| چکیده انگلیسی مقاله |
The representation of abstract concepts in the form of objectification caused the creation of a new theory in this field, which is examined under the title of conceptual metaphors and its schemas. It should be said that this procedure is one of the fundamental mechanisms of mind and language that is discussed in the framework of cognitive linguistics today. In this regard, conceptual metaphors objectify things that are created and dealt with by the minds of poets; therefore, they use various schemas for the objective representation of their intended abstract concepts in different domains. Sohrab Sepehri and Federico Garcia Lorca are among the poets who use different mental concepts in the form of different schemas, one of these concepts being "love". The discussed poets use moving and static schemas and use the concept of "love" sometimes dynamically and sometimes statically and instill their concepts to the audience. The use of volumetric and directional schemas, along with the use of spatial schemas and agency, are other things that Sepehri and Lorca have mentioned in their poems. It should be said that the frequency of the agency scheme in their poems is more significant than other topics, and in contrast, the use of the road scheme is very insignificant. This research was carried out by analyzing and interpreting the poems of Sepehri and Lorca in order to show how much the poets in question have used the mental concept of "love" and how this concept is used in different schemas. Introduction One of the methods of beautifying poetic speech is the use of metaphor. The importance of metaphor is so great that Ibn Khaldun says in this regard: “Verbal poetry is based on metaphor and description” (Shafi’i-Kadkani, 2005: 112). However, traditional views on metaphor were criticized by cognitive linguists, who believed that “the harmonious relationship of metaphor is formed with the whole language and its vital role as a means of expressing the power of imagination is more and more prominent.” (Hawkes, 2008: 56). In this regard, theorists such as Lakoff believed that “the place of metaphor is in thought, hence it is placed in conceptual realms so that in addition to being involved in novel poetic modes of expression; it can also be used in everyday language” (Lakoff, 2004: 196). Cognitive linguists believe that metaphor is not only a product of art and literature, but that literary metaphors are somewhat different from everyday metaphors. One of these linguists is Kouchesh, who points out their difference as follows: “Although these types of metaphors are less clear in terms of meaning, they are richer” (Kouchesh, 2014: 79). Considering the issues raised and the intellectual commonalities between Iranian and Spanish poets, we decided to analyze the common mental concepts between the poems of Sepehri and Lorca Research methodology The method of this research is analytical-descriptive, so that first we extracted the foundations of conceptual metaphors from the poetry of Sohrab Sepehri and the poems of Lorca, then we interpreted and analyzed the subjective concept of "love" from their poetry, analyzing them based on the theory of cognitive linguistics. Discussion The first topic that can be discussed and examined in the poems of Lorca and Sepehri is the use of movement schemas. “Reveal my pulse on the roughness of love’s breath” (Sepehri, 2011: 249). In order to show the movement schema of love, Sohrab gives it a human characteristic and imagines love as a person who breathes. However, the humanistic schema is shown in a different form from Lorca’s point of view. “A garden in which love is waiting for me.” (Lorca, 2022: 196). Lorca sees love as a human being who is sitting in the garden of the heart waiting to see the beloved. In static schemas, Sohrab Sepehri also considers love to be a static concept in the following example: “Love must be sought under the rain” (Sepehri, 2011: 184). Lorca also describes the subjective concept of “love” in a static way: “You are small and I am big, you flower of love” (Lorca, 2022: 218). Sohrab Sepehri speaks of love as a volumetric scheme: “Life has a leap the size of love” (Sepehri, 2011: 182). In the above verse, the poet uses the word “measure” for “love”. The use of this term is only for things that can be measured. In Lorca’s poems, the use of volumetric schemes is also clear. “Masters point with sincerity to the great statues of love” (Lorca, 2022: 383). In the above text, Lorca has expressed the subjective concept of “love” with the adjective “big”. The adjective that the poet used to express the aforementioned concept is necessary for things that have volume. In the following example, Sepehri uses a directional scheme: “A ladder from which love went to the roof of heaven.” (Sepehri, 2011: 174) In this example, Sepehri has placed the mental concept of “love” at the highest possible point. Lorca, like Sohrab, sees love at the highest level: “This peak, this love, this peak!” (Lorca, 2011: 326). Sohrab Sepehri depicts love with an unenclosed place and says: “In the forest, love awakens heroes” (Sepehri, 2011: 227). In this poem, the poet has been able to portray the spatiality of love by using “forest.” Lorca, like Sohrab Sepehri, objectifies the subjective concept of love with the help of place schemas: “I come from loves” (Lorca, 2022: 41). Lorca considers “love” as a place from which it comes; this spatial objectification shows that love, from the poet’s point of view, can be a city that can be abandoned. Sohrab Sepehri sees “love” as a factor for becoming familiar: “Only love makes you familiar with the warmth of an apple” (Sepehri, 2011: 194). Lorca also sees love as a factor for many daily affairs: “It is because of your love that I suffer from this weather, heart, and hat” (Lorca, 2022: 194). In the above example, Lorca sees “love” as a factor for his own suffering and torment. Sepehri considers the concept of “love” as a journey in the following verses: “And love is a journey as clear as the solitude of things” (Sepehri, 2011: 196). It is evident that the poet has a clear destination in mind for love. In contrast, Lorca depicts the passage of love that must pass through a long destination: “My love has experienced the passage” (Lorca, 2022: 397). Conclusion Sohrab Sepehri and Federico Garcia Lorca are among the poets who have used various mental concepts in the form of various schemas. One of these concepts is "love". They sometimes use "love" in the form of dynamic and moving schemas, in such a way that they depict the expressed concept mostly as a human or an animal in motion. The frequency of love in the form of dynamic schemas is observed 2 times in Sepehri's poems, while its frequency is 36 times in Lorca's poems. Sepehri and Lorca have also used love in the form of a static and still schema, in such a way that in their opinion, love does not move by itself, is always static, and still, and in this section, the depiction of love in the form of objects has been used. The frequency of use of static and still schemas in Sepehri's poems is 4 times and in Lorca's poems is 21 times. In addition, the mentioned poets describe love in a specific place and territory, which creates a directional schema. The frequency of directional metaphors in Sohrab Sepehri's poems is three and in Lorca's poems is 15. Sometimes, the imagery that Sepehri and Lorca use of love is seen as a volumetric schema that occupies space and can be measured. Sepehri has used this schema 2 times and Lorca has used it 8 times. In another perspective, the poets under study see love as a factor for many things that has always had positive and negative effects on their lives. Making love, a factor for different things is 3 times in Sepehri's perspective and 5 times in Lorca's poems. The spatiality of love in a confined and non-confined form is another schema that Lorca has used 11 times and Sepehri has used 3 times in their poems. In contrast, the use of the road and path schemas is another case that the poets studied have used the least, so that only one case has been observed in their poems. 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