چکیده:
حساميزی يا آميختگیِ حواس بهعنوان نوعی استعاره در زمانها و زبانهای مختلف، کم و بيش وجود داشته و نمونههايی از آن در متون گذشته باقیمانده که از نسلی به نسل ديگر رسيده است. از رهگذر اين متون کهن میتوان دريافت که حساميزی بهعنوان شگردی ادبی، ريشه در گذشتههای دور دارد. افزون بر اين، میتوان نمونههایِ کليشهای از حساميزی سراغ گرفت که مردم، خودآگاه يا ناخودآگاه در گفتار معمول خود از آنها استفاده میکنند؛ اما در عصر جديد است که کاربستِ گستردة آن به نحوی آگاهانه و عامدانه برای بيان عواطف و رساندن پيام شعری رواج میيابد. عبدالوهاب البياتی (1999-1926م)، شاعر معاصر عراقی در شماری از اشعار خود، از اين هنرْسازه بهره جسته است. شواهد موجود، نشان میدهد که بسامدِ حساميزیهای به کار رفته در شعر وی از نوعی به نوع ديگر متغير است و وی امکانات مختلفی از حساميزی را دستماية خلاقيت شعری خود کرده است. اين نوشتار، با روشی توصيفی- تحليلی، تصويرهای مبتنی بر حساميزی در ديوان البياتی را بررسی کرده و نشان میدهد که رابطة متقابل اين هنرْسازه با ديگر اجزای هر شعر، رابطهای انسجام بخش و هماهنگ با ساختمان آن شعر است و کارکردی ظريف و دقيق در انتقال انديشه و عاطفة موجود در شعر دارد.
Extended Abstract
Introduction
Synesthesia, which literally means the combination of senses, is originally a psychological term. This term is used to describe a neurological condition in which two senses or more are fused and perception related to one sense is stimulated by another, i.e. the synesthetic for example, perceives sounds as inherently colored or tactile. Later, this term referred to as “fusion of the senses” came up. Synesthesia as a kind of metaphor has existed in all eras and languages. Of this artistic device, some examples have survived in early texts and have remained after generations. Examples of it are mentioned in the Iliad and the Odyssey that are among the oldest extant works of Western literature. One can find many uses of the device in classical Arabic and Persian poetry, especially in mystical poetry. For example, notable examples can be found in the poems of Mowlavi and Ibn al-Farid. These old examples lead us to conclusion that synesthesia, as a literary device, is rooted in the far past. In addition, there are a few stereotypical examples of synesthesia used by people in everyday speech. However, for over a century, this term has been used as an artistic device in modern rhetoric. It is in the new era that the conscious and intentional use of it as an artistic device to express emotions and convey poetic message, has spread. Abd al-W ahhab al-Bayati (1926-1965), contemporary Iraqi poet, is one of those who used this artistic device in his poems.
Theoretical Framework
Synesthesia means the combination of senses. Many examples of the device can be found all the available literature. This artistic device is a specific kind of metaphor and is also called the metaphor of senses. This is because a sense in synesthesia figuratively substitutes another sense. When synesthesia is expressed in words, it makes language be extended, i.e. when two senses of the five ones enter into combination with each other, ten realms can be theoretically imagined: 1.Vision in combination with hearing and vice versa; 2. Sight in combination with touch and vice versa; 3.Sight in combination with smell and vice versa; 4. Sight in combination with taste and vice versa; 5. Hearing in combination with touch and vice versa; 6. Hearing in combination with smell and vice versa; 7. Hearing in combination with taste and vice versa; 8. Smell in combination with touch and vice versa; 9. Smell in combination with taste and vice versa; 10. Touch in combination with taste and vice versa. Obviously, when the reverse of these ten types is considered, twenty different potentialities of synesthesia can be imagined in total.
3 .Method
In order to examine synesthesia and how it was used in al-Bayati’s poems, the present study uses the descriptive-analytic method. First, the related examples are extracted from his poems and then, that extracted cases is described. Finally, the interrelationships of those examples with syntagmatic elements and theirs emotional and significant functions in both horizontal and vertical axes are analyzed.
4. Results and Discussion
Of the various potentialities of synesthesia, al-Bayati used more or less seven options. Frequency of using it varies from one type to another. The vision-hearing type was used most frequently and the smell-taste type was used least frequently. The significance and function of each element of this artistic device is in harmony with the vertical axis of each poem, i.e. in harmony with its atmosphere, emotional and significant context. To convey his own experiences and thoughts and to make the structure of each poem more coherence, al-Bayati by means of his creative imagination brought together two different senses and created synesthetic images. Interestingly, this device often has a social aspect in al- Bayati's poetry. It should also be mentioned that he genuinely and moderately used synesthesia. The use of it caused de-familiarization, which in turn serves as a means to attract the attention of the audience, along with the aforementioned.
5. Conclusion
In contemporary literary criticism, synesthesia is one of the features of modern literature, especially modern poetry. It is due to the influence of western literature that the modern Arab poets use this artistic technique. Modern poets have used this technique to enrich contemporary poetry. When we study the poems of modern poets, we find that many modernist poets have more or less used this artistic device in their poetry; however, it can be said that al-Bayati is one of the poets who used noticeably this device in his poetry. Examples of this artistic device in his poetry are to such an extent that it must be considered one of the dominant aspects of his poetic style. Without noticing this artistic device, it must be said that a comprehensive study of his poetic style would be incomplete. Al-Bayati used this artistic device to depict his emotions and experiences in a concrete way and then conveyed them to the audience. This is because emotions and emotional experiences are abstract and naturally difficult to be conveyed to the audience by means of ordinary speech.
خلاصه ماشینی:
همچنین این نوشتار در پی این است که روشن کند چه امکاناتی از حسامیزی در اشعار البیـاتی به کار رفته است ؟ و این هنرْسـازه در اشـعار وی چـه جایگـاهی دارد؟ و روابـط متقابـل ایـن هنرْسازه با عناصر همنشین خود و کارکرد آن از لحـاظ عـاطفی و معنـایی چگونـه اسـت ؟ بـه عبارت دیگر، تصویرهای حسامیز به عنوان اجزاء و تصویرهای تشکیل دهندٔە هر شعر در محور افقی، چه پیوندی با محور عمودی یعنی با زمینۀ کلی عاطفی و دلالی آن شعر دارد؟ باری، انواع حسامیزی در شعر البیاتی به شرح زیر است : بینایی- شنوایی انسان ها بیشترین تجربه های خود را از رهگذر دو حس بینایی و شنوایی کسب مـیکننـد و گویی به همین دلیل است که "شنوایی رنگی یـا شـنوایی ملـوَّن "colored audition" [کـه در قلمرو بینایی- شنوایی است ] در تجارب بالفعل حسامیزی، معمـول تـرین تجربـه " ,Downey) (٤٩٢.
در شعر "الأمیرٔە والبلبل " از همین مجموعۀ "أشـعار فـی المنفـی"، حسـامیزی موجـود در تصویر خاموش شدن آهنگها، جالب توجه مینماید؛ کاربست حقیقی إخماد، مـرتبط بـا لهیـب آتش است که در قلمرو حس بینایی است ، همانند کابرد آن در این عبارت مََثل گونه : والنـار قـد یخمدها النافخ (الثعالبی،٢٠٠٣: ١٦٤)؛ اما در اینجا به آهنگ که شنیدنی است ، نسبت داده شـده : «و [ید المنون ] أخمدتْ لحون َ قیثارٔە السکون » (البیاتی، ١: ٢٩٣).