كاركرد هاي بلاغي- هنري ضماير اشاره‌ي «اين» و «آن» در شعر حافظ

Aesthetics of Hafezʹʹs Poetry: Artistic Application of Two Demonstrative Pronouns of "This" and "That"

به اعتقاد بسياري از ادب پژوهان، حافظ در به كار گيري زبان دقّت و دغدغه فراواني داشت و پيوسته در پي جرح و تعديل واژگان و نشاندن مناسب‌‌ترين عناصري بود كه با بافت سخن وي سازگاري و همگامي بيشتري داشته باشد. در اين پژوهش، تمركز بر روي كاركردهاي هنري و ظريف ضماير ‌يا اسم‌هاي اشاره‌ي فارسي؛ يعني دو واژه‌ي «اين» و «آن» در شعر حافظ است. وي همچنان كه در ديگر حوزه‌هاي زبان، توانمندي شگفت انگيزي در استفاده از قابليت ها و امكانات زباني از خود نشان داده، در بهره گيري از اين دو واژه نيز به نظر مي‌رسد گوي سبقت را از ديگران ربوده است. نتايج اين پژوهش نشان مي‌دهد كه حافظ از همه‌ي معاني مجازي اين دو واژه كه در منابع دانش معاني يا دستور زبان بدان‌ها اشاره شده، بهره برده است. در مجموع در 250 غزلي كه در حافظ نامه شرح شده و مبناي اين پژوهش است، حافظ 914 بار از اين دو واژه بصورت نشان دار، در معــاني دومــي از قبيل: ابهــام انگيزي، طنز، خوار داشت، بزرگداشت، تعجب بهره برده است.

The palatability and effectiveness of great works in the world of literature can be largely related to their creatorsʹ skillful use of linguistic tools or devices. Many literary scholars believe that Hafez has had a great obsession with language use and continuously modified his words in an attempt to select linguistic elements that well suited to their contexts of use. This might explain why there are so many different versions of Divan-e-Hafez. The present author believes that the most appropriate way to understand the mysterious words of Hafez can be careful examination of linguistic elements in their contexts of use. Accordingly, one needs to closely examine all the linguistic elements, from the smallest to the largest ones, in order to understand which literary devices are involved and which specific subtleties are employed through them. The objective of this study is to investigate the creative application of two Persian demonstrative pronouns, namely "this" and "that" in Hafezʹs poetry. It seems that not only has Hafez had enormous capability for the use of linguistic tools, but also he has been more successful than his counterparts in the artistic application of the two demonstratives. Based on the findings, Hafez has benefitted from all the figurative senses, as they have been mentioned in the semantics and grammar of language, of the two terms. Furthermore, he has assigned some new functions to these words. Indeed, he has benefitted from the secondary senses of these two terms 780 times through the whole of 250 sonnets cited in Hafez Nameh, referring to ambiguity, humor, glorification, degradation, and surprise etc.