رهيافت هاي طرح‌واره‌ي حجمي مرتبط با واژه «سر» در غزليات سعدي و حافظ شيرازي

Conclusions of Containment Schema of "Head", In the Lyric Poems of Sa`di and Hafez Shiraz

زﺑﺎنﺷﻨﺎﺳﻲ ﺷﻨﺎﺧﺘﻲ ﻣﺠﻤﻮﻋﻪاي از ﻧﻈﺮﻳﻪﻫﺎ را ﺷﺎﻣﻞ ﻣﻲﺷﻮد ﻛﻪ اﺳﺘﻌﺎره ﻣﻔﻬﻮﻣﻲ و ﻃﺮحواره ﺗﺼﻮﻳﺮي از ﻣﻬﻢﺗﺮﻳﻦ آنﻫﺎ ﺑﻪﺷﻤﺎر ﻣﻲآﻳﻨﺪ. ﻃﺮحواره ﺗﺼﻮﻳﺮي از درك ﺟﺴﻤﻲ ﺷﺪه و ﻋﻴﻨﻲ ﭘﺪﻳﺪ ﻣﻲآﻳﺪ و ﺑﻪ ﺳﻪ ﮔﺮوه ﺣﺠﻤﻲ، ﺣﺮﻛﺘﻲ و ﻗﺪرﺗﻲ ﺗﻘﺴﻴﻢ ﻣﻲﺷﻮد. ﻃﺮحواره ﺣﺠﻤﻲ ﺑﺮ اﺛﺮ ﺗﺠﺮﺑﻪ ﻓﻴﺰﻳﻜﻲ اﻧﺴﺎن ﺑﺎ ﺣﺠﻢ ﺷﻜﻞ ﻣﻲﮔﻴﺮد و در آﺛﺎر ادﺑﻲ ﻣﺼﺎدﻳﻖ و ﻛﺎرﻛﺮدﻫﺎي ﻓﺮاواﻧﻲ دارد ﻛﻪ ﻃﺮحواره ﺣﺠﻤﻲ «ﺳﺮ» ﻳﻜﻲ از آنﻫﺎﺳﺖ ﻛﻪ در ﭘﺎرهاي از ﻏﺰﻟﻴﺎت ﺳﻌﺪي و ﺣﺎﻓﻆ ﺷﻴﺮازي اﻧﮕﺎره «ﺳﺮ ﻇﺮف اﺳﺖ»، ﺗﺼﻮر ﻣﻲﺷﻮد. ﺳﻌﺪي و ﺣﺎﻓﻆ دراﻳﻦﺑﺎره، اﻧﮕﺎرهﻫﺎي ﻣﺸﺘﺮك دارﻧﺪ و ﺑﺮ اﺳﺎس آنﻫﺎ ﺑﺮاي ﻇﺮف ﺳﺮ، ﭘﻴﺎﻣﺪﻫﺎﻳﻲ ﻧﻘﺸﻲ ﭼﻮن اﺧﺘﻔﺎ و ﺗﺪاﻋﻲ ﻋﻤﻠﻜﺮد ﻗﺎﺋﻞ ﻫﺴﺘﻨﺪ. روﻳﻪ دﻳﮕﺮ ﻃﺮحواره ﺣﺠﻤﻲ ﺳﺮ، «ﻋﺸﻖ ﺑﻪﻋﻨﻮان ﻣﻈﺮوف ﺳﺮ» اﺳﺖ ﻛﻪ در اﻳﻦ ﺑﻌﺪ، ﺳﻌﺪي و ﺣﺎﻓﻆ اﻧﮕﺎرهﻫﺎي ﻋﺎﺷﻘﺎﻧﻪ ﻣﺘﻔﺎوﺗﻲ را ﺑﻪﻛﺎر ﻣﻲﮔﻴﺮﻧﺪ ﻛﻪ ﺑﺮ اﺳﺎس آنﻫﺎ ﻣﻲﺗﻮان ﻧﺘﻴﺠﻪ ﮔﺮﻓﺖ وﺟﻪ ﻏﺎﻟﺐ ﻋﺸﻖ در ﻏﺰﻟﻴﺎت ﺳﻌﺪي، ﻋﺸﻖ ﭘﺮﺷﻮر اﺳﺖ و دالﻫﺎﻳﻲ ﭼﻮن ﺳﻮدا و ﻫﻮس، ﺧﻴﺎل وﺻﻞ، ﺷﻮر، ﺣﺮﻛﺖ و ﺗﻘﺪم ﻇﺮف ﺑﺮ ﻣﻈﺮوف، ﺑﺮ ﻋﺸﻖ ﭘﺮﺷﻮر دﻻﻟﺖ دارﻧﺪ؛ اﻣﺎ وﺟﻪ ﻏﺎﻟﺐ ﻋﺸﻖ در ﻏﺰﻟﻴﺎت ﺣﺎﻓﻆ، ﻋﺸﻖ رﻓﺎﻗﺘﻲ اﺳﺖ و ﻧﺸﺎﻧﻪﻫﺎﻳﻲ ﻣﺎﻧﻨﺪ ﻣﻬﺮ و ﭘﻴﻮﻧﺪ، ﺳﺮ ﭘﻴﻮﻧﺪ، ﺷﻮق، ﺛﺒﺎت ﻣﻈﺮوف ﺑﺮ ﻋﺸﻖ رﻓﺎقتي دﻻﻟﺖ ﻣﻲﻛﻨﺪ.

Cognitive linguistics includes a collection of theories which the conceptual metaphor and the image schema are regarded as the most important of them. Image schema is generated by the embodiment and objective understanding and organizes the source domain in metaphoric mappings and it is divided to three groups: 1) Containment schema, 2) Path schema, 3) Force schema. The containment schema is formed as a result of physical experience of human with the containment and it has frequent evidence and function in literary works which the containment schema of "head" is one of them. In some parts of lyric poems of Sadi and Hafez Shirazi, the ''head" is the imagination of "the head is container". It is assumed so and its understanding is performed through the understanding of the container. Sadi and Hafez have common imaginations in this respect and based on them, they consider some role outcomes such as occultation and association of the performance for the container of head. Another procedure of containment schema of head is love as contained of the head which in this dimension, Sadi and Hafez apply different romantic imaginations and psychological theories about love and a new recognitions of love is achieved and according to them, we can conclude that the dominate aspect of love in Sadi's lyric poems is passionate love and it has some indications such as transaction and caprice, unio​n imagination, passion, motion, and the priority of the container on the contained which indicates the passionate love but the dominant aspect of love in Hafez's lyric poems are the companionate love and some signs such as affection and unio​n, unio​n's head, enthusiasm, and stability of the contained indicate to the companionate love.