«تأكيد مجاز» و پيوند آن با «ابهام متن»

The Emphasizing Metonymy and Its Relation Whit Ambiguity of Text

مشهورترين پديده هاي زباني در زبان شناسي عربي است. يكي از شرايط به كارگرفتن مجاز همراه ساختن آن با » مجاز « است. وظيفة قرينه جلوگيري از برداشت معني حقيقي از واژه اي است كه به صورت مجازي به كار رفته است. » قرينه « نيز يكي ديگر از ابزار هاي مهم در زبان عربي است كه بر خلاف قرينه غالباً براي جلوگيري از احتمال برداشت معني » تأكيد « مجازي استفاده مي شود؛ بنابراين، منطقي به نظر نمي رسد كه واژه اي مجازي بتواند مورد تأكيد قرار بگيرد. با اين حال، برخي را جايز شمرده و نمونه هايي نيز براي آن ذكر كرده اند. در اين مقاله برآنيم تا با روشي » تأكيد مجاز « از زبان شناسان مسلمان وصفي تحليلي، درستي ديدگاه ايشان را بررسي كرده تأثير آن را بر شكل گيري فهم مخاطب توضيح دهيم. بر اساس داده هاي اين پژوهش، تأكيد مجاز بر خلاف ظاهر غيرمنطقي اش مي تواند پديده اي پذيرفته در سنت زباني عربي باشد.

AbstractSheikh Sad odDin Ahmad َ Ansari, the son of Mawlana Abd olGhaffar Ibn Abd olKarim, is a mystic of the 12th and 13th centuries AH. Sad odDin was born in Kabul in the village called Yahya Yahyaee in 1140 AH and died in the same place in 1225 AH (Ansari, 1374: 6). In his youth, he learned canonical law and theology from his father but was soon attracted to mysticism (Heravi, 1373, 43). After performing Hajj in between the years 1169113 AH and getting permission to guide people from Naqshbandiyeh and Qaderiyeh mystic Sheikh Mohammad Saman Madani, he returned home and guided people untill the end of his life (Ansari, 1390: 3). Sheikh Sad odDin was well learned in Islamic studies, Arabic language, rhetoric and sciences of his time. He was also familiar with the works of poets such as Attar, Rumi, Hafez, Ibn Arabi and other great names of mysticism. He was attached to Rumi and Hafez and has quoted them frequently in his works.Sheikh Sad odDin wrote thirty six books and treatises including seven Divans and two Masnavis in Persian; He also wrote a book entitled The Mine of Unity and treatises  such as "Greetings Noble Tatar", "Habl olMatin" and "The Elite" in Arabic. He composed some poems in Arabic as well.At least from 1174 AH Sheikh Sad odDin started to bring changes to the ancient Persian poetry; thus his deconstruction made poetical form much similar to contemporary Persian poetry. However, due to political and cultural distance between Iran and Afghanistan, we did not have a chance to get familiar with his innovations.His innovations consist of the following:1.      Refrained Masnavi (masnavi tarjeeband): He changed masnavi in a way that we can call it refrained masnavi, a sample of which is included in the paper. It consists of fifteen stanzas: The first stanza with eight lines, the second stanza fifty four lines, the twelfth stanza eleven lines and the other stanzas having equal lines. The line between the first and the second stanza is different from other lines and each stanza is separated with two lines of masnavi.  In addition, each stanza is artistically connected to the other.2.      Quatrain refrained masnavi (masnavi dobeiti tarjeeband): It has nine stanzas each separated with a quatrain.3.      Refrained tailrhymed (mosammat mostazad trajeeband): Another one of his innovations is in refrained tailrhymed poem. It has nine stanzas each rhyming but unrhymed with other stanzas. In each hemistich in between stanzas repeated four times. Other forms consist of tailrhymed parallel refrain, and multiple parallel refrain discussed in detail in the paper.References1.      Ansari, Mohammad Jamal odDin (1362). Ein olIman.  Feiz Ahmad Decoy and Mirgirim (ed.), Kabul.2.      (1370). Shoore Eshq Divan. Habibollah Ebrahimzade (ed.), Kabul: Meivand.3.      Arianpour, Yahya (1387).  From Saba to Nima and from Nima to our era. Tehran: Zavvar.4.      Bahar, Mohammad Taqi (1390). Divan of malek oshShoara Bahar. Aziz Mehdi & Tamoon Salahi (ed.), Tehran: Ketab Zaman.5.      Hasani, Hamid (1371). Music of Nima’s poetry. Tehran: Ketab Zaman.6.      Homaee, Jalal odDin. (1389). Technics of eloquence and literary figures. Tehran: Nashr Homa.7.      Isfahani. Mohammad Jamal OdDin (1389). Divan of Mohammad Jamal odDin. Neishaburi (ed.). Tehran: Kanon Ketab.8.      Kashefi, Habibollah (1390). Contemplation of Sheikh Sad odDin Ahmad Ansari’s Mystic ideas and literary expressions in his Divan titled Passion of Love. Shiraz: University of Shiraz.9.      Khalili Jahantigh, Maryam (1380).  The Apple of spirit garden. Tehran: Sokhan.10.  Kianoosh, Mahmood (1389). Nima Yushij and Persian classic poetry, Tehran: Qatre.11.  Lahuri, Eqbal (1389). Divan of Eqbal Lahuri. Parvin Ghaemi (ed.), Tehran: Peyman.12.  Maqsudi, Noor odDin (N.D.).  Continuous Quatrain. Ferdowsi Journal. No 4.13.  Mo’tamen, Zeinol’abedin (1352).  Persian poetry evolution. Tehran: Ketabkhane Tahori.14.  Molavi, Jalal odDin Mohammad bin Mohammad (1346). Shams Tabrizi’s Divan. Badeeozaman Foruzanfar (ed.), Tehran: Enteshrat Daneshgah.15.  (1385). Masnavi Manavi. R. Nicholson (ed.), Tehran: Arvand.16.  (1387). Ghazaliat Shamse Tabrizi. Mohamad Reza Shafiee Kadkani (ed.), Tehran: Sokhan.17.  Natel Khanlari, Parviz (1377). Seventy speeches (poetry and art). Tehran: Toos.18.  Nima Yushij, Ali Esfandiari (1389).  Collection of Nima Yushij’s Poems. Tehran: Zarin. 19.  Omranpour, Mohammad Reza (1383).  Music of rhyme in M. Sereshk (Mohammad Reza Shafi’ee Kadkani). Literary Research Quarterly, no 6.20.  Rami, Sharaf odDin Hasan bin Mohammad. (1385). Haqayeq olHadaeq. Mohammad Kazem Imam (ed.), Tehran: University of Tehran.21.  Rastegar Fasai, Mansur (1380).  Persian poetry Genres. Shiraz: Navid.22.  Salman Savoji, Salman bin Mohammad (1389). Salman Savoji’s Divan. Tehran: Sokhan.23.  Setayesh, Nasrin (1387). Innovation in rhyme in Mewlana’s Ghasals. Keyhan Farhangi. No. 269.24.  Shafi’ee Kadkani, Mohammad Reza (1376). Second Millennium of Muskdeer. Tehran: Sokhan. (1389). Music of Poetry. Tehran: Sokhan.