ظرافت گزینش واژگان و ترکیبات غزلیات حافظ در نقد کردار زاهدان و صوفیان (مقاله علمی وزارت علوم)
درجه علمی: نشریه علمی (وزارت علوم)
آرشیو
چکیده
حرفه اصلی حافظ شاعری است، اما تعداد اشعار باقی مانده از وی چندان زیاد نیست. بیشتر وقت و مساعی حافظ صرف گزینش واژگان و ترکیبات، متناسب با کلیّت و بافت غزل شده است. یکی از مهم ترین عواملی که موجب شده درباره دیدگاه حافظ نسبت به صوفیه و مفاهیم و مصطلاحات خانقاهی در اشعار وی اختلاف نظر به وجودآید، عدم دقت در حُسن انتخاب و شیوه کاربرد این تعابیر است. در این پژوهش، براساس دیدگاه فرمالیست ها و ساخت گرایان به مواردی توجه کرده ایم که محققان و شارحان غزل حافظ، متعرض حُسن انتخاب تعابیر حافظ درباره نقد کردار زاهدان و صوفیان نشده اند یا اینکه سخن حافظ را درموردِ زاهد، صوفی و شیخ در وجه مثبت تلقی کرده اند و از طنز گزنده حافظ غافل شده اند. مسئله اصلی مقاله مبتنی بر لزوم دقت در شیوه انتخاب تعابیر و مفردات حافظ در حوزه زهد و عرفان است. نتیجه تحقیق نشان می دهد بسیاری از ظرافت های سخن حافظ ازجمله ایهام یا ترکیب عناصر صوفیانه با عناصر میخانه، برای ایجاد تأثیر بیشتر در طنز نسبت به صوفی، زاهد یا مدعیانی است که از امور معنوی سوء استفاده می کنند.The Subtlety of Word Selection and Combinations in Hafez's Ghazals in Critiquing the Actions of Ascetics and Sufis
Hafez's main profession is a poet, but the number of his remaining poems is not extensive. Most of Hafez's time and efforts have been spent selecting words and combinations that would best fit the overall essence and structure of his ghazals (lyrics). One of the significant factors that has led to disagreement about Hafez's views on Sufis, as well as the concepts and terminology related to the mystic realm found in his poetry, is the lack of precision in choosing and employing these interpretations. This study, based on the perspectives of formalists and structuralists, focuses on the viewpoint of those researchers and interpreters of Hafez's ghazals who have not criticized Hafez's selection of interpretations regarding the judgment of the actions of ascetics and Sufis; or they have interpreted Hafez's words about ascetics, Sufis, and sheikhs in a positive light, overlooking Hafez's wit and satirical nature. The main issue of the article is based on the necessity of precision in the way of choosing Hafez's interpretations and vocabulary in the field of asceticism and mysticism. The research findings show that many of the subtleties of Hafez's words, such as allusions or the combination of Sufi elements with tavern elements, are meant to create a greater impact in satire towards Sufis, ascetics, or claimants who misuse spiritual matters.
Extensive Abstract:
Introduction
Hafez is in the group of poets who paid special attention to the edition of his poems, even the different recordings of the same interpretation or verse may be due to this editing and selections of the poet in some cases. According to the changes and edits that Hafez made in his poems, the eclectic correction of Hafez's divan is necessary. Although Hafez's mainly is known as a poet, but he has not written more than ten sonnets each year, and obviously he has not done any artistic or poetic work except for this relatively small amount of sonnets. Therefore, he has been much more precise in selecting words and combinations that are suitable for the context of the sonnet. In addition to the necessity of being accurate about interpretations and vocabularies in Hafez's Divan, the literary critic should also pay attention to the way they are used in the sentence. One of the controversies of researchers in the interpretation and understanding of Hafez's sonnets is about positive and negative beings and characters in his divan. There is more consensus about some characters such as Mohtaseb in the negative aspect or Darvish in the positive aspect, but not in the case of Arif and Sufi. Some have imagined that Sufi is a negative character in Hafez's Divan, but Arif is positive. The accuracy of Hafez's specific choices according to the context of the speech indicates that the researchers' comments were not accurate.
Research methodology
The formalists theory is a constructive and helpful way to explain the importance of the word and its place in the whole text. According to the formalists, the choice of words should fit with the whole text and create a kind of (semantic) network. This selection creates the form of an artwork. According to the theoretical connection between formalism and structuralism, because we consider the structure and totality of the sonnet, in addition to the formalists' point of view, we also pay attention to the constructionists' point of view about the components of the structure, deep structure and surface structure. In this research, based on the formalists' point of view, we have paid attention to the cases where the researchers and commentators of Hafez's sonnets have not cited Hafez's well-chosen interpretations about criticizing the actions of ascetics and Sufis, or that they have considered Hafez's words about ascetics, Sufis and Sheikhs in a positive way and have neglected Hafez's irritating humor in the selection of the statistical community, of course, we did not pay attention to the differences between the manuscripts and recordings of different editions of his Divan, but the article relies on the cases that are mostly recorded the same in different editions.
Discussion
In this article, we have analyzed some of the terms of Sufis and the way Hafez combines these words and terms in order to create humor and criticism towards the behavior and thoughts of Sufis. He uses terms and ideas such as Vaght, Hawālatgāh and Halghe, Esteghnā, early rising, sanctity, Hemmat, Cheleh-neshini, and austerity of the Sufis often according to the intended meaning of the Sufis and with a hidden irony. In some cases, Hafez contradicts the understanding of Sufis from elements that in non-Sufis texts contained completely earthly meanings, but the Sufis gave them mystical concepts and used them as a code and manifestation of mystical thoughts.
Conclusion
One of the factors that caused commentators to turn to unreasonable interpretations in the mystical reading of Hafez's sonnets is their inaccuracy in the reason and method of using mystical elements and terms. The result of this research shows that Hafez's effort in editing his poems in many cases, in addition to the transcendence and richness of art, is to create more effect in creating humor compared to Sufis and ascetics and claimants who abuse spiritual elements and matters. The selection of words and expressions about praying and "Sahar", "Night of Qadr", "Arabaeen" and the seclusion of the Sufis is to express their abuse of these concepts and elements. Also, the combination of the mystical terms "Sharè", "Vaght", "Hemmat" with words that do not correspond to the meaning of these terms in mystical texts and interpretations such as "Bād-e-Esteghna", "Soleiman-e-Zaman" and "Shāhed-e-Qodsi", "Dalgh and Kherghe" "Sālūs" expresses Hafez's intention to cite the abuses of false claimants, not to promote mysticism or to express his mystical states and experiences. Also, some of Hafez's interpretations are a kind of redefining of Sufi elements to show their function in order to be a warning so that no one is deceived by their hypocrisy. Notwithstanding the opinion of researchers and expounders of Hafez poems, praise and description of beauties does not change a text to a romantic lyric, but is meant to talk about the attention of "Sufis and people who pretend to be in seclusion" to them and also to show that "the praying of the saint people in two worlds" are restricted to beauties, praising of Sufis in these cases by mentioning Their inappropriate behavior is an expression of irony. The ambiguous usage of Sufism elements by Hafez shows that these puns are meant to create humor towards the performance of ascetics and Sufis.
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