كليدواژه :
رالف والدو امرسون , حافظ , دگرديسي , ساقينامه , ترجمه
چكيده فارسي :
اين مقاله به بررسي ايده «دگرديسي» رالف والدو امرسون و ارتباط آن با اشعار حافظ كه او از زبان آلماني ترجمه كرده است مي‌پردازد. اين مقاله نشان مي‌دهد كه مفهوم «شراب بيداري» كه در تعدادي از اشعار امرسون ديده مي‌شود و ابعاد تازه‌اي به ايده امرسون در مورد «دگرديسي» داده است، بنوعي ريشه در «ساقينامه» حافظ دارد. به اين منظور اين مقاله نظر امرسون در مورد دگرديسي و تناسخ كه به تازگي توسط محققاني همچون مايكل كوريگان و مايكل كووان ترسيم شده است را مطرح كرده و سپس نشان مي‌دهد چگونه تعدادي از اشعار امرسون همچون «باكوس»، «پروتئوس»، و «شاعرالشعرا» كه به دگرديسي مي‌پردازند و بصيرت شاعر را محصول دگرديسي مي‌دانند در واقع برگرفته از مفاهيمي از ديوان حافظ هستند كه مورد خوانش متفاوتي قرار گرفته و در بستر جديدي استفاده شده‌اند. به اين شكل، اين مقاله از سويي با مطالعاتِ پيرامون مفهوم دگرديسي در آثار امرسون در گفتگوست و از سويي ديگر بُعد جديدي به مطالعاتي كه تاثير شعراي ايراني بر شعر و تفكر امرسون و نقش اشتغال او به ترجمه را بررسي مي‌كنند مي‌افزايد.
چكيده لاتين :
Ralph Waldo Emerson’s idea of metamorphosis and metempsychosis,
as traceable in his essays “His tory” and “Poet,” has recently attracted
the attention of Emersonians such as Michael Corrigan and
Michael Cowan. According to these scholars, Emerson has expanded
the Indian and Greek definition of these notions and has come to
give a metamorphic quality to almos t every aspect of life and his idea
of the ideal poet. Cowan has also traced two metamorphic processes
in Emerson’s famous poem “Bacchus,” which according to scholars
such as John D. Yohannan is an imitation of Hafiz’s “Saghinameh.”
This point allows this article to go back to “Saghinameh” and show
that the metamorphic quality attributed to “Bacchus” is rooted in
Emerson’s translation of “Saghinameh.” This article also argues
that a few other poems of Emerson that have metamorphosis as their
main theme are in one way or another related to his translations
from the Divan of Hafiz. In this way, on the one hand, this paper is
contributing to the discussions about metamorphosis in Emersonian
thought; and on the other hand, it is contributing to the s tudies that
address the function of Emerson’s engagement with Persian poetry
and its relation to his career as a thinker and a poet.
Research Background: Emerson’s respect for Persian thought and
poetry is a well-known subject to mos t Emersonians and those interes
ted in transnational s tudies. The different ways in which Persian
poetry has influenced Emerson’s poetry have been addressed by
many es teemed scholars such as F. I. Carpenter, Arthur Chris ty, and
John D. Yohannan. More recently scholars such as Lawrence Buell
have come to give a more central place to Emerson’s engagement
with Persian poetry and his related translations. For scholars such
as Jan S tievermann, this aspect of Emerson’s career is bes t demons
trative of his cosmopolitanism and his openness to World Literature.
Finally and more recently, the Doctoral dissertation of Roshanak
Akrami: “‘The Sense of a Half-Translated Ode of Hafis’: Emerson’s Translations of Persian Poetry” (2015), which examines Emerson’s
poetry notebooks and the drafts of translations he has left, focuses
on Emerson’s theory of translation and the different ways in which
Persian poetry affects Emerson’s career and is affected by it. Nevertheless,
the relationship between Emerson’s idea of metamorphosis
and his translations of Persian poetry has not been addressed in any
other research.
Method: This article examines three original poems of Emerson and
looks at his translation of Hafiz’s “Saghinameh.” It traces Emerson’s
idea of metamorphosis highlighted by Michael Cowan in Emerson’s
“Bacchus” back to Saghinameh and Hafiz’s notion of “wine
of awakening.” By examining Emerson’s original poems, his translations,
drafts of these translations, and the German and Persian
versions of these poems, this s tudy is using a genetic reading method
that allows seeing the process of production of these poems and the
concepts that have emerged in this process.
Conclusion: The metamorphic quality that wine has in Emerson’s
“Baachus” is directly taken from Hafiz’s “Saghinameh.” In both poems,
wine awakens and gives vision and access to the unseen and
pas t and future. In “Proteus” and “Poet of Poets” Emerson employs
the Divan’s concept of love in two different ways. That is to say,
while in both poems love is used as a metaphor for metamorphosis;
in “Proteus” Emerson adopts the Divan’s notion of suffering and
loss that follows mys tical love and uses it to attribute pain to his idea
of metamorphosis. In “Poet of Poets,” on the other hand, wine gives
the power of metamorphosis to the poet and makes him a seer and
an insider. In this way, it can be said the mys tical power of love and
wine has found a new life in Emerson’s writings.
