دانشگاه قم پژوهش های دستوری و بلاغی 2783-2619 15 27 2025 08 23 Investigating the phonetic balance of Ibn Yamin's sonnets بررسی توازن آوایی غزلیات ابن یمین 100 119 3762 10.22091/jls.2025.12212.1659 FA ناصر بهرامی استادیار زبان و ادبیات فارسی، دانشگاه فرهنگیان، سنندج، ایران. 0000-0003-0746-1830 Journal Article 2025 01 24 Music has a great impact on the beauty and appeal of poetry. This impact appears in phonetic balance in both quantitative (rhythm) and qualitative (phonemic balance) forms. Ibn Yamin has used it beautifully in 324 ghazals of his poetry collection. The statistical population is 60 ghazals from Ibn Yamin's collection. He has used more meters that have a rising state; the meters "fa'alatan, fa'alatan, fa'alatan, fa'alan" and "fa'alatan, fa'alatan, fa'alatan, fa'alat" in 81 ghazals have a higher frequency among ghazals of Ibn Yamin. Apart from the statistical population of this study, this musical feature is seen in all ghazals of the collection. In the qualitative phonetic balance section, we encounter various types of repetition in his ghazals. In this study, I have examined all the short and long vowels, the consonants at the beginning, middle and end of words, and the repetition of words, and I have made it clear that the poet has beautifully and consciously used these language abilities to lead the music of his poetry to the peak.  <strong>Introduction</strong> Music is one of the basic foundations of Persian poetry. The order and stability of poetry depend on employing music; the more musical a poem is, the more stable it is. Eliot believes that the music of poetry stems from within the poet, and it is the place of words which designates their goodness and badness. The composition and system of poetry have a great influence on the beauty and cacophony of words. Phonetic harmony plays a fundamental role in the musical study of poetry. Jacobson believes that harmony is created by the repetition of words and is a tool for creating musical pieces. The repetition of sounds by bringing a phoneme, or several phonemes within a syllable, shows itself in the syllable and word; phonetic signs appear in the form of "chain sounds" and "hyper-chain sounds" in speech. Chain sounds are the sounds of the language in the chain of speech that play a role in creating phonemes. Phonemes are divided into two parts: consonants and vowels <strong>Materials & Methods</strong> This research was conducted using analyticalـdescriptive and statistical methods. The statistical population is 60 ghazals from Ibn Yamin's Divan. In the study of phonetic balance (quantitative), all of Ibn Yamin's ghazals have been analyzed. <strong>Research findings</strong> Music in Ibn Yamin's ghazals has been studied from two perspectives: quantitative (rhythm) and qualitative (phonological balance). Findings of quantitative (rhythm) phonetic balance: In comparing the rhythm of Ibn Yamin's ghazals and pieces, we have come to the conclusion that Ibn Yamin used 26 different meters in 324 ghazals, while he used 22 meters in 894 pieces, indicating that the variety of ghazal meters is greater. The meters used in the 324 ghazals are divided into two categories: unified elements and different elements. The ghazal meters that appear in Bahr mahfuf alـArkan are: He composed 140 ghazals in Bahr alـRaml with zahafat, maqsour, mahduf, mahboon and mashkool. These meters can be considered as <em>khizabi</em> (wave-like) rhythm. Shafi'i Kadkani believes that khizabi meters are fast and moving; in most cases, they are composed of sound elements or sound elements and their zahafat. And 77 ghazals in Bahr alـHajj, 5 ghazals in Bahr alـRajj, 2 ghazals in Bahr alـMutaqarb, the meters used in different Bahr alـArkan are: 45 ghazals in Bahr alـMudare', 31 ghazals in Bahr alـMujtath, 14 ghazals in Bahr alـMansarah, 2 ghazals in Bahr alـSari' and 7 ghazals in Bahr alـKhafif. By examining the 324 ghazals of Ibn Yamin's Diwan, the frequency of the combined meters of the Arkan is more than the different meters of the Arkan. And it can be concluded that Ibn Yamin was more interested in the khizabi meters. The following graphs show the frequency of the meters of the ghazals used by Ibn Yamin in the Diwan: Qualitative phonetic balance (phonemic balance): In Ibn Yamin's ghazals, phonetic repetition has been examined from several perspectives: from the repetition of one phoneme, several phonemes within a syllable, and the harmony and repetition of consonants and vowels. <strong>Discussion of Results & Conclusion</strong> Meter and rhythm are the most basic tools and devices of poetry and without them poetry loses its reality. We see this point even in Nimai's poetry and free verse. By examining and analyzing the meters of Ibn Yamin's ghazals in terms of musical balance, we come to the conclusion that Ibn Yamin has used more rhythmic, fast and dynamic meters. In a study of 324 ghazals, Ibn Yamin has used 26 meters, among which 4 meters are among the most frequently used meters in the following order: The meter "fa'latan, fa'latan, fa'latan, fa'lan" has the highest frequency with 81 ghazals. Ibn Yamin's familiarity with music led him to be particularly careful in choosing vowels and consonants, and to use "vowels" that have a special musicality and beauty. In analyzing the "consonants and vowels" chart, we see that the vowels "a", "ـِ" and the consonants" /S/, /x//∫/" " have the highest frequency in Ibn Yamin's ghazals. All three "consonants" express inner feelings and emotions, and Ibn Yamin made good use of them. <strong> </strong>   موسیقی یکی از تاثیر گذارترین عوامل زیبایی و جذابیت شعر است. این عامل از راه توازن آوایی به صورت کمی(وزن) و کیفی( توازن واجی) خود را نشان می‌دهد. ابن یمین در 324 غزل که در دیوان اشعار خود سروده‌، به خوبی از عهدۀ آن برآمده‌است. در این غزل‌ها بیشتر از اوزانی استفاده کرده که حالت خیزابی دارند، اوزان «فاعلاتن، فعلاتن، فعلاتن ، فعلن» با 81 غزل « فاعلاتن، فاعلاتن ، فاعلاتن، فاعلات » با 47 غزل؛«مفعول، فاعلات، مفاعیل، فاعلن» با 41 غزل و« مفعول، مفاعیل، مفاعیل، فعولن» با 33 غزل؛ در میان غزلیات ابن یمین بسامد بیشتری در میان غزلیات دارند. غیر از جامعۀ آماری این پژوهش در بقیۀ غزلیات دیوان نیز همین ویژگی موسیقایی وجود دارد. در بخش توازن آوایی کیفی نیز انواع تکرار را در غزلیات او می‌بینیم، در این پژوهش انواع واکه‌های کوتاه و بلند، همخوان‌های آغازین، میانی و پایانی، تکرار کلمه را بررسی کرده‌ایم و مشخص گردیده که شاعر به خوبی و آگاهانه از این امکانات زبانی برای به اوج رساندن موسیقی شعر خود بهره برده‌است. در بخش واکه‌ها(مصوّت‌ها) «ا و -ِ» بیشترین بسامد را دارند و کمترین بسامد مربوط به واکه‌های«-ُ، -َ، او» می‌شود. در بخش همخوان‌ها (صامت‌ها) همخوان‌های«س، خ، ش» بسامد بیشتری دارند و همخوان‌های«پ،ع، غ، ن» کمتر تکرار شده‌اند. این پژوهش با روش تحلیلی – توصیفی انجام گرفته‌است؛ جامعۀ آماری 50 غزل از دیوان اشعار ابن یمین می‌باشد. در آغاز، مباحث توازن آوایی را در غزلیات شناسایی کرده و بعد از آن با رسم نمودار و جدول به تحلیل و بررسی هر کدام پرداخته‌ایم. https://jls.qom.ac.ir/article_3762_5e7901889adac2d5c28cac3f98fa81b4.pdf