Abstract:
این مقاله به بحث دربارة بار معنایی دو ترکیب «به طرح دادن و سینهکردن» و خاستگاه و معنای واژة «سُنگ» در ترکیب «خرابهدهِ سُنگ» و کاربرد آن میپردازد؛ بهسبب اهمیت موضوع، ضمن آوردن نمونهها، نخست دربارة تعبیر «به طرح دادن» و ایرادهایی سخن میگوییم که با توجه به ابیات شاعران و متون نویسندگان ـ مانند عبارت معروف حکایت گلستان سعدی ـ بر معانی شارحان وارد است؛ بهویژه بیتی از حکیم رکنا در یکی از غزلیات دیوان سوم برای شاهد ذکر میشود که بیشتر مدّنظر بوده و اساس کار بر آن، بنا نهاده شده است؛ چهبسا دستاورد این پژوهش پایانی بر آن همه جدال لفظی، عبارات بیمفهوم و استدلالهای نادرست نویسندگان مقالات و شروح بر معنای این ترکیب است؛ زیرا شاعر با آوردن قرینة «به خرمن دادن» در کنار ترکیب «به طرح دادن» کاملاً مطلب را روشن میکند: ما بلبلیم لیک به گلشن نمیرویم/ تا گل به ما به طرح و به خرمن نمیدهند
سپس در نقد و بررسی واژة «سُنگ»، معنا، املاهای مختلف این کلمه و عبارت کنایی «خرابهدهِ سُنگ» و دیگر ترکیبات کنایی ساختهشده با آن، سخن گفته میشود؛ نیز خاستگاه این واژه و چرایی راهیافتن آن به دیوان حکیم، همراه با ذکر اشعار شاعرانِ بهکاربرندة این واژه و ترکیباتش تبیین خواهد شد. آنگاه دربارة ترکیب کنایی «سینهکردن» ـ از اصطلاحات قرن پنجم و ششم که در رباعی حکیم (قرن یازدهم) نیز آمده است ـ سخن گفته میشود و با کمک نمونههایی که شاعرانی مانند عطار در منطقالطیر و نظامی در مخزنالأسرار آوردهاند، به اهمیت آن اشاره میشود.
Abstract In this study, regarding the Third Divan of Hakim Rokna (known as Masih Kashani), the meaning of the phrase(به طرح دادن) ‘be tarh dadan’ is investigated. It is one of the controversial combinations, although it has been studied and discussed for centuries, not only has it not reached a conclusion, but everyone has gone wrong in its interpretation. The phrase is dealt with firstly based on a comprehensive study, especially by witnessing the verse of Hakim in one of the sonnets of the Third Divan. The results of this study can be an end to all verbal disputes, meaningless phrases, and incorrect arguments of the authors on the meaning of this combination, since the poet completely clarified the issue by bringing the simile of(به خرمن دادن) ‘be kharman dadan’, which is a sign of abundance, along with the combination of ‘be tarh dadan’. In the examples from other books mentioned in the study, considering the issues before and after it, this point is very clear. However, the verse of Hakim is: ما بلبلیم لیک به گلشن نمی رویم تا گل به ما به طرح و به خرمن نمیدهند /Maa bolbolim lik be golshan nemiravim/ /Taa gol be maa be tarh o be kharman nemidehand/ Translation: We are nightingales, so we don't go to garden; Until they don't give flowers to us, to.…{be tarh o be kharman} And it is clear that the meaning of this combination in Persian poetry and prose does not match the meaning of Golestan commentators and commentators of other books, and by presenting these incorrect interpretations, they only cause readers and researchers to wander. Then, the Turkish word ‘song’ and ‘Kharabeh-Dehe Song’ and other derivatives and their origins are investigated and different aspects of their meanings are depicted. Then, the importance of the combination of ‘sineh kardan’ is mentioned. Introduction After the emergence of any language, during the history of that language and in different periods, many changes and transformations appear within that language, Persian language is also one of the languages that is not exempted from this rule. The interference with other cultures, the expansion of linguistic needs, and the development of the culture and literature of each country are among the factors that require these changes and lead to the creation and expansion of new words and combinations. Two combinations of ‘be tarh dadan’ and ‘sineh kardan’ and the Turkish word ‘song’ and derivatives that were taken from it helped to express linguistic intentions. And some of them have been popular for a while and some have taken root in the text of culture and have become permanent. This study aimed to find the correct meaning of these words and combinations, which are found in most of the poets' books and the speech of street and bazaar people. We should provide a more precise form of reliable Arabic words in order to reach the correct meaning, especially in the case of ‘be tarh dadan’. This study tries to answer two research questions: 1) When and why did these definitions and terms appear in the field of language? 2) Have they played a role in the enrichment of culture and language? How? Materials and Methods In this study, the combinations are investigated according to the explanations of Golestan Saadi, historical books such as Tarikh Sistan, Tarikh Wassaf, and Zubda al-Tawarikh, Tazkirah books such as Tazkirah Nasrabadi, commentaries such as Marzban Nameh, Attar’s Mantegh Al-tair, Anwari’s Divan, Turkish and Arabic dictionaries such as Al-Maajam Al-Wasit, Saeb’s Collection of Poems, Turkish Vocabulary Dictionary (Souzlok), and Nasiri Dictionary. However, it is worth mentioning that it was not possible to search in all sources other than the mentioned ones to clarify the meaning of the word combinations. Research Findings By researching the texts and with the help of Hakim's poems in the Third Divan, the meaning of the words is clarified as follows: Be Tarh Dadan = To Donate Without Stinginess The meaning of the phrase is clarified using a phrase in Al-Ma'jam al-Wasit: طرح الشیي طرحه والبناء و نحوه Translation: he made the building tall or expanded it. The correct meaning can also be found in a verse from Saadi’s Golestan: خرمای به طرح اگر ببخشند از اهل کرم هدر نباشد /khormay be tarh agar bebakhshand/ /az ahle karam hadar nabashad/ If they donate the dates …{be tarh} it will not be a waste thing for the generous person In Hakim Rokna’s verse: ما بلبلیم لیک به گلشن نمی رویم تا گل به ما به طرح و به خرمن نمیدهند /Maa bolbolim lik be golshan nemiravim/ /Taa gol be maa be tarh o be kharman nemidehand/ Translation: We are nightingales, so we don't go to garden; Until they don't give flowers to us, to.…{be tarh o be kharman} The poet has accompanied the combination of ‘be tarh dadan’ with the combination of ‘be kharman dadan’. Therefore, it turned out that this combination is meant without embarrassment and with forgiveness and along with donation and indulgence everywhere. Sung, Song The root of this word could be found in Turkish. When the Safavids came to Isfahan from Ardebil, they brought ‘song’ from Ardebil and the Turkish language into Isfahan, and the people of Isfahan also used it in their dialect. It is mostly seen in the quatrains of the 10th and 11th centuries. It means ‘loot’ and ‘Kharabe-Deh-Song’ means looted ruined village. In Turkish dictionaries, it means ‘end and follow’, ‘a gift presented to elders’, ‘hole’, ‘small, tiny, and fine’ and ‘a kind of robbery and destroying’. Sineh Kardan چون در دل خود جا کنم ان بدخو را وز صبح رخش سینه کنم پهلو را /chon dar dele khod ja konam aan badkhoo raa/ /vaz sobhe rokhash sineh konam pahloo raa/ Translation: When I keep that bad-tempered (impatient) in my heart; I will thrust up my flank from her face's morning The compound infinitive of ‘sineh kardan’ means ‘boasting’ and was used until the 6th century and the early 7th century. Discussion of Results and Conclusions Common words and expressions of a language contribute to its richness, and paying attention to all its aspects and all periods could have strong results in recovering their meaning, and indeed, the words and expressions and their use in texts and conversations of people should be searched with regard to social, historical, political, and economic issues. Like the verse of Hakim, who solved the problem of ‘be tarh dadan’ and the terms derived from it in his works. In addition, the position and origin of the compounds and the words ‘sineh kardan’ and ‘Song’ were revealed, and it turned out why and how the compounds made from the word Song have entered the slang literature and in writing.
Machine summary:
بررسي انتقادي يک واژه و دو ترکيب در ديوان سوم حکيم رکنا نسرين توکلي ؛ سيد مهدي نوريان ؛ تقي اژه اي ؛ محسن محمدي فشارکي چکيده اين مقاله به بحث دربارة بار معنايي دو ترکيب «به طرح دادن و سينه کردن » و خاستگاه و معناي واژة «سنگ » در ترکيب «خرابه ده سنگ » و کاربرد آن مي پردازد؛ به سبب اهميت موضوع ، ضمن آوردن نمونه ها، نخست دربارة تعبير «به طرح دادن » و ايرادهايي سخن مي گوييم که با توجه به ابيات شاعران و متون نويسندگان ـ مانند عبارت معروف حکايت گلستان سعدي ـ بر معاني شارحان وارد است ؛ به ويژه بيتي از حکيم رکنا در يکي از غزليات ديوان سوم براي شاهد ذکر ميشود که بيشتر مدنظر بوده و اساس کار بر آن ، بنا نهاده شده است ؛ چه بسا دستاورد اين پژوهش پاياني بر آن همه جدال لفظي، عبارات بي مفهوم و استدلال هاي نادرست نويسندگان مقالات و شروح بر معناي اين ترکيب است ؛ زيرا شاعر با آوردن قرينۀ «به خرمن دادن » در کنار ترکيب «به طرح دادن » کاملا مطلب را روشن ميکند: ما بلبليم ليک به گلشن نمي رويم / تا گل به ما به طرح و به خرمن نمي دهند سپس در نقد و بررسي واژة «سنگ »، معنا، املاهاي مختلف اين کلمه و عبارت کنايي «خرابه ده سنگ » و ديگر ترکيبات کنايي ساخته شده با آن ، سخن گفته ميشود؛ نيز خاستگاه اين واژه و چرايي راه يافتن آن به ديوان حکيم ، همراه با ذکر اشعار شاعران به کاربرندة اين واژه و ترکيباتش تبيين خواهد شد.