The Arabic language grammar did not benefit from a versatility and discipline, and was not fully matured before the second century of Lunar Hejira, when scientists such as Ibn Jenni, Hammad Bin Sa/ma, Khalil Bin Ahmad Farahidi and Sybavih came to settle it. We can dare say that no one reviewed the Arabic language grammar and expressed it within a particular framework and c.ategorized it in a comprehensive way before Sybavih. In fact the Arabic language was raw before the Sybavith era, and it was after him and due to his knowledge that it gaineda full maturity.this,article.aimsto,discuss and. delibetate sybovih and his book from various aspects in view of the opinions of the past and present men of letters of the Arab world.

Why is it that the Masnavī of Maulānā Jalāl aI-Dīn Rūmī begins with the now familiar بشنواز/این نی(Listen to the reed flute...) and not with a prologue in praise of God, as has been customary in Persian poetry? This is the question that the author sets out to answer in this paper.First of all he cites the precedents, from the Samanid poets down to Ferdowsī and then down to Farīd aI-Dīn 'Attār, whose Manteq aI-Tayr has served as a model for Maulānā to emulate. These all contain, he says, opening passages that praise God and then pass on to the praise of the Holy Prophet of Islam. The author says the absence of a laudatory prologue at the beginning of Masnavī,is so conspicuous that all commentators of Masnavīhave found themselves obliged to take note of this shortcoming and find some justification for it. Some have said the outcry of the reed flute at the beginning of Masnavī amounts in fact to the praise of Almighty, though in an implicit mode. Others have resorted to other arguments.The author then says, perhaps the best answer was provided by the late Professor Forūzānfar, an unquestioned authority on Masnavī, in his class:"Masnavī is a book of infinite vastness; it is a sea whose shores are nowhere in sight; it has no beginning or end, and unlike other long poems it has no prologue or epilogue."The author then amplifies on this theme by citing two verses from the Holy Qur'an (verse 109 from chapter 18, Kahf, and verse 27 from chapter 31, Luqmān) which say, in effect, that if all the seas turn into ink and if all the woods become pens to record the praise of the Lord, the seas will run dry before all these words of praise are exhausted.Masnavī has no proper ending either, the author says. Two stories which come at the end of different MSS of this book as the final episode remain unfinished. Some may think the final pages of the MS are missing, but the author says the fact that there is no beginning or ending to Masnavī is deliberate, and there is a delicate reason for it, which is expressed in the following lines of Masnavī:سر ندارد کز ازل بو دست پیش                  پا ندارد با ابد بو دست خویشIt has no head, for it has existed before pre-eternity, It has no legs, for it will last with eternity.

The manuscript of "Izah-ol Mokhalefat Sunnite Le Nasse Ketab Va Sunnite" (An Explanation of the Opposition of Tradition with the Divine Decree and Tradition) by Allameh Helli (726 A.H.) has not been published yet. The author of this manuscript has compared the theological foundations of Sunnites with the Holy Koran and pointed out the places where these foundations contradict the Holy Koran; for this reason, some experts of Islam have considered it as a book of theological reasoning and interpretation. The manuscripts start with the 21Z" verse of the Chapter Cow (i.e. Baghara) and finish at the end of the Chapter Family of Imran (i.e. Ale Imran). The author of this manuscript has adopted the method of interpretation according to the order of the chapters and has not deal with ambiguities in detail. This interpretation is in a sense the first comparative interpretation and hence it deserves special attention.

Although all of chapers of Quran are precious and valuable but chapter of Hamd (thank God) according to the traditions, has a especial and high position. Prayer establishes with it and it is not changable. It includes the name of Holy God. It is the key of paradise. It is the abstract of Holy Quran. It also includes twenty names of God.

The purpose of this article is to analyze the Maihnavi"s concluding chapter from a phenomenological point of view. This chapter, which is referred to as "Ney Nameh" (Book of the Reed) in literary parlance, is an abstract of the six books of the Mathnavi.

For centuris the thoughts of many scholars have been engaged in sharh Nahj - ul - Balaghah. Some of them criticized its literal or intellectual points, and some others attended its religious characteristics.The consequences were contradictory, so the conflict increased to the level where the truth was lost. Some of these contradictory anthor are his belief and faith.In this article The writer tries to pont out pass a judgement in favor or against them farawau from all Kinds of fanaticism.

One of the matters which Molana Jalaloddin Mohammad-e Balkhi,. the gnostic and poet of the seventh century has considered from different points of view in his invaluable work -- Masnavi-eMa"navi-- is the holy Qur"an and its associated teachings including ethical, social and gnostical ones. The author of this article has examined those parts of Masnavi which have introduced the Qur"an as a holy book. Throughout this book, the beloved gnostic of Balkh has referred to such topics as: description of the Qur"an, taking hold of the Qur"an, thinking in Qur"an and hypocrites (monafeqin), Qur"an and the blind hearted, the image of Satan in Qur"an, commentators as well as Qur"an messages including examination, commending to do good, not to commit what is unlawful, instigation, and humiliation. He has also used these topics as a basis for expression of his exalted thoughts on different subjects.