چکیده:
هدف مقالة حاضر آن است تا با بررسی روند تصویرسازیهای ادبی در قلمرو تخیّلات شاعرانه که از مباحث بنیادین و قابلتوجّه در بلاغت امروزی است، به معرفی سطوح مختلف خیال در این تصاویر بپردازد. مسئلة بنیادی این مقاله چگونگی تصاویر شعری معاصر از نظرگاه سطح و عمق و کارکرد، و گذر از لایههای سطحی و میانی تخیّل آنها به لایههای درونی و عمیق و نمایش تواناییهای شاعران در عرصة خیالپردازی و هنر تصویرگری آنهاست. در این خصوص، پس از معرفی لایههای مختلف تصویر در دو حوزة تصویر سطح و تصویر اعماق و معرفی تصاویر اثباتی و اتفاقی با ذکر نمونههایی برای هریک، این نتیجه حاصل میشود که میزان پیچیدگی شبکة تصویری در شعر شاعران مختلف، ارتباطی مستقیم با شبکة ذهنی آنان دارد؛ بهگونهای که سطوح مختلف این تصاویر بهتدریج جزو ویژگیهای سبکی آن شاعران میشوند.
The present article deals with the trend of literary imaginative descriptions in the purview of poetical imaginations which have been regarded greatly in the discourse of rhetoric’s. The different facets of imagination of these imageries are also introduced in this article. Throughout this study poetical demonstrations are dealt with on the basis of their indications, functions and profundity. Meanwhile overcoming superficial and intermediate layers of imagination towards inner and profound thoughts would represent the domination of the poets in depiction of imagery. For this purpose, an introduction of numerous imagery layers with their deep and superficial, positive and subsidiary nature is presented through some examples. The result suggests that the extent of imagery complexity among many poets has a direct relation to their subjectivity in such a way that different levels of imageries are internalized as a unique stylistic feature of any individual poet. He endeavors to ornament his poem through imagery devices. Yousefi says: “any poem in which there is not imagery cannot be regarded as a poem. “The attractiveness of such imagination and the success or failure of the poet in conveying this imagery is a matter of poet’s tendency in using imagery devices. Through this article the contemporary poems are analyzed from the view point of objectivity and subjectivity. Furthermore, the poems are studied on their functions. The analysis has been carried out from two perspectives; idiosyncratic features of the poet and the characteristics of the era in which he has lived. The examples presented in this article are selected from among the poets with different linguistic backgrounds and unique ideologies. The reason behind this specific consideration is an indication of a generalizability rather than a representativeness of few poets with their idiosyncratic styles. Therefore, the results indicate the style characteristics of poet’s era more than any criteria.
1-The nature of images: In Persian “illustration” is a equivalent for “image” in European literature. It was 1st introduced to Persian poetry by Shafeei Kadkani in his salient book known as “Types of Imagery”. It goes: A manipulation of the concept of nature an man by the poet whereby he tries to make a relation between man and nature. It is the thing we call “imagination” or “illustration”. Admittedly others have proposed definitions of their own.
1-1- Different expressions of imagery: As Fotohi Rood Mojani has noted, illustrations are classified on the basis of their functions as positive (objective) versus imaginative (subjective). He also attributes deep and surface values for images on the basis of their covert (internal) and overt (external) feature and for this very reason the article is founded on a description of different imagery levels. Furthermore an analysis of poetical illustrations based on their subjectivity and objectivity (deep & surface) characteristics is proposed. For the purpose of better understanding these concepts and their related terms are discussed in detail.
1-1-1- Internal and external perspective of imageries: poetic images are elaborated from superficial descriptions to more profound ones in accordance with their imagery functions. It is quite clear that such imagination is more of 2ndary kind. For this very reason the illustrations are known as superficial and substantial manifestations.
1-1-2- Superficial descriptions: from artistic and literary point of view as well as their functionality, superficial descriptions are the simplest poetic representations through which the poet presents the simplest kind of imaginations –what Hawks describes them just appealing to the public and without any poetical emotion or “ description “
1-1-3- Profound (deep) imageries: Core of these illustrations is figures of speech that encompass richness and profundity. These figures make the host of literary devices of any language: Symbol, allegory, paradox, myth, mythical allusion are ample imagery devices for deep understanding. This means a descriptive creation by the poet.
1-1-4- Functional descriptions: Poetical imageries can be considered from functional perspectives as positive and imaginative illustrations. The foundation for this taxonomy are the extent of sensibility, feasibility of imagination, their concordance with intellectual rationales, language standards, public acceptability and its emotional and imaginative criteria.
1-1-5- Positive Imageries: The poet endeavors to confirm his ideology through this kind of imagery. Since the purpose is an affirmation of the present situation, there is no logic for any imagination, emotion and hyperbole (Confirmation is far beyond imagination). It is sensible, clear and in line with intellectual foundations. It is supported by the public and enjoys high readability of people. In sum it could be said that the poet tries eagerly to provide positive criteria for his ideology.
1-1-6- Imaginative Imageries: While positive imageries are based on logic and rational, imaginative illustrations are a host of dissimilation, paradox and great imagination. They are exciting devices with which the poet surpasses the ordinary life and goes beyond the habits of his reader. These images are unconsciously uttered by the poet. Thus a lack of rationale, intellectual thinking and decidedly rare are among the most significant characteristics of this kind of imagery.
Results
Focusing on imageries of contemporary poetry in Iran, the researcher has founded that the extent of visual or imagery illustrations by many poets has a direct relation to their mental (inner) complication in such a way that different indications of these imageries have been internalized as idiosyncratic style of any individual poet. Meanwhile the high frequency of such imageries reflects the prominent of a given style of the era in which the poets have experienced. But what can be said in certain is the fact that notable poets have been interested more on imageries having multitude connotations of imagination. They are somehow worried about public understanding of manifestations of their poetical imageries which have been shaped in these intervening and everlasting complexes.
خلاصه ماشینی:
"بنابراین با بار عاطفیای که شاعر بر دوش واژهها قرار میدهد و رستاخیزی که در آنها پدید میآورد، بسیار طبیعی است که تصاویر خود را فقط در سطح نیافریند و در اعماق نیز سیری همیشگی داشته باشد؛ چنانکه حمید زرینکوب در مجموعه مقالات خود اشاره کرده است: «تصویرسازی در شعـر، نوعی آفرینش هنری است کـه بـه وسیلة آن، شاعر بـه کلمات و اشیاء رنگی از زندگی میبخشد و باری عاطفی بر دوش آنها مینهد و به یاری این تصاویر دنیای تازهای را میآفریند» (زرینکوب، 1367: 190) از سویی دیگر، حتی در همین تصاویر سطحی، شاعر، فضای تصویری شعر خود را تا پایان، در یک راستا (محـور تصویرهای سطح) حفظ نمیکند و در بسیاری از مـوارد دیده میشود که شعری با تصویرهای سطحی آغاز شده است اما بهسرعت وارد فضاهای عمیقتر و خلق تصاویری پیچیدهتر میشود.
در همین جا باید یادآور شد که مرز ریاضیواری میان تصاویر سطح و عمق وجود ندارد و چه بسا تصویری در گزارههای مختلف یک شعر میان سطح و عمق در سیلان باشد؛ مثل نمونة زیر از شفبعی کدکنی: بر ساقههای سربی سنجد ستارهها/ آویخت از چکین سحرگاهی بهار/ باران نرمبار علف کش/ شست از غبار پار/ جاجیم باغ و منظر دیدار (شفیعی کدکنی، 1377: 275) 1-1-1-2-تصویر اعماق: یک شعر برای اینکه تأثیرگذاری بیشتری بر خواننده داشته باشد و در این میان بتواند در ذهن و خاطرة زمان، سهم بیشتری از ماندگاری را به خود اختصاص دهد، باید از حیث تخیل و عاطفۀ شعری عمیقتر باشد و این مستلزم آن است که شاعر، آگاهانه خوانندﺓ خود را هرچه بیشتر به فضاهای ذهنی و انتزاعی سوق دهد و این همان نکتهای است که بسیاری از صاحبنظران بر آن اصرار دارند: «آثار هنری بهطور عام و آثار شعری به وجه خاص باید نشان دهندة درجهای از ابهام و پیچیدگیهای ناشی از انتزاعی بودن باشند» (رید، 1378: 16)."