کارکردهای شعری و عاطفی در زبان غنایی عبهرالعاشقین

عبهرالعاشقین از متشخّص ترین نثرهای فارسی عرفانی است که روزبهان بقلی شیرازی در قرن ششم هجری در بیان مطالب عرفانی به نگارش درآورده است. این متن از منظر زبانی، به دلیل بسامد بالای کارکردهای عاطفی و شعری، دارای تشخّص ویژه ای است که در حوزه‌ زبان غنایی نیز قابل بررسی است. تک گویی های درونی، زاویه‌ دید درون گرایانه باعث شده است که جهت گیری پیام به سمت گوینده باشد. صدای گوینده در بیان احساسات شخصی، سبب برجستگی زبان غنایی و کارکرد عاطفی در این متن است. بسامد بالای استفاده از حروف ندا، جملات تعجبی و پرسشی در متن، کارکردهای عاطفی را تقویت کرده است. همچنین پیوند آهنگین زبان با بسامد بالای پارادوکس و حس آمیزی، جهت گیری پیام را به سمت خودِ پیام کشانده و سبب برجستگی زبان و پررنگ تر شدن کارکرد شعری متن شده است. هدف این مقاله، بررسی تلفیق فراهنجاری های معنایی با ابزارهای موسیقایی متن (درهم تنیدگی فرآیند هنجارگریزی و توازن) به عنوان ابزاری برای بیان هیجانات عاطفی و احساسی در تجربیات عرفانی و شهودی نویسنده‌ عبهرالعاشقین است. سوال اصلی تحقیق آن است که نویسنده عبهرالعاشقین، با استفاده از کدام شگردهای زبانی و بیانی، هنجارهای زبان معیار را شکسته و در نتیجه، متن را به ساختار شعر، نزدیک کرده است؟ این تحقیق به شیوه‌ تحلیلی توصیفی و اطلاعات کتابخانه ای انجام شده است

A survey of language function regarding to emotion and literariness in Abhar al-Asheghin

1      Introduction Abhar alAsheghinis considered as one of the most important Persian works of Sufism in the twelfth century, which was written by RuzbehanBaqliShiraziwith a prominent and distinctive textfor expressing love and its belongings. This text is considered as mystical literature due to the author’s spiritual experiences and esoteric perceptions, but the same mystical text that recounts the author’s personal moods in a melodious and rhythmic language is characteristic of the field of lyrical literature too. The lyrical language ofAbhar alAsheghinbecomes apparent when two prominent functions of language (poetic and emotional functions) are intertwined. Barani and NasimBahar, quoting Khanlari, wrote about the common objective of poetry and music: &The objective of both is to create a state, not to prove something or an external image& (Barani and NasimBahar, 2012: 42). The high frequency of the two prominent processes that make up language i.e. extraregularity and deviation within the range of semantic paranormality and balance, has highlighted the poetic function of the language of Abhar alAsheghin. This paper focusing on the analysis of the intertwining of semantic extraregularity and the balances in the text provides a better and deeper understanding of the author’s mood and worldview.   2      Research methodology This study has been conducted by descriptiveanalytical method and tools of library work. The field of research is RuzbehanBaqliShirazi’s book Abhar alAsheghin. The authors have attempted to explain the poetic and emotional functions in the lyrical language of Abhar alAsheghin.   3      Discussion The emotional and literary functions in any text have the most important effect on the poetic nature of speech. If the message is aimed at the speaker, the audience will in fact be facing a text in which the speaker’s voice is strong and dominant. The audience will hear the narrator’s heart line in different situations and from different angles. The sound of complaints, and sometimes the sound of excitement can be heard in front of the lines. On the one hand, if the message is oriented towards the message itself, the audience will be confronted with a text that is both through a variety of balances, musical and melodic, and through a variety of norms, has taken the necessary advantage from a variety of expressive arrays. Due to its linguistic prominences and poetic and emotional functions, the text of Abhar alAsheghin has a poetic and artistic language that has developed all kinds of linguistic, syntactic, lexical, stylistic and semantic deviations. Music, which is one of the most important components of creating lyrical language, also has a significant effect on this text through various balances. RuzbehanBaqliShiraziis the narrator of his intuitive and nonintuitive anecdotes in Abhar alAsheghin. RuzbehanBaqliShirazi attempted to develop language in the realm of a variety of deviations, especially semantic deviations and the balance of music, in order to be able to give the right to present an earthly image of an alien. RuzbehanBaqliShirazi attempted to bring the word closer to the transcendental components. RuzbehanBaqliShirazi’smystical field of experience is so vast that it sometimes creates a new feeling in the audience by intertwining the external senses. Sometimes synesthesiain Abhar alAsheghinis a combination of an outward feeling and an inner and perceptual sense, because RuzbehanBaqliShirazi, on the one hand, intends to compare the beloved and on the other hand wants to express the incompatibility of the beloved or the concept. In Abhar alAsheghin, sometimes the emotional concern of language, which is caused by the excitement of the author’s mystical experience, uses language as a tool for artistic expression, the basis of perspective, and literary creation. With this technique, the author makes more use of emotional and poetic functions. For the audience, the meaning is delayed and the author is lost in the language games. Creating this state in the audience is very effective on receiving the author’s state of confusion in intuitive situations. Abhar alAsheghinis the result of an intuitive experience and mystical discovery that RuzbehanBaqliShiraziencounters a single creature in this mystical journey. &The most prominent aspect of RuzbehanBaqliShirazi’sspiritual life isspiritual&visions&, revelations and scenes he has seen at various times during most of the days and nights of his life& (Ernest, 1998: 4). The emotional function of language in the very first part of the book, which is for expressing how this meeting and conversation between the two is, is very clear. In all the phrases expressed in this part, the message is directed and focused on the speaker; in other words, the audience in these parts focuses on the speaker’s expression for describing moods of the beloved and author.   4      Conclusion The purpose of this paperwas to explain and analyze the characteristics of the lyrical language of Abhar alAsheghin. According to Jacobsen’s views on the direction of the message, two emotional and poetic functions were examined in the language of Abhar alAsheghin. This study shows that by directing the message towards the message itself, the language finds a poetic function. The high frequency of the two prominent processes that make up language i.e. extraregularity and deviation within the range of semantic paranormality and balance, has highlighted the poetic function of the language of Abhar alAsheghin.In the field of semantic paranormality, the two industries of paradox and synesthesia are significant. The poetic nature of the text depends more on the music of the word through balances. The types of balance in this text are very frequent. Also, the departure from the criteria of automatic language is done through reviving all kinds of mystical concepts and poetic description of &JanatiLobati&. These descriptions basically highlight the language by combining a variety of paradoxes and synesthesia, and reduce the automatism of standard language. Also, emotional functions of the text, which are formed by directing the message towards the speaker, have played a very important role in creating lyrical language in Abhar alAsheghin. Since this text was written for the expression of RuzbehanBaqliShirazi’sintuitive experience and in fact was written in response to the questions of a particular beloved (a special creature or person), there is a lot of dialogue, reasoning and description of exaggeration in it. Intrinsic monologues and introspective perspectives are also very visible. From a linguistic point of view, these monologues and introspections are components of the emotional function of the language. Also, vocative, question and surprise sentences in this text are highly used. These sentences also reinforce the emotional function of the language. The peak of lyrical language in Abhar alAsheghinis when two prominent linguistic functions (poetic and emotionalfunctions) are intertwined, and this is when the author’s emotional turmoil for expressing the audience’s contact with that person excites him. As a result, he deliberately and consciously reinforces the emotional and poetic aspects of speech in order to both subdue his emotional excitement and influence the audience by his emotions.