Classical Arabic
Spoken in	Historically in the Middle East, now used as a liturgical language of Islam
Era	7th to 9th centuries; continues as a liturgical language
Language family	Afro-Asiatic Semitic Central Semitic Arabic Classical Arabic
Dialects	Over 24 modern Arabic dialects
Language codes
ISO 639-3	–
Verses from the Qur'an in Classical Arabic, written in the cursive Arabic script.
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This article contains Arabic text, written from right to left in a cursive style with some letters joined. Without proper rendering support, you may see unjoined Arabic letters written left-to-right instead of right-to-left or other symbols instead of Arabic script.

Classical Arabic (CA), also known as Qur'anic or Koranic Arabic, is the form of the Arabic language used in literary texts from Umayyad and Abbasid times (7th to 9th centuries). It is based on the Medieval dialects of Arab tribes. Modern Standard Arabic (MSA) is the direct descendant used today throughout the Arab World in writing and in formal speaking, for example, prepared speeches, some radio broadcasts, and non-entertaining content.^[1] While the lexis and stylistics of Modern Standard Arabic are different from Classical Arabic, the morphology and syntax have remained basically unchanged (though MSA uses a subset of the syntactic structures available in CA).^[2] The vernacular dialects, however, have changed more dramatically.^[3] In the Arab world, little distinction is made between CA and MSA, and both are normally called al-fuṣḥā (الفصحى‎) in Arabic, meaning 'the clearly spoken one' or the 'language of eloquence'.

Because the Qur'an is written in Classical Arabic, the language is considered by most Muslims to be sacred.^[4] It is mostly the language in which Muslims recite their prayers, regardless of what language they use in everyday life.

History[link]

Classical Arabic has its origins in the central and northern parts of the Arabian Peninsula, and is distinct from Old South Arabian languages that were spoken in the southern parts of the peninsula, modern day Yemen.^[5] Classical Arabic is the only surviving descendant of the Old North Arabian languages. The oldest inscription so far discovered in Classical Arabic goes back to 328 AD and is known as the Namārah inscription, written in the Nabataean alphabet and named after the place where it was found in southern Syria in April 1901.^[6]

With the spread of Islam, Classical Arabic became a prominent language of scholarship and religious devotion as the language of the Qur'an (at times even spreading faster than the religion).^[3] Its relation to modern dialects is somewhat analogous to the relationship of Latin and the Romance languages or Middle Chinese and the modern Chinese languages.

Morphology[link]

Classical Arabic is one of the Semitic languages, and therefore has many similarities in conjugation and pronunciation to Hebrew, Akkadian, Aramaic, and Amharic. Its use of vowels to modify a base group of consonants resembles similar constructions in Biblical Hebrew.

For example:

• kataba, he wrote
• yaktubu, he writes
• maktūbun, written (words)
• kitābun, book
• kutubun, books (broken plural)
• kitābatun, writing
• kitābātun, writings (feminine sound plural)
• maktabun, desk
• maktabatun, library
• kātibun, writer
• kātibūna, writers (masculine sound plural)
• kuttābun, writers (broken plural)
• miktābun, writing machine

These words all have some relationship with writing, and all of them contain the three consonants KTB. This group of consonants k-t-b is called a "root." Grammarians assume that this root carries a basic meaning of writing, which encompasses all objects or actions involving writing, and so, therefore, all the above words are regarded as modified forms of this root, and are "obtained" or "derived" in some way from it.

Grammar[link]

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Descriptive grammar in Arabic (قواعد‎, meaning "rules"), underwent development in the late 700s.^[7][8] The earliest known Arabic grammarian is ʻAbd Allāh ibn Abī Isḥāq. The efforts of three proceeding generations of grammarians culminated in the book of the Persian scholar Sibawayhi. Recent efforts aim to annotate the entire Arabic Grammar of the Quran, using traditional syntax:

Phonology[link]

Classical Arabic had three pairs of long and short vowels: /a/, /i/, and /u/. The following table illustrates this:

Like Modern Standard Arabic, Classical Arabic had 28 consonant phonemes:

1. Non-emphatic /s/ may have actually been [ʃ],^[10] shifting forward in the mouth before or simultaneously with the fronting of the palatals (see below).
2. As it derives from proto-semitic *g, /ɟ/ may have been a palatalized velar: /ɡʲ/
3. /l/ is emphatic ([ɫ]) only in /ʔaɫːɑːh/, the name of God, i.e. Allah,^[11] except after i or ī when it is unemphatic: bismi l-lāhi /bismillaːhi/ ('in the name of God').
4. /ɾˠ/ (velarised [ɾ]) before "i" is pronounced without velarization.

The consonants traditionally termed "emphatic" /dˤ, ɮˤ, sˤ, ðˤ/ were either velarised [dˠ, ɬˠ, sˠ, ðˠ] or pharyngealised [dˤ, ɮˤ, sˤ, ðˤ].^[12] In some transcription systems, emphasis is shown by capitalizing the letter, for example, /sˤ/ is written ⟨S⟩; in others the letter is underlined or has a dot below it, for example, ⟨ṣ⟩. The consonants /[ɾˠ, ɢˠ, ʁˠ, χˠ] are pronounced with velarization.

There are a number of phonetic changes between Classical Arabic and modern Arabic dialects. These include:^[13]

• The palatals /ç/ /ɟ/ (⟨ش‎⟩‎ ⟨ج⟩‎) shifted. /ç/ became postalveolar /ʃ/, and /ɟ/ became postalveolar /dʒ/ or /ʒ/ or velar {{[ɡ]}}.
• The uvular fricatives /χˠ/ /ʁˠ/ (⟨خ⟩‎ ⟨غ⟩‎) became velar or post-velar: /x/ /ɣ/
• /ɮˤ/ (⟨ض‎⟩‎) became /dˤ/ (Certain Tajweed traditions actually preserve the original value of this sound synchronically.) See also Voiced alveolar lateral fricative

See Arabic alphabet for further details of the IPA representations of contemporary Arabic sounds.

The language of Classical Arabic is essentially that of the so-called poetic koine of the pre-Islamic poets, a standardized prestige dialect based on conservative Bedouin dialects of the eastern Arabian peninsula. A similar but slightly different koine had been adopted in Mecca, in a form adapted somewhat to the phonology of the spoken Meccan dialect of the time, and it was in this form that the Koran was given. The Koran was later rephonemicized into the standard poetic koine. Two of the differences between these dialects are represented in the modern Arabic writing system:

• The original poetic koine had preserved the Proto-Semitic glottal stop in all positions, whereas the Meccan variant had eliminated it everywhere except initially, following the spoken Meccan dialect. (Similar changes occur in all the modern varieties of Arabic.) Depending on the surrounding vowels, the glottal stop was either deleted entirely, converted to /w/ or /j/, or deleted after lengthening a preceding short vowel. The Koran as originally written down represented these changes; since the document was considered sacred, the letters were not changed. Instead, the letter representing the "incorrect" /w/, /j/ or long vowel that ought to be pronounced as a glottal stop had a diacritic (termed hamza) written over it to cancel out its inherent sound; if no such letter existed, the hamza was written between the existing letters. This is the origin of the complex rules regarding the writing of the glottal stop.
• In the dialects underlying the poetic koine, original word-final /aja, aji, aju/ had developed into /aː/, merging with final /aː/ from other sources. In the spoken Meccan dialect, however, these word-final sequences did not merge in this way, instead remaining as a separate vowel, perhaps pronounced /eː/. Correspondingly, the Meccan koine variant split the standard koine's final /aː/ in two, in ways that corresponded with the spoken dialect. In writing the Meccan variant, final /aː/ was written with the letter alif, while final /eː/ was written with the letter yāʾ, normally used for /j/. When rephonemicized into the standard poetic koine, the occurrences of yāʾ meant to be pronounced as /j/ or /aː/. Only recently, two dots was created to be written under the final yāʾ in order to distinguish it from the pronunciation of /aː/. This invention was not adopted by all Arabic speaking nations, as for example, Egypt and Sudan never add two dots under the final yāʾ in handwriting and print, even in printed Koran. Yāʾ for /aː/ was named alif maqṣūrah "broken alif" or alif layyinah "flexible alif". This is why, final /aː/ can be written either with a normal alif or alif maqṣūrah.

Special symbols[link]

A variety of special symbols exist in the Classical Arabic of the Qur'an that are usually absent in most written forms of Arabic. Many of these serve as aids for readers attempting to accurately pronounce the Classical Arabic found in the Qur'an. They may also indicate prostrations (Sujud), surahs (Ayah), or the ends of chapters (Rub al Hizb).

See also[link]

• Arabic language
• Modern Standard Arabic
• Ancient North Arabian
• Quranic Arabic Corpus
• Arabic–English Lexicon

Notes[link]

References[link]

External links[link]

Look up Classical Arabic in Wiktionary, the free dictionary.

Look up Modern Standard Arabic in Wiktionary, the free dictionary.

Look up Fus-ha in Wiktionary, the free dictionary.

• Institute for learning Language of the Quran
• LearnArabicOnline – an authoritative, online project for Classical Arabic (CA)
• The Development of Classical Arabic
• The Arabic Alphabet
• Arabic Grammar Checking
• Arabic Intelligent tutoring system
• Classical Arabic Morphology
• Classical Arabic Grammar
• Classical Arabic Blog
• Arabic grammar online
• Online Classical Arabic Reader
• Classical Arabic Grammar Documentation – Visualization of Classical Quranic Grammar (i'3raab)
• Die Wissenschaft des Tadschwīd
• EssentialIlm – Free Video Lessons on Arabic

Links to related articles v t e Arabic عربي Overviews Language Alphabet History Romanization Numerology Influence on other languages Alphabet Arabic numerals Eastern numerals Arabic braille Diacritics Hamza Tāʾ marbūṭah Letters ʾAlif Bāʾ Tāʾ Ṯāʾ Ǧīm Ḥāʾ Ḫāʾ Dāl Ḏāl Rāʾ Zayn Sīn Šīn Ṣād Ḍād Ṭāʾ Ẓāʾ ʿAyn Ġayn Fāʾ Qāf Kāf Lām Mīm Nūn Hāʾ Wāw Yāʾ Eras Ancient North Arabian Classical Modern Notable varieties Standardized Modern Standard Arabic Regional Egyptian Iraqi Levantine Maghrebi Sudanese Arabian Yemeni Ethnic/Religious Judeo-Arabic Academic Literature Names Linguistics Phonology Sun and moon letters ʾIʿrāb (inflection) Grammar Triliteral root Mater lectionis IPA Quranic Arabic Corpus v t e Varieties of Arabic Pre-Islamic Ancient North Arabian† Hasaitic† Lihyan† Safaitic† Thamudic† Classical Modern literary varieties Modern Standard Arabic Maltese‡ Maghreb Algerian Andalusian† Darija Hassānīya Jebli Jijel Libyan Maltese‡ Moroccan Saharan Sicilian† Tunisian Levant Bedawi Cypriote Maronite Jordanian Lebanese North Syrian Palestinian Syrian Mesopotamia Iraqi Baghdadi Khuzestani North Mesopotamian Arabia Bahraini Dhofari Gulf Hadhrami Hejazi Najdi Omani Sharqi Shihhi Yemeni Nile Valley Egyptian Sa'idi Sudanese Peripheral Central Asian Tajiki Uzbeki Chadian Shirvani† Judeo-Arabic Judeo-Iraqi Judeo-Baghdadi Judeo-Moroccan Judeo-Tripolitanian Judeo-Tunisian Judeo-Yemeni Creoles Babalia Juba Maridi Nubi Turku † Extinct; ‡ Sociolinguistically not Arabic

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Nouman Ali Khan is a Muslim speaker and the CEO and founder of Bayyinah, an Islamic educational institution in the United States.^[1][2]

His early education in Arabic started under in Riyadh, Saudi Arabia and continued in Pakistan. His serious Arabic training began in 1999 in the United States. He has been teaching Modern Standard and Classical Arabic at various venues for several years with over 10,000 students nationwide.^[1] Nouman Ali Khan teaches about the religion of Islam through his video speeches.^[3] He also frequently speaks at Islamic Circle of North America Conventions about Islam, family, and other life topics.^[4]

References[link]

External links[link]

• Detailed Student Notes of Nouman Ali Khan's Lectures

• Nouman Ali Khan lectures

This article includes a list of references, related reading or external links, but its sources remain unclear because it lacks inline citations. Please improve this article by introducing more precise citations. (October 2011)

Assala Nasri أصالة نصري
Assala Nasri
Background information
Birth name	Assala Mostafa Hatem Nasri
Born	(1969-05-15) May 15, 1969 (age 43)
Origin	Damascus, Syria
Years active	1991 -
Labels	Rotana, Farasan, EMI

Assala Mostafa Hatem Nasri (Arabic: أصالة مصطفى حاتم نصري‎ aka Asala, Asalah and Assalah; born 15 May 1969) is a Syrian musical artist.

Early life and career[link]

Asalah was born in Damascus, Syria to a middle class couple. Mostafa Nasri, Asalah's father, was a revered Syrian composer and singer. Asalah began her musical career by performing patriotic, religious, and children's songs when she was four years old. She sang the theme song "Qessas Al Sho'oub" (Arabic: قصص الشعوب), of the cartoon show, Hekayat Alamiyah (Arabic: حكايات عالمية). In 1986, Mostafa Nasri died after suffering from internal bleeding caused by a car accident. Aged 17 she helped care for her siblings, Reem, Amani, Ayman and Ayham with her mother.

Asalah's commercial musical career debuted in 1991 with Law Ta'rafou (Arabic: لو تعرفو). The album had 4 songs in the oriental operatic tarab style. The album was an instant hit with heartbreaking songs like Ya Sabra Yana and Samehtak Ketir. She quickly cemented her presence in a growing industry brimming with new, young talent like Najwa Karam, Saber Rebai, Angham, and Abdelmajeed Abdullah.

Personal life[link]

Asalah has four children two from her first marriage to Ayman Al Dahabi and The other two are twins from Tarek AlAryaan . She currently has custody of both their children, Sham and Khaled. She is now married to famous Palestinian-American director Tarek Al Aryaan. She was pregnant with Tarek's child in early 2007 but suffered a miscarriage halfway through the pregnancy. Asalah is a Sunni Muslim. She was granted Bahraini citizenship by Bahraini King Hamad bin Isa Al Khalifa a few days after she gave a spectacular performance in the operetta Love and Loyalty in celebration of Bahrain’s Independence Day.^{[citation needed]} Asalah holds two citizenships; Syrian (Mother Nationaltity) Bahraini (Second Nationality) .

Discography[link]

Albums[link]

• Ya Sabra Yana (I Am Waiting) (1991)
• Asala Performs Umm Kulthum (1992)
• O'zorni (Forgive Me) (1992)
• Ghayar Awi (Great Jealousy) (1993)
• Taw'am Al Rouh (My Soul's Twin) (1994)
• Ighdab (Anger) (1994)
• Wala Tessadda' (Don't Believe It) (1995)
• Rahal (He Left) (1996)
• Erja' Laha (Return to Her) (1996)
• Al Mushtaka (The Complainer) (1997)
• Albi Biyertahlak (My Heart is at Ease with You) (1998)
• Ya Magnoun (O Madman) (1999)
• Moshtaqah (I'm Missing You) (2001)
• Ya Akhi Es'al (Ask About Me) (2002)
• Yamin Allah/Haqiqat Waqe'i (I Swear/My Reality) (2001)
• Ad El Horouf (As much as the number of letters) (2003)
• Awgat (Times) (2004)
• Aadi (Ordinary) (2005)
• Hayati (My Life) (2006)
• Sawaha Galbi (My Heart Has Done It) (2007), debuted at number 1, stayed for 4 weeks at number 1 beating Amr Diab's new album on Rotana's PEPSI Top 5 Albums
• Nos Halah (Half Situation) (2008), debuted at #1 of Rotana's Top 5 albums on both Egypt and Lebanon, stayed in the charts the following week. In its third week it peaked back at number 1 at Egypt Top 5 albums charts. In the following weeks it peaked at number 2 on the Khaleeji, the making it the first album to be in the top 2 of all charts.
• Qanoon Kaifik (Law of your fancy) (2010)

Singles[link]

• Law Ta'rafou (If You Know) from "Law Ta'rafou"
• Ighdab (Get Angry) from "Ighdab"
• Al Mushtaka (The Complainer) from "Al Mushtaka"
• Alf Leila We Leila (One Thousand and One Nights) from "Al Mushtaka"
• Ya Magnoun (O Madman) from "Ya Magnoun"
• Ma Oultelish (Why Didn't You Tell Me?) from "Ya Magnoun"
• Moushta'a (I'm Missing You) from "Moushta'a"
• E'tef Habibi (Have Mercy My Love) from "Moushta'a"
• Mab'ash Ana (I Haven't Lived Up to My Name if I Don't) from "Moushta'a"
• Leih El Ghorour (Why the Arrogance?) from "Ya Akhi Es'al"
• Yamin Allah (I Swear) from "Yamin Allah/Waqe'i"
• Misheit Senin (I Walked for Years) from "Ad El Horouf"
• Tassawar (Imagine) from "Ad El Horouf"
• A'taz Bek (I Am Proud of You) from "Ad El Horouf"
• Gemarhom Kellohom (You Are the Moon Among Them) from "Awgat"
• Meta Ashoufek (When Will I See You?) from "Awgat"
• Fein Habibi (Where is My Love?) from "Aadi"
• Khalik Shiwaya (Stay) from "Aadi"
• Asfa (I'm Sorry) from "Aadi"
• Aktar (More) from "Hayati"
• Khaliha 'Ala Allah (Leave It In God's Hands) [Ramadan Single]
• Jarhi Fel Hawa (My Injury in Love)
• Allah Ya Omri Aleik (You're Amazing)
• Arod Leih (Why Reply?) from "Hayati"
• Bein Eideik (In Your Hands) from "Hayati"
• Alamtni (You Taught Me) from "Hayati"
• Hayati (My Life) from "Hayati"
• Egrab Gerrib (Get Closer) from "Sawaha Galbi"
• Sawaha Galbi (My Heart Did It) from "Sawaha Galbi"
• La Tekhaf (Don't Be Afraid) from "Sawaha Galbi" (shot as a music video in 2009)
• Wala Dary (Doesn't Care), debuted on at #12 on Rotana's PEPSI Top 20 Charts; reached #2 the following week and maintained its spot for the following at #2
• Sum wa 'Asal (Poison and Honey) 2009 Single
• Ah law hal korsy Bye7ki (I wish the chair (power) can talk) 2011 - this song is dedicated for the Syrian revolution against Bashar al-Assad. Asala composed this song, it's her first experience in composing.

External links[link]

• Asalah Nasri Official Website