پديد آورندگان :
مدرّسي ، دكتر فاطمه نويسنده استاد گروه زبان و ادبيات فارسي، دانشگاه اروميه , , عرب، مريم نويسنده - ,
كليدواژه :
موسيقي , عين القضات , تكرار , تمهيدات , جناس , سجع
چكيده فارسي :
صنعت هاي بديعي افزون بر كاركردهاي زيباشناختي خود تاثيرات گوناگوني بر كلام مي‌گذارند. موسيقي دروني يكي از اثرات صنايع بديعي است كه مي تواند نقش مهمي در زيباسازي كلام و تاثير آن بر مخاطب داشته باشد. منظور از موسيقي دروني، موسيقي اي است كه با استفاده از صنايع بديع لفظي به وجود مي آيد. صنايعي كه باعث مي شوند، كلمات به وسيله تشابه و تجانس هر چه بيشتر مصوتها و صامتها به يكديگر وابسته شوند و بين آن‌ها رابطه آوايي محسوسي ايجاد شود. بايد توجه داشت كه تكرار ركن اصلي موسيقي دروني است و اساسي ترين خصوصيت موسيقي به شمار مي رود؛ زيرا اگر تكراري نباشد، نه تنها وزن، بلكه آهنگ هم به وجود نمي آيد. در واقع هم در نت هاي موسيقي و هم در هجاهاي كلمات و جملات شعر، تكرار اهميّت دارد. مقوله هاي تكرار، واج آرايي، جناس و سجع از جمله صنايع بديعي هستند كه در ايجاد موسيقي دروني شعر نقش عمده اي ايفا مي كنند. در اين پژوهش برآنيم با رويكردي توصيفي- تحليلي به عوامل موسيقي ساز تمهيدات به عنوان نمونه‌اي از شعر منثور بپردازيم. برآيند تحقيق نشان از آن دارد كه تكرار از جمله صنايع بديعي است كه ضمن ايجاد موسيقي در اين اثر منثور، كمك شاياني به القاي مفاهيم و معاني مورد نظر عين القضات مي كند.
چكيده لاتين :
Figures of speech in addition to their aesthetic functions have different effects on words. Internal music is one of the effects of figures of speech which can play an important role in beautifying the word and its effect on the audience. The internal music comes with the use of verbal figures of speech. Figures that make words related by similarity or uniformity of vowels and consonants and create sensible alliteration. Categories of palilogy, alliteration, parallelism, pun and riming prose are among the figures of speech that play a major role in creating internal music of the poem. In this study, with a descriptive-analytical approach, we discuss the roll of music making factors in Tamhidat as an example of prose poem. The language of Ein ol-Ghozat in Tamhidat is preachy and didactical and in an addressing mode. Despite the intensity and sharpness of his speech, he speaks simple language with his audience. However, his words are in some cases melodious that influences audience and increases its penetration in the listener. The music of his words is natural so the listener can feel it with his spirit and takes its effect. Well syntagmatic arrangement of words is one of his language features that is based on music and phonemesʹ melody. This music gives words importance and predominance and makes Tamhidaʹs prose a kind of prose poem. Applying some of the subtle and tiny musical elements such as parallelism (paronomasia /pun) makes the music of book more effective and catching. In other words, harmony of sounds and synchronization through which prose becomes rhythmic and melodious is one of the aesthetic aspects of the mystical prose of Ein ol-Ghozat that arises from his wordʹs music and special intonation, so as human nature accepts it and enjoys reading. This word music is found in the form of alliteration, pun, repetition, and meter in important parts of his speech that sometimes becomes close to prosodic meter. In Ein ol-Ghozatʹs prose without feeling prosodic meter by listener, a wave of intonation and meter dominates resulted from alliteration and rhyme, and proximity of the number of syllables in every symmetry and perhaps likeness and nearness of the number of syllables in all or parts of the symmetries.
Repetition as a key element of the internal music is one of Ein ol-Ghozatʹs stylistic characteristic. Repetitions are seen in three forms in Ein ol-Ghozat languages. 1- Alliteration, this group consists of various kinds of pun, rhyme, repetition, etc. 2- Parallelism: Repetition of words or phrases. 3- Palilology: Repetition of word: This form is one of the most important and aesthetic repetition in Tamhidat that in addition to making prose integrated, is effective in conveying the concept and content of the message of Ein ol-Ghozat, as repetition of the words "Alas," " O’ Friend," and "O’ Dear" in several phrases has a great influence in stimulation of feeling and inculcation emotion in the reader.
Alliteration: One of the most important aspects of aesthetics in the mystical prose of Ein ol-Ghozat are sound harmony and alliteration that can be mainly found in pun/ paronomasia and riming. Usage of rhyme in all Tamhidat is not in the same level. Wherever discussion is didactic and reasoning, it is not generally riming, but where the subject is stories and anecdotes and analogies or becomes emotional, usually is riming. One manifestation of this figure is short sentences and aphorisms, whether the word is quotation of an old or an important person or whether the author expresses his own word.
Apart from these, Ein ol-Ghozat has worked other ways to enrich his wordʹs music. The most important of these methods are:
• Bringing words that at least their initials are co-voiced. Such as: "Ebtela" and "Emtehan"
• Phonemes processing: a kind of internal music is repetition and sameness of consonants and vowels. This figure in some cases, with creating a specific internal music, highlights the phrases and helps to conveying the message and gives pleasure to the audience.
• Bringing together words that make a pun is another species of alliteration in the language of Ein ol-Ghozat. This figure of speech is one of the best examples of creating and enhancing music in words or sentences.
• Bringing together the co-meter terms is one of other species of alliteration in Tamhidat.
• Repetition of words or phrases, are of those categories that is used in the mystical prose of Ein ol-Ghozat and is one of the stylistic features and music making elements of his Word. Repetition in Ein ol-Ghozatʹs language, sometimes have artistic and rhetorical aspects that helps his prose being rhythmic and is effective in conveying the meaning and intention of the speaker. Ein ol-Ghozat while repeats thoughts and beliefs of the mystics, repeats words and combinations in the various types, so that he not only raises the wordsʹ musical level and makes it melodious, but also increases the rhythmic role of his own speaking. Sometimes this repetition in the form of word or phrase in the end of sentence comes symmetrically, it functions like radif in hemistiches and if in the terms of syllables number be long, makes an intonation in the words too.
