نوع مقاله : مقاله پژوهشی
نویسندگان
1 دانشجوی دکتری زبان و ادبیات فارسی، دانشگاه محقق اردبیلی، اردبیل، ایران.
2 استاد گروه زبان و ادبیات فارسی، دانشگاه محقق اردبیلی، اردبیل، ایران (نویسندۀ مسئول).
3 استاد گروه زبان و ادبیات فارسی، دانشگاه محقق اردبیلی، اردبیل، ایران.
چکیده
کلیدواژه‌ها
عنوان مقاله [English]
نویسندگان [English]
The form of poetry, whose form is constructed and the form is far from internal payments and external influences, is rooted in language and aesthetics, and this is the theory of the formalists putting the form before the meaning, in which, of course, music plays a special role.
The present article is the use of self-made words and unintelligible phrases or words with secondary meanings, which is crystallized in a part of Shams's poetry. The importance of discussion and the lack of research work in this field doubled the necessity of the problem. The merit of this work lies in the role that the repetition and music of words, especially closed words, has in the aesthetics of poetry based on the formalist theory. In this research, after presenting the topic, to the main text of the article in four sections, morphemes with the titles of sound components (sound, noun sound, conjugated or suffixed uses, nationals or omissions), words with titles (simple words, double and triple words, repetition for special meanings), phrases and sentences with the subcategory of rhymes and rows (heterogeneous and non-aligned rows, creative sound rows) and complete repetition, then Etanin, Afayil, Urad, and Khangahi chants were discussed.
The result is that musical emphasis in closed and incomprehensible words and phrases in terms of rhythmic system play a significant and effective role in associating meaning. In fact, they prove the theory of the sameness of form and meaning in the definition of form based on criticism and formalist theory.
کلیدواژه‌ها [English]
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