ABSTRACT
Starting with the almost iconic image/figura of the Arabic language, remain awestruck by the structural clarity of its morphology. The verbal and nominal obviousness of the logic of the inner working of all its elements create the effect of clarity and transparency unobtainable in or irretrievable by, other languages. On that logical and ishtiqāq-analogical level alone, it is nothing other than "mubīn" – a phenomenon of "clarity". A perfect, that is, "clear" literary beginning was thus to be obtained within a perfect, "clear", language. Just as it was conceivable – and certainly acceptable – that the ground-laying two former levels of literary cognition and inquiry of the Arabic language were, or would be, taken over – let put it this way – by hands and minds of philological hard science. "Extramurally", that is, outside the Arab "owners" of the philological-critical pre-emptive posture in "academia" – at first of European, and presently even of American orientalism.
