﻭ ﻣﻲﮔﻮﻳﺪ‪:‬‬ ‫”ﻓﻘﻴﺮ ﺁﺯﺍﺩ ﻗﺼﺎﻳﺪ ﻋﺮﺑﻲ ﻫﻔﺘﺼﺪ ﺑﻴﺖ ﺩﺭ ﻧﻌﺖ ﻧﺒﻮﻱ ﺑﻪ ﻧﻈﻢ ﺁﻭﺭﺩﻩ ﻭ ﻭﺳﻴﻠﻪﺍﻱ ﺑﺮﺍﻱ ﺗﺤﺼﻴﻞ‬ ‫ﺷﻔﺎﻋﺖ ﭘﻴﺪﺍ ﻛﺮﺩﻩ‪ ،‬ﻟﺬﺍ ﺗﺮﺍﻧﺔ ﺍﻓﺘﺨﺎﺭ ﻣﻲﺳﺮﺍﻳﺪ‪:‬‬ ‫ﭼﻮﻥ ﻣﺪﺡ ﺭﺳﻮﻝ ﻛﺎﻡ ﻣـﻦ ﺷـﺪ »ﺣﺴ‪‬ـﺎﻥ ﺍﻟﻬﻨـﺪ« ﻧـﺎﻡ ﻣـﻦ ﺷـﺪ“‪٢‬‬ ‫ﺁﺯﺍﺩ ﺩﺭ ﺿﻤﻦ ﺭﺍﺑﻄﺔ ﺧﻮﺩ ﺑﺎ ﻧﻮ‪‬ﺍﺏ ﻧﻈﺎﻡﺍﻟﺪ‪‬ﻭﻟﻪ ﻣﻲﻧﻮﻳﺴﺪ‪:‬‬ ‫”)ﺑﻴﻦ( ﻓﻘﻴﺮ ﻭ ﻧﻮ‪‬ﺍﺏ ﻧﻈﺎﻡﺍﻟﺪ‪‬ﻭﻟﻪ ﻣﺤﺒ‪‬ﺖ ﻭ ﺍﺧﻼﺹ ﻓﻮﻕ ﺍﻟﺒﻴﺎﻥ ﺑﻮﺩ ﻭ ﺍﺯ ﺍﺑﺘﺪﺍﻱ ﻣﻼﻗﺎﺕ ﺗﺎ‬ ‫ﺍﻧﺘﻬﺎﻱ ﺍﻳ‪‬ﺎﻡ ﺣﻴﺎﺕ ﻣﺜﻞ ﻣﻦ ﺁﺯﺍﺩ ﺭﺍ ﺩﺭ ﺩﺍﻡ ﺣﺴﻦ ﺧﻠﻖ ﺧﻮﺩ ﻣﻘﻴﺪ ﺩﺍﺷﺖ ﻫﺮ ﭼﻨﺪ ﺧﻮﺍﺳﺘﻢ‬ ‫ﻛﻨﺎﺭﻩ ﮔﻴﺮﻡ ﻧﮕﺬﺍﺷﺖ“‪.٣‬‬ ‫ﺗﺴـﻠﻴﻢ ﻧﻔـﺲ ﺳـﺎﺯ ﺷﮑﺴـﺖ ﮐـﻼﻩ ﺭﺍ‬ ‫ﻟﺬﺍ ﻣﻲﺳﺮﺍﻳﺪ‪:‬‬ ‫ﺩﺭ ﻋﺠﺰ ﮐﻮﺵ ﻭ ﺷﻴﻮﺓ ﻧﺨﻮﺕ ﻓﺮﻭﮔﺬﺍﺭ‬ ‫ﺑـﺎ ﺷـﻮﺭ ﺍﺣﺘﺸـﺎﻡ ﺩﻣـﺎﻏﻢ ﻭﻓـﺎ ﻧﮑـﺮﺩ ﻳﮏ ﺩﺳﺖ ﭘﺸﺖ‪ ‬ﭘﺎ ﺯﺩﻩﺍﻡ ﺣ‪‬ﺐ‪ ‬ﺟـﺎﻩ ﺭﺍ‬ ‫ﭘﺮﻫﻴﺰ ﺍﺯ ﻫﺠﻮﮔﻮﻳﻲ‬ ‫ﺁﺯﺍﺩ ﺯﺑﺎﻥ ﻭ ﻗﻠﻢ ﺧﻮﺩ ﺭﺍ ﺍﺯ ﻫﺠﻮﮔﻮﻳﻲ ﻣﺤﻔﻮﻅ ﻧﮕﻬﺪﺍﺷﺘﻪ ﺍﺳﺖ ﻭ ﺳﻌﻲ ﻧﻤﻮﺩﻩ ﺍﺳﺖ ﻛﻪ ﺣﺘﹼﻲ ﺧﺎﻣﺔ ﺧﻮﺩ‬ ‫ﺭﺍ ﺍﺯ ﺫﻛﺮ ﻭ ﺍﻧﺘﺨﺎﺏ ﻛﻼﻡ ﺷﻌﺮﺍﻱ ﻫﺰﻝﮔﻮ ﻣﺤﻔﻮﻅ ﺩﺍﺭﺩ‪ .‬ﺩﺭ ﺍﻳﻦ ﻣﻮﺭﺩ ﺍﻭ ﻧﻈﺮ ﺧﺎﺻﻲ ﺩﺍﺷﺖ‪ ،‬ﻣﻲﮔﻮﻳﺪ‪:‬‬ ‫”ﻋﻴﺐﺟﻮﻳﻲ ﻋﻴﺒﻲ ﺍﺳﺖ ﻋﻈﻴﻢ ﻭ ﻛﺞ ﺧﻠﻘﻲ ﺍﻣﺮﻱﺳﺖ ﻧﺎﻣﺴﺘﻘﻴﻢ‪ .‬ﺧﻨﺪﻩ ﺑﺮ ﻣﺮﺩﻡ ﺯﺩﻥﮔﻞ‬ ‫ﺭﺳﻮﺍﻳﻲ ﺑﺮ ﺧﻮﺩ ﭼﻴﺪﻥ ﺍﺳﺖ ﻭ ﭘﺮﺩﻩﺩﺭﻱ ﺍﺑﻨﺎﻱ ﺟﻨﺲ ﻧﻤﻮﺩﻥ ﭘﻴﺮﺍﻫﻦ ﻋﺮﺽ ﺧﻮﺩ ﺩﺭﻳﺪﻥ‪.‬‬ ‫‪ .١‬ﻣﺂﺛﺮﺍﻟﻜﺮﺍﻡ‪ ،‬ﺹ ‪.١٤٣‬‬ ‫‪ .٢‬ﺧﺰﺍﻧﺔ ﻋﺎﻣﺮﻩ‪ ،‬ﺹ ‪.٤‬‬ ‫‪ .٣‬ﻫﻤﺎﻥ‪ ،‬ﺹ ‪.٥٥‬‬

‫ﻣﻘﺪ‪‬ﻣﻪ ﺩﺭ ﺍﺣﻮﺍﻝ ﻭ ﺁﺛﺎﺭﹺ ﻣﻴﺮ ﻏﻼﻡ ﻋﻠﯽ ﺁﺯﺍﺩ ﺑﻠﮕﺮﺍﻣﻲ ‪٦١ //‬‬ ‫ﻫﻴﭻﻛﺲ ﺷﻴﺸﺔ ﻧﺎﻣﻮﺳﻲ ﻧﺸﻜﺴﺖ ﻛﻪ ﺁﺑﺮﻭﻳﺶ ﻧﺮﻳﺨﺖ ﻭ ﺗﺎﺭ ﻭ ﭘﻮﺩﻱ ﻧﻴﺎﻓﺖ ﻛﻪ ﺳﺮﺭﺷﺘﺔ‬ ‫ﻋﻴﺐﮔﻮ ﺍﻭ‪‬ﻝ ﻛﻨﺪ ﺑﻲﭘﺮﺩﻩ ﻋﻴﺐ ﺧـﻮﻳﺶ ﺭﺍ“‪١‬‬ ‫ﻋﺰﹼﺗﺶ ﻧﮕﺴﻴﺨﺖ‪:‬‬ ‫ﻋﻴﺐ ﻣﺮﺩﻡ ﻓﺎﺵ ﻛﺮﺩﻥ ﺑﺪﺗﺮﻳﻦ ﻋﻴﺐﻫﺎﺳـﺖ‬ ‫ﺑﺎﺯ ﻣﻲﮔﻮﻳﺪ‪:‬‬ ‫”ﻣﺤﺮ‪‬ﺭ ﺍﻭﺭﺍﻕ ﺍﻟﺘﺰﺍﻡ ﻛﺮﺩﻩ ﻛﻪ ﺯﺑﺎﻥ ﺧﺎﻣﻪ ﺭﺍ ﺍﺯ ﻫﺠﻮﻳﺎﺕ ﻭ ﻫﺰﻟﻴﺎﺕ ﺷﻌﺮﺍ ﻧﮕﺎﻩ ﺩﺍﺭﺩ“‪.٢‬‬ ‫ﺍﻭ ﭘﺮﻭﺭﺩﺓ ﻣﻴﺮ ﻋﺒﺪﺍﻟﺠﻠﻴﻞ ﺑﻠﮕﺮﺍﻣﻲ ﺑﻮﺩ ﻭ ﻣﻴﺮ ﻣﺬﻛﻮﺭ ﺑﻪ ﺷﺎﮔﺮﺩﺍﻥ ﻭ ﻓﺮﺯﻧﺪﺍﻥ ﺧﻮﺩ ﻧﺼﻴﺤﺖ‬ ‫ﻣﻲﻛﺮﺩ ﻛﻪ ﺍﺯ ﻫﺠﻮﮔﻮﻳﻲ ﻭ ﺍﺑﺘﺬﺍﻝ ﺩﻭﺭﻱ ﺟﻮﻳﻨﺪ ﻭ ﺁﺯﺍﺩ ﺑﺮ ﺍﻳﻦ ﺗﻮﺻﻴﺔ ﺍﺳﺘﺎﺩ ﻭ ﻣﺮﺑ‪‬ﻲ ﺧﻮﺩ ﺗﺎ ﻭﺍﭘﺴﻴﻦ‬ ‫ﻧﻔﺲ ﻋﻤﻞ ﻛﺮﺩ‪.‬‬ ‫ﺍﺳﺘﻐﻨﺎ ﻭ ﺑﻲﻧﻴﺎﺯﻱ‬ ‫ﺁﺯﺍﺩ ﺷﺨﺼﻲ ﺑﻲﻧﻴﺎﺯ ﻭ ﻣﺴﺘﻐﻨﻲ ﺑﻮﺩ‪ .‬ﺷﻔﻴﻖ ﺍﻭﺭﻧﮓﺁﺑﺎﺩﻱ ﺷﺎﮔﺮﺩ ﺁﺯﺍﺩ ﺍﺯ ﺍﺳﺘﺎﺩ ﺧﻮﺩ ﻧﻘﻞ ﻣﻲﻛﻨﺪ ﻛﻪ‬ ‫ﻳﻚ ﺑﺎﺭ ﭘﺪﺭ ﺁﺯﺍﺩ ﻫﺮ ﺩﻭ ﭘﺴﺮ ﺧﻮﺩ ﻳﻌﻨﻲ ﺁﺯﺍﺩ ﻭ ﻏﻼﻡ ﺣﺴﻦ ﺭﺍ ﺑﺮﺍﻱ ﺍﺳﺘﺨﺪﺍﻡ ﭘﻴﺶ ﻧﻮ‪‬ﺍﺏ ﻣﻴﺮ ﻣﺤﻤﻮﺩ‬ ‫ﻣﺨﺎﻃﺐ ﺑﻪ ﺷﺎﻫﻨﻮﺍﺯ ﺧﺎﻥ ‪‬ﺑﺮﺩ‪ .‬ﭘﺪﺭ ﺁﺯﺍﺩ ﻧﺰﺩﻳﻚ ﻧﻮ‪‬ﺍﺏ ﺍﻳﺴﺘﺎﺩﻩ ﺑﻮﺩ ﻭ ﺍﺯ ﺍﻭ ﺭﻭﻱ ﺍﺣﻜﺎﻡ ﺍﻣﻀﺎ‬ ‫ﻣﻲﮔﺮﻓﺖ‪ .‬ﺁﺯﺍﺩ ﻭ ﻏﻼﻡ ﺣﺴﻦ ﺍﺯ ﺩﻭﺭ ﻣﻨﺘﻈﺮ ﺑﻮﺩﻧﺪ ﻛﻪ ﻧﻮ‪‬ﺍﺏ ﺑﻪ ﺳﻮﻱ ﺁﻧﺎﻥ ﻧﮕﺎﻩ ﻛﻨﺪ ﻭ ﺁﻧﺎﻥ ﺑﻪ ﺍﻭ ﺳﻼﻡ‬ ‫ﻛﻨﻨﺪ‪ .‬ﺍﻣ‪‬ﺎ ﻧﻮ‪‬ﺍﺏ ﭼﻨﺎﻥ ﺩﺭ ﻛﺎﺭ ﺧﻮﺩ ﻣﺸﻐﻮﻝ ﺑﻮﺩ ﻛﻪ ﺍﺻ ﹰﻼ ﺑﻪ ﻃﺮﻑ ﺁﻧﺎﻥ ﻣﺘﻮﺟ‪‬ﻪ ﻧﺸﺪ‪ .‬ﺁﺯﺍﺩ ﻣﻲﮔﻮﻳﺪ ﺩﺭ‬ ‫ﺁﻥ ﻭﻗﺖ ﺩﺭ ﺩﻝ ﻣﻦ ﻏﻴﺮﺕ ﻭ ﺣﻤﻴ‪‬ﺖ ﺑﻪ ﺟﻮﺵ ﺁﻣﺪ ﻛﻪ ﺑﺮ ﺩﺭ ﻣﺨﻠﻮﻕ ﭼﻨﻴﻦ ﻋﺠﺰ ﻭ ﺍﻧﻜﺴﺎﺭ ﺑﻲﻣﻌﻨﻲ‬ ‫ﺍﺳﺖ ﻭ ﺑﺎﻳﺪ ﺑﻪ ﻃﺮﻑ ﺧﺎﻟﻖ ﺣﻘﻴﻘﻲ ﺭﺟﻮﻉ ﻛﺮﺩ ﻛﻪ ﺧﺪﻣﺖ ﺍﻭ ﺍﺯ ﻫﻤﻪ ﺍﻓﻀﻞﺗﺮ ﺍﺳﺖ‪ .‬ﻣﻦ ﺍﺯ‬ ‫»ﺳﻼﻡﮔﺎﻩ« ﺑﺮﮔﺸﺘﻢ‪ .‬ﭼﻮﺑﺪﺍﺭ ﭘﺮﺳﻴﺪ ﻛﺠﺎ ﻣﻲﺭﻭﻱ؟ ﮔﻔﺘﻢ‪ :‬ﺧﺎﻧﻪ‪ .‬ﺑﺮﺍﺩﺭﻡ ﻫﻤﺎﻧﺠﺎ ﻣﻨﺘﻈﺮ ﻣﺎﻧﺪ ﻭ ﺑﻌﺪﺍﹰ ﺩﺭ‬ ‫ﻣﻼﺯﻣﺖ ﻧﻮ‪‬ﺍﺏ ﺩﺭﺁﻣﺪ‪ .‬ﻭﻗﺘﻲ ﭘﺪﺭﻡ ﺑﻪ ﺧﺎﻧﻪ ﺑﺮﮔﺸﺖ‪ ،‬ﺍﺯ ﻣﻦ ﭘﺮﺳﻴﺪ‪ :‬ﺗﻮ ﭼﺮﺍ ﺑﺮﮔﺸﺘﻲ؟ ﺁﺧﺮ ﭼﻪ ﻛﺎﺭ‬ ‫ﻣﻲﻛﻨﻲ؟ ﮔﻔﺘﻢ‪ :‬ﻫﺮ ﭼﻪ ﺗﻘﺪﻳﺮ ﺑﺎﺷﺪ“‪.٣‬‬ ‫ﺍﺷﻌﺎﺭﹺ ﺯﻳﺮ ﻧﻴﺰ ﻣﻨﻌﮑﺲ ﮐﻨﻨﺪﺓ ﺍﻓﮑﺎﺭﺵ ﺍﺳﺖ‪:‬‬ ‫ﺑﻪ ﻧﺎﻥ ﺧﺸﮏ‪ ‬ﺧﺪﺍ ﺩﺍﺩ ﺧـﻮﺩ ﺑﺴـﺎﺯ ﺁﺯﺍﺩ ﻏــﻼﻡ ﻣﻨﹼــﺖ‪ ‬ﻧــﻮ‪‬ﺍﺏﹺ ﻧﺎﻣــﺪﺍﺭ ﻣﺸــﻮ‬ ‫*‬ ‫‪ .١‬ﺧﺰﺍﻧﺔ ﻋﺎﻣﺮﻩ‪ ،‬ﺹ ‪.٣٣٧‬‬ ‫‪ .٢‬ﺳﺮﻭ ﺁﺯﺍﺩ‪ ،‬ﺹ ‪.٥٩‬‬ ‫‪ .٣‬ﻣﺤﺒﻮﺏ ﺍﻟﺰﻣﻦ ﺗﺬﻛﺮﺓ ﺷﻌﺮﺍﻱ ﺩﻛﻦ‪ ،‬ﺝ ‪ ،١‬ﺹ ‪.٢٥٧-٨‬‬

‫‪ // ٦٢‬ﮐﻠﻴ‪‬ﺎﺕ‪ ‬ﺁﺯﺍﺩ ﺑﻠﮕﺮﺍﻣﻲ‬ ‫ﻣﺮﺍ ﺁﺯﺍﺩ ﺍﺯ ﻧﻴﺮﻧﮓ ﮔﺮﺩﻭﻥ ﻧﻴﺴﺖ ﭘﺮﻭﺍﻳﻲ ﭼﻪ ﻳﺎﺭﺍﻱ ﻓﻠﮏ ﺑﺎ ﺑﻨﺪﺓ ﺣﻴﺪﺭ ﮐﻨﺪ ﺑـﺎﺯﻱ‬ ‫ﺗﻮ ﹼﻛﻞ ﻭ ﻗﻨﺎﻋﺖ‬ ‫ﻣﻠﻜﺎﭘﻮﺭﻱ ﺍﺯ ﻗﻮﻝ ﻣﺆﻟﹼﻒ ﮔﻞ ﺭﻋﻨﺎ ﻧﻮﺷﺘﻪ ﺍﺳﺖ ﻛﻪ ﺁﺯﺍﺩ ﭘﺲ ﺍﺯ ﻣﺸﺮ‪‬ﻑ ﺷﺪﻥ ﺑﻪ ﺣﺞ ﺑﻴﺖ ﺍﷲ ﺑﻪ ﺍﻳﻦ‬ ‫ﻓﻜﺮ ﺍﻓﺘﺎﺩ ﻛﻪ ﺑﺎﻳﺪ ﺯﻧﺪﮔﻲ ﺭﺍ ﺑﻪ ﻃﺮﺯ ﻓﻘﻴﺮﻱ ﻭ ﺩﺭﻭﻳﺸﻲ ﮔﺬﺭﺍﻧﺪ‪ .‬ﺍﻟﺒﺘﹼﻪ ﻓﻘﻴﺮﻱ ﻭ ﺩﺭﻭﻳﺸﻲ ﺍﻧﻮﺍﻉ ﻭ ﺍﻗﺴﺎﻡ‬ ‫ﺩﺍﺭﺩ‪ ،‬ﻛﺪﺍﻣﻴﻚ ﺭﺍ ﺑﺎﻳﺪ ﺍﺧﺘﻴﺎﺭ ﻛﺮﺩ‪ .‬ﭘﺲ ﺍﺯ ﺗﺄﻣ‪‬ﻞ ﺑﻪ ﺍﻳﻦ ﻧﺘﻴﺠﻪ ﺭﺳﻴﺪ ﻛﻪ ﺑﻪ ﺭﺍﻩ ﺭﺍﺳﺖ ﺛﺎﺑﺖ ﻗﺪﻡ ﻣﺎﻧﺪ‪،‬‬ ‫ﭼﺮﺍ ﻛﻪ ﺩﺭ ﺍﻣﻮﺭ ﺩﻳﻨﻲ ﺩﺭﻭﻍ ﺭﺍ ﻓﺮﻭﻍ ﻧﻴﺴﺖ‪ .‬ﭼﻨﺎﻧﭽﻪ ﺁﺯﺍﺩ ﺍﺯ ﻛﺮﺍﻣﺎﺕ ﮔﻮﻳﻲ ﻭ ﭘﻴﺮﻱ ﻭ ﻣﺮﻳﺪﻱ‬ ‫ﻓﺮﺳﻨﮓﻫﺎ ﺩﻭﺭﻱ ﻧﻤﻮﺩ‪ ،‬ﺩﺭ ﺭﺍﺳﺘﻲ ﻭ ﺩﺭﺳﺘﮕﻲ ﻭ ﺧﻮﺵ ﻣﻌﺎﻣﻠﮕﻲ ﻣﻲﺯﻳﺴﺖ‪ .‬ﺩﺭ ﺣﺪﻭﺩ ﺩﻩ ﺳﺎﻝ ﺩﺭ‬ ‫ﺍﻧﺰﻭﺍ ﺑﺎ ﺗﻮﻛﹼﻞ ﺯﻧﺪﮔﻲ ﮐﺮﺩ‪ .‬ﭘﺲ ﺩﺭ ﻫﻤﺎﻥ ﺍﻳ‪‬ﺎﻡ ﻧﻮ‪‬ﺍﺏ ﻧﻈﺎﻡﺍﻟﺪ‪‬ﻭﻟﻪ ﻧﺎﺻﺮ ﺟﻨﮓ ﺷﻬﻴﺪ ﺑﻪ ﻃﺮﻑ ﺍﻭ ﺩﺳﺖ‬ ‫ﺭﻓﺎﻗﺖ ﺩﺭﺍﺯ ﻛﺮﺩ ﻭ ﺍﻭ ﻧﻴﺰ ﺑﻪ ﺍﺟﺒﺎﺭ ﺁﻥ ﺭﺍ ﭘﺬﻳﺮﻓﺖ ﻭ ﺗﺎ ﺁﺧﺮ ﺣﻴﺎﺕ ﺑﺎ ﺍﻭ ﺑﻮﺩ‪ .١‬ﻋﺒﺪﺍﻟﻮﻫﺎﺏ ﺍﻓﺘﺨﺎﺭ‬ ‫ﺩﻭﻟﺖﺁﺑﺎﺩﻱ ﻛﻪ ﺷﺎﮔﺮﺩ ﺁﺯﺍﺩ ﺑﻮﺩ ﻧﻮﺷﺘﻪ ﺍﺳﺖ‪:‬‬ ‫”ﻣﻴﺮ ﺁﺯﺍﺩ ﺩﺭ ﺻﻔﺖ ﺩﺭﻭﻳﺸﻲ ﻭ ﺳﺨﻦﻃﺮﺍﺯﻱ ﺑﺎ ﺍﻣﻴﺮ ﺣﺴﻦ )ﻣﺮﺍﺩ ﺍﻣﻴﺮ ﺣﺴﻦ ﺳﺠﺰﻱ( ﺗﺸﺎﺑﻪ‬ ‫ﺩﺍﺭﺩ… ﺍﻣﻴﺮ ﺣﺴﻦ ﺍﺯ ﻫﻨﺪ ﺑﻪ ﺩﻛﻦ ﺗﺸﺮﻳﻒ ﺁﻭﺭﺩ ﻭ ﺩﺭ ﺳﺮﺯﻣﻴﻦ ﺩﻭﻟﺖﺁﺑﺎﺩ ﺭﻧﮓ ﺍﻗﺎﻣﺖ‬ ‫ﺭﻳﺨﺖ‪ .‬ﻣﻴﺮ ﺁﺯﺍﺩ ﺭﺍ ﻫﻤﭽﻨﻴﻦ ﺍﺗﹼﻔﺎﻕ ﺍﻓﺘﺎﺩ‪ ،‬ﺧﻮﺩ ﻣﻲﻓﺮﻣﺎﻳﺪ‪:‬‬ ‫ﺯ ﻫﻨﺪ ﺁﻣﺪﻩ ﺑﺎ ﻓﻘﺮ ﻭ ﺷﺎﻋﺮﻱ ﺑﻪ ﺩﻛﻦ ﻋﺠﺐ ﺗﺸﺎﺑﻪ ﺁﺯﺍﺩ ﺑﺎ ‪‬ﺣﺴـﻦ ﺑﺎﺷـﺪ“‪٢‬‬ ‫ﻫﻤﺪﺭﺩﻱ ﺑﺎ ﻣﺤﺘﺎﺟﺎﻥ‬ ‫ﺁﺯﺍﺩ ﺑﺎ ﺩﻭﺳﺖ ﻭ ﺩﺷﻤﻦ ﺭﻓﺘﺎﺭ ﻫﻤﺪﺭﺩﺍﻧﻪ ﺩﺍﺷﺖ‪ ،‬ﻣﺨﺼﻮﺻﹰﺎ ﺑﻪ ﺍﻓﺮﺍﺩ ﻣﺤﺘﺎﺝ ﻛﻤﻚ ﻣﻲﻛﺮﺩ‪ .‬ﺁﺯﺍﺩ ﺑﻪ ﺍﻳﻦ‬ ‫ﻭﻳﮋﮔﻲ ﺧﻮﺩ ﺍﺷﺎﺭﻩ ﻛﺮﺩﻩ ﺍﺳﺖ‪:‬‬ ‫”ﻣﺪﺍﺭ ﻧﻴ‪‬ﺖ ﺍﻳﻦ ﺧﺎﺩﻡ ﺍﻟﺨﻼﻳﻖ ﺑﺮ ﺁﻥ ﺍﺳﺖ ﻛﻪ ﺍﮔﺮ ﺩﺳﺖ ﻛﻮﺗﺎﻩ ﺭﺍ ﻗﺪﺭﺕ ﺭﺳﺎﻳﻲ ﻧﻴﺴﺖ‪ ،‬ﺑﺎﺭﻱ‬ ‫ﻗﺪﻡ ﻃﺮﻳﻖ ﺍﻋﺎﻧﺖ ﻣﺤﺘﺎﺟﺎﻥ ﭘﻴﻤﺎﻳﺪ ﻭ ﺍﮔﺮ ﺍﻧﮕﺸﺖ ﻧﺎﺗﻮﺍﻥ ﺭﺍ ﻃﺎﻗﺖ ﮔﺮﻩﮔﺸﺎﻳﻲ ﻧﻴﺴﺖ ﺑﻪ ﻫﺮ‬ ‫ﺣﺎﻝ ﻗﻠﻢ ﺑﻪ ﺳﻔﺎﺭﺵ ﻣﺴﺘﻤﻨﺪﺍﻥ ﺯﻣﺎﻥ ﮔﺸﺎﻳﺪ“‪.٣‬‬ ‫ﺣﺎﻛﻢ ﻻﻫﻮﺭﻱ ﮐﻪ ﺍﻭ ﺭﺍ ﺩﻳﺪﻩ ﺑﻮﺩ‪ ،‬ﻧﻮﺷﺘﻪ ﺍﺳﺖ‪:‬‬ ‫‪ .١‬ﻣﺤﺒﻮﺏ ﺍﻟﺰﻣﻦ ﺗﺬﻛﺮﺓ ﺷﻌﺮﺍﻱ ﺩﻛﻦ‪ ،‬ﺝ ‪ ،١‬ﺹ ‪.٢٦٤-٥‬‬ ‫‪ .٢‬ﺗﺬﻛﺮﺓ ﺑﻲﻧﻈﻴﺮ‪ ،‬ﺹ ‪.٣‬‬ ‫‪ .٣‬ﺧﺰﺍﻧﺔ ﻋﺎﻣﺮﻩ‪ ،‬ﺹ ‪.٤‬‬

‫ﻣﻘﺪ‪‬ﻣﻪ ﺩﺭ ﺍﺣﻮﺍﻝ ﻭ ﺁﺛﺎﺭﹺ ﻣﻴﺮ ﻏﻼﻡ ﻋﻠﯽ ﺁﺯﺍﺩ ﺑﻠﮕﺮﺍﻣﻲ ‪٦٣ //‬‬ ‫”ﺍﺻﻼﹰ ﺑﻮﻱ ﺧﻮﺩﻱ ﺍﺯ ﺍﻳﻦ ﺑﺰﺭﮒ ﺧﺪﺍﭘﺮﺳﺖ ﻳﻌﻨﻲ ﺁﺯﺍﺩ ﻧﺸﻨﻴﺪﻩ‪ ،‬ﺑﺎ ﹶﺧﻠﻖ ﻭ ﹸﺧﻠﻖ ﻭ ﺗﻮﺍﺿﻊ ﻭ‬ ‫ﮔﺸﺎﺩﻩ ﭘﻴﺸﺎﻧﻲ ﭘﻴﺶ ﻣﻲﺁﻳﺪ‪ ،‬ﻭ ﻫﺮ ﻗﺴﻢ ﻏﺮﺑﺎ ﻭ ﻓﻘﺮﺍ ﺭﺍ ﺍﺯ ﻋﻠﻮ‪ ‬ﻫﻤ‪‬ﺖ ﺫﺍﺗﻲ ﻭ ﺳﺨﺎﻭﺕ ﺍﺻﻠﻲ ﻭ‬ ‫ﺍﺧﻼﻕ ﻋﻤﻴﻢ ﺧﻮﺩ ﻣﺮﻫﻮﻥ ﻭ ﺧﻮﺷﻨﻮﺩ ﻣﻲﮔﺮﺩﺍﻧﻨﺪ“‪.١‬‬ ‫ﺷﻔﻴﻖ ﺍﻭﺭﻧﮓﺁﺑﺎﺩﻱ ﺩﺭﺑﺎﺭﺓ ﺁﺯﺍﺩ ﻣﻲﮔﻮﻳﺪ‪:‬‬ ‫”ﺍﻧﺤﺎﺡ ﺣﻮﺍﻳﺞ ﻋﺎﻟﻢ ﻭ ﻓﻴﺾ ﺭﺳﺎﻧﻲ ﻭ ﺩﻝﺳﻮﺯﻱ ﺧﻠﻖ ﻭ ﻛﻠﻤﺔ ﺍﻟﺨﻴﺮ ﻭ ﺩﺳﺘﮕﻴﺮﻱ ﻏﺮﺑﺎ ﻭ‬ ‫ﺣﻔﻆ ﺍﻟﻐﻴﺐ ﻫﺮ ﻛﺪﺍﻡ ﻛﻪ ﺩﺭ ﻣﺰﺍﺝ ﺍﻗﺪﺱ ﻳﺎﻓﺘﻪ ﻣﻲﺷﻮﺩ ﺍﺯ ﺳﻠﻒ ﻭ ﺧﻠﻒ ﺩﻳﺪﻩ ﻭ ﺷﻨﻴﺪﻩ ﻧﺸﺪ“‪.٢‬‬ ‫ﻧﺸﺪ“‪.٢‬‬ ‫ﺿﻴﺎ ﺑﺮﻫﺎﻧﭙﻮﺭﻱ ﺩﺭ ﻣﺜﻨﻮﻳﻲ ﺑﻪ ﻭﺻﻒ ﻓﻴﺾﺭﺳﺎﻧﻲ ﻭ ﻫﻤﺪﺭﺩﻱ ﺁﺯﺍﺩ ﺑﺎ ﺧﺎﺹ ﻭ ﻋﺎﻡ ﭘﺮﺩﺍﺧﺘﻪ ﺍﺳﺖ‪:‬‬ ‫ﺑﻬ ﹺﺮ ﺣﺼـﻮﻝﹺ ﻏـﺮﺽﹺ ﺧـﺎﺹ ﻭ ﻋـﺎﻡ ﻫﺴـــﺖ ﺯﺑـــﺎﻧﺶ ﻣﺘﺤـــﺮ‪‬ﻙ ﺩﻭﺍﻡ‬ ‫ﻫﻤ‪‬ﺖ ﻋﺎﻟﻴﺶ ﺳﺤﺎﺏ ﺍﺳـﺖ ﻭ ﺑـﺲ ﺭﺷﺤﻪ ﻓﺸﺎﻥ ﺑﺮ ﮔﻞ ﻭ ﺑﺮ ﺧﺎﺭ ﻭ ﺧﺲ‬ ‫ﺟﻤﻠــﻪ ﺟﻬــﺎﻥ ﺑﻨــﺪﺓ ﺍﺧــﻼﺹ ﺍﻭ‬ ‫ﻓــﻴﺾ ﺭﺳــﺎﻧﻲ ﻋﻤــﻞ ﺧــﺎﺹ ﺍﻭ‬ ‫ﺧﺎﻧـﺔ ﺍﻭ ﻣـﺄﻣﻦ ﻫـﺮ ﺧﺴـﺘﻪ ﺍﺳـﺖ‪٣‬‬ ‫ﺑﺲ ﻛﻪ ﺑـﻪ ﺍﻣـﺪﺍﺩ ﻛﻤـﺮ ﺑﺴـﺘﻪ ﺍﺳـﺖ‬ ‫ﺷﻔﻴﻖ ﺍﻭﺭﻧﮓﺁﺑﺎﺩﻱ ﻧﻮﺷﺘﻪ ﺍﺳﺖ ﻛﻪ ﻧﺎﻣﻪﻫﺎﻱ ﺁﺯﺍﺩ ﻛﻪ ﺑﺮﺍﻱ ﺳﻔﺎﺭﺵ ﺩﻳﮕﺮﺍﻥ ﻣﻲﻧﻮﺷﺖ ﺣﻜﻢ‬ ‫ﺍﻛﺴﻴﺮ ﺭﺍ ﺩﺍﺷﺘﻨﺪ‪ .٤‬ﺍﻭ ﺑﺎ ﺩﻭﺳﺖ ﻭ ﺩﺷﻤﻦ ﻳﮑﺴﺎﻥ ﺑﻮﺩ‪.‬‬ ‫ﻧﺎﻣﻨﺼﻒ ﺍﺳﺖ ﻫﺮﻛﻪ ﺩﻏﺎ ﻣﻲﺩﻫﺪ ﻣﺮﺍ‪٥‬‬ ‫ﺁﺯﺍﺩ ﺧﻮﺩ ﻣﻲﮔﻮﻳﺪ‪:‬‬ ‫ﻣــــــــــــــــــــــــــــــــﺮﺍ‪٥‬‬ ‫ﺁﺯﺍﺩ ﻣﻦ ﺑﻪ ﺩﺷﻤﻦ ﺧﻮﺩ ﺑﺪ ﻧﻤـﻲﻛـﻨﻢ‬ ‫ﮐﻪ ﺩﺍﺭﺩ ﺍﺯ ﺟﻨـﺎﺏﹺ ﺣﻴـﺪﺭﹺ ﮐـﺮ‪‬ﺍﺭ ﺗﻠﻘﻴﻨـﻲ‬ ‫ﺟﺎﻱ ﺩﻳﮕﺮ ﮔﻔﺘﻪ ﺍﺳﺖ‪:‬‬ ‫ﻧﻤﻲﭘﻴﭽﺪ ﺑﺮﺍﻱ ﻧﻔﺲ ﺧﻮﺩ ﺁﺯﺍﺩ ﺑﺎ ﺩﺷﻤﻦ‬ ‫*‬ ‫ﺁﺯﺍﺩ ﺩﺭ ﻃﺒﻴﻌــﺖ ﻣــﻦ ﺍﻧﺘﻘــﺎﻡ ﻧﻴﺴــﺖ ﺩﺷﻤﻦ ﺍﮔﺮ ﺑﻪ ﭘﻴﺶ ﻣﻦ ﺁﻳﺪ ﺍﻣﺎﻥ ﺩﻫـﻢ‬ ‫‪ .١‬ﻣﺮﺩﻡ ﺩﻳﺪﻩ‪ ،‬ﺹ ‪.٣٥‬‬ ‫‪ .٢‬ﻣﻘﺪ‪‬ﻣﺔ ﻣﺂﺛﺮﺍﻟﻜﺮﺍﻡ‪ ،‬ﺹ ‪.٥٩‬‬ ‫‪ .٣‬ﺗﻤﹼﻨﺎ ﺍﻭﺭﻧﮓﺁﺑﺎﺩﻱ‪ :‬ﮔﻞ ﻋﺠﺎﻳﺐ‪ ،‬ﺹ ‪.٦٨‬‬ ‫‪ .٤‬ﻣﺂﺛﺮﺍﻟﻜﺮﺍﻡ‪ ،‬ﺹ ‪.٦٠‬‬ ‫‪ .٥‬ﺩﻳﻮﺍﻥ ﻓﺎﺭﺳﻲ ﺁﺯﺍﺩ )ﺧ ﹼﻄﻲ(‪ ،‬ﺑﺮﮒ ‪.١٧‬‬

‫‪ // ٦٤‬ﮐﻠﻴ‪‬ﺎﺕ‪ ‬ﺁﺯﺍﺩ ﺑﻠﮕﺮﺍﻣﻲ‬ ‫ﻧﻜﺘﻪ ﺳﻨﺠﻲ‪ ،‬ﺑﺬﻟﻪﮔﻮﻳﻲ ﻭ ﺷﻮﺥ ﻃﺒﻌﻲ‬ ‫ﺧﻮﺵ ﻛﻼﻣﻲ ﻭ ﺷﻮﺥ ﻃﺒﻌﻲ ﺁﺯﺍﺩ ﺩﺭ ﺟﺎﻱ ﺟﺎﻱ ﺁﺛﺎﺭ ﺍﻭ ﭘﻴﺪﺍﺳﺖ ﻭ ﺩﺭ ﺍﻳﻨﺠﺎ ﺑﻪ ﭼﻨﺪ ﻟﻄﻴﻔﻪ ﺍﺷﺎﺭﻩ ﻣﻲﻛﻨﻴﻢ‪:‬‬ ‫ﺭﻭﺯﻱ ﺁﺯﺍﺩ ﺩﺭ ﺧﺪﻣﺖ ﻧﻮ‪‬ﺍﺏ ﺁﺻﻒ ﺟﺎﻩ ﺑﻮﺩ‪” .‬ﺍﺗﻔﺎﻗﹰﺎ ﻫﻨﺪﻭﻳﻲ ﺑﻪ ﺍﺭﺍﺩﺓ )ﻗﺒﻮﻝ( ﺍﺳﻼﻡ ﺣﺎﺿﺮ ﺷﺪ ﻭ‬ ‫ﺷﺮﻑ ﺍﺳﻼﻡ ﺩﺭﻳﺎﻓﺖ‪ .‬ﻋﺮﺽ ﺑﻴﮕﻲ ﺑﻪ ﻋﺮﺽ ﺭﺳﺎﻧﻴﺪ ﻛﻪ ﺍﻣﻴﺪﻭﺍﺭ ﻧﺎﻡ ﺍﺳﺖ‪] .‬ﻧﻮ‪‬ﺍﺏ[ ﻓﺮﻣﻮﺩ‪ :‬ﻧﺎﻡ ﺑﺎﻳﺪ‬ ‫ﮔﺬﺍﺷﺖ ﻛﻪ ﻣﺸﻌﺮ ﺩﻳﻦﹺ ﺍﺳﻼﻡ ﺑﺎﺷﺪ‪ .‬ﻓﻘﻴﺮ ]ﺁﺯﺍﺩ[ ﮔﻔﺘﻢ‪ :‬ﻣﺜﻼﹰ ﺩﻳﻦ ﻣﺤﻤ‪‬ﺪ ﻓﺮﻣﻮﺩ‪ :‬ﺩﻳﺮﻭﺯ ﻫﻨﺪﻭﻳﻲ‬ ‫ﻣﺴﻠﻤﺎﻥ ﺷﺪ‪ ،‬ﻧﺎﻡ ﺍﻭ ﺩﻳﻦ ﻣﺤﻤ‪‬ﺪ ﮔﺬﺍﺷﺘﻪ ﺷﺪ‪ .‬ﮔﻔﺘﻢ‪ ،‬ﺩﻳﻦ ﻣﺤﻤ‪‬ﺪ ﻫﺮ ﻗﺪﺭ ﺯﻳﺎﺩ ﺷﻮﺩ ﺑﻬﺘﺮ‪ :‬ﺍﻟﻠﹼﻬﻢ ﺍﻧﺼﺮ ﻣﻦ‬ ‫‪‬ﻧ ‪‬ﺼﺮ ﺩﻳﻦ ﳏﻤ‪‬ﺪ‪ .‬ﺑﺴﻴﺎﺭ ﻣﻨﺒﺴﻂ ﮔﺸﺖ ﻭ ﻫﻤﻴﻦ ﻧﺎﻡ ﻣﻘﺮ‪‬ﺭ ﻧﻤﻮﺩﻩ“‪.١‬‬ ‫ﺷﺒﻲ ﺩﺭ ﺍﻭﺭﻧﮓﺁﺑﺎﺩ ﺩﺭ ﺧﺪﻣﺖ ﻧﻮ‪‬ﺍﺏ ﻧﻈﺎﻡﺍﻟﺪ‪‬ﻭﻟﻪ ﻣﺘﺨﻠﹼﺺ ﺑﻪ »ﺁﻓﺘﺎﺏ« ﺑﻮﺩ‪ .‬ﻧﻮ‪‬ﺍﺏ ﻣﺬﻛﻮﺭ ﺳﺎﺩﺍﺕ‬ ‫ﻋﺮﺏ ﺭﺍ ﺩﻋﻮﺕ ﻧﻤﻮﺩﻩ ﺑﻮﺩ‪ .‬ﺁﺯﺍﺩ ﺍﻳﻦ ﻗﺼﹼﻪ ﺭﺍ ﭼﻨﻴﻦ ﺗﻌﺮﻳﻒ ﻛﺮﺩﻩ ﺍﺳﺖ‪:‬‬ ‫”ﺩ‪‬ﻭﺭ ﻗﻬﻮﻩ ﺩﺭ ﻣﻴﺎﻥ ﺁﻣﺪ‪ ،‬ﻧﻮ‪‬ﺍﺏ ﻗﻬﻮﻩ ﺭﺍ ﺑﺴﻴﺎﺭ ﺩﻭﺳﺖ ﻣﻲﺩﺍﺷﺖ‪ .‬ﻳﻜﻲ ﺍﺯ ﺳﺎﺩﺍﺕ ﻣﺪﻳﻨﺔ ﻣﻨﻮ‪‬ﺭﻩ‬ ‫ﺧﺎﻟﻲ ﺫﻫﻦ ﺑﺎ ﻧﻮ‪‬ﺍﺏ ﮔﻔﺖ‪ :‬ﺍﻟﻘﻬﻮﻩ ﳏ ‪‬ﺮﻣﺔ ﻋﻨﺪ ﺑﻌﺾ ﺍﻟﻌﻠﻤﺎ‪ .‬ﻧﻮ‪‬ﺍﺏ ﺑﺎ ﻓﻘﻴﺮ ]ﺁﺯﺍﺩ[ ﺧﻄﺎﺏ ﻛﺮﺩ ﻛﻪ‬ ‫ﻣﻮﻻﻧﺎ ﭼﻪ ﻣﻲﻓﺮﻣﺎﻳﺪ؟ ﮔﻔﺘﻢ‪ :‬ﻏﺮﺽ ﻣﻮﻻﻧﺎ ﺍﻳﻦ ﺍﺳﺖ ﻛﻪ ﻗﻬﻮﻩ ﻧﺰﺩ ﺑﻌﻀﻲ ﻋﻠﻤﺎ ﻣﻌﻈﹼﻢ ﺍﺳﺖ ﻭ‬ ‫ﻣﺤﺮ‪‬ﻡ ﺍﺯ ﻣﺎﺩ‪‬ﺓ ﻣﺤﺘﺮﻡ ﺍﺳﺖ‪ .‬ﻧﻮ‪‬ﺍﺏ ﺳﺎﻛﺖ ﺷﺪ ﻭ ﺳﻴ‪‬ﺪ ﻫﻢ ﻓﻬﻤﻴﺪ ﻭ ﺑﻌﺪ ﺑﺮﺧﺎﺳﺖ ﻣﺠﻠﺲ ﺍﺩﺍﻱ‬ ‫ﺷﻜﺮ ﻛﺮﺩ ﻛﻪ ﻛﻼﻡ ﻣﺮﺍ ﻋﺠﺐ ﺗﻮﺟﻴﻬﻲ ﻓﻮﺭﺍﹰ ﺑﻪ ﺧﺎﻃﺮ ﺭﺳﺎﻧﺪﻳﺪ“‪.‬‬ ‫ﺭﻭﺯﻱ ﺁﺯﺍﺩ ﺑﺎ ﻧﻮ‪‬ﺍﺏ ﻧﻈﺎﻡﺍﻟﺪ‪‬ﻭﻟﻪ ﺩﺭ ﹶﺍﺭﻛﺎ ﹾﺕ ﺑﻮﺩ‪ .‬ﺁﻧﺠﺎ ﺁﻫﻮﻳﻲ ﺭﺍ ﺷﻜﺎﺭ ﻛﺮﺩﻩ ﺑﻮﺩﻧﺪ‪ .‬ﻭﻗﺘﻲ ﭘﻴﺶ‬ ‫ﻧﻮ‪‬ﺍﺏ ﺁﻭﺭﺩﻧﺪ‪ ،‬ﻧﻮ‪‬ﺍﺏ ﺑﻪ ﺣﻀﹼﺎﺭ ﺧﻄﺎﺏ ﻛﺮﺩ ﻛﻪ ﺍﻳﻦ ﺭﺍ ﺷﻜﺎﺭ ﺑﺎﻳﺪ ﻛﺮﺩ ﻳﺎ ﺁﺯﺍﺩ ﺑﺎﻳﺪ ﺳﺎﺧﺖ‪ .‬ﺣﻀﹼﺎﺭ‬ ‫ﺣﺮﻑ ﻧﻮ‪‬ﺍﺏ ﺭﺍ ﺗﺄﻳﻴﺪ ﻛﺮﺩﻧﺪ‪ ،‬ﺍﻣ‪‬ﺎ ﻭﻗﺘﻲ ﻧﻮ‪‬ﺍﺏ ﺍﺯ ﺁﺯﺍﺩ ﭘ‪‬ﺮﺳﻴﺪ ﻛﻪ ﺁﻫﻮ ﺭﺍ ﭼﻪ ﺑﺎﻳﺪ ﻛﺮﺩ؟ ﺁﺯﺍﺩ ﺑﺮﺍﻱ ﻧﻮ‪‬ﺍﺏ‬ ‫ﺣﻜﺎﻳﺘﻲ ﻧﻘﻞ ﻛﺮﺩ ﻭ ﮔﻔﺖ‪:‬‬ ‫”ﭘﺎﺩﺷﺎﻫﻲ ﺑﻪ ﻗﺘﻞ ﺍﺳﻴﺮﻱ ﺣﻜﻢ ﻛﺮﺩ‪ .‬ﺿﺎﺑﻄﻪ ﺍﺳﺖ ﻛﻪ ﻫﺮ ﮔﺎﻩ ﺷﺨﺼﻲ ﺭﺍ ﻣﻲﺧﻮﺍﻫﻨﺪ ﺑﻪ ﻗﺘﻞ‬ ‫ﺭﺳﺎﻧﻨﺪ‪ ،‬ﺍﺳﺘﻔﺴﺎﺭ ﻣﻲﻛﻨﻨﺪ ﻛﻪ ﺍﮔﺮ ﺁﺭﺯﻭﻳﻲ ﺩﺍﺷﺘﻪ ﺑﺎﺷﻲ ﻇﺎﻫﺮ ﻛﻦ‪ .‬ﺍﮔﺮ ﺍﻣﺮﻱ ﻇﺎﻫﺮ ﻣﻲﻛﻨﺪ‬ ‫ﺑﻪ ﻋﻤﻞ ﻣﻲﺁﺭﻧﺪ‪ .‬ﭼﻮﻥ ﺍﺳﻴﺮ ﺭﺍ ﭘ‪‬ﺮﺳﻴﺪﻧﺪ‪ ،‬ﮔﻔﺖ‪ :‬ﻫﻤﻴﻦ ﺁﺭﺯﻭ ﺩﺍﺭﻡ ﻛﻪ ﻳﻚ ﻣﺮﺗﺒﻪ ﺩﺭ ﻣﺠﻠﺲ‬ ‫ﺳﻠﻄﺎﻧﻲ ﺑﺎﺭﻳﺎﺏ ﺷﻮﻡ‪ .‬ﻣﺮﺩﻡ ﺑﻪ ﻋﺮﺽ ﭘﺎﺩﺷﺎﻩ ﺭﺳﺎﻧﻴﺪﻧﺪ‪ ،‬ﺩﺭﺟﺔ ﻗﺒﻮﻝ ﻳﺎﻓﺖ ﻭ ﺍﺳﻴﺮ ﺭﺍ ﺩﺭ ﺑﺎﺭﮔﺎﻩ‬ ‫ﺣﺎﺿﺮ ﺳﺎﺧﺘﻨﺪ ﻭ ﺍﺳﺘﻔﺴﺎﺭ ﻛﺮﺩﻧﺪ ﻛﻪ ﻋﺮﺿﻲ ﺩﺍﺭﻱ؟ ﮔﻔﺖ‪ :‬ﻧﻪ ﺧﻴﺮ‪ .‬ﻭﻗﺘﻲ ﻛﻪ ﭘﺎﺩﺷﺎﻩ ﺍﺯ ﻣﺠﻠﺲ‬ ‫ﺑﺮﺧﺎﺳﺖ‪ ،‬ﺍﺳﻴﺮ ﺑﻪ ﻋﺮﺽ ﺭﺳﺎﻧﻴﺪ ﻛﻪ ﮔﻨﻪﻛﺎﺭ ﻭﺍﺟﺐ ﺍﻟﻘﺘﻠﻢ‪ ،‬ﺍﻣ‪‬ﺎ ﺣﻖ ﺻﺤﺒﺘﻲ ﺑﺮ ﭘﺎﺩﺷﺎﻩ ﻋﺎﻟﻢ‬ ‫‪ .١‬ﺳﺮﻭ ﺁﺯﺍﺩ‪ ،‬ﺹ ‪.١٨١‬‬

‫ﻣﻘﺪ‪‬ﻣﻪ ﺩﺭ ﺍﺣﻮﺍﻝ ﻭ ﺁﺛﺎﺭﹺ ﻣﻴﺮ ﻏﻼﻡ ﻋﻠﯽ ﺁﺯﺍﺩ ﺑﻠﮕﺮﺍﻣﻲ ‪٦٥ //‬‬ ‫ﺛﺎﺑﺖ ﻛﺮﺩﻩﺍﻡ‪ .‬ﭘﺎﺩﺷﺎﻩ ﺍﺯ ﺍﻳﻦ ﺣﺴﻦ ﺍﺩﺍ ﻣﺴﺮﻭﺭ ﺷﺪ ﻭ ﺍﻭ ﺭﺍ ﺍﻣﺎﻥ ﺩﺍﺩ‪ .‬ﺣﺎﻻ ﺍﻳﻦ ﺁﻫﻮ ﻫﻢ ﺣﻖ‬ ‫ﺻﺤﺒﺖ ﺛﺎﺑﺖ ﻛﺮﺩﻩ ﺍﺳﺖ‪ .‬ﭘﻴﺸﺘﺮ ﻫﺮ ﭼﻪ ﻣﺮﺿﻲ ﻣﺒﺎﺭﻙ ﺑﺎﺷﺪ‪ .‬ﻧﻮ‪‬ﺍﺏ ﻟﺐ ﺑﻪ ﺗﺒﺴ‪‬ﻢ ﺷﻴﺮﻳﻦ ﻛﺮﺩ‬ ‫ﻭ ﺁﻫﻮ ﺭﺍ ﻫﻢ ﻧﺎﻡ ﺁﺯﺍﺩ ﺳﺎﺧﺖ“‪.١‬‬ ‫‪‬ﻣﻬ ﹺﺮ ﺁﺯﺍﺩ‬ ‫ﻧﺴﺨﺔ ﺧﻄﹼﻲ ﺷﺠﺮﺓ ﻃﻴ‪‬ﺒﻪ ﺗﺄﻟﻴﻒ ﺁﺯﺍﺩ ﻛﻪ ﺩﺭ ﻛﺘﺎﺑﺨﺎﻧﺔ ﺁﻳﺖ ﺍﷲ ﺍﻟﻌﻈﻤﻲ ﻣﺮﻋﺸﻲ ﺩﺭ ﻗﻢ )ﺍﻳﺮﺍﻥ( ﻣﻮﺟﻮﺩ‬ ‫ﺍﺳﺖ‪ ،‬ﺩﺭ ﻭﺭﻕ ‪ ٦٨‬ﻭ ‪ ١٠٠‬ﺩﻭ ﻧﻮﻉ ﻣ‪‬ﻬﺮ ﺁﺯﺍﺩ ﺛﺒﺖ ﺷﺪﻩ ﺍﺳﺖ‪ .‬ﻳﻜﻲ ﺑﻪ ﺧﻂ ﻧﺴﺘﻌﻠﻴﻖ ﻭ ﺩﻳﮕﺮ ﺑﻪ ﺧﻂ‬ ‫ﭼﻠﻴﭙﺎ‪ .‬ﻋﺒﺎﺭﺕ ﻫﺮ ﺩﻭ ﻣﻬﺮ »ﻓﻘﻴﺮ ﺁﺯﺍﺩ« ﺍﺳﺖ‪ .‬ﻳﻚ ‪‬ﻣﻬﺮ ﺑﻴﻀﻮﻱ »ﻣﻴﺮ ﻏﻼﻡ ﻋﻠﻲ« ﺩﺭ ﻧﺴﺨﺔ ﺑﻴﺎﺽ ﺁﺯﺍﺩ‬ ‫ﻣﻮﺟﻮﺩ ﺩﺭ ﻛﺘﺎﺑﺨﺎﻧﺔ ﺧﺪﺍﺑﺨﺶ ﭘﺘﻨﺎ ﻧﻴﺰ ﺩﻳﺪﻩﺍﻡ‪ .‬ﻫﻤﭽﻨﻴﻦ ﻧﺴﺨﺔ ﺳﻔﻴﻨﺔ ﺧﻮﺷﮕﻮ ﺩﺭ ﻫﻤﺎﻧﺠﺎ‬ ‫)ﺷﻤﺎﺭﺓ ‪ (٧٠٨‬ﺩﺍﺭﺍﻱ ﻣ‪‬ﻬﺮ ﻭﻱ »ﻓﻘﻴﺮ ﺁﺯﺍﺩ« ﻭ ﻋﺒﺎﺭﺕ »ﻓﻘﻴﺮ ﺁﺯﺍﺩ ﺑﻠﮕﺮﺍﻣﻲ« ﺍﺳﺘﻜﺴﺎﺏ ﻧﻤﻮﺩ‬ ‫‪ ١١٨٢‬ﻫﺠﺮﻱ ﻣﻲﺑﺎﺷﺪ‪.‬‬ ‫ﭼﻨﺪ ﻧﺴﺨﺔ ﺧﻄﹼﻲ ﻧﻴﺰ ﺩﺭ ﻛﺘﺎﺑﺨﺎﻧﻪﻫﺎ ﺩﻳﺪﻩ ﻣﻲﺷﻮﺩ ﻛﻪ ﺩﺍﺭﺍﻱ ﻳﺎﺩﺩﺍﺷﺖﻫﺎﻱ ﺁﺯﺍﺩ ﻳﺎ ﻣ‪‬ﻬﺮ ﻭﻱ‬ ‫ﻣﻲﺑﺎﺷﻨﺪ‪ .‬ﺍﺯ ﺍﻳﻦ ﻣﻌﻠﻮﻡ ﻣﻲﺷﻮﺩ ﻛﻪ ﺍﻭ ﻧﻮﺷﺘﻪﻫﺎﻱ ﺩﻳﮕﺮﺍﻥ ﺭﺍ ﺑﺎ ﺩﻗﹼﺖ ﻣﻲﺧﻮﺍﻧﺪ‪ .‬ﺍﺯ ﺍﻳﻦ ﻗﺒﻴﻞ ﺍﺳﺖ‬ ‫ﻧﺴﺨﺔ ﻧﻔﺎﻳﺲ ﺍﻟﻤﺂﺛﺮ‪ ٢‬ﻛﻪ ﺩﺭ ﻛﺘﺎﺑﺨﺎﻧﺔ ﻣﻮﻻﻧﺎ ﺁﺯﺍﺩ‪ ،‬ﺩﺍﻧﺸﮕﺎﻩ ﺍﺳﻼﻣﻲ ﻋﻠﻴﮕﺮﻩ‪ ،‬ﺩﺭ ﺫﺧﻴﺮﺓ ﺳﺒﺤﺎﻥ ﺍﷲ ﻛﻪ‬ ‫ﺁﺯﺍﺩ ﺁﻥ ﺭﺍ ﺧﺮﻳﺪﺍﺭﻱ ﻛﺮﺩﻩ ﺑﻮﺩ ﻭ ﺩﺍﺭﺍﻱ ﻳﺎﺩﺩﺍﺷﺖ ﻭ ﻣ‪‬ﻬﺮ ﻭﻱ ﻣﻲﺑﺎﺷﺪ‪ .‬ﻧﺴﺨﻪﻫﺎﻱ ﺍﺯ ﻫﻔﺖ ﺍﻗﻠﻴﻢ ﻧﻴﺰ‬ ‫ﺩﺭ ﻫﻤﺎﻧﺠﺎ ﻧﮕﻬﺪﺍﺭﻱ ﻣﻲﺷﻮﺩ ﻛﻪ ﺭﻭﻱ ﺁﻥ ﻳﺎﺩﺩﺍﺷﺘﻲ ﺍﺯ ﻭﻱ ﻣﻮﺭﺥ ‪ ١٢‬ﺟﻤﺎﺩﻱ ﺍﻵﺧﺮ ‪ ١١٥٠‬ﻫﺠﺮﻱ‬ ‫ﻣﻮﺟﻮﺩ ﺍﺳﺖ‪ .‬ﻧﺴﺨﺔ ﺩﻳﮕﺮ ﺍﺯ ﺩﻳﻮﺍﻥ ﺷﻬﺎﺏﺍﻟﺪ‪‬ﻳﻦ ﺍﺩﻳﺐ ﺻﺎﺑﺮ ﺷﻤﺎﺭﺓ ‪ ١٤٠٨‬ﺩﺭ ﻛﺘﺎﺑﺨﺎﻧﺔ ﻣﺮﻛﺰﻱ‬ ‫ﺩﺍﻧﺸﮕﺎﻩ ﺗﻬﺮﺍﻥ ﻭﺟﻮﺩ ﺩﺍﺭﺩ ﻛﻪ ﺭﻭﻱ ﺻﻔﺤﺔ ﺍﻭ‪‬ﻝ ﺁﻥ ﻧﻴﺰ ﻳﺎﺩﺩﺍﺷﺖ ﺁﺯﺍﺩ ﻣﻮﺟﻮﺩ ﺍﺳﺖ‪ .‬ﻧﺴﺨﺔ ﻳﺪﺑﻴﻀﺎ‬ ‫ﮐﺘﺎﺑﺨﺎﻧﺔ ﺧﺪﺍﺑﺨﺶ‪ ،‬ﭘﺘﻨﺎ‪ .‬ﺑﻴﺸﺘﺮ ﺑﻪ ﺧﺎﻣﺔ ﺁﺯﺍﺩ ﺑﻠﮕﺮﺍﻣﻲ ﺍﺳﺖ‪ .‬ﺍﺯ ﺍﻳﻦ ﮐﺘﺎﺏ ﻳﮏ ﻧﺴﺨﻪ ﻧﺴﺨﺔ ﺻﻤﺪﻥ‪،‬‬ ‫ﺷﻬﺮﺕ ﺩﺍﺷﺖ ﮐﻪ ﺁﻥ ﻫﻢ ﺑﻪ ﺧﻂ ﺁﺯﺍﺩ ﻭ ﺑﺮﺍﺩﺭﺍﻧﺶ ﻏﻼﻡ ﺣﺴﻦ ﻭ ﻏﻼﻡ ﺍﻣﺎﻡ ﺻﺎﺩﻕ ﺍﺳﺖ ﻭ‬ ‫ﺑﻪ ﻓﺮﻣﺎﻳﺶ ﭘﺪﺭﺵ ﺳﻴﺪ ﻧﻮﺡ ﻧﻮﺷﺖ ﺷﺪﻩ ﺍﺳﺖ‪.‬‬ ‫‪ .١‬ﺳﺮﻭ ﺁﺯﺍﺩ‪ ،‬ﺹ ‪.١٩١‬‬ ‫‪ .٢‬ﺗﺎﺭﻳﺦ ﺗﺬﻛﺮﻩﻫﺎﻱ ﻓﺎﺭﺳﻲ‪ ،‬ﺝ ‪ ،٢‬ﺹ ‪ .٣٨٣‬ﻋﺒﺎﺭﺕ ﺁﺯﺍﺩ ﭼﻨﻴﻦ ﺍﺳﺖ‪” :‬ﺗﺬﮐﺮﺓﺍﻟﺸﻌﺮﺍ ﻧﻔﺎﻳﺲﺍﻟﻤﺂﺛﺮ ﺗﺼﻨﻴﻒ ﻋﻼﺀﺍﻟﺪﻭﻟﻪ‬ ‫ﻗﺰﻭﻳﻨﻲ ﺩﺭ ﻣﻌﺮﺽ ﺍﺑﺘﻴﺎﻉ ﻓﻘﻴﺮ ﺁﺯﺍﺩ ﺣﺴﻴﻨﻲ )ﻭﺍﺳﻄﻲ( ﺑﻠﮕﺮﺍﻣﻲ ﺩﺭﺁﻣﺪ ﭼﺎﺭﺩﻫﻢ ﺻﻔﺮ ﺧﺘﻤﻪ ﺍﷲ ﺑﺎﻟﺨﻴﺮ ﻭ ﺍﻟﻈﻔﺮ ‪١١٨٦‬‬ ‫ﻫﺠﺮﻱ“‪.‬‬

‫‪ // ٦٦‬ﮐﻠﻴ‪‬ﺎﺕ‪ ‬ﺁﺯﺍﺩ ﺑﻠﮕﺮﺍﻣﻲ‬ ‫ﻫﻤﭽﻨﻴﻦ ﺩﻭ ﻧﺴﺨﺔ ﺧﻄﹼﻲ ﺑﻪ ﻋﺮﺑﻲ ﺩﺭ ﻛﺘﺎﺑﺨﺎﻧﺔ ﺭﺿﺎ ﺭﺍﻡﭘﻮﺭ ﻭﺟﻮﺩ ﺩﺍﺭﺩ ﻛﻪ ﺑﺮ ﺁﻥ ﺩﺳﺘﺨﻂ ﻭ‬ ‫ﻳﺎﺩﺩﺍﺷﺘﻲ ﺍﺯ ﺁﺯﺍﺩ ﺑﻠﮕﺮﺍﻣﻲ ﺩﻳﺪﻩ ﻣﻲﺷﻮﺩ‪ .‬ﻳﻜﻲ ﺷﺮﺡ ﻛﺎﻓﻴﺔ ﺭﺿﻲ ﺩﺭ ﻧﺤﻮ ﺍﺳﺖ ﻛﻪ ﺩﻭ ﻣ‪‬ﻬﺮ ﺑﻴﻀﻮﻱ‬ ‫»ﻓﻘﻴﺮ ﺁﺯﺍﺩ« ﺛﺒﺖ ﺍﺳﺖ ﻭ ﺍﻳﻦ ﻋﺒﺎﺭﺕ ﺑﺮ ﺑﺎﻻﻱ ﺁﻥ ﺁﻣﺪﻩ ﺍﺳﺖ‪:‬‬ ‫”ﻣﻦ ﻋﻮﺍﺭﻱ ﺍﻟﺰﻣﺎﻥ ﺍﻟﻲ ﺍﻟﻔﻘﻴﺮ ﻏﻼﻡ ﻋﻠﻲ ﺍﻟﻤﺘﺨﻠﹼﺺ ﺑﺂﺯﺍﺩ ﺍﻟﺤﺴﻴﻨﻲ ﺍﻟﻮﺍﺳﻄﻲ ﺍﻟﺒﻠﮕﺮﺍﻣﻲ ﻋﺎﻣﻠﻪ‬ ‫ﺍﷲ ﺑﻠﻄﻔﻪ ﺍﻟﺴ‪‬ﺎﻣﻲ‪ ١١٦٩ ،‬ﻫﺠﺮﻱ“‪.‬‬ ‫ﺩﻳﮕﺮﻱ ﺍﻛﻤﻞ ﺍﻟﺼﻨﺎﻋﺔ ﺍﺳﺖ ﻛﻪ ﺭﻭﻱ ﺁﻥ ﭘﻨﺞ ﺳﻄﺮ ﺑﻪ ﺧﻂ ﺁﺯﺍﺩ ﺑﻠﮕﺮﺍﻣﻲ ﺑﻪ ﻋﺮﺑﻲ ﻧﻮﺷﺘﻪ ﺷﺪﻩ‬ ‫ﺍﺳﺖ‪ .‬ﻋﻜﺲ ﻫﺮ ﺩﻭ ﺻﻔﺤﻪ ﺭﺍ ﺩﺭ ﻛﺘﺎﺏﻫﺎﻱ »ﺭﺿﺎ ﻻﺋﺒﺮﻳﺮﻱ ﮐﻲ ﻋﻠﻤﻲ ﻭﺭﺍﺛﺖ«‪ ١‬ﻭ »ﺗﺎﺭﻳﺦ ﻛﺘﺎﺑﺨﺎﻧﺔ‬ ‫ﺭﺿﺎ«‪ ٢‬ﺁﻭﺭﺩﻩ ﺷﺪﻩ ﺍﺳﺖ‪.‬‬ ‫ﻟﻘﺐ ﺁﺯﺍﺩ‬ ‫ﺑﻪ ﺧﺎﻃﺮ ﻣﺪﺍﺣﻲ ﭘﻴﺎﻣﺒﺮ ﺍﻛﺮﻡ)ﺹ( ﺍﻭ ﺭﺍ ﻟﻘﺐ »ﺣﺴ‪‬ﺎﻥ ﺍﻟﻬﻨﺪ« ﺩﺍﺩﻩ ﺑﻮﺩﻧﺪ‪ .‬ﻋﻼﻭﻩ ﺑﺮ ﺍﻳﻦ ﻟﻘﺐ‪ ،‬ﺳﻴ‪‬ﺪ ﻣﺤﻤ‪‬ﺪ‬ ‫ﺧﺎﻥ ﺻﻼﺑﺖ ﺟﻨﮓ ﺍﻭ ﺭﺍ ﺍﻟﻘﺎﺏ »ﺳﺮﺍﺝ ﺍﻟﻤﺤﺪ‪‬ﺛﻴﻦ« ﻭ »ﺭﺋﻴﺲ ﺍﻟﻌﻠﻤﺎ« ﺍﻋﻄﺎ ﻛﺮﺩﻩ ﺑﻮﺩ‪.٣‬‬ ‫ﺑﻨﺎﻱ »ﺧﻮﺍﺑﮕﺎﻩ ﺭﻭﺷﻦ«‬ ‫ﺁﺯﺍﺩ ﺩﺭ ﺳﺎﻝ ‪ ١١٩١‬ﻫﺠﺮﻱ ﻫﻔﺘﺎﺩ ﻭ ﭘﻨﺞ ﺳﺎﻟﻪ ﺷﺪﻩ ﺑﻮﺩ ﻭ ﭘﻲ ‪‬ﺑﺮﺩ ﻛﻪ ﺑﻪ ﺯﻭﺩﻱ ﺍﺯ ﺩﺍﺭﹺ ﻓﺎﻧﻲ ﺑﻪ ﻋﺎﻟﻢ‬ ‫ﺟﺎﻭﺩﺍﻧﻲ ﺍﻧﺘﻘﺎﻝ ﺧﻮﺍﻫﺪ ﻳﺎﻓﺖ‪ .‬ﺁﺯﺍﺩ ﺑﻠﮕﺮﺍﻣﻲ‪ ،‬ﻗﻄﻌﺔ ﺯﻣﻴﻨﻲ ﺑﺮﺍﻱ ﻗﺒﺮ ﺧﻮﺩ ﺩﺭ ﺭﻭﺿﺔ ﺧﻠﺪﺁﺑﺎﺩ ﻧﺰﺩ ﻣﺰﺍﺭ‬ ‫ﺷﺎﻩ ﺑﺮﻫﺎﻥﺍﻟﺪ‪‬ﻳﻦ ﻏﺮﻳﺐ ﻫﺎﻧﺴﻮﻱ ﺧﺮﻳﺪﺍﺭﻱ ﻛﺮﺩ ﻭ ﺁﻧﺠﺎ ﺭﺍ ﻗﺒﺮ ﺧﻮﺩ ﺳﺎﺧﺖ ﻭ ﺗﻮﺻﻴﻪ ﻛﺮﺩ ﻛﻪ ﭘﺲ ﺍﺯ‬ ‫ﺩﺭﮔﺬﺷﺖ ﺍﻭ ﺭﺍ ﺩﺭ ﺁﻧﺠﺎ ﺩﻓﻦ ﻛﻨﻨﺪ‪ .‬ﺁﺯﺍﺩ ﺁﻥ ﻣﺤ ﹼﻞ ﺭﺍ ﺑﻪ »ﺧﻮﺍﺑﮕﺎﻩ ﺭﻭﺷﻦ« ﻣﻮﺳﻮﻡ ﺳﺎﺧﺖ‪ .٤‬ﭘﺲ ﺍﺯ‬ ‫ﺑﻨﺎ ﺷﺪﻥ ﺧﻮﺍﺑﮕﺎﻩ ﺭﻭﺷﻦ‪ ،‬ﺁﺯﺍﺩ ﺟﺸﻨﻲ ﺑﺮﭘﺎ ﺳﺎﺧﺖ ﻭ ﺍﻃﻌﺎﻡ ﺩﺍﺩ‪ .‬ﺷﻌﺮﺍ ﻭ ﺍﻣﺮﺍ ﻭ ﻣﺸﺎﻳﺦ ﺷﻬﺮ ﺭﺍ‬ ‫‪ .١‬ﺭﺿﺎ ﻻﺋﺒﺮﻳﺮﻱ ﮐﻲ ﻋﻠﻤﻲ ﻭﺭﺍﺛﺖ )ﺍﺭﺩﻭ(‪ ،‬ﮔﺮﺩﺁﻭﺭﻧﺪﺓ ﺳ‪‬ﻴﺪ ﺣﺴﻦ ﻋ‪‬ﺒﺎﺱ‪ ،‬ﺭﺍﻣﭙﻮﺭ ‪ ١٩٩٦‬ﻡ‪.‬‬ ‫‪ .٢‬ﺗﺎﺭﻳﺦ ﻛﺘﺎﺑﺨﺎﻧﺔ ﺭﺿﺎ )ﺍﺭﺩﻭ(‪.‬‬ ‫‪ .٣‬ﻣﻘﺎﻟﺔ ﺩﻛﺘﺮ ﻋﺼﻤﺖ ﺟﺎﻭﻳﺪ‪ :‬ﻣﺠﹼﻠﺔ ‪‬ﺳ ‪‬ﺐ ‪‬ﺭ ‪‬ﺱ )ﺑﻪ ﺍﺭﺩﻭ(‪ ،‬ﺣﻴﺪﺭﺁﺑﺎﺩ‪ ،‬ﻧﻮﺍﻣﺒﺮ ‪ ١٩٨٨‬ﻡ‪ ،‬ﺹ ‪.١٦‬‬ ‫‪ .٤‬ﻣﺤﺒﻮﺏ ﺍﻟﺰﻣﻦ ﺗﺬﻛﺮﺓ ﺷﻌﺮﺍﻱ ﺩﻛﻦ‪ ،‬ﺝ ‪ ،١‬ﺹ ‪ ،٢٨٥-٦‬ﻣﻠﻜﺎﭘﻮﺭﻱ ﻭ ﻣﺆﹼﻟﻒ ﺳﺨﻨﻮﺭﺍﻥ ﺑﻠﻨﺪﻓﻜﺮ ﻧﺎﻡ ﻗﺒﺮ ﺁﺯﺍﺩ ﺭﺍ‬ ‫»ﻋﺎﻗﺒﺖ ﺧﺎﻧﻪ« ﻭ ﺳﺎﻝ ﺗﻌﻤﻴﺮ ﺁﻥ ﺭﺍ ‪ ١١٩٥‬ﻫﺠﺮﻱ ﻧﻮﺷﺘﻪﺍﻧﺪ‪ .‬ﺩﺭ ﺍﺭﺩﻭ ﺩﺍﺋﺮﺓ ﻣﻌﺎﺭﻑ ﺍﺳﻼﻣﻴﻪ‪ ،‬ﺝ ‪ ،١‬ﺹ ‪ ١٠٦‬ﺑﺪﻭﻥ‬ ‫ﺫﻛﺮ ﻣﺄﺧﺬ ﺁﻣﺪﻩ ﺍﺳﺖ ﻛﻪ ﺁﺯﺍﺩ ﺭﺍ ﺩﺭ ﺧﻠﺪﺁﺑﺎﺩ ﺩﻛﻦ ﺩﺭ ﺍﺣﺎﻃﺔ ﺩﺭﮔﺎﻩ ﺍﻣﻴﺮ ﺣﺴﻦ ﺳﺠﺰﻱ ﺩﻫﻠﻮﻱ ﺩﺭ ﺁﻥ ﻣﻘﺒﺮﻩ‬ ‫ﺩﻓﻦ ﻛﺮﺩﻧﺪ ﻛﻪ ﺧﻮﺩ ﺍﻭ ﺩﺭ ﺳﺎﻝ ‪ ١١٩١‬ﻫﺠﺮﻱ ﺗﻌﻤﻴﺮﻛﺮﺩﻩ ﺑﻮﺩ ﻭ ﻧﺎﻡ ﺁﻥ ﺭﺍ »ﺧﻮﺍﺑﮕﺎﻩ ﺭﻭﺷﻦ« ﮔﺬﺍﺷﺘﻪ ﺑﻮﺩ‪ .‬ﺩﻛﺘﺮ‬ ‫ﻋﺼﻤﺖ ﺟﺎﻭﻳﺪ ﻧﻴﺰ ﺑﺮﺍﻱ ﻗﺒﺮ ﺁﺯﺍﺩ ﻫﻤﻴﻦ ﺍﺳﻢ ﺭﺍ ﻧﻮﺷﺘﻪ ﺍﺳﺖ‪ .‬ﻣﺠﹼﻠﺔ ﺳ‪‬ﺐ‪ ‬ﺭ‪ ‬ﺱ‪ ،‬ﻧﻮﺍﻣﺒﺮ ‪ ١٩٩٩‬ﻡ‪ ،‬ﺹ ‪ ،١٧‬ﻭﻟﻲ ﻣﺄﺧﺬ‬ ‫ﺧﻮﺩ ﺭﺍ ﺫﻛﺮ ﻧﻜﺮﺩﻩ ﺍﺳﺖ‪.‬‬

‫ﻣﻘﺪ‪‬ﻣﻪ ﺩﺭ ﺍﺣﻮﺍﻝ ﻭ ﺁﺛﺎﺭﹺ ﻣﻴﺮ ﻏﻼﻡ ﻋﻠﯽ ﺁﺯﺍﺩ ﺑﻠﮕﺮﺍﻣﻲ ‪٦٧ //‬‬ ‫ﺩﻋﻮﺕ ﻧﻤﻮﺩ‪ .‬ﺧﻮﺩ ﺍﺯ ﺣﻀﹼﺎﺭ ﭘﺬﻳﺮﺍﻳﻲ ﻣﻲﻛﺮﺩ ﻭ ﺑﺴﻴﺎﺭ ﺧﻮﺷﺤﺎﻝ ﺑﻮﺩ ﻭ ﺑﻪ ﻫﻤﻪ ﻣﻲﮔﻔﺖ‪ :‬ﻫﺬﺍ ﻓﺮﺍﻕ‬ ‫‪‬ﺑﻴﲏ ﻭ ‪‬ﺑﻴﻨﻚ‪ .‬ﺍﻳﻦ ﺟﺪﺍﻳﻲ ﭼﻨﺪ ﺭﻭﺯﻩ ﺍﺳﺖ‪ ،‬ﺳﺮﺍﻧﺠﺎﻡ ﺩﺭ ﺁﺧﺮﺕ ﺑﺎ ﻫﻢ ﻳﻜﺪﻳﮕﺮ ﺭﺍ ﻣﻲﺑﻴﻨﻴﻢ‪ .‬ﺷﻌﺮﺍ ﺩﺭ‬ ‫ﺗﺎﺭﻳﺦ ﺗﻌﻤﻴﺮ ﺧﻮﺍﺑﮕﺎﻩ ﺍﻭ ﻗﻄﻌﺎﺕ‪ ‬ﺗﺎﺭﻳﺦ ﺳﺮﻭﺩﻧﺪ‪ .١‬ﺁﺯﺍﺩ ﭘﺲ ﺍﺯ ﺗﻌﻤﻴﺮ »ﺧﻮﺍﺑﮕﺎﻩ ﺭﻭﺷﻦ« ﻧﹸﻪ ﺳﺎﻝ ﺩﻳﮕﺮ‬ ‫ﺯﻧﺪﻩ ﺑﻮﺩ‪ .‬ﺧﻮﺩ ﺍﻭ ﺩﺭ ﺗﺎﺭﻳﺦ ﺗﻌﻤﻴﺮ »ﺧﻮﺍﺑﮕﺎﻩ ﺭﻭﺷﻦ« ﻗﻄﻌﺔ ﺯﻳﺮ ﺭﺍ ﺳﺮﻭﺩﻩ ﺍﺳﺖ‪:‬‬ ‫ﺁﺯﺍﺩ ﺑﻪ ﻗﻴﺪ ﺯﻧـﺪﮔﻲ ﺳـﺎﺧﺖ ﺗﺎ ﺣﺸﺮ ﺑﺮﺍﻱ ﺧﻮﻳﺶ ﻣﺴﻜﻦ‬ ‫ﺷــﻤ‪‬ﺎﻉ ﺧــﺮﺩ ﭼــﺮﺍﻍ ﺗــﺎﺭﻳﺦ ﺍﻓﺮﻭﺧﺘﻪ »ﺧﻮﺍﺑﮕـﺎ‪‬ﻩ ﺭﻭﺷـﻦ«‪٢‬‬ ‫)= ‪ ١١٩١‬ﻫ(‬ ‫ﺑﻴﻤﺎﺭﻱ ﺁﺯﺍﺩ‬ ‫ﺍﺯ ﻧﺎﻣﻪﻫﺎﻱ ﺻﻤﺼﺎﻡﺍﻟﺪ‪‬ﻭﻟﻪ ﺷﺎﻫﻨﻮﺍﺯ ﺧﺎﻥ ﭼﻨﻴﻦ ﺑﺮﻣﻲﺁﻳﺪ ﻛﻪ ﺁﺯﺍﺩ ﺩﺭ ﺁﺧﺮ ﻋﻤﺮ ﺑﻪ ﺗﺐ )ﺩﺭﺩ( ﻗﻮﻟﻨﺞ‬ ‫ﮔﺮﻓﺘﺎﺭ ﺷﺪﻩ ﺑﻮﺩ‪ .‬ﺍﻭ ﻣﻲﻧﻮﻳﺴﺪ‪:‬‬ ‫”ﺣﺪﻳﺚ ﺗﺐ )ﺩﺭﺩ( ﻗﻮﻟﻨﺞ ﻭ ﺭﻓﻊ ﺁﻥ ﻭ ﺑﻘﻴﺔ ﻧﻘﺎﻫﺖ ﻭ ﭘﺮﻫﻴﺰ ﺍﺯ ﻧﻮﺷﺘﺔ ﺍﻳﺸﺎﻥ ﻣﻌﻠﻮﻡ ﺷﺪ‪ .‬ﺩﻧﻴﺎ‬ ‫ﻣﺤﻞ ﻣﻜﺎﺭﻩ ﺍﺳﺖ ﻋﺎﻗﺒﺖ ﺑﺨﻴﺮ ﺑﺎﺩ“‪.٣‬‬ ‫ﺷﺎﻫﻨﻮﺍﺯ ﺧﺎﻥ ﺩﺭ ﻧﺎﻣﺔ ﺩﻳﮕﺮ ﻣﻲﻧﻮﻳﺴﺪ‪:‬‬ ‫”ﺍﺯ ﻧﻮﺷﺘﻪﻫﺎﻱ ﺭﺍﻱ ﺳﺪﻫﺎﺭﻱ ﻻﻝ ﻣﻌﻠﻮﻡ ﺷﺪ ﻛﻪ ﺍﺯ ﭘﻴﭽﺶ ﻭ ﺧﻮﻥ ﻭ ﺑﻠﻐﻢ ﻣﺰﺍﺝ ﺩﺷﻤﻨﺎﻥ‬ ‫ﻣﻬﺮﺑﺎﻥ ﻛﺴﻞ ﺩﺍﺭﺩ ﻭ ﺍﮔﺮ ﺧﻮﻥ ﻛﻢ ﺷﺪﻩ ﺗﻘﺎﺿﺎ ﻭ ﺧﻠﺶ ﻗﻮﻟﻨﺞ ﻭ ﻓﺘﻖ ﻭ ﺍﺿﻄﺮﺍﺭ ﺍﺯ ﻫﻤﺎﻥ ﻗﺴﻢ‬ ‫ﺍﺳﺖ ﺑﻪ ﺍﺳﺘﻤﺎﻉ ﺍﻳﻦ ﻣﻌﻨﻲ ﻣﻮﺟﺐ ﺗﺮﺩ‪‬ﺩ ﻭ ﺗﻔﻜﹼﺮ ﺷﺪ‪ ،‬ﺣﻜﻴﻢ ﻋﻠﻲ ﺍﻻﻃﻼﻕ ﺍﺯ ﻓﻀﻞ ﺧﻮﺩ ﺯﻭﺩ‬ ‫ﺷﻔﺎﻱ ﻛﺎﻣﻞ ﻋﻄﺎ ﻓﺮﻣﺎﻳﺪ“‪.٤‬‬ ‫ﻭﻓﺎﺕ ﻭ ﻣﺪﻓﻦ‬ ‫ﺁﺯﺍﺩ ﺩﺭ ‪ ٥٢٤‬ﺫﻱﻗﻌﺪﺓ ‪ ١٢٠٠‬ﻫﺠﺮﻱ ﺩﺭ ﺳﻦ‪ ‬ﻫﺸﺘﺎﺩ ﻭ ﭼﻬﺎﺭ ﺳﺎﻟﮕﻲ‪ ٦‬ﻭﻓﺎﺕ ﻳﺎﻓﺖ ﻭ ﻃﺒﻖ ﻭﺻﻴ‪‬ﺖ ﺧﻮﺩ‬ ‫‪ .١‬ﺻﺎﺣ ﹺﺐ ﻣﺤﺒﻮﺏ ﺍﻟﺰﻣﻦ ﺗﺬﻛﺮﺓ ﺷﻌﺮﺍﻱ ﺩﻛﻦ‪ ،‬ﺝ ‪ ،١‬ﺹ ‪ ٢٨٦‬ﺍﻳﻦ ﻭﺍﻗﻌﻪ ﺭﺍ ﺑﻪ ﻧﻘﻞ ﺍﺯ ﻛﺘﺎﺏ ﺗﻨﺒﻴﻪ ﺍﻟﺸﺎﻛﻴﻦ ﻓﻲ ﺟﻼﺋﻞ‬ ‫ﺣﻀﺮﺕ ﻣﺤﺒﻮﺏ ﺳﺒﺤﺎﻧﻲ ﺗﺄﻟﻴﻒ ﻣﻴﺮ ﻏﻼﻡ ﻋﻠﻲ ﺍﺭﺷﺪ ﻧﻘﻞ ﻛﺮﺩﻩ ﺍﺳﺖ ﻭ ﻧﻮﺷﺘﻪ ﺍﺳﺖ ﻛﻪ ﻛﺘﺎﺏ ﻣﺬﻛﻮﺭ ﺍﺯﺑﻴﻦ ﺭﻓﺘﻪ ﺍﺳﺖ‪.‬‬ ‫‪ .٢‬ﻛﻠﻴﺎﺕ ﻓﺎﺭﺳﻲ ﺁﺯﺍﺩ )ﻧﺴﺨﺔ ﻣﺠﻠﺲ ﺗﻬﺮﺍﻥ(‪ ،‬ﺑﺮﮒ ‪.٢٥٣‬‬ ‫‪ .٣‬ﻣﻘ ‪‬ﺪﻣﺔ ﻣﺂﺛﺮﺍﻟﻜﺮﺍﻡ‪ ،‬ﺹ ‪.٥٢‬‬ ‫‪ .٤‬ﻫﻤﺎﻥ‪.‬‬ ‫‪ .٥‬ﺩﺭ ﺑﺤﺮ ﺫ ﹼﺧﺎﺭ »‪ ٢١‬ﺫﻱﻗﻌﺪﻩ« ﺁﻣﺪﻩ ﺍﺳﺖ‪.‬‬ ‫‪ .٦‬ﺩﺭ ﻣﻘ ‪‬ﺪﻣﺔ ﻣﺂﺛﺮﺍﻟﻜﺮﺍﻡ‪ ،‬ﺹ ‪ ٥٤‬ﺩﺭ ﺳ ‪‬ﻦ ﻫﺸﺘﺎﺩ ﻭ ﺷﺶ ﻭ ﺩﺭ ﻧﺸﺘﺮ ﻋﺸﻖ ﺩﺭ ‪ ٧٨‬ﺳﺎﻟﮕﻲ ﮔﻔﺘﻪ ﺷﺪﻩ ﺍﺳﺖ ﻛﻪ ﺩﺭﺳﺖ‬ ‫ﻧﻴﺴﺖ‪ .‬ﻫﻤﭽﻨﻴﻦ ﺻﺎﺣﺐﹺ ﻧﺸﺘﺮ ﻋﺸﻖ ﺳﺎﻝ ﻭﻓﺎﺕ ﺁﺯﺍﺩ ﺭﺍ ‪ ١١٩٤‬ﻫﺠﺮﻱ )ﻧﺸﺘﺮ ﻋﺸﻖ‪ ،‬ﺝ ‪ ،١‬ﺹ ‪(١٧٩‬؛ ﺷﻴﺮ ﻋﻠﻲ ‪E‬‬

‫‪ // ٦٨‬ﮐﻠﻴ‪‬ﺎﺕ‪ ‬ﺁﺯﺍﺩ ﺑﻠﮕﺮﺍﻣﻲ‬ ‫ﺧﻮﺩ ﺩﺭ ﺧﻠﺪﺁﺑﺎﺩ ﻛﻪ ﺍﺯ ﺍﻭﺭﻧﮓﺁﺑﺎﺩ ‪ ١٨‬ﻛﻴﻠﻮﻣﺘﺮ ﻓﺎﺻﻠﻪ ﺩﺍﺭﺩ‪ ،‬ﺩﺭ ﭘﺎﻳﻴﻦ ﻣﺰﺍﺭ ﺣﺴﻦ ﺩﻫﻠﻮﻱ ﻣﺪﻓﻮﻥ‬ ‫ﮔﺮﺩﻳﺪ‪ .‬ﺩﮐﺘﺮ ﻋﻠﻲ ﺍﺻﻐﺮ ﺣﻜﻤﺖ ﻣﻲﻧﻮﻳﺴﺪ‪:‬‬ ‫”ﺁﺭﺍﻣﮕﺎﻩ ﺣﺴﻦ ﺩﻫﻠﻮﻱ… ﺩﺭ ﻗﺼﺒﺔ ﺧﻠﺪﺁﺑﺎﺩ ﻣﻌﺮﻭﻑ ﺑﻪ ﺭﻭﺿﻪ ﻭﺍﻗﻊ ﺷﺪﻩ ﺍﺳﺖ ﻭ ﺁﻥ ﺩﺭ‬ ‫ﹸﻧﻪ ﻣﻴﻠﻲ ﺷﻤﺎﻝ ﺍﻳﺴﺘﮕﺎﻩ ﺭﺍﻩ ﺁﻫﻦ ﺩﻭﻟﺖﺁﺑﺎﺩ ﻣﻲﺑﺎﺷﺪ… ﻣﻘﺒﺮﺓ ﻣﻴﺮ ﻏﻼﻡ ﻋﻠﻲ ﺁﺯﺍﺩ ﺑﻠﮕﺮﺍﻣﻲ ﻛﻪ‬ ‫ﺍﺯ ﺍﺟﻠﹼﺔ ﻓﻀﻼﻱ ﻗﺮﻥ ﺍﺧﻴﺮ ﺍﺳﺖ ﻧﻴﺰ ﺩﺭ ﺟﻨﺐ ﺁﻥ ﻗﺮﺍﺭ ﺩﺍﺭﺩ“‪.‬‬ ‫»ﺁﻩ ﻏﻼﻡ ﻋﻠﻲ ﺁﺯﺍﺩ« ﻣﺎﺩ‪‬ﺓ ﺗﺎﺭﻳﺦ ﻭﻓﺎﺕ‪ ‬ﺁﺯﺍﺩ ﺍﺳﺖ ﻛﻪ ﺍﺯ ﺍﻳﻦ ﻣﺼﺮﺍﻉ ‪ ١٢٠٠‬ﻫﺠﺮﻱ ﺑﻪ ﺩﺳﺖ ﻣﻲﺁﻳﺪ‪.‬‬ ‫ﻟﻮﺡ ﻣﺰﺍﺭ‪١‬‬ ‫ﻫﻮ ﺍﳊﻲ ﺍﻟﻘﻴﻮﻡ‬ ‫ﺣﺴ‪‬ﺎﻥ ﺍﻟﻬﻨﺪ ﻣﻴﺮ ﻏﻼﻡ ﻋﻠﻲ ﺁﺯﺍﺩ ﺣﺴﻴﻨﻲ ﻭﺍﺳﻄﻲ ﺑﻠﮕﺮﺍﻣﻲ‬ ‫ﻭﻻﺩﺕ‪ ٢٥ :‬ﺻﻔﺮﺍﻟﻤﻈﻔﹼﺮ ‪ ١١١٦‬ﻫﺠﺮﻱ‬ ‫»ﺁﻩ ﻏﻼﻡ ﻋﻠﻲ ﺁﺯﺍﺩ«‪.‬‬ ‫ﺍﺭﺍﺩﺕ‪ ‬ﻣﺮﺩﻡ ﻋﺎﻣﻪ ﺑﻪ ﻣﺪﻓﻦ ﺁﺯﺍﺩ‬ ‫ﺗﻘﺮﻳﺒﺎﹰ ﻫﻤﺔ ﺗﺬﻛﺮﻩﻧﻮﻳﺴﺎﻥ ﺁﺯﺍﺩ ﺭﺍ ﻣ‪‬ﺮﺩ‪ ‬ﻋﺎﻟﻢ ﻭ ﻓﺎﺿﻞ ﻭ ﺩﺍﺭﺍﻱ ﺻﻔﺎ ‪‬ﺕ ﺍﻋﻼﻱ ﺍﺧﻼﻗﻲ ﺩﺍﻧﺴﺘﻪ ﻭ ﺑﻪ ﻋﻠﻢ‬ ‫ﻭ ﻓﻀﻞ ﺍﻭ ﺍﻋﺘﺮﺍﻑ ﻧﻤﻮﺩﻩﺍﻧﺪ‪ .‬ﻫﻴﮓ ﺩﺭ ﻛﺘﺎﺏ »ﺁﺛﺎﺭ ﻣﻬﻢ‪ ‬ﺗﺎﺭﻳﺨﻲ ﺩﻛﻦ« ﻛﻪ ﺑﻪ ﺯﺑﺎﻥ ﺍﻧﮕﻠﻴﺴﻲ‬ ‫ﺗﺄﻟﻴﻒ ﻛﺮﺩﻩ ﺍﺳﺖ‪ ،‬ﺷﻬﺮﺕ ﺁﺯﺍﺩ ﭘﺲ ﺍﺯ ﻣﺮﮒ ﺭﺍ ﭼﻨﻴﻦ ﺗﻮﺿﻴﺢ ﺩﺍﺩﻩ ﺍﺳﺖ‪:‬‬ ‫”ﺻﻴﺖ ﻭ ﺷﻬﺮ ‪‬ﺕ ﻋﻠﻢ ﻭ ﻓﻀﻞ ﺍﻳﻦ ﺷﺎﻋﺮ )ﺁﺯﺍﺩ( ﺑﻪ ﺍﻧﺪﺍﺯﻩﺍﻱﺳﺖ ﻛﻪ ﻭﺍﻟﺪﻳﻦ ﺑﭽ‪‬ﻪﻫﺎﻱ ﺧﻮﺩ ﺭﺍ‬ ‫ﺑﻪ ﻣﺰﺍﺭﹺ ﻭﻱ ﻣﻲﺑ‪‬ﺮ‪‬ﻧﺪ ﺗﺎ ﺁﻧﻬﺎ ﺩﺍﻧﻪﺍﻱ ﻗﻨﺪ ﺭﺍ ﺑﺎ ﻟﺐﻫﺎﻱ ﺧﻮﺩ ﺍﺯ ﻗﺒﺮﺵ ﺑﺮﺩﺍﺭﻧﺪ ﻭ ﺩﺭ ﻧﺘﻴﺠﻪ ﻫﻢ‬ ‫ﺻﺎﺣﺐﹺ ﺫﻭﻕ ﻋ‪‬ﻠﻢ ﺷﻮﻧﺪ ﻭ ﻫﻢ ﺻﺎﺣ ﹺﺐ ﺗﻮﻓﻴﻖ ﻭ ﺍﺳﺘﻌﺪﺍﺩ ﺑﺮﺍﻱ ﺗﺤﺼﻴﻞ ﺁﻥ“‪.٢‬‬ ‫‪ F‬ﺍﻓﺴﻮﺱ ﺩﺭ ﺁﺭﺍﻳﺶ ﻣﺤﻔﻞ ﻭ ﻧﻴﻮﻝ ﺩﺭ ﻳﻮ‪.‬ﭘﻲ‪ .‬ﮔﺰﻳﺘﺮ ﺳﺎﻝ ﻭﻓﺎﺕ ﺍﻭ ﺭﺍ ‪ ١٢٠٢‬ﻫﺠﺮﻱ ﺩﺭﺝ ﻧﻤﻮﺩﻩﺍﻧﺪ ﻭ ﺩﺭ ﻟﻐﺖﻧﺎﻣﺔ‬ ‫ﺩﻫﺨﺪﺍ ﺩﺭ ﺫﻳﻞ ﻣﺎ ‪‬ﺩﺓ »ﺁﺯﺍﺩ ﺑﻠﮕﺮﺍﻣﻲ« ﻭﻓﺎﺗﺶ ﺭﺍ ﺩﺭ ﺳﺎﻝ ‪ ١١٦٥‬ﻫﺠﺮﻱ ﮔﻔﺘﻪ ﺷﺪﻩ ﺍﺳﺖ ﻛﻪ ﺍﻳﻦ ﻫﻢ ﺩﺭﺳﺖ ﻧﻴﺴﺖ‪.‬‬ ‫ﺭﻙ‪ :‬ﻟﻐﺖﻧﺎﻣﺔ ﺩﻫﺨﺪﺍ‪ ،‬ﺹ ‪) ٨٢‬ﺁـ ﺍﺑﻮﺳﻌﻴﺪ(‪ ،‬ﺗﻬﺮﺍﻥ‪ ١٣٢٥ ،‬ﻫ ﺵ‪.‬‬ ‫‪ .١‬ﻣﻘ ‪‬ﺪﻣﺔ ﻣﺂﺛﺮﺍﻟﻜﺮﺍﻡ‪ ،‬ﺹ ‪.٥٤‬‬ ‫‪2. T.W. Haig: Historical Landmarks of the Deccan, Allahabad, 1907, p.58.‬‬ ‫ﺍﺻﻞ ﻋﺒﺎﺭﺕ ﺍﻳﻦ ﺍﺳﺖ‪:‬‬ ‫‪“The fame of the poet’s learning is such that parents take their children to his shrine in order that they‬‬ ‫‪may by picking up with their lips a piece of sugar from the tomb, obtain both a taste for knowledge and‬‬ ‫‪the ability to acquire it”.‬‬

‫ﻣﻘﺪ‪‬ﻣﻪ ﺩﺭ ﺍﺣﻮﺍﻝ ﻭ ﺁﺛﺎﺭﹺ ﻣﻴﺮ ﻏﻼﻡ ﻋﻠﯽ ﺁﺯﺍﺩ ﺑﻠﮕﺮﺍﻣﻲ ‪٦٩ //‬‬ ‫ﺁﺯﺍﺩ ﮔﻔﺘﻪ ﺍﺳﺖ‪:‬‬ ‫ﺷـﻮﺩ ﺧـﺎﮎ ﺁﺯﺍﺩ ﺟـﺎﻱ ﺯﻳـﺎﺭﺕ ﮐﻪ ﮔﺮﺩﻱ ﺍﺳﺖ ﺍﺯ ﮐﻮﭼﺔ ﺑـﻮﺗﺮﺍﺑﻲ‬ ‫ﺍﺯ ﺗﺬﻛﺮﻩﻫﺎ ﻣﻌﻠﻮﻡ ﻣﻲﺷﻮﺩ ﻛﻪ ﻛﺘﺎﺏﻫﺎﻱ ﺁﺯﺍﺩ ﻣﺨﺼﻮﺻﹰﺎ ﺩﻭﺍﻭﻳﻦ ﺷﻌﺮ ﻋﺮﺑﻲ ﺍﻭ ﺩﺭ ﻣﺪﺍﺭﺱ‬ ‫ﺗﺪﺭﻳﺲ ﻣﻲﺷﺪ‪ ،‬ﭼﻨﺎﻧﻜﻪ ﻣﺤﻤ‪‬ﺪ ﺍﻋﻈﻢ ﺧﺎﻥ ﻣﺘﺨﻠﹼﺺ ﺑﻪ »ﺍﻋﻈﻢ« )ﻡ‪ ١٢٧٢ :‬ﻫ( ﺻﺎﺣﺐﹺ ﺗﺬﻛﺮﺓ‬ ‫ﮔﻠﺰﺍﺭ ﺍﻋﻈﻢ ﻧﻮﺷﺘﻪ ﺍﺳﺖ ﻛﻪ ﻛﺘﺎﺏﻫﺎﻳﻲ ﻛﻪ ﻧﺰﺩ ﺳﻴ‪‬ﺪ ﺍﺑﻮﻃﻴ‪‬ﺐ ﺧﺎﻥ ﻭﺍﻻ ﺧﻮﺍﻧﺪﻡ ﺩﺭ ﺁﻥ ”ﺩﻳﻮﺍﻥ ﺍﻭ‪‬ﻝ‬ ‫ﻋﺮﺑﻲ ﺍﺯ ﺳﺒﻌﻪ ﺳﻴﺎﺭﺓ ﺁﺯﺍﺩ ﻧﻴﺰ ﺷﺎﻣﻞ ﺑﻮﺩ“‪.١‬‬ ‫ﻫﻤﭽﻨﻴﻦ ﺳﻴ‪‬ﺪ ﻧﻮﺭﺍﻟﺤﺴﻦ ﭘﺴﺮ ﻧﻮ‪‬ﺍﺏ ﺳﻴ‪‬ﺪ ﻣﺤﻤ‪‬ﺪ ﺻﺪ‪‬ﻳﻖ ﺣﺴﻦ ﺧﺎﻥ ﺻﺎﺣﺐﹺ ﺗﺬﻛﺮﺓ ﻧﮕﺎﺭﺳﺘﺎﻥ‬ ‫ﺳﺨﻦ ﺩﺭ ﺷﺮﺡ ﺣﺎﻝ ﺧﻮﺩ ﻣﻲﻧﻮﻳﺴﺪ‪:‬‬ ‫”… ﻭ ﺑﻌﺾ ﻗﺼﺎﻳﺪ ﻋﺮﺑﻴﺔ ﺁﺯﺍﺩ ﺍﺯ ﻭﺍﻟﺪ ﻣﺎﺟﺪ ﺧﻮﺍﻧﺪ“‪.٢‬‬ ‫ﺁﺛﺎﺭ ﺁﺯﺍﺩ ﺑﻠﮕﺮﺍﻣﻲ‬ ‫ﻣﻴﺮ ﻏﻼ ﻋﻠﻲ ﺁﺯﺍﺩ ﺑﻠﮕﺮﺍﻣﻲ ﺑﻪ ﺯﺑﺎﻥﻫﺎﻱ ﻋﺮﺑﻲ ﻭ ﻓﺎﺭﺳﻲ ﺁﺛﺎﺭ ﺯﻳﺎﺩﻱ ﺍﺯ ﺧﻮﺩ ﺑﻪ ﻳﺎﺩﮔﺎﺭ ﮔﺬﺍﺷﺘﻪ ﺍﺳﺖ‬ ‫ﮐﻪ ﻣﻮﺭﺩ ﺗﻮﺟ‪‬ﻪ ﻋﺎﻟﻤﺎﻥ ﺁﻥ ﺩﻭ ﺯﺑﺎﻥ ﻣﻲﺑﺎﺷﺪ ﺍﺯ ﻗﺒﻴﻞ‪:‬‬ ‫ﻋﺮﺑﻲ‬ ‫‪ .١‬ﺳﺒﺤﺔﺍﳌﺮﺟﺎﻥ ﰲ ﺁﺛﺎﺭ ﻫﻨﺪﻭﺳﺘﺎﻥ‬ ‫‪ .٢‬ﺿﻮﺀﺍﻟﺪﺭﺍﺭﻱ ﺷﺮﺡ ﺻﺤﻴﺢ ﺍﻟﺒﺨﺎﺭﻱ‬ ‫‪ .٣‬ﺷﻔﺎﺀﺍﻟﻌﻠﻴﻞ ﰲ ﺍﺻﻼﺡ ﮐﻼﻡ ﺍﺑﻮﺍﻟﻄﻴﺐ ﺍﳌﺘﻨﺒ‪‬ﻲ‬ ‫‪ .٤‬ﴰﺎﻣﺔﺍﻟﻌﻨﱪ ﰲ ﻣﺎ ﻭﺭﺩ ﰲ ﺍﳍﻨﺪ ﻣﻦ ﺳﻴﺪﺍﻟﺒﺸﺮ‬ ‫‪ .٥‬ﻣﻈﻬﺮﺍﻟﱪﮐﺎﺕ‬ ‫‪ .٦‬ﺩﻭﺍﻭﻳﻦ‬ ‫‪ .٧‬ﺍﻟﺴﺒﻌﺔﺍﻟﺴﻴ‪‬ﺎﺭﺓ‬ ‫‪ .٨‬ﺗﺴﻠﻴﺔﺍﻟﻔﻮﺍﺩ ﰲ ﻗﺼﺎﻳﺪﺍﻵﺯﺍﺩ‬ ‫‪ .٩‬ﻣﺮﺁﺓﺍﳉﻤﺎﻝ‬ ‫‪ .١٠‬ﮐﺸﮑﻮﻝ‬ ‫‪ .١‬ﺍﺣﻤﺪ ﮔﻠﭽﻴﻦ ﻣﻌﺎﻧﻲ‪ :‬ﺗﺎﺭﻳﺦ ﺗﺬﻛﺮﻩﻫﺎﻱ ﻓﺎﺭﺳﻲ‪ ،‬ﺝ ‪ ،٢‬ﺹ ‪.٥٦‬‬ ‫‪ .٢‬ﻧﻮﺭﺍﻟﺤﺴﻦ‪ :‬ﻧﮕﺎﺭﺳﺘﺎﻥ ﺳﺨﻦ‪ ،‬ﺹ ‪.١٣١‬‬

‫‪ // ٧٠‬ﮐﻠﻴ‪‬ﺎﺕ‪ ‬ﺁﺯﺍﺩ ﺑﻠﮕﺮﺍﻣﻲ‬ ‫‪ .١١‬ﺍﻻﻣﺜﻠﺔﺍﳌﺘﺮﺷﺤﺔ ﻣﻦ ﺍﻟﻘﺮﳛﺔ‬ ‫‪ .١٢‬ﻗﺼﻴﺪﺓ ﳘﺰﺍﺋﻴﺔ‬ ‫‪ .١٣‬ﺍﺭﺝ ﺍﻟﺼﺒﺎ ﰲ ﻣﺪﺡ ﺍﳌﺼﻄﻔﻲ‬ ‫‪ .١٤‬ﻧﺼﺎﺏ ﺍﻟﻘﺼﻴﺪﺓ ﰲ ﺍﻟﺘﻐﺰﻝ‬ ‫‪ .١٥‬ﻣﮑﺘﻮﺑﺎﺕ ﺣﻀﺮﺕ ﳎﺪﺩ‬ ‫ﻓﺎﺭﺳﻲ‬ ‫‪ .١‬ﻳﺪﺑﻴﻀﺎ‬ ‫‪ .٢‬ﺳﺮﻭﺁﺯﺍﺩ‬ ‫‪ .٣‬ﺧﺰﺍﻧﺔ ﻋﺎﻣﺮﻩ‬ ‫‪ .٤‬ﻣﺂﺛﺮﺍﻟﮑﺮﺍﻡ ﺗﺎﺭﻳﺦ ﺑﻠﮕﺮﺍﻡ‬ ‫‪ .٥‬ﺷﺠﺮﺓ ﻃﻴﺒﻪ‬ ‫‪ .٦‬ﺭﻭﺿﺔﺍﻻﻭﻟﻴﺎ‬ ‫‪ .٧‬ﺳﻨﺪﺍﻟﺴﻌﺎﺩﺍﺕ ﻓﻲ ﺣﺴﻦ ﺧﺎﺗﻤﺔ ﺍﻟﺴﺎﺩﺍﺕ‬ ‫‪ .٨‬ﻏﺰﻻﻥﺍﻟﻬﻨﺪ‬ ‫‪ .٩‬ﺑﻴﺎﺽ ﺁﺯﺍﺩ‬ ‫‪ .١٠‬ﻣﺜﻨﻮﻳﺎﺕ‬ ‫‪ .١١‬ﻗﺼﻴﺪﻩ ﺩﺭ ﺗﻌﺮﻳﻒ ﻣﻴﺮ ﻋﺒﺪﺍﻟﺠﻠﻴﻞ ﺑﻠﮕﺮﺍﻣﻲ ﻭ ﻣﻴﺮ ﺳﻴﺪ ﻣﺤﻤﺪ ﺷﺎﻋﺮ ﺑﻠﮕﺮﺍﻣﻲ‬ ‫‪ .١٢‬ﺩﻳﻮﺍﻥ ﺍﺷﻌﺎﺭ ﻓﺎﺭﺳﻲ‬ ‫‪ .١٣‬ﺷﺮﺡ ﻗﻄﻌﺔ ﻧﻌﻤﺖ ﺧﺎﻥ ﻋﺎﻟﻲ ﺷﻴﺮﺍﺯﻱ‬ ‫‪ .١٤‬ﺟﻮﺍﺏ ﺍﻻﻳﺮﺍﺩﺍﺕ‬ ‫ﻣﺮﺗﺒﺎﺕ‬ ‫‪ .١٥‬ﻣﺂﺛﺮﺍﻻﻣﺮﺍ‬ ‫‪ .١٦‬ﺍﻧﻴﺲﺍﻟﻤﺤﻘﻘﻴﻦ‬

‫ﻣﻘﺪ‪‬ﻣﻪ ﺩﺭ ﺍﺣﻮﺍﻝ ﻭ ﺁﺛﺎﺭﹺ ﻣﻴﺮ ﻏﻼﻡ ﻋﻠﯽ ﺁﺯﺍﺩ ﺑﻠﮕﺮﺍﻣﻲ ‪٧١ //‬‬ ‫ﺑﺮﺧﻲ ﺍﺯ ﺍﻳﻦ ﺁﺛﺎﺭ ﻋﺮﺑﻲ ﻭ ﻓﺎﺭﺳﻲ ﺁﺯﺍﺩ ﺑﻪ ﻃﺒﻊ ﺭﺳﻴﺪﻩ ﺍﺳﺖ ﻭ ﺑﺎﻳﺪ ﺗﻔﺼﻴﻞ ﺁﻥ ﺭﺍ ﺩﺭ ﮐﺘﺎﺏ‬ ‫ﺍﻳﻨﺠﺎﻧﺐ »ﺍﺣﻮﺍﻝ ﻭ ﺁﺛﺎﺭ ﻣﻴﺮ ﻏﻼﻣﻌﻠﻲ ﺁﺯﺍﺩ ﺑﻠﮕﺮﺍﻣﻲ« ﭼﺎﭖ ﺑﻨﻴﺎﺩ ﻣﻮﻗﻮﻓﺎ ‪‬ﺕ ﺩﮐﺘﺮ ﻣﺤﻤﻮﺩ ﺍﻓﺸﺎﺭ‪ ،‬ﺗﻬﺮﺍﻥ‬ ‫‪ ١٣٨٤‬ﻫ ﺵ‪ ٢٠٠٥/‬ﻡ‪ .‬ﺟﺴﺘﺠﻮ ﮐﺮﺩ‪.‬‬ ‫ﺁﺯﺍﺩ ﺑﻪ ﻋﻨﻮﺍﻥ ﺗﺬﮐﺮﻩﻧﻮﻳﺲ‬ ‫ﺁﺯﺍﺩ ﺑﻠﮕﺮﺍﻣﻲ ﻧﻮﻳﺴﻨﺪﺓ ﺳﻪ ﺗﺬﮐﺮﺓ ﺷﺎﻋﺮﺍﻥ ﻓﺎﺭﺳﻲ ﺑﻪ ﻧﺎﻡﻫﺎﻱ »ﻳﺪﺑﻴﻀﺎ«‪» ،‬ﺳﺮﻭﺁﺯﺍﺩ« ﻭ »ﺧﺰﺍﻧﺔ ﻋﺎﻣﺮﻩ«‬ ‫ﺍﺳﺖ ﻭ ﻫﺮﮐﺪﺍﻡ ﺍﺯ ﺍﻳﻦ ﺗﺬﮐﺮﻩﻫﺎ ﻭﻳﮋﮔﻲﻫﺎﻳﻲ ﺩﺍﺭﺩ‪ .‬ﻳﺪﺑﻴﻀﺎ ﺗﺬﮐﺮﺓ ﻋﻤﻮﻣﻲ ﺍﺳﺖ ﮐﻪ ﺩﺭ ﺁﻥ ﺗﺮﺟﻤﺔ‬ ‫ﺷﺎﻋﺮﺍﻥ ﻣﻌﺮﻭﻑ ﻭ ﻏﻴﺮ ﻣﻌﺮﻭﻑ ﺩﺭﺝ ﺷﺪﻩ ﺍﺳﺖ‪ .‬ﺳﺮﻭﺁﺯﺍﺩ ﺍﺧﺘﺼﺎﺹ ﺑﻪ ﺷﺎﻋﺮﺍﻧﻲ ﺩﺍﺭﺩ ﮐﻪ ﺑﻌﺪ ﺍﺯ ﺳﻨﺔ‬ ‫ﻫﺰﺍﺭ ﻫﺠﺮﻱ ﺗﺎ ﺯﻣﺎﻥ ﺗﺄﻟﻴﻒ ﮐﺘﺎﺏ ﻳﻌﻨﻲ ‪ ١١٦٦‬ﻫ ﻕ‪ .‬ﺩﺭ ﻫﻨﺪﻭﺳﺘﺎﻥ ﻣﺘﻮﻟﹼﺪ ﺷﺪﻩﺍﻧﺪ ﻳﺎ ﺑﺪﺍﻧﺠﺎ ﺭﻓﺘﻪﺍﻧﺪ‪.‬‬ ‫ﺩﺭ ﺧﺰﺍﻧﺔ ﻋﺎﻣﺮﻩ ﻓﻘﻂ ﺫﮐﺮ ﮐﺴﺎﻧﻲ ﺁﻣﺪﻩ ﺍﺳﺖ ﮐﻪ ﻣﺪﺡ ﮐﺴﻲ ﺭﺍ ﮔﻔﺘﻪﺍﻧﺪ ﻭ ﺻﻠﻪ ﻭ ﺍﻧﻌﺎﻡ ﺩﺭﻳﺎﻓﺖ‬ ‫ﮐﺮﺩﻩﺍﻧﺪ‪ .‬ﺩﺭﺑﺎﺭﺓ ﻫﺮﺳﻪ ﺗﺬﮐﺮﺓ ﻓﻮﻕ ﻣﺎ ﺩﺭ ﺑﺨﺶ »ﺁﺛﺎﺭ ﺁﺯﺍﺩ« ﻣﻔﺼﻞ ﺑﺤﺖ ﮐﺮﺩﻩﺍﻳﻢ‪ .‬ﺍﻳﻨﺠﺎ ﺑﻪ ﻃﻮﺭ‬ ‫ﺍﺟﻤﺎﻝ‪ ،‬ﺑﻪ ﻭﻳﮋﮔﻲﻫﺎﻱ ﺗﺬﮐﺮﻩﻧﻮﻳﺴﻲ ﺁﺯﺍﺩ ﻣﻲﭘﺮﺩﺍﺯﻳﻢ‪.‬‬ ‫ﺍﺯ ﻣﻄﺎﻟﻌﺔ ﺗﺬﮐﺮﻩﻫﺎﻱ ﺁﺯﺍﺩ ﺑﻪ ﺗﺬﮐﺮﻩﻫﺎﻱ ﺁﺯﺍﺩ ﺑﻪ ﺧﻮﺑﻲ ﻣﻲﺗﻮﺍﻥ ﭘﻲ ﺑﺮﺩ ﮐﻪ ﺍﻭ ﺗﺬﮐﺮﻩﻧﻮﻳﺴﻲ ﺍﺳﺖ‬ ‫ﺩﻗﻴﻖ ﮐﻪ ﺩﺭ ﺛﺒﺖ ﻭ ﺿﺒﻂ ﺳﻨﻴﻦ ﺗﻮﻟﹼﺪ ﻭ ﻭﻓﺎﺕ ﺷﻌﺮﺍ ﻭ ﻭﻗﺎﻳﻊ ﺗﺎﺭﻳﺨﻲ ﻳﺎ ﻭﻗﺎﻳﻊ ﻣﺮﺑﻮﻁ ﺑﻪ ﺯﻧﺪﮔﻲ‬ ‫ﺻﺎﺣﺐ ﺗﺮﺟﻤﻪ ﺗﻤﺎﻡ ﺩﻗﹼﺖ ﺧﻮﺩ ﺭﺍ ﺑﻪ ﮐﺎﺭ ﺑﺴﺘﻪ ﻭ ﭘﺲ ﺍﺯ ﺗﺤﻘﻴﻖ ﻭ ﭘﮋﻭﻫﺶ ﺩﺭﺝ ﮐﺮﺩﻩ ﺍﺳﺖ‪.‬‬ ‫ﺍﻃﻼﻋﺎﺗﻲ ﮐﻪ ﺁﺯﺍﺩ ﺩﺭ ﻣﻮﺭﺩ ﺷﻌﺮﺍﻱ ﻣﻌﺎﺻﺮ ﺍﺭﺍﺋﻪ ﮐﺮﺩﻩ ﺍﺳﺖ ﺍﺯ ﺑﻘﻴﺔ ﺗﺬﮐﺮﻩﻧﻮﻳﺴﺎﻥ ﻣﻌﺎﺻﺮ ﺑﻴﺸﺘﺮ ﺍﺳﺖ‬ ‫ﻭ ﺩﺭ ﺍﻧﺘﺨﺎﺏ ﺍﺷﻌﺎﺭ ﻧﻴﺰ ﺍﻭ ﺳﺮﺁﻣﺪ ﺳﺎﻳﺮ ﺗﺬﮐﺮﻩﻧﻮﻳﺴﺎﻥ ﻣﻌﺎﺻﺮ ﺍﺳﺖ‪ .‬ﭼﻮﻥ ﻣﻄﺎﻟﻌﺔ ﺁﺯﺍﺩ ﻭﺳﻴﻊ ﺑﻮﺩ ﻭ ﺍﺯ‬ ‫ﻧﮑﺎﺕ ﻇﺮﻳﻒ ﻭ ﺑﺎﺭﻳﮏ ﺁﮔﺎﻫﻲ ﺩﺍﺷﺖ‪ ،‬ﺍﺫﺍ ﺩﺭ ﺗﺄﻟﻴﻒ ﺗﺬﮐﺮﻩﻫﺎ ﺍﺯ ﺍﻳﻦ ﺍﺳﺘﻌﺪﺍﺩ ﺧﻮﺩ ﺑﻪ ﺧﻮﺑﻲ ﺍﺳﺘﻔﺎﺩﻩ‬ ‫ﮐﺮﺩﻩ ﺍﺳﺖ‪ .‬ﺩﺭ ﺧﻼﻝ ﺫﮐﺮ ﻳﮏ ﺷﺎﻋﺮ ﺍﮔﺮ ﺑﻪ ﺷﻌﺮﻱ ﻣﻲﺭﺳﺪ ﮐﻪ ﺩﺭ ﮐﻼﻡ ﭘﻴﺸﻴﻨﻴﺎﻥ ﻳﺎ ﺷﺎﻋﺮﺍﻥ ﻣﻌﺎﺻﺮ‬ ‫ﻣﻀﻤﻮﻥ ﻣﺸﺎﺑﻬﻲ ﻭﺟﻮﺩ ﺩﺍﺷﺘﻪ‪ ،‬ﻳﺎ ﺍﺷﻌﺎﺭ ﺁﻧﺎﻥ ﻫﻤﺮﺩﻳﻒ ﻭ ﻫﻢ ﻗﺎﻓﻴﻪ ﺑﻮﺩﻩﺍﻧﺪ‪ ،‬ﺁﻥ ﺭﺍ ﺫﮐﺮ ﻣﻲﮐﻨﺪ‪ ،‬ﻭ ﺍﮔﺮ‬ ‫ﺩﺭ ﮐﻼﻡ ﺷﺎﻋﺮﻱ ﺑﻪ ﮐﻠﻤﺎﺕ ﺳﻨﮕﻴﻦ‪ ،‬ﻧﺎﻣﺄﻧﻮﺱ ﻳﺎ ﺑﻪ ﺍﺻﻄﻼﺣﺎﺗﻲ ﺍﺯ ﻗﺒﻴﻞ ﺗﻠﻤﻴﺢ ﻭ ﻏﻴﺮﻩ ﻣﻲﺭﺳﺪ‪ ،‬ﺁﻥ ﺭﺍ‬ ‫ﻧﻴﺰ ﻣﻌﻨﻲ ﻣﻲﮐﻨﺪ ﻭ ﺑﻌﻀﻲ ﺍﻭﻗﺎﺕ ﺷﺮﺡ ﻣﻲﺩﻫﺪ‪ .‬ﺍﮔﺮ ﭘﺸﻴﻨﻴﺎﻥ ﻳﺎ ﻣﻌﺎﺻﺮﺍﻥ ﺁﺯﺍﺩ ﺑﺮ ﺍﺑﻴﺎﺕ ﺷﺎﻋﺮﻱ ﺍﻳﺮﺍﺩ‬ ‫ﮔﺮﻓﺘﻪﺍﻧﺪ‪ ،‬ﺁﺯﺍﺩ ﻫﻢ ﻧﻈﺮ ﺧﻮﺩ ﺭﺍ ﺩﺭﺑﺎﺭﺓ ﺍﻳﺮﺍﺩ ﻣﻌﺘﺮﺽ ﺍﺑﺮﺍﺯ ﺩﺍﺷﺘﻪ ﺍﺳﺖ‪ .‬ﮔﺎﻫﻲ ﺧﻮﺩ ﻫﻢ ﺑﺮ ﺍﺷﻌﺎﺭ‬ ‫ﺑﺮﺧﻲ ﺍﺯ ﺷﻌﺮﺍ ﺍﻧﺘﻘﺎﺩ ﻣﻲﮐﻨﺪ ﻭ ﺷﺒﺎﻫﺖ ﻣﻀﻤﻮﻥ ﻭ ﺍﻟﻔﺎﻅ ﻳﺎ ﺳﻘﻢ ﺷﻌﺮ ﺭﺍ ﺑﻴﺎﻥ ﻣﻲﮐﻨﺪ‪ .‬ﺁﺯﺍﺩ ﺩﺭ‬ ‫ﺗﺬﮐﺮﻩﻫﺎﻱ ﺧﻮﺩ ﻫﻤﻴﺸﻪ ﻣﺂﺧﺬ ﻭ ﻣﻨﺎﺑﻊ ﺧﻮﺩ ﺭﺍ ﻧﺸﺎﻥ ﻣﻲﺩﻫﺪ‪.‬‬

‫‪ // ٧٢‬ﮐﻠﻴ‪‬ﺎﺕ‪ ‬ﺁﺯﺍﺩ ﺑﻠﮕﺮﺍﻣﻲ‬ ‫ﺳﺒﮏﻧﮕﺎﺭﺵ ﺁﺯﺍﺩ ﺩﺭ ﺗﺬﮐﺮﻩﻫﺎﻱ ﺍﻭ ﺳﺎﺩﻩ ﻭ ﺭﻭﺍﻥ ﺍﺳﺖ‪ .‬ﺍﻟﺒﺘﻪ ﮔﺎﻫﻲ ﺍﺯ ﺟﻤﻼﺕ ﻣﺴﺠﻊ ﻭ ﺍﺯ‬ ‫ﮐﻨﺎﻳﺎﺕ ﻭ ﺍﺳﺘﻌﺎﺭﺍﺕ ﺍﺳﺘﻔﺎﺩﻩ ﮐﺮﺩﻩ ﺍﺳﺖ‪ .‬ﻣﺜﻼﹰ ﺩﺭ ﺟﻤﻼﺕ ﺯﻳﺮ‪:‬‬ ‫ﻓﻴﻀﻲ‪ :‬ﻃﻮﻃﻲ ﻫﻨﺪ ﺳﺨﻦﮔﺴﺘﺮﻱ ﺍﺳﺖ ﻭ ﻣﻠﮏﺍﻟﺸﻌﺮﺍﻱ ﺩﺭﮔﺎﻩ ﺍﮐﺒﺮﻱ‪.١‬‬ ‫ﺍﻧﻴﺴﻲ ﺷﺎﻣﻠﻮ‪ :‬ﻧﮑﺘﻪﺳﻨﺞ ﻳﮕﺎﻧﻪ ﺍﺳﺖ ﻭ ﺍﻧﻴﺲ ﻣﻌﺎﻧﻲ ﺑﻴﮕﺎﻧﻪ‪.٢‬‬ ‫ﺑﺮﺍﻱ ﺁﻭﺭﺩﻥ ﻧﻤﻮﻧﺔ ﺍﺷﻌﺎﺭ ﺍﺯ ﺟﻤﻼﺕ ﺯﻳﺮ ﺍﺳﺘﻔﺎﺩﻩ ﮐﺮﺩﻩ ﺍﺳﺖ‪.‬‬ ‫ﺯﻣﺎﻧﻲ‪ :‬ﻏﻨﭽﺔ ﺗﺄﻣﻠﺶ ﺑﻪ ﺍﻳﻦ ﺭﻧﮓ ﻣﻲﺷﮑﻔﺪ‪.٣‬‬ ‫ﺷﺎﻧﻲ ﺗﮑﻠﻮ‪ :‬ﭼﺮﺍﻍ ﻓﮑﺮﺵ ﭼﻨﻴﻦ ﭘﺮﺗﻮ ﻣﻲﺩﻫﺪ‪.٤‬‬ ‫ﺭﺿﻲ ﺍﺻﻔﻬﺎﻧﻲ‪ :‬ﻧﻘﺶ ﺳﺨﻦ ﺑﻪ ﺍﻳﻦ ﺁﺋﻴﻦ ﻣﻲﺑﻨﺪﺩ‪.٥‬‬ ‫ﻭﺍﻋﻆ ﻗﺰﻭﻳﻨﻲ‪ :‬ﺍﻳﻦ ﭼﻨﺪ ﻏﺰﺍﻝ ﺍﺯ ﺧﺘﻦ ﺍﻭ ﺑﻪ ﺧﺮﺍﻣﺶ ﻣﻲﺁﻳﺪ‪.٦‬‬ ‫ﻳﮑﻲ ﺍﺯ ﻭﻳﮋﮔﻲﻫﺎﻱ ﺗﺬﮐﺮﻩﻧﻮﻳﺴﻲ ﺁﺯﺍﺩ‪ ،‬ﺗﻮﺟﻪ ﺍﻭ ﺑﻪ ﻭﻗﺎﻳﻊ ﺗﺎﺭﻳﺨﻲ ﺍﺳﺖ ﮐﻪ ﮔﺎﻩ ﺧﻮﺩ ﺷﺎﻫﺪ ﺁﻥ‬ ‫ﻭﺍﻗﻌﺎﺕ ﻭ ﺣﺎﺩﺛﺎﺕ ﺑﻮﺩﻩ ﺍﺳﺖ‪ .‬ﻣﺨﺼﻮﺻﹰﺎ ﺩﺭ ﺧﺰﺍﻧﺔ ﻋﺎﻣﺮﻩ ﻭﻗﺎﻳﻊ ﺗﺎﺭﻳﺨﻲ ﺟﻨﻮﺏ ﻫﻨﺪﻭﺳﺘﺎﻥ ﻭ ﻗﻮﻡ‬ ‫ﻣﺮﻫﺘﻪ ﺭﺍ ﺑﺎ ﺷﺮﺡ ﻭ ﺑﺴﻂ ﺗﻤﺎﻡ ﺫﮐﺮ ﮐﺮﺩﻩ ﺍﺳﺖ‪ .‬ﺑﻪ ﺍﻳﻦ ﺻﻮﺭﺕ ﺗﺬﮐﺮﻩﻫﺎﻱ ﺍﻭ ﺩﺭ ﻋﻴﻦ ﺣﺎﻝ ﺗﺎﺭﻳﺦ ﻧﻴﺰ‬ ‫ﻣﻲﺑﺎﺷﻨﺪ‪ .‬ﺗﻤﺎﻡ ﺗﺎﺭﻳﺦﻫﺎ ﻭ ﺳﻨﻮﺍﺕ ﺑﻪ ﻋﺒﺎﺭﺕ ﻋﺮﺑﻲ ﻧﻮﺷﺘﻪ ﺍﺳﺖ‪ .‬ﻧﻈﺮ ﺍﻧﺘﻘﺎﺩﻱ ﺍﻭ ﺩﺭﺑﺎﺭﺓ ﺍﺷﻌﺎﺭ ﺷﺎﻋﺮﺍﻥ‬ ‫ﻭ ﺍﺻﻼﺣﺎﺗﻲ ﮐﻪ ﺑﺮ ﺍﺷﻌﺎﺭ ﺷﻌﺮﺍ ﺑﻪ ﻋﻤﻞ ﺁﻭﺭﺩﻩ ﺍﺳﺖ‪ ،‬ﻗﺎﺑﻞ ﺗﻮﺟﻪ ﺍﺳﺖ‪ .‬ﺩﺭ ﺍﻧﺘﺨﺎﺏ ﺍﺷﻌﺎﺭ ﺻﺎﺣﺒﺎﻥ‬ ‫ﺗﺮﺍﺟﻢ ﭼﻨﺎﻥ ﻭﺳﻌﺖ ﻧﻈﺮ ﺧﻮﺩ ﺭﺍ ﻧﺸﺎﻥ ﺩﺍﺩﻩ ﺍﺳﺖ ﮐﻪ ﺩﺭ ﺑﻌﻀﻲ ﻣﻮﺍﺭﺩ ﺍﺳﺘﻌﺠﺎﺏ ﻭ ﺣﻴﺮﺕ ﺧﻮﺍﻧﻨﺪﻩ‬ ‫ﺭﺍ ﺑﺮﻣﻲﺍﻧﮕﻴﺰﺩ‪ .‬ﺍﻳﻦ ﻭﻳﮋﮔﻲﻫﺎ ﺩﺭ ﺗﺬﮐﺮﻩﻫﺎﻱ ﺩﻳﮕﺮ ﺍﺻ ﹰﻼ ﺩﻳﺪﻩ ﻧﻤﻲﺷﻮﺩ‪ .‬ﺩﺭ ﺍﻧﺘﺨﺎﺏ ﺍﺷﻌﺎﺭ ﻧﻴﺰ ﺟﺪ‪ ‬ﺕ‬ ‫ﻋﻤﻞ ﺭﺍ ﭘﻴﺶ ﮔﺮﻓﺘﻪ ﺍﺳﺖ‪ .‬ﺩﺭ ﺍﻳﻦ ﻣﻮﺭﺩ ﻣﻲﻧﻮﻳﺴﺪ‪:‬‬ ‫”ﺟﻮﺍﻫﺮ ﺍﺷﻌﺎﺭﻱ ﮐﻪ ﺩﺭ ﺧﺰﺍﻧﺔ ﻋﺎﻣﺮﻩ ﻓﺮﺍﻫﻢ ﺁﻣﺪﻩ ﻣﺴﺘﻌﺎﺭ ﺍﺯ ﺍﻳﻦ ﺗﺄﻟﻴﻔﺎﺕ ﻧﻴﺴﺖ )ﺗﺬﮐﺮﻩﻫﺎﻱ‬ ‫ﮔﺬﺷﺘﻪ ﻭ ﻣﻌﺎﺻﺮ( ﺍﻻ )ﺑﻪ( ﻗﺪﺭ ﻗﻠﻴﻞ ﺑﻨﺎ ﺑﺮ ﺿﺮﻭﺭﺕ ﮐﻪ ﺍﺷﻌﺎﺭ ﻣﻄﻠﻮﺏ ﺍﺯ ﺧﺎﺭﺝ ﺩﺳﺖ ﺑﻬﻢ‬ ‫ﻧﺪﺍﺩ… ﮔﺎﻩ ﺑﺎﺷﺪ ﮐﻪ ﺷﻌﺮ ﺧﻮﺏ ﺍﺯ ﺷﺎﻋﺮﻱ ﺩﺍﺧﻞ ﺍﻧﺘﺨﺎﺏ ﻓﻘﻴﺮ ﻧﻴﺴﺖ ﺳﺒﺒﺶ ﺍﻳﻦ ﮐﻪ‬ ‫‪ .١‬ﺳﺮﻭﺁﺯﺍﺩ‪ ،‬ﺹ ‪.۱۵‬‬ ‫‪ .٢‬ﻫﻤﺎﻥ‪ ،‬ﺹ ‪.۲۱‬‬ ‫‪ .٣‬ﻫﻤﺎﻥ‪ ،‬ﺹ ‪.۲۸‬‬ ‫‪ .٤‬ﻫﻤﺎﻥ‪ ،‬ﺹ ‪.۲۹‬‬ ‫‪ .٥‬ﻫﻤﺎﻥ‪ ،‬ﺹ ‪.۳۱‬‬ ‫‪ .٦‬ﻫﻤﺎﻥ‪ ،‬ﺹ ‪.۱۰۶‬‬

‫ﻣﻘﺪ‪‬ﻣﻪ ﺩﺭ ﺍﺣﻮﺍﻝ ﻭ ﺁﺛﺎﺭﹺ ﻣﻴﺮ ﻏﻼﻡ ﻋﻠﯽ ﺁﺯﺍﺩ ﺑﻠﮕﺮﺍﻣﻲ ‪٧٣ //‬‬ ‫ﺩﻳﮕﺮﻱ ﺍﻧﺘﺨﺎﺏ ﺯﺩﻩ‪ ،‬ﺑﺮ ﺩﻩ ﻳﺎ ﺍﻳﻦ ﮐﻪ ﺩﺭ ﺣﺎﻟﺖ ﮐﺜﺮﺕ ﺗﻔﺤﺺ ﺍﺯ ﻧﻈﺮ ﻭﺍﻣﺎﻧﺪﻩ ﻳﺎ ﺩﻳﻮﺍﻥ ﺷﺎﻋﺮ‬ ‫ﺗﻤﺎﻡ ﻭ ﮐﻤﺎﻝ ﺑﻪ ﺩﺳﺖ ﻧﻴﺎﻣﺪﻩ‪ .‬ﺩﺭ ﺳﺮﻭﺁﺯﺍﺩ ﺍﺯ ﺁﻏﺎﺯ ﮐﺘﺎﺏ ﺗﺎ ﺍﻧﺠﺎﻡ ﺍﻟﺘﺰﺍﻡ ﺍﺳﺖ ﮐﻪ ﻣﻄﺎﻟﻊ ﺑﺮ‬ ‫ﻏﻴﺮ ﻣﻄﺎﻟﻊ ﻣﻘﺪﻡ ﺑﺎﺷﺪ‪ .‬ﺩﺭ ]ﺧﺰﺍﻧﺔ ﻋﺎﻣﺮﻩ[ ﺍﻳﻦ ﺍﻟﺘﺰﺍﻡ ﻧﻴﺴﺖ‪ ،‬ﻟﻴﮑﻦ ﺩﻳﻮﺍﻧﻲ ﮐﻪ ﺑﻪ ﺍﻧﺘﺨﺎﺏ‬ ‫ﺩﺭﺁﻣﺪ ﺳﺮﺭﺷﺘﺔ ﺗﺮﺗﻴﺐ ﺭﺩﻳﻒ ﻧﮕﺎﻩ ﺩﺍﺷﺘﻪ ﺷﺪ‪] ،‬ﮐﻪ[ ﺍﮔﺮ ﺑﻴﺘﻲ ﻣﻄﻠﻮﺏ ﺷﻮﺩ ﺯﻭﺩ ﺑﺮﺁﻳﺪ“‪.١‬‬ ‫ﺑﻪ ﻃﻮﺭ ﺧﻼﺻﻪ ﻣﻲﺗﻮﺍﻥ ﮔﻔﺖ ﺁﺯﺍﺩ ﺗﺬﮐﺮﻩﻧﻮﻳﺴﻲ ﺯﺑﺮﺩﺳﺖ ﻭ ﺗﻮﺍﻧﺎ ﺍﺳﺖ ﻭ ﺑﺮ ﺑﻴﺎﻧﺎﺕ ﻭﻱ ﺍﻋﺘﻤﺎﺩ‬ ‫ﺑﺎﻳﺪ ﮐﺮﺩ‪ ،‬ﺯﻳﺮﺍ ﮐﻪ ﺍﻭ ﺗﺬﮐﺮﻩﻫﺎ ﺭﺍ ﭘﺲ ﺍﺯ ﺟﺴﺘﺠﻮ ﻭ ﺗﺤﻘﻴﻖ ﺑﺴﻴﺎﺭ ﺩﺭ ﺣﻴﻄﺔ ﺗﺤﺮﻳﺮ ﮐﺸﻴﺪﻩ ﺍﺳﺖ ﻭ‬ ‫ﺍﮐﺜﺮ ﻭﺍﻗﻌﺎﺕ ﺭﺍ ﺑﻪ ﭼﺸﻢ ﺧﻮﺩ ﺩﻳﺪﻩ ﻳﺎ ﺍﺯ ﻧﺰﺩﻳﮑﺎﻥ ﺷﻴﻨﺪﻩ ﺍﺳﺖ‪.‬‬ ‫ﺑﻪ ﻗﻮﻝ ﺩﮐﺘﺮ ﻋﻠﻴﺮﺿﺎ ﻧﻘﻮﻱ‪:‬‬ ‫”ﮔﺎﻫﻲ )ﺁﺯﺍﺩ( ﺷﺮﺡ ﺣﺎﻝ ﺷﺎﻋﺮ ﺭﺍ ﺑﻪ ﻗﺪﺭﻱ ﻣﻔﺼﹼﻞ ﺁﻭﺭﺩﻩ ﺍﺳﺖ ﮐﻪ ﺗﮑﺎﻣﻞ ﻓﮑﺮﻱ ﺍﻭ‬ ‫ﺑﻪ ﮐﻠﹼﻲ ﺭﻭﺷﻦ ﻣﻲﮔﺮﺩﺩ ﻣﺜ ﹰﻼ ﺭﺟﻮﻉ ﺷﻮﺩ ﺑﻪ ﺗﺮﺟﻤﺔ ﻓﻴﻀﻲ‪ .‬ﺍﮐﺜﺮ ﺍﺷﻌﺎﺭ ﺷﻌﺮﺍ ﺭﺍ ﻣﻔﺼﻞ‬ ‫ﺁﻭﺭﺩﻩ ﺍﺳﺖ ﻭ ﺑﺪﻳﻦ ﺗﺮﺗﻴﺐ ﻣﻲﺗﻮﺍﻥ ﺑﻪ ﭘﺎﻳﻪ ﻭ ﺍﺭﺯﺵ ﺍﺩﺑﻲ ﺷﺎﻋﺮ ﭘﻲ ﺑﺮﺩ“‪.٢‬‬ ‫ﺁﺯﺍﺩ ﺩﺭ ﻣﻘﺎﻡ ﻳﮏ ﻣﻨﺘﻘﺪ ﺍﺩﺑﻲ‬ ‫ﺗﺬﮐﺮﻩﻫﺎﻱ ﻧﺨﺴﺘﻴﻦ ﻓﺎﻗﺪ ﻧﻈﺮ ﮔﺎﻩﻫﺎﻱ ﻧﻘﺪﻱ ﻭ ﺍﻧﺘﻘﺎﺩ ﺑﺮ ﺍﺷﻌﺎﺭ ﺷﺎﻋﺮﺍﻥﺍﻧﺪ ﻭ ﺗﺬﮐﺮﻩﻧﻮﻳﺴﺎﻥ ﻃﺒﻖ ﻣﻴﻞ ﻭ‬ ‫ﺫﻭﻕ ﺧﻮﺩ ﺍﺷﻌﺎﺭ ﺭﺍ ﺍﻧﺘﺨﺎﺏ ﻭ ﺩﺍﺧﻞ ﮐﺘﺎﺏ ﺧﻮﺩ ﻣﻲﮐﺮﺩﻧﺪ‪ .‬ﺩﺭ ﺍﻳﻦ ﻧﻮﻉ ﮔﺰﻳﻨﻪﻫﺎ ﮐﻪ ﺩﺭ ﺗﺬﮐﺮﻩﻫﺎ ﺩﻳﺪﻩ‬ ‫ﻣﻲﺷﻮﺩ‪ ،‬ﺗﺬﮐﺮﻩﻧﻴﺴﺎﻥ ﻫﻴﭻ ﮔﻮﻧﻪ ﻧﻈﺮﺍﺕ ﺍﻧﺘﻘﺎﺩﻱ ﺍﺯ ﺧﻮﺩ ﺭﺍﺟﻊ ﺑﻪ ﺧﻮﺏ ﻭ ﺑﺪ ﺑﻮﺩﻥ ﺍﺷﻌﺎﺭ ﺍﺭﺍﺋﻪ‬ ‫ﻧﮑﺮﺩﻩﺍﻧﺪ‪ .‬ﺍﻳﻦ ﺗﺬﮐﺮﻩﻧﻮﻳﺴﺎﻥ ﻳﺎ ﺑﻪ ﺷﺤﺮ ﺣﺎﻝ ﺷﻌﺮﺍ ﺗﻮﺟﻪ ﻣﻲﮐﺮﺩﻧﺪ ﻭ ﻳﺎ ﺑﻪ ﺍﻧﺘﺨﺎﺏ ﺍﺷﻌﺎﺭ ﺁﻧﺎﻥ‪ ،‬ﺍﻣﺎ‬ ‫ﺁﺯﺍﺩ ﺑﻠﮕﺮﺍﻣﻲ ﺷﺎﻳﺪ ﻧﺨﺴﺘﻴﻦ ﺗﺬﮐﺮﻩﻧﻮﻳﺲ ﺑﺎﺷﺪ ﮐﻪ ﺩﺭ ﺗﺬﮐﺮﻩﻫﺎﻱ ﺧﻮﺩ ﺍﺯ ﻟﺤﺎﻅ ﮔﺰﻳﻨﺶ ﺍﺷﻌﺎﺭ‬ ‫ﺻﺎﺣﺒﺎﻥ ﺗﺮﺍﺟﻢ ﻧﻴﺴﺖ ﺑﻪ ﺗﺬﮐﺮﻩﻧﻮﻳﺴﺎﻥ ﭘﻴﺸﻴﻦ ﻭ ﻣﻌﺎﺻﺮ ﺧﻮﺩ ﺑﺎ ﻭﺳﻌﺖ ﻧﻈﺮ ﺑﻴﺸﺘﺮ ﺑﻪ ﺍﻧﺘﺨﺎﺏ‬ ‫ﭘﺮﺩﺍﺧﺘﻪ ﺍﺳﺖ ﻭ ﺧﻮﺍﻧﻨﺪﻩ ﻣﻲﺗﻮﺍﻧﺪ ﺑﺎ ﻣﻄﺎﻟﻌﺔ ﺍﺷﻌﺎﺭ ﺻﺎﺣﺒﺎﻥ ﺗﺮﺍﺟﻢ ﺭﺍﺟﻊ ﺑﻪ ﺗﻮﺍﻧﺎﻳﻲ ﻭ ﺿﻌﻒ ﺁﻧﻬﺎ ﺩﺭ‬ ‫ﻣﻴﺪﺍﻥ ﺷﺎﻋﺮﻱ ﻭ ﻫﻤﭽﻨﻴﻦ ﺍﺯ ﻟﺤﺎﻅ ﻣﻀﻤﻮﻥﺁﻓﺮﻳﻨﻲ ﻭ ﺍﻧﺪﻳﺸﻪﻫﺎ ﻭ ﺗﺨﻴﻼﺕ ﺷﻌﺮﻱ ﺑﻪ ﻧﺘﻴﺠﻪﺍﻱ ﺑﺮﺳﺪ‪.‬‬ ‫ﺍﻭ ﺗﺬﮐﺮﻩﻧﻮﻳﺴﻲ ﺩﺍﺭﺍﻱ ﻗﻮﺕ ﺍﻧﺘﻘﺎﺩﻱ ﺑﻮﺩ‪ .‬ﺩﺭ ﺗﺬﮐﺮﻩﻫﺎ ﺍﻭ ﻧﮑﺎﺕ ﺍﻧﺘﻘﺎﺩﻱ ﺑﺮ ﺷﻌﺮﻫﺎﻱ ﺷﺎﻋﺮﺍﻥ ﺩﻳﺪﻩ‬ ‫ﻣﻲﺷﻮﺩ ﮐﻪ ﺁﻧﻬﺎ ﺭﺍ ﺩﺭ ﺻﻔﺤﺎﺕ ﮔﺬﺷﺘﻪ ﺩﺭ ﻣﻌﺮﻓﻲ ﺗﺬﮐﺮﻩﻫﺎﻱ ﺁﻳﺎﺩ ﺟﺪﺍﮔﺎﻧﻪ ﺑﺮﺭﺳﻲ ﮐﺮﺩﻩﺍﻳﻢ‪ .‬ﺍﻳﻨﺠﺎ‬ ‫‪ .١‬ﺧﺰﺍﻧﺔ ﻋﺎﻣﺮﻩ‪ ،‬ﺹ ‪.۸-۷‬‬ ‫‪ .٢‬ﺗﺬﮐﺮﻩﻧﻮﻳﺴﻲ ﻓﺎﺭﺳﻲ ﺩﺭ ﻫﻨﺪ ﻭ ﭘﺎﮐﺴﺘﺎﻥ‪.۳۸۶-۳۸۵ ،‬‬

‫‪ // ٧٤‬ﮐﻠﻴ‪‬ﺎﺕ‪ ‬ﺁﺯﺍﺩ ﺑﻠﮕﺮﺍﻣﻲ‬ ‫ﺑﻪ ﻃﻮﺭ ﺧﻼﺻﻪ ﭘﺎﺭﻩﺍﻱ ﺍﺯ ﻧﮑﺎﺕ ﺍﻧﺘﻘﺎﺩﻱ ﺭﺍ ﻣﻲﺁﻭﺭﻳﻢ ﮐﻪ ﺩﺭ ﺷﻨﺎﺧﺖ ﻣﻘﺎﻡ ﻭ ﻣﺮﺗﺒﺔ ﺍﻭ ﺍﻭ ﻫﻤﭽﻨﻴﻦ ﺩﺭ‬ ‫ﺭﻭﺷﻦ ﺳﺎﺧﺘﻦ ﺷﺨﺼﻴﺖ ﺁﺯﺍﺩ ﺑﻪ ﻋﻨﻮﺍﻥ ﻣﻨﺘﻘﺪ ﮐﻤﮏ ﺧﻮﺍﻫﺪ ﺑﻮﺩ‪.‬‬ ‫ﺁﺯﺍﺩ ﺩﺭ ﺗﺮﺟﻤﺔ ﺷﻴﺪﺍ ﮔﻔﺘﺔ ﺷﻴﺮ ﺧﺎﻥ ﻟﻮﺩﻱ ﻣﺆﻟﻒ ﺗﺬﮐﺮﺓ ﻣﺮﺁﺕﺍﻟﺨﻴﺎﻝ ﺭﺍ ﮐﻪ ”ﺷﻴﺪﺍ ﺩﺭ ﻋﻠﻢ‬ ‫ﻋﺮﻭﺽ ﻭ ﻗﻮﺍﻓﻲ ﺿﺮﺏﺍﻟﻤﺜﻞ ﺑﻮﺩ“ ﻣﻮﺭﺩ ﺗﻨﻘﻴﺪ ﻗﺮﺍﺭ ﺩﺍﺩﻩ ﺍﺳﺖ ﻭ ﻧﻮﺷﺘﻪ ﺍﺳﺖ ﮐﻪ‪:‬‬ ‫”ﺩﺭ ﺩﻳﻮﺍﻥ ﺷﻴﺪﺍ ﻏﺰ ﻧﻪ ﺑﻴﺖ ﻣﻮﺟﻮﺩ ﺍﺳﺖ ﮐﻪ ﻣﻄﻠﻌﺶ ﺍﻳﻦ ﺍﺳﺖ‪:‬‬ ‫ﺭﻣﺰ ﺩﻫﻦ ﺗﻨﮓ ﺗﻮ ﺑﺸـﮑﺎﻓﺘﻪ ﺑﺎﺷـﺪ ﮔﺮ ﺩﻝ ﺍﺛﺮ ﻏﻴﺮ ﺳﺨﻦ ﻳﺎﻓﺘـﻪ ﺑﺎﺷـﺪ‬ ‫ﺩﺭ ﺑﺎﻗﻲ ﺍﻳﻦ ﻏﺰﻝ ﺑﻌﻀﻲ ﻣﺼﺎﺭﻳﻊ ﻭﺯﻥ ﻏﻴﺮﻭﺯﻥ ﻣﻄﻠﻊ ﺩﺍﺭﻧﺪ ﻭ ﺑﻌﻀﻲ ﻣﺼﺎﺭﻳﻊ ﻭﺯﻥ ﺭﺍ ﺍﻟﻮﺩﺍﻉ‬ ‫ﮔﻔﺘﻪﺍﻧﺪ“‪.١‬‬ ‫ﺷﺎﻩ ﻓﻘﻴﺮﺍﷲ ﺁﻓﺮﻳﻦ ﻻﻫﻮﺭﻱ ﮔﻔﺘﻪ ﺍﺳﺖ‪:‬‬ ‫ﺑﺮﺍﻱ ﻓﺮﺵ ﺭﻧﺪﺍﻥ ﺁﻓﺮﻳﻦ ﻫﺮ ﺻﺒﺢ ﻣﻲﺑﺎﻓﺪ ﻓﻠﮏ ﺍﺯ ﺗﺎﺭ ﺯﺭﻳﻦﹺ ﺧـﻂ‪ ‬ﺧﻮﺭﺷـﺪ ﻗـﺎﻟﻴﻨﻲ‬ ‫ﺁﺯﺍﺩ ﮔﻮﻳﺪ‪:‬‬ ‫”ﺷﺨﺼﻲ ﺷﻌﺮﻱ ﭘﻴﺶ ﺣﺰﻳﻦ ﺧﻮﺍﻧﺪ ﮐﻪ ﻗﺎﻟﻴﻦ ﺑﻪ ﻧﻮﻥ ﺩﺍﺷﺖ‪.‬‬ ‫ﺷﻴﺦ ﮔﻔﺖ‪ :‬ﻟﻔﻆ ﻗﺎﻟﻲ ﺑﻲﻧﻮﻥ ﺍﺳﺖ‪ .‬ﺁﻥ ﺷﺨﺺ ﭘﻴﺶ ﻓﻘﻴﺮ ﻧﻘﻞ ﮐﺮﺩ‪ .‬ﮔﻔﺘﻢ‪ :‬ﺷﻴﺦ ﻓﺮﻳﺪﺍﻟﺪﻳﻦ‬ ‫ﻋﻄﺎﺭ ﻧﻴﺸﺎﺑﻮﺭﻱ ﺩﺭ ﭘﻨﺪﻧﺎﺓ ﻣﺸﻬﻮﺭ‪ ،‬ﻗﺎﻟﻴﻦ ﺑﻪ ﻧﻮﻥ ﺁﻭﺭﺩﻩ‪ ،‬ﻣﻲﻓﺮﻣﺎﻳﺪ‪:‬‬ ‫ﻣــﺮﺩ ﺭﻩ ﺭﺍ ﺑﻮﺭﻳــﺎ ﻗــﺎﻟﻴﻦ ﺑــﻮﺩ ﺯﺍﻧﮑﻪ ﺧﺸﺘﺶ ﻋﺎﻗﺒﺖ ﺑﺎﻟﻴﻦ ﺑـﻮﺩ‬ ‫ﺑﻪ ﻧﻮﻥ… ﻫﻢ ﺩﺭﺳﺖ ﺍﺳﺖ“‪.٢‬‬ ‫ﻣﻴﺮﺯﺍ ]ﺑﻴﺪﻝ[ ﻣﺨﻤ‪‬ﺴﻲ ﺩﺭ ﻣﺮﺛﻴﺔ ﻓﺮﺯﻧﺪ ﺧﻮﺩ ﺩﺍﺭﺩ‪ ،‬ﺩﺭ ﺁﻧﺠﺎ ﮔﻮﻳﺪ‪:‬‬ ‫ﻫﺮﮔﻪ ﺩﻭ ﻗﺪﻡ ﺧﺮﺍﻡ ﻣـﻲﮐﺎﺷـﺖ ﺍﺯ ﺍﻧﮕﺸﺘﻢ ﻋﺼﺎ ﺑﻪ ﮐﻒ ﺩﺍﺷـﺖ‬ ‫ﺁﺯﺍﺩ ﻣﻲﮔﻮﻳﺪ »ﺧﺮﺍﻡ ﮐﺎﺷﺘﻦ« ﻋﺠﺐ ﭼﻴﺰﻱ ﺍﺳﺖ‪.٣‬‬ ‫ﻋﺮﻓﻲ ﮔﻔﺘﻪ ﺍﺳﺖ‪:‬‬ ‫ﭘﻴﺶ ﻋﺮﻓﻲ ﻣﺪﻩ ﺍﺯ ﺩﺳﺖ ﻋﻨﺎﻥ ﮐﺎﻳﻦ ﺍﺳـﺘﺎﺩ ﺧﻮﻳﺶ ﺭﺍ ﺑﻠﻪ ﻧﻤﻮﺩﻩﺳﺖ ﻭﻟﻲ ﺍﺑﻠـﻪ ﻧﻴﺴـﺖ‬ ‫ﺁﺯﺍﺩ ﻣﻲﻧﻮﻳﺴﺪ‪:‬‬ ‫‪ .١‬ﺧﺰﺍﻧﺔ ﻋﺎﻣﺮﻩ‪ ،‬ﺹ ‪.۲۸۰‬‬ ‫‪ .٢‬ﻫﻤﺎﻥ‪ ،‬ﺹ ‪.۳۴‬‬ ‫‪ .٣‬ﻫﻤﺎﻥ‪ ،‬ﺹ ‪.۱۵۳‬‬

‫ﻣﻘﺪ‪‬ﻣﻪ ﺩﺭ ﺍﺣﻮﺍﻝ ﻭ ﺁﺛﺎﺭﹺ ﻣﻴﺮ ﻏﻼﻡ ﻋﻠﯽ ﺁﺯﺍﺩ ﺑﻠﮕﺮﺍﻣﻲ ‪٧٥ //‬‬ ‫”…ﻋﺮﻓﻲ ﺩﺭ ﺷﻌﺮ ﻣﺬﮐﻮﺭﻫﺎﻱ »ﺍﺑﻠﻪ« ﺍﻭﻝ ﺭﺍ ﮐﻪ ﺍﺻﻠﻲ ﺍﺳﺖ ﻣﺨﺘﻔﻲ ﺳﺎﺧﺘﻪ‪ ،‬ﺍﮔﺮ ﺗﻠﻔﻆ ﮐﻨﻨﺪ ﻭﺯﻥ‬ ‫ﻣﻲﺭﻭﺩ… ﻭ ﻇﺎﻫﺮ ﺁﻧﮑﻪ… ﺧﻼﻑ ﻗﺎﻋﺪﻩ ﺍﺳﺖ“‪.١‬‬ ‫ﺩﺭﺑﺎﺭﺓ ﺍﻳﻦ ﻣﺼﺮﺍﻉ ﻧﺎﺻﺮ ﻋﻠﻲ ﺳﺮﻫﻨﺪﻱ‪:‬‬ ‫ﺟﮕﺮ ﻟﻌﻞﮔﺮ ﻭ ﭼﺸﻢﮔﻬﺮ ﺳﺎﺯﻡ ﺩﺍﺩ‬ ‫ﺁﺯﺍﺩ ﻣﻲﮔﻮﻳﺪ‪:‬‬ ‫”ﺷﺨﺼﻲ ﺍﻋﺘﺮﺍﺽ ﮐﺮﺩ ﮐﻪ »ﻟﻌﻞﮔﺮ« ﻭ »ﮔﻬﺮﺳﺎﺯ« ﻣﺴﻤﻮﻉ ﻧﻴﺴﺖ‪ .‬ﻓﻘﻴﺮ ﺳﻨﺪ »ﮔﻬﺮﺳﺎﺯ« ﺍﺯ ﮐﻼﻡ‬ ‫ﻣﻴﺮﺯﺍ ﻣﺤﻤﺪ ﺍﺷﺮﻑ ﻣﺎﺯﻧﺪﺭﺍﻧﻲ ﺁﻭﺭﺩﻡ‪:‬‬ ‫ﻧـﺮﺥ ﺍﺷـﮑﻢ ﻣﺸـﮑﻦ ﮐـﺎﻳﻦ ﮔﻬـﺮ ﻟﻌﻠـﻲ ﺭﺍ ﭼﺸﻢ ﺑﻴﭽﺎﺭﻩ ﺑـﻪ ﺻﺪ ﺧﻮﻥ ﺟﮕﺮ ﺳﺎﺧﺘﻪ ﺍﺳﺖ‪“٢‬‬ ‫ﺩﺭ ﺗﺮﺟﻤﺔ ﻣﻴﺮﺯﺍ ﻣﻘﻴﻤﺎﻱ ﺑﺨﺎﺭﻱ ﺍﻳﻦ ﺑﻴﺖ ﺍﻭ ﺭﺍ ﺩﺭﺝ ﮐﺮﺩﻩ ﺍﺳﺖ‪:‬‬ ‫ﭘﺮﻳﺸﺎﻥ ﻧﻴﺴﺖ ﻣﺎ ﺭﺍ ﺧﺎﻃﺮ ﺍﺯ ﺑﻲﺑﺮﮒ ﻭ ﺑﺎﺭﻱﻫﺎﻱ ﭼﻮ ﮔﻞ ﻳﮏ ﻏﻨﭽﻪ ﺩﻝ ﺩﺍﺭﻳﻢ ﻭ ﺻﺪ ﺍﻣﻴﺪﻭﺍﺭﻱﻫﺎ‬ ‫ﺳﭙﺲ ﻧﻮﺷﺘﻪ ﺍﺳﺖ‪:‬‬ ‫»ﺻﺪ« ﻋﺪﺩ ﺍﺳﺖ ﻭ »ﺍﻣﻴﺪﻭﺍﺭﻱﻫﺎ« ﻣﻌﺪﻭﺩ ﻭ ﺟﻤﻊ ﺁﻭﺭﺩﻥ ﻣﻌﺪﻭﺩ ﻣﺤﻞﹼ ﺗﺄﻣ‪‬ﻞ ﺍﺳﺖ‪ .‬ﺑﻌﺪ ﺗﺤﺮﻳﺮ‬ ‫ﺧﺰﺍﻧﺔ ﻋﺎﻣﺮﻩ ﻓﻘﻴﺮ ﺭﻭﺯﻱ ﻣﺨﺰﻥﺍﻻﺳﺮﺍﺭ ﺷﻴﺦ ﻧﻈﺎﻣﻲ ﻣﻄﺎﻟﻌﻪ ﻣﻲﮐﺮﺩ ﺍﻳﻦ ﺑﻴﺖ ﺩﺭ ﻧﻌﺖ ﺑﺮﺁﻣﺪ‪:‬‬ ‫ﺷﻤﺴﺔ ﻧﻪ ﻣﺴﻨﺪ‪ ‬ﻫﻔـﺖ ﺍﺧﺘـﺮﺍﻥ ﺧـﺘﻢ ﺭ‪ ‬ﺳـﻞ ﺧـﺎﺗﻢ ﭘﻴﻐﻤﺒـﺮﺍﻥ‪٣‬‬ ‫ﺁﺯﺍﺩ ﺩﺭ ﺗﺬﮐﺮﻩﻫﺎﻱ ﺧﻮﺩ ﺑﺮﺧﻲ ﺍﺯ ﺍﻳﺮﺍﺩﺍﺕ ﻭ ﺍﻋﺘﺮﺍﺿﺎﺗﻲ ﺭﺍ ﮐﻪ ﺩﻳﮕﺮﺍﻥ ﺑﺮ ﺍﺷﻌﺎﺭ ﺍﻭ ﮐﺮﺩﻩﺍﻧﺪ ﭘﺎﺳﺦ‬ ‫ﮔﻔﺘﻪ ﺍﺳﺖ ﻭ ﻫﻤﭽﻨﻴﻦ ﺍﻋﺘﺮﺍﺿﺎﺕ ﺩﻳﮕﺮﺍﻥ ﺑﺮ ﺷﻌﺮﻫﺎﻱ ﺷﺎﻋﺮﺍﻥ ﻣﻌﺎﺻﺮ ﺭﺍ ﻧﻘﻞ ﮐﺮﺩﻩ ﻭ ﺑﻪ ﺁﻧﻬﺎ ﻧﻴﺰ‬ ‫ﭘﺎﺳﺦ ﺩﺍﺩﻩ ﺍﺳﺖ‪ .‬ﻣﺎ ﺩﺭ ﺻﻔﺤﺎﺕ ﮔﺬﺷﺘﻪ ﺩﺭ ﻣﻌﺮﻓﻲ ﺧﺰﺍﻧﺔ ﻋﺎﻣﺮﻩ ﻧﻮﻉ ﺩﻭﻣﻲ ﺭﺍ ﻣﻄﺮﺡ ﮐﺮﺩﻩﺍﻳﻢ‪ .‬ﺍﻳﻨﺠﺎ‬ ‫ﻓﻘﻂ ﭼﻨﺪ ﺍﻋﺘﺮﺍﺽ ﺩﻳﮕﺮﺍﻥ ﺑﺮ ﺷﻌﺮﻫﺎﻱ ﺁﺯﺍﺩ ﻭ ﭘﺎﺳﺦ ﺍﻭ ﺁﻭﺭﺩﻩ ﻣﻲﺷﻮﺩ‪.‬‬ ‫ﺁﺯﺍﺩ‪:‬‬ ‫ﺣﺮﻑ ﺩﻧﻴﺎ ﺩﺭ ﮐﺘﺎﺏ ﺳﻴﻨﻪ ﺷﺎﻳﺎﻥ ﺣﮏ ﺍﺳـﺖ ﮔﺮ ﮐﻨﻲ ﺍﻟﺤﺎﻕ ﺩﺭ ﻗﺮﺁﻥ ﺳﺰﺍﻱ ﮐﺰ ﻟﮏ ﺍﺳـﺖ‬ ‫ﻣﻌﺘﺮﺽ ﮔﻮﻳﺪ‪:‬‬ ‫ﺳﻴﻨﻪ ﺭﺍ ﮐﺴﻲ ﺗﺸﺒﻴﻪ ﺑﻪ ﻗﺮﺁﻥ ﻧﮑﺮﺩﻩ‪ ،‬ﻣﮕﺮ ﺗﺸﺒﻴﻪ ﺩﻝ ﺑﻪ ﻗﺮﺁﻥ ﺁﻣﺪﻩ ﺍﺳﺖ‪.‬‬ ‫‪ .١‬ﺧﺰﺍﻧﺔ ﻋﺎﻣﺮﻩ‪ ،‬ﺹ ‪.۳۲۱‬‬ ‫‪ .٢‬ﻫﻤﺎﻥ‪ ،‬ﺹ ‪.۳۳۲‬‬ ‫‪ .٣‬ﻫﻤﺎﻥ‪ ،‬ﺹ ‪.۴۲۴‬‬

‫‪ // ٧٦‬ﮐﻠﻴ‪‬ﺎﺕ‪ ‬ﺁﺯﺍﺩ ﺑﻠﮕﺮﺍﻣﻲ‬ ‫ﺁﺯﺍﺩ ﮔﻮﻳﺪ‪:‬‬ ‫”ﺳﻴﻨﻪ ﺭﺍ ﮐﺘﺎﺏ ﮔﻔﺘﻪﺍﻧﺪ… ﻭ ﻇﺎﻫﺮ ﺍﺳﺖ ﮐﻪ ﻧﺎﻇﻢ ﺍﻭﻝ‪» ،‬ﮐﺘﺎﺏ ﺳﻴﻨﻪ« ﮔﻔﺖ ﺑﻌﺪ ﺍﺯ ﺁﻥ ﺍﻃﻼﻕ‬ ‫ﻗﺮﺁﻥ ﺑﺮ ﺍﻭ ﻧﻤﻮﺩ… ﻣﻊ ﻫﺬﺍ ﺍﮔﺮ ﻣﻄﻠﻖ ﺳﻴﻨﻪ ﺭﺍ ﻗﺮﺁﻥ ﮔﻮﻳﻨﺪ ﭼﻪ ﻣﻀﺎﻳﻘﻪ؟ ﺯﺑﺎﻧﺰﺩ ﺧﺎﺹ ﻭ ﻋﺎﻡ ﺍﺳﺖ‬ ‫ﮐﻪ‪” :‬ﻋﻠﻢ ﺩﺭ ﺳﻴﻨﻪ ﺑﻪ ﮐﻪ ﺩﺭ ﺳﻔﻴﻪ“… ﻭ ﺑﺎﺏ ﺍﺳﺘﻌﺎﺭﻩ ﻣﺴﺪﻭﺩ ﻧﻴﺴﺖ“‪.١‬‬ ‫ﺁﺯﺍﺩ‪:‬‬ ‫ﺁﺯﺍﺩ ﺟﺎﻱ ﻋﺸﻖ ﺑﻮﺩ ﺩﺭ ﮐﻨـﺎﺭ ﺣﺴـﻦ ﺑﺮ ﺷﺎﺥ ﮔﻞ ﺩﺭﺳﺖ ﮐﻨﺪ ﺧﺎﻧﻪ ﻋﻨﺪﻟﻴﺐ‬ ‫ﻣﻌﺘﺮﺽ ﮔﻮﻳﺪ‪:‬‬ ‫ﺍﻃﻼﻕ ﺧﺎﻧﻪ ﺑﺮ ﺁﺷﻴﺎﻧﺔ ﻃﻴﻮﺭ ﻧﻴﺎﻣﺪﻩ‪.‬‬ ‫ﺁﺯﺍﺩ ﮔﻮﻳﺪ‪:‬‬ ‫ﺁﻣﺪﻩ‪ ،‬ﺍﻧﻴﺴﻲ ﺷﺎﻣﻠﻮ ﮔﻮﻳﺪ‪:‬‬ ‫ﻣﺮ ﺩﺭ ﻣﺤﺒـﺖ ﺍﺯ ﭼﻤـﻦ ﺑﻴﮕﺎﻧـﻪ ﻣـﻲﺳـﺎﺯﺩ ﮐﻪ ﮔﻞ ﻋﺰﻡ ﺳﻔﺮ ﮐﺮﺩﻩ ﺍﺳﺖ ﻭ ﺑﻠﺒﻞ ﺧﺎﻧﻪ ﻣﻲﺳﺎﺯﺩ‬ ‫ﻭ ﮐﺎﺗﺒﻲ ﻧﻴﺸﺎﺑﻮﺭﻱ ﮔﻮﻳﺪ‪:‬‬ ‫ﺍﺳﺘﺨﻮﺍﻥﻫﺎﻱ ﺿﻌﻴﻒ ﺍﺳﺖ ﭘﻨـﺎﻩ ﺩﻝ ﺯﺍﺭ ﺧﺎﻧــﺔ ﺑﻠﺒــﻞﹺ ﻧﺎﻟﻨــﺪﻩ ﺯ ﺧﺎﺷــﺎﮎ ﺑــﻮﺩ‬ ‫ﻭ ﺷﻴﺦ ﻋﻠﻲ ﻧﻘﻲ ﮐﻤﺮﻩﺍﻱ ﮔﻮﻳﺪ‪:‬‬ ‫ﺑﻪ ﻫﺮ ﺁﻫﻲ ﭼﻮ ﮔﻞ ﻟﺮﺯﺩ ﺩﻝ ﺧﻮﻧﻴﻦ ﻧﺎﺷﺎﺩﻱ ﺗﺰﻟﺰﻝ ﺍﻓﺘـﺪ ﺍﻧـﺪﺭ ﺧﺎﻧـﺔ ﺑﻠﺒـﻞ ﺯ ﻫـﺮ ﺑـﺎﺩﻱ‬ ‫ﻭ ﻧﻈﻴﺮﻱ ﻧﻴﺸﺎﺑﻮﺭﻱ ﮔﻮﻳﺪ‪:‬‬ ‫ﺳــﺒﺪ ﮔﻠﻔــﺮﻭﺵ ﺭﺍ ﻣﺎﻧــﺪ ﺧﺎﻧــﺔ ﺑﻠــﺒﻼﻥ ﺍﻳــﻦ ﮔﻠــﺰﺍﺭ‪٢‬‬ ‫ﺁﺯﺍﺩ ﺩﺭ ﻣﺮﺛﻴﺔ ﻓﺮﺯﻧﺪ ﺧﻮﺩ… ﮔﻔﺘﻪ ﺍﺳﺖ‪:‬‬ ‫ﻗﻴﺎﻣــﺖ ﺑــﺮ ﺳــﺮﹺ ﺍﻳــﻦ ﺑﻮﺳــﺘﺎﻥ ﺭﻓــﺖ ﮐﻪ ﻳﮏ ﮔﻞ ﺩﺍﺷﺖ‪ ،‬ﺁﻥ ﻫﻢ ﻧﻮﺟﻮﺍﻥ ﺭﻓﺖ‬ ‫ﻣﻌﺘﺮﺽ ﮔﻮﻳﺪ‪:‬‬ ‫ﮔﻞ ﻧﻮﺟﻮﺍﻥ ﮐﺴﻲ ﺍﺯ ﺳﺨﻨﻮﺭﺍﻥ ﭘﻴﺮ ﻭ ﺟﻮﺍﻥ ﻧﮕﻔﺘﻪ‪.‬‬ ‫ﺁﺯﺍﺩ ﮔﻮﻳﺪ‪:‬‬ ‫ﺧﻮﺍﺟﻪ ﺣﺎﻓﻆ ﻓﺮﻣﺎﻳﺪ‪:‬‬ ‫‪ .١‬ﺧﺰﺍﻧﺔ ﻋﺎﻣﺮﻩ‪ ،‬ﺹ ‪.۱۳۶‬‬ ‫‪ .٢‬ﻫﻤﺎﻥ‪ ،‬ﺹ ‪.۱۳۷-۱۳۶‬‬

‫ﻣﻘﺪ‪‬ﻣﻪ ﺩﺭ ﺍﺣﻮﺍﻝ ﻭ ﺁﺛﺎﺭﹺ ﻣﻴﺮ ﻏﻼﻡ ﻋﻠﯽ ﺁﺯﺍﺩ ﺑﻠﮕﺮﺍﻣﻲ ‪٧٧ //‬‬ ‫ﺍﻱ ﺻﺒﺎ ﮔﺮ ﺑﻪ ﺟﻮﺍﻧـﺎﻥ ﭼﻤـﻦ ﺑـﺎﺯ ﺭﺳـﻲ ﺧﺪﻣﺖ ﻣﻦ ﺑﺮﺳﺎﻥ ﺳﺮﻭ ﻭ ﮔﻞ ﻭ ﺭﻳﺤﺎﻥ ﺭﺍ‬ ‫ﮔﻞ ﻣﺠﺎﺯﻱ ﺍﻃﻼﻕ ﺁﻥ ﺑﺮ ﺍﻧﺴﺎﻥ ﺍﺳﺖ… ﺍﻃﻼﻕ ﺟﻮﺍﻥ ﺑﺮ ﻧﺒﺎﺗﺎﺕ ﺑﻪ ﻣﻌﻨﻲ ﺣﻘﻴﻘﻲ ﺧﻮﺩ ﻧﻴﺰ‬ ‫ﺁﻣﺪﻩ… ﻣﺤﺘﺸﻢ ﮐﺎﺷﺎﻧﻲ ﮔﻮﻳﺪ‪:‬‬ ‫ﺳﺮﻭ ﺟـﻮﺍﻥ ﺑـﺎ ﻫﻤـﻪ ﺁﺯﺍﺩﮔـﻲ ﭘﻴﺮ ﻏـﻼ ﹺﻡ ﻗـﺪ ﺩﻟﺠـﻮﻱ ﺗﺴـﺖ‬ ‫ﻭ ﻣﻴﺮﺯﺍ ﺻﺎﺋﺐ ﻣﻲﻓﺮﻣﺎﻳﺪ‪:‬‬ ‫ﺭﻳﺸﺔ ﻧﺨﻞ ﮐﻬﻦ ﺳﺎﻝ ﺍﺯ ﺟﻮﺍﻥ ﺍﻓﺰﻭﻥﺗﺮ ﺍﺳﺖ ﺑﻴﺸـﺘﺮ ﺩﻟﺒﺴـﺘﮕﻲ ﺑﺎﺷـﺪ ﺑـﻪ ﺩﻧﻴـﺎ ﭘﻴـﺮ ﺭﺍ‪١‬‬ ‫ﺁﺯﺍﺩ‪:‬‬ ‫ﺯ ﺻﺎﺣﺐ ﻇﺮﻑ ﻣﻲﺁﻳﺪ ﻗﺪﺡﻧﻮﺷﻲ ﻭ ﻫﻮﺷﻴﺎﺭﻱ ﻧﺪﺍﻧﺪ ﻫﺮﮐﺴﻲ ﮔﻠﮕﻮﻥ‪ ‬ﺻﻬﺒﺎ ﺭﺍ ﻋﻨـﺎﻥ ﺩﺍﺭﻱ‬ ‫ﻣﻌﺘﺮﺽ ﮔﻮﻳﺪ‪:‬‬ ‫»ﺻﺎﺣﺐ ﻇﺮﻑ« ﺑﻪ ﺟﺎﻱ »ﻋﺎﻟﻲ ﻇﺮﻑ« ﺑﻪ ﻫﻴﭻ ﻭﻩ ﺩﺭﺳﺖ ﻧﻤﻲﺷﻮﺩ‪ ،‬ﺯﻳﺮﺍ ﮐﻪ ﻫﺮﮐﻪ ﻇﺮﻑ ﺩﺍﺭﺩ‬ ‫ﺻﺎﺣﺐ ﻇﺮﻑ ﻣﻲﺗﻮﺍﻧﺪ ﺷﺪ ﻧﻪ ﻋﺎﻟﻲ ﻇﺮﻑ…‬ ‫ﺁﺯﺍﺩ ﮔﻮﻳﺪ‪:‬‬ ‫”ﺑﻪ ﻗﺎﻋﺪﺓ ﺍﺻﻮﻝ‪ ،‬ﻣﻄﻠﻖ ﻣﻨﺼﺮﻑ ﺑﻪ ﻓﺮﺩ ﮐﺎﻣﻞ ﻣﻲﺷﻮﺩ‪ ،‬ﭼﻨﺎﻧﭽﻪ ﻟﻔﻆ ﺻﺎﺣﺒﺪﻝ‪ ،‬ﮐﻪ ﻣﺮﺍﺩ ﺍﺯ‬ ‫ﺁﻥ ﻓﺮﺩ ﺍﻋﻼﻱ ﺩﻝ ﺍﺳﺖ‪ ،‬ﻭ ﺍﻻ ﻫﻤﺔ ﻣﺮﺩﻡ ﺩﻝ ﺩﺍﺭﻧﺪ ﻭ ﻫﻤﻪ ﺭﺍ ﺻﺎﺣﺒﺪﻝ ﺗﻮﺍﻥ ﮔﻔﺖ“‪.٢‬‬ ‫ﺑﻌﻀﻲ ﺍﺑﻴﺎﺕ ﻫﻢ ﮐﻪ ﺑﻌﺾ ﻣﺮﺩﻡ ﺷﺒﻬﻪ ﮐﺮﺩﻧﺪ ﻭ ﺁﺯﺍﺩ ﺟﻮﺍﺏ ﺩﺍﺩﻩ ﺍﺳﺖ ﺁﻭﺭﺩﻩ ﻣﻲﺷﻮﺩ‪:‬‬ ‫ﺁﺯﺍﺩ ﺍﺯ ﺳـﻮﺍ ‪‬ﺩ ﺳـﺨﻦ ﺳﺮﺳـﺮﻱ ﻣـﺮﻭ ﺻﺪ ﺑﺎﺭ ﮔﺮ ﻧﮕﻪ ﺯﺩﻩﺍﻱ ﺑﺎﺯ ﮐﻦ ﻟﺤﺎﻅ‬ ‫”ﻣﻴﺮﺯﺍ ﺟﺎﻥ ﺭﺳﺎ ﺗﺨﻠﺺ‪ ،‬ﻣﻨﺸﻲ ﻧﻮ‪‬ﺍﺏ ﺁﺻﻒﺟﺎﻩ ﮔﻔﺖ‪» :‬ﻧﮕﻪﺯﺩﻥ« ﻣﺴﻤﻮﻉ ﻧﺸﺪﻩ‪ ،‬ﮔﻔﺘﻢ‪:‬‬ ‫ﺷﻴﺦ ﻧﻈﺎﻣﻲ ﺩﺭ ﺷﻴﺮﻳﻦ ﻭ ﺧﺴﺮﻭ ﻣﻲﻓﺮﻣﺎﻳﺪ‪:‬‬ ‫ﻧﮕﻪ ﭼـﻮﻥ ﺑـﺮ ﺟﻤـﺎﻝ ﻧـﺎﺯﻧﻴﻦ ﺯﺩ ﮐﻠﻪ ﺑﺮ ﺁﺳـﻤﺎﻥ ﺳـﺮ ﺑـﺮ ﺯﻣـﻴﻦ ﺯﺩ‬ ‫ﻣﻴﺮﺯﺍ ﺟﺎﻥ ﮔﻔﺖ‪ :‬ﺍﻳﻦ ﻗﺎﻋﺪﻩ ﺍﻣﺮﻭﺯ ﺍﺯ ﺩﻭﻟﺖ ﺷﻤﺎ ﻣﺮﺍ ﺣﺎﺻﻞ ﺷﺪ“‪.٣‬‬ ‫ﺁﺯﺍﺩ‪:‬‬ ‫ﺩﻳﻮﺍﻧﻪﻫﺎﻱ ﭼﺸﻢ ﺗـﺮﺍ ﻃﹸﺮﻓـﻪ ﻃﻮﺭﻫﺎﺳـﺖ ﻧﺮﮔﺲ ﮐﻼﻩ ﺑﺮ ﺳ ﹺﺮ ﺧﻮﺩ ﻭﺍﮊﮔﻮﻥ ﮔﺬﺍﺷﺖ‬ ‫‪ .١‬ﺧﺰﺍﻧﺔ ﻋﺎﻣﺮﻩ‪ ،‬ﺹ ‪.۱۳۸-۱۳۷‬‬ ‫‪ .٢‬ﻫﻤﺎﻥ‪ ،‬ﺹ ‪.۱۳۸‬‬ ‫‪ .٣‬ﻫﻤﺎﻥ‪ ،‬ﺹ ‪۱۳۹-۱۳۸‬‬

‫‪ // ٧٨‬ﮐﻠﻴ‪‬ﺎﺕ‪ ‬ﺁﺯﺍﺩ ﺑﻠﮕﺮﺍﻣﻲ‬ ‫”ﻣﻮﺳﻮﻱ ﺧﺎﻥ ﺟﺮﺃﺕ ﺍﻭﺭﻧﮓﺁﺑﺎﺩﻱ… ﮔﻔﺖ‪ :‬ﻟﻔﻆ ﻋﺠﺐ ﻭ ﻃﹸﺮﻓﻪ ﺑﻲ «ﻳﺎ« ﻣﺴﺘﻌﻤﻞ‬ ‫ﻧﻤﻲﺷﻮﺩ‪ ،‬ﭼﻨﺎﻧﭽﻪ ﻫﺮ ﺩﻭ ﺩﺭ ﺍﻳﻦ ﻣﻄﻠﻊ ﻣﻴﺮﺯﺍ ﺻﺎﺋﺐ ﺍﺳﺖ‪:‬‬ ‫ﺁﻥ ﻧﺮﮔﺲ ﺑﻴﻤﺎﺭ ﻋﺠﺐ ﻫﻮﺷﺮﺑﺎﻳﻲ ﺍﺳﺖ ﺍﻳﻦ ﻇﺎﻟﻢ ﻣﻈﻠﻮﻡﻧﻤﺎ ﻃﺮﻓﻪ ﺑﻼﻳـﻲ ﺍﺳـﺖ‬ ‫ﻓﻘﻴﺮ ﺷﺎﻫﺪ ﻫﺮﺩﻭ ﺍﺯ ﮐﻼﻡ ﻣﻴﺮﺯﺍ ﺻﺎﺋﺐ ﮔﺬﺭﺍﻧﺪﻡ‪:‬‬ ‫ﺩﻳﺪﻩﺍﻱ ﻧﻴﺴﺖ ﮐﻪ ﺣﻴﺮﺍﻥ ﺗﻤﺎﺷﺎﻱ ﺗﻮ ﻧﻴﺴـﺖ ﻗﺎﻣﺖ ﻫﻤﭽﻮ ﺳﻨﺎﻥ ﺗﻮ ﻋﺠﺐ ﺣﻠﻘﻪ ﺭﺑﺎﺳﺖ‬ ‫*‬ ‫ﺳﺮﻭ ﺍﺯ ﺯﻣﺰﻣﺔ ﻓﺎﺧﺘﻪ ﻣـﻮﺯﻭﻥ ﮔﺮﺩﻳـﺪ ﻧﻔﺲﹺ ﺳـﻮﺧﺘﮕﺎﻥ ﻃﺮﻓـﻪ ﺍﺛﺮﻫـﺎ ﺩﺍﺭﺩ‪“١‬‬ ‫ﺁﺯﺍﺩ ﺭﺍ ﻣﻲﺗﻮﺍﻥ ﻣﻨﺘﻘﺪﻱ ﺷﻤﺮﺩ ﮐﻪ ﺑﻪ ﺍﺩﺑﻴﺎﺕ ﺗﻄﺒﻴﻘﻲ ﻧﻴﺰ ﭘﺮﺩﺍﺧﺘﻪ ﺍﺳﺖ‪ .‬ﺍﺯ ﺁﻥ ﺟﻤﻠﻪ ﺗﻄﺒﻴﻖ ﺍﻭﺯﺍﻥ‬ ‫ﻋﺮﻭﺿﻲ ـ ﻓﺎﺭﺳﻲ‪ ،‬ﻫﻨﺪﻱ ﻭ ﻋﺮﺑﻲ ﻭ ﻧﻴﺰ ﺑﺤﺜﻲ ﻋﺎﻟﻤﺎﻧﻪ ﺩﺭﺑﺎﺭﺓ ﺭﺩﻳﻒ ﺩﺭ ﺷﻌﺮ ﻓﺎﺭﺳﻲ ﻭ ﻋﺮﺑﻲ ﺍﺳﺖ‪.‬‬ ‫ﺍﻭ ﻣﻲﻧﻮﻳﺴﺪ‪:‬‬ ‫”ﺷﺎﻋﺮﺍﻥ ﻓﺎﺭﺳﻲ ﺯﺑﺎﻥ ﺭﺩﻳﻒ ﺭﺍ ﺑﻪ ﮐﺎﺭﻣﻲﺑﺮﻧﺪ… ﮐﻪ ﺩﺭ ﺯﻳﺒﺎﻳﻲ ﺷﻌﺮ ﻣﻲﺍﻓﺰﺍﻳﺪ ﻭ ﺑﻪ ﭘﺎﻱ‬ ‫ﺩﺧﺘﺮﺍﻥ ﺍﻧﺪﻳﺸﻪ ﺭﺍ ﺑﻪ ﺧﻠﺨﺎﻝ ﻣﻲﺁﺭﺍﻳﺪ ﻭ ﻣﻮﺟﺐ ﺗﻨﻮﻉ ﺷﻌﺮ ﻓﺎﺭﺳﻲ ﻣﻲﮔﺮﺩﺩ‪ ،‬ﺭﺩﻳﻒ ﺩﺭ ﺷﻌﺮ‬ ‫ﻋﺮﺑﻲ ﻧﻴﺴﺖ ﻭ ﺍﮔﺮ ﮐﺴﻲ ﺑﻪ ﺗﮑﻠﻒ ﺷﻌﺮ ﻣﻌﺮﻭﻑ ﻋﺮﺑﻲ ﺑﺴﺮﺍﻳﺪ ﻣﺎﻧﻨﺪ ﺷﻌﺮ ﻓﺎﺭﺳﻲ ﺟﻠﻮﻩ‬ ‫ﻧﻤﻲﮐﻨﺪ‪ .‬ﺍﻳﻦ ﻭﻳﮋﮔﻲ ﻫﻴﭻ ﻋﻠﺘﻲ ﺟﺰ ﺧﺼﻮﺻﻴﺖ ﺯﺑﺎﻥ ﻧﺪﺍﺭﺩ“‪.٢‬‬ ‫ﺍﻳﻦ ﺩﻗﹼﺖ ﻭ ﺗﻴﺰﺑﻴﻨﻲ ﻧﺸﺎﻥ ﺍﺯ ﻗﺪﺭﺕ ﺩﺭﻳﺎﻓﺖ ﻭ ﺩﺭﮎ ﮊﺭﻑ ﺍﺩﺑﻲ ﻭﻱ ﺩﺍﺭﺩ‪.‬‬ ‫ﺑﺪﻳﻦ ﺗﺮﺗﻴﺐ ﻣﻲﺗﻮﺍﻥ ﮔﻔﺖ ﮐﻪ ﺁﺯﺍﺩ ﺑﻠﮕﺮﺍﻣﻲ ﻣﻨﺘﻘﺪ ﺗﻮﺍﻧﺎ ﻭ ﺧﻮﺑﻲ ﺑﻮﺩﻩ ﻭ ﺩﺭ ﺗﺬﮐﺮﻩﻫﺎﻱ ﺍﻭ‬ ‫ﺑﻪ ﻭﻳﮋﻩ ﺩﺭ ﺧﺰﺍﻧﺔ ﻋﺎﻣﺮﻩ ﻧﻤﻮﻧﻪﻫﺎﻳﻲ ﺍﺯ ﻧﻘﺪ ﺷﻌﺮ ﻓﺮﺍﻭﺍﻥ ﺩﻳﺪﻩ ﻣﻲﺷﻮﺩ‪ .‬ﺩﺭ ﺍﻳﻦ ﮔﻮﻧﻪ ﻧﻘﺪ ﺷﻌﺮ‪ ،‬ﺍﺯ ﺍﺯ‬ ‫ﻣﻄﺎﻟﻌﻪ ﻭ ﻣﺸﺎﻫﺪﺓ ﻭﺳﻴﻊ ﺧﻮﺩ ﺑﻬﺮﻩ ﺟﺴﺘﻪ ﺍﺳﺖ ﻭ ﻧﮑﺎﺕ ﻣﻌﺎﻧﻲ ﻭ ﺑﻴﺎﻥ ﻭ ﻋﺮﻭﺽ ﻭ ﻫﻤﭽﻨﻴﻦ ﺳﻴﺮ‬ ‫ﺗﺎﺭﻳﺨﻲ ﺷﻌﺮ ﭘﺎﺭﺳﻲ ﺩﺭ ﺍﻳﺮﺍﻥ ﻭ ﻫﻨﺪ ﺭﺍ ﺩﺭ ﻧﻈﺮ ﺩﺍﺷﺘﻪ ﻭ ﺑﺎ ﺩﻗﺖ ﺗﻤﺎﻡ ﺩﻭﺍﻭﻳﻦ ﺷﺎﻋﺮﺍﻥ ﺍﺯ ﺁﺳﺘﺎﻧﺔ ﺍﻭ‬ ‫ﺑﻬﺮﻩ ﺑﺮﺩﻩﺍﻧﺪ ﻭ ﺑﺮ ﺷﺎﮔﺮﺩﻱ ﺁﻥ ﺩﺍﻧﺸﻲ ﻣﺮﺩ ﺍﻓﺘﺨﺎﺭ ﮐﺮﺩﻩﺍﻧﺪ ﻭ ﺍﻓﺘﺨﺎﺭ ﺁﻧﺎ ﺑﻪ ﺣﻖ ﺍﺳﺖ‪ ،‬ﭼﻮﻥ ﻭﺟﻮﺩ‬ ‫ﺷﺨﺼﻴﺘﻲ ﻣﺎﻧﻨﺪ ﺁﺯﺍﺩ ﺑﻠﮕﺮﺍﻣﻲ ﮐﻪ ﻧﻪ ﻓﻘﻂ ﺑﺮ ﺯﺑﺎﻥﻫﺎﻱ ﻋﺮﺑﻲ ﻭ ﻓﺎﺭﺳﻲ ﻭ ﺳﺎﻧﺴﮑﺮﻳﺖ ﺗﺴﻠﻂ ﮐﺎﻣﻞ‬ ‫ﺩﺍﺷﺖ‪ ،‬ﺑﻠﮑﻪ ﺍﺯ ﺷﻌﺮ ﻭ ﺍﺩﺏ ﺁﻥ ﺯﺑﺎﻥﻫﺎ ﻧﻴﺰ ﺁﮔﺎﻫﻲ ﺩﺍﺷﺖ ﺍﺯ ﻣﻌﺠﺰﺍﺕ ﺑﻮﺩﻩ ﺍﺳﺖ‪ .‬ﺩﺭ ﺭﻭﺯﮔﺎﺭ ﻣﺎ ﮐﻪ‬ ‫‪ .١‬ﺧﺰﺍﻧﺔ ﻋﺎﻣﺮﻩ‪ ،‬ﺹ ‪.۱۳۹‬‬ ‫‪ .٢‬ﺳﺒﺤﺔﺍﻟﻤﺮﺟﺎﻥ‪.۳۲/۲ ،‬‬

‫ﻣﻘﺪ‪‬ﻣﻪ ﺩﺭ ﺍﺣﻮﺍﻝ ﻭ ﺁﺛﺎﺭﹺ ﻣﻴﺮ ﻏﻼﻡ ﻋﻠﯽ ﺁﺯﺍﺩ ﺑﻠﮕﺮﺍﻣﻲ ‪٧٩ //‬‬ ‫ﻧﻘﺪ ﺍﺩﺑﻲ‪ ١‬ﻭ ﺑﺮﺭﺳﻲﻫﺎﻱ ﺳﺒﮑﻲ ﻭ ﺑﻼﻏﻲ ﺍﺯ ﻣﻬﻢﺗﺮﻳﻦ ﺗﺤﻘﻴﻘﺎﺕ ﺍﺩﺑﻲ ﺑﻪ ﺷﻤﺎﺭ ﻣﻲﺭﻭﺩ‪ ،‬ﻭﺟﻮﺩ ﮐﺎﺭﻫﺎ ﻭ‬ ‫ﺁﺛﺎﺭ ﮐﺴﺎﻧﻲ ﻣﺜﻞ ﺁﺯﺍﺩ ﺑﻠﮕﺮﺍﻣﻲ ﻣﺴﻠﻢ ﺍﺳﺖ ﺗﺎ ﭼﻪ ﭘﺎﻳﻪ ﺩﺭ ﺍﻳﻦ ﺗﺤﻘﻴﻘﺎﺕ ﻣﺜﻤﺮ ﺛﻤﺮ ﺧﻮﺍﻫﺪ ﺑﻮﺩ‪.‬‬ ‫ﻣﺨﺎﻟﻔﺎﻥ ﺁﺯﺍﺩ‬ ‫ﺑﺮ ﺁﺯﺍﺩ ﺑﻠﮕﺮﺍﻣﻲ ﺩﻭ ﻧﻮﻉ ﺍﻧﺘﻘﺎﺩ ﺷﺪﻩ ﺍﺳﺖ‪.‬‬ ‫ﺍﻟﻒ‪ :‬ﺍﻧﺘﻘﺎﺩ ﺑﺮ ﻣﺂﺛﺮﺍﻟﮑﺮﺍﻡ ﺗﺎﺭﻳﺦ ﺑﻠﮕﺮﺍﻡ‪.‬‬ ‫ﺏ‪ :‬ﺍﻧﺘﻘﺎﺩ ﺑﺮ ﺍﺷﻌﺎﺭ ﻭﻱ‪.‬‬ ‫ﻣﻨﺘﻘﺪﻳﻦ ﺁﺯﺍﺩ ﺑﻪ ﻗﺮﺍﺭ ﺯﻳﺮﺍﻧﺪ‪:‬‬ ‫‪ .۱‬ﻣﺤﻤﺪ ﺻﺪﻳﻖ ﺳﺨﻨﻮﺭ ﺑﻠﮕﺮﺍﻣﻲ‪٢‬‬ ‫ﺍﻭ ﺑﺮ ﺍﺷﻌﺎﺭ ﺁﺯﺍﺩ ﺍﻧﺘﻘﺎﺩ ﮐﺮﺩﻩ ﺍﺳﺖ ﺭﺳﺎﻟﻪﺍﻱ ﺑﻪ ﻧﺎﻡ »ﲢﻘﻴﻖﺍﻟﺴﺪﺍﺩ ﰲ ﻣﺰﻟﺔﺍﻵﺯﺍﺩ« ﺩﺭ ﺧﺮﺩﻩﮔﻴﺮﻱ ﺑﺮ‬ ‫ﺍﺷﻌﺎﺭ ﺁﺯﺍﺩ ﺗﺄﻟﻴﻒ ﻧﻤﻮﺩﻩ ﺍﺳﺖ‪.‬‬ ‫‪ .۲‬ﺷﻴﺦ ﻏﻼﻡ ﺣﺴﻦ ﺛﻤﻴﻦ ﺑﻠﮕﺮﺍﻣﻲ‬ ‫ﺍﻭ ﺩﺭ ﺭﺩ ﻣﺂﺛﺮﺍﻟﮑﺮﺍﻡ ﮐﺘﺎﺑﻲ ﺑﻪ ﻧﺎﻡ »ﺷﺮﺍﻳﻒ ﻋﺜﻤﺎﻧﻲ« ﺗﺄﻟﻴﻒ ﻧﻤﻮﺩﻩ‪.‬‬ ‫‪ .۳‬ﻣﻮﻟﻮﻱ ﻣﺤﻤﺪ ﺑﺎﻗﺮ ﺁﮔﺎﻩ ﻣﺪﺭﺍﺳﻲ‬ ‫ﻧﻴﺰ ﺑﺮ ﺁﺯﺍﺩ ﺗﺎﺧﺘﻪ ﺍﺳﺖ ﻭ ﮐﺘﺎﺑﻲ ﺑﻪ ﻧﺎﻡ »ﭼﻬﺎﺭ ﺻﺪ ﺍﻳﺮﺍﺩ ﺑﺮ ﮐﻼﻡ ﺁﺯﺍﺩ« ﺗﺄﻟﻴﻒ ﮐﺮﺩﻩ ﺍﺳﺖ‪.‬‬ ‫‪ .١‬ﺗﺤﻘﻴﻖ ﺩﺭﺑﺎﺭﺓ ﻧﻘﺪﺍﻟﺸﻌﺮﺍ ﺧﺰﺍﻧﺔ ﻋﺎﻣﺮﻩ ﺗﻮﺳﻂ ﺁﻗﺎﻱ ﻋﻠﻴﺮﺿﺎ ﺫﮐﺎﻭﺗﻲ ﻗﺮﺍﮔﺰﻟﻮ ﺩﺭ ﻣﺠﻠﺔ ﻣﻌﺎﺭﻑ‪ ،‬ﺗﻬﺮﺍﻥ‪ ،‬ﺳﺎﻝ ‪ ۱۳۷۱‬ﺵ‪.‬‬ ‫‪ .٢‬ﺍﻭ ﺩﺭ ‪ ۱۲۲۲‬ﻫ ﻕ‪ .‬ﺣﺪﻭﺩﺍﹰ ﺩﺭ ﻫﺸﺘﺎﺩ ﻭ ﺩﻭ )‪ (۸۲‬ﺳﺎﻟﮕﻲ ﻭﻓﺎﺕ ﻳﺎﻓﺘﻪ ﺍﺳﺖ‪ .‬ﺭ‪.‬ﮎ‪ :‬ﺑﻪ ﺗﺎﺭﻳﺦ ﺧﻄﺔ ﭘﺎﮎ ﺑﻠﮕﺮﺍﻡ‪،۲۰۷ ،‬‬ ‫ﭘﺴﺮﺵ ﻣﻮﻟﻮﻱ ﻋﺒﺪﺍﻟﻐﻨﻲ ﻗﻄﻌﺔ ﺗﺎﺭﻳﺦ ﺩﺭﮔﺬﺷﺖ ﺍﻭ ﺭﺍ ﭼﻨﻴﻦ ﺳﺮﻭﺩﻩ ﺍﺳﺖ ﮐﻪ ﺩﺭ ﺁﻥ ﻓﻘﻂ ﻳﮏ ﮐﻠﻤﻪ »ﻫﻮﻱ« ﺑﻪ ﺍﺭﺩﻭ‬ ‫ﻭ ﺗﻤﺎﻡ ﻗﻄﻌﻪ ﺑﻪ ﻓﺎﺭﺳﻲ ﺍﺳﺖ‪:‬‬ ‫ﺭﻭﺯﻱ ﮐـﻪ ﻫـﻮﻱ ﺭﺣﻠـﺖ ﺻـﺪﻳﻖ ﺩﺭ ﺟﻬـﺎﻥ ﺷـﻮﺭﻱ ﻓﮑﻨـﺪ ﻭ ﺷـﺪ ﻫﻤـﻪ ﻋـﺎﻟﻢ ﺍﺳـﻴﺮ ﻏـﻢ‬ ‫ﻣــﻦ ﺧﻮﺍﺳــﺘﻢ ﮐــﻪ ﻣــﺎﺩﻩ ﺻــﻮﺭﻱ ﻭ ﻣﻌﻨــﻮﻱ ﺩﺭ ﻣﺼـــﺮﻉ ﺳـــﻨﻴﻦ ﻭﻓـــﺎﺗﺶ ﺑﻬـــﻢ ﮐـــﻨﻢ‬ ‫ﺑــﻮﺩﻡ ﺩﺭﻳــﻦ ﺧﻴــﺎﻝ ﮐــﻪ ﻧﺎﮔــﺎﻩ ﺍﻱ ﻏﻨــﻲ ﺩﻝ ﻳﮏ ﻫﺰﺍﺭ ﻭ ﺩﻭ ﺻﺪﻭ ﺑﻴﺴﺖ ﻭ ﺩﻭ ﺯﺩ ﺭﻗﻢ‬ ‫ﺳﺨﻨﻮﺭ ﺩﻳﻮﺍﻥ ﻓﺎﺭﺳﻲ ﻫﻢ ﺩﺭﺍﺩ ﻭ ﻧﺴﺨﺔ ﺧﻄﻲ ﺩﻳﻮﺍﻥ ﺍﻭ ﺩﺭ ﮐﺘﺎﺑﺨﺎﻧﺔ ﺭﺿﺎ ﺭﺍﻣﭙﻮﺭ ﺑﻪ ﺷﻤﺎﺭﺓ ‪ ۳۷۶۸‬ﻣﻮﺟﻮﺩ ﺍﺳﺖ ﻭ‬ ‫ﺷﺎﻣﻞ ﻏﺰﻟﻴﺎﺕ‪ ،‬ﻗﺼﺎﻳﺪ ﻭ ﺭﺑﺎﻋﻴﺎﺕ ﻣﻲﺑﺎﺷﺪ‪ .‬ﺑﻪ ﻧﻈﺮ ﻣﻲﺁﻳﺪ ﮐﻪ ﺷﺎﻳﺪ ﻧﺴﺨﺔ ﻣﺼﻨﻒ ﺑﺎﺷﺪ‪.‬‬ ‫ﻧﻴﺰ ﺑﺮﺍﻱ ﺷﺮﺡ ﺣﺎﻝ ﺭ‪.‬ﮎ‪ :‬ﺑﻪ ﺳﺮﻭﺁﺯﺍﺩ‪۳۵۰-۳۴۹ ،‬؛ ﺷﻤﻊ ﺍﻧﺠﻤﻦ‪۲۰۹-۲۰۸ ،‬؛ ﻋﻘﺪ ﺛﺮﻳﺎ‪.۳۲ ،‬‬

‫‪ // ٨٠‬ﮐﻠﻴ‪‬ﺎﺕ‪ ‬ﺁﺯﺍﺩ ﺑﻠﮕﺮﺍﻣﻲ‬ ‫‪ .۴‬ﺍﺑﻮﻃﺎﻟﺐ ﺧﺎﻥ ﺗﺒﺮﻳﺰﻱ ﺍﺻﻔﻬﺎﻧﻲ‬ ‫ﺍﺑﻮﻃﺎﻟﺐ ﺧﺎﻥ ﺩﺭ ﺗﺬﮐﺮﺓ ﺧﻮﺩ ﺧﻼﺻﺔﺍﻻﻓﮑﺎﺭ ﺁﺯﺍﺩ ﺭﺍ ﺑﻪ ﺑﺎﺩ ﺍﻧﺘﻘﺎﺩ ﮐﺸﻴﺪﻩ ﺍﺳﺖ‪.‬‬ ‫ﺗﺤﻘﻴﻖﺍﻟﺴ‪‬ﺪﺍﺩ ﻓﻲ ﻣﺰﻟﺔﺍﻵﺯﺍﺩ‬ ‫ﻣﺤﻤﺪ ﺻﺪﻳﻖ ﺳﺨﻨﻮﺭ ﺑﻠﮕﺮﺍﻣﻲ ﻳﮑﻲ ﺍﺯ ﻣﻨﺘﻘﺪﺍﻥ ﺁﺯﺍﺩ ﺑﻠﮕﺮﺍﻣﻲ ﻣﺤﺴﻮﺏ ﻣﻲﺷﻮﺩ‪ .‬ﺍﻭ ﻭﻗﺘﻲ ﮐﻪ ﺗﺮﺟﻤﺔ‬ ‫ﭼﻨﺪ ﺳﻄﺮﻱ ﻭ ﻫﻤﭽﻨﻴﻦ ﮔﺰﻳﺪﺓ ﺍﺷﻌﺎﺭ ﺧﻮﺩ ﺭﺍ ﮐﻪ ﺁﺯﺍﺩ ﺩﺭ ﺳﺮﻭ ﺁﺯﺍﺩ ﺩﺭﺝ ﮐﺮﺩﻩ ﺍﺳﺖ‪ ،‬ﻣﻲﺑﻴﻨﺪ ﻋﻠﻴﻪ ﺁﺯﺍﺩ‬ ‫ﻣﻲﺗﺎﺯﺩ ﻭ ﺑﺮ ﺍﺷﻌﺎﺭ ﺍﻭ ﺍﻧﺘﻘﺎﺩ ﻣﻲﮐﻨﺪ ﻭ ﺭﺳﺎﻟﻪﺍﻱ ﺑﻪ ﻧﺎﻡ »ﺗﺤﻘﻴﻖﺍﻟﺴ‪‬ﺪﺍﺩ ﻓﻲ ﻣﺰﻟﺔﺍﻵﺯﺍﺩ« ﺩﺭ ‪ ۱۱۶۸‬ﻫ ﻕ‪.‬‬ ‫ﺗﺄﻟﻴﻴﻒ ﻣﻲﮐﻨﺪ‪.‬‬ ‫ﻣﺤﺘﻮﻳﺎﺕ‬ ‫ﺳﺨﻨﻮﺭ ﺍﻳﻦ ﺭﺳﺎﻟﻪ ﺭﺍ ﺩﺭ ﺩﻭ ﻓﺼﻞ ﻭ ﻳﮏ ﺧﺎﺗﻤﻪ ﺗﺄﻟﻴﻒ ﮐﺮﺩﻩ ﺍﺳﺖ ﺑﻪ ﻗﺮﺍﺭ ﺯﻳﺮ‪:‬‬ ‫ﻓﺼﻞ ﺍﻭﻝ‪:‬‬ ‫ﺩﺭ ﺗﺤﻘﻴﻖ ﻋﻴﻮﺏ ﺑﻪ ﮐﻼﻡ ﺁﺯﺍﺩ‪ .‬ﺩﺭ ﺍﻳﻦ ﻓﺼﻞ ﻳﺎﺯﺩﻩ ﺑﻴﺖ ﺁﺯﺍﺩ ﺭﺍ ﺑﻪ ﻋﻨﻮﺍﻥ »ﻋﻴﻮﺏ« ﻣﻮﺭﺩ ﺑﺮﺭﺳﻲ‬ ‫ﻗﺮﺍﺭ ﺩﺍﺩﻩ ﺍﺳﺖ‪.‬‬ ‫ﻓﺼﻞ ﺩﻭﻡ‪:‬‬ ‫ﺗﺪﻗﻴﻖ ﺗﺸﻨﮕﻲﻫﺎ ﺍﻧﺪﺭ ﮐﻼﻡ ﺁﺯﺍﺩ‪ .‬ﺩﺭ ﺍﻳﻦ ﺑﺨﺶ ﺍﺯ ﺭﺳﺎﻟﻪ ﻫﺸﺖ ﺑﻴﺖ ﺁﺯﺍﺩ ﺭﺍ ﻣﻮﺭﺩ ﺍﻧﺘﻘﺎﺩ ﻗﺮﺍﺭ ﺩﺍﺩﻩ‬ ‫ﺍﺳﺖ‪.‬‬ ‫ﺧﺎﺗﻤﻪ‪ :‬ﺩﺭ ﺑﻴﺎﻥ ﺩﺧﻞﻫﺎﻱ ﺁﺯﺍﺩ ﺑﻪ ﮐﻼﻡ ﺳﺨﻨﻮﺭ ﻭ ﺗﺤﮑﻢ ﺑﻪ ﺍﺑﺘﺬﺍﻝ ﺳﺮﺍﺳﺮ ﻭ ﺩﻻﻳﻞ ﺁﻭﺭﺩﻥ ﺍﺯ‬ ‫ﺍﺷﻌﺎﺭ ﺳﺨﻨﻮﺭﺍﻥ ﻧﻘﺎﺩ ﺑﺮﺍﻱ ﺗﻨﺒﻴﻪ ﺧﺎﻃﺮ ﺁﺯﺍﺩ‪.‬‬ ‫ﺩﺭ ﺿﻤﻦ ﺑﻴﺎﻥ ﺩﺧﻞﻫﺎﻱ ﺁﺯﺍﺩ‪ ،‬ﭼﻬﺎﺭ ﺑﻴﺖ ﺧﻮﺩ ﺭﺍ ﻧﻘﻞ ﮐﺮﺩﻩ ﻭ ﺍﺻﻼﺣﺎﺗﻲ ﮐﻪ ﺁﺯﺍﺩ ﺍﺯ ﻟﺤﺎﻅ ﻣﻀﻤﻮﻥ‬ ‫ﮐﺮﺩﻩ ﺍﺳﺖ‪ ،‬ﺑﻴﺎﻥ ﺩﺍﺷﺘﻪ ﺍﺳﺖ‪ ،‬ﺳﭙﺲ ﭘﺎﺳﺦ ﺧﻮﺩ ﺭﺍ ﻭ ﻧﻤﻮﻧﺔ ﺍﺑﺘﺬﺍﻝ ﺍﺯ ﺷﻌﺮ ﺁﺯﺍﺩ ﺍﺭﺍﺋﻪ ﮐﺮﺩﻩ ﺍﺳﺖ‪.‬‬ ‫ﻧﺴﺨﻪﻫﺎﻱ ﺧﻄﹼﻲ ﺁﻥ‪ ١‬ﺩﺭ ﮐﺘﺎﺑﺨﺎﻧﻪﻫﺎﻱ ﺯﻳﺮ ﻣﻮﺟﻮﺩ ﺍﺳﺖ‪.‬‬ ‫§ ﻫﻨﺪ‪ ،‬ﮐﻠﮑﺘﻪ‪ ،‬ﮐﺘﺎﺑﺨﺎﻧﺔ ﺍﻧﺠﻤﻦ ﺁﺳﻴﺎﻱ ﺑﻨﮕﺎﻝ‪ ،‬ﺷﻤﺎﺭﺓ ‪ ،397/Oa45‬ﻣﺤﻤﺪ ﺍﻣﻴﺮ ﺑﻦ ﻣﺤﻤﺪ ﻋﻤﺮ‬ ‫ﮐﻨﺒﻮﻩ‪ ١١٧٦ ،‬ﻫ ﻕ‪ .‬ﺩﺭ ﻣﺠﻤﻮﻋﻪ‪ ،‬ﻭﺭﻕ ‪.٢٤٨-٣٩‬‬ ‫‪ .١‬ﻓﻬﺮﺳﺖ ﻣﺸﺘﺮﮎ ‪.۲۴۲۸/۱۳‬‬ ‫‪2. Ivanow. 172.‬‬

‫ﻣﻘﺪ‪‬ﻣﻪ ﺩﺭ ﺍﺣﻮﺍﻝ ﻭ ﺁﺛﺎﺭﹺ ﻣﻴﺮ ﻏﻼﻡ ﻋﻠﯽ ﺁﺯﺍﺩ ﺑﻠﮕﺮﺍﻣﻲ ‪٨١ //‬‬ ‫§ ﭘﺎﮐﺴﺘﺎﻥ‪ ،‬ﮐﺮﺍﭼﻲ‪ ،‬ﮐﺘﺎﺑﺨﺎﻧﺔ ﺍﻧﺠﻤﻦ ﺗﺮﻗﻲ ﺍﺭﺩﻭ ﭘﺎﮐﺴﺘﺎﻥ‪ ،‬ﺷﻤﺎﺭﻩ ‪ ٢‬ﻕ‪ ،‬ﻑ ‪ ،٢٤‬ﻧﺴﺘﻌﻠﻴﻖ‪ ٢ ،‬ﺻﻔﺮ‬ ‫‪ ١٤٣٠‬ﻕ‪ .‬ﺍﺯ ﺭﻭﺯ ﻧﺴﺨﺔ ‪ ١٣٢١‬ﻕ‪ ،.‬ﺹ ‪.١١٠١١٣٤‬‬ ‫ﺁﻏﺎﺯ‪:‬‬ ‫”… ﺍﻣﺎ ﺑﻌﺪ ﻣﺤﺮ‪‬ﺭ ﺍﻳﻦ ﻣﺨﺘﺼﺮ ﻣﺤﻤﺪ ﺻﺪﻳﻖ ﺳﺨﻨﻮﺭ ﻭﻟﺪ ﺷﺮﻳﻌﺖﭘﻨﺎﻩ ﻗﺎﺿﻲ ﻣﺤﻤﺪ‬ ‫ﺍﺣﺴﺎﻥ ﺍﷲ… ﺍﻟﻌﺜﻤﺎﻧﻲ ﻭ ﺍﻟﻘﺮﻳﺸﻲ ﺍﻟﻤﺪﻧﻲ ﺍﻟﮑﺎﺯﺭﻭﻧﻲ ﺍﻟﻬﺮﻭﻱ ﺛﻢ ﺑﻠﮕﺮﺍﻣﻲ ﻣﻲﮔﻮﻳﺪ ﮐﻪ ﺩﺭ‬ ‫ﺳﻨﺔ ﺳﺒﻊ ﻭ ﺳﺘﻴﻦ ﻭ ﻣﺎﺋﺔ ﻭ ﺍﻟﻒ ﻣﻦ ﺍﻟﻬﺠﺮﺕ ﺳﻴﺪ ﻏﻼﻡ ﻋﻠﻲ ﺁﺯﺍﺩ… ﮐﺘﺎﺑﻲ ﺗﺄﻟﻴﻒ ﮐﺮﺩﻩ ﮐﻪ‬ ‫ﻣﺸﺘﻤﻞ ﺑﺮ ﺩﻭ ﻗﺴﻢ ﺍﺳﺖ“‪.٢‬‬ ‫ﺍﻧﺠﺎﻡ‪:‬‬ ‫”ﺑﻨﺪﻩ ﻣﻄﺎﺑﻖ ﺍﻳﻦ ﻣﻘﻮﻟﻪ ﻭﻣﺎ ﻋﻠﻴﻨﺎ ﺍﻻﺍﻟﺒﻼﻍ ﺯﻳﺎﺩﻩ ﺩﺭ ﺍﻳﻦ ﺗﺎﮐﻴﺪ ﻣﺆﮐﹼﺪ ﻧﺸﺪﻡ‪ ،‬ﺩﻳﺪﻡ ﮐﻪ ﺭﻧﺠﻴﺪﻩ‬ ‫ﺧﺎﻃﺮ ﻣﻲﺷﻮﻧﺪ‪ ،‬ﺯﺑﺎﻥ ﺩﺭﮐﺸﻴﺪﻡ ﻭ ﺳﮑﻮﺕ ﻭﺭﺯﻳﺪﻡ‪:‬‬ ‫ﮔﻔﺘﮕﻮ ﺩﺭﺩ ﺳﺮ ﺳﺨﻨﻮﺭ ﺩﺍﺷـﺖ ﺧﻮﺵ ﻧﻤﻮﺩﻡ ﻣﻘﺎﻡ ﺧﺎﻣﻮﺷـﻲ“‬ ‫ﺗﺄﺩﻳﺐﺍﻟ ﹼﺰﻧﺪﻳﻖ ﻓﻲ ﺗﮑﺬﻳﺐﺍﻟ ﹼﺼﺪﻳﻖ‬ ‫ﻳﮑﻲ ﺍﺯ ﺷﺎﮔﺮﺩﺍﻥ ﻧﺎﻣﻮﺭ ﺁﺯﺍﺩ ﺑﻠﮕﺮﺍﻣﻲ‪ ،‬ﻣﻬﺮﺑﺎﻥ ﺍﻭﺭﻧﮓﺁﺑﺎﺩﻱ ﺑﻪ ﭘﺎﺳﺦﮔﻮﻳﻲ ﺭﺳﺎﻟﺔ ﺳﺨﻨﻮﺭ ﮐﻤﺮ ﻫﻤﺖ‬ ‫ﺑﺴﺘﻪ ﻭ ﺍﻳﺮﺍﺩﺍﺕ ﻭﻱ ﺭﺍ ﺑﺎ ﻫﻤﺎﻥ ﻟﺤﻦ ﻭ ﺷﻴﻮﺓ ﺧﻮﺩ ﺳﺨﻨﻮﺭ ﭘﺎﺳﺦ ﮔﻔﺘﻪ ﺍﺳﺖ ﻭ ﺍﺯ ﺍﺳﺘﺎﺩ ﺧﻮﺩ ﺩﻓﺎﻉ‬ ‫ﻧﻤﻮﺩﻩ ﺍﺳﺖ‪ .‬ﻣﻬﺮﺑﺎﻥ ﺍﻳﺮﺍﺩﺍﺕ ﺳﺨﻨﻮﺭ ﺑﺮ ﺍﺷﻌﺎﺭ ﺁﺯﺍﺩ ﺭﺍ ﻣﻮﺭﺩ ﺑﺮﺭﺳﻲ ﻗﺮﺍﺭ ﺩﺍﺩﻩ ﻭ ﮐﻢﻣﺎﻳﮕﻲ ﺍﻭ ﺭﺍ‬ ‫ﺭﻭﺷﻦ ﺳﺎﺧﺘﻪ ﺍﺳﺖ‪ ،‬ﻧﻴﺰ ﺑﺨﺶﻫﺎﻳﻲ ﺍﺯ ﻧﺎﻣﻪﻫﺎﻱ ﺳﺨﻨﻮﺭ ﻭ ﺁﺯﺍﺩ ﺭﺍ ﻧﻴﺰ ﺍﺭﺍﺋﻪ ﮐﺮﺩﻩ ﻭ ﺑﻪ ﻗﻀﺎﻭﺕ‬ ‫ﻣﻲﭘﺮﺩﺍﺯﺩ‪:‬‬ ‫”ﺻﺪﻳﻖ ﺑﻲﺗﻮﻓﻴﻖ ﺳﻮﺍﻱ ﺁﻥ ﮐﻪ ﺑﺎ ﺣﻀﺮ ‪‬ﺕ ﻣﻴﺮ ﻣﻼﻝ ﺑﻬﻢﺭﺳﺎﻧﺪ ﺣﺮﮐﺘﻲ ﺩﻳﮕﺮ ﻧﺎﺷﺎﻳﺴﺘﻪ‬ ‫ﺑﻪ ﻋﻤﻞ ﺁﻭﺭﺩ ﮐﻪ ﻳﮏﺑﺎﺭﻩ ﺍﺯ ﺷﺎﮔﺮﺩﻱ… ﻣﻴﺮ ﻧﻮﺍﺯﺵ ﻋﻠﻲ… ﺍﻧﮑﺎﺭ ﮐﺮﺩ ﻭ ﺭﺍﻩ‪ ‬ﺍﺭﺗﺪﺍﺩ ﻭ‬ ‫ﺑﻲﺳﻌﺎﺩﺗﻲ ﭘﻴﺶ ﮔﺮﻓﺖ“‪.٣‬‬ ‫‪ .١‬ﻋﺎﺭﻑ ﻧﻮﺷﺎﻫﻲ‪ ،‬ﻓﻬﺮﺳﺖ ﺍﻧﺠﻤﻦ ﺗﺮﻗﻲ ﺍﺭﺩﻭ‪ ،‬ﮐﺮﺍﭼﻲ‪.۱۱۵ ،‬‬ ‫‪ .٢‬ﺁﺯﺍﺩ ﺑﻠﮕﺮﺍﻣﻲ ﺳﺮﻭ ﺁﺯﺍﺩ ﺭﺍ ﺩﺭ ‪ ۱۱۶۶‬ﻫ ﻕ‪ .‬ﺑﻪ ﭘﺎﻳﺎﻥ ﺭﺳﺎﻧﻴﺪﻩ ﺍﺳﺖ ﻭ ﻣﻤﮑﻦ ﺍﺳﺖ ﮐﻪ ﺳﺨﻨﻮﺭ ﺁﻥ ﺭﺍ ﺩﺭ ‪ ۱۱۶۷‬ﻫ ﻕ‪.‬‬ ‫ﺩﻳﺪﻩ ﺑﺎﺷﺪ‪.‬‬ ‫‪ .٣‬ﺗﺄﺩﻳﺐ ﺍﻟﺰﻧﺪﻳﻖ ﻓﻲ ﺗﮑﺬﻳﺐ ﺍﻟﺼﺪﻳﻖ )ﺧ ﹼﻄﻲ(‪.۴ ،‬‬

‫‪ // ٨٢‬ﮐﻠﻴ‪‬ﺎﺕ‪ ‬ﺁﺯﺍﺩ ﺑﻠﮕﺮﺍﻣﻲ‬ ‫ﺭﺳﺎﻟﺔ ﻣﻬﺮﺑﺎﻥ ﺭﺍ ﻣﻲﺗﻮﺍﻥ ﺑﻬﺘﺮﻳﻦ ﻧﻤﻮﻧﺔ ﻧﻘﺪ ﺍﺩﺑﻲ ﺑﻪ ﺣﺴﺎﺏ ﺁﻭﺭﺩ‪ .‬ﻧﺴﺨﻪﻫﺎﻱ ﺧﻄﻲ ﺁﻥ ﺩﺭ‬ ‫ﮐﺘﺎﺑﺨﺎﻧﻪﻫﺎﻱ ﺯﻳﺮ ﻣﻮﺟﻮﺩ ﺍﺳﺖ‪.١‬‬ ‫§ ﻫﻨﺪ‪ ،‬ﮐﻠﮑﺘﻪ‪ ،‬ﮐﺘﺎﺑﺨﺎﻧﺔ ﺍﻧﺠﻤﻦ ﺁﺳﻴﺎﻱ ﺑﻨﮕﺎﻝ‪ ،‬ﺷﻤﺎﺭﺓ ‪ ،398/Oa45‬ﺩﺭ ‪ ١١٧٦‬ﻫ ﻕ‪ .‬ﺩﺭ ﻣﺠﻤﻮﻋﺔ‬ ‫ﻭﺭﻕ ‪.٢٧٩-٥٠‬‬ ‫§ ﭘﺎﮐﺴﺘﺎﻥ‪ ،‬ﮐﺮﺍﭼﻲ‪ ،‬ﮐﺘﺎﺑﺨﺎﻧﺔ ﺍﻧﺠﻤﻦ ﺗﺮﻗﻲ ﺍﺭﺩﻭ ﭘﺎﮐﺴﺘﺎﻥ‪ ،‬ﺷﻤﺎﺭﺓ ‪ ٢‬ﻕ‪ ،‬ﻑ ‪ ،٢٤‬ﻧﺴﺘﻌﻠﻴﻖ‪،‬‬ ‫‪ ١٢٤١‬ﻫ ﻕ‪ .‬ﮐﻪ ﮔﻮﻳﺎ ﺗﺎﺭﻳﺦ ﻧﺴﺨﺔ ﺍﺻﻞ ﺍﺳﺖ ﻭ ﺩﺭ ‪ ١٣٢١‬ﻫ ﻕ‪ .‬ﺑﻪ ﺗﻮﺳﻂ ﻓﻀﻞ ﺍﺣﻤﺪ‬ ‫ﻣﺎﺭﻫﺮﻭﻱ ﻧﻮﺷﺘﻪ ﺷﺪﻩ‪ .‬ﺹ ‪.٣٢٥١-١٣٦‬‬ ‫ﺁﻏﺎﺯ‪:‬‬ ‫”… ﺳﭙﺎﺱ ﺍﻳﺰﺩﻱ ﮐﻪ ﺍﺯ ﻫﻤﻪ ﻋﻴﺐﻫﺎ ﻣﺒﺮ‪‬ﺍ ﺍﺳﺖ ﻭ ﺍﺯ ﻫﻤﻪ ﻧﻘﺺﻫﺎ ﻣﻌﻠﹼﻲ ﻭ ﺻﻠﻮﺓ ﻭ ﺳﻼﻡ‬ ‫ﺑﺮ ﺻﺎﺩﻗﻲ ﮐﻪ ﺟﻮﻫﺮ ﺗﻴﻎ ﺯﺑﺎﻧﺶ ‪‬ﻣﺎ ‪‬ﻳﻨﻄ‪‬ﻖ‪ ‬ﻋ ﹺﻦ ﺍﹾﻟ ‪‬ﻬﻮﻱٰ ﺍﺳﺖ ﻭ ﺻﺪﺍﻱ ﺟﺮﺱ ﮐﺎﺭﻭﺍﻥﺍﺱ ﹺﺇﻥﹾ ﻫ‪ ‬ﻮ‬ ‫ﺇﹺﱠﻟﺎ ‪‬ﻭﺣ‪ ‬ﻲ ﻳ‪‬ﻮﺣﻲٰ“‪.‬‬ ‫ﺍﻧﺠﺎﻡ‪:‬‬ ‫”… ﺍﻭ ﺍﻧﺘﺴﺎ ﻋﺜﻤﺎﻧﻲ ﺩﺍﺭﺩ‪ ،‬ﺍﻣﺎ ﺣﻴﺎﻱ ﻋﺜﻤﺎﻧﻲ ﻧﺪﺍﺭﺩ ﻭ ﺑﺮ ﺳﻴﺮﺕ ﺑﻨﻲ ﺍﻋﻤﺎﻡ ﺧﻮﺩ ﻣﻲﺭﻭﺩ‪.‬‬ ‫ﮐﺎﺵ! ﺑﻪ ﺗﻮﺑﻪ ﻣﻮﻓﻖ ﺷﻮﺩ ﺗﺎ ﺍﺯ ﻋﺼﻴﺎﻥ ﺣﻖ ﻧﺎﺷﻨﺎﺳﻲ ﺑﺮﺁﻳﺪ ﻭ ﻓﺮﺩﺍﻱ ﻗﻴﺎﻣﺖ ﺑﺮ ﮐﺮﺩﺍﺭ ﺧﻮﺩ‬ ‫ﺷﺮﻣﻨﺪﮔﻲ ﻧﮑﻨﺪ“‪.‬‬ ‫ﻻﺯﻡ ﺑﻪ ﺫﮐﺮ ﺍﺳﺖ ﮐﻪ ﺭﺍﻗﻢ ﺳﻄﻮﺭ ﻫﺮﺩﻭ ﺭﺳﺎﻟﺔ ﻣﺰﺑﻮﺭ ﺭﺍ ﺗﺼﺤﻴﺢ ﻭ ﺗﺤﺸﻴﻪ ﻧﻤﻮﺩﻩ ﻭ ﮐﺘﺎﺑﺨﺎﻧﺔ‬ ‫ﺭﺿﺎ ﺭﺍﻣﭙﻮﺭ ﺁﻥ ﺭﺍ ﺑﻪ ﻧﺎﻡ »ﺩﻭ ﺭﺳﺎﻟﻪ ﺩﺭ ﻧﻘﺪ ﺍﺩﺑﻲ« ﺩﺭ ﺳﺎﻝ ‪ ١٩٩٧‬ﻣﻴﻼﺩﯼ ﻣﻨﺘﺸﺮ ﮐﺮﺩﻩ ﺍﺳﺖ‪.‬‬ ‫ﭼﻬﺎﺭ ﺻﺪ ﺍﻳﺮﺍﺩ ﺑﺮ ﮐﻼﻡ ﺁﺯﺍﺩ = ﻋﺜﺮﺍﺕ ﺁﺯﺍﺩﻳﻪ‬ ‫ﻣﺤﻤﺪ ﺑﺎﻗﺮ ﺁﮔﺎﻩ ﻣﺪﺭﺍﺳﻲ‪ ۱۲۲۰-۱۱۵۸) ٤‬ﻫ ﻕ‪ (.‬ﺍﺯ ﻋﻠﻤﺎﻱ ﻣﺘﺒﺤﺮ ﺟﻨﻮﺏ ﻫﻨﺪ ﺑﻮﺩ‪ .‬ﺍﻭ ﺑﺮ ﺍﺷﻌﺎﺭ ﻋﺮﺑﻲ‬ ‫ﻭ ﻓﺎﺭﺳﻲ ﺁﺯﺍﺩ ﺑﻠﮕﺮﺍﻣﻲ ﭼﻬﺎﺭ ﺻﺪ ﺍﻳﺮﺍﺩ ﮔﺮﻓﺖ ﻭ ﺑﻪ ﺍﻳﻦ ﻣﻨﺎﺳﺒﺖ ﮐﺘﺎﺑﻲ ﻳﻪ ﻧﺎﻡ ﭼﻬﺎﺭ ﺻﺪ ﺍﻳﺮﺍﺩ ﺑﺮ‬ ‫‪ .١‬ﻓﻬﺮﺳﺖ ﻣﺸﺘﺮﮎ ‪.۲۴۲۹-۲۴۲۸/۱۳‬‬ ‫‪2. Ivanow: Asiatic Society of Bengal. 172.‬‬ ‫‪ .٣‬ﻋﺎﺭﻑ ﻧﻮﺷﺎﻫﻲ‪ ،‬ﻓﻬﺮﺳﺖ ﺍﻧﺠﻤﻦ ﺗﺮﻗﻲ ﺍﺭﺩﻭ‪ ،‬ﮐﺮﺍﭼﻲ‪.۱۱۵ ،‬‬ ‫‪” .٤‬ﺻﺪﺭ ﺍﻳﻮﺍﻥ ﺳﺨﻦﺷﻨﺎﺱ ﻣﻮﻟﻮﻱ ﻣﺤﻤﺪ ﺑﺎﻗﺮ ﺁﮔﺎﻩ ﻧﺎﻳﻄﻲ ﺍﻟﻤﺪﺭﺍﺳﻲ ﮐﻪ ﺍﺻﻠﺶ ﺍﺯ ﺑﻴﺠﺎﭘﻮﺭ ﺍﺳﺖ‪ .‬ﻭﻻﺩﺗﺶ ﺩﺭ ﻭﻳﻠﻮﺭ‬ ‫)‪ ۱۱۵۸‬ﻫ ﻕ‪ (.‬ﺛﻤﺎﻥ ﻭ ﺧﻤﺴﻴﻦ ﻭ ﻣﺎﺋﺔ ﻭ ﺍﻟﻒ ﻭﺍﻗﻊ ﺷﺪﻩ‪ .‬ﺫﺍﺕ ﻫﻤﺎﻳﻮﻧﺶ ﺑﻪ ﺣﻠﻴﺔ ﻓﻀﺎﻳﻞ ﻭ ﮐﻤﺎﻻﺕ ﺁﺭﺍﺳﺘﻪ ﺑﻮﺩ ﻭ ‪E‬‬

‫ﻣﻘﺪ‪‬ﻣﻪ ﺩﺭ ﺍﺣﻮﺍﻝ ﻭ ﺁﺛﺎﺭﹺ ﻣﻴﺮ ﻏﻼﻡ ﻋﻠﯽ ﺁﺯﺍﺩ ﺑﻠﮕﺮﺍﻣﻲ ‪٨٣ //‬‬ ‫ﮐﻼﻡ ﺁﺯﺍﺩ ﺗﺄﻟﻴﻒ ﮐﺮﺩ‪ .‬ﺍﺳﻢ ﺩﻳﮕﺮ ﺍﻳﻦ ﮐﺘﺎﺏ ﻋﺜﺮﺍﺕ ﺁﺯﺍﺩﻳﻪ ﺍﺳﺖ ﮐﻪ ﺍﺯ ﺁﻥ ﺗﺎﺭﻳﺦ ﺗﺄﻟﻴﻒ ‪ ۱۱۹۹‬ﻫ ﻕ‪.‬‬ ‫ﺑﻪ ﺩﺳﺖ ﻣﻲﺁﻳﺪ‪.‬‬ ‫ﺳﺒﺐ ﺗﺄﻟﻴﻒ‬ ‫ﺁﮔﺎﻩ ﺩﺭ ﮐﺘﺎﺏ ﺧﻮﺩ ﻣﻲﻧﻮﻳﺴﺪ ﮐﻪ ﺁﺯﺍﺩ ﺩﺭ ﻧﺎﻣﻪﻫﺎﻱ ﺧﻮﺩ ﺑﺮﺍﻱ ﻭﻱ ﺍﺯ ﻟﻘﺐ »ﺧﺎﻥ« ﺍﺳﺘﻔﺎﺩﻩ ﻧﻤﻮﺩﻩ ﺑﻮﺩ‬ ‫ﻭ ﺁﮔﺎﻩ ﺁﻥ ﺭﺍ ﺑﺮﺍﻱ ﺧﻮﺩ ﻧﻨﮓ ﻭ ﻋﺎﺭ ﻣﻲﺩﺍﻧﺴﺖ‪ .‬ﺩﻳﮕﺮ ﺁﻧﮑﻪ ﺁﺯﺍﺩ ﺩﻭ ﺑﺎﺭ ﺑﺮ ﻗﺼﺎﻳﺪ ﻋﺮﺑﻲ ﺍﻭ ﺍﻳﺮﺍﺩ ﮔﺮﻓﺘﻪ‬ ‫ﻭ ﺿﻌﻒﻫﺎﻱ ﺷﻌﺮﻱ ﺭﺍ ﺑﻪ ﺍﻭ ﻧﺸﺎﻥ ﺩﺍﺩﻩ ﺑﻮﺩ‪ .‬ﻳﮏ ﺑﺎﺭ ﺑﺮ ﻗﺼﻴﺪﺓ ﻻﻣﻴﺔ ﺁﮔﺎﻩ ﮐﻪ ﺩﺭ ﺗﺘﺒﻊ ﻗﺼﻴﺪﺓ ﺑﺎﻧﺖ‬ ‫ﺳﻌﺎﺩ ﺳﺮﻭﺩﻩ ﺍﺳﺖ ﻭ ﺑﺎﺭ ﺩﻭﻡ ﺑﺮ ﻗﺼﻴﺪﺓ ﻧﻮﻧﻴﺔ ﺁﮔﺎﻩ‪.١‬‬ ‫ﺁﮔﺎﻩ ﺑﺎ ﺁﺯﺍﺩ ﻣﮑﺎﺗﺒﻪ ﺩﺍﺷﺖ ﻭ ﻣﻌﺘﺮﻑ ﻋﻠﻢ ﻭ ﻓﻀﻞ ﺍﻭ ﺑﻮﺩ ﺧﻮﺩ ﻣﻲﻧﻮﻳﺴﺪ‪:‬‬ ‫”ﺍﺯ ﺍﺿﻌﺎﺀ ﻣﺤﺎﻣﺪ‪ ‬ﺍﻭﺻﺎﻑ ﻭ ﻣﮑﺎﺭ ﹺﻡ ﺍﺧﻼﻕ ﻭ ﺍﺳﺘﻌﺪﺍﺩ‪ ‬ﺭﺳﺎ ﺩﺭ ﻗﻮﺍﻋﺪ ﻋﺮﺑﻴﻪ ﻭ ﻣﻬﺎﺭﺕ ﺩﺭﺳﺖ‬ ‫ﺩﺭ ﺿﻮﺍﺑﻂ ﺍﺩﺑﻴﻪ ﮐﻪ ﺍﻻﻥ ﭼﻬﺎﺭﺩﻩ ﺳﺎﻝ ﻣﻲﺷﻮﺩ ﻋﺎﺋﺒﺎﻧﻪ ﺍﺧﻼﺹ ﻭﺍﻓﻲ ﻭ ﺍﺗﺤﺎﺩ ﺻﺎﻟﻲ ﮐﻪ ﻳﻮﻡ‬ ‫ﺑﻪ ﻳﻮﻡ ﻣﺘﺰﺍﻳﺪ ﻣﻲﺷﺪ‪ ،‬ﺑﻬﻢﺭﺳﺎﻧﻴﺪ ﻭ ﺑﺎ ﺁﻧﮑﻪ ﺩﺭ ﻓﺘﺢ ﺍﺑﻮﺍﺏ ﻣﺮﺍﺳﻠﺖ ﺍﺑﺘﺪﺍﻳﻲ ﻭ ﻣﻮﺍﺻﻠﺖ‬ ‫ﮐﺬﺍﻳﻲ ﺍﺣﺘﻴﺎﻁ ﺗﻤﺎﻡ ﻣﻲﺩﺍﺷﺖ ﻣﺤﺮﮎ ﺳﻠﺴﻠﺔ ﻣﮑﺎﺗﺒﺖ ﮔﺮﺩﻳﺪ“‪.٢‬‬ ‫ﻭﻟﻲ ﻭﻗﺘﻲ ﺍﻳﺮﺍﺩﺍﺕ ﺁﺯﺍﺩ ﺑﺮ ﻗﺼﺎﻳﺪ ﺧﻮﺩ ﺭﺍ ﻣﻼﺣﻈﻪ ﻣﻲﮐﻨﺪ ﺑﺮﺍﻓﺮﻭﺧﺘﻪ ﻣﻲﺷﻮﺩ ﻭ ﺍﺯ ﺗﺼﺎﻧﻴﻒ ﻭ‬ ‫ﺗﺄﻟﻴﻔﺎﺕ ﻋﺮﺑﻲ ﻭ ﻓﺎﺭﺳﻲ ﺁﺯﺍﺩ ﺑﻠﮕﺮﺍﻣﻲ ﮐﺎﺳﺘﻲﻫﺎ ﻭ ﺳﺴﺘﻲﻫﺎ ﺭﺍ ﺑﺎ ﺩﻗﺖ ﺗﻤﺎﻡ ﻣﻮﺭﺩ ﺑﺮﺭﺳﻲ ﻗﺮﺍﺭ‬ ‫ﻣﻲﺩﻫﺪ ﻭ ﮐﺘﺎﺑﻲ ﺑﻪ ﻧﺎﻡ »ﭼﻬﺎﺭ ﺻﺪ ﺍﻳﺮﺍﺩ ﺑﺮ ﮐﻼﻡ ﺁﺯﺍﺩ« ﺑﻪ ﺭﺷﺘﺔ ﺗﺤﺮﻳﺮ ﺩﺭﻣﻲﺁﻭﺭﺩ‪ .‬ﺍﻭ ﻣﻲﻧﻮﻳﺴﺪ‪:‬‬ ‫”… ﺩﺭ ﺍﻳﻦ ﺭﻭﺯﻫﺎ ﺁﺯﺍﺩ ﺑﻠﮕﺮﺍﻣﻲ ﮐﻪ ﺍﻡ‪‬ﺍﻟﺪ‪‬ﻣﺎﻍ ﺧﻮﺩ ﺭﺍ ﺁﺷﻴﺎﻧﺔ ﺯﺍﻍ ﻋﺠﺐ ﻭ ﭘﻨﺪﺍﺭ ﮐﺮﺩﻩﺍﻧﺪ ﻭ‬ ‫ﺍﺯ ﺷﺒﮑﺔ ﻃﺒﻘﺔ ﻋﻨﮑﺒﻮﺗﻴﻪ ﻣﮕﺶ ﻭ ﻫﻢ ﻏﻠﻂ ﮐﺎﺭ ﺭﺍ ﺑﻪ ﮔﻤﺎﻥ ﺁﻫﻮ ﺷﮑﺎﺭ ﻣﻲﮐﻨﺪ ﺩﺍﺭﺯﻱ ﻫﻔﺖ‬ ‫ﺍﺳﺘﺪﺭﺍﮎ ﺍﻳﻦ ﺟﺎﻧﺐ ﮐﻪ ﺑﺮ ﺑﻌﺾ ﻋﺒﺎﺭﺍﺕ ﺍﻳﺸﺎﻥ ﮐﺮﺩﻩ ﺑﻮﺩ ﻭ ﭘﺎﺱ ﺟﺎﻧﺐ ﻭ ﺣﻔﻆ ﻣﺮﺍﺗﺐ ﺭﺍ‬ ‫‪ F‬ﻭﺟﻮﺩ ﺑﺎ ﻭﺟﻮﺩﺵ ﺑﻪ ﻓﻨﻮﻥ ﻋﺠﻴﺒﻪ ﻭ ﻏﺮﻳﺒﻪ ﭘﻴﺮﺍﺳﺘﻪ ﺳﺮ ﺩﻓﺘﺮ ﺍﺭﺑﺎﺏ ﻓﻀﻞ ﻭ ﮐﻤﺎﻝ‪ ،‬ﺳﺮ ﺣﻠﻘﻪﺑﻠﻨﺪ ﻃﺒﻌﺎﻥ ﺧﻮﺵﺧﻴﺎﻝ‪،‬‬ ‫ﺻﺎﺣﺐ ﺗﺼﻨﻴﻔﺎﺕ ﻣﺘﮑﺎﺛﺮﻩ ﻭ ﮐﻤﺎﻻﺕ ﺑﺎﻫﺮﻩ‪ ،‬ﻣﺮﺩ ﻣﻴﺪﺍﻥ ﺳﺨﻨﻮﺭﻱ ﻭ ﺷﻤﻊ ﺍﻳﻮﺍﻥ ﻧﻈﻢ ﮔﺴﺘﺮﻱ‪ ،‬ﺍﻟﺤﻖ ﺩﺭ ﺧﻴﺎﺑﺎﻥ‬ ‫ﮐﺮﻧﺎﺗﮏ ﻫﻤﭽﻮ ﻭﻱ ﺳﺮﻭﻱ ﻧﮑﺸﻴﺪﻩ ﻭ ﺍﺯ ﮔﻞ ﺯﻣﻴﻦ ﻣﺪﺭﺍﺱ ﻣﺜﻞ ﺍﻭ ﮔﻠﻲ ﺭﻧﮓﺍﻓﺮﻭﺯ ﻧﮕﺮﺩﻳﺪﻩ‪ .‬ﺑﻪ ﻃﺒﻊ ﻧﻘﺎﺩ‬ ‫ﺳﺨﻦﭘﺮﺩﺍﺯﻱ ﺩﺭ ﺩﺍﺩﻩ ﻭ ﺍﺑﻮﺍﺏ ﻓﻴﻮﺽ ﻧﺎﻣﺘﻨﺎﻫﻲ ﺑﺮ ﺭﻭﻱ ﻃﺎﻟﺒﺎﻥ ﺍﻳﻦ ﻓﻦ ﮔﺸﺎﺩﻩ ﺁﺧﺮﺍﻻﻣﺮ ﺩﺭ )‪ ۱۲۲۰‬ﻫ ﻕ‪(.‬ﻋﺸﺮﻳﻦ ﻭ‬ ‫ﻣﺎﺋﺔ ﻭ ﺍﻟﻒ ﻭﻓﺎﺕ ﻳﺎﻓﺖ“‪ .‬ﻧﺘﺎﻳﺞﺍﻻﻓﮑﺎﺭ‪۹۴-۹۳ ،‬؛ ﻧﻴﺰ ﺑﺮﺍﻱ ﺷﺮﺡ ﺣﺎﻝ ﻭﻱ ﺭﮎ‪ :‬ﺑﻪ ﺗﺬﮐﺮﺓ ﻋﻠﻤﺎﻱ ﻫﻨﺪ‪۱۸۸ ،‬؛ ﻟﻐﺘﻨﺎﻣﺔ‬ ‫ﺩﻫﺨﺪﺍ »ﺁﮔﺎﻩ«‪۱۴۹ ،‬؛ ﺷﻤﻊ ﺍﻧﺠﻤﻦ‪.۶۹ ،‬‬ ‫‪ .١‬ﭼﻬﺎﺭ ﺻﺪ ﺍﻳﺮﺍﺩ ﺑﺮ ﮐﻼﻡ ﺁﺯﺍﺩ‪ ،‬ﺧﻄﻲ‪.۸ ،‬‬ ‫‪ .٢‬ﻫﻤﺎﻥ‪.۷-۶ ،‬‬

‫‪ // ٨٤‬ﮐﻠﻴ‪‬ﺎﺕ‪ ‬ﺁﺯﺍﺩ ﺑﻠﮕﺮﺍﻣﻲ‬ ‫ﺩﺭ ﺁﻥ ﺑﻪ ﮐﺎﺭ ﺑﺮﺩﻩ ﺑﻪ ﻫﻔﺖ ﻭ ﻫﺸﺖ ﭘﻴﺶ ﺁﻣﺪﻩ‪ ،‬ﻣﻘﺪﺍﺭ ﺳﻪ ﺟﺰﻭ ﺩﺭ ﺟﻮﺍﺏ ﺍﺳﺘﺪﺭﺍﮐﺎﺕ‬ ‫ﻣﺴﻄﻮﺭﻩ ﺑﺎ ﺍﻋﺘﺮﺍﺿﺎﺕ ﺩﻳﮕﺮ ﺑﺮ ﺍﺷﻌﺎﺭ ﺍﻳﻦ ﻭﺩﺍﺩ ﭘﻴﮑﺮ ﺗﺮﻗﻴﻢ ﻧﻤﻮﺩﻧﺪ… ﻭ ﺩﺍﺩ ﺳﻔﺎﻫﺖ ﻭ‬ ‫ﻣﺠﺎﺩﻟﻪ ﺩﺍﺩﻧﺪ… ﺩﺭ ﺟﻮﺍﺏ ﻣﺸﺎﺭﺍﻟﻴﻪ ﻭﺭﻗﻲ ﭼﻨﺪ ﮐﻪ ﺗﺎﺭﻳﺦ ﺗﺴﻮﻳﺪﺵ ﺍﺯ »ﻋﺸﺮﺍﺕ ﺁﺯﺍﺩﻳﻪ«‬ ‫ﻣﺴﺘﻨﺒﻂ ﻣﻲﺷﻮﺩ‪ ،‬ﻣﻲﻧﮕﺎﺭﺩ ﻭ ﺑﻪ »ﭼﻬﺎﺭ ﺻﺪ ﺍﻳﺮﺍﺩ ﺑﺮ ﮐﻼﻡ ﺁﺯﺍﺩ« ﻣﻮﺳﻮﻡ ﻣﻲﺳﺎﺯﺩ“‪.١‬‬ ‫ﺍﺯ ﺍﻳﻦ ﻣﻌﻠﻮﻡ ﻣﻲﺷﻮﺩ ﮐﻪ ﺍﻭﻝ ﺍﻭ ﺑﻮﺩﻩ ﮐﻪ ﺍﺑﺮ ﺁﺯﺍﺩ ﺍﻳﺮﺍﺩ ﮔﺮﻓﺘﻪ ﺑﻮﺩ‪.‬‬ ‫ﺭﻭﺷﻲ ﮐﻪ ﺁﮔﺎﻩ ﺩﺭ ﺍﻳﻦ ﮐﺘﺎﺏ ﺑﻪ ﮐﺎﺭ ﺑﺮﺩﻩ ﺍﺳﺖ ﺍﻳﻦ ﺍﺳﺖ ﮐﻪ ﺍﻭﻝ ﻧﺎﻣﻪﻫﺎﻱ ﻋﺮﺑﻲ ﺧﻮﺩ ﺭﺍ ﻭ ﺳﭙﺲ‬ ‫ﭼﻮﺍﺏ ﻭ ﺍﻳﺮﺍﺩ ﺁﺯﺍﺩ ﺭﺍ ﺑﻪ ﻋﺮﺑﻲ ﻧﻮﺷﺘﻪ ﻭ ﭘﺲ ﺍﺯ ﺁﻥ ﺟﻮﺍﺏ ﺧﻮﺩ ﺭﺍ ﻣﻲﺁﻭﺭﺩ‪ .‬ﺍﻳﺮﺍﺩﺍﺕ ﺍﺯ ﻫﺮ ﻧﻮﻉ ﺍﺳﺖ‬ ‫ﻣﺜ ﹰﻼ ﮔﺎﻩ ﺑﺮ ﺍﺷﻌﺎﺭ ﻋﺮﺑﻲ ﻭ ﻓﺎﺭﺳﻲ ﺁﺯﺍﺩ ﺍﻳﺮﺍﺩ ﮔﺮﺗﻔﻪ ﻭ ﮔﺎﻫﻲ ﺑﺮ ﺍﻧﺪﻳﺸﻪ ﻭ ﻣﻀﻤﻮﻥ ﺳﺒﮏ ﺍﻭ‪ ،‬ﮔﺎﻩ ﺑﺮ‬ ‫ﺭﺩﻳﻒ ﻭ ﻗﺎﻓﻴﻪ ﮐﻪ ﺁﺯﺍﺩ ﺩﺭ ﺷﻌﺮﺵ ﺑﮑﺎﺭ ﺑﺮﺩﻩ ﺍﺳﺖ ﻭ ﺣﺘﻲ ﺑﺮ ﻧﺎﻡ ﮐﺘﺎﺏﻫﺎﻱ ﺁﺯﺍﺩ ﻧﻴﺰ ﺍﻋﺘﺮﺍﺽ ﻭﺍﺭﺩ‬ ‫ﮐﺮﺩﻩ ﺍﺳﺖ‪ ،‬ﻭﻟﻲ ﻫﻤﻪ ﺍﻳﺮﺍﺩﺍﺕ ﺁﮔﺎﻩ ﺑﺠﺎ ﻭ ﻣﻨﺎﺳﺐ ﻧﻴﺴﺖ‪ ،‬ﺑﻠﮑﻪ ﺍﮐﺜﺮ ﺁﻧﻬﺎ ﺍﻋﺘﺮﺍﺽ ﻳﺎ ﺍﻳﺮﺍﺩ ﺑﻲﺍﺳﺎﺱ‬ ‫ﺍﺳﺖ‪ .‬ﻣﺜ ﹰﻼ ﺁﺯﺍﺩ ﺩﺭ ﺗﺬﮐﺮﺓ ﺧﺰﺍﻧﺔ ﻋﺎﻣﺮﻩ ﻧﻮﺷﺘﻪ ﺍﺳﺖ‪:‬‬ ‫”ﺍﻳﻦ ﺩﺭﻳﻮﺯﻩﮔﺮ ﻓﻴﺾ ﺍﻟﻬﻲ ﺩﺭ ﺗﻤﺎﻡ ﻋﻤﺮ ﺧﻮﺩ ﻟﺐ ﺑﻪ ﻣﺪﺡ ﺍﻣﻴﺮﻱ ﻧﮕﺸﻮﺩﻩ ﻭ ﻧﺎﻣﺔ ﺧﻮﺩ ]ﺭﺍ[‬ ‫ﺑﻪ ﺳﺘﺎﻳﺶ ﺩﻭﻟﺘﻤﻨﺪﻱ ﺳﻴﺎﻩ ﻧﻨﻤﻮﺩﻩ ﻭ ﺩﺭ ﺍﻳﻦ ﺑﺎﺏ ﻫﻮﺍﻳﻲ ﻣﻲﮐﺸﻢ‪:‬‬ ‫ﻣ‪‬ﻬﺮ ﺑـﺮ ﻟـﺐ ﮐـﺮﺩ ﺁﺯﺍﺩ ﺍﺯ ﺛﻨـﺎﻱ ﺍﻏﻨﻴـﺎ ﻧﻴﺴﺖ ﺍﺭﺑﺎﺏ ‪‬ﺩﻭﻝ ﺭﺍ ﺑﺎﺭ ﺩﺭ ﺩﻳﻮﺍﻥ ﻣﺎ‪“٢‬‬ ‫ﺁﮔﺎﻩ ﺍﻳﻦ ﺭﺍ ﻣﺒﺎﻟﻐﻪ ﻣﻲﺩﺍﻧﺪ ﻭ ﻣﻲﻧﻮﻳﺴﺪ‪:‬‬ ‫ﺩﺭ ﺍﻳﻦ ﺑﺎﺏ ﻣﺒﺎﻟﻐﻪ ﺑﮑﺎﺭ ﺑﺮﺩﻥ… ﺑﻪ ﺗﻘﺮﻳﺐ ﻭ ﺑﻲﺗﻘﺮﻳﺐ ﺫﮐﺮ ﺍﺳﺘﻐﻨﺎ ﻭ ﻭﺍﺭﺳﺘﮕﻲ ﺧﻮﺩ ﻭ‬ ‫ﻋﺪﻡ ﻣﺪﺡ ﺍﻣﺮﺍ ﻧﻤﻮﺩﻥ ﻭ ﺩﺭ ﺣﻖ ﺩﻳﮕﺮﺍﻥ ﺗﻌﻮﻳﺾ ﮐﺮﺩﻥ ﭼﻨﺎﻧﭽﻪ ﺩﺭ ﺧﺰﺍﻧﺔ ﻋﺎﻣﺮﻩ ﺩﺩﺭ ﺗﺮﺟﻤﺔ‬ ‫ﻣﺨﻠﺺ ﺁﻧﻨﺪﺭﺍﻡ ﮔﻔﺘﻪﺍﻧﺪ ﮐﻪ‪ :‬ﻭﺟﻪ ﺍﺛﺒﺎﺏ ﺗﺮﺟﻤﺔ ﺍﻭ ﺩﺭﻳﻦ ﺗﺬﮐﺮﻩ ﺁﻧﮑﻪ ﻣﺮﺑﻲ ﺧﺎﻥ ﺁﺭﺯﻭ ﺑﻮﺩ“‪.٣‬‬ ‫ﺑﻮﺩ“‪.٣‬‬ ‫ﻣﺜﺎﻝ ﺩﻳﮕﺮ‪ :‬ﺁﮔﺎﻩ ﺑﺮ ﺑﻴﺖ ﺯﻳﺮ ﺁﺯﺍﺩ ﺍﻳﺮﺍﺩ ﻣﻲﮔﻴﺮﺩ‪:‬‬ ‫ﻣـﻲﺭﻓــﺖ ﺁﺳــﺘﺎﻥ ﺗــﺮﺍ ﺍﻳــﻦ ﻧﻴﺎﺯﻣﻨــﺪ ﺍﮐﻨﻮﻥ ﺗﻮ ﺧﺎﮎﺭﻭﺏ ﺳﺮﺍﻳﻲ ﮐﻪ ﺑـﻮﺩﻩﺍﻱ‬ ‫‪ .١‬ﭼﻬﺎﺭ ﺻﺪ ﺍﻳﺮﺍﺩ ﺑﺮ ﮐﻼﻡ ﺁﺯﺍﺩ‪ ،‬ﺧﻄﻲ‪.۶-۵ ،‬‬ ‫‪ .٢‬ﺧﺮﺍﻧﺔ ﻋﺎﻣﺮﻩ‪.۳ ،‬‬ ‫‪ .٣‬ﭼﻬﺎﺭ ﺻﺪ ﺍﻳﺮﺍﺩ ﺑﺮ ﮐﻼﻡ ﺁﺯﺍﺩ‪۷۴ ،‬؛ ﺩﺭ ﺣﺎﻟﻲ ﮐﻪ ﺁﺯﺍﺩ ﻗﻮﻝ ﻣﺬﮐﻮﺭ ﺭﺍ ﺑﻪ ﻧﻘﻞ ﺍﺯ ﺗﺬﮐﺮﺓ ﺧﺎﻥ ﺁﺭﺯﻭ ﻧﻮﺷﺘﻪ ﺍﺳﺖ ﮐﻪ‬ ‫ﻣﻲﮔﻮﻳﺪ‪” :‬ﺑﺎﻋﺚ ﺑﻮﺩﻥ ﻓﻘﻴﺮ ﺩﺭ ﺷﺎﻫﺠﻬﺎﻥﺁﺑﺎﺩ )ﺩﻫﻠﻲ( ﺍﺧﻼﺹ ﺍﻭﺳﺖ‪ .‬ﺍﺯ ﻣﺪﺕ ﺳﻲ ﺳﺎﻝ ﺗﺎ ﺍﻟﻴﻮﻡ ﺳﺮﺭﺷﺘﺔ ﮐﻤﺎﻝ‬ ‫ﻣﺤﺒﺖ ﻭ ﻣﺆﺩﺕ ﺭﺍ ﺍﺯ ﺩﺳﺖ ﻧﺪﺍﺩﻩ“‪ .‬ﺧﺰﺍﻧﺔ ﻋﺎﻣﺮﻩ‪.۴۲۵ ،‬‬

‫ﻣﻘﺪ‪‬ﻣﻪ ﺩﺭ ﺍﺣﻮﺍﻝ ﻭ ﺁﺛﺎﺭﹺ ﻣﻴﺮ ﻏﻼﻡ ﻋﻠﯽ ﺁﺯﺍﺩ ﺑﻠﮕﺮﺍﻣﻲ ‪٨٥ //‬‬ ‫ﺁﮔﺎﻩ ﺍﻳﻦ ﺭﺍ ﺍﺑﺘﺬﺍﻝ ﻓﮑﺮ ﺁﺯﺍﺩ ﻣﻲﺩﺍﻧﺪ ﻭ ﻣﻲﮔﻮﻳﺪ‪:‬‬ ‫”ﻇﺎﻫﺮ ﺍﻳﻦ ﻣﻌﺸﻮﻕ ﻋﺎﺷﻖ ﺻﻔﺖ ﺍﺯ ﺯﻣﺮﺓ ﺧﺎﮐﺮﻭﻳﺎﻥ ﺑﻮﺩﻩ ﺑﺎﺷﺪ ﺑﻪ ﻣﻘﺘﻀﺎﻱ »ﮐﻞ ﺷﺊ ﻳﺮﺟﻊ‬ ‫ﺍﻟﻲ ﺍﺻﻠﻪ« ﺑﺎ ﻭﺻﻒ ﺍﺳﺘﻐﻨﺎﻱ ﻣﻌﺸﻮﻗﻴﺖ ﺁﺧﺮ ﺧﺎﮎﺭﻭﺑﻲ ﺍﺧﺘﻴﺎﺭ ﮐﺮﺩ‪ .‬ﻭ ﺩﺭ ﻧﻔﺲﺍﻻﻣﺮ ﻣﺤﺒﺖ‬ ‫ﺷﻤﺎ ﺑﺎ ﭼﻨﻴﻦ ﻣﻌﺸﻮﻕ ﺧﺎﻟﻲ ﺍﺯ ﻣﻼﻣﺖ ﻧﻴﺴﺖ“‪.١‬‬ ‫ﺭﺍﺟﻊ ﺑﻪ ﺍﺳﺎﻣﻲ ﮐﺘﺎﺏﻫﺎﻱ ﺁﺯﺍﺩ‪ ،‬ﺁﮔﺎﻩ ﭼﻨﻴﻦ ﺍﻳﺮﺍﺩ ﻣﻲﮔﻴﺮﺩ ﮐﻪ ﺍﻳﺮﺍﺩ ﺑﻲﺍﺳﺎﺱ ﺍﺳﺖ‪:‬‬ ‫”ﻧﺎﻡ ﻣﻈﻬﺮﺍﻟﺒﺮﮐﺎﺕ ﺍﺯ ﻣﻈﻬﺮﺍﻟﻨﻮﺭ ﻣﻮﻟﻮﻱ ﻗﻤﺮﺍﻟﺪﻳﻦ… ﮔﺮﻓﺘﻪﺍﻧﺪ… ﻭ ﻧﺎﻡ ﺳﺒﺤﺔﺍﻟﻤﺮﺟﺎﻥ ﺍﺯ‬ ‫ﺳﺒﺤﺔﺍﻟﺼﺒﻴﺎﻥ ﺗﺼﻨﻴﻒ ﺍﺑﻮﺍﻟﻔﻀﻞ ﻣﺤﻤﻮﺩ ﺑﻦ ﺍﺣﻤﺪﺍﻟﺮﻭﻣﻲ ﮐﻪ ﺩﺭ ﮐﺸﻒﺍﻟﻈﻨﻮﻥ ﺩﺭ ﺑﺎﺏ ﺳﻴﻦ‬ ‫ﻣﺮﻗﻮﻡ ﺍﺳﺖ ﻳﺎ ﺍﺯ ﺳﺒﺤﺔﺍﻻﺑﺮﺍﺭ ﻋﺎﺭﻑ ﺟﺎﻡ ﺍﺧﺬ ﮐﺮﺩﻩﺍﻧﺪ… ﻭ ﻧﺎﻡ ﺩﻭﺍﻭﻳﻦ ﺧﻮﺩ ﮐﻪ ﺳﺒﻌﺔ‬ ‫ﺳﻴﺎﺭﻩ ﻧﻬﺎﺩﻩﺍﻧﺪ ﻣﻮﺻﻮﻑ ﻭ ﺻﻔﺖ ﻫﺮ ﺩﻭ ﺍﺯ ﺁﻥ ﺳﺒﻌﺔ ﺳﻴﺎﺭﻩ ﺷﻴﺦﺍﻻﺳﻼﻡ ﺣﺎﻓﻆ ﺑﻦ ﺣﺠﺮ ﮐﻪ‬ ‫ﺍﺯ ﺩﻳﻮﺍﻥ ﮐﺒﻴﺮ ﺧﻮﺩ ﺍﻧﺘﺨﺎﺏ ﮐﺮﺩﻩ ﺍﺳﺖ… ﻭ ﻧﺎﻡ ﺧﺰﺍﻧﺔ ﻋﺎﻣﺮﻩ ﺍﺯ ﺧﺰﻳﻨﺔﺍﻟﺮﻭﺍﻳﺎﺕ ﻭ‬ ‫ﺧﺰﺍﻧﺔﺍﻟﻤﻔﺘﻴﻴﻦ ﻭ ﺧﺰﺍﻧﺔ ﺟﻼﻟﻲ ﻭ ﻏﻴﺮﻩ ﮔﺮﻓﺘﻪﺍﻧﺪ“‪.٢‬‬ ‫ﺍﻳﻦ ﮐﺘﺎﺏ ﺑﻪ ﻃﺒﻊ ﻧﺮﺳﻴﺪﻩ ﺍﺳﺖ ﻭ ﻧﺴﺨﻪﻫﺎﻱ ﺧﻄﻲ ﺁﻥ ﺩﺭ ﮐﺘﺎﺑﺨﺎﻧﻪﻫﺎﻱ ﺯﻳﺮ ﻣﻮﺟﻮﺩ ﺍﺳﺖ‪.٣‬‬ ‫§ ﭘﺎﮐﺴﺘﺎﻥ‪ ،‬ﮐﺮﺍﭼﻲ‪ ،‬ﮐﺘﺎﺑﺨﺎﻧﺔ ﺍﻧﺠﻤﻦ ﺗﺮﻗﻲ ﺍﺭﺩﻭ ﭘﺎﮐﺴﺘﺎﻥ‪ ،‬ﺷﻤﺎﺭﻩ ‪ ٣‬ﻕ‪ ،‬ﻑ ‪ ،١٢١‬ﻧﺴﺘﻌﻠﻴﻖ‬ ‫ﺧﻮﺵ‪ ٢ ،‬ﺟﻤﺎﺩﻱﺍﻟﺜﺎﻧﻲ ‪ ١٢٥٥‬ﻫ‪ ٢٢٨ ،‬ﺹ‪ .‬ﻓﻔﻂ ﺗﺮﺟﻤﻪ ﻓﺎﺭﺳﻲ ﻋﺒﺎﺭﺍﺕ ﻭ ﺍﺷﻌﺎﺭ ﻋﺮﺑﻴﻪ ﻭﺍﺭﺩ‬ ‫ﺩﺭ ﭼﻬﺎﺭ ﺻﺪ ﺍﻳﺮﺍﺩ ﺑﺮ ﮐﻼﻡ ﺁﺯﺍﺩ ﺭﺍ ﺩﺭ ﺑﺮﺩﺍﺭﺩ‪.٤‬‬ ‫§ ﭘﺎﮐﺴﺘﺎﻥ‪ ،‬ﻣﻮﺯﺓ ﻣﻠﹼﻲ ﮐﺮﺍﭼﻲ‪ ،‬ﮐﺘﺎﺑﺨﺎﻧﺔ ﺍﻧﺠﻤﻦ ﺗﺮﻗﻲ ﺍﺭﺩﻭ ﭘﺎﮐﺴﺘﺎﻥ‪ ،‬ﺷﻤﺎﺭﺓ ‪،N.M ١٩٥٨-٤٤/٢‬‬ ‫ﻧﺴﺘﻌﻠﻴﻖ ﺧﻮﺵ‪ ١٢٥٥ ،‬ﻫ ﻕ‪ ،.‬ﺹ ‪ .٢٠٠‬ﺍﺯ ﻫﻤﻴﻦ ﻧﺴﺨﻪ ﻧﮕﺎﺭﻧﺪﻩ ﺍﺳﺘﻔﺎﺩﻩ ﮐﺮﺩﻩ ﺍﺳﺖ‪.٥‬‬ ‫§ ﻫﻨﺪ‪ ،‬ﻋﻠﻲﮔﺮ‪ ،‬ﺩﺍﻧﺸﮕﺎﻩ ﺍﺳﻼﻣﻲ‪ ،‬ﺫﺧﻴﺮﺓ ﺷﺮﻭﺍﻧﻲ‪ ٥٠/٢٨٢ ،‬ﻧﺴﺦ ﻭ ﻧﺴﺘﻌﻠﻴﻖ‪ ،‬ﺍﺣﺘﻤﺎ ﹰﻻ ﺑﻪ ﺧﻂ‬ ‫ﻣﺼﻨﻒ‪ ،‬ﺹ ‪.٦٢٥٥‬‬ ‫§ ﻫﻨﺪ‪ ،‬ﺣﻴﺪﺭﺁﺑﺎﺩ‪ ،‬ﮐﺘﺎﺑﺨﺎﻧﺔ ﺁﺻﻔﻴﻪ‪ ،‬ﺷﻤﺎﺭﺓ ‪.١١٧٦‬‬ ‫‪ .١‬ﺗﺬﮐﺮﺓ ﮔﻠﺰﺍﺭ ﺍﻋﻈﻢ‪ ۱۵-۱۴ ،‬ﺑﻪ ﻧﻘﻞ ﺍﺯ ﻣﻘﺎﻟﺔ ﺩﮐﺘﺮ ﻓﻀﻞﺍﻟﺮﺣﻤﻦ ﻧﺪﻭﻱ‪ ،‬ﺹ ‪.۱۰۷‬‬ ‫‪ .٢‬ﭼﻬﺎﺭ ﺻﺪ ﺍﻳﺮﺍﺩ ﺑﺮ ﮐﻼﻡ ﺁﺯﺍﺩ‪.۷۸-۷۷ ،‬‬ ‫‪ .٣‬ﻓﻬﺮﺳﺖ ﻣﺸﺘﺮﮎ ‪ ۲۲۴۷-۲۲۴۶/۱۳‬ﻭ ‪.۲۷۹۱‬‬ ‫‪ .٤‬ﻋﺎﺭﻑ ﻧﻮﺷﺎﻫﻲ‪ ،‬ﻓﻬﺮﺳﺖ ﺍﻧﺠﻤﻦ ﺗﺮﻗﻲ ﺍﺭﺩﻭ‪ ،‬ﮐﺮﺍﭼﻲ‪.۱۱۷ ،‬‬ ‫‪ .٥‬ﻓﻬﺮﺳﺖ ﻣﻮﺯﺓ ﻣﹼﻠﻲ‪.۴۲۹ ،‬‬ ‫‪ .٦‬ﻣﺠﹼﻠﻪ ﻋﻠﻮﻡ ﺍﺳﻼﻣﻴﻪ‪ ،‬ﺩﺳﺎﻣﺒﺮ ‪ ۱۹۶۱‬ﻡ‪ ،‬ﺹ ‪.۹۶‬‬

‫‪ // ٨٦‬ﮐﻠﻴ‪‬ﺎﺕ‪ ‬ﺁﺯﺍﺩ ﺑﻠﮕﺮﺍﻣﻲ‬ ‫§ ﻫﻨﺪ‪ ،‬ﺣﻴﺪﺭﺁﺑﺎﺩ‪ ،‬ﮐﺘﺎﺑﺨﺎﻧﻪ ﻭ ﻣﻮﺯﺓ ﺳﺎﻻﺭﺟﻨﮓ‪ ،‬ﺷﻤﺎﺭﺓ ﻣﺴﻠﺴﻞ ‪ ،٩٢٧‬ﺷﻤﺎﺭﺓ ‪ ،A.N/85‬ﻧﺴﺘﻌﻠﻴﻖ‪،‬‬ ‫ﺍﻭﺍﻳﻞ ﺳﺪﺓ ‪ ٩٢ ،١٣‬ﻭﺭﻕ‪.١‬‬ ‫§ ﻫﻨﺪ‪ ،‬ﻟﮑﻬﻨﻮ‪ ،‬ﮐﺘﺎﺑﺨﺎﻧﺔ ﻧﺪﻭﺓﺍﻟﻌﻠﻤﺎ‪ ،‬ﺷﻤﺎﺭﺓ ‪ ،۲۹۶‬ﻧﺴﺘﻌﻠﻴﻖ‪ ۱۳۰۰ ،‬ﻫ ﻕ‪ ،‬ﺹ ‪.٢۱۷۶‬‬ ‫§ ﺣﻴﺪﺭﺁﺑﺎﺩ‪ ،‬ﮐﺘﺎﺑﺨﺎﻧﺔ ﺳﻌﻴﺪﻳﻪ‪.٣‬‬ ‫ﺁﻏﺎﺯ )ﭼﻬﺎﺭ ﺻﺪ ﺍﻳﺮﺍﺩ ﺑﺮ ﮐﻼﻡ ﺁﺯﺍﺩ(‬ ‫”ﺭﻳﺎﺣﻴﻦ ﻣﻀﺎﻣﻴﻦ ﺭﻧﮕﻴﻦ ﻭ ﺍﺯﺍﻫﻴﺮ ﺗﺮﺍﮐﻴﺐ ﺩﻝﻧﺸﻴﻦ‪ ،‬ﻧﺜﺎﺭ ﺣﻤﺪ ﻣﻨﺘﻘﻢ ﻣﺤﻤﻮﺩﺍﻟﻌﺪﻟﻲ ﮐﻪ‬ ‫ﺳﺮﻭ ﺁﺯﺍﺩ ﻧﺎﻣﻮﺯﻭﻥ ﺭﺍ ﺑﻪ ﺳﺒﺐ ﺳﺮﮐﺸﻲ ﻭ ﺩﻋﻮﻱ ﺁﺯﺍﺩﻱ ﺑﻲﺣﺎﺻﻞ ﻭ ﭘﺎ ﺑﻪ ﮔﻞ ﺳﺎﺧﺖ“‪.‬‬ ‫ﺍﻧﺠﺎﻡ‬ ‫”… ﮐﻪ ﺑﻪ ﻗﻮﻝ ﺻﺎﺣﺐ ﺩﻭﺳﺘﻲ ﮔﻮﻫﺮﻱ ﺍﺳﺖ ﻧﻔﻴﺲ‪ ،‬ﺍﻳﻦ ﺭﺍ ﻣﻔﺖ ﺍﺯ ﺩﺳﺖ ﻧﺒﺎﻳﺪ ﮔﺬﺍﺷﺖ‬ ‫ﻭ ﺑﻪ ﺩﺳﺘﻮﺭ ﺳﺎﺑﻖ ﺩﺭ ﺧﺰﺍﻧﺔ ﺧﺎﻃﺮ ﻋﺎﻃﺮ ﻧﮕﻪ ﺑﺎﻳﺪ ﺩﺍﺷﺖ…‬ ‫ﺳـﻼﻡ ﻋﻠـﻴﮑﻢ ﻭ ﺍﻟﻌﻬـﻮﺩ ﺑﺤﺎﻟﻬـﺎ ﻭ ﺇﻥ ﺟﺎﻭﺯ ﺍﻷﺑﺤﺎﺙ ﺣﺪ ﮐﻤﺎﻟﻬـﺎ“‬ ‫ﺁﻏﺎﺯ‬ ‫)ﺗﺮﺟﻤﺔ ﻋﺒﺎﺭﺍﺕ ﻋﺮﺑﻲ ﻭﺍﺭﺩﻩ ﺩﺭ ﭼﻬﺎﺭ ﺻﺪ ﺍﻳﺮﺍﺩ ﺑﺮ ﮐﻼﻡ ﺁﺯﺍﺩ(‬ ‫”… ﺍﻳﻦ ﺗﺮﺟﻤﻪﺍﻱ ﺍﺳﺖ ﻋﺒﺎﺭﺍﺕ ﻭ ﺍﺷﻌﺎﺭ ﻋﺮﺑﻴﻪ ﺭﺍ ﮐﻪ ﺩﺭ ﭼﻬﺎﺭ ﺻﺪ ﺍﻳﺮﺍﺩ ﺍﺯ ﻫﺮﺩﻭ ﺟﺎﻧﺐ‬ ‫ﻣﻮﺭﺩ ﻭ ﻣﻮﺭﺩ ﻋﻠﻴﻪ ﻣﺮﻗﻮﻡ ﻭ ﻣﺬﮐﻮﺭ ﺍﺳﺖ“‪.‬‬ ‫ﺍﻧﺠﺎﻡ‬ ‫”… ﻭ ﺗﺮﺟﻤﺔ ﻋﺒﺎﺭﺍﺕ ﻭ ﺍﺷﻌﺎﺭ ﻋﺮﺑﻴﺔ ﺍﻳﻦ ﺭﺳﺎﻟﻪ ﺑﻌﻮﻥ ﺍﷲ ﺗﻌﺎﻟﻲ ﻭ ﷲ ﺍﻟﺤﻤﺪ ﭘﻮﺷﻴﺪﻩ ﻧﻴﺴﺖ‬ ‫ﮐﻪ ﺍﻳﻦ ﺍﻋﺘﺮﺍﺿﺎﺕ ﺍﺧﻴﺮﻩ ﮐﻪ ﻣﺼﻨﻒ ﺑﺮ ﻣﻌﺘﺮﺽ ﻋﻠﻴﻪ ﺧﻮﺩ ﻭﺍﺭﺩ ﮐﺮﺩﻩ ﺍﺳﺖ ﺑﻪ ﻣﺒﻠﻎ ﭼﻬﺎﺭ‬ ‫ﺻﺪ ﻧﻤﻲﺭﺳﺪ“‪.‬‬ ‫‪1. Salarjung, 3/163.‬‬ ‫‪ .٢‬ﻓﻬﺮﺳﺖ ﻧﺪﻭﻩ‪.۴۸۹/۲ ،‬‬ ‫‪ .٣‬ﺍﺭﺩﻭ‪ ،‬ﺩﺍﺋﺮﺓﺍﻟﻤﻌﺎﺭﻑ ﺍﺳﻼﻣﻴﻪ ‪.۱۰۹/۱‬‬

‫ﻣﻘﺪ‪‬ﻣﻪ ﺩﺭ ﺍﺣﻮﺍﻝ ﻭ ﺁﺛﺎﺭﹺ ﻣﻴﺮ ﻏﻼﻡ ﻋﻠﯽ ﺁﺯﺍﺩ ﺑﻠﮕﺮﺍﻣﻲ ‪٨٧ //‬‬ ‫ﻣﻴﺮﺯﺍ ﺍﺑﻮﻃﺎﻟﺐ ﺧﺎﻥ ﺗﺒﺮﻳﺰﻱ ﺍﺻﻔﻬﺎﻧﻲ )‪ ١٢٢٠-١١٦٦‬ﻫ ﻕ‪١(.‬‬ ‫ﻣﻴﺮﺯﺍ ﺍﺑﻮﻃﺎﻟﺐ ﺧﺎﻥ ﺩﺭ ﺷﻬﺮ ﻟﮑﻬﻨﻮ )ﻫﻨﺪ( ﺩﺭ ‪ ۱۱۶۶‬ﻫ ﻕ‪ .٢‬ﺑﻪ ﺩﻧﻴﺎ ﺁﻣﺪ‪ .‬ﭘﺪﺭﺵ ﻣﺤﻤﺪ ﺑﻴﮓ ﺧﺎﻥ ﺍﺯ‬ ‫ﺗﺮﮐﺎﻥ ﺁﺫﺭﺑﺎﻳﺠﺎﻥ ﺑﻮﺩ‪ .‬ﺣﺎﺟﻲ ﻣﺤﻤﺪ ﺑﻴﮓ ﺑﻪ ﻫﻨﺪﻭﺳﺘﺎﻥ ﻣﺴﺎﻓﺮﺕ ﻧﻤﻮﺩﻩ ﻭ ﻫﻤﺎﻧﺠﺎ ﺩﺭ ﺳﻠﮏ ﻣﻼﺯﻣﺖ‬ ‫ﻧﻮﺍﺑﺎﻥ ﺍﹶ ‪‬ﻭﺩ ﻭ ﻣﺮﺷﺪﺁﺑﺎﺩ ﺩﺭﺁﻣﺪ‪ .‬ﺍﺑﻮﻃﺎﻟﺐ ﺩﺭ ﺳﻦ‪ ‬ﭼﻬﺎﺭﺩﻩ ﺳﺎﻟﮕﻲ ﺑﻪ ﻣﺮﺷﺪﺁﺑﺎﺩ ﻧﺰﺩ ﭘﺪﺭﺵ ﺭﻓﺖ ﻭ ﺩﺭ‬ ‫ﻫﻤﺎﻧﺠﺎ ﺑﻮﺩ ﺗﺎ ﭘﺪﺭﺵ ﺩﺭ ‪۱۱۸۲‬ﻫ ﻕ ﺑﻪ ﺩﺭﻭﺩ ﺣﻴﺎﺕ ﮔﻔﺖ ﻭ ﺍﻭ ﺗﻨﻬﺎ ﻣﺎﻧﺪ‪ .‬ﺍﻭ ﻣﻲﻧﻮﻳﺴﺪ‪:‬‬ ‫”ﻭﺍﻟﺪ ﺣﻘﻴﺮ ﺣﺎﺟﻲ ﻣﺤﻤﺪ ﺑﻴﮓ ﺧﺎﻥ‪ ،‬ﺍﺯ ﺟﻤﺎﻋﺔ ﺍﺗﺮﺍﮎ‪ ،‬ﻣﻮﻟﺪﺵ ﻋﺒﺎﺱﺁﺑﺎﺩ‪ ،‬ﺍﺻﻔﻬﺎﻥ ﺍﺳﺖ‪.‬‬ ‫ﺩﺭ ﻋﻬﺪ ﺟﻮﺍﻧﻲ ﺍﺯ ﺳﻄﻮﺕ ﻭ ﺻﻮﻟﺖ ﻧﺎﺩﺭﻱ‪ ،‬ﺍﻳﺮﺍﻥ ﺭﺍ ﮔﺬﺍﺷﺘﻪ ﻭﺍﺭﺩ ﻫﻨﺪ‪ ،‬ﻭ ﺭﻓﻴﻖ ﻭﺯﻳﺮ ﺟﻨﺖ‬ ‫ﺁﺭﺍﻣﮕﺎﻩ‪ ،‬ﺍﺑﻮﻣﻨﺼﻮﺭ ﺧﺎﻥ ﺻﻔﺪﺭ ﺟﻨﮓ ﮔﺮﺩﻳﺪ‪ .‬ﺑﻌﺪ ﮐﺸﺘﻪ ﺷﺪﻥ ﺭﺍﺟﻪ ﻧﹶﻮ‪‬ﻝ ﺭﺍﻱ ﻭ ﺗﻘﺮﺭ ﻧﻴﺎﺑﺖ‬ ‫ﺻﻮﺑﻪ ﺍﹶ ‪‬ﻭﺩ ﺑﻪ ﻣﺤﻤﺪ ﻗﻠﻲ ﺧﺎﻥ ﻣﺮﺣﻮﻡ‪ ،‬ﺑﻪ ﺭﻓﺎﻗﺖ ﻭ ﺍﻋﺎﻧﺖ ﺍﻭ ﻧﺎﻣﺰﺩ ﻭ ﺑﺪﻳﻦ ﺗﻘﺮﻳﺐ ﺩﺭ‬ ‫ﻣﺨﺼﻮﺻﺎﻥ ﻭ ﻃﺮﻓﺪﺍﺭﺍﻥ ﺍﻭ ﻣﻨﺴﻠﮏ ﮔﺸﺘﻪ‪ ،‬ﺑﻌﺪ ﻭﻓﺎﺕ ﺻﻔﺪﺭ ﺟﻨﮓ‪ ،‬ﻧﻮﺍﺏ ﺷﺠﺎﻉﺍﻟﺪﻭﻟﻪ‬ ‫ﻣﺮﺣﻮﻡ‪ ،‬ﮐﻪ ﻋﻢﺯﺍﺩﻩ ﺭﺍ ﺑﻪ ﺩﻏﺎ ﺑﻪ ﺩﺳﺖ ﺁﻭﺭﺩﻩ ﺑﻪ ﺗﻴﻎ ﺑﻲﺭﺣﻤﻲ ﺍﺯ ﻫﻢ ﮔﺬﺭﺍﻧﻴﺪﻩ ﻭ ﺑﺎ ﺭﻓﻘﺎﻱ‬ ‫ﺍﻭ ﺑﺪﺳﻠﻮﮐﻲ ﮐﺮﺩﻩ‪ ،‬ﻗﺼﺪ ﺑﻪ ﺩﺳﺖ ﺁﻭﺭﺩﻥ ﻭﺍﻟﺪ ﺩﺍﺷﺖ‪ ،‬ﺍﻭ ﺳﺒﻘﺖ ﮔﺰﻳﺪﻩ ﺑﺎ ﭼﻨﺪ ﻏﻼﻡ ﻭ‬ ‫ﻗﺪﺭﻱ ﺟﻮﺍﻫﺮ ﻭ ﺍﺷﺮﻓﻲ ﺑﻪ ﺟﺎﻧﺐ ﺑﻨﮕﺎﻟﻪ ﺷﺘﺎﻓﺖ‪ ،‬ﻭ ﻣﺎﻣﺎ ﺭﺍ ﺩﺭ ﻟﮑﻬﻨﻮ ﻭ ﺗﻤﺎﻡ ﻣﺎﻝ ﻭ ﺟﻬﺎﺕ‬ ‫ﺧﻮﺩ ﺭﺍ ﺩﺭ ﻣﻌﺴﮑﺮ ﻧﻮﺍﺏ ﻣﺮﺣﻮﻡ ﮔﺬﺍﺷﺖ‪ .‬ﭘﺲ ﺩﺭ ﺑﻨﮕﺎﻟﻪ ﭼﻨﺪ ﻣﺪﺕ ﺑﻪ ﺍﻋﺘﺒﺎﺭ ﮔﺬﺭﺍﻧﻴﺪﻩ‪ ،‬ﺩﺭ‬ ‫ﺳﺎﻟﻲ ﮐﻪ ﺍﻳﻦ ﻗﻄﻌﻪ ﺗﺎﺭﻳﺦ ﻣﺴﺘﻔﺎﺩ ﻣﻲﮔﺮﺩﺩ ﺭﻫﮕﺮﺍﻱ ﻋﺎﻟﻲ ﺑﺎﻗﻲ ﮔﺮﺩﻳﺪ‪.‬‬ ‫ﻣﺤﻤـــﺪ ﺑـــﻦ ﺷـــﻔﻴﻊ‪ ،‬ﺁﻥ ﺧﺠﺴـــﺘﻪ ﻭﺍﻟـــﺪ ﻣـــﻦ‬ ‫ﮐﻪ ﺑﻮﺩ ﺫﻱ ﺷـﺮﻑ ﺍﺯ ﻓﻀـﻞ ﻭ ﻋﻠـﻢ ﻭ ﻋﻘـﻞ ﻭ ﺍﺩﺏ‬ ‫ﺷــﺘﺎﻓﺖ ﭼــﻮﻥ ﺑــﻪ ﺑﻬﺸــﺖ ﺑــﺮﻳﻦ ﺍﺯ ﺍﻳــﻦ ﻋــﺎﻟﻢ‬ ‫ﺯ ﺗـــﺎﺏ ﻓـــﺮﻗﺘﺶ ﺍﻓﺘـــﺎﺩ ﺟـــﺎﻥ ﻣـــﺎ ﺩﺭ ﺗـــﺐ‬ ‫ﭼــﻮ ﺩﺍﺷــﺖ ﺑــﺎ ﻫﻤــﻪ ﮐــﺲ ﺭﻭﻱ ﺭﺍﻱ ﺍﻧــﻮﺭ ﺍﻭ‬ ‫ﺑــﺪﻭﻥ ﻣﻬــﺮ ﺭﺧــﺶ ﺭﻭﺯ ﻋــﺎﻟﻤﻲ ﺷــﺪﻩ ﺷــﺐ‬ ‫‪ .١‬ﺑﺮﺍﻱ ﺷﺮﺡ ﺣﺎﻝ ﺍﻭ ﺭﮎ ﺑﻪ‪ :‬ﺗﺬﮐﺮﻩﻧﻮﻳﺴﻲ ﻓﺎﺭﺳﻲ ﺩﺭ ﻫﻨﺪ ﻭ ﭘﺎﮐﺴﺘﺎﻥ‪۴۸۲-۴۷۷ ،‬؛ ﻣﺴﻴﺮ ﻃﺎﻟﺒﻲ‪ ،‬ﻣﻘﺪﻣﻪ؛‬ ‫‪Shankhdher, B.M: Mirza Abutalib Khan His Life And Works. Hydrabad. 1970, Islamic Culture.‬‬ ‫‪ .٢‬ﺩﺭ ﺗﺬﮐﺮﻩﻧﻮﻳﺴﻲ ﻓﺎﺭﺳﻲ ﺩﺭ ﻫﻨﺪ ﻭ ﭘﺎﮐﺴﺘﺎﻥ‪ ،‬ﺹ ‪ ،۴۷۸‬ﺳﺎﻝ ﺗﻮﻟﺪ ﻭﻱ ‪ ۱۱۷۴‬ﻫ ﻕ ﺩﺭﺝ ﺷﺪﻩ ﺍﺳﺖ ﮐﻪ ﺩﺭﺳﺖ ﻧﻴﺴﺖ‪.‬‬ ‫ﺧﻮﺩ ﺍﺑﻮﻃﺎﻟﺐ ﻣﻲﻧﻮﻳﺴﺪ‪” :‬ﻭﻻﺩﺕ ﺍﻳﻦ ﺑﻲﺳﻌﺎﺩﺕ ﺩﺭ ﺁﺧﺮ ﺳﻨﺔ ﻳﮏ ﻫﺰﺍﺭ ﻭ ﻳﮑﺼﺪ ﻭ ﺷﺼﺖ ﻭ ﺷﺶ ﺩﺭ ﻟﮑﻬﻨﻮ ﺍﺗﻔﺎﻕ‬ ‫ﺍﻓﺘﺎﺩ“ ﻣﺴﻴﺮ ﻃﺎﻟﺒﻲ‪.۸ ،‬‬

‫‪ // ٨٨‬ﮐﻠﻴ‪‬ﺎﺕ‪ ‬ﺁﺯﺍﺩ ﺑﻠﮕﺮﺍﻣﻲ‬ ‫ﻭﻗــﻮﻉ ﺍﻳــﻦ ﻏــﻢ ﻋﻈﻤــﻲ ﺑــﻪ ﻣــﺎ ﺩﻝ ﺍﻓﮕــﺎﺭﺍﻥ‬ ‫ﭼـــﻮ ﺑـــﻮﺩ ﺍﺯ ﺳـــﻨﺔ ﻫﺠـــﺮﺍﺕ ﺭﺳـــﻮﻝ ﻋـــﺮﺏ‬ ‫ﻫـﺰﺍﺭ ﻭ ﻳﮑﺼـﺪ ﻭ ﻫﺸـﺘﺎﺩ ﻭ ﺩﻭ‪ ،‬ﺳـﻪ ﻳـﻮﻡ ﺑـﻪ ﺣـﺞ‬ ‫ﻫﻤــﺎﻥ ﻧﻮﺷــﺖ ﺑــﻪ ﺍﻟﻬــﺎﻡ ﺳــﺎﻝ ﺭﻧــﺞ ﻭ ﺗﻌــﺐ‬ ‫ﻧﻤـــﻮﺩﻩ ﻃـــﻮﻑ ﺑﻬﺸـــﺖ ﺑـــﺮﻳﻦ ﺩﻭﻡ ﺗـــﺎﺭﻳﺦ‬ ‫ﺯ ﺭﻭﻱ ﺟــﺰﻡ ﻭ ﻳﻘــﻴﻦ ﺁﻣــﺪ ﺍﺯ ﺩﻟــﻢ ﺳــﻮﻱ ﻟــﺐ‪١‬‬ ‫ﺍﺑﻮﻃﺎﻟﺐ ﺩﺭ ‪ ۱۱۸۹‬ﻫ ﻕ ﺑﻪ ﻟﮑﻬﻨﻮ ﺑﺎﺯﮔﺸﺖ ﻭ ﺑﻪ ﺧﺪﻣﺖ ﻭ ﻣﻼﺯﻣﺖ ﻧﻮ‪‬ﺍﺏ ﺁﺻﻒﺍﻟﺪﻭﻟﻪ ﺑﻬﺎﺩﺭ‬ ‫)‪ ۱۲۱۲-۱۱۸۹‬ﻫ( ﺩﺭﺁﻣﺪ ﻭ ﺑﻪ ﮐﻮﺷﺶ ﻣﺨﺘﺎﺭﺍﻟﺪﻭﻟﻪ )ﻧﺎﻳﺐ ﺁﺻﻒﺍﻟﺪﻭﻟﻪ( ﺑﻪ ﻣﻘﺎﻡ ﻋﻠﻤﺪﺍﺭﻱ‬ ‫)ﻣﺄﻣﻮﺭ ﺩﻳﻮﺍﻧﻲ( ﺷﻬ ﹺﺮ ‪‬ﺍﺗﺎ ‪‬ﻭﻩ ﻭ ﭼﻨﺪ ﻧﺎﺣﻴﺔ ﺩﻳﮕﺮ ﻣﻨﺼﻮﺏ ﺷﺪ‪ .‬ﺩﺭ ‪ ۱۱۹۰‬ﻫ ﻕ ﭘﺲ ﺍﺯ ﺑﺮﮐﻨﺎﺭﻱ‬ ‫ﻣﺨﺘﺎﺭﺍﻟﺪﻭﻟﻪ‪ ،‬ﺍﺑﻮﻃﺎﻟﺐ ﻫﻢ ﺍﺯ ﮐﺎﺭ ﺑﺮﮐﻨﺎﺭ ﮔﺮﺩﻳﺪ ﻭ ﻣﺪ‪‬ﺗﻲ ﺑﻪ ﺳﻴﺮ ﻭ ﺳﻴﺎﺣﺖ ﭘﺮﺩﺍﺧﺖ ﻭ‬ ‫ﺑﺎﻻﺧﺮﻩ ﺩﺭ ‪ ۱۲۲۰‬ﻫ ﻕ ﺩﺭ ﺷﻬﺮ ﻟﮑﻬﻨﻮ ﺩﺭﮔﺬﺷﺖ‪.‬‬ ‫”ﺍﺯ ﮔﺰﺍﺭﺵ ﺍﺣﻮﺍﻝ ﻭ ﺣﻮﺍﺩﺙ ﺯﻧﺪﮔﻠﻲ ﺍﺑﻮﻃﺎﻟﺐ ﺧﺎﻥ ﺑﺮﻣﻲﺁﻳﺪ ﮐﻪ ﻭﻱ ﻣﺮﺩﻱ ﻫﻮﺷﻤﻨﺪ‪،‬‬ ‫ﻓﻌﺎﻝ‪ ،‬ﺍﻫﻞ ﺳﻴﺎﺳﺖ‪ ،‬ﮐﻨﺠﮑﺎﻭ‪ ،‬ﺩﻗﻴﻖ‪ ،‬ﺧﻮﺵ ﺣﺎﻓﻈﻪ‪ ،‬ﺍﺩﺏ ﺩﻭﺳﺖ ﻭ ﻋﻼﻗﻪﻣﻨﺪ ﺑﻪ ﺧﻮﺍﻧﺪﻥ ﻭ‬ ‫ﻧﻮﺷﺘﻦ ﺑﻮﺩﻩ ﺍﺳﺖ‪ .‬ﻋﺒﺪﺍﻟﻠﻄﻴﻒ ﺷﻮﺷﺘﺮﻱ ﮐﻪ ﺍﺯ ﻣﻌﺎﺻﺮﺍﻥ ﻭ ﺩﻭﺳﺘﺎﻥ ﺍﺑﻮﻃﺎﻟﺐ ﺑﻮﺩﻩ‪ ،‬ﻭﻱ ﺭﺍ‬ ‫ﺑﻪ ﻣﺮﺩﺍﻧﮕﻲ‪ ،‬ﺷﺠﺎﻋﺖ‪ ،‬ﺍﺧﻼﻕ ﭘﺴﻨﺪﻳﺪﻩ‪ ،‬ﺍﺳﺘﻘﻼﻝ ﻣﺰﺍﺝ‪ ،‬ﺑﻠﻨﺪﻫﻤﺘﻲ ﻭ ﺑﺮﺩﺑﺎﺭﻱ ﺩﺭ ﺑﺮﺍﺑﺮ‬ ‫ﻧﺎﻣﻼﻳﻤﺎﺕ ﺳﺘﻮﺩﻩ ﺍﺳﺖ‪ .‬ﺟﺮﺝ ﺳﻮﻳﻨﺘﻦ ﺍﺯ ﻣﻴﺮﺯﺍ ﺍﺑﻮﻃﺎﻟﺐ ﺑﻪ ﻋﻨﻮﺍﻥ »ﻳﮑﻲ ﺍﺯ ﺧﺮﺩﻣﻨﺪﺗﺮﻳﻦ ﻭ‬ ‫ﻧﻴﮏﺍﻧﺪﻳﺶﺗﺮﻳﻦ ﻣﺮﺩﻡ ﻫﻨﺪ« ﻳﺎﺩ ﮐﺮﺩﻩ ﺍﺳﺖ‪ .‬ﺳﻨﮑﺪﻫﺮ ﻭﻱ ﺭﺍ ﺑﺰﺭﮒﺗﺮﻳﻦ ﺍﻧﺪﻳﺸﻤﻨﺪ ﺍﻗﺘﺼﺎﺩﻱ‬ ‫ﺍﻭﺍﺧﺮ ﺳﺪﺓ ‪ ۱۸‬ﻭ ﺍﻭﺍﻳﻞ ﺳﺪﺓ ‪ ۱۹‬ﻡ ﻫﻨﺪ ﻣﻲﺩﺍﻧﺪ ﻭ ﻣﻲﮔﻮﻳﺪ ﺍﺑﻮﻃﺎﻟﺐ ﻧﺨﺴﺘﻴﻦ ﺷﺨﺼﻴﺖ‬ ‫ﻫﻨﺪﻱ ﺍﺳﺖ ﮐﻪ ﺍﻫﻤﻴﺖ ﻋﻮﺍﻣﻞ ﺍﻗﺘﺼﺎﺩﻱ ﺭﺍ‪ ،‬ﻫﻢ ﺩﺭ ﺗﻌﺎﻟﻲ ﻭ ﺍﻧﺤﻄﺎﻁ ﻣﻠﺖﻫﺎ ﻭ ﻫﻢ ﺩﺭ‬ ‫ﺗﺤﻘﻴﻘﺎﺕ ﺗﺎﺭﻳﺨﻲ‪ ،‬ﺗﺸﺨﻴﺺ ﺩﺍﺩﻩ ﺍﺳﺖ‪ .‬ﺍﻭ ﺑﻪ ﺑﺴﻴﺎﺭﻱ ﺍﺯ ﻣﺴﺎﺋﻞ ﺭﻭﺯﮔﺎﺭ ﺧﻮﺩ‪ ،‬ﻣﺎﻧﻨﺪ ﺗﻀﺎﺩ‬ ‫ﻃﺒﻘﺎﺗﻲ‪ ،‬ﻧﺎﻫﻤﺎﻫﻨﮕﻲ ﺍﻗﺘﺼﺎﺩﻱ ﻣﻴﺎﻥ ﺣﺎﮐﻤﺎﻥ ﻭ ﻣﺮﺩﻡ ﺗﺤﺖ ﺳﻠﻄﺔ ﺁﻧﺎﻥ‪ ،‬ﻗﺪﺭﺕ ﺩﺭﻳﺎﻳﻲ‪ ،‬ﻧﻈﺎﻡ‬ ‫ﻣﺎﻟﻴﺎﺗﻲ‪ ،‬ﺑﺮﺩﮔﻲ‪ ،‬ﺍﻧﻮﺍﻉ ﻧﻈﺎﻡﻫﺎﻱ ﺣﮑﻮﻣﺘﻲ ﻭ ﻏﻴﺮﻩ ﺗﻮﺟﻪ ﺧﺎﺹ ﺩﺍﺷﺘﻪ ﻭ ﺁﻧﻬﺎ ﺭﺍ ﺗﺠﺰﻳﻪ ﻭ‬ ‫ﺗﺤﻠﻴﻞ ﻣﻲﮐﺮﺩﻩ ﺍﺳﺖ“‪.٢‬‬ ‫‪ .١‬ﻣﺴﻴﺮ ﻃﺎﻟﺒﻲ‪.۷ ،‬‬ ‫‪ .٢‬ﺩﺍﺋﺮﺓﺍﻟﻤﻌﺎﺭﻑ ﺑﺰﺭﮒ ﺍﺳﻼﻣﻲ ‪.۶۲۶/۵‬‬

‫ﻣﻘﺪ‪‬ﻣﻪ ﺩﺭ ﺍﺣﻮﺍﻝ ﻭ ﺁﺛﺎﺭﹺ ﻣﻴﺮ ﻏﻼﻡ ﻋﻠﯽ ﺁﺯﺍﺩ ﺑﻠﮕﺮﺍﻣﻲ ‪٨٩ //‬‬ ‫ﺁﺛﺎﺭ‬ ‫ﭼﻨﺪ ﺍﺛﺮ ﺍﺯ ﺍﻭ ﺑﻪ ﻳﺎﺩﮔﺎﺭ ﻣﺎﻧﺪﻩ ﺍﺳﺖ ﮐﻪ ﻣﻬﻢﺗﺮﻳﻦ ﺁﻧﻬﺎ ﺑﻪ ﻗﺮﺍﺭ ﺯﻳﺮ ﻣﻲﺑﺎﺷﺪ‪.‬‬ ‫‪ .١‬ﺩﻳﻮﺍﻥ ﺣﺎﻓﻆ ﺷﻴﺮﺍﺯﻱ‪ ،‬ﺗﺼﺤﻴﺢ ﺍﺯ ﺭﻭﯼ ‪ ١٢‬ﻧﺴﺨﺔ ﺧﻄﹼﯽ ﺩﻳﻮﺍﻥ ﺣﺎﻓﻆ‪ ،‬ﺩﺭ ‪ ١٧٩١‬ﻡ‪.‬‬ ‫‪ .٢‬ﺗﺬﮐﺮﻩ ﺧﻼﺻﺔﺍﻻﻓﮑﺎﺭ‪ ،‬ﺳﺎﻝ ﺗﮑﻤﻴﻞ ‪ ١٢٠٧‬ﻫ ﭼﺎﭖ ﻧﺸﺪﻩ ﺍﺳﺖ‪.‬‬ ‫‪ .٣‬ﺗﻔﻀﻴﺢﺍﻟﻐﺎﻓﻠﻴﻦ‪ ،‬ﺩﺭ ﺫﮐﺮ ﻭﻗﺎﻳﻊ ﺯﻣﺎﻥ ﻧﻮﺍﺏ ﺁﺻﻒﺍﻟﺪﻭﻟﻪ ﺩﺭ ‪ ١٢١١‬ﻫ‪ ١٧٩٧ /‬ﻡ‪ W. Hoey .‬ﺁﻥ ﺭﺍ‬ ‫ﺑﻪﺍﻧﮕﻠﻴﺴﯽ ﺗﺮﺟﻤﻪ ﮐﺮﺩﻩ‪ .‬ﺩﮐﺘﺮ ﻋﺎﺑﺪﺭﺿﺎ ﺑﻴﺪﺍﺭ ﻣﺘﻦ ﺁﻥ ﺭﺍ ﺩﺭ ‪ ١٩٦٥‬ﻡ‪ .‬ﺩﺭ ﺩﻫﻠﯽ ﺑﻪﭼﺎﭖ ﺭﺳﺎﻧﺪﻩ‬ ‫ﺍﺳﺖ ﻭ ﺩﮐﺘﺮ ﺛﺮﻭﺕ ﻋﻠﯽ ﺑﻪ ﺍﺭﺩﻭ ﺗﺮﺟﻤﻪ ﻭ ﺩﺭ ‪ ١٩٨٦‬ﻡ ﺩﺭ ﺩﻫﻠﯽ ﻣﻨﺘﺸﺮ ﮐﺮﺩﻩ ﺍﺳﺖ‪ .‬ﺗﺮﺟﻤﺔ ﺍﺭﺩﻭ‬ ‫»ﺗﺎﺭﻳﺦ ﺁﺻﻔﻲ« ﻧﺎﻡ ﺩﺍﺭﺩ‪.‬‬ ‫‪ .٤‬ﻣﺴﻴﺮ ﻃﺎﻟﺒﯽ ﻓﯽ ﺑﻼﺩ ﺍﻓﺮﻧﺠﯽ‪ ،‬ﺳﺎﻝ ﺗﺄﻟﻴﻒ ‪ ١٢١٩‬ﻫ ﺍﻳﻦ ﺍﺛﺮ ﻣﻌﺮﻭﻑﺗﺮﻳﻦ ﺍﺛﺮ ﺍﺑﻮﻃﺎﻟﺐ ﻣﺤﺴﻮﺏ‬ ‫ﻣﻲﺷﻮﺩ‪ .‬ﮐﺘﺎﺏ ﺷﺎﻣﻞ ﺷﺮﺡ ﺳﻔﺮﻫﺎﯼ ﭘﻨﺞ ﺳﺎﻟﺔ ﻣﺆﻟﹼﻒ )ﺍﺯ ‪ ١٢١٣‬ﻫ ﺗﺎ ‪ ١٢١٨‬ﻫ( ﺍﺯ ﮐﺸﻮﺭﻫﺎﻱ‬ ‫ﺍﺭﻭﭘﺎ ﻭ ﺍﻓﺮﻳﻘﺎ ﻣﻲﺑﺎﺷﺪ‪ .‬ﺍﻳﻦ ﮐﺘﺎﺏ ﺑﻪ ﺍﺭﺩﻭ ﺗﺮﺟﻤﻪ ﮔﺮﺩﻳﺪﻩ‪ .‬ﺁﻗﺎﻱ ﺩﮐﺘﺮ ﻋﺘﻴﻖ ﺍﺣﻤﺪ ﺻﺪﻳﻘﻲ‬ ‫ﺗﻠﺨﻴﺺ ﺁﻥ ﺭﺍ ﺑﻪ ﺍﺭﺩﻭ ﺩﺭ ﻣﺠﻠﹼﻪ ﺁﺟﮑﻞ‪ ،‬ﺩﻫﻠﻲ )ﻣﺎﻩ ﻣﻪ ﻭ ﮊﻭﺋﻴﻪ ‪ ١٩٧٩‬ﻡ( ﺑﻪ ﭼﺎﭖ ﺭﺳﺎﻧﺪﻩ ﺍﺳﺖ‪.‬‬ ‫‪ .٥‬ﺭﺳﺎﻟﻪﻫﺎﯼ ﻣﺘﻌﺪﺩ ﻭ ﺩﻳﻮﺍﻥ ﺍﺷﻌﺎﺭ‬ ‫ﺍﺑﻮﻃﺎﻟﺐ ﺧﺎﻥ ﺗﻨﻬﺎ ﺗﺬﮐﺮﻩﻧﻮﻳﺴﻲ ﺍﺳﺖ ﮐﻪ ﺑﺮ ﺁﺯﺍﺩ ﺗﺎﺧﺘﻪ ﻭ ﻭﻱ ﺭﺍ ﺑﻪ ﺑﺎﺩ‪ ‬ﺍﻧﺘﻘﺎﺩ ﮐﺸﻴﺪﻩ ﺍﺳﺖ ﻭ‬ ‫ﺣﺘﻲ ﻣﻮﺭﺩ ﺗﻤﺴﺨﺮ ﻗﺮﺍﺭ ﺩﺍﺩﻩ ﺍﺳﺖ‪.١‬‬ ‫ﻧﺴﺨﻪﻫﺎﻱ ﺧﻄﻲ ﺩﻳﻮﺍﻥ ﻓﺎﺭﺳﻲ ﺁﺯﺍﺩ ﺑﻠﮕﺮﺍﻣﻲ‬ ‫ﭼﻨﺪ ﺗﺎ ﻧﺴﺨﻪ ﺍﺯ ﺩﻳﻮﺍﻥ ﻓﺎﺭﺳﻲ ﺁﺯﺍﺩ ﺑﻠﮕﺮﺍﻣﻲ ﺩﺭ ﮐﺘﺎﺑﺨﺎﻧﻪﻫﺎﻱ ﮔﻮﻧﺎﮔﻮﻥ ﺩﺭ ﻫﻨﺪ ﻭ ﭘﺎﮐﺴﺘﺎﻥ ﻭ ﺍﺭﻭﭘﺎ‬ ‫ﻧﮕﻬﺪﺍﺭﻱ ﻣﻲﺷﻮﺩ ﻭ ﺑﺮﺍﻱ ﺁﮔﺎﻫﻲ ﺑﻴﺸﺘﺮ ﻣﻲﺗﻮﺍﻥ ﺍﺯ ﮐﺘﺎﺏ ﻧﮕﺎﺭﻧﺪﻩ ﺑﻪ ﻋﻨﻮﺍﻥ ﺍﺣﻮﺍﻝ ﻭ ﺁﺛﺎﺭ ﻣﻴﺮ ﻏﻼﻡ‬ ‫ﻋﻠﻲ ﺁﺯﺍﺩ ﺑﻠﮕﺮﺍﻣﻲ‪ ،‬ﭼﺎﭖ ﺍﻧﺘﺸﺎﺭﺍﺕ ﻣﻮﻗﻮﻓﺎﺕ ﺩﮐﺘﺮ ﻣﺤﻤﻮﺩ ﺍﻓﺸﺎﺭ ﺗﻬﺮﺍﻥ‪ ١٣٨٤ ،‬ﻫ ﺵ‪ ٢٠٠٥/‬ﻡ ﺍﺯ ﺹ‬ ‫‪ ٢٣٣‬ﺗﺎ ‪ ٢٣٦‬ﺭﺟﻮﻉ ﮐﺮﺩ‪.‬‬ ‫ﻣﻌﺮﻓﻲ ﻧﺴﺨﻪﻫﺎﻱ ﺧﻄﻲ ﺩﻳﻮﺍﻥ ﺁﺯﺍﺩ ﮐﻪ ﻣﻮﺭﺩ ﺍﺳﺘﻔﺎﺩﻩ ﻗﺮﺍﺭ ﮔﺮﺩﻳﺪﻩ ﺑﻪ ﺷﺮﺡ ﺯﻳﺮ ﺍﺳﺖ‪.‬‬ ‫‪ .١‬ﻧﺴﺨﺔ ﺧﻄﹼﻲ ﮐﺘﺎﺑﺨﺎﻧﺔ ﮔﻨﺞ ﺑﺨﺶ‪ ،‬ﺍﺳﻼﻡﺁﺑﺎﺩ )ﭘﺎﮐﺴﺘﺎﻥ(‪ .‬ﺍﻳﻦ ﻧﺴﺨﻪ ﻗﺪﻳﻤﻲﺗﺮﻳﻦ ﻧﺴﺨﻪ ﺑﻮﺩ ﮐﻪ ﺩﺭ‬ ‫ﺩﺳﺖ ﺩﺍﺷﺘﻢ ﻭ ﺑﻪ ﻋﻨﻮﺍﻥ ﻧﺴﺨﺔ ﺍﺳﺎﺱ ﺍﺯ ﺁﻥ ﺍﺳﺘﻔﺎﺩﻩ ﮐﺮﺩﻩﺍﻡ‪ .‬ﺷﻤﺎﺭﺓ ﺁﻥ ‪ ١٠٩٣٦‬ﺑﻪ ﺧﻂ ﻧﺴﺘﻌﻠﻴﻖ‬ ‫‪ .١‬ﺭﮎ ﺑﻪ‪ :‬ﺗﺬﮐﺮﻩﻧﻮﻳﺴﻲ ﻓﺎﺭﺳﻲ ﺩﺭ ﻫﻨﺪ ﻭﭘﺎﮐﺴﺘﺎﻥ‪.۲۶۶-۶۷ ،‬‬

‫‪ // ٩٠‬ﮐﻠﻴ‪‬ﺎﺕ‪ ‬ﺁﺯﺍﺩ ﺑﻠﮕﺮﺍﻣﻲ‬ ‫ﺧﻮﺍﻧﺎ‪ ،‬ﻧﻮﺷﺘﺔ ‪ ١١٦٢‬ﻩ‪ ١٧٤٨-٤٩/‬ﻡ‪ ،‬ﺩﺍﺭﺍﻱ ‪ ٣١٨‬ﺑﺮﮒ ﻭ ‪ ٦٣٦‬ﺹ‪ ،‬ﻫﺮ ﺻﻔﺤﻪ ‪ ١٥‬ﺳﻄﺮﻱ‪ .‬ﻳﮏ‬ ‫ﺑﺮﮒ ﺩﺭ ﺁﻏﺎﺯ ﺍﻓﺘﺎﺩﻩ ﺍﺳﺖ‪.‬‬ ‫ﺁﻏﺎﺯ‪:‬‬ ‫ﺍﻣﺮﻭﺯ ﻣﺪﺡ ﮔﺴﺘﺮﹺ ﻣﺎ ﮐﻴﺴﺖ ﺍﺯ ﻗﻠـﻢ ﺩﻡ ﻣﻲﺯﻧﺪ ﺯ ﺟﻮﻫﺮ ﻣﺎ ﺫﻭﺍﻟﻔﻘـﺎﺭ ﻣـﺎ‬ ‫ﭘﺎﻳﺎﻥ‪:‬‬ ‫ﺑﻨﺸــﻴﻨﻢ ﻭ ﺍﺯ ﺗــﻮ ﮔﻮﺷــﻪ ﮔﻴــﺮﻡ ﻧﺎﻣـــﺖ ﻧﺒـــﺮﻡ ﺍﮔـــﺮ ﺑﻤﻴـــﺮﻡ‬ ‫)ﺗﺮﺟﻴﻊﺑﻨﺪ(‬ ‫ﺑﻌﻮﻥ ﻣﻠﮏ ﺍﻟﻤﻨﺎﻥ ﺑﺎﺧﺘﺘﺎﻡ ﺭﺳﺎﻧﻴﺪ ﻧﺴﺨﻪ ﺭﺍ ﺑﻨﺪﻩ ﺁﻝ ﻃﻪ ﻭ ﻳﺴﻴﻦ‪ ١١٦٦ “١‬ﻫ‬ ‫ﺩﺍﺭﺍﻱ ﻏﺰﻟﻴﺎﺕ‪ ،‬ﻧﻌﺖ‪ ،‬ﻣﺜﻨﻮﻱﻫﺎ‪ ،‬ﺗﻀﻤﻴﻦﻫﺎ‪ ،‬ﺭﺑﺎﻋﻲﻫﺎ‪ ،‬ﻗﺼﻴﺪﻩﻫﺎ‪ ،‬ﻣﺎﺩﻩ ﺗﺎﺭﻳﺦﻫﺎ…‬ ‫‪ .٢‬ﻧﺴﺨﺔ ﮐﺘﺎﺑﺨﺎﻧﺔ ﻣﺠﻠﺲ ﺷﻮﺭﺍﻱ ﺍﺳﻼﻣﻲ )ﺳﻨﺎﻱ ﺳﺎﺑﻖ( ﺗﻬﺮﺍﻥ‪ ،‬ﺍﻳﺮﺍﻥ‪ .‬ﺷﻤﺎﺭﻩ ‪ ،٦٦٢‬ﻧﺴﺘﻌﻠﻴﻖ ﺧﻮﺍﻧﺎ‪،‬‬ ‫ﻋﻨﻮﺍﻥﻫﺎ ﻭ ﺗﺨﻠﺺ ﺷﻨﮕﺮﻑ‪ ،‬ﺑﺎ ﻳﺎﺩﺩﺍﺷﺖ ﺳﻴﺪ ﻋﻠﻲ ﺍﺻﻐﺮ ﺣﺴﻴﻨﻲ ﻭﺍﺳﻄﻲ ﺑﻠﮕﺮﺍﻣﻲ ﺩﺭ ‪ ١٣٣٠‬ﻫ‪/‬‬ ‫‪ ١٩١١-١٢‬ﻡ‪ ،‬ﺩﺭ ﺁﻏﺎﺯ ﻧﺴﺨﻪ ﻭ ﭼﻬﺎﺭ ﺻﻔﺤﻪ ﺩﺭ ﭘﺎﻳﺎﻥ ﻧﻮﻧﻮﻳﺲ‪ ،‬ﺩﺭ ‪ ٢٥٤‬ﺑﺮﮒ ﻭ ‪ ٥٠٨‬ﺻﻔﺤﻪ‪،‬‬ ‫ﺍﻧﺪﺍﺯﺩﻩ ‪ ١٧×٨‬ﻭ ‪ ٢٤×٥‬ﺳﻢ‪ .‬ﺑﻪ ﻋﻨﻮﺍﻥ »ﮐﻠﻴﺎﺕ ﻓﺎﺭﺳﻲ ﻣﻴﺮ ﻏﻼﻡ ﻋﻠﻲ ﺁﺯﺍﺩ ﺑﻠﮕﺮﺍﻣﻲ«‬ ‫ﺁﻏﺎﺯ‪:‬‬ ‫ﺑﺮ ﺁﺭ ﺍﺯ ﻣﺪ‪ ‬ﺑﺴﻢ ﺍﷲ ﺗﻴﻎ ﺧـﻮﺵ ﻣﻘـﺎﻟﻲ ﺭﺍ ﻣﺴﺨﹼﺮ ﮐﻦ ﺳـﻮﺍﺩ‪ ‬ﺍﻋﻈـﻢ ﻧـﺎﺯﮎﺧﻴـﺎﻟﻲ ﺭﺍ‬ ‫ﭘﺎﻳﺎﻥ‪:‬‬ ‫ﺷــﻤ‪‬ﺎﻉ ﺧــﺮﺩ ﭼــﺮﺍﻍ ﺗــﺎﺭﻳﺦ ﺍﻓﺮﻭﺧﺘﻪ »ﺧﻮﺍﺏﮔﺎﻩ ﺭﻭﺷـﻦ«‬ ‫ﺗﺎﺭﻳﺦ ﻭﻓﺎﺕ ﻣﻴﺮ ﺁﺯﺍﺩ ﺍﺯ ﺳﻠﻄﺎﻥ ﻋﺎﻟﻢ ﻣﺎﺭﻫﺮﻭﻱ‪» :‬ﺁﻩ ﻏﻼﻡ ﻋﻠﻲ ﺁﺯﺍﺩ = ‪ ۱۲۰۰‬ﻫ«‬ ‫ﺷﺎﻣﻞ ﻏﺰﻟﻴﺎﺕ‪ ،‬ﻗﻄﻌﺎﺕ‪ ،‬ﺭﺑﺎﻋﻴﺎﺕ‪ ،‬ﻗﺼﺎﻳﺪ‪ ،‬ﺗﻀﻤﻴﻦﻫﺎ‪ ،‬ﻧﻌﺖ‪ ،‬ﻣﺜﻨﻮﻳﺎﺕ ﻭ ﻣﺎﺩﻩ ﺗﺎﺭﻳﺦﻫﺎ…‪٢‬‬ ‫ﺩﺭ ﺁﻏﺎﺯ ﻧﺴﺨﻪ ﮔﺮﺩﺁﻭﺭﻧﺪﻩ ﺁﻗﺎﻱ ﺳﻴﺪ ﻋﻠﻲ ﺍﺻﻐﺮ ﺣﺴﻴﻨﻲ ﻭﺍﺳﻄﻲ ﺑﻠﮕﺮﺍﻣﻲ ﺍﻣﻀﺎﻱ ﺧﻮﺩ ﺭﺍ ﺑﺎ‬ ‫ﺗﺎﺭﻳﺦ ‪ ١٣٤٠‬ﻫ ﺛﺒﺖ ﻧﻤﻮﺩﻩ ﺍﺳﺖ ﺳﭙﺲ ﺑﺎ ﺧﻂ ﺧﻮﺩ ﺩﺭ ﺳﻪ ﺻﻔﺤﻪ ﺷﺮﺡ ﺍﺣﻮﺍﻝ ﺷﺎﻋﺮ ﺭﺍ ﺍﺯ ﮐﺘﺎﺏ‬ ‫ﺭﻭﺿﺔﺍﻻﻭﻟﻴﺎ ﮐﻪ ﺗﺄﻟﻴﻒ ﺁﺯﺍﺩ ﺑﻠﮕﺮﺍﻣﻲ ﺍﺳﺖ‪ ،‬ﺁﻭﺭﺩﻩ ﺍﺳﺖ‪ .‬ﺩﺭ ﻻ ﺑﻪ ﻻﻱ ﻧﺴﺨﻪ ﺁﻗﺎﻱ ﺳﻴﺪ ﻋﻠﻲ ﺍﺻﻐﺮ‬ ‫ﺑﻠﮕﺮﺍﻣﻲ ﺗﻮﺿﻴﺤﺎﺗﻲ ﻳﺎ ﻣﻌﻨﻲ ﻭﺍﮊﻩﻫﺎﻱ ﺛﻘﻴﻞ ﻭ ﻏﺮﻳﺐ ﻳﺎ ﻋﺮﺑﻲ ﻳﺎ ﺍﺷﺎﺭﻩﺍﻱ ﮐﻪ ﺷﺎﻋﺮ ﺑﻪ ﻃﺮﻑ ﺁﻳﺎﺕ‬ ‫‪ .١‬ﺭﮎ‪ .‬ﺑﻪ‪ :‬ﻓﻬﺮﺳﺖ ﻣﺸﺘﺮﮎ ‪.۱۱۵۳/۸‬‬ ‫‪ .٢‬ﻓﻬﺮﺳﺖ ﮐﺘﺎﺑﺨﺎﻧﺔ ﻣﺠﻠﺲ )ﺳﻨﺎﻱ ﺳﺎﺑﻖ( ‪.۱۰/۲‬‬

‫ﻣﻘﺪ‪‬ﻣﻪ ﺩﺭ ﺍﺣﻮﺍﻝ ﻭ ﺁﺛﺎﺭﹺ ﻣﻴﺮ ﻏﻼﻡ ﻋﻠﯽ ﺁﺯﺍﺩ ﺑﻠﮕﺮﺍﻣﻲ ‪٩١ //‬‬ ‫ﻗﺮﺁﻧﻲ ﻳﺎ ﺍﺣﺎﺩﻳﺚ ﺩﺍﺭﺩ ﺁﻭﺭﺩﻩ ﺍﺳﺖ‪ .‬ﺑﻨﺪﻩ ﺑﺎ ﻣﻼﺣﻈﺔ ﻧﺴﺨﻪﻫﺎﻱ ﺩﻳﮕﺮ ﺑﻪ ﺍﻳﻦ ﻧﺘﻴﺠﻪ ﺭﺳﻴﺪﻡ ﮐﻪ ﺍﻳﻦ‬ ‫ﮔﻮﻧﻪ ﺗﻮﺿﻴﺤﺎﺕ ﺩﺭ ﻧﺴﺨﻪﻫﺎﻱ ﺁﺻﻔﻴﻪ ﻭ ﺳﺎﻻﺭﺟﻨﮓ ﻫﻢ ﺩﻳﺪﻩ ﻣﻲﺷﻮﺩ ﻭ ﻣﺨﺼﻮﺹ ﺁﻗﺎﻱ ﻋﻠﻲ ﺍﺻﻐﺮ‬ ‫ﺑﻠﮕﺮﺍﻣﻲ ﻧﻴﺴﺖ ﺑﻠﮑﻪ ﺧﻮﺩ ﺷﺎﻋﺮ ﺩﺭ ﻧﺴﺨﺔ ﺷﺨﺼﻲ ﺍﻳﻦ ﺗﻮﺿﻴﺤﺎﺕ ﺭﺍ ﺁﻭﺭﺩﻩ ﺑﺎﺷﺪ ﻭ ﮐﺎﺗﺒﺎﻥ ﺍﻳﻦ‬ ‫ﺗﻮﺿﻴﺤﺎﺕ ﺭﺍ ﺩﺭ ﺭﻭﻧﻮﻳﺴﯽ ﻧﺴﺨﻪﻫﺎ ﻧﻘﻞ ﮐﺮﺩﻩﺍﻧﺪ ﺍﻣﺎ ﺗﻮﺿﻴﺤﺎﺗﻲ ﮐﻪ ﻣﺨﺼﻮﺹ ﺑﻪ ﺁﻗﺎﻱ ﺳﻴﺪ ﻋﻠﻲ‬ ‫ﺍﺻﻐﺮ ﺑﻠﮕﺮﺍﻣﻲ ﺍﺳﺖ ﺩﺭ ﭘﺎﻧﻮﻳﺲ ﺑﺎ ﻧﺎﻡ ﺍﻭ »ﺍﺻﻐﺮ« ﺛﺒﺖ ﮔﺮﺩﻳﺪﻩ ﻭ ﺍﮔﺮ ﺗﻮﺿﻴﺤﺎﺗﻲ ﮐﻪ ﺩﺭ ﻫﻤﻪ ﻧﺴﺨﻪ‬ ‫ﺁﻣﺪﻩ ﺩﺭ ﺍﻳﻦ ﺻﻮﺭﺕ ﺁﻥ ﺭﺍ ﻫﻢ ﻧﺸﺎﻥ ﺩﺍﺩﻩ ﺷﺪﻩ ﺍﺳﺖ‪ .‬ﺩﺭ ﺁﺧﺮ ﻧﺴﺨﻪ ﺍﻳﻦ ﻋﺒﺎﺭﺕ ﻫﻢ ﺩﻳﺪﻩ ﻣﻲﺷﻮﺩ‪:‬‬ ‫”ﺗﮑﻤﻠﺔ ﺍﻳﻦ ﺩﻳﻮﺍﻥ ﻭ ﺣﻮﺍﺷﻲ ﺭﻗﻢﺯﺩﺓ ﺣﻘﻴﺮ ﺳﻴﺪ ﻋﻠﻲ ﺍﺻﻐﺮ ﺑﻠﮕﺮﺍﻣﻲ ﺍﺳﺖ“‪.‬‬ ‫ﺳﭙﺲ ﺩﺭ ﺩﻭ ﺻﻔﺤﻪ ﻫﻢ ﺑﻪ ﻗﻠﻢ ﻫﻤﺎﻥ ﻋﻠﻲ ﺍﺻﻐﺮ ﺑﻠﮕﺮﺍﻣﻲ‪ ،‬ﻗﻄﻌﻪ ﻣﻴﺮ ﺁﺯﺍﺩ ﻣﺘﻀﻤﻦ ﺗﺎﺭﻳﺦ ﺷﻬﺎﺩﺕ‬ ‫ﺭﮐﻦﺍﻟﺪﻭﻟﻪ ﺍﺣﺘﺸﺎﻡ ﺟﻨﮓ ﻣﻴﺮ ﻣﻮﺳﻲ ﺧﺎﻥ ﻭﺯﻳﺮ ﺍﻋﻈﻢ ﻧﻮﺍﺏ ﺁﺻﻒﺟﺎﻩ‪:‬‬ ‫ﺭﮐـﻦﺍﻟﺪﻭﻟـﻪ ﺍﻣﻴـﺮ ﺑـﺎ ﻓـﻴﺾﺭﺳـﺎ ﻧﻮﺷـﻴﺪ ﺯ ﺳـﺎﻏﺮ ﺷـﻬﺎﺩﺕ ﺻـﻬﺒﺎ‬ ‫ﺗﺎﺭﻳﺦ ﺷﻬﺎﺩﺗﺶ ﺳﺮﻭﺷـﻲ ﻓﺮﻣـﻮﺩ ﺑـﺂﻩ ﺩﻭ ﺑــﺎﺭ ﹶﺧــﺮ‪ ‬ﻣﻮﺳــﻲ ﺻــﻌﻘﺎ‬ ‫‪ ١١٨٩‬ﻫ‬ ‫ﺍﺯ ﻣﻴﺮ ﺁﺯﺍﺩ‪ :‬ﺗﺎﺭﻳﺦ ﺭﺣﻠﺖ ﺻﻤﺼﺎﻡﺍﻟﻤﻠﮏ ﺷﺎﻫﻨﻮﺍﺯ ﺧﺎﻥ ﺑﻬﺎﺩﺭ ﺻﺎﺣﺐ ﻣﺂﺛﺮﺍﻻﻣﺮﺍ‪:‬‬ ‫ﺍﻓﺴـﻮﺱ ﺭﻓـﺖ ﺍﻣﻴـﺮ ﻋـﺎﻟﻲ ﮔــﻮﻫﺮ ﺩﻳﻮﺍﻥ ﺩﮐﻦ ﺻﺎﺣﺐ ﺻﺪ ﻓﻀﻞ ﻭ ﻫﻨﺮ‬ ‫ﺗــﺎﺭﻳﺦ ﻭﻓــﺎﺕ ﺍﻳــﻦ ﺍﻣﻴــﺮ ﺩﺍﻧــﺎ ﺻﻤﺼﺎﻡﺍﻟﻤﻠﮏ ﻋﻘﻞ ﮐـﻞ ﮐـﺮﺩ ﺳـﻔﺮ‬ ‫‪ ١١٩٦‬ﻫ‬ ‫ﻣﺴﺘﺰﺍﺩ ﺍﻳﻀﺎﹰ‪:‬‬ ‫ﺩﻳﻮﺍﻥ ﺩﮐﻦ ﺍﻣﻴﺮ ﺻـﺎﺣﺐ ﺍﺣﺴـﺎﻥ ﺻﻤﺼــﺎﻡﺍﻟﻤﻠــﮏ‬ ‫ﺩﺭ ﻓﻀﻞ ﻭ ﻫﻨﺮ ﺯﺑـﺪﺓ ﺩﺍﻧﺸـﻤﻨﺪﺍﻥ ﺻﻤﺼــﺎﻡﺍﻟﻤﻠــﮏ‬ ‫ﺗﺎﺭﻳﺦ ﻭﻓﺎﺗﺶ ﺳﺤﺮﻱ ﺷﺒﻨﻢ ﮔﻔﺖ ﮔﺮﻳـــﺎﻥ ﮔﺮﻳـــﺎﻥ‬ ‫ﺻﺪ ﺣﻴﻒ ﻭﺩﺍﻉ ﮐﺮﺩ ﮔﻠﺰﺍﺭ ﺟﻬﺎﻥ ﺻﻤﺼــﺎﻡﺍﻟﻤﻠــﮏ‬ ‫ﺩﺭ ﺁﺧﺮ ﻧﺴﺨﻪ ﭼﻬﺎﺭ ﺳﻄﺮ ﺑﻪ ﺯﺑﺎﻥ ﺍﺭﺩﻭ ﺳﭙﺲ ﻗﻄﻌﺔ ﻣﻴﺮ ﺁﺯﺍﺩ ﺑﺮ ﻭﻓﺎﺕ ﺷﻴﺦ ﻋﻠﻲ ﺣﺰﻳﻦ‪ ،‬ﺁﻣﺪﻩ‬ ‫ﺍﺳﺖ ﻭ ﺍﻳﻨﺠﺎ ﻧﺴﺨﻪ ﭘﺎﻳﺎﻥ ﻣﻲﭘﺬﻳﺮﺩ‪.‬‬ ‫‪ .٣‬ﻧﺴﺨﺔ ﮐﺘﺎﺑﺨﺎﻧﺔ ﺁﺻﻔﻴﻪ‪ ،‬ﺣﻴﺪﺭﺁﺑﺎﺩ ﺑﻪ ﺷﻤﺎﺭﻩ ‪ ٨٣٠‬ﮐﻪ ﻣﻴﮑﺮﻭﻓﻴﻠﻢ ﺁﻥ ﺩﺭ ﻣﺮﮐﺰ ﻣﻴﮑﺮﻭﻓﻴﻠﻢ ﻧﻮﺭ ﺩﺭ‬ ‫ﺩﻫﻠﻲ ﻣﻮﺟﻮﺩ ﺍﺳﺖ‪ ،‬ﺑﻪ ﺧﻂ ﻧﺴﺘﻌﻠﻴﻖ ﺧﻮﺵ ﺩﺭ ‪ ٤١٦‬ﺻﻔﺤﻪ ﺑﻪ ﻋﻨﻮﺍﻥ ﺩﻳﻮﺍﻥ ﺁﺯﺍﺩ ﺑﻠﮕﺮﺍﻣﻲ‬ ‫ﻣﺮﺣﻮﻡ ﻧﮕﻬﺪﺍﺭﻱ ﻣﻲﺷﻮﺩ ﺍﻟﺒﺘﻪ ﻧﺎﻡ ﮐﺎﺗﺐ ﻭ ﺗﺎﺭﻳﺦ ﮐﺘﺎﺑﺖ ﻧﺪﺍﺭﺩ‪.‬ﻏﺰﻟﻴﺎﺕ ﺑﻪ ﺗﺮﺗﻴﺐ ﺣﺮﻭﻑ ﺗﻬﺠﻲ‬