چكيده فارسي :
محمد شفيع بن محمد اسماعيل شيرازي، معروف به ميرزا كوچك، متخلص به وصال، متولد سال 1197ق و متوفاي 1262ق در شيراز، از جمله شاعران برجسته و موسيقي دان نهضت بازگشت است كه در غزل سرايي دستي توانا داشته است و در عين تقليد از سرآمدان غزل سرايي، صفات اصلي بهترين نمونه هاي شعر سنتي را حفظ كرده است و غزلياتش نواي آهنگين و پرجذبه اي دارد. هدف از اين پژوهش بررسي موسيقي دروني غزليات شاعر با استفاده از روش تحقيق تحليلي-بسامدي و نشان دادن اين مسئله است كه موسيقي دروني تا چه ميزان بر نظم آهنگ شعر او تاثير گذارده و اينكه وصال چگونه با استفاده از تكرار كه ركن اساسي موسيقي دروني است، معني شعر را به خواننده القا كرده است. تحقيق بيانگر اين مطلب است كه وصال، با توجه به اطلاع از تاثير نواي خوش موسيقي بر روان آدمي و آگاهي از جنبه هاي زيباشناختي موسيقي الفاظ، توانسته است با استفاده از شگردهاي گوناگون موسيقي دروني، انتخاب واژه هاي زيبا و دلنشين، ايجاد تناسب، تكرار و هماهنگي آوايي واج ها بر روح خواننده اثر بگذارد و معنا را بر دل و جان مخاطب بنشاند.
چكيده لاتين :
Mohammad Shafie Ebn Mohammad Esmaeil Shirazi known as Mirza Kochek with pseudonym of Vesal born on 1197 AH and passed away on 1262 AH in Shiraz is among prominent poets and return movement musician who had a capable hand in composing ghzal and while imitating great Ghazal composers, he has maintained main traits of the best traditional poem specimens and his ghazals enjoy a tonic and appealing tune. The aim of this study is to examine internal music of the poet ghazals using analytical research method and to show that internal music how much influences the poem tone verse and that how Vesal has inducted the poems meaning to the reader using repetition which is the main pillar of internal music. One of the features of poem language is voluntary utilization of this language from poetical devices and techniques which bring it out of routine and colloquial state and give it an artistic aspect. Here, the most tangible factor which gives the language eminence is the poem music. The poem's music has been divided to four types of external, internal, lateral and virtual. That in this paper, only the poem internal music has been examined.
The series of coordination which appear in the words of a poem due to unity or similarity or contrast of consonants and vowels is the flourish of this type of music. Techniques which have played role in the domain of this music are figures of speech like various puns, epanalepsis and so on all of which are subsets of repetition, therefore, repetition in examining the poem internal music has a considerable role. Vesal Shirazi has utilized repetition for increasing the word music and developing and better inspiring the meaning and repetition could be seen in his various poems level. Techniques which have formed in his poem based on repetition mostly include repetition of words and letters and what mostly shows off is word repetition.
Repetition is Vesals Divan appears in two forms, sometimes these repetitions are subject to a special order which is displayed as Aenat, equilibration and epanalepsis and sometime is in free form that its prominent sample could be seen in various types of pun. So that it could be said that various puns and word repetition scattered across couplet is among free repetitions of Vesal poems. In Vesals poem, pun as a type of word arrangement has a special role in creating his poems internal music and various types of pun are considered the most frequently used types of repetition in his poem. Especially surplus pun and difference in type of letter that due to undulation of movements they have, their musical impact is more than homogenous pun and these two types of pun totally have designated 413 cases of the poet ghazals puns to themselves.
Repetition of one or some words in a poem constitutes 520 cases of repetitions of Vesal ghazals sparsely. Sometimes, Vesal emphasizes on his considered notion with this poetic trick and nurtures a notion and concept in the mind of reader.
Reduplication is also another type of word repetition which is called repetitive and is considered among natural repetitions. Vesal Shirazi has used this figure of speech for emphasis, inspiring the concept and making his word more musical since such repetitions indicate multiplicity, emphasis and intensity.
Another kind of this technique is regular repetitions that in Vesal Ghazals include Eanat, coupled, epanalepsis, expizeuxis, simile, converse, leonine verse and equilibration among which epanalepsis with 595 cases is in the first rank. Vesal has utilized such repetitions for emphasis and embossing his considered concepts.
One of most frequently used types of repetition is phoneme repetition. This imagery which is called alliteration has a very high aesthetic value. Depending on his art and taste, Vesal Shirazi has used this imagery very much for illustration and elegance and enrichment of his poems music and the music arising from consonant alliteration is more patent is his poems.
Consonants also have a prominent role in good tune of his poems and among them, decorating the speech with long consonants is more and more salient than short consonants.
Though with repetition of vowel e , that the ancients considered repetition of this vowel as obstacle of speech clarity and reach, and also repetition of vowel o, Vesal increases the couplet music and increases the word influence, and sometimes even by bringing additional and descriptive compounds successively, gives a special music to word which influences the reader's mind. So, many verbal and phoneme repetitions are observed in his poem which causes his word phonemic prominence and this, by itself, is a style characteristic of his ghazals.
