Tasnif Genre and Structural Analysis in Tasnifs of Aref Ghazvini

Ali Pedram Mirzaei Assistant Professor, Department of , Payame Noor University, P.O.Box 19395-4697,

Mostafa Gorji Professor, Department of Persian Literature, Payame Noor University, P.O.Box 19395-4697, Iran

Mostafa Jouzi PhD student, Department of Persian Literature, Payame Noor University, P.O.Box 19395-4697, Iran

Abstract: Linkage and relationship between poetry and music has old age and long record of history. The most beautiful and excellent glorious sign of this linkage can be sought in tasnif. This linkage is rooted as some researchers believe that poetry in Iran was nothing but tasnif before Islam and life of poetry was accompanied by music. The Constitution period is the era of real manifestation and evolution and elevation of tasnif. The Constitution period is the era of real manifestation and evolution and elevation of tasnif. Among them, Aref Ghazvini has had special role in ingenuity and prosperity of this effective and public literary type. By keeping priority of sheida, Aref plays an important role in tasnif as a literary genre in the Constitution era. In this research, the external form of the aref's tasnifs is analyzed while tasnif is introduced as a literary genre. In this regard, metre and format have been selected as elements of the external form index of tasnif because most of the tasnif's deconstruction occurs in the external form and particularly metre and format and interaction and linkage of these two categories. Final outcome of the research shows that melody and intonation play determining role in the external structure and system of tasnif. metre and format are completely affected and dominated by it so that it changes structure and form of tasnif from the traditional form of poetry and formats and makes it compatible with musical rhythm and system of tasnif. Application of some prosodic metre in a tasnif , change in metre of discourse aligned with change in rhythm and harmony , application of rare and unprecedented metre with unique prosodic characteristics and application of innovative poetical format all are result of this attitude and dominance of rhythm and melody over discourse. Key words: Tasnif, Aref Ghazvini, metre , rhythm, melody

1- Introduction

Poetry and music have old age and inseparable linkage with each other such that most researchers believe that poetry could be presented with music in Iran before Islam. Poetry and music were like two inseparable parts and everyone who could know poetry, were forced to study music and everyone who had music taste composed poem. This is confirmed by the known word of the writer of History of

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Sistan: when the Persians existed, their sayings were quoted in Khosravani way(History of Sistan, 2002:215).

meaning composing poem in Arabic language »ا٘طذاِطعش« Jorji Zeidan" is one of the" who elaborates relation between poetry and music and believes that music is recognizable for human and combined with discourse and speaking(Fazel, 2001:31). One of the most excellent manifestations of this linkage and relationship is tasnif. During the history, it has ups and downs and has changed during any period based on need and necessity of the society. The Constitution period is the starting point of dynamicity and change of tasnif and tasnif composition and the pioneer of this change is nobody but Aref Ghazvini , national undisputed poet and tasnif composer of the Constitution period. In this research, the external structure and form of tasnifs of Aref Ghazvini are studied and analyzed as a literary genre effective in the Constitution period. In this regard , metre and poetical format and interaction and linkage of these two categories as the main indices for formation of the external form of tasnif have been regarded as basis of the research. Regarding the history of research, it should be acknowledged that no accurate research has been conducted on form and structure of Aref's tasnifs in special form and most researches are based on tasnif composition and its history and general specifications of Aref Ghazvini's tasnifs. Regarding tasnif composition and tasnifs of Aref Ghazvini, one can refer to the following works and researches: 1. History of tasnif composition written by Sohrab Fazel 2. National songs of Iran written by Ahmad Panahi Semnani 3. Paper entitled "stability in tasnif " written by Ali Mohammadi 4. Paper entitled "Aref and metre " written by Mehdi Firoozian In this research, books and papers relating to subject and tasnifs of Aref were studied with library sources and after extraction of the related data, the data were analyzed with content analysis method the obtained results were presented (1).

2- What is tasnif? Dehkhoda has defined the word"tasnif": segmenting and separating some parts from some other parts and in music term, combination and composition of music songs(Dehkhoda, below the word "tasnif"). Selection of the word"tasnif" and its point of siminaliry may be due to the fact that becauee the word"taalif" and taalif

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Tasnif Genre and Structural Analysis in Tasnifs of Aref Ghazvini Mirzaei et al/ Argos Special Issue 2016-2/pp.117-142 relation has been common in music technique , the term "tasnif" has been established through analogy of the writer and translation of this word into composition and musical poem is very suitable (Mashhoon, 1994:312). Literally, tasnif means orchestration of music and extension of composition (Navab Safa, 2002:23). But what is inferred from the word"tasnif" is different from its old meaning and it is better to say that tasnif has two general and specific meanings. In general meaning, continuity and relation of poetry and music can be regarded as tasnif and the Persian poetry has format of tasnif and has turned into other formats due to expansion of society and change in function of poetry and separation of poetry and music (Monibolrahman, 2007: 119). Based on this attitude, the late Bahar says about tasnif: for the reasons which we have, there is no significant ٔضاحفات تحش ٞزض difference between poetry and tasnif and ay poetry has been applied in ٚ and instead of tasnif(Bahar, 2003:33). Bahar defines tasnif as a type of syllabic سجزض poetry which was common before Islam and writes about its social form and belonging: the dominant guess is that composition of chakameh was like that of ode and chakamek was like ghazal and song is similar to tasnif. Saying and singing it are popular and listening to it is specific to the second and third classes (the same: 34). By relying on the above facts, the old poetry of Iran and its evident example, Barbad Khosravanis , which is indicative of close relation between poetry and music is tasnif in its general meaning. In its specific meaning, it is a relatively new phenomenon which is manifested in serious form affected by the Constitution period and enters the life scene as a changing literary genre. Of course, old age and history of tasnif date back century 17 later on in its modern meaning. It is evident that this term has been common since century 10 i.e. Safavid period later on. Before that date in centuries 8 and 9, the word"tasnif"was interpreted as harmonic talk and the like to mean composition of song and music in writings of Abdolghader Maraghi and previously in works of Safiaddin Armavi, the great musician of century 7(Mashhoon, 1994:309). Some other researchers believe that Abdolghader Maraghi (died, 838A.H.) first applied the term"tasnif" in his works (refer to Hassan Zadeh Mirali and Amin Poor, 2014:97). Maraghi , the distinguished musician of century 9 was highly proficient in music especially composition of tasnifs and explained in detail all types of tasnifs in his ,by mentioning poetical examples and its periods (Maraghi " ٔماصزذاِحاٖ " precious work 2536:105).

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Dolatshah Samarghandi in his biography mention biography of Roodaki and refers to the word"tasnif" beside other things : ….perhaps, because the master has been fully skilled in music instruments , he may have composed tasnif and composed this poetry based on aghani music and musical instrument (Samarghandi, (2005):38). Arian Poor believes that emergence of the term "tasnif" starts from centuries 8 and لزand it becomes popular since century 10. He believes that the term replaces ٚ َٛ 9

in the first era after Islam which is referred in term of the poets and musicians غزضَ to as tonal poetry with prosodic and rhythmic metre (Arian Poor , 1993, Vol. 2: 151). Therefore, the term"tasnif" becomes popular since century 7 later on and in century 10 and Safavvid period and particularly Qajar period , it becomes comprehensive and public . In other nations and languages, there are musical pieces like out tasnif which are recalled with different titles. As Ballad in the European music and Lied in German language has a similar form to that of tasnif.

2-1- Tasnif composition method Tasnif is divided into four classes in terms of discourse, melody and combination of these two and composition method: 1. In the first method, composer puts a music on a pre-composed piece of poem, for example a poem of Hafiz, Saadi etc. and its result will be performed by the singer. 2. In this method, the composer gives song and music to the poet and then the poet composes a poem based on songs and tone of music. At present, this method is more common in tasnif composition. 3. In this method, melody and poem are composed at the same time and in fact, composer and poet are one person. This method is less used because those who are proficient in music and singing and also literature and poetry are rare in number. On the other hand , the best method is tasnif composition because poet and composer are one person who creates the most beautiful and coordinated work (in case of full ability) with his/her taste and proficiency in literature and music. Sheida and Aref Ghazvini are among the perfect representatives of this method. 4. The fourth method is obtained from combination of the first method and second method and requires close cooperation of poet and singer. In this regard, the singer first considers a sing and plans it in his mind and then

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gives some parts of the melody with intended rhythm. After composing some of the poetry which is consistent with that melody , the composer first sings it more carefully (Dehlavi, 2000: 19-21).

2-2- Richness of tasnif genre in the Constitution era and emergence of Aref Ghazvini The Constitution period is one of the turbulent and changing periods of the country in the political, social, cultural and particularly field. With rise of the constitution movement and formation of the people's demonstration, the modern literature was developed day by day. Press has played distinctive role in expansion and growth of this idealistic literature. Now, the major problems of the content of revolutionary literary works of Iran were political goals and homeland emotions (Ahmad Panahi Semnani, 1997:125). Constitution poetry is the fully social tool and range of its followers has extended from the courts to the people. "The emotions which are found in the Constitution poetry are the time afflicted emotions ….and for this reason, it arises out of a social ego". (Shafiei Kadkani, 2004:105). In these verses, the implications relating to prevention of the governing tyranny, defense of homeland, and more importantly, freedom are manifested. All of these subjects which were various and new for Iranian poetry were expressed mostly with visual means of traditional poetry of Iran and they were not so impressive and effective as they should have penetrated into the society. To express the new contents and utilize the new ideals, more efficient means of traditional poetry were necessary and the verses which could be read in sidewalks and in which daily actions are reflected can be repeated. To search for these new poetical means, the poets turned to the oral literature and found its main and ideal origin in tasnif as the most effective poetical means of verse (Gamin, 2537:32-34). Among them, a poet filled with homeland and revolutionary emotions and feelings can emerge and he is nobody but Aref Ghazvini with attachment to homeland.

2-3- Aref , the true founder of literary tasnif genre Aref's life has changed drastically with start of the Constitutional Revolution. Here, he is like a national poet, a patriot, a fighter for happiness and independence of the homeland, starts fighting and struggling to free the people from oppression of the rulers and strangers. He mixed this folkloric characteristics of this art with traditions of written verse as the distinctive master of the national tasnifs and became famous in this way(IBID: 12).

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In the entire period of the Constitutional Revolution , no word like Aref's word and his tasnifs can thrill the heart of Iranian people (Reza Zadeh Shafagh, 1923:60). Aref had effective role in change of tasnif in the Constitutional period. Aref gave sophistic and literary feature to tasnif which was word of mouth in the previous years with the poetical and sometime vulgar implications and undignified verses and inharmonious sing and if we consider role of Ali Akbar Sheida as innovator of tasnif and change in its contents and verses, we will find that Aref had played important role in literature and music world. Aref has elevated tasnif to poetry and a comparison between tasnifs and common tasnifs in before him clarifies this fact that Aref has major role in formation of national literature of his era and particularly in type of tasnifs.(Shafiee Kadkani, 2011:394). Aref introduced tasnif as a literary genre. He elevated position of tasnif to the level which sing and tasnif were considered as literary types (Dastgheib, 1950:19). Composing music , composing poem based on music and melody and reciting it by Aref itself made him a perfect revolutionary myth in the Constitutional era. The unique feature which reminded us of singers of the ancient period and Aref should be considered as the last survivor of Sassanid period as poet-singer who lived in the Islamic period all over the world. These artists were called Gosan/Koosan in Sassanid era and many references have been made to this name in Islamic texts(Shafiee Kadkani, 2011:399). Beside these characteristics, Aref is the first person who inserted political and national contents in tasnif, made the music the means of publication and advertisement of the revolutionary beliefs and liberalistic thoughts. In fact, he can be regarded as inventor of this style (Khaleghi, 2005, Vol. 1:421). In Noor Mohammadi's publication, the 23th tasnif "if your buttons were cotton " and the 34th tasnif "Spring of light arrived…."and 20th tasnif "tonight, you left Asia for Europe …" have been regarded as three additional tasnifs in publication (Aref Ghazvini, 2010: 292-312). Aref has mentioned all of his tasnifs by mentioning date, subject and musical instrument which was performed in it. Undoubtedly, real number of Aref's tasnifs was higher but unfortunately, only this number has remained in writing form.

2-3-1- Structure of Aref's tasnifs Aref Ghazvini was the person who found wonderful innovation of Sheida after his death 20 years after his death, therefore, he made new innovations in this field and gave special credit to tasnif using the primary experiences of Sheida in tasnif composition. He changed its form by reinforcing its content and figures of speech in

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Tasnif Genre and Structural Analysis in Tasnifs of Aref Ghazvini Mirzaei et al/ Argos Special Issue 2016-2/pp.117-142 the verses …Aref developed contents and form of tasnif and rewarded it to literature with newer method more definably , separately and honorably (Mohammadi , 2006:44).  Multi-canto tasnif Aref starts his word with worshipping nature and describing spring or complaining the beloved and reproaching the world (Mir Ali Naghi, 1995:91). This specification is derived from traditional method of ode composition in which the poet starts his poetry by eulogizing or singing love poems at the beginning of the ode and then eulogizing the praised one. The first canto of Aref's tasnifs relates to the eulogies with which he starts his word and then he continues his main subject which is usually political –critical after readiness of the addressee. Tasnif starts with "the tulip is blown from blood of the youth "(Divan, 7:358) or" the heart doesn’t desire grass and desert "(IBID, 361:8) is one of the evident examples of the ghazal-like tasnifs of Aref which starts with description of nature (the first tasnif) or complaint of the world and his heart (second tasnif).  Tarjiis of tasnif Of the other elements of structure of Aref's tasnifs are tarjiis which are melodically, thematically and intellectually considerable. Continual repetition of tarjii which includes one hemistich to several couplets and focus of the tasnif composer on it indicates important thought, message or slogan which he wants to reflect in mind by repeating it. The main mental and melodic burden of a tasnif is on the tarjiis which help unite the pieces (cantos ) in the complete entirety and act as a strong and effective relation between seemingly dispersed cantos of a tasnif. In permanent tasnif""the tulip is blown from blood of the youth " , the poet cries blood in all cantos which is repetition of the tarjiis' couplets : How deviant the world is How evil the world is The world is spiteful The world has no religion

چٝ وج سفتاس٢ ا٢ چشخ چٝ تذ وشداس٢ ا٢ چززززززشخ

سش و٥ٗ داس٢ ا٢ چزشخ ٝ٘ د٤ٗ داس٢ ٝ٘ آ٥٤ٗ داس٢ ا٢ Sky

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Complaint, moaning, and mourning of the poet have been reflected in cantos of tasnif which is inspired to the addressee with sad tone and melody. In some tasnifs, couplets of cantos are more than couplets of cantos indicating that the main concern of the poet was the main text and body of tasnif: Heart doesn’t desire grass and desert It doesn’t tend to walk and watch

دَ ٛٞس سثضٚ ٜ صحشا ٘ذاسد )٘ذاسد( ٥ُٔ تٝ ٌٍّطت ٚ تٕاضا ٘ذاسد دَ سش ٕٞشا٣ٞ تا ٔا ٘ذاسد )٘ذاسد( )٘ذاسد( خٖٛ ضٛد ا٤ٗ دَ وٝ ضى٥ثا ٘ذاسد )٘ذاسد( ا٢ دَ غافُ ٘مص تٛ تاطُ خٖٛ ض٢ٛ ا٢ دَ )خٖٛ ض٢ٛ ا٢ دَ( د٣ِ دٛ٤اٝ٘ داس٤ٓ ص خٛد ت٥ٍاٝ٘ داس٤ٓ ص وس پشٚا )جا٘ٓ پشٚا، خذا پشٚا( ٘ذاس٤ٓ

چٝ ظّٟٕا وٝ اص ٌشدش آسٕاٖ ٘ذ٤ذ٤ٓ تٝ غ٥ش ٔطت دصد ٕٞشٜ واسٚاٖ ٘ذ٤ذ٤ٓ Much oppression I have seen from the sky I didn’t see anyone but some of burglars in the caravan

دس ا٤ٗ سٝٔ تٝ جض ٌشي دٌش ضثاٖ ٘ذ٤ذ٤ٓ تٝ پا٢ ٌُ تٝ جض صحٕت تاغثاٖ ٘ذ٤ذ٤ٓ I didn’t see any shepherd but wolf in this herd I didn’t see anything but effort of gardener among the flowers

تٝ و٢ٛ ٤اس جض حاجة پاسثاٖ ٘ذ٤ذ٤ٓ )دٛ٤اٖ، 361:8( At the end of the next cantos (6 cantos) , couplets of tarjiis are repeated which start به وه ی رهجز صهح هج پاسزثاٖ " and continue until end of hemistich " ا٢ دَ غافزُ " with hemistich Couplets of each canto are composed of four hemistiches while couplets of . "٘ذ٤زذْ tarjiis are composed of 11 hemistiches with length inequality of hemistiches. These tarjiis are considerable from three perspectives:

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1. From the musical or melodic aesthetic perspective of which ear-catching and melodious rhythm and melody and their continual repetition at the end of the cantos creates happiness and enthusiasm in the addressee and prepares him for listening to the next canto. 2. From the thematic perspective: here, tasnif composer fixates his main message and slogan by selecting suitable rhythm and melody and repeating it in mind of the addressee. 3. In terms of group singing: since most tasnifs can be sung by group, tasnif can be presented by a single person and couplets of the tarjii are sung by the group harmoniously which doubles its effect in the addressee.

2-3-2- Method of Aref in tasnif composition Ingenuity of Aref in the unique tasnif composition which reminds us of singers of Parthian period made him unique character in this field. Melodious sound , familiarity and dominance over music and composition and finally , poetical work are three divine gifts which have been appreciated by Aref. Method of tasnif composition by Aref is combination and creation of poetry and sing and their writing. He has developed a short theme in a corner of instrument or composition of Iranian music like hejaz or dashti and has combined suitable verses with it. Trend of the composed melody is consistent with subject and content of tasnif considering metre of the piece. This consistence is gracefully sensible in the known tasnif "cry"(IBID, 22:393) which has been sung by Colonel Mohammad Taghi Pasian to mourn for death of the beloved and liberalistic friend such that metre of tasnif and duration of final notes of its hemistiches inspire the addressee with sadness and sorrow relating to subject of tasnif which is martyrdom of Colonel Passian(Sepanta , 1990:130). One of the known singers who performed most of Aref's tasnifs properly when he was alive was Ghamarolmoluk Vaziri. Other singers are Moluk Zarabi, Gholamhossein Banan, Abdolvahab Shahidi and Ostad Mohammad Shajarian.

2-3-3- Metre and format of Aref's tasnifs One of the main issues in tasnif analysis particularly Aref's tasnifs is study and evaluation of the external form and formal structure of tasnifs. At the first glance, the most evident structural characteristic of tasnif is change and transgression of the external form which are manifested in two elements of metre and format and in length change of hemistiches and changeable and different system of rhyme, on the other hand. The key point affecting formation of this different external form of

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tasnif is melody and rhythm of music. Melody and rhythm of music are the determining factor in tasnif which is affective in metre of the word and even its poetical format which is varied and innovative. In this section of the paper, metre and format of the tasnfs are studied and analyzed as two main elements of the external form of tasnif. - Metre in Aref's tasnifs As mentioned before, rhythm and melody are the determining factor in the external form of a tasnif, the factor which has direct effect on language of poetry, metre and format and even rhyme of poetry. Therefore, metre of a tasnif is affected by rhythm and melody of music. Here, tasnif composition method is an important issue. As mentioned in the previous sections, tasnif composition has four methods which are separated considering composition method of music and poetry. Considering power and proficiency in music and poetical taste, Aref has created word and music concurrently. This method has direct method on the external form of tasnif and particularly, its metre. On the other hand , dominance of rhythm and melody over tasnifs of Aref is a main rule in tasnif composition.  Novelity and innovation of Aref in prosodic metres Of course, prosodic metre of Aref's tasnifs , special and less applicable metres with unique specifications and deviations . The prosodic metre which is affected by rhythm and melody of tasnif sometimes has special powers. Aref in his 31 tasnifs (29 tasnifs in addition to two sings of "blood march" and republic march"), has applied 52 prosodic metres most of which are innovative. Diversity and novelity of Aref's tasnifs indicate his dominance over music melodies and his ingenuity in this field. This diversity of metres is not considerable in Aref's ghazals so that he has utilized only 16 metres in 150 ghazals (all being the highly applicable Persian metres )(Firoozian, 2014:135). In Aref's tasnifs , main dominance is applied by melody and rhythm of tasnif. In a tasnif , this important point should be considered that we deal with a literary genre which has been created for reciting and performance in music. On the other hand, composition method of tasnif is also determining here. In Aref's tasnifs , since creator of poetry and song is Aref and they are created concurrently , consistence of poetry and metre with rhythm and format of music is an important and main principle. Therefore, one can give example of 1-rokni to 10-rokni hemistich in Aref's tasnifs. Here, the poet doesn’t confine himself to the limited prosodic laws because he is the ruler of music and rhythm. Some musicians have more melodic and musical attitude than literary attitude considering that the musical thoughts

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Tasnif Genre and Structural Analysis in Tasnifs of Aref Ghazvini Mirzaei et al/ Argos Special Issue 2016-2/pp.117-142 dominate over their literary thoughts. What is important for them in a tasnif is dominance and expansion of melody and its dominance over poetry. As Dr. Fatemi explains necessity of consistence of poetry and particularly its metre with musical rhythm: one of the ways of exiting from the undesirable musical rhythm which is common today is serious revision of all teachings related to linkage between poetry and music and rescue of melody from despotism of poetry ….and freedom of melody so that it can guide poetry…..(Fatemi, 2007:245). Dominance of rhythm and music on mind of emotional poet like Aref directs him to create tasnifs with various and rare metres . Here, we refer to some examples of the rare metres of Aref all created through rhythm and melody of tasnif:(only the first hemistich of tasnif is mentioned).

1- ٌشٝ٤ سا تٝ ٔست٣ تٟاٝ٘ وشدْ )دٛ٤اٖ، 376:13( )فاعّٗ فعِٛٗ ٔفاعّٗ فع( I pretended to be drunk when I was crying

2- دَ ٛٞس سثضٚ ٜ صحشا ٘ذاسد )ٕٞاٖ، 360:8( Heart doesn’t desire grass and desert

)ٔفتعّٗ ٔفتعّٗ فاعّٗ فع( ٌٛ -3 تٝ سال٣ وض ا٤اغ٣ تش وٗ دٔاغ٣ )ٕٞاٖ، 421:26( )فاعّٗ فع فاعّٗ فع ٔستفعالتٗ(

considering its dominant »فزاعالتٗ « is preferred to »فهجلن فه « In this tasnif , element of »فزاعّٗ فزاعّٗ with metre of (صاٖ ضشات٣ وٝ ضة ٔا٘زذٜ تزال٣ ) rhythm and also the second hemistich .فاعّٗ فع«

4- ا٢ دست حك پطت ٚ پٙاٞت تاص آ )ٕٞاٖ، 411:24( )ٔستفعّٗ ٔستفعّٗ ٔفعِٛٗ( 5- ٘ىٙٓ اٌش چاسٜ دَ ٞش جائ٣ سا )ٕٞاٖ، 342:4( )ٔتفاعّٗ ٔفتعّٗ ٔفعٛالتٗ( 6- تشن چطٕص اس فتٝٙ وشد ساست )ٕٞاٖ، 380:15( )فاعّٗ فَعَُ- فاعّٗ فَعَُ( In some other tasnifs , couplets of tarjii or other cantos different from the previous couplets(in this regard, we explain it in the next Section).

1- »دسٚد تش سٚا٘ت اص سٚاٖ پاواٖ تاد« )ٔفاعّٗ ٔفاعّٗ ٔفاعّٗ فع ِٗ (دس تص٥ٙف: جاٖ تشخ٣ آرستا٤جاٖ تاد )ٕٞاٖ، 389:18(.

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2- »ص غٕت خٖٛ ٣ٔ ٌش٤ٓ، تٍٙش چٖٛ ٣ٌٔش٤ٓ« )فعالتٗ ٔفعِٛٗ/ فعالتٗ ٔفعِٛٗ( دس تص٥ٙف: افتخاس ٕٞزٝ افزال٣ ٙٔ ٚرزٛس ٙٔز٣ )ٕٞاٖ، 348:5(. 3- »عاسف ٚ عا٣ٔ اص ٣ٔ ٔستٙذ« )فاعّٗ فاعّٗ ٔفعِٛٗ( دس تص٥ٙف: ا٢ أاٖ اص فشالت أاٖ )ٕٞاٖ، 341:2( We only refer to these couplets for brevity.  Shortness and longevity of hemistiches One of the characteristics of prosodic metres of tasnifs is shortness and longevity of hemistiches which are rooted in melodic and rhythmic need of tasnif. The poet creates his hemistiches based on melody and rhythm of tasnif and its necessity. Based on this musical condition, we have one-rokn hemistich to 10-rokn hemistich Divan, 379:15), one-rokn hemistiches with different metre)"»تشن چطٕص« "and in tasnif from the metres before and after it act as a relation between two pieces of music :

تشن چطٕص اس فتٝٙ وشد ساست / ت٥ٗ دٚ صذ اص ا٤ٗ )خذا( فتٝٙ فتٝٙ خٛاست ...... ٔا خشات٥ٓ چززٛ صززفزش ا٘ززذس حززساتز٥زٓ چززٛ صز٥زذ ا٘زززذس طزٙززات٥ززٓ جٟاٖ سا تشدٜ آب ٚ ٔا تٝ خٛات٥ٓ ضذ عآِ غشق خٖٛ ٔست ضشات٥ٓ is one-rokn hemistich which is effective in change of (فزاعالتٗ ) " مهج رهزیبر "The hemistich musical rhythm in the next piece and has a strong rhythm.

which was regarded as tasnifs of Malek-ol-shoara Bahar , melodic " تٟاس دِىزص "In tasnif need is different and it creates as hemistich with unconventional prosodic length :

تٟاس دِىص سس٥ذ ٚ دَ تٝ جا ٘ثاضذ اص اٙ٤ىٝ دِثش د٣ٔ تٝ فىش ٔا ٘ثاضذ ...... تٝ تاغ سفتٓ چٛ عاسضت ٣ٌّ ٘ذ٤ذْ ص ٌّطٙت اص ٔشاد دَ ٣ٌّ ٘چ٥ذْ تٝ خان و٢ٛ تٛالجشْ ٚطٗ ٌض٤ذْ تث٥ٗ دس ٚطٗ اص سف٥ما٘ت، ٚص سل٥ثا٘ت، دس ٚطٗخٛا٣ٞ چٟا وط٥ذْ (Divan, 419:25) The last hemistich (see in the homeland….) which is recited continuously in its melodic reciting and confirms its single hemistich to some extent is unconventional from the viewpoint of traditional prosodies:

فعِٛٗ فَعَُ فاعّٗ فعِٗ فاعّٗ فعِٗ فاعّٗ فعِٗ ٔفاعّٗ فع

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Here, we don’t seek to name new prosodies of Aref's tasnifs because Aref seeks to fulfill melodic and rhythmic need of tasnif only in this way whether it is congruent or contradictory with common traditional prosodies.

as an independent " تٟزاس دِىزص " In the above hemistich , even if we consider the term hemistich with different metre which causes change in rhythm of two pieces , metre of hemistich is an unconventional metre (in terms of the number of elements . This is the point which should be considered as a rule in all tasnifs of Aref.  Change of metre in a tasnif One of the evident and common specifications of Aref's tasnifs is change of metre or tasnif discourse which is certainly affected by change in its rhythm and melody. Molavi in the known ghazal:

ص٣ٞ عطك ص٣ٞ عطك وٝ ٔاساست خذ٤ا چٝ ٘غض است ٚ چٝ خٛب است ٚ چٝ ص٤ثاست خذا٤ا

he , " ٔفاع٥ُ ٔفاع٥ُ ٔفاع٥زُ فعزAfter some couplets which he brings in the same metre i.e." ِٗٛ reaches the following couplets:

تٗ اس وشد فغا٣٘ صغٓ سٛد ٚ ص٤ا٣٘ ص تٛست آٖ وٝ د٥ٔذ٢ ٝ٘ ص سش٘است خذا٤ا

٣٘ تٗ سا ٕٝٞ سٛساخ چزٙاٖ وزشد وزف تٛ وٝ ضة ٚ سٚص دس آٖ ٘اٚ ِٝ غٛغاسزت خزذا٤ا (Molavi , 2008:208)

»فعالتٗ to »ٔفاع٥ُ ٔفاع٥ُ ٔفاع٥ُ فعchanges metre from »ِٗٛ (٣٘ تٗ سا...) Molana in the last couplet .(and then returns to the original metre (Delbari , 2011:120-122 فعالتٗ فعالتٗ فعالتٗ« This change of metre is not evident in the middle of ghazal with high rapid singing. Since Molavi has composed many of his ghazals with singing method and along with music , change of metre results from change of rhythm and melody of instrument leading to slip on another metre. Aref's tasnifs which have the undisputable rhythm and melody of tasnif , this rhythm is effective on prosodic metre of the poetry. which he has "افتخار ففار "One of the most graceful lovely tasnifs of Aref is tasnif composed to describe love and romance of the heartbroken poet to Eftekharosaltaneh , one of the daughters of Nasereddin Shah(Divan, 348:5). This tasnif includes two cantos each composed of some poetical pieces with different metre. Tasnif starts with this couplet: All the world is proud of you and you're my goal

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You're the candle of all lovers at any meeting

افتخاس ٕٝٞ آفال٣ ٙٔ ٚرٛس ٣ٙٔ ضٕع جٕع ٕٝٞ عطاق تٞ ٝش ا٘ج٣ٕٙ

فاعالتٗ فعالتٗ فعالتٗ فَعِّٗ :Metre In the next piece , the poet says in the same behr with one element lost : For what reason do you break glass of heart Why do you dig your grave

ص چٝ سٚ ض٥ط١ دَ ٣ٔضى٣ٙ ت٥طٝ تش س٤ط١ جاٖ اص چٝ ص٣٘

فاعالتٗ فعالتٗ فَعِّٗ فعالتٗ فعالتٗ فعّٗ :Metre

Rhythm of tasnif is 6/4 but it changes into 6/8 in the next piece and the important point is that metre of poetry changes by changing rhythm of tasnif:

اٌش دسد ٔٗ تٝ دسٔاٖ سسذ چٝ ٥ٔطٝ ضة ٞجش اٌش تٝ پا٤اٖ سسذ چٝ ٥ٔطٝ What if my pain is cured?

What if night of separation is ended?

فعِٛٗ ٔفاعالتٗ ٔفاعالتٗ: Metre By changing rhythm , metre changes : I cry blood from your sorrow , look at me crying My liver cries blood

ص غٕت خٖٛ ٣ٌٔش٤ٓ، تٍٙش چٖٛ ٣ٌٔش٤ٓ ص ٔژٜ دَ ٣ٔس٤ضد ص جٍش خٖٛ ٣ٔ آ٤ذ

ص غٕت خٖٛ ٣ٌٔش٤ٓ تٍٙش چٖٛ ٣ٌٔش٤ٓ

ص ٔژٜ دَ ٔزز٣س٤ززضد ص جٍش خٖٛ ٣ٔآ٤ذ

دس ٚصٖ: فعالتٗ ٔفعِٛٗ And the last couplet relates to the original rhythm and the starting tasnif (6/4) and metre also relates to the same behr of the starting couplet (Eftekhar….) by changing zahaf:

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افتخاس دَ ٚ جاٖ ٣ٔآ٤ذ ٤اس ت٣ پشدٜ ع٥اٖ ٣ٔآ٤ذ

فزاعزالتٗ فزعالتٗ فع ِٗ فاعزالتٗ فزعزالتٗ فع ِٗ As observed above, Aref has used 5 metres in this tasnif and three metres are different from zahafats. Very important point in metres of Aref's tasnifs is attention to their reading and particularly rhythm of tasnif. For this reason, to recognize metre , it is very important to listen to rhythm of tasnif and its reading along with music and melody so that it is sometimes difficult to recognize metre without considering this subject . In the third piece of this tasnif (if my pain….), it is highly important to pay attention to rhythm and reading of tasnif and pauses of rhythm are the determining factor of metre which is called rhythmic metre (regarding the rhythmic metre , refer to the rhythmic metre in the same Section) .

.(Divan , 389:18)»جاٖ تشخ٣ آرستا٤جاٖ« Aref has used 5 prosodic metres in tasnif

جاٖ تشخ٣ آرستا٤جاٖ تاد ا٤ٗ ٟٔذ صسدضت ٟٔذ أاٖ تاد

ٔستفعالتٗ ٔستفزعالتزٗ ٔسزتزفزعزالتزٗ ٔستفزعزالتٗ In the next piece , metre changes:

و٥ّذ ا٤زشاٖ تٛ

ض٥ٟذ ا٤شاٖ تٛ

ا٥ٔزذ ا٤زشاٖ تٛ :The metre changes again .»مفرعلن فع لن« The metre is

دسٚد تش سٚا٘ت اص سٚاٖ پاواٖ تاد

ٔفزاعّٗ ٔفزاعّٗ ٔفاعّٗ فع ِٗ The next piece writes :

صثزا ص ٔزٗ تزٍزٛ تٝ اٞزُ تزثش٤زض

وٝ ا٢ ٕٝٞ چٛ ض٥ش ضشصٜ خزٛ٘ش٤ض

ص تزشن ٚ اص صتاٖ تزشن تپززشٞز٥زض

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ٔفاعّٗ ٔفاعّٗ فعMetre: ِٗٛ In the final piece , tasnif ends with these three hemistiches :

صتزاٖ فزشأزٛش ٘زىز٥ٙذ

تٝ ٌفت صسدضزت وض آب

خزٕزٛش آتزص ٘زىٙز٥ذ

)خٕٛش آتص ٘ى٥ٙذ( Metre:

ٔفاعّٗ ٔفتعّٗ

ٔفاعّٗ فزاعزّٗ

ٔفاعّٗ ٔفتعّٗ  Iqaee metres One of the points of similarfity of poetry and music is metre which is called prosody in poetry and rhythm in music. In tasnif , factor of pause is very determining and this principle is more evident in reading of tasnif with music and melody. Attention to upbeat and weak and strong beats is an important factor which affects determination of metre. In some Arfe's tasnifs , attention to reading and rhythm of tasnif and pauses specifies metre.

:this issue is observable in the third piece ,»یفترجز آفجق« For example, in tasnif What if my pain is cured? What if night of separation is ended? What if load of heart reaches its destination? What if I reach tranquility?

اٌش دسد ٔٗ تٝ دسٔاٖ سسذ چٝ ٥ٔطزٝ

ضة ٞجش اٌش تٝ پا٤اٖ سسذ چٝ ٥ٔطٝ

اٌزش تزاس دَ تٙٔ ٝضَ سسزذ چٝ ٌزشدد

سش ٔٗ اٌش تٝ سأاٖ سسزذ چٝ ٥ٔزطٝ At the first glance, it is difficult to find out poetry without attention to musical and melodic reading because everyone may be able to extract one prosodic metre from it

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اٌش دس/ د ٔٗ تٝ دسٔاٖ/ سسذ چٝ ٥ٔطٝ ; فعِٛٗ ٔفاعالتٗ ٔفاعالتٗ An evident example of this metre is found in the fourth tasnif which has been composed in the form of ghazal and one can rfefer to it in some couplets (Divan, 342:4).

٘زىٙٓ اٌزش چززاسٜ دَ ٞزش جززائ٣ سا ٘تزٛا٘ٓ ٚ تٗ ٘زذٞٓ سسزٛائ٣ سا

٘زشٚد ٔزشا اص سزش سزٛدا٤زت تزز٥زشٖٚ اٌشش تىٛت٣ تٛ سش سٛدائ٣ سا

چٝ خٛش است اٌش د٤ذٜ سخ دِثش تٙ٥ذ ٘ثٛد جض ا٤ٗ فا٤ذٜا٢ تٙ٥زائ٣ سا The above tasnif has innovative metre which Aref has created in his musical system. Pauses of tasnif in musical and melodic reading are as follows(first couplet)

٘ىٙٓ اٌش/ چاسٜ دَ/ ٞش جائ٣ سا ٘تٛاُ٘ٓ/ تٗ ٘ذٞٓ/ سسٛائ٣ سا

فَعّٗ فَعَُ ٔتفاعّٗ / ٔفتعّٗ/ ٔفعٛالتٗ

2-3-4- Aref and creativity in poetical formats of tasnif Poetical format of tasnifs is affected by rhythm and melody of tasnif and has no integrated system. In this system, abundant innovative formats are evident. For example, the poet in a tasnif uses the mosamat format with the novelity and creativities which are not usually precedent. Here, one refers to some innovative formats of Aref in tasnifs (it is worth noting that naming of tasnifs' formats are neglected a little considering its creative and innovative aspect).

3- Triangular format Mr. Maghsoodi in a valuable article explains types of this format by introducing triangular format in Persian literature and revising its literature. Triangular format includes the verses which are applied in different forms with three hemistiches by combining other formats. Of the known examples of that are tarjii triangle, - Tarkib triangle , mosamat triangle and mostazad triangle (Maghsoudi, 1976:78-83).

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3-1- Tarjiband triangle It is the format which consists of some cantos each having separate rhyme and at the end of the hemistich which is added to the last part of canto as tarjii:

ا٢ أاٖ اص فزشالزت أاٖ ٔشدْ اص اضزتز٥الزت أاٖ اص وٝ ٥ٌشْ سشاغزت أاٖ )أزاٖ أزاٖ أزاٖ أاٖ( ٔژدٜ ا٢ دَ وٝ جا٘اٖ آٔذ ٛ٤سف اص چٝ تٝ وٙزعاٖ آٔذ دٚس ٔطزشٚطٝ خزٛاٞاٖ آٔذ )أزاٖ أزاٖ أززاٖ أززاٖ( )دٛ٤اٖ، 341:2( (Divan, 341:2) In some tasnifs, couplets of tarjii have been given in the form of short triangles and bring the next canto considering shortness of hemistich and its beating rhythm and act as communicator : Heart doesn’t desire grass and desert It doesn’t tend to walk and watch

دَ ٛٞس سثضٚ ٜ صحشا ٘ذاسد ٥ُٔ تٝ ٌٍّطت ٚ تٕاضا ٘ذاسد ا٢ دَ غزززافزززُ ٘زمزص تزٛ تزاطزُ خٖٛ ض٢ٛ ا٢ دَ د٣ِ دٛ٤ا٘زٝ داس٤زٓ ص خٛد ت٥ٍاٝ٘ داس٤ٓ ص وس پشٚا )جاٝ٘ پشٚا خذا پشٚا( ٘ذاس٤ٓ )ٕٞاٖ، 360:8(

3-1-1- Mosamat-without tasmit Tasnif has composed of some cantos which come at the end of each couplet or couplets as tarjii:

ًٙ٘ آٖ خاٝ٘ ؤٟ ٕٝاٖ ص سش خٛاٖ تشٚد )حث٥ثٓ( جاٖ ٘ثاسش وٗ ٚ ٔزٍزاس وٝ ٔزٟٕاٖ تزشٚد )تشٚد(

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ٌش سٚد ضٛستش اص ا٤شاٖ سٚد ا٤شاٖ تزش تزاد )حث٥ثٓ( ا٢ جززٛا٘زاٖ ٔزٍززاس٤زذ وٝ ا٤ززشاٖ تززشٚد )تشٚد(

Shame on the home in which guest leaves the food table Sacrifice your life and don’t let the guest leave If Shushtar River leaves Iran, Iran will be ruined

O' young guys, don’t let Iran go.

تٝ جسٓ ٔشدٜ جا٣٘ تٛ جاٖ ٤ه جٟا٣٘ تزٌٙ ٛزج ضززا٤ٍا٣٘ تٛ عزٕش جزاٚدا٣٘ خزذا وٙززذ تزٕا٣٘ خزذا وٙزذ تٕا٣٘ ضذ ٔسزّزٕا٣٘ ٔا تز٥ٗ ٚص٤ززشاٖ تززمزس٥ٓ ٞش وٝ تمس٣ٕ٥ خٛد وشد تٝ دضٕٗ تمذ٤ٓ حضت٣ ا٘ززذس طّثزت تش سززش ا٤ٗ سا٢ ٔم٥ٓ وززافزش٤زٓ اس تٍززززاس٤ٓ وٝ ا٤زززٕاٖ تزشٚد تٝ جسٓ ٔشدٜ جا٣٘..... The poet has repeated three couplets as tarjii at the end of each canto with repeated I pretended to be drunk when )»ٌشٝ٤ سا تٝ ٔست٣ تٟا٘زٝ وزشدْ « hemistich in the last part. Tasnif I was crying )(IBID, 376:13)has the same format.

3-1-2- Square mosamat without tasnif string Some tasnifs of Aref are in the form of square mosamat which has no tasmit hemistich or string : You're crown of the crown of the crown of Khosravani The world became crippled through your drunken eye How did you ask about the poor How did you know the painful people

تٛا٢ تا تا سش خسشٚا٣٘

ضذ اص چطٓ ٔست تٛ ت٣ پاجٟا٣٘

تٛاص حاِت ٔستٕٙذاٖ چٝ پشس٣

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تٛحاَ دَ دسدٙٔذاٖ چٝ دا٣٘

Look at me for God's sake Look at me for God Speak with the familiar aref Cure some of my pains through looking at me

خزذا سا ٍ٘ا٣ٞ تززٝ ٔا وزٗ ٘ززٍزاٞزز٣ تززشا٢ خزذا وززٗ تززٝ عززاسف خززٛد٢ آضزٙزا وزٗ دٚ صزذ دسد ٔزٗ اص ٘زٍززاٞز٣ دٚا وٗ )حث٥ثٓ طث٥ثٓ عض٤ضْ( You cure my pain I don’t return from Kuwait I struggle with isolation I love you

تٛئ٣ دسٔزاٖ دسدْ ص و٤ٛزت تزشٍ٘زشدْ تٞ ٝجشت دس ٘ثزشدْ تٝ لزشتزاٖ تٛ ٌزشدْ

are the additional words which the poet has used for filling حث٥زثٓ، طث٥زثٓ، عض٤زضْ The words metre of melody and music and we considered them as the additional words which the third ,(تزٛا٢ تزا ...( )don’t play role in combination of format. Only in the first canto hemistich is free rhyme but all four hemistiches have rhyme in other cantos. Length of hemistiches of each canto is consistent with melody of short and long tasnif and this is the point which is found in most tasnifs and discussed before.

٥ٞ«( he has no other way/lifeچ چاس٠ دٌزش ٘ذاسد/ص٘زذ٣ٌ دٌزش ٕزش ٘زذاسد « The poet brought the couplet has no usefulness )as tasnif string at the end of the first section and the similar couplets with equal rhyme (I swear that …). Main body of tasnif is mosamat triangle with its special characteristics. Innovation and novelity of the poetical formats are also evident in other tasnifs of Aref which are mentioned only as format and tasnif for preventing longevity:

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3-1-3- Tarkib ghazal

IBID, 380:15). Aref in this tasnif divides a)»تزشن چطزٕص «.(tasnif )(abandoning her eyes ghazal into some parts and brings some couplets with different rhyme at the end of each ghazal part. These couplets are inserted at the end of each section (canto) with different rhymes which have been used as Tarkib couplets.

3-1-4- Ghazal –tarjii

the same, 40:1). This tasnif is like ghazal-- Tarkib but the)»د٤ززذْ صزز٣ٕٙ« tasnif o'God, thou art witness, thou)» ا٣ِٟ تٛ ٌزٛا٣ٞ خزذا٤ا تزٛ پٙزا٣ٞ « difference is that the hemistich art shelter) is repeated as hemistich of tarjii and the second hemistich of each couplet.

3-1-5- Char Parfeh(connected parts )

(IBID, 348:5)»یفتخاس آفاق« tasnif The pieces mean Do-baytis in which rhyme system is similar to Do-bayti system but it is different in metre . Dr. Shamisa calls these verses piece (Shamisa 290:1994).

3-2- Innovative tarjii The tarjii is the canto in which there is more than one couplet , for example, tasnif .(IBID, 358:7)»اص خٖٛ جٛا٘اٖ...«

4- Interrelation of metre and format in tasnifs One of the important points in Aref's tasnifs is interaction of metre and format in a tasnif . It means that Aref changes rhyme to another canto of tasnif when cantos of a tasnif are consistent with change in rhythm of tasnif to another metre and canto and format also change. It means that melody and rhythm change canto and format apart from the fact that it changes metre of poetry. For example, this issue becomes :»افتخاس آفاق« evident in tasnif All the world is proud of you and you're my goal

You're the candle of all lovers at any meeting

افتخاس ٕٝٞ آفال٣ ٙٔ ٚرٛس ٣ٙٔ ضٕع جٕع ٕٝٞ عطاق تٞ ٝش ا٘ج٣ٕٙ In the next canto which rhyme system changes and another canto starts , metre also changes:

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What if my pain is cured? What if night of separation is ended? What if load of heart reaches its destination? What if I reach tranquility?

اٌش دسد ٔٗ تٝ دسٔاٖ سسذ چٝ ٥ٔطزٝ ضة ٞجش اٌش تٝ پا٤اٖ سسذ چٝ ٥ٔطٝ اٌزش تزاس دَ تٙٔ ٝضَ سسزذ چٝ ٌزشدد سش ٔٗ اٌش تٝ سأاٖ سسزذ چٝ ٥ٔزطٝ Rhythm changes again and then another couplet comes with another metre and rhyme: I cry blood from your sorrow , look at me crying My liver cries blood

ص غٕت خٖٛ ٣ٌٔش٤ٓ، تٍٙش چٖٛ ٣ٌٔش٤ٓ ص ٔژٜ دَ ٣ٔس٤ضد ص جٍش خٖٛ ٣ٔ آ٤ذ (IBID, 348:5) On the other hand, metre of couplet or couplets of tarjii is different from mete of the previous cantos in most tasnifs of Aref. If the tarjii is at the end of the first section (first canto ) of tasnif , it will be regarded as connector of cantos and change in rhythm of tarjii attracts attention of the addressee to the last part of the first canto »اص خزٖٛ جٛا٘زاٖ ٚطزٗ... « and start of the next canto. This characteristic is evident in tasnifs

ٙ ٘ «)shame on the ز ً آ ٖ خ ا ٘ ز ٝ و ز ٟ ٔ ٝ ٕ ز ا ٖ ص س ز ش خ ز ٛ ا ٖ ت ز ش ٚ د « from blood of the homeland's youth )and) »ٌشٝ٤ سا تزٝ ٔسزت٣ تٟا٘زhome in which guest leaves the food table(Divan , 365:10) and tasnif ٝ

.(I pretended to be drunk when I was crying)وشدْ«

5- Conclusion Constitution era is the period of prosperity and emergence of tasnif is an important and effective means of social and liberalistic struggles. The true and innovative leader of this literary genre, Aref Ghazvini, is the liberalistic and enthusiastic poet of the Constitution period. Aref introduced tasnif as a literary genre and elevated it. Creative mind, rich taste and proficiency in music made him unique tasnif composer. Musical system dominant on mind of Aref has had direct effect on his word and discourse so that the external form and discourse structure of his tasnifs are affected by this system. Musical melody and rhythm of his tasnifs have also

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Tasnif Genre and Structural Analysis in Tasnifs of Aref Ghazvini Mirzaei et al/ Argos Special Issue 2016-2/pp.117-142 affected and changed form of the verse so that metre of his verse is consistent with change in rhythm and melody and even his poetical format follows this change . Aref starts a tasnif with rhythm and changes the rhythm based on his melodic need(for example, it changes metre from rhythm 4/6 to 8/6). His verse will have different prosodic metre with rhythm and cantos of the poetical format change by changing the rhyme system and vary from one canto to another canto with different rhyme and even the number of couplets. The undisputable dominance of melody and rhythm has special effect on prosodic metres of tasnifs so that it creates rare and unprecedented prosodic metres in which the criterion for recognition of metre is attention to rhythm and melody and its performance with music. Throughout this musical structure , length of hemistiches is consistent with melodic necessity of short and long tasnif so that it is found in his tasnifs from hemistich with one element to ten elements.

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- Footnote 1. 1-Our main reference about tasnifs is poetical work of Aref published by Seif Azad , attempted by Dr. Reza Zadeh Shafagh. To refer to the tasnifs inside the text, tasnif number and then page number of the poetical work. 2. 2-Regarding Ballade and common European music and music from other nations , refer to Sasan Sepanta, perspective of Iranian music , first publication (Tehran-Mashal Publication, 1990)Pp. 100-102. 3. 3-For more information about methods of tasnif composition and its presentation, refer to Nadereh Badiee, History of musical literature of Iran , first edition(Roshanfekr, 1975) Pp. 100-102.Meimanat Mir Sadeghi. Word, symbol of poetical art-second edition(Mahnaz Publication , 1997). Under the word"tasnif" 4. 4-Gosan: In Parthian society before Islam, Gosans were of special importance as poet and singer . These artists had special position in the court as those who amused king and ordinary people and performed as singer, poet and musician. These persons have been known as gosan during Parthian and Arsacid Empire and later known as kheniagar(for more information , refer to Boyce, Mary and Henry George Farmer “The Parthian gosan and Iranian Minstrel Tradition,” translated by Behzad Bashi, first edition (Agah Publication, 1989)P. 44).

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