foughaliatti.abdelhak@univ-guelma.dz

Abstract:

The research dealt with the production of the Arab poet Badi’ al-Zaman al-Hamdhani, which is a reading of the linguistic formation in his poetry, and includes the vocal, structural, moral, and aesthetic formation, through the poet’s behavior in the linguistic canons that interfere in the formation of the discourse structures and its phonetic, structural, semantic, and aesthetic data, and its contextualization in a rhetorical context is, from the perspective of language, a deviation from linguistic laws, and a deviation from what is familiar.

The aim of this study is to believe that Badi' al-Zaman al-Hamdhani is the writer of the Maqamat, as he was known for the art of the Maqamat more than he was known for the art of poetry, so his name was associated with the Maqamat as Hatim with generosity, and Antarah with courage, and al-Asha with the day of DhiQar. Al-Hamdhani's poetry deserves to be studied because it represents the optimal model in rhythm, given that the rhythm is most related to vertical poems. Therefore, the research is meant with the role of rhythm in constructing the Al-Hamdhani poem. The study also aims to highlight the formation of its types, vocal, structural, moral, and aesthetic, and all these formations represent the ideal model in Al-Hamdhani's poetry, as it provides the tools of linkage in the interdependence of the smaller structures with the structures that are more complex.

As for the approach followed, it is the descriptive approach that takes advantage of the descriptive linguistics statements that are concerned with describing relationships, and the internal and external links of buildings to open the text to the social, political, intellectual and cultural fields.

The expected results are summarized in the following:

At the level of internal formation, the poet was keen to select single sounds in their interaction with the elements of external music. For the poet, the single sound serves the general rhythm within the poetic texts. We also noticed a remarkable presence of the combined sounds from which the anaphora emerged, which is the method in which the syllables vary and the functions intersect, as the discourse tends through it to influence the recipient due to the tone resulting from it, and the inlaying enriches the expression with musical tones that attract the recipient.

As for the level of external formation, I think that Al-Hamdhani was conscious and chose the poeticmeters, not just imitation, and that he was able to perform the forelock. He was able to tame the meters, so he employed thirteen meters, and he did not employ the meters: Madeed, Moudarea and Mutadarek, and he adhered to what was required by the artistic assets and the performance environment in his time, being aware of the role of weight in the poetic function.

As for the level of rhymes, the poet created a distinct harmony between the rhyme and the rest of the rhyming letters, and he was able to establish the musical interaction between the rhythm of the filler and the rhyme. This indicates the poet's awareness in selecting the last syllable in constructing the poetic text, and the rhymes were free from defects, and this indicates the poet's linguistic prowess.

At the level of structural and moral formation, we found that the poetic texts were completely tight due to its employment of various linking tools, and parallelism had the role assigned to the decorative aspect of poetry. On the moral level, cohesion was achieved between the parts of the discourse by employing intertextuality and semantic fields, and the context had an important role in highlighting significance.

At the level of aesthetic formation, we found that the poetic texts were rich in metaphors that embodied the sensible into tangible, and similes that exceeded expectations.

Coordination and integration also had an effective role at all levels, so the texts were rich and full of various cohesive means of linking, which worked on the coherence of the structure of the discourse, which earned it the criterion of textuality.