بررسی و نقد تأثیر سبک اصفهانی- هندی بر غزل معاصر (مقاله علمی وزارت علوم)
درجه علمی: نشریه علمی (وزارت علوم)
آرشیو
چکیده
هدف این پژوهش مطالعه نمونه هایی از غزل معاصر است که شاعر در آن می کوشد از مؤلفه های صوری و معنایی سبک هندی بهره ببرد. روش پژوهش، توصیفی تحلیلی و با ابزار کتابخانه است. این پژوهش درپی بررسی و تحلیل برجسته ترین عناصر سبک نازک خیال اصفهانی هندی در غزل متأخر معاصر است. پرسش مهم این است که «آیا پذیرفتنی است در دوره کنونی غزل که باید نیمایی یا همسو با زبان و محتوای معاصر باشد در جریان هایی به شیوه سبک هندی نظر داشته باشد؟ و در این مسیر چه عناصری از سنت سبک اصفهانی هندی در غزلْ نوآورانه، و کدام الگوبرداری ها فقط تقلیدی و کلیشه ای بوده است؟». غزل همواره درپی تجربه عوالم ذهنی و زبانی تازه است؛ به همین سبب، غزل معاصر نیز برای حفظ تازگی صورت و معنا بدین مهم دست یازیده است. حضور عناصر سبک اصفهانی هندی در بخش تأمل برانگیزی از غزل معاصر، نویدبخش نوآوری و حضور مضامین تازه و زبان همسو با عصر و نشان دهنده ماندگاری غزل با فرم و محتوای تازه است؛ اما با وجود این، در برخی بیت ها، وجود برخی ضعف های زبانی و الگوبرداری سست از ارسال المثل با مضمون سازی و کاربرد تمثیل و تشبیه شتابزده و سطحی، سبب ناهنجاری و تکراری بودن مضمون و زبان شده است.The Influence of Isfahan-Hindi Style on the Contemporary Ghazal: A Critical Analysis
The main purpose of the current study is to investigate novice poets’ Ghazal poetry who have adopted the Isfahani-Hindi style. In particular, this study seeks to identify the most prominent elements of the Hindi style in the contemporary youth Ghazal through a descriptive-analytical method based on library research. The research questions are: Why has Ghazal that should be in line with Nimayi or the taste of the contemporary audience adopted the Hindi style in some trends? In this way, what elements of the Hindi-style tradition have been innovative? And which pattern or approach has been imitative in Ghazals? The results of this study show that in some Ghazals, superficial and blind modeling of the equation and theme of neo-composition or applying new but hasty and superficial allegory and simile has weakened the content and structure of the couplet. Introduction Despite its inclination towards the basics of new and Nimayi poetry, the contemporary Ghazal has also revealed a great tendency towards the Hindi style. The purpose of this study is to examine the contemporary Ghazal in recent decades from the point of view of following the Isfahani-Hindi style. In particular, the study attempts to find which contemporary poets (mostly novice ones) have been able to reconnect the Ghazal with the Isfahani-Hindi style tradition. The other purpose is to investigate which styles of Isfahani-Hindi imaginary elements are more prevalent in new Ghazals, and whether every new and unprecedented theme is valuable in the body of verse and Ghazal. Some poets’ poetry, noting the Isfahan-Hindi style and following the theme creation confirms modelling. On the other hand, elements and foundations of the Safavid Ghazal are evident in the contemporary Ghazal too. As such, it is necessary to investigate imitation or innovation or both in this regard. Methodology The method of this paper is descriptive-analytical and with a limited statistical sample and a case study with library research. Research Findings Some poets, imitating the features of allegory, exhortation, and theme creation in the Hindi style did not become captives of imitation and tried to recreate a new language and meaning following the Hindi style and the new Ghazal. This style is also manifested in the Moteahed Ghazal, and clear language signs can be seen in the example of specific words of the Hindi style in the new Ghazal: They rejected our kindness curvy mirrors from now on (Lotfi, 2016, p. 10) In the verses below, there is a hint along with the change in the story base and its elements. One of the important characteristics of the Hindi-style poetry is the proud tone and expression of the poet's contentment and restraint. This is seen in Saeb Tabrizi's and Bidel Dehlavi's Ghazals, and this tone creates a kind of exaggeration in the description of the poet's moods or the things described in his poetry. As rock by is measured by the mountain Pain also is measured by us as we are the yardstick (Lotfi, 2016, p. 30) Despite creating beautiful themes, contemporary lyricists sometimes create themes that are unable to convince the audience artistically. For example, the poet considers the devastating Bam earthquake (occurred on December 5, 2003) to be caused by his lover's sneeze. An earthquake in which thousands of people lost their lives and many suffered physical and mental injuries (see Askari, 2018, p. 14). In general, the effects and the main foundations of the Hindi-style Ghazal in the form and meaning of the Ghazal of the 1380s and 1390s AH can be traced. In such poems, what is detrimental is imitation without innovation in the processing of similes. Discussion of Results and Conclusions Novice poets’ Ghazal, influenced by the Hindi style, is mostly associated with vision and innovation. As far as thematic creation and design of new and detailed themes is concerned, poets have tried to pay attention to the language and atmosphere. In the simile and allegory part, new but superficial and simple similes are noticeable. As for the "hint", which is the most prominent method of imitating the Hindi style, the work of young poets is based on looking at the story elements and the details of the subject from a different angle. This is associated with a kind of norm avoidance that is often transformative in the emotion and content of the hints. In the sonnets of some young poets, the tone mixed with pride and contempt and expression in the Hindi style is clearly visible. In the current study, the weakness of similes and superficial and unflattering similes of sonnet verses have been examined. It is concluded that structure-oriented imitation based on allegory and thematization and trying to express new themes become the weakness of language and theme to the degree that sometimes thematizations cause the weakness of authorship and the weakness of the linguistic and content elements of sonnets by such poets.
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