Document Type : Original Article
Authors
1
PhD student in Persian Language and Literature, University of Mohaghegh Ardabili, Ardabil, Iran.
2
Professor, Department of Persian Language and Literature, University of Mohaghegh Ardabili, Ardabil, Iran (corresponding author).
3
Professor, Department of Persian Language and Literature, University of Mohaghegh Ardabili, Ardabil, Iran.
10.22034/jmzf.2024.440410.1176
Abstract
Introduction
Word selection and combinatorial structure derive from Formalist theory, where poetic form constitutes a system of associations. In Formalism, poetic art prioritizes structure and form, with the artist's role being to create forms and interpretive possibilities based on lexical approaches that engage the audience's perception.
This article examines the use of obscure words/phrases or lexemes with secondary meanings in selected ghazals from the Divan-e Shams. The significance of this topic and lack of prior research heighten its necessity. Repetition, sonic aesthetics—especially of complex words—based on Formalist theory form this study's foundation. We address how suprasegmental phonemes and obscure lexemes create meaning through logical connections in discourse structure, explaining the rhythmic elements of semantic association. Research questions:
What role do Rumi's self-invented phonemes, morphemes, and phrases play in energizing his ghazals?
What literary-logical justification exists for such constructions?
Research Method
This study analyzes obscure lexemes in Divan-e Shams ghazals ending with " ی". Emphasis falls on musicality and lexical repetition, as sonic prominence elevates language from ordinary state to captivating rhythms, arousing emotions.
Ecstatic states and overwhelming emotions cause—amidst absence of rational/empirical awareness—the unconscious mind's contents to surge into consciousness, creating emotional and semantic clusters. Thus, through Formalist analysis of these ghazals, we investigate how musicality of obscure words/phrases generates meaning.
Discussion
To discuss and examine the subject, the article is organized into four sections: morphemes with the titles of sound components (sound, sound noun, conjugated or suffixed uses, subjects or omissions), words with titles (simple words, dual and triple words, repetition for specific meanings), phrases and sentences with a subset of rhyme and row (heterogeneous and non-consonant rows, innovative sound rows) and complete repetition, etanin and afa'il and avarad and azkar khanqahih, and literary evidence from the aforementioned ghazals has been provided.
Conclusion
Obscure phrases often surpass explicit lexemes in semantic association. Sound units like "vogh vogh", "ʿaf ʿaf", "qū qū", and meaningless syllables (e.g., "qīqī") beyond rhyme/refrain are used liberally by Rumi.
Deviations include:Atānīn/afāʿīl metrical patterns,Phrasal repetitions,Extended unconventional refrains,Invented phrases (e.g., "daqqā daqqqā daq daqqqā...")
These stem from spiritual ecstasy (ghalyān-e rūḥī) and inner fervor.
Keywords
