علیرضا باقر

Al-awamil al-miah is a concise book in the field of syntax authored by Sheikh Abdolghaher Jourjani (271 or 272 Ah). The intention of author in this concise book is introduction of one hundred factors of the science of syntax which are divided to two major groups of verbal factors and spiritual factors. As a result, the foundation of this unique innovation by Jourjani is the stress on the theory of agent. Tens of interpretations have been written over this book. Javaher al-nahv is also a concise book regarding syntax science written in Arabic authored by Tabresi (468-568 Ah). Contents of this book include: Marfuat and Mansubat and majrurat and functions and numbers by approach of summarizing with simple examples, evidence from Quran and recount of some quotes and poems and Arabic proverbs. Tabresi based his work on the theory of syntax in this book. In this article foundation and orientation of authors in Al-awamil al-miah and Javaher al-nahv are clarified and the difference between syntax and agent is explained. Writer's aim is to discuss similarities and differences of these two books.

The Theory of Nadhm (the Theory of Discipline) is a significant theory in Arabic linguistic studies, initially comprehensively stated by Abdul-Qahir al-Jurjani. Ibn Maytham Bahrani, a prominent theologian and literary scholar from Bahrain, succinctly articulated his rhetorical perspectives in the introduction to his commentary on Nahj al-Balagha. This introduction is characterized by a distinctive writing style and the systematic grouping and categorization of rhetorical issues, which first sets it apart from subsequent rhetorical works. Ibn Maytham al-Bahrani's exegesis of Nahj al-Balagha by Imam Ali (PBUH) is particularly noteworthy for its rhetorical significance among the numerous comments available. Numerous subsequent commentators of Nahj al-Balagha have referenced and utilized his work in their assessments. Although Ibn Maytham is a jurist, theologian, and Shiite mystic, he has expanded his commentary on Nahj al-Balagha to include not only theological and mystical discourse but also rhetorical subjects. He deemed a comprehension of rhetoric crucial for grasping the words of the Imam (PBUH), as he thought Imam Ali’s discourse to be infused with eloquence and rhetorical prowess. A significant segment of Ibn Maytham’s comprehensive introduction focuses on themes of eloquence and rhetoric, and an analysis of the style and organization of this particular piece is the subject of the current debate. Notwithstanding the numerous works on Ibn Maytham's commentary on Nahj al-Balagha, there exists no article, thesis, or book that particularly addresses the impact of al-Jurjani's Theory of Nadhm on the rhetorical segment of the introduction to this work. The majority of current scholarship has concentrated on its theological, jurisprudential, philosophical, logical, historical, and lexical dimensions. Abdul Munim Al-Sayyid Al-Shahat Rizq defended a Master's thesis entitled "The Rhetorical Issues between Ibn Maytham al-Bahrani and Ibn Sinan al-Khafaaji" at Al-Azhar University in 1421 AH / 2000 CE. This thesis juxtaposes the methodologies and stylistic approaches of these two scholars, examining rhetorical concerns such as ma'ani (semantics), bayan (expression), badi' (embellishment), their classifications, and the notion of nadhm (composition) along with its essence, elucidating both the parallels and divergences in their perspectives. This comprehensive analysis aims to address the deficiency in current scholarship by examining the potential influence of al-Jurjani’s theories on Ibn Maytham’s rhetorical framework, specifically on stylistic and compositional subtleties.

This study used an analytical-descriptive methodology to examine the research problem.

Al-Jurjani characterizes nadhm (composition) as the interrelation of words with one another (Al-Jurjani, 1395: 4, Introduction). Essentially, a solitary word possesses no intrinsic superiority when examined in isolation and devoid of its syntagmatic relationships with neighboring words across diverse contexts. Nadhm is merely the deliberate coordination of syntactic meanings and their grammatical principles inside discourse. He does not regard speech evaluation as merely concentrating on the word or its meaning. According to Al-Jurjani, a word possesses equal worth, irrespective of its intrinsic musicality or tone, until it is included into a composition; only at that point can it be evaluated as superior or inferior to another word. Ibn Maytham Al-Bahrani, in explicating the intricate interrelation of phrases, cites diverse forms of badi‘ (rhetorical embellishments) and nazm (composition), regarding them as the most sophisticated and exemplary techniques for structuring discourse. He categorizes nazm into 21 distinct types, which encompass: mutabaqah (antithesis), muqabalah (counterpoint), muzawajah (conjugation), i‘tiradh (parenthesis), iltifat (apostrophe), iqtibas (quotation), talmih (allusion), irsal al-mathalayn (proverbial expressions), laf wa nashr (envelopment), ta‘did (enumeration), tansiq al-sifat (ordering of attributes), iham (ambiguity), mura‘at al-nazir (associative parallelism), mad’h muwajjah (praise with multiple interpretations), muhtamal al-diddayn (double entendre), tajahul al-‘arif (feigned ignorance), su’al wa jawab (question and answer), hazf (ellipsis), ta‘ajjub (expression of wonder), ghuluw fi al-sifah (hyperbolic description), and husn al-ta‘lil (rhetorical justification).

Ibn Maytham and Abdul-Qahir al-Jurjani both highlighted the relationship between words and meaning, saying that meaning emanates from the mind. They posited that words and meanings amalgamate to create structures associated with grammatical interpretations, with each word's place being contingent upon the meanings of the preceding and following words in a sentence. Moreover, they posited that aesthetic judgment is dictated by intuition, which they contended is linked to meanings originating from the intellect. These findings and the data offered indicate that Ibn Maytham's rhetorical viewpoint, especially about the nature of writing and sentence construction, was shaped by Abdul-Qahir al-Jurjani. He also utilized Fakhr al-Din al-Razi’s approach of categorizing nadhm, which was influenced by al-Jurjani’s philosophy. Consequently, it may be inferred that, similar to al-Zamakhshari and Fakhr al-Razi, Ibn Maytham extensively employed al-Jurjani’s Theory of Ndhzm in expressing his rhetorical perspectives, illustrating the manifestations of this theory in the eloquence and rhetorical brilliance of Imam Ali’s (PBUH) discourse.

The rhythme of the verses is related with the arrangement of the letters in the words, place of the words, the movements and the degree of tension of the sounds as well as the meaning of the verses.This rhyme is very evident in chapter thirty of the Holy Quran.Many scholars and commentators including Sayyid Qutb and Taleghani have tried to use it to interpret verses and surahs.This research used a descriptive analytical method to analyze the methodology of the rhythm of the song on basis of 30th chapter of the Holy Qur'an and a comparative study between the Fi Zilal al-Quran and Partovi az Quran from the point of view of these two interpretators.The results of this study indicated that Seyyed Qutb's method of interpretaion and expression of rhythmic order in words and verses in his book, Fi Zilal al-Quran, was a traditional method and in most cases, it has not been analyzed based on specific rules and techniques which shows that the interpretations were based on his interest and personal opinions.However, Ayatollah Taleghani has proposed a more systematic framework in his interpretation of the Holy Qur'an, at the end of each surah,he has analyzed the rhythmic order of single words, phrases and surahs.

Artistic use of Quranic verses in the fabric of verse or prose literature; In addition, the strengthening of the semantic layers of the word leads to the beautification of the visual space from the reader's point of view. In this regard, Andalusi writer; Ibn al-Khatib's language separates the elements of revelation from their historical situation with a special skill and recreates them in the text of the linguistic structures of his travelogues with a special style. Among the travelogues of Ibn al-Khatib, the travelogue "Khattret al-Taif fi Rehlat al-Shitta wa Al-Saif" has a special style. This work is not just a descriptive report of the author's observations and geographical perspectives; Rather, it is a rich source of knowledge of the condition of human families and sociology, which has sometimes been written as the basis of the revelation of the Word of God. In this essay, we aim to analyze the descriptive literature of Ibn al-Khatib in his travelogue "Khatreta al-Taif fi Rehlata al-Shitaa wa Al-Saif" from the perspective of intertextual relations with the text of the Qur'an as a dominant style.  He has placed himself in the fabric of his speech and has elevated his descriptive literature in a wonderful way; In such a way that the narrative structure of the text of this travelogue is aligned with the timely applications of the Qur'anic verses, in order to present a picture of the artistic combination of human words with revelation teachings.

The study of conjunction and disjunction, a critical area within the science of meanings (ma'ani), is pivotal in the realm of rhetoric. Despite this, it has been somewhat neglected in Persian scholarship. This research endeavor posits that there has been an absence of a thorough comparative analysis of conjunction and disjunction, and it highlights the numerous parallels between the Persian and Arabic rhetorical traditions. The objective is to elucidate the distinctions and resemblances between these two linguistic approaches to conjunction and disjunction, thereby enhancing our comprehension of these concepts in both languages. Employing a comparative-analytical approach, this study is grounded in library-based research. The central inquiry is: What unique features, disparities, and commonalities can be observed in the treatment of conjunction and disjunction in Persian and Arabic? Regarding originality and precedent, it is important to acknowledge the existence of a few works, such as "Ma'alim al-Balagha" and "Durr al-Adab," which have explored comparative themes within the science of meanings across Persian and Arabic. Nevertheless, these works have not encompassed the diverse viewpoints of rhetoricians on a singular subject. Ultimately, this research concludes that the extent of similarities between Persian and Arabic in the context of conjunction and disjunction outweighs their differences.

The musical system of the language arises from the harmony of words and the phonetic and phenotypic harmony of the linguistic structure, the coherence and sequence of consonants and vowels, and turns ordinary speech into an artistic expression, and the more a literary work can use more dimensions of music, the more beautiful and effective it will be. The melody of the poem includes outer, lateral, inner and spiritual music, which in the present research, the last two dimensions are analyzed in the works of Ibn Mu'tazz, one of the prominent poets of the Abbasid era. Ibn Mu'tazz was born in an era in which the innovative use of poetry was popular among poets and writers, and his poems were in line with the prevailing trend in the literature of his time, full of arrangements and the use of literary arts, and at the same time, they were fluent and far from complicated. The purpose of the present research is to investigate the musical structure of Ibn Mu'tazz's poems in the field of asceticism in order to measure the phonetic and phenotypic harmony of meaning and basis in his compositions and finally it comes to the conclusion that: The choice of words served the intended meaning of the poet and was not used solely for the purpose of creating a beautiful format and rhythmic playing of the poem, and this is one of the strengths of his poems in conveying ascetic meanings and making an impact on the audience. In the field of spiritual music, the poet's attention is focused on the use of arrays such as tabaq, counter and assimilation of adjectives, which, in addition to the balance of verses and the creation of a rhythmic rhythm, carry the meaning of speech. The most prominent musical role in Ibn Mu'tazz's asceticisms is played by inner music, in which most of the words are played by arrays such as word arrangement, repetition of letters, repetition of words at the beginning of verses, tasdir and repetition.

There are many commonalities between the science of meanings in Persian and Arabic languages. Most of the scholars of Persian language rhetoric have imitated in their works and have mentioned the same contents of the semantics of the Arabic language without change or with Persian evidence. The present study has analyzed the existing differences regarding the topics of calling, mourning, asking, praising and condemning, wondering, wishing and recommending with the help of experts in the semantics of Persian and Arabic. The final result is that in the above-mentioned topics, while there are commonalities, there are also differences, and the structural model of Arabic sentences is often rule-based and analogical, but in the Persian language, the above-mentioned topics often do not have special and coherent structural rules. Receiving the content is usually done with methods such as the speaker's expression and tone.Receiving the content is usually done with methods such as the speaker's expression and tone.

One of the theories about the Holy Qurʾān is the theory of Michel Cuypers, who has a new approach to the order and coherence of the Qurʾān by using the method of symmetrical and inverse order. He divides the text into different levels, then introduces the various forms of symmetry in this theory with the help of authorial indicators and examines the forms of symmetry. Other forms of symmetry, i.e. synonymic parallelism, antonymic parallelism, authorial or evolutionary parallelism, axial order or circular composition, inverse order or mirror composition, or photographic contrast that are used for textual analysis with the help of authorial indicators of duality, synonymy, antonymy, similarity, repetition or identity, phonetic or consonantal allegory, morphological similarities, identical syntactic structure. In this article, after explaining the theory, its comprehensiveness and efficiency have been examined by applying the rules cited by Cuypers in Surah Al-Aʻlā, and it has been determined that the implementation of the aforementioned rules in this Surah and the classification of ayahs into sub-section, section, and part does not apply to a considerable number of ayahs. However, at the level of mafsal and maghta', it corresponds to all the ayahs.

One of the theories about the Holy Qur’an is the theory of Michel Cuypers. He believes that by using Semitic rhetoric and symmetrical and reverse orders, he has taken a new approach to the the Qur’anic text. Using the Semitic rhetoric, he divides the text into different levels, then presents and studies different forms of symmetry consisting of synonymous parallel, antonymous parallel, evolutionary parallel, order-based or circular composition, reverse order or mirror-like composition by means of the writing indicators of proximity, binarism, synonymy, antonymy, similarity, tautology, consonance, syntactic similarities, and the use of same syntactic structures. This article aimed to study the rules of Semitic rhetoric presented by Cuypers with the method of applying these rules in Sura As-Saf. Following an explanation of the above-mentioned theory, its comprehensiveness and function was analyzed. It was found that the rules of Semitic rhetoric in this surah are applicable at the level of maqta', the chain, but at the level of articulation, branch, qism, and juz', they are not applicable in a number of ayahs.

Stylistic studies intend to study the structure of poetry and to analyze its parts and the purpose is to reveal its arrangement according to the phonological, structural and rhetorical levels, in order to distinguish between the literary products and to judge the volubility of it; the literary text is interspersed with weakness and refraction. stylistics studies intend to study stylistic structures in literary discourse, "the rhythmic, synthetic and semantic structure." Its purpose is to reveal the relationships that bind these structures, in order to reach the uniqueness of the literary discourse in terms of its linguistic structure and the realization of the artistic and literary value that lies behind it. This study aimed to study the stylistics and style of language and terminology and its three levels: The phonemic level, the semantic level, and the syntactic level, and made a stylistic comparison in two poems: One is Shams al-Din al-Kufi and the other for Ibn Shahid. In the first poem, the poet laments his beloved city "Baghdad" and in the other he weeps for his loss of “Cordoba”. After studying the stylistic features and characteristics in both poems and comparing them, the conclusion is that both poets have used stylistic features to give it meanings that the apparent language is unable to convey to the recipient. Upon comparison, it became clear that each of them had surpassed in some characteristics over its owner and failed in others. and there is an intentional balance in the rhythm of the two poems.

Rawz al-jinan and rawh al-janan, written by Abu al-Futuh Razi, is one of the most important Persian interpretations of the sixth century A.H that has been researched in various aspects and angles, including theological, doctrinal, jurisprudential and lexical issues as well as the writing style of the work and its prose and the translation of the Quran. Despite this fact, rhetorical issues, especially semantics and Quranic rhyme, have not received much attention in aforementioned interpretation from scholars in the field of the Quran and rhetoric. ‘Repetition’, considered as one of the important Quranic styles and one of the topics of semantics, constitutes the subject of this article. In this article, the authors have attempted to explore and explain the style ‘repetition’ in aforementioned interpretation in a descriptive-analytical and library manner. To do this, after having introduced aforementioned style from a lexical and idiomatic point of view et mentioned different types of ‘repetition’, les authors examined its place in this interpretation and they came to the conclusion that Abu al-Futuh focused on the method ‘repetition’ and that he explained its functions, implications and concepts and that he justified its different uses in the Quran, which can be a basis for further research on his points of view and rhetoric ideas. In addition to being influenced by other researchers and commentators.

The Safavid era is a period of flourishing and promoting theological discussions responding to new doubts and criticizing views on various topics, including the narration of Thaghalayn (the two treasures) about the superiority of the Quran and Ahl al-Bayt (the household of the Prophet), which led to the writing of different treatises. The treatise of Tabsarah al-Ekhwan fi Bayan Akbariyah al-Quran by Khajuyi is about the motewater (successive) narrations of Thaghalayn, emphasizing the superiority and greatness of the Quran over Ahl al-Bayt as the major treasure expressing the opinions of scholars and answering their doubts. Based on the aforementioned treatise, we have tried to compare the views of Sheikh Bahai and Khajuyi. Sheikh Bahai says that in terms of literature and rhetorical techniques, the major and minor treasures expressed irrespectively in these narrations are ambiguous and not motewater. The meaning of the Quran Nategh (speaking Quran) is the same as kalam nategh (speaking words). So nategh has superiority over samet (silent). On the other hand, Khajuyi sees no reason for the major and minor treasures to be expressed irrespectively and ambiguously. He proves the tawator (frequency) of these narrations and considers the Quran as the major treasure and the speakers of the Quran as its interpreters. Khajuyi also believes that what guides and is followed is superior to what is a follower and needs to be guided.

Comparative Study in Elegies of Andalusia and the Arabic EastAbstract Lamentation of cities in Arabic literature means crying over cities that have been ruined following wars and seditions or all kinds of natural disasters. This kind of lamentation always in Andalusia and the Arabic East has been one of the most important poetic goals, because has been consistent to the song of political events and transformations, and has reread the events. This research using descriptive-analytical method is seeking for introduction of some of these elegies, and review of the contents existing in the poets of both regions and explaining the common and distinction points of them. According to the findings of this research, there are deep commonalities in the thoughts of Andalusian and the Arabic East poets that its origin is sociopolitical status. On the other side, upon study on the lamentation of cities, it is observed that description of civil, glory and prosperity of cities before destruction, implies on the compassion and regret over the loss of blessings and religious emotion including the common themes in the lamentation of poems of these two lands. Yet, there are differences between them, for example in the elegies of Andalusia against Arabic East elegies, we observe supplication and passion and longing for the homeland. Altogether, it is said diversity of contents in the poems of Andalusians is deeper and more effective, although in this issue, the Easterners have priority.

The narration of Saghalayn (two weighty things) expresses the Shiite belief in the integrity of the Quran and the infallibility of the Imams (AS). This narration recommends following the Quran and the household of the Prophet (S). In this regard, there are issues that have been discussed by scholars, such as the superiority of the Quran or the Prophet's (S) family. Mollah Ismail Khajui, one of the great scholars of the twelfth century in the Safavid period, was a contemporary of scholars including Molla Sadra, Sheikh Bahai, and Majlesi. In response to the doubts about the proof of the superiority of the Quran over the Prophet's (S) family, he wrote the book "Tabserah al-Ekhwan fi Bayan Akbariyyah al-Quran" in accordance with the narrations of the greatness and superiority of the Quran. In this book, based on the chain of narrators, he evaluates the various quotations of the narration of Saghalayn that contained the words akbar (bigger), aghdam (older), atwal (longer), azam (greater), and afzal (better), and proves that these quotations have been narrated with authentic chains of narrators in Shiite works. Using narration rules such as Aam and Khas (general and specific), Motlagh and Moghayyad (absolute and limited), Nasekh and Mansukh (abrogating and abrogated), and literary and syntactic rules, he also considers the Quran to be greater and superior to the household of the Prophet (S). Relying on the Quran and the Prophet's (S) family as a plan of life is one of the necessary conditions to reach the divine straight path, which we must follow if we want to walk in the path of humanity.

The rhythm and music of utterances, words and sentences and harmony of phrases is called "iqa'a".Iqa'a plays such a prominent role in creating an atmosphere for ayat and their coherence that the coordination among the atmosphere of ayat and the iqa'a of words and their meanings is regarded as a wonder of the Quran, which lends beauty to this holy book. Accordingly, it can be said that iqa'a and its different kinds have a vital role in enriching the music and meaning of ayat, especially in depicting the emotional and spiritual atmosphere pervading the Quran and it is seen that depending on the context of ayat, this element sometimes paints a peacefully pleasant picture and at times a harsh and difficult one. As the longest Quranic tale, Moses' (a.s) story is about the prophethood of this prophet in the land of Tawa, which has been mentioned in different surahs in short in Surah Taha in detail. . Using an analytical-descriptive method, this paper tries to trace iqa'a and its denotations in the story of Moses' (a.s) prophethood and thus explain iqa'a and its denotations corresponding to the atmosphere of the descent of the Quran. The results show that, iqa'a in these ayat varies from one condition to another; it is intense at times and calms at other times, and sometimes it is quick and slows at other times, but iqa'a in this surah is predominantly calm because although a big and formidable event has happened to Moses (a.s) in this land both in terms of accepting the weighty responsibility of divine prophethood and the difficulty of Pharaoh's invitation, the arrangement of letters, movements and distances of ayat have created an atmosphere of peace and pleasantness for him so that this burden and difficulty are reduced.

Speaking ironically is one of the most important artistic effects of a language and it is the sign of the speaker's power of speech. The Holy Qur'an due to the common sense of the discourse of its audience, has used irony. Given the importance of the Qur'anic ironies and the role of commentators' rhetorical opinions in understanding this book, it is necessary to research in this regard. The present study, attempts to compare the two important and authoritative interpretations, al-Tibyan and al-kashshaaf, and to reveal the opinions of Tusi and Zamakhshari on the irony and allusion and the effect of irony and allusion in interpreting Qur'an. The results of this research which is done with descriptive and interpretive method, demonstrate that Tusi and Zamakhshari have both paid attention to these items: the difference between irony and allusion, the issue of considering the literal meaning, the issue of necessity in irony and the role of context in discovering the allusive meaning; and Zamakhshari have been under the influence of Tusi in some cases however Zamakhshari's discussions are more complete about the method of interpreting the verses of divine characteristics in which the literal meaning has no place and in explaining the reasons of using irony and allusion.

Eloquence is one of the important aspects of the Holy Quran miracles and metaphor is considered as the most significant aesthetic effects of it. The translation of this literary technique is so difficult that some believe that it is impossible to translate it. However, some great translation scholars like Newmark think it is possible to do so and have offered special frameworks and methods for it. After giving a quick definition of metaphor and taking a look at some new important theories about its translation, this research investigated the translation of Quranic metaphor in Meybodi's ancient translation and Fooladvand's contemporary translation and concludes that these translators have used different methods to translate metaphor, so that the diversity is not just to create variety, but to reveal other facts, , Including the importance of the translator's time position and his adherence to the common principles at the time of that translation , because in the early centuries of Islam , the non-translatability of the Holy Quran was emphasized , so the translator had to reproduce a word for word translation to reduce this sensitivity . This limitation , however , was gradually removed.

Sheikh Abd al-Qahir Jurjani (400 – 471 A.H.), the renown Iranian rhetorician, grammarian and linguist, is among the few Muslim Iranian scientists who was ahead of his scientific community and his progressive, outstanding thoughts are of more use to modern literary men and linguists than fifth century (A.H.) literary men and grammarians. Most of the works he has left behind are in the fields of syntax and rhetoric. However, an interpretation of the Quran by Jurjani with two different rectifications has been published in recent years, which has raised serious doubts about its true ascription to him. In the present article, following an analysis of various extratextual and intratextual evidence and indications, it is concluded that this interpretation cannot be the work of Abd al-Qahir Jurjani and its attribution to him is not acceptable.

Although people talk to express their ideas, it is not the only way to do it, and they represent the majority of their ideas through their body movements and postures. This is called body language (Motion) now, and Kinesics (a modern branch of linguistics) is devoted to studying it. Expressing these movements in poetry or prose makes the work rich and consistent using imagination and depiction; therefore, studying it will be useful in literary texts. The present paper has studied the body movement(Motion) comparatively in poetries by Saadi and Mutanabbi, the two talented poets. Both poets are so eminent and high in rank that they can be regarded as the best Persian and Arabic representatives respectively. Thus, such comparisons contribute greatly to the richness of comparative studies of Persian and Arabic literature. This paper clearly concluded that Saadi also in this ground in quantity and quality had been much premier than Mutanabbi  and  this poesy form of Saadi again is seems stronger than him.

Translating metaphors from one language to another is a very difficult undertaking and a number of contemporary theorists in the field of translation believe it to be impossible. Of course, translation reserachers like Newmark, who believe metaphors are traslatable, have suggested specific frameworks and methods for its accomplishement, which need to be pondered upon. Following a brief discussion on the the definition of metaphore as well as modern theories concerning the translation of metaphor and its various techniques, the present study examies translation of the Quranic metaphors in Tabari’s translation. The results indicate that to translate metaphors, different techniques have been utilized in this translation work. All these techniques are among the ones suggested by Newmark and this diversity not only contributes to attractions of expression but also denote other facts.

Jamalodin Ali Ibn Mohammad Ibn Abdorahman Kanani, Dameshghi, Shafeie, also known as Ibn Aragh, was born in Beirut in 907 and died in 963(A-H). He had expertise in jurisprudence, hadith, recitation and other disciplines such as mathematics, trigonometry and poetic criticism. He was an outstanding speaker and the leader of people in Medina. Ibn Aragh wrote a number of books including the one entitled Tanzih Al-shariah al-Marfouah al-Akhbar shaniah al-Mouzoua. His other work is kept unknown until now is Al-Tazkerato Soghra which is kept in Koperili library of Istanbul. This valuable work contains useful literary, ethical, social, motto, jurisprudence, medical, and piety and praying materials, interpretation of Qur’anic verses, and other subjects in prose and verse. It was written in three volumes and was revised and edited by the author.In this paper, some subjects such as, science and wisdom superiority, the ways of making friends, behaving to others, wisdom and ethical advantages have been studied.