موسیقی درونی

The magic of proximity stands as one of the most significant elements in analyzing the musical structure of poetry, attracting considerable scholarly attention through its paradigmatic and syntagmatic dimensions. This phenomenon refers to the presence of specific phonetic and rhythmic balances within a poetic text. Both paradigmatic and syntagmatic relations represent crucial analytical tools in formalist criticism and semantic studies.A paradigmatic relationship denotes the connection between interchangeable linguistic units at the same structural level, while syntagmatic relations examine how words interact sequentially with their immediate context. The musical harmony between words, independent of their semantic value, often determines their proximate placement. These two axes serve as fundamental methods for identifying characteristics of artistic style in literary works.This research employs a descriptive-analytical approach to examine how the magic of proximity contributes to meaning creation and musicality in Ahmad Muharram's epic *Majd al-Islam*. The study's significance lies in elucidating the techniques that generate meaning, harmony, and musicality in Muharram's poetry, while revealing the stylistic and aesthetic qualities of this Islamic epic.The findings demonstrate that paradigmatic and syntagmatic relationships foster narrative coherence and semantic unity throughout *Majd al-Islam*. Muharram's strategic lexical combinations establish the work's distinctive stylistic framework. The skillful deployment of literary devices alongside phonetic features creates remarkable harmony and produces a unique musical quality that amplifies the text's conceptual emphasis.The epic's meticulous word selection particularly engages readers with Muharram's verse. When vocabulary is employed with precise intentionality, it generates both intellectual appeal and aesthetic pleasure. The resulting musicality elevates the discourse, transforming speech into an art form of noble expression. This linguistic craftsmanship explains the enduring appeal of *Majd al-Islam* among its audience.

Gāhān is the oldest Iranian poem in the Avestan language. In this research, the external, sidelong and internal music of Gāhān are investigated. The data collection method is library-documentary and analytical research method. The study of ancient literary texts based on new literary criticism leads to a better understanding of them as the origin of Persian literature. The  external music surveys the metre. Gāhān has syllabic order. in sidelong music rhyme is explored, Gāhān has internal rythme. in internal music the repetition stylistics are so importante which are divided into visible and invisible. The  invisible repetitions used in Gāhān are redundant puns, subsequent pun, derivation and pseudo-derivation. Also single-place alliteration and multi-place alliteration are used in Gāhān. Gāhān’s Visible repetitions are repetition of words during a verse, regular repetition of one or more words at the beginning of verses, repetition of stanzas during a poetic form, repetition of one or more words sporadically in The length of a few verses, the regular repetition of one or more words at the beginning of the verses, and red Al-ajoz ala Al-sadr (Anadiplosis). endings  and declension, matching adjectives and pronouns with noun, prefixes and suffixes, repeating conjunctions, prepositions and adverbs also create music.Keywords: old Iranian poetries, Gāhān, poem’s music, external music, internal music, repetition.

The study of music condition in poem “in the memory of Hossein” from Sheikh Ahmad Al- WaeliAbstract:Sheikh Ahmad al-Waeli is one of Iraq's contemporary poets and he is one of the lovers of Ahl al-Bayt. He has written a significant portion of his poems in praise of them and he has tried to alive the spirit of awakening and resistance among the people of his country through religious poems and Hosseini's pillars, People who dominated by colonialists. one of his religious traditions, which was written in the exhortation of Imam Hossein is verse “in the memory of Hossein” and cites in it to greatness and famine and some of his tragedies. given the particular place of music in this verse, we decided to investigate the status of its music and on this path, were examined exterior music, side music and internal music in it. The results of this review which is done in a descriptive-analytical manne show internal music of words and coherence and harmony, when it comes along with the proper measure that the poet chose it, has provided a good opportunity for the poet to raise meaning. Moreover, the position of side and internal music in this poem is better than exterior music in it.Key words: Ahmad Al-Waeli, Exterior music, Side music, Internal music, Imam Hossein.

One of the integral and inseparable elements of poetry is its music, which manifests in various forms. This musicality can stem from poetic meters, rhymes, word coordination, and the unique resonance of each letter juxtaposed with others. Taisir Saboul (1939 - 1973), a contemporary Jordanian poet, employed diverse techniques in her poems to craft music. This article aims to analytically explore the poet's distinctive style in selecting poetic meters and music by analyzing the frequency of these artistic techniques in her works. The findings reveal that Taisir tailored her meters based on the poem's subject and theme, captivating audiences through unconventional methods like assurance, rotation, and blending modern with classical poetry. Simultaneously, she employed norm-defying techniques such as implication and merging modern with classical poetry to engage readers. Rhyme repetition emerges as a prevalent form of inner musicality in Taisir's poems. This repetition not only underscores words but also bolsters their meanings. Taisir also focused on visual musicality through stair-like and vertical poetic line structures to accentuate specific stanzas against others and highlight individual words or stanzas effectively

The musical system of the language arises from the harmony of words and the phonetic and phenotypic harmony of the linguistic structure, the coherence and sequence of consonants and vowels, and turns ordinary speech into an artistic expression, and the more a literary work can use more dimensions of music, the more beautiful and effective it will be. The melody of the poem includes outer, lateral, inner and spiritual music, which in the present research, the last two dimensions are analyzed in the works of Ibn Mu'tazz, one of the prominent poets of the Abbasid era. Ibn Mu'tazz was born in an era in which the innovative use of poetry was popular among poets and writers, and his poems were in line with the prevailing trend in the literature of his time, full of arrangements and the use of literary arts, and at the same time, they were fluent and far from complicated. The purpose of the present research is to investigate the musical structure of Ibn Mu'tazz's poems in the field of asceticism in order to measure the phonetic and phenotypic harmony of meaning and basis in his compositions and finally it comes to the conclusion that: The choice of words served the intended meaning of the poet and was not used solely for the purpose of creating a beautiful format and rhythmic playing of the poem, and this is one of the strengths of his poems in conveying ascetic meanings and making an impact on the audience. In the field of spiritual music, the poet's attention is focused on the use of arrays such as tabaq, counter and assimilation of adjectives, which, in addition to the balance of verses and the creation of a rhythmic rhythm, carry the meaning of speech. The most prominent musical role in Ibn Mu'tazz's asceticisms is played by inner music, in which most of the words are played by arrays such as word arrangement, repetition of letters, repetition of words at the beginning of verses, tasdir and repetition.

Poetry is the transmission of experience through the presentation of unexpected methods. Composition of phrases is one of the highlighting methods. Maulana Mohammad Baqer Khorde is one of the prominent poets of the Safavid era. He is one of the phrase composer poets. Various musical effects are seen in the poetic compositions. Music is one of the building elements of poetry, which is divided into three categories. External music (prosodic aspect of poetry), side music (epistrophe and rhyme), internal music (types of balances resulting from verbal communication and semantic proportions). In this article, an attempt has been made to examine the poetic phrase compositions of the Diwan manuscript of Maulana Mohammad Baqer Khorde Kashani's poetry from the perspective of inner music. The obtained results show that he used internal music to create a kind of unity in The axis of companionship and succession in poetry. In addition to the appropriateness, beauty and effect of the words, the linguistic richness of the poem and the semantic load of the compositions are also added. He has shown that he has achieved the ultimate goal of poetry, which is to express the meaning and inner meaning of poetry, by observing the appropriateness and connection between music and poetry with other elements.

Music is one of the most important elements of poetry, as it brings words to life and gives them meaning. Hafez Rajab Borsi Helli (744-813 AH) was a poet from the Mamluk era who wrote eloquent and touching poems in praise and mourning of Ahl al-Bayt (AS), and music played a special role in his work. The purpose of this research is to explain the semantic function of different types of music in poetry, and to explore Borsi Helli's position as a Shiite poet whose work is characterized by both verbal and structural beauty in service of meaning. Using a descriptive-analytical method, this article analyzes the semantic and aesthetic function of music in visual imagery. The findings show that Borsi was successful in using both external and internal music to enhance his poetry. In terms of external music, he established harmony between his poetic themes and the chosen weight, creating a strong bond between his poetry and its music. He also used rhymes effectively to create different effects on readers. In terms of internal music, Borsi used both the music of sounds (such as repetition and puns) and spiritual music (such as Moraat al-Nazir, hint, and other innovative musical arrays) to create coherence and harmony within his work. He incorporated special musical elements into his poetry that added enchantment to songs and voices, helping audiences experience spiritual pleasure while conveying meaning effectively. Overall, this research highlights the importance of music in poetry, particularly within the context of Borsi Helli's work.

Roozbehan Baqli Shirazi is known as "Sheikh Shatah" because of his coverage of Sufism. His way is related to Hallaj's mystical heritage and on the other hand it is a continuation of the romantic mystical tradition that is connected with Suhrawardi and Ibn Arabi. This book, which is a full-fledged mirror of the tradition of lovemaking, has been written about love and its types, and is full of imaginative images and novel and expressive illustrations. In this research, this book aims to recognize the type of mystical language of Roozbehan in the Apocalypse, in terms of beauty The science has been studied and the result is that in terms of internal music, the most important arrays are the use of rhymes and phonemes, and in terms of expression, the use of eloquent simile and Meccan metaphor has the highest frequency. The language of Roozbehan Baqli in this book is based on short melodic sentences and his user words, which serve to express romantic and mystical feelings, are inextricably linked with love and all the concepts used in it are related to love and its consequences. It is related that imaginary forms are in the same way in a direct or indirect relationship with love and the lover and the beloved.

The secret of the permanence of poetic speech should be explored in various dimensions and with different approaches. One of these dimensions is the study of "poetry music" with an aesthetic approach. One of the branches of music of poetry is its inner and thought music. The inner music is figures of Speech such as: "repetition, paronomasia, adornment, parallelism, epanorthosis, anadiplosis, etc." and thought music includes: "contrast, proportion, ambiguity, allusion, exaggeration, sensuality, etc.). This descriptive and analytical research seeks to study various types of inner and thought music of Amaq Bukhari’s poems as an outstanding poet. As a result, in the internal music section, the "repetition" has the highest frequency with 52% and the “around similarity" (Tasbigh) has the lowest frequency with 1.8%. Also, in the thought music section, the “Observance of peers “(Correlation) has the highest frequency with 34.8% and the lowest frequency with 0.14% of that array is "question and answer". Examining the frequency of all kinds of figures of speech and figures of thought in Bukhari's poetry, points out his unpretentiousness in a poet and shows that he is not an industrial poet and his music is the result of his poetry and not the other way around.

Anvari and Zahir al-Din Faryabi are two of the most influential Poets in the history of Persian poetry. These two have had a major impact on Persian lyrical poetry. This article is a research on the most important manifestations of poetic music in the sonnets of these two poets. After providing an introduction to these two poets influence on the evolution and promotion of Ghazal, in a descriptive-analytical manner, the article explores the inner music (verbal novelty) in their sonnets presenting diagrams. The analysis of statistics has suggested these results both poets have used internal music in inducing concepts and influencing the audience. Despite composing only a small number of lyric poems, Zahir Faryabi has been able to take advantage of the musical features of literary figures as well as of the mood of the audience to contribute to the promotion of musicality in language. Figures like alliteration, repetition, and perfect pun are of highest importance in creating verbal musicality.. Anvari also benefits a lot from this type of music. He has become more successful than Zahir in this field, especially in use of pun, alliteration and repetition. In general, both poets have played an important and fundamental role in promoting novel figures in their simultaneous reliance on the speaker, the text and the audience.

"Alavi poetry" is one of the main branches of religious poetry that, disregarding scarce research on its content and context, has not been thoroughly studied yet. The religious mission and function of these poems depend on their profound influence on the audience. Given the vital significance of music in the structure of a poem and its influence, the present study is going to investigate the function of the musical elements in 4 external, lateral, inner, and spiritual levels using the descriptive-analytical method. To find out how the musical elements work in Alawi Poetry and how the Alawi poets use musical elements in their poems, three sets of Alawi poems containing 158 poems have been analyzed. The findings of the study suggest that the musical elements were more prominent, creative, and powerful in the two outer and lateral levels. However, Inner and spiritual levels are marginalized in these poems.

Poets have always tried to convey their meaning to the audience in a formidable and effective manner by using literary elements. One of the elements that has always been paid attention to by poets in poetry, both traditional and new, is the element of repetition.
In this essay, it has been attempted to investigate the function of the element of repetition, which is the main axis of inner music, in the poem of Iqbal lahori’s book of eternity to determine to what extent this Persian poet of Urdu speaker has used this industry to express its meaning.
Shemisa sees the repetition as the third method in the rhetorical revision that creates the music of the word. in his view, Repetition appears in the form of repetition of words, repetition of syllable, word, commitment, repetition, repetition of a phrase or sentence in speech (a fresh look at the novels: 59-60). Kazazi also considers the repetition as vocabulary reverse in a way that does not render the words too expensive, coarse and uneven. Otherwise, it is not a repetition of an aesthetic tool, but a weakness and an "abyss" in speech. According to him, various types of repetition are "rhyme rebuilding", "initial rebuilding", "canonization", "hajib", " Rad Al-Ajz ala sadr ", "coexistence" and "commitment" (Badhi, Aesthetics of Persian Speech: 80-48). This research examines the repetition in two visible and invisible branches in Iqbal Lahori’s book of eternity in order to determine which types of repetitions (visible and invisible) are used more in the book of eternity. And also the repetition of which arrays was more of a poet's attention. And what is the purpose behind using the repetition element? And have these repetitions influenced the poet's intention? .the research method is Descriptive-analytic and data collection tool is library using snippet. In this study, by dividing the repetition into two visible and invisible types, we examine the symptoms of the two types of repetitions, the types of puns, the types of phonemes as invisible repetitions in the poetry, as well as the regular and irregular repetition methods throughout the verses as visible repetition symptoms. To do this, all the verses of the book of eternity were examined from this perspective and their representations were recorded in the snippet. In the end, the obtained information was also categorized and coded.  Types of visible and invisible repetitions in the book of eternity:
Table 1: Types of invisible repetitions in the drafts
array
Type of puns
Same-beginning
Scattered phoneme phonetic
Same-ending
Same-beginning and same-ending
frequency
965
315
276
110
27
As it is seen, the types of puns have most recurrence in the book of eternity. The types of puns used in the book of eternity are: complete pun, distorting pun, redundant pun, repetitive pun, contradictory pun, present pun, connected pun, derivative pun, pseudo-derivative pun, linear pun, word pun and combination pun. After the pun, same-beginning has the largest share in invisible repetitions.
Table 2: Types of visible repetitions in the book of eternity
Arrays
Frequency
Repetition of the word over a verse
779
Regular repetitions of one or more words at the beginning of the verses
93
Repeat the word over a few verses
35
Rad Al-Ajz ala sadr(bringing a word at the end of a verse until the beginning)
5
Rad Al-Sadr Ala Jaze(bringing a word at the beginning of a verse until the end)
2
Visible repetitions in Iqbal’s poems include repeating the word during a single verse, repeating the verse during a poem, repeating one or more words spatially over several verses, regular repetition of one or more words at the beginning of the verses, Rad Al-Sadr Ala Jaze, Rad Al-Sadr Ala Jaze; repetition of words encompasses a large amount of this repetition.
But the visible repetitions of the book of eternity are sometimes more than a word and include a group of words; this kind of apparent repetition is one of the boosting methods. The inner music is one of the musical effects of poetry, the most important of which is the repetition, because many arrays in the field of internal music are formed on the basis of repetition. Repetition was studied in two visible and invisible branches in the book of eternity, and various effects were observed in this work.
The types of puns, same-beginning, same-ending, same-beginning and same-ending, the scattered phoneme phonetic are the invisible repetitions of the poems of Iqbal in the book of eternity. Visible repetitions include repetition of the word during a single verse, repetition of a hemistich or verse in the form of a poem, repetition of one or more words spatially over several verses, regular repetitions of one or more words at the beginning of verses, Rad Al-Sadr Ala Jaze and Rad Al-Sadr Ala Jaze. According to the obtained statistics, Iqbal is more willing to use visible repetitions than invisible repetitions. The invisible repetitions, without being apparent, increase the richness of the inner music of the poem.
As seen, pun is the most used invisible repetition of the book of eternity. Puns play a significant role not only in the poetry but also in the rhymes, under the title of exquisite rhymes. Other types of invisible repetitions include phonological types. But according to the survey, among the Iqbal goals in applying the repetition element, one can mention the following:1. Strengthening inner music and its richness. 2. Helping to better convey concepts to the audience 3. Highlighting the underlying concept and emphasizing it Therefore by repeating consonants and vowels, Iqbal not only has consolidated the inner music, but also has brought about the concepts and themes of interest and has achieved what is called the magic of adjacency

Music and poetry are tied together in different ways. Contrary to the group's opinion that poetry music only depends on its vascular weight, each poem can be examined from four musical dimensions. The outer music, which is the weights of the coronary arteries, the side music, which is the same as the rhyme and rhyme, is the inner music which is the most important poem music, and in fact is the set of harmony that emerged through the similarities and differences between consonants and vowels. It comes with poetry from the verbal industry, and spiritual music is a poem about the spiritual industry. Poetry music provokes the prominence of the word. Therefore, the present paper deals with the descriptive-analytical method based on library studies, while defining aesthetics from the viewpoint of intellectuals and generalizations about it, examines the musical elements of Fayyad Lahiji's poems, relying on inner and spiritual music. And about 10 verbal and 8 spiritual industries.

Tooba Va Ma’nay – e shab rereads several decades of the history of Iran, which is wrapped in a mysterious and mythical aura, with a heroine called Tooba. She, whose name is also symbolic, is nurtured under the influence of her father, who is a scientist. The novel is Shahrnush Parsipur’s most characteristic work of fiction at the height of the Constitutional Revolution and its aftermath until the Pahlavi period. The author of the novel, depicts the life of a woman who, despite all the limitations of the time for women, has managed, in light of the teachings of intellectual men, to devote her whole life to get to the truth. What makes the study of this novel significant, is the fact that the story lives around Tooba who is a fine example of her cotemporary women. But other women in the novel, are often either ignorant or backward who lack any power of attraction or are modern in behavior on whom, Tuba turns her back due to her traditional values. This work, through creating an eerie atmosphere and by using themes such as myths, symbols and archetypes, shows that the creative talent of women, if accompanied by male power can save mankind from the dark. This article aims to investigate the function of archetypes and to pay attention to symbolic and mythical beliefs and, through this, to give an answer to the question “how is it possible, by studying intellectual and cultural roots, to end the gender conflicts?”

One of the main features of Nimayi-style poetry (blank verse) in comparison with classical poetry is the change brought to the music of poems, and internal music in specific. The present research is to study, via a descriptive-analytical approach, the use of different types of internal music in Nima Youshij’s modern and semi-classic poems. To do so, the researchers have reviewed briefly the importance of internal music in poetry first, and then have examined and analyzed the different forms of internal music, including rhyming rhythm, pun, repetition, alliteration, and words. The results revealed that the use of assonance and consonance was more than other devices, and “A” (as pronounced in Persian /a:/) is repeated significantly more often, that associates the howl and outcry indicating the awakening and provoking spirit of the poet. On the other hand, while the repletion of clauses, phrases and homophonic puns have been less abundant in his poems, recursive puns appear frequently. Then, it is clear that Nima Youshij consciously has used internal music in his poetry as a way for compensating lack of meter

repetition is the basic fundamentals of inside music in poetry. repetition in poetry is emphasis on certain phrases of poetry that poet attent more than any other words and phrases and hence contains Special musical and conceptual implications. In this paper we describe the analytical method, repeating pattern in Badavi al-Jabal poetry as one of the elements inside music. In the study of repetition methods determined that types of replication in his poetry, is closely associated with images and implications and source of motivate audience's emotions and repeating in his poetry is inextricably linked with the sense of overall space and serves internal system poem. Poet by musical repeating reconstructs some of his poetry images as it implies a double meaning poetry Badavi al-Jabal Using repeated addition of musical creation accumulated emotions of our own conscience reveals and serverd rhythm of speech In line with itsand thus affects the lives and hearts of the audience.

Mohammad Shafie Ebn Mohammad Esmaeil Shirazi known as Mirza Kochek with pseudonym of Vesal born on 1197 AH and passed away on 1262 AH in Shiraz is among prominent poets and return movement musician who had a capable hand in composing ghzal and while imitating great Ghazal composers, he has maintained main traits of the best traditional poem specimens and his ghazals enjoy a tonic and appealing tune. The aim of this study is to examine internal music of the poet ghazals using analytical research method and to show that internal music how much influences the poem tone verse and that how Vesal has inducted the poems meaning to the reader using repetition which is the main pillar of internal music. One of the features of poem language is voluntary utilization of this language from poetical devices and techniques which bring it out of routine and colloquial state and give it an artistic aspect. Here, the most tangible factor which gives the language eminence is the poem music. The poem's music has been divided to four types of external, internal, lateral and virtual. That in this paper, only the poem internal music has been examined.
The series of coordination which appear in the words of a poem due to unity or similarity or contrast of consonants and vowels is the flourish of this type of music. Techniques which have played role in the domain of this music are figures of speech like various puns, epanalepsis and so on all of which are subsets of repetition, therefore, repetition in examining the poem internal music has a considerable role. Vesal Shirazi has utilized repetition for increasing the word music and developing and better inspiring the meaning and repetition could be seen in his various poems level. Techniques which have formed in his poem based on repetition mostly include repetition of words and letters and what mostly shows off is word repetition.
Repetition is Vesal’s Divan appears in two forms, sometimes these repetitions are subject to a special order which is displayed as Aenat, equilibration and epanalepsis and sometime is in free form that its prominent sample could be seen in various types of pun. So that it could be said that various puns and word repetition scattered across couplet is among free repetitions of Vesal poems. In Vesal’s poem, pun as a type of word arrangement has a special role in creating his poems internal music and various types of pun are considered the most frequently used types of repetition in his poem. Especially surplus pun and difference in type of letter that due to undulation of movements they have, their musical impact is more than homogenous pun and these two types of pun totally have designated 413 cases of the poet ghazals puns to themselves.
Repetition of one or some words in a poem constitutes 520 cases of repetitions of Vesal ghazals sparsely. Sometimes, Vesal emphasizes on his considered notion with this poetic trick and nurtures a notion and concept in the mind of reader.
Reduplication is also another type of word repetition which is called repetitive and is considered among natural repetitions. Vesal Shirazi has used this figure of speech for emphasis, inspiring the concept and making his word more musical since such repetitions indicate multiplicity, emphasis and intensity.
Another kind of this technique is regular repetitions that in Vesal Ghazals include Eanat, coupled, epanalepsis, expizeuxis, simile, converse, leonine verse and equilibration among which epanalepsis with 595 cases is in the first rank. Vesal has utilized such repetitions for emphasis and embossing his considered concepts.
One of most frequently used types of repetition is phoneme repetition. This imagery which is called alliteration has a very high aesthetic value. Depending on his art and taste, Vesal Shirazi has used this imagery very much for illustration and elegance and enrichment of his poems music and the music arising from consonant alliteration is more patent is his poems.
Consonants also have a prominent role in good tune of his poems and among them, decorating the speech with long consonants is more and more salient than short consonants.
Though with repetition of vowel e , that the ancients considered repetition of this vowel as obstacle of speech clarity and reach, and also repetition of vowel o, Vesal increases the couplet music and increases the word influence, and sometimes even by bringing additional and descriptive compounds successively, gives a special music to word which influences the reader's mind. So, many verbal and phoneme repetitions are observed in his poem which causes his word phonemic prominence and this, by itself, is a style characteristic of his ghazals.