تحليل انواع موسيقي مياني در اشعار نو و نيمه سنتي نيمايوشيج

An Analysis of Internal Music in Nima Youshij’s Modern and Semi-Classic Poetry

ﯾﮑﯽ از ﻣﺸﺨﺼﺎت اﺻﻠﯽ ﺷﻌﺮ ﻧﯿﻤﺎﯾﯽ، در ﻣﻘﺎﯾﺴـﻪ ﺑـﺎ ﺷـﻌﺮ ﮐﻼﺳـﯿﮏ، ﺗﺤـﻮل در اﻧـﻮاع ﻣﻮﺳﯿﻘﯽ ﮐﻼم ﺑﻪ وﯾﮋه ﮐﺎرﺑﺮد ﻣﻮﺳﯿﻘﯽ ﻣﯿﺎﻧﯽ و دروﻧﯽ اﺳـﺖ ﮐـﻪ در اﺷـﻌﺎر ﻧﯿﻤﺎﯾﻮﺷـﯿﺞ ﻗﺎﺑـﻞ ﺗﻮﺟﻪ و ﺑﺮرﺳﯽ اﺳﺖ. در اﯾﻦ ﻣﻘﺎﻟﻪ ﺑﻪ ﺷﯿﻮه ﺗﻮﺻﯿﻔﯽ، ﺗﺤﻠﯿﻠﯽ و ﮐﻤﯽ ﺑﻪ ﺑﺮرﺳﯽ ﮐﺎرﺑﺮد اﻧﻮاع ﻣﻮﺳﯿﻘﯽ دروﻧﯽ در اﺷﻌﺎر ﻧﻮ و ﻧﯿﻤﻪ ﺳﻨﺘﯽ ﻧﯿﻤﺎ ﭘﺮداﺧﺘﻪ ﻣﯽ ﺷﻮد. اﺑﺘﺪا ﺑﻪ ﻃﻮر ﮐﻮﺗﺎه ﺑـﻪ اﻫﻤﯿـﺖ ﻣﻮﺳـﯿﻘﯽ دروﻧـﯽ ﺗﻮﺟﻪ ﺷﺪه و ﺳﭙﺲ اﻧﻮاع ﻣﻮﺳﯿﻘﯽ ﻣﯿـﺎﻧﯽ ﺷـﺎﻣﻞ ﺳـﺠﻊ، ﺟﻨـﺎس و اﻗﺴـﺎم ﺗﮑﺮار، ﺗﮑـﺮار واج، واژﮔﺎن و ﻋﺒﺎرت ﺑﺎ ﺷﻮاﻫﺪ و ﻧﻤﻮﻧﻪ ﻫﺎﯾﯽ ﺗﺤﻠﯿﻞ و ارزﯾﺎﺑﯽ ﺷـﺪه اﺳـﺖ. ﺑﺎ ﺗﻮﺟـﻪ ﺑـﻪ ﺑﺮرﺳـﯽ ﺻﻮرت ﮔﺮﻓﺘﻪ، ﺗﮑﺮار ﺻﺎﻣﺖ و ﻣﺼﻮت ﺑﯿﺶ از ﻣﻮارد دﯾﮕﺮ ﺑﻪ ﮐﺎر رﻓﺘﻪ اﺳـﺖ؛ در اﯾـﻦ ﻣﯿـﺎن ﻣﺼﻮت (آ) ﺑﯿﺶ ﺗﺮ ﺗﮑﺮار ﺷﺪه و آن اﻏﻠﺐ ﻧﺎﻟﻪ و ﻓﺮﯾﺎد را ﺗﺪاﻋﯽ ﻣﯽ ﮐﻨﺪ، ﮐـﻪ ﺑﯿـﺎﻧﮕﺮ روﺣﯿـﻪ ﺑﯿﺪارﮔﺮ ﺷﺎﻋﺮ اﺳﺖ. ﭘﺲ از آن در ﺑﯿﻦ اﻧﻮاع ﺟﻨﺎس، ﺟﻨﺎس ﻻﺣﻖ، ﺑﯿﺶ ﺗـﺮﯾﻦ ﺑﺴﺎﻣﺪ را دارد. ﺗﮑﺮار ﺟﻤﻠﻪ و ﻋﺒﺎرت و ﺟﻨﺎس ﻟﻔﻆ، ﮐﻤﺘﺮﯾﻦ ﺑﺴﺎﻣﺪ را دارﻧﺪ. آﻧﭽﻪ ﻣﺸﺨﺺ اﺳﺖ، ﻧﯿﻤـﺎ ﺑـﺎ آﮔﺎﻫﯽ از ﻣﻮﺳﯿﻘﯽ دروﻧﯽ در ﺷﻌﺮ ﺑﻬﺮه ﺑﺮده اﺳﺖ، ﺗﺎ ﺑﺘﻮاﻧﺪ ﮐﻤﺒﻮد وزن را ﺟﺒﺮان ﮐﻨﺪ.

One of the main features of Nimayi-style poetry (blank verse) in comparison with classical poetry is the change brought to the music of poems, and internal music in specific. The present research is to study, via a descriptive-analytical approach, the use of different types of internal music in Nima Youshij’s modern and semi-classic poems. To do so, the researchers have reviewed briefly the importance of internal music in poetry first, and then have examined and analyzed the different forms of internal music, including rhyming rhythm, pun, repetition, alliteration, and words. The results revealed that the use of assonance and consonance was more than other devices, and “A” (as pronounced in Persian /a:/) is repeated significantly more often, that associates the howl and outcry indicating the awakening and provoking spirit of the poet. On the other hand, while the repletion of clauses, phrases and homophonic puns have been less abundant in his poems, recursive puns appear frequently. Then, it is clear that Nima Youshij consciously has used internal music in his poetry as a way for compensating lack of meter