جستجوی مقالات مرتبط با کلیدواژه « Arabic prosody » در نشریات گروه « ادبیات و زبان ها »

One of the controversial issues regarding the similarities and differences in the meter of Arabic and Persian poetry is related to the influence of the meter of Persian poetry on Arabic. In this article, attention has been paid to the metrical nature of these two metrical systems. The frequency of common meters in Arabic and Persian has been investigated in order to determine the importance and position of each meter in the prosody of that system. In this way, the possibility of comparing meters based on their frequency in two metrical systems is also known. The findings of this article, which is based on the comparative method, indicate that among the 10 commonly used meters of Arabic and Persian, there is only one common meter, and that meter is based on the repetition of the foot fa'ulon. Also, none of the 9 commonly used Arabic meters are among the first 32 Persian meters. Another result is that in comparing the meters of Arabic and Persian poetry, referring to the traditional names of meters (such as muzara and mujtath) leads to wrong results. Another achievement of this paper is that for the teaching of Arabic and Persian verse at the elementary and intermediate level, the first 32 meters of Arabic and Persian poetry and the extent of their use have been made available to be used in teaching prosody at the elementary and intermediate level based on the frequency of these meters.

Al-Buḥturī, the well-known Abbasid era poet (897 AD.) recited a poem on the occasion of the inauguration of a palace named "Kāmel" and the comedown of the Abbasid caliph ،al-Mu‘tazz bi-’llāh in Nowruz. In this poem he praised the caliph and described the palace. He used the Kāmel metre (Baḥr al-Kāmel) for his poem to match it with the name of the palace. What impressive is that, now there is nothing left behind except the exact descriptions of al-Buḥturī. In this analytic study which is based on the various statistics we tried to review the semiotics of perfection and moderation in the poem whether their use was intentional or unintentional. We concluded that the poet, intentionally, used the Kāmel metre for his poem in order to relate it to the name of the palace. By this, the poet wanted to prove to the history that the palace that he made with his Kāmel metre and other clear and hidden semiotics is more indelible than the palace that the architects of that time built for the caliph.

Some Turkish researchers believe that the roots of the Arabic prosody meters go back to ancient Turkish folk poetry. They believe that the meters of the Turkish prosody are not based on the Arabic prosody. The meters of the Arabic prosody have become the only meters for Persian poetry after the poets of Persian literature became acquainted with Arabic prosody. Therefore, no trace of the old syllabic of the Pahlavi and Middle Persian languages remained. However, Turkish poets used the prosodic meters alongside the local syllabic meters. This descriptive-analytical study intends to address the similarities and differences that exist between the meters of Turkish poetry and Arabic prosody and tries to answer the question about the extent of the Turks’ commitment to their prosodic meters and the extent of theinfluence of the Arabic prosody in their poetry. The results show that whileArabic prosody meters are based on the number of syllables and the proportionality of the spellings and the equal parts (length and shortness), Turkish poetryis based on an equal number of spellings in each part of poetry. There is a lot of difference in the use of some Arabic poetic measures influenced by the Arabic prosody. Among the similarities between the two kinds of literature is that the monorhyme in the poetry of both languages is considered a kind of figurative speech, and we noticed that the meter used is very close to the Turkish syllabic meters.

The identification of prosodic feet and their syllable arrangements have an undeniably important role in identifying and categorizing families of poetic meters (buhūr) in Arabic and Persian prosody. Any confusion in the identification of poetic feet can lead to confusion in understanding and teaching prosody, just as proper organization of feet can facilitate the classification of meters and prosodic pedagogy. In this article, we will consider the Arabic pentasyllabic feet and their effect on Persian traditional prosody and evaluate the viewpoints of contemporary prosodists since Parviz Natel Khanlari, Abolhassan Najafi, and Laurence Paul Elwell-Sutton. We will argue that, based on the poetic evidence, the use of pentasyllabic feet significantly helps us teach and categorize Persian meters and remove one of the important shortcomings of Persian prosody. Moreover, the present article will emphasize the necessity of using pentasyllabic feet in the study of prosody and will discuss the relationship between such feet and the circular ones (vazn-e dowrī).

There is a line of poetry in one of the tales of Sa'di's Gulistan causing much discussion “I am neither mounted on a camel, nor like a mule under a load. I am no lord of a vassal, neither the slave of any king. I have no concern about either the present or the past. I draw my breathe feely, and pass my life in comfort.” (Gladwin, 1865: 183,184). In Persian classical prosody, the lines of each verse must have similar meters, but in this verse, there is no such similarity between the lines. In this paper, different emendations of this verse have been mentioned and various views on the meter of this verse have been discussed. It is argued that the verse is composed according to the rules of Arabic prosody.