تحلیل میراث متنی در شعر طاهره صفارزاده

شاعران معاصر به منظور ژرفا بخشیدن دیدگاه‌های شاعرانه خویش و تاثیر گذاشتن شعر بر مخاطب به‌ گونه‌های متفاوتی از متون سنتی بهره برده‌اند؛ متونی که به حوزه سنّت دینی، ادبی، اسطوره‌ای و فولکولوریک وابسته است و با کارکردی تاثیرگذار، میراث گذشتگان را با ساختی تازه در اختیار امروزیان قرار می‌دهد. این منابع و خاستگاه‌ها که «میراث متنی» نامیده شده‌اند؛ پشتوانه فرهنگی یک شاعر و بستر مناسبی برای باروری سروده‌های او می‌باشند. بهره‌گیری از این متون در بلاغت سنتی با نام‌های مختلفی مثل: «تضمین»، «ﺗﻠﻤﯿﺢ»، «اقتباس» مورد بحث قرار گرفته و امروزه با نام «بینامتنیت» یکی از مباحث مهم نقد ادبی است. صفارزاده از شاعران معاصر است که از ادبیات کهن و کلاسیک فارسی بهره‌های فراوانی برده است و علاوه بر شاعری، مترجم قرآن‌کریم و نهج‌البلاغه است و همین تاثیرپذیری وی از متون دینی به ‌ویژه قرآن را بیشتر نشان می‌دهد. پژوهش حاضر با روش توصیفی تحلیلی به این سوال اصلی پاسخ داده است که میزان بهره‌گیری صفارزاده از میراث متنی به چه اندازه و چگونه است؟ یافته‌ها نشان می‌دهد که وی با توجه به آشنایی با متون دینی و ادبی، سروده‌های خویش را عمق و غنا بخشیده و بر همین پایه شعر او سرشار از متون دینی و اسطوره‌ای است.

Analysis of Textual Legacy in Poetry Tahereh Safarzadeh

Abstract       Contemporary poets have used different types of traditional texts to deepen their poetic views and influence the poetry on the audience; The texts that relate to the religious, literary, mythical, and folkloric tradition, and with an influential function, put the legacy of the past on a modern design. These sources and origins, called textual heritage, are the cultural backbone of a poet and a suitable platform for the reproduction of his poems. The use of these texts in traditional rhetoric with various names such as Guarantee, AllusionAdaptation are discussed and nowadays Intertextuality is one of the important issues of literary criticism. Safarzadeh is a contemporary poet who has benefited from Persian literature and literature, and in addition to the poet, translator of the Holy Quran and Nahj alBalaghah, his influence on religious texts, especially the Quran, is further illustrated.The present research has responded to this main question by descriptiveanalytic method. How much and how much is the use of Safarzadeh from textural heritage? The findings show that, considering the familiarity with religious and literary texts, he has deepened and enriched his poems, and on this basis his poetry is full of religious and mythological texts.     1     Introduction The literature of every frontier and canvas, in addition to representing the artistic and literary minds of poets and writers, reflects the thoughts, knowledge, teachings and legacies left by the ancestors, and we here refer to them as textual legacies. Named; the legacy of contemporary poets makes a lot of profits to deepen their poetry and influence the audience; These texts, which depend on the area of literary tradition, religious tradition, mythical and folkloric tradition, can have an influential effect on the development of Persian new poetry, and contemporary poets have been dependent on artistic taste and ability to acquaint themselves with these sources; To deepen and enrich their poems and to make the legacy of the past by the new ones. And it seems that whatever the poet and writer has a broader cultural backing, his poems and writings will be more productive and more vivid in this view (rastgoo, 1395: 116) These sources and origins, here called textual heritage, are the cultural backbone of a poet and a suitable platform for the reproduction of his poems. The use of textual legacy is more or less the same as in the traditional rhetoric with the names of guarantee, adaptation, telemechanism, and so on, with the name of intertextuality, is one of the major issues of literary criticism today. According to the intertextual rule, the horizons of the reader’s interest in the text and the meaning it receives are related to the texts previously read. On the other hand, intertextual relations act as interconnecting rings of components, and every text from the beginning of its creation is in the realm of power of other texts that have been created before and impose a special atmosphere. ( Khalili Jahantegh, 2007: 6) 2     Research methodology The present study, by descriptiveanalytic method, examines the extent of influence of Tahereh Safarzadeh on traditional texts in four levels (religiousliterary, mythical, and folkloric), and how it determines how much and from which The textural legacy has been used in the fertility and prosperity of its poetry 3     Discussion On the one hand, and the importance that literature has in the literary critique of today, the particular influence that literature has on people’s thought and culture, on the other hand, reveals the importance and necessity of examining contemporary literature from an intertextual point of view. Tahere Saffarzadeh is one of contemporary poets who, by carefully reading the traditional texts and using them, transforms his poems into a full mirror of textural heritage; in otherwords, he uses the art of ancient literary heritage and acquaintance with religious texts, especially the Holy Quran He has tried to deepen and enrich his poems and make the legacy of the ancestors build and present fresh things to the present. This research intends to reveal the hidden angles of his literary text by analyzing and analyzing the intertextuality in Saffarzadeh’s poems, and to provide the ground for more readers to use his poems. What makes the necessity and importance of examining traditional texts in Safarzadeh’s poem more than before Shows that so far there has not been an independent and significant study on this issue; although papers and theses on his influence have been written in the Holy Quran, but since other legacies such as: Nahj alBalaghah, hadiths, ancient literary texts and ... His poetry has not been analyzed and analyzed The place for such a comprehensive study is still empty. 4     Conclusion In this research, the use of Tahereh Safarzadeh as one of the outstanding contemporary female poets of the textural heritage (religiousliterarymythological and folklore texts) was analyzed and the following results were obtained: 1) Safarzadeh poetry is full of religious texts and has been used directly and indirectly by the poet’s companionship with the Qur’an and its translation into three other languages of the world of Quranic words, compositions and talmids. Therefore, the Qur’anic text in its poems is more frequent than other religious texts. 2 Saffarzadeh uses the linguistic and linguistic uses of the ancient prose texts in his poetry, such as: Similar compositions with the word species, which are luminous features of Behaji’s history. It also uses the adjectives, words and combinations used in Keelah and Damnah, Marzbanam, Golestan, and others. 3. The language of the poetic politicalcritical poetry of Safarzadeh when he speaks of a homeland and speaks of a despotic system; the language and tune of Ferdowsi’s tune into the mind of the reader, in addition to the mystical poetry of Rumi, Sanai and Hafez also in induction His poetic concepts have helped the reader. 4. Provenance texts in Safarzadeh’s poetry are more frequent in comparison to the classical poetic text. 5Saffarzadeh uses words and compositions learned from ancient poets and writers to invent words that are not used in modern languages, but their synonyms are used in ancient poems, such as the word listener 6. The national myth in poetry isfarzade has a wider application than other myths. He has used these national myths to express his political and revolutionary goals. 7. The presence of historical myths in Safarzadeh’s poetry is very dim; among these myths, only the positive character, such as Mazdak, and the negative person, such as Alexander, have attracted the poet’s point of view. 8 Safarzadeh uses the words, verbs and folk phrases that are sometimes quintessential and incorporates them in artistic coding, and adds to his poetic vocabulary. 9. 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