‫ﺍﳉﻬﻮﺭﻳﺔ ﺍﳉﺰﺍﺋﺮﻳﺔ ﺍﻟﺪﳝﻘﺮﺍﻃﻴﺔ ﺍﻟﺸﻌﺒﻴﺔ‬

‫ﻭﺯﺍﺭﺓ ﺍﻟﺘﻌﻠﻴﻢ ﺍﻟﻌﺎﱄ ﻭ ﺍﻟﺒﺤﺚ ﺍﻟﻌﻠﻤﻲ‬

‫ﺟـﺎﻣﻌﺔ ﻏﺮﺩﺍﻳﺔ‬
‫ﻛﻠﻴﺔ ﺍﻵﺩﺍﺏ ﻭ ﺍﻟﻠﻐﺎﺕ‬
‫ﻗﺴﻢ ﺍﻟﻠﻐﺔ ﻭ ﺍﻷﺩﺏ ﺍﻟﻌﺮﰊ‬

‫ﺩﺭﺍﺳﺔ ﺃﺳﻠﻮﺑﻴﺔ ﻟﻘﺼﻴﺪﺓ ﺑﻄﻴﺒﺔ ﺭﺳﻢ ﻟﻠﺮﺳﻮﻝ‬

‫ﺻﻠﻰ ﺍﷲ ﻋﻠﻴﻪ ﻭ ﺳﻠﻢ ﳊﺴﺎﻥ ﺑﻦ ﺛﺎﺑﺖ‬
‫ﻣﺬﻛﺮﺓ ﻣﻘﺪﻣﺔ ﻻﺳﺘﻜﻤﺎﻝ ﻣﺘﻄﻠﺒﺎﺕ ﺷﻬﺎﺩﺓ ﺍﻟﻠﻴﺴﺎﻧﺲ ﰲ ﺍﻟﻠﻐﺔ ﺍﻟﻌﺮﺑﻴﺔ ﻭ ﺁﺩﺍ‪‬ﺎ‬

‫ﲣﺼﺺ‪ :‬ﺍﻷﺩﺏ ﺍﻟﻌﺮﰊ ﻭ ﻧﻘﺪﻩ‪.‬‬

‫ﲢﺖ ﺇﺷﺮﺍﻑ ﺍﻷﺳﺘﺎﺫ‪:‬‬ ‫ﺇﻋﺪﺍﺩ ﺍﻟﻄﺎﻟﺒﺘﲔ‪:‬‬

‫ﺑﻦ ﲰﻌﻮﻥ ﺳﻠﻴﻤﺎﻥ‬ ‫‪ ‬ﺑﺪﻳﺮﻳﻨﺔ ﺭﻗﻴﺔ‬
‫‪ ‬ﺑﺪﻳﺎﺭ ﺩﻟﻴﻠﺔ‬

‫ﺍﻟﺴﻨﺔ ﺍﳉﺎﻣﻌﻴﺔ‪:‬‬

‫‪ 1435/1434‬ﻫـ ‪2013/2012 ---‬ﻡ‬

 ‫"ﺭ‪‬ﺏ‪ ‬ﺃَﻭ‪ ‬ﹺﺯﻋ‪‬ﻨ‪‬ﻲ ﺃَﻥ‪ ‬ﺃَﺸﹾﻜﹸﺭ‪ ‬ﻨ‪‬ﻌ‪‬ﻤ‪‬ﺘﹶﻙ‪ ‬ﺍﻟﱠﺘ‪‬ﻲ ﺃَﻨﹾﻌ‪‬ﻤ‪‬ﺕﹶ ﻋ‪‬ﻠﹶﻲ‪ ‬ﻭ‪‬ﻋ‪‬ﻠﹶﻰ ﻭ‪‬ﺍﻟِﺩ‪‬ﻱ‪ ‬ﻭ‪‬ﺃَﻥ‪ ‬ﺃَﻋ‪‬ﻤ‪‬لَ ﺼ‪‬ﺎﻟِﺤ‪‬ﺎ‬
‫ﺘﹶﺭ‪‬ﻀ‪‬ﺎﻩ‪ ‬ﻭ‪‬ﺃَﺩ‪‬ﺨ‪‬ﻠﹾﻨ‪‬ﻲ ﺒﹺﺭ‪‬ﺤ‪‬ﻤ‪‬ﺘ‪‬ﻙ‪ ‬ﻓ‪‬ﻲ ﻋ‪‬ﺒ‪‬ﺎﺩ‪‬ﻙ‪ ‬ﺍﻟﺼ‪‬ﺎﻟِﺤ‪‬ﻴﻥ‪" ‬‬
‫ﺴﻭﺭﺓ ﺍﻟﻨﻤل ﺍﻵﻴﺔ‪.19 :‬‬
‫ﺇﻥ ﺃﻭل ﺍﻟﺸﻜﺭ ﻭ ﺍﻟﺤﻤﺩ ﷲ ﺭﺏ ﺍﻟﻌﺎﻟﻤﻴﻥ ﻨﺤﻤﺩﻩ ﻭ ﻨﺴﺘﻌﻴﻨﻪ ﻭﺍﻟﺸﻜﺭ ﷲ ﺍﻟﺭﺤﻤﺎﻥ ﺍﻟﺭﺤﻴﻡ ﺍﻟﺴﻨﺩ‬
‫ﺍﻷﻋﻅﻡ ﻭﺍﻟﻌﻅﻴﻡ ﻟﻜل ﺇﻨﺴﺎﻥ ﻤﻥ ﺨﻠﻘﻪ‪ ،‬ﺴﺒﺤﺎﻨﻪ ﻋﺯ ﻭ ﺠل ﻨﺸﻜﺭ ﻨﻌﻤﺘﻪ ﻋﻠﻴﻨﺎ ﻭﻟﻭﻻﻩ ﻟﻜﻨﺎ ﻤﻥ ﺍﻟﻀﺎﻟﻴﻥ‪.‬‬
‫ﺇﻟﻰ ﺍﻟﻨﻭﺭ ﻓﻲ ﻁﺭﻴﻕ ﺍﻟﻌﻠﻡ ﻭﺍﻟﻤﻭﺠﻪ ﻓﻲ ﻁﺭﻴﻕ ﺍﻹﺸﺭﺍﻑ ﺍﻷﺴﺘﺎﺫ ﺍﻟﻤﺸﺭﻑ ﺃ‪ .‬ﺒﻥ ﺴﻤﻌﻭﻥ ﺴﻠﻴﻤﺎﻥ‬
‫ﺍﻟﺫﻱ ﻜﺎﻥ ﻤﻨﺒﻊ ﺍﻟﻨﺼﺢ ﻭﺍﻹﺭﺸﺎﺩ‪.‬‬
‫ﺍﻟﺸﻜﺭ ﺍﻟﺠﺯﻴل ﻤﻭﺼﻭل ﺇﻟﻰ ﻜل ﺃﺴﺘﺎﺫ ﺴﺎﻋﺩﻨﻲ ﻓﻲ ﺘﺫﻟﻴل ﻜل ﺍﻟﺼﻌﺎﺏ ﻭﻜل ﺭﻓﻴﻕ ﺴﺎﻋﺩﻨﻲ ﻋﻠﻰ‬
‫ﺒﻠﻭﻍ ﺍﻟﻘﻤﺔ ﻭﺍﻟﻨﺠﺎﺡ ﺇﻟﻰ ﻜل ﺃﺴﺎﺘﺫﺘﻲ ﻓﻲ ﻗﺴﻡ ﺍﻟﻠﻐﺔ ﺍﻟﻌﺭﺒﻴﺔ ﻭ ﺁﺩﺍﺒﻬﺎ ﺒﺠﺎﻤﻌﺔ ﻏﺎﺭﺩﺍﻴﺔ ﻭ ﺍﻟﺫﻴﻥ ﺩﺭﺴﻭﻨﺎ‬
‫ﻁﻭﺍل ﺍﻟﺴﻨﻭﺍﺕ ﺍﻟﺜﻼﺙ ﺍﻟﻤﺎﻀﻴﺔ ﻭ ﺇﻟﻰ ﻜل ﻤﻥ ﻋﻠﻤﻨﺎ ﺤﻤل ﺍﻟﻘﻠﻡ ﻭ ﺒﺙ ﻓﻴﻨﺎ ﺭﻭﺡ ﺍﻟﻌﻠﻡ ﻭ ﺍﻟﻤﻌﺭﻓﺔ ﻭ‬
‫ﺠﻌﻠﻨﺎ ﻨﺘﺤﺩﻯ ﺍﻟﺯﻤﻥ ﺒﻜﻠﻤﺔ ﺍﻟﺤﻕ‪ ،‬ﺇﻟﻰ ﻜل ﻤﻥ ﺸﺠﻌﻨﺎ ﻤﻥ ﺒﻌﻴﺩ ﻭ ﻤﻥ ﻗﺭﻴﺏ ﻋﻠﻰ ﺍﻨﺠﺎﺯ ﻫﺫﺍ ﺍﻟﺒﺤﺙ ﻟﻬﻡ‬
‫ﻤﻨﺎ ﺠﻤﻴﻌﺎ‬
‫ﺇﻟﻰ ﻜل ﻤﻥ ﺴﺎﻋﺩﻨﺎ ﻭﻟﻭ ﺒﻨﻅﺭﺓ ﺘﻌﻴﺩ ﺍﻷﻤل ﺃﻭ ﺒﺒﺴﻤﺔ ﺘﻔﺘﺢ ﺃﺒﻭﺍﺏ ﺍﻟﻔﺭﺝ‪.‬‬
‫ﺇﻟﻰ ﻜل ﺃﺴﺎﺘﺫﺘﻨﺎ ﻤﻥ ﺒﺩﺍﻴﺔ ﻤﺸﻭﺍﺭﻨﺎ ﺍﻟﺩﺭﺍﺴﻲ ﺇﻟﻰ ﺍﻟﻴﻭﻡ‬
‫ﺸﻜﺭ ﺍﷲ ﻟﻬﻡ ﺠﻤﻴﻌﺎ ﻭ ﺃﺩﺍﻡ ﺍﷲ ﻋﺯﻫﻡ‬

‫ﻨﺨﺘﻡ ﺒﻘﻭل ﺍﻟﺸﺎﻋﺭ‪:‬‬

‫ﺍﻟﺤﻤﺩ ﷲ ﺘﻌﻅﻴﻤﺎ ﻭ ﺇﺠﻼﻻ **** ﻤﺎ ﺃﻗﺒل ﺍﻟﻴﺴﺭ ﺒﻌﺩ ﺍﻟﻌﺴﺭ ﺇﻗﺒﺎﻻ‬

‫رﻗﯿﺔ ‪ ---‬دﻟﯿﻠﺔ‬
‫ﺍﻷﺳﻠﻮﺏ ﻭﺍﻷﺳﻠﻮﺑﻴﺔ‬ ‫ﺍﳌﺒﺤﺚ ﺍﻷﻭﻝ‪:‬‬

‫ﺍﳌﻄﻠﺐ ﺍﻷﻭﻝ‪ :‬ﻣﻔﻬﻮﻡ ﺍﻷﺳﻠﻮﺏ ﻭﺍﻷﺳﻠﻮﺑﻴﺔ‬

‫ﺃﻭﻻ‪ :‬ﺍﻷﺳﻠﻮﺏ‬

‫ﻣﻦ ﺍﳌﻌﻠﻮﻡ ﺃﻥ ﻛﻠﻤﺔ ﺃﺳﻠﻮﺏ ﻣﻦ ﺣﻴﺚ ﻫﻲ ﻛﻠﻤﺔ ﻗﺪﳝﺔ ﰲ ﺍﻟﻠﻐﺔ ﺍﻟﻌﺮﺑﻴﺔ ﻭﺭﺩﺕ ﰲ ﻛﻼﻡ‬
‫ﺍﻟﻌﺮﺏ‪ ،‬ﻭﺟﺎﺀﺕ ﰲ ﻣﺼﻨﻔﺎ‪‬ﻢ ﺍﻟﻠﻐﻮﻳﺔ ﻭﺍﳌﻌﺠﻤﻴﺔ‪ ،‬ﻗﺎﻝ ﺻﺎﺣﺐ ﺍﻟﻠﺴﺎﻥ‪" :‬ﻳﻘﺎﻝ ﻟﻠﺴﻄﺮ ﻣﻦ ﺍﻟﻨﺨﻴﻞ‬
‫ﺃﺳﻠﻮﺏ‪ ،‬ﻭﻛﻞ ﻃﺮﻳﻖ ﳑﺘﺪ ﺃﺳﻠﻮﺏ ﻗﺎﻝ ﻭﺍﻷﺳﻠﻮﺏ‪ :‬ﺍﻟﻄﺮﻳﻖ‪ ،‬ﻭﺍﻟﻮﺟﻪ ﻭﺍﳌﺬﻫﺐ‪ ،‬ﻳﻘﺎﻝ‪ :‬ﺃﻧﺘﻢ ﰲ‬
‫ﺍﻷﺳﻠﻮﺏ ﺳﻮﺀ‪ ،‬ﻭﳚﻤﻊ ﺃﺳﺎﻟﻴﺐ‪ ،‬ﻭﺍﻷﺳﻠﻮﺏ‪ :‬ﺍﻟﻄﺮﻳﻖ ﺗﺄﺧﺬ ﻓﻴﻪ‪ ،‬ﻭﺍﻷﺳﻠﻮﺏ ﺑﺎﻟﻀ‪‬ﻢ‪ :‬ﺍﻟﻔﻦ‪ ،‬ﻳﻘﺎﻝ‬
‫ﺃﺧﺬ ﻓﻼﻥ ﰲ ﺃﺳﺎﻟﻴﺐ ﻣﻦ ﺍﻟﻘﻮﻝ ﺃﻱ‪ :‬ﺃﻓﺎﻧﲔ ﻣﻨﻪ‪ ،‬ﻭﺇ ﹼﻥ ﺃﻧﻔﻪ ﻟﻔﻲ ﺃﺳﻠﻮﺏ‪ :‬ﺇﺫﺍ ﻛﺎﻥ ﻣﺘﻜﱪﺍ‪،"1ً...‬‬
‫ﻭﺟﺎﺀ ﰲ ﺃﺳﺎﺱ ﺍﻟﺒﻼﻏﺔ »‪...‬ﺳﻠﻜﺖ ﺃﺳﻠﻮﺏ ﻓﻼﻥ‪ :‬ﻃﺮﻳﻘﺘﻪ‪ ،‬ﻭﻛﻼﻣﻪ ﻋﻠﻰ ﺃﺳﺎﻟﺒﻪ‪ :‬ﺣﺴﻨﺔ‪...‬ﻭﻳﻘﺎﻝ‬
‫ﻟﻠﻤﺘﻜﱪ‪ :‬ﺃﻧﻔﻪ ﰲ ﺃﺳﻠﻮﺏ‪ :‬ﺇﺫ ﱂ ﻳﻠﺘﻔﺖ ﳝﻨﺔ ﻭﻻ ﻳﺴﺮﺓ‪.2 «...‬‬

‫ﺃﻣﺎ ﺗﻌﺮﻳﻒ ﺍﻷﺳﻠﻮﺏ ﻛﻤﺼﻄﻠﺢ‪ ،‬ﻓﻠﻢ ﳛﺪ‪‬ﺩ ﺇﻻ ﰲ ﺍﻟﺪﺭﺍﺳﺎﺕ ﺍﳊﺪﻳﺜﺔ ﻣﻊ "ﺷﺎﺭﻝ ﺑﺎﱄ" ﻭﻣﻦ‬
‫ﺟﺎﺀ ﺑﻌﺪﻩ » ﻓﻤﻨﺬ ﺳﻨﺔ ‪ 1902‬ﻛﺪﻧﺎ ﳒﺰﻡ ﻣﻊ ﺑﺎﱄ ﺃﻥ ﻋﻠﻢ ﺍﻷﺳﻠﻮﺏ ﻗﺪ ﺗﺄﺳﺴﺖ ﻗﻮﺍﻋﺪﻩ‬
‫ﺍﻟﻨﻬﺎﺋﻴﺔ«‪ ،3‬ﻋﻠﻰ ﺃﻧﻨﺎ ﳒﺪ ﰲ ﺗﺮﺍﺛﻨﺎ ﺍﻟﻌﺮﰊ ﺍﻟﻘﺪﱘ ﻣﺎ ﻳﻮﺣﻲ ﺑﻘﻴﺎﻡ ﻣﺪﺭﺳﺔ ﻟﻌﻠﻢ ﺍﻷﺳﻠﻮﺏ ﺍﻟﺬﻱ ﳛﺴﺒﻪ‬
‫ﺑﻌﻀﻬﻢ ﻭﺭﻳﺜﺎ ﻟﻠﺒﻼﻏﺔ ﺍﻟﻌﺮﺑﻴﺔ‪ » ،‬ﻓﺈﻧﻨﺎ ﻧﻌﺘﻘﺪ ﺃﻥ ﻛﺜﲑﺍﹰ ﻣﻦ ﺍﻟﻨﻈﺮﻳﺎﺕ ﺍﻟﻨﻘﺪﻳﺔ ﺍﳊﺪﻳﺜﺔ ﻧﻠﻘﻲ ﳍﺎ ﺟﺬﻭﺭﺍ‬
‫ﻭﺃﺻﻮﻻ ﺃﻭ ﻋﻠﻰ ﺍﻷﻗﻞ ﺇﺷﺎﺭﺍﺕ ﻭ ﺇﺭﻫﺎﺻﺎﺕ ﰲ ﺍﻟﻔﻜﺮ ﺍﻟﻨﻘﺪﻱ ﺍﻟﻌﺮﰊ ﺍﻟﻘﺪﱘ ﻭﻟﻜﻦ ﻻﺣﻖ ﻷﺣﺪ ﺃﻥ‬
‫ﻳﻘﺪﻡ ﻫﺬﺍ ﺍﻟﻔﻜﺮ ﺍﻟﻨﻘﺪﻱ «‪ 4‬ﻭﻟﻌﻞ ﺟﻬﻮﺩ ﻋﺒﺪ ﺍﻟﻘﺎﻫﺮ ﺍﳉﺮﺟﺎﱐ ﻭﺣﺎﺯﻡ ﺍﻟﻘﺮﻃﺎﺟﲏ ﻭﻏﲑﳘﺎ ﺗﻨﺪﺭﺝ‬
‫ﺿﻤﻨﻪ ﻋﻠﻰ ﺃﻥ ﺗﻌﺮﻳﻒ ﺍﻷﺳﻠﻮﺏ ﳜﻀﻊ ﻃﺒﻌﺎ ﻻﻫﺘﻤﺎﻣﺎﺕ ﺍﳌﻌﺮﻑ‪ ،‬ﻭﻟﻶﺭﺍﺀ ﺍﻟﱵ ﲤﺜﻠﻬﺎ ﻣﺪﺭﺳﺘﻪ‬
‫ﻭﻟﻠﻤﺮﺟﻌﻴﺔ ﺍﻟﱵ ﻳﺘﺰﻭﺩ ﻣﻨﻬﺎ‪.‬‬

‫‪ 1‬ﺍﺑﻦ ﻣﻨﻈﻮﺭ‪ :‬ﻟﺴﺎﻥ ﺍﻟﻌﺮﺏ‪ ،‬ﺩﺍﺭ ﺇﺣﻴﺎﺀ ﺍﻟﺘﺮﺍﺙ ﺍﻟﻌﺮﰊ‪ ،‬ﺑﲑﻭﺕ ﻁ ‪ ) 3‬ﺩ‪ ،‬ﺕ (‪ ،‬ﻣﺎﺩﺓ ﺳﻠﺐ ﺹ ‪.2058‬‬
‫‪ 2‬ﺟﺎﺭ ﺍﷲ ﺍﻟﺰﳐﺸﺮﻱ‪ :‬ﺃﺳﺎﺱ ﺍﻟﺒﻼﻏﺔ‪ ،‬ﺩﺍﺭ ﺇﺣﻴﺎﺀ ﺍﻟﺘﺮﺍﺙ ﺍﻟﻌﺮﰊ‪ ،‬ﺑﲑﻭﺕ ﻁ ‪ ،1992 ،3‬ﺹ ‪.16‬‬
‫‪ 3‬ﺩ‪ .‬ﻋﺒﺪ ﺍﻟﺴﻼﻡ ﺍﳌﺴﺪﻱ‪ :‬ﺍﻷﺳﻠﻮﺑﻴﺔ ﻭ ﺍﻷﺳﻠﻮﺏ‪ ،‬ﺩﺍﺭ ﺍﻟﻜﺘﺎﺏ ﺍﳉﺪﻳﺪ ﺍﳌﺘﺤﺪﺓ‪ ،‬ﺑﲑﻭﺕ‪ ،‬ﻟﺒﻨﺎﻥ‪ ،‬ﻁ ‪ ،5‬ﺕ ‪ ،2005 :‬ﺹ ‪.20‬‬
‫‪ 4‬ﺩ‪ .‬ﻋﺒﺪ ﺍﳌﺎﻟﻚ ﻣﺮﺗﺎﺽ‪ :‬ﺃ‪ .‬ﻱ ﺩﺭﺍﺳﺔ ﺳﻴﻤﻴﺎﺋﻴﺔ ﺗﻔﻜﻴﻜﻴﺔ ﻟﻘﺼﻴﺪﺓ ﺃﻳﻦ ﻟﻴﻼﻱ‪ ،‬ﺩ‪.‬ﻁ‪ ،‬ﺍﳉﺰﺍﺋﺮ‪ ،1992 ،‬ﺹ ‪.10‬‬

‫‪-6-‬‬
‫ﺍﻷﺳﻠﻮﺏ ﻭﺍﻷﺳﻠﻮﺑﻴﺔ‬ ‫ﺍﳌﺒﺤﺚ ﺍﻷﻭﻝ‪:‬‬

‫ﻭﰲ ﻣﻌﺠﻢ ﺍﳌﺼﻄﻠﺤﺎﺕ ﺍﻟﻠﻐﻮﻳﺔ ﻭﺍﻷﺩﺑﻴﺔ‪:‬‬

‫» ﺍﻷﺳﻠﻮﺏ ﻫﻮ ﺑﻮﺟﻪ ﻋﺎﻡ ﻃﺮﻳﻘﺔ ﺍﻻﻧﺴﺎﻥ ﰲ ﺍﻟﺘﻌﺒﲑ ﻋﻦ ﻧﻔﺴﻪ ﰲ ﻛﺘﺎﺑﺎﺗﻪ ﻭﻗﺪ ﺃﺻﺒﺢ ﺍﻷﺳﻠﻮﺏ‬
‫ﻣﻮﺿﻮﻋﺎ ﻣﻦ ﺍﳌﻮﺿﻮﻋﺎﺕ ﺍﻟﱵ ﻳﺒﺤﺜﻬﺎ ﻋﻠﻤﺎﺀ ﺍﻟﻠﻐﺔ«‪.1‬‬
‫ﻭﻟﻘﺪ ﻛﺎﻥ "ﻓﻴﻠﻲ ﺳﺎﻧﺪﺭﻳﺲ "‪ " Willy SANDERS‬ﻗﺪﻡ ﰲ ﻛﺘﺎﺑﻪ "ﳓﻮ ﻧﻈﺮﻳﺔ ﺃﺳﻠﻮﺑﻴﺔ‬
‫ﻟﺴﺎﻧﻴﺔ "ﺗﻌﺎﺭﻳﻒ ﻟﻸﺳﻠﻮﺏ ﺗﻘﺎﺭﺏ ﺍﻟﺜﻼﺛﲔ ﺗﻌﺮﻳﻔﺎ‪.2‬‬
‫ﺍﻷﺳﻠﻮﺏ ﻛﺈﺧﺘﻴﺎﺭ‪:‬‬
‫ﺗﺘﺸﻜﻞ ﺍﻟﻠﻐﺔ‪- ،‬ﺃﻳﺔ ﺍﻟﻠﻐﺔ‪ -‬ﻣﻦ ﻋﺪﺩ ﻫﺎﺋﻞ ﻣﻦ ﺍﳌﻔﺮﺩﺍﺕ ﻭﺍﻟﺘﻌﺎﺑﲑ ﻭﺍﻟﺼﻴﻎ‪ ،‬ﻓﺈﺫﺍ ﺃﺭﺍﺩ ﺷﺨﺺ‬
‫ﻣﺎ ﺃﻥ ﻳﻌﱪ ﻋﻦ ﺭﺃﻱ ﺃﻭ ﻣﻮﻗﻒ ﺃﻭ ﺷﻌﻮﺭ‪ ،‬ﻓﺈﻧﻪ ﻻﺑﺪ ﺳﻴﺨﺘﺎﺭ ﺃﻧﺴﺐ ﺍﳌﻔﺮﺩﺍﺕ ﰲ ﺃﻧﺴﺐ ﺍﻟﺘﻌﺎﺑﲑ‬
‫ﻟﻴﺘﺴﲎ ﻟﻪ ﺍﻟﺘﻌﺒﲑ ﻋﻤﺎ ﻳﺮﻳﺪ‪ ،‬ﻭﻫﺬﺍ ﻻ ﻳﻌﲏ ﺃﻥ ﺍﻟﻨﺎﺱ ﻗﺪ ﳜﺘﺎﺭﻭﻥ ﺍﻟﻌﺒﺎﺭﺍﺕ ﻧﻔﺴﻬﺎ ﻟﻠﻤﺸﺎﻋﺮ ﻋﻴﻨﻬﺎ‪ ،‬ﺇﺫ‬
‫ﲣﺘﻠﻒ ﻗﺪﺭﺍ‪‬ﻢ ﺑﺎﺧﺘﻼﻑ ﻣﻠﻜﺘﻬﻢ ﺍﻟﻠﻐﻮﻳﺔ ﻭﺭﺻﻴﺪﻫﻢ ﺍﻟﺜﻘﺎﰲ‪ » .‬ﺇﻥﹼ ﺍﻻﺧﺘﻴﺎﺭ ﺇﺫﻥ ﻳﻌﲏ ﻭﺟﻮﺩ ﺗﻌﺒﲑﻳﻦ‬
‫ﺃﻭ ﺃﻛﺜﺮ ﳍﻤﺎ ﺍﳌﻌﲎ ﻧﻔﺴﻪ‪ ،‬ﺑﻴﺪ ﺃﻧ‪‬ﻬﻤﺎ ﳜﺘﻠﻔﺎﻥ ﰲ ﻃﺮﺍﺋﻖ ﺗﺄﺩﻳﺘﻪ«‪.3‬‬
‫ﻭﻣﺪﻯ ﺗﺄﺛﲑﻩ ﰲ ﺍﳌﺘﻠﻘﻲ‪ ،‬ﻭ‪‬ﺬﺍ ﻓﺎﻟﺬﻱ ﳛﺴﻦ ﺇﺧﺘﻴﺎﺭ ﻋﺒﺎﺭﺍﺗﻪ ﻳﻜﻮﻥ ﺫﺍ ﺃﺳﻠﻮﺏ‪.‬‬
‫ﻭﻟﻘﺪ ﺃﺣﺴﺐ ﺃﻥﹼ ﺍﻻﺧﺘﻴﺎﺭ ﻋﻤﻠﻴﺔ ﺗﺄﺧﺬ ﺑﻌﲔ ﺍﻻﻋﺘﺒﺎﺭ ﺣﺎﺟﺔ ﺍﻟﺒﺎﺣﺚ ﺇﱃ ﺍﻟﺘﻌﺒﲑ ﻋﻦ ﻧﻔﺴﻪ ﻣﻦ‬
‫ﺟﻬﺔ‪ ،‬ﻭﺍﻟﺘﺄﺛﲑ ﰲ ﺍﳌﻠﺘﻘﻰ ﻣﻦ ﺟﻬﺔ ﺃﺧﺮﻯ‪.‬‬
‫ﺍﻷﺳﻠﻮﺏ ﻛﻌﺪﻭﻝ "ﺇﳓﺮﺍﻑ‪ ،‬ﺇﻧﺰﻳﺎﺡ"‪:‬‬
‫ﻟﻌﻞﱠ ﺍﻟﻌﺪﻭﻝ ﺑﻌﺪ ﺃﻫﻢ ﻣﻘﻴﺎﺱ ﻟﺘﻌﺮﻳﻒ ﺍﻷﺳﻠﻮﺏ‪ :‬ﺇﺫ ﳒﺪ ﻛﻼ ﻣﻦ ﺳﻴﺒﺘﺰﺭ ﻭ ﺗﻮﺩﻭﺭﻭﻑ‬
‫ﻭﺭﻳﻔﺎﺗﲑ ﻭﻏﲑﻫﻢ ﻳﻌﺘﻤﺪﻩ ﰲ ﺫﻟﻚ‪ ،‬ﻭ » ﺗﻜﺎﺩ ﺟﻞﱠ ﺍﻟﺘﻴﺎﺭﺍﺕ ﺍﻟﱵ ﺗﻌﺘﻤﺪ ﺍﳋﻄﺎﺏ ﺃﺳﺎ‪ ‬ﺗﻌﺮﻳﻔﻴﺎ‬
‫ﻟﻸﺳﻠﻮﺏ ﺗﻨﺼﺐ ﰲ ﻣﻘﻴﺎﺱ ﺗﻨﻈﲑﻱ ﻫﻮ ﲟﺜﺎﺑﺔ ﺍﻟﻌﺎﻣﻞ ﺍﳌﺸﺘﺮﻙ ﺍﳌﻮﺣ‪‬ﺪ ﺑﻴﻨﻬﺎ‪ ،‬ﻭﻳﺘﻤﺜﻞ ﰲ ﻣﻔﻬﻮﻡ‬
‫ﺍﻻﻧﺰﻳﺎﺡ ‪ ،4«...L’écart‬ﻭﻻ ﺷﻚ ﺃﻥ ﻟﻠﻌﺪﻭﻝ ﺩﻭﺭﻩ ﺍﻟﻔﻌﺎﻝ ﰲ ﺗﻄﻮﻳﺮ ﺍﳋﻄﺎﺏ‪ ،‬ﻭﺍﻟﺘﻮﺍﺻﻞ ﺑﲔ‬

‫‪ 1‬ﻋﻠﻲ ﻋﺰﺕ‪ :‬ﻣﻌﺠﻢ ﺍﳌﺼﻄﻠﺤﺎﺕ ﺍﻟﻠﻐﻮﻳﺔ ﻭ ﺍﻷﺩﺑﻴﺔ‪ ،‬ﺍﳌﻜﺘﺒﺔ ﺍﻷﻛﺎﺩﳝﻴﺔ‪ ،‬ﺍﻟﻘﺎﻫﺮﺓ‪ ،‬ﻣﺼﺮ‪ ،‬ﻁ‪ /1‬ﺕ ‪ ،1944‬ﺹ ‪.140‬‬
‫‪ 2‬ﻳﻨﻈﺮ‪ :‬ﻓﻴﻠﻲ ﺳﺎﻧﺪﺭﻳﺲ‪ ،‬ﳓﻮ ﻧﻈﺮﻳﺔ ﻟﺴﺎﻧﻴﺔ ﺃﺳﻠﻮﺑﻴﺔ‪ ،‬ﺗﺮ‪ ،‬ﺧﺎﻟﺪ ﳏﻤﻮﺩ ﲨﻌﺔ‪ ،‬ﺩﺍﺭ ﺍﻟﻔﻜﺮ‪ ،‬ﺩﻣﺸﻖ‪ ،‬ﻁ‪ ،2003 ،1‬ﺹ ‪.20‬‬
‫‪ 3‬ﺩ‪ .‬ﺣﺴﻦ ﻧﺎﻇﻢ‪ ،‬ﺍﻟﺒﲎ ﺍﻷﺳﻠﻮﺑﻴﺔ‪ :‬ﺩﺭﺍﺳﺔ ﰲ ﺃﻧﺸﻮﺩﺓ ﺍﳌﻄﺮ ﻟﻠﺴﻴﺎﺏ‪ ،‬ﺍﳌﺮﻛﺰ ﺍﻟﺜﻘﺎﰲ ﺍﻟﻌﺮﰊ‪ ،‬ﺍﳌﻐﺮﺏ‪ /‬ﻟﺒﻨﺎﻥ‪ ،‬ﻁ ‪ ،2002 /1‬ﺹ ‪.56‬‬
‫‪ 4‬ﺩ‪ .‬ﻋﺒﺪ ﺍﻟﺴﻼﻡ ﺍﳌﺴﺪﻱ‪ ،‬ﺍﳌﺮﺟﻊ ﺍﻟﺴﺎﺑﻖ‪ ،‬ﺹ ‪.97‬‬

‫‪-7-‬‬
‫ﺍﻷﺳﻠﻮﺏ ﻭﺍﻷﺳﻠﻮﺑﻴﺔ‬ ‫ﺍﳌﺒﺤﺚ ﺍﻷﻭﻝ‪:‬‬

‫ﻣﺴﺘﻌﻤﻠﻴﻪ‪ ،‬ﺇﺫ ﻫﻮ ﻳﺸﺒﻪ ﺍﻷﻏﺼﺎﻥ ﺍﻟﱵ ﺗﻨﺤﺮﻑ ﻋﻦ ﺟﺬﻉ ﺍﻟﺸﺠﺮﺓ ﻓﺘﻨﻤﻮ ﻭﺗﺄﺧﺬ ﺷﻜﻠﻬﺎ ﺍﻟﺬﻱ ﻳﻨﺒﻐﻲ‬
‫ﺃﻥ ﺗﻜﻮﻥ ﻋﻠﻴﻪ‪.‬‬
‫ﻟﻜﻦ ﺗﻌﺮﻳﻒ ﺍﻷﺳﻠﻮﺏ ﺑﻮﺻﻔﻪ ﻋﺪﻭﻻ ﻳﺜﲑ ﺑﻌﺾ ﺍﳌﺸﺎﻛﻞ ﻭﺍﳌﺼﺎﻋﺐ ﺗﺘﺒﻌﻬﺎ ﺍﻟﺪﻛﺘﻮﺭ ﺣﺴﻦ‬
‫ﻧﺎﻇﻢ ﻭﻗﺒﻠﻪ ﺍﻟﺪﻛﺘﻮﺭ ﺻﻼﺡ ﻓﻀﻞ‪،1‬‬
‫ﻭﻣﻊ ﻛﻞ ﻫﺬﻩ ﺍﳌﺸﺎﻛﻞ ﻳﻈﻞ » ﺍﻻﳓﺮﺍﻑ ﺍﻷﺳﻠﻮﰊ ﻇﺎﻫﺮﺓ ﺃﺳﻠﻮﺑﻴﺔ ﻭﻧﻘﺪﻳﺔ ﻭﲨﺎﻟﻴﺔ ﻳﻌﲎ ‪‬ﺎ‬
‫ﺍﻟﻨﻘﺪ ﺍﳊﺪﻳﺚ )ﻭﺍﳌﻌﺎﺻﺮ(‪ ،‬ﻭﺇﻥ ﻛﺎﻧﺖ ﻣﻮﺟﻮﺩﺓ ﰲ ﻧﻘﺪﻧﺎ ﺍﻟﻌﺮﰊ ﺍﻟﻘﺪﱘ ﻣﻦ ﺧﻼﻝ ﺍﻻﺳﺘﻌﺎﺭﺓ‬
‫ﻭﺍ‪‬ﺎﺯ«‪.2‬‬
‫ﻭﺳﻮﺍﺀ ﺃﻛﺎﻥ ﺍﻷﺳﻠﻮﺏ ﺍﺧﺘﻴﺎﺭﺍ ﺃﻡ ﻋﺪﻭﻻ‪ ،‬ﻓﺈﻧﻪ ﻳﻈﻞ ﺣﺪﺛﺎ ﻭﻗﻊ ﰲ ﺧﻄﺎﺏ ﻣﺎ‪ ،‬ﻳﻨﺘﺠﻪ ﳐﺎﻃﺐ‬
‫ﻗﺼﺪ ﺍﻟﺘﻌﺒﲑ ﻋﻦ ﻧﻔﺴﻪ ﺃﻭ ﻓﻜﺮﻩ ﺃﻭ ﺭﻭﺣﻪ ﻟﻴﺆﺛﺮ ﰲ ﺍﳌﺨﺎﻃﺐ ﺍﻟﺬﻱ ﺑﻪ ﻳﺘﻢ‪ ‬ﺩﻭﺭﺓ ﺍﳋﻄﺎﺏ‪ ،‬ﻣﻦ ﺃﺟﻞ‬
‫ﻫﺬﺍ ﺑﺎﺕ ﻟﺰﺍﻣﺎ ﻋﻠﻰ ﺍﻟﺒﺎﺣﺚ ﺍﻷﺳﻠﻮﰊ ﺃﻥ ﳚﻌﻞ ﻧﺼﺐ ﻋﻴﻨﻴﻪ ﺣﺎﻝ ﻣﺎ ﻣﻦ ﺷﺄﻧﻪ ﺃﻥ ﻳﻮﺿﺢ ﻣﻔﻬﻮﻡ‬
‫ﺍﻷﺳﻠﻮﺏ ﺃﻭ ﻳﻌﻤﻘﻪ ﺩﻭﻥ ﺃﻥ ﻳﺘﺠﺎﻫﻞ ﺃﻳ‪‬ﻪ ﻭﺳﻴﻠﺔ ﻟﻠﻮﺻﻮﻝ ﺇﱃ ﻏﺎﻳﺘﻪ‪.‬‬
‫ﺛﺎﻧﻴﺎ‪ :‬ﻣﻔﻬﻮﻡ ﺍﻷﺳﻠﻮﺑﻴﺔ )ﻋﻠﻢ ﺍﻷﺳﻠﻮﺏ(‬
‫ﻻ ﺷﻚ ﺃﻥ ﺍﻷﺳﻠﻮﺑﻴﺔ ﺗﻌﲎ ﺑﺎﻷﺳﻠﻮﺏ‪ ،‬ﻓﻬﻲ » ﲢﻠﻴﻞ ﻟﻐﻮﻱ‪ ،‬ﻣﻮﺿﻮﻋﻪ ﺍﻷﺳﻠﻮﺏ‪ ،‬ﻭﺷﺮﻃﺔ‬
‫ﺍﳌﻮﺿﻮﻋﻴﺔ ﻭﺭﻛﻴﺰﺗﻪ ﺍﻷﻟﺴﻨﻴﺔ«‪ 3‬ﻭﻟﻌﻞ ﻫﺬﺍ ﺍﻟﺮﺃﻱ ﻫﻮ ﺍﻷﻗﺮﺏ ﺇﱃ ﺍﻟﺼﻮﺍﺏ‪ ،‬ﺫﻟﻚ ﺃﻥ ﻋﻠﻢ ﺍﻷﺳﻠﻮﺏ‬
‫ﺑﺄﺧﺬ ﻣﻦ ﺍﻟﻠﻐﺔ ﻭﻣﻦ ﺍﻟﻨﻘﺪ ﺍﻷﺩﰊ‪ ،‬ﳑﺎ ﳚﻌﻠﻪ ﻗﺎﺩﺭﺍ ﻋﻠﻰ ﲢﻠﻴﻞ ﺍﻟﻨﺺ‪ ،‬ﻭﺍﻟﻮﺻﻮﻝ ﺇﱃ ﻏﺎﻳﺘﻪ ﺍﳌﺮﺟﻮﺓ‪،‬‬
‫ﻭﻋﻠﻴﻪ ﻓﺈﻧﻪ ﻻ ﳝﻜﻦ ﺃﻥ ﻧﺮﺳﻢ ﺣﺪﻭﺩﺍ ﺩﻗﻴﻘﺔ ﻟﻸﺳﻠﻮﺑﻴﺔ ﺗﻔﺼﻠﻬﺎ ﻋﻦ ﺍﻟﻨﻘﺪ ﺍﻷﺩﰊ ﺃﻭ ﻋﻠﻮﻡ ﺍﻟﻠﻐﺔ‪ ،‬ﻭﺗﻌﲏ‬
‫ﺍﻷﺳﻠﻮﺑﻴﺔ ﺃﻳﻀﺎ‪ » :‬ﺩﺭﺍﺳﺔ ﺍﻟﻠﻐﺔ ﻛﻔﻦ‪ 4« ‬ﻭﺇﺫﺍ ﺃﺭﺩﻧﺎ ﺍﻟﺘﺪﻗﻴﻖ ﺃﻛﺜﺮ ﻓﻬﻲ »ﺩﺭﺍﺳﺔ ﺍﳋﺼﺎﺋﺺ ﺍﻟﻠﻐﻮﻳﺔ‬
‫ﺍﻟﱵ ﻳﺘﺤﻮﻝ ‪‬ﺎ ﺍﳋﻄﺎﺏ ﻋﻦ ﺳﻴﺎﻗﻪ ﺍﻹﺧﺒﺎﺭﻱ ﺇﱃ ﻭﻇﻴﻔﺘﻪ ﺍﻟﺘﺄﺛﲑﻳﺔ ﻭﺍﳉﻤﺎﻟﻴﺔ«‪.5‬‬
‫ﻭﻻ ﺷﻚ ﺃﻳﻀﺎ‪ ،‬ﺃﻧﻨﺎ ﻧﺸﻌﺮ ﰲ ﺛﻨﺎﻳﺎ ﻫﺬﺍ ﺍﳌﻔﻬﻮﻡ ﺍﻷﺧﲑ ﺑﺄﻃﻴﺎﻑ ﺍﻟﺒﻼﻏﺔ ﻣﺼﻄﻠﺤﺎ ﻭﻣﻔﻬﻮﻣﺎ‪،‬‬
‫ﺇﺫ ﻻ ﺗﻌﺪ ﺍﻷﺳﻠﻮﺑﻴﺔ ﺃﻥ ﺗﻜﻮﻥ ﺍﻣﺘﺪﺍﺩﺍ ﳍﺎ‪ ،‬ﻭﻣﺮﺣﻠﺔ ﻣﺘﻄﻮﺭﺓ ﻋﻨﻬﺎ‪ ،‬ﻭﺗﻔﻮﻳﻀﺎ ﻟﺒﻌﺾ ﻣﻘﻮﻻ‪‬ﺎ‪ ،‬ﺑﻞ‬

‫‪ 1‬ﻳﻨﻈﺮ‪ :‬ﺻﻼﺡ ﻓﻀﻞ‪ ،‬ﻋﻠﻢ ﺍﻷﺳﻠﻮﺏ ﻣﺒﺎﺩﺋﻪ ﻭ ﺇﺟﺮﺍﺀﺍﺗﻪ‪ ،‬ﺩﺍﺭ ﺍﻵﻓﺎﻕ‪ ،‬ﻟﺒﻨﺎﻥ‪ ،‬ﻁ ‪ ،1985 /1‬ﺹ ‪.20‬‬
‫‪ 2‬ﺩ‪ .‬ﺑﺴﺎﻡ ﻗﻄﻮﺱ‪ :‬ﺇﺳﺘﺮﺍﺗﻴﺠﻴﺔ ﺍﻟﻘﺮﺍﺀﺓ‪ ،‬ﺍﻟﺘﺄﺻﻴﻞ ﻭ ﺍﻹﺟﺮﺍﺀ ﺍﻟﻨﻘﺪﻱ‪ ،‬ﺩﺍﺭ ﺍﻟﻜﻨﺪﻱ‪ ،‬ﺍﻷﺭﺩﻥ‪ ،1998 /‬ﺹ ‪.135‬‬
‫‪ 3‬ﻳﻨﻈﺮ‪ :‬ﺟﻮﺯﻳﻒ ﻣﻴﺸﺎﻝ ﺷﺮﱘ‪ :‬ﺩﻟﻴﻞ ﺍﻟﺪﺭﺍﺳﺎﺕ ﺍﻷﺳﻠﻮﺑﻴﺔ‪ ،‬ﳎﺪ‪ ،‬ﺑﲑﻭﺕ‪ ،‬ﻁ‪ ،1987 /2‬ﺹ ‪.39،38‬‬
‫‪ 4‬ﺩ‪ .‬ﻋﻠﻲ ﻣﻼﺣﻲ‪ :‬ﺍﳉﻤﻠﺔ ﺍﻟﺸﻌﺮﻳﺔ ﰲ ﺍﻟﻘﺼﻴﺪﺓ ﺍﳉﺪﻳﺪﺓ‪ ،‬ﺭﺳﺎﻟﺔ ﻣﺎﺟﻴﺴﺘﲑ ‪ ،‬ﺟﺎﻣﻌﺔ ﻋﲔ ﴰﺲ‪،‬ﻣﺼﺮ‪ ،1990 ،‬ﺹ ‪.21‬‬
‫‪ 5‬ﺩ‪ .‬ﻧﻮﺭ ﺍﻟﺪﻳﻦ ﺍﻟﺴﺪ‪ :‬ﺍﻷﺳﻠﻮﺑﻴﺔ ﻭ ﲢﻠﻴﻞ ﺍﳋﻄﺎﺏ‪ ،‬ﺩﺍﺭ ﻫﻮﻣﺔ‪ ،‬ﺍﳉﺰﺍﺋﺮ‪ ،‬ﻁ‪ ) 1‬ﻁ‪ ،‬ﺕ (‪ ،‬ﺹ ‪.93‬‬

‫‪-8-‬‬
‫ﺍﻷﺳﻠﻮﺏ ﻭﺍﻷﺳﻠﻮﺑﻴﺔ‬ ‫ﺍﳌﺒﺤﺚ ﺍﻷﻭﻝ‪:‬‬

‫ﻫﻲ ﺍﻟﻮﺭﻳﺚ ﻭﻻﺑﺄﺱ ﳍﺎ ﺇﺫﻥ ﺃﻥ ﺗﺴﺘﺜﻤﺮ ﺑﻌﺾ ﺍﳌﻨﺠﺰﺍﺕ ﻭ ﺇﺫﻥ ﻓﻼ ﳎﺎﻝ ﻟﻠﺘﺤﺪﺙ ﻋﻦ ﺫﻟﻚ‬
‫ﺍﻟﺼﺮﺍﻉ ﺍﳌﻔﺘﻌﻞ ﻭﺍﻟﻌﺪﺍﺀ ﺍﳌﺼﻄﻨﻊ ﺑﲔ ﺍﻟﺒﻼﻏﺔ ﻭﺍﻷﺳﻠﻮﺑﻴﺔ‪.1‬‬
‫ﺍﳌﻄﻠﺐ ﺍﻟﺜﺎﱐ‪ :‬ﺇﺟﺮﺍﺀﺍﺕ ﺍﻟﺘﺤﻠﻴﻞ ﺍﻷﺳﻠﻮﰊ‬
‫ﻟﻜﻞ ﻣﻨﻬﺞ ﻧﻘﺪﻱ ﺇﺟﺮﺍﺀﺍﺗﻪ ﺍﻟﱵ ﲤﻴﺰﻩ ﻋﻦ ﻏﲑﻩ ﻣﻦ ﺍﳌﻨﺎﻫﺞ ﺍﻟﻨﻘﺪﻳﺔ ﺍﻷﺧﺮﻯ‪ ،‬ﻭﻟﻌﻞ‬
‫ﻟﻸﺳﻠﻮﺑﻴﺔ ﺇﺟﺮﺍﺀﺍ‪‬ﺎ ﺍﻟﱵ ﲤﻴﺰﻫﺎ ﻋﻦ ﻏﲑﻫﺎ ﻭﻣﻦ ﺃﳘﻬﺎ ﺍﻻﻧﺰﻳﺎﺡ ﻭﺍﻻﺧﺘﻴﺎﺭ ﻭﺍﻟﺘﺮﻛﻴﺐ‪ ،‬ﻭﻟﺘﻮﺿﻴﺢ ﻫﺬﻩ‬
‫ﺍﻹﺟﺮﺍﺀﺍﺕ ﳝﻜﻦ ﺃﻥ ﻧﻮﺭﺩﻫﺎ ﻋﻠﻰ ﺍﻟﻨﺤﻮ ﺍﻟﺘﺎﱄ‪:‬‬
‫ﺃﻭﻻ‪ :‬ﺍﻹﻧﺰﻳﺎﺡ‬
‫ﻭﻗﺪ ﻇﻬﺮ ﻫﺬﺍ ﺍﳌﺼﻄﻠﺢ ﰲ ﻟﻐﺎﺕ ﻋﺪ‪‬ﺓ‪ ،‬ﺣﻴﺚ ﻋﺮﻑ ﰲ ﺍﻟﻔﺮﻧﺴﻴﺔ ﺑـ )‪ (écart‬ﻭﰲ‬
‫ﺍﻻﳒﻠﻴﺰﻳﺔ )‪ (deviation‬ﻭﺑﺎﻷﳌﺎﻧﻴﺔ )‪ ،(Abwelchung‬ﺃﻣ‪‬ﺎ ﰲ ﺍﻟﻌﺮﺑﻴﺔ ﻓﻘﺪ ﺍﺧﺘﻠﻒ ﺍﻟﻨﻘﺎﺩ ﰲ‬
‫ﺗﺴﻤﻴﺘﻪ‪ ،‬ﻓﺄﻭﺭﺩﻭ ﻟﻪ ﻣﺼﻄﻠﺤﺎﺕ ﳐﺘﻠﻔﺔ ﻣﻨﻬﺎ‪ :‬ﺍﻟﺘﺸﻮﻳﺶ‪ ،‬ﻭﺍﳋﺮﻭﺝ ﻭﺍﻹﺑﺘﻌﺎﺩ ﻭﺍﻟﺸﺬﻭﺫ ﻭﺍﻟﺘﺸﻮﻳﻪ‬
‫ﻭﺍﻹﻧﺘﻬﺎﻙ ﻭﺍﻟﻨ‪‬ﺸﺎﺯ ﻭﺍﻹﺗﺴﺎﻉ‪ ،‬ﻭﻟﻌﻞ ﺍﻹﻧﺰﻳﺎﺣﺎﺕ ﺗﻜﻤﻦ ﰲ ﺍﻷﺩﺏ ﺍﳌﻜﺘﻮﺏ‪،‬ﺃﻛﺜﺮ ﻣﻨﻬﺎ ﰲ ﺍﻷﺩﺏ‬
‫ﺍﻟﺸﻔﻮﻱ ﻭﺫﻟﻚ ﻷﻥ ﺍﻷﺩﺏ ﺍﻟﺸﻔﻮﻱ ﻳﻌﺘﻤﺪ ﻋﻠﻰ ﻭﺳﺎﺋﻞ ﺃﺧﺮﻯ ﻣﺼﺎﺣﺒﺔ ﻟﻠﻜﻼﻡ ﻣﺜﻞ ﺍﻹﺷﺎﺭﺓ‬
‫ﺑﺎﻟﻴﺪﻳﻦ‪ ،‬ﻭﺍﻟﻨﱪ ﻭﺍﻟﺘﻌﺒﲑ ﲝﺮﻛﺎﺕ ﺍﻟﻮﺟﻪ‪ ،‬ﺑﻴﻨﻤﺎ ﻳﺒﻘﻰ ﺍﻟﺴﻼﺡ ﺍﻟﻮﺣﻴﺪ ﻟﻸﺩﺏ ﺍﳌﻜﺘﻮﺏ ﻫﻮ ﺍﻻﻧﺰﻳﺎﺡ‬
‫ﻭﻣﻦ ﻫﻨﺎ ﳒﺪ ﺃﻥ ﺍﻵﺩﺍﺏ ﺍﻟﱵ ﺗﻘﺘﺮﺏ ﻣﻦ ﺍﻟﺘﺮﺍﺙ ﺍﻟﺸﻔﻮﻱ ﻳﻘﻞﱡ ﻓﻴﻬﺎ ﺍﻹﻧﺰﻳﺎﺡ ﺑﺎﳌﻘﺎﺭﻧﺔ ﻣﻊ ﺍﻵﺩﺍﺏ‬
‫ﺍﳊﺪﻳﺜﺔ‪.2‬‬
‫ﻭﻣﻦ ﻧﺎﺣﻴﺔ ﺃﺧﺮﻯ ﻓﺈﻥ ﺍﻹﻧﺰﻳﺎﺡ ﺑﺎﺏ ﻣﻦ ﺃﺑﻮﺍﺏ ﺍﻷﺳﻠﻮﺑﻴﺔ ﻭﻟﻪ ﺃﳘﻴﺔ ﰲ ﲢﻠﻴﻞ ﺍﻟﻨﺼﻮﺹ‪ ،‬ﻭﻳﻘﺼﺪ ﺑﻪ‬
‫ﺇﺳﺘﻌﻤﺎﻝ ﺍﳌﺒﺪﻉ ﻟﻠﻐﺔ ﻣﻦ ﻣﻔﺮﺩﺍﺕ ﻭﺗﺮﺍﻛﻴﺐ ﻭﺻﻮﺭ ﺇﺳﺘﻌﻤﺎﻻ ﳜﺮﺝ ‪‬ﺎ ﻋﻤﺎ ﻫﻮ ﻣﻌﺘﺎﺩ ﻭﻣﺄﻟﻮﻑ‪.‬‬
‫ﻭﰲ ﻧﻈﺮ ﺑﻌﻀﻬﻢ ﻳﻌﺮﻓﻮﻧﻪ ﻋﻠﻰ ﺃﻧﻪ »ﺍ ﺍﳓﺮﺍﻑ ﺍﻟﻜﻼﻡ ﻋﻦ ﻧﺴﻘﻪ ﺍﳌﺄﻟﻮﻑ ﻭﻫﻮ ﺣﺪﺙ ﻟﻐﻮﻱ ﻳﻈﻬﺮ ﰲ‬
‫ﺗﺸﻜﻴﻞ ﺍﻟﻜﻼﻡ ﻭﺻﻴﺎﻏﺘﻪ «‪.3‬‬
‫ﻭﻣﻦ ﺍﻟﻨﺎﺣﻴﺔ ﺍﻟﻌﻠﻤﻴﺔ ﻳﻌﺘﱪ ﺍﻷﺳﻠﻮﺑﻴﻮﻥ ﺃﻧﻪ ﻛﻠﻤﺎ ﺗﺼﺮﻑ ﻣﺴﺘﻌﻤﻞ ﺍﻟﻠﻐﺔ ﰲ ﻫﻴﺎﻛﻞ ﺩﻻﻟﺘﻬﺎ‪ ،‬ﺃﻭ‬
‫ﺃﺷﻜﺎﻝ ﺗﺮﺍﻛﻴﺒﻬﺎ ﲟﺎ ﳜﺮﺝ ﻋﻦ ﺍﳌﺄﻟﻮﻑ‪ ،‬ﺍﻧﺘﻘﻞ ﻛﻼﻣﻪ ﻣﻦ ﺍﻟﺴﻤﺔ ﺍﻹﺧﺒﺎﺭﻳﺔ ﺇﱃ ﺍﻟﺴﻤﺔ ﺍﻹﻧﺸﺎﺋﻴﺔ‪ ،‬ﻣﺜﻞ‬

‫‪ 1‬ﻳﻨﻈﺮ‪ :‬ﻋﻠﻲ ﻣﻼﺣﻲ‪ ،‬ﺍﳌﺮﺟﻊ ﻧﻔﺴﻪ‪ ،‬ﺹ ‪.9‬‬

‫‪ 2‬ﻳﻨﻈﺮ ﳏﻤﺪ ﺳﻠﻴﻤﺎﻥ‪ ،‬ﻇﻮﺍﻫﺮ ﺃﺳﻠﻮﺑﻴﺔ ﰲ ﺷﻌﺮ ﳑﺪﻭﺡ ﻋﺪﻭﺍﻥ‪ ،‬ﺩﺍﺭ ﺍﻟﻴﺎﺯﻭﺭﻱ ﺍﻟﻌﻠﻤﻴﺔ ﻟﻠﻨﺸﺮ ﻭ ﺍﻟﺘﻮﺯﻳﻊ‪ ،‬ﻁ‪ ،2007 /1‬ﻋﻤﺎﻥ‪ ،‬ﺍﻷﺭﺩﻥ‪ ،‬ﺹ ‪.36‬‬
‫‪ 3‬ﳏﻤﺪ ﺳﻠﻴﻤﺎﻥ‪ ،‬ﺍﳌﺮﺟﻊ ﺍﻟﺴﺎﺑﻖ‪ ،‬ﺹ ‪.35‬‬

‫‪-9-‬‬
‫ﺍﻷﺳﻠﻮﺏ ﻭﺍﻷﺳﻠﻮﺑﻴﺔ‬ ‫ﺍﳌﺒﺤﺚ ﺍﻷﻭﻝ‪:‬‬

‫ﻗﻮﻟﻪ ﺗﻌﺎﱃ‪﴿ :‬ﻓﹶﺮﹺﻳﻘﺎﹰ ﻛﹶﺬﱠﺑ‪‬ﺘ‪‬ﻢ‪ ‬ﻭ‪‬ﻓﹶﺮﹺﻳﻘﺎﹰ ﺗ‪‬ﻘﹾﺘ‪‬ﻠﹸﻮﻥﹶ﴾] ﺍﻟﺒﻘﺮﺓ ﺍﻵﻳﺔ ‪ [87‬ﻓﻬﻮ ﻳﺘﻀﻤﻦ ﺇﻧﺰﻳﺎﺣﺎ ﺃﻭ ﻋﺪﻭﻻ ﻣﻦ‬
‫ﺍﻟﻨﻤﻂ ﺍﻟﺘﺮﻛﻴﱯ ﺍﻷﺻﻠﻲ ﺑﺘﻘﺪﱘ ﺍﳌﻔﻌﻮﻝ ﺑﻪ "ﻓﺮﻳﻘﺎ" ﻭﺍﺧﺘﺰﺍﻝ ﺍﻟﻀﻤﲑ ﺍﻟﻌﺎﺋﺪ ﻋﻠﻴﻪ )ﻓﺮﻳﻘﺎ ﻛﺬﺑﺘﻤﻮﻩ( ‪.1‬‬
‫ﻭﻣﻦ ﺃﻫﻢ ﺍﻟﻨﻘﺎﺩ ﺍﻟﻐﺮﺑﻴﲔ ﺍﻟﺬﻳﻦ ﻋﺎﳉﻮﺍ ﻇﺎﻫﺮﺓ ﺍﻹﻧﺰﻳﺎﺡ‪ ،‬ﻭﺍﻟﺬﻳﻦ ﻧﻘﻒ ﻋﻨﺪﻫﻢ ﺑﺮﺯ ﺇﺳﻢ ﺍﻟﻨﺎﻗﺪ‬
‫ﺍﻟﻔﺮﻧﺴﻲ "ﺟﺎﻥ ﻛﻮﻫﻦ" ﰲ ﻛﺘﺎﺑﻪ ﺑﻨﻴﺔ ﺍﻟﻠﻐﺔ ﺍﻟﺸﻌﺮﻳﺔ‪ ،‬ﺇﺫ ﺍﻋﺘﱪ ﺍﻹﻧﺰﻳﺎﺡ ﺃﺳﺎﺱ ﺍﻟﺸﻌﺮﻳﺔ ﻭﺍﻻﻧﺰﻳﺎﺡ ﰲ‬
‫ﺭﺃﻳﻪ ﻻ ﻳﻜﻮﻥ ﺷﻌﺮﻳﺎ ﺇﻻ ﺇﺫﺍ ﻛﺎﻥ ﳏﻜﻮﻣﺎ ﺑﻘﺎﻧﻮﻥ ﳚﻌﻠﻪ ﳐﺘﻠﻔﺎ ﻋﻦ ﻏﲑ ﺍﳌﻌﻘﻮﻝ ﻭﻫﺬﺍ ﻣﺎ ﻳﺘﺠﻠﻰ ﰲ‬
‫ﻋﻼﻗﺔ ﻣﻔﺮﺩﺓ ﻣﺎ ﻣﻊ ﺍﳌﻔﺮﺩﺍﺕ ﺍﻷﺧﺮﻯ ﺿﻤﻦ ﺍﻟﺴﻴﺎﻕ‪ ،‬ﻭﻳﺸﲑ ﺇﱃ ﻧﺎﺣﻴﺔ ﻫﺎﻣﺔ ﰲ ﻋﻤﻠﻴﺔ ﺍﻹﺧﺘﻴﺎﺭ‪،‬‬
‫ﻓﺎﻟﺸﺎﻋﺮ ﻗﺪ ﻳﺴﺘﺨﺪﻡ ﻛﻠﻤﺎﺕ ﻣﺄﻟﻮﻓﺔ ﻗﺮﻳﺒﺔ ﻣﻦ ﺍﻟﻌﺎﻣﺔ‪ ،‬ﻭﻟﻜﻨﻪ ﻳﻜﺴﺒﻬﺎ ﺩﻻﻟﺔ ﻭﺇﳛﺎﺀ ﺧﺎﺻﺎ ﰲ‬
‫ﻗﺼﻴﺪﺗﻪ‪ ،‬ﻳﺮﻗﻰ ‪‬ﺎ ﺇﱃ ﺍﳌﺴﺘﻮﻯ ﺍﻷﺩﰊ ﺍﻟﺴﺎﻣﻲ‪ ،‬ﻓﻌﻠﻰ ﺳﺒﻴﻞ ﺍﳌﺜﺎﻝ ﻛﻠﻤﺔ "ﺍﻟﺴﻤﺎﺀ" ﻫﻲ ﻛﻠﻤﺔ ﻣﺄﻟﻮﻓﺔ‬
‫ﰲ ﺍﻟﻠﻐﺔ ﺍﻟﻌﺎﺩﻳﺔ ﻭﻻ ﻳﺸﻜﻞ ﺇﺳﺘﻌﻤﺎﳍﺎ ﺇﻧﺰﻳﺎﺣﺎ ﺇﻻ ﺇﺫﺍ ﺃﺳﻨﺪ ﺇﻟﻴﻬﺎ ﻓﻌﻞ ﱂ ﻳﻌﺘﺪ ﺃﻥ ﻳﺴﻨﺪ ﺇﻟﻴﻬﺎ ﻣﺜﻞ‬
‫"ﺑﻜﺖ" ﻟﻴﺤﺪﺙ ﻫﺬﺍ ﺇﻧﺰﻳﺎﺣﺎ ﻳﺴﻤﻰ ﰲ ﺍﻟﺒﻼﻏﺔ "ﺇﺳﺘﻌﺎﺭﺓ" ﻭﺍﻟﱵ ﻳﻌﺘﱪﻫﺎ "ﺟﺎﻥ ﻛﻮﻫﻦ" ﺧﺮﻗﺎ ﻟﻘﺎﻧﻮﻥ‬
‫ﺍﻟﻠﻐﺔ‪.2‬‬
‫ﻓﻤﻦ ﺧﻼﻝ ﻫﺬﻩ ﺍﻟﺘﻌﺮﻳﻔﺎﺕ ﺍﻟﱵ ﺗﻄﺮﻗﻨﺎ ﺇﻟﻴﻬﺎ ﳒﺪ ﺑﺄﻥ ﺍﻻﻧﺰﻳﺎﺡ ﻟﻪ ﺛﻼﺛﺔ ﺃﻗﺴﺎﻡ ﻭﺗﻜﻤﻦ ﰲ‪:‬‬
‫ﻗﺴﻢ ﺍﻻﻧﺰﻳﺎﺡ ﺍﻻﺳﻨﺎﺩﻱ‪،‬ﺍﻟﺪﻻﱄ‪،‬ﺍﻟﺘﺮﻛﻲ‬
‫‪ .1‬ﺍﻻﻧﺰﻳﺎﺡ ﺍﻻﺳﻨﺎﺩﻱ‪:‬‬
‫ﺗﻨﻘﺴﻢ ﺍﳉﻤﻠﺔ ﺍﻟﻌﺮﺑﻴﺔ ﰲ ﺍﻟﺪﺭﺱ ﺍﻟﻨﺤﻮﻱ ﺇﱃ ﻗﺴﻤﲔ‪:‬‬
‫ﺍﳉﻤﻠﺔ ﺍﻻﲰﻴﺔ ﻭﺍﳉﻤﻠﺔ ﺍﻟﻔﻌﻠﻴﺔ‪ ،‬ﻭﺳﻨﻌﺮﺽ ﻟﺬﻟﻚ ﻣﻦ ﺧﻼﻝ ﺷﻌﺮ ﺣﺴﺎﻥ ﺑﻦ ﺛﺎﺑﺖ ﺗﻘﺴﻴﻢ‬
‫ﺍﻹﻧﺰﻳﺎﺡ ﺍﻹﺳﻨﺎﺩﻱ ﺇﱃ‪ :‬ﺍﻹﺳﻨﺎﺩ ﺍﻻﲰﻲ ﻭﺍﻹﺳﻨﺎﺩ ﺍﻟﻔﻌﻠﻲ‪.‬‬
‫ﺃ‪ .‬ﺍﻹﺳﻨﺎﺩ ﺍﻹﲰﻲ‪:‬‬
‫ﻓﻘﺪ ﺷﺎﻉ ﰲ ﺷﻌﺮ ﺣﺴﺎﻥ ﺑﻦ ﺛﺎﺑﺖ ﺇﺳﺘﺨﺪﺍﻡ ﺍﳌﺒﺘﺪﺃ ﻭﺍﳋﱪ ﻭﻗﺪ ﲤﺎﺷﻰ ﻫﺬﺍ ﻣﻊ ﺷﻌﺮﻩ‪ ،‬ﻭﺣﻘﻖ‬
‫ﺍﻛﺘﻤﺎﻻ ﰲ ﺻﻮﺭﺗﻪ ﺧﻼﻝ ﺩﻳﻮﺍﻧﻪ ﲝﻴﺚ ﺃﺧﺪ ﰲ ﺍﻻﺗﺴﺎﻉ ﻟﻴﺸﻜﻞ ﻇﺎﻫﺮﺓ‪ ،‬ﻭﻗﺪ ﺍﺳﺘﺨﻠﺺ ﻗﺎﻧﻮﻧﺎ ﻋﺎﻣﺎ‬
‫ﻳﺘﻌﻠﻖ ﺑﺘﺄﻟﻴﻒ ﺍﻟﻜﻠﻤﺎﺕ ﰲ ﲨﻞ » ﻳﻘﺘﻀﻲ ﺃﻥ ﻳﻜﻮﻥ ﺍﳌﺴﻨﺪ ﻣﻼﺋﻤﺎ ﻟﻠﻤﺴﻨﺪ ﺇﻟﻴﻪ ﰲ ﻛﻞ ﲨﻠﺔ‬

‫‪ 1‬ﻋﺒﺪ ﺍﻟﺴﻼﻡ ﺍﳌﺴﺪﻱ‪ ،‬ﺍﳌﺮﺟﻊ ﺍﻟﺴﺎﺑﻖ‪ ،‬ﺹ ‪.125‬‬

‫‪ 2‬ﻳﻨﻈﺮ‪ :‬ﺟﺎﻥ ﻛﻮﻫﻦ‪ ،‬ﺍﳌﺮﺟﻊ ﺍﻟﺴﺎﺑﻖ ‪ ،‬ﺹ ‪.15‬‬

‫‪-10-‬‬
‫ﺍﻷﺳﻠﻮﺏ ﻭﺍﻷﺳﻠﻮﺑﻴﺔ‬ ‫ﺍﳌﺒﺤﺚ ﺍﻷﻭﻝ‪:‬‬

‫ﺍﺳﻨﺎﺩﻳﺔ« ﻭﺣﺪﺩ ﻫﺬﺍ ﺍﻷﺳﻠﻮﺏ ﺑـ "ﺍﳌﻼﺀﻣﺔ" ﻭﻳﺘﻢ ﺑﺬﻟﻚ ﺗﺸﻜﻴﻞ ﺍﳉﻤﻞ ﻣﻦ ﺧﻼﻝ ﺇﳊﺎﻕ ﺍﻟﺪ‪‬ﻻﻟﺔ‬
‫ﺑﺎﻟﺘﺮﻛﻴﺐ‪.‬‬
‫ﻭﻣﻦ ﺍﻷﻣﺜﻠﺔ ﺍﻟﱵ ﺃﻭﺭﺩﻫﺎ ﰲ ﺍﻟﻘﺼﻴﺪﺓ ﻟﺘﻮﺿﻴﺢ ﺫﻟﻚ ﳒﺪ‪» :‬ﻳﺒﻜﻮﻥ ﻣﻦ ﺗﺒﻜﻲ ﺍﻟﺴﻤﻮﺍﺕ‬
‫ﻳﻮﻣﻪ«‪ ،‬ﻭﻳﺘ‪‬ﻀﺢ ﻋﺪﻡ ﻣﻼﺀﻣﺔ ﺍﳌﺴﻨﺪ ﻟﻠﻤﺴﻨﺪ ﺇﻟﻴﻪ ﺇﺫﺍ ﺃﺧﺬ ﲟﻌﻨﺎﻩ ﺍﳊﺮﰲﹼ‪ ،‬ﺃﻱ ﺍﻹﻧﺴﺎﻥ ﻭﻳﺒﺘﺪﺉ ﻫﺬﺍ‬
‫ﺍﻻﻧﺰﻳﺎﺡ ﺑﺎﻟﻮﺻﻮﻝ ﺇﱃ ﺍﳌﻌﲎ ﺍﻟﺜﺎﱐ ﲝﻴﺚ ﺷﺒﻪ ﺍﻟﺴﻤﻮﺍﺕ ﺑﺈﻧﺴﺎﻥ ﻳﺒﻜﻲ‪ ،‬ﻓﺤﺬﻑ ﺍﳌﺸﺒﻪ ﺑﻪ‪ ،‬ﻭﻧﺮﻣﺰ ﻟﻪ‬
‫ﺑﺄﺣﺪ ﻟﻮﺍﺯﻣﻪ )ﺗﺒﻜﻲ(‪ ،‬ﻭﺗﻌﻜﺲ ﻫﺬﻩ ﺍﻟﻼﻣﻼﺋﻤﺔ ﺍﻹﲰﻴﺔ ﻗﺪﺭﺓ ﻋﻨﺪ ﺍﳌﺘﻠﻘﻲ ﰲ ﺗﺄﻭﻳﻞ ﺍﻟﻨﺼﻮﺹ‪.1‬‬
‫ﺏ‪.‬ﺍﻹﺳﻨﺎﺩ ﺍﻟﻔﻌﻠﻲ )ﺍﻟﻔﻌﻞ ﻭﺍﻟﻔﺎﻋﻞ ﻭﺗﻮﺍﺑﻌﻬﻤﺎ(‪:‬‬
‫ﻳﺘﺤﻘﻖ ﻫﺬﺍ ﺍﻟﻨﻤﻂ ﻣﻦ ﺍﻹﺳﻨﺎﺩ ﰲ ﺍﻟﻨﺜﺮ ﻭﺍﻟﺸ‪‬ﻌﺮ ﻋﻠﻰ ﺍﻟﺴﻮﺍﺀ‪ ،‬ﻓﻼﺑﺪ‪ ‬ﻣﻦ ﺃﻥ ﻳﻨﺪﺭﺝ ﺍﳌﺴﻨﺪ ﺇﻟﻴﻪ‬
‫ﰲ ﳎﺎﻝ ﺗﻨﺎﻭﻟﻪ ﺩﻻﻟﺔ ﺍﳌﺴﻨﺪ ﺃﻱ ﻳﻜﻮﻥ ﺟﺰﺀﺍ ﻣﻦ ﺍﻟﺼﻨﻒ ﻧﻔﺴﻪ‪ . 2‬ﻛﻘﻮﻟﻨﺎ )ﺗﻌﻔﻮ ﺍﻟﺮﺳﻮﻡ( ﻭﺫﻟﻚ‬
‫ﻟﻠﻤﻨﺎﻓﺮﺓ ﺍﻟﱵ ﺃﺣﺪﺛﻬﺎ ﺍﻟﺘﺮﻛﻴﺐ ﻧﻔﺴﻪ ﻭﻻ ﻧﺴﺘﻄﻴﻊ ﺍﳊﺼﻮﻝ ﻋﻠﻰ ﻣﺜﻞ ﻫﺬﻩ ﺍﳌﻨﺎﻓﺮﺓ ﺇﻻﱠ ﺇﺫﺍ ﺃﺧﺬﻧﺎ‬
‫ﺍﻟﻜﻠﻤﺎﺕ ﲟﻌﺎﻧﻴﻬﺎ ﺍﳊﺮﻓﻴﺔ‪ ،‬ﻭﻟﻌﻞ ﺍﻟﺘ‪‬ﺠﺎﻧﺲ ﺍﻟﺬﻱ ﻳﺘﺤﻘﻖ ﰲ ﻟﻐﺔ ﺍﻟﻨﺜﺮ ﻻﺳﻴﻤﺎ ﺍﻟﻌﻠﻤﻴﺔ ﻣﻨﻪ‪ ،‬ﻳﻜﻮﻥ‬
‫ﺗﺎﻣﺎ‪ ‬ﰲ ﻛﺜﲑ ﻣﻦ ﺇﺳﺘﻌﻤﺎﻻ‪‬ﺎ ﺣﻴﺚ ﻳﺸﻜﻞ ﺍﻟﻔﻌﻞ ﻭﺍﻟﻔﺎﻋﻞ ﻣﺜﻼ ﺳﻴﺎﻗﺎ ﻣﻄﺎﺑﻘﺎ ﻻ ﻳﻈﻬﺮ ﺍﻧﺰﻳﺎﺣﺎ‬
‫ﻭﻫﺬﺍ ﺧﻼﻑ ﺍﻟﻠﻐﺔ ﺍﻟﺸﻌﺮﻳﺔ ﺍﻟﱵ ﺗﻌﲏ ﲟﺜﻞ ﻫﺬﺍ ﺍﻟﺘﻨﺎﻓﺮ‪.3‬‬
‫‪ .2‬ﺍﻹﻧﺰﻳﺎﺡ ﺍﻟﺪ‪‬ﻻﱄ‪:‬‬
‫ﺑﻌﺪ ﺍﳉﺎﻧﺐ ﺍﻟﺪ‪‬ﻻﱄ ﻫﺪﻓﺎ ﺗﻘﺼﺪﻩ ﺍﳌﺴﺘﻮﻳﺎﺕ ﺍﻟﻠﻐﻮﻳﺔ ﲨﻴﻌﻬﺎ ﻭﻳﺮﻯ "ﻛﻮﻫﻦ" ﺃﻥ ﺍﻟﺪ‪‬ﻻﻟﺔ ﻟﻴﺴﺖ‬
‫ﺇﻻ ﳎﻤﻮﻉ ﺍﻟﺘﺄﻟﻴﻔﺎﺕ ﺍﳌﺘﺤﻘﻘﺔ ﻟﻜﻠﻤﺔ ﻣﺎ‪ ،‬ﻭﺇﻥ ﺇﻓﺮﺍﺩﻩ ‪‬ﺬﻩ ﺍﻟﺼﻮﺭﺓ ﻻ ﻳﻌﲏ ﺍﻟﻔﺼﻞ ﺑﻴﻨﻪ ﻭﺍﻟﺘﺮﺍﻛﻴﺐ‪،‬‬
‫ﺣﻴﺚ ﺇﻧﻪ ﺗﺮﻛﻴﱯ‪ ‬ﺑﺎﻟﺪﺭﺟﺔ ﺍﻷﻭﱃ ﻭﻟﻜﻨﻪ ﻻ ﻳﺮﻛﺰ ﻋﻠﻰ ﺍﻹﺳﻨﺎﺩ‪.‬‬

‫‪ .3‬ﺍﻹﻧﺰﻳﺎﺡ ﺍﻟﺘﺮﻛﻴﱯ‪:‬‬

‫ﻓﻬﺬﺍ ﺍﻟﻨﻮﻉ ﻣﻦ ﺍﻻﻧﺰﻳﺎﺡ ﻳﻨﺎﻗﺶ ﻃﺮﻳﻘﺔ ﺍﻟﺮﺑﻂ ﺑﲔ ﺍﻟﺪﻭﺍﻝ ﺑﻌﻀﻬﺎ ﺑﺒﻌﺾ ﺍﻧﻄﻼﻗﺎ ﻣﻦ ﺍﻟﻌﺒﺎﺭﺓ‬
‫ﺍﻟﻮﺍﺣﺪﺓ ﺇﱃ ﺍﻟﺘﺮﻛﻴﺐ ﻭﺍﻟﻔﻘﺮﺓ‪ ،‬ﻭﺍﻟﺸﺎﻋﺮ ﻋﻠﻰ ﺣﺪ‪ ‬ﻗﻮﻝ "ﻛﻮﻫﻦ"‪ ،‬ﺷﺎﻋﺮ »ﺑﻘﻮﻟﻪ ﻻ ﺑﺘﻔﻜﲑﻩ‬

‫‪ 1‬ﻳﻨﻈﺮ ‪ :‬ﳏﻤﺪ ﺳﻠﻴﻤﺎﻥ‪ ،‬ﺍﳌﺮﺟﻊ ﺍﻟﺴﺎﺑﻖ‪ ،‬ﺹ ‪.38،39‬‬

‫‪ 2‬ﻳﻨﻈﺮ‪ :‬ﺟﺎﻥ ﻛﻮﻫﻦ‪ ،‬ﺍﳌﺮﺟﻊ ﺍﻟﺴﺎﺑﻖ‪ ،‬ﺹ ‪.108‬‬
‫‪ 3‬ﻳﻨﻈﺮ‪ :‬ﺳﺎﻣﺢ ﺍﻟﺮﻭﺍﺷﺪﺓ‪ ،‬ﻓﻀﺎﺀﺍﺕ ﺍﻟﺸﻌﺮﻳﺔ‪ ،‬ﺩﺭﺍﺳﺔ ﰲ ﺩﻳﻮﺍﻥ ﺃﻣﻞ ﻭﻧﻘﻞ‪ ،‬ﺍﳌﺮﻛﺰ ﺍﻟﻘﻮﻣﻲ ﻟﻠﻨﺸﺮ‪ ،‬ﺍﻷﺭﺩﻥ‪ ،‬ﻁ ‪ ،1999 /1‬ﺹ ‪.47‬‬

‫‪-11-‬‬
‫ﺍﻷﺳﻠﻮﺏ ﻭﺍﻷﺳﻠﻮﺑﻴﺔ‬ ‫ﺍﳌﺒﺤﺚ ﺍﻷﻭﻝ‪:‬‬

‫ﻭﺇﺣﺴﺎﺳﻪ‪ ،‬ﻭﺇﻧﻪ ﺧﺎﻟﻖ ﻛﻠﻤﺎﺕ‪ ،‬ﻭﻟﻴﺲ ﺧﺎﻟﻖ ﺃﻓﻜﺎﺭﻩ‪ ،‬ﻭﺗﺮﺟﻊ ﻋﺒﻘﺮﻳﺘﻪ ﻛﻠﹼﻬﺎ ﺇﱃ ﺍﻹﺑﺪﺍﻉ ﺍﻟﻠﻐﻮﻱ«‪،‬‬
‫ﻭﻟﻜﻦ ﻫﺬﺍ ﺍﳊﻜﻢ ﻻ ﻳﺆﺧﺬ ﻋﻠﻰ ﺣﺮﻓﻴﺘﻪ‪ ،‬ﻓﻴﻈﻦ ﻇﺎﻥ‪ ،‬ﺃﻥ ﻣﻦ ﻃﺒﻴﻌﺔ ﺍﻟﺸﻌﺮ ﺃﻥ ﳜﻠﻮ ﻣﻦ ﺍﻟﻔﻜﺮ‬
‫ﻭﺍﻟﺘﺄﺧﲑ ﻭﺍﳊﺬﻑ‪ ،‬ﻭﺍﻹﻟﺘﻔﺎﺕ‪ ،‬ﻭﺍﻟﺘﺤﻮﻝ ﺍﻷﺳﻠﻮﰊ‪.1‬‬
‫ﻭﰲ ﺍﻟﻨﻬﺎﻳﺔ ﳝﻜﻦ ﺍﻟﻘﻮﻝ ﺃﻥ ﻣﻔﻬﻮﻡ ﺍﻹﻧﺰﻳﺎﺡ ﺃﻛﺴﺐ ﺍﻷﺳﻠﻮﺑﻴﺔ ﺛﺮﺍﺀ ﰲ ﺍﻟﺘﺤﻠﻴﻞ‪ ،‬ﻷﻧﻪ ﰲ ﺣﻘﻴﻘﺘﻪ‬
‫ﻭﺳﻴﻠﺔ ﲨﺎﻟﻴﺔ ﺑﺎﻟﺪﺭﺟﺔ ﺍﻷﻭﱃ ﲤﻜﻦ ﺍﻟﺸﺎﻋﺮ ﻣﻦ ﺧﻠﻖ ﻟﻐﺔ ﺷﻌﺮﻳﺔ ﺩﺍﺧﻞ ﻟﻐﺔ ﺍﻟﻨﺜﺮ ﻭﻇﻴﻔﺘﻪ ﺧﻠﻖ ﺇﳛﺎﺋﻴﺔ‬
‫ﻫﻲ ﰲ ﺍﻟﻨﻬﺎﻳﺔ ﺃﺳﺎﺱ ﺍﻟﻌﻤﻠﻴﺔ ﺍﻹﺑﺪﺍﻋﻴﺔ‪.‬‬
‫ﺛﺎﻧﻴﺎ‪ :‬ﺍﻻﺧﺘﻴﺎﺭ‬

‫ﻓﻬﺬﺍ ﺍﻟﻨﻮﻉ ﻣﻦ ﺍﻹﺟﺮﺍﺀﺍﺕ ﺫﻫﺐ ﺑﻪ ﻋﻠﻤﺎﺀ ﺍﻷﺳﻠﻮﺏ ﺇﱃ ﺃﻥ ﻋﻤﻠﻴﺔ ﺍﳋﻠﻖ ﺍﻷﺳﻠﻮﰊ »ﺇﳕﺎ ﺗﺴﺘﻮﻱ‬
‫ﰲ ﺍﻻﺧﺘﻴﺎﺭ ﺃﻭﻻ ﻭﰲ ﺍﻟﺘﺮﻛﻴﺐ ﺛﺎﻧﻴﺎ‪ ،‬ﻓﺸﺄﻥ ﻣﺸﻲﺀ ﺍﻟﻜﻼﻡ ﺃﻥ ﳜﺘﺎﺭ ﻣﻦ ﺍﻟﺮﺻﻴﺪ ﺍﻟﻠﻐﻮﻱ ﺍﻟﻮﺍﺳﻊ‬
‫ﻣﻈﺎﻫﺮ ﻣﻦ ﺍﻟﻠﻐﺔ ﳏﺪﻭﺩﺓ ﰒ ﻫﻮ ﻳﻮﺯﻋﻬﺎ ﺑﺼﻮﺭﺓ ﳐﺼﻮﺻﺔ‪ ،‬ﻓﻴﻜﻮ‪‬ﻥ ‪‬ﺎ ﺧﻄﺎﺑﺎﹰ‪ ،‬ﻭﻳﻨﻄﺒﻖ ﻫﺬﺍ ﻋﻠﻰ ﲨﻴﻊ‬
‫ﺃﻧﻮﺍﻉ ﺍﳋﻄﺎﺑﺎﺕ ﺍﻷﺩﺑﻴﺔ ﻭﻏﲑﻫﺎ‪ ،‬ﻭﻣﻦ ﰒ ﻓﺈﻥ ﺍﻷﺳﻠﻮﺏ ﳝﻜﻦ ﺗﻌﺮﻳﻔﻪ ﺑﺄﻧﻪ ﺇﺧﺘﻴﺎﺭ ﻳﻘﻮﻡ ﺑﻪ ﺍﳌﺸﻲﺀ‬
‫ﻟﺴﻤﺎﺕ ﻣﻌﻴﻨﺔ ﺑﻐﺮﺽ ﺍﻟﺘﻌﺒﲑ ﻋﻦ ﻣﻮﻗﻒ ﻣﻌﲔ‪ ،‬ﻭﻳﺪﻝ ﻫﺬﺍ ﺍﻹﺧﺘﺒﺎﺭ ﺃﻭ ﺍﻹﻧﺘﻘﺎﺀ ﻋﻠﻰ ﺃﺛﺎﺭ ﺍﳌﻨﺸﺊ‬
‫ﻭﺗﻔﻀﻴﻠﻪ ﳍﺬﻩ ﺍﻟﺴﻤﺎﺕ ﻋﻠﻰ ﲰﺎﺕ ﺃﺧﺮﻯ ﺑﺪﻳﻠﺔ‪ ،‬ﻏﲑ ﺃﻧﻪ ﻻ ﳝﻜﻦ ﺇﻋﺘﺒﺎﺭ ﻛﻞ ﺇﺧﺘﺒﺎﺭ ﻳﻘﻮﻡ ﺑﻪ ﺍﳌﻨﺸﺊ‬
‫ﺇﺧﺘﻴﺎﺭﺍ ﺃﺳﻠﻮﺑﻴﺎ‪ ،‬ﻭﳝﻜﻦ ﲢﺪﻳﺪ ﻧﻮﻋﲔ ﳐﺘﻠﻔﲔ ﻣﻦ ﺍﻻﺧﺘﻴﺎﺭ‪:‬‬

‫‪‬ﺇﺧﺘﻴﺎﺭ ﳏﻜﻮﻡ ﺑﺎﳌﻮﻗﻒ ﻭﺍﳌﻘﺎﻡ‪.‬‬

‫‪‬ﺇﺧﺘﻴﺎﺭ ﺗﺘﺤﻜﻢ ﻓﻴﻪ ﻣﻘﺘﻀﻴﺎﺕ ﺍﻟﺘﻌﺒﲑ ﺍﳋﺎﻟﺼﺔ‪.«2‬‬

‫ﻭﻗﺪ ﺗﻌﺪﺩﺕ ﻣﺼﻄﻠﺤﺎﺕ ﺍﻹﺧﺘﻴﺎﺭ ﻣﻦ ﺣﻴﺚ ﺍﳌﻔﻬﻮﻡ‪) ،‬ﻓﻨﺠﺪ ﻧﻮﺭ ﺍﻟﺪﻳﻦ ﺍﻟﺴﺪ ﻳﺴﺘﻌﻤﻞ ﻣﺼﻄﻠﺢ‬
‫ﺍﻹﺧﺘﻴﺎﺭ ﻋﻠﻰ ﺃﻧﻪ ﻋﻤﻠﻴﺔ ﻭﺍﻋﻴﺔ ﺗﺴﻬﻢ ﰲ ﲢﺪﻳﺪ ﻣﺎﻫﻴﺔ ﺍﻷﺳﻠﻮﺏ‪ ،‬ﻭﲤﺘﺰﺝ ﰲ ﺑﻌﺾ ﺍﻷﺣﻴﺎﻥ ﺑﻜﻞ‬

‫‪ 1‬ﻳﻨﻈﺮ‪ :‬ﳏﻤﺪ ﺳﻠﻴﻤﺎﻥ‪ ،‬ﺍﳌﺮﺟﻊ ﺍﻟﺴﺎﺑﻖ‪ ،‬ﺹ ‪.62‬‬

‫‪ 2‬ﻳﻨﻈﺮ‪ :‬ﻧﻮﺭ ﺍﻟﺪﻳﻦ ﺍﻟﺴﺪ‪ ،‬ﺍﻷﺳﻠﻮﺑﻴﺔ ﻭ ﲢﻠﻴﻞ ﺍﳋﻄﺎﺏ‪ ،‬ﺩﺭﺍﺳﺔ ﰲ ﺍﻟﻨﻘﺪ ﺍﻟﻌﺮﰊ ﺍﳊﺪﻳﺚ ﺝ‪ ،1‬ﺩﺍﺭ ﻫﻮﻣﺔ ﻟﻠﻄﺒﺎﻋﺔ ﻭ ﺍﻟﻨﺸﺮ ﻭ ﺍﻟﺘﻮﺯﻳﻊ‪ ،‬ﺍﳉﺰﺍﺋﺮ‪ ،‬ﻁ‪/1‬‬
‫‪ ،1997‬ﺹ ‪.173‬‬

‫‪-12-‬‬
‫ﺍﻷﺳﻠﻮﺏ ﻭﺍﻷﺳﻠﻮﺑﻴﺔ‬ ‫ﺍﳌﺒﺤﺚ ﺍﻷﻭﻝ‪:‬‬

‫ﻣﻘﺘﻀﻴﺎﺕ ﻋﻤﻠﻴﺔ ﺍﻹﺑﻼﻉ ﺍﻟﻠﺴﺎﱐ‪ ،‬ﻓﻼ ﺗﺘﻤﻴﺰ ﺑﺎﻟﺴﻤﺔ ﺍﻹﺑﺪﺍﻋﻴﺔ ﻭﺗﻈﻞ ﺷﻌﺎﻋﺎ ﻟﺪﺍﺋﺮﺓ ﺍﳊﺪﺙ ﺍﳋﻄﺎﰊ‬
‫ﻋﺎﻣﺔ‪ ،‬ﻓﻴﻬﺪﻑ ﺍﻹﺧﺘﻴﺎﺭ ﰲ ﻣﻨﻄﻖ ﺍﻟﺒﺤﺚ ﺍﻟﻠﻐﻮﻱ ﺍﳊﺪﻳﺚ ﺇﱃ ﺍﻹﻧﺴﺠﺎﻡ ﰲ ﻋﻼﻗﺎﺕ ﺍﻟﺘﻮﺍﺻﻞ ﺑﲔ‬
‫ﺍﻟﺒﺎﺙ ﻭﺍﳌﺘﻠﻘﻲ‪ ،‬ﻭﺑﺎﻟﺘﺎﱄ ﻓﺈﻥ ﺍﻹﺧﺘﺒﺎﺭ ﻳﺘﻢ ﻋﻠﻰ ﻣﺴﺘﻮﻯ ﺍﻟﻠﻔﻆ ﺃﻭﻻ ﰒ ﻳﻨﺘﻘﻞ ﺇﱃ ﻧﻈﻢ ﺍﻟﻜﻼﻡ ﻭﺗﺄﻟﻴﻔﻪ‬
‫ﻷﺩﺍﺀ ﺍﻷﻓﻜﺎﺭ ﻭﻋﺮﺽ ﺍﳋﻴﺎﻝ( ‪.1‬‬

‫ﲝﻴﺚ ﺍﺭﺗﺒﻂ ﻣﻔﻬﻮﻡ ﺍﻹﺧﺘﻴﺎﺭ ﲟﻔﻬﻮﻡ ﺍﻷﺳﻠﻮﺏ ﻣﻨﺬ ﺍﻟﻘﺪﱘ ﻭﺍﳌﻘﺼﻮﺩ ﺑﻪ ﻣﻴﻞ ﺍﻟﻜﺎﺗﺐ ﺃﻭ ﺍﳌﺒﺪﻉ‬
‫ﺇﱃ ﺇﺳﺘﺨﺪﺍﻡ ﻟﻔﻆ ﺃﻭ ﺗﺮﻛﻴﺐ ﺩﻭﻥ ﺳﻮﺍﻩ ﺇﳝﺎﻧﺎ ﻣﻨﻪ ﺃﻧﻪ ﺍﻷﺻﺪﻕ ﻭﺍﻷﺻﻠﺢ ﰲ ﺇﺑﻼﻍ ﺭﺳﺎﻟﺘﻪ‪ ،‬ﻣﻊ‬
‫ﺍﻷﺧﺬ ﺑﻌﲔ ﺍﻹﻋﺘﺒﺎﺭ ﺣﺎﺟﺔ ﺍﻟﺒﺎﺙ ﺇﱃ ﺍﻟﺘﻌﺒﲑ ﻋﻦ ﻧﻔﺴﻪ ﻣﻦ ﺟﻬﺔ‪ ،‬ﻭﺍﻟﺘﺄﺛﲑ ﰲ ﺍﳌﺘﻠﻘﻲ ﻣﻦ ﺟﻬﺔ ﺃﺧﺮﻯ‪.‬‬

‫ﻓﺎﻟﻠﻐﺔ ﺗﺘﺸﻜﻞ ﻣﻦ ﻋﺪﺩ ﻫﺎﺋﻞ ﻣﻦ ﺍﳌﻔﺮﺩﺍﺕ ﻭ ﺍﻟﺘﻌﺎﺑﲑ ﻭﺍﻟﺼﻴﻎ‪ ،‬ﻷﻥ ﺍﳌﺒﺪﻉ ﻋﻨﺪ ﺗﻌﺒﲑﻩ ﻋﻦ ﺭﺃﻱ‬
‫ﺃﻭ ﻣﻮﻗﻒ ﺃﻭ ﺷﻌﻮﺭ‪ ،‬ﻓﺈﻧﻪ ﺳﻴﺨﺘﺎﺭ ﺃﻧﺴﺐ ﺍﳌﻔﺮﺩﺍﺕ ﻷﻧﺴﺐ ﺍﻟﺘﻌﺎﺑﲑ ﻟﻴﺘﺴﲎ ﻟﻪ ﺍﻟﺘﻌﺒﲑ ﻋﻤﺎ ﻳﺮﻳﺪ‪ ،‬ﻭﻫﺬﺍ‬
‫ﻻ ﻳﻌﲏ ﺃﻥ ﺇﺧﺘﺒﺎﺭ ﺍﻟﻌﺒﺎﺭﺍﺕ ﻧﻔﺴﻬﺎ ﻳﺮﺟﻊ ﻟﻠﻤﺸﺎﻋﺮ ﻋﻴﻨﻬﺎ‪ ،‬ﺑﻞ ﻫﻮ ﺭﺍﺟﻊ ﻹﺧﺘﻼﻑ ﺍﻟﻘﺪﺭﺍﺕ ﺍﻟﱵ‬
‫ﲣﺘﻠﻒ ﺑﺈﺧﺘﻼﻑ ﺍﳌﻠﻜﺎﺕ ﺍﻟﻠﻐﻮﻳﺔ ﻭﺍﻟﺮﺻﻴﺪ ﺍﻟﺜﻘﺎﰲ‪» 2‬ﺇﻥ ﺍﻻﺧﺘﻴﺎﺭ ﺇﺫﻥ ﻳﻌﲏ ﻭﺟﻮﺩ ﺗﻌﺒﲑﻳﻦ ﺃﻭ ﺃﻛﺜﺮ‬
‫ﳍﻤﺎ ﺍﳌﻌﲎ ﻧﻔﺴﻪ‪ ،‬ﺑﻴﺪ ﺃ‪‬ﻤﺎ ﳜﺘﻠﻔﺎﻥ ﰲ ﻃﺮﺍﺋﻖ ﺗﺄﺩﻳﺘﻪ«‪.‬‬

‫ﻭﺗﺘﺠﺴﺪ ﺟﻬﻮﺩ ﺍﻟﺒﺎﺣﺜﲔ ﺍﻟﻌﺮﺏ ﰲ ﺗﻌﺮﻳﻒ "ﻋﺒﺪ ﺍﻟﺴﻼﻡ ﺍﳌﺴﺪﻱ" ﺍﻟﺬﻱ ﻳﻌﱪ ﻋﻦ ﳏﻮﺭ‬
‫ﺍﻹﺧﺘﻴﺎﺭ ﲟﺼﻄﻠﺢ ﺍﻻﺳﺘﺒﺪﺍﻝ ﻗﺎﺋﻼ‪» :‬ﻳﻘﺼﺪ ﺑﻪ ﳎﻤﻮﻋﺔ ﺍﻷﻟﻔﺎﻅ ﺍﻟﱵ ﳝﻜﻦ ﻟﻠﻤﺘﻜﻠﻢ ﺃﻥ ﻳﺄﰐ ﺑﺄﺣﺪ‬
‫ﻣﻨﻬﺎ ﰲ ﻛﻞ ﻧﻘﻄﺔ ﻣﻦ ﻧﻘﺎﻁ ﺳﻠﺴﻠﺔ ﺍﻟﻜﻼﻡ ﻭﳎﻤﻮﻋﺔ ﺗﻠﻚ ﺍﻷﻟﻔﺎﻅ ﺍﻟﻘﺎﺋﻤﺔ ﰲ ﺍﻟﺮﺻﻴﺪ ﺍﳌﻌﺠﻤﻲ‬
‫ﻟﻠﻤﺘﻜﻠﻢ‪ ،‬ﻭﺍﻟﱵ ‪‬ﺎ ﻃﻮﺍﻋﻴﺔ ﺍﻹﺳﺘﺒﺪﺍﻝ ﻓﻴﻤﺎ ﺑﻴﻨﻬﺎ ﻋﻼﻗﺎﺕ ﻣﻦ ﻗﺎﺑﻠﻴﺔ ﺍﻹﺳﺘﻌﺎﺽ ﺗﺴﻤﻰ ﺍﻟﻌﻼﻗﺎﺕ‬

‫‪1‬ﻳﻨﻈﺮ‪ :‬ﻧﻮﺭ ﺍﻟﺪﻳﻦ ﺍﻟﺴﺪ‪ ،‬ﺍﳌﺮﺟﻊ ﺍﻟﺴﺎﺑﻖ‪ ،‬ﺹ ‪.176‬‬

‫‪ 2‬ﻳﻨﻈﺮ‪ :‬ﺑﻜﺎﻱ ﺃﺧﺬﺍﺭﻱ‪ ،‬ﲢﻠﻴﻞ ﺍﳋﻄﺎﺏ ﺍﻟﺸﻌﺮﻱ ﻗﺮﺍﺀﺓ ﺃﺳﻠﻮﺑﻴﺔ ﰲ ﻗﺼﻴﺪﺓ ﻗﺪﻱ ﺑﻌﻴﻨﻴﻚ ﻟﻠﺨﻨﺴﺎﺀ‪ ،‬ﻭﺯﺍﺭﺓ ﺍﻟﺜﻘﺎﻓﺔ‪ ،‬ﺍﳉﺰﺍﺋﺮ‪ ،‬ﺩ‪ .‬ﻁ‪ .‬ﺕ‪ ،2007 ،‬ﺹ‬
‫‪.19‬‬

‫‪-13-‬‬
‫ﺍﻷﺳﻠﻮﺏ ﻭﺍﻷﺳﻠﻮﺑﻴﺔ‬ ‫ﺍﳌﺒﺤﺚ ﺍﻷﻭﻝ‪:‬‬

‫ﺍﻹﺳﺘﺒﺪﺍﻟﻴﺔ ‪ poradigmatiques Rapports‬ﻭﺍﻟﺬﻱ ﺃﻃﻠﻖ ﻋﻠﻴﻬﺎ ﳏﻮﺭ ﺍﻹﺧﺘﻴﺎﺭ ‪l'axe de‬‬

‫‪.1«sélection‬‬

‫ﻭﺃﺛﻨﺎﺀ ﺷﺮﺣﻪ ﺃﻋﻄﻰ ﻣﺜﺎﻻ‪" :‬ﺗﻨﺎﻭﻟﺖ ﺃﻛﻠﺔ ﺷﻬﻴﺔ" ﻓﺈﻧﻪ ﺇﺧﺘﺎﺭ ﻓﻌﻞ ﺍﻟﺘﻨﺎﻭﻝ ﻣﻦ ﺑﲔ ﳎﻤﻮﻋﺔ ﻣﻦ‬
‫ﺃﻓﻌﺎﻝ ﻛﺎﻥ ﳝﻜﻨﻪ ﺃﻥ ﳜﺘﺎﺭ ﺃﺣﺪﻫﺎ ‪،‬ﻓﻴﻘﻮﻝ ﻣﺜﻼﹰ ‪:‬ﺃﻛﻠﺖ‪،‬ﻃﻌﻤﺖ‪،‬ﻭﰲ ﻣﺮﺣﻠﺔ ﺛﺎﻧﻴﺔ ﺑﻌﺪ ﺗﺎﺀ ﺍﳌﺘﻜﻠﻢ‬
‫ﺇﺧﺘﻴﺎﺭ ﻛﻠﻤﺔ "ﺃﻛﻠﺔ" ﻣﻦ ﺑﲔ ﳎﻤﻮﻋﺔ ﺃﻟﻔﺎﻅ ﺍﻟﱵ ﻫﻲ ﻋﻠﻰ ﺳﺒﻴﻞ ﺍﳌﺜﺎﻝ‪ :‬ﻃﻌﺎﻡ‪ ،‬ﻓﻄﻮﺭ‪ ،‬ﻏﺪﺍﺀ ﻭﰲ‬
‫ﻣﺮﺣﻠﺔ ﺛﺎﻟﺜﺔ ﻭﺭﺩﺕ ﻟﻔﻈﺔ "ﺷﻬﻴﺔ" ﻭﻛﺎﻥ ﳝﻜﻦ ﺃﻥ ﺗﺮﺩ‪ :‬ﻟﺬﻳﺬﺓ‪ ،‬ﺣﻠﻮﺓ ﻭﻏﲑﻫﺎ ﻣﻦ ﻋﺒﺎﺭﺍﺕ ﺩﺍﻟﺔ‬
‫ﻋﻠﻴﻬﺎ‪.2‬‬

‫ﻭﻣﻦ ﺟﻬﺘﻪ ﻳﺮﻯ "ﺻﻼﺡ ﻓﻀﻞ" ﺃﻥ ﺍﻷﺳﻠﻮﺏ ﻫﻮ ﻧﺘﻴﺠﺔ ﻹﺧﺘﻴﺎﺭ ﺍﳌﺆﻟﻒ ﻣﻦ ﺑﲔ ﳎﻤﻮﻋﺔ‬
‫ﺇﻣﻜﺎﻧﻴﺎﺕ ﺍﻟﻨﻈﺎﻡ ﺍﻟﻠﻐﻮﻱ‪ ،‬ﻭﳛﻈﻰ ﺍﳌﺘﻠﻘﻲ ﻋﻨﺪﻩ ﺇﻫﺘﻤﺎﻣﺎ ﺧﺎﺻﺎ ﻓﻤﻦ ﻭﺟﻬﺔ ﻧﻈﺮﻩ ﻓﺈﻥ ﺍﻷﺳﻠﻮﺏ‬
‫ﻳﺘﺠﻠﻰ ﰲ ﺍﻟﻨﺼﻮﺹ ﺧﻼﻝ ﻋﻤﻠﻴﺔ ﺍﻟﺘﻮﺻﻴﻞ ﺍﻷﺩﰊ ﻭﻳﺮﻯ ﺃﻥ ﺍﻻﺧﺘﻴﺎﺭ ﻇﺎﻫﺮﺓ ﺗﻌﺘﺮﻳﻬﺎ ﺍﻟﻜﺜﲑ ﻣﻦ‬
‫ﺍﻟﻘﻴﻮﺩ‪ ،‬ﻓﺎﳌﺆﻟﻒ ﻻ ﻳﺘﻤﺘﻊ ﺑﺎﳊﺮﻳﺔ ﺍﳌﻄﻠﻘﺔ ﺃﺛﻨﺎﺀ ﺇﻧﺸﺎﺋﻪ ﻟﻠﺨﻄﺎﺏ )ﻭﺇﻣﻜﺎﻧﻴﺔ ﺇﺧﺘﻴﺎﺭ ﺍﳌﺆﻟﻒ ﻟﻴﺴﺖ‬
‫ﻣﻄﻠﻘﺔ ﺑﻞ ﻫﻲ ﻣﻘﻴ‪‬ﺪﺓ ﺑﻘﺼﺪﻩ ﻭﺑﻌﻮﺍﻣﻞ ﺍﳌﻮﻗﻒ ﺍﻟﺬﻱ ﻳﻨﺘﺞ ﻓﻴﻪ‪ ،‬ﻭﻣﻨﻬﺎ ﺳﲑﺗﻪ ﻭﻣﻌﺎﺭﻓﻪ ﻭﲡﺎﺭﺑﻪ ﻭﻋﻼﻗﺘﻪ‬
‫ﺍﻹﺟﺘﻤﺎﻋﻴﺔ ﻭﺍﻹﻗﺘﺼﺎﺩﻳﺔ ﻭﺍﻹﻧﺴﺎﻧﻴﺔ‪. (3‬‬

‫ﺃﻣﺎ ﺍﳌﺼﻄﻠﺢ ﺍﻟﺬﻱ ﺃﺗﻰ ﺑﻪ "ﺭﻭﻣﺎﻥ ﺟﺎﻛﺴﺒﻮﻥ ﻟﺘﺤﺪﻳﺪ ﺍﻹﺧﺘﻴﺎﺭ ﻓﻘﺪ ﺣﺎﻭﻝ ﲢﺪﻳﺪ ﻇﺎﻫﺮﺓ"‬
‫ﺍﻹﺧﺘﻴﺎﺭ ﺑﺼﻮﺭﺓ ﺟﻠﻴﺔ ﰲ ﻛﺘﺎﺑﻪ "ﳏﺎﻭﻻﺕ ﰲ ﺍﻟﻠﺴﺎﻧﻴﺎﺕ ﺍﻟﻌﺎﻣﺔ" ﻓﻬﻮ ﻳﺮﻯ »ﺃﻥ ﻛﻞ ﺗﻌﺒﲑ ﻟﻐﻮﻱ ﻻﺑﺪ‬
‫ﺃﻥ ﻳﺘﻢ ﻭﻓﻖ ﺇﺳﻘﺎﻁ ﳏﻮﺭ ﺍﻹﺧﺘﻴﺎﺭ ﻋﻠﻰ ﳏﻮﺭ ﺍﻟﺘﺮﻛﻴﺐ‪ ،‬ﻭﻳﻨﺴﺤﺐ ﻫﺬﺍ ﻋﻠﻰ ﲨﻴﻊ ﺃﺷﻜﺎﻝ‬

‫‪ 1‬ﻋﺒﺪ ﺍﻟﺴﻼﻡ ﺍﻟﺴﺪﻱ‪ ،‬ﺍﳌﺮﺟﻊ ﺍﻟﺴﺎﺑﻖ‪ ،‬ﺹ ‪.135‬‬

‫‪ 2‬ﻳﻨﻈﺮ‪ :‬ﻋﺒﺪ ﺍﻟﺴﻼﻡ ﺍﻟﺴﺪﻱ‪ ،‬ﺍﳌﺮﺟﻊ ﺍﻟﺴﺎﺑﻖ‪ ،‬ﺹ ‪.136‬‬
‫‪ 3‬ﺻﻼﺡ ﻓﻀﻞ‪ ،‬ﻋﻠﻢ ﺍﻷﺳﻠﻮﺏ ﻣﺒﺎﺩﺋﻪ ﻭ ﺇﺟﺮﺍﺀﺍﺗﻪ‪ ،‬ﺩﺍﺭ ﺍﻵﻓﺎﻕ‪ ،‬ﻟﺒﻨﺎﻥ‪ ،‬ﻁ‪ ،1‬ﺕ ‪ ،1985‬ﺹ ‪.204‬‬

‫‪-14-‬‬
‫ﺩﺭﺍﺳﺔ ﺗﻄﺒﻴﻘﻴﺔ ﻟﻠﻤﺴﺘﻮﻳﺎﺕ ﺍﻟﻠﻐﻮﻳﺔ ﰲ ﺍﻟﻘﺼﻴﺪﺓ‬ ‫ﺍﳌﺒﺤﺚ ﺍﻟﺜﺎﱐ‪:‬‬

‫ﺗﻮﻃﺌﺔ‪:‬‬

‫ﺍﺭﺗﺄﻳﻨﺎ ﰲ ﻫﺬﺍ ﺍﻟﻔﺼﻞ ﺃﻥ ﳒﻤﻊ ﺑﲔ ﺍﳌﺴﺘﻮﻯ ﺍﻟﺼﻮﰐ ﻭﺍﳌﺴﺘﻮﻯ ﺍﻟﺘﺮﻛﻴﱯ ﻭﺍﳌﺴﺘﻮﻯ ﺍﻟﺪﻻﱄ‬
‫ﻷﻣﻮﺭ ﺃﳘﻬﺎ‪ :‬ﺃﻥ ﺍﲣﺎﺫ ﺍﳌﻄﺎﻟﺐ ﻭﺍﳌﺒﺎﺣﺚ ﻻ ﻳﻌﺪﻭ ﺃﻥ ﻳﻜﻮﻥ ﺇﻻ ﻏﺎﻳﺔ ﻣﻨﻬﺠﻴﺔ ﻓﺤﺴﺐ ﻓﺎﻟﺒﺤﺚ ﻫﻮ‬
‫ﺍﻟﻌﻤﻞ ﺍﻟﻮﺍﺣﺪ ﺍﳌﺘﻜﺎﻣﻞ ﻭﺍﳌﺘﻨﺎﺳﻖ‪ ،‬ﻭﻫﻮ ﺍﻷﻣﺮ ﺍﻟﺬﻱ ﺗﻘﻒ ﺍﳌﺒﺎﺣﺚ ﻋﻘﺒﺔ ﻓﻴﻪ ﺃﺣﻴﺎﻧﺎ‪ ،‬ﰒ ﺃﻧﻨﺎ ﺭﺃﻳﻨﺎ ﺃﻥ‬
‫ﺍﻟﺘﺮﻛﻴﺐ ﲡﺴﻴﺪ ﻟﻠﺪﻻﻟﺔ‪ ،‬ﻭﺃﻥ ﺍﻟﺪﻻﻟﺔ ﺃﻓﻖ ﻟﻠﺘﺮﻛﻴﺐ‪ ،‬ﻓﻼ ﺣﺮﺝ‪ ،‬ﺇﺫﻥ ﺃﻥ ﳚﻤﻊ ﺑﻴﻨﻬﻤﺎ ﰲ ﻣﺒﺤﺚ‬
‫ﻭﺍﺣﺪ‪ ،‬ﻓﻬﻮ ﺧﻄﻮﺓ ﻣﺘﻤﻤ‪‬ﺔ ﺃﻻ ﻭ ﻫﻲ ﺩﺭﺍﺳﺔ ﺍﳉﺎﻧﺐ ﺍﻻﻳﻘﺎﻋﻲ ﻟﻠﻘﺼﻴﺪﺓ‪.‬‬

‫ﻭﺇﺫﺍ ﻛﺎﻥ ﺍﳌﺴﺘﻮﻯ ﺍﻟﺘﺮﻛﻴﱯ ﻳﻌﲎ ﺑﻘﻀﺎﻳﺎ ﺍﳉﻤﻠﺔ ﻭﻛﺬﻟﻚ ﻣﺴﺘﻮﻯ ﺍﻟﺒﻼﻏﺔ ﻭﺩﺭﺍﺳﺘﻬﺎ‬
‫ﻟﻠﺘﺮﺍﻛﻴﺐ ﻭﻣﺎ ﻳﻄﺮﺃ ﻋﻠﻴﻬﺎ ﻣﻦ ﺍﻧﺰﻳﺎﺡ ﻓﺈﻥ ﺍﳌﺴﺘﻮﻯ ﺍﻟﺪﻻﱄ ﻳﺪﺭﺱ ﺍﳌﻌﺠﻢ ﺍﻟﺬﻱ ﺍﺳﺘﺨﺪﻣﻪ ﺫﺍﻙ‬
‫ﺍﻟﺘﺮﻛﻴﺐ ﻣﻦ ﺃﺟﻞ ﺍﻟﻜﺸﻒ ﻋﻦ ﺃﺑﻌﺎﺩﻩ ﺍﻟﺪﻻﻟﻴﺔ ﺍﳌﻘﺼﻮﺩﺓ ﻭﺍﶈﺘﻤﻠﺔ ﻓﺎﻷﻭﻝ ﻛﺎﳌﺼﺒﺎﺡ‪ ،‬ﻭﺍﻟﺜﺎﱐ ﻫﻮ‬
‫ﺍﻷﺷﻴﺎﺀ ﺍﻟﱵ ﻗﺪ ﻳﻘﻊ ﻋﻠﻴﻬﺎ ﺷﻌﺎﻋﻪ‪.‬‬

‫ﻣﻦ ﻫﻨﺎ ﻋﻨﻮﺍﻧﺎ ﻫﺬﺍ ﺍﳌﺒﺤﺚ "ﺑﺪﺭﺍﺳﺔ ﺍﳌﺴﺘﻮﻳﺎﺕ ﺍﻟﻠﻐﻮﻳﺔ ﺍﻟﺼﻮﺗﻴﺔ ﻟﻘﺼﻴﺪﺓ ﺣﺴﺎﻥ ﺑﻦ ﺛﺎﺑﺖ‬
‫ﺑﻄﻴﺒﺔ ﺭﺳﻢ ﻟﻠﺮﺳﻮﻝ ﺻﻠﻰ ﺍﷲ ﻋﻠﻴﻪ ﻭﺳﻠﻢ"‪ ،‬ﻭﻗﺪ ﺗﻄﺮﻗﻨﺎ ﻓﻴﻬﺎ ﺇﱃ ﺍﻻﻧﺰﻳﺎﺡ ﺍﻟﺬﻱ ﻳﻠﺤﻖ ‪‬ﺎ ﻣﻦ ﺗﻘﺪﱘ‬
‫ﻭﺗﺄﺧﲑ ﻭﺣﺬﻑ‪ ،‬ﰒ ﺇﱃ ﺍﻻﻧﺰﻳﺎﺡ ﻋﻠﻰ ﻣﺴﺘﻮﻯ ﺍﻟﺼﻮﺭﺓ ﺍﻟﱵ ﺗﺮﲰﻬﺎ ﺍﳉﻤﻠﺔ‪ ،‬ﻭﺫﻟﻚ ﻋﻦ ﻃﺮﻳﻖ‬
‫ﺍﻻﺳﺘﻌﺎﺭﺓ ﻭﺍﻟﻜﻨﺎﻳﺔ ﻭﻣﺎ ﺇﱃ ﺫﻟﻚ ﳑﺎ ﻳﺘﻄﻠﺒﻪ ﺍﻟﺒﺤﺚ‪ ،‬ﻓﺤﻠﻠﻨﺎ ﺍﻧﺴﺠﺎﻣﻬﺎ ﻭﺗﻨﺎﺳﻘﻬﺎ ﻭﺃﺑﻌﺎﺩﻫﺎ ﺍﻟﺪﻻﻟﻴﺔ‬
‫ﻭﺍﻟﺮﻣﺰﻳﺔ ﺍﻟﱵ ﻗﺪ ﺗﺆﻭﻝ ﺇﻟﻴﻬﺎ‪.‬‬

‫ﻋﻠﻰ ﺃﻥ ﻫﺬﺍ ﺍﳌﻴﺜﺎﻕ ﺍﻟﺬﻱ ﺭﲰﻨﺎﻩ ﰲ ﻫﺬﻩ ﺍﻟﺘﻮﻃﺌﺔ ﺍﳌﻮﺟﺰﺓ‪ ،‬ﻗﺎﺑﻞ ﻟﻠﺘﻌﺪﻳﻞ ﻣﱴ ﻟﺰﻡ ﺫﻟﻚ‪،‬‬
‫ﻓﺎﳊﻮﺍﺭ ﻣﻊ ﺍﻟﻘﺼﻴﺪﺓ ﻣﻔﺘﻮﺡ‪ ،‬ﻻ ﻳﻀﺒﻄﻪ ﺇﻻ ﺍﳌﻨﻬﺞ ﺍﻷﺳﻠﻮﰊ ﺍﻟﺬﻱ ﻳﺼﻒ ﺍﻟﻈﻮﺍﻫﺮ ﺍﻟﺘﺮﻛﻴﺒﻴﺔ ﻭﺍﻟﻠﻐﻮﻳﺔ‬
‫ﻟﻠﻨﺼﻮﺹ ﺍﻷﺩﺑﻴﺔ ﺑﺸﻜﻞ ﻋﺎﻡ ﻭﲢﺪﻳﺪ ﻋﻼﻗﺘﻬﺎ ﻣﻊ ﺍﻟﺒﻨﻴﺔ ﺍﻟﻜﱪﻯ ﺍﻟﱵ ﻫﻲ ﻣﻮﺿﻮﻉ ﺍﻟﻘﺼﻴﺪﺓ ﻭﻫﻲ ﰲ‬
‫ﻣﻘﺎﻣﻨﺎ ﻫﺬﺍ ﻣﻘﺎﻡ ﺍﻟﺮﺛﺎﺀ‪.‬‬

‫‪-20-‬‬
‫ﺩﺭﺍﺳﺔ ﺗﻄﺒﻴﻘﻴﺔ ﻟﻠﻤﺴﺘﻮﻳﺎﺕ ﺍﻟﻠﻐﻮﻳﺔ ﰲ ﺍﻟﻘﺼﻴﺪﺓ‬ ‫ﺍﳌﺒﺤﺚ ﺍﻟﺜﺎﱐ‪:‬‬

‫ﺑﻄﻴﺒﺔ ﺭﺳﻢ ﻟﻠﺮﺳﻮﻝ‬

‫ﻣﻨﲑ‪،‬ﻭ‪‬ﻗﹶﺪ‪ ‬ﺗ‪‬ﻌ‪‬ﻔﹸﻮ ﺍﻟﺮ‪‬ﺳ‪‬ﻮﻡ‪ ‬ﻭﺗ‪‬ﻬ‪‬ﻤ‪‬ـﺪ‪‬‬ ‫ﺑﹺـﻄﹶـﻴﺒ‪‬ﺔ َ ﺭﺳﻢ‪ ‬ﻟﻠﺮﺳﻮﻝﹺ ﻭﻣ‪‬ﻌ‪‬ﻬ‪‬ﺪ‪‬‬

‫‪‬ﺎ ﻣ‪‬ﻨ‪‬ﺒ‪‬ﺮ‪ ‬ﺍﳍﹶﺎﺩ‪‬ﻱ ﺍﻟﺬﱢﻱ ﻛﹶﺎﻥﹶ ﻳ‪‬ﺼ‪‬ﻌ‪‬ﺪ‪‬‬ ‫ﻭ‪‬ﻻﹶ ﺗ‪‬ﻨ‪‬ﻤ‪‬ﺤ‪‬ﻲ ﺍﻵﻳ‪‬ﺎﺕ‪ ‬ﻣ‪‬ﻦ‪ ‬ﺩ‪‬ﺍﺭﹺ ﺣ‪‬ﺮ‪‬ﻣ‪‬ﺔ ٍ‬

‫ﻭﺭﺑـﻊ‪ ‬ﻟﹶﻪ‪ ‬ﻓﻴﻪ‪ ‬ﻣﺼﻠﻰ ً ﻭﻣ‪‬ﺴ‪‬ـﺠﹺﺪ‪‬‬ ‫ﻭﹺﻭ‪‬ﺍﺿ‪‬ـﺢ‪ ‬ﺁﻳـﺎﺕ‪ ،‬ﻭ‪‬ﺑ‪‬ﺎﻗﻲ ﻣ‪‬ﻌ‪‬ﺎﻟ‪‬ﻢ‪،‬‬

‫ﻣ‪‬ﻦ‪ ‬ﺍﷲ ﻧـﻮﺭ‪ ‬ﻳ‪‬ﺴ‪‬ﺘ‪‬ﻀ‪‬ـﺎﺀُ‪ ،‬ﻭ‪‬ﻳ‪‬ﻮﹶﻗـﺪ‪‬‬ ‫‪‬ـﺎ ﺣ‪‬ﺠ‪‬ﺮﺍﹶﺕ‪ ‬ﻛﺎﻥﹶ ﻳﱰﻝﹸ ﻭ‪‬ﺳ‪‬ﻄﹶﻬﺎ‬

‫ﺃﺗ‪‬ﺎﻫ‪‬ﺎ ﺍﻟﺒﹺﻠـَﻰ‪ ،‬ﻓـﺎﻵﻱ‪ ‬ﻣﻨﻬﺎ ﺗ‪‬ﺠ‪‬ﺪ‪‬ﺩ‪‬‬ ‫ﻣﻌﺎﱂﹸ ﱂ ﺗ‪‬ﻄﹾﻤ‪‬ﺲ‪ ‬ﻋﻠﻰ ﺍﻟﻌ‪‬ﻬ‪‬ﺪ‪ ‬ﺁﻳ‪‬ﻬـﺎ‬

‫ﻭ‪‬ﻗﹶﺒ‪‬ـﺮ‪‬ﺍﹰ ﺑـِﻪ‪ ‬ﻭ‪‬ﺍﺭ‪‬ﺍﻩ‪ ‬ﰲ ﺍﻟﺘ‪‬ﺮ‪‬ﺏﹺ ﻣ‪‬ﻠﹾﺤ‪‬ﺪ‪‬‬ ‫ﻋ‪‬ﺮ‪‬ﻓﹾﺖ‪ ‬ﺎ ﺭﺳ‪‬ﻢ ﺍﻟﺮ‪‬ﺳﻮﻝﹺ ﻭ‪‬ﻋ‪‬ﻬ‪‬ﺪ‪‬ﻩ‪،‬‬

‫ﻋ‪‬ﻴـﻮﻥﹸ‪ ،‬ﻭ‪‬ﻣ‪‬ـﺜﹾﻼﻫ‪‬ﺎ ﻣ‪‬ﻦ‪ ‬ﺍﳉﹶﻔﹾﻦﹺ ﺗ‪‬ﺴ‪‬ﻌ‪‬ﺪ‪‬‬ ‫ﻇﹶﻠﹶﻠﹾﺖ‪ِ ‬ﺎ ﺃﹶﺑ‪‬ﻜ‪‬ﻲ ﺍﻟﺮ‪‬ﺳ‪‬ﻮﻝﹶ‪ ،‬ﻓﺄﺳ‪‬ﻌ‪‬ﺪ‪‬ﺕ‪‬‬

‫ﳍﹶﺎ ﻣ‪‬ﺤـﺼ‪‬ﻴـﺎﹰ ﻧ‪‬ﻔﹾﺴِﻲ‪ ،‬ﻓﻨ‪‬ﻔﹾﺴِﻲ ﺗﺒﻠﱠﺪ‪‬‬ ‫ﺗ‪‬ﺬﱠﻛـﺮ‪ ‬ﺁﻻﺀَ ﺍﻟﺮ‪‬ﺳـﻮﻝﹺ‪ ،‬ﻭﻣ‪‬ـﺎ ﺃﺭ‪‬ﻯ‬

‫ﻓﹶﻈﻠﱠﺖ‪ ‬ﻵﻻﺀ ﺍﻟـﺮﺳﻮﻝﹺ ﺗﻌــﺪ‪‬ﺩ‪‬‬ ‫ﻣ‪‬ﻔﹾﺠ‪‬ﻌـﺔٌ ﻗﺪ‪ ‬ﺷ‪‬ﻔﱠﻬـﺎ ﻓﹶﻘﹾﺪ‪ ‬ﺃﹶﲪ‪‬ـﺪ‪،‬‬

‫ﻭ‪‬ﻟـﻜ‪‬ﻦ‪ ‬ﻧ‪‬ﻔﺴﻲ ﺑ‪‬ﻌ‪‬ﺾ‪ ‬ﻣﺎ ﻓﻴﻪ‪ ‬ﲢﻤ‪‬ﺪ‪‬‬ ‫ﻭ‪‬ﻣ‪‬ﺎ ﺑ‪‬ﻠﹶﻐ‪‬ﺖ‪ ‬ﻣﻦ‪ ‬ﻛـﻞﹼ ﺃﻣـْﺮﹴ ﻋ‪‬ﺸ‪‬ﲑ‪‬ﻩ‪،‬‬

‫ﻋـﻠﻰ ﻃﹶﻠﹶﻞﹺ ﺍﻟﻘﱪﹺ ﺍﻟﺬﱢﻱ ﻓﻴﻪ‪ ‬ﺃﲪ‪‬ـﺪ‪‬‬ ‫ﺃﻃﹶﺎﻟﹶﺖ‪ ‬ﻭﻗﻮﻓﺎﹰ ﺗﺬﺭﻑ‪ ‬ﺍﻟﻌﲔ‪ ‬ﺟ‪‬ﻬ‪‬ـﺪ‪‬ﻫ‪‬ﺎ‬

‫ﺑﹺـﻼﹶﺩ‪ ‬ﺛﹶﻮ‪‬ﻯ ﻓﻴﻬ‪‬ﺎ ﺍﻟﺮ‪‬ﺷ‪‬ﻴـﺪ‪ ‬ﺍﳌﹸﺴ‪‬ﺪ‪‬ﺩ‪‬‬ ‫ﻓﹶﺒ‪‬ﻮﺭﹺﻛﺖ‪ ،‬ﻳﺎ ﻗﱪ‪ ‬ﺍﻟﺮ‪‬ﺳﻮﻝﹺ‪ ،‬ﻭﺑﻮﺭﹺﻛﺖ‪‬‬

‫ﻋﻠﻴـﻪ‪ ‬ﺑﻨﺎﺀٌ ﻣﻦ ﺻﻔﻴـﺢﹴ‪ ،‬ﻣﻨﻀ‪‬ـﺪ‪‬‬ ‫ﻭﺑـﻮﺭﻙ‪ ‬ﳊـﺪ‪ ‬ﻣﻨﻚ‪ ‬ﺿ‪‬ﻤ‪‬ﻦ‪ ‬ﻃﻴ‪‬ﺒـﺎﹰ‪،‬‬

‫ﻋﻠﻴـﻪ‪ ،‬ﻭﻗﺪ‪ ‬ﻏﹶﺎﺭﺕ‪ ‬ﺑﺬﻟﻚ‪ ‬ﺃﺳﻌـﺪ‪‬‬ ‫‪‬ﻴﻞﹸ ﻋﻠﻴـﻪ‪ ‬ﺍﻟﺘ‪‬ـﺮ‪‬ﺏ‪ ‬ﺃﻳـﺪ‪ ‬ﻭﺃﻋـﲔ‪‬‬

‫ﻋ‪‬ﺸ‪‬ﻴـﺔَ ﻋﻠﹼﻮﻩ‪ ‬ﺍﻟﺜﱠﺮﻯ‪ ،‬ﻻ ﻳـﻮﺳ‪‬ـﺪ‪‬‬ ‫ﻟﻘـﺪ ﻏﹶﻴ‪‬ﺒـﻮﺍ ﺣ‪‬ﻠﹾﻤـﺎﹰ ﻭﻋ‪‬ﻠﹾﻤﺎﹰ ﻭ‪‬ﺭ‪‬ﲪﺔ ً‬

‫ﻭ‪‬ﻗﹶـﺪ‪ ‬ﻭ‪‬ﻫ‪‬ﻨ‪‬ﺖ‪ ‬ﻣﻨﻬ‪‬ﻢ‪ ‬ﻇﻬﻮﺭ‪ ،‬ﻭﺃﻋﻀ‪‬ﺪ‪‬‬ ‫ﻭ‪‬ﺭ‪‬ﺍﺣ‪‬ـﻮﺍ ﲝ‪‬ـﺰ‪‬ﻥ‪ ‬ﻟﻴـﺲ ﻓﻴﻬﹺﻢ‪ ‬ﻧ‪‬ﺒﻴ‪‬ﻬ‪‬ﻢ‪،‬‬

‫ﻭﻣﻦ ﻗﺪ‪ ‬ﺑﻜﺘﻪ‪ ‬ﺍﻷﺭﺽ‪ ‬ﻓﺎﻟﻨﺎﺱ‪ ‬ﺃﻛﻤ‪‬ﺪ‪‬‬ ‫ﻳ‪‬ﺒﻜﻮﻥﹶ ﻣﻦ ﺗﺒﻜﻲ ﺍﻟﺴ‪‬ﻤﻮﺍﺕ‪ ‬ﻳﻮﻣﻪ‪،‬‬

‫‪-21-‬‬
‫ﺩﺭﺍﺳﺔ ﺗﻄﺒﻴﻘﻴﺔ ﻟﻠﻤﺴﺘﻮﻳﺎﺕ ﺍﻟﻠﻐﻮﻳﺔ ﰲ ﺍﻟﻘﺼﻴﺪﺓ‬ ‫ﺍﳌﺒﺤﺚ ﺍﻟﺜﺎﱐ‪:‬‬

‫ﺭﺯﻳ‪‬ــَﺔ َ ﻳـﻮﻡﹴ ﻣـﺎﺕ‪ ‬ﻓﻴﻪ‪ ‬ﳏ‪‬ﻤ‪‬ﺪ‪‬‬ ‫ﻭﻫـﻞﹾ ﻋﺪ‪‬ﻟـﺖ‪ ‬ﻳﻮﻣﺎﹰ ﺭﺯﻳ‪‬ﺔ ُ ﻫﺎﻟﻚ‪‬‬

‫ﻭ‪‬ﻗﹶـﺪ ﻛـﺎﻥ ﺫﺍ ﻧﻮﺭﹴ‪ ،‬ﻳ‪‬ﻐﻮﺭ‪ ‬ﻭﻳ‪‬ﻨ‪‬ﺠﹺﺪ‪‬‬ ‫ﺗ‪‬ﻘﹶﻄﱠﻊ‪ ‬ﻓﻴﻪ‪ ‬ﻣﱰﹺﻝﹸ ﺍﻟـﻮ‪‬ﺣ‪‬ﻲﹺ ﻋ‪‬ﻨﻬ‪‬ـﻢ‪،‬‬

‫ﻭ‪‬ﻳ‪‬ﻨﻘ‪‬ـﺬﹸ ﻣ‪‬ـﻦ‪ ‬ﻫ‪‬ﻮ‪‬ﻝﹺ ﺍﳊﺬﹶﺍﻳ‪‬ﺎ ﻭﻳ‪‬ﺮ‪‬ﺷ‪‬ﺪ‪‬‬ ‫ﻳ‪‬ـﺪ‪‬ﻝﱡ ﻋﻠﻰ ﺍﻟﺮ‪‬ﲪﻦﹺ ﻣ‪‬ﻦ‪ ‬ﻳﻘﺘ‪‬ﺪﻱ ﺑﹺﻪ‪،‬‬

‫ﻣ‪‬ﻌ‪‬ﻠﻢ‪ ‬ﺻـﺪﻕﹴ‪ ،‬ﺇﻥﹾ ﻳ‪‬ﻄﹶـﻮﻩ‪ ‬ﻳ‪‬ﺴ‪‬ﻌﺪ‪‬ﻭﺍ‬ ‫ﺇﻣـﺎﻡ‪ ‬ﳍﻢ‪ ‬ﻳ‪‬ﻬ‪‬ﺪﻳﻬﹺﻢ‪ ‬ﺍﳊـﻖ‪ ‬ﺟﺎﻫﺪﺍﹰ‪،‬‬

‫ﻭﺇﻥﹾ ﳛﺴﻨـﻮﺍ‪ ،‬ﻓـﺎﷲُ ﺑﺎﳋﲑﹺ ﺃﺟﻮﺩ‪‬‬ ‫ﻋ‪‬ﻔﹸﻮ‪ ‬ﻋﻦ ﺍﻟﺰ‪‬ﻻﹼﺕ‪ ،‬ﻳ‪‬ﻘﺒﻞﹸ ﻋ‪‬ـﺬﹾﺭ‪‬ﻫﻢ‪،‬‬

‫ﻓﹶﻤ‪‬ـﻦ‪ ‬ﻋ‪‬ﻨ‪‬ﺪ‪‬ﻩ‪ ‬ﺗ‪‬ﻴ‪‬ﺴِـﲑ‪ ‬ﻣ‪‬ـﺎ ﻳ‪‬ﺘ‪‬ﺸ‪‬ﺪ‪‬ﺩ‪‬‬ ‫ﻭﺇﻥﹾ ﻧﺎﺏ‪ ‬ﺃﻣﺮ‪ ‬ﱂ ﻳﻘﻮﻣـﻮﺍ ﲝـﻤﺪﻩ‪،‬‬

‫ﺩﻟﻴـﻞﹲ ﺑـﻪ ﻧ‪‬ﻬ‪‬ﺞ‪ ‬ﺍﻟﻄﹼﺮﻳﻘﹶﺔ ِ ﻳ‪‬ﻘﹾﺼ‪‬ـﺪ‪‬‬ ‫ﻓﹶﺒ‪‬ﻴ‪‬ﻨ‪‬ـﺎ ﻫ‪‬ـﻢ‪ ‬ﰲ ﻧﹺﻌ‪‬ﻤ‪‬ـﺔ ِ ﺍﷲ ﺑﻴ‪‬ﻨ‪‬ﻬ‪‬ـﻢ‪‬‬

‫ﺣ‪‬ﺮﻳﺺ‪ ‬ﻋﻠﻰ ﺃﻥ ﻳ‪‬ﺴﺘﻘ‪‬ﻴﻤﻮﺍ ﻭﻳ‪‬ﻬ‪‬ﺘـَﺪﻭﺍ‬ ‫ﻋﺰﻳـﺰ‪ ‬ﻋﻠﻴـْﻪ‪ ‬ﺃﻥﹾ ﻳ‪‬ﺤ‪‬ﻴﺪ‪‬ﻭﺍ ﻋﻦ ﺍﳍﹸﺪ‪‬ﻯ‪،‬‬

‫ﺇﱃ ﻛﱠﻨ‪‬ﻒ‪ ‬ﻳ‪‬ﺤ‪‬ﻨﻮ ﻋﻠﻴﻬﻢ ﻭ‪‬ﻳ‪‬ﻤ‪‬ﻬﹺــﺪ‪‬‬ ‫ﻋﻄـﻮﻑ‪ ‬ﻋﻠﻴﻬـﻢ‪ ،‬ﻻ ﻳﺜﻨ‪‬ـﻰ‪ ‬ﺟ‪‬ﻨﺎﹶﺣﻪ‪‬‬

‫ﺇﱃ ﻧ‪‬ﻮﺭﹺﻫ‪‬ﻢ‪ ‬ﺳ‪‬ﻬ‪‬ﻢ‪ ‬ﻣﻦ ﺍﳌﹶﻮ‪‬ﺕ‪ ‬ﻣ‪‬ﻘﺼ‪‬ـﺪ‪‬‬ ‫ﻓﹶﺒ‪‬ﻴ‪‬ﻨ‪‬ﺎ ﻫ‪‬ﻢ‪ ‬ﰲ ﺫﻟﻚ‪ ‬ﺍﻟﻨ‪‬ــﻮﺭﹺ‪ ،‬ﺇﺫﹾ ﻏﹶـﺪ‪‬ﺍ‬

‫ﻳﺒﻜﹼﻴﻪ‪ ‬ﺟﻔـﻦ‪ ‬ﺍﳌﺮﺳـَﻼﺕ‪ ‬ﻭﳛﻤـﺪ‪‬‬ ‫ﻓﺄﺻﺒﺢ‪ ‬ﳏﻤـﻮﺩﺍﹰ ﺇﱃ ﺍﷲِ ﺭﺍﺟـﻌـﺎﹰ‪،‬‬

‫ﻟ‪‬ﻐ‪‬ﻴﺒ‪‬ﺔ ِ ﻣﺎ ﻛـﺎﻧ‪‬ﺖ‪ ‬ﻣـﻦ‪ ‬ﺍﻟﻮ‪‬ﺣ‪‬ﻲﹺ ﺗﻌﻬﺪ‪‬‬ ‫ﻭﺃﻣﺴﺖ‪ ‬ﺑﹺﻼﺩ‪ ‬ﺍﳊﹶﺮ‪‬ﻡ ﻭ‪‬ﺣﺸﺎﹰ ﺑﻘﺎﻋ‪‬ﻬـﺎ‪،‬‬

‫ﻓﹶﻘ‪‬ﻴـﺪ‪ ،‬ﻳ‪‬ﺒ‪‬ﻜﹼﻴـﻪ‪ ‬ﺑـَﻼﻁﹲ ﻭﻏﹶـﺮ‪‬ﻗـﺪ‪‬‬ ‫ﻗ‪‬ﻔـﺎﺭﺍﹰ ﺳ‪‬ﻮ‪‬ﻯ ﻣ‪‬ﻌ‪‬ﻤﻮﺭ‪‬ﺓ ِ ﺍﻟﻠﱠﺤ‪‬ﺪ‪ ‬ﺿ‪‬ﺎﻓﹶﻬﺎ‬

‫ﺧـﻼﺀٌ ﻟـﻪ‪ ‬ﻓﻴـﻪ‪ ‬ﻣﻘـﺎﻡ‪ ‬ﻭﻣﻘﻌـﺪ‪‬‬ ‫ﻭ‪‬ﻣ‪‬ﺴ‪‬ﺠﹺـﺪ‪‬ﻩ‪ ،‬ﻓﺎﳌﻮﺣ‪‬ﺸـﺎﺕ‪ ‬ﻟ‪‬ﻔﹶﻘﹾـﺪ‪‬ﻩ‪،‬‬

‫ﺩ‪‬ﻳـﺎﺭ‪ ،‬ﻭﻋ‪‬ـﺮ‪‬ﺻ‪‬ـﺎﺕ‪ ،‬ﻭ‪‬ﺭ‪‬ﺑ‪‬ﻊ‪ ،‬ﻭ‪‬ﻣﻮ‪‬ﻟ‪‬ﺪ‪‬‬ ‫ﻭﺑﺎﳉﻤـﺮﺓ ِ ﺍﻟﻜﹸﱪ‪‬ﻯ ﻟـﻪ‪ ‬ﰒﹼ ﺃﻭﺣﺸﺖ‪‬‬

‫ﻭﻻ ﺃﻋﺮﻓﹶﻨﻚ‪ ‬ﺍﻟﺪ‪‬ﻫـﺮ‪ ‬ﺩﻣـﻌﻚ‪ ‬ﳚﻤـﺪ‪‬‬ ‫ﻓﹶﺒ‪‬ﻜﹼﻲ ﺭ‪‬ﺳﻮﻝﹶ ﺍﷲ ﻳـﺎ ﻋ‪‬ـﲔ‪ ‬ﻋ‪‬ﺒـْﺮﺓ ً‬

‫ﻋـﻠﻰ ﺍﻟﻨـﺎﹶﺱﹺ ﻣ‪‬ﻨﻬ‪‬ـﺎ ﺳﺎﺑـﻎﹲ ﻳﺘﻐﻤ‪‬ﺪ‪‬‬ ‫ﻭﻣـﺎﻟﻚ‪ ‬ﻻ ﺗﺒﻜـﲔ‪ ‬ﺫﺍ ﺍﻟﻨﹺﻌ‪‬ﻤ‪‬ﺔِ ﺍﻟﺘ‪‬ﻲ‬

‫ﻟﻔﻘﺪ‪ ‬ﺍﻟﺬﻱ ﻻ ﻣﺜﻠﻪ‪ ‬ﺍﻟـﺪ‪‬ﻫـﺮﹺ ﻳﻮﺟـﺪ‪‬‬ ‫ﻓﹶﺠ‪‬ـﻮﺩﻱ ﻋ‪‬ﻠﹶﻴ‪‬ـﻪ‪ ‬ﺑﺎﻟﺪ‪‬ﻣﻮﻉﹺ ﻭﺃﻋ‪‬ـﻮﹺﱄ‬

‫‪-22-‬‬
‫ﺩﺭﺍﺳﺔ ﺗﻄﺒﻴﻘﻴﺔ ﻟﻠﻤﺴﺘﻮﻳﺎﺕ ﺍﻟﻠﻐﻮﻳﺔ ﰲ ﺍﻟﻘﺼﻴﺪﺓ‬ ‫ﺍﳌﺒﺤﺚ ﺍﻟﺜﺎﱐ‪:‬‬

‫ﻭﻻ ﻣﺜﻠـﻪ‪ ،‬ﺣـﱴ ﺍﻟﻘﻴﺎﻣـﺔ‪ ،‬ﻳﻔﻘـﺪ‪‬‬ ‫ﻭ‪‬ﻣ‪‬ـﺎ ﻓﹶﻘﹶﺪ‪ ‬ﺍﳌﺎﺿ‪‬ﻮﻥﹶ ﻣ‪‬ﺜﹾﻞﹶ ﻣ‪‬ﺤ‪‬ﻤ‪‬ـﺪ‪،‬‬

‫ﻭﺃﻗﹾـﺮ‪‬ﺏ‪ ‬ﻣ‪‬ﻨـْﻪ‪ ‬ﻧﺎﺋـِﻼﹰ‪ ،‬ﻻ ﻳ‪‬ﻨـَﻜﱠـﺪ‪‬‬ ‫ﺃﻋـﻒ‪ ‬ﻭﺃﻭ‪‬ﰱﹶ ﺫ‪‬ﻣـﺔ ً ﺑﻌـﺪ‪ ‬ﺫﻣـﺔ ٍ‪،‬‬

‫ﺇﺫﺍ ﺿ‪‬ـﻦ‪ ‬ﻣﻌﻄـﺎﺀٌ ﲟـﺎ ﻛـﺎﻥﹶ ﻳ‪‬ﺘ‪‬ﻠ‪‬ﺪ‪‬‬ ‫ﻭﺃﺑـﺬﻝﹶ ﻣﻨـﻪ‪ ‬ﻟﻠﻄﱠـﺮﻳـﻒ‪ ‬ﻭﺗﺎﻟـﺪ‪،‬‬

‫ﻭﺃﻛـﺮﻡ‪ ‬ﺟـﺪﺍﹰ ﺃﺑﻄﺤﻴـﺎﹰ ﻳﺴــﻮ‪‬ﺩ‪‬‬ ‫ﻭﺃﻛــﺮﻡ‪ ‬ﺣﻴﺎﹰ ﰲ ﺍﻟﺒﻴﻮﺕ‪ ،‬ﺇﺫﺍ ﺍﻧﺘﻤﻰ‪،‬‬

‫ﺩﻋـﺎﺋـﻢ‪ ‬ﻋـﺰ‪ ‬ﺷـﺎﻫﻘﺎﺕ‪ ‬ﺗﺸﻴـّﺪ‪‬‬ ‫ﻭﺃﻣـﻨﻊ‪ ‬ﺫﺭﻭﺍﺕ‪ ،‬ﻭﺃﺛـﺒﺖ‪ ‬ﰲ ﺍﻟﻌﻠـﻰ‬

‫ﻭ‪‬ﻋ‪‬ـﻮﺩﺍﹰ ﻏﹶـﺪﺍﺓ َ ﺍﳌـُﺰ‪‬ﻥ‪ ،‬ﻓﺎﻟﻌ‪‬ﻮﺩ‪ ‬ﺃﻏﻴ‪‬ﺪ‪‬‬ ‫ﻭﺃﺛﹾﺒ‪‬ﺖ‪ ‬ﻓﹶـﺮ‪‬ﻋﺎﹰ ﰲ ﺍﻟﻔﹸـﺮ‪‬ﻭﻉﹺ ﻭ‪‬ﻣ‪‬ﻨ‪‬ﺒﹺﺘــﺎﹶ‪،‬‬

‫ﻋـﻠﻰ ﺃﻛﹾـﺮ‪‬ﻡﹺ ﺍﳋﲑ‪‬ﺍﺕ‪ ،‬ﺭ‪‬ﺏ‪ ‬ﻣ‪‬ﻤﺠ‪‬ﺪ‪‬‬ ‫ﺭ‪‬ﺑ‪‬ـﺎﻩ‪ ‬ﻭ‪‬ﻟ‪‬ﻴـﺪﺍﹶ‪ ،‬ﻓﹶﺎﺳ‪‬ﺘ‪‬ﺘ‪‬ـﻢ‪ ‬ﺗ‪‬ﻤـﺎﻣ‪‬ـﻪ‪‬‬

‫ﻓﻼ ﺍﻟﻌﻠـﻢ‪ ‬ﳏﺒـﻮﺱ‪ ،‬ﻭﻻ ﺍﻟﺮﺃﻱ‪ ‬ﻳﻔﻨﺪ‪‬‬ ‫ﺗ‪‬ﻨ‪‬ﺎﻫ‪‬ـﺖ‪ ‬ﻭ‪‬ﺻ‪‬ـﺎﺓ ُ ﺍﳌﹸﺴ‪‬ﻠ‪‬ﻤ‪‬ـﲔ‪ ‬ﺑﹺﻜﹶﻔﹼﻪ‪،‬‬

‫ﻣ ‪‬ﻦ ﺍﻟﻨـﺎﺱﹺ‪ ،‬ﺇﻻﹼ ﻋـﺎﺯﺏ‪ ‬ﺍﻟﻌﻘﻞﹺ ﻣﺒﻌﺪ‪‬‬ ‫ﺃﻗﹸـﻮﻝﹸ‪ ،‬ﻭﻻ ﻳ‪‬ﻠﹾﻔـَﻰ ﻟ‪‬ﻘﹶﻮ‪‬ﱄ ﻋ‪‬ـﺎﺋ‪‬ﺐ‪‬‬

‫ﻟﹶﻌ‪‬ﻠـّﻲ ﺑـِﻪ‪ ‬ﰲ ﺟ‪‬ﻨـّﺔ ِ ﺍﳋﹸﻠﹾﺪ‪ ‬ﺃﺧ‪‬ﻠﹸـﺪ‪‬‬ ‫ﻭ‪‬ﻟﹶﻴ‪‬ـﺲ‪ ‬ﻫ‪‬ـﻮ‪‬ﺍﺋـﻲ ﻧﺎﺯﹺﻋﺎﹰ ﻋ‪‬ﻦ‪ ‬ﺛﹶﻨﺎﺋ‪‬ﻪ‪،‬‬
‫‪1‬‬
‫ﻭﰲ ﻧﻴـﻞﹺ ﺫﺍﻙ ﺍﻟﻴـﻮﻡﹺ ﺃﺳﻌﻰ ﻭﺃﺟﻬﺪ‪‬‬ ‫ﻣﻊ‪ ‬ﺍﳌﺼ‪‬ﻄﹶﻔﻰ ﺃﺭﺟﻮ ﺑـﺬﺍﻙ‪ ‬ﺟـﻮﺍﺭﻩ‪،‬‬

‫‪ -1‬ﺍﳌﺴﺘﻮﻯ ﺍﻟﺼﻮﰐ‪:‬‬

‫ﺩﺭﺍﺳﺔ ﺍﻟﺒﻨﻴﺔ ﺍﻻﻳﻘﺎﻋﻴﺔ ﻟﻘﺼﻴﺪﺓ ﺣﺴﺎﻥ ﺑﻦ ﺛﺎﺑﺖ ﻫﺬﺍ ﻳﻌﲏ ﺩﺭﺍﺳﺔ ﻣﻮﺳﻴﻘﺎﻫﺎ ﺑﻨﻮﻋﻴﻬﺎ‪:‬‬
‫ﺍﳋﺎﺭﺟﻴﺔ ﻭ ﺍﻟﺪﺍﺧﻠﻴﺔ ﻭ ﻛﻞ ﻣﺎ ﻣﻦ ﺷﺄﻧﻪ ﺃﻥ ﳛﺪﺙ ﻧﻐﻤﺎ ﰲ ﺍﻷﺫﻥ ﻭ ﺃﺛﺮﺍ ﰲ ﺍﻟﻨﻔﺲ‪ ،‬ﺃﻭ ﻳﻠﻔﺖ‬
‫ﺇﻟﻴﻪ ﺍﻟﻔﻜﺮ‪.‬‬

‫ﺃ‪ /‬ﺍﻹﻳﻘﺎﻉ‪:‬‬

‫‪ 1‬ﺍﻟﺪﻳﻮﺍﻥ‪ ،‬ﻣﺮﺟﻊ ﺳﺎﺑﻖ‪ ،‬ﺹ ‪.57-54‬‬

‫‪-23-‬‬
‫ﺩﺭﺍﺳﺔ ﺗﻄﺒﻴﻘﻴﺔ ﻟﻠﻤﺴﺘﻮﻳﺎﺕ ﺍﻟﻠﻐﻮﻳﺔ ﰲ ﺍﻟﻘﺼﻴﺪﺓ‬ ‫ﺍﳌﺒﺤﺚ ﺍﻟﺜﺎﱐ‪:‬‬

‫ﻟﻌﻞ ﺍﻻﻣﺘﺎﻉ ﺍﳌﻮﺳﻴﻘﻲ ﻣﺮﺗﺒﻂ ﺃﺳﺎﺳﺎ ﺑﺎﻻﺷﺒﺎﻉ ﺍﻟﻨﻔﺴﻲ ﻭ ﺍﻟﻨﺼﻲ ﻟﻠﺴﺎﻣﻊ ﻭ ﻗﺪ ﺃﻛـﺪ ﺍﻟﻘـﺪﻣﺎﺀ‬
‫ﻋﻠﻰ ﻋﻨـﺼﺮﻱ ﺍﻟـﻮﺯﻥ ﻭ ﺍﻟﻘﺎﻓﻴﺔ ﻭ ﻋﺪﻭﻫﺎ ﺷﻄﺮﻳـﻦ ﺃﺳﺎﺳﻴﲔ ﻟﺒﻠـﻮﻍ ﺃﻗﺼﻰ ﺩﺭﺟــﺎﺕ ﺍﳌﺘﻌﺔ‬
‫ﻭ ﺍﻻﺭﺗﻮﺍﺀ ﻭ ﻗﺪ ﺃﻛﺪﺕ ﺍﻟﺘﺠﺮﺑﺔ ﺍﻻﻧﺴﺎﻧﻴﺔ ﰲ ﻛﻞ ﺍﻟﻌﺼﻮﺭ ﻭ ﻛﻞ ﺍﻟﻠﻐﺎﺕ ﺃﻥ "ﺍﳌﻮﺳﻴﻘﻲ ﻋﺎﻣـﻞ ﻫﺎﻡ‬
‫ﰲ ﺍﻟﺸﻌﻮﺭ ﻭ ﰲ ﺗﻨﺴﻴﻖ ﺍﻟﺒﻨﺎﺀ ﺍﻟﻌﺎﻡ ﻟﻠﻘﺼﻴﺪﺓ‪ ،‬ﻛﻤﺎ ﺃ‪‬ﺎ ﺗﻼﺯﻡ ﺍﻟﺼﻮﺭﺓ ﻭ ﺗﺸﺎﺭﻛﻬﺎ ﺩﺍﺋﻤﺎ ﰲ ﺇﻗﺎﻣﺔ ﻫﺬﺍ‬
‫ﺍﻟﺒﻨﺎﺀ ﻷﻥ ﺍﻻﻳﻘﺎﻉ ﺍﳌﻮﺳﻴﻘﻲ ﻳﻨﻄﻮﻱ ﻋﻠﻰ ﺑﻌﺪ ﺇﺑﻼﻏﻲ ﺃﺻﻴﻞ‪ ،‬ﻓﻬﻮ ﰲ ﺍﻟـﻮﻗﺖ ﻧﻔﺴـﻪ ﻳﺸﺤﻦ ﻣﻌﻪ‬
‫ﺍﻷﺣﺎﺳﻴﺲ ﻭ ﺍﻻﻧﻔﻌﺎﻻﺕ ﺍﻟﱵ ﺗﺮﺗﻄﻢ ﰲ ﺍﻟﺪﺍﺧﻞ ﻣﻦ ﺍﻟﻜﺎﺋـﻦ ﺍﻟﻔﺮﺩ‪ ،‬ﻓﻴﺴﺒﻎ ﻋﻠﻰ ﺍﻟﺸﻌـﺮ ﺭﻭﺣـﺎ‬
‫ﺣﻴﺔ ﻭ ﻣﺘﻘﺪﺓ‪ ،‬ﻭ ﻟﻌﻞ ﺍﻟﺸﺎﻋﺮ ﺣﲔ ﻳﻌﱪ ﻋﻦ ﺣﺎﻟﺘﻪ ﺍﻟﺸﻌﻮﺭﻳﺔ ﺇﳕﺎ ﻳﻔﻌﻞ ﺫﻟﻚ ﻧﺘﺎﺟﺎ ﻟﻺﻳﻘﺎﻉ ﺍﻟﻨﻔﺴـﻲ‬
‫ﺍﻟﺬﻱ ﻳﻌﺘﱪ ﻭﻋﺎﺀ ﻟﻠﺤﺎﻟﺔ ﺍﻟﻨﻔﺴﻴﺔ"‪ ،1‬ﳝﻜﻦ ﻟﻨﺎ ﺃﻥ ﻧﺴﺘﺨﻠﺺ ﳑﺎ ﺳﺒﻖ ﺃﻥ ﺍﻻﻳﻘﺎﻉ ﻫﻮ ﻃﺎﻗﺔ ‪‬ﺘﻢ ﺑﻔﻨﻮﻥ‬
‫ﺍﻟﻘﻮﻝ ﻋﺎﻣﺔ‪ ،‬ﻭ ﻫﻲ ﺫﺍﺕ ﻭﻇﻴﻔﺔ ﻣﺰﺩﻭﺟﺔ ﺃﻭﻻﳘﺎ‪ :‬ﻭﺻﻞ ﻣﻜﻮﻧﺎﺕ ﺍﻟﻨﺺ ﺑﻌﻀﻬﺎ ﺑﺒﻌﺾ‪ ،‬ﻭ ﺛﺎﻧﻴﻬﻤـﺎ‬
‫ﺍﻟﺘﺄﺛﲑ ﺍﳌﺘﻠﻘﻲ‪ ،‬ﻛﻤﺎ ﺃﻥ ﺍﳌﻮﺳﻴﻘﻰ ﺍﻟﻨﺎﲡﺔ ﻋﻦ ﺍﻻﻳﻘﺎﻉ ﻫﻲ ﺍﻟﺪﺍﻓﻊ ﻋﻠﻰ ﺍﻻﻧﻔﻌﺎﻝ ﻭ ﺍﳌﺸﺎﺭﻛﺔ ﺍﻟﻮﺟﺪﺍﻧﻴﺔ‬
‫ﺑﲔ ﺍﳌﺘﻠﻘﻲ ﻭ ﺻﺎﺣﺐ ﺍﻟﻨﺺ‪.‬‬
‫ﺍﻟﺒﻨﻴﺔ ﺍﻻﻳﻘﺎﻋﻴﺔ ﻭ ﺍﻟﺼﻮﺗﻴﺔ " ﻫﻲ ﺃﻭﻝ ﺍﳌﻈﺎﻫﺮ ﺍﳌﺎﺩﻳﺔ ﻭ ﺍﳋﺼﻴﺔ ﻟﻠﻨﺴﻴﺞ ﺍﻟﺸﻌﺮﻱ ﺍﻟﱵ ﳝﻜﻦ ﺍﻟﺘﻌﺮﻑ‬
‫ﻣﻦ ﺧﻼﳍﺎ ﻋﻠﻰ ﺍﻟﻮﺣﺪﺍﺕ ﺍﻟﺼﻮﺗﻴﺔ ﻭ ﻣﺎ ﻓﻴﻬﺎ ﻣﻦ ﺍﻟﺘﻮﺍﺯﻳﺎﺕ ﻭ ﺍﻟﺒـﺪﺍﺋﻞ ﻭ ﻣﻦ ﺍﻟﺘﺂﻟﻔﺎﺕ ﻭ ﺍﳌﺘﻨﺎﻓﺮﺍﺕ‬
‫ﻭ ﻏﲑ ﺫﻟﻚ"‪.2‬‬
‫ﻓﺎﻻﻳﻘﺎﻉ ﻣﻦ ﺃﻫﻢ ﻣﺰﺍﻳﺎ ﺍﻟﻔﻦ ﺍﻟﺸﻌﺮﻱ‪ ،‬ﻭ ﺃﻛﱪ ﻭﺟﻮﻩ ﺍﻟﺘﻤﻴﺰ ﺑﻴﻨﻪ ﻭ ﺑﲔ ﻓﻨﻮﻥ ﺍﻟﻜﺘﺎﺑﺔ ﺍﻷﺧـﺮﻯ‬
‫ﺍﳌﻨﻄﻮﻳﺔ ﲢﺖ ﺳﻘﻒ ﺍﻻﺑﺪﺍﻉ‪.3‬‬
‫ﻛﻤﺎ ﺃﻥ ﺍﻻﻳﻘﺎﻉ ﺿﺮﺑﺎﻥ ﳘﺎ‪ :‬ﺇﻳﻘﺎﻉ ﺧﺎﺭﺟﻲ ﻳﺘﻤﺜﻞ ﰲ ﺍﻟﻮﺯﻥ ﻭ ﺍﻟﻘﺎﻓﻴﺔ ﻭ ﺇﻳﻘﺎﻉ ﺩﺍﺧﻠﻲ ﻳﺘﻤﺜﻞ ﰲ‬
‫ﳎﻤﻮﻉ ﺍﻟﻌﻼﺋﻖ ﻓﻴﻤﺎ ﺑﲔ ﺍﻟﻮﺯﻥ ﻭ ﺍﻟﺸﺤﻨﺎﺕ ﺍﻹﻳﻘﺎﻋﻴﺔ ﰲ ﺩﻓﻘﺘﻬﺎ ﺍﻟﺸﻌﻮﺭﻳﺔ‪.‬‬
‫ﻭ ﺑﺈﺯﺍﺀ ﻫﺬﻩ ﺍﻟﻘﻴﻤﺔ ﺍﻟﻔﻨﻴﺔ ﻟﻼﻳﻘﺎﻉ‪ ،‬ﻗﻤﻨﺎ ﺑﺪﺭﺍﺳﺔ ﻧﻮﻋﻴﺔ ﰲ ﺷﻌﺮ ﺣﺴﺎﻥ ﺑﻦ ﺛﺎﺑﺖ‪ ،‬ﻧﺒﺪﺃﻫﺎ ﺑـ‪:‬‬
‫ﺃ‪ /‬ﺍﻹﻳﻘﺎﻉ ﺍﳋﺎﺭﺟﻲ‪ :‬ﺍﳌﻜﻮﻥ ﻣﻦ‪:‬‬

‫‪ ‬ﺍﻟﻮﺯﻥ‪:‬‬

‫‪ 1‬ﻳﻨﻈﺮ‪ ،‬ﻋﺰ ﺍﻟﺪﻳﻦ ﺍﲰﺎﻋﻴﻞ‪ ،‬ﺍﻟﺸﻌﺮ ﺍﻟﻌﺮﰊ ﻗﻀﺎﻳﺎﻩ ﻭ ﻇﻮﺍﻫﺮﻩ ﺍﻟﻔﻨﻴﺔ ﻭ ﺍﳌﻌﻨﻮﻳﺔ‪ ،‬ﺩﺍﺭ ﺍﻟﻜﺘﺎﺏ ﺍﻟﻌﺮﰊ ﻟﻠﻄﺒﺎﻋﺔ ﻭ ﺍﻟﻨﺸﺮ‪ ،‬ﺍﻟﻘﺎﻫﺮﺓ‪) ،‬ﺩ‪،‬ﻁ(‪ 1976 ،‬ﻡ‪ ،‬ﺹ ‪67‬‬
‫‪ 2‬ﺻﻼﺡ ﻓﻀﻞ‪ ،‬ﺍﻷﺳﺎﻟﻴﺐ ﺍﻟﺸﻌﺮﻳﺔ ﺍﳌﻌﺎﺻﺮﺓ‪ ،‬ﺩﺍﺭ ﻗﺒﺎﺀ ﻟﻠﻄﺒﺎﻋﺔ ﻭ ﺍﻟﻨﺸﺮ ﻭ ﺍﻟﺘﻮﺯﻳﻊ‪ ،‬ﺩ‪،‬ﻁ‪ ،‬ﺍﻟﻘﺎﻫﺮﺓ‪ ،‬ﻣﺼﺮ‪ ،1998 ،‬ﺹ ‪.122‬‬
‫‪ 3‬ﻳﻨﻈﺮ‪ ،‬ﻣﻘﺪﺍﺩ ﳏﻤﺪ ﺷﺎﻛﺮ ﻗﺎﺳﻢ‪ ،‬ﺍﻟﺒﻨﻴﺔ ﺍﻻﻳﻘﺎﻋﻴﺔ ﰲ ﺷﻌﺮ ﺍﳉﻮﺍﻫﺮﻱ‪ ،‬ﺩﺍﺭ ﺩﺟﻠﺔ‪ ،‬ﻋﻤﺎﻥ ‪ ،‬ﺍﻻﺭﺩﻥ‪ ،‬ﻁ‪ ،2008 ،1‬ﺹ ‪.33‬‬

‫‪-24-‬‬
‫ﺩﺭﺍﺳﺔ ﺗﻄﺒﻴﻘﻴﺔ ﻟﻠﻤﺴﺘﻮﻳﺎﺕ ﺍﻟﻠﻐﻮﻳﺔ ﰲ ﺍﻟﻘﺼﻴﺪﺓ‬ ‫ﺍﳌﺒﺤﺚ ﺍﻟﺜﺎﱐ‪:‬‬

‫ﻫﻮ ﺍﳌﻮﺳﻴﻘﻰ ﺍﳋﺎﺭﺟﻴﺔ ﻟﻠﻘﺼﻴﺪﺓ ﻭ ﻫﻮ ﲨﻠﺔ ﺍﻟﺘﻔﻌﻴﻼﺕ ﺍﻟﱵ ﺗﻨﺘﻈﻢ ﻓﻴﻬﺎ ﺍﻟﻜﻠﻤﺎﺕ ﻓﺘﺤﺪﺩ ﻧﻮﻋﻬﺎ‬
‫ﻭ ﻟﻌﻞ ﺃﻭﻝ ﺗﺴﺎﺅﻝ ﻳﺘﺒﺎﺩﺭ ﺇﱃ ﺫﻫﻦ ﻗﺎﺭﺉ ﺍﻟﻘﺼﻴﺪﺓ ﺍﻟﻌﺮﺑﻴﺔ ﻭ ﲞﺎﺻﺔ ﺍﻟﻘﺪﳝﺔ‪ ،‬ﻣﺎ ﻫﻮ ﻭﺯ‪‬ﺎ؟‬

‫ﻓﺎﻟﻮﺯﻥ ﻫﻮ ﺃﻭﻝ ﻣﺎ ﻳﻘﺮﻉ ﺍﻵﺫﺍﻥ ﲜﺮﺳﻪ ﻭ ﺍﻳﻘﺎﻋﻪ ﺍﳌﻨﺘﻈﻢ‪ ،‬ﻣﻦ ﺃﺟﻞ ﺫﻟﻚ ﺑﺎﺕ ﻋﻠﻰ ﺍﻟـﺪﺍﺭﺱ‬
‫ﺍﻷﺳﻠﻮﰊ ﺃﻥ ﻳﺒﺪﺍ ﺩﺭﺍﺳﺘﻪ ﺑﺎﻻﻳﻘـﺎﻉ ﻭ ﻋﻠﻰ ﺭﺃﺳـﻪ ﺍﻟـﻮﺯﻥ‪ ،1‬ﻭ ﻫﻮ ﺃﺧﺺ ﻣﻴﺰﺍﺕ ﺍﻟﺸﻌﺮ‬
‫ﻭ ﺃﺑﻨﻴﺘﻬﺎ ﰲ ﺃﺳﻠﻮﺑﻪ‪" ،‬ﻭ ﻳﻘﻮﻡ ﻋﻠﻰ ﺗﺮﺩﻳﺪ ﺍﻟﺘﻔﺎﻋﻴﻞ ﺍﳌﺆﻟﻔﺔ ﻣﻦ ﺍﻷﺳﺒﺎﺏ ﻭ ﺍﻷﻭﺗﺎﺩ ﻭ ﺍﻟﻔﻮﺍﺻﻞ‬
‫ﻭ ﻋﻦ ﺗﺮﺩﻳﺪ ﺍﻟﺘﻔﺎﺻﻴﻞ ﺗﻨﺸﺄ ﺍﳌﺴﻴﻘﻴﺔ ﻛﻠﻬﺎ"‪.2‬‬

‫ﻭ ﻣﺎ ﻻﺣﻈﻨﺎﻩ ﰲ ﲢﻠﻴﻠﻨﺎ ﻟﻠﻘﺼﻴﺪﺓ ﺃﻥ ﺍﻟﺸﺎﻋﺮ ﻋﱪ ﻋﻦ ﲡﺮﺑﺘﻪ ﺍﻟﺸـﻌﺮﻳﺔ ﺍﳌﺘﻤﺜﻠـﺔ ﰲ ﺍﳊﺎﻟـﺔ‬

‫ﺍﻟﺸﻌﻮﺭﻳﺔ ﺍﻻﻧﻔﻌﺎﻟﻴﺔ ﺍﳌﺘﺰﻧﺔ‪ ،‬ﻓﻠﺬﻟﻚ ﺟﺎﺀ ﺷﻌﺮﻩ ﰲ ﺍﻟﻐﺎﻟﺐ ﻋﻠﻰ ﺍﻟﺒﺤﻮﺭ ﺍﻟﻄﻮﻳﻠﺔ‪ ،‬ﺣﻴﺚ ﳛﺪﺙ‬
‫ﺍﻟﺘﻮﺍﻓﻖ ﻭ ﺍﻻﻧﺴﺠﺎﻡ ﺑﲔ ﺍﳊﺎﻟﺔ ﺍﻟﻌﺎﻃﻔﻴﺔ ﻭ ﺍﻻﻳﻘﺎﻉ ﻭ ﻗﺪ ﲡﻠﻰ ﻫﺬﺍ ﰲ ﻗﺼﻴﺪﺗﻪ ﺍﻟﺮﺍﺋﻌﺔ " ﺑﻄﻴﺒﺔ‬
‫ﺭﺳﻢ ﻟﻠﺮﺳﻮﻝ ﺻﻠﻰ ﺍﷲ ﻋﻠﻴﻪ ﻭ ﺳﻠﻢ"‪ .‬ﺑﻘﻮﻝ ﺍﻟﺸﺎﻋﺮ‪:‬‬

‫ﻣﻴﱰﻥ ‪ /‬ﻭ ﻗﺪ ﺗﻌﻔﻮ ‪ /‬ﺭﺳﻮﻡ ‪ /‬ﻭ ﲤﻬﺪﻭ‬ ‫ﺑﻄﻴﺒـ‪/‬ﺓ ﺭﲰﻨﻠﺮ‪ /‬ﺭﺳﻮﻝ ‪ /‬ﻭ ﻣﻌﻬﺪﻭ‬

‫ﻓﻌﻮﻝ ﻣﻔﺎﻋﻠﻦ‬ ‫ﻓﻌﻮﻟﻦ ﻣﻔﺎﻋﻴﻠﻦ‬ ‫ﻓﻌﻮﻝ ﻣﻔﺎﻋﻴﻠﻦ ﻓﻌﻮﻝ ﻣﻔﺎﻋﻠﻦ‬

‫ﻋﻠﻰ ﺍﳌﺴﺘـﻮﻯ ﺍﻟﺼﻮﰐ ﻫﻨﺎﻙ ﺑﻌﺾ ﺍﻟﺰﺣﺎﻓﺎﺕ ﺍﻟﻄﺎﺭﺋﺔ ﻋﻠﻰ ﺍﻟﺘﻔﻌﻼﺗﲔ ﻓﻌﻮﻟﻦ ﻭ ﻣﻔـﺎﻋﻴﻠﻦ ﻭ ﻫـﻲ‬
‫ﺣﺬﻑ ﺍﻟﺴﺎﻛﻦ ﺍﳋﺎﻣﺲ ﻭ ﻳﺪﻋﻰ ﻫﺬﺍ ﺯﺣﺎﻑ ﺍﻟﻘﺒﺾ ﻭ ﻫﻮ ﻳﺼﻴﺐ ﺍﻟﺴﺎﻛﻦ ﺍﳋﺎﻣﺲ‪ ،‬ﻭ ﻗﺪ ﳉﺎ ﺇﻟﻴﻪ‬
‫ﺍﻟﺸﺎﻋﺮ ﻫﻨﺎ ﻟﻠﻀﺮﻭﺭﺓ ﺍﻟﺸﻌﺮﻳﺔ‪.‬‬

‫ﻭ ﺍﻟﺴﺮ ﰲ ﺫﻟﻚ ﻛﺎﻣﻦ ﰲ ﺍﻋﺘﺒﺎﺭ ﺗﻔﻌﻴﻼﺕ ﺍﻟﻄﻮﻳﻞ ﻣﻦ ) ﻓﻌﻮﻟﻦ ﻣﻔﺎﻋﻴﻠﻦ ﻓﻌﻮﻟﻦ ﻣﻔـﺎﻋﻴﻠﻦ( ﻣﻨﺎﺳـﺒﺔ‬
‫ﻟﻠﺘﺄﻭﻫﺎﺕ ﻭ ﺗﺼﺎﻋﺪ ﺍﻟﺰﻓﺮﺍﺕ ﻭ ﺗﻘﻠﺐ ﺍﻷﻭﺟﺎﻉ ﻭ ﺍﻵﻫﺎﺕ ﺍﳌﻌﱪﺓ ﻋﻦ ﺃﺣﺰﺍﻥ ﺗﺘﺪﻓﻖ ﻣﻦ ﺷﻐﺎﻑ ﻗﻠﺐ‬
‫ﺍﻟﺸﺎﻋﺮ ﺣﺰﻧﺎ ﻭ ﻛﻤﺪﺍ ﻋﻠﻰ ﻓﻘﺪ ﺍﳌﺴﻠﻤﲔ ﳋﲑ ﺍﻟﱪﻳﺔ ﺳﻴﺪﻧﺎ ﳏﻤﺪ ﺻﻠﻰ ﺍﷲ ﻋﻠﻴﻪ ﻭ ﺁﻟﻪ ﻭ ﺳﻠﻢ‪.‬‬

‫‪ ‬ﺍﻟﻘﺎﻓﻴﺔ‪:‬‬

‫‪1‬‬
‫ﻳﻨﻈﺮ‪ ،‬ﻓﻮﺯﻱ ﺳﻌﺪ ﻋﻴﺴﻰ‪ ،‬ﺍﻟﻌﺮﻭﺽ ﺍﻟﻌﺮﰊ ﻭ ﳎﺎﻻﺕ ﺍﻟﺘﺠﺪﻳﺪ ﻓﻴﻪ‪ ،‬ﺩﺍﺭ ﺍﳌﻌﺮﻓﺔ ﺍﳉﺎﻣﻌﻴﺔ‪ ،‬ﻣﺼﺮ‪ ،‬ﻃﺢ )ﺩ‪،‬ﺕ(‪ ،‬ﺹ ‪.36‬‬
‫‪2‬‬
‫ﺃﲪﺪ ﺍﻟﺸﺎﻳﺐ‪ ،‬ﺍﻷﺳﻠﻮﺏ ‪ ،‬ﻣﻜﺘﺒﺔ ﺍﻟﻨﻬﻀﺔ ﺍﳌﺼﺮﻳﺔ‪ ،‬ﺍﻟﻘﺎﻫﺮﺓ‪ ) ،‬ﺩ‪،‬ﻁ(‪ ،1966 /‬ﺹ ‪.70‬‬

‫‪-25-‬‬
‫ﺩﺭﺍﺳﺔ ﺗﻄﺒﻴﻘﻴﺔ ﻟﻠﻤﺴﺘﻮﻳﺎﺕ ﺍﻟﻠﻐﻮﻳﺔ ﰲ ﺍﻟﻘﺼﻴﺪﺓ‬ ‫ﺍﳌﺒﺤﺚ ﺍﻟﺜﺎﱐ‪:‬‬

‫ﻳﺒﺪﻭ ﺍﻥ ﺍﺧﺘﻴﺎﺭ ﺍﻟﺸﻌﺮﺍﺀ ﺍﻟﻘﺎﻓﻴﺔ ﻟﺮﻭﻱ ﺍﻟﻘﺎﻓﻴﺔ ﱂ ﻳﻜﻦ ﺻﺪﻓﺔ‪ ،‬ﻭ ﻟﻜﻨﻪ ﻳﻌﻮﺩ ﺇﱃ ﺍﻟﺸﺤﻨﺔ ﺍﻟﻨﻀـﻤﻴﺔ‬
‫ﺍﻟﱵ ﺗﻔﺮﺯﻫﺎ ﻫﺬﻩ ﺍﳊﺮﻭﻑ ﻭ ﻭﻗﻌﻬﺎ ﰲ ﺍﻷﻧﻔﺲ‪ ،‬ﻭ ﻗﺪﺭ‪‬ﺎ ﻋﻠﻰ ﲢﺮﻳﻚ ﺍﻟﻌﻮﺍﻃﻒ ﻭ ﺍﺛـﺎﺭﺓ ﺍﳌﺸﺎﻋﺮ‪،‬‬
‫ﻭ ﻟﻠﻘﺎﻓﻴﺔ ﲨﺎﻝ ﺻﻮﰐ ﺧﺎﺹ ﺗﻀﻔﻴﻪ ﻋﻠﻰ ﺍﻟﻘﺼﻴﺪﺓ ﺍﻧﻄﻼﻗﺎ ﻣﻦ ﺍﻧﺘﻈﺎﻡ ﺍﻷﺻﻮﺍﺕ ﻓﻴﻬﺎ‪ ،‬ﻓﻬﻲ ﻋﺒﺎﺭﺓ ﻋﻦ‬
‫ﻣﻘﻄﻊ ﻣﻮﺳﻴﻘﻲ ﻳﻠﺘﺰﻣﻪ ﺍﻟﺸﺎﻋﺮ ﰲ ﺁﺧﺮ ﻛﻞ ﺑﻴﺖ ﻣﻦ ﺍﻟﻘﺼﻴﺪﺓ‪ ،‬ﻭ ﻛﺄ‪‬ﺎ ﻧﻐﻤﺔ ﻣﺘﻤﻴﺰﺓ‪ ،‬ﻭ ﻗﺪ ﺍﺧﺘﻠـﻒ‬
‫ﺍﻟﻌﻠﻤﺎﺀ ﰲ ﺗﻌﺮﻳﻔﻬﺎ ﻓﻤﻨﻬﻢ ﻣﻦ ﻗﺎﻝ‪ " :‬ﺑﺄ‪‬ﺎ ﺷﺮﻳﻜﺔ ﺍﻟﻮﺯﻥ ﰲ ﺍﻻﺧﺘﺼﺎﺹ ﺑﺎﻟﺸﻌﺮ"‪ ،1‬ﻭ ﻳﻌﺮﻓﻬﺎ ﺍﺑﺮﺍﻫﻴﻢ‬
‫ﺃﻧﻴﺲ‪ " :‬ﺑﺄ‪‬ﺎ ﻓﻮﺍﺻﻞ ﻣﻮﺳﻴﻘﻴﺔ ﻳﺘﻮﻗﻊ ﺍﻟﺴﺎﻣﻊ ﺗﺮﺩﻳﺪﻫﺎ ﰲ ﻓﺘﺮﺍﺕ ﺯﻣﻨﻴﺔ ﻣﻨﺘﻈﺮﺓ"‪.2‬‬

‫ﻓﺈﺫﺍ ﺗﺘﺒﻌﻨﺎ ﻣﻌﺎﱂ ﺍﻟﻘﺎﻓﻴﺔ ﰲ ﺍﻟﻘﺼﻴﺪﺓ ﺍﻟﱵ ﺑﲔ ﺃﻳﺪﻳﻨﺎ ﻭﺟﺪﻧﺎﻫﺎ ﻣﺘﺤﺪﺓ ﺍﻟﺮﻭﻱ ﺍﻟـﺬﻱ ﻭﺭﺩ ﺩﺍﻟﻴـﺎ‪،‬‬
‫ﻭ ﺍﻟﺪﺍﻝ ﻛﻤﺎ ﻣﻌﺮﻭﻑ ﻣﻦ ﺍﻷﺻﻮﺍﺕ ﺍ‪‬ﻬﻮﺭﺓ‪ ،‬ﻭ ﺍﻟﱵ ﲢﻤﻞ ﺩﻻﻻﺕ ﺗﺘﻨﺎﺳﺐ‪ ،‬ﻭ ﺩﻻﻻﺕ ﺍﻟـﻨﺺ ﰲ‬
‫ﺍﻟﺮﺛﺎﺀ ﻭ ﻛﺬﺍ ﺍﻻﻋﺘﺰﺍﺯ ﺑﺎﻷﳎﺎﺩ ﻭ ﺍﻟﻔﺨﺮ ‪‬ﻢ‪.‬‬

‫ﻓﺤﺴـﺎﻥ ﺑﻦ ﺛﺎﺑـﺖ ﻳﻌﱪ ﻣﻦ ﺧﻼﻝ ﻣﺮﺛﻴﺘﻪ ﻋﻠﻰ ﺍﻋﺘﺰﺍﺯﻩ ﻭ ﻓﺨﺮﻩ ﺑﺎﻟﺮﺳﻮﻝ ﺻﻠـﻰ ﺍﷲ ﻋﻠﻴـﻪ‬
‫ﻭ ﺳﻠﻢ‪ ،‬ﻭ ﻳﻌﺪﺩ ﻣﻨﺎﻗﺒﻪ‪ ،‬ﻓﺎﻻﻟﻔﺎﻅ ﺍﻵﺗﻴﺔ ﺗﻌﱪ ﺑﻘﻮﺓ ﻋﻦ ﺫﻟﻚ ) ﺍﺳﻌﺪ‪ ،‬ﳏﻤﺪ‪ ،‬ﺃﺟـﻮﺩ‪ ،‬ﻳﺮﺷﺪ‪ ،‬ﳑﺠﺪ(‬
‫ﻭ ﻟﻘﺪ ﺭﺩﺩ ﺍﻟﺮﻭﻱ )‪ (46‬ﻣﺮﺓ ﻋﻠﻰ ﺍﻟﺘﻮﺍﱄ‪ ،‬ﻓﻠﺬﻟﻚ ﺟﺎﺀﺕ ﺍﻟﻘﺎﻓﻴﺔ ﻣﻄﻠﻘﺔ‪.‬‬

‫ﺃﺛﺮ ﺗﻜﺮﺍﺭ ﺍﻟﺮﻭﻱ ﰲ ﺍﻟﻘﺼﻴﺪﺓ‪ :‬ﺗﻜﺮﺭ ﺻﻮﺕ ﺍﻟﺪﺍﻝ ﰲ ﺍﻟﻨﺺ ﺣﻮﺍﱄ ‪ 70‬ﻣـﺮﺓ ﻣـﻦ ﻫـﺎ ‪46‬‬
‫ﻛﺮﻭﻱ‪ ،‬ﺃﻱ ﺑﻨﺴﺒﺔ ‪ ،%5,04‬ﺍﻱ ﻳﻌﲏ ﻫﺬﺍ ﺍﻥ ﺍﻟﺼﻮﺕ ﻳﻠﻘﻲ ﺑﻀﻼﻟﻪ ﻋﻠﻰ ﺍﳋﻄﺎﺏ‪ ،‬ﻭ ﳓﻦ ﻧﻌﻠﻢ ﺃﻥ‬
‫ﺍﻟﺸﺎﻋﺮ ﺇﺫﺍ ﺍﺧﺘﺎﺭ ﺭﻭﻳﺎ ﻟﻘﺼﻴﺪﺗﻪ ﱂ ﻳﺰﻝ ﻫﺬﺍ ﺍﻟﺼﻮﺕ ﻋﺎﻟﻘﺎ ﺑﺬﻫﻨﻪ‪ ،‬ﻣﺘﺮﺩﺩﺍ ﻋﻠﻰ ﻟﺴﺎﻧﻪ‪ ،‬ﺑﻘﺼﺪ ﺃﻭ ﻋﻦ‬
‫ﻏﲑ ﻗﺼﺪ ﻭ ﻟﻌﻞ ﳍﺬﺍ ﺃﺛﺮ ﰲ ﺍﳌﺘﻠﻘﻲ ﺍﻟﺬﻱ ﻳﻌﺘﺮﺿﻪ ﻫﺬﺍ ﺍﻟﺼﻮﺕ ﳏﻤﻼ ﺑﺘﻠﻚ ﺍﻹﳛـﺎﺀﺍﺕ‪ ،‬ﻭ ﻫـﺬﺍ‬
‫ﺍﳊﺮﺏ ﳛﻤﻞ ﺩﻻﻟﺔ ﺗﺘﻨﺎﺳﺐ ﻭ ﺩﻻﻟﺔ ﺍﻟﻨﺺ ﰲ ﺍﻟﺮﺛﺎﺀ ﻭ ﻛﺬﺍ ﺍﻻﻋﺘﺰﺍﺯ ﺑﺎﻷﳎﺎﺩ ﻭ ﺍﻟﻔﺨﺮ ‪‬ﻢ‪.‬‬

‫‪ ‬ﺍﻟﺘﺼﺮﻳﻊ‪:‬‬

‫‪1‬‬
‫ﺍﺑﻦ ﺭﺷﻴﻖ ﺍﻟﻘﲑﻭﺍﱐ‪ ،‬ﺍﻟﻌﻤﺪﺓ‪ ،‬ﲢﻘﻴﻖ ﺩ‪ .‬ﳏﻤﺪ ﻗﺮﻗﺰﺍﻥ‪ ،‬ﺩﺍﺭ ﺍﳌﻌﺮﻓﺔ‪ ،‬ﺑﲑﻭﺕ‪ ،‬ﻁ ‪1988 ، 1‬ﻡ‪ ،‬ﺝ‪ ،1‬ﺹ ‪.150‬‬
‫‪2‬‬
‫ﳏﻤﻮﺩ ﺳﻠﻴﻤﺎﻥ ﻳﺎﻗﻮﺕ‪ ،‬ﻋﻠﻢ ﺍﳉﻤﺎﻝ ﺍﻟﻠﻐﻮﻱ‪ ،‬ﺩﺍﺭ ﺍﳌﻌﺮﻓﺔ ﺍﳉﺎﻣﻌﻴﺔ‪ ) ،‬ﺩ‪ ،‬ﻁ ()ﺩ‪،‬ﺕ(‪1996 ،‬ﻡ ‪ ،‬ﺹ ‪.242‬‬

‫‪-26-‬‬
‫ﺩﺭﺍﺳﺔ ﺗﻄﺒﻴﻘﻴﺔ ﻟﻠﻤﺴﺘﻮﻳﺎﺕ ﺍﻟﻠﻐﻮﻳﺔ ﰲ ﺍﻟﻘﺼﻴﺪﺓ‬ ‫ﺍﳌﺒﺤﺚ ﺍﻟﺜﺎﱐ‪:‬‬

‫ﻳﻌﺪ ﻣﻦ ﺍﻷﻣﻮﺭ ﺍﻟﱵ ﺷﺪﺕ ﺍﻧﺘﺒﺎﻩ ﻧﻘﺎﺩﻧﺎ ﺍﻟﻘﺪﺍﻣﻰ ﻓﺎﻋﺘﱪﻭﻫﺎ ﺿﺮﻭﺭﺓ ﺫﻟﻚ ﺃﻧﻪ ﻣـﺬﻫﺐ ﺣـﺬﺍﻕ‬
‫ﺍﻟﺸﻌﺮﺍﺀ ﺍﳌﻄﺒﻮﻋﲔ ﳑﻦ ﻻ ﺑﺪ ﻣﻦ ﺍﺗﺒﺎﻉ ﺳﻨﻨﻬﻢ ﻭ ﺍﻟﻨﺴﺞ ﻋﻠﻰ ﻣﻨﻮﺍﻟﻪ‪.‬‬

‫ﻭ ﺍﻟﺘﺼﺮﻳﻊ" ﻣﺎ ﻛﺎﻧﺖ ﻋﺮﻭﺽ ﺍﻟﺒﻴﺖ ﻓﻴﻪ ﺗﺎﺑﻌﺔ ﻟﻀﺮﺑﻪ‪ :‬ﺗﻨﻘﺺ ﺑﻨﻘﺼﻪ ﻭ ﺗﺰﻳﺪ ﺑﺰﻳﺎﺩﺗـﻪ"‪ ،1‬ﻭ ﻻ‬
‫ﻳﻜﻮﻥ ﺇﻻ ﰲ ﺍﳌﻄﻠﻊ ‪ ،‬ﻓﻴﻌﺮﻑ ﺑﻪ ﻗﺒﻞ ﲤﺎﻡ ﺍﻟﺒﻴﺖ ﺭﻭﻱ ﺍﻟﻘﺼﻴﺪﺓ ﻭ ﻗﺎﻓﻴﺘﻬﺎ‪ ،‬ﻭ ﻟﻪ ﻓﻀﻴﻠﺔ ﺃﺧﺮﻯ ﳌﺎ ﻓﻴﻬﺎ‬
‫ﻣﻦ ﻧﻐﻢ ﳛﺪﺙ ﰲ ﺃﺫﻥ ﺍﳌﺘﻠﻘﻲ ﻣﺎ ﻳﺸﺪ ﺍﻧﺘﺒﺎﻫﻪ‪ ،‬ﻓﻴﺪﺧﻞ ﰲ ﻋﺎﱂ ﺍﻟﻘﺼﻴﺪﺓ ﺃﻭﻝ ﻭﻫﻠﺔ ﻣﺴﺘﺴـﻠﻤﺎ ﻻﻱ‬
‫ﺗﺄﺛﲑ ﺗﺘﻐﻴﺎﻩ‪.‬‬

‫ﻭ ﺧﻼﺻﺔ ﺍﻟﻘﻮﻝ ﻫﻮ ﺍﻥ ﺍﻟﺘﺼﺮﻳﻊ ﻫﻮ ﺗﻮﺍﻓﻖ ﺍﻟﻔﺎﺻﻠﺘﲔ ﰲ ﺑﻴـﺖ ﺍﻟﺸـﻌﺮ ﺍﻟﻮﺍﺣـﺪ ﺑﻔﺎﺻـﻠﺘﲔ‬

‫ﻣﺘﺸﺎ‪‬ﺘﲔ‪ ،‬ﻭ ﺃﻛﱪ ﺍﻟﻈﻦ " ﺃﻥ ﺍﻟﺸﺎﻋﺮ ﻻ ﻳﻌﻤﺪ ﺇﱃ ﺍﻟﺘﺼﺮﻳﻊ ﰲ ﺷﻌﺮﻩ ﻋﻤﺎﺩ‪ ،‬ﻭ ﺇﳕﺎ ﺗﺄﺗﻴـﻪ ﺍﳉﻤﻠـﺔ‬
‫ﺍﳌﻮﺳﻴﻘﻴﺔ ﺍﻷﻭﱃ ) ﺍﻟﺸﻄﺮ ﺍﻷﻭﻝ(‪ ،‬ﻋﻠـﻰ ﺿـﺮﺏ ﻣﻌﲔ‪ ،‬ﻓﻴﻠﺤﻖ ﺑﻪ ﺍﻟﻌـﺮﻭﺽ ﻭﺯﻧﺎ ﻭ ﺗﻘﻔﻴـﻪ"‪،2‬‬
‫ﻋﻠﻰ ﺃﻥ ﻻ ﻳﻜـﻮﻥ ﺫﻟﻚ ﻋﻠـﻰ ﺣﺴـﺎﺏ ﺍﳌﻌﲎ‪ ،‬ﻭ ﺇﻻ ﺟﺎﺀﺕ ﺍﻟﻘﺼﻴﺪﺓ ﺑﺎﻫﺘﺔ ﺟﺎﻓﺔ ﻟﻈﻬﻮﺭ ﺍﻟﺼﻨﻌﺔ‬
‫ﻭ ﺍﻟﺘﻜﻠﻒ ﺍﻟﺬﻱ ﳜﻨﻖ ﺍﻟﻌﺎﻃﻔﺔ‪ ،‬ﻭ ﳝﻨﺢ ﺍﻟﻌﻘﻞ ﻣﺴﺎﺣﺔ ﻣﻦ ﺣﻘﻪ‪ ،‬ﻳﻘﻮﻝ ﺍﻟﺸﺎﻋﺮ ﺣﺴﺎﻥ ﺑﻦ ﺛﺎﺑﺖ‪:‬‬

‫ﻣﻨﲑ ﻭ ﻗﺪ ﺗﻌﻔﻮ ﺍﻟﺮﺳﻮﻡ ﻭ ‪‬ﻤﺪ‬ ‫ﺑﻄﻴﺒﺔ ﺭﺳﻢ ﻟﺮﺳﻮﻝ ﻭ ﻣﻌﻬﺪ‬

‫ﻳﺘﺠﻠﻰ ﺍﻟﺘﺼﺮﻳﻊ ﰲ ﺍﺧﺘﺘﺎﻡ ﻣﺼﺮﺍﻋﻲ ﺍﻟﺒﻴﺖ ﺍﻷﻭﻝ ﻣﻦ ﺍﻟﻘﺼـﻴﺪﺓ ﲟﻘﻄـﻊ ﺻـﻮﰐ ﻭﺍﺣـﺪ‪،‬‬
‫ﻓﺎﻟﻌﺮﻭﺽ ﻭ ﺍﻟﻀﺮﺏ ﻛﻼﳘﺎ ﻋﻠﻰ ﻭﺯﻥ ) ﻣﻔﺎﻋﻠﻦ( ) ﻭ ﻣﻌﻬﺪﻭ = ﻭ ‪‬ﻤﺪﻭ(‪ ،‬ﻓﻤﻊ ﺍﺗﻔـﺎﻕ ﰲ ﺍﳌـﺪ‬
‫ﺍﳌﻨﺎﺳﺐ ﻟﻠﺘﺄﻭﻩ ﺣﺰﻧﺎ ﻭ ﳍﻔﺔ ﰲ ﺻﻮﺕ ﺍﻟﺪﺍﻝ ﻭ ﻫﻮ ﺻـﻮﺕ ﺷـﺪﻳﺪ ﻭ ﻣﻬﺠﻮﻝ ﻣﻨﻔﺘﺢ ﻭ ﻫﻮ ﻣـﺎ‬
‫ﻳﺘﻨﺎﺳﺐ ﻣﻊ ﺭﺛﺎﺀ ﺍﻟﺸﺎﻋﺮ‪.‬‬

‫ﺏ‪ /‬ﺍﻹﻳﻘﺎﻉ ﺍﻟﺪﺍﺧﻠﻲ ﻟﻠﻘﺼﻴﺪﺓ‪:‬‬

‫‪ 1‬ﺍﺑﻦ ﺭﺷﻴﻖ ﺍﻟﻘﲑﻭﺍﱐ‪ ،‬ﺍﳌﺮﺟﻊ ﺍﻟﺴﺎﺑﻖ‪ ،‬ﺹ ‪.149‬‬

‫‪ 2‬ﳏﻤﺪ ﺍﻟﻌﺒﺪ‪ :‬ﺍﺑﺪﺍﻉ ﺍﻟﺪﻻﻟﺔ ﰲ ﺍﻟﺸﻌﺮ ﺍﳉﺎﻫﻠﻲ‪ ،‬ﺩﺍﺭ ﺍﳌﻌﺎﺭﻑ‪ ،‬ﺍﻟﻘﺎﻫﺮﺓ‪ ،‬ﻣﺼﺮ‪ ،‬ﻁ‪ ،1988/1‬ﺹ ‪.42‬‬

‫‪-27-‬‬
‫ﺩﺭﺍﺳﺔ ﺗﻄﺒﻴﻘﻴﺔ ﻟﻠﻤﺴﺘﻮﻳﺎﺕ ﺍﻟﻠﻐﻮﻳﺔ ﰲ ﺍﻟﻘﺼﻴﺪﺓ‬ ‫ﺍﳌﺒﺤﺚ ﺍﻟﺜﺎﱐ‪:‬‬

‫ﺇﻥ ﻣﻮﺳﻴﻘﻰ ﺍﻟﺸﻌﺮ ﻻ ﺗﻨﺤﺼﺮ ﰲ ﺍﻻﻳﻘﺎﻉ ﺍﳋﺎﺭﺟﻲ ﻓﺤﺴﺐ‪ ،‬ﺑﻞ ﺗﺘﻌﺪﺍﻩ ﻏﻠﻰ ﺍﻳﻘـﺎﻉ ﻣﻮﺳـﻴﻘﻲ‬
‫ﺧﻔﻲ ﻭ ﻫﻮ ﻣﻌﺮﻭﻑ ﺑﺎﻹﻳﻘﺎﻉ ﺍﻟﺪﺍﺧﻠﻲ‪ ،‬ﻭ ﻳﻌﺪ ﺟﺰﺀﺍ ﻣﻦ ﺍﻟﺪﺭﺍﺳﺔ ﺍﻟﺼـﻮﺗﻴﺔ ﻳﺘﻤﺜـﻞ ﰲ ) ﺫﻟـﻚ‬
‫ﺍﻻﻧﺴﺠﺎﻡ ﻭ ﺍﻟﺘﻮﺍﻓﻖ ﺑﲔ ﻋﻨﺎﺻﺮ ﺍﻷﺻﻮﺍﺕ ﰲ ﻛﻠﻤﺔ ﻭ ﺑﲔ ﺍﻟﻜﻠﻤﺎﺕ ﺩﺍﺧﻞ ﺍﻟﺘﺮﻛﻴﺐ‪.1‬‬

‫ﻛﻤﺎ ﺃﻧﻪ ) ‪ ...‬ﺗﺮﺟﻴﻊ ﻣﻨﻈﻢ ﰲ ﺣﺮﻭﻑ ﺍﻟﻜﻠﻤﺎﺕ ﺩﺍﺧﻞ ﺍﻟﺒﻴﺖ ﺍﻟﻮﺍﺣﺪ ﺃﻭ ﺍﻷﺑﻴـﺎﺕ ﻭ ﺗﻜـﻮﻥ‬
‫ﺩﺍﺧﻞ ﺍﻟﺘﺮﻛﻴﺐ ﻣﺘﻨﺎﻏﻤﺔ ﻭ ﺧﺎﺿﻌﺔ ﻟﺘﻨﺴﻴﻖ ﻣﻨﻈﻢ(‪.2‬‬

‫ﻭ ﻻ ﺗﺘﻮﻟﺪ ﺍﳌﻮﺳﻴﻘﻰ ﻋﻦ ﺍﻟﻮﺯﻥ ﻓﻘﻂ‪ ،‬ﺑﻞ ﺗﻨﺘﺞ ﻋﻦ ﻋﻼﻗﺎﺕ ﺍﻻﻟﻔﺎﻅ ﻣﻦ ﺍﻟﻨﺎﺣﻴﺔ ﺍﻟﺼـﻮﺗﻴﺔ‪ ،‬ﻭ ﻻ‬
‫ﳝﻜﻦ ﻓﺼﻞ ﺍﳌﻮﺳﻴﻘﻰ ﺍﻟﻠﻐﻮﻳﺔ ﻋﻦ ﺍﻟﻮﺍﻥ ﺍﳌﻮﺳﻴﻘﻰ ﺍﻷﺧﺮﻯ ﻟﻠﻌﻤﻞ ﺍﻟﺸﻌﺮﻱ‪ ،‬ﰲ ﺍﻛﺘﻤﺎﻝ ﺍﻹﻳﻘﺎﻉ ﺍﻟﺬﻱ‬
‫ﻳﺴﻴﻄﺮ ﻋﻠﻰ ﺍﻟﺸﺎﻋﺮ ﻓﻴﺪﻝ ﺗﺸﻜﻴﻞ ﺍﻟﻌﻤﻞ ﺍﻟﺸﻌﺮﻱ‪.‬‬

‫ﺃ‪ /‬ﺍﻹﻳﻘﺎﻉ ﻋﻠﻰ ﻣﺴﺘﻮﻯ ﺍﻷﺻﻮﺍﺕ‪:‬‬

‫ﺃﻱ ﻧﺺ ﻳﺘﻜﻮﻥ ﻣﻦ ﲨﻠﺔ ﺃﺻﻮﺍﺕ ﳐﺘﻠﻔﺔ ﺍﻟﺘﺮﺩﺩ ﻭ ﻗﺪ ﲣﺘﻔﻲ ﺑﻌﺾ ﺍﻷﺻﻮﺍﺕ ﰲ ﺑﻌﺾ ﺍﻟﻨﺼﻮﺹ‪،‬‬
‫ﻓﻘﺪ ﺍﺷﺘﻤﻞ ﺍﻟﻨﺺ ﻋﻠﻰ ﻛﻞ ﺃﺻﻮﺍﺕ ﺍﻟﻠﻐﺔ ﺍﻟﻌﺮﺑﻴﺔ ﻓﺄﺩﺭﺟﻨﺎ ﺑﻌﺾ ﺍﻷﺻﻮﺍﺕ ﺍﻟﺒﺎﺭﺯﺓ ﺍﻟﱵ ﲤﺜـﻞ ﲰـﺔ‬
‫ﺃﺳﻠﻮﺑﻴﺔ ﺑﺎﺭﺯﺓ ﰲ ﺍﻟﻘﺼﻴﺪﺓ ﻭ ﻫﻨﺎﻙ ﺣﺮﻭﻑ ﺗﻜﺘﺐ ﻭ ﻻ ﺗﻨﻄﻖ ﻓﻬﻲ ﻻ ﺗﻘﻊ ﰲ ﺍﻟﺪﺭﺍﺳﺔ ﻟﻌﺪﻡ ﺗﺄﺛﲑﻫﺎ‬
‫ﰲ ﺍﳌﺘﻠﻘﻲ‪ ،‬ﻳﺆﻛﺪ ﺍﻹﺣﺼﺎﺀ ﺩﻻﻟﺔ ﺍﻷﺻﻮﺍﺕ ﰲ ﺍﻟﻨﺺ‪.‬‬

‫ﻭ ﻣﻦ ﻫﻨﺎ ﻳﻈﻬﺮ ﺃﻥ ﻟﻼﺻﻮﺍﺕ ﰲ ﺍﻟﻘﺼﻴﺪﺓ ﺃﳘﻴﺘﻬﺎ ﺍﻟﺒﺎﺭﺯﺓ ﻓﻬﻲ ﺑﺎﻹﺿﺎﻓﺔ ﺇﱃ ﺩﻻﻟﺘﻬﺎ ﺍﻟﱵ ﺗـﻮﺣﻲ‬
‫‪‬ﺎ ﺗﺼﻨﻊ ﺍﻟﻨﻐﻢ ﺍﻟﺸﻌﺮﻱ ﺑﻴﺤﺚ ﻳﺒﻘﻰ ﺍﳌﺘﻠﻘﻲ ﺩﺍﺋﻢ ﺍﻻﺗﺼﺎﻝ ﲟﺎ ﺗﻮﺣﻲ ﻟﻪ ﻫﺬﻩ ﺍﻻﺻﻮﺍﺕ ﻷ‪‬ﺎ ﲢﻤﻞ ﰲ‬
‫ﻃﻴﺎ‪‬ﺎ ﻗﻴﻤﺎ ﺩﻻﻟﻴﺔ ﻭ ﻣﻮﺳﻴﻘﻴﺔ ﺗﺆﺳﺲ ﺍﳋﻄﺎﺏ ﺍﻟﺸﻌﺮﻱ ﻭ ﺗﻀﻤﻦ ﻟﻪ ﺗﺪﺍﻭﻟﻪ ﺑﲔ ﻣﺘﻠﻘﻴﻪ‪ ،‬ﻭ ﺑﺎﻟﺘﺎﱄ ﻓﺈﻥ‬
‫ﺍﻟﻜﻮﻥ ﺍﻟﺸﻌﺮﻱ ﺍﻟﺬﻱ ﺗﺴﻴﻄﺮ ﻗﻮﺍﻧﻴﻨﻪ ﺍﻟﺪﺍﺧﻠﻴﺔ ﻋﻠﻰ ﺍﻟﻨﺺ ﺑﻜﻞ ﻣﻜﻮﻧﺎﺗﻪ ﻫﻮ ﺍﻟﺬﻱ ﻳﻨﺘﻘﻲ ﻣﺎ ﻳﻼﺋﻤـﻪ‬
‫ﻣﻦ ﺃﺻﻮﺍﺕ ﺗﻮﺣﻲ ﺑﺎﳌﺸﺎﻋﺮ ﺍﻟﱵ ﺗﺮﻗﺪ ﲢﺖ ﺫﻟﻚ ﺍﻟﺒﻨﺎﺀ‪.3‬‬

‫‪1‬‬
‫ﺍﳉﺎﺣﻆ ﺍﺑﻮ ﻋﻤﺮﻭ ﻋﺜﻤﺎﻥ‪ ،‬ﺍﻟﺒﻴﺎﻥ ﻭ ﺍﻟﺘﺒﻴﲔ‪ ،‬ﺩﺍﺭ ﺍﳉﻴﻞ‪ ،‬ﺑﲑﻭﺕ‪ ،‬ﻟﺒﻨﺎﻥ‪) ،‬ﺩ‪،‬ﻁ(‪) ،‬ﺩ‪،‬ﺕ(‪ ،‬ﺹ ‪.196‬‬
‫‪ 2‬ﻋﺒﺪ ﺍﻟﻘﺎﺩﺭ ﺍﻟﺮﺑﺎﻋﻲ‪ ،‬ﺍﻟﺼﻮﺭﺓ ﺍﻟﻔﻨﻴﺔ ﰲ ﺷﻌﺮ ﺃﰊ ﲤﺎﻡ‪ ،‬ﺟﺎﻣﻌﺔ ﺍﻟﲑﻣﻮﻙ ﻟﻠﺪﺭﺍﺳﺎﺕ ﺍﻷﺩﺑﻴﺔ ﻭ ﺍﻟﻠﻐﻮﻳﺔ‪ ،‬ﺍﻷﺭﺩﻥ‪ ،‬ﻁ‪ ،1980/1‬ﺹ ‪.255‬‬
‫ﺳﻠﻴﻤﺎﻥ ﺑﻦ ﲰﻌﻮﻥ‪ ،‬ﲢﻠﻴﻞ ﺃﺳﻠﻮﰊ ﻟﻘﺼﻴﺪﺓ ﺭﺅﻳﺎ ﻷﺩﻭﻧﻴﺲ ﻣﺎﺟﻴﺴﺘﲑ ﰲ ﺍﻷﺩﺏ ﺍﻟﻌﺮﰊ ‪ ،2004/2003‬ﺹ ‪43‬‬
‫‪3‬‬

‫‪-28-‬‬
‫ﺩﺭﺍﺳﺔ ﺗﻄﺒﻴﻘﻴﺔ ﻟﻠﻤﺴﺘﻮﻳﺎﺕ ﺍﻟﻠﻐﻮﻳﺔ ﰲ ﺍﻟﻘﺼﻴﺪﺓ‬ ‫ﺍﳌﺒﺤﺚ ﺍﻟﺜﺎﱐ‪:‬‬

‫ﺃ‪ /‬ﺍﻟﺘﻨﺎﻏﻢ ﺍﻟﺼﻮﰐ‪:‬‬

‫ﺗﺘﻀﻤﻦ ﺍﳌﺮﺛﻴﺔ ﻋﻠﻰ ﺗﻨﺎﻏﻢ ﺍﻷﺻﻮﺍﺕ ﺍﻟﻠﻐﻮﻳﺔ‪ ،‬ﻓﻠﻮ ﺗﺄﻣﻠﻨﺎﻫﺎ ﰲ ﻣﻄﻠﻌﻬﺎ‪:‬‬

‫ﻣﻨﲑ‪،‬ﻭ‪‬ﻗﹶﺪ‪ ‬ﺗ‪‬ﻌ‪‬ﻔﹸﻮ ﺍﻟﺮ‪‬ﺳ‪‬ﻮﻡ‪ ‬ﻭﺗ‪‬ﻬ‪‬ﻤ‪‬ـﺪ‪‬‬ ‫ﺑﹺـﻄﹶـﻴﺒ‪‬ﺔ َ ﺭﺳﻢ‪ ‬ﻟﻠﺮﺳﻮﻝﹺ ﻭﻣ‪‬ﻌ‪‬ﻬ‪‬ﺪ‪‬‬

‫‪‬ﺎ ﻣ‪‬ﻨ‪‬ﺒ‪‬ﺮ‪ ‬ﺍﳍﹶﺎﺩ‪‬ﻱ ﺍﻟﺬﱢﻱ ﻛﹶﺎﻥﹶ ﻳ‪‬ﺼ‪‬ﻌ‪‬ﺪ‪‬‬ ‫ﻭ‪‬ﻻﹶ ﺗ‪‬ﻨ‪‬ﻤ‪‬ﺤ‪‬ﻲ ﺍﻵﻳ‪‬ﺎﺕ‪ ‬ﻣ‪‬ﻦ‪ ‬ﺩ‪‬ﺍﺭﹺ ﺣ‪‬ﺮ‪‬ﻣ‪‬ﺔ ٍ‬

‫ﻓﻔﻲ ﺍﻷﻟﻔﺎﻅ ﺍﻵﺗﻴﺔ ﰲ ﺍﻟﺒﻴﺖ ﺍﻷﻭﻝ ) ﺭﺳﻢ‪ ،‬ﺍﻟﺮﺳﻮﻝ‪ ،‬ﺍﻟﺮﺳﻮﻡ( ﳒﺪ ﺃﻥ ﺣﺮﻑ "ﺍﻟﺴﻦ" ﳛﺪﺙ ﺻﻔﲑﺍ‪،‬‬
‫ﻳﻀﺎﻑ ﺇﻟﻴﻪ ﺣﺮﻑ ﺍﻟﺮﺍﺀ ﺍﻟﺬﻱ ﳒﺪﻩ ﰲ ﺍﻷﻣﺜﻠﺔ ﺍﻵﺗﻴﺔ ﻣﻦ ﺍﻟﺒﻴﺖ ﺍﻟﺜﺎﱐ‪ ) :‬ﺩﺍﺭ ﺣﺮﻣﺔ‪ ،‬ﻣﻨﱪ(‪ ،‬ﻓﺎﻟﺘﻨﺎﻏﻢ‬
‫ﺍﳊﺎﺻﻞ ﰲ ﺍﻷﻟﻔﺎﻅ ﺑﲔ ﺍﳊﺮﻓﲔ )ﺍﻟﺴﲔ ﻭ ﺍﻟﺮﺍﺀ( ﳜﻠﻖ ﻋﻠﻴﻬﺎ ﺟﻮﺍ ﳑﻴﺰﺍ ﺇﺫ ﻳﺼﺒﺢ ﺍﻗﺘـﺮﺍﻥ ﺃﻭ ﲡـﺎﻭﺯ‬
‫ﻫﺬﻳﻦ ﺍﳊﺮﻓﲔ ﻣﻊ ﺑﻌﻀﻬﻤﺎ ﺻﻮﺭﺓ ﻟﻠﺒﻌﺪ ﺍﻟﻨﻔﺴﻲ؛ ﻭ ﻣﻦ ﺧﻼﻝ ﺍﻷﻣﺜﻠﺔ ﺍﻟﱵ ﺃﻭﺭﺩﻧﺎﻫـﺎ ﻧﺴـﺘﻄﻴﻊ ﺃﻥ‬
‫ﻧﺴﺘﻘﺮﺉ ﺫﺍﺕ ﺍﻟﺸﺎﻋﺮ ﰲ ﺍﻧﻔﻌﺎﻻ‪‬ﺎ ﻭ ﻋﻮﺍﻃﻔﻬﺎ ﺑﻜﻞ ﻣﺎ ﲢﻤﻞ ﰲ ﺻﻮﺭﺓ ﺍﳊﺰﻥ ﻭ ﺍﻷﱂ‪ ،‬ﻛﻤﺎ ﻧﻠﺤـﻆ‬
‫ﰲ ﻫﺬﻩ ﺍﳌﺮﺛﻴﺔ ﻣﻮﺍﺟﻊ ﺍﻟﻌﺰﻟﺔ ﻭ ﺍﻟﺒﻜﺎﺀ ﺣﲔ ﻳﻨﺒﺜﻖ ﻟﻨﺎ ﺍﻹﺣﺴﺎﺱ ﻣﻦ ﺫﻟﻚ ﺍﻟﺼﻮﺕ ﺍﳌﺘﻘﻄﻊ‪ ،‬ﺃﻭ ﺗﻠـﻚ‬
‫ﺍﳌﺸﺎﻋﺮ ﺍﳊﺰﻳﻨﺔ ﻭ ﺍﻟﻌﺒﺎﺭﺍﺕ ﺍﻟﻐﺰﻳﺮﺓ ﺍﻟﱵ ﲤﺘﺰﺝ ﺑﺬﻛﺮﻳﺎﺕ ﺍﻟﺸﻌﺮﺍﺀ ﺍﳌﺪﻓﻮﻧﺔ ﺑﲔ ﺍﻷﻃﻼﻝ‪ ،‬ﻓﺘﺘﺤﻮﻟﻪ ﺗﻠﻚ‬
‫ﺍﻷﺻﻮﺍﺕ ) ﺍ‪‬ﻬﻮﺭﺓ‪ ،‬ﻭ ﺍﳌﻬﻤﻮﺳﺔ ﻭ ﺍﻟﺼﺤﻴﺤﺔ ﻭ ﺍﳌﻤﺪﻭﺩﺓ‪ (... ،‬ﺇﱃ ﻧﺒﻀﺎﺕ ﻣﺘﻮﺟـﺔ ﻭ ﺯﻓـﺮﺍﺕ‬
‫ﳏﺮﻗﺔ‪ ،‬ﻛﻤﺎ ﺗﺴﺘﺤﻴﻞ ﺗﻠﻚ ﺍﳌﻘﺎﻃﻊ ) ﺍﻟﻄﻮﻳﻠﺔ ﻭ ﺍﻟﻘﺼﲑﺓ ﻭ ﺍﳌﻨﺒﻮﺭﺓ ﻭ ﻏﲑ ﺍﳌﻨﺒـﻮﺭﺓ ‪ ( ...‬ﺇﱃ ﺯﻭﺍﻳـﺎ‬
‫ﻋﻤﻴﻘﺔ ﰲ ﻭﺟﺪﺍﻥ ﺍﻟﺸﺎﻋﺮ ﺗﺘﺠﻤﻊ ﻓﻴﻬﺎ ﻛﻞ ﺍﺻـﻮﺍﺕ ﺍﳌـﺎﺿﻲ‪ ،‬ﻭ ﳘﻮﻡ ﺍﳊﺎﺿﺮ‪ ،‬ﻓﺎﺟﺘﻤﺎﻉ ﺍﻟﻄﻮﻳﻞ‬
‫ﻭ ﺍﻟﻨﱪ ﰲ ﻛﻠﻤﺎﺕ ﻣﺸﺤﻮﻧﺔ ﺩﺍﺧﻞ ﺳﻴﺎﻗﻬﺎ ﺑﺎﻷﺳﻰ ﻭ ﺍﳊﲑﺓ‪ ،‬ﻓﺎﻟﻜﻠﻤﺎﺕ ) ﻃﻴﺒﺔ ﻭ ﻣﻌﻬﺪ(‪ ) ،‬ﺭﺳﻮﻝ‪،‬‬
‫ﻣﻨﲑ‪ ،‬ﺭﺳﻢ(‪ ،‬ﻗﺪ ﺍﻛﺘﺴﺒﺖ ﺃﳘﻴﺔ ﻭﺟﺪﺍﻧﻴﺔ ﻭ ﺗﺄﻛﻴﺪﺍ ﻧﻔﺴﻴﺎ ﻋﻤﻴﻘﺎ ﺑﻔﻀﻞ ﻃﻮﻝ ﺍﳌﻘﻄـﺎﻉ )ﺳـﻮ( ﰲ‬
‫ﺭﺳﻮﻝ‪ ،‬ﻭ ) ﱐ( ﰲ ﻣﻨﲑ ﻭ ) ﺳﻮ( ﰲ ﺭﺳﻮﻡ‪ ،‬ﻭ ﻭﻗﻮﻉ ﺍﻟﻨﱪ ﺍﻟﻠﻐﻮﻱ ﺑﻌﺪﻫﺎ ﻋﻠﻰ ﺍﻟﺘﻮﺍﱄ‪ :‬ﺍﻟﻼﻡ‪ ،‬ﺍﻟﺮﺍﺀ‪،‬‬
‫ﺍﳌﻴﻢ‪ ،‬ﺍﻱ ﻋﻠﻰ ﻣﻘﻄﻊ ﻗﺼﲑ‪ ،‬ﻣﻨﺢ ﺍﻟﺸﺎﻋﺮ ﻗﺪﺭﺓ ﰲ ﺃﻥ ﻳﻠﺘﻤﺲ ﰲ ﺃﻋﻤﺎﻗﻪ ﺻﻮﺗﺎ ﻳﺄﻧﺲ ﻋﻠﻴﻪ ﻭ ﻳﻄﻤﺌﻦ‪،‬‬
‫ﻭﺃﻥ ﺫﻛﺮﻳﺎﺗﻪ ﺃﺻﺒﺤﺖ ﳍﺎ ﺍﻟﻘﺪﺭﺓ ﻋﻠﻰ ﺍﳊﺪﻳﺚ ﰲ ﻧﻔﺴﻴﺔ ﺍﻟﺸﺎﻋﺮ‪.‬‬

‫‪-29-‬‬
‫ﺩﺭﺍﺳﺔ ﺗﻄﺒﻴﻘﻴﺔ ﻟﻠﻤﺴﺘﻮﻳﺎﺕ ﺍﻟﻠﻐﻮﻳﺔ ﰲ ﺍﻟﻘﺼﻴﺪﺓ‬ ‫ﺍﳌﺒﺤﺚ ﺍﻟﺜﺎﱐ‪:‬‬

‫ﺍﻟﺘﺬﻭﻕ ﺍﻟﻮﺟﺪﺍﱐ ﳌﺪﻟﻮﻻﺕ ﺍﻟﺘﻌﺒﲑ ﺍﻟﱵ ﻧﺴﺘﻨﻄﻘﻬﺎ ﲡﻌﻞ ﺍﻟﻘﺼﺪ ) ﺑﻄﻴﺒﺔ ﺭﺳﻢ ﻟﻠﺮﺳﻮﻝ ﻭﻣﻌﻬﺪ(‪،‬‬
‫ﻫﻲ ﺇﺷﺎﺭﺓ ﺇﱃ ﺍﻟﺮﺳﻮﻡ ﻷ‪‬ﺎ ﺗﺴﺘﻘﺮ ﰲ ﺍﻟﻨﻔﺲ ﲟﺎ ﲢﻤﻠﻪ ﻣﻦ ﺩﻻﻻﺕ ﻭ ﺇﳛﺎﺀﺍﺕ‪ ،‬ﻓﺈﻥ ﺗﻐـﲑﺕ ﻫـﺬﻩ‬
‫ﺍﻟﺮﺳﻮﻡ ﺃﻭ ﺗﺒﺪﻟﺖ ﺗﺒﻘﻰ ﺍﳌﻌﺎﱐ ﻭ ﺍﻷﺣﺎﺳﻴﺲ ﺣﻴﺔ ﻣﺘﺮﺗﺒﺔ ﻋﻦ ﻫﺬﺍ ﺍﻟﺘﺒﺪﻝ‪.1‬‬

‫‪ ‬ﺍﻟﺘﻜﺮﺍﺭ‪:‬‬
‫ﺍﻟﺘﻜﺮﺍﺭ ﰲ ﺍﻟﺸﻌﺮ ﻳﻜﺎﺩ ﻳﺮﺗﺒﻂ ﺍﺭﺗﺒﺎﻃﺎ ﻭﺛﻴﻘﺎ ﲝﺮﺹ ﺍﻟﺸﺎﻋﺮ ﻋﻠﻰ ﺃﻣﺮ ﻣﻬﻢ ﻭ ﻫﻮ ﺗﺒﻠﻴﻎ ﺭﺳﺎﻟﺘﻪ ﻋﻦ‬
‫ﻃﺮﻳﻖ ﺫﻟﻚ ﺍﻟﺘﻨﻐﻴﻢ ﺍﻟﺼﻮﰐ ﺍﳌﺘﻤﺜﻞ ﰲ ﺇﻋﺎﺩﺓ ﺍﻟﻠﻔﻈﺔ ﺃﻳﺎ ﻛﺎﻧﺖ‪ ،‬ﻭ ﺍﻟﺘﻜﺮﺍﺭ ﰲ ﺍﻟﻠﻐﺔ ﻫﻮ " ﻣﺼﺪﺭ ﻛﺮﺭ‬
‫ﺇﺫﺍ ﺭﺩﺩ ﻭ ﺃﻋﺎﺩ ﻳﻘﺎﻝ ﻛﺮﺭ ﺍﻟﺸﻲﺀ ﺗﻜﺮﻳﺮﺍ‪ ،‬ﻭ ﺗﻜﺮﺍﺭﺍ‪ :‬ﺃﻋﺎﺩﻩ ﻣﺮﺓ ﺑﻌﺪ ﺃﺧﺮﻯ"‪ ،2‬ﻭ ﺍﺻﻄﻼﺣﺎ ﻫﻮ‪" :‬‬
‫ﺃﻥ ﻳﻜﺮﺭ ﺍﳌﺘﻜﻠﻢ ﺍﻟﻠﻔﻈﺔ ﺍﻟﻮﺍﺣﺪﺓ ﺑﺎﻟﻠﻔﻆ ﻭ ﺍﳌﻌﲎ ﻭ ﺍﳌﺮﺍﺩ ﺑﺬﻟﻚ ﺗﺄﻛﻴﺪ ﺍﻟﻮﺻﻒ ﺃﻭ ﺍﳌﺪﺡ ﺃﻭ ﺍﻟﺬﻡ ﺃﻭ‬
‫ﺍﻟﺘﻬﻮﻳﻞ ﺃﻭ ﺍﻟﻮﻋﻴﺪ ﺃﻭ ﺍﻻﻧﻜﺎﺭ ﺃﻭ ﺍﻟﺘﻮﺑﻴﺦ ﺃﻭ ﺍﻻﺳﺘﻌﺎﺫ ﻟﻐﺮﺽ ﻣﻦ ﺍﻷﻏﺮﺍﺽ"‪.3‬‬
‫ﺇﻥ ﻟﻠﺘﻜﺮﺍﺭ ﻋﻨﺪ ﺣﺴﺎﻥ ﺑﻦ ﺛﺎﺑﺖ ﺩﻭﺭﺍ ﻛﺒﲑﺍ ﰲ ﻋﻜﺲ ﲡﺮﺑﺘﻪ ﺍﻻﻧﻔﻌﺎﻟﻴﺔ‪ ،‬ﺍﻟﱵ ﺷﻜﻠﻬﺎ‪ ،‬ﺑﻞ ﻳﻨﺒﻐﻲ‬
‫ﺃﻥ ﻳﻨﻈﺮ ﺇﻟﻴﻪ ﻋﻠﻰ ﺃﻧﻪ ﻭﺛﻴﻖ ﺍﻟﺼﻠﺔ ﺑﺎﳌﻌﲎ ﺍﻟﻌﺎﻡ‪ ،‬ﻓﺎﻟﺘﻜﺮﺍﺭ ﻋﻨﺼﺮ ﻓﻌﺎﻝ ﰲ ﺗﻜﻮﻳﻦ ﻗﺼﻴﺪﺓ ﺣﺴﺎﻥ ﺑـﻦ‬
‫ﺛﺎﺑﺖ‪ ،‬ﻓﻬﻮ ﻋﻨﺪﻣﺎ ﻳﺮﻛﺰ ﺍﻫﺘﻤﺎﻣﻪ ﻋﻠﻰ ﺍﺳﻢ ﻣﻌﲔ‪ ،‬ﳚﻌﻠﻪ ﺍﻟﻨﻘﻄﺔ " ﺍﳌﺮﻛﺰﻳﺔ"‪ ،‬ﺍﻟﱵ ﺗﺘﻤﺤـﻮﺭ ﺣﻮﳍـﺎ‬
‫ﺍﻟﻘﺼﻴﺪﺓ ﻛﻠﻬﺎ‪ ،‬ﻛﻤﺎ ﻓﻌﻞ ﰲ ﻗﺼﻴﺪﺗﻪ " ﺑﻄﻴﺒﺔ ﺭﺳـﻢ ﻟﻠـﺮﺳﻮﻝ"‪ ،‬ﺍﻟﱵ ﻛﺮﺭ ﻓﻴﻬﺎ ﺍﺳﻢ ﺍﻟﻌﻠﻢ "ﳏﻤﺪ‬
‫ﻭ ﻣﺮﺍﺩﻓﺎﺗﻪ"‪ ،‬ﻭ ﻟﻠﺘﻜﺮﺍﺭ ﰲ ﺷﻌﺮ ﺣﺴﺎﻥ ﺑﻦ ﺛﺎﺑﺖ ﺭﺿﻲ ﺍﷲ ﻋﻨﻪ ﲡﻠﻴﺎﺕ ﳐﺘﻠﻔﺔ ﻣﻨﻬﺎ‪:‬‬
‫ﻫﻮ ﺍﻟﺘﻜﺮﺍﺭ ﺍﻟﺬﻱ ﻳﺄﰐ ﻟﺮﺳﻢ ﺻﻮﺭﺓ‪ ،‬ﺍﻭ ﺗﺄﻛﻴﺪ ﻛﻠﻤﺔ ﺃﻭ ﻋﺒﺎﺭﺓ‪ ،‬ﺗﺘﻜﺮﺭ ﺩﺍﺋﻤﺎ ﰲ ﺍﻟﻘﺼﻴﺪﺓ‪ ،‬ﻭ ﻗﺪ‬
‫ﳝﺘﺪ ﻫﺬﺍ ﺍﻟﺘﻜﺮﺍﺭ ﻟﻴﺸﻤﻞ ﺑﻴﺘﲔ ﻣﺘﺘﺎﻟﲔ ﻭ ﺍﻟﻐﺮﺽ ﺍﻟﻌﺎﻡ ﻣﻨﻪ ﻫﻮ ﺇﺛﺎﺭﺓ ﺍﳌﺘﻠﻘﻲ ﻭ ﺗﻮﺟﻴـﻪ ﺫﻫﻨـﻪ ﳓـﻮ‬
‫ﺍﻟﺼﻮﺭﺓ ﺍﳌﺴﺘﺨﺼﺮﺓ‪ ،‬ﳋﻠﻖ ﻣﺎﻳﺴﻤﻰ ﳊﻈﺔ ﺍﻟﺘﻜﺜﻴﻒ ﺍﻟﺸﻌـﻮﺭﻱ‪ ،‬ﺃﻭ ﳊﻈـﺔ ﺍﻟﺘﻮﺍﻓـﻖ ﺍﻟﺸـﻌﻮﺭﻱ‬
‫ﺑﲔ ﺍﳌﺒﺪﻉ ﻭ ﺍﳌﺘﻠﻘﻲ‪ ،‬ﺳﻮﺍﺀ ﻛﺎﻥ ﻫﺬﺍ ﺍﻟﺘﻜﺮﺍﺭ ﰲ ﺑﺪﺍﻳﺔ ﺍﻟﻘﺼﻴﺪﺓ ﺃﻡ ﻭﺳﻄﻬﺎ ﺃﻡ ‪‬ﺎﻳﺘﻬﺎ‪ ،‬ﻭ ﻗﺪ ﺍﺳﺘﺨﺪﻡ‬
‫ﺣﺴﺎﻥ ﺑﻦ ﺛﺎﺑﺖ ﻫﺬﺍ ﺍﻟﺘﻜﺮﺍﺭ ﻟﻨﻘﻞ ﲡﺮﺑﺘﻪ ﺍﻟﺸﻌﻮﺭﻳﺔ‪ ،‬ﲜﻌﻞ ﺍﻟﻜﻠﻤﺔ ﻣﻜﺮﺭﺓ‪ ،‬ﺍﳌﻔﺘﺎﺡ ﺍﻷﺳﺎﺳﻲ ﻟﻠﻮﻟﻮﺝ‬
‫ﺇﱃ ﻋﺎﱂ ﺍﻟﻨﺺ ﺍﻟﺪﺍﺧﻠﻲ‪ ،‬ﻓﺎﻟﺸﺎﻋﺮ ﺗﺒﻌﺎ ﻟﺬﻟﻚ ﳜﺘﺎﺭ ﺍﻷﺳﻠﻮﺏ ﺍﻟﺬﻱ ﻳﻮﺍﻓﻖ ﻣﻮﻗﻔﻪ ﻭ ﻳﻨﺴـﺠﻢ ﻣﻌـﻪ؛‬
‫ﻟﻨﻘﻞ ﺇﺣﺴﺎﺳﻪ ﻋﱪ ﻣﺆﺷﺮﺍﺕ ﺗﻨﺒﺊ ﲝﺪﺙ ﳏﺪﺩ ﺃﻭ ﻣﻮﻗﻒ ﻣﻌﲔ‪.‬‬

‫‪ 1‬ﻳﻨﻈﺮ ﺍﻟﺪﻳﻮﺍﻥ‪ ،‬ﺹ ‪.55-54‬‬

‫ﺍﻟﻔﲑﻭﺯ ﺍﺑﺎﺩﻱ‪ ،‬ﻗﺎﻣﻮﺱ ﺍﶈﻴﻂ‪ ،‬ﻣﻄﺒﻌﺔ ﻣﺼﻄﻔﻰ ﺍﳉﻠﱯ‪ ،‬ﺍﻟﻘﺎﻫﺮﺓ‪ ،‬ﻣﺼﺮ‪ ،‬ﻁ‪ ،5‬ﺩ‪،‬ﺕ‪ ،‬ﺹ ‪.125‬‬
‫‪2‬‬

‫‪3‬‬
‫ﺍﺑﻦ ﺣﺠﺔ ﺍﳊﻤﻮﻱ‪ ،‬ﺧﺰﺍﻧﺔ ﺍﻷﺩﺏ ﻭ ﻏﺎﻳﺔ ﺍﻷﺩﺏ‪ ،‬ﺩﺍﺭ ﻣﻜﺘﺒﺔ ﺍﳍﻼﻝ‪ ،‬ﺑﲑﻭﺕ‪ ،‬ﻟﺒﻨﺎﻥ‪ ،‬ﺩ‪،‬ﻁ‪ ،‬ﺩ‪ ،‬ﺕ‪ ،‬ﺝ‪ ،1‬ﺹ ‪.361‬‬

‫‪-30-‬‬
‫ﺩﺭﺍﺳﺔ ﺗﻄﺒﻴﻘﻴﺔ ﻟﻠﻤﺴﺘﻮﻳﺎﺕ ﺍﻟﻠﻐﻮﻳﺔ ﰲ ﺍﻟﻘﺼﻴﺪﺓ‬ ‫ﺍﳌﺒﺤﺚ ﺍﻟﺜﺎﱐ‪:‬‬

‫ﺍﻟﺘﻜﺮﺍﺭ ﻋﻨﺼﺮ ﻓﻌﺎﻝ ﰲ ﺗﻜﻮﻳﻦ ﻫﺬﻩ ﺍﻟﻘﺼﻴﺪﺓ ﻋﻨﺪ ﺣﺴﺎﻥ ﺑﻦ ﺛﺎﺑﺖ‪ ،‬ﻓﻬﻮ ﻋﻨﺪﻣﺎ ﻳﺮﻛﺰ ﺍﻫﺘﻤﺎﻣـﻪ‬
‫ﻋﻠﻰ ﺍﺳﻢ ﻣﻌﲔ‪ ،‬ﳚﻌﻠﻪ ﺍﻟﻨﻘﻄﺔ " ﺍﳌﺮﻛﺰﻳﺔ" ﺍﻟﱵ ﺗﺘﻤﺤﻮﺭ ﺣﻮﳍﺎ ﺍﻟﻘﺼﻴﺪﺓ ﻛﻠﻬﺎ‪ ،‬ﻛﻤﺎ ﻓﻌـﻞ ﰲ ﻫـﺬﻩ‬
‫ﺍﻟﻘﺼﻴﺪﺓ ﺍﻟﱵ ﺗﻜﺮﺭ ﻓﻴﻪ ﺍﺳﻢ ﺍﻟﻌﻠﻢ "ﳏﻤﺪ ﻭ ﻣﺮﺍﺩﻓﺎﺗﻪ" ﺛﻼﺙ ﻋﺸﺮ ﻣﺮﺓ‪ ،‬ﻟﻘﺪ ﺍﺳﺘﻄﺎﻉ ﺍﻟﺸﺎﻋﺮ ﺃﻥ ﻳﻌﱪ‬
‫ﻣﻦ ﺧﻼﻝ ﺗﻜﺮﺍﺭ ﺍﻟﻼﺯﻣﺔ ﻋﻦ ﻣﻮﻗﻔﻪ ﺍﳊﺰﻳﻦ ﻟﻔﻘﺪﻩ ﺭﺳﻮﻝ ﺍﷲ ﺻﻠﻰ ﺍﷲ ﻋﻠﻴﻪ ﻭﺳﻠﻢ ﺑﺘﻈﺎﻓﺮﳎﻤﻮﻋﺔ ﻣﻦ‬
‫ﺍﻷﺻﻮﺍﺕ ﻭ ﺍﻟﺪﻭﺍﻝ ﺍﳌﺘﺪﺍﺧﻠﺔ‪ ،‬ﺍﻟﱵ ﺗﻌﱪ ﻋﻦ ﺭﻧﲔ ﺍﻟﺬﻛﺮﻱ ﻭ ﺗﺄﺛﲑﻫﺎ ﰲ ﻧﻔﺴﻪ ﲟﺎ ﺗﺒﺜﻪ ﻣـﻦ ﺩﻣـﻮﻉ‬
‫ﻭ ﺃﺷﺠﺎﻥ‪ ،‬ﻭ ﻫﺬﺍ ﻣﺎ ﺗﺒﺪﻱ ﻣﻦ ﻗﻮﻟﻪ‪ " :‬ﺃﺑﻜﻰ ﺍﻟﺮﺳﻮﻝ‪ ،‬ﺁﻻﺀ ﺍﻟﺮﺳﻮﻝ‪ ،‬ﻗﺪ ﺷﻐﻔﻬﺎ ﻓﻘﺪ ﺃﲪﺪ‪ ،‬ﺭﺯﻳـﺔ‬
‫ﻳﻮﻡ ﻣﺎﺕ ﻓﻴﻪ ﳏﻤﺪ‪ ،‬ﻓﺒﻜﻰ ﺭﺳﻮﻝ ﺍﷲ ﻳﺎ ﻋﲔ ﻋﱪﺓ‪ ،‬ﻣﺎ ﻓﻘﺪ ﺍﳌﺎﺿﻮﻥ‪ ،‬ﻣﺜﻞ ﳏﻤﺪ" ﺇﻥ ﻫﺬﺍ ﺍﻟﺘﻜﺮﺍﺭ ﱂ‬
‫ﻳﺸﻜﻞ ﻫﻨﺪﺳﺔ ﺇﻳﻘﺎﻋﻴﺔ ﻓﺤﺴﺐ‪ ،‬ﻭ ﺇﳕﺎ ﺷﻜﻞ ﺍﻳﻀﺎ ﻗﺎﻋﺪﺓ ﺑﻨﺎﺋﺔ ﺇﺫ ﺟﻌﻠﻪ ﺍﻟﺸﺎﻋﺮ ﻣﺘﺮﻛﺰﺍ ﺃﺳﺎﺳﻴﺎ ﻟﻜﻞ‬
‫ﺍﻻﺑﻴﺎﺕ ﺍﻟﺴﺎﺑﻘﺔ ﻭ ﺍﻟﻼﺣﻘﺔ‪ ،‬ﻓﺠﻌـﻞ ﲨﻴـﻊ ﺍﻷﺑﻴـﺎﺕ ﻋﻠﻰ ﺍﳌﺴﺘﻮﻯ ﺍﻟﺪﻻﱄ‪ ،‬ﺗﺪﻭﺭ ﰲ ﻓﻠﻚ ﺍﳊﺰﻥ‬
‫ﻭ ﺍﻟﺬﻛﺮﻯ ﻭ ﺍﻟﺸﻮﻕ‪ ،‬ﻭ ﻣﺎ ﺗﺜﲑﻩ ﻫﺬﻩ ﺍﻟﺬﻛﺮﻯ ﻣﻦ ﻣـﺂﺳﻲ ﻭ ﺃﺣﺰﺍﻥ‪ ،‬ﻭ ﺟﺴﺪ ﻫﺬﺍ ﺍﳌﻌﻦ ﻣﻦ ﺧﻼﻝ‬
‫ﺗﻜﺮﺍﺭﻩ ﰲ ﻣﻌﻈﻢ ﻣﻘﺎﻃﻌﻪ ﺍﻟﺸﻌﺮﻳﺔ ﺻﺮﺍﻋﺎ ﻋﻤﻴﻘﺎ‪.‬‬
‫‪-2‬ﺍﳌﺴﺘﻮﻯ ﺍﻟﺘﺮﻛﻴﱯ‪:‬‬
‫ﻫﺬﺍ ﺍﳉﺎﻧﺐ ﻳﺪﺭﺱ ﻛﻞ ﺍﻟﺘﺮﻛﻴﺐ ﻭ ﻃﺮﻳﻘﺔ ﺑﻨﺎﺋﻬﺎ ﺑﺒﻌﺾ ﻓﻬﻮ ﻛﻔﻴـﻞ ﺑﻜﺸـﻒ ﻣﺴـﺎﻓﺎﺕ‬
‫ﺍﻟﺘﺤﻮﻝ ﻣﻦ ﺍﻟﺪﺍﻝ ﺇﱃ ﺍﻟﺪﻻﻟﺔ ﻭ ﻳﺪﺭﺱ ﺃﺟﺰﺍﺀ ﺍﳉﻤﻠﺔ ﺑﻌﻀﻬﺎ ﺑﺒﻌﺾ ﻭ ﺃﺛﺮ ﻛﻞ ﺟﺰﺀ ﻓﻴﻬﺎ ﰲ ﺍﻵﺧﺮ ﻭ‬
‫ﻃﺮﻳﻘﺔ ﺍﻟﺮﺑﻂ ﺩﺍﺧﻞ ﺍﳉﻤﻠﺔ ‪ ،‬ﺑﻴﻨﻤﺎ ﻳﺪﺭﺱ ﺍﻟﻈـﻮﺍﻫﺮ ﺍﻷﺩﺑﻴـﺔ ﺍﻟﺴـﻤﺎﺕ ﺍﻷﺳـﻠﻮﺑﻴﺔ ﺍﳌﺘﻤﺜﻠـﺔ ﰲ‬
‫ﺍﻻﻧﺰﻳﺎﺣﺎﺕ‪:‬‬
‫ﺩﺭﺍﺳﺔ ﺍﳉﻤﻠﺔ‪:‬‬
‫ﻻﺷﻚ ﺃﻥ ﰲ ﺩﺭﺍﺳﺔ ﺍﳉﻤﻠﺔ ﺃﳘﻴﺔ ﻛﺒﲑﺓ ﻭﻓﺎﺋﺪﺓ ﻋﻈﻤﻰ" ﺍﺫ ﻳﻬﺎ ﻳﺘﻢ ﺍﻟﺘﻮﺍﺻﻞ ﻭﺍﻟﺘﻔﺎﻫﻢ ﻭﻟﻴﺲ‬
‫ﻫﻨﺎﻙ ﺧﻄﺎﺏ ﲟﺎ ﺩﻭﻥ ﺍﳉﻤﻠﺔ"‪ ،1‬ﻭﻟﻘﺪ ﺗﻌﺪﺩﺕ ﻣﻔﺎﻫﻴﻤﻬﺎ ﺑﺘﻌﺪﺩ ﺍﳌﻌﺎﻳﲑ ﻭﺍﻟﻀـﻮﺍﺑﻂ ﺍﳌﺘﺤﻜﻤـﺔ ﰲ‬
‫ﺫﻟﻚ‪،‬ﻛﺎﻟﺒﺴـﺎﻃﺔ ﻭﺍﻟﺘﺮﻛﻴﺐ )ﺑﺴﻴﻄﺔ ﻭﻣﺮﻛﺒﺔ (‪ ،‬ﻭﺍﻟﺘﺮﻛﻴﺐ ﺍﻟﺪﺍﺧﻠﻲ ﻟﻠﺠﻤﻠـﺔ )ﺍﲰﻴـﺔ‪ ،‬ﻓﻌﻠﻴـﺔ‪،‬‬
‫ﻭﺻﻔﻴﺔ‪ (... ،‬ﻭﺍﻻﺳﺘﻘﻼﻝ ﻭﻋﺪﻣﻪ ) ﺃﺻﻠﻴﺔ ﺗﺴﺘﻘﻞ ﺑﺬﺍ‪‬ﺎ ‪،‬ﻭﻓﺮﻋﻴﺔ ﺗﻌﺘﻤﺪ ﻋﻠـﻰ ﻏﲑﻫـﺎ ( ﻭﺍﻟﺘﻤـﺎﻡ‬
‫ﻭﺍﻟﻨﻘﺺ ) ﻣﺎﻳﺬﻛﺮ ﻓﻴﻬﺎ ﺭﻛﻨﺎ ﺍﻻﺳﻨﺎﺩ ‪،‬ﺃﻭﻣﺎ ﳛﺬﻕ ﻓﻴﻬﺎ ﺃﺣﺪﳘﺎ ( ‪ ،‬ﻭﺍﻟﺘﺮﺗﻴﺐ ﻭﺇﻋﺎﺩﺗﻪ ‪ ،‬ﻭﺍﻟﺪﻻﻟـﺔ‬
‫ﺍﻟﻌﺎﻣﺔ ﻟﻠﺠﻤﻠﺔ ‪ ،‬ﻭﻓﻴﻬﺎ ‪:‬‬

‫‪1‬‬
‫ﺃﲪﺪ ﺷﺎﻣﻴﺔ ‪:‬ﰲ ﺍﻟﻠﻐﺔ ﺩﺍﺭ ﺍﻟﺒﻼﻍ ﻟﻠﻨﺸﺮ ﻭﺍﻟﺘﻮﺯﻳﻊ ﺍﳉﺰﺍﺋﺮ‪ ،‬ﻁ‪ 1‬ﺳﻨﺔ ‪ ،2002‬ﺹ ‪. 36‬‬

‫‪-31-‬‬
‫ﺩﺭﺍﺳﺔ ﺗﻄﺒﻴﻘﻴﺔ ﻟﻠﻤﺴﺘﻮﻳﺎﺕ ﺍﻟﻠﻐﻮﻳﺔ ﰲ ﺍﻟﻘﺼﻴﺪﺓ‬ ‫ﺍﳌﺒﺤﺚ ﺍﻟﺜﺎﱐ‪:‬‬

‫‪/1‬ﺍﳉﻤﻠﺔ ﺍﳋﱪﻳﺔ ) ﻣﺜﺒﺘﺔ ‪ ،‬ﻣﻨﻔﻴﺔ ‪،‬ﻣﺆﻛﺪﺓ (‬

‫‪/2‬ﺍﳉﻤﻠﺔ ﺍﻻﻧﺸﺎﺋﻴﺔ ‪ :‬ﺃ‪ -‬ﺍﻟﻄﻠﺒﻴﺔ ) ﺃﻣﺮ ‪ ،‬ﻲ ﺇﺳﺘﻔﻬﺎﻡ ‪،‬ﻋﺮﺽ ‪ ،‬ﲢﻀﻴﺾ (‬
‫ﺏ‪ -‬ﺍﻧﻔﻌﺎﻟﻴﺔ ) ﲤﲏ ‪ ،‬ﺗﺮﺟﻲ ‪ ،‬ﻗﺴﻢ ﺗﻌﺠﺐ ‪ ،‬ﻣﺪﺡ ﺃﻭﺫﻡ ‪ ،‬ﻧﺪﺑﺔ ﺃﻭﺍﺳﺘﻐﺎﺛﺔ (‬
‫ﻭﲡﺪﺭ ﺍﻻﺷﺎﺭﺓ ﺇﱃ ﺃﻥ "ﺍﳉﻤﻠﺔ ﰲ ﺍﳌﺪﺍﺭﺱ ﺍﻟﻠﻐﻮﻳﺔ ﺍﳌﻌﺎﺻﺮﺓ ﺗﺘﻜﻮﻥ ﻣﻦ ﺑﻨﻴﺘﲔ ‪ :‬ﺑﻨﻴﺔ ﺩﻻﻟﻴـﺔ‬
‫ﻭﺑﻨﻴﺔ ﳓﻮﻳﺔ"‪ ،1‬ﻓﺒﻴﻨﻤﺎ ﺗﻌﺘﻤﺪ ﺩﺭﺍﻳﺔ ﺍﻟﺒﻨﻴﺔ ﺍﻟﻨﺤﻮﻳﺔ ﻋﻠﻰ ﻛﻴﻔﻴﺔ ﺻﻴﺎﻏﺔ ﺍﻟﺸﻜﻞ ﺍﻟﻠﻐـﻮﻱ ﺍﻟﻨﻤـﻮﺩﺟﻲ‬
‫ﻟﻠﺠﻤﻠﺔ ﻭﻋﻠﻰ ﺍﻟﺘﻐﲑﺍﺕ ) ﺍﻻﻧﺰﻳﺎﺡ ( ﺍﻟﻄﺎﺭﺋﺔ ﻋﻠﻴﻬﺎ ﻣﻦ ﺗﻘﺪﱘ ﻭﺗﺄﺧﲑ ﻭﺣﺬﻑ ‪ ،‬ﳒﺪ ﺩﺭﺍﺳﺔ ﺍﻟﺒﻨﻴـﺔ‬
‫ﺍﻟﺪﻻﻟﻴﺔ ﺗﻌﺘﻤﺪ ﻋﻠﻰ ﺍﻟﻘﻀﻴﺔ ﺍﻟﱴ ﲢﻤﻠﻬﺎ ﺍﳉﻤﻠﺔ ‪،‬ﻭﻛﻴﻒ ﺍﺳﺘﻄﺎﻋﺖ ﺍﻟﺘﻮﻓﻴﻖ ﺑﲔ ﺍﳌﻐﺰﻯ ﺍﻟﺪﻻﱄ ﺍﳌﺮﺍﺩ‬
‫ﻭﺑﲔ ﺍﳌﻌﺠﻢ ﺍﳌﺴﺘﺨﺪﻡ ‪،‬ﻭﻣﺎﻫﻲ ﺃﻧﻮﺍﻉ ﺍﻻﳓﺮﺍﻓﺎﺕ ﺍﳌﻮﺟﻮﺩﺓ ﰲ ﺍﻃﺎﺭﻫﺎ ﺍﻟﺪﻻﱄ ﻛﺎﻟﺘﺸﺒﻴﻪ ﻭﺍﻻﺳﺘﻌﺎﺭﺓ‬
‫ﻭ ﺍﻟﻜﻨﺎﻳﺔ ‪،‬ﻭﻣﻦ ﺧﻼﻝ ﻫﺬﻩ ﺍﻟﻮﻣﻀﺔ ﺍﻟﻨﻈﺮﻳﺔ ﺃﻥ ﻧﺪﺭﺱ ﲨﻠﺔ ﺍﻟﻘﺼﻴﺪﺓ ﻣﻦ ﺍﳊﺎﻓﺔ ﺟﻮﺍﻧﺒﻬﺎ‪ ،‬ﻭﺳـﻨﺮﻛﺰ‬
‫ﻋﻠﻰ ﺑﻌﺾ ﺍﳉﻮﺍﻧﺐ ﺍﻟﱴ ﺃﻓﺼﺤﺖ ﻋﻦ ﺫﺍ‪‬ﺎ‪ ،‬ﺇﺫ ﺷﻜﻠﺖ ﲰﺔ ﺃﺳﻠﻮﺑﻴﺔ ﳑﻴﺰﺓ‪ ،‬ﻓﺎﻟﻘﺼﻴﺪﺓ ﻧﻔﺴﻬﺎ ﻫـﻲ‬
‫ﺍﻟﱵ ﲢﺪﺩ ﻟﻨﺎ ﻃﺮﻳﻘﻨﺎ ﺍﻟﻴﻬﺎ ‪.‬‬
‫ﺍﳉﻤﻠﺔ ﺍﻟﺸﻌﺮﻳﺔ ﰲ ﺍﻟﻘﺼﻴﺪﺓ ‪:‬‬
‫ﺗﻨﻮﻋﺖ ﺍﳉﻤﻞ ﰲ ﺍﻟﻘﺼﻴﺪﺓ ﺗﻨﻮﻋﺎ ﺟﻌﻞ ﻣﻦ ﺍﻟﻘﺼﻴﺪﺓ ﻟﻮﺣﺔ ﻓﻨﻴﺔ ﺑﺪﻳﻌﺔ‪ ،‬ﺇﺫ ﻳﺮﻳـﺪ ﺍﻟﺸـﺎﻋﺮ‬
‫ﺣﺴﺎﻥ ﺇﻳﺼﺎﻝ ﺭﺳﺎﻟﺘﺔ ﻣﻦ ﺩﻭﻥ ﺃﻥ ﻳﺮﻫﻖ ﺃﺫﻥ ﺍﳌﺘﻠﻘﻲ ﺃﻭ ﺍﻟﺜﻘﻞ ﻋﻠﻴﻪ‪.‬‬
‫ﻭ ﻟﻘﺪ ﺗﻘﺎﲰﺖ ﺍﻟﻨﺺ ﺍﳉﻤﻠﺔ ﺍﻹﲰﻴﺔ ﻭ ﺍﳉﻤﻠﺔ ﺍﻟﻔﻌﻠﻴﺔ ﺑﺘﻔﺎﻭﺕ ﳑﻴﺰ‪ ،‬ﻭ ﻣﺎ ﻟﻔﺖ ﺍﻧﺘﺒﺎﻫﻨﺎ ﺃﻥ ﺍﳉﻤﻠﺔ‬
‫ﺍﳌﻨﻔﻴﺔ ﺍﻹﲰﻴﺔ ﻭ ﺍﳌﻨﻔﻴﺔ ﺍﻟﻔﻌﻠﻴﺔ ﺫﻛﺮﺕ ﺑﻜﺜﺮﺓ‪ ،‬ﻭ ﺗﻌﺪ ﲰﺔ ﻣﻦ ﺍﻟﺴﻤﺎﺕ ﺍﻷﺳﻠﻮﺑﻴﺔ ﺍﻟﺒﺎﺭﺯﺓ ﰲ ﺍﻟﻘﺼﻴﺪﺓ‪،‬‬
‫ﻓﻠﺬﻟﻚ ﺗﻌﺪﺩ ﻓﻴﻬﺎ ﺃﻧﻮﺍﻉ ﺍﳉﻤﻞ ﻭ ﺳﻨﺪﺭﺟﻬﺎ ﻛﺎﻟﺘﺎﱄ‪:‬‬
‫‪ ‬ﺍﳉﻤﻠﺔ ﺍﳌﻨﻔﻴﺔ‪:‬‬
‫ﺍﻟﻨﻔـﻲ ﻫﻮ ﺍﻻﺧﺒﺎﺭ ﺑﺎﻟﺴﻠﺐ ﺃﻭ ﻃﻠﺐ ﺗﺮﻙ ﺍﻟﻔﻌﻞ ﻭ ﳝﻜﻦ ﺗﻮﺿﻴﺢ ﻣﻌﲎ ﺍﻟﻨﻔﻲ ﰲ ﻗﻮﻝ ﺇﺑﻦ ﺣﲏ‪:‬‬
‫) ﺃﻋﻠﻢ ﺃﻥ ﻛﻞ ﻓﻌﻞ ﺃﻭ ﺇﺳﻢ ﻣﺄﺧﻮﺫ ﻣﻦ ﺍﻟﻔﻌﻞ ﺃﻭ ﻓﻴﻪ ﻣﻌﲎ ﺍﻟﻔﻌﻞ‪ ،‬ﻓﺈﻥ ﻭﺿﻊ ﺫﻟﻚ ﰲ ﻛﻼﻣﻬﻢ ﻋﻠﻰ‬
‫ﺍﺛﺒﺎﺕ ﻣﻌﻨﺎﻩ‪ ،‬ﻟﺴﻠﺒﻬﻢ ﺇﻳﺎﻩ ﻭ ﺫﻟﻚ ﻗﻮﻟﻚ‪" :‬ﻗﺎﻡ" ﻓﻬﺬﺍ ﻹﺛﺒﺎﺕ ﺍﻟﻘﻴـﺎﻡ ﻭ )ﺟﻠـﺲ( ﻻﺛﺒﺎﺕ ﺍﳉﻠﻮﺱ‪،‬‬

‫‪ 1‬ﺻﻼﺡ ﺍﻟﺪﻳﻦ ﺣﺴﻨﲔ ‪ :‬ﺍﻟﺮﻭﺍﺑﻂ ﺑﲔ ﺍﳉﻤﻞ ﰲ ﺍﻟﻨﺺ ﺍﻟﺸﻌﺮﻱ ‪ ،‬ﺍ‪‬ﻠﺔ ﻋﻼﻗﺎﺕ ﰲ ﻧﻘﺪ ‪ ،‬ﺍﻟﻨﺎﺩﻱ ﺍﻷﺩﰊ ﺍﻟﺜﻘﺎﰲ‬
‫ﲜﺪﺓ‪،10...‬ﺝ‪2001/ 39‬ﺹ ‪.42‬‬

‫‪-32-‬‬
‫ﺩﺭﺍﺳﺔ ﺗﻄﺒﻴﻘﻴﺔ ﻟﻠﻤﺴﺘﻮﻳﺎﺕ ﺍﻟﻠﻐﻮﻳﺔ ﰲ ﺍﻟﻘﺼﻴﺪﺓ‬ ‫ﺍﳌﺒﺤﺚ ﺍﻟﺜﺎﱐ‪:‬‬

‫)ﻳﻨﻄﻠﻖ( ﻹﺛﺒﺎﺕ ﺍﻻﻧﻄﻼﻕ‪ ،‬ﲨﻊ ﺫﻟﻚ ﻭ ﻣﺎ ﻛﺎﻥ ﻣﺜﻠﻪ ﺇﳕﺎ ﻫﻮ ﻹﺛﺒﺎﺕ ﻫﺬﻩ ﺍﳌﻌﺎﱐ ﻻ ﻟﻨﻔﻴﻬﺎ‪ :‬ﺃﻻ ﺗﺮﻯ‬
‫ﺃﻧﻚ ﺇﺫﺍ ﺃﺭﺩﺕ ﻧﻔﻲ ﺷﻲﺀ ﻣﻨﻬﺎ ﺃﳊﻘﺘﻪ ﺣﺮﻑ ﺍﻟﻨﻔﻲ ﻓﻘﻠﺖ‪ :‬ﻣﺎ ﻓﻌﻞ‪ ،‬ﻭ ﱂ ﻳﻔﻌﻞ ﻭ ﻟﻦ ﻳﻔﻌﻞ ﻭ ﻻ‬
‫ﺗﻔﻌﻞ ﻭ ﳓﻮ ﺫﻟﻚ(‪1‬؛ ﺣﻴﺚ ﳝﻜﻦ ﺃﻥ ﳓﻜﻢ ﻋﻠﻰ ﺍﻟﻘﺼﻴﺪﺓ ﺃ‪‬ﺎ ﻭﺛﻴﻘﺔ ﺃﻭ ﺧﱪ ﻳﻨﻘﻞ؛ ﺫﻟﻚ ﺃﻥ ﺍﳉﻤﻠﺔ‬
‫ﺍﳌﻨﻔﻴﺔ ﺳﻴﻄﺮﺕ ﻋﻠﻰ ﺍﻟﻨﺺ ﰲ ﺻﻴﻎ ﳐﺘﻠﻔﺔ‪ ،‬ﻓﺄﺣﻴﺎﻧﺎ ﺗﺮﺩ ﺇﲰﻴﺔ ﻭ ﺃﺣﻴﺎﻧﺎ ﺃﺧﺮﻯ ﺗﺮﺩ ﻓﻌﻠﻴﺔ ﻭ ﻣﻨﻬﺎ‪:‬‬
‫ﺍﳉﻤﻠﺔ ﺍﳌﻨﻔﻴﺔ ﺍﻟﻔﻌﻠﻴﺔ‪ :‬ﻭ ﺫﻛﺮﺕ ﰲ ﺍﻷﺑﻴﺎﺕ ﺍﻟﺘﺎﻟﻴﺔ‪.‬‬ ‫ﺃ‪-‬‬
‫‪ -‬ﺍﻟﺒﻴﺖ ﺍﻟﺜﺎﱐ؛ ﰲ ﻗﻮﻝ ﺍﻟﺸﺎﻋـﺮ ) ﻻ ﺗﻨﻤﺤﻲ ﺍﻵﻳﺎﺕ( ﻭ ﰲ ﺍﻟﺒﻴﺖ ﺍﳋﺎﻣﺲ ﳒﺪ ) ﱂ ﺗﻄﻤﺲ(‪،‬‬
‫ﻭ ﺍﻟﺒﻴﺖ ﺍﻟﺜﺎﻣﲔ ) ﻭ ﻣﺎ ﺃﺩﺭﻯ(‪ ،‬ﻭ ﺍﻟﺒﻴﺖ ﺍﳋﺎﻣﺲ ﻋﺸﺮ ﰲ ﻋﺠﺰﻩ ) ﻻ ﻳﻮﺳﺪ( ﻭ ﰲ ﺻﺪﺭ‬
‫ﺍﻟﺒﻴﺖ ﺍﻟﻌﺎﺷﺮ ﻳﻘﻮﻝ‪ :‬ﻭ ﻣﺎ ﺑﻠﻐﺖ ﻣﻦ ﻛﻞ ﺃﻣﺮ ﻋﺸﲑﻩ‪.‬‬
‫‪ -‬ﻭ ﰲ ﺍﻟﺒﻴﺖ ﺍﻟﺴﺎﺩﺱ ﻭ ﺍﻟﻌﺸﺮﻭﻥ ﳒﺪ ﰲ ﻗﻮﻟﻪ ) ﻭ ﻣﺎﻟﻚ ﻻ ﺗﺒﻜﲔ ﺫﺍ ﺍﻟﻨﻌﻤﺔ ﺍﻟﱵ ‪ ،(...‬ﻭ ﰲ‬
‫ﺍﻟﺒﻴﺖ ﺍﳋـﺎﻣﺲ ﻭ ﺍﻟﺜﻼﺛـﻮﻥ‪ ) :‬ﻭ ﻣﺎ ﻓﻘﺪ ﺍﳌﺎﺿـﻮﻥ ﻣﺜـﻞ ﳏﻤﺪ(‪ ،‬ﻭ ﺍﻟﺒﻴﺖ ﺍﻟﺴـﺎﺩﺱ‬
‫ﻭ ﺍﻟﺜﻼﺛﻮﻥ‪ ) :‬ﻻ ﻳﻨﻜﺪ(‪ ،‬ﺃﻣﺎ ﺍﻟﺒﻴﺖ ﺍﻟﺜﺎﻟﺚ ﻭ ﺍﻷﺭﺑﻌﻮﻥ ﳒﺪ ﻗﻮﻟﻪ ) ﻻ ﻳﻠﻐﻰ ﻟﻘﻮﱄ ﻏﺎﺋﺐ(‪،‬‬
‫ﻓﻬﺬﻩ ﺍﻷﺑﻴﺎﺕ ﳍﺎ ﺩﻻﻟﺔ ﻋﻠﻰ ﺍﺳﺘﺤﻀﺎﺭ ﺍﻟﺮﺳﻮﻝ ﺻﻠﻰ ﺍﷲ ﻋﻠﻴﻪ ﻭ ﺳﻠﻢ‪.‬‬
‫ﺏ‪ -‬ﺍﳉﻤﻠﺔ ﺍﳌﻨﻔﻴﺔ ﺍﻹﲰﻴﺔ‪ :‬ﻭ ﺫﻛﺮﺕ ﰲ ﺍﻷﺑﻴﺎﺕ ﺍﻟﺘﺎﻟﻴﺔ‪:‬‬
‫‪ -‬ﺍﻟﺒﻴﺖ ﺍﻟﺘﺎﺳﻊ ﻭ ﺍﻟﻌﺸﺮﻭﻥ ﰲ ﻗﻮﻝ ﺍﻟﺸﺎﻋﺮ‪ ) :‬ﻟﻐﻴﺒﺔ ﻣﺎ ﻛﺎﻧﺖ ﻣﻦ ﺍﻟﻮﺣﻲ ﺗﻌﻬﺪ(‪ ،‬ﻭ ﰲ ﺍﻟﺒﻴﺖ‬
‫ﺍﻟﺮﺍﺑﻊ ﻭ ﺍﻟﺜﻼﺛﻮﻥ ﰲ ﻋﺠﺰﻩ ) ﻻ ﻣﺜﻠﻪ ﺍﻟﺪﻫﺮ ﻳﻮﺟﺪ(‪ ،‬ﻭ ﰲ ﺍﻟﺒﻴﺖ ﺍﳋﺎﻣﺲ ﻭ ﺍﻟﺜﻼﺛﻮﻥ ﳒﺪ ﰲ‬
‫ﻋﺠﺰﻩ‪ ) :‬ﻻ ﻣﺜﻠﻪ ﺣﱴ ﺍﻟﻘﻴﺎﻣﺔ ﻳﻔﻘﺪ(‪ ،‬ﺃﻣﺎ ﺑﺎﻟﻨﺴﺒﺔ ﻟﻠﺒﻴﺖ ﺍﻟﺜﺎﱐ ﻭ ﺍﻷﺭﺑﻌﻮﻥ ) ﻓﻼ ﺍﻟﻌﻠﻢ ﳏﺒﻮﺱ‬
‫ﻭﻻ ﺍﻟﺮﺃﻱ ﻳﻔﻨﺪ(‪ ،‬ﻭ ﰲ ﻋﺠﺰ ﺍﻟﺒﻴﺖ ﺍﻟﺜﺎﱐ ﻭ ﺍﻷﺭﺑﻌﻮﻥ ﳒﺪ‪ ) :‬ﻭ ﻟﻴﺲ ﻫﻮﺍﺋﻲ ﻧﺎﺯﻋﺎ ﻋﻦ‬
‫ﺛﻨﺎﺋﻪ(‪.‬‬
‫ﻓﻨﻼﺣﻆ ﻫﻨﺎ ﺃﻥ ﺍﳉﻤﻞ ﺍﻟﻔﻌﻠﻴﺔ ﺍﳌﻨﻔﻴﺔ ﻭﺭﺩﺕ ﺃﻛﺜﺮ ﻣﻦ ﺍﳉﻤﻞ ﺍﻹﲰﻴﺔ ﺍﳌﻨﻔﻴﺔ‪ ،‬ﻭ ﻛﻤﺎ‬
‫ﻫﻮ ﻣﻌﺮﻭﻑ ﻓﺈﻥ ﺩﻻﻟﺔ ﺍﳉﻤﻞ ﺍﻟﻔﻌﻠﻴﺔ ﻫﻲ ﺍﳊﺮﻛﺔ ﻭ ﺍﻻﺳﺘﻤﺮﺍﺭ ﻭ ﻟﻜﻦ ﺣﻴﻨﻤﺎ ﺗﻜﻮﻥ ﻣﻨﻔﻴﺔ‬
‫ﰲ ﻫﺬﻩ ﺍﳊـﺎﻟﺔ ) ﻛﻤﺎ ﰲ ﺍﻟﻘﺼﻴـﺪﺓ( ﻓﻠﻬﺎ ﺩﻻﻟﺔ ﺍﺳﺘﺤﺼﺎﺭ ﺍﻟﺮﺳﻮﻝ ﺻﻠﻰ ﺍﷲ ﻋﻠﻴﻪ ﻭ ﺳﻠﻢ‬
‫ﻭ ﺧﺼﺎﻟﻪ ﺑﻨﻔﻲ ﺃﻥ ﻳﻜﻮﻥ ﻏﲑﻩ ﳑﺜﻼ ﳌﻜﺎﻧﺘﻪ ﻭ ﻫﻴﺒﺘﻪ ) ﺃﻭ ﻣﻸ ﻟﻔﺮﺍﻏﻪ ﻭ ﻣﻜﺎﻧﻪ(‪.‬‬

‫‪1‬‬
‫ﻣﺼﻄﻔﻰ ﺳﻌﻴﺪ ﺍﻟﺼﻠﻴﱯ‪ ،‬ﺍﳉﻤﻠﺔ ﺍﻟﻔﻌﻠﻴﺔ ﰲ ﳐﺘﺎﺭﺍﺕ ﺑﻦ ﺍﻟﺸﺠﺮﻱ‪ ،‬ﺩﺭﺍﺳﺔ ﺑﻨﻴﻮﻳﺔ ﺗﻄﺒﻴﻘﻴﺔ ﺇﺣﺼﺎﺋﻴﺔ‪ ،‬ﺝ‪،1‬ﺩﺍﺭ ﻫﻮﻣﺔ‪ ،‬ﺍﳉﺰﺍﺋﺮ‪) :‬ﺩ‪،‬ﻁ‪،‬ﺕ(‪ ،‬ﺹ ‪.21‬‬

‫‪-33-‬‬
‫ﺩﺭﺍﺳﺔ ﺗﻄﺒﻴﻘﻴﺔ ﻟﻠﻤﺴﺘﻮﻳﺎﺕ ﺍﻟﻠﻐﻮﻳﺔ ﰲ ﺍﻟﻘﺼﻴﺪﺓ‬ ‫ﺍﳌﺒﺤﺚ ﺍﻟﺜﺎﱐ‪:‬‬

‫ﺍﳉﻤﻠﺔ ﻭ ﺍﻣﺘﺪﺍﺩﻫﺎ ﺍﻟﺰﻣﲏ‪:‬‬

‫ﺗﻨﻮﻋﺖ ﺍﻷﻓﻌﺎﻝ ﺍﻟﻮﺍﺭﺩﺓ ﰲ ﺍﻟﻘﺼﻴﺪﺓ ﻣﻦ ﺣﻴﺚ ﺃﺯﻣﺎ‪‬ﺎ‪ ،‬ﻭ ﻗﺪ ﺍﻣﺘﺪﺕ ﻣﻦ ﺍﳌﺎﺿﻲ ﺇﱃ‬
‫ﺍﳌﻀﺎﺭﻉ‪ ،‬ﻟﻜﻨﻬﺎ ﱂ ﺗﻘﻒ ﻋﻠﻰ ﻋﺘﺒﺔ ﺍﳌﺴﺘﻘﺒﻞ ﺇﻻ ﺑﻨﺴﺒﺔ ﻗﻠﻴﻠﺔ‪ ،‬ﻭ ﺍﳉﺪﻭﻝ ﺍﻵﰐ ﻳﺒﲔ ﺍﻷﻓﻌﺎﻝ ﻭ ﺃﺯﻣﺎ‪‬ﺎ‬
‫ﻭ ﺗﺮﺩﺩﻫﺎ‪:‬‬

‫ﺟﺪﻭﻝ ﻳﻮﺿﺢ ﺃﺯﻣﻨﺔ ﺍﻷﻓﻌﺎﻝ ﰲ ﻗﺼﻴﺪﺓ ﺣﺴﺎﻥ ﺑﻦ ﺛﺎﺑﺖ‪:‬‬

‫ﺍﻷﻣﺮ‬ ‫ﺍﻟﻔﻌﻞ ﺍﳌﻀﺎﺭﻉ‬ ‫ﺍﻟﻔﻌﻞ ﺍﳌﺎﺿﻲ‬
‫ﺟﻮﺩﻱ ‪ -‬ﺃﻋﻮﱄ‬ ‫ﻛﺎﻥ‪ -‬ﻋﺮﻓﺖ‪ -‬ﻇﻠﻠﺖ‪-‬ﺃﺳﻌﺪ‪ -‬ﺗﻌﻔﻮ‪ -‬ﻤﺪ‪-‬ﺗﻨﻤﺤﻲ‪-‬ﻳﺼﻌﺪ‪-‬‬
‫ﺑﻠﻐﺖ‪-‬ﺃﻃﺎﻝ‪ -‬ﺑﻮﺭﻙ‪ -‬ﺍﺳﺘﺘﻢ‪ -‬ﻳﱰﻝ‪ -‬ﻳﺴﺘﻀﺎﺀ‪ -‬ﻳﻮﻗﺪ – ﺗﻄﻤﺲ‪-‬‬
‫ﺃﺗﻰ – ﲡﺪﺩ – ﺃﺑﻜﻲ‪ -‬ﺗﺴﻌﺪ‪-‬‬ ‫ﺗﻨﺎﻫﺖ‪ -‬ﻋﺪﻝ‪ -‬ﻧﺎﺏ‪-‬ﺃﻣﺲ‪-‬‬
‫ﺗﺬﻛﺮ‪-‬ﺃﺭﻯ‪-‬ﺗﺒﻠﺪ‪-‬ﺗﻌﺪﺩ‪-‬ﲢﻤﺪ‪-‬‬ ‫ﻛﺎﻧﺖ‪ -‬ﺃﻭﺣﺸﺖ‪ -‬ﺑﻜﻰ‪-‬‬
‫ﺗﺬﺭﻑ‪-‬ﻴﻞ‪-‬ﻳﻮﺳﺪ‪-‬ﻳﺒﻜﻮﻥ‪-‬‬ ‫ﺿﻦ‪ -‬ﺍﻧﺘﻤﻰ‪ -‬ﺑﻮﺭﻙ)‪– (2‬‬
‫ﺗﺒﻜﻲ‪-‬ﺗﻘﻄﻊ‪-‬ﻳﻐﻮﺭ‪-‬ﻳﻨﺠﺪ‪-‬ﻳﺪﻝ‪-‬‬ ‫ﺿﻤﻦ‪ -‬ﻏﺎﺭﺕ‪ -‬ﻏﻴﺒﻮﺍ‪-‬‬
‫ﻳﻘﺘﺪﻱ‪-‬ﻳﻨﻘﺬ‪-‬ﻳﺮﺷﺪ‪-‬ﻳﻬﺪﻳﻬﻢ‪-‬‬ ‫ﺭﺍﺣﻮﺍ‪ -‬ﻭﻫﻦ‪ -‬ﺑﻜﺖ‪.‬‬
‫ﻳﻄﻮﻩ‪-‬ﻳﺴﻌﺪﻭﺍ‪-‬ﻳﻘﺒﻞ‪-‬ﳛﺴﻨﻮﺍ‪-‬‬
‫ﻳﻘﻮﻣﻮﺍ‪-‬ﺗﻴﺴﲑ‪-‬ﻳﺘﺸﺪﺩ‪-‬ﻳﻘﺼﺪ‪-‬‬
‫ﳛﻴﺪﻭﺍ‪-‬ﻳﺴﺘﻘﻴﻤﻮﺍ‪-‬ﻳﻬﺘﺪﻭﺍ‪-‬ﻳﺜﲏ‪-‬‬
‫ﳛﻨﻮ‪-‬ﳝﻬﺪ‪-‬ﻳﺒﻜﻲ‪-‬ﳛﻤﺪ‪-‬ﺗﻌﻬﺪ‪-‬‬
‫ﺃﻋﺮﻓﻨﻚ‪-‬ﳛﻤﺪ‪-‬ﺗﺒﻜﲔ‪-‬ﻳﺘﻐﻤﺪ‪-‬‬

‫‪-34-‬‬
‫ﺩﺭﺍﺳﺔ ﺗﻄﺒﻴﻘﻴﺔ ﻟﻠﻤﺴﺘﻮﻳﺎﺕ ﺍﻟﻠﻐﻮﻳﺔ ﰲ ﺍﻟﻘﺼﻴﺪﺓ‬ ‫ﺍﳌﺒﺤﺚ ﺍﻟﺜﺎﱐ‪:‬‬

‫ﻳﻮﺟﺪ‪-‬ﻳﻔﻘﺪ‪-‬ﻳﻨﻜﺪ‪-‬ﻳﺘﻠﺪ‪-‬ﻳﺴﻮﺩ‪-‬‬
‫ﻳﻔﻨﺪ‪-‬ﺃﻗﻮﻝ‪-‬ﻳﻠﻐﻲ‪-‬ﺃﺧﻠﺪ‪-‬ﺃﺭﺟﻮ‪-‬‬
‫ﺍﺳﻌﻰ‪-‬ﺃﺟﻬﺪ‪.‬‬
‫ﺇﻥ ﻫﺬﺍ ﺍﻟﺘﻘﺴﻴﻢ ﻳﻈﻞ ﺗﻘﺴﻴﻤﺎ ﻧﺴﺒﻴﺎ‪ ،‬ﻓﻔﻴﻪ ﻣﺰﺍﻭﺟﺔ ﺑﲔ ﺍﻟﻔﻌﻠﲔ ﺍﳌﺎﺿﻲ ﻭ ﺍﳌﻀﺎﺭﻉ ﰲ ﻗﺼﻴﺪﺓ‬
‫ﺣﺴﺎﻥ ﺣﻴﺚ ﺑﻠﻎ ﻋـﺪﺩ ﺍﻷﻓﻌﺎﻝ ﺍﳌﻀﺎﺭﻋﺔ ﺣـﻮﺍﱄ ‪ 63‬ﻭ ﻫﺬﻩ ﺍﻻﻓﻌـﺎﻝ ﺗﺪﻝ ﻋﻠـﻰ ﺍﳊﺮﻛــﺔ‬
‫ﻭ ﺍﻻﺳﺘﻤﺮﺍﺭﻳﺔ‪ ،‬ﻓﻜﺄﻥ ﺍﻟﺸﺎﻋﺮ ﺑﺬﻟﻚ ﻳﺮﻳﺪ ﺃﻥ ﻳﺒﻠﻐﻨﺎ ﻋﻤﻖ ﲡﺮﺑﺘﻪ ﺍﻟﺸـﻌﺮﻳﺔ‪ ،‬ﻭ ﺍﻟـﱵ ﻳﻼﺋﻤﻬـﺎ ﰲ‬
‫ﺍﻟﺘﺮﺍﻛﻴﺐ ﺍﻟﻨﺤﻮﻳﺔ ﰲ ﺍﺳﺘﻌﻤﺎﻝ ﺍﻟﻔﻌﻞ ﺍﳌﻀﺎﺭﻉ‪ ،‬ﻛﻤﺎ ﺃﻧﻪ ﺍﺳﺘﻌﻤﻞ ﺍﻟﻔﻌﻞ ﺍﳌﺎﺿﻲ ﻛﺬﻟﻚ ﳓﻮ ‪ 20‬ﻓﻌﻼ‬
‫ﻛﻤﺎ ﺍﺳﺘﻌﻤﻞ ﻓﻌﻞ ﺍﻷﻣﺮ ﻛﺬﻟﻚ ﻛﻤﺎ ﻫﻮ ﻣﻮﺿﺢ ﰲ ﺍﳉﺪﻭﻝ ﺃﻋﻼﻩ؛ ﻭ ﻫﺬﺍ ﺩﻟﻴﻞ ﻋﻠـﻰ ﺃﻥ ﺍﻟﺸـﺎﻋﺮ‬
‫ﻳﺴﺘﺤﻀﺮ ﺧﺼﺎﻝ ﺍﻟﺮﺳـﻮﻝ ﺻﻠﻰ ﺍﷲ ﻋﻠﻴﻪ ﻭﺳﻠﻢ ﺑﺪﻻﻟﺔ ﺍﻟﻔﻌﻞ ﺍﳌﻀﺎﺭﻉ ﺃﻛﺜﺮ ﻣﻦ ﺍﳌﺎﺿﻲ ﻭ ﺍﻷﻣﺮ‪،‬‬
‫ﻭ ﻛﺄﻧﻪ ﻳﺮﻳﺪ ﺑﺬﻟﻚ ﺃﻥ ﻳﻨﺴﻰ ﻣﻮﺕ ﺍﻟﺮﺳﻮﻝ ﺻﻠﻰ ﺍﷲ ﻋﻠﻴﻪ ﻭ ﺳﻠﻢ‪ ،‬ﻭ ﻳﺘﻜﻠﻢ ﻋﻨﻪ ﺑﺼـﻴﻐﺔ ﺍﳊﺎﺿـﺮ‬
‫ﺍﻟﺬﻱ ﻳﺪﻝ ﻋﻠﻰ ﺍﻵﻧﻴﺔ‪.‬‬
‫ﺍﻹﻧﺰﻳﺎﺡ ﻋﻠﻰ ﻣﺴﺘﻮﻯ ﺍﻟﺘﺮﻛﻴﺐ‪:‬‬
‫ﻭ ﻳﺘﻤﺜﻞ ﺑﺎﳋﺼﻮﺹ ﰲ ﺍﻟﺘﻘﺪﱘ ﻭ ﺍﻟﺘﺄﺧﲑ‪ ،‬ﻭ ﺑﻌﺾ ﺍﻟﺴﻤﺎﺕ ﺍﻷﺳﻠﻮﺑﻴﺔ ﺍﻟﺒﺎﺭﺯﺓ ﻋﻠﻰ ﺍﳌﺴﺘﻮﻯ‬
‫ﺍﻟﺘﺮﻛﻴﱯ ﺍﻟﻨﺤﻮﻱ‪.‬‬
‫‪/1‬ﺍﻟﺘﻘﺪﱘ ﻭﺍﻟﺘﺄﺧﲑ‪:‬‬
‫ﻳ‪‬ﻌﺪ ﻣﻦ ﺍﻫﻢ ﺍﻻﺷﻜﺎﻝ ﺍﻟﱴ ﲢﻘﻖ ﺍﻻﻧﺮﻳﺎﺡ ﻋﻠﻰ ﻣﺴﺘﻮﻯ ﺍﳉﻤﻠﺔ ﻭﻫﻮ ﺍﺳﻠﻮﺏ ﻭﻫﻮ ﺃﺳـﻠﻮﺏ‬
‫ﻣﺮﺗﺒﻂ ﺑﺎﻟﺸﻌﺮ ﺃﺷﺪ ﺍﻻﺭﺗﺒﺎﻁ ﻳﻘﻮﻝ ﺍﺑﻦ ﺭﺷﻴﻖ ‪":‬ﻭﺭﺃﻳﺖ ﻣﻦ ﻋﻠﻤﺎﺀ ﺑﻠﺪﻧﺎ ﻣﻦ ﻻﳛﻜﻢ ﻟﻠﺸﺎﻋﺮ ﺑﺎﻟﺘﻘﺪﻡ‬
‫ﻭﻻ ﻳﻘﻀﻲ ﻟﻪ ﺑﺎﻟﻌﻠﻢ ﺇﻻ ﺃﻥ ﻳﻜﻮﻥ ﰲ ﺷﻌﺮﻩ ﺍﻟﺘﻘﺪﱘ ﻭ ﺍﻟﺘﺄﺧﲑ‪ ،"1‬ﻭﻗﺪ ﺧﺼﺼﻪ ﻋﺒﺪ ﺍﻟﻘﺎﻫﺮﺍﳉﺮﺟﺎﱐ‬
‫ﺑﺒﺎﺏ ﰲ ﺩﻻﺋﻠﻪ ﻭﻗﺪ ﻗﺎﻝ ﻋﻨﻪ‪ ..." :‬ﻫﻮ ﺑﺎﺏ ﻛﺜﲑ ﺍﻟﻔﻮﺍﺋﺪ ﺟﻢ ﺍﶈﺎﺳﻦ‪ ،‬ﻭﺍﺳﻊ ﺍﻟﺘﺼﺮﻑ‪ ،‬ﺑﻌﻴﺪ ﺍﻟﻐﺎﻳﺔ‬
‫ﻻﻳﺰﺍﻝ ﻳﻔﺘﺮﻟﻚ ﻋﻦ ﺑﺪﻳﻌﺔ ﻭﻳﻔﻀﻲ ﺑﻚ ﺇﱃ ﻟﻄﻴﻔﺔ ﻭﻻ ﺗﺰﺍﻝ ﺗﺮﻯ ﺷﻌﺮﺍ ﻳﺮﻭﻗﻚ ﻣﺴـﻤﻌﻪ‪ ،‬ﻭﻳﻠﻄـﻒ‬
‫ﻟﺪﻳﻚ ﻣﻮﻗﻌﻪ‪ ،‬ﰒ ﺗﻨﻈﺮ ﻓﺘﺠﺪ ﺳﺒﺐ ﺃﻥ ﺭﺍﻗﻚ ﻭﻟﻄﻒ ﻋﻨﺪﻙ ﺃﻥ ﻗﺪﻡ ﻓﻴﻪ ﺷﺊ ﻭﺣﻮﻝ ﺍﻟﻠﻔـﻆ ﻋـﻦ‬

‫‪ 1‬ﺍﺑﻦ ﺭﺷﻴﻖ ﺍﻟﻘﲑﻭﺍﱐ‪ ،‬ﺍﳌﺮﺟﻊ ﺍﻟﺴﺎﺑﻖ‪ ،‬ﺹ ‪.219،218‬‬

‫‪-35-‬‬
‫ﺩﺭﺍﺳﺔ ﺗﻄﺒﻴﻘﻴﺔ ﻟﻠﻤﺴﺘﻮﻳﺎﺕ ﺍﻟﻠﻐﻮﻳﺔ ﰲ ﺍﻟﻘﺼﻴﺪﺓ‬ ‫ﺍﳌﺒﺤﺚ ﺍﻟﺜﺎﱐ‪:‬‬

‫ﻣﻜﺎﻥ ﺃﱃ ﻣﻜﺎﻥ"‪ ،1‬ﻭﳍﺬﺍ ﺍﻷﺳﻠﻮﺏ ﻭﺳﺎﺋﻞ ﻳﺴﺘﻌﲔ ‪‬ﺎ ‪،‬ﻭﻏﺎﻳﺎﺕ ﻳﻬﺪﻑ ﺇﻟﻴﻬﺎ‪ ،‬ﻓﻬﻮ ﻻﳛﺪﺙ ﻋﺒﺜـﺎ‪،‬‬
‫ﺇﳕﺎ ﻫﻮ ﻣﻘﺮﻭﻥ ﺑﻔﻜﺮ ﺍﳌﺨﺎﻃﺐ ﻭﻧﻔﺴﻪ ﻣﻦ ﺟﻬﺔ‪ ،‬ﻭﺑﻨﻔﺲ ﺍﳌﺨﺎﻃﺐ ﻣﻦ ﺟﻬﺔ ﺛﺎﻧﻴﺔ ﻓﺤﺴﺐ ﺗﺮﺗﻴـﺐ‬
‫ﺍﻷﻓﻜﺎﺭ ﰲ ﺫﻫﻦ ﺍﻟﺒﺎﺕ ﻳﺘﺮﺗﺐ ﻛﻼﻣﻪ ‪.‬‬
‫ﻭ ﻣﻬﻤﺘﻨﺎ ﺃﻥ ﻧﻜﺸﻒ ﻋﻦ ﺍﻟﺴﻤﺎﺕ ﺍﻷﺳﻠﻮﺑﻴﺔ ﺍﻟﱴ ﳛﻘﻘﻬﺎ ﺍﻷﺳﻠﻮﺏ ﻭﻫﻮ ﺍﻷﻣﺮ ﺍﻟﺬﻱ ﳓﺎﻭﻟﻪ‬
‫ﰲ ﻗﺼﻴﺪﺓ ﺣﺴﺎﻥ ﺑﻦ ﺛﺎﺑﺖ ﻣﻊ ﺍﻹﺷﺎﺭﺓ ﺃﱃ ﺃﻧﻨﺎ ﺳﻨﺨﺘﺎﺭ ﻣﻦ ﺗﻠﻚ ﺍﻟﺴﻤﺎﺕ ﺍﻷﺳﻠﻮﺑﻴﺔ ﻣﺎﳜﺪﻡ ﺍﻟﻔﻜﺮﺓ‬
‫ﺍﻟﱴ ﻧﺮﻳﺪ ﻛﺸﻔﻬﺎ ‪.‬‬

‫ﺃ‪ /‬ﺗﻘﺪﱘ ﺷﺒﻪ ﺍﳉﻤﻠﺔ ﺍﳉﺎﺭ ﻭ ﺍ‪‬ﺮﻭﺭ ‪:‬‬

‫ﺑﺪﺃﻧﺎ ‪‬ﺬﻩ ﺍﻟﺴﻤﺔ ﻟﻜﺜﺮ‪‬ﺎ؛ ﻓﻘﺪ ﺷﺎﻋﺖ ﰲ ﻧﺺ ﺍﻟﻘﺼﻴﺪﺓ ‪،‬ﻭﻣﻦ ﺃﻣﺜﻠﺘﻬﺎ ﻧﺬﻛﺮ ﺑﻄﻴﺒـﺔ ﺭﺳـﻢ‬
‫ﻟﻠﺮﺳﻮﻝ‪ ،‬ﺎ ﻣﻨﱪ ﺍﳍﺎﺩﻱ ‪‬ﺎ ﺭﺳﻢ ﻟﻠﺮﺳﻮﻝ‪ ،‬ﺎ ﺃﺑﻜﻲ‪ ،‬ﻣﻦ ﺍﳉﻔﻦ ﺗﺴﻌﺪ‪ ،‬ﺍﻟﺬﻱ ﻓﻴﻪ ﺃﲪﺪ‪ ،‬ﲝﻴﺚ ﲤﺜﻞ‬
‫ﻫﺬﻩ ﺍﻷﻣﺜﻠﺔ ﺗﻘﺪﱘ ﺍﳉﺎﺭ ﻭ ﺍ‪‬ﺮﻭﺭ‪ ،‬ﺃﻭﺷﺒﻪ ﺍﳉﻤﻠﺔ ﻋﻠﻰ ﺍﻟﻔﻌﻞ ﺃﻭﻋﻠﻰ ﺍﳉﻤﻠﺔ ﺍﻹﲰﻴﺔ ﲰﺔ ﺃﺳﻠﻮﺑﻴﺔ ﺑﺎﺭﺯﺓ‬
‫ﰲ ﻗﺼﻴﺪﺓ ﺣﺴﺎﻥ ﺑﻦ ﺛﺎﺑﺖ‪.‬‬
‫ﺏ‪/‬ﺗﻘﺪﱘ ﺍﳌﻔﻌﻮﻝ ﺍﻟﺜﺎﱐ ﻋﻦ ﺍﳌﻔﻌﻮﻝ ﺍﻷﻭﻝ ‪:‬‬
‫ﻭﻳﺮﺩ ﻫﺬﺍ ﺍﻟﻐﺮﺽ ﰲ ﻗﻮﻝ ﺍﻟﺸﺎﻋﺮ ‪:‬‬
‫ﳍﺎ ﳏﺼﻴﺎ ﻧﻔﺴﻲ ﻓﻨﻔﺴﻲ ﺗﺒﻠﺪ‪.2‬‬ ‫ﺗﺬﻛﺮ ﺃﻻﺀ ﺍﻟﺮﺳﻮﻝ‪ ،‬ﻭﻣﺎ ﺃﺭﻯ‬
‫ﻳﻌﻤﺪ ﺍﻟﺸﺎﻋﺮ ﰲ ﺍﻟﻌﺪﻳﺪ ﻣﻦ ﺃﺑﻴﺎﺗﻪ ﺇﱃ ﲢﻮﻳﻞ ﺗﺮﻛﻴﺐ ﺍﳉﻤﻞ ﻣﻦ ﺑﻨﻴﺘﻬﺎ ﺍﻟﻌﻤﻴﻘـﺔ ﺇﱃ ﺑﻨﻴﺘـﻬﺎ‬
‫ﺍﻟﺴﻄﺤﻴﺔ‪ ،‬ﻭﻳﺮﺟﻊ ﺫﻟﻚ ﺇﱃ ﺩﻭﺍﻝ ﺑﻼﻏﻴﺔ ﰲ ﻧﻔﺲ ﺍﻟﺸﺎﻋﺮ‪ ،‬ﻭﻫﺬﺍ ﻳﺘﻀﺢ ﰲ ﻫﺬﺍ ﺍﻟﺒﻴﺖ ﺣﻴﺚ ﳒـﺪ‬
‫ﺍﻟﺸﺎﻋﺮ ﻗﺪﻡ ﺍﳉﺎﺭ ﻭ ﺍ‪‬ﺮﻭﺭ )ﳍﺎ( ﻭ ﺍﳌﻔﻌﻮﻝ ﺍﻟﺜﺎﱐ )ﳏﺼﻴﺎ ( ﻋﻠﻰ ﺍﳌﻔﻌﻮﻝ ﺍﻷﻭﻝ )ﻧﻔﺴـﻲ( ﻟﻠﻔﻌـﻞ‬
‫)ﺃﺭﻯ ( ﻭﻛﺎﻧﻪ ﻳﺮﻳﺪ ﻣﻦ ﺍﳌﺘﻠﻘﻲ ﺃﻥ ﻳﺆﻳﺪﻩ ﰲ ﺣﻜﻤﻪ ﻭﺗﻘﺮﻳﺮﻩ ﺑﺄﻥ ﺁﻻﺀ ﺍﻟﺮﺳﻮﻝ ﻻﳝﻜﻦ ﺇﺣﺼﺎﺅﻫﺎ‬

‫‪ 1‬ﻋﺒﺪ ﺍﻟﻘﺎﻫﺮ ﺍﳉﺮﺟﺎﱐ‪ :‬ﺩﻻﺋﻞ ﺍﻹﻋﺠﺎﺯ‪ ،‬ﻣﻮﻓﻢ ﻟﻠﻨﺸﺮ‪ ،‬ﺍﳉﺰﺍﺋﺮ‪ ،‬ﻁ‪ ،1991 ،1‬ﺹ ‪.117‬‬
‫‪ 2‬ﺍﻟﺪﻳﻮﺍﻥ‪ ،‬ﺍﳌﺮﺟﻊ ﺍﻟﺴﺎﺑﻖ‪ ،‬ﺹ ‪.45‬‬

‫‪-36-‬‬
‫ﺩﺭﺍﺳﺔ ﺗﻄﺒﻴﻘﻴﺔ ﻟﻠﻤﺴﺘﻮﻳﺎﺕ ﺍﻟﻠﻐﻮﻳﺔ ﰲ ﺍﻟﻘﺼﻴﺪﺓ‬ ‫ﺍﳌﺒﺤﺚ ﺍﻟﺜﺎﱐ‪:‬‬

‫ﺝ‪/‬ﺗﻘﺪﱘ ﺷﺒﻪ ﺍﳉﻤﻠﺔ ﺍﳉﺎﺭﻭ ﻭ ﺍ‪‬ﺮﻭﺭ ﻋﻠﻰ ﺍﳌﻔﻌﻮﻝ ﺑﻪ ‪:‬‬

‫ﻭﻳﺮﺩ ﻫﺬﺍ ﺍﻟﻐﺮﺽ ﺃﻳﻀﺎ ﰲ ﻗﻮﻝ ﺍﻟﺸﺎﻋﺮ ‪:‬‬
‫‪1‬‬
‫ﻭﻗﱪﺍ ﺑﻪ ﻭﺍﺭﺍﻩ ﰲ ﺍﻟﺘﺮﺏ ﻣﻠﺤﻤﺪ‬ ‫ﻋﺮﻓﺖ ‪‬ﺎ ﺭﺳﻢ ﺍﻟﺮﺳﻮﻝ ﻭﻋﻬﺪ‬
‫ﺍﻟﺸﺎﻋﺮ ﰲ ﺍﻟﺸﻄﺮ ﺍﻷﻭﻝ ﻣﻦ ﺍﻟﺒﻴﺖ ﻳﻘﺪﻡ ﺷﺒﻪ ﺍﳉﻤﻠﺔ ﺍﳉﺎﺭﻭﺍ‪‬ﺮﻭﺭ )‪‬ﺎ( ﻋﻠﻰ ﺍﳌﻔﻌﻮﻝ ﺑـﻪ‬
‫ﺍﳌﺘﻤﺜﻞ ﰲ ﺩﺍﻟﺔ )ﺭﺳﻢ(‪ ،‬ﻭﻛﺄﻧﻪ ﻳﻌﻤﺪ ﺇﱃ ﻫﺬﺍ ﺍﻟﺘﺮﻛﻴﺐ ﻟﻴﺤﻮﻝ ﺫﻫﻦ ﺍﳌﺘﻠﻘﻲ ﺇﱃ ﺩﺍﻟﺔ ﺍﳉﺎﺭ ﻭ ﺍ‪‬ﺮﻭﺭ‬
‫ﻣﻦ ﻧﺎﺣﻴﺔ ﺍﳌﻌﲎ‪ ،‬ﺣﻴﺚ ﻳﺸﲑ ﺍﻟﺸﺎﻋﺮ ﺑﺎﳉﺎﺭ ﻭ ﺍ‪‬ﺮﻭﺭ ﺇﱃ ﻣﺪﻳﻨﺔ ﺍﻟﺮﺳﻮﻝ ﺻﻠﻰ ﺍﷲ ﻋﻠﻴﻪ ﻭ ﺳﻠﻢ‪.‬‬
‫ﻭ ﻟﻌﻞ ﺍﻟﺸﺎﻋﺮ ﰲ ﺍﻟﺸﻄﺮ ﺍﻟﺜﺎﱐ ﻣﻦ ﺍﻟﺒﻴﺖ ﻳﺴﲑ ﻋﻠﻰ ﻫﺬﺍ ﺍﻟﻨﻬﺞ ﻣﻦ ﺍﻟﺘﻘﺪﱘ ﻭ ﺍﻟﺘﺄﺧﲑ ﻟﻠﻘﺼﺮ‪،‬‬
‫ﻭ ﲢﻘﻴﻖ ﺍﳋﺼﻮﺻﻴﺔ ﻟﻠﺮﺳﻮﻝ ﺻﻠﻰ ﺍﷲ ﻋﻠﻴﻪ ﻭ ﺳﻠﻢ‪ ،‬ﻓﻤﻊ ﺃﻥ ﺣﻜﻢ ﺍﳌﻮﺗﻰ ﺇﱃ ﺍﻟﺘﺮﺍﺏ ﺇﻻ ﺃﻧﻪ ﻗﺼـﺮ‬
‫ﺍﻟﺪﻭﺍﻝ ﺍﳉﺎﺭ ﻭ ﺍ‪‬ﺮﻭﺭ ﻭ ﺍﻟﻔﺎﻋﻞ؛ ﻟﻴﺸﻌﺮ ﺍﳌﺘﻠﻘﻲ ﺑﺄﻥ ﻣﻦ ﻳﺘﺤﺪﺙ ﻋﻨﻪ ﻟﻴﺲ ﻣﺜﻞ ﺍﻟﺒﺸـﺮ ﻓﻬـﻮ ﻟـﻪ‬
‫ﺧﺼﻮﺻﻴﺔ ﺣﱴ ﰲ ﺍﳌﻮﺕ‪.‬‬
‫ﺩ‪ /‬ﺗﻘﻴﺪﻡ ﺍﳋﱪ ﻋﻠﻰ ﺍﳌﺒﺘﺪﺃ‪:‬‬
‫ﻭ ﻳﺮﺩ ﻫﺬﺍ ﺍﻟﻐﺮﺽ ﺃﻳﻀﺎ ﰲ ﻗﻮﻝ ﺍﻟﺸﺎﻋﺮ‪:‬‬
‫‪‬ﺎ ﻣﻨﱪ ﺍﳍﺎﺩﻱ ﺍﻟﺬﻱ ﻛﺎﻥ ﻳﺼﻌﺪ‬ ‫ﻭ ﻻ ﺗﻨﻤﺤﻲ ﺍﻵﻳﺎﺕ ﻣﻦ ﺩﺍﺭ ﺣﺮﻣﺔ‬
‫‪2‬‬
‫ﻣﻦ ﺍﷲ ﻧﻮﺭ ﻳﺴﺘﻀﺎﺀ ﻭ ﻳﻮﻗــﺪ‬ ‫‪‬ﺎ ﺣﺠﺮﺍﺕ ﻛﺎﻥ ﻳﱰﻝ ﻭﺳﻄﻬـﺎ‬
‫ﰲ ﺍﻟﺒﻴﺖ ﺍﻷﻭﻝ ﳒﺪ ﺍﻟﺸﺎﻋﺮ ﻳﻘﺪﻡ ﰲ ﺑﺪﺍﻳﺔ ﺍﻟﺸﻄﺮ ﺍﻟﺜﺎﱐ ﺍﳋﱪ ) ﺷﺒﻪ ﲨﻠﺔ( ﺍﳉﺎﺭ ﻭ ﺍ‪‬ـﺮﻭﺭ‬
‫)‪‬ﺎ( ﻋﻠﻰ ﺍﳌﺒﺘﺪﺃ ) ﻣﻨﱪ ( ﻟﻴﻜﻮﻥ ﺃﻭﻝ ﻣﺎ ﻳﺘﻠﻘﺎﻫﺎ ﺍﳌﺴﺘﻤﻊ‪ ،‬ﻭ ﻣﻦ ﰒ ﳛﺪﺙ ﺃﺛﺮﻫﺎ ﺍﳌﺮﺗﺒﻂ ﲟﺪﻟـﻮﳍﺎ‪،‬‬
‫ﻭ ﺣﱴ ﻳﻌﻮﺩ ﻣﻔﻬﻮﻡ ﺍﻟﺪﺍﻟﺔ ) ﺍﻵﻳﺎﺕ( ﻋﻠﻰ ) ﺩﺍﺭ ﺣﺮﻣﺔ( ﻣﻦ ﺧﻼﻝ ﺍﳋﱪ ﺍﳌﺘﻘﺪﻡ ﻭ ﺍﳌﺒﺘﺪﺃ ﺍﳌﺘـﺄﺧﺮ ﰲ‬
‫ﺗﺮﺗﻴﺒﻪ‪ ،‬ﻓﻴﻨﺤﺼﺮ ﺍﻻﻫﺘﻤﺎﻡ ﺑﺸﺄﻥ ﺍﳋﱪ ﺍﳌﺘﻘﺪﻡ‪.‬‬
‫ﻭ ﰲ ﺍﻟﺒﻴﺖ ﺍﻟﺜﺎﱐ‪ ،‬ﻳﺴﺘﻤﺪ ﺍﻟﺸﺎﻋﺮ ﰲ ﺇﻇﻬﺎﺭ ﺍﻻﻫﺘﻤﺎﻡ ﺑﺸﺄﻥ ﺍﳌﻘﺪﻡ‪ ،‬ﻭ ﻟﻜﻦ ﺑﺼﻮﺭﺓ ﺃﻭﺿـﺢ‬
‫ﺣﻴﺚ ﻳﻘﺪﻡ ﺍﳋﱪ ﺷﺒﻪ ﲨﻠﺔ ) ‪‬ﺎ( ﻋﻠﻰ ﺍﳌﺒﺘﺪﺃ ) ﺣﺠﺮﺍﺕ(‪ ،‬ﻭ ﻳﻈﻬﺮ ﺫﻟﻚ ﻣﻦ ﺑﺪﺍﻳﺔ ﺗﺮﻛﻴﺐ ﺍﻟﺒﻴﺖ‪،‬‬
‫ﻟﻴﻜﻮﻥ ﺃﻭﻝ ﻣﺎ ﻳﺘﻠﻘﺎﻩ ﺍﳌﺴﺘﻤﻊ‪ ،‬ﻓﻼ ﳜﺮﺝ ﺫﻫﻦ ﺍﳌﺘﻠﻘﻲ ﻋﻦ ﺍﻟﺼﻮﺭﺓ ﺍﻟﺴﺎﺑﻘﺔ‪ ،‬ﺑﻞ ﺗﺴﺘﻤﺮ ﻫﺬﻩ ﺍﻟﺼﻮﺭﺓ‬

‫‪ 1‬ﺍﳌﺮﺟﻊ ﻧﻔﺴﻪ‪ ،‬ﺹ ‪.45‬‬

‫‪ 2‬ﺍﻟﺪﻳﻮﺍﻥ ‪ ،‬ﺍﳌﺮﺟﻊ ﺍﻟﺴﺎﺑﻖ‪ ،‬ﺹ ‪.45‬‬

‫‪-37-‬‬
‫ﺩﺭﺍﺳﺔ ﺗﻄﺒﻴﻘﻴﺔ ﻟﻠﻤﺴﺘﻮﻳﺎﺕ ﺍﻟﻠﻐﻮﻳﺔ ﰲ ﺍﻟﻘﺼﻴﺪﺓ‬ ‫ﺍﳌﺒﺤﺚ ﺍﻟﺜﺎﱐ‪:‬‬

‫‪‬ﺬﺍ ﺍﻟﺮﺍﺑﻂ ﺍﻟﺬﻱ ﻳﻌﻮﺩ ﻋﻠﻰ ﻣﻨﺎﺯﻝ ﺍﻟﺮﺳﻮﻝ ﺻﻠﻰ ﺍﷲ ﻋﻠﻴﻪ ﻭ ﺳﻠﻢ‪ ،‬ﻓﻬﻲ ﺍﻟﱵ ﺧـﺮﺝ ﻣﻨـﻬﺎ ﻧـﻮﺭ‬
‫ﺍﻹﺳﻼﻡ‪.‬‬
‫ﻫـ‪ /‬ﺗﻘﺪﱘ ﻧﺎﺋﺐ ﺍﻟﻔﺎﻋﻞ ﻋﻠﻰ ﺍﻟﻔﻌﻞ ﺍﳌﺒﲏ ﻟﻠﻤﺠﻬﻮﻝ‪:‬‬
‫ﻭ ﻳﺮﺩ ﻫﺬﺍ ﺍﻟﻐﺮﺽ ﰲ ﻗﻮﻝ ﺍﻟﺸﺎﻋﺮ‪:‬‬
‫‪1‬‬
‫ﺩﻟﻴﻞ ﺑﻪ ‪‬ﺞ ﺍﻟﻄﺮﻳﻘﺔ ﻳﻘﺼﺪ‬ ‫ﻓﺒﻴﻨﺎﻫﻢ ﰲ ﻧﻌﻤﺔ ﺍﷲ ﺑﻴﻨﻬﻢ‬
‫ﺍﻷﺻﻞ ﰲ ﺗﺮﺗﻴﺐ ﺍﳉﻤﻠﺔ ﺍﻟﻔﻌﻠﻴﺔ ﻫﻮ ﺗﻘﺪﱘ ﺍﻟﻔﻌﻞ ﻋﻠﻰ ﻧﺎﺋﺐ ﺍﻟﻔﺎﻋﻞ‪ ،‬ﺃﻣﺎ ﰲ ﻫﺬﺍ ﺍﻟﺒﻴﺖ ﳒﺪ ﺍﻟﺸـﺎﻋﺮ‬
‫ﳚﻌﻞ ﺍﳉﻤﻠﺔ ﺍﻟﻔﻌﻠﻴﺔ ﻣﻌﺎﺩﺓ ﺍﻟﺘﺮﻛﻴﺐ ﰲ ﺻﻮﺭﺓ ﺗﻘﺪﱘ ﻧﺎﺋﺐ ﺍﻟﻔﺎﻋﻞ ) ‪‬ﺞ ﺍﻟﻄﺮﻳـﻖ( ﻋﻠـﻰ ﺍﻟﻔﻌـﻞ‬
‫)ﻳ‪‬ﻘﺼﺪ(‪ ،‬ﻭ ﻫﺬﺍ ﻣﺎ ﻳﻌﻄﻴﻨﺎ ﺇﺷﺎﺭﺓ ﺇﱃ ﺃﻥ ﺍﻟﺸﺎﻋﺮ ﻳﻌﻤﺪ ﺇﱃ ﺗﻘﺪﱘ ﻧﺎﺋﺐ ﺍﻟﻔﺎﻋﻞ ﻟﻺﻫﺘﻤﺎﻡ ﺑﺸﺄﻧﻪ ﻭ ﻫﺬﺍ‬
‫ﺇﺫﺍ ﻣﺎ ﺭﺟﻌﻨﺎ ﺇﱃ ﺑﻌﺾ ﺃﺑﻴﺎﺗﻪ ﺍﻟﱵ ﺗﻨﺘﻬﻲ ﺑﺎﻷﻓﻌﺎﻝ‪ ،‬ﺣﻴﺚ ﻳﻘﻮﻡ ﺍﻟﺸﺎﻋﺮ ﲝﺬﻑ ﻓﺎﻋﻠﻬﺎ ﺃﻭ ﻣﻔﻌﻮﳍﺎ ﻟﻌﺪﻡ‬
‫ﺍﻻﻫﺘﻤﺎﻡ ‪‬ﻤﺎ ﻭ ﺟﺬﺏ ﲰﻊ ﺍﳌﺘﻠﻘﻲ ﺇﱃ ﺍﻟﻔﻌﻞ ﰲ ﺣﺪ ﺫﺍﺗﻪ‪.‬‬
‫ﻭ‪ /‬ﺗﻘﺪﱘ ﺍﳉﺎﺭ ﻭ ﺍ‪‬ﺮﻭﺭ ﻋﻠﻰ ﺧﱪ ﻛﺎﻥ‪:‬‬
‫ﻭ ﻳﺮﺩ ﻫﺬﺍ ﺍﻟﻐﺮﺽ ﺃﻳﻀﺎ ﰲ ﻗﻮﻝ ﺍﻟﺸﺎﻋﺮ‪:‬‬
‫ﻟﻐﻴﺒﺔ ﻣﺎ ﻛﺎﻧﺖ ﻣﻦ ﺍﻟﻮﺣﻲ ﺗﻌﻬﺪ‬ ‫ﻭ ﺃﻣﺴﺖ ﺑﻼﺩ ﺍﻟﺮﺣﻢ ﻭﺣﺸﺎ ﺑﻘﺎﻋﻬﺎ‬
‫ﰲ ﻫﺬﺍ ﺍﻟﺒﻴﺖ ﻳﺴﺘﺨﺪﻡ ﺍﻟﺸﺎﻋﺮ ﺗﻘﺪﱘ ﺍﳉﺎﺭ ﻭ ﺍ‪‬ﺮﻭﺭ ) ﻣﻦ ﺍﻟﻮﺣﻲ( ﻋﻠﻰ ﺧﱪ ﻛﺎﻥ ﺍﻟﻔﻌﻞ ) ﺗﻌﻬﺪ(‪،‬‬
‫ﻭ ﺍﳌﺮﺍﺩ ﻣﻦ ﻫﺬﺍ ﺍﻟﺘﻘﺪﱘ‪ ،‬ﺇﺛﺒﺎﺕ ﺃﻥ ﻫﺬﻩ ﺍﻟﺒﻼﺩ ﺗﻌﻮﺩﺕ ﻋﻠﻰ ﻧﺰﻭﻝ ﺍﻟﻮﺣﻲ‪ ،‬ﻓﻜﻴﻒ ﺗﻜﻮﻥ ﺑﻌﺪ ﺍﻧﺘﻘﺎﻝ‬
‫ﺍﻟﺮﺳﻮﻝ ﺻﻠﻰ ﺍﷲ ﻋﻠﻴﻪ ﻭ ﺳﻠﻢ ﺇﱃ ﺍﻟﺮﻓﻴﻖ ﺍﻷﻋﻠﻰ؟ ﺳﻴﻜﻮﻥ ﺣﺎﳍﺎ ﺍﻟﻮﺣﺸﺔ‪ ،‬ﻓﺎﻟﻐﺮﺽ ﻋﻨﺪ ﺍﻟﺸـﺎﻋﺮ‬
‫ﻳﻨﺤﺼﺮ ﰲ ﺗﻘﺪﱘ ﺍﳉﺎﺭ ﻭ ﺍ‪‬ﺮﻭﺭ ﻟﻼﻫﺘﻤﺎﻡ ﺑﻪ‪ ،‬ﻓﻬﻤﻮ ﺍﶈﻮﺭ ﺍﻷﺳﺎﺳﻲ ﰲ ﺍﻟﺒﻴﺖ ﻭ ﺑﺎﻟﺘﺎﱄ ﻓﺈﻧﻨﺎ ﺗﻮﺻﻠﻨﺎ‬
‫ﺇﱃ ﺍﻟﺴﻤﺔ ﺍﻷﺳﻠﻮﺑﻴﺔ ﺍﻟﺒﺎﺭﺯﺓ ﰲ ﻫﺬﻩ ﺍﻟﻘﺼﻴﺪﺓ ﻫﻲ ﺗﻜﺮﺍﺭ ﺷﺒﻪ ﺍﳉﻤﻠﺔ ﺑﻜﺜﺮﺓ ﻭ ﻛﻤﺎ ﻫﻮ ﻣﻌﻠﻮﻡ ﻓﺈ‪‬ـﺎ‬
‫ﺗﺮﺗﺒﻂ ﺇﻣﺎ ﺑﺎﳉﻤﻠﺔ ﺍﻟﻔﻌﻠﻴﺔ ﻭ ﺇﻣﺎ ﺑﺎﳉﻤﻠﺔ ﺍﻹﲰﻴﺔ ﻭ ﺫﻟﻚ ﺣﺴﺐ ﺗﺮﻛﻴﺒﻬﺎ ﰲ ﺍﻟﺒﻴﺖ ﺍﻟﺸﻌﺮﻱ‪.‬‬
‫ﺍﻻﻧﺰﻳﺎﺡ ﻋﻠﻰ ﺍﳌﺴﺘﻮﻯ ﺍﻟﺒﻼﻏﻲ ) ﺍﻟﺼﻮﺭﺓ ﺍﻟﺸﻌﺮﻳﺔ(‪:‬‬

‫ﺍﳌﺮﺟﻊ ﻧﻔﺴﻪ ‪ ،‬ﺹ ‪.46‬‬ ‫‪1‬‬

‫‪-38-‬‬
‫ﺩﺭﺍﺳﺔ ﺗﻄﺒﻴﻘﻴﺔ ﻟﻠﻤﺴﺘﻮﻳﺎﺕ ﺍﻟﻠﻐﻮﻳﺔ ﰲ ﺍﻟﻘﺼﻴﺪﺓ‬ ‫ﺍﳌﺒﺤﺚ ﺍﻟﺜﺎﱐ‪:‬‬

‫ﺗﻌﺪ ﺍﻟﺼﻮﺭﺓ ﺇﺣﺪﻯ ﺍﻟﺪﻋﺎﺋﻢ ﺍﻷﺳﺎﺳﻴﺔ ﺍﻟﱵ ﻳﻌﺮﻑ ﺑﻪ ﺍﻟﺸﻌﺮ ﺑﻌﺪ ﺍﻹﻳﻘـﺎﻉ‪ ،‬ﻭ ﻷﳘﻴﺘـﻬﺎ ﰲ‬
‫ﺍﻟﻌﻤﻞ ﺍﻟﺸﻌﺮﻱ ﺟﻌﻠﻬﺎ ﺍﻟﻨﻘﺎﺩ ﻭ ﺍﻟﺪﺭﺍﺳﻮﻥ ﳏﻂ ﻋﻨﺎﻳﺘﻬﻢ‪ ،‬ﺳﻮﺍﺀ ﰲ ﺫﻟﻚ ﺍﻟﻘﺪﻣﺎﺀ ﻭ ﺍﶈﺪﺛﻮﻥ‪ ،‬ﻛﻤـﺎ‬
‫ﺗﻌﺪ ﻣﻦ ﺃﻫﻢ ﻣﻘﻮﻣﺎﺕ ﺍﻟﺸﻌﺮ ‪‬ﺎ ﺗﺄﺧﺬ ﺍﻟﻘﺼﻴﺪﺓ ﺷﺎﻋﺮﻳﺘﻬﺎ ﻭ ﺗﺘﺎﻛﺪ ﻟﻠﺸـﺎﻋﺮ ﺑﺮﺍﻋﺘـﻪ‪ ،‬ﻭ ﺍﻟﺼـﻮﺭﺓ‬
‫ﻣﺼﻄﻠﺢ ﻋﺎﻡ ﻳﺘﻀﻤﻦ ﺍﻟﺘﺸﺒﻴﻪ ﻭ ﺍﻻﺳﺘﻌﺎﺭﺓ ﻭ ﺍﻟﻜﻨﺎﻳﺔ ﻭ ﺍ‪‬ﺎﺯ ﻭ ﺍﻹﳛﺎﺀ ﻭ ﺍﻟﺮﻣﺰ‪.‬‬
‫ﻭ ﻛﻞ ﻣﺎ ﻣﻦ ﺷﺄﻧﻪ ﺃﻥ ﻳﺮﺳﻢ ﰲ ﺫﻫﻦ ﺍﳌﺘﻠﻘﻲ ﻟﻮﺣﺔ ﻳﺘﻘﺮﺃﻫﺎ ﺑﺬﻭﻗﻪ‪ ،‬ﻓﻴﻬﺘﺰ ﳍﺎ ﺫﻟﻚ ﺃﻥ ﺍﻟﺼﻮﺭﺓ‬
‫ﻋﺪﻭﻝ ﻋﻦ ﺻﻮﺭﺓ ﺍﳊﻴﺎﺓ ﺍﻟﻮﺍﻗﻌﻴﺔ‪.1‬‬
‫ﻭ ﺇﺫﺍ ﺣﺼﺮﻧﺎ ﺩﺭﺍﺳﺘﻨﺎ ﻟﻼﻧﺰﻳﺎﺡ ﰲ ﺍﻟﺼﻮﺭﺓ ﺍﻟﺸﻌﺮﻳﺔ‪ ،‬ﻓﺈﻧﻨﺎ ﻧﺴﺘﻄﻴﻊ ﺃﻥ ﻧﻘﺴﻤﻪ ﺇﱃ ﻗﺴـﻤﲔ‬
‫ﺭﺋﻴﺴﻴﲔ ﳘﺎ‪ :‬ﺍﻻﻧﺰﻳﺎﺡ ﺍﻟﺪﻻﱄ ﺍﻟﺬﻱ ﻧﺪﺭﺱ ﻓﻴﻪ ﺍﻻﺳﺘﻌﺎﺭﺓ ﻭ ﺍﻻﻧﺰﻳﺎﺡ ﺍﻟﺘﺮﻛﻴﱯ ﺍﻟﺬﻱ ﻧـﺪﺭﺱ ﻓﻴـﻪ‬
‫ﺍﻟﻜﻨﺎﻳﺔ‪.‬‬
‫ﺃﻭﻻ‪ :‬ﺍﻻﻧﺰﻳﺎﺡ ﺍﻟﺪﻻﱄ‪.‬‬
‫ﺗﻌﺪ ﺍﻻﺳﺘﻌﺎﺭﺓ ﻭﺳﻴﻠﺔ ﻟﻠﺘﻌﺒﲑ ﺑﺎﻟﺘﺸﻮﻳﻖ ﺗﺆﺛﺮ ﺑﺸﺤﻨﺎ‪‬ﺎ ﺍﻟﻨﻔﺴﻴﺔ ﻭ ﻭﻣﻀﺎ‪‬ﺎ ﺍﳊﺴﻴﺔ ﺍﻟﻔﻜﺮﻳﺔ ﺍﻟﻨﺎﺑﻌﺔ ﻋﻦ‬
‫ﺍﻟﺘﺠﺮﺑﺔ ﺍﻟﺴﺎﺑﻘﺔ‪ ،‬ﺑﻴﺤﺚ ﻳﻌﺮﻓﻬﺎ ﺍﳉﺮﺟﺎﱐ ﰲ ﺃﺳﺮﺍﺭﻩ ﻳﻘﻮﻝ‪ " :‬ﺍﻻﺳﺘﻌﺎﺭﺓ ﰲ ﺍﳉﻤﻠﺔ ﺃﻥ ﻳﻜﻮﻥ ﺍﻟﻠﻔﻆ‬
‫ﺃﺻﻞ ﺍﻟﻮﺿﻊ ﺍﻟﻠﻐﻮﻱ ﻣﻌﺮﻭﻑ ﺗﺪﻝ ﺍﻟﺸﻮﺍﻫﺪ ﻋﻠﻰ ﺃﻧﻪ ﺍﺧﺘﺺ ﺑﻪ ﺣﲔ ﻭﺿﻊ‪ ،‬ﰒ ﻳﺴﺘﻌﻤﻠﻪ ﺍﻟﺸـﺎﻋﺮ ﺃﻭ‬
‫ﻏﲑ ﺍﻟﺸﺎﻋﺮ ﰲ ﻏﲑ ﺫﻟﻚ ﺍﻷﺻﻞ ﻭ ﻳﻨﻘﻠﻪ ﺇﻟﻴﻪ ﻧﻘﻼ ﻏﲑ ﻻﺯﻡ"‪.2‬‬
‫ﻣﻦ ﺃﺟﻞ ﺫﻟﻚ ﺑﺎﺕ ﻭﺟﻮﺩﻫﺎ ﰲ ﺍﻟﻨﺺ ﺍﻟﺸﻌﺮﻱ ﺃﻣﺮﺍ ﺿﺮﻭﺭﻳﺎ‪.‬‬
‫ﻓﻤﺎ ﻣﺪﻯ ﻭﺟﻮﺩﻫﺎ ﰲ ﻗﺼﻴﺪﺓ ﺣﺴﺎﻥ ﻫﺬﻩ؟‬
‫ﺍﺳﺘﻌﺎﻥ ﺍﻟﺸﺎﻋﺮ ﺑﺎﻻﺳﺘﻌﺎﺭﺓ‪ ،‬ﻭ ﻗﺪ ﻭﺭﺩﺕ ﰲ ﻫﺬﻩ ﺍﻟﻘﺼﻴﺪﺓ ﺑﻨﺴﺐ ﻣﺘﻔﺎﻭﺗﺔ‪ ،‬ﻓﻮﻇﻔﻬﺎ ﻛﻠﻤـﺎ ﺩﻋـﺖ‬
‫ﺇﻟﻴﻬﺎ ﺍﳊﺎﺟﺔ‪ ،‬ﻭ ﻗﺪ ﻭﺭﺩﺕ ﰲ ﻗﻮﻟﻪ‪:‬‬
‫‪ /1‬ﺗﻌﻔﻮ ﺍﻟﺮﺳﻮﻡ‪ ) :‬ﺍﻟﺒﻴﺖ ﺍﻷﻭﻝ(‪ ،‬ﺍﺳﺘﻌﺎﺭﺓ ﻣﻜﻨﻴﺔ‪ ،‬ﺑﻴﺤﺚ ﺷﺒﻪ ﺍﻟﺮﺳﻢ ) ﺍﳌﺸﺒﻪ( ﺑﺎﻧﺴﺎﻥ ) ﺍﳌﺸـﺒﻪ‬
‫ﺑﻪ(‪ ،‬ﻓﺤﺬﻑ ﺍﳌﺸﺒﻪ ﺑﻪ ﻭ ﺃﺑﻘﻰ ﻋﻠﻰ ﺷﻲﺀ ﻣﻦ ﻟﻮﺍﺯﻣﻪ ) ﺗﻌﻔﻮ(‪.‬‬

‫‪ 1‬ﻳﻨﻈﺮ‪ :‬ﺣﻮﺍﺱ ﺑﺮﻱ‪ ،‬ﺷﻌﺮ ﻣﻔﺪﻱ ﺯﻛﺮﻳﺎ ﺩﺭﺍﺳﺔ ﻣﻮﺿﻮﻋﻴﺔ ﻭ ﻓﻨﻴﺔ‪ ،‬ﺭﺳﺎﻟﺔ ﺍﳌﺎﺟﻴﺴﺘﲑ ﳐﻄﻮﻃﺔ‪ ،‬ﺟﺎﻣﻌﺔ ﻋﲔ ﴰﺲ‪ ،‬ﻛﻠﻴﺔ ﺍﻵﺩﺍﺏ‪،‬‬
‫ﻗﺴﻢ ﺍﻟﻠﻐﺔ ﺍﻟﻌﺮﺑﻴﺔ‪ ،‬ﺍﻟﻘﺎﻫﺮﺓ‪1407 ،‬ﻫـ‪ 1987 /‬ﻡ‪ ،‬ﺹ ‪.278‬‬
‫‪ 2‬ﻋﺒﺪ ﺍﻟﻘﺎﻫﺮ ﺍﳉﺮﺟﺎﱐ‪ ،‬ﺃﺳﺮﺍﺭ ﺍﻟﺒﻼﻏﺔ‪ ،‬ﺗﺢ‪ :‬ﻋﺒﺪ ﺍﳊﻤﻴﺪ ﺍﳍﻨﺪﺍﻭﻱ‪ ،‬ﺩﺍﺭ ﺍﻟﻜﺘﺐ ﺍﻟﻌﻠﻤﻴﺔ‪ ،‬ﺑﲑﻭﺕ‪ ،‬ﻟﺒﻨﺎﻥ‪ ،‬ﻁ‪ 1422 ،1‬ﻫـ‪/‬‬
‫‪2001‬ﻡ‪ ،‬ﺹ ‪.31‬‬

‫‪-39-‬‬
‫ﺩﺭﺍﺳﺔ ﺗﻄﺒﻴﻘﻴﺔ ﻟﻠﻤﺴﺘﻮﻳﺎﺕ ﺍﻟﻠﻐﻮﻳﺔ ﰲ ﺍﻟﻘﺼﻴﺪﺓ‬ ‫ﺍﳌﺒﺤﺚ ﺍﻟﺜﺎﱐ‪:‬‬

‫ﻭ ﻣﻦ ﻗﺪ ﺑﻜﺘﻪ ﺍﻻﺭﺽ ﻓﺎﻟﻨﺎﺱ ﺃﻛﻤﺪ‬ ‫‪ /2‬ﻳﺒﻜﻮﻥ ﻣﻦ ﺗﺒﻜﻲ ﺍﻟﺴﻤﻮﺍﺕ ﻳﻮﻣﻪ‬

‫ﺍﻟﺒﻴﺖ ﺍﻟﺴﺎﺑﻊ ﻋﺸﺮ‪" :‬ﺗﺒﻜﻲ ﺍﻟﺴﻤﻮﺍﺕ ﻳﻮﻣﻪ"‪ " ،‬ﻭ ﻗﺪ ﺑﻜﺘﻪ ﺍﻷﺭﺽ" ﺣﻴﺚ ﺷﺒﻪ ﰲ ﺍﻟﺼـﻮﺭﺓ ﺍﻷﻭﱃ‬
‫ﺍﻟﺴﻤﻮﺍﺕ ﺑﺎﻧﺴﺎﻥ ﻳﺒﻜﻲ‪ ،‬ﻓﺤﺬﻑ ﺍﳌﺸﺒﻪ ﺑﻪ‪ ،‬ﻭ ﺭﻣﺰ ﻟﻪ ﺑﺄﺣﺪ ﻟﻮﺍﺯﻣﻪ ) ﺗﺒﻜﻲ(‪ ،‬ﻓﺤﺬﻑ ﺍﳌﺸـﺒﻪ ﺑـﻪ‬
‫)ﺍﻻﻧﺴﺎﻥ( ﻭ ﺃﺑﻘﻰ ﻋﻠﻰ ﺃﺣﺪ ﻟﻮﺍﺯﻣﻪ )ﺗﺒﻜﻲ(‪ ،‬ﻭ ﺍﳊﺎﻝ ﻧﻔﺴﻪ ﰲ ﺍﻟﺼﻮﺭﺓ ﺍﻟﺜﺎﻧﻴﺔ‪ ،‬ﺣﻴﺚ ﺷـﺒﻪ ﺍﻷﺭﺽ‬
‫ﺑﺎﻧﺴﺎﻥ ) ﺗﺒﻜﻴﻪ( ﻓﺤﺬﻑ ﺍﳌﺸﺒﻪ ﺑﻪ) ﺍﻻﻧﺴﺎﻥ( ﻭ ﺍﺑﻘﻰ ﻋﻠﻰ ﺃﺣﺪ ﻟﻮﺍﺯﻣﻪ ) ﺗﺒﻜﻴﻪ(‪ ،‬ﻓﻬـﻲ ﺍﺳـﺘﻌﺎﺭﺓ‬
‫ﻣﻜﻨﻴﺔ ﻭﻫﻲ ﺍﻧﺰﻳﺎﺣﺎﺕ ﺩﻻﻟﻴﺔ ﻷ‪‬ﺎ ﻣﺮﺗﺒﻄﺔ ﺑﺎﻟﺪﻭﺍﻝ ﰲ ﺣﺎﻟﺔ ﺍﻻﺳـﺘﺒﺪﺍﻝ ﺃﻱ ﰲ ﺍﶈـﻮﺭ ﺍﻟﻌﻤـﻮﺩﻱ‬
‫ﺍﻻﺧﺘﻴﺎﺭﻱ‪.‬‬
‫‪ /3‬ﻭ ﰲ ﺍﻟﺒﻴﺖ ﺍﻟﺴﺎﺑﻊ‪ ) :‬ﻓﺄﺳﻌﺪﺕ ﻋﻴﻮﻥ ﻭ ﻣﺜﻼﻫﺎ ﰲ ﺍﳉﻔﻦ ﺗﺴﻌﺪ( ﺍﺳﺘﻌﺎﺭﺓ ﻣﻜﻨﻴﺔ ﲝﻴﺚ ﺣـﺬﻑ‬
‫ﺍﳌﺸﺒﻪ ﺑﻪ ﻭ ﺗﺮﻙ ﻻﺯﻣﺎ ﻣﻦ ﻟﻮﺍﺯﻣﻪ ﻭ ﻫﻮ ﺍﻟﻔﻌﻞ ﺗﺴﻌﺪ‪.‬‬
‫‪ /4‬ﰲ ﺍﻟﺒﻴﺖ ﺍﻟﺴﺎﺑﻊ ﻋﺸﺮ‪ ) :‬ﻳﺒﻜﻮﻥ ﻣﻦ ﺗﺒﻜﻲ ﺍﻟﺴﻤﻮﺍﺕ ﻳﻮﻣﻪ( ﺍﺳﺘﻌﺎﺭﺓ ﻣﻜﻨﻴﺔ‪.‬‬
‫‪ /5‬ﺍﻟﺒﻴﺖ ﺍﻟﺮﺍﺑﻊ ﻭ ﺍﻟﺜﻼﺛﻮﻥ‪ ):‬ﻓﺠﻮﺩﻱ ﻋﻠﻴﻪ ﺑﺎﻟﺪﻣﻮﻉ ﻭ ﺃﻋﻮﱄ( ﺍﺳﺘﻌﺎﺭﺓ ﻣﻜﻨﻴﺔ‪.‬‬
‫‪ /6‬ﺍﻟﺒﻴﺖ ﺍﻟﺜﻼﺛﻮﻥ‪ ) :‬ﺑﻜﺘﻪ ﺑﻼﻁ ﻭ ﻏﺮﻗﺪ( ﺍﺳﺘﻌﺎﺭﺓ ﺗﺼﺮﳛﻴﺔ‪.‬‬
‫) ﺗﺎﻫﺖ ﺍﳌﺴﻠﻤﲔ ﺑﻜﻔﺔ( ﺍﺳﺘﻌﺎﺭﺓ ﻣﻜﻨﻴﺔ‪.‬‬ ‫‪/7‬‬
‫) ﻓﻼ ﺍﻟﻌﻠﻢ ﳏﺒﻮﺱ( ﺍﺳﺘﻌﺎﺭﺓ ﺗﺼﺮﳛﻴﺔ‪.‬‬ ‫‪/8‬‬
‫‪ /9‬ﺍﻟﺒﺒﺖ ﺍﻟﺜﺎﻣﻦ ﻋﺸﺮ‪ ) :‬ﻭ ﻫﻞ ﻋﺪﻟﺖ ﻳﻮﻣﺎ ﺭﺯﻳﺔ ﻫﺎﻟﻚ( ﺍﺳﺘﻌﺎﺭﺓ ﺗﺼﺮﳛﻴﺔ‪.‬‬
‫‪/10‬ﻭ ﰲ ﻗﻮﻟﻪ ﺃﻳﻀﺎ‪ ) :‬ﺍﻟﺒﻴﺖ ﺍﻟﺜﺎﱐ ﻭ ﺍﻟﺜﻼﺛﻮﻥ(‪.‬‬
‫ﺩﻳﺎﺭ ﻭ ﻋﺮﺻﺎﺕ‪ ،‬ﺭﺑﻊ‪ ،‬ﻣﻮﻟﺪ‬ ‫ﻭ ﺑﺎﳊﻤﺮﺓ ﺍﻟﻜﱪﻯ ﻟﻪ ﰒ ﺃﻭﺣﺸﺖ‬
‫ﺣﻴﺚ ﺷﺒﻪ ﺍﻟﺸﺎﻋﺮ ) ﺍﻟﺪﻳﺎﺭ‪ ،‬ﺍﻟﻌﺮﺻﺎﺕ‪ ،‬ﺭﺑﻊ‪ ،‬ﻣﻮﻟﺪ( ﺑﺎﻧﺴﺎﻥ ) ﻣﺸﺒﻪ ﺑﻪ(‪ ،‬ﻭ ﺭﻣﺰ ﻟﻪ ﺑﺈﺣﺪﻯ ﺭﻣﻮﺯﻩ‬
‫) ﺃﻭﺣﺸﺖ( ﻋﻠﻰ ﺳﺒﻴﻞ ﺍﻻﺳﺘﻌﺎﺭﺓ ﺍﳌﻜﻨﻴﺔ‪.1‬‬
‫ﻭ ﻫﺬﻩ ﺍﻻﺳﺘﻌﺎﺭﺍﺕ ﻫﻲ ﺍﻧﺰﻳﺎﺣﺎﺕ ﺩﻻﻟﻴﺔ ﺣﻴﺚ ﻳﺘﻢ ﺇﻋﺎﺩﺓ ﺍﻟﺘﺮﻛﻴﺐ ﺇﱃ ﺃﺻﻠﻪ ﺃﻭ ﻣﺎ ﻳﺴﻤﻰ ﺑﺎﳌﻼﺀﻣﺔ‬
‫ﺍﻟﺪﻻﻟﻴﺔ ﻣﻊ ﻭﺟﻮﺩ ﻗﺮﻧﻴﺔ ﺩﺍﻟﺔ ﻋﻠﻰ ﺍﻻﺳﺘﻌﺎﺭﺓ‪.‬‬

‫‪ 1‬ﻳﻨﻈﺮ‪ :‬ﺍﻟﺪﻳﻮﺍﻥ‪ ،‬ﺹ ‪.54‬‬

‫‪-40-‬‬
 ‫ﺩﺭﺍﺳﺔ ﺗﻄﺒﻴﻘﻴﺔ ﻟﻠﻤﺴﺘﻮﻳﺎﺕ ﺍﻟﻠﻐﻮﻳﺔ ﰲ ﺍﻟﻘﺼﻴﺪﺓ‬ ‫ﺍﳌﺒﺤﺚ ﺍﻟﺜﺎﱐ‪:‬‬

‫ﺛﺎﻧﻴﺎ‪ :‬ﺍﻻﻧﺰﻳﺎﺡ ﺍﻟﺘﺮﻛﻴﱯ‪.‬‬

‫ﻳﻌﺮﻑ ﻋﺒﺪ ﺍﻟﻘﺎﺩﺭ ﺍﳉﺮﺟﺎﱐ ﺍﻟﻜﻨﺎﻳﺔ ﺑﻘﻮﻟﻪ‪ " :‬ﺃﻥ ﻳﺮﺩ ﺍﳌﺘﻜﻠﻢ ﺇﺛﺒﺎﺕ ﻣﻌﲎ ﻣﻦ ﺍﳌﻌﺎﱐ ﻓـﻼ ﻳـﺬﻛﺮﻩ‬
‫ﺑﺎﻟﻠﻔﻆ ﺍﳌﻮﺿﻮﻋﻲ ﻟﻪ ﰲ ﺍﻟﻠﻐﺔ ﻭ ﻟﻜﻦ ﳚﻲﺀ ﺇﱃ ﻣﻌﲎ ﻫﻮ ﺗﺎﻟﻴﻪ ﻭ ﺭﺩﻓﻪ ﰲ ﺍﻟﻮﺟﻮﺩ ﻓﻴﺆﻣﻦ ﺇﻟﻴﻪ ﻭ ﳚﻌﻠﻪ‬
‫ﺩﻟﻴﻼ ﻋﻠﻴﻪ"‪.1‬‬
‫ﻭ ﻣﻦ ﺧﻼﻝ ﺗﺘﺒﻌﻨﺎ ﳌﺮﺗﺒﺔ ﺍﻟﺮﺳﻮﻝ ﺻﻠﻰ ﺍﷲ ﻋﻠﻴﻪ ﻭ ﺳﻠﻢ ﳊﺴﺎﻥ‪ ،‬ﻭﺟﺪﻧﺎﻫﺎ ﻗﻠﻴﻠﺔ ﺍﻟﻜﻨﺎﻳﺔ‪.‬‬
‫‪ /1‬ﺇﺫ ﻳﻘﻮﻝ ﺍﻟﺸﺎﻋﺮ ﰲ ﺍﻟﺒﻴﺖ ﺍﳋﺎﻣﺲ ﻋﺸﺮ‪:‬‬
‫) ﻟﻘﺪ ﻏﻴﺒﻮﺍ ﺣﻠﻤﺎ ﻭ ﻋﻠﻤﺎ ﻭ ﺭﲪﺔ(‪ :‬ﻓﺘﻌﺒﲑﺓ )ﺣﻠﻤﺎ ﻭ ﻋﻠﻤﺎ ﻭ ﺭﲪﺔ( ﻛﻨﺎﻳﺔ ﻋﻦ ﻣﻮﺻﻮﻑ ﺍﻱ ﻓﻘـﺪ‬
‫ﺍﻟﻨﱯ ﺻﻠﻰ ﺍﷲ ﻋﻠﻴﻪ ﻭ ﺳﻠﻢ ﺇﱃ ﺍﻷﺑﺪ‪.‬‬
‫‪ /2‬ﻭ ﰲ ﺍﻟﺒﻴﺖ ﺍﻟﺜﺎﻟﺚ ﻋﺸﺮ ﻳﻘﻮﻝ ) ﺑﻮﺭﻙ ﳊﺪ ﻣﻨﻚ ﺻﻤﻦ ﻃﻴﺒﺎ( ﻛﻨﺎﺓ ﻋﻦ ﻧﺴﺒﺔ ﺇﱃ ﺍﻟﺮﺳﻮﻝ ﺻﻠﻰ‬
‫ﺍﷲ ﻋﻠﻴﻪ ﻭ ﺳﻠﻢ‪.‬‬
‫‪ /3‬ﻭ ﰲ ﺍﻟﺒﻴﺖ ﺍﻟﺴﺎﺩﺱ ﻭ ﺍﻟﻌﺸﺮﻭﻥ ﻳﻘﻮﻝ‪ ) :‬ﻻ ﻳﺜﲎ ﺟﻨﺎﺣﻪ( ﻛﻨﺎﻳﺔ ﻋﻦ ﺻﻔﺔ ﺍﻟﻌﻄﻒ ﻭ ﺍﳊﻨﺎﻥ‪.‬‬
‫‪ /4‬ﺍﻟﺒﻴﺖ ﺍﻟﺮﺍﺑﻊ ﻋﺸﺮ )‪‬ﻴﻞﹸ ﻋﻠﻴـﻪ‪ ‬ﺍﻟﺘ‪‬ـﺮ‪‬ﺏ‪ ‬ﺃﻳـﺪ‪ ‬ﻭﺃﻋـﲔ‪ (‬ﻛﻨﺎﻳﺔ ﻋﻦ ﺻﻔﺔ ﺍﻟﺮﲪﺔ‪.‬‬
‫ﺇﺫ ﺃﻥ ﻫﻨﺎﻙ ﳎﻤﻮﻋﺔ ﻣﻦ ﺍﻟﻘﻀﺎﻳﺎ ﺍﳌﺘﻌﻠﻘﺔ ﺑﺎﻻﻧﺰﻳﺎﺡ ﻭ ﻟﻌﻞ ﺃﳘﻬﺎ ﺗﻮﻇﻴﻔﻪ ﻟﻼﺳﺘﻌﺎﺭﺓ ﻭ ﺍﻟﻜﻨﺎﻳﺔ‪ ،‬ﻓﻬﻮ ﻫﻨﺎ‬
‫ﻳﻌﻤﻞ ﻋﻠﻰ ﺗﻨﻤﻴﻖ ﺍﻟﺼﻮﺭﺓ ﺍﻟﺸﻌﺮﻳﺔ ﺍﳌﻼﺋﻤﺔ ﻟﻠﺮﺛﺎﺀ ﻭ ﻟﻔﻘﺪ ﺍﻟﻨﱯ ﺻﻠﻰ ﺍﷲ ﻋﻠﻴﻪ ﻭ ﺳﻠﻢ‪.‬‬
‫ﺍﻟﺒﻴﺖ ﺍﻟﺘﺎﺳﻊ ﻋﺸﺮ ﻳﻘﻮﻝ ) ﻭ ﻗﺪ ﻛﺎﻥ ﺫﺍ ﻧﻮﺭ ﻳﻐﻮﺭ ﻭ ﻳﻨﺠﺪ( ﻭ ﻫﻨﺎ ﻧﻠﻤﺲ ﺍﻗﺘﺒﺎﺱ ﺣﺴﺎﻥ ﻣﻦ‬
‫ﻗﻮﻟﻪ ﺗﻌﺎﱃ‪ " :‬ﻳ‪‬ﺎ ﺃﹶﻳ‪ّ‬ﻬ‪‬ﺎ ﺍﻟﻨ‪ّ‬ﺒﹺﻲ‪ ّ‬ﺇﹺﻧ‪ّ‬ﺎ ﺃﹶﺭ‪‬ﺳ‪‬ﻠﹾﻨ‪‬ﺎﻙ‪ ‬ﺷ‪‬ﺎﻫ‪‬ﺪ‪‬ﺍ ﻭ‪‬ﻣ‪‬ﺒ‪‬ﺸ‪ّ‬ﺮ‪‬ﺍ ﻭ‪‬ﻧ‪‬ﺬ‪‬ﻳﺮ‪‬ﺍ * ﻭ‪‬ﺩ‪‬ﺍﻋ‪‬ﻴ‪‬ﺎ ﺇﹺﻟﹶﻰ ﺍﻟﻠﹶّﻪ‪ ‬ﺑﹺﺈﹺﺫﹾﻧﹺﻪ‪ ‬ﻭ‪‬ﺳ‪‬ﺮ‪‬ﺍﺟ‪‬ﺎ ﻣ‪‬ﻨﹺﲑ‪‬ﺍ"‬
‫ﺳﻮﺭﺓ ﺍﻷﺣﺰﺍﺏ ﺍﻵﻳﺎﺕ ‪.46-45‬‬
‫ﻭ ﻻ ﳒﺪ ﺍﻟﺸﺎﻋﺮ ﰲ ﻫﺬﻩ ﺍﻟﻘﺼﻴﺪﺓ ﻣﻌﺘﻨﻴﺎ ﺑﺎﶈﺴﻨﺎﺕ ﺍﻟﺒﺪﻳﻌﻴﺔ ﺇﻻ ﻣﺎ ﺟﺎﺀ ﻋﻔﻮﺍ ﻭ ﻣﻦ ﺫﻟـﻚ‬
‫ﺍﳉﺎﻧﺲ ﺍﻟﻨﺎﻗﺺ ﰲ ﺍﻟﺒﻴﺖ ﺍﳋﺎﻣﺲ ﻋﺸﺮ ﳒﺪ ) ﻋﻠﻤﺎ ﻭ ﺣﻠﻤﺎ(‪ ،‬ﻭ ﰲ ﺍﻟﺒﻴﺖ ﺍﻟﺘﺎﺳﻊ ﻋﺸﺮ ﳒﺪ ﻃﺒـﺎﻕ‬
‫ﺑﲔ )ﻳﻐﻮﺭ ﻭ ﻳﻨﺠﺪ(‪.‬‬

‫‪ 1‬ﻋﺒﺪ ﺍﻟﻘﺎﻫﺮ ﺍﳉﺮﺟﺎﱐ‪ ،‬ﺃﺳﺮﺍﺭ ﺍﻟﺒﻼﻏﺔ‪ ،‬ﺍﳌﺮﺟﻊ ﺍﻟﺴﺎﺑﻖ‪ ،‬ﺹ ‪.199‬‬

‫‪-41-‬‬
‫ﺩﺭﺍﺳﺔ ﺗﻄﺒﻴﻘﻴﺔ ﻟﻠﻤﺴﺘﻮﻳﺎﺕ ﺍﻟﻠﻐﻮﻳﺔ ﰲ ﺍﻟﻘﺼﻴﺪﺓ‬ ‫ﺍﳌﺒﺤﺚ ﺍﻟﺜﺎﱐ‪:‬‬

‫ﻭ ﻳﺒﺪﻭ ﻟﻨﺎ ﺃﻥ ﺍﻟﺸﺎﻋﺮ ﺣﺴﺎﻥ ﺑﻦ ﺛﺎﺑﺖ ﲝﻜﻢ ﺗﺼﻮﻳﺮ ﻣﻮﺍﻗﻔﻪ ﺍﳊﺰﻳﻨﺔ ﻣﻦ ﻭﻓﺎﺓ ﺍﻟﺮﺳﻮﻝ ﺻﻠﻰ‬
‫ﺍﷲ ﻋﻠﻴﻪ ﻭ ﺳﻠﻢ ﱂ ﻳﻜﻦ ﲝﺎﺟﺔ ﻏﻠﻰ ﻛﺜﲑ ﻣﻦ ﺍﻟﺒﻴﺎﻥ ﻭ ﺍﻟﺒﺪﻳﻊ ﺻﻮﺭﺍ ﻭ ﳏﺴﻨﺎﺕ‪.‬‬
‫‪-3‬ﺍﳌﺴﺘﻮﻯ ﺍﻟﺪﻻﱄ‪:‬‬
‫ﻧﻈﺮﻳﺔ ﺍﳊﻘﻮﻝ ﺍﻟﺪﻻﻟﻴﺔ ) ﻋﻠﻢ ﺍﻟﺪﻻﻟﺔ(‪:‬‬
‫ﻭ ﰲ ﻫﺬﺍ ﺍﳉﺎﻧﺐ ﺍﻟﺪﻻﱄ ﻟﻠﻘﺼﻴﺪﺓ ﻧﻌﺮﺝ ﻋﻠﻰ ﺍﻧﺘﻘﺎﺀ ﺍﻟﺸﺎﻋﺮ ﻟﻠﻤﻔـﺮﺩﺍﺕ ﺫﺍﺕ ﺍﻟـﺪﻻﻻﺕ‬
‫ﺍﻟﺒﻌﻴﺪﺓ ﻭ ﺫﻟﻚ ﻣﻦ ﺧﻼﻝ ﺍﻟﺘﺸﻜﻴﻞ ﺍﳌﻮﺿﻮﻋﻲ ﻭ ﺍﳌﻌﺠﻤﻲ‪.‬‬
‫ﺃ‪ /‬ﺍﻟﺘﺸﻜﻴﻞ ﺍﳌﻮﺿﻮﻋﻲ‪:‬‬
‫ﺗﺘﺴﻢ ﺍﻟﻘﺼﻴﺪﺓ ﰲ ﺻﺪﺭ ﺍﻻﺳﻼﻥ ﺑﺘﻌﺪﺩ ﻭ ﺗﻨﻮﻉ ﺍﳌﻮﺿﻮﻋﺎﺕ‪ ،‬ﻓﻘﺪ ﻳﺴﺘﻬﻞ ﺍﻟﺸﺎﻋﺮ ﺃﺑﻴﺎﺗﻪ ﺑـﺎﻟﻮﻗﻮﻑ‬
‫ﻋﻠﻰ ﺍﻷﻃﻼﻝ‪ ،‬ﰒ ﻳﻨﺘﻘﻞ ﺇﱃ ﺗﻌﺪﺍﺩ ﳏﺎﺳﻦ ﻭ ﺧﺼﺎﻝ ﺍﳌﻴﺖ‪ ،‬ﻳﺬﻫﺐ ﺇﱃ ﺗﺒﻴﺎﻥ ﻣﺪﻯ ﺣﺰﻧﻪ ﻭ ﺗﺄﺳـﻴﻪ‪،‬‬
‫ﻓﻴﺠﻤﻊ ﻣﻦ ﺧﻼﻝ ﺫﻟﻚ ﺑﲔ ﺃﻏﺮﺍﺽ ﻋﺪﺓ ﻣﻦ ﻣﺪﺡ ﻭ ﺭﺛﺎﺀ ﻭ ﺩﻋﺎﺀ ‪....‬‬
‫ﻭ ﰲ ﲢﻠﻴﻞ ﻗﺼﻴﺪﺓ ﺣﺴﺎﻥ ﺑﻦ ﺛﺎﺑﺖ " ﺑﻄﻴﺒﺔ ﺭﺳﻢ ﻟﻠﺮﺳﻮﻝ" ﻭﺟﺪﻧﺎ ﺃ‪‬ﺎ ﻗﺪ ﺍﺷﺘﻤﻠﺖ ﻋﻠﻰ ﳎﻤﻮﻋـﺔ‬
‫ﻣﻦ ﺍﳌﻮﺍﺿﻴﻊ ﺍﳌﺨﺘﻠﻔﺔ ﻭ ﻫﻲ‪:‬‬
‫ﺍﻟﻮﻗﻮﻑ ﻋﻠﻰ ﺍﻷﻃﻼﻝ‪ :‬ﺭﺳﻢ‪ ،‬ﻣﻌﻬﺪ‪ ،‬ﻣﻨﲑ‪ ،‬ﺍﻟﺮﺳﻮﻡ‪ ،‬ﺍﻵﻳﺎﺕ‪ ،‬ﺑﺎﻗﻲ ﻣﻌﺎﱂ‪ ،‬ﺩﺍﺭ ﺣﺮﻣـﺔ‪،‬‬ ‫‪-1‬‬
‫ﺭﺑﻊ‪ ،‬ﺣﺠﺮﺍﺕ‪ ،‬ﻣﻨﱪ ﺍﳍﺎﺩﻱ‪ ،‬ﺍﻟﻘﻔﺎﺭ‪ ،‬ﺍﻟﻘﱪ‪ ،‬ﺍﳌﻌﻤﻮﺭﺓ‪.‬‬
‫ﺍﳊﺰﻥ‪ :‬ﺣﺰﻥ‪ ،‬ﺍﻟﻮﺣﺸﺎﺕ‪ ،‬ﻭﻫﻨﺖ‪ ،‬ﺃﻭﺣﺸﺖ‪ ،‬ﺍﻟﺪﻣﻮﻉ‪ ،‬ﺃﺑﻜﻲ‪ ،‬ﻣﻔﺠﻌﺔ‪ ،‬ﺗﺬﺭﻑ ﺍﻟﻌـﲔ‪،‬‬ ‫‪-2‬‬
‫ﺃﻋﻮﱄ‪ ،‬ﻳﺒﻜﻮﻥ‪ ،‬ﺗﺒﻜﻲ ﺍﻟﺴﻤﻮﺍﺕ‪ ،‬ﺑﻜﺘﻪ ﺍﻷﺭﺽ‪.‬‬
‫ﺍﳌﻮﺕ ﻭ ﺍﳌﻘﺎﺑﺮ ﻭ ﻣﺎﻟﻪ ﻣﻦ ﺻﻠﺔ‪ :‬ﻗﱪ‪ ،‬ﻓﻘﺪ‪ ،‬ﻏﻴﺒﻮﺍ‪ ،‬ﺭﺯﻳﺔ‪ ،‬ﻋﻠﻮﻩ ﺍﻟﺜﺮﻯ‪ ،‬ﻣﻮﺕ‪ ،‬ﺍﻷﺭﻗـﺪ‪،‬‬ ‫‪-3‬‬
‫ﺍﻟﻠﺤﺪ‪ ،‬ﺗﺮﺏ‪ ،‬ﻫﺎﻟﻚ‪.‬‬
‫ﺍﻟﺪﻋﺎﺀ‪ :‬ﻓﺒﻮﺭﻛﺖ‪ ،‬ﺑﺮﻭﻙ ﳊﺪ‪ ،‬ﺭﺑﺎﻩ‪ ،‬ﻓﺎﺳﺘﺘﻢ‪.‬‬ ‫‪-4‬‬
‫ﺍﳌﺪﺡ‪ :‬ﺇﻣﺎﻡ‪ ،‬ﻳﻬﺪﻳﻬﻢ ﺍﳊﻖ‪ ،‬ﻣﻌﻠﻢ ﺻﺪﻕ‪ ،‬ﻋﻄﻮﻑ‪ ،‬ﺍﻟﻨﻮﺭ‪ ،‬ﻋﻔﻮ‪ ،‬ﺃﻋـﻒ‪ ،‬ﺃﻭﰱ ﺫﻣﺘـﻪ‪،‬‬ ‫‪-5‬‬
‫ﻳﺮﺷﺪ‪ ،‬ﻣﻌﻄﺎﺀ‪ ،‬ﺃﻛﺮﻡ ﺣﻴﺎ‪.‬‬
‫ﺍﻟﺮﺟﺎﺀ ﻭ ﺍﻟﺘﻤﲏ‪ :‬ﺃﺭﺟﻮ‪ ،‬ﻟﻌﻠﻲ‪ ،‬ﺣﺒﺔ ﺍﳋﻠﺪ‪ ،‬ﻣﻊ ﺍﳌﺼﻄﻔﻰ‪.‬‬ ‫‪-6‬‬

‫‪-42-‬‬
‫ﺩﺭﺍﺳﺔ ﺗﻄﺒﻴﻘﻴﺔ ﻟﻠﻤﺴﺘﻮﻳﺎﺕ ﺍﻟﻠﻐﻮﻳﺔ ﰲ ﺍﻟﻘﺼﻴﺪﺓ‬ ‫ﺍﳌﺒﺤﺚ ﺍﻟﺜﺎﱐ‪:‬‬

‫ﺏ‪ /‬ﺍﳌﻌﺠﻢ ﺍﻟﺸﻌﺮﻱ‪:‬‬

‫ﻟﻜﻞ ﻧﺺ ﺃﺩﰊ ﻣﻌﺠﻢ ﺷﻌﺮﻱ ﳝﻜﻦ ﺍﻟﻘﺎﺭﺉ ﻣﻦ ﺍﻟﺘﻤﻴﻴﺰ ﺑﲔ ﺍﳌﺒﺪﻋﲔ ﺍﻟﺬﻳﻦ ﻳﺴﻠﻜﻮﻥ ﻃﺮﻗـﺎ‬
‫ﺷﱴ‪ ،‬ﻭ ﻳﺘﺨﺬﻭﻥ ﻷﻧﻔﺴﻬﻢ ﺳﺒﻼ ﻋﺪﻳﺪﺓ ﰲ ﺍﻟﻜﺘﺎﺑﺔ ﺍﻹﺑﺪﺍﻋﻴﺔ‪.1‬‬
‫ﻭ ﻟﻌﻞ ﻫﺬﺍ ﺍﻟﺘﻤﻴﺰ ﻳﺮﻛﺰ ﻋﻠﻰ ﺃﺳﺲ ﻋﺪﺓ ﺃﳘﻬﺎ ﺍﳌﻌﺠﻢ ﺍﻟﻔﲏ ﺍﻟﺬﻱ ﻳﻘـﻮﻡ ﻋﻠـﻰ ﺍﳋﻄـﺎﺏ‬
‫ﺍﻟﺸﻌﺮﻱ‪ ،‬ﻋﻼﻭﺓ ﻋﻠﻰ ﺍﻟﻠﻐﺔ ﺍﻟﺸﻌﺮﻳﺔ ﻣﻦ ﺣﻴﺚ ﺍﻷﺳﻠﻮﺏ ﻭ ﺍﻹﻳﻘﺎﻉ ﻭ ﺍﻟﺼﻮﺭﺓ‪ ،‬ﻭ ﺍﻧﻄﻼﻗﺎ ﻣﻦ ﻫـﺬﺍ‬
‫ﻓﻘﺪ ﺗﻮﺻﻠﻨﺎ ﰲ ﻗﺮﺍﺀﺗﻨﺎ ﻟﻠﻤﺮﺛﻴﺔ ﺍﻟﻨﺒﻮﻳﺔ ﺇﱃ ﺍﺳﺘﺨﻼﺹ ﻣﻌﺠﻢ ﻓﲏ ﻣﻴﺰ ﺍﳉﺎﻧﺐ ﺍﻟﺘﻌﺒﲑﻱ ﻭ ﺣﺼﺮﻧﺎﻩ ﰲ‬
‫ﻫﺬﻩ ﺍﻷﻧﻮﺍﻉ‪:‬‬
‫‪-1‬ﺍﻷﻣﺎﻛﻦ ﺍﳌﻘﺪﺳﺔ‪ :‬ﻓﻤﻦ ﻫﺬﻩ ﺍﻷﻣﺎﻛﻦ ‪:‬ﻣﻨﱪ‪ ،‬ﺍﳍﺎﺩﻱ‪ ،‬ﻣﺴـﺠﺪ‪ ،‬ﺣﺠـﺮﺍﺕ‪ ،‬ﺍﳊﻤـﺮﺓ‪،‬‬
‫ﺍﻟﻜﱪﻯ‪ ،‬ﻗﱪ‪ .‬ﻭ ﺗﺘﺠﻠﻰ ﰲ ﻣﻌﺠﻢ ﺍﻷﻣﺎﻛﻦ ﺍﳌﻘﺪﺳﺔ ﺍﻻﻧﺘﻤﺎﺀ‪ ،‬ﻭ ﺗﺘﻤﻴـﺰ ﺍﻷﻣـﺔ ﺍﻟﻌﺮﺑﻴـﺔ‬
‫ﺍﻹﺳﻼﻣﻴﺔ ﻋﻦ ﺳﺎﺋﺮ ﺍﻷﻣﻢ ﺍﻷﺧﺮﻯ‪.‬‬
‫‪-2‬ﺍﻷﻣﺎﻛﻦ ﺍﻹﺟﺘﻤﺎﻋﻴﺔ‪ :‬ﻃﻴﺒﺔ‪ ،‬ﺍﻟﺮﺳﻮﻡ‪ ،‬ﺩﺍﺭ ﺣﺮﻣﺔ‪ ،‬ﺭﺑﻊ‪ ،‬ﺩﻳﺎﺭ‪ ،‬ﺑﻼﺩ ﻧﻮﻯ ﻓﻴﻬﺎ ﺍﻟﺮﺷـﻴﺪ‪،‬‬
‫ﺍﻟﺒﻴﻮﺕ‪ ،‬ﺍﻟﻐﺮﻗﺪ‪ ،‬ﻗﱪ‪ .‬ﻭ ﺗﺘﻀﻤﻦ ﺍﻷﻣﺎﻛﻦ ﺍﻻﺟﺘﻤﺎﻋﻴﺔ ﺍﻟﺮﺳـﻮﻡ ﻭ ﺍﻷﻃﻼﻝ ﻭ ﻏﲑ ﺫﻟﻚ‪،‬‬
‫ﻭ ﻟﻌﻞ ﺩﻻﻟﺔ ﻫﺬﻩ ﺍﻟﻜﻠﻤﺎﺕ ﲣﺘﻠﻒ ﺍﺧﺘﻼﻓﺎ ﻣﺘﻤﻴﺰﺍ ﻋﻦ ﺍﻷﻃﻼﻝ‪ ،‬ﺍﻟـﱵ ﻭﻗـﻒ ﺃﻣﺎﻣﻬـﺎ‬
‫ﺍﻟﺸﻌﺮﺍﺀ ﺍﳉﺎﻫﻠﻴﻮﻥ‪ ،‬ﺣﻴﺚ ﻭﺍﺟﻬﻮﺍ ﺍﻹﺳﺘﻴﻼﺏ ﺍﳌﻌﺮﰲ‪ ،‬ﻛﻤﺎ ﺗﻈﻬﺮ ﺩﻻﻟﺔ ﺍﻟـﺪﻳﺎﺭ ﻋﻠـﻰ‬
‫ﺍﳉﺎﻧﺐ ﺍﳊﻀﺎﺭﻱ ﳍﺬﻩ ﺍﻷﻣﺔ ﺍﻟﱵ ﺟﺴﺪ ﺍﻟﺸﻌﺮﺍﺀ ﻫﻮﻳﺘﻬﺎ ﺍﳌﺘﻤﺜﻠﺔ ﰲ ﺍﻟﻌﺮﻭﺑﺔ‪.‬‬
‫‪-3‬ﺍﻷﻣﺎﻛﻦ ﺍﻟﻄﺒﻴﻌﻴﺔ‪ :‬ﺍﻟﻄﻞ‪ ،‬ﺍﻻﺭﺽ‪ ،‬ﺍﻟﺴﻤﻮﺍﺕ‪ ،‬ﺍﻟﺘﺮﺏ‪ ،‬ﺍﻟﺜﺮﻯ‪ ،‬ﺍﻟﻘﻔﺎﺭ‪ ،‬ﻳﻌﻜﺲ ﺍﳌﻌﺠـﻢ‬
‫ﺍﳋﺎﺹ ﺑﺎﳌﻜﺎﻥ ﺍﻟﻄﺒﻴﻌﻲ ﺭﺅﻳﺔ ﺍﻟﺸﺎﻋﺮ ﻟﻠﻄﺒﻴﻌﺔ ﺭﺅﻳﺔ ﻧﻔﺴﻴﺔ‪.‬‬
‫‪-4‬ﺍﳌﻜﺎﻥ ﺍﳌﻄﻠﻖ‪ :‬ﺟﻨﺔ ﺍﳋﻠﺪ‪ ،‬ﺫﺍﻙ ﺍﻟﻴﻮﻡ‪ ،‬ﺗﺘﻌﻤﻖ ﰲ ﺍﳌﻜﺎﻥ ﺍﳌﻄﻠﻖ ﺍﻟﺪﻻﻻﺕ ﺍﻟﺮﻭﺣﻴﺔ‪ ،‬ﺣﻴﺚ‬
‫ﺍﻹﳝﺎﻥ ﻭ ﺍﻟﻴﻘﲔ ﻭ ﺍﻟﺘﻘﻮﻯ‪.‬‬
‫‪-5‬ﺍﻟﺰﻣﻦ‪:‬‬

‫‪ 1‬ﻋﺒﺪ ﺍﳌﻠﻚ ﻣﺮﺗﺎﺽ‪ ،‬ﺑﻨﻴﺔ ﺍﳋﻄﺎﺏ ﺍﻟﺸﻌﺮﻱ )ﺩﺭﺍﺳﺔ ﺗﺸﺮﳛﻴﺔ ﻟﻘﻴﺼﺪﺓ " ﺃﺷﺠﺎﻥ ﺇﳝﺎﻧﻴﺔ"(‪ ،‬ﺩﻳﻮﺍﻥ ﺍﳌﻄﺒﻮﻋﺎﺕ ﺍﳉﺎﻣﻌﻴﺔ‪ ،‬ﺍﳉﺰﺍﺋﺮ‪) ،‬‬
‫ﺩ‪،‬ﻁ(‪ ،1991 ،‬ﺹ ‪.171‬‬

‫‪-43-‬‬
‫ﺩﺭﺍﺳﺔ ﺗﻄﺒﻴﻘﻴﺔ ﻟﻠﻤﺴﺘﻮﻳﺎﺕ ﺍﻟﻠﻐﻮﻳﺔ ﰲ ﺍﻟﻘﺼﻴﺪﺓ‬ ‫ﺍﳌﺒﺤﺚ ﺍﻟﺜﺎﱐ‪:‬‬

‫‪ ‬ﺍﻟﺰﻣﻦ ﺍﻟﻮﺍﺳﻊ ) ﺍﻟﻮﺟﻮﺩﻱ(‪ :‬ﻋﺸﻴﺔ‪ ،‬ﻳﻮﻣﻪ؛ ﻭ ﻳﺮﺗﺒﻂ ﺍﻟﺰﻣﻦ ﺍﻟﻮﺍﺳﻊ ﺑﺎﳊﺎﻻﺕ ﺍﻟﻨﻔﺴﻴﺔ ﺣﻴـﺚ‬
‫ﺍﻟﺒﻜﺎﺀ ﻭ ﺍﳊﺰﻥ ﺍﻟﻠﺬﺍﻥ ﻳﺴﺘﻤﺮﺍﻥ ﺑﺎﺳﺘﻤﺮﺍﺭ ﺍﻟﺰﻣﻦ ﺍﻟﻮﺍﺳﻊ‪.‬‬
‫‪ ‬ﺍﻟﺰﻣﻦ ﺍﳌﻄﻠﻖ‪ :‬ﺍﻟﻘﻴﺎﻣﺔ‪ ،‬ﺫﺍﻙ ﺍﻟﻴﻮﻡ؛ ﻭ ﻳﻌﻜﺲ ﻣﻌﺠﻢ ﺍﻟﺰﻣﻦ ﺍﳌﻄﻠﻖ ﺻﻮﺭﺓ ﺍﻻﻧﺪﻓﺎﻉ ﺍﻟﻌـﺎﻃﻔﻲ‬
‫ﺣﻴﺚ ﻳﺘﻤﲎ ﺍﻟﺸـﺎﻋﺮ ﻗﻴـﺎﻡ ﺍﻟﺴﺎﻋﺔ‪ ،‬ﻛﻤﺎ ﲡﻠﺖ ﺃﻣﻨﻴﺎﺗﻪ ﰲ ﺍﻟﺪﻋﺎﺀ ﻟﻠﺮﺳﻮﻝ ﺻﻠﻰ ﺍﷲ ﻋﻠﻴﻪ‬
‫ﻭ ﺳﻠﻢ ﺑﺎﻟﺮﲪﺔ ﻳﻮﻡ ﺍﳋﻠﻮﺩ‪.1‬‬
‫ﻭ ﺍﻟﻘﺼﻴﺪﺓ ﲢﺘﻮﻱ ﻋﻠﻰ ﺑﻌﺾ ﺍﻷﳕﺎﻁ ﻣﻨﻬﺎ ﳕﻂ ﺍﻟﺘﺄﺑﲔ ﻭ ﺍﻟﻨﺪﺏ ﻭ ﺍﻟﻌﺰﺍﺀ‪ ،‬ﻓﺤﺴﺎﻥ ﺑﻦ ﺛﺎﺑﺖ‬
‫ﳚﺎﻭﻝ ﺃﻥ ﻳﻘﺪﻡ ﰲ ﺍﻻﺑﻴﺎﺕ ﺍﻵﺗﻴﺔ ﺗﺄﺑﻴﻨﺎ ﳋﻠﻴﻔﺔ ﺍﻟﺮﺳﻮﻝ ﺻﻠﻰ ﺍﷲ ﻋﻠﻴﻪ ﻭ ﺳﻠﻢ ﻭ ﻫﻮ ﺃﺑﻮ ﺑﻜﺮ‬
‫ﺍﻟﺼﺪﻳﻖ ﺍﻟﺬﻱ ﲪﻞ ﻟﻮﺍﺀ ﺍﻟﺪﻋﻮﺓ ﺍﻹﺳﻼﻣﻴﺔ ﻣﻦ ﺑﻌﺪﻩ‪ ،‬ﺣﻴﺚ ﻳﻘﻮﻝ‪:‬‬
‫ﻓﺎﺫﻛﺮ ﺃﺧﻚ ﺃﺑﺎ ﺑﻜﺮ ﲟﺎ ﻓﻌﻼ‬ ‫ﺇﺫﺍ ﺗﺬﺭﻛﺖ ﺷﺠﻮﺍ ﻣﻦ ﺃﺧﻲ ﺛﻘﺔ‬
‫ﺑﻌﺪ ﺍﻟﻨﱯ ﻭ ﺃﻭﻓﺎﻫﺎ ﲟﺎ ﻓﻌـﻼ‬ ‫ﺧﲑ ﺍﻟﱪﻳﺔ ﺃﺗﻘـﺎﻫﺎ ﻭ ﺃﻋـﺪﺍﻫﺎ‬
‫ﻭ ﺃﻭﻝ ﺍﻟﻨﺎﺱ ﻃﺮ ﺻﺪﻕ ﺍﻟﺮﺳﻞ‬ ‫ﺍﻟﺜـﺎﱐ ﺍﺛﻨﲔ ﻭ ﺍﶈﻤﻮﺩ ﻣﺸﻬﺪﻩ‬
‫ﻣﻦ ﺍﻟﱪﻳـﺔ ﱂ ﺑﻌﺪﻝ ﺑﻪ ﺭﺟـﻼ‬ ‫ﻭ ﻛﺎﻥ ﺣﺐ ﺭﺳﻮﻝ ﺍﷲ ﻗﺪ ﻋﻠﻤﻮﺍ‬
‫ﻭ ﺍﻟﺸﺎﻋﺮ ﻳﺘﺤﺪﺙ ﰲ ﺗﺄﺑﻴﻨﻪ ﻷﰊ ﺑﻜﺮ ﻋﻦ ﻓﺸﺎﺋﻠﻪ ﺍﳌﻌﺮﻭﻓﺔ ﻋﻨﺪ ﺍﳌﺴﻠﻤﲔ ﺇﺫ ﻳﻌﺮﺽ ﳌﱰﻟﺘﻪ ﻣﻦ‬
‫ﺍﻟﺮﺳﻮﻝ‪ ،‬ﻭ ﻛﻴﻒ ﻛﺎﻥ ﺻﺎﺣﺒﻪ ﰲ ﺍﻟﻐﺎﺭ ﻭ ﰲ ﺍﳍﺠﺮﺓ ﻣﻦ ﻣﻜﺔ ﺇﱃ ﺍﳌﺪﻳﻨﺔ‪ ،‬ﻭ ﻳﺬﻛﺮ ﺃﻧـﻪ ﻛـﺎﻥ ﺍﻭﻝ‬
‫ﺍﳌﺼﺪﻗﲔ ﺑﻪ ﻭ ﺑﺮﺳﺎﻟﺘﻪ‪ ،‬ﻭ ﻟﺬﻟﻚ ﺩﻋﻲ ﺍﻟﺼﺪﻳﻖ‪.2‬‬
‫ﻭ ﻟﻌﻠﻨﺎ ﳒﺪ ﺃﻥ ﻣﻦ ﺃﻫﻢ ﺍﻷﻟﻔﺎﻅ ﺍﻟﺪﺍﻟﺔ ﻋﻠﻰ ﺍﺭﺗﺒﺎﻁ ﺩﻳﻦ ﺍﻹﺳﻼﻡ ﺑﺎﻟـﺮﺳـﻮﻝ ﺻﻠﻰ ﺍﷲ ﻋﻠﻴﻪ‬
‫ﻭ ﺳﻠﻢ ) ﺍﻟﺮﺳﻮﻝ‪ ،‬ﻣﻨﱪ ﺍﳍﺎﺩﻱ‪ ،‬ﻣﺼﻠﻰ‪ ،‬ﻣﺴﺠﺪ‪ ،‬ﺣﺠﺮﺍﺕ‪ ،‬ﺍﷲ‪ ،‬ﺍﳌﺮﺳﻼﺕ‪ ،‬ﺍﻟﻮﺣﻲ‪ ،‬ﺍﻟﻜﺮﻡ‪ ،‬ﺍﳉﻨﺔ‪،‬‬
‫ﺍﳋﻠﺪ‪ ،( ... ،‬ﻭ ﻫﻲ ﺃﻟﻔﺎﻅ ﺗﻮﺣﻲ ﲟﺪﻯ ﺗﻌﻠﻖ ﺍﻟﺸﺎﻋﺮ ﺑﺎﻟﻨﱯ ﺻﻠﻰ ﺍﷲ ﻋﻠﻴﻪ ﻭ ﺳﻠﻢ ﻭ ﺗﺄﺛﺮﻩ ﺑﺎﻟﺪﻋﻮﺓ‬
‫ﺍﻹﺳﻼﻣﻴﺔ ﻭ ﺍﻟﺘﻮﺣﻴﺪ ﺍﻹﳍﻲ‪.‬‬

‫‪ 1‬ﻳﻨﻈﺮ ﺭﺟﺎﺀ ﻋﻴﺪ ﺍﻟﻘﻮﻝ ﺍﻟﺸﻌﺮﻱ‪ ،‬ﻣﻨﺸﺄﺓ ﺍﳌﻌﺎﺭﻑ‪ ،‬ﺍﻻﺳﻜﻨﺪﺭﻳﺔ‪ ) ،‬ﺩ‪،‬ﻁ(‪ ،1995 ،‬ﺹ ‪.83‬‬
‫‪ 2‬ﻳﻨﻈﺮ ﺣﺴﺎﻥ ﺑﻦ ﺛﺎﺑﺖ‪ ،‬ﺍﻟﺪﻳﻮﺍﻥ‪ ،‬ﺹ ‪.174‬‬

‫‪-44-‬‬
‫ﺩﺭﺍﺳﺔ ﺗﻄﺒﻴﻘﻴﺔ ﻟﻠﻤﺴﺘﻮﻳﺎﺕ ﺍﻟﻠﻐﻮﻳﺔ ﰲ ﺍﻟﻘﺼﻴﺪﺓ‬ ‫ﺍﳌﺒﺤﺚ ﺍﻟﺜﺎﱐ‪:‬‬

‫ﻛﻤﺎ ﲤﻴﺰﺕ ﻟﻐﺔ ﺍﻟﺸﺎﻋﺮ ﺑﺎﳌﺒﺎﺷﺮﺓ ﻭ ﺑﺴﺎﻃﺔ ﺍﻻﻟﻔﺎﻅ ﻭ ﺳﻬﻮﻟﺘﻬﺎ‪ ،‬ﻭ ﻗﻮﺓ ﺍﻹﳛﺎﺀ ﻭ ﺍﻟﺪﻻﻟﺔ‪ ،‬ﻭﳑﺎ‬
‫ﺃﺿﻔﻰ ﻋﻠﻴﻬﺎ ﺭﻭﻧﻘﺎ ﲨﺎﻟﻴﺎ ﺭﺍﻳﻌﺎ ﰲ ﺍﳌﻌﲎ ﺧﺪﻡ ﺃﻓﻜﺎﺭﻩ ﻭ ﻣﺸﺎﻋﺮﻩ ﻭ ﺃﺣﺎﺳﻴﺴﻪ‪ ،‬ﻭ ﻣﺜـﺎﻝ ﺫﻟـﻚ ﰲ‬
‫ﺍﻟﺒﻴﺖ ﺍﻷﻭﻝ‪:‬‬
‫ﻣﻨﲑ‪،‬ﻭ‪‬ﻗﹶﺪ‪ ‬ﺗ‪‬ﻌ‪‬ﻔﹸﻮ ﺍﻟﺮ‪‬ﺳ‪‬ﻮﻡ‪ ‬ﻭﺗ‪‬ﻬ‪‬ﻤ‪‬ـﺪ‪‬‬ ‫ﺑﹺـﻄﹶـﻴﺒ‪‬ﺔ َ ﺭﺳﻢ‪ ‬ﻟﻠﺮﺳﻮﻝﹺ ﻭﻣ‪‬ﻌ‪‬ﻬ‪‬ﺪ‪‬‬

‫ﻭ ﻓﻴﻬﺎ ﺇﺷﺎﺭﺓ ﻟﻠﺮﺳﻮﻡ ﺍﻟﱵ ﺍﺳﺘﻘـﺮﺕ ﰲ ﻧﻔﺲ ﺍﻟﺸـﺎﻋﺮ ﻭ ﱂ ﺗﻔـﺎﺭﻗﻪ ﳌﺎ ﻓﻴﻬﺎ ﻣﻦ ﺇﳛﺎﺀﺍﺕ‬
‫ﻭ ﺩﻻﻻﺕ‪ ،‬ﻷ‪‬ﺎ ﻣﻬﻤﺎ ﺗﻐﲑﺕ ﻭ ﺗﺒﺪﻟﺖ ﺗﻠﻚ ﺍﻟﺮﺳﻮﻡ ﺇﻻ ﺃ‪‬ﺎ ﺑﺎﻗﻴﺔ ﺣﻴﺔ ﰲ ﻧﻔﺲ ﺍﻟﺸﺎﻋﺮ ﻭ ﱂ ﺗﻐﺎﺩﺭ‬
‫ﻣﻦ ﳐﻴﻠﺘﻪ‪.‬‬
‫ﺑﺎﻻﺿﺎﻓﺔ ﺇﱃ ﺍﺳﺘﺨﺪﺍﻣﻪ ﺑﻌﺾ ﺍﻷﻟﻔﺎﻅ ﻣﺜﻞ ) ﺗﺒﻜﻲ( ﺍﻟﱵ ﺗﻮﺣﻲ ﺑﺸﺪﺓ ﺍﳊﺰﻥ ﻭ ﺍﻟﻔﺮﺍﻕ ﺍﻟـﱵ‬
‫ﺍﺳﺘﻌﺎﺭﻫﺎ ﺍﻟﺸﺎﻋﺮ ﻣﻦ ﺳﻠﻮﻙ ﺍﻹﻧﺴﺎﻥ ﻭ ﺟﺴﺪﻫﺎ ﰲ ﺍﻻﺷﻴﺎﺀ ﺍ‪‬ـﺮﺩﺓ ﻣﺜـﻞ ) ﺍﻟﺴـﻤﻮﺍﺕ‪ ،‬ﺍﻷﺭﺽ‪،‬‬
‫ﺍﻟﺒﻼﻁ‪ ،‬ﺍﻟﻐﺮﻗﺪ‪ (... ،‬ﻟﻠﺘﻮﻛﻴﺪ ﻋﻠﻰ ﻣﻜﺎﻧﺔ ﺍﻟﺮﺳﻮﻝ ﺻﻠﻰ ﺍﷲ ﻋﻠﻴﻪ ﻭ ﺳﻠﻢ ﺍﻟﻌﻈﻴﻤﺔ ﰲ ﻧﻔﺴﻪ ﻭ ﺃﺛـﺮ‬
‫ﻭﻓﺎﺗﻪ ﻋﻠﻴﻪ‪.1‬‬

‫‪ 1‬ﻳﻨﻈﺮ‪ :‬ﺍﻟﺪﻳﻮﺍﻥ‪ ،‬ﺹ ‪.54‬‬

‫‪-45-‬‬
 ‫ﺧﺎﲤﺔ‬
‫ﰲ ﺧﺘــﺎﻡ ﺩﺭﺍﺳﻨﺘﻨﺎ ﺍﻷﺳﻠـﻮﺑﻴﺔ ﻭ ﺍﻟﱵ ﻛﺎﻥ ﻫﺪﻓﻨﺎ ﻓﻴﻬﺎ ﺍﻟﺘﻌﺮﻑ ﻋﻠﻰ ﺍﳌﻨﻬﺞ ﺍﻻﺳﻠﻮﰊ ﻋﻦ‬
‫ﻗﺮﺏ ﻭ ﺍﻟﻜﺸﻒ ﻋﻦ ﻗﺪﺭﺗﻪ ﰲ ﺇﺑﺮﺍﺯ ﺧﺼﺎﺋﺺ ﻭ ﲰﺎﺕ ﺍﻟﻘﺼﻴﺪﺓ‪.‬‬
‫ﻓﻨﺤﻤـﺪ ﺍﷲ ﺃﻧـﻪ ﻗﺪ ﰎ ﻫـﺬﺍ ﺍﻟﻌﻤﻞ ﺍﳌﺘﻮﺍﺿﻊ ﺍﳌﻮﺳﻮﻡ ﺑﺪﺭﺍﺳﺔ ﺃﺳﻠﻮﺑﻴﺔ ﻟﻘﺼﻴﺪﺓ ﺣﺴﺎﻥ ﺑﻦ‬
‫ﺛﺎﺑﺖ "ﺑﻄﻴﺒﺔ ﺭﺳﻢ ﺍﻟﺮﺳﻮﻝ ﺻﻠﻰ ﺍﷲ ﻋﻠﻴﻪ ﻭ ﺳﻠﻢ" ﲝﻴﺚ ﺃ‪‬ﺎ ﺗﻜﻤﻦ ﲨﺎﻟﻴﺘﻬﺎ ﰲ ﺣﺴﻦ ﺍﻧﺘﻘﺎﺀ ﺍﻟﻔﺎﻇﻬﺎ‬
‫ﻭ ﻋﺒﺎﺭﺍ‪‬ﺎ ﺍﳌﻮﺣﻴﺔ ﺗﻌﻜﺲ ﺻﻮﺭﺓ ﺍﳊﺎﻟﺔ ﺍﻟﻨﻔﺴﻴﺔ ﺍﻟﱵ ﻋﺎﺷﻬﺎ ﺍﻟﺸﺎﻋﺮ‪ ،‬ﻭ ﻣﻦ ﻫﺬﻩ ﺍﻷﻟﻔﺎﻅ ﻣﺎ ﻳﻌﻤـﻖ‬
‫ﺍﻟﺪﻻﻻﺕ ﺍﻟﺮﻭﺣﻴﺔ‪ ،‬ﲝﻴﺚ ﻳﻐﻠـﺐ ﻋـﻠﻰ ﻫﺬﻩ ﺍﻟﻘﺼﻴﺪﺓ ﺍﳌﻌﺠﻢ ﺍﻟﻘﺮﺁﱐ ﺍﻟﺬﻱ ﻳﺘﻀﻤﻦ ﻣﻔﻬﻮﻡ ﺍﻟﻌﺒﺎﺩﺓ‬
‫ﻭ ﺍﻟﻨﺒﻮﺓ ﻭ ﺍﻟﺮﺳﺎﻟﺔ ﻭ ﺍﻷﻣﺎﻛﻦ ﺍﳌﻘﺪﺳﺔ ﻭ ﻏﲑ ﺫﻟﻚ‪.‬‬
‫ﻛﻤﺎ ﻋﱪ ﺍﻟﺸﺎﻋﺮ ﺑﺎﻟﺼﻮﺭﺓ ﻋﻦ ﺣﺎﻟﺔ ﻧﻔﺴﻴﺔ ﻣﻌﻴﻨﺔ ﻳﻌﻴﺸﻬﺎ ﺇﺯﺍﺀ ﻣﻮﻗﻒ ﻣﻌﲔ ﻣﻦ ﻣﻮﺍﻗﻔﻪ ﻣـﻊ‬
‫ﺍﳊﻴﺎﺓ‪ ،‬ﺇﺫ ﻳﻨﻘﻞ ﺍﻟﺸﺎﻋﺮ ﺃﻓﻜﺎﺭﻩ ﻭ ﻣﺸﺎﻋﺮﻩ‪ ،‬ﻓﻬﻲ ﺗﺼﻮﻳﺮ ﻟﻌﺎﻃﻔﺘﻪ ﻭ ﲡﺮﺑﺘﻪ‪ ،‬ﻓﻘﺪ ﺻﻮﺭ ﺣﺴﺎﻥ ﲡﻠﻴﺎﺕ‬
‫ﺍﻵﺛﺎﺭ ﺍﳌﺘﺮﺗﺒﺔ ﻋﻦ ﻭﻓﺎﺓ ﺍﻟـﺮﺳـﻮﻝ ﺻﻠﻰ ﺍﷲ ﻋﻠﻴﻪ ﻭ ﺳﻠﻢ‪ ،‬ﺣﻴﺚ ﻋﱪ ﻋـﻦ ﺍﻟﻘـﻴﻢ ﻭ ﺍﳌﺜـﻞ ﺍﻟﻌﻠﻴﺎ‬
‫ﻭ ﺍﴰﺎﺋﻞ ﺍﶈﻤﺪﻳﺔ‪ ،‬ﻛﻤﺎ ﳒﺪ ﺃﻥ ﺣﺴﺎﻥ ﺍﺳﺘﺨﺪﻡ ﻟﻐﺔ ﺳﻬﻠﺔ ﺑﺴﻴﻄﺔ ﺗﺘﻀﻤﻦ ﺃﻟﻔﺎﻇﺎ ﻭ ﻣﻌﺎﻥ ﺟﺪﻳـﺪﺓ‬
‫ﻣﺴﺘﻮﺣﺎﺓ ﻣﻦ ﺍﻟﻘﺮﺁﻥ ﺍﻟﻜﺮﱘ‪.‬‬
‫ﻭ ﺍﲣﺬﺕ ﺍﳌﺮﺛﻴﺔ ﺛﻼﺙ ﺃﳕﺎﻁ‪ ،‬ﻓﻘﺪ ﻛﺎﻧﺖ ﺗﻔﺠﻌﺎ ﺃﻭ ﺗﺄﺑﻴﻨﺎ ﺃﻭﻋﺰﺍﺀ‪ ،‬ﻭ ﺍﻷﺻـﻞ ﰲ ﺍﻟﺘﻔﺠﻊ ﻫﻮ‬
‫ﺍﻟﺒﻜﺎﺀ ﻭ ﺍﻟﻨﺪﺏ‪ ،‬ﻭ ﻗﺪ ﺑﻜﻰ ﺷﻌﺮﺍﺀ ﺍﻟﺮﺳﻮﻝ ﺻﻠﻰ ﺍﷲ ﻋﻠﻴﻪ ﻭ ﺳﻠﻢ ﻭ ﻋـﱪﻭﺍ ﻋﻦ ﻓﺎﺟﻌﺘﻬﻢ ﺍﻷﻟﻴﻤﺔ‪،‬‬
‫ﻭ ﺇﱃ ﺟﺎﻧﺐ ﺍﻟﺘﻔﺠﻊ ﳒﺪ ﺍﻟﺘﺄﺑﲔ‪ ،‬ﻭ ﻳﻌﲏ ﻣﺪﺡ ﻭ ﺫﻛﺮ ﳏﺎﺳﻦ ﺍﻟﺸﺨﺺ ﺣﻴﺎ ﻛﺎﻥ ﺃﻭ ﻣﻴﺘـﺎ‪،‬ﰒ ﺑﻌـﺪ‬
‫ﺫﻟﻚ ﺍﻗﺘﺼﺮ ﺍﺳﺘﺨﺪﺍﻣﻪ ﻋﻠﻰ ﺍﳌﻮﺗﻰ ﻓﻘﻂ‪ ،‬ﻭ ﺃﺷﺎﺭ ﺍﻟﺸﻌﺮﺍﺀ ﻓﻴﻪ ﺑﻔﻀﺎﺋﻞ ﺍﻟﺮﺳﻮﻝ ﺻﻠﻰ ﺍﷲ ﻋﻠﻴﻪ ﻭ ﺳﻠﻢ‬
‫ﻭ ﴰﺎﺋﻠﻪ‪ ،‬ﺃﻣﺎ ﺍﻟﻌﺰﺍﺀ ﻓﻬﻮ ﻣﺮﺗﺒﺔ ﻋﻘﻠﻴﺔ ﻭ ﻣﻌﻨﺎﻫﺎ ﺍﻟﺘﺼﺒﲑ ﻭ ﺍﻟﺘﻬﻮﻳﻦ ﻣﻦ ﺍﳌﺼﺎﺏ‪ ،‬ﻭ ﻗﺪ ﺗﻌﺰﻯ ﺣﺴـﺎﻥ‬
‫ﺑﻦ ﺛﺎﺑﺖ ﰲ ﻣﻮﺕ ﺍﻟﻨﱯ ﺻﻠﻰ ﺍﷲ ﻋﻠﻴﻪ ﻭ ﺳﻠﻢ ﺑﺄﻥ ﺛـﻮﺍﺑﻪ ﺍﻟﻔـﺮﺩﻭﺱ ﻛﻤـﺎ ﻛﺎﻥ ﺍﻟﺪﻋﺎﺀ ﺑﺎﻟﺮﲪﺔ‬
‫ﻭ ﺍﻟﺼﻼﺓ ﻋﻠﻴﻪ ﺗﻌﻮﻳﻀﺎ ﻋﻦ ﺍﻟﻘﻠﻖ ﺍﻟﺪﺍﺧﻠﻲ‪.‬‬
‫ﻫﺬﻩ ﺍﳌﺮﺛﻴﺔ ﰲ ﺻﺪﺭ ﺍﻹﺳﻼﻡ ﳍﺎ ﲨﺎﻟﻴﺔ ﻣﻴﺰ‪‬ﺎ ﻋﻦ ﻏﲑﻫﺎ ﻣﻦ ﺍﳌﺮﺍﺛﻲ ﻭ ﺍﻟﺼﻮﺭﺓ ﺍﻷﺩﺑﻴﺔ ﻣﺎ ﻫﻲ‬
‫ﺇﻻ ﺗﻌﺒﲑﺍ ﻋﻦ ﺍﻟﻌﻮﺍﻃﻒ ﺍﻟﺬﺍﺗﻴﺔ ﻟﻠﻔﺮﺩ ﻭ ﺍﳉﻤﺎﻋﺔ ﺍﻟﺒﺸﺮﻳﺔ ﺭﺅﻳﺔ ﻟﻠﻮﺍﻗﻊ ﰲ ﺍﻟﺘﻌﺒﲑ ﻋﻤﺎ ﺧﻠﻔﻪ ﻣﻦ ﺁﺛـﺎﺭ‬
‫ﻋﻤﻴﻘﺔ ﻣﻦ ﺍﻟﻨﻔﺲ‪.‬‬

‫‪-45-‬‬
 ‫ﺧﺎﲤﺔ‬
‫ﻭ ﻗﺪ ﻭﻓﻖ ﺣﺴﺎﻥ ﺑﻦ ﺛﺎﺑﺖ ﰲ ﺣﺴﻦ ﺍﺧﺘﻴﺎﺭﻩ ﻟﺒﺤﺮ ﺍﻟﻘﺼﻴﺪﺓ ﻭﺭﻭﻳﻬﺎ‪ ،‬ﻓﻨﻼﺣﻆ ﺃ‪‬ﺎ ﺟـﺎﺀﺕ‬
‫ﻋﻠﻰ ﺍﻟﺒﺤﺮ ﺍﻟﻄﻮﻳﻞ‪ ،‬ﻭ ﻻ ﻳﻘﻮﻡ ﺍﻧﺘﻘﺎﺀ ﻫﺬﺍ ﺍﻟﺒﺤﺮ ﺇﻻ ﻋﻠﻰ ﳑﻴﺰﺍﺗﻪ ﻭ ﻣﺎ ﳜﺘﺺ ﺑﻪ‪ ،‬ﻭ ﺇﳕﺎ ﻳﺮﺟﻊ ﻏﻠـﻰ‬
‫ﻃﺒﻴﻌﺔ ﺍﻻﻧﻔﻌﺎﻻﺕ‪ ،‬ﺇﺫ ﺃﻥ ﺍﻟﺒﺎﻋﺚ ﻋﻠﻰ ﺍﻹﻳﻘﺎﻉ ﻫﻮ ﺍﻹﻧﻔﻌﺎﻝ ﻭ ﻃﺒﻴﻌﺘﻪ‪ ،‬ﻭ ﻳﺘﺤﺪﺩ ﺍﻹﻳﻘﺎﻉ ﺗﺒﻌﺎ ﻟﻠﺤﺎﻟﺔ‬
‫ﺍﻟﻨﻔﺴﻴﺔ‪ ،‬ﻛﻤﺎ ﺍﻥ ﺍﻧﺘﻘﺎﺀ ﺭﻭﻱ ﺍﻟﻘﺎﻓﻴﺔ ﻳﻌﻮﺩ ﺇﱃ ﺍﻟﺸﺤﻨﺔ ﺍﻟﻨﻐﻤﻴﺔ ﺍﻟﱵ ﺗﻔﺮﺯﻫﺎ ﻫﺬﻩ ﺍﳊﺮﻭﻑ‪ ،‬ﻭ ﻗـﺪﺭ‪‬ﺎ‬
‫ﻋﻠﻰ ﲢﺮﻳﻚ ﺍﻟﻌﻮﺍﻃﻒ ﻭ ﺇﺛﺎﺭﺓ ﺍﳌﺸﺎﻋﺮ‪.‬‬
‫ﻛﻤﺎ ﺃﻥ ﺍﻟﻘﺼﻴﺪﺓ ﻃﻐﺖ ﻋﻠﻴﻬﺎ ﺑﻌﺾ ﺍﻟﺴﻤـﺎﺕ ﺍﻷﺳﻠـﻮﺑـﺔ ﻋﻠـﻰ ﺍﳌﺴﺘـﻮﻯ ﺍﻹﻳﻘﺎﻋﻲ‬
‫ﻭ ﺍﻟﺘﺮﻛﻴﱯ ﻭ ﺍﻟﺪﻻﱄ؛ ﻓﺎﻹﻳﻘﺎﻉ ﻫﻨﺎ ﺍﺷﺘﻤﻞ ﻋﻠﻰ ﺍﻟﻮﺯﻥ ﻭ ﺍﻟﺜﻘﺎﻓﻴﺔ ﻭ ﺍﻟﺘﻨﺎﻏﻢ ﺍﻟﺼﻮﰐ‪ ،‬ﺃﻣـﺎ ﺑﺎﻟﻨﺴـﺒﺔ‬
‫ﻟﻠﺘﺮﻛﻴـﺐ ﻓـﺎﺷﺘﻤـﻞ ﻋﻠﻰ ﺍﻟﺘﻘﺪﱘ ﻭ ﺍﻟﺘﺄﺧﲑ ﻛﺘﻘﺪﱘ ﺍﳉـﺎﺭ ﻭ ﺍ‪‬ـﺮﻭﺭ ﻭ ﺍﻟﻔـﻌـﻞ ﻭ ﺍﻟﻔﺎﻋﻞ‬
‫ﻭ ﺍﳊﺬﻑ‪.‬‬
‫ﻭ ﺗﻄﺮﻗـﻨﺎ ﺃﻳﻀـﺎ ﰲ ﺍﳌﺴﺘﻮﻯ ﺍﻟﺪﻻﱄ ﻋﻠﻰ ﺍﳊﻘﻮﻝ ﺍﻟﺪﻻﻟﻴﺔ ﺍﻟﺒﺎﺭﺯﺓ ﻛﺎﻟﺘﺸﻜﻴﻞ ﺍﳌﻮﺿﻮﻋﻲ‬
‫ﻭ ﺍﳌﻌﺠﻢ ﺍﻟﺸﻌﺮﻱ‪.‬‬
‫ﻭ ﰲ ﳎﻤﻞ ﺍﻟﻨﺘﺎﺋﺞ ﺍﻟﱵ ﺗﻮﺻﻠﻨﺎ ﺇﻟﻴﻬﺎ ﰲ ﺍﻟﺪﺭﺍﺳﺔ‪ ،‬ﻭ ﺗﺄﺳﻴﺴﺎ ﻋﻠﻴﻬﺎ ﻓﺈﻧﻨﺎ ﻧﺄﻣﻞ ﺃﻥ ﺗﻜﻮﻥ ﻧﺎﻓﻌﺔ‬
‫ﻟﻜﻞ ﺍﳌﺘﺼﻔﺤﲔ ﺍﻟﺪﺍﺭﺳﲔ‪ ،‬ﻛﻤﺎ ﺃﻧﻨﺎ ﻧﺮﺟﻮﺍ ﺃﻥ ﻧﻜﻮﻥ ﻗﺪ ﺃﺳﻬﻤﻨﺎ ﰲ ﻭﺿـﻊ ﻟﺒﻨـﺔ ﻣﺘﻮﺍﺿﻌــﺔ ﰲ‬
‫ﺷـﺮﺡ ﺍﻟﻘﺼﻴﺪﺓ‪ ،‬ﻭ ﺃﻥ ﻧﺘﺠﺎﻭﺯ ﻋﻤﺎ ﻓﻴﻪ ﻣﻦ ﺧﻄﺄ ﻭ ﺯﻟﻞ‪ ،‬ﻭ ﻳﻜﻮﻥ ﺧﺎﻟﺼﺎ ﻟﻮﺟﻪ ﺍﷲ ﺗﻌﺎﱃ " ﻭ‪‬ﻣ‪‬ـﺎ‬
‫ﺗ‪‬ﻮ‪‬ﻓ‪‬ﻴﻘ‪‬ﻲ ﺇﹺﻟﱠﺎ ﺑﹺﺎﻟﻠﱠﻪ‪ ‬ﻋ‪‬ﻠﹶﻴ‪‬ﻪ‪ ‬ﺗ‪‬ﻮ‪‬ﻛﱠﻠﹾﺖ‪ ‬ﻭ‪‬ﺇﹺﻟﹶﻴ‪‬ﻪ‪ ‬ﺃﹸﻧﹺﻴﺐ‪"‬ﺻﺪﻕ ﺍﷲ ﺍﻟﻌﻈﻴﻢ‪ ،‬ﺳﻮﺭﺓ ﻫﻮﺩ ﺍﻵﻳﺔ ‪.88‬‬

‫‪-46-‬‬
 ‫ﻗﺎﺋﻤﺔ ﺍﳌﺼﺎﺩﺭ ﻭﺍﳌﺮﺍﺟﻊ‬

‫ﺃﻭﻻ‪ :‬ﺍﳌﺼﺎﺩﺭ‬
‫‪ -‬ﺍﻟﻘﺮﺁﻥ ﺍﻟﻜﺮﱘ‬
‫ﺛﺎﻧﻴﺎ‪ :‬ﺍﳌﺮﺍﺟﻊ‪.‬‬
‫ﺃ‪ -‬ﺍﻟﻜﺘﺐ‪:‬‬
‫‪ .1‬ﺇﺑﺮﺍﻫﻴﻢ ﺭﻣﺎﱐ‪ :‬ﺍﻟﻐﻤﻮﺽ ﰲ ﺍﻟﺸﻌﺮ ﺍﻟﻌﺮﰊ ﺍﳊﺪﻳﺚ‪ ،‬ﺩﻳﻮﺍﻥ ﺍﳌﻄﺒﻮﻋﺎﺕ ﺍﳉﺎﻣﻌﻴﺔ‪ ،‬ﺩ‪،‬ﻁ‪،‬ﺕ‪.190 ،1992 ،‬‬
‫‪ .2‬ﺍﺑﻦ ﺣﺠﺔ ﺍﳊﻤﻮﻱ‪ ،‬ﺧﺰﺍﻧﺔ ﺍﻷﺩﺏ ﻭ ﻏﺎﻳﺔ ﺍﻷﺩﺏ‪ ،‬ﺩﺍﺭ ﻣﻜﺘﺒﺔ ﺍﳍﻼﻝ‪ ،‬ﺑﲑﻭﺕ‪ ،‬ﻟﺒﻨﺎﻥ‪ ،‬ﺩ‪،‬ﻁ‪ ،‬ﺩ‪ ،‬ﺕ‪ ،‬ﺝ‪.1‬‬
‫‪ .3‬ﺍﺑﻦ ﻣﻨﻈﻮﺭ‪ :‬ﻟﺴﺎﻥ ﺍﻟﻌﺮﺏ‪ ،‬ﺩﺍﺭ ﺇﺣﻴﺎﺀ ﺍﻟﺘﺮﺍﺙ ﺍﻟﻌﺮﰊ‪ ،‬ﺑﲑﻭﺕ ﻁ ‪ ) 3‬ﺩ‪ ،‬ﺕ (‪ ،‬ﻣﺎﺩﺓ ﺳﻠﺐ‪.‬‬
‫‪ .4‬ﺍﺑﻦ ﻫﺸﺎﻡ‪ ،‬ﺍﻟﺴﲑﺓ ﺍﻟﻨﺒﻮﻳﺔ‪ ،‬ﻁ ‪ 2‬ﺩﺍﺭ ﺍﳌﻨﺎﺭ ‪ 1415 ،‬ﻫـ ‪ 1994 -‬ﻡ‪.‬‬
‫‪ .5‬ﺃﲪﺪ ﺳﻠﻴﻤﺎﻥ ﻓﺘﺢ ﺍﷲ‪ " ،‬ﺍﻷﺳﻠﻮﺑﻴﺔ ﻣﺪﺧﻞ ﻧﻈﺮﻱ ﻭ ﺩﺭﺍﺳﺔ ﺗﻄﺒﻴﻘﻴﺔ"‪ ،‬ﻣﻜﺘﺒﺔ ﺍﻹﻋﺮﺍﺏ‪ ،‬ﺍﻟﻘﺎﻫﺮﺓ‪ ) ،‬ﺩ‪،‬ﻁ(‬
‫‪ 1425‬ﻫـ ‪ 2004 -‬ﻡ‪.‬‬
‫‪ .6‬ﺃﲪﺪ ﺷﺎﻣﻴﺔ ‪:‬ﰲ ﺍﻟﻠﻐﺔ ﺩﺍﺭ ﺍﻟﺒﻼﻍ ﻟﻠﻨﺸﺮ ﻭﺍﻟﺘﻮﺯﻳﻊ ﺍﳉﺰﺍﺋﺮ ﻁ‪. 2002،36‬‬
‫‪ .7‬ﺃﲪﺪ ﺍﻟﺸﺎﻳﺐ‪ ،‬ﺍﻷﺳﻠﻮﺏ ‪ ،‬ﻣﻜﺘﺒﺔ ﺍﻟﻨﻬﻀﺔ ﺍﳌﺼﺮﻳﺔ‪ ،‬ﺍﻟﻘﺎﻫﺮﺓ‪ ) ،‬ﺩ‪،‬ﻁ(‪.1966 /‬‬
‫‪ .8‬ﺃﲪﺪ ﳐﺘﺎﺭ‪ :‬ﻋﻠﻢ ﺍﻟﺪﻻﻟﺔ‪ ،‬ﻋﺎﱂ ﺍﻟﻜﺘﺐ‪ ،‬ﺍﻟﻘﺎﻫﺮﺓ‪ ،‬ﻣﺼﺮ‪ ،‬ﻁ‪ ،1‬ﺩ‪،‬ﺕ‪ ،‬ﺹ ‪79‬‬
‫‪ .9‬ﺑﺴﺎﻡ ﻗﻄﻮﺱ‪ :‬ﺇﺳﺘﺮﺍﺗﻴﺠﻴﺔ ﺍﻟﻘﺮﺍﺀﺓ‪ ،‬ﺍﻟﺘﺄﺻﻴﻞ ﻭ ﺍﻹﺟﺮﺍﺀ ﺍﻟﻨﻘﺪﻱ‪ ،‬ﺩﺍﺭ ﺍﻟﻜﻨﺪﻱ‪ ،‬ﺍﻷﺭﺩﻥ‪.1998 /‬‬
‫‪ .10‬ﺑﻜﺎﻱ ﺃﺧﺬﺍﺭﻱ‪ ،‬ﲢﻠﻴﻞ ﺍﳋﻄﺎﺏ ﺍﻟﺸﻌﺮﻱ ﻗﺮﺍﺀﺓ ﺃﺳﻠﻮﺑﻴﺔ ﰲ ﻗﺼﻴﺪﺓ ﻗﺪﻱ ﺑﻌﻴﻨﻴﻚ ﻟﻠﺨﻨﺴﺎﺀ‪ ،‬ﻭﺯﺍﺭﺓ ﺍﻟﺜﻘﺎﻓﺔ‪،‬‬
‫ﺍﳉﺰﺍﺋﺮ‪ ،‬ﺩ‪ .‬ﻁ‪ .‬ﺕ‪.2007 ،‬‬
‫‪ .11‬ﺟﺎﺭ ﺍﷲ ﺍﻟﺰﳐﺸﺮﻱ‪ :‬ﺃﺳﺎﺱ ﺍﻟﺒﻼﻏﺔ‪ ،‬ﺩﺍﺭ ﺇﺣﻴﺎﺀ ﺍﻟﺘﺮﺍﺙ ﺍﻟﻌﺮﰊ‪ ،‬ﺑﲑﻭﺕ ﻁ ‪.1992 ،3‬‬
‫‪ .12‬ﺍﳉﺎﺣﻆ ﺍﺑﻮ ﻋﻤﺮﻭ ﻋﺜﻤﺎﻥ‪ ،‬ﺍﻟﺒﻴﺎﻥ ﻭ ﺍﻟﺘﺒﻴﲔ‪ ،‬ﺩﺍﺭ ﺍﳉﻴﻞ‪ ،‬ﺑﲑﻭﺕ‪ ،‬ﻟﺒﻨﺎﻥ‪) ،‬ﺩ‪،‬ﻁ(‪) ،‬ﺩ‪،‬ﺕ(‪.‬‬
‫‪ .13‬ﺟﺎﻥ ﻛﻮﻫﻦ‪ :‬ﺑﻨﻴﺔ ﺍﻟﻠﻐﺔ ﺍﻟﺸﻌﺮﻳﺔ‪ ،‬ﺗﺮ‪ :‬ﳏﻤﺪ ﺍﻟﻮﺍﱄ ﻭ ﳏﻤﺪ ﺍﻟﻌﻤﺮﻱ‪ ،‬ﺩﺍﺭ ﺗﻮﺑﻘﺎﻝ ﻟﻠﻨﺸﺮ‪ ،‬ﺍﻟﺪﺍﺭ ﺍﻟﺒﻴﻀﺎﺀ‪،‬‬
‫ﺍﳌﻐﺮﺏ‪ ،‬ﻁ‪ ،1986 /1‬ﺹ ‪.15‬‬
‫‪ .14‬ﺟﻮﺯﻳﻒ ﻣﻴﺸﺎﻝ ﺷﺮﱘ‪ :‬ﺩﻟﻴﻞ ﺍﻟﺪﺭﺍﺳﺎﺕ ﺍﻷﺳﻠﻮﺑﻴﺔ‪ ،‬ﳎﺪ‪ ،‬ﺑﲑﻭﺕ‪ ،‬ﻁ‪.1987 /2‬‬
‫‪ .15‬ﺣﺴﻦ ﻧﺎﻇﻢ‪ ،‬ﺍﻟﺒﲎ ﺍﻷﺳﻠﻮﺑﻴﺔ‪ :‬ﺩﺭﺍﺳﺔ ﰲ ﺃﻧﺸﻮﺩﺓ ﺍﳌﻄﺮ ﻟﻠﺴﻴﺎﺏ‪ ،‬ﺍﳌﺮﻛﺰ ﺍﻟﺜﻘﺎﰲ ﺍﻟﻌﺮﰊ‪ ،‬ﺍﳌﻐﺮﺏ‪ /‬ﻟﺒﻨﺎﻥ‪ ،‬ﻁ ‪/1‬‬
‫‪.2002‬‬
‫‪ .16‬ﺣﻮﺍﺱ ﺑﺮﻱ‪ ،‬ﺷﻌﺮ ﻣﻔﺪﻱ ﺯﻛﺮﻳﺎ ﺩﺭﺍﺳﺔ ﻣﻮﺿﻮﻋﻴﺔ ﻭ ﻓﻨﻴﺔ‪ ،‬ﺭﺳﺎﻟﺔ ﺍﳌﺎﺟﻴﺴﺘﲑ ﳐﻄﻮﻃﺔ‪ ،‬ﺟﺎﻣﻌﺔ ﻋﲔ ﴰﺲ‪،‬‬
‫ﻛﻠﻴﺔ ﺍﻵﺩﺍﺏ‪ ،‬ﻗﺴﻢ ﺍﻟﻠﻐﺔ ﺍﻟﻌﺮﺑﻴﺔ‪ ،‬ﺍﻟﻘﺎﻫﺮﺓ‪1407 ،‬ﻫـ‪ 1987 /‬ﻡ‪.‬‬
‫‪-47-‬‬
 ‫ﻗﺎﺋﻤﺔ ﺍﳌﺼﺎﺩﺭ ﻭﺍﳌﺮﺍﺟﻊ‬

‫‪ .17‬ﺧﺎﻥ ﳏﻤﺪ‪ ،‬ﺍﻟﻠﻬﺠﺎﺕ ﺍﻟﻌﺮﺑﻴﺔ ﻭ ﺍﻟﻘﺮﺍﺀﺍﺕ ﺍﻟﻘﺮﺁﻧﻴﺔ‪ ،‬ﺩﺭﺍﺳﺔ ﰲ ﺍﻟﺒﺤﺮ ﺍﶈﻴﻂ‪ ،‬ﺍﳌﻐﺮﺏ‪ ،‬ﺩﺍﺭ ﺍﻟﻔﺠﺮ‪ ،‬ﺩ‪ ،‬ﻁ‪،‬‬
‫‪.2002‬‬
‫‪ .18‬ﺩﻳﻮﺍﻥ ﺣﺴﺎﻥ ﺑﻦ ﺛﺎﺑﺖ‪ ،‬ﲢﻘﻴﻖ ﻭ ﺗﻌﻠﻴﻖ ﺩ‪ .‬ﻭﻟﻴﺪ ﻋﺮﻓﺎﺕ‪ ،‬ﺩﺍﺭ ﺻﺎﺩﺭ‪ ،‬ﺑﲑﻭﺕ‪ ،‬ﻟﺒﻨﺎﻥ‪ ،‬ﺝ‪ ،1‬ﻁ‪.2006 ،1‬‬
‫‪ .19‬ﺭﺍﺑﺢ ﺑﻮﺣﻮﺵ‪ ،‬ﺍﻷﺳﻠﻮﺑﻴﺔ ﻭ ﲢﻠﻴﻞ ﺍﳋﻄﺎﺏ‪ ،‬ﺟﺎﻣﻌﺔ ﺑﺎﺟﻲ ﳐﺘﺎﺭ‪ ،‬ﻋﻨﺎﺑﺔ‪ ،‬ﺍﳉﺰﺍﺋﺮ‪ ،‬ﺩ ‪ ،‬ﺕ ‪ ،‬ﻁ‪.‬‬
‫‪ .20‬ﺭﺟﺎﺀ ﻋﻴﺪ ﺍﻟﻘﻮﻝ ﺍﻟﺸﻌﺮﻱ‪ ،‬ﻣﻨﺸﺄﺓ ﺍﳌﻌﺎﺭﻑ‪ ،‬ﺍﻻﺳﻜﻨﺪﺭﻳﺔ‪ ) ،‬ﺩ‪،‬ﻁ(‪.1995 ،‬‬
‫‪ .21‬ﺳﺎﻣﺢ ﺍﻟﺮﻭﺍﺷﺪﺓ‪ ،‬ﻓﻀﺎﺀﺍﺕ ﺍﻟﺸﻌﺮﻳﺔ‪ ،‬ﺩﺭﺍﺳﺔ ﰲ ﺩﻳﻮﺍﻥ ﺃﻣﻞ ﻭﻧﻘﻞ‪ ،‬ﺍﳌﺮﻛﺰ ﺍﻟﻘﻮﻣﻲ ﻟﻠﻨﺸﺮ‪ ،‬ﺍﻷﺭﺩﻥ‪ ،‬ﻁ ‪/1‬‬
‫‪.1999‬‬
‫‪ .22‬ﺳﻌﺪ ﻣﺼﻠﻮﺡ‪ :‬ﺍﻷﺳﻠﻮﺏ ﺩﺭﺍﺳﺔ ﻟﻐﻮﻳﺔ ﺇﺣﺼﺎﺋﻴﺔ‪ ،‬ﻋﺎﱂ ﺍﻟﻜﺘﺎﺏ‪ ،‬ﻣﺼﺮ‪ ،‬ﻁ ‪.1992 ،3‬‬
‫‪ .23‬ﺷﻜﺮﻱ ﳏﻤﺪ ﻋﻴﺎﺩ‪ :‬ﺍﲡﺎﻫﺎﺕ ﺍﻟﺒﺤﺚ ﺍﻷﺳﻠﻮﰊ‪ ،‬ﺗﺮﲨﺔ ﻭ ﺇﺿﺎﻓﺔ‪ ،‬ﺃﺻﺪﻗﺎﺀ ﺍﻟﻜﺘﺎﺏ‪ ،‬ﻣﺼﺮ‪ ،‬ﻁ‪.1996 /2‬‬
‫‪ .24‬ﺻﻼﺡ ﺍﻟﺪﻳﻦ ﺣﺴﻨﲔ ‪ :‬ﺍﻟﺮﻭﺍﺑﻂ ﺑﲔ ﺍﳉﻤﻞ ﰲ ﺍﻟﻨﺺ ﺍﻟﺸﻌﺮﻱ ‪ ،‬ﺍ‪‬ﻠﺔ ﻋﻼﻗﺎﺕ ﰲ ﻧﻘﻞ ‪ ،‬ﺍﻟﻨﺎﺩﻱ ﺍﻻﺩﰊ‬
‫ﺍﻟﺜﻘﺎﰲ ﲜﺪﺓ‪،10...‬ﺝ‪.2001/ 39‬‬
‫‪ .25‬ﺻﻼﺡ ﻓﻀﻞ‪ ،‬ﺍﻷﺳﺎﻟﻴﺐ ﺍﻟﺸﻌﺮﻳﺔ ﺍﳌﻌﺎﺻﺮﺓ‪ ،‬ﺩﺍﺭ ﻗﺒﺎ ﻟﻠﻄﺒﺎﻋﺔ ﻭ ﺍﻟﻨﺸﺮ ﻭ ﺍﻟﺘﻮﺯﻳﻊ‪ ،‬ﺩ‪،‬ﻁ‪ ،‬ﺍﻟﻘﺎﻫﺮﺓ‪ ،‬ﻣﺼﺮ‪،‬‬
‫‪.1998‬‬
‫‪ .26‬ﺻﻼﺡ ﻓﻀﻞ‪ ،‬ﻋﻠﻢ ﺍﻷﺳﻠﻮﺏ ﻣﺒﺎﺩﺋﻪ ﻭ ﺇﺟﺮﺍﺀﺍﺗﻪ‪ ،‬ﺩﺍﺭ ﺍﻵﻓﺎﻕ‪ ،‬ﻟﺒﻨﺎﻥ‪ ،‬ﻁ ‪.1985 /1‬‬
‫‪ .27‬ﻋﺒﺪ ﺍﻟﺴﻼﻡ ﺍﳌﺴﺪﻱ‪ :‬ﺍﻷﺳﻠﻮﺑﻴﺔ ﻭ ﺍﻷﺳﻠﻮﺏ‪ ،‬ﺩﺍﺭ ﺍﻟﻜﺘﺎﺏ ﺍﳉﺪﻳﺪ ﺍﳌﺘﺤﺪﺓ‪ ،‬ﺑﲑﻭﺕ‪ ،‬ﻟﺒﻨﺎﻥ‪ ،‬ﻁ ‪ ،5‬ﺕ ‪:‬‬
‫‪.2005‬‬
‫‪ .28‬ﻋﺒﺪ ﺍﻟﻘﺎﻫﺮ ﺍﳉﺮﺟﺎﱐ‪ :‬ﺩﻻﺋﻞ ﺍﻹﻋﺠﺎﺯ‪ ،‬ﻣﻮﻓﻢ ﻟﻠﻨﺸﺮ‪ ،‬ﺍﳉﺰﺍﺋﺮ‪ ،‬ﻁ‪.1991 ،1‬‬
‫‪ .29‬ﻋﺒﺪ ﺍﻟﻘﺎﻫﺮ ﺍﳉﺮﺟﺎﱐ‪ ،‬ﺍﺳﺮﺍﺭ ﺍﻟﺒﻼﻏﺔ‪ ،‬ﺗﺢ‪ :‬ﻋﺒﺪ ﺍﳊﻤﻴﺪ ﺍﳍﻨﺪﺍﻭﻱ‪ ،‬ﺩﺍﺭ ﺍﻟﻜﺘﺐ ﺍﻟﻌﻠﻤﻴﺔ‪ ،‬ﺑﲑﻭﺕ‪ ،‬ﻟﺒﻨﺎﻥ‪ ،‬ﻁ‪،1‬‬
‫‪ 1422‬ﻫـ‪2001 /‬ﻡ‪.‬‬
‫‪ .30‬ﻋﺒﺪ ﺍﻟﻘﺎﺩﺭ ﺍﻟﺮﺑﺎﻋﻲ‪ ،‬ﺍﻟﺼﻮﺭﺓ ﺍﻟﻔﻨﻴﺔ ﰲ ﺷﻌﺮ ﺃﰊ ﲤﺎﻡ‪ ،‬ﺟﺎﻣﻌﺔ ﺍﻟﲑﻣﻮﻙ ﻟﻠﺪﺭﺍﺳﺎﺕ ﺍﻷﺩﺑﻴﺔ ﻭ ﺍﻟﻠﻐﻮﻳﺔ‪ ،‬ﺍﻷﺭﺩﻥ‪،‬‬
‫ﻁ‪.1980/1‬‬
‫‪ .31‬ﻋﺒﺪ ﺍﳌﻠﻚ ﻣﺮﺗﺎﺽ‪ :‬ﺃ‪ .‬ﻱ ﺩﺭﺍﺳﺔ ﺳﻴﻤﺒﺎﺋﻴﺔ ﺗﻔﻜﻴﻜﻴﺔ ﻟﻘﺼﻴﺪﺓ ﺃﻳﻦ ﻟﻴﻼﻱ‪ ،‬ﺩ‪.‬ﻡ‪.‬ﺝ‪ ،‬ﺍﳉﺰﺍﺋﺮ‪.1992 ،‬‬
‫‪ .32‬ﻋﺰ ﺍﻟﺪﻳﻦ ﺍﲰﺎﻋﻴﻞ‪ ،‬ﺍﻟﺸﻌﺮ ﺍﻟﻌﺮﰊ ﻗﻀﺎﻳﺎﻩ ﻭ ﻇﻮﺍﻫﺮﻩ ﺍﻟﻔﻨﻴﺔ ﻭ ﺍﳌﻌﻨﻮﻳﺔ‪ ،‬ﺩﺍﺭ ﺍﻟﻜﺘﺎﺏ ﺍﻟﻌﺮﰊ ﻟﻠﻄﺒﺎﻋﺔ ﻭ ﺍﻟﻨﺸﺮ‪،‬‬
‫ﺍﻟﻘﺎﻫﺮﺓ‪) ،‬ﺩ‪،‬ﻁ(‪ 1976 ،‬ﻡ‪.‬‬
‫‪ .33‬ﻋﻠﻲ ﻋﺰﺕ‪ :‬ﻣﻌﺠﻢ ﺍﳌﺼﻄﻠﺤﺎﺕ ﺍﻟﻠﻐﻮﻳﺔ ﻭ ﺍﻷﺩﺑﻴﺔ‪ ،‬ﺍﳌﻜﺘﺒﺔ ﺍﻷﻛﺎﺩﳝﻴﺔ‪ ،‬ﺍﻟﻘﺎﻫﺮﺓ‪ ،‬ﻣﺼﺮ‪ ،‬ﻁ‪ /1‬ﺕ ‪.1944‬‬
‫‪ .34‬ﻋﻠﻲ ﻣﻼﺣﻲ‪ ،‬ﺍﳉﻤﻠﺔ ﺍﻟﺸﻌﺮﻳﺔ ﰲ ﺍﻟﻘﺼﻴﺪﺓ ﺍﳉﺪﻳﺪﺓ‪ ،‬ﻁ‪ ،1‬ﺍﳉﺰﺍﺋﺮ‪ ،2007 ،‬ﺹ ‪.20‬‬
‫‪-48-‬‬
 ‫ﻗﺎﺋﻤﺔ ﺍﳌﺼﺎﺩﺭ ﻭﺍﳌﺮﺍﺟﻊ‬

‫‪ .35‬ﻋﻠﻲ ﳒﻴﺐ ﺍﺑﺮﺍﻫﻴﻢ‪ :‬ﲨﺎﻟﻴﺎﺕ ﺍﻟﻠﻔﻈﺔ ﺑﲔ ﺍﻟﺴﻴﺎﻕ ﻭ ﻧﻈﺮﻳﺔ ﺍﻟﻨﻈﻢ‪ ،‬ﺩﺍﺭ ﻛﻨﻌﺎﻥ‪ ،‬ﺳﻮﺭﻳﺎ‪ ،‬ﻁ‪.2002 /1‬‬
‫‪ .36‬ﻓﺘﺢ ﺍﷲ ﺃﲪﺪ ﺳﻠﻴﻤﺎﻥ‪ :‬ﺍﻷﺳﻠﻮﺑﻴﺔ ﻣﺪﺧﻞ ﻧﻈﺮﻱ ﻭ ﺩﺭﺍﺳﺔ ﺗﻄﺒﻴﻘﻴﺔ‪ ،‬ﻣﻜﺘﺒﺔ ﺍﻷﺩﺏ‪ ،‬ﻣﺼﺮ‪ ،‬ﻁ‪.1‬‬
‫‪ .37‬ﻓﻮﺯﻱ ﺳﻌﺪ ﻋﻴﺴﻰ‪ ،‬ﺍﻟﻌﺮﻭﺽ ﺍﻟﻌﺮﰊ ﻭ ﳏﺎﻟﺔ ﺍﻟﺘﺠﺪﻳﺪ ﻓﻴﻪ‪ ،‬ﺩﺍﺭ ﺍﳌﻌﺮﻓﺔ ﺍﳉﺎﻣﻌﻴﺔ‪ ،‬ﻣﺼﺮ‪ ،‬ﻃﺢ )ﺩ‪،‬ﺕ(‪.‬‬
‫‪ .38‬ﺍﻟﻔﲑﻭﺯ ﺍﺑﺎﺩﻱ‪ ،‬ﻗﺎﻣﻮﺱ ﺍﳌﻴﺤﻂ‪ ،‬ﻣﻄﺒﻌﺔ ﻣﺼﻄﻔﻰ ﺍﳉﻠﱯ‪ ،‬ﺍﻟﻘﺎﻫﺮﺓ‪ ،‬ﻣﺼﺮ‪ ،‬ﻁ‪ ،5‬ﺩ‪،‬ﺕ‪.‬‬
‫‪ .39‬ﻓﻴﻠﻲ ﺳﺎﻧﺪﺭﻳﺲ‪ :‬ﳓﻮ ﻧﻈﺮﻳﺔ ﺃﺳﻠﻮﺑﻴﺔ ﻟﺴﺎﻧﻴﺔ‪ ،‬ﺗﺮ‪ :‬ﺧﺎﻟﺪ ﳏﻤﻮﺩ ﲨﻌﺔ‪ ،‬ﺩﺍﺭ ﺍﻟﻔﻜﺮ‪ ،‬ﺩﻣﺸﻖ ﻁ‪.2003\ 1‬‬
‫‪ .40‬ﻧﻮﺭ ﺍﻟﺪﻳﻦ ﺍﻟﺴﺪ‪ :‬ﺍﻷﺳﻠﻮﺑﻴﺔ ﻭ ﲢﻠﻴﻞ ﺍﳋﻄﺎﺏ‪ ،‬ﺩﺍﺭ ﻫﻮﻣﺔ‪ ،‬ﺍﳉﺰﺍﺋﺮ‪ ،‬ﻁ‪ ) 1‬ﻁ‪ ،‬ﺕ (‪.‬‬
‫‪ .41‬ﻧﺰﺍﺭ ﺍﻟﻨﺠﺪﻳﱵ‪ :‬ﻧﻈﺮﻳﺔ ﺍﻹﻧﺰﻳﺎﺡ ﻋﻨﺪ ﺟﺎﻥ ﻛﻮﻫﻦ‪ ،‬ﳎﻠﺔ ﺩﺭﺍﺳﺎﺕ ﺳﻴﻤﺎﺋﻴﺔ ﺃﺩﺑﻴﺔ ﻟﺴﺎﻧﻴﺔ ﻉ ‪ ،1‬ﺍﳌﻐﺮﺏ‪.1987 ،‬‬
‫‪ .42‬ﻣﺼﻄﻔﻰ ﺳﻌﻴﺪ ﺍﻟﺼﻠﻴﱯ‪ ،‬ﺍﳉﻤﻠﺔ ﺍﻟﻔﻌﻠﻴﺔ ﰲ ﳐﺘﺎﺭﺍﺕ ﺍﺑﻦ ﺍﻟﺸﺠﺮﻱ‪ ،‬ﺩﺭﺍﺳﺔ ﳓﻮﻳﺔ ﺗﻄﺒﻴﻘﻴﺔ ﺍﺣﺼﺎﺋﻴﺔ‪ ،‬ﺝ‪ ،1‬ﺩﺍﺭ‬
‫ﻫﻮﻣﺔ‪ ،‬ﺍﳉﺰﺍﺋﺮ‪) ،‬ﺩ‪،‬ﻁ‪،‬ﺕ(‪.‬‬
‫‪ .43‬ﳏﻤﺪ ﺟﺎﺑﺮ‪ ،‬ﺍﻷﻏﺎﱐ‪ ،‬ﺝ‪ 1‬ﻭ ﻣﺎ ﺑﻌﺪﻫﺎ‪ ،‬ﺷﺮﺣﻪ ﻭ ﻛﺘﺐ ﻫﻮﺍﻣﺸﻪ‪ ،‬ﺩﺍﺭ ﺍﻟﻜﺘﺐ ﺍﻟﻌﻠﻤﻴﺔ‪ ،‬ﺑﲑﻭﺕ ﻁ ‪1412 2‬‬
‫ﻫـ ‪ 1998 -‬ﻡ‪.‬‬
‫‪ .44‬ﳏﻤﺪ ﺳﻠﻴﻤﺎﻥ‪ ،‬ﻇﻮﺍﻫﺮ ﺃﺳﻠﻮﺑﻴﺔ ﰲ ﺷﻌﺮ ﳑﺪﻭﺡ ﻋﺪﻭﺍﻥ‪ ،‬ﺩﺍﺭ ﺍﻟﻴﺎﺯﻭﺭﻱ ﺍﻟﻌﻠﻤﻴﺔ ﻟﻠﻨﺸﺮ ﻭ ﺍﻟﺘﻮﺯﻳﻊ‪ ،‬ﻁ‪/1‬‬
‫‪ ،2007‬ﻋﻤﺎﻥ‪ ،‬ﺍﻷﺭﺩﻥ‪.‬‬
‫‪ .45‬ﳏﻤﺪ ﺍﻟﻌﺒﺪ‪ :‬ﺃﺑﺪﺍﻉ ﺍﻟﺪﻻﻟﺔ ﰲ ﺍﻟﺸﻌﺮ ﺍﳉﺎﻫﻠﻲ‪ ،‬ﺩﺍﺭ ﺍﳌﻌﺎﺭﻑ‪ ،‬ﺍﻟﻘﺎﻫﺮﺓ‪ ،‬ﻣﺼﺮ‪ ،‬ﻁ‪.1988/1‬‬
‫‪ .46‬ﳏﻤﺪ ﻣﻔﺘﺎﺡ‪ :‬ﲢﻠﻴﻞ ﺍﳋﻄﺎﺏ ﺍﻟﺸﻌﺮﻱ‪ ،‬ﺍﳌﺮﻛﺰ ﺍﻟﺜﻘﺎﰲ ﺍﻟﻌﺮﰊ‪ ،‬ﺩﺍﺭ ﺍﻟﺒﻴﻀﺎﺀ‪ ،‬ﺍﳌﻐﺮﺏ‪ ،‬ﻁ‪ ،4‬ﺕ ‪.2005‬‬
‫‪ .47‬ﳏﻤﻮﺩ ﺳﻠﻴﻤﺎﻥ ﻳﺎﻗﻮﺕ‪ ،‬ﻋﻠﻢ ﺍﳉﻤﺎﻝ ﺍﻟﻠﻐﻮﺓ‪ ،‬ﺩﺍﺭ ﺍﳌﻌﺮﻓﺔ ﺍﳉﺎﻣﻌﻴﺔ‪ ) ،‬ﺩ‪ ،‬ﻁ ()ﺩ‪،‬ﺕ(‪1996 ،‬ﻡ‪.‬‬
‫‪ .48‬ﻣﻘﺪﺍﺩ ﳏﻤﺪ ﺷﺎﻛﺮ ﻗﺎﺳﻢ‪ ،‬ﺍﻟﺒﻨﻴﺔ ﺍﻻﻳﻘﺎﻋﻴﺔ ﰲ ﺷﻌﺮ ﺍﳉﻮﺍﻫﺮﻱ‪ ،‬ﺩﺍﺭ ﺩﺟﻠﺔ‪ ،‬ﻋﻤﺎﻥ ‪ ،‬ﺍﻻﺭﺩﻥ‪ ،‬ﻁ‪.2008 ،1‬‬
‫‪ .49‬ﻣﻨﺬﺭ ﻋﻴﺎﺷﻲ‪ :‬ﻣﻘﺎﻻﺕ ﰲ ﺍﻷﺳﻠﻮﺑﻴﺔ‪ ،‬ﻣﻨﺸﻮﺭﺍﺕ ﺍﲢﺎﺩ ﺍﻟﻜﺘﺎﺏ ﺍﻟﻌﺮﺏ‪ ،‬ﺩﻣﺸﻖ‪ ،‬ﻁ‪.1990 /1‬‬
‫‪ .50‬ﻳﻮﺳﻒ ﺃﺑﻮ ﺍﻟﻌﺪﻭﺱ‪ ،‬ﺍﻷﺳﻠﻮﺑﻴﺔ ﺍﻟﺮﺅﻳﺔ ﻭ ﺍﻟﺘﻄﺒﻴﻖ‪ ،‬ﺩﺍﺭ ﺍﳌﲑﺓ ﻟﻠﻨﺸﺮ ﻭ ﺍﻟﺘﻮﺯﻳﻊ‪ ،‬ﻋﻤﺎﻥ‪ ،‬ﺍﻷﺭﺩﻥ‪ ،‬ﻁ‪،1‬‬
‫‪2007‬ﻡ – ‪ 1427‬ﻫـ ‪ /‬ﻁ‪ 1430 -2010 ،2‬ﻫـ ‪.‬‬
‫ﺏ‪ -‬ﺭﺳﺎﺋﻞ ﺍﳌﺎﺟﻴﺴﺘﲑ‪:‬‬
‫‪ .51‬ﺣﻮﺍﺱ ﺑﺮﻱ‪ ،‬ﺷﻌﺮ ﻣﻔﺪﻱ ﺯﻛﺮﻳﺎ ﺩﺭﺍﺳﺔ ﻣﻮﺿﻮﻋﻴﺔ ﻭ ﻓﻨﻴﺔ‪ ،‬ﺭﺳﺎﻟﺔ ﺍﳌﺎﺟﻴﺴﺘﲑ ﳐﻄﻮﻃﺔ‪ ،‬ﺟﺎﻣﻌﺔ ﻋﲔ ﴰﺲ‪ ،‬ﻛﻠﻴﺔ ﺍﻵﺩﺍﺏ‪ ،‬ﻗﺴﻢ ﺍﻟﻠﻐﺔ‬
‫ﺍﻟﻌﺮﺑﻴﺔ‪ ،‬ﺍﻟﻘﺎﻫﺮﺓ‪1407 ،‬ﻫـ‪ 1987 /‬ﻡ‪.‬‬
‫‪ .52‬ﺳﻠﻴﻤﺎﻥ ﺑﻦ ﲰﻌﻮﻥ‪ ،‬ﲢﻠﻴﻞ ﺃﺳﻠﻮﰊ ﻟﻘﺼﻴﺪﺓ ﺭﺅﻳﺎ ﻷﺩﻭﻧﻴﺲ‪ ،‬ﻣﺎﺟﻴﺴﺘﲑ ﺃﺩﺏ ﻋﺮﰊ‪ ،‬ﲣﺼﺺ ﲢﻠﻴﻞ ﺍﳋﻄﺎﺏ‪،‬‬
‫ﺟﺎﻣﻌﺔ ﺍﳉﺰﺍﺋﺮ‪.2004/2003 ،‬‬

‫‪-49-‬‬
 ‫ﺍﻟﻔـﻬـﺮﺱ‬
‫ﺍﻟﺼﻔﺤﺔ‬ ‫ﺍﳌــــﻮﺿــﻮﻉ‬
‫ﺍﻟﺒﺴﻤﻠﺔ‬
‫ﻛﻠﻤﺔ ﺷﻜﺮ‬
‫ﻣﻘﺪﻣﺔ ‪ ...................................................................‬ﺃ‪-‬ﺏ‬
‫ﲤﻬﻴﺪ ‪3 .....................................................................‬‬
‫ﺍﳌﺒـﺤﺚ ﺍﻷﻭﻝ‪ :‬ﺍﻷﺳﻠـﻮﺏ ﻭ ﺍﻷﺳﻠـﻮﺑﻴــﺔ ‪6 ....................‬‬
‫ﺍﳌﻄﻠﺐ ﺍﻷﻭﻝ‪ :‬ﻣﻔﻬﻮﻡ ﺍﻷﺳﻠﻮﺏ ﻭ ﺍﻷﺳﻠﻮﺑﻴﺔ‪6 .................................‬‬
‫ﺍﻷﺳﻠﻮﺏ ﻛﺎﺧﺘﻴﺎﺭ ‪7 ..................................................................‬‬
‫ﺍﻷﺳﻠﻮﺏ ﻛﻌﺪﻭﻝ ‪7 ..................................................................‬‬
‫ﺍﳌﻄﻠﺐ ﺍﻟﺜﺎﱐ‪ :‬ﺇﺟﺮﺍﺀﺍﺕ ﺍﻟﺘﺤﻠﻴﻞ ﺍﻷﺳﻠﻮﰊ ‪9 ..................................‬‬
‫‪ -1‬ﺍﻻﻧﺰﻳﺎﺡ ‪9 ................................................................‬‬
‫‪ -2‬ﺍﻻﺧﺘﻴﺎﺭ ‪12 ................................................................‬‬
‫‪ -3‬ﺍﻟﺘﺮﻛﻴﺐ ‪14 ................................................................‬‬
‫ﺍﳌﻄﻠﺐ ﺍﻟﺜﺎﻟﺚ‪ :‬ﻣﺴﺘﻮﻳﺎﺕ ﺍﻟﺘﺤﻠﻴﻞ ﺍﻷﺳﻠﻮﰊ ) ﺩﺭﺍﺳﺔ ﻧﻈﺮﻳﺔ( ‪17 ................‬‬
‫‪ -1‬ﺍﳌﺴﺘﻮﻯ ﺍﻹﻳﻘﺎﻋﻲ ﺍﻟﺼﻮﰐ‪17 .................................................‬‬
‫‪ -2‬ﺍﳌﺴﺘﻮﻯ ﺍﻟﺪﻻﱄ ‪17 .........................................................‬‬
‫‪ -3‬ﺍﳌﺴﺘﻮﻯ ﺍﻟﺘﺮﻛﻴﱯ ‪19 ........................................................‬‬
‫ﺍﳌﺒﺤﺚ ﺍﻟﺜﺎﱐ‪ :‬ﺩﺭﺍﺳﺔ ﺗﻄﺒﻴﻘﻴﺔ ﻟﻠﻤﺴﺘﻮﻳﺎﺕ ﺍﻟﻠﻐﻮﻳﺔ ﰲ ﺍﻟﻘﺼﻴﺪﺓ ‪20 .........‬‬
‫‪ -1‬ﺍﳌﺴﺘﻮﻯ ﺍﻟﺼﻮﰐ ‪23 .........................................................‬‬
‫‪ ‬ﺍﻹﻳﻘﺎﻉ ﺍﳋﺎﺭﺟﻲ ‪24 .....................................................‬‬
‫‪ ‬ﺍﻹﻳﻘﺎﻉ ﺍﻟﺪﺍﺧﻠﻲ ‪27 .....................................................‬‬
‫‪ -2‬ﺍﳌﺴﺘﻮﻯ ﺍﻟﺘﺮﻛﻴﱯ ‪31 ........................................................‬‬
‫‪ ‬ﺩﺭﺍﺳﺔ ﺍﳉﻤﻠﺔ ‪31 ........................................................‬‬
‫‪ ‬ﺍﻻﻧﺰﻳﺎﺡ ﻋﻠﻰ ﻣﺴﺘﻮﻯ ﺍﻟﺘﺮﻛﻴﺐ ‪35 .......................................‬‬
‫‪ ‬ﺍﻻﻧﺰﻳﺎﺡ ﻋﻠﻰ ﺍﳌﺴﺘﻮﻯ ﺍﻟﺒﻼﻏﻲ ‪38 ........................................‬‬
‫‪ -3‬ﺍﳌﺴﺘﻮﻯ ﺍﻟﺪﻻﱄ ‪41 .........................................................‬‬
‫‪ ‬ﻧﻈﺮﻳﺔ ﺍﳊﻘﻮﻝ ﺍﻟﺪﻻﻟﻴﺔ ‪41 ................................................‬‬
‫ﺍﳋﺎﲤﺔ ‪45 ....................................................................‬‬
‫ﻗﺎﺋﻤﺔ ﺍﳌﺼﺎﺩﺭ ﻭ ﺍﳌﺮﺍﺟﻊ ‪47 ...................................................‬‬