بررسي آماري اوزان غزل‌هاي غالب دهلوي

A Statistical Analysis of meters in Ghalib Dehlavi’s Ghazels

غالب دهلوي معروفترين سخن‌سراي قرن سيزدهم هـ.ق. در هند است. در آن سرزمين او را لسان الغيب و شهنشاه سخن مي‌نامند??غالب 334 غزل فارسي خود را در 20 وزن سروده ‌است؛ 85 درصد غزل‌هاي او در شش وزن پركاربرد كل غزل فارسي و غزل سبك هندي است. به اين ترتيب، بيشتر غزل‌هاي غالب مطابق معيار و شيوه‌هاي معمول زمان است؛ امّا از اوزان كم‌كاربرد نيز در غزل خود بهره گرفته‌است. قالب غزل با توجّه به ماهيّت آن پيوند عميق‌تري با موسيقي دارد و نقش وزن در آن برجسته‌تر از ديگر قالب‌هاست و ما در اين مقاله سعي داريم تا به معرفي آماري اوزان غزل‌هاي غالب بپردازيم. بحرهاي مضارع، مجتث، رمل و هزج پركاربردترين اوزان غزل او را شامل مي‌شود. وزن‌هاي كوتاه در غزل غالب كمتر استفاده شده‌است. از ويژگي‌هاي اوزان مورد علاقه او بلندبودن، ثقيل بودن و قابليت تقسيم به دوپاره است. وزن فاعلات مفعولن فاعلات مفعولن تنها وزن نادر غزل غالب است كه 4 غزل را به اين وزن سروده است.

Ghalib Dehlavi is considered as the best-known thirteenth century Indian poet. This Muslim writer and researcher, originally is from Touran with Eibak Turk ancestors. Mirza Asad ollah Ghalib Dehlavi is a pioneer of new styles in Urdu poetry. His poems are written in Urdu as well as Persian. Apart from his elaborate prose, Dehlavi’s odes and lyrics denote the poet’s noble thoughts and lofty nature. In spite of such traits and amazing proficiency in writing Persian poems, though a non-Persian speaker, the man has remained unknown or ignored in Iran. The present paper seeks to make orientations to Ghalib Dehlavi by examining the meters of his Ghazels. Making references to the Indian style, the paper offers a typology and a computational account of meters as used in Ghalib’s poems. It is found that 20 different meters are employed to versify a totality of 334 ghazels of which 85 percent are in only six meters. These six happen to be so frequently used in Persian too. The most frequent meter used by Ghalib is ‘mafoolon faelaton mafaelon faelon’. Highly employed in Persian ghazels too, this meter is so capable of expressing the intended concepts. ‘Mafaelon faalaton mafaelna falon’ is another meter of his interest used more frequently in his anthology than in Persian poetry. The meter ‘mafoolon mafaelon mafaelon faolon’, vastly used by Saadi and Hafiz, also appeals to Ghalib. Ghalib’s application of the octave meters ‘ramal’ and ‘hazaj’, which sound so grave in Persian, suggests his tendency for the Indian style in poetry. However, the rise and fall in the frequency of certain meters in his Divan (complete works) may be viewed as an indication of a retreat from his previously practiced literary style. The only rare meter in Ghalib’s poems is ‘faelaton mafoolon faelaton mafoolon’ first tried in Attar’s ghazels. This meter has also been tried by Hafiz, Khajou Kermani, Saeb, Kalim, Feyz Kashani, and Bidel Dehlavi. The meter has given a stylistic flavour to Ghalib’s poems. Length, gravity, and divisibility into two pieces characterize the meters popular with him. The average frequency of these meters in his poems is higher than that in the Indian style.