دانشگاه اصفهان فنون ادبی 20088027 10 1 2018 03 21 The Study of the Level of Harmony of Rhyme and Content in the Poems of Hakim Sanaei «بررسی میزان هماهنگی وزن و محتوا در اشعار حکیم سنایی» 85 98 22558 10.22108/liar.2018.94167.0 FA نجمه دری دانشیار گروه زبان و ادبیات فارسی، دانشگاه تربیت مدرس، تهران، ایران سمیه رضایی دانش آموختة زبان و ادبیات فارسی دانشگاه هرمزگان، بندرعباس، ایران Journal Article 2016 06 13 The true poetry is the birth of the unconscious poet without the intervention of his consciousness, as Plato and Aristotle, the critics of the first poetry, point to this point. If poetry is burst from inside the poet's conscience, the rhyme and all the elements of the poetry are followed by the contents of his poem, rather than the poet, with a figure of a pattern. The outer music of poetry follows the poet's feelings on his tongue, and a poem with a conventional weight of poetry identity is indistinguishable from the point of view of the poetry and intuition; as the poems of the great poets of Persian literature is an example of this harmony between elements of poetry. Sanai Ghaznavi is one of the popular poets of Persian literature whose poetry seems to come from his uneasy inside the poetic moments of her life. The purpose of this research is to determine the extent to which weight and content are coordinated in his poems, and whether the two elements of weight and content in the Sanaei poems are in line with each other. In this research which was done by the library method, after reviewing the poetry of Sanai (330 sonnets and verses). Their subject and content were determined. First, the studied poems were divided into four groups of love, mysticism, ethics-preaching-social criticism, and eulogy. After determining their rhyme, the quality of rhyme and content and the level of coordination of these two elements were analyzed in Sanaei's poetry. It is worth noting that Sanaei's poems based on his work were chosen and studied by Modarres Razavi. In considering the weight of a poet's poetry, there are a few points to consider; for example, in the case of the Senaei's poems, he has said that he has undergone a number of existential issues and undoubtedly influenced these changes in his poetic style. Of course, the style of the time should not be ignored. This point should also not be ignored, with the advent of the purposive content of Persian poetry, a new chapter in literature begins with the name of Sanai Ghaznavi. The Sanai Ghaznavi's poems begin with mystical poetry, his lyrics and odes in this study, according to their contents were divided into four groups of preaching, mysticism, Qalandari, and romanticism. He has completed three stages of poetry. He used the great rhymes to compose eulogy, and according to the survey, rhymes can be said to fit into the theme of the eulogy. The important point regarding Sanaei is the romantic that has happy and sad rhyme at the same time. These poems are considered as lyrics that are more exciting. In his mystical and spiritual poems, the rhyme is calm. Although the poems with calm rhymes are more, but the short rhythmic poems are less that is the kind of rhyme in the speech. In the reviewed poems, Bahr-e Raml and Hazj are the most frequent. There is no rhymic forms in these poems. وزن شعر یکی از عوامل جدایی‌ناپذیر آن است که باید متناسب با مضمون و دیگر عناصر شعر انتخاب شود. حکیم سنایی، شاعر بزرگ اوایل قرن ششم، اشعار بسیاری از جمله قصیده، غزل، مثنوی و رباعی از خود به یادگار گذشته است. اشعار سنایی مصداق شایان‌توجهی از هماهنگی میان وزن و محتوا هستند. در این جستار، پس از بررسی گزیدهای از اشعار این شاعر نامدار (330 غزل و قصیده)، به کیفیت و کمیت انواع وزن در آن و همینطور میزان هماهنگی وزن و محتوای آنها پرداخته می‌شود. در این تحقیق که به روش کتابخانه‌ای انجام شده است، اشعار سنایی با توجه به مضمون آنها به چهار گروه وعظ- حکمت، عاشقانهها، عارفانهها- قلندریات و مدحیات تقسیم شدهاست. در اشعار بررسی‌شده، 26 بحر از بحور عروضی به کار گرفته شده است که در میان آنها بحرهای «رمل مثمن محذوف» و «هزج» بسامد بالایی دارد. اشعار گروه اول و چهارم بیشتر در وزن‌های روان و جویباری و اشعار با مضامین عاشقانه و قلندرانه با وزن‌هایی با تنوع چشمگیرتر و بیشتر در قالب بحر مسدس سروده شده است که کوتاهی آن گاهی هیجان بیشتری به کلام القا می‌کند.

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