Poetic License of Teskīn: A Technique Serving Content (Case Study: Saadi’s Ghazals)
The metrical license of teskīn (pause insertion) is one of the prosodic techniques in Persian poetry, often used to escape metrical constraints. Traditionally, poetic licenses have been studied mostly at the musical level. However, the findings of the current research show that Saadi, in his ghazals...
| Published in: | Literary Arts |
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| Main Authors: | , |
| Format: | Article |
| Language: | Persian |
| Published: |
University of Isfahan
2025-12-01
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| Subjects: | |
| Online Access: | https://liar.ui.ac.ir/article_29761_a6542b302d8a53ec8e353b3d02ed3fcc.pdf |
| Summary: | The metrical license of teskīn (pause insertion) is one of the prosodic techniques in Persian poetry, often used to escape metrical constraints. Traditionally, poetic licenses have been studied mostly at the musical level. However, the findings of the current research show that Saadi, in his ghazals, employs teskīn not only for musical purposes but also to enhance semantic and emotional meanings. This research uses a descriptive-analytical method based on library resources, focusing on the role of teskīn in meaning-making and emotional expression in Saadi’s ghazals. The analysis reveals that teskīn in mid-hemistich positions sometimes evokes emotional states such as sorrow, wonder, hesitation, and joy through sonic suspension. It also highlights key words, contributing to implicit layers of meaning. A case study of ghazal number 564—one of the poems with the highest frequency of teskīn—demonstrates that Saadi, through deliberate repetition of teskīn, not only enhances the poem's music but also deepens its meanings and emotions. Ultimately, teskīn in Saadi’s ghazals can be regarded as a tool that bridges music and content. Keywords: Poetic Music, Poetic License, Teskīn, Saadi's Ghazals. IntroductionDespite the long-standing acknowledgment of the connection between rhythm and meaning, most studies have described teskīn merely as a way to overcome metrical constraints. The main question of this study is whether teskīn in Saadi’s ghazals serves solely as a musical device or whether it also carries emotional and semantic implications. Among poetic forms, ghazal has the highest metrical variety, providing fertile ground for examining various poetic licenses. The ghazal is also the domain of emotional expression and fresh themes, making it an ideal form to explore the link between rhythm, music, and meaning. Furthermore, Saadi’s unique skill in blending musical delicacy with semantic balance makes him the best subject for this study.Numerous studies have been conducted in the field of Persian poetry's rhythm and musicality; however, most of these works have remained limited to the formalist functions of meter and poetic licenses, and have not specifically addressed the relationship between rhythm, meaning, and emotion. Among such works, one can refer to Khanlari’s (1998) The Rhythm of Persian Poetry, Vahidian Kamyar’s (1990) Rhyme and Rhythm in Persian Poetry, and Abdollahzadeh’s (2015) The Music of Poetry in the Iraqi Style with Emphasis on the Ghazals of Rumi, Saadi, and Hafez. Yet, as mentioned earlier, no independent study has thus far examined the metrical license of teskīn in Saadi’s ghazals with a focus on meaning-making and emotional expression. The present study seeks to fill this gap. Materials and MethodsThis study uses a descriptive-analytical method, analyzing textual examples. First, the concept of teskīn and its place in Persian poetic prosody are explained. Then, Saadi's ghazals are examined, and instances of mid-hemistich teskīn are analyzed from semantic and musical perspectives. Finally, the findings are categorized into five thematic groups to clarify the various functions of this technique in relation to meaning and emotion. Research FindingsAnalytical CategorizationThe textual analysis shows that teskīn in Saadi's ghazals directly serves meaning and emotion. Based on detailed examination, these uses are classified into five main categories:Semantic Highlighting and Emphasis on Key WordsEmotional and Psychological SignificanceSpatial or Quantitative ImageryInvitation to Silence, Reflection, or Pause in SpeechConveying Intensity Case Study: Ghazal 564Ghazal 564 from Saadi’s Divan, with its high frequency of teskīn in various positions, is a unique example of purposeful use of this license. The analysis of this ghazal shows that Saadi consciously uses teskīn to create meaning and evoke emotions, for example, in describing the cruelty of the beloved or the severity of separation. This ghazal serves as distinct evidence of Saadi's deliberate and artistic use of teskīn. Discussion of Results and ConclusionsThe findings of this study reveal that, contrary to common belief, teskīn in Saadi's poetry is not merely an escape from metrical constraints but rather a conscious technique to enhance meaning, evoke emotions, and create suspension, emphasis, or tension. Since Saadi closely links this license to content, teskīn in his ghazals possesses rich semantic and emotional potential. The fivefold categorization provides a new framework for semantic and musical analysis in Persian poetry and offers a fresh perspective on other poetic licenses as well. Statistical Results of the Use of TeskīnThe findings show that teskīn most frequently occurs in the middle of hemistichs, particularly in the second metrical foot. This is likely because creating a musical pause in this position has a greater effect on altering the rhythm and conveying emotions. Table 1. The Occurrence of Taskīn in Metrical FeetPositionFirst HemistichSecond HemistichBoth HemistichsFirst Foot-2-Second Foot25365Third Foot34-Between First and Second Foot11-Between Second and Third Foot36- Figure 1. Statistical Analysis of the Occurrence of the Prosodic License Taskīn in Metrical Feet The statistical analysis of teskīn in Saadi’s ghazals reveals that this metrical license appears with varying frequency across different poetic meters. According to the data, the mojtath meter, with 46 instances, has the highest frequency, followed by ramal, hazaj, mozareʿ, sariʿ, rajaz, and monserah, respectively. This distribution indicates that Saadi employed teskīn more frequently in certain meters, which may suggest a particular harmony between this metrical license and the internal rhythm and musicality of those meters. Table 2. Poetic MetresMeterFrequencyMojtath46Ramal20Hazaj6Mozare'5Sari'2Rajaz2Monserah1 Figure 2. Statistical Analysis of the Occurrence of the Poetic License Taskīn in Metres |
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| ISSN: | 2008-8027 2322-3448 |