زیبایی شناسی کنایه در خسرو و شیرین (مقاله علمی وزارت علوم)
درجه علمی: نشریه علمی (وزارت علوم)
آرشیو
چکیده
نظامی برای آنکه داستان خسرو و شیرین را «دست بافی تازه درپوشد» و شعرش را از شعر داستان پردازان پیش از خود چون فردوسی و فخر الدین اسعد گرگانی متمایز سازد، در نظم داستان شگردهایی به کار برده که شناسایی دقیق و معرفی آن ها چه بسا ناممکن باشد؛ اما کاربرد گسترده کنایه، طرزی است که برای بالا بردن ارزش زبان شعر برگزیده است. او می داند که در این راه نباید «از اعتدال افزون نهد گام» تا مبادا خوانندگان را نادلپسند افتد. نگارنده در این مقاله کنایات داستان خسرو و شیرین را به شیوه دانیل برلین، از منظر زیبایی شناسی تجربی تحلیل کرد و بدین نتیجه دست یافت که نظامی برای اینکه داستان معروف خسرو و شیرین را برای خوانندگان لذت بخش گرداند از کنایه به طور گسترده بهره برده و توانسته است با بالا بردن خواص روان فیزیکی (چون تکرار واژگان کنایه، جناس ها و کنایات هم °آهنگ) و خواص هم سنجی (چون ایراد کنایات تازه، تبدیل کنایه به استعاره، اغراق و تضاد) کوشیده تا کاستی خواص بوم شناختی داستان (به دلیل آشنا و معمولی بودن معنا و مفهوم داستان) را جبران کند و پتانسیل برانگیختگی آن را به حد متعادلی برساند تا خوانندگان ذوق یابند و ملول نگردند.The Aesthetics of Allusion in Khosrow and Shirin
To differentiate his narrative approach from that of earlier epic poets like Ferdowsi and Fakhr al-Din As'ad Gorgani, Nezami Ganjavi developed a distinctive poetic style, characterized by the extensive use of allusion, to enrich his language. Recognizing the need for moderation to maintain reader engagement, this study analyzes the allusions within Khosrow and Shirin through the lens of Daniel Berlyne's empirical aesthetics. The analysis concludes that Nezami strategically employed extensive allusion to render the well-known narrative of Khosrow and Shirin captivating for his audience. By foregrounding psychophysical properties (e.g., repetition of allusive terms, puns, and harmonious allusions) and collative properties (e.g., introducing novel allusions, transforming allusions into metaphors, employing exaggeration, and creating contradiction), Nezami aimed to offset the inherent lack of ecological properties in the story—a consequence of its pre-existing familiarity and common themes. This approach effectively optimized the story's arousal potential, ensuring reader enjoyment and preventing monotony. Introduction In composing Khosrow and Shirin , Nezami Ganjavi employed a repertoire of literary techniques, the exhaustive identification and detailed exposition of which present a considerable challenge. Nevertheless, a salient characteristic of his poetic language, and a deliberate choice to elevate its aesthetic value, is the extensive deployment of metonymy. This article undertakes an analysis of the metonymic structures within Khosrow and Shirin , drawing upon Daniel Berlyne’s empirical aesthetics approach. While Berlyne’s model was originally conceived for analyzing responses to visual art stimuli, this study aims to adapt his "variables effective in arousal" to the domain of poetry analysis, thereby investigating the aesthetic functions of metonymy in Nezami’s verse. Research Method Berlyne's theory posits that the arousal potential of a stimulus, in conjunction with its surrounding context, activates a network of arousal systems, leading to widespread cortical arousal. This neural activation, as it propagates, is modulated by pleasure centers, which possess a lower excitation threshold. As the arousal potential of a stimulus intensifies, its aesthetic appeal generally increases. However, upon approaching the maximum excitation capacity of the reward centers, areas associated with unpleasantness become progressively stimulated, causing the pleasantness of the stimulus to diminish. This decline continues until a neutral state is reached, ultimately leading to a sensation of complete unpleasantness. In the context of poetic analysis, Berlyne's framework can be applied by considering the following properties: Psychophysical Properties: In poetry, these properties encompass elements such as meter, phonetic features, puns, and rhymes. Ecological Properties: These relate to the inherent value and significance of the poem's message and content. Collative Properties: This category includes: 3.1. Novelty: This refers to formal and semantic innovations in structure and meter, as well as the introduction of new metaphors, similes, and metonymies. 3.2. Complexity: A stimulus characterized by a greater number of components and elements, with irony and proverbs serving as illustrative examples. 3.3. Incongruity: This involves either internal stimulus incongruity (e.g., paradox) or incongruity with the surrounding context (e.g., contrast). 3.4. Surprisingness: This denotes the inconsistency of stimulus features with audience expectations, exemplified by exaggeration. Previous Research Existing scholarship has explored various linguistic facets of Nezami's work. Pournamdarian and Mousavi (2021), for instance, examined and introduced key linguistic aspects of Nezami’s poetic language in Makhzan al-Asrar . Moving to structural analysis, Zamani and Paymani (2022) investigated the structure of metaphors in Nezami’s Haft Peykar . Furthermore, Naseri and Azimi (2010) identified and presented folk metaphors within Nezami’s Layla and Majnun . Discussion and Analysis To underscore the “psychophysical properties of metonymy”, Nezami employs various techniques, including the repetition of the core metonymic element, the presentation of consecutive metonymies sharing a common core, and the strategic use of rhyme correspondences. He further fortifies metonymy through proverbs and other figures of speech, establishing it as a distinctive feature of his poetic style. While Nezami occasionally extends beyond strict moderation in his application of psychophysical properties—such as meter, phonetic elements, and verbal devices intrinsically linked to the metonymic core—he adeptly avoids outright excess. Concerning the “ecological properties” of his narrative, Nezami endeavors to link metonymies with spiritual literary devices pertaining to their core, thereby altering their domain of application and revitalizing meaning through the establishment of asymmetrical parallels. Given that Nezami's chosen narratives were widely known, precluding significant alterations to their plots, he meticulously cultivated his expressive style. This was achieved through the incorporation of exaggeration, the introduction of extraordinary events, and the deployment of both novel metonymies and familiar allegories. These literary devices, on one hand, frequently involve exaggeration, which naturally captures reader interest. On the other hand, the judicious use of proverbs and metonymies can render verses somewhat predictable, and this very predictability can serve as an engaging factor in the creative process, ultimately contributing to the work's aesthetic appeal and reader enjoyment. Within the framework of “collative properties”, Nezami actively pursues novelty by recontextualizing established metonymies and introducing original ones into his poetry. To foster complexity, he frequently embeds multiple metonymies sharing a common core within a single verse, transmutes metonymies into similes by reconfiguring their application domains, and juxtaposes several metonymies within a single line. Furthermore, he skillfully employs contrast to engender incongruity and integrates metonymies with exaggeration to evoke surprise. Conclusion In summary, to ensure the renowned narrative of Khosrow and Shirin remained engaging for his audience, Nezami Ganjavi made extensive use of metonymy. By deliberately enhancing its psychophysical properties—through techniques such as the repetition of metonymic terms, puns, and harmonious metonymies—and its collative properties—manifested in the introduction of novel metonymies, the transformation of metonymies into similes, exaggeration, and contrast—Nezami effectively mitigated the limitations posed by the story's ecological properties. These limitations arose from the inherent familiarity and conventionality of the narrative's core meaning. Ultimately, this strategic employment of metonymy served to optimize the story's arousal potential, thereby captivating readers and preventing monotony.
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