تحول سبک صائب تبریزی براساس اشعار دو دستنویس 1059ق و 1083ق (مقاله علمی وزارت علوم)
درجه علمی: نشریه علمی (وزارت علوم)
آرشیو
چکیده
این پژوهش با استناد به اشعار دو دستنویس 1059 ق و 1083 ق دیوان صائب تبریزی، بیان می دارد که سبک شعری صائب پس از بازگشت از هند، تحولاتی را از سر گذرانده است، به گونه ای که دو طرز متفاوت در اشعار او قابل شناسایی است. این پژوهش با سبک شناسی بلاغی اشعار دو دستنویس، سیر تحول سبک صائب را ترسیم می کند و نشان می دهد که شاخصه های بلاغی شعر صائب در این دو طرز، تغییر یافته و از بیان استعاری به سوی نازک خیالی و بیان تمثیلی گراییده است. سپس به شاخصه هایی می پردازد که فردیت سبک صائب را نمایان می کند و درنهایت، عوامل مؤثر در تغییر طرز شعر صائب را بررسی می کند و بر این نکته تأکید دارد که تحول سبکی شعر صائب همسو با تغییر نگرش هستی شناختی او پدید آمده است.The evolution of Saeb Tabrizi's poem style based on two poem’s manuscripts, 1059A.H. and 1083A.H.
This research is based on the poems of two manuscripts of 1059 A.H. and 1083 A.H. Diwan Saeb Tabrizi states that Saeb's poetic style has gone through changes after returning from India, so that two different styles can be identified in his poems. This research, with the rhetorical stylistics of two manuscript poems, outlines the evolution of Saeb's style and shows that the rhetorical characteristics of Saeb's poetry have changed in these two styles and have shifted from metaphorical expression to subtle imagination and allegorical expression. Then, it deals with the characteristics that reveal the individuality of Saeb's style and finally, it examines the effective factors in changing the style of Saeb's poetry and emphasizes on the stylistic evolution of Saeb's poetry has emerged in line with the change of his ontological attitude..
1.Introduction
Saeb Tabrizi gradually changed his poetry style after returning from India (1042 AH) and moved from metaphor to subtlety and simile expression. The proof of this claim is the difference in the style of his poems in two manuscripts of 1059 AH. and 1083 A.H. which are related to two periods of Saeb Tabrizi's youth and old age. Manuscript 1059 AH. It covers the poems of Saeb's youth and his days in India (1034 1042 AH); But the manuscript of 1083 A.H. It mostly includes his late poems of his middle age and old age. This manuscript also has the signature of Saeb himself, whose signature confirms the authenticity of the manuscript. From the comparison of the ghazals of these two manuscripts, which contain poems from two periods of Saeb's life, it can be seen that the style of Saeb's poetry has evolved in such a way that two different styles can be seen in his poems.
The research is to prove this claim that "Saeb style from the manuscript of 1059 A.H. until 1083 A.H. has turned from metaphor to subtlety" so that it tries to answer these questions with the method of rhetorical adaptation: from the manuscript of 1059 AH. until the manuscript of 1083 A.H. What difference has the use of rhetorical arts made? What is the dominant rhetorical device in each manuscript? What have been the possible effective factors in changing Saeb's style? Which manuscript of Saeb represent his individuality and creativity?
2.Data and Method
In this research, Saeb's poem has been analyzed rhetorically from two perspectives; First, with a formalistic approach, we have measured the frequency of the high frequency devices of Saeb's poetry in each manuscript and shown the change in the frequency of rhetorical devices in the form of a diagram. In this statistical analysis, the number of verses in the manuscript of 1059 AH. (three thousand verses) considered as the basis and the same number from the manuscript of 1083 AH. have been chosen with the "systematic random sampling" method.
Therefore, we have chosen, with 2500 verses intervals, 6 samples of 500 verses from the 1083 AH manuscript. In the second approach, we have examined Saeb's frequent and especially innovative images from a cognitive perspective in order to find out the rhetorical and aesthetic foundations of his poetry. In this approach, we have considered all the verses of two manuscripts. In the qualitative and statistical analysis of this research, we have used MAXQDA Analytics data analysis software.
3.Results and Discussion
The main device in the poems of 1059 A.H. is a metaphor. The frequency of metaphor in youth poems is almost four times that of manuscript poems of 1083 AH. Metaphorical expression prevails in the poetry of Saeb's youth, but his later poems move away from metaphorical language to simile expression. Another feature that in the poems of 1059 A.H. stands out is the compact and concise language; Three factors can be considered for it: metaphorical expression, brief form of devices, image density.
Saeb's movement towards subtlety )Nazok khiyali(: Saeb in his poems of India says that he has precise imagination. It seems that this is the result of his trip to India. Saeb's attention has been drawn to his subtlety. After this, the concern of finding meanings and thin words and thinking about detail matters of existence became the "focus" of Saeb's attention.
From the comparison of Hind's poems with his later poems in the 1083 AH version, it can be clearly seen that subtlety and detail view are more important in Saeb's opinion. The course of this change can be seen in four basic differences: the increase in the frequency of subtle imaginations; exaggeration of expression; Creating and using new images; Expanding the scope of subtlety.
A comparative study of Saeb's youth poems with his later works leads us to other new features in Saeb's poetry. The characteristics that are found in the manuscript poems of 1059 A.H. They do not show much, but in the poems of 1083 A.H. They are among the stylistic components of his poetry and show the individuality of Saeb's style. These indicators include: exaggerated expression, comprehension subtle, predominance of sensory mentality over abstract mentality, simile.
The similarity of the poetry of Saeb's youth in a new style (Tarze taze): In the days of Saeb's youth, a new style of narration is widely found throughout the territory of the Persian language, which was popular in some literary centers, especially in India, since the late 10th century. Literary sources and literary history of the 11th century generally called this style "new style"(Tarze taze) and referred to the poets who follow it as "Tazeh goyan" and considered poets like `Orafi Shirazi and Taleb Amoli to be the leaders of this new style.
Saeb also wrote in the manuscript verses of 1059 AH. he uses the words "style" (Tarz) and "new style" specifically about a poetic style that was spread in the realm of Persian literature in the 11th century and its leaders were `Orafi and Taleb. Saeb's attention to `Orafi and Taleb and their new style is only due to his explicit references in his poems of 1059 AH. It is not limited just in his speeches, but it is well expressed in his poetic style. As we have seen, in the manuscript poems of 1059 A.H. Metaphorical expression prevailed and abstract images were also more frequent. In his youth, Saeb, influenced by the new style, which is the style of metaphor, pays more attention to metaphors and the use of dense and concise poetic images, therefore, the language of his poetry is compact and metaphorical.
4.Conclusion
Saeb's youth and his stay in India are parallel to the spread of the new style in the Persian language. The style which `Orafi and Taleb were famous, and its most obvious feature is metaphorism. Therefore, in the poems of his youth, Saeb talked about a new way and wrote poetry in that way.
To avoid using the title "Indian style", some researchers have called the poetry of the 10th to 12th century A.H with the name of “new style”. Another group has divided the poetry of the Safavid era into Iranian and Indian branches and the Iranian branch was called the new style (Tarze taze) and the Indian one was called the imaginative style (Door khiyali). But the writers and poets of the Safavid era, including Saeb, called the special and common style in the second half of the 10th century and the first half of the 11th century with this title. In this period, of the Voqu style was declining. Then, various styles and sub styles began.
Although manuscript 1059 AH. Demonstrates that Saeb following the new style of `Orafi and Taleb and includes the poems of Saeb's new style, it also mentions the appearing of another style called Nazok khiyal style. In the poems of India, Saeb mentioned the change of his style and talks about his familiarity with new principles such as detail and subtle mindedness. Also, Saeb's youth poems, in manuscripts, 1059 AH. indicates a change in the flow of poetry in the literature of the Safavid era and a style, is known as the subtle one, appeared.
The style of the poet and his expression represent his attitude; Therefore, the change of Saeb's way of expression from a new way to a subtle way should be considered along with the evolution of the poet's attitude and worldview. The expansion of the world of Saeb's poetry and his attention to new concepts in the poems of 1083 AH. shows that Saeb's worldview has changed after his youth, and his view has turned to deeper issues and topics and various areas of human existence. The ideological transformations and new aesthetic foundations of the poet also require a different way of expression; Some of the characteristics of Saeb's personality, which were more or less visible in his new style of poetry, such as simile expression and objective mentality, were a suitable situation for changing the poetic style and expressing new thoughts; Therefore, these preparations and the way of expression come from the margin to the center of Saeb's style and form the basis of his style, and on the other hand, some new features such as comprehension subtle, which did not appear much in his new style of poetry and the transformation of Saeb's aesthetic foundations and ontological attitude are appeared in Nazok khiyal's poetry as the same time.
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