فصلنامه پژوهش های ادبی - قرآنی
سال چهارم شماره 4 (پیاپی 16، زمستان 1395)

Bayan-al-Maani is the first revelational exegesis in which, inspired by Mushaf of Imam 'Ali and relying on the register and order of ayahs respecting the circumstances of the revelation time, all Quranic Surahs were studied from a historical perspective, and according to their revelation order. To the author of this exegesis, Molla Hoveish Aal Ghazi, the best exegetic method is the one that is in the context of the revelation era of the Quran and based on a descending order. As the Holy Quran is revealed in Arabic, Arabic literature is required to understand and interpret the Quranic ayahs. Molla Hoveish deems it necessary to refer to literary sciences to understand and interpret ayahs, and has used Arabic literature widely. His specific approach to literary sciences as well as the principles and methods of reviewing and analyzing them is the topic studied in this paper. Some of the principles of Molla Hoveish's literary approach are: citing Quranic ayahs as a genuine literary source and using the register of ayahs, citing correct exegetic narrations, preferring register to narrations, using the Arab custom, citing Arabic poetry, paying attention to the circumstances of the revelation era, relying on historical evidence, utilizing literary sciences in apprehending the Quran and not putting them as the main purpose of interpretation.

Iranian people accepted Islam wholeheartedly when they heard the reviving call of this religion. All features of the Islamic culture are displayed in the Holy Quran. The enthusiasm to be adorned by the Quran and Quranic rites also found way to different aspects of Iranian's lives including Persian poetry and literature. Persian poets, using the Holy Quran ayahs, presented their oratory in various forms with reference to the Quranic ayahs and their meanings and decorated their words with Quranic concepts and subtleties. And besides being influenced by the content and themes, they were affected by the Quranic method of expression, adding beauty and greatness to their speech.
Adib-al-Mamalek Farahani is one of the poets whose Quranic influence can be considered as one of his stylistic characteristics. Quranic references in his poetry are abundantly visible in the form of borrowing, adaptation, allusion, hal (unstringing), translation and pictorial influence. The present study extracted and categorized different forms of Adib-al-Mamalek Farahani's influence from the Quran and the related evidence. Among these forms, borrowing and adaptation are the most, and pictorial influence and translation are the least frequent.

Construction theory is a fundamental theory in rhetoric, emerging from two invaluable books by Abdolghader Jorjani, namely, Dalāʾil al-Iʿjāz and Asrarul Balagha. This theory has produced thought-provoking semantic elements in Quranic sciences, literature and poetry. The present study tried to answer questions such as the following ones: How Jorjani could through establishing coherence between words and meanings and his special emphasis on the inner structure of discourse introduce such a theory? Where can we trace the main origins of this theory? What influence has this theory had on modern linguist's views? This study, after taking a look at aesthetics and its associated themes, explored the correlation between Qur’anic aesthetics concerning its miracles with the theory of construction, and analyzed ayahs from Juz' 30 in their co-text and expression structure, based on this theory. Then, Quranic aesthetics in categories of phonetic, thematic, content, rhythmic aspects, were evaluated on the basis of the same theory. Because Jorjani holds that the basic approaches of the aforementioned elements are only effective in the co-text and the internal register of discourse, not in components of rhetoric surface structure, the result is the demonstration of the beauty of ayahs based on this theory in terms of co-text and the coordination in the arrangement of letters and words.

Allegorical simile is one of the expression modes of the Holy Quran that Allah, the almighty, has used to make rational concepts sensible and to unveil their metaphysical meanings. Natural elements such as wind and rain have a strong application in the Quranic allegories due to human's direct contact with them. This article seeks to study positive or negative functions of these elements in Quranic allegorical similes relying on Linguistic Context Theory (at levels of phonology, morphology, syntax, semantics) and to answer the question that what roles these two natural elements play in the pseudo-image transfer raised from these allegories and how the Quranic linguistic context influence the explication of the functions of these two elements in the pseudo transfer. The results indicate that the two elements of wind and rain have a positive function in the Quranic allegories and although they are used in sentences that appear to have negative connotations, the linguistic context of the Quran is in such a way that these two elements have an indirect positive function in making the similarity understandable as well as in illuminating the concepts of this world's instability, the vitiation of the acts of infidels and polytheists, the result of spending in the way of Allah as well as the destruction of the reward of boasting and annoying donators.

Stylistics, as a branch of linguistics for criticizing literary works, uses various levels to analyze texts, one of which being the phonetic level. In this study, the most prominent features of rhythmic composition, which become stylistic features for their being “marked” were studied, and their aesthetic aspects were identified. The climax of rhythmic beauty in literary works can be found in the Quranic ayahs in which the words arrangement and their precise alignment has created congruence and coherence attracting readers’ attention to the text. As rhythm has a matchless function in the Holy Quran, in the present study the most significant aspects of rhythmic composition in Surah al-Anbiyā were put into our focus of attention. In this holy Surah, different evidence contribute to rhythmic composition, some of which have been turned into a stylistic feature owing to high frequency. Here three categories of internal, spiritual and mental rhythm were analyzed taking a descriptive-analytic approach. Making congruence, coherence, and agreement between word and meaning to attract readers, visualizing exhilarating scenes experienced by paradise-dwellers and agonizing ones by hell-dwellers through features of letters and fixing meanings in mind through applying antonymous concepts are considered as major rhythmic functions in this Surah.

Knowing about Allah is one of the most fundamental concerns for children, and teaching theology to children mandates special delicacy. The Quran and religious concepts are some of the greatest capitals used and usable in Persian poems including children poem. The purpose of the present study is to analyze the poeticizing of theology in children poems and contemporary children poets. Poems were selected randomly based on age groups of 10-12 and 13-16, and the following questions were raised: How has Allah been introduced in children poems? Which devices are frequently used by poets to achieve this purpose? The research method employed was content analysis performed in library-based study, structured around four pivots in each of which different methods of introducing Allah using poetic techniques were discussed. Personification, simile and the musicality of poems were found as the main devices in poeticizing theology in children poem.

For aesthetic purposes such as the impact of words on the audience, creation of style, musicalizing and accentuating speech, writers have benefited from a variety of linguistic possibilities such as “Paratactic Structures”. In the books "Nafathat-ol-Masdūr " and "Al-Tavassol Ela al-Tarassol”, which are considered technical texts, in which Quranic ayahs are frequent, written in the sixth and the seventh centuries, the authors, through mastering the Quran and its structural and conceptual system, coordinated ayahs with their own texts. In constructions with two or multiple structures, this coordination is linked with one of the coordinating conjunctions and is formed in the layers whose structures have similar "syntactic, rhetorical and phonetic" values. Coordinating structures with syntactic values have been applied in grammatical functions such as genitive, accusative, predicate. They are also used in compound sentences having explanatory dependent, accusative, and complementary functions. In rhetorical functions, coordinating structures have used figures of speech such as internal rhythm, crossed rhyme, internal line balance, oxymoron, confrontation, metaphor, simile, and musical system. In phonetic functions, coordinating structures with inducible and sound-meaning voices in the structures of both books have created the capacity for pleasant reading. In the present study, these roles in the common structures of text and ayahs in both books were examined. Semantic relationships of structures that could convey the messages of ayahs and texts to the audience, were analyzed in a variety of relationships such as synonymy, increase, contrast, sequence, emphasis, negation, etc.