UNVEIL THE MEANING OF IBN AL-FARID'S SUFISTIC POETRY USING THE RIFFATERRE'S SEMIOTICS

This study was a multidisciplinary study to interpret symbols behind the words in the Sufism poems of Syaraf al-Din Umar Ibn al-Farid in his diwan, Nazm as-Suluk or atTa’iyyah al-Kubra and al-Khamriyyah. Ibn al-Farid resembled his love for his God in beautiful, imaginative, and meaningful poetry. This research used the semiotic literary reading method (al-qirâʻah al-simi'iyyah) to unveil the meaning of Ibn al-Fārid's Sufistic poetry which is not only about the genre of Sufism un sich, but also the language and literary styles and levels of imagination through heuristic and hermeneutic interpretations. The beauty of his words with its solid essence is very important to be studied, analyzed and conveyed to the public so that the universe of knowledge is exposed not only about the flow of Sufism un sich, but also language and literary styles and levels of imagination through heuristic and hermeneutic interpretations along with the search for matrices, models and variants in the framework of finding the theme, and the final steps is looking for common ground between the texts and the existing ones through the hypogram.


Introduction
There are at least 3 main elements that complement one's poetry in carrying out its duties to produce a poetry creation, namely empirical exploration or elements of aesthetic experience, elements of beauty, and elements of observation. The poet not only interprets personal concern but also social concern. 1 In other words, poetry is an attempt by a poet to restore ideas built through text to give meaning to people's lives. The meaning of life is recorded by the poet through his contact with social reality, religiosity, historical context, or personal views. Like historical and social look for the common ground between the texts and the existing ones through the hypogram. 4

Riffaterre's Semiotics Theory to Analyze Poetry
Semiotics or semiology is the science of signs. Whether it's in the form of linguistic signs or visual signs. Linguistic signs can be obtained from communication activities, while visual signs are obtained by looking at what is around, such as building shapes, colors, and so on.
However, it should be noted that several disciplines limit themselves to the terms used from the 2 terms that have the Greek root sem-. The first term is semeio and the second term is semant-, sema (t) -where the two terms mean signs, distinguishing features, and predictions. 5 If semiology is a form of the German word transliterated from the Greek word semeiology, then semiotics (in Greek used for diagnosis), is now used for the designation of particular systems, just as Louis Hjelmslev used the term semiotics for denotative semiotics, connotative semiotics, and Metasemiotics. The second term, semantics, was raised by Breal to become Semantics, the study of the meaning of language. Then appeared semasiology, namely the science of significance, where semasiology departs from words to study meaning, and onosemasiology, the idea of studying expressions If in linguistics the study of language icons is an entrance into the world of semiotics, 6 then in literature, semiotics is an approach as well as a theory for researching literary works. Furthermore, if semiotic experts consider structure as a sign, while structuralists base their research on the structure of literary works, it is not surprising that structuralists are also called semioticists or vice versa.
Zaimar 7 mentions there are 5 fundamental theories in semiotic; theory of general principles, triadic, and pragmatic by Charles Sanders Peirce, the theory of synchrony and diachrony, langue and parole, sign language (sing, signifier, signified), and syntagmatic relations and associative or paradigmatics by Ferdinand de Saussure, definition of Semiotics, sign theory and sign classification by Umberto Edo, myth theory by Roland Barthes, and semiotic square theory by Greimas.
Michael Riffaterre, in his book Semiotics of Poetry, states that four things must be considered in understanding and interpreting a poem. They are: (1) poetry is an indirect expression, expressing something with another meaning, (2) heuristic and Ara b i y â t hermeneutic (retroactive) reading, (3) matrices, models, and variants, and (4) hypograms. 8 First, the discontinuity of poetry's expression. This occurs due to a shift in meaning (displacing), distortion of meaning (distorting), and the creation of meaning (creating). Shifts in meaning include the use of figurative language, both metaphor, and metonymy. Damage or deviation of meaning (distorting), occurs because of ambiguity, contradiction, and non-sense. Ambiguity can occur in words, phrases, sentences, or discourses due to the emergence of different interpretations according to the context. Contradictions arise because of the use of irony, paradox, and antithesis. Non-sense are words that have no meaning (according to the dictionary) but have the meaning as "mystical" according to the context. Meanwhile, meaning creation (creating) occurs because of the organization of text spaces, such as enjambment, typography, and homolog.
Second, the readings of Heuristic and Hermeneutic. With the heuristic's way of reading, a poem is read following normative grammars, morphological, syntactic, and semantic to generate overall sense grammatical normative semiotic system first level, then by retroactive or hermeneutics reading, the reader reads the text back and forth to find the meaning of literary works in the highest work system, namely the meaning of the entire literary text as a sign system. 9 Third, the theory of matrices, models, and variants. The matrix is hypothetical and in the structure of the text, it is only seen as the actualization of words. The matrix may be a word and, in this case, never appears in the text. In analyzing the literature, matrix abstracted in a form of the word, phrase, part of a sentence, or simple sentence. The matrix is a motor or generator of a text. Meanwhile, the model is the actualization of the matrix in a literary work. The matrix is developed by the model, it can be in the form of words that often appear in a literary text. Variants are sentences made as a result of model development. So, we can call the matrix is the theme, the model is the keyword, while the variants are the words developed from these keywords.

The Life of Ibn al-Farid
His full name is Syaraf al-Din Umar ibn Ali ibn Mursyid al-Hamawi al-Mishri. 11 His father is a lawyer who always defended the womenfolk in court to get his share (al-furūḍ) over their husband, his father then famously known as Al-Farid. Ibn al-Farid was born in 4 th Dzulkaidah 576 H/1181 AD. He spent most of his life in Egypt and died on Tuesday, 2 nd Jumadil Ula 632 AH / 1234 AD.
Many factors that brought up his Sufism, starting from the family's environment in which far from worldly pleasures, filled with servitude to God and very religious, even ascetic. He also has a personality that always tries to protect himself from bad things (wara'), has a good temper, also has good words. Besides, his heart is easily touched by beauties, both in real form and only intones. 12 The social-political circumstances at that time also develop his Sufistic. He grew and lived in an era of two centuries at once, namely the end of the 6 th century until the beginning of the 7 th century. That period was a period of massive power transition. Egypt and Syria, which were previously under the Fatimid rule, then moved to Ayubid's hands. This means that the religious laws in Egypt and Syria, which previously followed the Shi'a school, have shifted to Ahlussunnah. It was also during this period that crusades raged, which caused concern and distress so that Egypt experienced an endless crisis. In the years 598-599 H, the waters of the Nile had receded, causing the agricultural output to decline, epidemics spread, and the security situation was very worrying. Nevertheless, the tradition of knowledge continues to experience significant growth as the rulers of Egypt from Shalahuddin al -Ayyubi Another factor that increasingly grew and developed his Sufism life is the fact that Ibn al-Farid lived in an era with some poet Sufis, such as Safiyuddin bin Abi al-Mansur and Syamsuddin al-Ayaki, and Hadith scholar Sa'duddin al-Hariś al-Hanbali, also Hakim Aminuddin ibn al-Raqawi, Jamaluddin al-Asyuthi, Syihabudin Ibrahim al-Sahrawardi, Burhanuddin al-Ja'bari, Ibn Khillikan, Syihabuddin al-Khaimi, and Najmuddin ibn Israil. All of them admitted that they know Ibn al-Farid and his spirituality (ahwal). While direct contact with al-Ja'bari, Ibn al-Khaimi, Umar al-Suhrawardi, al-`Asakir, and al-Munźiri were his teacher in the field of Hadith. Including Ibn al-`Arabi and his Sufism character, wahdat al-wujûd, which was provided the most influence that brought him in the field of Sufism.

Ara b i y â t
Mustafa Hilmi conclude that there are two different ideas in the era of Ibn al-Farid; the first group is very consistent in adhering to religious teachings fundamentally and trying to defend teachings based on the Quran and Hadith, while the second group is the opposite, they free themselves from religious doctrines and even leave the law. Here Hilmi positions Ibn al-Farid in the first group, although it will find a few verses of syatahât poetry 13 which seem to have left Sharia. Those who belonged to the second is Suhrawardi, who was executed, and Ibn al-'Arabi who was affected by the influence of Neo-Platonism philosophy and teachings of ancient Persian and Shiite doctrine.
Therefore, there are two parts of Ibn al-Farid's Sufi-themed poetry, namely the philosophical Sufi poetry and love of Sufi poetry (ghazal). In Sufism philosophical poetry, he brought together many of the terms of Sufism in verses in al-Ta'iyyah al-Kubra and al-Khamriyyah, while her love poems (ghazal) were manifested in the form of a general description of the various places or areas, various natural phenomena, and various emotions and sensations. 14 This article, focuses on Ibn al-Farid's poetry within the genre of philosophical Sufism which is compiled in al-Ta'iyyah al-Kubra and al-Khamriyyah.
Ibn al-Farid's poetry sentences in al-Ta'iyyah al-Kubra and al-Khamriyyah are considered as a language that transcends denotative forms and direct understanding which creates very wide spaces for interpretation. 15 Infinite horizons were created through the words which bind Sufistic concepts and perceptions. To provide a proper Indonesian translation, in this case, the author tries to take it from the translation of Uzair Fauzan published by Mizan in a book entitled Tasawuf Cinta-The Study of Three Sufis; Ibn Abi al-Khair, al-Jili, Ibn al-Farid (2003).

Heuristic Analysis of Ibn al-Farid Sufistic Poetry
The following is the verse of Ibn al-Farid's poems from his qashidah al-Ta'iyyah al-Kubra: 13  The heuristic readings from the first to the fourth verses of Ibn al-Fāriđ's God is a poet with his both eyes and watched the beauty and his beautifulness sweetheart in the glass of wine. That is what can make the poet drunk drinking the wine. Not because the wine is stupefied, but the beauty of the Creator that is visible from the glass of wine that creates a sense of favors when drinking the wine. A situation like this can be felt by someone who is in love. Imagining the face of his lover is such a pleasure that it overcomes and eliminates all other pleasures. His actual condition, namely drunkenness from drinking a glass of wine, he considered being in love, passionate longing for his lover, Allah.
From 5 th to 7 th verses, stated that when he had returned from his state of drunkenness, he tried all to unite with the beloved (God), and with strong courage expresses his feelings of love are passionate. He looked for God in himself until he felt lost because he had merged with God.

Hermeneutic Analysis Ibn al-Farid's Sufiism
The previous verses show the road in the early stages of his spiritual life (Sufism). At this stage, he still saw his Lord with his senses, through his two eyes. His love for his Lord was still limited to love for the beauties that brought benefits to him. His love was still biological without understanding the meaning of its existence. He was only motivated to connect with a certain "form," such as a glass of wine. He loved this form as a consequence, not an origin. 16 The cause of his love was the result of his vision until his imagination of his lover, his God, appears.
The state of sukr (drunkenness) he experienced was also a stage of love for a Sufi. The drunkenness affected his mind and removed it. Mahmūd Ǵurāb states that sukr or al-sakr is the fourth stage of love, after drinking and being full. He added that sukr is a stage of love that eliminates the mind of the lover.
In the verse, one can also find the process of his search for the beloved God. This was of course after he regained consciousness from his drunkenness. He saw everything as a form of his lover until he felt lost merging with his god. Here, we can interpret that his love for God has reached a spiritual process ca lled tajalli syuhudi when the potentials that exist in his divine essence take actual form in various natural phenomena. 17

Matrices, Models, and Variants
The matrix is a short, elongated sentence. The matrix does not appear in the text, but is present in several models, then actualized into variants.
In this case, the matrix of Ibn al-Farid's love-of-God poems is the stage of love of God. Ibn al-Farid started with a love that was still full of imperfection because they depend on the sensations obtained by the senses. In Sufism, this condition is known as al-fanâ' al-awwal. According to al-Junaidi, 18 fanâ' is generally defined as the loss of the awareness of heart to the sensory things because of something it sees. Then what he saw was gone and kept changing until his senses were no longer conscious and felt nothing. Al-fanâ' appears in the following verses: It is very clear that at this stage of Ibn al-Farid's love for god still has a vision of love for himself despite the willingness to endure all the suffering that was inflicted as a result of that love.
The second stage of Ibn al-Farid's love is to eliminate all the living's sensory to the love of oneself through the unification with the beloved (God) which is universal and reach the degree of purity of heart and self. 19 Ibn al-Farid stated in the verses of the poem below that he has removed the desire of lust as a manifestation of his love: ‫فلما‬ This second stage of love does not lead to unification with God but to awareness and witness to the existence of the one and only absolute Existence (shuhûd al-maujûd al-wâhid al-mutlaq) and everything that exists comes from Him, does not exist with itself. Besides that, it is impossible if there is one being who can unite with His matter.
As the final stage of Ibn al-Farid's love for his God is the unification of self and this is the culmination of his love and experience in the waking state, not drunk. This state is called a unification which makes sense (ittihâd manthiqi) and is not classified as shath (unconscious state), as stated in verses 214 th -216 th below: So that in the post-self-winding state, I am none other than her, and when she shows herself, my essence is filled with my essence. When my essence is considered two, my nature is her nature, and because we are one, the outer aspect is my outer aspect. If she is called, I will answer, and when I am called, she is the one who answers the person who calls me and shouts "labbaik" (I fulfil your call) Meanwhile, the model which is the first form of actualization of the matrix found in Ibn al-Fāridh's poetry of love is the word love (hubb), drunkenness (sakr), testimony (syuhûd). The following will describe the form of the model one by one.
The word hubb (love) and its derivation is the most form of matrix actualization in Ibn al-Fāridh's poetry. He often used the word hubb in the form of verbs, nouns, actor nouns, object nouns, and adjectives. The repetition of the word hubb which is too often shows that the stages of his love which become a matrix are actualized in the form of clear words, namely hubb and also their derivations. According to Riffaterre's semiotic theory, the word hubb has become a model that will develop a matrix, so that the stages of love can be expressed through the word hubb and its various derivations.
In the verb form, the word hubb is used as in the following verses: The second model is found in the love poems of Ibn al-Farid is sukr (drunk). Sukr is the feeling of the abundance of Allah's love in the heart and unification of oneself with his Lord after eliminating all sensory senses. This ecstatic condition is a stepping stone to sahw (conscious and awake) so that it becomes a model for describing the process of fusing with his God in a conscious state, no longer in ecstasy or drunkenness. At least Ibn al-Farid stated sukr or ecstasy condition as much as 9 times and everything is in the form of the noun, either single or part of a compound word, as in the following: ‫مً‬ ‫فؤعجب‬ ‫سىسي‬ ‫مدامت‬ ‫بغير‬ # ‫بتي‬ ‫طس‬ ‫ومني‬ ‫ي‬ ّ ‫سس‬ ‫في‬ ‫وأطسب‬ Syuhûd (testimony) is the third model who became one of the actualizations of the love-of-God poems matrix of Ibn al-Farid. In Sufism, shuhûd is a testimony to God in all of His Self-revealing. Word syuhûd was found 21 times in the ta-iyyah kubra of Ibn al-Farid. Following an expression of Ibn al-Farid in the poem by using word syuhûd: Riffaterre invites literary researchers to then look for variants of the above model. Let us look again at the models that have been found, then determine the variants; The model in the form of the word hubb, has been in various forms of the word transformation, such as al- 'Isyq, al-Hawa, al-Java, and al-Gharam. These  In the first verse seems Ibn al-Farid unify the meaning of al-'ishq, al-Hawa, Al-Java, and al-Gharam with hubb, whereas other scholar of Sufism distinguishes them.
Also, sometimes Ibn al-Farid describes the condition of the body and soul filled with love using the term philosophy, as mustahil and wajib, as in verses: ‫وواجب‬ ‫مسخحيل‬ ‫كلبي‬ ‫و‬ ‫فجسمي‬ # ‫حي‬ ‫عبر‬ ‫لجائص‬ ‫مىدوب‬ ‫وخدي‬ Ibn al-Farid also borrow nahwu (Arabic syntax) terms to convey the intent of his heart, as in the following: ‫هما‬ ‫الشىق‬ ‫أهسبني‬ ‫هصبا‬ # ‫وي‬ ‫الم‬ ‫هصبا‬ ‫ألافعاٌ‬ ‫جىسب‬ The model in the form of the word sukr has variants such as khamr (wine), mudâmah (wine) and nishwah (ectasy). At the earliest level, khamar or mudamah symbolizes his love for his Lord which causes sukr (drunkenness) and nishwah (ectasy). The following poem of Ibn al-Farid are using variants of the model of sukr: it takes the idea from the hypogram. This hypogram is also included in the actual type of hypogram because it also actualizes the text of the verses of the Quran into the poetry text through the two words mentioned earlier, jannah and bai'un.

Hadith
With further investigation, it will be found out in some of his verses, Ibn al -Farid's transformation towards hypogram in the form of hadith of the Prophet narrated by Abdullah ibn Mas'ud in Jâmi' al-Saghîr by al-Suyuti following this: ‫اجلنة‬ ‫ت‬ ّ ‫"حف‬ ‫ابملكاره‬ " ‫ات‬ ‫ابلشهو‬ ‫النار‬ ‫وحفت‬ which means: "The (Hell) Fire is surrounded with all kinds of desires and passions, while Jannah (heaven) is surrounded with adversities." The form of the transformation is in the following verse: ‫عاشم‬ ‫عيش‬ ‫مً‬ ‫هيهاث‬ ‫الصفا‬ ‫وأًً‬ # ‫وجىت‬ ‫ذ‬ ّ ‫حف‬ ‫بامليازه‬ ‫عدن‬

Serenity! How far away it is from the life of the lover! A paradise garden surrounded by terror
The relationship between the two texts is clear. Ibn al-Farid made a transformation from its original text (hypogram), both meaning and pronunciation so the hypogram is classified as actual and potential. Themes raised by the Hadith about the state of heaven and hell together with the theme of the text transformation, only Ibn al-Farid did not mention the condition of hell. Ibn al-Fāridh modified his poetry text by manipulating word sequences such as the word ‫حفذ‬ it is placed at the end of the verse, although it does not reverse the matrix.

Conclusion
Ibn al-Farid's poetry sentences in al-Ta'iyyah al-Kubra and al-Khamriyyah are considered as a language that transcends denotative forms and direct understanding which creates vast spaces for interpretation. He created infinite horizons through the words which bind Sufistic concepts and perceptions. Through the heuristic analysis of Riffaterre's semiotic theory, it is revealed that the poet of Ibn al-Farid, saw his lover in his wine chalice. The taste of love was so deep made it so heavenly when drinking it. His drunkenness was caused by love. After he regained consciousness, he continued to look for the form of his lover until he reached the end when he felt himself melting with her lover.
Hermeneutic studies have been able to interpret the 7 initial verses of al-Ta'iyyah al-Kubra of Ibn al-Farid as the early stages of his spiritual life (sulûk). The lover is interpreted as a God whom he saw that made him drown in love is a biological love that is still related to "form", not the origin. Drunk (sukr) also occupies the position of one of the stages of his love for God in the future. Then he continued the next stage after awakening from sukr and finally attained a spiritual process called tajalli syuhudi.
Likewise, Riffaterre's Matrix Theory, Model, and Variant manage to find the key sentence: the stages of love as the generator of a series of Ibn al-Fāriḍ's poetry texts in al-Ta'iyyah al-Kubra. Then the Model theory can collect several words that are often used in texts, namely love (hubb), drunkenness (sakr), testimony (syuhûd) as the actualization