كليدواژه :
قصايد ناصرخسرو , قصايد سنايي , ساختار صرف و نحو , وجه غالب
چكيده فارسي :
تحليل ساختار صرف و نحو متون نظم و نثر با بررسي آماري آسان‌تر مي‌‌‌شود. اين بررسي نشان مي‌دهد دو شاعر براي بيان مقصود خود از چه شگردهاي آشنايي‌زدايي در ساختار صرف و نحوي اشعارشان استفاده كرده‌اند. ناصرخسرو و سنايي از قصيده‌سرايان برجستة ادب فارسي‌اند. بررسي ساختار صرف و نحوي دو قصيده كه در بحر هزج سروده شده، بيانگر بسامد بيشتر وجه خبري، انواع صفات، حروف ربطِ هم‌پايه‌ساز و جملات ساده در اشعار ناصرخسرو است؛ درحالي‌كه ميزان جابه‌جايي افعال، حروف اضافه و حروف ربطِ وابسته‌ساز بسامد بيشتري در شعر سنايي دارد كه به فني‌ترشدن زبان شعر سنايي انجاميده است. بررسي آرايش واژگاني اشعار نشان مي‌دهد شعر ناصرخسرو به حالت بي‌نشان و معيار نزديك‌تر است. بسامد بيشتر واژگان مرتبط با موضوع «خرد» در شعر ناصرخسرو و فراواني بيشتر واژگان مرتبط با مضمون «عشق» در شعر سنايي تا حدّ بسياري با وجه غالب اشعار هر شاعر ارتباط دارد. اين پژوهش، با تمركز بر يك قصيده از سنايي و ناصرخسرو، نشان مي‌دهد وجه غالب رابطۀ مستقيم و معناداري در شكل‌دهي به ساختار صرف و نحوي و آرايش واژگاني قصايد داشته است؛ به‌گونه‌اي كه يكي از دلايل تغيير محسوس ساختار صرف و نحوي اشعار ناصرخسرو با اشعار سنايي تغيير وجه غالب در اشعار هر شاعر است كه سبب تشخّص سبكي در شعر اين دو شاعر شده است. اين پژوهش الگويي براي بررسي ويژگي‌هاي زباني و ادبي شاعران به دست مي‌دهد كه نتايج شايان ذكر و مستندي را مي‌تواند ارائه كند.
چكيده لاتين :
Statistical consideration of syntactic issues in verse and prose makes the analysis of verse and prose structure easier and helps us to understand how two poets use acquaintance techniques in conveying the message in their poems. Naser Khosrow and Sanaei are prominent ode composers in Persian literature. Investigating the syntactic structure of two odes composed in Bahr Hazaj shows the frequency of informative form, variety of adjectives, conjunction and simple sentences in Naser Khosrow poems. Meanwhile, the rate of verb transfer, prepositions, and conjunctions has more frequency in Sanaei’s poem. This feature makes Sanaei’s poem more technical. Examination of the lexical arrangement of the poems shows that Naser Khosrow’s poetry is closer to the standard and aimless language. The frequency of words related to the wisdom motif in Naser Khosrow’s poetry and words associated with the Love motif in Sanaei’s poetry are largely related to the dominant aspect in each of these two poems. This case study reveals that the dominant aspect in the formation of the syntactic structure and lexical arrangement of the poems of both poets have a direct and significant relationship. One of the reasons for the significant change in the syntactic structure of Nasser Khosrow's poems with Sanaei’s poems, which distinguishes each style of poetry, is the change in the dominant aspect. This research provides a model for examining the linguistic and literary characteristics of poets that can provide remarkable and authentic results.
Introduction
The syntax is one of the domains determines the style and manner of expression of each literary work and affects its coherence. The system is naturally more abstract than the structure. The structure is the order of coherence in language. In contrast, the syntax is the order of replacement. In analyzing the sentence structure of literary works, one should pay attention to the differences between artistic and rhetorical delicacies and their differences with ordinary language especially in poems where the appropriateness of the subject and various variables such as meter affect its quality. The natural rhetoric of Persian language also gives the poet the opportunity to change the order of the vocabulary, as he wishes, depending on the mood and meter of the poem to emphasize something in order to influence the audience. Vocabulary arrangement, on one hand, is associated with the exterior music of the poem and its sentence and rhythm, and, on the other hand, it is a field of syntactic defamiliarization and poetic liberation.
Material & Methods
Given that there are structural features at all levels of a text, the analysis of some parts of a text represents its overall characteristics. From this point of view, according to the Structuralists’ view and Dr. Shafiei’s opinion, selecting a smaller structure can greatly represent the larger structure. Thus, the selection of an ode, as the smaller structure, from a poet’s divan (collection), as the larger structure, and a careful examination of their syntactic structure reveals the linguistic skills and the syntactic structure of the poet’s divan and identify issues such as defamiliarization and the influence of dominant aspect on the syntactic structure of divan. It can be generalized to the whole work.
Discussion of Results & Conclusions
Taking into account these three points, one ode was chosen from each poet’s divan. Nasser Khosrow's ode is written in fifty lines and in the meter of the 'Mafailon, Mafailon, Mafailon, Faoolon'. Its overall theme is a kind of wise advice. The meter of Sana'i Ghaznavi's is ‘Mafailon, Mafailon, Mafailon, Mafailon’ which has one more ‘Mafailon’ and Contains a longer syllable more than Nasser Khosrow’s ode. For a comparative study of the two odes, this point was examined via statistics and was modified proportionately.
The following conclusions were derived from the analysis of these two odes. The higher frequency of informative form in Naser Khosrow’s poetry has a direct relation with the dominant of rationalism. The rate of changing the place of verbs is higher in Sanaei’s Poetry than Nasser Khosrow’s. This shows that Sanaei’s poetry is more dynamic. The frequency of prepositions and conjunctions in Sanaei’s poetry is greater than that of Naser Khosrow, which indicates Sanaei’s more and varied use of these elements. The higher number of derivative and simple adjectives clearly shows his greater tendency to describe various events and issues and his attention to external phenomena. The higher frequency of vocabulary related to the subject of wisdom such as wise unaware consciousness in Nasser Khosrow’s poems shows his rational mentality. The higher use of words related to the subject of love, such as lover, beloved, desire in Sanaei’s poem indicates his spiritual romantic mentality and that love is dominant in his poems.
