دانشگاه اصفهان فنون ادبی 20088027 8 4 2016 12 21 A Study of modernist aspects in rhythm of Lahooti’s poems and its origin بررسی جنبه‌های نوگرایی در وزن شعر ابوالقاسم لاهوتی و منشأ آن 143 156 21336 10.22108/liar.2016.21336 FA نسرین علی اکبری استادیار گروه زبان و ادبیات فارسی دانشگاه کردستان، سنندج، ایران علی نظر نظری تاویرانی دانشجوی دکتری زبان و ادبیات فارسی دانشگاه کردستان، سنندج، ایران Journal Article 2014 10 27 <br />Abolghasem Lahooti, the poet, author, teacher and journalist, is among the first pro-modernisms. He is one of the poets in Persian poetry. Some of them have been announced his poems as beholder of modernism and mentioned some instances of exiting rhythm in his poems and composing in prosodic style and syllabic rhythm which are the most important aspects of that new poetry. <br />He understood the local rhythm of the poem before Russian, French and Turkish poem. As some believed, he inspired of them to innovate the Persian poem. His early poems are like those of his father's, Mirza Ahmad e Elhami. But after his immigration to Tehran he experienced the new contraptions around poems. He excogitated content more than surface "Vafaye Beahd" (It's composed in 1288 Sh contemporary, Yad Ar ze Shame e Mordeh by Dehkhoda) is one his first experience from his 50 pieces as "Langroodi's 20 pieces and according Bashiri's commutation in 28 Ghete e has composed in syllabic rhythm. Although these are not as well as other his poems but they're important for syllabic rhythm. Kordish poem is one of Irainan's poem which influenced old syllabic rhythms in Kordish poem has 10 - 8 - 6 rhythm. <br />There is pause and short silence in middle of hemistich. It is the main feature, this short pause has occurred in poems with 10 rhythms after fifth and in poems with 8 rhythms after forth and in poems with 6 rhythms after third rhythm. Lahoty has influenced Kordish poems; here are two types combined and noncombined rhythms: <br />1) Noncombined (single rhythm) poems that is composed with one syllabic rhythm. They have been classified into 3 rhythms: 10 rhythmic, 8 rhythmic, and 7 rhythmic poems. Lahoty has composed in these rhythms. <br />2) Combined rhythm: he applied 2 or 3 syllabic rhythms and the hemistiches equals to rimes this feature compensate deficiency from combination of 2 different rhythms. <br />In most of these rhythms 10 syllabic ones are formed by combination to other syllables which could be counted by their frequency in Lahooti’s Divan. He has applied twice 9 syllabics and once 11, with the most common 10, 8, 7 syllabics. <br />It should be noticed that all rhythms aren’t rhythmical. But have differed in number of syllables and arrangement in Lahooti's Divan. <br />Combination of 7 & 10 <br /> Combination of 10 & 9 <br />Combination of 10 & 5 <br />They're beautiful rhythms. <br />It appears that Lahooti feels more nostalgic to his hometown and his mother tongue, the rhythms prove this claim, because 9 and 11 rhyme (have been used 3 times) are most common. So, he can be known the genius of his period. As he has a lot of experiences in composition of Kordish poems, he could have used the rhythm possibilities of Kordish poems in Persian poetry. ابوالقاسم لاهوتی کرمانشاهی، شاعر، نویسنده، معلم و روزنامه‌نگار معاصر(1264- 1336 ش) از پیشگامان تجدد در شعر معاصر فارسی است. خروج از وزن عروضی و سرودن شعر در وزن هجایی از مهم‌ترین جنبه‌های نوگرایی او در شعر محسوب می‌شود. در این مقاله، بیست و هشت قطعه شعر او که دارای وزن هجایی است مشخص گردیده و پس از تقطیع، اوزان آن‌ها بررسی شده است؛ سپس این اوزان با وزن‌های مشابه در زبان کُردی ـ که لاهوتی گویشور آن بوده ـ انطباق داده شده است. حاصل این بررسی و مقایسه این است که لاهوتی پیش از آن که به اوزان شعر روسی، فرانسوی و ترکی نظر داشته باشد ـ چنانکه عده‌ای بر این باورند ـ به سنت‌های وزنی شعر بومی ایران نظر داشته و با الهام از آن‌ها دست به نوآوری درشعر فارسی زده است. این اوزان در دو دسته‌ی اوزان ترکیبی و غیر ترکیبی دسته‌بندی و متفرعات هر یک از اوزان در ذیل دسته‌بندی‌ها به تفصیل توضیح داده شده است. https://liar.ui.ac.ir/article_21336_ffaf4d22e3b3505ffeb79cf71d8c7a52.pdf