Examining the external and side music of Hasrat Hamedani's poems

Compilation of the historical culture of Persian prose pronouns in such a way that the time of beginning of a weight and then the amount of its use in the next periods and frequency can be determined and the ups and downs in the circulation of each of the prosodic weights can be determined carefully, especially today Considering the existence of revised editions of Davin and poems of Persian poetry, it seems to be very necessary and useful; Especially since the place of such a culture - of course with the above-mentioned characteristics - in the field of research and available resources is empty. Obviously, the first step in compiling such a culture is to study the existing madnesses of Persian poetry one by one and to extract the results as the necessary basic materials and elements. This article is a response to this urgent need in which we have examined the poetry collection of Hasrat Hamedani in terms of rows, rhymes and prosodic weights. The method used for this work is descriptive-analytical method. In his poems, Hasrat has used eight seas of prosody, among which the sea of ​​Hazj has a high frequency. Most of his poems are in the form of the founder and have a nominal rhyme. In his lyric poems, the letters "N" and "R" are used more. The frequency of using different lines and poems in the poet's sonnets is high. In side music, the use of longing words and long vowels in the rhyme has made his poems beautiful and audible.