بررسی صور خیال در رساله عشق و عقل نجم‌ الدین رازی

یکی از جنبه‌های زیبایی و گیرایی ادبیات عرفانی، تصویر است. در بلاغت تصویر برای بیان مفاهیم معقول و نامحسوس بیشتر از تصاویری بهره گرفته می‌شود که در خیال شکل می‌گیرد و از رهگذر صور بلاغی (تشبیه، استعاره، تمثیل و...) می‌توان به آن دست یافت. خیال ‌یکی از مهم‌ترین ابزارها در شکل‎‌گیری صور‌ برزخی میان عالم جسمانی و عالم روحانی است که به آن عالم مثال گفته می‌شود. ذهن خلّاق نجم رازی در زمینه صورتگری توانسته است صور خیال و الهام را با شیوایی کلام به نحوی درهم آمیزد که حالات باطنی و عرفانی را در قالب ترکیبات صور بلاغی نمایان سازد. در این مقاله، کوشش شده است تا به شیوۀ توصیفی‌‌تحلیلی و روش کتابخانه‌ای به بررسی صور خیال در رسالة عشق و عقل رازی پرداخته شود تا از این طریق جایگاه و اهمیت ابزارهای بلاغی که در تفهیم معانی معقول و نامحسوس در عالم محسوسات کارآمد است، برجسته شود. هدف نجم رازی از به‌کارگیری صور خیال، القای حقیقتی است که در پسِ این صور قرار گرفته تا مقصود خود را به مخاطب برساند. یافته‌های این پژوهش نشان می‌دهد نجم‌الدین رازی در این اثر، بیشتر از عنصر بلاغی تشبیه و اضافة تشبیهی بهره برده که اغلب از نوع تشبیهات معقول به محسوس است. این نوع تصاویر از تنوع چشمگیری برخوردارند و بیشترین بسامد صور بلاغی را به خود اختصاص داده‌اند. وی در عناصر سازندۀ خیال، بیشتر از طبیعت و اشیاء بهره برده تا بتواند تبیین بهتری از حقایق عالم داشته باشد؛ بنابراین هر تصویر بیانگر یک حقیقت در مراتب مختلف است.

examination of imaginary images in najmuddin razi’s treatise on the treatise on eshq o aql

one of the beautiful and captivating aspects of mystical literature is the image. in image rhetoric, images that are formed in the imagination are used to express sensible and intangible concepts and can be achieved through rhetorical forms (simile, metaphor, allegory, etc.). imagination is one of the most important tools in the formation of purgatory images between the physical world and the spiritual world, which is called the ideal world. in the field of photography, the creative mind of najm razi has been able to mix images of imagination and inspiration with the eloquence of words in a way that reveals esoteric and mystical states in the form of combinations of rhetorical forms. in this article, an attempt has been made to investigate the images of fantasy in razi’s message of love and wisdom, using a descriptive-analytical method and a library method, in order to highlight the place and importance of rhetorical tools that are effective in understanding sensible and intangible meanings in the world of the senses. . najm razi’s goal of using imaginary images is to instill the truth behind these images in order to convey his purpose to the audience. the findings of this research show that najmuddin razi used more of the rhetorical element of simile and simile addition in this work, which are often sensible to tangible similes. these types of images have a significant variety and have the highest frequency of rhetorical forms. he used more of nature and objects in the creative elements of imagination so that he could have a better explanation of the truths of the world; therefore, each image expresses a truth in different levels. introduction:in persian language, the word “khiyal” is considered identical to image. this is due to the fact that imagination comes with the meaning of shadow, image, fearsome, ghost, etc. (fotouhi, 2015: 39). hhaving established that image or imagination is the main element in the essence of poetry and is a return to image, de lewis, in his book, declares that it is characteristic of image or imagination: &in its simplest form, it is &image& that helps creating words. precisely, a description or adjective, a metaphor, or a simile may create an image& (lewis. 1958: 18).the subject of image (in the sense of image) was initially raised by shafi’i kadkani in his book “sovare khiyal” in persian poetry and this notion has been discussed with special precision and tact in persian poetry from the theoretical and practical aspects. in the most general sense, the image refers to the entire virtual language; that is, that part of the creative and artistic uses of language that comes about through imagination in ordinary language (fotouhi, 2015: 41). image, in its ordinary use, is referred to as &any imaginary possession in language& (ibid.: 44).from persian poets and mystics, countless works of prose and verse have been published, and the authors of these great works have made all their efforts to depict the true meanings of the world. however, the language that has been engaged to express these images was almost based on virtual functions that can be understood merely through imagination and virtual images. it is also noteworthy that there is a long distance between the power of imagination and the imaginary world since imagination can be considered similar to something like image, considering the fact that illusion is also involved in it. one of these characters, sheikh najmuddin razi, is one of the mystics of the 7th century who has used imaginary images and other probable rhetorical devices (simile, metaphor, and irony) in his works.