كليدواژه :
دره نادره , برجسته سازي , توازن , صدا معنايي
چكيده فارسي :
درۀ نادره متني تاريخي-ادبي است كه به دليل صنعت پردازي متكلفانه در زبان و دورافتادگي از حالت طبيعي، ارتباط با آن دشوار مي نمايد. با اين حال به علت غريب سازي و بهره گيري از ترفندهاي شكل گرايانه، ادبيتي خاص به خود مي گيرد. ميرزا مهدي خان استرآبادي در روايت دره، به بيانِ خود سويۀ ادبي بخشيده به طوري كه برجسته سازي زباني در آن قابل مشاهده است. از آنجا كه زبان در متن دره دچار آشنايي زدايي شده است، ميتوان نمودهاي غريب سازي كلام را در آن بازجست و تشريح نمود. پژوهش حاضر بررسي برجسته سازي هاي شاخص در دره نادره با ديدگاهي شكل گرايانه (قاعده افزايي ها) و تحليل تمهيداتي است كه با ايجاد توازن و عمل بر برونۀ زبان، ادبيت متن را محقق ساخته است. از جملۀ اين شگردهاي زباني مي توان به توازن آوايي (واج آرايي- جادوي مجاورت- صدامعنايي)، واژگاني (همگوني ناقص و كامل) و نحوي (همنشيني و جانشيني عناصر هم نقش) اشاره كرد. نگارندگان اين جستار كوشيده اند در جستاري توصيفي–تحليلي، بر پايۀ منابع كتابخانه اي به بررسي وجوه توازن در متن درّه نادره با ذكر و تحليل نمونه ها دست يابند.
چكيده لاتين :
1. Introduction
Dore Nadereh is one of the most difficult texts in the history of
Persian literature. Its author, Mirza Mahdi Khan Astarabadi, has
provided an artificial narrative of the history of Nader Shah's era.
Although a group of contemporary critics have called the difficult text
of this book perverted and misguided, it should be noted that interest
in this text, like any other book, is relative and variable; however, this
historical-literary work is a special and excellent text in the history of
Persian prose in terms of vocabulary and variety of literary
techniques. Mirza Mehdi has recorded the history of Nader Shah in
another book called "Jahangshay Naderi", the language of which is
much simpler than the language of Nadereh. The historical events of
Nader Shah's era can be considered as the raw material for the
narrative (Fabiola). "Jahangshay Naderi" and "Doreh Nadereh" are
two constructs of events (plot); in the former text, the author conveys
historical data in simple language, but in the latter text, by using
measures such as creating balance in the levels of speech, he
introduces it as a prelude to artificial prose.
2. Methodology
The aim of this study is to analyze the arrangements that, by creating a
balance, have turned “Doreh Nadereh” from a historical text into a
literary work. The framework of the study has a formative basis and will try to examine this historical text in a descriptive-analytical
research, based on the library sources of literary qualities.
3. Discussion
The present study investigates the significant highlights in Doreh
Nadereh with a form-oriented perspective (addition rules) and
analyzes the measures that have been taken to establish its literature
by creating balance out of language. Among these linguistic units,
one can mention phonetic balance (phonology - magic of proximity -
semantic meaning), lexical balance (incomplete and complete
homogeneity) and syntactic balance (accompaniment and substitution
of homologous elements).
Doreh Nadereh is counted in the field of poetic prose; that is, in the
continuum between poetry and prose, it tends towards the prototype
of prose. Many parts of the book are related to the field of poetic
prose of artifacts in which the concepts of report and historical facts
are presented in various costumes to various literary industries. In
poetic prose, the author does not merely seek to convey data and
describe events, but tries to emphasize language through the use of
literary arrays. This type of prose can be classified into three types
based on the quality of application of artistic arrangements; 1- Simple
poetic prose 2- Technical poetic prose 3- Artificial poetic prose.
Doreh Nadereh is often placed in the category of artificial poetic
prose due to the use of difficult words and archaic words, the
excessive use of word arrays and the dominance of words over
meaning. Doreh Nadereh is an example of historical texts that tries to
approach the worlds of history from the perspective of poetry and in
that literary aspect of the work to overcome its message aspect.
Astarabadi has tried, in addition to the referential function of
language, to take advantage of its literary and emotional functions,
and by using artistic means of arrangements, to turn ordinary
language into a strange language and to make big news out of
ordinary news. The artistic function of language is to make it difficult
to express expression in order to increase the time of sensory
perception in a Doreh Nadereh, and has made the narrator's language
personal and unconventional.4. Conclusion
Doreh Nadereh is a historical text with a language that diverts the
audience's attention before receiving the message beyond the
language, and deliberately interrupts the transmission of meaning so
that the audience may enjoy the artistic arrangement of sounds,
words, and syntax. Of course, there are many cases that have led to
semantic constraints, but there are also many examples of various
rule-additions in which the principle of conductivity and aesthetics
has been observed. Within the text, the application of different
methods of balance has provided the rule of addition at the phonetic,
syllabic, lexical and syntactic levels. In the axis of phonetic balance,
brilliant examples of the magic of proximity and sound were found.
The use of semantic meaning has a special application in drawing the
battlefield. In the syllabic axis, we sometimes encounter fragments
that can be considered prosodic weights. In the lexical axis, different
types of balance (complete and incomplete homogeneity) have given
a special characterization to the process of speech. At the syntactic
level, coexistence and replacement of roles have given rise to artistic
and poetic sentences. In general, it seems that Doreh Nadereh
deserves more attention for analyzing the structures resulting from
literature and examining the linguistic techniques.
