Analysis of Prosodic Weights of the Occurrence School (Faghani Shirazi, Helali Joghtai, Mohtsham Kashani, Vahesh Bafghi)

Dissertation for Master Degree                                                                                                                                                                                                                                                                                              covers; Each of the weights of the poem has a special music and mood, and these moods cause a heavy or heavy weight, happy or sad, epic, proof, report, etc. to be The spiritual and moral characteristics of poets and the material, spiritual, culture and style of a period can have a great impact on the frequency of prosody weights of that period. Therefore, the science of poetry weight is not limited to the knowledge of weights and different approaches such as stylistics, literary types, psychology, etc. After extracting the divan weights of a poet, they can be useful in musical analysis. The purpose of this research is to investigate the prosodic weights of the selected poets from the point of view of their adaptability to the themes and concepts of prosodic weights and rhythms and the spiritual characteristics of the poets. In this treatise, after mentioning the generalities and theoretical foundations of prosody, the author has presented information about the subject by introducing the school of occurrence and narration by Faghani Shirazi, Helali Joghtai, Mohtsham Kashani and Vahshi Bafghi. Then, by mentioning the first stanza of each sonnet and its weight, he examined the use of bahor and prosody weights and the relationship between weight and content in the sonnets of each of these poets, and came to the conclusion that long and sad weights have the highest frequency and the weight of the poems is proportional to their theme and the feeling of the poets of occurrence. Joghtai, Mohtsham Kashani, Vahshe Bafghi

1-1. Introduction

For me, who had studied agricultural engineering in my bachelor's degree, changing my major in my master's degree was the starting point of familiarizing myself with prosody. After entering the faculty of literature and in the first semester of my studies, thanks to my honorable teacher Mr. Dr. Torabi and his tireless efforts and the principled method of teaching, I learned prosody and found that unlike most humanities courses, prosody is an understanding lesson. The similarity of this lesson to mathematics and its direct connection with music made me very interested and I studied a lot in this field. In this direction, the topic that turned my mind was the discussion of the weight of the poem and the poet's feelings. A discussion that showed that whenever the poem is based on reality and comes from the heart, the poet will find his own weight; The weight that expresses the state of peace, anger, happiness, sadness and. is Reaching from prose to traces of psychology, along with its charm, raised questions for me. In a period like the Occurrence School, where the principle was based on realism, and the theme of the poem arose from the poet's real feelings, did the weights have a perfect fit with the theme? Finally, after consulting with my esteemed professor, due to my great interest in research in this field and the attractiveness of the psychological approach of the science of prosody, I devoted my thesis to a prosody analysis in this course and limited this research to the analysis of the prosody weights of four prominent poets of the Occurrence school. This work started with the study of the flagship poems of the school of fate, Baba Faghani Shirazi, and ended with the works of author and writer, Vahesh Bafghi, and finally, despite the scarcity of a number of books and articles in question, with the grace of the Almighty and the help of the dear teacher, I achieved this important task. The first chapter is dedicated to the generalities, the second chapter is the theoretical foundations including prosody and the concepts of prosodic weights, and the third chapter is about the occurrence school and the content of occurrence poems; Then, in the fourth chapter, the weight of each poem and its relationship with the content are examined, and the results of this research are presented in the fifth chapter. The reference numbers are placed inside the sign ( ) in the reference to Diwan Poems, from the right side, the name of the Diwan, then the name of the corrector, the year of publication and the page of the book are mentioned, and in the reference of other books, the last name of the author is given first, then the year of publication and the page of the book. In the fourth chapter, the symbol (gh. number) is used to refer to a verse, which is the abbreviation of Ghazal, and the number in parentheses is the number of that verse in the same subsection. Another point is that the poet does not play a role in choosing the quatrain weight, and in any format except the sonnet, the type of format may affect the choice of weight; Therefore, the author has done a comparative analysis of the sonnets and made a tabular comparison about the frequency of the prosody weights of all the poetic forms of each poet.Another point is that the poet does not play a role in choosing the quatrain weight, and in any format except the sonnet, the type of format may affect the choice of weight; Therefore, the author has done a comparative analysis of the sonnets and has limited himself to tabular and graphical comparisons about the frequency of prosody weights of all poetic forms of each poet and provided explanations wherever necessary.

1-2 Statement of the issue

Weight is one of the main elements of the poem and one of the most important influencing factors, and it is a form that the creative poet breathes soul into and covers his body with words with his taste; In fact, the truth of weight is what we get from the melodious presence of words in proportion to their meaning in the context of the poem.

    Every poet uses more weights that are closer to his feelings and thoughts to write his poetry. Therefore, he first goes to the weights that can better express his hopes, desires and thoughts in their form. This format is such that it can even be said that the weights that each poet chooses to compose to a large extent indicate his mood, character, personality and ideas; In a way that if a poet has a sharp and rebellious nature, his poems are short and interrupted and he conveys the meaning in the shortest sentences; But if he has an imaginative nature, his poems will be long and melodious and full of metaphors and similes and punishment. A poet who is cheerful is interested in a tone that can convey his mood, and on the contrary, if the poet is sad and depressed, he uses a tone that is heavy and carries the burden of his sadness.

The poet tries to get closer to the main goal of the poem, which is the inner content of the poem, by observing the balance between the music of the poem, meaning, emotion, and imagination; Therefore, researchers believe that when a poem comes from the heart and is accompanied by intimacy, it has found its appropriate weight, and in cases where this proportion is not respected, a master poet can partially compensate for this defect by using poetic authority and the tone of letters. and to be Therefore, in the path of evaluating and criticizing poetry, one of the main steps is to check the quality of its weight; The science of weight of poetry is not limited to the knowledge of weights and different approaches such as stylistics, literary types, psychology and so on. and each one after extracting the weights of a poet's divan, they can be useful in musical analysis.

    The spiritual and moral characteristics of poets and the material, spiritual and cultural environment and style of a period can have a great impact on the frequency of prosody weights of that period; As they consider the period of literary return as the period of smooth and calm weights.

Abstract:

Meter is one of the main element of poem and it is the most important effective elements and is as a form that a creative poet inspires and by his style let it talk, any of meters has music and special method and it causes the poem gets heavy meter or happy, sad, epic, logic or report and so on. Poets morality and spirit, material an intellectual environment, culture and the method of a period can have a special effect on prosodic meters of that period. So the verses meter science, doesn't study to know the meters either study on methods, all kind of literary and psychology, ... and each after making the meters of a poet book can be helpful in music analysis. The aim of this research is to study on different poets prosodic meters, especially compare to the meaning of meters and special cases of the poets inspire. In this thesis the writer after the main points and Prosodic theory basis, then reality method and has written regarding Faghani Shirazi, Helali Joghataei, Mohtasham Kashani, Vahshi Bafghi's life story has given some information about the subject, then by first poem of each lyric and its meter the level of usage of meters and the relation between the meter and the content in each lyric of every poems has been studied. So as a result we find that long meters and sad have more abundance and the meters with their meaning and the poets feeling are equal.