بررسي موسيقي‏ بيروني و كناري در غزليات قصايد ظهير‏فاريابي

Studying external and lateral music in odes and sonnets of Zahir Fryabi

ظهير‏فاريابي يكي از نام‏آوران عرصه شعر فارسي به‏ خصوص غزل است. او نقش عمده‏اي در شكل‏ گيري، تحول و اعتلاي غزل فارسي داشت ‏است. اين مقاله، بر اساس نرم افزار آماري SPSS و با استفاده از آزمون‏ هاي آماري همچون Anova به دنبال اين پرسش است كه مهم ترين جلوه‏ هاي موسيقي (بيروني و كناري) در غزل‏ هاي ظهير چگونه به‏ كار‏ رفته‏ اند و مهم‏ ترين عوامل تحول و اعتلاي غزل او كدام‌اند و از مقايسه اين موضوع با قصايد او چه نتايجي به دست مي‏آيد. از بررسي انجام‏شده، به اين نتايج مي‏ رسيم كه گرچه قصايد وي نسبت به غزل‏ها از نظر وزن متنوع ‏تر است، در مجموع اشعار او از نظر وزن چندان متنوع نيستند. با اين حال، ظهير سعي ‏كرده از به كار بردن اوزان كم‏ كاربرد و نامطبوع بپرهيزد. در زمينه‏ موسيقي‏ كناري نيز به دليل استفاده از مصوت ‏بلند، كلمات قافيه در غزل‏ها و قصايد او از گوش‏ نوازي خاصي برخوردار ‏است. ظهير توجه خاصي نيز به آوردن رديف در غزل و قصيده دارد، اگر‏چه رديف‏هاي او نيز خالي از تنوع و گوناگوني قابل‌توجه است، بسامد بالاي قصايد و غزليات مردّف در اشعار او بيانگر علاقه وي به اين امر است. مباحث يادشده هريك به گونه ‏اي در تحول و اعتلاي غزل او نقش داشته‌اند.

Abstract Zahir Fryabi is one of the famous people in Persian poet especially sonnet. He played a fundamental role in formation, evolution and promotion of Persian sonnet. The current research searches this question using SPSS software and statistical tests such as ANOVA: how are the most important musical effect (external and lateral) used in lyrics of Zahir? What are the most important factors in developing and promoting his lyrics? What are the results of comparing this issue and his odes? The current research comes to the result that in external music of sonnets, Zahir used 5 Bahrs (poetry) and 10 weights in his 58 sonnets that is an acceptable statistics rather than sonnets. Although there is not that much variety in using Bahrs; also, his odes are more various than sonnets but totally, his poets are not very versatile in terms of weight. Zahir has tried to prevent using lowapplicable and unpleasant weights and this factor itself represents his soft, beauty and melodious sonnets. Among the used Bahrs and weights in his sonnet, Raml Bahr and “Faelaten Faelaten Faelaten Faelen” weight that is calm and usually sad weight, has a specific status. However, it seems logical due to his irritable spirit and types of words he used in his sonnet. On the other hand, Zahir has a significant interest in using high applicable and pleasant weights of Persian poet, both in odes and in sonnets; one can find almost an half of Persian weight in his odes, in terms of variety that has a rather acceptable variety. One of Zahir weakness is that he did not much use Dowri weight that affect richness of verbal music and it has not a significant growth in his sonnets and odes. On lateral music, words of rhyme in sonnets and odes have a significant ear catching aspect due to using high sounds. In the shared letters of rhyme, poet used high applicable and soft letter such as “an”, “ar” and “A” in sonnet which are representative of his subtlety sonnet. There is a variety in the shared letter of rhyme because Zahir used just 23shared letters once in his sonnets and odes. Other used letters are significantly soft and subtle and there are plentiful shared letter with high sound in his syllables of rhymes and this topic added richness of his musical lyrics. In problems of rhyme, in sonnet, “repeating rhyme” and “posterior ita” are the most representative problems. Also in odes, “repeating”, “eqva“, “posterior ita” and “usual rhyme” are more frequent, respectively. In row, Zahir in his sonnet used verb and verb phrase 32 times, noun and noun phrase, adverb and adjective 7 times, letter 5 times. 3words row is used just on time in sonnets that are not that much eye catching. Therefore, in result, that melody which must be exist does not appear and due to repeating verbs in the most rows, there is no movement and stimulation in his sonnets. Therefore, although Zahir have a significant attention to use row in sonnet and ode and his rows have no significant variety and differences, high frequency of rowed sonnets and odes in his poets and utilizing statistic and kinetic rows express his interest in this issue.