Arabic Literature

Abstract The science of naḥw or Arabic grammar discusses the relationship between the words of a sentence, with the aim of teaching Arabic speakers how to speak, read and write correctly, so that there is no problem in understanding and being understood. Muslim grammarians, from the late 1st century AH until now, have produced valuable works on the Arabic language and its grammar that perhaps have no equal in any other language, although they may have gone to extremes in this regard. Undoubtedly, when an experienced researcher carefully examines works such as "I'rab Al-Alfiyah of Ibn Malik", they will observe that the authors of these books have made mistakes in the analysis of some of the manṣūbāt (accusative nouns/objects); because identifying the role of marfū'āt (nominative nouns), majrūrāt (genitive nouns) and majzūmāt (jussive verbs) is relatively easy, but determining the role of some manṣūbāt is sometimes difficult. The authors of the article attempt to critique and analyze these errors by relying on the fifth chapter of the book "Mughnī al-Labīb". This article aims, through a critical analytical descriptive method and relying on Ibn Hisham's ten critiques of the mu'ribūn in chapter five of Mughnī al-Labīb, to identify the mistakes of the mu'ribūn and work towards correcting them.

Abstract Living in desert and not being permanently settled in one place have been the poetic features of the pagan Arab poets, especially Imro Al-Qais; The factor that has caused this movement and dynamism to be considered as a dominant element in their poetry, so that there has always been a kind of metamorphosis in their poetry along with the passage of time. In Imro Al-Qais’s Muallaqa, which is considered to be the foremost of ignorant poetry, parallel movement occurs in his poetry and becomes an effective element in the pictorial structures of the poem and also an important factor in its advancement, so that it can be claimed this dynamic element is the most important mortar of the coherence and continuity in his components of Muallaqa. An element that is born of the poet's realistic approach and his sensory view of nature and the result of his life balanced with the world around him. An inward-outward movement that originates from his inner feelings, gradually expands it into his out world, and finally connects the pulse of his romances to the paradigm shift of nature in the final images of the poem. In this way, the images of movement become an important and prominent element in the literary image of Imro Al-Qais's poet. The present study, which has been done in a descriptive-analytical manner and with the aim of creating a new look at illustration in the Imro Al-Qais’s Muallaqa, seeks to answer the question of what structures provided dynamic images in his poetry and how these structures achieve a general picture of movement and life were they effective in this poem? This study shows that the image of motion in the Imro Al-Qais’s Muallaqa is the result of the active presence of static and dynamic structures such as linguistic, rhetorical narrative components and also effective elements of time and place that referred to as structures images or pictorial structures. Structures that sometimes independently and sometimes in interaction with each other have made the general image of movement in his poetry stand out.

Abstract Al-kunya “Allusion” is a linguistic and cultural manifest by which Arab people are distinguished from the other nations. Indeed, it is an ancient manifest and whatever is its origin. It existed and was practiced among Arab’s traditions and was preserved and saved by Islam. As well, The subject of Al-konaa “allusions” includes not only human but also all positions of life and entity of animals, plants, substances, and concepts. Until present, many studies have dealt with this phenomenon from different aspects. This study seeks to find Al-konaa “allusions” in a linguistic cultural framework in order to reveal their cultural and historical roots through the study of the connotations of allusions. The second aim of this article is to find ways and means used by the Arabs in order to achieve what is the purpose of applying allusions. This article examines these methods according to the semantic relationship between genitive and sub-genitive in allusion and what is called allusion. The method used here is based on descriptive and analytical method. Accordingly, those allusions contained the old sources have been extracted and then in an analytical study and based on the desired goal it has been argued that among the methods of allusion it can be mentioned of allusion of the child in human and others. This method is the most method found in allusions. The word for allusion here is father and mother. which is contrary to what has been added here to son and daughter or place and time. So it is not limited to a thing or counter and antagonism and this is what we see in naming or a specific adjective by which the subject of allusion or origin and principle or product and child or place and circumstance can be known. Hence, in conclusion, allusion is an affair that has method. conditions. and ways with specific purposes.