تحلیل شیوه های بازنگری و نوآوری زلالی خوانساری در تصاویر موتیوهای گیاهی (مجموعه اشعار زلالی خوانساری) (مقاله علمی وزارت علوم)
درجه علمی: نشریه علمی (وزارت علوم)
آرشیو
چکیده
موتیوهای گیاهی و سنّت های ادبی مربوط به آنها یکی از وجوه تصاویر شعری زلالی خوانساری شاعر سبک هندی در سده یازدهم هجری را تشکیل می دهند. وی گاه به ضرورت و گاه به قریحه شعری به بازنگری سنّت های ادبی مربوط به موتیوهای گیاهی در شعر خود دست زده است. براین اساس، پژوهش حاضر با بهره گیری از روش توصیفی تحلیلی، رویکردهای زلالی را در برابر سنّت های ادبی مربوط به موتیوهای گیاهی بررسی کرده است. دستاوردهای این پژوهش نشان داد وی در مواجهه با سنّت های ادبی مربوط به موتیوهای گیاهی سه رویکرد داشته است؛ تکرار سنّت ادبی، همراهی سنّت ادبی با تصویر تازه و نوآوری. بدین ترتیب یکی از رویکردهای شاعر تکرار سنّت ادبی بوده است که از بطن آن با روش های گوناگون تصاویر تازه شکل گرفته اند. افزون بر این زلالی خوانساری توانسته است با توانی که در آفرینش هنری تصاویر دارد، تصاویری نو و بدون پیشینه از موتیوهای گل سرخ، سرو، شقایق، شکوفه، غنچه، لاله و نخل پدید آورد که اغلب این تصاویر نو را از طریق تصویر مصراع دوم، شرح داده و تکمیل کرده است.Analysis of Revision and Innovation Methods in the Literary Tradition of Flora Motifs in Zolali Khansari’s Poetry
This research tried to explore the use of floral imagery and literary traditions associated with them in the poetry of Zolali Khansari, a Persian poet of the 11 th century. At times driven by necessity and at other times by poetic talent, Khansari revised traditional literary associations with floral motifs in his work. This study employed an analytical, descriptive method to investigate Khansari's approaches to these literary traditions. The findings revealed that Khansari adopted 3 main strategies: repeating established literary traditions, accompanying traditional imagery with new poetic expressions, and innovating entirely new floral representations. In many cases, Khansari drew upon his skill in crafting vivid, artistic images to create novel depictions of motifs like red flower, cypress, anemone, blossom, bud, tulips, and palm tree. These new imaginative renderings were often showcased in the second stanzas of his poems. Keywords : Zolali Khansari, Indian Style, Literary Tradition, Flora Motifs, Innovation. Introduction The poetic imagery associated with plant life is often informed by the rich literary traditions and associations each floral motif carries. These established rhetorical and symbolic representations shape the character and evocative power of these botanical elements. This legacy of literary traditions has permeated across various poetic movements, including the Indian style poetry of 11 th century Persia. Seeking to avoid mere imitation or repetition of these conventional tropes, poets of this era strived to adopt fresh perspectives on the literary traditions surrounding floral imagery. Their aim was to build upon the established depictions, adding new descriptive layers and expanding the poetic potential of these botanical motifs. Zolali Khansari, a prominent 11 th century practitioner of the Indian poetic style, is notable for his engagement with the literary traditions linked to floral imagery. In addition to drawing upon these established associations, Khansari also recognized them as a rich creative platform to showcase his own poetic innovations. Aware that the repetition of conventional floral tropes could lead to stagnation, Khansari sought to recast these traditions from new vantage points, injecting dynamism and expansion into his poetic renderings of botanical elements. This study therefore aimed to examine Zolali Khansari's approaches to the literary traditions surrounding floral motifs in his poetry and how these approaches manifested in his work. Materials & Methods This study examined the full poetic corpus of Zolali Khansari comprising 13,252 verses by using a library research and document analysis methodology. The verses containing plant-based imagery were closely scrutinized and the most frequently occurring floral motifs in Khansari's poetry were identified. A descriptive-analytical approach was then employed to qualitatively examine and analyze the treatment of these botanical elements from the lens of established literary traditions. Research Findings The analysis revealed the 13 most prevalent floral motifs in Zolali Khansari's poetry to be leaf, violet, vine, grass, red flower, cypress, hyacinth, anemone, blossom, bud, tulips, palm tree, and narcissus. The poetic renderings of these botanical elements exhibited three primary approaches employed by Khansari: Repetition of Literary Traditions: Khansari's poetry frequently echoed established literary tropes associated with these floral motifs, utilizing techniques like simile, personification, and fantastical etiologies. Accompanying Literary Traditions with New Imagery: Alongside repeating conventional associations, Khansari also transformed the common usage and imagery of these floral elements, introducing novel poetic expressions. Table 1 outlines the specific methods Khansari employed in this second approach. Table 1: A summary of the methods employed in the second approach (source: authors' findings) Methods Row Alongside repeating the literary tradition, he altered its conventional visual application. 1 Concurrently with reiterating the literary tradition surrounding a motif, he depicted a novel image of that motif through the establishment of lexical proportions. 2 He juxtaposed two distinct literary traditions - one plant-based and one from another thematic domain - in a way that the second literary tradition became an attribute of the first motif. 3 He reiterated the literary tradition around the floral motif, but selected an image contrary to that established tradition, thereby creating a new poetic rendering. 4 He repeated two motifs - one familiar and one novel - and accompanied one of these motifs with a fresh image. 5 Concurrently with restating the literary tradition around a motif, he presented a new and unprecedented image of that motif, which emerged from the fusion of novel imagination with the literary tradition. 6 He reiterated a literary tradition, but simultaneously used it as a foundation to construct a new poetic image. 7 The literary tradition was repeated indirectly and through associative meaning, upon which a new image was then created. 8 By reiterating the literary tradition of a motif, he redirected that tradition to another motif, thereby generating a novel image from this transference. 9 Through a fleeting allusion to a literary tradition, he presented a new poetic image. 10 By harmonizing and balancing the components of the literary traditions surrounding a motif, he depicted a fresh image of that same motif. 11 He reiterated the literary tradition in a manner that gave rise to a fantastical etiology and consequently a new image of the motif. 12 He created a new image by synthesizing various literary traditions. 13 He situated the literary tradition within a novel metaphorical or ironic construction, which was formed on the basis of proportion and fantastical etiology. 14 Innovation: In this third approach, Khansari distinguished his poetic voice from his predecessors by discovering novel proportions, similarities, unities, and harmonies between the visual components of plants and other phenomena. Through this process, he established a sense of moderation and balance, while also creating fantastical etiologies interwoven with similes and descriptive compounds and considering the content and spatial dynamics of the verse. Discussion of Results & Conclusion Despite drawing upon established literary traditions related to plant imagery, Zolali Khansari made concerted efforts to move beyond common and conventional depictions. By replacing these traditional associations with new poetic expressions, Khansari demonstrated remarkable innovation and creativity in his rendering of floral motifs. The findings of this study revealed that Khansari's treatment of each botanical element was largely shaped by the pre-existing literary traditions surrounding that particular motif. One of his key approaches involved the direct repetition of these established tropes. However, Khansari also built upon this foundation, utilizing various techniques to generate fresh, unexpected images from within the literary tradition. Moreover, Khansari's refined artistic sensibilities allowed him to create truly novel and unprecedented depictions of motifs, such as red flower, cypress, anemone, blossom, bud, tulips, and palm tree. Through these innovative approaches, Khansari was able to imbue botanical imagery with a renewed dynamism and expressive potency in his poetry.
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