Anatomizing Ideology Below the Clause: The Transitivity Analysis of Iqbal’s Mukalma

This paper aims at exploring how ideology is construed in a text and how the text bears significant meaning potentials. Drawing on Systemic-functional Linguistics (Halliday and Matthiessen, 2014), particularly on the Transitivity analysis, it examines how language serves in terms of two folds of structural social semiotics and ideology representation. The study probes out how the constituent analysis (Transitivity analysis) could be significant in unfolding the meaning potential of a text. The data was taken from the text of the poem ‘Jibra.īl -o-Iblīs'. The data was comprised of the twenty-two sentences taken from the text of the poem which was later transliterated and translated for the purpose of analysis. The purposive sampling tool has been significantly helpful in the excerption of data, and a mixed-method approach has been employed in terms of analysis. Findings suggested that the poem reflects five process types which were Material, Mental, Verbal, Relational, and Existential and the participants been detected were Actor, Goal, Scope, Range, Beneficiary, Target, Senser, Phenomenon, Verbiage, Sayer, Token, Value, Attribute, Carrier, and Existent. Also, the types of circumstance detected in the analysis were Circumstance of Manner, Location, Role, Contingency, Angle, Cause, Accompaniment, and Extent. To configure the dominant process type, Bungin’s statistical approach (2001) was employed. It is acknowledged that the dominant process type in the poem was the verbal process (47%) and the subsequent was the material process (27%). Findings also foreshadow that poem's meaning potential is blueprinted on a spiritual aura which is being communicated mainly through the verbal process and material process subsequently. This paper focuses only on the transitivity analysis the future research could be done about interpersonal or textual metafunction analysis of the poem. this study was to analyze the poem at two general levels. The first level was to analyze the ‘transitivity’ blueprints incarnated in the lexical arrangement of the poem. And secondly, probing the meaning potential in the poem by anatomizing the lexemes used employing Halliday’s ‘Systemic Functional Linguistics’ (2014) model. The study follows both qualitative and quantitative analysis paradigms (a mixed-method approach) to interpret the data. Transitivity analysis brings to light the intended meaning of an utterer, depending upon three labels of transitivity: process, participants, and circumstances, and how they interact in a clause. Considering Halliday’s Systemic Functional Grammar (SFG), ideational metafunction. This study is aimed at enciphering the answers to the following questions:

because a venue is required on behalf of ideologies to be unveiled. Discourses are thought to occur across cultures and can therefore be comprehended through the interaction of societal context, conducts, agents, and societal norms. Ideology also acts as a link between sociological construction and interpersonal comprehension. And two of the greatest methods of articulating the ideologies are verse/s (poetry) and reasoning (philosophy). The poets communicate ideologies through verses, and the rationalist through exposition, welcoming cosmos around into their domain of correspondence as they attempt to handle those extraordinary existential inquiries that have grasped us since days of yore. And when poetry yokes together with ration it becomes more opulent. Iqbal's poetry is the admixture of both reason and rhetoric. Through his writing, he examines the numerous crosscurrents and ideological pluralities from a sociocultural viewpoint. Ideologies are, at their most simplistic level, depictions of actions framed from perspectives in the context of a valid concern for maintaining inconsistency in force relations and predominance.
This paper is an endeavor to explore ideologies from a newly emerging perspective which is 'Systemic Functional Linguistics'. The paper considers Iqbal's dialogue poem "Mukalma Jibra.īl-o-Iblīs (Gabriel and Lucifer) taken from the eminent collection "Bal-e-Jibra.īl / Gabriel's Wing" for analysis. The poem is about a conversation between Jibra.īl and Iblīs talking about the great guilt done by Iblīs and the consequences of that guilt. The paper channelizes Halliday's experiential metafunction, Transitivity analysis, in particular, to probe the ideological mainframe being presented in the poem through catching sight of the meaning potential of the lexical stretches being presented in the poem.
Findings illustrate that the poem's meaning potential and the lamina of ideologies could be probed out below the clause by utilizing the Transitivity analysis propounded by Halliday (2014) since the target of systematic study (SFL), especially the transitivity analysis, is to determine and uncover the association amongst the drifts and lexemes which expounds on the ways in which meaning is organized in a discourse.

Literature Review
Under the inspiration of Firth 1890; Robins, 1967;Sampson, 1980;Butler, 1985;Martin, 1992;Eggins, 1994;Matthiessen,1995;Thompson, 1996;Martin & Rose, 2003 few, and the theory of language, Halliday (1978) developed Systemic Functional Linguistics (SFL) from of the School of Linguistics, London. This new perspective has been based on a twofold system and structure and the multi-structural strand. Firth's theory of language (1890) argues that the structures and the systems are contemporary and that both are the foils for each other when it comes to scrutinizing the meaning potential. Hassan (1996) followed the same stance in SFL to establish the social semiotics in her "Language and Verbal arts" whereby she argues that the meaning comes from the experience of an individual. Halliday (1973) puts that transitivity is a range of alternatives through which any interlocutor registers his experience about the outer world's processes and the interior domain about his perception, accompanied with the participant involved in these processes and their associated circumstances. Nguyen, 2012;Wulansari, & Waluyo 2016;Qasim et. al. 2018;Ezzina, 2016;Darani, 2014; to adduce a few, analyzed the poems on Transitivity scepter to probe the semiotic structures and to bring the meaning potential out. Poetry is one of the most musical and popular genres in the world. And it is considered a prime source of expressing emotion, ideologies, and ration. Iqbal's "Mukalma Jibra.īl-o-Iblīs" has been studied from religious and philosophical perspectives by Khan, 2010;Ahmed, 2015;Shah & Tahir 2019;Muhammad & Khan, 2020; to quote a few. The previous studies have been confined upon how Quranic Narratives are an impactful element in the poem, how the poem serves in theosophical and cosmic blueprinting, or how Goethe has been incarnated in the poem, and the character portrayal of Lucifer, etc. but no significant study has been done with the perspective of SFL. Since the poem, Mukalma Jibra.īl-o-Iblīs has not been analyzed from any of the Systemic Functional Linguistics perspectives so there was no significant literature found for the review. this study was to analyze the poem at two general levels. The first level was to analyze the 'transitivity' blueprints incarnated in the lexical arrangement of the poem. And secondly, probing the meaning potential in the poem by anatomizing the lexemes used employing Halliday's 'Systemic Functional Linguistics' (2014) model. The study follows both qualitative and quantitative analysis paradigms (a mixed-method approach) to interpret the data. Transitivity analysis brings to light the intended meaning of an utterer, depending upon three labels of transitivity: process, participants, and circumstances, and how they interact in a clause.

Methodological Framework
Considering Halliday's Systemic Functional Grammar (SFG), ideational metafunction. This study is aimed at enciphering the answers to the following questions: 1. What sort of processes, participants and circumstances are there in the poem?
2. What is/are the dominant process type/s in the poem?
3. What does the transitivity pattern reveal about the spiritual aura in the meaning potential of the poem?

Theoretical Mainframe
Whatever is composed or uttered in this cosmos is revealed or interpreted within a specific conceptual perspective. Ideologies can take up dwelling in any discourse, but the ideologies require a point to thrive. And that point is known as 'Language'. Language is the yardstick that serves as a backbone to human communication. Albeit language is not merely a descriptive tool or a bridge through communication but is also a means of social representation. Process, Verbal Process, and Existential Process). Each process type is premised on 3 grammatical assets which assist to describe the truth of the universe surrounding it. The three grammatical assets of transitivity are termed participant, process, and circumstance. These labels are the markers of potential functions performed by a language in terms of meaning construction, social interaction, and ideological construction, below the clause. These labels uncover that how a lexical stretch is used to create a meaning potential and how that meaning potential is realized.
Language is used as a system that serves as a portfolio to unfold ideologies above the clause, around the clause, and below the clause.

Analysis of Related Data
The data comprises of the transliteration and translation of Dr. Muhammad Iqbal's poem personification of malevolent; a creature who though was not an Angel but a fire-made creature (a jinn) but have had been allotted a very sublime rank by Lord (Allah) as the 'chief Angel' because of his virtues and obedience. And later on, he has been cast out of Heavens because of the disobedience he has done against Lord's orders which were about bowing to Adam. And, ended up being reaping the title which became a homonym to evil, and the rank of man's eternal opponent. So, the dialogue is set between an old 'Honorary Angel' and the current one The first step of the analysis was to transliterate the poem and label it on clause and sentence level. According to Halliday, a clause is the center of all functions. So, the whole poem was bifurcated into clauses, and then different processes, and participants were marked with the help of transitivity to give a clearer interpretation (Fig. 2). The next step of the analysis was to bifurcate and translate the transliteration on sentence rank (Fig 2.1).

Transitivity Analysis
The next step was to do transitivity analysis to get insights into the research questions.
Crystal (2004) defines transitivity as a grammatical categorization for analyzing a lexical stretch, depending on the interrelationship between both the verb and the contingent constituents (p. 494). Since the poem taken for analysis was a dialogue poem so the data is primarily parsed in two basic layers the first transitivity layer is about the elliptical verbal process happening below the clause in each lexical stretch having only participants. The second and subsequent layer/s has/have more process/es which have been identified and marked below: The stanza above reflects that Jibra.īl / Gabriel strikes up a discussion with Iblīs/ Lucifer by inquiring on happenings in the sphere of "shade and aroma," (the physical realm). Iqbal's decision to commence the debate in this particular manner implies a few things. Angels are not believed to have volition in the traditional Muslim faith. It is considered that they are being created entirely to worship the Glory [Allah] and to perform the commands that are being directed by Lord, to them. So, the dialogue is giving a two-dimensional reflection. Firstly, either Lord has commanded Jibra.īl to initiate this conversation. Secondly, rather Jibra.īl have had a personal will to some extent which is allowing him to have a conversation with an old comrade.
The appellation "old pal" alludes to Iblīs' former prominent stature among the angels. Although the Quran deems Iblīs an "obvious foe" of mankind, Jibra.īl recounts an era where things were diverse. He was applauding these circumstances.

[Sayer] Verbiage
Can't thine tattered garment be mended back?  It is also visible that "That" is an interpersonal item in mood analysis and has no role in transitivity analysis so "that" is being skipped from the analysis. This excerpt is again a quintessence of the previous line, sharing the same meaning potential of the prior excerpt.  attrib.

Pr: existential Existent
Attribute Fig. 9 is reflecting the same two layers as being discussed before. Also, the analysis reflects that line 7 has two clauses under the 1 st layer of transitivity which is showing an elliptical verbal process as well as Sayer. The only explicit constituent in this layer is verbiage. The 2 nd layer unfolds two clauses. The 1 st clause has an attributive relational process accompanied with the carrier and attribute as participants, as well as the Circumstance of location and contingency.
While the 2 nd clause shares the same attributive relational process accompanied with the attribute as a participant. This lexical stretch depicts that the dialogue has now swapped beyond discussing Iblīs' present residence to the heavenly realm to recounting his previous residence on the celestial world. He puts in the next excerpt that I see no necessity for returning to such a "silent" world because for me it is nothing more than a devoid, to return. Value as the participants. And the Circumstance of contingency. To characterize Iblīs' contrast between the two worlds, Iqbal utilizes the term "ḳhāmosh". The Heavenly realms ain't just "quiet," they're also drab, monotonous, and devoid of any significance or goal. Returning to the poem's first sentence, they have no "hue or aroma," here's wherein the poem starts unfolding meaning potential. The poet is demonstrating that Iblīs has no remorse for his current situation, rather he is proud of being in this world of sounds and hues.

[Sayer] Verbiage
The one whose despair could give birth to the passion in the universe Actor Pr: material Goal Circ.

(location)
The excerpt above [ fig. 11] is also reminiscent of prior excerpts. The analysis depicts the 2 folds of processes the 1 st layer has the same elliptical verbal process as well as an implicit sayer, as above. And subsequently, the only explicit constituent in this layer is verbiage. The 2 nd layer unfolds the material process accompanied with Actor and Goal as the participants. And the Circumstance of location. The line depicts a very deep meaning and that is "the concept of taqnatū" which is being elaborated in the upcoming line whereby Iblīs argues that for the exuberance of man to exist someone has to be pessimistic in return. So, Iblīs should persist the revolt in opposition to God, amid absolute despondency, since that is helpful for mankind.

Sayer Verbiage
Thou Lost the high-ranks by dint of denial Actor Pr: material Goal The figure above represents that after the initial layer of the verbal process there is a sublayer of material process accompanied with two participants: Actor and Goal. Also, it is visible that line 11 contains a rankshifting clause (the high-ranks by dint of denial) carrying the meaning potential via nominalization. This excerpt is the response of the archangel to Lucifer's digression.
The excerpt is demonstrating a sort of regret by Archangel on behalf of Lucifer's disobedience.
As in the traditional point of view, the angels have no free will, while Lucifer was a fire-being (a jin), who have had free will yet Lord has kept Lucifer dear to Him because of his conduct as a  reflecting that how commodity or ideology is floating and flowing in the poem. The lexical item "fitne/ deviltries" is a very rich religious jargon depicting the act which could make one lose his/her faith. The lexical item seems to bring out the negative connotation but the analysis reflects that the real meaning potential reflects that Lucifer is referring to the provocation which brings the quest to man's mind and results in logic and reasoning. Also, the analysis unveils the rankshifting clause which is being nominalized to emphasize a certain meaning potential: "warp and woof to their apparel of wisdom and rationality".    The fig. 23 denotes that the 1 st layer comprises the very same elliptical verbal process as being discussed before showing the proceedings in speech. While 2 nd layer denotes material process through the word "rankle". The process is the second layer is accompanied with Circumstance of manner as well as the participants: Actor and Goal. This is the mightiest line of the whole poem denoting the extreme pride of Iblīs in terms of enmity or rivalry. He says to Jibri that I am the one who has dared to earn the opposition against Lord, I am the courageous one to disobey the Divine, and so I have a supreme which you can't see or enjoy. The concept here could be related to the line in Milton's Paradise Lost, Book I, Line 263: "Better to rein in Hell than serve in Heaven" (Milton, 2018).  verbiage which is being nominalized as "Allāh-hū, Allāh-hū, Allāh-hū". The nominalization in this last constituent of clause could also be corresponded with the same thrice mentioning of  as being mentioned by Eliot in the very last line of his Waste Land (Eliot, 2013). Also, the figure above reflects the omission of an interpersonal constituent of modality (adjunct) "Whilst" from the analysis to give a flat focus on ideational meanings whirling around the poem.

Findings and Discussion
Humans employ language to articulate the sentiments as well as communicating their experiences of the surrounding universe (Thompson, 2004). Nguyen (2012) says that language contains an enchanting characteristic, according to Gee's opinion (2005): whenever human beings utter or compose; they customize whatever they ought to imply to suit that context. The study was initiated to engrave the answers to research questions comprising the query on elements of transitivity found in the poem, the ratio of the process types, and the ideological aura of the transitivity serving in meaning potential. The findings show that 5 types of processes are detected in the poem (Material, Mental, Verbal, Relational, and Existential) while no trace of Behavioral process was found. The participants unveiled out in the poem are Actor, Goal, Scope, Range, Beneficiary, Target, Senser, Phenomenon, Verbiage, Sayer, Token, Value, Attribute, Carrier and Existent. Subsequently, the Circumstance types being found in the poem were Circumstance of Manner, Location, Role, Contingency, Angle, Cause, Accompaniment, and Extent. To probe out the frequencies of the transitivity constituents Bungin's statistical approach is being employed (2001, p. 189):

100%
The calculations reflect that the most dominant process type in the poem was the verbal process (47%) and the subsequent was the material process (27%). The analysis reveals that the poem's meaning potential is blueprinted on a spiritual aura which is being communicated mainly through the verbal process and material process subsequently. Since the poem is in dialogue form so the dominant process is the verbal process, while significant ideologies are being depicted through the (mainly) material process and other process types subsequently. poem seems to reflect the angles' ignorance upon the potential of man as Archangel is shown asking about the reconciliation while Lucifer is interested in bringing man by and by into the conversation. The poem reflects the spiritual and religious aura through its word construct as explored by transitivity analysis. The previous studies on the poem have been confined upon how Quranic Narratives are an impactful element in the poem, how the poem serves in theosophical and cosmic blueprinting, or how Goethe has been incarnated in the poem, and the character portrayal of Lucifer, etc. but no significant study has been done with the perspective of SFL. This paper has probed out that how meaning potential is incarnated through words in a clause. This paper has focuses only on the transitivity analysis, the future research could be done about ergativity or interpersonal or textual metafunction analysis of the poem.