بررسی صور خیال در رساله عشق و عقل نجم الدین رازی (مقاله علمی وزارت علوم)
درجه علمی: نشریه علمی (وزارت علوم)
آرشیو
چکیده
یکی از جنبه های زیبایی و گیرایی ادبیات عرفانی، تصویر است. در بلاغت تصویر برای بیان مفاهیم معقول و نامحسوس بیشتر از تصاویری بهره گرفته می شود که در خیال شکل می گیرد و از رهگذر صور بلاغی (تشبیه، استعاره، تمثیل و...) می توان به آن دست یافت. خیال یکی از مهم ترین ابزارها در شکل گیری صور برزخی میان عالم جسمانی و عالم روحانی است که به آن عالم مثال گفته می شود. ذهن خلّاق نجم رازی در زمینه صورتگری توانسته است صور خیال و الهام را با شیوایی کلام به نحوی درهم آمیزد که حالات باطنی و عرفانی را در قالب ترکیبات صور بلاغی نمایان سازد. در این مقاله، کوشش شده است تا به شیوه توصیفی تحلیلی و روش کتابخانه ای به بررسی صور خیال در رساله عشق و عقل رازی پرداخته شود تا از این طریق جایگاه و اهمیت ابزارهای بلاغی که در تفهیم معانی معقول و نامحسوس در عالم محسوسات کارآمد است، برجسته شود. هدف نجم رازی از به کارگیری صور خیال، القای حقیقتی است که در پسِ این صور قرار گرفته تا مقصود خود را به مخاطب برساند. یافته های این پژوهش نشان می دهد نجم الدین رازی در این اثر، بیشتر از عنصر بلاغی تشبیه و اضافه تشبیهی بهره برده که اغلب از نوع تشبیهات معقول به محسوس است. این نوع تصاویر از تنوع چشمگیری برخوردارند و بیشترین بسامد صور بلاغی را به خود اختصاص داده اند. وی در عناصر سازنده خیال، بیشتر از طبیعت و اشیاء بهره برده تا بتواند تبیین بهتری از حقایق عالم داشته باشد؛ بنابراین هر تصویر بیانگر یک حقیقت در مراتب مختلف است.Examination of imaginary images in Najmuddin Razi's treatise on the Treatise on ESHQ o AQL
One of the beautiful and captivating aspects of mystical literature is the image. In image rhetoric, images that are formed in the imagination are used to express sensible and intangible concepts and can be achieved through rhetorical forms (simile, metaphor, allegory, etc.). Imagination is one of the most important tools in the formation of purgatory images between the physical world and the spiritual world, which is called the ideal world. In the field of photography, the creative mind of Najm Razi has been able to mix images of imagination and inspiration with the eloquence of words in a way that reveals esoteric and mystical states in the form of combinations of rhetorical forms. In this article, an attempt has been made to investigate the images of fantasy in Razi's message of love and wisdom, using a descriptive-analytical method and a library method, in order to highlight the place and importance of rhetorical tools that are effective in understanding sensible and intangible meanings in the world of the senses. . Najm Razi's goal of using imaginary images is to instill the truth behind these images in order to convey his purpose to the audience. The findings of this research show that Najmuddin Razi used more of the rhetorical element of simile and simile addition in this work, which are often sensible to tangible similes. These types of images have a significant variety and have the highest frequency of rhetorical forms. He used more of nature and objects in the creative elements of imagination so that he could have a better explanation of the truths of the world; therefore, each image expresses a truth in different levels.
Introduction:
In Persian language, the word “khiyal” is considered identical to image. This is due to the fact that imagination comes with the meaning of shadow, image, fearsome, ghost, etc. (Fotouhi, 2015: 39). Hhaving established that image or imagination is the main element in the essence of poetry and is a return to image, De Lewis, in his book, declares that it is characteristic of image or imagination: "In its simplest form, it is "image" that helps creating words. Precisely, a description or adjective, a metaphor, or a simile may create an image" (Lewis. 1958: 18).
The subject of image (in the sense of image) was initially raised by Shafi'i Kadkani in his book “Sovare Khiyal” in Persian Poetry and this notion has been discussed with special precision and tact in Persian poetry from the theoretical and practical aspects. In the most general sense, the image refers to the entire virtual language; That is, that part of the creative and artistic uses of language that comes about through imagination in ordinary language (Fotouhi, 2015: 41). Image, in its ordinary use, is referred to as "any imaginary possession in language" (ibid.: 44).
From Persian poets and mystics, countless works of prose and verse have been published, and the authors of these great works have made all their efforts to depict the true meanings of the world. However, the language that has been engaged to express these images was almost based on virtual functions that can be understood merely through imagination and virtual images. It is also noteworthy that there is a long distance between the power of imagination and the imaginary world since imagination can be considered similar to something like image, considering the fact that illusion is also involved in it. One of these characters, Sheikh Najmuddin Razi, is one of the mystics of the 7th century who has used imaginary images and other probable rhetorical devices (simile, metaphor, and irony) in his works.
The aim of the present study is to express the most important rhetorical figures in Najmuddin Razi's message of love and reason, and we have tried to extract the frequency of rhetorical figures used in this book and seek to analyze and analyze them. We are also looking to analyze why Najm Razi used these rhetorical figures and its connection with his mystical worldview.
Materials and Methods:
This article has attempted to investigate the images of fantasy in Razi's message of love and intellect via integrating a descriptive-analytical method and a library method so as to find out the place and importance of rhetorical tools that are effective in understanding sensible and intangible meanings in the world of the senses. Also highlighted, is Najm Razi's goal of using images to instill the truth behind these images with the aim of conveying his purpose to the audience.
Results and Discussion:
Among the elements of imagery, the most prominent in the message of love and reason is the rhetorical form of simile. Simile can be considered as one of the simplest elements of imagery to explain words. Most of these similes are sensible to tangible similes, in such a way that a sensible thing, which is an esoteric and mystical concept, is placed in front of a tangible thing, and in this way, Najm Razi seeks to explain his thoughts objectively and to make those thoughts tangible.
Undoubtedly, imagination is one of the most important elements of image formation. The world of imagination is the widest world; Because everything that has the ability to exist and exist, is provided by the will of man to the extent that it includes all tangible and intangible things. Imagination world is a world that leads a person from the lower world to the upper world. In other words, what makes intangible things intelligible and close to perception is imagination. Mystical poetic and prose texts have always tried to convey the true meanings of the world to the audience through words; But the language they have used to express meanings is a figurative language that can be understood through imaginary images. In examining the images of imagination in the message of love and reason, each image brings us to a meaning; Therefore, the language in the words of this mystic is alive and dynamic. Najmuddin Razi's purpose of using imaginary images is not for the beauty of the text; Rather, he benefits from a truth that he cannot find a way to instill in the audience, except through imaginary images and rhetorical devices. For him, these images go beyond analogical structures and are actually the same truth that manifests on him, and he uses us to understand and understand the content in exchange for a special property to reach his goal.
Conclusion:
The imagery and rhetoric of the image, in Persian verse and prose literature, is referred to as a technique to convey the concepts and themes desired by the poet or mystic. In different ages, according to the literary requirements governing the usual tradition, the use of images is favored or disfavored. From the 6th century of Hijri onwards, and with the emergence of great figures such as Sanai, Rozbahan Baqli, Ain al-Qozaat Hamedani, Ibn Arabi, etc., more attention has been paid to mystical imagery. They use images to express sensible and intangible topics and concepts. The origin of the formation of part of the rhetorical forms is imagination. The wide and wide world of imagination gives the mystic the possibility to create novel, new and even unbelievable images without restrictions. For mystics, the world of imagination has a function beyond similes and metaphors, and allows the audience to pass from the world of multiplicity to unity and reach the truth. Najmuddin Razi is one of the mystics who, while using these rhetorical forms, was able to increase the beauty of expression and meanings of his works by creating novel themes. Among the visual elements and tools that are seen more than any other element in the message of love and reason, is simile and simile addition. The simile can be considered as the simplest tool of the creator to describe and express the words, the author arranged the words in an original way, and this, in addition to the prominence and beauty of the words and text, has also been effective in the reader's understanding of the words. Most of Najm Razi's similes are sensible to tangible; In other words, a reasonable matter, which is generally a mystical and esoteric concept, has been placed in front of a tangible matter and has caused it to be understood more and better. One of the types of similes used by Najm Razi in this treatise is a metaphorical simile or Quranic simile. This type of simile is sensible to tangible, and in addition to the use of the word of truth, it also causes spiritual pleasure and understanding of the artistic persuasion of the audience's mind. The rhetorical forms of metaphor and irony are less used in the message of love and reason than other rhetorical forms, and this indicates transparency in the speech and avoidance of veiled speech and in the envelope of the author's speech. Most of the imaginary images in this book are taken from tangible things and nature. The most frequent words are water, sky, mirror, butterfly, string, earth, candle, desert, ship, etc.