هنرنمایی حافظ در عرصه گزینش صفت بلاغی بر پایه علم بدیع (مقاله علمی وزارت علوم)
درجه علمی: نشریه علمی (وزارت علوم)
آرشیو
چکیده
صفت یکی از سازه های دستوری است که هم در محور هم نشینی (نحو) و هم در محور جانشینی (صَرف) تولیدکننده معناست. از آنجا که این عنصر دستوری می تواند در جایگاه های نحوی متعددی حضور داشته باشد، امکانات زبانیِ بیشتری را در اختیار گوینده قرار می دهد و از این نظر سازه ای ارزشمند است. شاعر به مدد ظرفیت دستوری صفت، آن را در وجه ادبی نیز به کار می گیرد؛ چنانکه یکی از راه های آفرینش معنا و خلق تصاویر شگفت انگیز در شعر حافظ گزینش صفت است. او از صفت به عنوان ابزار تولید تصاویر بلاغی و معناشناختی، برای غنای زبانِ ادبی بهره می گیرد. اهمیّت صفت برای حافظ تا آنجاست که چندین بار در این مقوله واژه سازی کرده است: صوفی افکن، صنوبرخرام، عطرگردان، دیوانه نواز، صوفی سوز، معشوقه باز و ... . در این پژوهش به روش توصیفی تحلیلی کارکرد بلاغی صفت در غزلیات حافظ برپایه سنجه های علم بدیع بررسی شده است. رابطه بلاغی و معنایی صفت با موصوف و دیگر اجزای جمله نشان می دهد که حافظ صفت را از سر تصادف یا برای پُرکردن خلأهای وزن و قافیه به کار نمی گیرد؛ بلکه برای آن ارزش بلاغی قائل است. حافظ به وسیله صفت بلاغی در مقوله هایی مانند ایهام، پارادوکس، جناس و آرایه هایی کم کاربرد مانند اسلوب حکیم، جمع، لف و نشر و مذهب کلامی نیز تصویرآفرینی کرده است.Hafez's Artistic Performance in Using Rhetorical Adjectives Based on Literary Devices
The adjective is one of the grammatical constructions that creates meaning both in the syntagmatic axis (syntax) and the paradigmatic axis (morphology). Since this grammatical element can be presented in several syntactic positions, it provides more linguistic possibilities for the speaker, so it is a valuable structure. By means of the grammatical capacity of the adjective, the poet also uses it as a literary method. The selection of adjectives is one of the ways of creating meaning and wonderful images in Hafez's poetry. He uses adjectives as a means of producing rhetorical and semantic images in order to enrich the literary language. The importance of adjectives for Hafez is to the extent that he has coined words in this category several times: Sufi Afkan (defeater of the Sufi), Senowbar Khoram (pine-like strut), Etr Gardan (perfumer), Divane Navaz (mad protector), Sufi Souz (acrid of Sufi), Ma’shuqe-Baz (amorist), etc. In this research, the rhetorical function of the adjectives in Hafez's sonnets is studied using a descriptive-analytical method, based on the criteria of literary tools. The rhetorical and semantic relationship of the adjective with the described and other components of the sentence shows that Hafez does not use the adjectives accidentally or merely to fill the gaps of meter and rhyme, but the adjective has a rhetorical value for him. Hafez has also created images by means of rhetorical adjectives in categories such as amphibology, paradox, and paronomasia and less frequently used devices such as oslub-ol- Hakim, addition, laff-o-nashr, and mazhabe kalami.
Keywords: Adjective, Rhetorical Function, Literary Tools, Hafez's Sonnets.
Introduction
All grammatical elements can be effective in the coherence of literary speech and their enrichment. But among these, the adjective has more capability due to the feature of floating among the sentence components. In literary speech, unlike normal speech, adjectives, in addition to semantic and rhetorical relationships with the described, can also establish an artistic relationship with other sentence structures by means of the clues in the speech. This feature is clearly seen in Hafez's poetry.
In the present study, the authors aim to answer the following two research questions:
1) Does Hafez choose adjectives randomly? In other words, does he believe that they have rhetorical values?
2) Which literary tools did Hafez benefit from for the rhetorical function of the adjectives?
Hafez's sonnets have a privileged position among Persian speakers. In this sense, being acquainted with the language and expression of this high-ranking poet becomes necessary. In reading Hafez's poetry, the rhetorical relationship between the adjective and the described or other parts of the word is remarkable. This feature has caused the rhetoric of adjectives in Hafez's sonnets to be noticed by writers. Therefore, the purpose of describing the rhetorical function of the adjective in Hafez's poetry is to introduce another aspect of his performance in the field of rhetoric.
To the best of the authors’ knowledge, few, if any, studies have been done investigating Hafez's art in the realm of Badi’ (literary tools) with the help of the grammatical element of adjectives.
Materials and Methods
In this research, the examples of rhetorical adjectives in Hafez's poetry on the basis of Badi’ (literary devices) have been used in the format of a descriptive-analytical method. The scope of the research is the rhetorical function of the adjectives with the model of a noun group ‘adjective + noun (characterized)’. The authors postponed the investigation of other topics to another field. Due to the large amount of data, almost one-third of Hafez's sonnets have been examined. The adjectives that have a rhetorical function have been extracted and then described under the categories of rhetoric science. The results of the research are also presented as the rhetorical features of Hafez's speech in the conclusion section. It should be noted that in this research, the Ghani-Qazvini version is the basis of the work.
Research Findings
The Rhetorical description reveals the hidden meanings of the literary words and helps the audience to understand the different layers of meaning. The creative and poetic use of adjectives is one of the artistic effects of Hafez in the rhetoric field. The description and rhetorical explanation of the adjective in Hafez's poetry show that he chose words with great care and obsession and, in this way, he tied the rhetorical chain of the caplet to the structure of the adjective. Hafez's most important rhetorical technique to illustrate through adjectives is Iham (amphiboly), and the presence of various examples of Iham types indicates that this literary device has a high frequency.
‘Paradox’ is one of the other tools of semantic rhetoric which, in the light of the mystical texture of the word and Hafez's artistic gestures, has brought the adjective to its highest rhetorical capacity. Hafez is not negligent of the verbal rhetoric of the adjective, and by means of Jenas (paronomasia) and its types along with repetition at the levels of phonemes (phonology) and morphemes, he has revealed aspects of the rhetorical capacity of the adjective. Hesamizi (combination of senses), amphiboly, antonymy, Mora’at-e Nazir (symmetry), Hosn-e Ta’lil (poetical aetiology), Tansiq al-sefat (gathering the adjectives), Hosn-e-Ta’lil (good interpretation), mazhab-e kalami (argumentation), overstatement, exaggeration, summation, Laf-o-Neshr, Hashv-e Malih, displacement, shifting adjectives, and common adjectives are also among other rhetorical tools that Hafez has appeared them in his words. Shamisa (2004) considers that adjective replacement is specific to contemporary poetry, but in this research, it has been shown that this rhetorical technique is also used in Hafez's poetry. The common adjective, which is one of the unknown topics of Badi’, has been explained by citing examples from Hafez.
Discussion of Results and Conclusions
Hafez's poetry is a great example of eloquence words because he has presented the highest concepts in the most concise words with the most delicate artistic subtleties. The rhetorical adjective, with the help of Hafez's descriptive imagination, plays an important role as a valuable link in the rhetorical chain of words. The variety of rhetorical tools resulting from the use of rhetorical adjectives shows that Hafez does not use the adjective by accident or simply to fill the gaps of weight and rhyme. Therefore, it has a rhetorical value. Based on this, the most important findings of this research are as follows:
1) The most frequent literary tools of rhetorical adjectives based on Badi’ in Hafez's sonnets are related to Iham and its types;
2) The adjectives that Hafez chooses for exaggeration have an exaggerated relationship with his description. But they have a logical and empirical relationship with other sentence components.
3) Hafez does not repeat the word as much as possible. But repetition is used in grammatical units smaller than words (morpheme and phoneme) in his poetry.
4) In Hafez's sense-mixing, the sense of taste is used more than other senses. It seems that the reason is that the attractions of love are more concretely objectified through the sense of taste and the sweet taste.
5) Adjective replacement, which is considered a new technique and specific to contemporary poetry, has a history in Hafez's poetry.
6) The common adjective is one of the unknown topics of Badi’. The use of this rhetorical tool in Hafez's poetry is very frequent.
7) Hafez has rarely used devices such as Oslub-e-Hakim, Mazhab-e Kalami, Jam’, laff-o-Nashr, displacement of adjectives, and transposition.