المستوي الصوتي في قصيدة أبي تمام في رثاء ولده قراءة أسلوبية (مقاله علمی وزارت علوم)
درجه علمی: نشریه علمی (وزارت علوم)
آرشیو
چکیده
یتناول هذا البحث المستوی الصوتی لإحدی القصائد المعروفه للشاعر أبی تمام، التی رثی بها ولده. ولا نجد قصیده تخلو من عناصر الموسیقی؛ لأنّ الموسیقی تعدّ عنصرا مهما فی تشکیل ونظم الشعر. وتشمل الموسیقى التی درسناها فی القصیده، الموسیقی الخارجیه والقافیه والموسیقی الداخلیه، حیث درسنا فی الموسیقى الخارجیه الوزن والزحافات والعلل، ثم درسنا قافیه القصیده؛ الحروف والحرکات. أمّا فی الموسیقی الداخلیه فدرسنا أولا الجناس، والطباق، وردّ العجز علی الصدر، ومراعاه النظیر، والتصریع، والترصیع؛ وثانیا التکرار الذی یشمل تکرار الحروف وتکرار الألفاظ. وقد خرجت الدراسه بنتائج منها: أنّ الشاعر استعمل الألفاظ المناسبه للرثاء، وقد کان اختیاره لمجزوء البحر البسیط المسمى بمخلّع البسیط الذی یلائم الحاله النفسیه المسیطره علیه وجوّ الحزن الذی یعیشه فی محله. وجاءت القافیه نونیه مطلقه، مردوفه، موصوله، متواتره. وحرف النون الواقع بین حرفی مدّ یمنح القصیده امتدادا وتصاعدا موسیقیا، خاصه أنّ حرف النون یدلّ علی الأنین فکان الشاعر یختم به کلّ الکلام الذی یذکره فی البیت فیشبه بذلک ما تفعله النائحات فی النیاحه على المیت. وعلى العکس من قصائده الأخرى، قلّل الشاعر من الطباق وندر الجناس لدیه. وإنّ کثره الحروف المجهوره بالنسبه للحروف المهموسه فی القصیده لتدلّ على رغبه الشاعر فی التصریح بهمومه وإعلان شکواه وأحزانه، کما أنّ تکرار حروف النون والراء واللام، لها دلالتها علی الحزن والأسی فی سیاقاتها لتفریغ تلک الشحنات العاطفیه. بینما کرر الشاعر حرف التاء، حرف الهاء وحرف الفاء أکثر من بقیه الحروف المهموسه، لتلطیف کلامه.Stylistic Analysis of the Audio Level in Abu Tammam’s Poem about the Lament of His Son
Our study of Tammam’s poem about the Lament of His Son delved into the external, rhyme, and internal musical elements. In the external music, we analyzed the meter, temporary and permanent changes, and the poem's rhyme scheme, focusing on letters and vowels. Regarding the internal music, we explored alliteration, counterpoint, inlay, viewpoint adherence, and structure, as well as the repetition of letters and words. The study yielded several findings, including the poet's adept use of words for lamentation and his selection of the rhyme meter known as the simple dislocated meter, which aptly captured the psychological state of the melancholic atmosphere. The rhyme was unrestricted, continuous, connected, and frequent. The letter "Nūn" positioned between two elongated letters extended the poem, particularly as "Nūn" signified groaning at the end of the poetic lines, resembling the actions of talented individuals mourning the deceased. In contrast to his other poems, the poet minimized the use of alliteration and counterpoint. The prevalence of voiced letters compared to voiceless letters in the poem signified the poet's expression of his grievances and sorrows. The repetition of the letters "Nūn," "Raa," and "Lam" held significance in conveying sadness and sorrow, while the repetition of "Faa" and "Haa" served to adapt his speech.
Introduction
The poem under study was a lamentation by Abu Tammam for his son. It followed the Basit meter, a vertical poem. The final part of the first and second sections of the meter were both discreet and concealed (the second intertied letter was elided) and their meter letters were slotted.
Abu Tammam was deeply grieved by the tragic loss of his wife, his brother, and his two sons, Muhammad and Ali. In this 21-line poem, Abu Tammam mourned the passing of his son, Ali. The verses could be divided into 4 paragraphs concerning:
Thoughts and reflections about death and the poet's personal experience (Lines 1-6).
Description of his son’s demise (Lines 7-13).
Calling out to his son and lamenting his loss (Lines 14-17).
Expressing grievances about time and the events that transpired (Lines 18-21).
Previous Studies
Ibn al-Rumi’s poem in lamentation of his son: A Semantic Study (2012) by Kobra Roshanfekr and Danesh Mohammadi, Tarbiat Modares University.
Lamentation according to Ibn al-Rumi and al-Khansa’: A Comparative Stylistic Study of the Two Poems "Thakala al-Soroor" and "Dhamen al-Marouf" as an Example, master’s thesis by Saib Iman (2012).
Abu Firas al-Hamdani’s poem in lamentation of his mother prepared by Hajj Murabit Jihad, bachelor’s degree memorandum (2011), Akli Mohand Oulhaj Bouira University Center.
Lamentations for Hussein (Peace Be Upon Him) in the poetry of Abu Dahabal al-Jumahi: A Stylistic Study, an article by Roya Kamali, a doctoral student at the University of Isfahan.
Materials & Methods
The aim of this study was to analyze Abu Tammam’s poem in lamentation of his son, focusing on the audio level as a stylistic element and elucidating its aesthetics. To deepen and enrich the study, we posed the following questions:
What is the poet’s language in the poem?
How do the internal musical elements in this poem align with the poet's intended meaning and psychological states?
How do the external elements of music, such as meter and rhyme, relate to the poem?
In this study, we employed a stylistic approach and utilized statistical analysis. We examined the external music, including meter, shifts, and vowels and then proceeded to analyze the poem’s rhyme, its letters, vowels, and internal musical elements.
Research Findings
The musicality of poetry holds significant importance in the harmonious interplay of words beyond its role in conveying meaning. This article delved into the auditory dimension, encompassing 3 key aspects: external musicality, rhyme, and internal musicality. The poem under study was a vertical composition in the form of Mukhalla al-Basit, which is described as "one of the fragments of the Basit and one of the most widely used and most elegant in its rhythm" (Al-Hashemi, 1412AH, p. 42). The rhyme is absolute, synonymous, connected, and frequent. Absolute rhyme refers to a rhyme, in which the initial letter is movable and connected and the "Wasl" is a prolongation letter resulting from the movement of the initial letter (Wahba, 1984AD, p. 284). It occurs frequently, i.e., consecutively, and refers to every rhyme, in which the initial letter falls between two stable letters (Arabic Language Academy, p. 1010). Additionally, the "Mardoufah" contains "Al-Radf," which is a prolongation letter before the narration (Wahba, 1984 AD, p. 177). The studied poet made use of the open narration (Nūn), which was filled with the Alif of prolongation and the letter Nūn positioned between the two prolongation letters, thus lending the poem an extension and musical crescendo, particularly as the letter Nūn "whose sound vibrations resonate in the nasal cavity is the most effective in expressing feelings of anguish" (Abbas, 1998, p. 158). Therefore, the lamentation permeated the entire poem; the poet consistently concluded all the words he mentioned in the verse with it akin to the practice of mourning women when lamenting the deceased. Regarding the internal musicality, Abu Tammam demonstrated adeptness, blending alliteration with counterpoint in the twelfth verse with his phrase "far away home, near neighbor." Here, "Dar" signified the grave, one of the abodes of the afterlife that we can only reach after a journey spanning years, culminating in death. The term "neighbor" might allude to the proximity of the graves in a cemetery where they are closely situated. This reflected the poet's erudition in selecting words thoughtfully, ensuring their coordination, harmony, and alignment with the intended meaning to evoke a specific mood. Inverted speech was evident between the words "Al-Manun" in the first part and the word "Al-Manun" at the end of the second part (Al-Diwan, n.d, p. 678). Furthermore, the interplay of these words, such as "Saree’, Al-Mawt, Al-Da’, Mustakeen" and "Nahb, Jadath, Al-Thara, Dafeen," gave rise to a distinct harmony and close connection in terms of meaning. The structure of the inflection in the first verse was exemplified by the two words "Yakuna" and "Raja'una," both ending with the letter Nūn, filled with the letter Madd al-Tarsā' in the initial segment of the twelfth verse. Here, we observed that the two stanzas aligned in meter and rhyme. The poet recurrently employed words that shaped the poem's internal musicality and emotional ambiance and the poet's intentions, including Al-Manoun (2), Death (2), Jadath (3), and Al-Thari (3). It is noteworthy that "Manoun" and "death" are synonymous and "Jadath" and "thara" (meaning the grave) are also synonymous, collectively forming the semantic field of death.
Discussion of Results & Conclusion
The linguist De Saussure (1857-1913) made a distinction between language and speech (Rababe’, 2003, p. 13). Following him, his student, Charles Paley, (1865-1947) differentiated between two functions of language: one being communicative involving the delivery of information to the recipient and the other aiming to influence the recipient, thus presenting what is known as the expressive function of language (Khalil, 2002, p. 139). Seidler emphasized that "stylistics focuses on studying the affective and emotional aspects of language" (Rababe’, 2003, p. 14). Leo Spitzer concentrated on the study of literature in linguistic analyses, thus establishing ideal stylistics (ibid., p. 15). Roman Jakobson posited that "the aesthetics of language emerge through the principles of selection and composition, which hinge on the principle of equivalence, dividing it into two axes: the vertical axis corresponding to the principle of selection and the horizontal axis corresponding to the principle of composition" (ibid., p. 18). Michel Riffaterre made significant strides with stylistic structuralism in his 1971 book entitled "Attempts in Structural Stylistics," focusing on the study of style in literary texts and placing special emphasis on the recipients of those texts. He elucidated "Structural stylistics is rooted in the analysis of literary discourse because style resides in language and its functions; there is no literary style except in the text" (Rababe’, 2003, p. 20). Structural stylistics is a form of literary criticism that focuses on language in the analysis of a text, disregarding the aspects related to the author's life, their psychological and social circumstances, and the reality of the society, in which they live. Instead, it is confined to the framework of the literary work itself and does not stray from it. This abstract perspective on literature reduces the elements of the literary text, disregards important critical approaches, such as psychological and historical approaches and even distances itself, from the reality of human life. The prevalence of voiced letters over voiceless ones in the studied poem signified the poet's intention to publicly express his grief over the loss of his son. The frequent repetition of the letters Ra, Nūn, and Lām in the poem conveyed deep sadness and grief, offering insight into the poet's inner and psychological turmoil. Furthermore, the recurrence of whispered letters (Ta, Ha, and Fa) in the poem aptly mirrored its somber and painful theme. The poet's aim in composing this poem was to convey the inevitability of death for humanity, emphasizing it as an inescapable reality.