كليدواژه :
شعر شفاهي , شعر كار , كارآوا , وزن شعر , قاليبافي , مشكزني
چكيده لاتين :
Despite the differences that recently have arisen in determining the meters of the folk poetry, it can be said with confidence that the meters of the folk poems follow the rules of syllabic accentual meters. Work songs (work poetry) is a branch of folk poetry which is read in harmony with the rhythm of the work and it has work-related content. Workers recited these poems in groups or individually to refresh themselves, making work easy and faster. In this article, at first, we have defined the work songs and its types and characteristics, and then analyzed the meters of these poems from two perspectives: the quantitative meters, and the syllabic accentual meters. We have found that the work songs follow the syllabic accentual meters and there is a significant relationship between the meters of work songs in a specific branch. The work songs also match the rhythm of the work. Also, by changing the work rhythm, it takes on different rhythms as well.
ntroduction
With the extensive research that has been done in recent years on the quality of oral poetry, the differences of this category of poems with official poems have been recorded. By reflecting on the meter of oral poetry, many researchers have found that the meter of oral poetry does not match the meter of prose and follows a different pattern with different rules. Work poetry is a branch of oral poetry, which is read in order to work with different purposes. This type of poetry, which is strongly related to the work in terms of content and includes work-related names, terms, and tools, has significant differences in meter and prosody.
Research Objectives and Questions
In this article, after defining and explaining work poems, its types and functions, and reviewing two types of meters in Persian poetry (pronouns and syllable accents), we will analyze the weight of work poems or caravans and investigate if work poems can be completely understood. We will also seek to realize if the weight of the syllable support is compatible. Is there a unity of weight among the poems in a specific field of work? Has the rhythm of the work been effective in determining the weight of the caravans?
Research background
The first person who has done a serious research within this area was Khanlari (1966), followed by Adib Tusi (1953). Fatemi (2003) has addressed this issue in the childish rhythm of Iran from a musical point of view; Omid Tabibzadeh (2020), analyzing the weight of folk poetry following Khanlari, considers the weight of oral poetry as a syllabic reliance. However, no independent research has been done on how this happens and the coordinates of the weight of the poems, as well as the harmony of the weight of these poems with the rhythm of the work. The research that has been done so far on the subject of work poetry is often a collection of work poems and songs from different parts of the country, and a sociological study and their thematic classification. The most important of them are: poetry in Persian literature by Panahi Semnani (1369), culture of music in Iran by Javid (2017), carnavas by Homayouni (2007) and songs by Farhadi (2000).
Analysis
There are two common theories about how oral poetry weighs. Some scholars believe that the weight of oral poetry is a weight in which the number of syllables along with the weight (Ictus) of the words is the determining factor; some also believe that oral poems, like official Persian poetry, have a prosodic weight. The first group has taken a more correct way in determining the weight of oral poetry. Oral poems have a regular weight that can be analyzed and examined regardless of the rules of prosodic weight, and Karava comprises a significant part of oral poems.
Work songs are a wide range of sounds, words, and poems that flow in human language in harmony with work.
Examples of Carpet weaving songs (poem) and Mashk Zani (shaking waterskin) songs (poem):
I weave a carpet loudly / so that my master can look at it / and open his wallet / and give us three.
I ran to the other side of the bazaar / I ran to the other side of the bazaar / I sold a pair of rugs / I bought a pair of socks / the bazaar has slumped / the ladies' hearts were grilled / oh, from this dust and difficulty of carpet weaving.
My waterskin is twin / Its strap is colored / Its butter is heavy / I beat it until it comes / it gives me Six kilos of butter / oh my waterskin / My waterskin is twin / Its strap is colored / Its butter is heavy / But my house is colored.
I have a four-cornered pot / it milks four large herds milk / let's milk / and sell curd and oil / oh Hela waterskin and Hela waterskin / my life to the victim waterskin.
Conclusion
Examining the weights of the poems, we found that the weight of these poems, due to the weight of the oral poems, is a weight of syllabic support and is not compatible with the weight of prosody in any way. The inconsistency of the quantity of syllables, the lack of coherent rules in short or long syllables, the excess or deficiency of the number of syllables in a line of a poem, the variable weight and the asymmetry of the syllables are some of the characteristics of the work poem that provide non-transverse weight for these poems. The weight of the syllabic accents, like the weight of pronouns, has rules and authorities that all follow the linguistic features, pronunciation, and reading style of the speakers.
Among the poems of work in certain fields, there is proportion and harmony in terms of weight. On the other hand, the weight of the poems of work has a considerable proportion with the desired rhythm of work. Thus, all the poems we studied in weightlifting, due to the nature of the work, which requires a coherent rhythm, were all, without exception, in the same weight.
