Journal Dawat

It mighrt be hidden that many words have been thrown by mistake. The one who makes a mistake might believe that the correct thing is to say so and so. The Andalusian poetry is full of large number of these erroneous words. This was the motive for me to track those words and study them in light of the criteria of linguistic criticism. Thus, this study is entitled ‘Sources of verbs in Andalusian poetry in light of the criteria of linguistic criticism’. I used an analytical critical approach to show whether these words are correct or not.

This study sheds light on proper nouns included in Arabic dictionaries. It may be the first study of its kind in this field; as it established a critical stage of the stages of lexicographical recording, represented by recording those proper names in dictionaries. The real reasons and motives behind this writing are somewhat ambiguous and unclear. Due to the scarcity of research and studies in this regard, this study seriously attempted to answer a significant number of questions that have occupied the minds of researchers before, according to a scientific method characterized by objectivity and comprehensiveness.
It became necessary for the study to choose samples of these nouns that would undertake the research task. Thus, the narrations of Muhammad bin Habit al-Baghdadi d. 245 AH were the intentional choice, and I explained the reason for this choice. Since this field is a field of authentication, research, and study, the study came from it in four successive sections, which are: - The first section: Controlling proper nouns - motives and systems (a theoretical introduction). The second section: Narrations of the names of notables by Muhammad bin Habib in the dictionaries. The third section: Ibn Habib\'s methods in controlling the names. The fourth section: The morphological meaning of the names of notables.

The Character of the Great Messenger is an objective structural system rooted in Arabic poetry since the advent of Islam. Its contents, ideas and visions revolve around a polar personality with a single existence and attribute, embodied in a doctrinal system in the personality of the noble Messenger Muhammad (peace be upon him), in linguistic contexts that have their intellectual and moral connotations, and their content features that are based in their parts on the Qur’anic reference. It were produced by the interdependence of faith, Islamic influences related to the creed, moral values that are compatible with Islamic behavior, sincere psychological and emotional flows that transcend loss and dispersion, and abandon the fear that lies in consciences searching for psychological and realistic security. The beginnings of the poem (The Great Messenger) were formed as a poetic subject with an independent presence established with its pillars in the Arabic poetic system. Its contents and structural elements were formed, and Islamic concepts appeared reflected in the poetry connected to the Muhammadan personality since the emergence of Islam. Up to the Ottoman era, in which poets expressed with artistic talent, linguistic and formative ability, and proficiency in perfect performance, the innermost feelings and secrets of their souls, and their wishes and hopes to follow the path of the Muhammadan call, and its honorable companion who was sent as a guide, a herald, and a warner since the dawn of the sun of Islam, interceding with him, and desiring to attain something of his great morals, his Sunnah, his intercession, and his mercy, and calling for him to the praiseworthy position, and calling for what he brought of bright light, and they realized that he is the savior from misguidance in difficult times. There is hardly a collection of poems by an Iraqi poet from the Ottoman era that does not mention the personality of the Great Messenger (PBUH), who was highlighted by the Islamic poetic memory. The schools of thought of Iraqi poets varied in this regard, and they composed long poems on his subject, and his details expanded in the narrated text, which made it a growing system and an emotional plan filled with faith.

This research paper aims to closely examine the nature of the mind in the book of ‘Mukabasat’ by Abu Hayyan al-Tawhidi, in terms of the limits of that mind and its features that he presented and depicted its dangers in the form of cognitive questions with some scholars of his time.
The colours of the mental spectrum were scattered throughout the book and were not limited to one issue or specific interview; therefore, the research sought to gather the scattered images of the mind whose evocation differed according to the tensions of the issue that was the focus of discussion in this interview or that, and according to two factors:
The first: The mind appears clearly and visibly as the pivot in some interviews, meaning that it was both an end and a means at the same time, such as al-Tawhidi’s discussion of the divisions of rational meanings [the active mind, the human (material) mind, and the acquired mind]. Similarly his discussion of the being of the mind indicating virtues in terms of its repelling vices and harms, in contrast to its attracting benefits and goodness, and other necessary and final presences.
The second: The mind disappears behind the curtains of other interviews, so that it is relied upon for a necessity that requires its presentation, meaning that the mind in it is a means to an end, such as talking about the nature of logic and grammar and the extent of similarity and difference between them, or delving into how the world was invented by God Almighty. We see such absence in the most important critical issue that occupied space in the works of the ancient Arabs, namely the word and meaning, and other absences that sought its presence unwillingly.
We concluded with al-Tawhidi, who considered the mind as the successor of God Almighty to its being, a necessity. With reason and through it, humanity began. In addition, we noted the signs of the rational tendency that were distinguished by the specificity of al-Tawhidi’s opinion on it through the settlement of some of the decisive issues that we presented in this paper, such as: his preference for meaning over the word, his vision of a close connection between logic and grammar despite their functional difference, and what he summarized of the points of difference and distinction for each of them.

The narrative is one of the most important literary works of human society due to its profound impact on life. It translates the society’s suffer, strengthening its being and existence. It has a rich narrative structure, in which several components have combined to reach this maturity. Therefore, the narrative occupies an important pioneering position in the Arab cultural heritage, examining the various customs and traditions in society. Its goal is critical and evaluative, and each writer has his or her own methods and purposes in these narratives. In this study, we will address the most important interpretive purposes of narratives among the Arab Maqalists (al-Rafi'i, al-Mazini, and al-Zayyat, to name a few), as well as the interpretive purposes underlying their narratives, the goal of which is to uncover and characterize these narratives, and then analyze them according to a critical perspective that aligns with their interpretive purposes.
Keywords: Narrative, Society, Interpretive Purposes, Criticism of Negatives and Defects

This research sheds light on a sublime rhetorical theme, within which lies the topic of argumentation. It is of paramount importance in convincing and demonstrating the power of Allah and His conclusive and decisive arguments for His divinity and oneness, in the past and present, in the most important and recent of matters. This is evident in the text of His eternal, great Qur'anic Book, miraculous in every way: in its wording, context, position, intellectual and doctrinal discourse, and in its overall approach to truths without doubt or contradiction.
This is evident in its rhetorical images, translated into reality, and corroborated by circumstantial evidence and proof, which only the intelligent and perceptive can grasp and only the wise and discerning can comprehend. Since the purpose of argumentation is to influence the addressee, with the aim of persuasion and acceptance of the legislative call and cosmic laws, through rhetorical and informative means that penetrate the depths of the senses and settle in the mind, to elevate it to the highest levels of intellectual logic. There is much of that in the Holy Quran - we will therefore be guided by what is stated in the verses on animals in this regard only as an example of the argumentative power of the divine text in the verses that include animals in all their species. Accordingly, the research plan was based on an introduction that indexes the concept of argumentation as a means of persuasion and a communicative function, the effectiveness of which is manifested by its two poles (sender/recipient), then two sections, the first: verses of argumentation on the tongue of animals. The second section: verses of argumentation with animals, then the conclusion that stopped at the purposeful result of what was mentioned above.

The Islamic image embodies the poet Al-Kumait ibn Zayd al-Asadi's stance toward the Prophet's Household (peace be upon them). It reveals his poetic ability to represent the nature of their Islamic personalities, related to their religious duties, represented by the performance of religious obligations and worship, and their defence of faith, principles, and supreme values as bearers of this message. This image also demonstrates the extent of his love for the Prophet's Household and defence of them. The impact of this is evident in his treatment of the Prophet's family, just as the Holy Qur'an treats the believer with his pure religious qualities. Therefore, the image embodies a set of values and ideals that constitute a sublime model. This is why we call it the "Islamic image." For example, when he praised the Umayyads, he did not praise them for those religious qualities, but rather for their worldly attributes.
The Islamic image is not limited to a single aspect of the praised personality, which relies on the mechanism of implementing Islamic rulings and teachings. Rather, it extends to images surrounded by an aura of sanctity. This is because the status of the Prophet's family is an extension and confirmation of the approach of the Prophet (peace and blessings be upon him and his family), and Imam Ali ibn Abi Talib (peace be upon him). Therefore, al-Kumait found in his stance a defence of religion and the interests of Islamic society.
Al-Kumait's Hashimiyyat are among the most important poems of the Umayyad era. They are also significant to the poet, as they represent the first manifestation of artistic innovation in the construction of Arabic poetry. Al-Kumait preceded Abbasid poets in renewing the openings of poems, calling for abandoning the past and opening poems with love for the Prophet's family (peace be upon them).
The imagery we are about to explore revolves within the circle of Islamic understanding, as it constitutes its primary source. It connects to the most refined and purest of emotions, in addition to enriching the poet's self with its spiritual richness and intellectual provisions. For us, the image is unique; it is neither artistic, nor sensory, nor visual, but rather a "spiritual image," which addresses meaning and subject matter using artistic tools.

The research idea stems from the study of a poetry collection from a competition of contemporary poets who wrote poems in praise and eulogy of Imam Hassan (peace be upon him). The research focused on reading these poems in terms of shaping the poetic visions and creative images of these poems using Quranic mechanisms, given their broad connotations, intertwined meanings, and profound psychological, loyal, and poetic connotations.
The study is organized into two axes: an introduction to the term "Qur'anism and its synonyms." And the second axis focuses on studying the definition of the Maraqi al-Mujtaba collection. The first section examined the poetic styles of Qur'anism among these poets. Direct Qur'anism was the first style, while indirect, modified Qur'anism represented the second style. It revealed the psychological and allegorical contents of those poets.
The second section included a study of the most important Qur’anic techniques employed by these poets, which represented the characteristics of their poetic formation. The image of stylistic paradox was one of the first important forms of formation that formed a distinctive stylistic characteristic in their poems. Secondly, the image of poetic displacement formed part of the images of their poetic formation to produce the image of Imam Hassan (peace be upon him). The displacement was represented by the systems of similarity and substitution. Then the research concluded with the most important results that it reached.

One of the forms of benefiting from the Holy Quran is found in a number of poets, who delve deeply into the inspiration of Quranic texts, transforming their text into a Quranic mosaic , to which we coined the term "Quranic poem." It can be defined as a poem that takes the Holy Quran as a starting point for formulating its subject matter, drawing inspiration from it, including, symbolizing, and employing its meanings, words, characters, and stories from the beginning of the poem to its end. This even extends to formulating its title and it may be done intentionally or unintentionally and consciously or unconsciously on the part of the poet.
This poem can be described as ‘complete’. It is perhaps less well-known than the incomplete, partial Qur'anic poem, especially those relating to the eulogy of al-Husayn (peace be upon him) and the killing and captivity that befell him, his children, and Ahl al-Bayt (peace be upon them) in general. This poem should not be understood as devoid of other influences and references, but rather as being eclipsed by the dominance of the Qur'anic tradition and its clear dominance over the text.
This research came to explore this term, theorising it and the types of its formation in the poems of poets in general. Then we chose a Qur’anic poem by the poet Hazem Rashk Al-Tamimi to be the subject of the procedure and analysis. Initially, we were concerned with the historical rooting of the terms similar to it in the ancient Arab critical workshop, arriving at the modern one, to complete the picture of it. All of that was accompanied by a conclusion that included the most important foundations that the research approved or reached.

There is no doubt that authentic human spiritual values play an important role in influencing psychological emotions since the lack of these values leads to the deterioration of the moral and cultural society, and their absence or replacement with negative qualities will conflict with the reform movement of the prophets. It will also lead human societies towards deterioration and decline. These values contribute to the spiritual growth of man, and have a distinctive effect on the psychological function in what they bring about of peace and contentment, or discontent, rebellion and aversion on the personal level. This is because the Karbala incident has its revitalizing effect and great influence on the conscience of the poet and people because was filled with tragic incidents and images that stir deep sorrow in souls.
This feeling represented the tragic voice in which the poets composed their rhymes and conveyed their feelings to reach the feelings of the people, and to draw inspiration from the lessons and morals in this incident. There is no doubt that this reception has its effect on the psychological dimension and its connection with the poet’s standpoint in how to convey these feelings. The researcher chose studying this research the poem "Saut Tukana" (A Voice Known as) by the Iraqi poet Walid Hussein, whose subject revolves around the elegy of Imam Hussein, and what happened after the battle of great injustice, tyranny and oppression that spread throughout humanity. The affliction intensified, greed increased, and pains continued. These horrors left no room for acceptance of this reality, which was tainted by the loss of the pure and virtuous family of the Messenger of God (peace be upon them). The poet preserves the love of the family in his aching heart, and remains loyal to them until the end of his life, offering his poems as vows to them, seeking their love and satisfaction. In fact, in his opinion, poetry has no lofty status without praising them and mentioning their virtues.
Keywords: poet, psychological function, elegy poetry, subjective vision.

The research, entitled \"The Impact of the Holy Qur\'an on the New Poetic Vision in the Diwan of Al-Nabigha Al-Ja\'di,\" examines several poetic visions that appeared in the poet\'s collection, revealing the Qur\'anic influence on the poet\'s standpoint. The research is divided into two sections: the first section is titled \"The Social Vision before the Revelation of the Qur\'an,\" followed by the second section titled \"The New Poetic Vision and the Qur\'an\'s Influence on It.\"
The research seeks to uncover several newly emerging poetic visions that appeared in the poet\'s collection. The Qur\'an, through its language, meanings, and imagery, influenced these new visions.
The importance of the research lies in its attempt to explore the Qur\'anic influence on Al-Nabigha Al-Ja\'di\'s vision and the impact that the transformation of life had on the thinking of a poet who lived during the pre-Islamic and Islamic eras.
Keywords: Influence, Qur\'an, vision, Islam, Al-Nabigha, scholar.

Ancient Arab critics and rhetoricians paid attention to poetic meaning since it represents a vital part of their comprehensive interest in poetry, its vocabulary, images, content, and conditions. Among the issues of poetic meaning that ancient scholars, as well as those concerned with poetry and its criticism, were concerned with is the issue of poetic plagiarism, which they addressed for a long time. Their goal in doing so was to preserve the authenticity of literary works attributed to their authors. Critical studies on this topic have proliferated, both in ancient and modern times.
Among the plagiarisms that are praised by them are the hidden thefts that this research will stop at between critics and rhetoricians, as it is concerned with the important partial side of their concern, without claiming that we - in this research - are the first to be concerned with this issue. The term concealment, or transfer of meaning has been followed by many ancient and contemporary scholars specializing in the study of ancient Arabic criticism, and our mission lies in collecting and then analyzing.

This research paper examines an important historical era, the Abbasid era, and the major developments that distinguished it from previous and subsequent literary eras. It is evident that literary life evolved during this era, as diverse cultures blended and sects and groups multiplied, each with its own symbols and advocates. The Abbasid environment was conducive to the growth and diversity of doctrinal and philosophical ideas.
Shiism was one of the prominent sects of that era, especially after the emergence of independent Shiite states in that era, including the Fatimid or Ubaydid state, the Hamdanid state, and the Buyid state. Shiite poets enjoyed broad freedom in expressing their beliefs in guardianship, imamate, infallibility, and other Shiite ideas, relying on verses from the Holy Quran to prove this. They made it a strong argument supporting their style based on debate, argumentation, and persuasion. I chose the emerging Shiite poet Al-Asghar in this research to be a model of Shiite poetry and the poets’ ability to employ the Holy Quran to defend their belief and clarify the right of the family of Muhammad to the usurped caliphate, and to clarify their status that God Almighty has given them.

This research aims to bridge the gap between critical texts and creative texts, so that the critical process does not devolve into a search for critical terminology that is useless when confronting the text. Criticism, in our view, does not devolve into a race against hollow, abstract concepts that do not contribute to enriching reading and creating familiarity between the reader and the literary work. Further, we don’t want criticism to following a abstract concepts that do not contribute to enriching reading and creating familiarity between the reader and the literary work. criticism at this stage deals with issues in which it starts either from poetry as a pure Arab heritage, in which the talk is about the virility of poetry, its health, true poetry and real poetry, or from poetry as a social heritage. Here the dual issues appear, such as the old and the modern, nature and affectation, and this opposition and duality which will lead to the crystallization of an opposition and duality within the framework of modern poetry.

In the view of traditiona and modern scholars the Quranic text represents the highest form of eloquence and rhetoric, in terms of its compositional style, arrangement, imagery, treatment, and above all the precision in the use of words and structure. Therefore, the Quranic text has been poets' attention, drawing from it and being influenced by it. The influence is clearly evident at the level of imagery, words, and structure. The Quranic invocation reflects, in one way or another, this influence in their poetic output. This phenomenon, which emerged as a result of linguistic studies in the West, was present in ancient Arabic literature under various names, such as "quotation," "inclusion," and "citation." In the poem, this refers to the poet's influence by the Holy Quran in two areas: Quranic expressions and words, and Quranic characters. The research plan consisted of an introduction to the poet and the poem, and two chapters: the first one is the intertextuality of the Qur’anic image, and the second is the intertextuality of the Qur’anic word, ending with results, conclusion, and list of references.

This study seeks to restore the prestige of an authentic rhetorical style that has suffered from marginalization, neglect, and exclusion, as have other rhetorical disciplines classified as the science of rhetoric. This science, considered in Arab rhetorical and critical thought to be an integral part of eloquence, is merely a form of refinement and embellishment. Hence, it is possible to dispense with it without disrupting the structure of speech, despite its direct connection to linguistic and pragmatic issues. Hence, we have attempted to view this wise style from a pragmatic perspective, as a counterpart to meaning rather than a coating of form, taking the speech of Imam al-Hasan ibn Ali (peace be upon them) as a focus of engagement and practice.

The religious semantic influence on literature in general, and poetry in particular, is very clear, evident in poets' admiration for the Qur'anic or Hadith texts. This intertextuality with the sacred heritage and its significance for the conscious positive impact of religious texts forms the foundation of this study's structure, beginning with the religious terms intertextual with the poetic text or the psychological and allusive imagery of these terms in contexts that elevate the recipient's psyche across multiple and diverse dimensions and rhythms.
This study addresses this religious influence on the expatriate Iraqi poet, who finds in this reference to his poetic image a reason for a sense of belonging to the homeland and family he reluctantly left behind. This is also because he finds in his religious intertextuality a sense of security, which he lacks in a land foreign to his feelings and belonging, where he is a foreigner in face and language. The study includes an introduction that briefly encompasses the meaning of religious inclusion or intertextuality in poetry. This is followed by an introduction to the expatriate poet's approach to his religious heritage and Quranic intertextuality in his poetic text, whether in word, meaning, or through the influence of the Quranic style represented in the poets' opening lines in their poems and the diverse phrasing. The study concludes with the results and a summary of the study's findings.