Marife Dini Araştırmalar Dergisi

Öz

This study provides a comprehensive examination of the rhetorical art of iftinān, which is considered one of the aesthetic elements of Arabic literature and classified under the field of badīʿ. Iftinān refers to the literary technique of harmoniously combining opposing or diverse themes in either prose or poetry. Widely utilized to enrich the aesthetic dimension of discourse in Arabic rhetoric, this rhetorical device underscores the creative and multifaceted use of language. In other words, iftinān is a concept that reveals the discursive diversity intrinsic to language and consolidates the richness of expression on the part of the recipient. The study investigates the origins, theoretical framework, and applications of iftinān in both the Qurʾān and Arabic literature.
The etymological roots of iftinān are traced back to the Arabic words fenne and fenen, which convey meanings such as “art,” “type,” and “variety.” Although some sources associate iftinān with the root f-t-n, the meanings derived from this root are noted to be less aligned with the concept of iftinān. Lexically, the term encompasses meanings such as transitioning between themes, diversity, and embellishment in speech. Initially, iftinān was employed in a general sense rather than as a technical literary term. However, it later evolved into a theoretical concept through the works of scholars like Ibn Abī al-Iṣbaʿ and other rhetoricians. In this context, the concept of iftinān experienced a process of semantic transformation: initially denoting a broad notion such as the ornamentation of speech, transition, and polyvalence, it subsequently developed into a specific rhetorical device within the science of badīʿ.
Within the framework of badīʿ, iftinān is categorized as one of the rhetorical devices that enhance meaning (muḥassināt maʿnawiyya). It requires the skilled integration of contrasting or diverse themes, such as madh-hijāʾ (praise-satire), taʿziya-tahniʾa (condolence-congratulation), waʿd-waʿīd (promise-threat), and ghazal-ḥamāsa (love poetry-epic). This technique captivates the audience, creates emotional impact, and imparts aesthetic depth to literary works.
The Qurʾān offers compelling examples of iftinān, particularly through its juxtaposition of tahdhīr-tabshīr (warning-good omen) and waʿd-waʿīd (promise-threat) elements. By presenting rewards and punishments simultaneously, the Qurʾān effectively employs iftinān to guide and influence its audience. Similarly, pre-Islamic (Jāhiliyyah) odes exhibit the fusion of condolence-congratulation and love-epic themes, offering early examples of this rhetorical device.
While iftinān appears predominantly in poetic forms, it is also present in prose. Notable instances can be found in prose texts that blend expressions of condolence and congratulation. The capacity of iftinān to present diverse or opposing themes in a coherent and aesthetically pleasing manner makes it an essential tool for poets and writers to enhance their expressive capabilities. In this context, the principle of contextual appropriateness (muqtaḍā al-ḥāl) plays a critical role in determining the success of this rhetorical device. Indeed, while most rhetorical devices are confined to a single context or genre, iftinān is characterized by the presence of at least two opposing or divergent contexts.

The study further explores the relationship between iftinān and other badīʿ techniques, such as takhalluṣ, iltifāt, and tamzīj. While these techniques share similarities with iftinān, the latter is distinguished by its requirement to harmonize opposing themes. For example, takhalluṣ denotes the transition from one section to another, while iltifāt refers to the type of transition effected through changes in pronouns. Tamzīj involves bringing together poetic genres and arts such as ghazal, madīḥ, and hijāʾ. Iftinān, in turn, encompasses transitions between different poetic genres. From this perspective, it can be observed that each device shares similarities in terms of transition yet differs in scope and structure. In conclusion, iftinān emerges not only as an aesthetic element within Arabic rhetoric but also as a creative tool that expands the expressive possibilities of language. The study underscores its capacity to enhance both stylistic expression and literary aesthetics, highlighting its importance for poets and writers in enriching their rhetorical repertoire.