Binciken fasalolin adabi da na harshe yana da alaka da balāgha (بالغة) a cikin harshen Larabci. Wannan ya ƙunshi amfani da dabarun magana na alamanci, wato harshen da ke nufin faranta rai da shawo kan mutum; fasaha a magana, wadda ta haɗa da zaɓin kalmomi, tsari na kalmomi da gajarta magana; da kuma alaƙar da ke tsakanin salo, tsari da ma'ana. Masu magana da Turanci na iya saba da waɗannan ra'ayoyi, sai dai dangane da mahallin wannan maƙala, dacewar abin da aka gabatar na iya zama abin tambaya.

The analysis of literary and linguistic features is related to balāgha (بالغة (in the Arabic language.2 This encompasses the use of rhetorical devices, which refers to language that aims to please and persuade; eloquence, including choice of words, word order and conciseness; and the interrelation between style, structure and meaning. English speakers may be familiar with these ideas, however given the context of this essay, the relevance of the content presented may be questioned.

Yana da muhimmanci a lura cewa waɗannan fasahohin adabi da na harshe suna da yaɗuwa a duniya baki ɗaya, ba a harshen Larabci kaɗai ake amfani da su ba.3 Misali, a harshen Turanci, muna amfani da dimbin hanyoyin magana na alanguro (rhetorical devices) don isar da ra'ayoyi ta hanyar da ta wuce kawai isar da bayani a bushe, ba tare da wani ƙwaƙwalwa ba. Mark Forsyth, a littafinsa mai suna The Elements of Eloquence: Secrets of the Perfect Turn of Phrase, ya lissafa fiye da hanyoyin alanguro guda talatin da biyar, wato rhetorical devices ko figures of rhetoric, waɗanda ke neman cimma haka. Misali, ya ambaci wata hanyar alanguro mai suna ‘diacope’. Wannan magana ce a tsarin A B A, kuma saboda an gabatar da ita a wannan tsari, tana sa magana ta zama mai ƙarfi da sauƙin tunawa. “Bond, James Bond” misali ne na diacope. Mr. James Bond zai iya faɗin sunansa ta hanyoyi daban-daban, amma ta hanyar gabatar da shi a tsarin diacope, yana haifar da tasiri a kan mai sauraro wanda ke sa maganar ta zama mai sauƙin tunawa.4

It is important to note that these literary and linguistic features are universal and not only applicable to the Arabic language.3 For instance, in the English language, we use numerous rhetorical devices to convey ideas in a manner that transcends the mere cold, clinical transfer of information. Mark Forsyth in his book, The Elements of Eloquence: Secrets of the Perfect Turn of Phrase, lists over thirty five rhetorical devices, or figures of rhetoric, that aim to achieve the above. For example, he mentions a rhetorical device referred to as ‘diacope’. This is a statement in the form A B A, and because the statement is in this form, it somehow makes the statement more powerful and memorable. “Bond, James Bond” is an example of a diacope. Mr. James Bond could have stated his name in a number of different ways but by presenting it in the form of a diacope, he delivers an effect on the listener that causes the statement to be memorable.4

Ra'ayin fasaha ta magana yana bayyana sosai idan mutum ya yi tunani a kan bambanci tsakanin waka da nassin magana. Dukkansu suna isar da ra'ayoyi. Sai dai kyakkyawar waka tana gayyatar mai karatu ya sake komawa gare ta ya ji daɗin kyawun furucinta mai jan hankali, yayin da nassin magana yana isar da bayani ta hanya mafi inganci da zai yiwu, kuma mai karatu ba zai iya jin sha'awar sake komawa gare shi ba. Misali, ka yi la'akari da waƙar Emily Dickinson mai suna Hope is the Thing with Feathers:

The conceptualisation of eloquence is highlighted when one thinks about the difference between poetry and prose. Both poetry and prose convey ideas. However, a good poem invites the reader to revisit the poem and enjoy the persuasive beauty of its expression, while prose would deliver information in the most effective way possible and the reader may not feel the urge to revisit it. Consider, for example, Emily Dickinson’s poem Hope is the Thing with Feathers:

"Bege" abu ne mai fuka-fuka –.

“Hope” is the thing with feathers –.

Wanda ke zaune a cikin rai –.

That perches in the soul –.

Kuma yana rera waƙar ba tare da kalmomi ba –.

And sings the tune without the words –.

Kuma bai taɓa tsayawa ba – ko kaɗan –.

And never stops – at all –.

Mafi daɗi kuma – a cikin iska – ana jin shi –.

And sweetest – in the Gale – is heard –.

Kuma tabbas hadari zai kasance mai tsanani –.

And sore must be the storm –.

Hakan zai iya sa tsuntsu ƙarami ya ji kunya.

That could abash the little Bird.

Wannan ya kiyaye zafi da yawa –.

That kept so many warm –.

Na ji shi a cikin ƙasa mafi natsuwa –.

I’ve heard it in the chillest land –.

Kuma a kan Teku mafi ban mamaki –.

And on the strangest Sea –.

Duk da haka – ba zai taba ba – a cikin matsanancin hali,

Yet – never – in Extremity,.

Ya nemi ɗan gutsuri daga gare ni.5.

It asked a crumb – of me.5.

Idan aka kwatanta littafin karatu na ilimin sinadarai na halitta (organic chemistry) da waƙar da ke sama, za a ga cewa a cikin waƙa salon shi ne abu mafi muhimmanci. Muna samun jin daɗi daga karanta waƙar kawai, yayin da mafi muhimmiyar siffar littafin karatu shi ne isar da bayanai na fasaha. Ɗaya daga cikin siffofi na musamman na Alƙur'ani shi ne yadda yake isar da bayani cikin hanya mafi dacewa da ma'ana, kamar yadda za mu tsammaci daga nassin rubutu, a lokaci guda kuma yana ba mai karatu jin daɗin kyan magana mai jan hankali, kamar yadda za mu tsammaci daga waƙa. Ba tare da la'akari da ƙarin bayanan fasaha da sauran ƙananan batutuwa ba, wannan ya isa a matsayin gabatarwa ga cikakkiyar ma'anar ra'ayoyin da za a bayyana da kuma yi wa bayani a cikin wannan maƙala.

If a comparison were to be made between a textbook on organic chemistry and the poem above, we can see that in the case of the poem the style is of utmost importance. We are deriving pleasure from the mere reading of the poem while the most important quality of the textbook is the conveying of technical information. One of the unique features of the Qur’ān is its efficient transfer of information in a semantically optimal way, as we would expect from prose, all the while presenting the reader with the pleasant experience of persuasive beauty, as we would expect from a poem. Notwithstanding further technicalities, and other nuances, this suffices as an introduction to the universality of the ideas that are going to be unpacked and explained in this essay.