JOURNAL OF RELIGIOUS LITERATURE AND ART STUDIES
Year:2021 | Volume:5 | Issue:4 (20)|Papers Count:7

The commentary of Ibn Maysam al Bahrani is one of the prominent commentaries of Nahj al-Balaghah, but more attention has been paid to its theological and philosophical aspects and its literary aspects have been neglected. One of the features of this commentary, which shows its literary status, is the commentator's effort to use Arabic poems and proverbs in the commentary. This article, by considering the literary importance of this commentary, and using a comparative and analytical method, have studied the various uses of poems and anecdotes in this commentary and showed that Ibn Maysam has referred to poems and anecdotes in various cases such as describing the words, defining the meaning of phrases and explaining the morphological and syntactic rules. Beside the description of the poems and anecdotes in the speech of Imam (A. S), sometimes he has completed the poems, and he has referred to the matla of the ode and its poet. Ibn Maysam did not suffice with the poets of a particular period and referred to the poems from the pre-Islamic era to the contemporary poets, as well as the poetry of poets of various sects such as the Shiites, the Kharijites, and others. However, there are also some criticisms of his work, including the fact that sometimes he did not mention the name of the poet and sometimes he did not write the verses completely. Also, in some cases, the poems in Ibn Maysam's commentary differs from the original ones, which has reviewed and corrected in this article by referring to diwans and other sources.

Many of the religious teachings and precepts of life in Islam are derived from the Holy Qur'an as the al-thiql al-akbar. Therefore, from the beginning of Islam until now, the knowledge of these teachings entitled " exegesis of the Qur'an" has been the focus of attention of Muslims, especially scholars of the Qur'anic knowledge. The existence of metonymy in the Qur'an and its role in interpretation has been proven by scholars of Qur'anic knowledge and has been discussed since the early centuries of Islam. Due to the scientific acceptance of Allameh Tabā tabā yee in the community of Quran exegesis, it is important to understand his views on the " metonymy role" in the interpretation of the Qur'an, therefore, the present study seeks to achieve this goal. In most cases, in addition to the book "Al-Mizan Fi Tafsir Al-Quran", the research data is based on exegesis, rhetorical and lexical books. Based on the descriptive-analytical method of analyzing the findings, the study concludes that Allameh Tabā tabā yee considers the metonymy role to be effective in verses related to divine attributes and actions, prophets, believers and non-believers, natural phenomena, and the hereafter.

In Nahj al-Balagha, by using the best methods of rhetoric such as stylistic device (simile, metaphor, and irony) and the first part of the inner music of the speech; that is, verbal, and semantic rhetorical figures, Imam Ali (A. S) have created beauty in expressing his intentions. This article is related to the second part of the inner music of the speech and discusses the semantics of sound to identify and examine the types of sounds, letters, and words in this sermon. Imaging is a method by which the writer or speaker conveys the desired mental concepts to the audience and visualizes them like a painting. This method of expression is widely used in Nahj al-Balaghah. Adequacy and delicacy in choosing letters and words, their sounds, and rhythm create a beautiful meaning in speech. According to what has been said, this study examines and analyzes the first part of the inner music (semantics of sound) and the methods of using sounds, letters, and words in the sermon of Shaqshaqiyeh, which is one of the famous sermons of Nahj al-Balaghah and contains political, moral, historical and doctrinal themes to depict some of the beauties of Nahj al-Balaghah through enlightening the mind of the audience. The overall result of the study indicates that in Nahj al-Balaghah, Sounds are precisely and coherently connected to their meanings and the collection of sounds, letters, and words with their meanings are in perfect proportion and harmony.

Opposition is one of the literary techniques and is called poetry or prose that is created in imitation of the work of another poet or writer. In Arabic literature, this technique has appeared more in poetry and one of the characteristics of the opposition in poetry is the similarity of weight, facial expressions and the subject of the poems of the desired poets. Literature and poets in different periods of Arabic literature, from the pre-Islamic to the contemporary period, have paid attention to this technique. And the field of committed religious and especially Shiite literature is not devoid of such contradictions. g these poetic contradictions are the poems of Safi al-Din Hali in response to Ibn Mu'taz. Ibn Mu'taz considers the Abbasids to be more deserving of the caliphate than the children of Fatemeh Zahra (PBUH). On the other hand, Safi al-Din Hali, in the same weight, rhyme and subject, responded to Ibn Mu'taz by presenting Qur'anic, intellectual and narrative reasons and violated his claims. In this article, we intend to analyze the content of Safi-ud-Din Hali's opposition and explain the most important allusions and points, Quranic, narrative and historical of his poem.

Spiritual Melody of Allameh Mohammad Hussein Kashef Al-Qata's Elegies Spritual melody is created through using coordination in the realm of meaning and utilization of exquisite figures of speech. Mohammd Hussein Kashef Al-Qata is one of the contemporary scholars who was also conversant in composing poems and he has glorious poems that are all cohesive and they are also full of innovation; Among them are his elegies in the sufferings of Imam Hussein ( peace be upon him) and his companions and clan which are portraiting the heart-rending situation of Karbala; Allameh has created a spiritual melody through utilizing various figures of speech such as symmetry, antithesis, antimetabole and allusion which accompanies his audiences with himself in the martyrdom and captivity of Imam Hussein. The present paper studies the poet's degree of success in using these figures of speech and also shows that he has been very successful in achieving his goal and exprresing his sorrow and grief in mentioning the events of Karbala.

The present study seeks to answer the question of how Allā meh Tabā tabā yee's exegetical theories have been considered in an efficient exegete's approach. An analytical-descriptive study of his exegetical theories by the exegete's approach shows that despite Allā meh's definition of exegesis, which he considers to be the understanding of God's intention as the author of the Qur'an; he has also examined and scrutinized his exegetical theories by the exegete's approach. Analysis of his theories in Tafsir Al-Mizan Fi Tafsir Al-Quran through the method of ijtihad and the Qur'an to the Qur'an, reveals the degree of compliance with the criteria of efficiency and acceptability.

Although colors in their physical aspect are only a reflection of a certain wavelength, in human culture, they became a means of expressing emotions, descriptions, imaginations, codes and symbols, and other human beings. The importance of this issue is such that colors have been used in different forms and concepts, both in the language of the creature and in the heavenly book in the language of the Creator. Hafez's poetry is also full of different expressive functions of color. The two colors black and white, which signify darkness and light, night and day, darkness and light, due to their remarkable capacities in illustration, both ironically and non-ironically, in these two texts. Sharif has been used. The question is, how did the Holy Quran and the poems of the unseen language use the non-ironic function of colors? And what are the similarities and differences between these functions? This article, using descriptive-analytical and comparative methods, came to the conclusion that both the Qur'an and Haturalistic and realistic expression. In some cases, their non-ironic function, such as describing the color of the hand in the miracle of Moses; Also, the colors of natural phenomena are perfectly matched. Other non-ironic functions of these two colors in the Qur'an include the color of the roads in the mountains, the color of morning light, defects and diseases and the drying of the plant, and in Hafez's poems, the description of the face of the Holy Prophet (PBUH) and the color of the snake. cited.