تحلیلی هرمنوتیکی از سمبل های شعر نیما یوشیج (مقاله علمی وزارت علوم)
درجه علمی: نشریه علمی (وزارت علوم)
آرشیو
چکیده
سمبل های شعر نیما یوشیج را غالباً سیاسی یا اجتماعی تحلیل کرده اند. در تحلیل این سمبل ها به دیگر آثار او نظیر نامه ها و سفرنامه هایش کمتر توجه شده است و همچنین ارتباط ساختاری اشعار او کمتر مورد توجه بوده است. نیما در نامه هایش خود را شاعر و نویسنده سیاسی نمی داند و درباره بن مایه اشعارش مطالبی به دست داده است که نشان می دهد مهمترین دغدغه اش تثبیت شعر نو و موفقیت آن بوده است و همین مضمون را در اشعارش منعکس کرده است. در مقاله حاضر تلاش شده است تا با خوانشی هرمنوتیکی، سمبل های شعر نیما در پیوند با این مضمون تحلیل شوند. در تحلیل این سمبل ها گاهی نمونه هایی از دیگر آثار نیما نیز نقل شده است. همچنین به منظور دستیابی به ساختار کلی اشعار وی، حوزه های معنایی سمبل هایش، با خوانشی ساختارگرایانه، در دسته های زیر تحلیل شده است: 1) سمبل های مربوط به نور و روشنایی؛ 2) سمبل های مربوط به حیوانات و پرندگان؛ 3) سمبل های مربوط به کاشتن، درخت، گل و گیاه؛ 4) سمبل های مربوط به دریا و آب؛ 5) سمبل های مربوط به خانه؛ 6) دیگر سمبل ها.A Hermeneutic Analysis of Symbols in the Poetry of Nima Yushij
This study offers a hermeneutic interpretation of symbolic elements in the poetry of Nima Yushij, often regarded as the father of modern Persian poetry. While many previous analyses have framed Yushij's symbolism through political or social lenses, this research adopts a different approach by connecting his symbolic language to his personal struggle to establish and legitimize modern poetry in Iran. Drawing from a broad spectrum of his literary works—including his letters, travelogues, and poetic texts—this study reinterprets Yushij's symbols as expressions of his inner conflicts and persistent effort to revolutionize the Persian poetic tradition. Statement of the Problem : Traditional scholarly perspectives have generally categorized Yushij as a political poet, interpreting his symbols as representations of sociopolitical unrest or historical events, such as the Constitutional Movement, the Reza Shah dictatorship, and the 1953 coup. Critics like Taqi Pour-Namdarian, Mohammad Reza Rouzbeh, and Mohammad Hoghooghi have emphasized the socio-political dimensions of his poetry. However, Yushij himself explicitly denied involvement in political activities and distanced his work from ideological agendas in his personal correspondence. In his letters, he emphasizes that his primary concern lies in the innovation of poetic form and substance. He describes his poetry as born from personal pain and emotional struggle rather than political motivations. Given this contradiction between biographical evidence and critical interpretation, a reevaluation of Yushij’s poetry through a different analytical framework is necessary. Objective : The primary goal of this research is to present a new reading of Yushij’s poetry through the lens of hermeneutics, particularly utilizing the concept of the hermeneutic circle. The study posits that Yushij’s symbols are best understood not as isolated political references but as components within a broader semantic and structural framework aimed at poetic reform. The focus is to analyze how his use of imagery and metaphor relates to his mission of redefining Persian poetry, his perception of tradition, and the emotional labor embedded in this artistic transformation. Research Methodology : This study adopts a comparative and hermeneutic methodology inspired by Friedrich Schleiermacher and Wilhelm Dilthey. The analysis involves a close reading of Yushij's poetry in conjunction with his letters and other writings. This method allows for the interpretive cross-referencing of symbolic elements across his oeuvre. Using the concept of the “hermeneutic circle,” the research interprets parts of his poetry within the context of his entire body of work and vice versa. The analysis includes both macro-level structure, such as thematic symbolism across multiple poems, and micro-level detail, such as the meaning of specific metaphors within particular poems. This approach enables a multilayered reading that considers both authorial intention and broader cultural meaning. Theoretical Framework : Building on the foundations of traditional hermeneutics (Schleiermacher, Dilthey) and modern hermeneutics (Heidegger, Gadamer, Hirsch), this study emphasizes that interpretation is context-dependent and historically variable. The theory allows for multiple legitimate readings of a text, provided they align with the internal coherence of the text and the author’s intended meaning. The distinction between "meaning" and "significance" (as proposed by Hirsch) is particularly critical in validating alternative interpretations such as this one. Findings : Through hermeneutic analysis, several categories of symbolism in Yushij’s poetry were identified and interpreted in a way that aligns more closely with his personal struggles and poetic mission. Major symbolic domains include: Light and Illumination: Symbols such as lamps, torches, and flames are consistently used to represent Yushij’s modern poetry. In contrast, traditional symbols like the moon and sun are associated with classical poetry. For example, in "Winter Night", the poet contrasts his “lamp” (modern poetry) with the ineffective “sun” and “moon” (classical poetry) in illuminating the literary night, symbolizing the stagnation of traditional poetic forms. Nature and Agriculture: Motifs like the field, seeds, and saplings often symbolize poetic production. The poem "Daroug" metaphorically presents Yushij’s poetry as a barren field, awaiting the rain of renewal, signifying his uncertainty and hope for the success of his poetic innovation. Birds and Animals: Yushij frequently uses birds—such as the phoenix, the owl, or the lone nightingale—as self-symbols, reflecting his emotional state and sense of isolation in the literary community. These metaphors underscore his role as an avant-garde poet misunderstood by the mainstream. Water and the Sea: Rivers, seas, and boats often symbolize the broader literary world, with turbulent waters representing resistance to change and the boat symbolizing Yushij’s fragile modern poetry navigating through opposition. Structures and Architecture: Homes, windows, and rooms symbolize poetic style and form. The poet often portrays his own “home” as vulnerable yet enduring, suggesting the fragile but resolute space of modern poetry amidst the powerful traditions. These symbolic networks are interconnected and serve to express the existential and aesthetic struggle Yushij endured as a literary reformer. Contrary to political readings that frame these symbols as critiques of government or society, this analysis proposes that they reflect a deeper personal and artistic concern. Conclusion : Nima Yushij’s use of symbolism is multifaceted and should not be narrowly interpreted through a political lens alone. His letters reveal a self-conscious poet focused on the evolution of poetic form and the challenges of breaking from tradition. This hermeneutic reading repositions Yushij not only as a literary innovator but as a deeply introspective artist whose symbols articulate a quest for aesthetic authenticity, personal suffering, and cultural transformation. While not invalidating earlier political interpretations, this study suggests that such readings only capture one dimension of his work. Hermeneutics, by emphasizing historical context, authorial intent, and textual coherence, enables a richer and more nuanced understanding of Yushij’s poetic legacy.
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