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Ali Sabaghi, PH.D.
Tahere Mirhashemi, PH.D.i
 
Abstract
 
The current article studies the role and status of rows in Ibrahim Araqi’s odes. It has been assumed in this article that one of the root causes of Araqi’s success in presentation of odes has been the attention paid by this poet on usage of rows in poetry.
The question that is left open is the status of rows in creation of Araqi’s odes. To respond to this question, initially the inductive approach should be used for extraction and classification of all odes of this poet. Thereafter, the data on different types of rows (by word, or by a sentence) were analytically studied with due regard to values of rows in the realms of music, art, and connotation.
The outcome of the research shows row is one of the fundamental components of the structure in the majority of Araqi’s odes. He uses rows for reinforcement of the innate and marginal musical aspect of poetry, creation of lingual figures of speech, repetition and attachment of importance to a particular theme; establishment of audio and visual balance, indoctrination and instillation, and further influence on the addressees.
 

Keywords: Key Terms: Odes of Fakhr Ed-Din Ibrahim Araqi, odes in classical Farsi poetry, marginal music and alignment in classical Farsi poems

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