چکیده:
Persian poetry transformed, both in terms of theme and content, and in terms of form, as a result of familiarity with Western literature. Among the types of transformation in Persian poetry during the Constitutional era is the use of a number of new rhymes that belonged to Western poetry and were unprecedented in our classical literature. Constitutional poets became familiar with these types of rhymes through Turkish poetry, which had entered the era of modernity due to contact with the Western world before Iranian literature, and they employed them in their poetry. On one hand, the boredom with the uniformity of ancient literature, and on the other, the passion for modernity and innovation in this era and the need to enter new poetic realms, were important factors in such transformations. These kinds of developments in Constitutional poetry were the beginning of modernity in Persian poetry, which, along with other factors, shaped modern Persian poetry. In this article, which was conducted using the library research method, we have examined three types of Western poetic rhyme in Constitutional poetry, namely: cross rhyme, spiral rhyme, and chain rhyme. Among the three aforementioned types of rhyme, the cross rhyme had great popularity among the poets of the Constitutional era, and many pioneering poets of the era, even traditionalists, ended their poems with this rhyme. However, the second and third types were used relatively less. Iranian poets in this era used various types of the aforementioned rhymes and even other types of indigenous rhymes in a single poem.
خلاصه ماشینی:
Investigation of Three New Types of Rhyme in Constitutional Era Poetry * Hossein Bakhshi Abstract Persian poetry, as a result of acquaintance with Western literature, underwent transformation in terms of both theme and content, and also in terms of form.
It was the same in the field of literature; many Iranian poets adopted literary transformations rooted in Western literature through Turkish poets and employed them in Persian poetry; such that the first modern Persian poem, "Yad Ar," by Allameh Dehkhoda, has roots in the poetry of Turkish poets both in terms of theme and thought, and in terms of poetic form and the arrangement of rhymes.
Its diagram is drawn like this: / And this is an example of an English poem by Walter Landor: Mother, I cannot mind my wheel My finger ach, my lips are dry Oh, if you felt the pain I feel But oh, who ever felt as I (Sokhanvar, 1996: 170) In classical Persian poetry, we have poems in a few rare cases that are rhymed in this manner, and it seems that this style of rhyming in these poems is completely accidental, of which these two examples can be mentioned: first, these two verses by Shahid Balkhi, a poet of the late 3rd century and early 4th century, which are located within one of his eight-line poems: اگر تو را ملک چينيـان بديـدي روي نمــاز بــردي و دينــار برپراکنــدي وگرتوراملک هندوان بديدي موي سجود کردي و بت خانه هاش برکندي (Dabirsiaqi, 1370: 11) And also these two verses by Saadi at the beginning of Golestan: اول ارديبهشـــت مـــاه جلالـــي بلبــل گوينــده بــر منــابر قضــبان بر گـل سـرخ از نـم اوفتـاده لآلـي هم چو عرق بر عذار شاهد غضـبان (Saadi, 1373: 54) And sometimes in some ancient prose books, rhymed sentences also appear where their different segments form such a rhyme.
During this period, the cross-rhyme (chalippa) became so widespread and popular that even a traditionalist poet like Malek al-Sho'ara Bahar, whose disputes with Taqi Rafat over literary modernism are famous (← Shams Langroudi, 1370: 45-47), has repeatedly rhymed his poems in this manner.
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