عناصر الإيقاع ودلالاتها في ملحمة كربلاء الشعرية (مقاله علمی وزارت علوم)
درجه علمی: نشریه علمی (وزارت علوم)
آرشیو
چکیده
لا شک أن الموسیقى جانب هامّ فی الشعر، بحیث إن خلا الشعر من الموسیقى والإیقاع فیخف تأثیره على المتلقی ویقترب من النثر العادی. فلذا عنی نقاد الشعر بموسیقى الکلام بوصفها عنصرا أصیلا فی البنیه الشعریه. «کربلاء» ملحمه شعریه تاریخیه تتناول بأسلوب أدبی خلاب سیره الإمام الحسین (g) منذ ولادته حتى استشهاده، والتی قام بإنشادها الشاعر اللبنانی المعاصر، سعید العسیلی (1929 1994م). ومن المیزات الأسلوبیه البارزه لهذه الملحمه الأدبیه هو أن العناصر الموسیقیه جاءت بصوره فنیه لتؤثر على المتلقی. ومن حیث أن الأدب الفنی یتمیز عن الکلام العادی باستخدام الموسیقى الساحره والجرس اللفظی الرنّان، ففی شعر العسیلی ساعدت موسیقى الحروف والکلمات والعبارات الشاعرَ على أن یلبس شعره رونقا وجمالا، بحیث أثر هذا الإیقاع على التعبیر الأحسن عن الوقائع والأحداث والمشاعر والأحاسیس. فی هذا المقال، تطرقنا بمنهج وصفی تحلیلی إلى أهم العناصر الموسیقیه فی ملحمه کربلاء وأثرها فی أداء المعانی ودورها فی إیصال المدلول إلى ذهن المتلقی. ففی نظره عابره، یمکننا القول إن العناصر الموسیقیه الخارجیه (مثل الوزن العروضی والقافیه) والداخلیه فی نوعیها الصوتی (مثل التکرار والتجنیس و...) والمعنوی (مثل التقابل والتناسب و...) زادت الأشعار إیقاعا وساهمت فی خلق فضاء موسیقی موحیه وساعدت على أداء المعانی بصوره أفضل.Analysis of Musical Elements in the Karbala Epic
Undoubtedly, the music of a poem is very important so that if poetry is devoid of music and rhythm, its influence will be reduced and it will become an ordinary prose. Therefore, poetry critics have considered music as one of the original elements of poetry. Karbala is a poetic epic that shows the life of Imam Hussein (AS) from his birth to his martyrdom in a beautiful literary style. This epic was written by the contemporary Lebanese poet Saeed Al-Osayli (1929-1994). It includes 222 poems and deals with the biography of the master of martyrs, Imam Hussein (AS), from his birth until his martyrdom in Karbala in the year 61 AH. The poet exerted his effort in singing this epic, and as he says, he suffered a lot (Al-Asili, 1986, p. 14). It is worth noting that this epic has a prominent literary style and is considered one of the most beautiful Husseini poems in the modern era.
In this study, we tried to investigate the musical elements in the Karbala epic and shed light on the most important vocal features that made the verses and poems of this epic attractive. The study seeks to answer the following two research questions: 1) What are the prominent and influential rhythmic elements in the Karbala epic? 2) How do these musical elements improve speech and what is their semantic role in conveying the meaning to the recipient in a desired manner? One of the prominent features of this epic is its outstanding and artistic music. Since one of the differences between artistic poetry and ordinary speech is the music and rhythm of words, in the epic of Karbala, the music of letters, words, and expressions of the poet has helped to cover the beauty of his poetry. This pleasant music has made the poet better able to narrate the events and convey his feelings to the reader. In this research, the most important musical elements and their semantic impact on the Karbala epic are presented.
The results indicate that the external musical elements such as the weights of the poems and the interjections in this poetic epic help the poet to create a musical space that suits the poetic purposes. The poet is a great success in choosing the weight of the poems and the poetic rhymes. In addition, he was too careful in providing the rhymes and did not stick to one rhyme in the 212 poems; rather, he used 14 words for rhyme. This diversity in the use of letters may lead to a lack of readership. In terms of internal music, it can be said that this music, with its vocal (literal) and coherence features, has helped the poet to create a musical space suitable for his poetic purposes. The poet has used sound elements such as personification and repetition in various technical, multiple, and different types, which have given birth to musical verses and poems, and he has also used effective spiritual musical elements such as proportion and contrast. Between the parts of speech and the false speech, they are cast and mixed.
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