مطالعه کارکردهای زبانی «فعل» در اشعار غنایی «مذنب بدایونی» با تکیه بر فرانقش اندیشگانی در رویکرد نقش گرایی (مقاله علمی وزارت علوم)
درجه علمی: نشریه علمی (وزارت علوم)
آرشیو
چکیده
«ادبیات غنایی» به عنوان یکی از گسترده ترین انواع ادبی در چهارچوب نقش «ادبی و عاطفی» زبان مطرح می شود و به بیان احساسات و عواطف شخصی «گوینده» می پردازد. هدف این نوع ادبی، گزارش و بیان احساسات گوینده و در کنار آن، لذت بخشیدن به مخاطب است. هر یک از گویندگان ادب غنایی به اقتضای درون مایه اثر خود از مؤلفه هایی بهره گرفته اند که به اثر آن ها رنگ و بوی غنایی بخشیده و آن را از سایر آثار ادبی متمایز ساخته است. شیوه های کاربرد عناصر غنایی در هر یک از منظومه های ادب فارسی متعدد و متنوع است. عواملی مانند «ترکیبات و تعبیرات غنایی»، «توصیفات نرم و لطیف»، «فضای غم آلود و انزواطلبی»، «کنشگری عاشق و معشوق»، «تک گویی های درونی شخصیت اصلی» و ... از شاخص ترین نمودهای ادب غنایی هستند. این پژوهش تلاش می کند با بهره گیری از «فرانقش اندیشگانی» در رویکرد نقش گرایی هلیدی به مطالعه اشعار غنایی «مذنب بدایونی» یکی از شعرای ناشناخته دوره بازگشت بپردازد. این شاعر غزل سرا از روش های مختلفی برای بیان اندیشه غنایی خود استفاده کرده و نکته قابل تأمل این است که وی در طول دوره شاعری خود دچار تحول نگرش شده و از نگرش ابتدایی خود که مشابه شعرای عاشقانه سرای سبک عراقی بوده در دوره ای از زندگی به دیدگاه شعرای «مکتب وقوع» و «واسوخت» متمایل می شود. این پژوهش سعی دارد به این پرسش پاسخ دهد که بر مبنای فرانقش اندیشگانی، تحول جهان بینی «مذنب بدایونی» در اشعار غنایی، باعث ایجاد چه تغییراتی در سطح «افعال» به کار رفته، شده است؟ یافته های پژوهش نشان می دهد که تغییر، افول و در نهایت تنزل مقام «معشوق» -به عنوان شخصیت اصلی غزلیات وی- از طریق کاهش میزان حضور این مُشارک در «فرآیندهای مادی و ذهنی» و بسامد بالای «بندهای پرسشی» که معنای «مؤاخذه و عتاب» دارند، نشان داده شده است.Linguistic Functions of "Verb" in Lyrical Poems of "Mozneb Badayouni" Based on the Ideational Metafunction in Halliday's Functional Approach
Lyrical literature as one of the most widespread types of literature is presented in the context of the "literary and emotional" function of language and expresses the personal feelings and emotions of the "speaker". The purpose of this type of literature is to report and express the feelings of the speaker and at the same time, to please the audience. Each of the speakers of lyrical literature, according to the theme of their work, has used components that have given a lyrical color to their work and have distinguished it from other literary works. The methods of using lyrical elements in each of the systems of Persian literature are numerous and diverse. Factors such as "lyrical compositions and interpretations", "soft and delicate descriptions", "sad and isolationist atmosphere", "loving and beloved action", "inner monologues of the main character", etc. are the most manifestations of lyrical literature. This study tries to study the lyrical poems of "Badnauni's Sinner", one of the unknown poets of the return period, by using the ideational metafunction in the Functional Approach of Halliday. This lyric poet used different methods to express his lyrical thought, and it is noteworthy that he changed his attitude during his poetic period, and from his initial attitude, which was similar to the love poems of the Iraqi style house, in a period of his life he leans towards the view of the poets of "Maktab Voqou’". This study tries to answer the question that based on the paradigm of thought, the evolution of the worldview of the "Bedouin sect" in lyrical poems, what changes have caused the level of used "verbs"? Findings show that the change, decline, and ultimately degradation of the status of "beloved" as the main character of his lyric poems are shown through the reduction of the presence of this participle in "material and mental processes" and the high frequency of "interrogative clauses" which mean "reproach and exclamation". Keywords : Lyrical Literature, Functional Approach, Ideational Metafunction, Mozneb Badayouni. Introduction Some of the valuable works of Persian culture and literature are manuscripts that remain unknown and have not yet been corrected or published. In this regard, one of the tasks of Persian literature researchers is to revive precious works. Mozneb Badayouni is one of the poets of the Qajar period and the return literary style, whose Divan (book of poems) remains unknown to the researchers and lovers of Persian literature. After searching in the system of important libraries such as the National Library, the Central Library of Tehran University, the Malik Library, the Islamic Council, Astan Quds Razavi, and some libraries of other countries such as the Michigan Library and the National Library of England, it was found that no proofreading and research was done on this copy; therefore, it is necessary to address this issue in order to introduce a poet of the Qajar period and the return literary style to the literary community of the country, so that researchers and those interested in the hidden treasures of Persian literature can take the next steps to clarify areas such as the worldview of the poet from the political-social situation of the period. So far, no significant action has been taken regarding Mozneb Badayouni and his divan; even no special research has been done about the life and cultural and literary personality of Mozneb, and some biographies have only mentioned his name and sign. Therefore, this research about Mozneb is considered an unprecedented and new work. The author of these lines, as the first researcher, corrected the Divan of Poems of a creative poet, so that in this way, interested people will get to know one of these valuable and neglected works, called "Divan of Poems of Mozneb Badayouni". "Lyric literature" as one of the most extensive types of literature, is presented in the framework of the "literary and emotional" function of language and expresses the personal feelings and emotions of the "speaker". The purpose of this type of literature is to report and express the feelings of the speaker, and at the same time, to give pleasure to the audience. Each of the speakers of lyrical literature has used components that gave their work a lyrical color and made it different from other literary works. The ways of using lyrical elements in each of the Persian literature systems are numerous and diverse. Factors such as "lyrical compositions and interpretations", "soft and tender descriptions", "sad atmosphere and isolation", "lover and beloved activism", "inner monologues of the main character", etc. are among the indicators. The most expressive forms of literature are lyrical. This research tries to study the lyrical poems of "Mozneb Badayouni" one of the unknown poets of the return period by using ideational metafunction in Halliday’s Functional Approach. The main content of his poems is the concept of "love" and specifically "earthly love". In many of his romantic lyric poems, he looked at the concept of "love" and the relationship between "lover and beloved" in the manner of his predecessors, such as Saadi, Kamal al-Din Isfahani, Hafez, etc, and presented the same picture that the likes of Saadi have drawn of the lover. Beside this concept, traces of " Malamatiyya thought" can also be seen in many cases in his Ghazals. Mozneb has considered "love" as the highest concept of existence and "May, Maykadeh" as one of the most popular concepts and places in his Malamati attitude. In his Ghazal, words such as "bloody", "killed", "cruel", "ruthless", "hard-hearted" etc. have a significant frequency, which clearly reminds us of "beloved" in the poetry of the Iraqi period. Of course, sometimes the semantic load of these words has been intensified and they have been replaced by words such as "murder", "killer" and "killed". Mozneb Badayouni, the lyrical poet, used different methods to express his lyrical thought, and the point to consider is that during his period as a poet, he underwent a change in his attitude and from his initial attitude in a period of his life to the viewpoint of the poets of the Maktab Voqou’ and Va Soukht. It tends to occur and burn. This method has created the most changes and transformations in the poetic subjects after the Iraqi style. According to political and social reasons, and as a result, cultural and literary issues during half a century, this school established principles and foundations for itself, which continued its life in a purposeful and coherent way during the Qajar era. The language of the poetry of the mentioned period is generally an imitation of the poetry of the Iraqi and Khorasani periods; but by studying the works of the poets of this period, we find out that the poets of the return, as they should, do not have a good command of the rules of morphology and syntax and other aspects of the language of the poetry of the past periods (Iraqi-Khorasani), that is why their language is crude and elementary. On the other hand, some linguistic issues of this period are influenced by the Indian style or the Afshariya and Zandiye periods. This research tries to answer the question that, based on the ideational metafunction, the evolution of the worldview of "Mozneb Badayouni" in lyric poetry has caused what changes in the level of used "verbs"? Systemic Functional Grammar is organized based on three metafunctions: ideational metafunction, interpersonal metafunction, and textual metafunction. Ideational metafunction means re-expressing the experiences that were created in connection with the outside world and then transferred to the mind. Since the ideational metafunction is the result of the combination of the process (verbal group), the participants of the process (nominal and adjective group) and the event (adverbial group), it has the capacity to represent past experimental realities through grammatical structures. This potential capacity is provided by the mechanism or system of expressing ideational metafunction in language, which is called "Transitional System". Literature Review After the emergence of Functional linguistics in the West, some researchers in Iran also analyzed literary texts based on the teachings of this approach. Aghagolzadeh (1384) has discussed the role, application, and importance of the Functional approach in the analysis and explanation of literary works, and while explaining Halliday's theoretical issues, he has analyzed Hafez's Ghazals in the framework of the Functional approach. Khan Jan and Mirza (2005) tried to provide a functional analysis of poetic discourse and effective factors in poetic communication. Jahani and Hosseini (2019) in research entitled "Analysis of ideational metafunctions in the Poem "Khan-e Hashtom" by Mehdi Akhavan Sales… showed that in this poem, Akhavan makes the most use of mental processes and then relational and verbal processes. The narrative form of the story, the presence of a narrator in the narration and then the presence of the poet as the second narrator, the predominance of the descriptive structure of the story, and also the connection with the story of Haft Khan Rostam can be considered as the most important reasons for the use of these types of processes in this poem. Monshizadeh and Elahian (2014) tried to understand the fundamental components of Saadi's Golestan and explained their main features in the construction and selection of various processes, and concluded that since the subject of Golestan is related to humans and the relationships between humans, the behavioral process is the most obvious process in Saadi's intellectual poetic. Miladi and Vafaei (2017) investigated the functional mystical experiences in the intuitive dreams of Kashf al-Asrar and Mokashefat al-Anwar by Rozbahan Baghli and showed that the specific course of language processes in different stages of revelation from "material" to "mental" is used to explain the upward course of the devotee from the position of "Quest" to the position of "Perdition". In their research, Delbari and Sadeghinia (2016) classified the verbs in 6 short stories of Zoya Pirzad into six material, mental, communicative, behavioral, expressive, and existential processes, respectively, and based on these frequencies, they have shown the way of thinking and attitude of the author. The findings of this research show that the material process and then the behavioral process are the stylistic characteristics of Pirzad's stories. On the other hand, due to the abundant use of the material process, it can be said that Pirzad's view is realistic. Methodology The method of gathering information has been done by referring to the Poet's Divan (book of poems) and using library resources. In the first stage of the research, the required manuscripts are first prepared and the original version that is the basis is determined. Of course, our basis was the availability of the version. The available copies of this work are the manuscript of the National Assembly Library (3 copies in one volume including Ghazals and quatrains) and the fourth copy from the Central Library and Document Center of Tehran University (copy number: 4548). With the guidance of the advisor and reader (taking into account criteria such as oldness, completeness, good handwriting, and few mistakes), the basic version (the third version of the National Council Library) is determined. Considering that the title of the research is related to the poet of the 13th century, in compiling the introduction and background of the research, he has used the library, descriptive-analytical method in the usual way in humanities. The study method is in-text and with a critical view. The type of study is descriptive-analytical, and the method is descriptive (including the investigation of how the ideational metafunction processes are arranged) and analytical (including the exploration of the contexts and the reason for the particular formation of those processes). The statistical population of this research is 100 romantic Ghazals with the theme of "earthly love" from the Divan of poems of this poet of the return period. The sample unit is "Ghazal" and the unit of analysis is "verb". Conclusion By studying the text of these Ghazals and analyzing their content, it was found that these poems can generally be placed in two main categories: First, the Ghazals that express the "relationship between lover and beloved" following the style of Iraqi poets; in this category of Ghazals, Mozneb is a follower of great poets like Saadi Shirazi and Kamaluddin Abdul Razzaq Esfahani in his poetic style. The second category is the Ghazals which were formed by the evolution and transformation of the poet's attitude towards the "relationship between lover and beloved". The style and content of this category of Ghazals are similar to the style of the Maktab Voqou’ and Va Soukht and poems like "Vahshi Bafghi" and "Babafaghani". In the first type of Ghazals, according to the content of each Ghazal, Mozneb Badayouni used different linguistic processes. In these Ghazals, 3 characters with the title "Love, Lover, and Beloved" are the main characters of the Ghazal. In the textual context of these Ghazals, relational processes have the highest number of processes with about 45%. The poet in the position of "lover" has described the appearance, physical characteristics, and moral characteristics of the beloved in the form of these processes. In these Ghazals, the beloved has a face similar to the beloveds in the Iraqi style of poetry. The beloved's "face, eyes, lips, cheeks, height, face, and hair" are introduced to the audience through relational processes; in the next order, "material" processes have a higher frequency than other processes with about 28%. In most of these processes, "You/Beloved" has appeared in the form of the semantic role of "Active" and in front of "I/Lover," it has a passive face that has been affected by the cruel actions of the beloved. The beloved has the largest share in the arena of actors of Mozneb’s Ghazal. Mental processes with a frequency of about 23% are in the next order. The most used verbal infinitives in these processes are "seeing", "looking" and "knowing". "Behavioral processes" with a limited percentage of "about 3%" are one of the less frequent processes in the textual context of this category of Ghazals. The most used verbal infinitives in these processes are "crying" and "moaning" and their main participles are "me / lover". "Beloved" also participates in behavioral processes but unlike the lover, constantly "laughs" and has no pity for the lover. In the "second type" of his Ghazals, Mozneb has found a real and true view of the concept of "love and beloved" and there is no sign of "pure helplessness and submission" in front of the beloved in his poetry. The beloved he depicts in such poems is no longer the "cruel and powerful beloved" who possesses the lover, and the lover has no choice but to cry and wail against their cruel actions. The transformation of the attitude of Mozneb towards the concept of "love" and "earthly lover" originates more than anything from the social and political developments of the Qajar era and the anxiety and tensions that prevailed in this historical period. The social and political conditions have gradually changed Mozneb’s attitude to the relationship between "lover and beloved" and in many of his sonnets, "lover" is no longer an oppressed and inevitable figure; rather, he is fed up with the cruel actions of the unfaithful lover and opens his mouth to protest. The main manifestation of this attitude change at the level of language processes is the reduction of the presence of the beloved in material processes and the semantic role of the actor. The findings of the research show the change, decline, and finally degradation of the position of "Beloved" as the main character of his Ghazals, through the reduction of the presence of this participant in "material and mental processes" and the high frequency of "interrogative clauses" that have the meaning of "reprimand".
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