کارکردهای بلاغی - هنری ضمایر اشاره «این» و «آن» در شعر حافظ

به اعتقاد بسیاری از ادب پژوهان، حافظ در به کار گیری زبان دقّت و دغدغه فراوانی داشت و پیوسته در پی جرح و تعدیل واژگان و نشاندن مناسب‌‌ترین عناصری بود که با بافت سخن وی سازگاری و همگامی بیشتری داشته باشد. در این پژوهش،  تمرکز بر روی کارکردهای هنری  و ظریف ضمایر ‌یا اسم‌های اشاره‌ی فارسی؛ یعنی دو واژه‌ی «این» و «آن» در شعر حافظ است. وی همچنان که در دیگر حوزه‌های زبان، توانمندی شگفت انگیزی در استفاده از قابلیت ها و امکانات زبانی از خود نشان داده، در بهره گیری از این دو واژه نیز به نظر می‌رسد گوی سبقت را از دیگران ربوده است. نتایج این پژوهش نشان می‌دهد که حافظ از همه‌ی معانی مجازی این دو واژه که در منابع دانش معانی یا دستور زبان بدان‌ها اشاره شده، بهره برده است. در مجموع در 250 غزلی که در حافظ نامه شرح شده و مبنای این پژوهش است، حافظ 914 بار از این دو واژه بصورت نشان دار، در معانی دومی از قبیل: ابهام انگیزی، طنز، خوار داشت، بزرگداشت، تعجب بهره برده است.

Aesthetics of Hafez's Poetry: Artistic Application of Two Demonstrative Pronouns of "This" and "That"

The palatability and effectiveness of great works in the world of literature can be largely related to their creators' skillful use of linguistic tools or devices. Many literary scholars believe that Hafez has had a great obsession with language use and continuously modified his words in an attempt to select linguistic elements that well suited to their contexts of use. This might explain why there are so many different versions of DivaneHafez. The present author believes that the most appropriate way to understand the mysterious words of Hafez can be careful examination of linguistic elements in their contexts of use. Accordingly, one needs to closely examine all the linguistic elements, from the smallest to the largest ones, in order to understand which literary devices are involved and which specific subtleties are employed through them. The objective of this study is to investigate the creative application of two Persian demonstrative pronouns, namely "this" and "that" in Hafez's poetry. It seems that not only has Hafez had enormous capability for the use of linguistic tools, but also he has been more successful than his counterparts in the artistic application of the two demonstratives.  Based on the findings, Hafez has benefitted from all the figurative senses, as they have been mentioned in the semantics and grammar of language, of the two terms. Furthermore, he has assigned some new functions to these words. Indeed, he has benefitted from the secondary senses of these two terms 780 times through the whole of 250 sonnets cited in Hafez Nameh,  referring to ambiguity, humor, glorification, degradation, and surprise etc.