Abstract:
چکیده معشوق و توصیف و تصویر معشوق در غزل عاشقانۀ فارسی حضوری پر رنگ دارد؛ شاعران، همواره از زلف و لب و چشم و خط و خال و قد معشوق گفته‌اند و ابعاد زیبایی معشوق را به تصویر کشیده‌اند. زیبایی‌شناسی معشوق غزل سنّتی، زیبایی‌شناسی تکراری و قالبی است و شاعران اغلب، وجوه زیبایی یکسانی را در معشوق به تصویر کشیده‌اند؛ گویی این‌که همه، معشوق واحدی داشتهاند و این عامل، ناشی از عدم تکیه بر تجارب فردی و واقعیت و ناشی از کلّیگویی و ذهنگرایی بوده است. این رویکرد به جمالشناسی معشوق در غزل نو، متحوّل میشود؛ شاعران با تجربهگرایی، فردیّتگرایی، واقعنمایی و تأکید بر دید شخصی، معشوق را آن‌چنان که هست، به تصویر میکشند و قدم در وادی خلق تصاویری متفاوت از غزل سنّتی در وجوه زیبایی معشوق نهاده و از تکرار تصاویر تکراری و ملالآور اجتناب میکنند. این تصاویر نو، نگاه نو و دیگرگونۀ شاعر معاصر را به معشوق و وجوه زیبایی او مینمایاند و نشان از تغییرات جدّی در تصویرگری زیبایی‌شناسی معشوق دارد. در مقالۀ حاضر تلاش شده است با روشی توصیفی–تحلیلی، به توضیح و تبیین این تغییر رویکرد در غزل معاصر در تصویر ابعاد زیبایی‌شناسی معشوق پرداخته شود و تصاویر و توصیفات نو و بیسابقه از وجوه زیبایی شناسی معشوق مورد بررسی و تحلیل قرار گیرد. نتیجۀ پژوهش حاضر نشان از تغییر رویکرد غزل‌سرایان معاصر در توصیف و تصویر معشوق دارد.
Abstract Introduction Beloved and her aesthetically image and description have a predominant presence in the Persian love sonnet (Ghazal); Poets have always talked about the beloved's lips, eyes, moles and Stature, and have depicted the aspects of the beloved's beauty. The aesthetics of the lover in persian classic Ghazal is a stereotyped aesthetic, and poets have often depicted the same aspects of beauty in the beloved; It's like everyone had the same lover and this was caused by not relying on individual experiences and reality and caused by generalization and subjectivism. This approach to the aesthetics of the lover changes in Iranian modern Ghazal; in these sonnets, the poets depict the lover with a emphasis on individual experiences, realism and personal vision. in this way, they create images different from the classic Ghazal in the beauty of the beloved and avoid repetitive images.These new images regared to the lover aeshtetic aspects show the Iranian modern poet's have a new and different view of the lover and his beauty aspects and show predominant changes in the depiction of the lover's aesthetics. Unlike the classic persian ghazal, in the new ghazal of individual experience, objectivity and empiricism are replaced by generalism, subjectivism and repeating the experiences of the predecessors. This feature causes us to encounter different aesthetic images of the beloved in the modern Persian ghazal, and the beloved is described and depicted in a new way. Methodology The research method in this article is descriptive-analytical. By examining the Ghazals of Iranian modern poets, the differences and distinctions in the aesthetic aspects of classic and modern Ghazals have been analyzed. Discussion Beloved, as a Qiblah of lovers, has a significant presence in classic and modern Iranian Ghazal and the Iranian love Ghazal is formed and expanded on the axis of the beloved. In the classic Iranian Ghazal, the lover's cuteness, infidelity, cruelty, charm, etc are all her attributes that are repeated and Regardless of some breaking of tradition, for example, in the Ghazals of the School of Occurrence (Voghoo’) and Vasookht, a stereotyped view dominates the aesthetic aspectes of the beloved and most of the poets have not avoided repeated descriptions and stereotyped descriptions and they have depicted their lover in a mold. Nima's opinion, who said that our poetry is subjective: " I told you that our classic poetry is subjective. That is, it deals with conscience and inner conscience mood. In it, the external scenery is an example of the interaction that took place in the interior of the narrator. He doesn't want to pay much attention to the things that exist outside" (Nimayoshij, 1985: 80). It also applies to the aesthetics of the beloved. Because the descriptions of the beloved and the aspectes and moods are subjective, not objective, and the classic poets The traditional poets do not express their individual experiences and present the subject from a repetitive and stereotyped point of view. As if all classic Iranian poets had a single lover and depicted a single lover.In the aesthetics of the beloved, dishonesty, unrealismn and subjectivism in the description can also be seen in the aspects of the beloved's aesthetics. A single beloved with repetitive aesthetic aspects is present in classic Iranian Ghazals. Although in few cases a poet has show a tendency against this general trend, but it is insignificant and is not considered a dominant characteristic of style and because in style: "the presence or absence of an element or several elements is not so important as the "frequency" of that elements... Therefore, the study of the appearance of a specific element in stylistics is not as important as the study of its high and impressive frequency statistics" (Shafi'i Kadkani, 2008: 39).Therefore, the prevailing aesthetics in traditional Ghazal and the high frequency of repeated images cannot destroy the stylistic feature of the design of the repeated lover in traditional ghazal.But this approach in the aesthetics of the beloved in modern ghazal is completely changed with a emphasiz to the theory of Nima who said: "Try to write as you see" (Nimayoshij, 2015: 35), the modern Iranian poet has also tried to depict the beloved as he or she has seen her. It is not without grace to mention that modern Iranian Ghazal was also heavily influenced by Nima's leading theories in all elements of poetry.Inspired by Nima, modern ghazal poets innovated in all aspects of Ghazal, and one of the innovations was in the aesthetic aspects of beloved.Therefore, in modern Iranian Ghazal, we witness the presence of different aesthetic aspects of the beloved, which is unprecedented in classic Ghazal. Modern iranian Ghazal has tried to be experimentalist, realistic and objective and to depict and describe the beloved as she is, not as seen by the past. Relying on a personal view and individual experiences has brought this innovation in the aesthetics of the beloved.Beloved in moedern Persian Ghazal, unlike classic Ghazal, has light, honey-colored eyes, straight and golden hair, and looks like a waterfall, rainstorm, wheat field, etc., short, medium height, and sometimes tall, lips like raspberry, cherry, pomegranate, etc. These images show the realism of modern Iranian Ghazal in this matter. All of these show imagery innovation in modern Persian ghazal compared to classic ghazal. Conclusion The result of a research on the aesthetic aspects of the beloved in the modern persian Ghazal is that the modern Ghazal ,unlike the classic Ghazal has discovered new aspects of beauty in the beloved and has described and illustrated them. The cliched and repeated images of classic Ghazal, which represent the repeated vision of the classic poet, have given way to the creation of an image in aeshtetic aspects based on empiricism, realism, objectivity, and a personal view and the poets describe the lover as she is, not in a general form.It is for this reason that in the modern ghazal, the beloved does not only have black eyes, but is described in bright colors such as blue, green, honey color and etc., and the color of the beloved's eyes is included in the ghazal as it is.In addition to this, the beloved hair is not only black, and relying on the personal experiences of the poets, described blonde, red color and etc. Other aspects of the lover's aesthetics are also different.The Present research, finally, proves that the aesthetic aspects and description of the beloved in the modern Iranian ghazal is different from the classic poem and based on individual experiences, realism, objectivity is different from that. It can be said that the modern persian ghazal in the field of imagery of the aesthetics of beloved has been innovative like other images, and innovation in the image is one of the most important characteristics of the modern persian ghazal.
(
, 
, 
)
