The double face of “Motreb” in Persian literature (with an emphasis on mystical literature until the 8th century)

In a large part of Persian literature, especially poetry, the type of “Motreb” has a prominent presence. Iranian poetic memory familiar with classical literature (Saadi, Hafez and Molavi) finds a magnificent image of him, but in the language of the society, we notice the derogatory meaning of "Motreb". This research seeks to show signs of this dual encounter with the poet even in ancient Iranian culture by examining famous literary texts up to the 8th century, and then clarify the source of this contradictory confrontation. This research was done in a descriptive-analytical way with a library source. The abundance of literary sources has forced researchers to focus on the important texts. The results of the research show that in a part of mystic literature, Motreb does not have a very honorable face, but in other genres, his face is radiant and valuable. What has created a negative image from Motreb in the Zohd and Sufi literature, in addition to the influence of religious texts, is the conflation of the Motreb with the corrupting edges of the carousal songs.
Extended Abstract

Introduction

The word “Motreb” which in dictionary books means “a singer, a miner, a musician and a dancer” (Dehkhoda; below the entry), itself and its synonyms can be seen in many proverbs, which show the level of presence, importance and its source is in culture and society. However, in the common language and culture of Iranians today, in addition to the common musical meaning, this word also has a derogatory meaning (Nasri Ashrafi, 2004: Vol. 3, 62) in a way that evokes the clown and the joker of parties. But in Persian literature, its dominant face is glorious and sometimes heavenly. The honorable position of Barbad in ancient history and Ostad Shajarian in the contemporary Iranian mind cannot be combined with this derogatory meaning. Still, the meaning of "singer" is so humiliating that we don't want to call these elders by this title. We have signs of the background of this negative image in Persian literature. It is as if what they said about "Loli and Gypsy" (reference: Zulfiqari, 1400: 158) is also true about "Motreb"; In literature, they think of its beauty and positive image, but in public culture, its unrestrainedness. This mixing of the concept of loli and motreb is because there were groups of loli/motreb until the end of Qajar who disguised themselves as women and performed erotic dances and plays. (Fatemi, 2013: 259) The involvement of this group in musical instruments and singing has caused the disparagement of the whole group of musicians with titles such as "Tarab crew" by the opponents. (Lotfi, 2021: 337 and 381) This article seeks to explain how and why these two times have a glorious and humiliating meaning in classical texts.

Research methodology

This research has been done by descriptive-analytical and content analysis methods. Its statistical scope is the important old texts of Persian literature up to the 8th century of Hijri. After extracting the word motreb and its meanings in literary genres, we described the paradoxical treatment of authors with motreb. Then we analyzed this double exposure with regard to different water bodies.

Discusstion

In the Shahnameh and Nezami Ganjavi's works, many singers are mentioned: Barbad, Nakissa, Sarkash, Azadvar, etc. They are among the most popular servants of the court and can be seen in private, traveling and in the company of kings. Their economic base, as a result of their wealth of generous gifts, makes them respectable in the eyes of the people. This valuable position can be considered as the continuation of their heavenly base and their spiritual role in mythology and ancient religions in such a way that their images can be found in the stone carvings of the temples of most of the ancient religions of the Middle East. (Ref.: Seibert, 1999, 30; Pope, 1998: vol.6, 3238) Music and singing were an integral part of ancient Iranian religious temples, and the Avesta was sung. So, from this time, its connection with divinity also appears.
The organization and court traditions of the Islamic period of Iran were in many parts the continuation of the Sassanid period. Here too, the eunuchs are among the special servants of the court and always accompany the emirs. But their base never has the glory of Barbad. Their obligation is much lower than other servants (such as poets). (Hajarian, 2018: 200) Sometimes, in local courts, singers are put on the same level as playboys and clowns, and the same ugly and humiliating treatment is done to them. (Ref: Masoud Saad, 2005: 466-471) In the society, due to the dominance of jurisprudential and legalistic views on singing, they are not very well-educated in such a way that they have to study music secretly. (Binesh, 2010: 95 and 121) With the dominance of this view, the geniuses of the society do not have much desire to be present in the field of music, especially its practical and executive part. So, the arena is empty of waste and their place is taken by itinerant Gypsies. It is natural that under such conditions, educational literature prevents children and teenagers from entering the field of this art. (Saadi, 1999: 403).
This double encounter reaches its peak in mystical literature. In some of the ascetic and scholastic Sufi texts, it is said that a poet who is carrying a burden of sin must repent from the poet in order to enter the field of conduct. In more than twenty Sufi stories in texts such as Tabaqat al-Sufiyyah, Kashf al-Asrar, Kashf al-Mahjub, and Tazkereh al-Awliya and even Asrar al-Tawheed, the theme of "repentance from the Prophet" can be seen. This is due to the dominance of jurisprudential discourse on this part of Sufi texts. But at the same time, in many mystical texts and poems that are influenced by the mysticism based on drunkenness (Sokr) and Happiness of Khorasan (Mayer, 1999: 158), in the poems of Sanai, Attar, Rumi and Hafez Motreb, there is a mysterious and heavenly sound that tears the veil. Intervals are made, and the remedies are based on jumping and hearing and returning to the origin of the heavenly sounds.

Conclusion

One of the typical characters in Classic Persian literary texts is “Motreb”. This character has a contradictory appearance in different genres and texts and even in the words of a specific poet. In this research, by looking at the background of this character, we tried to explain how this duality was formed and why. In Iran's epic literature based on mythology, Rameshgar has a noble face. This grace is due to the emphasis on happiness in ancient Iranian culture and its sanctity. Celebrations are accompanied by processions and ritual processions. Minerva appears to be so valuable that sometimes it is a heavenly gift in the reward of good deeds. This kindness is sometimes damaged in court etiquette due to the mixing of the qualities of the poet with the gypsy and the gypsy. In mystical literature, because first of all religious drinking water, wine, dancing, and talking of people are prohibited, and secondly, the association of a singer and a drunkard, and the dance of a bartender and a drunkard, are inseparable. To enter the world of meaning, the drunken singer of taverns must break the manifestations of immorality. But other source brings mysticism, happiness and dance (sama') into his speech due to valuing joy and happiness. They distinguish between sur and music, and the manifestations of immorality, and they re-sanctify the singer and his unseen songs. In didactic literature, “Motreb” does not have a significant appearance. This contempt and sanctity of the word “singer” has continued throughout the history of Persian literature and among [at least] a part of the general mass of Iranians.

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