فصلنامه لسان مبین (پژوهش ادب عرب)
پیاپی 14 (زمستان 1392)

In some critical and literary associations, it is believed that a poet's poetic taste necessarily reveals his wide knowledge and deep understanding of the world around him. Such judgment of the poet prevents critical views on his poetries. However, if the poet has great ambitions and imaginations, this does not mean that he possesses higher perception and understandings than others in exploring the truth and its interpretations; or he has associations with the unseen world. Since the poet holds a different perspective towards the phenomena of his surroundings, he expresses his internal understandings in the form of new and stimulating words and phrases. Meanwhile, if the poet has a broader treasure of science and religion within him and has reached higher thoughts, higher concepts and themes can be traced in his poetry. Thus, the talent of processing poetry, catharsis of the spirit and the development of his personality provide the grounds to reach the truth. The deep and stable effect of the poet's system of thoughts on language and culture should not be taken as a compulsive effect on his thoughts and place in the society. When the poet's thoughts and approach taken from his theological and social ideas, becomes richer, and wider, the greater effect it will have on the mental development of literary and popular culture; this is followed by the growth of the public cultural awareness. According to the results of this comparative - analytical approach, it can be understood that Western literary Schools advocate mainly advocate the neutrality of the poems and focus on its artistic structure. This leads to depletion of poetry of human and religious concepts. However, in the Arab literary society, despite the impression of these Schools, we can see the spirit of sublime concepts which is the result of the poet's deep relation with the Universe; this can be seen while maintaining the identity and thought-provoking aspects of their poems.

The correct analysis of words and their erabs have a direct effect on our understanding of the meaning of verses. Incorrect erab of the words in the verses leads to undue inferences. Given that words are containers of meanings, accurate knowledge and understanding of their meanings is only made possible thorough understanding the relationship between words and its components. Exploring this relationship leads to understanding its message. In some verses, multiple meanings are due to the multiplicity and diversity of erab. Thus, Ibn Gini considers multiplicity of meaning as the result of multiplicity of erab. Different opinions on erabs in the interpretation of the verses and how to elicit divine laws play a very crucial role in their comprehension. Accordingly, the adoption of a collective opinion and relying on consensus, the syntactical term is called "Nehat Gomhoor", helps us to understand the verses and the true word of God. This would in turn free one to fall in the trap of false interpretations of God's words due to various thoughts and tendencies. The interpretation should be in line with the general spirit of the Koran, the Prophet and his disciples'' school of thought and the element of wisdom. This article has tried to analyze some of the damage caused by challenging differences in interpretation of Zamakhshery in interpreting Kashaf with Nehat Gomhoor, resulting in different understandings of the verses. Understanding these pathologies and their avoidance, in addition to understanding the right reasons, one can avoid misunderstanding of God's message.

Shaikh Maroof Nodehi (1753-1838) is a great scholar in Arabic and Islamic Sciences who has numerous literary works in prose and poetry. Of his prose works are the quintain of some of his popular Arabic odes and above them is the quintain of "Bardato Al-madih" or "Slave" by Mohammad Ibn Said Boosiy. Nodehi in composing the quintain ode of "Slave" employs a fluent, rhetorical and sublime style. In terms of vocabulary and themes, he sometimes follows the approach of Boosiry. Ties and interferences, literal and conceptual, the Koranic references, Hadith and sunna adaptation, are the features of his quintain; While in some cases his poems are not without the defects of rhetoric, unfamiliar and non- fluent vocabulary and repetition.

The Holy Koran is the best and the highest of the rhetoric sublime pattern that a can employ based on their capabilities and understandings of oneself. One of types of ellipsis is the Ehtebak style and it is one of the important issues in the semantics that is also used in rhetorical style of the Holy Koran. This style appears in the beginning or at the end of the speech in a parallel structure; attentively, the addressee understands the omitted words in the speaker's speech. Ehtebak has various types, depending on the opportunity and the need, such as similar Ehtebak, corresponding Ehtebak, positive and negative Ehtebaks, and anti-Ehtebak that have been used in the Koran in a subtle and elegant manner. This paper investigates the use of the Ehtebak style in the Holy Koran with samples and referring to the views of commentators. The present study shows that, in this study, sometimes singular and sometimes literal sentences have been dropped and the purpose of this style includes the avoidance of futile, respect, and humiliation.

Nazik is one of the foremost poets of Iraq who understands literature beside its aesthetics functions as a way to express social facts. In fact her poem is an amalgamation of literature and social affairs. Malaika takes a responsible stand towards her society, its problems and difficulties and this is an outstanding feature of her poetry. The poet's elegant taste and feelings not only is a reaction against the social problems of her society but also attend to difficulties of other Islamic countries such as Palestine. Most studies on the poet have examined the innate and romantic aspects of Nazik Malaika; the present article emplys a descriptive-analytical approach to deal with social and humanitarian issues of her poems such as social problems, tyranny and injustice, World War II, and its aftermath of lack and poverty. Thus, in her poems she takes into account human grief, anti-oppression, helping the poor and the unprivileged are portrayed with sorrow.

Proverbs, remained from ancient history, are important part of literature and culture of the different societies that show the anxieties, hopes, goals, and expectancy of people. Woman is a subject that has great importance in proverbs. This subject does not have a positive characteristic in classical Persian and Arabic literature. There are some negative and dark views ascribed to women and her identity in Persian and Arabic Al-amthal wa al-hikam. Foolishness, indeterminacy, the need to stay home and be covered, worthy of punishment, and deformed body are of those features assigned to women. Since this negative view of women in Persian and Arabic communities is considered to have driven partly from the religious perspective of people, this article aims to present a critical view on this subject based on the Islamic teachings in the Persian and Arabic Al-amthal wa al-hikam inrelation to the Koranic verses and Hadiths to prove these claims ill-founded.

The omnipresence of mythology in poetry and their combination with epic tone is expressive of the poet's idealism that employs myth to reflect the collective dreams of their society. The Palestinian committed poet, Mahmood Darvish, is one the pioneers of Palestine's resistance poetry that has completely devoted his poems to Palestine's ideals. In his poems he has depicted the sufferings and wishes of his fellow citizens and in doing this he has not neglected the magic of mythology and its influential role in political and social changes. He has exploited infinite sources of cultural, national, and transnational identity. Darvish poetry is bedrock of mythology with political and social functions that revives the mood of vigilance and resistance in the depressed Palestinians; through this new horizon, he views his future and country more attentively.