Iqtibas, Tadmeen, Aqd, Hall, Talmih and the Art of Literary Openings and Endings

Read-only question overview. Answers and scoring remain inside authenticated learner attempts.

• What is the rhetorical device of incorporating Qur’anic wording into poetry without a formal citation?
• A poet incorporates a famous half-line by another poet. Which device is this?
• What most decisively distinguishes iqtibās from taḍmīn?
• What is generally required when incorporating an obscure earlier poem?
• What distinction matters when “fa-ṣabrun jamīl” is incorporated into new verse?
• A prose saying is reshaped into metrical poetry. Which practice is this?
• Which device is illustrated by rendering the sense of “idhā sāʾa fiʿl al-marʾ...” into prose?
• Which requirement is central to successful ʿaqd?
• What is it called to evoke a known story through a name without retelling it?
• Why is the mention of Yūshaʿ rhetorically effective in the allusion?
• If a poet directly inserts an earlier well-known half-line, which term is more appropriate than talmīḥ?
• Which two devices operate by transforming literary form in opposite directions?
• Which three positions in discourse receive special attention in the final section?
• Which best characterizes a fine literary opening?
• What distinguishes barāʿat al-istihlāl from mere elegance of opening?
• Why is “bushrā fa-qad anjaza al-iqbāl...” a fitting congratulatory opening?
• What makes a successful takhalluṣ?
• Moving from “rising sun” to “rising generosity” exemplifies which device?
• What principally separates iqtīḍāb from takhalluṣ?
• What discourse function does “ammā baʿd” commonly perform after praise?
• What most matters for a rhetorically successful ending?
• Why can “baqīta baqāʾ al-dahr...” serve as an effective ending to a panegyric?
• In the discussed Qur’anic examples, what can “hādhā” help indicate?
• What happens if irrelevant mockery is added after an apt final blessing?
• What is a useful distinction between metaphorical use and allusion?
• Which broad rhetorical principle unifies fitting openings, transitions and endings?
• Which conclusion does NOT follow from discussions of slight alteration in borrowed wording?
• Which of the five devices may merely invoke a story without textual quotation?
• Why distinguish plain reproduction of an older thought from effective adaptation?
• Iqtibās can draw its wording from the Qur’an or Hadith.
• Source indication is always unnecessary when incorporating obscure poetry.
• ʿAqd and ḥall transform a text in the same direction.
• Talmīḥ does not require retelling the entire story.
• Barāʿat al-istihlāl calls for a fitting relation between opening and subject.
• Takhalluṣ is merely the juxtaposition of unrelated passages.
• Iqtīḍāb need not show the developed bridge of takhalluṣ.
• “Ammā baʿd” can mark the transition from preface to the main discourse.
• For ḥusn al-intihāʾ, word count is more important than fitness of conclusion.
• Verbal ornament is most effective when it also serves meaning and context.