طنزهای ادبی و زبانی در اشعار حافظ (مقاله علمی وزارت علوم)
درجه علمی: نشریه علمی (وزارت علوم)
آرشیو
چکیده
بخشی از نوآوری های موجود در اشعار حافظ در ظاهر همان ویژگی هایی است که در اشعار برخی از شاعران دیگر نیز وجود دارد، اما چون حافظ این خصوصیات را با غلظت و قاطعیت، قوت و غنا و حجمی متراکم و مختصر به کار می گیرد، جلوه و جلال آن ها در اشعار او از درخشش بیش تری برخوردار است. بر این اساس است که می توان گفت ادبی ترین ابیات شعری و پرمعناترین گزاره های زبانی و نیز هنرمندانه ترین طنزهای ادبی و موقعیتی و زبانی و حتی نمایشی را باید در دیوان حافظ جستجو کرد. حساسیت حافظ به رفتار شخصیت های سیاسی و فرهنگی، او را مجذوب طنزهای موقعیتی کرده است. جاذبه های این علاقه باعث شده است که پاره ای از طنزهای ادبی نیز به دلیل کارکرد دوگانه ادبی – موقعیتی به وسیله او به کار گرفته شوند. برخی از انواع طنزهای ادبی که گاه جنبه هایی از طنز موقعیتی نیز در آن ها وجود دارد عبارت اند از: تمثیل ها و تشبیهات، استعاره ها و نمادها، توصیف ها و صفت ها، اغراق و مبالغه و حتی پاره ای از ایهام های تناسب.Literary and linguistic satires in Hafez's poems
A quantity of innovations in Hafez's poems have apparently carried the same features that exist in the poems of a number of other poets. However, since Hafez integrates such characteristics through concentration and decisiveness, strength and richness, and a brief and accumulated volume, their manifestation and glory in his poems is a revelation of more brilliance. It is on this basis that it can be said that the most literary poetic verses and the most meaningful linguistic statements, as well as the most artistic literary, situational, linguistic and even dramatic satires, should be found in Hafez's poems. Hafez's sensitivity to the behavior of political and cultural figures has made him fascinated by situational humor. The attraction of this interest has caused some of the literary satires to be used by him due to the double literary-situational function. Some types of literary humor that are the representation of situational humor include: parables and similes, metaphors and symbols, descriptions and adjectives, exaggeration and hyperbole, and even a part of amphiboly and taxis.
Introduction:
The chaotic situation of Hafez's era is comparable to the collapse of the Ilkhanate and the empowerment of local governments in different cities of Iran, including Fars and Isfahan, Yazd and Kerman, and the constant conflicts between them. The connection of these events with the uprising of "Timur Gorkani" and the beginning of his conquests, a very shaky and unstable market chaos dominates the livelihood, social and political situation of Iranian cities. This chaotic situation should be placed next to the efforts that aim to combat the dispersion and displacement of people and their thought, culture and literature in the patriarchal era and gather them in some city centers. It is the reflection of this situation that has shown its objective appearance in Hafez's poetry in the form of protest, criticism, satire, metaphor, and dispersal, and the combination of different cultures and subcultures, and thematic diversity and semantic interpretation. It is from this point of view that the statement of Professor Shamisa which declares; "Hafez's poetry is mystical and romantic on the horizontal axis, but on the vertical axis, it is praise and refers to a historical event" seems to be somewhat true (Shamisa, 1997: 16).
Four types of music are predominant in Hafez's poetry: external music with the most pleasant weights, side music with the best rhymes and avoiding nominal rhymes and long lines, internal music with all kinds of phonetic harmonies that Hafez is the undisputed master of, and Spiritual music by choosing expressions close to spoken language and synonyms and antonyms and nationalities and types of special uses of language that naturally make the language musical. A major part of Hafez's efforts in improving the quality of words is spent on choosing and arranging words in the best possible ways to achieve different types of poetic songs. The other part is digging into the network of semantic connections between words and discovering the best meaningful lexical fits and using two / three-meaning metaphors and multi-meaning metaphors in some appropriate situations, and most importantly bringing some of the allusive, historical, mythological and natural metaphors closer to symbols. which have a lot of interpretability, in such a way that it does not cause a disturbance in the transmission of concepts. Hafez is always obsessively careful that his sensitivity to the nature, form, and structure of words and propositions never distracts him from the content and intellectual content. Because, according to Masoud Khayyam, he is "the king of form and meaning". Based on this, if we judge about Shaar Hafez based on Jacobson's communication theory, in addition to giving centrality to the language itself, he also gives great importance to the subject and the audience, and as if the formalists' sensitivities to the form, and the romanticists' sensitivities to the speaker, and It advances phenomenologists to the audience and Marxists to the content in parallel with each other; It means a combination of literary, emotional, persuasive and sympathetic role in verbal communication. Part of the surprise and humor in Hafez's speech is also a product of this kind of miraculous speech, which has various aspects of a complete and perfect speech, and there is no deficiency in it in terms of language, literature, and content. Everything that is at the peak of perfection is stunning, surprising, and admirable; and disturbing the balance in situations. And the lack of balance, and the creation of conflict, are among the rules that create situational humor. Sometimes too much simplicity causes astonishment and surprise; Like when the weight of his poems is like flowing water and it follows the structure of natural sentences in the language
It wouldn’t be considered as an exaggeration if it is claimed that the most artistic literary satires should be found in Hafez's poems. Followed by that, the most artistic Persian poems are in Hafez's court. From time to time, he makes use of multiple literary arts to make a claim, which can rarely be found in other poets. The compatibility of Solomon, the government and the wind, and the allusion to the story of Solomon, and the likeness of himself to Solomon, and then, the ironic and humorous use of the relationship between Solomon and the wind in the sense of being empty-handed and deprived of a lover. And the contrast between becoming Solomon from the power of love and holding the wind because of separation. Furthermore, the sonnet: "O holy witness who wears your veil", has several humorous verses such as those related to the attribution of drunkenness to wine; consideration of the lover's smile as a right decision, not hearing moans and screams due to the loudness of the beloved, head of water and mirage, and being spoiled by blame. The sonnet saying; "in order to make my life weak", carries a dramatic, narrative, and metaphorical humor, due to the fact that it has presented a kind of cartoon movie about the relationship between flowers. From this sonnet, some verses which carry the meaning of delay, and the semantic connection of the second and first stanza being done by intermediaries, the technique of semantic delay and multiplicity of meanings in Hafez's poetry can be reached. Precisely, it leaves the audience's open and provides them with the freedom of having multiple interpretations of the verse concept. The verse "To a charisma that Narcissus sold himself / He deceived your eyes and caused a hundred temptations in the world", which attributes "self-dealing" to Narcissus is firstly providing a humorous claim and secondly, the connection of the lover's eyes that is apparently likened to Narcissus's hangover. This is basically ironic, because it says that you are more self-dealing than Narcissus. The stanza; "The water threw a fire on you in purple", has a paradox bearing in mind that he has considered water to be incendiary and that water is, of course, the sweat caused by drinking wine, which apparently causes heat and irritation in the face. It is the heat that ignites nature's fiery flower (e.g. purple), and with this claim, it involves an exaggeration that becomes a source of humor and being humorous. In this sonnet, the behavior of Banafsheh, Saba, and Seman, who show human movements, is similar to dramatic stories, and its visualization causes humor. In the following, the expression: "Washing clothes with the water of Lal's water" is a type of inversion, and the attribution of this action to the fate and destiny of the eternal, has caused laughter and humor in the verse.
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