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Review and analysis of poetry music in Khajavi Kermani's ghazals

Number of pages: 170 File Format: word File Code: 31492
Year: 2014 University Degree: Master's degree Category: Literature - Persian Language
Tags/Keywords: Court of Khajovi Kermani - ghazal - Khajovi Kermani - Music analysis - Persian literature - poetry - Poetry music - Review and analysis - Sonnets
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  • Summary of Review and analysis of poetry music in Khajavi Kermani's ghazals

    Dissertation for obtaining a master's degree

    in the field of Persian language and literature

    Abstract:

    This thesis is a research on "Research and analysis of poetry music in Khajovi Kermani's ghazals" to achieve this goal, the music of Khajovi's poetry and the way of using artistic capacities and creations and The literary possibilities used in his sonnets have been examined. Khajo has 934 ghazals, which have been selected using a systematic method of 100 ghazals from his divan. The first chapter contains generalities, the second chapter is about the introduction and biography of the poet; In the third chapter, the external, lateral, internal and spiritual music of sonnets has been examined and analyzed, and the works of innovative science, their role and aesthetic aspects, methods and tricks of Khajo in creating poetry music have been tried to be revealed. The fourth chapter is dedicated to the statistical tables and also to the achievements and results of the research, which was carefully clarified in Khajo's poems that, in general, statistically, the percentage of the presence of musical elements in Khajo's poetry is almost high, for example, the saj' array is used a lot and among the types of saj', saj' is the most used. Among the types of puns, the pun has a high frequency. In the sound part, what is repeated is the repetition of the long vowel "a" and this has caused the creation of special music in Ghazalyat. Proportions are more of the type of respect for example and contrast, and Iham is used less than other arrays. These elements are used in Khajovi's poetry with artistry and elegance.

    Key words: review and analysis of the music of Khajovi Kermani's Ghazal.

    Statement of the problem: (exact definition of the problem, statement of the limits of the problem, description of different aspects and dimensions of the subject and the ambiguities of the research).

    Each poet has his own style, one of the distinguishing factors of the style is the music of the poem and the use of musical elements. He is one of the poets who has managed to create a special music in his ghazals by using difficult rows and rhymes and different weights that are rarely seen in other poets' divans. Also, the use of unique compositions, themes and sounds, examples of which have been adapted by poets such as Molavi and Hafez, has caused an obvious difference in his ghazals from the point of view of music. Therefore, we intend to use a systematic method to select 100 sonnets from his collection of sonnets and analyze them in terms of types of music and musical elements such as weight, row, rhyme, verbal and spiritual arrays such as repetition, contrast, and similar considerations. The external music of the poem is the prosody aspect of the weight of the poem, which can be applied to all poems written in the same weight. 2- Side music of the poem: factors that have an effect on the musical system of the poem, but its appearance is not visible throughout the verse and stanza. Like rhymes and lines. 3- The internal music of the poem: each of the manifestations of variety and repetition in the sound system, which is not from the category of external music (weight) or side music (rhyme), is in the conceptual field of this type of music. 4- The spiritual music of poetry: Just as the symmetries, contrasts and similitudes, in the field of the sounds of the language, create the music of sounds, the same symmetries, similitudes and contrasts, in the field of semantic and mental matters, organize the spiritual music. (pages 393-391, the music of the poem, Mohammad Reza Shafiei Kodkani).

    Research questions

    The main question: What are the musical elements of poetry in Khajavi Kermani's sonnets?

    Sub-question:

    Research hypotheses

    Main hypotheses: It seems that Khajo has created a heartwarming and beautiful music in his sonnets by using various weights and rows and nominal and present rhymes.In his poems, there are countless verbal arts such as sajja and janas.

    Subhypotheses:

    Related records or research background

    Articles and dissertations have been compiled about Khajo's life, circumstances and works, of course, none of them have specifically examined the music of poetry in his sonnets. And.

    For example, theses with the following titles were observed.

    1 stylistic analysis of 50 Ghazals of Khajovi Kermani - Leila Kamal Khani, Allameh Tabatabai University.

    2 Similes in Ghazals of Khajovi Kermani - Shaista Aq Atabai, Payam Noor University of Tabriz.

    3 Description of the words and combinations and expressions of the Diwan Khajovi Kermani - Mohammad Mehdi Bairami, Ferdowsi University of Mashhad.

    4 The culture of customs and gestures in the Diwan Khajovi Kermani - Ahmad Reza Galabi, University of Kashan.

    Research needs and goals

    Helping to understand the musical characteristics of Ghazal Khajovi Kermani

    Helping to understand the literary beauty and artistic creation potential of the poet.

    Method of work

    Type of research method: The method of gathering information for this research is a library and the method of research is literary content analysis. First by referring to the Poet's Diwan and then by using published books found in the fields of music, poetry and prosody and original books, the meanings and expressions of 100 Khajo's sonnets will be analyzed and examined.

    The tool for gathering information, extracting data from sources and the method of gathering information is a library.

    A) Original and Prosodic Section

    1 weight: mention the name of the weight and song written

    Rhyme and row: mention the words of rhyme and verse in each ghazal

    3 verbal novelties

    13 Sajja: extraction of parallel and balanced sajja as well as balanced sajja which include one or more common phonemes.

    23 puns: different types of puns have been extracted by mentioning its type.

    33 repetitions

    133 repetitions of words: if there were repetitive words, it has been mentioned.

    233 homonyms: repetition of a phoneme with a high frequency and can be felt.

    333 assonance: the repetition of a high-frequency or perceptible vowel is mentioned in each verse.

    4 original spiritual

    1 4 compatibility: in this section, words that fit each other in a way are mentioned.

    24 contrasts: Opposite words in a verse are considered in this section.

    34 Iham: In this section, words that have Iham and its different types are considered.

    b) Analytical section (mentioning the most important points and musical subtleties of the sonnets)

    In this section, the most important points that play on the ears and listen to the poem The feeling is mentioned. Also, the juxtaposition of two identical or almost identical phonemes between two words, which makes the verse a bit difficult when reading, is referred to as pseudo-tanafarkalma. style="direction: rtl;">In general, the music of the poem includes the following:

    1 The outer music of the poem: The outer music of the poem is the prosodic aspect of the weight of the poem, which can be adapted to all the poems written in the same weight.

    2 The side music of the poem: The side music means factors that have an effect in the musical system of the poem, but its appearance throughout the verse or The stanza is not visible. On the contrary, external music, whose manifestation is the same throughout the verse and stanza, and is equally present everywhere. The most obvious example of side effects of music is the rhyme of Vardif.

  • Contents & References of Review and analysis of poetry music in Khajavi Kermani's ghazals

    List:

    Persian abstract..1

    1 first chapter: Generalities. 2

    2 The second chapter: Introduction and familiarity with Khajo's life and works. 4.

    3 Chapter Three: Description and analysis of the music of Ghazalyat. 7

    13 O month of Qabchaggi, it is night from Sir Bene Baghtag. 8

    23 The butler came at dawn, bring that cup. 10

    33 O passer-by, don’t leave me in this event. 12

    43 If you come in the form of Samand, the wind of the Golan. 14

    53 The singer came at that time. 16

    63 At dawn, I am behind the veil. 18

    73 I went to my shower, I saw a girl crying in my sleep. 20

    83 I remember that day when you smelled of life. 22

    93 A patient with a drunken eye is better. 24

    103 Our work does not suit you without your beauty. 26

    113 The heart is a veil on the road. 28

    123 All friends are intoxicated and the cup full of May is pure. 30

    133 What is this wind that came from your cave?

    163 Disbelief in the head of Zulf is our faith. 38

    173 Reason is a chicken in our nest. 40

    183 Chu has blown hyacinth from his goat. 42

    193 Oh, your lips are a wind seller and my heart is a wind worshiper. 44

    203 I can't sit at home without a companion any longer. 46

    213 Love is frowning and its eyebrows are full of blood. 48

    223 Which heart is not caught and tied to you. 50

    233 No matter what you do, why play love? 52

    243 The caravan pitched its tent in the desert and passed away. 54

    253 Oh bright moon from Benagoshte. 56

    263 It dawned when the world smelled of spring. 58

    273 I did not see a head of hair from your middle except from your waist. 60

    283 The burning fat of my eyes is the candle of your porch. Wind. 62

    293 Until my heart fell in the bend of that cement-like stream. 64

    303 That is the leaf that Saba planted on the floor. 66

    313 My heart should not suffer from the pain of life. 68

    323 Because it will fall on that fiery face. 70

    333 If that moon becomes kind. 72

    343 74

    353 We can't turn our backs on the bow of our eyebrows. 76

    363 A parrot gathers sugar from a narrow pistachio. 78

    373 A hen throws feathers on his way. 80

    383 Arrogance of longing is not worth an answer. 82

    393 The pain of grief heals love. 84

    403 Whoever is a step away from him should not think of gold. 86

    413 Khosrow Anjam went to the roof. 88

    423 The hadith of love will remain with us. 90

    433 They have covered the sun with musk. 92

    443 Because they write your green line on the sun. 94

    453 My moon blooms with black musk in my skirt. 96

    463 Don't leave me late so that they know I'm not. 98

    473 Let the people of research come to the ruins. 100

    483 Leave me as if it was for the sake of Nakhjir. 102

    493 At that time, my heart was not burned by works. 104

    50 At that time, there was neither a candle nor a basin. 106

    513 Oh, let every amber be placed on the nest. 108

    523 Do not reduce a gram of sweet and sweet to sugar. 110

    533 When you open a dark burqa at random. 112

    543 Don't look at the green surrounding the source of your drink. 114

    553 What is the true nearness of the grave? 116

    563 Oh, the joy of the spring season. Bahar. 120

    583 What is your familiarity with the stranger and his own. 122

    593 Take the heart of the property of the world and the world. 124

    603 Ask the Chinese painters the meaning of this face. 126

    613 Farewell to the unkind sweetheart. 128

    623 The cloth of the Shabestan candle. Nahandesh. 130

    633 Gulzar is heaven, the beauty of his body. 132

    643 O Shabbat of the carpet and the carpet-wearing Mehet. 134

    653 Shamim is the garden of heaven or the breeze of Iraq. 136

    663 Sir Al-Ais is my companion, but in Al-Ais is the beloved. 138

    673 Pass the Qal once if you are aware of the present. 139

    683 This is the month of Mehr. Anwar Dal. 141

    693 Whatever the rabbit brings flowers to the grass. 143

    703 The situation of Turkan Nagar in China, Jad Meshk Fam. 145

    713 Although I have found water in your soil. 147

    723 I have seen your hand and my heart is in trouble. 149

    733 You opened your sleepy eyes. And you closed my sleep. 151

    743 What can I do if I am sick and drunk? 153

    753 O you who are tired of grief and bent over your hair. 155

    763 I looked for a sign on you wherever I went. 157

    773 I came to your head as a beggar.159

    783 We have come to the world to see your vision. 161

    793 You had beckoned me to come. 163

    803 We do not have a heart full of sadness and sadness. 165

    813 You worship the eyes of chaos, close your eyes. 167

    823 You gaze of your enchanting magic. Patients. 169

    833 My friend, pass through the garden if you are aware of the situation. 171

    843 Understand the language of the soul. 173

    853 Don't say words of love to anyone. 175

    863 Shower as if you were talking about Lal. 177

    873 O nothing among nine hairs. You. 179

    883 O light, I have seen life on you. 181

    893 O smell, you have seen me full of water. 183

    903 Make a solution for this poor sufferer. 185

    913 Leave me at any moment, leave me alone. 187

    923 The curtain of black clouds from the shining fog. Open it. 189

    933 You have put a trap on the fire from musk. 191

    944 In the garden, I did not see a cypress tree above you. 193

    953 Where will that bird come back that you were the same breath with me. 195

    963 What were you thinking of that fog? 197

    973 O candle Where were you in the shower in the porch? You are Jupiter's Venus. 201

    993 How do you say that you are psychic? 203

    1003 Get up and sit down. Shout from all sides. 205

    4 Chapter 4: Tables and conclusions. 207

    Sources and references. 210

    English summary. 211

    Source:

    Khajo (1391), Kliat al-Asheer, Shiraz, Sanai Publications.

    Dehlavi Hossein (1381), Link of Poetry and Music, Tehran, Mahor Cultural and Art Institute.

    Zarin Kob Abdul Hossein (1369), Aristotle and the Art of Poetry, Tehran, Amir Kabir Publications.

    Shafi'i Khosrow (1384), the life and poetry of a hundred poets, Tehran, Kitab Khursheed.

    Shafii Kodkani Mohammad Reza (1372), Imaginations in Persian Poetry, Tehran, Aghat Publications.

    Shafii Kodkani Mohammad Reza (1389), Music of Poetry, Tehran, Aghat Publications.

    Shamisa Siros (1373), Introduction to Prosody and Rhyme, Tehran, Ferdous Publications.

    Shamisa Siros (1381), Badie, Tehran, Payam Noor Publishing House.

    Shamisa Siros(1390), A New Look at Badi, Tehran, Mitra Publications.

    Shahri Barabadi Mohammad(1370), The Science of Prosody and Rhyme, Mashhad, Nima Publications.

    Safa Zabihullah(1378), History of Iranian Literature, Tehran, Ferdous Publications.

    Tahmasabi Tughrel(1380), Music in Literature, Tehran, Publications Reham.

    Forugh Mehdi(1363), Poetry and Music, Tehran, Siavash Publishing House.

    Kazazi Mirjalaluddin(1373), The Aesthetics of Persian Speech: Badie, Tehran, Shabak Publications.

    Mahiar Abbas(1389), Farsi Prosody, Tehran, Qatre Publishing.

    Mohsani Ahmed(1370), Poetry and Poetry Music, Mashhad, University Publishing. Ferdowsi.

    Natal Khanlari Parviz(1386), weight of Persian poetry, Tehran, Tos publishing house.

    Nowrozi Jahanbakhsh(1370), easy rhyme and rhyme and new poetry, Shiraz, Navid publishing house.

    Vahidian Kamiyar Taghi(1386), weight and rhyme of Persian poetry, Tehran, university publishing center.

    Vahidian Kamiyar Taghi (1370), Investigating the origin of the weight of Persian poetry, Mashhad, Astan Quds Razavi Publications.

    Vahidian Kamyar Taghi(1375), Dictionary of Phonetic Names, Mashhad, Ferdowsi University Publishing.

    Vahidian Kamyar Taghi(1388), Innovative from an aesthetic point of view, Tehran, Semt Publishing.

    Vahidian Kamyar Taghi(1389), Culture of Persian Poetry Weights, Mashhad, Ferdowsi University Press.

    Homaei Jalaluddin(2008), Rhetoric Techniques and Literary Industries, Tehran, Homa Publishing Institute.

    Theses:

    Bahmani Ismail(2012), Comparison and Analysis of Poetry Music in Ghazliat of Saadi and Hassan Dehlavi, Faculty of Literature and Humanities, Lorestan University.

Review and analysis of poetry music in Khajavi Kermani's ghazals
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