چکیده:
Being correlatives, poetry and music have always had an ancient similar standing versus the question of time, even though, over the course of centuries, each has evolved into an independent field. In some poems, ambiguity stands out as a literary device, and the use of ambiguous words and sentences attracts special attention to the point of imposing itself as a feature of style. It is more so when it blends with music to take the reader by wonder and surprise. Assar-e-Tabrizi is a poet, beside a few others, to have achieved perfection in using the technique. In this study, all the lines in Assar's couplet ‘The Sun and Jupiter’ (Mehr Va Moshtari) and the poems of Khosrow and Shirin composed by Nezami were carefully examined in search of instances of musical ambiguity to be compared and contrasted with the sonnets by Hafiz. So, three poets were compared. The findings show that Assar and Hafiz have a lot in common when it comes to musical ambiguity, with Assar making a few innovative moves missing in Hafiz. The term ‘Shahnaz’ is one such move. In fact, the claim can be legitimately made that, concerning ambiguity and particularly musical ambiguity, Assar is as great and distinguished a poet as Hafiz, and he has used these literary items more than Nezami.
خلاصه ماشینی:
In this research, all the poems of Assar's Masnavi "Mehr o Moshtari", Nizami's Khosrow and Shirin, and Hafez's ghazals were studied from the perspective of musical ambiguity, and we compared all three poets with each other.
In this research, we have examined the ambiguity of proportion in musical terms in Assar Tabrizi's Masnavi "Mehr o Moshtari" and then compared it with the poems of Nizami in the poem "Khosrow and Shirin" and the verses of Iran's great ghazal poet, Hafez Shirazi.
123, 124, 202, 204, 272 In the following verse, Nezami has used chang in the sense of claw and hand, but in its musical term meaning, it has an ambiguity of proportion with the instrument.
Considering the following examples, in the first verse of Assar, the combination "rah-e rast" (the straight path) appears, and due to its juxtaposition with Isfahan (musical maqams) and nahfat (a musical term), it possesses an ambiguity of proportion in its second meaning with both words.
In the following verse by Assar, "rah" (way/path) is used in the sense of route and way, but in its second meaning, which is a musical term, it has an ambiguity of proportion with chang (harp) and ahang (melody).
When that treasure is lost, let me become aware, again I shall go along the way accompanied by tarab (Nezami, 1378: 76) In the following verse by Hafez, "rah" is justifiable in its second meaning (musical term) in addition to the meaning of path, and it has an ambiguity of proportion with motreb (musician), saz (instrument), nava (melody), and naghsh (pattern/design) (see Vojdani, 1386: 1143).
(
, 
, 
)
