تحلیل کارکرد عاطفی تصاویر در شعر غنایی معاصر(مطالعه موردی: غزل ها ی شهریار و ابتهاج) (مقاله علمی وزارت علوم)
درجه علمی: نشریه علمی (وزارت علوم)
آرشیو
چکیده
تصاویر شعری با گذر از سنت به مدرنیته، ماهیت و کارکردهای تازه ای یافته است. تا دوره مشروطه، تصاویر اغلب جنبه وصفی و جمال شناسانه دارد. از دوره مشروطه به دنبال دگرگونی در شعر فارسی، کارکرد تصاویر متحول شده است. با ورود رمانتیسم، خودآگاهی شاعران نسبت به جایگاه اجتماعی خود، اهمیت یافتن حقوق فردی و اجتماعی، بروز فردیت شاعرانه و عوامل دیگر، تصاویر شعری، واسطه ای برای بیان عواطف فردی و اجتماعی شده است. در شعر غنایی معاصر، روح تصاویر رمانتیک به قالب های شعر نو محدود نمی شود. حتی ویژگی ها و کارکردهای تصاویر رمانتیک با شعر برخی از غزل سرایان عجین شده است. شهریار و ابتهاج از جمله شاعران نیمه سنت گرا هستند که کارکردهای نوین تصاویر در شعرشان به وفور یافت می شود. این موضوع، شعر این شاعران را به لحاظ همزادی تصویر با عاطفه و تأثیر در احساس مخاطب متمایز می نماید. پژوهش حاضر، در پی پاسخ به این پرسش است که کدام کارکردهای عاطفی تصاویر رمانتیک در اشعار غنایی دو شاعر برجسته معاصر، حضور پررنگ تری دارد. بررسی آثار این دو شاعر، آشکار می کند، کارکردهایی مانند: تأثیر در احساس، همزادی با احساس و معنی و دلالت ضمنی برجستگی دارد. روش پژوهشی مقاله، توصیفی تحلیلی با بهره گیری از منابع کتابخانه ا ی است.Analysis of the emotional function of the image in contemporary lyric poetry (Case study: Ghazals of Shahriyar and Ebtehaj)
Poetic images have acquired a new nature and function with the transition from tradition to modernity. Until the constitutional period, fantasies often had descriptive and aesthetic aspects. Contemporary With constitutionalism, the function of images has also changed. Following the emergence of Romanticism, poets' self-awareness of their social status, the emergence of individual and social rights, the emergence of poetic individuality and some other factors, images have a tool to express individual and social emotions. New functions such as: influence on emotion, coexistence with emotion and meaning and signification were previously known as artistic features in the images of Western love poetry. Shahriyar and Ebtehaj are semi-traditionalist poets, most of whose images have new functions. The same factor distinguishes these poets in terms of the coexistence of the image with the emotion and the impact on the emotions of the audience. This research analyzes the emotional features and functions of images in the sonnets of these two prominent contemporary poets. The methodology of the article is descriptive-analytical using library resources. 1-Introduction Lyrical poetry is the main genre for expressing the poet's personal emotions. Most early and late scholars, in the West and East except Aristotle (Aristotle, 1964: 36-29) have considered the lyrical type as one of the main genres (Safa, 1995: 3) and (Seyed Hosseini, 2010: 112). "Such poems were sung in ancient Greece with the accompaniment of barbat (in Greek Laura and in French lira); therefore, in Western languages, they are called lyrical poems" (Shamisa, 2004: 133). The most concise possible definition of this genre is provided by Wilhelm Schelgel with the interpretation of "musical expression of emotion in language" (René Wellek, 1995: 2/70). Schelling also emphasizes the appropriateness of lyrical poetry with music and, of course, adds two characteristics of individuality and introversion to this definition: "Lyrical poetry is the most mental and individualized, the most special and closest type of poetry to music, which also expresses inner feelings." (Ibid, 98). Some scholars consider the artistic nature of emotion expression as the distinguishing feature of the lyrical genre and the poet's first goal in the lyrical genre is to report inner emotions in the form of beautiful expression (Zarghani, 2011: 109).The reflection of emotions and feelings among Persian-speaking speakers has a history as old as Persian poetry; But post-constitutional Persian poetry, which Shafi'i Kadkani calls the progressive faction of almost European poetry (Shafi'i Kadkani, 2001: 17), has undergone various changes due to profound social, political, economic and cultural changes.One of the important differences between the poetry of this period and the previous periods is the reflection of the social concerns of the middle classes to lyrical poetry and the presence of more individuality and personal experiences. Although Persian poetry has never been devoid of individual emotions, but the novelty of this period is the reflection of emotion in the mirror of the image. Part of this development is influenced by European literature. Post-constitutional Persian poetry has an undeniable influence on European literature, as Shafiee Kadkani writes: "All the grace and beauty of contemporary Persian poetry is the result of the union of two trees of Iranian and European culture" (Shafiee Kadkani, 2013: 139). This influence coincided with the rise of the school of Romanticism in Western literature and its influence on the literature of other nations.Romanticism is one of the pervasive schools of Western literature that emerged in Germany in the late eighteenth century and flourished in France and Britain. The importance of this school is so great that according to some critics, it is "the highest literary peak after Shakespeare" (Dietz, 1987: 490). Due to the wide range of achievements of the Romantic school in poetry and literature, it is not possible to provide a single definition that expresses all its features. Experts have each described the attributes and characteristics of a romantic work, which has led to a complex set of different definitions, which, in turn, give rise to new difficulties (Jafari, 1999:20). 2-Research method The research method of the article is descriptive-analytical using library resources. In this way, some of Shahriar's and Ibtahaj's sonnets have been discussed and analyzed, and the differences between the romantic images of the two poets' poems have been analyzed from the emotional aspect. 3- Discussion In the poem "Lord of Winter", Shahriar's emotional-social ghazal, which is written in the traditional form of ghazal, is a basis for a new theme and a new content is included in it. The overall composition of the ghazal of "Lord of Winter" is different from the traditional ghazal writing style. Social themes can also be seen in traditional sonnets, but in this sonnet, the influence of the poet from European literature is obvious in thematics and imagery. With the help of the art of contrast and "double logic", the poet complains about the position of the lower class of Beth by assigning himself to the class of "Ik Laghkabayan". With a romantic mentality, he establishes the same logic between the two combinations of "mourning house" and "state house". Combinations such as "Khakdan Gham", "Kalbeh Ahzan", "Desolated House", "Mahnet Sera" etc. are equivalent to this combination in classical literature, but the poet contrasts the combination of Mourner's house with "Dolatsera" clearly in the context of romanticism. has placed a social meaning and according to the origin of this mourning, it has given a different meaning to this composition in comparison with classical literature. In traditional literature, winter is equated with old age and old age, or it is used as a test tool for the poet who is tired of describing autumn and spring, but in this sonnet, it has distanced itself from its traditional use and is a symbol of governmental injustice, social injustice, division and conflict. It has become a class that fuels the misery of the poor and makes the wealthy happy. Shahriar's adherence to the organization of the sonnet on the vertical axis is reminiscent of Coleridge's opinion about the organic nature of romantic poetic images (Fatohi, 1389: 134). Snow and rain, which usually have distinctive uses in classical literature. In the vertical axis of the poem, it is used in a new way to refer to the aristocratic government of the era, which has a dual treatment with the lower classes of subjects and "Kedkhodayans".Considering the three layers of the ghazal, it turns out that Shahriar has succeeded in reflecting emotions and feelings in the mirror of poetic images by using the old lexical system in the traditional form of the ghazal due to attention to the imagery of the romantic school. As mentioned in Shahriar's sonnet "Ni Mahzoon", the romantics pay special attention to the burning and burning of the night, which have a completely personal aspect, among the circumstances and times. Ebtahaj, as a successful contemporary lyricist who has created new romantic images despite using the old vocabulary system, wrote one of his masterpieces with the same romantic flavor. One of the characteristics of individual romanticism is the turning of the poet and artist to sadness and expressing it in the work. Sadness in poetry becomes effective and clear when it originates from the personal and real life of the poet and the poet has expressed it without artificiality. One of the fundamental differences between contemporary lyrical poetry and traditional poetry - for example, Iraqi style - in sadness and sentimentality is that the contemporary poet expresses his personal sadness in the images of the poem, and his poetry remains an autobiography, which affects the reader emotionally. while in Iraqi style poetry this sadness is more general and has less emotional depth compared to contemporary lyrical poetry. One of Ibtahaj's poems, which is completely personal and emotionally intimate, is the sonnet of crying in the night. Ebtihaj has paid attention to two types of individual and social romanticism. His poems in the first decade of his poetry are mostly the interpretation of his personal emotions and feelings, and the poems of the next decades of his life, under the influence of socializing with some political figures and being influenced by the political-social atmosphere of the society after the 1930s, tend to express social problems. 4-Conclusion The functions of images in the poems of these two poets have exceeded the boundaries of imagination and have taken on emotional functions. The congenial functions of images with feeling and meaning, impact on the audience's feelings and implied meaning, differentiate the poetic images of these two poets from the traditional sonnet images in an emotional sense. In the images of both poets, "romantic individuality" has a prominent presence. According to Shahriar's central concern and his long and adventurous love, his individuality has been manifested more artistically and literary. Due to the reflection of his family life and political preoccupations, his individuality has become deeper and more real. Both poets use nature to express their emotions and dissolve in its phenomena. Artistic interaction with nature has caused the connection and coexistence of image and emotion, and as a result has strengthened the emotional and literary aspects of Ibtahaj and Shahriar's poems. However, in this feature, the relationship of Ibtihaj with artistic nature and the emotion manifested in it is more diluted. Ambiguity and shadows of Ibtahaj's poetic images are more vivid due to the inclusion of political themes. Shahryar also takes advantage of this artistic ambiguity in his images in poems such as Winter, which has a social and somewhat political theme. The distance between the signifiers and signifieds in his poetry is small. The feature of physicality and dynamism is also prominent in the poetic images of the two poets. The images of their poems are often related to each other, and the degree of strengthening the image and the central emotion of the poem is placed. However, it seems that Ibtihaj has shown more adherence to creating the central image and strengthening the existing thought. Despite all the differences and similarities in details, these two poets have succeeded, by using some elements of classical poetry, such as the format and ancient words, along with the images that fit the spirit of the time and its needs, the characteristics and transform the functions of images. This issue has caused their poems to be acceptable to the artistic taste of the Iranian audience and to be far from mere imitation of literary traditions. 5-References 1-Aristotle, Aristotle. (1964) Poetics . Translated by Abdolhossein Zarrinkoob, Tehran: Book Translation and Publishing Company. 2-Azimi, Milad and Tayyeh Atefeh. (2012) Pire Parnianandish C 2. Tehran: Sokhan Publications. 3-Behjat Tabrizi, Mohammad Hussein. 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