المعارف الإلهية واللطائف الروحانية لمحيي الدين بن عربي، دراسة أسلوبية لجزء من الديوان.

Abstract

إنّ تاريخ الفكر الإنساني هو تاريخ النّقلات الفكريّة والعلميّة التّي حقّقها المفكّرون وغدت بدورها محرّكا للفكر الإنساني بفتحها آفاقا جديدة له. هنا يتحدّد الدّور الأكمل والأهم للمفكّرين بمدى ما وضعوا من بصمة فتحت أو غيّرت مسار البحث من بعده إلى آفاق ورؤى مغايرة وجديدة لم يعهدها ميدانه. ومن جملة ما يحتاجه المفكّر أو الباحث أو المتصوّف قاموساً لغويّاً غزيراً بالمُفْردات والمصطلحات بما يخدم أفكاره إن كان مفكّرا أو مشاهِده إن كان متصوّفاً. وبما أنّ شهود ابن العربي وُسم بالجِدّة والتفرّد والتميّز والعمق، فكان لِزاما عليه أن يُبدع لغة جديدة تخدم التّعبير عن شهوده وكشوفه، وذلك من خلال توظيف الرّمزيّة أو إطلاق مصطلحات جديدة لم يسبق للمتصوّفة أن وظّفوها. هنا يأتي دور الدّراسة الأسلوبيّة التّي تقوم في عمومها على رصد العناصر الأسلوبيّة اللسانيّة البارزة في العمل الأدبي وطُرق أدائها لوظائفها، دون تجاوز حدود النصّ، ولكي تحقّق الدّراسة الأسلوبيّة هدفها يجب على المحلّل الأسلوبي أن يستخرج العناصر اللغويّة التّي دخلت في تركيب نسيج العمل الأدبي من صوتيّة وتركيبيّة ودلاليّة، فعلى صعيد المستوى الصّوتي يرصُد المحلّل الأسلوبي العمل الأدبي وما فيه من مظاهر صوتيّة والعناصر الفاعلة في إيقاعه، كالنغمة والنّبرة والتّكرار والوزن والقافية، إضافة إلى الجناس والمقابلة والتّصريع.. ثمّ ينتقل المحلل الأسلوبي إلى المستوى التّركيبي للعمل الأدبي فيتتبّع التّراكيب الغالبة في تركيب نسيج النصّ من جمل فعليّة أو اسميّة أو أشباه جمل، ودور العلاقات النّحويّة في تحقيق الانسجام الداخلي للنصّ وتماسكه.

L’histoire de la pensée humaine est l’histoire des changements intellectuels et scientifiques réalisés par les penseurs, qui sont à leur tour devenus un moteur de la pensée humaine en lui ouvrant de nouveaux horizons. Ici, le rôle le plus complet et le plus important des penseurs est déterminé par la mesure dans laquelle ils ont laissé une empreinte qui a ouvert ou modifié le cours de la recherche après lui vers des horizons et des visions différents et nouveaux que son domaine n'avait pas vu auparavant. Entre autres choses, un penseur, un chercheur ou un soufi a besoin d'un dictionnaire linguistique riche en vocabulaire et en terminologie pour servir ses idées, s'il est penseur, ou ses spectateurs, s'il est soufi. Les contemplations d'Ibn al-Arabi étant caractérisés par la nouveauté, l'unicité, la distinction et la profondeur, il lui fallut créer un nouveau langage qui servait à exprimer ses contemplations et ses révélations, en employant le symbolisme ou en lançant de nouveaux termes que les soufis n'avaient pas auparavant employé. Ici vient le rôle de l'étude stylistique, qui repose généralement sur le suivi des éléments stylistiques linguistiques marquants de l'œuvre littéraire et de la manière dont ils remplissent leurs fonctions, sans dépasser les limites du texte pour que l'étude stylistique puisse aboutir. son objectif, l'analyste stylistique doit extraire les éléments linguistiques qui entrent dans la composition du tissu de l'œuvre littéraire, du point de vue phonétique et syntaxique et sémantiquement, au niveau phonétique, l'analyste stylistique surveille l'œuvre littéraire et ses manifestations vocalesdes éléments actifs dans son rythme, tels que le ton, le ton, la répétition, la mesure et la rime, en plus de l'allitération, du contraste et de la collocation. L'analyste stylistique passe ensuite au niveau structurel de l'œuvre littéraire et trace les structures dominantes dans la structuration de l'œuvre littéraire. Le texte qu'il s'agisse de phrases ou de demi-phrases verbales ou nominales, et du rôle des relations grammaticales dans la réalisation de l'harmonie interne et de la cohésion du texte. À la lumière du niveau sémantique, l'analyste stylistique s'intéresse à étudier les mots utilisés et les propriétés qu'ils portent qui ont influencé le style du créateur, puis à les classer en champs sémantiques, à analyser leurs dimensions sémantiques tout en traquant les mots dominants dans l'œuvre littéraire pour découvrir aspects culturels et intellectuels ou affiliations littéraires du créateur, tout en déterminant ce que le créateur a transmis dans sa langue. La littérature littéraire a de nouvelles connotations qui représentent des changements de sens. À travers l’analyse stylistique de l’œuvre littéraire dans ses trois aspects (son, structure et connotation), la stylistique dessine une structure détaillée de l’œuvre littéraire, lui permettant de découvrir le style du créateur. À notre tour, nous avons essayé d'explorer la profondeur des poèmes qu'Ibn al-Arabi a laissés derrière lui à travers une étude de son immense recueil, “ Diwan al-Maaref ”, en consacrant notre étude aux poèmes que les érudits ont écrits. spécialisés dans l'héritage d'Ibn al-Arabi n'étaient pas mentionnés auparavant dans d'autres ouvrages d'Ibn al-Arabi, comme le reste. C'est pourquoi notre recherche a été intitulée “ Diwan al-Maaref ” par : Muhyi al-Din Ibn al-Arabi - une étude stylistique d'une partie du Diwan - et nous avons entrepris deux tâches : la première était d'enregistrer ces versets enfouis dans un manuscrit trouvé à la Bibliothèque Nationale de Paris, et le second était une étude stylistique sélective. Ces poèmes sont dus à la longueur du blog. Nous avons gardé à l'esprit un problème majeur que nous avons adopté à la lumière de ce que nous avons entendu et de ce que nous avons appris des spécialistes de l'héritage d'Ibn al-Arabi, à savoir que ses poèmes dans leur ensemble sont réputés pour leur ambiguïté . analysons-nous cette ambiguïté et arrivons-nous à des caractéristiques stylistiques et à des caractéristiques aux niveaux de l'étude linguistique, telles que le son, la structure et la sémantique ? L’analyse stylistique permettra-t-elle de découvrir l’essence fondamentale qui distingue la poésie d’Ibn al-Arabi des autres poésies soufies ? L’analyse stylistique est-elle capable de découvrir l’essence fondamentale qui distingue la poésie d’Ibn al-Arabi des autres poésies soufies ? Les sources auxquelles Ibn al-Arabi puisait sa culture avaient-elles un écho évident dans sa poésie ? Ibn al-Arabi a-t-il prêté attention à l'aspect linguistique de la poésie, en créant son propre langage poétique ? La langue d'Ibn al-Arabi a-t-elle vraiment une signification qui va au-delà du premier sens linguistique vers d'autres significations et, comme nous le savons, chaque poète a un but, un but ou un message qu'il inclut entre les lignes de sa poésie : Quel est le but, ou le message qu'il inclut entre les lignes de sa poésie ? message qu'Ibn al-Arabi cherche à transmettre à travers ces poèmes ? Notre travail comprenait une introduction, trois chapitres et une conclusion. Dans l'introduction, nous avons abordé la définition du soufisme et évoqué les raisons de son émergence dans les pays arabes islamiques et les étapes de son développement. style et stylistique dans le domaine des études linguistiques et les questions et phénomènes stylistiques les plus importants qu'il aborde, ainsi que ses objectifs. Nous avons également présenté de manière assez détaillée le blog intitulé « Diwan al-Ma'rif », et nous avons identifié la partie qui faisait l'objet de notre étude, et nous avons reporté la traduction de son auteur en annexe à la fin de la recherche. . Dans le premier chapitre, nous avons mené une étude du niveau phonétique dans le Diwan al-Ma'rif, où notre étude a été dominée par la procédure statistique, car nous avons divisé notre étude selon le rythme externe et interne du poème arabe In. en étudiant les manifestations vocales externes, nous avons pris soin de déterminer les aspects rythmiques liés à la métrique des niveaux poétiques et le pourcentage d'occurrence de chaque Bahr dans le "Diwan al-Ma'rif", en essayant de déduire les dimensions sémantiques de la prédominance d'une mer poétique par rapport à une autre. Il en va de même pour les types de rimes, pour lesquels nous avons déterminé le pourcentage d'occurrence de chaque type, qu'il soit absolu ou restreint, sans négliger la lettre ruyy en identifiant toutes les lettres qu'Ibn al-Arabi a utilisées dans son recueil de récits, et comptage de la proportion d'occurrence de chaque lettre par rapport au nombre de strophes poétiques ainsi qu'au nombre de vers, en déduisant les dimensions sémantiques de cet usage en exploitant les significations des sons linguistiques dans le domaine des études stylistiques . Nous avons examiné les aspects acoustiques internes qui ont un effet évident sur le dessin d'un timbre rythmique, représentés par des aspects linguistiques tels que la répétition, l'allitération et la syntaxe. Nous avons vu comment ces éléments vocaux interagissaient avec la nature et le sens de la poésie d’Ibn al-Arabi. Toutes ces données indiquent l’importance et l’intensité du lien entre le son et le sens selon Ibn al-Arabi. Quant au deuxième chapitre, nous avons analysé le niveau syntaxique du « Diwan al-Ma'rif » en étudiant les structures des phrases, tant verbales que nominales, avec une représentation utilisant tous les modèles poétiques disponibles, tout en essayant d'en déduire le sens sémantique. dimension qui anime cet emploi. Nous avons ensuite étudié les aspects stylistiques qui formaient une différence syntaxique, appelée style arabe littéraire, comprenant l'introduction, le retard et la suppression. Il nous a fallu aussi, selon les exigences de l'étude stylistique, analyser les méthodes structurales en les représentant avec des modèles poétiques et en déterminant leurs dimensions sémantiques. Ces méthodes étaient représentées dans le style du commandement, de l'interrogatif, de l'exclamation et de l'exclamation. appel. Dans le troisième chapitre, nous avons analysé le niveau sémantique à travers lequel les trois axes d'étude stylistique (son, structure et connotation) sont intégrés. Au sein de ce niveau, nous avons retracé l'utilisation par Ibn al-Arabi de certains mots et les propriétés qu'ils reflétaient et qui les affectent. le style, en plus des fondements sémantiques et intellectuels qu'ils portent, puis en les classant en champs sémantiques. Ensuite, nous étudions ces classifications en traquant les mots dominants présents au niveau du texte, en extrapolant leur source et en identifiant les nouvelles connotations qu'Ibn al-Arabi véhiculait dans ces mots qui ont enrichi son texte et affiné son approche stylistique. Après une étude approfondie, nous avons conclu un certain nombre de résultats, à savoir qu'Ibn al-Arabi a adhéré au modèle traditionnel du poème arabe à travers l'unité de la mer, de la rime et de la narration. Il a également utilisé presque toutes les mers poétiques arabes. sa collection, mais il est venu avec une grande partie fragmentée ou épuisée. C'est parce qu'Ibn al-Arabi Il ne se soucie pas tant des aspects artistiques et esthétiques qu'il choisit les significations en fonction des statuts et des conditions. Quant à la structure structurelle de ses poèmes, le recueil était riche en structures et phrases verbales et nominales, car le langage du recueil était dominé par les formes verbales, en particulier les verbes impératifs, ainsi que les verbes qui indiquent la description et la représentation de This, de. Bien sûr, cela dépend du but pour lequel le poète conseille, ou bien il emploie souvent des verbes impératifs. Surtout en ce qui concerne les décisions de justice ou l'utilisation de compositions qui portent le sens de représentation et de description, il s'agit soit d'une représentation de divers éléments naturels. qui abondent dans le « Diwan al-Ma'rif », et qu'Ibn al-Arabi les cite selon la connaissance et le secret divin déposés en eux. Ibn al-Arabi a également su créer un langage poétique avec des caractéristiques stylistiques syntaxiques sans affectation, notamment dans ce qui relève du changement compositionnel, représenté par les phénomènes d'introduction, de retard et de suppression. Nous avons observé un certain nombre de modèles qui le montrent. relèvent de ces deux phénomènes, même si Ibn al-Arabi n'accorde pas autant d'importance à l'aspect linguistique formel qu'aux connotations et significations profondes qu'il véhicule. En plus de remarquer la caractéristique de brièveté, de clarté parfois et d'ambiguïté à de nombreux autres moments dans la composition des passages de sa poésie. Quant à l'aspect sémantique, l'un de ses résultats a été de trouver une liste de vocabulaire uni par des relations communes. Nous avons travaillé à les classer en champs sémantiques, à partir de champs qui remontent aux relations linguistiques existantes entre les éléments de chaque groupe, comme le relation d'opposition verbale, de dérivation ou de synonymie. Il était merveilleux dans les systèmes d'Ibn al-Arabi de mentionner dans le verset Un est deux mots qui ont une relation linguistique spécifique. Ensuite nous avons classé, selon les données dont nous disposions, d'autres termes qui formaient ensemble le champ de la nature, d'autres qui formaient ensemble le champ du temps, et le reste qui formait collectivement le champ des organes. Dans notre étude, ces groupes ont donné lieu à un certain nombre de connotations, dont la plus marquante et la plus importante est peut-être leur lien les uns avec les autres, car le champ de la nature et les organes sont vivants et renouvelés, et ils sont considérés comme une manifestation de les manifestations du Créateur, Gloire à Lui, dans plusieurs de Ses attributs divins. Nous voyons que les éléments des champs de la nature et des organes sont régis par l'élément temps, qui dans son processus réalise des opposés vitaux qui se résument dans le cycle de vie des êtres vivants et de l'univers entier avec tous ses éléments. sont la mort/la vie, la beauté/la laideur, la stabilité/le voyage, la nuit/le jour... En plus d'analyser les champs sémantiques, nous avons suivi, compté et analysé un groupe de vocabulaire dominant qui résonnait fréquemment dans le « Diwan al-Ma'rif », en essayant de déduire les dimensions sémantiques de son utilisation par Ibn al-Arabi. a abouti à un certain nombre de résultats qui, dans leur intégralité, reflètent les grandes inspirations et connaissances religieuses dans lesquelles la plupart des poèmes d'Ibn al-Arabi sont versés en arabe, sinon la totalité, et ces mots sont représentés dans : amour, souvenir,. l'œil, les versets, le Coran et les Hadiths, les témoins, le soin et le but, et le nom démonstratif « ceci ». Comme nous l'avons vu, la prédominance de ces mots est due à leur foi profonde et à leur souci d'atteindre le but de l'amour et de la connaissance divins, qui est atteint par la dévotion du croyant à ses prières et à ses souvenirs, car les soufis attachent une grande importance au souvenir, comme c'est la porte d'entrée pour entrer en Sa présence, Gloire à Lui, tout en agissant selon ce qui est dit dans le Coran et les nobles hadiths prophétiques. Tout cela va vers l'objectif principal, pour ne pas dire le seul, qui a motivé Ibn al-Arabi à emprunter de la poésie, qui est en premier lieu de parler extérieurement et intérieurement à son Seigneur, et de lui prodiguer des conseils sous couvert de poésie. de sagesse à tous ceux qui sont perdus dans la mer de Son royaume, Gloire à Lui. Cela confirme l’importance de la démarche stylistique en raison des clés qu’elle fournit au lecteur à la lumière d’une lecture interne du « Diwan al-Ma’rif », révélant des schémas stylistiques qui le distinguent des autres œuvres soufies et littéraires.

The history of human thought is the history of intellectual and scientific shifts achieved by thinkers, which in turn became a driver for human thought by opening new horizons for it. Here, the most complete and important role of thinkers is determined by the extent to which they left an imprint that opened or changed the course of research after it to different and new horizons and visions that his field had not known.

Among the things that a thinker, researcher or Sufi needs is a linguistic dictionary rich in vocabulary and terms that serve his ideas if he is a thinker or his observers if he is a Sufi. Since Ibn al-Arabi's witnessing was characterized by novelty, uniqueness, distinction and depth, it was necessary for him to create a new language that serves to express his witnessing and revelations, through the use of symbolism or the introduction of new terms that Sufis had never used before. Here comes the role of stylistic study, which is generally based on monitoring the prominent linguistic stylistic elements in the literary work and the ways in which they perform their functions, without exceeding the limits of the text. In order for the stylistic study to achieve its goal, the stylistic analyst must extract the linguistic elements that entered into the composition of the fabric of the literary work, from phonetics, syntax, and semantics. At the phonetic level, the stylistic analyst monitors the literary work and its phonetic manifestations and the active elements in its rhythm, such as tone, accent, repetition, meter, and rhyme, in addition to alliteration, contrast, and alliteration. Then the stylistic analyst moves to the syntactic level of the literary work and traces the predominant structures in the composition of the fabric of the text, from verbal or nominal sentences or quasi-sentences, and the role of grammatical relations in achieving the internal harmony and coherence of the text. In light of the semantic level, the stylistic analyst is interested in studying the words used and the properties they carry that influenced the author's style, and then classifying them within semantic fields, and analyzing their semantic dimensions while tracking the words that predominate in the literary work to discover cultural and intellectual aspects or literary affiliations of the author, while determining what the author has spread in his literary language of new connotations that represent shifts in meaning. Through the stylistic analysis of the literary work in its three angles (sound, structure, meaning), stylistics draws a detailed structure for the literary work, enabling it to discover the author's style. We in turn, worked on trying to fathom the depths of what Ibn Arabi left behind in poetry through a study of his huge collection, “Divine Knowledge and Spiritual Subtleties,” by dedicating our study to the poems that scholars specializing in Ibn Arabi’s legacy agreed were not previously mentioned in other works by Ibn Arabi, similar to the rest of the poems. Hence, our research came to be titled “Divine Knowledge and Spiritual Subtleties” by: Muhyiddin Ibn Arabi - A Stylistic Study of Part of the Collection -” and we took on two tasks: the first was to record these buried verses in a manuscript in the National Library in Paris, and the second was a selective stylistic study of these poems due to the length of the collection. Perhaps we were often curious about the great Sheikh Muhyiddin Ibn al-Arabi due to the great fame he was known for, in addition to a series of lessons that were held under the supervision of the scholar, thinker and researcher Abdelbaki Meftah, and we would have loved to have been present, out of our desire to purify and refine our souls. It is a strange coincidence that Professor Abdul Baqi suggested that our doctoral studies be on the poetry of the great Sheikh Ibn al-Arabi. Despite our many fears, the encouragement, support and assistance we received from the supervising professor Salim Sadani and some family members, and the availability of references and the ease of searching for them on the Internet, generated a great incentive in us. In addition to our admiration for Ibn al-Arabi’s poetry after reviewing some of his works and noticing the deep religious, spiritual and mystical impulse that prevails in him. We have set before our eyes a main problem that we have adopted based on what we have been informed and what we have learned from specialists in Ibn Arabi’s legacy, that his poems are, in general, famous for their ambiguity. Can we analyze this ambiguity and reach stylistic characteristics and features at the levels of linguistic study, such as sound, structure, and semantics? Will stylistic analysis allow us to discover the basic essence that distinguishes Ibn Arabi’s poetry from other Sufi poetry? Did the sources from which Ibn Arabi drew his culture have a clear echo in his poetry? Did Ibn Arabi care about the linguistic aspect of poetry, by creating a poetic language of his own? Does Ibn al-Arabi’s language really have a meaning that extends beyond the first linguistic meaning to other meanings? As we know, every poet has a goal, purpose, or message that he includes between the lines of his poetry: What is the message that Ibn al-Arabi seeks to convey through these poems? To answer the previous questions, we chose to use the applied stylistic study due to the linguistic and semantic specificity that characterizes the Sufi text, which enables us to extract the stylistic features and elements of Ibn al-Arabi’s poetry by applying the method of modern stylistic analysis, description, and statistics, to conclude with an interpretation and explanation of the results. The stylistic method allows us to study our poetic corpus and analyze it in light of what it reveals of Ibn al-Arabi’s stylistic patterns, by studying the corpus analytically and descriptively by tracing its internal components of phonetics, syntax, and semantics, which characterized and outlined his stylistic pattern. Hence, our work included an introduction, three chapters, and a conclusion. In the introduction, we discussed the definition of Sufism and mentioned the reasons for its emergence in the Arab Islamic countries and the stages of its development. Then we discussed the concept of style and stylistics in the field of linguistic studies and the most prominent stylistic issues and phenomena that it addresses, as well as its objectives. We also presented the blog entitled “Diwan al-Maaref”,and we specified the part that was the subject of our study and postponed the biography of its author to an appendix at the end of the research. In the first chapter, in which we conducted a study of the phonetic level in “Diwan al-Maaref”, where the statistical procedure prevailed in our study, as we divided our study according to the rhythm of the Arabic poem, external and internal. In studying the external phonetic aspects, we took care to determine the rhythmic aspects related to the weights of the poetic meters and the percentage of occurrence of each meter in “Diwan al-Maaref”, trying to deduce the semantic dimensions of the prevalence of one poetic meter over another. The same applies to the types of rhymes, in which we determined the percentage of occurrence of each type, absolute and restricted, without neglecting the rhyme letter, by identifying all the letters that Ibn al-Arabi used in his Diwan Rūyā, and counting the percentage of occurrence of each letter in relation to the number of poetic sections as well as the number of verses, deducing the semantic dimensions of this employment by exploiting the meanings of linguistic sounds in the field of stylistic studies. We looked at the internal phonetic aspects that had a clear effect in drawing a rhythmic tone represented in linguistic aspects such as repetition, alliteration, and alliteration. We saw how these phonetic elements interacted with the nature of Ibn Arabi's poetry and its meaning. All of these are data that indicated the importance and intensity of the connection between sound and meaning in Ibn Arabi. As for the second chapter, we analyzed the structural level in "Diwan al-Ma'arif" by studying the sentence structures in it from verbal and nominal with representation from what was available from poetic models with an attempt to deduce the semantic dimension motivating this employment, then we studied the stylistic aspects that formed a structural deviation that characterized Ibn Arabi's literary style, including advancement, delay, and deletion. As dictated by the stylistic study, we were obliged to analyze the constructional styles by representing them with poetic models and determining their semantic dimensions. These styles were represented in the style of command, prohibition, interrogation, astonishment, and calling.

As for the third chapter, we analyzed the semantic level through which the three axes of the stylistic study are integrated (sound, structure, meaning). Within this level, we followed Ibn al-Arabi's use of some words and what they reflected of properties that affect the style in addition to what they carry of semantic and intellectual backgrounds, then classified them within semantic fields. Then, we studied these classifications while following the words that are most present at the level of the text and extrapolating their source and standing on what Ibn al-Arabi sent in these words of new meanings that enriched his text and refined his stylistic approach. As for the conclusion, we have stopped at the most important results that we reached through our study of Ibn Arabi's "Diwan al-Ma'arif", through which we were able to identify the stylistic specificity that distinguished Ibn Arabi's poetry from other Sufis and writers in general. This confirms the importance of the stylistic procedure for what it provides the reader with in terms of keys in light of reading "Diwan al-Ma'arif" an internal reading, revealing stylistic patterns that distinguish it from other Sufi and other literary works. In our study, we relied on a number of sources and references, the most important of which is the manuscript of "Divine Knowledge and Spiritual Delicacies" located in the National Library in Paris. We made our work dedicated to the circle of verses that were not found in Ibn Arabi's works in Arab and international libraries, in addition to using a number of references, the most important of which are: Ibn Arabi, The Birth of a New Language by Suad al-Hakim, as well as the Sufi Dictionary by Suad al-Hakim, as well as Hearing, Terms, and Sufi Symbols by Abdelbaki Meftah, and the Book of Al-Futuhat al-Makkiyya by Ibn Arabi, The Science of Style, Its Principles and Procedures by Salah Fadl, Stylistics and Sufism, A Study of the Poetry of Mansour al-Hallaj, "Thus Spoke Ibn Arabi" by Nasr Hamid Abu Zaid. As with any research work, it must have been preceded by research in its field, from which it can benefit. There were works that dealt with Ibn Arabi's writings and style, including a doctoral dissertation entitled "The Structure of Poetic Discourse in Al-Futuhat" Al-Makkiyya by Qudour Rahmani, and a master’s thesis by researcher Anwar Mustafa entitled “The Structure of the Poem in Tarjuman al-Ashwaq” which was later published as a book entitled “The Structure of Poetic Language in the Diwan Tarjuman al-Ashwaq”, in addition to a master’s thesis by researcher Yazan Mahmoud al-Shamayleh entitled “Muhammad bin Ali bin Muhammad Ahmad al-Ta’i al-Hatimi al-Mursi Ibn al-Arabi - An Artistic Study”. We also benefited from a group of literary articles that dealt with Ibn al-Arabi’s poetry through study and analysis, including: “Poetry and Spiritual Experience in Ibn al-Arabi” by researcher Abed Fatiha, and another article entitled “Symbolism in Sufi Poetry” by researcher Bin Awda Suleiman and Farsi Abdul Rahman. During our research, we encountered a number of obstacles, the most prominent of which was the difficulty of devoting ourselves to study due to life responsibilities. Among the difficulties was the necessity of transcribing Ibn Arabi's verses from the manuscript of the National Library in Paris related to our study, to facilitate our study. We have set before our eyes a main problem that we have adopted based on what we have been informed and what we have learned from specialists in Ibn Arabi’s legacy, that his poems are, in general, famous for their ambiguity and confusion. Can we analyze this ambiguity and reach stylistic characteristics and features at the levels of linguistic study, such as sound, structure, and semantics? Will stylistic analysis allow us to discover the basic essence that distinguishes Ibn Arabi’s poetry from other Sufi poetry? Can stylistic analysis allow us to discover the basic essence that distinguishes Ibn Arabi’s poetry from other Sufi poetry? Did the sources from which Ibn Arabi drew his culture have a clear echo in his poetry? Did Ibn Arabi care about the linguistic aspect of poetry, by creating a poetic language of his own? Does Ibn al-Arabi’s language really have a meaning that extends beyond the first linguistic meaning to other meanings? As we know, every poet has a goal, purpose, or message that he includes between the lines of his poetry: What is the message that Ibn al-Arabi seeks to convey through these poems? To answer the previous questions, we chose to use the applied stylistic study due to the linguistic and semantic specificity that characterizes the Sufi text, which enables us to extract the stylistic features and elements of Ibn al-Arabi’s poetry by applying the method of modern stylistic analysis, description, and statistics, to conclude with an interpretation and explanation of the results. The stylistic method allows us to study our poetic corpus and analyze it in light of what it reveals of Ibn al-Arabi’s stylistic patterns, by studying the corpus analytically and descriptively by tracing its internal components of phonetics, syntax, and semantics, which characterized and outlined his stylistic pattern. Hence, our work included an introduction, three chapters, and a conclusion. In the introduction, we discussed the definition of Sufism and mentioned the reasons for its emergence in the Arab Islamic countries and the stages of its development. Then, we discussed the concept of style and stylistics in the field of linguistic studies and the most prominent stylistic issues and phenomena that it addresses, as well as its objectives. We also presented the corpus entitled “Divine Knowledge and Spiritual Delicacies” in some detail, and we specified the part that was the subject of our study and postponed the biography of its author to an appendix at the end of the research. In the first chapter, in which we conducted a study of the phonetic level in “Diwan al-Maaref”, where the statistical procedure prevailed in our study, as we divided our study according to the rhythm of the Arabic poem, external and internal. In studying the external phonetic aspects, we took care to determine the rhythmic aspects related to the weights of the poetic meters and the percentage of occurrence of each meter in “Diwan al-Maaref”, trying to deduce the semantic dimensions of the prevalence of one poetic meter over another. The same applies to the types of rhymes, in which we determined the percentage of occurrence of each type, absolute and restricted, without neglecting the rhyme letter, by identifying all the letters that Ibn al-Arabi used in his Diwan Rūyā, and counting the percentage of occurrence of each letter in relation to the number of poetic sections as well as the number of verses, deducing the semantic dimensions of this employment by exploiting the meanings of linguistic sounds in the field of stylistic studies. We looked at the internal phonetic aspects that had a clear effect in drawing a rhythmic tone represented in linguistic aspects such as repetition, alliteration, and alliteration. We saw how these phonetic elements interacted with the nature of Ibn Arabi's poetry and its meaning. All of these are data that indicated the importance and intensity of the connection between sound and meaning in Ibn Arabi. As for the second chapter, we analyzed the structural level in "Diwan al-Ma'arif" by studying the sentence structures in it from verbal and nominal with representation from what was available from poetic models with an attempt to deduce the semantic dimension motivating this employment, then we studied the stylistic aspects that formed a structural deviation that characterized Ibn Arabi's literary style, including advancement, delay, and deletion. As dictated by the stylistic study, we were obliged to analyze the constructional styles by representing them with poetic models and determining their semantic dimensions. These styles were represented in the style of command, prohibition, interrogation, astonishment, and calling. As for the third chapter, we analyzed the semantic level through which the three axes of the stylistic study are integrated (sound, structure, meaning). Within this level, we followed Ibn al-Arabi's use of some words and what they reflected of properties that affect the style in addition to what they carry of semantic and intellectual backgrounds, then classified them within semantic fields. Then, we studied these classifications while following the words that are most present at the level of the text and extrapolating their source and standing on what Ibn al-Arabi sent in these words of new meanings that enriched his text and refined his stylistic approach. After an extensive study, we concluded a number of results, which were that Ibn al-Arabi adhered to the traditional model of the Arabic poem through the unity of meter, rhyme, and rhyme. He also employed in his collection almost all of the Arabic poetic meters, but he presented a large portion of them in fragments or exhausted form, because Ibn al-Arabi does not pay attention to the artistic and aesthetic aspect as much as he chooses meanings according to the situations and circumstances. As for the structural composition of his poems, the collection was rich in verbal and nominal structures and sentences, as the language of the collection was dominated by verbal forms, especially imperative verbs, as well as verbs indicating description and depiction. This is of course according to the purpose, which is either that the poet is in the process of giving advice, in which case he frequently employs imperative verbs, especially in relation to religious rulings, or employs structures that carry the meaning of depiction and description. It is either a depiction of various natural elements that are abundant in the “Diwan al-Ma’arif”, which Ibn al-Arabi presents according to the divine knowledge and secret deposited in it. Ibn al-Arabi was also able to create a poetic language with stylistic and structural characteristics without affectation, especially in what falls within the structural displacement, which is represented in the phenomena of presentation andAnd delay and deletion, where we observed a number of models that fall under these two phenomena, despite the fact that Ibn al-Arabi does not give weight to the formal linguistic aspect as much as it sends out deep meanings and connotations. In addition to noting the characteristic of brevity and clarity sometimes and ambiguity at other times in the structures of the sections of his collection. As for the semantic aspect, one of its results was finding a list of vocabulary that are united by common relationships, which we worked to classify into semantic fields, from fields that go back to linguistic relationships existing between the elements of each group, such as the relationship of verbal contrast, derivation, or synonymy. It was one of the marvels of Ibn al-Arabi’s system that he included in one verse two words that are united by a specific linguistic relationship. Then we classified, according to the data available to us, other vocabulary that formed in their entirety the field of nature, and others that formed in their entirety the field of the field of time, and the rest that formed in their entirety the field of organs. These groups in our study have led to a number of indications, perhaps the most prominent and important of which is their connection to each other, as both the field of nature and the organs are alive and renewed, and they are considered a manifestation of the manifestations of the Creator, Glory be to Him, in many of His divine attributes. We see that the elements of the fields of nature and organs are governed by the element of time, which in its course achieves vital opposites that are summarized in the life cycle of living beings and the entire universe with all its elements. Among these opposites are death/life, beauty/ugliness, stability/travel, night/day. In addition to analyzing the semantic fields, we have tracked and counted, along with the analysis, a group of dominant vocabulary that echoed frequently in the “Diwan al-Ma’arif,” trying to deduce the semantic dimensions of their use by Ibn al-Arabi. This resulted in a set of results that, in their entirety, reflected the great spiritual inspirations and knowledge that most of Ibn al-Arabi’s poetry, if not all of it, is poured into. These words were represented in: love, remembrance, the eye, verses, the Qur’an and hadith, witnessing, care and purpose, and the demonstrative pronoun “this.” As we have seen, the dominance of these words is due to their significance to the deep faith and care to achieve the goal of divine love and knowledge, which is achieved by the believer’s devotion to his prayers and remembrances, as the Sufis give great importance to remembrance, as it is the gateway to His presence, glory be to Him, while working with what is stated in the Qur’an and the noble prophetic hadiths. All of this is in line with the main goal, if not the only one, that prompted Ibn al-Arabi to compose poetry, which is supplication in appearance and inwardly to his Lord in the first degree, and presenting advice in the guise of wisdom to everyone lost in the sea of His kingdom, glory be to Him. This confirms the importance of the stylistic procedure for what it provides the reader with in terms of keys in light of reading “Diwan al-Ma’arif” an internal reading, revealing stylistic patterns that distinguish it from other Sufi and other literary works.