Rhythmic Intertextuality and Music in Modern Libyan Poetry (Hassan Soussi, Kalifa Tillisi, and Abdel Mawla Al-Baghdadi as a Model

Hussein, Magda

doi:10.21608/aafu.2016.9348

Rhythmic Intertextuality and Music in Modern Libyan Poetry (Hassan Soussi, Kalifa Tillisi, and Abdel Mawla Al-Baghdadi as a Model

Document Type : Original Article

Author

Magda Hussein

10.21608/aafu.2016.9348

Abstract

The subject of Musical & Rhythmic in the modern Libyan poetry text deals the subject of textual interaction in the most elements of language infrastructure of text , and they are ( elements of Musical & Rhythmic )which give the text its identity and its effect in the receiver , by depending on the most important of theory outputs and practice it on three samples of the modern poets at Libya , and it appears from analysing some of their products that the Musical & Rhythmical structure derives at almost from previous texts or interact with it or oppose it by criticism and violating .
And this interaction take two curves :
The first curve : This curve occurs in the external musical frame (comparison) , where as the modern poem be similar with a previous pattern in rhyme and measure andviolate it in other things by suggesting deferent texts .
The other curve : This occurs in the internal rhyme of the text , as the modern text inspired more of previous texts rhymes like repeating some paragraphs , accents and psychological rhyme .
In the two levels , the capacity of the modern poet appears on transferring the hidden rhyme elements in the previous text with purpose to achieve his Uniqueness and privacy , but he do not get ride of the effect of the previous text in forming hisstructure and significance , in an attempt to prove his significance from one side , and his interaction from other side ; to achieve the connection and separation significant with the previous texts as requested by the modern poetical experience.

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