AL-Mawrid Journal

Among the linguistic phenomena discussed in Al-Shahrastani’s interpretation, and which received significant attention from early scholars, are antonymy and metathesis. Regarding antonymy, scholars were divided into three groups. The first group argued that antonymy and homonymy share a particular-general relationship, as both phenomena involve the union of form (the signifier) while differing in meaning (the signified). However, they differ in that homonyms have distinct meanings, whereas antonyms carry opposite meanings. Since difference is broader than contradiction, they concluded that homonymy is a broader phenomenon than antonymy. Contemporary Arab linguists and researchers have largely adhered to this understanding of antonymy.
The main point of distinction is that the difference between homonymy and antonymy is one of opposition, not mere contrast, as seen in homonymy. However, another group completely denied the existence of antonymy in Arabic, arguing that a single word conveying two opposite meanings creates ambiguity and hinders comprehension. A third group opposed this denial, asserting the validity of antonymy in Arabic. Most linguists believe that defending the phenomenon of antonymy in Arabic is, in part, a defense of its occurrences in the Qur’an.
As for metathesis (spatial transposition), it refers to the reordering of letters within a word—placing one letter before or after another—while generally retaining the word’s original meaning. Any semantic change that occurs is usually minor, as Arabic speakers, by nature, favor linguistic ease and fluidity, often altering phonetic sequences for ease of pronunciation.
Metathesis is considered a type of phonological modification since it alters the original arrangement of letters to align with the linguistic instincts of Arabic speakers. This phenomenon is not unique to Arabic but is also found in other Semitic languages. The following observations can be made:
- Some scholars, such as Ibn Faris, acknowledged the existence of metathesis in linguistic heritage, while others, such as Ibn Durustuyah, denied it.
- It is an auditory phenomenon, meaning that its examples are preserved through usage rather than following a strict grammatical rule.
- Metathesis plays a significant role in morphological structure, as it is one of the most dynamic phonological phenomena, second only to elision. When metathesis occurs in a word, it is often mirrored in its morphological pattern.

- Metathesis serves as a means of linguistic expansion. Every word resulting from metathesis is considered an independent root with full morphological derivations, rather than a mere variant of another form.
- Metathesis does not generally occur with verbs related to sensory perception, except for the verb "ra’ā" (to see) due to its phonetic composition, which includes the hamza (ʾ) and the long alif (ā). This phenomenon appears only in a limited number of Qur’anic occurrences.
- Morphologists have identified conditions and methods for detecting metathesis, helping speakers distinguish between original and metathesized words.
Examples of metathesis cited in Keys to Secrets and Lamps of the Righteous include:

- "safar" (to travel) → "fasar"

- "tarabbasa" (to wait) → "tasabbara" (to endure)

- "kallama" (to speak) → "malaka" (to own)

This scholarly lexicon is positioned within the framework of archaeological studies. Its contours are drawn by tracing the journey of these documented individuals from their historically evolving contexts into a state of stable stillness following the invention of advanced recording systems. It is a quest for the authenticity of the word, not its multiplicity of meanings. To serve as a key to accessing all the actual readings of the sacred text, this lexicon necessitates the collaboration of multiple sciences and arts. Writing systems, phonology, the origin and development of scripts are all domains through which the research endeavors to prove the authenticity of the text. These domains may lead the research beyond the conventional and the common, drawing on the nature of recording in Semitic languages and others.

This study aimed to address the nature of understanding and interpreting the Qur'anic text in a book that represents early Orientalism, *The Religion of the Mohammedans* (1705) by Adrien Roland, and its French translation in 1721.
Adrien Roland's book is characterized by a mature approach to Islam and the Qur'an. In this research, we sought to clarify the nature of the understanding and interpretation of Qur'anic texts in its second section, which includes forty issues related to false opinions, preconceived judgments, and misconceptions that were promoted by Christian writers against Islam. These include discussions on the concept of *God* in Islam, the nature of supernatural beings (*angels*, *jinn*, etc.), misconceptions about Qur'anic personalities, and erroneous opinions about the Prophet Muhammad.
The research focused on nineteen issues out of the total, distinguishing between issues that resulted from a misunderstanding of a Qur'anic verse due to poor translation, and issues that discussed misunderstandings of a Qur'anic verse that even Muslim commentators themselves have disagreed on.
Roland called for avoiding the use of false propaganda and the promotion of misconceptions against Islam, which his predecessors had relied on, and emphasized that their confrontation with Islam should be based on deep and solid knowledge, something which, in his view, could only be achieved by mastering the Arabic language first.
Nevertheless, Roland's book remains one of the works that contributed to highlighting some true features of Islam in a period when knowledge of it in Europe was very limited.

This scientific research aims to shed light on the rhetorical value of emotions and values – an important yet overlooked aspect. It is one of the branches of rhetoric that seeks to influence the audience. This neglect is evident in the dominance of other rhetorical aspects when discussing texts. Rhetoric has many sources, and this study looks at rhetoric from a broader perspective that goes beyond the simplified classification into three categories: the science of meanings, eloquence, and embellishments. The focus on this classification and its variations, limiting rhetoric to it, restricts and marginalizes many of its potentials. Among these are the rhetoric of emotions and values, which this research addresses. We chose to focus on them to highlight their importance as vital tools of rhetoric, as they are fundamental components of human thought and feelings. This requires the researcher, when discussing the rhetoric of a particular text, to consider the impact from the perspective of values and emotions, and how this impact is received by the audience. This is what the research has strived to demonstrate. Emotions played a positive role in the poet's ability to achieve his goal, as they alleviated the burning anger of Al-Nu’man and sought to change his threats. Emotions worked in tandem with the noble values established in Al-Nu’man’s society, which the poet sought to emphasize in the character of his praised figure. In the end, through these elements, the poet achieved his objective.

This research presents a reading that attempts to explore the most significant points of excitement and beauty in the correspondence between the tiger and the wolf in the story The Tiger and the Fox by Sahl Ibn Harun (d. 215 AH). The high literary, artistic, and aesthetic values carried by these letters are evident to the reader. They express the inner turmoil of conflicting souls and carry many literary and rhetorical values that are apparent in their words and meanings. At the same time, they are linguistically captivating to the reader, in a way that is no less significant than what poetry does for its audience. This is where the excitement lies, particularly because it comes from an experienced writer with a long history of composing letters. The writer skillfully introduces the prose art, with its unique characteristics and features, to serve another literary genre — that of the story.
On the other hand, these letters were one of the fundamental structures of the story. The events unfold with the progression of these letters, and their intensity escalates as they reveal the emotions of the quarreling souls. It is a form of witty verbal warfare that draws the reader in and entices them to follow the event, with the better choice of words and meanings that the writer so artfully uses to engage us, compelling us to follow the unfolding of the events with continuous interest.

Camels are the luxury and honour of the Arabs, a symbol of their prestige and high status. They are used to determine the degrees of wealth and riches, and the ranks of nobility and prosperity. Therefore, the subject of camels has captured the attention of poets and has gained
The essence of the poem is a great fortune and a wide field. And if a poem from pre-Islamic poetry, in particular, touched on the subject of camels, riders and mounts, mounts and gifts; then the poems of “slaves of poetry” were more interested in them than others, and described them more than those who Others.
This study was organized to defend this ruling and argue for its credibility. Our evidence, to achieve this goal, is drawn from the poetry of this group, some of whom owned more than a thousand camels, and it was described Some others say that it is one of the epithets of camels in Arabic poetry.

The interaction with the Qur'anic and historical text and the influence of it is not limited to a specific poet. Rather, the field of distinction and difference among poets is defined by how they employ and interact with the foundational text. Many poets in both the Umayyad and Abbasid periods managed to incorporate the story of Moses (PBUH) into their poetry with a language they mastered. They also employed the interaction with the Qur'anic and historical text in its various forms and mechanisms, including references, hints, citations, and quotations. They benefited clearly from its meanings, metaphors, words, and structures, which gave their poems a distinctive aesthetic dimension. It was as if they wanted their poetry to elevate and draw closer to the sanctity of these religious texts. In fact, many poets from the Umayyad and Abbasid periods compared their patrons to the prophets and messengers, drawing inspiration from the doctrinal heritage and its stories.
This research examines the manifestations of the story of Moses (PBUH) in the poetry of the Umayyad and Abbasid periods (41 AH / 656 AH) as a study in light of the Qur'anic and historical textual interaction. It is a descriptive and analytical study that benefits from examining the relationships between texts in contemporary literary criticism.

Symbolic interaction theory is a conceptual framework in sociology that explains how individuals utilize the elements of symbols and language in creating reality. It purports that meaning is created and ascribed through interaction, hence shaping one's view of the world and his position in it. This theory was forwarded by George Herbert Mead and Herbert Blumer. According to this theory, people act according to the meanings things have for them; meanings originate from social interactions, and such meanings are altered through some sort of interpretative process. Andalusia is one of the significant southern regions in Spain, wedged between different kinds of civilizations starting with the Phoenicians, followed by the Romans, the Visigoths, and ending with the Muslims. The history of this region runs from early prehistoric settlements to Roman wealth, Islamic enlightenment, and Christian reconquest. In particular, the period of Al-Andalus under the Muslim rule is considered the golden era for science, philosophy, and architecture; the brightest example is the Caliphate of Córdoba.
Using symbolic interaction theory to analyze the Andalusian civilization helps one see how cultural symbols can mold social identities of people and communities. For example, linguistic diversity, such as Spanish, Arabic, and regional dialects, is a huge symbol of identity, reflecting on its Islamic past. Religious practices, architectural style, such as the Alhambra and Gothic cathedrals, are symbols of the historical narrative of Andalusia and act as foci around which interaction and people and communities identify themselves. The concept of Convivencia, implies the manner in which Muslims, Christians, and Jews negotiated identity and relationships, resulting in cultural transfusions benefiting art, science, and philosophy. Language was essential: Arabic was at least a lingua franca that extended both to the Christian and Jewish communities, thus allowing for integration and cultural hybridization. The learning institutions, such as the University of Cordoba, became centers of learning; knowledge was being shared across religious lines. Symbolic interaction theory decodes the convoluted Andalusian social dynamic, focusing on meanings derived from interactions among its diverse populations. It highlights how language, education, and cultural exchanges gave birth to a unique civilization while recognizing tensions latent in this multicultural society. Al-Andalus left behind a legacy of how coexistence and collaboration between cultures could have been possible if the people involved had meaningfully interacted with one another.

This study aims to briefly reflect on the elegy of the Andalusian poet Abu Bakr Ibn al-Labbana (d. 507 A.H.) in lamentation for the Bani Abbad and their kingdom of Seville. It examines the general meanings and themes, in addition to the rhythmic structure in the following patterns: the restricted (i.e., meter and rhyme) and the free rhythmic structure. These are the rhythmic elements in which poets differ in their proficiency. Under this pattern, we analyze the rhythmic values of individual letters, sound segments, and the integrated rhythmic structures within the framework of words and poetic constructions, such as repetition, alliteration, and the return of the second hemistich to the first, among other elements.
The study highlights the artistic creativity in the rhythmic expression, as the sound structure is seamlessly integrated with the meanings and connotations, forming an inseparable union.
The researchers based their analysis on a comprehensive rhythmic reading of Ibn al-Labbana’s poetry collection, particularly his Daliya elegy. They also considered previous studies of Ibn al-Labbana’s elegy for Al-Mu'tamid bin Abbad during his downfall at the hands of the Almoravids.

This study explores the concept of cleverness as presented in the book *Lutf al-Tadbir* by the esteemed scholar Al-Khatib Al-Iskafi (d. 421 AH), edited by Ahmad Abdul Baqi.

The book carefully defines cleverness through a selection of anecdotes, clarifying that it is not merely deception or trickery but rather a form of intelligence and acumen in handling matters in an indirect yet wise and effective manner. It highlights that cleverness can serve as a means to achieve noble objectives, provided it remains within the bounds of honesty and legitimacy.
Al-Iskafi presents numerous stories, proverbs, and wisdom sayings aimed at teaching how to act prudently and manage affairs with caution. He emphasizes the importance of foresight, good planning, and learning from past experiences by including various instructive anecdotes.
The book contains a diverse collection of stories, some drawn from the lives of the Prophet’s companions and their successors, while others depict the experiences of leaders, kings, and individuals who encountered challenges in governance and decision-making. For instance, some narratives illustrate crisis management and the need for sound judgment in critical situations. Al-Iskafi uses these accounts to demonstrate that sound management is not merely a momentary decision but an ongoing process that requires contemplation and consultation.
Among the stories discussed, some depict cleverness in the form of wisdom or the ability to achieve objectives without causing harm or engaging in conspiracy.

This thesis focuses on the phrase used by Arabs at the beginning of their compositions, letters, and speeches, "Amma Ba'd" (And After), and the various rules and matters related to it. The thesis consists of seven articles, each of which is linked to a term related to "Amma Ba'd," and each article is discussed in detail. The articles are as follows: (Article One: Its Contextual Meaning, Article Two: Its Grammar, Article Three: The Verbal Action in Its Accusative Position, Article Four: Its Origin, Article Five: The Ruling on Using It, Article Six: Its Usage, and Article Seven: The First Person to Use It).

This research aims to present the work of Shaykh al-Islam Yusuf Jamal al-Din bin Mahmoud bin Zain al-Din bin Abi al-Lutf (d. 1006 AH), based on a valuable manuscript for which I obtained a digitized copy from the As'ad Efendi Library in Turkey. The author based his booklet on the verse from Allah: "yaghfir lakum min dhunubikum" (He forgives you some of your sins), which appears in Surah Nuh (4), and also in Surah Al-Ahqaf (31). The study seeks to clarify the various meanings of "min" in this context, questioning whether it is partial, redundant, explanatory, or initial. The author gathered the opinions of previous scholars from grammar, semantics, rhetoric, and exegesis, such as al-Kisai, Sibawayh, Ibn al-Hajib, Ibn al-Sarraj, al-Jurjani, al-Zamakhshari, and others. The significance of this booklet motivated me to research and present it to readers and students.

This scholarly lexicon is positioned within the framework of archaeological studies. Its contours are drawn by tracing the journey of these documented individuals from their historically evolving contexts into a state of stable stillness following the invention of advanced recording systems. It is a quest for the authenticity of the word, not its multiplicity of meanings. To serve as a key to accessing all the actual readings of the sacred text, this lexicon necessitates the collaboration of multiple sciences and arts. Writing systems, phonology, the origin and development of scripts are all domains through which the research endeavors to prove the authenticity of the text. These domains may lead the research beyond the conventional and the common, drawing on the nature of recording in Semitic languages and others.

Among the linguistic phenomena discussed in Al-Shahrastani’s interpretation, and which received significant attention from early scholars, are antonymy and metathesis. Regarding antonymy, scholars were divided into three groups. The first group argued that antonymy and homonymy share a particular-general relationship, as both phenomena involve the union of form (the signifier) while differing in meaning (the signified). However, they differ in that homonyms have distinct meanings, whereas antonyms carry opposite meanings. Since difference is broader than contradiction, they concluded that homonymy is a broader phenomenon than antonymy. Contemporary Arab linguists and researchers have largely adhered to this understanding of antonymy.
The main point of distinction is that the difference between homonymy and antonymy is one of opposition, not mere contrast, as seen in homonymy. However, another group completely denied the existence of antonymy in Arabic, arguing that a single word conveying two opposite meanings creates ambiguity and hinders comprehension. A third group opposed this denial, asserting the validity of antonymy in Arabic. Most linguists believe that defending the phenomenon of antonymy in Arabic is, in part, a defense of its occurrences in the Qur’an.
As for metathesis (spatial transposition), it refers to the reordering of letters within a word—placing one letter before or after another—while generally retaining the word’s original meaning. Any semantic change that occurs is usually minor, as Arabic speakers, by nature, favor linguistic ease and fluidity, often altering phonetic sequences for ease of pronunciation.
Metathesis is considered a type of phonological modification since it alters the original arrangement of letters to align with the linguistic instincts of Arabic speakers. This phenomenon is not unique to Arabic but is also found in other Semitic languages. The following observations can be made:
- Some scholars, such as Ibn Faris, acknowledged the existence of metathesis in linguistic heritage, while others, such as Ibn Durustuyah, denied it.
- It is an auditory phenomenon, meaning that its examples are preserved through usage rather than following a strict grammatical rule.
- Metathesis plays a significant role in morphological structure, as it is one of the most dynamic phonological phenomena, second only to elision. When metathesis occurs in a word, it is often mirrored in its morphological pattern.

- Metathesis serves as a means of linguistic expansion. Every word resulting from metathesis is considered an independent root with full morphological derivations, rather than a mere variant of another form.
- Metathesis does not generally occur with verbs related to sensory perception, except for the verb "ra’ā" (to see) due to its phonetic composition, which includes the hamza (ʾ) and the long alif (ā). This phenomenon appears only in a limited number of Qur’anic occurrences.
- Morphologists have identified conditions and methods for detecting metathesis, helping speakers distinguish between original and metathesized words.
Examples of metathesis cited in Keys to Secrets and Lamps of the Righteous include:

- "safar" (to travel) → "fasar"

- "tarabbasa" (to wait) → "tasabbara" (to endure)

- "kallama" (to speak) → "malaka" (to own)

Abu Obaid Marzibani (d. 384 AH) classified his famous book (Dictionary of poets), to be one of the books, translations and choices, and included about five thousand poets, but his unique manuscript did not reach us in full, but came incomplete from its beginning and ending, so a group of poets fell for that, and on this copy the book was paleographied four times, including my scientific paleography based on the manuscript itself, issued in Beirut in 2010. I made a second part called (Complement of the Dictionary of Poets), containing 386 poets, and then over time I stood on new poets totaling (157) poets, picked them up from different sources, so I wanted to append what I found to that work as an addition and rectification, in preparation for the re-publication of the (complement) in full.