The Sayyed Muhammad Ali al-Adnani and His Significant poem in Lamentation for imam Hussein : A stylistic study (vocal level as an example)

Stylistics pays great attention to the phonetic level and its role in producing meaning, due to the prestigious position that phonetics has received in the light of modern linguistics. Mr. Muhammad Ali Al-Adnani is one of the most prominent poets in Khuzestan province in Iran. This research, through the descriptive-analytical approach, studies the musical structure at its external and internal levels. The results of the research indicate that in the external rhythm, the poet desires to use the light meter, which has more sections and a wider area. As for the rhythm of the side music, the rhyme is absolute because the absolute rhyme is consistent with the melodic nature of the poetry and responds to the poet's desire to convey his voice to the recipient clearly. As for the internal rhythm, the research dealt with voiced and unvoiced sounds, repetition, alliteration, antithesis, and consideration of the use of semantically related words )muraeat nazyr) and use of the figure for anticipation of the coming hemistich (arsad).  As for the rhyme, the voiced sounds formed a dominant presence in the rhyme of the poem. As for repetition, it became clear that the poet took it as a basic key to enter the inner world of the text. As for the induction of alliteration, we found an intense presence of imperfect alliteration and derivational alliteration. As for antithesis, the poet was able to endow his poetic discourse with richness on the rhythmic and semantic levels. As for taking into account use of semantically related words )muraeat nazyr), the poet was able to use it to come up with appropriate, harmonious and compatible phrases that ended up creating an enjoyable song and music in the words. As for use of the figure for anticipation of the coming hemistich(arsad), the poet was able to use it to exploit the rhetorical arts that achieve high music, such as repetition, duality and alliteration.
 
Keywords: Imam Hussein (PBUH), Al-Adnani, Daliya Ode, stylistics, phonetic level.
Introduction
As for our study, it is a review of the structure of Daliya Ode in mourning Imam Hussein (PBUH), a stylistic study based on stylistic theory to reveal the internal elements of the artwork and reach new research results. The importance of this study lies in focusing on the stylistic phenomena that distinguished the poet's style from the linguistic and artistic aspects to reflect the aspects of beauty in the poem or its artistic value. Such as verbal improvements and the flowing poetic music in the poet's poetry.
Materials & Methods
 The research was based on reading the poet’s collection and analyzing his semantic poem to become a stylistic study that addresses the vocal level and its role in producing meaning and explaining it by deriving graphs that tell us about the poet’s use of rhymes and voiced and whispered letters that sound loud and whispered strings, and of course the sounds stand out to us as well. We hear it and enjoy it. And the repetition of the sound that is consistent with the emotional state in which the poet lived and the meaning that he aims to highlight.  And the rhythm of rhyme in the poems of our poet Al-Adnani, which he relies on, in addition to the meters, which appears strong in an attractive musical rhythm, amazes the recipient and makes him enter the poet’s shrine to learn about the implications of this art in his poetry.
Discussion & Result
- Prosodic meter used in the Daliya poem is (Al-Khafif); because of its flowing musical spaciousness that is compatible with the melodic nature of emotional poetry, and helps in continuity and length of the phrase, as the emotional poet finds himself with the long meters with rhythmic breadth moving comfortably, presenting his ideas, and expressing himself, as the poet can extract from one prosodic meter different musical melodies that vary with the diversity of his emotions and feelings.
- The rhyme in sentimental poetry has general manifestations, including (inclusion), which is considered a manifestation of the difference between the critic's practice and the poet's creativity. The insistence of poets on using this style in their poems and increasing it shows that they realized the importance of inclusion in the cohesion and cohesion of the verses.
- The sentimental poet requires certain rhymes that are not necessary, in his desire to intensify the music, enrich the rhythm and highlight the captivating melody for the recipient's attention; so that he listens to his voice and interacts with what he broadcasts in the folds of the lines and between their melodies.
- The internal rhythm in emotional poetry is manifested in a set of rhythmic structures, the most important of which are (voiced and unvoiced sounds, repetition, alliteration, antithesis, consideration of analogy and observation). These rhythmic colors came in different forms and diverse images, and contributed in varying ways to intensifying the rhythm, enriching the music, shaping the meaning and producing it in view of what it contains of novelty and beauty.
- As for the rhyme letter, the voiced sounds formed a dominant presence, while the percentage of unvoiced sounds decreased, to arouse the emotion of reverence and provide the text with a vocal extension that suits the purpose of the poem, i.e. elegy. The poet focused on the voiced sounds, as the position of Al-Hussein (peace be upon him) and his elegy in this poem requires focusing on strong sounds that carry with them rhythmic resonances capable of attracting the recipient.
- It became clear to us that repetition gave the poetic verse rhythmic density and semantic richness, and gave the poem a kind of coherence and connection between its parts, and the poet was skilled in employing it until it became truly an additional enhancement to the phonetic aspect without being devoid of semantic value.
- It became clear to us that the poet was aware of the importance of alliteration in his style and poetic production, which added musical beauty to his poetry on the one hand, and on the other hand attracted the recipient through diversification between these styles.
- It became clear to us that antithesis is an effective stylistic feature and characteristic through which the poet was able to create an intellectual approach between poetic images and meaning.
- It became clear to us that taking into account use of semantically related words()muraeat nazyr)is an effective stylistic characteristic through which our poet was able to come up with appropriate, harmonious and compatible phrases that ended up creating an enjoyable song and music in the words that impress the audience.
- It became clear to us that use of the figure for anticipation of the coming hemistich(arsad) is a stylistic feature through which the poet was able to exploit the rhetorical arts that achieve high music such as repetition, duplication and alliteration to raise the rhythm of the observation, indicating at the same time the integration of sensory and mental pleasure and the support of one for the other
Conclusion :
The conclusion of this investigation clearly suggests that the poet has employed light metrical measures and absolutely perfect rhyme. Concerning the internal rhythm, the research dealt with voiced and unvoiced sounds, repetition, antanclasis, anadiplosis, antithesis, words in the same semantic fields and figure for anticipation of the coming hemistich. Regarding the rhyme, the voiced sounds led to a dominant presence in the rhyme of the poem. The repetition figure was the main means to enter the inner world of the text. The imperfect alliteration and derivational alliteration played a significant role. The poet was able to endow his poetic discourse with richness on the rhythmic and semantic levels. It can also be concluded that the poet was able to use ersad(mestich) to utilize the rhetorical tools that creates high music, such as repetition, duality and alliteration.