Outer, Lateral, and Inner Audible Music in the Sonnets of Kamal Khujandi

The Audible Music of poetry, called the aesthetics of poetry is the first and greatest magical factor in poetry, which attracts and enchants its readers andشنونده را مسحور و مجذوب خود می سازد . در بررسی ارزش های شعر یک شاعر ابتدا لازم است که موسیقی کلام در  its listeners. In this research, the music of poetry in the sonnets of Kamal Khojandi, one of poets of 8^th century, is analyzed and evaluated, and the musical values of the poetry are processed from different angles via integrating a descriptive-analytical way. Kamal Khujand, a contemporary poet of Hafez, in his external music, like Hafez, mostly used the well-known and widely used Bahrha and their Zehafats (poetic metres) in Persian poetry. Furthermore, he mostly used smooth, clear, and long metres. The alternating and repeatable weight has not been well-received in his sonnets. 64% of Kamal sonnets have row and 39% of his poems have been sung in different weights of “Bahre Ramal”. In the side music, he has used appropriate and heart-warming rhymes and rows and the words of rhyme and rows in the poem of this poet mostly ended to stretched syllables that provide the possibility of stretching on the end words and make more beauty in letter music. Moreover, as it has been revealed, the inner listening music is implemented in a pleasant way by using the original verbal arrays. In some cases, Kamal has guaranted a verse or stanza of the poetry of Saadi and Hafez. Kamal's personal style has both a link with Hafez and with saadi. The Audible music of Kamal Khojandi's sonnets has a number of beautiful features in different angles, so by repeating this research on other poets, interesting results will be obtained. 
Introduction:
Poetry is an artistic phenomenon and contains a spiritual instinct for poets. Poetry is an imaginative speech, mixed with music and carries a message. Imaging words and music are two artistic phenomena that include natural compatibility fusion with each other and create a pleasant and magical bond. Imaginative speech is expressed in an artistic way by selecting and arranging beautiful, meaningful, and pleasant words and phrases. The music of the poem is also formed and emerged based on the texture of phones and sounds in words and phrases. These two magical phenomena, by combining with each other, have created a miraculous expression, which amazes people and leads them to search for the secrets of this combined phenomenon.
Every work of art has two sides like a coin. The first side is beauty, body, and what can be felt by the five senses and causes enjoyment. The second side of the coin is the quality, strength, durability, inside meaning, and contents of the work. The audience always wants a work that the artist has created, with outstanding beauty and a structure that is more beautiful, more decorated, and more spectacular. In this essay, we are dealing with the first side of the coin, that is the aesthetic side. Basically, a person is attracted by the beauty at first glance which can be recognized with a glance and, then, in the next free time, he examines the inside and the meaning.
The auditory music of the poem, which is the first side of the coin and has been addressed above includes weight, rhyme, row, and verbal jnnovation. This makes the speech melodious and gives it the form of poetry. These three factors of poetry are known as the biggest magical factors in poetry.
Khojandi, like Hafez, has noticed the famous and widely used seas and zahafats in his poetry and he mostly used clear, soft, and heavy weight. Despite that, he has avoided using multiplication, distant intermittent, and repetitive weight in the poems. Precisely, 64 percent of Kamal's sonnets have rows, and 39 percent of sonnets in this poems are written in different weights of Bahr-e Ramal. In side music, rhymes, appropriate, and pleasant rows are used, the words of rhyme and row in poet's poems mostly end with extended syllables, and the possibility of stretching the music of word has been made which, as the result, has made it more beautiful. In the inner music, he has revealed the inner auditory music by using original verbal arrays in a heart-warming way. In same cases, Kamal has guaranteed a verse or stanza of Saadi's and Hafez's poetry. Kamal's personal style has both a link with Saadi and Hafez. The music in Kamal's Sonnets has pleasant beauty in different angles.
Materials and Methods:
In this article, Khojandi's sonnets have been evaluated in two separate parts (A and B) using a descriptive- analytical way.
A: The overall evaluation of the sonnets’ music in three perspectives (outer, side and internal) are provided in what follows;
Outer music: The weight of all sonnets is specified and categorized in table number one. The weight is explained and the percentage of each weight relative to the total weights is announced. Side music: the types of rhyme in Kamal's sonnets are clearly defined and the classification and role of rhyme and row in the poem are shown the tables two and three.
Internal music: novel verbal arrays, sound and phonetic links and the assonance of words together, as well as the assonance of words in verse.
B: Evaluation and processing in the way of phonetic construction, the music of the poets, poetry of prominent verses from the three different perspectives of music (external, lateral and internal) has been processed and analyzed as follows;
External music: Various basic explanations of the weight of the poem, the compatibility of the weight with the theme, the compatibility of the poet's emotion with the emotion of the poem, the appropriateness of the weight and theme of the sonnet with musical devices and songs have been addressed.
Side music: the name and type of rhyme and row are analyzed through phonetic construction and phonemes, Furthermore, the phonetic links of rhyme and row with each other, and the words of the verse text are discussed.
Internal music: The sound and phonetic links of letters, words, and phrases as well as the sound links of rhyme and row have been processed and analyzed.
Results and Discussion:
Analytical studies on the quality of Khojandi's sonnets and the evaluation of music in them and paying attention to the high quantity of poems (8079 verce) have drawn the following results:
1- Khojandi has been very capable in the selection of weights, rhymes, rows, and verbal innovation, more than long weights and rhymes with extended syllable. In addition, in most of his sonnets, he has used rows, and in auditory poetry, and has used sweet and pleasant words and phrases.
2- Kamal's personal style has a connection with Hafez due to his opposition to the hypocritical ascetic, and a connection with Saadi due to his smooth and free speech.
3- Kamal does not implement much variety in the theme in his sonnets, which is considered a problem in Kamal poetry.
4- Nearly 90 percent of Kamal's sonnets are composed in Ramal, Hazaj, Mozarea and mojtath weights, of which nearly 40 percent are only in ramal weights.
5- As it is understood in part "A", Kamal used only common and more melodious weights in his sonnets, according to table No.1 and did not used all different weights. But conversly, on the rhyme he used almost all type of rhymes according to the tables of No.2 and 3 (he used 25 of the 30 types of rhymes).
Conclusion:
To sum up, it is concluded that continuation research on the auditory music  of all famous poets is required, since auditory music, which is known as the aesthetic part of poetry, is the first magical factor in poetry, and without it, the poem cannot be formed. On the other hand, this kind of research on poems provides suitable conditions that poems of poets could be compared, not only qualitatively, but also quantitatively and the poems can be easily recognized and measured.