بررسی انتقادی یک واژه و دو ترکیب در دیوان سوم حکیم رکنا (مقاله علمی وزارت علوم)
درجه علمی: نشریه علمی (وزارت علوم)
آرشیو
چکیده
این مقاله به بحث درباره بار معنایی دو ترکیب «به طرح دادن و سینه کردن» و خاستگاه و معنای واژه «سُنگ» در ترکیب «خرابه دهِ سُنگ» و کاربرد آن می پردازد؛ به سبب اهمیت موضوع، ضمن آوردن نمونه ها، نخست درباره تعبیر «به طرح دادن» و ایرادهایی سخن می گوییم که با توجه به ابیات شاعران و متون نویسندگان مانند عبارت معروف حکایت گلستان سعدی بر معانی شارحان وارد است؛ به ویژه بیتی از حکیم رکنا در یکی از غزلیات دیوان سوم برای شاهد ذکر می شود که بیشتر مدّنظر بوده و اساس کار بر آن، بنا نهاده شده است؛ چه بسا دستاورد این پژوهش پایانی بر آن همه جدال لفظی، عبارات بی مفهوم و استدلال های نادرست نویسندگان مقالات و شروح بر معنای این ترکیب است؛ زیرا شاعر با آوردن قرینه «به خرمن دادن» در کنار ترکیب «به طرح دادن» کاملاً مطلب را روشن می کند: ما بلبلیم لیک به گلشن نمی رویم/ تا گل به ما به طرح و به خرمن نمی دهند سپس در نقد و بررسی واژه «سُنگ»، معنا، املاهای مختلف این کلمه و عبارت کنایی «خرابه دهِ سُنگ» و دیگر ترکیبات کنایی ساخته شده با آن، سخن گفته می شود؛ نیز خاستگاه این واژه و چرایی راه یافتن آن به دیوان حکیم، همراه با ذکر اشعار شاعرانِ به کاربرنده این واژه و ترکیباتش تبیین خواهد شد. آنگاه درباره ترکیب کنایی «سینه کردن» از اصطلاحات قرن پنجم و ششم که در رباعی حکیم (قرن یازدهم) نیز آمده است سخن گفته می شود و با کمک نمونه هایی که شاعرانی مانند عطار در منطق الطیر و نظامی در مخزن الأسرار آورده اند، به اهمیت آن اشاره می شود.A Critical Investigation of One Word and Two Combinations in the Third Divan of Hakim Rokna
n this study, regarding the Third Divan of Hakim Rokna (known as Masih Kashani), the meaning of the phrase(به طرح دادن) ‘ be tarh dadan ’ is investigated. It is one of the controversial combinations, although it has been studied and discussed for centuries, not only has it not reached a conclusion, but everyone has gone wrong in its interpretation. The phrase is dealt with firstly based on a comprehensive study, especially by witnessing the verse of Hakim in one of the sonnets of the Third Divan . The results of this study can be an end to all verbal disputes, meaningless phrases, and incorrect arguments of the authors on the meaning of this combination, since the poet completely clarified the issue by bringing the simile of(به خرمن دادن) ‘ be kharman dadan ’, which is a sign of abundance, along with the combination of ‘ be tarh dadan ’. In the examples from other books mentioned in the study, considering the issues before and after it, this point is very clear. However, the verse of Hakim is:
ما بلبلیم لیک به گلشن نمی رویم
تا گل به ما به طرح و به خرمن نمی دهند
/Maa bolbolim lik be golshan nemiravim/ /Taa gol be maa be tarh o be kharman nemidehand /
Translation: We are nightingales, so we don't go to garden; Until they don't give flowers to us, to.…{be tarh o be kharman}
And it is clear that the meaning of this combination in Persian poetry and prose does not match the meaning of Golestan commentators and commentators of other books, and by presenting these incorrect interpretations, they only cause readers and researchers to wander.
Then, the Turkish word ‘ song ’ and ‘ Kharabeh-Dehe Song ’ and other derivatives and their origins are investigated and different aspects of their meanings are depicted. Then, the importance of the combination of ‘ sineh kardan ’ is mentioned.
Introduction
After the emergence of any language, during the history of that language and in different periods, many changes and transformations appear within that language, Persian language is also one of the languages that is not exempted from this rule. The interference with other cultures, the expansion of linguistic needs, and the development of the culture and literature of each country are among the factors that require these changes and lead to the creation and expansion of new words and combinations. Two combinations of ‘ be tarh dadan ’ and ‘ sineh kardan ’ and the Turkish word ‘ song ’ and derivatives that were taken from it helped to express linguistic intentions. And some of them have been popular for a while and some have taken root in the text of culture and have become permanent. This study aimed to find the correct meaning of these words and combinations, which are found in most of the poets' books and the speech of street and bazaar people. We should provide a more precise form of reliable Arabic words in order to reach the correct meaning, especially in the case of ‘ be tarh dadan ’. This study tries to answer two research questions: 1) When and why did these definitions and terms appear in the field of language? 2) Have they played a role in the enrichment of culture and language? How?
Materials and Methods
In this study, the combinations are investigated according to the explanations of Golestan Saadi , historical books such as Tarikh Sistan , Tarikh Wassaf , and Zubda al-Tawarikh , Tazkirah books such as Tazkirah Nasrabadi , commentaries such as Marzban Nameh , Attar’s Mantegh Al-tair , Anwari’s Divan , Turkish and Arabic dictionaries such as Al-Maajam Al-Wasit, Saeb’s Collection of Poems , Turkish Vocabulary Dictionary (Souzlok), and Nasiri Dictionary . However, it is worth mentioning that it was not possible to search in all sources other than the mentioned ones to clarify the meaning of the word combinations.
Research Findings
By researching the texts and with the help of Hakim's poems in the Third Divan , the meaning of the words is clarified as follows:
Be Tarh Dadan = To Donate Without Stinginess
The meaning of the phrase is clarified using a phrase in Al-Ma'jam al-Wasit :
طَرَحَ الشَیئَ طَرحَهُ والبناءَ و نَحوَهُ
Translation: he made the building tall or expanded it.
The correct meaning can also be found in a verse from Saadi’s Golestan :
خرمای به طرح اگر ببخشند
از اهل کرم هدر نباشد
/khormay be tarh agar bebakhshand/ /az ahle karam hadar nabashad/
If they donate the dates …{be tarh} it will not be a waste thing for the generous person
In Hakim Rokna’s verse:
ما بلبلیم لیک به گلشن نمی رویم
تا گل به ما به طرح و به خرمن نمی دهند
/Maa bolbolim lik be golshan nemiravim/ /Taa gol be maa be tarh o be kharman nemidehand/
Translation: We are nightingales, so we don't go to garden; Until they don't give flowers to us, to.…{be tarh o be kharman}
The poet has accompanied the combination of ‘ be tarh dadan ’ with the combination of ‘ be kharman dadan ’. Therefore, it turned out that this combination is meant without embarrassment and with forgiveness and along with donation and indulgence everywhere.
Sung, Song
The root of this word could be found in Turkish. When the Safavids came to Isfahan from Ardebil, they brought ‘song’ from Ardebil and the Turkish language into Isfahan, and the people of Isfahan also used it in their dialect. It is mostly seen in the quatrains of the 10th and 11th centuries. It means ‘loot’ and ‘Kharabe-Deh-Song’ means looted ruined village. In Turkish dictionaries, it means ‘end and follow’, ‘a gift presented to elders’, ‘hole’, ‘small, tiny, and fine’ and ‘a kind of robbery and destroying’.
Sineh Kardan
چون در دل خود جا کنم آن بدخو را
وز صبح رخش سینه کنم پهلو را
/chon dar dele khod ja konam aan badkhoo raa/ /vaz sobhe rokhash sineh konam pahloo raa/
Translation: When I keep that bad-tempered (impatient) in my heart; I will thrust up my flank from her face's morning
The compound infinitive of ‘ sineh kardan ’ means ‘boasting’ and was used until the 6 th century and the early 7 th century.
Discussion of Results and Conclusions
Common words and expressions of a language contribute to its richness, and paying attention to all its aspects and all periods could have strong results in recovering their meaning, and indeed, the words and expressions and their use in texts and conversations of people should be searched with regard to social, historical, political, and economic issues. Like the verse of Hakim, who solved the problem of ‘be tarh dadan’ and the terms derived from it in his works. In addition, the position and origin of the compounds and the words ‘sineh kardan’ and ‘Song’ were revealed, and it turned out why and how the compounds made from the word Song have entered the slang literature and in writing.
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