Graphic formation at the end of the Islamic poem (simile, metaphor, metonymy) A model

Abstract

This research deals with the graphic formation of meaning in the poetry of the Islamic era, and attempts to reach the prominent rhetorical style in his poetic texts when forming meanings, to draw the attention of the recipient and attract him to the beauty of forming poetic images. We find that the graphic formation of meaning in terms of metonymic performance gave his poems beauty and splendor, due to his exclusion of direct meanings of the signifiers and his creation of deep meanings, which achieves the recipient's interaction with the text. The study relied on the descriptive analytical approach to reveal the levels of his rhetorical performance in forming meanings. The research concluded in the end that poetry combined linguistic styles and rhetorical arts to form its meaning in a suggestive and honest way that expresses his feelings and emotions, which makes the recipient eager to know the intended goal behind these meanings.

This research seeks to monitor the aesthetics of figurative language among Islamic poets, by explaining the dimensions of employing poetic images, and their role in building meaning and producing aesthetic shades. We focus mainly on simile, metaphor, metonymy, synecdoche, and metonymy. In the process of analysis, we rely on the stylistic approach and rhetoric, and we focus on significant poetic models from different poets that reveal the aesthetics of figurative language. We find that the figurative language of meaning, in terms of the performance of metonymy, gave his poems beauty and splendor, due to his exclusion of the direct meanings of the signifiers and his creation of deep meanings, which achieves the interaction of the recipient with the text.