نقد و تحلیل فرم شناسی دوازده بند محتشم کاشانی در بستر آشنایی زدایی (مقاله علمی وزارت علوم)
درجه علمی: نشریه علمی (وزارت علوم)
آرشیو
چکیده
این پژوهش با روش توصیفی- استشهادی و تحلیل یافته ها، بر اساس نقد ادبی صورت گرایانه، کاربرد ابزارهای آشنایی زدایی را در مرثیه محتشم کاشانی بررسی می کند. در ف رم شناسی ای ن مرثیه، هنرسازه ه ای زبان ی و ادب ی، ب ه سلسله عواطف ی م ی پیوندد ک ه احساسات مخاطب را هم راه با اعجاب و فراز و فرودهای روحی برمی انگیزد. محتشم با موقعیت شناسی ادبی، استقلال فکری و آزادی تأمل، به گزینی ترکیبات و تنوع مضامین، جلوه های هنری کلام را ترسیم می کند و با این شگرد، زمینه درونی و معنوی شعر (عاطفه) را تقویت می سازد. جریان عاطفی شعر از محور شخصی به محور اجتماعی سوق پیدا می کند و کلام را از برش زمان و مکان معیّن فراتر می برد که همین موضوع سبب درهم شکستن مرز جغرافیایی کلام و بازگشت وحدت بندها به همان افق دایره وار عاشورا می شود. از دلایل تأثیرگذاری شعر محتشم غیر از مضمون، گره خوردگی عاطفه و تخیّل همراه با صورخیال و صناعات ادبی، الهام گیری طبیعی وزن شعر از نفس موضوع (واقعهکربلا)، دقت در تحسین الفاظ و تجوید معانی (تکمیل و نیکو گردانیدن معانی) است. پربسامدترین تصویرهای هنری در این مرثیه، استعاره و در مرتبه بعد، تشبیه است. عناصری که برای ساختن تصاویر استعاری استفاده شده اند، عناصر طبیعی و جلوه های آن هستند و عناصر انسانی در استعاره ها، از نظر بسامد بعد از عناصر طبیعی قرار می گیرند.Criticism and Analysis of the Morphology of Mohtasham Kashani's Twelve Stanzas in the Context of Defamiliarization
This research investigates the use of defamiliarization tools in Mohtasham Kashani's twelve stanzas using a descriptive-analytical method and analysis of findings based on formalist literary criticism. In the morphology of this elegy, linguistic and literary works of art join the chain of emotions and arouse the emotions of the audience along with spiritual ups and downs. Knowing the literary situation, intellectual independence and freedom of reflection, selection of combinations, and variety of themes, Mohtasham draws the artistic effects of words, which strengthens the inner and spiritual background of the poem (emotion). The emotional flow of the poem moves from the personal axis to the social axis and takes the word beyond the cut of a certain time and place, which causes the geographical boundary of the word to be broken and the unity of the stanzas to return to the same circular horizon of Ashura. Besides the theme, Mohtasham's poetry is influenced by the entanglement of emotion and imagination with images and literary works, the natural inspiration of the weight of the poem from the subject’s soul (Karbala incident), the precision in praising the words and refining the meanings (completing and improving the meanings). The most frequent artistic images in this elegy are metaphors, followed by similes. The elements used to make metaphorical images are natural elements and their manifestations, and human elements in metaphors are placed after natural elements in terms of frequency. Keywords : Morphology, Defamiliarization, Literary Arts, Twelve Stanzas, Mohtasham Kashani. Introduction With the emergence of the Safavid government, a great turning point was created in the history of Iran and Shiite, and the Ashura poetry flourished. This policy was not without influence in Persian poetry as well, and the promotion and encouragement of kings to make elegies adds to the popularity of this type of poetry. By composing twelve stanzas, Mohtasham Kashani has displayed the religious feelings of Shiites towards Imam Hussein (AS) and other martyrs of Ashura in the best literary form. The images and literary works in Mohtasham's poetry, along with the reflection and surprise of the audience, have made this elegy last long. Therefore, it is necessary to investigate the factors and tools of literary influence in this poem based on formalistic literary criticism. Materials and Methods This research, using the method of library studies and based on the description and analysis of the findings in the context of literary criticism, while paying close attention to the backgrounds, first analyzed the elegies and the status of the poetry of the Mohtashem period, and then examined the defamiliarization of the subject and content as well as the use of rhetorical descriptions and the most important features of the works of art in this dirge (sad poem) from the perspective of defamiliarization. Research Findings Defamiliarization in literature has a verbal and spiritual aspect, but it is mainly considered a linguistic issue. Defamiliarization is sometimes related to the linguistic material and sometimes to the construction of new compounds. Mohtasham’s lament begins with Ishkr al-Arif, then continues with Barat Isthilal, and calls the calamity ‘Muharram’. The first expression has a Juybari meter. With all the beauty and clarity, the desire to repeat the meter is not felt. This prosody order rules over the entire structure and form of the literary work. The music of this dirge is a very important factor in this meter, which can play a fundamental role in inducing, indoctrinating, and conveying the content and message to the audience. The Ashura words of this composition, by being placed in the horizontal axis of the word, along with the high-level thought and taste of the poet and the combination of original compositions, cause the creation of a literary work. The words in the horizontal axis are consistent and compatible. In the vertical connection of the verses, there is thematic integration, and the connection of the linguistic forms of the work creates the form of the text. One of Mohtasham's tricks is the use of additional and creative descriptive compounds in the form of metaphors. The simplicity and naturalness of Mohtasham's similes are visible in his poems. The logical nature of the poet in this composition is often accompanied by passion and intelligence, so it sometimes enters the meaning without any introduction. He is not limited to the way of connecting meanings, and in terms of the order of words, all his attention is on the dignity of the Karbala event. Discussion of Results and Conclusions Continuity, harmony, and combined ratio of the words with each other and the rhythms of the poem, the special resonance of each letter in the vicinity of another letter, and the superiority of the elements of nature have caused the harmony and success of the poet in this composition. In this poem, Mohtasham relies on metaphors, and among the metaphors, the largest share belongs to the explicit metaphor and then irony, which form the basis of the aesthetics of his poetry with new metaphors and new imaginations. Mohtasham's tendency and desire to use irony in the descriptive, adjectival, verbal, and allusive types is more. Therefore, all the components and elements of this dirge, such as imagery, rhyme, grammatical constructions, etc. work hand in hand to create a cohesive texture. On the other hand, each of these elements, which are mostly sensory and external, together with the whole structure of the text, cause the strength and durability of the literary work, so that the displacement of each of them will damage the overall view of the composition. In other words, Mohtasham conveys the content (the philosophy of Ashura) by selecting words, forms, and content.