بررسی هنجارگریزی معنایی در مثنوی‌های «حسن گلوسوز» و «ساقی‌نامۀ میکدۀ شوق» رشید تبریزی

در نظریۀ فرمالیسم وجه شعری براثر عدول از هنجار زبان برای اغراض هنری پدید می‌آید. از مهم‌ترین این شیوه‌ها در زبان خودکار، هنجارگریزی معنایی است که با کاربرد صورت‌های خیالی و ایجاد روابط معنایی بدیع به ‌دست می‌آید. باتوجه‌به کاربرد فراوان عناصر خیال در شعر رشید تبریزی، بررسی شیوه‌های هنجارگریزی معنایی در شعر این شاعر در شناخت اسلوب ادبی شعر قرن یازدهم اهمیت ویژه‌‌ای دارد. در این جستار دو مثنوی «حسن گلوسوز» و «ساقی‌نامه» ازنظر هنجارگریزی‌های معنایی با روش توصیفیتحلیلی بررسی شده است. پس از مطالعه و بررسی، نشان داده شد که رشید تبریزی از تنوع گسترده‌ای از عناصر خیالی و روابط معنایی برای عدول از هنجار زبان خودکار و نرم‌های زبان ادبی بهره می‌برد. در این کار بیش از همه از ترکیب‌های اضافۀ تشبیهی و تصاویر همراه با استعاره‌های کنشی بهره می‌برد؛ بنابراین کاربرد تصاویر پویا و ترکیبات بدیع مهم‌ترین خصیصۀ شاعر در هنجارگریزی‌های معنایی اوست. همچنین صبغۀ عرفانی شعر او در کاربرد برخی صورت‌های نُرم‌شکنی او همچون متناقض‌نمایی و اغراق تاثیرگذار بوده است.

A Study of Semantic Norm-Breaking in the literary style of Masnavi: Hosne Glousoz and Saqinameh Meikadeye Shogh by Rashid Tabrizi

Literary language and poetic aspects arise from deviating from the linguistic norms for artistic purposes. In the formalism theory, this is called &defamiliarization&. One of the most important aspects of deviating from the norm of automatic language and defamiliarization is the semantic normbreaking obtained by using imaginary forms and creating novel semantic relationships. The Indian style poetry pays special attention to defamiliarization and breaking the norms of automatic language in semantic domains; therefore, most of the poets of this period have focused on creativity in the field of new themes and images. Rashid Tabrizi, known as Rashid Abbasi, is one of the poets of the 11th century AH and the Indian style period. In his poems, he has used various methods of imaginary elements. Therefore, the study of semantic normbreaking in Rashid Tabrizi’s poetry shows an important dimension and stylistic aspect of his poetry. Among Rashid Tabrizi’s works, the two Masnavis, Hosne Glousoz and Saqinameh, concerning the unity in form, subject, and content, as well as the quantity, which differ by only about ten percent, are suitable for analysis of semantic normbreaking. The quantity of these two works provides sufficient data for frequency studies. In this article, using the  descriptiveanalytical method, , semantic normbreakings in the two mentioned Masnavis have been examined. In addition to a comparative study, this article aimed at identifying the outstanding features of Rashid Tabrizi’s literary style in the field of semantic relations and imageries. Different types of semantic normbreaking found in Rashid Tabrizi’s poetry in this article are as follows: simile (compound simile, predicative simile, and allegorical simile), metaphor, personification, implicit metaphor, metaphor in the verb, synesthesia, paradoxical (paradoxical compounds, predicative paradoxes), exaggeration, kenning (paradoxical kenning, predicative kenning), and poetic scales. Also, in  this article, the images and similarities of Rashid Tabrizi’s poetry are examined and his most frequent semantic networks are investigated Based on frequency studies, the simile is the most frequent method in semantic normbreaking of Rashid Tabrizi’s poetry seen in most of the verses of the studied Masnavi. Also, most similes are additional combinations, which are also mentioned in Hosne Glousoz and Saqiynameh. Many of these combinations are novel, and some are paradoxical. The new combinations in Rashid Tabrizi’s semantic normbreaking, except for simile, include metaphorical additions, paradoxical combinations, and ironic combinations. Also, in some cases, synesthesia is observed. Hence, after many uses of simile and metaphorical additions, the construction of additional or descriptive novel compositions is the most important feature of the poet’s stylistics in the field of semantic normbreaking. In the studied works, the explicit metaphor has no significant use; on the contrary, the implicit metaphor, personification and metaphor in the verb as a whole are frequent. Therefore, after the simile and new compositions, the most commonly used semantic normbreaking constructs are types of virtual predicates (prediction of the verb to a virtual subject or virtual verb to a real subject). The use of these constructs has created movement and vitality in Rashid Abbasi’s poetry. Also, the two dominant rhetorical features of the studied Masnavis related to their mystical themes are paradoxical and exaggeration. Paradoxical (contradiction) in the Masnavis in question is predominant in two ways: The mystical nature of these works: Because paradox is one of the characteristics of mystical texts and due to the paradoxical experiences of mystics, it is considered one of the main levels of mystical language. The creative and innovative aspect of these images: This is so because these images, like most synesthesia examples, are not fit into literary clichés. There are significantly more paradoxical images in Hosne Glousoz; but in Saqinameh a large part of the paradoxical combinations goes back to the paradox of mystical truths and unseen affairs, and it has phenomenological aspects. Although synesthesia and paradox are highly used in Hosne Glousoz, exaggeration has been used more in Saqiynameh. The reason for such high frequency is the mystical aspect of Saqiynameh and the abundance of images in it. Exaggeration is a feature of epic texts, and mystical texts have epic infrastructures. In the last section, we examined the highfrequency networks of Masnavi’s images. Images of plants, fiery and lighted things, pub images, water and sea images, and animals’ images form frequent video networks in the text. Overall, the variety of networks in Rashid Tabrizi’s poetry highly shows his creative style in imagery. This study concludes that Rashid Tabrizi has used a significant variety of expressive and innovative constructions in a semantic normbreaking way.