Grammar States
Discussion Join
Allegro
1.
I’rāb (Auditory
Love) & Mu’rab (Auditory
Beloved)
2. Tertiary States and Phonemes
(Sounds)
The
Role of Enhanced
Breathing Control
Speech
Phones are a
Replication Code
3. Haraka (Oral
Movement)
State
of Raf' (Elevation)
State
of Jarr (Being Tugged)
State
of Nasb (Outer-Boundary)
4.
Mubtada
(Beginn ing) & Khabar (Information)
5. Why were Hamza, Ya, Ta and Nun prefixed to the present/future
verbs?
David’s Divine
Oboe
The Musical
Primate
6. Why is the past tense verb based upon Haraka (Oral Movement)?
7. Why are the past tense verbs
based upon the Haraka (Oral
Movement) of
Fat-ha (‘a’ as in
‘cat’)?
8. Examples:
1:1-4
57:1
57:4
See Also:
Full Text of Asrar Al-Arabia (Secrets of Arabic) by Al-Anbari
http://www.untiredwithloving.org/secrets_arabic1.html
http://www.untiredwithloving.org/secrets_arabic2.html
http://www.untiredwithloving.org/secrets_arabic3.html
Allegro
When a man loves his woman or a father is in love with his child, upon
their sorrowful departure the recordings of their voices serve him
as acoustic beloveds as though they were fashioned again alive, but
this time they are made up of sounds and words, instead of flesh and
limbs!
Their sounds echo within his ears, neurologically pulsed within the
motor centres of his brain, when suddenly his arms motion with warmth
to embrace a long gone beloved, and yet it is an acoustic beloved more
loved and yearned for than the first biological one! A beloved made up
of waves of air and yet more concrete than the one made from flesh!
Just the same, every member of human-kind saw the Lord of The
Multiverse and now infinite time intervals have gone by and we have not
seen a trace of That Divine Beauty, but upon hearing the Inflections at
the very end of the Divine Words,
a Divine Beloved is sculpted from the
sounds and words, a beloved more loved than any other we can fathom,
present and ready to be loved forever, ceaselessly, and for every
member of our kind indiscriminately.
Azizam (My dearest) listen intently to the ‘o’ sound at the of the
words Al-HayyO Al-QayyumO
[3:2] when an ever-living immovable unwavering Beloved appears, to your
right and to your left, and for as long as the ending ‘o’ sounds are
echoing in your ears that ever-living is with you uninterruptedly.
And upon your own reciting of these Divine Inflections all
that you are
evanesces and your Oral Movements, a creature in and of itself, voyages
speedily into a far away universe, like unto the waves of air
travelling the atmosphere of earth, you that is no longer you will wave
through the Divine Atmosphere of Ever-living Ever-hearing, while the
muscle and cartilage and bone are left here to wither upon this earth.
1. I’rāb (Auditory Love) &
Mu’rab
(Auditory Beloved)
When Moses was chasing after the source of the light in the desert
night, the burning bush, he heard sounds that inescapably
made him fall in love with someONE out of sight, a maddening feral
love that robbed his mind
of all speech except the articulation: ‘Let me look at You!’ [7:143]
(when
in the mountain).
وَلَمَّا جَاءَ مُوسَى لِمِيقَاتِنَا وَكَلَّمَهُ رَبُّهُ قَالَ رَبِّ أَرِنِي أَنْظُرْ
إِلَيْكَ
In the language of the Arab ‘Desinential
Inflections’ (I'rab) are the sounds at the end of the
words, which change according to tense and case. These sounds are:
1. Prelinguistic
2. Precognitive
They serve the purpose of making the words become auditory beloveds:
From 'Secrets of Arabic',
by Al-Anbari:
“These sounds at the end of the words are called I’rab for they are
Verbal Mu’rab (Beloved),
i.e. they cause the word to be loved by the
listener; as the Arab says, “Woman U’rūb
(From I’rab)” if she
has become
a beloved for her husband. Similarly Allah said:
56:37 ‘Uruban (Beloved
(by nature)), i.e. beloveds for their husbands.
عُرُبًا أَتْرَابًا
Therefore what makes a speech become a Mu’rab (Auditory Beloved) for
the listener is called I’rab (Auditory
Love).”
Azizat (Your Dearest Beloved) added inflections at
the end of the Divine Words,
so that even if Azizam (you my dearest)
did
not understand the meanings, you could still hear the sound of the
Divine
Love and move towards ITs direction, hence the sounds are precognitive. And again
Zibāy-e Āsemāni (That Cosmic Beauty) added the inflections so that even
the newborn is able to receive ITs love and blessings, hence the sounds
are prelinguistic.
And finally
when you go to the grave of someone whom you loved so much, s/he hears
these inflections as a sent-love from you.
Listen! These inflections
are placed there to give you word-less
(Prelinguistic) love for a Divine Beloved above and beyond all
intellects, hence precognitive loving vis-à-vis prelinguistic
phonemes.
أسرار العربية
المؤلف : كمال الدين أبو البركات عبد الرحمن بن أبي سعيد الأنباري
باب الإعراب و البناء
إن قال قائل لم سمي الإعراب إعرابا والبناء بناء قيل أما الإعراب ففيه
ثلاثة أوجه:
إحدها أن يكون سمي بذلك لأنه يبين المعاني مأخوذ من قولهم أعرب الرجل عن
حجته إذا بينها ومنه قوله الثيب يعرب عنها لسانها أي يبين ويوضح قال
الشاعر - من الطويل -
( وجدنا لكم في آل حم آية تأولها منا تقي ومعرب ) فلما كان الإعراب يعين
المعاني سمي إعرابا.
والوجه الثاني أن يكون سمي إعرابا لأنه تغير يلحق أو آخر الكلم من قولهم
عربت معدة الفصيل إذا تغيرت فإن قيل العرب في قولهم عربت معدة الفصيل
معناه الفساد فكيف يكون الإعراب مأخوذا منه قيل معنى قولك أعربت الكلام أي
أزلت عربه وهو فساده وصار هذا كقولك أعجمت الكتاب إذا أزلت عجمته وأشكيت
الرجل إذا أزلت شكايته و على هذا حمل بعض المفسرين قوله تعالى ( إن الساعة
آتية أكاد أخفيها ) أي أزيل خفاءها وهذه الهمزة تسمى همزة السلب
والوجه الثالث أن يكون
سمي إعرابا لأن المعرب للكلام كأنه يتحبب إلى السامع باعرابه من قولهم
امرأة عروب إذا كانت متحببه إلى زوجها قال الله تعالى ( عربا أترابا ) أي
متحببات إلى أزواجهن فلما كان المعرب للكلام كأنه يتحبب إلى السامع
بإعرابه سمي إعرابا.
وأما البناء فهو منقول من هذا البناء المعروف للزومه وثبوته فإن قيل فما
حد الإعراب والبناء قيل أما الإعراب فحده اختلاف أواخر الكلم باختلاف
العوامل لفظا أو تقديرا وأما البناء فحده لزوم أواخر الكلم بحركة أو سكون.
2. Tertiary States and Phonemes
There are four states for the nouns and verbs in the language of the
Arab:
1. Raf':
'o' sound, as in 'or'.
2. Nasb:
'a' sound, as in 'cat'.
3. Jarr:
'i' sound, as in 'bit'.
4. Jazm:
Soundless.
Without a thorough understanding of these states all attempts to learn
the language of the Arab are obstructed.
Unbeknownst to most, these states carry important quanta of Spiritual
Knowledge, without cognizance of which the reading of the Divine Words
avails but little.
Note: Only the first three have phonemes
associated with them, Jazm is
soundless. So we might call these the
tertiary states.
3.
Haraka
(Oral Movement)
Haraka means motion; in the case of the grammar it means the
sound-producing movements of the
mouth, tongue, throat and other surrounding tissues (upper torso,
e.g. lungs).
There are three Haraka (Oral
Movement)
associated with the language of the
Arab:
1. Fat-ha,
this the ‘a’ sound, as in ‘cat’; it is
obtained when the mouth is open and the tongue and the lips kept still;
just like when the doctor pushes your tongue down and says ‘say Ahhh’
and the only sound you can make is this ‘a’, try to say 'o' or 'i' you
can't.
2. Kasra,
this is the ‘i’ sound, as in 'bit’; it is
obtained when the mouth is open and the tongue is allowed to move but
the lips are still and uncurled.
3. Dhamma,
this is the ‘o’ sound, as in 'or'; it is
obtained when the mouth is open and the tongue is allowed to move and
the lips are allowed to move, e.g. curled in an 'o' shape.
In terms of the complexity of the motions of the mouth-throat area
tissues, there is monotonic increase in the complexity of the tissue
movement from #1 to #3:
These seemingly simple motions of the lips and tongue, and seemingly
obvious and meaningless sounds, are indeed generated by one of the most
marvelous molecular inventions, an add-on in humans that the apes and
other primates are missing. The purpose of a complete overhaul of human
respiratory system and its underlying neural complexity is exclusively
for the sake of prolonged speech:
The Evolution of Human Speech: The
Role of Enhanced Breathing
Control
ANN M. MACLARNON AND GWEN P. HEWITT
School of Life Sciences, Roehampton Institute London
"Based on previously published analyses, these results
demonstrate that there was an increase in thoracic
innervation during
human evolution. Possible explanations for this increase include
postural
control for bipedalism, increased difficulty of parturition,
respiration for
endurance running, an aquatic phase, and choking avoidance. These can all
be ruled out, either
because of their evolutionary timing, or because they are
insufficiently demanding neurologically. The remaining possible functional
cause is increased control of
breathing for speech.
The main muscles involved in the fine control of human speech breathing
are the intercostals
and a set of abdominal muscles which are all thoracically
innervated. Modifications
to quiet breathing are essential for modern human
speech, enabling the
production of long phrases on single expirations punctuated
with quick inspirations at
meaningful linguistic breaks. Other linguistically
important features affected by variation in subglottal air pressure
include emphasis of particular sound units, and control of pitch and
intonation.
Subtle, complex muscle
movements, integrated with cognitive factors,
are involved. The
vocalizations of nonhuman
primates involve markedly less
respiratory control.
Without sophisticated breath
control, early hominids would only have been
capable of short, unmodulated
utterances, like those of extant nonhuman
primates. Fine respiratory control, a necessary component for fully
modern
language, evolved sometime between 1.6 Mya and 100,000 ya."
Source: Am J Phys
Anthropol 109:341–363, 1999.
The following research establishes that the Phones must be encoded
with
their articulation
as opposed to being just sounds our brains are
sensitive to. The Phones are then decoded and one of the pieces of
information within them is how the motor area in the brain can re-enact
the same spoken sound vis-à-vis the oral motions. Take the
concept one step further: Indeed these Phones are also encoded with
units of spiritual cognizance which allow the listener to articulate
i.e. encode spiritual entities within or feel spiritual feelings
otherwise unfelt:
Speech phones are a replication
code
J. R. SKOYLES
"Abstract -- Our ability to map sound into
pronunciation -- vocal imitation -- is necessary for
vocabulary learning, and so the
existence of language. It is also unexplained. Here I show that
speech is imitable due because of the
brain's use of the innate sensitivities of the vertebrate
auditory system for speech motor
targets. Their public nature enables speech to transmit
articulation
information. These units
I suggest closely link
with phones, the minimal unit of
speech segmentation. The conjecture that phones
function as a replicative code removes five
unexplained anomalies in language
science: (i) why nearly eight hundred phones exist but
any language uses only a tiny subset
of them (evolutionarily this makes no sense); (ii) why
newborn infants hear phones of all
languages; (iii) why animals also hear them; (iv) why the
Wernicke's
and Broca's areas arose from homologous areas in primates which process
imitation,
and why (v) in humans these areas process nonspeech imitation.
Until now, phones
have been studied in terms
such as how they transcribe pronunciation, or their
contribution through a 'motor theory of speech' to
word identification. I review the literature related
to imitation, and propose instead that phones should
be viewed neurobiologically
as the means by which
speech transmits the articulation
information used
to map speech into pronunciation.
Speech needs to carry such
information otherwise
the brain would find turning
overheard words into
vocal movements hard, and
possibly impossible. This
is particularly so since vocal imitation imposes tough
information processing constraints.
• First, it requires mapping auditory information
not only into motor movements but
movements
which recognizably recreate
the original
speech.
• Second, this mapping needs to be possible for an
extraordinary variety of potential articulations
--
the world's languages use phones that differ in
13
vocal tract 'places' (from the lips to the space
between the vocal cords, the glottis) and do so
through no less than 11 types of movements
(nasals to lateral clicks).
• Third, on top of this
variety of phones potentially
needing to be imitated,
infants (who must imitate
to learn new vocabulary) face the problem that
they must copy movements made by adults with
very different shaped and sized vocal apparatuses."
Source: Medical Hypotheses (1998) 50, 167-173
© Harcourt Brace & Co. Ltd 1998
State of Raf' (Elevation)
Translated from 'Lisanul Arab',
by Ibn Manzour Afriqi:
Raf’
“One of the Divine Names of Allah: Al-Rāfi’ who elevates the
believers with happiness and elevates ITs Aulia (Close Friends) with
Qurb (Divine Nearness):
58:11 Allah
will rise up, to ranks, those of you who believe and who
have been granted (Divine) Knowledge
Raf’ is the opposite of
fixing or attaching something. It is also the
opposite of Khafdh (Lowering),
for all applications of the concepts of
lowering or lessening.
Raf’ in ‘I’rab (Science of Inflection) is the
Dhamma (‘o’ sound) appended
to nouns and verbs. It differs
with (opposes) the grammatical states Jarr
(Suffix ‘i’ sound,
Kasra) and Nasb (Suffix ‘a’ sound, Fat-ha); Mubtada’ (The Beginning)
elevates the Khabar (Information)
and vice versa, for they help with
each other’s elevation."
Dara: Accumulation of Ilm (Divine
Knowledge) or access
to inmost inert
concealed Ma’refa (Unlearned
Knowledge) or prehension of Tauhid
(Divine
Oneness) glides the servant upwards towards Allah,
sometimes with the
feeling of felicity and sometimes with the feeling of closeness. The
proper way
to say this is: Allah
makes them glide upwards. The more the servant is
lowly, i.e.
tied to daily life and personal gains and desires, the more the gliding
is hampered.
Note: States of Jarr and Nasb (see below) are all
about connections and boundaries while the state of Raf’ is about breaking all
connections and trespassing beyond all boundaries.
لسان العرب ابن
منظور
رفع
في أَسْماءالله تعالى الرافِعُ: هو الذي يَرْفَعُ المؤْمن بالإِسعاد
وأَولياءَه بالتقْرِيب. والرَّفْعُ: ضدّ الوَضْع، رَفَعْته فارْتَفَع فهو نَقيض
الخَفْض في كل شيء، رَفَعه يَرْفَعُه رَفْعاً ورَفُع هو رَفاعة
وارْتَفَع. والمِرْفَع: ما رُفِع به. وقوله تعالى في صفة القيامة: خافِضةٍ
رافِعة؛ قال الزجاج: المعنى أَنها تَخْفِض أَهل المعاصي وتَرْفَع أَهل
الطاعة.
والرَّفْعُ في الإِعراب: كالضمّ في البِناء وهو من أَوضاع النحويين،
والرَّفعُ في العربية: خلاف الجر والنصب، والمُبْتَدأُ مُرافِع للخبر لأَنَّ
كل واحد منهما يَرْفَع صاحبه.
Dara: It seems that the
icon for an elevator is most suited to depict the state of
Raf’ (Elevation). Mind you
the elevation has gradations and each
gradation is a universe all to itself, like the floor-levels of a
building, each a space all to itself.
Al-Rahman-u: Dhamma (‘o’ sound at the end of
the Rahman) places the
Divine Name
into the state of Raf’ (Elevation).
We can view the concept
of elevation in a myriad of ways: Rahman
requires complexity of
knowledge(s) and cognizance(s) to be attained just as a lofty entity
requires gliding if it is to be reached; all else in creation (as the
Surah
indicates) are mere substances making up the very elevation and gliding
necessary to reach Rahman;
all we are and all we see around us are
nothing but mere steps of elevations for a terrific cosmic glide
towards the
Rahman; The ‘o’ phoneme at the
end of the Rahman is
indicative of the
immense quantities of complexity required to reach to this lofty state
of the Divine Presence; the lips are to be curled, single expiration is
passed from the Fat-ha (‘a’
sound as in 'cat') of Al-
(the) to the final Dhamma (‘o’
sound) in order to articulate Al-Rahman-u,
from the gut muscles to the entire thoracic
region via the larynx
and pharynx up to
the deepest of our cognitive faculties are synchronized and
orchestrated to produced the prolonged sound of ‘o’ at the end of the
Rahman; now imagine if you
continued to expirate the ending ‘o’ sound,
that symbolizes the complexities required to form the continuum around
us (and within us), from time to space to matter to all that we can
observe and the unobservable(s), for all entities to continue being or
transporting from one state to another, a Divinely exotic energy-form Mumāsika (from Yumsikuhunna in 67:19) is
required that fuels the continuity and all that which is
continuous, the very source of this exotic energy-form is the ‘o’
sounding phoneme:
67:19 Do they not observe the bird (single, genus of all flying
animals) above them, spreading their wings and folding them in? None
can uphold them (plural, all birds) (to continue to fly for millions of
years, bird after bird) except Al-Rahman-u
أَوَلَمْ يَرَوْا إِلَى الطَّيْرِ فَوْقَهُمْ صَافَّاتٍ
وَيَقْبِضْنَ مَا يُمْسِكُهُنَّ
إِلَّا الرَّحْمَنُ
This Dhamma (‘o’ sound) is a
code that is transported from the Malakut
(Spiritual
Realm) to this world; we hear this code as the sound
‘o’,
but with this code is also carried the decoding entities that, once the
human being is able to apply them, the actual knowledge
behind the phoneme
‘o’ is decoded/uncovered and marvellous new insights
from the
other universe is rendered available in this universe in order that the
human heart and
mind may glide aloft and upwards.
The latter makes each human being a Divine Translator who is
able to
take Spiritual Knowledge and code/encode them into sounds and letters
of alphabets, drawings, thoughts and emotions, software/hardware
calculations and theories and so on:
2:33. (Allah)
said: O Adam inform them (the angels, with information
about themselves, that even they did not know!)
قَالَ يَا آَدَمُ أَنْبِئْهُمْ
All pronouns are in the state of Raf’
i.e. elevated, since they require
other entities to be around endowed with cognitive faculties to form
societies
capable of understanding the concept of personal pronouns e.g. I, you,
we, they, or he, and the
latter (hu, he) introduces
complexity. In 112:1 Hu/Huwa
(IT,
He, third person
personal
pronoun) is thus elevated (by virtue of it's dhamma, 'o' sound) and it is also a
Mubtada’ (see below).
Mubtada means a (head) part of the sentence, usually the beginning,
about which the rest of the sentence gives information or expresses
concepts. Similarly, in English grammar there is 'subject' and
'predicate'; mubtada' is
subject, and khabar is the
predicate, the information. Here, to represent mubtada' (beginning, subject) we
have given the ideogram of a camcorder, i.e. mubtada (beginning) it is like a
video source, into which the rest of the sentence feeds its Khabar (information, predicate),
or in the sense that the rest of the sentence is the broadcast of the
video!
In the case of 112:1 (Qul Huwa
Allahu Ahad, Say IT/He is Allah, the
One), the word Huwa (IT, He)
is a source but has
no
broadcasting, in contrast to the word Allah which has information about
Huwa (IT),
broadcast
in the form of Ahad (being
one) and Samad (being the
master of all)
i.e. this information is broadcast optical-like Nur (Divine Light).
This lack of broadcast gives this source Huwa (Mubtada’) a unique type:
knowledge and cognizance of the Hu is
something very special - not a
public affair, but a unique gnosis only for the very gifted, who are
close to Allah.
Ibn Arabi
Kitab
(Book) of Alif
“For that matter, the Jews asked Muhammad, peace be upon him: Tell us
the Nasab (Origin) of your
Lord, therefore Allah
revealed: Say Huwa
(is)
Allah Ahad (One) 112:1” they
did not say “describe” or “characterize”
indeed they asked for the Nasab (Origin)."
Therefore the ideograms above that show the camera sources and
broadcasters,
as a collective, are describing a Nasab
(Origination) rather than
providing an explanation.
رسائل
ابن عربي
كتاب الألف
فقال
اليهود لمحمد عليه السلام
انسب لنا ربك فأنزل الله تعالى: قل هو الله أحد
فجاء بالنسب و لم يقولوا صف و لا انعت
State
of Jarr (Being Tugged)
Jaarr
& Majrur
Example:
The messenger ‘of’ Allah or ‘in’
the name of Allah or ‘by’ Allah or
‘towards’ Allah, are possible and correct sentences because Allah has
allowed for an entity which we recognize in lingual and geometrical
renditions, to be in relationship to Allah! Similarly, ‘of’ in a
vitiated form, e.g.“hat ‘of’ Dara”, allows for such relationships and
associations between humans and other entities.
State
of Nasb (Outer-Boundary)
Example:
The above concepts of boundaries and the balloon representation have
been adopted from the below, the ancient writings of the Arab
grammarians:
From Lisanul Arab
by Ibn Manzour Afriqi:
“Nasb is placing something
some place and raising it (e.g. flag pole
vertically).
Nasb is also the outer-limit
or outer-boundary.
Stones placed on tops of cliffs or hills to guide by them.
Nasb of Haram, the
outer-perimeter of the Haram.
Stones placed around the edge of a pool.
Visual Nasb: Something
erected so it is not hidden from the viewer.”
لسان العرب ابن
منظور
والنَّصْبُ: وَضْعُ الشيءِ ورَفْعُه، نَصَبه يَنْصِبُه نَصْباً،
والنَّصِيبةُ والنُّصُبُ: كلُّ ما نُصِبَ، فجُعِلَ عَلَماً
والنَّصْبُ والنُّصُبُ: العَلَم المَنْصُوب. وفي التنزيل العزيز: كأَنهم
إِلى نَصْبٍ يُوفِضُونَ؛ قرئ بهما جميعاً، وقيل: النَّصْبُ الغاية،
والأَول أَصحّ. قال أَبو إِسحق: مَن قرأَ إِلى نَصْبٍ، فمعناه إِلى عَلَمٍ
مَنْصُوبٍ يَسْتَبِقُون إِليه؛
والتَّناصِيبُ: الأَعْلام، وهي
الأَناصِيبُ، حجارةٌ تُنْصَبُ على رؤوس
القُورِ، يُسْتَدَلُّ بها؛ وقول الشاعر: وَجَبَتْ له أُذُنٌ،
يُراقِبُ
سَمْعَهـا بَصَرٌ، كناصِبةِ الشُّجاعِ المُرْصَدِ
يريد: كعينه التي يَنْصِبُها للنظر.
ابن سيده: والأَنْصابُ حجارة كانت حول الكعبة، تُنْصَبُ فيُهَلُّ عليها،
ويُذْبَحُ لغير اللّه تعالى.
وأَنْصابُ الحرم: حُدوده.
والنُّصْبةُ: السَّارِية.
والنَّصائِبُ: حجارة تُنْصَبُ حَولَ الحَوض، ويُسَدُّ ما بينها من الخَصاص
بالمَدَرة المعجونة، واحدتها نَصِيبةٌ؛ وكلُّه من ذلك.
وقال الليث: النَّصْبُ رَفْعُك شيئاً تَنْصِبُه قائماً مُنْتَصِباً،
والكلمةُ المَنْصوبةُ يُرْفَعُ صَوْتُها إِلى الغار الأَعْلى، وكلُّ شيءٍ
انْتَصَبَ بشيءٍ فقد نَصَبَهُ. الجوهري: النَّصْبُ مصدر نَصَبْتُ الشيءَ
إذا أَقَمته.
والنَّصْبُ: إِقامةُ الشيءِ
ورَفْعُه؛ وقوله: أَزَلُّ إِنْ قِيدَ، وإِنْ
قامَ نَصَبْ
هو من ذلك، أَي إِن قام رأَيتَه مُشْرِفَ الرأْس والعُنُق.
قال ثعلب: لا يكون النَّصْبُ
إِلا بالقيام.
وقال مرة: هو نُصْبُ عَيْني،
هذا في الشيءِ القائم الذي لا يَخْفى عليَّ،
وإِن كان مُلْقىً؛ يعني بالقائم، في هذه الأَخيرة: الشيءَ الظاهرَ.
القتيبي: جَعَلْتُه نُصْبَ عيني، بالضم، ولا تقل نَصْبَ عيني.
4. Mubtada' (Beginning) & Khabar
(Information)
Khabar (News, Information):
This is usually a noun or a phrase issuing
some useful information about the Mubtada’
(Beginning). In Arabic
grammar, the Khabar can be
omitted for a variety of purposes; the
Mubtada’ (Beginning) is then
left without any explanation.
Example:
1. “Allah is our
Lord”: ‘Allah’ is Mubtada’
(Beginning) and ‘our Lord’ is Khabar (News, Information).
2. “And it is better for you that you fast” [2:184]:
‘that you fast’ is Mubtada’ (Beginning) while ‘it is better for you’ is
Khabar (News, Information).
Mubtada' primary is rendered as a blue camera, secondary a grey camera.
Khabar primary is rendered as a blue broadcast antenna, secondary a
grey one.
From 'Secrets of Arabic',
by Al-Anbari:
“Mubtada’ is any word that
has been unaffected by any grammatical
operatives that could have operated on it, either by an explicit or
implicit operator. Kana (‘is’
or ‘was’) and its siblings are examples
of explicit operators, also Inna (Indeed,
whereas, behold, verily) and its
siblings and Zanan-tu (I
suspected) and its siblings. Implicit
operators
are similar but they are omitted e.g. ‘When the sky (shall
become (Yakuna)) sundered [84:1]’.
Or Mubtada’ is any word that
is unaffected by any semantic operators
e.g. Ha-Za (This) which is a Mubtada’ or the occurrence of a
present/future verb in place of a noun, e.g. I passed by a man (who) is
writing, i.e. present continuous verb ‘is writing’ is in place of
the noun ‘writer’. “
Dara: To summarize the above: Mubtada’ is the beginning of a
sentence
or a phrase which has no grammatical operative acting on it, hence the
beginning, e.g. a doer is Mubtada’ since
it does things that start the
sentences or a pronoun. Mubtada'
is usually a noun about which
information is
transmitted within the rest of the Arabic sentence. It is always in
Raf’ (Nominative) state. The
Mubtada’can also be a phrase. For example,
“Allah is our
Lord”: ‘Allah’ is Mubtada’
(Beginning).
أسرار العربية
المؤلف : كمال الدين أبو البركات عبد الرحمن بن أبي سعيد الأنباري
باب المبتدأ
إن قال قائل ما المبتدأ قيل كل اسم عريته من العوامل اللفظية لفظا او
تقديرا فقولنا اللفظية احترازا لأن العوامل تنقسم إلى قسمين إلى عامل لفظي
و إلى عامل معنوي:
فأما ا للفظي فنحو كان وأخواتها وإن وأخواتها وظننت وأخواتها وقولنا
تقديرا احترازا من تقدير الفعل في نحو قوله تعالى ( إذا السماء انشقت )
وما أشبه ذلك وأما المعنوي فلم يأت إلا في موضعين عند سيبويه وأكثر
البصريين هذا أحدهما وهو الابتداء والثاني وقوع الفعل المضارع موقع الاسم
في نحو مررت برجل يكتب فارتفع يكتب لوقوعه موقع كاتب
و أضاف أبو الحسن الأخفش إليهما موضعا ثالثا وهو عامل الصفة فذهب إلى أن
الاسم يرتفع لكونه صفة لمرفوع وينتصب لكونه صفة لمنصوب وينجر لكونه صفة
لمجرور وكونه صفة في هذه الأحوال معنى يعرف بالقلب ليس للفظ فيه حظ
وسيبويه وأكثر البصريين يذهبون إلى أن العامل في الصفة هو العامل في
الموصوف ولهذا موضع نذكره فيه إن شاء الله تعالى
From 'Secrets of Arabic'
by Al-Anbari:
“Mubtada’
is elevated (Marfu’)
or
in the state of Raf’ (Elevation)
because it is above all the
grammatical operators of a sentence! Others said it is elevated
since
the rest of the sentence informs about it (So it is the entity with
most information about it). Some
others said that both Mubtada’ and
Khabar
elevate each other since they both give information about the
other.
“
فإن قيل بماذا يرتفع الاسم المبتدأ قيل اختلف النحويون في ذلك فذهب
سيبويه ومن تابعه من البصريين إلى أنه يرتفع بتعريه من العوامل اللفظية
وذهب بعض البصريين إلى أنه يرتفع بما في النفس من معنى الإخبار عنه وقد
ضعفه بعض النحويين وقال لو كان الأمر كما زعم لوجب ألا ينتصب إذا دخل عليه
عامل النصب لأن دخوله عليه لم يغير معنى الإخبار عنه ولوجب ألا يدخل عليه
مع بقائه فلما جاز ذلك دل على فساد ما ذهب إليه وأما الكوفيون فذهبوا إلى
أنه يرتفع بالخبر وزعموا أنهما يترافعان وأن كل واحد منهما يرفع الآخر وقد
بينا فساده في مسائل الخلاف بين البصريين والكوفيين
فإن قيل فلم جعلتم التعري عاملا وهو عبارة عن عدم العوامل قيل لأن العوامل
اللفظية ليست مؤثرة في المعمول حقيقة وإنما هي أمارات
وعلامات فالعلامة تكون بعدم شيء كما تكون بوجود شيء ألا ترى أنه لو كان
معك ثوبان و أردت أن تميز أحدهما عن الآخر لكنت تصبغ أحدهما مثلا وتترك
صبغ الآخر فيكون عدم الصبغ في أحدهما كصبغ الآخر فتبين بهذا أن العلامة
تكون بعدم شيء كما تكون بوجود شيء وإذا ثبت هذا جاز أن يكون التعري من
العوامل اللفظية عاملا
From 'Secrets of Arabic'
by Al-Anbari:
“There are three reasons that the
Mubtada’ is exclusively in
the state of Raf’ (Elevation):
1. Mubtada’ is the
strongest (most important) element in the sentence; that is, the rest
of the
sentence is
about it (or it is the most complex element in the sentence since the
rest of the sentence explains it) and therefore the most complex Haraka
(Motion) of the mouth tissues is assigned to Mubtada’ and that is the ‘o’ sound
or the state of Raf’ (Elevation).
2. Mutada’ is the
beginning of the sentence, so is the elevation the beginning of
something (e.g. head is the beginning of a standing human being),
therefore Mubtada’ is given
the state of Raf’ (Elevation).
3. The rest of the
sentence informs about the Mubtada’,
just like the sentence that
informs about the doer and since the doer is in the state of Raf’
(Elevation) then Mubtada’ is
in the same state as well. "
فإن قيل فلم خص المبتدأ بالرفع دون غيره قيل لثلاثة أوجه
أحدها أن المبتدأ وقع في أقوى أحواله وهو الابتداء فأعطي أقوى
الحركات وهو الرفع
والوجه الثاني أن المبتدأ أول والرفع أول فأعطي الأول الأول.
والوجه الثالث أن المبتدأ مخبر عنه كما أن الفاعل مخبر عنه والفاعل مرفوع
فكذلك ما أشبهه فإن قيل لماذا لا يكون المبتدأ في الأمر العام إلا معرفة
قيل لأن المبتدأ مخبر عنه و الإخبار عمن لا يعرف لا فائدة فيه فإن قيل فهل
يجوز تقديم خبر المبتدأ عليه نحو قائم زيد قيل اختلف النحويون في ذلك فذهب
البصريون إلى أنه جائر وذهب الكوفيون إلى أنه غير جائر وأنه إذا تقدم عليه
الخبر يرتفع به ارتفاع الفاعل بفعله وقالوا لو جوزنا تقديم خبر المبتدأ
عليه لأدى ذلك إلى تقديم ضمير الاسم على ظاهره وذلك لا يجوز وهذا الذي
ذهبوا إليه فاسد وذلك لأن اسم الفاعل اضعف من الفعل في العمل لأنه فرع
عليه فلا يعمل حتى يعتمد ولم يوجد ههنا فوجب ألا يعمل وقولهم أن هذا يؤدي
إلى تقديم ضمير الاسم على ظاهره فاسد أيضا لأنه وان كان مقدما لفظا إلا
أنه مؤخر تقديرا وإذا كان مقدما في اللفظ مؤخرا في التقدير كان تقديمه
جائزا قال الله تعالى ( فأوجس في نفسه خيفة موسى ) فالهاء في نفسه ضمير
موسى وان كان في اللفظ مقدما على موسى إلا أنه لما كان موسى مقدما في
التقدير والضمير في تقدير التأخير كان ذلك جائزا فكذلك ههنا والذي يدل على
جواز ذلك وقوع الإجماع على جواز ضرب غلامه زيد وهذا بيّن.
وكذلك اختلفوا في الظرف إذا كان مقدما على المبتدأ نحو عندك زيد فذهب
البصريون إلى أنه في موضع الخبر كما لو كان متأخرا وذهب الكوفيون إلى أن
المبتدأ يرتفع بالظرف ويخرج عن كونه مبتدأ و وافقهم على ذلك أبو الحسن
الأخفش في أحد قوليه وفي هذه المسالة كلام طويل بيناه في المسائل الخلافية
لا يليق ذكره بهذا المختصر.
From 'Secrets of Arabic',
by Al-Anbari
“Khabar
(Information, News) for the
Mubtada’ (Beginning) is of
two sorts:
1. Single word:
Either it is a noun that is not an attribute, e.g. Zaid ,or it is an
attribute. In ‘Zaid is your brother and Amru is your son’ Zaid is the
Mubtada’ therefore ‘your
brother’ is its Khabar, again Amru is Mubtada’
and ‘your son’ is Khabar. In
‘Zaid is an attacker’ or ‘Amru is nice’,
both attributes ‘attacker’ and ‘nice’ are Khabar.
2. Phrase: Either
it is a sentence starting with a noun e.g. ‘Zaid’s father is departed’
both ‘Zaid’ is primary Mubtada’ and
‘(his) father’ the secondary
Mubtada’ and therefore
‘departed’ is the Khabar. Or
a sentence that
starts with a verb e.g. ‘Left Zaid’s father and Amru’. (Dara: "Zaid's
father and Amru" give Khabar (Information)
about the mubtada' verb 'to
leave')“
أسرار العربية
المؤلف : كمال الدين أبو البركات عبد الرحمن بن أبي سعيد الأنباري
باب خبر المبتدأ
إن قال قائل على كم ضربا ينقسم خبر المبتدأ قيل على ضربين مفرد و جملة
فإن قيل على كم ضربا ! ينقسم المفرد قيل على ضربين أحدهما أن يكون اسما
غير صفة والآخر أن يكون صفة
أما الاسم غير الصفة فنحو زيد أخوك وعمرو غلامك فزيد مبتدأ و أخوك
خبره وكذلك عمرو مبتدأ وغلامك خبره وليس في شيء من هذا النحوا ضمير يرجع
إلى المبتدأ عند البصريين وذهب الكوفيون إلى أن فيه ضميرا يرجع إلى
المبتدأ وبه قال علي بن عيسى الرماني من البصريين والأول هو الصحيح لأن
هذه أسماء محضة والأسماء المحضة لا تتضمن الضمائر
وأما ما كان صفة فنحو زيد ضارب وعمرو حسن وما أشبه ذلك ولا خلاف بين
النحويين في أن هذا النحو يتحمل ضميرا يرجع إلى المبتدأ لأنه يتنزل منزلة
الفعل ويتضمن معناه.
فإن قيل على كم ضربا تنقسم الجملة قيل على ضربين جملة اسمية وجملة فعلية
فأما الجملة الاسمية فما كان الجزء الأول منها اسما وذلك نحو زيد أبوه
منطلق فزيد مبتدأ أول و أبوه مبتدأ ثان ومنطلق خبر عن المبتدأ الثاني
والمبتدأ الثاني وخبره خبر عن المبتدأ الأول وأما الجملة الفعلية فما كان
الجزء الأول منها فعلا وذلك نحو زيد ذهب أبوه و عمرو إن تكرمه يكرمك وما
أشبه ذلك أما الظرف وحرف الجر فاختلف النحويون فيهما فذهب سيبويه وجماعة
من النحويين إلى أنهما يعدان من الجمل لأنهما يقدر معهما الفعل فإذا قال
زيد عندك وعمرو في الدار كان التقدير زيد استقر عندك وعمرو استقر في الدار.
5. Why were Hamza, Ya, Ta and Nun prefixed to the present/future
verbs?
From 'Secrets of Arabic'
by Al-Anbari:
“Originally these prefixes were the three Madd (Prolonging,
Continuation) letters i.e. Waw,
Ya and Alif”.
Dara: A Madd (Prolonging, Continuation)
letter needs to be added to the
beginning of a verb to make it render a prolonged or continuous action
from present into future. Therefore the letters that had the Phonemes
i.e. recognized minimal units of sounds, which could be uttered by the
mouth region and maintain an indefinite prolonged
pronunciation/exhalation were chosen for this task to represent or TAG
continuity and prolongation from present into future. These
prolong-able prefixed phonemes are:
1. Waw:
(English
equivalent of the English 'double-u' (w); It gives prolongation to the dhamma sound 'o'. When one Waw follows another immediately
they together sound as ‘oo’ in ‘fool’. Therefore you can indefinitely
prolong, via
exhalation, the phoneme
‘oooooooooooooooooooo…’
2. Ya:
(English equivalent is 'y', a prolongation of the sound 'i', kasrah phoneme) When
one Ya follows another Ya immediately
they together sound as ‘ee’ in ‘eel’. Therefore you can indefinitely
prolong, via
exhalation, the phoneme: ‘eeeeeeeeeeeeeeeee…’
3. Alif:
When one Alif follows
another Alif
immediately they together sound as ‘a’ in ‘ah!’. Therefore you
can
indefinitely prolong, via exhalation, the phoneme:
‘aaaaaaaaaaaaaaaaa…’
أسرار العربية
المؤلف : كمال الدين أبو البركات عبد الرحمن بن أبي سعيد الأنباري
باب المعرب و المبني
إن قال قائل ما المعرب والمبني قيل أما المعرب فهو ما تغير آخره بتغير
العامل فيه لفظا أو تقديرا وهو على ضربين اسم متمكن وفعل مضارع فالاسم
المتمكن ما لم يشابه الحرف ولم يتضمن معناه
والفعل المضارع ما كانت في أوله إحدى الزوائد الأربع و هي الهمزة والنون
والتاء و ا لياء فإن قيل لم زيدت هذه الأحرف دون غيرها قيل لأن الأصل أن
تزاد حروف المد واللين وهي الواو والياء والألف
Dara:
Human being is the
medium for Divine
Translation (decoding); he translates/decodes the Divine
Knowledge and
Information from
the Malakut (Realm
of
Spirits) to the Mulk (Corporeal
Realm) and
Malakut (Realm of Spirits),
whether he wills or not, consciously or
subconsciously, alive or unliving, pious or evil; an extraordinary
Divine Instrumentation for the sole purpose of transference of Divine
Knowledge from the lit regions of Wujud
(Being-ness) to the unlit
darkling regions of both Being and Non-Being (‘Adam); and to this end
his thoracic
instrumentation genomically modified/perfected in order
for him to
utter prolonged phonemes,
and to switch between 800+ such phonetic
units, willingly or unwillingly, to acoustically articulate the
architecture of flow of potentialities and uncertainties within the
continuum of time vs. the indivisible incurable actualities of Qidam
(Realm of all actualities free of probabilities); like unto a
song-bird singing-flying through the atmosphere of Hudhur (Divine
Presence), distinguished from the rest of the creation, performing
ceaselessly for the audience of all that is and for all that was and
for all that will
be, an incessant song uncovering (Kashf)
the Divine Architecture of
the passage of
time. His ability to pronounce ‘ooooo’ and at the same breath (without
the need to inhale) switching to ‘eeeeeeee’ or ‘aaaaaaaaaaaa’ are
unique to his thoracic
anatomy and genetics, a Divine Translator
equipped with Divine Phonetics as the Song Bird of Eden who decodes the
thoracic-based sounds into the immovable truth about the time and the
Owner
of Time. From his lips, nasals, throat and thoracic
regions expirates
sounds that can give life to the unliving, give love
to the unloving, and traverse unnumbered universes, and all that
through
a few grams of skin, muscle, bone and cartilage; a testament to the
ubiquitous greatness of Master of Time Hu
generously shared with human
beings
the cognizance of potentialities and actualities and the benevolent
passage of time:
2:37. Then received Adam from his Lord words , and his Lord Turned towards him; for
Hu/He
is Oft-Returning, Most Merciful.
فَتَلَقَّى
آَدَمُ مِنْ رَبِّهِ كَلِمَاتٍ
فَتَابَ عَلَيْهِ
إِنَّهُ هُوَ التَّوَّابُ الرَّحِيمُ )
Azizam (My Dearest) those ‘words’ were partly the genomic modification
(new nucleotide sequences added) to his thoracic
anatomy and nervous
system to empower him to yearn and sob, and to hope and laugh in
a verbose manner behind the reach of the highest ranking angel, with
tiny
expenditure of energy for minute oral motions and silent expirations of
his lungs and imperceptible movements of thoracic region of his torso.
And this thoracic modification was necessary for his Lord to turn to
him to
hear his sobs and to listen to the articulate moan of his yearning,
while he sat or while he walked or while he slept; for Adam ran through
the gardens of Eden broken-hearted and other than panting and screaming
had no other faculties of communication to ask his Lord to hear him to
forgive him!
And after the endowment of such Divine Genomic Gift, he had to be
transported to a lower realm of existence for Adam to struggle to evanesce (away
from imperfections) upon this ever-evanescing spiritual habitat gushing
with the waters of Ma’refa (Divine
Gnosis), the planet
Earth:
2:38. We said: "Get you down
(to become perfect) all from here; and if, as is sure, there comes to
you Guidance from Me (in verbal acoustic/syntax form), whosoever
follows My
guidance, on them shall be no fear, nor shall they grieve (like someone
loved and valued by his powerful and protecting Beloved).
قُلْنَا اهْبِطُوا
مِنْهَا
جَمِيعًا فَإِمَّا يَأْتِيَنَّكُمْ مِنِّي هُدًى فَمَنْ تَبِعَ هُدَايَ
فَلَا خَوْفٌ عَلَيْهِمْ وَلَا هُمْ يَحْزَنُونَ )
55:26 All that is on her (earth)
will evanesce (man [who]
used to indicate the living
who are endowed with intelligence)
كُلُّ مَنْ
عَلَيْهَا فَانٍ
For the fear and sorrow did not
leave Adam and his wife in gardens of Eden, even though they saw all
that
no eye had ever seen, but the bitter evanescence of this Earth was the
sure medicine the Lord of Multiverse prescribed for him and his
soulmate and all off-spring, to die once more but to leave the
imperfections
upon this earth, so Allah will char
their vitiations to ashes upon the
cosmic gales of amnesia:
18:8 And verily what is on her (earth) we shall make but as dust and
dry soil (ma [what] used
either to indicate both
the living and the unliving, or just the unliving vitiations)
وَإِنَّا لَجَاعِلُونَ مَا عَلَيْهَا صَعِيدًا
جُرُزًا
David’s Divine Oboe
“O Abu Musa, for sure you are given
a wind-instrument (Oboe like) from the many wind-instruments of family
of David”, said the Prophet.
Prophet, peace be upon him, did
mention and use the concept of wind-instrument within the context of
the reciting the Divine Words
i.e. how a human being voyages from a
mammal to a Divine Oboe by articulating few phonemes. Moreover the
Prophet informed us that these Divine Wind-Instruments within us are
indeed from the heritage of the Prophetic family of David.
See also Rumi's Reed-Flute:
http://www.untiredwithloving.org/masnavi_1_1.html
http://www.untiredwithloving.org/masnavi_vol1_2_6.html
http://www.untiredwithloving.org/masnavi_vol1_7_14.html
زيادة الجامع الصغير، والدرر المنتثرة،
الإصدار 2.05 - للإمام السيوطي
كتاب "زيادة الجامع الصغير"، للسيوطي >> حرف الياء
4066- يا أبا موسى لقد أوتيت مزمارا من مزامير آل داود.
(خ ت) عن أبي موسى.
زيادة الجامع الصغير، والدرر المنتثرة،
الإصدار 2.05 - للإمام السيوطي
كتاب "زيادة الجامع الصغير"، للسيوطي >> حرف اللام
2537- لو رأيتني وأنا أستمع قراءتك البارحة لقد أوتيت مزمارا من مزامير آل
داود.
(م) عن أبي موسى.
أساس البلاغة الزمخشري
والزمار يزمر في المزمار: ينفخ فيه.
ويقال للحسن الصوت: لقد أوتي من مزامير
آل داود، وهو جمع مزمار، كأن
في حلقه مزامير، لطيب صوته، أو جمع مزمار، كأنّ في حلقه مزامير،
لطيب صوته، أو جمع مزمور من مزمورات داود عليه السلام.
Mario Vaneechoutte
Department of Clinical Chemistry, Microbiology & Immunology,
Blok A, University Hospital, B 9000 Ghent, Belgium
John R. Skoyles
The evolution of intelligence: http://www.upfromdragons.com/
4.2. The musical primate
4.2.1. Humans have unique adaptations for singing.
"The idea that the origin of speech
lies in our ability to sing can be traced back to at least Jean Jacques
Rousseau, in the seventeenth century. It was suggested by the
famous linguist Wilhelm von Humboldt in the nineteenth century and by
Otto Jespersen early in this one. However, this approach to language
has been ignored in more modern times. Indicative is that the
word `music' lacks in the index of the recent books of Pinker and
Deacon. In recent times, music has received serious attention by some
linguists, but this was done within the Chomskyan paradigm and did not
address the origin of language.
Just like song birds possess highly
sophisticated syringes, there are very characteristic morphological
changes of the human
glottis and larynx, unequalled in any mammalian
species. Aitchison remarks: "Our language has more in common with the
singing and calling of birds, than with the vocal signals of apes."
The resemblance to bird song was
noticed already by Charles Darwin:
"(Language) is certainly not a true
instinct, for every language has to be learnt. It differs, however,
widely from all ordinary arts, for man has an instinctive tendency to
speak, as we see in the babble of our young children; whilst no child has an instinctive
tendency to brew, bake, or write. ... The sounds uttered by birds offer
in several respects the nearest analogy to language, for all the
members of the same species utter the same instinctive cries expressive
of their emotions; and all the kinds which sing, exert their power
instinctively; but the actual song, and even the call-notes, are learnt
from their parents or foster-parents. These sounds, ..., are no more
innate then language is in man."
Provine has shown that a unique
overlooked feature of human speech is our ability to integrate
respiration and vocalisation. We, as humans, breath in a way
unique among the primates - since only we can neurally modulate
sequences of tonal vocalisations upon our expirations. Other primates
can vocalise but they are limited to only one vocalization per
expiration. For example, both humans and chimpanzees laugh: however,
chimpanzees do so by an `ah', `ah', `ah' sequence of repeated
inspirations and expirations. In contrast, we do a modulating `ha, ha,
ha, ..' or `ho, ho, ho ..' upon a single out-breath - this modulation
often going on continuous for 16 laughter syllables. Moveover, we can
subtly tune our series of vocalisations upon a single continuous
out-breath. Only amongst birds - not other primates - are there species
that possess comparable respiratory-control ability. This underlies the
curious fact that while some birds can imitate human speech, the much
more closely related chimpanzee or any mammal cannot.
The neural control that allows song
was, we suggest, a profound revolution: the `one breath
one-vocalisation' rule stops chimpanzees not only from laughing like
humans but also from being able to control the expiration needed to
speak. This, as Provine
notes, is the reason why attempts to teach spoken language to
chimpanzees have failed in spite of them being able to learn sign and
token-based languages and even to understand spoken speech.
Neural control of respiration allows
many more kinds of vocalizations: over 700 vowel, diphthongs and
consonantal phones were found in a
sample based upon only one-twentieth
of all the world's languages. Moreover, such control allows the
concatenation of very complex sequences. Thus, vocalisations upon a
single out-breath combine into words, and these in turn combine into
clauses, phrases and sentences. Neural control also allows modulations
to be superimposed upon these vocalisations, such as intonation
(linguistic, pragmatic and emotional), and this can be upon a wide
variety of speech types like whisper, song, chant, scream, motherese,
`Donald-Duck speech' and ventriloquism."
Source: http://users.ugent.be/~mvaneech/ORILA.FIN.html
From 'Secrets of Arabic'
by Al-Anbari:
“But Alif has no sound in and of
itself, unless it is after itself or another letter or unless it is
given some Haraka (Oral
Movement), therefore Hamza is
used in its
place. (Dara: Hamza is a
soundless construct that abruptly starts with
a little ‘eh’, a soundless exhalation, sharply after another phoneme.
Or another phoneme ends sharply in such a soundless manner) Both Alif
and Hamza are free
flowing air from the throat so they are very close
to each other and thus Hamza is
a properly chosen replacement for
Alif’s lack of sound. “
Dara: Hamza is used in ‘Af’ulu (I do) and the past tense ‘Uf’alu (Done to
me). These are the sharp exhalation sounds made in the beginnings of
these two verbs. Mind you it is also the beginning of ‘Ana (I)! These
sharp starting sounds indicate a chasm, i.e. sudden sundering from the
rest of the universe, meaning the self-awareness of ‘I am other than
the
rest of the universe’, a form of tearing away the human from the nexus
of
all else, thus the sharp starting exhalation phoneme renders this
partition.
إلا أن الألف لما لم يمكن زيادتها أولا لأن الألف لا تكون إلا ساكنة
والابتداء بالساكن محال أبدلوا منها الهمزة لقرب مخرجيهما لأنهما هوائيان
يخرجان من أقصى الحلق
From 'Secrets of Arabic'
by Al-Anbari:
“Similarly Waw is also replaced by
Ta; since prefixing of Waw to words is not a part of the
speech of the
Arab and
if its addition is necessary to the beginning of a word then it is
replaced by Ta. Haven’t you
heard the Arab say Turāth (Inheritance)
in
place of Wurāth, Tujāh (In front of) in place of Wujāh, Tukhma
(Indigestible) in place of Wuhma
or Tuhma (Accusation)
in place of
Wuhma!”
Dara: Ta is used in the beginning of Taf’ulu (You do) Taf’ulāni (You
two do) Taf’ulūna (You all
do) Taf’ulaina (You female
do) Taf’ulāni
(You two females do) Taf’ulna
(You all females do) and finally Taf’ulu
(she female does). Note that both ‘you do’ and ‘she does’, in
singular
form, are the same verb Taf’ulu, i.e.
these verbs were used when Adam
and Eve were in presence of Allah; Eve
being a Divine Secret
generated from deep within Adam, ‘she does something’ was no different
‘you do something’ for she was from him. This intimacy is noteworthy.
Also ‘you two males do’ and ‘you two females do’ are the same verb
Taf’ulāni due to the same
metaphysical reality, i.e. in the beginning
were only Adam and Eve and therefore ‘you two’ was the same regardless
of gender. Again, in the same vein, Taf’ulāni
is for ‘she two females
do’.
These verbs have Haraka (Oral
Motion) of Fat-ha for the
starting Ta,
since this Haraka is the
least complex of all phonemes.
But the passive
counter parts have the Haraka (Oral
Motion) of Dhamma (‘o’
sound), the
most complex, since the passive concept is far more complicated than a
regular verb, i.e. requires the concepts of 'context' 'unknown doer'
and
so on.
وكذلك الواو ايضا لما لم يمكن زيادتها أولا لأنه ليس في كلام العرب واو
زيدت أولا أبدلوا منها التاء لأنها تبدل منها كثيرا ألا ترى أنهم قالوا
تراث وتجاه وتخمة وتهمة وتيقور وتولج قال الشاعرا - من الرجز -
( متخذا من عضوات تولجا ... )
وهو بيت الصائد والأصل وراث ووجاه ووخمة ووهمة وويقور لأنه من الوقار
ووولج لأنه من الولوج فأبدلوا التاء من الواو في هذه المواضع كلها وكذلك
ههنا.
From 'Secrets of Arabic'
by Al-Anbari:
“Ya
can be added to the beginning of
the words without any reservation, unlike the ones above.”
Dara: Ya is added to the beginning of
the third person present-future
verbs i.e. Yaf’ulu (He
does), Yaf’ulāni (You two
do) Yaf’aluna (You all
do). Ya is also added to the
beginning of the female plural verb
Yaf’ulna (They all females
do) not to confuse with the Taf’ulna
(You
all females do).
وأما الياء فزيدت لأنها لم يعرض فيها ما يمنع من زيادتها كما عرض في الألف
والواو
From 'Secrets of Arabic'
by Al-Anbari:
“But Nun is added since it is
similar to Madd (Prolonging)
alphabets. (Dara: Nun is actually Waw
sandwiched between two 'n' sounds so it prolongs as Waw prolongs!)”
وأما النون فإنما زيدت لأنها تشبه حروف المد واللين وتزاد معها في باب
الزيدين و الزيدين.
From 'Secrets of Arabic'
by Al-Anbari:
“This is how the order of addition
of these letters is realized:
1. Hamza: For the
first person singular, 'I', ie. the first the human being calls his own
Nafs
(Self) before others.
2. Nun: For first person plural, 'we',
ie. the
person calling his own Self and other Selves.
3. Ta: Second person, 'you', ie. for
calling
the person in front of him
4. Ya: Third person, 'he/she', ie.For
calling
the absent third person.“
والتحقيق في ترتيب هذه الأحرف أن تقدم الهمزة ثم النون ثم التاء ثم الياء
وذلك لأن الهمزة للمتكلم وحده والنون للمتكلم ولمن معه والتاء للمخاطب
والياء للغائب والأصل أن يخبر الإنسان عن نفسه ثم عن نفسه وعمن معه ثم
المخاطب ثم الغائب فهذا هو التحقيق في ترتيب هذه الأحرف في أول الفعل
المضارع.
From 'Secrets of Arabic'
by Al-Anbari:
“Present-future verbs are treated
the same way as the nouns, so far as the inflecting suffixes are
concerned, and for that matter these present-future verbs are called
Mudhari’ namely ‘similar’ (Dhara’) for they are similar
siblings! These
similarities are due to five reasons:
1. As with the
nouns, which can be definite or indefinite ( i.e. universal and
unspecified), the present-future verbs can be either in present tense
or
in future tense. As with the nouns that can be made definite by the
addition of the prefix Al-
(definite article ‘the’), the present-future tense can be
made into exclusively future tense by the addition of the prefix Sin- ('s' sound).
2. Lam (‘L’ sound)
can be prefixed to both nouns and present-future verbs, e.g. Lam
for verbs is as the 'would' or 'might' in English, and again Lam for
nouns is for emphasis, i.e. indeed or for sure.
3. As these verbs
are used for both present and future, the nouns are also are used for
double meanings e.g. ‘Ain means
'eye' as well as 'a spring' and so on.
4. You can say
either ‘I passed by a man (who is) hitting’ or ‘I passed by a man, a
hitter’ here the verb is equaled and exchanged for an attribute as the
same is done for a noun.
5. The Haraka
(Oral Movement) for the Ism-Fa’il
(Verbal Noun) is the same as for the
present-future verbs.“
فإن قيل فإذا كان الأصل في الفعل المضارع أن يكون مبنيا فلم حمل على
الاسم في الإعراب قيل إنما حمل الفعل المضارع على الاسم في الإعراب
لأنه
ضارع الاسم ولهذا سمي مضارعا والمضارعة المشابهة ومنها سمي الضرع ضرعا
لأنه يشابه أخاه ووجه المشابهة بين هذا الفعل والاسم من خمسة أوجه
الوجه
الأول أنه يكون شائعا فيتخصص كما أن الاسم يكون شائعا فيتخصص، ألا ترى أنك
تقول يقوم فيصلح للحال والاستقبال فإذا أدخلت عليه السين أو سوف اختص
بالاستقبال كما أنك تقول رجل فيصلح لجميع الرجال فإذا أدخلت عليه الألف
واللام اختص برجل بعينه فلما اختص هذا الفعل بعد شياعه كما أن الاسم يختص
بعد شياعه فقد شابهه من هذا والوجه
الوجه الثاني أنه تدخل عليه لام
الابتداء كما تدخل على الاسم ألا ترى أنك تقول أن زيدا ليقوم كما تقول أن
زيدا لقائم ولام الابتداء تختص بالأسماء فلما دخلت على هذا الفعل دل على
مشابهة بينهما والذي يدل على ذلك أن فعل الأمر والفعل الماضي لما بعدا عن
شبه الاسم لم تدخل هذه اللام عليهما ألا ترى أنك لو قلت لأكرم زيدا يا
عمرو أو إن زيدا لقام لكان خلفا من القول
والوجه الثالث أن هذا الفعل
يشترك فيه الحال والاستقبال فأشبه الأسماء المشتركة كالعين ينطلق على
العين الباصرة وعلى عين الماء وعلى غير ذلك
و الوجه الرابع أنه يكون صفة
كما يكون الاسم كذلك تقول مررت برجل يضرب كما تقول مررت برجل ضارب، فقد
قام يضرب مقام ضارب
والوجه الخامس أن الفعل المضارع يجري على اسم الفاعل
في حركاته وسكونه ألا ترى أن يضرب على وزن ضارب في حركاته وسكونه ولهذا
عمل اسم الفاعل عمل الفعل، فلما أشبه الفعل المضارع الاسم من هذه الأوجه
استحق جملة الإعراب الذي هو الرفع والنصب والجزم ولكل واحد من هذه الأنواع
عامل يختص به
6. Why is the past tense verb
based upon a
Haraka (Oral Movement)?
From 'Secrets of Arabic'
by Al-Anbari:
“The past tense verbs are based upon
a Haraka (Oral Movement)
since they are to be more complex than the
imperative verbs which are based upon no end-inflection
i.e. Sukun
(Sound-less) e.g. ‘Uktub (Do
write) the Ba (‘b’ sound)
has free of any
Haraka (Oral Movement).
Moreover the past tense verbs are names for
objects to render their attributes e.g. ‘I passed by a man (while he)
hit’ or ‘I passed by a hitter’; here ‘hitter’ is an attribute for a man
who was hitting in the past. Also past tense verbs do resemble names in
conditional statements e.g. ‘if you did, I did’ i.e. ‘if you do I will
do as well’; here ‘I did’ is treated like a noun and again here ‘I did’
is treated like a present-future tense verb which again acts like a
noun.”
Dara:
Imperative verbs are actions
that have not yet taken place, so they have nil complexity (and
therefore nil Haraka, Oral
Movement)! Past
tense verbs have complexity (i.e. actions that took place in the
past consumed resources and transmitted information and produced
side-effects) therefore they are given a Haraka (Oral
Movement) in order for them to be distinct from the imperative
nil-complexity verbs.
أسرار العربية
المؤلف : كمال الدين أبو البركات عبد الرحمن بن أبي سعيد الأنباري
باب إعراب الأفعال وبنائها
إن قال قائل لم كانت الأفعال ثلاثة ماض وحاضر ومستقبل قيل لأن الأزمنة لما
كانت ثلاثة وجب أن تكون الأفعال ثلاثة ماض وحاضر ومستقبل.
فإن قيل فلم بني الفعل الماضي على حركة ولم كانت الحركة فتحة قيل إنما بني
أولا لأن الأصل في الأفعال البناء - وبني على حركة تفضيلا له على فعل
الأمر لأن الفعل الماضي أسماء الأشياء في الصفة نحو قولك مررت برجل ضرب
كما تقول مررت برجل ضارب وأشبه أيضا ما أشبه الأسماء في الشرط والجزاء
فإنك تقول إن فعلت فعلت والمعنى فيه إن تفعل أفعل فلما قام الماضي مقام
المستقبل والمستقبل قد أشبه الأسماء فقد أشبه ما أشبه الأسماء فلما أشبه
ما أشبه الأسماء وجب أن يبنى على حركة تفضيلا له على فعل الأمر الذي ما
أشبه الأسماء ولا أشبه ما أشبهها
7. Why are past tense verbs based upon the
Haraka (Oral Movement) of
Fat-ha (‘a’ sound in ‘cat’)?
From 'Secrets of Arabic'
by Al-Anbari:
“Indeed Fat-ha (‘a’ sound in ‘cat’)
is the least complex of all Harakat (Oral
Movements), and past tense
verbs necessarily have to be based upon least complexity. Any other
Haraka (Oral Movement) has
more complexity to it and therefore cannot
represent the least complex past-tense.”
Dara:
Past tense is already done and
finished, no longer has any potentialities or probabilities attributed
to it and it is atomic and no statistic applies to its instantiated
occurrence. For that reason it is the least complex of all other verbs,
e.g. present or future verbs, on the contrary, require magnificent
potentiality-structures built within a divisible continuum with
assigned probabilities and statistics and unnumbered many such spaces.
For that matter past tense is the least complex of all verbs and
therefore it has the inflection
of least complex mouth area tissue
movements i.e. Fat-Ha (‘a’
sound in ‘cat’).
‘he did’ is Fa+’a+La with all
‘a’ sound as in ‘cat’, so the past tense
verbs are mostly build using the Fat-ha
Haraka (Oral Motion).
وإنما كانت الحركة فتحة لوجهين:
أحدهما أن الفتحة أخف الحركات فلما وجب بناؤه على حركة وجب أن يبنى على
أخف الحركات والوجه الثاني أنه لا يخلو إما أن يبنى على الكسر أو على الضم
أو على الفتح بطل أن يبنى على الكسر لأن الكسر ثقيل والفعل ثقيل والثقيل
لا ينبغي أن يبنى على ثقيل وإذا كان الجر لا يدخله وهو غير لازم لثقله
فألا يدخله الكسر الذي هو لازم كان ذلك من طريق الأولى
Additional Concepts
1:1-4
From Treatise of Ibn Arabi
Book of Al-Jalāla (The Most Momentous)
“Allah is a
negation-Kalima (Divine
Word) (established) firmly within
the realm of 'Alawi (Loftiest
ranking Universe), all Translations
glide upwards
by means of her (female pronoun referring to the Kalima)”.
رسائل
ابن عربي
كتاب الجلالة
الله كلمة نفي شدت في العالم
العلوي
فارتفع بها الترجمان
By 'negation-word' it is meant all that we see or can touch or can
think
about or imagine is NOT Allah! That is
the meaning of La-Sharika-La-Hu
(No associate for IT/Allah).
Q: What is the ‘Translation’?
A: When we have a thought, how
does it become related to Allah who has
no obvious presence here? When
we see a part of nature performing, e.g. internal operations of a cell
or the sub-atomic structures of matter, how that is related to Allah?
When we are sorrowing how does that invoke Allah’s mercy? When we feel
fortunate and have pleasure how does that invoke gratitude for Allah
within us? The process that bridges from the Malakut (Spiritual
Realm) into
our human Wujud (Being) and
vice versa is coined Tarjumān
(Translation) by means of which the human being can bridge into
the other
spiritual universe or from there to here. Very much like the
translation of computer languages from this keyboard I am typing in,
into the hardware and CPU of the computer and backwards from the guts
of the hardware to the screen I am looking at now, a bi-directional
process of translations between the computer languages and
instructions.
Q: Who is the 'Translator'?
A: The human being. S/he is the
translator of all that exists in this world, within him/her, into
the Malakut (Spiritual
Realm) and vice versa from the Malakut
(Spiritual Realm) into the Mulk
(Corporeal Realm).
Q: How are these ‘translations’
transported into the Malakut (Spiritual
Realm)?
A: By means of the Kalima
(Divine
Word) ‘Allah’,
which negates all else, i.e. IT is not
anything
else in existence, thus creating a gravitational pull (Jazaba) that
pulls all the human translations upwards towards the Divine Presence by
the
Kalima (Divine Word) ‘Allah’,
and that is the meaning of Bismillahi
(In
The
Name of Allah), i.e. all that I am about to recite of Divine Words
are translated and glided upwards only by means of Allah’s Divine Words
and no other entity has the ability to do such lofty upward pull.
Note: The said gravitational pull is of
'osmosis' nature, i.e. all that which is NOT Allah rushes
via some
invisible
gravitational pull towards Allah, through the barrier (Barzakh)!
Q: What is complexity?
A: Complexity is the content of
translation, i.e. how much Divine Translation is performed by the human
being, and
the greater the measure of this content, i.e. the more complexity, the
more
gliding occurs towards Allah.
Q: What is ‘gliding’?
A: The second you have, for
instance, the thought ‘who made this tree?’, or make utterance of some
gratitude, you are gliding upwards towards Allah! This
gliding is an
operation caused by the Divine Presence of Allah within this universe
where we cannot perceive or see Allah in any
corporeal fashion by our
biological eyes and other senses. The opposite of 'go down':
2:38. We said: "Get you down
(to become perfect) all from here; and if, as is sure, there comes to
you Guidance from Me (in verbal acoustic/syntax form), whosoever
follows My
guidance, on them shall be no fear, nor shall they grieve (like someone
loved and valued by his powerful and protecting Beloved).
قُلْنَا اهْبِطُوا
مِنْهَا
جَمِيعًا فَإِمَّا يَأْتِيَنَّكُمْ مِنِّي هُدًى فَمَنْ تَبِعَ هُدَايَ
فَلَا خَوْفٌ عَلَيْهِمْ وَلَا هُمْ يَحْزَنُونَ )
Q: What is Hamd?
A: Hamd is a state wherein
Allah is
discerned from all else, with clarity and beyond the reach/use
of any cognitive faculties or instrumentation, though intellects and
instrumentations might be used to approach this Divine State.
Q: Why is Dhamma (‘o’ sound) added
to Hamd, i.e. Hamdu?
A: Dhamma (‘o’ sound) indicates
highest levels of complexities (contents of translations by human
beings) required in order for the human being to glide towards Allah by
entering into the state of Hamd wherein
s/he sees or feels or thinks of
nothing except Allah; like rocket fuel, the more the fuel the further
the rocket travels.
رسائل ابن عربي
كتاب
الألف
أحدية حمد الواحد في وحدانية
وحدانية حمد الأحد في أحديته
57:1
57:4
Note: Majaz (Corridor) could
be rendered as a camera shutter where the person is able to take a
quick glance of the other universe, or grasp a meaning from the
spiritual realm. For "The + delay" see Thumma.
©
2009-2002, Dara O
Shayda, Editor: A. Attar