پژوهشی در معماری ونظم هندسی واژگان شعراخوان ثالث (مطالعۀ موردی: آواز چگور، چون سبوی تشنه)

Detailed Abstract

One of the important characteristics of poetry is mastery of language. Linguistic uniqueness makes poetry a distinct entity. Therefore, poets employ techniques such as rhythm and the connection of words in the axis of coexistence, based on the foundation of prosody, as well as the selection of words in the axis of substitution, to achieve this purpose.

In this article, an attempt is made to demonstrate coherence, consistency, and geometric order in the poetry of Akhavan through the analysis of two poems, "The Song of the Chagur and the Thirsty Pitcher." A significant and commonly used approach in understanding poetic concepts and themes, especially in contemporary poetry, is the form-oriented and geometric approach, which can be related to semiotics in poetry. The geometric and form-oriented perspective on poetry allows us to not only derive pleasure from its meaning and concept but also immerse ourselves in its appearance and perceive an effect consistent with the meaning from its external form.

From a form-oriented perspective, it can be concluded that everything is incomplete without form. In these poems, each word carries a significant mission on its own and manifests its influence at the end of the work, proving that no other word can replace it and convey the same feeling.

This method began during World War II and became famous as concrete poetry. Almost in those years, a little before or after, new poetry found its place in Iran and began to take root in concrete and formal poetry. Over time, geometry and architecture of poetry became prevalent among poets. Since "poetry, according to constructivists, is the resurrection of language and creating new and innovative words," contemporary poets also create their own language and use new words to demonstrate and convey fresh concepts and experiences.

The research method is as follows: First, sources related to the poetic order, the use and role of words in poetry, including the most important ones such as the order of words, the geometric order of words by Mohammad Hoqoqi, and the contemporary poetry architecture by Majid Baldaran, were studied. Then their effectiveness in Akhavan's poems was evaluated. Therefore, the level of poetic order of the poet was assessed based on the type of use of poetic elements in the horizontal and vertical axes.

Through an examination of these selected poems, what we observe in Akhavan's external appearance of words guides the audience towards a dark and despondent space. This space can be interpreted precisely through the choice of vocabulary, the selection of sounds, the arrangement of words in the horizontal axis, the arrangement of lines in the vertical axis, the structure of words, the essence and meaning of names, the rhyme of the poem, and ultimately the syntactic structure of the poem.

Although in some cases, a glimmer of hope can be seen in his poetry, the prevailing content in his poems is despair. Therefore, all the external and internal components and elements of the poem lead the audience in the same direction, and this is an accurate definition of order in poetry.