عشق؛ یک مفهوم و سه درک استعاری (بررسی و تحلیل نظام استعاره‌های مفهومی در سوانح‌العشاق)

بررسی استعاره ها ی مفهومی هر متن به دلیل خاستگاه شناختی استعاره ها، فهمی تازه از شیوۀ ادراک هر نویسنده به دست می دهد؛ درنتیجه بررسی پیوند و ساختار برآمده از استعاره های مفهومی هر متن، راهی به فهم دقیق تر متن، شرح بهتر آن، تحلیل ساختار معنایی و جهان بینی نویسندۀ آن است؛ بنابراین در مقالۀ حاضر می کوشیم به سه سوال مهم پاسخ دهیم: مهمترین استعاره های مفهومی سوانح العشاق کدام‌اند؟ این استعاره ها چه ارتباطی با یکدیگر دارند؟ ساختار برآمده از این استعاره ها چگونه است؟ برای یافتن پاسخ، به شیوۀ استقرایی، استعاره های مفهومی هر فصل را به طورجداگانه بررسی و براساس دو معیار «پرتکراربودن» و «جایگاه در ساختار استعاره ها»، مهمترین استعاره های متن را مشخص کردیم. بررسی ها، گویای این است که «پیوند» مهمترین مفهوم متن است که با عشق درک می شود. سپس «عشق» با حوزه های مفهومی «مرغ»، «آینه»، «گیاه»، «اشتقاق»، «خورشید»، «پادشاه» و «ویرانی» درک می شود. از میان اینها ویرانی نقش ویژه ای دارد؛ زیرا این مفهوم برای درک غایت عشق، «فنا»، نیز به کار می رود. همچنین در جایگاه کلان استعاره با حوزه های مفهومی «سکر»، «آتش»، «جنگ» و «خورندگی» نمود می یابد. درنهایت مهمترین استعاره های مفهومی متن عبارت‌اند از: «پیوند عشق است»، «عشق آینه است»، «عشق ویرانی است».

Love, One Concept with Three Metaphorical Perceptions: An Analysis of the System of Conceptual Metaphors in Sawanih al-Ushaq

As metaphors are cognitively originated, examining a text’s conceptual metaphors yields a new understanding of its author’s cognition. Therefore, an analysis of the relationship between the conceptual metaphors in a text and the structure arising from those metaphors leads to a more precise understanding and a better explanation of the text, and facilitates the analysis of its semantic structure and its author’s worldview. Thus, the present article attempts to answer three key questions: What are the most important conceptual metaphors in Sawanih alUshaq? What relationships do exist between these metaphors? What are the characteristics of the structure arising from these metaphors? In an effort to answer these questions inductively, the conceptual metaphors in each chapter are separately examined and the most important metaphors in the text are identified based on the two criteria of ‘frequency’ and ‘position in the structure of metaphors’. The analysis shows that the conceptual domain of ‘love’ is the most important abstract conceptual domain which is comprehended with the aid of the conceptual domains of ‘bird’, ‘mirror’, ‘plant’, ‘derivation’, ‘sun’, ‘king’, and ‘destruction’. Among them, destruction has a special place as it can be used in order to comprehend the ultimate stage of love: annihilation. Destruction, as a megametaphor, is embodied by the conceptual domains of ‘intoxication’, ‘fire’, ‘war’, and ‘devouring’. Finally, the most significant conceptual metaphors in Sawanih alUshaq are: ‘love is the eternal part of human existence’; ‘love is a mirror’; and ‘love is destruction’. Extended Abstract IntroductionA study of conceptual metaphors in Persian literature from the early centuries can contribute to a better understanding of the complexities of modern literature. Conceptual metaphors integrate concepts into texts and, over time, transfer them from one text to another. Love is one of the most important metaphorical concepts in Persian mystical literature and Sawanih alUshaq is the first mystical text in Persian about love. This work had a great influence on Nagouri’s Lawayih, Araqi’s Lama’at and Jami’s Lawayih.  Theoretical FrameworkIn traditional rhetoric, metaphor is not related to the essence of language and thus has a secondary role. However, in the 1980s, Lakoff and Johnson developed the idea of conceptual metaphor and challenged the traditional attitude toward metaphors. In the present study, the idea of conceptual metaphor is examined in Sawanih alUshaq.  MethodologyThe present study seeks to examine the main conceptual metaphors in Sawanih alUshaq. For this purpose, all the conceptual metaphors are identified using the inductive method. Then, the relationship between these metaphors is analyzed in order to disclose the conceptual metaphors in the text.  Discussion and AnalysisLove is the main objective conceptual field in Sawanih alUshaq, which has been used to contribute to the understanding of the preeternity of being. This metaphorical understanding revolves around three main issues: 1. The entry of the concept of love into Islamic mysticism, under the influence of NeoPlatonism, 2. Love poems that Muslim mystics used in their sermons, and 3. The concept of “union”, as an important component of the preeternity of human beings. In Sawanih alUshaq, love is sometimes a subjective issue and is understood through more concrete concepts, such as “king”, “desire”, “bird”, “mirror”, and “fire”.   ConclusionThe conceptual metaphors in Sawanih alUshaq have a multilayered relationship with one another. This relationship is either cognitive or a relationship between megametaphors and micrometaphors. The cognitive relationship includes the connection between love and other metaphors of the text and the relationship between the king and war. The conceptual field of desolation is a megametaphor. The most important metaphors of the texts are “union is love”, “love is destruction” and “love is a mirror”. Understanding union as love paves the way for all the conceptual metaphors of the text. “Effacement is desolation” is another major conceptual metaphor and has brought about a kind of coherence for the metaphorical structure, and, eventually, all metaphors of the text, in a transcendental process, turn into “love is a mirror”. Select BibliographyBeaucorps, M. 1394 [2015]. Ramzhaye Zendehye Jan. J. Sattari (trans.). Tehran: Markaz.Fotouhi Roudma’jani, M. 1390 [2011]. Sabkshenasie Nazaryehha, Rouykardha va Raveshha. Tehran: Sokhan.Ghazzali, A. 1381 [2002]. Resalehye Sawanih va Resalehi dar Mo’ezeh. J. Nourbakhsh (ed.). Tehran: Yalda Qalam.Homayi, J. 1374 [1995]. 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