Investigating the structure of internal music in the divan "Motaf Ahmar Faragh" by Rasha omran
Music is considered to be one of the constituent elements of poetry, which makes words stand out and distinguishes the language of order from prose. On the other hand, Arabic poetry, after going through various ups and downs and being influenced by the literature of other nations, left its traditional style, i.e. adherence to weight and rhyme, and used internal music extensively and with great skill. Rasha Imran, a Syrian poet and writer, was born in Tartus in 1964. She is one of the poets who turned to this style of writing poetry. He has seven literary collections that made him famous. One of his works is called Qot Ahmar Faragh (2009) and here we are going to express the features of inner music in this divan.
In the first chapter, after a brief look at the poet's life and her works, the poet's hometown (Syria), the cultural and social situation, poetry and literature of this country have been introduced.
The second chapter defines the poem, examines its background and introduces the types of music and examines the inner music cases.
The third chapter has also analyzed and analyzed the cases of internal music in the poet's court.
This research tries to investigate the inner musical implications in Rasha Imran's poetry by using descriptive-analytical method (including repetition and novel enhancements) and prove that different levels of repetition in Rasha Imran's poetry are closely related to its poetic implications. In order to create a balance and proportion between the verbal and semantic functions, the poet has used the music of repetition as well as novel enhancements such as puns, allusions and contrasts at different levels. These meanings have an unbreakable connection with the meaning and general atmosphere of the poem and are the source of arousing the emotions and feelings of the audience. By using different effects of inner music, the poet affects the soul and