Purpose and Introduction: Traditional rhetoric has evolved over the course of seven centuries. The linguistic and literary fields have encountered significant movements and developments since the late nineteenth century, marked by the rise of diverse linguistic schools, the advent of modern literary movements, the establishment of contemporary literary criticism, and the introduction of new literary genres absent during the eras of Al-Jurjani and Al-Sakaki. This ancient discourse cannot meet the demands of the current moment; it requires a fundamental transformation in its foundational elements, infrastructure, and superstructures. Contemporary rhetoric specialists in the West assert that classical rhetoric is insufficient for analyzing literary works, leading to its exclusion from university curricula. This incident provoked varied responses from rhetoric academics in Arab and Islamic nations; traditionalists advocated for the continuation of rhetoric instruction, modernists, akin to their Western counterparts, demanded its abolition, while a third faction urged for its revision to address contemporary requirements. Among the architects of contemporary rhetorical theories, the researcher introduced the notion of rhetorical art. It seeks to demonstrate the congruence of language and rhetoric with the universal principles that regulate the realm of existence. This article examines the categories of meanings and analyzes them in accordance with the previously mentioned harmony, based on this theory. It examines the interpretations of the literary material within a skeptical rainbow framework. Cognitive linguistics has sought to link the realm of language with the external world via the mediation of the mind, however it has dismissed the notion of parallelism between the two realms. In the theory of rhetorical art, we underscore the parallelism between the realm of language and the external world.
Methodology: This study employs a descriptive analytical approach to elucidate the artistic structures inside the literary text and juxtapose them with the levels of truths in the universal system.
Findings: The theory of rhetoric posits correspondences between linguistic and literary subjects, such as the relationship between connection and separation in semantics and their manifestations in the real world, the parallels between the similes conceived by writers and poets and the actual similarities that exist externally, and the relationship between paronomasia in rhetoric and the homogeneity of two willow trees in their characteristics and attributes. If comparison is a divine principle governing cosmic facts, then this comparison is expressed through language and engenders the beauty of literary texts. This pertains to the correlation between language and grammar and the principles regulating the universe's system. The eloquence and intricacies of literary language, along with its connection to the beauty of the cosmos, lead us to the thesis of  “the art of rhetoric”, which posits that the perfection of a literary text is merely a reflection of the perfection inherent in God's creation. Perfection exists in its purest form, manifesting in the celestial galaxies, terrestrial landscapes, artistic paintings, musical compositions, poetry, narratives, or novels. our is the hypothesis we aim to validate in our investigation.
Discussion and Conclusion: This research demonstrates that the theory of rhetorical art constitutes a novel framework for the analysis of literary texts, grounded in principles and origins taken from the universal system, positing that the language and literary system is inextricably linked to the architecture of the world and the universal system. The research concludes that traditional Arabic rhetoric should be abandoned in favor of developing a coherent rhetoric based on the aesthetics of the cosmos. The theory incorporates the concept of the sevenfold structure within the universal system, derived from the creation of seven heavens and seven earths. It demonstrates that these seven existential levels are reflected in the degrees of oral beauty found in literary texts, resulting in the categorization of seven levels of oral beauty, analogous to the seven degrees of color vibrations in the rainbow phenomenon and the seven degrees of sound vibrations in music. These degrees are termed dissonance, convergence, compatibility, balance, homogeneity, harmony, and proportion, encompassing the spectrum from the most pronounced disparity in the rhythm of words or sentences to the utmost similarity, predicated on the principle of the linguistic and literary system's reliance on the cosmic system within the realm of existence. The outcome: eliminating the triad of meanings, rhetoric, and rhetoric in classical rhetoric, and restructuring the aesthetics of rhetorical and oral discourse within these frameworks. The chapter on beauty incorporates elements from a non-linguistic discipline, specifically aesthetics (astaticism), whereas the chapter on perfection serves as a supplement to a linguistic discipline, namely grammar. Consequently, it is essential to delineate the distinctions between the examination of semantics in grammar and the domain of excellence in the art of rhetoric. It is significant that both utilize the process of conveying meanings, with the following distinction: Grammar adheres to the notion of communication by expressing meaning through words, followed by articulating a grammatical assertion inside the structure of a sentence and text through an additional grammatical declaration. For instance, transmitting the predicate to the subject and relaying the complement to the complement. This study employs a descriptive analytical methodology to elucidate the artistic structures inside the literary text and juxtapose them with the levels of truths in the universal system.