Kenari music in Mowlana’s quatrains

One of the most important factors in musical richness and also highlighting words in poetry, especially in the short and compact quatrains form of Kenari music, is rhyme and row. Mowlana in his quatrains used his rhyme and row in very desirable and sometimes surprising ways and hereof considered as one of the norm repellent poets. Mowlana has putted aside all exact and conventional rules among poets in using rhyme and row. In some cases, Mowlana repeats the rhyme for emphasis, rhythm fulfilment or musical richness. The song obtained from these repetitions has noticeable effects in musical richness. In some quatrains also, common consonants and vowels multiplies the rhymes and with this, causes the music feeling and also more joy feeling in the poetry. Although observance of the rhyme in the third hemistich is not necessary and is optional, but Mowlana observed the rhyme in the third hemistich to increase musical aspect of his quatrains. Also between Mowlana’s quatrains, we see quatrains their rhyme’s words are completely similar and have some kind of complete, incomplete or mixed pun. Use of these rhymes in quatrains cause more musical richness of verses and content to be more beautiful and elucidated. As we mentioned before this, Mowlana in his quatrains’ rhymes and rows, like poems, be a repellent and tradition breaker. In his quatrains sometimes rhyme and row switch positions, sometimes rhyme plays the role of the row, while rhyme is separated and row plays its role as the row. Mowlana sometimes rimes a quatrain without a row in its first hemistich, but makes the rhyme of the second hemistich in the verse as the row in the next verse. Sometimes rhyme and row merges together, and sometimes waiver the rhyme and present the row alone. Mowlana profits from row for different means. Sometimes his mean by repeating the row is just increasing the musical aspect or fulfilling the rhythm. In this case row has no role in completing the meaning of the verse. For this reason, we see in most cases Mowlana choose the meaningless and unclear words as his poetry’s row; but sometimes it is vice versa, he uses meaningful and deep words and phrase in his row for more influence on humans. About 61% of Mowlana’s quatrains are with row. One of the most important characteristics of row in these quatrains is their high levels of diversity. Mowlana in his quatrains uses all kinds of verbal, noun, word, adjectival and… rows, that more frequent ones, belong to verbal rows. Between these verbal rows, are imperative, present, future and rarely past verbs; But present verbs seen more than other ones. In some cases, Mowlana uses some rows that are rare in Persian poem and less poets choose these kind of words as rows. Also Mowlana in 250 of his quatrains repeated the row also in the third hemistich and with this, brought his quatrains’ song and rhythm to their highest level and shows his passion, thrill and emotions. The cause of this usage of rhyme and row by Mowlana is that since most of these quatrains were singed in spiritual sittings and in a spiritual contemplation state, in this state he was just thinking to the song and the end and Kenari rhythm of these quatrains and did not bound himself to any rule and principle. For this reason, in many of his quatrains we see that the meaning and the content were sacrificed for rhythm and what is obvious in quatrains is just the song and the rhythm and the dance of words, not a special meaning.