The theory of comparative literature is a new theory, because its philosophy is based on the study of literature beyond the boundaries of language, culture and interdisciplinary. Comparative literature first appeared in France and other Western countries, and entered the Third World Universities from the second half of the twentieth century. Dr. Ghonaimi (1968) is the founder of comparative literature in Arab countries. Later in the field of comparative literature, many scholars such as Tahir Maki, Saeed Allush, Ezzedin al-Muna'sra, Hesam al-Khataib and others emerged. Hesam al-Khataib can be considered the largest and most accomplished Arab matchmaker. He follows the developments of the comparative literature more than other compatriots and has the most information and documentation on comparative literature in international and Arabic arenas. This article, by a descriptive-analytical and critical method, is attempting to discuss briefly the comparative literature and Hesam al-Khataib and introduces one of Hesam al-Khataib's most important books entitled as Afag Aladab Almogaran Arabian va Alemian. This book addresses the international and Arab worldviews of comparative literature. In this book, Khatib offers an evolved approach based on personal expertise and experience in teaching, writing, and attending Arabic and international conferences. He also corrects issues related to the history of comparative literature in Arab countries and he seeks to establish a link between Arabic comparative literature and world experiences. He introduces the scientific and cognitive experience of the Arabs from this knowledge, from the mid-thirties of the last century to the early nineties, and tries to give an Arab perspective in this field; a vision that includes a diligent and sincere effort to promote comparative Arabic literature. In conclusion, he reviews and critiques some books of Arabic theory. Therefore, this book is one of the best Arabic works in the field of comparative literature.

Despite the reputation and importance of Zamakhshari's Muqaddimat al-Adab, one of the oldest extant Arabic-Persian Dictionaries and a rich source of Persian equivalents of Arabic terms, it has not received considerable attention from scholars. The reason is probably the lack of a meticulous authentic edition of this book. Therefore, the two existing editions of this dictionary need to be emended to remove errors and defects. This paper aims to provide a critical edition of Muqaddimat al-Adab, and at the same time, focuses on a series of critical notes of the two editions of the book; notable among them are the following: Lack of a detailed introduction of the author and lexicographical method; insufficient description of the manuscripts; no editorial methodology for editing the manuscripts; no reference to the manuscript variants; incorrect recording of entries and their equivalents as a result of misreading the inscription; false etymological explanations; and irregularities within the Arabic and Persian indexes. Finally, with the new discovery of some authoritative and rare ancient manuscripts, a comprehensive critical edition of Muqaddimat al-Adab is essential.

Extracting the Usuli foundations of some Islamic jurists, including Mohaghegh Khansari, who have not left an independent Usuli work, is of special importance. In this research, in addition to examining one of the most widely applied issues of Usul al-Fiqh, namely ascertaining how an absolute term denotes absoluteness, his foundation in this regard has been analyzed and studied. The authors, after scrutinizing the Usuli books and Jami al-Mdarik fi Sharh Mukhtasar al-Nafi book, have come to the conclusion that the denotation of absoluteness by the absolute term is not due to convention; rather, it is realized with the help of the rational proof and through Muqaddimat al-Hikma (premises of wisdom). Such premises consist of the possibility of absoluteness and qualification, lack of evidence on qualification, the speaker being in the position of depiction and the absolute word not being indicative to certain instances; additionally, when relying on absoluteness, it is not necessary that the established amount is absent while addressing; instead, basically, the existence of the established amount while being in the position of addressing is non-sense.

The Qaṣīda (ode) is an orderly and collective semantic piece of poetic writing bearing messages and elements that distinguish the thematic character and the tone prevailing on the contexture of the text. The distinguished poet of the fourth century (in the Islamic calendar), al-Mutanabbi's Qaṣīda on the death of Abu Shuja Fatik, is a salient example of elegies, in which the originality of grief could be analyzed and investigated based on its intra-textual elements.The various viewpoints of literary criticism in the 20th century can be divided into two distinct approaches: (1) text-based and (2) intratextual. The traditional method was studying and discussing the literary work through the outside world and the author's life. Another approach is called intertextuality, which forms the center of the works of structurists and formalists. In this particular approach, the importance of the text itself overrides that of its intratextual elements. There exists the belief that some authors have expressed ingenuine feelings and emotions in their lamentations, not out of sincerity but duty and obligation. The present aim seeks to highlight and expand the intertextual elements by analyzing the literary work, the objective of which is to establish that the text, as an autonomous semantic unit, is capable of determining the ruling nature of the Qaṣīda's context. 2-Research methodology Comparison of one eulogy with another, taking into account necessary requirements. Respecting the autonomy of the text as well as trust in a uniform text, the prerequisites of this include following criteria and rules that ensure the validity of inference gives credibility to the paper.The study at hand has used the second method to validate and evaluate the genuineness of the grief expressed in the literary work, based on the thematic elements of the Qaṣīda. The thematic and structural elements were first identified then analyzed. The study's results were deducted from the analysis of these collected data. 3-Discussion Thematic elements compose a hidden treasure employed by the poet to express his viewpoint, line of thinking, and emotional standpoint to the reader. Any inference from or judgment on the text is made possible and validated by these elements. In order to distinguish the coherence and the genuineness of grief in the Fatik elegy, the following elements in the text have been studied, various semantic aspects have been taken into account, including technical, artistic, and thematic: 1) the state of the documents, 2) structural reasonings, 3) reverence and veneration, 4) the continuation of Dhikr, and 5) digression. The analysis and final conclusion on the genuineness of the grief in the elegy have been attained based on the quality of the aforementioned elements in the text. The varying inflectional structures in the text, various syntactic forms, and meaningful rhetorical context have made it possible for this eulogy to implement disguised subtleties to convey its illicit and implicit messages; this is indicative of the fact that the goal here is not only the conveying of the message but how the message is conveyed and through what means is even given a higher priority. The eulogized friendship has a distinct nature in the poet's interpretations. The text's portrayed images, interpretations, and qualifications all contribute to forming an image of an individual with immense prowess and eminence. The interpretations glorify the individual portrayed, while the qualifications enjoy authoritative rhetoric despite their masterful concision.The element of continuation of Dhikr is apparent in all 45 verses of the eulogy, from the beginning to the end, uninterrupted, throughout the entire poem and in various forms and expressions, each with their own particular distinction. Digression can be said to be the portrayal and presentation of a grandiose prospect of the scene and an artistic attempt to rever and glorify the elegized person. 4- Conclusion The analysis of intertextual elements which create this Qasida's thematic coherence concludes that the poet chose logical persuasion over emotional stimulation. By highlighting the individual's privileges on various discourse and artistic levels, the poet elevated him to a status worthy of praise and reverence. The utilization of linguistic devices, along with a dignified style and approach and a keen perception authority, have played the greatest role in the soundness of the text's context and communicating the poet's intended meaning. The analysis and exploration of the text's grammatical elements revealed that there exists more in-depth hidden messages and meanings in the interpretive sayings and depictions than what it might suggest on the surface.The text's Semantic and rhetorical structure contained subtle secondary meanings that in addition to indicating reverence and glorification, kept the remembrance of the eulogized person alive and dynamic in the horizontal and vertical contexture of the text. The element of digression, employed in a comparative approach, had made the eulogized person's virtues seem unique and special. The structure of the verses and the formation of the words in the elegy was accompanied by such subtlety that makes one think they are dealing with a cosmological argument, an argument in which the premise was set up in such a way that would eventually inevitably choose discourse for logical inference. Based on the analysis of the intertextual elements, the genuine grief theme that is greatly rooted in the elegy under study here is not the result of an emotional overflowing or other means often used in this genre of writing but is due to rationality that springs from the poet's sincere reflections on the matter. References Asvar, Moosa. Chakame haye Motanabbi. Edition 1, Tehran: Hermes, 2005. Bostasni, Foad afram. Almajanei Alhadise 3st, Beirut: Dar almashreq, 1986. Daad, Sima. Farhang Estelahat adabi. Edition 7, Tehran: Morvarid Press, 1980. Fakhoori, Hanna. AlJaame Fee Tarikh Aladab alarabi, Edition 3, Qom: Manshoorat e Zavelghorba, 2000. Farrookh, Omar. Tarikh Aladab Alarabi. 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