Majmu' al-FatawaIbn Taimiya

And the “third level” concerns the syllogism, its moods, and the conditions under which it yields a conclusion: it must contain a universal affirmative proposition; no conclusion follows from two negative premises, two particular premises, or a negative minor premise and a particular major premise. Rather, there must be either two affirmative premises, one of which is universal, or a negative minor premise and a particular major premise. It also concerns other rules governing the forms and types of syllogism, established through proof by contradiction—which is reduced to the rule governing the contradictory of a proposition—or through reduction to the proposition’s converse or contrapositive.

They then explained the material content of syllogisms, dividing them into:

“Demonstrative”: those whose premises are certain. They restricted certainties to the categories they mentioned: inward and outward sense perceptions, self-evident truths, mass-transmitted reports, and propositions established by experience. Some also added propositions established by intuition.

“Rhetorical”: those whose premises are widely accepted, whether certain or uncertain.

“Dialectical”: those whose premises are conceded by the opponent, whether certain, widely accepted, or otherwise.

“Poetic”: those whose premises are felt rather than believed, such as those that evoke joy, sorrow, or laughter.

“Fallacious, sophistical”: those whose premises are disguised with semblances of truth.

وَ " الْمَرْتَبَةُ الثَّالِثَةُ " : الْكَلَامُ فِي الْقِيَاسِ وَضُرُوبِهِ وَشُرُوطِ نِتَاجِهِ مِنْ أَنَّهُ لَا بُدَّ فِيهِ مِنْ قَضِيَّةٍ عَامَّةٍ إيجَابِيَّةٍ وَأَنَّ النِّتَاجَ لَا يَحْصُلُ عَنْ سَالِبَتَيْنِ وَلَا خَاصِّيَّتَيْنِ جُزْئِيَّتَيْنِ وَلَا سَالِبَةٍ صُغْرَى وَجُزْئِيَّةٍ كُبْرَى بَلْ إمَّا مُوجَبَتَانِ فِيهِمَا كُلِّيَّةٌ وَإِمَّا صُغْرَى سَالِبَةٌ وَكُبْرَى جُزْئِيَّةٌ وَغَيْرُ ذَلِكَ مِنْ أَحْكَامِ صُوَرِ الْقِيَاسِ وَأَنْوَاعِهِ الَّتِي تَتَبَيَّنُ بِبُرْهَانِ الْخَلْفِ الْمَرْدُودِ إلَى حُكْمِ نَقِيضِ الْقَضِيَّةِ أَوْ بِالرَّدِّ إلَى عَكْسِ الْقَضِيَّةِ أَوْ عَكْسِ نَقِيضِهَا. ثُمَّ بَيَّنُوا بَعْدَ ذَلِكَ مَوَادَّ الْقِيَاسِ فَقَسَّمُوهُ: إلَى " بُرْهَانِيٍّ " وَهُوَ مَا كَانَتْ مَوَادُّهُ يَقِينِيَّةً وَحَصَرُوا الْيَقِينِيَّاتِ فِيمَا ذَكَرُوهُ مِنْ الْحِسِّيَّاتِ الْبَاطِنَةِ وَالظَّاهِرَةِ وَالْبَدِيهِيَّاتِ والمتواترات وَالْمُجَرَّبَاتِ وَزَادَ بَعْضُهُمْ الْحَدْسِيَّاتِ. وَإِلَى " خَطَابِيٍّ " : وَهُوَ مَا كَانَتْ مَوَادُّهُ مَشْهُورَةً يَقِينِيَّةً أَوْ غَيْرَ يَقِينِيَّةٍ. وَإِلَى " جَدَلِيٍّ " : وَهُوَ مَا كَانَتْ مَوَادُّهُ مُسَلَّمَةً مِنْ الْمُنَازِعِ يَقِينِيَّةً أَوْ مَشْهُورَةً أَوْ غَيْرَ ذَلِكَ. وَإِلَى " شعري " : وَهُوَ مَا كَانَتْ مَوَادُّهُ مَشْعُورًا بِهَا غَيْرَ مُعْتَقَدَةٍ كَالْمُفْرِحَةِ وَالْمُحْزِنَةِ وَالْمُضْحِكَةِ. وَإِلَى " مغلطي سُوفِسْطَائِيٍّ " وَهُوَ مَا كَانَتْ مَوَادُّهُ مُمَوَّهَةً بِشُبَهِ الْحَقِّ.

Company

  • About
  • Pricing
  • Why Translate?

Support

  • Contact us
  • Report a bug
  • Support us
  • Donate
  • AI combat arena

Follow us

© 2026 Kutub. All rights reserved.
Terms and conditionsPrivacy policyCookies