چکیده:
«باهمآیی» در متون ادبی که حاصل خلاقیت شاعر و نویسنده در انتخاب و تلفیق واژگان در محور همنشینی زبان با ارائه تصاویر بدیع است، تناسب معنایی و لفظی دلپذیری را ایجاد میکند که گاهی مشخصة سبکی آن شاعر یا نویسنده بهشمار میرود؛ از این رو، بررسی متون ادبی از منظر باهمآییها، زمینه را برای شناخت بیشتر آثار ادبی و سبک پدیدآورندگان آنها فراهم میکند. در پژوهش حاضر، این پدیده زبانی در غزلیات صائب تبریزی که سبک هندی در شعر او به کمال رسیده، مورد مطالعه قرار گرفته است. اهداف اصلی این مطالعه، نشان دادن پربسامدترین نوع باهمآییها، انواع و همچنین کارکرد آنها در خلق معانی و تصاویر بدیع در غزلیات صائب به روش توصیفی- تحلیلی است که به منظور نیل به این اهداف از تقسیمبندیای که صفوی از باهمآییها در زبان فارسی ارائه داده، بهره گرفته شده است. این پژوهش، پیکرهبنیاد بوده و پیکرة مورد نیاز آن از50 غزل صائب (از غزل1400 تا1450) با حدود 573 بیت، استخراج شده است. از این میان، 278 بیت حاوی انواع باهمآییها بوده است. یافتههای پژوهش حاکی از آن است که از انواع باهمآیی، بجز باهمآیی «فعل با فعل»، «قید با فعل» و «همآوا- همنویسه» در غزلیات صائب بهره گرفته شده است، اما باهمآیی تداعی معنایی و از میان انواع روابط مفهومی آن، رابطه شمول معنایی، بیشترین بسامد کاربرد را داشته است. همچنین در این بررسی مشخص شد که میتوان انواع باهمآییهای غزلیات صائب را در سه گروه طبقهبندی کرد: 1- باهمآییهایی که با همان لفظ و معنا امروزه نیز در زبان و شعر معاصر به کار میروند .2- واژگان همآیندی که با اندکی تغییر در لفظ، اما با همان بار معنایی در روزگار ما نیز کاربرد دارند. 3- همآیندهایی که یکی از واژگان آن، به کلی مهجور شده و در زبان و شعر امروز به کار نمیرود.
Collocations in the literary texts, resulting from the poet and author's creativity in choosing proper words in the paradigmatic axis, along with the presentation of novel images create a pleasant meaning and word proportionality that is sometimes considered as the style of the poet or author. Thus, the study of Collocations in literary texts is an interesting subject that provides a basis for a better understanding of the literary works and the style of their authors. In the present study, this linguistic phenomenon has been studied in Saeb Tabrizi's sonnets, a prominent poet with Indian style. The main objectives of this descriptive-analytical research are to show the most frequent type of collocations in Saeb's sonnets, and their comparisons with today's Persian language collocations. In order to achieve these goals, the Safavi classification has been used. The research is corpus-based and the necessary corpus was extracted from 50 Saeb sonnets (from 1400 to 1450) with about 573 verses.Findings indicate that although all kinds of collocation, except verb-verb, verb-adverb, and homonymy-homophony collocations have been used in his sonnets, the meaning of associative collocations and their subtype such as hyponymy is the most frequent ones. Results show that Saeb's collocation can be divided into three groups: 1-Colloctions that apply with the same form and meaning in today's Persian language. 2- Collocations that are used in our today utterances with little change in form but with the same meaning and 3- The obsolete collocations which are not used today.Keywords: Collocations, Syntagmatic Collocation, Associative Collocation, Saeb's Sonnets. IntroductionCollocations in the literary texts, resulting from the poet and author's creativity in choosing proper words in the paradigmatic axis, along with the presentation of novel images create a pleasant meaning and word proportionality that is sometimes considered as the style of that poet or author. In this way, collocation has a decisive role in rhetoric. Since this phenomenon is the result of specific lexical selection and also one of the methods for expressing meaning, knowing the best ways for using it, especially in literary works, leads to the formation of different styles. Therefore, by studying the collocations in literary works, it is possible to achieve different styles of expression in the pragmatic use of language elements. Thus, the study of Collocations in literary texts is an interesting subject that provides a basis for a better understanding of the literary works and the style of their authors. In the present study, this linguistic phenomenon has been studied in Saeb Tabrizi's sonnets, a prominent poet with Indian style.Research QuestionsIn this research, we try to answer the following questions:What are the most frequent types of Collocations in Saeb's sonnets?Has Saeb used collocations to create new meanings and images?Are the collocations used in Saeb's poetry also used in the Persian language and contemporary poetry today? Literature ReviewCollocations have been reviewed in the Persian language, for the first time, by Mohammad bin Omar Radovyani. He talks about symmetry and proportionality in his book titled “Tarjuman al-Balagheh”. After that many scholars studied it. In the contemporary era, Jalal al-Din Homayi, presented a new definition for collocations, while explaining the opinion of the past rhetoricians. According to Sirus Shamisa, collocation is achieved when some words are parts of a whole, and for this reason, there is proportionality and analogy between them. Safavi reviewed the history of collocations and classified collocations in the Persian language into three groups: modular, lexical, and associative collocations. Non-Persian linguists have also studied lexical relations and collocations. Firth (1957) was the first person who proposed the term collocations in his semantic theory and assumed it to be a semantic phenomenon, not a grammatical one. Sinclair (1966) refers to two types of collocations, accidental and meaningful collocations. According to Halliday and Hasan, repetition and collocation are important tools for lexical cohesion. Liones consider substitution and combination relations to be effective in collocations of words. MethodologyThe research was descriptive-analytical. The main goal was showing the most frequent type of collocations in Saeb's sonnets, and their comparisons with today's Persian language collocations. In order to achieve these goals, the Safavi classification has been used as a theoretical framework. In his category, this phenomenon has been studied considering the syntactic, structural, phonetic, and semantic levels. The research is corpus-based and the necessary corpus was extracted from 50 Saeb's sonnets (from 1400 to 1450) which included about 573 verses. Extracted verses were placed in three categories: modular, lexical, and associative. ConclusionStudying the related corpus revealed that all types of associative, lexical, and modular collocations were found in Saeb's sonnets with a ratio of 65.1%, 31%, and 3.9%, respectively. In lexical collocations, noun-noun collocation had the highest frequency with 40.69%, and noun-adjective collocation is in second place with 39.53%. In terms of associative collocation, the semantic association with 40.88% had the highest frequency, and the structural association had the lowest frequency was 1.1%. Based on the analysis, it was determined that in Saeb's poetry, according to the classification of collocations as a theoretical framework, all types of collocations have been used, except for "verb-verb", "adverb-verb" and "homophone–homograph" collocations. Also, it was found that in Saeb's sonnets, collocations can be classified into three groups based on their function: 1- collocations that are used with the same word and meaning even today in contemporary language and poetry.2- collocative words that are used today with a slight change in wording, but with the same meaning; 3- collocations that one of its words has been completely extinct and is not used in today's language and poetry. Based on the findings it can be concluded that Saeb has used collocation for creating new meanings in his poems. In Saeb's sonnets, some of the words are placed in two or more types of collocations at the same time and overlap with each other.