The Issue of Rhyme and Refrain in Asriy's Lyrics

Аннотация

This article discusses the issues of rhyme (qofiya) and refrain (radif) in the works of the Turkic-language poet Asriy Tabrizi, who lived and wrote in the territory of Iran. The study analyzes, with concrete examples, how masterfully Asriy selected rhyme and refrain—two key elements that define the structure of a poem—and how deeply he had mastered the science of rhyme (‘ilm al-qāfiya). Keywords: Asriy, Fuzuli, ‘ilm al-qāfiya, rawī, muqayyad, mutlaq, radif, rujū‘, iḍāfa, takrīr, dhū-l-qāfiyatayn, radd al- qāfiya, muraddaf. system, the mastery of which requires considerable Introduction: In classical Eastern poetry, the triad of effort. Asriy Tabrizi, having thoroughly studied this sciences—‘ilm al-‘arūż, ‘ilm al-badī‘, and ‘ilm al- field, demonstrates in his work a high level of skill in qāfiya—constitutes the foundation of poetic choosing both rhyme and refrain—key elements in expression. In the grand tradition of the East, a poet’s shaping the poetic form. artistic mastery was judged not only by their theoretical understanding of these sciences but also by the extent Only 33 ghazals (4 of which are musannā), 1 to which they utilized them effectively in conveying mukhammās, 1 didactic pandnāma, and 2 qo‘shma poetic meaning. (folk-style) poems by Asriy have survived. Of these 33 ghazals, 8 end in rhyme and 25 in refrain. The As is known, the repeated use of similarly sounding mukhammās and the pandnāma sometimes end in words at the end of each poetic line is called rhyme rhyme and sometimes in refrain; the same is true for (qofiya). The science dedicated to its study—‘ilm al- the qo‘shma poems. This shows that Asriy preferred to qāfiya—defines rhyme as consisting of the rawī conclude his poems more often with a refrain rather (literally, “the rope that binds a load to a camel”; in than a rhyme. terminology, the main sound element of the rhyme). For example, in the words vafā and jafā, the vowel ā is The analysis begins with the verses that end in rhyme, the rawī; in vafādor and jafādor, the consonant r is the although they are fewer in number. rawī. According to rhyme theory, in addition to the rawī, there are eight more components: four that Sani har ko‘rdugimda, boshqo bir olam bo‘lur paydo, precede (ridf, qayd, ta’sīs, dākhil) and four that follow it (waṣl, khurūj, mazīd, nā’ira). Mana maqsud ulan olam, dur ko‘yinda der: jono. In classical poetics, rhymes are divided into two main Dur ko‘yinda der: jono mana maqsud ulan olam. groups: muqayyad (based on root consonants) and mutlaq (based on affixed forms). The muqayyad type Na olam – olami jannat, na jannat – jannati a’lo. includes seven varieties (e.g., muqayyad mujarrad, mu’assas, with ta’sīs, ridf asliy, etc.), while the mutlaq Boshimdan ketmadi hargiz, sani la’lingdagi lazzat, type includes 25 detailed classifications, each Na lazzat – lazzati shakkar, na shakkar – shakkari go‘yo... distinguished by specific phonetic and structural features. In the first couplet of this ghazal, which is built upon the As evidenced by the above citation, Eastern classical rujū’ poetic device, the rhyme is expressed through full rhyme theory represents a highly developed phonetic American Journal Of Philological Sciences 127 https://theusajournals.com/index.php/ajps American Journal Of Philological Sciences (ISSN – 2771-2273) words (paydo, jono), while in the second and third San-san dilayim, Ka’ba-vu butxona bahona. couplets, it is expressed through iḍāfa constructions Har dilda tarannum ulunon hab sanin ishqin, (jannati a’lō, shakkari gōyō). Oshiqda surudi g‘am-u bulbulda tarona. The repetition of a single word multiple times within a Har zarrada aksin sanin ulduqjo namoyon, single line of poetry with a rhythmic enumeration is Devona manamkim, guzaram xona-baxona. referred to as takrīr (repetition). “Emphasizing the Osiyligi Asriynin umidi karamin-la, meaning and essence of a word through repetition is Yo‘xdur bu gunahkor laqiyno boshqa bahona. considered the core characteristic of this literary device” [6:125]. In Asriy’s use of takrīr, the vivid In this seven-couplet ghazal, Asriy uses the words xona- portrayal of the lover’s emotional state becomes baxona and bahona twice each as rhymes. In our view, dominant, intensifying the expressiveness of the Asriy, by repeating rhymes that convey the same depiction. meaning and do not acquire a new sense with each use, allows a minor flaw in his poetic construction. Soqiyo! Soqiyo! Sharob, sharob, However, certain sources offer a different perspective O‘ldi dil, o‘ldi dil, xarob, xarob. on this matter: “... in poetic practice, the appropriate Sandadir, sandadir, umid, umid, r e p e t i t i o n o f a r h y m e is not considered a flaw, but rather is regarded as a poetic device, and the great Ila ber, ila ber, savob, savob… representatives of Persian-Tajik literature have In these lines, Asriy creates the poetic device of takrīr employed it skillfully” [7:108]. As noted in the above by repeating the words sharob (wine), xarob