دراسات فی اللغه العربیه و آدابها (Aug 2024)
Semiotic analysis of the phonetic level of the Bad al-Nabi ode
Abstract
Muhammad Saeed Al Mansouri focused his poetry on the Prophet’s Famely, praise and lament. Among the poetry of lamentation, we chose the poem “After the Prophet” in the lamentation of Mrs. Fatima Al-Zahra (AS), in order to analyze it artistically, depending on the stylistic approach, focusing in our research on the phonetic level, which is represented in the external music, where we showed the poetic meter and its slips, and rhyme and its letters, especially the letter Al-Rawi and its vowels, and the internal music, as we stopped at the creative arts and repetition in all its forms. The research concluded that the poet was successful in his choice of the Al-Kamil meter, with a lot of benefit from the slithering and broken hamza in the narration of his poem, as the coming of the broken narrator suggests a broken psychological state, introverted on itself because of the kasra and the letter (yaa) that extends to the poet used the arts of anaphora and repetition to give his poetry a sound energy that helps to enhance the meanings of Zahra’s grief. He used three kinds of anaphora and repeated the words in three forms: The unverbal repetition to emphesise that the sorrow in Zahra’s heart is the same illness that killed her, the verbal repetition that is not for emphasis at all, but rather to find an additional meaning for an arithmetic purpose, and the repetition of the word verbally and meaningly, represented by the repetition of the words of sadness and crying to suggest the strong presence of the case of Zahra in the mind of the poet, because it is the basic element on which the text is built, as it reveals the desire of the poet. In the whispered sounds of which it is repeated (137 letters), the letter Taa (38 times) and Haa (37 times) are repeated, while the letter Lam (75 times) and Mim (46 times) are repeated in the voiced sounds. Extended summaryIntroductionThe poet Muhammad Saeed Al Mansouri focused his poetry; Praise and lamentation, on the Ahlulbait (Relatives of the Prophet). We have chosen from among the poetry of lamentation the poem “After the Prophet” in lamentation of Lady Fatima al-Zahra (AS), in order to analyze it artistically, relying on the stylistic approach, focusing our research on the audio level represented in external and internal music.The necessity and importance of the research lies in the lack of a study of this poem. From the artistic aspect, we therefore sought to shed light on it in order to answer the following two questions: What are the vocal characteristics that were evident in this poem? How were these characteristics manifested across the phonetic levels in the text? The goal of the research is to analyze the poem phonetically in an attempt to reveal the beauties in it through the stylistic approach, and we will not neglect the statistical approach. Materials & MethodsIn this study, we adopted the stylistic approach and used the statistical approach. We studied the external music, which is represented by meter, shifts, and vowels, and then we studied the poem’s rhyme; Its letters and vowels, then internal music. This poem that we are about to study is a vertical poem in the form of Alkamil meter.Stylistic phenomena in the poem The Breastfeeding Widow by Al-Rusafi by Kawakib Karim Ghafoor (2019), in which she studied the stylistic features in this distinguished poem, such as the vocal aspect and the graphic and rhetorical aspect. The study concluded that repetition of all kinds is important in emphasizing the poet’s endeavor to convey his ideas, in addition to the phenomena of (compositional shift) and (pictorial shift), which include simile, metaphor, trope, and other graphic images used by the poet.The article titled “The Poem of Al-Zahra (AS): A stylistic study” by Zainab Ali Kazem (2021) focused on the poet’s poetic language by researching the phonetic, syntactic, and semantic levels in the poem. The results showed multiple patterns of shift in the poem between compositional and substitution, as well as a large number of shifts and defects in it at the phonetic level. The poem is full of meaning and inspiration, and it combines simplicity and clarity with excellence in the graphic style based on the skillful choice of structures and sounds.Research findingsThe studied poem is from the complete, complete, and multiplied sea. Perhaps the poet's resort to implicitness with such intensity is due to his desire to convey a message to the recipient that he cannot reveal all the emotions inside him.The rhyming letter felt between two letters of prolongation, one of which extends upward and the other extends downward. This has many connotations, the most important of which is extending the sound with a strong laryngeal pause similar to a lump in the throat that prevents the passage of food and drink (caused by the hamza), and raising or rising with it by twisting the rump and then descending with it along its extension with the same speed, but not Upward, but downward with extreme refraction, laden with all the effects, situations, and results that accompany refraction.There is an alliteration of derivation between “dhel' and Adhale'” on one hand, and the words “kasar" and "kassar" on the other hand, which doubled the beauty of the verse by repeating the letters of those words in another way with the addition of a hamza and an alif in (Adhale') and repeating the "s" in (kassar), which enhanced the artistic image. We see a fit between the word “kasar” and the word “dhel'” (singular) and between the word “Adhale'” (plural) and the word “kassar,” the fit of the singular noun with the unaugmented triliteral verb without repetition, and the fit of the plural noun with the augmented triliteral, stressed, repeated verb.Discussion of Results & ConclusionThe poet repeated 137 whispered letters, the letter ta (38 times) and the letter ha (37 times). The whispered letters, despite their weakness and infrequency in the poem, perform an important function in two ways: the first is to highlight the voiced letters, and the second is to soften the speech so that it does not proceed at one pace, making the listener feel bored. While the letter Lām (75 times) and Mīm (46 times) were repeated in the voiced letters. The letter Ha is used to express groans, so if it is connected to a letter of prolongation, those groans are extended. If we look closely at the contexts in which the letter Qāf is mentioned, we will find that it tends towards internal, contextual meanings that are external in origin, and the meanings of cohesion and adhesion that the letter Lām performs are evident in the poem.The letter hamza was the most frequent among the letters used by the poet, as it was repeated (44 times), including (23 times) in the rhyme as the rhyming letter and (21 times) during the poem and its filling. This letter indicates an extreme feeling of sorrow and anguish, and it is one of the airy letters that emerge from the poet’s interior and entrails without anything obstructing it, and with it emerges the sadness that overwhelms his feelings and sensations because “the narration coming broken suggests a broken psychological state.
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