نقش اقلیم در مفهومسازی زبان شعر: بررسی استعاره مفهومی «آه» در اشعار فارسی، انگلیسی و ترکی
آرشیو
چکیده
در مقاله حاضر تأثیر اقلیم بر مفهوم سازی در شعر بررسی تطبیقی می شود. بدین منظور استعاره های مفهومی «آه و ناله» در زبان های فارسی، ترکی و انگلیسی استخراج، و با استفاده از استعاره شناختی لیکاف (۱۹۸۰) تحلیل شد. پیکره زبانی پژوهش حاضر منتخبی از اشعار حافظ، سعدی و عطار در زبان فارسی؛ شهریار، فضولی و واحد در زبان ترکی؛ و شکسپیر، اسپنسر و جان دان در زبان انگلیسی ست. نتایج مطالعه نشان داد که تأثیر اقلیم بر شعر امری زبان محور نیست بلکه موضوعی بین زبانی است . "آه" در ادبیات فارسی «آتش»، در انگلیسی «باد»، و در ترکی «نسیم/آتش» است. با آه فارسی عاشق آتش می افروزد و معشوق را در این آتش می سوزاند. هم چنین، آه و به تبع آن آتش در فارسی ویژگی "بیرونی" دارد؛ ازاین روست که آتشِ آه عاشق دامن معشوق را گرفته و از وی انتقام می گیرد. در مقابل، در ادبیات انگلیسی آه از جنس آب/باد است و عاشق سیل و گاه طوفان به راه می اندازد و معشوق در سیل آه عاشق غرق می شود. هم چنین، باد و آب تولیدشده از آه در انگلیسی ویژگی «درونی» دارد و به دامن معشوق نمی رسد. بنابراین، آه های فارسی آتشین، خشک، سوزاننده و بسیار مؤثرند ولی آه های انگلیسی نمناک و توأم با اشک اند که باعث ایجاد طوفان در دریا می شوند. این خصوصیت منطبق بر اقلیم کشورهای ایران و انگلستان است. همین مسئله در زبان ترکی نیز صدق می کند، با این تفاوت که ادبیات ترکی راهی میانه در پیش می گیرد. آه ترکی گاه ملایم مانند نسیم است و گاه آتشین؛ نه نسیمش طوفان به راه می اندازد و نه آتشش افلاک و کواکب را می سوزاند. از دیگر نکات مهم زمان آه کشیدن شاعر است. در اشعار فارسی و ترکی آه در شب و سحر کشیده می شود اما در زبان انگلیسی زمان خاصی ندارد. شاید بتوان دلیل این کار را در باورها و اعتقادات دینی شعرا جستجو نمود.The Effects of Climate on Metaphorical Conceptualization in Poetry: A Comparative Analysis of the Conceptual Metaphor of "Sigh" in Persian, English, and Turkish Poetry
Introduction Poetry often reflects the geographical environment in which it is written. This influence can be seen in the choice of metaphors and imagery. For example, in his poem "The Lake Isle of Innisfree," William Butler Yeats uses the natural beauty of Innisfree to criticize the harshness of urban life. By describing the sounds of bees, waves, and the peaceful environment of the island, Yeats give vent to his feelings towards urban life, and expresses his longing for a simpler existence. Similarly, the birthplace of the Persian poet Hafez significantly impacts his work. In one poem, he asks for “permanent wine” because even paradise cannot offer the beauty of the “Roknābād water and Mosallā garden” – both located in Shiraz, his hometown. This study focuses on how geographical setting shapes the way poets conceptualize emotions. Specifically, We will explore how the concept of "sigh" is portrayed across Persian, English, and Turkish poetry. Theoretical Framework A cornerstone of cognitive linguistics, Conceptual Metaphor theory, as proposed by Lakoff (1993), posits that abstract concepts are understood through mappings from more concrete domains. This process, metaphor, allows us to comprehend complex ideas by relating them to familiar experiences. For instance, the Persian phrase "the dollar has gone up" employs the spatial concept of “upward movement”. Lakoff famously illustrated this with the concept of love, often metaphorically portrayed as a journey. Expressions like “Our relationship has hit a dead-end street” exemplify how abstract concepts are grounded in tangible experiences. Lakoff contends that such metaphorical thinking is fundamental to human cognition and language (Lakoff, 1993, 2003, 2021). Corpus of the Study The corpus for this study comprises poems in Persian, Turkish, and English. Persian poets Sa’di (1399), Hafez (1391), and Attar (1378) are included, as are Turkish poets Shahriar (1377), Molla Mohammad Fozuli (1384), and Aliagha Vahid (1384). From English literature, the works of William Shakespeare, John Donne, and Edmund Spenser (Greenblatt & Abrams) are analyzed. The selection of these poets is based on the hypothesis that geographical location influences the conceptualization of "sigh" through metaphorical expressions. Conclusion The manner in which poets conceptualize the “sigh” is influenced not solely by language but also by the geographical and cultural contexts in which they live. In other words, it is not a language-specific issue, but rather a crosslinguistic one. While there are similarities across Persian, English, and Turkish poetry, significant differences emerge in the portrayal of this emotion. Persian poetry often depicts the sigh as a fiery and destructive force, which burns the house of the beloved, the Seven Seas, the Earth, the Sky, and the Stars. It is associated with arid and semi-arid climate and carries a sense of outward intensity. In contrast, the English sigh is frequently linked to water, suggesting a more inward-focused and melancholic tone. It is associated with humid climate and water. It makes floods and drowns the beloved, sometimes making tempests. Turkish poetry offers a middle ground, incorporating elements of both fiery intensity and gentle breeze. It does not burn the earth and the stars, nor does it make tempests. The timing of the sigh also varies across cultures. In Persian and Turkish poetry, the sigh is often associated with night or dawn, potentially reflecting the religious and spiritual significance of these times in Islamic cultures. English poetry demonstrates less specificity in the timing of the sigh, possibly due to different cultural and religious traditions. In Persian poetry, the "sigh" is often depicted as ascending to the sky and stars, whereas in English poetry, it is more commonly associated with tangible elements such as waves and the sea. In conclusion, the concept of the “sigh” is a rich tapestry woven from the threads of language, geography, and culture. By examining these factors, we gain a deeper understanding of how human experience is shaped and expressed through poetic language.