نگاهی بر انواع باهم آیی در غزلیات صائب تبریزی (مقاله علمی وزارت علوم)
درجه علمی: نشریه علمی (وزارت علوم)
آرشیو
چکیده
«باهم آیی» در متون ادبی که حاصل خلاقیت شاعر و نویسنده در انتخاب و تلفیق واژگان در محور همنشینی زبان با ارائه تصاویر بدیع است، تناسب معنایی و لفظی دلپذیری را ایجاد می کند که گاهی مشخصه سبکی آن شاعر یا نویسنده به شمار می رود؛ از این رو، بررسی متون ادبی از منظر باهم آیی ها، زمینه را برای شناخت بیشتر آثار ادبی و سبک پدیدآورندگان آن ها فراهم می کند. در پژوهش حاضر، این پدیده زبانی در غزلیات صائب تبریزی که سبک هندی در شعر او به کمال رسیده، مورد مطالعه قرار گرفته است. اهداف اصلی این مطالعه، نشان دادن پربسامدترین نوع باهم آیی ها، انواع و همچنین کارکرد آن ها در خلق معانی و تصاویر بدیع در غزلیات صائب به روش توصیفی- تحلیلی است که به منظور نیل به این اهداف از تقسیم بندی ای که صفوی از باهم آیی ها در زبان فارسی ارائه داده، بهره گرفته شده است. این پژوهش، پیکره بنیاد بوده و پیکره مورد نیاز آن از50 غزل صائب (از غزل1400 تا1450) با حدود 573 بیت، استخراج شده است. از این میان، 278 بیت حاوی انواع باهم آیی ها بوده است. یافته های پژوهش حاکی از آن است که از انواع باهم آیی، بجز باهم آیی «فعل با فعل»، «قید با فعل» و «هم آوا- هم نویسه» در غزلیات صائب بهره گرفته شده است، اما باهم آیی تداعی معنایی و از میان انواع روابط مفهومی آن، رابطه شمول معنایی، بیشترین بسامد کاربرد را داشته است. همچنین در این بررسی مشخص شد که می توان انواع باهم آیی های غزلیات صائب را در سه گروه طبقه بندی کرد: 1- باهم آیی هایی که با همان لفظ و معنا امروزه نیز در زبان و شعر معاصر به کار می روند .2- واژگان هم آیندی که با اندکی تغییر در لفظ، اما با همان بار معنایی در روزگار ما نیز کاربرد دارند. 3- هم آیندهایی که یکی از واژگان آن، به کلی مهجور شده و در زبان و شعر امروز به کار نمی رود.An Overview of Collocations in Saeb Tabrizi's Sonnets
Collocations in the literary texts, resulting from the poet and author's creativity in choosing proper words in the paradigmatic axis, along with the presentation of novel images create a pleasant meaning and word proportionality that is sometimes considered as the style of the poet or author. Thus, the study of Collocations in literary texts is an interesting subject that provides a basis for a better understanding of the literary works and the style of their authors. In the present study, this linguistic phenomenon has been studied in Saeb Tabrizi's sonnets, a prominent poet with Indian style. The main objectives of this descriptive-analytical research are to show the most frequent type of collocations in Saeb's sonnets, and their comparisons with today's Persian language collocations. In order to achieve these goals, the Safavi classification has been used. The research is corpus-based and the necessary corpus was extracted from 50 Saeb sonnets (from 1400 to 1450) with about 573 verses. Findings indicate that although all kinds of collocation, except verb-verb, verb-adverb, and homonymy-homophony collocations have been used in his sonnets, the meaning of associative collocations and their subtype such as hyponymy is the most frequent ones. Results show that Saeb's collocation can be divided into three groups: 1-Colloctions that apply with the same form and meaning in today's Persian language. 2- Collocations that are used in our today utterances with little change in form but with the same meaning and 3- The obsolete collocations which are not used today. Keywords: Collocations, Syntagmatic Collocation, Associative Collocation, Saeb's Sonnets. Introduction Collocations in the literary texts, resulting from the poet and author's creativity in choosing proper words in the paradigmatic axis, along with the presentation of novel images create a pleasant meaning and word proportionality that is sometimes considered as the style of that poet or author. In this way, collocation has a decisive role in rhetoric. Since this phenomenon is the result of specific lexical selection and also one of the methods for expressing meaning, knowing the best ways for using it, especially in literary works, leads to the formation of different styles. Therefore, by studying the collocations in literary works, it is possible to achieve different styles of expression in the pragmatic use of language elements. Thus, the study of Collocations in literary texts is an interesting subject that provides a basis for a better understanding of the literary works and the style of their authors. In the present study, this linguistic phenomenon has been studied in Saeb Tabrizi's sonnets, a prominent poet with Indian style. Research Questions In this research, we try to answer the following questions: What are the most frequent types of Collocations in Saeb's sonnets? Has Saeb used collocations to create new meanings and images? Are the collocations used in Saeb's poetry also used in the Persian language and contemporary poetry today? Literature Review Collocations have been reviewed in the Persian language, for the first time, by Mohammad bin Omar Radovyani. He talks about symmetry and proportionality in his book titled “Tarjuman al-Balagheh”. After that many scholars studied it. In the contemporary era, Jalal al-Din Homayi, presented a new definition for collocations, while explaining the opinion of the past rhetoricians. According to Sirus Shamisa, collocation is achieved when some words are parts of a whole, and for this reason, there is proportionality and analogy between them. Safavi reviewed the history of collocations and classified collocations in the Persian language into three groups: modular, lexical, and associative collocations. Non-Persian linguists have also studied lexical relations and collocations. Firth (1957) was the first person who proposed the term collocations in his semantic theory and assumed it to be a semantic phenomenon, not a grammatical one. Sinclair (1966) refers to two types of collocations, accidental and meaningful collocations. According to Halliday and Hasan, repetition and collocation are important tools for lexical cohesion. Liones consider substitution and combination relations to be effective in collocations of words. Methodology The research was descriptive-analytical. The main goal was showing the most frequent type of collocations in Saeb's sonnets, and their comparisons with today's Persian language collocations. In order to achieve these goals, the Safavi classification has been used as a theoretical framework. In his category, this phenomenon has been studied considering the syntactic, structural, phonetic, and semantic levels. The research is corpus-based and the necessary corpus was extracted from 50 Saeb's sonnets (from 1400 to 1450) which included about 573 verses. Extracted verses were placed in three categories: modular, lexical, and associative. Conclusion Studying the related corpus revealed that all types of associative, lexical, and modular collocations were found in Saeb's sonnets with a ratio of 65.1%, 31%, and 3.9%, respectively. In lexical collocations, noun-noun collocation had the highest frequency with 40.69%, and noun-adjective collocation is in second place with 39.53%. In terms of associative collocation, the semantic association with 40.88% had the highest frequency, and the structural association had the lowest frequency was 1.1%. Based on the analysis, it was determined that in Saeb's poetry, according to the classification of collocations as a theoretical framework, all types of collocations have been used, except for "verb-verb", "adverb-verb" and "homophone–homograph" collocations. Also, it was found that in Saeb's sonnets, collocations can be classified into three groups based on their function: 1- collocations that are used with the same word and meaning even today in contemporary language and poetry.2- collocative words that are used today with a slight change in wording, but with the same meaning; 3- collocations that one of its words has been completely extinct and is not used in today's language and poetry. Based on the findings it can be concluded that Saeb has used collocation for creating new meanings in his poems. In Saeb's sonnets, some of the words are placed in two or more types of collocations at the same time and overlap with each other.
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