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‫ﻗﻀﺎﻴﺎ ﺸﻌﺭ ﺍﻝﺘﹼﺼﻭ‪‬ﻑ ﻭﻤﻀﺎﻤﻴﻨﻪ ﻓﻲ ﺍﻷﻨﺩﻝﺱ‬

‫ﻤﻥ ﺍﻝﻔﺘﺢ ﺇﻝﻰ ﻨﻬﺎﻴﺔ ﻋﺼﺭ ﺍﻝﻤﻭﺤ‪‬ﺩﻴﻥ‬

‫ﺃ‪ .‬ﻤﺤ ‪‬ﻤﺩ ﺼﻐﻴﺭ‬

‫ﺠﺎﻤﻌﺔ ﺠﻴﺠل) ﺍﻝﺠﺯﺍﺌﺭ(‬

‫ﻤﻠﺨﺹ‪:‬‬
‫ﻴﻌ ‪‬ﺩ ﺍﻝﺘﺼﻭ‪‬ﻑ ﺤﺭﻜﺔ ﺒﺎﺭﺯﺓ ﻓﻲ ﺘﺎﺭﻴﺦ ﺍﻷﻨﺩﻝﺱ‪ ،‬ﻭﻗﺩ ﺍﻨﺒﺜﻕ ﻋﻥ ﺤﺭﻜﺔ ﺍﻝﺯ‪‬ﻫﺩ ﻓﻲ ﻭﻗﺕ ﻤﺒﻜﺭ‪ ،‬ﻭﺤﻅﻲ ﺒﺎﻨﺘﺸﺎﺭ ﻭﺍﺴﻊ ﻓﻲ ﺍﻝﺜﻘﺎﻓﺔ‬
‫ﻱ‪.‬‬
‫ﺍﻷﻨﺩﻝﺴﻴ‪‬ﺔ ﻤﻨﺫ ﺍﻝﻘﺭﻥ ﺍﻝﺜﺎﹼﻝﺙ ﺍﻝﻬﺠﺭ ‪‬‬
‫ﻭﻫﺫﻩ ﺍﻝﺩ‪‬ﺭﺍﺴﺔ ﺘﺒﻴ‪‬ﻥ ﺒﺩﺍﻴﺎﺕ ﺍﻝﺘﺼﻭ‪‬ﻑ ﻓﻲ ﺍﻷﻨﺩﻝﺱ‪ ،‬ﻤﺭﻜﺯﺓ ﻋﻠﻰ ﻗﻀﺎﻴﺎ ﺸﻌﺭ ﺍﻝﺘﺼﻭﻑ ﻭﻤﻀﺎﻤﻴﻨﻪ‪ ،‬ﺤﻴﺙ ﺒﻠﻎ ﺫﺭﻭﺘﻪ ﻓﻲ ﺍﻝﻘﺭﻥ‬
‫ﻱ ﻭﻏﻴﺭﻫﻤﺎ‪.‬‬
‫ﺍﻝﺴ‪‬ﺎﺩﺱ ﺍﻝﻬﺠﺭﻱ‪ ،‬ﻋﻠﻰ ﺃﻴﺩﻱ ﻤﺸﺎﻫﻴﺭ ﺍﻝﺼﻭﻓﻴﺔ ﻤﻥ ﺃﻤﺜﺎل ﺍﺒﻥ ﻋﺭﺒﻲ‪ ،‬ﻭﺍﻝﺸﹼﺸﺘﺭ ‪‬‬
‫ﺏ‬
‫ﻲ ﺤﺘﹼﻰ ﻨﻬﺎﻴﺔ ﻋﺼﺭ ﺍﻝﻤﻭﺤ‪‬ـﺩﻴﻥ‪ ،‬ﻜﺎﻝﺤـ ‪‬‬
‫ﻜﻤﺎ ﺘﺘﻌﺭﺽ ﻫﺫﻩ ﺍﻝﺩ‪‬ﺭﺍﺴﺔ ﻝﻠﻤﻭﻀﻭﻋﺎﺕ ﺍﻝﺘﻲ ﻁﻐﺕ ﻋﻠﻰ ﺍﻝﺸﹼﻌﺭ ﺍﻝﺼ‪‬ﻭﻓﻲ ﺍﻷﻨﺩﻝﺴ ‪‬‬
‫ﺍﻹﻝﻬﻲ‪ ،‬ﻭﺍﻝﻤﻌﺭﻓﺔ ﺍﻝﺭ‪‬ﻭﺤﻴﺔ‪ ،‬ﻭﺍﻝﺨﻤﺭ ﺍﻝﺼ‪‬ﻭﻓﻴﺔ ﺍﻝﺘﻲ ﺘﺭﻤﺯ ﺇﻝﻰ ﺍﻝﻤﺤﺒﺔ ﻭﺃﺤﻭﺍل ﺍﻝﺼﻭﻓﻴﺔ‪. . .‬‬

‫‪Abstract:‬‬
‫‪Sufism has been a prominent movement in Andalus throughout most of its history. It grew out‬‬
‫‪of an early ascetic movement, and it enjoys a large audience in the Andalusian culture since the third‬‬
‫‪century A.H.‬‬
‫‪This research presents the beginnings of Sufism in Andalus , and it focuses on the early Sufis‬‬
‫‪and Their Sufi poetry. Sufi poetry was to grow rapidly in the hands of the great masters of the‬‬
‫‪6th/12th and 7th/13th centuries, such as of Ibn Arabi and Chuchtri with whom Sufi poetry reaches its‬‬
‫‪peak .‬‬
‫‪This research presents also An overriding themes of Sufi poetry in Andalus until the end of‬‬
‫‪Almohad period ,such as divine love that include causes of love, and its signs, the ways to love God,‬‬
‫‪the spiritual knowledge , The special sufi wine That refers to the Love of God and to the situations of‬‬
‫…‪sufis‬‬

‫ﻥ ﺍﻝﺘﹼﺼﻭ‪‬ﻑ ﻤﺒﺎﻝﻐﺔ ﻓﻲ ﺫﻝﻙ‪ .‬ﺇﻨﹼـﻪ "ﺍﻝﻌﻜـﻭﻑ‬

‫ﺇﺫﺍ ﻜﺎﻥ ﺍﻝﺯ‪‬ﻫﺩ ﻋﺯﻭﻓﺎ ﻋﻥ ﻝﺫﺍﺌﺫ ﺍﻝﺩ‪‬ﻨﻴﺎ‪ ،‬ﻭﺍﻜﺘﻔﺎ ‪‬ﺀ ﻤﻨﻬﺎ ﺒﻌﻴﺵ ﺍﻝﻜﻔﺎﻑ‪ ،‬ﻓﺈ ‪‬‬
‫ﻋﻠﻰ ﺍﻝﻌﺒﺎﺩﺓ ﻭﺍﻻﻨﻘﻁﺎﻉ ﺇﻝﻰ ﺍﷲ ﺘﻌﺎﻝﻰ‪ ،‬ﻭﺍﻹﻋﺭﺍﺽ ﻋﻥ ﺯﺨﺭﻑ ﺍﻝﺩ‪‬ﻨﻴﺎ ﻭﺯﻴﻨﺘﻬﺎ‪ ،‬ﻭﺍﻝﺯ‪‬ﻫﺩ ﻓﻴﻤﺎ ﻴﻘﺒل ﻋﻠﻴﻪ ﺍﻝﺠﻤﻬﻭﺭ ﻤﻥ ﻝـﺫﹼﺓ‬
‫ﻭﻤﺎل ﻭﺠﺎﻩ‪ ،‬ﻭﺍﻻﻨﻔﺭﺍﺩ ﻋﻥ ﺍﻝﺨﻠﻕ ﻓﻲ ﺍﻝﺨﻠﻭﺓ ﻝﻠﻌﺒﺎﺩﺓ")‪.(1‬‬
‫ﻭﻝﻘﺩ ﻅﻬﺭ ﺍﻝﺘﹼﺼﻭ‪‬ﻑ ﺒﺘﻁﻭ‪‬ﺭ ﺍﻝﺘﹼﺠﺭﺒﺔ ﺍﻝﺭ‪‬ﻭﺤﻴ‪‬ﺔ ﻝﻠ ‪‬ﺯﻫ‪‬ﺎﺩ ﻭﺍﻝﻨﹼﺴ‪‬ﺎﻙ‪ ،‬ﻓﺒﻠﻐﺕ ﻤﺩﺍﻫﺎ ﻭﺫﺭﻭﺘﻬﺎ ﻋﻨﺩ ﺭﺠﺎل ﻅﻬﺭﻭﺍ ﻓﻲ ﻨﻬﺎﻴﺔ‬
‫ﺍﻝﻤﺎﺌﺔ ﺍﻝﺜﹼﺎﻨﻴﺔ ﻝﻠﻬﺠﺭﺓ)‪ ،(2‬ﺤﻴﺙ ﺇﻨﹼﻪ "ﻝـ ‪‬ﻤﺎ ﻓﺸﺎ ﺍﻹﻗﺒﺎل ﻋﻠﻰ ﺍﻝﺩ‪‬ﻨﻴﺎ ﻓﻲ ﺍﻝﻘﺭﻥ ﺍﻝﺜﹼﺎﻨﻲ ﻭﻤﺎ ﺒﻌﺩﻩ‪ ،‬ﻭﺠﻨﺢ ﺍﻝﻨﹼـﺎﺱ ﺇﻝـﻰ ﻤﺨﺎﻝﻁـﺔ‬
‫ﺹ ﺍﻝﻤﻘﺒﻠﻭﻥ ﻋﻠﻰ ﺍﻝﻌﺒﺎﺩﺓ ﺒﺎﺴﻡ ﺍﻝﺼ‪‬ﻭﻓﻴ‪‬ﺔ ﻭﺍﻝﻤﺘﺼﻭ‪‬ﻓﺔ")‪.(3‬ﻭﺇ ‪‬‬
‫ﻥ ﺘﺤﻭ‪‬ل ﺍﻷﻤﺭ ﻤﻥ ﺯﻫﺩ ﻭﻋﺒﺎﺩﺓ ﺇﻝﻰ ﻨﻅﺭﻴﺎﺕ ﻓﻠﺴﻔﻴ‪‬ﺔ‬ ‫ﺍﻝﺩ‪‬ﻨﻴﺎ‪ ،‬ﺍﺨﺘ ‪‬‬
‫ﺫﺍﺕ ﻁﺎﺒﻊ ﺼﻭﻓﻲ‪ ،‬ﻋﻠﻴﻬﺎ ﻤﺴﺤﺔ ﺍﻝﻐﻠ ‪‬ﻭ ﻭﺍﻝﻐﺭﺒﺔ ﻋﻥ ﺍﻹﺴﻼﻡ‪ ،‬ﻫﻭ ﺩﻝﻴل ﻋﻠﻰ ﺘﻁﻭ‪‬ﺭ ﺍﻝﻨﹼﺯﻋﺔ ﺍﻝﺭ‪‬ﻭﺤﻴ‪‬ﺔ ﻓﻲ ﺍﻹﺴﻼﻡ ﻤﻥ ﺠﻬﺔ‪،‬‬
‫ﻭﺤﺼﻭل ﻋﻤﻠﻴﺔ ﺍﺴﺘﻤﺩﺍﺩ ﻭﺍﺴﻌﺔ ﻤﻥ ﺩﻭﺍﺌﺭ ﺍﻝﻔﻜﺭ ﺍﻷﺠﻨﺒﻴ‪‬ﺔ)‪ ،(4‬ﻴﺭﻯ ﻓﺭﻴﻕ ﺁﺨﺭ ﺃ ‪‬‬
‫ﻥ ﺍﻝﺘﹼﺼﻭ‪‬ﻑ ﻨﺘﺞ ﻜﺭ ‪‬ﺩ ﻓﻌل ﻋﻠـﻰ ﺍﻨﺘﺸـﺎﺭ‬
‫ﺍﻝﺒﺩﻉ‪ ،‬ﻭﻤﻴل ﺒﻌﻀﻬﻡ ﺇﻝﻰ ﺍﻝﺘﹼﺭﻑ)‪.(5‬‬
‫ﻭﻴﺘﺩﺭ‪‬ﺝ ﺍﻝﺴ‪‬ﺎﻝﻙ ﻋﺒﺭ ﻤﻘﺎﻤﺎﺕ ﻤﺨﺼﻭﺼﺔ‪ ،‬ﻭﻓﻕ ﺃﺤﻭﺍل‪" ،‬ﻭﻝﻘﺩ ﻜﺎﻥ ﺍﻝﺘﹼﺼﻭ‪‬ﻑ ﺤﺭﻴﺼﺎ ﻋﻠﻰ ﺘﻘﻨﻴﻥ ﺍﻝﻁﹼﺭﻴﻘﺔ‪ ،‬ﻭﺭﺴـﻡ‬
‫ﻤﻌﺎﻝﻤﻬﺎ ﺍﻹﺠﻤﺎﻝﻴﺔ ﻭﺍﻝﺘﹼﻔﺼﻴﻠﻴ‪‬ﺔ‪ ،‬ﻓﻜﺎﻥ ﻤﻥ ﻤﻌﺎﻝﻤﻬﺎ ﺍﻹﺠﻤﺎﻝﻴﺔ ﻭﻀﻊ ﺭﻜﻨﻴﻥ ﺃﺴﺎﺴﻴﻴﻥ ‪‬ﺒ ‪‬ﻨ ‪‬ﻴﺕﹾ ﻋﻠﻴﻬﺎ ﺍﻝﻁﹼﺭﻴﻘﺔ‪ ،‬ﻭﻫﻤﺎ‪ :‬ﺍﻝﻤﻘﺎﻤـﺎﺕ‬
‫ﻭﺍﻷﺤﻭﺍل‪ .‬ﻭﻜﺎﻥ ﻤﻥ ﻤﻌﺎﻝﻤﻬﺎ ﺍﻝﺘﹼﻔﺼﻴﻠﻴ‪‬ﺔ ﺘﺤﺩﻴﺩ ﺃﺴﻤﺎﺀ ﺍﻝﻤﻘﺎﻤﺎﺕ‪ ،‬ﻭﻤﻌﺎﻨﻴﻬﺎ‪ ،‬ﻭﺃﻋﺩﺍﺩﻫﺎ‪ ،‬ﻭﺘﺭﺘﻴﺒﻬﺎ‪ ،‬ﻭﻜﻴﻔﻴ‪‬ﺔ ﺘﺤﺼﻴﻠﻬﺎ‪ ،‬ﻭﺍﻻﻨﺘﻘﺎل‬
‫ﻤﻥ ﻤﻘﺎﻡ ﺇﻝﻰ ﺁﺨﺭ‪ .‬ﻭﻜﺫﻝﻙ ﺍﻷﺤﻭﺍل‪ ،‬ﻭﺒﻴﺎﻥ ﻋﻼﻗﺘﻬﺎ ﺒﺎﻝﻤﻘﺎﻤﺎﺕ")‪ ،(6‬ﻓﺄﻤ‪‬ﺎ ﺍﻝﻤﻘﺎﻡ ﻓﻬﻭ "ﻤﺎ ﻴﺘﺤﻘﻕ ﺒﻪ ﺍﻝﻌﺒﺩ ﺒﻤﻨﺎﺯﻝﺘﻪ ﻤﻥ ﺍﻵﺩﺍﺏ‪،‬‬

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‫ﻤﻤ‪‬ﺎ ﻴﺘﻭﺼ‪‬ل ﺇﻝﻴﻪ ﺒﻨﻭﻉ ﺘﺼﺭ‪‬ﻑ‪ ،‬ﻭﻴﺘﺤﻘﹼﻕ ﺒﻀﺭﺏ ﺘﻁﻠﹼﺏ‪ ،‬ﻭﻤﻘﺎﺴﺎﺓ ﺘﻜﻠﹼﻑ")‪ ،(7‬ﻭﺃﻤ‪‬ﺎ ﺍﻝﺤﺎل "ﻓﻬﻭ ﻤﺎ ﻴﺭﺩ ﻋﻠﻰ ﺍﻝﻘﻠﺏ ﻤﻥ ﻏﻴﺭ‬
‫ل ﺒﻌﺩ ﺍﻝﻤﺜل ﺇﻝﻰ ﺃﻥ ﻴﺼﻔﻭ ﻭﻻ ﻴﻌﻘﺒﻪ ﺍﻝﻤﺜل)‪.(8‬‬
‫ﺘﻌﻤ‪‬ل ﻭﻻ ﺍﺠﺘﻼﺏ‪ ،‬ﻭﻤﻥ ﺸﺭﻁﻪ ﺃﻥ ﻴﺯﻭل ﻭﻴﻌﻘﺒﻪ ﺍﻝﻤﺜ ُ‬
‫ﻭﻝﻘﺩ ﺃﺼﺒﺢ ﺍﻝﺘﹼﺼﻭ‪‬ﻑ ﻨﺯﻋﺔ ﺒﺎﺭﺯﺓ‪ ،‬ﻭﺴﺠ‪‬ل ﺒﻌﺽ ﺍﻝﺸﹼﻌﺭﺍﺀ ﺘﺠﺎﺭﺒﻬﻡ ﺍﻝﺼ‪‬ﻭﻓﻴ‪‬ﺔ ﺸﻌﺭﺍ‪ ،‬ﻓﻅﻬـﺭ ﺸـﻌﺭ ﺍﻝﺘﹼﺼـﻭ‪‬ﻑ –‬
‫ﻲ‪.‬‬
‫ل ﺤﻴ‪‬ﺯﺍ ﻜﺒﻴﺭﺍ ﻓﻲ ﺍﻝﺸﹼﻌﺭ ﺍﻝﻌﺭﺒ ‪‬‬
‫ﺒﺴﻤﺎﺘﻪ ﺍﻝﻔﻨﻴ‪‬ﺔ ﻭﺨﺼﺎﺌﺼﻪ ﺍﻝﻤﻤﻴ‪‬ﺯﺓ‪ -‬ﻏﺭﻀﺎ ﻴﺤﺘ ّ‬
‫ﻭﺇﺫﺍ ﻨﻤﺎ ﺍﺘﹼﺠﺎﻩ ﺍﻝﺘﹼﺼﻭ‪‬ﻑ ﻓﻲ ﺍﻷﻨﺩﻝﺱ ﺒﻭﺘﻴﺭﺓ ﺘﻀﺎﻓﺭﺕ ﻓﻲ ﺘﺒﻠﻭﺭﻫﺎ ﺍﻝﻌﻭﺍﻤل ﺍﻝﺴ‪‬ﻴﺎﺴﻴ‪‬ﺔ ﻭﺍﻝﺩ‪‬ﻴﻨﻴ‪‬ﺔ ﻭﺍﻻﺠﺘﻤﺎﻋﻴ‪‬ـﺔ‪ ،‬ﻓﻤـﺎ‬
‫ﻤﻀﺎﻤﻴﻥ ﺸﻌﺭ ﺍﻝﺘﹼﺼﻭ‪‬ﻑ ‪ ،‬ﻭﻤﺎ ﻗﻀﺎﻴﺎﻩ؟ ﻭﻜﻴﻑ ﺍﺨﺘﻠﻑ ﺸﻌﺭ ﺍﻝﺘﹼﺼﻭ‪‬ﻑ ﻋﻥ ﺸﻌﺭ ﺍﻝﺯ‪‬ﻫﺩ؟ ﻭﻫل ﺍﺴﺘﻁﺎﻉ ﺍﻝﺸﹼﻌﺭ ﺃﻥ ﻴﻌﻜـﺱ‬
‫ﺍﻝﺘﹼﺠﺭﺒﺔ ﺍﻝﺸﹼﻌﺭﻴ‪‬ﺔ ﻝﻠﺘﹼﺼﻭ‪‬ﻑ؟‬

‫ﺸﻌﺭ ﺍﻝﺘﹼﺼﻭ‪‬ﻑ ﻓﻲ ﺍﻷﻨﺩﻝﺱ‪:‬‬

‫ﻥ ﺒﺩﺍﻴﺎﺕ ﺸﻌﺭ ﺍﻝﺘﹼﺼﻭ‪‬ﻑ ﻜﺎﻨﺕ ﻻ ﺘﻌﺩﻭ ﺸﻜﻼ ﻤﻥ ﺃﺸﻜﺎل ﺍﻝﺯ‪‬ﻫﺩ‪ ،‬ﻭ "ﺇﺫﺍ ﺒﺤﺜﻨﺎ ﻋﻥ ﺃﻭ‪‬ﻝﻴﺎﺕ ﺸﻌﺭ ﺍﻝﺘﹼﺼﻭ‪‬ﻑ ﻓﺈﻨﹼﻨـﺎ ﻻ‬
‫ﺇ‪‬‬
‫ﻻ ﺒﺄﺸﻌﺎﺭ ﺯﻫﺩﻴ‪‬ﺔ ﻋﺎﺩﻴﺔ")‪.(9‬‬
‫ﻨﻠﺘﻘﻲ ﺇ ﹼ‬
‫ﻲ‬
‫ﻱ )‪429‬ﻫـ( ﺃﻭ‪‬ل ﻤﻥ "ﻋﻤﺩ ﺇﻝﻰ ﺃﺴـﻠﻭﺏ ﺍﻝﻤﻨﺎﺠـﺎﺓ ﺍﻝﺼ‪‬ـﻭﻓ ‪‬‬
‫ﻭ ‪‬ﻴ ‪‬ﻌ ‪‬ﺩ ﻜﺜﻴﺭ ﻤﻥ ﺍﻝﺒﺎﺤﺜﻴﻥ ﺃﺒﺎ ﻋﻤﺭ ﺒﻥ ﻋﻴﺴﻰ ﺍﻹﻝﺒﻴﺭ ‪‬‬
‫ﺍﻝﺨﺎﻝﺹ ﺴﺎﻝﻜﺎ ﺴﺒﻴل ﺃﻫل ﺍﻝﻁﹼﺭﻴﻕ ﺘﺄﻤ‪‬ﻼ ﻭﺘﺸﻭ‪‬ﻗﺎ ﻭﺴﻜﺭﺍ ﻭﻓﻨﺎ ‪‬ﺀ ﻭﻜﺸﻔﺎ ﻭﺤﻨﻴﻨﺎ ﻭﺍﺭﺘﻴﺎﺤﺎ")‪ ،(10‬ﻭﻴﺴﺘﺩﻝﹼﻭﻥ ﻓﻲ ﺫﻝﻙ ﺒﻘﺼـﻴﺩﺘﻪ‬
‫ﺍﻝﺘﻲ ﻤﻁﻠﻌﻬﺎ‪:‬‬

‫ﺏ)‪.(11‬‬
‫ﻑ ﺍﻝﻌﻘل ﻓﻲ ﺭﻭﻀﺔ ﺍﻝﺤ ‪‬‬
‫ﺭﺤﻴﻘﺎ ﺒﻜ ﹼ‬ ‫ﺏ‬
‫ﺏ ﻤﻥ ﺠﻭﻫﺭ ﺍﻝﺤ ‪‬‬
‫ﺸﺭﺒﺕ ﺒﻜﺄﺱ ﺍﻝﺤ ‪‬‬

‫ﻥ ﺸﻌﺭ‬
‫ﻱ ﻤﺘﺼﻭ‪‬ﻓﺎ‪ ،‬ﻓﻼ ﻴﺩﺭﺝ ﺸﻌﺭﻩ ﻀﻤﻥ ﺸﻌﺭ ﺍﻝﺘﹼﺼﻭ‪‬ﻑ‪ ،‬ﻭﻴﻌﺘﻘﺩ "ﺃ ‪‬‬
‫ﻥ ﺒﻌﻀﻬﻡ ﻻ ﻴﺭﻯ ﻓﻲ ﺃﺒﻲ ﻋﻤﺭ ﺍﻹﻝﺒﻴﺭ ‪‬‬
‫ﻋﻠﻰ ﺃ ‪‬‬
‫ﺍﻹﻝﺒﻴﺭﻱ‪ ‬ﻝﻴﺱ ﻓﻴﻪ ﺍﻝﺭ‪‬ﻭﺡ ﺍﻝﺼ‪‬ﻭﻓﻴ‪‬ﺔ ﺍﻝﻭﺍﻀﺤﺔ ﺃﻜﺜﺭ ﻤﻥ ﻜﻭﻨﻪ ﺸﻌﺭﺍ ﻴﻨﺎﺠﻲ ﺍﻝﻌﺒﺩ ﻓﻴﻪ ﺭﺒ‪‬ﻪ‪ ،‬ﻤﻊ ﻭﺠﻭﺩ ﻨﺯﻋﺔ ﺼﻭﻓﻴ‪‬ﺔ ﻤﻘﺭﻭﻨﺔ‬
‫ﻱ ﻜﺎﻥ ﻓﻲ ﻓﺘﺭﺓ ﻝﻡ ﻴﺒﻠـﻎ‬ ‫ﺒﻌﻘﻴﺩﺓ ﺍﻻﻋﺘﺯﺍل ﺍﻝﺘﻲ ﺘﻨﺯ‪‬ﻩ ﺍﷲ ﺘﻌﺎﻝﻰ ﻋﻥ ﻤﺸﺎﺒﻬﺔ ﺍﻝﻤﺨﻠﻭﻗﻴﻥ")‪ ،(12‬ﻭﺇ ‪‬‬
‫ﻥ ﻤﺎ ﻨﻅﻤﻪ ﺃﺒﻭ ﻋﻤﺭ ﺍﻹﻝﺒﻴﺭ ‪‬‬
‫ﻓﻴﻬﺎ ﺍﻝﺘﹼﺼﻭ‪‬ﻑ ﻤﺭﺤﻠﺔ ﺍﻝﻨﹼﻀﺞ ﺒﻌﺩ‪ ،‬ﻓﻜﺎﻥ ﺃﻗﺭﺏ ﺇﻝﻰ ﺍﻝﺯ‪‬ﻫﺩ ﻭﺍﻝﻤﻨﺎﺠﺎﺓ ﻭﺍﻝﺘﹼﻭﺴ‪‬ل‪.‬‬
‫ﻲ ﻻ ﺘﻨﻜﺭ ﻨﺴﺒﺘﻪ ﺇﻝﻰ ﺍﻝﺘﹼﺼﻭ‪‬ﻑ‪ ،‬ﻭﻻ ﺘﺨﺘﻠﻑ ﻋﻠﻴﻪ ﺍﻷﻗـﻭﺍل‪،‬‬
‫ﻥ ﺃﻭ‪‬ل ﺸﻌﺭ ﺼﻭﻓ ‪‬‬
‫ل ﺍﻝﺒﺎﺤﺜﻴﻥ ﻴﺘﹼﻔﻘﻭﻥ ﻋﻠﻰ ﺃ ‪‬‬
‫ﻥﺠّ‬
‫ﻋﻠﻰ ﺃ ‪‬‬
‫ﻲ ﻓﻲ ﺍﻝﺸﹼﻌﺭ‪ ،‬ﺒﺎﻋﺘﺒﺎﺭﻩ‪ ،‬ﻫﻭ ﺴ ‪‬ﺭ ﺨﻠﻕ ﺍﷲ ﻝﻠﻌﺎﻝﻡ")‪.(14‬‬ ‫ﻫﻭ ﺸﻌﺭ ﺍﺒﻥ ﺍﻝﻌﺭﻴﻑ)‪ ،(13‬ﻓﻬﻭ ﺍﻝﺫﻱ "ﺩﺸﹼﻥ ﺤﺭﻜﺔ ﺍﻝﺤ ‪‬‬
‫ﺏ ﺍﻹﻝﻬ ‪‬‬
‫ﻻ ﻋﻠﻰ ﻴـﺩ ﺍﺒـﻥ‬
‫ﻲ ﻝﻠﺸﹼﻌﺭ – ﺍﻝﺘﻲ ﺒﺩﺃﺕ ﻋﻠﻰ ﻴﺩ ﺃﺒﻲ ﺍﻝﻌﺒ‪‬ﺎﺱ ﺒﻥ ﺍﻝﻌﺭﻴﻑ‪ -‬ﺫﺭﻭﺘﻬﺎ ﺇ ﹼ‬
‫ﺏ ﺍﻹﻝﻬ ‪‬‬
‫ﻭﻝﻥ ﺘﺼل ﺤﺭﻜﺔ ﺍﻝﺤ ‪‬‬
‫ﻲ ﻓﻲ ﺩﻴﻭﺍﻨﻪ "ﺘﺭﺠﻤﺎﻥ ﺍﻷﺸﻭﺍﻕ")‪.(15‬‬
‫ﻋﺭﺒ ‪‬‬
‫ﻲ ﺃﻥ ﻴـﺯﺍﺤﻡ‬
‫ﻱ ﺍﻝﺤﻕﹼ؛ ﺇﺫ ﻓﻴﻪ ﻨﻔﺤﺎﺕ ﺸﻌﺭﻴ‪‬ﺔ‪ ،‬ﻭﺒﻬﺫﺍ ﺍﻝﺩ‪‬ﻴﻭﺍﻥ ﻴﺴﺘﻁﻴﻊ ﺍﺒﻥ ﻋﺭﺒ ‪‬‬
‫ﻭﻴﻌ ‪‬ﺩ ﺘﺭﺠﻤﺎﻥ ﺍﻷﺸﻭﺍﻕ ﺍﻷﺜﺭ ﺍﻝﺸﹼﻌﺭ ‪‬‬
‫ﺍﻷﻗﻁﺎﺏ ﻤﻥ ﺸﻌﺭﺍﺀ ﺍﻝﺼ‪‬ﻭﻓﻴ‪‬ﺔ)‪ ،(16‬ﻭﻤﻊ ﺃﻨﹼﻪ ﺘﺭﻙ ﻤﻥ ﺍﻝﺸﹼﻌﺭ ﺘﺭﻜﺔ ﻏﺯﻴﺭﺓ‪ ،‬ﻓﻠﻪ ﺩﻴـﻭﺍﻥ ﻀﺨﻡ‪ ،‬ﻭﻜﺘﺎﺏ ﺍﻝﻔﺘﻭﺤﺎﺕ ﺫﺍﺘﹸﻪ ﻴﻘﻭﻡ‬
‫ﻓﻲ ﺍﻷﻏﻠﺏ ﻋﻠﻰ ﺸﺭﺡ ﻤﻘﻁﻭﻋﺎﺕ ﺸﻌﺭﻴ‪‬ﺔ‪ ،‬ﻭﺃﺸﻌﺎﺭﻩ ﻜﻠﹼﻬﺎ ﺭﻤﺯﻴﺎﺕ‪ ،‬ﻜﻤﺎ ﻴﺭﻴﺩ ﺃﻥ ﺘﻜﻭﻥ‪ ،‬ﻭﻫﻲ ﻻ ﺘﺨﻠﻭ ﻤﻥ ﻁﻼﻭﺓ‪ ،‬ﻭﻗﺩ ﻴﻘﻊ‬
‫ﻓﻴﻬﺎ ﻤﻥ ﻁﺭﻴﻑ ﺍﻝﺨﻴﺎل)‪.(17‬‬
‫ل ﺴﺒﺒﻪ ﺇﺨﻔﺎﺀ ﺍﻝﻤﺘﺼﻭ‪‬ﻓﺔ ﻝﻭﺍﻋﺠﻬﻡ ﺩﻓﻌﺎ ﻻﺘﹼﻬـﺎﻤﻬﻡ ﺒﺎﻝﺒـﺩﻉ‪،‬‬
‫ﻲ ﻗﺒل ﻫﺫﻩ ﺍﻝﻤﺭﺤﻠﺔ ﻓﻠﻌ ّ‬
‫ﻭﺃﻤ‪‬ﺎ ﺘﺄﺨﹼﺭ ﻨﻀﺞ ﺍﻝﺸﹼﻌﺭ ﺍﻝﺼ‪‬ﻭﻓ ‪‬‬
‫ﺤﻴﺙ ﺍﺴﺘﻤ ‪‬ﺭ ﺭﻓﺽ ﺍﻝﻤﺠﺘﻤﻊ ﻓﻘﻬﺎﺌﻪ ﻭﺴﻠﻁﺘﻪ ﻝﻠﺘﹼﺼﻭ‪‬ﻑ‪.‬‬
‫ﻥ ﻋﻬﺩ ﺍﻝﻤﻭﺤ‪‬ﺩﻴﻥ ﻴﻤﺜﹼل ﺍﻝﺫﹼﺭﻭﺓ ﻓﻲ ﺍﺯﺩﻫﺎﺭ ﺸﻌﺭ ﺍﻝﺘﹼﺼﻭ‪‬ﻑ‪ ،‬ﻭﻓﻀﻼ ﻋﻥ ﺘﺭﺠﻤﺎﻥ ﺍﻷﺸﻭﺍﻕ ﺘﻁﺎﻝﻌﻨﺎ ﻨﺼﻭﺹ ﻜﺜﻴﺭﺓ‬
‫ﻭﺇ ‪‬‬
‫ﻱ ﻭﺃﺒﻲ ﻤﺩﻴﻥ ﻭﺴﻭﺍﻫﻡ‪.‬‬
‫ﻲ ﻭﺍﻝﺸﹼﺸﺘﺭ ‪‬‬
‫ﻻﺒﻥ ﻋﺭﺒ ‪‬‬

‫ﻲ‪:‬‬
‫ﻤﻀﺎﻤﻴﻥ ﺸﻌﺭ ﺍﻝﺘﹼﺼﻭ‪‬ﻑ ﺍﻷﻨﺩﻝﺴ ‪‬‬
‫ﺏ ﺍﻹﻝﻬـﻲ‪ ،‬ﻭﺍﻝﺨﻤـﺭ‬
‫ﻴﺠﺩ ﺍﻝﻤﺘﺘﺒ‪‬ﻊ ﻝﺸﻌﺭ ﺍﻝﺘﹼﺼﻭ‪‬ﻑ ﻓﻲ ﺍﻷﻨﺩﻝﺱ ﺃﻨﹼﻪ ﻴﻨﺤﺼﺭ ﻓﻲ ﺜﻼﺜﺔ ﻤﻀﺎﻤﻴﻥ ﺃﺴﺎﺴﻴ‪‬ﺔ‪ ،‬ﻫﻲ‪ :‬ﺍﻝﺤ ‪‬‬
‫ﺍﻝﺼ‪‬ﻭﻓ‪‬ﻴﺔ‪ ،‬ﻭﺍﻷﻓﻜﺎﺭ ﺍﻝﻔﻠﺴﻔﻴ‪‬ﺔ‪.‬‬

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د‪/09‬د‪2015‬‬

‫ل ﺍﻝﺘﹼﺼﻭ‪‬ﻑ ﻓﻲ ﺍﻝﻘﺭﻨﻴﻥ ﺍﻝﺴ‪‬ﺎﺩﺱ ﻭﺍﻝﺴ‪‬ﺎﺒﻊ ﺍﻝﻬﺠﺭﻴﻴﻥ ﻋﻥ ﺍﻝﺯ‪‬ﻫﺩ‪ ،‬ﺇﺫ ﺃﺼﺒﺤﻨﺎ ﻨﺠﺩ ﺸﻌﺭﺍ ﻗﺎﺌﻤﺎ ﻋﻠﻰ ﻨﺯﻋـﺔ‬
‫ﻭﻝﻘﺩ ﺍﺴﺘﻘ ّ‬
‫ﻲ ﺒﻠﻐـﺔ‬
‫ﻓﻠﺴﻔﻴ‪‬ﺔ‪ ،‬ﻭﻨﻅﺭﻴﺎﺕ ﺘﺤﻴل ﻋﻠﻰ ﻭﺤﺩﺓ ﺍﻝﻭﺠﻭﺩ ﻭﻤﺸﻜﻠﺔ ﺍﻝﻤﻌﺭﻓﺔ‪ ،‬ﻭﺇﺫﺍ ﻜﺎﻥ ﺸﻌﺭﺍﺀ ﺍﻝﺯ‪‬ﻫﺩ ﻴﻌﺒ‪‬ﺭﻭﻥ ﻋﻥ ﺍﺘﹼﺠﺎﻫﻬﻡ ﺍﻝﺩ‪‬ﻴﻨ ‪‬‬
‫ﻥ ﺒﻌﺽ ﺍﻝﻘﺼـﺎﺌﺩ‬
‫ﻥ ﺸﻌﺭﺍﺀ ﺍﻝﺘﹼﺼﻭ‪‬ﻑ ﺃﻏﺭﻗﻭﺍ ﻓﻲ ﺍﻝﺭ‪‬ﻤﻭﺯ ﻭﺍﻻﺼﻁﻼﺤﺎﺕ ﻭﺍﻹﻴﻤﺎﺀﺍﺕ‪ ،‬ﺒل ﺇ ‪‬‬
‫ﺴﻬﻠﺔ ﺒﻌﻴﺩﺓ ﻋﻥ ﺍﻝﻐﻤﻭﺽ‪ ،‬ﻓﺈ ‪‬‬
‫ﻲ ﻓﻲ ﺘﺭﺠﻤﺎﻥ ﺍﻷﺸﻭﺍﻕ‪.‬‬
‫ﻥ ﺘﺄﻭﻴﻠﻬﺎ ﺒﻌﻴﺩ ﻋﻤ‪‬ﺎ ﻨﻔﻬﻤﻪ ﻤﻥ ﺍﻝﻅﹼﺎﻫﺭ‪ ،‬ﻜﻘﺼﺎﺌﺩ ﺍﺒﻥ ﻋﺭﺒ ‪‬‬
‫ﻅﺎﻫﺭﻫﺎ ﻭﺍﻀﺢ‪ ،‬ﺒﻴﺩ ﺃ ‪‬‬
‫ﻲ‪:‬‬
‫ﻓﺈﺫﺍ ﻗﺎل ﺍﺒﻥ ﻋﺭﺒ ‪‬‬

‫ﻭﺴل ﺍﻝﺭ‪‬ﺒﻭﻉ ﺍﻝﺩ‪‬ﺍﺭﺴﺎﺕ ﺴﺅﺍ ﹶﻻ‬

‫ﻗﻑ ﺒﺎﻝﻤﻨﺎﺯل‪ ،‬ﻭﺍﻨﺩﺏ ﺍﻷﻁﻼﻻ‬
‫)‪(18‬‬
‫ﻫﺎﺘﻴﻙ ﺘﻘﻁـﻊ ﻓﻲ ﺍﻝﻴﺒﺎﺏ ﺃﻻ ﹶﻻ؟‬ ‫ﺃﻴﻥ ﺍﻷﺤ ‪‬ﺒﺔ؟ ﺃﻴﻥ ﺴﺎﺭﺕ ﻋﻴﺴﻬﻡ‬

‫ﻥ ﺘﺄﻭﻴﻠﻬﻤﺎ ﻤﻥ ﻗﺒـل‬
‫ﻥ ﻅﺎﻫﺭ ﻫﺫﻴﻥ ﺍﻝﺒﻴﺘﻴﻥ ﺩﻋﻭﺓ ﻝﻠﻭﻗﻭﻑ ﻋﻠﻰ ﺍﻷﻁﻼل‪ ،‬ﻭﺴﺅﺍﻝﻬﺎ ﻋﻥ ﺍﻷﺤﺒ‪‬ﺔ ﺍﻝﺫﻴﻥ ﻅﻌﻨﻭﺍ‪ ،‬ﺒﻴﺩ ﺃ ‪‬‬
‫ﻓﺈ ‪‬‬
‫ﻕ ﻤﻥ ﻗﻠﺒﻪ ﺒﺎﻝﻤﻨﺎﺯل‪ ،‬ﻴﺭﻴﺩ ﺒﺎﻝﻤﻘﺎﻤﺎﺕ‬
‫ﺼﺎﺤﺒﻬﻤﺎ ﻴﻜﺸﻑ ﻋﻥ ﺒ‪‬ﻌﺩ ﺍﻝﻅﹼﺎﻫﺭ ﻋﻥ ﺍﻝﺒـﺎﻁﻥ‪ ،‬ﻓﻬـﻭ ﻴﻘﻭل‪" :‬ﻗﻑ ﺒﻲ ﻝﺩﺍﻋﻲ ﺍﻝﺤ ﹼ‬
‫ﺍﻝﺘﻲ ﻴﻨﺯﻝﻬﺎ ﺍﻝﻌﺎﺭﻓﻭﻥ ﺒﺎﷲ ﻓﻲ ﺴﻴﺭﻫﻡ ﺇﻝﻰ ﻤﺎ ﻻ ﻴﺘﻨﺎﻫﻰ ﻤﻥ ﻋﻠﻤﻬﻡ ﺒﻤﻌﺒﻭﺩﻫﻡ‪.(19)"...‬‬
‫ﻲ ﻋﻠﻰ ﻜﺜﻴﺭ ﻤﻥ ﺍﻝﻘﺭﺍﺀﺍﺕ‪ ،‬ﻭﺍﻝﺸﹼﻌﺭﺍﺀ ﺍﻝﺼ‪‬ﻭﻓﻴ‪‬ﻭﻥ "ﻫﻡ ﺃﺒﺭﺯ ﻤﻥ ﻤﺎﺭﺱ ﺇﻋﺎﺩﺓ‬
‫ﺹ ﺍﻝﺼ‪‬ﻭﻓ ‪‬‬
‫ل ﻋﻠﻰ ﺍﻨﻔﺘﺎﺡ ﺍﻝﹼﻨ ‪‬‬
‫ﻭﻫﺫﺍ ﻴﺩ ّ‬
‫ﻱ ﻓﻲ ﺍﻝﺸﹼﻌﺭ ﻗﺩﻴﻤﺎ‪ ،‬ﻋﻥ ﻁﺭﻴﻕ ﻨﺯﻉ ﺍﻝﺩ‪‬ﻻﻻﺕ ﺍﻷﻭﻝﻰ ﺍﻝﺤﺴﻴ‪‬ﺔ ﺍﻝﺩ‪‬ﻨﻴﻭﻴ‪‬ﺔ ﺒﻜﻠﻤﺎﺕ ﺘﺘﹼﺼـل ﺒﻤﺠـﺎﻻﺕ ﺍﻝﺠـﻨﺱ‬
‫ﺍﻝﺘﹼﺸﻔﻴﺭ ﺍﻝﻠﹼﻐﻭ ‪‬‬
‫ﻭﺍﻝﺨﻤﺭ ﻭﺤﺎﻻﺕ ﺍﻝﻨﹼﻔﺱ‪ ،‬ﻹﺩﺭﺍﺠﻬﺎ ﻓﻲ ﺃﻨﺴﺎﻕ ﺭﻤﺯﻴ‪‬ﺔ ﺠﺩﻴﺩﺓ ﻤﺭﺘﺒﻁﺔ ﺒﻤﻭﺍﺠﺩﻫﻡ ﻭﻋﺎﻝﻤﻬﻡ")‪.(20‬‬
‫ﻥ ﺍﻝﻐﻤﻭﺽ ﺴﻤﺔ ﻤﻤﻴ‪‬ﺯﺓ ﻝﻠﻘﺼﻴﺩﺓ ﺍﻝﺼ‪‬ﻭﻓﻴ‪‬ﺔ‪ ،‬ﻓﺈﻨﹼﻨﺎ ﻨﻠﻔﻲ ﻤﻘﻁﻭﻋﺎﺕ ﻭﻗﺼـﺎﺌﺩ ﺘﺘﹼﺴـﻡ ﺒﻘـﺩﺭ ﻤـﻥ‬
‫ﻭﻋﻠﻰ ﺍﻝﺭ‪‬ﻏﻡ ﻤﻥ ﺃ ‪‬‬
‫ﺍﻝﻭﻀﻭﺡ‪.‬‬
‫ﻲ ﻋﻠﻰ ﻫﺫﺍ ﺍﻝﻌﻬﺩ ﻨﺼﻭﺼﺎ ﻏﺯﻴﺭﺓ ﺘﻨﺩﺭﺝ ﻀﻤﻥ ﺍﻝﻐﺯل ﺍﻝﺼ‪‬ﻭﻓﻲ‪ ،‬ﻭﻫﻲ ﺍﻝﻘﺼﺎﺌﺩ ﺍﻝﺘﻲ‬
‫ﻭﻴﻅﻔﺭ ﺍﻝﻤﺘﺘﺒ‪‬ﻊ ﻝﻠﺸﹼﻌﺭ ﺍﻝﺼ‪‬ﻭﻓ ‪‬‬
‫ﺏ ﻫﻭ ﺭﻭﺡ ﺍﻝﺘﹼﺼﻭ‪‬ﻑ‪ ،‬ﻭﻫﻭ ﺸﻌﺎﺭﻩ ﻭﺩﺜﺎﺭﻩ‪ ،‬ﻭﻫﻭ ﺍﻝﺤﺎل ﺍﻝﻤﺸﺘﺭﻙ ﺒﻴﻥ ﺍﻝﻤﺘﺼﻭ‪‬ﻓﺔ ﺠﻤﻴﻌـﺎ‪،‬‬
‫ﺏ ﺍﻹﻝﻬﻲ‪ ،‬ﻭ"ﺍﻝﺤ ‪‬‬
‫ﻤﻭﻀﻭﻋﻬﺎ ﺍﻝﺤ ‪‬‬
‫ﺏ ﻋﻨﺩ ﺍﻝﻤﺘﺼﻭ‪‬ﻓﺔ ﻻ ﻴﻤﻜﻥ ﺘﺤﺩﻴﺩﻩ ﻭﻻ ﺘﻌﺭﻴﻔﻪ‪ ،‬ﻭﻻ ﺸﺭﺡ ﺤﻘﺎﺌﻘﻪ‪ ،‬ﻭﺇﻨﹼﻤﺎ ‪‬ﻴﺤـﺩ‪‬ﺩ ﺒـﺎﻝﻠﹼﻔﻅ ﻓﻘـﻁ‪ ،‬ﻭﻴﻌـﺭﻑ ﺒـﺎﻝﻌﺭﻑ‬
‫ﻭﺍﻝﺤ ‪‬‬
‫ﻭﺍﻻﺼﻁﻼﺡ")‪.(21‬‬
‫ﺏ ﻭﺘﺼﻭﻴﺭﻩ؛ ﻓﻠﻘﺩ ﺸﻐﻠﻬﻡ ﻭﻤﻸ ﺃﻓﺌﺩﺘﻬﻡ‪ ،‬ﻓﺘﺠﺩﻫﻡ ﻴﺫﻭﺒﻭﻥ ﺸﻭﻗﺎ ﺒﻌﺩ‬
‫ﻭﻝﻘﺩ ﺃﺴﻬﺏ ﺸﻌﺭﺍﺀ ﺍﻝﺘﹼﺼﻭ‪‬ﻑ ﻓﻲ ﻭﺼﻑ ﻫﺫﺍ ﺍﻝﺤ ‪‬‬
‫ﻲ ﺒﺎﻝﻌﺯ‪‬ﺓ ﺍﻹﻝﻬﻴﺔ‪:‬‬
‫ﺃﻥ ﺁﻝﻤﻬﻡ ﺍﻝﻬﺠﺭ‪ ،‬ﻴﻘﻭل ﺍﺒﻥ ﻁﻔﻴل ﻓﻲ ﺍﻝﻐﺯل ﺍﻝﺼ‪‬ﻭﻓ ‪‬‬

‫ﻭَﺃﺴ‪ ‬ﺭﺕﹾ ﺇﻝﻰ ﻭﺍﺩﻱ ﺍﻝﻌﻘﻴﻕ ﻤﻥ ﺍﻝﺤـ ‪‬ﻤﻰ‬

‫ﺃﹶﻝ ‪‬ﻤﺕﹾ ﻭﻗﺩ ﻨﺎﻡ ﺍﻝ ‪‬ﻤﺸﻴـﺢ ﻭ ‪‬ﻫ ‪‬ﻭ ‪‬ﻤـﺎ‬
‫ﺴﻤﺎ‬
‫ـﺎ ‪‬ﻤ ﹶﻘ ‪‬‬
‫ﺏ ﹶﻨﻬ‪‬ﺒ ً‬
‫ﻓﻤﺎ ﺯﺍل ﺫﺍﻙ ﺍﻝ ﱡﺘﺭ‪ ‬‬ ‫ﺏ ﺫﻴﹶﻠﻬﺎ‬
‫ﺼ ﹺ‬
‫ﺏ ﺍﻝﻤﺤ ‪‬‬
‫ﻭﺠ ‪‬ﺭﺕﹾ ﻋﻠﻰ ﹸﺘـﺭ‪ ‬ﹺ‬
‫ﻭﺃﻥ‪ ‬ﺴ‪‬ﺭﺍﻫ‪‬ﺎ ﻓﻴﻪ ﻝﻥ ﻴﺘﻜ ﱠﺘﻤﺎ‬ ‫ﺠ ﱡﻨﻬﺎ‬
‫ﻭﹶﻝﻤ‪‬ـﺎ ﺭﺃﺕﹾ ﺃﻥ ﻻ ﻅﻼ ‪‬ﻡ ‪‬ﻴ ‪‬‬
‫ﺴﻤﺎ‬
‫ﻓﺄﺒﺩﺕﹾ ﻤ‪‬ﺤ ‪‬ﻴﺎ ‪‬ﻴﺩ ‪‬ﻫﺵ ﺍﻝﻤﺘﻭ ‪‬‬ ‫ﺤ ‪‬ﺭ ﻭﺠﻬﻬﺎ‬
‫ﺕ ﺍﻝ ‪‬ﺭﻴ‪‬ﻁ ﻋﻥ ‪‬‬
‫ﻨﻀﺕﹾ ﻋﺫﺍﺒﺎ ‪‬‬
‫ﺏ ﺠ ‪‬ﻤﺎﻝِﻬﺎ‬
‫ﻓﻜﺎﻥ ﺘﹶﺠﻠﹼﻴﻬـﺎ ﺤﺠﺎ ‪‬‬
‫ﺸﻰ ﺒﻬﺎ ﺍﻝﻁﹼﺭﻑ ﹶﻜﹶﻠﻤ‪‬ﺎ )‪.(22‬‬
‫ﻜﺸﻤﺱ ﺍﻝﻀ‪‬ﺤﻰ ‪‬ﻴﻌ‪ ‬ﹶ‬

‫ﻓﺎﻝﻌﺯ‪‬ﺓ ﺍﻹﻝﻬﻴ‪‬ﺔ ﻓﻲ ﻫﺫﻩ ﺍﻷﺒﻴﺎﺕ ﺃﻨﺜﻰ ﺴﺭﺕ ﻭﺍﻨﻜﺸﻔﺕ ﻝﻠﺸﹼﺎﻋﺭ ﺒﻌﺩ ﻁﻭل ﺘﻬﺎﺠﺭ ﻭﺍﻨﺘﻅﺎﺭ ﻭﻴﺄﺱ‪ ،‬ﻭﻓﻲ ﻫﺫﻩ ﺍﻷﺒﻴـﺎﺕ‬
‫ﻲ ﻓﻲ ﺍﻨﺴﺠﺎﻤﻪ ﻭﺘﻭﺍﻓﻕ ﻁﺭﻓﻴﻪ ﺍﻝﻤﺘﻘﺎﺒﻠﻴﻥ ﻋﻠﻰ ﻨﻅـﺭﻴﺘﻬﻡ ﻓـﻲ‬
‫ﺏ ﺍﻹﻝﻬ ‪‬‬
‫ﻴﻅﻬﺭ ﺍﻝﺘﹼﺠﻠﹼﻲ ﻭﺍﻝﻤﺸﺎﻫﺩﺓ‪" ،‬ﻭﻝﻘﺩ ﺃﺴ‪‬ﺱ ﺍﻝﺼ‪‬ﻭﻓﻴ‪‬ﺔ ﺍﻝﺤ ‪‬‬
‫ﺍﻝﺘﹼﺠﻠﹼﻲ ﻭﺍﻝﺸﹼﻬﻭﺩ")‪.(23‬‬
‫ل ﻗﺼﻴﺩﺘﻪ ﺒﻤﻘﺩ‪‬ﻤﺔ ﻁﻠﻠﻴ‪‬ﺔ ﻋﻠـﻰ‬
‫ﻭﻝﻘﺩ ﺴﻠﻙ ﺸﻌﺭﺍﺀ ﺍﻝﺘﹼﺼﻭ‪‬ﻑ ﻁﺭﻗﺎ ﻤﺘﻌﺩ‪‬ﺩﺓ ﻓﻲ ﺍﻝﺘﹼﻌﺒﻴﺭ ﻋﻥ ﺍﻝﺤﺏ‪‬؛ ﻓﻨﺠﺩ ﺒﻌﻀﻬﻡ ﻴﺴﺘﻬ ّ‬
‫ﻲ ﻓﻲ ﺍﻝﺘﹼﺭﺠﻤﺎﻥ ﻏﻴﺭﻤﺎ ﻗﺼﻴﺩﺓ ﻴﻨﺤﻭ ﻓﻴﻬﺎ‬
‫ﻏﺭﺍﺭ ﺸﻌﺭﺍﺀ ﺍﻝﺠﺎﻫﻠﻴ‪‬ﺔ‪ ،‬ﻓﻴﻘﻑ ﻋﻠﻰ ﺍﻷﻁﻼل‪ ،‬ﻭﻴﺒﻜﻲ ﺍﻝﺩ‪‬ﻴﺎﺭ ﻭﺍﻝﺭ‪‬ﺴﻭﻡ‪ .‬ﻭﻻﺒﻥ ﻋﺭﺒ ‪‬‬
‫ﻫﺫﺍ ﺍﻝﻤﻨﺤﻰ‪ ،‬ﻴﻘﻭل‪:‬‬

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د‪/09‬د‪2015‬‬

‫ﻓﺄﻨﺦ ﺭﻜﺎﺌﺒﻨﺎ‪ ،‬ﻓﻬﺫﺍ ﺍﻝـﻤﻭﺭ ‪‬ﺩ‬ ‫ﺒﺎﻝﺠﺯﻉ ﺒﻴﻥ ﺍﻷﺒﺭﻗﻴﻥ ﺍﻝﻤﻭﻋﺩ‬

‫)‪(24‬‬
‫ﻴﺎ ﺤﺎﺠﺭ‪ ،‬ﻴﺎ ﺒﺎﺭﻕ‪ ،‬ﻴﺎ ﺜﻬﻤ ‪‬ﺩ‬ ‫ﻥ ﻭﻻ ﺘﻐﺎﺩﻱ ﺒﻌﺩﻩ‪:‬‬
‫ﻻ ﺘﻁﻠﺒ ‪‬‬

‫ﻭﻴﻘﻭل ﺃﻴﻀﺎ‪:‬‬

‫ﻭﺍﻨﺩﺏ ﺃﺤﺒ‪‬ﺘﻨﺎ ﺒﺫﺍﻙ ﺍﻝﺒﻠﻘ ﹺﻊ‬ ‫ﻗﻑﹾ ﺒﺎﻝﻁﹼﻠﻭل ﺍﻝﺩ‪‬ﺍﺭﺴﺎﺕ ﺒﻠﻌﻠ ﹴﻊ‬

‫ﺠ ﹺﻊ)‪.(25‬‬ ‫ﻗﻑﹾ ﺒﺎﻝﺩ‪‬ﻴﺎﺭ‪ ،‬ﻭﻨﺎﺠﻬﺎ‪ ،‬ﻤﺘﻌﺠ‪‬ﺒﺎ‬

‫ﻁﻑ‪ ،‬ﺒﺘﻔ ‪‬‬
‫ﻤﻨﻬﺎ ﺒﺤﺴﻥ ﺘﻠ ﹼ‬

‫ﻲ ﻓﻲ ﻤﻘﺩ‪‬ﻤﺘﻪ ﻝﺸﺭﺡ ﺍﻝﺘﹼﺭﺠﻤﺎﻥ‪ ،‬ﺃﻨﹼﻪ ﻗﺼﺩ ﺃﻥ ﻴﺸﻴﺭ "ﺇﻝﻰ ﻤﻌﺎﺭﻑ ﺭﺒ‪‬ﺎﻨﻴ‪‬ﺔ ﻭﺃﻨﻭﺍﺭ ﺇﻝﻬﻴ‪‬ﺔ ﻭﺃﺴـﺭﺍﺭ‬
‫ﻭﻝﻘﺩ ﺫﻜﺭ ﺍﺒﻥ ﻋﺭﺒ ‪‬‬
‫ل "ﺍﻝﻌﺒﺎﺭﺓ ﻋﻥ ﺫﻝﻙ ﺒﻠﺴﺎﻥ ﺍﻝﻐﺯل‪ ،‬ﻭﺍﻝﺘﹼﺸـﺒﻴﺏ ﻝﺘﻌﺸـﻕ ﺍﻝﻨﹼﻔـﻭﺱ ﺒﻬـﺫﻩ‬
‫ﺭﻭﺤﺎﻨﻴ‪‬ﺔ‪ ،‬ﻭﻋﻠﻭﻡ ﻋﻘﻠﻴ‪‬ﺔ ﻭﺘﻨﺒﻴﻬﺎﺕ ﺸﺭﻋﻴ‪‬ﺔ"‪ ،‬ﻭﻴﺠﻌ َ‬
‫ﺍﻝﻌﺒﺎﺭﺍﺕ‪ ،‬ﻓﺘﺘﻭﺍﻓﺭ ﺍﻝﺩ‪‬ﻭﺍﻋﻲ ﻋﻠﻰ ﺍﻹﺼﻐﺎﺀ ﺇﻝﻴﻬﺎ"‪ ،‬ﻭﻴﺭﺩﻑ ﺃﺒﻴﺎﺘﺎ‪ ،‬ﻤﻨﻬﺎ‪:‬‬

‫ﺃﻭ ﺭﺒﻭﻉ ﺃﻭ ﻤﻌﺎﻥ ﻜﹼﻠﻤ‪‬ﺎ‬ ‫ﻜ ّل ﻤﺎ ﺃﺫﻜـﺭﻩ ﻤﻥ ﻁﻠل‬

‫ﻕ ﺍﻝﺤﻤ‪‬ﻰ‬
‫ﺒ‪‬ﺎ ﹶﻨ ﹶﺔ ﺍﻝﺤﺎﺠﺭ‪ ،‬ﺃﻭ ‪‬ﻭﺭ‪ ‬‬ ‫‪...‬ﺃﻭ ﺃﻨـﺎﺩﻱ ﺒﺤﺩﺍﺓ ﻴـﻤ‪‬ﻤﻭﺍ‬
‫ﺠﻤ‪‬ﺎ‬
‫ﺃﻭ ﺸﻤﻭﺱ‪ ،‬ﺃﻭ ﻨﺒﺎﺕ ﺃﻨـ ‪‬‬ ‫ﺃﻭ ﺒ‪‬ﺩﻭﺭ ﻓﻲ ﺨﺩﻭﺭ َﺃﻓﹶﻠـﺕﹾ‬
‫ﻰ‬
‫ﺃﻭ ﺭﻴﺎﺽ‪ ،‬ﺃﻭ ﻏﻴﺎﺽ‪ ،‬ﺃﻭ ﺤﻤ ‪‬‬ ‫‪...‬ﺃﻭ ﺨﻠﻴل ﺃﻭ ﺭﺤﻴل ﺃﻭ ﺭﺒﻰ‬
‫ﻰ‬
‫ﻁﺎﻝﻌﺎﺕ ﻜﺸﻤـﻭﺱ ﺃﻭ ﺩﻤ ‪‬‬ ‫ﺃﻭ ﻨﺴﺎﺀ ﻜﺎﻋﺒﺎﺕ ﹸﻨﻬ‪‬ـﺩ‪‬‬
‫ﺴﻤ‪‬ﺎ‬
‫ﺏ ﺍﻝ ‪‬‬
‫ﺃﻭ ﻋﻠﺕ ﺠﺎﺀ ﺒﻬﺎ ﺭ ‪‬‬ ‫‪...‬ﻤﻨﻪ ﺃﺴﺭﺍﺭ ﻭﺃﻨﻭﺍﺭ ﺠﻠﺕ‬
‫ﻤﺜل ﻤﺎﻝﻲ ﻤﻥ ﺸـﺭﻭﻁ ﺍﻝﻌﻠﻤ‪‬ﺎ‬ ‫ﻝﻔﺅﺍﺩﻱ‪ ،‬ﺃﻭ ﻓﺅﺍ ‪‬ﺩ ﻤﻥ ﻝﻪ‬
‫ﻭﺍﻁﻠﺏ ﺍﻝﺒﺎﻁﻥ ﺤﺘﹼﻰ ﺘﻌﻠﻤ‪‬ﺎ)‪.(26‬‬ ‫ﻓﺎﺼﺭﻑ ﺍﻝﺨﺎﻁﺭ ﻋﻥ ﻅﺎﻫﺭﻫﺎ‬

‫ﻲ ﻭﺘﺄﻭﻴﻠﻪ‪ ،‬ﻭﻫﻲ ﺍﻝﻘﺎﻋـﺩﺓ ﺍﻝﺘـﻲ‬

‫ﺏ ﺍﻝﺒﺎﻁﻥ ﻗﺎﻋﺩﺓ ﻀﺭﻭﺭﻴ‪‬ﺔ ﻝﻔﻬﻡ ﺍﻝﺸﹼﻌﺭ ﺍﻝﺼ‪‬ﻭﻓ ‪‬‬
‫ﻭﺼﺭﻑ ﺍﻝﺨﺎﻁﺭ ﻋﻥ ﺍﻝﻅﹼﺎﻫﺭ‪ ،‬ﻭﻁﻠ ‪‬‬
‫ﻲ ﻓﻲ ﺸﺭﺤﻪ ﺍﻝﺘﹼﺭﺠﻤﺎﻥ‪.‬‬
‫ﻨﻬﺠﻬﺎ ﺍﺒﻥ ﻋﺭﺒ ‪‬‬
‫ﻲ ﻋﺫﺭﻴ‪‬ﻪ ﻭﻤﺎﺠﻨﻪ‪ ،‬ﻓﺎﺴﺘﻌﺎﻨﻭﺍ ﺒﻬﺎ‬
‫ﻭﻝﻘﺩ ﻝﺠﺄ ﺍﻝﺸﹼﻌﺭﺍﺀ ﻓﻲ ﺍﻝﺘﹼﺼﻭ‪‬ﻑ ﺇﻝﻰ ﺒﻌﺽ ﺍﻷﺴﻤﺎﺀ ﺍﻝﺸﹼﺎﺌﻌﺔ ﻓﻲ ﺸﻌﺭ ﺍﻝﻐﺯل ﺍﻝﻌﺭﺒ ‪‬‬
‫ﻲ‪:‬‬
‫ﻝﻠﺭ‪‬ﻤﺯ ﻝﻤﺤﺒﻭﺒﻬﻡ‪ ،‬ﻴﻘﻭل ﺍﺒﻥ ﻋﺭﺒ ‪‬‬

‫ﺴﻠﱠﻤﺎ‬
‫ﻕ ﻝـﻤﺜﻠﻲ‪ ،‬ﺭ ﹼﻗﺔﹰ‪ ،‬ﺃﻥ ‪‬ﻴ ‪‬‬
‫ﺤﱠ‬
‫ﻭ‪‬‬
‫ﺤ ﱠل ﺒﺎﻝﺤ‪‬ﻤﻰ‬
‫ﺴﻼﻡ ﻋﻠﻰ ﺴ‪‬ﻠﻤ‪‬ﻰ ﻭﻤﻥ ‪‬‬
‫)‪(27‬‬
‫ﻋﻠﻴﻨﺎ؟ ﻭﻝﻜﻥ ﻻ ﺍﺤﺘﻜﺎﻡ ﻋﻠﻰ ﺍﻝ ‪‬ﺩﻤ‪‬ﻰ !‬ ‫ﻭﻤﺎﺫﺍ ﻋﻠﻴﻬﺎ ﺃﻥ ﺘﺭ ‪‬ﺩ ﺘـﺤﻴ‪‬ﺔ‬

‫"ﻓﺴﻠﻤﻰ" ﺇﺸﺎﺭﺓ ﺇﻝﻰ ﺤﺎﻝﺔ ﺴﻠﻴﻤﺎﻨﻴ‪‬ﺔ‪ ،‬ﻭﺭﺩﺕ ﻋﻠﻴﻪ ﻤﻥ ﻤﻘﺎﻡ ﺴﻠﻴﻤﺎﻥ – ﻋﻠﻴﻪ ﺍﻝﺴ‪‬ﻼﻡ‪ ،-‬ﻭ ﺍﻝﺤﻤﻰ ﻤﻘﺎﻡ ﻻ ﻴﻨﺎﻝﻪ‪ ،‬ﻭﻫـﻭ‬
‫ﺍﻝﻨﹼﺒﻭ‪‬ﺓ)‪ .(28‬ﻭﻴﻘﻭل ﻓﻲ ﻤﻭﻀﻊ ﺁﺨﺭ‪:‬‬
‫ﺏ ﻭﻋﻨﺎﻥ)‪.(29‬‬
‫ﻭﺴﻠﻴﻤﻰ‪ ،‬ﻭﺯﻴﻨ ﹴ‬ ‫ﻭﺍﺫﻜﺭﺍ ﻝﻲ ﺤﺩﻴﺙ ﻫﻨﺩ ﻭﻝﺒﻨﻰ‬

‫ﻭﺇﺫﺍ ﻜﺎﻨﺕ ﻫﻨﺩ ﺼﺎﺤﺒﺔ ﺒﺸﺭ‪ ،‬ﻭﻝﺒﻨﻰ ﺼﺎﺤﺒﺔ ﻗﻴﺱ ﺒﻥ ﺫﺭﻴﺢ‪ ،‬ﻭﻋﻨﺎﻥ ﺠﺎﺭﻴﺔ ﺍﻝﻨﺎﻁﻘﻲ‪ ،‬ﻭﺯﻴﻨﺏ ﻤﻥ ﺼﻭﺍﺤﺏ ﻋﻤﺭ ﺒﻥ‬
‫ﺹ ﺒﺫﻝﻙ ﺍﻝﻤﻭﻁﻥ ﻤﻥ ﺍﻷﺴـﺭﺍﺭ‪،‬‬
‫ﻥ ﺍﻹﺸﺎﺭﺓ ﺒﻬﻨﺩ ﺇﻝﻰ ﻤﻬﺒﻁ ﺁﺩﻡ – ﻋﻠﻴﻪ ﺍﻝﺴ‪‬ﻼﻡ‪ ،-‬ﻭﺒﻤﺎ ﻴﺨﺘ ‪‬‬
‫ﺃﺒﻲ ﺭﺒﻴﻌﺔ‪ ،‬ﻭﺴﻠﻴﻤﻰ ﺠﺎﺭﻴﺔ؛ ﻓﺈ ‪‬‬
‫ﻭﻝﺒﻨﻰ ﺇﺸﺎﺭﺓ ﺇﻝﻰ ﺍﻝﻠﹼﺒﺎﻨﺔ ﻭﻫﻲ ﺍﻝﺤﺎﺠﺔ‪ ،‬ﻭﺴﻠﻴﻤﻰ ﺤﻜﻤﺔ ﺴﻠﻴﻤﺎﻨﻴ‪‬ﺔ ﺒﻠﻘﻴﺴﻴ‪‬ﺔ‪ ،‬ﻭﻋﻨﺎﻥ ﻋﻠﻡ ﺃﺤﻜﺎﻡ ﺍﻷﻤﻭﺭ ﺍﻝﺴ‪‬ﻴﺎﺴـﺎﺕ‪ ،‬ﻭﺯﻴﻨـﺏ‬
‫ﺍﻨﺘﻘﺎل ﻤﻥ ﻤﻘﺎﻡ ﻭﻻﻴﺔ ﺇﻝﻰ ﻤﻘﺎﻡ ﻨﺒﻭ‪‬ﺓ)‪ ،(30‬ﻓﻤﺎ ﺃﻜﺜﺭ ﺒ‪‬ﻌﺩ ﺍﻝﺭ‪‬ﻤﺯ ﻋﻥ ﺍﻝﻤﺭﻤﻭﺯ ﻝﻪ ! ﻭ"ﻻ ﻓﺭﻕ ﺒﻴﻥ ﺍﻝﺼ‪‬ﻭﻓ ‪‬‬
‫ﻲ ﺍﻝﺸﹼـﺎﻋﺭ ﻭﺒـﻴﻥ‬
‫ﻥ ﺸﻌﺭ ﺍﻷﻭ‪‬ل ﺒﺎﻁﻨﻪ ﺍﷲ ﻭﻅﺎﻫﺭﻩ ﺍﻷﺸﻴﺎﺀ‪ ،‬ﺒﻴﻨﻤﺎ ﺸﻌﺭ ﺍﻝﺜﹼﺎﻨﻲ ﻅﺎﻫﺭﻩ ﺍﷲ ﻭﺒﺎﻁﻨﻪ ﺍﻷﺸـﻴﺎﺀ")‪،(31‬‬
‫ﻻﺃ‪‬‬
‫ﺍﻝﺸﹼﺎﻋﺭ ﻏﻴﺭ ﺍﻝﺼ‪‬ﻭﻓﻲ‪ ،‬ﺇ ﹼ‬

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‫ﻥ ﺍﻷﺴﻤﺎﺀ ﻤﺠﺭ‪‬ﺩ ﺭﻤﻭﺯ ﻴﺘ ‪‬ﻡ‬

‫ﻲ ﺍﻝﻤﺤﺒﻭﺏ ﻴﺤﺘﺠﺏ ﻭﺭﺍﺀ ﺍﻷﺴﻤﺎﺀ ﻭﺍﻝﻤﻅﺎﻫﺭ‪ ،‬ﻭﻴﻌﻠﻥ ﺸﻌﺭﺍﺀ ﺍﻝﺼ‪‬ﻭﻓﻴ‪‬ﺔ ﺃﻨﻔﺴ‪‬ﻬﻡ ﺃ ‪‬‬
‫ﻭﺍﻝﺠﻤﺎل ﺍﻹﻝﻬ ‪‬‬
‫ﻲ‪:‬‬
‫ﻲ ﻤﻥ ﺨﻼﻝﻬﺎ‪ ،‬ﻴﻘﻭل ﺍﺒﻥ ﻋﺭﺒ ‪‬‬
‫ﺘﺠﻠﹼﻲ ﺍﻝﺨﻴﺎل ﺍﻹﻝﻬ ‪‬‬

‫ﺃﻭ ﻨﻅﺎﻤﺎ ﺃﻭ ﻋﻨﺎﻨﺎ ﻓﺎﺤﻜﻤ‪‬ﻭﺍ‬ ‫ﻭﺇﺫﺍ ﻗﻠﺕ ﻫﻭﻴﺕ ﺯﻴﻨﺒﺎ‬

‫ﺘﹶﺤﺘﻪ ﺜــﻭﺏ ﺭﻓﻴﻊ ﻤﻌﻠ ‪‬ﻡ‬ ‫ﺇﻨﹼﻪ ﺭﻤﺯ ﺒﺩﻴﻊ ﺤﺴــﻥ‬

‫ﻭﺍﻝﺫﻱ ﻴﻠﺒﺴﻪ ﻤــﺎ ﻴﻌﻠ ‪‬ﻡ)‪.(32‬‬ ‫ﻭﺃﻨﺎ ﺍﻝﺜﹼﻭﺏ ﻋﻠﻰ ﻻﺒﺴﻪ‬

‫ﻲ‬
‫ﻥ ﺍﻝﻤﻌﻨـ ‪‬‬
‫ﻱ ﻝﻸﺴﻤﺎﺀ‪ ،‬ﻓﺈﻥ‪ ‬ﺍﺒﻥ ﺴﺒﻌﻴﻥ ﻴﺩﻋﻭ ﺇﻝﻰ ﺍﻝﺘﹼﺼﺭﻴﺢ‪ ،‬ﻁﺎﻝﻤﺎ ﺃ ‪‬‬
‫ﻲ ﻴﻔﻀ‪‬ل ﺍﻻﺴﺘﺨﺩﺍﻡ ﺍﻝﺭ‪‬ﻤﺯ ‪‬‬
‫ﻭﺇﺫﺍ ﻜﺎﻥ ﺍﺒﻥ ﻋﺭﺒ ‪‬‬
‫ﻭﺍﺤﺩ‪ ،‬ﻓﻴﻘﻭل‪:‬‬
‫ﻭﺍﻷﻤﺭ ﺃﻭﻀﺢ ﻤﻥ ﻨﺎﺭ ﻋﻠﻰ ﻋﻠ ﹺﻡ‬ ‫ﻜﻡ ﺫﺍ ﺘﹸﻤـﻭ‪‬ﻩ ﺒﺎﻝﺸﹼﻌﺒﻴﻥ ﻭﺍﻝﻌﻠــﻡ‬
‫ﻭﻋﻥ ﺯﺭﻭﺩ ﻭﺠﻴـﺭﺍﻥ ﺒﺫﻱ ﺴﻠ ﹺﻡ‬ ‫ﻭﻜﻡ ﺘﻌﺒ‪‬ﺭ ﻋﻥ ﺴﻠﻊ ﻭﻜﺎﻅﻤﺔ‬
‫ﻭﻋﻥ ﺘ‪‬ﻬﺎﻤﺔ‪ ،‬ﻫـﺫﺍ ﻓﻌــل ﻤﺘﹼﻬ ﹺﻡ‬ ‫ﺕ ﺘﺴﺄل ﻋﻥ ﻨﺠﺩ ﻭﺃﻨﺕ ﺒﻬﺎ‬
‫ﻅ‪‬ﻠﻠ ﹶ‬
‫ﻲ ﺴﻭﻯ ﻝﻴﻠﻰ ﻓﺘﺴﺄﻝﻪ‬
‫ﻲﺤ‪‬‬
‫ﻓﻲ ﺍﻝﺤ ‪‬‬
‫ﻋﻨﻬﺎ؟ ﺴﺅﺍﻝﻙ ﻭﻫـﻡ ﺠ ‪‬ﺭ ﻝﻠﻌﺩ ﹺﻡ)‪.(33‬‬

‫ﻥ ﻤﻀﺎﻤﻴﻨﻪ ﻝﻡ ﺘﺨﺭﺝ ﻋﻥ ﻤﻀﺎﻤﻴﻥ ﺍﻝﻐﺯل ﺍﻝﻌﺫﺭﻱ‪‬؛ ﺤﻴﺙ ﻭﺼـﻑ ﺍﻝﺸﹼـﻌﺭﺍﺀ‬

‫ﺏ ﺍﻹﻝﻬﻲ‪ ،‬ﻴﺠﺩ ﺃ ‪‬‬
‫ﻭﺍﻝﻤﺘﺄﻤ‪‬ل ﻝﺸﻌﺭ ﺍﻝﺤ ‪‬‬
‫ﺍﺴﺘﺒﺩﺍﺩ ﺍﻝﺸﹼﻭﻕ ﺒﻬﻡ‪ ،‬ﻭﺼﻭ‪‬ﺭﻭﺍ ﺁﻻﻡ ﺍﻝﻔﺭﺍﻕ ﻭﺍﻝﺒﻌﺩ ﻭﺍﻝﻬﺠﺭ‪ ،‬ﻭﺸﻜﻭﺍ ﺤﺭﻗﺔ ﺍﻝﻬﻭﻯ‪ ،‬ﻭﺭﻏﺒﻭﺍ ﻓﻲ ﻝﻘﺎﺀ ﺍﻝﻤﺤﺒﻭﺏ‪ ،‬ﻜﻤﺎ ﺫﻜـﺭﻭﺍ‬
‫ﻲ‪:‬‬
‫ﻲ ﺍﻝﺭ‪‬ﻋﻴﻨ ‪‬‬
‫ﻫﻴﺎﻤﻬﻡ ﻭﻤﻌﺎﻨﺎﺘﻬﻡ‪ ،‬ﻴﻘﻭل ﺃﺒﻭ ﺍﻝﺤﺴﻥ ﺒﻥ ﺍﻝﻔﺨﹼﺎﺭ ﺍﻹﺸﺒﻴﻠ ‪‬‬

‫ﻭﺩﺍﺀ ﻏﺭﺍﻤﻲ ﻝﻠﻔــﺅﺍﺩ ﻤ‪‬ﺨﺎﻤـــ ‪‬ﺭ‬ ‫ﻫﻴﺎﻤﻲ ﻤﺎ ﺒﻴﻥ ﺍﻝﺠﻭﺍﻨﺢ ﺜﺎﺌﺭ‬

‫ﺘﻜ ّل ﺍﻝﻘﻭﻯ ﻋﻥ ﺤﻤﻠﻪ ﻭﺍﻝﻤﺭﺍﺌ ‪‬ﺭ‬ ‫ﻲ ﻀﻠﻭﻋﻲ ﺒﺎﻷﺴﻰ ﻤﺎ ﺃﻗﻠﹼﻪ‬
‫ﻭﻁ ‪‬‬
‫ﻭﻏﺼ‪‬ﺕ ﺒﺄﺴﺭﺍﺏ ﺍﻝﺩ‪‬ﻤﻭﻉ ﺍﻝﻤﺤﺎﺠ ‪‬ﺭ)‪.(34‬‬ ‫ﻭﻗﺩ ﺠ ‪‬ﺩ ﺒﻲ ﻭﺠﺩ ﻭﺒﺭ‪‬ﺡ ﺒﻲ ﺠﻭﻯ‬

‫ﻓﻨﺎﺭ ﺍﻝﻭﺠﺩ ﻭﺍﻝﺠﻭﻯ ﺘﻭﻫﻥ ﺍﻝﻘﻭﻯ ﻭﺘﺴﺘﺩ ‪‬ﺭ ﺍﻝﺩ‪‬ﻤﻭﻉ‪.‬‬

‫ﻭﻴﺘﻐﻨﹼﻰ ﺍﻝﺸﹼﺎﻋﺭ ﻓﻲ ﻤﻭﻀﻊ ﺁﺨﺭ ﺒﺠﻤﺎل ﺍﻝﻤﺤﺒﻭﺏ‪ ،‬ﻭﻴﺼﻑ ﺘﻌﹼﻠﻘﻪ ﺒﻪ ﻭﺍﻨﺒﻬﺎﺭﻩ‪:‬‬

‫ﻓﻴﺎ ﻋﺎﺫﻝﻲ‪ ،‬ﻗﻠﺒﻲ ﻋﻠﻴﻪ ﺩﻋﺎﻨﻲ‬ ‫ﺠﻤـــﺎل ﺤﺒﻴﺒﻲ ﻝﻠﻐـﺭﺍﻡ ﺩﻋﺎﻨﻲ‬

‫ﻓﻭﺠﺩﻱ ﺒﻪ ﻏﻴﺭ ﺍﻝﺫﻱ ﺘﺠﺩﺍﻨﻲ‬ ‫ﻭﺃﺩﺭﻜﺕ ﻤﺎ ﻝﻡ ﺘﺩﺭﻜﺎ ﻤﻥ ﺒﻬﺎﺌﻪ‬

‫ﻭﺃﻥ ﺘﻌﻠﻤﺎ ﺴ ‪‬ﺭ ﺍﻝﻬﻭﻯ ﻓﺴﻼﻨﻲ)‪.(35‬‬ ‫ﻓﺈﻥ ﺸﺌﺘﻤــﺎ ﺃﻥ ﺘﻌﺭﻓــﺎ ﻤـﺎ ﺃﻜﻨﹼﻪ‬
‫ﺜ ‪‬ﻡ ﻴﺘﺠﻠﹼﻰ ﻝﻔﻜﺭﻩ‪ ،‬ﻭﺒﺼﻭﺭﺓ ﻭﺍﻀﺤﺔ ﻴﺫﻜﺭ ﻤﺤﺒﻭﺒﻪ‪" :‬ﻨﻭﺭ ﻤﻥ ﺃﻨﺎ ﻋﺒﺩﻩ"‪:‬‬

‫ﻥ ﺠﻨﺎﻨﻲ‬
‫ﹶﻓ ‪‬ﻭﱢﻝ ‪‬ﻪ ﻤﻌﻘﻭﻝﻲ ﻭﺠ‪‬ـــ ‪‬‬
‫ﺘﺠﻠﹼﻰ ﻝﻔﻜﺭﻱ ﻨﻭﺭ ﻤﻥ ﺃﻨﺎ ﻋﺒﺩﻩ‬
‫ﻭﺼﺎﻝﺕ ﻋﻠﻴــﻪ ﺸﺩ‪‬ﺓ ﺍﻝﺨﻔﻘـﺎﻥ‬ ‫ﺏ ﻗﻠﺒــﻲ ﻫﻴﺒـــــﺔ ﻭﻤ‪‬ﺤﺒ‪‬ﺔ‬
‫ﻭُﺃﺸﹾ ﹺﺭ ‪‬‬
‫ﻓﺤﺴﺒﻲ ﺃﻨﹼــﻲ ﻓﻲ ﺍﻝﻤﺤﺒ‪‬ﺔ ﻓﺎﻥ‬ ‫ﻭﺤﺎﻥ ﻓﻨﺎﺌﻲ ﻓﻲ ﻭﺠـــﻭﺩ ﺠﻼﻝﻪ‬
‫ﺤﺒﻴﺏ ﺴﻘﺎﻨﻲ ﻤ‪‬ﻨﻌ‪‬ﻤﺎ ﻜــﺄﺱ ﺤﺒ‪‬ﻪ‬
‫ﺢ ﻤﻥ ﺤﺒ‪‬ﻴﻪ ﻤﻨﺫ ﺴﻘﺎﻨﻲ)‪.(36‬‬
‫ﻓﻠﻡ ﺃﺼ ‪‬‬

‫ﻓﺒﻌﺩ ﺍﻝﺘﹼﺠﻠﹼﻲ ﺍﻝﺫﻱ ﻫﻭ "ﻤﺎ ﻴﻨﻜﺸﻑ ﻝﻠﻘﻠﻭﺏ ﻤﻥ ﺃﻨﻭﺍﺭ ﺍﻝﻘﻠﻭﺏ")‪ ،(37‬ﻴﺤﻴﻥ ﺍﻝﻔﻨﺎﺀ ﻭﻫﻭ "ﺭﺅﻴﺔ ﺍﻝﻌﺒﺩ ﻝﻠﻌﻠﹼﺔ ﺒﻘﻴﺎﻡ ﺍﷲ ﻋﻠﻰ‬
‫ﺫﻝﻙ")‪.(38‬‬

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‫ﻭﻴﻤﻴل ﺸﻌﺭﺍﺀ ﺍﻝﻐﺯل ﺍﻝﺼ‪‬ﻭﻓﻲ‪ ،‬ﺃﺤﻴﺎﻨﺎ‪ ،‬ﺇﻝﻰ ﺍﻝﻤﻨﺎﺠﺎﺓ؛ ﻓﺘﺠﺩﻫﻡ ﻴﺨﺎﻁﺒﻭﻥ ﺍﻝﻤﺤﺒﻭﺏ ﻤﻌﺒ‪‬ﺭﻴﻥ ﻋﻤ‪‬ﺎ ﻴﺨﺘﻠﺞ ﺼﺩﻭﺭﻫﻡ ﻤﻥ‬
‫ﻲ ﺒﺸـﻜل ﺼـﺭﻴﺢ‬
‫ﻭﺠﺩ ﻭﺸﻭﻕ‪ ،‬ﻓﺘﻐﺩﻭ ﺍﻝﺫﺍﺕ ﺍﻹﻝﻬﻴ‪‬ﺔ ﺍﻝﻤﻼﺫ ﻭﺍﻝﻤﺄﻤﻭل ﻭﺍﻝﺴ‪‬ﻨﺩ ﻭﻏﺎﻴﺔ ﻤﺎ ﻴﺼﺒﻭ ﺍﻝﺴ‪‬ﺎﻝﻙ ﺇﻝﻴﻪ‪ ،‬ﻴﻘﻭل ﺍﺒﻥ ﻋﺭﺒ ‪‬‬
‫ﺨﺎل ﻤﻥ ﺍﻝﺭ‪‬ﻤﻭﺯ‪:‬‬
‫ﻙ ﺸﺩﻴــﺩ‪ ‬ﻻ ﺇﻝـﻰ ﺃﺤــــــ ‪‬ﺩ‬
‫ﺸﻭﻗﻲ ﺇﻝﻴ ‪‬‬ ‫ﺴﺅْ ِل ﻭﺍﻝﻤﺄﻤﻭل ﻴﺎ ﺴﻨﺩﻱ‬
‫ﻴﺎ ﻏﺎﻴﺔ ﺍﻝ ‪‬‬
‫ﻓﺂﻩ ﻤﻥ ﻁﻭل ﺸﻭﻗﻲ ﺁﻩ ﻤﻥ ﻜﻤـــﺩ‪‬ﻱ‬ ‫ﺫﺒﺕ ﺍﺸﺘﻴﺎﻗﺎ ﻭﻭﺠﺩﺍ ﻓﻲ ﻤﺤﺒ‪‬ﺘﻜــــﻡ‬
‫ﻕ ﺼﺩﺭﻱ ﻝﻤ‪‬ﺎ ﺨﺎﻨﻨﻲ ﺠﻠــــــﺩﻱ‬
‫ﻴﻨﺸ ﹼ‬ ‫ﺕ ﻋﻠﻰ ﻗﻠﺒﻲ ﻤﺨﺎﻓﺔ ﺃﻥ‬
‫ﻴﺩﻱ ﻭﻀﻌ ﹸ‬
‫)‪(39‬‬
‫‪.‬‬ ‫ﺤﺘﹼﻰ ﻭﻀﻌﺕ ﻴﺩﻱ ﺍﻷﺨﺭﻯ ﺘﺸ ‪‬ﺩ ﻴﺩﻱ‬ ‫ﻓﻤﺎ ﺯﺍل ﻴﺭﻓﻌﻬﺎ ﻁﻭﺭﺍ ﻭﻴﺨﻔﻀﻬـﺎ‬

‫ﻓﺨﻔﻘﺎﻥ ﺍﻝﻘﻠﺏ ﺍﻝﻨﹼﺎﺠﻡ ﻋﻥ ﻁﻭل ﺍﻝﺸﹼﻭﻕ ﻭﺍﻝﻜﻤﺩ ﻴﺘﻁﻠﹼﺏ ﺼﺒﺭﺍ ﻻ ﻴﺴﺘﻁﻴﻌﻪ ﺍﻝﻬﺎﺌﻡ ﺍﻝﻤﺘﺸﻭ‪‬ﻕ‪.‬‬

‫ﻲ ﻝﻸﺤﻭﺍل‪ ،‬ﻭﻝﻤ‪‬ﺎ ﻜﺎﻨﺕ ﺍﻤﺘﺜـﺎﻻ ﻷﻭﺍﻤـﺭ ﺍﷲ‬

‫ﻭﻝﻤ‪‬ﺎ ﻜﺎﻨﺕ ﺍﻝﻤﺤﺒ‪‬ﺔ ﺃﺴﺎﺴﺎ ﻝﻠﻤﻘﺎﻤﺎﺕ‪ ،‬ﻓﻀﻼ ﻋﻥ ﻜﻭﻨﻬﺎ ﺍﻝﺭ‪‬ﻜﻥ ﺍﻷﺴﺎﺴ ‪‬‬
‫ﺹ ﻤﻥ ﺍﻝﻌﻭﺍﻁﻑ ﺍﻝﺩ‪‬ﻴﻨﻴ‪‬ﺔ‪ .‬ﻭﻷﺒﻲ ﻤـﺩﻴﻥ ﺸـﻌﻴﺏ‬ ‫ﺘﻌﺎﻝﻰ)‪ ،(40‬ﻓﺈﻨﹼﻬﺎ ﻜﺎﻨﺕ ﻤﻅﻬﺭﺍ ﻤﻬﻴﻤﻨﺎ ﻓﻲ ﺸﻌﺭ ﺍﻝﺤ ‪‬‬
‫ﺏ ﺍﻹﻝﻬﻲ‪ ،‬ﻓﻼ ﻴﺨﻠﻭ ﻨ ‪‬‬
‫ﻗﺼﻴﺩﺓ ﻁﻭﻴﻠﺔ‪ ،‬ﺃﻭﺭﺩﻫﺎ ﻋﺎﻁﻑ ﺠﻭﺩﺓ ﻨﺼﺭ‪ ،‬ﻤﻨﻬﺎ‪:‬‬
‫ﺠﻨﱠﺎ‬
‫ﺃﺠل ﻝﺴﺕ ﻓﻲ ﻝﻴﻠﻰ ﺒﺄﻭ‪‬ل ﻤﻥ ‪‬‬ ‫ﺘﻘﻭ‪‬ل ﻨﺎﺱ ﻗﺩ ﺘﻤﻠﹼﻜﻪ ﺍﻝﻬﻭﻯ‬
‫ﻭﺃُﻅ ﹺﻬ ‪‬ﺭ ﻝﺒﻨﻰ ﻭﺍﻝﻤﺭﺍﺩ ﺴﻭﻯ ﻝﺒﻨﹶﻰ‬ ‫ﺨﻔﻴﺕ ﺒﻬﺎ ﻋﻥ ﻜ ّل ﻤﺎ ﻋﻠﻡ ﺍﻝﻭﺭﻯ‬
‫ﻭﺇﻥ ﻤﻠﺕ ﺘﻤﻭﻴﻬﺎ ﺇﻝﻰ ﺍﻝﺭ‪‬ﻭﻀﺔ ﺍﻝﻐﻨﱠﺎ‬ ‫ﻭﺇﻨﹼﻲ ﻜﻤﺎ ﺸﺎﺀ ﺍﻝﻐﺭﺍﻡ ﻤﻭﺤ‪‬ـﺩ‬
‫ﻭﻴﻁﺭﺒﻨ‪‬ﻲ ﺍﻝﺤﺎﺩﻱ ﺇﺫﺍ ﺒﺎﺴ‪‬ﻤﻬــﺎ ﻏﻨﱠﻰ‬ ‫ﻴﺫﻜﹼﺭﻨﻲ ﻤ ‪‬ﺭ ﺍﻝﻨﹼـﺴﻴﻡ‪..‬ﺒﻌﺭﻓﻬــﺎ‬
‫ﺇﺫﺍ ﺸـﺎﻗﻪ ﺸﻭﻕ ﺇﻝﻰ ﻗﺼﺩﻩ ﺤﻨﱠﺎ)‪.(41‬‬ ‫ﻭﻻ ﻋﺠﺏ ﻤﻨﹼﻲ ﺍﻝﺤﻨﻴﻥ ﻭﺫﻭ ﺍﻝﻬﻭﻯ‬

‫ﻥ ﺫﻜﺭﻩ ﻝﺒﻨﻰ ﻤﺠﺭ‪‬ﺩ ﺭﻤﺯ‬

‫ﻓﻬﺎ ﻫﻭ ﺫﺍ ﺍﻝﺸﹼﺎﻋﺭ ﻴﺴﺘﺤﻀﺭ ﻗﺼ‪‬ﺔ ﻝﻴﻠﻰ ﻭﺍﻝﻤﺠﻨﻭﻥ ﻝﻴﺠﻌﻠﻬﺎ ﻤﺩﺨﻼ ﻝﺤﺒ‪‬ﻪ ﺍﻹﻝﻬﻲ‪ ،‬ﺜ ‪‬ﻡ ﻴﻘ ‪‬ﺭ ﺒﺄ ‪‬‬
‫ﻴﻌﺘﻤﺩ ﻋﻠﻴﻪ ﻓﻲ ﺍﻹﻓﺼﺎﺡ ﻋﻥ ﻋﻭﺍﻁﻔﻪ ﻤﻥ ﺸﻭﻕ ﻭﺤﻨﻴﻥ‪.‬‬
‫ﻱ ﻓﻲ ﺍﻝﺴ‪‬ﻭﻕ ﺤﻴﻥ ﺍﺴﺘﺤﻤﻘﻪ ﺃﻫل ﻁﺭﺍﺒﻠﺱ‪ ،‬ﻭﻨﺴﺒﻭﻩ ﺇﻝﻰ ﺍﻝﺠﻨﻭﻥ‪:‬‬
‫ﻭﺃﻨﺸﺩ ﺍﻝﺸﹼﺸﺘﺭ ‪‬‬

‫ﺨﻠﹼﻭﻩ ﻴﻔﻨـﻲ ﻋﻤﺭﻩ ﺒﻔﻨـــﻭﻨﻪ‬ ‫ﺭﻀﻲ ﺍﻝﻤﺘﻴ‪‬ﻡ ﻓﻲ ﺍﻝﻬﻭﻯ ﺒﹺﺠﻨﻭﻨـﻪ‬

‫ﻝﻴﺱ ﺍﻝﺴ‪‬ﻠ ‪‬ﻭ ﻋﻥ ﺍﻝﻬﻭﻯ ﻤﻥ ﺩﻴﻨﻪ‬ ‫ﻻ ﺘﻌﺫﻝــﻭﻩ ﻓﻠﻴﺱ ﻴﻨﻔـﻊ ﻋﺫﻝﻜﻡ‬
‫ﺏ ﺒﹺﺤﺒ‪‬ﻪ ﻭﻴ‪‬ﻤﻴﻨﻪ‬
‫ﻗﺴﻡ ﺍﻝـﻤﺤ ‪‬‬ ‫ﻗﺴﻤﺎ ﺒﻤﻥ ﺫﻜﺭ ﺍﻝﻌﻘﻴـﻕ ﻤﻥ ﺍﺠﻠﻪ‬
‫ﺏ ﺃﻭ ﺘﻠﻭﻴﻨـﻪ‬
‫ﻋﻥ ﻓﺎﺘﺭﺍﺕ ﺍﻝﺤـ ‪‬‬ ‫ﻤﺎ ﻝــﻲ ﺴﻭﺍﻜﻡ ﻏﻴـﺭ ﺃﻨﹼﻲ ﺘــﺎﺌﺏ‬
‫ﻥ ﻝﺸﺠﻭﻩ ﻭﺸﺠـﻭﻨﻪ‬
‫ﺃﺒﺩﺍ ﺃﺤ ‪‬‬ ‫ﻤﺎ ﻝـﻲ ﺇﺫﺍ ﻫﺘـﻑ ﺍﻝﺤﻤـــﺎﻡ ﺒﺄﻴﻜﺔ‬
‫ﺏ ﻴ‪‬ﺠﺭﻱ ﺩﻤﻌﻪ ﺒﻌﻴــﻭﻨﻪ !)‪.(42‬‬
‫ﻭﺍﻝﺼ ‪‬‬ ‫ﻭﺇﺫﺍ ﺍﻝﺒﻜﺎﺀ ﺒﻐﻴﺭ ﺩﻤـﻊ ﺩﺃﺒﻪ‬

‫ﻭﻴﻌﻠﹼﻕ ﺍﻝﺩ‪‬ﻜﺘﻭﺭ ﻤﺤﻤ‪‬ﺩ ﺭﻀﻭﺍﻥ ﺍﻝﺩ‪‬ﺍﻴﺔ ﻋﻠﻰ ﻫﺫﻩ ﺍﻷﺒﻴﺎﺕ ﻗﺎﺌﻼ‪" :‬ﻓﻬﻭ ﻴﺭﻀﻰ ﺒﺼﻔﺔ ﺍﻝﺠﻨـﻭﻥ ﺍﻝﺘـﻲ ﺯﻋﻤﻬـﺎ ﺃﻫـل‬
‫ﻁﺭﺍﺒﻠﺱ‪ ،‬ﺃﻱ ﻤﺎ ﺯﻋﻤﻭﻩ ﺠﻨﻭﻨﺎ‪ ،‬ﻓﻘﺩ ﺠﻬﻠﻭﺍ ﺤﻘﻴﻘﺔ ﺤﺎﻝﻪ؛ ﻓﻬﻭ ﺍﻝﺫﻱ ﺒﺎﻉ ﺯﺨﺭﻑ ﺍﻝﺩ‪‬ﻨﻴﺎ ﻝﺤﻘﻴﻘﺔ ﺍﻵﺨﺭﺓ‪ ،‬ﻭﺠﻌل ﺭﻀﺎ ﺍﷲ ﻏﺎﻴﺔ‬
‫ﻋﻅﻤﻰ‪ ،‬ﻭﻝﻡ ﻴﻌﻁ ﺍﻝﺩ‪‬ﻨﻴﺎ ﺃﻜﺜﺭ ﻤﻥ ﺤﻘﹼﻬﺎ ﺒﺤﺴﺏ ﺍﻋﺘﻘﺎﺩﻩ‪ .‬ﻭﻴﻅﻬﺭ ﺍﻝﺸﹼﺎﻋﺭ ﺃﺸﻭﺍﻗﻪ ﻭﻤﻭﺍﺠﺩﻩ‪ ،‬ﻭﻴﻘﺎﺭﻥ ﺒﻴﻥ ﺸﺠﻭﻩ ﻭﺸﺠﻭ ﺍﻝﺤﻤﺎﻡ‬
‫ل ﻋﻠﻴﻪ ﺫﺍﺭﻓﺎﺕ ﺍﻝﺩ‪‬ﻤﻊ ﻤﻥ ﺍﻝﻌﻴﻭﻥ ﺍﻝﻤﺸﻭﻗﺔ")‪.(43‬‬
‫ﺍﻝﻤﺸﻬﻭﺭ ﺒﺎﻷﻨﻴﻥ ﻭﺍﻝﺤﻨﻴﻥ‪ ،‬ﻷﻨﹼﻪ ﻫﻭ ﻓﻲ ﺸﺠﻥ ﻴﺩ ّ‬
‫ﺏ ﺴـﻌﻴﺎ ﻝﻠﻘـﺎﺀ‬
‫ﻲ‪ ،‬ﻭﺼﻑ ﺍﻝﺭ‪‬ﺤﻠﺔ ﺍﻝﺸﹼﺎﻗﹼﺔ ﺍﻝﺘﻲ ﻴﻘﻁﻌﻬـﺎ ﺍﻝﻤﺤـ ‪‬‬
‫ﺏ ﺍﻹﻝﻬ ‪‬‬
‫ﻱ ﻓﻲ ﺸﻌﺭ ﺍﻝﺤ ‪‬‬
‫ﺏ ﺍﻝﻌﺫﺭ ‪‬‬
‫ﻭﻤﻤ‪‬ﺎ ﻴﺘﻭﺍﻓﻕ ﻭﺍﻝﺤ ‪‬‬
‫ﻲ‪:‬‬
‫ﺍﻝﻤﺤﺒﻭﺏ‪ ،‬ﻓﻬﻲ ﻓﻲ ﺃﺤﻴﺎﻥ ﻜﺜﻴﺭﺓ ﺇﺒلٌ ﻴﺤﺜﹼﻬﺎ ﻋﻠﻰ ﺍﻝﺴ‪‬ﻴﺭ ﺍﻝﺤﺜﻴﺙ‪ ،‬ﻭﻤﻥ ﺫﻝﻙ ﻗﻭل ﺍﺒﻥ ﻋﺭﺒ ‪‬‬
‫ﻓﺈﻨﹼﻨﻲ ‪‬ﺯ ‪‬ﻤﻥ‪ ‬ﻓﻲ ﺇﺜﺭﻫﺎ ﻏـــﺎﺩ‪‬ﻱ‬ ‫ﻴﺎ ﺤﺎﺩﻱ ﺍﻝﻌﻴﺱ‪ ،‬ﻻ ﺘﻌﺠل ﺒﻬﺎ‪ ،‬ﻭﻗﻔﺎ‬

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א
د‪/09‬د‪2015‬‬

‫ﺒﺎﷲ‪ ،‬ﺒﺎﻝﻭﺠﺩ ﻭﺍﻝﺘﺒﺭﻴﺢ‪ ،‬ﻴﺎ ﺤﺎﺩ‪‬ﻱ‬ ‫ﺸﻤ‪‬ﺭ ﻓﻲ ﺃﺯﻤ‪‬ﺘﻬﺎ‬

‫ﻗﻑ ﺒﺎﻝﻤﻁـﺎﻴﺎ ﻭ ﹶ‬
‫ﺭﺠﻠﻲ‪ ،‬ﻓﻤﻥ ﻝﻲ ﺒﺈﺸﻔﺎﻕ ﻭﺇﺴﻌﺎﺩ‪‬؟‬ ‫ﻨﻔﺴﻲ ﺘﺭﻴﺩ ﻭﻝﻜـﻥ ﻻ ﺘﺴﺎﻋﺩﻨـﻲ‬
‫ﷲ ﺩﺭ‪‬ﻙ ﻤﺎ ﺘﹶﺤﻭﻴﻪ ﻴﺎ ﻭﺍﺩ‪‬ﻱ!‬ ‫‪...‬ﻋﺭ‪‬ﺝ‪ ،‬ﻓﻔﻲ ﺃﻴﻤﻥ ﺍﻝﻭﺍﺩﻱ ﺨﻴﺎﻤﻬﻡ‬
‫ﺏ ﺃﻜﺒﺎﺩ‪‬ﻱ‬
‫ﺨﻠﹾ ﹺ‬
‫ﻭﻫﻡ ﺴﻭﺍﺩ ﺴﻭﻴﺩﺍ ‪‬‬ ‫ﺕ ﻗﻭﻤﺎ ﻫ ‪‬ﻡ ﹶﻨﻔﹾﺴﻲ‪ ،‬ﻭﻫﻡ‪ ‬ﹶﻨﻔﹶﺴﻲ‬
‫ﺠﻤﻌ ﹶ‬
‫)‪(44‬‬
‫‪.‬‬ ‫ﺒﹺﺤﺎﺠﺭ ﺃﻭ ﺒﺴﻠﻊ ﺃﻭ ﺒﺄﺠﻴﺎ ‪‬ﺩ‬ ‫ﻻ ‪‬ﺩ ‪‬ﺭ ‪‬ﺩ ‪‬ﺭ ﺍﻝﻬﻭﻯ ﺇﻥ ﻝﻡ ﺃﻤﺕ ﻜﻤـﺩﺍ‬

‫ﺏ ﺍﻹﻝﻬﻲ‪ ،‬ﺍﻝﺫﻱ ﻴﺘﹼﺨﺫ ﻤﻥ ﺭﻤـﺯ ﺍﻝﻤـﺭﺃﺓ‬

‫ﻭﻴﺘﺒﻴ‪‬ﻥ ﻝﻠﻤﻁﹼﻠﻊ ﻋﻠﻰ ﻗﺼﺎﺌﺩ ﺘﺭﺠﻤﺎﻥ ﺍﻷﺸﻭﺍﻕ ﺃﻨﹼﻬﺎ ﺘﻨﺩﺭﺝ ﻀﻤﻥ ﺸﻌﺭ ﺍﻝﺤ ‪‬‬
‫ﻥ ﻤﻀـﻤﻭﻨﻬﺎ ﻁﻠـﺏ‬
‫ﻤﻌﺎﺩﻻ ﻤﻭﻀﻭﻋﻴ‪‬ﺎ ﻝﻠﻤﺤﺒ‪‬ﺔ ﺍﻹﻝﻬﻴ‪‬ﺔ‪ ،‬ﻭﻝﺌﻥ ﺍﺨﺘﻠﻔﺕ ﺍﻝﻤﻘﻁﻭﻋﺎﺕ ﻭﺍﻝﻘﺼﺎﺌﺩ ﻓﻲ ﺍﻝﺭ‪‬ﻤﻭﺯ ﻭﺍﻝﺘﹼﻠﻭﻴﺤﺎﺕ‪ ،‬ﻓﺈ ‪‬‬
‫ﻲ[‬
‫ﻥ ﺍﻷﺸﻌﺎﺭ ﺍﻝﺘﻲ ﻨﺠﺩﻫﺎ ﻓﻲ "ﺘﺭﺠﻤﺎﻥ ﺍﻷﺸﻭﺍﻕ" ﺘﻌ ‪‬ﺩ ﻤﻥ ﺍﻝﻨﹼﺎﺤﻴﺔ ﺍﻝﻔﻨﻴ‪‬ﺔ ﺃﻜﺜﺭ ﻗﺼﺎﺌﺩﻩ ] ﺍﺒﻥ ﻋﺭﺒ ‪‬‬
‫ﻕﺃ‪‬‬
‫ﺍﻝﺤﻘﻴﻘﺔ ﺍﻝﺭ‪‬ﺒﺎﻨﻴ‪‬ﺔ‪" ،‬ﻭﺍﻝﺤ ﹼ‬
‫ﺍﻜﺘﻤﺎﻻ ﻭﻨﻀﺠﺎ ﻭﺍﻤﺘﻼ ‪‬ﺀ ﺒﺄﺴﻠﻭﺏ ﺍﻝﺘﹼﻠﻭﻴﺢ ﻭﺍﻝﺭ‪‬ﻤﻭﺯ ﺍﻝﺸﹼﻌﺭﻴ‪‬ﺔ ﺍﻝﻤﻭﺤﻴﺔ")‪.(45‬‬
‫ﻭﻴﻭﺍﺯﻱ ﺤﻀﻭﺭ ﺭﻤﺯ ﺍﻝﻤﺭﺃﺓ ﻓﻲ ﺸﻌﺭ ﺍﻝﺘﹼﺼﻭ‪‬ﻑ ﺍﺘﹼﺨﺎﺫ ﺍﻝﺼ‪‬ﻭﻓﻴ‪‬ﺔ ﺍﻝﻁﹼﺒﻴﻌﺔ‪ ،‬ﺒﺼﻭﺭﻫﺎ ﻭﻤﺸﺎﻫﺩﻫﺎ‪ ،‬ﺭﻤﺯﺍ ﻴﻤﺘﺯﺝ ﺒﺭﻤﺯ‬
‫ﻲ‪:‬‬
‫ﺍﻝﻤﺭﺃﺓ ﺤﻴﻨﺎ‪ ،‬ﻭﻴﻨﻔﺼل ﻋﻨﻪ ﺤﻴﻨﺎ ﺁﺨﺭ‪ ،‬ﻴﻘﻭل ﺍﺒﻥ ﻋﺭﺒ ‪‬‬

‫ﻗﺩ ﺃﻓﺼﺢ ﻝﻲ ﻋﻥ ﺼﺤﻴـﺢ ﺍﻝﺨﺒﺭ‪‬‬

‫ﺭﻋﻰ ﺍﷲ ﻁﻴﺭﺍ ﻋﻠﻰ ﺒﺎﻨﺔ‬
‫ﺭﻭﺍﺤﻠﻬﻡ‪ ،‬ﹸﺜ ‪‬ﻡ ﺭﺍﺤﻭﺍ ﺴﺤﺭ‪‬‬ ‫ﻥ ﺍﻷﺤﺒ‪‬ﺔ ﺸـﺩ‪‬ﻭﺍ ﻋﻠـﻰ‬
‫ﺒﺄ ‪‬‬
‫ﺃﻨـﺎﺩﻱ ﺒﹺﻬﻡ ﹸﺜ ‪‬ﻡ ﺃﻗﻔﻭ ﺍﻷﺜــﺭ‪‬‬ ‫‪...‬ﺃﺴﺎﺒﻘﻬﻡ ﻓﻲ ﻅﻼﻡ ﺍﻝـﺩ‪‬ﺠـﻰ‬
‫ﻓﺴﺎﺭ ﺍﻝ ‪‬ﺭﻜﺎﺏ ﻝﻀﻭﺀ ﺍﻝﻘﻤـﺭ‪‬‬ ‫ﺭﻓﻌﻨﺎ ﺍﻝﺴ‪‬ﺠﺎﻑ ﺃﻀﺎﺀ ﺍﻝـﺩ‪‬ﺠﻰ‬
‫ﻓﻘـﺎﻝﻭﺍ‪ :‬ﻤﺘﻰ ﺴــﺎل ﻫﺫﺍ ﺍﻝ ﹼﻨﻬ‪‬ــﺭ‪‬؟‬ ‫ﻓﺄﺭﺴﻠﺕ ﺩﻤﻌﻲ ﺃﻤﺎﻡ ﺍﻝﺭ‪‬ﻜـﺎﺏ‬
‫ﻥ ﺩﺭﺭ‪‬‬
‫ﺠ ‪‬ﺭﻴ‪‬ــــ ‪‬‬
‫ﻓﻘﻠﺕ‪ :‬ﺩﻤــﻭﻋﻲ ‪‬‬ ‫ﻭﻝﹶﻡ ﻴﺴﺘﻁﻴﻌﻭﺍ ﻋﺒﻭﺭﺍ ﻝـﻪ‬
‫ﺴﻴ‪ ‬ﺭ ﺍﻝﻐﻤــﺎﻡ ﻝﺼﻭﺏ ﺍﻝﻤﻁــﺭ‪‬‬
‫ﻭ ‪‬‬ ‫ﻥ ﺍﻝﺭ‪‬ﻋﻭﺩ ﻝﻠﻤﻊ ﺍﻝﺒﺭﻭﻕ‬
‫ﻜﺄ ‪‬‬
‫ﺒﻠﻴﻥ ﺍﻝﻘﻀﻴـﺏ ﺍﻝﺭ‪‬ﻁﻴﺏ ﺍﻝﻨﹼﻀـﺭ‪‬‬ ‫‪ ...‬ﻓﻴﺎ ﻤﻥ ﻴﺸﺒ‪‬ﻪ ﻝﻴﻥ ﺍﻝﻘﺩﻭﺩ‬
‫ﺕ ﻝﻜﺎﻥ ﺴﻠﻴــﻡ ﺍﻝﻨﹼﻅـﺭ‪‬‬
‫ﻓﻌﻠ ﹶ‬ ‫ﺱ ﺍﻷﻤﺭ ﻤﺜـــل ﺍﻝﺫﻱ‬
‫ﻋ ‪‬ﻜ ‪‬‬
‫ﻓﻠﻭ ‪‬‬
‫ﻭﻭﺭﺩ ﺍﻝﺭ‪‬ﻴــﺎﺽ ﻜﻭﺭﺩ ﺍﻝﺨﻔﺭ‪.(46)‬‬ ‫ﻓﻠﻴﻥ ﺍﻝﻐﺼﻭﻥ ﻜﻠﻴﻥ ﺍﻝﻘﺩﻭﺩ‬

‫ﻭﻫﻜﺫﺍ‪ ،‬ﻭﻓﻲ ﻜﺜﻴﺭ ﻤﻥ ﺍﻝﻘﺼﺎﺌﺩ‪ ،‬ﻨﺠﺩ ﺘﺤﻭ‪‬ل ﺸﻌﺭ ﺍﻝﻁﹼﺒﻴﻌﺔ ﺇﻝﻰ ﻤﻜﺎﻓﺊ ﺭﻤﺯﻱ‪ ،‬ﻷﺴﺭﺍﺭ ﻏﻨﻭﺼﻴ‪‬ﺔ ﺘﺩﻭﺭ ﻋﻠﻰ ﺍﻝﺤﻜﻤﺔ‬
‫ل‬ ‫ﻲ ﻓﻲ ﺍﻝﺼ‪‬ﻭﺭ)‪" ،(47‬ﻭﻗﺩ ﺍﺴﺘﻁﺎﻉ ﺍﻝﺼ‪‬ﻭﻓﻴ‪‬ﺔ ﺍﻝﻤﺴﻠﻤﻭﻥ ﺘﺄﺴﻴﺱ ﺘﺼﻭ‪‬ﺭ ﻋﺭﻓﺎﻨ ‪‬‬
‫ﻲ ﻝﻌﻼﻗﺔ ﺍﻝﺨـﺎﻝﻕ ﺠـ ّ‬ ‫ﺍﻝﻤﻘﺩ‪‬ﺴﺔ‪ ،‬ﻭﺍﻝﺘﹼﺠﻠﻲ ﺍﻹﻝﻬ ‪‬‬
‫ﻭﻋﻼ ﺒﺎﻹﻨﺴﺎﻥ ﻭﺍﻝﻁﹼﺒﻴﻌﺔ‪ ،‬ﻤﺴﺘﻠﻬﻤﻴﻥ ﺍﻝﻭﺤﻲ ﺍﻹﻝﻬﻲ‪ ،‬ﻭﻤﺴﺘﺜﻤﺭﻴﻥ ﺠﻬﻭﺩ ﺍﻝﻔﻼﺴﻔﺔ ﺍﻝﺴ‪‬ﺎﺒﻘﻴﻥ‪ ،‬ﻓﻨﻅﺭﻭﺍ ﺇﻝﻰ ﺍﻝﺨﺎﻝﻕ ﻭﺍﻝﻌﺎﻝﻡ ﻤﻥ‬
‫ﻲ")‪ .(48‬ﻭﺒﻘﺭﺍﺀﺘﻨﺎ ﻝﺸﻌﺭ ﺍﻝﺘﹼﺼﻭ‪‬ﻑ ﺍﻝﺫﻱ ﻴﺘﹼﺨﺫ ﻤﻥ ﺍﻝﻁﹼﺒﻴﻌﺔ ﺍﻝﺤﻴ‪‬ﺔ ﻭﺍﻝﺠﺎﻤﺩﺓ ﺭﻤﻭﺯﺍ ﻝﻪ‪،‬‬
‫ﻲ ﻭﺍﻝﺨﻔ ‪‬‬
‫ﻤﻨﻁﻠﻕ ﺍﻝﻅﹼﺎﻫﺭ ﻭﺍﻝﺒﺎﻁﻥ ﻭﺍﻝﺠﻠ ‪‬‬
‫ﻨﺠﺩ ﺃﻨﹼﻪ ﻴﻬﺩﻑ ﺇﻝﻰ ﻏﺭﻀﻴﻥ‪ ،‬ﻫﻤﺎ‪ :‬ﺍﻝﺘﹼﻐﻨﹼﻲ ﺒﺎﻝﺫﹼﺍﺕ ﺍﻹﻝﻬﻴ‪‬ﺔ‪ ،‬ﻭﺍﻝﺘﹼﻌﺒﻴﺭ ﻋﻥ ﻭﺤﺩﺓ ﺍﻝﻭﺠﻭﺩ‪.‬‬
‫ﻭﻜﺜﻴﺭﺍ ﻤﺎ ﺘﻜﻭﻥ ﺍﻝﺭ‪‬ﻤﻭﺯ ﺤﻤﺎﻤﺎ ﺃﻭ ﺸﺠﺭﺍ ﺃﻭ ﻅﻭﺍﻫﺭ ﻜﻭﻨﻴﺔ‪ .‬ﻓﺎﻝﺤﻤﺎﻡ‪ ،‬ﻤﺜﻼ‪ ،‬ﻭﺍﺭﺩﺍﺕ‪" ،‬ﻭﻫﻲ ﻤﺎ ﻴﺭﺩ ﻋﻠﻰ ﺍﻝﻘﻠﺏ ﻤﻥ‬
‫ﺍﻝﻤﻌﺎﻨﻲ ﺍﻝﻐﻴﺒﻴ‪‬ﺔ ﻤﻥ ﻏﻴﺭ ﺘﻌﻤ‪‬ﺩ ﻤﻥ ﺍﻝﻐﻴﺏ")‪ .(49‬ﻓﻲ ﺸﺠﻭﻫﺎ ﻭﺒﻜﺎﺌﻬﺎ‪ ،‬ﻴﻘﻭل ﺍﺒﻥ ﻋﺭﺒ ‪‬‬
‫ﻲ‪:‬‬

‫ﺘﺭﻓﹼﻘﻥ ﻭﻻ ﺘﻀﻌﻔﻥ ﺒﺎﻝﺸﹼﺠﻭ ﺃﺸﺠﺎﻨﻲ‬

‫ﺃﻻ ﻴﺎ ﺤﻤﺎﻤﺎﺕ ﺍﻷﺭﺍﻜﺔ ﻭﺍﻝﺒـﺎﻥ‬
‫ﻲ ﺼﺒﺎﺒﺎﺘـﻲ ﻭﻤﻜﻨـﻭﻥ ﺃﺤﺯﺍﻨﻲ)‪.(50‬‬
‫ﺨﻔ ‪‬‬ ‫ﺘﺭﻓﹼﻘﻥ ﻻ ﺘﻅﻬﺭﻥ ﺒﺎﻝﻨﹼﻭﺡ ﻭﺍﻝﺒﻜﺎ‬

‫ﻥ ﺒﻌﻀﻬﻡ ﺒﻨﻰ ﻏﺯﻝﻪ ﻋﻠﻰ ﺍﻝﺘﹼﻐﺯ‪‬ل ﺒﺎﻝﺤﺠﺎﺯ‪ ،‬ﻭﺇﻥ ﻜﺎﻨـﺕ‬

‫ﻭﺇﺫﺍ ﺒﻨﻰ ﺒﻌﺽ ﺍﻝﺸﹼﻌﺭﺍﺀ ﻏﺯﻝﻬﻡ ﻋﻠﻰ ﻭﺼﻑ ﺍﻝﻁﹼﺒﻴﻌﺔ‪ ،‬ﻓﺈ ‪‬‬
‫ﻲ‪:‬‬
‫ﺒﻌﺽ ﺍﻝﻨﹼﺼﻭﺹ ﻴﻤﺘﺯﺝ ﻓﻴﻬﺎ ﺍﻝﻐﺯل ﺒﺎﻝﺤﻨﻴﻥ‪ .‬ﻭﻤﻥ ﺫﻝﻙ ﻗﻭل ﺃﺒﻲ ﺍﻝﺤﺴﻥ ﺒﻥ ﺍﻝﻔﺨﹼﺎﺭ ﺍﻝﺭ‪‬ﻋﻴﻨ ‪‬‬

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د‪/09‬د‪2015‬‬

‫ﻭﺸﻭﻗـﻲ ﺇﻝﻰ ﻭﺍﺩﻱ ﺍﻝﻌﻘﻴـﻕ ﻴﺯﻴـﺩ‬ ‫ﺤﻨﻴﻨﻲ ﺇﻝﻰ ﺍﻝﺒﻴﺕ ﺍﻝﻌﺘﻴﻕ ﺸﺩﻴــﺩ‬
‫ﻭﻫل ﻝﻲ ﺇﻝﻰ ﺘﻠﻙ ﺍﻝﺒﻘـﺎﻉ ﻭﻓـﻭﺩ؟‬ ‫ﻭﻤﻥ ﻝﻲ ﺃﻥ ﺃﺩﻋﻰ ﺇﻝﻰ ﺤﺭﻤﻲ‪ ‬ﻫﺩﻯ‬
‫)‪(51‬‬
‫ﻝﻬﺎ ﺒﻴﻥ ﺃﺤﻨﺎﺀ ﺍﻝﻀ‪‬ﻠـﻭﻉ ﻭﻗـﻭﺩ‬ ‫ﻏﱠﻠ ﹰﺔ‬
‫ﻭﻫل ﻨﺎﻗﻊ ﻝﻲ ﻤﺎ ‪‬ﺀ ﺯﻤﺯﻡ ﹸ‬

‫ﻭﺃﻫل ﺍﻝﻌﻘﻴﻕ ﻤﺤﺒﻭﺏ ﻴﺸﺘﺎﻕ ﺇﻝﻴﻪ ﺍﺒﻥ ﺠﺒﻴﺭ ﺃﻴﻀﺎ‪ ،‬ﻓﻴﻘﻭل‪:‬‬

‫ﺇﻝﻴﻜـ ‪‬ﻡ ﺒﺎﻝﺒﻌﺎﺩ ﺯﺍﺩ‪‬ﺍ‬

‫ﺴﻜﺎﻥ ﻭﺍﺩﻱ ﺍﻝﻌﻘﻴﻕ ﺸﻭﻗـﻲ‬
‫ﻲ ﺯﺍﺩ‪‬ﺍ‬
‫ﺃﻫﺩﻴﺘﻤﻭﻫﺎ ﺇﻝ ‪‬‬ ‫ﻭﻨﻅﺭﺓ ﻤﻨﻜﻡ ﺍﻝﻤﻨﻰ ﻝـﻭ‬
‫ﻴﺎ ﻝﻴﺘﻪ ﺒﺎﻝﻭﺼﺎل ﻋﺎﺩ‪‬ﺍ‬ ‫ﻋﻬﺩ ﻝﻨﺎ ﻋﻨﺩﻜﻡ ﺤﻤﻴﺩ‬
‫)‪(52‬‬ ‫ﺼﺎﺩﻕ ﻓﻴﻪ ﺍﻝﻜﺭﻯ ﺠﻔـﻭﻨ‪‬ﻲ‬
‫ﻭﺒﻌﺩﻜﻡ ﻝﻠﺠﻔﻭﻥ ﻋـﺎﺩ‪‬ﻯ‬

‫ﻻ ﺍﻝﻤﺸﻭﻕ ﺍﻝﻤﺘﻴ‪‬ﻡ‪.‬‬
‫ﻓﻠﻘﺩ ﺃﺫﻫﺏ ﺸﻭﻕ ﺍﺒﻥ ﺠﺒﻴﺭ ﺇﻝﻰ ﺃﻫل ﺍﻝﻌﻘﻴﻕ ﺍﻝﻨﹼﻭﻡ ﻋﻨﻪ‪ ،‬ﻭﻫﻲ ﺤﺎﻝﺔ ﻻ ﻴﻜﺎﺒﺩﻫﺎ ﺇ ﹼ‬
‫ﻥ ﺍﻝﺨﻤﺭ ﺒﻭﺼﻔﻬﺎ ﺭﻤﺯﺍ ﻋﺭﻓﺎﻨﻴ‪‬ﺎ ﺸﻜﹼل ﺴﻤﺔ ﺒـﺎﺭﺯﺓ‬
‫ﻲ ﻏﺭﻀﺎ ﻤﻥ ﺃﻏﺭﺍﺽ ﺸﻌﺭ ﺍﻝﺘﹼﺼﻭ‪‬ﻑ‪ ،‬ﻓﺈ ‪‬‬
‫ﺏ ﺍﻹﻝﻬ ‪‬‬
‫ﻭﺇﺫﺍ ﻜﺎﻥ ﺍﻝﺤ ‪‬‬
‫ﻕ ﻭﺍﻝﺘﹼﺠﺭﺒﺔ ﺍﻝﺭ‪‬ﻭﺤﻴ‪‬ﺔ ﺘﺎﺭﺓ ﺃﺨﺭﻯ‪.‬‬
‫ﻲ ﺘﺎﺭﺓ‪ ،‬ﻭﺘﻌﺒ‪‬ﺭ ﻋﻥ ﺍﻻﺭﺘﻭﺍﺀ ﺒﻴﺩ ﺍﻝﺤ ﹼ‬
‫ﺏ ﺍﻹﻝﻬ ‪‬‬
‫ﻓﻲ ﺍﻝﺸﹼﻌﺭ ﺍﻝﺼ‪‬ﻭﻓﻲ‪ ،‬ﺘﻌ‪‬ﺒﺭ ﻋﻥ ﺍﻝﺤ ‪‬‬
‫ﻥ ﺼـﻔﺎﺀ‬
‫ل ﻋﻠﻰ ﺍﻝﺨﻤﺭ ﺍﻹﻝﻬﻴ‪‬ﺔ‪ ،‬ﻓﻤﻨﻬﺎ ﺍﻝﺫﹼﻭﻕ ﺜ ‪‬ﻡ ﺍﻝﺸﹼﺭﺏ ﺜ ‪‬ﻡ ﺍﻻﺭﺘـﻭﺍﺀ‪ ،‬ﻓـﺈ ‪‬‬
‫"ﻭﺍﻝﺼ‪‬ﻭﻓﻴ‪‬ﺔ ﻝﻬﻡ ﻤﺼﻁﻠﺤﺎﺕ ﻭﺃﻝﻔﺎﻅ ﺘﺩ ّ‬
‫ﻤﻌﺎﻤﻼﺘﻬﻡ ﻴﻭﺠﺏ ﻝﻬﻡ ﺫﻭﻕ ﺍﻝﻤﻌﺎﻨﻲ‪ ،‬ﻭﻭﻓﺎﺀ ﻤﻨﺎﺯﻻﺘﻬﻡ ﻴﻭﺠﺏ ﻝﻬﻡ ﺍﻝﺸﹼﺭﺏ‪ ،‬ﻭﺩﻭﺍﻡ ﻤﻭﺍﺼﻼﺘﻬﻡ ﻴﻘﺘﻀـﻲ ﻝﻬـﻡ ﺍﻻﺭﺘـﻭﺍﺀ‪،‬‬
‫ﻓﺼﺎﺤﺏ ﺍﻝﺫﹼﻭﻕ ﻤﺘﺴﺎﻜﺭ‪ ،‬ﻭﺼﺎﺤﺏ ﺍﻝﺸﹼﺭﺏ ﺴﻜﺭﺍﻥ‪ ،‬ﻭﺼﺎﺤﺏ ﺍﻻﺭﺘﻭﺍﺀ ﺼﺎﺡ‪ ،‬ﻭﻤﻥ ﻗﻭﻱ ﺤﺒ‪‬ﻪ ﺘﺴﺭﻤﺩ ﺸﺭﺒﻪ")‪.(53‬‬
‫ﻥ ﻝﻪ ﻤﺭﺍﺘﺏ‪ :‬ﺴﻜﺭ ﻁﺒﻴﻌﻲ‪ ،‬ﻭﻫﻭ ﻤﺎ ﺘﺠﺩﻩ ﺍﻝﻨﹼﻔﻭﺱ ﻤـﻥ ﺍﻝﻁﹼـﺭﺏ ﻭﺍﻻﻝﺘـﺫﺍﺫ‬
‫ﻭﺇﺫﺍ ﻜﺎﻥ ﺍﻝﺴ‪‬ﻜﺭ ﻏﻴﺒﺔ ﺒﻭﺍﺭﺩ ﻗﻭﻱ‪ ،‬ﻓﺈ ‪‬‬
‫ﻲ ﻋﻥ ﺍﷲ ﻝﺼﺎﺤﺏ ﻫﺫﺍ ﺍﻝﻤﻘﺎﻡ ﺒﻨﻌﻭﺕ ﺍﻝﻤﺤﺩﺜﺎﺕ‪ ،‬ﻭﻋﻠﻴﻪ‬
‫ﻭﺍﻝﺴ‪‬ﺭﻭﺭ ﻭﺍﻻﺒﺘﻬﺎﺝ ﺒﻭﺍﺭﺩ ﺍﻷﻤﺎﻨﻲ‪ ،‬ﻭﺴﻜﺭ ﻋﻘﻠﻲ‪ ،‬ﻴﺄﺘﻲ ﺍﻝﺨﺒﺭ ﺍﻹﻝﻬ ‪‬‬
‫ﻲ ﻓﻬﻭ ﺴﻜﺭ ﺍﻝ ﹸﻜﻤ‪‬ل ﻤﻥ ﺍﻝﺭ‪‬ﺠﺎل)‪ .(54‬ﺃﻤ‪‬ﺎ ﺍﻝﺼ‪‬ﺤﻭ‬
‫ﻓﺴﻜﺭ ﺍﻝﻤﺅﻤﻨﻴﻥ ﺴﻜﺭ ﻁﺒﻴﻌﻲ‪ ،‬ﻭﺴﻜﺭ ﺍﻝﻌﺎﺭﻓﻴﻥ ﺴﻜﺭ ﻋﻘﻠﻲ‪ ،‬ﺃﻤ‪‬ﺎ ﺍﻝﺴ‪‬ﻜﺭ ﺍﻹﻝﻬ ‪‬‬
‫ﻱ)‪" ،(55‬ﻭﺍﻝﻌﺒﺩ ﻓﻲ ﺤﺎل ﺴﻜﺭﻩ ﻴﺸﺎﻫﺩ ﺍﻝﺤﺎل‪ ،‬ﻭﻓﻲ ﺤـﺎل ﺼـﺤﻭﻩ ﻴﺸـﺎﻫﺩ‬
‫ﻓﻬﻭ ﺭﺠﻭﻉ ﺇﻝﻰ ﺍﻹﺤﺴﺎﺱ ﺒﻌﺩ ﺍﻝﻐﻴﺒﺔ ﺒﻭﺍﺭﺩ ﻗﻭ ‪‬‬
‫ﺍﻝﻌﻠﻡ‪ ...‬ﻭﺍﻝﺼ‪‬ﺤﻭ ﻭﺍﻝﺴ‪‬ﻜﺭ ﺒﻌﺩ ﺍﻝﺫﹼﻭﻕ ﻭﺍﻝﺸﹼﺭﺏ")‪.(56‬‬
‫ﻭﻝﻘﺩ ﻋﺭﻓﺕ ﺍﻝﺨﻤﺭﻴﺎﺕ ﻓﻲ ﺍﻝﺸﹼﻌﺭ ﺍﻝﻌﺭﺒﻲ‪ ،‬ﻓﻭﺼﻔﺕ ﺍﻝﺨﻤﺭ ﻭﺸﺎﺭﺒﻬﺎ‪ ،‬ﻭﺘﺄﺜﻴﺭﻫﺎ ﻭﺁﻨﻴﺘﻬﺎ‪ ،‬ﻭﻤﺠﺎﻝﺴﻬﺎ ﻭﻨﺩﻤﺎﺅﻫﺎ‪ ،‬ﻋﻠﻰ‬
‫ﻥ ﺍﻝﺨﻤﺭ ﺍﻝﺘﻲ ﻨﻌﻨﻴﻬﺎ ﻫﻨـﺎ ﻫـﻲ ﺍﻝﺨﻤـﺭ‬
‫ﺍﻝﻨﹼﺤﻭ ﺍﻝﺫﻱ ﻨﺠﺩﻩ ﻓﻲ ﺸﻌﺭ ﺍﻷﻋﺸﻰ ﻤﻴﻤﻭﻥ ﺒﻥ ﻗﻴﺱ‪ ،‬ﻭﺍﻷﺨﻁل‪ ،‬ﻭﺃﺒﻲ ﻨﻭﺍﺱ‪ .‬ﻝﻜ ‪‬‬
‫ﻲ")‪ ،(57‬ﻓﺈ ‪‬‬
‫ﻥ ﺍﻝﺒﺎﺤﺙ ﻓﻲ ﺍﻝﻠﹼﻐـﺔ‬ ‫ﻲ ﻭﺍﻝﺨﻤﺭ ﺍﻝﻌﺎﺩﻱ ﻭﺒﻴﻥ ﺍﻝﺸﹼﻌﺭ ﺍﻝﺼ‪‬ﻭﻓ ‪‬‬
‫ﺍﻝﺼ‪‬ﻭﻓﻴ‪‬ﺔ‪ ،‬ﻭﺇﻥ ﻜﺎﻥ "ﻴﺼﻌﺏ ﺍﻝﺘﻤﻴﻴﺯ ﺒﻴﻥ ﺍﻝﺸﹼﻌﺭ ﺍﻝﻐﺯﻝ ‪‬‬
‫ﺍﻝﺸﹼﻌﺭﻴ‪‬ﺔ ﺍﻝﺼ‪‬ﻭﻓﻴ‪‬ﺔ ﺴﻴﻜﺘﺸﻑ ﺩﻭﻥ ﻤﺸﻘﹼﺔ‪ ،‬ﺫﻝﻙ ﺍﻝﻔﺭﻕ ﺒﻴﻥ ﺍﻝﺘﹼﺠﺭﺒﺘﻴﻥ ﺍﻝﺸﹼﻌﺭﻴﺘﻴﻥ‪ :‬ﺒﻴﻥ ﺘﺠﺭﺒﺔ ﻋﺎﺩﻴﺔ ﻭﺃﺨﺭﻯ ﻤﻌﻘﹼﺩﺓ)‪.(58‬ﻴﻘـﻭل‬
‫ﻲ‪:‬‬
‫ﺍﺒﻥ ﻋﺭﺒ ‪‬‬

‫ﻝﻜﺎﻥ ﺠﻭﺍﺒﻲ ﺇﻝﻴﻪ ﺸﻬﻴﻘ‪‬ﻲ‬

‫ﻭﻝﻭ ﻻﻤﻨﻲ ﻓﻲ ﻫﻭﺍﻫﺎ ﻋﺫﻭل‬
‫ﻭﻭﺠﺩﻱ ﺼﺒﻭﺤﻲ‪ ،‬ﻭﺩﻤﻌﻲ ﻏﺒﻭﻗ‪‬ﻲ)‪.(59‬‬ ‫ﻓﺸﻭﻗﻲ ﺭﻜﺎﺒﻲ‪ ،‬ﻭﺤﺯﻨﻲ ﻝﺒﺎﺴﻲ‬

‫ﻭﻴﻘﻭل ﻓﻲ ﻤﻭﻀﻊ ﺁﺨﺭ‪:‬‬

‫ﺸ ‪‬ﺩ‬
‫ﻏﺭﹺﺩ ﻫﻨﺎﻝﻙ ﻴ‪‬ﻨ ‪‬‬
‫ﻭﺍﻁﺭﺏ ﻋﻠﻰ ﹶ‬ ‫ﻭﺍﺸﺭﺏ ﺴﻼﻓﺔ ﺨﻤﺭﻫﺎ ﺒﺨﻤﺎﺭﻫﺎ‬
‫ﻋﻥ ﺠﻨﹼﺔ ﺍﻝﻤﺄﻭﻯ ﺤﺩﻴﺜﺎ ﻴ‪‬ﺴ ﹶﻨ ‪‬ﺩ)‪.(60‬‬ ‫ﻭﺴﻼﻓﺔ ﻤﻥ ﻋﻬﺩ ﺁﺩﻡ ﺃﺨﺒﺭﺕ‬
‫ﻓﻬﻲ ﺩﻋﻭﺓ ﺇﻝﻰ ﺍﻝﺴ‪‬ﻜﺭ ﺍﻹﻝﻬﻲ‪ ،‬ﺴﻜﺭ ﺍﻝ ﹸﻜﻤ‪‬ل‪ ،‬ﻓﻬﻲ ﺨﻤﺭ ﻤﻥ ﺠﻨﹼﺔ ﺍﻝﻤﺄﻭﻯ‪ ،‬ﻭﻫﻲ ﺩﺍﻝﹼﺔ ﻋﻠﻰ ﺍﻝﺴ‪‬ﻜﺭ ﺍﻝﺩ‪‬ﺍﺌﻡ‪ ،‬ﻭﺨﻤﺭ ﺍﺒـﻥ‬
‫ﻲ ﻗﺩﻴﻤﺔ ﻤﻥ ﻋﻬﺩ ﺁﺩﻡ‪.‬‬
‫ﻋﺭﺒ ‪‬‬

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א
د‪/09‬د‪2015‬‬

‫ﻱ)‪ ،(61‬ﻭﺃﺒﻲ ﻤﺩﻴﻥ ﺸﻌﻴﺏ‪.‬‬

‫ﻲ ﻗﻠﻴﻠﺔ‪ ،‬ﻓﺈﻨﹼﻬﺎ ﻜﺜﻴﺭﺓ ﻓﻲ ﺸﻌﺭ ﺍﻝﺸﹼﺸﺘﺭ ‪‬‬
‫ﻲ ﻓﻲ ﺸﻌﺭ ﺍﺒﻥ ﻋﺭﺒ ‪‬‬
‫ﻭﺇﺫﺍ ﻜﺎﻨﺕ ﺍﻝﺨﻤﺭ ﻜﺭﻤﺯ ﺼﻭﻓ ‪‬‬
‫ﻭﺇﺫﺍ ﻝﻡ ﻴﻅﻔﺭ ﺍﻝﺒﺎﺤﺙ ﻓﻲ ﺍﻝﺒﻭﺍﻜﻴﺭ ﺍﻝﺸﹼﻌﺭﻴ‪‬ﺔ ﺍﻷﻭﻝﻰ ﺒﺨﻤﺭﻴ‪‬ﺎﺕ ﻤﻁﻭ‪‬ﻝﺔ‪ ،‬ﻓﺈﻨﹼﻤﺎ ﻅﻬﺭﺕ ﻫﺫﻩ ﺍﻝﻤﻁﻭ‪‬ﻻﺕ ﻓﻲ ﺯﻤﻥ ﻤﺘﺄﺨﹼﺭ ﻴﺭﺠﻊ‬
‫ﻱ)‪.(62‬‬
‫ﺇﻝﻰ ﺃﻭﺍﺨﺭ ﺍﻝﻘﺭﻥ ﺍﻝﺭ‪‬ﺍﺒﻊ ﺍﻝﻬﺠﺭ ‪‬‬
‫ﻱ‬
‫ﻲ ﻋﻠﻰ ﺃﺤﻭﺍل ﺍﻝﻭﺠﺩ ﻭﺍﻝﺴ‪‬ﻜﺭ ﺍﻝﻤﻌﻨﻭ ‪‬‬
‫ﺏ ﻫﻭ ﺍﻝﺒﺎﻋﺙ ﺍﻝﺤﻘﻴﻘ ‪‬‬
‫ﻥ ﺍﻝﺤ ‪‬‬
‫ﺏ ﺃﻭ ﻤﻭﻀﻭﻋﻪ‪ ،‬ﻤﺎﺩﺍﻡ ﺃ ‪‬‬
‫ﻭﻗﺩ ﺘﺭﻤﺯ ﺍﻝﺨﻤﺭ ﺇﻝﻰ ﺍﻝﺤ ‪‬‬
‫ﺒﺎﻝﻭﺍﺭﺩﺍﺕ ﺍﻝﻘﻭﻴ‪‬ﺔ)‪ .(63‬ﻴﻘﻭل ﺃﺒﻭ ﻤﺩﻴﻥ )‪594‬ﻫـ(‪:‬‬

‫ﻓﻨﺤﻥ ﺃﻨﺎﺱ ﻻ ﻨﺭﻯ ﺍﻝﻤﺯﺝ ﻤﺫ ﻜﻨﱠﺎ‬ ‫ﺃﺩﺭﻫﺎ ﻝﻨﺎ ﺼﺭﻓﺎ ﻭﺩﻉ ﻤﺯﺠﻬﺎ ﻋﻨﹼﺎ‬
‫ﻷﻨﹼﺎ ﺇﻝﻴﻬﺎ ﻗﺩ ﺭﺤﻠﻨﺎ ﺒﻬﺎ ﻋﻨﱠﺎ‬ ‫ﻥ ﻝﻨﺎ ﻓﺎﻝﻭﻗﺕ ﻗﺩ ﻁﺎﺏ ﺒﺎﺴﻤﻬـﺎ‬
‫ﻭﻏ ‪‬‬
‫ﺇﻝﻰ ﺃﻥ‪ ‬ﺒﻬﺎ ﻜ ّل ﺍﻝﻤﻌﺎﺭﻑ ﺃﻨﻜﺭﻨﹶــﺎ‬ ‫ﻋﺭﻓﻨﺎ ﺒﻬﺎ ﻜ ّل ﺍﻝﻭﺠﻭﺩ ﻭﻝﻡ ﻨﺯل‬
‫)‪(64‬‬
‫‪.‬‬ ‫ﻭﻝﻡ ‪‬ﻴﺠ‪‬ﻠﻬﺎ ﺭﺍﺡ ﻭﻝﻡ ﺘﻌﺭﻑ ﺍﻝ ‪‬ﺩﻨﱠﺎ‬ ‫ﻫﻲ ﺍﻝﺨﻤﺭ ﻝﻡ ﺘﻌﺭﻑ ﺒﻜﺭﻡ ﻴﺨﺼ‪‬ﻬﺎ‬

‫ﻓﻬﺫﻩ ﺍﻝﺨﻤﺭ ﺘﺨﺘﻠﻑ ﻋﻥ ﺍﺒﻨﺔ ﺍﻝﻜﺭﻭﻡ‪ ،‬ﺇﻨﹼﻬﺎ ﺨﻤﺭ ﻋ‪‬ﻠﻭﻴ‪‬ﺔ‪ ،‬ﻭﻓﻲ ﻨﺸﻭﺘﻬﺎ ﻴﻌﺭﻑ ﺍﻝﻭﺠﻭﺩ‪.‬‬
‫ﻻ ﻤﻅﻬـﺭ ﻝﺠﻤﺎﻝﻬـﺎ‪،‬‬
‫ﻭﻴﻭﺍﺼل ﺃﺒﻭ ﻤﺩﻴﻥ ﻭﺼﻔﻪ ﺍﻝﺨﻤﺭ ﻭﺘﺄﺜﻴﺭﻫﺎ؛ ﻓﺈﺫﺍ ﻝﻡ ﺘﺩﺭﻙ ﺍﻷﻓﻬﺎﻡ ﺘﺤﺩﻴﺩ ﻜﻨﻬﻬﺎ‪ ،‬ﻓﻠﻴﺱ ﺍﻝﻜﻭﻥ ﺇ ﹼ‬
‫ﻓﻴﻘﻭل‪:‬‬
‫ﻭﻓﻲ ﻜ ّل ﺸﻲﺀ ﻤﻥ ﻝﻁﺎﻓﺘﻬﺎ ﻤﻌﻨﹶﻰ‬ ‫ﻤﺸﻌﺸﻌﺔ ﻴﻜﺴﻭ ﺍﻝﻭﺠﻭﻩ ﺠ‪‬ﻤﺎﻝﻬـﺎ‬
‫ﻭﻋﺩﻨﺎ ﻜﺄﻨﹼﺎ ﻻ ﺤﻀﺭﻨﺎ ﻭﻻ ﻏﺒﻨﹶﺎ‬ ‫ﺤﻀﺭﻨﺎ ﻓﻐﺒﻨﺎ ﻋﻨﺩ ﺩﻭﺭ ﻜﺅﻭﺴﻬﺎ‬
‫ﻭﻤﺎ ﺍﺤﺘﺠﺒﺕ ﺇ ﹼﻻ ﺒﺄﻨﻔﺴﻨﺎ ﻋﻨـﱠﺎ‬ ‫ﻭﺃﺒﺩﺕ ﻝﻨﺎ ﻓﻲ ﻜ ّل ﺸﻲﺀ ﺇﺸــﺎﺭﺓ‬
‫ﻭﻝﻜﻨﹼﻬﺎ ﻻﺫﺕ ﺒﺄﻝﻁﺎﻓﻬﺎ ﺍﻝﺤﺴﻨﻰ‬ ‫ﻭﻝﻡ ﺘﻁﻕ ﺍﻷﻓﻬﺎﻡ ﺘﻌﺒﻴﺭ ﻜﻨﻬﻬﺎ‬
‫ﺠﻠﹶﺕ ﻓﻤﺎ ﺃﻏﻨﻰ ﻭﺩﻗﹼﺕ ﻓﻤﺎ ﺃﺴﻨﹶﻰ‬
‫ﻭ‪‬‬ ‫‪...‬ﺘﺠﻠﹼﺕ ﺩﻨﻭ‪‬ﺍ ﻭﺍﺨﺘﻔﺕ ﺒﻤﻅـﺎﻫﺭ‬
‫ﺃﺭﺘﻨﺎ ﺒﻪ ﻓﻲ ﻜـ ّل ﺸﻲﺀ ﺒﺩﺍ ﺤﺴﻨﹶﺎ)‪.(65‬‬ ‫ﻭﻤﺎ ﺍﻝﻜﻭﻥ ﺇ ﹼﻻ ﻤﻅﻬﺭ ﻝﺠﻤﺎﻝﻬﺎ‬

‫ﻭﺍﻝﺨﻤﺭ ﻋﻨﺩ ﺍﻝﺼ‪‬ﻭﻓﻴ‪‬ﺔ ﻗﺩﻴﻤﺔ ﺩﺍﺌﻤﺎ‪ ،‬ﺘﺸﻴﺭ ﺇﻝﻰ ﺍﻝﺘﹼﺠﻠﹼﻴﺎﺕ ﺍﻹﻝﻬﻴ‪‬ﺔ‪ ،‬ﻭﺤﻘﺎﺌﻕ ﺍﻝﻐﻴﺏ‪ ،‬ﻭﻋﺎﻝﻡ ﺍﻝﺤﻘﻴﻘﺔ‪ .‬ﻴﻘﻭل ﺃﺒﻭ ﻤﺩﻴﻥ‪:‬‬

‫ﺒﻘﺎ ‪‬ﺀ ﻏﺩﺍ ﻴﻐﻨﻲ ﺍﻝﺯ‪‬ﻤﺎﻥ ﻭﻻ ﻴﻐ ﹶﻨﻰ‬

‫ﻝﻬﺎ ﺍﻝﻘﺩﻡ ﺍﻝﻤﺤﺽ ﺍﻝﺫﻱ ﺸﻔﻌﺕ ﺒﻪ‬
‫ﻭﻜ ّل ﻗﺩﻴﻡ ﻓﻬﻲ ﺤﺎﺯﺕ ﺍﻝﻤﻌﻨﹶﻰ‬ ‫ﺒﻌﻴﺩ ﻭﻴﺒﺩﻱ ﻓﻌﻠﹶﻬﺎ ﻜ ﱡل ﻤ‪‬ﺤﺩ‪‬ﺙ‬
‫‪...‬ﺇﻝﻴﻬﺎ ﺠﻤﻴﻊ ﺍﻝﻜﺎﺌﻨﺎﺕ ﻤﺸﻭﻗﺔ‬
‫ﻥ ﻤﺎ ﺃﻏﻨﹶﻰ)‪.(66‬‬
‫ﺘﺯﻴﺩ ﺍﻓﺘﻘﺎﺭﺍ ﻭﻫﻲ ﻋﻨﻬ ‪‬‬

‫"ﺃﻤ‪‬ﺎ ﺍﻝﺸﹼﺎﻋﺭ ﺍﻝﺫﻱ ﺍﺸﺘﻬﺭ ﺒﺨﻤﺭﻴﺎﺘﻪ ﻓﻬﻭ ﺍﻝﺸﹼﺸﺘﺭﻱ")‪ ،(67‬ﻴﻘﻭل ﻓﻲ ﺇﺤﺩﻯ ﻗﺼﺎﺌﺩﻩ‪:‬‬

‫ﻁﺎﺏ ﺸﺭﺏ ﺍﻝﻤﺩﺍﻡ ﻓﻲ ﺍﻝﺨﻠﻭﺍﺕﹾ‬

‫ﺃﺴﻘﻨﻲ ﻴﺎ ﻨﺩﻴﻡ ﺒﺎﻵﻨﻴــــﺎﺕﹾ‬
‫ﻝﻴﺱ ﻓﻴﻬﺎ ﺇﺜﻡ ﻭﻻ ﺸﺒﻬـﺎﺕﹾ‬ ‫ﺨﻤﺭ ﹰﺓ ﺘﺭﻜﻬﺎ ﻋﻠﻴﻨﺎ ﺤــﺭﺍﻡ‬
‫ﻁﻴ‪‬ﺒﺎﺕﹾ)‪.(68‬‬
‫ﺃﺼﻠﻬﺎ ﻁﻴ‪‬ﺏ ﻤﻥ ﺍﻝ ﹼ‬
‫ﻋﺘﱢﻘﺕ ﻓﻲ ﺍﻝﺩ‪‬ﻨﺎﻥ ﻤﻥ ﹶﻗﺒ‪‬ل ﺁﺩﻡ‬
‫‪‬‬

‫ﻋﺘﹼﻘﺕ ﻤﻥ ﹶﻗﺒ‪‬ل ﺁﺩﻡ‪ ،‬ﺃﻱ ﺃﻨﹼﻬﺎ ﺨﻤﺭ ﺇﻝﻬﻴ‪‬ﺔ ﺃﺼﻠﻬﺎ ﻁﻴ‪‬ﺏ ﻷﻨﹼﻬﺎ ﻨﺎﺒﻌﺔ ﻤﻥ ﺍﻝﺫﹼﺍﺕ ﺍﻹﻝﻬﻴ‪‬ﺔ‪.‬‬
‫ﻓﺎﻝﺨﻤﺭ ‪‬‬
‫ل ﻗﺼﺎﺌﺩ ﺍﻝﺨﻤﺭ ﺍﻝﺼ‪‬ﻭﻓ‪‬ﻴﺔ؛ ﻓﺎﻝﺨﻤﺭ ﺩﺍﺌﻤﺎ ﻗﺩﻴﻤﺔ ﻤﻌﺘﹼﻘﺔ ﺘﺭﻤـﺯ ﻝﻠﻤﺤﺒ‪‬ـﺔ ﺍﻹﻝﻬﻴ‪‬ـﺔ‪ .‬ﻴﻘـﻭل‬
‫ﻭﻴﺘﻜﺭ‪‬ﺭ ﻫﺫﺍ ﺍﻝﻤﻌﻨﻰ ﻓﻲ ﺠ ّ‬
‫ﻱ ﻓﻲ ﻗﺼﻴﺩﺓ ﺃﺨﺭﻯ‪:‬‬
‫ﺍﻝﺸﹼﺸﺘﺭ ‪‬‬
‫ﻭﻗﺩ ﻏﻠﺏ ﺍﻝﺸﹼﻌﺎﻉ ﻋﻠﻰ ﺍﻝﻨﹼﻬﺎﺭ‪‬‬ ‫ﺘﻨﺒ‪‬ﻪ ﻓﻘﺩ ﺒﺩﺕ ﺸﹶﻤﺱ ﺍﻝ ‪‬ﻌﻘﹶـﺎﺭ‬
‫ﺃﺩﺭﻫﺎ ﺒﺎﻝﺼ‪‬ﻐـﺎﺭ ﻭﺒﺎﻝﻜﺒــﺎﺭ‪‬‬ ‫ﺴﻼﻓﺎ ﻗﺩ ﺼﻔﺕ ﻗﺩﻤﺎ ﻭﺭﺍﻗﺕ‬

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‫ﻭﻤﺎ ﺴﻜﺒﺕ ﺯﺠﺎﺠﺘﻬـﺎ ﺒﻨـﺎﺭ‪.(69)‬‬ ‫ﻥ‬

‫ﻓﻤﺎ ﻋ‪‬ﺼﺭﺕ ﻭﻤﺎ ﺠ‪‬ﻌﻠﺕ ﺒﺩ ‪‬‬
‫ﻥ ﺍﻝﺨﻤﺭ ﺘﺭﺘﺒﻁ ﺒﻤﻘﺎﻡ ﺍﻝﻤﺤﺒﺔ ﺍﻹﻝﻬﻴ‪‬ﺔ‪ ،‬ﻭﻏﺎﻝﺒﺎ ﻤﺎ ﺘﻜﻭﻥ ﺍﻝﺨﻤﺭ ﻫﻲ ﺸـﺭﺍﺏ‬
‫ﻭﻴﺴﺘﺨﻠﺹ ﺍﻝﺩ‪‬ﻜﺘﻭﺭ ﺴﺎﻝﻡ ﻋﺒﺩ ﺍﻝ ‪‬ﺭﺯ‪‬ﺍﻕ ﺃ ‪‬‬
‫ﺏ ﺍﻹﻝﻬﻲ‪ ،‬ﻭﻭﺼل ﺇﻝﻰ ﺤﺎﻝﺔ ﺍﻝﺴ‪‬ﻜﺭ ﺍﻝﺫﻱ ﻴﻜـﻭﻥ ﻓﻴـﻪ ﻤـﻊ‬
‫ﻻ ﻤﻥ ﺫﺍﻕ ﺤﻼﻭﺓ ﺍﻝﺤ ‪‬‬
‫ﺍﻝﻤﺤﺒ‪‬ﻴﻥ ﺍﻝﻌﺎﺸﻘﻴﻥ‪ ،‬ﻭﻫﺫﺍ ﻤﺎ ﻻ ﻴﺩﺭﻜﻪ ﺇ ﹼ‬
‫ﺍﻝﻤﺤﺒﻭﺏ ﻴﻨﺎﺠﻴﻪ ﻭﻴﻘﺘﺒﺱ ﻤﻥ ﻨﻭﺭﻩ)‪ ،(70‬ﻭ"ﻫﻜﺫﺍ ﻝﻡ ﻴﺒﻕ ﻤﻥ ﺍﻝﺨﻤﺭ ﻓﻲ ﺸﻌﺭ ﺍﻝﺼ‪‬ﻭﻓﻴﺔ ﺇ ﹼ‬
‫ﻻ ﺍﺴﻤﻬﺎ‪ ،‬ﻭﻤﺎ ﻴﻭﺤﻲ ﺒﻪ ﻤﻥ ﺴـﻜﺭ‬
‫ﻲ")‪.(71‬‬
‫ﻥ ﺍﻝﺼ‪‬ﻭﻓﻴ‪‬ﺔ ﺒﻪ ﺃﺤﻭﺍل ﺍﻝﻭﺠﺩ ﺍﻹﻝﻬ ‪‬‬
‫ﻭﺍﻨﺘﺸﺎﺀ‪ ،‬ﻗﹶﺎ ‪‬ﺭ ‪‬‬
‫ﻭﻨﺠﺩ ﻤﻥ ﺍﻝﻤﻭﻀﻭﻋﺎﺕ ﺍﻝﺘﻲ ﻁﺭﻗﻬﺎ ﺸﻌﺭ ﺍﻝﺘﹼﺼﻭ‪‬ﻑ‪ ،‬ﺘﻠﻙ ﺍﻝﻘﺼﺎﺌﺩ ﻭﺍﻝﻤﻘﻁﻭﻋﺎﺕ ﺍﻝﺘﻲ ﺘﻌﺒ‪‬ﺭ ﻋﻥ ﺃﻓﻜﺎﺭﻫﻡ ﻭﻨﻅﺭﻴﺎﺘﻬﻡ‬
‫ﻲ‪ .‬ﻭﺘـﺩﻭﺭ ﻫـﺫﻩ ﺍﻷﻓﻜـﺎﺭ‬
‫ﻱ ﺍﻝﻔﻠﺴﻔ ‪‬‬
‫ﻻ ﻋﻨﺩ ﺃﺭﺒﺎﺏ ﺍﻝﺘﹼﺼﻭ‪‬ﻑ ﺍﻝﻨﹼﻅﺭ ‪‬‬
‫ﻭﺁﺭﺍﺌﻬﻡ ﻓﻲ ﺍﻝﺘﹼﺼﻭ‪‬ﻑ‪ .‬ﻭﻫﺫﻩ ﺍﻝﻤﻭﻀﻭﻋﺎﺕ ﻻ ﻨﺠﺩﻫﺎ ﺇ ﹼ‬
‫ﻲ‪:‬‬
‫ﻭﺍﻵﺭﺍﺀ ﺤﻭل ﺍﻝﻭﺤﺩﺓ ﺍﻝﻤﻁﻠﻘﺔ‪ ،‬ﻭﻭﺤﺩﺓ ﺍﻝﻭﺠﻭﺩ‪ ،‬ﻭﺍﻝﻔﻨﺎﺀ‪ ،‬ﻭﺍﻝﻤﻘﺎﻤﺎﺕ ﻭﺍﻷﺤﻭﺍل‪ .‬ﻭﻤﻥ ﺫﻝﻙ ﻗﻭل ﺍﺒﻥ ﻋﺭﺒ ‪‬‬

‫ﻭﻝﻴﺱ ﺨﻠﻘﺎ ﺒﺫﺍﻙ ﺍﻝﻭﺠﻪ ﻓﺎﺫﻜ ‪‬ﺭﻭﺍ‬ ‫ﻕ ﺒﻬﺫﺍ ﺍﻝﻭﺠﻪ ﻓﺎﻋﺘﺒﺭﻭﺍ‬

‫ﺨﻠﹾ ﹸ‬
‫ﻕ ﹶ‬
‫ﻓﺎﻝﺤ ﹼ‬
‫ﻭﻝﻴﺱ ﻴﺩﺭﻴﻪ ﺇ ﹼﻻ ﻤﻥ ﻝﻪ ﺒﺼـ ‪‬ﺭ‬ ‫ﺕ ﻝﻡ ﹸﺘﺨ ﹶﺫلْ ﺒﺼﻴﺭ ﹸﺘﻪ‬
‫ﻤﻥ ﻴﺩ ﹺﺭ ﻤﺎ ﻗﻠ ﹸ‬
‫ﻭﻫﻲ ﺍﻝﻜﺜﺭﺓ ﻻ ﺘﹸﺒﻘﻲ ﻭﻻ ﺘــﺫ ‪‬ﺭ)‪.(72‬‬ ‫ﻥ ﺍﻝﻌﻴﻥ ﻭﺍﺤـﺩﺓﹲ‬
‫ﺠﻤ‪‬ﻊ ﻭ ﹶﻓﺭ‪‬ﻕ ﻓﺈ ‪‬‬
‫‪‬‬
‫ﺇﺫﻥ ﻓﺎﻝﻭﺠﻭﺩ ﻓﻲ ﺤﻘﻴﻘﺘﻪ ﻭﺍﺤﺩ‪ ،‬ﻭﺍﻷﺴﻤﺎﺀ ﺍﻹﻝﻬﻴ‪‬ﺔ ﺩﻻﻻﺕ ﻤﺨﺘﻠﻔﺔ ﻋﻠﻰ ﺫﺍﺕ ﻭﺍﺤﺩﺓ‪ ،‬ﻭﻤﺠﺎل ﺠﺩﻴﺩﺓ ﻓﻲ ﻋﻴﻥ ﻭﺍﺤـﺩﺓ‬
‫ﻕ)‪ ،(73‬ﻓﻬﺫﻩ ﺍﻷﺒﻴﺎﺕ ﺘﻠﺨﹼﺹ ﺭﺃﻴﺎ ﻤﻥ ﺁﺭﺍﺀ ﺍﺒﻥ ﻋﺭﺒ ‪‬‬
‫ﻲ ﻓﻲ ﻭﺤﺩﺓ ﺍﻝﻭﺠﻭﺩ‪.‬‬ ‫ﻫﻲ ﻋﻴﻥ ﺍﻝﺤ ﹼ‬
‫ﻲ ﺃﻴﻀﺎ‪:‬‬
‫ﻭﻴﻘﻭل ﺍﺒﻥ ﻋﺭﺒ ‪‬‬
‫ﻷﻨﹼﻪ ﺨﻠـﻕ ﻓﺎﻨﻅﺭ ﺘﺭﻯ ﻋﺠ ‪‬ﺒـﺎ‬ ‫ﻥ ﺍﻝﺘﹼﺼﻭ‪‬ﻑ ﺘﺸﺒ‪‬ﻪ ﺒﺨﺎﻝﻘﻨﺎ‬
‫ﻓﺎﻋﻠﻡ ﺃ ‪‬‬
‫ﻓﻲ ﺨﻠﻘﻪ ﻭﺒﻬﺫﺍ ﺍﻝﻘﺩﺭ ﻗﺩ ﺤﺠﺒ‪‬ﺎ‬ ‫ﻲ ﻝﻪ‬
‫ﻜﻴﻑ ﺍﻝﺘﹼﺨﻠﹼﻕ ﻭﺍﻝﻤﻜﺭ ﺍﻝﺨﻔ ‪‬‬
‫ﻓﻲ ﻏﻴﺭ ﻤﻨﺯﻝﻪ ﻴـﺭﺩﻩ ﺫﻫﺒ‪‬ـﺎ‬ ‫ﻥ ﺍﻝﺤﺩﻴﺩ ﺇﺫﺍ ﻤﺎ ﺍﻝﺼ‪‬ﻨﻊ ﻴﺩﺨﻠﻪ‬
‫ﺇ‪‬‬
‫ﻤﻊ ﺍﻹﻝﻪ ﻓﻼ ﺘﻌﺩل ﺒﻪ ﻨﺴﺒ‪‬ـﺎ)‪.(74‬‬ ‫ﻥ ﺍﻝﺘﹼﺼﻭ‪‬ﻑ ﺃﺨﻼﻕ ﻤﻁﻬ‪‬ﺭﺓ‬
‫ﺇ‪‬‬
‫ل ﻗﻭﺍﻫﻡ ﺍﻝﻌﻘﻠﻴ‪‬ﺔ‬
‫ﻲ ﻭﻴﺭﻴﺩﻩ‪ ،‬ﺇﺫ ﺍﻝ ﹸﻜ ‪‬ﻤل ﻤﻥ ﺍﻝﻨﹼﺎﺱ ﻴﺘﻘﺭ‪‬ﺒﻭﻥ ﺒﻜ ّ‬
‫ﺘﻜﺸﻑ ﻫﺫﻩ ﺍﻷﺒﻴﺎﺕ ﺤﻘﻴﻘﺔ ﺍﻝﺘﹼﺼﻭ‪‬ﻑ ﻜﻤﺎ ﻴﻔﻬﻤﻪ ﺍﺒﻥ ﻋﺭﺒ ‪‬‬
‫ﻭﺍﻝﺠﺴﻤﻴ‪‬ﺔ ﻭﺍﻝﻭﺠﺩﺍﻨﻴ‪‬ﺔ ﻭﺍﻝﺤﺴﻴ‪‬ﺔ ﻤﻥ ﺍﻝﺨﺎﻝﻕ ﺘﻘﺭ‪‬ﺒﺎ ﻴﺠﻌﻠﻬﻡ ﻴﺘﺸﺒ‪‬ﻬﻭﻥ ﺒﺨﺎﻝﻘﻬﻡ‪.‬‬
‫ﻲ ﻭﺘﺤﻘﻴﻕ ﺍﻝﻤﻌﺭﻓﺔ‪ ،‬ﻭﻴﻨﺒ‪‬ﻪ ﺇﻝﻰ ﻀﺭﻭﺭﺓ ﺘـﺩﻗﻴﻕ ﺍﻝﻨﹼﻅـﺭ‬
‫ﻱ ﺇﻝﻰ ﺘﻬﻴﺌﺔ ﻤﺭﺁﺓ ﺍﻝﻘﻠﺏ ﻝﻘﺒﻭل ﺍﻝﺘﹼﺠﻠﹼﻲ ﺍﻹﻝﻬ ‪‬‬
‫ﻭﻴﺩﻋﻭ ﺍﻝﺸﹼﺸﺘﺭ ‪‬‬
‫ﻝﺒﻠﻭﻍ ﺍﻝﺤﻘﻴﻘﺔ ﺍﻝﻜﺎﻤﻨﺔ‪ ،‬ﻓﻴﻘﻭل‪:‬‬

‫ﺃﺘﺭﻯ ﻤﻥ ﺫﺍ ﺍﻝﺫﻱ ﻓﻴﻪ ﺘﺭ‪‬ﻯ؟‬

‫ﺃﻴﻬﺎ ﺍﻝﻨﹼﺎﻅﺭ ﻓﻲ ﺴﻁﺢ ﺍﻝـﻤﺭﻱ‬
‫ﺃﻡ ﺨﻴﺎل ﻤﻨـﻙ ﻓﻴﻪ ﻗــﺩ ﺴﺭ‪‬ﻯ‬ ‫ﻫل ﻫﻭ ﺍﻝﻨﹼﺎﻅﺭ ﻓﻴﻜﻡ ﻏﻴﺭﻜﻡ‬
‫ﺤﻜﻤﺔ ﻜﺎﻤﻨﺔ ﺒﻴﻥ ﺍﻝﻭﺭ‪‬ﻯ‬ ‫ﺃﻋـﺩ ﺍﻝﻨﹼﻅﺭﺓ ﻓﻴﻬﺎ ﺇﻨﹼﻬﺎ‬
‫ﻓﻌﺴﻰ ﻋﻨﺩ ﺍﻨﺸﻘﺎﻕ ﻓﺠﺭﻫﺎ‬
‫ﺴﺭ‪‬ﻯ)‪.(75‬‬
‫ﻴﺤﻤﺩ ﺍﻝﻘﻭﻡ ﺠﻤﻴﻌﺎ ﺍﻝ ‪‬‬

‫ﻲ ﻓﻲ ﻤﻘﺎﻡ ﺍﻝﻔﻘﺭ‪:‬‬
‫ﻭﺘﺸﻜﹼل ﺍﻝﻤﻘﺎﻤﺎﺕ ﻤﻭﻀﻭﻋﺎﺕ ﻝﻠﺸﹼﻌﺭ ﺍﻝﺼ‪‬ﻭﻓﻲ‪ ،‬ﻭﻴﻘﻭل ﺍﺒﻥ ﻋﺭﺒ ‪‬‬

‫ﺇ ﹼﻻ ﺍﻝﺫﻱ ﺠ ّل ﻋﻥ ﺃﻫ ٍل ﻭﻋﻥ ﻭﻝ ‪‬ﺩ‬ ‫ﺤﻜﹾﻡ‪ ‬ﻭﻝﻜﻥ ﻝﻴﺱ ﻴﺩﺭﻜﻪ‬

‫ﺍﻝﻔﻘﺭ ‪‬‬
‫ﻭﻻ ﺃﺤﺎﺸﻲ ﻤﻥ ﺍﻷﻋﻴﺎﻥ ﻤﻥ ﺃﺤ ‪‬ﺩ‬ ‫ﺍﻝﻔﻘﺭ ﺤ‪‬ﻜﻡ ﻴﻌ ‪‬ﻡ ﺍﻝﻜﻭﻥ ﺃﺠﻤﻌﻪ‬
‫ﻭﺍﻝﻔﻘﺭ ﻴﻁﻠﺒﻬﺎ ﺒﺎﻝﺫﹼﺍﺕ ﻓﻲ ﺍﻝﺒﻠ ‪‬ﺩ)‪.(76‬‬ ‫ﻷﻨﹼﻬﺎ ﻜﻠﹼﻬﺎ ﺒﺎﻝﺫﹼﺍﺕ ﺘﻁﻠﺒﻪ‬
‫ﻓﺎﻝﻔﻘﺭ ﺃﻫ ‪‬ﻡ ﺍﻝﻤﻘﺎﻤﺎﺕ ﺤﻜﻤﺎ‪ ،‬ﺇﺫ ﺒﻪ ﻴﺘﻤﻴ‪‬ﺯ ﺍﻝﻌﺒﺩ ﻤﻥ ﺍﻝ ‪‬ﺭﺏ‪ ،‬ﻭﻫﻭ ﺼﻔﺔ ﺫﺍﺘﻴﺔ ﻓﻲ ﺍﻝﻤﻤﻜﻨﺎﺕ)‪.(77‬‬
‫ﻭﻴﻘﻭل ﻓﻲ ﻤﻘﺎﻡ ﺍﻝﺸﹼﻜﺭ‪:‬‬

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‫ﻫﺫﺍ ﻤﻥ ﺍﻝﺭ‪‬ﻭﺡ ﻭﺍﻝﺜﹼﺎﻨﻲ ﻤﻥ ﺍﻝﺠﺴ ‪‬ﺩ‬ ‫ﺍﻝﺸﹼﻜﺭ ﺸﻜﺭﺍﻥ ﺸﻜﺭ ﺍﻝﻔﻭﺯ ﻭﺍﻝﺭ‪‬ﻓﺩ‬
‫ﺸﻜﺭ ﻝﻠﻔﻭﺯ ﻤﺜل ﺍﻝﺴ‪‬ﻠﺏ ﻝﻸﺤ ‪‬ﺩ‬
‫ﻭﺍﻝ ﹼ‬ ‫ﻓﺎﻝﺸﹼﻜﺭ ﻝﻠﺭ‪‬ﻓﺩ ﻴﻌﻁﻴﻨﻲ ﺯﻴﺎﺩﺘﻪ‬
‫)‪(78‬‬
‫‪.‬‬ ‫ﻭﺍﻝﺸﹼﻜﺭ ﻝﻠﺭ‪‬ﻓﺩ ﻻ ﻴﺠﺭﻱ ﺇﻝﻰ ﺃﻤ ‪‬ﺩ‬ ‫ﻭﺍﻝﺸﹼﻜﺭ ﻝﻠﻔﻭﺯ ﻤﺤﺼﻭﺭ ﻝﻐﺎﻴﺘﻪ‬

‫ﻭﺍﻝﺸﹼﻌﺭ ﺍﻝﻤﻌﺒ‪‬ﺭ ﻋﻥ ﺁﺭﺍﺀ ﺍﻝﺼ‪‬ﻭﻓﻴ‪‬ﺔ ﻭﻨﻅﺭﻴﺎﺘﻬﻡ ﻏﺯﻴﺭ‪ ،‬ﻭﺒﺎﻹﻤﻜﺎﻥ ﺍﻝﺘﹼﻌﺭ‪‬ﻑ ﻋﻠﻰ ﻓﻠﺴﻔﺔ ﻫﺅﻻﺀ ﺍﻝﻤﺘﺼﻭ‪‬ﻓﺔ ﺍﻨﻁﻼﻗﺎ ﻤﻤ‪‬ﺎ‬
‫ﻲ ﻴﺒﺘﻌﺩ ﻗﻠﻴﻼ ﻋﻥ ﺍﻝﺘﹼﺠﺭﺒﺔ ﺍﻝﺸﹼﻌﺭﻴ‪‬ﺔ ﺒﺴﻤﺎﺘﻬﺎ ﺍﻝﻔﻨﻴ‪‬ﺔ‪.‬‬
‫ﻨﻅﻤﻭﻩ ﻓﻲ ﻫﺫﺍ ﺍﻝﻐﺭﺽ‪ ،‬ﻭﻫﻭ ﻨﻅﻡ ﺘﻌﻠﻴﻤ ‪‬‬
‫ﻭﻝﻘﺩ ﻁﺭﻕ ﺍﻝﺘﹼﺼﻭ‪‬ﻑ ﻤﻴﺩﺍﻥ ﺍﻝﻤﻭﺸﹼﺤﺎﺕ ﺃﻴﻀﺎ‪ ،‬ﻭﻜﺎﻥ ﺫﻝﻙ ﻷﻭ‪‬ل ﻤﺭ‪‬ﺓ ﻓﻲ ﻋﺼﺭ ﺍﻝﻤﻭﺤ‪‬ﺩﻴﻥ‪ ،‬ﻭﻤﻥ ﺃﻜﺒﺭ ﺍﻝﻭﺸﹼﺎﺤﻴﻥ ﻓﻲ‬
‫ﻕ ﺍﻝﻨﹼﻅﺭﻴﺎﺕ ﻭﺍﻵﺭﺍﺀ ﺍﻝﺼ‪‬ﻭﻓﻴ‪‬ﺔ‪ ،‬ﻭﺍﻝﺘﹼﻌﺒﻴﺭ ﻋﻥ‬
‫ﻥ ﻝﻴﺤﻤل ﺃﺩ ﹼ‬
‫ﻲ ﻭﺍﻝﺸﹼﺸﺘﺭﻱ‪ ،‬ﻭﻝﻘﺩ ﺍﺴﺘﻁﺎﻋﺎ ﺘﻁﻭﻴﻊ ﻫﺫﺍ ﺍﻝﻔ ‪‬‬
‫ﻫﺫﺍ ﺍﻝﻐﺭﺽ ﺍﺒﻥ ﻋﺭﺒ ‪‬‬
‫ﻤﺠﺎﻫﺩﺍﺕ ﺍﻝﺼ‪‬ﻭﻓﻴ‪‬ﺔ ﻭﺃﺸﻭﺍﻗﻪ)‪.(79‬‬
‫ﻲ ﻋﻠﻰ ﺍﻝﺭ‪‬ﻤﺯ‪ ،‬ﻭﺘﻐﻨﹼﻰ ﺒﺎﻝﺤﺏ‪ ‬ﺍﻹﻝﻬﻲ‪ ،‬ﻭﻭﺼﻑ ﺤﺎﻻﺕ ﺍﻝﺴ‪‬ﻜﺭ‪ ،‬ﻭﻋﺒ‪‬ﺭ ﻋﻥ ﺍﻵﺭﺍﺀ ﻭﺍﻷﻓﻜﺎﺭ‬
‫ﻭﺇﺫﺍ ﺍﻋﺘﻤﺩ ﺍﻝﺸﹼﻌﺭ ﺍﻝﺼ‪‬ﻭﻓ ‪‬‬
‫ﻲ ﻓﻲ ﻜﻭﻨﻬﺎ ﺃﻗﺭﺏ‬
‫ﻥ ﺍﻝﻤﻭﺸﹼﺤﺎﺕ ﺴﺎﺭﺕ ﻋﻠﻰ ﺍﻝﻨﹼﻬﺞ ﻨﻔﺴﻪ‪ ،‬ﻭﻝﻭ ﺃﻨﹼﻬﺎ "ﻗﺩ ﺘﺨﺘﻠﻑ ﻋﻥ ﺍﻝﺸﹼﻌﺭ ﺍﻝﺼ‪‬ﻭﻓ ‪‬‬
‫ﻭﺍﻷﺤﻭﺍل ﻭﺍﻝﻤﻘﺎﻤﺎﺕ‪ ،‬ﻓﺈ ‪‬‬
‫ل ﺫﻝﻙ ﻴﺭﺠﻊ ﺇﻝﻰ ﺃﻥ‪ ‬ﺒﻌﺽ ﻫﺫﻩ ﺍﻝﻤﻭﺸﹼﺤﺎﺕ ﻜﺎﻥ ﻴﺘﻐﻨﹼﻰ ﺒﻪ‪ ،‬ﻓﻜﺎﻥ ﻁﺒﻴﻌﻴ‪‬ﺎ ﺃﻥ‬
‫ﺇﻝﻰ ﺍﻝﻔﻬﻡ‪ ،‬ﻭﺃﺩﻨﻰ ﺇﻝﻰ ﺍﻝﺒﺴﺎﻁﺔ ﻭﺍﻝﺴ‪‬ﻬﻭﻝﺔ‪ ،‬ﻭﻝﻌ ّ‬
‫ﻴﺘﺨﻔﹼﻑ ﻤﻥ ﺍﻝﺭ‪‬ﻤﻭﺯ ﺍﻝﺼ‪‬ﻌﺒﺔ ﻭﺍﻝﻤﻌﺎﻨﻲ ﺍﻝﻤﺴﺘﻐﻠﻘﺔ")‪.(80‬‬
‫ﻲ‪:‬‬
‫ﻭﻤﻥ ﻤﻭﺸﹼﺤﺎﺕ ﺍﺒﻥ ﻋﺭﺒ ‪‬‬
‫ﻝﻠﻨﹼـﺎﻅﺭﻴــﻥ‪‬‬ ‫ﻻﺤﺕ ﻋﻠﻰ ﺍﻷﻜﻭﺍﻥ‪‬‬ ‫ﺴﺭﺍﺌــﺭ ﺍﻷﻋﻴـﺎﻥ‪‬‬
‫ﻴﺒﺩﻱ ﺍﻷﻨﻴــﻥ‪‬‬ ‫ﻤﻥ ﺫﺍﻙ ﻓﻲ ﺒ‪‬ﺤـﺭﺍﻥ‪‬‬ ‫ﻭﺍﻝﻌـﺎﺸـﻕ ﺍﻝﻐﻴـﺭﺍﻥ‪‬‬
‫ﻗﺩ ﺤﻴ‪‬ﺭﻩ‪‬‬ ‫ﺃﻀﻨﺎﻩ ﻭﺍﻝﺒﻌـ ‪‬ﺩ‬ ‫ﻴﻘــﻭل ﻭﺍﻝﻭﺠ ‪‬ﺩ‬
‫ﻤـﻥ ﻏﻴ‪‬ﺭﻩ‪‬‬ ‫ﻝﹶﻡ ﺃﺩﺭ ﻤـﻥ ‪‬ﺒﻌ‪‬ـ ‪‬ﺩ‬ ‫ﹶﻝﻤ‪‬ﺎ ﺩﻨــﺎ ﺍﻝﺒﻌ ‪‬ﺩ‬
‫)‪(81‬‬
‫ﻗـﺩ ﺨﻴ‪‬ﺭﻩ‪"‬‬ ‫ﻭﺍﻝﻭﺍﺤـﺩ ﺍﻝﻔــﺭ ‪‬ﺩ‬ ‫ﻭ ‪‬ﻫﻴ‪‬ــ ‪‬ﻡ ﺍﻝﻌﺒ ‪‬ﺩ‬

‫ﺹ ﻓﻲ ﻤﻀﻤﻭﻨﻪ ﻋﻤ‪‬ﺎ‬
‫ﻲ ﺍﻝﺫﻱ ﻴﻘﺘﺭﻥ ﺒﺤﺎل ﺍﻝﻔﻨﺎﺀ ﻭﻤﻘﺎﻡ ﺍﻝﺘﹼﻭﺒﺔ‪ ،‬ﻭﻝﻡ ﻴﺨﺭﺝ ﻫﺫﺍ ﺍﻝﹼﻨ ‪‬‬
‫ﺏ ﺍﻹﻝﻬ ‪‬‬
‫ﺹ ﺍﻝﺤ ‪‬‬
‫ﻴﺘﺠﻠﹼﻰ ﻓﻲ ﻫﺫﺍ ﺍﻝﹼﻨ ‪‬‬
‫ﻨﺠﺩﻩ ﻓﻲ ﺍﻝﺸﹼﻌﺭ‪.‬‬
‫ﻲ‬
‫ﻲ ﻗﺩ ﺍﻗﺘﺭﻥ ﺒﺎﻝﺸﹼﺸﺘﺭﻱ‪ ،‬ﻭﺇﻥ ﻝﻡ ﻴﻜـﻥ "ﺍﻝﺼ‪‬ـﻭﻓ ‪‬‬
‫ﻥ ﺍﻝﺯ‪‬ﺠل ﺍﻝﺼ‪‬ﻭﻓ ‪‬‬
‫ﻲ ﻭﺍﻝﺸﹼﺸﺘﺭﻱ‪ ،‬ﻓﺈ ‪‬‬
‫ﻭﺇﺫﺍ ﺍﻗﺘﺭﻥ ﺍﻝﺘﹼﻭﺸﻴﺢ ﺒﺎﺒﻥ ﻋﺭﺒ ‪‬‬
‫ﻲ ﻓﻲ ﻋﺼﺭ ﺍﻝﻤﻭﺤ‪‬ﺩﻴﻥ‪ ،‬ﻓﻘﺩ ﻨﻅﻡ ﻓﻴﻪ ﺃﻴﻀﺎ ﺍﺒﻥ ﻋﺭﺒﻲ‪ ،‬ﺇﺫ ﻨﺠﺩ ﻝـﻪ ﺯﺠـﻼ ﻭﺍﺤـﺩﺍ ﻓـﻲ‬
‫ﺍﻝﻭﺤﻴﺩ ﺍﻝﺫﻱ ﻨﻅﻡ ﺍﻝﺯ‪‬ﺠل ﺍﻝﺼ‪‬ﻭﻓ ‪‬‬
‫ﺩﻴﻭﺍﻨﻪ)‪.(82‬‬

‫ﺨﺎﺘـــﻤﺔ‬
‫ﻲ ﻓﻲ ﺍﻝﺸﹼﻌﺭ ﻓﻲ ﻋﺼﺭ ﺍﻝﻤﻭﺤ‪‬ﺩﻴﻥ‪ ،‬ﻴﻌﻠﹼﻠﻪ ﻏـﺯﺍﺭﺓ‬
‫ﻥ ﺸﻌﺭ ﺍﻝﺘﹼﺼﻭ‪‬ﻑ ﺒﺭﺯ ﺍﺘﹼﺠﺎﻫﺎ ﻜﺒﻴﺭﺍ ﻓﻲ ﺍﻻﺘﹼﺠﺎﻩ ﺍﻝﺩ‪‬ﻴﻨ ‪‬‬
‫ﻙ ﻓﻲ ﺃ ‪‬‬
‫ﻻﺸ‪‬‬
‫ل ﻋﺼﺭ ﺍﻝﻤﻭﺤ‪‬ﺩﻴﻥ ﻫﻭ ﻋﺼﺭ ﺍﺯﺩﻫﺎﺭﻩ ﻭﻨﻀﺠﻪ‪.‬‬
‫ﺫﻝﻙ ﺍﻝﺸﹼﻌﺭ‪ ،‬ﻭﺘﻨﻭ‪‬ﻉ ﻤﻭﻀﻭﻋﺎﺘﻪ‪ .‬ﻭﻝﻌ ّ‬
‫ﻲ ﺍﻷﺨﺭﻯ‪ ،‬ﻭﻴﻨﻔﺭﺩ ﺒﻨﻔﺴـﻪ‬
‫ﻭﻴﺘﹼﺴﻡ ﺸﻌﺭ ﺍﻝﺘﹼﺼﻭ‪‬ﻑ ﺒﺠﻤﻠﺔ ﻤﻥ ﺍﻝﺨﺼﺎﺌﺹ‪ ،‬ﻴﺸﺘﺭﻙ ﻓﻲ ﺒﻌﻀﻬﺎ ﻤﻊ ﺃﻝﻭﺍﻥ ﺍﻝﺸﹼﻌﺭ ﺍﻝﺩ‪‬ﻴﻨ ‪‬‬
‫ﻓﻲ ﺒﻌﻀﻬﺎ‪.‬‬
‫ﻲ ﺒﻤﻌﺠﻡ ﺨﺎﺹ‪‬؛ ﻓﺈﺫﺍ ﻜﺎﻥ ﺩﻴﻨﻴ‪‬ﺎ ﻓﻲ ﺍﻷﺴﺎﺱ‪ ،‬ﻓﺈﻨﹼﻪ ﻴﺴﺘﺨﺩﻡ ﻤﺼﻁﻠﺤﺎﺕ ﻤﻥ ﺤﻘﻭل ﺩﻻﻝﻴﺔ ﻏﻴـﺭ‬
‫ﻴﻨﻔﺭﺩ ﺍﻝﺸﹼﻌﺭ ﺍﻝﺼ‪‬ﻭﻓ ‪‬‬
‫ﺩﻴﻨﻴ‪‬ﺔ ﺍﺴﺘﺨﺩﺍﻤﺎ ﺩﻴﻨﻴ‪‬ﺎ‪ .‬ﻭﻝﻘﺩ ﺭﺃﻴﻨﺎ ﻜﻴﻑ ﻴﺠﻌل ﻤﻥ ﺭﻤﻭﺯ ﺍﻝﻁﹼﺒﻴﻌﺔ ﻭﺍﻝﻤﺭﺃﺓ ﻭﺍﻝﺨﻤﺭﺓ ﻭﺴﻴﻠﺔ ﻝﻠﺘﹼﻌﺒﻴﺭ‪ ،‬ﻝﺫﺍ ﻭﺠﺏ ﻋﻠـﻰ ﻗـﺎﺭﺉ‬
‫ﻻ‬
‫ﻻ ﺒﻌﺩ ﺘﺄﻭﻴﻠﻪ‪ ،‬ﻭﻻ ﻴﺅﻭ‪‬ﻝﻪ – ﻓﻲ ﺃﺤﻴﺎﻥ ﻜﺜﻴﺭﺓ‪ -‬ﺇ ﹼ‬
‫ﻲ ﺍﻹﻝﻤﺎﻡ ﺒﺎﺼﻁﻼﺤﺎﺕ ﺍﻝﺼ‪‬ﻭﻓﻴ‪‬ﺔ ﻝﻔﻬﻤﻪ‪ ،‬ﻓﻼ ﻴﻔﻬﻡ ﻤﻌﻅﻤﻪ ﺇ ﹼ‬
‫ﺍﻝﺸﹼﻌﺭ ﺍﻝﺼ‪‬ﻭﻓ ‪‬‬
‫ﻲ ﺩﻴﻭﺍﻨﻪ ﺘﺭﺠﻤﺎﻥ ﺍﻷﺸﻭﺍﻕ‪ ،‬ﻭﺒﻬﺫﺍ ﻴﻜﺘﺴﻲ ﺸﻌﺭ ﺍﻝﺘﹼﺼﻭ‪‬ﻑ ﻁﺎﺒﻊ ﺍﻝﻐﻤﻭﺽ‪.‬‬
‫ﻗﺎﺌﻠﻭﻩ ﻋﻠﻰ ﻨﺤﻭ ﻤﺎ ﺃﻭ‪‬ل ﺍﺒﻥ ﻋﺭﺒ ‪‬‬
‫ﻭﻴﻨﻘﺴﻡ ﺍﻝﺸﹼﻌﺭ ﺍﻝﺼ‪‬ﻭﻓﻲ‪ ،‬ﺤﺴﺏ ﻤﻭﻀﻭﻋﺎﺘﻪ‪ ،‬ﺇﻝﻰ ﻗﺴﻤﻴﻥ‪ :‬ﻗﺴﻡ ﻴﻨﺩﺭﺝ ﻀﻤﻥ ﺍﻝﺸﹼﻌﺭ ﺍﻝﺘﹼﻌﻠﻴﻤﻲ‪ ،‬ﻭﻫﻭ ﺫﻝﻙ ﺍﻝﻨﹼﻭﻉ ﺍﻝﺫﻱ‬
‫ﻴﻌﺒ‪‬ﺭ ﻋﻥ ﺁﺭﺍﺀ ﺍﻝﺼ‪‬ﻭﻓﻴ‪‬ﺔ ﻭﻨﻅﺭﻴ‪‬ﺎﺘﻬﻡ‪ ،‬ﻜﻨﻅﺭﺘﻬﻡ ﻝﻭﺤﺩﺓ ﺍﻝﻭﺠﻭﺩ ﻭﺍﻝﺤﺭﻴﺔ ﺍﻝﻤﻁﻠﻘﺔ‪ ،‬ﻭﺍﻝﺘﹼﻌﺒﻴﺭ ﻋﻥ ﺍﻝﻤﻘﺎﻤﺎﺕ ﻭﺍﻷﺤﻭﺍل‪ .‬ﻭﻗﺴـﻡ‬

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‫ﻲ ﻴﺒﺭﺯ ﻓﻴﻪ ﺍﻝﺨﻴﺎل‪ ،‬ﻭﺘﻅﻬﺭ ﺍﻝﻌﺎﻁﻔﺔ‪ ،‬ﻭﺃﺸﻬﺭ ﻤﻭﻀﻭﻋﺎﺘﻪ ﺍﻝﻐﺯل ﺍﻝﺼ‪‬ﻭﻓﻲ‪ ،‬ﺇﺫ ﻴﻨﺎﺠﻲ ﻨﺎﻅﻤﻭﻩ ﺍﻝﺫﹼﺍﺕ ﺍﻹﻝﻬﻴﺔ ﻭﻴﺘﻐﻨﹼﻭﻥ‬
‫ﻭﺠﺩﺍﻨ ‪‬‬
‫ﻥ ﻤﻌﻅﻡ ﺼﻭﺭﻩ ﻤﺴﺘﻤﺩ‪‬ﺓ‬
‫ﺒﻬﺎ‪ .‬ﻭﺘﺘﺠﻠﹼﻰ ﻓﻲ ﻫﺫﺍ ﺍﻝﻨﹼﻭﻉ ﺍﻝﺼ‪‬ﻭﺭﺓ ﺍﻝﻤﺒﺘﻜﺭﺓ ﻭﺍﻝﻁﹼﺭﻴﻔﺔ‪ ،‬ﻭﺘﻭﻅﹼﻑ ﺍﻻﺴﺘﻌﺎﺭﺓ ﻭﺍﻝﺘﹼﺸﺒﻴﻪ‪ ،‬ﻭﺍﻝﻤﻼﺤﻅ ﺃ ‪‬‬
‫ﻲ‪.‬‬
‫ﻲ ﻭﺍﻝﺜﹼﻘﺎﻓ ‪‬‬
‫ﻤﻥ ﺍﻝﺒﻴﺌﺔ ﺍﻝﻁﹼﺒﻴﻌﻴ‪‬ﺔ‪ ،‬ﻭﺍﻝﺘﹼﺭﺍﺙ ﺍﻝﺩ‪‬ﻴﻨ ‪‬‬
‫ﺠ ‪‬ﺩﺘ‪‬ﻬﺎ‪ ،‬ﻭﻝﻘﺩ ﺭﺃﻴﻨﺎ ﻜﻴﻑ ﺍﺴﺘﻁﺎﻉ ﺸﻌﺭﺍﺀ ﺍﻝﺼ‪‬ﻭﻓﻴ‪‬ﺔ ﺇﺴﻘﺎﻁ ﻤﻌﺎﻨﻲ ﺍﻝﻐﺯل‬
‫ﻲ ﻜﺫﻝﻙ ﺒﻌﻤﻕ ﺍﻝﻤﻌﺎﻨﻲ‪ ،‬ﻭ ﹺ‬
‫ﻴﺘﹼﺴﻡ ﺍﻝﺸﹼﻌﺭ ﺍﻝﺼ‪‬ﻭﻓ ‪‬‬
‫ﻱ ﻋﻠﻰ ﻨﺯﻋﺘﻬﻡ ﺍﻝﺼ‪‬ﻭﻓﻴ‪‬ﺔ ﻭﻨﻅﺭﺘﻬﻡ ﺇﻝﻰ ﺍﻝﻭﺠﻭﺩ‪.‬‬
‫ﺍﻝﻌﺫﺭ ‪‬‬
‫ل ﺃﻫ ‪‬ﻡ ﺴﻤﺔ ﺘﻤﻴ‪‬ﺯ ﻤﻭﺸﹼﺤﺎﺕ‬
‫ﻱ ﻝﻠﺸﹼﻌﺭ‪ ،‬ﻭﻭﻅﹼﻔﻭﺍ ﺍﻝﻤﻭﺸﹼﺢ ﻭﺍﻝﺯ‪‬ﺠل ﻜﺫﻝﻙ‪ ،‬ﻭﻝﻌ ّ‬
‫ﻨﻅﻡ ﺸﻌﺭﺍﺀ ﺍﻝﺘﹼﺼﻭ‪‬ﻑ ﻓﻲ ﺍﻝﻘﺎﻝﺏ ﺍﻝﺘﹼﻘﻠﻴﺩ ‪‬‬
‫ﺍﻝﺘﹼﺼﻭ‪‬ﻑ ﻫﻲ ﻭﺤﺩﺓ ﺍﻝﻤﻭﻀﻭﻉ؛ ﺇﺫ ﻋﻠﻰ ﻋﻜﺱ ﺍﻷﻏﺭﺍﺽ ﺍﻝﺸﹼﻌﺭﻴ‪‬ﺔ ﺍﻷﺨﺭﻯ ﺍﻝﺘﻲ ﻴ‪‬ﺠ ‪‬ﻤ ‪‬ﻊ ﻓﻴﻬﺎ ﻓﻲ ﺍﻝﻤﻭﺸﹼـﺢ ﺍﻝﻭﺍﺤـﺩ ﺒـﻴﻥ‬
‫ﻻ ﺍﻝﺘﹼﺼﻭ‪‬ﻑ‪.‬‬
‫ﻏﺭﻀﻴﻥ ﺃﻭ ﺃﻜﺜﺭ‪ ،‬ﻻ ﻨﺠﺩ ﻓﻲ ﻤﻭﺸﹼﺤﺎﺕ ﺍﻝﺼ‪‬ﻭﻓﻴ‪‬ﺔ ﺇ ﹼ‬
‫ﺘﺄﺜﹼﺭ ﺸﻌﺭﺍﺀ ﺍﻝﺘﹼﺼﻭ‪‬ﻑ ﺍﻝﻤﺘﺄﺨﹼﺭﻭﻥ ﺒﺘﻴ‪‬ﺎﺭ ﺍﻝﺒﺩﻴﻊ‪ ،‬ﺇﺫ ﺍﻋﺘﻤﺩﻭﺍ ﻜﺜﻴﺭﺍ ﻤﻥ ﺃﻝﻭﺍﻥ ﺍﻝﺒﺩﻴﻊ ﺍﻝﻤﺨﺘﻠﻔﺔ‪ ،‬ﻭﺍﻝﺘـﻲ ﺘﻤﺜﹼﻠـﺕ ﻓـﻲ‬
‫ﺸﻌﺭﺍﺀ ﺘﻭﻅﻴﻑ ﻫﺫﻩ ﺍﻷﻝﻭﺍﻥ ﺍﻝﺒﺩﻴﻌﻴ‪‬ﺔ ﺘﻭﻅﻴﻔﺎ ﺠﻴ‪‬ﺩﺍ ﻝﺨﺩﻤﺔ ﺍﻝﻤﻌﻨـﻰ‬
‫ﺍﻝﺠﻨﺎﺱ ﻭﺍﻝﺘﹼﺭﺼﻴﻊ ﻭﺍﻝﺘﹼﻼﻋﺏ ﺍﻝﻠﹼﻔﻅﻲ‪ ،‬ﻭﺍﺴﺘﻁﺎﻉ ﻫﺅﻻﺀ ﺍﻝ ﹼ‬
‫ﻭﺇﺜﺭﺍﺀ ﺍﻹﻴﻘﺎﻉ‪.‬‬
‫ﻴﺘﺩﺍﺨل ﺸﻌﺭ ﺍﻝﺘﹼﺼﻭ‪‬ﻑ ﺃﺤﻴﺎﻨﺎ ﻤﻊ ﺃﻏﺭﺍﺽ ﺃﺨﺭﻯ ﻜﺎﻝﻤﺩﺍﺌﺢ ﺍﻝﻨﹼﺒﻭﻴ‪‬ﺔ ﺍﻝﺘﻲ ﻴﻨﺤﻭ ﻓﻴﻬﺎ ﺃﺼﺤﺎﺒﻬﺎ ﻤﻨﺤﻰ ﺍﻝﻐﻠ ‪‬ﻭ ﻭﺍﻝﻤﺒﺎﻝﻐﺔ‬
‫ﻲ ﻓﻠﺴﻔﻴ‪‬ﺔ‪.‬‬
‫ﻲ – ﺼﻠﹼﻰ ﺍﷲ ﻋﻠﻴﻪ ﻭﺴﻠﹼﻡ‪ ،-‬ﺃﻭ ﻴﻀﻔﻭﻥ ﻋﻠﻴﻪ ﻤﻌﺎﻨ ‪‬‬
‫ﻓﻲ ﻤﺩﺡ ﺍﻝﻨﹼﺒ ‪‬‬

‫ﺍﻝﻤﺼﺎﺩﺭ ﻭﺍﻝﻤﺭﺍﺠﻊ‪:‬‬
‫)‪ (1‬ﺍﺒﻥ ﺨﻠﺩﻭﻥ‪ ،‬ﻋﺒﺩ ﺍﻝﺭﺤﻤﻥ ﺒﻥ ﻤﺤﻤ‪‬ﺩ‪ :‬ﻤﻘﺩ‪‬ﻤﺔ ﺍﺒﻥ ﺨﻠﺩﻭﻥ‪ .‬ﺒﻴﺭﻭﺕ‪ ،‬ﺩﺍﺭ ﺼﺎﺩﺭ‪ ،‬ﻁ‪2000 ،1.‬ﻡ‪ ،.‬ﺹ‪.357-356.‬‬
‫)‪ (2‬ﻴﻨﻅﺭ‪ :‬ﻋﺭﻓﺎﻥ ﻋﺒﺩ ﺍﻝﺤﻤﻴﺩ ﻓﺘﺎﺡ‪ :‬ﻨﺸﺄﺓ ﺍﻝﻔﻠﺴﻔﺔ ﺍﻝﺼ‪‬ﻭﻓﻴ‪‬ﺔ ﻭﺘﻁﻭ‪‬ﺭﻫﺎ‪ ،‬ﺒﻴﺭﻭﺕ‪ ،‬ﺩﺍﺭ ﺍﻝﺠﻴل‪ ،‬ﻁ‪1413 ،1.‬ﻫـ‪1993/ .‬ﻡ‪ -.‬ﺹ‪.73.‬‬
‫)‪ (3‬ﺍﺒﻥ ﺨﻠﺩﻭﻥ‪ :‬ﻡ‪.‬ﺱ‪ ،.‬ﺹ‪.357.‬‬
‫)‪ (4‬ﻴﻨﻅﺭ‪ :‬ﻋﺭﻓﺎﻥ ﻋﺒﺩ ﺍﻝﺤﻤﻴﺩ ﻓﺘﺎﺡ‪ :‬ﻡ‪.‬ﺱ‪ ،‬ﺹ‪.76.‬‬
‫)‪ (5‬ﻴﻨﻅﺭ‪ :‬ﺍﻝﻘﺸﻴﺭﻱ‪ ،‬ﺍﻹﻤﺎﻡ ﻗﻁﺏ ﺍﻝﺼ‪‬ﻭﻓﻴ‪‬ﺔ ﻋﺒﺩ ﺍﻝﻜﺭﻴﻡ ﺒﻥ ﻫﻭﺍﺯﻥ ﺒﻥ ﻋﺒﺩ ﺍﻝﻤﻠﻙ ﺒﻥ ﻁﻠﺤﺔ ﺍﻝﻘﺸﻴﺭﻱ ﺍﻝﻨﻴﺴﺎﺒﻭﺭﻱ‪ :‬ﺍﻝﺭﺴﺎﻝﺔ ﺍﻝﻘﺸﻴﺭﻴﺔ‪.‬‬
‫ﺸﺭﺡ ﻭﺘﻘﺩﻴﻡ ﻨﻭﺍﻑ ﺍﻝﺠﺭﺍﺡ‪ .‬ﺒﻴﺭﻭﺕ‪ ،‬ﺩﺍﺭ ﺼﺎﺩﺭ‪ ،‬ﻁ‪1427 ،2.‬ﻫـ‪2006 /.‬ﻡ‪ ،.‬ﺹ‪.259.‬‬
‫)‪ (6‬ﺃﻤﻴﻥ ﻴﻭﺴﻑ ﻋﻭﺩﺓ‪ :‬ﺘﺠﻠﻴﺎﺕ ﺍﻝﺸﻌﺭ ﺍﻝﺼﻭﻓﻲ؛ ﻗﺭﺍﺀﺓ ﻓﻲ ﺍﻷﺤﻭﺍل ﻭﺍﻝﻤﻘﺎﻤﺎﺕ‪ .‬ﻋﻤ‪‬ﺎﻥ‪ ،‬ﺍﻝﻤﺅﺴﺴﺔ ﺍﻝﻌﺭﺒﻴﺔ ﻝﻠﺩﺭﺍﺴﺎﺕ ﻭﺍﻝﻨﺸﺭ‪ ،‬ﻁ‪، 1.‬‬
‫‪ ،2001‬ﺹ‪.23-22.‬‬
‫)‪ (7‬ﺍﻝﻘﺸﻴﺭﻱ‪ :‬ﻡ‪.‬ﺱ‪ ،.‬ﺹ‪.23 .‬‬
‫)‪ (8‬ﺍﺒﻥ ﻋﺭﺒﻲ‪ ،‬ﺍﻝﺸﻴﺦ ﻤﺤﻴﻲ ﺍﻝﺩﻴﻥ ﺒﻥ ﻋﺭﺒﻲ‪ :‬ﺍﺼﻁﻼﺡ ﺍﻝﺼ‪‬ﻭﻓﻴ‪‬ﺔ‪ .‬ﺤﻘﹼﻘﻪ ﻭﻀﺒﻁﻪ ﻭﻗﺩ‪‬ﻡ ﻝﻪ ﻋﺒﺩ ﺍﻝﺭﺤﻴﻡ ﻤﺎﺭﺩﻴﻨﻲ‪ .‬ﺩﻤﺸﻕ‪ ،‬ﺩﺍﺭ ﺍﻝﻤﺤﺒﺔ‪،‬‬
‫ﺒﻴﺭﻭﺕ‪ ،‬ﺩﺍﺭ ﺁﻴﺔ‪ ،‬ﻁ‪ ،2003 /2002 -1.‬ﻡ‪.‬ﺱ‪ ،.‬ﺹ‪.70 .‬‬
‫)‪ (9‬ﺴﻠﻴﻤﺎﻥ ﺍﻝﻌﻁﺎﺭ‪ :‬ﺍﻝﺨﻴﺎل ﻭﺍﻝﺸﻌﺭ ﻓﻲ ﺘﺼﻭﻑ ﺍﻷﻨﺩﻝﺱ‪ .‬ﺍﻝﻘﺎﻫﺭﺓ‪ ،‬ﺩﺍﺭ ﺍﻝﻤﻌﺎﺭﻑ‪ ،‬ﻁ‪1981 ،1.‬ﻡ‪ ،.‬ﺹ‪.26.‬‬
‫)‪ (10‬ﻤﺼﻁﻔﻰ ﺍﻝﺸﻜﻌﺔ‪ :‬ﺍﻷﺩﺏ ﺍﻷﻨﺩﻝﺴﻲ ﻤﻭﻀﻭﻋﺎﺘﻪ ﻓﻨﻭﻨﻪ‪ .‬ﺒﻴﺭﻭﺕ‪ ،‬ﺩﺍﺭ ﺍﻝﻌﻠﻡ ﻝﻠﻤﻼﻴﻴﻥ‪ ،‬ﻁ‪ ،2008 ،12.‬ﺹ‪.65.‬‬
‫)‪ (11‬ﺍﻨﻅﺭ ﺍﻝﻘﺼﻴﺩﺓ ﻓﻲ‪:‬ﺍﺒﻥ ﺒﺴﺎﻡ ﺍﻝﺸﻨﺘﺭﻴﻨﻲ‪ :‬ﺍﻝﺫﺨﻴﺭﺓ‪ ،‬ﻓﻲ ﻤﺤﺎﺴﻥ ﺃﻫل ﺍﻝﺠﺯﻴﺭﺓ‪ .‬ﺘﺤﻘﻴﻕ ﺴﺎﻝﻡ ﻤﺼﻁﻔﻰ ﺍﻝﺒـﺩﺭﻱ‪ .‬ﺒﻴـﺭﻭﺕ‪ ،‬ﺩﺍﺭ‬
‫ﺍﻝﻜﺘﺏ ﺍﻝﻌﻠﻤﻴ‪‬ﺔ‪.532-531/1 ،‬‬
‫)‪ (12‬ﺴﺎﻝﻡ ﻋﺒﺩ ﺍﻝﺭﺯﺍﻕ ﺴﻠﻴﻤﺎﻥ ﺍﻝﻤﺼﺭﻱ‪ :‬ﺸﻌﺭ ﺍﻝﺘﺼﻭﻑ ﻓﻲ ﺍﻷﻨﺩﻝﺱ‪ .‬ﺩﺍﺭ ﺍﻝﻤﻌﺭﻓﺔ ﺍﻝﺠﺎﻤﻌﻴﺔ‪ ،‬ﺩ‪.‬ﻁ‪ ،2007 ،.‬ﺹ‪.47.‬‬
‫)‪ (13‬ﺴﻠﻴﻤﺎﻥ ﺍﻝﻌﻁﺎﺭ‪ :‬ﻡ‪.‬ﺱ‪ ،.‬ﺹ‪.27-26.‬‬
‫)‪ (14‬ﻤﺤﻤﺩ ﺍﻝﻌﺩﻝﻭﻨﻲ ﺍﻹﺩﺭﻴﺴﻲ‪ :‬ﺍﻝﺘﹼﺼﻭ‪‬ﻑ ﺍﻷﻨﺩﻝﺴﻲ‪‬؛ ﺃﺴﺴﻪ ﺍﻝﻨﹼﻅﺭﻴﺔ ﻭﺃﻫﻡ ﻤﺩﺍﺭﺴﻪ‪ .‬ﺍﻝﺩ‪‬ﺍﺭ ﺍﻝﺒﻴﻀـﺎﺀ‪ ،‬ﺩﺍﺭ ﺍﻝﺜﹼﻘﺎﻓـﺔ‪ ،‬ﻁ‪،2005 ،1.‬‬
‫ﺹ‪.91.‬‬
‫)‪ (15‬ﺴﻠﻴﻤﺎﻥ ﺍﻝﻌﻁﺎﺭ‪ :‬ﻡ‪.‬ﺱ‪ ،.‬ﺹ‪.27 .‬‬
‫)‪ (16‬ﺯﻜﻲ ﻤﺒﺎﺭﻙ‪ :‬ﺍﻝﺘﺼﻭﻑ ﺍﻹﺴﻼﻤﻲ ﻓﻲ ﺍﻷﺩﺏ ﻭﺍﻷﺨﻼﻕ‪ .‬ﺼﻴﺩﺍ‪ ،‬ﺒﻴﺭﻭﺕ‪ ،‬ﺍﻝﻤﻜﺘﺒﺔ ﺍﻝﻌﺼـﺭﻴﺔ‪ ،‬ﻁ‪1427 ،1.‬ﻫــ‪2006/‬ﻡ‪،.‬‬
‫ﺹ‪.123.‬‬
‫)‪ (17‬ﻴﻨﻅﺭ‪ :‬ﻡ‪.‬ﻥ‪ ،‬ﺹ‪.125 -123.‬‬

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א
د‪/09‬د‪2015‬‬

‫)‪ (18‬ﺍﺒﻥ ﻋﺭﺒﻲ‪ :‬ﺘﺭﺠﻤﺎﻥ ﺍﻷﺸﻭﺍﻕ‪ .‬ﺘﻘﺩﻴﻡ ﻋﺒﺩ ﺍﻝﺭﺤﻤﻥ ﺍﻝﻤﺼﻁﺎﻭﻱ‪ ،‬ﺒﻴﺭﻭﺕ‪ ،‬ﺩﺍﺭ ﺍﻝﻤﻌﺭﻓﺔ‪ ،‬ﻁ‪1425 ،1.‬ﻫـ‪2005/‬ﻡ‪ ،.‬ﺹ‪.92.‬‬
‫)‪ (19‬ﻡ‪.‬ﻥ‪ ،.‬ﺹ‪ ،92.‬ﻭﻴﻨﻅﺭ ﺍﻝﺘﺄﻭﻴل ﻜﺎﻤﻼ ﺒﺎﻝﺼﻔﺤﺔ ﻨﻔﺴﻬﺎ‪.‬‬
‫)‪ (20‬ﺼﻼﺡ ﻓﻀل‪ :‬ﺃﺴﺎﻝﻴﺏ ﺍﻝﺸﹼﻌﺭﻴﺔ ﺍﻝﻤﻌﺎﺼﺭﺓ‪ .‬ﺒﻴﺭﻭﺕ‪ ،‬ﺩﺍﺭ ﺍﻵﺩﺍﺏ‪ ،‬ﻁ‪ ،1995 ،1.‬ﺹ‪.192.‬‬
‫)‪ (21‬ﺴﺎﻝﻡ ﻋﺒﺩ ﺍﻝﺭﺯﺍﻕ‪ :‬ﻡ‪.‬ﺱ‪ ،.‬ﺹ‪.63.‬‬
‫)‪ (22‬ﻋﻤﺭ ﻓﺭﻭﺥ‪ :‬ﺘﺎﺭﻴﺦ ﺍﻷﺩﺏ ﺍﻝﻌﺭﺒﻲ‪‬؛ ﺍﻷﺩﺏ ﻓﻲ ﺍﻝﻤﻐﺭﺏ ﻭﺍﻷﻨﺩﻝﺱ ﺇﻝﻰ ﺁﺨﺭ ﻤﻠﻭﻙ ﺍﻝﻁﻭﺍﺌﻑ‪ .‬ﺒﻴﺭﻭﺕ‪ ،‬ﺩﺍﺭ ﺍﻝﻌﻠـﻡ ﻝﻠﻤﻼﻴـﻴﻥ‪،‬‬
‫ﺝ‪ ،4.‬ﻁ‪1981 ،1.‬ﻡ‪ ،.‬ﺹ‪.471.‬‬
‫)‪ (23‬ﻋﺎﻁﻑ ﺠﻭﺩﺓ ﻨﺼﺭ‪ :‬ﺍﻝﺭﻤﺯ ﺍﻝﺸﻌﺭﻱ ﻋﻨﺩ ﺍﻝﺼﻭﻓﻴﺔ‪ .‬ﺍﻝﻘﺎﻫﺭﺓ‪ ،‬ﺍﻝﻤﻜﺘـﺏ ﺍﻝﻤﺼـﺭﻱ ﻝﺘﻭﺯﻴـﻊ ﺍﻝﻤﻁﺒﻭﻋـﺎﺕ‪ ،‬ﺩ‪.‬ﻁ‪،1998 ،.‬‬
‫ﺹ‪.140.‬‬
‫)‪ (24‬ﺍﺒﻥ ﻋﺭﺒﻲ‪ :‬ﺘﺭﺠﻤﺎﻥ ﺍﻷﺸﻭﺍﻕ‪ ،‬ﻡ‪.‬ﺱ‪ ،.‬ﺹ‪.133.‬‬
‫)‪ (25‬ﻡ‪.‬ﻥ‪ ،.‬ﺹ‪.123.‬‬
‫)‪ (26‬ﻡ‪.‬ﻥ‪ ،.‬ﺹ‪.26 -25.‬‬
‫)‪ (27‬ﻡ‪.‬ﻥ‪ ،.‬ﺹ‪.41.‬‬
‫)‪ (28‬ﺍﻨﻅﺭ ﺍﻝﺸﺭﺡ‪ :‬ﻡ‪.‬ﻥ‪ ،.‬ﺹ‪.41.‬‬
‫)‪ (29‬ﻡ‪.‬ﻥ‪ ،.‬ﺹ‪.104.‬‬
‫)‪ (30‬ﺍﻨﻅﺭ ﺍﻝﺸﺭﺡ‪ :‬ﻡ‪.‬ﻥ‪ ،.‬ﺹ‪.105 ،104.‬‬
‫)‪ (31‬ﺴﻠﻴﻤﺎﻥ ﺍﻝﻌﻁﺎﺭ‪ :‬ﻡ‪.‬ﺱ‪،.‬ﺹ‪.106 .‬‬
‫)‪ (32‬ﺍﺒﻥ ﻋﺭﺒﻲ‪ :‬ﺍﻝﻔﺘﻭﺤﺎﺕ ﻨﻘﻼ ﻋﻥ‪ :‬ﺃﻤﻴﻥ ﻴﻭﺴﻑ ﻋﻭﺩﺓ‪ ،‬ﻡ‪.‬ﺱ‪ ،.‬ﺹ‪. 114 .‬‬
‫)‪ (33‬ﺘﻨﺴﺏ ﻫﺫﻩ ﺍﻷﺒﻴﺎﺕ ﺇﻝﻰ ﺍﺒﻥ ﺴﺒﻌﻴﻥ ﻓﻲ‪ :‬ﺍﻝﻤﻘﹼﺭﻱ‪ :‬ﺍﻝﻨﻔﺢ‪ 203/2 :‬ﻭﺍﺒﻥ ﺍﻝﺨﻁﻴﺏ‪ :‬ﺍﻹﺤﺎﻁـﺔ‪ ،37/4 :‬ﻭﺘﻨﺴـﺏ ﺃﻴﻀـﺎ ﺇﻝـﻰ‬
‫ﺍﻝﺸﺸﺘﺭﻱ‪ .‬ﺍﻨﻅﺭ‪:‬ﺍﻝﺸﺸﺘﺭﻱ‪ :‬ﺩﻴﻭﺍﻥ ﺃﺒﻲ ﺍﻝﺤﺴﻥ ﺍﻝﺸﺸﺘﺭﻱ‪ .‬ﺘﺤﻘﻴﻕ ﻤﺤﻤﺩ ﺍﻝﻌﺩﻝﻭﻨﻲ ﺍﻹﺩﺭﻴﺴﻲ ﻭﺴﻌﻴﺩ ﺃﺒﻭ ﺍﻝﻔﻴﻭﺽ‪ .‬ﺍﻝﺩﺍﺭ ﺍﻝﺒﻴﻀﺎﺀ‪،‬‬
‫ﺩﺍﺭ ﺍﻝﺜﻘﺎﻓﺔ‪ ،‬ﻁ‪ ،2008 ،1.‬ﺹ‪.65.‬‬
‫)‪ (34‬ﺍﺒﻥ ﻋﺒﺩ ﺍﻝﻤﻠﻙ ﺍﻝﻤﺭﺍﻜﺸﻲ‪ :‬ﺍﻝﺫﻴل ﻭﺍﻝﺘﻜﻤﻠﺔ‪ ،‬ﻝﻜﺘﺎﺒﻲ ﺍﻝﻤﻭﺼﻭل ﻭﺍﻝﺼﻠﺔ‪ .‬ﺍﻝﺴﻔﺭ ﺍﻷﻭل ﺘﺤﻘﻴﻕ ﻤﺤﻤ‪‬ﺩ ﺒﻥ ﺸﺭﻴﻔﺔ‪ ،‬ﺍﻝﺴﻔﺭ ﺍﻝﺭﺍﺒـﻊ‬
‫ﻭﺍﻝﺨﺎﻤﺱ ﻭﺍﻝﺴﺎﺩﺱ ﺘﺤﻘﻴﻕ ﺇﺤﺴﺎﻥ ﻋﺒﺎﺱ‪ ،‬ﺒﻴﺭﻭﺕ‪ ،‬ﺩﺍﺭ ﺍﻝﺜﻘﺎﻓﺔ‪ ،‬ﻁ‪.366/1/5 ،1973 ،1.‬‬
‫)‪ (35‬ﻡ‪.‬ﻥ‪ ،.‬ﺹ‪.368.‬‬
‫)‪ (36‬ﻡ‪.‬ﻥ‪ ،.‬ﺹ‪.368.‬‬
‫)‪ (37‬ﺍﺒﻥ ﻋﺭﺒﻲ‪ :‬ﺍﺼﻁﻼﺡ ﺍﻝﺼﻭﻓﻴﺔ‪ ،‬ﻡ‪.‬ﺱ‪ ،.‬ﺹ‪.59.‬‬
‫)‪ (38‬ﻡ‪.‬ﻥ‪ ،.‬ﺹ‪.114.‬‬
‫ﺍﻝﻤﻘﹼﺭﻱ؛ ﺃﺤﻤﺩ ﺒﻥ ﺍﻝﻤﻘﹼﺭﻱ ﺍﻝﺘﻠﻤﺴﺎﻨﻲ‪ :‬ﻨﻔﺢ ﺍﻝﻁﻴﺏ‪ ،‬ﻤﻥ ﻏﺼﻥ ﺍﻷﻨﺩﻝﺱ ﺍﻝﺭﻁﻴﺏ‪ ،‬ﺘﺤﻘﻴﻕ ﺇﺤﺴﺎﻥ ﻋﺒﺎﺱ‪ ،‬ﺒﻴﺭﻭﺕ‪ ،‬ﺩﺍﺭ ﺼﺎﺩﺭ‪،‬‬ ‫)‪(39‬‬
‫ﻁ‪2004 ،2.‬ﻡ‪.174/2 ،.‬‬
‫)‪ (40‬ﻴﻨﻅﺭ‪ :‬ﺃﻤﻴﻥ ﻴﻭﺴﻑ ﻋﻭﺩﺓ‪ :‬ﻡ‪.‬ﺱ‪ ،.‬ﺹ‪.176.‬‬
‫)‪ (41‬ﻋﺎﻁﻑ ﺠﻭﺩﺓ ﻨﺼﺭ‪ :‬ﻡ‪.‬ﺱ‪ ،.‬ﺹ‪ ،168.‬ﻭﺘﻨﻅﺭ ﺍﻷﺒﻴﺎﺕ ﻜﻠﻬﺎ ﻓﻲ ﺹ‪.169 -168.‬‬
‫)‪ (42‬ﻤﺤﻤﺩ ﺭﻀﻭﺍﻥ ﺍﻝﺩﺍﻴﺔ‪ :‬ﻓﻲ ﺍﻷﺩﺏ ﺍﻷﻨﺩﻝﺴﻲ‪ .‬ﺒﻴﺭﻭﺕ‪ ،‬ﺩﺍﺭ ﺍﻝﻔﻜﺭ ﺍﻝﻤﻌﺎﺼﺭ‪ ،‬ﺩﻤﺸـﻕ‪ ،‬ﺩﺍﺭ ﺍﻝﻔﻜـﺭ‪ ،‬ﻁ‪ ،1.‬ﺠﻤـﺎﺩﻯ ﺍﻵﺨـﺭﺓ‬
‫‪1421‬ﻫـ‪/‬ﺴﺒﺘﻤﺒﺭ ‪2000‬ﻡ‪ ،.‬ﺹ‪.99 -98.‬‬
‫)‪ (43‬ﻡ‪.‬ﻥ‪ ،.‬ﺹ‪.99.‬‬
‫)‪ (44‬ﺍﺒﻥ ﻋﺭﺒﻲ‪ :‬ﺘﺭﺠﻤﺎﻥ ﺍﻷﺸﻭﺍﻕ‪ .‬ﻡ‪.‬ﺱ‪ ،.‬ﺹ‪.91 – 89.‬‬
‫)‪ (45‬ﻋﺎﻁﻑ ﺠﻭﺩﺓ ﻨﺼﺭ‪ :‬ﻡ‪.‬ﺱ‪ ،.‬ﺹ‪.188.‬‬
‫)‪ (46‬ﺍﺒﻥ ﻋﺭﺒﻲ‪ :‬ﺘﺭﺠﻤﺎﻥ ﺍﻷﺸﻭﺍﻕ‪ .‬ﻡ‪.‬ﺱ‪ ،.‬ﺹ‪.175 -174.‬‬
‫)‪ (47‬ﻋﺎﻁﻑ ﺠﻭﺩﺓ ﻨﺼﺭ‪ :‬ﻡ‪.‬ﺱ‪ ،.‬ﺹ‪.289.‬‬
‫)‪ (48‬ﺒﻭﻤﺩﻴﻥ ﻜﺭﻭﻡ‪ :‬ﺍﻝﺸﻌﺭ ﺍﻝﺼﻭﻓﻲ؛ ﺩﺭﺍﺴﺔ ﻤﻭﻀﻭﻋﺎﺘﻴﺔ ﻓﻲ ﺸﻌﺭ ﺍﻝﺸﺸﺘﺭﻱ‪ .‬ﻭﻫﺭﺍﻥ‪ ،‬ﺩﺍﺭ ﺍﻷﺩﻴﺏ‪ ،‬ﺩ‪.‬ﻁ‪ ،2007 ،.‬ﺹ‪.78.‬‬
‫)‪ (49‬ﺍﺒﻥ ﻋﺭﺒﻲ‪ :‬ﺘﺭﺠﻤﺎﻥ ﺍﻷﺸﻭﺍﻕ‪ .‬ﻡ‪.‬ﺱ‪ ،.‬ﺹ‪) .58.‬ﺍﻨﻅﺭ ﺍﻝﻬﺎﻤﺵ(‪.‬‬

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 ‫

א
د‪/09‬د‪2015‬‬

‫)‪ (50‬ﻡ‪.‬ﻥ‪ ،.‬ﺹ‪.58.‬‬

‫)‪ (51‬ﺍﺒﻥ ﻋﺒﺩ ﺍﻝﻤﻠﻙ ﺍﻝﻤﺭﺍﻜﺸﻲ‪ :‬ﻡ‪.‬ﺱ‪.364/1/5 ،.‬‬
‫)‪ (52‬ﻡ‪.‬ﻥ‪.615/2/5 ،.‬‬
‫)‪ (53‬ﺴﺎﻝﻡ ﻋﺒﺩ ﺍﻝﺭﺯﺍﻕ‪ :‬ﻡ‪.‬ﺱ‪ ،.‬ﺹ‪.112.‬‬
‫)‪ (54‬ﺍﺒﻥ ﻋﺭﺒﻲ‪ :‬ﺍﺼﻁﻼﺡ ﺍﻝﺼﻭﻓﻴﺔ‪ .‬ﻡ‪.‬ﺱ‪ ،.‬ﺹ‪.97 -96.‬‬
‫)‪ (55‬ﻡ‪.‬ﻥ‪ ،.‬ﺹ‪.101.‬‬
‫)‪ (56‬ﺍﻝﻘﺸﻴﺭﻱ‪ :‬ﻡ‪.‬ﺱ‪ ،.‬ﺹ‪.35.‬‬
‫)‪ (57‬ﺴﺎﻝﻡ ﻋﺒﺩ ﺍﻝﺭﺯﺍﻕ‪ :‬ﻡ‪.‬ﺱ‪ ،.‬ﺹ‪.114.‬‬
‫)‪ (58‬ﺒﻭﻤﺩﻴﻥ ﻜﺭﻭﻡ‪ :‬ﻡ‪.‬ﺱ‪ ،.‬ﺹ‪.51 -50.‬‬
‫)‪ (59‬ﺍﺒﻥ ﻋﺭﺒﻲ‪ :‬ﺘﺭﺠﻤﺎﻥ ﺍﻷﺸﻭﺍﻕ‪ .‬ﻡ‪.‬ﺱ‪ ،.‬ﺹ‪.122.‬‬
‫)‪ (60‬ﻡ‪.‬ﻥ‪ ،.‬ﺹ‪.135.‬‬
‫)‪ (61‬ﻴﻨﻅﺭ‪ :‬ﺒﻭﻤﺩﻴﻥ ﻜﺭﻭﻡ‪ :‬ﻡ‪.‬ﺱ‪ ،.‬ﺹ‪.73 -52.‬‬
‫)‪ (62‬ﻋﺎﻁﻑ ﺠﻭﺩﺓ ﻨﺼﺭ‪ :‬ﻡ‪.‬ﺱ‪ ،.‬ﺹ‪.359.‬‬
‫)‪ (63‬ﺴﺎﻝﻡ ﻋﺒﺩ ﺍﻝﺭﺯﺍﻕ‪ :‬ﻡ‪.‬ﺱ‪ ،.‬ﺹ‪.116.‬‬
‫)‪ (64‬ﻋﺎﻁﻑ ﺠﻭﺩﺓ ﻨﺼﺭ‪ :‬ﻡ‪.‬ﺱ‪ ،.‬ﺹ‪.359.‬‬
‫)‪ (65‬ﻡ‪.‬ﻥ‪ ،.‬ﺹ‪.359.‬‬
‫)‪ (66‬ﻡ‪.‬ﻥ‪ ،.‬ﺹ‪.360 -359.‬‬
‫)‪ (67‬ﺴﺎﻝﻡ ﻋﺒﺩ ﺍﻝﺭﺯﺍﻕ‪ :‬ﻡ‪.‬ﺱ‪ ،.‬ﺹ‪.120.‬‬
‫)‪ (68‬ﺍﻝﺸﺸﺘﺭﻱ‪ :‬ﻡ‪.‬ﺱ‪ ،.‬ﺹ‪.32.‬‬
‫)‪ (69‬ﻡ‪.‬ﻥ‪ ،.‬ﺹ‪.38.‬‬
‫)‪ (70‬ﺴﺎﻝﻡ ﻋﺒﺩ ﺍﻝﺭﺯﺍﻕ‪ :‬ﻡ‪.‬ﺱ‪ ،.‬ﺹ‪.126.‬‬
‫)‪ (71‬ﻋﺎﻁﻑ ﺠﻭﺩﺓ ﻨﺼﺭ‪ :‬ﻡ‪.‬ﺱ‪ ،.‬ﺹ‪.370.‬‬
‫)‪ (72‬ﺍﺒﻥ ﻋﺭﺒﻲ‪ :‬ﺍﻝﻔﺘﻭﺤﺎﺕ ﻨﻘﻼ ﻋﻥ ﺍﻝﻌﺩﻝﻭﻨﻲ‪ :‬ﺍﻝﺘﺼﻭﻑ ﺍﻷﻨﺩﻝﺴﻲ‪ .‬ﻡ‪.‬ﺱ‪ ،.‬ﺹ‪.154.‬‬
‫)‪ (73‬ﻡ‪.‬ﻥ‪ ،.‬ﺹ‪.154 -153.‬‬
‫)‪ (74‬ﺍﺒﻥ ﻋﺭﺒﻲ‪ :‬ﺍﻝﻔﺘﻭﺤﺎﺕ ﻨﻘﻼ ﻋﻥ ﺍﻝﻌﺩﻝﻭﻨﻲ‪ :‬ﺍﻝﺘﺼﻭﻑ ﺍﻷﻨﺩﻝﺴﻲ‪ .‬ﻡ‪.‬ﺱ‪ ،.‬ﺹ‪ .172.‬ﻭﺼﺩﺭ ﺍﻝﺒﻴﺕ ﺍﻷﻭل ﻤﻜﺴﻭﺭ ﻝﻌل ﺼﻭﺍﺒﻪ‪:‬‬
‫ﻥ ﺍﻝﺘﹼﺼﻭ‪‬ﻑ ﺘﺸﺒﻴﻪ ﺒﺨﺎﻝﻘﻨﺎ‪.‬‬
‫ﺇ‪‬‬
‫)‪ (75‬ﺍﻝﺸﺸﺘﺭﻱ‪ :‬ﻡ‪.‬ﺱ‪ ،.‬ﺹ‪.49.‬‬
‫)‪ (76‬ﺃﻤﻴﻥ ﻴﻭﺴﻑ ﻋﻭﺩﺓ‪ :‬ﻡ‪.‬ﺱ‪ ،.‬ﺹ‪.120.‬‬
‫)‪ (77‬ﻡ‪.‬ﻥ‪ ،.‬ﺹ‪.120.‬‬
‫)‪ (78‬ﻡ‪.‬ﻥ‪ ،.‬ﺹ‪.156.‬‬
‫)‪ (79‬ﺍﻨﻅﺭ‪ :‬ﻓﻭﺯﻱ ﺴﻌﺩ ﻋﻴﺴﻰ‪ :‬ﺍﻝﻤﻭﺸﺤﺎﺕ ﻭﺍﻷﺯﺠﺎل ﺍﻷﻨﺩﻝﺴﻴﺔ ﻓﻲ ﻋﺼﺭ ﺍﻝﻤﻭﺤﺩﻴﻥ‪ .‬ﺍﻹﺴﻜﻨﺩﺭﻴﺔ‪ ،‬ﺩﺍﺭ ﺍﻝﻤﻌﺭﻓﺔ ﺍﻝﺠﺎﻤﻌﻴﺔ‪ ،‬ﺩ‪.‬ﻁ‪،.‬‬
‫‪ ،1990‬ﺹ‪.91.‬‬
‫)‪ (80‬ﻡ‪.‬ﻥ‪ ،.‬ﺹ‪.91.‬‬
‫)‪ (81‬ﺍﻝﻤﻘﹼﺭﻱ‪ :‬ﺍﻝﻨﻔﺢ‪ ،181/2 .‬ﻭﺍﻨﻅﺭ ﺍﻝﻤﻭﺸﺢ ﻜﺎﻤﻼ ﻓﻲ ﺹ‪.182.‬‬
‫)‪ (82‬ﻓﻭﺯﻱ ﺴﻌﺩ ﻋﻴﺴﻰ‪ :‬ﻡ‪.‬ﺱ‪ ،.‬ﺹ‪.168.‬‬

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