بن‌مايه‌هاي فكري مكتب نقد نو در نگاه اليوت و آدونيس

A Study of Intellectual Motifs in T. S. Eliot and Adonis’s New Critical Approaches

نمادپردازي نزد تي. اس. اليوت كاركرد ويژه‌اي دارد. اليوت زبان شعر را زبان ويژه‌اي مي‌داند كه از تناقض، طنز، ابهام، اسطوره و نماد به‌شيوه‌اي بهره مي‌جويد كه تصويري عيني و محسوس به‌دست دهد. اين شيوه، همان كاربرد نماد در قالب نظريه به‌هم‌پيوستگي عيني است كه نخستين‌بار، او آن را مطرح كرد. اين نظريه ابعاد گوناگون دارد. جنبه نخست آن به شخصيت‌زدايي شاعر مربوط است كه اساس و پايه مكتب نقد نو را تشكيل مي‌دهد. ديگر، پيوند نزديك آن با نماد است كه آن را به مرزهاي مكتب سمبوليسم نزديك مي‌سازد؛ و سوم، كاربرد سنّت در شعر است كه بر جنبه نوكلاسيكي اين نظريه نظارت دارد. ادونيس شاعر و‌ منتقدي است كه غيرمستقيم از نظريه او تاثير پذيرفته است. اين جُستار، نخست نظريه به‌هم‌پيوستگي عيني اليوت را تبيين مي‌كند؛ آنگاه اصول و پايه‌هاي نظريه را نزد ادونيس بررسي كرده؛ به نمودهاي عيني و واقعي آن مي‌پردازد؛ در پايان آن دو را منتقداني عين‌گرا و از پيش‌گامان مكتب نقد نو، معرفي كند.

T. S. Eliot’s peculiar symbolism is professionally distinctive. Eliot bases the atypical language of poetry on paradox, irony, ambiguity, myth, and symbol; and achieves objective and tangible imagery in an exclusively unexpected method, consequently intertwining sensibility and emotion. This multifarious method relies on Eliot’s theory of the objective correlative, which he applied to the Waste Land. The objective correlative firstly relies on the de-characterization of the author, this being the cornerstone of new critical methodology, and sees poetry as an independent and self-sufficient phenomenon that should be in turn analyzed through such internal and essential criteria as complexity, ambiguity, and textual cohesion and coherence in order to study textual unity and integrity. Secondly this theory is closely associated with symbolism both as a literary technique and school. Thirdly, there is the incorporation of tradition in poetry which reflects the neoclassical orientation of this theory. Adonis is among those poet-critics who have indirectly been impressed by Eliot’s theory of the objective correlative. Adonis, like Eliot, believes that poetry is not an expression of character but instead an escape from personality and character. Thus the speaker should look at past poems from a historical point of view, that is, he or she should absorb and digest the prior poem. Therefore, the poet should adopt a language different than the language of science and philosophy. Part of this peculiar language comprises of symbolism. This study attempts to first elucidate Eliot’s theory of the objective correlative, second to investigate its corresponding precepts and principles in Adonis’s poetic theory, third to highlight instances of this theory in the works of Eliot and Adonis’ contemporaries, and last but not least this study will discuss the status of Eliot and Adonis as the pioneers of New Criticism in the English and Arabic traditions respectively.