Discursive Disjunction and Generation of Brilliant Semantic Indexes Stylistic Characteristics of Shamlou’s Poetry

Assistant Professor, Department of Persian Language and Literature
Kosar University of Bojnord, Iran
dorpar@kub.ac.ir
Introduction
As a blank verse theorist, Ahmad Shamlou believed that understanding aesthetics depended on many things that are never related to each other (See, Shamlou, 2005: 103). This viewpoint of Shamlou about the perception of aesthetics and popularity of blank verse and its acceptance as one of the deconstructive verbal art categories has turned this poet’s distinction and prominence of stylistic poetry and aesthetics of his work into a research topic. This is especially important since, according to researchers who have focused on the explanation of blank verse aesthetics, the beauty of this type of poetry cannot be described based on classic aesthetics and traditional rhetoric. The main question raised in the present study is that what kind of stylistic characteristic distinguishes the poetry of Shamlou from other blank verse poets. Another question is what are the focal points in the aesthetics of his poetry. To answer these questions, we chose four poems of Ahmad Shamlou: “Nocturne” from the book “Abraham in the Fire”, “the Death of Nasseri” from the book “Phoenix in the Rain”- this poem is recognized as the best poem of the mentioned book- (same, 129), as well as “from the Heart Wound” and “the Death of Nazli” from the book of “Fresh Air”, which are among the best modern Persian poems (See, Dastghaib, 1994, 123).

Methodology, Objective and Background

This was a descriptive-analytical study conducted to introduce discursive disjunction and generation of beautiful and unique semantic indexes as stylistic characteristics of Shamlou’s poetry and the focal point of aesthetics of his work. Studies performed to evaluate blank verses have mostly utilized a structuralist approach. In a study, Taheri et al. (2011) investigated image with a broad concept on two horizontal (by studying personification, simile, symbolism, metonymy, trope and atmosphere creation, symmetry, allusion, harmony, hyperbole, argumentative aspects, sensuality, as well as the beginning and the end of poetry) and vertical (by studying the image with focal, incidental, deep and broad terms) axes in blank verse. In the end, they used the term “instant” (i.e., the beauty that is comprehensible but cannot be verbally explained) to describe atmosphere creation in blank verse. Moreover, Pordel et al. (2017) conducted a study with a process approach to blank verse. They studied a poem by Garous Abdolmalekian based on conceptual blending theory (Faucconier and Turner, 1998 and 2002), which is one of the topics in cognitive linguistics.

Discussion and Evaluation

Given the significance of understanding how to pass known discourses in the present study, we need the specific definition of discourse, which reveals that discourse is both the result of the society and a dynamic and changing power that has a constant negative or positive effect on social values and performances (Bloor & Bloor, 2013) (12). In poetry, rejection and reconstruction of proven meanings in discourses are so important that some individuals define poetry based on these discourse reconstructions and rejections and call it “Goftemaneh (discourse)”. An important part of the present study is multidimensional attention to moving past beyond discourse, meaning that our analyses will show that rejection and reconstruction of recorded meanings in discourses such as conflict discourse, love discourse, etc., create brilliant and unique semantic indexes that are the product of the function of the sensory-perceptual layer of poetry. Notably, the perceptual sensory layer is important since it can provide the reader of the poem with the tools that are necessary for describing what the poem perceives or creates as the aesthetics of poetry. Therefore, it is necessary to deal with how each of the five senses works, and during this process, the function of the inner and outer senses and their interaction in the formation of semantic indexes is noteworthy. Contrary to traditional rhetoric, which seeks beauty in poetry based on classical aesthetics and detecting beauty only in the object, in the text and at the level of words, phrases and sentences, we show that aesthetics in blank verse occurs at the discourse level, and the perceptual sensory layer rejects and reconstructs meanings recorded in discourse and shapes unique and brilliant semantic indexes in during the process of changing discourses in a bilateral interaction. Dual obliteration of the subject and object is an acceptable principle in determining the fundamentals of aesthetics in blank verse, whether this unity is considered in the moment of creating the poem or in the stage of reading the poem. Based on this principle, a poem can create different perceptual forms and have multiplicity depending on the cognitive capacity of its readers despite its uniqueness in the creation stage. Multiplicity is the most important feature of poetry aesthetics, which can arouse forgotten emotions and passions and desires or quench emotions.

Conclusion

There are two important points in explaining the prominent stylistic characteristics of poems of Shamlou and describing their aesthetic process; first of all, a type of discourse is converted into another kind of discourse in the process. Second of all, one of the five senses is central in each poem and its interaction with other internal and external senses creates unique indexes and poetry aesthetic processes. According to our results, death discourse is a type of flexible and transformative discourse; death can be not sad and mournful and can interact with love. It can also be equated with spring and regrow; grow seeds inside itself and give greenery and freshness. One can turn the fear of death into welcoming death. In blank verse aesthetics, the boundaries between subject and object disappear and subject and object find a living presence in the dynamic and continuous realm of experience. In fact, the principle of subjectivity, which is known as “me”, is changed such that it can no longer be named that way (whether “me” is the poet or the reader). In fact, “me” is indebted to another thing. This is in line with the improvement of the concept of aesthetics in art philosophy from an objective property for a beautiful object to the dependence of perception and feeling of beauty to the subject.
 
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