The Structure of Inner Rhythm in Critical Vision for Dr. Abdul Kareem Radhee Jaffar (Critical Study)

Abstract

The structural vison is no less important than imaginative structure having an active effect in poetic experience parallel with effect of image, because structural rhythm comprises most effective movements like linguistics, conception, and voice, besides, emotions because the weight and pronunciations are formed in moments of self-emotions of poetic experience by unconscious means. The poet does not know how this feeling is formed there is a relationship between image and music, it is an attracted relation forming linguistic composition carrying an auditory image called musical poetry. The significant and emotional conceptions of the poet are transferred to the receiver by generated rhythm. The weight is the core in which emotion gathers around that works in interacting emotions with his experience and to prepare the receiver to taste the text. From this concept the critic moves to mention that the language of poetry descends to a dull point when it loses weight. This speech cannot be poetry because there is no poetic existence without music, by this it insures the influence of rhythm in text and its role in coherence of the poem which made it a basic element in the text. On these basics the critic distinguished between two types of poetic music, first: inner rhythm which contributed in developing artistic experience and escalation of music existence, as for the other type which is: external rhythm that depends on similar poetic weights in temporality image depending on effective rhythm. This research is divided containing several tools which are repetition of voices, homophony, antagonism, analogical rhythm, spinning, and rejoining ending to beginning, then followed by conclusion and results, finally, a list of references and bibliography.