نوع مقاله : بلاغی
نویسنده
استادیارگروه زبان وادبیات فارسی، واحد زابل، دانشگاه آزاد اسلامی، زابل، ایران
چکیده
کلیدواژهها
موضوعات
عنوان مقاله [English]
نویسنده [English]
Kenayeh is one of the expressive techniques in the art of rhetoric that creates ambiguity and imaginative quality in speech. In Kenayeh, the audience must grasp the underlying meaning of the words beyond their literal interpretation, which is the intended message of the speaker. The goal of this research is to determine whether Shapur Tehrani has made any innovations in the use of various Kenayehs. The results indicate that the Kenayehs in Shapur's works can be divided into two distinct categories: first, those that are recorded in lexicons or dictionaries, and the second, those that are the result of the poet's creative ingenuity. This research focuses on the latter category of Kenayehs, which are employed in three ways in the Divan of Shapur. The first group includes Kenayehs where both their literal form and their allegorical meaning are not found in dictionaries. The second group consists of those Kenayehs whose literal significance are recorded in lexicons, but the poet has intended a new meaning that is absent in the dictionaries. In some instances, Shapur has also altered the structure of the words in the Kenayehs, thus intending a new meaning as well.
Introduction
In each of the four expressive styles, the transmission of meaning has its specific characteristics. In Kenayeh, the phrase and sentence used by the speaker imply another meaning besides the obvious one. Abd al-Qahir al-Jurjani defines Kenayeh as "when the speaker intends to convey a meaning but does not express it with the words designated for that meaning; instead, he refers to a meaning that exists as a derivative and subordinate to the apparent meaning of the word and uses this apparent meaning to hint at the intended meaning" (67: 2004). Some have preferred Kenayeh and metonymy over other expressive methods, stating that "Kenayeh and metonymy express the intention and aim better than reality and explicit statements, as they convey the speaker's intention with reason, whereas reality, explicitness, and simile do so without reason" (Amin Shirazi, 529: 1998). Researchers have regarded the use of Kenayeh, especially in its extreme forms, as a characteristic of Sabke Hendi (the Indian style). Therefore, one can see part of the complexity and ambiguity of Sabke Hendi (the Indian style) intertwined with the use of Kenayeh. In this style, presenting strange and new meanings has been the ultimate aim of the poets; thus, they have sometimes succeeded in creating extraordinary and imaginative Kenayehs that have enriched the rhetorical beauty of Persian poetry. One poet of the Indian style who, based on the evidence presented in this research, seems to have had considerable success in creating fresh and imaginative Kenayehs is Shapur Tehrani.
Materials & Methods
This research employs an analytical-descriptive method, utilizing reliable and scholarly sources in the field of rhetoric to analyze and study Kenayehs in the Divan of Shapur Tehrani. The data have been gathered and analyzed through library studies.
Research findings
Kenayeh Whose Literal Form and Figurative Meaning are not Recorded in Lexicons.
"I gaze so hungrily that my eyes are pinned to yours,
Like a spear with an iron tip aimed at me."
(Shapur Tehrani, 294:2003)
The poet expresses such eagerness and desire to gaze upon his beloved that he does not avert his eyes, even if her gaze is as sharp as a spear aimed at him. The expression "hungry eyes" is to be understood as someone with a strong desire to look. In other words, his eyes are hungry for watching. A similar Kenayeh is "hungry eyes," which is used figuratively to describe someone who is stingy or miserly. (Refer to Burhan, 1983: under "hungry eyes")
Kenayehs Whose Word Structure is Recorded in Lexicons but New Meanings are Intended by Shapur.
Another group of Kenayehs examined in this research comprises those that are recorded in dictionaries, but the meanings that Shapur derives from them are new and unprecedented, which cannot be found in the lexicons.
In the following verse, the descriptive expression "problem solver" is understood as a Kenayeh representing the beloved.
" Shapur! I will not close the doors of desire on myself,
If one day my problem solver casts a glance at me."
(Shapur Tehrani, 151:2003)
If one day my problem solver pays attention to me, I will achieve all my desires. In the lexicon Anandaraj, "problem solver" is defined as a servant or something similar. (Refer to Shad, 1984: under "problem solver") Nafisi has also recorded descriptors such as artist, handmaiden, acceptable, and agreeable for the word "problem solver." (Refer to Nafisi, 2535: under "problem solver") However, from the above couplet, such meanings cannot be inferred. It seems that "problem solver" in Shapur's view is a Kenayeh for someone who puts the poet's affairs in order and leads him to his goals.
Kenayehs that have both changed in their wording and imply a new meaning.
In some cases, Shapur has made minor changes to the structure of familiar and historical metaphors, making them feel fresh and unfamiliar.
" Oh, tall sapling, how long will you be arrogant?
Our short hand has no thorns "
(Shapur Tehrani, 526:2003)
The phrase "tall sapling" is a metaphor for the beloved. In the first line, the poet complains about the beloved's indifference and arrogance. In the second line, to express his kindness, the poet claims that his short hand has no thorns. The expression "having no thorns in his hand" is a Kenayeh to being gentle and harmlessness.
Discussion of Results & Conclusion
A part of the Kenayehs that Shapur has utilized is in a way the invention of the poet himself, allowing him to create fresh and imaginative combinations and convey new meanings through them. These Kenayehs can be categorized into three distinct sections. The first section consists of Kenayehs whose both surface form and Kenayehical meaning are not recorded in dictionaries and Kenayeh references. These Kenayehs are used more frequently in Shapur's divan (book of poetry). The second category includes Kenayehs whose words are recorded in dictionaries, but the poet has intended a new meaning for them that is not found in dictionaries. As stated in the text, this category of Kenayehs can help elucidate some of the difficulties encountered in literary texts. In other cases, the poet has made alterations to the structure of the Kenayehs and sometimes sought new meanings from them.
کلیدواژهها [English]
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