نقش توازن‌های آوایی و واژگانی در غنای موسیقی شعر نظامی

Among the aesthetic elements that play a prominent role in the music of poetry is balance. Balance is achieved through artistic repetitions that occur in the form and cause regularity and literary order, which can be analyzed and classified in three levels: phonetic, lexical and syntactic. Each of the patterns of balance has a certain prominence in the music of poetry, shaping linguistic actions and elevating the form to the sublime. The musical richness of Nizami’s poetry depends to a large extent on his use of phonetic and lexical balances. He uses syllable repetitions that form his intended rhythms and phonetic repetitions, which follow the combination of consonants and vowels and make music a system in the language itself. The frequent repetition of consonants and vowels at the beginning, middle and end of words shows his attention to rhythm and music. He also creates incomplete and complete homogeneities with patterns of similarity and contrast in the group of words. Phonetic and lexical balances in Nizami’s poetry depend on the selections that happen at the level of the words and form the music of paradigms. The form of his language also determines the function of sounds and words that leads to repetitions and strengthens the musical foundations of the language. This research aims to explain the types of phonetic and lexical balances in Nizami’s poetry using a descriptive-analytical method to evaluate the frequency of two types of balances and analyze their role in the musical richness of Nizami’s poetry.
Introduction
One of the rhetorical techniques that magnifies the effect of poetry is balance. Balance is the artistic repetitions that enhance the music of words and it can be examined at three levels: phonetic, lexical, and syntactic. Balance is one of the characteristics of rule-enhancing, which unlike norm-deviation, is not a deviation from the norm language, but rather the application of rules in addition to the norm language. Looking at Nizami’s Khamsa, we can observe that escaping normative rules is one of his rhetorical techniques which has made the repetition and balance of his poetic highlights possible. Repetition in Nizami’s poetry is an artistic process used to create balance and enhance the music of the language. He elevates the literary quality of poetic discourse to its peak through the use of sound and phonetic combinations, the function of words, and the way they are combined, which eventually results in harmony, assonance, and homophones. Nizami is the master of artistic repetition whose stylistic characteristics are balance and repetition.
This article aims to address both phonetic and lexical balances to show the reason for the prominence and musical beauty of Nizami’s Khamsa based on repetition patterns.
Method
In this study, the foundations and principles of phonetic and lexical balances are examined descriptively and analytically and matched with the musical prominence of Nizami’s poetry. The aim is to answer the following questions:
 
 
 
 

How do phonetic and lexical balances affect the music of Nizami’s language?
How has Nizami benefited from the music of different types of balance?
How can aesthetic principles be applied to Nizami’s linguistic patterns in a balanced manner?

The high frequency of balances in Nizami’s verse indicates the importance of repetition from his perspective, and this research aims to present the musical richness of his poetry, which is significantly dependent on artistic repetitions through the studying of phonetic and lexical balances.  
Results
This article examines phonetic and lexical balance based on the following topics:

Phonetic balance: This involves the combination of sounds and the repetition of groups of words, which results in sound and rhythmic action, such as prosody and the repetition of consonants and vowels. Phonetic balance, in terms of its influence in the music of poetry, can be examined in two parts: syllabic and phonemic. Syllabic balance is the repetitions that result from the combination and harmony of several syllables together. A clear manifestation of this balance can be found in prosody. Prosody and rhythm arise from syllable repetitions that create the most prominence in the structure of poetry. The syllabic repetitions used in Nizami’s Khamsa, which create the poetic rhythm, also affect the theme in relation to the length and shortness of the syllables. In "Movazeneh" and "Tarsi’", syllabic repetitions are most prominent and make speech rhythmic at the lexical level with regular frequency. When consonants and vowels together form a syllable, they sometimes create a word or a phrase by repeating it within the syllables and create phonemic balance.

Phonemic balance is manifested through the repetition of consonants and vowels in the three sections: The beginning, middle, and end. Nizami, with his attention to the music of phonemes, has used various types of these repetitions.

Lexical balance: The musical aspect of the words in the poem is determined by the poet’s precision and elegance in word choice. Repetition in lexical balance is sometimes partial and at other times complete. In lexical balance, repetition does not follow syllabic rules and in most cases, goes beyond it. In addition to words and nouns, it can also be placed in the scope of a verb, a sentence, or a noun group. Forms of lexical repetition can be placed in two categories: partial assonance, which includes: rhythm, alliteration, and puns, and complete assonance, which includes: row, and rad al-sadr al al-ajoz, rad al-ajoz al al-sadr, symmetry, emphasis, hajib, repetition, compound pun, and complete pun, all of which can be observed in Nizami’s Khamsa. Unlike complete assonance, words in partial assonance demonstrate patterns of contrast as well as patterns of similarity; this is why this type of assonance is called partial.

Conclusion
Nizami’s poetry features a range of musical elements through which beauty is determined by the poet. Repetition is the most important musical element, and balance, which is used artistically, highlights the form of the poem linguistically. The musical richness of Nizami’s poetry depends to a large extent on his use of phonetic and lexical balances. He creates literary order by producing sounds through the repetition of long vowels and the rhythm of short vowels, as well as at the level of words in the form of partial and complete assonances.
Since the structure of the Nizami’s poetic style is centered on music, repetition in the language presents the audience with a wide range of sound and phonetic clusters, which are considered the basis of music and its identity.