تبيين الگوي كاربرد صناعات بديعي و بياني در نفثه المصدور

نفثهالمصدور يكي از شاهكارهاي بديع نثر فني و مصنوع در حوزة زبان و ادب فارسي است كه شهابالدين محمد خرندزي زيدري نسوي آن را در شرح مصائب روزگار جلالالدين خوارزمشاه در زمان حملة مغول نوشته است. اين كتاب داراي نثري منشيانه و فصيح است كه نويسنده در تصنيف آن توجه فراواني به كاربرد آرايه‌هاي بديعي، بياني، آيات، احاديث و لغات و اصطلاحات عربي دارد. سؤال مطرح اين است كه آيا نويسنده در كاربرد آرايههاي زباني از الگوي خاصي پيروي كرده يا اينكه اين عناصر را تنها به‌منظور آرايش لفظي و معنوي كلام خود بهكار برده است. در پاسخ به اين پرسش بايد گفت كه زبان فني اين اثر، داراي الگوي منسجمي در ژرفساخت است كه نويسنده به پيروي از آن، دست به گزينش صنايع و آرايه‌هاي لفظي و معنوي زده و از يكسو كنايه و تشبيه را بيشتر از استعاره و مجاز بهكار برده و از سوي ديگر به پيروي از همين الگو از ميان آرايههاي بديع لفظي، انواع گونههاي سجع و جناس را برگزيده و در ايجاد موسيقي زبان اثر خود از آنها بهره برده است. در حوزة بديع معنوي نيز كاربرد صنعت اغراق، تضمين و تلميح كه زيرساختي تشبيهي دارد، صبغة تشبيهي زبان نفثهالمصدور را پررنگتر كرده است.

Nafthat-Al-Masdur is one of the most renowned masterpieces of technical and artistic prose in the field of Persian language and literature that Shihaboddin Mohammad Khorandezi zeydari Nasawi has written in the description of the tragedies of Jalal al-din Khwarazmshah during the Mongol invasion.This book has a generous and passionate language that the author has devoted a lot to the use of arrays, expressions, verses, hadiths, and Arabic vocabulary and expressions.The question here is as follows: ʿHas the author followed a particular pattern in using figures of speech, or has used these elements solely for the verbal and spiritual arrangement of his words?’. To answer this question we should say that the technical language of this work seems to have a coherence and a pattern in it and the author follows the pattern of choosing technical, verbal and artistic arrays. On the one hand, he used ironies and similes far more than metaphor and trope, and on the other hand, following the same pattern he chooses Saj and Pun and uses them for the creation of musical language of his work. In the intellectual domain, the use of exaggeration, assurance, and allusion, which are similar to simile, has made the similarity of the language of Nafthat-Al-Masdurstronger. Keywords: Nafthat-Al-Masdur, Figures of Speech and Expressions, Deep Construction, Homogeneity, Equivalence. 24 Persian Language and Literature, Vol. 71, Issue 238, Fall & Winter 2018- 2019 Discussion and conclusion Familiarity with the profound and constructive method of a poet and a writer's language has a significant effect on recognizing his work, how to read the text, and creating a dynamic connection with it. It is also effective on the discovering of relationship among its constituents in three phases of phoneme, lexicon and the syntax found in that work, as well as its psychological dimensions. The language of Nafthat-Al-Masdur in two phases of Figures of Speech and Expressions is profoundly similar, in the sense that similarity is the main factor in the selection of words and their arrangement in the synchronic language. This parallelism pattern in the rhetorical domain has made the two methods of Saj and Pun a prominent factor in the language. Hence the phonetic consistency between the lexicon creates a sound and sorrow that was caused by the Mongol invasion of Iran, and in line with this music, in the spiritual domain, the exaggerated words of the writer has been a reflection of simile in his work. The language of the Nafthat-Al-Masdurin expressing and application of its array is also subject to the similarity pattern governing this work and its psychological effect is doubled. Zeydari prefers ironies and similes more than metaphor and trope. Because the profound construction of simile, like Saj and Punand ...,is based on similes while metaphor and trope and other exemplary verbal arrays have the same profound construction. The reason for choosing this method of expression in Nafthat-AlMasdur is, on the one hand, the greater and better impact on the audience, understanding of the real nature of the Mongol invasion using the music derived from the phonetic similarity, and ultimately emancipation from the sadness that dictates the soul and heart of the author. an‎d this is also quite evident from the name of the work, which means "it leaves out what it does with pulmonary disease, from the sputum and itself to make it a little relaxing."