«وَمَا ضَنَّ إِلَّا غَبِينٌ، وَلَا غَبَنَ إِلَّا ضَنِينٌ»
Only one who loses by it behaves miserly, and one who wrongs another by deprivation is miserly.
The paired roots ḍ-n-n and gh-b-n demonstrate deliberate manipulation of sound, form and meaning. In a debate about contemporary eloquence, the crafted sentence provides something an audience can actually examine.
Admiration alone is not analysis. The lexical reversal ties miserliness to loss, so the technical achievement lies in a semantic relation as well as patterning of sound.
Applied question
Why can the wordplay count as evidence of craftsmanship?