جستجوی مقالات مرتبط با کلیدواژه "syllabic meter" در نشریات گروه "ادبیات و زبان ها"

Syllabic meter is formed by the regular repetition of syllables, pauses (caesurae), and hemistiches. The quantity of syllables as well as their weight have no functional role in the structure of syllabic meter, therefore this meter is substantially different with the Persian quantitative meter in classical poetry and Persian isochronous accentual folk meter which are based mainly on syllable weight and metrical accents respectively. Although the syllabic meter is usually current in such syllable-timed languages as French in which syllables have equal quantities, sometimes, for some historical and or cultural reasons, evidences of syllabic meter have been observed in languages such as Persian in which syllables have different quantities. Syllabic meter, as it has been mentioned already, is not current in Persian at all, but this meter has been used by some poets in Persian from the ancient times to the present day. This paper deals with the structural analysis of such poems. In this article, after a brief discussion on the classification of different meters in world languages, Persian syllabic meter has been introduced and it structural characteristics has been shown as follows: 1. Persian poets, when composing in this meter, make use of mostly long (heavy) syllables; 2. The pauses in this meter are always of caesura types, i.e. it appears always after a phonological word (or prosodic constituent) break; 3. Although the end part of each pause in this poem is accompanied always by a stress, this stress is not a metrical one, but a pitch accent, and this point shows clearly that stress has just a secondary role in the main structure of this meter in Persian. In this article a method has been also introduced for representing and classifying all kinds of Persian syllabic meter.

Kurdish poets composed imitative poems of Nizami’s mathnavis (quintuple). They considered Khosrow & Shirin more than the other Nizam’s works; so that between 11 imitations who introduced in this article, 6 items are considered imitation of Nizami’s Shirin & Khosrow. These Kurds poets, more than impression by Nizami’s works, have been impressed by oral and written resources. In this article was deal with these imitative poetries and in some cases deal with items of differences. The kurds poets paid attention to Shirin & Khosrow more than the other Nizami’s mathnavis; as Leyli & Majnun, Eskandarname (story of Alexander) and the other imitative nizami’s poetry are scarce; whereas poetries of Khosrow & Shirin (Shirn & Farhad) either published or the manuscripts remained in Iran or other countries libraries. At the other side, most of these imitative Kurdish poets which introduced in this article – except Mem & Zin which it’s  poet didn’t adapted story of Nizami’s works and Saghināme of Ahmad Khani – composed in syllabic meters (non-prosodic meters).

The paper is a comparative study of the concept “Khvarenah” in Avesta and Shahnameh and “Tajalli,” in Islamic mysticism with “Zat,” in Yarsanism. The paper begins with a brief introduction into Yarsanism. Then the paper proceeds to analyze each of the above mentioned concepts and explain their similarities and differences. The results of the study show that these three concepts are closely related and any person who is imbued with any of them can enjoy superiority over others. These three concepts, despite their differences, are shown to be three variations of a single quality in Zoroastrianism, Islamic mysticism and Yarsanism respectively. In the case of “Khvarenah,” similarities to the concept of charisma in sociology and politics are demonstrable.

The present study deals with two different types of meters used in Iran, i.e. accentual- syllabic meter and syllabic meters. There are, of course, three main kinds of meters in Iranian Poetry: First, the accentual- syllabic meter (for example in Folk Poetry), second, the Quantitative meter (for example in Classical Persian Poetry), and third, the Syllabic meter (for example in Azari Turkish and in Kalhuri). Syllabic meter is based on the number of syllables in each line, and the accentual- syllabic meter is based both on the number of syllables in each line, and the contrast between strong (stressed) and weak (unstressed) syllables. So in the continuum we are dealing with two poles: one is the syllabic meter of Azari Turkish and Kalhuri, and the other is the accentual – syllabic meter of Persian and Folk Kalhuri.