چکیده:
امیرخسرو دهلوی یکی از شاعران تاثیرگذار زبان و ادب پارسی است که با بهرهمندی از نبوغ و دانش فراوان، نمایندهای قابل، برای زبان و فرهنگ پارسی در سرزمین هندوستان بوده است، آثار گوناگون او آگنده از شگردهای هنری و ادبی ظریف و ارزشمندی است که شناخت آنها برای درک درست گذشتۀ ادبی زبان فارسی اهمیت بسیار دارد. او که خود از پیشگامان قابل اعتماد در نقد ادبی و علوم بلاغی بوده است، فنون ادبی را بهخوبی در سخن به کار گرفته است. "ایهام" ازجمله بارزترین فنون تاثیرگذار در آثار اوست که با تداعی معانی دور و نزدیک، مخاطب را در دریافت چندمعنا از کلام، کمک میکند. یکی از آثار ارزشمند و کمتر شناختهشدۀ او "مثنوی نهسپهر" است که آن را در سال 718 (ه. ق) سروده است. بسیاری از ابیات این اثر، از ظرافت ایهامی هنرمندانهای برخوردار است و مخاطب آشنا، با دقّت در ساختار ایهامی آن، متوجّه شبکۀ گستردهای از واژگان چندمعنایی میشود، در این مقاله با بهرهگیری از روش توصیفی – تحلیلی کوشش شده است تا به این پرسش پاسخ داده شود که مهمترین گونههای ایهام در " مثنوی نهسپهر" امیرخسرو دهلوی کدامند؟
Extended Abstract Amir Khosrow Dehlavi is an influential poet in the history of Persian language and literature, who has emerged as a capable representative of the Persian language and culture in the land of India. His various works are filled with delicate, valuable artistic and literary techniques, identification of which is of great importance for a correct understanding of the literary background of Persian. As a dependable pioneer in literary criticism and rhetoric, he has employed literary techniques properly in speech. Ambiguity is one of the most prominent effective techniques in his works, which helps the addressee to perceive more than one meaning from the discourse through implication of close and distant senses. One of his valuable, lesser-known works is his masnavi (‘a poetic form’) Noh Sepehr (‘nine skies’), composed in 718 AH. Many of the verses in this work contain artistic delicacies in terms of ambiguity, where the familiar addressee recognizes a wide network of polysemous words by paying close attention to the ambiguous structures. In this descriptive-analytical research, an attempt was made to answer the question of what is included in the most important types of ambiguity in Amir Khosrow Dehlavi’s Noh Sepehr. Keywords: Ambiguity, Different Types of Ambiguity, Noh Sepehr, Amir Khosrow Dehlavi. Introduction Iham (A literary device in which an author uses a word, or an arrangement of words with two meanings, making the sentence ambiguous) is an important literary device in the construction of effective prose and poetry. One of the richest and lesser-known works of Amir Khusrow Dehlavi, an Indian famous poet of Persian, is his "Masnavi Noh Sepehr", many verses of which have a delicate artistic Iham elegance. Given the importance of this literary device, it is important to know what types of it are used in Amir Khusrow Dehlavi'a Masnavi Noh Sepehr, how this poet develops the overt and covert aspects of his message through it, and what is the relationship of Ihami words in the creation and development of meaning. Since Amir Khusrow Dehlavi is the greatest poet using Nezami's style and his poetry is in between Sa'di's and Hafiz's poetry, it is important to know the hidden aspects of his works. For this reason, research on Iham and its various types in "Masnavi Noh Sepehr" helps reveal the hidden layers of his beautiful and influential poetry. This study attempts to investigate different types of Iham in this work and show which type of the mentioned literary device is used the most in it. Methodology This study analyzes the content of Amir Khusrow Dehlavi'a Masnavi Noh Sepehr by collecting information through the desk- or documentary-based technique and a descriptive-analytical method. Discussion Definition of Iham: The use of a word at least in two meanings" (Shamisa, 2003: 132). Tanasob (Relational) Iham: Only one of the two meanings of a word is conveyed by the word itself, but the hidden meaning has a relation to the word or words used in the immediate context of the word (but not in the meaning of the word itself (Ibid: 135) Kick the pole so that people get lost like a ball in the sea (Amir Khusrow Dehlavi', 1950: 431) The direct (apparent) meaning of "kicking the polo" is "playing music", but it has relational Iham with "ball" in its implied (hidden) meaning (playing the polo). Mojarradeh (Abstracted) Iham: This type of Iham occurs when none of the relations of the direct (apparent) and implied (hidden) meanings of a term with Iham is used in the text. All went in the river without playing, all were simple and got in khat (Amir Khusrow Dehlavi', 1950: 39) The direct (apparent) meaning of the Persian term "khat" is "writing", and its implied meaning is the hair (line) of face, and none of the relations of the direct and implied meanings of that term has appeared in the text. Movashaheh Iham: The use of [appropriate] terms in both intended and unintended meanings (Anousheh, 2002: 183). Your zagh sat on the branch, I rudely made it fly (Amir Khusrow Dehlavi', 1950: 301) The direct (apparent) meaning of "zagh" is "bow", and its implied meaning is "magpie", and the poet has simultaneously used the phrase "making fly" for its apparent meaning and the phrase "sitting on the branch" for its implied meaning. Morasheheh (Parvardeh) Iham: The use of the features of the direct (apparent) meaning of a word in a text (Sadeghian, 1999: 111). As it is good for special and common people, they get mast (drunken) with that zogh modam (Amir Khusrow Dehlavi', 1950: 44) One of the meanings of "zogh" is joy and exuberance, making it related to being drunken (apparent meaning) and with "modam" (with the implied meaning of wine). Mobayyeneh Iham: The use of the features of an implied meaning of a term (Sadeghian, 2008: 111). Crows from the avaz (singing) of zagh, hurry toward a bone party (Amir Khusrow Dehlavi', 1950: 103) The direct (apparent) meaning of "zagh" is a bow and its implied meaning in music has Tanasob Iham with "avaz", which is a relation of the implied meaning. Tabador (Associative) Iham: A word associates another word (almost) homophonous or homomorphous with it (Shamisa, 2003: 141). A king with no sea in his heart, no water comes to the kaf of his sa'el (Amir Khusrow Dehlavi', 1950: 237) Water, sea, and kaf, collocated with sa'el (beggar), associate the beach. Khaneshi Iham (with two readings): A word is used in a context in such a way that it can be given two readings with correct meanings due to its structure (Rastgou, 2000: 99). When this lyricist sings, it gives eyes abr-e no/ruzi (Amir Khusrow Dehlavi', 1950: 399) abr-e noruzi (spring cloud); abr-e no ruzi (giving a new cloud) Tazad (contrast) Iham: This type of Iham occurs when the hidden meaning contrasts with the meaning of a word or words in a text (Shamisa; 2002: 138). All went in the shat without playing, all were sadeh and got in khat (Amir Khusrow Dehlavi', 1950: 39) The direct (apparent) meaning of "shat" is "a large river" and its implied meaning is "difficulty" which contrasts with the word "sadeh" meaning easy. Tarjomeh (Translation) Iham: The use of two words with Iham in such a way that only one of the two meanings is intended. That unintended meaning is a translation in the two words are translations of each other (Ghanipour Malekshah and Rezazadeh Babi, 2013: 50) Whatever the savad of the dark night, was whitened by God's pen of creation (Amir Khusrow Dehlavi', 1950: 203) "Savad" in its implied meaning of blackness has Tarjomeh Iham with dark. Taradof (Syn onymous) Iham: This type of Iham occurs when a word, in a sense other than the intended meaning, is synonymous with another word in the same context (Rastgou, 2000: 79). The first sun, of the views of mehr, has given much light from high in the sky (Amir Khusrow Dehlavi', 1950: 53) "Mehr" has the direct (apparent) meaning of kindness and the implied (hidden) meaning of the light of sky, and has Taradof Iham with the sun in its latter sense. Conclusion This study found 103 uses of Iham in 51 verses with Iham structure and categorized a total of 103 types of this literary device. Of the 15 (fifteen) types of Iham identified in these verses, Mobayyeneh and Mohayyah types of Iham had the highest and lowest frequencies with 28 repetitions and only 1 repetition, respectively. Tanasob, Movahesheh, Tabador, Mojarradeh, Khaneshi, Taradof, Morasheheh, Tazad, Tarjomeh, Samaei and Estekhdam types of Iham had the next ranks with 13, 12, 11, 7, 7, 7, 5, 4, 4, 2 and 2 frequencies, respectively. The high frequency of Mobayyeneh Iham indicates the complexity of the poet's mind and his mastery over the creation of complex types of Iham, since the hidden meaning is conveyed in this type of Iham, which is indeed the most difficult type of it. References The holy Quran, Translated by Mehdi Elahi Ghomshei, Qom: Selsele Publications, 2006. Ali Mahmoudi, Omidvar, Naqd va Nazar piramune Do Beyt az Masnaviye Noh Sepehre Amir Xosrow Dehlavi (‘A Critique of and Comments on Two Verses from Amir Khosrow Dehlavi’s Noh Sepehr’), Islamic Azad University of Shahrekord, Scientific-Research Journal of Literary Criticism and Stylistics Research, Issue 13, pp. 107-125, Fall 2016. Anushe, Hasan, Yek Qesse Bis Nist (‘Nothing but a Story’), Tehran: Scientific Press Institute, 2002. Dehkhoda, Ali Akbar, Loqatname (‘The Lexicon’), Tehran: Lexicon Institute, 1994. Dehlavi, Amir Khosrow, Noh Sepehr (‘Nine Skies’), Textually criticized by Mohammad Vahid Mirza, Kolkata, India: 1950. Ghanipur Malekshah and Rezazade Babi, Barrasi va Moqayeseye Iham va Gunehaye An dar As’are Xaqani va Hafez (‘An Investigation and Comparison of Ambiguity and Its Types in Khaqani’s and Hafez’s Poetry’), Faculty of Literature and Humanities, Tehran University, Journal of Literary Criticism and Rhetoric, Volume 9, Issue 9, pp. 37-56, Spring and Summer 2013. Hafez, Shams al-Din Muhammad, Hafez’s Divan, Textually Criticized by Ghazvini and Ghani, Sixth Printing, Tehran: Asatir, 1998. Kazzazi, Mir Jalaleddin, Badi’, Zibasenasiye Soxane Parsi (‘Rhetoric: Aesthetics of Persian Speech’), Tehran: Mad, 2006. Ranjbar, Ahmad, Badi’ (‘Rhetoric’), Tehran: Asatir, 2006. Rastgu, Seyyed Mohammad Iham dar Se’re Farsi (‘Ambiguity in Persian Poetry’), Tehran: Soroush, 2000. Sadeghiyan, Mohammad Ali, Zivare Soxan dar Badi’e Farsi (‘Ornament of Speech in Persian Rhetoric’), Yazd: Yazd University, 2000. Setayeshgar, Mehdi, Vazenameye Musiqiye Iran Zamin (‘Iranian Music Lexicon’), Tehran: Ettela’at, 2002. Shamisa, Sirus, Negahi Taze be Badi’ (‘A New Look at Rhetoric’), Tehran: Ferdows, 2003.
خلاصه ماشینی:
البته بعضي از پژوهشگران علاوه بر ايهام تناسب ، به «ايهام در ايهام تناسب » نيز به عنوان نوعي مستقل از ايهام تناسب اشاره کرده اند و در تعريف آن گفته اند: «چنـان اسـت کـه شـاعر، دو کلمه يا چند واژة دومعنايي را در بيت به کار ميبرد که از هر دو واژه ، فقط يک معني آن در سـخن خواسته ميشود، اما دو معني اراده نشده با يکـديگر، تناسـب داشـته باشـند» (غنيپـور ملکشـاه و رضازاده بابي، ١٣٩٢: ٤٩) (در اين تحقيق هر دو نوع ايهام با عنوان ايهام تناسب آورده ميشوند.
٦-٢-٩- ايهام تضاد: «آن است که معني غايب با معني کلمه يا کلماتي از کلام رابطۀ تضاد داشته باشد» (شميسا، ١٣٨١: ١٣٨)؛ علاوه براين ، بعضـي از پژوهشـگران ، اگـر دو معنـي اراده نشـده ، امـا يحتمل ، در بيت با هم تضاد داشته باشند، را گونه اي مستقل از ايهام تضاد با عنوان «ايهام در ايهـام تضاد» ناميده اند و آن را اين گونه تعريف ميکنند: «دو کلمه در عبارت به کار ميرود که هـر دو، دو معني دارند و شاعر تنها يکي از دو معني دو واژه را اراده ميکند و آن دو معني [بعيد] که خواست شاعر نيست ، با يکديگر تضاد دارند.
ز صـــد بـــيش پـــيلش توانـــا و کـــاري چنــــان قلعــــه ها در حصــــار حصــــاري (همان : ٨٧) ايهام مرشحه : معني قريب (حاضر) پيل ، حيوان معروف و معني بعيد آن مهرة بازي شطرنج اسـت و در اين معني بعيد، لفظ «قلعه »، از ملائم و مناسبات آن است که در کلام آمده است .