Pragmatic Theories And The Poetry Of Muhammad Rahhal

Pragmatic Theories And The Poetry Of Muhammad Rahhal

Supervised by Dr. Shahla Lajili

Maqāmī indicators in the popular poem

  Reading the text of poetry, especially if it is popular poetry, in which all the elements of the purposes are embodied, such as reproach, lamentation, praise, pride, flirtation, and others, in which linguistic clues are combined.
And his analysis of the speaker’s spatial contexts in the utterance between the temporal and the spatial, and this is what highlights the hypothesis of the independence of the text on its subject, saying that the subjective linguistic spatial indicators that the poet gathered in the verses of the poem not only determine the places where the voice is trapped, but rather confirm that the speaker is the source of the poetic text. Mushirat can be divided into 3 sections:

Personal advisors

    Present pronouns

    Personal references are evident in linguistic clues that refer to the suitor and the addressed person, and include the pronouns of the first person and the addressed person.
They are indicative clues with no meaning. The reference to the text cannot be determined except by looking at it

The poet used many words that include pronouns linked to the noun, which indicates ownership, and this stylistic procedure performs the function of self-expression.

We also find first-person pronouns associated with the verb, which indicate activity

These pronunciations include words that the speaker himself made and narrated in the poem as a result of the transformations that took place in his life, represented by the transition from one world to another, the enunciative to the enunciative, and the pronouns take on the functions of the two ends of the same station.
Specific pronouns can be identified

My heart is still there
Happy Ali Nar Zayed Lahabi
Without a soul, he lives, what does he hide?
Distance is a fire that cannot be extinguished
Iron on the wound, we pray that it is enough for me
Offices with pipes running on them

  Offices are running
Liam is a mirage of imagination of his time
Your love still runs like blood
In the middle of the boutonniere, its insides are pulsing
I thought about the time of Zain Al-Akri
Guide the soul, how can we save it?

Temporal cues:

   A number of ambiguous temporal references are present in the popular poem, which are referred to in the context of pronunciation in the text. In the popular poem, this feature decreases in poets, as poets do not rely on focusing in the poem to this extent.

    In the poems of the poet Muhammad Rahhal, in analyzing most of his poems, you find mysterious temporal codes that cannot be deciphered except by returning them to the same reference that the poet intends. Among these codes, for example, is this poem.