Summary
Highlights
The Ta'ajjub (admiration) style involves several key aspects, starting with its definition, followed by the Qiyasi (standard) form and its patterns, then the derivation of the Qiyasi form, and finally, the Samai (non-standard) form. Ta'ajjub is defined as an emotional state an individual experiences in response to a particular event, leading to expressions that convey their astonishment.
Qiyasi Ta'ajjub has two main forms: 'Ma Af'alahu' (nominal sentence structure) and 'Af'al Bihi' (verbal sentence structure). Both are used to express admiration and can be identified by specific structural elements: 'Ma' + a verb on the 'Af'al' pattern + the admired object (a noun or pronoun) for the first form, and a verb on the 'Af'al' pattern + 'Ba' + the admired object for the second. The lesson stresses the importance of identifying these components to correctly classify the Ta'ajjub as Qiyasi.
The 'Ma Af'alahu' construction consists of 'Ma' (an indefinite noun meaning 'something') as the subject, the 'Af'al' verb (a past tense verb serving as the verb of admiration with a hidden subject 'هو'), and the admired object as the object in the accusative case. The entire verbal phrase acts as the predicate. The 'Af'al Bihi' construction uses a past tense verb in the imperative form for the 'Af'al' part, 'Ba' as an extra preposition for emphasis, and the admired object as a nominal subject in the genitive case by sound, but nominative by meaning.
Several observations are crucial for understanding Ta'ajjub. A separator, such as a semi-sentence, an exclamation, or a conditional clause, can appear between the verb of admiration and the admired object without affecting the Ta'ajjub's structure. The word 'كان' might be inserted between 'Ma' and the verb of admiration, serving an extra and negligible role. The admired object can also be an infinitive form derived from a past verb ('ma' + past verb) or a present verb ('an' + present verb).
To form Qiyasi Ta'ajjub, the direct method is used when the verb meets seven conditions: it must be a three-letter verb, positive (not negative), a flexible verb (not static), active voice (not passive), complete (not defective), capable of variation (not indicating death, etc.), and its adjective form should not be on the pattern 'Af'al/Fa'la' (not indicating color, defect, or ornament). If these conditions are met, the verb is directly transformed into 'Ma Af'alahu' or 'Af'al Bihi'.
If a verb does not meet one or more of the seven conditions, the indirect method, or 'verb of mediation' method, is used. This involves bringing an auxiliary verb (a verb of admiration) from outside that satisfies all conditions, such as 'Ma Ajmala' or 'Af'al Bi', followed by the infinitive form of the original non-conforming verb. This infinitive can be expressed as a derived source ('ma' + past verb, 'an' + present verb) or a literal source. Exceptions include verbs that are non-variable or express an inability to differentiate (like death), which cannot form Ta'ajjub at all.
When presented with an existing Ta'ajjub sentence, one must determine whether it was formed using the direct or indirect method. This primarily involves examining the admired object. If it's a simple, non-derived noun, it usually indicates direct derivation. If it’s an infinitive construction or a literal source derived from another verb, it points to the indirect method. The key is to analyze the structure of the admired object to understand the process of Ta'ajjub formation.
The word 'Ma' preceding an 'Af'al' verb can have three different grammatical functions, leading to different sentence types: an interrogative 'Ma' (followed by an 'Af'al' noun and a genitive case noun), a negative 'Ma' (followed by an 'Af'al' verb and a nominative case noun), or a Ta'ajjub 'Ma' (followed by an 'Af'al' verb and an accusative case noun). Students must differentiate between these forms based on the vocalization of the 'Af'al' verb and the case of the noun that follows.
Samai Ta'ajjub refers to expressions of admiration that do not follow the strict patterns of Qiyasi Ta'ajjub but are understood by convention to convey astonishment. Common forms include 'LiLlāhi Darra' (for exaggeration), 'Subhāna Allāh' (for wonder or astonishment), 'Nida' Al-Istighatha' (exclamatory call for help), and specific rhetorical questions used for emphasis or wonder. These forms are recognized through their customary usage rather than their grammatical structure.