حجت رنجی

Many Quran scholars have long been fascinated by the An-Nur verse. Despite the absolute denial of any similarity between his holy nature and the rest of the cosmos, this monotheistic verse contains metaphorical language. Most Qur'anic interpretations have focused on the idea that there are outside and inner meanings and each interpretation has sought to decipher the meaning of this verse using one of these two ideas. This descriptive-analytical study explores and compares the interpretation of the An-Nur verse by Sharif al-Murtaza, Mulla Sadra, and Sultan Muhammad Sultan Ali Shah Gunabadi with their interpretations. The verse's meaning has been interpreted differently by these interpreters, who have divergent and, at times, contradictory intellectual orientations. Even though all three of them deviate from the apparent meaning, Sharif al-Murtaza interprets the verse by placing the concept of reasonable arguments within the field of the Arabic language and its capacities because the holy word is a type of speech. Mulla Sadra and Gunabadi, on the other hand, are proponents of the inner meaning of the verses and view the Qur'an as a mystical word with a high meaning potential that requires revelation and spiritual internalization to comprehend. The conventional definition of Sharif al-Murtaza's work is a commentary built on logic and language that benefits from his knowledge of both languages and words. Nevertheless, according to Mulla Sadra and Gunabadi, this attempt to comprehend the meaning is more interpretation in applying the verse to multiple and even endless cases.

Shahryar and Javaheri are among great contemporary poets respectively in Iran and Iraq. They shared the same experience in life. Both have tasted the bitterness of exile, which led to creation of precious works such as Sharyar's Heydarbaba Salam and Aljavaher's Dejlat Alkheyr . Each of these two works is unique and highly distinctive to each writer , for each reflects the eagerness and attachment to the motherland and the feelings of homesick and nostalgia . Apart from that , both of the poets are seriously devoted, devotion to the social issues in Shahryar's work and to political problems in Javaheri's work are quite visible and tangible .They showed the proceedings of their time generally in their works and particularly in the two aforementioned works. Sharyar and Aljavaher depicted the eye-catching scenes of their motherland so marvelously that their works are more like a beautiful landscape than poetry . Shahryar appears in his work literally romantic so does Javaheri , though there is trace of social political realism in his ode.

Each text has a style and can be examined. The Qur'an, as a divine and glorious text, can be studied and analyzed from various aspects, especially stylistics. Therefore, in this article, a descriptive-analytical method has been tried to analyze the phonetic, lexical, and syntactic structure of Surah Al-Balad based on stylistic principles. At the phonetic level, this surah has a kind of musical harmony and balance that is completely in line with the meaning and concept of the surah. This proportion, even in the choice of words and their specific structure, as well as in the use of special syntactic structures, expresses the worldview of its creator, that all these levels flow in a space of multiple meanings, as the beginning of the surah confirms. The ambiguity in words such as "father, son, and najdin" has caused different views in this surah, which can be partially analyzed and interpreted in connection with the general structure of the surah. On the other hand, lexical structure indicates the weight of "Mafalaton" in line with the certainty of meaning, emphasis, and exaggeration. Such choices, from the very beginning and with a special style, makes the audience think and think which in fact deepens and emphasizes the style of this surah indirectly and secretly by using the initial and different structure (La Oqsmo/ I do swear) and lexical ambiguity and expresses the miracle of the Qur'an.

It is nearly ten centuries that the first translation of the holy Quran was made in Persian language and also because of the increasing need for the translation, it is occasionally seen the new translations. But it is necessary to translate and be investigated some terms. One of these terms is ãÑÇæÏÉ . The verb of ãÑÇæÏÉ has been used eight times in the noble Quran and three times in hadiths. This usage is specialized in the holy Quran and of the Quranic innovations. The exegesis books and consequently its translations have interpreted this verb ãÑÇæÏÉ as seducing and tempting. But this meaning is violated by 61st verse of Sūrah Yusuf and the mentioned hadiths. The root ÑæÏ indicates the repetition of an action, tenderness and deceit. The usage of this root in Mufaale is meaning reciprocal action. In the structure ÑÇæÏ¡ å¡ Úä with the next word, two operators (agents of changes) wants to govern the word after the preposition Úä and transferring the verb to transitive by this preposition refers to the meaning deceit and trickery vice versa the usage of this verb with the preposition Úáی which it has the negative usage.