Document Type : applied research
Authors
1 Associate Professor, Department of Persian Language and Literature, Faculty of Management and Human Sciences, Chabahar Maritime University, Chabahar, Iran.
2 Associate Professor, Department of Persian Language and Literature, Shahed University, Faculty of Humanities, Tehran, Iran.
3 Ph.D. Student, Department of Persian language and literature, Razi University, Kermanshah, Iran.
Abstract
Introduction
Since the late 1950s, metaphor has occupied a prominent position in linguistic studies (Borsheh, 1998: 301). The Western tradition of studying metaphor dates back to Aristotle, who regarded metaphor as a technique for artistic creation. He believed that metaphor is exclusive to literary language and, therefore, should be examined among literary devices and tropes. This represents the classical view of metaphor, a perspective that remains prevalent among us to this day. Another perspective on metaphor dates back to the eighteenth and nineteenth centuries, known as the romantic view, reflecting the prevailing insight of that era. Under this view, metaphor was not limited to literary language; rather, it was considered an essential component of both language and thought for representing the external world. Metaphor served as evidence of the role of imagination in conceptualization and reasoning; consequently, no distinction was made between ordinary language and literary language (Sasani, 2004: 16-19).
Methodology
Utilizing library resources and exploring theoretical discourses on conceptual metaphors, this descriptive-analytical study examines conceptual metaphors centered on the emotion of "sadness" in Saadi's ghazals. The research data were extracted from four hundred of Saadi's ghazals and analyzed through various mappings of sadness across the domains of humans, nature, animals, objects, senses, and food.
Findings
Through an extensive analysis of 400 selected ghazals by Saadi, it was found that the word "grief" occurs approximately 117 times. Notably, only about 15 instances use the word in its literal sense of sorrow, while the majority are highlighted through conceptual metaphors. These metaphors conceptualize the abstract notion of grief by drawing from domains such as Humans, Objects, Senses, Nature, and Animals, manifesting in both positive and negative semantic polarities. Another significant finding, based on Lakoff and Johnson's classification of conceptual metaphors, is that structural metaphors predominate across all domains, significantly outnumbering ontological metaphors. Orientational metaphors, however, were observed only once.
Discussion and Conclusion
The Conceptual Metaphor of Grief
Grief is one of the various human inner emotions, whose intensity fluctuates depending on an individual's internal and external states. Some psychologists argue that grief negates the pleasure of life; since attaining any pleasure serves as a prerequisite for the human drive toward higher pleasures, humans are perpetually accompanied by grief. However, grief is not always a source of distress and depression. From a mystical (Sufi) perspective, grief is an inherent companion to humanity, such that the seeker (salek) observes it throughout all mystical experiences. According to this view, the path of spiritual progression (suluk) is paved through the understanding of grief; if the seeker manages it effectively, grief becomes a valuable treasure. Consequently, grief manifests in two forms: a base, worldly form, and a praised, sanctified form (Toghyani & Ajieh, 2013: 2-3).
In this study, based on the dual nature of grief (positive and negative), the conceptual metaphors of grief in Saadi's ghazals have been categorized into the domains of Humans, Food, Senses, Plants, Animals, Objects, and Nature. Each of these domains is further subdivided into smaller sub-domains. In certain instances, the metaphors of grief are not amenable to objective methodological analysis and fall into the domain of the abstract.
The Positive Aspect of the Conceptual Metaphor of Grief in Saadi's Poetry
Although grief possesses an inherently negative essence, it sometimes stems from the lover's longing and desire to reach the Beloved (whether spiritual or earthly). This emotion—this pain and sorrow—serves as a catalyst for the lover's spiritual transcendence and the attainment of their ultimate goal. Therefore, enduring grief and the hardships resulting from it does not merely cause suffering and torment for the lover; rather, it is experienced as something sweet and pleasant.
The Human Domain
Attributing human qualities and characteristics to non-human entities is a significant issue that has long fascinated humanity. It can be considered one of the most important phenomena in describing abstract and mental concepts, paving the way for the recognition and understanding of metaphorical concepts. Attributes and characteristics such as friendship and leadership are human actions and qualities; through anthropomorphism, the poet links correspondences between the source and target domains, thereby assisting the reader in decoding and achieving a better understanding.
Lakoff and Johnson classify such metaphors as ontological metaphors. They argue that our experience of physical bodies and substances provides a foundation for perception that goes beyond mere orientation. Understanding experiences through objects and substances allows us to select parts of our experiences and treat them as distinct entities or substances, independent of a unified whole. Our experience of physical objects (especially our own bodies) provides a foundation for a vast and diverse range of ontological metaphors. These metaphors serve as windows through which we view events, activities, emotions, ideas, and so on, as if they were entities or substances. Therefore, ontological metaphors fulfill various purposes, and the diverse types of these metaphors reflect the various goals achieved. The scope of ontological metaphors is immense for such purposes; for instance, they can be used for reference, measurement, identifying aspects, identifying causes, expressing goals and motivations, etc. (Lakoff & Johnson, 2016: 49-51). Anthropomorphism enables the understanding of a wide spectrum of experiences—or in other words, non-human entities—based on human motivations and activities. Saadi has employed this type of conceptual metaphor in his treatment of the subject of "sorrow."
Additionally, the study demonstrates that in Saadi's poetry, grief is not only conceptualized through tangible and sensory imagery but also through abstract imagery. For example, grief is mapped onto concepts such as thought, joy, or calamity, which require mystical insight and a perception that transcends the five senses to be fully understood. This suggests that mystical and abstract mappings are present in his poetry, where abstract concepts of grief are expressed through other abstract frameworks. Ultimately, by employing conceptual metaphors, Saadi demonstrates his profound intellect and masterful poetic skill. He artistically transforms his emotional perceptions of grief into tangible and perceptible imagery, thereby enhancing his ability to convey complex meanings and profound emotions to his audience.
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