“Seven double numbers", based on “the rhetorical theory of expression” | ||
| دراسات في اللغة العربيّة وآدابها | ||
| Article 2, Volume 14, Issue 38, February 2024, Pages 31-62 PDF (1.38 M) | ||
| Document Type: Scientific- Research Article | ||
| DOI: 10.22075/lasem.2024.32270.1402 | ||
| Author | ||
| Mohammad Khaqani Isfahani* | ||
| Professor in the Department of Arabic Language and Literature, University of Isfahan, Isfahan, Iran. | ||
| Receive Date: 07 November 2023, Revise Date: 16 January 2024, Accept Date: 19 January 2024 | ||
| Abstract | ||
| The phrase: “Seven double numbers" is used only once in the Holy Quran, but due to its emphasis, it requires that we consider it as one of the key words of the Holy Quran, which is a great gift that God gave to His Prophet. The use of "Saba" in the form of indefinite left the ground for different interpretations of it. This research, with a descriptive and analytical method, aims to present three new examples of the “Seven double numbers”, the first of which is the seven Rotations in Surah Al Hamd, the second, the Seven double numbers in “the Holy Qur'an, and the third, the Seven double numbers in the world of creation and in the system of language and It is literature. The research reached results, the most important of which is that the “Seven double numbers" are the secret of Surat Al-Hamd and Surat Al-Hamd is the summary of the Holy Qur’an, and the Qur’an is a copy corresponding to the system of the universe, which requires that the “Seven double numbers" include the Qur’anic text and the world of existence at the same time, and is evidence of the truth of the rhetorical theory of the art of expression, the symmetry of the language and literature system with the system of the universe. | ||
| Keywords | ||
| Seven double numbers; Interpretation of The Holy Quran; the rhetorical theory of the art of expression; New Rhetorics; Text Research | ||
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| References | ||
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The Sources and References:
Vali, Zohra, Seven in the field of civilization and human culture, Tehran: Asatir, 2010, (2010). | ||
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