تحلیل سبکی زبانی و فکری غزلهای سالک قزوینی (مقاله علمی وزارت علوم)
درجه علمی: نشریه علمی (وزارت علوم)
آرشیو
چکیده
سالک قزوینی (1201ه .ش) از شاعران دوره صفوی است. دیوان سالک شامل انواع قالب های شعر فارسی است. در این پژوهش، ضمن معرفی سالک قزوینی، سعی بر آن است که با روش تحلیلی-توصیفی و با تکیه بر منابع کتابخانه ای، محور زبانی و فکری غزلیات وی را تحلیل کنیم؛ ازاین رو ابتدا در محور زبانی مشخصات ترکیبات نحوی زبان موردتوجه قرار گرفته و سپس اصول دیدگاه های فکری شاعر ارزیابی شده است. نتایج پژوهش حاکی از آن است که با توجه به اینکه سالک قزوینی از شاعران دوره سبک هندی است، به لحاظ افزایش بسامد ترکیبات کنایی عامیانه و اصطلاحات شغلی، وفور ترکیبات نو یا کم کاربرد، ترکیبات اضافی (تشبیهی، استعاری و اقترانی)، بسامد بالای واژگان دوره و نیز بسامد وابسته های عددی که از برجسته ترین مختصات زبانی غزلیات وی است، تحت تأثیر سبک عمومی دوره است؛ اما سادگی لفظ و زبان در شیوه غزل سرایی با درون مایه های عرفانی و مذهبی و نیز تخلص در بیت پایانی تمام غزل ها (1366 غزل) شعر وی را از جهت سبک شخصی ممتاز کرده است. سالک، شخصی انفسی و درون گراست و معنا و مضمون را بر لفظ پردازی ترجیح می دهد و «معنی رنگین» اشعار وی، نشأت گرفته از «خیالات درست اندیشه » اوست. علاوه بر انعکاس اندیشه های عرفانی و مذهبی در سطح فکری، یأس و ناامیدی، تیره بختی و غم و اندوه زیاد بر غزلیاتش سایه افکنده است که به نظر می رسد در کاربرد این درون مایه ها افراط کرده است.Analysis of the linguistic and intellectual style of the lyric poems of the Salek Qazvini
Qazvini (1201 AH) is one of the poets of the Safavid period. Qazvini Divan is composed of various forms of Persian poetry. In this research, with the introduction of Qazvini, we have tried to analyze the poetry, language and thought of the poet's lyric poems by analytical-descriptive method and relying on library resources, so first, in the language; the characteristics of the composition of the language method are considered, and then the principles of the poet's intellectual views are evaluated. The results indicate that considering the point that Qazvini belongs to Indian style period, he is influenced by general style of that period regarding high frequency of sarcasm and jargon, novel compounds, and additional compounds. However, the simple language with mystic and religious themes as well as pseudonym in the final verse (1366 lyrics) has made his lyric poems prominent due to his personal style. Salek is introverted and prefers meaning and content to word processing, and the "colorful meaning" of his poems is derived from the "true fantasies of thought." In addition to the reflection of mystical and religious ideas on the intellectual level, despair, grief, and sorrow have overshadowed his sonnets, which seems to have gone too far in the application of these themes. IntroductionMohammad Ibrahim Qazvini known as "Salek" is one of the prominent poets of the 11th century in Iran (Qazvini, 1372: three), and Indian style that appeared in the Safavid period. The language of poetry and thought of the Qazvini Salek, like his contemporaries, was influenced by the most important factors in the emergence of the Indian style such as "religion, travel to India, development of Isfahan, economic prosperity and interest of Safavid kings in culture" (Shamisa, 2009: 273). It is said that the factor of religion and his trip to India had the greatest impact on his lyric and intellectual language. The immigration of poets to India caused "the poetry of the previous period; That is, Timurid period, to die and this period merges with the new and imaginative ideas of India and in other societies, it conveys desirable themes to the people "(Khatami, 1371: 20), and with this change in procedure and approach to the experiential and attention-grabbing realities of the people, before reciting poetry with the concepts of language and history, they mixed the world around them with themes with their eyes and sing lyric poems and ode. Since "the most important type of poetry in this (Safavid) era is the Ghazal, and everybody from the king, the prince, the minister, the scholar to the regular man tried his taste, and did not miss composing the ghazal, Whether cheerful and masterful or weak and vulgar ”(Safa, 1372, J 5: 603), The Qazvini did not shy away from this skill and tested his nature in lyric poetry and the Divan of his lyric poems with a "mixture of mystical thoughts and religious view" (same) and in a way that was "simple and fluent and "Away from Taqid" (Qazvini, 1372) with sarcasm and slang words and "Language of the street and the bazaar" (Shamisa, 1388: 287) created a song and a style combining the general style of the period and his personal style, surprisingly how speaking in the style of language and expression can distinguish a poet from other poets or all his contemporaries. The purpose of this study is to analyze the most important stylistic features of Qazvini lyric poems at the linguistic and intellectual level and to answer the question of whether the linguistic and intellectual stylistic coordinates of Qazvini lyric poems are more influenced by the general coordinates of the Indian style. Does it have its own linguistic and intellectual style?1.1. Research methodThe method of this research is based on library studies and is based on analysis and description, which makes the research difficult due to the poet being unknown to researchers, lack of sufficient study resources and very little research on the poet and his divan. Discussion and ConclusionThe skill of the Salek Qazvini, like other poets of the Indian style and the Safavid era, is in lyric poetry, which has arranged its lyric poetry in a simple and fluent way far from complexity and ambiguity. The high frequency of sarcasm and jargon, the abundance of objective, additional (metaphorical, metaphorical and conjunctive) combinations, descriptive compounds, and numerical dependencies are the most prominent linguistic coordinates of Qazvini Salek’s lyric poems, which are often the general coordinates of the Indian style. In the discussion of frequent words, Tears, sighs, and compounds made with these words such as torrent of tears, cluster of tears, wave of tears, morning sigh, etc. have the highest frequency. The use of the word "Salek" in the last verse of all sonnets (1987 sonnets) and its pseudonym is remarkable, and in addition to the poetic linguistic character, his intellectual practices in the mystical, philosophical and social fields show that this makes the specific style of the Salek more obvious. The Qazvini Salek is intellectually introverted, and imagination is one of the main themes of his sonnets, and he prefers "meaning" and "theme" to "word processing" in a way the "colorful meaning" of his poems originates from his "right-thinking fantasies". The most important intellectual themes of Salek are the mystical and religious ideas that he refers to throughout the Divan of Ghazals. He speaks from the seven valleys of mysticism (knowledge, solitude, monotheism, wonder, poverty) to "Kharab”, May", "Messiah", "breath of love", "old of love" and the combination of these mystical themes with religious thoughts with a simple and fluent expression in the style of lyric poetry has distinguished him in terms of personal style. In addition, the emphasis on "new style", "new thought", "style of speech" and "my style" is related to the personalization of the theme in his sonnets. Salek is a despairing and sad person whose shadow of despair and hopelessness, expression of sorrow and grief, complaint of his misery, glory and complaint, etc. has appeared on his lyric poems and has made the heart a home of sorrow and exaggeration in sad and hopeless thoughts has determined other intellectual coordinates of his lyric poetry. However, he believes that in this world, you should not take pity on anyone and you should offer your wealth to be ‘noble’, only thing left after death. ReferencesAli Manesh, Wali., Ghasemi, Ibrahim. (2011). “Formation and evolution of making” special compounds “in the Indian style”. Specialized Quarterly of Poetry and Prose, 4(3): 231-243.Anwari, Hassan and Hassan Ahmadi Givi. (2008). Persian Grammar 2. Fourth Edition, Third Edition, Tehran: Fatemi.Bahmani, Amir Hossein; Hosseinpour Alashti, Hossein; Sattari, Reza and Siavash Haghjoo. (2017). Study of headline in Indian style sonnet. 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