The interplay of voiceless and voiced sounds in Qabbani’s elegy immortalizing Balqis

Abstract

The elegy of Balqis holds a significant place in contemporary Arabic poetry, renowned for its length and magnificence. Within its verses lie encrypted structures and enigmatic ideas, challenging literary scholars to decode its symbols. Yet it has received relatively little scholarly attention concerning phono-semantics. To address this gap, this descriptive-analytical study deciphered many of the symbols and words within poetic texts and a prosodic analysis revealed the correlation between specific phonetic features (voiced and voiceless sounds) and the semantic content (themes, emotions) of the poem. Furthermore, to achieve scientific accuracy, this work calculated the percentage of voiced and voiceless sounds, gutturalization, for each poetic segment. Results revealed that the ratio of voiceless (1612 sounds = 17%) to voiced sounds (3204 sounds = 34%) in the elegy has deviated markedly from established speech patterns (5 to 20%), rendering the recorded percentage of these sounds notably elevated, or even exceedingly high. The current study holds significant importance as an extensive search of databases, including academic search engines, peer-reviewed journals, conference proceedings, and linguistic resources spanning the past decade, has not uncovered any previous attempts to analyze this specific elegy from a phono-semantic perspective. Finally, suggestions for future research are presented to serve as the foundation for forthcoming studies.

Keywords:

• methodology
• literature review
• phonetics
• semantics
• Qabbani
• Balqis

1. Introduction

In the realm of poetry, linguistic sounds are not mere chance combinations of syllables (Weyers & Mueller, 2022). Instead, they are carefully crafted art forms that serve as a vehicle for conveying the intricate nuances of human existence (Sultana,2023 2023). This concept is exemplified in Nizar Qabbani’s Balqis Elegy, a poetic masterpiece that invites readers to embark on a journey of exploration, dissecting the linguistic sounds that constitute its essence and extracting the profound meanings concealed within.

Furthermore, Nizar Qabbani’s portrayal of the devoted and loyal wife in the Balqis Elegy is a testament to his distinctive poetic vision (Al-Mukhtar, 2022). This vision distinguishes him from his contemporaries, inviting a closer examination of the elements that define his unique poetic school. Unlike many of his peers, who may have focused primarily on themes or traditional poetic structures, Qabbani paid meticulous attention to the auditory aspects of his poetry (Jamil, 2023). This is evident in the way he carefully selected words and structured his verses to create a symphony of sounds that resonated with readers on a deep emotional level.

Add to that, the Balqis Elegy showcases Qabbani’s mastery of auditory rhythm and phonetics. He crafted verses that not only conveyed the emotional weight of his subject matter but also engaged the reader’s senses through the musicality of his language (Rohmah, 2021). Each word seemed to be chosen for its semantic meaning and acoustic qualities, creating a sensory experience that transcends mere intellectual understanding.

Qabbani’s dedication to exploring the phonetic dimensions of his poetry allowed him to establish his distinctive poetic style. While his contemporaries may have adhered to established norms and conventions, Qabbani ventured into uncharted territory, pushing the boundaries of what could be achieved through the careful arrangement of words, rhyme schemes, and metrical patterns. This bold approach made his work stand out and left an indelible mark on the world of Arabic poetry.

Despite the significant impact Qabbani has had on the auditory dimension of poetry, there has been a surprising lack of in-depth analysis of the rhythmic elements within his works. Many researchers have instead chosen to focus on other aspects of his poetry, potentially due to the overwhelming emotional impact that his writing often elicits, which may overshadow the technical intricacies at play. Nonetheless, a more thorough examination of his rhythmic and phonetic choices would undoubtedly reveal the depth of Qabbani’s artistry.

In sum, Nizar Qabbani’s contribution to Arabic poetry lies not only in his profound themes and emotions but also in his groundbreaking approach to the auditory dimension of poetry (Husni, 2013). His work serves as a testament to the idea that poetry is more than just words; it is a carefully orchestrated symphony of sounds that has the power to evoke deep and lasting emotions in its readers.

Therefore, this study posits the following hypothesis: if sounds possess the natural and intrinsic ability to accurately communicate the intended meanings of words, irrespective of personal interpretation, then each phonetic pattern is appropriate for a particular type of content without exceeding its boundaries.

2. Literature review

Arab linguists, like their Western counterparts, have engaged in debates about the relationship between words and their meanings. They have explored various aspects of semantics, phonetics, and the cultural context of language. Their contributions have enriched the field of linguistics and continue to influence linguistic studies in the Arab world and beyond.

3. The philosophical framework of sound and meaning

Scholars and researchers argue that there is no direct relationship between meaning and the distinct form that represents it (Ataboyev & Turgunova, 2022). One renowned linguist, Ferdinand de Saussure, falls into this category, asserting that the connection between the signifier (the linguistic form) and the signified (the concept or meaning) is purely arbitrary, devoid of any inherent necessity. His argument is rooted in the fact that meaning is shared across different languages (Abalkheel & Sourani, 2023). For example, the word “cat” in English or “chat” in French has no inherent connection to the actual animal; it is a matter of convention in each language.

Influenced by Saussure, Jakobson supported the idea that the form of a word, such as its phonetic structure or spelling, is not inherently tied to its meaning. Instead, this relationship is established by convention within a given language community (Abalkheel & Sourani, 2023). He pointed out that words like “mother” or “mère” in French have entirely different phonetic forms, yet they both refer to the same concept, demonstrating the arbitrariness of the signifier.

Furthermore, the Persian polymath Ibn Sina, who wrote in Arabic, contributed to the discussion by emphasizing that words and their meanings are not intrinsically linked (Roji & El Husarri, 2021). For example, he noted that the Arabic word for “water” (ماء,/ma ʔ/) and the English word “water” have different phonetic forms but refer to the same substance.

In line with Ibn Sina, Wittgenstein, a significant figure in Western philosophy of language, delved into the concept of language’s arbitrariness. He contended that a word’s meaning is grounded in its application within a specific linguistic framework, suggesting that the link between words and their meanings is a matter of convention rather than something inherent (Skelac & Jandrić, 2020). For instance, one can consider the word “table” in both English and Arabic as examples: In English, the word “table” typically refers to a piece of furniture with a flat surface and legs used for various purposes, such as dining or working. Yet, In Arabic, the word “طاولة”/ta:wila/can also mean a table, but its usage might extend to other contexts or even be adapted for different types of tables due to the conventions and cultural factors at play.

Yet, proponents and supporters of the idea believe in the correspondence between the word and its meaning and held the perspective that there exists a connection between the sounds of words and their meanings (D’Anselmo et al., 2019). Alqunayeer (2017) asserts that each language follows a set of guidelines for assembling sound components to create words with meaning. In his linguistic analyses, Ibn Jinni conducted detailed examinations of the phonetic characteristics of Arabic words, including those with similar roots but different phonetic forms, such as “/kataba/كتب” (write) and “قتب/kataba/” (dye). Through these examinations, he aimed to elucidate the subtle yet distinct semantic nuances that could be derived from the phonetic attributes of words (Abalkheel & Sourani, 2023). He, also, realized the significant role that phonemes play in determining word meanings, not to mention that altering consonants can result in changes in meanings. His work highlighted the idea that the phonetic structure of a word in Arabic played a crucial role in shaping its meaning, providing valuable insights into the relationship between linguistic form and semantic content.

Add to that, Peirce, an American philosopher, and semiotician, developed a more nuanced view of signs and meanings. He proposed a triadic model of signs, which includes the sign (representamen), the object, and the interpretant. In his view, the relationship between words and meanings is not arbitrary but is influenced by the interpretant, a mental construct connecting the sign to its object (Merrell, 1997). This allows for a more complex understanding of how signs convey meaning.

Moreover, Ibn Manzur, the author of the renowned Arabic lexicon Lisan al-Arab, focused his scholarly efforts on the preservation and comprehensive analysis of the Arabic language. He took a meticulous approach, often providing detailed explanations of word meanings by delving into their linguistic roots and considering their phonetic features. In his lexicon, Ibn Manzur explored the etymology and phonetic aspects of words in classical Arabic, shedding light on the intricate connections between their linguistic forms and their meanings (Lounas, 2023). His work not only served as a valuable linguistic resource but also demonstrated the interplay between phonetics and semantics within the Arabic language, further enriching the understanding of the relationship between words and their meanings in this linguistic tradition.

Thus, these figures and their respective theories offer diverse viewpoints regarding the connection between words and meanings. Some advocate for a certain level of arbitrariness, while others underscore the significance of cultural, contextual, and linguistic factors in molding the association between words and their meanings. These ongoing discussions exert a lasting impact on the realms of linguistics and the philosophy of language, continually shaping and evolving these fields.

4. Previous studies

For a decade, the topic of this study has not been extensively explored in scholarly research, especially in the context of phono-semantics.

Regarding previous studies related to this topic, there have been stylistic and linguistic studies of some of the poet’s collections, including: (1)Nizar Qabbani and the Language Game الجمالية في النصّ الش ـعري مطوّلة بلقيس أنموذجاً in Nizar Qabbani: A Poet for All Generations, نزار قباني شاعر لكل الأجيال and (2) Aesthetic Aspects in the Extended Poem “Balqis” as a Model, الجمالية في النصّ الشـعري مطوّلة بلقيس أنموذج published in the Al-Qadisiyah Journal of Arts and Educational Sciences in its 3–4 issues in 2007. While these studies addressed linguistic aspects in Nizar Qabbani’s creative works through criticism and analysis, they overlooked the exploration of semantics and phonetic rhythm and did not delve into phonetic rhythm.

After conducting extensive research through databases, in addition to manual searches of relevant journals, exploring specialist bibliographies, and scrutinizing unpublished research, one finds out that there is a scarcity of previous studies addressing anything except for two further topics: (1) Gaya Bahasa dalam Syair Ikhtārī Karya Nizar Qabbani (Ilmi, 2021). This paper explores the style of language in Nizar Qabbani’s poem/Ikhtira/. It discusses the linguistic style, particularly the use of/kasra/at the end of sentences and/awmit mukarrara/. (2) The Translatability of Metaphoric Expressions in Nizar Qabbani’s Poems into English (Mustafa, 2001). This paper focuses on the translatability of metaphoric expressions found in Nizar Qabbani’s poems into English. It is described as a phonetic-semantic study but lacks detailed outcomes, study types, or limitations.

Another paper uploaded on Academia for Aman (n.d.) Nizar Qabbani’s “Balqis”: Translation into English with an Introduction aims to enhance the comprehension of the translated poem “Balqis” for readers in the target language by delving into translation theories and elucidating the cultural and intertextual context of the translation within a political backdrop. He, furthermore, asserts that without this contextual understanding, it becomes challenging to fully appreciate the poet’s scathing critique aimed at the Arab nation.

Hence, while these papers cover various Stylistic aspects, none of them directly address the phonetic-semantic study of Nizar Qabbani’s poem for Balqis.

5. Musicality of sounds

The term “Musicality of Sounds” refers to the rhythmic quality created by different sounds and how they interact with a poetic text’s emotional and psychological dimensions. It’s important to note that each sound possesses unique attributes and characteristics. The relationship between the articulation of sounds and their qualities is both emotional and artistic (Tan et al., 2017). When a poet embarks on the creative process and the core elements of a poem start to take form, the selection of sounds and their alignment with the intended meanings becomes a crucial consideration. In this context, sounds like loudness, emphasis, closure, and elevation are employed to convey powerful emotions such as pride, anger, and pain. Conversely, softer articulation, relaxation, openness, and gentleness are utilized to express more delicate or sensitive emotions like sadness, sorrow, and nostalgia (Diamond & Zhang, 2016).

Hence, the combination of voiced, voiceless, intense, and relaxed sounds in the lines of the poem maps out the semantic landscape associated with the psychological state in which the discourse is generated. This diversity of articulation can mimic certain emotional responses and convey the themes the poet aims to evoke. It can also seep through the poetic fabric alongside hidden implications (Turdybaevna, 2021). When sounds harmonize with each other, they can express the emotional experience the poet has lived through, the sentimental context he has encountered, or even the scenarios he envisions.

This aesthetic effectiveness is amalgamated with numerous factors, including the distinctive tonality of each voice and the richness of the voice with secondary tonalities. The unique tonality of each voice encompasses attributes that have opposites, such as loudness and softness, intensity and relaxation, elevation, and diminishment, as well as attributes like modulation, elongation, deviation, repetition, and melody.

Besides, Qabbani is celebrated for his unique linguistic style. He carefully chooses and sculpts his words with a sense of audacity, intending to amplify the poetic significance of specific sounds in their respective contexts. Moreover, he imbues certain sounds with vitality by skillfully incorporating them into the overall context, allowing them to interact and flourish (Ben Ahmed, 2020). When these sounds resonate powerfully within the poet’s artistic realm, his expertise becomes apparent as he articulates his emotions, granting these sounds the capacity to convey profound meaning.

6. Methodology

This study employs a descriptive-analytical approach due to its inherent capacity to unravel the myriad symbols and words concealed within poetic texts (Alhazaymeh & Al-Zyadat, 2022). This methodological choice facilitates an in-depth exploration of the intricate linguistic nuances present in poetry, offering a comprehensive examination of both its phonetic and semantic dimensions. Additionally, a statistical methodology is integrated into this analysis to systematically track and quantify the phonetic phenomena embedded within the text. By amalgamating these analytical techniques, this research endeavors to provide a multifaceted investigation into the phono-semantic facets of the poem, ultimately yielding a more nuanced comprehension of its rhythmic and expressive qualities.

It is important to note that this study does not engage in discussions of a conventional, rigid correspondence between sound and meaning, nor does it contend that there exists an absolute sound symbolizing a specific meaning. The untenability of such views has been well-established in scholarly discourse. Instead, this research postulates the potential existence of a relationship between the phonetic form or musicality of language and the substantive content within a sentence, verse, or set of verses. Therefore, this relationship materializes not in the isolation of individual words but within the crafting and presentation of the poetic line or prose passage. It transforms fragmented sounds into a cohesive and dynamic entity capable of meaningful interaction with its audience.

7. Findings and analysis

Commencing this study necessitates an acknowledgment of the intricate and labor-intensive process of deriving semantic content from numerical data steeped in statistical analysis. This endeavor demands profound contemplation and unwavering patience. However, the investigation was significantly enhanced by the discovery of an audio recording on YouTube featuring the poet himself reciting the elegy. This invaluable resource facilitated the exploration of the elegy’s profound meaning and its emotional resonance.

First, it is essential to understand the typical distribution of voiceless and voiced sounds of the elegy that revealed intriguing patterns (Table 1). Specifically, voiceless sounds were detected 1612 times, constituting 17% of the total occurrences, while voiced sounds manifested 3204 times, accounting for 34%. Notably, the assertion of a robust presence of voiceless sounds, despite their numerical minority compared to voiced sounds, may appear counterintuitive. Similarly, despite their numerical advantage, the designation of a decrease in the prevalence of voiced sounds warrants clarification.

Table 1. Distribution of voiced and voiceless sounds of the elegy

Classic Pronunciation Voiced	Isolated Form	IPA Symbol	Nbr.	P E R C E N T A G E	Classic Pronunciation Voiceless	Isolated Form	IPA Symbol	Number	Percentage
bāĀ	ب	/b/	269		HāĀ	ح	/ħ/	120
Jīm	ج	/ʒ/	77		θāĀ	ث	/θ/	27
Dāl	د	/d̼/	109		Hā	ه	/h/	136
ḏhāl	ذ	/ð̼/	45		Šīn	ش	/ʃ/	68
rāĀ	ر	/r/	314		ḰāĀ	خ	/x/	55
Zāyn	ز	/z/	37		Sād	ص	/s^ʕ/	55
Dād	ض	/ḍ/	38		FāĀ	ف	/f/	181
ẒāĀ	ظ	/ẓ/	10		Sīn	س	/s/	163
Aain	ع	/ʕ/	193		Kāf	ك	/k/	177
Ghain	غ	/ɣ/	33		TāĀ	ت	/t/	335	33
Lām	ل	/l/	727		Qāf	ق	/q/	244
Meem	م	/m/	288		TāĀ	ط	/t^ʕ/	51
Nūn	ن	/n/	374
Wāw	و	/w/	373
YāĀ	ي	/j/	586
Total	15	15	3204	34		Total	12	1612	17

To elucidate this approach, it is imperative to contextualize the customary distribution of voiceless and voiced sounds in human speech. Typically, voiceless sounds encompass a spectrum ranging from 5% to 20% of speech sounds, whereas voiced sounds are relatively less common, comprising only four out of every 99 speech sounds (Grozdić & Jovičić, 2017). However, when voiced sounds transcend their conventional frequency and find extensive usage within a specific context, they acquire distinctive significance, emerging as a deliberate stylistic choice. Consequently, this analysis centers on the ratio of voiceless to voiced sounds in conventional speech, as well as the extent of deviation from this norm. In the case of the elegy, both voiceless and voiced sounds deviate markedly from established speech patterns, rendering the recorded percentage of voiceless sounds notably elevated, or even exceedingly high.

It is imperative to contextualize this analysis within the emotional crucible that framed the poet’s composition of the elegy. A mere five days following the tragic departure of his beloved, Balqis, the poet was immersed in profound sorrow. His ability to breathe was compromised, and respiration, when achieved, was an arduous endeavor. The poet grappled with the overwhelming shock of his loss, remaining in a state of stunned suffocation. In this emotionally taxing context, the elegy served as the poet’s sole refuge, an outlet for his grief. This emotionally charged and suffocating mental state resonates with the palpable intensity conveyed through the voiceless sounds within the elegy. These sounds laden with emotional weight, required heightened vocal effort for their articulation, surpassing the exertion associated with their subdued counterparts.

Another intriguing aspect is the significant occurrence of/b, ʒ, d, t^ʕ , q/sounds, which amounted to 35% of the total. It is well-established that this category of sounds necessitates a form of anchoring or reliance on the sound source. This aligns with the poet’s urgent desire to assert and present his case before the public eye. Furthermore, it may signify the poet’s unwavering steadfastness in the face of his adversaries and those responsible for the loss of his beloved wife.

A noteworthy occurrence where voiceless sounds assume a distinct significance can be observed in Table 2 where the scene depicts mockery and derision aimed at the assailants. He writes:

Table 2. The significance of voiced and voiceless sounds in mockery and scorn directed at aggressors

English Verses(translated)	IPA English Transcription	Arabic Phonetic Transcription	Arabic Verses (Original)
When under investigation, I will say: How my princess was raped.	/saʔuːl fiː al.taħqiːq kaɪfa ʔamiːratiː iɣtaʃˈʃabat/	Sa’qūl fī al-taḥqīq, kayfa amīratī ightaṣabat	سأقول في التحقيق، كيف أميرتي اغتصبت
How they shared her turquoise-like greenish eyes And her wedding ring.	/wa kaɪfa taqaːsimuː fiːˈruːz ʕajniːhaː.. waː xatam ˈʕursiːhaː.../	wa-kayfa taqāsimū fīrūz ‘aynihā.. wa-khātam ‘ursihā.	وكيف تقاسموا فيروز عينيها.. وخاتم عرسها..
I’ll say how they did share Her golden running hair.	/waːˈqʊːl fiː al.taħqiːq kaɪfa takħaːtʕafu al.ʃiʕr al.ˈlaðiː jaˈd͡ʒriː kaʔanhaːr al.ðaˈhab./	wa-‘aqūl fī al-taḥqīq kayfa takhāṭafū al-shi’r al-ladhī yajrī ka’anhar al-dhahab.	وأقول في التحقيق كيف تخاطفوا الشعر الذي يجري كأنهار الذهب.
When under investigation, I will say: How they pounced on her copy of the Holy Qu’ran	/saʔuːl fiː al.taħqiːq kaɪfa saʈaw ˈʕalaː ʔaːjaːt muṣħafihaː al.ʃariːf/	Sa’qūl fī al-taḥqīq kayfa saṭaw ‘alā āyāt muṣḥafiha al-sharīf	سأقول في التحقيق كيف سطوا على آيات مصحفها الشريف
And set it on fire.	/waːˈðramuː fiːh al.laˈhab./	wa-aḍramū fīh al-lahab..	وأضرموا فيه اللهب.
I’ll say how they made her bleed How they got her mouth occupied.	/saʔuːl kaɪfa ˈistanzafoo ˈdamhaː.. wa kaɪfa ˈistamalakuː ˈfamhaː/	Sa’qūl kayfa istanzafoo damhā.wa-kayfa istamalakū famhā	سأقول كيف استنزفوا دمها..وكيف استملكوا فمها
Neither roses nor grapes were left.	/famaː taˈrakuː bih ˈwardan .. wa laː taˈrakuː ˈʕanab/	famā tarakū bih wardan .. wa-lā tarakū anab	فما تركوا به وردا .. ولا تركوا عنب
Is Balqis slaughter the only victory throughout Arabs history?	/hal ˈmawtu baːlqis huwa alˈnasr al.waħiːd bi kull taːriːx al.ʕarab/	hal mawtu Balqīs huwa al-nasr al-waḥīd bi-kull tārīkh al-‘Arab?	هل موت بلقيس هو النصر الوحيد بكل تاريخ العرب؟

Therefore, the prevalence of voiceless sounds in the poet’s work can be attributed to his emotional state during two distinct situations within the text. Firstly, the poet’s profound apathy, triggered by reminiscing about the qualities of his beloved and his sardonic resentment towards the conquerors of “the gazelle,” is a key factor behind the abundance of voiceless sounds. In this instance, he was utterly debilitated, unable to summon the strength for vocal expression due to his sense of surrender and powerlessness. Conversely, in the second situation where he mocks the victors, the need for a loud voice is not prevalent. Instead, the situation leans towards a mode of expansion and contraction of sound segments. This shift in emotional tone contributed to the density of voiceless sounds characterizing the text at that juncture. They occurred at approximately one-third of the elegy, with voiceless sounds accounting for 48% of the total sounds, closely followed by voiced sounds at 50%. He composes:

Indeed, the zenith of whispering within this passage is readily comprehensible to any aficionado of Nazarene discourse. The poet directs his words to his beloved wife, articulating a profound yearning and perplexity stemming from her enduring absence. From the poet’s perspective, there was never a belief in his beloved’s departure from the realm of life. He persists in this dream-like state, eagerly anticipating the entrance of his princess. The prevalence of voiceless sounds can be attributed to the tranquil and tender discourse directed towards Balqis, the beloved. Voiceless sounds harmonize with gentle emotions and romantic connotations, making them fitting for intimate conversations that demand an essence of secrecy and discretion—qualities inherently associated with voiceless sounds. Thus, for instance, Tables 3 and 4 display voiceless sounds that find their aptness in moments of nostalgia and yearning, as exemplified in the following lines:

Table 3. The peak of whispering sounds

English Verses(translated)	IPA English Transcription	Arabic Phonetic Transcription	Arabic Verses (Original)
Balqis … We’re ever pining for you.	/bælqiːs miʃˈtaːquːn miʃˈtaːquːn miʃˈtaːquːn/	Balqīs. mishtāqūn. mishtāqūn. mishtāqūn	بلقيس.. مشتاقون.. مشتاقون. .مشتاقون
And the little house asks about his perfumed princess’s whereabouts	/wal-bæjt al-ṣaˈɣiːr yasɑːˈʔila ʕan ʔamiːratihi al-muʕṭiːrahi al-ðayjuːl/	wal-bayt al-ṣaḡīr yasā’ila ‘an amīratihi al-mu‘ṭiratihi al-ḏayūl	والبيت الصغير يسائل عن أميرته المعطرة الذيول
We listen to the news, but it is mysterious … It leaves us ever curious.	/naʂˈɣiː ʔilɑː al-ʔaxbaːr wal-ʔaxbaːr ɣaːˈmiːdah waːlaː trawji faðuːl/	naṣghī ‘ilā al-’akhbār wal-’akhbār ġāmidatun wa-lā trawī faḍūl	نصغي إلى الأخبار والأخبار غامضة ولا تروي فضول
Balqis. We’re suffering to the bone.	/bælqiːs mad͡zbuːħuːn ħattæ al-ʕað^ʕ m. ./	Balqīs. maḏbūḥūn ḥattā al-‘aẓm. .	بلقيس.. مذبوحون حتى العظم ..
The kids don’t know what’s going on. I don’t know what to say, then?	/wal-ʔawlaːd laː jadrɑːwun mɑː jajriː waːlaː ʔadrɪ ʔanaː mad͡zaː ʔaːquːl/	wal-’awlād lā yadrawūn mā yajrī walā ‘adrī’anā māḏā ’aqūl?	والأولاد لا يدرون ما يجري ولا أدري أنا ماذا أقول؟
Would you shortly knock at the door?	/hal taqraːʕiːn al-baːb baʕda daqaːʔiq?/	hal taqrā‘īn al-bāb ba‘da daqā’iq?	هل تقرعين الباب بعد دقائق؟
Would you take off your winter coat?	/hal taχlaʕiːn al-muʕʈaf al-ʃitawij?/	hal takhla‘īn al-mu‘ṭaf al-šitawī?	هل تخلعين المعطف الشتوي؟
Would you come smiling, and like field flowers shining?	/hal tɑːtiːn bɑːsmah. wanɑːðirah. wamʊʃriqah kaʔazhaːr al-ħuquːl?/	hal tātīn bāsmah. wanāḍirah.. wamushriqah ka’azhār al-ḥuqūl?	هل تأتين باسمة..وناضرة..ومشرقة كأزهار الحقول ؟

Table 4. Voiceless sounds: expressing longing and nostalgia

English Verses(translated)	IPA English Transcription	Arabic Phonetic Transcription	Arabic Verses (Original)
Balqis … We’re very sad at heart,	/balqis mæṭʕuːnuːn mæṭʕuːnuːn fiː al.ʔaʕmaːq/	balaqīs. maṭ‘ūnūn. maṭ‘ūnūn fī al-a‘māq	بلقيس.. مطعونون..مطعونون في الأعماق
Struck dumb and shocked	/wal.ʔaħdaːq yaskunuhaː al.dzuhuːl/	wa-al-aḥdāq yaskunuhā al-dhuhūl	والأحداق يسكنها الذهول
Balqis … How did you take away my days, and dreams. And crossed off gardens and seasons?	/balqis kajfa ʔaxadat ʔajjaːmiː wa.ʔaħlaːmiː wa.ʔal.ʕaġaːniː/	Balqīs.. kayfa akhadhat ayyāmī, wa-aḥlāmī, wa-ulghayt al-ḥadā’iq wa-al-aġānī	بلقيس. .كيف أخذت أيامي ،وأحلامي،وألغيت الحدائق والأغاني
Oh, my wife; My love; my poem and my eyesight.	/jaː zawd͡ʒatiː wa.ħabiːbatiː wa.qiʃʃatiː wa.ðijaːʔ ʕajniː/	Yā zawjatī. .wa-ḥabībatī. wa-qiṣṣatī. .wa-ḍiyā ‘aynī	يا زوجتي.. وحبيبتي.. وقصيدتي.. وضياء عيني
You were my beautiful bird. How did you leave me without a word?	/qad kuntu ʕaṣfawriː al.d͡ʒamiːl fakajfa harabat jaː bælqis miniː/	Qad kuntu ‘aṣfawrī al-jamīl fakayfa harabat yā Balqīs minī?..	قد كنت عصفوري الجميل فكيف هربت يا بلقيس مني؟..

The statistical analysis conducted so far underscores the significant prevalence of voiceless sounds amounting to 38%. This is notably higher than its standard usage which is typically at 22%, marking a substantial deviation. This statistical insight paints a vivid picture of the emotional landscape within the poet’s reminiscences. Here, he passionately longs for the return of his beloved and engages in a dialogue tinged with a gentle reproach for her departure, which has left him isolated and bewildered. It is as if he is a feather adrift in the winds, beset by turmoil, confusion, and a feeling of foreignness in a city he once regarded as his paradise and magnificent garden, now transformed into a raging inferno that led to his beloved’s departure.

However, a pertinent question arises within this context: why did the poet opt for this vocal style in his entreaty? A more profound analysis of the poetic passage may shed light on the underlying rationale. Firstly, the poet’s audience is his wife, Balqis, and he is reminiscing about cherished memories and bygone days. Consequently, it would not be appropriate to address her with a loud and disruptive vocal delivery, which typically includes robust voiced sounds. Instead, he employs a softer, less obtrusive voiceless vocal style that harmonizes with the intimate conversational mood of the moment. Secondly, it is important to note that producing voiceless sounds demands additional effort compared to voiced sounds, potentially exerting a toll on one’s emotions and psyche. This challenging and emotionally taxing situation is precisely what the poet aims to convey. The strain associated with articulating voiceless sounds aligns with the poet’s intention to express the emotional distress he has endured since the moment of loss.

Furthermore, the poet’s use of 561 pharyngeal sounds effectively amplifies the emotional intricacy of his predicament. As both a devoted husband and ardent lover to the point of obsession, he grapples with an emotional rollercoaster. Guttural sounds, originating from the throat itself, are inherently demanding to enunciate. The inclusion of sounds in Table 5 such as “ع” (Aain), “هاء” (Hā), and “حاء” (HāĀ), each occurring 193. 136, and 120 times, reaches its zenith with the “همزة” (Hamza) sound, emanating from the vocal cords, repeated 112 times. This substantial frequency of guttural sounds intensifies the sensation of suffocation, emotional turmoil, and labored breathing that the poet seeks to convey. In this context, one can recognize the poet’s adeptness in effectively transmitting his poetic encounter to the reader, evoking within them a visceral connection with his emotions.

Table 5. Distribution of pharyngeal sounds in Balqi’

Classic Pronunciation Voiced	Isolated Form	IPA Symbol	Number
HāĀ	ح	/ħ/	120
Aain	ع	/ʕ/	193
Hā	ه	/h/	136
Hamzah	ء	/ʔ/	112
Total			483

What is more, the poet underscores the significance of whispered sounds in specific instances, deviating from their typical usage, particularly in the final passage of his statement.

Table 6 highlights a noticeable use of voiceless sounds. They recurred 60 times, accounting for 39% of the total, which marks a 19% increase compared to their typical usage. Therefore, this substantial disparity conveyed a great deal to the reader. With the concluding lines, a compelling question emerges: How would the poet bid farewell to his beloved princess? Would he choose to part with her using loud, disquieting sounds that might distress her, or would he opt for a more delicate and soothing auditory approach? Envisioning this moment of separation and leave-taking for this authentic teacher, who would become a reference point for lovers in the realm of love and passion, is paramount. She embodied all the qualities of a messenger-like woman and had attained a near-perfection in the eyes of her husband and lover, the poet.

Table 6. Voiceless Sounds’ Effect

English Verses(translated)	IPA English Transcription	Arabic Phonetic Transcription	Arabic Verses (Original)
My beautiful, rest in peace	/ˈnaːmi biˈħifz ʔalːa ʔajːatuha al.jaˈmiːlah/	nāmi bi-ḥifẓ Allāh ‘ayyatuha al-jamīlah	نامي بحفظ الله أيتها الجميلة
After you, poetry will cease and womanhood is out of place.	/fa alˈʃiʕr baʕˈdak mustaħˈiːl wa al.ʔanwuːθah mustaħˈiːlah/	fa al-shi‘r ba‘dak mustaḥīl wa al-’anwuthah mustaḥīlah	فالشعر بعدك مستحيل والأنوثة مستحيلة
Generations of children’s flocks Will keep asking about your long hair locks.	/sataˈẓal ʔaˈd͡ʒjaːl min al.ʔaʈ^ʕ ˈfaːl tasʔal ʕan ðiˈfaː’rik al.ṭawˈwiːlah/	sataẓal ajyāl min al-aṭfāl tas’al ‘an ḍifā’irik al-ṭawīlah	ستظل أجيال من الأطفال تسأل عن ضفائرك الطويلة
Generations of loverswill read about you, the true instructor.	/wa tazal ʔaˈd͡ʒjaːl min al.ʕuˈʃaːq taqraʔ ʕank ʔajːatuha al.muʕalːiˈmah al.ʔaːṣiːlah/	wa tazal ajyāl min al-‘ušāq taqra’ ‘anka ‘ayyatuha al-mu‘allimah al-’aṣīlah	وتظل أجيال من العشاق تقرأ عنك أيتها المعلمة الأصيلة
One day the Arabs will get it That they killed the prophetess.	/wa sayuʕˈrif al.ʔaʕraːb yawman ‘annahum qataluː al.raˈsuːlah qataluː al.raˈsuːlah/	wa sayu‘rif al-‘a‘rāb yawman ‘annahum qatalū al-rasūlah qatalū al-rasūlah	وسيعرف الأعراب يومًا أنهم قتلوا الرسولة قتلوا الرسولة
Killed the prophetess. K … i … l … l … e … d T … h … e p … r … o … ph … e … t … e … s … s	/qataluː al.raˈsuːlah qataluː al.raˈsuːlah/	qatalū al-rasūlah qatalū al-rasūlah	قتلوا الرسولة قتلوا الرسولة

The prevailing ambiance during this farewell moment is one of calmness and reverence, almost bordering on the sacred. One can picture the poet bowing his head in reverence, gratitude, and admiration for the authentic teacher and the messenger-like woman. The use of whispering sounds and subsequently soft vocal tones harmonizes with the solemn farewell atmosphere that the poet portrays in the final passage.

It is noteworthy that the prevalence of voiceless sounds, along with the associated strain and fatigue they signify, corresponds with the exhaustion and weariness that the poet experienced after completing the elegy. The process had taken a toll on him physically, mentally, and emotionally. Furthermore, the substantial presence of pharyngeal sounds, comprising 22% of the vocal sounds, intensified the poet’s sense of suffocation as he came to terms with the irrevocable departure of his beloved princess, the subject of his profound affection, with his final poetic utterance. This marked the conclusion of the legendary woman’s tale and the commencement of the eternal elegy for Balqis.

8. Limitations of the study

There is a noticeable scarcity of scholarly works that have delved into the intricate phonetic aspects of Nizar Qabbani’s elegy dedicated to Balqis. Much of the existing literature primarily focuses on Balqis herself and her role in Nizar Qabbani’s life, resulting in a historical account of their relationship. However, what has been lacking is a more objective and artistic analysis of Nizar’s poetic expressions devoted to this devoted wife.

Moreover, deciphering the linguistic nuances extracted from the body of poetry presented considerable challenges due to its inherent complexity and ambiguity. The task of interpreting these elements can be quite intricate and may require specialized references that are regrettably in short supply. In some instances, even after exhaustive readings, one finds only scant references to the morphological aspects of the poetry, while in others, no pertinent information is discovered at all.

This glaring absence of a comprehensive examination of both the phonetic and semantic dimensions underscores the pressing need for a more thorough exploration of Nizar Qabbani’s poetic discourse within the context of his elegy for Balqis. Such an analysis would not only shed light on the intricate and emotionally charged relationship between the poet and his beloved but also contribute significantly to the understanding of the stylistic and applied linguistic intricacies within Qabbani’s poetic oeuvre.

9. Conclusions and recommendation for further studies

This in-depth analysis of Qabbani’s elegy dedicated to Balqis has offered valuable insights into the intricate phonetic aspects of his poetic expression. The prevalence of voiceless sounds, pharyngeal sounds, and whispered tones throughout the elegy reflected the poet’s profound emotional state during different moments within the text.

Through meticulous examination, this work revealed how voiceless sounds play a pivotal role in conveying the poet’s intimate conversations with his beloved and his longing for her return. The choice of softer vocal tones aligns with the mood of these moments, emphasizing the secrecy and discretion inherent in such intimate exchanges. Additionally, the strain associated with articulating voiceless sounds serves as a poignant representation of the emotional toll the poet endured since Balqis’s departure.

Add to that, the substantial use of pharyngeal sounds intensified the sensation of suffocation, turmoil, and labored breathing, effectively immersing the reader in the poet’s emotional turmoil. These guttural sounds amplified the complexity of his predicament and the depth of his feelings. Moreover, the poet’s deliberate deployment of whispered sounds in the closing lines of the elegy created a sacred and reverential atmosphere as he bids farewell to his beloved princess, the authentic teacher and messenger-like woman.

Further studies can be conducted at different levels to provide valuable insights into Qabani’s elegy for Balqis. Thus, for example, one can conduct a detailed phonetic transcription of the entire elegy to get involved with a comprehensive analysis of suprasegmental features like intonation and stress patterns. Other studies can compare the phonological features of this elegy with other works by Qabbani or with elegies from different poets of the same era or tradition, etc.

In the end, Nizar Qabbani’s elegy for Balqis stands as a testament to the power of phonetic expression in poetry, where vocal sounds become vehicles for the poet’s emotions, his longing, and his profound connection with his beloved. It invites readers to immerse themselves in the intricate tapestry of sounds and emotions woven by the poet, reminding us of the enduring beauty and complexity of poetic artistry.

Disclosure statement

No potential conflict of interest was reported by the author(s).

Correction Statement

This article has been corrected with minor changes. These changes do not impact the academic content of the article.

Additional information

Funding

The researchers would like to thank the Deanship of Scientific Research at Qassim University for funding publication of this project.