"Displacement" in the poem of Ibn al-Haddad Andalusian "you are right Isak"

Abstract

: The poetic sense and the artistic creativity lie between breaking or adhering to the grammatical rules, where deviations are crystallized at all phonetic, syntactic and semantic levels and any other levels in this regard such as the aesthetics of semantic structures. The aesthetics of semantic structures are introducing, retarding, deletion of a text, in addition to the aesthetics of performative and declarative phrases, and the aesthetics of attention, connectiveness, disjunctivness and the aesthetics of the paradox of metaphor, rhetoric and metonymy. A creator- a poet- in all of the previous aesthetics, is able in using deviations in order textual semantics that influences a reader sense and that gives him/her a space to participate in the creative writing through deviation attributes through discovering the artistic and rhetorical aesthetics in the text.

The current study aims to highlight a set of syntactic and semantic deviations in Ibn Haddad's poem:

                                “Hey love                             

The source of relief to my pains all

For God’s sake,

Why did in love with you I fall?”

 The above-quoted poem is form the Literature of Al-Andalus, which is full of intellectual, linguistic and religious pluralism. The study was aimed to present a critically modern reading of the classical Arabic literature of a high authority in the western modern studies in terms of highly applied aesthetics of a classical poetic text and finding an equivalent study to the western critical studies which contain applied theories and mechanisms that pretend to have their own modernity and inventions.

 The Ibn Haddad's poem is seen as the model of a sense of defamiliarization that went against the reader's judgment in which words, meaning and ideas, are composed with a deviated style in order to convey a message and capture the heart of the beloved, apart from presenting a poetic image about intellectual, linguistic and religious pluralism in those days which were considered as wealthy Arabs eras at all levels.