The Alignment of the Final Letters in the Alala Book by Sheikh Al-Zarnuji: Balaghah

Abstract

The book of Alala is a special attraction for researchers, and this book is unique in terms of the presentation of the material. In contrast to other books, which are generally in the form of explanations or narratives, this book is compiled in the form of poetry accompanied by a Javanese translation of the Salaf, which is also arranged in the form of poetry (Asnimar et al., 2022;Beighash, 2021;M. Nuha, 2022b). This can make it easier for students to memorise and understand the contents of the Alala book. Like the poems in general, the text of these poems has the beauty of language both in terms of meaning and lafadz (Busthomy & Muhid, 2020;M. A. U. Nuha & Musyafaah, 2022). In this case, the researcher will examine the beauty of literary works in terms of the lafadz contained in the book of Alala. And the researcher uses the Balaghah science approach in conducting this research. One of the branches of balaghah science is badi' science. Badi' science is a science that studies aspects related to the beauty of language, one of which is the beauty of language in terms of its lafadz, which is known as the study of muhassinat al-lafdziyyah.
In the study of muhassinat al-lafdziyyah, the discussion is Saja' iqtibas and jinas. There are so many subjects in the study of badi' science. Still, the researcher will discuss one material from the discussion of badi' science, namely discussing Saja' the types contained in the book of Alala by Sheikh Al-Zarnuji' (Amirudin, 2020;. A rhyme is the similarity of the final sound in each of the two fashilah. In other words, the verse is the similarity, match or suitability of the two endings of the term in the final letter. There are three types of poetry: mutharaf, murashsha', and mutawazi (M. Nuha, 2022a;Suparman et al., 2021).

Method
This study uses Badi's science theory, and the method used in this study is a qualitative method, where this method leads to an explanation of the analytical descriptive model (Abdussamad, 2022;Darmalaksana, 2020). It aims to find and express problems systematically by describing Saja' 'in the book of Alala, then analysing the data Saja'' and rhymes in the book of Alala. Therefore, the method used in this study is to explain and classify the types of poetry in the book of Alala (Anggito & Setiawan, 2018;Hamzah, 2021).
The data collection technique used in this study is a library research technique, namely collecting data related to research from scientific journals and other literature. This literature study was conducted to produce theoretical information so that it has a strong foundation as a scientific result (Fitri & Haryanti, 2020).
The data in this study are based on books and journals relevant to the research authors. The data analysis technique used in the study is qualitative data analysis, where this research is in the form of opinions expressed by experts regarding poetry; these data are used as a basis to strengthen the author's argument in analysing the use of poetry in the book of Alala which is done by reading all the nadhom contained in the book of Alala repeatedly and examines sentences that contain elements of the sentence as Saja'. Then clarify the data according to the division of as-Saja', including muthorrof, mutawazi, and murashsha contained in the book of Alala.

The Concept of Saja' in Balaghah
Saja', known as rhyme in Indonesian, comes from the word saja'a-yasja'u.
In the Book of Mu'jam Maqayis al-Lughah, the rhyme word consists of the original letters in the form of the letters sin, jim, and 'ain contains the meaning of a balanced or harmonious sound that is repeated (Nabila, 2022;Suparman et al., 2021). Meanwhile, according to Ibn Mandzur's opinion, the word rhyme comes AL-IRFAN: Journal of Arabic Literature and Islamic Studies Vol. 6, No. 1, March 2023, 83-102 87 | Muhammad Afthon Ulin Nuha, Nurul Musyafa'ah; The Alignment of the Final Letters in the Alala Book by Sheikh Al-Zarnuji: Balaghah Analysis Study from the word saja'a-yasja'u-saj'a, which means istaqaama, which shows the meaning of being consistent and shows the importance of istawa, which means the same, similar, and straight. From some of the purposes above, it can be concluded that what is called a rhyme in the language is a similar sound, in harmony, or the same (Muhammad Ulin Nuha, 2022;Nabila, 2022).
There are also opinions of scholars regarding the meaning of poetry (Atoh, 2021;Royani et al., 2022) From the opinions of scholars regarding the meaning of 'Saja'' above, it can be concluded that what is called 'Saja'' is an expression with the same or similar letters in its fashilah. As for what is called fashilah in language, it is stated in the Lisanul 'Arabic dictionary that the word fashilah comes from the word alfashlu, which means al-hijaz, which means separating two things, separating two things so that they become entirely separate. Meanwhile, fashilah is a cut from the end of a sentence, stanza, or verse that functions as a separator and beautifies the composition of the sentence and the contents contained in the sentence (Generasi,  In essence, 'Saja'' is the repetition of words that produce the same sound effect at the end of the sentence. In it, there is also a balance of sound, saja' like the qafiyah contained in syi'ir, Saja'' has fashilah-fashilah. Qofiyah is the letter at the end of the stanza. In Hamidah and Zuhdy's opinion, qofiyah are the letters found at the end of the stanza, where the final note is arranged until the vowel is before the letter set (Hamidah & Zuhdy, 2021). Busthomy and Muhid also expressed his opinion regarding the meaning of qofiyah, namely fragments of sound at the end of the qosidah stanza, where the details are repeated in kind in each stanza (Busthomy & Muhid, 2020). Saja' is devoted to the kalam natsar, be it in the form of the Qur'an or others. Example Meaning: "Why are you not afraid of the greatness of Allah? And indeed He has created you in stages or occurrences."  In verse above, there are two fashilah. The first fashilah is lafadz waqaaraa which follows wazan fa'aalaa, while the second fashilah is lafadz athwaaraa which follows wazan af'aalaa; the two fashilahs have differences in terms of wazan, because the second letter of the lafadz waqaaraa has dignity, while the second letter of the athwaaraa lafadz is sukun. Even so, the two fashilahs have the same last letter, raa, which is called Saja'. The notes at the end of the fashilah-fashilah in the natsar sentence are forever read as sukun because they are waqaf (Darzi & Besharati, 2021). In the example above, which initially was in the form of lafadz waqaaraa, it became lafadz waqaran, and vice versa in the word athwaaraa, it became athwaran.  Saja' 'the best is Saja'' that meets the conditions below, which are as follows: 1. Faqroh is the same, such as: The second faqroh is longer, such as: 3. The longest part of the faqroh is the third one, such as: And there's Saja' which is put at the end of the sentence, like: Saja' in the science of balaghah is divided into three, namely (Ashbaha, 2021):

Saja' Mutharraf
Saja' mutharraf is saja' which between one fashilah and another has a different wazan, but the last letter in the two fashilah is the same. For example: In verse above, the first fashilah is lafadz mihaadaa. In contrast, the second lafadz is autaadaa, where the two fashilah have different wazans, but the last letter is the same, namely the letter dal followed by alif.

Saja 'Murashsha'
Saja' murashsha' is Saja' which the lafadz-lafadz of the two faqroh mostly agree in terms of wazan and qafiah. For example: In the sentence above, several lafadz are the same in terms of wazan and the final letter, namely lafadz yathba'u, which has the same wazan as lafadz yaqra'u as well as the final letter, which both ends in 'ain. Lafadz asjaa'a is the same regarding wazan, and the final letter is 'ain. Lafadz Jawaahiri has the same wazan as Lafadz zawaajiri, and the last letter is the same ra ' and lafadz lafdhihi and wa'dhihi have the same wazan, ending with the letter ha'.

Saja' Mutawazi
Saja' mutawazi is saja' whose correspondence lies Saja' in the last two words. For example: Lafadz makhdhud with lafadz mandhud have the same wazan, following wazan maf'ulun, and the last letter ends with the letter dal.
In the book of Alala there are Saja so many 'contained in each stanza, here is an analysis Saja' contained in the stanzas of the book of Alala:

Saja'Mutharraf'
a. 5th and 6th stanzas In the stanza above, there are two fashilah, lafadz al-makhaamid and alfawaaid. The two lafadz both end with the letter dal, and each follows a different wazan so that the stanza contains Saja 'mutharaf.
b. 10th and 11th stanzas In the stanza above there are two fashilah, namely lafadz mutanassik and lafadz yatamassik. The two lafadz both end with the letter kaf, and each of them follows a different wazan so that this conformity is called Saja' mutharaf.
c. 12th and 13th stanzas In the stanza above there are two fashilah, namely lafadz funun and lafadz yakun. Both lafadz both end with the letter nun, and each of them follows a different wazan so that this conformity is called mutharaf d. 15th and 16th stanzas In the stanza above there are two fashilah, namely lafadz ar-rijl and lafadz al-mahl. The two lafadz both end with the letter lam and each of them follows a different wazan so that this conformity is called Saja' mutharaf e. 23th and 24th stanzas In the stanza above there are two fashilah namely Muslim lafadz and dirham lafadz. Both lafadz both end with the letter mim and each of them follows a different wazan so that this conformity is called Saja' mutharaf f. 26th, 27th and 28th stanzas In the stanza above there are three fashilah and each fashilah from the above stanza, namely lafadz tawahhum, muqaawim and lafadz laazim. The three lafadz both end with the letter mim and each of the three fashilah follows a different wazan so that this conformity is called Saja' mutharaf.
In the stanza above, there are two fashilah, namely lafadz fi'lih, which is at the end of the first satar, and lafadz faa'iluh, which is at the end of the second satar. The two lafadz both end with the letter ha', and each follows a different wazan, so this conformity is called Saja' mutharaf.
In the stanza above, there are two fashilah, lafadz bayaan, and lafadz zaman.
The two lafadz have similarities in terms of wazan. Namely, they both follow wazan fa'aalun, and from each of these, lafadz also ends in the letter nun. This conformity is called Saja' mutawazi.
b. 3rd and 4th stanzas In the stanza above there are two fashilah, namely lafadz yaqtadii and lafadz tahtadii. The two lafadz have similarities in terms of wazan, namely they both follow wazan yaf'alu and from each of these lafadz also end with the letter yes'. This conformity is Saja called 'mutawazi c. 6th and 9th stanzas In the stanza above there are Saja' two, namely in the 34th and 36th stanzas, then in the 35th and 37th stanzas. The two lafadz have similarities in terms of their wazan, namely they both follow the wazan fawaailu, and each of the lafadz ends with the letter dal. This conformity is called Saja' mutawazi. As for the second one, namely lafadz maajid and lafadz khaasid.
The two lafadz have similarities in terms of wazan, namely they both follow wazan faa'ilun and from each of these lafadz also end with the letter dal.

Conclusion
Based on the discussion above, it can be concluded that what is meant by Saja' in the language is a similar sound, in harmony, or the same. At the same time, the term Saja' is an expression with the same or similar letters in its fashilah.
Fashilah is a piece from the end of a sentence, stanza, or verse that functions as a separator and beautifies the composition of the sentence along with the content contained in the sentence. Saja' is divided into three types, namely saja' mutharaf, saja' murashsha', and saja' mutawazi. Saja' mutharaf, between one fashilah and another, has a different wazan, but the last letter in the two fashilah is the same.
Saja' murashsha', the lafadz-lafadz of the two faqroh, mostly agree regarding wazan and qafiah. Meanwhile, saja' mutawazi, whose correspondence lies saja' in the last two words. Based on the research that the researcher has done on the use of saja' in the book of Alala by Sheikh Al-Zarnuji, it can be concluded that in the book of Alala, the number of in this book is Saja' 17, which consists of seven saja' mutharraf, one saja' murashsha' and nine saja' mutawazi.