جستجوی مقالات مرتبط با کلیدواژه "internal music" در نشریات گروه "ادبیات و زبان ها"

The study of music condition in poem “in the memory of Hossein” from Sheikh Ahmad Al- WaeliAbstract:Sheikh Ahmad al-Waeli is one of Iraq's contemporary poets and he is one of the lovers of Ahl al-Bayt. He has written a significant portion of his poems in praise of them and he has tried to alive the spirit of awakening and resistance among the people of his country through religious poems and Hosseini's pillars, People who dominated by colonialists. one of his religious traditions, which was written in the exhortation of Imam Hossein is verse “in the memory of Hossein” and cites in it to greatness and famine and some of his tragedies. given the particular place of music in this verse, we decided to investigate the status of its music and on this path, were examined exterior music, side music and internal music in it. The results of this review which is done in a descriptive-analytical manne show internal music of words and coherence and harmony, when it comes along with the proper measure that the poet chose it, has provided a good opportunity for the poet to raise meaning. Moreover, the position of side and internal music in this poem is better than exterior music in it.Key words: Ahmad Al-Waeli, Exterior music, Side music, Internal music, Imam Hossein.

One of the integral and inseparable elements of poetry is its music, which manifests in various forms. This musicality can stem from poetic meters, rhymes, word coordination, and the unique resonance of each letter juxtaposed with others. Taisir Saboul (1939 - 1973), a contemporary Jordanian poet, employed diverse techniques in her poems to craft music. This article aims to analytically explore the poet's distinctive style in selecting poetic meters and music by analyzing the frequency of these artistic techniques in her works. The findings reveal that Taisir tailored her meters based on the poem's subject and theme, captivating audiences through unconventional methods like assurance, rotation, and blending modern with classical poetry. Simultaneously, she employed norm-defying techniques such as implication and merging modern with classical poetry to engage readers. Rhyme repetition emerges as a prevalent form of inner musicality in Taisir's poems. This repetition not only underscores words but also bolsters their meanings. Taisir also focused on visual musicality through stair-like and vertical poetic line structures to accentuate specific stanzas against others and highlight individual words or stanzas effectively

Gāhān is the oldest Iranian poem in the Avestan language. In this research, the external, sidelong and internal music of Gāhān are investigated. The data collection method is library-documentary and analytical research method. The study of ancient literary texts based on new literary criticism leads to a better understanding of them as the origin of Persian literature. The  external music surveys the metre. Gāhān has syllabic order. in sidelong music rhyme is explored, Gāhān has internal rythme. in internal music the repetition stylistics are so importante which are divided into visible and invisible. The  invisible repetitions used in Gāhān are redundant puns, subsequent pun, derivation and pseudo-derivation. Also single-place alliteration and multi-place alliteration are used in Gāhān. Gāhān’s Visible repetitions are repetition of words during a verse, regular repetition of one or more words at the beginning of verses, repetition of stanzas during a poetic form, repetition of one or more words sporadically in The length of a few verses, the regular repetition of one or more words at the beginning of the verses, and red Al-ajoz ala Al-sadr (Anadiplosis). endings  and declension, matching adjectives and pronouns with noun, prefixes and suffixes, repeating conjunctions, prepositions and adverbs also create music.Keywords: old Iranian poetries, Gāhān, poem’s music, external music, internal music, repetition.

The phonetic level, which is represented in the phonetic structure and the internal and external rhythmic structure, is considered one of the most important levels in stylistic and semantic studies. At this level, the research studies the rhythm or external music and the elements that make it in poetry, such as meter, intonation, rhyme and its aesthetic effect. It also studies rhythm, internal music, and the elements that make it, such as repetition, alliteration, contrast, assonance, and their inspiring connotations. This research with a descriptive-analytical method seeks to investigate the stylistics of the phonetic level in the Diwan of Ibn Marj Al-Kohl Al-Andalusi and his poetic features through a theoretical and applied vision on his poems through the study of external and internal music in his poetry. In the study of the poet's external music, the results of the research indicate that he composed his poems and poetic pieces on the well-known poetic meters in Arabic poetry, and he benefited from the Al-bahr Al-tawil more than the rest of the meters, and after that comes the Al-Bahr Al-Wafer and the Al-Kamel and Al-Baseet. And there are some meters that the poet neglected them, such as Al-Madid, Al-Hazaj, Al-Rajaz, Al-Monsreh, Al-Mozarea, Al-Muqtadab, and Al-Mutadarik. The poet employed most of the Arabic letters in the rhyme and used the absolute rhyme much more than the restricted rhyme. The poet diversified the use of internal music through variety of means, such as repetition of sounds, words, phrases, alliteration, contrast, and assonance in the beginning of his poems and poetic pieces.

Roozbehan Baqli Shirazi is known as "Sheikh Shatah" because of his coverage of Sufism. His way is related to Hallaj's mystical heritage and on the other hand it is a continuation of the romantic mystical tradition that is connected with Suhrawardi and Ibn Arabi. This book, which is a full-fledged mirror of the tradition of lovemaking, has been written about love and its types, and is full of imaginative images and novel and expressive illustrations. In this research, this book aims to recognize the type of mystical language of Roozbehan in the Apocalypse, in terms of beauty The science has been studied and the result is that in terms of internal music, the most important arrays are the use of rhymes and phonemes, and in terms of expression, the use of eloquent simile and Meccan metaphor has the highest frequency. The language of Roozbehan Baqli in this book is based on short melodic sentences and his user words, which serve to express romantic and mystical feelings, are inextricably linked with love and all the concepts used in it are related to love and its consequences. It is related that imaginary forms are in the same way in a direct or indirect relationship with love and the lover and the beloved.

Anvari and Zahir al-Din Faryabi are two of the most influential Poets in the history of Persian poetry. These two have had a major impact on Persian lyrical poetry. This article is a research on the most important manifestations of poetic music in the sonnets of these two poets. After providing an introduction to these two poets influence on the evolution and promotion of Ghazal, in a descriptive-analytical manner, the article explores the inner music (verbal novelty) in their sonnets presenting diagrams. The analysis of statistics has suggested these results both poets have used internal music in inducing concepts and influencing the audience. Despite composing only a small number of lyric poems, Zahir Faryabi has been able to take advantage of the musical features of literary figures as well as of the mood of the audience to contribute to the promotion of musicality in language. Figures like alliteration, repetition, and perfect pun are of highest importance in creating verbal musicality.. Anvari also benefits a lot from this type of music. He has become more successful than Zahir in this field, especially in use of pun, alliteration and repetition. In general, both poets have played an important and fundamental role in promoting novel figures in their simultaneous reliance on the speaker, the text and the audience.

Sahifeh Sajjadiyeh is one of the most valuable religious texts in which its literary features of the subject attract attention. Repetition is one of the stylistic phenomena that are remarkably significant in this noble book, especially in the prayer of Arafeh. It is evident in consonants, vowels, words, sentences and phrases. Repetition in the prayer of Arafeh gives this noble prayer a beautiful music, tailored to the discourse of the text. In this research, which has been developed using an analytical method, ‘repetition’ in Arafeh (knowledge) prayer (No. 47) from Sahifeh Sajjadiyeh has been analyzed. One of the results obtained from this research is that Imam Sajjad (p.b.u.h) did not use the repetition randomly, but He used it as an intonation, pause between notes (Iqaa), and a musical element consciously, in order to express the meaning of the word with giving an intonation to the text and to penetrate it into the soul and the spirit of the audience. It should be noted that there is a close relationship between the two levels of phonetic and implicational in this prayer.

Poetry translation is one of the most controversial and important issues in the field of translation about which different opinions have been presented. Some considered it impossible, while others endorsed the translation of poetry into traditional poetry and provided successful examples. The situation is different in translating modern poetry (lit. Nima poetry), because modern poetry gives great importance to internal music. Internal music is based on linguistic techniques (modern metaphors, repetition, pun, antithesis, exaggeration, parallelism, etc.) and semantic figures of speech (symbolism, the use of myth, etc.). Badr Shakir al-Sayyab has numerous poetic innovations and linguistic creations, and it is difficult to translate his poetry in such a way that it has the least amount of phonetic and semantic loss. This article seeks to explore the linguistic features of his poetry and the difficulties of translating his poems. The general conclusion is that the translator is able to make the least phonetic and semantic loss using some linguistic techniques in the target language and accuracy in finding lexical equivalence.

Poets have always tried to convey their meaning to the audience in a formidable and effective manner by using literary elements. One of the elements that has always been paid attention to by poets in poetry, both traditional and new, is the element of repetition.
In this essay, it has been attempted to investigate the function of the element of repetition, which is the main axis of inner music, in the poem of Iqbal lahori’s book of eternity to determine to what extent this Persian poet of Urdu speaker has used this industry to express its meaning.
Shemisa sees the repetition as the third method in the rhetorical revision that creates the music of the word. in his view, Repetition appears in the form of repetition of words, repetition of syllable, word, commitment, repetition, repetition of a phrase or sentence in speech (a fresh look at the novels: 59-60). Kazazi also considers the repetition as vocabulary reverse in a way that does not render the words too expensive, coarse and uneven. Otherwise, it is not a repetition of an aesthetic tool, but a weakness and an "abyss" in speech. According to him, various types of repetition are "rhyme rebuilding", "initial rebuilding", "canonization", "hajib", " Rad Al-Ajz ala sadr ", "coexistence" and "commitment" (Badhi, Aesthetics of Persian Speech: 80-48). This research examines the repetition in two visible and invisible branches in Iqbal Lahori’s book of eternity in order to determine which types of repetitions (visible and invisible) are used more in the book of eternity. And also the repetition of which arrays was more of a poet's attention. And what is the purpose behind using the repetition element? And have these repetitions influenced the poet's intention? .the research method is Descriptive-analytic and data collection tool is library using snippet. In this study, by dividing the repetition into two visible and invisible types, we examine the symptoms of the two types of repetitions, the types of puns, the types of phonemes as invisible repetitions in the poetry, as well as the regular and irregular repetition methods throughout the verses as visible repetition symptoms. To do this, all the verses of the book of eternity were examined from this perspective and their representations were recorded in the snippet. In the end, the obtained information was also categorized and coded.  Types of visible and invisible repetitions in the book of eternity:
Table 1: Types of invisible repetitions in the drafts
array
Type of puns
Same-beginning
Scattered phoneme phonetic
Same-ending
Same-beginning and same-ending
frequency
965
315
276
110
27
As it is seen, the types of puns have most recurrence in the book of eternity. The types of puns used in the book of eternity are: complete pun, distorting pun, redundant pun, repetitive pun, contradictory pun, present pun, connected pun, derivative pun, pseudo-derivative pun, linear pun, word pun and combination pun. After the pun, same-beginning has the largest share in invisible repetitions.
Table 2: Types of visible repetitions in the book of eternity
Arrays
Frequency
Repetition of the word over a verse
779
Regular repetitions of one or more words at the beginning of the verses
93
Repeat the word over a few verses
35
Rad Al-Ajz ala sadr(bringing a word at the end of a verse until the beginning)
5
Rad Al-Sadr Ala Jaze(bringing a word at the beginning of a verse until the end)
2
Visible repetitions in Iqbal’s poems include repeating the word during a single verse, repeating the verse during a poem, repeating one or more words spatially over several verses, regular repetition of one or more words at the beginning of the verses, Rad Al-Sadr Ala Jaze, Rad Al-Sadr Ala Jaze; repetition of words encompasses a large amount of this repetition.
But the visible repetitions of the book of eternity are sometimes more than a word and include a group of words; this kind of apparent repetition is one of the boosting methods. The inner music is one of the musical effects of poetry, the most important of which is the repetition, because many arrays in the field of internal music are formed on the basis of repetition. Repetition was studied in two visible and invisible branches in the book of eternity, and various effects were observed in this work.
The types of puns, same-beginning, same-ending, same-beginning and same-ending, the scattered phoneme phonetic are the invisible repetitions of the poems of Iqbal in the book of eternity. Visible repetitions include repetition of the word during a single verse, repetition of a hemistich or verse in the form of a poem, repetition of one or more words spatially over several verses, regular repetitions of one or more words at the beginning of verses, Rad Al-Sadr Ala Jaze and Rad Al-Sadr Ala Jaze. According to the obtained statistics, Iqbal is more willing to use visible repetitions than invisible repetitions. The invisible repetitions, without being apparent, increase the richness of the inner music of the poem.
As seen, pun is the most used invisible repetition of the book of eternity. Puns play a significant role not only in the poetry but also in the rhymes, under the title of exquisite rhymes. Other types of invisible repetitions include phonological types. But according to the survey, among the Iqbal goals in applying the repetition element, one can mention the following:1. Strengthening inner music and its richness. 2. Helping to better convey concepts to the audience 3. Highlighting the underlying concept and emphasizing it Therefore by repeating consonants and vowels, Iqbal not only has consolidated the inner music, but also has brought about the concepts and themes of interest and has achieved what is called the magic of adjacency

The simile is one the most eloquent ways of expression and elegant practices of imagery. Imam Ali (Peace be upon him) has used many similes in Nahj al-Balagha, which around the four hundred and twenty of similes in the sermons from this valuable book. All of them are in ultimate of the eloquence and beauty. The present study examines the internal music and its implications of the similes within the sermons, the used method in this article is Descriptive and analytical. The aesthetic aspect of simile in the sermons are based on the three elements: aesthetic imageries, educative concepts, and internal music. The findings in this research show, which the internal music of the similes in the sermons can be expressed in from of repetitions of letters, words, structure, rhyme, contradiction, parallelism, and pun. However, Imam Ali has applied pun derivation especially in the similes where are in form of Absolute Object, which the hundred similes are from this kind. Hence, all of these apply in the form of conveying the meaning without any mannerism and artificiality. In these similes be seen implications, which showed aims of Imam and his emotional states.

One of the main features of Nimayi-style poetry (blank verse) in comparison with classical poetry is the change brought to the music of poems, and internal music in specific. The present research is to study, via a descriptive-analytical approach, the use of different types of internal music in Nima Youshij’s modern and semi-classic poems. To do so, the researchers have reviewed briefly the importance of internal music in poetry first, and then have examined and analyzed the different forms of internal music, including rhyming rhythm, pun, repetition, alliteration, and words. The results revealed that the use of assonance and consonance was more than other devices, and “A” (as pronounced in Persian /a:/) is repeated significantly more often, that associates the howl and outcry indicating the awakening and provoking spirit of the poet. On the other hand, while the repletion of clauses, phrases and homophonic puns have been less abundant in his poems, recursive puns appear frequently. Then, it is clear that Nima Youshij consciously has used internal music in his poetry as a way for compensating lack of meter

One of the most beautiful poemscomponent of Ibn Almotaz –known as one of greats in Arabic literature and poetry, is music in his lyric which isthe result of harmony between letters and words with his poetic themes and Purposes.
Poet with a selection of letters, phonemes, syllables, words and rhythms of poetry fits like a lyric poem Military, pride, ostracism, elegy, piety and so on, has been able to give a direction the musical poetry with his lyrical concepts. As the inner music cause the reader to find the lyrics in a musical atmosphere.
Means, the reader feels proud in his Fakhreiya, feel the passion and love in his lyrics,In his ostracism in plain, hears footsteps of horse and predators animal and in memory of friends tears of regret flowed from her eyes. Reader, Owes these emotions to the letters and words harmony with meanings and implications of the poems of Ibn Almotaz.

the music is an essential element of poetry and is one of the most prominent techniques used by poets in the construction of their poems, from here, this research examines this element in the poems of Nizar Qabbani, based on descriptive-analytical method. We studied the rhythmic phenomena on both aspect: the first is what is called external music, where we analyzed scansions and rhymes and we understood that the poet invested the rhythm of the “Kamil” meter, and he have been published many of his technical experiences in this metre; because it is one of the most poetic lyric poetry. It has also become clear that the absolute rhymes - rhymes connected to soft character- are predominant on the restricted rhymes and it was characterized with the voices (Alif, Vav and Ya) which are the most appropriate sounds for the purpose of description and singing. The results indicate that the implication was used only for the purpose of organic unity and the unity of the psychological atmosphere and he also resorted to repetition technique to enhance the rhythmic structure of his poetic texts but the main purpose of intellectual music is creating a kind of invention and innovation.

Mohammad Shafie Ebn Mohammad Esmaeil Shirazi known as Mirza Kochek with pseudonym of Vesal born on 1197 AH and passed away on 1262 AH in Shiraz is among prominent poets and return movement musician who had a capable hand in composing ghzal and while imitating great Ghazal composers, he has maintained main traits of the best traditional poem specimens and his ghazals enjoy a tonic and appealing tune. The aim of this study is to examine internal music of the poet ghazals using analytical research method and to show that internal music how much influences the poem tone verse and that how Vesal has inducted the poems meaning to the reader using repetition which is the main pillar of internal music. One of the features of poem language is voluntary utilization of this language from poetical devices and techniques which bring it out of routine and colloquial state and give it an artistic aspect. Here, the most tangible factor which gives the language eminence is the poem music. The poem's music has been divided to four types of external, internal, lateral and virtual. That in this paper, only the poem internal music has been examined.
The series of coordination which appear in the words of a poem due to unity or similarity or contrast of consonants and vowels is the flourish of this type of music. Techniques which have played role in the domain of this music are figures of speech like various puns, epanalepsis and so on all of which are subsets of repetition, therefore, repetition in examining the poem internal music has a considerable role. Vesal Shirazi has utilized repetition for increasing the word music and developing and better inspiring the meaning and repetition could be seen in his various poems level. Techniques which have formed in his poem based on repetition mostly include repetition of words and letters and what mostly shows off is word repetition.
Repetition is Vesal’s Divan appears in two forms, sometimes these repetitions are subject to a special order which is displayed as Aenat, equilibration and epanalepsis and sometime is in free form that its prominent sample could be seen in various types of pun. So that it could be said that various puns and word repetition scattered across couplet is among free repetitions of Vesal poems. In Vesal’s poem, pun as a type of word arrangement has a special role in creating his poems internal music and various types of pun are considered the most frequently used types of repetition in his poem. Especially surplus pun and difference in type of letter that due to undulation of movements they have, their musical impact is more than homogenous pun and these two types of pun totally have designated 413 cases of the poet ghazals puns to themselves.
Repetition of one or some words in a poem constitutes 520 cases of repetitions of Vesal ghazals sparsely. Sometimes, Vesal emphasizes on his considered notion with this poetic trick and nurtures a notion and concept in the mind of reader.
Reduplication is also another type of word repetition which is called repetitive and is considered among natural repetitions. Vesal Shirazi has used this figure of speech for emphasis, inspiring the concept and making his word more musical since such repetitions indicate multiplicity, emphasis and intensity.
Another kind of this technique is regular repetitions that in Vesal Ghazals include Eanat, coupled, epanalepsis, expizeuxis, simile, converse, leonine verse and equilibration among which epanalepsis with 595 cases is in the first rank. Vesal has utilized such repetitions for emphasis and embossing his considered concepts.
One of most frequently used types of repetition is phoneme repetition. This imagery which is called alliteration has a very high aesthetic value. Depending on his art and taste, Vesal Shirazi has used this imagery very much for illustration and elegance and enrichment of his poems music and the music arising from consonant alliteration is more patent is his poems.
Consonants also have a prominent role in good tune of his poems and among them, decorating the speech with long consonants is more and more salient than short consonants.
Though with repetition of vowel e , that the ancients considered repetition of this vowel as obstacle of speech clarity and reach, and also repetition of vowel o, Vesal increases the couplet music and increases the word influence, and sometimes even by bringing additional and descriptive compounds successively, gives a special music to word which influences the reader's mind. So, many verbal and phoneme repetitions are observed in his poem which causes his word phonemic prominence and this, by itself, is a style characteristic of his ghazals.

Repetition and circle are the main axes of the formation of musical elements. This pattern is also found in the musical system of modern poetry and covers three inner, outer and aside music areas. Based on these patterns, Monzavi has created the music of his poems. This study aims to examine the music creator arrays in sonnets of the collection "HANJAREY ZAKHMI TAGHAZOL" (sore throat lyricism) and the method of using these elements and also their function in Monzavi poems has been shown. The findings of this research suggest that Monzavi use different ways for the musical richness of his own lyrics including: pay attention to the diversity of prosodic rhythms, employing useful rhythms, create proper meaning and thematic with the rhythm of prosody, pun utilizing, repetition, contrast, rhymes musical function that make his poems unison, totally, Monzavi poem musicality elements classified in four categories: Outer music, aside music, internal music and spiritual music.

Nader Naderpoor (1308 – 1378) is considered as one of famous Semi – traditionalist of the present time for his romantic implientures of naturalist romanticism. This research tries to give a structural and aesthetic analysis of the images used in the poetic collection of the Sun’s collyrium. To this end, the poetical elements like musical ones (external, lateral, internal and spritual) have been analyzed in his poems. The results of the research indicated that the skills of Naderpoor in lexical diction and arrangement have created a specific cohesion among the parts of speech and the structure of his poetical images. The most outstanding capacity of Naderpoor is realized in his image processing and his thoughts. The combination of the images and expressing the condensed images and their relationship, nature and human identity are the most important charactristics of his poems.

Repetition and circle are the main axes of the formation of musical elements. This pattern is also found in the musical system of modern poetry and covers three inner, outer and aside music areas. Based on these patterns, Monzavi has created the music of his poems. This study aims to examine the music creator arrays in sonnets of the collection "HANJAREY ZAKHMI TAGHAZOL" (sore throat lyricism) and the method of using these elements and also their function in Monzavi poems has been shown. The findings of this research suggest that Monzavi use different ways for the musical richness of his own lyrics including: paying attention to the diversity of prosodic rhythms, employing useful rhythms, create proper meaning and thematic with the rhythm of prosody, pun utilizing, repetition, contrast, rhymes musical function that make his poems unison, totally, Monzavi poem musicality elements classified in four categories: Outer music, aside music, internal music and spiritual music.

Each of vowels and consonants, the sound of music attributes are derived from repeat it, in most cases, you can create a special effect on the reader. So the value of music, poetry, the meaning and context of the organization of phonetic alphabets. Accordingly, it must be said that the meaning of words, letters, song writer puts up the other features in the transition context and content, and is also intended to instill more successful. So, if you repeat the letters integrates resolver evokes special meaning in the reader's mind, the need for special skills and abilities that can be found in some of the giants of Persian literature. Farrokhi Sistani, one of the poets who, based on the findings of this study can be said to have the ability to synthesize different sounds and meanings In this paper, we provide several examples of his poetry, it becomes clear that the poet Sistani, use words to convey the meaning intended sound, a lot of interest, is used.

Hafez Ibrahim was an Egyptian neoclassical poet, who called Shāir al-Neel which means the poet of the Nile, and called Shāir al-Shāb, which means poet of the people. Besides, he was also called "the musical poet" because of his poetry which is full of meter and rhythm.This paper attempts to review the musical structure as well as the external music and themes in Hāfiz Ibrāhim's poems. In this regard, after having a glance at the biography of this poet, we have reviewed the following items in Hāfiz Ibrāhim's poems: musical poem and its rate, the used rhythms in his poetry, verbal music (such as: repetition and synonymy etc.) and semantic music (such as: Antithesis etc.).

Literature of “Waiting” (Entezar) is one of the motives which was considered by poets and literary critiques especially in early sixties but the approach of critiques to it has been mainly journalistic and not academic. Hence, there is space for academic and scientific researches. For studying such genre, it is valuable to explore and investigate it from different perspectives. The main questions of this article are how the musical function of this kind of poetry works and how this function and the theme of the poem are related. Accordingly, the authors analyze statistically ninety poems of this genre written by twenty great poets to find out the answers of these questions. In analyzing external music of waiting poetry, functions of rhythm in this kind of poetry, harmony between rhythm and theme, rising and falling rhythms, and transparent and opaque rhythms are investigated. Then, investigating marginal music of waiting poetry, the function of rhyme and its relation with the theme of waiting, the word rhyme and its musical link with other words of the verse, rhetorical and spiritual rhymes in this kind of poetry and dynamic and static radifs and their relation with the theme are all studied. Finally, internal music of waiting poetry and repetition and music in the titles of this poetry are explored. One of the results and findings of this article is that the poet of waiting poems unconsciously establishes a deep link between the sad concept of waiting and the form of such poems at the moment of composition.