On the Second Matter
The safety and refinement of speech and the moderation of temperament is to distribute attention according to the rights and capacities of each listener, and to assign and wear the appropriate style and manner. Also, if there is a narrative, the speaker must imagine himself in the position of the person being described. For example:
If one is depicting the feelings and thoughts of another, one must enter into the person being described, dwell as a guest in their heart, and speak with their tongue. If one is dealing with one's own matters, then in the distribution of the signs of value—respect and attention—one must consider the rights, capacities, and ranks of each listener, and divide accordingly with justice, and in the styles, cut according to the measure of each capacity. Thus, each purpose can find a suitable style. For the principles of style are three:
First: The simple style. Like the plain and straightforward speech of Seyyid Şerif and Nasiruddin Tusi.
Second: The ornate style. Like the elegant and shining speech in the works of Abdulkahir, such as in "Delâilü’l-İ’câz ve Esrarü’l-Belâga."
Third: The elevated style. Like some of the magnificent speeches of Sekkâkî, Zemahşerî, and Ibn Sina. Or like the Arabic expressions in the translation of this book, particularly the elaborate yet firm passages in the thirty-third chapter. For the lofty subject of this book has led to the adoption of the elevated style. Not because the effect of my art is limited.
Muhakemat
·Ikinci Makale On Ikinci Mesele
·machine translation (qwen3-32b-sre)
· · ·
On the Second Matter
The safety and refinement of speech and the moderation of temperament is to distribute attention and the style of address according to the rights and capacities of each listener, and to assign and wear the appropriate manner. Also, if there is a narrative, the speaker must imagine himself in the position of the person being described. For example:
If one is depicting the feelings and thoughts of another, one must enter into the person being described, dwell as a guest in their heart, and speak with their tongue. If one is dealing with one's own matters, then in the distribution of the signs of value—respect and attention—one must consider the rights, capacities, and ranks of each listener, and divide accordingly with justice, and in the styles, cut according to the measure of the capacity of the style, so that each purpose can choose the appropriate style. For the principles of style are three:
First: The simple style. Like the plain and straightforward speech of Seyyid Şerif and Nasiruddin Tusi.
Second: The ornate style. Like the eloquent and brilliant speech in the works of Abdulkahir, such as in "Delâilü’l-İ’câz ve Esrarü’l-Belâga."
Third: The elevated style. Like some of the magnificent speeches of Sekkâkî, Zemahşerî, and Ibn Sina. Or like the Arabic expressions in the translation of this book, particularly the elaborate yet firm passages in the thirty-third chapter. For the lofty subject of this book has led to the use of the elevated style. Otherwise, the effect of my art is limited.
Muhakemat
·Mektup 105
·machine translation (qwen3-32b-sre)
· · ·
On the Second Matter
The safety and refinement of speech and the moderation of temperament is to distribute attention according to the rights and capacities of each listener, and to assign and wear the appropriate style and manner. Also, if there is a narrative, the speaker must imagine himself in the position of the person being described. For example:
If one is depicting the feelings and thoughts of another, one must enter into the person being described, dwell as a guest in their heart, and speak with their tongue. If one is dealing with one's own subject, then in the distribution of the signs of value—respect and attention—one must consider the rights, capacities, and ranks of each listener, and divide accordingly with justice, and in the styles, cut according to the measure of each capacity, so that each purpose can choose the appropriate style. For the principles of style are three:
First: The simple style (uslûb-u mücerret). Like the plain and straightforward expressions of Seyyid Şerif and Nasıruddîn-i Tûsî.
Second: The ornate style (uslûb-u müzeyyen). Like the elaborate and shining expressions in the works of Abdülkahir, such as in Delâilü’l-İ’câz ve Esrarü’l-Belâga.
Third: The elevated style (uslûb-u âlî). Like some of the magnificent expressions of Sekkâkî, Zemahşerî, and Ibn-i Sina. Or like the Arabic expressions in the translation of this book, particularly the complex yet firm passages in the thirty-third chapter. For the lofty subject of this book has led to the use of the elevated style. Not because the effect of my art is limited.
Muhakemat
·Muhakemat
·machine translation (qwen3-32b-sre)