Sekkâkî

He was a wandering poet who, when he heard the verse "So recite, you are commanded," he fell into prostration. They asked him, "Have you become a Muslim?" He said, "No, I prostrated to the eloquence of this verse." Also, the scholars of eloquence, such as the geniuses of the field, Abdulkahir al-Jurjani, al-Sakkaki, and al-Zamakhshari, and countless other learned poets and scholars, unanimously concluded that "The eloquence of the Qur'an is beyond the capacity of mankind; it cannot be matched." Moreover, since that time, continuously inviting to the arena of challenge, touching the pride and arrogance of poets and eloquent men, and in a manner that would break their pride, it declares: "Bring forth a chapter like it, or accept defeat and disgrace in this world and the hereafter." Despite this, the eloquent poets of that era, instead of taking the short path of challenge by producing a chapter like it, chose the longer path of battle, risking their lives and possessions. This proves that taking the short path is impossible. Also, the friends of the Qur'an, driven by the desire to imitate and replicate it, and even its enemies, motivated by the desire to oppose and criticize it, have since that time written and written, and with the progress of thoughts and ideas, millions of Arabic books have appeared. None of them have succeeded in reaching its level. Indeed, even the most ordinary person, if he listens, will surely say, "This Qur'an is unlike these and is not on their level. It is either below them or above them all." No one in the world, no infidel, not even the most foolish person, can say that it is below them all. Therefore, its level of eloquence is above them all. Even one man recited the verse "Glory be to Allah, in the heavens and the earth," and said, "I cannot see the amazing eloquence of this verse." He was told, "You too, like this traveler, go to that time and listen there." He imagined himself there before the Qur'an and saw that the beings of the world were scattered, dark, silent, and unconscious, without purpose, in a boundless, undefined space, in a world uncertain and transient. Suddenly, while hearing this verse from the Qur'an's language, he saw

Şualar ·Yedinci Sua ·machine translation (qwen3-32b-sre)

The proof of prophethood is only through miracles. The greatest of these miracles is the Noble Qur'an. Yes, the fact that the Qur'an is a miracle is a truth accepted and affirmed throughout the Islamic world. However, among the scholars, there has been a difference of opinion regarding the aspects of the Qur'an's inimitability. That is, there are many aspects in which its inimitability is claimed. Each scholar has preferred and chosen a particular aspect; there is no contradiction or opposition among them. The aspects of inimitability: 1. Giving information about the unseen and the future. 2. The absence of any contradiction, inconsistency, or error in its verses. 3. Choosing a unique style, unknown to poets, between verse and prose. 4. Being revealed from a person who was neither literate nor a writer. 5. Covering many sciences and truths beyond human capability. However, the highest aspect of its inimitability comes from the eloquence in its composition. Yes, this kind of inimitability of the Qur'an is on a level beyond human capacity. Those who wish to understand and form a firm conviction about this truth should study this tafsir (exegesis), similar works, and the Twenty-Fifth Discourse with attention to details. Those who wish to obtain a general understanding can also obtain sufficient information from the three approaches explained by the masters of eloquence, such as 'Abd al-Kahir al-Jurjani, Zamakhshari, al-Sakkak, and al-Jahiz, regarding this aspect of inimitability.

İşaratü'l-İ'caz ·Bakara Suresi ·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 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)

Fourth Element: The illumination is adapted to the degree of understanding and literary level of each era and to the capacity and ability of each class within that era. It encircles each era and each class within it with a door wide open and with a remarkable freshness that brings joy to each individual. Fifth Source: From the perspective of narration; it is the narration of the news of the former and the latter, the truths of the unseen and the witnessed, the secrets of the Divine, and the relationships of the physical world, which neither the evident nor the intellect and logic can deny. These are truthful reports that have been confirmed by the agreement of the previously accepted books and, in cases of contradiction, verified by authentic narratives. Sixth Element: It is the religion of Islam that he adopted and established, for which neither the past has been able to produce a similar one, nor will the future be able to do so. Seventh Source: It is the pleasure of permission derived from the excellence of truth, which emerges from the excellence of the six lights emanating from those six sources. It is known by its excellence. In this context, language and thought are insufficient to express it. Now, from those seven sources, only the second part of the first source, which is eloquence in poetry, the scholars of eloquence such as Abdulkâhir al-Jurjani, al-Zamakhshari, al-Sakkaki, and al-Jahiz have definitely declared the existence of three paths of permission.

Suâat ·Mektup 29 ·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)

Fourth Element: The illumination is adapted to the degree of understanding and literary level of each era and to the capacity and ability of each class within that era. It encircles each era and each class within it with a door wide open and with a remarkable freshness that brings joy to each individual. Fifth Source: From the perspective of narration; it is the narration of the news of the former and the latter, the truths of the unseen and the witnessed, the secrets of the Divine, and the relationships of the physical world, which neither the evident nor the intellect and logic can deny. It is the truthful information that arises from the agreement of the previously established books and from the verified narration in disputed places. Sixth Element: It is the religion of Islam that he adopted and established, for which neither the past has been able to produce a similar one, nor will the future be able to do so. Seventh Source: It is the pleasure of permission that arises from the excellence of the six lights emanating from those six sources, and from the beauty of truth, which is known by its effect. Its expression is concise in language and thought. Now, from those seven sources, only the second part of the first source, which is eloquence in poetry, the scholars of eloquence such as Abdulkahir al-Jurjani, Zamakhshari, al-Sakkaki, and al-Jahiz have definitely declared the existence of three paths of permission.

Suâat ·Suaat ·machine translation (qwen3-32b-sre)

Friend! The weakness of mankind in refuting even the shortest surah of the Noble Qur'an has been established by the aforementioned explanation. However, the question of permission (i'câz) from the perspective of the nature of mankind remains. That is, what is the cause and reason for the weakness of mankind? Indeed, the strength of those who attempt to argue and oppose the Qur'an has been blinded by the Almighty, thus rendering them incapable of engaging in such a challenge. However, according to the great masters of eloquence such as Abdulkahir al-Jurjani, Zamakhshari, and al-Sakkaki, the weakness of mankind is evident because their strength is insufficient to match the elevated style and composition of the Qur'an. Al-Sakkaki also said: "Permission (i'câz) is a matter of taste; it cannot be described or expressed." مَنْ لَمْ يَذُقْ لَمْ يَدْرِ That is, one who does not experience the taste of i'câz cannot comprehend it through description; it is like honey. However, according to the approach taken by Abdulkahir, it is possible to describe and express i'câz. We also accept this approach. Q - The words taifa, necm, and nevbet can fulfill the function of the word "surah." Why is the word "surah" specifically mentioned instead of these? A - It is to bind and confound them regarding the source of their doubts. For example: What caused them to doubt was the supposed fact that the Qur'an was not revealed all at once. Thus, if the Qur'an had been revealed all at once, there would have been no doubt about it being the word of Allah. However, since it was revealed in parts, they were led to doubt, saying, "This is the word of mankind; it is easy to compose in parts, and we can do it too." The Noble Qur'an, in response to their mistaken belief that it was easy to compose in parts, used the term "surah" to indicate and say, "Come then, bring forth the like of it, and let it be in the form you mistakenly believe is easy," thus trapping them in the very path they thought was easy. Similarly, according to Zamakhshari's explanation, there are many benefits in the fact that the Noble Qur'an was revealed in the form of surahs. Indeed, because it contains many strange and subtle beauties, this unusual style was chosen.

İşaratü'l-İ'caz ·Bakara Suresi ·machine translation (qwen3-32b-sre)

Second Shule The Second Shule has Three Lights. FIRST LIGHT It is established by the testimony of thousands of brilliant scholars of the science of expression and the art of meaning and expression, such as Zamakhshari, Sa'kaqi, and Abdulqahir Jurjani, that in the structure of the miraculous Qur'an, there is a remarkable harmony, a perfect coherence, a solid support, a firm correspondence, a strong interplay between its sentences and structures, and a sublime interrelation between its verses and purposes. However, there are eight or nine important causes that could break this interrelation, interplay, and support, as well as the harmony and coherence. Yet, these causes do not actually break them; rather, they may even strengthen the harmony, coherence, and interplay. Indeed, these causes operate to a certain extent and have drawn their heads out from the veil of order and harmony. But just as some protrusions and small spikes emerge from the trunk of a uniform, straight tree, they do not emerge to disrupt the tree's symmetry; rather, they emerge to contribute to the tree's ornate beauty and splendor by bearing fruits. Similarly, these causes also emerge from the structure of the Qur'an to express meaningful insights of great value. Thus, although the clear Qur'an was revealed over twenty years, piece by piece and in different places according to the needs of the time, it displays such a perfect symmetry that it appears as if it was revealed all at once. Moreover, although the Qur'an was revealed over twenty years and according to various and distinct causes of revelation, it displays such a perfect interplay that it seems as if it was revealed through a single cause of revelation.

Sözler ·Yirmi Besinci Soz ·machine translation (qwen3-32b-sre)

S - Is it possible to make a rival to the Qur'an, but it has not been done? C - If it had been possible, those who have touched its veins would have desired to oppose it. And if they had desired to oppose it, they would have opposed it. Because their need for opposition to cancel the claim was very great. If they had opposed it, it would not have remained hidden, it would have appeared. Because the desire for its appearance was great, as well as the means. If it had appeared, it would have gained fame in the world. If it had gained fame, it would have certainly been recorded in history, just like the delusions of Musaylimah. Since it has not been recorded in history, it means it has not been done. Since it has not been done, it means the Qur'an is a miracle. S - Why did the words of Musaylimah, who was from the eloquent Arabs, become a mockery in the world? C - Because his words became ugly and laughable when they were put to the test against words that were far superior. Yes, if a handsome man enters a beauty contest with the Prophet Joseph (peace be upon him), he will certainly appear ugly and laughable. S - Have those who have doubts and suspicions about the Noble Qur'an, suspected that some of its composition and words seem to contradict the rules of rhetoric? C - These people have no knowledge of the rules of rhetoric. As Sekkâkî said, the eloquence of the Prophet Muhammad (peace and blessings be upon him), who is the most eloquent of the eloquent, was recited repeatedly over a long time, yet these mistakes were not noticed, and yet these ignorant people have noticed them? How can this enter any mind or fit into any brain? Sekkâkî has well rebuked these ignorant people at the end of his Miftah. Yes, as a poet said: "If every barking dog you threw a stone at, there would be no stones left in this world." The second interpretation of this verse is: The previous verse implies that worship is commanded, as if the listener's mind asked, "What is the nature of worship?" and the answer was given, "As the Qur'an teaches." Again, "How will we know that the Qur'an is the speech of Allah?"

İşaratü'l-İ'caz ·Bakara Suresi ·machine translation (qwen3-32b-sre)