نقد تخیلی غزلیات سنایی غزنوی از منظر ژیلبر دوران (مقاله علمی وزارت علوم)
درجه علمی: نشریه علمی (وزارت علوم)
آرشیو
چکیده
بیان مسئله: در آثار ادبی و هنری، تخیل نقشی اساسی دارد. وجود تعریف های گوناگون از این اصطلاح، هریک سبب تبیین جنبه های متفاوتی از آثار می شود. یکی از دلایل توجه به تخیل و ساختارهای تخیلی، تبیین اندیشه و احساس شاعران و نویسندگان است. درواقع تخیل مکانیزمی دفاعی است تا شاعر و نویسنده بتواند بر التهاب ها و تشویش های درونی خود فائق آید. روش: وجود پررنگ نمادهای دارای ارزش گذاری مثبت، امکان بررسی غزلیات سنایی را طبق نظریه ژیلبر دوران با شیوه ای توصیفی تحلیلی میسر می کند. یافته ها و نتایج: فراوانی نمادهای مربوط به این منظومه بر توانایی شاعر در غلبه بر نگرانی ها وآشوب های درونی صحّه می گذارد. در غزلیات سنایی تلطیف نمادهای ناخوشایند،کاربرد نمادهای خوشایند و رغبت شاعر برای بهره گیری از نمادهای ایمنی بخش برای ارائه تصویر مطلوب از معشوق و بیان ویژگی های روانی شاعر شکل می گیرند. درون گرایی، خودشناسی، مثبت انگاری، سازگاری با ناملایمات در سایه توجه شاعر به نمادهای درون بودگی آشکار می شود. نمادهای مادرمثالیِ «خاک کوی معشوق» و «ظرف و مظروف ها» بیانگر خاکساری، میل به سکون و آرامش عاشق و بزرگداشت معشوق اند.کاربرد نمادهای پیشرفت، ریتم دار و آغاز دوباره، وصال و امید وصال را برای شاعر ممکن می کند. برهم زدن نظم طبیعی چرخه ها، توصیفات پرشور از آینده وگذشته به همراه توصیفات پارادوکسیکال از دیگر شیوه های زمان گریزی شاعر است تا جاودانگی، تکامل یافتگی معشوق و ثبات قدم عاشق را هویدا کند. افرادی مانند سنایی که متمایل به استفاده از نمادهای منظومه شبانه به ویژه نمادهای آرمیدنِ خاک و آب هستند، معمولاً انسان هایی مثبت اندیش، صلح جو، معتدل، سازگار و تاحدی اندوهناک اند که مسائل را با حرکتی مسالمت آمیز حل می کنند. در هریک از آثار، بسته به میزان تمایل و بسامد نمادهای این نظریه می توان به جنبه های جدیدی از تخیل، ویژگی های روانی و فکری شاعر یا نویسنده دست یافت.Imaginative Criticism of Sana'i Ghaznavi's Ghazals from the Perspective of Gilbert Durand
literary and artistic works, imagination plays an essential role. The existence of different definitions of this term each explains different aspects of the word. In fact, imagination is a defense mechanism so that the poet and writer can overcome their inner inflammations and anxieties. One of the reasons for paying attention to imagination and imaginative structures is to explain the thoughts and feelings of poets and writers. The presence of bold symbols with positive valuation makes it possible to study Sana'i lyric poems according to Gilbert Durand's theory. The abundance of symbols related to his poems confirms the poet's ability to overcome internal worries and turmoil. In Sanai lyric poems, unpleasant symbols, along with the use of pleasant symbols, and the poet's desire to use safety symbols are combined to present a desirable image of the beloved and to express the poet's psychological characteristics. Introversion, self-knowledge, positivism, and adaptation to adversity are revealed in the shadow of the poet's attention to the symbols of introversion. The motherly symbols of the "beloved's threshold" and "the vessel and its contents" express humility, the lover's desire for peace, and the beloved bow. Disrupting the natural order of cycles, passionate descriptions of the future and the past, along with contradictory descriptions, are other ways in which the poet escapes time to show the evolution of the beloved and the steadfastness of the lover. Poets like Sanai, who tend to use the symbols of the nocturnal system, especially the soothing symbols of water and soil, are usually positive-minded, peaceful, moderate, adaptable, and so sad. They solve problems with a peaceful gesture. In each of the works, depending on the tendency and frequency of the symbols of this theory, new aspects of the imagination, and psychological and intellectual characteristics of the poet or writer can be achieved. Introduction The ideas of people like Henry Carbone, Gaston Bachelard, Gilbert Durand, and some constructivists led to the emergence of a positive view of imagination. With regard to the concept of mystery and revelation in Islamic mysticism, using Suhrawardi's examples and Jung's teachings, Gilbert Durand was able to identify the symbols of distress caused by the passage of time and human coping in two general groups. He examines imagination in its various manifestations and after that, by examining artistic images, he obtains the main inner characteristics of the creator of the work. The bold presence of the nocturnal system (with a positive value) and the similarities of the thought of the era with the Eastern doctrines caused this method to be taken into consideration for the analysis of Sana'i sonnets. The main focus of the present study is to find the central images and symbols of Sana'i sonnets and the special attention of the poet to the nocturnal system. Also, reaching the topics that are conveyed by these symbols is another goal of this research. Methodology After defining the statistical population of the research, in order to find the symbols of the nocturnal system by studying Sana'i lyrical poems several times, the related symbols were extracted and categorized, and the symbols were described and analyzed using the library method. Then, based on the frequency, amount, type and quality of symbols, and the relative characteristics of the poet's personality were discussed as much as possible. Review of the Literature According to the theory of Gilbert Durand, mysterious symbols include symbols of refuge, symbols of fluids and drinks, balanced symbols, and colors. In the symbols of refuge, man recreates rebirth by taking refuge in safe places and overcoming inner worries. Symbols of refuge in Senai's sonnets appear in the poet's desire to rest in places such as ruins, Koi Maqamari, pagodas, etc. Senai's exposure to unfavorable social conditions, the experience of adverse psychological states, and the characteristics of the poet's nature cause him to turn to the refuge. By sinking into oneself, hidden forces do not always remain hidden. By entering the symbols of the shelter, the self-fulfilling person becomes the creator of the expanse that is pleasing to him. In the sonnet, frequent refuges such as the lover's house and the soil of the lover's feet show that the barriers of distance from the beloved have been reduced in the poet's thoughts and imagination. These maternal and feminine symbols express a sense of peace. Perhaps one of the reasons for the poet's attachment to the image of soil can be seen in connection with his personality. The predominance of the soil element indicates that the person is phlegmatic, sad, and affected. Containers and liquids are also other mysterious symbols. These symbols are reminiscent of the Yunus complex. The abundant use of drinks and dishes is also prominent in the lyrics to represent the sense of security. Tears are also among the symbols of shelter and fluids that Sana'i turns to relieve his inner inflammation. Senai's imagination in the sonnets seeks to use symbols with positive values. In many cases when the poet has used symbols with negative values, he is trying to balance those symbols. He reduces the fear caused by dark, descending, and animal symbols by adding traits and characteristics. By using red, black, white, and yellow colors, besides describing the beauty of his lover and expressing ascetic images, Sanai also expresses his annoyance. In the use of colors, the pleasant and unpleasant moods go hand in hand, so that along with the description of a balanced situation, the unfavorable conditions and the reluctance of the lover can also be arranged. Cyclical patterns such as circles emphasize the endless repetition of time. They depict the pattern of night and day, the night of partying, and the morning of connection. In the rotating symbols with the image of the change of seasons, the spring of connection replaces the winter of separation and absence. In Sana'i ghazals, the cycles are mostly short-lived, so that the lover can achieve connection. Sometimes the poet seeks to reduce his anxiety by disrupting the natural pattern of cycles in his imagination. The images of the garden, spring, flower tree, full moon, and the like describe a lover with a distinct attribute of renewal. The imbalance in the cycles also leads to the immortality of the lover, and the lover is freed from the sadness of the passage of time and decay in this way. The use of savior symbols and the passionate description of the future and the past in the lyrics also express the evolved existence of the beloved. Using the unity of opposites, Sanai reaches a lover who is protected from the events of the time. Wandering in the descriptions of the beloved in sonnets is a balm for the lover's soul to reduce boredom. Results The amount of use of symbols of the nocturnal system in Sana'i is more, better, and more artistic than other symbols. Examining the symbols of Ghazliat mainly indicate the dominance of suitable mental and emotional states. The abundant use of imagery of relaxation, such as soil and water, shows the poet's mastery over worries and his desire to reach relief. The colors also describe well the unfavorable and most favorable conditions of love. Sometimes the lover finds peace in connection with nature. Cyclical and rhythmic symbols, symbols of progress to overcome the anxiety caused by time lean towards the symbols of new beginnings and immortality, and thus the poet tries to create images that promise an imminent connection. The poet describes his lover in the way he likes by freeing himself from limitations and paradoxical images. All these actions represent the poet's mental effort to achieve the desired conditions. People like Sanaei, who tend to use more positive symbols, are peaceful people who solve problems in a peaceful way.
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