Mohamed Rahal, a poet, artist and heritage researcher from Algeria, a North African country
Analysis, written under the supervision of By Dr. Shahla Lajili, Doctor of Arabic Literature and Critical Studies from Jordan and Syria
Al-Masharat Al-Maqamiya in the Popular Poem
Reading the text of poetry, especially if it is popular poetry, in which all the components 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 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 assume the functions of the two ends of the same denominator.
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
The wound is lying in wait. 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 is still like blood and runs
In the middle of the branches, its hollows are beating
I thought about the time of Zain Khoud Al-Ekri
Guide the soul, how can we save it?
Temporal indicators
A number of vague temporal references are present in the poem and are more embodied in the popular poem, which is referred to in the context of pronunciation in the text. In general, this feature is less among poets, as poets do not rely on focus in the poem to this extent. It is abundant in reproaches, expressions of begging, and other things in a verbal context that is deep in meaning.
Why is this time so hateful?
I broke myself
I loved you more and no more
My eyes stayed up and were forbidden to fall asleep
It’s like an adjective
My tears flowed and my tears flowed
The blade is worn out
I went down and went down
The eye cries for me because of treachery
Speak, speak, and bring the news
In the poems of the poet Mohamed Rahal, 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 are what he refers to in his poems using first-person and third-person pronouns and methods that draw the reader, which he listed in the poem as an embodiment. The change that characterized his life, the transition from one world to another, and the great experiences that he went through, made his poetic mind mature, and he found in it many metaphorical indicators.
About the Poet
Mohammad Rahal is an academic, poet, and artist, heritage researcher, based in Tebessa, the capital city of Tébessa Province region of northeastern Algeria. He is Irish media ambassador, and has participated in various forums and festivals.
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