One question at a time. Build your Fazil Degree Examination understanding.
First 50 of 200 questions. Each one lists the choices, the correct answer, and an explanation. The checker at the top of this page saves progress in this browser when it is available.
Continue in the practice tool above to load more questions, 50 at a time.
Most Arabic lexical items derive from a root of three consonants called الجذر الثلاثي, and patterns of vowels and affixes are fitted onto these consonants. The pattern itself is the وزن, while الميزان الصرفي is the analytical template used to display the pattern.
The sound masculine plural takes ـُونَ in the nominative and ـِينَ in the accusative and genitive. The dual endings ـَانِ and ـَيْنِ belong to a different inflectional category.
إنَّ is one of the الحروف الناسخة (إنَّ وأخواتها); it accusativizes the subject (اسمها) and leaves the predicate (خبرها) in the nominative. The other choices are an interrogative particle and verbal particles that do not operate on nominal sentences in this way.
This famous opening line of Imru' al-Qays' mu'allaqa scans as الطويل, whose foot pattern is فعولن مفاعيلن فعولن مفاعلن. The other metres have different repeated foot structures and would not accommodate this syllable sequence.
When the particle of comparison (such as كاف or مثل) is deleted, the simile is called التشبيه المؤكد, meaning the comparison is emphasized by its directness. التشبيه المرسل is the opposite case, where the tool is explicitly stated.
The mu'allaqa opening with the command to halt and weep over the traces of the beloved is attributed to امرؤ القيس, the sixth-century poet of Kinda. The other named poets each have their own distinct mu'allaqa openings.
The mountains are described indirectly through an accompanying state (their passing like clouds) without naming the intended attribute explicitly, which is the hallmark of الكناية. A simile would require an explicit particle of comparison and a stated وجه الشبه.
كان is an incomplete verb (فعل ناقص) that governs a subject called اسمها, which remains in the nominative, and a predicate called خبرها, which is in the accusative. In this sentence الطالب is اسمها and مجتهدا is خبرها.
The passive perfect of a sound triliteral verb is formed by giving the first radical a ضمة and the second a كسرة, yielding كُتِبَ. The active كَتَبَ keeps the first radical vowelled with a فتحة.
البدل is a follower (تابع) that replaces the preceding noun in sense and takes the same case, as in جاء أخوك محمدٌ where محمدٌ substitutes for أخوك. التوكيد is the term for emphatic repetition, and النعت is the descriptive adjective.
The pattern مَفَاعِل is one of the plurals that makes a noun ممنوعا من الصرف, so مساجد takes a فتحة in the genitive and is not nunated. The other three words are fully inflected triptotes.
The metre الطويل is built from فعولن repeated, with مفاعيلن appearing in its full form, giving the sequence فعولن مفاعيلن فعولن مفاعلن. متفاعلن belongs to الكامل and مستفعلن to البسيط.
The nasib-like opening where the poet halts at the ruined encampment is called الوقوف على الأطلال, a conventional prelude in the jahili ode. الغزل is amatory verse and الفخر is self-praise, which are different thematic units.
أكرمت is a transitive perfect verb whose agent is the attached pronoun ـتُ, so الرجل is the direct object and takes the accusative, marked by a فتحة. The agent is already expressed, so الرجل cannot be the فاعل.
The قافية requires the final rhyme letter (الروي) and its immediate context to be consistent across the poem, though the exact word may differ. Rhyming on the identical word throughout is not required and would be considered poverty of rhyme.
The preposition الباء can be used to swear an oath, as in بالله, in addition to its ordinary meanings of instrumentality and accompaniment. The other prepositions listed do not serve as oath particles.
In الاستعارة التصريحية the word transferred to the new meaning is mentioned openly while the original tenor is suppressed, as when a brave man is called أسد. The reverse arrangement, where the tenor is kept and the borrowed term implied, is الاستعارة المكنية.
The sound feminine plural is formed by adding ـات to the singular while keeping its structure intact, as in معلمة to معلمات. The other options are broken plurals whose singular forms are reshaped.
لعل is one of إن وأخواتها and conveys hope (الترجي) or fear (الإشفاق); it puts the subject in the accusative and keeps the predicate nominative. Negation and interrogation are carried by other particles such as لا and هل.
أبو العلاء المعري is known for his skeptical, ascetic verse, notably in اللزوميات, where he questions worldly attachments. أبو نواس is associated with wine poetry and المتنبي with heroic self-assertion.
العطف النسقي uses conjunctions such as و, ف, ثم to attach a follower (المعطوف) to a preceding noun (المعطوف عليه), and the follower takes the same case. Replacing with a pronoun is ضمير, and descriptive agreement is النعت.
عسى is one of the أفعال الرجاء classed as جامد, since it is used only in the perfect form and does not conjugate into an imperfect or imperative. The other options are fully conjugable verbs.
الصرف (morphology) studies word structure, patterns and derivation from roots. النحو studies sentence syntax and case, البلاغة studies eloquence, and العروض studies poetic metre.
The poet implies his own superiority by describing his calm passage past insulters, conveying high status indirectly rather than stating it, which is كناية. No explicit comparison particle or identical-sounding word pair is present.
The sentence is nominal, beginning with the proper noun محمد, which is the مبتدأ and takes the nominative marked by a ضمة. رسول الله is the خبر and is also nominative but does not take تنوين because it is an إضافة.
Arabic morphology describes word patterns by mapping the root letters onto fixed templates of فاء, عين and لام. The triliteral past-tense base pattern is فَعَلَ, where each slot carries one root consonant. Derived forms add prefixes, infixes or gemination on top of this base.
The active participle of a sound triliteral verb is formed on the pattern فَاعِل, so كَتَبَ yields كَاتِب, meaning 'one who writes'. The passive participle uses مَفْعُول, the verbal noun uses فِعَالَة, and the noun of place uses مَفْعَل. Recognising the pattern is what identifies the participle type.
The eloquent simile (التشبيه البليغ) is the strongest form of comparison because the particle and the point of similarity are both deleted, leaving only the two terms, as in 'العلم نور'. This compression asserts the resemblance so directly that the two nouns seem interchangeable. It differs from the complete simile, which states the tool and the face of resemblance explicitly.
In أَكْرَمْتُكَ the attached كاف is a pronoun in the accusative position serving as the direct object of the verb. Attached object pronouns behave syntactically exactly like independent nouns in that slot. The other sentences either have an explicit noun object or no object at all.
The metre البسيط is built on the repetition of مُسْتَفْعِلُنْ فَاعِلُنْ, and its circle is named after it; the foot مَفَاعِيلُنْ belongs to other metres. The question identifies the metre by naming its circle, so the answer must match that circle. Each metre has a fixed set of feet that cannot be mixed arbitrarily.
إِنَّ and its sisters are particles resembling verbs: they assign the accusative to the subject, called اسمها, and the nominative to the predicate, called خبرها. Thus 'إِنَّ اللهَ غَفُورٌ' shows اللهَ in the accusative and غَفُورٌ in the nominative. The common error is to assume only one constituent changes case.
A broken plural changes the internal vowel structure of the singular rather than appending a sound suffix. كِتَاب becomes كُتُب on the pattern فُعُل, which is a classic broken plural form. Sound plurals, by contrast, add ون or ات to the singular without reshaping the root pattern.
This opening belongs to the mu'allaqa of Zuhayr ibn Abi Sulma, celebrated for its moral reflection and polished diction. Zuhayr's poem is known for its praise of peacemaking after the war of Dahis and Ghabra. Attributing such lines requires attention to the distinctive style and transmitted attribution of each mu'allaqa.
The term المعلقات designates a group of long pre-Islamic odes traditionally considered the finest examples of the qasida form. Their name and number are debated by scholars, but they are consistently treated as canonical masterpieces. They are poetry, not prose, and they predate the Abbasid and Umayyad periods.
The implicit metaphor (الاستعارة المكنية) mentions the borrowed term (أسد) while omitting the borrowed-for term (the brave man), and it often attaches an action proper to the human to the animal image. Here 'يخطب' signals that a man is meant, confirming the metaphorical reading. The metaphor is called implicit because the comparison is implied rather than stated.
When لا is the negating particle of genus (لا النافية للجنس) and its noun is a single word not compounded, the noun is called اسمها and is put in the accusative. In 'لَا رَجُلًا فِي الدَّارِ' the noun رجلًا is therefore منصوب. The predicate is omitted here but would be nominative if stated.
مَدْرَسَة is a feminine noun of place on the pattern مَفْعَلَة, and its broken plural is مَدَارِس on the pattern مَفَاعِل. Broken plurals of this pattern are extremely common for nouns of place and instrument. The other options are sound plurals or participles that do not match this singular.
The verse, attributed to the pre-Islamic poet al-Mutalammis or in similar form to others, presents the speaker passing by his detractors who insult him while he refrains from retaliation. The rhetorical force lies in the contrast between their abuse and his forbearance, a theme of noble patience (الحلم). The poet's dignity is displayed precisely by not answering the insult.
The sound feminine plural is formed by adding أَلِف and تَاء to the singular, as in مُعَلِّمَة becoming مُعَلِّمَات, without any change to the root letters. It is called sound (سالم) precisely because the singular remains intact.
The verb كَتَبَ is transitive, so it takes a direct object. الطَّالِبُ is the doer of the action and is مرفوع as فاعل, while الدَّرْسَ receives the action and is therefore مفعول به منصوب with a فتحة.
The Quran is divided into 114 surahs, beginning with al-Fatihah and ending with al-Nas. This number is fixed and universally agreed upon by all Muslim scholars.
Surah al-Baqarah is the longest chapter of the Quran, containing 286 verses. It covers many legal and theological themes and includes the Verse of the Throne.
The compiled Quran opens with Surah al-Fatihah, which serves as the opening of the Book. It is recited in every unit of the ritual prayer.
An ayah is a single verse or sign within the Quran. Surahs are composed of multiple ayat, and the term also carries the sense of a sign pointing to God.
The first revealed verses are the opening of Surah al-Alaq, beginning with the command to read. This occurred in the cave of Hira and marks the start of prophethood.
Islam is built on five pillars: testimony of faith, prayer, almsgiving, fasting, and pilgrimage. These are the foundational acts of worship required of Muslims.
Hadith refers to reports of the Prophet's sayings, actions, and approvals. These reports are the second major source of guidance after the Quran.
The obligatory dawn prayer, Fajr, consists of two units of prayer. This is a fixed requirement and does not change for the obligatory portion.
A mursal report is one in which a successor narrates directly from the Prophet, omitting the companion link. Scholars debate its authority because a link in the chain is absent.
The isnad is the sequence of narrators through whom a report is transmitted. Scholars scrutinize this chain to assess the reliability of the report's transmission.