استخدام پرورده، گونه‌ای نویافته در بلاغت فارسی

اهل بلاغت استخدام را دارای سه حوزۀ استخدام تشبیهی، غیرتشبیهی و استخدام ضمیر می‌دانند. استخدام ضمیر بیشتر مربوط به زبان عربی است و در زبان فارسی کاربرد چندانی ندارد؛ اما دوگونۀ دیگر، در متون ادبی فارسی به‌وفور به‌کار رفته‌اند. در این پژوهش به سیر تعاریف استخدام از دیدگاه بلاغیون و چندوچون خلق استخدام تشبیهی و غیرتشبیهی پرداخته‌ایم و پس از ذکر نمونه‌هایی از دیوان برخی از شاعران ایهام‌پرداز، گونۀ تازه‌ای از صنعت استخدام را معرفی کرده‌ایم که در زیرمجموعۀ استخدام تشبیهی و غیرتشبیهی قرار می‌گیرد. تفاوت این گونۀ استخدامی با گونه‌های دیگر در این است که شاعر در بافت کلام استخدامی، با افزودن یک یا چند مورد ایهام در سطح لغت یا ترکیب، طرفین استخدام را در یک کلمه یا ترکیب جمع می‌کند و با این شگرد، سطح تاویل‌پذیری و چندمعنایی‌شدن جمله را ارتقا می‌دهد. این گونۀ نویافته، به‌لحاظ فشردگی صنایع بلاغی، نسبت به گونه‌های شناخته‌شدۀ استخدام، ارزش ادبی بیشتری دارد.

Processed Syllepsis: a New Rhetorical Art in Persian Literature

Fereidoon Tavalloli is one of the pioneers of transformation in the language and imaginaries of contemporary Persian poetry. He has stepped into the world of poetry with a modernist approach. He has also expressed his ideas about innovation and the necessity of transformation, as a manifest, in the preface of his poetry books, Raha and Nafeh. The purpose of this research is to study the language of Tavalloli’s Charpares (fourpart poems) in terms of lexical network, adverbs, and adjectives in his two books Raha and Nafeh. The statistical population was the poems of these two books, including the first poems of 1941 to 1961, which are spiritually and linguistically innovative. The research method was descriptiveanalytical to examine the techniques of making adverbs and adjectives in the poems linguistically and aesthetically. This study shows that the innovation had the first place in Tavalloli’s language, and that he has made considerable efforts in the use of a new wide variety of adverbs and adjectives.  In addition, thanks to the coherent language and forms of imagination associated with romanticism school, he could create the semantic and linguistic networks very well in the mental feature of his poems. The results also show that many of Tavalloli’s Charpares have a superficial form because of paying too much attention to making new words and melodies. Suchwordsare representatives of the poet’s sad feelings. Most of the previous researches on Fereidoon Tavalloli’s poetry has concentrated on the school of romanticism in his poetry. However, the linguistic dimensions of his poetry and innovation  have been less studied. According to this research, Tavalloli’s poetic style is recognizable by the use of  many new adjectives. The number of adverbs and adjectives and their diversity have form the lexical network of Tavalloli’s romantic style. Moreover, the huge number of words of common categories such as adjectives and adverbs in Raha and Nafeh shows the poet’s careful attention to  such groups of words in his poetry.