Document Type : علمی- پژوهشی
Author
University of Isfahan, Isfahan, Iran
Abstract
The Enjobment of meanings is one of the literary arrays that has not yet been properly studied. The breadth of the scope and the role it has as an art form in the construction of several literary forms and genres, as well as its function in suspending speech, link it to a number of literary industries and types. Among these, some such as "guarantee", "graded" and "ugly and beautiful" are considered as its sub-sections, and some, such as "perception" and its sub-sections, overlap it in some important features, which we refer to as equivalent arrays. we do. Considering that waqf, like many other literary arrays, has a history of use in Arabic literature, in the present study, before examining the rhetorical opinions of Persian writers, it has been followed in Arabic rhetorical sources.Explaining that the endowment of meanings was known as "guarantee" in most ancient Arabic sources and was discussed as one of the defects of rhyme; Whereas in Persian rhetoric from the very beginning it has been considered not only a defect but also one of the virtues of poetry. This research seeks to define and classify this rhetorical industry more efficiently.
Highlights
Mowquf-ol-Ma’ani (Enjambment): A Historical-Rhetorical Analysis and A Redefinition of an Important and Ambiguous Literary Device
Introduction
“Mowquf-ol-Ma’ani” (closest device to “enjambment” in English versification) is a figure of speech with linguistic origin which has common structural aspects with other frequent rhetorical devices and can be compared with them. Mowquf or Mowquf-ol-Ma’ani which are first mentioned in books of rhetoric with different names such as “tazmin” or more specifically, “prosodic or attributive tazmin” are related to versification; however, one cannot find a satisfactory definition of this device.
Review of Literature
The researchers did not find any independent and comprehensive study of Mowquf-ol-Ma’ani by the same name or by any other equivalent names. There are of course entries in textbooks of rhetoric on this device using similar examples, which focus on a rather entertaining aspect of this device by the name of “modarraj”.
Since Mowquf-ol-Ma’ani, like many other rhetorical devices in Persian, has an Arabic root, we need to have a look at rhetorical texts and references in Arabic literature to properly illuminate the history of this term in Persian literature and then undertake a review of ancient Persian books of rhetoric.
It seems that Akhfash (born in 830 A.D.) is the first Arabic rhetorician who has openly mentioned tazmin and its acceptability and believes that it cannot be totally dismissed in favor of the independence of couplets. However, Jahiz (born in 870 A.D.) has made only a fleeting remark of Mowquf-ol-Ma’ani as one of the instances of weakness of speech. The first Persian book in which tazmin is discussed as a subject at hand is Tarjoman ol-Balaghah, written in 5th century AH.
Discussion
Mowquf-ol-Ma’ani is a verse or prose text whose unit, whether line or beit (couplet) or sentence, is not lexically or semantically independent but is necessarily dependent on latter units; i.e., if it is a verse, the line or couplet is connected to the next identical unit which is another line or couplet and may be more than one or some couplets. Naturally, in prose texts, the identical units are later sentences.
From the researchers’ point of view, the main type of mowquf is the one whose intonation is rising and raises the anticipation of the attentive listener for the rest of the text by its suspense, which may continue for one line to several couplets. On this basis, the examples mentioned by Rami as related to mowquf to words cannot be considered the main mowquf. For example, he mentions that the second type of mowquf is the one in which “the meaning of the first line is lexically stopped; it will be completed if the second line is read.” In fact, the suspense of the text is so low that initially the normal audience may feel the line is complete and has no relation to the later line. This situation is specially more remarkable in the second couplet, since its second line, contrary to the second line of the first couplet, has no lexical dependence on the first line. In other words, we consider this type of dependence as semantic and believe that the lexical dependence which is created in the syntactic structure heightens the degree of suspense in the text to the highest degree. This is what we witness in compound clauses, whether in one couplet or more.
There are different types of mowquf based on units of verse, language and format. Language itself includes grammar and syntax. In grammatical run-on lines, the focus is on the words but in syntactic run-on lines, the foundation of syntactic structure is complex sentences which may be conditional of non-conditional and related to each other for different reasons.
There are two types of syntactic run-on lines which are both considered independent devices in rhetoric. It can be noted that some devices such as taqsim (division) and its equivalents such as jam (addition), tafriq (substraction), and laf o nashr (dissemination) have two sides; i.e., since the poet or the writer aggregates or segregates two or more items in one or more couplets or sentences according to certain reasons and interpretations, he or she has at the same time used the devise of toushi’ or izah (explanation) after ambiguity, too.
The run-on lines which are based on grammatical structures have received a lot of attention due to their linguistic peculiarity and have somehow entered the field of typology although they do not have the variety of syntactic run-on lines.
Conclusion
Mowquf-ol-Ma’ani, known in ancient Arabic and Persian books on rhetoric as tazmin and usually considered as a defect of rhyme, is not actually a defect of speech; in fact, as an artistic technique, it has been the basis for the creation of a number of types and subtypes and formats and devices in Arabic and Persian literatures.
The different names of the same term in books on rhetoric, such as tazmin, mowquf, moquf al-akhar, hamel-e mowquf, hamel-e mowquf-e motavalled are actually different fors of mowquf that are minutely different from each other. It is also used in the creation of formats and types such as mostazad-e mowquf and nazm-ol-nasr and some other devices such are taqsim mowquf. This is different from its essential overlap with devices such as estedrak and its subtypes in which suspense is structurally important and the meaning of speech is completed only when it is finished.
Nevertheless, mowquf or enjambment is natural to every language. It exists not only in Arabic, but also in English literature as well as in Persian contemporary modern poetry which does not follow the classical structure of line and couplet.
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Keywords
Main Subjects
Kazzâzi, Mir Jalâloddin (1994), Badiʾ, Tehran: Markaz.
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