چکیده:
Much of the classical and contemporary Persian poetry is composed of short poems such as couplet and quatrain. Also, contemporary poets have shown increasing interest in short poetry. Although researchers have attempted to identify the components of short poetry and to this end have mentioned the brevitas features, the limited usage of the verb, the ending stroke, the image-orientation, the limited use of the rhyme, and naturalism; these features mostly refer to the description of the short poem, and no unanimous definition is available yet. For example, the outer limit is sometimes referred to as one page, sometimes up to seven rows and sometimes up to five portions. As for its internal and semantic limits, they enumerate the function of the fundamental scheme and effect of the moment. This article critically analyzes the descriptions and definitions of researchers on short poetry and attempts to provide a more accurate definition of the short poem using an analytical method. As a result, this article considers short poetry based on its fundamental technique, to be with limited lines or hemistiches, and finally, "independent monolithic limited poetry with a greater tendency for the discourse of wisedom."
خلاصه ماشینی:
Although researchers have endeavored to identify the components of short poetry and for this purpose have mentioned characteristics such as conciseness, limited use of verbs, finality of impact, imagery-centeredness, limited use of rhyme, and naturalism, these characteristics mostly return to the description of short poetry and a consensus definition is not yet available; for example, regarding its external limit, some have considered it sometimes up to one page, sometimes up to seven lines, and sometimes up to five lines, and similarly, for its internal and semantic limit, they have counted the agency of a fundamental technique and impact in a moment.
thoughts," is completely consistent with existing examples; however, two points still remain to be said in this regard: first, that being in the moment is an accidental attribute of short poetry, not an essential part of its nature, and therefore it should be presented as its descriptive characteristics; because the poet of this type of poetry operates under such limitations that, except for expressing a single moment of poetic experience, no other possibility for artistic display exists.
(Shamlu, 1387: 346) whose arrangement based on prosodic weight scansion is like this and therefore has four verses: night has sung with a bloody throat for a long time the sea sits cold a branch in the darkness of the forest cries out towards the light The following example also shows the truth of this rule regarding white short poetry: I want embrace the earth, take it with me, and place it in another galaxy; the gravity here has diminished (Sima Hejazi, quoted in: Nozari, 1388: 492) Internal General Form Undoubtedly, the brevity of short poetry depends on its single-core nature, and just as a poem does not have more than one fundamental technique, it inevitably entails a limitation in its external general form; meaning everything begins from within the poem and finds its way to its exterior.
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