نوع مقاله : دستوری-بلاغی
نویسندگان
1 دانشجوی دکتری زبان و ادبیات فارسی، دانشکده علوم انسانی، دانشگاه بوعلی سینا، همدان، ایران
2 استاد گروه زبان و ادبیات فارسی، دانشکده علوم انسانی، دانشگاه بوعلی سینا، همدان، ایران.
چکیده
کلیدواژهها
موضوعات
عنوان مقاله [English]
نویسندگان [English]
Saadi's romantic Tarji-band is one of his most renowned works, having garnered significant attention from literary scholars over recent centuries. The specific characteristics of its meter, rhyme, and poetic form have paved the way for various types of defamiliarization and deviation from norms in this work, among which conciseness has a high frequency. The principle of least effort in language is a general rule that refers to the balance and connection between meaning and the energy expended to convey it, and is observed across all linguistic domains. However, in the realm of literature, conciseness and least effort go beyond mere economy; they contribute to the rhetoric and enhancement of the text's artistic function. This study investigates the various forms of conciseness and least effort in Saadi's Tarji-band and seeks to illuminate aspects of the poet's artistry in this regard. Conciseness in Saadi's discourse is not merely a common linguistic process, but a lever for foregrounding, emphasis, defamiliarization, and increasing the communicative power of the message.
Introduction
One of the most prominent phenomena in language use is the principle of least effort. The speaker is not obliged to repeat what the listener already knows; therefore, by altering the sequential structures of language, they move towards conciseness and brevity. André Martinet, in “Économie des changements phonétiques”, investigated the manifestations of the principle of least effort in the phonological and syntactic aspects of language. He examined the two forces of “the need to communicate” and “natural human inertia” as the optimizing levers of the language mechanism, demonstrating that linguistic economy is the result of the interaction of these two forces. Languages constantly oscillate between the two poles of “reducing length and complexity to save effort” and “maintaining clear structures to ensure mutual understanding.” The various forms of conciseness and least effort in Saadi’s romantic Tarji-band, in addition to demonstrating a normal linguistic process, serve as a means for emphasis and defamiliarization.
Materials and Methods
The present study was conducted using a descriptive-analytical method based on library sources. The authors have examined this work from the perspective of the theory of linguistic least effort and, while classifying the instances of various types of conciseness, have analyzed and presented statistical data on the different techniques of conciseness employed in this work by Saadi.
Research Findings
The frequency of elliptical conciseness in this work is higher than that of laconic conciseness. Due to Saadi’s specific pattern of expression, the number and type of omitted sentence elements in this poem differ from other famous Persian literary works. Laconic conciseness in Saadi’s Tarji-band is accompanied by markers such as a multiplicity of verbs and an increase in the frequency of various types of genitive linkages. Among rhetorical figures, Saadi primarily resorts to metonymy and metaphor respectively. Furthermore, the use of conjunctions and prepositions to achieve laconic conciseness has a special application in this work. Elliptical conciseness in Saadi’s Tarji-band is extensively applied in both verbal and semantic domains. Literary deviation in Saadi’s discourse through conciseness is not limited to the omission of the copula or the ordinary omission of words based on verbal context; we witness its expansion to all sentence components, such as prepositions and pronouns functioning as genitives.
Discussion of Results and conclusion
Linguistic least effort in Saadi’s romantic Tarji-band manifests in two forms: laconic conciseness and elliptical conciseness, and can be examined across phonetic, syntactic, and lexical domains. While the constraints of meter, rhyme, and poetic form might be the primary context for the poet’s recourse to conciseness, examining numerous examples throughout the poem reveals that the use of the principle of least effort in Saadi’s expression is more than a result of compulsion. Rather, it is a specific lever for defamiliarization, emphasis, summarization, avoiding unnecessary elements, and creating literary pleasure through the construction of new compounds and expressions. Due to his boundless mastery over the nuances and subtleties of the Persian language, Saadi alters the grammatical structure of the language for greater eloquence, making conciseness one of the most vital artistic devices used in his works. Although laconic conciseness in Saadi’s Tarji-band is formed using various literary devices and is closely related to the grammatical structure of the sentences, the frequency of elliptical conciseness remains dominant in this work.
کلیدواژهها [English]
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