Journal of History Culture and Art Research (ISSN: 2147-0626)
Special Issue
Tarih Kültür ve Sanat Araştırmaları Dergisi
Vol. 6, No. 1, February 2017
Revue des Recherches en Histoire Culture et Art
Copyright © Karabuk University
‫ﻣﺠﻠﺔ ﺍﻟﺒﺤﻮﺙ ﺍﻟﺘﺎﺭﻳﺨﻴﺔ ﻭﺍﻟﺜﻘﺎﻓﻴﺔ ﻭﺍﻟﻔﻨﻴﺔ‬
http://kutaksam.karabuk.edu.tr
DOI: 10.7596/taksad.v6i1.761
Citation: Rahmani, A., & Pashazanoos, A. (2017). Study the Stylistics of "Ashbah" sermon of "Nahjol
Balaqeh".
Journal
of
History
Culture
and
Art
Research,
6(1),
566-585.
doi:http://dx.doi.org/10.7596/taksad.v6i1.761
Study the Stylistics of "Ashbah" sermon of "Nahjol Balaqeh"
Atefeh Rahmani* 1, Ahmad Pashazanoos 2
P0F
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P1F
Abstract
Stylistics study the language features of literary text and try to use the tools of linguistics in
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order to reveal the effects of the beauty of a literary work and public property of it. Such
studies are looking for common points in all literary works of scholar which can be fulfilled
with studying a part of his works and sometimes explore the effects of stylistics on a certain
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theme by means of stylistics tools and because stylistics researches often have arbitrary and
relative laws that study in this area depends on the nature of critic and taste. In this study it
was tried to investigate the coordination of choice of words with sound and sentence structure,
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vocabulary eloquence and coordination of the structure of sentences with content, to indicate
that in this sermon all three levels: phonology, syntax and lexicon have been used to represent
the proportion of words and meaning.
Keywords: Imam Ali, Nahjol Balaqeh, Ashbah Sermon, Aesthetics, Stylistics.
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1
Corresponding Author, M.A. Student, Faculty of Linguistics, Imam Khomeini International University, Qazvin,
Iran.
2
Assistant Prof. Faculty of Linguistics, Imam Khomeini International University, Qazvin, Iran.
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Introduction
Stylistics investigation in the study of literary works, creates a relationship between language
subject and literary style, therefore "stylistics is a description of the literary text that has been
established on the basis of linguistics" (Masdi, 1947).
This theory indicates that the literary text in the first place is a linguistic text and without
analyzing linguistic ties that implies not being quantifiable for criticism and assessment,
therefore the literary text is primarily a linguistic innovation and stylistics investigations is
research skills in the world of language, this practice is devoted to innovation and it is being
used to know the differentiation of their works, to discover the specific literary language of
each scholar, which is used consciously or unconsciously (Rizqa, 2002).
Abdo Rajehi, about the difference between linguistics and stylistics, says “linguistics is
concerned on the study of "what" is said in the language, but stylistics is concerned in the
study of “how" to express what is in the language" (Rajehi, 1981). So this “how” points to the
difference and distinction of literary language with uniformity and similarity of indicative and
general language. The stylistics scholars believe that the language of poetry has these features
that breaks down the principles and general rules of language and makes its own rules which
is often not consistent with the rules of the standard language, therefore it is required to look
at poetry as a deviation from the standard language and stylistics knowledge task is to
examine the features of this deviation (Ayyad, 1981).
Pioneers of the stylistics are to indicate that the nature of a literary work depends on its
linguistic structure and it is not required to split the literary work in terms of form and
significant and says if the meaning states the feelings, thoughts and emotions, all this can be
found in the linguistic aspects (Shamisa, 2002). The concept of structure is very broad for
them so that it contains the structure of the literary elements such as: vocabulary, imageries,
metaphors, music and etc. Therefore the desired meaning of the scholar is obtained with
combination of all these elements. Stylistics believe that the distinguishing feature of the
literary text is deviation and its exit from normal language by means of phonetic balance or
the used defamiliarization in it, therefore they believe that structural and aesthetic values in a
literary work transcends the idea, imagination and emotion, in the sense that literary value is
in its artistic structure (Wahba, 1974). Therefore they look at the literary text as a linguistic
structure or a distinctive stylistic system. According to these descriptions the stylistic analysis
due to make literary works from any external factors such as political, social, psychological,
etc., looks at the work as a linguistic structure (Agilton, 1995).
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It is worth noting that Nahjol Balaqeh, is a prolific book that includes the words of Imam Ali
(peace upon him) and the most striking features of this valuable book is using speech, writing,
beautiful and charming literature, and with the rhetoric criteria, is an example of beauty that
Amir, the leader of speech and rhetoric, is the source of it. Deep meanings of words and
verbal and interpretive attractions, consistency in meaning and structure are of verbal arts that
make the audience captivated. Imam Ali in Nahjol Balaqeh, to create an artistic and beautiful
painting has used the before mentioned verbal art. And also by using imaging elements such
as analogies, he is to understand the issues and rational arguments.
Imam Ali (peace upon him) in addition to utilization of the benefit of suitable vocabularies
and eloquent words has created rhythm and a particular music which penetrates the audience
and provokes the feelings. It is obvious that Amir has used the musical terms with no-frills
and artificiality because using harmonious words in addition to adding to the verbal beauty, it
helps to understanding and keeping the word and also it reduces the indisposition of audience
and the use of these virtues are in the service of meaning therefore it leaves a great impact on
the psyche of the audience. George Jardaq in this regard says that:
Ali ibn Abi Talib has used the rich taste of art and verbal beauty of expression,
as in those days privileged him from others. The form of speech is interwoven
with the concept; such as warmth of the fire and light of the sun and the air
with the atmosphere, and after encountering to these expressions you are, as if
against a raging flood and stormy sea and blowing gust and as it is speaking
about the clarity of being and the beauty of the creation of the universe, it is as
if writing on your entity with pens from the sky stars. Its speech is as if flares
in a dark winter nights and laugh of the sky (Jardaq, 1987).
Therefore it can be said the beauty of Nahjol Balaqeh has privileges in terms of verbal and
literary style and is a rich resource for the Arabic language also as there is a proportions in
terms of style and content as well as compatibility between all literary elements, using all of
them has added to the beauty Nahjol Balaqeh.
The research questions
This study seeks an answer for the following questions:
How to prove that there is relevance and appropriateness between the phonetic level and the
concept of sermon?
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How to prove the proportion of the choice of words with meaning, the sound of the word and
structure?
How to prove that the level of syntax and sentence structure is consistent with the meaning
and content of the sermon?
Literature review
The prolific book of Nahjol Balaqeh from several perspectives has been explored and
considered that a large part of this analysis and studies aimed at understanding the ethical
implications, monotheistic and religious of Nahjol Balaqeh, which in this section we will
refer to some of them. In the literature of study it should be said that this prolific book in
various accounts such as "Description of Ibn Maitham Bahrani and the Ibn Ali Ibn Abi alHadid" has pointed incidentally and dispersedly to some of the aspects of stylistics and books
such as "Wonders of Nahjol Balaqeh" by George Jordaq, "An Inspection in the Nahjol
Balaqeh Beauty" by Morteza Ghaemi as well as dissertations such as "The Similes and
Metaphors in Nahjol Balaqeh" by Siavash Haqjoo, "The Music of Sermons of Nahjol
Balaqeh" by Mustafa Taati Ghafoor have pointed to stylistics aspects of this valuable book
which are related to this issue.
It should be noted that the division of analyzing the authors has from these works is in the
phonetic analysis it is not enough just to bring the beauty of words but the musical aspect
which are associated with meaning and feeling should be proved and evaluated to see whether
the use of these literary terms is dried and artificial or subtle. Or we have analyzed the
connection of choice of words with lexical and phonetic aspects of word, as well as the
appropriateness of the sentence structure with meaning and coherence or lack of structural
integrity.
Reviewing the methods of stylistics of Ashbah sermon
1. Phonetic level
The phonetic level can be said as the musical level of the text. Arab literature scholars
consider music as one of the elements in analyzing the poetry at structuralist critique and it
separates the poems musical elements from prose (Meftah, 1981). But that is correct to be
acknowledged; prosodic weight of poetry to be distinguishes from prose. As it is said in the
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definition of poetry, it is a word with rhyme and rhythm that is has a special meaning
implication (Qudaamah Ben, 1963) because the music is not just belongs to poetry.
1.1. The internal music
It is obvious that the scope of this kind of music is much wider than the weight and order. The
internal music can be found in various literary terms such as puns, rhymes, derivation,
alliteration and etc. This type of music, with repeated signs of phonetic-based language
companion, beauty and fitness creates a deviation, and brings pleasure for listener audience.
The application of this style of speech, at language context and modes of eloquence is
important.
At the following we are examining this kind of music in Ashbah sermon.
Versification
Versification is one of the nice and mellow tricks that as the common letters in versification
are more melodious it would add to beauty of rhyme. The following are examples of types of
versification in this sermon:
It should be noted that in this sermon, the aesthetic versification context has been achieved in
terms of rhythmic rhyme on the direction of symmetry and there's also rhymed words that
have caused in alienation and strangeness of speech. Therefore, they have added special and
prominent characteristics in the words of a sermon specially to the rhymed words which are
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often key words and meaning of the sermon revolves around these words, given that this
implies the proportion of the phonetic level, as one of the means of style.
Inlaying with gems (leonine verse)
In the phrase:
َ ‫ َﻭ ﺗَ ْﻌﻔُﻮ ْﺍﻻ َء ْﻣ‬،‫ﻴﺮ ِﺑﺬُﻳُﻮ ِﻟ َﻬﺎ‬
«‫ﺴﻴُﻮ ِﻟ َﻬﺎ‬
ُ ‫ﺎﺭ ِﺑ‬
ُ ‫ﻄ‬
ُ ‫ﺎﺻ‬
ِ ‫» َﻭ َﻣﺎ ﺗ َ ْﺴ ِﻔﻲ ْﺍﻻ َء َﻋ‬
The words ‫ ﺍﻷﻋﺎﺻﻴﺮ‬and ‫ ﺑﺬﻳﻮﻟﻬﺎ‬are equivalents in the next phrase ‫ ﺍﻷﻣﻄﺎﺭ‬and ‫ ﺳﻴﻮﻟﻬﺎ‬respectively
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have parallel rhyme.
Equipoise
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Utilization of this rhetorical figure, in addition to highlighting the beauty of speech also
emphasizes the meaning of the word because in this sermon, a second phrase which is equal
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to the first and somehow repeats the concept of first phrase. In the phrase:
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ْ ‫»ﺗَ َﻨﻔﱠ َﺴ‬
«‫ﺎﺭ‬
ْ ‫ﺿ ِﺤ ْﻜﺖَ َﻋ ْﻨﻪُ ﺍ َء‬
ُ َ ‫ﺻﺪ‬
َ ‫ﺖ َﻋ ْﻨﻪُ َﻣﻌَﺎ ِﺩﻥُ ْﺍﻟ ِﺠﺒَﺎ ِﻝ َﻭ‬
ِ ‫ﺍﻑ ْﺍﻟﺒِ َﺤ‬
Word of ‫ ﻣﻌﺎﺩﻥ‬and ‫ ﺍﻟﺠﺒﺎﻝ‬respectively is balance with their equivalents in the next sentence
‫ﺃﺻﺪﺍﻑ‬and‫ ﺍﻟﺒﺤﺎﺭ‬. Similarly in the phrase:
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‫َﻀ ُﻞ ِﻓﻲ ِﻫ َﻤ ِﻤ ِﻬ ْﻢ َﺧﺪَﺍ ِﺋ ُﻊ ﺍﻟ ﱠ‬
« ِ‫ﺸ َﻬ َﻮﺍﺕ‬
ِ ‫» َﻭ ﻻَ ﺗ َ ْﻌﺪ ُﻭ َﻋﻠَﻰ َﻋ ِﺰﻳ َﻤ ِﺔ ِﺟ ِﺪّ ِﻫ ْﻢ َﺑﻼَﺩَﺓ ُ ْﺍﻟﻐَﻔَﻼ‬
ِ ‫ﺕ َﻭ ﻻ ﺗَ ْﻨﺘ‬
The words of ‫ ﺑﻼﺩﺓ‬and ‫ ﺍﻟﻐﻔﻼﺕ‬with their equivalent in the next sentence, ‫ ﺧﺪﺍﺋﻊ‬and ‫ﺍﻟﺸﻬﻮﺍﺕ‬, has
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rhymed balanced.
Couplet
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Because of the multitude of this figure of speech in this sermon we refer to an example:
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:ُ‫ﺺ ِﺳ َﻮﺍﻩُ َﻭ ُﻛ ﱡﻞ َﻣﺎ ِﻧﻊٍ َﻣﺬْ ُﻣﻮ ٌﻡ ﻣﺎ َﺧﻼَﻩ‬
ٌ ‫» ُﻛ ﱡﻞ ُﻣ ْﻌﻂٍ ُﻣ ْﻨﺘَ ِﻘ‬
Between ‫ ﻣﻨﻘﺺ‬and ‫ ﻣﺬﻣﻮﻡ‬there is rhymed balance and between ‫ ﺳﻮﺍﻩ‬and ‫ ﺧﻼﻩ‬too, and the sum
of these two rhymes, there is couplet.
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‫‪Alliteration‬‬
‫‪In this sermon the sounds of letters and words in addition to adding to the musical aspect have‬‬
‫‪a natural relationship with concepts of sermon too. The following examples refer to it.‬‬
‫ﺍﻹ ْﻋ َ‬
‫ﺺ ِﺳ َﻮﺍﻩُ َﻭ ُﻛ ﱡﻞ َﻣﺎ ِﻧﻊٍ َﻣﺬْ ُﻣﻮ ٌﻡ ﻣﺎ َﺧﻼَﻩُ َﻭ ﻫ َُﻮ‬
‫ﻄﺎ ُء َﻭ ْﺍﻟ ُﺠﻮﺩُ ِﺇﺫْ ُﻛ ﱡﻞ ُﻣ ْﻌﻂٍ ُﻣ ْﻨﺘَ ِﻘ ٌ‬
‫ْﺍﻟ َﺤ ْﻤﺪ ُ ِ ﱠ�ِ ﺍﻟﱠﺬِﻱ ﻻَ َﻳ ِﻔ ُﺮﻩُ ْﺍﻟ َﻤ ْﻨ ُﻊ َﻭ ْﺍﻟ ُﺠ ُﻤﻮﺩ ُ َﻭ ﻻَ ﻳُ ْﻜﺪِﻳ ِﻪ ْ ِ‬
‫ﺴ ْ‬
‫ﺍﻑ‬
‫ﺿ ِﺤ ْﻜﺖَ َﻋ ْﻨﻪُ ﺍ َء ْ‬
‫ﺻﺪ َ ُ‬
‫ﺖ َﻋ ْﻨﻪُ َﻣﻌَﺎ ِﺩﻥُ ْﺍﻟ ِﺠﺒَﺎ ِﻝ َﻭ َ‬
‫ﺴ ِﻢ ِﻋﻴﺎﻟُﻪُ ْﺍﻟ َﺨﻼَﺋِ ُﻖ ﻟَ ْﻮ َﻭﻫ َ‬
‫َﺐ َﻣﺎ ﺗَﻨَﻔﱠ َ‬
‫ْﺍﻟ َﻤﻨﱠﺎﻥُ ﺑِﻔَ َﻮﺍﺋِ ِﺪ ﺍﻟ ِﻨّﻌَ ِﻢ َﻭ َﻋ َﻮﺍﺋِ ِﺪ ْﺍﻟ َﻤ ِﺰﻳ ِﺪ َﻭ ْﺍﻟ ِﻘ َ‬
‫ﺳﻌَﺔَ َﻣﺎ ِﻋ ْﻨﺪَﻩُ َﻭ ﻟَ َﻜﺎﻥَ ِﻋ ْﻨﺪَﻩُ‬
‫ﺎﻥ َﻣﺎ ﺍ َءﺛ ﱠ َﺮ ﺫَﻟِﻚَ ﻓِﻰ ُﺟﻮ ِﺩ ِﻩ َﻭ ﻻَ ﺍ َء ْﻧﻔَﺪَ َ‬
‫ﺎﺭﺓِ ﺍﻟﺪ ِ ّﱡﺭ َﻭ َﺣ ِ‬
‫ﺎﻥ َﻭ ﻧُﺜ َ َ‬
‫ْﺍﻟﺒِ َﺤ ِ‬
‫ﺼﻴ ِﺪ ْﺍﻟ َﻤ ْﺮ َﺟ ِ‬
‫ﺎﺭ‪ِ ،‬ﻣ ْﻦ ﻓِ ِﻠ ِ ّﺰ ﺍﻟﻠﱡ َﺠﻴ ِْﻦ َﻭ ْﺍﻟ ِﻌ ْﻘﻴَ ِ‬
‫ِﻣ ْﻦ ﺫَﺧَﺎﺋِ ِﺮ ْﺍﻻ َء ْﻧﻌَ ِﺎﻡ‪:‬‬
‫ﻉ" ‪ " means an indication of the forgiveness of God and therefore repeated the word‬ﻉ" ‪Word‬‬
‫‪" in the above passage revolves around the benevolence and generosity of God is appropriate.‬‬
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‫َﻭ ﱠ‬
‫ِﻲ ﺩُﺧ ٌ‬
‫َﺎﻥ‬
‫ﺍﺟ َﻬﺎ َﻭ ﺫَﻟﱠ َﻞ ِﻟ ْﻠ َﻬﺎﺑِ ِﻄﻴﻦَ ﺑِﺎ َء ْﻣ ِﺮ ِﻩ َﻭ ﺍﻟ ﱠ‬
‫ﺼﺎ ِﻋﺪِﻳﻦَ ﺑِﺎ َء ْﻋ َﻤﺎ ِﻝ ﺧ َْﻠ ِﻘ ِﻪ ُﺣ ُﺰﻭﻧَﺔَ ِﻣ ْﻌ َﺮ ِ‬
‫ﺷ َﺞ ﺑَ ْﻴﻨَ َﻬﺎ َﻭ َﺑﻴْﻦَ ﺍ َء ْﺯ َﻭ ِ‬
‫ﺍﺟ َﻬﺎ َﻭ ﻧﺎﺩﺍﻫﺎ ﺑَ ْﻌﺪَ ﺇِﺫْ ﻫ َ‬
‫ﺻﺪﺍ ِﻣﻦَ ﺍﻟ ﱡ‬
‫ﻓَ ْﺎﻟﺘ َ َﺤ َﻤ ْ‬
‫ﺐ َﻋﻠَﻰ ﻧِﻘَﺎﺑِ َﻬﺎ َﻭ ﺍ َء ْﻣ َﺴ َﻜ َﻬﺎ‬
‫ﺍﺟ َﻬﺎ َﻭ ﻓَﺘَﻖَ ﺑَ ْﻌﺪَ ِ‬
‫ﺐ ﺍﻟﺜﱠ َﻮﺍﻗِ ِ‬
‫ﺸ ُﻬ ِ‬
‫ﺎﻡ َﺭ َ‬
‫ﻕ َ‬
‫ﺖ ﻋ َُﺮﻯ ﺍ َء ْﺷ َﺮ ِ‬
‫ﺍﻻ ْﺭ ِﺗﺘ َﺎ ِ‬
‫ﺻ َﻮ ِﺍﻣﺖَ ﺍ َءﺑ َْﻮﺍ ِﺑ َﻬﺎ َﻭ ﺍ َءﻗَ َ‬
‫ﺎﺭﻫﺎ َﻭ ﻗَ َﻤ َﺮﻫَﺎ ﺁﻳَﺔً‬
‫ﻕ ْﺍﻟ َﻬ َﻮ ِ‬
‫ﺴ َﻬﺎ ﺁﻳَﺔً ُﻣﺒ ِ‬
‫ﻒ ُﻣ ْﺴﺘ َ ْﺴ ِﻠ َﻤﺔً ِﻻ َء ْﻣ ِﺮ ِﻩ َﻭ َﺟﻌَ َﻞ ﺷ َْﻤ َ‬
‫ِﻣ ْﻦ ﺍ َء ْﻥ ﺗ ُ ُﻤ َ‬
‫ﺍء ﺑِﺎ َء ْﻳ ِﺪ ِﻩ َﻭ ﺍ َء ْﻣ َﺮﻫَﺎ ﺍ َء ْﻥ ﺗَ ِﻘ َ‬
‫ْﺼ َﺮﺓ ً ِﻟﻨَ َﻬ ِ‬
‫ﻮﺭ ﻓِﻲ ﺧ َْﺮ ِ‬
‫ﺎﺭ ِﺑ ِﻬ َﻤﺎ َﻭ ِﻟﻴُ ْﻌﻠَ َﻢ‬
‫َﻣ ْﻤ ُﺤ ﱠﻮﺓ ً ِﻣ ْﻦ ﻟَ ْﻴ ِﻠ َﻬﺎ َﻭ ﺍ َءﺟْ َﺮﺍ ُﻫ َﻤﺎ ﻓِﻲ َﻣﻨَﺎﻗِ ِﻞ َﻣﺠْ َﺮﺍ ُﻫ َﻤﺎ َﻭ ﻗَﺪ َﱠﺭ ﻣ ِﺴﻴ َْﺮ ُﻫ َﻤﺎ ﻓِﻲ َﻣﺪَ ِﺍﺭﺝِ ﺩَ َﺭ ِﺟ ِﻬ َﻤﺎ ِﻟﻴُ َﻤ ِﻴّﺰَ َﺑﻴْﻦَ ﺍﻟﻠﱠ ْﻴ ِﻞ َﻭ ﺍﻟﻨﱠ َﻬ ِ‬
‫ِﻳﺮ ِﻫ َﻤﺎ‪.‬‬
‫َﻋﺪَﺩُ ﺍﻟ ِ ّ‬
‫ﺴﻨِﻴﻦَ َﻭ ْﺍﻟ ِﺤ َ‬
‫ﺴﺎﺏُ ِﺑ َﻤﻘَﺎﺩ ِ‬
‫ﺛ ُ ﱠﻢ َﻋﻠﱠﻖَ ﻓِﻲ َﺟ ّ ِﻮﻫَﺎ ﻓَ َﻠ َﻜ َﻬﺎ َﻭ ﻧَﺎ َ‬
‫ﺐ ُ‬
‫ﺷ ُﻬﺒِ َﻬﺎ َﻭ‬
‫ﻁ ﺑِ َﻬﺎ ِﺯﻳﻨَﺘَ َﻬﺎ ِﻣ ْﻦ َﺧ ِﻔﻴﱠﺎ ِ‬
‫ﺼﺎﺑِﻴﺢِ ﻛ ََﻮﺍ ِﻛ ِﺒ َﻬﺎ َﻭ َﺭ َﻣﻰ ُﻣ ْﺴﺘ َِﺮﻗِﻲ ﺍﻟﺴ ْﱠﻤﻊِ ﺑِﺜ َ َﻮﺍﻗِ ِ‬
‫ﺕ ﺩَ َﺭ ِﺍﺭﻳِّ َﻬﺎ َﻭ َﻣ َ‬
‫ﺳﻌُﻮ ِﺩﻫَﺎ‪:‬‬
‫ﻴﺮﻫَﺎ ِﻣ ْﻦ ﺛَﺒَﺎ ِ‬
‫ﺻﻌُﻮ ِﺩﻫَﺎ َﻭ ﻧُ ُﺤﻮ ِﺳ َﻬﺎ َﻭ ُ‬
‫ﺳﺎﺋِ ِﺮﻫَﺎ َﻭ ُﻫﺒ ِ‬
‫ُﻮﻁ َﻬﺎ َﻭ ُ‬
‫ِﻴﺮ َ‬
‫ﺕ ﺛَﺎ ِﺑﺘِ َﻬﺎ َﻭ َﻣﺴ ِ‬
‫ﺍ َءﺟْ َﺮﺍﻫَﺎ َﻋﻠَﻰ ﺍ َءﺫْﻻَ ِﻝ ﺗَﺴ ِْﺨ ِ‬
‫‪ " in the above statements suggest calming environment that is‬ﺱ" ‪Repetition of the word‬‬
‫‪6T‬‬
‫‪6T‬‬
‫‪consistent with the concept of God because of the creation of the heavens and the elements‬‬
‫‪they brought to mankind.‬‬
‫ﱠﺎﺭ ِﻩ َﻭ‬
‫ﺳ َﻜﻨَ ِ‬
‫ﺻﺒَ َﺢ ﺑَ ْﻌﺪَ ﺍ ْ‬
‫ﻓَﺎ َء ْ‬
‫ﺖ ْﺍﻻ َء ْﺭ ُ‬
‫ﺻ ِﻄﺨَﺎ ِ‬
‫ﺎﺟﻴﺎ َﻣ ْﻘ ُﻬﻮﺭﺍ‪َ ،‬ﻭ ﻓِﻲ َﺣ َﻜ َﻤ ِﺔ ﺍﻟﺬﱡ ِّﻝ ُﻣﻨﻘﺎﺩﺍ ﺍ َء ِﺳﻴﺮﺍ‪َ .‬ﻭ َ‬
‫ﺍﺟ ِﻪ َ‬
‫ﺳ ِ‬
‫ﺏ ﺍ َء ْﻣ َﻮ ِ‬
‫ﺽ َﻣﺪْ ُﺣ ﱠﻮﺓً ﻓِﻲ ﻟُ ﱠﺠ ِﺔ ﺗَﻴ ِ‬
‫ﻏ َﻠ َﻮﺍﺋِ ِﻪ َﻭ َﻛ َﻌ َﻤﺘْﻪُ َﻋﻠﻰ ِﻛ ﱠ‬
‫ﺳ ُﻤ ّ ِﻮ ُ‬
‫ﱠﺕ ِﻣ ْﻦ ﻧ َْﺨ َﻮ ِﺓ ﺑَﺄ ْ ِﻭ ِﻩ َﻭ ﺍ ْﻋﺘِﻼَﺋِ ِﻪ‪َ ،‬ﻭ ُ‬
‫َﺭﺩ ْ‬
‫ﺎﻥ َﻭ‬
‫ﺷ ُﻤﻮﺥِ ﺍ َء ْﻧ ِﻔ ِﻪ َﻭ ُ‬
‫ﻈ ِﺔ َﺟ ْﺮﻳَﺘِ ِﻪ‪َ ،‬ﻓ َﻬ َﻤﺪَ ﺑَ ْﻌﺪَ ﻧَﺰَ َﻗﺎﺗِ ِﻪ‪َ ،‬ﻭ َﻟﺒَﺪَ ﺑَ ْﻌﺪَ ﺯَ َﻳ َﻔ ِ‬
‫ﺖ ﺍ َء ْﻛﻨَﺎﻓِ َﻬﺎ‪َ ،‬ﻭ َﺣ َﻤ َﻞ ﺷ ََﻮﺍﻫِﻖَ ْﺍﻟ ِﺠﺒَﺎ ِﻝ ﺍﻟ ﱡ‬
‫ُﻮﻥ ِﻣ ْﻦ‬
‫ﺎء ِﻣ ْﻦ ﺗَﺤْ ِ‬
‫ﺳ َﻜﻦَ َﻫ ْﻴ ُﺞ ْﺍﻟ َﻤ ِ‬
‫ﺛَﺒَﺎﺗِﻪ‪ .‬ﻓَﻠَ ﱠﻤﺎ َ‬
‫ﺸ ﱠﻤﺦِ ْﺍﻟﺒُﺬﱠﺥِ َﻋﻠﻰ ﺍ َء ْﻛﺘ َﺎﻓِﻬﺎ‪،‬ﻓَ ﱠﺠ َﺮ ﻳَﻨَﺎ ِﺑﻴ َﻊ ْﺍﻟﻌُﻴ ِ‬
‫ﺐ ﺍﻟ ﱡ‬
‫ﺕ ﺍﻟ ﱠ‬
‫ﺸ ِ ّﻢ‬
‫ﺕ ِﻣ ْﻦ َﺟﻼَ ِﻣﻴﺪِﻫﺎ‪َ ،‬ﻭ ﺫَﻭﺍ ِ‬
‫ﺎﻟﺮﺍ ِﺳﻴﺎ ِ‬
‫ﺸﻨ ِ‬
‫ﻴﻦ ﺍ ُءﻧُﻮﻓِﻬﺎ‪َ ،‬ﻭ ﻓَ ﱠﺮﻗَ َﻬﺎ ﻓِﻲ ُ‬
‫ﺏ ِﺑﻴﺪِﻫﺎ َﻭ ﺍ َءﺧَﺎﺩِﻳﺪِﻫﺎ‪َ ،‬ﻭ َﻋﺪﱠ َﻝ َﺣ َﺮﻛﺎﺗِﻬﺎ ِﺑ ﱠ‬
‫َﺎﺧﻴ ِ‬
‫ﺳ ُﻬﻮ ِ‬
‫َﻋﺮﺍﻧِ ِ‬
‫ﺎﺧﻴﺪِﻫﺎ‪:‬‬
‫ﺻ َﻴ ِ‬
‫ِﻣ ْﻦ َ‬
‫‪ implies the wrath that the use of this word with the meaning of‬ﺡ ‪ and‬ﺥ ‪Repetition of letters‬‬
‫‪these phrase that is appropriate to anger and roaring waves of the sea.‬‬
‫‪6T‬‬
‫‪6T‬‬
‫ﺍﺣ َﻬﺎ‪َ ،‬ﻭ َﺧﻠَﻖَ ْﺍﻵ َﺟﺎ َﻝ ﻓَﺎ َء َ‬
‫ﺴﻼَ َﻣﺘِ َﻬﺎ َ‬
‫ﺍﺣ َﻬﺎ ُ‬
‫ﻁﺎﻟَ َﻬﺎ َﻭ‬
‫ﺺ ﺍ َءﺗْ َﺮ ِ‬
‫ﺝ ﺍ َء ْﻓ َﺮ ِ‬
‫ﺴﻌَﺘِ َﻬﺎ َﻋﻘَﺎﺑِﻴ َﻞ ﻓَﺎﻗَﺘِ َﻬﺎ‪َ ،‬ﻭ ِﺑ َ‬
‫ﻗَ َﺮﻥَ ﺑِ َ‬
‫ﺼ َ‬
‫ﻏ َ‬
‫ﻁ َﻮ ِﺍﺭﻕَ ﺁﻓَﺎﺗِ َﻬﺎ‪َ ،‬ﻭﺑِﻔُ َﺮ ِ‬
‫ﺕ ﺍ َء ْﺳﺒَﺎ َﺑ َﻬﺎ‪ ،‬ﺧَﺎ ِﻟﺠﺎ ِﻻ َء ْﺷ َ‬
‫ﺎﻁﻌﺎ ِﻟ َﻤ َﺮﺍﺋِ ِﺮ ﺍ َء ْﻗ َﺮﺍﻧِ َﻬﺎ‪:‬‬
‫ﺻ َﻞ ِﺑ ْﺎﻟ َﻤ ْﻮ ِ‬
‫ﻄﺎﻧِ َﻬﺎ‪َ ،‬ﻭ ﻗَ ِ‬
‫ﻗَ ﱠ‬
‫ﺼ َﺮﻫَﺎ‪َ ،‬ﻭﻗَﺪﱠ َﻣ َﻬﺎ َﻭ ﺍ َء ﱠﺧ َﺮﻫَﺎ‪َ ،‬ﻭ َﻭ َ‬
‫‪ in a voice it implies the psychological anxiety‬ﻩ ‪Despite the frequency and vibrating of letter‬‬
‫‪ shows inflamed and disquieting atmosphere that is tested‬ﻩ ‪(Abbas, 1998). Repetition of letter‬‬
‫‪against human states.‬‬
‫‪572‬‬
Paregmenon
In this sermon with the cognate words it is added to the verbal beauty, in the following
examples we are referring to.
.‫ﺍﻟﻤﺘﺒﻮﻋﻴﻦ‬and ‫ ﺍﻟﺘﺎﺑﻌﻴﻦ‬between : َ‫َﻳ ْﺴ َﻤ ْﻊ ﺗَ َﺒ ﱡﺮ َﺅ ﺍﻟﺘﱠﺎ ِﺑﻌِﻴﻦَ ِﻣﻦَ ْﺍﻟ َﻤﺘْﺒُﻮﻋِﻴﻦ‬
.‫ ﺣﻠﻴﺔ‬and ‫ ﻧﺤﻠﻮک‬between : َ‫ﻧَ َﺤﻠُﻮﻙَ ِﺣ ْﻠﻴَﺔَ ْﺍﻟ َﻤ ْﺨﻠُﻮﻗِﻴﻦ‬
.‫ ﺍﻟﻤﻤﺎﺩﺡ‬and ‫ ﺍﻟﻤﺤﺎﻣﺪ‬between : َ‫ﺎﻣ ِﺪ َﻭ ْﺍﻟ َﻤ َﻤﺎﺩِﺡِ َﻏﻴ َْﺮﻙ‬
ِ ‫ﻟَ ْﻢ ﻳَ َﺮ ُﻣ ْﺴﺘ َِﺤﻘّﺎ ِﻟ َﻬ ِﺬ ِﻩ ْﺍﻟ َﻤ َﺤ‬
Linear pun
16T
In the example:
16T
‫ َﻭ َﺣ َﻤ َﻞ ﺷ ََﻮﺍﻫِﻖَ ْﺍﻟ ِﺠﺒَﺎ ِﻝ ﺍﻟ ﱡ‬،‫ﺖ ﺍ َء ْﻛﻨَﺎﻓِ َﻬﺎ‬
«‫ﺸ ﱠﻤﺦِ ْﺍﻟﺒُﺬﱠﺥِ َﻋﻠﻰ ﺍ َء ْﻛﺘ َﺎﻓِﻬﺎ‬
ِ ْ‫ﺎء ِﻣ ْﻦ ﺗَﺤ‬
ِ ‫ﺳ َﻜﻦَ َﻫ ْﻴ ُﺞ ْﺍﻟ َﻤ‬
َ ‫»ﻓَ َﻠ ﱠﻤﺎ‬
Linear pun is between “‫ " ﺍﮐﻨﺎﻓﻬﺎ‬and "‫ " ﺍﮐﺘﺎﻓﻬﺎ‬as we already know all the puns are not beautiful,
but the pun between these two words is great, because in addition to being resonate, it is not
arid but used in the service of the meaning of the phrases.
1.2. Spiritual music
16T
Spiritual music is the set of symmetries, comparisons and contrasts, which is located in the
area of semantic and conceptual issues and all the underlying relationships of the components
of a literary text; creates the spiritual music of that work and many spiritual imageries like
ambiguity, taxis, contrasts, allusions, synesthesia and etc. are in this area of music (Mohseni,
2004). The following are some examples of spiritual music at the Ashbah sermon:
Contradiction
16T
In this sermon, there is a contradiction between words as mentioned below. However as the
used contractions in this sermon were not used for delivering a message and do not have an
artificial state, but because of evoking meaning in the mind of the reader and arousing
emotions, they have been delivered in different states. Therefore, using these figures has
6T
6T
added to the beauty of the sermon.
Affirmative contrast:
16T
6T1
6T1
«‫ ﺍﻷﻳﺎﻡ‬،‫ »ﺍﻟﻠﻴﺎﻟﻲ‬between :‫ﻋﻘَﺐُ ﺍﻟﻠﱠﻴَﺎ ِﻟﻲ َﻭ ْﺍﻻ َءﻳ ِﱠﺎﻡ‬
ُ ‫ﺗ َْﺮﺗ َِﺤ ْﻠ ُﻬ ْﻢ‬
«‫ ﻣﻘﻬﻮﺭﺍ‬،‫ﺎﺟﻴﺎ‬
ْ ‫ﺻ َﺒ َﺢ َﺑ ْﻌﺪَ ﺍ‬
ْ ‫ﻓَﺎ َء‬
ِ ‫ﺻ ِﻄﺨَﺎ‬
َ ‫ﺍﺟ ِﻪ‬
ِ ‫ » َﺳ‬between :‫ﺎﺟﻴﺎ َﻣ ْﻘ ُﻬﻮﺭﺍ‬
ِ ‫ﺳ‬
ِ ‫ﺏ ﺍ َء ْﻣ َﻮ‬
573
‫ﺏ ﺗُﺤْ ِﻴﻲ َﻣ َﻮﺍﺗ َﻬﺎ‪» between :‬ﺗُﺤْ ﻴِﻲ‪َ ،‬ﻣ َﻮﺍﺗ َﻬﺎ«‬
‫ﺳﺤﺎ ٍ‬
‫َﺣﺘﱠﻰ ﺍ َء ْﻧﺸَﺎ َء ﻟَﻬﺎ ﻧَﺎ ِﺷﺌَﺔَ َ‬
‫ﻗَﺪ َﱠﺭ ْﺍﻻ َء ْﺭﺯَ ﺍﻕَ ﻓَ َﻜﺜﱠ َﺮﻫَﺎ َﻭ ﻗَﻠﱠﻠَ َﻬﺎ‪َ »between :‬ﻛﺜﱠ َﺮﻫَﺎ‪،‬ﻗَﻠﱠﻠَ َﻬﺎ«‬
‫ﺴﻌَ ِﺔ‪» between :‬ﺍﻟﻀﻴﻖ‪ ،‬ﺍﻟﺴﻌﺔ«‬
‫ﺴ َﻤ َﻬﺎ َﻋﻠَﻰ ﺍﻟ ِ ّ‬
‫ﻖ َﻭﺍﻟ ﱠ‬
‫ﻗَ ﱠ‬
‫ﻀﻴ ِ‬
‫‪Negative contrast:‬‬
‫‪16T‬‬
‫ﻀﻰ ِﻣ ْﻦ ﺍ َء ْﻋ َﻤﺎ ِﻟ ِﻬ ْﻢ‪َ ،‬ﻭ ﻟَ ِﻮ ﺍ ْﺳﺘ َ ْﻌ َ‬
‫ﺕ َﻭ َﺟ ِﻠ ِﻬ ْﻢ َﻭ ﻟَ ْﻢ َﻳ ْﺨﺘَ ِﻠﻔُﻮﺍ ﻓِﻲ َﺭﺑِّ ِﻬ ْﻢ ﺑِﺎ ْﺳﺘِﺤْ ﻮﺍ ِﺫ‬
‫ﺍﻟﺮ َﺟﺎ ُء ِﻣ ْﻨ ُﻬ ْﻢ َ‬
‫ﺷ َﻔﻘَﺎ ِ‬
‫ﺴ َﺦ ﱠ‬
‫ﻟَ ْﻢ ﻳَ ْﺴﺘ َ ْﻌ ِﻈ ُﻤﻮﺍ َﻣﺎ َﻣ َ‬
‫ﻈ ُﻤﻮﺍ ﺫَﻟِﻚَ ﻟَﻨَ َ‬
‫ﺎﻥ َﻋﻠَ ْﻴ ِﻬ ْﻢ‪» between :‬ﻟَ ْﻢ َﻳ ْﺴﺘ َ ْﻌ ِﻈ ُﻤﻮﺍ‪ ،‬ﺍ ْﺳﺘ َ ْﻌ َ‬
‫ﺸ ْﻴ َ‬
‫ﺍﻟ ﱠ‬
‫ﻈ ُﻤﻮﺍ«‬
‫ﻄ ِ‬
‫‪Parallelism‬‬
‫‪6T1‬‬
‫‪16T‬‬
‫‪It is according to new linguistic among the coherence in terms of the wording. In parts of the‬‬
‫‪sermon there are words that have together coherence of meanings in this sermon. Of course,‬‬
‫‪6T‬‬
‫‪6T‬‬
‫‪in addition to the sense of proportion of meaning, beauty is also being referred. Look at the‬‬
‫‪6T‬‬
‫‪6T‬‬
‫‪following examples.‬‬
‫َﻋ ﱠﻠﻖَ ِﻓﻲ َﺟ ّ ِﻮﻫَﺎ ﻓَﻠَ َﻜ َﻬﺎ َﻭ ﻧَﺎ َ‬
‫ﺐ ُ‬
‫ﺎﻡ‬
‫ﻁ ِﺑ َﻬﺎ ِﺯﻳﻨَﺘَ َﻬﺎ ِﻣ ْﻦ َﺧ ِﻔﻴﱠﺎ ِ‬
‫ﺼﺎ ِﺑﻴﺢِ ﻛ ََﻮﺍ ِﻛ ِﺒ َﻬﺎ َﻭ َﺭ َﻣﻰ ُﻣ ْﺴﺘ َِﺮ ِﻗﻲ ﺍﻟﺴ ْﱠﻤﻊِ ِﺑﺜ َ َﻮﺍ ِﻗ ِ‬
‫ﺕ ﺩَ َﺭ ِﺍﺭ ِﻳّ َﻬﺎ َﻭ َﻣ َ‬
‫ﺷ ُﻬ ِﺒ َﻬﺎﺍ َءﻗَ َ‬
‫ﺻﺪﺍ ِﻣﻦَ ﺍﻟ ﱡ‬
‫ﺎﺭﻫﺎ َﻭ ﻗَ َﻤ َﺮﻫَﺎ ﺁﻳَﺔً َﻣ ْﻤ ُﺤ ﱠﻮﺓ ً ِﻣ ْﻦ ﻟَ ْﻴ ِﻠ َﻬﺎ َﻭ ﺍ َءﺟْ َﺮﺍ ُﻫ َﻤﺎ ﻓِﻲ َﻣﻨَﺎﻗِ ِﻞ َﻣﺠْ َﺮﺍ ُﻫ َﻤﺎ َﻭ‬
‫ﺐ ﺍﻟﺜ ﱠ َﻮﺍﻗِﺒِ َﺠﻌَ َﻞ َ‬
‫ﺸ ُﻬ ِ‬
‫ﺴ َﻬﺎ ﺁﻳَﺔً ُﻣﺒ ِ‬
‫ﺷ ْﻤ َ‬
‫َﺭ َ‬
‫ْﺼ َﺮﺓً ِﻟﻨَ َﻬ ِ‬
‫ِﻳﺮ ِﻫ َﻤﺎ‪ .‬ﺛ ُ ﱠﻢ َﻋﻠﱠﻖَ ِﻓﻲ َﺟ ّ ِﻮﻫَﺎ‬
‫ﺎﺭ ِﺑ ِﻬ َﻤﺎ َﻭ ِﻟﻴُ ْﻌﻠَ َﻢ َﻋﺪَﺩ ُ ﺍﻟ ِ ّ‬
‫ﺴ ِﻨﻴﻦَ َﻭ ْﺍﻟ ِﺤ َ‬
‫ﺴﺎﺏُ ِﺑ َﻤﻘَﺎﺩ ِ‬
‫ﻗَﺪ َﱠﺭ ﻣ ِﺴﻴ َْﺮ ُﻫ َﻤﺎ ِﻓﻲ َﻣﺪَ ِﺍﺭﺝِ ﺩَ َﺭ ِﺟ ِﻬ َﻤﺎ ِﻟﻴُ َﻤ ِّﻴﺰَ َﺑﻴْﻦَ ﺍﻟﻠﱠ ْﻴ ِﻞ َﻭ ﺍﻟﻨﱠ َﻬ ِ‬
‫ﻓَﻠَ َﻜ َﻬﺎ َﻭ ﻧَﺎ َ‬
‫ﺐ ُ‬
‫ﺷ ُﻬ ِﺒ َﻬﺎ‪:‬‬
‫ﻁ ِﺑ َﻬﺎ ِﺯﻳ َﻨﺘ َ َﻬﺎ ِﻣ ْﻦ َﺧ ِﻔﻴﱠﺎ ِ‬
‫ﺼﺎﺑِﻴﺢِ ﻛ ََﻮﺍ ِﻛﺒِ َﻬﺎ َﻭ َﺭ َﻣﻰ ُﻣ ْﺴﺘ َِﺮﻗِﻲ ﺍﻟ ﱠ‬
‫ﺴ ْﻤﻊِ ﺑِﺜَ َﻮﺍﻗِ ِ‬
‫ﺕ ﺩَ َﺭ ِﺍﺭﻳِّ َﻬﺎ َﻭ َﻣ َ‬
‫‪Sun, moon, meteors and stars are all elements of sky. This paragraph is in praise of God in the‬‬
‫‪creation of the heavens and the earth. And that these elements are as evidence of the existence‬‬
‫‪of God and this fact suggests that the parallelism that exists between the words has been‬‬
‫‪delivered to beauty because it is not used as a statement.‬‬
‫‪Cacophony‬‬
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‫‪In the phrase:‬‬
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‫ﺷ ْﻲ ٌء ﺑَ ْﻌﺪَﻩُ«‬
‫ﺷ ْﻲ ٌء ﻗَ ْﺒﻠَﻪُ َﻭ ْﺍﻵ ِﺧ ُﺮ ﺍﻟﱠﺬِﻱ ﻟَ ْﻢ ﻳَ ُﻜ ْﻦ ﻟَﻪُ ﺑَ ْﻌﺪ ٌ ﻓَﻴَ ُﻜﻮﻥَ َ‬
‫» ْﺍﻻ َء ﱠﻭ ُﻝ ﺍﻟﱠﺬِﻱ ﻟَ ْﻢ ﻳَ ُﻜ ْﻦ ﻟَﻪُ ﻗَ ْﺒ ٌﻞ ﻓَﻴَ ُﻜﻮﻥَ َ‬
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‫‪ are contrast.‬ﺑﻌﺪﻩ ‪ with‬ﻗﺒﻠﻪ ‪ and word of‬ﺍﻵﺧﺮ ‪ with its equivalent‬ﺍﻷﻭﻝ ‪The word‬‬
‫‪574‬‬
2. Lexical level
First, it must be admitted that the importance of choosing words to convey and deliver the
message to the audience is so that the selection method of putting words and terms together,
has no effect on the semantic structure; but the effect is applied directly in the structure of
message and leads orientation toward the message itself. The sound words, the structure of
words and mental concepts of scholar influence the choice of words (Perrin, 1994).
In this sermon, the following factors have influenced the choice of words, such as:
1 – Phonetic aspect, it is important in the choice of words, for example a pun which addressed
at the phonetic level has an impact in the choice of words.
2 – Another element in the choice of words in this sermon is the structure of words. Namely,
the choice of words in this sermon are as if when words are combined in such a way that the
description meaning induce God.
3 – Mental concepts of Imam Ali (peace on him), who praise God and satirizes those who
likened God to idols is effective in the choice of words because it has caused to present such
concepts with the integration of words.
2.1. Resolution and strangeness and complexity
In this sermon, Imam Ali (peace on him) in his expression has utilized a smooth and graceful
language, and has chosen his words carefully, he has selected terms and words that can offer
their meaning to audience efficiently.
2.2. Defamiliarization
It is said “literary work is a substantial through which such words come together that are
unrelated from each other in normal use" (Hemase Abdul Latif, 1990: Epic) Therefore Imam
has moved beyond the famous rules of language and has created new combinations in order to
express his imaginations, emotions and concerns which are monotheistic. That is why in the
rhetorical tradition it is called metonymy, because it puts the feet from present reality beyond
the domain of language.
575
Simile
One of the most used aesthetic issues is simile that is used in order to ease the understanding
of the meaning of sentences.
Eloquent simile:
‫ﻓﻬﻲ ﮐﺮﺍﻳﺎﺕ ﺑﻴﺾ ﻗﺪ ﻧﻔﺬﺕ ﻓﻲ ﻣﺨﺎﺭﻕ ﺍﻟﻬﻮﺍء ﻭ ﺗﺤﺘﻬﺎ ﺭﻳﺢ ﻫﻔﺎﻓﺔ ﺗﺤﺒﺴﻬﺎ‬
Here is Angel’s simile as the imperceptible elements to the white flags and soft winds as
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tangible elements.
Other similes:
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:‫ﺗﺮﻏﻮ ﺯﺑﺪﺍً ﮐﺎﻟﻔﺤﻮﻝ ﻫﻴﺎﺟﻬﺎ‬
The simile of waves of the sea to drunk male camel’s simile, shouting and foaming on the lips
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of moving every way.
Metaphor
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Metaphor is as one of the aesthetics effects, play an essential role in the understanding the
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concept of this sermon.
Implied metaphor:
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:‫»ﺿﺤﮑﺖ ﺃﺻﺪﺍﻑ ﺍﻟﺒﺤﺎﺭ‬
The simile of shells open lips to men who laugh.
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:‫»ﻧﺎﻁ ﺑﻬﺎ ﺯﻳﻨﺘﻬﺎ ﻣﻦ ﺧﻔﻴﺎﺕ ﺩﺭﺍﺭﻳﻬﺎ ﻭ ﻣﺼﺎﺑﻴﺢ ﮐﻮﺍﮐﺒﻬﺎ‬
The simile of luminous and radiant stars in the firmament to beautiful women who adorn
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themselves.
:‫»ﻭﺻﻠﺖ ﺣﻘﺎﺋﻖ ﺍﻹﻳﻤﺎﻥ ﺑﻴﻨﻬﻢ ﻭ ﺑﻴﻦ ﻣﻌﺮﻓﺘﻪ‬
The simile of the facts of the faith to tight strings that have created the necessary link. And…
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Stipulated metaphor:
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:‫»ﻟﻢ ﺗﺠﺎﻭﺯ ﺭﻏﺒﺎﺗﻬﻢ ﻣﺎ ﻋﻨﺪﻩ ﺇﻟﯽ ﻣﺎ ﻋﻨﺪ ﻏﻴﺮﻩ‬
Human interests to his beloved are like the interest of angels to God.
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The use of metonymy
Metonymy is one of the pillars of aesthetic that below are examples of legitimate metonymies
in the Ashbah sermon:
:ِ‫ﺍء ِﺑﺎ َء ْﻳ ِﺪ ِﻩ« ِﺑﺎ َء ْﻳ ِﺪﻩ‬
ِ ‫ﻕ ْﺍﻟ َﻬ َﻮ‬
َ ‫»ﺍ َء ْﻣ َﺴ َﻜ َﻬﺎ ِﻣ ْﻦ ﺍ َء ْﻥ ﺗ ُ ُﻤ‬
ِ ‫ﻮﺭ ِﻓﻲ ﺧ َْﺮ‬
Metonymy, it is mentioned cause, it implies the convict, it means power.
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:«‫ﺐ‬
ُ ‫ﻻَ ﺗ ََﻮﻻ ُﻫ ْﻢ ِﻏ ﱡﻞ ﺍﻟﺘ ﱠ َﺤﺎ‬
ِّ ‫ﻑ‬
ُ ‫ﺎﺭ‬
ِ َ‫ﺍﻟﺮﻳ‬
َ ‫ﺳ ِﺪ َﻭ ﻻَ ﺗ َ َﺸﻌﱠﺒَﺘْ ُﻬ ْﻢ َﻣ‬
ِ ‫ﺼ‬
‫ ﻫﻢ‬the ‫ ﺗﻮﻻﻫﻢ‬: metonymy, it is mentioned entire, it implies the component.
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ْ ‫ َﻭ ﻻَ ﺗ ََﺮﻛ‬،‫ﻒ ِﻣ ْﻨ ُﻬ ْﻢ‬
:«‫ﺴﻨَﺎﺗِ ِﻬ ْﻢ‬
َ ‫َﺼﻴﺒﺎ ﻓِﻲ ﺗ َ ْﻌ ِﻈ ِﻴﻢ َﺣ‬
ِ ‫َﺖ ﻟَ ُﻬ ُﻢ ﺍ ْﺳ ِﺘﻜَﺎﻧَﺔُ ْﺍﻹ ﺟْ ﻼَ ِﻝ ﻧ‬
َ ‫ﺍﻹﻋْﺠﺎﺏُ ﻓَﻴَ ْﺴﺘَ ْﻜﺜِ ُﺮﻭﺍ ﻣﺎ‬
َ َ‫ﺳﻠ‬
ِ ْ ‫» َﻟ ْﻢ ﻳَﺘ ََﻮﻟﱠ ُﻬ ُﻢ‬
‫ ﻫﻢ‬the ‫ ﻳﺘﻮﻟﻬﻢ‬: metonymy, it is mentioned entire but it implies the component, it means the
heart.
Use of irony
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Irony is as one of the elements of imagery and aesthetics issues that is mentioned below
examples of emblematic images in this sermon.
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:‫ﻴﻦ ﺍ ُءﻧُﻮﻓِﻬﺎ‬
ِ ِ‫ َﻋﺮﺍﻧ‬:‫ﻴﻦ ﺍ ُءﻧُﻮ ِﻓﻬﺎ‬
ِ ِ‫ُﻮﻥ ِﻣ ْﻦ َﻋﺮﺍﻧ‬
ِ ‫» َﻳﻨَﺎ ِﺑﻴ َﻊ ْﺍﻟﻌُﻴ‬
The irony of the mountains.
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:‫ﺽ‬
ِ ‫ ﻧَﺒﺎ‬:‫ﺍﻟﺮ َﻣﺎ ِﻝ‬
ِ ‫» َﻋ ْﻮ ِﻡ ﻧَﺒﺎ‬
ّ ِ ‫ﺎﻥ‬
ِ ‫ﺕ ْﺍﻻ َء ْﺭ‬
ِ ‫ﺕ ْﺍﻻ َء ْﺭ‬
ِ َ‫ﺽ ﻓِﻲ ُﻛﺜْﺒ‬
The irony of plants.
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:‫ ﺫﺍﺍﻟﻌﺮﺵ‬:‫ﻴﺮﺓً ِﻟﻴَ ْﻮ ِﻡ ﻓَﺎﻗَﺘِ ِﻬ ْﻢ‬
َ ‫ﻗَ ِﺪ ﺍﺗ ﱠ َﺨﺬُﻭﺍ ﺫَﺍ ْﺍﻟﻌَ ْﺮ ِﺵ ﺫَ ِﺧ‬
The irony of God.
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2.3. Appropriateness of words and meanings
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From Shams Qais Razi's view, the choice of the appropriate term to imply each meaning are
provisions of both in terms of the poet and the most important provisions of the interlocutors.
And for each meaning, there are words that scholar chooses words, which due to the structure
of the sentence is acceptable. Scholar and orator, in addition to the need to adopt the intended
meaning of words, must also choose words that are suitable to the audience's understanding
(Excellences element, 1979). Problem with this sermon that can be understood is selection of
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words according to the context.
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Use of synonyms
For example, in phrases:
ُ ّ‫َﺎﺭ ِﻟﻠﺴﱠﺎ ِﻟﻜِﻴﻦَ َﻋﻠَﻰ َﺟ َﻮﺍ ِﺩ‬
«‫ﺍﻟﺮﺍ ِﻏ ِﺒﻴﻦَ ِﺇﻟَ ْﻴ ِﻪ‬
‫ » َﻧ َﻬ َﺞ َﺳ ِﺒﻴ َﻞ ﱠ‬،«‫ﻁ ُﺮﻗِ َﻬﺎ‬
َ ‫ﺎﻡ ْﺍﻟ َﻤﻨ‬
َ َ‫» َﻭ ﺍ َءﻗ‬
The words "‫ ﻁﺮﻳﻖ‬and‫“ ﺳﺒﻴﻞ‬mean the way, but when placed in context they mean something
different than their common sense "‫ " ﺳﺒﻴﻞ‬means any kind of way; the usual way, or guided
way and the way that leads to astray but in the mentioned passage means the guided way and
"‫ " ﻁﺮﻳﻖ‬is used in its original meaning it is applied to refer to the path that is traveled by foot.
‫ﺼ ِﻔﻴﺢِ ْﺍﻻ َء ْﻋﻠَﻰ ِﻣ ْﻦ َﻣﻠَ ُﻜﻮﺗِ ِﻪ ﺧ َْﻠﻘﺎ‬
ُ َ‫ »ﺛ ُ ﱠﻢ َﺧﻠَﻖ‬،«ُ‫ﻉ ْﺍﻟﺨ َْﻠﻖَ َﻋﻠَﻰ َﻏﻴ ِْﺮ ِﻣﺜﺎ ٍﻝ ْﺍﻣﺘَﺜَﻠَﻪ‬
‫ﺎﺭ ِﺓ ﺍﻟ ﱠ‬
َ َ‫»ﺍ ﱠﻟﺬِﻱ ﺍ ْﺑﺘَﺪ‬
َ ‫ْﻜﺎﻥ‬
َ ‫ﺳ َﻤ َﺎﻭﺍﺗِ ِﻪ َﻭ ِﻋ َﻤ‬
ِ ‫ﺳ ْﺒ َﺤﺎﻧَﻪُ ﻻ ﺳ‬
‫َﺑﺪِﻳﻌﺎ ِﻣ ْﻦ َﻣﻼَ ِﺋ َﻜ ِﺘ ِﻪ«؛‬
"‫ " ﺍﺑﺘﺪﻉ‬and "‫ " ﺧﻠﻖ‬are both mean the creation, but if they come in praise of God like this
sermon "‫ " ﺍﺑﺘﺪﻉ‬means creating without tools, material and time and space and "‫ " ﺧﻠﻖ‬means
creating without a template to create creatures.
َ ‫ » َﻭ ﻟَ ِﻮ ﺍ ْﺳﺘَ ْﻌ‬،«‫ ِﺇﻻ ِﺇﻟَﻰ َﻣ َﻮﺍﺩﱠ ِﻣ ْﻦ ﻗُﻠُﻮ ِﺑ ِﻬ ْﻢ َﻏﻴ ِْﺮ ُﻣ ْﻨ َﻘ ِﻄ َﻌ ٍﺔ ِﻣ ْﻦ َﺭ َﺟﺎﺋِ ِﻪ َﻭ َﻣﺨَﺎﻓَﺘِ ِﻪ‬،‫ﻁﺎ َﻋﺘِ ِﻪ‬
َ ‫ﻭﻡ‬
َ‫ﻈ ُﻤﻮﺍ ﺫَﻟِﻚ‬
ُ ‫» َﻭ ﻻ ﻳَ ْﺮ ِﺟ ُﻊ ِﺑ ِﻬ ُﻢ ﺍ ِﻻ ْﺳﺘِ ْﻬﺘ‬
ِ ‫َﺎﺭ ِﺑﻠُ ُﺰ‬
َ ‫ﺸ ْﻴ‬
‫ﺕ َﻭ َﺟ ِﻠ ِﻬ ْﻢ َﻭ ﻟَ ْﻢ ﻳَ ْﺨﺘَ ِﻠﻔُﻮﺍ ﻓِﻲ َﺭ ِﺑّ ِﻬ ْﻢ ِﺑﺎ ْﺳﺘِﺤْ ﻮﺍ ِﺫ ﺍﻟ ﱠ‬
‫ﺎﻥ َﻋﻠَ ْﻴ ِﻬ ْﻢ«؛‬
َ ‫ﺍﻟﺮ َﺟﺎ ُء ِﻣ ْﻨ ُﻬ ْﻢ‬
ِ ‫ﺷﻔَﻘَﺎ‬
‫ﺴ َﺦ ﱠ‬
َ َ‫ﻟَﻨ‬
ِ ‫ﻄ‬
The words, ‫ ﺍﻟﺸﻔﻘﺔ‬،‫ ﻣﺨﺎﻓﺔ‬and ‫ ;ﻭﺟﻠﻬﻢ‬all three mean fear but according to the context, each
sentence have been used to demonstrate the appropriateness the word and its meaning. This
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means that in the preceding statement, "‫ " ﻣﺨﺎﻓﺔ‬means a fear that is made out of the result of
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the people deeds therefore, use of the word is appropriate to angels’ fear from a day that
people turn to other than God is so, they do not permit to God's. ‫ ﺷﻔﻘﺔ‬in the sentence above
means a kind of interest and attention that is associated with fear (Raghib Isfahani, 1991).
Therefore, in the above passage sympathetic person "angels", while angels have fear of God
also are interested in him that the use of the word "‫ " ﺷﻔﻘﺔ‬is appropriate to the concept and
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also " ‫ " ﺷﻔﻘﺔ‬by "‫ " ﻣﻦ‬has transitive meaning of fear but if it comes by "‫ " ﻓﻲ‬it would implies
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more interest. "‫ " ﻭﺟﻞ‬in the phrase also is given that the word means understand the fear
therefore, with great tact your prayers do not count the angels who gained and means a kind
of anxiety that is in the heart of the angels who has lost their composure.
In the phrase:
ُ‫ﺿﻪ‬
َ ‫»ﻓَ َﻠ ﱠﻤﺎ َﻣ َﻬﺪَ ﺍ َء ْﺭ‬
The “‫ " ﺍﻷﺭﺽ‬is part of the land but all the land is concerned that in the terms of "‫ "’ ﺍﻟﺴﻤﺎء‬or
“‫ " ﺍﻟﺴﻤﻮﺍﺕ‬is used.
578
The difference between these two words meaning is believed indicate that ‫ ﺻﺪﺭ‬is setting of
animal soul so it is the very place where the evil influences. If the ‫ ﻗﻠﺐ‬of the throne and the
rational soul is official therefore the evil in the ‫ ﻗﻠﺐ‬cannot be effective (Mulla Sadra, 1988).
But some scholars believe that there are some differences in meaning between the two words,
of course, both mean 'heart'.
‫ ﺃﻣﻞ‬and ‫ ﺭﺟﺎء‬in this phase:
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‫» ِﺇ ْﻥ ﺗ ُ َﺆ ﱠﻣ ْﻞ ﻓَ َﺨﻴ ُْﺮ َﻣﺄ ْ ُﻣﻮﻟ ٍَﻮ ِﺇ ْﻥ ﺗ ُ ْﺮ َﺝ َﻓ َﺨﻴ ُْﺮ ﻓَﺎ َء ْﻛ َﺮ ُﻡ َﻣ ْﺮ ُﺟ ّ ِﻮ‬
It is semantically different that is why the "‫ " ﺃﻣﻞ‬means to think happening of something that
its reality is unlikely it means wish, and "‫ " ﺭﺟﺎء‬means hope and expect to achieve the
obtainable righteous (Mostafavi, 1981). Since you can also have demands from God that the
acquisition is unlikely and expect to achieve everything that is good and is the best resource
for people therefore the use of these words with the concepts is appropriate.
2.4. Repetition and emphasize
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Imam Ali (peace upon him) whenever feels they are in a situation that might cause in
problems for the reader in understanding or even denies an entry or event, he deals voluntary
or involuntary reiteration and emphasis.
For example, repeating the word “‫ "ﮐﻞ‬in the:
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ْ ‫»ﺍ َءﺛ َ ِﺮ ُﻛ ِّﻞ ﺧ‬
‫ َﻭ َﻫ َﻤﺎﻫ ِِﻢ‬،ٍ‫ َﻭ ِﻣﺜْﻘَﺎ ِﻝ ُﻛ ِّﻞ ﺫَ ﱠﺭﺓ‬،ٍ‫ﺴ َﻤﺔ‬
َ ‫ﻳﻚ ُﻛ ِّﻞ‬
ِ ‫ َﻭ ﺗَﺤْ ِﺮ‬،ٍ‫ َﻭ َﺭﺟْ ﻊِ ُﻛ ِّﻞ َﻛ ِﻠ َﻤﺔ‬،ٍ‫ﺲ ُﻛ ِّﻞ َﺣ َﺮ َﻛﺔ‬
ّ ِ ‫ َﻭ ِﺣ‬،ٍ‫َﻄ َﻮﺓ‬
َ َ‫ َﻭ ُﻣ ْﺴﺘَﻘَ ِ ّﺮ ُﻛ ِّﻞ ﻧ‬،ٍ‫ﺷﻔَﺔ‬
«‫ُﻛ ِّﻞ ﻧَ ْﻔ ٍﺲ ﻫَﺎ ﱠﻣ ٍﺔ‬
And repeating the word “‫ "ﺍﻟﻠﻬﻢ‬in the clause:
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ْ ‫ﺴ‬
‫ﻄﺖَ ِﻟﻲ ﻓِﻴ َﻤﺎ ﻻَ ﺍ َء ْﻣﺪَ ُﺡ ِﺑ ِﻪ َﻏﻴ َْﺮﻛَﺎﻟﻠﱠ ُﻬ ﱠﻢ َﻭ َﻫﺬَﺍ َﻣﻘَﺎ ُﻡ َﻣ ْﻦ ﺍ َء ْﻓ َﺮﺩَﻙَ ِﺑﺎﻟﺘ ﱠ ْﻮ ِﺣﻴ ِﺪ ﺍﻟﱠﺬِﻱ‬
ِ ‫ﺻ‬
ْ ‫»ﺍﻟ ﱠﻠ ُﻬ ﱠﻢ ﺍ َء ْﻧﺖَ ﺍ َء ْﻫ ُﻞ ْﺍﻟ َﻮ‬
َ َ‫ ﺍﻟﻠﱠ ُﻬ ﱠﻢ َﻭ ﻗَﺪْ ﺑ‬،‫ﻒ ْﺍﻟ َﺠ ِﻤﻴ ِﻞ‬
‫ﻫ َُﻮ َﻟﻚَ «؛‬
In addition to the emphasis on meaning it is added to literal beauty of the words.
Or in terms of emphasis:
16T
‫ »ﻓﺄﺷﻬﺪ ﺃﻥ‬،«‫ »ﺇﺫ ﺟﺒﻬﺖ ﻣﻌﺘﺮﻓﺔ ﺑﺄﻧﻪ ﻻﻳﻨﺎﻝ‬،«‫»ﻷﻧﻪ ﺍﻟﺠﻮﺍﺩﺍﻟﺬﻱ ﻻﻳﻐﻴﻀﻪ ﺳﻮﺍﻝ ﺍﻟﺴﺎﺋﻠﻴﻦ« »ﻓﺈﻥ ﺫﻟﮏ ﻣﻨﺘﻬﯽ ﺣﻖ ﷲ ﻋﻠﻴﮏ‬
‫ »ﻭ ﻟﻢ ﻳﺒﺎﺷﺮ ﻗﻠﺒﻪ ﺍﻟﻴﻘﻴﻦ ﺑﺄﻧّﻪ ﻻ ﻧﺪ ﻟﮏ« ﻭ »ﺃﺷﻬﺪ ﺃﻥ ﻣﻦ ﺳﺎﻭﺍک ﺑﺸﻲء ﻣﻦ ﺧﻠﻘﮏ ﻓﻘﺪ‬،«‫ﻣﻦ ﺷﺒﻬﮏ ﺑﺘﺒﺎﻳﻦ ﺃﻋﻀﺎء ﺧﻠﻘﮏ‬
ّ ‫ »ﻻﻳﺪﻋﻮﻥ ﺃﻧّﻬﻢ ﻳﺨﻠﻘﻮﻥ ﺷﻴﺌﺎ ً« »ﺃﻋﻠﻤﻪ‬،«‫ﻋﺪﻝ ﺑﮏ‬
«‫ﺃﻥ ﻓﻲ ﺍﻹﻗﺪﺍﻡ‬
ّ and ‫ﺇﻥ‬
ّ ".
The term " ‫ﺃﻥ‬
16T
16T
16
T
«‫»ﺇ ّﻧﻤﺎ ﺻﺪﺭﺕ ﺍﻷﻣﻮﺭ ﻋﻦ ﻣﺸﻴﺌﺘﻪ‬
579
The term “‫"ﺇﻧﻤﺎ‬
16T
«‫»ﺇﻧﮏ ﺃﻧﺖ ﷲ ﺍﻟﺬﻱ ﻟﻢ ﺗﻨﺘﺎﻩ ﻓﻲ ﺍﻟﻌﻘﻮﻝ‬
ّ " are used to add emphasis to the meaning.
Season pronoun “‫ "ﺃﻧﺖ‬and the word “‫ﺇﻥ‬
6T
6T
2.5. Using definiteness and indefiniteness in the words
16T
Using words as definiteness and indefiniteness in this sermon is not without reason. For
example, in the phrase;
َ ‫ﺸ ْﻴ‬
‫» َﻣﺎ َﻛﻠﱠﻒ ﺍﻟ ﱠ‬
«ُ‫ﺿﻪ‬
ُ ‫ﺏ َﻋﻠَﻴْﻚَ ﻓَ ْﺮ‬
ِ ‫ْﺲ ﻓِﻰ ْﺍﻟ ِﻜﺘَﺎ‬
َ ‫ﻄﺎﻥُ ِﻋ ْﻠ َﻤﻪُ ِﻣ ﱠﻤﺎ ﻟَﻴ‬
Using “‫ "ﺍﻟﮑﺘﺎﺏ‬as definiteness; is for book of God is not any kind of book. Or in the:
«‫ﻻﻓﺘﻮﺭ‬
‫ﯽﻭ‬
ٌ
ً ‫»ﻻﻋﺪﻭ ٌﻝ ﻭ ﻻﻭﻧ‬
Using names as indefiniteness is for generalization of the meaning it means angels never
falter and do not lose faith on the earth.
2.6. The preposition
6T
The preposition “‫ "ﻣﻦ‬at statements:
16T
6T1
6T1
‫ﺸ ﱠﻤﺦِ َﻭ ﻓِﻲ ﻗَﺘْ َﺮﺓِ ﺍﻟ ﱠ‬
َ ‫ﻖ ْﺍﻟﻐَ َﻤ ِﺎﻡ ﺍﻟﺪﱡﻟﱠﺢِ َﻭ ﻓِﻲ ِﻋ‬
‫ﻈ ِﻢ ْﺍﻟ ِﺠﺒَﺎ ِﻝ ﺍﻟ ﱡ‬
ْ َ‫ﻈﻼَ ِﻡ ْﺍﻻ َء ْﻳ َﻬ ِﻢ َﻭ ِﻣ ْﻨ ُﻬ ْﻢ َﻣ ْﻦ ﻗَﺪْ ﺧ ََﺮﻗ‬
‫ﻮﻡ‬
ِ ‫» ِﻣ ْﻨ ُﻬ ْﻢ َﻣ ْﻦ ﻫ َُﻮ ﻓِﻲ ﺧ َْﻠ‬
َ ‫ﺖ ﺍ َء ْﻗﺪَﺍ ُﻣ ُﻬ ْﻢ ﺗ ُ ُﺨ‬
ُ ‫ﺴ َﻬﺎ َﻋﻠَﻰ َﺣﻴ‬
ْ ‫ْﺚ ﺍ ْﻧﺘ َ َﻬ‬
ْ َ‫ﻴﺾ ﻗَﺪْ ﻧَﻔَﺬ‬
ٍ ‫ﻲ ﻛ ََﺮﺍﻳَﺎ‬
‫ﺖ ِﻣﻦَ ْﺍﻟ ُﺤﺪ ُﻭ ِﺩ‬
‫ﺽ ﺍﻟ ﱡ‬
ُ ‫ﺍء َﻭ ﺗَﺤْ ﺘَ َﻬﺎ ِﺭﻳ ٌﺢ َﻫﻔﱠﺎﻓَﺔٌ ﺗَﺤْ ِﺒ‬
ِ ‫ﻕ ْﺍﻟ َﻬ َﻮ‬
ٍ ‫ﺕ ِﺑ‬
ِ ‫ْﺍﻻ َء ْﺭ‬
ِ ‫ﺕ ﻓِﻲ َﻣﺨ‬
ِ ‫َﺎﺭ‬
َ ‫ﺴ ْﻔﻠَﻰ ﻓَ ِﻬ‬
« ‫ْﺍﻟ ُﻤﺘَﻨَﺎ ِﻫ َﻴ ِﺔ‬
Come to convey the meaning of "some".
16T
2.7. Eloquence of words
16T
6T1
6T1
Use of words that have slight movements causes in eloquence of the words but it does not
6T
6T
mean that the use of heavy moving of ُ◌ lacks the eloquence of words. In this sermon also we
saw the use of eloquent words to the benefit of the words that the movements are mild and
words with the heavy movement of ُ◌ because hasn’t an unreasonable use but to comply with
rhyme and rhythm and intonation were added. (Abdul Hamid Naji, 1984) Use of words such
as "‫ﺳﺘُﺮﺍﺕ‬
ُ , ‫ﺳﺒُﺤﺎﺕ‬
ُ and... In this sermon, despite the heavy movement of ُ◌ he has used it to
create a rhyme with the words next to it and to have the eloquence of words.
580
3. Level of syntax
Any literary work consists of components that are connected to each other and the main
concept of the work is relations with each component with another component, and by
analyzing the relationship between these components, the implied meaning can be found that
is called level of syntax.
Imam Ali (peace upon him) shows great care in choosing suitable words in terms of verbal or
nominal sentences of this sermon in order to create a work that every structure is compatible
with the intended meaning. The following are examples of proportion of meaning and
structure:
3.1. Sentence structure
As this is a long sermon we suffice in mentioning a few examples of the structure of
sentences.
َ ‫ﺍﻹ ْﻋ‬
‫ﺺ ِﺳ َﻮﺍﻩُ َﻭ ُﻛ ﱡﻞ َﻣﺎﻧِﻊٍ َﻣﺬْ ُﻣﻮ ٌﻡ ﻣﺎ َﺧﻼَﻩُ َﻭ ﻫ َُﻮ‬
ٌ ‫ﻄﺎ ُء َﻭ ْﺍﻟ ُﺠﻮﺩُ ﺇِﺫْ ُﻛ ﱡﻞ ُﻣ ْﻌﻂٍ ُﻣ ْﻨﺘَ ِﻘ‬
ِ ْ ‫ْﺍﻟ َﺤ ْﻤﺪ ُ ِ ﱠ�ِ ﺍﻟﱠﺬِﻱ ﻻَ َﻳ ِﻔ ُﺮﻩُ ْﺍﻟ َﻤ ْﻨ ُﻊ َﻭ ْﺍﻟ ُﺠ ُﻤﻮﺩ ُ َﻭ ﻻَ ﻳُ ْﻜﺪِﻳ ِﻪ‬
‫ﺍﻟﺮﺍ ِﻏﺒِﻴﻦَ ﺇِﻟَ ْﻴ ِﻪ َﻭ‬
‫ﺳﺒِﻴ َﻞ ﱠ‬
َ ‫ﺴ ِﻢ ِﻋﻴﺎﻟُﻪُ ْﺍﻟ َﺨﻼَﺋِ ُﻖ‬
َ ‫ﺿ ِﻤﻦَ ﺍ َء ْﺭﺯَ ﺍﻗَ ُﻬ ْﻢ َﻭ َﻗﺪ َﱠﺭ ﺍ َء ْﻗ َﻮﺍﺗَ ُﻬ ْﻢ َﻭ َﻧ َﻬ َﺞ‬
َ ‫ْﺍﻟ َﻤﻨﱠﺎﻥُ ﺑِﻔَ َﻮﺍﺋِ ِﺪ ﺍﻟﻨِّﻌَ ِﻢ َﻭ َﻋ َﻮﺍﺋِ ِﺪ ْﺍﻟ َﻤ ِﺰﻳ ِﺪ َﻭ ْﺍﻟ ِﻘ‬
‫ﱠ‬
ٌ ‫ﺷ ْﻲ ٌء ﻗَ ْﺒﻠَﻪُ َﻭ ْﺍﻵ ِﺧ ُﺮ ﺍﻟﱠﺬِﻱ ﻟَ ْﻢ ﻳَ ُﻜ ْﻦ ﻟَﻪُ ﺑَ ْﻌﺪ‬
َ َ‫ﺳﺌِ َﻞ ﺑِﺎ َءﺟْ َﻮﺩَ ِﻣ ْﻨﻪُ ﺑِ َﻤﺎ ﻟَ ْﻢ ْﺍﻻ َء ﱠﻭ ُﻝ ﺍﻟﱠﺬِﻱ ﻟَ ْﻢ ﻳَ ُﻜ ْﻦ ﻟَﻪُ ﻗَ ْﺒ ٌﻞ ﻓَﻴَ ُﻜﻮﻥ‬
ُ ‫ْﺲ ﺑِ َﻤﺎ‬
َ ‫ﺍﻟﻄﺎ ِﻟﺒِﻴﻦَ َﻣﺎ ﻟَﺪَ ْﻳ ِﻪ ﻟَﻴ‬
ْ ‫ﺎﺭ َﻋ ْﻦ ﺍ َء ْﻥ ﺗَﻨَﺎﻟَﻪُ ﺍ َء ْﻭ ﺗُﺪ ِْﺭ َﻛﻪُ َﻣﺎ‬
‫ﻒ ِﻣ ْﻨﻪُ ْﺍﻟ َﺤﺎ ُﻝ َﻭ ﻻَ َﻛﺎﻥَ ﻓِﻲ‬
َ َ‫ﻓَﻴَ ُﻜﻮﻥ‬
ُ ‫ﺍﻟﺮﺍ ِﺩ‬
‫ﺷ ْﻲ ٌء َﺑ ْﻌﺪَﻩُ َﻭ ﱠ‬
َ ‫ﻰ ْﺍﻻ َء ْﺑ‬
َ ‫ﻒ َﻋﻠَ ْﻴ ِﻪ ﺩَ ْﻫ ٌﺮ ﻓَﻴَ ْﺨﺘَ ِﻠ‬
َ َ‫ﺍﺧﺘَﻠ‬
ِ ‫ﺼ‬
‫ﻉ ﺍ َءﻧَﺎ ِﺳ ﱠ‬
ْ ‫َﺐ َﻣﺎ ﺗَﻨَﻔﱠ َﺴ‬
‫ ِﻣ ْﻦ ﻓِ ِﻠ ِ ّﺰ ﺍﻟﻠﱡ َﺠﻴ ِْﻦ َﻭ‬،‫ﺎﺭ‬
ْ ‫ﺿ ِﺤ ْﻜﺖَ َﻋ ْﻨﻪُ ﺍ َء‬
ِ ‫ﺎﻥ ﻓَ َﻴ ُﺠﻮﺯَ َﻋﻠَ ْﻴ ِﻪ‬
ُ َ ‫ﺻﺪ‬
َ ‫ﺖ َﻋ ْﻨﻪُ َﻣ َﻌﺎ ِﺩﻥُ ْﺍﻟ ِﺠ َﺒﺎ ِﻝ َﻭ‬
َ ‫ﺍﻻ ْﻧﺘِﻘَﺎ ُﻝ َﻭ ﻟَ ْﻮ َﻭﻫ‬
ٍ ‫َﻣ َﻜ‬
ِ ‫ﺍﻑ ْﺍﻟ ِﺒ َﺤ‬
َ‫ﺳﻌَﺔَ َﻣﺎ ِﻋ ْﻨﺪَﻩُ َﻭ ﻟَ َﻜﺎﻥَ ِﻋ ْﻨﺪَﻩُ ِﻣ ْﻦ ﺫَﺧَﺎﺋِ ِﺮ ْﺍﻻ َء ْﻧﻌَ ِﺎﻡ َﻣﺎ ﻻ‬
َ َ‫ﺎﻥ َﻣﺎ ﺍ َءﺛ ﱠ َﺮ ﺫَﻟِﻚَ ﻓِﻰ ُﺟﻮ ِﺩ ِﻩ َﻭ ﻻَ ﺍ َء ْﻧﻔَﺪ‬
ِ ‫ﺎﺭﺓِ ﺍﻟﺪ ِ ّﱡﺭ َﻭ َﺣ‬
َ َ ‫ﺎﻥ َﻭ ﻧُﺜ‬
ِ ‫ﺼﻴ ِﺪ ْﺍﻟ َﻤ ْﺮ َﺟ‬
ِ َ‫ْﺍﻟ ِﻌ ْﻘﻴ‬
َ ‫ﺗ ُ ْﻨ ِﻔﺪُﻩُ َﻣ‬
. َ‫ﺳﺆ ﺍ ُﻝ ﺍﻟﺴﱠﺎﺋِﻠِﻴﻦَ َﻭ ﻻَ ﻳُﺒ ِْﺨﻠُﻪُ ﺇِ ْﻟ َﺤﺎ ُﺡ ْﺍﻟ ُﻤ ِﻠ ِ ّﺤﻴﻦ‬
ُ ‫ﻄﺎﻟِﺐُ ْﺍﻻ َءﻧ َِﺎﻡ ِﻻ َءﻧﱠﻪُ ْﺍﻟ َﺠ َﻮﺍﺩ ُ ﺍﻟﱠﺬِﻯ ﻻَ ﻳَ ِﻐﻴ‬
ُ ُ ‫ﻀﻪ‬
At the beginning of the sermon he has used “‫“ ﺍﻟﺤﻤﺪ‬as it was a more common word, and it is
used nominal sentences to describe in the above statements the Divine Being for His
permanent and consistent being. But for describing the gift of God's grace toward creatures he
has used verbal statements because the property is a creation of God and thus ends by grace of
God therefore giving verbal statement is consistent with such themes as:
َ ‫ﺍﻹ ْﻋ‬
«ُ‫ﺺ ِﺳ َﻮﺍﻩُ َﻭ ُﻛ ﱡﻞ َﻣﺎﻧِﻊٍ َﻣﺬْ ُﻣﻮ ٌﻡ ﻣﺎ َﺧﻼَﻩ‬
ٌ ‫ﻄﺎ ُء َﻭ ْﺍﻟ ُﺠﻮﺩ ُ ﺇِﺫْ ُﻛ ﱡﻞ ُﻣ ْﻌﻂٍ ُﻣ ْﻨﺘَ ِﻘ‬
ِ ْ ‫» ﻻَ ﻳَ ِﻔ ُﺮﻩُ ْﺍﻟ َﻤ ْﻨ ُﻊ َﻭ ْﺍﻟ ُﺠ ُﻤﻮﺩ ُ َﻭ ﻻَ ﻳُ ْﻜﺪِﻳ ِﻪ‬
And also about the forgiveness of God in everything that it is not permanent, verbal sentences
are used:
ْ ‫ﺴ‬
‫ﺼﻴ ِﺪ‬
ْ ‫ﺿ ِﺤ ْﻜﺖَ َﻋ ْﻨﻪُ ﺍ َء‬
ُ َ ‫ﺻﺪ‬
َ ‫ﺖ َﻋ ْﻨﻪُ َﻣ َﻌﺎ ِﺩﻥُ ْﺍﻟ ِﺠ َﺒﺎ ِﻝ َﻭ‬
َ ‫» َﻭﻫ‬
ِ ‫ﺎﺭ ِﺓ ﺍﻟﺪ ِ ّﱡﺭ َﻭ َﺣ‬
َ ‫َﺐ َﻣﺎ ﺗَﻨَﻔﱠ‬
َ َ ‫ﺎﻥ َﻭ ﻧُﺜ‬
ِ ‫ﺍﻑ ْﺍﻟ ِﺒ َﺤ‬
ِ ‫ ِﻣ ْﻦ ﻓِ ِﻠ ِ ّﺰ ﺍﻟ ﱡﻠ َﺠﻴ ِْﻦ َﻭ ْﺍﻟ ِﻌ ْﻘ َﻴ‬،‫ﺎﺭ‬
َ ‫ﺳﻌَﺔَ َﻣﺎ ِﻋ ْﻨﺪَﻩُ َﻭ ﻟَ َﻜﺎﻥَ ِﻋ ْﻨﺪَﻩُ ِﻣ ْﻦ ﺫَﺧَﺎﺋِ ِﺮ ْﺍﻻ َء ْﻧﻌَ ِﺎﻡ َﻣﺎ ﻻَ ﺗ ُ ْﻨ ِﻔﺪُﻩُ َﻣ‬
.«‫ﻄﺎﻟِﺐُ ْﺍﻻ َءﻧ َِﺎﻡ‬
َ َ‫ﺎﻥ َﻣﺎ ﺍ َءﺛﱠ َﺮ ﺫَﻟِﻚَ ﻓِﻰ ُﺟﻮ ِﺩ ِﻩ َﻭ ﻻَ ﺍ َء ْﻧﻔَﺪ‬
ِ ‫ْﺍﻟ َﻤ ْﺮ َﺟ‬
581
‫‪Also to embody the attributes of God in the minds of the audience present continuous verbs‬‬
‫‪are used.‬‬
‫ﺎﺟ َﻬﺎ َﻭ‬
‫ﺛ ُ ﱠﻢ َﺧﻠَﻖَ ُ‬
‫ﺎﺭ ِﺓ ﺍﻟ ﱠ‬
‫ﺼ ِﻔﻴﺢِ ْﺍﻻ َء ْﻋﻠَﻰ ِﻣ ْﻦ َﻣﻠَ ُﻜﻮﺗِ ِﻪ ﺧ َْﻠﻘﺎ ﺑَﺪِﻳﻌﺎ ِﻣ ْﻦ َﻣﻼَﺋِ َﻜﺘِ ِﻪ َﻭ َﻣ َﻼ َء ِﺑ ِﻬ ْﻢ ﻓُ ُﺮﻭ َﺝ ﻓِ َﺠ ِ‬
‫ْﻜﺎﻥ َﺳ َﻤ َﺎﻭﺍﺗِ ِﻪ َﻭ ِﻋ َﻤ َ‬
‫ﺳ ْﺒ َﺤﺎﻧَﻪُ ﻻ ﺳ ِ‬
‫ﺴﺒِّ ِﺤﻴﻦَ ِﻣ ْﻨ ُﻬ ْﻢ ﻓِﻲ َﺣ َ‬
‫ﺕ‬
‫ﺳ َﺮﺍ ِﺩ َﻗﺎ ِ‬
‫ﺳﺘ ُ َﺮﺍ ِ‬
‫َﺣﺸَﺎ ﺑِ ِﻬ ْﻢ ﻓُﺘُﻮﻕَ ﺍ َءﺟْ َﻮﺍﺋِ َﻬﺎ َﻭ ﺑَﻴْﻦَ ﻓَ َﺠ َﻮﺍ ِ‬
‫ﺐ َﻭ ُ‬
‫ﻈﺎﺋِ ِﺮ ْﺍﻟﻘُﺪ ُ ِﺱ َﻭ ُ‬
‫ﺕ ْﺍﻟ ُﺤ ُﺠ ِ‬
‫ﺕ ﺗِ ْﻠﻚَ ْﺍﻟﻔُ ُﺮﻭﺝِ ﺯَ َﺟ ُﻞ ْﺍﻟ ُﻤ َ‬
‫ﻒ ﺧَﺎ ِﺳﺌَﺔً َﻋﻠَﻰ ُﺣﺪُﻭ ِﺩﻫَﺎ‪.‬‬
‫ﻮﺭ ﺗ َْﺮﺩَ ُ‬
‫ﺍﻟﺮ ِﺟﻴﺞِ ﺍﻟﱠﺬِﻱ ﺗ َ ْﺴﺘ َﻚﱡ ِﻣ ْﻨﻪُ ْﺍﻻ َء ْﺳ َﻤﺎ ُ‬
‫ﻉ ُ‬
‫ْﺍﻟ َﻤﺠْ ِﺪ َﻭ َﻭ َﺭﺍ َء ﺫَﻟِﻚَ ﱠ‬
‫ﺎﺭ َﻋ ْﻦ ﺑُﻠُﻮ ِﻏ َﻬﺎ ﻓَﺘَ ِﻘ ُ‬
‫ﺳﺒُ َﺤﺎﺕُ ﻧُ ٍ‬
‫ﺼ َ‬
‫ﻉ ْﺍﻻ َء ْﺑ َ‬
‫ﺴﺒِّ ُﺢ َﺟﻼَ َﻝ ِﻋ ﱠﺰﺗِ ِﻪ ﻻَ ﻳَ ْﻨﺘ َِﺤﻠُﻮﻥَ َﻣﺎ َ‬
‫ﺕ َﻭ ﺍ َء ْﻗﺪَ ٍﺍﺭ ُﻣﺘَﻔَﺎ ِﻭﺗ َﺎ ٍ‬
‫ﺻ َﻮ ٍﺭ ُﻣ ْﺨﺘَ ِﻠﻔَﺎ ٍ‬
‫ﻖ ِﻣ ْﻦ‬
‫َﻭ ﺍ َء ْﻧﺸَﺎ َء ُﻫ ْﻢ َﻋﻠَﻰ ُ‬
‫ﺕ ﺍ ُءﻭ ِﻟﻲ ﺍ َءﺟْ ﻨِ َﺤ ٍﺔ ﺗ ُ َ‬
‫ﻅ َﻬ َﺮ ﻓِﻲ ْﺍﻟﺨ َْﻠ ِ‬
‫ﺷﻴْﺌﺎ َﻣﻌَﻪُ ِﻣ ﱠﻤﺎ ﺍ ْﻧﻔَ َﺮﺩَ ﺑِ ِﻪ ﺑَ ْﻞ ِﻋﺐ ﺍﺩ ٌ ُﻣ ْﻜ َﺮ ُﻣﻮﻥَ ﻻ ﻳَ ْﺴ ِﺒﻘُﻮﻧَﻪُ ﺑِ ْﺎﻟﻘَ ْﻮ ِﻝ َﻭ ُﻫ ْﻢ ﺑِﺎ َء ْﻣ ِﺮ ِﻩ َﻳ ْﻌ َﻤﻠُﻮﻥَ َﺟﻌَ َﻠ ُﻬ ُﻢ‬
‫ﺻ ْﻨ ِﻌ ِﻪ َﻭ ﻻَ ﻳَﺪﱠﻋُﻮﻥَ ﺍ َء ﱠﻧ ُﻬ ْﻢ ﻳَ ْﺨﻠُﻘُﻮﻥَ َ‬
‫ُ‬
‫ﺐ ﺍﻟ ﱡ‬
‫ﱠ‬
‫ﺕ َﻓ َﻤﺎ ِﻣ ْﻨ ُﻬ ْﻢ‬
‫ﺸﺒُ َﻬﺎ ِ‬
‫ﺼ َﻤ ُﻬ ْﻢ ِﻣ ْﻦ َﺭ ْﻳ ِ‬
‫�ُ ﻓِﻴ َﻤﺎ ُﻫﻨَﺎﻟِﻚَ ﺍ َء ْﻫ َﻞ ْﺍﻻ َء َﻣﺎﻧَ ِﺔ َﻋ َﻠﻰ َﻭﺣْ ِﻴ ِﻪ َﻭ َﺣ ﱠﻤ َﻠ ُﻬ ْﻢ ِﺇ َﻟﻰ ْﺍﻟ ُﻤ ْﺮ َ‬
‫ﺳﻠِﻴﻦَ َﻭﺩَﺍﺋِ َﻊ ﺍ َء ْﻣ ِﺮ ِﻩ َﻭ ﻧَ ْﻬ ِﻴ ِﻪ َﻭ َﻋ َ‬
‫ﺎﺟﻴ ِﺪ ِﻩ‬
‫ﺿ َﻊ ِﺇ ْﺧ َﺒﺎ ِ‬
‫ﺕ ﺍﻟ ﱠ‬
‫ﺿﺎ ِﺗ ِﻪ َﻭ ﺍ َء َﻣﺪﱠ ُﻫ ْﻢ ِﺑﻔَ َﻮﺍ ِﺋ ِﺪ ْﺍﻟ َﻤ ُﻌﻮﻧَ ِﺔ َﻭ ﺍ َء ْﺷ َﻌ َﺮ ﻗُﻠُﻮ َﺑ ُﻬ ْﻢ ﺗ ََﻮﺍ ُ‬
‫ﺳ ِﺒﻴ ِﻞ َﻣ ْﺮ َ‬
‫ﺯَ ﺍ ِﺋ ٌﻎ َﻋ ْﻦ َ‬
‫ﺴ ِﻜﻴﻨَ ِﺔ َﻭ ﻓَﺘ َ َﺢ َﻟ ُﻬ ْﻢ ﺍ َءﺑ َْﻮﺍﺑﺎ ﺫُﻟُﻼً ِﺇ َﻟﻰ ﺗ َ َﻤ ِ‬
‫ﻋﻘَﺐُ ﺍﻟﻠﱠﻴَﺎ ِﻟﻲ َﻭ ْﺍﻻ َءﻳ ِﱠﺎﻡ َﻭ ﻟَ ْﻢ ﺗ َْﺮ ِﻡ‬
‫ﺻ َﺮﺍﺕُ ْﺍﻵﺛ َ ِﺎﻡ َﻭ ﻟَ ْﻢ ﺗ َْﺮﺗ َِﺤ ْﻠ ُﻬ ْﻢ ُ‬
‫ﺼ َ‬
‫ﺍﺿ َﺤﺔً َﻋﻠَﻰ ﺍ َء ْﻋﻼَ ِﻡ ﺗ َْﻮ ِﺣﻴ ِﺪﻩِ‪ .‬ﻟَ ْﻢ ﺗُﺜْ ِﻘ ْﻠ ُﻬ ْﻢ ُﻣﺆْ ِ‬
‫ﺐ ﻟَ ُﻬ ْﻢ َﻣﻨَﺎﺭﺍ َﻭ ِ‬
‫َﻭ ﻧَ َ‬
‫ﺸ ُﻜﻮﻙُ ﺑِﻨ ََﻮ ِﺍﺯ ِﻋ َﻬﺎ َﻋ ِﺰﻳ َﻤﺔَ ﺇِﻳ َﻤﺎ ِﻧ ِﻬ ْﻢ َﻭ ﻟَ ْﻢ ﺗ َ ْﻌﺘ َِﺮ ِﻙ ﺍﻟ ﱡ‬
‫ﺍﻟ ﱡ‬
‫ﻈﻨُﻮﻥُ َﻋﻠَﻰ َﻣﻌَﺎ ِﻗ ِﺪ ﻳَ ِﻘﻴﻨِ ِﻬ ْﻢ َﻭ ﻻَ ﻗَﺪَ َﺣ ْ‬
‫ﺳﻠَﺒَﺘْ ُﻬ ُﻢ‬
‫ﺍﻹ َﺣ ِﻦ ﻓِﻴ َﻤﺎ َﺑ ْﻴﻨَ ُﻬ ْﻢ َﻭ ﻻَ َ‬
‫ﺖ ﻗَﺎ ِﺩ َﺣﺔُ ْ ِ‬
‫ﺳ َﻜﻦَ ِﻣ ْﻦ َﻋ َ‬
‫ﺱ‬
‫ﻈ َﻤﺘِ ِﻪ َﻭ َﻫ ْﻴﺒَ ِﺔ َﺟﻼَﻟَﺘِ ِﻪ ﻓِﻲ ﺍ َءﺛْﻨ ِ‬
‫َﺎء ُ‬
‫ﺳﺎ ِﻭ ُ‬
‫ْﺍﻟ َﺤﻴ َْﺮﺓ ُ َﻣﺎﻻَﻕَ ِﻣ ْﻦ َﻣ ْﻌ ِﺮﻓَﺘِ ِﻪ ﺑِ َ‬
‫ُﻭﺭ ِﻫ ْﻢ َﻭ ﻟَ ْﻢ ﺗ َْﻄ َﻤ ْﻊ ﻓِﻴ ِﻬ ُﻢ ْﺍﻟ َﻮ َ‬
‫ﻀ َﻤﺎﺋِ ِﺮ ِﻫ ْﻢ‪َ ،‬ﻭ َ‬
‫ﺻﺪ ِ‬
‫ﻉ ِﺑ َﺮ ْﻳ ِﻨ َﻬﺎ َﻋﻠَﻰ ﻓِ ْﻜ ِﺮ ِﻫ ْﻢ‪.‬‬
‫ﻓَﺘ َ ْﻘﺘ َِﺮ َ‬
‫ﺸ ﱠﻤﺦِ َﻭ ﻓِﻲ ﻗَﺘْ َﺮﺓِ ﺍﻟ ﱠ‬
‫ﻖ ْﺍﻟﻐَ َﻤ ِﺎﻡ ﺍﻟﺪﱡﻟﱠﺢِ َﻭ ﻓِﻲ ِﻋ َ‬
‫ﻈ ِﻢ ْﺍﻟ ِﺠﺒَﺎ ِﻝ ﺍﻟ ﱡ‬
‫ﻈﻼَ ِﻡ ْﺍﻻ َء ْﻳ َﻬ ِﻢ َﻭ ِﻣ ْﻨ ُﻬ ْﻢ َﻣ ْﻦ ﻗَﺪْ ﺧ ََﺮﻗَ ْ‬
‫ﺖ ﺍ َء ْﻗﺪَﺍ ُﻣ ُﻬ ْﻢ‬
‫َﻭ ِﻣ ْﻨ ُﻬ ْﻢ َﻣ ْﻦ ﻫ َُﻮ ﻓِﻲ ﺧ َْﻠ ِ‬
‫ﺴ َﻬﺎ َﻋ َﻠﻰ َﺣﻴ ُ‬
‫ْﺚ ﺍ ْﻧﺘ َ َﻬ ْ‬
‫ﻴﺾ ﻗَﺪْ ﻧَﻔَﺬَ ْ‬
‫ﻲ ﻛ ََﺮﺍﻳَﺎ ٍ‬
‫ﺖ ِﻣﻦَ‬
‫ﺽ ﺍﻟ ﱡ‬
‫ﺍء َﻭ ﺗَﺤْ ﺘَ َﻬﺎ ِﺭﻳ ٌﺢ َﻫﻔﱠﺎﻓَﺔٌ ﺗ َﺤْ ﺒِ ُ‬
‫ﻕ ْﺍﻟ َﻬ َﻮ ِ‬
‫ﺕ ِﺑ ٍ‬
‫ﻮﻡ ْﺍﻻ َء ْﺭ ِ‬
‫ﺕ ﻓِﻲ َﻣﺨ ِ‬
‫َﺎﺭ ِ‬
‫ﺗ ُ ُﺨ َ‬
‫ﺴ ْﻔﻠَﻰ ﻓَ ِﻬ َ‬
‫ﺎﻥ ﺑَ ْﻴﻨَ ُﻬ ْﻢ َﻭ ﺑَﻴْﻦَ َﻣ ْﻌ ِﺮﻓَﺘِ ِﻪ َﻭ ﻗَ َ‬
‫ﺻﻠَ ْ‬
‫ﺍﻹﻳﻘَﺎﻥُ ِﺑ ِﻪ ِﺇﻟَﻰ ْﺍﻟ َﻮﻟَ ِﻪ‬
‫ْﺍﻟ ُﺤﺪ ُﻭ ِﺩ ْﺍﻟ ُﻤﺘَﻨَﺎ ِﻫﻴَ ِﺔ ﻗَ ِﺪ ﺍ ْﺳﺘ َ ْﻔ َﺮ َﻏﺘْ ُﻬ ْﻢ ﺍ َء ْﺷﻐَﺎ ُﻝ ِﻋﺒَﺎﺩَﺗِ ِﻪ َﻭ َﻭ َ‬
‫ﻄ َﻌ ُﻬ ُﻢ ْ ِ‬
‫ﺍﻹﻳ َﻤ ِ‬
‫ﺖ َﺣﻘَﺎﺋِ ُﻖ ْ ِ‬
‫ِﺇﻟَ ْﻴ ِﻪ َﻭ ﻟَ ْﻢ ﺗ ُ َﺠﺎ ِﻭ ْﺯ َﺭ َﻏ َﺒﺎﺗ ُ ُﻬ ْﻢ َﻣﺎ ِﻋ ْﻨﺪَﻩُ ِﺇﻟَﻰ َﻣﺎ ِﻋ ْﻨﺪَ ﺗ َ َﻤ ﱠﻜﻨ ْ‬
‫ﺍء ﻗُﻠُﻮ ِﺑ ِﻬ ْﻢ َﻭ ِﺷﻴ َﺠﺔُ ِﺧﻴ َﻔﺘِ ِﻪ َﻏﻴ ِْﺮﻩِ‪.‬‬
‫ﺳ َﻮ ْﻳﺪَ ِ‬
‫َﺖ ِﻣ ْﻦ ُ‬
‫‪In the above phrases the proper use of verbal and nominal sentences is evident since the‬‬
‫‪creation of the heavens to accommodate the angels, how angels were created and given wings‬‬
‫‪and establish traits such as chastity, humility and obedience to their existence and… are as‬‬
‫‪issues in cross-sectional moment, so these concepts and the creation of creatures are suitable‬‬
‫‪to be stated with verbal sentences but the goal of creating the angels, the reason of this‬‬
‫‪creation and the impact that the creation leave are as permanent issues, therefore in this‬‬
‫‪phrase:‬‬
‫ﺸ ﱠﻤﺦِ َﻭ ﻓِﻲ ﻗَﺘْ َﺮﺓِ ﱠ‬
‫ﻖ ْﺍﻟﻐَ َﻤ ِﺎﻡ ﺍﻟﺪﱡﻟﱠﺢِ َﻭ ﻓِﻲ ِﻋ َ‬
‫ﻈ ِﻢ ْﺍﻟ ِﺠﺒَﺎ ِﻝ ﺍﻟ ﱡ‬
‫ﺍﻟﻈﻼَ ِﻡ ْﺍﻻ َء ْﻳ َﻬ ِﻢ َﻭ ِﻣ ْﻨ ُﻬ ْﻢ َﻣ ْﻦ ﻗَﺪْ ﺧ ََﺮﻗَ ْ‬
‫ﺖ ﺍ َء ْﻗﺪَﺍ ُﻣ ُﻬ ْﻢ‬
‫» َﻭ ِﻣ ْﻨ ُﻬ ْﻢ َﻣ ْﻦ ﻫ َُﻮ ﻓِﻲ ﺧ َْﻠ ِ‬
‫ﺴ َﻬﺎ َﻋﻠَﻰ َﺣﻴ ُ‬
‫ْﺚ ﺍ ْﻧﺘ َ َﻬ ْ‬
‫ﻴﺾ ﻗَﺪْ ﻧَﻔَﺬَ ْ‬
‫ﻲ ﻛ ََﺮﺍﻳَﺎ ٍ‬
‫ﺖ ِﻣﻦَ‬
‫ﺽ ﺍﻟ ﱡ‬
‫ﻕ ْﺍﻟ َﻬ َﻮ ِ‬
‫ﺍء َﻭ ﺗَﺤْ ﺘَ َﻬﺎ ِﺭﻳ ٌﺢ َﻫﻔﱠﺎﻓَﺔٌ ﺗَﺤْ ﺒِ ُ‬
‫ﺕ ِﺑ ٍ‬
‫ﻮﻡ ْﺍﻻ َء ْﺭ ِ‬
‫ﺕ ﻓِﻲ َﻣﺨ ِ‬
‫َﺎﺭ ِ‬
‫ﺗ ُ ُﺨ َ‬
‫ﺴ ْﻔﻠَﻰ ﻓَ ِﻬ َ‬
‫ْﺍﻟ ُﺤﺪُﻭ ِﺩ ْﺍﻟ ُﻤﺘَﻨَﺎ ِﻫﻴَ ِﺔ«‬
‫‪Nominal sentences was used instead because angles are in two categories and never are‬‬
‫‪misled in any way and under any circumstances are believed servants, these factors are part of‬‬
‫‪the fixative and permanent properties of them.‬‬
‫‪With the consideration of application of verbal and nominal sentences in this sermon it can be‬‬
‫‪concluded that in the sentences that the attributes of God are only used the sentences are in‬‬
‫‪582‬‬
terms of nominal sentences to prove the permanent features are only for God. As well as to
determine the continuity in praise of God, the need of man to God the present continuous
verbs have been used because this verb expresses the continuation.
3.2. Interrogation
Interrogation is demand for awareness that the answer it is not clear to the questioner and
interrogation with regard to the context and the context in semantics, negation, proof, denial,
and wonder ... is being used. In the below phrase it is used for denial:
«‫»ﻓﮑﻴﻒ ﻭ ﺇﻧّﻤﺎ ﺻﺪﺭﺕ ﺍﻷﻣﻮﺭ ﻋﻦ ﻣﺸﻴﺌﺘﻪ‬
3.3. Precession and retardation of the words
16T
Precession and retardation that have been presented in this sermon was not unduly for
16T
16T
example, the term:
«‫»ﻓﻬﺐ ﻟﻨﺎ ﻓﻲ ﻫﺬﺍ ﺍﻟﻤﻘﺎﻡ ﺭﺿﺎک‬
Precession and retardation of:
16T
«‫»ﻓﻲ ﻫﺬﺍ ﺍﻟﻤﻘﺎﻡ‬
to "‫ " ﺭﺿﺎک‬is due to the more emphasis on the meaning and for creating rhyme "‫" ﺭﺿﺎک‬
with the word "‫ " ﺳﻮﺍک‬in the:
،«‫»ﻭ ﺃﻏﻨﻨﺎ ﻋﻦ ﻣﺪ ﺍﻷﻳﺪﻱ ﺇﻟﯽ ﺳﻮﺍک‬
3.4. Imperative and prohibition verbs
16T
6T1
The use of the verbs in the clause is for prohibition:
16T
6T1
6T1
«‫»ﻓﺎﻧﻈﺮ ﺃﻳﻬﺎﺍﻟﺴﺎﺋﻞ‬
And in this phrase:
16T
« َ‫ َﻭ ﺍ َء ْﻏ ِﻨﻨَﺎ َﻋ ْﻦ َﻣ ِﺪّ ْﺍﻻ َء ْﻳﺪِﻱ ِﺇﻟَﻰ ِﺳ َﻮﺍﻙ‬، َ‫ﺿﺎﻙ‬
َ ‫» َﻓ َﻬﺐْ ﻟَﻨَﺎ ِﻓﻲ َﻫﺬَﺍ ْﺍﻟ َﻤﻘَ ِﺎﻡ ِﺭ‬
Is for command and pray, and other verbs of imperative and prohibition in this sermon have
6T
6T
been given for guidance.
583
It should be noted that all the above cases are evidences of proportion of meaning and style as
well as they are appropriate in the way to use these words and phrases in place with emotional
feelings of Imam Ali (PBUH).
Conclusion
In this paper some sparkles of stylistics elements in the Ashbah sermon were analyzed, the
results of this study are as follows:
Living, social conditions and responsibilities of Imam Ali (PBUH) as the Imam have impelled
him toward ethical, unity and religious issues.
Each of the three levels of the style has been used in proportion with meaning and concepts of
sermon.
Since every literary work has its own tempo music; the result of unilateral contracts in the
same sermon are due to special links between many levels including semantic, rhetorical,
lexical and syntactic levels, which has established.
Considering the phonetic level demonstrate that the sermon represents the appropriate use of
the Arabic language to express feelings of Imam Ali (PBUH).
Because the concepts of sermon should be worthy of public understanding therefore in this
sermon, vocabulary, fluency and coherence of words has been noted.
In terms of proof vocabulary the applications of eloquent words and their compatibility with
sound, sentence structure and meaning are considered.
In terms of syntax and sentence structure; Imam Ali (PBUH) has used verbal statements to
address sectional issues as they arise and nominal sentences to express constancy and routine
matters such as describing the attributes of God in this sermon and present continuous verbs
has been used for reconstruction of events and maintenance, these points are due to
congruence of words and meaning.
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References
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