نوع المستند : علمی ـ پژوهشی
المؤلفون
1 طالبة الدکتوراه في اللغة العربیة وآدابها، جامعة الإمام الخمیني الدولیة، قزوین، إیران.
2 الأستاذ المشارک، في اللغة العربیة وآدابها، بجامعة الإمام الخمیني الدولیة، قزوین، إیران
3 الأستاذ المشارک، في اللغة العربیة وآدابها، بجامعة الإمام الخمینی الدولیة، قزوین، إیران
المستخلص
الكلمات الرئيسية
عنوان المقالة [English]
المؤلفون [English]
For poetry Diwan of the Arabs, poetry for melodies and songs; Contemporary poets treat the pain of society with pen drugs, and every person is endowed with the power of reason and imagination, he will taste music for poetry according to his literary tastes. Tastes may differ, but the person who is the slightest gift of taste, enjoys the aesthetic of the contemporary Arabic poem.
The rhythm is known as the loud voice that soars the poet’s idea in the sky of reality and imagination. And the rhythm serves the meanings and gives it the special meaning and broad horizons, as the word does not correspond to the meaning. The limitless meanings abound. They call it The meaning of meaning. This research deals with the phenomenon of rhythm and its types, with a focus on the musicality of the poet of the contemporary Omani poet, Saeed Al-Saqlawy, and its relationship to the meaning of speech. The relationship between music and poetry is an organic one, for poetry in its artistic form consists of several acts that represent musical units that give the poem a captivating and influential tone; And when the poem loses the magic of this melody, that delicate artistic thread that draws the recipient to hear the poetry is cut off.
The rhythm of poetry is like the chirping of the poet and the ringing of his thoughts, which rings the bell of contemplation and contemplation in the mind of the recipient and comes to his mind what he wants the poet to share with him the emotions and feelings. The external and internal types of falling into the speech process in steps; They are the psychological events and mental processes that take place in the mind of the poet and then, spread feelings and emotions on the recipient and reveal the facts to him. The recipient tastes the rhythm in the poem and perceives it with the meanings and there may be some of the meanings hidden in contemporary poetic poems that only the poet himself sometimes realizes. But what is not fully comprehended, not all is left. The external rhythm emanates from the linguistic sounds and the venerable seas, and the inner rhythm originates from the ideas contained in poetry. And both of them complement the meanings and connotations that he would not taste the aesthetics of poetry without him. This article wants to search for the semantic structure and the rhythmic structure and the relationship between them in the Divan “The Canticle of Water”. He has 24poems that include concepts such as homeland, patriotism, martyrdom, awakening, and the history and civilization of the Arab homeland.
Rhythm is the cornerstone of every contemporary poet's poetry. Slawi chants poetry with rhythm and music excerpts in his collection entitled: “The Water Song”. Through this article, we want to get to the quality of using rhythm and its types in his office. This office was elected because it is full of external, internal, moral, and even lateral rhythms, and the recipient's hand is open to taking unlimited concepts in it.
The questions we want answered are:
How did the Omani poet Saeed Al-Saklawy employ the inner rhythm of all kinds in the Divan "The Canticle of Water"?
How is it possible to see the relationships between the rhythms and their connection to the meanings used?
The poet Al-Saqlawi employed several performances of Hebron weights. It seems that the weights used have a special feature that they seek in situations that are enthusiastic, emotional and imaginative. The poet is free to choose Bahour according to his aims, energies and poems ٱ modern poems are distinguished by not being restricted to a single weight and diversity. In his inner rhythm, he employs salqawi to the rhythm of in tandem with the harmony of ideas somewhat. We see it moving from one topic to another, from one idea to another. He is optimistic that conditions in Arab countries in particular, and the Islamic world in general, improve after they were subjected to war, destruction and devastation. These topics appear in its use of the rhythm. It seems to apply these meanings with the support of the rhythms such as the rhythm of repetition, the rhythm of parallels, the rhythm of intonation, the rhythm of the accent, the rhythm of photography, the rhythm of silence.
The authoritative plan and approach used in this article is descriptive-analytical, which relied on library sources.
الكلمات الرئيسية [English]
تناسب موسيقی و مضمون در اشعار پایداری سعید الصقلاوی
مطالعه موردی دیوان نشید الماء
زهرا رحیم پور*[1]
عبدالعلی آل بویه**، نرگس انصاری***
چکیده
يکی از مهمترين عناصر زیبایی شعر، موسيقي و ریتم اشعار است. ارزش این مهم زمانی ادراک می شود که هماهنگی موسيقی و محتوا در شعر احساس شود. در این مقاله نخست به اهميت، هماهنگی وتناسب موسیقی شعر، انواع و زيبايی آن می پردازیم، سپس مباحثی را در باب معرفی شاعر معاصر عمانی، سعید محمد الصقلاوی بيان خواهيم کرد و پس از آن به مولفه هماهنگي و تناسب موسيقی و محتوا، در دیوان نشید الماء (ترانه آب)، خواهيم پرداخت. نمونههای زيبايی از اين هماهنگی و عنایت به اين تطابق را که در اشعار ديده میشود؛ خواهيم آورد. از این رهگذر خواهیم دانست اين هماهنگی موسیقی و مضمون، چه نقشی در زيبايی و تاثيرگذاری اشعار پایداری صقلاوی داشته است. وی موضوعات روز جهان اسلام را با به کار بردن انواع موسيقی مانند موسیقی بيرونی و موسيقی درونی، مانند موسیقی تکرار، موسیقی مکث و توقف، و سایر موسیقیها در دیوان خود بیان کرده است.
کلیدواژهها: موسیقی داخلی، موسیقی خارجی، سعید الصقلاوی، دیوان نشید الماء.
[1] * دانشجوی دکتری زبان و ادبیات عربی، دانشکده ادبیات و علوم انسانی، دانشگاه بین المللی امام خمینی ره، قزوین، ایران (نویسنده مسئول). Rahimpourzahra21@gmail.com
** دانشیار زبان و ادبیات عربی، دانشگاه بین المللی امام خمینی ره، قزوین، ایران alebooye@hum.ikiu.ac.ir
*** دانشیار زبان و ادبیات عربی، دانشگاه بین المللی امام خمینی ره، قزوین، ایران n.ansari@hum.ikiu.ac.ir
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