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Due to their contextual breadth and hermeneutic continuities, Qur'anic metaphors are held to be manifestations of Qur'anic iʿjāz that outshine the metaphors and imagery found in pre-Islamic poetry: they transcend temporal and spatial limits and are accessible to all languages and cultures. The historicity of metaphors and rhetorical images that characterise the Arabic poetic heritage is contextualised by their location within the temporal and spatial regions in which they were produced, the conceptual connections to which have been lost due to changing cultural beliefs, ideas, and contexts. In contrast, Qur'anic rhetoric has enduring continuity due to its observance of similarities in the construction of its metaphors, as well as the fact these are revealed within a religious, legislative text, whose contexts enjoy a rich continuity that encompasses meaning and connotations that accommodate the knowledge paradigms of different cultures. [ABSTRACT FROM AUTHOR]

This study aims to explore the metaphors of fire and hell from Holy Qur'ān utilizing conceptual analysis and by keeping in view the discussion of cognitive linguistic and cognitive perspectives of metaphor. This research has attempted to apply the semasiological approach to Qur'ānic corpus wherewith the figurative significance of fire and hell is linked with Fire/Hell as a metaphor in the Holy Scripture. The Cognitive Theory of Metaphor (CMT)interpreted by linguists Lakoff & Johnson (1980) and developed later by Lakoff and Turner (1989), and others, e.g. Wreth (1994, 1999) has been applied as the theoretical framework and the translations of specific extracted verses of Holy Qur'ān are interpreted logically and compared with concerning religious aspects. Originally the principles of Cognitive Metaphor Theory have been employed for the study of Conceptual Metaphorical Analysis (CMA) revealing how metaphors of fire and hell have been used creatively affecting the understanding of much broader aspects of life in light of the teachings of Qur'ān. The tenor and vehicle illustration is taken from I.A Richards’ concept of ground, tenor, and vehicle, and the source and target domain are also debated to bring forth a holistically semasiological understanding after the analysis of the metaphors.