دانشگاه اصفهان فنون ادبی 20088027 15 4 2023 12 22 Humorous Methods in the Poems of Leyli and Majnun شگردهای طنزپردازی در منظومه لیلی و مجنون 1 24 27970 10.22108/liar.2023.136204.2217 FA آیدا پارس پور دانشجوی دکتری گروه زبان و ادبیات فارسی، دانشکده ادبیات و علوم انسانی، دانشگاه تهران، تهران، ایران محمدرضا ترکی استاد گروه زبان و ادبیات فارسی، دانشکده ادبیات و علوم انسانی، دانشگاه تهران، تهران، ایران روح الله هادی استاد گروه زبان و ادبیات فارسی، دانشکده ادبیات و علوم انسانی، دانشگاه تهران، تهران، ایران مصطفی موسوی استاد گروه زبان و ادبیات فارسی، دانشکده ادبیات و علوم انسانی، دانشگاه تهران، تهران، ایران 0000-0002-5027-7214 Journal Article 2022 12 25 Humor has been a consistent presence in Persian literature since its inception, serving as a literary device for political and social critique, as well as a means to imbue works with a lighter tone. Nezami Ganjavi, a pioneer of satirical writing in the 6th century, utilized satirical techniques to not only critique the social, cultural, and moral milieu of his era, but also to infuse his narratives with an element of amusement. In his poem "Leyli and Majnun," the incorporation of humorous verses serves to alleviate the somber narrative and engage the audience. The rhetorical framework governing the work has provided a platform for humorous discourse and expression. Utilization of identification and simile as prevalent literary techniques within this framework has given rise to situational humor. Additionally, wordplay, a hallmark of the 6th-century (Arrani) style, has been extensively employed, contributing to verbal humor. Etiology and paradox, two other devices, have frequently contributed to tempering the story's solemn atmosphere. The humor in Nezami's works has been subtly interwoven within the layers of language, often evading immediate recognition, thus adding a touch of subtle irony to his verses. Keywords: Nezami, Leyli and Majnun, Satire, Situational Satire, Verbal Satire Introduction The flourishing era of satirical writing during the constitutional period has led to a relative neglect of pre-constitutional satire, despite the presence of humorous and critical verses in the works of many pre-constitutional poets. Examination of humorous verses from each period serves as a means to elucidate the political and social landscape of the era under study. While the humorous works of Anvari and Sanaie, prominent poets of the 6th century, have garnered attention, the satirical facet of Nizami's persona has remained enigmatic, concealed behind his solemn countenance and authoritative demeanor. To date, no comprehensive independent research has been undertaken to explore the presence of humor and criticism within Nezami's Khamseh. Exploration of humor within Nezami's Khamseh holds significance from multiple vantage points. Firstly, it presents an opportunity to unveil a hitherto unrecognized facet of Nezami as a humorist. Secondly, by categorizing and analyzing humor within his literary works, we can establish a fertile ground for sociological critique of the 6th century. In a broader context, the satires of the 6th century are regarded as a pivotal juncture in the history of Iranian satire, laying the groundwork for the emergence of satire in subsequent periods. Given the influential role of the military Khamseh in literary history and its function as a model for subsequent eras, an examination of the style of military satire assumes particular significance. Research Questions: 1) What are the satirical techniques employed in "Leyli and Majnun"? 2) Which methods have engendered verbal humor and which have given rise to situational humor? 3) Through which literary techniques has satirical rhetoric been articulated? 4) How has the subversion of military language contributed to the humor within the work? Materials & Methods This study focused on the analysis of satire within the poems of "Leyli and Majnun." Humorous verses have been identified and categorized based on techniques of humor writing. The stylistic elements of the 6th century (Arranian style) and the idiosyncratic military innovations and abnormalities in Nezami's personal style have contributed to the creation of humor within military works. Through classification, examination, and explication of these instances, the extent of military innovations in the realm of humor and criticism were explored in this research. The research methodology employed was primarily library-based and descriptive in nature. Research Findings The poems of Leyli and Majnun exhibited a variety of humor types, including verbal and situational humor. Language tricks and figures of speech played a significant role in creating a lively and expressive language. Puns, metathesis, derivation, and other verbal techniques contributed to the humorous language in the story, generating verbal humor. Additionally, situational humor and exaggerated imagery, at times bordering on caricature, were employed. Nezami's penchant for vivid imagery resulted in creative and occasionally exaggerated scenes, which were achieved through literary techniques, such as pathetic fallacy and simile. These descriptions infused humor into the narrative, providing a temporary respite from the somber atmosphere of the story. In addition to overt satirical techniques that yielded obvious humor, there were also subtle techniques embedded within the layers of expression, creating indirect humor. Paradox, etiologia, irony, rhetorical irony, and allusion were among these subtle devices. The introduction to the poems of Leyli and Majnun contained numerous sarcastic criticisms, offering valuable insights from philosophical, political, and social satire perspectives. As the story unfolded, the political and social humor became less prominent, giving way to a more light-hearted humor that served to adjust the story's atmosphere. Following the classification and analysis of satirical techniques in Leyli and Majnun, a quantitative report detailing the utilization of these techniques in the poems was presented. Satire method Subset Number Number Percent Figures of word Pun 1 74 19.42 Composition 16 Derivation 13 Numbers and letters 8 Humorous use of words 5 Metathesis 13 Tautoloy 4 Metaphor Obvious metaphor 36 60 15.74 Hidden metaphor 15 Antiphrasis 9 Pathetic fallacy 49 12.86 Simile Simile to animals 16 36 9.44 Simile to objects 9 Plants, flowers, fruits, and edibles 6 Other cases 5 Etiologia 30 7.87 Popularized Popularized words 16 21 5.51 Popularized beliefs 5 Paradox 20 5.24 Hyperbole 19 4.98 Irony 13 3.41 Proverb 12 3.14 Allusion 12 3.14 Allegory 12 3.14 Amphiboly 10 2.62 Meiosis 9 2.36 Rhetoric irony 4 1.04 Total number 381 Discussion of Results & Conclusion Nezami, recognized as a pioneer of satirical writing, employed a more indirect and ironic form of humor in his Khamseh, contributing to the enigmatic nature of his satirical persona throughout history. Nezami's poetry stands out as an innovative departure from traditional norms, particularly evident in the unconventional elements within his military works that provided a fertile ground for the infusion of humor into his verses. The rhetorical framework governing his work also played a pivotal role in rendering his verses humorous. Stylistic features characteristic of the 6th century, such as figures of speech, prevalent satire, exaggerated self-praise, and verbal confrontations, created an ideal platform for the expression of humor within Nezami's works. While Nezami extensively utilized figures of speech, he refrained from indulging in jests and sarcasm in his discourse, adhering strictly to moral principles. Given the direct correlation between humor and the prevailing political and social conditions, Nezami's works suffused with critical humor subtly reflected the constraints imposed by the ruling authority. The introduction of his works contained a greater abundance of critical verses and political and social satire, whereas the humor interwoven into the narrative served primarily to lighten the story's atmosphere with rare instances of overt criticism. An exploration of the themes of humor within Khamseh proved instrumental in sociological critique of the 6th century. For instance, Nezami's works targeted the practice of flattering autocratic rulers, shedding light on the prevalence of a culture characterized by flattery and hypocrisy in 6th century Iran. In the story of Leyli and Majnun, Nezami subtly critiqued this closed society bound by customs. طنز از آغاز شکل‌گیری ادبیات فارسی تاکنون در آثار ادبی وجود داشته است و از آن به‌عنوان یک نوع ادبی برای طرح انتقادهای سیاسی و اجتماعی و ابزاری برای تلطیف فضای اثر استفاده شده است. نظامی گنجوی یکی از شاعرانی است که از شگردهای طنزنویسی به‌شکل نامحسوس در آثار خود استفاده کرده است. طنز در آثار نظامی، در لایه‌های زبان، پنهان است به‌طوری که طنز تلخ موجود در ابیات وی به‌سادگی درک نمی‌شود. او با استفاده از شگردهای طنزنویسی علاوه‌بر انتقاد از شرایط اجتماعی، فرهنگی و اخلاقی روزگار، فضای داستان‌های خود را مفرح کرده است. در منظومه لیلی و مجنون، هدف او از خلق ابیات طنزآمیز، تلطیف جریان غم‌انگیز داستان و همراه‌کردن مخاطب با خود است. بلاغت حاکم بر اثر، بستری برای طنزآمیز‌شدن کلام ایجاد کرده است. تشخیص و تشبیه از پرکاربردترین صنایع ادبی در این منظومه است که منجربه خلق طنز موقعیت شده است. همچنین بازی‌های زبانی که از مختصات سبک قرن ششم است، در منظومۀ لیلی و مجنون کاربرد گسترده‌ای دارد و طنز کلامی ساخته است. استدلال طنزآمیز و پارادوکس، دو شگرد دیگری است که با بسامد بالا در تلطیف فضای تلخ داستان نقش دارند. این پژوهش به‌روش کتابخانه‌ای انجام شده و با طبقه‌بندی، بررسی و تبیین ابیات طنزآمیز، میزان نوآوری نظامی در عرصۀ طنز و انتقاد بررسی شده است.

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دانشگاه اصفهان فنون ادبی 20088027 15 4 2023 12 22 Criticism and Analysis of the Morphology of Mohtasham Kashani's Twelve Stanzas in the Context of Defamiliarization نقد و تحلیل فرم‌شناسی دوازده بند محتشم کاشانی در بستر آشنایی‌زدایی 25 46 27788 10.22108/liar.2023.138134.2280 FA فضل الله رضایی اردانی استادیار گروه آموزش زبان و ادبیات فارسی، دانشگاه فرهنگیان، تهران، ایران 0000-0001-7457-5526 غلامرضا هاتفی اردکانی استادیار گروه آموزش زبان و ادبیات فارسی، دانشگاه فرهنگیان، تهران، ایران مهدی صادقی استادیار گروه آموزش زبان و ادبیات فارسی، دانشگاه فرهنگیان، تهران، ایران Journal Article 2023 06 20 This research investigates the use of defamiliarization tools in Mohtasham Kashani's twelve stanzas using a descriptive-analytical method and analysis of findings based on formalist literary criticism. In the morphology of this elegy, linguistic and literary works of art join the chain of emotions and arouse the emotions of the audience along with spiritual ups and downs. Knowing the literary situation, intellectual independence and freedom of reflection, selection of combinations, and variety of themes, Mohtasham draws the artistic effects of words, which strengthens the inner and spiritual background of the poem (emotion). The emotional flow of the poem moves from the personal axis to the social axis and takes the word beyond the cut of a certain time and place, which causes the geographical boundary of the word to be broken and the unity of the stanzas to return to the same circular horizon of Ashura. Besides the theme, Mohtasham's poetry is influenced by the entanglement of emotion and imagination with images and literary works, the natural inspiration of the weight of the poem from the subject’s soul (Karbala incident), the precision in praising the words and refining the meanings (completing and improving the meanings). The most frequent artistic images in this elegy are metaphors, followed by similes. The elements used to make metaphorical images are natural elements and their manifestations, and human elements in metaphors are placed after natural elements in terms of frequency. Keywords: Morphology, Defamiliarization, Literary Arts, Twelve Stanzas, Mohtasham Kashani. Introduction With the emergence of the Safavid government, a great turning point was created in the history of Iran and Shiite, and the Ashura poetry flourished. This policy was not without influence in Persian poetry as well, and the promotion and encouragement of kings to make elegies adds to the popularity of this type of poetry. By composing twelve stanzas, Mohtasham Kashani has displayed the religious feelings of Shiites towards Imam Hussein (AS) and other martyrs of Ashura in the best literary form. The images and literary works in Mohtasham's poetry, along with the reflection and surprise of the audience, have made this elegy last long. Therefore, it is necessary to investigate the factors and tools of literary influence in this poem based on formalistic literary criticism. Materials and Methods This research, using the method of library studies and based on the description and analysis of the findings in the context of literary criticism, while paying close attention to the backgrounds, first analyzed the elegies and the status of the poetry of the Mohtashem period, and then examined the defamiliarization of the subject and content as well as the use of rhetorical descriptions and the most important features of the works of art in this dirge (sad poem) from the perspective of defamiliarization. Research Findings Defamiliarization in literature has a verbal and spiritual aspect, but it is mainly considered a linguistic issue. Defamiliarization is sometimes related to the linguistic material and sometimes to the construction of new compounds. Mohtasham’s lament begins with Ishkr al-Arif, then continues with Barat Isthilal, and calls the calamity ‘Muharram’. The first expression has a Juybari meter. With all the beauty and clarity, the desire to repeat the meter is not felt. This prosody order rules over the entire structure and form of the literary work. The music of this dirge is a very important factor in this meter, which can play a fundamental role in inducing, indoctrinating, and conveying the content and message to the audience. The Ashura words of this composition, by being placed in the horizontal axis of the word, along with the high-level thought and taste of the poet and the combination of original compositions, cause the creation of a literary work. The words in the horizontal axis are consistent and compatible. In the vertical connection of the verses, there is thematic integration, and the connection of the linguistic forms of the work creates the form of the text. One of Mohtasham's tricks is the use of additional and creative descriptive compounds in the form of metaphors. The simplicity and naturalness of Mohtasham's similes are visible in his poems. The logical nature of the poet in this composition is often accompanied by passion and intelligence, so it sometimes enters the meaning without any introduction. He is not limited to the way of connecting meanings, and in terms of the order of words, all his attention is on the dignity of the Karbala event. Discussion of Results and Conclusions Continuity, harmony, and combined ratio of the words with each other and the rhythms of the poem, the special resonance of each letter in the vicinity of another letter, and the superiority of the elements of nature have caused the harmony and success of the poet in this composition. In this poem, Mohtasham relies on metaphors, and among the metaphors, the largest share belongs to the explicit metaphor and then irony, which form the basis of the aesthetics of his poetry with new metaphors and new imaginations. Mohtasham's tendency and desire to use irony in the descriptive, adjectival, verbal, and allusive types is more. Therefore, all the components and elements of this dirge, such as imagery, rhyme, grammatical constructions, etc. work hand in hand to create a cohesive texture. On the other hand, each of these elements, which are mostly sensory and external, together with the whole structure of the text, cause the strength and durability of the literary work, so that the displacement of each of them will damage the overall view of the composition. In other words, Mohtasham conveys the content (the philosophy of Ashura) by selecting words, forms, and content. این پژوهش با روش توصیفی- استشهادی و تحلیل یافته‌ها، بر‌اساس نقد ادبی صورت‌گرایانه، کاربرد ابزارهای آشنایی‌‌زدایی را در مرثیۀ محتشم کاشانی بررسی می‌کند. در فـرم‌شناسی ایـن مرثیه، هنرسازه‌هـای زبانـی و ادبـی، بـه سلسله عواطفـی مـی‌پیوندد کـه احساسات مخاطب را همـراه با اعجاب و فراز و فرودهای روحی برمی‌انگیزد. محتشم با موقعیت‌شناسی ادبی، استقلال فکری و آزادی تأمل، به‌گزینی ترکیبات و تنوع مضامین، جلوه‌های هنری کلام را ترسیم می‌کند و با این شگرد، زمینۀ درونی و معنوی شعر (عاطفه) را تقویت می‌سازد. جریان عاطفی شعر از محور شخصی به محور اجتماعی سوق پیدا می‌کند و کلام را از برش زمان و مکان معیّن فراتر می‌برد که همین موضوع سبب درهم‌شکستن مرز جغرافیایی کلام و بازگشت وحدت بندها به همان افق دایره‌وار عاشورا می‌شود. از دلایل تأثیرگذاری شعر محتشم غیر از مضمون، گره‌خوردگی عاطفه و تخیّل همراه با صورخیال و صناعات ادبی، الهام‌گیری طبیعی وزن شعر از نفس موضوع (واقعۀکربلا)، دقت در تحسین الفاظ و تجوید معانی (تکمیل و نیکو‌گردانیدن معانی) است. پربسامدترین تصویرهای هنری در این مرثیه، استعاره و در مرتبۀ بعد، تشبیه است. عناصری که برای ساختن تصاویر استعاری استفاده شده‌اند، عناصر طبیعی و جلوه‌های آن هستند و عناصر انسانی در استعاره‌ها، از‌نظر بسامد بعد از عناصر طبیعی قرار ‌می‌گیرند.

https://liar.ui.ac.ir/article_27788_0c709a3bc31aa1a2d137fdf8cf98bc3b.pdf

دانشگاه اصفهان فنون ادبی 20088027 15 4 2023 12 22 Linguistic Highlights in Burqa’i’s Poetry Based on Leach's Linguistic Model برجسته‌سازی‌های زبانی در اشعار آیینی سید حمیدرضا برقعی برمبنای الگوی زبان‌شناختی لیچ 47 72 28007 10.22108/liar.2023.136106.2212 FA فاطمه سادات طاهری دانشیار گروه زبان و ادبیات فارسی، دانشکده ادبیات و زبانهای خارجی، دانشگاه کاشان، کاشان، ایران. الهام گلی فینی دانشجوی کارشناسی ارشد زبان و ادبیات فارسی، دانشکده ادبیات و زبانهای خارجی، دانشگاه کاشان، کاشان، ایران. Journal Article 2022 12 15 Purpose: The present study elaborates on the linguistic highlights in poems by Seyed Hamidreza Burqa’i (1983) based on the linguistic model of Jeffrey Leach (1936-2014). Burqa’i’s ritual poems have a distinguished status compared to contemporary poets due to their prominent linguistic factors, including deviation, and regulatory enhancement. Methods: This study used an analytical-descriptive method and aimed at answering the following three research questions: 1) Which factors of highlighting are seen in Burqa’i's pomes? 2) Which elements is he most skilled at using? And 3) How effective is his linguistic highlighting for conveying the poet's emotions and thoughts? To answer these questions, the researchers have deployed Jeffrey Leach's linguistic model. Findings: This study showed that Burqa’i used both deviation and regulatory enhancement (balance) elements in his poetry. Semantic deviation and semantic regulatory enhancement in Burqa’i’s poetry were more than other categories of highlighting. Among semantic elements metaphors, kenning, and similes respectively have the higher use. In terms of regulatory enhancement elements, semantic similarity factors have a higher frequency. Conclusions: Therefore, it is argued that the factors of linguistic highlights, along with the eloquent and fluent language of the poet, indicate the poet's ability to use various linguistic capabilities and elevate his position. Keywords: Leach’s Linguistic Model, Highlighting, Deviation, Regulatory Enhancement, Seyed Hamid Reza Burqa’i, Ritual Poetry. Introduction Seyed Hamidreza Burqa’i is one of the contemporary poets of ritual poetry in Iran. He has a special reputation in this type of poetry. His poetries are prominent due to the impacts they have had on their audience. One reason can be traced to his specific use of language since the use of special and original language in literary works is one of the most effective ways to enhance the attraction and appeal of works of art. To this end, this study aims to focus on these linguistic features in Burqa’i’s poetry. To this end, the model proposed by Geoffrey Leach (1936-2014) has been used. As a prominent English linguist, Leach designed a linguistic model based on which the linguistic prominences of literary works can be examined and the role of language and their impacts on the audience can be determined. Based on this model, the authors of this study aimed to answer the following three research questions: 1) Which factors of highlighting are seen in Burqa’i's pomes? 2) Which elements is he most skilled at using? 3) How effective is his linguistic highlighting for conveying the poet's emotions and thoughts? Materials and Methods The method researchers used in this study is analytical-descriptive based on a textual analysis of Burqa’i’s poems. Using Leach's linguistic model, the authors examine the standards of ‘deviation’ and ‘regulatory enhancement’ in Burqa’i’s poetry. Although, in general, ‘norm-avoidance’ is a deviation from the rules governing the language of norms, it does not show any deviations from the standard language since there is a group of these deviations that only result in ungrammatical constructions and are not considered artistic creativity. Leach enumerates three conditions in order to distinguish incorrect types of deviations from language and norm deviations (Safavi, 2004). First, norm deviation must be significant (expressing a specific concept); it should be directed (intended by the author) and purposeful (it has a special meaning for the author and the audience) (Ibid, p. 44). Based on these touchstones, it can be said that highlighting is realized by passing from language to literature, and the opposite of that is the use of items from literature in the language of automation (Ibid, p. 45). In Leach's model, the deviation is divided into eight types: 1) lexical, 2) syntactic, 3) phonetic, 4) temporal, 5) written, 6) dialectal, 7) stylistic, and 8) semantic. According to Leach, rule-increasing is created through a balance that itself results from various types of repetition. In Leach’s view, it is possible to study the types of rule-enhancing elements in the framework of verbal innovative figures and the norm-avoidance types in the framework of semantic innovative figures. In Leach’s view, the rule-adding process used to create order and norm avoidance is the cause of creating poetry. Research Findings Burqa'i's style deviations are limited to the use of colloquial language in his poetry. This feature not only reduces the ambiguity of his poetic language but also creates a kind of intimacy between him and the audience. Burqa'i is skilled at avoiding lexical norms or inventing new words. Some of his word formations are manifested in the form of creating new words but more in the form of creating innovative grammatical (attributive and descriptive) and literary (simile and metaphorical) combinations. Burqa'i has broken the norms of common and conventional language and highlighted the language of his poetry by using rhetorical combinations. By using similes, metaphors, paradoxes, kennings, and kennings mixed with simile and metaphor, he has tried to highlight poetic meanings. To achieve this aim, he has used visualization and abstractionism and their sub-branches. The most common way of highlighting the meaning used by Burqa'i to avoid the semantic norms has been the metaphorical additions of the human concept. Burqa'i has used many types of metaphors, even more than similes. After metaphor, kenning has the highest frequency in Burqa'i’s poetry. The noteworthy point is that most of the kennings in Burqa’i’s poetry are so common that they do not play a role in the semantic deviation of his words. However, some of his kennings, in addition to common meanings, have other original aspects adding to the prominence of Burqa’i’s words such as those kennings that are associated with the proportions, similes, and metaphors. Discussion of Results and Conclusions The following results were obtained after investigating Burqa'i’s ritual poetry based on Leach's model: Among the elements of language highlighting, Burqa'i has used deviation and regulatory enhancement factors. He practiced lexical, written, semantic, historical, and stylistic deviations in his poetry. However, he did not use phonetic, phonological, and dialectal deviations for the benefit of the general audience. Syntactic deviations were also very few in his poetry and limited only to a few cases of syntactic archaism. Among the deviation techniques used by Burqa'i, the semantic deviations of anthropomorphism and objectification had the highest frequency. The poet also used metaphors, kennings, and similes among literary figures to subvert the semantics. Kennings mixed with allusions, similes, and metaphors were also very effective in highlighting Burqa'i’s words. Considering the use of mixed paradoxes and especially synesthesia and new kennings of the poet in exalting his poetry, its superiority over normal language and speech logic is very effective. Regarding adding rules or a structural balance to poetry, balance at the phoneme level has a higher frequency. The poet used all kinds of puns in balance at the word level and did not show any desire for structural balance at the syntactic level. Thus, in general, in Burqa'i’s poetry, the factors of creating semantic balance prevail over the structural balance. In the meantime, the balances resulting from similarity have a higher frequency than those resulting from the contrast. All in all, it can be said that in composing his poems, Burqa'i used many types of linguistic highlighting and norm deviations according to the Leach model to convey his thoughts and emotions to the audience in the most beautiful and effective way. مقالۀ حاضر برجستهسازیهای زبانی در اشعار آیینی سید حمیدرضا برقعی (۱۳۶۲) را برمبنای الگوی زبانشناختی جفری لیچ (۱۹۳۶- ۲۰۱۴) بررسی میکند. اشعار آیینی برقعی بهسبب برخورداری از عوامل برجستهسازیهای زبانی - شامل هنجارگریزی و توازن- در بین آیینیسرایان معاصر امتیازات خاصی دارد؛ ازاینرو نگارندگان به‌شیوۀ تحلیلی‌توصیفی مبتنی بر متن اشعار برقعی با پاسخ به این پرسشها که کدام مؤلفههای برجستهسازی در شعر برقعی دیده میشود، وی در بهکارگیری کدام عناصر مهارت بیشتری از خود نشانداده و برجستگیهای زبانی او در راه انتقال عاطفه و اندیشههای شاعر چقدر مؤثرند؟ کوشیدهاند برجسته‌سازیهای زبانی شاعر را طبق الگوی زبانشناختی «جفری لیچ» تبیین کنند. بررسیهای انجام‌شده نشان میدهد برقعی از مؤلفههای هنجارگریزی و قاعدهافزایی (توازن) در شعر خود استفاده کرده است و هنجارگریزیها و توازنهای معنایی در شعر وی بر دیگر مقولههای هنجارگریزی و قاعدهافزایی افزونی دارند. برقعی از بین هنجارگریزیهای معنایی بهترتیب انسانپنداری و جسمپنداری ازطریق شگردهای استعاره، کنایه و تشبیه را بیش از دیگر عناصر بهکار برده است و از بین شگردهای قاعدهافزایی، عناصر حاصل از مشابهت نسبت به عناصر حاصل از تضاد بسامد بیشتری دارند؛ پس میتوان گفت عوامل برجستهسازیهای زبانی در کنار زبان فصیح و روان شاعر، نشاندهندۀ برخورداری شاعر از توانایی بهکارگیری قابلیتهای متنوع زبانی و اعتلای جایگاه شعر اوست.

https://liar.ui.ac.ir/article_28007_f44ffd9340cdf3b579bdfd3252bc6c08.pdf

دانشگاه اصفهان فنون ادبی 20088027 15 4 2023 12 22 Hafez's Artistic Performance in Using Rhetorical Adjectives Based on Literary Devices هنرنمایی حافظ در عرصۀ گزینش صفت بلاغی برپایۀ علم بدیع 73 96 28041 10.22108/liar.2023.138622.2304 FA روح الله نوری دانشجوی دکتری گروه زبان و ادبیات فارسی، دانشکده ادبیات و علوم انسانی، دانشگاه لرستان، خرم آباد، ایران علی نوری دانشیار گروه زبان و ادبیات فارسی، دانشکده ادبیات و علوم انسانی، دانشگاه لرستان، خرم آباد، ایران علی حیدری استاد گروه زبان و ادبیات فارسی، دانشکده ادبیات و علوم انسانی، دانشگاه لرستان، خرم آباد،ایران Journal Article 2023 08 09 The adjective is one of the grammatical constructions that creates meaning both in the syntagmatic axis (syntax) and the paradigmatic axis (morphology). Since this grammatical element can be presented in several syntactic positions, it provides more linguistic possibilities for the speaker, so it is a valuable structure. By means of the grammatical capacity of the adjective, the poet also uses it as a literary method. The selection of adjectives is one of the ways of creating meaning and wonderful images in Hafez's poetry. He uses adjectives as a means of producing rhetorical and semantic images in order to enrich the literary language. The importance of adjectives for Hafez is to the extent that he has coined words in this category several times: Sufi Afkan (defeater of the Sufi), Senowbar Khoram (pine-like strut), Etr Gardan (perfumer), Divane Navaz (mad protector), Sufi Souz (acrid of Sufi), Ma’shuqe-Baz (amorist), etc. In this research, the rhetorical function of the adjectives in Hafez's sonnets is studied using a descriptive-analytical method, based on the criteria of literary tools. The rhetorical and semantic relationship of the adjective with the described and other components of the sentence shows that Hafez does not use the adjectives accidentally or merely to fill the gaps of meter and rhyme, but the adjective has a rhetorical value for him. Hafez has also created images by means of rhetorical adjectives in categories such as amphibology, paradox, and paronomasia and less frequently used devices such as oslub-ol- Hakim, addition, laff-o-nashr, and mazhabe kalami. Keywords: Adjective, Rhetorical Function, Literary Tools, Hafez's Sonnets. Introduction All grammatical elements can be effective in the coherence of literary speech and their enrichment. But among these, the adjective has more capability due to the feature of floating among the sentence components. In literary speech, unlike normal speech, adjectives, in addition to semantic and rhetorical relationships with the described, can also establish an artistic relationship with other sentence structures by means of the clues in the speech. This feature is clearly seen in Hafez's poetry. In the present study, the authors aim to answer the following two research questions: 1) Does Hafez choose adjectives randomly? In other words, does he believe that they have rhetorical values? 2) Which literary tools did Hafez benefit from for the rhetorical function of the adjectives? Hafez's sonnets have a privileged position among Persian speakers. In this sense, being acquainted with the language and expression of this high-ranking poet becomes necessary. In reading Hafez's poetry, the rhetorical relationship between the adjective and the described or other parts of the word is remarkable. This feature has caused the rhetoric of adjectives in Hafez's sonnets to be noticed by writers. Therefore, the purpose of describing the rhetorical function of the adjective in Hafez's poetry is to introduce another aspect of his performance in the field of rhetoric. To the best of the authors’ knowledge, few, if any, studies have been done investigating Hafez's art in the realm of Badi’ (literary tools) with the help of the grammatical element of adjectives. Materials and Methods In this research, the examples of rhetorical adjectives in Hafez's poetry on the basis of Badi’ (literary devices) have been used in the format of a descriptive-analytical method. The scope of the research is the rhetorical function of the adjectives with the model of a noun group ‘adjective + noun (characterized)’. The authors postponed the investigation of other topics to another field. Due to the large amount of data, almost one-third of Hafez's sonnets have been examined. The adjectives that have a rhetorical function have been extracted and then described under the categories of rhetoric science. The results of the research are also presented as the rhetorical features of Hafez's speech in the conclusion section. It should be noted that in this research, the Ghani-Qazvini version is the basis of the work. Research Findings The Rhetorical description reveals the hidden meanings of the literary words and helps the audience to understand the different layers of meaning. The creative and poetic use of adjectives is one of the artistic effects of Hafez in the rhetoric field. The description and rhetorical explanation of the adjective in Hafez's poetry show that he chose words with great care and obsession and, in this way, he tied the rhetorical chain of the caplet to the structure of the adjective. Hafez's most important rhetorical technique to illustrate through adjectives is Iham (amphiboly), and the presence of various examples of Iham types indicates that this literary device has a high frequency. ‘Paradox’ is one of the other tools of semantic rhetoric which, in the light of the mystical texture of the word and Hafez's artistic gestures, has brought the adjective to its highest rhetorical capacity. Hafez is not negligent of the verbal rhetoric of the adjective, and by means of Jenas (paronomasia) and its types along with repetition at the levels of phonemes (phonology) and morphemes, he has revealed aspects of the rhetorical capacity of the adjective. Hesamizi (combination of senses), amphiboly, antonymy, Mora’at-e Nazir (symmetry), Hosn-e Ta’lil (poetical aetiology), Tansiq al-sefat (gathering the adjectives), Hosn-e-Ta’lil (good interpretation), mazhab-e kalami (argumentation), overstatement, exaggeration, summation, Laf-o-Neshr, Hashv-e Malih, displacement, shifting adjectives, and common adjectives are also among other rhetorical tools that Hafez has appeared them in his words. Shamisa (2004) considers that adjective replacement is specific to contemporary poetry, but in this research, it has been shown that this rhetorical technique is also used in Hafez's poetry. The common adjective, which is one of the unknown topics of Badi’, has been explained by citing examples from Hafez. Discussion of Results and Conclusions Hafez's poetry is a great example of eloquence words because he has presented the highest concepts in the most concise words with the most delicate artistic subtleties. The rhetorical adjective, with the help of Hafez's descriptive imagination, plays an important role as a valuable link in the rhetorical chain of words. The variety of rhetorical tools resulting from the use of rhetorical adjectives shows that Hafez does not use the adjective by accident or simply to fill the gaps of weight and rhyme. Therefore, it has a rhetorical value. Based on this, the most important findings of this research are as follows: 1) The most frequent literary tools of rhetorical adjectives based on Badi’ in Hafez's sonnets are related to Iham and its types; 2) The adjectives that Hafez chooses for exaggeration have an exaggerated relationship with his description. But they have a logical and empirical relationship with other sentence components. 3) Hafez does not repeat the word as much as possible. But repetition is used in grammatical units smaller than words (morpheme and phoneme) in his poetry. 4) In Hafez's sense-mixing, the sense of taste is used more than other senses. It seems that the reason is that the attractions of love are more concretely objectified through the sense of taste and the sweet taste. 5) Adjective replacement, which is considered a new technique and specific to contemporary poetry, has a history in Hafez's poetry. 6) The common adjective is one of the unknown topics of Badi’. The use of this rhetorical tool in Hafez's poetry is very frequent. 7) Hafez has rarely used devices such as Oslub-e-Hakim, Mazhab-e Kalami, Jam’, laff-o-Nashr, displacement of adjectives, and transposition. صفت یکی از سازههای دستوری است که هم در محور همنشینی (نحو) و هم در محور جانشینی (صَرف) تولیدکنندة معناست. از آنجا که این عنصر دستوری میتواند در جایگاههای نحوی متعددی حضور داشته باشد، امکانات زبانیِ بیشتری را در اختیار گوینده قرار میدهد و از این ‌نظر سازهای ارزشمند است. شاعر به‌مدد ظرفیت دستوری صفت، آن را در وجه ادبی نیز به‌کار میگیرد؛ چنانکه یکی از راههای آفرینش معنا و خلق تصاویر شگفتانگیز در شعر حافظ گزینش صفت است. او از صفت به‌عنوان ابزار تولید تصاویر بلاغی و معناشناختی، برای غنای زبانِ ادبی بهره میگیرد. اهمیّت صفت برای حافظ تا آنجاست که چندین‌بار در این مقوله واژهسازی کرده است: صوفی‌افکن، صنوبرخرام، عطرگردان، دیوانهنواز، صوفیسوز، معشوقهباز و ... . در این پژوهش به‌روش توصیفی‌تحلیلی کارکرد بلاغی صفت در غزلیات حافظ برپایۀ سنجههای علم بدیع بررسی شده است. رابطة بلاغی و معنایی صفت با موصوف و دیگر اجزای جمله نشان میدهد که حافظ صفت را از سر تصادف یا برای پُرکردن خلأهای وزن و قافیه به‌کار نمی‌گیرد؛ بلکه برای آن ارزش بلاغی قائل است. حافظ به‌وسیلۀ صفت بلاغی در مقولههایی مانند ایهام، پارادوکس، جناس و آرایههایی کم‌کاربرد مانند اسلوب‌ حکیم، جمع، لفونشر و مذهب ‌کلامی نیز تصویرآفرینی کرده است.

https://liar.ui.ac.ir/article_28041_ae0349818543c124d9df6cd3e69b3c2d.pdf

دانشگاه اصفهان فنون ادبی 20088027 15 4 2023 12 22 The Structure of Images in Secret Love Poems ساختار تصاویر در منظومه‌های عاشقانه رمزی 97 118 28148 10.22108/liar.2024.138448.2296 FA حسین آقاحسینی استاد گروه زبان و ادبیات فارسی، دانشکده ادبیات و علوم انسانی، دانشگاه اصفهان، اصفهان، ایران 0000-0009-0009-0009 آسیه محمدابراهیمی پژوهشگر پسادکترای زبان و ادبیات فارسی، دانشکده ادبیات و علوم انسانی، دانشگاه اصفهان، اصفهان، ایران Journal Article 2023 07 29 Color and image, which provide the main part of the beauty of an artwork, are effective in conveying the concept to the audience; therefore, the analysis of its components can be considered an indicator of the poet's special use of language and the distinction of the literary type of each work. Of course, beauty here is not only the use of literary arts. Poetry can also be beautiful without them. Here, the poet works on strengthening other tools in his hand and compensates for the lack of poetic beauty. In this study, structural and aesthetic factors are discussed, which play a different and deeper role in distinguishing the literary genre. Therefore, it has been tried to avoid as much as possible the mention of descriptive concepts that have been mentioned many times in various literary works. The considered works are the story of Sheikh Sanaan by Attar Nishaburi, the story of the Shah and the Maid of Rumi, and the poem Salaman and Absal by Jami. The main achievement of this research is to clarify the fact that the rhetorical and linguistic elements in Ramzi's romantic works, on the one hand, help to strengthen their lyrical dimension, and on the other hand, they have a great effect on the formation and opening of the identity of Ramzi. Keywords: Code, Simile, Metaphor, Allusion, Love Poem, Secret Poem. Introduction Poetic images, which are often formed based on external senses, serve as a tool that strengthens the meaning and adds to the power of the poem's sensory impact (Fatuhi, 2006, p. 420). One of the ways of conveying emotions and messages is through the poet's discoveries and intuitions. The research background about the place of images includes the book The Rhetoric of Image by Fatuhi (2006) and the book Imagination in Persian Poetry by Shafiei Kadkani (2012). However, in the current study, the structure of poetic images in some symbolic romance systems is examined through the lens of symbols, metaphors, and similes. These works include the story of Sheikh Sanan by Attar Nishaburi, the story of the Shah and the Maid of Rumi, and the poem Salaman and Absal by Jami. Structurally, in a lyrical text, the metaphorical pole of the language prevails over its figurative pole, and the origin of metaphors is often the poet's emotional experience. In lyrical narrative poems, the poet uses an introspective point of view, and the two emotional and poetic functions of language are the dominant functions in this type of literature (as cited in Zakeri Kish, 2012). In this study, the formal coordinates and images raised in this type of poetry have been discussed and the degree of affinity of each with the lyrical or mystical color of the works has been explained. Materials and Methods In this research, the method of research is documentary in such a way that after studying the works from the lens of aesthetics, the images that on the one hand strengthen the lyrical side of the verses and, on the other hand, highlight their esoteric and mystical concepts have been studied and analyzed. In this study, the researcher has selected three stories of the Shah the Maid, Sheikh Sanan, and Salaman and Absal as examples and then identified and expressed the symbolic images in these works. Research Findings The results of analyzing the above-mentioned three works are presented in Table 1. Table 1. Analysis of the Structure of Images in Secret Love Poems in the Three Works (the Shah the Maid, Sheikh Sanan, Salaman and Absal) Secret love poems Border images symbol Figurative, simile and metaphorical structure true meaning symbolic meaning the Shah and the maid King Symbol of human reason and spirit the ruler Chicken life, wisdom like a donkey, wine maidservant A representative of the animal soul or a beginner seeker Hair, moon, candles Fire spiritual doctor The total wisdom or real guru Love, treasure Sunshine in the middle of the shadow, illusion, Mustafa (S), rain, father gold man The secret of the world and its relations stream Peacock, deer, fox, peal, rose Sheikh Sanan Sheikh Sanan Adam or the seeker of God Youssef Tawfiq, dod, star, cloud, fire, sun, flood, wind, tablet, sun, flower Candle, shadow, sea Scared girl The symbol of Eve Sepehr, Tower, Sun, Lal, Musk, Arch, Moon, Fire, Narcissus, Zannar, Needle, Chah Simin,... Jesus (S), idol, heaven, disbelief, drop Mustafa The symbol of the perfect man - moon, dew Salaman and Absal King First intellect or active intellect Gulban, begging, bud Gem, mystic heart Salaman The code of the speaking soul and the pure soul or Adam (S) Cedar, deer, moon, gem, musk umbrella, bell, letter bread, drunk, flower, shell, spear, badr, crescent, apple, Sar spring, sea, and... Mirror, John, Moon, Khushid, Chicken A year old sensual body Musk threshing, wire, cypress, game, Sarahi, bubble, light, ivory, sable, page flower, Nafeh, flower Nasrin, .... Shadow, chain, tone Hakim The code of upper grace or grace - nectar and wind Sea Animal lusts and carnal pleasures Dibai China, Dibai Nili, Gerdon Qaf to Qaf, mountain Vesper True lover and great perfections moon, sun Candle Discussion of Results and Conclusion Based on the analysis of the structure of images in secret romantic poems, similes and metaphors in poems and stories have a new identity. One of the most important functions of simile and metaphor in poetry is to make the content of a work clearer. This function of simile in secret poems is of double importance because the simile has two dimensions: appearance and symbolism. Therefore, simile becomes a two-layered concept, and in this way, the main function of simile in such texts is to help decipher the content with the help of a prologue. In this case, and by making the audience aware of these hidden secrets, unlike pure lyrical poetry, similes and metaphors in symbolic poetry are effective in understanding the message before inducing an aesthetic feeling. Allusions are also used in secret love poems for two main purposes. First, they strengthen the lyrical side of the works, which ends with a few hints. Second, they refer to hints that, according to the content of each one, play a role in explaining the mystical or moral theme of the works. Based on this, the major contribution of allusions in symbolic poems is in the service of their symbolic and mystical meaning, and lyrical allusive anecdotes play a minor role in explaining the special language of these works. دو عنصر اصلی زیبایی یک اثر هنری، رنگ و تصویر است که در انتقال مفهوم به مخاطب تأثیر بسیاری دارد و تحلیل مؤلّفه‌های آن می‌تواند معرّف کاربرد خاص شاعر از زبان و تمایز نوع ادبی اثر باشد؛ البته زیبایی در اینجا تنها استفاده از صنایع ادبی نیست؛ زیرا شعر بدون آنها نیز می‌تواند زیبا باشد. شاعر در اینجا به تقویت سایر ابزارهایی که در دست دارد می‌پردازد و از این طریق نبود زیبایی‌های شعری را جبران می‌کند. در این پژوهش به عوامل ساختاری و زیباشناسانه‌ای پرداخته‌ می‌شود که نقش متفاوت و عمیق‌تری در تشخیص‌دادن نوع ادبی ایفا‌ می‌کند؛ بنابراین سعی شده است از ذکر مطالب توصیفی که بارها بر روی آثار گوناگون ادبی انجام شده تا حدّ امکان پرهیز شود. آثار مدّنظر عبارت است از: داستان شیخ صنعان از عطار نیشابوری، داستان شاه و کنیزک از مولانا و منظومۀ سلامان و ابسال از جامی. دست‌آورد اصلی این تحقیق روشن‌کردن این مطلب است که مؤلّفه‌های بلاغی و زبانی در آثار عاشقانۀ رمزی، از سویی به تقویت بُعد غنایی آنها کمک می‌کند و از طرف دیگر در شکل‌گیری و گشایش هویت رمزها تأثیر شایانی دارد.

https://liar.ui.ac.ir/article_28148_2fee8adc96843772297886a11718b185.pdf

دانشگاه اصفهان فنون ادبی 20088027 15 4 2023 12 22 Likening Something to Itself تشبیه چیزی به خودش 119 134 28226 10.22108/liar.2024.139364.2321 FA سعید کریمی قره‌بابا دانشیار گروه زبان و ادبیات فارسی دانشگاه پپام نور، تهران، ایران Journal Article 2023 10 05 Simile is a straightforward method of creating imagery extensively discussed by rhetoricians. However, comparing something to itself is a rare form of simile in rhetoric and has been deemed unjustifiable by scholars. They argue that this simile lacks imaginative properties, requiring little effort for comprehension. Nevertheless, examples of self-comparison can be found in Persian literature, particularly in the works of poets, such as Attar, Nizami, Masoud Saad, Jamaluddin Esfahani, Molana, Zahoori Tarshizi, Akhwan Taalih, and Aminpour. Indian rhetoricians, including Mirza Khan Bin Fakhruddin Muhammad, Sirajuddin Ali Khan Arzoo, and Azad Belgrami, have provided detailed reflections on this simile. While simulating something to itself may not be entirely devoid of literary value, it can serve a creative purpose in certain contexts. In this descriptive-analytical article, we investigated the various dimensions of self-comparison. Initially, we reviewed the perspectives presented in different rhetorical books regarding this rhetorical technique and subsequently delved into its intricacies. Finally, we outlined the purposes behind employing this type of simile with a primary focus on poets and writers aiming to emphasize and express the perfection of Mamdouh's majesty. Keywords: Simile, Likening Something to Itself, Contrast, Artistic Value, Indian Rhetoric. Introduction Simile is an essential component of imagery in poetry and holds a significant place in rhetorical books. The oldest surviving work on Persian poetry, Hadaiq al-Sahar, provides a definition of simile as follows: "It is when a writer or poet likens one attribute to another attribute and the object they liken is called the 'like', while the object they compare it to is called the 'similar'". This book, written in the mid-6th century, sheds light on the early understanding of similes in Persian literature. The author identifies 7 types of similes: absolute simile, conditional simile, metonymy, assimilation, opposition, use of pronouns, and superlatives. In Arabic rhetoric, Mubarid (died 285 A.H.) categorizes similes into 4 groups: excessive, unfortunate, close, and improbable. Over the centuries, rhetoric scholars expanded upon these initial divisions, eventually identifying around 40 types of similes in contemporary times. One of the key concerns of rhetoric experts has been to explore the artistic value and effectiveness of similes. From the earliest development of similes, discussions have revolved around their quality and likability. For instance, Shams Qais Razi described the concept of being more pleasing and complete as an artistic assessment that led to the preference of one simile over another. In contrast, incomplete or incorrect similes (including self-comparisons) did not align with the taste of critics and failed to capture their attention. The "comparison of something to itself" is one such simile that, according to expressive scholars, lacks utility and fails to evoke admiration or surprise. This type of simile was considered so lacking in wonder and novelty by ancient thinkers that they paid little attention to it. Their argument stemmed from the belief that even the laziest of minds could easily create a likeness to itself, questioning the beauty or value of such a simile. In this article, we aimed to explore the intricacies of self-comparison and address several questions: What are the earliest examples of this simile in Persian literature? When did discussions about this analogy first arise? What purposes can be attributed to it? What do contemporary rhetoricians think about this simile? And how have modern poets and writers utilized it? Our research hypothesis posited that comparing something to itself is not entirely devoid of literary value and can serve a creative purpose in specific contexts. In fact, it has been a source of inspiration for the creation of beautiful examples in both classical and contemporary literature. Materials & Methods The research methodology employed in this article was a descriptive-analytical approach. This approach involved examining and analyzing existing literature and texts to gain insights and draw conclusions about the topic at hand. The materials used in this study primarily consisted of Persian literature, including poetry from various periods. The researchers analyzed and studied the works of poets from different eras, ranging from the 6th century to contemporary times. These literary sources served as the foundation for exploring the presence and significance of the simile of something to itself in Persian literature. The methods employed in this study involved a thorough examination of the selected literary texts. The researchers conducted a comprehensive analysis of the poems and writings of various poets, paying close attention to instances of self-comparison and their aesthetic and creative qualities. They also referred to the works of rhetoric scholars and critics to understand the historical and contemporary perspectives on this type of simile. Additionally, the researchers referenced and synthesized the ideas and viewpoints of previous scholars, who had discussed the simile of something to itself in Persian literature. This study incorporated the findings and insights of these earlier analyses to build upon the existing knowledge and contribute to a deeper understanding of the subject. Overall, the materials and methods employed in this article involved a descriptive examination of Persian literature and an analytical approach to analyzing the simile of something to itself. By synthesizing the existing knowledge and conducting a comprehensive analysis, the researchers aimed to shed light on the significance and utilization of this simile in Persian literary traditions. Research Findings Poets from the Khorasani Style exhibited an extroverted nature and tended to focus more on reality. Consequently, they employed expressions and innovations in a moderate manner, emphasizing simple forms of literary art. They also placed importance on describing the details of nature. Due to these tendencies, the phenomenon of self-comparison (at least within the scope of our research) was not observed in the poetry of this period. However, from the 6th century onwards, the situation changed. Poets of this era inherited a rich literary tradition and believed that "the ancients had not left any wisdom unspoken in the events of the world". Consequently, they sought modernization and employed a "strange, new, and distinctive approach" to ensure that their repetitive words did not become monotonous. This motivation, combined with a dominant focus on the poet's ego, resulted in a narrower and slower imagination. The first instances of self-comparison emerged against this backdrop in the 6th century. The intention behind employing "comparing something to itself" differed between expressionist poets and mystical poets. Each group created this simile according to their own unique aesthetic standards. In contemporary times, innovative and creative uses of simile have taken self-comparison to new heights, incorporating various and at times complex forms of this simile. When used creatively and in accordance with the context of speech, comparing something to itself can introduce novelty and delight the reader. Furthermore, it can broaden the dimensions of the world, expand the realm of meanings, and enhance the scope of discourse. Discussion of Results & Conclusion A simile is predicated on a false assertion. If a simile were based on truth, such as comparing one chair to another, our words would cease to possess imaginative qualities. A simile must be surprising and defy logical believability or acceptability in order to retain its status as a simile. Consequently, rhetoricians perceive the simile of something to itself as lacking imaginative properties and do not acknowledge it as a legitimate simile. Nevertheless, there exist rare instances of this simile in both ancient and contemporary Persian literature, with the earliest evidence dating back to the 6th century. Poets of that era, driven by their desire to secure a significant place in literary history, sought innovation and novelty. Consequently, they introduced unique and exceptional similes, including the simile of something to itself. Mystical poets like Attar and Rumi, influenced by their philosophical and theological foundations, sought new avenues of expression and created similes that resembled themselves. Indian rhetoricians of the 10th and 11th centuries of Hijra were the earliest scholars to engage in in-depth reflections on this simile and since then, no new ideas have been proposed on the subject. In the last century, writers and poets explored the potential of this simile in various ways and we included evidence of their endeavors in this article. Poets, such as Akhwan Al-Talih and Aminpour, sought to present new instances of this simile, aiming to create innovative works of art that deviate from established norms and literary conventions. The purposes of employing self-comparison encompass criticism, condemnation, rendering the likeness repugnant, expressing the perfection of praise, and emphasizing or expressing disappointment in the qualities of the likeness. Due to the scarcity of this simile in Persian literature, it is challenging to classify its types. Therefore, we must inevitably rely on the conventional divisions found in works on rhetoric and examine it based on elements, such as the presence or absence of similes and comparisons. تشبیه یکی از ساده‌ترین راه‌های تصویرآفرینی است. سخن‌شناسان همواره انواع تشبیه را به‌صورت مبسوط بررسی کرده‌اند. تشبیه چیزی به خودش ازجمله تشبیهاتِ نایاب در بلاغت به‌شمار می‌آید که در نزدِ علمای بیان توجیه‌ناپذیرمی‌نماید. به‌زعم آنها این تشبیه خاصیتِ خیال‌برانگیزی ندارد و ذهن برای درک آن کوششِ چندانی نمی‌کند. با وجود این نمونه‌هایی از تشبیه چیزی به خودش را در ادبیات فارسی می‌توان ملاحظه کرد. این تشبیه در شعر شاعرانی مانند عطار، نظامی، مسعود سعد، جمال‌الدین اصفهانی، مولانا، ظهوری ترشیزی، اخوان ثالث و امین‌پور دیده می‌شود. بلاغت‌پژوهان هندی مانند میرزا خان بن فخرالدین محمد، سراج‌الدین علی خان آرزو و آزاد بلگرامی تأملات دقیقی دربابِ این تشبیه انجام داده‌اند. مقاله حاضر در استوارداشت این نکته است که تشبیه چیزی به خودش یک‌سره تهی از ارزش‌های ادبی نیست و در برخی موقعیت‌ها می‌تواند کارکردی خلاقانه داشته باشد. ما در این مقاله که به‌شیوه توصیفی-‌تحلیلی انجام گرفته است به بررسی ابعاد مختلف تشبیه چیزی به خودش پرداخته‌ایم. ابتدا آرای کتب بیانی مختلف را دربارۀ این شگرد بلاغی بررسی کرده‌ و سپس جزئیات آن را شرح داده‌ایم. در پایان بحث نیز اغراض این نوع از تشبیه را برشمرده‌ایم. تنزیه، تأکید و بیان کمالِ عظمتِ ممدوح مهم‌ترین مقصودِ شاعران و نویسندگان از ساخت تشبیه چیزی به خودش بوده است.

https://liar.ui.ac.ir/article_28226_a63b3f803425feb177e2861f091dac49.pdf

دانشگاه اصفهان فنون ادبی 20088027 15 4 2023 12 22 A Review and Rhetorical Analysis of Musk in Khaghani’s Divan بررسی و تحلیل بلاغی مُشک در دیوان خاقانی 135 154 28465 10.22108/liar.2024.140638.2356 FA محمّدامیر مشهدی استاد گروه زبان و ادبیات فارسی، دانشکده ادبیات و علوم انسانی، دانشگاه سیستان و بلوچستان، زاهدان، ایران سیدابرار حسینی دانشجوی دکتری زبان و ادبیات فارسی، دانشکده ادبیات و علوم انسانی، دانشگاه سیستان و بلوچستان، زاهدان، ایران Journal Article 2024 02 06 The use of the word musk in Khaghani's Divan is special and rare. In most of the cases of using the word musk, he had an imaginary opinion. Khaghani has created beautiful and delicate poetic and artistic images with the word musk with the help of the branches of speech science. This research investigates the rhetorical meanings and special artistic images created by Khaghani with the word musk. The poet’s imagery with the word musk can be classified into four categories of popular beauty effects, natural elements, eloquence, and value. Khaghani is a metaphorical poet and in using the word musk, he considered metaphor more than other types of expression. By creating novel images and new themes with the word musk, he makes his words imaginative and somewhat difficult and urges the audience's mind to strive. This research was done using a descriptive-analytical method. After extracting verses from Khaghani's Divan in which the word musk is used, the authors tried to express Khaghani's skill and ability in using this word in artistic imagery by presenting statistics and tables. Keywords: Khaghani Shervani, Khaghani’s Divan, Musk, Analysis, Rhetorical Images. Introduction Khaghani is one of the most capable poets of Persian literature in the field of illustration. The poet's accuracy and precision in the use of words in speech are rare. He uses words with beautiful figurative and metaphorical meanings, and with this method, he creates poetic and artistic images. Sometimes his precision in creating these images is so delicate that the mind of the audience has trouble understanding these artistic images. One of these words is musk. Considering the many characteristics and properties of this substance, Khaghani creates fresh and delicate images with the word musk and makes his words imaginative with the help of the branches of speech science. In order to understand these poetic images, which are sometimes hidden behind several layers of literary composition, it is necessary to analyze these kinds of verses so that the audience of this great poet can gain more literary taste while reading his poetry. Regarding musk, few and brief studies have been done. Perhaps the closest article to our research is the article "Poetic Adjectives of Musk and Nafe in the Persian Poems" written by Raziyeh Abadiyan (2010). But, so far, no research has been done on the use of musk and the illustrations that a certain poet made with the help of this fragrant and medicinal substance. This claim also applies to Khaghani. To this end, the present study seeks to answer the following three research questions: 1- Has Khaghani used the word musk mostly in the normal meanings of this substance, or is the majority of the use of this word related to poetic imagery? 2- Which branch of the science of speech has Khaghani paid more attention to in creating imagery with the word musk? 3- What poetic images did he use most in his creation of the word musk? Materials and Methods This research was done using a descriptive-analytical method. First, Divan of Khaghani's poems was examined and all the verses in which the word musk was used were extracted. Then, according to the poetic style and language of Khaghani, the verses were analyzed and categorized by considering the different images created. After that, according to the poetic images in those verses, the imaginary images created by the poet with the help of the word musk have been reviewed. The basis of the research: Khaghani Shervani’s Divan (2019), edited by Seyyed Ziyauddin Sajjadi. Research findings Khaghani has used the word musk 146 times in his Divan. In almost 66% of the cases where the word musk is used, he illustrated it with the help of the branches of speech science. Khaghani has used the word musk in 27 cases (18.5%) to decorate the word with similes. The remarkable point is the high frequency of simile additions, which shows the special skill of the poet in creative meaning and composition. He used 11 additional similes with musk. In his Divan, he created beautiful and subtle metaphors with the word musk 41 times (28.1%). The poet has used musk as a metaphor for hair in 13 cases. He used the word musk 20 times as a metonymy for another word (13.7%). Khaghani also considered two distinct characteristics of musk (fragrance and darkness). He used the word with irony 9 times (6.2%). Table 1. The Use of Musk in Khaghani’s Divan usage usual simile metaphor Metonym irony total frequency frequency 49 27 41 20 9 146 Percent 33.5 18.5 28.1 13.7 6.2 100 Figure 1. The Frequency of Use of Musk in Different Axes of Imagination Discussion of Results and Conclusion 1) Khaghani has used the word musk 146 times in his poems. This word is used only in 49 cases in the normal meaning of material (33.5%) and has not created a special artistic image. However, Khaghani created imagery in approximately 66% of the cases of using the word musk, with the help of the branches of speech science, which is evidence of the poet's special skill in embellishing words with imagination. 2) Khaghani is a metaphorical poet. In creating images with the word musk, he paid attention to the ornament of metaphor above all and created amazing artistic images. In his Divan, he used the word musk 41 times as a metaphor (28.1%). He used musk more than any other word as a metaphor for hair. 3) The artistic and poetic images created by Khaghani with musk are classified into four groups: the beauty of the beloved, natural elements, speech and eloquence, preciousness and miscellaneous items. Due to the dark and fragrant characteristics of musk, he has created an artistic image between musk and hair. In addition, he created an artistic link between musk and night 6 times and created an image. In 6 cases, considering the valuable features of musk, he created an artistic connection between this material and his poetry and created original images. کاربرد واژۀ مُشک در متون ادب فارسی متفاوت است. شاعران و نویسندگان ادوار مختلف از این مادّۀ دارویی و معطّرِ گرانبها و کمیاب جهت تصویرسازی و آراستن کلام خود به انواع زیورهای ادبی بهره‌های فراوان برده‌اند. کاربرد واژۀ مُشک در دیوان خاقانی شروانی نیز ویژه و کم‌نظیر است. وی در اغلب موارد از واژۀ مشک به صُوَرخیال نظر داشته است. خاقانی که به‌حق یکی از تواناترین شاعران تصویرساز در ادب فارسی است به یاری شاخه‌های علم بیان تصاویر شاعرانۀ زیبا و لطیفی با واژۀ مُشک آفریده است. تصویرسازی این شاعر با واژۀ مُشک در چهار دستۀ جلوه‌های زیبایی محبوب، عناصر طبیعی، سخنوری و ارزشمندی دسته‌بندی می‌شود خاقانی شاعری استعاره‌ساز است و در استفاده از واژۀ مشک بیش‌از گونه‌های دیگر علم بیان به استعاره توجه داشته است. این شاعر با آفریدن تصاویر بدیع و مضامین نو با واژۀ مُشک کلام خود را خیال‌انگیز و تاحدّی دشوار کرده و ذهن مخاطب را به تکاپو واداشته است. این پژوهش با روش توصیفی‌تحلیلی به بررسی تصاویر بلاغی و خیال‌انگیزی که شاعر به‌کمک واژۀ مُشک آفریده است می‌پردازد. کوشیده‌ایم پس از استخراج ابیاتی از دیوان خاقانی که واژۀ مُشک در آنها به ‌کار رفته است و با ارائۀ آمار و جدول، مهارت و توانایی خاقانی در استفاده از این واژه در تصویرآفرینی هنرمندانه را بیان کنیم.

https://liar.ui.ac.ir/article_28465_f1615edd23a5217765a689056be10ce7.pdf