Code of conduct in society according to Islam.

Rhythm is a poetic necessity for constructing a poem, which in turn gives us other rhythms and other phonemes in the background of the meter, and behind the words, and hence the meter does not constitute a major value in constructing a poem unless it is linked to other artistic elements of writing poetry. In this section, we address the rhythmic phenomenon in the introductions to poetry collections in various forms of Arabic poetry: classical, free metrical, and prose poetry, by (...) reading a number of diverse poetic models, starting from the fact that poetry is not poetry, and that poetic meters do not form a poem except to the extent that the poet invests in other elements of poetry, in the image, style, density and depth of language, and rhetorical diversification in performing the poem, and also departing from the pattern by renewing and developing and striving to create advanced innovations in the broad rhythmic horizon, and in the formative and linguistic horizon of poetic introductions, and in this section we have monitored a group of rhythmic phenomena such as: repetition, phonemes of language, the rhythm of the visual space of writing, and the relationship between effect and reception. In light of this awareness, poetic introductions may come in a multi-rhythmic form that does not necessarily stop at the inherited poetic form, but rather varies in its performance and in the methods of delivery, investing the space of the poetic page in conveying the poet’s semantic vision. (shrink)

Jild-i 1: Muntakhab-i ās̲ār-i: Sant Agūstīn, tarjumah-ʼi Muḥammad Taqī Bahrāmī Ḥarrān; Tūmās Akvīnās, tarjumah-ʼi Manūchihr Buzurgmihr; Bārūkh Ispīnūzā, tarjumah-ʼi Abū Ṭālib Ṣārimī; Bilz Pāskāl, tarjumah-ʼi Ḥusayn Kasmāʼī, va muntakhabātī az: Ūpānīshādhā, Dimāpādā, Sūrāngāmāsūtrā, Bhāgavat Gītāyā tarjumah-ʼi Riz̤ā Ṣaddūqī --.

Collected addresses of a religious scholar from South Asia on Islamic teachings.