كليدواژه :
صائب , سبك و مضمون , صنايع كنايه محور , كنايه هاي آميغي , استعاره ايهامي كنايه
چكيده فارسي :
اين جستار به تحليل دوباره و تكميلي صناعت «استعارة ايهامي كنايه» و انواع آن در غزل‌هاي صائب مي‌پردازد. صناعات شعري از جمله عواملي هستند كه برجستگي آنها در شعر هر شاعر، سبك منحصر و مختص به خود او را مي‌سازد. يكي از انواع صناعات و شگردهاي شعري، صنايع كنايهمحور يا كنايه‌هاي آميغي است. اين صورت‌هاي ادبي همانطور كه از نامشان پيداست، صناعاتي آميغياند كه در آنها كنايه به عنوان محور و مركز با صناعاتي ديگر مي‌آميزد و اين آميختگي، صناعات پيچيدة تازهاي را فراهم مي‌آورد. يكي از انواع اين صنايع كنايهمحور، كنايهاي است كه با استعاره و ايهام و گاه افزون بر اين دو با تشبيه مي‌آميزد؛ سابقة اين صناعت- كه اخيراً نام «استعارۀ ايهامي كنايه» براي آن پيشنهاد شده است ـ در ادب فارسي به حكيمِ باژ، باز مي‌رود و در شعر حافظ، نمود بارزي دارد، ولي برجستگي چشمگير آن در سبك هندي است؛ به‌گونه‌اي كه ناديده انگاشتن آن به‌ويژه در غزل صائب، انكار يكي از برجسته‌ترين ويژگي‌هاي سبكي آن است. اين شگرد آميغي از اين طريق پديد ميآيد كه شاعر كنايهاي را به پديده‌اي عاريت دهد كه در عالم واقع، صورتي همانند آن، ولي با مفهومي ديگر، در خود پديده باشد. در اين پژوهش دريافته خواهد شد كه اين صناعت، از مهم‌ترين ابزارهايي است كه صائب را در آشكار كردن ويژگي ممتاز شاعرانة خود، يعني توان بي‌نهايت‌وارِ خلق مضمون‌هاي رنگين، ياري كرده است.
چكيده لاتين :
Poetic figures of speech are among the factors which their prominence in a poet’s poetry makes up his/her specific style. One of the figures of speech and poetic techniques is allusive figures of speech or amalgamated allusions. As the name entails, these are types of figures in which allusion is located at the center and amalgamates with other figures. Such amalgamation brings about a novel complicated figure of speech.
One special type of allusive figures of speech is an allusion which is occasionally amalgamated with metaphor and ambiguity, and at times in addition to metaphor and ambiguity with simile. The origin of this figure, which is recently referred to as “metaphoric ambiguous allusion, is traced back to Hakim baz in Persian literature. Although, poetry of Hafez is replete with metaphoric ambiguous allusion, it is considerably ubiquitous in Indian style in a way that its ignorance especially in Saeb’s poetry implies the denial of one of its foremost stylistic qualities.
The mixed nature of this figure and the presence of several robust figures besides each other which are the basis of poetic fantasy and a fantastic presentation is created by combination of these figures. These figures invite readers into a mode of reflection and thinking and opens corridors of fantasy towards him replete with unsurpassable satisfaction.
Such amalgamated figure is formed when a poet grants an allusion to a phenomenon which in reality the phenomenon owns such quality but in a different conceptualization. Supposedly, the given figure was Saeb’s major artifact which helped him to fulfill his distinct poetic quality i.e. unsurpassed power of creating vivacious contents. The present article intended to conduct a supplementary reanalysis of “metaphoric ambiguous allusion and its different varieties and examined it in Saeb’s Poetry.
Metaphoric ambiguous allusion refers to a metaphor which alludes to something. The characteristics of the allusion normally exist in the nature of the entity it alludes to. However, the real object of allusion does not exist in the reality of the thing it refers to. Thereby, metaphor is maintained in its original form. The analysis of metaphoric ambiguous allusion shows the following figures:
Latent metaphor
Allusion
Reality
Opacity
It is notable to say that the necessary reality of allusion in entity to which a metaphor is addressed does not exist and only a similar feature to its necessary form may be proven.
Bud tore away its skin and effloresced, though we such welfares did not tore any clothes though in this spring.
In Persian tearing away skin is a human allusion, and in the given example, the poet have in mind the meaning not the form.
Tearing away skin alludes to bud through a latent metaphor.
The real practice of tearing away skin can be observed in a bud when it effloresces.
The practice of bud while it is tearing away its skin has nothing to say about the meaning of the allusion in human domain of the statement. The necessary entity does not exist in bud, however, the reader sees the allusion in one hand and the manifestation similar to tearing-away-skin phenomenon in bud. The reader knows that this has not allusive feature and is a one-dimensional reality, so there is no necessity in it. Then the reader realizes that the text invites him understand an allusion in the statement. To do so, he needs to first, assume a necessity in the form within which there is no necessity. Second, he should have glimpse toward its real meaning without any necessity which leads to opacity.
