شیوه‌های متناقض‌نمایی در غزل‌های سنایی

متناقض نمایی یکی از برجسته ترین روش های تشخّص بخشیدن به زبان است که در ادب فارسی بیش تر ریشه در آرای صوفیه و شطحیات آنان دارد. متناقض نمایی در زبان فارسی برابر اصطلاح انگلیسی پارادوکس است. این عنصر بلاغی، اگرچه از نگاه نویسندگان کتب بلاغی کهن ما به دور مانده، اما نویسندگان و شاعران کلاسیک ما از دیرباز با آن آشنا بوده و در آثار خود از آن بهره ی کافی برده اند. متناقض نمایی در واقع در روساخت کلام اتفاق می افتد و  گاهی کلام را به ظاهر بی معنا و پوچ می سازد اما در ژرف ساخت، معنا و یا دست کم پیامی دارد. این جستار، با روش توصیفی تحلیلی با استفاده از ابزار کتابخانه ای، در پی پاسخ گویی به این پرسش است که کار برد و کارکرد این عنصر بلاغی در غزل سنایی چگونه است و شاعر با چه ترفندهایی آن را ایجاد می کند؟ بررسی ها حاکی از این است که شاعر به شکل گسترده ای از متناقض نمایی در غزل های خود بهره گرفته و تمامی آن ها، کارکرد هنری و زیبایی شناسانه دارد و باعث آشنایی زدایی می شوند و شاعر با درهم آمیختن عناصر ناساز در حوزه های عقلی، علمی، باورها، عادت ها، امور خلاف شریعت و امور سلبی و ایجابی، آن ها را پدید می آورد

Contradictory practices in Sanai satire

Extensive Abstract : 1     IntroductionGenerally knowing literate language and literary texts will undermine the desire of the reader. For this reason, the prominent writers use new methods and tricks in the creation of literary texts that enhance the taste of the audience and the language of poetry. Sanai Ghaznavi is a member of this poetry group who has entered the mystical arena into sonnet and has also been widely used in Ghazal for the first time as a contradictory technique. According to Shkolovsky, art technique is unfamiliar with things, obscuring forms, to increase the difficulty and length of time of perception. (Scholes, 1383: 122). Jakobson considers highlighting the most important reason for Turn away from routine language, which release speech of stereotypical damage and repetition (Shamsa, 2009: 179) The same thing that the Sanai did in sonnet has led to the same result, using the highlighting of contradictory images in the form of widespread confrontations and saved the Persian sonnets from vanity; since sonnets went further from the norm and conventional. What seems to work is outstanding and art. One of the methods of alienating the word is the contradictory that causes the readers hesitate to read the text. Otherwise, easy reception of the poem's message, and the early identification of the poet (finding his purpose), brings the poem closer to the article. Due to the great work of the Sanai in the development content of the Persian sonnets, it should not be dealt with as it should and maybe. Perhaps only because his favorite sonnets are still childish and raw. For this reason, we decided to analyze Sanayi's lyrics by half a look at the structuralist theory in the contradictory field, a poet who, in the words of Said Hamidian, is a significant taboo breaking and normative. (Hamidian , 1390: 137). The questions that this research seeks to answer are what are the causes of the emergence and expansion of contradictory images in Sana'a sonnets? Also, what is the function of this rhetorical element in his lyricism and how does the poet create it?Since Sanazi Ghaznavi is the first poet who has grown extensively to sonnets, it is necessary to explore the aesthetic mechanisms of his sonnets. The purpose of this essay is to explain the paradoxical rhetorical element as one of the important structural elements of this poet's sonnets.2     Research methodology     This research uses a descriptiveanalytical approach, using a library and documentary approach. In this way, the sources of contradiction are examined first, and in continue with this approach the contradiction in the Sanai poetry will be analyzed.3     DiscussionThe contradictory is one of the semantic normative forms in which the poet or composer uses the combination or the verb in a manner that appears to be seemingly dispassionate and meaningless but has meaning or contemplation, or a truth The diversity and extension of contradictory in the Sanayi sonnets is such that a cultural point of view can be obtained from. Since the initiator of the sonnets, in its special sense, is Sanai, the paradoxical images of the sonnets must be based on the findings of this research, and this is an undeniable fact that the sonnets after the Sana'is have been influenced in this way of speaking. As Shafiee says: contradictory images, in the exact sense of the word, begin with Sanai and his poetry that Mowlana has expanded the same image. (Shafie Kadkani, 1996: 56) The duality of the nature and character of Sanai, The turmoil in the social conditions of the sixth century, the different modes of love and the duality of the basis of human thought, and the factors of this kind, can be the reasons for the contradictory application in the Sanai sonnet. The contradiction is rooted in all the intellectual and existential writings of the Sanai; there is this contradiction in his personal life, he sometimes has a shelter, sometimes homeless, sometimes barefooted, sometimes with a foot, sometimes in a mosque and sometimes in ruins. (Zarrinbub, 1376: 245). In the structure of his sonnets, this contradiction can also be seen in terms of humiliation of wisdom, respect of wisdom, respect of beloved, humiliation of beloved,  ethereal beloved, terrestrial beloved, being male partner, the female partner, tends to Christianity, Christianity evasion and so on. All of these factors play role in the poet's sonnets contradictory. The Sanai uses various ways of constructing a contradictory in his sonnets. This construction sometimes appears in the form of a combination, and sometimes with a mixture of both negative and positive (denial and proof). Sometimes the poet expresses something contrary to reason in the form of contradiction, sometimes contradicting the law and in some cases contrary to custom and habit, and sometimes contradicting the material that is scientifically impossible. In this article, we will examine the Sanai's paradoxes from two perspectives: one in terms of structure and the other in terms of content. 4     ConclusionSanai is the first Persian poet to use the contradictory in his sonnets. The frequency of this stylistic feature in the poet's poem is very high, to the extent that a culture of contradictions can be made. This rhetorical element is presented in a variety of forms in the Sanai sonnets. The paradox in poet's sonnets, in combination, in constructing a sentence, and in ethical areas, is contrary to the law, beliefs, scientific subjects, and affairs. All types of paradoxes in Sanai's sonnets have artistic and aesthetic functions, which make desertification and highlighting. The other function of the paradox in the poet's sonnets causes the language to be individualized to the extent that it results in the audience's attraction. 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