رهیافت ها و شیوه های مبالغه پردازیِ مولوی در مثنوی (مقاله علمی وزارت علوم)
درجه علمی: نشریه علمی (وزارت علوم)
آرشیو
چکیده
آنچه در نوشته های بلاغی درباره آرایه «مبالغه» آمده است، عمدتاً از گونه بندی عرفی و عقلی آن به «مبالغه»، «اغراق» و «غلو» فراتر نمی رود و چنانکه باید قدر و قرب این آرایه را نمی نمایاند. این پژوهش به شیوه توصیفی تحلیلی و به پشتوانه منابع کتابخانه ای فراهم آمده است و هدفش آن است که شگردهای مولوی (604‑672 ق.) را در ایجاد مبالغه در مثنوی با افعال، ابعاد و اندازه ها واکاوی کند؛ نیز در ضمن آن به بازشناختی از آرایه مبالغه و نگاهی نقّادانه به آرای بلاغیون درباره آن دست یابد. بررسی ها بیانگر آن است که در بخش «افعال»، اسناد مجازی یکی از پرکاربردترین ابزارهای ایجاد مبالغه در مثنوی و هنری ترین شکل آن است؛ به ویژه آنکه با تضاد و تناقض و دیگر صنایع ادبی پیوندی مستقیم دارد. پیوند دو واژه متضاد و برقراری نسبتی میان آنها «متناقض نما» می آفریند و غالباً فعل به صورت اسناد در تجمیع امور متضاد یا متناقض، نقش اساسی ای بر عهده دارد. در بخش «اندازه ها» و «اعداد» نشان داده شده است که چه اعدادی و به چه شکل هایی در مبالغه های مثنوی کارساز افتاده اند. این اعداد از «نیم» تا «هزار» را در بر می گیرد؛ نیز کاربرد دو عدد «هفت» و «صد»، بسامد بیشتری در مبالغه های مثنوی دارد و در بزرگ نمایی یکی از شگردهای شاعرانه مولوی نظرها را به خود معطوف می کند. در بخش «ابعاد»، نشان داده شده است که این مبالغه ها در مثنوی به دو شکلِ ابعاد مکان و ابعاد زمان، ایجاد شده و از پرتکرارترین گونه های مبالغه در مثنوی است. سرانجام آنکه استفاده از نشانه های جمع، ازجمله نشانه «ها» و استفاده از جمع الجمع به شکلی هنجارگریزانه، از دیگر راهکارهای ایجاد مبالغه در مثنوی بوده است. این همه، بیانگر آن است که مولانا جلال الدین محمد روحیه ای مبالغه آفرین داشته است و با گذراندن داستان ها و گزاره های عرفانی و حکمی مثنوی از مجرای مبالغه بر بنیه تأثیرگذاری و اقناع کنندگی آنها می افزاید.Mowlavi’s Approaches and Methods of Hyperbole in Masnavi
What is mentioned in the rhetorical writings about the term ‘Hyperbole’ is mainly limited to the customary and rational classification of exaggeration into Mobaleghe, Eghragh, and Gholov. These contents do not properly express the importance of this rhetorical term. The present descriptive-analytical study aims to investigate Maulavi's approaches to creating hyperbole in Masnavi by means of verbs, dimensions, and sizes (numbers). The results show that in terms of ‘Verbs’, figurative attribution is one of the most used means and artistic forms of creating hyperbole in Masnavi , especially because it is directly connected with contrast and contradiction and other literary aesthetic issues. In terms of ‘Size’ and ‘Number’, it is shown which numbers and sizes were effective in creating hyperbole in Masnavi . In terms of ‘dimensions’, what can be seen is that hyperboles are made in two ways in Masnavi : space hyperboles and time hyperboles. These types of hyperbole are the most used types in Masnavi with many examples in this book. Finally, another method of using hyperbole is to use plural signs, for example, the sign ‘Ha’ (in Persian grammar), and also the use of double plural-made words, in a non-normative way. Based on these explanations, it can be said that Maulana (604-672 AH) is very interested in making hyperbole. By using various types of hyperbole in his poems, he makes mystical thoughts and views effective and acceptable.
Introduction
Hyperbole has been used throughout literature for many centuries. Heroic dramas, which are dramas with an emphasis on grandeur and excess, often make use of hyperbole to extend the effect and epic nature of the genre. In the history of Persian literature, a lot of hyperbole is used in Mowlavi’s poems. It is possible to look at hyperbole only from an artistic point of view and conclude that every poet who has used it better is more skilled and capable than other poets. Hyperbole can also be considered a measure of violating realism and distancing from the truth. Based on this thought, it may be concluded that poetry should not be considered as the measure of thought because the most beautiful poems are the most false ones (i.e. those containing literary ornaments). In this regard, this study aims to investigate types of linguistic and vocabulary methods used to create hyperbole by Maulana Jalal ol-Din in Masnavi .
Materials and Methods
The current research is a descriptive-analytical one. The hypothesis of the authors has been that Masnavi is a unique work in terms of the use of hyperbole. To collect the data, the verses of Masnavi have been examined with a focus on places where the hyperbole was created. The scope of the research was only three volumes from the beginning of Masnavi . But if necessary, examples in the other volumes of Masnavi and Ghazaliat Shams have been used as a supplement and confirmation of the mentioned words.
Research Findings
Based on the results of the study, some of the important elements in creating hyperbole in Mowlavi's Masnavi are as follows:
Number :
The number plays an important role in the hyperboles of Masnavi and other works of Mowlavi. In fact, the number can cause exaggeration in the quantity in various ways. Mowlavi has used numbers such as half, one, two, seven, ten, twenty, hundred, and thousand to create hyperbole. Until now, a lot has been said about the use of the number ‘seven’ and its mythological and symbolic meaning. Mowlavi has used more numbers to create hyperbole and he has done it skillfully. This is the difference between Mowlavi's art and others in this field.
Dimensions :
Another characteristic of Mowlavi's poetry is the creation of hyperbole in capacity and in the dimensions of space and time. For example, "a small particle that hides the sun inside" etc. Another type of hyperbole is the hyperbole of distance. In this type of hyperbole, the word focuses on large distances, distances like "from earth to sky" and similar examples.
Hyperbole with Plural Words and Signs:
Creating hyperbole by using ‘plural signs’ is one of Rumi's methods. In addition, he has used plural words that have become plural again (i.e. Jam ol-Jam). Also, Mowlavi has used the sign ‘ha’ (a common plural sign for nouns in Persian grammar) a lot in Masnavi . He usually uses singular words in the plural form and in this way creates hyperbole. This is the artistic habit of Rumi. In the end, it can be said that Mowlavi has a great ability to create hyperbole and accomplishes it in various ways. However, this issue and the reflection of this valuable rhetorical term in Mowlavi's poems have not been seriously considered.
Discussion of Results and Conclusions
Hyperbole is one of the most widely recognized and used forms of figurative language in everyday life. It is used heavily in advertising and entertainment. Advertisers use hyperbole to exaggerate the benefits of products to boost sales. Repetitive hyperbole is used in public relations to increase the popularity of a person or product. It is also used in propaganda, giving it a bad reputation. Based on old writings in the history of Persian and Arabic rhetoric, previous writers have often defined hyperbole in connection with adjectives and considered it as an exaggeration in the description. But it can be said that other factors and elements are also effective in creating hyperbole. Hyperbole has been more deeply researched in rhetorical works in the contemporary period. However, there is no complete definition for it in contemporary sources. But good ideas have been formed about forms and aesthetic criteria of hyperbole. In the past, writers with a focus on the meaning divided hyperbole into three categories: Mobalegheh, Eghragh, and Gholov. Some contemporary writers, with a focus on structure, divided hyperbole into three categories: expressive, epic, and figurative.
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