تحلیل استعاره‌های مفهومیِ مثنوی معنوی؛ با تکیه بر استعاره‌های جهتی

بیان مسئله: رابطۀ زبان با ذهن و اینکه زبان انعکاس‌دهندۀ ذهن است، از موضوعات مهم مطالعات زبان‌شناسی شناختی است؛ «استعارۀ مفهومی» که خود از نتایج دانش زبان‌شناسی شناختی است، به این موضوع می‌پردازد. این نوع استعاره در زندگی روزمرۀ مردم، جاری است و به‌کمک آن، مفاهیم انتزاعی، عینی و ملموس می‌شود. در استعارۀ مفهومی، حوزۀ مفهومی مقصد که انتزاعی و مجرّد است با کمک تجربیات روزمره و به ‌تاثیر از فرهنگ در حوزۀ مبدا به‌صورت عینی تبیبن می‌شود. «استعارۀ جهتی» که یکی از گونه‌های استعارۀ مفهومی است، با استفاده از جهت‌‌های مکانی (بالا، پایین، درون، برون، پیش، پس، سطح، عمق و...) بعضی از مفاهیم انتزاعی را مکانمند و فهم‌پذیرتر می‌کند. تجربیات عرفانی، اغلب مسائل انتزاعی است و عارف با کمک زبان، آن را برای مخاطبان خود درک‌پذیرتر می‌کند.روش: در این پژوهش، استعاره‌های مفهومیِ مثنوی معنوی با تکیه بر استعاره‌های جهتی، با تمرکز بر دفتر اول مثنوی معنوی بررسی و تحلیل می‌شود.یافته‌ها و نتایج: مولانا در دفتر اول مثنوی با کمک‌گرفتن از جهت‌‌های مکانی، برخی از مفاهیم انتزاعی را به‌صورت عینی مفهوم‌سازی کرده ‌است؛ ازجمله اینکه مقام معنوی در جایگاه بالا قرار دارد و اینکه ‌تاثیر موسیقی، سخنان اولیا و ‌تاثیرپذیری از این سخنان باعث رشد و حرکت رو به سمت بالا (تعالی) می‌شود و نیز شادی و آزادی، حرکتی به‌سمت بالا دارد؛ بنابراین مسائل مثبت و ایدئال، جهتی رو به بالا دارند. غرور و سرمستی از مسائل منفی است که آنها نیز به بالا گرایش دارند. درمقابل، ناشکری، خواری و حقارت که مسائل منفی است، به جهت پایین گرایش دارند. تواضع و فروتنی که از ویژگی‌های مثبت اخلاقی است، برخلاف ویژگی‌های استعارۀ مفهومی، به‌سمت پایین می‌روند. درون، بیرون، پس، پیش، عمق و سطح نیز از جهت‌‌های مکانی است که دردفتر اولِ مثنوی به‌صورت استعارۀ مفهومی به ‌کار رفته‌ است و در این مقاله بررسی، دسته‌بندی و تحلیل می‌شود.

analyzing the conceptual metaphors of masnavi manavi based on directional metaphors

statement of the problem: the relationship between language and the mind and the fact that language reflects the mind is one of the important subjects of cognitive linguistics studies. the conceptual metaphor which itself is one of the results of cognitive linguistics deals with this issue. in conceptual metaphor, the conceptual domain of the destination, which is abstract, is explained objectively with the help of everyday experiences and influenced by the culture in the source domain. the directional metaphor, which is one of the types of conceptual metaphors, has spatial directions (up, down, inside, out, front, back, surface, depth, etc.), and makes some abstract concepts localized and more comprehensible. mystical experiences are often abstract issues, and the mystic makes them more understandable to his audience with the help of language.materials and methods: in this research, the conceptual metaphors of masnavi manavi are investigated and analyzed by relying on directional metaphors, focusing on the first book of masnavi manavi.findings: in the first book of the masnavi, rumi conceptualized some abstract concepts objectively by taking help from spatial directions; for example, the spiritual position is in a high position and the influence of music, parents’ words, and the impressionability of these words causes growth and upward movement (transcendence). in addition, happiness and freedom have an upward movement; therefore, positive and ideal issues have an upward direction, pride, and intoxication, which are negative issues with an upward direction. on the other hand, ingratitude, contempt, and humiliation, which are negative issues, tend downward. humility, which is a positive moral characteristic, goes downwards, unlike the characteristics of conceptual metaphors. inside, outside, after, before, depth, and surface are also spatial directions that are used as conceptual metaphors in the first book of masnavi, which have been studied, categorized, and analyzed in this study.introductionin conceptual metaphors, place and spatial directions are considered. with the help of spatial directions such as up, down, deep, shallow, inside, outside, etc., many abstract concepts can be made more objective and understandable. the following examples show the metaphorical use of directions:- success in the entrance exam boosted parsa’s spirit.- consecutive failures caused his self-confidence to drop.- hazrat ali (as) was among the people in his era, but they stayed away from him.- true friends feel close to each other.in the above expressions, the directions of up, down, far, and near are not in the real sense but express the metaphorical concept.a new look at metaphor took a new direction at the end of the 20th century with the book metaphors we live with by george lakoff and mark johnson (1980) and the article contemporary theory of metaphor by lakoff (1992). these two works, rejecting the opinion of the predecessors who considered the metaphor as a rhetorical and special language array, are based on the fact that the metaphor is not only in language but in our daily thoughts and actions. these two researchers showed that the metaphor is not only for literary language and for decorating words but our minds and language live with metaphors every day. “lakoff and johnson convincingly showed that metaphor has a strong presence both in thought and in everyday language” (kovecses, 2014, p. 13).one of the types of conceptual metaphors is the ‘directional metaphor’. in this type of metaphor, abstract concepts with spatial directions appear objectively and concretely. “these directions are up-down-inside-outside-front-back, far-near, deep-shallow-center-periphery” (lakoff & johnson, 2017, p. 29). on the other hand, masnavi is a mystical work in which rumi expressed his mystical experiences and often abstract views to the audience in the form of objective concepts. spatial directions are used in the form of metaphors to explain the original mystical concepts in the first book of masnavi. due to the abstractness of mystical and religious concepts, the type of spatial directions in the form of conceptual metaphors is abundantly presented in the first book of masnavi. therefore, the main issue of the present study is not only extracting verses containing directions and simply presenting directional metaphors but also trying to analyze the mystical, cultural, and literary content arising from the directional metaphors of the first book of masnavi.review of the literaturein the introduction of their book, lakoff and johnson present their opinion by presenting the attitude of the general public in this way: “many people believe that metaphor is one of the tools of poetic imagination and rhetorical arts that belongs to normal language... it is considered as a feature of language unique to words and not thought and action... contrary to this belief, we have found that metaphor is in everyday life and not only in language that exists in our thoughts and actions” (lakoff & johnson, 2018, p. 13). lakoff in another work written twelve years after working together with johnson presented the theory of conceptual metaphor and named it ‘the contemporary of metaphors’. he mentioned the nature of conceptual metaphor as follows:- “metaphor is the main mechanism through which we understand abstract concepts and engage it in abstract reasoning.- most topics from the most trivial subject to the most complex scientific theories are understood only through metaphor.- the basis of metaphor is conceptual and not linguistic” (lakoff, 2010, p. 215).one of the types of conceptual metaphors is the ‘directional metaphor’. among the mentioned spatial directions, there is a kind of order and harmony. this feature led some to suggest the name ‘coherent metaphor’ for directional metaphor; because these types are more compatible with the cognitive role of these metaphors. the meaning of ‘coherence’ is that some concepts tend to be conceptualized as a unit. for example, all the following concepts are formulated with the ‘up’ direction, while their opposites are expressed with the ‘down’ direction. following is an example”happiness is high. sadness is low. i am taking off my wings. he has really lost his spirit (kovecses, 2014, p. 66).there is a question of how mental concepts, which are abstract and unstructured, become objective and structured. in fact, “metaphor is a cognitive mechanism through which one experimental realm is roughly mapped onto another” (barcelona, 2010, p. 10). in the aforementioned definitions, two abstract fields, destination and domain, which are difficult to understand, are discussed. to understand these abstract concepts, we need a field where the concepts become concrete. it is called the ‘origin area’. in this way, abstract and mental concepts such as feelings, thoughts, religious beliefs, thoughts, and mystical experiences can be understood with objective and tangible domains. these two areas have a systematic ’,