‘Ilm Al-Bayan and Its Suitability in Analyzing Malay Poetry Texts

Introduction

Language plays a very important role in expressing meaning. Accuracy in composing words can ensure that meaning reaches its target. Therefore, the ability to recognize and master the aesthetic aspects of language can produce good work (Rahman: 1981). Thus, a poet’s task in translating his ideas differs from his daily expression in terms of word choice and arrangement. This can be seen from his literary works that use beautiful words.

Dharmawijaya (1998) argues that the use of words in poetry is a deviation from the norms of the language system that has been known and accepted by the language community itself. Among the deviations found in poetry are semantic deviations. These deviations relate to the words or vocabulary used. This is to achieve accuracy in expressing the feelings of the soul so as to give rise to a meaning that is different from the meaning in the dictionary (Dharmawijaya: 1998).

There are influences of the Arabic language and literature in the Malay world. This is the effect of the arrival of Arab traders travelling from the Arabian Gulf to China, stopping at places such as the Malay archipelago. The engagement of Muslim Arab traders with the local community led to a change in the culture and religion of the Malay community, spreading the religion of Islam indirectly (Rahmah & Adli: 2008). The arrival of Islam in the archipelago region introduced the community to works of Arabic literature, namely "shi'r". Therefore, Malay poetry is influenced by Arabic Islamic literature, as seen in literary works based on the Malay language and genres of traditional Malay poetry such as pantun, seloka and gurindam (Rahmah & Adli: 2008).

Based on the researcher’s reading, most studies on Malay Literature use Western theories. Among them are Peirce's semiotic theory in the study by Tengku Intan Marlina and Salinah (2013) and Leech's theory of meaning in the study by Md Zahril Nizam, Darwalis, Noriah and Mohd Najib (2020).

Therefore, this study attempts to examine the appropriateness of the use of ‘Ilm al- Bayan which is a form of Arabic Rhetoric in analyzing Arabic literary texts. This is due to the influence of Arabic in Malay; such as the word absorption from Arabic. In addition, if the western theory can be used to analyze works of Malay literature, most certainly, theories from the Middle East can also be used.

A library approach is used in this study. The choice of this approach is to gather information related to ‘Ilm al-Bayan. A descriptive analysis approach is used to analyze the information gathered to assess the suitability of ‘Ilm al-Bayan for use in assessing Malay literary texts.

Discussion

A) ‘Ilm Al-Bayan

Arabic Rhetoric or al-Balaghah al-‘Arabiyyah is an interesting appearance of meaning through precise expression while giving a profound effect and in accordance with the meaning (Glosari Bahasa dan Kesusasteraan Arab: 2004). This knowledge consists of three types; namely ‘Ilm al-Ma‘ani,‘ Ilm al-Bayan and ‘Ilm al-Badi’.This paper will focus the discussion in ‘Ilm al-Bayan only.

‘Ilm al-Bayan is the knowledge used to keep words away from vague meanings (al-Hashimiyy: 2013). Al-Maraghiyy (2007) argues that ‘Ilm al-Bayan is a science that explains meaning in various forms, including different expressions in describing the semantics appropriate to the situation. The following is a diagram of the types of ‘Ilm al-Bayan based on the views of al-Khatib al-Qazwiniyy (1990) and Fayyud (2004):

‘Ilm al-Bayan

al-Tashbih al-Majaz al-

al-Kinayah

Lughawi

al-'Isti'arah

al-Majaz al-

Mursal

Figure 1

The types of ‘Ilm al-Bayan according to al-Khatib al-Qazwiniyy and Fayyud

al-Tashbih

al-Majaz al-'Aqliyy

‘Ilm al-Bayan

al-Majaz

al-Isti'arah

al-Majaz al-

Lughawi

al-Majaz al-Mursal al-Kinayah

Figure 2

The types of al-Bayan according to al-Hashimiyy and ‘Abbas

i. al-Tashbih

Al-Khatib al-Qazwiniy (1990) defines al-tashbih as an expression that equates one thing with another in a certain meaning. An expression is considered al-tasbhih if it is formed from mushabbah and mushabbah bih, which are regarded as the main pillars of al-tashbih. However, al-adah and wajh al-shabah are sometimes used in this style of language.

There are many types of al-tashbih based on mushabbah, mushabbah bih, al-adah and wajh al-shabah. They are tashbih mahsus bi mahsus, tashbih ma’qul bi ma’qul, tashbih mahsus bi ma’qul, tashbih ma’qul bi mahsus, tashbih mursal, tashbih mu’akkad, tashbih mufassal, tashbih mujmal, tashbih baligh, tashbih malfuf, tashbih mafruq, tashbih taswiyah, tashbih al-jam’, tashbih mufrad mutlaq bi mufrad mutlaq, tashbih mufrad muqayyad bi mufrad muqayyad, tashbih mufrad mutlaq bi mufrad muqayyad, tashbih mufrad muqayyad bi mufrad mutlaq, tashbih murakkab bi murakkab, tashbih tamthiliy and so on.

ii) al-Majaz

al-Majaz is a word that is not used in its original meaning because of the relationship with the sign that prevents it from desiring the original meaning (al-Hashimiyy: 2013). al-Majaz in ‘Ilm al-Bayan is divided into two types, namely al-majaz al-‘aqliy and al-majaz al-lughawiyy. Al-majaz al-lughawiyy is divided into al-isti'arah and al- majaz al-mursal.

Al-Majaz al-‘aqliyy is also known as al-majaz al-isnadiy and al-majaz al-hukmiy (al-Harbiy: 2014). This type of language style is the attribution of verbs or words with the meaning of verbs (ism fa'il, ism maf’ul or masdar) to that which does not belong to them in actual fact (al-Hashimiyy: 2013). Thus, the concept of al-majaz al-‘aqliy lies in the use of verbs with a non-real doer.

There are “relations” (‘alaqat) in al-majaz al-‘aqliy. They are used to explain the meaning in the expression; in addition, there are signs that prevent understanding the real meaning (al-Hashimiy: 2013). ‘Alaqat al-majaz al-‘aqliy that are widely used include al-zamaniyyah, al-makaniyyah, al-sababiyyah, al-masdariyyah, al-fa'iliyyah and al-maf’uliyyah.

Al-Hashimiy (2013) defines al-isti’arah as the use of a word for something that is out of place for the purpose (parable) between the logical meaning and vice versa, along with cues that prevent one from desiring the original meaning. Al-Isti’arah is an expression of al-tashbih from which one of its two main pillars is discarded—i.e., mushabbah or mushabbah bih. Each linguistic style in the form of al-isti‘arah contains three pillars: al-musta‘ar, al-musta‘ar lah and al-musta‘ar minh (‘Abbas: 2000). There are many types of al-isti’arah, such as isti’arah tasrihiyyah, isti’arah makniyyah, isti’arah tahqiqiyyah, isti’arah takhyiliyyah, isti’arah asliyyah, isti’arah taba’iyyah, isti’arah wifaqiyyah, isti’arah ‘inadiyyah, isti’arah ‘ammiyyah, isti’arah khasiyyah, isti’arah mutlaqah, isti’arah murashshahah, isti’arah mujarradah and isti’arah tamthilyyah. al-Jarim and Amin (1999) say that al-majaz al-mursal is the use of a word not supporting its original meaning with a non-similar relationship along with a sign that prevents the original meaning of the word. Since al-majaz al-mursal is not formed by similarity relations, al-Majaz al-mursal requires a factor of relations (‘alaqat) in the stylistic expression. The existence of ‘alaqat in an expression can distinguish its purpose from another.

These relationships (‘alaqat) vary according to context. al-Hashimiyy (2013) lists ‘alaqat al-majaz al-mursal as al-sababiyah, al-musabbabiyah, al-kulliyah, al- juziyah, al-lazimiyyah, al-malzumiyyah, al-aliyyah, al-taqyid, al-mutlaq, al-‘umum, al- khusus, i’tibar ma kan, i’tibar ma sayakun, al-haliyyah, al-mahalliyah, al-badaliyyah, al- mubdaliyyah, al-mujawarah and al-ta’alluq al-ishtiqaqiy.

iii) al-kinayah

Amin (2006) defines al-kinayah as an expression whose meaning is not the actual meaning used, but in which it is still permissible to desire the original meaning because there is no sign that prevents such a desire.

This style of al-kinayah has various forms based on meaning, namely kinayah ‘an sifah, kinayah‘ an mawsuf and kinayah ‘an nisbah in either ithbat or nafiy forms. The forms of al-kinayah based on characteristics are al-ta’rid, al-talwih, al-ramz and al-ima’.

B) Malay Poetry

Poetry is the earliest form of literature for all nations in the world because human beings in early stages were only able to express feelings, desires, ambitions and so on in speech or oral form, as they did not have writing (Haron: 2002). Poetry is a term used for various forms of rhythmic utterance through the full imaginative perception of a writer or poet (Glosari Istilah Kesusasteraan: 1988).

Safian et al. (Editor) (2006) in Sejarah Kesusasteraan Melayu state that Malay poetry is a form of speech that has existed since ancient times. This kind of speech is very popular and its use is widespread across all walks of life, in line with the development of the system and thinking of the community.

Genres that belong to poetry, as stated by Zalila & Jamilah (pngr.) (1993), include pantun, syair, nazam, gurindam, seloka, teka-teki, peribahasa berirama, teromba, talibun, prosa lirik, mantera, and dikir.

Abdul Halim (2006) classifies traditional Malay poetry into 18 types under three categories, namely traditional Malay heritage poetry, such as pantun, gurindam, seloka, teromba, talibun, mantera and peribahasa berangkap. The second group is traditional poems of Islamic heritage, such as syair, nazam, ruba’i, qit’ah, ghazal, masnawi and barzanji, while the third group is overlapping poems, such as rejang, endoi, teka-teki and zikir. Za’ba (2002) lists Sajak as a new poetic genre in Malay literature. The following is a diagram of the genres of poetry:

Figure 3 Genre of Malay Poetry

c) The suitability of using ‘Ilm al-Bayan in analyzing Malay Poetry Texts.

There are functional similarities between ‘Ilm al-Bayan and Malay Rhetoric; for example, tashbih mu'akkad and tashbih baligh are similar to the Malay Rhetoric device called metafora. This is because these language styles are used to compare two things that share similarities without using comparisons.

Simile in Malay Rhetoric has in common with the style of tashbih mursal in ‘Ilm al-Bayan. Both are used on comparing two things by using words such as "bak", "umpama" and "seperti" in Malay Rhetoric , also word like ك, كأن and مثل in ‘Ilm al- Bayan.

A similarity in function is also shared by the isti’arah language style and the personifikasi language style. This is because both language styles attribute human nature and behavior to animals, objects, or abstract things. Hiperbola in Malay Rhetoric matches the functions of isti’arah and kinayah. The style of kinayah in ‘Ilm al-Bayan also has similarities with the style of hiperbola through its extreme use of words in meaning.

Majaz mursal in ‘Ilm al-Bayan has functions similar to a style of Malay Rhetoric called sinekdoki. This is because ‘alaqah majaz mursal, specifically al-juz’iyah, expresses a part for the whole meaning.

Below is a table of similarities in function between ‘Ilm al-Bayan and Malay Rhetoric:

Table 1 similarities in function between ‘Ilm al-Bayan and Malay Rhetoric

similarities in function between ‘Ilm al-Bayan and Malay Rhetoric 1 The similarities between tashbih mu’akkad and tashbih baligh and metafora. 2 The similarities between tashbih mursal and simile. 3 The similarities between isticarah and personifikasi including hiperbola. 4 The similarities between kinayah and hiperbola including metonimi. 5 The similarities between majaz mursal and sinekdoki. Conclusion

The use of language style in poetry is an approach to conveying meaning to the audience in a figurative way. This is closely related to the poet's ability to use words to express meaning beautifully.

There are similarities in the functions between ‘Ilm al-Bayan, which is a form of Arabic Rhetoric with Malay Rhetoric, even though the terms to any style of languages are different, such as tashbih mu’akkad and tashbih baligh with metafora. The differences in terminology are certainly according to the expression of the original speakers of the style of language, whether in Arabic or Malay literatures.

References