تحلیل مناظره با آلات بزم در ساقی‌نامۀ فضولی بغدادی

Muhammad bin Suleyman, known as Fuzuli, was a Shiite poet of the 16th century who composed poems in Azeri Turkish, Persian, and Arabic. He lived during the reign of the Safavid Shah-Tahmasb and the Ottoman Sultan-Murad. Fuzuli's reputation is primarily in the Turkish literature. His well-known work, Sāqīnāmah, includes 320 verses divided into an introduction and seven sections, which contain a debate among musical instruments such as Ney, Daf, Oud, Tanbur, and Qanun, culminating in a talk with the musician himself. The issue of music and its instruments during the Safavid era, the religious and social attitudes towards them, and the presumed character of each instrument at that time are significant topics for research in this piece. Fuzuli's wavering stance on musical instruments and how his religious beliefs influenced his views on music are among the findings of studying Sāqīnāmah. After three hundred verses describing the pleasures of feasting and festivity, along with all the esoteric talks regarding the instruments, each representing a teaching such as righteousness and selflessness, Fuzuli speaks of the prohibition of these instruments. This paper analyzes Sāqīnāmah using a descriptive-analytical approach and library sources, focusing on its literary and artistic aspects, particularly examining its musical terminology.
Extended abstract
 
1. Introduction
Maulana Muhammad ibn Sulayman, pen name Fuzuli, is one of the prominent poets of the tenth century of the Islamic calendar who has gained a special place in the history of regional literature by creating works in three languages: Azerbaijani, Persian, and Arabic. He should not only be considered an exceptional figure in the Turkish literary tradition, but also an important and influential figure in the field of Persian poetry in the Ottoman Empire. Fuzuli, who according to Masoudiyah (1391: 147) was born in Baghdad and died around 968 or 970 AH, created an artistic connection between the multilingual and multicultural traditions of his era in his poems and created works that are considered important sources for understanding the literary taste and artistic taste of the Ottoman period. Fuzuli Baghdadi’s Persian Saqinama, known as the Saqinama of the Seven Cups, is one of the prominent examples of lyrical literature in Persian and a notable poetic work in connection with music and feasting. This poem is composed in 327 verses and is structured in seven sections or “cups” and has a debate-based structure. In each section, the poet engages in a symbolic, imaginative, and sometimes critical dialogue with one of the common instruments of the feasts of that time, such as the reed, the daf, the harp, the oud, the tambourine, and the qanun. These debates, in addition to the creative structure of the work, are also noteworthy in terms of content, because they contain most of the indicators of lyrical literature. Indicators of lyrical literature include being emotional and sentimental, being romantic and mystical, a sad atmosphere, a negative view of the world, precise descriptions, introspection, and reflection on human weaknesses and moral characteristics (Mushtaq Mehr, 2016: 183-184). On the other hand, mystical and moral themes such as advice to the singer, distrust of instruments, and reflection on the relationship between music and reality also have a central place in this work; as Mohammad Taqi Masoudieh (1391: 147) and Mohammad Taqi Daneshpajouh (1391: 219) have mentioned this work in their lists as an illustrative example of musical compositions with a mystical-literary perspective. Thus, the Saqinameh of the Seven Cups not only has a special place in the tradition of Saqinameh writing, but also plays a prominent role in the continuous discourses with lyrical, mystical, and musical literature. This article, titled "Analysis of the Debate with Festive Instruments in Fuzuli Baghdadi's Saqiname," attempts to examine the poet's view of instruments and the relationships between music, festivities, and religious approach by focusing on the debate structure of this work. In the meantime, it also recognizes the place of Fuzuli's Saqiname in the Persian tradition of Saqiname writing.
 
2. Research Methodology
The present study has examined Fuzuli Baghdadi's Saqinameh using a descriptive-analytical method. Despite several manuscripts of this work in different libraries, the revised version by Hasibeh Mazioglu in the book Divan Farsi Fuzuli was the basis of the researchers' work. The method of collecting information in this article was to write a list and take notes from library sources, which was ultimately accompanied by a qualitative analysis by the researchers.
 
.3. Discussion and Results
The Saqinameh of Fuzuli in the printed version we are examining contains 320 verses, and consists of an introduction, seven sections entitled "The Awakening of the Cup" from the first to the seventh, as well as a debate with the instruments of the ney, daf, harp, oud, tambour, qanun, and finally with the singer himself, which are placed as a dramatic interlude between the sections respectively designated as "The Awakening of the Cup...". Saqinameh of Fuzuli is a mystical-musical poem in which debates between various instruments are used as a means to express mystical and philosophical concepts. In this work, the poet explores themes such as love, asceticism, truth, and spirituality using instruments such as ney, daf, harp, tambour, and qanun. Each of these instruments has specific symbols, and through the dialogues between these instruments, different human characteristics and romantic and spiritual relationships are analyzed. At the beginning of the work, the ney instrument is introduced as a symbol of separation and connection to the beloved. In the debate with the ney, the poet speaks of separation and distance from the beloved and recognizes the ney as a tool for expressing sadness and loneliness. On the other hand, the daf, which reveals the complexities and contradictions of love by playing it, is used in the debates as a sign of suffering and at the same time hope. In the debate with the harp, this instrument is introduced as a representative of emotional and introspective poetic feelings. In the following sections, the debate with the tambourine and the law discusses different levels of spirituality and truth. The tambourine is initially introduced by the poet as a symbol of error and error. The poet sees this instrument as the source of many mistakes and objects to it, arguing that it can somehow cause ignorance of spirituality and truth. But in the sequel, the tambourine itself speaks from other perspectives and defends its position. The tambourine emphasizes that truth is universally hidden in music, and in this regard, the negative view of this instrument changes. In the debate with the law, this instrument is introduced as a symbol of wisdom and silence in the face of the secrets of the world. By playing itself, the law tries to prevent man from endless thoughts and pride and to guide him to an inner truth. In this part, the instrument of the law is placed as a symbol of submission and satisfaction before God and time. Finally, in the debate with the singer, the poet severely criticizes the instruments and emphasizes that instruments cannot in fact represent the original truth. The singer, who is a kind of representative of wisdom and deep understanding, clearly states that instruments are only appearances and tools for expressing feelings and that the real truth is beyond them. The singer emphasizes that inner secrets should be preserved and that one should not easily reveal everything. This part of the work refers to a return to the inner self and the search for the truth hidden in the heart of man. Finally, the poet emphasizes using phrases that only someone who is pure from within can understand the truth and show it in action. In this part, the nosy implicitly recommends inner goodness and avoiding ostentation, and finally finds its way to the core of the law.
 
4. Conclusion
Fuzuli Baghdadi’s Saqinama is a unique work in the Persian Saqinama tradition, which, with its structure centered on a debate between the poet and musical instruments, provides a symbolic and mystical space for a conversation about existence, love, and mystical conduct. By bringing instruments such as the reed, daf, harp, oud, and tambour to life, Fuzuli has made each one represent a human and vocal state to express existential philosophy and the path to liberation, thus transforming the language of music into a channel for explaining mystical concepts. At the climax of the work, the singer, as the last speaker, questions all previous conversations and characters, calling the instruments revealing and disloyal. This sudden tonal shift indicates the poet’s internal conflict between the charms of music and religious considerations. This transformation not only surprises the reader, but also indicates the complexity of the poet's thought and the conflict between mystical and ethical traditions in his cultural context. In this poem, Fuzuli has used music not as an independent knowledge, but as an allegory for human states and the path to mystical truth. Symbolic language, literary devices, and multilayered allusions have shaped the rich and multidimensional linguistic structure of the work. His Saqinama is ultimately a thought-provoking work about man, love, mystery, and truth that, in a poetic oscillation between praise and denial, accompanies the reader in a mystical and aesthetic reflection.
 
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