بررسی استعاره مفهومی دریا و متعلّقات آن در دیوان عطار (مقاله علمی وزارت علوم)
درجه علمی: نشریه علمی (وزارت علوم)
آرشیو
چکیده
تا پیش از پیدایشِ زبان شناسی، استعاره فقط یک ویژگی زبان ادبی- به ویژه شعر- محسوب می شد؛ امّا مطالعات شناختی در زمینه استعاره این دیدگاه سنّتی را گسترش داده است. در این پژوهش که با روش تحلیلی و توصیف زبان شناختی و با تحلیل ابیاتی از دیوان عطار انجام شده است، پس از معرفی رویکرد شناختی به استعاره، برخی از استعاره های مفهومی با قلمرو مبدأ «دریا و وابسته های آن»، به عنوان یکی از پرکاربردترین تصاویر شعری در دیوان عطار ، براساس نظریه استعاره مفهومی مطابق با تقسیم بندی قاسم زاده، در قالب استعاره های «ساختاری»، «هستی شناختی»، «جهت یابی»، «ظرفی» و «شخصیت بخشی» بررسی شده است. سؤال اصلی این پژوهش این است که نوع و شیوه کاربرد استعاره دریا و متعلّقات آن در دیوان عطار براساس نظریّه استعاره مفهومی چگونه است و هدف عطار از کاربرد این استعاره ها چیست. بیشتر استعاره های اصلی عطار شامل سه «نگاشت» است: «انسان قطره است»، «دل دریاست» و «عشق دریاست». مراحل شناخت و دریافت اندیشه عطار، حول محور مفهومی سازی «انسان»، «دل» و «عشق» جریان دارد. فراوانی قلمروهای مقصد از آن جهت است که از نظرگاه عرفا و ازجمله عطار، همه احوال بر «دل انسان عاشق» وارد می شود. انتخاب قلمروهای مبدأ دریا نیز بیانگر دیدگاه عرفانی عطار درباره دریاست. تمایلات عرفانی عطار در انگیزش استعاره های او بسیار مؤثر بوده؛ به همین دلیل جانب زیبایی شناسی این استعاره ها بسیار کم رنگ است.Analyzing the Conceptual Metaphors of the Sea and Its Belongings in Attar’s Divan of Poetry
Prior to the emergence of linguistics, metaphor was only considered a feature of literary language, especially poetry; however, cognitive studies on metaphor have expanded this traditional view. In this study, which was conducted using analytical and descriptive linguistic methods and analyzing verses from the Divan of Attar, after introducing a cognitive approach to metaphor, some conceptual metaphors related to the domain of "sea and its derivatives", as one of the most common poetic images in Attar's Divan, have been examined based on the theory of conceptual metaphor according to Ghassimzadeh's classification, in the form of structural metaphors, ontological metaphors, orientational metaphors, container metaphors, and personification. The main question of this research is how the type and manner of using sea-related metaphors in Attar's Divan are according to the theory of conceptual metaphor and what is Attar's purpose in using these metaphors? Most of Attar's main metaphors include three mappings: "human is a drop", "heart is a sea", and "love is a sea". The process of understanding Attar's thought revolves around conceptualizing "human", "heart", and "love". The abundance of destination domains is due to the fact that from the perspective of mystics including Attar, all states enter into the "loving heart". The choice of sea as source domains also reflects Attar's mystical view on the sea. Attar's mystical inclinations have been very influential in motivating his metaphors; therefore, the aesthetic aspect of these metaphors is very subtle.
Extended Abstract
Introduction
Metaphor, a crucial tool of the mind and language and a fundamental aspect of cognitive processes, has gained significant prominence in the theory of conceptual metaphor. This theory was first proposed by Lakoff and Johnson in their book "Metaphors We Live By" in 1980. Subsequently, scholars, such as Turner and Koch, made substantial contributions to its development. While metaphor has traditionally been associated with the science of rhetoric in literary discourse, the exploration of conceptual metaphor demonstrates its relevance not only in literary language, but also in everyday communication (Bārāni et al., 2016: 42).
The focus of this research was to examine and elucidate the conceptual metaphor of the sea, a prominent poetic motif in Attar's Divan of Poetry, through the lens of conceptual metaphor theory. The aim was to ascertain the extent and manner, in which this metaphor was employed, and analyze its aesthetic and semantic significance. Additionally, the study sought to uncover and explicate the correlation between metaphor and the foundational principles of Attar's philosophical and intellectual framework.
As a leading figure in Persian mystical poetry, Attar holds a distinctive perspective on the sea as a pivotal symbol. Among the eminent mystics of the Islamic world, few poets rival Attar in the breadth and depth of their mystical compositions. His poetic oeuvre encompasses profound meanings and mystical themes, each bearing immense significance in terms of intellectual maturity and diversity of thought. The motif of the "sea" occupies a prominent position in Attar's philosophical and ideological realm, serving as a metaphor, through which he articulates his experiences and viewpoints.
The research sought to address the following inquiries: What are the nature and techniques employed in utilizing the metaphors of the sea and its belongings in Attar’s Divan of Poetry as per the conceptual metaphor theory and what purpose does Attar intend to fulfill through the use of these metaphors? In essence, what connection do these metaphors and their components have with Attar’s intellectual framework and mystical experiences?
Research methodology
This study employed a descriptive-analytical approach utilizing the library method. The analysis of the research data could be characterized as qualitative. The study was conducted through reasoning and the use of illustrative examples. The conceptual metaphors of the sea and its belongings were derived from Attar’s Divan of Poetry as edited by Taqi Tafazzoli (1366) and examined within the framework of conceptual metaphor theory. Categorization of metaphors in this investigation was based on the typology of conceptual metaphor as delineated by Habibullāh Ghāsemzādeh, encompassing "structural," "ontological," "orientational," "contextual," and "personifying" metaphors.
Discussion
One of the primary conceptual frameworks utilized by poets to render abstract and mental concepts tangible is that of natural phenomena. This realm has consistently served as the source domain for conveying meanings and imagery, as well as facilitating conceptualization in the context of conceptual metaphor, owing to its objective and observable nature.
The conceptual metaphor of the sea stands as one of the most enduring conceptual metaphors within the sphere of cognition and knowledge. It has its roots in profound mystical ideas and has introduced a cascade of implicit meanings to mystical literature.
Owing to its grandeur and natural beauty, the sea, in contrast to the earth and dry land, is predisposed to embody noble and lofty concepts, often serving as a metaphor for the unseen realm of meaning where the soul resides. Furthermore, a spectrum of mystical connotations associated with grace, purity, and spirituality, such as life, love, intoxication, knowledge, and divine secrets, is interwoven with the concept of the sea.
The sea holds a pivotal position within the realm of mysticism, serving as a collective unconscious symbol for mystics and possessing a remarkable capacity to convey a multitude of mystical concepts. It embodies a contrast between the forces of good and evil. On the one hand, it symbolizes vastness and enigma, serving as the backdrop for various perils, such as storms and whirlpools, while on the other hand, it represents a wellspring of blessings, yielding treasures like seashells, pearls, and a diverse array of sea creatures. This duality creates an expansive conceptual space within the sea characterized by a complex structure and numerous elements, which prove highly effective in articulating mystical themes. Consequently, the sea has been extensively employed as a symbol and metaphor in numerous mystical texts, including the works of Ain al-Qudhāt, Sana'ie, Bahā' al-Din Walad, Rumi’s Masnavi, and 'Abhar al-'Āsheqin, as well as in mystical commentaries, such as Kashf al-Asrār, and authoritative treatises like Kashf al-Mahjub, Qoshairiyyah, and Misbāh al-Hidāyah (Fotuhi, 2005: 200).
In the mind of Attar, the sea emerged as a central motif, through which he articulated his profound experiences and elevated it to the status of his paramount poetic symbol. The sea and its belongings constituted one of the most expansive realms of Attar's poetic imagination. Attar employed sea imagery imbued with metaphorical and mystical significance, drawing upon his innate genius and unique perspective on the sea. Within his Divan of Poetry, the sea primarily functioned as a metaphor for God, absolute existence, love, and the beloved.
Conclusion
Through the exploration of Attar's metaphors, this article aimed to enrich readers' comprehension of his inner world. Delving into his mystical realm, particularly within his Divan of Poetry, which predominantly reflects his personal experiences, necessitates the discovery and interpretation of his metaphors. Attar endeavored to render the spiritual essence of his experiences in an objective and tangible manner through the use of metaphor. It was through these metaphors that the meanings of the unseen world were articulated and elusive and profound abstract concepts were elucidated.
Every element bearing a semblance to the sea, be it the shore, a droplet, a wave, or a seashell, was emblematic of the sea. Within the realm of external sensations and sensory perceptions, the "Sea" served as a vehicle for elucidating abstract concepts. Through the utilization of the concept of the "sea," Attar was able to metaphorically encapsulate abstract notions, such as love, sorrow, the soul, and the heart.
Upon scrutinizing the sea and its associations in Attar’s Divan of Poetry, it became evident that the sea served as a metaphor for Attar to convey concepts, such as monotheism, annihilation, and manifestation of love.
The majority of Attar's primary metaphors revolved around three central patterns: "Man is a drop," "The heart is the sea," and "Love is the sea." Comprehension and interpretation of his philosophy centered on the concepts of humanity, the heart, and love. The richness of these three realms of significance was the catalyst for encompassing all circumstances within a lover’s heart. The selection of the sea as the source of these metaphors also reflected Attar's mystical perspective on the sea. His mystical inclinations significantly influenced his metaphors, resulting in a relatively weak aesthetic aspect of these metaphors.
Considering the typology of conceptual metaphors from Qāsemzādeh's perspective and taking into account the frequency of metaphorical usage, it could be observed that Attar predominantly employed conceptual ontological and structural metaphors compared to other categories of metaphors.
Numerous verses exhibited multiple patterns that converged and could be classified into two or more categories of everyday conceptual metaphors, such as both structural and personifying ones. Most of the instances mentioned above, particularly those with independent titles, especially within the sections of ontological and structural conceptual metaphors, could be considered to belong to this type.
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