تحلیل کاربرد حسن تعبیر در خسرو و شیرین نظامی مقالة

حکیم نظامی گنجوی سراینده‌ای صاحب سبک و شاعری جریان‌ساز در آفرینش منظومه‌های غنایی در تاریخ ادبیات فارسی است. خسرو و شیرین نخستین منظومه غنایی شاعر، داستان دلدادگی، عشق و هوس و نمونه درخشان تن‌کامه‌سرایی در شعر فارسی است. این جستار به تحلیل کاربرد حسن تعبیر در خسرو و شیرین می پردازد و در صدد است تا به این پرسشها پاسخ دهد که: حسن تعبیر برای بیان و بازنمایی چه موضوع‌هایی در خسرو و شیرین به کار رفته است؛ حسن تعبیر از طریق چه شگردهای ادبی و بلاغی در خسرو و شیرین بازتاب یافته است و چه عواملی زمینه و بستر شکل‌گیری حسن تعبیر در خسرو و شیرین را فراهم ساخته است. نگارندگان داده‌های تحقیق را از متن داستان به روش استقرای تام استخراج کرده و به روش توصیفی ـ تحلیلی به تبیین کاربرد حسن تعبیر در منظومه پرداخته‌اند. نتایج پژوهش نشان می‌دهد که موضوعاتی مانند واژگان و مفاهیم تابو، امور هراس‌انگیزی همچون مرگ، بیماری و پریشان‌حالی و توصیفات عشقبازی و هوسرانی در متن داستان با بهره‎گیری از حسن تعبیر بیان شده است و شاعر از شگردهای بلاغی استعاره، تشبیه و کنایه در بیان مفاهیم ممنوع و تنش‌زا استفاده کرده است و کوشیده است از این طریق وجهة خود و مخاطبان بالفعل و بالقوه داستان را حفظ کند.

Hakim Nizami Ganjavi is a poet with a style and creator of the literary movement in the creation of lyrical versified stories in the history of Persian literature. Khosrow and Shirin is the first lyrically versified story of the poet, the story of affection, love, and lust, and a brilliant example of body pleasure composition in Persian poetry. This article analyzes the use of euphemism in Khosrow and Shirin and seeks to answer the following questions: euphemism has been used to express and represent what themes in Khosrow and Shirin; What kind of literary and rhetorical tricks has been reflected in Khosrow and Shirin through euphemism, and what factors have provided the ground for the formation of euphemism in Khosrow and Shirin. The author has extracted research data from the text of the story by complete inductive method and has explained the use of euphemism in the versified story by the descriptive-analytical method. The results show that themes such as words and concepts of taboo, death, and descriptions of making love and lust in the text of the story have been expressed using euphemism and the poet has used rhetorical techniques of simile, metaphor, and irony in expressing forbidden and challenging concepts, and by this way has tried to maintain his image and that of the actual and potential audience of the story. Extended Abstract 1-Introduction Euphemism generally refers to the use of desired, polite, pleasant, and sometimes vague and indirect words or expressions to represent or express a tense, unpleasant, and taboo concept (Abrams, 2000: 83; Saberi, 2009: 564 and Chegeni, 2003: 150), whose explicit and direct expression endangers the image of the speaker and the audience, is considered a negation of the principles of politeness and conveys a negative emotional charge to the message recipient. Euphemism is used in spoken language and written text as well and is considered a rhetorical technique in literary written text. One of the literary texts in which the use of euphemism is prominent is Khosrow and Shirin. Nizami Ganjavi (1140-1201), the creator of this romantic work, is a poet who prides himself on the ascetic nature of his poetry and considers it the "place of the shindy and the pub" in his first poetry collection, Makhzan al-Asrar (Nizami, 2007: 73). When this poet composes a romantic poetry collection such as Khosrow and Shirin, he still tries not to go beyond the framework of Sharia and not to make poesy a captive of "pub" again (ibid.). He also tries to preserve his image as a poet who adheres to Sharia while not damaging the image of his general and special audiences while composing this romantic poetry collection. Nizami's adherence to maintaining the framework of Sharia and customs and maintaining image has created a romantic poetry collection whose euphemism has kept it from entering into the realm of taboo words and the offensive expression of some concepts and images despite having themes and concepts in the area of physical love and taboos. The authors of this study argue that euphemism is so prominent in the creation of this poetry collection that it can be considered one of the stylistic features of Khosrow and Shirin. Euphemism should be examined in the creation of Khosrow and Shirin, taking into account the importance and obvious manifestation of this feature. This study is conducted in line with this necessity and answers the following questions: A) Euphemism is used to express and represent what topics in Khosrow and Shirin? B) What factors have provided the basis for the formation of euphemisms in Khosrow and Shirin? C) Through what literary and rhetorical techniques, euphemism is expressed in Khosrow and Shirin? 2-Research methodology The authors first examined all the verses of Khosrow and Shirin by using complete induction and extracted the verses containing euphemisms to answer the study questions. They then analyzed the findings using the descriptive-analytical method. 3-Discussion As the creator and narrator of the work, Nizami Ganjavi sometimes takes advantage of euphemism in the Khosrow and Shirin lyrical and romantic poems. Fictional characters sometimes talk to each other about topics such as death, love, and taboos in various contexts and situations using euphemisms. The types of euphemisms in this poetry collection can be proposed in the two axes of themes and rhetorical techniques. Nizami thematically uses euphemisms in these cases: A) Scary issues: Using pleasant and less annoying words to express unpleasant things that are scary even to think about is one of the cases of euphemisms. Some of the scary issues that Nizami expresses in Khosrow and Shirin using euphemisms are the rapid passage of life, old age, disability, death, illness, and distress. b) Taboo words and concepts: One of the uses of euphemisms is the use of alternative words instead of taboo, dangerous, immoral, and mysterious words. These words, concepts, and images are virginity, description of the body and some body parts of the lover, romantic relationships (kissing, asking for a kiss, and asking for connection), and naughty women. Nizami expresses these things using euphemisms because bringing up such things is considered a kind of violation of norms in the custom of Iranian society - even today. c) erotism: in the discussed romantic poetry collection, Khosrow and Shirin had meetings, some courtships and coquetries took place, and the story ended in the union with a good ending. In the narration of the meetings and courtship of the main characters of the story, Nizami speaks in riddles using euphemisms and rhetorical techniques. The rhetorical techniques used by Nizami to reflect euphemism in Khosrow and Shirin are metaphor, simile, and irony (56 times) by frequency. These literary techniques are used several times in one verse. Nizami often uses metaphors in cases where the taboo concept is very tense and unpleasant. The simile and irony are mainly used for scary issues in Khosrow and Shirin. The simile is often used to describe the distress and illness of the characters in the story as if Nizami aims to reduce the meaning of negative words such as yellowing of the face, thinness, depression, loneliness, stooping, etc. However, the use of similes for euphemism is not only limited to scary issues. Nizami uses similes for a good and acceptable interpretation in cases where the taboo concept is less tense and unpleasant. Furthermore, he often uses irony to express concepts and images concerning death. In euphemism, Nizami makes the death of fictional characters, which is a scary and unfortunate issue, acceptable by using irony. Conclusion Khosrow and Shirin by Nizami Ganjavi is a narration of the romantic, earthly, and heterosexual life of two Iranian and Armenian princes. This story is an artistic account of the birth, youth, love, old age, and death of the characters. Nizami uses euphemism in the form of simile, metaphor, and irony to purely and chastely express scary things such as the rapid passage of life, old age, disability, death, taboo words such as sexual organs, and scenes of sensuality and lovemaking. Nizami has an indirect expression combined with modesty by using euphemisms and metaphors in providing an account of the image of romantic scenes and the concepts of erotism and lovemaking that may endanger his image and that of his audience. By using a range of clear and ambiguous metaphors, he tries to advance the narrative of the story completely and say the unspeakable things with a tension-relieving and indirect expression by choosing good words and interpretations when expressing taboo words such as sexual organs, which are unpleasant and tense in the social customs and morals of the society. Nizami often uses simile and irony to narrate scary things such as death, disease, and distressed state according to the context and theme of the story and the tone of the characters, trying to provide a euphemism for these scary things by substituting words that have a positive meaning. In general, what made this wise poet use euphemism in the Khosrow and Shirin romantic poems is to preserve his image as a wise person and a poet who adheres to Sharia and the image of special and general audiences in addition to maintaining the framework of Sharia and politeness. 5-References Abd al-Karimi, S. (2013). 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