نگاهی تازه به سجع در گلستان سعدی با بررسی انواع سجع و تحلیل آنها به قصد شناختن نوع نثر سعدی (مقاله علمی وزارت علوم)
درجه علمی: نشریه علمی (وزارت علوم)
آرشیو
چکیده
در فضای عمومی ادبیات یکی از مؤلفه هایی که گلستان سعدی را در ادبیات فارسی نمونه اعلای نثر ادبی کرده، استفاده هنری از صنعت بدیعی سجع است. در این پژوهش میزان استفاده سعدی از سجع به روش توصیفی تحلیلی موردبررسی قرار می گیرد و تک تک سجع های حکایات گلستان استخراج و شمارش می شود تا به دو هدف مقاله برسیم. روش این پژوهش کتابخانه ای و بر مبنای آمارگیری و شمارش تمام مؤلفه های آهنگین کردن کلام مانند سجع، موازنه، ترصیع، مزدوج و سپس توصیف و تحلیل آنها قرار دارد. می کوشیم دو چیز را نشان دهیم: نخست اینکه شیوه های استفاده سعدی از صنایع بدیعیِ آهنگ دارکردن کلام و میزان آنها به چه شکل است؟ دوم اینکه آیا می توان گلستان را یک نثر مسجع نامید یا نثر آن یک نثر مستقل جداگانه ای به جز انواع تقسیم بندی شده نثر مانند مرسل و موزون (مسجع) و موزون فنی است؟ نتایج تحقیق ضمن اثبات فرضیه در خصوص کاربرد سجع ها اثبات کننده ادعای ما در مستقل شمردن نوع سبک گلستان است. همچنین از میان انواع سجع، سجع مطرف کاربرد بیشتری دارد. سجع ها بیشتر در پایان قرینه ها می آیند و سجع در آغاز قرینه و میانه جمله کمتر مشاهده می شود. همچنین از نظر طول قرینه ها سجع های با قرینه برابر، فراوان هستند. تفاوت طول قرینه ها بسیار کم و در مواردی نامحسوس است و در صورت تفاوت تعداد جملاتی که قرینه اول بلندتر از قرینه دوم باشد بیشتر هستند و برعکسِ آن انگشت شمار است.A New Look at "Saj" in Saadi's Golestan by Examining the Types of "saj" and Analyzing them in Order to Know the Type of Saadi's Prose
Addressing the Persian literature in general, one of the components that makes Golestan-e Saadi a great example of literary prose in is Saadi's artistic and moderate use of the original art referred to as of "saj". In this research, the extent of Saadi's use of "saj" is investigated in a descriptive-analytical method, and each and every "saj" of Golestan stories is extracted and counted in order to reach the two main goals of the article.
The method of this library research is based on statistics and counting of all the components of melodious speech, such as "saj", balance, and conjugation, and, then, describing and analyzing them.
The findings are to be presented in two segments. First of all, what are the methods of Saadi's use of innovative techniques of composing words and their scale. Second, can Golestan be called a melodious prose, or is its prose a separate independent prose apart from the divided types of prose such as melodious and technical melodious?
The results of the research, while proving the hypothesis regarding the use of "saj", prove our claim in considering Golestan's style independently. Also, among the types of "saj", the "saj" is more used. The hyphens are mostly at the end of the conjunctions, and the hyphens are less common at the beginning of the conjunctions and in the middle of the sentence. Also, in terms of the length of the parallels, there are Multiple uses of "saj" with equal parallels. The difference in the length of the prepositions is very small and in some cases not noticeable, and in case of difference, the number of sentences where the first preposition is longer than the second preposition is more and vice versa.
Introduction:
Saadi is undoubtedly one of the most sweet-spoken poets and writers of the Persian language, who has tested his character in both verse and prose, and surprisingly, has been successful in both cases. He is rightfully called "Afsah al-Mutkalmin" and his "Golestan" is the best proof of his eloquence. He is one of the poets who became famous during his lifetime due to the creation of poetic works such as "Golestan" and "Bostan", and many of his words have become popular among people. His writing style has persuaded a large number of individuals imitate him, but none of the imitators could act like him because they only saw the smooth and eloquent appearance of speech, and they did not understand his art in using innovative and expressive techniques. One of the components that makes Saadi's Golestan a great example of literary prose in Persian literature is Saadi's artistic use of the original art of "saj". But the point is, can Saadi's Golestan be considered as a perfect example of prose like the works of Khaje Abdullah Ansari? Or if this text is written in Masji style, it is Sajei with distinctive features?
Saja is considered as one of the tools of creating music in speech and hasa predominant role in the rhyme of poetry, where "weight" and "lettering" determine its types. There is a difference of opinion among researchers in the definition of "saj" and its types. Some like Jalaluddin Homai, Sirus Shamisa and Zabihullah Safa carry the idea that the weight in "saj" is the same as the weight of prosody. But some like Koresh Safavi have objected to this statement and believe that the industry that appears mostly in prose should not be defined based on the weight of prosody. Regardless of the differences of opinion about the definitions of sajja and its types, the most famous classification of sajaj in literature is its division into three types:
Parallel Hyphenation: It is when two words have the same weight and number of letters and the letters on them are the same. Such as; anecdotes and complaints.
Balanced spelling: It means that both words have the same weight and number of letters, but the letters on them are different. Like the world and perfect.
Sajja Mutraf: It is when one of the two words has more letters than the other, but they are the same in the final vowel. Like now and then.
Of course, there is another division of "Saj", based on which we examined Golestan Saadi in this research. This division is formed based on the shortness and length of sentences or similes and is divided into three categories. The first group of sentences that are equal in length. The second category of sentences that are respectively longer than each other and the third category of sentences that are respectively shorter than each other.
Another point is about the place of "saj" in the sentence. According to this statement, the initial tense (the tense that comes at the beginning of the sentences), the middle tense (the tense that is in the middle or the middle of the sentence), the alternating tense (sometimes the tense comes neither at the end, nor at the beginning, nor in the middle of the sentence, but It is placed alternately and consecutively in the sentence) and the final hyphen (at the end of the sentences) have been classified.
A lot has been written about the style and manner of speaking of Ustad Sokhon. Some have said that Golestan is the best example of Masja's prose in Persian. They have also said that Golestan, "Mursal" prose is inclined to "saj" and Saadi was influenced by the works of Khwaja Abdallah and other predecessors, but he used the art of "saj" in moderation in his prose. This is due to the fact that after having a glance over the works of Khaje Abdullah Ansari, it can be observed that the verses he has included in his works are more a type of poetry than prose. Sometimes the continuity and sequence of verses in Khaje Abdullah's prose makes it difficult for the audience to understand. While in Saadi's prose, this sequence of "saj" is not repeated. Saadi also uses simple sentences among the words of encouragement, and his prose moves towards simplicity and fluency.
In this research, the extent of Saadi's use of "saj" is investigated in a descriptive and analytical way, and each and every sajja of Saadi's Golestan stories is extracted and counted, in order to reach the two goals of the article.
Materials and Methods:
The method of this library research is based on the statistics and counting of all the components of melodious speech, such as "saj", balance, inlay, conjugation, and then describing and analyzing them.
Results and Discussion:
In this research, attempts have been made to cover two ideas. First of all, what are the methods of Saadi's use of innovative techniques of melodizing words and their scale. Followed by that, is it possible to call Golestan entirely a melodious prose, or is its prose a separate prose, except for the divided types of prose, such as mursal, melodious, and technical melodious prose?
Conclusion:
The results of the research, while proving the hypothesis regarding the use of saja's, prove our claim in considering Golestan's style to be independent. By examining the types of sajja in Golestan, it was observed that among the types of sajja, the sajja is more widely used. The saja's appear mostly at the end of the conjunctions, and the saja' is less common at the beginning of the conjunctions and in the middle of the sentence.
Also, in terms of the length of the conjunctions, it is very small and in some cases not noticeable, and in case of difference, the number of sentences where the first conjunction is longer than the second one is more and the opposite is few.