Abstract:
A linguistic look at some artistic categories of speech, namely metaphor and metonymy, is one of the consequences of a linguistic attitude toward literature as a semiotic system of language and attention to the linguistic function of literature. In this essay, we analyze and examine the poetic language of Ahmad Shamlou, a contemporary trendsetting poet, with a linguistic approach. Before creating the 'White Poetry' style, Shamlou was a follower of Nima and was very successful in composing poems in the Nimaic style; however, perhaps the differences between Shamlou's two poetic styles—Nimaic and White—can be shown more accurately by examining the semiotic system of his poetic language. Therefore, in the present research, with an approach to Roman Jakobson's theory, we will examine the relationship of similarity (metaphor) and the relationship of contiguity (metonymy) at three linguistic levels—phonological, lexical, and syntactic—in Shamlou's poetry, and we seek to answer the question: has the dominant aspect of his poetry also undergone change with the transition of this poet's poetry from the Nimaic style to White poetry? By examining some of Shamlou's poems, we found that the dominant aspect of his Nimaic poems is 'metaphor'; because these poems possess meter and rhyme (similarity at the phonological level) as well as the relationship of similarity (metaphor) on the axis of substitution at the lexical and syntactic levels. On the other hand, the dominant aspect of his White poems is 'metonymy'; because in them, by moving away from phonological similarity, the poet expands the linguistic system of his poetry based on the principle of contiguity on the axis of collocation and the closeness of signifieds to their referents, and thus is closer to non-literary language.
Machine summary:
Therefore, in the present research, with an approach to Roman Jakobson's theory, we will examine the relationship of similarity (metaphor) and the relationship of contiguity (metonymy) at three linguistic levels: phonological, lexical, and syntactic in Shamlou's poetry, and we seek to answer this question: has the dominant mode of his poetry also undergone change with the transition of this poet's poetry from the Nimaic style to White poetry?
On the other hand, the dominant mode of his White poems is 'metonymy'; because in them, by moving away from phonological similarity, the poet expands the linguistic system of his poetry based on the principle of contiguity in the syntagmatic axis of language and the proximity of signifieds to their referents, and thus it is closer to non-literary language.
Similarly, this theory moved from linguistics to literature, and Jakobson showed that the pole of metaphor and the creation of the relationship of similarity in the paradigmatic axis of the linguistic sign system is the dominant mode of poetry, while the pole of "metonymy" and the creation of the relationship of contiguity in the syntagmatic axis of language is the dominant mode of prose; based on this, he considered these two poles to be the prominent characteristics of Romanticism and Realism, respectively.
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