Umuman olganda, bu sura nafis bir simfoniyaga o'xshaydi. Boshidan oxirigacha uning so'z tuzilishi va oyatlarning qofiyalanган oxirlarida nozik bir ohang yugurib boradi. Bu ayniqsa aniq va atayin qilingan joylarda yaqqol ko'rinadi: ma'noni boyitish bilan birga, vazn va ohangni saqlash uchun so'z qo'shilgan yoki afzal ko'rilgan joylarda. Masalan, quyidagi ikki oyatda: "Lot va Uzzo haqida o'ylab ko'rdingizmi? Va uchinchi bo'lgan Manot haqida ham?" (19-20-oyatlar). Agar ikkinchi oyatda "va uchinchi bo'lgan Manot" deyilganda, vazn buzilib, ohang saqlanmagan bo'lar edi. Boshqa tomondan, "va boshqasi bo'lgan Manot" deyilganda esa, qofiya saqlanmagan bo'lar edi. Ishlatilgan har bir so'z ma'noga hissa qo'shadi, shu bilan birga vazn va qofiyani saqlash ham ataylab qilingan. Xuddi shuni so'z "keyin" (idhan) oyatlarda ishlatilgan joyda ham aytish mumkin: "Sizlarga o'g'il bolalar, Unga esa qiz bolalar bormi? Unda bu bo'linish adolatsiz bo'lar edi" (21-22-oyatlar). Bu "idhan" so'zi, ya'ni "unda", vazn va ohangni saqlash uchun zarur, ammo u badiiy maqsadga ham xizmat qiladi.1

As a whole, this surah comes across as a superb symphony. From start to finish, a fine tune runs through its verbal structure, as well as its rhyming verse endings. This is especially apparent and deliberate at certain points, where a word is added or preferred to maintain the beat or the rhyme, in addition to how it enhances the meaning. One example is found in the two verses saying: “Have you considered al-Lat and al- (Uzza> and Manat, the third other?" (Verses 19-20) Had the second verse said, ‘and Manat, the third’, the metre would have been broken and the beat would not have been maintained. On the other hand, had it said, and Manat, the other one,’ the rhyme would not have been maintained. Each of the words used contributes to the meaning, but maintaining the metre and the rhyme is also deliberate. The same may be said where the word then is used in the verses: “Are you to have the male and He the female? That would then be an unfair division." (Verses 21-22) This word idhan, or then, is necessary to maintain the metre and the beat, but it also serves an artistic purpose.1

Ushbu surada ohang o'ziga xos musiqiy turga mansub bo'lib, unda ayniqsa birinchi va oxirgi qismlarda yengil o'zgarish va oqimlilik ko'zga tashlanadi. Bunday o'zgarish va oqimlilik birinchi qismda ko'zga tashlanadigan tasvirlar, jonli soyalar va ma'nolar bilan uyg'un bo'lib, shuningdek, oxirgi qismdagi ma'nolar va nozik go'zalliklar bilan ham uyg'undir.

The beat in this surah is of a special musical type in which we note an easy variation and flow, particularly in the first and the last sections. Such variation and flow are in harmony with the images, lively shades and connotations we note in the opening section, as also with the meanings and superb touches in the closing section.

Surada keltirilgan voqealar sodir bo'ladigan yuqori olamdagi tasvirlar sura ochilishida beriladi. Ishonchli Ruh, ya'ni Payg'ambar oldida namoyon bo'lgan Jabroil farishtasining erkin harakati esa qo'shimcha ma'nolarni keltiradi. Bu barcha tasvirlar, manzaralar, ma'nolar, harakatlar va ruhiy muhit ohang va zarb bilan mukammal uyg'unlikda o'zaro ta'sirlashib, bir-birining ta'sirini kuchaytiradi. Shu tariqa butun sura o'ziga xos ruhiy muhit kasb etadi va keyingi qismlariga sezilarli ta'sir ko'rsatadi, nihoyat, qalbimizning har bir zarrasi va tanamizning har bir hujayrasi bilan his qilinadigan juda kuchli ohang bilan yakunlanadi.

The opening provides images from the world on high where the events to which the surah refers take place. Further connotations are added by reference to the free movement of the trustworthy Spirit, the Angel Gabriel, as he appeared before the Prophet. All these images, scenes, connotations, movements and spiritual atmosphere interact with the tune and the beat in perfect harmony, mutually strengthening their effects. This imparts a special atmosphere to the whole surah, leaving a marked effect on its succeeding sections, until it concludes on a profoundly powerful note, one that is felt by every part of our souls and every cell in our bodies.

Ushbu surada ko'tarilgan mavzu Makkada nozil bo'lgan barcha suralarga xos bo'lgan mavzudir: iymon va uning asosiy tushunchalari — vahiy, Allohning yagonaligi va oxirat. Sura bu mavzuni alohida yo'nalishda yoritadi, bunda vahiyning haqiqati hamda iymonning mustahkam asosi ta'kidlanadi va ularni asossiz bo'lgan butparastlik batilligi bilan solishtiradi.

The theme the surah tackles is the one that pervades all surahs revealed in Makkah: faith and its major concepts consisting of revelation, God’s oneness and the hereafter. The surah tackles this from a particular angle emphasizing the truth of revelation and the solid foundation of faith as compared with the fallacy of idolatry, which lacks foundation.

Birinchi bo'lim vahiyning haqiqati va mohiyatini ochib beradi. U vahiyning haqiqiy jarayonini tasdiqlovchi ikki manzarani tasvirlaydi. Bu Payg'ambar ﷺ farishta Jabroil dan vahiy olganini, uni o'z ko'zi bilan ko'rganini, shuningdek, Rabbisining eng buyuk belgilaridan ham vahiy olganini hujjatlashtiradi.

The first section illustrates the truth and nature of revelation. It describes two scenes that confirm its actual process. This documents the fact that the Prophet received revelation from Gabriel, the angel, whom he saw, as also from the greatest signs of his Lord.

Ikkinchi bo'limda sura kofirlarning uydirma xudolari — al-Lot, al-Uzza va Manot haqida so'z yuritadi. Shuningdek, ular farishtalarning Xudoning qizlari ekanligi haqidagi xurofotlari haqida ham gapiradi. Sura kofirlar faqat taxminga tayanishini, taxmin esa haqiqatdan xoli ekanligini bayon qiladi. Bunga qarshi, Payg'ambar ﷺ ularni o'zining, aniq dalillarga ega bo'lgan va albatta haq bo'lgan xabariga ishonishga chaqiradi.

In the second section, the surah speaks of the unbelievers’ alleged deities, al-Lat, al-'Uzza and Manat. It also discusses their superstitions about the angels being God’s daughters. It states that the unbelievers rely on nothing but conjecture, which is devoid of truth. By contrast, the Prophet calls on them to believe in his message, which is certain to be true, with solid evidence.

Sura uchinchi qismida Payg'ambarga Xudoning xabaridan yuz o'girgan, faqat bu dunyo bilan band bo'lib, undan o'zga narsani bilmaydigan kishilarga e'tibor bermaslik buyurilgan ﷺ. Shuningdek, u oxirat va u odamlarning amallariga qarshi beradigan mukofot-jazo haqida so'z yuritadi.

The surah tells the Prophet in its third section that he should ignore those who turn away from God’s message, those who preoccupy themselves with this present world, knowing nothing beyond it. It also refers to the hereafter and what it provides of requital for people’s actions.

U bunda Alloh barcha mavjudotlarni — ular yerdan yaratilganidan va hali onalarining qornida bo‘lgan paytlaridan boshlab — bilishi zikr qilinadi. Darhaqiqat, U ularni o‘zlari o‘zlarini bilganlaridan ham yaxshiroq biladi. Ularning mukofoti shu aniq bilimga asoslanadi; u ularning taqdirini belgilaydi.

It mentions that God knows all beings, ever since He originated them from the earth and when they were still in their mothers’ wombs. Indeed, He knows them better than they know their own selves. Their requital will be based on this certain knowledge; it defines their destiny.

To'rtinchi va so'nggi bo'lim iymonning asosiy mavzulari haqida so'z yuritadi, ular ilk ilohiy xabarlardan boshlab o'zgarmay qolgan.

The fourth and final section speaks about the main themes of faith, which have remained the same since the earliest of the divine messages:

yaʼni, har bir shaxsning oʻz mas'uliyati, aniq hisob-kitob, adolatli mukofot va barcha jonzotlarning oʻz Rabbisiga qaytishi, Uning xohishiga koʻra ularning taqdirini belgilovchi Zot huzuriga. Bularga qoʻshimcha ravishda ilohiy xabarni inkor etgan oldingi ummatlarning uchragan taqdiriga qisqacha ishora qilinadi. Soʻng surah barcha insonlarga Allohga sajda qilish va Uning oʻzigagina ibodat qilish haqidagi kuchli ohang bilan yakunlanadi. Shunday qilib, boshlanish va yakun tasvirlar, ma'nolar, taassurotlar va musiqiy ohanglarning uygʻunligini taʼminlaydi.

namely, individual responsibility, accurate reckoning, just reward, and the return of all creatures to their Lord who determines what happens to them as He wills. Added to this is a quick reference to the fate suffered by earlier communities that denied the divine message. The surah then concludes with a strong beat commanding all mankind to prostrate themselves before God and worship Him alone. Thus, the opening and the end provide a harmony of images, connotations, effects and musical tones.