بررسی چرایی تمایز اسکاز و جادوی مجاورت در دو غزل از فاضل نظری (مقاله علمی وزارت علوم)
درجه علمی: نشریه علمی (وزارت علوم)
آرشیو
چکیده
فرمالیسم مکتبی است که آثار ادبی را بدون توجه به تأثیرگذاری های محتمل تاریخی، اجتماعی، سیاسی و... می نگرد. اسکاز به لحن راویِ یک شعر یا داستان گفته می شود. بدیهی است که با توجه به تفاوت فضای اشعار، لحن نیز باید به اقتضای آن تغییر کند. عواملی مانند انتخاب وزن عروضی شعر، موسیقی قافیه و ردیف و صور خیال از مؤلفه های تأثیرگذار در تغییر لحن شاعر هستند و میزان حضور یا نبود و سادگی یا دشواری این مؤلفه ها در یک متن، توجه شاعر را به اهمیت تفاوت لحن آشکار می کند. با توجه به همین مسائل، فاضل نظری در سروده های عاشقانه از وزنی شادی آور و متناسب با فضای عاشقانه شعر استفاده می کند؛ درحالی که وزن مرثیه او اُفتان و حزن آور است. او در غزل عاشقانه از قافیه و ردیف طولانی برای موسیقی مندتر کردن شعر بهره می برد؛ اما در مرثیه به ردیف کوتاه بسنده می کند. همچنین حضور صور خیال در سروده عاشقانه او نسبت به مرثیه اش بسیار پررنگ تر است. او از جادوی مجاورت برای ایجاد موسیقی در فضاهای تغزلی بهره می برد.Investigating the Reason for the Distinction between Skaz and the Magic of Proximity in Two Sonnets by Fazel Nazari
Formalism is a school that looks at literary works regardless of possible historical, social, and political influences. Skaz is the tone of the narrator of a poem or story. Obviously, due to the difference in the atmosphere of the poems, the tone must also change accordingly. Factors such as the choice of the prosodic meter of poetry, rhyme and line music, and imaginary forms are influential components in changing the poet's tone. Also, the degree of presence or absence, as well as the simplicity or difficulty of these components, in a text, reveals the importance of the poet's attention to tone differences. With that in mind, Fazel Nazari uses a joyful meter that fits the romantic atmosphere of the poem, while the meter of his lament has been chosen to be depressing and sad. In romantic lyric poems, he uses rhymes and long lines to make the poem more musical; but in the lament, a short line is enough. Moreover, the presence of images is much more prominent in his romantic poem than in his lament and he uses the magic of proximity to create music in lyrical spaces. Introduction Formalists consider the most important feature of a literary work to be its distinct structural, phonetic, syntactic, and semantic forms and its literary functions as a whole. They introduce literature as a complex system of forms that can be analyzed at various levels in relation to each other. These levels start from analyzing the characteristics of images and imaginary forms, continue with the criticism and analysis of each verse, and finally, lead to the discussion about the literary type of the work. The formalistic examination of a literary work from the point of view of artistic creation has a wide scope to the extent of all subtleties, innovations, arrays, and other overt and hidden literary creations created by the creator of the work. Therefore, the analysis of a literary work, even if it is a short sonnet, requires precision in all the hidden subtleties that give the text a literary character. It should be noted that in rhetorical books, applying the title "literary" to a text does not mean privileging the literary nature of that text. Rather, as it was said, any tool that transforms the text from plain language to a different text will be considered in this topic. Formalism is a school that examines literary works regardless of possible historical, social, political, etc. influences. For a critic with this idea, literary texts are like industrial pieces, which precision in their intricate parts and proof of the relationship between their parts give them a rhetorical and literary character. Materials and Methods The present descriptive-analytical study is conducted using a library method. In this regard, after choosing two sonnets written by Fazel Nazari in two different spaces, the authors have tried to analyze the differences between the two by referring to the definitions. Results Fazel Nazari's style in narrating the events and observing the speaker's tone is based on allusion in drawing different poetic spaces. But the allusion is one of his poetic literary innovations. In previous Persian literature, allusion refers to an event that happened in the past, and to explain it, it goes to the findings of the mind and review of the audience's knowledge. Among the most important tone-creating elements that can confirm the intuitive and tasteful use of skaz, three are more important. The ability to criticize and analyze skaz depends on the music of the word and relies on the identification of the element of tone and skaz. Therefore, the three components (i.e. prosody meter, rhyme and monoryhym music, and imaginary forms) are examined in line with the atmosphere and theme of the poem. Prosodic Meter In the two poems of Fazel Nazari, although there is no separation between the meter and the movement of the music, its reception requires a tasteful accuracy in addition to the accuracy in the phonetic field of the words. The second sonnet has a tragic and courageous approach. It is as if the poet has voluntarily stepped into a slaughterhouse and came to the altar of love with the utmost enthusiasm, and this issue has a special place in the history of mystical poetry. In the two sonnets, due to the distinction between the topic and the space of the poem, the skaz also works according to the space of the poem. That is, the skaz manifests itself by relying on the prosaic music of the poem and by moving from a melodious weight to a meter of falling in connection with the tragic and mournful environment of the poem. Rhyme and Monorhym Music The approach of the first sonnet with regard to the space of its meaning, and relying on music, is derived from the same aspect that is noticeable in the reading of the poem. The melodious tone of the letters in a poem depends on the consonance, alignment, companionship, and proximity of the letters, which can create sound while relying on their semantic identity and making the sound stronger. Imaginary Forms In the first sonnet, which is written in a romantic mood, there are 19 metaphors and 10 similes in 7 verses. This means that, on average, there are more than four similes and metaphors per verse. It is natural to expect that in a lyric with a romantic atmosphere, the frequency of imaginary forms will be different compared to a similar lyric but with a different atmosphere. That is why in the second sonnet, which has a total of 9 verses, only 9 metaphors are used. That is, for each verse, a metaphor is used and there is no simile in this sonnet. In terms of the difficulty of using metaphors and analogies, it is also important to explain that, in elegies, the poet prefers not to use similes and difficult metaphors in order for the audience to connect with the content and mournful atmosphere of the poem more quickly. In addition, the audience of mournful poems is often a mass of people. Discussion and Conclusion Based on the results of the study, it can be concluded that: 1) In choosing the meter, Fazel Nazari has used the utmost precision in matching the topic with the rhythm and tone of the poem. In this way, for the romantic sonnet, he used the usual weight of ‘Fa'elaton Faalaton Faalaton Faelon’ and for the mournful sonnet (i.e. the second sonnet), he used the meter of falling ‘Mufatelon Fa'elat Muftelon Fa’. 2) In using skaz, the aspect of background music is very important. Obviously, rhymes and monorhymes that have more musical ability are more suitable for romantic songs. Hence, Fazel Nazari has taken advantage of this function in the romantic lyric by observing the phonetic consonance of the two and also by using the long monorhym that adds to the musical burden of the poem. 3) Taking advantage of the capacity of imaginary forms also depends on the theme and atmosphere of the poem. Therefore, in romantic poetry, skaz demands more imaginary forms and more images. For this reason, Fazel Nazari has used more imaginary forms in his romantic lyric. 4) The magic of proximity is the consonance of musical consonants and vowels in words. In the two analyzed sonnets, depending on the space of the poem, wherever the space of the poem has a romantic mood, more proximity magic is used. But on the other hand, in the elegiac poem, this artistic creation is less visible.
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