بررسی توازن آوایی غزلیات مثنوی جمشید و خورشید سلمان ساوجی (مقاله علمی وزارت علوم)
درجه علمی: نشریه علمی (وزارت علوم)
آرشیو
چکیده
موسیقی از مهم ترین عوامل زیبایی و جذابیت شعر است. این مقوله ازطریق توازن آوایی به صورت کمی (وزن) و کیفی (توازن واجی) خود را نشان می دهد. سلمان ساوجی در غزلیات اندکی (47 غزل) که در ضمن مثنوی «جمشید و خورشید» سروده ، به خوبی از عهده آن برآمده است. در این غزل ها بیشتر از اوزانی استفاده کرده است که حالت خیزابی و ضرب آهنگ دارند؛ افزون بر جامعه آماری این پژوهش در بقیه غزلیات دیوان نیز همین ویژگی موسیقایی وجود دارد. در بخش توازن آوایی کیفی نیز انواع تکرار را در غزلیات او می بینیم. سلمان ساوجی با تکرار انواع واکه ها و همخوان ها (مصوّت ها و صامت ها) جلوه ای خاص به موسیقی شعر خود داده است. در این پژوهش انواع واکه های کوتاه و بلند، همخوان های آغازین، میانی و پایانی و تکرار همه واژه را بررسی کرده ایم و مشخص شد که شاعر به خوبی و آگاهانه از این امکانات زبانی برای به اوج رساندن موسیقی شعر خود بهره برده است. بیشترین بسامد در بخش واکه ها (مصوّت ها) مربوط به واکه های «ا و -ِ» و کمترین بسامد مربوط به واکه های «-ُ، -َ، او» می شود. در بخش همخوان ها (صامت ها) همخوان های «س، خ، ش» بسامد بیشتری دارند و همخوان های «پ، ع، غ، ن» کمتر تکرار شده اند. این پژوهش با روش تحلیلی توصیفی انجام شده است؛ جامعه آماریْ چهل و هفت غزل مثنوی «جمشید و خورشید» است. در آغاز، مباحث توازن آوایی در غزلیات شناسایی می شود و سپس با رسم نمودار و جدول به تحلیل و بررسی هرکدام پرداخته خواهد شد.Investigating the Phonetic Balance of Salman Savoji's Sonnets of Jamshid and Khorshid
Music is one of the most significant factors in the beauty of poetry. This factor shows itself quantitatively (meter) and qualitatively (phonetic balance) using phonetic balance. Salman Savoji has achieved it well in his sonnets (47 sonnets) as he composed Masnavi-e Jamshid va Khorshid. In these sonnets, he mostly uses meters that have a manner of rising intonation and beat. In the section on qualitative phonetic balance, we can see various types of repetition in his sonnets. Salman Savoji has given a special effect to the music of his poetry using all kinds of vowels and consonants. In this study, we have examined different types of short and long vowels, initial, middle, and final consonants, and repetition of the whole word. The highest frequency in the section of vowels is related to the vowels /a:/ and /e/, and the lowest frequency to the vowels is allocated to /u/, /a/, and /u:/. In the consonant section, the consonants /s/, / x/, and /∫/ have the highest frequency and the consonants /p/, /? /, /q/, and /n/ have been repeated less. This study has been conducted through the analytical-descriptive method. The statistical population is forty-seven sonnets of Masnavi-e Jamshid va Khorshid. First, the topics of phonetic balance in sonnets are identified, and then each of them will be analyzed by drawing graphs and tables. Keywords: Phonetic Balance, Salman Savoji, Sonnet, Masnavi-e Jamshid va Khorshid, Music of Poetry. IntroductionMusic is one of the basic foundations of Persian poetry. The coherence and strength of a poem depend on its relevant possession of music. Thus, the closer it is to music, the stronger it becomes (Shafi'i Kadkani, 2004, p. 374). Eliot also believes that the music of poetry originates from the poets’ conscience, namely the place of words, which shows their goodness and badness. The composition and structure of poetry have a great effect on the beauty and delicacy of words (1996, p. 67).One of the topics that is essential in the musical analysis of poetry is phonetic balance. Phonetic balance itself is one of the topics of adding to the rules. Repetition of phones can appear in the form of repetition of one phoneme, several phonemes within one syllable, and syllable and word in speech. Chomsky also believes that language competence is related to three groups of rules such as phonetic rules, syntactic rules, and semantic rules (as cited in Bagheri, 1996, p. 159).Salman Savoji has composed Masnavi-e Jamshid va Khorshid in 763 AH. One of the characteristics of this Masnavi is that Salman has included some sonnets with different meters along with the Masnavi verses so that he has compensated for the musicality of Masnavi-e Jamshid va Khorshid in terms of meter. Therefore, it can be said that phonetic balance is a significant aspect in Salman Savoji's poetry.Materials and MethodsThis research has been conducted using the analytical-descriptive method. The statistical population is forty-seven sonnets of Masnavi-e Jamshid va Khorshid. Research FindingsThe following diagram is a summary of the analysis of phonetic balance in Salman Savoji's sonnets: Figure 1. Phonetic Balance in Salman Savoji's Sonnets Quantitative Phonetic Balance (Meter)Formalists, as contemporary theorists, emphasize music and phonetic elements a lot. They believe that music and meter are the building blocks of poetry. According to Richards, “Meter is a device that allows words to have the greatest possible impact on each other. In rhythmic works, the accuracy, clarity, and the state of expectation, which is usually unconscious in most cases, increase” (1996, p. 117). Qualitative Phonetic Balance (Phonemic Balance)Phonetic balance is “a set of repetitions that can be investigated at the level of phonetic analysis” (Safavi, 2014, p. 167). Phonetic repetition can occur from the repetition of one phoneme, several phonemes within one syllable, and the harmony and repetition of consonants and vowels.Repetition of the Initial ConsonantsSome scholars interpret phonetics and homophones as inducing harmony. "Nowadays, what is called ‘inducing harmony’ is an effect that the poet achieves by choosing words whose constituent phonemes are in proportion with his/her mental images or thoughts" (Qayoumi, 2004, p. 9). Khajeh Nasir al-Din Tusi has talked about the inducing harmony before Western scientists (Heidari, 2015, p. 82). Vowel RepetitionShamisa calls the repetition of a vowel "assonance" )2002, p. 80). Phonetic balance arises from the repetition of a vowel in several words. Safavi emphasizes the repetition of vowels for the two different types of repetition (vowels and consonants) since it may be assumed that “consonants have no sound” (2014, p. 189). Discussion of Results and ConclusionMeters, beat, and rhythm are the most basic tools of poetry, and without them, poetry loses its reality. This point is evident even in Nimai's poetry as well as Blank poetry.By examining and analyzing the meters of Salman Savjoi's sonnets, it is concluded that Salman has benefited more from the rhythmic, sharp, and active meters. In an investigation of 433 sonnets, Salman Savoji used 22 meters, among which 8 meters are the most frequently used ones as follows: the meter of ‘Faalatan, Faalatan, Faalatan, Faalan’ has the highest frequency with 85 sonnets. The meters of ‘Fa’oolan, Fa’oolan, Fa’oolan, Fa’oolan’ and ‘Motafaelan, Motafaelan Motafaelan Motafaelan’, each of which with having one sonnet, has the least frequency. It is understood that Joybari’s meters and Kader’s have received less attention. In fact, it can be concluded that Salman Savoji was familiar with music and knew happy and pleasant songs completely.Salman Savoji's familiarity with music has enabled him to be very careful in choosing vowels and consonants so that he uses phones that have special music and beauty. In the analysis of the diagram of vowels and consonants, the vowels /a:/ and /e/ and consonants /s/, /x/, and /∫/ have the highest frequency in Salman Savoji's sonnets. The three mentioned consonants show inner feelings and emotions, and Salman has used them well.
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