حجاجیة إستراتیجیات الصمت في دیوان "قَسَمُ العُشَّاق" لوفاء عبد الرزاق

This study investigates the argumentative strategies of silence in Wafaa Abdel Razzaq’s poetic collection The Lovers’ Oath, highlighting how silence functions not as a linguistic void but as a semantic force that shapes meaning, intensifies emotional resonance, and deepens the communicative relationship between the poet and the reader. In contemporary rhetorical and linguistic studies, silence is increasingly viewed as a strategic component of discourse capable of carrying implicit meanings that the spoken or written word alone cannot convey. In this collection, silence emerges as a multilayered rhetorical device that activates the reader’s interpretative faculties by creating intentional gaps, pauses, and absences that require cognitive and emotional participation. Rather than representing a lack of expression, silence becomes a site of heightened meaning—an alternative language that expands the borders of poetic communication.
 
The study investigates three principal strategies of silence that dominate the collection: sawsimatiya (the interplay of sound and silence), the interrogation of consonants, and ellipsis. Through these strategies, the poet constructs a complex network of implications that invite the reader to become an active co-producer of meaning. The research adopts a descriptive-analytical methodology that involves meticulously tracing silent elements throughout the poetic text and examining their rhetorical function within the broader argumentative structure of the work. This methodological approach enables a detailed exploration of how silence contributes to the construction of poetic meaning and how its deliberate use transforms the reader’s engagement with the text.
 
Silence in The Lovers’ Oath serves as an argument in itself—one that relies on the power of implication rather than explicit declaration. By creating semantic spaces requiring completion, the poet places the reader in the position of both observer and interpreter, thereby enhancing the communicative and psychological impact of the poetic message. The argument embedded in silence is neither neutral nor passive; instead, it becomes a persuasive force that shapes the reader’s emotional and intellectual response. Silence thus transcends its traditional association with absence and instead becomes an active rhetorical instrument that communicates as powerfully as articulated language.
 
The first strategy explored in this study, sawsimatiya, reveals how the poet constructs emotional tension and meaning through the dynamic coexistence of sound and silence. This strategy does not simply alternate between speech and its absence but creates an interplay where silence enriches the spoken word by adding layers of suggestion, hesitation, or longing. The emotional experience conveyed through sawsimatiya cannot be fully captured through explicit language; rather, it emerges in the subtle shifts where the poem deliberately withholds expression, prompting the reader to infer what remains unsaid. This creates a depth of expression that makes silence an indispensable component of the poem’s semantic architecture.
 
The interrogation of consonants, the second strategy, demonstrates how silent linguistic elements—particularly consonants that carry structural but not vocalized significance—are transformed into active conveyors of meaning. In Arabic, consonants form the backbone of the language’s semantic structure, and Abdel Razzaq skillfully employs this linguistic feature to produce silent yet potent argumentative effects. By emphasizing or manipulating consonantal patterns, she imbues silence with semantic density, turning the “unsounded” into a site of interpretive productivity. This strategy allows the poet to embed meaning in the very framework of the word, engaging the reader in a deeper reflection on how language, even in its silent components, can be mobilized to articulate emotional and intellectual states.
Ellipsis, the third strategy, operates through the intentional omission of words, sentences, or ideas. This device creates open semantic spaces that the reader must fill through inference, imagination, or emotional projection. Ellipsis is particularly important in the collection because it creates a sense of suspended meaning, inviting the reader to move beyond what is explicitly presented and explore the latent possibilities embedded in silence. The strategic use of ellipsis generates curiosity, intensifies emotional resonance, and fosters a participatory relationship between the poet and the reader. Through this mechanism, silence becomes a tool that activates the reader’s internal dialogue, enhancing the poem’s communicative power.
 
The findings of this study reveal that these three strategies collectively establish silence as a central argumentative mechanism in The Lovers’ Oath. They demonstrate how silence operates at multiple levels—phonetic, syntactic, semantic, and emotional—to construct meaning that is both implicit and deeply affective. The poet’s ability to engage the reader through silent cues underscores the sophistication of her rhetorical technique and her mastery in transforming silence into a communicative bridge. By inviting readers to complete the text, interpret its gaps, and engage with its implicit messages, Abdel Razzaq creates a collaborative process of meaning-making that enriches the reader’s experience.
 
In conclusion, silence in The Lovers’ Oath is not merely a stylistic feature but a foundational element of the text’s argumentative and communicative structure. Its strategic use amplifies meaning, evokes emotional depth, and strengthens the relationship between the poet and the reader. The study contributes to the broader understanding of how contemporary Arabic poetry revitalizes classical rhetorical devices through innovative applications that resonate with modern expressive needs. Silence, as employed by Abdel Razzaq, emerges as a powerful medium of artistic expression that transcends linguistic boundaries and reveals the profound potential of what remains unspoken.