محاضرات في علم المعاني PDF

‫‪1‬‬ ‫ﻣﺤﺎﺿﺮﺍﺕ ﻓﻲ ﻋﻠﻢ ﺍﻟﻤﻌﺎﻧﻲ‬ ‫ﻧﺸﺄﺗﻪ ﻭﻣﺒﺎﺣﺜﻪ‬ ‫ﺩ‪.‬ﻋﺎﺋﺸﺔ ﻟﻄﻴﻒ ﻣﺤﻤﻮﺩ ﻋﺎﻣﺮ‬ ‫ﺃﺳﺘﺎﺫ ﺍﻟﺒﻼﻏﺔ ﻭﺍﻟﻨﻘﺪ ﺍﻟﻤﺴﺎﻋﺪ‬ ‫ﺟﺎﻣﻌﺔ ﺣﻠﻮﺍﻥ‪ /‬ﻛﻠﻴﺔ ﺍﻵﺩﺍﺏ‬ 2  ‫‪3‬‬ ‫ﺍﻟﻔﻬﺮﺱ‬ ‫ﻣﻘﺪﻣﺔ‪5.......................................

‫‪1‬‬ ‫ﻣﺤﺎﺿﺮﺍﺕ ﻓﻲ ﻋﻠﻢ ﺍﻟﻤﻌﺎﻧﻲ‬ ‫ﻧﺸﺄﺗﻪ ﻭﻣﺒﺎﺣﺜﻪ‬ ‫ﺩ‪.‬ﻋﺎﺋﺸﺔ ﻟﻄﻴﻒ ﻣﺤﻤﻮﺩ ﻋﺎﻣﺮ‬ ‫ﺃﺳﺘﺎﺫ ﺍﻟﺒﻼﻏﺔ ﻭﺍﻟﻨﻘﺪ ﺍﻟﻤﺴﺎﻋﺪ‬ ‫ﺟﺎﻣﻌﺔ ﺣﻠﻮﺍﻥ‪ /‬ﻛﻠﻴﺔ ﺍﻵﺩﺍﺏ‬ 2  ‫‪3‬‬ ‫ﺍﻟﻔﻬﺮﺱ‬ ‫ﻣﻘﺪﻣﺔ‪5...................................................................................‬‬ ‫ﻣﻌﻨﻰ ﺍﻟﻔﺼﺎﺣﺔ ﻭﺍﻟﺒﻼﻏﺔ‪7.............................................................‬‬ ‫ﺍﻟﻔﺼﺎﺣﺔ‪9.............................................................................‬‬ ‫ﺍﻟﺒﻼﻏﺔ‪29.............................................................................‬‬ ‫ﻋﻠﻢ ﺍﻟﻤﻌﺎﻧﻲ ﺗﻌﺮﻳﻔﻪ ﻭﻧﺸﺄﺗﻪ‪33........................................................‬‬ ‫ﻣﺒﺎﺣﺚ ﻋﻠﻢ ﺍﻟﻤﻌﺎﻧﻲ‪43.................................................................‬‬ ‫ﺍﻟﻤﺒﺤﺚ ﺍﻷﻭﻝ‪ :‬ﺍﻟﺨﺒﺮ‪45............................................................‬‬ ‫ﺍﻟﻤﺒﺤﺚ ﺍﻟﺜﺎﻧﻲ‪ :‬ﺍﻹﺳﻨﺎﺩ‪66..........................................................‬‬ ‫ﺍﻟﻤﺒﺤﺚ ﺍﻟﺜﺎﻟﺚ‪ :‬ﺍﻹﻧﺸﺎﺀ‪89.........................................................‬‬ ‫ﺍﻟﻤﺒﺤﺚ ﺍﻟﺮﺍﺑﻊ‪ :‬ﺍﻟﻘﺼﺮ‪124........................................................‬‬ ‫ﺍﻟﻤﺒﺤﺚ ﺍﻟﺨﺎﻣﺲ‪ :‬ﺍﻟﻔﺼﻞ ﻭﺍﻟﻮﺻﻞ‪138..........................................‬‬ ‫ﻣﻮﺍﺿﻊ ﺍﻟﻔﺼﻞ‪140..............................................................‬‬ ‫ﻣﻮﺍﺿﻊ ﺍﻟﻮﺻﻞ‪144.............................................................‬‬ ‫ﺍﻟﻤﺒﺤﺚ ﺍﻟﺴﺎﺩﺱ‪ :‬ﺍﻹﻳﺠﺎﺯ ﻭﺍﻹﻃﻨﺎﺏ ﻭﺍﻟﻤﺴﺎﻭﺍﺓ‪147...........................‬‬ ‫ﺍﻹﻳﺠﺎﺯ‪147.......................................................................‬‬ ‫ﺍﻹﻃﻨﺎﺏ‪156......................................................................‬‬ ‫ﺍﻟﻤﺴﺎﻭﺍﺓ‪167......................................................................‬‬  ‫‪4‬‬ ‫ﺍﻟﺴﻴﺮﺓ ﺍﻟﺬﺍﺗﻴﺔ ﻟﻠﻤﺆﻟﻒ‪169............................................................‬‬ ‫ﺍﻟﻤﺼﺎﺩﺭ ﻭﺍﻟﻤﺮﺍﺟﻊ‪171...............................................................‬‬  ‫‪5‬‬ ‫ﻣﻘﺪﻣﺔ‬ ‫ﺍﻟﺤﻤﺪ ﻟﻠﻪ ﺭﺏ ﺍﻟﻌﺎﻟﻤﻴﻦ‪ ،‬ﻭﺍﻟﺼﻼﺓ ﻭﺍﻟﺴﻼﻡ ﻋﻠﻰ ﺳﻴﺪﻧﺎ ﻣﺤﻤﺪ ﻭﻋﻠﻰ ﺃﻫﻠﻪ‬ ‫ﻭﺻﺤﺒﻪ ﺃﺟﻤﻌﻴﻦ‪ ،‬ﻭﻣَﻦ ﺗﺒﻌﻬﻢ ﺑﺈﺣﺴﺎﻥ ﺇﻟﻰ ﻳﻮﻡ ﺍﻟﺪﻳﻦ‪...‬ﻭﺑﻌﺪ‪.‬‬ ‫ﻫﺬﻩ ﻣﺤﺎﺿﺮﺍﺕ ﻓﻲ ﻋﻠﻢ ﺍﻟﻤﻌﺎﻧﻲ ﺣﺎﻭﻟﻨﺎ ﻣﻦ ﺧﻼﻟﻬﺎ ﺃﻥ ﻧﻘﺘﺮﺏ ﻣﻦ ﺍﻟﻐﺎﻳﺔ‬ ‫ﺍﻟﺒﻼﻏﻴﺔ ﺑﻮﺻﻔﻬﺎ ﺟﻮﻫﺮ ﻫﺬﺍ ﺍﻟﻌﻠﻢ‪ ،‬ﻣﻊ ﺗﻘﺪﻳﻢ ﺃﻣﺜﻠﺔ ﻭﺍﻓﻴﺔ ﺗﻜﺸﻒ ﻭﺗﻮﺿﺢ‬ ‫ﺍﻟﻘﺼﺪ‪.‬ﻭﻗﺪ ﺍﺳﺘﻔﺪﻧﺎ ﻣﻦ ﺍﻟﺪﺭﺍﺳﺎﺕ ﺍﻟﻘﺪﻳﻤﺔ ﻭﺍﻟﺤﺪﻳﺜﺔ ﺑﻤﺎ ﻳﻌﻄﻲ ﺻﻮﺭﺓ ﻣﻘﺒﻮﻟﺔ‬ ‫ﻋﻦ ﻋﻠﻢ ﺍﻟﻤﻌﺎﻧﻲ ﻟﻠﻄﻼﺏ‪ ،‬ﻭﻳﺘﻨﺎﺳﺐ ﻣﻊ ﻗﺪﺭﺍﺗﻬﻢ‪.‬ﻭﺣﺎﻭﻟﻨﺎ ﺍﻟﻜﺸﻒ ﻋﻦ‬ ‫ﺍﻟﻌﻨﺎﺻﺮ ﺍﻟﺒﻼﻏﻴﺔ ﺍﻟﺘﻲ ﻳﺴﺘﻄﻴﻊ ﺍﻟﻤﺘﻌﻠﻢ ﻣﻦ ﺧﻼﻝ ﻣﻤﺎﺭﺳﺘﻬﺎ ﻭﺍﻟﺘﺪﺭُّﺏ ﻋﻠﻴﻬﺎ‬ ‫ﺃﻥ ﻳﺄﺗﻲ ﺑﺎﻟﻜﻼﻡ ﺍﻟﺒﻠﻴﻎ‪ ،‬ﻭﻫﻲ –ﻓﻲ ﺍﻟﻮﻗﺖ ﺫﺍﺗﻪ– ﺟﺰﺀ ﻣﻜﻤِّﻞ ﻟﺜﻘﺎﻓﺔ ﺍﻟﻨﺎﻗﺪ‬ ‫ﻭﺍﻷﺩﻳﺐ‪.‬‬ ‫ﻭﻻ ﻧﺰﻋﻢ ﺃﻧﻨﺎ ﺃﺗﻴﻨﺎ ﺑﺠﺪﻳﺪٍ؛ ﻓﻤﻮﺿﻮﻋﺎﺕ ﻋﻠﻢ ﺍﻟﻤﻌﺎﻧﻲ ﻣﻄﺮﻭﺣﺔ ﻓﻲ ﻛﺘﺐ‬ ‫ﺍﻟﺴﺎﺑﻘﻴﻦ ﻭﺍﻟﻼﺣﻘﻴﻦ‪ ،‬ﻭﻛﻞ ﻣﺎ ﻧﺮﺟﻮﻩ ﺃﻥ ﻧﻜﻮﻥ ﻗﺪ ﻭُﻓِّﻘﻨﺎ ﻓﻲ ﻃﺮﻳﻘﺔ ﺍﻟﻌﺮﺽ‬ ‫ﺍﻟﺘﻲ ﺗُﻴﺴِّﺮ ﻋﻠﻰ ﺍﻟﻄﺎﻟﺐ ﺍﺳﺘﻴﻌﺎﺏ ﻭﻓﻬﻢ ﻣﺒﺎﺣﺚ ﻋﻠﻢ ﺍﻟﻤﻌﺎﻧﻲ‪ ،‬ﻭﺇﺩﺭﺍﻙ ﺩﻭﺭ ﻫﺬﺍ‬ ‫ﺍﻟﻌﻠﻢ ﻓﻲ ﻓﻦ ﺍﻟﻘﻮﻝ ﻭﺑﻼﻏﺘﻪ‪.‬‬ ‫ﻭﺍﻟﻠﻪ ﻭﻟﻲ ﺍﻟﺘﻮﻓﻴﻖ‬ 6  ‫‪7‬‬ ‫ﻣﻌﻨﻰ ﺍﻟﻔﺼﺎﺣﺔ ﻭﺍﻟﺒﻼﻏﺔ‬ 8  ‫‪9‬‬ ‫ﺍﻟﻔﺼﺎﺣﺔ‬ ‫ﺗﻄﻠﻖ ﺍﻟﻔﺼﺎﺣﺔ ﻓﻲ ﺍﻟﻠﻐﺔ‪ :‬ﻋﻠﻰ ﻣﻌﺎﻥٍ ﻛﺜﻴﺮﺓ ﺃﺑﺮﺯﻫﺎ ﺍﻟﺒﻴﺎﻥ ﻭﺍﻟﻈﻬﻮﺭ‪.‬‬ ‫ﻳﻘﻮﻝ ﺍﻟﻌﺮﺏ ﺃﻓﺼﺢ ﺍﻟﺼﺒﺢ ﺇﺫﺍ ﺃﺿﺎﺀ ﻭﺑﺎﻥ ﺍﻟﻨﻮﺭ‪ ،‬ﻭﺃﻓﺼﺢ ﺍﻟﻐﻼﻡ ﻓﻲ ﻣﻨﻄﻘﻪ‬ ‫ﺇﺫﺍ ﺃﺑﺎﻥ ﻭﻇﻬﺮ ﻛﻼﻣﻪ‪ ،‬ﻭﺃﻓﺼﺢ ﺍﻷﻋﺠﻢ ﺇﺫﺍ ﺃﺑﺎﻥ ﺑﻌﺪ ﺃﻥ ﻟﻢ ﻳﻜﻦ ﻳﺒﻴﻦ‪ ،‬ﻭﻓﺼﺢ‬ ‫ﺍﻟﻠﺴﺎﻥ ﺇﺫﺍ ﻋﺒﺮ ﻋﻤﺎ ﻓﻲ ﻧﻔﺴﻪ ﺗﻌﺒﻴﺮًﺍ ﺩﻗﻴﻘًﺎ‪.‬‬ ‫ﻗﺎﻝ ﺗﻌﺎﻟﻰ‪﴿ :‬ﻭَﺃَﺧِﻰ ﻫَٰﺮُﻭﻥُ ﻫُﻮَ ﺃَﻓ٘ﺼَﺢُ ﻣِﻨِّﻰ ﻟِﺴَﺎﻧًﺎ﴾ ]ﺍﻟﻘﺼﺺ‪ ،[34 :‬ﺃﻱ‬ ‫ﺃﻭﺿﺢ ﻣﻨﻄﻘًﺎ‪ ،‬ﻭﺃﻇﻬﺮ ﻗﻮﻻ‪.‬ﻭﻓﻲ ﻣﻌﺎﺟﻢ ﺍﻟﻠﻐﺔ ﺍﻟﻌﺮﺑﻴﺔ ﻛﻼﻡ ﻛﺜﻴﺮ ﺣﻮﻝ ﻣﺎﺩﺓ "‬ ‫ﻓﺼﺢ" ﻳﺘﻨﺎﻭﻝ ﺃﺻﻠﻬﺎ ﻭﺩﻻﻟﺘﻬﺎ ﻭﺍﺳﺘﺨﺪﺍﻣﻬﺎ‪ ،‬ﻭﺗﺨﻠﺺ ﺟﻤﻴﻌًﺎ ﺇﻟﻰ ﺃﻥ ﺍﻟﻔﺼﺎﺣﺔ‬ ‫ﺗﻌﻨﻲ ﺍﻟﺒﻴﺎﻥ ﻭﺍﻟﻮﺿﻮﺡ ﻭﺍﻟﻈﻬﻮﺭ ﻭﺍﻟﺨﻠﻮﺹ ﻣﻦ ﺍﻟﻠﻜﻨﺔ‪.‬‬ ‫ﺃﻣﺎ ﻣﻌﻨﺎﻫﺎ ﺍﻻﺻﻄﻼﺣﻲ‪ :‬ﻓﻴﺨﺘﻠﻒ ﺑﺎﺧﺘﻼﻑ ﻣﻮﺻﻮﻓﻬﺎ ﺳﻮﺍﺀ ﺃﻛﺎﻥ ﺍﻟﻜﻠﻤﺔ‬ ‫ﺃﻡ ﺍﻟﻜﻼﻡ ﺃﻡ ﺍﻟﻤﺘﻜﻠﻢ‪.‬ﻭﻗﺒﻞ ﺍﻟﺘﻔﺼﻴﻞ ﻓﻲ ﺍﻟﻤﻌﻨﻰ ﺍﻻﺻﻄﻼﺣﻲ ﻧﺸﻴﺮ ﺇﻟﻰ ﺁﺭﺍﺀ‬ ‫ﺑﻌﺾ ﺍﻟﺒﻼﻏﻴﻴﻦ‪ ،‬ﻳﺬﻛﺮ " ﺃﺑﻮ ﻫﻼﻝ ﺍﻟﻌﺴﻜﺮﻱ" ﻧﻘﻼ ﻋﻦ ﺑﻌﺾ ﻋﻠﻤﺎﺀ ﺍﻟﻌﺮﺑﻴﺔ‬ ‫ﺃﻥ ﺍﻟﻔﺼﺎﺣﺔ ﺗﻤﺎﻡ ﺁﻟﺔ ﺍﻟﺒﻴﺎﻥ‪ ،‬ﻓﻠﻬﺬﺍ ﻻ ﻳﺠﻮﺯ ﺃﻥ ﻳﺴﻤﻰ ﺍﻟﻠﻪ ﺗﻌﺎﻟﻰ ﻓﺼﻴﺤًﺎ؛ ﺇﺫ‬ ‫ﻛﺎﻧﺖ ﺍﻟﻔﺼﺎﺣﺔ ﺗﺘﻀﻤﻦ ﻣﻌﻨﻰ ﺍﻵﻟﺔ‪ ،‬ﻭﻻ ﻳﺠﻮﺯ ﻋﻠﻰ ﺍﻟﻠﻪ ﺗﻌﺎﻟﻰ ﺍﻟﻮﺻﻒ‬ ‫ﺑﺎﻵﻟﺔ‪ ،‬ﻭﺇﻧﻤﺎ ﻳﻮﺻﻒ ﻛﻼﻣﻪ ﺑﺎﻟﻔﺼﺎﺣﺔ ﻟﻤﺎ ﻳﺘﻀﻤﻦ ﻣﻦ ﺗﻤﺎﻡ ﺍﻟﺒﻴﺎﻥ‪.‬‬  ‫‪10‬‬ ‫ﻭﺍﻟﺪﻟﻴﻞ ﻋﻠﻰ ﺫﻟﻚ ﺃﻥ ﺍﻷﻟﺜﻎ ﻭﺍﻟﺘﻤﺘﺎﻡ ﻻ ﻳﺴﻤﻴﺎﻥ ﻓﺼﻴﺤﻴﻦ ﻟﻨﻘﺼﺎﻥ ﺁﻟﺘﻬﻤﺎ‬ ‫ﻋﻦ ﺇﻗﺎﻣﺔ ﺍﻟﺤﺮﻭﻑ‪ ،‬ﻭﺳﻤﻲ ﺍﻟﺸﺎﻋﺮ ﺍﻷﻣﻮﻱ " ﺯﻳﺎﺩ ﺑﻦ ﺳﻠﻴﻤﺎﻥ" ﻣﻮﻟﻰ "ﻋﺒﺪ‬ ‫ﺍﻟﻘﻴﺲ" " ﺯﻳﺎﺩًﺍ ﺍﻷﻋﺠﻢ" ﻟﻨﻘﺼﺎﻥ ﺁﻟﺔ ﻧﻄﻘﻪ ﻋﻦ ﺇﻗﺎﻣﺔ ﺍﻟﺤﺮﻭﻑ )‪.(1‬‬ ‫ﻓﻘﺪ ﻛﺎﻥ ﻛﺴﺎﺋﺮ ﺍﻷﻋﺎﺟﻢ ﻻ ﻳﺴﺘﻄﻴﻊ ﻟﻔﻆ ﺍﻟﻌﻴﻦ ﻭﺍﻟﺤﺎﺀ‪ ،‬ﻭﺍﻟﺼﺎﺩ؛ ﻓﻜﺎﻥ‬ ‫ﻳﻨﻄﻖ ﻛﻠﻤﺎﺕ ﻣﺜﻞ‪) :‬ﺍﻟﺤﻤﺎﺭ( )ﺍﻟﻬﻤﺎﺭ( ﻭ)ﺩﻋﻮﺗﻚ( )ﺩﺃﻭﺗﻚ(‪ ،‬ﻭ)ﺗﺼﻨﻊ(‬ ‫)ﺗﺴﻨﺄ(‪.‬‬ ‫ﻭﻣﻊ ﻣﺎ ﻓﻲ ﻫﺬﻩ ﺍﻷﻟﻔﺎﻅ ﻣﻦ ﺍﻟﻘﺒﺢ ﻭﺍﻟﻠﻜﻨﺔ ﻓﻬﻮ ﺃﻋﺠﻢ ﻭﺷﻌﺮﻩ ﻓﺼﻴﺢ ﻟﺘﻤﺎﻡ‬ ‫ﺑﻴﺎﻧﻪ‪ ،‬ﻛﻘﻮﻟﻪ ﻓﻲ ﺭﺛﺎﺀ ﺍﻟﻤﻬﻠﺐ ﺑﻦ ﺍﻟﻤﻐﻴﺮﺓ‪:‬‬ ‫)‪(2‬‬ ‫ﻭﺍﻟﺒﺎﻛﺮﻳﻦ ﻭﻟﻠﻤﺠﺪ ﺍﻟﺮﺍﺋﺢ‬ ‫ﻗﻞ ﻟﻠﻘﻮﺍﻓﻞ ﻭﺍﻟﻘﺮﻯ ﺇﺫﺍ ﻗﺮﻭﺍ‬ ‫ﻗﺒﺮﺍ ﺑﻤﺮﻭﺭ ﻋﻠﻰ ﺍﻟﻄﺮﻳﻖ ﺍﻟﻮﺍﺿﺢ‬ ‫ﺇﻥ ﺍﻟﻤﺮﻭﺀﺓ ﻭﺍﻟﺴﻤﺎﺣﺔ ﺿﻤﻨﺎ‬ ‫)‪(3‬‬ ‫ﻛﻮﻡ ﺍﻟﻬﺠﺎﻥ ﻭﻛﻞ ﻃﺮﻑ ﺳﺎﺑﺢ‬ ‫ﻓﺈﺫﺍ ﻣﺮﺭﺕ ﺑﻘﺒﺮﻩ ﻓﺎﻋﻘﺮ ﺑﻪ‬ ‫"ﺃﺑﻮ ﻫﻼﻝ ﺍﻟﻌﺴﻜﺮﻱ" ﻳﻘﻮﻝ ﺇﻥ ﺍﻟﻔﺼﺎﺣﺔ ﻭﺍﻟﺒﻼﻏﺔ ﻣﺨﺘﻠﻔﺘﺎﻥ؛ ﻭﺫﻟﻚ ﺃﻥ‬ ‫ﺍﻟﻔﺼﺎﺣﺔ ﺗﻤﺎﻡ ﺁﻟﺔ ﺍﻟﺒﻴﺎﻥ؛ ﻓﻬﻲ ﻣﻘﺼﻮﺭﺓ ﻋﻠﻰ ﺍﻟﻠﻔﻆ‪ ،‬ﻗﺎﻝ "ﺃﺑﻮ ﻫﻼﻝ"‪ " :‬ﺃﻣَّﺎ‬ ‫ﺍﻟﻔﺼﺎﺣﺔ ﻓﻘﺪ ﻗﺎﻝ ﻗﻮﻡٌ‪ :‬ﺇﻧﻬﺎ ﻣﻦ ﻗﻮﻟﻬﻢ‪ :‬ﺃﻓﺼﺢ ﻓﻼﻥ ﻋﻤَّﺎ ﻓﻲ ﻧﻔﺴﻪ ﺇﺫﺍ ﺃﻇﻬﺮﻩ‪،‬‬ ‫ﻭﺍﻟﺸﺎﻫﺪ ﻋﻠﻰ ﺃﻧﻬﺎ ﻫﻲ ﺍﻹﻇﻬﺎﺭ ﻗﻮﻝُ ﺍﻟﻌﺮﺏ‪ :‬ﺃﻓﺼﺢ ﺍﻟﺼﺒﺢ‪ ،‬ﺇﺫﺍ ﺃﺿﺎﺀ‪،‬‬ ‫‪ -1‬ﺃﺑﻮ ﻫﻼﻝ ﺍﻟﻌﺴﻜﺮﻱ‪ :‬ﻛﺘﺎﺏ ﺍﻟﺼﻨﺎﻋﺘﻴﻦ‪ ،‬ﺹ ‪.8 ،7‬‬ ‫‪ -2‬ﺍﻟﻘﺮﻯ‪ :‬ﻛﻞ ﺷﻲﺀ ﻋﻠﻰ ﻃﺮﻴﻖ ﻭﺍﺣﺪ‪.‬ﺇﺫﺍ ﻗﺮﻭﺍ‪ :‬ﺇﺫﺍ ﺴﺎﺭﻭﺍ ﻓﻲ ﺍﻷﺭﺽ‪.‬‬ ‫‪ -3‬ﺍﻟﻌﻘﺮ‪ :‬ﻗﻄﻊ ﻗﻮﺍﺋﻢ ﺍﻟﻔﺮﺱ ﺃﻭ ﺍﻟﺑﻌﻴﺮ ﺃﻭ ﺍﻟﺷﺎﺓ ﺑﺎﻟﺴﻴﻒ ﺘﻣﻜﻴﻨًﺎ ﻣﻦ ﻨﺣﺮﻫﺎ ﻭﺫﺑﺣﻬﺎ‪.‬‬ ‫ﻭﻛﺎﻥ ﺍﻟﻌﺮﺏ ﻴﻌﻘﺮﻭﻥ ﺍﻹﺑﻞ ﻋﻠﻰ ﻗﺑﻮﺭ ﺍﻟﻣﻮﺘﻰ‪ ،‬ﺃﻱ ﻴﻨﺣﺮﻭﻨﻬﺎ‪ ،‬ﻭﻴﻘﻮﻟﻮﻥ‪ :‬ﺇﻥ ﺼﺎﺣﺐ‬ ‫ﺍﻟﻘﺑﺮ ﻛﺎﻥ ﻴﻌﻘﺮ ﻟﻸﺿﻴﺎﻑ ﺃﻴﺎﻡ ﺣﻴﺎﺘﻪ ﻓﻨﻜﺎﻓﺋﻪ ﺑﻣﺜﻞ ﺼﻨﻴﻌﻪ ﺑﻌﺪ ﻭﻓﺎﺘﻪ‪.‬ﻛﻮﻡ ﺍﻟﻬﺠﺎﻥ‪:‬‬ ‫ﺍﻹﺑﻞ ﺍﻟﻜﺮﻴﻣﺔ ﺍﻟﺑﻴﺿﺎﺀ ﺍﻟﺿﺨﻣﺔ ﺍﻟﺴﻨﺎﻡ‪.‬ﺍﻟﻄﺮﻑ‪ :‬ﺍﻟﻜﺮﻴﻢ ﻣﻦ ﺍﻟﺨﻴﻞ‪.‬‬  ‫‪11‬‬ ‫ﻭﺃﻓﺼﺢ ﺍﻷﻋﺠﻤﻲ‪ ،‬ﺇﺫﺍ ﺃﺑﺎﻥ ﺑﻌﺪ ﺃﻥ ﻟﻢ ﻳﻜﻦ ﻳﻔﺼﺢ ﻭﻳﺒﻴﻦ‪ ،‬ﺃﻣَّﺎ ﺍﻟﺒﻼﻏﺔ‪ :‬ﺳﻤﻴﺖ‬ ‫ﺑﻼﻏﺔ ﻷﻧﻬﺎ ﺗﻨﻬﻲ ﺍﻟﻤﻌﻨﻰ ﺇﻟﻰ ﻗﻠﺐ ﺍﻟﺴﺎﻣﻊ ﻓﻴﻔﻬﻤﻪ"‪ ،‬ﺛﻢ ﻳﺨﻠﺺ ﺇﻟﻰ ﺍﻟﻨﺘﻴﺠﺔ‬ ‫ﺍﻟﻤﻨﻄﻘﻴﺔ ﺍﻟﺘﺎﻟﻴﺔ‪ ،‬ﻭﻫﻲ "ﺃﻥ ﺍﻟﺒﻼﻏﺔ ﻭﺍﻟﻔﺼﺎﺣﺔ ﺗﺮﺟﻌﺎﻥ ﺇﻟﻰ ﻣﻌﻨًﻰ ﻭﺍﺣﺪ ﻭﺇﻥ‬ ‫ﺍﺧﺘﻠﻒ ﺃﺻﻼﻫﻤﺎ؛ ﻷﻥ ﻛﻞَّ ﻭﺍﺣﺪ ﻣﻨﻬﻤﺎ ﺇﻧﻤﺎ ﻫﻮ ﺍﻹﺑﺎﻧﺔ ﻋﻦ ﺍﻟﻤﻌﻨﻰ ﻭﺍﻹﻇﻬﺎﺭ‬ ‫ﻟﻪ"‪.‬‬ ‫ﻭﻣﻌﻨﻰ ﺫﻟﻚ‪ :‬ﺃﻥ ﺍﻟﺒﻼﻏﺔ ﺗﺴﺘﺪﻋﻲ ﺣﻀﻮﺭ ﺍﻟﻤﺒﺪِﻉ ﻭﺍﻟﻤﺘﻠﻘِّﻲ ﻋﻠﻰ ﺻﻌﻴﺪ‬ ‫ﻭﺍﺣﺪ‪ ،‬ﻓﻜﻼﻫﻤﺎ ﻳﻈﻞُّ ﻓﻲ ﺣﺎﻟﺔ ﺍﻧﺘﻈﺎﺭ ﻟﺒﻠﻮﻍ ﺍﻟﻤﻨﻄﻘﺔ ﺍﻟﺪﻻﻟﻴﺔ‪.‬‬ ‫ﺇﻥ ﺟﻤﺎﻟﻴﺔ ﺍﻟﺒﻼﻏﺔ ﻫﻲ ﺟﻤﺎﻟﻴﺔ ﺍﻟﺘﻠﻘِّﻲ ﻭﺍﻟﺘﺄﻭﻳﻞ؛ ﻷﻥ ﻏﺎﻳﺔ ﺍﻟﺒﻠﻴﻎ ﺃﻥ ﻳﺆﺛِّﺮ‬ ‫ﻓﻲ ﺍﻟﻤﺘﻠﻘِّﻲ‪ ،‬ﻭﻏﺎﻳﺔ ﺍﻟﻤﺘﻠﻘِّﻲ ﺍﻟﻜﻼﻡ ﺍﻟﺒﻠﻴﻎ ﻭﺗﺄﻣُّﻠﻪ ﻟﻴﺼﻞ ﺇﻟﻰ ﻛﻤﺎﻝ ﺍﻟﻠﺬَّﺓ‪.‬‬ ‫ﻭﻣﻨﻄﻘﺔ ﻋﻤﻞ ﺍﻟﺒﻼﻏﺔ )ﺃﻭﻻً( ﺍﻟﻜﻼﻡ ﻭﺍﻟﻤﺘﻜﻠﻢ؛ ﻓﻼ ﺗﻌﻠُّﻖ ﻟﻬﺎ ﺑﺎﻹﻓﺮﺍﺩ؛ ﻷﻥ‬ ‫ﺍﻟﻤﻔﺮﺩﺓ ﻏﻴﺮ ﻣﺴﺘﻬﺪَﻓﺔ ﻓﻲ ﺫﺍﺗﻬﺎ‪ ،‬ﺑﻞ ﻻ ﺑُﺪَّ ﻣﻦ ﻭﺟﻮﺩﻫﺎ ﻓﻲ ﺳﻴﺎﻕ‪.‬‬ ‫ﻭﻗﺪ ﺍﺳﺘﺪﻝ "ﺃﺑﻮ ﻫﻼﻝ" ﻋﻠﻰ ﺃﻥ ﺍﻟﻔﺼﺎﺣﺔ ﺗﺘﻀﻤﻦ ﺍﻟﻠﻔﻆ ﻭﺍﻟﺒﻼﻏﺔ ﺗﺘﻨﺎﻭﻝ‬ ‫ﺍﻟﻤﻌﻨﻰ ﺑﺎﻟﺒﺒﻐﺎﺀ ﻳﺴﻤﻰ ﻓﺼﻴﺤﺎ ﻭﻻ ﻳﺴﻤﻰ ﺑﻠﻴﻐﺎ؛ ﺇﺫ ﻫﻮ ﻣﻘﻴﻢ ﺍﻟﺤﺮﻭﻑ‪ ،‬ﻭﻟﻴﺲ‬ ‫ﻟﻪ ﻗﺼﺪ ﺇﻟﻰ ﺍﻟﻤﻌﻨﻰ ﺍﻟﺬﻱ ﻳﺆﺩﻳﻪ‪.‬‬ ‫ﻭﻳﺆﻛِّﺪ "ﻋﺒﺪ ﺍﻟﻘﺎﻫﺮ" ﺃﻥ ﺍﻟﻔﺼﺎﺣﺔ ﻫﻲ ﻓﺼﺎﺣﺔ ﺗﺄﻟﻴﻒ‪ ،‬ﻭﺃﻥ ﻫﺬﺍ ﺍﻟﺘﺄﻟﻴﻒ‬ ‫ﻻ ﺑُﺪَّ ﺃﻥ ﻳﻘﻮﺩ ﺇﻟﻰ ﻣﻌﻨًﻰ‪ ،‬ﻭﺃﻥ ﺍﻟﻤﻌﻨﻰ ﻓﻲ ﺗﺮﻛﻴﺐٍ ﻣﺎ ﻻ ﻳﻤﻜﻦ ﺃﻥ ﻳﻈﻞَّ ﻫﻮ ﻫﻮ‬ ‫ﻓﻲ ﺗﺮﻛﻴﺐٍ ﺁﺧﺮ ﺩﻭﻥ ﺃﻥ ﻳﻔﻘﺪ ﺑﻌﺾ ﻣﺰﺍﻳﺎﻩ ﻭﺑﻌﺾ ﺣُﺴْﻨِﻪ ﻭﺯِﻳﻨﺘﻪ‪ ،‬ﻭﻳﻤﺜِّﻞ ﻟﺬﻟﻚ‬ ‫ﺑﻘﻮﻟﻪ‪" :‬ﺇﻥ ﺳﺒﻴﻞ ﺍﻟﻤﻌﺎﻧﻲ ﺳﺒﻴﻞُ ﺃﺷﻜﺎﻝ ﺍﻟﺤﻠﻲ؛ ﻛﺎﻟﺨﺎﺗﻢ‪ ،‬ﻭﺍﻟﺸَّﻨﻒ‪ ،‬ﻭﺍﻟﺴﻮﺍﺭ‪،‬‬ ‫ﻓﻜﻤﺎ ﺃﻥ ﻣﻦ ﺷﺄﻥ ﻫﺬﻩ ﺍﻷﺷﻜﺎﻝ ﺃﻥ ﻳﻜﻮﻥ ﺍﻟﻮﺍﺣﺪ ﻣﻨﻬﺎ ﻏُﻔْﻼً ﺳﺎﺫﺟًﺎ‪ ،‬ﻟﻢ ﻳﻌﻤﻞ‬ ‫ﺻﺎﻧﻌﻪ ﻓﻴﻪ ﺷﻴﺌًﺎ ﺃﻛﺜﺮ ﻣﻦ ﺃﻥْ ﺃﺗﻰ ﺑﻤﺎ ﻳﻘﻠﻊ ﻋﻠﻴﻪ ﺍﺳﻢ ﺍﻟﺨﺎﺗﻢ ﺇﻥ ﻛﺎﻥ ﺧﺎﺗﻤًﺎ‪،‬‬ ‫ﻭﺍﻟﺸَّﻨْﻒ ﺇﻥ ﻛﺎﻥ ﺷﻨﻔًﺎ‪ ،‬ﻭﺃﻥ ﻳﻜﻮﻥ ﻣﺼﻨﻮﻋًﺎ ﺑﺪﻳﻌًﺎ ﻗﺪ ﺃﻏﺮﺏ ﺻﺎﻧﻌﻪ ﻓﻴﻪ‪ ،‬ﻛﺬﻟﻚ‬ ‫ﺳﺒﻴﻞ ﺍﻟﻤﻌﺎﻧﻲ‪ ،‬ﺃﻥ ﺗﺮﻯ ﺍﻟﻮﺍﺣﺪ ﻣﻨﻬﺎ ﻏﻔﻼً ﺳﺎﺫﺟًﺎ ﻋﺎﻣﻴًّﺎ ﻣﻮﺟﻮﺩًﺍ ﻓﻲ ﻛﻼﻡ‬  ‫‪12‬‬ ‫ﺍﻟﻨﺎﺱ ﻛﻠﻬﻢ‪ ،‬ﺛﻢ ﺗﺮﺍﻩ ﻧﻔﺴﻪ ﻭﻗﺪ ﻋﻤﺪ ﺇﻟﻴﻪ ﺍﻟﺒﺼﻴﺮ ﺑﺸﺄﻥ ﺍﻟﺒﻼﻏﺔ ﻭﺇﺣﺪﺍﺙ‬ ‫ﺍﻟﺼﻮﺕ ﻓﻲ ﺍﻟﻤﻌﺎﻧﻲ‪ ،‬ﻓﻴﺼﻨﻊ ﻓﻴﻪ ﻣﺎ ﻳﺼﻨﻊ ﺍﻟﺼَّﻨَﻊُ ﺍﻟﺤﺎﺫﻕ ﺣﺘﻰ ﻳُﻐْﺮِﺏ ﻓﻲ‬ ‫ﺍﻟﺼﻨﻌﺔ‪ ،‬ﻭﻳﺪﻕُّ ﻓﻲ ﺍﻟﻌﻤﻞ‪ ،‬ﻭﻳُﺒﺪِﻉ ﻓﻲ ﺍﻟﺼﻴﺎﻏﺔ‪.‬‬ ‫ﺃﻣﺎ "ﺿﻴﺎﺀ ﺍﻟﺪﻳﻦ ﺑﻦ ﺍﻷﺛﻴﺮ" ﻓﻨﺠﺪ ﻋﻨﺪﻩ ﺗﺼﻮﺭًﺍ ﻭﻓﻬﻤًﺎ ﻟﻤﻌﻨﻰ ﺍﻟﻔﺼﺎﺣﺔ‬ ‫ﺃﻛﺜﺮ ﺗﻔﺼﻴﻼ ﻭﺷﺮﺣًﺎ‪ ،‬ﻭﺫﻟﻚ ﺣﻴﺚ ﻳﻘﻮﻝ‪" :‬ﻟﻢ ﻳﺰﻝ ﺍﻟﻌﻠﻤﺎﺀ ﻣﻦ ﻗﺪﻳﻢ ﺍﻟﻮﻗﺖ‬ ‫ﻭﺣﺪﻳﺜﻪ ﻳﻜﺜﺮﻭﻥ ﺍﻟﻘﻮﻝ ﻓﻲ ﺍﻟﻔﺼﺎﺣﺔ ﻭﺍﻟﺒﺤﺚ ﻋﻨﻬﺎ ﻭﻟﻢ ﺃﺟﺪ ﻣﻦ ﺫﻟﻚ ﻣﺎ ﻳﻌﻮﻝ‬ ‫ﻋﻠﻴﻪ ﺇﻻ ﺍﻟﻘﻠﻴﻞ‪ ،‬ﻭﻏﺎﻳﺔ ﻣﺎ ﻳﻘﺎﻝ ﻣﻦ ﻫﺬﺍ ﺍﻟﺒﺎﺏ ﺃﻥ ﺍﻟﻔﺼﺎﺣﺔ ﻫﻲ ﺍﻟﻈﻬﻮﺭ‬ ‫ﻭﺍﻟﺒﻴﺎﻥ ﻓﻲ ﺃﺻﻞ ﺍﻟﻮﺿﻊ ﺍﻟﻠﻐﻮﻱ‪ ،‬ﻳﻘﺎﻝ ﺃﻓﺼﺢ ﺍﻟﺼﺒﺢ ﺇﺫﺍ ﻇﻬﺮ‪ ،‬ﺛﻢ ﺇﻧﻬﻢ ﻳﻘﻔﻮﻥ‬ ‫ﻋﻨﺪ ﺫﻟﻚ ﻭﻻ ﻳﻜﺸﻔﻮﻥ ﻋﻦ ﺍﻟﺴﺮ ﻓﻴﻪ‪ ،‬ﻭﺑﻬﺬﺍ ﺍﻟﻘﻮﻝ ﻻ ﺗﺒﻴﻦ ﺣﻘﻴﻘﺔ ﺍﻟﻔﺼﺎﺣﺔ‪،‬‬ ‫ﻷﻧﻪ ﻳﻌﺘﺮﺽ ﻋﻠﻴﻪ ﺑﻮﺟﻮﻩ ﻣﻦ ﺍﻻﻋﺘﺮﺍﺿﺎﺕ‪.‬‬ ‫ﺃﺣﺪﻫﺎ‪ :‬ﺃﻧﻪ ﺇﺫﺍ ﻟﻢ ﻳﻜﻦ ﺍﻟﻠﻔﻆ ﻇﺎﻫﺮًﺍ ﺑﻴﻨًﺎ ﻟﻢ ﻳﻜﻦ ﻓﺼﻴﺤًﺎ‪ ،‬ﺛﻢ ﺇﺫﺍ ﻇﻬﺮ‬ ‫ﻭﺗﺒﻴﻦ ﺻﺎﺭ ﻓﺼﻴﺤًﺎ‪.‬‬ ‫ﺍﻟﻮﺟﻪ ﺍﻵﺧﺮ‪ :‬ﺃﻧﻪ ﺇﺫﺍ ﻛﺎﻥ ﺍﻟﻠﻔﻆ ﺍﻟﻔﺼﻴﺢ ﻫﻮ ﺍﻟﻈﺎﻫﺮ ﺍﻟﺒﻴﻦ ﻓﻘﺪ ﺻﺎﺭ ﺫﻟﻚ‬ ‫ﺑﺎﻟﻨﺴﺐ ﻭﺍﻹﺿﺎﻓﺎﺕ ﺇﻟﻰ ﺍﻷﺷﺨﺎﺹ‪ ،‬ﻓﺈﺫﻥ ﺍﻟﻠﻔﻆ ﻗﺪ ﻳﻜﻮﻥ ﻇﺎﻫﺮًﺍ ﻟﺰﻳﺪ ﻭﻻ‬ ‫ﻳﻜﻮﻥ ﻇﺎﻫﺮًﺍ ﻟﻌﻤﺮﻭ‪ ،‬ﻓﻬﻮ ﺇﺫﻥ ﻓﺼﻴﺢ ﻋﻨﺪ ﻫﺬﺍ ﻏﻴﺮ ﻓﺼﻴﺢ ﻋﻨﺪ ﻫﺬﺍ‪ ،‬ﻭﻟﻴﺲ‬ ‫ﺍﻷﻣﺮ ﻛﺬﻟﻚ ﺑﻞ ﺍﻟﻔﺼﻴﺢ ﻫﻮ ﺍﻟﻔﺼﻴﺢ ﻋﻨﺪ ﺍﻟﺠﻤﻴﻊ‪ ،‬ﻻ ﺧﻼﻑ ﻓﻴﻪ ﺑﺤﺎﻝ ﻣﻦ‬ ‫ﺍﻷﺣﻮﺍﻝ‪.‬‬ ‫ﺍﻟﻮﺟﻪ ﺍﻷﺧﻴﺮ ﺃﻧﻪ ﺇﺫﺍ ﺟﻲﺀ ﺑﻠﻔﻆ ﻗﺒﻴﺢ ﻳﻨﺒﻮ ﻋﻦ ﺍﻟﺴﻤﻊ‪ ،‬ﻭﻫﻮ ﻣﻊ ﺫﻟﻚ‬ ‫ﻇﺎﻫﺮ ﺑﻴِّﻦ ﻳﻨﺒﻐﻲ ﺃﻥ ﻳﻜﻮﻥ ﻓﺼﻴﺤًﺎ‪ ،‬ﻭﻟﻴﺲ ﻛﺬﻟﻚ ﻷﻥ ﺍﻟﻔﺼﺎﺣﺔ ﻭﺻﻒ ﺣﺴﻦ‬ ‫ﻟﻠﻔﻆ ﻻ ﻭﺻﻒ ﻗﺒﺢ‪.‬ﻓﻬﺬﻩ ﺍﻻﻋﺘﺮﺍﺿﺎﺕ ﺍﻟﺜﻼﺛﺔ ﻭﺍﺭﺩﺓ ﻋﻠﻰ ﻗﻮﻝ ﺍﻟﻘﺎﺋﻞ‪" :‬ﺇﻥ‬ ‫ﺍﻟﻠﻔﻆ ﺍﻟﻔﺼﻴﺢ ﻫﻮ ﺍﻟﻈﺎﻫﺮ ﺍﻟﺒﻴﻦ ﻣﻦ ﻏﻴﺮ ﺗﻔﺼﻴﻞ" ﺛﻢ ﻳﺴﺘﻄﺮﺩ "ﺍﺑﻦ ﺍﻷﺛﻴﺮ"‬  ‫‪13‬‬ ‫ﻓﻴﻘﻮﻝ‪" :‬ﻭﻟﻤﺎ ﻭﻗﻔﺖ ﻋﻠﻰ ﺃﻗﻮﺍﻝ ﺍﻟﻨﺎﺱ ﻓﻲ ﻫﺬﺍ ﺍﻟﺒﺎﺏ ﻣﻠﻜﺘﻨﻲ ﺍﻟﺤﻴﺮﺓ ﻭﻟﻢ ﻳﺜﺒﺖ‬ ‫ﻋﻨﺪﻱ ﻣﻨﻬﺎ ﻣﺎ ﺃﻋﻮﻝ ﻋﻠﻴﻪ‪.‬‬ ‫ﻭﻟﻜﺜﺮﺓ ﻣﻼﺑﺴﺘﻲ ﻫﺬﺍ ﺍﻟﻔﻦ ﻭﻣﻌﺎﺭﻛﺘﻰ ﺇﻳﺎﻩ ﺍﻧﻜﺸﻒ ﻟﻲ ﺍﻟﺴﺮ ﻓﻴﻪ‪،‬‬ ‫ﻭﺳﺄﻭﺿﺤﻪ ﻓﻲ ﻛﺘﺎﺑﻲ ﻫﺬﺍ ﻭﺃﺣﻘﻖ ﺍﻟﻘﻮﻝ ﻓﻴﻪ ﻓﺄﻗﻮﻝ ﺇﻥ ﺍﻟﻜﻼﻡ ﺍﻟﻔﺼﻴﺢ ﻫﻮ‬ ‫ﺍﻟﻈﺎﻫﺮ ﺍﻟﺒﻴِّﻦ‪ ،‬ﻭﺃﻋﻨﻲ ﺑﺎﻟﻈﺎﻫﺮ ﺍﻟﺒﻴﻦ ﺃﻥ ﺗﻜﻮﻥ ﺃﻟﻔﺎﻇﻪ ﻣﻔﻬﻮﻣﺔ‪ ،‬ﻻ ﻳﺤﺘﺎﺝ ﻓﻲ‬ ‫ﻓﻬﻤﻬﺎ ﺇﻟﻰ ﺍﺳﺘﺨﺮﺍﺝ ﻣﻦ ﻛﺘﺎﺏ ﻟﻐﺔ‪.‬ﻭﺇﻧﻤﺎ ﻛﺎﻧﺖ ﺑﻬﺬﻩ ﺍﻟﺼﻔﺔ ﻷﻧﻬﺎ ﺗﻜﻮﻥ‬ ‫ﻣﺄﻟﻮﻓﺔ ﺍﻻﺳﺘﻌﻤﺎﻝ ﺑﻴﻦ ﺃﺭﺑﺎﺏ ﺍﻟﻨﻈﻢ ﻭﺍﻟﻨﺜﺮ‪ ،‬ﺩﺍﺋﺮﺓ ﻓﻲ ﻛﻼﻣﻬﻢ‪ ،‬ﻭﺇﻧﻤﺎ ﻛﺎﻧﺖ‬ ‫ﻣﺄﻟﻮﻓﺔ ﻓﻲ ﺍﻻﺳﺘﻌﻤﺎﻝ ﺩﺍﺋﺮﺓ ﻓﻲ ﺍﻟﻜﻼﻡ ﺩﻭﻥ ﻏﻴﺮﻫﺎ ﻣﻦ ﺍﻷﻟﻔﺎﻅ ﻟﻤﻜﺎﻥ ﺣﺴﻨﻬﺎ‪،‬‬ ‫ﻭﺫﻟﻚ ﺃﻥ ﺃﺭﺑﺎﺏ ﺍﻟﻨﻈﻢ ﻭﺍﻟﻨﺜﺮ ﻏﺮﺑﻠﻮﺍ ﺍﻟﻠﻐﺔ ﺑﺎﻋﺘﺒﺎﺭﻫﺎ ﺃﻟﻔﺎﻇﻬﺎ ﻭﺳﺒﺮﻭﺍ‪...‬‬ ‫ﻓﺎﺧﺘﺎﺭﻭﺍ ﺍﻟﺤﺴﻦ ﻣﻦ ﺍﻷﻟﻔﺎﻅ ﻓﺎﺳﺘﻌﻤﻠﻮﺍ‪ ،‬ﻭﻧﻔﻮﺍ ﺍﻟﻘﺒﻴﺢ ﻣﻨﻬﺎ ﻓﻠﻢ ﻳﺴﺘﻌﻤﻠﻮﻩ‪،‬‬ ‫ﻓﺤﺴﻦ ﺍﻻﺳﺘﻌﻤﺎﻝ ﺳﺒﺐ ﺍﺳﺘﻌﻤﺎﻟﻬﺎ ﺩﻭﻥ ﻏﻴﺮﻫﺎ‪ ،‬ﻭﺍﺳﺘﻌﻤﺎﻟﻬﺎ ﺩﻭﻥ ﻏﻴﺮﻫﺎ ﺳﺒﺐ‬ ‫ﻇﻬﻮﺭﻫﺎ ﻭﺑﻴﺎﻧﻬﺎ؛ ﻓﺎﻟﻔﺼﻴﺢ ﺇﺫﻥ ﻣﻦ ﺍﻷﻟﻔﺎﻅ ﻫﻮ ﺍﻟﺤﺴﻦ"‪.‬‬ ‫"ﻓﺈﻥ ﻗﻴﻞ‪ :‬ﻣﻦ ﺃﻱ ﻭﺟﻪٍ ﻋﻠﻢ ﺃﺭﺑﺎﺏ ﺍﻟﻨﻈﻢ ﻭﺍﻟﻨﺜﺮ ﺍﻟﺤﺴﻦ ﻣﻦ ﺍﻷﻟﻔﺎﻅ‬ ‫ﺣﺘﻰ ﺍﺳﺘﻌﻤﻠﻮﻩ‪ ،‬ﻭﻋﻠﻤﻮﺍ ﺍﻟﻘﺒﻴﺢ ﻣﻨﻬﺎ ﺣﺘﻰ ﻧﻔﻮﻩ ﻭﻟﻢ ﻳﺴﺘﻌﻤﻠﻮﻩ؟‬ ‫ﻗﻠﺖ ﻓﻲ ﺍﻟﺠﻮﺍﺏ‪ :‬ﺇﻥ ﻫﺬﺍ ﻣﻦ ﺍﻷﻣﻮﺭ ﺍﻟﻤﺤﺴﻮﺳﺔ ﺍﻟﺘﻲ ﺷﺎﻫﺪﻫﺎ ﻣﻦ‬ ‫ﻧﻔﺴﻬﺎ؛ ﻷﻥ ﺍﻷﻟﻔﺎﻅ ﺩﺍﺧﻠﺔ ﻓﻲ ﺣﻴﺰ ﺍﻷﺻﻮﺍﺕ‪ ،‬ﻓﺎﻟﺬﻱ ﻳﺴﺘﻠﺬﻩ ﺍﻟﺴﻤﻊ ﻣﻨﻬﺎ ﻭﻳﻤﻴﻞ‬ ‫ﺇﻟﻴﻪ ﻫﻮ ﺍﻟﺤﺴﻦ‪ ،‬ﻭﺍﻟﺬﻱ ﻳﻜﺮﻫﻪ ﻭﻳﻨﻔﺮ ﻋﻨﻪ ﻫﻮ ﺍﻟﻘﺒﻴﺢ‪.‬ﺃﻻ ﺗﺮﻯ ﺃﻥ ﺍﻟﺴﻤﻊ ﻳﺴﺘﻠﺬ‬ ‫ﺻﻮﺕ ﺍﻟﺒﻠﺒﻞ ﻣﻦ ﺍﻟﻄﻴﺮ ﻭﺻﻮﺕ ﺍﻟﺸﺤﺮﻭﺭ ﻭﻳﻤﻴﻞ ﺇﻟﻴﻬﻤﺎ‪ ،‬ﻭﻳﻜﺮﻩ ﺻﻮﺕ‬ ‫ﺍﻟﻐﺮﺍﺏ ﻭﻳﻨﻔﺮ ﻋﻨﻪ‪ ،‬ﻭﻛﺬﻟﻚ ﻳﻜﺮﻩ ﻧﻬﻴﻖ ﺍﻟﺤﻤﺎﺭ ﻭﻻ ﻳﺠﺪ ﺫﻟﻚ ﻓﻲ ﺻﻬﻴﻞ‬ ‫ﺍﻟﻔﺮﺱ؟"‪.‬‬ ‫"ﻭﺍﻷﻟﻔﺎﻅ ﺟﺎﺭﻳﺔ ﻫﺬﺍ ﺍﻟﻤﺠﺮﻯ؛ ﻓﺈﻧﻪ ﻻ ﺧﻼﻑ ﻓﻲ ﺃﻥ ﻟﻔﻈﺔ ﺍﻟﻤﺰﻧﺔ‬ ‫ﻭﺍﻟﺪﻳﻤﺔ ﺣﺴﻨﺔ ﻳﺴﺘﻠﺬﻫﺎ ﺍﻟﺴﻤﻊ‪ ،‬ﻭﺃﻥ ﻟﻔﻈﺔ ﺍﻟﺒﻌﺎﻕ ﻗﺒﻴﺤﺔ ﻳﻜﺮﻫﻬﺎ ﺍﻟﺴﻤﻊ‪ ،‬ﻭﻫﺬﻩ‬  ‫‪14‬‬ ‫ﺍﻟﻠﻔﻈﺎﺕ ﺍﻟﺜﻼﺛﺔ ﻣﻦ ﺻﻔﺔ ﺍﻟﻤﻄﺮ‪ ،‬ﻭﻫﻲ ﺗﺪﻝ ﻋﻠﻰ ﻣﻌﻨﻰ ﻭﺍﺣﺪ‪ ،‬ﻭﻣﻊ ﻫﺬﺍ ﻓﺈﻧﻚ‬ ‫ﺗﺮﻯ ﻟﻔﻈﺘﻲ ﺍﻟﻤﺰﻧﺔ ﻭﺍﻟﺪﻳﻤﺔ ﻭﻣﺎ ﺟﺮﻯ ﻣﺠﺮﺍﻫﻤﺎ ﻣﺄﻟﻮﻓﺔ ﺍﻻﺳﺘﻌﻤﺎﻝ‪ ،‬ﻭﺗﺮﻯ‬ ‫ﻟﻔﻆ ﺍﻟﺒﻌﺎﻕ ﻭﻣﺎ ﺟﺮﻯ ﻣﺠﺮﺍﻩ ﻣﺘﺮﻭﻛًﺎ ﻻ ﻳﺴﺘﻌﻤﻞ‪ ،‬ﻭﺇﻥ ﺍﺳﺘُﻌﻤِﻞ ﻓﺈﻧﻤﺎ ﻳﺴﺘﻌﻤﻠﻪ‬ ‫ﺟﺎﻫﻞ ﺑﺤﻘﻴﻘﺔ ﺍﻟﻔﺼﺎﺣﺔ ﺃﻭ ﻣَﻦ ﺫﻭﻗﻪ ﻏﻴﺮ ﺳﻠﻴﻢ‪...‬‬ ‫ﻭﺇﺫﻥ ﺛﺒﺖ ﺃﻥ ﺍﻟﻔﺼﻴﺢ ﻣﻦ ﺍﻷﻟﻔﺎﻅ ﻫﻮ ﺍﻟﻈﺎﻫﺮ ﺍﻟﺒﻴﻦ‪ ،‬ﻭﺇﻧﻤﺎ ﻛﺎﻥ ﻇﺎﻫﺮًﺍ‬ ‫ﺑﻴﻨًﺎ ﻷﻧﻪ ﻣﺄﻟﻮﻑ ﺍﻻﺳﺘﻌﻤﺎﻝ‪ ،‬ﻭﺇﻧﻤﺎ ﻛﺎﻥ ﻣﺄﻟﻮﻑ ﺍﻻﺳﺘﻌﻤﺎﻝ ﻟﻤﻜﺎﻥ ﺣﺴﻨﻪ‪،‬‬ ‫ﻭﺣﺴﻨﻪ ﻣﺪﺭﻙ ﺑﺎﻟﺴﻤﻊ‪ ،‬ﻭﺍﻟﺬﻱ ﻳُﺪﺭﻙ ﺑﺎﻟﺴﻤﻊ ﺇﻧﻤﺎ ﻫﻮ ﺍﻟﻠﻔﻆ‪ ،‬ﻷﻧﻪ ﺻﻮﺕ ﻳﺄﺗﻠﻒ‬ ‫ﻣﻦ ﻣﺨﺎﺭﺝ ﺍﻟﺤﺮﻭﻑ‪.‬‬ ‫ﻓﻤﺎ ﺍﺳﺘﻠﺬﻩ ﺍﻟﺴﻤﻊ ﻣﻨﻪ ﻓﻬﻮ ﺍﻟﺤﺴﻦ‪ ،‬ﻭﻣﺎ ﻛﺮﻫﻪ ﺍﻟﻘﺒﻴﺢ‪ ،‬ﻭﺍﻟﺤﺴﻦ ﻫﻮ‬ ‫ﺍﻟﻤﻮﺻﻮﻑ ﺑﺎﻟﻔﺼﺎﺣﺔ‪ ،‬ﻭﺍﻟﻘﺒﻴﺢ ﻏﻴﺮ ﻣﻮﺻﻮﻑ ﺑﻔﺼﺎﺣﺔ ﻷﻧﻪ ﺿﺪﻫﺎ ﻟﻤﻜﺎﻥ‬ ‫ﻗﺒﺤﻪ‪.‬‬ ‫ﻭﻗﺪ ﻣﺜﻠﺖ ﺫﻟﻚ ﻓﻲ ﺍﻟﻤﺘﻘﺪﻡ ﺑﻠﻔﻈﺔ ﺍﻟﻤﺰﻧﺔ ﻭﺍﻟﺪﻳﻤﺔ ﻭﻟﻔﻈﺔ ﺍﻟﺒﻌﺎﻕ‪ ،‬ﻭﻟﻮ‬ ‫ﻛﺎﻧﺖ ﺍﻟﻔﺼﺎﺣﺔ ﺃﻣﺮًﺍ ﻳﺮﺟﻊ ﺇﻟﻰ ﺍﻟﻤﻌﻨﻰ ﻟﻜﺎﻧﺖ ﻫﺬﻩ ﺍﻷﻟﻔﺎﻅ ﻓﻲ ﺍﻟﺪﻻﻟﺔ ﻋﻠﻴﻪ‬ ‫ﺳﻮﺍﺀ‪ ،‬ﻟﻴﺲ ﻣﻨﻬﺎ ﺣﺴﻦ ﻭﻟﻴﺲ ﻣﻨﻬﺎ ﻗﺒﻴﺢ‪.‬ﻭﻟﻤﺎ ﻟﻢ ﻳﻜﻦ ﻛﺬﻟﻚ ﻋﻠﻤﻨﺎ ﺃﻥ ﺍﻟﻔﺼﺎﺣﺔ‬ ‫ﺗﺨﺺ ﺍﻟﻠﻔﻆ ﺩﻭﻥ ﺍﻟﻤﻌﻨﻰ‪.‬‬ ‫ﻭﻟﻴﺲ ﺍﻟﻘﺎﺋﻞ ﻫﻬﻨﺎ ﺃﻥ ﻳﻘﻮﻝ‪ :‬ﻻ ﻟﻔﻆ ﺇﻻ ﺑﻤﻌﻨﻰ‪ ،‬ﻓﻜﻴﻒ ﻓﺼﻠﺖ ﺃﻧﺖَ ﺑﻴﻦ‬ ‫ﺍﻟﻠﻔﻆ ﻭﺍﻟﻤﻌﻨﻰ؟ ﻓﺈﻧﻲ ﻟﻢ ﺃﻓﺼﻞ ﺑﻴﻨﻬﻤﺎ ﻭﺇﻧﻤﺎ ﺧﺼﺼﺖ ﺍﻟﻠﻔﻆ ﺑﺼﻔﺔ ﻫﻲ ﻟﻪ‪،‬‬ ‫ﻭﺍﻟﻤﻌﻨﻰ ﻳﺠﻲﺀ ﺿﻤﻨًﺎ ﻭﺗﺒﻌًﺎ")‪.(1‬‬ ‫ﻭﺗﺪﻋﻴﻤﺎ ﻟﺮﺃﻳﻪ ﺍﻟﺴﺎﺑﻖ ﻓﻲ ﻗﻀﻴﺔ ﺍﻟﺤﺴﻦ ﻭﺍﻟﻘﺒﺢ ﻓﻲ ﺍﻟﻠﻔﻆ‪ ،‬ﻭﺭﺩًّﺍ ﻋﻠﻰ‬ ‫ﻣﻦ ﻳﻨﻜﺮ ﺫﻟﻚ ﻭﻳﺰﻋﻢ ﺃﻥ ﻛﻞ ﺍﻷﻟﻔﺎﻅ ﺣﺴﻦ ﻭﺃﻥ ﺍﻟﻮﺍﺿﻊ ﻟﻢ ﻳﻀﻊ ﺇﻻ ﺣﺴﻨﺎ‪،‬‬ ‫‪ -1‬ﺍﻨﻈﺮ ﺍﺑﻦ ﺍﻷﺜﻴﺮ‪ :‬ﺍﻟﻣﺜﻞ ﺍﻟﺴﺎﺋﺮ‪ ،‬ﺹ ‪.27 ،26‬‬  ‫‪15‬‬ ‫ﻳﻘﻮﻝ "ﺍﺑﻦ ﺍﻷﺛﻴﺮ" ﻓﻲ ﻣﻮﺿﻊ ﺁﺧﺮ ﻣﻦ ﻛﺘﺎﺑﻪ‪ " :‬ﻭﻣﻦ ﻟﻪ ﺃﺩﻧﻰ ﺑﺼﻴﺮﺓ ﻳﻌﻠﻢ ﺃﻥ‬ ‫ﻟﻸﻟﻔﺎﻅ ﻓﻲ ﺍﻷﺫﻥ ﻧﻐﻤﺔ ﻟﺬﻳﺬﺓ ﻛﻨﻐﻤﺔ ﺃﻭﺗﺎﺭ ﻭﺻﻮﺗًﺎ ﻣﻨﻜﺮًﺍ ﻛﺼﻮﺕ ﺣﻤﺎﺭ‪ ،‬ﻭﺃﻥ‬ ‫ﻟﻬﺎ ﻓﻲ ﺍﻟﻔﻢ ﺃﻳﻀًﺎ ﺣﻼﻭﺓ ﺍﻟﻌﺴﻞ ﻭﻣﺮﺍﺭﺓ ﻛﻤﺮﺍﺭﺓ ﺍﻟﺤﻨﻈﻞ‪ ،‬ﻭﻫﻲ ﻋﻠﻰ ﺫﻟﻚ‬ ‫ﺗﺠﺮﻯ ﻣﺠﺮﻯ ﺍﻟﻨﻐﻤﺎﺕ ﻭﺍﻟﻄﻌﻮﻡ"‪.‬‬ ‫"ﻭﻣﻦ ﻳﺒﻠﻎ ﺟﻬﻠﻪ ﺇﻟﻰ ﺃﻥ ﻻ ﻳﻔﺮﻕ ﺑﻴﻦ ﻟﻔﻈﺔ ﺍﻟﻐﺼﻦ ﻭﻟﻔﻈﺔ ﺍﻟﻌﺴﻠﻮﺝ‪،‬‬ ‫ﻭﺑﻴﻦ ﻟﻔﻈﺔ ﺍﻟﻤﺪﺍﻣﺔ ﻭﻟﻔﻈﺔ ﺍﻷﺳﻔﻨﻂ‪ ،‬ﻭﺑﻴﻦ ﻟﻔﻈﺔ ﺍﻟﺴﻴﻒ ﻭﻟﻔﻈﺔ ﺍﻟﺨﻨﺸﻠﻴﻞ‪ ،‬ﻭﺑﻴﻦ‬ ‫ﻟﻔﻈﺔ ﺍﻷﺳﺪ ﻭﻟﻔﻈﺔ ﺍﻟﻔﺪﻭﻛﺲ‪ ،‬ﻓﻼ ﻳﻨﺒﻐﻲ ﺃﻥ ﻳﺨﺎﻃﺐ ﺑﺨﻄﺎﺏ‪ ،‬ﻭﻻ ﻳﺠﺎﻭﺏ‬ ‫ﺑﺠﻮﺍﺏ‪ ،‬ﺑﻞ ﻳﺘﺮﻙ ﻭﺷﺄﻧﻪ" )‪.(1‬‬ ‫ﻭﺍﻟﻔﺼﺎﺣﺔ ﻳﻮﺻﻒ ﺑﻬﺎ ﺍﻟﻤﻔﺮﺩ ﻭﺍﻟﻜﻼﻡ ﻭﺍﻟﻤﺘﻜﻠﻢ‪ ،‬ﻓﻴﻘﺎﻝ‪ :‬ﻟﻔﻈﺔ ﻓﺼﻴﺤﺔ‪،‬‬ ‫ﻭﻛﻼﻡ ﻓﺼﻴﺢ‪ ،‬ﻭﺭﺟﻞ ﻓﺼﻴﺢ‪.‬ﺃﻣﺎ ﺍﻟﺒﻼﻏﺔ ﻓﻴﻮﺻﻒ ﺑﻬﺎ ﺍﻟﻜﻼﻡ ﻭﺍﻟﻤﺘﻜﻠﻢ ﻓﻘﻂ‪،‬‬ ‫ﻓﻴﻘﺎﻝ‪ :‬ﻛﻼﻡ ﺑﻠﻴﻎ‪ ،‬ﻭﺭﺟﻞ ﺑﻠﻴﻎ‪.‬ﻭﺑﻴﻦ ﺍﻻﺛﻨﻴﻦ ﻋﻤﻮﻡ ﻭﺧﺼﻮﺹ ﻣﻄﻠﻖ؛‬ ‫ﻓﺎﻟﻔﺼﺎﺣﺔ ﺃﻋﻢ ﻭﺍﻟﺒﻼﻏﺔ ﺃﺧﺺ‪ ،‬ﻓﻜﻞ ﻓﺼﻴﺢ ﺑﻠﻴﻎ‪ ،‬ﻭﻟﻴﺲ ﻛﻞ ﺑﻠﻴﻎ ﻓﺼﻴﺤًﺎ‪.‬‬ ‫ﺃﻭﻻً‪ :‬ﻓﺼﺎﺣﺔ ﺍﻟﻤﻔﺮﺩ ﺃﻭ ﺍﻟﻜﻠﻤﺔ‪:‬‬ ‫ﻳﺸﺘﺮﻁ ﻟﻔﺼﺎﺣﺔ ﺍﻟﻤﻔﺮﺩ ﺃﻥ ﻳﺨﻠﻮ ﻣﻦ ﺛﻼﺛﺔ ﻋﻴﻮﺏ‪ ،‬ﻫﻲ‪ :‬ﺗﻨﺎﻓﺮ ﺍﻟﺤﺮﻭﻑ‪،‬‬ ‫ﺍﻟﻐﺮﺍﺑﺔ‪ ،‬ﻣﺨﺎﻟﻔﺔ ﺍﻟﻘﻴﺎﺱ ﺍﻟﻠﻐﻮﻱ‪.‬‬ ‫‪.1‬ﺗﻨﺎﻓﺮ ﺍﻟﺤﺮﻭﻑ‪ :‬ﻣﺜﻞ ﻟﻔﻈﺔ )ﻣﺴﺘﺸﺰﺭﺍﺕ(‪ ،‬ﻭﻗﺪ ﻭﺭﺩﺕ ﻓﻲ ﺑﻴﺖ ﻟـ‬ ‫"ﺍﻣﺮﺉ ﺍﻟﻘﻴﺲ" ﻳﺼﻒ ﻓﻴﻪ ﺷﻌﺮ ﺍﻣﺮﺃﺓ‪:‬‬ ‫ﺗﻀﻞ ﺍﻟﻌﻘﺎﺹ ﻓﻲ ﻣﺜﻨﻰ ﻭﻣﺮﺳﻞ‬ ‫ﻏﺪﺍﺋﺮﻩ ﻣﺴﺘﺸﺰﺭﺍﺕ ﺇﻟﻰ ﺍﻟﻌﻼ‬ ‫‪ -1‬ﺍﻟﺴﺎﺑﻖ‪ :‬ﺹ ‪.59‬‬  ‫‪16‬‬ ‫ﻓﺎﻟﺸﺎﻋﺮ ﻫﻨﺎ ﻳﺼﻒ ﻏﺰﺍﺭﺓ ﺷﻌﺮ ﺣﺒﻴﺒﺘﻪ‪ ،‬ﻓﻴﻘﻮﻝ‪ :‬ﺇﻥ ﺣﺒﻴﺒﺘﻪ ﻟﻜﺜﺮﺓ‬ ‫ﺷﻌﺮﻫﺎ ﺑﻌﻀﻪ ﻣﺮﻓﻮﻉ‪ ،‬ﻭﺑﻌﻀﻪ ﻣﺜﻨﻲ‪ ،‬ﻭﺑﻌﻀﻪ ﻣﺮﺳﻞ‪ ،‬ﻭﺑﻌﻀﻪ ﻣﻌﻘﻮﺹ‬ ‫ﻣﻠﻮﻱ ﺑﻴﻦ ﺍﻟﻤﺜﻨﻲ ﻭﺍﻟﻤﺮﺳﻞ‪.‬‬ ‫ﻭﻣﻮﺿﻊ ﺍﻟﺸﺎﻫﺪ ﻋﻠﻰ ﺍﻟﺘﻨﺎﻓﺮ ﻫﻨﺎ ﻫﻮ ﻟﻔﻈﺔ )ﻣﺴﺘﺸﺰﺭﺍﺕ( ﺑﻤﻌﻨﻰ‬ ‫)ﻣﺮﺗﻔﻌﺎﺕ( ﻓﻬﻲ ﻣﺴﺘﻜﺮﻫﺔ ﻟﺜﻘﻠﻬﺎ ﻋﻠﻰ ﺍﻟﻠﺴﺎﻥ ﻭﻋﺴﺮ ﺍﻟﻨﻄﻖ ﺑﻬﺎ‪ ،‬ﻓﺘﻨﺎﻓﺮ‬ ‫ﺍﻟﺤﺮﻭﻑ ﻓﻴﻬﺎ ﺃﺩﻯ ﺇﻟﻰ ﺛﻘﻠﻬﺎ ﻭﺻﻌﻮﺑﺔ ﺍﻟﺘﻠﻔﻆ ﺑﻬﺎ‪ ،‬ﻭﻫﺬﺍ ﺑﺪﻭﺭﻩ ﺃﻧﻘﺺ ﻣﻦ‬ ‫ﻓﺼﺎﺣﺘﻬﺎ ﻭﻗﻠﻞ ﻣﻦ ﻓﺼﺎﺣﺔ ﺍﻟﺒﻴﺖ ﻭﺟﻤﺎﻟﻪ‪.‬‬ ‫ﻳﻨﺒﻐﻲ ﻫﻨﺎ ﺃﻥ ﻧﺬﻛﺮ ﺭﺃﻱ ﺃﺣﺪ ﺍﻟﺒﺎﺣﺜﻴﻦ ﺍﻟﻤﻌﺎﺻﺮﻳﻦ ﻭﻫﻮ ﺍﻟﺪﻛﺘﻮﺭ "ﻣﺤﻤﺪ‬ ‫ﺷﺒﺎﻳﻚ" ﻳﻘﻮﻝ‪:‬‬ ‫ﻟﺬﻟﻚ ﻛﺎﻥ ﻧﻈﺮﻱ ﺇﻟﻰ ﺍﻟﺸﺎﻫﺪ ‪ -‬ﺳﻮﺍﺀ ﺃﻛﺎﻥ ﻛﻠﻤﺔً ﺃﻡ ﺗﺮﻛﻴﺒًﺎ ‪ -‬ﻓﻲ ﺇﻃﺎﺭ‬ ‫ﻣﻮﻗﻔﻪ ﻣﻦ ﺍﻟﻘﺼﻴﺪﺓ‪ ،‬ﻭﺗﺄﻣُّﻞ ﻣﻌﻨﺎﻩ ﻓﻲ ﺳﻴﺎﻗﺎﺗﻪ ﺍﻟﻤﺘﻌﺪِّﺩﺓ؛ ﻷﻥ ﻫﺬﻩ ﺍﻟﺴﻴﺎﻗﺎﺕ ﻫﻲ‬ ‫ﺍﻷﺑﻌﺎﺩ ﺍﻟﻔﺎﻋﻠﺔ ﻓﻲ ﺗﻔﺴﻴﺮ ﺍﻟﻨﺺ ﻭﺍﻟﻜﺸﻒ ﻋﻦ ﺍﻟﻌﻼﻗﺎﺕ ﺍﻟﻤﺘﺪﺍﺧِﻠَﺔ ﻓﻲ ﻟﻐﺘﻪ‪،‬‬ ‫ﻭﺃﻥ ﺍﻟﻨﺺ ﻧﺴﻴﺞ ﻣﺘﻜﺎﻣﻞ ﻳﺘﺪﺍﺧَﻞ ﻓﻴﻪ ﺇﻳﻘﺎﻉ ﺍﻟﺬﺍﺕ ﻭﺇﻳﻘﺎﻉ ﺍﻟﺒﻴﺌﺔ ﻭﺍﻟﻤﺠﺘﻤﻊ‬ ‫ﻭﺍﻟﺜﻘﺎﻓﺔ )‪.(1‬‬ ‫ﻭﻣﻦ ﺍﻟﻜﻠﻤﺎﺕ ﺍﻟﺘﻲ ﻳﻌﺴﺮ ﺍﻟﻨﻄﻖ ﺑﻬﺎ ﺃﻳﻀًﺎ ﻭﻳﺨﺮﺟﻬﺎ ﺍﻟﺒﻼﻏﻴﻮﻥ ﻣﻦ‬ ‫ﺩﺍﺋﺮﺓ ﺍﻟﻔﺼﺎﺣﺔ ﻛﻠﻤﺔ )ﻣُﺴﺘَﺸﺰِﺭﺍﺕ( ﻓﻲ ﻗﻮﻝ ﺍﻣﺮﺉ ﺍﻟﻘﻴﺲ ﻳﺼﻒ ﺷﻌﺮ‬ ‫ﻣﺤﺒﻮﺑﺘﻪ‪ :‬ﻭﺗﻔﻴﺾ ﻛﺘﺐ ﺍﻟﺒﻼﻏﺔ ﻓﻲ ﺗﻔﺴﻴﺮ ﻣﻨﺸﺄ ﺍﻟﺼﻌﻮﺑﺔ ﻓﻲ ﺍﻟﻜﻠﻤﺔ ﺍﻟﺘﻲ‬ ‫ﺍﺳﺘﺨﺪﻣﻬﺎ ﺍﻣﺮﺅ ﺍﻟﻘﻴﺲ‪ ،‬ﻭﺗﻜﺎﺩ ﺗﺘَّﻔﻖ ﻋﻠﻰ ﺃﻥ ﺍﻟﺼﻌﻮﺑﺔ ﻓﻲ ﺍﻟﻜﻠﻤﺔ ﻫﻨﺎ ﻧﺸَﺄَﺕ‬ ‫ﻣﻦ ﺍﺟﺘﻤﺎﻉ ﺣﺮﻭﻑٍ ﺧﺎﺻَّﺔ ﻫﻲ ﺍﻟﺴﻴﻦ ﻭﺍﻟﺸﻴﻦ ﻭﺍﻟﺰﺍﻱ "ﻭﺫﻟﻚ ﻟﺘﻮﺳُّﻂ ﺍﻟﺸﻴﻦ‬ ‫‪1- http://www.alukah.net/literature_language/0/9809/#ixzz2f6cAxnFk‬‬  ‫‪17‬‬ ‫ﻭﻫﻲ ﻣﻬﻤﻮﺳﺔ ﺭﺧﻮﺓ ﺑﻴﻦ ﺍﻟﺘﺎﺀ ‪-‬ﻭﻫﻲ ﻣﻬﻤﻮﺳﺔ ﺷﺪﻳﺪﺓ‪ -‬ﻭﺍﻟﺰﺍﻱ ﻭﻫﻲ‬ ‫ﻣﺠﻬﻮﺭﺓ"‪.‬‬ ‫ﻭﻟﻮ ﺃﻥ ﺍﻟﺸﺎﻋﺮ ﺍﺳﺘﺒﺪﻝ ﺑﻌﺾ ﺍﻟﺤﺮﻭﻑ ﺑﺤﺮﻭﻑٍ ﺃﺧﺮﻯ ﻷﻣﻜﻨﻪ ﺗﻼﻓﻲ‬ ‫ﻫﺬﻩ ﺍﻟﺼﻌﻮﺑﺔ‪ ،‬ﻓﻘﺪ ﻛﺎﻥ ﻓﻲ ﺇﻣﻜﺎﻧﻪ ﺃﻥ ﻳﻘﻮﻝ‪) :‬ﻣﺴﺘﺸﺮﻓﺎﺕ(‪ ،‬ﻓﻴﺴﺘﻘﻴﻢ ﻟﻪ ﺍﻟﻤﻌﻨﻰ‬ ‫ﻭﺍﻟﻮﺯﻥ‪ ،‬ﻭﻳَﺴْﻠَﻢ ﻣﻦ ﺍﻟﻮﻗﻮﻉ ﻓﻲ ﺍﻟﺘﻨﺎﻓﺮ‪.‬‬ ‫ﻭﻗﺪ ﻗﺪَّﻡ ﺍﻟﺒﻼﻏﻴﻮﻥ ﻣﺠﻤﻮﻋﺔً ﻣﻦ ﺍﻟﻤﺒﺮِّﺭﺍﺕ ﺍﻟﺼﻮﺗﻴﺔ ﺍﻟﺘﻲ ﺗﺤﺪِّﺩ ﻣﻔﻬﻮﻡ‬ ‫ﺍﻟﺘﻨﺎﻓُﺮ ﺳﻠﺒًﺎ ﻭﺇﻳﺠﺎﺑًﺎ؛ ﺣﻴﺚ ﻋﺰَﺍﻩ ﺑﻌﻀﻬﻢ ﺇﻟﻰ ﺍﻟﺘﺒﺎﻋُﺪ ﺍﻟﺸﺪﻳﺪ ﺃﻭ ﺍﻟﻘُﺮﺏ ﺍﻟﺸﺪﻳﺪ‬ ‫ﻓﻲ ﺍﻟﻤﺨﺮﺝ‪ ،‬ﻭﻣﻦ ﺧﻼﻟﻪ ﻳﻤﻜﻦ ﺍﻟﺤﻜﻢ ﺑﺎﻟﻘﻴﻤﺔ ﺭﻓﻀًﺎ ﺃﻭ ﻗﺒﻮﻻً‪ ،‬ﻭﻗﺪ ﺃﺷﺎﺭ ﺇﻟﻰ‬ ‫ﺫﻟﻚ " ﺍﺑﻦ ﻓﺎﺭﺱ" )ﺕ ‪395‬ﻫـ(‪ ،‬ﻋﻨﺪﻣﺎ ﻗﺎﻝ‪" :‬ﺿﺮﺏٌ ﻻ ﻳﺠﻮﺯ ﺍﺋﺘﻼﻑ‬ ‫ﺣﺮﻭﻓﻪ ﻓﻲ ﻛﻼﻡ ﺍﻟﻌﺮﺏ ﺑَﺘَّﺔً؛ ﻭﺫﻟﻚ ﻛﺠﻴﻢٍ ﺗﺆﻟَّﻒ ﻣﻊ ﻛﺎﻑ‪ ،‬ﺃﻭ ﻛﺎﻑ ﺗﻘﺪَّﻡ ﻋﻠﻰ‬ ‫ﺟﻴﻢ‪ ،‬ﻭﻛﻌﻴﻦٍ ﻋﻠﻰ ﻏﻴﻦ‪ ،‬ﺃﻭ ﺣﺎﺀ ﻣﻊ ﻫﺎﺀ ﺃﻭ ﻏﻴﻦ‪ ،‬ﻓﻬﺬﺍ ﻭﻣﺎ ﺃﺷﺒﻪ ﻻ ﻳﺄﺗﻠﻒ")‪.(1‬‬ ‫ﻭﻟﻜﻦ ﻳﻨﺒﻐﻲ ﺃﻥ ﻳُﻼﺣَﻆ ﺃﻥ ﺍﺳﺘﻌﻤﺎﻝ ﻫﺬﺍ ﺍﻟﻤﻘﻴﺎﺱ ﻳﺤﺘﺎﺝ ﺇﻟﻰ ﻭﻋﻲ‬ ‫ﻭﺫﻭﻕ؛ ﻷﻥ ﻫﻨﺎﻙ ﻛﻠﻤﺎﺕ ﺛﻘﻴﻠﺔ ﻋﻠﻰ ﺍﻟﻠﺴﺎﻥ‪ ،‬ﻭﻟﻜﻦ ﺛِﻘَﻠَﻬﺎ ﻣﻦ ﺃﻫﻢ ﻣﻈﺎﻫﺮ‬ ‫ﻓﺼﺎﺣﺘﻬﺎ؛ ﺣﻴﺚ ﺇﻥَّ ﻫﺬﺍ ﺍﻟﺜﻘﻞ ﻳﺼﻮِّﺭ ﻣﻌﻨﺎﻫﺎ ﺑﺤﻖ‪ ،‬ﺍﻧﻈﺮ ﻛﻠﻤﺔ )ﺍﺛَّﺎﻗَﻠﺘﻢ( ﻓﻲ‬ ‫ﻗﻮﻟﻪ ﺗﻌﺎﻟﻰ‪﴿ :‬ﻳَـٰۤﺄَﻳُّﻬَﺎ ﭐﻟَّﺬِﻳﻦَ ﺀَﺍﻣَﻨُﻮﺍْ ﻣَﺎ ﻟَﻜُﻢ٘ ﺇِﺫَﺍ ﻗِﻴﻞَ ﻟَﻜُﻢُ ﭐﻧﻔِﺮُﻭﺍْ ﻓِﻰ ﺳَﺒِﻴﻞِ ﭐﻟﻠَّﻪِ ﭐﺛَّﺎﻗَﻠ٘ﺘُﻢ٘‬ ‫ﺇِﻟَﻰ ﭐﻷَ٘ﺭ٘ﺽِ ۚ﴾ ]ﺍﻟﺘﻮﺑﺔ‪ ،[38 :‬ﺗﺠﺪ ﻓﻴﻬﺎ ﻗﺪﺭًﺍ ﻣﻦ ﺍﻟﺜِّﻘَﻞ ﺍﻟﻔﺼﻴﺢ؛ ﻷﻧﻪ ﻳﺼﻒ‬ ‫ﺗﻘﺎﻋﺴﻬﻢ ﻭﺗﺜﺎﻗﻠﻬﻢ‪ ،‬ﻭﺧﻠﻮﺩﻫﻢ ﺇﻟﻰ ﺍﻷﺭﺽ‪ ،‬ﻭﺍﺳﺘﺸﻌﺎﺭﻫﻢ ﻣﺸﻘَّﺔ ﺍﻟﺠﻬﺎﺩ‪" ،‬‬ ‫ﻭﻳﺘﺼﻮَّﺭ ﺍﻟﺨﻴﺎﻝ ﺫﻟﻚ ﺍﻟﺠﺴﻢ ﺍﻟﻤﺘﺜﺎﻗِﻞ‪ ،‬ﻳﺮﻓﻌﻪ ﺍﻟﺮﺍﻓﻌﻮﻥ ﻓﻲ ﺟﻬﺪ‪ ،‬ﻓﻴﺴﻘﻂ ﻣﻦ‬ ‫ﺃﻳﺪﻳﻬﻢ ﻓﻲ ﺛﻘﻞ‪ ،‬ﺇﻥ ﻓﻲ ﻫﺬﻩ ﺍﻟﻜﻠﻤﺔ )ﻃِﻨًّﺎ( ﻋﻠﻰ ﺍﻷﻗﻞ ﻣﻦ ﺍﻷﺛﻘﺎﻝ‪ ،‬ﻭﻟﻮ ﺃﻧﻚ ﻗﻠﺖ‪:‬‬ ‫ﺗﺜﺎﻗﻠﺘﻢ ﻟﺨﻒَّ ﺍﻟﺠﺮﺱ‪ ،‬ﻭﻟﻀﺎﻉ ﺍﻷﺛَﺮ ﺍﻟﻤﻨﺸﻮﺩ‪ ،‬ﻭﻟﺘﻮﺍﺭَﺕ ﺍﻟﺼﻮﺭﺓ ﺍﻟﻤﻄﻠﻮﺑﺔ‬ ‫ﺍﻟﺘﻲ ﺭﺳﻤﻬﺎ ﻫﺬﺍ ﺍﻟﻠﻔﻆ ﻭﺍﺳﺘﻘﻞَّ ﺑﺮﺳﻤﻬﺎ"‪.‬‬ ‫‪1- http://www.alukah.net/literature_language/0/9809/#ixzz2f6czEqBx‬‬  ‫‪18‬‬ ‫ﻳﻘﻮﻝ " ﺍﻟﺠﺎﺣﻆ"‪ " :‬ﻭﻣﺘﻰ ﺷﺎﻛَﻞ ‪ -‬ﺃﺑْﻘﺎﻙ ﺍﻟﻠﻪ ‪ -‬ﺍﻟﻠﻔﻆ ﻣﻌﻨﺎﻩ‪ ،‬ﻭﺃﻋﺮﺏ‬ ‫ﻋﻦ ﻓﺤﻮﺍﻩ‪ ،‬ﻭﻛﺎﻥ ﻟﺘﻠﻚ ﺍﻟﺤﺎﻝ ﻭَﻓْﻘًﺎ‪ ،‬ﻭﻟﺬﻟﻚ ﺍﻟﻘﺪﺭ ﻟِﻔﻘًﺎ‪ ،‬ﻭﺧﺮﺝ ﻣﻦ ﺳَﻤَﺎﺟﺔ‬ ‫ﺍﻻﺳﺘﻜﺮﺍﻩ‪ ،‬ﻭﺳَﻠِﻢ ﻣﻦ ﻓﺴﺎﺩ ﺍﻟﺘﻜﻠُّﻒ ‪ -‬ﻛﺎﻥ ﻗﻤﻴﻨًﺎ ﺑﺤﺴﻦ ﺍﻟﻤﻮﻗﻊ ﻭﺑﺎﻧﺪﻓﺎﻉ‬ ‫ﺍﻟﻤﺴﺘﻤﻊ"‪ ،‬ﻓﺎﻟﻤﻌﻮَّﻝ ﻋﻨﺪ " ﺍﻟﺠﺎﺣﻆ" ﻋﻠﻰ ﻛﻮﻥ ﺍﻟﻠﻔﻆ ﻣُﺸﺎﻛِﻼً ﻟﻤﻌﻨﺎﻩ‪ ،‬ﻣُﻌﺮِﺑًﺎ‬ ‫ﻋﻦ ﻓﺤﻮﺍﻩ؛ ﺫﻟﻚ " ﻷﻥ ﺣﺴﻦ ﺩﻻﻟﺔ ﺍﻟﻠﻔﻆ ﻋﻠﻰ ﺍﻟﻤﻌﻨﻰ ﺑﺤﻴﺚ ﻻ ﻳﺨﻠُﻔﻪ ﻓﻴﻪ‬ ‫ﻏﻴﺮﻩ‪ ،‬ﻣﻘﺪَّﻡ ﻋﻠﻰ ﻣﺮﺍﻋﺎﺓ ﺧﻔَّﺔ ﻟﻔﻈﻪ"‪ ،‬ﻭﺫﻟﻚ ﻧﺤﻮ ﻛﻠﻤﺔ )ﻣﺴﺘﺸﺰﺭﺍﺕ( ﺍﻟﺘﻲ‬ ‫ﻭﺻﻒ ﺑﻬﺎ " ﺍﻣﺮﺅ ﺍﻟﻘﻴﺲ" ﺷﻌﺮ ﻣﺤﺒﻮﺑﺘﻪ‪ ،‬ﻓﻘﺪ ﻋﺎﺑﻬﺎ ﺍﻟﻨﻘَّﺎﺩ ﻭﻭﺻﻔﻮﻫﺎ ﺑﺎﻟﺘﻨﺎﻓﺮ‬ ‫ﻭﺍﻟﺜِّﻘَﻞ ﻭﺍﻟﺒﺸﺎﻋﺔ‪ ،‬ﻣﻊ ﺃﻧﻬﺎ ﻓﺼﻴﺤﺔ ﻗﺎﺭَّﺓ ﻓﻲ ﻣﻮﺿﻌﻬﺎ‪ ،‬ﻣﺼﻮِّﺭﺓ ﻟﻠﻤﻌﻨﻰ‪ ،‬ﻏﻨﻴﺔ‬ ‫ﺑﺎﻟﺪﻻﻟﺔ‪.‬‬ ‫ﻭﻟﻜﻲ ﻧﺘﺼﻮَّﺭ ﻓﺼﺎﺣﺔ ﻫﺬﻩ ﺍﻟﻜﻠﻤﺔ ﻭﺛﺮﺍﺀ ﺩﻻﻟﺘﻬﺎ‪ ،‬ﻻ ﺑُﺪَّ ﺃﻥ ﻧﺴﺘﻌﺮﺽ‬ ‫ﺍﻷﺑﻴﺎﺕ ﺍﻟﺘﻲ ﻭﺭﺩﺕ ﺍﻟﻜﻠﻤﺔ ﻓﻲ ﺳﻴﺎﻗﻬﺎ؛ ﻷﻥ ﺍﻟﻜﻠﻤﺔ ﻻ ﻳُﺪﺭَﻙ ﻣﻌﻨﺎﻫﺎ ﺍﻟﻤﻘﺼﻮﺩ‬ ‫ﻭﻻ ﺗُﺪﺭَﻙ ﺩﻻﻟﺘﻬﺎ ﺇﺫﺍ ﻓُﺼِﻠﺖ ﻋﻦ ﺳﻴﺎﻗﻬﺎ ﺍﻟﺬﻱ ﻭﺭﺩﺕ ﻓﻴﻪ‪ ،‬ﻳﻘﻮﻝ ﺍﻣﺮﺅ ﺍﻟﻘﻴﺲ‪:‬‬ ‫ﺇِﺫَﺍ ﻫِﻲَ ﻧَﺼَّﺘْﻪُ ﻭَﻻَ ﺑِﻤُﻌَﻄَّﻞِ‬ ‫ﻭَﺟِﻴﺪٍ ﻛَﺠِﻴﺪِ ﺍﻟﺮِّﺋْﻢِ ﻟَﻴْﺲَ ﺑِﻔَﺎﺣِﺶٍ‬ ‫ﺃَﺛِﻴﺚٍ ﻛَﻘِﻨْﻮِ ﺍﻟﻨَّﺨْﻠَﺔِ ﺍﻟﻤُﺘَﻌَﺜْﻜِﻞِ‬ ‫ﻭَﻓَﺮْﻉٍ ﻳَﺰِﻳﻦُ ﺍﻟﻤَﺘْﻦَ ﺃَﺳْﻮَﺩَ ﻓَﺎﺣِﻢٍ‬ ‫ﺗَﻀِﻞُّ ﺍﻟﻌِﻘَﺎﺹُ ﻓِﻲ ﻣُﺜَﻨًّﻰ ﻭَﻣُﺮْﺳَﻞِ‬ ‫ﻏَﺪَﺍﺋِﺮُﻩُ ﻣُﺴْﺘَﺸْﺰِﺭَﺍﺕٌ ﺇِﻟَﻰ ﺍﻟﻌُﻼَ‬ ‫ﻭَﺳَﺎﻕٍ ﻛَﺄُﻧْﺒُﻮﺏِ ﺍﻟﺴَّﻘِﻲِّ ﺍﻟﻤُﺬَﻟَّﻞِ‬ ‫ﻭَﻛَﺸْﺢٍ ﻟَﻄِﻴﻒٍ ﻛَﺎﻟﺠَﺪِﻳﻞِ ﻣُﺨَﺼَّﺮٍ‬ ‫ﻓﺎﻟﺸﺎﻋﺮ ﻫﻨﺎ ﻳﺼﻒ ﻣﺤﺒﻮﺑﺘﻪ ﺑﺄﻭﺻﺎﻑٍ ﻣﺘﻌﺪِّﺩﺓ‪ ،‬ﻭﻳﺸﻐﻠﻪ ﻣﻦ ﻫﺬﻩ‬ ‫ﺍﻷﻭﺻﺎﻑ ﺷﻌﺮُﻫﺎ‪ ،‬ﻓﻴﺼﻔﻪ ﺑﺎﻟﻄﻮﻝ ﻭﺍﻟﻨﻌﻮﻣﺔ‪ ،‬ﻭﺷﺪَّﺓ ﺍﻟﺴﻮﺍﺩ‪ ،‬ﻭﺷﺪَّﺓ ﺍﻟﺘﺪﺍﺧُﻞ‬ ‫ﻭﺍﻟﻜﺜﺎﻓﺔ؛ ﺣﻴﺚ ﺗﺘﺰﺍﺣَﻢ ﺧﺼﻼﺗﻪ ﻋﻠﻰ ﺭﺃﺳﻬﺎ‪.‬‬ ‫ﻭﻳﺠﺐ ﺃﻻَّ ﻧﻨﺴﻰ ﺃﻥ ﺍﻟﺸَّﻌْﺮ ﻳﺄﺧﺬ ﺷﻴﺌًﺎ ﻣﻦ ﺍﻷﻫﻤﻴﺔ ﻋﻨﺪ "ﺍﻣﺮﺉ‬ ‫ﺍﻟﻘﻴﺲ"‪ ،‬ﺑﺎﻋﺘﺒﺎﺭﻩ ﻣﻦ ﺃﺩﻝِّ ﺍﻷﻣﻮﺭ ﻋﻠﻰ ﺍﻟﺘﻜﻮﻳﻦ ﺍﻷﻧﺜﻮﻱ ﻣﻦ ﻧﺎﺣﻴﺔ‪ ،‬ﻭﺑﺎﻋﺘﺒﺎﺭﻩ‬  ‫‪19‬‬ ‫ﻋﺎﻣﻼً ﻓﻌَّﺎﻻً ﻓﻲ ﺗﺠﻠﻴﺔ ﺍﻟﺠﻤﺎﻝ ﻣﻦ ﻧﺎﺣﻴﺔ ﺃﺧﺮﻯ‪ ،‬ﻭﻷﻣﺮٍ ﻣﺎ ﺃﺿﻔﻰ ﺍﻟﺸﺎﻋﺮ‬ ‫ﻋﻠﻰ ﺷَﻌﺮ ﺍﻟﻤﺮﺃﺓ ﻃﺎﺑﻌًﺎ ﻣﺮﻛَّﺒًﺎ‪ ،‬ﻓﻌﻘَّﺪ ﻣﻦ ﺣﺮﻛﺘﻪ ﺣﻴﺚ ﺃﻃﻠﻖ ﺑﻌﻀﻪ ﺃﺣﻴﺎﻧًﺎ‬ ‫ﻭﻗﻴَّﺪ ﺑﻌﻀﻪ ﺃﺣﻴﺎﻧًﺎ ﺃﺧﺮﻯ )ﻓِﻲ ﻣُﺜَﻨًّﻰ ﻭَﻣُﺮْﺳَﻞِ(‪ ،‬ﻭﻳﺒﺪﻭ ﻭﺍﺿﺤًﺎ ﺣﺮﺹُ "ﺍﻣﺮﺉ‬ ‫ﺍﻟﻘﻴﺲ" ﻋﻠﻰ ﺃﻥ ﻳﻜﻮﻥ ﻟﻬﺬﺍ ﺍﻟﺸﻌﺮ ﻣﻮﺍﺻﻔﺎﺕ ﺧﺎﺻﺔ ﺗﻬﻴِّﺊ ﻟﻪ ﻣﻦ ﺍﻟﺘﻨﺎﺳُﺐ ﻣﻊ‬ ‫ﺑﻌﺾ ﺍﻷﻋﻀﺎﺀ ﺍﻷﺧﺮﻯ ﺍﻟﻤﺠﺎﻭِﺭَﺓ ﻟﻪ‪ ،‬ﻓﺸﺪَّﺓ ﺳﻮﺍﺩ ﺍﻟﺸﻌﺮ ﺗُﺤﺪِﺙ ﺗﻘﺎﺑﻼً‬ ‫ﻭﻣﻔﺎﺭَﻗﺔً ﻣﻊ ﺑﻴﺎﺽ ﺍﻟﻮﺟﻪ ﻭﺇﺷﺮﺍﻗﻪ‪ ،‬ﻛﻤﺎ ﺃﻥ ﺧﻮﺍﺹَّ ﺍﻟﺸﻌﺮ ﻧﻔﺴَﻬﺎ ﺗﻌﺘَﻤِﺪ ﻋﻠﻰ‬ ‫ﺍﻟﺘﻘﺎﺑُﻞ ﻓﻲ ﺍﻧﺴﻴﺎﺑﻪ ﻋﻠﻰ ﺍﻟﻈﻬﺮ ﻣﻦ ﻧﺎﺣﻴﺔ‪ ،‬ﻭﺍﺭﺗﻔﺎﻋﻪ ﺇﻟﻰ ﺃﻋﻠﻰ ﻣﻦ ﻧﺎﺣﻴﺔ‬ ‫ﺃﺧﺮﻯ‪ ،‬ﻭﻓﻲ ﺗﺜﻨِّﻴﻪ ﺗﺎﺭﺓً ﻭﺇﺭﺳﺎﻟﻪِ ﺗﺎﺭﺓ ﺃﺧﺮﻯ‪ ،‬ﻓﺎﻟﺘﻘﺎﺑُﻞ ﻛﺎﻥ ﺧﺎﺭﺟﻴًّﺎ ﻭﺩﺍﺧﻠﻴًّﺎ‬ ‫ﻓﻲ ﺁﻥٍ ﻭﺍﺣﺪ‪.‬‬ ‫ﻭﺍﻟﻨﺎﻇﺮ ﻟﻜﻠﻤﺔ )ﻣﺴﺘﺸﺰﺭﺍﺕ( ﻳﺤﺲُّ ﻣﻨﻬﺎ ‪-‬ﺑﺪﺍﻳﺔً‪ -‬ﺗﻨﺎﻓﺮًﺍ ﻓﻲ ﺍﻟﺤﺮﻭﻑ‬ ‫ﻭﺛِﻘَﻼً ﻓﻲ ﺍﻟﻨﻄﻖ "ﻭﻟﻜﻦ ﻗﻠﻴﻼً ﻣﻦ ﺍﻟﺘﻔﻜﻴﺮ ﻳﻬﺪﻳﻨﺎ ﺇﻟﻰ ﺃﻥ ﻫﺬﺍ ﺍﻟﺘﻨﺎﻓﺮ ﻻﺯﻡٌ ﻟﺰﻭﻣًﺎ‬ ‫ﻓﻨﻴًّﺎ ﻣﺆﻛﺪًﺍ؛ ﻷﻧﻪ ﻳﻨﻄﺒﻖ ﻋﻠﻰ ﺍﻟﺼﻮﺭﺓ ﺍﻟﺘﻲ ﻳﺮﻳﺪ ﺍﻟﺸﺎﻋﺮ ﺃﻥ ﻳﺮﺳﻤﻬﺎ ﻟﻬﺬﻩ‬ ‫ﺍﻟﺨﺼﻼﺕ ﺍﻟﻜﺜﻴﺮﺓ ﺍﻟﻜﺜﻴﻔﺔ ﺍﻟﺘﻲ ﺗﺘﺰﺍﺣﻢ ﻋﻠﻰ ﺭﺃﺱ ﻣﺤﺒﻮﺑﺘﻪ‪ ،‬ﻭﺗﺮﺗﻔﻊ ﺇﻟﻰ‬ ‫ﺃﻋﻠﻰ‪ ،‬ﻭﻳﻐﻴﺐ ﺑﺎﻗﻲ ﺍﻟﺸﻌﺮ ﺍﻟﻜﺜﻴﻒ ﺗﺤﺘﻬﺎ ﻣﻦ ﻣﻔﺘﻮﻝٍ ﻇﻞ ﻋﻠﻰ ﺍﻧﺘﻈﺎﻣﻪ‪ ،‬ﻭﻏﻴﺮ‬ ‫ﻣﻔﺘﻮﻝٍ ﺍﻧﻄﻠﻖ ﻫﻨﺎ ﻭﻫﻨﺎﻙ‪ ،‬ﺻﻮﺭﺓ ﻏﻨﻴﺔ ﺭﺍﺋﻌﺔ‪...‬ﺇﺫﺍ ﺃﺟﺪﻧﺎ ﺗﺼﻮُّﺭﻫﺎ ﻭﺍﺳﺘﻤﻌﻨﺎ‬ ‫ﺇﻟﻰ )ﻣﺴﺘﺸﺰﺭﺍﺕ( ﺃﺩﺭﻛﻨﺎ ﺃﻧﻬﺎ ﺗﻘﺘﻀﻲ ﻫﺬﺍ ﺍﻟﺘﻨﺎﻓﺮ‪...‬ﺣﻘًّﺎ ﻫﻮ ﺗﻨﺎﻓﺮ‪ ،‬ﻭﻟﻜﻦ ﻣﺎ‬ ‫ﺃﻗﻮﻯ ﺍﻧﺴﺠﺎﻣﻪ ﻣﻊ ﺍﻟﺼﻮﺭﺓ ﺍﻟﻤﺮﺳﻮﻣﺔ" ﺍﻟﺘﻲ ﻗﺼﺪﻫﺎ ﺍﻟﺸﺎﻋﺮ‪.‬‬ ‫ﺇﻥ ﺍﻟﺸﺎﻋﺮ ﺍﻟﻤﻄﺒﻮﻉ ﻳﺴﺘﺨﺪﻡ ﺍﻟﻜﻠﻤﺎﺕ ﻋﻦ ﻗﺼﺪ‪ ،‬ﻭﻟﻴﺲ ﺍﺳﺘﺨﺪﺍﻣﻪ ﻟﻬﺎ‬ ‫ﺍﺳﺘﺨﺪﺍﻣًﺎ ﻋﺸﻮﺍﺋﻴًّﺎ‪ ،‬ﻭﻗﺪ ﻳﻜﻮﻥ ﺍﻟﻘﺼﺪ ﻏﻴﺮ ﻭﺍﻉٍ‪ ،‬ﻭﻟﻜﻦ ﺍﻟﺮﺅﻳﺔ ﺍﻟﻔﻨﻴﺔ ﻟﺪﻳﻪ ﺗﻮﺟِّﻪ‬ ‫ﺍﺳﺘﻌﻤﺎﻟﻪ ﻟﻠﻐﺔ ﺳﻮﺍﺀ ﻣﻦ ﺣﻴﺚ ﺍﻟﻤﻔﺮﺩﺍﺕ ﺃﻭ ﻣﻦ ﺣﻴﺚ ﺍﻟﺘﺮﺍﻛﻴﺐ‪ ،‬ﻭﺍﻟﺬﻱ ﻧﺮﻳﺪ‬ ‫ﺃﻥ ﻧﻘﻮﻟﻪ ﻓﻲ ﻫﺬﺍ ﺍﻟﻤﻘﺎﻡ‪ :‬ﺇﻥ ﺍﻟﻠﻐﺔ ﻏﻨﻴﺔ ﺑﺎﻟﻤﺘﺮﺍﺩﻓﺎﺕ ﻟﻜﻞِّ ﻛﻠﻤﺔ‪ ،‬ﻭﺍﻟﺸﺎﻋﺮ ﺣﻴﻨﻤﺎ‬ ‫ﻳﺴﺘﺨﺪﻡ ﺃﺣﺪ ﻫﺬﻩ ﺍﻟﻤﺘﺮﺍﺩﻓﺎﺕ ﻓﻸﻧﻪ ﻳﺮﻯ ﺃﻥ ﻓﻴﻪ ﻏُﻨﻴﺔ ﻭﺧﺼﻮﺻﻴﺔ ﻋﻦ ﻏﻴﺮﻩ‪،‬‬ ‫ﻭﻳﺆﻳِّﺪ ﻫﺬﺍ ﺍﻟﻤﻌﻨﻰ ﺍﻟﻤﻌﺠﻤﻲُّ ﻓﻘﺪ ﺟﺎﺀ ﻓﻲ "ﻟﺴﺎﻥ ﺍﻟﻌﺮﺏ"‪" :‬ﺷﺰﺭ ﺍﻟﺤﺒﻞ‪ :‬ﻓﺘﻠﻪ؛‬  ‫‪20‬‬ ‫ﺃﻱ‪ :‬ﻟﻮَّﺍﻩ ﻭﺑﺮَﻣﻪ‪ ،‬ﻭﺍﺳﺘﺸﺰﺭ‪ :‬ﺍﻧﻔﺘﻞ"‪ ،‬ﻭﻧﻠﺤﻆ ﻫﻨﺎ ﺃﻥ ﺯﻳﺎﺩﺓ ﺍﻟﻤﺒﻨﻰ ﺗﺒﻌﻬﺎ ﺯﻳﺎﺩﺓٌ‬ ‫ﻓﻲ ﺍﻟﻤﻌﻨﻰ؛ ﻓﻠﻔﻈﺔ )ﺍﻧﻔﺘﻞ( ﺗﺪﻝُّ ﻋﻠﻰ ﻣﺪﻯ ﺗﺪﺍﺧُﻞ ﺧﺼﻼﺕ ﺍﻟﺸﻌﺮ ﻭﺍﺧﺘﻼﻑ‬ ‫ﺃﻭﺿﺎﻋﻬﺎ‪ ،‬ﻛﻤﺎ ﻧﻠﺤﻆ ﻓﻲ ﻣﺎﺩﺓ ﺍﻟﻜﻠﻤﺔ )ﺷﺰﺭ( ﻭﺟﻬًﺎ ﻣﻦ ﺃﻭﺟﻪ ﺍﻟﺘﺴﻤﻴﺔ‪ ،‬ﻭﻛﺄﻥ‬ ‫ﻫﺬﺍ ﺍﻟﻮﺟﻪ ﺳﺒﺐٌ ﻓﻲ ﺍﺧﺘﻴﺎﺭ ﺫﻟﻚ ﺍﻟﻠﻔﻆ ﻟﻬﺬﺍ ﺍﻟﻤﻌﻨﻰ‪ ،‬ﻭﻫﺬﺍ ﻣﺎ ﻳﺴﻤَّﻰ ﺏ )ﺍﻟﺴﻴﺎﻕ‬ ‫ﺍﻟﺴﺒﺒﻲ(‪ ،‬ﻭﻫﻮ ﺍﻟﺴﻴﺎﻕ ﺍﻟﺬﻱ " ﻳُﺴﻬِﻢ ﻣﻦ ﺟﺎﻧﺐٍ ﻓﻲ ﻛﺜﺮﺓ ﺍﻟﻤﺘﺮﺍﺩﻓﺎﺕ‪ ،‬ﻭﺇﻧﺸﺎﺀ‬ ‫ﺃﻟﻔﺎﻅ ﺟﺪﻳﺪﺓ ﻳُﻠﺤَﻆ ﻓﻴﻬﺎ ﻭﺟﻮﻩ ﻣﺨﺘﻠﻔﺔ ﻟﻠﺘﺴﻤﻴﺔ‪ ،‬ﻭﻣﻦ ﺟﺎﻧﺐ ﺁﺧﺮ ﻳُﺴﻬِﻢ ﻓﻲ‬ ‫ﺗﻔﺴﻴﺮ ﻭﺟﻮﺩ ﺍﻟﻤﺘﺮﺍﺩﻓﺎﺕ ﻓﻲ ﺍﻟﻠﻐﺔ‪ ،‬ﻣﻦ ﺣﻴﺚ ﻛﻮﻧﻬﺎ ﻇﺎﻫﺮﺓ"‪.‬‬ ‫ﻋﻠﻰ ﺃﻥ ﺍﻟﺬﻱ ﻳﻨﺒﻐﻲ ﺃﻥ ﻧﻼﺣﻈﻪ ﻫﻨﺎ ‪ -‬ﺇﻳﻀﺎﺣًﺎ ﻟﻤﺎ ﺳﺒﻖ ﻭﺇﻛﻤﺎﻻً ﻟﻪ ‪ -‬ﺃﻥ‬ ‫ﺍﻟﺘﻨﺎﻓﺮ ﻓﻲ ﺗﻠﻚ ﺍﻟﻜﻠﻤﺔ ﻧﺎﺷﺊ ﻣﻦ ﺍﺟﺘﻤﺎﻉ ﺃﺻﻮﺍﺕ ﻣﺘﻘﺎﺭﺑﺔ ﺍﻟﻤﺨﺮﺝ ﻫﻲ ﺍﻟﺴﻴﻦ‬ ‫ﻭﺍﻟﺸﻴﻦ ﻭﺍﻟﺰﺍﻱ‪ ،‬ﻭﻗﺪ ﺃﺑﺪﻉ "ﺍﻣﺮﺅ ﺍﻟﻘﻴﺲ" ﻓﻲ ﺍﻟﺠﻤﻊ ﺑﻴﻦ ﺗﻠﻚ ﺍﻷﺻﻮﺍﺕ‬ ‫ﺍﻟﻤﺘﻘﺎﺭﺑﺔ ﻓﻲ ﻛﻠﻤﺔ ﻭﺍﺣﺪﺓ‪ ،‬ﻓﻬﻲ ﺗﻌﺮﻑ ﺑﺤﺮﻭﻑ ﺍﻟﺼﻔﻴﺮ‪ ،‬ﻭﻛﺄﻥ "ﺍﻣﺮﺃ ﺍﻟﻘﻴﺲ"‬ ‫ﻳﺮﻳﺪ ﺃﻥ ﻳﻮﻇِّﻒ ﻫﺬﺍ ﺍﻟﺼﻔﻴﺮ ﻓﻲ ﺍﻟﺪﻻﻟﺔ ﻋﻠﻰ ﺗﻄﺎﻳﺮ ﺍﻟﺸﻌﺮ ﻭﺍﺭﺗﻔﺎﻋﻪ ﻓﻲ‬ ‫ﺍﻟﻬﻮﺍﺀ‪ ،‬ﻓﻨﺴﻤﻊ ﻟﻪ ﺻﻮﺗًﺎ‪" :‬ﻭﺗﺄﻣﻞ ﻗﻴﻤﺔ ﺍﻷﻟﻒ ﻓﻲ )ﻣﺴﺘﺸﺰﺭﺍﺕ( ﻓﻲ ﺍﻟﺪﻻﻟﺔ‬ ‫ﻋﻠﻰ ﺍﺭﺗﻔﺎﻉ ﻫﺬﺍ ﺍﻟﺸﻌﺮ ﺇﻟﻰ ﺍﻟﻌﻼ"‪.‬‬ ‫ﻭﻛﺄﻥ ﻫﺬﺍ ﺍﻟﺘﻌﺜُّﺮ ﺃﻭ ﺍﻟﺘﻨﺎﻓﺮ ﻓﻲ ﺣﺮﻭﻑ ﺍﻟﻜﻠﻤﺔ ﻳﺼﻮِّﺭ ﻫﻴﺌﺔ ﺍﻟﺸﻌﺮ ﻭﺣﺎﻟﻪ‬ ‫ﻭﺷﻜﻠﻪ؛ ﻓﺎﻟﻜﻠﻤﺔ ﺩﺍﻟَّﺔ ﺑﺸﻜﻠﻬﺎ‪ ،‬ﻣﺼﻮِّﺭﺓ ﺑﻨﻄﻘﻬﺎ‪ ،‬ﻣﻮﺣﻴَﺔ ﺑﺎﻟﻤﻌﻨﻰ ﺍﻟﻤﻘﺼﻮﺩ‪،‬‬ ‫ﻭﻧﺤﻦ ﻧﻌﻠﻢ ﺃﻥ "ﺍﻣﺮﺃ ﺍﻟﻘﻴﺲ" ﻣﻦ ﺍﻟﻤﺠِﻴﺪِﻳﻦ ﻓﻲ ﺍﻟﺘﺸﺒﻴﻪ ﻭﺍﻟﺘﺼﻮﻳﺮ‪ ،‬ﻓﻬﻞ ﻛﺎﻥ‬ ‫ﻋﺎﺟﺰًﺍ ﻋﻦ ﺍﻹﺗﻴﺎﻥ ﺑﻜﻠﻤﺔٍ ﺃﺳﻬﻞ ﻧﻄﻘًﺎ ﻣﻦ ﻫﺬﻩ ﺍﻟﻜﻠﻤﺔ؟ ﻻ ﺃﻇﻦُّ ﻭﻟﻜﻨﻪ ﺃﺗﻰ‬ ‫ﺑﺎﻟﻜﻠﻤﺔ ﺍﻟﻤﺼﻮِّﺭﺓ ﺍﻟﻬﺎﺩِﻓﺔ ﺍﻟﻤﻮﺣِﻴَﺔ ﺍﻟﻤﺤﻘِّﻘﺔ ﻟﻠﻐﺮﺽ ﺍﻟﻨﺎﺑﻌﺔ ﻣﻦ ﺍﻟﻔﻄﺮﺓ‬ ‫ﺍﻟﺴﻠﻴﻤﺔ‪ ،‬ﻭﺍﻟﺴﻠﻴﻘﺔ ﺍﻟﻤﻌﺘﺪِﻟﺔ ﻭﺍﻟﺨﻴﺎﻝ ﺍﻟﻤﺤﻠﻖ‪ ،‬ﻭﺑﻬﺬﺍ ﺍﻟﺘﻮﺟﻴﻪ ﻟﻠﻜﻠﻤﺔ ﻭﺍﻟﺘﺤﻠﻴﻞ‬  ‫‪21‬‬ ‫ﻟﺒِﻨْﻴَﺘﻬﺎ ﻧﻜﻮﻥ ﻗﺪ ﺭﺍﻋَﻴﻨﺎ ﺣﺎﻝ ﺍﻟﻤﺘﻜﻠﻢ ﻭﺣﺎﻝ ﺍﻟﻤﺨﺎﻃﺐ ﻭﺍﻟﺴﻴﺎﻕ ﺍﻟﻌﺎﻡ‬ ‫ﻭﺍﻟﺨﺎﺹ)‪.(1‬‬ ‫ﺑﻌﺪ ﻫﺬﺍ ﺍﻟﺘﺤﻠﻴﻞ ﻟﻸﺑﻴﺎﺕ ﻭﺍﻟﺘﻮﻗُّﻒ ﻋﻨﺪ ﺑﻨﻴﺔ ﺍﻟﻜﻠﻤﺎﺕ ﺍﻟﻤﺼﻮﺭﺓ‪ ،‬ﻧﺴﺘﻄﻴﻊ‬ ‫ﺃﻥ ﻧﻘﻮﻝ ﻣﻄﻤﺌﻨِّﻴﻦ‪ :‬ﺇﻥ ﺍﻷﻟﻔﺎﻅ ﺍﻟﺘﻲ ﺍﺳﺘﺨﺪَﻣَﻬﺎ " ﺍﻣﺮﺅ ﺍﻟﻘﻴﺲ" ﻓﻲ ﻭﺻﻒ‬ ‫ﺍﻟﺸَّﻌﺮ ﺃﻟﻔﺎﻅ ﻣﻘﺼﻮﺩﺓ‪ ،‬ﻗﺎﺭَّﺓ ﻓﻲ ﻣﻮﺿﻌﻬﺎ‪ ،‬ﻧﺎﺑﻌﺔ ﻣﻦ ﻋﺎﻃﻔﺔ ﺻﺎﺩﻗﺔ؛ ﻟﺬﻟﻚ‬ ‫ﺟﺎﺀ ﻛﻞُّ ﻟﻔﻆٍ ﻣﻨﻬﺎ ﻣﺤﻤَّﻼً ﺑﻤﺪٍّ ﺩﻻﻟﻲ ﻣُﻔﻌَﻢ ﻻ ﻳﺴﻌﻔﻨﺎ ﺑﻪ ﻏﻴﺮُﻩ‪.‬‬ ‫‪.2‬ﺍﻟﻐﺮﺍﺑﺔ‪ :‬ﻭﻫﻲ ﺃﻥ ﻧﺤﺘﺎﺝ ﻓﻲ ﻣﻌﺮﻓﺔ ﻣﻌﻨﻰ ﺍﻟﻜﻠﻤﺔ ﺇﻟﻰ ﺍﻻﺳﺘﻌﺎﻧﺔ‬ ‫ﺑﻜﺘﺐ ﺍﻟﻠﻐﺔ‪.‬‬ ‫ﻭﻏﺮﺍﺑﺔ ﺍﻟﻠﻔﻆ ﺃﻭ ﺍﻟﻤﻔﺮﺩ ﻣﺜﻞ ﻟﻔﻈﺔ )ﻣﺴﺮَّﺟًﺎ( ﺑﺘﺸﺪﻳﺪ ﺍﻟﺮﺍﺀ ﺍﻟﺘﻲ ﻭﺭﺩﺕ‬ ‫ﻓﻲ ﺑﻴﺖ ﻣﻦ ﺃﺭﺟﻮﺯﺓ ﻃﻮﻳﻠﺔ ﻝ " ﺭﺅﺑﺔ ﺑﻦ ﺍﻟﻌﺠﺎﺝ" ﻳﻘﻮﻝ ﻓﻴﻬﺎ‪:‬‬ ‫ﺃﺯﻣﺎﻥ ﺃﺑﺪﺕ ﻭﺍﺿﺤﺎ ﻣﻔﻠﺠﺎ‬ ‫ﻭﺍﻟﺴﺨﻂ ﻗﻄﺎﻉ ﺭﺟﺎﺀ ﻣﻦ ﺭﺟﺎ‬ ‫ﻭﻣﻘﻠﺔ ﻭﺣﺎﺟﺒﺎ ﻣﺰﺟﺠﺎ‬ ‫ﺃﻏﺮ ﺑﺮﺍﻗﺎ ﻭﻃﺮﻓﺎ ﺃﺑﺮﺟﺎ‬ ‫ﻭﻛﻔﻼ ﻭﻋﺜﺎ ﺇﺫﺍ ﺗﺮﺟﺮﺟﺎ‬ ‫ﻭﻓﺎﺣﻤﺎ ﻭﻣﺮﺳﻨﺎ ﻣﺴﺮﺟﺎ‬ ‫ﻓﺎﻟﻔﺎﺣﻢ ﻫﻨﺎ ﺍﻷﺳﻮﺩ‪ ،‬ﻭﺃﺭﺍﺩ ﺑﻪ ﺍﻟﺸﺎﻋﺮ ﺷﻌﺮًﺍ ﺃﺳﻮﺩ ﻓﺎﺣﻤًﺎ‪ ،‬ﻭﺍﻟﻤﺮﺳﻦ‬ ‫ﺍﻷﻧﻒ ﺍﻟﺬﻱ ﻳﺸﺪ ﺑﺎﻟﺮﺳﻢ ﺛﻢ ﺍﺳﺘﻌﻴﺮ ﻷﻧﻒ ﺍﻹﻧﺴﺎﻥ‪ ،‬ﺃﻣﺎ ﻣﺴﺮﺟﺎ ﻭﻫﻲ ﺍﻟﻠﻔﻈﺔ‬ ‫ﺍﻟﻐﺮﻳﺒﺔ ﻫﻨﺎ‪ ،‬ﻓﻤﺨﺘﻠﻒ ﻓﻲ ﺗﺨﺮﻳﺠﻬﺎ؛ ﻓﻘﻴﻞ ﻣﻦ ﺳﺮﺟﻪ ﺗﺴﺮﻳﺠﺎ‪ ،‬ﺃﻱ ﺣﺴﻨﻪ‬ ‫ﻭﺑﻬﺠﻪ‪ ،‬ﻭﻗﻴﻞ ﻣﻦ ﻗﻮﻟﻬﻢ‪ :‬ﺳﻴﻮﻑ ﺳﺮﻳﺠﻴﺔ ﻣﻨﺴﻮﺑﺔ ﺇﻟﻰ ﻗﻴﻢ ﻳﻘﺎﻝ ﻟﻪ ﺳﺮﻳﺞ‪.‬‬ ‫ﺷﺒﻪ ﺑﻬﺎ )ﺍﻟﺴﻴﻮﻑ( ﺍﻷﻧﻒ ﻓﻲ ﺍﻟﺪﻗﺔ ﻭﺍﻻﺳﺘﻮﺍﺀ‪ ،‬ﻭﻗﻴﻞ ﻣﻦ ﺍﻟﺴﺮﺍﺝ‪ ،‬ﻭﻫﻮ‬ ‫ﻗﺮﻳﺐ ﻣﻦ ﻗﻮﻟﻬﻢ‪ :‬ﺳﺮﺝ ﻭﺟﻬﻪ ﺑﻜﺴﺮ ﺍﻟﺮﺍﺀ ﺃﻱ ﺣﺴﻦ‪ ،‬ﻭﺍﻟﺰﺟﺞ ﺩﻗﺔ ﺍﻟﺤﺎﺟﺒﻴﻦ‪.‬‬ ‫‪1- http://www.alukah.net/literature_language/0/9809/#ixzz2f6di6dEm‬‬  ‫‪22‬‬ ‫ﻭﺍﻟﻤﻌﻨﻰ ﺃﻥ ﻟﻬﺬﻩ ﺍﻟﻤﺮﺃﺓ ﺍﻟﻤﻮﺻﻮﻓﺔ ﺛﻨﺎﻳﺎ ﺑﻴﻀﺎﺀ ﻣﻔﻠﺠﺔ‪ ،‬ﻭﻣﻘﻠﺔ ﻭﺍﺳﻌﺔ‬ ‫ﺣﺴﻨﺔ ﺳﻮﺩﺍﺀ ﻭﺣﺎﺟﺒﺎ ﻣﺪﻗَّﻘًﺎ ﻣﻘﻮَّﺳًﺎ‪ ،‬ﻭﺷﻌﺮًﺍ ﺃﺳﻮﺩ ﻓﺎﺣﻤًﺎ‪ ،‬ﻭﺃﻧﻔًﺎ ﻛﺎﻟﺴﻴﻒ‬ ‫ﺍﻟﺴﺮﻳﺠﻲ ﻓﻲ ﺩﻗﺘﻪ ﻭﺍﺳﺘﻮﺍﺋﻪ‪ ،‬ﺃﻭ ﻛﺎﻟﺴﺮﺍﺝ ﻓﻲ ﺑﺮﻳﻘﻪ ﻭﺿﻴﺎﺋﻪ‪.‬ﻭﺷﺎﻫﺪ ﺍﻟﻐﺮﺍﺑﺔ‬ ‫ﻓﻴﻪ ﻫﻮ ﻓﻲ ﻟﻔﻈﺔ )ﻣﺴﺮﺟًﺎ( ﻟﻼﺧﺘﻼﻑ ﻓﻲ ﺗﺨﺮﻳﺠﻬﺎ؛ ﻓﺎﻟﻠﻔﻈﺔ ﺇﺫﺍ ﺩﻟﺖ ﻋﻠﻰ‬ ‫ﺃﻛﺜﺮ ﻣﻦ ﻣﻌﻨﻰ‪ ،‬ﻭﺍﺧﺘُﻠِﻒَ ﻓﻲ ﺗﺤﺪﻳﺪ ﺍﻟﻤﻌﻨﻰ ﺍﻟﻤﺮﺍﺩ ﻣﻨﻬﺎ ﻓﻲ ﻣﻮﺿﻌﻬﺎ ﻓﺈﻧﻬﺎ‬ ‫ﺗﻜﺘﺴﺐ ﺑﺬﻟﻚ ﺻﻔﺔ ﺍﻟﻐﺮﺍﺑﺔ ﺍﻟﺘﻲ ﺗﻨﺘﻘﺺ ﻣﻦ ﺩﺭﺟﺔ ﻓﺼﺎﺣﺘﻬﺎ‪.‬‬ ‫ﻭﻳﻌﻠﻖ ﺍﻟﺪﻛﺘﻮﺭ " ﻣﺤﻤﺪ ﺷﺒﺎﻳﻚ" ﺑﻘﻮﻟﻪ‪ :‬ﻭﻣﻤﺎ ﻳُﺤﺴَﺐ ﻝ " ﺍﺑﻦ ﺳﻨﺎﻥ" ﻓﻲ‬ ‫ﻫﺬﺍ ﺍﻟﻤﺠﺎﻝ ﺭﺑﻄﻪ ﺍﻟﻤﻔﺮﺩﺓ ﺑﺎﻟﺴﻴﺎﻕ؛ ﺣﻴﺚ ﺭﺃﻯ ﺃﻥ ﺍﻟﺴﻴﺎﻕ ﺃﺣﻴﺎﻧًﺎ ﻳﻘﺘﻀﻲ‬ ‫ﺍﺳﺘﺨﺪﺍﻡ ﺍﻟﻠﻔﻈﺔ ﺍﻟﻤﻮﺻﻮﻓﺔ ﺑﺎﻟﺘﻮﺣُّﺶ‪ ،‬ﻭﺣﻴﺚ ﻻ ﻳﻜﻮﻥ ﻟﻠﻤﺒﺪﻉ ﻣﻨﺪﻭﺣﺔ ﻋﻨﻬﺎ‪،‬‬ ‫ﻛﺄﻥ ﺗﻜﻮﻥ ﺍﺳﻤًﺎ ﻟﻤﻜﺎﻥ‪ ،‬ﻓﻼ ﺑُﺪَّ ﻣﻦ ﺫﻛﺮﻫﺎ ﻟﻜﻤﺎﻝ ﺍﻹﻓﺎﺩﺓ‪ ،‬ﻛﻘﻮﻝ ﺍﻟﺒﺤﺘﺮﻱ‪:‬‬ ‫ﺑِﻌَﻘَﺮْﻗَﺲٍ ﻭَﺍﻟﻤَﺸْﺮَﻓِﻴَّﺔُ ﺷُﻬَّﺪِﻱ‬ ‫ﻭَﺃَﻧَﺎ ﺍﻟﺸُّﺠَﺎﻉُ ﻭَﻗَﺪْ ﺭَﺃَﻳْﺖَ ﻣَﻮَﺍﻗِﻔِﻲ‬ ‫ﻓﺎﻟﺸﺎﻋﺮ ﻟﻪ ﻋﺬﺭ ﻭﺍﺿﺢ ﻓﻲ ﺫﻛﺮ )ﻋَﻘﺮْﻗَﺲٍ(؛ ﻷﻧﻪ ﺍﻟﻤﻮﺿﻊ ﺍﻟﺬﻱ ﺷﻬﺪ‬ ‫ﺍﻟﻤﻤﺪﻭﺡ ﺑﻪ ﻗﺘﺎﻟﻪ‪ ،‬ﻭﻟﻴﺲ ﻳﺤﺴﻦ ﺃﻥ ﻳﺬﻛﺮ ﻣﻮﺿﻌًﺎ ﻏﻴﺮﻩ‪.‬‬ ‫ﻟﻘﺪ ﺭﺃﻯ "ﺍﺑﻦ ﺳﻨﺎﻥ" ﺃﻥ ﺍﺳﺘﺨﺪﺍﻡ ﻛﻠﻤﺔ )ﻋَﻘﺮْﻗَﺲٍ( ﻭﺇﻥ ﻛﺎﻧﺖ ﻏﺮﻳﺒﺔ ﺇﻻَّ‬ ‫ﺃﻥ ﺍﻟﺸﺎﻋﺮ ﻣﻀﻄﺮ ﻟﺬﻛﺮﻫﺎ‪ ،‬ﻭﻻ ﻣﻨﺪﻭﺣﺔ ﻟﻪ ﻋﻨﻬﺎ؛ ﻷﻧﻬﺎ ﺍﺳﻢ ﻣﻜﺎﻥ)‪.(1‬‬ ‫ﻭﻣﻤﺎ ﻋﺪَّﻩ ﺍﻟﻨﻘَّﺎﺩ ﻏﺮﻳﺒًﺎ ﻛﻠﻤﺔ )ﺍﻃﻠﺨﻢَّ( ﻓﻲ ﻗﻮﻝ ﺃﺑﻲ ﺗﻤﺎﻡ‪:‬‬ ‫ﻋَﺸْﻮَﺍﺀُ ﺗَﺎﻟِﻴَﺔً ﻏُﺒْﺴًﺎ ﺩَﻫَﺎﺭِﻳﺴَﺎ‬ ‫ﻗَﺪْ ﻗُﻠْﺖُ ﻟَﻤَّﺎ ﺍﻃْﻠَﺨَﻢَّ ﺍﻷَﻣْﺮُ ﻭَﺍﻧﺒَﻌَﺜَﺖْ‬ ‫ﺭﺃﻯ ﺑﻌﺾ ﺍﻟﻨﻘَّﺎﺩ ﺍﻟﻤﺤﺪَﺛِﻴﻦ ﺃﻥ ﺃﻟﻔﺎﻇًﺎ ﻣﺜﻞ‪) :‬ﺍﻃﻠﺨﻢ‪ ،‬ﻏﺒﺴًﺎ‪ ،‬ﺩﻫﺎﺭﻳﺴﺎ(‬ ‫ﺗﻘﻴﻢ ﺑﻐﺮﺍﺑﺘﻬﺎ ﺳﺪﻭﺩًﺍ ﺣﺎﺋﻠﺔ ﺩﻭﻥ ﺍﻧﺴﻴﺎﺏ ﺍﻟﻤﻌﻨﻰ ﻓﻲ ﺫﻫﻦ ﺍﻟﻤﺘﻠﻘِّﻲ ﺃﻭ ﻭﺟﺪﺍﻧﻪ‪،‬‬ ‫ﺣﺘﻰ ﺇﻥ ﻛﻞ ﻟﻔﻆ ﻣﻨﻬﺎ ﻳﺒﺪﻭ ﻭﻛﺄﻧﻪ ﻣﺸﻜﻠﺔ ﻣﻌﻘَّﺪﺓ ﺗﺘﺤﺪَّﻯ ﺍﻟﻌﻘﻞ ﻭﺍﻟﺴﻤﻊ‪.‬‬ ‫‪1- http://www.alukah.net/literature_language/0/9809/#ixzz2f6x71btm‬‬  ‫‪23‬‬ ‫ﻭﻟِﻢَ ﻻ ﻳﻜﻮﻥ ﺍﻟﺘﻌﻘﻴﺪ ﻓﻲ ﻫﺬﻩ ﺍﻷﻟﻔﺎﻅ ﻣﻘﺼﻮﺩًﺍ؟ ﺇﻥ ﺍﻟﺮﺅﻳﺔ ﺍﻟﺼﺤﻴﺤﺔ ﺍﻟﺘﻲ‬ ‫ﺗﺘﻨﺎﺳَﺐ ﻭﺍﻟﺴﻴﺎﻕ ﺃﻥ ﻫﺬﻩ ﺍﻟﻜﻠﻤﺔ ﺗﺤﻜﻲ ‪-‬ﺑﺜﻘﻠﻬﺎ ﻭﺗﺪﺍﺧﻞ ﺣﺮﻭﻓﻬﺎ‪ -‬ﺍﻟﺸﺪَّﺓ‬ ‫ﻭﺍﻻﺧﺘﻼﻁ ﺣﻴﻦ ﻳﻨﺒﻬﻢ ﺍﻷﻣﺮ ﻭﺗﻨﺒﻌﺚ ﺍﻟﻨﻮﺍﺋﺐ ﺍﻟﻌﺸﻮﺍﺀ‪ ،‬ﻓﺈﺫﺍ ﺃﺿﻔﻨﺎ ﺇﻟﻰ ﺫﻟﻚ‬ ‫ﺩﻻﻟﺔ )ﻏﺒﺴًﺎ( ﺍﻟﺘﻲ ﺗُﻮﺣِﻲ ﺑﺎﻟﻈﻼﻡ ﺍﻟﺤﺎﻟﻚ ﻭﺗﺘﺎﺑُﻊ ﺍﻵﻻﻡ ﻭﺍﻟﻬﻤﻮﻡ‪ ،‬ﺛﻢ ﻗﻮﻟﻪ‬ ‫)ﺩﻫﺎﺭﻳﺴﺎ( ﺍﻟﺘﻲ ﺗﺼﻮِّﺭ ﺑﺠﺮﺳﻬﺎ ﺁﺛﺎﺭ ﺍﻟﺪﻭﺍﻫﻲ ﻭﻓﻌﻞ ﺍﻟﺪﻫﺲ ﻭﺍﻟﻬﺮﺱ ﻓﻲ ﺷﺪﺓ‬ ‫ﻃﺎﺣﻨﺔ‪ ،‬ﻭﻛﺄﻧﻤﺎ ﺗﻌﺎﻭَﻧﺖ ﻛﻠﻤﺎﺕ ﺍﻟﺒﻴﺖ ﻓﻲ ﺭﺳﻢ ﺻﻮﺭﺓ ﻟﻠﻤﻤﺪﻭﺡ ﺑﺠﻮﺩﻩ ﻭﻛﺮَﻣِﻪ‬ ‫ﻳﺪﻓﻊ ﺍﻟﺸﺮَّ ﻋﻦ ﺃﻣﺘﻪ‪ ،‬ﻭﻳﺘﺼﺪَّﻯ ﻟﻠﻨﻮﺍﺯﻝ ﻣﺘﺤﻤِّﻼً ﻓﻲ ﺳﺒﻴﻞ ﺫﻟﻚ ﺁﻻﻡ ﺍﻟﺪﻫﺮ‬ ‫ﻭﻣﻌﺎﻧﺎﺗﻪ )‪.(1‬‬ ‫‪.3‬ﻣﺨﺎﻟﻔﺔ ﺍﻟﻘﻴﺎﺱ‪ :‬ﻭﻳﻘﺼﺪ ﺑﻪ ﻋﺪﻡ ﺍﺗﻔﺎﻕ ﺍﻟﻜﻠﻤﺔ ﻣﻊ ﺍﻟﻨﻈﺎﻡ ﺍﻟﺼﺮﻓﻲ‬ ‫ﺍﻟﺬﻱ ﺍﺗﻔﻖ ﻋﻠﻴﻪ ﺍﻟﻌﺮﺏ ﻓﻲ ﻛﻼﻣﻬﻢ‪...‬ﻭﻣﺜﺎﻝ ﺫﻟﻚ ﻣﺎ ﺟﺎﺀ ﻓﻲ ﺑﻴﺖ ﺃﺑﻲ ﺍﻟﻨﺠﻢ‬ ‫ﺍﻟﻌﺠﻠﻲ ﻣﻦ ﺃﺭﺟﻮﺯﺗﻪ‪:‬‬ ‫ﺍﻟﻮﺍﺣﺪ ﺍﻟﻔﺮﺩ ﺍﻟﻘﺪﻳﻢ ﺍﻷﻭﻝ‬ ‫ﺍﻟﺤﻤﺪ ﻟﻠﻪ ﺍﻟﻌﻠﻲ ﺍﻷﺟﻠﻞ‬ ‫ﻓﻜﻠﻤﺔ ﺍﻷﺟﻠﻞ "ﻣﺨﺎﻟﻔﺔ" ﻟﻠﻘﻴﺎﺱ‪ ،‬ﻷﻧﻬﺎ ﺗﺄﺗﻲ ﻣﺪﻏﻤﺔ " ﺍﻷﺟﻞَّ" ﻭﻻ ﻳﻮﺟﺪ‬ ‫ﺳﺒﺐ ﻟﻔﻜﻬﺎ‪.‬‬ ‫‪1- http://www.alukah.net/literature_language/0/9809/#ixzz2f6wUy8XR‬‬  ‫‪24‬‬ ‫ﺛﺎﻧﻴًﺎ‪ :‬ﻓﺼﺎﺣﺔ ﺍﻟﻜﻼﻡ ﺃﻭ ﺍﻟﺘﺮﻛﻴﺐ‪:‬‬ ‫ﻭﻳﻘﺼﺪﻭﻥ ﺑﻔﺼﺎﺣﺔ ﺍﻟﻜﻼﻡ ﺧﻠﻮﻩ ﻣﻦ ﺿﻌﻒ ﺍﻟﺘﺄﻟﻴﻒ‪ ،‬ﻭﺗﻨﺎﻓﺮ ﺍﻟﻜﻠﻤﺎﺕ‪،‬‬ ‫ﻭﺍﻟﺘﻌﻘﻴﺪ ﻟﻔﻈﻴًّﺎ ﻭﻣﻌﻨﻮﻳًّﺎ‪.‬‬ ‫‪.1‬ﺿﻌﻒ ﺍﻟﺘﺄﻟﻴﻒ‪ :‬ﻭﻫﻮ ﻣﺨﺎﻟﻔﺔ ﺑﻨﺎﺀ ﺍﻟﺠﻤﻠﺔ ﻭﻓﻘًﺎ ﻟﻠﻘﻮﺍﻋﺪ ﺍﻟﻤﻄﺮﺩﺓ؛‬ ‫ﻛﺮﺟﻮﻉ ﺍﻟﻀﻤﻴﺮ ﻋﻠﻰ ﻣﺘﺄﺧﺮ ﻟﻔﻈًﺎ ﻭﺭﺗﺒﺔ ﻓﻲ ﻗﻮﻝ ﺣﺴﺎﻥ ﺑﻦ ﺛﺎﺑﺖ‪:‬‬ ‫ﻣﻦ ﺍﻟﻨﺎﺱ ﺃﺑﻘﻰ ﻣﺠﺪﻩ ﺍﻟﺪﻫﺮ ﻣﻄﻤﻌًﺎ‬ ‫ﻭﻟﻮ ﺃﻥ ﻣﺠﺪًﺍ ﺃﺧﻠﺪ ﺍﻟﺪﻫﺮ ﻭﺍﺣﺪًﺍ‬ ‫ﻓﺎﻟﻀﻤﻴﺮ ﻓﻲ )ﻣﺠﺪﻫـ( ﻳﻌﻮﺩ ﺇﻟﻰ )ﻣﻄﻤﻌًﺎ(‪ ،‬ﻭﻫﻮ ﻣﺘﺄﺧﺮ ﻓﻲ ﺍﻟﻠﻔﻆ ﻛﻤﺎ‬ ‫ﻧﺮﻯ ﻓﻲ ﺍﻟﺒﻴﺖ ﻭﻓﻲ ﺍﻟﺮﺗﺒﺔ ﻷﻧﻪ ﻣﻔﻌﻮﻝ ﺑﻪ‪ ،‬ﻭﺭﺗﺒﺔ ﺍﻟﻤﻔﻌﻮﻝ ﻣﺘﺄﺧﺮﺓ ﻋﻦ ﺭﺗﺒﺔ‬ ‫ﺍﻟﻔﺎﻋﻞ‪.‬ﻭﺍﻟﺒﻴﺖ ﻟﻬﺬﺍ ﻏﻴﺮ ﻓﺼﻴﺢ‪.‬‬ ‫ﻭﺃﻳﻀًﺎ ﻗﻮﻝ ﺍﻟﻤﺘﻨﺒﻲ ﻳﻤﺪﺡ ﺳﻴﻒ ﺍﻟﺪﻭﻟﺔ ﻭﻳﺸﻜﺮﻩ ﻋﻠﻰ ﻫﺪﻳﺔ ﺑﻌﺜﻬﺎ ﺇﻟﻴﻪ‪:‬‬ ‫ﺳﻴﻔﻪ ﺩﻭﻥ ﻋﺮﺿﻪ ﻣﺴﻠﻮﻝ‬ ‫ﻟﻴﺲ ﺇﻻﻙ ﻳﺎ ﻋﻠﻲ ﻫﻤﺎﻡ‬ ‫ﻳﺮﻯ ﺍﻟﺸﺎﻋﺮ ﺃﻥ ﺳﻴﻒ ﺍﻟﺪﻭﻟﺔ ﻣﻦ ﺍﻟﺸﺠﺎﻋﺔ ﺑﻤﻜﺎﻧﺔ‪ ،‬ﻓﻬﻮ ﺍﻟﻮﺣﻴﺪ ﺍﻟﺬﻱ‬ ‫ﻳﺪﺍﻓﻊ ﻋﻦ ﻋﺮﺿﻪ ﺑﺴﻴﻔﻪ‪ ،‬ﻭﺍﻟﺸﺎﻫﺪ ﻓﻲ ﺍﻟﺒﻴﺖ )ﺇﻻﻙ( ﺣﻴﺚ ﻭﺻﻞ ﺍﻟﻀﻤﻴﺮ‬ ‫ﺑﺈﻻ‪ ،‬ﻭﺍﻷﺻﻞ ﺃﻥ ﻳﻘﻮﻝ‪ :‬ﺇﻻ ﺇﻳﺎﻙ‪.‬‬ ‫‪.2‬ﺗﻨﺎﻓﺮ ﺍﻷﻟﻔﺎﻅ ﻓﻲ ﺍﻟﻜﻼﻡ ﺃﻭ ﺍﻟﺘﺮﻛﻴﺐ‪ :‬ﻭﻣﻌﻨﺎﻩ ﺍﺗﺼﺎﻝ ﺑﻌﺾ ﺃﻟﻔﺎﻅ‬ ‫ﺍﻟﻜﻼﻡ ﺑﺒﻌﺾ ﻣﻤﺎ ﻳﺴﺒﺐ ﺛﻘﻼ ﻋﻠﻰ ﺍﻟﺴﻤﻊ ﻭﺻﻌﻮﺑﺔ ﻓﻲ ﺍﻟﻨﻄﻖ ﺑﻬﺎ؛ ﻷﻥ ﺍﻟﻨﻄﻖ‬ ‫ﺑﺎﻟﺤﺮﻭﻑ ﺍﻟﻤﺘﻘﺎﺭﺑﺔ ﻓﻲ ﻣﺨﺎﺭﺟﻬﺎ ﺃﺷﺒﻪ ﺑﺎﻟﻤﺸﻲ ﺍﻟﻤﻘﻴﺪ‪.‬ﻭﻣﺜﺎﻝ ﺫﻟﻚ ﻗﻮﻝ‬ ‫ﺍﻟﺸﺎﻋﺮ‪:‬‬ ‫ﻭﻟﻴﺲ ﻗﺮﺏ ﻗﺒﺮ ﺣﺮﺏ ﻗﺒﺮ‬ ‫ﻭﻗﺒﺮ ﺣﺮﺏ ﺑﻤﻜﺎﻥ ﻗﻔﺮ‬  ‫‪25‬‬ ‫ﻳﻘﻊ ﺍﻟﺘﻨﺎﻓﺮ ﻓﻲ ﺍﻟﺸﻄﺮ ﺍﻟﺜﺎﻧﻲ ﻣﻦ ﺍﻟﺒﻴﺖ‪ ،‬ﻓﻠﻮ ﺗﻨﺎﻭﻟﻨﺎ ﻛﻠﻤﺎﺗﻪ ﻛﻼ ﻋﻠﻰ ﺣﺪﺓ‬ ‫ﻭﻫﻲ )ﻗﺮﺏ( )ﻗﺒﺮ( )ﺣﺮﺏ( ﻟﻮﺟﺪﻧﺎﻫﺎ ﺟﻤﻴﻌًﺎ ﻛﻠﻤﺎﺕ ﻓﺼﻴﺤﺔ ﺧﻔﻴﻔﺔ ﺍﻟﻨﻄﻖ ﻻ‬ ‫ﻳﺠﺪ ﺍﻟﺴﺎﻣﻊ ﻓﻴﻬﺎ ﻋﻴﺒًﺎ‪ ،‬ﻭﻛﺬﻟﻚ ﺍﻟﻤﺘﻜﻠﻢ‪ ،‬ﻭﻟﻜﻦ ﺿﻢ ﺑﻌﻀﻬﺎ ﺇﻟﻰ ﺑﻌﺾ ﻫﻮ ﺍﻟﺬﻱ‬ ‫ﺃﻛﺴﺒﻬﺎ ﺍﻟﺜﻘﻞ‪ ،‬ﺑﺤﻴﺚ ﻳُﺘَﺤﺪَﻯ ﺑﻬﺬﺍ ﺍﻟﺒﻴﺖ ﻣَﻦ ﻳﻨﺸﺪﻩ ﺛﻼﺙ ﻣﺮﺍﺕ ﻣﺘﻮﺍﻟﻴﺔ ﺇﻻ‬ ‫ﻭﻳﻐﻠﻂ ﺍﻟﻤﻨﺸﺪ ﻓﻴﻪ‪.‬‬ ‫ﻭﻣﻨﻪ ﻗﻮﻝ ﺍﻟﺸﺎﻋﺮ ﻳﺼﻒ ﻓﺮﺳًﺎ ﺑﺎﻟﺨﻔﺔ ﻭﺍﻟﺴﺮﻋﺔ‪:‬‬ ‫ﺍﻟﺼﻮﺍﻧﻔﺎ)‪(1‬‬ ‫ﻫﺰﻑ ﻳﺒﺬ ﺍﻟﻨﺎﺟﻴﺎﺕ‬ ‫ﺃﺯﺝ ﺯﻟﻮﺝ ﻫﺰﺭﻓﻲ ﺯﻓﺎﻑ‬ ‫ﻭﻣﻦ ﻗﺒﻴﺢ ﺍﻟﺘﻨﺎﻓﺮ ﺍﻟﻨﺎﺷﺊ ﻋﻦ ﺍﻟﺘﻜﺮﺍﺭ ﻗﻮﻝ ﺍﻟﺸﺎﻋﺮ‪:‬‬ ‫ﻋﺮﻓﺎﻧَﻪ)‪(2‬‬ ‫ﻭﻋﺎﻑ ﻋﺎﻓﻲ ﺍﻟﻌُﺮﻑِ‬ ‫ﻭﺍﺯﻭﺭ ﻣﻦ ﻛﺎﻥ ﻟﻪ ﺯﺍﺋﺮًﺍ‬ ‫‪.3‬ﺍﻟﺘﻌﻘﻴﺪ‪ :‬ﻭﻳﻘﺼﺪ ﺑﻪ ﻋﺪﻡ ﻭﺿﻮﺡ ﺍﻟﺪﻻﻟﺔ ﻓﻲ ﺍﻟﺘﺮﻛﻴﺐ ﺃﻭ ﺍﻟﺘﻌﺒﻴﺮ‪،‬‬ ‫ﻭﻫﻮ ﻧﻮﻋﺎﻥ‪ :‬ﻟﻔﻈﻲ ﻭﻣﻌﻨﻮﻱ‪.‬‬ ‫ﺃ‪.‬ﺍﻟﺘﻌﻘﻴﺪ ﺍﻟﻠﻔﻈﻲ‪ :‬ﻭﻳﺮﺟﻊ ﺇﻟﻰ ﺍﻟﻠﻔﻆ ﺣﻴﺚ ﻳﺨﺘﻞ ﻧﻈﻢ ﺍﻟﻜﻼﻡ ﻭﻻ ﻳﺪﺭﻱ‬ ‫ﺍﻟﺴﺎﻣﻊ ﻛﻴﻒ ﻳﺘﻮﺻﻞ ﺇﻟﻰ ﻣﻌﻨﺎﻩ‪ ،‬ﻭﺫﻟﻚ ﻛﻘﻮﻝ ﺍﻟﻔﺮﺯﺩﻕ ﻣﻦ ﻗﺼﻴﺪﺓ ﻳﻤﺪﺡ ﺑﻬﺎ‬ ‫ﺇﺑﺮﺍﻫﻴﻢ ﺍﻟﻤﺨﺰﻭﻣﻲ ﺧﺎﻝ ﻫﺸﺎﻡ ﺑﻦ ﻋﺒﺪ ﺍﻟﻤﻠﻚ ﺑﻦ ﻣﺮﻭﺍﻥ‪:‬‬ ‫ﺃﺑﻮ ﺃﻣﻪ ﺣﻲ ﺃﺑﻮﻩ ﻳﻘﺎﺭﺑﻪ‬ ‫ﻭﻣﺎ ﻣﺜﻠﻪ ﻓﻲ ﺍﻟﻨﺎﺱ ﺇﻻ ﻣﻤﻠﻜًﺎ‬ ‫‪ -1‬ﺃﺯﺝ – ﺯﻟﻮﺝ – ﻫﺰﺭﻓﻲ‪ :‬ﺼﻔﺎﺕ ﻟﻠﻔﺮﺱ ﺑﺎﻟﺨﻔﺔ ﻭﺍﻟﺴﺮﻋﺔ‪ ،‬ﻫﺰﻑ‪ :‬ﻃﻮﻴﻞ ﺍﻟﻈﻬﺮ‪،‬‬ ‫ﻴﺑﺬ‪ :‬ﻴﺴﺑﻖ‪ ،‬ﺍﻟﻨﺎﺠﻴﺎﺕ ﺍﻟﺼﻮﺍﻓﻦ‪ :‬ﺍﻟﺨﻴﻞ ﺍﻟﻘﻮﻴﺔ‪.‬‬ ‫‪ -2‬ﺍﺯﻭﺭ ﻋﻦ ﺍﻟﺷﻲﺀ‪ :‬ﺍﻨﺣﺮﻑ ﻋﻨﻪ ﻭﻋﺪﻝ‪ ،‬ﻋﺎﻑ‪ :‬ﻛﺮﻩ‪ ،‬ﻋﺎﻓﻲ ﺍﻟﻌﺮﻑ‪ :‬ﺍﻟﻣﺣﺘﺎﺝ ﺇﻟﻰ‬ ‫ﺍﻟﻣﻌﺮﻭﻑ‪ ،‬ﺍﻟﻌﺮﻑ ﻭﺍﻟﻌﺮﻓﺎﻥ‪ :‬ﺍﻟﻣﻌﺮﻭﻑ‪.‬‬  ‫‪26‬‬ ‫ﻓﺎﻟﺒﻴﺖ ﻛﻤﺎ ﺗﺮﻯ ﻏﻴﺮ ﻓﺼﻴﺢ ﻟﻀﻌﻒ ﺗﺄﻟﻴﻔﻪ ﺍﻟﻨﺎﺷﺊ ﻋﻦ ﺗﻌﻘﻴﺪ ﺃﻟﻔﺎﻇﻪ‬ ‫ﻭﺻﻌﻮﺑﺔ ﺍﺳﺘﺨﻼﺹ ﻣﻌﻨﺎﻩ؛ ﻓﺎﻟﻤﻌﻨﻰ ﺍﻟﺬﻱ ﺣﺎﻭﻝ ﺍﻟﻔﺮﺯﺩﻕ ﺃﻥ ﻳﻌﺒﺮ ﻋﻨﻪ ﻓﻲ‬ ‫ﻫﺬﺍ ﺍﻟﺒﻴﺖ ﻫﻮ‪ :‬ﻭﻣﺎ ﻣﺜﻠﻪ –ﻳﻌﻨﻲ ﺍﻟﻤﻤﺪﻭﺡ– ﻓﻲ ﺍﻟﻨﺎﺱ ﺣﻲ ﻳﻘﺎﺭﺑﻪ –ﺃﻱ ﺃﺣﺪ‬ ‫ﻳﺸﺒﻬﻪ ﻓﻲ ﺍﻟﻔﻀﺎﺋﻞ– ﺇﻻ ﻣﻤﻠﻜًﺎ – ﻳﻌﻨﻲ ﻫﺸﺎﻡ ﺑﻦ ﻋﺒﺪ ﺍﻟﻤﻠﻚ ﺑﻦ ﺃﺧﺖ ﺍﻟﻤﻤﺪﻭﺡ‬ ‫– ﺃﺑﻮ ﺃﻣﻪ –ﺃﻱ ﺃﺑﻮ ﺃﻡ ﻫﺸﺎﻡ– ﺃﺑﻮﻩ –ﺃﻱ ﺃﺑﻮ ﺍﻟﻤﻤﺪﻭﺡ‪.‬ﻓﺎﻟﻀﻤﻴﺮ ﻓﻲ "ﺃﻣﻪ"‬ ‫ﻟﻠﻤﻤﻠﻚ‪ ،‬ﻭﻓﻲ "ﺃﺑﻮﻩ" ﻟﻠﻤﻤﺪﻭﺡ‪.‬‬ ‫ﻓﺎﻟﺸﺎﻋﺮ ﻓﻲ ﺍﻟﺒﻴﺖ ﻗﺪ ﻓﺼﻞ ﺑﻴﻦ "ﺃﺑﻮ ﺃﻣﻪ" ﻭﻫﻮ ﻣﺒﺘﺪﺃ‪ ،‬ﻭ"ﺃﺑﻮﻩ" ﻭﻫﻮ‬ ‫ﺧﺒﺮ ﺍﻟﻤﺒﺘﺪﺃ ﺑﺄﺟﻨﺒﻲ ﻭﻫﻮ "ﺣﻲ" ﻭﻛﺬﻟﻚ ﻓﺼﻞ ﺑﻴﻦ ﺍﻟﻨﻌﺖ ﻭﺍﻟﻤﻨﻌﻮﺕ ﻭﻫﻤﺎ "‬ ‫ﺣﻲ ﻳﻘﺎﺭﺑﻪ" ﺑﺄﺟﻨﺒﻲ ﻭﻫﻮ "ﺃﺑﻮﻩ"‪ ،‬ﺛﻢ ﻗﺪﻡ ﺍﻟﻤﺴﺘﺜﻨﻰ ﻣﻨﻪ‪ ،‬ﻭﻫﻮ "ﺣﻲ ﻳﻘﺎﺭﺑﻪ"‪.‬‬ ‫ﻓﻨﻈﻢ ﺍﻟﺒﻴﺖ ﻛﻤﺎ ﻧﺮﻯ ﻓﻲ ﻏﺎﻳﺔ ﺍﻟﺘﻌﻘﻴﺪ ﺍﻟﻠﻔﻈﻲ‪ ،‬ﻭﻛﺎﻥ ﻣﻦ ﺣﻖ ﺍﻟﻨﺎﻇﻢ ﺃﻥ‬ ‫ﻳﻘﻮﻝ‪ :‬ﻭﻣﺎ ﻣﺜﻠﻪ ﻓﻲ ﺍﻟﻨﺎﺱ ﺃﺣﺪ ﻳﻘﺎﺭﺑﻪ ﺇﻻ ﻣﻤﻠﻜًﺎ ﺃﺑﻮ ﺃﻣﻪ ﺃﺑﻮﻩ‪.‬ﻓﺎﻟﺨﻠﻞ ﻓﻲ ﻧﻈﻢ‬ ‫ﻛﻠﻤﺎﺕ ﺍﻟﺒﻴﺖ ﺑﺎﻟﺘﻘﺪﻳﻢ ﻭﺍﻟﺘﺄﺧﻴﺮ‪.‬ﻭﺑﺎﻟﻔﺼﻞ ﺑﻴﻦ ﺍﻟﻜﻠﻤﺎﺕ ﺍﻟﺘﻲ ﻳﺠﺐ ﺗﺠﺎﻭﺯﻫﺎ‬ ‫ﻭﺍﺗﺼﺎﻝ ﺑﻌﻀﻬﺎ ﺑﺒﻌﺾ ﻗﺪ ﺟﻌﻞ ﺍﻟﻜﻼﻡ ﻏﻴﺮ ﻇﺎﻫﺮ ﺍﻟﺪﻻﻟﺔ ﻋﻠﻰ ﺍﻟﻤﻌﻨﻰ‬ ‫ﺍﻟﻤﺮﺍﺩ‪.‬‬ ‫ﻭﻣﻦ ﺍﻟﺘﻌﻘﻴﺪ ﺍﻟﻠﻔﻈﻲ ﻗﻮﻝ ﺍﻟﺸﺎﻋﺮ‪:‬‬ ‫ﻛﺄﻥ ﻗﻔﺮًﺍ ﺭﺳﻮﻣﻬﺎ ﻗﻠﻤﺎ‬ ‫ﻭﺃﺻﺒﺤﺖ ﺑﻌﺪ ﺧﻂ ﺑﻬﺠﺘﻬﺎ‬ ‫ﻳﻌﻨﻲ ﻓﺄﺻﺒﺤﺖ ﺑﻌﺪ ﺑﻬﺠﺘﻬﺎ ﻗﻔﺮًﺍ ﻛﺄﻥ ﻗﻠﻤًﺎ ﺧﻂ ﺭﺳﻮﻣﻬﺎ؛ ﻓﻔﺼﻞ ﺑﻴﻦ‬ ‫ﺍﻟﻤﻀﺎﻑ )ﺑﻌﺪ( ﻭﺍﻟﻤﻀﺎﻑ ﺇﻟﻴﻪ )ﺑﻬﺠﺘﻬﺎ( ﺑﺎﻟﻔﻌﻞ )ﺧﻂ(‪.‬‬ ‫ﻭﻓﺼﻞ ﺑﻴﻦ ﺍﻟﻔﻌﻞ )ﺧﻂ( ﻭﺑﻴﻦ ﻣﻔﻌﻮﻟﻪ )ﺭﺳﻮﻣﻬﺎ( ﺑﺄﺟﻨﺒﻲ‪ ،‬ﻭﻓﺼﻞ ﺑﻴﻦ‬ ‫)ﺃﺻﺒﺢ( ﻭﺧﺒﺮﻫﺎ )ﻗﻔﺮًﺍ( ﺑﺄﺟﻨﺒﻲ‪ ،‬ﻭﻻ ﻳﺨﻔﻰ ﻣﺎ ﻓﻲ ﺍﻟﺒﻴﺖ ﻣﻦ ﺧﻔﺎﺀ ﻓﻲ ﺍﻟﻤﻌﻨﻰ‬ ‫ﻳﻌﻮﺩ ﺇﻟﻰ ﺗﺮﺗﻴﺐ ﺍﻟﻠﻔﻆ ﻭﻧﻈﻤﻪ‪.‬‬  ‫‪27‬‬ ‫ﻓﺎﻟﻜﻼﻡ ﺍﻟﺨﺎﻟﻲ ﻣﻦ ﺍﻟﺘﻌﻘﻴﺪ ﺍﻟﻠﻔﻈﻲ ﺇﺫﻥ ﻫﻮ‪:‬‬ ‫ﻣﺎ ﺳﻠﻢ ﻧﻈﻤﻪ ﻣﻦ ﺍﻟﺨﻠﻞ‪ ،‬ﻓﻠﻢ ﻳﻜﻦ ﻓﻴﻪ ﻣﺎ ﻳﺨﺎﻟﻒ ﺍﻷﺻﻞ ﻣﻦ ﺗﻘﺪﻳﻢ ﺃﻭ‬ ‫ﺗﺄﺧﻴﺮ ﺃﻭ ﺇﺿﻤﺎﺭ ﺃﻭ ﻏﻴﺮ ﺫﻟﻚ ﺇﻻ ﻭﻗﺪ ﻗﺎﻣﺖ ﻋﻠﻴﻪ ﻗﺮﻳﻨﺔ ﻇﺎﻫﺮﺓ ﻟﻔﻈﻴﺔ ﺃﻭ‬ ‫ﻣﻌﻨﻮﻳﺔ‪.‬‬ ‫ﺏ‪.‬ﺍﻟﺘﻌﻘﻴﺪ ﺍﻟﻤﻌﻨﻮﻱ‪ :‬ﻭﻫﻮ ﺍﺳﺘﻌﻤﺎﻝ ﺍﻟﻜﻠﻤﺎﺕ ﻋﻨﺪ ﺇﺭﺍﺩﺓ ﺍﻟﺘﻌﺒﻴﺮ ﻋﻦ‬ ‫ﻣﻌﻨﻰ ﺧﺎﺹ ﻓﻲ ﻏﻴﺮ ﻣﻌﺎﻧﻴﻬﺎ ﺍﻟﺤﻘﻴﻘﻴﺔ‪ ،‬ﻭﺑﺬﻟﻚ ﻳﻀﻄﺮﺏ ﺍﻟﺘﻌﺒﻴﺮ ﻭﻳﺼﻌﺐ‬ ‫ﺍﻟﻮﺻﻮﻝ ﺇﻟﻰ ﺍﻟﻤﻌﻨﻰ ﺍﻟﻤﺮﺍﺩ‪ ،‬ﻭﻣﺜﺎﻝ ﺫﻟﻚ ﻗﻮﻝ ﺍﻟﻌﺒﺎﺱ ﺑﻦ ﺍﻷﺣﻨﻒ‪:‬‬ ‫ﻭﺗﺴﻜﺐ ﻋﻴﻨﺎﻱ ﺍﻟﺪﻣﻮﻉ ﻟﺘﺠﻤﺪﺍ‬ ‫ﺳﺄﻃﻠﺐ ﺑﻌﺪ ﺍﻟﺪﺍﺭ ﻋﻨﻜﻢ ﻟﺘﻘﺮﺑﻮﺍ‬ ‫ﻭﻳﻘﺼﺪ ﺍﻟﺸﺎﻋﺮ ﺃﻥ ﻳﻌﺒﺮ ﻋﻦ ﺇﺭﺍﺩﺓ ﺍﻟﺒﻌﺪ ﻋﻦ ﺍﻷﺣﺒﺔ ﻟﻴﻘﺮﺑﻮﺍ ﻣﻨﻪ‪ ،‬ﻭﻳﺒﻜﻲ‬ ‫ﻭﻳﺴﻜﺐ ﺍﻟﺪﻣﻮﻉ ﻟﻴﻬﻨﺄ ﺑﺎﻟﺴﺮﻭﺭ ﻣﻊ ﻫﺆﻻﺀ ﺍﻷﺣﺒﺔ؛ ﻓﻤﻦ ﻋﺎﺩﺓ ﺍﻟﺰﻣﺎﻥ ﺃﻥ ﻳﺄﺗﻲ‬ ‫ﺑﻀﺪ ﻣﺎ ﻳﺮﻳﺪﻩ ﺍﻹﻧﺴﺎﻥ‪ ،‬ﻓﺈﺫﺍ ﺍﺑﺘﻌﺪ ﺍﻟﺸﺎﻋﺮ ﺍﻗﺘﺮﺏ ﺃﺣﺒﺎﺑﻪ‪ ،‬ﻭﺇﺫﺍ ﺣﺰﻥ ﻣﻦ‬ ‫ﺃﺟﻠﻬﻢ ﺣﻘﻘﻮﺍ ﻟﻪ ﺍﻟﺴﺮﻭﺭ ﻭﺍﻟﻔﺮﺡ‪.‬‬ ‫ﻭﻟﻜﻦ ﺍﻟﺸﺎﻋﺮ ﺃﺧﻄﺄ ﻓﻲ ﺍﺳﺘﺨﺪﺍﻡ ﻟﻔﻈﺔ ﺍﻟﺠﻤﻮﺩ ﻓﻘﺪ ﻇﻦ ﺃﻥ " ﺍﻟﺠﻤﻮﺩ"‬ ‫ﻫﻮ ﺧﻠﻮ ﺍﻟﻌﻴﻦ ﻣﻦ ﺍﻟﺒﻜﺎﺀ ﻣﻄﻠﻘًﺎ‪ ،‬ﺑﻴﻨﻤﺎ ﺟﻤﻮﺩ ﺍﻟﻌﻴﻦ ﻫﻮ ﺧﻠﻮﻫﺎ ﻣﻦ ﺍﻟﺪﻣﻊ ﺃﻭ‬ ‫ﺑﺨﻠﻬﺎ ﺑﺎﻟﺪﻣﻊ ﺍﻟﺬﻱ ﻫﻮ ﻻﺯﻡ ﺍﻟﺒﻜﺎﺀ ﻋﻨﺪ ﺇﺭﺍﺩﺓ ﺍﻟﺒﻜﺎﺀ ﻣﻨﻬﺎ‪.‬ﻭﻫﻮ ﻣﺎ ﻗﺼﺪﻩ ﺃﺑﻮ‬ ‫ﻋﻄﺎﺀ ﻳﺮﺛﻲ ﺍﺑﻦ ﻫﺒﻴﺮﺓ‪:‬‬ ‫ﻋﻠﻴﻚ ﺑﺠﺎﺭﻱ ﺩﻣﻌﻬﺎ ﻟَﺠَﻤﻮﺩُ‬ ‫ﺃﻻ ﺇﻥ ﻋﻴﻨًﺎ ﻟﻢ ﺗَﺠُﺪ ﻳﻮﻡ ﻭﺍﺳﻂ‬ ‫ﺇﺫﻥ ﻓﺎﻟﺠﻤﻮﺩ ﻻ ﻳﻜﻮﻥ ﻛﻨﺎﻳﺔ ﻋﻦ ﺍﻟﺴﺮﻭﺭ ﺑﻞ ﻋﻦ ﺍﻟﺒﺨﻞ‪ ،‬ﻭﺑﻬﺬﺍ ﻳﻜﻮﻥ‬ ‫ﺍﻻﻧﺘﻘﺎﻝ ﻣﻦ ﺟﻤﻮﺩ ﺍﻟﻌﻴﻦ ﺇﻟﻰ ﺑﺨﻠﻬﺎ ﺑﺎﻟﺪﻣﻮﻉ‪ ،‬ﻻ ﺇﻟﻰ ﻣﺎ ﻗﺼﺪﻩ ﺍﻟﺸﺎﻋﺮ ﻣﻦ‬ ‫ﺍﻟﺴﺮﻭﺭ‪.‬‬  ‫‪28‬‬ ‫ﻓﺎﻟﺸﺎﻋﺮ –ﻛﻤﺎ ﻧﺮﻯ– ﺍﺳﺘﻌﻤﻞ ﺍﻟﻜﻠﻤﺎﺕ ﻓﻲ ﻏﻴﺮ ﻣﻌﺎﻧﻴﻬﺎ ﺍﻟﺤﻘﻴﻘﻴﺔ‪ ،‬ﺃﻭ‬ ‫ﺑﻌﺒﺎﺭﺓ ﺃﺧﺮﻯ ﻟﻢ ﻳﻜﻦ ﻣﻮﻓﻘًﺎ ﻓﻲ ﺍﺧﺘﻴﺎﺭ ﺍﻟﻜﻠﻤﺎﺕ ﺍﻟﻤﻌﺒﺮﺓ ﻋﻦ ﻣﻌﻨﺎﻫﺎ ﺗﻌﺒﻴﺮًﺍ‬ ‫ﺟﻠﻴًّﺎ ﻭﺍﺿﺤًﺎ‪ ،‬ﻭﻣﻦ ﺛﻢّ ﻋﻘّﺪ ﺍﻟﻤﻌﻨﻰ ﺃﻭ ﻭﻗﻊ ﻓﻲ ﺍﻟﺘﻌﻘﻴﺪ ﺍﻟﻤﻌﻨﻮﻱ ﺍﻟﺬﻱ ﺃﺧﻞَّ‬ ‫ﺑﻔﺼﺎﺣﺔ ﺍﻟﺒﻴﺖ‪.‬‬ ‫ﺛﺎﻟﺜًﺎ‪ :‬ﻓﺼﺎﺣﺔ ﺍﻟﻤﺘﻜﻠﻢ‪:‬‬ ‫ﻭﻫﻲ ﻣﻠﻜﺔ ﻳﻘﺘﺪﺭ ﺑﻬﺎ ﺍﻟﻤﺘﻜﻠﻢ ﻋﻠﻰ ﺍﻟﺘﻌﺒﻴﺮ ﻋﻦ ﺍﻟﻤﻘﺼﻮﺩ ﺑﻠﻔﻆ ﻓﺼﻴﺢ‪.‬‬  ‫‪29‬‬ ‫ﺍﻟﺒﻼﻏﺔ‬ ‫ﺍﻟﺒﻼﻏﺔ ﻓﻲ ﺍﻟﻠﻐﺔ‪ :‬ﻣﺄﺧﻮﺩﺓ ﻣﻦ ﻗﻮﻟﻬﻢ‪ :‬ﺑﻠﻎ ﻓﻼﻥ ﻣﺮﺍﺩﻩ ﺇﺫﺍ ﻭﺻﻞ ﺇﻟﻴﻪ‪.‬‬ ‫ﻭﺑﻠﻐﺖ ﺍﻟﻐﺎﻳﺔ ﺇﺫﺍ ﺍﻧﺘﻬﻴﺖ ﺇﻟﻴﻬﺎ ﻭﺑﻠﻐﺘﻬﺎ ﻏﻴﺮﻱ‪.‬ﻭﺍﻟﻤﺒﺎﻟﻐﺔ ﻓﻲ ﺍﻷﻣﺮ‪ :‬ﺃﻥ ﺗﺒﻠﻎ ﻓﻴﻪ‬ ‫ﺟﻬﺪﻙ ﻭﺗﻨﺘﻬﻲ ﺇﻟﻰ ﻏﺎﻳﺘﻪ‪.‬ﻭﻳﻘﺎﻝ‪ :‬ﺑﻠﻎ ﺍﻟﺮﺟﻞ ﺑﻼﻏﺔ ﺇﺫﺍ ﺻﺎﺭ ﺑﻠﻴﻐًﺎ‪ ،‬ﻭﺭﺟﻞ‬ ‫ﺑﻠﻴﻎ ﺣﺴﻦ ﺍﻟﻜﻼﻡ‪ ،‬ﻳﺒﻠﻎ ﺑﻌﺒﺎﺭﺓ ﻟﺴﺎﻧﻪ ﻛﻨﻪ ﻣﺎ ﻓﻲ ﻗﻠﺒﻪ‪.‬ﻭﻳﻘﺎﻝ ﺃﺑﻠﻐﺖ ﻓﻲ ﺍﻟﻜﻼﻡ‬ ‫ﺇﺫﺍ ﺃﺗﻴﺖ ﺑﺎﻟﺒﻼﻏﺔ ﻓﻴﻪ‪.‬‬ ‫ﻭﻗﺪ ﺳﻤﻴﺖ ﺍﻟﺒﻼﻏﺔ ﺑﻼﻏﺔ ﻷﻧﻬﺎ ﺗﻨﻬﻲ ﺍﻟﻤﻌﻨﻰ ﺇﻟﻰ ﻗﻠﺐ ﺳﺎﻣﻌﻪ ﻓﻴﻔﻬﻤﻪ‪.‬‬ ‫ﻭﺍﻟﺒﻼﻏﺔ ﻣﻦ ﺻﻔﺔ ﺍﻟﻜﻼﻡ ﻻ ﻣﻦ ﺻﻔﺔ ﺍﻟﻤﺘﻜﻠﻢ‪ ،‬ﻭﺗﺴﻤﻴﺘﻨﺎ ﺍﻟﻤﺘﻜﻠﻢ ﺑﺄﻧﻪ‬ ‫ﺑﻠﻴﻎ ﻧﻮﻉ ﻣﻦ ﺍﻟﺘﻮﺳﻊ‪ ،‬ﻭﺣﻘﻴﻘﺘﻪ ﺃﻥ ﻛﻼﻣﻪ ﺑﻠﻴﻎ‪ ،‬ﻓﺤﺬﻑ ﺍﻟﻤﻮﺻﻮﻑ ﻭﺃﻗﻴﻤﺖ‬ ‫ﺍﻟﺼﻔﺔ ﻣﻘﺎﻣﻪ‪ ،‬ﻛﻤﺎ ﺗﻘﻮﻝ‪ :‬ﻓﻼﻥ ﺭﺟﻞ ﻣُﺤﻜﻢ ﻭﺗﻌﻨﻲ ﺃﻥ ﺃﻓﻌﺎﻟﻪ ﻣﺤﻜﻤﺔ‪.‬ﻗﺎﻝ ﺍﻟﻠﻪ‬ ‫ﺗﻌﺎﻟﻰ‪﴿ :‬ﺣِﻜ٘ﻤَﺔُۢ ﺑَـٰﻠِﻐَﺔٗۖ﴾ ]ﺍﻟﻘﻤﺮ‪ [5 :‬ﻓﺠﻌﻞ ﺍﻟﺒﻼﻏﺔ ﺻﻔﺔ ﺍﻟﺤﻜﻤﺔ ﻭﻟﻢ ﻳﺠﻌﻠﻬﺎ ﻣﻦ‬ ‫ﺻﻔﺔ ﺍﻟﺤﻜﻴﻢ‪ ،‬ﺇﻻ ﺃﻥ ﻛﺜﺮﺓ ﺍﻻﺳﺘﻌﻤﺎﻝ ﺟﻌﻠﺖ ﺗﺴﻤﻴﺔ ﺍﻟﻤﺘﻜﻠﻢ ﺑﺄﻧﻪ ﺑﻠﻴﻎ ﻛﺎﻟﺤﻘﻴﻘﺔ‪.‬‬ ‫ﺃﻣﺎ ﺍﻟﺒﻼﻏﺔ ﻓﻲ ﺍﻻﺻﻄﻼﺡ‪ :‬ﻓﻘﺪ ﻭﺭﺩﺕ ﻓﻴﻬﺎ ﺃﻗﻮﺍﻝ ﻋﺪﻳﺪﺓ ﺟﻤﻌﻬﺎ " ﺍﺑﻦ‬ ‫ﺭﺷﻴﻖ" ﻓﻲ ﻛﺘﺎﺑﻪ "ﺍﻟﻌﻤﺪﺓ"‪ ،‬ﻣﻨﻬﺎ‪:‬‬ ‫‪.1‬ﻗﻴﻞ ﻷﺣﺪﻫﻢ‪ :‬ﻣﺎ ﺍﻟﺒﻼﻏﺔ؟ ﻓﻘﺎﻝ‪ :‬ﺇﺻﺎﺑﺔ ﺍﻟﻤﻌﻨﻰ ﻭﺣﺴﻦ ﺍﻹﻳﺠﺎﺯ‪.‬‬ ‫‪.2‬ﻭﺳﺌﻞ ﺑﻌﺾ ﺍﻷﻋﺮﺍﺏ‪ :‬ﻣَﻦ ﺃﺑﻠﻎ ﺍﻟﻨﺎﺱ؟ ﻓﻘﺎﻝ‪ :‬ﺃﺳﻬﻠﻬﻢ ﻟﻔﻈًﺎ‪،‬‬ ‫ﻭﺃﺣﺴﻨﻬﻢ ﺑﺪﻳﻬﺔ‪.‬‬  ‫‪30‬‬ ‫‪.3‬ﻭﻗﺎﻝ ﺧﻠﻒ ﺍﻷﺣﻤﺮ‪ :‬ﺍﻟﺒﻼﻏﺔ ﻟﻤﺤﺔ ﺩﺍﻟﺔ‪.‬‬ ‫‪.4‬ﻭﻗﺎﻝ ﺍﻟﺨﻠﻴﻞ ﺑﻦ ﺃﺣﻤﺪ‪ :‬ﺍﻟﺒﻼﻏﺔ ﻛﻠﻤﺔ ﺗﻜﺸﻒ ﻋﻦ ﺍﻟﺒﻘﻴﺔ‪.‬‬ ‫‪.5‬ﻗﺎﻝ ﺍﻟﻤﻔﻀﻞ ﺍﻟﻀﺒﻲ ﻷﻋﺮﺍﺑﻲ‪ :‬ﻣﺎ ﺍﻟﺒﻼﻏﺔ ﻋﻨﺪﻛﻢ؟ ﻓﻘﺎﻝ‪ :‬ﺍﻹﻳﺠﺎﺯ ﻣﻦ‬ ‫ﻏﻴﺮ ﻋﺠﺰ‪ ،‬ﻭﺍﻹﻃﻨﺎﺏ ﻣﻦ ﻏﻴﺮ ﺧَﻄَﻞ‪.‬‬ ‫‪.6‬ﻭﻗﻴﻞ ﻟﺒﻌﻀﻬﻢ‪ :‬ﻣﺎ ﺍﻟﺒﻼﻏﺔ؟ ﻓﻘﺎﻝ‪ :‬ﺇﺑﻼﻍ ﺍﻟﻤﺘﻜﻠﻢ ﺣﺎﺟﺘﻪ ﺑﺤﺴﻦ ﺇﻓﻬﺎﻡ‬ ‫ﺍﻟﺴﺎﻣﻊ‪ ،‬ﻭﻟﺬﻟﻚ ﺳﻤﻴﺖ ﺑﻼﻏﺔ‪.‬‬ ‫‪.7‬ﻭﻗﻴﻞ‪ :‬ﺍﻟﺒﻼﻏﺔ‪ :‬ﺣﺴﻦ ﺍﻟﻌﺒﺎﺭﺓ‪ ،‬ﻣﻊ ﺻﺤﺔ ﺍﻟﺪﻻﻟﺔ‪.‬‬ ‫‪.8‬ﻭﻗﻴﻞ ﻟﺨﺎﻟﺪ ﺑﻦ ﺻﻔﻮﺍﻥ‪ :‬ﻣﺎ ﺍﻟﺒﻼﻏﺔ؟ ﻗﺎﻝ‪ :‬ﺇﺻﺎﺑﺔ ﺍﻟﻤﻌﻨﻰ ﻭﺍﻟﻘﺼﺪ ﺇﻟﻰ‬ ‫ﺍﻟﺤﺠﺔ‪.‬‬ ‫‪.9‬ﻭﻗﺎﻝ ﺍﻟﺮﻣﺎﻧﻲ‪ :‬ﺃﺻﻞ ﺍﻟﺒﻼﻏﺔ ﺍﻟﻄﺒﻊ‪ ،‬ﻭﻟﻬﺎ ﻣﻊ ﺫﻟﻚ ﺁﻻﺕ ﺗﻌﻴﻦ ﻋﻠﻴﻬﺎ‬ ‫ﻭﺗﻮﺻﻞ ﻟﻠﻘﻮﺓ ﻓﻴﻬﺎ‪ ،‬ﻭﺗﻜﻮﻥ ﻣﻴﺰﺍﻧًﺎ ﻟﻬﺎ‪ ،‬ﻭﻓﺎﺻﻠﺔ ﺑﻴﻨﻬﺎ ﻭﺑﻴﻦ ﻏﻴﺮﻫﺎ‪ ،‬ﻭﻫﻲ‬ ‫ﺛﻤﺎﻧﻴﺔ ﺃﺿﺮﺏ‪ :‬ﺍﻹﻳﺠﺎﺯ‪ ،‬ﻭﺍﻻﺳﺘﻌﺎﺭﺓ‪ ،‬ﻭﺍﻟﺘﺸﺒﻴﻪ‪ ،‬ﻭﺍﻟﺒﻴﺎﻥ‪ ،‬ﻭﺍﻟﻨﻈﻢ‪،‬‬ ‫ﻭﺍﻟﺘﺼﺮﻑ‪ ،‬ﻭﺍﻟﻤﺸﺎﻛﻠﺔ‪ ،‬ﻭﺍﻟﻤﺜﻞ‪.‬‬ ‫‪.10‬ﻭﻗﺎﻝ ﻋﺒﺪ ﺍﻟﻠﻪ ﺑﻦ ﺟﻤﻴﻞ ﺍﻟﻤﻌﺮﻭﻑ ﺑﺎﻟﺒﺎﺣﺚ‪ :‬ﺍﻟﺒﻼﻏﺔ ﺍﻟﻔﻬﻢ‬ ‫ﻭﺍﻹﻓﻬﺎﻡ‪ ،‬ﻭﻛﺸﻒ ﺍﻟﻤﻌﺎﻧﻲ‪ ،‬ﻭﻣﻌﺮﻓﺔ ﺍﻹﻋﺮﺍﺏ ﻭﺍﻻﺗﺴﺎﻉ ﻓﻲ ﺍﻟﻠﻔﻆ‪ ،‬ﻭﺍﻟﺴﺪﺍﺩ ﻓﻲ‬ ‫ﺍﻟﻨﻈﻢ ﻭﺍﻟﻤﻌﺮﻓﺔ ﺑﺎﻟﻘﺼﺪ‪ ،‬ﻭﺍﻟﺒﻴﺎﻥ ﻓﻲ ﺍﻷﺩﺍﺀ ﻭﺻﻮﺍﺏ ﺍﻹﺷﺎﺭﺓ ﻭﺇﻳﻀﺎﺡ‬ ‫ﺍﻟﺪﻻﻟﺔ‪ ،‬ﻭﺍﻟﻤﻌﺮﻓﺔ ﺑﺎﻟﻘﻮﻝ‪ ،‬ﻭﺍﻻﻛﺘﻔﺎﺀ ﺑﺎﻻﺧﺘﺼﺎﺭ ﻋﻦ ﺍﻹﻛﺜﺎﺭ‪ ،‬ﻭﺇﻣﻀﺎﺀ ﺍﻟﻌﺰﻡ‬ ‫ﻋﻠﻰ ﺣﻜﻤﺔ ﺍﻻﺧﺘﻴﺎﺭ‪.‬ﻗﺎﻝ‪ :‬ﻭﻛﻞ ﻫﺬﻩ ﺍﻷﺑﻮﺍﺏ ﻣﺤﺘﺎﺝ ﺑﻌﻀﻬﺎ ﺇﻟﻰ ﺑﻌﺾ‪،‬‬ ‫ﻛﺤﺎﺟﺔ ﺑﻌﺾ ﺃﻋﻀﺎﺀ ﺍﻟﺒﺪﻥ ﺇﻟﻰ ﺑﻌﺾ‪ ،‬ﻻ ﻏﻨﻰ ﻟﻔﻀﻴﻠﺔ ﺃﺣﺪﻫﻢ ﻋﻦ ﺍﻵﺧﺮ‪،‬‬ ‫ﻓﻤﻦ ﺃﺣﺎﻁ ﻣﻌﺮﻓﺔ ﺑﻬﺬﻩ ﺍﻟﺨﺼﺎﻝ ﻓﻘﺪ ﻛﻤﻞ ﻛﻞ ﺍﻟﻜﻤﺎﻝ‪ ،‬ﻭﻣﻦ ﺷﺬَّ ﻋﻨﻪ ﺑﻌﻀﻬﺎ ﻟﻢ‬  ‫‪31‬‬ ‫ﻳﺒﻌﺪ ﻣﻦ ﺍﻟﻨﻘﺺ ﺑﻤﺎ ﺍﺟﺘﻤﻊ ﻓﻴﻪ ﻣﻨﻬﺎ‪...‬ﻗﺎﻝ‪ :‬ﻭﺍﻟﺒﻼﻏﺔ ﺗﺨﻴّﺮ ﺍﻟﻠﻔﻆ ﻓﻲ ﺣﺴﻦ‬ ‫ﺇﻓﻬﺎﻡ‪.‬‬ ‫ﺗﻠﻚ ﻃﺎﺋﻔﺔ ﻣﻦ ﺃﻗﻮﺍﻝ ﺍﻟﺒﻠﻐﺎﺀ ﻓﻲ ﺗﺤﺪﻳﺪ ﻣﻔﻬﻮﻡ ﺍﻟﺒﻼﻏﺔ ﻛﻤﺎ ﺗﺼﻮَّﺭﻫﺎ ﻛﻞ‬ ‫ﻭﺍﺣﺪ ﻣﻨﻬﻢ‪ ،‬ﻭﻣﻨﻬﺎ ﻳﻤﻜﻦ ﺗﺤﺪﻳﺪ ﻣﻔﻬﻮﻡ ﺍﻟﺒﻼﻏﺔ ﺑﺄﻧﻬﺎ‪ :‬ﻭﺿﻊ ﺍﻟﻜﻼﻡ ﻓﻲ ﻣﻮﺿﻌﻪ‬ ‫ﻣﻦ ﻃﻮﻝ ﻭﺇﻳﺠﺎﺯ‪ ،‬ﻭﺗﺄﺩﻳﺔ ﺍﻟﻤﻌﻨﻰ ﺃﺩﺍﺀً ﻭﺍﺿﺤًﺎ ﺑﻌﺒﺎﺭﺓ ﺻﺤﻴﺤﺔ ﻓﺼﻴﺤﺔ‪ ،‬ﻟﻬﺎ‬ ‫ﻓﻲ ﺍﻟﻨﻔﺲ ﺃﺛﺮ ﺧﻼﺏ‪ ،‬ﻣﻊ ﻣﻼﺀﻣﺔ ﻛﻞ ﻛﻼﻡ ﻟﻠﻤﻘﺎﻡ ﺍﻟﺬﻱ ﻳﻘﺎﻝ ﻓﻴﻪ‪ ،‬ﻭﻟﻠﻤﺨﺎﻃﺒﻴﻦ‬ ‫ﺑﻪ‪.‬‬ ‫ﻭﻟﻌﻞ ﺗﻌﺮﻳﻒ "ﻋﺒﺪ ﺍﻟﻠﻪ ﺑﻦ ﺟﻤﻴﻞ" ﻟﻠﺒﻼﻏﺔ ﻫﻮ ﺍﻷﻗﺮﺏ ﺇﻟﻰ ﻫﺬﺍ‬ ‫ﺍﻟﺘﻌﺮﻳﻒ‪ ،‬ﻛﻤﺎ ﺃﻥ ﻣﻔﻬﻮﻡ "ﺍﻟﺮﻣﺎﻧﻲ" ﻟﻠﺒﻼﻏﺔ ﻣﺘﺼﻞ ﺃﻛﺜﺮ ﺑﺄﺻﻠﻬﺎ ﻭﻣﺒﺎﺣﺜﻬﺎ‪.‬‬ ‫ﺇﺫﻥ ﻓﺎﻟﺒﻼﻏﺔ ﻓﻦ ﻗﻮﻟﻲ ﻳﻌﺘﻤﺪ ﻋﻠﻰ ﺍﻟﻤﻮﻫﺒﺔ ﻭﺻﻔﺎﺀ ﺍﻻﺳﺘﻌﺪﺍﺩ‪ ،‬ﻭﺩﻗﺔ‬ ‫ﺇﺩﺭﺍﻙ ﺍﻟﺠﻤﺎﻝ‪ ،‬ﻭﺗﺒﻴﻦ ﺍﻟﻔﺮﻭﻕ ﺍﻟﺨﻔﻴﺔ ﺑﻴﻦ ﺷﺘﻰ ﺍﻷﺳﺎﻟﻴﺐ‪.‬‬ ‫ﻭﻣﻦ ﺍﻟﺴﻬﻞ ﺃﻳﻀًﺎ ﺃﻥ ﻧﻠﺘﻤﺲ ﻓﻲ ﺃﻗﻮﺍﻝ ﺍﻟﺒﻠﻐﺎﺀ ﺍﻟﺴﺎﺑﻘﺔ ﻋﻨﺎﺻﺮ ﺍﻟﺒﻼﻏﺔ‪،‬‬ ‫ﻭﻫﺬﻩ ﺍﻟﻌﻨﺎﺻﺮ ﻫﻲ‪ :‬ﺍﻟﻠﻔﻆ‪ ،‬ﻭﺍﻟﻤﻌﻨﻰ‪ ،‬ﻭﺗﺄﻟﻴﻒ ﺍﻷﻟﻔﺎﻅ ﻋﻠﻰ ﻧﺤﻮ ﻳﻤﻨﺤﻬﺎ ﻗﻮﺓ‬ ‫ﻭﺗﺄﺛﻴﺮًﺍ ﺣﺴﻨًﺎ‪ ،‬ﺛﻢ ﺍﻟﺪﻗﺔ ﻓﻲ ﺍﺧﺘﻴﺎﺭ ﺍﻟﻜﻠﻤﺎﺕ ﻭﺍﻷﺳﺎﻟﻴﺐ ﻋﻠﻰ ﺣﺴﺐ ﻣﻮﺍﻃﻦ‬ ‫ﺍﻟﻜﻼﻡ‪ ،‬ﻭﻣﻮﺿﻮﻋﺎﺗﻪ‪ ،‬ﻭﺣﺎﻝ ﺍﻟﺴﺎﻣﻌﻴﻦ‪ ،‬ﻭﺍﻟﻨﺰﻋﺔ ﺍﻟﻨﻔﺴﻴﺔ ﺍﻟﺘﻲ ﺗﺴﻴﻄﺮ ﻋﻠﻴﻬﻢ‪.‬‬ ‫ﻭﺑﻼﻏﺔ ﺍﻟﻜﻼﻡ ﻫﻲ ﻣﻄﺎﺑﻘﺘﻪ ﻟﻤﻘﺘﻀﻰ ﺍﻟﺤﺎﻝ ﻣﻊ ﻓﺼﺎﺣﺘﻪ‪ ،‬ﻭﻣﻘﺘﻀﻰ‬ ‫ﺍﻟﺤﺎﻝ ﻣﺨﺘﻠﻒ ﺗﺒﻌًﺎ ﻟﺘﻔﺎﻭﺕ ﻣﻘﺎﻣﺎﺕ ﺍﻟﻜﻼﻡ؛ ﻓﻤﻘﺎﻡ ﻛﻞ ﻣﻦ ﺍﻟﺘﻨﻜﻴﺮ ﻭﺍﻹﻃﻼﻕ‬ ‫ﻭﺍﻟﺘﻘﺪﻳﻢ ﻭﺍﻟﺬﻛﺮ‪ ،‬ﻳﺒﺎﻳﻦ ﻋﻜﺴﻪ ﻣﻦ ﺍﻟﺘﻌﺮﻳﻒ‪ ،‬ﻭﺍﻟﺘﻘﺼﻴﺮ‪ ،‬ﻭﺍﻟﺘﺄﺧﻴﺮ‪ ،‬ﻭﺍﻟﺤﺬﻑ‪،‬‬ ‫ﻭﻣﻘﺎﻡ ﺍﻟﻔﺼﻞ ﻳﺒﺎﻳﻦ ﻣﻘﺎﻡ ﺍﻟﻮﺻﻞ‪ ،‬ﻭﻣﻘﺎﻡ ﺍﻹﻳﺠﺎﺯ ﻳﺒﺎﻳﻦ ﻣﻘﺎﻡ ﺍﻹﻃﻨﺎﺏ ﻭﻣﻘﺎﻡ‬ ‫ﺍﻟﻤﺴﺎﻭﺍﺓ‪.‬‬  ‫‪32‬‬ ‫ﻭﺍﺭﺗﻔﺎﻉ ﺷﺄﻥ ﺍﻟﻜﻼﻡ ﻓﻲ ﺍﻟﺤﺴﻦ ﻭﺍﻟﻘﺒﻮﻝ ﻳﻜﻮﻥ ﺑﻤﻄﺎﺑﻘﺘﻪ ﻟﻼﻋﺘﺒﺎﺭ‬ ‫ﺍﻟﻤﻨﺎﺳﺐ‪ ،‬ﻭﺍﻧﺤﻄﺎﻁ ﺷﺄﻥ ﺍﻟﻜﻼﻡ ﻳﻜﻮﻥ ﺑﻌﺪﻡ ﺫﻟﻚ‪.‬ﻓﻤﻘﺘﻀﻰ ﺍﻟﺤﺎﻝ ﺇﺫﻥ ﻫﻮ‬ ‫ﺍﻻﻋﺘﺒﺎﺭ ﺍﻟﻤﻨﺎﺳﺐ‪.‬‬ 33  ‫‪34‬‬ ‫ﻋﻠﻢ ﺍﻟﻤﻌﺎﻧﻲ‬ ‫ﺗﻌﺮﻳﻔﻪ ﻭﻧﺸﺄﺗﻪ‬ 35  ‫‪36‬‬ ‫ﻋﻠﻢ ﺍﻟﻤﻌﺎﻧﻲ ﻫﻮ ﺃﺣﺪ ﻋﻠﻮﻡ ﺍﻟﺒﻼﻏﺔ ﺍﻟﺜﻼﺛﺔ ﺍﻟﻤﻌﺮﻭﻓﺔ‪ :‬ﺍﻟﻤﻌﺎﻧﻲ ﻭﺍﻟﺒﻴﺎﻥ‬ ‫ﻭﺍﻟﺒﺪﻳﻊ‪.‬ﻭﻗﺪ ﻛﺎﻧﺖ ﺍﻟﺒﻼﻏﺔ ﺍﻟﻌﺮﺑﻴﺔ ﻓﻲ ﺃﻭﻝ ﺍﻷﻣﺮ ﻭﺣﺪﺓ ﺷﺎﻣﻠﺔ ﻟﻤﺒﺎﺣﺚ ﻫﺬﻩ‬ ‫ﺍﻟﻌﻠﻮﻡ ﺑﻼ ﺗﺤﺪﻳﺪ ﺃﻭ ﺗﻤﻴﻴﺰ‪.‬ﻭﻛﺘﺐ ﺍﻟﻤﺘﻘﺪﻣﻴﻦ ﻣﻦ ﻋﻠﻤﺎﺀ ﺍﻟﻌﺮﺑﻴﺔ ﺧﻴﺮ ﺷﺎﻫﺪ‬ ‫ﻋﻠﻰ ﺫﻟﻚ؛ ﻓﻔﻴﻬﺎ ﺗﺘﺠﺎﻭﺭ ﻣﺴﺎﺋﻞ ﻋﻠﻮﻡ ﺍﻟﺒﻼﻏﺔ ﻭﻳﺨﺘﻠﻂ ﺑﻌﻀﻬﺎ ﺑﺒﻌﺾ ﻣﻦ ﻏﻴﺮ‬ ‫ﻓﺼﻞ ﺑﻴﻨﻬﺎ‪.‬‬ ‫ﻭﺷﻴﺌًﺎ ﻓﺸﻴﺌًﺎ ﺃﺧﺬ ﺍﻟﻤﺸﺘﻐﻠﻮﻥ ﺑﺎﻟﺒﻼﻏﺔ ﺍﻟﻌﺮﺑﻴﺔ ﻳﻨﺤَﻮْﻥ ﺑﻬﺎ ﻣﻨﺤﻰ‬ ‫ﺍﻟﺘﺨﺼﺺ ﻭﺍﻻﺳﺘﻘﻼﻝ‪ ،‬ﻛﻤﺎ ﺃﺧﺬﺕ ﻣﺴﺎﺋﻞ ﻛﻞ ﻓﻦ ﺑﻼﻏﻲ ﺗﺘﺒﻠﻮﺭ ﻭﺗﺘﻼﺣﻖ‬ ‫ﻭﺍﺣﺪﺓ ﺑﻌﺪ ﺍﻷﺧﺮﻯ‪.‬ﻭﻇﻞ ﺍﻷﻣﺮ ﻛﺬﻟﻚ ﺣﺘﻰ ﺟﺎﺀ "ﻋﺒﺪ ﺍﻟﻘﺎﻫﺮ ﺍﻟﺠﺮﺟﺎﻧﻲ" ﻓﻲ‬ ‫ﺍﻟﻘﺮﻥ ﺍﻟﺨﺎﻣﺲ ﺍﻟﻬﺠﺮﻱ )‪471‬ﻫـ( ﻭﻭﺿﻊ ﻧﻈﺮﻳﺔ ﻋﻠﻢ ﺍﻟﻤﻌﺎﻧﻲ ﻓﻲ ﻛﺘﺎﺑﻪ‬ ‫"ﺩﻻﺋﻞ ﺍﻹﻋﺠﺎﺯ" ﻭﻧﻈﺮﻳﺔ ﻋﻠﻢ ﺍﻟﺒﻴﺎﻥ ﻓﻲ ﻛﺘﺎﺑﻪ "ﺃﺳﺮﺍﺭ ﺍﻟﺒﻼﻏﺔ" ﻛﻤﺎ ﻭﺿﻊ‬ ‫"ﺍﺑﻦ ﺍﻟﻤﻌﺘﺰ" ﻣﻦ ﻗﺒﻠﻪ ﺃﺳﺎﺱ ﻋﻠﻢ ﺍﻟﺒﺪﻳﻊ‪.‬‬ ‫"ﻋﺒﺪ ﺍﻟﻘﺎﻫﺮ ﺍﻟﺠﺮﺟﺎﻧﻲ" ﺇﺫﻥ ﻫﻮ ﻭﺍﺿﻊ ﺃﺻﻮﻝ ﻋﻠﻤﻲ ﺍﻟﻤﻌﺎﻧﻲ ﻭﺍﻟﺒﻴﺎﻥ‬ ‫ﻭﻣﺆﺳﺴﻬﺎ ﻓﻲ ﺍﻟﻌﺮﺑﻴﺔ‪ ،‬ﻭﻗﺪ ﺟﻌﻞ ﻣﻦ ﻣﺒﺎﺣﺚ ﻛﻼ ﺍﻟﻌﻠﻤﻴﻦ ﻭﺣﺪﺓ ﻳﻤﻜﻦ ﺍﻟﻨﻈﺮ‬ ‫ﻓﻴﻬﺎ ﻧﻈﺮﺓ ﺷﺎﻣﻠﺔ‪.‬‬ ‫ﻭﺍﻟﻌﺠﻴﺐ ﺃﻧﻪ ﻟﻢ ﻳﺤﺪﺙ ﺑﻌﺪﻩ ﺗﻐﻴﻴﺮ ﻳُﺬﻛﺮ ﻓﻲ ﻫﺬﻳﻦ ﺍﻟﻌﻠﻤﻴﻦ؛ ﻷﻥ ﺟﻬﻮﺩ‬ ‫ﺍﻟﺒﻼﻏﻴﻴﻦ ﻣﻦ ﺑﻌﺪﻩ ﺍﻧﺤﺼﺮﺕ ﻓﻲ ﺟﻤﻊ ﻗﻮﺍﻋﺪ ﻋﻠﻮﻡ ﺍﻟﺒﻼﻏﺔ ﺍﻟﺘﻲ ﻭﺿﻌﻬﺎ‪،‬‬ ‫ﻭﻓﻲ ﺗﺮﺗﻴﺐ ﺃﺑﻮﺍﺑﻬﺎ‪ ،‬ﻭﺍﺧﺘﺼﺎﺭﻫﺎ ﻭﺷﺮﺣﻬﺎ‪.‬‬ ‫ﻭﻣﻦ ﺃﻭﺍﺋﻞ ﻣَﻦ ﺍﺗﺠﻬﻮﺍ ﺇﻟﻰ ﺍﻻﺧﺘﺼﺎﺭ ﻭﺍﻟﺘﻠﺨﻴﺺ "ﺍﻟﻔﺨﺮ ﺍﻟﺮﺍﺯﻱ"‬ ‫)‪606‬ﻫـ( ﻓﻲ ﻛﺘﺎﺑﻪ "ﻧﻬﺎﻳﺔ ﺍﻹﻳﺠﺎﺯ ﻓﻲ ﺩﺭﺍﻳﺔ ﺍﻹﻋﺠﺎﺯ"؛ ﻓﻘﺪ ﺍﺧﺘﺼﺮ ﻓﻴﻪ‬ ‫ﻛﺘﺎﺑﻲ "ﺩﻻﺋﻞ ﺍﻹﻋﺠﺎﺯ" ﻭ"ﺃﺳﺮﺍﺭ ﺍﻟﺒﻼﻏﺔ" ﻟـ "ﻋﺒﺪ ﺍﻟﻘﺎﻫﺮ"‪.‬‬  ‫‪37‬‬ ‫ﺃﻣﺎ "ﺍﻟﺴﻜﺎﻛﻲ" ﺻﺎﺣﺐ ﻛﺘﺎﺏ " ﻣﻔﺘﺎﺡ ﺍﻟﻌﻠﻮﻡ" ﻓﻘﺪ ﺟﻌﻠﻪ ﺃﺭﺑﻌﺔ ﺃﻗﺴﺎﻡ‪:‬‬ ‫ﻗﺴﻤًﺎ ﻓﻲ ﻋﻠﻢ ﺍﻟﺼﺮﻑ‪ ،‬ﻭﻗﺴﻤًﺎ ﻓﻲ ﻋﻠﻢ ﺍﻟﻨﺤﻮ‪ ،‬ﻭﻗﺴﻤًﺎ ﻓﻲ ﻋﻠﻮﻡ ﺍﻟﺒﻼﻏﺔ‪،‬‬ ‫ﻭﻗﺴﻤًﺎ ﻓﻲ ﻋﻠﻢ ﺍﻟﺸﻌﺮ‪.‬‬ ‫ﻟﻘﺪ ﺳﺎﺭﺕ ﺩﺭﺍﺳﺔ ﺍﻟﺒﻼﻏﺔ ﻗﺒﻞ "ﺍﻟﺴﻜﺎﻛﻲ" ﻋﻠﻰ ﻣﻨﻬﺎﺝ ﻣﻦ ﻋﺪﻡ ﺍﻟﻔﺼﻞ‬ ‫ﺑﻴﻦ ﻓﻨﻮﻧﻬﺎ‪ ،‬ﻟﻤﺎ ﻓﻲ ﺫﻟﻚ ﻣﻦ ﺧﺪﻣﺔ ﺍﻷﺩﺏ ﻭﺇﻣﺪﺍﺩﻩ ﺑﺄﺳﺒﺎﺏ ﺍﻟﻘﻮﺓ ﻭﺍﻟﺠﻤﺎﻝ‬ ‫ﻭﺍﻟﻮﺿﻮﺡ‪.‬ﻭﻛﺎﻥ ﻟﻬﺬﺍ ﺍﻟﻤﻨﻬﺎﺝ ﺃﺛﺮﻩ ﻭﻗﻴﻤﺘﻪ ﻓﻲ ﺇﻳﻘﺎﻅ ﺍﻟﻤﻮﺍﻫﺐ ﻭﺇﺭﻫﺎﻑ‬ ‫ﺍﻟﻤﻠﻜﺎﺕ ﺍﻟﻔﻨﻴﺔ ﻟﺼﻨﺎﻋﺔ ﺍﻷﺩﺏ‪.‬‬ ‫ﻛﺎﻥ ﻣﺴﺎﺭ ﺍﻟﺪﺭﺍﺳﺎﺕ ﺍﻟﺒﻼﻏﻴﺔ ﻗﺒﻞ "ﺍﻟﺴﻜﺎﻛﻲ"‪ :‬ﺗﻨﺒﻴﻪ ﺇﻟﻰ ﻣﻮﺍﻃﻦ‬ ‫ﺍﻟﺤﺴﻦ ﻭﺍﻟﺠﻤﺎﻝ ﻣﻦ ﺍﻟﻜﻼﻡ‪ ،‬ﻭﺷﺤﺬ ﻟﻤﻠﻜﺎﺕ ﺻﻨَّﺎﻋﻪ ﺍﻟﻔﻨﻴﺔ‪ ،‬ﻭﻣﺤﺎﻭﻻﺕ ﻟﻠﻜﺸﻒ‬ ‫ﻋﻦ ﺍﻟﻌﻨﺎﺻﺮ ﺍﻟﺠﻤﺎﻟﻴﺔ ﻓﻲ ﺍﻟﺒﻴﺎﻥ ﺍﻟﻌﺮﺑﻲ‪ ،‬ﻭﺗﺮﺑﻴﺔ ﻟﻤﻠﻜﺔ ﺍﻟﺬﻭﻕ‪ ،‬ﻭﺗﻤﻜﻴﻦ ﻛﻞ‬ ‫ﺫﻱ ﻣﻮﻫﺒﺔ ﺃﺩﺑﻴﺔ ﻣﻦ ﺃﻥ ﻳﻘﺮﺃ ﻭﻳﻔﻬﻢ‪ ،‬ﻭﻳﺴﺘﺤﺴﻦ ﻭﻳﺴﺘﻘﺒﺢ‪ ،‬ﻭﻳﻮﺍﺯﻥ ﻭﻳﻔﻀﻞ‪،‬‬ ‫ﺃﻭ ﺑﻌﺒﺎﺭﺓ ﺃﺧﺮﻯ ﻣﻦ ﺃﻥ ﻳﻨﻘﺪ ﺍﻟﻌﻤﻞ ﺍﻷﺩﺑﻲ ﻭﻳﺤﻜﻢ ﻋﻠﻴﻪ‪.‬‬ ‫ﺃﻣﺎ "ﺍﻟﺴﻜﺎﻛﻲ" ﻓﻘﺪ ﻗﺎﻡ ﻣﻨﻬﺠﻪ ﻓﻲ ﺩﺭﺍﺳﺔ ﺍﻟﺒﻼﻏﺔ ﻋﻠﻰ ﺃﺳﺲ ﻣﻨﻄﻘﻴﺔ‬ ‫ﺣﻮَّﻟﺖ ﺍﻟﺒﻼﻏﺔ ﻣﻦ ﻓﻦ ﺇﻟﻰ ﻋﻠﻢ ﻟﻪ ﻗﻮﺍﻋﺪﻩ ﻭﻧﻈﺮﻳﺎﺗﻪ ﺍﻟﺘﻲ ﺇﻥ ﻧﺠﺤﺖ ﻓﻲ ﺗﻜﻮﻳﻦ‬ ‫ﻃﺒﻘﺎﺕ ﻣﻦ ﺍﻟﺒﻼﻏﻴﻴﻦ ﻓﻘﺪ ﻓﺸﻠﺖ ﻓﻲ ﺗﻜﻮﻳﻦ ﺍﻟﺒﻠﻐﺎﺀ‪.‬‬ ‫ﻭﻣﻦ ﻫﻨﺎ ﻛﺎﻧﺖ ﺧﻄﻮﺭﺓ ﻣﻨﻬﺎﺝ "ﺍﻟﺴﻜﺎﻛﻲ" ﺍﻟﺬﻱ ﻳﻌﺪ ﻓﻲ ﺗﺎﺭﻳﺦ ﺍﻟﺒﻼﻏﺔ‬ ‫ﺑﺪﺍﻳﺔ ﻃﻮﺭ ﺍﻟﺠﻤﻮﺩ ﻓﻲ ﺩﺭﺍﺳﺘﻬﺎ‪.‬ﻟﻘﺪ ﺧﻴﻞ ﺇﻟﻴﻪ ﺃﻧﻪ ﺑﻤﻨﻬﺎﺟﻪ ﺍﻟﻤﻨﻈﻢ ﺍﻟﻤﻘﻨﻦ‬ ‫ﻳﺼﻠﺢ ﻣﻦ ﺷﺄﻥ ﺍﻟﺒﻼﻏﺔ ﻓﺈﺫﺍ ﺑﻪ ﻣﻦ ﺣﻴﺚ ﻻ ﻳﺪﺭﻱ ﻳﻔﺴﺪﻫﺎ ﻭﻳﺴﻲﺀ ﺇﻟﻴﻬﺎ‪.‬‬ ‫ﻭﺷﻬﺮﺓ "ﺍﻟﺴﻜﺎﻛﻲ" ﻓﻲ ﺍﻟﺒﻼﻏﺔ ﻣﺼﺪﺭﻫﺎ ﺍﻟﻘﺴﻢ ﺍﻟﺜﺎﻟﺚ ﻣﻦ ﻛﺘﺎﺑﻪ "ﻣﻔﺘﺎﺡ‬ ‫ﺍﻟﻌﻠﻮﻡ"؛ ﻓﻘﺪ ﺃﻓﺮﺩ ﻫﺬﺍ ﺍﻟﻘﺴﻢ ﻣﻦ ﻛﺘﺎﺑﻪ ﻟﻠﻜﻼﻡ ﻋﻦ ﻋﻠﻤﻲ ﺍﻟﻤﻌﺎﻧﻲ ﻭﺍﻟﺒﻴﺎﻥ‬ ‫ﻭﻟﻮﺍﺣﻘﻬﻤﺎ ﻣﻦ ﺍﻟﺒﻼﻏﺔ ﻭﺍﻟﻔﺼﺎﺣﺔ ﻭﺍﻟﻤﺤﺴﻨﺎﺕ ﺍﻟﺒﺪﻳﻌﻴﺔ ﺑﻨﻮﻋﻴﻬﺎ ﺍﻟﻠﻔﻈﻲ‬ ‫ﻭﺍﻟﻤﻌﻨﻮﻱ‪.‬‬  ‫‪38‬‬ ‫ﻭﻗﺪ ﻋﺮَّﻑ "ﺍﻟﺴﻜﺎﻛﻲ" ﻋﻠﻢ ﺍﻟﻤﻌﺎﻧﻲ ﺑﻘﻮﻟﻪ‪" :‬ﺇﻧﻪ ﺗﺘﺒﻊ ﺧﻮﺍﺹ ﺗﺮﺍﻛﻴﺐ‬ ‫ﺍﻟﻜﻼﻡ ﻓﻲ ﺍﻹﻓﺎﺩﺓ ﻭﻣﺎ ﻳﺘﺼﻞ ﺑﻬﺎ ﻣﻦ ﺍﻻﺳﺘﺤﺴﺎﻥ ﻭﻏﻴﺮﻩ‪ ،‬ﻟﻴُﺤﺘﺮﺯ ﺑﺎﻟﻮﻗﻮﻑ‬ ‫ﻋﻠﻴﻬﺎ ﻋﻦ ﺍﻟﺨﻄﺄ ﻓﻲ ﺗﻄﺒﻴﻖ ﺍﻟﻜﻼﻡ ﻋﻠﻰ ﻣﺎ ﻳﻘﺘﻀﻲ ﺍﻟﺤﺎﻝ ﺫﻛﺮﻩ"‪.‬‬ ‫ﻭﻫﺬﺍ ﺍﻟﺘﻌﺮﻳﻒ ﻭﺣﺪﻩ ﻧﻤﻮﺫﺝ ﻟﺘﺄﻟﻴﻒ "ﺍﻟﺴﻜﺎﻛﻲ" ﺍﻟﺬﻱ ﺃﻓﺮﻏﻪ ﻓﻲ ﺃﺳﻠﻮﺏ‬ ‫ﻋﻠﻤﻲ ﻣﻨﻄﻘﻲ ﺑﻌﻴﺪ ﻛﻞ ﺍﻟﺒﻌﺪ ﻋﻦ ﺟﻼﺀ ﺍﻟﻌﺒﺎﺭﺓ ﻭﻭﺿﻮﺡ ﺍﻟﺘﺄﻟﻴﻒ ﻋﻨﺪ ﻣَﻦ‬ ‫ﺗﻘﺪﻣﻮﻩ ﻣﻦ ﺍﻟﺒﻼﻏﻴﻴﻦ‪.‬‬ ‫ﻓﻬﻮ ﻣﺜﻼ ﻓﻲ ﻫﺬﺍ ﺍﻟﺘﻌﺮﻳﻒ ﻻ ﻳﻘﺼﺪ "ﺑﺘﺮﺍﻛﻴﺐ ﺍﻟﻜﻼﻡ" ﻣﻄﻠﻖ ﺗﺮﺍﻛﻴﺐ‪،‬‬ ‫ﻭﺇﻧﻤﺎ ﻳﻘﺼﺪ ﺗﺮﺍﻛﻴﺐ ﺍﻟﺒﻠﻐﺎﺀ ﻻ ﺍﻟﺘﺮﺍﻛﻴﺐ ﺍﻟﺼﺎﺩﺭﺓ ﻋﻤﻦ ﻻ ﺣﻆ ﻟﻬﻢ ﻣﻦ‬ ‫ﺍﻟﺒﻼﻏﺔ‪ ،‬ﻭﻫﻮ ﻛﺬﻟﻚ ﻳﻘﺼﺪ "ﺑﺨﻮﺍﺹ ﺍﻟﺘﺮﺍﻛﻴﺐ" ﻣﺎ ﻳﺴﺒﻖ ﺇﻟﻰ ﺍﻟﻔﻬﻢ ﻣﻨﻬﺎ ﻋﻨﺪ‬ ‫ﺳﻤﺎﻋﻬﺎ ﻟﻜﻮﻧﻬﺎ ﺻﺎﺩﺭﺓ ﻋﻦ ﺍﻟﺒﻠﻴﻎ‪ ،‬ﻛﻤﺎ ﻳﻘﺼﺪ ﺃﻳﻀًﺎ "ﺑﺎﻹﻓﺎﺩﺓ" "ﺍﻟﻔﻬﻢ" ﻣﻦ‬ ‫ﻗِﺒَﻞ ﺫﻱ ﺍﻟﻔﻄﺮﺓ ﺍﻟﺴﻠﻴﻤﺔ‪.‬‬ ‫ﻓﺎﻟﺘﻌﺮﻳﻒ ﻛﻤﺎ ﺗﺮﻯ ﻻ ﻳﺠﻮﺩ ﺑﻤﻌﻨﺎﻩ ﻓﻲ ﺳﻬﻮﻟﺔ ﻭﻳﺴﺮ‪ ،‬ﻭﺇﻧﻤﺎ ﻫﻮ ﻳﻌﻨﻲ‬ ‫ﻃﺎﻟﺒﻪ ﻋﻨﺎﺀً ﺷﺪﻳﺪًﺍ ﺣﺘﻰ ﻳﺼﻞ ﺇﻟﻴﻪ‪ ،‬ﺇﻥ ﻭﺻﻞ‪.‬ﻭﻣﻦ ﺃﺟﻞ ﻫﺬﺍ ﻛﺜﺮ ﺷﺮَّﺍﺡ‬ ‫"ﺍﻟﺴﻜﺎﻛﻲ" ﻭﻣﻠﺨﺼﻮ ﺑﻼﻏﺘﻪ‪.‬‬ ‫ﻭﻳﻤﻜﻦ ﺣﺼﺮ ﻣﻮﺿﻮﻋﺎﺕ ﻋﻠﻢ ﺍﻟﻤﻌﺎﻧﻲ ﺍﻟﺘﻲ ﻭﺭﺩﺕ ﻓﻲ ﺍﻟﻘﺴﻢ ﺍﻟﺜﺎﻟﺚ‬ ‫ﻣﻦ ﻛﺘﺎﺏ "ﺍﻟﻤﻔﺘﺎﺡ" ﻟـ "ﺍﻟﺴﻜﺎﻛﻲ" ﻋﻠﻰ ﺍﻟﻨﺤﻮ ﺍﻟﺘﺎﻟﻲ‪:‬‬ ‫‪.1‬ﺍﻟﺨﺒﺮ ﻭﺍﻟﻄﻠﺐ‪.‬‬ ‫‪.2‬ﺍﻹﺳﻨﺎﺩ ﺍﻟﺨﺒﺮﻱ ﻭﺍﺧﺘﻼﻓﻪ ﺑﺎﺧﺘﻼﻑ ﺍﻟﺴﺎﻣﻊ ﻣﻦ ﺣﻴﺚ ﺧﻠﻮ ﺍﻟﺬﻫﻦ‪ ،‬ﺃﻭ‬ ‫ﺍﻟﺸﻚ‪ ،‬ﺃﻭ ﺍﻹﻧﻜﺎﺭ‪.‬‬  ‫‪39‬‬ ‫‪.3‬ﺍﻹﺳﻨﺎﺩ‪ ،‬ﻭﺑﻴﺎﻥ ﺃﺣﻮﺍﻝ ﺍﻟﻤﺴﻨﺪ ﺇﻟﻴﻪ ﻭﺍﻟﻤﺴﻨﺪ‪ ،‬ﻣﻦ ﺣﻴﺚ‪ :‬ﺍﻟﺤﺬﻑ‬ ‫ﻭﺍﻟﺬﻛﺮ‪ ،‬ﻭﺍﻟﺘﻨﻜﻴﺮ ﻭﺍﻟﺘﻌﺮﻳﻒ‪ ،‬ﻭﺍﻟﺘﻘﺪﻳﻢ ﻭﺍﻟﺘﺄﺧﻴﺮ‪ ،‬ﻭﺍﻟﺘﺨﺼﻴﺺ ﻭﺍﻟﻤﻘﺘﻀﺎﺕ‬ ‫ﺍﻟﺒﻼﻏﻴﺔ ﻟﺬﻟﻚ‪.‬‬ ‫‪.4‬ﺍﻟﻔﻌﻞ ﻭﻣﺘﻌﻠﻘﺎﺗﻪ‪.‬‬ ‫‪.5‬ﺍﻟﻔﺼﻞ ﻭﺍﻟﻮﺻﻞ‪.‬‬ ‫‪.6‬ﺍﻹﻳﺠﺎﺯ ﻭﺍﻹﻃﻨﺎﺏ‪ ،‬ﻭﺑﻴﺎﻥ ﻛﻴﻒ ﺃﻧﻬﻤﺎ ﻧﺴﺒﻴﺎﻥ‪.‬‬ ‫‪.7‬ﺍﻟﻘﺼﺮ‪ ،‬ﻭﺃﻧﻮﺍﻋﻪ‪ ،‬ﻭﻃﺮﻗﻪ‪.‬‬ ‫‪.8‬ﺍﻟﻄﻠﺐ‪ ،‬ﻭﻳﻨﺪﺭﺝ ﺗﺤﺘﻪ‪:‬‬ ‫ﺃ‪.‬ﻣﻘﺪﻣﺔ ﻋﻦ ﺍﻟﻄﻠﺐ ﻣﺴﺘﻤﺪﺓ ﻣﻦ ﻛﻼﻡ ﺍﻟﻤﻨﺎﻃﻘﺔ ﻋﻦ ﺍﻟﺘﺼﻮﺭ ﻭﺍﻟﺘﺼﺪﻳﻖ‬ ‫ﻭﻣﺎ ﻳﺤﺼﻞ ﻓﻲ ﺍﻟﺬﻫﻦ‪ ،‬ﻭﻣﺎ ﻳﺤﺼﻞ ﻓﻲ ﺍﻟﺨﺎﺭﺝ‪.‬‬ ‫ﺏ‪.‬ﺃﻧﻮﺍﻉ ﺍﻟﻄﻠﺐ ﺍﻟﺨﻤﺴﺔ‪ :‬ﺍﻟﺘﻤﻨﻲ‪ ،‬ﺍﻻﺳﺘﻔﻬﺎﻡ‪ ،‬ﺍﻷﻣﺮ‪ ،‬ﺍﻟﻨﻬﻲ‪ ،‬ﺍﻟﻨﺪﺍﺀ‪،‬‬ ‫ﻭﺃﺩﻭﺍﺕ ﻛﻞ ﻧﻮﻉ ﻣﻨﻬﺎ‪ ،‬ﻭﻭﻇﺎﺋﻔﻬﺎ‪.‬‬ ‫ﺝ‪.‬ﺍﻷﻏﺮﺍﺽ ﺍﻟﺒﻼﻏﻴﺔ ﺃﻭ ﺍﻟﻤﻌﺎﻧﻲ ﺍﻹﺿﺎﻓﻴﺔ ﺍﻟﺘﻲ ﻳﺨﺮﺝ ﺍﻟﻄﻠﺐ ﻋﻦ‬ ‫ﻣﻌﺎﻧﻴﻪ ﺍﻷﺻﻠﻴﺔ ﻣﻦ ﺃﺟﻞ ﺍﻟﺪﻻﻟﺔ ﻋﻠﻴﻬﺎ‪ ،‬ﻭﺫﻟﻚ ﻣﺜﻞ‪ :‬ﺍﻟﺘﻌﺠﺐ‪ ،‬ﻭﺍﻹﻧﻜﺎﺭ‪،‬‬ ‫ﻭﺍﻻﺳﺘﺒﻄﺎﺀ‪ ،‬ﻭﺍﻟﻨﻔﻲ‪.‬‬ ‫‪ -‬ﻭﻣﻤﻦ ﻗﺎﻣﻮﺍ ﺑﻮﺿﻊ ﺷﺮﻭﺡ ﻟﻜﺘﺎﺏ "ﺍﻟﺴﻜﺎﻛﻲ"‪:‬‬ ‫‪.1‬ﻗﻄﺐ ﺍﻟﺪﻳﻦ ﻣﺤﻤﻮﺩ ﺍﻟﺸﻴﺮﺍﺯﻱ )‪710‬ﻫـ( ﺷﺮﺣﻪ ﻓﻲ ﻛﺘﺎﺏ ﺳﻤﺎﻩ‬ ‫"ﻣﻔﺘﺎﺡ ﺍﻟﻤﻔﺘﺎﺡ"‪.‬‬ ‫‪.2‬ﺍﻟﺴﻴﺪ ﺍﻟﺸﺮﻳﻒ ﺍﻟﺠﺮﺟﺎﻧﻲ )‪816‬ﻫـ( ﺷﺮﺡ ﺍﻟﻘﺴﻢ ﺍﻟﺜﺎﻟﺚ ﻣﻦ ﺍﻟﻤﻔﺘﺎﺡ‪.‬‬  ‫‪40‬‬ ‫‪ -‬ﻭﻣﻤﻦ ﻋﻨﻮﺍ ﺑﺘﻠﺨﻴﺼﻪ‪:‬‬ ‫‪.1‬ﺑﺪﺭ ﺍﻟﺪﻳﻦ ﺑﻦ ﻣﺎﻟﻚ )‪668‬ﻫـ(‪ :‬ﺍﺧﺘﺼﺮﻩ ﻓﻲ ﻛﺘﺎﺏ ﺳﻤﺎﻩ " ﺍﻟﻤﺼﺒﺎﺡ‬ ‫ﻓﻲ ﺍﺧﺘﺼﺎﺭ ﺍﻟﻤﻔﺘﺎﺡ"‪.‬ﻭﻗﺪ ﻧﺎﻝ ﻫﺬﺍ ﺍﻟﻤﺨﺘﺼﺮ ﺷﻬﺮﺓ ﻭﺍﺳﻌﺔ ﻟﺪﻯ ﻃﻼﺏ‬ ‫ﺍﻟﺒﻼﻏﺔ ﻓﻲ ﺑﻼﺩ ﺍﻟﻤﻐﺮﺏ‪.‬‬ ‫‪.2‬ﺃﺑﻮ ﻋﺒﺪ ﺍﻟﻠﻪ ﻣﺤﻤﺪ ﺑﻦ ﻋﺒﺪ ﺍﻟﺮﺣﻤﻦ ﺍﻟﺨﻄﻴﺐ ﺍﻟﻘﺰﻭﻳﻨﻲ )‪739‬ﻫـ(‪،‬‬ ‫ﻭﻗﺪ ﺍﺧﺘﺼﺮﻩ ﻓﻲ ﻛﺘﺎﺏ ﺳﻤﺎﻩ " ﺗﻠﺨﻴﺺ ﺍﻟﻤﻔﺘﺎﺡ"‪.‬‬ ‫‪.3‬ﻋﺒﺪ ﺍﻟﺮﺣﻤﻦ ﺍﻟﺸﻴﺮﺍﺯﻱ )‪757‬ﻫـ( ﻭﺳﻤﻲ ﺗﻠﺨﻴﺼﻪ ﻟﻜﺘﺎﺏ ﺍﻟﻤﻔﺘﺎﺡ‬ ‫"ﺍﻟﻔﻮﺍﺋﺪ ﺍﻟﻐﻴﺎﺛﻴﺔ ﻓﻲ ﻋﻠﻮﻡ ﺍﻟﻤﻌﺎﻧﻲ ﻭﺍﻟﺒﻴﺎﻥ ﻭﺍﻟﺒﺪﻳﻊ"‪.‬‬ ‫ﻭﻟﻌﻞ ﺃﻭﺳﻊ ﻫﺬﻩ ﺍﻟﻜﺘﺐ ﺃﻭ ﺍﻟﺘﻠﺨﻴﺼﺎﺕ ﺷﻬﺮﺓ ﺑﻴﻦ ﺍﻟﻤﺸﺎﺭﻗﺔ ﻓﻲ ﻛﻞ‬ ‫ﺍﻟﻌﺼﻮﺭ ﻫﻮ ﻛﺘﺎﺏ "ﺗﻠﺨﻴﺺ ﺍﻟﻤﻔﺘﺎﺡ" ﻓﻲ ﺍﻟﻤﻌﺎﻧﻲ ﻭﺍﻟﺒﻴﺎﻥ ﻭﺍﻟﺒﺪﻳﻊ ﻟـ"ﺍﻟﺨﻄﻴﺐ‬ ‫ﺍﻟﻘﺰﻭﻳﻨﻲ" ﺍﻵﻧﻒ ﺍﻟﺬﻛﺮ‪.‬‬ ‫ﻓﻬﺬﺍ ﺍﻟﻜﺘﺎﺏ ﻗﺪ ﺗﻨﻮﻉ ﺍﻫﺘﻤﺎﻡ ﺍﻟﻌﻠﻤﺎﺀ ﺑﻪ؛ ﻓﻤﻨﻬﻢ ﻣﻦ ﺷﺮﺣﻪ‪ ،‬ﻭﻣﻦ ﻧﻈﻤﻪ‪،‬‬ ‫ﻭﻣﻦ ﻟﺨﺼﻪ‪.‬‬ ‫ﻭﺗﻠﻚ ﺍﻟﺸﺮﻭﺡ ﻭﺍﻟﺘﻠﺨﻴﺼﺎﺕ ﻭﺍﻟﻤﻨﻈﻮﻣﺎﺕ ﺇﻥ ﺩﻟَّﺖ ﻋﻠﻰ ﺷﻲﺀ ﻓﻌﻠﻰ‬ ‫ﺟﻤﻮﺩ ﺍﻟﻔﻜﺮ ﺍﻟﺒﻼﻏﻲ ﻭﻋﻘﻤﻪ ﻣﻨﺬ ﻋﺼﺮ "ﺍﻟﺴﻜﺎﻛﻲ"‪.‬ﻧﻘﻮﻝ ﺫﻟﻚ ﻷﻥ ﻛﻞ ﻣﺎ‬ ‫ﻇﻬﺮ ﻣﻦ ﺷﺮﻭﺡ ﻭﺗﻠﺨﻴﺼﺎﺕ ﻟﻜﺘﺎﺏ "ﺍﻟﻤﻔﺘﺎﺡ" ﻻ ﺗﺨﺮﺝ ﻋﻦ ﻛﻮﻧﻬﺎ ﺗﺮﺩﻳﺪًﺍ‬ ‫ﻭﺗﻜﺮﺍﺭًﺍ ﻟﻤﺎﺩﺗﻪ‪ ،‬ﻭﻣﺤﺎﻭﻻﺕ ﻗﺼﺪ ﺑﻬﺎ ﺍﻹﻳﻀﺎﺡ ﺑﺎﻟﺸﺮﺡ ﺃﻭ ﺍﻟﺘﻘﺮﻳﺐ ﻭﺍﻟﺘﺒﺴﻴﻂ‬ ‫ﻋﻦ ﻃﺮﻳﻖ ﺍﻹﻳﺠﺎﺯ ﻭﺍﻟﺘﻠﺨﻴﺺ ﻭﺍﻟﻨﻈﻢ‪.‬‬ ‫ﻭﺍﻟﻤﻘﺎﺭﻧﺔ ﺑﻴﻦ ﻣﺎ ﻛﺎﻧﺖ ﻋﻠﻴﻪ ﺍﻟﺒﻼﻏﺔ ﺍﻟﻌﺮﺑﻴﺔ ﻓﻲ ﺍﻟﻌﺼﻮﺭ ﺍﻷﻭﻟﻰ ﻭﻣﺎ‬ ‫ﺻﺎﺭﺕ ﺇﻟﻴﻪ ﻓﻲ ﺍﻟﻌﺼﻮﺭ ﺍﻟﻤﺘﺄﺧﺮﺓ ﺗﺮﻳﻨﺎ ﻛﻴﻒ ﺍﺯﺩﻫﺮﺕ ﻭﺗﻮﻫﺠﺖ ﺷﻌﻠﺘﻬﺎ‬  ‫‪41‬‬ ‫ﻋﻠﻰ ﺃﻳﺪﻱ ﻋﻠﻤﺎﺋﻬﺎ ﺍﻷﻭﺍﺋﻞ‪ ،‬ﺛﻢ ﻛﻴﻒ ﺟﻔَّﺖ ﻭﺧﺒﺖ ﺷﻌﻠﺘﻬﺎ ﻋﻠﻰ ﺃﻳﺪﻱ‬ ‫ﺍﻟﻤﺘﺄﺧﺮﻳﻦ ﻣﻨﻬﻢ‪.‬‬ ‫ﻭﻳﻨﺒﻐﻲ ﺃﻥ ﻧﺸﻴﺮ ﺇﻟﻰ ﺃﻥ ﺍﻟﺒﺎﺣﺜﻴﻦ ﻓﻲ ﺍﻟﺒﻼﻏﺔ ﺍﻟﻌﺮﺑﻴﺔ ﻣﻨﺬ ﺻﺪﺭ ﺍﻹﺳﻼﻡ‬ ‫ﻟﻢ ﻳﻜﻮﻧﻮﺍ ﻣﺪﻓﻮﻋﻴﻦ ﺇﻟﻰ ﺫﻟﻚ ﺑﺒﺎﻋﺚ ﺍﻟﺸﻐﻒ ﺍﻟﻌﻠﻤﻲ ﻭﺍﻟﺒﺤﺚ ﺍﻟﻨﻈﺮﻱ ﺍﻟﻤﺠﺮﺩ‬ ‫ﻓﻲ ﺍﻟﺒﻼﻏﺔ‪ ،‬ﻭﺇﻧﻤﺎ ﺣﻔﺰﻫﻢ ﻓﻲ ﺍﻟﻮﺍﻗﻊ ﺇﻟﻰ ﺍﻻﺷﺘﻐﺎﻝ ﺑﻬﺎ ﺭﻏﺒﺔ ﻣﻠﺤﺔ ﻓﻲ ﺗﺤﻘﻴﻖ‬