‫ﺇﺿﺎﺀﺍﺕ ﻧﻘﺪﻳﺔ )ﻣﻘﺎﻟﺔ ﳏﮑﻤﺔ(‬

‫ﺍﻟﺴﻨﺔ ﺍﳊﺎﺩﻳﺔ ﻋﺸﺮﺓ ـ ﺍﻟﻌﺪﺩ ﺍﻟﺜﺎﻟﺚ ﻭﺍﻷﺭﺑﻌﻮﻥ ـ ﺧﺮﻳﻒ ‪١٤٠٠‬ﺵ‪ /‬ﺃﻳﻠﻮﻝ ‪٢٠٢١‬ﻡ‬
‫‪DOR: 20.1001.1.22516573.2021.11.43.6.7‬‬
‫ﺻﺺ ‪ ١٥٤‬ـ ‪١٢٧‬‬

‫ﺩﺭﺍﺳﺔ ﻣﻌﺮﻓﻴﺔ ﳌﻔﻬﻮﻡ ﺍﻟﻔﺮﺡ ﻓﯽ ﺍﻟﻠﻐﺘﲔ ﺍﻟﻌﺮﺑﻴﺔ ﻭﺍﻟﻔﺎﺭﺳﻴﺔ؛ ﺩﺭﺍﺳﺔ ﺗﻘﺎﺑﻠﻴﺔ‬

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‫ﲰﻴﺔ ﳏﻤﺪﯼ‬
‫٭٭‬
‫ﺻﻼﺡﺍﻟﺪﻳﻦ ﻋﺒﺪﯼ )ﺍﻟﻜﺎﺗﺐ ﺍﳌﺴﺆﻭﻝ(‬
‫٭٭٭‬
‫ﳏﻤﺪ ﺍﻣﲔ ﺻﺮﺍﺣﯽ‬
‫٭٭٭‬
‫ﻣﺮﺗﻀﯽ ﻗﺎﺋﻤﯽ‬
‫ﺍﳌﻠﺨﺺ‬
‫ﻳﱰﺍﻭﺡ ﺍﻟﻔﺮﺡ ﺑﲔ ﺍﳌﺸــﺎﻋﺮ ﺍﳋﻔﻴﻔﺔ ﺇﻟﯽ ﺍﻟﺸــﺪﻳﺪﺓ‪ ،‬ﻭﺍﻻﺳﺘﻤﺘﺎﻉ ﲟﻮﺿﻮﻉ ﻣﺎ ﺇﻟﯽ ﺍﻟﺸﻌﻮﺭ‬
‫ﺑﺎﻟﺴﻌﺎﺩﺓ ﻓﯽ ﺍﳊﻴﺎﺓ‪ .‬ﻭﲟﺎ ﺃﻥ ﺟﺰﺀﴽ ﻣﻦ ﻣﻔﻬﻮﻡ ﺍﻟﻔﺮﺡ ﻳﺼﺒﺢ ﻣﻨﻈﻤﴼ ﺑﺎﻟﺒﻴﺎﻧﺎﺕ ﺍﻟﻠﻐﻮﻳﺔ ﺇﺿﺎﻓﺔ ﺇﻟﯽ‬
‫ﺍﻷﺩﺏ ﻭﺍﻟﻔﻦ ﻭﺍﻟﻌﺮﻑ ﻭﻏﲑﻫﺎ‪ ،‬ﻟﺬﻟﻚ ﻧﺴﺘﺨﺪﻡ "ﺍﻻﺳﺘﻌﺎﺭﺓ ﺍﳌﻔﺎﻫﻴﻤﻴﺔ" ﻛﺄﺩﺍﺓ ﻓﻌﺎﻟﺔ ﻟﺘﺤﻠﻴﻞ‬
‫ﺍﻟﻠﻐﺔ‪ ،‬ﻭﺍﻟﺘﯽ ﺗﻌﺪ ﺇﺣﺪﯼ ﻣﻈﺎﻫﺮ ﺍﻟﻌﻘﻞ‪ .‬ﺗﺸﲑ ﺍﻻﺳﺘﻌﺎﺭﺓ ﺍﳌﻔﺎﻫﻴﻤﻴﺔ ﺇﻟﯽ ﺇﺩﺭﺍﻙ ﻣﻔﻬﻮﻡ ﳎﺮﺩ‬
‫ﻋﻠﯽ ﺃﺳﺎﺱ ﻣﻔﻬﻮﻡ ﺃﻛﺜﺮ ﻣﺎﺩﻳﺔ ﻭﺍﻟﺘﻌﺒﲑ ﻋﻨﻪ‪ .‬ﻓﯽ ﻫﺬﻩ ﺍﻟﺪﺭﺍﺳﺔ‪ ،‬ﺳﻨﺪﺭﺱ ﺍﻟﺒﻴﺎﻧﺎﺕ ﻭﻧﺴﻌﯽ‬
‫ﺑﻨﺎﺀ ﻋﻠﯽ ﺍﻟﻨﻈﺮﻳﺔ‬
‫ﻟﻔﻬﻢ ﳎﺎﻻﺕ ﺍﳌﺼﺪﺭ ﳌﻔﻬﻮﻡ ﺍﻟﻔﺮﺡ ﻓﯽ ﻛﻞ ﻣﻦ ﺍﻟﻠﻐﺘﲔ ﺍﻟﻔﺎﺭﺳﻴﺔ ﻭﺍﻟﻌﺮﺑﻴﺔ ً‬
‫ﺍﳌﻌﺮﻓﻴﺔ ﻟﻜﻮﻓﻜﺴــﻴﺲ‪ ،‬ﻟﻨﻌﺮﻑ ﻃﺮﻳﻘﺔ ﺗﻔﻜﲑ ﺍﻟﻨﺎﻃﻘﲔ ﺑﻬﺎﺗﲔ ﺍﻟﻠﻐﺘﲔ ﺣﻮﻝ ﺍﻟﻔﺮﺡ‪ ،‬ﻭﺃﻭﺟﻪ‬
‫ﺍﻟﺸﺒﻪ ﻭﺍﻻﺧﺘﻼﻑ ﺑﻴﻨﻬﻤﺎ‪ .‬ﺗﻜﻤﻦ ﺃﳘﻴﺔ ﺍﻟﺪﺭﺍﺳﺔ ﺍﳌﻌﺮﻓﻴﺔ ﳍﺬﻩ ﺍﻟﺒﻴﺎﻧﺎﺕ ﻓﯽ ﺗﻨﻈﻴﻢ ﻧﻄﺎﻗﻬﺎ ﺍﳌﺒﻌﺜﺮ‬
‫ﺑﻨﺎﺀ ﻋﻠﯽ ﺍﻟﺘﻌﻴﻴﻨﺎﺕ ﻭﺍﻷﳕﺎﻁ ﺍﳌﻌﺮﻓﻴﺔ‪ .‬ﻳﻈﻬﺮ ﻓﺤﺺ ﺑﻴﺎﻧﺎﺕ ﻫﺬﻩ ﺍﻟﺪﺭﺍﺳﺔ ﺃﻥ ﺍﻟﻄﺒﻴﻌﺔ‬ ‫ﻭﺍﳌﺘﻨﻮﻉ ً‬
‫ﺍﳌﺸﺘﻘﺔ ﻟﻠﻐﺔ ﺍﻟﻌﺮﺑﻴﺔ ﻭﻓﺮﺕ ﳎﻤﻮﻋﺔ ﻣﺘﻨﻮﻋﺔ ﻣﻦ ﺍﻟﻜﻠﻤﺎﺕ ﺍﻻﺳﺘﻌﺎﺭﻳﺔ ﻟﺘﺼﻮﺭ ﺍﻟﻔﺮﺡ ﻓﯽ ﻫﺬﻩ‬
‫ﺃﻥ ﺍﳌﻈﺎﻫﺮ ﺍﻟﻠﻐﻮﻳﺔ ﻟﺒﻌﺾ ﺍﻻﺳﺘﻌﺎﺭﺍﺕ‬ ‫ﺍﻟﻠﻐﺔ ﺧﺎﺻﺔ ﻓﻴﻤﺎ ﻳﺘﻌﻠﻖ ﺑﺎﺳﺘﻌﺎﺭﺓ "ﺍﻟﻔﺮﺡ ﻧﻮﺭ"؛ ﮐﻤﺎ ّ‬
‫ﺑﺎﻟﻠﻐﺔ ﺍﻟﻔﺎﺭﺳﻴﺔ ﻛﺎﺳﺘﻌﺎﺭﺓ "ﺍﻟﻔﺮﺡ ﺳﺎﺋﻞ ﺩﺍﺧﻞ ﺍﻟﻮﻋﺎﺀ" ﺃﻇﻬﺮﺕ ﻣﺴﺎﻓﺔ ﺃﻛﱪ ﻋﻦ ﻣﺴﺘﻮﺍﻫﺎ‬
‫ﺍﻟﻌﺎﻣﺔ ﻭﮐﻮﻧﻬﺎ ﺫﺍﺕ ﺇﺣﺪﺍﺛﻴﺎﺕ ﺛﻘﺎﻓﻴﺔ ﳑﻴﺰﺓ ﻭﺃﻛﺜﺮ ﺗﻌﻘﻴﺪﴽ؛ ﮐﺬﻟﮏ ﻓﻴﻤﺎ ﻳﺘﻌﻠﻖ ﺑﺎﺳﺘﻌﺎﺭﺓ "ﺍﻟﻔﺮﺡ‬
‫ﻭﺿﻮﺣﺎ ﻣﻦ ﺍﻟﻠﻐﺔ ﺍﻟﻔﺎﺭﺳﻴﺔ‪.‬‬
‫ً‬ ‫ﻓﻮﻕ" ﻓـ"ﺍﳌﺴﺎﻓﺔ ﻣﻦ ﺍﻷﺭﺽ" ﻓﯽ ﺍﻟﻠﻐﺔ ﺍﻟﻌﺮﺑﻴﺔ ﳝﻜﻦ ﺃﻥ ﺗﻜﻮﻥ ﺃﻛﺜﺮ‬
‫ﺍﻟﮑﻠﻤﺎﺕ ﺍﻟﺪﻟﻴﻠﻴﺔ‪ :‬ﺍﻟﻠﻐﺘﺎﻥ ﺍﻟﻔﺎﺭﺳــﻴﺔ ﻭﺍﻟﻌﺮﺑﻴﺔ‪ ،‬ﺩﺭﺍﺳــﺔ ﺗﻘﺎﺑﻠﻴﺔ‪ ،‬ﺍﻻﺳﺘﻌﺎﺭﺓ ﺍﳌﻔﺎﻫﻴﻤﻴﺔ‪،‬‬
‫ﻣﻔﻬﻮﻡ ﺍﻟﻔﺮﺡ‪.‬‬

‫٭‪ .‬ﻃﺎﻟﺒﺔ ﺩﮐﺘﻮﺭﺍﻩ ﻓﯽ ﺍﻟﻠﻐﺔ ﺍﻟﻌﺮﺑﻴﺔ ﻭﺁﺩﺍﺑﻬﺎ‪ ،‬ﺟﺎﻣﻌﺔ ﺑﻮﻋﻠﯽ ﺳﻴﻨﺎ‪ ،‬ﳘﺪﺍﻥ‪ ،‬ﺇﻳﺮﺍﻥ‬
‫‪somayemohamadi14566@gmail.com‬‬
‫‪s.abdi@basu.ac.ir‬‬ ‫٭٭‪ .‬ﺃﺳﺘﺎﺫ ﻣﺸﺎﺭﻙ ﻓﯽ ﺍﻟﻠﻐﺔ ﺍﻟﻌﺮﺑﻴﺔ ﻭﺁﺩﺍﺑﻬﺎ‪ ،‬ﺟﺎﻣﻌﺔ ﺑﻮﻋﻠﯽ ﺳﻴﻨﺎ‪ ،‬ﳘﺪﺍﻥ‪ ،‬ﺇﻳﺮﺍﻥ‬
‫٭٭٭‪ .‬ﺃﺳﺘﺎﺫ ﻣﺴﺎﻋﺪ ﻓﯽ ﺍﻟﻠﻐﺔ ﺍﻹﳒﻠﻴﺰﻳﺔ ﻭﺁﺩﺍﺑﻬﺎ‪ ،‬ﺟﺎﻣﻌﺔ ﺟﻴﻼﻥ‪ ،‬ﺟﻴﻼﻥ‪ ،‬ﺇﻳﺮﺍﻥ‬
‫‪Aminsirahi@hotmail.com‬‬
‫٭٭٭٭‪ .‬ﺃﺳﺘﺎﺫ ﻓﯽ ﺍﻟﻠﻐﺔ ﺍﻟﻌﺮﺑﻴﺔ ﻭﺁﺩﺍﺑﻬﺎ‪ ،‬ﺟﺎﻣﻌﺔ ﺑﻮﻋﻠﯽ ﺳﻴﻨﺎ‪ ،‬ﳘﺪﺍﻥ‪ ،‬ﺇﻳﺮﺍﻥ‬
‫‪mortezaghaemi2@gmail.com‬‬
‫ﺗﺎﺭﻳﺦ ﺍﻟﻘﺒﻮﻝ‪١٤٤٣/٠٤/١٢ :‬ﻕ‬ ‫ﺗﺎﺭﻳﺦ ﺍﻻﺳﺘﻼﻡ‪١٤٤٢/١١/٠١ :‬ﻕ‬
 ‫‪ / ١٢٨‬ﻓﺼﻠﻴﺔ ﺇﺿﺎﺀﺍﺕ ﻧﻘﺪﻳﺔ‪ ،‬ﺍﻟﺴﻨﺔ ‪ ،١١‬ﺍﻟﻌﺪﺩ ‪ ،٤٣‬ﺧﺮﻳﻒ ‪١٤٠٠‬ﺵ‬

‫ﺍﳌﻘﺪﻣﺔ‬
‫ﺗﻨﺘﻤﯽ ﺍﻟﺪﺭﺍﺳــﺔ ﺍﳊﺎﻟﻴﺔ ﺇﻟﯽ ﳎﺎﻝ ﺍﻟﺪﺭﺍﺳﺎﺕ ﺍﻟﺪﻻﻟﻴﺔ ﺍﳌﻌﺮﻓﻴﺔ ﻟﻠﻌﻮﺍﻃﻒ ﻭﺗﻬﺪﻑ ﺇﻟﯽ‬
‫ﺩﺭﺍﺳﺔ ﻣﻔﻬﻮﻡ ﺍﻟﻔﺮﺡ‪ ١‬ﺑﺎﻟﻠﻐﺘﲔ ﺍﻟﻌﺮﺑﻴﺔ ﻭﺍﻟﻔﺎﺭﺳﻴﺔ‪ .‬ﻳﻘﻮﻡ ﺍﻷﺳﺎﺱ ﺍﻟﻨﻈﺮﯼ ﳍﺬﺍ ﺍﻟﺒﺤﺚ ﻋﻠﯽ‬
‫‪٣‬‬ ‫‪٢‬‬
‫ﻧﻈﺮﻳﺔ ﺍﻻﺳــﺘﻌﺎﺭﺓ ﺍﳌﻔﺎﻫﻴﻤﻴﺔ ﺍﻟﺘﯽ ﻃﻮﺭﻫﺎ ﻻﻛﻮﻑ ﻭﺟﻮﻧﺴﻮﻥ )‪١٩٨٠‬ﻡ(‪ً .‬‬
‫ﺑﻨﺎﺀ ﻋﻠﯽ ﻫﺬﻩ‬
‫ﺑﻨﺎﺀ‬
‫ﺍﻟﻨﻈﺮﻳﺔ‪ ،‬ﺳﻨﻘﻮﻡ ﺑﺘﺒﺴﻴﻂ ﺍﳌﻮﺿﻮﻋﺎﺕ ﺍﳌﺠﺮﺩﺓ ﺑﺸﻜﻞ ﺣﺴﯽ ﺃﻛﺜﺮ ﻟﻔﻬﻤﻬﺎ ﻭﺍﻟﺘﻌﺒﲑ ﻋﻨﻬﺎ ً‬
‫ﻋﻠﯽ ﲡﺎﺭﺏ ﻣﻠﻤﻮﺳﺔ‪ .‬ﺗﻜﻤﻦ ﺍﻟﻨﻘﻄﺔ ﺍﳌﺮﻛﺰﻳﺔ ﳍﺬﻩ ﺍﻟﻨﻈﺮﻳﺔ ﻓﯽ ﺍﻛﺘﺸﺎﻑ ﺃﳘﻴﺔ ﺍﻻﺳﺘﻌﺎﺭﺓ‪،‬‬
‫»ﻷﻧﻬــﺎ ﺭﻓﻌﺖ ﻣﻜﺎﻧﺔ ﺍﻻﺳــﺘﻌﺎﺭﺓ ﻣﻦ ﺃﺩﺍﺓ ﲨﺎﻟﻴــﺔ ﲝﺘﺔ ﺇﻟﯽ ﻧﻬﺞ ﻟــﻺﺩﺭﺍﻙ ﻭﺍﻟﺘﻔﻜﲑ‪«.‬‬
‫)ﳏﻤﺪﻳﺎﻥ ﻭﻓﺮﺣﺎﻧﯽﺯﺍﺩﻩ‪١٣٩٧ ،‬ﺵ‪(٣١٩ :‬‬
‫ﺍﻻﺳــﺘﻌﺎﺭﺓ ﺍﳌﻔﺎﻫﻴﻤﻴﺔ ﻫﯽ ﺇﺣــﺪﯼ ﺍﻹﳒﺎﺯﺍﺕ ﺍﳉﺪﻳﺪﺓ ﻟﻌﻠﻢ ﺍﻟﻠﻐــﺔ ﺍﳌﻌﺮﻓﯽ‪ ،‬ﻭﻗﺪ ﰎ‬
‫ﺗﻘﺪﳝﻬﺎ ﺑﻬﺪﻑ ﻓﻬﻢ ﺑﻨﻴﺔ ﺍﻟﻔﻜﺮ ﻭﻃﺒﻴﻌﺘﻪ‪ .‬ﻫﺬﻩ ﺍﻻﺳﺘﻌﺎﺭﺓ ﻻﺗﻘﺘﺼﺮ ﻋﻠﯽ ﺍﻷﺩﺏ ﺃﻭ ﺍﻟﻠﻐﺔ‪ ،‬ﺑﻞ‬
‫ﺗﻮﺟﺪ ﻓﯽ ﻧﻈﺎﻡ ﺍﻟﻔﮑﺮ ﻭﻛﻴﻔﻴﺔ ﻋﻤﻠﻪ ﻭﺍﻟﻠﻐﺔ ﻭﺟﻮﺩﺗﻪ ﻭﺍﻟﺴﻠﻮﻙ ﻭﺍﻵﺩﺍﺏ ﻭﺍﻟﻔﻨﻮﻥ ﻭﺍﻟﺜﻘﺎﻓﺔ‬
‫ﻭﺍﻟﺴﻴﺎﺳــﺔ ﻭﺇﱁ‪ .‬ﻭﻓﻘﴼ ﳍﺬﻩ ﺍﻟﻨﻈﺮﻳﺔ‪ ،‬ﺗﻌﺘﻤــﺪ ﺍﻟﻠﻐﺔ ﻭﺣﺘﯽ ﺍﻟﻔﻜﺮ ﻋﻠﯽ ﺁﻟﻴﺔ ﳎﺎﺯﻳﺔ‪ ،‬ﻭﻳﺘﻤﺜﻞ‬
‫ﺃﺣﺪ ﺃﺳــﺒﺎﺏ ﺩﺭﺍﺳﺔ ﻋﻠﻤﺎﺀ ﺍﳌﻌﺮﻓﺔ ﻟﻼﺳﺘﻌﺎﺭﺓ ﻓﯽ ﺍﻟﻠﻐﺔ ﻫﻮ ﺍﻻﻓﱰﺍﺽ ﺑﺄﻥ ﺍﻟﻠﻐﺔ ﺗﻌﻜﺲ‬
‫ﺃﳕﺎﻁ ﺍﻟﻔﻜﺮ ﺍﻟﺒﺸﺮﯼ ﻭﺧﺼﺎﺋﺼﻪ‪ ،‬ﻭﺍﻟﺘﯽ ﺗﺘﺸﻜﻞ ﻧﺘﻴﺠﺔ ﺍﻟﺘﻔﺎﻋﻞ ﺑﲔ ﺍﳉﺎﻧﺐ ﺍﻟﻔﺴﻴﻮﻟﻮﺟﯽ‬
‫ﻟﻺﻧﺴﺎﻥ ﻭﺍﻟﺒﻴﺌﺔ ﺍﳌﺎﺩﻳﺔ ﻭﺍﻟﺜﻘﺎﻓﻴﺔ‪.‬‬
‫ﺃﻥ ﻭﻇﻴﻔﺔ ﺍﻻﺳﺘﻌﺎﺭﺓ ﺍﳌﻔﺎﻫﻴﻤﻴﺔ ﺗﺘﻤﺜﻞ ﻓﯽ ﺗﻘﺪﱘ ﻭﺻﻒ ﻣﻠﻤﻮﺱ ﻟﻌﺎﱂ ﺍﳌﻔﺎﻫﻴﻢ‬
‫ﻧﻈﺮﴽ ﺇﻟﯽ ّ‬
‫ﻭﺍﻷﻓــﻜﺎﺭ ﺍﳌﺠﺮﺩﺓ‪ ،‬ﻭﲟﺎ ﺃﻥ ﺍﻟﻌﻮﺍﻃﻒ ﻫﯽ ﻭﺍﺣﺪﺓ ﻣﻦ ﺃﻛﺜﺮ ﺍﳌﻔﺎﻫﻴﻢ ﺍﳌﺠﺮﺩﺓ ﺷــﻴﻮﻋﴼ ﻓﯽ‬
‫ﺃﻥ ﺍﻟﺸــﻌﻮﺭ ﺑﺎﻟﻔﺮﺡ‪ ٤‬ﻓﯽ ﻣﺴــﺘﻮﺍﻩ ﺍﻟﻌﺎﻟﯽ ﺃﯼ ﺍﻟﺴﻌﺎﺩﺓ ﻫﯽ ﻣﻦ ﺃﻫﻢ‬
‫ﳎﺎﻝ ﺍﳍﺪﻑ‪ ،‬ﻭﺧﺎﺻﺔ ّ‬
‫ﺍﳌﺸﺎﻋﺮ ﺛﻘﺎﻓﻴﺎ ﻭﺩﻳﻨﻴﺎ‪ ،‬ﻭﻣﻦ ﺍﻷﺳﺲ ﺍﻷﺳﺎﺳﻴﺔ ﳍﻤﺎ ﻫﯽ ﺳﻌﺎﺩﺓ ﺍﻹﻧﺴﺎﻥ ﻭﲡﻨﺐ ﺍﻟﺸﻘﺎﻭﺓ‪،‬‬
‫ﻓﺈﻧﻨﺎ ﻧﻌﺘﺰﻡ ﻓﯽ ﻫﺬﻩ ﺍﳌﻘﺎﻟﺔ ﻟﺪﺭﺍﺳﺔ ﺍﻟﻌﺎﻃﻔﺔ ﺍﳌﺬﻛﻮﺭﺓ ﺑﻄﺮﻳﻘﺔ ﻣﻌﺮﻓﻴﺔ ﳌﻌﺮﻓﺔ ﻧﻈﺮﺓ ﺍﻟﻨﺎﻃﻘﲔ‬
‫ﺑﺎﻟﻔﺎﺭﺳﻴﺔ ﻭﺍﻟﻌﺮﺑﻴﺔ ﺇﻟﻴﻬﺎ‪ ،‬ﻓﯽ ﳏﺎﻭﻟﺔ ﻟﻠﻌﺜﻮﺭ ﻋﻠﯽ ﺃﺟﻮﺑﺔ ﻋﻦ ﺍﻷﺳﺌﻠﺔ ﺍﻟﺘﺎﻟﻴﺔ‪.‬‬
‫‪ .١‬ﳝﻜﻦ ﺍﻋﺘﺒﺎﺭ ﺍﻻﺑﺘﻬﺎﺝ ﻭﺍﻟﺴــﺮﻭﺭ ﻭﺍﻟﺴﻌﺎﺩﺓ ﻭﺍﻟﻐﺒﻄﺔ ﻭﺍﳊﺒﻮﺭ ﺑﺎﻟﻌﺮﺑﻴﺔ ﻣﺮﺍﺩﻓﺎﺕ ﻟﻠﻔﺮﺡ؛ ﻛﻤﺎ ﺍﻧﻪ ﻳﻌﺘﱪ‬
‫"ﺧﻮﺷﺤﺎﱄ" ﻭ"ﺧﻮﺷﺒﺨﱵ" ﻭ"ﺳﻌﺎﺩﲤﻨﺪﻱ" ﻛﻤﺮﺍﺩﻓﺎﺕ ﻟـ"ﺷﺎﺩﯼ" ﰲ ﺍﻟﻔﺎﺭﺳﻴﺔ‪.‬‬
‫‪2. Theory cognitive metaphor‬‬
‫‪3. Lakoff & Johnson‬‬
‫ﺇﻥ ﺍﻟﻔﺮﺡ‪ /‬ﺍﻟﺴﻌﺎﺩﺓ ﻫﻲ ﻣﻦ ﺍﳌﺸﺎﻋﺮ ﺍﻟﱵ ﺩﺭﺳﺘﻬﺎ ﰲ ﺭﺳﺎﻟﱵ ﻟﻠﺪﮐﺘﻮﺭﺍﻩ‪.‬‬
‫‪ّ .٤‬‬
‫ﺩﺭﺍﺳﺔ ﻣﻌﺮﻓﻴﺔ ﳌﻔﻬﻮﻡ ﺍﻟﻔﺮﺡ ﻓﯽ ﺍﻟﻠﻐﺘﲔ ﺍﻟﻌﺮﺑﻴﺔ ﻭﺍﻟﻔﺎﺭﺳﻴﺔ؛ ﺩﺭﺍﺳﺔ ﺗﻘﺎﺑﻠﻴﺔ ‪١٢٩ /‬‬

‫ﺃﺳﺌﻠﺔ ﺍﻟﺒﺤﺚ‬
‫‪ .١‬ﻣﺎ ﻫﯽ ﳎﺎﻻﺕ ﺍﳌﺼﺪﺭ ﺍﻷﻛﺜﺮ ﺷﻴﻮﻋﴼ ﻟﻠﺘﻌﺒﲑ ﻋﻦ ﻣﻔﻬﻮﻡ ﺍﻟﻔﺮﺡ؟‬
‫‪ .٢‬ﻣﺎ ﻫﯽ ﺍﻷﳕﺎﻁ ﺍﻟﺘﯽ ﻳﺸﺮﺣﻬﺎ ﺍﳌﻨﻬﺞ ﺍﳌﻌﺮﻓﯽ ﻟﻠﻐﺎﺕ ﺍﳌﺪﺭﻭﺳﺔ؟‬
‫‪ .٣‬ﻣﺎ ﻫﯽ ﺃﻭﺟﻪ ﺍﻟﺸﺒﻪ ﻭﺍﻹﺧﺘﻼﻑ ﻓﯽ ﻫﻴﻜﻞ ﻣﻔﻬﻮﻡ ﺍﻟﻔﺮﺡ ﺑﲔ ﻫﺎﺗﲔ ﺍﻟﻠﻐﺘﲔ؟‬

‫ﻓﺮﺿﻴﺎﺕ ﺍﻟﺒﺤﺚ‬
‫‪ .١‬ﳎﺎﻻﺕ ﺍﳌﺼﺪﺭ ﺍﻷﻛﺜﺮ ﺷــﻴﻮﻋﴼ ﻟﻠﺘﻌﺒﲑ ﻋﻦ ﻣﻔﻬﻮﻡ ﺍﻟﻔــﺮﺡ ﻫﯽ ﺍﻻﺭﺗﻔﺎﻉ ﻭﺍﻟﻨﻮﺭ‬
‫ﻭﺍﻟﻮﺳﻌﺔ ﻭﺍﻟﺴﻴﺎﻝ ﺩﺍﺧﻞ ﺍﻟﻮﻋﺎﺀ‪.‬‬
‫‪ .٢‬ﺍﻷﳕــﺎﻁ ﺍﻟﺘﯽ ﻳﺸــﺮﺣﻬﺎ ﺍﳌﻨﻬﺞ ﺍﳌﻌﺮﻓﯽ ﻟﻠﻐﺎﺕ ﺍﳌﺪﺭﻭﺳــﺔ ﻫــﯽ ﻣﻄﺎﺑﻘﺎ ﻟﻮﺻﻒ‬
‫ﻛﻮﻓﻜﺴﻴﺲ‪.‬‬
‫‪ .٣‬ﺣﻮﻝ ﺍﻟﺸــﺒﻪ ﻭﺍﻻﺧﺘــﻼﻑ‪ ،‬ﻓﺎﳌﻈﺎﻫﺮ ﺍﻟﻠﻐﻮﻳــﺔ ﳌﻔﻬﻮﻡ ﺍﻟﻔﺮﺡ ﻓــﯽ ﻫﺎﺗﲔ ﺍﻟﻠﻐﺘﲔ‬
‫ﻣﺘﺸﺎﺑﻬﺔ ﻧﻈﺮﴽ ﺇﻟﯽ ﺍﻟﺘﺠﺎﺭﺏ ﺍﻟﺒﺪﻧﻴﺔ ﺍﻟﺘﯽ ﺗﮑﻮﻥ ﻋﺎﳌﻴﺔ‪.‬‬
‫ﺃﻥ ﺍﳌﺠﺎﻝ ﺍﳌﻔﺎﻫﻴﻤــﯽ ﻟﻠﻌﻮﺍﻃﻒ ﻳﻈﻬﺮ ﻋﺎﺩ ًﺓ ﲰــﺎﺕ ﺛﻘﺎﻓﻴﺔ ﻭﺇﺛﻨﻮﻏﺮﺍﻓﻴﺔ‬
‫»ﻧﻈــﺮﴽ ﺇﻟﯽ ّ‬
‫ﺑــﺎﺭﺯﺓ‪ ،‬ﻓﺈﻧﻪ ﻣﻬﻢ ﺟﺪﴽ ﻓﯽ ﺍﻟﺒﺤﺚ ﺑﲔ ﺍﻟﻠﻐﺎﺕ ﻭﺑﲔ ﺍﻟﺜﻘﺎﻓﺎﺕ‪ ،‬ﻭﻫﻮ ﺃﺩﺍﺓ ﺟﻴﺪﺓ ﻟﻠﺒﺤﺚ ﻓﯽ‬
‫ﺍﻟﻨﻈــﺮﺓ ﺍﻟﻌﺎﳌﻴﺔ ﻟﻠﺜﻘﺎﻓﺔ‪) «.‬ﺯﻭﺭ ﻭﺭﺯ ﻭﺁﺧــﺮﻭﻥ‪١٣٩٢ ،‬ﺵ‪ (٥٠ :‬ﻟﺬﻟﻚ‪ ،‬ﺑﺎﻟﻨﻈﺮ ﺇﻟﯽ ﺃﳘﻴﺔ‬
‫ﺍﻻﺳﺘﻌﺎﺭﺓ ﺍﳌﻌﺮﻓﻴﺔ ﻓﯽ ﻫﺬﺍ ﺍﳌﺠﺎﻝ‪ ،‬ﺳﻨﻘﻮﻡ ﺑﺪﺭﺍﺳﺔ ﻣﻘﺎﺭﻧﺔ ﺑﲔ ﺍﻟﻠﻐﺘﲔ ﺍﻟﻔﺎﺭﺳﻴﺔ ﻭﺍﻟﻌﺮﺑﻴﺔ‪.‬‬
‫ﻛﻤــﺎ ﻳﻌﺪ ﲢﺪﻳﺪ ﺃﳕﺎﻁ ﺍﻟﻔﺮﺡ ﺍﻟﻨﻤﻮﺫﺟﻴﺔ ﻭﻏﲑﺍﻟﻨﻤﻮﺫﺟﻴﺔ ﺑﺎﻟﻠﻐﺘﲔ ﺍﻟﻌﺮﺑﻴﺔ ﻭﺍﻟﻔﺎﺭﺳــﻴﺔ ﻣﻦ‬
‫ﺍﻟﻨﺘﺎﺋﺞ ﺍﳌﻬﻤﺔ ﺍﻷﺧﺮﯼ ﳍﺬﻩ ﺍﻟﺪﺭﺍﺳﺔ‪.‬‬
‫ﻳﺘﻢ ﲢﻠﻴﻞ ﺍﻟﺒﻴﺎﻧﺎﺕ ﺍﻟﻔﺎﺭﺳﻴﺔ ﺑﻌﺪ ﺍﻹﻃﺎﺭ ﺍﻟﻨﻈﺮﯼ‬
‫ﻣﻨﻬﺞ ﻫﺬﺍ ﺍﻟﺒﺤﺚ ﻭﺻﻔﯽ – ﲢﻠﻴﻠﯽ؛ ّ‬
‫ﻭﺍﻟﺘﻌﺮﻳــﻒ ﺑﻨﻈﺮﻳﺔ ﺍﻻﺳــﺘﻌﺎﺭﺓ ﺍﳌﻔﺎﻫﻴﻤﻴــﺔ‪ّ .‬‬
‫ﰎ ﺗﺼﻨﻴﻒ ﺍﻟﺘﻌﺒــﲑﺍﺕ ﺍﳌﻨﺘﺨﺒﺔ ﻓﯽ ﳎﺎﻻﺕ‬
‫ﺍﳌﺼﺪﺭ ﺍﻟﻌﺎﻣﺔ ﻟﻠﻌﻠﻮ ﻭﺍﻟﻨﻮﺭ ﻭﺍﻟﻮﺳــﻌﺔ ﻭﺍﻟﻮﻋﺎﺀ ﻭﻣﺎ ﺇﻟﯽ ﺫﻟﻚ‪ ،‬ﻭ ّ‬
‫ﰎ ﲢﻠﻴﻞ ﺍﻻﺳــﺘﻌﺎﺭﺍﺕ‬
‫ﻭﻓﻘﴼ ﻟﻨﻈﺮﻳﺔ ﺍﻻﺳﺘﻌﺎﺭﺍﺕ ﺍﳌﻌﺮﻓﻴﺔ ﺍﳌﻌﺪﻟﺔ‪ ١‬ﻟﻜﻮﻓﻜﺴﻴﺲ‪ .٢‬ﻭﻃﺮﺡ ﺍﳌﺰﻳﺪ ﻣﻦ ﺍﳌﻌﻠﻤﺎﺕ ﻣﺜﻞ‬
‫ﺍﻟﺒﺤﺚ ﻋﻦ ﺃﻣﺜﻠﺔ ﻟﻐﻮﻳﺔ ﺃﺧﺮﯼ‪ ،‬ﻭﺍﻟﺒﺤﺚ ﻋﻦ ﺍﻟﺸﻮﺍﻫﺪ ﺍﻟﺪﻻﻟﻴﺔ ﻭﻣﺎ ﺇﺫﺍ ﻛﺎﻥ ﻫﻨﺎﻙ ﺗﺮﻛﻴﺐ‬
‫ﻣﻊ ﺍﺳــﺘﻌﺎﺭﺍﺕ ﺃﺧﺮﯼ ﺃﻡ ﻻ‪ .‬ﺍﻟﺒﻴﺎﻧﺎﺕ ﺍﻟﻌﺮﺑﻴﺔ ﻣﺴــﺘﺨﺮﺟﺔ ﻣﻦ ﺍﻟﻌﺮﺑﻴﺔ ﺍﻟﻔﺼﺤﯽ‪ ،‬ﻭﻳﻨﻄﺒﻖ‬
‫‪1. The revised standard theory‬‬
‫‪2. Zoltan Kovecses‬‬
 ‫‪ / ١٣٠‬ﻓﺼﻠﻴﺔ ﺇﺿﺎﺀﺍﺕ ﻧﻘﺪﻳﺔ‪ ،‬ﺍﻟﺴﻨﺔ ‪ ،١١‬ﺍﻟﻌﺪﺩ ‪ ،٤٣‬ﺧﺮﻳﻒ ‪١٤٠٠‬ﺵ‬

‫ﺍﻟﺸﯽﺀ ﻧﻔﺴﻪ ﻋﻠﯽ ﺍﺧﺘﻴﺎﺭ ﺍﻟﻌﺒﺎﺭﺍﺕ ﺍﻟﻔﺎﺭﺳﻴﺔ‪ .‬ﺍﻟﺒﻴﺎﻧﺎﺕ ﺍﻟﻔﺎﺭﺳﻴﺔ ﳍﺬﺍ ﺍﻟﺒﺤﺚ ﻣﻘﺘﺒﺴﺔ ﻣﻦ‬
‫ﺑﻌﺾ ﺍﻟﺒﺤﻮﺙ ﺍﻟﺘﯽ ﺃﺟﺮﻳﺖ ﺣﻮﻝ ﺍﻟﻔﺮﺡ‪ ،‬ﻭﺍﻟﻘﺎﻣﻮﺱ ﺍﻟﻔﺎﺭﺳﯽ ﺍﻟﻌﺎﻣﯽ ﻭﻗﻨﻮﺍﺕ ﺗﻠﻔﺰﻳﻮﻧﻴﺔ‬
‫ﳐﺘﻠﻔﺔ‪ ،‬ﺑﻴﻨﻤﺎ ﲨﻌﺖ ﺍﻟﺒﻴﺎﻧﺎﺕ ﺍﻟﻌﺮﺑﻴﺔ ﻣﻦ ﺍﳌﻨﺠﺪ ﻓﯽ ﺍﻟﻠﻐﺔ ﺍﻟﻌﺮﺑﻴﺔ ﺍﳌﻌﺎﺻﺮﺓ‪ ،‬ﺭﺳــﺎﻟﺔ ﺃﲪﺪ‬
‫ﺍﻟﺸﺮﻳﻒ )‪٢٠٠٧‬ﻡ(‪ ،‬ﺃﻣﺜﻠﺔ ﻋﺮﺑﻴﺔ ﻓﺼﻴﺤﺔ ﻟﻮﺻﻒ ﺍﻟﻔﺮﺡ ﻓﯽ ﻗﻨﻮﺍﺕ ﻋﺮﺑﻴﺔ ﳐﺘﻠﻔﺔ ﻭﺍﳌﻮﺍﻗﻊ‪.١‬‬

‫ﺧﻠﻔﻴﺔ ﺍﻟﺒﺤﺚ‬
‫ﺗﻄﺮﻕ ﺍﻟﻌﺪﻳﺪ ﻣﻦ ﺍﻷﲝﺎﺙ ﺍﻟﻔﺎﺭﺳــﻴﺔ ﻟﺪﺭﺍﺳــﺔ ﺍﻟﻌﻮﺍﻃﻒ ﻣﺜﻞ ﺍﻟﻔــﺮﺡ ﻭﻣﻘﺎﺭﻧﺘﻬﺎ ﻣﻊ‬
‫ّ‬
‫ﺍﻟﻠﻐــﺎﺕ ﺍﻷﺧﺮﯼ ﺧﺎﺻــﺔ ﺍﻹﳒﻠﻴﺰﻳﺔ‪ ،‬ﻟﻜﻦ ﻗ ّﻠﻤــﺎ ّ‬
‫ﰎ ﺇﺟﺮﺍﺀ ﻣﻘﺎﺭﻧــﺔ ﻣﻌﺮﻓﻴﺔ ﺑﲔ ﺍﻟﻠﻐﺘﲔ‬
‫ﺍﻟﻔﺎﺭﺳــﻴﺔ ﻭﺍﻟﻌﺮﺑﻴﺔ ﻓﯽ ﳎﺎﻝ ﺍﻟﻌﻮﺍﻃﻒ ﺣﺘﯽ ﺍﻵﻥ‪ .‬ﺑﺎﻟﻨﺴــﺒﺔ ﺇﻟﯽ ﺑﻌﺾ ﻣﻦ ﺍﻟﺪﺭﺍﺳــﺎﺕ‬
‫ﺍﻟﻔﺎﺭﺳــﻴﺔ ﻓﺘﺒﺤﺚ ﺭﻭﺣﯽ )‪١٣٨٧‬ﺵ( ﻓﯽ ﺍﺳﺘﻌﺎﺭﺍﺕ ﻣﺸﺎﻋﺮ ﺍﳊﺐ ﻭﺍﻟﻜﺮﺍﻫﻴﺔ ﻭﺍﻟﻐﻀﺐ‬
‫ﻭﺍﻟﻔﺮﺡ ﻭﺍﳊﺰﻥ ﻭﺍﳋﻮﻑ ﻭﺍﻟﻘﻠﻖ ﻓﯽ ﳎﻤﻮﻋﺔ ﳐﺘﺎﺭﺓ ﻣﻦ ﺍﻟﻘﺼﺺ ﺍﻟﻔﺎﺭﺳﻴﺔ ﺍﻟﻘﺼﲑﺓ‪ .‬ﻭﻓﯽ‬
‫ﺩﺭﺍﺳــﺔ ﺃﺧﺮﯼ )‪١٣٩٧‬ﺵ(‪ ،‬ﻗﺎﻣﺖ ﺑﻔﺤﺺ ﺍﻟﺒﻨﻴﺔ ﺍﳌﻔﺎﻫﻴﻤﻴﺔ ﻟﻠﻔﺮﺡ ﻓﯽ ﺩﺭﺍﺳﺔ ﻣﻘﺎﺭﻧﺔ ﺑﲔ‬
‫ﺛﻼﺙ ﻟﻐﺎﺕ‪ :‬ﺍﻟﻔﺎﺭﺳﻴﺔ ﻭﺍﻟﻜﺮﺩﻳﺔ ﻭﺍﳉﻴﻠﻜﻴﺔ‪ ،‬ﻓﺎﺳﺘﺨﺪﻣﺖ ﺍﻹﻃﺎﺭ ﺍﻟﺬﯼ ﻗﺪﻣﻪ ﻛﻮﻓﻜﺴﻴﺲ‬
‫)‪٢٠٠٨‬ﻡ( ﻟﺘﺤﻠﻴﻞ ﺍﻟﺒﻴﺎﻧﺎﺕ ﻭﲢﺪﻳﺪ ﺍﳌﺨﻄﻄﺎﺕ ﻭﳎﺎﻻﺕ ﺍﳌﺼﺪﺭ ﺍﻟﺘﯽ ﺗﺴﺘﺨﺪﻣﻬﺎ ﺍﻟﻠﻐﺎﺕ‬
‫ﺍﳌﺬﻛﻮﺭﺓ ﻟﻠﺘﻌﺒﲑ ﻋﻦ ﺍﻟﻔﺮﺡ‪ .‬ﻗﺎﺭﻥ ﺑﲑﺯﺍﺩ ﻭﺁﺧﺮﻭﻥ )‪٢٠١٢‬ﻡ( ﺃﻳﻀﴼ ﺍﻻﺳﺘﻌﺎﺭﺍﺕ ﺍﳌﻔﺎﻫﻴﻤﻴﺔ‬
‫ﳌﺠﺎﻻﺕ ﺍﻟﻔﺮﺡ ﻭﺍﳊﺰﻥ ﻭﺍﻟﻐﻀﺐ ﻭﺍﳋﻮﻑ ﻭﺍﳊﺐ ﻓﯽ ﺍﻟﻨﺼﻮﺹ ﺍﻷﺩﺑﻴﺔ ﺑﺎﻟﻠﻐﺘﲔ ﺍﻟﻔﺎﺭﺳﻴﺔ‬
‫ﻭﺍﻹﳒﻠﻴﺰﻳﺔ‪ .‬ﻛﻤﺎ ﻗﺎﻡ ﺯﻭﺭ ﻭﺭﺯ ﻭﺁﺧﺮﻭﻥ )‪١٣٩٢‬ﺵ( ﺑﺪﺭﺍﺳــﺔ ﺍﻻﺳــﺘﻌﺎﺭﺍﺕ ﺍﳌﻔﺎﻫﻴﻤﻴﺔ‬
‫ﳌﺠﺎﻝ ﺍﻟﻔﺮﺡ ﻓﯽ ﺃﺭﺑﻌﺔ ﻋﺸﺮ ﻣﻦ ﺗﺂﻟﻴﻒ ُ‬
‫ﺍﻟﻜﺘّﺎﺏ ﺍﻟﻔﺮﺱ ﺍﳌﻌﺎﺻﺮﻳﻦ ﻭﻭﺟﺪﻭﺍ ﺃﻥ "ﺍﻟﺸﯽﺀ"‬
‫ﻭ"ﺍﳌﺎﺩﺓ" ﻭ"ﺍﻟﻔﻌﻞ" ﻫﯽ ﺍﳌﺠﺎﻻﺕ ﺍﻷﻛﺜﺮ ﺍﺳــﺘﺨﺪﺍﻣﴼ ﻟﻠﺘﻌﺒﲑ ﻋﻦ ﺍﻟﻔﺮﺡ‪ ،‬ﻭﺃﺧﲑﴽ ﰎ ﺇﺟﺮﺍﺀ‬
‫ﻣﻘﺎﺭﻧﺔ ﺑﲔ ﺍﻻﺳﺘﻌﺎﺭﺍﺕ ﺍﳌﻔﺎﻫﻴﻤﻴﺔ ﳌﺠﺎﻝ ﺍﻟﻔﺮﺡ ﺑﺎﻟﻠﻐﺘﲔ ﺍﻟﻔﺎﺭﺳﻴﺔ ﻭﺍﻹﳒﻠﻴﺰﻳﺔ‪.‬‬
‫ﻓﯽ ﺩﺭﺍﺳــﺔ ﺃﺧﺮﯼ )‪١٣٩٨‬ﺵ(‪ ،‬ﺗﻔﺤﺺ ﺷــﺮﻳﻔﯽﻣﻘﺪﻡ ﻓﯽ ﺍﻻﺳﺘﻌﺎﺭﺍﺕ ﺍﳌﻔﺎﻫﻴﻤﻴﺔ‬
‫ﻟﻠﻔﺮﺡ ﻭﺍﳊﺰﻥ ﻓﯽ ﻗﺼﺎﺋﺪ ﺍﻟﺸــﺎﻋﺮﺓ ﺍﳌﻌﺎﺻﺮﺓ ﺑﺮﻭﻳﻦ ﺍﻋﺘﺼﺎﻣﯽ )‪١٩٠٦-١٩٤١‬ﻡ( ﻭﺑﻌﺪ‬
‫ﲢﻠﻴــﻞ ﺍﻟﺒﻴﺎﻧﺎﺕ ﻭﻣﻘﺎﺭﻧﺘﻬﺎ‪ ،‬ﻻﺣﻈﺖ ﺃﻥ ﺗﻜﺮﺍﺭ ﺍﻻﺳــﺘﻌﺎﺭﺍﺕ ﺍﳌﻔﺎﻫﻴﻤﻴﺔ ﻟﻠﺤﺰﻥ ﻭﻛﺬﻟﻚ‬
‫‪ .١‬ﺍﻟﻘﻨﻮﺍﺕ ﻣﺜﻞ ﺍﻟﻌﺮﺑﻴﺔ‪ ،‬ﺍﻹﺧﺒﺎﺭﻳﺔ‪ ،‬ﺍﺱ ﰊ ﺳﻲ ﻭﺍﳌﻮﺍﻗﻊ ﻛﻤﺪﺭﺳﱵ‪ .‬ﺟﺪﻳﺮ ﺑﺎﻟﺬﮐﺮ ﺃﻧّﻪ ﻣﻦ ﺑﲔ ﺍﳌﺼﺎﺩﺭ‬
‫ـﺘﺨﺪﺍﻣﺎ ﻟـ "ﺍﳌﻨﺠــﺪ ﰲ ﺍﻟﻠﻐﺔ ﺍﻟﻌﺮﺑﻴﺔ ﺍﳌﻌﺎﺻﺮﺓ" ﻭﺍﻟﻘﺎﻣﻮﺱ ﺍﻟﻔﺎﺭﺳــﻲ ﺍﻟﻌﺎﻣﻲ‬
‫ً‬ ‫ﺍﳌﺬﻛــﻮﺭﺓ‪ ،‬ﻛﺎﻥ ﺍﻷﻛﺜﺮ ﺍﺳـ‬
‫)ﻓﺮﻫﻨﮓ ﻓﺎﺭﺳﯽ ﻋﺎﻣﻴﺎﻧﻪ(‪.‬‬
‫ﺩﺭﺍﺳﺔ ﻣﻌﺮﻓﻴﺔ ﳌﻔﻬﻮﻡ ﺍﻟﻔﺮﺡ ﻓﯽ ﺍﻟﻠﻐﺘﲔ ﺍﻟﻌﺮﺑﻴﺔ ﻭﺍﻟﻔﺎﺭﺳﻴﺔ؛ ﺩﺭﺍﺳﺔ ﺗﻘﺎﺑﻠﻴﺔ ‪١٣١ /‬‬

‫ﺍﳌﺪﯼ ﻭﺍﻟﺘﻨﻮﻉ ﺍﻟﺪﻻﻟﯽ ﻓﻴﻬﺎ ﺃﻋﻠﯽ ﺑﻜﺜﲑ ﻣﻦ ﺍﳌﺠﺎﻝ ﺍﳌﻘﺎﺑﻞ‪ ،‬ﺃﯼ ﺍﻟﻔﺮﺡ‪ .‬ﻣﻠﻜﻴﺎﻥ ﻭﺳﺎﺳﺎﻧﯽ‬
‫ﺩﺭﺳــﺎ )‪١٣٩٢‬ﺵ( ﺃﻳﻀــﴼ ﻣﻔﺎﻫﻴﻢ ﺍﳊﺰﻥ ﻭﺍﻟﻔــﺮﺡ ﻓﯽ ﺍﻟﻠﻐﺔ ﺍﻟﺪﺭﺍﺟﺔ ﻓــﯽ ﺇﻃﺎﺭ ﻣﻌﺮﻓﯽ‬
‫ﳛﺎﻭﻻﻥ ﲢﺪﻳﺪ ﳎﺎﻻﺕ ﺍﳌﺼﺪﺭ ﺍﻷﻛﺜﺮ ﺷﻴﻮﻋﴼ ﻟﺘﺼﻮﺭ‪ ١‬ﻫﺬﻳﻦ ﺍﻟﺸﻌﻮﺭﻳﻦ‪ .‬ﻳﺪﺭﺱ ﻣﻮﻟﻮﺩﯼ‬
‫ﻓﯽ ﺃﻃﺮﻭﺣﺘﻪ )‪١٣٩٤‬ﺵ( ﺗﺼﻮﺭ ﺍﳌﺸــﺎﻋﺮ ﺍﳋﻤﺴﺔ ﻟﻠﺨﻮﻑ ﻭﺍﻟﻐﻀﺐ ﻭﺍﻟﻔﺮﺡ ﻭﺍﻟﻜﺮﺍﻫﻴﺔ‬
‫ﺑﻨﺎﺀ ﻋﻠﯽ ﻧﻈﺮﻳﺔ ﺍﻻﺳﺘﻌﺎﺭﺓ ﺍﳌﻔﺎﻫﻴﻤﻴﺔ‪ .‬ﻓﯽ ﻫﺬﺍ ﺍﻟﺒﺤﺚ‪ ،‬ﺳﻴﺘﻢ ﻓﺤﺺ‬
‫ﻭﺍﳊﺰﻥ ﻓﯽ ﺍﻟﻔﺎﺭﺳﻴﺔ ً‬
‫ﻧﺼﯽ ﻭﲢﺪﻳﺪ ﺍﻷﳕﺎﻁ ﺍﻻﺳــﺘﻌﺎﺭﻳﺔ ﻭﳎﺎﻻﺕ ﻣﺼﺪﺭ‬
‫ﺍﻟﻨﻤﻂ ﺍﻻﺳــﺘﻌﺎﺭﯼ ﻟـ ‪ ٥٠٠٠‬ﺣﺪﺙ ّ‬
‫ﻟﻠﻤﺸﺎﻋﺮ ﺍﳋﻤﺴــﺔ ﺍﳌﺬﻛﻮﺭﺓ‪ .‬ﻳﻔﺤﺺ ﺻﺎﺣﺒﻜﺎﺭﯼ ﻓﯽ ﺃﻃﺮﻭﺣﺘﻪ )‪١٣٩٢‬ﺵ( ﺍﺳﺘﻌﺎﺭﺍﺕ‬
‫ﺍﳊﺐ ﻭﺍﻟﻜﺮﺍﻫﻴﺔ ﻭﺍﻟﻔﺮﺡ ﻭﺍﳊﺰﻥ ﻓﯽ ﺍﻟﻠﻐﺔ ﺍﻟﻔﺎﺭﺳــﻴﺔ ﻣــﻦ ﻣﻨﻈﻮﺭ ﻣﻌﺮﻓﯽ‪ .‬ﻭﻟﮑﻦ ﺑﺎﻟﺮﻏﻢ‬
‫ﻣﻦ ﺇﺟﺮﺍﺀ ﺃﲝﺎﺙ ﻣﺘﻌﺪﺩﺓ ﻋﻦ ﺍﻟﻘﻀﺎﻳﺎ ﺍﻻﺳــﺘﻌﺎﺭﻳﺔ ﺍﻟﺘﺼﻮﺭﻳﺔ ﻓﯽ ﻟﻐﺎﺕ ﻛﺜﲑﺓ ﺇ ّ‬
‫ﻻ ﺃﻧﺎ ﳒﺪ‬
‫ﻫﻨﺎﻙ ﻧﺪﺭﺓ ﻭﺍﺿﺤﺔ ﻓﯽ ﺍﻟﺪﺭﺍﺳﺎﺕ ﺍﻟﺘﺼﻮﺭﻳﺔ ﺍﳌﺘﻌﻠﻘﺔ ﺑﺘﻌﺒﲑﺍﺕ ﺍﻟﻔﺮﺡ –ﻭﺍﳌﺸﺎﻋﺮ ﻛﻠﻴﺎ‪-‬‬
‫ﻓﯽ ﺍﻟﻠﻐﺔ ﺍﻟﻌﺮﺑﻴﺔ ﺧﺎﺻﺔ ﺍﻟﻔﺼﺤﯽ‪ ،‬ﻭﻣﻦ ﺍﻟﺪﺭﺍﺳــﺎﺕ ﺍﻟﻘﻠﻴﻠﺔ ﺍﻟﺘﯽ ﺍﻃﻠﻌﻨﺎ ﻋﻠﻴﻬﺎ ﺗﻠﻚ ﺍﻟﺘﯽ‬
‫ﻗﺎﻡ ﺑﻬﺎ ﺍﲪﺪ ﺍﻟﺸــﺮﻳﻒ‪٢٠٠٧) ٢‬ﻡ( ﻋﻦ ﺍﻟﺘﺼﻮﺭ ﺍﻻﺳﺘﻌﺎﺭﯼ ﻟﻠﺴﻌﺎﺩﺓ ﻭﺍﻟﻐﻀﺐ ﻓﯽ ﺍﻟﻠﻐﺘﲔ‬
‫ﺍﻹﳒﻠﻴﺰﻳﺔ ﻭﺍﻟﻌﺮﺑﻴﺔ‪) ٣‬ﺑﺎﻹﳒﻠﻴﺰﻳﻪ( ﻭﻗﺪ ﺭﻛﺰ ﺍﻟﺒﺎﺣﺚ ﻓﻴﻬﺎ ﻋﻠﯽ ﺍﻻﺳــﺘﻌﺎﺭﺍﺕ ﺍﻻﺳﺎﺳــﻴﺔ‬
‫ﺍﳌﺸﱰﻛﺔ ﺑﲔ ﺍﻟﻠﻐﺘﲔ ﺭﻏﻢ ﺍﻟﺒﻌﺪ ﺍﻟﺜﻘﺎﻓﯽ ﺑﻴﻨﻬﻤﺎ‪.‬‬

‫ﺍﻹﻃﺎﺭ ﺍﻟﻨﻈﺮﯼ‬
‫ﻗﺪﻣﻪ ﻻﻛﻮﻑ‬
‫ﳝﻜﻦ ﺍﻋﺘﺒﺎﺭ ﺍﻻﺳﺘﻌﺎﺭﺓ ﺍﳌﻌﺎﺻﺮﺓ ﻓﯽ ﳎﺎﻝ ﺍﻟﻠﺴﺎﻧﻴﺎﺕ ﺍﳌﻌﺮﻓﻴﺔ ﲟﺜﺎﺑﺔ ﻧﻬﺞ ّ‬
‫ﻭﺟﻮﻧﺴــﻮﻥ ﻋﻠﯽ ﺷﻜﻞ ﻧﻈﺮﻳﺔ ﻓﯽ ﻛﺘﺎﺏ "ﺍﻻﺳــﺘﻌﺎﺭﺍﺕ ﺍﻟﺘﯽ ﻧﻌﻴﺸﻬﺎ"‪ ٤‬ﻓﯽ ﻋﺎﻡ ‪١٩٨٠‬ﻡ‬
‫ﰎ ﺍﺗﺒﺎﻋﻬــﺎ ﻣﻦ ﻗﺒﻞ ﻟﻐﻮﻳﲔ ﻣﻌﺮﻓﻴﲔ ﺁﺧﺮﻳﻦ ﻣﺜﻞ ﺳــﻮﻳﺘﺰﺭ‪١٩٩٠) ٥‬ﻡ(‪ ،‬ﺗﺮﻧﺮ‪١٩٩١) ٦‬ﻡ(‬
‫ﻭّ‬
‫ﻭﻛﻮﻓﻜﺴــﻴﺲ )‪٢٠٠٢‬ﻡ(‪ .‬ﻓﯽ ﻫﺬﺍ ﺍﻟﻨﻬــﺞ ﺍﳉﺪﻳﺪ‪ ،‬ﻻ ﺗﻘﺘﺼﺮ ﺍﻻﺳــﺘﻌﺎﺭﺓ ﻋﻠﯽ ﻛﻮﻧﻬﺎ ﻣﻦ‬
‫ﺍﶈﺴــﻨﺎﺕ ﺍﻟﺒﻼﻏﻴﺔ‪ ،‬ﺑــﻞ ﺃﺻﺒﺤﺖ ﻭﻇﻴﻔﺔ ﺫﻫﻨﻴﺔ ﻹﺩﺭﺍﻙ ﺍﳌﻔﺎﻫﻴﻢ‪ .‬ﻳﺴــﻌﯽ ﺍﻟﻠﻐﻮﻳﻮﻥ ﺇﻟﯽ‬
‫ّ‬
‫‪1. conceptualization‬‬
‫‪2. Ahmad Elsharif‬‬
‫‪3. Metaphorical Conceptualization of Happiness and Anger in English and Arabic‬‬
‫‪4. Metaphors We Live By‬‬
‫‪5. E. Sweetser‬‬
‫‪6. M. Turner‬‬
 ‫‪ / ١٣٢‬ﻓﺼﻠﻴﺔ ﺇﺿﺎﺀﺍﺕ ﻧﻘﺪﻳﺔ‪ ،‬ﺍﻟﺴﻨﺔ ‪ ،١١‬ﺍﻟﻌﺪﺩ ‪ ،٤٣‬ﺧﺮﻳﻒ ‪١٤٠٠‬ﺵ‬

‫ﺍﻛﺘﺸــﺎﻑ ﻛﻴﻔﻴﺔ ﺃﺩﺍﺀ ﺍﻻﺳــﺘﻌﺎﺭﺍﺕ ﻓــﯽ ﺍﻟﻌﻘﻞ ﻣﻦ ﺧﻼﻝ ﲤﺜﻴﻼﺗﻬــﺎ ﺍﻟﻠﻐﻮﻳﺔ‪» .‬ﺇﻧﻬﻢ ﻳﺮﻭﻥ‬
‫ﺍﻷﳕــﺎﻁ ﺍﳌﻮﺟﻮﺩﺓ ﻓﯽ ﺍﻟﺒﻨﻴــﺔ ﺍﳌﻔﺎﻫﻴﻤﻴﺔ ﻟﻠﻜﻠﻤﺎﺕ ﻭﺍﻟﻌﺒﺎﺭﺍﺕ ﺍﻻﺳــﺘﻌﺎﺭﻳﺔ ﻛﺪﻟﻴﻞ ﻋﻠﯽ‬
‫ﻭﺟﻮﺩ ﺍﻻﺳﺘﻌﺎﺭﺍﺕ ﺍﳌﻔﺎﻫﻴﻤﻴﺔ ﺍﳌﻀﻤﻨﺔ ﻓﯽ ﺍﻟﻔﮑﺮ‪) «.‬ﺯﻭﺭ ﻭﺭﺯ ﻭﺁﺧﺮﻭﻥ‪١٣٩٢ ،‬ﺵ‪(٥٣ :‬‬
‫»ﺃﻫﻢ ﻧﻘﻄﺔ ﻓﯽ ﻫﺬﻩ ﺍﻟﻨﻈﺮﻳﺔ ﻫﯽ ﺃﻥ ﺍﻻﺳﺘﻌﺎﺭﺓ ﻟﻴﺴﺖ ﳎﺮﺩ ﻧﻈﺮﻳﺔ ﺃﺳﻠﻮﺑﻴﺔ ﻟﻠﻐﺔ ﺍﻷﺩﺑﻴﺔ‪ ،‬ﺑﻞ‬
‫ﺍﻟﻔﻜﺮ ﻭﺍﻟﻌﻘﻞ ﳍﻤﺎ ﻃﺒﻴﻌﺔ ﺍﺳﺘﻌﺎﺭﻳﺔ؛ ﳍﺬﺍ ﺍﻟﺴﺒﺐ‪ ،‬ﰎ ﺗﺴﻤﻴﺘﻬﺎ ﺍﻻﺳﺘﻌﺎﺭﺓ ﺍﳌﻔﺎﻫﻴﻤﻴﺔ ﻣﻘﺎﺑﻞ‬
‫ﺍﻻﺳﺘﻌﺎﺭﺓ ﺍﻟﺒﻼﻏﻴﺔ‪) «.‬ﺭﺍﺳﺦﻣﻬﻨﺪ‪١٣٩٣ ،‬ﺵ‪(٥٦ :‬‬
‫‪١‬‬
‫ﻓﯽ ﺍﻟﻨﻬﺞ ﺍﳌﻌﺮﻓﯽ‪ ،‬ﺍﻻﺳــﺘﻌﺎﺭﺓ ﻋﺒﺎﺭﺓ ﻋﻦ ﳎﻤﻮﻋﺔ ﻣﻨﻬﺠﻴﺔ ﻣﻦ ﺍﳌﺮﺍﺳﻼﺕ ﺍﳌﻔﺎﻫﻴﻤﻴﺔ‬
‫ﻳﺘﻢ ﺇﻧﺸــﺎﺅﻫﺎ ﺑﲔ ﺑﻌﺾ ﺍﻟﻌﻨﺎﺻﺮ ﺍﳌﺴــﺘﺨﺮﺟﺔ ﳌﺠﺎﻝ ﺍﳌﺼﺪﺭ ]ﺏ[ ﻭﺑﻌﺾ ﺍﻟﻌﻨﺎﺻﺮ‬
‫ﺍﻟﺘﯽ ّ‬
‫ﻳﺘﻢ‬
‫ﺍﳌﻤﻴــﺰﺓ ﳌﺠﺎﻝ ﺍﳍــﺪﻑ ]ﺃ[ ﻟﺘﻮﻓﲑ ﺇﻣﻜﺎﻧﻴﺔ ﻓﻬﻢ ]ﺃ[‪ .‬ﺃﺧﲑﴽ‪ ،‬ﻓﯽ ﺍﻻﺳــﺘﻌﺎﺭﺓ ﺍﳌﻌﺮﻓﻴﺔ‪ّ ،‬‬
‫ﻓﻬﻢ ]ﺃ[ ﺃﻭ ﺗﺼﻮﺭﻩ ﺃﻭ ﺗﻔﺴــﲑﻩ ﻋﻠﯽ ﺃﻧﻪ ]ﺏ[‪ .‬ﺗﺴــﻤﯽ ﻫﺬﻩ ﺍﳌﺮﺍﺳﻼﺕ ﺍﳌﻔﺎﻫﻴﻤﻴﺔ "ﺭﺳﻢ‬
‫ﺍﳋﺮﺍﺋــﻂ"‪ّ ٢‬‬
‫ﻓﺈﻥ "ﻇﻬﻮﺭ ﺍﻹﺩﺭﺍﻙ" ﻳﻌﻨﯽ ﺃﻥ ﺇﺩﺭﺍﻙ ﺍﳍــﺪﻑ ﱂ ﻳﻜﻦ ﻣﻮﺟﻮﺩﴽ ﻗﺒﻞ ﺇﺩﺭﺍﻛﻪ‬
‫ﺑﺎﳌﺼﺪﺭ‪» .‬ﺗﺮﯼ ﺍﻟﻨﻈﺮﻳﺔ ﺍﻻﺳــﺘﻌﺎﺭﻳﺔ ﺍﳌﻌﺎﺻﺮﺓ ﺃﻥ ﻣﻌﻈﻢ ﺍﳌﻔﺎﻫﻴﻢ ﺍﳌﺠﺮﺩﺓ‪ ،‬ﻫﯽ ﺫﺍﺕ ﺑﻨﻴﺔ‬
‫ﻳﺘﻢ ﺍﻟﺘﻌﺒﲑ ﻋﻦ ﺍﳌﻔﺎﻫﻴﻢ ﺍﳌﺠﺮﺩﺓ ﲟﺴــﺎﻋﺪﺓ ﺍﻻﺳــﺘﻌﺎﺭﺓ‪،‬‬
‫ﺍﺳــﺘﻌﺎﺭﻳﺔ‪ .‬ﲟﻌﻨﯽ ﺁﺧﺮ‪ ،‬ﻋﺎﺩﺓ ﻣﺎ ّ‬
‫ﻭﺑﻬــﺬﻩ ﺍﻟﻄﺮﻳﻘﺔ ﺗﺼﺒﺢ ﺍﻷﻣﻮﺭ ﺍﳌﺠﺮﺩﺓ ﳏﺴﻮﺳــﺔ ﻭﻣﻔﻬﻮﻣﺔ‪) «.‬ﳏﻤﺪﻳــﺎﻥ ﻭﻓﺮﺣﺎﻧﯽﺯﺍﺩﻩ‪،‬‬
‫‪١٣٩٧‬ﺵ‪ (٣٢٥ :‬ﻓﯽ ﳎﺎﻝ ﺩﺭﺍﺳــﺔ ﺍﺳــﺘﻌﺎﺭﺍﺕ ﺍﻟﻌﻮﺍﻃﻒ ﻭﺍﳌﺸﺎﻋﺮ‪ ،‬ﻛﺎﻥ ﻟﻜﻮﻓﻜﺴﻴﺲ‪،‬‬
‫ﺑﺎﻋﺘﺒﺎﺭﻩ ﺭﺍﺋﺪﴽ ﻓﯽ ﻫﺬﺍ ﺍﳌﺠﺎﻝ‪ ،‬ﺍﻟﻨﺼﻴﺐ ﺍﻷﻛﱪ ﻭﻟﻪ ﺩﺭﺍﺳﺎﺕ ﻋﺪﻳﺪﺓ ﺣﻮﻝ ﺑﻨﻴﺔ ﺍﻟﻌﻮﺍﻃﻒ‬
‫ﻓﯽ ﺍﻟﻠﻐﺔ‪» .‬ﻳﺆﻛﺪ ﻛﻮﻓﻜﺴﻴﺲ )‪٢٠٠٠‬ﻡ( ﻋﻠﯽ ﺍﻟﺪﻭﺭ ﺍﻟﺮﺋﻴﺴﯽ ﻟﻠﻐﺔ ﻓﯽ ﺍﻟﻜﺸﻒ ﻋﻦ ﺃﻓﻜﺎﺭ‬
‫ﺍﻟﻨــﺎﺱ ﻭﻣﻌﺘﻘﺪﺍﺗﻬﻢ‪ ... ،‬ﻛﻤﺎ ﻳﻌﺘﻘﺪ ﺃﻧّﻪ ﻻ ﳝﻜــﻦ ﻟﻠﻐﺔ ﺍﻟﻌﻮﺍﻃﻒ ﺃﻥ ﺗﺘﺨﻴﻞ ﻭﺗﺼﻒ ﲡﺎﺭﺏ‬
‫ﺃﻥ ﺍﻟﻠﻐﺔ ﻻ ﺗﻌﻜﺲ‬
‫ﻋﺎﻃﻔﻴﺔ ﳐﺘﻠﻔﺔ ﻭﻏﲑ ﻣﻠﻤﻮﺳــﺔ ﺇﻻ ﻣﻦ ﺧﻼﻝ ﺍﻻﺳــﺘﻌﺎﺭﺓ‪ .‬ﻭﻫﻮ ﻳﻌﺘﻘﺪ ّ‬
‫ﻧﻌﱪ‬
‫ﻧﻌﱪ ﻋﻤﺎ ﻧﺸﻌﺮ ﺑﻪ ﻭﻧﺸﻌﺮ ﲟﺎ ّ‬
‫ﻭﺑﻨﺎﺀ ﻋﻠﯽ ﺫﻟﻚ‪ ،‬ﻓﺈﻧﻨﺎ ّ‬
‫ﺍﳌﺸﺎﻋﺮ ﻓﺤﺴﺐ‪ ،‬ﺑﻞ ﺗﺒﻨﻴﻬﺎ ﺃﻳﻀﴼ‪ً .‬‬
‫ﻋﻨﻪ‪) «.‬ﺯﻭﺭ ﻭﺭﺯ ﻭﺁﺧﺮﻭﻥ‪١٣٩٢ ،‬ﺵ‪(٥٥ :‬‬

‫ﲢﻠﻴﻞ ﺍﻟﺒﻴﺎﻧﺎﺕ‬
‫ﻟﻠﻔﺮﺡ ﻫﻴــﻜﻞ ﻣﻔﺎﻫﻴﻤﯽ ﻣﻌﻘﺪ‪ ،‬ﻳﺴــﺘﺨﺪﻡ ﺍﳌﺘﺤﺪﺛﻮﻥ ﺑﺎﻟﻔﺎﺭﺳــﻴﺔ ﻭﺍﻟﻌﺮﺑﻴﺔ ﺍﻟﻌﺪﻳﺪ ﻣﻦ‬
‫‪1. conceptual correspondence‬‬
‫‪2. Mapping‬‬
‫ﺩﺭﺍﺳﺔ ﻣﻌﺮﻓﻴﺔ ﳌﻔﻬﻮﻡ ﺍﻟﻔﺮﺡ ﻓﯽ ﺍﻟﻠﻐﺘﲔ ﺍﻟﻌﺮﺑﻴﺔ ﻭﺍﻟﻔﺎﺭﺳﻴﺔ؛ ﺩﺭﺍﺳﺔ ﺗﻘﺎﺑﻠﻴﺔ ‪١٣٣ /‬‬

‫ﺃﻥ‬
‫ﺍﻻﺳــﺘﻌﺎﺭﺍﺕ ﺍﻟﻌﺎﻣــﺔ ﻭﺍﳋﺎﺻــﺔ ﻟﻔﻬﻤﻪ ﻭﺍﻟﺘﻌﺒﲑ ﻋﻨــﻪ‪ .‬ﻳﺮﯼ ﻛﻮﻓﻜﺴــﻴﺲ )‪٢٠٠٨‬ﻡ( ّ‬
‫ﻫﻨــﺎﻙ ﺃﺭﺑﻌﺔ ﻣﻜﻮﻧﺎﺕ ﻣﻌﺮﻓﻴﺔ ﻟﺘﻜﻮﻳﻦ ﮐﻞ ﻣﻦ ﺍﳌﻔﺎﻫﻴﻢ ﺍﻟﻌﺎﻃﻔﻴﺔ ﺑﺸــﻜﻞ ﻋﺎﻡ ﻭﻫﯽ‪-١ :‬‬
‫ﺍﻻﺳﺘﻌﺎﺭﺍﺕ ﺍﳌﻔﺎﻫﻴﻤﻴﺔ‪ -٢ .‬ﺍﳌﺠﺎﺯﺍﺕ ﺍﳌﻔﺎﻫﻴﻤﻴﺔ‪ -٣ .‬ﺍﳌﻔﺎﻫﻴﻢ ﺫﺍﺕ ﺍﻟﺼﻠﺔ‪ -٤ .‬ﺍﻷﳕﺎﻁ‬
‫ﺍﳌﻌﺮﻓﻴﺔ‪ .‬ﻭﺗﺘﺸﻜﻞ ﺍﻷﳕﺎﻁ ﺍﳌﻌﺮﻓﻴﺔ ﻭﺍﻟﺜﻘﺎﻓﻴﺔ ﻣﻦ ﳎﻤﻮﻉ ﺍﻷﺟﺰﺍﺀ ﺍﻟﺜﻼﺛﺔ ﺍﻷﻭﻟﯽ‪ ،‬ﻭﻳﺘﺤﻘﻖ‬
‫ﻣﻔﻬــﻮﻡ ﺍﻟﻌﻮﺍﻃﻒ ﻛﻨﺘﻴﺠﺔ ﻟﻠﺘﻤﺜﻴﻞ ﺍﳌﻌﺮﻓﯽ ﳍﺬﻩ ﺍﻷﳕﺎﻁ‪ .‬ﺳــﻨﺒﺪﺃ ﻫﺬﺍ ﺍﻟﻘﺴــﻢ ﺑﺎﳌﺠﺎﺯﺍﺕ‬
‫ﰒ ﻧﻨﺎﻗﺶ ﺍﳌﻔﺎﻫﻴﻢ ﺫﺍﺕ ﺍﻟﺼﻠﺔ ﻭﺍﻷﳕﺎﻁ ﺍﳌﻌﺮﻓﻴﺔ‪.‬‬‫ﻭﺍﻻﺳﺘﻌﺎﺭﺍﺕ ﺍﳌﻔﺎﻫﻴﻤﻴﺔ ّ‬

‫ﺍﳌﺠﺎﺯﺍﺕ ﺍﳌﻔﺎﻫﻴﻤﻴﺔ ﻟﻠﻔﺮﺡ‬

‫ﻭﺍﻟﻮﺟﻬﻴﺔ ﻭﺍﻟﺴﻠﻮﻛﻴﺔ ﺑﺪﻟﴼ ﻣﻦ ﺍﻟﻔﺮﺡ‬ ‫ﺇﺫﺍ ّ‬
‫ﰎ ﺫﻛﺮ ﮐﻞ ﻣﻦ ﺍﻻﺳــﺘﺠﺎﺑﺎﺕ ﺍﻟﻔﺴــﻴﻮﻟﻮﺟﻴﺔ َ‬
‫ﻛﻤﻌﻠــﻮﻝ ﻟــﻪ ﺃﻭ ﺃﺛﺮﻩ‪ ،‬ﻭﮐﺬﻟﻚ ﺩﻭﻥ ﺍﺳــﺘﺨﺪﺍﻡ ﻇﺎﻫﺮﺓ ﻣﺴــﺘﻘﻠﺔ ﺃﺧﺮﯼ ﻣﺜــﻞ ﻣﺎ ﻧﺮﺍﻩ ﻓﯽ‬
‫ﺍﺳــﺘﺨﺪﺍﻡ "ﺍﻟﻮﻋــﺎﺀ" ﻭ"ﺍﻟﻨﻮﺭ" ﻓﯽ ﺍﻻﺳــﺘﻌﺎﺭﺓ‪ ،‬ﻓﻬﺬﻩ ﺍﻻﺳــﺘﺠﺎﺑﺎﺕ ﺗﺸــﻜﻞ ﺍﳌﺠﺎﺯﺍﺕ‬
‫ﺍﳌﻔﺎﻫﻴﻤﻴﺔ ﻟﻠﻔﺮﺡ‪ .‬ﺍﻻﺳــﺘﺠﺎﺑﺎﺕ ﺍﻟﻔﺴﻴﻮﻟﻮﺟﻴﺔ ﻭﺍﻟﻮﺟﻬﻴﺔ ﻣﺜﻞ ﺯﻳﺎﺩﺓ ﻣﻌﺪﻝ ﺿﺮﺑﺎﺕ ﺍﻟﻘﻠﺐ‬
‫ﻭﺍﻹﺛﺎﺭﺓ ﻭﺍﻟﺘﺪﺍﺧــﻞ ﻓﯽ ﺍﻹﺩﺭﺍﻙ ﻭﺍﻟﻀﻐﻂ ﺍﻟﺪﺍﺧﻠﯽ ﺑﺴــﺒﺐ ﺍﻟﻀﺤﻚ ﺍﻟﻌﻤﻴﻖ؛ ﻭﺗﻌﺎﺑﲑ‬
‫ﺃﻳﻀﺎ‬
‫ﺍﻟﻮﺟﻪ ﮐﺎﻻﺑﺘﺴــﺎﻣﺔ ﻭﺗﻐﲑ ﺍﻟﻠﻮﻥ ﻭﺩﻣﻮﻉ ﺍﻟﻔﺮﺡ؛ ﻗﺪ ﺗﺸــﻤﻞ ﺍﻻﺳﺘﺠﺎﺑﺎﺕ ﺍﻟﺴﻠﻮﻛﻴﺔ ً‬
‫ﺍﻟﻀﺤﻚ ﻭﺍﻟﻐﻨﺎﺀ ﻭﺍﻟﺮﻗﺺ ﻭﺍﻟﻘﻔﺰ ﻭﺍﻟﺘﺼﻔﻴﻖ ﻭﺃﺣﻴﺎﻧًﺎ ﺣﺮﻛﺎﺕ ﻏﺮﻳﺒﺔ‪ .‬ﻧﺬﮐﺮ ﻓﻴﻤﺎ ﻳﻠﯽ ﺃﻣﺜﻠﺔ‬
‫ﻭﺍﻟﻮﺟﻬﻴﺔ ﻋﻦ ﻛﻠﺘﯽ ﺍﻟﻠﻐﺘﲔ‪ .‬ﻓﻔﯽ ﺍﻟﻔﺎﺭﺳﻴﺔ‪:‬‬
‫ﳎﺎﺯﻳﺔ ﻟﻼﺳﺘﺠﺎﺑﺎﺕ ﺍﻟﻔﺴﻴﻮﻟﻮﺟﻴﺔ َ‬
‫ﭼﻨﺎﻥ ﺫﻭﻕﺯﺩﻩ ﺷﺪﻩ ﺑﻮﺩ ﮐﻪ ﻏﺬﺍ ﺧﻮﺭﺩﻥ ﺧﻮﺩ ﺭﺍ ﻓﺮﺍﻣﻮﺵ ﮐﺮﺩﻩ ﺑﻮﺩ‪) .‬ﳒﻔﯽ‪١٣٨٧ ،‬ﺵ‪:‬‬
‫‪] (٧٣٨‬ﻓﺮﺡ ﺑﺸﺪﺓ ﻟﺪﺭﺟﺔ ﺃﻧﻪ ﻧﺴﯽ ﺗﻨﺎﻭﻟﻪ ﻟﻠﻄﻌﺎﻡ[‬
‫ﺍﺯ ﻓﺮﻁ ﺷــﺎﺩﯼ ﻭ ﺧﻮﺷﺒﺨﺘﯽ ﺳــﺮ ﺍﺯ ﭘﺎ ﳕﯽﺷﻨﺎﺧﺖ‪) .‬ﺍﳌﺼﺪﺭ ﻧﻔﺴﻪ‪] (٨٥٨ :‬ﻣﺎ ﻛﺎﻥ‬
‫ﳝﻴﺰ ﺭﺃﺳﻪ ﻋﻦ ﺭِﺟﻠِﻪ ﻣﻦ ﺷﺪﺓ ﺍﻟﻔﺮﺡ ﻭﺍﻟﺴﺮﻭﺭ[ ﺃﯼ ﺍﺭﺗﺒﻚ‪.‬‬
‫ﺍﺯ ﺧﻨﺪﻩ ﺑﻪ ﺧﻮﺩ ﻣﯽﭘﻴﭽﻴﺪ‪] .‬ﮐﺎﻥ ّ‬
‫ﻳﺘﻠﻮﯼ ﻣﻦ ﺍﻟﻀﺤﻚ[ ﺃﯼ ﺑﺴﺒﺐ ﺍﻟﻀﻐﻂ ﺍﻟﺪﺍﺧﻠﯽ‬
‫ﺑﻪ ﻫﺮ ﻛﺲ ﻛﻪ ﺭﻭ ﻣﯽﻛﺮﺩ ﻧﻴﺸــﺶ ﺗﺎ ﺑﻨﺎﮔﻮﺵ ﺑﺎﺯ ﻣﯽﺷــﺪ‪) .‬ﺍﳌﺼﺪﺭ ﻧﻔﺴــﻪ‪(١٤٤١ :‬‬
‫]ﻛﺎﻧﺖ ﺗﻔﺘﺢ ﻓﻤﻪ ﻭﺗﻈﻬﺮ ﺃﺳﻨﺎﻧﻪ ﺇﻟﯽ ﺃﺫﻧﻴﻪ ﻋﻨﺪﻣﺎ ﻳﻨﻈﺮ ﺇﻟﯽ ﺃﯼ ﺷﺨﺺ[ ﺃﯼ ﺍﺑﺘﺴﺎﻣﺔ ﻋﺮﻳﻀﺔ‬
‫ﺍﺯ ﺫﻭﻕ ﮔﺮﻳﻪ ﮐﺮﺩ‪) .‬ﺍﳌﺼﺪﺭ ﻧﻔﺴﻪ‪] (٧٣٨ :‬ﺑﻜﯽ ﻣﻦ ﺷﺪﺓ ﺍﻟﺬﻭﻕ‪ [١‬ﺃﯼ ﺍﻟﻔﺮﺡ‬

‫‪ .١‬ﻭﻣﻦ ﻣﻌﺎﱐ ﺍﻟﺬﻭﻕ ﰲ ﺍﻟﻔﺎﺭﺳﻴﺔ ﻫﻮ ﺍﻟﻔﺮﺡ‪.‬‬

 ‫‪ / ١٣٤‬ﻓﺼﻠﻴﺔ ﺇﺿﺎﺀﺍﺕ ﻧﻘﺪﻳﺔ‪ ،‬ﺍﻟﺴﻨﺔ ‪ ،١١‬ﺍﻟﻌﺪﺩ ‪ ،٤٣‬ﺧﺮﻳﻒ ‪١٤٠٠‬ﺵ‬

‫ﻭﺍﻟﻮﺟﻬﻴﺔ ﻓﯽ ﺍﻟﻌﺮﺑﻴﺔ‪:‬‬
‫ﻭﺃﻣﺜﻠﺔ ﳎﺎﺯﻳﺔ ﻟﻼﺳﺘﺠﺎﺑﺎﺕ ﺍﻟﻔﺴﻴﻮﻟﻮﺟﻴﺔ َ‬
‫ﺍﻟﻀ ِﺤﻚ‪) .‬ﳎﻤﻮﻋﺔ ﻣﻦ ﺍﳌﺆﻟﻔﲔ‪ ،‬ﻻﺗﺎ‪(١٣١١-١٣١٠ :‬‬
‫ﺗﻠﻮﯼ ﻣﻦ ﱠ‬
‫ّ‬
‫ﺍﻟﻀ ِﺤﻚ‪) .‬ﺍﳌﺼﺪﺭ ﻧﻔﺴﻪ‪(٨٧١ :‬‬
‫ﺿﺎﻕ ﻧ َﻔ َﺴﻪ ﻣﻦ ﱠ‬
‫ﺍﻟﻀ ِﺤﻚ‪) .‬ﺍﳌﺼﺪﺭ ﻧﻔﺴﻪ‪(١٠٥٥ :‬‬
‫ﻏُﺸﯽ ﻋﻠﻴﻪ ﻣﻦ ﱠ‬
‫ﺍﺑﺘﺴﻢ ﺍﺑﺘﺴﺎﻣﺔ ﻭﺩﻳﻌﺔ ﺃﻭ ﻋﺮﻳﻀﺔ‪.‬‬
‫ﻭﺳﺎﻟﺖ ُﺩﻣﻮﻋﯽ ﻟﻜﱠﻨﻬﺎ ﻛﺎﻧﺖ ُ‬
‫ﺩﻣﻮﻉ ﺍﻟﻔﺮﺣﺔ ﻭﺍﻟﺒﻬﺠﺔ ﻭﺍﻻﻧﺸﺮﺍﺡ‪.‬‬
‫ﺃﻣﺜﻠﺔ ﳎﺎﺯﻳﺔ ﻟﻼﺳﺘﺠﺎﺑﺎﺕ ﺍﻟﺴﻠﻮﮐﻴﺔ ﻓﯽ ﺍﻟﻔﺎﺭﺳﻴﺔ‪:‬‬
‫ﺗــﺎ ﺑﺎﺑﺎﺵ ﺭﺍ ﺩﻳﺪ ﺯﺩ ﺯﻳﺮ ﺁﻭﺍﺯ‪) .‬ﺻﺮﺍﺣــﯽ‪١٣٩١ ،‬ﺵ‪] (١٥٢ :‬ﲟﺠﺮﺩ ﺃﻥ ﺭﺃﯼ ﻭﺍﻟﺪﻩ‬
‫ﺿﺮﺏ ﲢﺖ ﺍﻷﻏﻨﻴﺔ[ ﺃﯼ ﺑﺪﺃ ﺍﻟﻐﻨﺎﺀ‬
‫ﺷﺮﻭﻉ ﺑﻪ ﺭﻗﺼﻴﺪﻥ ﮐﺮﺩ‪] .‬ﺑﺪﺃ ﺍﻟﺮﻗﺺ[‬
‫ﺍﻭ ﺍﺯ ﺧﻮﺷﺤﺎﻟﯽ ﺑﻪ ﻫﻮﺍ ﭘﺮﻳﺪ‪] .‬ﻗﻔﺰ ﻓﺮﺣﴼ ﻓﯽ ﺍﳍﻮﺍﺀ[‬
‫ﺑﭽﻪ ﺍﺯ ﺧﻮﺷــﺤﺎﻟﯽ ﻣﺪﺍﻡ ﺑــﺎﻻ ﻭ ﭘﺎﻳﲔ ﻣﯽﭘﺮﻳﺪ‪] .‬ﻛﺎﻥ ﻳﻮﺍﺻــﻞ ﺍﻟﻄﻔﻞ ﺍﻟﻘﻔﺰ ﻷﻋﻠﯽ‬
‫ﺃﻳﻀﺎ ﺃﻥ ﺗﺘﻀﻤﻦ ﺍﻟﺴــﻠﻮﻛﻴﺎﺕ ﺍﳌﻌﻴﻨﺔ ﻣﺜﻞ "ﺍﻟﻘﻔﺰ"‪ ،‬ﳏﺎﻭﻟﺔ ﻟﻠﺼﻌﻮﺩ‬
‫ﻭﻷﺳــﻔﻞ ﻓﺮﺣﴼ[ ﳝﻜﻦ ً‬
‫ﺇﻟﯽ ﺍﻷﻋﻠﯽ ﻭ ﺍﻻﺭﺗﻔﺎﻉ ﻋﻦ ﺍﻷﺭﺽ‪ ،‬ﺑﺴﺒﺐ ﺍﻟﺸﻌﻮﺭ ﺑﺎﳋﻔﺔ ﻭﺍﻟﺘﺤﺮﺭ ﻭﻋﺪﻡ ﺍﻟﻀﻐﻂ‪.‬‬
‫ﺑﺮﺍﯼ ﻣﺎ ﺩﺳــﺖ ﻣﯽﺯﺩﻧﺪ ﻭ ﻣﺎ ﺭﺍ ﺗﺸــﻮﻳﻖ ﻣﯽﮐﺮﺩﻧﺪ‪) .‬ﳒﻔﯽ‪١٣٨٧ ،‬ﺵ‪] (٨٧٣ :‬ﻛﺎﻧﻮﺍ‬
‫ﻳﺼﻔﻘﻮﻥ ﻟﻨﺎ ﻭﻳﺸﺠﻌﻮﻧﻨﺎ[‪ .‬ﻭﺑﺎﻟﻨﺴﺒﺔ ﺇﻟﯽ ﺍﻷﻣﺜﻠﺔ ﺍﻟﺴﻠﻮﮐﻴﺔ ﻓﯽ ﺍﻟﻌﺮﺑﻴﺔ ﻓـ‪:‬‬
‫ﺍﻫﺘﺰ ﻓﺮﺣﴼ‪) .‬ﳎﻤﻮﻋﺔ ﻣﻦ ﺍﳌﺆﻟﻔﲔ‪ ،‬ﻻﺗﺎ‪(١٤٨٢ :‬‬
‫ﱠ‬
‫ﻓﺮﺣﺎ ﺃﻭ َﻃ َﺮﺑﺎ‪) .‬ﺍﳌﺼﺪﺭ ﻧﻔﺴﻪ‪(٥٧٥ :‬‬
‫ﺭﻗﺺ َ‬
‫ﺯﻏﺮ ِ‬
‫ﺩﺕ ﺍﳌﺮﺃ ُﺓ ﻓﯽ ﻋﺮﺱ‪) .‬ﺍﳌﺼﺪﺭ ﻧﻔﺴﻪ‪(٦١٥ :‬‬ ‫َ‬
‫ﻫﺘﻒ ﻓﺮﺣﺎ‪ ،‬ﺇﻋﺠﺎﺑﺎ‪) .‬ﺍﳌﺼﺪﺭ ﻧﻔﺴﻪ‪(١٤٧١ :‬‬
‫ﺭﺃﻳﺘﻪ ﻳﺜﺐ ﻣﻦ ﺍﻟﻔﺮﺡ )‪. (Al Sharif, 2007: 64‬‬
‫ﻳﺼ ّﻔﻖ ﺑﻴﺪﻳﻪ ﻣﻦ ﺍﻟﻄﺮﺏ‪) .‬ﺍﳌﺼﺪﺭ ﻧﻔﺴﻪ(‬
‫ﻏﺎﻟﺒًــﺎ ﻣﺎ ﻳﺘﺠﻠﯽ ﺍﻟﻔﺮﺡ ﻓﯽ ﻣﺜﻞ ﻫﺬﻩ ﺍﻻﺳــﺘﺠﺎﺑﺎﺕ‪ .‬ﻓﻴﻤﻜﻨﻨﺎ ﺗﺼﻨﻴﻒ ﻓﺮﺣﻨﺎ ﺃﻭ ﻓﺮﺡ‬
‫ﺍﻵﺧﺮﻳــﻦ ﺑﺎﻟﺮﺟﻮﻉ ﺇﻟﯽ ﻛﻞ ﻣﻦ ﻫــﺬﻩ ﺍﻹﺟﺎﺑﺎﺕ‪ .‬ﻛﻤﺎ ﻧﺮﯼ‪ ،‬ﺗُﻈﻬــﺮ ﺍﻟﺘﻌﺒﲑﺍﺕ ﺍﳌﺬﮐﻮﺭﺓ‬
‫ﺃﻋﻼﻫــﺎ‪ ،‬ﻣﻌﻠﻮﻣــﺎﺕ ﻣﻌﺮﻓﻴﺔ ﻣﺸــﱰﻛﺔ ﺗﻘﺮﻳﺒًﺎ ﻋﻦ ﺍﳌَﺠــﺎﺯﺍﺕ ﺍﻟﻔﺴــﻴﻮﻟﻮﺟﻴﺔ ﻭﺍﻟﻮﺟﻬﻴﺔ‬
‫ﺩﺭﺍﺳﺔ ﻣﻌﺮﻓﻴﺔ ﳌﻔﻬﻮﻡ ﺍﻟﻔﺮﺡ ﻓﯽ ﺍﻟﻠﻐﺘﲔ ﺍﻟﻌﺮﺑﻴﺔ ﻭﺍﻟﻔﺎﺭﺳﻴﺔ؛ ﺩﺭﺍﺳﺔ ﺗﻘﺎﺑﻠﻴﺔ ‪١٣٥ /‬‬

‫ﻭﺍﻟﺴﻠﻮﮐﻴّﺔ ﻓﯽ ﮐﻠﺘﯽ ﺍﻟﻠﻐﺘﲔ ﻟﻠﻔﺮﺡ‪.‬‬

‫ﺍﻻﺳﺘﻌﺎﺭﺍﺕ ﺍﳌﻔﺎﻫﻴﻤﻴﺔ ﻟﻠﻔﺮﺡ‬

‫»ﺗﺸــﲑ ﺍﳌﺠﻤﻮﻋﺔ ﺍﻟﺮﺋﻴﺴﻴﺔ ﺍﻷﻭﻟﯽ ﻣﻦ ﺍﻹﺳــﺘﻌﺎﺭﺍﺕ ﺍﳌﻔﺎﻫﻴﻤﻴﺔ ﺇﻟﯽ ﺍﻟﻔﺮﺡ ﻋﻠﯽ ﺃﻧّﻪ‬
‫"ﺍﺭﺗﻔﺎﻉ"‪ ،‬ﺣﻴﺚ ﺗﺮﺗﺒﻂ ﺍﻟﺴــﻌﺎﺩﺓ ﺑﻨﻮﻉ ﻣﻦ ﺍﻷﻣﺎﻛﻦ ﻓﻮﻕ ﺍﻷﺭﺽ ﻭﻣﺎ ﻭﺭﺍﺀﻫﺎ‪Lakoff) «.‬‬

‫‪ (& Johnson, 1980: 17‬ﺗﻨﺪﺭﺝ ﺍﻟﻌﺪﻳﺪ ﻣﻦ ﺍﳌﺼﻄﻠﺤﺎﺕ ﺍﻟﻌﺮﺑﻴﺔ ﻭﺍﻟﻔﺎﺭﺳــﻴﺔ ﺍﳌﺴﺘﺨﺪﻣﺔ‬

‫ﻟﻮﺻﻒ ﺍﻟﺴﻌﺎﺩﺓ ﲢﺖ ﻫﺬﻩ ﺍﻻﺳﺘﻌﺎﺭﺓ ﺍﻟﺮﺋﻴﺴﻴﺔ ﻭﺍﻟﻌﺎﻣﺔ‪ ،‬ﻭﺍﻟﺘﯽ ﻧﻘﺪﻡ ﺑﻌﺾ ﺍﻷﻣﺜﻠﺔ ﺍﻟﺸﺎﺋﻌﺔ‬
‫ﻋﻨﻬﺎ ﻫﻨﺎ‪:‬‬

‫‪١‬‬
‫ﺃ( ﺍﻟﻔﺮﺡ ﻓﻮﻕ ﺃﻭ ﻋﻠﻮ‬
‫ﺭﻭ ﺍﺑﺮﻫﺎ ﺳﲑ ﻣﯽﻛﺮﺩﻡ‪] .‬ﻛﻨﺖ ﺃﺳﲑ ﻋﻠﯽ ﺍﻟﻐﻴﻮﻡ[ ﺃﯼ ﻛﻨﺖ ﻓﯽ ﺍﻟﺴﻤﺎﺀ ﻓﺮﺣﺎ‬
‫ﺍﺯ ﺧﻮﺷــﺤﺎﻟﯽ ﺭﻭ ﺯﻣﲔ ﺑﻨﺪ ﳕﯽﺷﻪ‪) .‬ﻣﻠﻜﻴﺎﻥ ﻭﺳﺎﺳﺎﻧﯽ‪١٣٩٢ ،‬ﺵ‪] (١٣١ :‬ﻻ ﻳﺮﺑﻂ‬
‫ﺑﺎﻷﺭﺽ ﻣﻦ ﺍﻟﻔﺮﺡ[ ﺃﯼ ﻻﻳﺴﺘﻄﻴﻊ ﺍﻟﺒﻘﺎﺀ ﻋﻠﯽ ﺍﻷﺭﺽ‪ ،‬ﺑﻞ ﻳﺮﻳﺪ ﺍﻟﺘﺤﺮﻳﺮ ﻭﺍﻟﻄﲑﺍﻥ‬
‫ﺩﺍﻳﯽ ﺟﺎﻥ‪ ...‬ﺍﺯ ﺷــﺎﺩﯼ ﭘَﺮ ﺩﺭﻣﯽﺁﻭﺭﺩ‪) .‬ﳒﻔــﯽ‪١٣٨٧ ،‬ﺵ‪] (٢٣٥ :‬ﻛﺎﻥ ﺧﺎﻟﯽ ﻳﻨﺒﺖ‬
‫ﺭﻳﺸﻪ ﻓﺮﺣﺎ[ ﺃﯼ ﻛﺎﻥ ﻳﺮﻳﺪ ﺍﻟﻄﲑﺍﻥ‬
‫ﺩﺍﻭﻭﺩ ﻣــﻦ ﺭﺍ ﮐﻪ ﻣﯽﺩﻳﺪ ﺑﺎﻝ ﺩﺭ ﻣﯽﺁﻭﺭﺩ )ﺍﳌﺼﺪﺭ ﻧﻔﺴــﻪ‪] (١٢٢ :‬ﻛﺎﻥ ﺩﺍﻭﻭﺩ ﻳﻨﺒﺖ‬
‫ﺍﻷﺟﻨﺤﺔ ﻋﻠﻴﻪ ﻋﻨﺪﻣﺎ ﻳﺮﺍﻧﯽ[ ﺃﯼ ﻛﺎﻥ ﻳﺮﻳﺪ ﺍﻟﻄﲑﺍﻥ‬
‫ﺍﺯ ﺩﻭﺭ ﮐﻪ ﮔﻠﺪﺳﺘﻪ ﺭﺍ ﺩﻳﺪﻡ ﺭﻭﺣﻢ ﭘﺮﻭﺍﺯ ﮐﺮﺩ‪) .‬ﺍﳌﺼﺪﺭ ﻧﻔﺴﻪ‪] (٧٨٤ :‬ﺣﻠﻘﺖ ﺭﻭﺣﯽ‬
‫ﻋﻨﺪﻣﺎ ﺭﺃﻳﺖ ﺍﳌﺌﺬﻧﺔ ﻋﻦ ﺑﻌﺪ[‬
‫ﺩﱂ ﻣﯽﺧﻮﺍﺳﺖ ﭘﺮﻭﺍﺯ ﮐﻨﻢ‪] .‬ﻛﻨﺖ ﺃﺭﻳﺪ ﺃﻥ ﺃﻃﲑ ﻓﺮﺣﴼ[‬
‫ﺃﻥ ﺍﻟﺸــﺨﺺ ﺍﻟﺴﻌﻴﺪ ﻳﺮﯼ ﻧﻔﺴــﻪ ﺭﺍﻏﺒﺎ ﻓﯽ ﺍﻟﺼﻌﻮﺩ ﺇﻟﯽ‬
‫ﺗﺸــﲑ ﻫﺬﻩ ﺍﻟﺘﻌﺒﲑﺍﺕ ﺇﻟﯽ ّ‬
‫ﺍﻷﻋﻠﯽ‪ ،‬ﻛﻤﺎ ﻟﻮ ﱂ ﻳﻜﻦ ﻋﻠﯽ ﺍﻷﺭﺽ‪ ،‬ﻭﻓﯽ ﺑﻌﺾ ﺍﻟﻌﺒﺎﺭﺍﺕ ﻳﻔﺴــﺮ ﺫﺍﻟﻚ ﺑﻄﲑﺍﻥ ﺍﻟﻄﻴﻮﺭ‪.‬‬
‫ﮐﺬﻟﮏ ﺍﻟﻠﻐﺔ ﺍﻟﻌﺮﺑﻴﺔ ﻣﻠﻴﺌﺔ ﺑﺎﻟﺘﻌﺎﺑﲑ ﺍﻟﺘﯽ ﲤﺜﻞ ﻫﺬﻩ ﺍﻻﺳﺘﻌﺎﺭﺓ‪:‬‬

‫‪ .١‬ﺍﺿﺎﻓﺔ ﺇﻟﯽ "ﻋﻠﻮ" ﺃﻭ "ﻓﻮﻕ"‪ ،‬ﺗُﻔﻬﻢ ﺍﻟﺴــﻌﺎﺩﺓ ﺑﺎﻟﻴﻤﲔ ﺃﻳﻀﺎ ﻣﺜﻞ‪ :‬ﺍﻳﻦ ﺧﻮﺵ ُﳝﻨﻪ ﺃﻭ ﺳــﻨﺔ ُﳝﻦ‪ ،‬ﻭﻧﺪﺭﺓ‬
‫﴿ﺇﻥ ﻣﻊ ﺍﻟﻌﺴــﺮ ﻳﺴﺮﯼ﴾ )ﺍﻟﺸﺮﺡ‪ ،(٦ :‬ﻓﺎﻟﺴﻌﺎﺩﺓ ﰲ ﻫﺬﻩ ﺍﻻﺳﺘﻌﺎﺭﺍﺕ‬ ‫ﻣﺎ ﻳﺘﻢ ﺗﺼﻮﺭﻫﺎ ﺑﺎﻷﻳﺴــﺮ ﮐﺬﻟﮏ‪ّ :‬‬
‫ﻫﻲ ﺍﲡﺎﻩ‪.‬‬
 ‫‪ / ١٣٦‬ﻓﺼﻠﻴﺔ ﺇﺿﺎﺀﺍﺕ ﻧﻘﺪﻳﺔ‪ ،‬ﺍﻟﺴﻨﺔ ‪ ،١١‬ﺍﻟﻌﺪﺩ ‪ ،٤٣‬ﺧﺮﻳﻒ ‪١٤٠٠‬ﺵ‬

‫ﳌّﺎ ﻋﻠﻢ ﺑﺄﻧّﻪ ﳒﺢ ﻓﯽ ﺍﻻﻣﺘﺤﺎﻥ ﻃﺎﺭ ﻓﺮﺣﴼ‪) .‬ﳎﻤﻮﻋﺔ ﻣﻦ ﺍﳌﺆﻟﻔﲔ‪ ،‬ﻻﺗﺎ‪(٩٣٠ :‬‬
‫ﻛﻨﺖ ﺃﻃﲑ ﻣﻦ ﺍﻟﺒﻬﺠﺔ‪.١‬‬
‫ﺃﻃﲑ ﲜﻨﺎﺡ ﺍﻟﺴﺮﻭﺭ ﻣﺮﺣﴼ )‪. (Al Sharif, 2007: 45‬‬
‫ﻃﺎﺭ ﻓﺆﺍﺩﻩ ﻓﺮﺣﴼ‪) .‬ﺍﳌﺼﺪﺭ ﻧﻔﺴﻪ(‬
‫ﺗﻈﻬﺮ ﻧﻈﺮﺓ ﻋﻠﯽ ﺍﻟﻌﺒﺎﺭﺍﺕ ﺍﳌﺬﮐﻮﺭﺓ ﺃﻋﻼﻩ ﺃﻥ "ﺍﻻﺳــﺘﻌﺪﺍﺩ ﻟﻠﻄﲑﺍﻥ" ﻭﺍﻟﺘﻤﻬﻴﺪ ﻟﻪ ﻣﺜﻞ‬
‫ﺍﻟﺮﻏﺒﺔ ﺑﺎﻟﻄﲑﺍﻥ‪ ،‬ﻭﻇﻬﻮﺭ ﺍﻟﺮﻳﺶ ﻭﺍﻷﺟﻨﺤﺔ‪ ،‬ﻭﺍﻟﻌﺠﺰ ﻋﻦ ﺍﻻﺳﺘﻘﺮﺍﺭ ﻋﻠﯽ ﺍﻷﺭﺽ ﻭﻏﲑﻫﺎ‬
‫ﻓﺈﻥ "ﺍﻟﻄﲑﺍﻥ" ﻧﻔﺴــﻪ ﻫﻮ ﺍﳌﻘﺼﻮﺩ‬
‫ﻫﻮ ﺃﻛﺜﺮ ﺑﺮﻭ ًﺯﺍ ﻓﯽ ﺍﻟﻔﺎﺭﺳــﻴﺔ‪ ،‬ﻭﻟﮑﻦ ﻓﯽ ﺍﻟﻠﻐﺔ ﺍﻟﻌﺮﺑﻴﺔ ّ‬
‫ﻓــﯽ ﺍﻟﻐﺎﻟﺐ‪ .‬ﻭﻓﻴﻤﺎ ﳜﺺ ﺍﻟﻌﺒﺎﺭﺓ ﺍﻷﺧﲑﺓ ﺃﯼ "ﻃﺎﺭ ﻓﺆﺍﺩﻩ ﻓﺮﺣﺎ"‪» ،‬ﻧﻌﻠﻢ ﺃﻧﻪ ﻣﻦ ﻋﻼﻣﺎﺕ‬
‫ﺍﻟﻔﺮﺡ ﺍﺭﺗﻔﺎﻉ ﺿﻐﻂ ﺍﻟﺪﻡ ﻭﻣﻌﺪﻝ ﺿﺮﺑﺎﺕ ﺍﻟﻘﻠﺐ‪ .‬ﻟﺬﻟﻚ ﻳﺸــﻌﺮ ﺍﻹﻧﺴﺎﻥ ﺍﻟﺴﻌﻴﺪ ﺑﺄﻥ ﻗﻠﺒﻪ‬
‫ﻳﻨﺒﺾ ﺑﺴــﺮﻋﺔ ﺷﺪﻳﺪﺓ ﻭﺑﻘﻮﺓ ﻭﺃﻧﻪ ﺳﻴﺨﺮﺝ ﻣﻦ ﺻﺪﺭﻩ ﻭﻳﻄﲑ ﻓﺮﺣﴼ‪Al Sharif, 2007:) «.‬‬

‫‪ (47‬ﻭﲡﺪﺭ ﺍﻹﺷــﺎﺭﺓ ﺇﻟﯽ ﺃﻥ "ﻗﻔﺰﺓ ﺍﻟﻘﻠﺐ" ﺍﺿﺎﻓﺔ ﺇﻟﯽ "ﺍﻟﻄﲑﺍﻥ"‪ ،‬ﺗُﺴــﺘﺨﺪﻡ ﻟﻠﺘﻌﺒﲑ ﻋﻦ‬
‫ﺍﻟﻔﺮﺡ ﻓﯽ ﺍﻟﻌﺮﺑﻴﺔ‪ ،‬ﮐﻤﺎ ﺃﻧﻪ ﺗﺴﺘﺨﺪﻡ ﻟﻠﺨﻮﻑ ﮐﺬﻟﮏ‪:‬‬
‫ﻮﺭﺍ‪.‬‬
‫ﻭﺣﺒُ ً‬ ‫ﻭ َﻛﺎ َﺩ ﻗَﻠﺒِﯽ ﻳ ْﻘ ِﻔ ُﺰ ﻣﻦ ﺑَﲔ ْ‬
‫ﺃﺿﻠﻌﯽ ﻓَ َﺮ ًﺣﺎ ُ‬
‫ﻗﻔﺰ ﻗﻠﺒﯽ ﻣﺮﺗﻌﺪﴽ ﺑﲔ ﺃﺿﻼﻋﯽ ]ﺧﻮﻓﺎ[ ﻭﺃﺧﺬﺕ ﺃﺻﻴﺢ ﻭﺃﺳﺘﻐﻴﺚ‪.‬‬
‫ﻳﻘﻮﻝ ﺍﻟﺸــﺮﻳﻒ ﺣﻮﻝ ﺍﺳــﺘﻌﺎﺭﺓ "ﺍﻟﻌﻠﻮ" ﻓﯽ ﺍﻟﻠﻐﺔ ﺍﻟﻌﺮﺑﻴﺔ‪» :‬ﺍﻻﺳــﺘﻌﺎﺭﺍﺕ ﺍﻻﲡﺎﻫﻴﺔ‬
‫ﻭﺍﻟﻄﲑﺍﻥ ﻫﯽ ﺃﻛﺜﺮ ﻣﻔﺎﻫﻴﻢ ﺍﻟﻔﺮﺡ ﺍﻻﺳــﺘﻌﺎﺭﻳﺔ ﺍﺳﺘﻌﻤﺎﻟﴼ ﻓﯽ ﺍﻟﻠﻐﺔ ﺍﻟﻌﺮﺑﻴﺔ‪Al Sharif,) «.‬‬

‫‪ (2007: 45‬ﻭﻳﻌﺘﻘــﺪ ﺃﻥ ﺍﻻﺳــﺘﻌﺎﺭﺓ ﺍﳌﺬﻛﻮﺭﺓ ﻫــﯽ ﺃﻛﺜﺮ ﺃﻧﻮﺍﻉ ﺍﻻﺳــﺘﻌﺎﺭﺓ ﺗﺄﺛﲑﴽ ﻟﻠﺘﻌﺒﲑ‬
‫ﻋﻦ ﺍﻟﺸــﻌﻮﺭ ﺑﺎﻟﻔﺮﺡ ﻓﯽ ﺍﻟﻌﺮﺑﻴﺔ‪ .‬ﻟﺬﻟﻚ‪ ،‬ﻧﺮﯼ ﺃﻧﻪ ﺑﺎﻹﺿﺎﻓﺔ ﺇﻟﯽ ﺍﻟﻘﻮﺍﺳــﻢ ﺍﳌﺸﱰﻛﺔ ﳍﺬﻩ‬
‫ﺍﻻﺳــﺘﻌﺎﺭﺓ ﺑﲔ ﺍﻟﻠﻐﺘﲔ ﺍﻟﻔﺎﺭﺳــﻴﺔ ﻭﺍﻟﻌﺮﺑﻴﺔ‪ ،‬ﳝﻜﻦ ﺗﺮﲨﺔ ﺑﻌﺾ ﺍﻟﺘﻌﺒــﲑﺍﺕ ﺍﳌﺬﻛﻮﺭﺓ ﻣﻦ‬
‫ﺇﺣﺪﯼ ﺍﻟﻠﻐﺘﲔ ﺇﻟﯽ ﺃﺧﺮﯼ ﻣﻊ ﺍﻻﺣﺘﻔﺎﻅ ﻋﻠﯽ ﻣﻌﻈﻢ ﺍﻹﺣﺪﺍﺛﻴﺎﺕ ﺍﻟﺪﻻﻟﻴﺔ‪ ،‬ﻭﻓﯽ ﻣﻌﻈﻤﻬﺎ‪،‬‬
‫ﻳﻜﻮﻥ ﺍﻟﺸﺨﺺ ﺍﻟﻔﺮﺡ ﻣﺮﺗﻔﻌﴼ ﻭﺧﻔﻴ ًﻔﺎ ﻭﻣﺘﺤﺮﺭﴽ ﻣﻦ ﻛﺎﻓﺔ ﺍﻟﻘﻴﻮﺩ‪ .‬ﻭﻟﻜﻦ ﻓﯽ ﻋﺒﺎﺭﺓ ﻣﺜﻞ‪:‬‬
‫‪ .١‬ﺣﺴــﺐ ﺭﺃﻱ ﻻﻛﻮﻑ )‪١٩٩٣‬ﻡ( »ﻗﺪ ﻳﻌﱪ ﺟﺰﺀﺍﻥ ﳐﺘﻠﻔﺎﻥ ﻣــﻦ ﺍﻟﺘﻌﺒﲑ ﺍﻟﻠﻐﻮﻱ ﻋﻦ ﺗﻄﺒﻴﻘﲔ ﳐﺘﻠﻔﲔ‪،‬‬
‫ﻳﺴــﻤﯽ ﻫﺬﺍ ﺍﻟﻮﺿﻊ ﺍﻟﺘﻄﺒﻴﻖ ﺍﳌﺘﺰﺍﻣﻦ‪) «.‬ﻣﻮﻟﻮﺩﻱ ﻭﻛﺮﳝﻴﺪﻭﺳــﺘﺎﻥ‪٢٠١٧ ،‬ﻡ‪ (١٨ :‬ﻋﻠﯽ ﺳﺒﻴﻞ ﺍﳌﺜﺎﻝ‪ ،‬ﰲ‬
‫ﲨﻠﺔ "ﺑﻠﻎ ﺍﻟﻔﺮﺡ ﺣﺪ ﺍﳉﻨﻮﻥ"‪ ،‬ﺗﻘﻮﻡ ﺍﻷﻗﺴﺎﻡ ﺍﻟﺜﻼﺛﺔ ﻟﻠﻌﺒﺎﺭﺓ ﻭﻫﻲ "ﺑﻠﻎ" ﻭ"ﺣﺪ" ﻭ"ﺍﳉﻨﻮﻥ" ﺑﺘﻔﻌﻴﻞ ﳎﺎﻻﺕ‬
‫ﺍﳌﺼــﺪﺭ ﺍﻟﺜﻼﺛﺔ‪" ،‬ﺍﳊﻴﺎﺓ"‪" ،‬ﺍﳌﺎﺩﺓ ﰲ ﺍﻟﻮﻋــﺎﺀ" ﻭ"ﺍﳌﺮﺽ" ﻋﻠﯽ ﺍﻟﺘﻮﺍﱄ‪ .‬ﺃﻭ ﰲ ﻣﺜﺎﻝ ﺁﺧﺮ "ﻛﻨﺖ ﺃﻃﲑ ﻣﻦ‬
‫ﺍﻟﺒﻬﺠﺔ"‪ ،‬ﺑﺘﻔﻌﻴﻞ ﳎﺎﻻﺕ ﺍﳌﺼﺪﺭ "ﻓﻮﻕ" ﻭ"ﺍﳊﻴﻮﺍﻥ"‪.‬‬
‫ﺩﺭﺍﺳﺔ ﻣﻌﺮﻓﻴﺔ ﳌﻔﻬﻮﻡ ﺍﻟﻔﺮﺡ ﻓﯽ ﺍﻟﻠﻐﺘﲔ ﺍﻟﻌﺮﺑﻴﺔ ﻭﺍﻟﻔﺎﺭﺳﻴﺔ؛ ﺩﺭﺍﺳﺔ ﺗﻘﺎﺑﻠﻴﺔ ‪١٣٧ /‬‬

‫ﺃﺻﺒﺤﺖ ﻻ ﺗﻘﻠﲏ ﻛﻮﺍﻫﻞ ﺃﺭﺿﻲ ﻣﺮﺣﴽ‪.‬‬

‫ُ‬
‫ـﻢ ﺗﺼــﻮﺭ ﺍﻟﻔﺮﺡ ﻫﻨﺎ ﻣﻦ ﺧــﻼﻝ "ﺍﻟﺜﻘﻞ‪ ،"١‬ﻭﻻ ﻳﻮﺟﺪ ﻟﻪ ﻓﯽ ﺍﻟﻔﺎﺭﺳــﻴﺔ ﳑﺎﺛﻞ‪ .‬ﻫﺬﻩ‬
‫ﻳﺘـ ّ‬
‫ﻋﱪ ﻋﻨﻬﺎ ﺿﻤﻦ ﻣﺼﻄﻠﺤﺎﺕ ﺍﺳــﺘﻌﺎﺭﻳﺔ‬
‫ﺍﻟﻌﺒﺎﺭﺓ ﻣﺄﺧﻮﺫﺓ ﻣﻦ ﺭﺳــﺎﻟﺔ ﺃﲪﺪ ﺍﻟﺸــﺮﻳﻒ ﻭﻗﺪ ّ‬
‫ﺗﺘﻌﻠــﻖ ﺑﺎﻟﻄﲑﺍﻥ ]ﺃﯼ ﱂ ﺗﻌﺪ ﺍﻷﺭﺽ ﺗﺘﺤﻤﻠﻨــﯽ ﻭﻋﻠﯽ ﺃﻥ ﺃﻃﲑ[‪ .‬ﻭﻣﺜﻞ ﻫﺬﻩ ﺍﻟﻌﺒﺎﺭﺓ ﺗﺒﲔ‬
‫ﺑﺄﻥ ﺿﺮﻭﺭﺓ ﺍﻟﻨﻈﺮ ﻓﯽ ﺍﻻﺣﺘﻤﺎﻻﺕ ﻭﺍﳌﻔﺮﻭﺿﺎﺕ ﺍﳌﻌﺮﻓﻴﺔ ﻟﻠﻐﺔ ﺍﳌﺪﺭﻭﺳﺔ ﻭﻫﻨﺎ ﺍﻟﻌﺮﺑﻴﺔ‬
‫ﻟﻨﺎ ّ‬
‫‪-‬ﺍﻟﺘــﯽ ﻗﺪ ﻻ ﻳﻜﻮﻥ ﻏﲑﺍﻟﻨﺎﻃﻘــﲔ ﺑﻬﺎ ﻋﻠﯽ ﺩﺭﺍﻳﺔ ﺑﻬﺎ‪ -‬ﺃﻣﺮ ﳏﺘــﻮﻡ ﻭﲡﺎﻫﻠﻬﺎ ﺗﺰﻳﺪ ﻋﻠﯽ‬
‫ﺍﻟﺘﻌﻘﻴﺪﺍﺕ ﺍﳌﻌﺮﻓﻴﺔ ﺍﻟﺜﻘﺎﻓﻴﺔ ﳍﺬﻩ ﺍﻟﻠﻐﺔ ﻋﻠﻴﻨﺎ‪.‬‬
‫ﺃﻳﻀﺎ ﻋﺒﺎﺭﺍﺕ ﻳﺼﻮﺭ ﻓﻴﻬﺎ ﺍﻟﻔﺮﺡ ﺑﻄﻴﻮﺭ ﻣﻌﻴﻨﺔ‪ ،‬ﻣﺜﻞ‪:‬‬
‫ﻭﺍﻣﺎ ﻧﺮﯼ ً‬
‫ﳘﺎﯼ ﺳــﻌﺎﺩﺕ‪] .‬ﳘﺎ ﺍﻟﺴﻌﺎﺩﺓ[؛ "ﳘﺎ" ﻃﺎﺋﺮ ﺃﺳﻄﻮﺭﯼ ﻳﺮﯼ ﺍﻟﻘﺪﻣﺎﺀ ﺃﻧﻪ ﺇﺫﺍ ﻭﻗﻊ ﻇﻠﻪ‬
‫ﺳﻌﻴﺪﺍ‪.‬‬
‫ﻋﻠﯽ ﺷﺨﺺ‪ ،‬ﻓﻴﻜﻮﻥ ﺫﻟﻚ ﺍﻟﺸﺨﺺ ً‬
‫ﮐﺒﮏﺷــﺎﻥ ﺧﺮﻭﺱ ﻣﯽﺧﻮﺍﻧــﺪ‪) .٢‬ﳒﻔــﯽ‪١٣٨٧ ،‬ﺵ‪] (١١٣٤ :‬ﺣﺠﻠﺘــﻪ ﺗﺼﻴﺢ ﻣﺜﻞ‬
‫ﺍﻟﺪﻳﻚ[ ﺃﯼ ﺑﻬﺠﺘﻪ ﻭﺍﺿﺤﺔ ﺟﺪﺍ‬
‫ﺗﻌﲔ ﻓﻴﻬــﺎ ﺍﻟﻄﻴﻮﺭ ﺑﺎﻻﺳــﻢ‪ ،‬ﻟﻴﺲ ﺍﻟﻄﲑﺍﻥ‬
‫ﻳﺒــﺪﻭ ﺃﻧّــﻪ ﻓﯽ ﻣﺜﻞ ﻫﺬﻩ ﺍﻟﻌﺒــﺎﺭﺍﺕ ﺍﻟﺘﯽ ّ‬
‫ﻭﺍﻻﺭﺗﻔﺎﻉ‪ ،‬ﻫﻮ ﺍﳉﺎﻧﺐ ﺍﻟﺒﺎﺭﺯ ﻹﺳــﺘﻌﻤﺎﳍﺎ ﺃﺣﻴﺎﻧﺎ‪ ،‬ﻋﻠﯽ ﺳﺒﻴﻞ ﺍﳌﺜﺎﻝ‪ ،‬ﺍﳉﺎﻧﺐ ﺍﻟﺒﺎﺭﺯ ﻓﯽ‬
‫"ﳘــﺎ"‪ ،‬ﻫﻮ ﺍﳌﻌﻨﯽ ﺍﻟﺜﻘﺎﻓﯽ ﳍﺬﺍ ﺍﻟﻄﺎﺋﺮ ﺍﻷﺳــﻄﻮﺭﯼ ﻭﺍﻟﺘﻔﺄﻝ ﺑــﻪ‪ ،‬ﻭﻓﯽ ﺍﻟﺪﻳﻚ ﻫﻮ ﺇﻋﻼﻧﻪ‬
‫ﺍﻟﻮﺍﺿﺢ ﻭﺻﻮﺗﻪ ﺍﳌﺮﺗﻔﻊ ﻭﻓﯽ ﺍﳊﺠﻠﺔ ﻫﻮ ﻃﺒﻴﻌﺘﻪ ﺍﻟﺴﻌﻴﺪﺓ ﻭﳊﻨﻪ ﺍﳉﻴﺪ‪ .‬ﻓﯽ ﺍﻟﻌﺮﺑﻴﺔ ﮐﺬﻟﻚ‪،‬‬
‫ﺗﺴﺘﺨﺪﻡ ﺍﻟﻄﻴﻮﺭ ﳌﻌﻨﯽ ﺛﻘﺎﻓﯽ ﻭ ﻏﺎﻟﺒﺎ ﻣﺎ ﺗﮑﻮﻥ ﻟﻠﺘﻔﺎﺅﻝ ﺃﻭﺍﻟﺘﺸﺎﺅﻡ‪:‬‬
‫ﻃﺎﺋﺮ ُﻩ‪) .‬ﳎﻤﻮﻋﺔ ﻣﻦ ﺍﳌﺆﻟﻔﲔ‪ ،‬ﻻﺗﺎ‪(٩٣٠ :‬‬
‫ﺍﻣﺮﺉ ُ‬ ‫ّ‬
‫ﻟﻜﻞ ٍ‬
‫ﺳﺮ ﻋﻠﯽ ﺍﻟﻄﺎﺋﺮ ﺍﳌﻴﻤﻮﻥ‪) .‬ﺍﳌﺼﺪﺭ ﻧﻔﺴﻪ‪ (٩٣١ :‬ﻭﻫﻮ ﺩﻋﺎﺀ ﻟﻠﻤﺴﺎﻓﺮ‬
‫ﻮﻻ﴾‬‫ﺎﻝ ُﻃ ً‬
‫ﺽ َﻭﻟَ ْﻦ ﺗَ ْﺒ ُﻠ َﻎ ْﺍﳉِﺒَ َ‬ ‫ﻚ ﻟَ ْﻦ َْﲣ ِﺮ َﻕ َْ‬
‫ﺍﻷ ْﺭ َ‬ ‫ﺽ َﻣ َﺮ ًﺣﺎ ِﺇﻧَّ َ‬ ‫َْﺶ ِﰲ َْ‬
‫ﺍﻷ ْﺭ ِ‬ ‫﴿ﻭ َﻻ ﲤ ِ‬
‫‪ .١‬ﺟﺎﺀ ﰲ ﺍﻟﻘﺮﺁﻥ ﺍﻟﻜﺮﱘ‪َ :‬‬
‫)ﺍﺳﺮﺍﺀ‪(٣٧ :‬‬
‫ﺩﺍﺋﻤﺎ ﰲ ﺍﻟﺒﻴﺌﺔ ﺍﳌﻌﻴﺸــﻴﺔ ﻟﻺﻧﺴــﺎﻥ ﻭﻗﺪ ﰎ ﺍﺳــﺘﺨﺪﺍﻣﻪ ﻭﺗﻮﻇﻴﻒ‬ ‫‪ .٢‬ﺍﻟﺪﻳﻚ ﻫﻮ ﺃﺣﺪ ﺍﻟﻄﻴﻮﺭ ﺍﻟﱵ ﺗﻌﻴﺶ ً‬
‫ﺧﺼﺎﺋﺼﻪ ﻟﺘﺼﻮﺭ ﻣﻮﺍﺿﻴﻊ ﳐﺘﻠﻔﺔ‪ ،‬ﻣﺜﻞ ﺻﻴﺎﺡ ﺍﻟﺪﻳﻚ ﻹﻋﻼﻥ ﺍﻟﻔﺠﺮ ﻭﺍﻟﻈﻬﲑﺓ‪ .‬ﻓﻔﻲ ﻋﺒﺎﺭﺓ "ﺣﺠﻠﺘﻪ ﺗﺼﻴﺢ‬
‫ﻧﻈﺮﺍ ﻷﻥ ﺻــﻮﺕ ﺍﳊﺠﻞ ﲨﻴﻞ ﻭﺗﻐﺮﻳﺪﻩ ﻋﻼﻣﺔ ﻋﻠﯽ ﺍﻟﺮﺑﻴﻊ ﻭﺍﳌــﺰﺍﺝ ﺍﳉﻴﺪ ﳍﺬﺍ ﺍﻟﻄﺎﺋﺮ‪،‬‬ ‫ﻣﺜــﻞ ﺍﻟﺪﻳﻚ"‪ً ،‬‬
‫ﻓﻴﻤﻜﻦ ﺃﻥ ﻳﻜﻮﻥ ﺍﳊﺠﻞ ﺭﻣ ًﺰﺍ ﻟﻠﺴﻌﺎﺩﺓ‪ ،‬ﻟﻜﻦ ﺍﻟﺼﻮﺕ ﺍﳉﻴﺪ ﳍﺬﺍ ﺍﻟﻄﺎﺋﺮ ﻻ ﻳﺴﺘﻄﻴﻊ ﺃﻥ ﻳﻌﱪ ﻋﻦ ﺍﻟﺴﻌﺎﺩﺓ‬
‫ﺍﻟﻐﺎﻣﺮﺓ ﺑﺴﺒﺐ ﺻﻮﺗﻪ ﺍﳍﺎﺩﺉ ﻧﺴﺒﻴًﺎ‪ ،‬ﻭﳍﺬﺍ ﺍﻟﺴﺒﺐ ﻣﻦ ﺃﺟﻞ ﺇﺑﺮﺍﺯ ﺷﺪﺓ ﺍﻟﺴﻌﺎﺩﺓ ﻭﻣﻈﺎﻫﺮﻫﺎ ﺍﻟﻮﺍﺿﺤﺔ‪ ،‬ﻳﺘﻢ‬
‫ﺍﺳﺘﺨﺪﺍﻡ ﺻﻴﺎﺡ ﺍﻟﺪﻳﻚ‪ ،‬ﻭﻛﺄﻥ ﺣﺎﻟﺔ ﺍﻟﺸﺨﺺ ﺍﳌﺴﺮﻭﺭ ﻭﺍﻟﺴﻌﻴﺪ ﺣﺠﻠﺔ ﺗﺼﻴﺢ ﻣﺜﻞ ﺍﻟﺪﻳﻚ‪.‬‬
 ‫‪ / ١٣٨‬ﻓﺼﻠﻴﺔ ﺇﺿﺎﺀﺍﺕ ﻧﻘﺪﻳﺔ‪ ،‬ﺍﻟﺴﻨﺔ ‪ ،١١‬ﺍﻟﻌﺪﺩ ‪ ،٤٣‬ﺧﺮﻳﻒ ‪١٤٠٠‬ﺵ‬

‫ﻭﻳﺘﻢ ﺗﺼﻮﺭ ﺍﻟﺴﻌﺎﺩﺓ ﺃﻳﻀﺎ ﻣﻊ ﺍﳊﻴﻮﺍﻧﺎﺕ ﺍﻷﺧﺮﯼ‪:‬‬

‫ّ‬
‫ﭘﺴــﺮ ﻣﻦ ﺍﺯ ﺩﻳﺸــﺐ ‪ ...‬ﺑﺎ ﺩﻣﺶ ﮔﺮﺩﻭ ﻣﯽﺷﮑﻨﺪ‪] ١.‬ﺍﺑﻨﯽ ﻣﻦ ﺍﻟﻠﻴﻠﺔ ﺍﳌﺎﺿﻴﺔ ‪ ...‬ﻳﻜﺴﺮ‬
‫ﺍﳉﻮﺯ ﺑﺬﻳﻠﻪ[‬
‫ﳘﭽﲔ ﻳﺎﺭﻭ "ﺧﺮﮐﻴﻒ"‪ ٢‬ﺷــﺪ ﮐﻪ ﺑﻴﺎ ﻭ ﺑﺒﲔ‪] .‬ﺻﺎﺭ ﻓﺮﺣﺎ ﻋﻠﯽ ﻗﺪﺭ ﲪﺎﺭ‪ ،‬ﻟﻴﺘﻚ ﺗﺮﯼ[‬
‫ﺃﯼ ﻟﻴﺘﻚ ﺗﺮﯼ ﻛﻢ ﻛﺎﻥ ﻓﺮﺣﺎ‬
‫ﳝﺮ ﺑﻬﺎ‬
‫ﻛﻮﻓﻜﺴﻴﺲ )‪١٩٩١‬ﻡ( ﻳﻘﻮﻝ »ﲤﺜﻞ ﺍﻹﺳﺘﻌﺎﺭﺓ ﺍﳊﻴﻮﺍﻧﻴﺔ‪ ،‬ﺍﻟﺒﻬﺠﺔ ﻭﺍﻟﺴﻌﺎﺩﺓ ﺍﻟﺘﯽ ّ‬
‫ﺍﻹﻧﺴﺎﻥ ﺍﻟﺴﻌﻴﺪ ﻋﻨﺪﻣﺎ ﻳﻌﻴﺶ ﻓﯽ ﺳﻼﻡ ﻭﺍﻧﺴﺠﺎﻡ ﻣﻊ ﺍﻟﺒﻴﺌﺔ ﺩﻭﻥ ﺃﻥ ﻳﺰﻋﺞ ﻧﻔﺴﻪ ﺑﻌﻼﻗﺎﺕ‬
‫ﻭﺍﺗﻔﺎﻗﻴﺎﺕ ﺍﳊﻀﺎﺭﺓ ﺍﳊﺪﻳﺜﺔ‪ .‬ﻭﻳﺼﻒ ﻫﺬﻩ ﺍﳊﺎﻟﺔ ﺑﺎﺳــﺘﻌﺎﺭﺓ "ﺍﻹﻧﺴﺎﻥ ﺍﻟﺴﻌﻴﺪ ﺣﻴﻮﺍﻥ"‪«.‬‬
‫)‪(Al Sharif, 2007: 69‬‬

‫ﻭﺗﺼﻮﺭ ﺑﻌﺾ ﺍﻟﻌﺒﺎﺭﺍﺕ ﻓﯽ ﺍﻟﻌﺮﺑﻴﺔ ﺍﻟﺸــﺨﺺ ﺍﻟﻔﺮﺡ ﻭﺍﻟﺴﻌﻴﺪ ﲟﺜﺎﺑﺔ ﺣﻴﻮﺍﻥ ﳚﺮ ﺫﻳﻠﻪ‪.‬‬
‫"ﺟﺮ ﺷﯽﺀ" ﻳﺘﻀﻤﻦ ﻣﻌﻨﯽ ﺍﻟﺜﻘﻞ‪ .‬ﻓﻴﻤﻜﻦ ﺃﻥ ﻳﮑﻮﻥ ﺍﺳﺘﺨﺪﺍﻡ ﻫﺬﺍ ﺍﳌﻌﻨﯽ ﺃﯼ ﺍﻟﺜﻘﻞ‬
‫ﮐﻤﺎ ﻧﻌﻠﻢ ّ‬
‫ﻓﯽ ﻣﺜﻞ ﻫﺬﻩ ﺍﻟﺘﻌﺒﲑﺍﺕ ﻻﺧﺘﻼﻁ ﺍﻟﻔﺮﺡ ﻣﻊ ﺍﻟﻜﱪﻳﺎﺀ ﻭﺍﻟﻔﺨﺮ‪ .‬ﺑﺘﻌﺒﲑ ﺁﺧﺮ‪ ،‬ﺍﻟﺴﻌﺎﺩﺓ ﺍﻟﻨﻘﻴﺔ‬
‫ﺧﻔﻴﻔــﺔ ﻭﳝﻴﻞ ﺻﺎﺣﺒﻬﺎ ﺇﻟﯽ ﺍﻟﻄﲑﺍﻥ ﻭﺍﻟﺘﺤﻠﻴﻖ‪ ،‬ﻭﻟﻜﻦ ﺑﺎﻻﻗﱰﺍﻥ ﻣﻊ ﻣﻔﺎﻫﻴﻢ ﻣﺜﻞ ﺍﻟﻜﱪﻳﺎﺀ‬
‫ﻭﺍﻟﻔﺨﺮ‪ ،‬ﻓﺈﻧﻬﺎ ﺗﺼﺒﺢ ﺫﺍﺕ ﻭﺯﻥ‪:‬‬
‫ﻳﺴﺤﺐ ﺃﺫﻳﺎﻝ ﺍﻟﻐﺒﻄﺔ‪) .‬ﺍﳌﺼﺪﺭ ﻧﻔﺴﻪ‪(٧١:‬‬
‫ﳚﺮ ﺫﻳﻠﻪ ﻓﺮﺣﴼ‪) .٣‬ﺍﳌﺼﺪﺭ ﻧﻔﺴﻪ(‬
‫ﻣﻌﺎﻥ ﳍــﺬﻩ ﺍﻟﻌﺒﺎﺭﺓ‪١ ،‬؛ ﻓﻌﻨﺪﻣﺎ ﺗﻌﺜــﺮ ﺍﻟﻔﺌﺮﺍﻥ ﺃﻭ‬
‫ـﺪﺍ ﲟﺎ ﺣﺪﺙ ﻟﻪ‪ ،‬ﳝﻜــﻦ ﺫﻛﺮ ﻋﺪﺓ ٍ‬ ‫‪ .١‬ﺃﻱ ﺃﻧــﻪ ﺳــﻌﻴﺪ ﺟـ ً‬
‫ﺍﻟﺴــﻨﺎﺟﺐ ﻋﻠﯽ ﺣﺒﺔ ﺍﳉﻮﺯ‪ ،‬ﻭﺑﺴﺒﺐ ﺍﻫﺘﻤﺎﻣﻬﺎ ﺍﻟﻜﺒﲑ ﺑﻬﺎ‪ ،‬ﻓﺈﻧﻬﺎ ﲢﺎﻭﻝ ﻛﺴﺮ ﺍﳉﻮﺯ ﺑﺬﻳﻠﻬﺎ‪ ،‬ﻭﻫﻲ ﺳﻌﻴﺪﺓ‬
‫ﺟﺪﺍ ﻟﺪﺭﺟﺔ ﺃﻧﻬﺎ ﻻ ﺗﻼﺣﻆ ﺃﻥ ﻫﺬﺍ ﺍﻟﺬﻳﻞ ﺍﻟﻨﺎﻋﻢ ﻻ ﻳﺴــﺘﻄﻴﻊ ﻛﺴــﺮ ﺍﳉﻮﺯ ﺍﻟﺼﻠﺐ‪ .‬ﻭﻫﻜﺬﺍ ﻳﺴﺘﺨﺪﻣﻮﻥ‬ ‫ً‬
‫ﻫﺬﺍ ﺍﳌﺜﻞ ﻋﻨﺪﻣﺎ ﻳﺸــﻌﺮ ﺍﻹﻧﺴﺎﻥ ﺑﻔﺮﺣﺔ ﺷﺪﻳﺪﺓ ﻟﺪﺭﺟﺔ ﺃﻧﻪ ﻳﻐﻠﻖ ﻋﻴﻨﻴﻪ ﻋﻦ ﺍﳊﻘﻴﻘﺔ‪ .‬ﺃﻱ ﺃﻧﻪ ﺳﻌﻴﺪ ﻟﻠﻐﺎﻳﺔ‬
‫ﻟﺪﺭﺟﺔ ﺃﻧﻪ ﻻ ﻳﻌﺮﻑ ﻣﺎ ﻳﻔﻌﻠﻪ؛ ‪ :٢‬ﻫﻨﺎﻙ ﻣﻌﻨﯽ ﺁﺧﺮ ﻟﻠﻌﺒﺎﺭﺓ ﺍﻟﱵ ﺗﻜﻮﻥ ﻓﻴﻬﺎ "ﺷﺪﺓ ﺍﻟﺴﻌﺎﺩﺓ" ﺑﺎﺭﺯﺓ ﺑﺸﻜﻞ‬
‫ﺧﺎﺹ‪ ،‬ﻭﻫﻮ ﺃﻥ ﺍﻟﺸﻌﻮﺭ ﺑﻔﺮﺡ ﻋﻈﻴﻢ ﻳﻄﻠﻖ ﺍﻟﻜﺜﲑ ﻣﻦ ﺍﻟﻄﺎﻗﺔ ﲝﻴﺚ ﳝﻜﻦ ﻟﻠﺸﺨﺺ ﺍﻟﻘﻴﺎﻡ ﺑﺄﺷﻴﺎﺀ ﻻ ﳝﻜﻦ‬
‫ﻟﻪ ﺍﻟﻘﻴﺎﻡ ﺑﻬﺎ ﰲ ﺍﻟﻮﺿﻊ ﻃﺒﻴﻌﻲ ﺇﻻ ﺑﺼﻌﻮﺑﺔ ﺑﺎﻟﻐﺔ‪ ،‬ﻭﻳﻜﻮﻥ ﺗﻮﻗﻊ ﺍﻟﻨﺠﺎﺡ ﻓﻴﻪ‪ ،‬ﻋﻠﯽ ﻋﻜﺲ ﺍﻟﻈﺮﻭﻑ ﺍﻟﻌﺎﺩﻳﺔ‪،‬‬
‫ﲑﺍ ﻣﻦ ﺍﻟﺴﻌﺎﺩﺓ ﻟﺪﺭﺟﺔ ﺃﻧﻪ ﻳﻜﺴﺮ ﺍﳉﻮﺯ ﺑﺬﻳﻠﻪ‪.‬‬ ‫ﻟﻴﺲ ﺑﻌﻴﺪ ﺍﳌﻨﺎﻝ‪ ،‬ﻣﺜﻞ ﺣﻴﻮﺍﻥ ﺳﻌﻴﺪ ﻳﻘﻔﺰ ﻛﺜ ً‬
‫‪ .٢‬ﺧﺮ‪ :‬ﺍﳊﻤﺎﺭ ﻭ ﻛﻴﻒ‪ :‬ﺍﻟﻔﺮﺡ‪ ،‬ﻭ"ﺧﺮ ﻛﻴﻒ" ﺃﻱ ﺷﻌﺮ ﺑﺴﻌﺎﺩﺓ ﺑﺎﻟﻐﺔ‪ .‬ﻭﻣﻦ ﻣﻌﺎﱐ ﻛﻠﻤﺔ "ﲪﺎﺭ" ﰲ ﺍﻟﻔﺎﺭﺳﻴﺔ‬
‫"ﺧﺮﺧﻮﺍﻥ" ﺃﻱ ﻛﺜﲑ ﺍﻟﻘﺮﺍﺀﺓ‪ ،‬ﻳﺪﺭﺱ ﻛﺜﲑﴽ‪ .‬ﳝﻜﻦ ﺃﻥ‬ ‫"ﻛﺜﲑ"‪ ،‬ﻓﻤﺜﻠﴼ ﺑﺎﻟﻨﺴــﺒﺔ ﻟﻄﺎﻟﺐ ﺫﻛﻲ ﻣﺘﻔﻮﻕ‪ ،‬ﻳﻘﻮﻟﻮﻥ‪َ :‬‬
‫ﺃﻳﻀﺎ ﻣﻌﻨﯽ ﺍﺯﺩﺭﺍﺋﻲ ﻭﲢﻘﲑﻱ‪.‬‬‫ﻳﻜﻮﻥ ﻟﺘﻌﺒﲑ "ﺧﺮﻛﻴﻒ" ً‬
‫ﺗﺒﺨﱰَ‪) .‬ﳎﻤﻮﻋﺔ ﻣﻦ ﺍﳌﺆﻟﻔﲔ‪ ،‬ﻻﺗﺎ‪(٥١٩ :‬‬‫‪َ .٣‬ﺟ ﱠﺮ ﺃﺫﻳﺎﻟﻪ ﻋﻠﯽ ﺍﻷﺭﺽ‪َ :‬‬
‫ﺩﺭﺍﺳﺔ ﻣﻌﺮﻓﻴﺔ ﳌﻔﻬﻮﻡ ﺍﻟﻔﺮﺡ ﻓﯽ ﺍﻟﻠﻐﺘﲔ ﺍﻟﻌﺮﺑﻴﺔ ﻭﺍﻟﻔﺎﺭﺳﻴﺔ؛ ﺩﺭﺍﺳﺔ ﺗﻘﺎﺑﻠﻴﺔ ‪١٣٩ /‬‬

‫ﺏ( ﺍﻟﻔﺮﺡ ﻧﻮﺭ‬

‫ﻭﺍﺣﺪﺓ ﻣﻦ ﺃﻫﻢ ﺍﻻﺳﺘﻌﺎﺭﺍﺕ ﻟﺘﺼﻮﺭ ﺍﻟﻔﺮﺡ ﻫﯽ ﺍﺳﺘﻌﺎﺭﺓ "ﺍﻟﻔﺮﺡ ﻧﻮﺭ"‪ .‬ﺗﺘﻀﻤﻦ ﲤﺜﻴﻼﺕ‬
‫ﻫﺬﻩ ﺍﻻﺳﺘﻌﺎﺭﺓ ﳎﻤﻮﻋﺔ ﻣﺘﻨﻮﻋﺔ ﻣﻦ ﺍﻟﻌﺒﺎﺭﺍﺕ‪:‬‬
‫ﭼﺸﻢﻫﺎﺵ ﺑﺮﻕ ﻣﯽﺯﺩ‪] (Safarnejad and others, 2014: 113) .‬ﻛﺎﻧﺖ ﺗﱪﻕ ﻋﻴﻨﺎﻩ[‬
‫ﺍﺯ ﺧﻮﺷﺤﺎﻟﯽ ﺻﻮﺭﺗﺶ ﻣﯽﺩﺭﺧﺸﻴﺪ‪) .‬ﺍﳌﺼﺪﺭ ﻧﻔﺴﻪ( ]ﻛﺎﻧﺖ ﺗﺸﺮﻕ ﻭﺟﻬﻪ ﻓﺮﺣﴼ[‬
‫ﭼﺸــﻢ ﻭ ﺩﳌﻮﻥ ﺭﻭﺷﻦ‪] .١‬ﺃﺷﺮﻗﺖ ﻋﻴﻮﻧﻨﺎ ﻭﻗﻠﻮﺑﻨﺎ[؛ ﳝﻜﻦ ﺍﻟﻘﻮﻝ ﺃﻥ ﻣﻌﻨﯽ "ﺭﻭﺷﻦ" ﻓﯽ‬
‫ﻷﻥ »ﺍﻟﻨﻮﺭ ﻭﺍﻟﻈﻼﻡ ﻣﻦ ﺍﻟﺘﺠﺎﺭﺏ ﺍﻷﻭﻟﯽ ﻟﻠﺒﺸــﺮ‪،‬‬
‫ﻫﺬﻩ ﺍﻟﻌﺒﺎﺭﺓ ﻫﻮ ﺇﺷــﺮﺍﻕ ﺍﳉﻮ ﻭﺍﻟﻔﺠﺮ‪ّ .‬‬
‫ﻭﻏﺎﻟﺒًﺎ ﻣﺎ ﺗﻈﻬﺮ ﺑﺸﻜﻞ ﺍﺳﺘﻌﺎﺭﯼ ﻣﻦ ﺧﻼﻝ ﺍﻷﺣﻮﺍﻝ ﺍﳉﻮﻳﺔ‪) «.‬ﻛﻮﭼﺶ‪١٣٩٨ ،‬ﺵ‪.(٤٠ :‬‬
‫ﻭﻣﻦ ﺍﳉﺪﻳﺮ ﺑﺎﻟﺬﻛﺮ ﺃﻧﻪ ﻓﯽ ﺍﻟﻔﺎﺭﺳﻴﺔ‪ ،‬ﻋﲔ ﺍﻟﻔﺮﺩ ﻳُﻀﺎﺀ ﻟﺘﺼﻮﺭ ﺍﻟﻔﺮﺡ )ﭼﺸﻤﻢ ﺭﻭﺷﻦ ﺷﺪ(‪،‬‬
‫ﻳﺘﻢ ﺍﺳﺘﺨﺪﺍﻡ ﻣﻔﻬﻮﻡ "ﺍﻟﱪﻭﺩﺓ" ﻹﻓﺎﺩﺓ ﻫﺬﺍ ﺍﳌﻌﻨﯽ ﺃﯼ ﱠ‬
‫)ﻗﺮﺕ ﻋﻴﻨُﻪ(‪.‬‬ ‫ﻟﻜﻦ ﺑﺎﻟﻌﺮﺑﻴﺔ ّ‬
‫ﻭﻟﮑﻦ ﺑﺎﻟﻨﺴﺒﺔ ﺇﻟﯽ ﳕﺎﺫﺝ "ﺍﻟﻔﺮﺡ ﻧﻮﺭ" ﻓﯽ ﺍﻟﻌﺮﺑﻴﺔ‪:‬‬
‫ﺃﺷﺮﻕ ﻭﺟ ُﻬﻪ‪) .‬ﳎﻤﻮﻋﺔ ﻣﻦ ﺍﳌﺆﻟﻔﲔ‪ ،‬ﻻﺗﺎ‪(٧٦٤ :‬‬
‫َ‬
‫ﻋﻴﻨﺎﻥ ُﻣﺸﺮﻗﺘﺎﻥ‪) .‬ﺍﳌﺼﺪﺭ ﻧﻔﺴﻪ‪(٧٦٥ :‬‬
‫ﻭﺟﻪ ُﻣﺘَﻬﱢﻠﻞ‪) .‬ﺍﳌﺼﺪﺭ ﻧﻔﺴﻪ‪(١٤٨٨ :‬‬
‫ﺑﺺ ﻭﺟ ُﻬﻪ ﺍﺭﺗﻴﺎﺣﺎ‪) .‬ﺍﳌﺼﺪﺭ ﻧﻔﺴﻪ‪(٩٦ :‬‬
‫ّ‬
‫ﺑﻠِﺞ ﻭﺟ ُﻬﻪ‪) .‬ﺍﳌﺼﺪﺭ ﻧﻔﺴﻪ‪(١١٣ :‬‬
‫ﻭﺟ ٌﻪ ﻳَ ِﺸ ﱡﻊ ُﺣﺒﻮﺭﺍ‪) .‬ﺍﳌﺼﺪﺭ ﻧﻔﺴﻪ‪(٢٤٥ :‬‬
‫ﺗﺄﻟﻖ ﻭﺟﻬﻪ‪.‬‬
‫ﻣﺸﺮﻕ ﺍﻟﻮﺟﻪ‪.‬‬
‫َ‬ ‫ﺮﻳﺮ ﺍﻟﻌﲔ‬
‫ﺪﺕ ﺇﻟﯽ ﺍﳌﻨﺰﻝ ﻗَ َ‬
‫ُﻋ ُ‬
‫ﳌﻌﺖ ﻋﻴﻨﺎﻩ ﺑﻮﻣﻀﺎﺕ ﺑﻬﻴﺠﺔ ﻣﻦ ﺍﻷﻣﻞ‪.‬‬
‫ﺍﻟﺘﻤﻌﺖ ﻋﻴﻨﺎﻩ ﺳﺮﻭﺭﺍ ﻭﺑﻬﺠﺔ ﻭﺗﻔﺎﺅﻻ‪.‬‬
‫ﺃﺷﺮﻗﺖ ﻋﻴﻨﺎ ﺍﻟﻄﻔﻞ ﻓﺮﺣﺎ ﻭﻓﺨﺮﺍ ﲟﺎ ﺻﻨﻊ‪.‬‬
‫ﺃﺳﺎﺭﻳﺮﻩ‪(Al Sharif, 2007: 50).‬‬ ‫ﺑﺮﻗﺖ‬
‫ﺃﺳﻔﺮ ﻭﺟﻬﻪ ﻭﺗﻸﻷ‪) .‬ﺍﳌﺼﺪﺭ ﻧﻔﺴﻪ(‬
‫ﺃﻳﻀﺎ ﺑﺸﻜﻞ ﺳﺎﺧﺮ ﻭﻫﺠﻮﻣﻲ‪ ،‬ﻣﻮﺟﻬﺔ ﺇﻟﯽ ﺷﺨﺺ ﻳﻔﻌﻞ‬
‫‪ .١‬ﺗﺴﺘﺨﺪﻡ ﻋﺒﺎﺭﺓ "ﻋﻴﲏ ﻣﺸﺮﻗﺘﺎﻥ" ﺑﺎﻟﻔﺎﺭﺳﻴﺔ ً‬
‫ﺷﻴﺌًﺎ ﻏﲑ ﺳﺎﺭ ﺑﺸﻜﻞ ﻏﲑ ﻣﺘﻮﻗﻊ‪) .‬ﳒﻔﻲ‪١٣٨٧ ،‬ﺵ‪(٥٧٩ :‬‬
 ‫‪ / ١٤٠‬ﻓﺼﻠﻴﺔ ﺇﺿﺎﺀﺍﺕ ﻧﻘﺪﻳﺔ‪ ،‬ﺍﻟﺴﻨﺔ ‪ ،١١‬ﺍﻟﻌﺪﺩ ‪ ،٤٣‬ﺧﺮﻳﻒ ‪١٤٠٠‬ﺵ‬

‫ﺩﻭﺭﺍ ﺭﺋﻴﺴــﻴﺎ ﻓﯽ ﺇﻇﻬﺎﺭ ﺍﻟﺴــﻌﺎﺩﺓ‪Al) «.‬‬

‫ﻓﯽ ﺍﺳــﺘﻌﺎﺭﺓ "ﺍﻟﻔﺮﺡ ﻧﻮﺭ"‪» ،‬ﻳﻠﻌﺐ ﺍﻟﻮﺟﻪ ً‬
‫‪ (Sharif, 2007: 54‬ﻭﺍﳌﻈﺎﻫﺮ ﺍﻟﻠﻐﻮﻳﺔ ﳍﺬﻩ ﺍﻻﺳﺘﻌﺎﺭﺓ ﺗﺒﲔ ﻟﻨﺎ ّ‬
‫ﺃﻥ ﺍﻟﻌﺮﺑﻴﺔ ﺗﻈﻬﺮ ﺗﻔﺼﻴﻠﴼ ﺃﻛﱪ‬
‫ﻣﻘﺎﺭﻧﺔ ﺑﺎﻟﻔﺎﺭﺳﻴﺔ‪ .‬ﺍﻟﻄﺒﻴﻌﺔ ﺍﳌﺸﺘﻘﺔ ﳍﺬﻩ ﺍﻟﻠﻐﺔ ﻫﯽ ﻣﻦ ﺍﻷﺳﺒﺎﺏ ﺍﻟﺮﺋﻴﺴﻴﺔ ﳍﺬﺍ ﺍﳌﺴﺘﻮﯼ ﻣﻦ‬
‫ﺍﻟﺘﻔﺼﻴﻞ ﻭﺍﻟﺘﻮﺳﻴﻊ ﺩﻭﻥ ﺍﻟﺸﻚ‪:‬‬
‫ﻭﺿﺢ‪ ،‬ﺗﺴــﻄﻊ‪ ،‬ﳌﻊ‪،‬‬ ‫ـﻊ‪ ،‬ﺑﺮﻕ‪ّ ،‬‬
‫ﺑﺺ‪ ،‬ﺑﻠﺞ‪ ،‬ﺑﺰﻍ‪ ،‬ﺯﺍﻫﯽ‪ ،‬ﺻﺒﺢ‪ّ ،‬‬ ‫ﻓﻔﯽ ﺍﻟﻌﺮﺑﻴﺔ‪ :‬ﺍﺷــﺮﻕ‪ ،‬ﺃﺷـ ّ‬
‫ﺗﻸﻷ‪ ،‬ﺗﻬ ّﻠﻞ‪ ،‬ﻭﻣﺾ‪ ،‬ﺗﺄﻟّ َﻖ‪ ،‬ﻧﺼﻊ‪َ ،‬‬
‫ﺃﻧﺎﺭ ﻭ‪...‬‬
‫ﻓﯽ ﺍﻟﻔﺎﺭﺳﻴﺔ‪ :‬ﺩﺭﺧﺸﻴﺪ‪ ،‬ﺭﻭﺷﻦ ﺷﺪ‪ ،‬ﺑﺮﻕ ﺍﻓﺘﺎﺩ‪.‬‬
‫ﺑﺴــﺒﺐ ﺍﻟﻄﺒﻴﻌﺔ ﺍﳌﺸﺘﻘﺔ ﻟﻠﻐﺔ ﺍﻟﻌﺮﺑﻴﺔ‪ ،‬ﺗﺄﺧﺬ ﻛﻞ ﻛﻠﻤﺔ ﻣﻌﺎﻥ ﳐﺘﻠﻔﺔ ﻓﯽ ﺍﳍﻴﺎﻛﻞ ﺍﳌﺨﺘﻠﻔﺔ‬
‫ﻭﺍﻟﱰﺍﻛﻴﺐ ﺍﳌﺘﻨﻮﻋﺔ‪ .‬ﻋﻠﯽ ﺳــﺒﻴﻞ ﺍﳌﺜﺎﻝ‪ ،‬ﻳﻌﺘﱪ "ﺍﻹﺷﺮﺍﻕ" ﻣﺘﻌﺪﻳﴼ ﻭﳝﻜﻦ ﺃﻥ ﻳﻨﻄﻮﯼ ﻋﻠﯽ‬
‫ﻧﻘﻞ ﺗﺄﺛﲑ ﺍﻹﺷــﺮﺍﻕ ﺃﯼ ﺍﻟﺴــﻌﺎﺩﺓ ﺇﻟﯽ ﺍﻵﺧﺮﻳﻦ‪ ،‬ﻭﻟﻜﻦ "ﺍﻻﻟﺘﻤﺎﻉ" ﻫﻮ ﻣﻦ ﺑﺎﺏ ﺍﻓﺘﻌﺎﻝ‬
‫ﺍﻟﺬﯼ ﻟﻪ ﻣﻌﻨﯽ ﺍﳌﻄﺎﻭﻋﺔ ﻭﻳﺆﻛﺪ ﻋﻠﯽ ﺗﺄﺛﺮ ﺍﻟﻔﺎﻋﻞ ﻧﻔﺴــﻪ‪ .‬ﻛﻤﺎ ﻳﻜﺸــﻒ ﺗﻌﺒﲑ ﻣﺜﻞ "ﻫﻠﻞ"‬
‫ﻋﻦ ﲰﺔ ﺃﺧﺮﯼ ﻟﻠﻐﺔ ﺍﳌﺸــﺘﻘﺔ‪ ،‬ﻭﻫﯽ ﺃﻥ ﺑﻌﺾ ﺍﻟﺼﻮﺭ ﺍﻟﺒﻼﻏﻴﺔ ﳝﻜﻦ ﺗﺒﺴــﻴﻄﻬﺎ ﻭﺗﻠﺨﻴﺼﻬﺎ‬
‫ﻓﯽ ﻋﺒﺎﺭﺓ ﻣﻮﺟﺰﺓ ﻭﻣﺸــﺘﻘﺔ ﻣﻦ ﻣﺄﺧﺬﻩ ﺍﻷﺩﺑﯽ‪ ،‬ﻭﺑﺎﻟﺘﺎﻟﯽ ﻭﺿﻌﻬﺎ ﲢﺖ ﺗﺼﺮﻑ ﻟﻐﺔ ﺍﳉﻤﻴﻊ‬
‫"ﺷﺎﺋﻌﺎ"‪ ،‬ﻣﺜﻞ "ﻫﻠﻞ ﻭﺟﻬﻪ"‪ ،‬ﻭﻫﯽ ﻣﺸﺘﻘﺔ ﻣﻦ "ﺃﺷﺮﻕ ﻭﺟﻬﻪ ﻛﺎﳍﻼﻝ"‪ ،‬ﻭﳝﻜﻦ‬
‫ﻓﺘﺼﺒﺢ ﺗﻌﺒﲑﴽ ً‬
‫ﺃﻳﻀﺎ ﺃﺣﺪ ﺃﺳﺒﺎﺏ ﺗﻨﻮﻉ ﺍﻷﻓﻌﺎﻝ ﺍﳌﺘﻌﻠﻘﺔ ﺑﺎﻟﻨﻮﺭ‪.‬‬
‫ﺃﻥ ﺗﻜﻮﻥ ﻫﺬﻩ ﺍﳌﺴﺄﻟﺔ ً‬
‫ﺃﻥ ﺍﺳــﺘﻌﺎﺭﺓ ﺍﻟﻨﻮﺭ ﻟﺘﺼﻮﺭ ﺍﻟﻔﺮﺡ ﮐﺄﻧﻬﺎ ﺗﺘﻀﻤﻦ ﺍﻓﱰﺍﺽ ﻟﻮﻧﴼ ﻣﺸــﺮﻗﴼ‬
‫ﻭﺟﺪﻳﺮ ﺑﺎﻟﺬﮐﺮ ّ‬
‫ﻭﻻﻣﻌﴼ ﻟﻠﻤﺤﻴﻂ ﻓﯽ ﻋﻴﻨَﯽ ﺍﻟﺸــﺨﺺ ﺍﻟﻔ ِﺮﺡ ‪-‬ﺍﺿﺎﻓﺔ ﺇﻟﯽ ﺍﻟﺘﺄﺛﲑﺍﺕ ﺍﻟﻔﺴــﻴﻮﻟﻮﺟﻴﺔ ﻟﺪﻳﻪ‬
‫ﺃﻥ ﺍﻟﺸﺨﺺ ﺇﺫﺍ ﺷﻌﺮ ﺑﺪﺭﺟﺎﺕ ﻋﺎﻟﻴﺔ ﻣﻦ ﺍﳊﺰﻥ‬
‫ﮐﺈﺷﺮﺍﻕ ﺍﻟﻮﺟﻪ ﻭ ﺍﻟﻌﻴﻨﺎﻥ‪ -‬ﻓﻨﺤﻦ ﻧﺪﺭﯼ ّ‬
‫ﻓﻴﮑﻮﻥ ﺿﻮﺀ ﺍﻟﻨﻬﺎﺭ ﺍﳌﺸــﺮﻕ ﻣﻌﺘﻤ ٌﺎ ﻓﯽ ﻧﻈﺮﻩ )ﺳــﻴﻪ ﺭﻭﺯﯼ( ﺃﯼ ﻳﺼﲑ ﺍﻟﻨﻬﺎﺭ ﺳــﻮﺍﺩﴽ ﻓﯽ‬
‫ﻋﻴﻨﻴﻪ‪ .‬ﻓﺎﻻﺳﺘﻌﺎﺭﺓ ﺍﳌﻌﺮﻓﻴﺔ ﳝﻜﻦ ﺃﻥ ﺗﺸﲑ ﺇﻟﯽ ﺃﻥ ﺍﻟﻮﺍﻗﻊ ﺍﳋﺎﺭﺟﯽ ﻻ ﻳﻨﻌﮑﺲ ﺑﺎﻟﻀﺮﻭﺭﺓ‬
‫ﻓــﯽ ﺍﻟﻌﻘــﻞ ﻭﺍﻟﻠﻐﺔ ﻛﻤﺎ ﻫﯽ‪ ،‬ﺑﻞ ﺇﺿﺎﻓﺔ ﺇﻟﯽ ﺍﻟﻮﺍﻗﻊ ﺍﳋﺎﺭﺟــﯽ‪ ،‬ﻓﺎﻟﻮﺍﻗﻊ ﺍﳌﻌﺮﻓﯽ ﺃﻳﻀﺎ ﻫﻮ‬
‫ﻧﻔﺴﻪ ﺣﻘﻴﻘﺔ ﺗﻨﺒﻌﺚ ﻣﻦ ﻏﺮﺑﺎﻝ ﺍﻟﻌﻘﻞ ﺍﻻﺳﺘﻌﺎﺭﯼ‪.‬‬

‫ﺝ( ﺍﻟﻔﺮﺡ ﺳﺎﺋﻞ ﺩﺍﺧﻞ ﺍﻟﻮﻋﺎﺀ‬

‫ﺍﳌﻔﻬﻮﻡ ﺍﻻﺳــﺘﻌﺎﺭﯼ ﺍﳌﻬﻢ ﺍﻵﺧﺮ ﻟﻠﻔﺮﺡ ﻫﻮ ﺍﺳــﺘﻌﺎﺭﺓ "ﺍﻟﻔﺮﺡ ﺳﺎﺋﻞ ﺩﺍﺧﻞ ﺍﻟﻮﻋﺎﺀ"‪.‬‬
‫ﺩﺭﺍﺳﺔ ﻣﻌﺮﻓﻴﺔ ﳌﻔﻬﻮﻡ ﺍﻟﻔﺮﺡ ﻓﯽ ﺍﻟﻠﻐﺘﲔ ﺍﻟﻌﺮﺑﻴﺔ ﻭﺍﻟﻔﺎﺭﺳﻴﺔ؛ ﺩﺭﺍﺳﺔ ﺗﻘﺎﺑﻠﻴﺔ ‪١٤١ /‬‬

‫ﻳﺘﻢ ﺗﺼﻮﻳﺮ‬
‫ﺼﻮﺭ ﺍﻟﺴــﻌﺎﺩﺓ ﻋﻠﯽ ﺃﻧّﻬﺎ ﻣﺎﺩﺓ ﻓﯽ ﻭﻋﺎﺀ‪ .‬ﺑﺸــﻜﻞ ﻋﺎﻡ‪ّ ،‬‬
‫ﻓﯽ ﻫﺬﻩ ﺍﻻﺳــﺘﻌﺎﺭﺓ‪ ،‬ﺗُ َّ‬
‫ﻫﺬﻩ ﺍﳌﺎﺩﺓ ﻋﻠﯽ ﺃﻧﻬﺎ ﺳــﺎﺋﻞ‪ ،‬ﻟﻜﻦ ﻟﻴﺲ ﻟﺪﻳﻨﺎ ﺃﯼ ﻓﻜــﺮﺓ ﻋﻦ ﻧﻮﻋﻬﺎ ﻭﺗﻔﺎﺻﻴﻠﻬﺎ‪ .‬ﻭﺑﺎﻟﺘﺎﻟﯽ‪،‬‬
‫ﺃﻳﻀﺎ‪ .‬ﺗﺸﻤﻞ‬
‫ﻓﺈﻥ ﻫﺬﻩ ﺍﻻﺳــﺘﻌﺎﺭﺓ ﻫﯽ ﳎﺮﺩ ﺍﺳﺘﻌﺎﺭﺓ ﻋﺎﻣﺔ ﻭﻫﯽ ﺷﺎﺋﻌﺔ ﻓﯽ ﲨﻴﻊ ﺍﻟﻠﻐﺎﺕ ً‬
‫ﺍﻟﺘﻌﺒﲑﺍﺕ ﺍﻟﻠﻐﻮﻳﺔ ﺍﻟﺸــﺎﺋﻌﺔ ﺍﻟﺘﯽ ﺗﺮﻣﺰ ﳍﺬﻩ ﺍﻻﺳــﺘﻌﺎﺭﺓ ﺍﳌﻔﺎﻫﻴﻤﻴﺔ ﺑﺎﻟﻔﺎﺭﺳﻴﺔ ﻭﺍﻟﻌﺮﺑﻴﺔ ﻣﺎ‬
‫ﻳﻠﯽ‪:‬‬
‫ﺑﺎ ﻗﻠﺒﯽ ﳑﻠﻮ‪ /١‬ﺳﺮﺷــﺎﺭ‪ /‬ﻟﱪﻳﺰ ﺍﺯ ﺷــﺎﺩﯼ‪] .‬ﺑﻘﻠﺐ ﳝﺘﻠﺊ‪ /‬ﻳﺰﺧــﺮ‪ /‬ﻳﻔﻴﺾ ﺑﺎﻟﻔﺮﺡ[؛‬
‫ﺗﺴﺘﺨﺪﻡ ﻫﺬﻩ ﺍﳌﺼﻄﻠﺤﺎﺕ ﺍﻟﻔﺎﺭﺳﻴﺔ ﻓﯽ ﺍﻟﻠﻐﺔ ﺍﻷﺩﺑﻴﺔ ﻓﯽ ﺍﻟﻐﺎﻟﺐ‪.‬‬
‫ﺩﺍﺷﺘﻢ ﺍﺯ ﺧﻨﺪﻩ ﻣﯽﺗﺮﮐﻴﺪﻡ‪] .‬ﮐﻨﺖ ﺃﻧﻔﺠﺮ ﻣﻦ ﺍﻟﻀﺤﻚ[‬
‫ﺍﺯ ﺧﻮﺷﺤﺎﻟﯽ ﻗﻨﺪ ﺗﻮﯼ ﺩﻟﺶ ﺁﺏ ﻣﯽﺷﻮﺩ‪] .‬ﺗﺬﻭﺏ ﺣﺒﺔ ﺍﻟﺴﻜﺮ ﻓﯽ ﻗﻠﺒﻪ ﻣﻦ ﺍﻟﻔﺮﺡ[؛‬
‫ﻓﺎﻹﻧﺴﺎﻥ ﻋﻨﺪﻣﺎ ﻳﺮﯼ ﺷﻴﺌًﺎ ً‬
‫ﻟﺬﻳﺬﺍ ﻣﺜﻞ ﺍﳊﻠﻮﻳﺎﺕ ﻳﺰﻳﺪ ﺍﻓﺮﺍﺯﺍﺕ ﻓﻤﻪ ﻭﻳﺴﻴﻞ ﻟﻌﺎﺑﻪ‪ .‬ﻭﻫﺬﻩ‬
‫ﺍﻟﻌﺒﺎﺭﺓ ﺗﺴﺘﺨﺪﻡ ﻓﯽ ﺍﳌﻮﺍﻗﻒ ﺍﻟﺘﯽ ﳚﻌﻞ ﻓﻴﻬﺎ ﺷﯽﺀ ﻣﺎ ﻳﺸﻌﺮ ﺍﻹﻧﺴﺎﻥ ﺑﺸﻮﻕ ﻭﺇﺛﺎﺭﺓ ﮐﺜﲑﺓ‬
‫ﻭﻛﺄﻥ ﻟﻌﺎﺏ ﻗﻠﺒﻪ ﻳﺴﻴﻞ ﻭﻳﺬﻳﺐ ﻓﻴﻪ ﺣﺒﺔ ﺍﻟﺴﻜﺮ ﺍﳉﺎﻣﺪﺓ ﻓﺘﺼﺒﺢ ﻣﺬﺍﻕ ﺍﻟﻘﻠﺐ ﺣﻠﻮﺓ‪.‬‬
‫ﻓﯽ ﺑﻌﺾ ﺍﻟﻌﺒﺎﺭﺍﺕ‪ ،‬ﻳﻜﻮﻥ ﺍﻟﻮﻋﺎﺀ ﻧﻔﺴﻪ ﺃﻛﺜﺮ ﺑﺮﻭﺯﺍ )ﺃﺟﺰﺍﺀ ﺍﻟﻮﻋﺎﺀ(‪:‬‬
‫ﻣﻦ ﺍﺯ ﺗﻪ ﺩﻝ ﺧﻮﺷــﺤﺎﻝ ﺑﻮﺩﻡ‪] .‬ﻛﻨﺖ ﺳــﻌﻴﺪﴽ ﻣﻦ ﺃﻋﻤﺎﻕ ﻗﻠﺒﯽ[‪) .‬ﳒﻔﯽ‪١٣٨٧ ،‬ﺵ‪:‬‬
‫‪(٣٤١‬‬
‫ﺍﺯ ﺗﻪ ﺩﻝ ﺧﻨﺪﻳﺪﻡ‪] .‬ﺿﺤﻜﺖ ﻣﻦ ﺃﻋﻤﺎﻕ ﻗﻠﺒﯽ[‬
‫ﻧﮕﺎﻩ ﮐﺮﺩ ﺑﻪ ﺳــﺎﺧﺘﻤﺎﻧﯽ ﮐﻪ ﺑﺎﻻ ﺑﺮﺩﻩ ﺑﻮﺩ‪" ،‬ﺗﻪ ﺩﻟﺶ ﻏﻨﺞ ﻣﯽﺭﻓﺖ"‪) .‬ﺍﳌﺼﺪﺭ ﻧﻔﺴــﻪ‪:‬‬
‫‪] (٣٤٠‬ﻧﻈﺮ ﺇﻟﯽ ﺍﳌﺒﻨﯽ ﺍﻟﺬﯼ ﺃﻗﺎﻣﻪ‪" ،‬ﻓﻜﺎﻧﺖ ﺃﻋﻤﺎﻕ ﻗﻠﺒﻪ ﲤﻠﻤﻞ ﺑﺪﻻﻝ ﻭﲤﻴﻞ ﺍﻟﯽ ﺍﻹﻏﻤﺎﺀ‬
‫ﺷﻮﻗﴼ"[‬
‫ﻭﻋﺎﺀ‬
‫ﻭﻓﯽ ﺑﻌﺾ ﺍﻷﺣﻴﺎﻥ‪ ،‬ﻟﻠﺘﻌﺒﲑ ﻋﻦ ﺷــﺪﺓ ﺍﻟﻔﺮﺡ ﻭﺍﻟﺴــﻌﺎﺩﺓ‪ ،‬ﻳﺼﺒﺢ ﺍﻟﺴــﺎﺋﻞ ﻛﺄﻧّﻪ ً‬
‫ﻭﺍﻟﺸﺨﺺ ﻳﻐﺮﻕ ﻓﻴﻪ‪ ،‬ﻛﻤﺎ ﻟﻮ ﺍﺳﺘﺒﺪﻝ ﺍﻟﻮﻋﺎﺀ ﻭﳏﺘﻮﺍﻩ‪.‬‬
‫ﻏﺮﻕ ﺷﺎﺩﻳﻪ‪) .‬ﻣﻠﻜﻴﺎﻥ ﻭﺳﺎﺳﺎﻧﯽ‪١٣٩٢ ،‬ﺵ‪] (١٣١ :‬ﻏﺎﺭﻕ ﻓﯽ ﺍﻟﻔﺮﺡ[؛ ﻫﻨﺎﻙ ﻣﻔﻬﻮﻡ‬
‫ﻣﺸﺎﺑﻪ ﻓﯽ ﺍﻟﻌﺮﺑﻴﺔ‪ :‬ﻛﻨﺖ ﻏﺎﺭﻗﴼ ﻓﯽ ﲝ ٍﺮ ﻣﻦ ﺍﻟﺴﻌﺎﺩ ِﺓ ﻭﺍﻟﺴﺮﻭﺭِ‪.‬‬

‫‪ .١‬ﺟﺪﻳﺮ ﺑﺎﻟﺬﻛﺮ ﺃﻥ ﺗﻌﺒﲑ "ﺍﻣﺘﻼﺀ ﺍﻟﻘﻠﺐ" ﺑﺎﻟﻔﺎﺭﺳــﻴﺔ ﺩﻭﻥ ﺫﻛﺮ ﺍﳌﺠﺎﻝ ﺍﳍﺪﻑ‪ ،‬ﻫﻮ ﺍﻟﺘﻌﺒﲑ ﻋﻦ ﺍﻻﺳــﺘﻴﺎﺀ‬
‫ﻭﺍﳊﺰﻥ‪ :‬ﺩﱂ ﭘُﺮﻩ ]ﻗﻠﱯ ﳑﺘﻠﺊ[ ﺃﻱ ﻣﻦ ﺍﳊﺰﻥ‪.‬‬
 ‫‪ / ١٤٢‬ﻓﺼﻠﻴﺔ ﺇﺿﺎﺀﺍﺕ ﻧﻘﺪﻳﺔ‪ ،‬ﺍﻟﺴﻨﺔ ‪ ،١١‬ﺍﻟﻌﺪﺩ ‪ ،٤٣‬ﺧﺮﻳﻒ ‪١٤٠٠‬ﺵ‬

‫ﻭﻫﻨﺎﻙ ﺗﻌﺒﲑﺍﺕ ﺣﻴﺚ ﻳﻜﻮﻥ ﺍﻟﺴﺎﺋﻞ ﻓﻴﻬﺎ ﻏﺎ ًﺯﺍ‪:‬‬

‫ﻭﻳﺘﻢ ﺍﺳــﺘﺨﺪﺍﻡ ﻫﺬﺍ ﺍﻟﺘﻌﺒﲑ ﻓﯽ ﺍﻟﻔﺎﺭﺳﻴﺔ ﻟﻠﻤﺰﺍﺝ ﺍﳉﻴﺪ‬
‫ﺗﻮﭘﻪ ﺗﻮﭘﻪ‪] .‬ﺇﻧﻪ ﻛﺮﺓ ﮐﺎﻣﻠﺔ[‪ّ ،‬‬
‫ﻭﻳﻘﻮﻟﻮﻥ ﻟﻠﺸﺨﺺ ﺍﳌﻨﺰﻋﺞ‪ :‬ﭼﺮﺍ ﭘﻨﭽﺮﯼ؟ ]ﳌﺎﺫﺍ ﻣﺜﻘﻮﺑﺔ؟[ ﺣﻴﺚ ﻳُﺘﺼﻮﺭ ﻓﻴﻪ ﺍﳊﺰﻥ ﺑﺈﻓﺮﺍﻍ‬
‫ﺳــﻮﺍﺋﻞ ﺍﻟﻐﺎﺯ ﻣﻦ ﺇﻃﺎﺭ ﺍﻟﺴــﻴﺎﺭﺓ‪ .‬ﻭﻗﺮﻳﺐ ﳍﺬﺍ ﺍﻟﺒﻴﺎﻥ ﺍﻻﺳــﺘﻌﺎﺭﯼ ﻟﺪﻳﻨﺎ "ﺍﻻﻧﺘﻔﺎﺥ" ﻓﯽ‬
‫ﺍﻟﻌﺮﺑﻴــﻪ ﻭﻟﮑﻨﻪ ﻳﺪﻝ ﻋﻠﯽ ﺍﻟﮑﱪ ﻭﺍﻻﺧﺘﻴﺎﻝ‪ :‬ﻣﻨﺘﻔِﺦ ﮐــﱪﺍ ﻣﻦ ﻓﻮﺯﻩ )ﳎﻤﻮﻋﺔ ﻣﻦ ﺍﳌﺆﻟﻔﲔ‪،‬‬
‫ﻻﺗﺎ‪.(١٤٣٢ :‬‬
‫ﻭﺃﻣﺎ ﺍﻷﻣﺜﻠﺔ ﺍﻟﻠﻐﻮﻳﺔ ﻟﻠﻔﺮﺡ ﻛﺴﺎﺋﻞ ﻓﯽ ﻭﻋﺎﺀ ﺑﺎﻟﻌﺮﺑﻴﺔ‪:‬‬
‫ﺍﻟﺒﻬﺠﺔ ﲤﻸ ﺍﻟﻘﻠﻮﺏ‪.‬‬
‫)‪(Al Sharif, 2007: 56‬‬ ‫ﻭﺟﺪﺗﻪ ﻗﺪ ﺍﻣﺘﻸ ﻓﺮﺣﴼ‪.‬‬
‫ﺗﻌﱪ ﻋﻦ ﺍﻟﻔﺮﺡ ﺍﻟﺬﯼ ﳝﻸ ﻗﻠﺒﻬﺎ‪) .‬ﺍﳌﺼﺪﺭ ﻧﻔﺴﻪ(‬
‫ﻟﻜﯽ ّ‬
‫ﻄﻔﺢ ﺑﺎﳊﻴﺎﺓ‪) .‬ﳎﻤﻮﻋﺔ ﻣﻦ ﺍﳌﺆﻟﻔﲔ‪ ،‬ﻻﺗﺎ‪(٩١١ :‬‬
‫ﺷﺒﺎﺏ ﻳَ ُ‬
‫ٌ‬
‫ﻧﺒﺄ ﺃﻓﻌﻤﻪ ﺑﻬﺠﺔً‪) .‬ﺍﳌﺼﺪﺭ ﻧﻔﺴﻪ‪(١٢٤ :‬‬
‫ﺍﻧﻔﺠﺮ َﺿ ِﺤﻚ‪) .‬ﺍﳌﺼﺪﺭ ﻧﻔﺴﻪ‪(١٠٧٧ :‬‬
‫َﺿ ِﺤﻚ ﻣِﻠﺊ ِﺷــﺪﻗَﻴﻪ‪) .‬ﳎﻤﻮﻋﺔ ﻣﻦ ﺍﳌﺆﻟﻔﲔ‪ ،‬ﻻﺗــﺎ‪(٨٧١ :‬؛ ﻭﺇﺫﺍ ﻛﺎﻥ ﻫﻨﺎﻙ ﺩﻻﻟﺔ ﻓﯽ‬
‫ﺍﻟﺴــﻴﺎﻕ ﺍﻟﻠﻔﻈﯽ ﻗﺪ ﺗﻌﻨﯽ ﺍﻟﻌﺒﺎﺭﺓ ﺍﻟﺴﺨﺮﻳﺔ ﻭﻟﻴﺲ ﺍﻟﻔﺮﺡ‪ ،‬ﻣﺜﻞ‪" :‬ﺗﮑ ّﻠﻒ ﺍﺑﺘﺴﺎﻣﺔ" )ﺍﳌﺼﺪﺭ‬
‫"ﺿ ِﺤﻚ ﻋﻠﯽ‬
‫ﻧﻔﺴــﻪ‪(١٢٤٣ :‬؛ "ﺿﺤﮑﺔ ﺻﻔﺮﺍﻭﻳﺔ" ﺃﯼ ﺍﺳــﺘﻬﺰﺍﺋﻴﺔ )ﺍﳌﺼﺪﺭ ﻧﻔﺴﻪ‪(٨٧١ :‬؛ َ‬
‫َﺫﻗَﻦ‪ ١‬ﻓﻼﻥ" ﺃﯼ ﺧﺪﻋﻪ ﻭﺳﺨﺮ ﻣﻨﻪ‪) .‬ﺍﳌﺼﺪﺭ ﻧﻔﺴﻪ‪(٥٠٩ :‬‬
‫ﺃﻥ ﺍﺳﺘﺨﺪﺍﻡ ﺍﺳﺘﻌﺎﺭﺓ "ﺍﻟﻮﻋﺎﺀ" ﻟﻠﺘﻌﺒﲑ ﻋﻦ‬
‫ﺑﺎﻟﻨﻈﺮ ﺇﻟﯽ ﺍﻟﻌﺒﺎﺭﺍﺕ ﺃﻋﻼﻩ‪ ،‬ﳝﻜﻦ ﻣﻼﺣﻈﺔ ّ‬
‫ﺍﻟﺴــﻌﺎﺩﺓ ﺃﻣﺮ ﺷــﺎﺋﻊ ﻓﯽ ﻛﻠﺘﯽ ﺍﻟﻠﻐﺘﲔ‪ ،‬ﻟﮑﻦ ﺍﻟﻔﺮﻕ ﻫﻮ ﺃﻧّﻪ ﺍﻷﻣﺜﻠﺔ ﺍﻟﻠﻐﻮﻳﺔ "ﺍﳋﺎﺻﺔ" ﳍﺬﻩ‬
‫ﺍﻻﺳﺘﻌﺎﺭﺓ ﻫﯽ ﺍﻟﺸﺎﺋﻌﺔ ﻓﯽ ﺍﻟﻔﺎﺭﺳﻴﺔ؛ ﺃﯼ ﺗﺒﺘﻌﺪ ﻫﺬﻩ ﺍﻻﺳﺘﻌﺎﺭﺓ ﻓﯽ ﺍﻟﻔﺎﺭﺳﻴﺔ ﻋﻦ ﺍﳌﺴﺘﻮﯼ‬
‫ﺍﻟﻌﺎﻡ ﻭﲢﻤﻞ ﺍﳌﺰﻳﺪ ﻣﻦ ﺍﻹﺣﺪﺍﺛﻴﺎﺕ ﻭﺍﻟﺘﻔﺎﺻﻴﻞ‪ ،‬ﻋﻠﯽ ﺳﺒﻴﻞ ﺍﳌﺜﺎﻝ‪ ،‬ﻓﯽ ﻋﺒﺎﺭﺓ "ﻗﻨﺪ ﺗﻮﯼ‬
‫ﺩﻟﺶ ﺁﺏ ﻣﯽﺷﻪ"؛ ﺃﻭ "ﺗﻪ ﺩﻟﺶ ﻏﻨﺞ ﻣﯽﺭﻓﺖ" ﻓﻤﺜﻞ ﻫﺬﻩ ﺍﻟﻌﺒﺎﺭﺍﺕ ﺗﺸﺘﻤﻞ ﻋﻠﯽ ﺗﻔﺎﺻﻴﻞ‬
‫ﻳﺘﻢ‬
‫ﻣﺮ ﺳﺎﻟﻔﺎ‪ -‬ﻣﻘﺎﺭﻧﺔ ﺑﺎﻟﻌﺒﺎﺭﺍﺕ ﺍﻟﻌﺮﺑﻴﺔ‪ .‬ﻓﻴﺒﺪﻭ ﺃﻧﻪ ﻓﯽ ﺍﻟﻌﺮﺑﻴﺔ‪ ،‬ﻏﺎﻟﺒًﺎ ﻣﺎ ّ‬
‫ﺃﮐﺜﺮ ﻭﺃﺩﻕ ‪-‬ﮐﻤﺎ ّ‬
‫ﺍﺳﺘﺨﺪﺍﻡ ﺍﺳﺘﻌﺎﺭﺓ ﺍﻟﻮﻋﺎﺀ ﻓﯽ ﻣﺴﺘﻮﺍﻫﺎ ﺍﻟﻌﺎﻣﺔ‪.‬‬
‫‪" .١‬ﺍﻟﺬﻗﻦ" ﰲ ﺍﻟﻌﺮﺑﻴﺔ ﻭ"ﺍﻟﻠﺤﻴﺔ" ﰲ ﺍﻟﻔﺎﺭﺳﻴﺔ )ﺑﻪ ﺭﻳﺸﺶ ﺧﻨﺪﻳﺪ(‪ ،‬ﻫﻲ ﺍﻟﺘﺠﺴﻴﺪ ﺍﻟﺜﻘﺎﰲ ﻟﺴﻤﻌﺔ ﺍﻟﻔﺮﺩ ﻭﺷﺨﺼﻴﺘﻪ‪.‬‬
‫ﺩﺭﺍﺳﺔ ﻣﻌﺮﻓﻴﺔ ﳌﻔﻬﻮﻡ ﺍﻟﻔﺮﺡ ﻓﯽ ﺍﻟﻠﻐﺘﲔ ﺍﻟﻌﺮﺑﻴﺔ ﻭﺍﻟﻔﺎﺭﺳﻴﺔ؛ ﺩﺭﺍﺳﺔ ﺗﻘﺎﺑﻠﻴﺔ ‪١٤٣ /‬‬

‫ﺃﻥ ﺍﻣﺘﻼﺀ "ﺍﳉﺴــﺪ" ﺑﺎﻟﻔﺮﺡ ﺃﻛﺜﺮ ﺷــﻴﻮ ًﻋﺎ ﻓﯽ ﺍﻟﻌﺮﺑﻴﺔ ﻣﻨﻪ ﻓﯽ‬
‫ﻣﻦ ﻧﺎﺣﻴﺔ ﺃﺧﺮﯼ‪ ،‬ﻧﺮﯼ ّ‬
‫ﺍﻟﻔﺎﺭﺳــﻴﺔ ﻓﻔﯽ ﺍﻟﻔﺎﺭﺳــﻴﺔ ﻳﻨﻈﺮ ﺇﻟﯽ "ﺍﻟﻘﻠﺐ" ﻋﻠﯽ ﺃﻧﻪ ﻭﻋﺎﺀ ﻟﻠﻔﺮﺡ ﻓﯽ ﺍﻟﻐﺎﻟﺐ‪ .‬ﻳﻮ ﻳﻘﻮﻝ‪:‬‬
‫ﻭﻋﺎﺀ‪ ،‬ﻳﺮﯼ ﺳــﺎﺋﻞ ﺍﻟﻔﺮﺡ ﺍﻟﺬﯼ ﻳﻔﻴﺾ‪ ،‬ﺑﺴــﻬﻮﻟﺔ ﺃﻛﱪ ﳑﺎ ﻟﻮ ﻛﺎﻥ‬
‫»ﻋﻨﺪﻣﺎ ﻳﻜﻮﻥ ﺍﳉﺴــﺪ ً‬
‫ﻷﻥ ﺍﻟﻘﻠﺐ ﻋﻀﻮ ﺩﺍﺧﻠﯽ ﻭ]ﻋﻨﺪ ﺍﻟﻔﻴﻀﺎﻥ[ ﻣﺎ ﳝﻸﻩ ﻫﻮ ﺍﻟﺴــﻼﻡ ﺩﺍﺧﻞ‬
‫ﻭﻋﺎﺀ‪ ،‬ﻭﻫﺬﺍ ّ‬
‫ﺍﻟﻘﻠﺐ ً‬
‫ﺍﳉﺴﻢ ﻭﺇﻧّﻪ ﻛ ّﻠﻤﺎ ﻛﺎﻧﺖ ﺍﻷﺷﺨﺎﺹ ﺃﻛﺜﺮ ﺍﻧﻄﻮﺍﺋﻴﺔ‪ ،‬ﺯﺍﺩ ﺍﺳﺘﺨﺪﺍﻡ ﺃﻋﻀﺎﺀ ﺍﳉﺴﻢ ﺍﻟﺪﺍﺧﻠﻴﺔ‪،‬‬
‫ﻭﻓﯽ ﺍﳌﺠﺘﻤﻌﺎﺕ ﺍﻟﺘﯽ ﻳﺴــﺘﺨﺪﻡ ﻓﻴﻬﺎ ﺍﳉﺴــﻢ ﻛﻠﻪ ﻛﻮﻋﺎﺀ‪ ،‬ﳝﻜﻦ ﺭﺅﻳﺔ ﺗﺪﻓﻖ ﺍﻟﺴﻮﺍﺋﻞ ﻣﻦ‬
‫ﺍﻟﺴــﻌﺎﺩﺓ ﺑﺴــﻬﻮﻟﺔ ﺃﻛﺜﺮ ﳑﺎ ﻛﺎﻥ ﻋﻠﻴﻪ ﻋﻨﺪﻣﺎ ﻳﻜﻮﻥ ﺍﻟﻘﻠﺐ ﻫﻮ ﺍﻟﻮﻋﺎﺀ‪(Yu, 1995: 77) «.‬‬

‫ﺗﺆﻛﺪ ﺍﳌﻈﺎﻫﺮ ﺍﻟﻠﻐﻮﻳﺔ ﻟـ "ﺍﻟﻔﺮﺡ ﺳــﺎﺋﻞ ﺩﺍﺧﻞ ﺍﻟﻘﻠﺐ" ﺑﺎﻟﻠﻐﺘﲔ ﺍﻟﻌﺮﺑﻴﺔ ﻭﺍﻟﻔﺎﺭﺳﻴﺔ ﻋﻠﯽ ﻣﺎ‬
‫ﻭﺍﺿﺤﺎ ﻣﻘﺎﺭﻧﺔ‬
‫ً‬ ‫ﻭﻋﺎﺀ ﻓﻔﻴﻀﺎﻥ ﺍﻟﻘﻠﺐ ﻟﻴﺲ‬
‫ﻗﺎﻟــﻪ ﻳﻮ‪ ،‬ﺃﯼ ﺍﻟﻌﺒﺎﺭﺍﺕ ﺍﻟﺘﯽ ﻳﮑﻮﻥ ﻓﻴﻬﺎ ﺍﻟﻘﻠﺐ ً‬
‫ﺑﺎﻟﺘﻌﺒﲑﺍﺕ ﺍﻟﻨﺎﲡﺔ ﻋﻦ ﻓﻴﺾ ﺍﳉﺴــﺪ‪ .‬ﻋﻠﯽ ﺳﺒﻴﻞ ﺍﳌﺜﺎﻝ‪ ،‬ﻓﯽ ﻣﺼﻄﻠﺤﺎﺕ ﻣﺜﻞ "ﻗﻨﺪ ﺗﻮﯼ‬
‫ﻳﺘﻢ ﺍﺳﺘﺨﺪﺍﻣﻬﺎ ﺑﺸﻜﻞ ﺃﺳﺎﺳﯽ ﻓﯽ ﺍﳌﻮﺍﻗﻒ ﺍﻟﺘﯽ ﻻ ﻳﻜﻮﻥ ﻓﻴﻬﺎ ﺍﻟﻔﺮﺡ‬
‫ﺩﻟﺶ ﺁﺏ ﻣﯽﺷﻪ"‪ّ ،‬‬
‫ﺟﺪﺍ ﺃﻭ ﻻ ﻳﻨﻮﯼ ﺍﻟﺸﺨﺺ ﺭﺩ ﻓﻌﻞ ﺧﺎﺭﺟﯽ ﺑﺸﻜﻞ ﻭﺍﺿﺢ ﺑﺴﺒﺐ ﺑﻌﺾ‬
‫ﻭﺍﻟﺴﻌﺎﺩﺓ ﻭﺍﺿﺤﺔ ً‬
‫ﺍﻟﻘﻴﻮﺩ ﺍﻟﺜﻘﺎﻓﻴﺔ ﺃﻭ ﺍﻟﺸﺨﺼﻴﺔ‪.‬‬
‫ﻣﺮ ﺫﮐﺮﻩ ﻓﺎﺳــﺘﻌﺎﺭﺓ ﺍﻟﻔﺮﺡ ﺳﺎﺋﻞ ﺩﺍﺧﻞ ﺍﻟﻮﻋﺎﺀ‪ ،‬ﺍﺳــﺘﻌﺎﺭﺓ ﻋﺎﻣﺔ ﻻﺗﺒﲔ ﺗﻔﺎﺻﻴﻞ‬
‫ﮐﻤﺎ ّ‬
‫ﻳﻔﺴﺮ ﻓﻴﻬﺎ ﺍﻟﻔﺮﺡ‬
‫ﺃﮐﺜﺮ ﮐﻤﺎ ﺃﻧﻬﺎ ﻻﲢﺪﺩ ﺣﺮﺍﺭﺓ ﺍﻟﺴــﺎﺋﻞ ﺃﻭ ﺑﺮﻭﺩﺗﻪ‪ ،‬ﻭﻟﻜﻦ ﻫﻨﺎﻙ ﻋﺒﺎﺭﺍﺕ ﱠ‬
‫ﺑﺄﻧّﻪ "ﺑﺎﺭﺩﺓ"‪ ،‬ﻣﺜﻞ‪:‬‬
‫ﺛﻠﺞ ﺑﻪ ﺻﺪﺭﻩ‪) .‬ﳎﻤﻮﻋﺔ ﻣﻦ ﺍﳌﺆﻟﻔﲔ‪ ،‬ﻻﺗﺎ‪(١٦٩ :‬‬
‫ﱪ ﺛﻠﺠﺖ ﺑﻪ ﻧﻔﺴﯽ‪) .‬ﺍﳌﺼﺪﺭ ﻧﻔﺴﻪ(‬
‫ﻫﺬﺍ ﺧ ٌ‬
‫ﻋﻴﺶ ﺑﺎﺭﺩ‪ .‬ﺃﯼ ﻫﻨﯽﺀ )ﺍﳌﺼﺪﺭ ﻧﻔﺴﻪ‪(٧٧ :‬‬
‫ﺃﻗﺮ ﺍﷲ ﻋﻴﻨَﻪ‪.‬‬
‫ّ‬
‫ﺑﺎﻟﻨﺴﺒﺔ ﺇﻟﯽ ﺍﻟﻔﺎﺭﺳﻴﺔ‪ ،‬ﺗﺴــﺘﺨﺪﻡ "ﺍﻟﱪﻭﺩﺓ" ﻓﯽ ﺍﻟﺘﻤﻨّﯽ ﺍﻷﺩﺑﯽ ﺃﻭ ﻟﻠﺘﻌﺒﲑ ﻋﻦ ﺍﻟﺸﻌﻮﺭ‬
‫ﺑﺎﻻﺭﺗﻴﺎﺡ ﺑﺴﺒﺐ ﺍﺧﺘﻔﺎﺀ ﺍﻟﻐﻀﺐ ﺃﻭ ﺍﳌﻌﺎﻧﺎﺓ ﺑﻌﺪ ﺍﻻﻧﺘﻘﺎﻡ ﺃﻭ ﻫﺰﳝﺔ ﺍﻟﻌﺪﻭ ﺃﻭ ﺍﳌﻨﺎﻓﺲ‪:‬‬
‫ﭼﺸﻢﻫﺎﺵ ﺩﺍﺷﺖ ﺍﺯ ﺣﺴﻮﺩﯼ ﺩﺭ ﻣﯽﺁﻣﺪ‪" ،‬ﺩﱂ ﺣﺴﺎﺑﯽ ﺧﻨﮏ ﺷﺪ"‪) .‬ﳒﻔﯽ‪١٣٨٧ ،‬ﺵ‪:‬‬
‫‪] (٦٧٩‬ﻛﺎﺩﺕ ﻋﻴﻨﺎﻩ ﲣﺮﺟﺎﻥ ﻣﻦ ﳏﺎﺟﺮﳘﺎ ﻣﻦ ﺷــﺪﺓ ﺍﳊﺴــﺪ‪ ،‬ﺛﻠﺞ ﻗﻠﺒﯽ[؛ ﻛﺄﻧﻪ ﻳﺮﻳﺪ ﺃﻥ‬
‫ﻳﻘﻮﻝ "ﻛﻨﺖ ﺃﻏﻠﯽ ﺃﻭ ﺃﺷﺘﻌﻞ ﻏﻀﺒﺎ ﻟﻜﻨﻪ ﺑﺮﺩ ﻗﻠﺒﯽ ﻋﻨﺪﻣﺎ ﺭﺃﻳﺖ ﺣﺴﺪﻩ"‪.‬‬
 ‫‪ / ١٤٤‬ﻓﺼﻠﻴﺔ ﺇﺿﺎﺀﺍﺕ ﻧﻘﺪﻳﺔ‪ ،‬ﺍﻟﺴﻨﺔ ‪ ،١١‬ﺍﻟﻌﺪﺩ ‪ ،٤٣‬ﺧﺮﻳﻒ ‪١٤٠٠‬ﺵ‬

‫ُﺧﻨَﮏ ﺁﻥ َﺩﻡ ‪] ...‬ﻟﺘﮑﻦ ﺑﺎﺭﺩﺓ ﺗﻠﮏ ﺍﻟﻠﺤﻈﺔ ‪ [ ...‬ﺃﯼ ﺗﮑﻮﻥ ﺭﺍﺋﻌﺔ ﻭﻓﺮﺣﺔ ﺇﻥ‪...‬‬

‫ﺩ( ﺍﻟﻔﺮﺡ ﻭﺳﻌﺔ ﺃﻭ ﺑﺴﻂ‬

‫ﺍﻧﺒﺴﺎﻁ ﺗﻌﺎﺑﲑ ﺍﻟﻮﺟﻪ ﺃﻭ ﺍﻧﻔﺘﺎﺣﻪ ﻣﻦ ﺍﻷﺳﺲ ﺍﻟﺘﯽ ﺗﺸﮑﻞ ﺍﺳﺘﻌﺎﺭﺓ »ﺍﻟﺴﻌﺎﺩﺓ ﻭﺍﺳﻌﺔ‬
‫ﻭﺍﳊﺰﻥ ﺿﻴﻖ« )‪ ،(Lakoff & Johnson, 1980: 18‬ﻣﻦ ﺃﻣﺜﻠﺔ ﻫﺬﻩ ﺍﻻﺳﺘﻌﺎﺭﺓ‪:‬‬
‫ﺃﺳﺎﺭﻳﺮ ﻭﺟ ِﻬﻪ‪) .‬ﳎﻤﻮﻋﺔ ﻣﻦ ﺍﳌﺆﻟﻔﲔ‪ ،‬ﻻﺗﺎ‪(٩١ :‬‬
‫ُ‬ ‫ﺍﻧﺒﺴﻄﺖ‬
‫ﺍﻟﺴﻬﺮﺓ‪) .‬ﺍﳌﺼﺪﺭ ﻧﻔﺴﻪ(‬
‫ﱂ ﻳﻨﺒﺴﻂ ﻃﻮﺍﻝ ﱠ‬
‫ﺍﳋﻤﺮ ﻓﻼﻧﴼ )ﺍﳌﺼﺪﺭ ﻧﻔﺴﻪ‪(٩٠ :‬‬
‫ُ‬ ‫ﺑَ َﺴ ِ‬
‫ﻄﺖ‬
‫ﻻﺗﺒﺴﻄﻨﯽ ﺇﻃﻼﻗًﺎ‪) .‬ﺍﳌﺼﺪﺭ ﻧﻔﺴﻪ(‬
‫ﻫﺬﻩ ﺍﻟﺰﻳﺎﺭﺓ ُ‬
‫ﻛﺎﻥ ﻓﯽ ﺣﺎﻟﺔ ﻣﻦ ﺍﻟﺒَﺴﻂ‪) .‬ﺍﳌﺼﺪﺭ ﻧﻔﺴﻪ(‬
‫ﻭﺣ ّﻠﻘــﺖ ﺭﻭﺣﯽ ﻓﯽ ﺃﺟﻮﺍﺀ ﺍﻟﺴــﻌﺎﺩﺓ ﻭﺍﳊﺒﻮﺭ ﻭﺃﺻﺒﺤﺖ ﺍﻟﺪﻧﻴﺎ ﻻﺗَ َﺴــﻌﻨﯽ ﻣﻦ ﻓَ ِ‬
‫ﺮﻁ‬
‫ﺍﻟﺴــﺮﻭﺭ‪ .‬ﺇﻥ ﺍﻷﺧﲑ ﻳﺘﺼﻮﺭ ﺍﻟﻔﺮﺡ ﻭﺍﻟﺴــﻌﺎﺩﺓ ﲟﺰﻳﺞ ﻣﻦ ﺍﺳﺘﻌﺎﺭﺍﺕ ﺍﻟﻌﻠﻮ ﻭﺍﻻﻧﺸﺮﺍﺡ‬
‫ﺃﻥ ﺍﻷﺭﺽ ﱂ ﺗﻌﺪ ﺑﻬﺎ ﻣﺴــﺎﺣﺔ ﻟﺘﺴــﺘﻮﻋﺐ ﺍﻟﻔﺮﺩ‪ .‬ﻟﻴﺲ ﳍﺬﺍ‬
‫ﻭﺍﻟﻮﻋﺎﺀ‪ .‬ﻳﺒﺪﻭ ﺍﻷﻣﺮ ﻛﻤﺎ ﻟﻮ ّ‬
‫ﺍﳌﺒﺪﺃ ﺃﯼ "ﺃﺻﺒﺤﺖ ﺍﻟﺪﻧﻴﺎ ﻻﺗَ َﺴﻌﻨﯽ" ﻣﻌﺎﺩﻝ ﺑﺎﻟﻔﺎﺭﺳﻴﺔ ﻟﺘﺼﻮﺭ ﻣﻔﻬﻮﻡ ﺍﻟﻔﺮﺡ‪ ،‬ﻭﻟﻜﻦ ﻫﻨﺎﻙ‬
‫ﺍﺳﺘﻌﺎﺭﺓ "ﺃﺻﺒﺢ ﺟﺴﺪﯼ ﻻ ﻳﺴﻌﻨﯽ"‪:‬‬
‫ﺍﺯ ﺧﻮﺷــﺤﺎﻟﯽ ﺗﻮﯼ ﭘﻮﺳــﺘﺶ ﳕﯽﮔﻨﺠﻴﺪ‪) .‬ﳒﻔﯽ‪١٣٨٧ ،‬ﺵ‪] (٧٣٨ :‬ﻣﺎ ﮐﺎﻥ ﻳﺴﺘﻄﻴﻊ‬
‫ﺍﻟﻘﺮﺍﺭ ﻓﯽ ﺟﻠﺪﻩ ﻓﺮﺣﺎ[ ﻭﳍﺎ ﺑﺎﻟﻌﺮﺑﻴﺔ ﳑﺎﺛﻞ ﺃﻳﻀﴼ‪:‬‬
‫ﻓﺮﺣﴼ‪(Al Sharif, 2007: 65).‬‬ ‫ﻛﺎﺩ ﳜﺮﺝ ﻣﻦ ﺟﻠﺪﻩ‬
‫ﻛﻤﺎ ﺭﺃﻳﻨﺎ‪ّ ،‬‬
‫ﰎ ﺍﺳﺘﺨﺪﺍﻡ "ﺍﻟﺒﺴﻂ" ﻟـ "ﺍﻟﻮﺟﻪ" ﻭ"ﺍﳉﺴﻢ ﻛﻜﻞ" ﻟﺘﺼﻮﺭ ﺍﻟﻔﺮﺡ ﻓﯽ ﺍﻟﻌﺮﺑﻴﺔ‪.‬‬
‫ﮐﺬﻟﮏ "ﺍﻻﻧﺸﺮﺍﺡ" ﻫﻮ ﻣﻔﻬﻮﻡ ﺁﺧﺮ ﻳﺴﺘﺨﺪﻡ ﻟﺘﺼﻮﺭ ﺍﻟﻔﺮﺡ‪ ،‬ﻭﻳُﺴﻨﺪ ﻏﺎﻟﺒﺎ ﻣﺎ ﺇﻟﯽ "ﺍﻟﺼﺪﺭ"‬
‫ﻭﻳﺘﻤﺎﺷﯽ ﻣﻌﻨﺎﻩ ﻣﻊ ﻣﻌﻨﯽ ﺍﻟﺒﺴﻂ‪:‬‬
‫َﺷ ﱠﺮ َﺡ َﺻ َ‬
‫ﺪﺭﻩ ﻟِﻜﺬﺍ‪) .‬ﳎﻤﻮﻋﺔ ﻣﻦ ﺍﳌﺆﻟﻔﲔ‪ ،‬ﻻﺗﺎ‪(٧٥٧ :‬‬
‫ﺧﺎﻃﺮﻩ‪) .‬ﺍﳌﺼﺪﺭ ﻧﻔﺴﻪ(‬
‫َ‬ ‫َﺷ َﺮ َﺡ‬
‫ﳝﻜﻦ ﺍﻋﺘﺒﺎﺭ "ﺍﻟﻘﺒﺾ" ﻭ"ﺍﻟﻀﻴﻖ" ﻧﻘﻴﻀﲔ ﻟﻠﺒﺴﻂ ﻭﺍﻻﻧﺸﺮﺍﺡ ﻓﯽ ﺗﺼﻮﺭ ﺍﻟﻔﺮﺡ‪:‬‬
‫ﻭﺣﺰﻥ )ﺍﳌﺼﺪﺭ ﻧﻔﺴﻪ‪(١١٧٧ :‬‬
‫ﺍﻧﻘﺒﺎﺽ ﺍﻟ َﻘﻠﺐ‪ :‬ﻛﺂﺑﺔ ُ‬
‫ﺩﺭﺍﺳﺔ ﻣﻌﺮﻓﻴﺔ ﳌﻔﻬﻮﻡ ﺍﻟﻔﺮﺡ ﻓﯽ ﺍﻟﻠﻐﺘﲔ ﺍﻟﻌﺮﺑﻴﺔ ﻭﺍﻟﻔﺎﺭﺳﻴﺔ؛ ﺩﺭﺍﺳﺔ ﺗﻘﺎﺑﻠﻴﺔ ‪١٤٥ /‬‬

‫ﺿﺎﻕ ﺻﺪﺭﯼ ﻟﻚ‪.‬‬

‫ﻟﻜﻦ ﺍﻷﻣﺜﻠﺔ ﺍﻟﻠﻐﻮﻳﺔ ﻟﺘﺼﻮﺭ ﺍﻟﺒﺴﻂ ﻓﯽ ﺍﻟﻔﺎﺭﺳﻴﺔ ﺗﻈﻬﺮ ﲰﺎﺕ ﻣﺜﲑﺓ ﻷﻧّﻪ ﻓﯽ ﺍﻟﻔﺎﺭﺳﻴﺔ‬
‫ﻳﺴــﺘﺨﺪﻡ "ﺍﻻﻧﻔﺘﺎﺡ" ﺑﺪﻻ ﻣﻨﻪ ﻭﻟﻜﻦ ﺑﻨﻔﺲ ﺍﳌﻌﻨﯽ ﻟﻠﺒﺴــﻂ ﻭﺍﻻﻧﺸــﺮﺍﺡ ﻭﻏﺎﻟﺒًﺎ ﻣﺎ ﻳﻜﻮﻥ‬
‫ﻟﻠﻮﺟﻪ ﻭﺍﻟﻘﻠﺐ ﺍﻟﺪﻭﺭ ﺍﻟﺮﺋﻴﺴﯽ ﻓﻴﻪ‪:‬‬
‫ﻗﻴﺎﻓﻪﻫﺎﯼ ﮔﺮﻓﺘﻪ ﻭ ﺩﺭﻫﻢ ﺑﻪ ﮐﻠﯽ ﺑﺎﺯ ﺷــﺪﻩ ﺑــﻮﺩ‪) .‬ﳒﻔﯽ‪١٣٨٧ ،‬ﺵ‪] (٩٤٧ :‬ﺍﻧﻔﺘﺤﺖ‬
‫ﺍﳌﻼﻣﺢ ﺍﳌﻨﻘﺒﻀﺔ ﻭﺍﳌﻨﮑﻤﺸﺔ[ ﺃﯼ ﺍﻧﺸﺮﺣﺖ‬
‫ﺭﻧﮓ ﻭ ﺭﻭﺵ ﻭﺍ ﺷﺪﻩ‪) .‬ﻣﻠﻜﻴﺎﻥ ﻭﺳﺎﺳﺎﻧﯽ‪١٣٩٢ ،‬ﺵ‪] (١٣٢ :‬ﺻﺎﺭ ﻟﻮﻥ ﻭﺟﻬﻪ ﻓﺎﲢﴼ[‬
‫ﺃﺷﺮﻕ ﻭﺟ ُﻬﻪ؛ ﺟﺪﻳﺮ ﺑﺎﻟﺬﮐﺮ ﺃﻥ ﺍﻟﺒﺴﻂ ﻳﺘﻼﺋﻢ ﻣﻌﻨﺎﻩ ﻣﻊ ﺍﻟﻨﻮﺭ ﻓﯽ ﻣﺜﻞ ﻫﺬﻩ ﺍﻟﺘﻌﺎﺑﲑ‪.‬‬
‫َ‬ ‫ﺃﯼ‬
‫ﺩﱂ ﺑﺎﺯ‪ /‬ﻭﺍ ﺷﺪ‪] .‬ﺍﻧﻔﺘﺢ ﻗﻠﺒﯽ[ ﺃﯼ ﺍﻧﺸﺮﺡ ﺻﺪﺭﯼ؛ ﺿﺪﻩ‪ :‬ﺩﱂ ﺗﻨﮓ ﺷﺪ‪ ،‬ﺩﱂ ﮔﺮﻓﺖ‪ .‬ﺃﯼ‬
‫]ﺿﺎﻕ ﺻﺪﺭﯼ ﻭﺍﻧﻘﺒﺾ ﻗﻠﺒﯽ[‬
‫]ﲢﺪﺛﺖ ﻓﺎﻧﻔﺘﺢ ﻗﻠﺒﯽ‬
‫ُ‬ ‫ﺣﺮﻑ ﺯﺩﻡ ﻳﮏ ﺧﻮﺭﺩﻩ ﺩﱂ ﻭﺍ ﺷــﺪ‪) .‬ﳒﻔــﯽ‪١٣٨٧ ،‬ﺵ‪(٦٧٧ :‬‬
‫ﻗﻠﻴﻼ[ ﺃﯼ ﺍﻧﺸﺮﺡ ﺻﺪﺭﯼ؛ ﺗﻮﺿﺢ ﻫﺬﻩ ﺍﻟﻌﺒﺎﺭﺓ ﻣﺴﺘﻮﯼ ﺷﺪﺓ ﺍﻟﺸﻌﻮﺭ‬
‫ﺑﺎ ﺍﻳﻦ ﺩﻳﺪﺍﺭ ﺭﻭﺣﻴﻪﺍﻡ ﺑﺎﺯ ﺷﺪ‪] .‬ﺍﻧﻔﺘﺤﺖ ﻣﻌﻨﻮﻳﺎﺗﯽ ﺑﻬﺬﺍ ﺍﻟﻠﻘﺎﺀ[ ﺃﯼ ﺍﻧﺸﺮﺡ؛ ﻛﻤﺎ ﻧﻌﻠﻢ‪،‬‬
‫ﻓﺈﻥ "ﺑﺎﺯ ﺷﺪﻥ" ﻓﯽ ﺍﻟﻔﺎﺭﺳﻴﺔ‪ ،‬ﺑﺎﻹﺿﺎﻓﺔ ﺇﻟﯽ ﺍﺗﺴﺎﻉ ﺍﻟﻔﻀﺎﺀ ﻭﺯﻳﺎﺩﺓ ﺍﳌﺴﺎﺣﺔ ]ﺍﻻﻧﺸﺮﺍﺡ[‪،‬‬
‫ﺃﻳﻀﺎ ﻓﺘﺢ ﺍﻟﻔﻀﺎﺀ ﺍﳌﻐﻠﻖ ]ﺍﻻﻧﻔﺘﺎﺡ[‪ ،‬ﻣﺜﻞ‪:‬‬
‫ﻳﻌﻨﯽ ً‬
‫ﺃﺳﺎﺭﻳﺮ‬
‫ُ‬ ‫ﮔﻞ ﺍﺯ ﮔﻠﺶ ﺷــﮑﻔﺖ‪] .‬ﺍﻧﻔﺘﺤﺖ‪ /‬ﺍﺯﺩﻫﺮﺕ ﺍﻟﺰﻫﺮﺓ ﻣﻦ ﺯﻫﺮﺗﻪ[ ﺃﯼ ﺍﻧﺒﺴﻄﺖ‬
‫ﻭﺟ ِﻬﻪ‬

‫ﺡ( ﺍﻟﻔﺮﺡ ﺟﻨﻮﻥ‬

‫ﺃﻥ ﮐﻞ‬ ‫ﺍﻟﺘﺪﻗﻴﻖ ﻓﯽ ﻛﻠﻤﺘﯽ "ﺩﻳﻮﺍﻧﮕﯽ" ﻓﯽ ﺍﻟﻔﺎﺭﺳــﻴﺔ ﻭ"ﺍﳉﻨﻮﻥ" ﻓﯽ ﺍﻟﻌﺮﺑﻴﺔ ّ‬
‫ﻳﺪﻝ ﻋﻠﯽ ّ‬
‫ﻣﻦ ﻫﺬﻳﻦ ﺍﻟﻠﻠﻐﺘﲔ‪-‬ﺍﻟﺜﻘﺎﻓﺘﲔ ﻳﻌﻄﯽ ﺳــﺒﺒًﺎ ﻏﲑﻋﺎﺩﻳّﴼ ﻟﻼﺿﻄــﺮﺍﺏ ﺍﻹﺩﺭﺍﻛﯽ ﺍﳊﺎﺩ‪ ،‬ﻣﺜﻞ‬
‫"ﺩﻳﻮ" ﺃﯼ ﺍﻟﻮﺣﺶ ﻓﯽ ﺍﻟﻔﺎﺭﺳﻴﺔ ﻭ"ﺍﳉﻦ" ﻓﯽ ﺍﻟﻌﺮﺑﻴﺔ‪ .‬ﻭﺃﻣﺎ ﺍﳉﻨﻮﻥ ﻳﺸﲑ ﺇﻟﯽ ﺷﺪﺓ ﺍﻟﺸﻌﻮﺭ‬
‫ﻭﺃﻥ ﺍﻟﺸــﺨﺺ ﻳﻔﻘﺪ ﺍﻟﺴﻴﻄﺮﺓ ﻋﻠﯽ ﺷﺪﺓ ﻋﻮﺍﻃﻔﻪ ﻭﻳﻨﺨﺮﻁ ﻓﯽ ﺃﻓﻌﺎﻝ ﻏﺮﻳﺒﺔ ﻭﻣﺘﻄﺮﻓﺔ‪ّ .‬‬
‫ﺇﻥ‬ ‫ّ‬
‫ﺟﺪﺍ ﲝﻴﺚ ﺗﻄﻐﯽ ﻋﻠﯽ‬‫ﺗﺼــﻮﺭ ﺍﻟﻌﻮﺍﻃﻒ ﺑﺎﳉﻨﻮﻥ ﻳﻈﻬﺮ ﺃﻥ ﺍﻟﻌﻮﺍﻃﻒ ﳝﻜﻦ ﺃﻥ ﺗﺼﺒﺢ ﻗﻮﻳﺔ ً‬
‫ﲢﻜﻢ ﺍﻟﻔﺮﺩ‪ .‬ﻣﻦ ﺃﻣﺜﻠﺔ ﻫﺬﻩ ﺍﻻﺳﺘﻌﺎﺭﺓ ﻓﯽ ﺍﻟﻔﺎﺭﺳﻴﺔ‪:‬‬
 ‫‪ / ١٤٦‬ﻓﺼﻠﻴﺔ ﺇﺿﺎﺀﺍﺕ ﻧﻘﺪﻳﺔ‪ ،‬ﺍﻟﺴﻨﺔ ‪ ،١١‬ﺍﻟﻌﺪﺩ ‪ ،٤٣‬ﺧﺮﻳﻒ ‪١٤٠٠‬ﺵ‬

‫]ﺟﻦ[‬
‫ﺩﻳﻮﺍﻧﻪ ﺷﺪﻩ‪ّ .‬‬
‫ﺍﺯ ﺧﻮﺷــﺤﺎﻟﯽ ﻗﺎﻃﯽ ﮐﺮﺩﻩ‪] .‬ﺧ ّﻠﻂ ﻣﻦ ﺷــﺪﺓ ﺍﻟﻔﺮﺡ[ ﺃﯼ ﺧﻠﻂ ﺍﳌﺎﺀ ﻭﺍﻟﺰﻳﺖ ﻛﺴﻴﺎﺭﺓ‬
‫ﻣﻌﻄﻠﺔ‪.١‬‬
‫ﻛﻤﺎ ﺃﻧّﻪ ﻗﺪ ﺗُﺴــﺘﺨﺪﻡ ﺍﻟﺴــﻠﻮﻛﻴﺎﺕ ﻟﺘﺼﻮﺭ ﺍﻟﻔﺮﺡ‪ ،‬ﺍﻟﺘﯽ ﻻﺗﻈﻬﺮ ﻣﻦ ﺍﻟﺸﺨﺺ ﻓﯽ ﺣﺎﻟﺔ‬
‫ﻃﺒﻴﻌﻴﺔ ﻭﻣﻨﻄﻘﻴﺔ‪ ،‬ﻋﻠﯽ ﺳﺒﻴﻞ ﺍﳌﺜﺎﻝ‪:‬‬
‫ﺧﻮﺷــﺤﺎﱂ ﻭﻣﯽﺑﻴﻨﻢ ﮐﻪ ﺑﺎﻳﺪ "ﺑﺎ ﮐﻠﻪ ﻣﯽﺁﻣﺪﻡ"‪) .‬ﳒﻔﯽ‪١٣٨٧ ،‬ﺵ‪] (١١٧٥ :‬ﺃﻧﺎ ﺳﻌﻴﺪ‬
‫ﻭﺃﺭﯼ ﺃﻧّﻪ ﻛﺎﻥ ﻋﻠﯽ ﺍﻟﻘﺪﻭﻡ "ﻭﺭﺃﺳــﯽ ﻳﺴﺒﻘﻨﯽ"[ ﺃﯼ ﺍﻟﻘﺪﻭﻡ ﲟﻨﺘﻬﯽ ﺍﻟﺸﻮﻕ؛ ﺗﺴﺘﺨﺪﻡ ﻫﺬﻩ‬
‫ﺍﻟﻌﺒﺎﺭﺓ ﻟﻠﺘﻌﺒﲑ ﻋﻦ ﺷﺪﺓ ﺍﻟﺴﻌﺎﺩﺓ‪ ،‬ﳝﻜﻦ ﺑﺴﺒﺐ ﻭﺿﻊ ﺍﻟﺮﺃﺱ ﻓﯽ ﺍﻷﻣﺎﻡ ﻭﺍﳉﺴﻢ ﻓﯽ ﺍﳋﻠﻒ‬
‫ﺃﺛﻨﺎﺀ "ﺍﻟﺮﻛﺾ" ﺇﻟﯽ ﺍﳌﻜﺎﻥ ﺍﻟﺬﯼ ﻳﺬﻫﺐ ﺇﻟﻴﻪ ﺍﻟﺸﺨﺺ ﺑﺴﻌﺎﺩﺓ‪ .‬ﻛﻤﺎ ﻭﺭﺩ ﺑﺎﻟﻔﺎﺭﺳﻴﺔ‪ :‬ﺍﺯ ﺗﻮ‬
‫ﺑﻪ ﻳﮏ ﺍﺷﺎﺭﻩ‪ ،‬ﺍﺯ ﻣﻦ ﺑﻪ ﺳﺮ ﺩﻭﻳﺪﻥ ]ﻋﻠﻴﻚ ﺍﻹﺷﺎﺭﺓ ﺑﺈﺻﺒﻌﻚ ﻭﺳﻮﻑ ﺁﺗﯽ ﺟﺮﻳﴼ ﻭﺭﺃﺳﯽ‬
‫ﺃﻳﻀﺎ ﲟﻌﻨﯽ ّ‬
‫ﺃﻥ ﺍﻟﺸﺨﺺ ﻳﺘﺠﺎﻫﻞ ﻃﺮﻳﻘﺔ ﺍﳌﺸﯽ ﻟﺸﺪﺓ ﺍﻟﺴﻌﺎﺩﺓ ﻭﻳﻘﻮﻡ‬ ‫ﻳﺴﺒﻘﻨﯽ[؛ ﻗﺪ ﻳﻜﻮﻥ ً‬
‫ﺑﻌﻤﻞ ﻏﲑ ﻋﺎﺩﯼ‪.‬‬
‫ﺗﻮﺿﺢ ﺍﻷﻣﺜﻠﺔ ﺍﻟﺘﺎﻟﻴﺔ ﺍﺳﺘﺨﺪﺍﻡ ﺍﳉﻨﻮﻥ ﻓﯽ ﺗﺼﻮﺭ ﺍﻟﻔﺮﺡ ﻓﯽ ﺍﻟﻌﺮﺑﻴﺔ‪:‬‬
‫ﻃﺎﺭ ﻋﻘ ُﻠﻪ ﻓﺮﺣﴼ‪) .‬ﳎﻤﻮﻋﺔ ﻣﻦ ﺍﳌﺆﻟﻔﲔ‪ ،‬ﻻﺗﺎ‪(٩٣٠ :‬‬
‫ﺿﺤﻚ ﺟﻨﻮﻧﯽ‪) .‬ﺍﳌﺼﺪﺭ ﻧﻔﺴﻪ‪(٢٢٨ :‬‬
‫ﺷﺪﺓ ﺍﻟﺬﻫﻮﻝ ﻭﺍﻟﻔﺮﺡ‪.‬‬
‫ﳚﻦ ﻣﻦ ّ‬
‫ﻛﺎﺩ ﺍﻟﺮﺟﻞ ّ‬
‫ﻛﺪﺕ ﺃﻫﻴﻢ ﻓﺮﺣﺎ‪(٧٢ :٢٠٠٧ ,Al Sharif) .‬‬

‫‪ .١‬ﺟﺪﻳﺮ ﺑﺎﻟﺬﻛﺮ ﺃﻥ ﺍﻷﺟﻬﺰﺓ ﻭﺍﻵﻟﻴﺎﺕ ﻣﺜﻞ )ﺍﻟﺴــﻴﺎﺭﺓ( ﻫﻲ ﺇﺣﺪﯼ ﺍﳌﺠﺎﻻﺕ ﺍﳌﺼﺪﺭ ﺍﻟﺸــﺎﺋﻌﺔ ﰲ ﺍﻟﻠﻐﺔ‬
‫ﻳﺘﻢ ﺗﺸﻐﻴﻞ ﺳﻴﺎﺭﺓ‬
‫ﻣﺮ ﰲ ﺍﻟﻨﻤﻮﺫﺝ ﺍﳌﺬﮐﻮﺭ ﻭﻛﺬﻟﻚ ﰲ‪ :‬ﺑﺰﻥ ﺭﻭﺷــﻦ ﺷــﯽ ]ﺣﻘﱢﻦ ‪ ،...‬ﺣﱵ ّ‬ ‫ﺍﻟﻔﺎﺭﺳــﻴﺔ ﮐﻤﺎ ّ‬
‫ﻟﺘﻔﺮﺡ‪ .‬ﲤّﺖ ﺻﻴﺎﻏﺔ ﻫﺬﺍ ﺍﳌﺼﻄﻠﺢ ﰲ ﺍﻟﺒﺪﺍﻳﺔ ﻟﻮﺻﻒ ﺍﻟﻔﺮﺡ ﺍﻟﻨﺎﺗﺞ ﻋﻦ ﺍﻟﻨﺸﻮﺓ‬ ‫ﺣﺎﻟﻚ[ ﺃﻱ ﺍ ِ‬
‫ِﺳﺘﺨﺪ ْﻡ ﻫﺬﺍ ْ‬
‫ﺍﻟﱵ ﻳﺴــﺒﺒﻬﺎ ﺍﻟﺘﺨﺪﻳﺮ )ﺣﻘﱢﻦ ﺍﳌﺨﺪﺭﺍﺕ ﰲ ﺍﻟﻮﺭﻳﺪ ﻟﺘﺘﺤﺴــﻦ(‪ .‬ﻭﻟﻜﻦ ﻋﻨﺪﻣﺎ ﺃﺻﺒﺤﺖ ﺷــﺎﺋﻌﺔ ﺑﲔ ﻋﺎﻣﺔ‬
‫ﺗﻮﺳــﻊ ﳎﺎﺯﻳﺎ ﻟﻠﺘﻌﺒﲑ ﻋﻦ ﺍﻻﺳــﺘﻤﺘﺎﻉ ﻭﺍﻟﻔﺮﺡ ﺑﺎﺳﺘﺨﺪﺍﻡ ﺷﻴﺌ َﺎ‪،‬‬
‫ﺍﻟﻨﺎﺱ‪ ،‬ﱂ ﺗﻌﺪ ﺗﻨﻘﻞ ﺍﳌﻔﻬﻮﻡ ﺍﻟﺒﺪﺍﺋﻲ ﺑﻞ ّ‬
‫ﻋﻠﻲ ﺳــﺒﻴﻞ ﺍﳌﺜﺎﻝ‪" :‬ﻳﻪ ﭼﺎﻳﯽ‪ /‬ﻛﺒﺎﰊ ﺑﻪ ﺭﮒ ﺑﺰﻧﻴﻢ" ]ﻫﻼ ﳓ ّﻘﻦ ﺷــﺎﻳ َﺎ‪ /‬ﻛﺒﺎﺑﴼ ﰲ ﻭﺭﻳﺪﻧﺎ[ ﺃﻱ ﻫﻼ ﻧﺸﺮﺏ‬
‫ﺷــﺎﻳﺎ ﺃﻭ ﻧﺄﻛﻞ ﻛﺒﺎﺑﴼ ﻟﻨﺴــﺘﻤﺘﻊ ﻭﺗﺼﲑ ﺣﺎﻟﻨﺎ ﺟﻴــﺪﺍ‪ .‬ﻭﻣﻦ ﺍﻷﺟﻬﺰﺓ ﺍﻷﺧﺮﯼ ﻟﺘﺼــﻮﺭ ﺍﻟﻔﺮﺡ ﻫﻲ )ﺍﻵﻟﺔ‬
‫ﺍﳌﻮﺳﻴﻘﻴﺔ( ﻣﺜﻼ ﰲ‪ :‬ﮐﻴﻔﺶ ﮐﻮﮐﻪ ]ﺁﻟﺘﻪ ﺍﳌﻮﺳﻴﻘﻴﺔ ﻣﻀﺒﻮﻃﺔ[ ﺃﻱ ﺳﻌﻴﺪ ﻟﻠﻐﺎﻳﺔ‪ ،‬ﻭﻛﺬﻟﻚ ﰲ "ﺑﻴﺎ ﺧﻮﺩﺕ ﺭﻭ‬
‫ﺳــﺎﺯ ﮐﻦ‪ /‬ﺑﺴﺎﺯ" ]ﺗﻌﺎﻝ ﻭﺍﺿﺒﻂ ﺁﻟﺘﻚ ﺍﳌﻮﺳــﻴﻘﻴﺔ[‪ ،‬ﲤّﺖ ﺻﻴﺎﻏﺔ ﻫﺬﺍ ﺍﳌﺼﻄﻠﺢ ﺃﻳﻀﺎ ﰲ ﺍﻟﺒﺪﺍﻳﺔ ﻟﻮﺻﻒ‬
‫ﺍﻟﻔﺮﺡ ﺍﻟﻨﺎﺗﺞ ﻋﻦ ﺍﻟﻨﺸﻮﺓ‪.‬‬
‫ﺩﺭﺍﺳﺔ ﻣﻌﺮﻓﻴﺔ ﳌﻔﻬﻮﻡ ﺍﻟﻔﺮﺡ ﻓﯽ ﺍﻟﻠﻐﺘﲔ ﺍﻟﻌﺮﺑﻴﺔ ﻭﺍﻟﻔﺎﺭﺳﻴﺔ؛ ﺩﺭﺍﺳﺔ ﺗﻘﺎﺑﻠﻴﺔ ‪١٤٧ /‬‬

‫‪١‬‬
‫ﺍﳌﻔﺎﻫﻴﻢ ﺫﺍﺕ ﺍﻟﺼﻠﺔ‬
‫ﺗﺮﺗﺒﻂ ﺑﻌﺾ ﺍﳌﻔﺎﻫﻴﻢ ﺍﺭﺗﺒﺎ ًﻃﴼ ﻭﺛﻴ ًﻘﺎ ﲟﻔﻬﻮﻡ ﺍﻟﻔﺮﺡ‪ ،‬ﺑﻌﺒﺎﺭﺓ ﺃﺧﺮﯼ »ﻳﺸــﺘﻤﻞ ﺍﻟﺸــﻌﻮﺭ‬
‫ﺑﺎﻟﺴــﻌﺎﺩﺓ ﻭﺍﻟﻔﺮﺡ ﻓﯽ ﺍﻟﻮﺍﻗﻊ ﻋﻠﯽ ﳎﻤﻮﻋﺔ ﻣﻦ ﺍﳊﺎﻻﺕ ﺍﻟﻌﺎﻃﻔﻴﺔ ﻭﺍﳌﻌﻨﻮﻳﺔ ﺍﻷﺧﺮﯼ ﻣﺜﻞ‬
‫ﺍﻟﺸــﻌﻮﺭ ﺑﺎﻟﺮﺿﺎ ﻭﺍﻹﻋﺠﺎﺏ ]ﻭﺍﳌﺘﻌﺔ ﻭﺍﻻﻧﺴﺠﺎﻡ ﻣﻊ ﺍﻟﺒﻴﺌﺔ[ ﻭﺣﺘﯽ ﺍﻟﺼﺤﺔ‪ ،‬ﻭﺍﻟﺘﯽ ﻳﺸﲑ‬
‫ﺇﻟﻴﻬﺎ ﻛﻮﻓﻜﺴــﻴﺲ ﻛﻤﻔﺎﻫﻴﻢ ﺫﺍﺕ ﺻﻠﺔ‪ .‬ﻟﺬﻟﻚ‪ ،‬ﻳﻜﺎﺩ ﻳﻜﻮﻥ ﻣﻦ ﺍﳌﺴــﺘﺤﻴﻞ ﻓﺼﻞ ﺍﻟﺸﻌﻮﺭ‬
‫ﺑﺎﻟﺴﻌﺎﺩﺓ ﻋﻦ ﺍﳌﺸﺎﻋﺮ ﺍﻷﺧﺮﯼ ﺍﻟﺘﯽ ﺗﺄﺗﯽ ﻣﻌﻪ )ﺻﺮﺍﺣﯽ‪١٣٩١ ،‬ﺵ‪(١٤٧ :‬؛ ﻟﺬﻟﻚ ﺗﻌﺘﱪ‬
‫ﺟﺰﺀﺍ ﻻ ﻳﺘﺠﺰﺃ ﻣﻦ ﺍﻟﺒﻨﻴﺔ ﺍﳌﻔﺎﻫﻴﻤﻴﺔ ﻟﻠﺴﻌﺎﺩﺓ‪.‬‬
‫ﺍﳌﻔﺎﻫﻴﻢ ﺫﺍﺕ ﺍﻟﺼﻠﺔ ً‬

‫ﺍﻷﳕﺎﻁ ﺍﳌﻌﺮﻓﻴﺔ ﳌﻔﻬﻮﻡ ﺍﻟﻔﺮﺡ‬

‫ﲑﺍ‪ ،‬ﻧﺘﻌﺎﻣﻞ ﻣﻊ ﺍﻷﳕﺎﻁ ﺍﳌﻌﺮﻓﻴﺔ ﳌﻔﻬﻮﻡ ﺍﻟﻔــﺮﺡ‪ ،‬ﻭﺍﻟﺘﯽ ﻧﻌﻴﺪ ﺗﻌﺮﻳﻔﻬﺎ ﻓﯽ ﻫﺬﻩ‬
‫ﻟﻜــﻦ ﺃﺧ ً‬
‫ﺍﻟﺪﺭﺍﺳﺔ ﻣﻄﺎﺑﻘﺎ ﻟﻮﺻﻒ ﻛﻮﻓﻜﺴﻴﺲ )‪١٣٩٨‬ﺵ‪:(١٦٨-١٦٠ :‬‬
‫ﻧﻈﺮﻳﺔ ﺍﻷﳕﺎﻁ ﺍﳌﻌﺮﻓﻴﺔ ﻟﻠﻔﺮﺡ ﻫﯽ ﺃﻥ ﺍﻻﺳــﺘﻌﺎﺭﺍﺕ ﻭﺍﳌﺠﺎﺯﺍﺕ ﺍﳌﻔﺎﻫﻴﻤﻴﺔ ﻭﺍﳌﻔﺎﻫﻴﻢ‬
‫ﺫﺍﺕ ﺍﻟﺼﻠﺔ ﻛﻠﻬﺎ ﺗﺘﺠﻤﻊ ﻓﯽ ﻭﺍﺣﺪ ﺃﻭ ﺃﻛﺜﺮ ﻣﻦ ﺍﻷﳕﺎﻁ ﺍﳌﻌﺮﻓﻴﺔ ﺍﻷﺳﺎﺳــﻴﺔ ﻟﻠﻔﺮﺡ‪ .‬ﻭﺟﻬﺔ‬
‫ﻧﻈﺮﯼ ﻫﯽ ﺃﻧﻪ ﻣﻦ ﺍﻷﻓﻀﻞ ﺗﻘﺴﻴﻢ ﺍﳌﻔﻬﻮﻡ ﺍﻟﻌﺎﻡ ﻟﻠﻔﺮﺡ ﺇﻟﯽ ﺛﻼﺛﺔ ﺃﳕﺎﻁ ﺭﺋﻴﺴﻴﺔ ﻭﺍﻟﻌﺪﻳﺪ ﻣﻦ‬
‫ﺍﻟﻔﺮﻋﻴﺎﺕ‪ .‬ﻫﺬﻩ ﺍﻷﳕﺎﻁ ﺍﻟﺜﻼﺛﺔ ﺍﻟﺮﺋﻴﺴــﻴﺔ ﻫﯽ‪" :‬ﺍﻟﻔﺮﺡ ﻛﺎﺳﺘﺠﺎﺑﺔ ﻓﻮﺭﻳﺔ"‪" ،‬ﺍﻟﻔﺮﺡ ﻛﻘﻴﻤﺔ"‪،‬‬
‫"ﺍﻟﻔﺮﺡ ﻛﺴﻌﺎﺩﺓ"‪.‬‬

‫ﳕﻂ ﺍﻟﻔﺮﺡ ﻛﺎﺳﺘﺠﺎﺑﺔ ﻓﻮﺭﻳﺔ‬

‫ﻭﺍﻟﻮﺟﻬﻴﺔ )ﻣﺜﻞ ﺍﳌﺠﺎﺯﺍﺕ‬
‫ﻳﺘﺄﺛّﺮ ﻫﺬﺍ ﺍﻟﻨﻤﻂ ﺑﺎﻻﺳﺘﺠﺎﺑﺎﺕ ﺍﻟﺴــﻠﻮﻛﻴﺔ ﻭﺍﻟﻔﺴﻴﻮﻟﻮﺟﻴﺔ َ‬
‫ﺗﻌﱪ ﻋﻦ ﺍﻟﺸﺪﺓ ﻭﺍﻟﺘﺤﻜﻢ‬
‫ﺍﳌﻔﺎﻫﻴﻤﻴﺔ( ﺑﺎﻹﺿﺎﻓﺔ ﺇﻟﯽ ﳏﺘﻮﯼ ﺍﻻﺳــﺘﻌﺎﺭﺍﺕ ﺍﳌﻔﺎﻫﻴﻤﻴﺔ ﺍﻟﺘﯽ ّ‬
‫ﻭﺗﻜــﻮﻥ ﻏﲑ ﻗــﺎﺩﺭﺓ ﻓﯽ ﺍﻟﻨﻬﺎﻳﺔ ﻋﻠﯽ ﺍﻟﺘﺤﻜﻢ‪ .‬ﻓﯽ ﻫﺬﺍ ﺍﻟﻨﻤــﻂ‪ ،‬ﳝﻜﻦ ﻭﺻﻒ ﺍﻟﻔﺮﺡ ﻋﻠﯽ‬
‫ﺍﻟﻨﺤﻮ ﺍﻟﺘﺎﻟﯽ‪:‬‬
‫ـﺒﺐ ﳚﻌﻠﻚ ﺳــﻌﻴﺪﺍ‪ ،‬ﻳﺘﻜﻮﻥ ﺍﻟﻔــﺮﺡ‪ ،‬ﺗﺼﺒﺢ ﻧﺸــﻴﻄﴼ‪ ،‬ﺗﻈﻬﺮ ﳎﻤﻮﻋــﺔ ﻣﺘﻨﻮﻋﺔ ﻣﻦ‬
‫ﺳـ ٌ‬
‫ﺍﻹﺳﺘﺠﺎﺑﺎﺕ ﺍﻟﺴﻠﻮﻛﻴﺔ ﻭﺍﻟﻌﺎﻃﻔﻴﺔ ﻣﺜﻞ ﻭﻣﻴﺾ ﺍﻟﻌﻴﻮﻥ ﻭﺍﻹﺑﺘﺴﺎﻡ ﻭﺍﻟﻀﺤﻚ ﻭﺍﻟﻘﻔﺰ ﻭﺣﺘﯽ‬
‫ﺃﻳﻀﺎ ﺍﺳــﺘﺠﺎﺑﺎﺕ ﻓﺴــﻴﻮﻟﻮﺟﻴﺔ ﲟﺎ ﻓﯽ ﺫﻟﻚ ﺯﻳﺎﺩﺓ ﻣﻌﺪﻝ ﺿﺮﺑﺎﺕ‬
‫ﺍﻟﺒﻜﺎﺀ‪ .‬ﲢﺪﺙ ﻟﺪﻳﻚ ً‬
‫‪1. related concepts‬‬
 ‫‪ / ١٤٨‬ﻓﺼﻠﻴﺔ ﺇﺿﺎﺀﺍﺕ ﻧﻘﺪﻳﺔ‪ ،‬ﺍﻟﺴﻨﺔ ‪ ،١١‬ﺍﻟﻌﺪﺩ ‪ ،٤٣‬ﺧﺮﻳﻒ ‪١٤٠٠‬ﺵ‬

‫ﺍﻟﻘﻠﺐ ﻭﺍﻹﺛﺎﺭﺓ‪ .‬ﻏﺎﻟﺒًﺎ ﻣﺎ ﻳﻜﻮﻥ ﺳﻴﺎﻕ ﻭﺿﻌﻚ ﺍﺟﺘﻤﺎﻋﻴﺎ ﻣﺜﻞ ﺍﻻﺣﺘﻔﺎﻝ‪ ،‬ﻧﻈﺮﺗﻚ ﻟﻠﺤﻴﺎﺓ‬
‫ﺇﳚﺎﺑﻴــﺔ‪ ،‬ﺃﻧﺖ ﺗﻌﺘﱪ ﻭﺿﻌــﻚ ﻣﺮﻏﻮﺑًﺎ ﻓﻴﻪ‪ ،‬ﺗﺸــﻌﺮ ﺑﺘﻨﺎﻏﻢ ﻣﻊ ﺍﻟﻌــﺎﱂ‪ ،‬ﻻ ﳝﻜﻨﻚ ﺍﻟﺘﺤﻜﻢ‬
‫ﺟﺪﴽ‪ .‬ﻗﺪ ﻳﺆﺩﯼ ﺍﻹﻓﺮﺍﻁ‬
‫ﲟﺸﺎﻋﺮﻙ ﻭﺃﻧﺖ ﻣﻨﻔﻌﻞ ﻓﯽ ﻫﺬﺍ ﺍﻟﺼﺪﺩ‪ ،‬ﺍﻟﺘﺠﺮﺑﺔ ﻭﺍﳌﺸﺎﻋﺮ ﻋﻤﻴﻘﺔ ّ‬
‫ﻓﯽ ﺍﻟﻌﻤﻖ ﻭﺍﻟﺸــﺪﺓ ﺇﻟــﯽ ﺇﺿﻌﺎﻑ ﺃﺩﺍﺋﻚ ﻭﻗﺪ ﺗﻔﻘﺪ ﺍﻟﺴــﻴﻄﺮﺓ‪ ،‬ﺃﻧﺖ ﲝﺎﺟــﺔ ﺇﻟﯽ ﺇﺧﺒﺎﺭ‬
‫ﻋﻤﺎ ﺗﺸــﻌﺮ ﺑﻪ ﺃﻣﺮ ﻏﲑ ﻣﺮﻏﻮﺏ ﻓﻴﻪ‪ ،‬ﲢﺎﻭﻝ‬
‫ﺍﻵﺧﺮﻳﻦ ﲟﺎ ﺗﺸــﻌﺮ ﺑﻪ‪ ،‬ﻭﻟﻜﻦ ﺍﻟﺘﻌﺒﲑ ﲝﺮﻳﺔ ّ‬
‫ﺍﻟﺴﻴﻄﺮﺓ ﻋﻠﯽ ﻋﻮﺍﻃﻔﻚ‪ .‬ﻓﯽ ﺍﻟﻮﺍﻗﻊ‪ ،‬ﺃﻧﺖ ﲢﺎﻭﻝ ﻋﺪﻡ ﺍﻻﳔﺮﺍﻁ ﻓﯽ ﺭﺩﻭﺩ ﻓﻌﻞ ﺳﻠﻮﻛﻴﺔ‪ ،‬ﺃﻭ‬
‫ﺭﺩﻭﺩ ﻓﻌﻞ ﻋﺎﻃﻔﻴﺔ‪ ،‬ﺃﻭ ﺣﺘﯽ ﺍﻟﺘﻌﺒﲑ ﻋﻦ ﻣﺸﺎﻋﺮﻙ ﻭﻣﻊ ﺫﻟﻚ‪ ،‬ﺗﻔﻘﺪ ﺍﻟﺴﻴﻄﺮﺓ‪ ،‬ﺗﻨﺨﺮﻁ ﻓﯽ‬
‫ﺍﻻﺳــﺘﺠﺎﺑﺎﺕ ﺍﻟﺴﻠﻮﻛﻴﺔ ﻭﺭﺩﻭﺩ ﺍﻟﻔﻌﻞ ﺍﻟﻌﺎﻃﻔﻴﺔ ﺃﻭ ﺍﻟﺘﻌﺒﲑ ﻋﻦ ﺍﳌﺸﺎﻋﺮ‪ ،‬ﻋﺎﺩﺓ ﻋﻠﯽ ﺷﻜﻞ‬
‫ﺭﻗﺺ ﻭﻏﻨﺎﺀ ﻭﺣﺘﯽ ﺣﺮﻛﺎﺕ ﻏﺮﻳﺒﺔ ﺗﺴــﺒﺒﻬﺎ ﺍﻹﺛﺎﺭﺓ‪ .‬ﻳﻌﺘﻘﺪ ﻛﻮﻓﻜﺴــﻴﺲ ﺃﻧّﻪ ﻓﯽ ﺍﻟﺜﻘﺎﻓﺔ‬
‫ﺍﻟﻐﺮﺑﻴﺔ‪ ،‬ﺗﻌﺘﱪ ﺍﳌﺸــﺎﻋﺮ ﺍﻟﻌﻤﻴﻘﺔ ﻭﺍﻟﻌﺎﻃﻔﻴﺔ ﺳــﻠﺒﻴﺔ ﺑﺸﻜﻞ ﻋﺎﻡ ﻭﺑﺎﻟﺘﺎﻟﯽ‪ ،‬ﳚﺐ ﺍﻟﺘﺤﻜﻢ ﻓﯽ‬
‫ﺷﺪﺓ ﺍﳌﺸﺎﻋﺮ ﺍﻹﳚﺎﺑﻴﺔ ﻟﻠﻔﺮﺡ‪.‬‬
‫ﺟﺪﺍ ﻣﻊ ﻫﺬﺍ ﺍﻟﻨﻤﻂ ﺍﳌﻌﺮﻓﯽ ﻫﻮ ﺳــﻴﻨﺎﺭﻳﻮ ﺍﳋﻄﻮﺍﺕ‬
‫ﺃﺣــﺪ ﺍﻟﺴــﻴﻨﺎﺭﻳﻮﻫﺎﺕ ﺍﳌﺘﻮﺍﻓﻘﺔ ً‬
‫ﺍﳋﻤﺲ ﺍﻟﺘﺎﻟﻴﺔ‪:‬‬
‫ﺍﻟﻨﺘﻴﺠﺔ‬ ‫ﻓﻘﺪﺍﻥ ﺍﻟﺴﻴﻄﺮﺓ‬ ‫ﳏﺎﻭﻟﺔ ﺍﻟﺴﻴﻄﺮﺓ ﻋﻠﻴﻪ‬ ‫ﻭﺟﻮﺩ ﺷﻌﻮﺭ‬ ‫ﺳﺒﺐ ﺍﻟﺸﻌﻮﺭ‬
‫ﺗﺘﻤﺜّﻞ ﺇﺣﺪﯼ ﻧﻘﺎﻁ ﺍﻟﻘﻮﺓ ﳍﺬﺍ ﺍﻟﺴﻴﻨﺎﺭﻳﻮ ﻓﯽ ﺃﻥ ﺍﻟﻌﺒﺎﺭﺍﺕ ﺍﳌﺨﺘﻠﻔﺔ ﺍﳌﺴﺘﺨﺪﻣﺔ ﻟﺘﺼﻮﺭ‬
‫"ﺍﻟﻔﺮﺡ ﻛﺎﺳﺘﺠﺎﺑﺔ ﻓﻮﺭﻳﺔ" ﳝﻜﻦ ﺃﻥ ﺗﺮﺗﺒﻂ ﺑﺈﺣﺪﯼ ﻣﺮﺍﺣﻞ ﻫﺬﺍ ﺍﻟﺴﻨﺎﺭﻳﻮ‪ .‬ﻭﻣﻊ ﻫﺬﺍ‪ ،‬ﺗﺸﲑ‬
‫ﻳﺘﻢ ﲢﺪﻳﺪﻫﺎ ﻣﻦ‬
‫ﺃﻥ ﻣﺸــﺎﻋﺮ ﺍﻟﻔﺮﺡ ﻻ ّ‬
‫ـﺪﺩ ﺍﻷﳕــﺎﻁ ﺍﳌﻌﺮﻓﻴﺔ‪ ،‬ﻣﺜﻞ ﺍﳌﺬﻛﻮﺭﺓ ﺃﺩﻧﺎﻩ‪ ،‬ﺇﻟﯽ ّ‬
‫ﺗﻌـ ّ‬
‫ﺧﻼﻝ ﺳﻴﻨﺎﺭﻳﻮ ﻭﺍﺣﺪ ﻓﻘﻂ‪.‬‬

‫ﳕﻂ ﺍﻟﺴﻌﺎﺩﺓ ﻛﻘﻴﻤﺔ‬

‫ﻓﯽ ﳕﻮﺫﺝ ﺍﻟﺴــﻌﺎﺩﺓ ﻛﻘﻴﻤﺔ‪ ،‬ﻧﻮﺍﺟﻪ ﺍﺳــﺘﻌﺎﺭﺍﺕ ﲢﻜﻢ ﺑﻄﺮﻳﻘﺔ ﻣﺎ ﻋﻠﯽ ﻣﻔﻬﻮﻡ ﺍﻟﺴﻌﺎﺩﺓ‪.‬‬
‫ﻓﻐﺎﻟﺒًــﺎ ﻣﺎ ﻳﺼﺎﺣﺐ ﻫﺬﺍ ﺍﻟﻨﻮﻉ ﻣﻦ ﺍﻟﻔﺮﺡ ﺍﻻﺳــﺘﻌﺎﺭﺍﺕ ﺍﻟﺘﺎﻟﻴﺔ‪ :‬ﺍﻟﻔﺮﺡ ﻧﻮﺭ‪ ،‬ﺍﻟﻔﺮﺡ ﻓﻮﻕ‪/‬‬
‫ﻋﻠﻮ‪ ،‬ﺍﻟﻔﺮﺡ ﺷــﯽﺀ ﺧﻔــﯽ ﻣﺮﻏﻮﺏ ﻓﻴﻪ ﻭ‪ . ...‬ﻓﯽ ﻫﺬﺍ ﺍﻟﻨﻤﻂ‪ ،‬ﻳﻜــﻮﻥ ﺍﻟﻔﺮﺡ ﻧﺘﻴﺠﺔ ﳌﻮﻗﻒ‬
‫ﻧﺎﺩﺭﺍ ﻣﺎ ﻳﻜﻮﻥ ﻟﻪ ﺳــﺒﺐ ﱠ‬
‫ﳏﺪﺩ ﻣﻠﻤﻮﺱ ﺧﺎﺭﺟــﯽ؛ ﺑﻞ ﺍﻟﻨﻤﻂ ﺍﳌﻌﺮﻓﯽ ﺍﻟﻘﺎﺋﻢ ﻋﻠﯽ‬ ‫ﻫﺎﺩﺉ‪ً ،‬‬
‫ﻫﺬﻩ ﺍﻻﺳﺘﻌﺎﺭﺍﺕ ﻫﻮ "ﺃﺳﺒﺎﺏ ﺍﻟﻔﺮﺡ ﺍﳋﻠﻔﻴﺔ ﺍﻟﻨﻔﺴﻴﺔ" ﺍﻟﺘﯽ ﺗﮑﻤﻦ ﻭﺭﺍﺀ ﺍﻟﻔﺮﺡ‪ .‬ﻓﻴﻤﻜﻦ ﺃﻥ‬
‫ﺩﺭﺍﺳﺔ ﻣﻌﺮﻓﻴﺔ ﳌﻔﻬﻮﻡ ﺍﻟﻔﺮﺡ ﻓﯽ ﺍﻟﻠﻐﺘﲔ ﺍﻟﻌﺮﺑﻴﺔ ﻭﺍﻟﻔﺎﺭﺳﻴﺔ؛ ﺩﺭﺍﺳﺔ ﺗﻘﺎﺑﻠﻴﺔ ‪١٤٩ /‬‬

‫ﺗﻜﻮﻥ ﺍﻟﺴﺒﺐ‪ ،‬ﺍﻟﺸــﻌﻮﺭ ﺑﺎﳊﺮﻳﺔ ﺃﻭﺍﻟﺼﺤﺔ ﺃﻭﺍﻟﺘﻼﺋﻢ ﻣﻊ ﺍﻟﺒﻴﺌﺔ ﻭ‪ ،...‬ﻓﻔﯽ ﻫﺬﺍ ﺍﻟﻨﻤﻂ‪ ،‬ﻧﻔﻬﻢ‬
‫ﻭﻧﻌﱪ ﻋﻨﻪ ﻣﻦ ﺣﻴﺚ ﺳﺒﺒﻪ ﺍﶈﺘﻤﻞ‪ :‬ﳓﻦ ﻓﯽ ﺍﻟﺼﺤﺔ ]ﳓﻦ ﺳﻌﺪﺍﺀ[‪ .‬ﻓﯽ ﻫﺬﺍ ﺍﻟﻨﻤﻂ‪:‬‬
‫ﺍﻟﻔﺮﺡ ّ‬
‫ﻳﺘﻢ ﺗﻘﻴﻴﻤﻬﺎ ﺑﻘﻴﻤﺔ ﻣﻮﺟﺒﺔ‪ ،‬ﺇﻧّﻬﺎ‬
‫ﺃﻧﺖ ﺳــﻌﻴﺪ‪ ،‬ﳝﻜﻦ ﺃﻥ ﺗﻜﻮﻥ ﻫﺬﻩ ﺍﳊﺎﻟﺔ ﻃﻮﻳﻠﺔ ﺍﻷﻣﺪ‪ّ ،‬‬
‫ﺣﺎﻟﺔ ﻣﺮﻏﻮﺑﺔ ﻓﻴﻪ ﻭﳑﺘﻌﺔ‪ ،‬ﺑﻬﺎ ﺗﺸــﻌﺮ ﺑﺘﻨﺎﻏﻢ ﻣﻊ ﺍﻟﻌــﺎﱂ‪ ،‬ﳝﻜﻨﻚ ﻧﻘﻠﻬﺎ ﺇﻟﯽ ﺍﻵﺧﺮﻳﻦ‪ ،‬ﺃﻧﺖ‬
‫ﺗﻨﻈــﺮ ﺇﻟﯽ ﺍﻟﻌﺎﱂ ﻣﻦ ﻣﻨﻈﻮﺭ ﺇﳚﺎﺑﯽ ﺑﺎﻟﺘﺄﮐﻴﺪ‪ ،‬ﻫﺬﻩ ﺍﻟﺴــﻌﺎﺩﺓ ﻻ ﳝﻜﻦ ﺃﻥ ﺗﺘﺤﻘﻖ ﺑﺴــﻬﻮﻟﺔ‪.‬‬
‫ﻋﻠﻴﻚ ﺃﻥ ﲢﺎﻭﻝ ﲢﻘﻴﻘﻬﺎ‪ ،‬ﻳﺴــﺘﻐﺮﻕ ﺍﻷﻣﺮ ﻭﻗﺘًﺎ ﻃﻮﻳﻠــﴼ ﻟﺘﺤﻘﻴﻘﻬﺎ ﻭﻳﺼﻌﺐ ﺍﳊﻔﺎﻅ ﻋﻠﻴﻬﺎ‬
‫ﺑﻘــﺪﺭ ﺻﻌﻮﺑــﺔ ﲢﻘﻴﻘﻬﺎ‪ .‬ﻭﺍﻣﺎ ﻫﺬﺍ ﺍﻟﻨﻤﻂ ﺃﯼ ﳕﻂ "ﺍﻟﺴــﻌﺎﺩﺓ ﻛﻘﻴﻤﺔ" ﻻ ﻳﺘــﻢ ﺍﻟﺘﻌﺮﻑ ﻋﻠﻴﻪ‬
‫ﻋﺎﺩﺓ ﻣﻦ ﺧﻼﻝ ﺍﻻﺳــﺘﺠﺎﺑﺎﺕ ﺍﻟﻌﺎﻃﻔﻴﺔ ﺍﻟﺸــﺪﻳﺪﺓ ﻭﺍﻟﺘﺤﻜﻢ ﻭﺃﳕﺎﻁ ﺍﻟﻘﻮﺓ‪ .‬ﻓﻔﯽ ﺍﻟﻔﺎﺭﺳﻴﺔ‪،‬‬
‫ﳝﻜﻦ ﺍﺳﺘﺨﺪﺍﻡ ﻛﻠﻤﺘﯽ "ﻟﺬﺕ ﺑﺮﺩﻥ" ﻭ"ﺳﻌﺎﺩﲤﻨﺪﯼ" ﻟﻺﺷﺎﺭﺓ ﺇﻟﯽ "ﺍﻟﻔﺮﺡ ﻛﺎﺳﺘﺠﺎﺑﺔ ﻓﻮﺭﻳﺔ"‬
‫ﻭ"ﺍﻟﻔﺮﺡ ﻛﻘﻴﻤﺔ" ﻋﻠﯽ ﺍﻟﺘﻮﺍﻟﯽ؛ ﻭﻓﯽ ﺍﻟﻌﺮﺑﻴﺔ‪ :‬ﻟﻸﻭﻟﯽ"ﺍﻻﺳﺘﻤﺘﺎﻉ" ﻭﻟﻸﺧﲑﺓ "ﺍﻟﺴﻌﺎﺩﺓ"‪.‬‬

‫ﳕﻂ ﺍﻟﻔﺮﺡ ﻛﺴﺮﻭﺭ‬

‫ﻓــﯽ ﻫﺬﺍ ﺍﻟﻨﻤﻂ‪ ،‬ﻳﻌﺘﱪ ﺍﻟﻔﺮﺡ ﺍﺳــﺘﺠﺎﺑﺔ ﻋﺎﻃﻔﻴﺔ ﺇﳚﺎﺑﻴــﺔ ﻭﻫﺎﺩﺋﺔ ﳌﻮﻗﻒ ﺇﻣﺎ ﺃﻥ ﺫﺍﻙ‬
‫ﺟﺪﺍ ﺑﺎﻟﻨﺴﺒﺔ ﺇﻟﯽ ﺍﻟﺸﺨﺺ ﺃﻭ ﺗﻜﻮﻥ ﺍﻟﻨﺘﻴﺠﺔ ﻭﺍﺿﺤﺔ ﻟﻪ‪ .‬ﻓﯽ ﻣﺜﻞ ﻫﺬﻩ‬
‫ﻣﻬﻤﺎ ً‬
‫ﺍﳌﻮﻗﻒ ﻟﻴﺲ ً‬
‫ﺍﳊﺎﻟﺔ‪ ،‬ﻻ ﻳﻘﺪﻡ ﺍﻟﻨﺎﺱ ﻋﺎﺩ ًﺓ ﺇﺟﺎﺑﺎﺕ ﻣﻠﻤﻮﺳــﺔ ﻭﻻ ﻳﺴــﺘﻠﺰﻡ ﺍﻟﺘﺤﻜﻢ ﻓﯽ ﺃﻧﻔﺴﻬﻢ‪ .‬ﳝﻜﻨﻨﺎ‬
‫ﺇﻇﻬﺎﺭ ﻫﺬﺍ ﺍﻟﻨﻮﻉ ﻣﻦ ﺍﻟﻔﺮﺡ ﻋﻠﯽ ﺍﻟﻨﺤﻮ ﺍﻟﺘﺎﻟﯽ‪:‬‬
‫ﻭﺭﺍﺽ‪ ،‬ﳝﻜﻨﻚ‬
‫ٍ‬ ‫ﺗﻜﻮﻥ ﻣﺴــﺮﻭﺭﺍ ﻟﺴﺒﺐ ﻣﺎ‪ ،‬ﺗﻌﻄﯽ ﺇﺟﺎﺑﺔ ﻣﻨﻄﻘﻴﺔ ﻭﻓﻮﺭﻳﺔ‪ ،‬ﺃﻧﺖ ﻣﺴﺮﻭﺭ‬
‫ﺃﻳﻀﺎ ﺍﻟﺘﻔﻜﲑ ﻓﯽ‬
‫ﺇﻇﻬــﺎﺭ ﺇﺟﺎﺑﺎﺕ ﺃﻛﺜﺮ ﻟﻴﻮﻧﺔ ﻣﺜﻞ ﻭﻣﻀﺔ ﻋﲔ ﻭﺍﺑﺘﺴــﺎﻣﺔ ﻟﻄﻴﻔــﺔ‪ .‬ﳝﻜﻨﻚ ً‬
‫ﺍﻻﺳﺘﺠﺎﺑﺎﺕ ﺍﻟﻔﺴﻴﻮﻟﻮﺟﻴﺔ ﺍﳌﻌﺘﺪﻟﺔ ﻣﺜﻞ ﺣﺮﺍﺭﺓ ﺍﳉﺴﻢ ﻭﺯﻳﺎﺩﺓ ﻣﻌﺪﻝ ﺿﺮﺑﺎﺕ ﺍﻟﻘﻠﺐ‪ ،‬ﺭّﲟﺎ‬
‫ﺗﻨﻈﺮ ﺇﻟﯽ ﺍﻟﻌﺎﱂ ﺑﺈﳚﺎﺑﻴﺔ ﻭﺗﺸــﻌﺮ ﺑﺎﻻﻧﺴــﺠﺎﻡ ﻣﻊ ﺍﻟﻌﺎﱂ‪ .‬ﻭﺍﻣﺎ ﻫﺬﺍ ﺍﻟﺸﻜﻞ ﻣﻦ ﺍﻟﻔﺮﺡ ﺷﺎﺋﻊ‬
‫ﺟﺪﺍ ﻓﯽ ﺍﳌﺠﺎﻣﻼﺕ ﻭﺍﻟﺘﺤﻴﺎﺕ‪ .‬ﻧﻘﻮﻝ "ﺍﻧﺎ ﺳــﻌﻴﺪ ﺑﺮﺅﻳﺘﻚ" ﻭﻟﻜﻦ ﻟﻴﺲ ﻟﺪﻳﻨﺎ ﺍﺳﺘﺠﺎﺑﺎﺕ‬
‫ً‬
‫ﻋﺎﻃﻔﻴﺔ ﻗﻮﻳﺔ ﻭﻻ ﻧﺘﻌﺎﺭﺽ ﻣﻊ ﺍﻟﺸــﻌﻮﺭ ﺍﻟﺬﯼ ﻟﺪﻳﻨﺎ ﺣﺘﯽ ﻳﺴــﺘﻠﺰﻡ ﺍﻟﺴﻴﻄﺮﺓ ﻋﻠﻴﻪ‪ .‬ﺍﻟﱰﺩﺩ‬
‫ﺍﻟﻌﺎﻟﯽ ﳍﺬﺍ ﺍﻟﺸﻜﻞ ﻣﻦ ﺍﻟﻔﺮﺡ ﻳﱪﺯﻩ ﻭﳝﺜّﻠﻪ‪.‬‬
‫ﻭﻟﮑﻦ ﺑﺎﻟﻨﺴــﺒﺔ ﺇﻟﯽ ﺍﻷﳕــﺎﻁ ﺍﳌﻌﺮﻓﻴﺔ ﺍﻟﺘﯽ ﻗﺪ ﺗﻜﻮﻥ ﻓﺮﻋﻴــﺔ ﻣﻘﺎﺭﻧﺔ ﺑﺎﻷﳕﺎﻁ ﺍﻟﺜﻼﺛﺔ‬
‫ﻓﺈﻥ ﺑﻌﺾ ﺍﻟﻌﻮﺍﻣﻞ ﺍﻟﻌﺮﻓﻴﺔ ﺍﻟﺸــﺎﺋﻌﺔ ﻭﺃﺣﻴﺎﻧًــﺎ ﺍﻟﺪﻳﻨﻴﺔ ﺑﲔ ﺍﳌﺘﺤﺪﺛﲔ‬
‫ﺍﳌﺬﻛــﻮﺭﺓ ﺃﻋﻼﻫﺎ‪ّ ،‬‬
 ‫‪ / ١٥٠‬ﻓﺼﻠﻴﺔ ﺇﺿﺎﺀﺍﺕ ﻧﻘﺪﻳﺔ‪ ،‬ﺍﻟﺴﻨﺔ ‪ ،١١‬ﺍﻟﻌﺪﺩ ‪ ،٤٣‬ﺧﺮﻳﻒ ‪١٤٠٠‬ﺵ‬

‫ﺑﺎﻟﻔﺎﺭﺳــﻴﺔ ﻭﺍﻟﻌﺮﺑﻴﺔ ﺗﺘﻀﻤﻦ ﺍﻟﻌﺪﻳﺪ ﻣﻦ ﺍﳌﻔﺎﻫﻴﻢ ﺣﻮﻝ ﺍﻟﺒﻨﻴﺔ ﺍﳌﻔﺎﻫﻴﻤﻴﺔ ﻟﻠﻔﺮﺡ‪ .‬ﺑﻌﺾ ﻫﺬﻩ‬
‫ﺍﳌﻔﺎﻫﻴﻢ ﻭﻣﻈﺎﻫﺮﻫﺎ ﺍﻟﻠﻐﻮﻳﺔ ﻫﯽ ﻛﻤﺎ ﻳﻠﯽ‪:‬‬
‫ﺍﻟﮑﻒ‬
‫ﺍﻟﺴﻌﺎﺩﺓ ﻫﯽ ﺍﻟﺘﺠﺴﻴﺪ ﺍﻟﺜﻘﺎﻓﯽ ﻣﻦ ﻭﺿﻌﻴّﺎﺕ ﺍﳉﺴﻢ ﺃﻭ ﻣﻠﺤﻘﺎﺗﻪ‪ ،‬ﻣﺜﻞ ﺍﳉﺒﲔ ﺃﻭ ّ‬
‫)ﻣﮑﺘﻮﺏ ﻋﻠﯽ ﺟﺒﻴﻨﻪ ﺃﻭ ﻓﯽ ﮐ ّﻔﻪ(؛ ﺍﳌﺰﺍﺝ )ﻓﺎﻟﺴــﻮﺩﺍﻭﻳّﻮﻥ ﻟﻴﺲ ﺍﳌﺮﺡ ﻣﻦ ﻃﺒﻴﻌﺘﻬﻢ(؛ ِﺧ ّﻔﺔ‬
‫ﳛﺪﺩ ﮐــﻮﻥ ﺍﻟﻔﺮﺩ ﻓﯽ ﻋﺪﺍﺩ ﺍﻟﻔﺮﺣﲔ‬‫ﺍﻟﻈــﻞ )ﻓﮑﻞ ﻭﺍﺣﺪ ﻣﻦ ﻫﺬﻩ ﺍﻟﺜﻼﺛﺔ ِّ‬ ‫ـﺪﻡ‪ /‬ﺍﻟﺮﻭﺡ‪ِّ /‬‬
‫ﺍﻟـ ّ‬
‫ﻭﺍﳌﻄﺒﻮﻋﲔ ﻋﻨﺪ ﺍﻵﺧﺮﻳﻦ(؛ ﺍﳉﻨﺲ ﻓﺎﻟﻔﺮﺡ ﺍﻟﺴﻠﻮﮐﯽ ﺃﻛﺜﺮ ﺫﻛﻮﺭﻳﺎ )ﻭﺃﻓﻀﻞ ﻟﻠﻤﺮﺃﺓ ﺃﻥ ﻻ‬
‫ﺗﻀﺤﻚ ﺑﺼﻮﺕ ٍ‬
‫ﻋﺎﻝ(‪.‬‬
‫ﺷﺆﻡ‪.‬‬
‫ﻧﺬﻳﺮ ٍ‬
‫ﺍﻟﻀﺤﻚ ﺍﻟﮑﺜﲑ ُ‬
‫ﻣﺮﻏﻮﺏ ﻣﻦ ﺍﻷﻓﻀﻞ ﺃﻥ ﻳﻜﻮﻥ ﻛﺎﻣﻨﴼ ﻓﯽ ﺍﻟﻘﻠﺐ‪ :‬ﻓﻌﻨﺪﻣﺎ ﻳُﻘﺎﻝ "ﮐﻢ ﺃﻧﺖ ﺳﻌﻴﺪﺍ!"‬
‫ٌ‬ ‫ﺍﻟﻔﺮﺡ‬
‫ﺗﻘﻮﻝ‪" :‬ﻻ ﻟﻴﺲ ﻫﮑﺬﺍ"‪ .‬ﻣﻦ ﺃﺳﺒﺎﺏ ﺍﻹﻧﻜﺎﺭ ﻫﻨﺎ ﻫﻮ ﺍﳋﻮﻑ ﻣﻦ ﺇﺛﺎﺭﺓ ﺍﳊﺴﺪ ﻭﺍﳋﺒﺎﺛﺔ‪.‬‬
‫ﺑﻌﺪﻩ؛ ﺳﻌﺎﺩﺕ ﺑﻘﺎﯼ ﻧﺎﻡ ﻧﻴﮏ‬
‫ﺣﺪﻳﺚ َ‬
‫ٌ‬ ‫ﺍﳌﺮﺀ‬
‫ﺍﻟﺴــﻌﺎﺩﺓ ﻫﯽ ﺧﻠﻮﺩ ﺍﻹﺳﻢ ﺃﻭ ﺍﻟﺴﻤﻌﺔ )ﺍﳕّﺎ ُ‬
‫ﺍﺳﺖ(‪.‬‬
‫)ﺟ ﱡﺪﻙ ﻻ َﮐ ﱡﺪﻙ(؛ ﺃﻭ ﻋﻠﯽ ﻋﮑﺴــﻪ ﺍﻟﺴﻌﺎﺩﺓ َﺳﻌﯽ )ﺍﳉ ﱡ‬
‫ِﺪ ﻳﻐﻨﯽ ﻋﻨﻚ ﻻ‬ ‫ﺍﻟﺴــﻌﺎﺩﺓ ّ‬
‫ﺣﻆ َ‬
‫ﺍَ‬
‫ﳉ ﱡﺪ(‪.‬‬
‫ﺍﻟﺴﻌﺎﺩﺓ ﻫﯽ ﺍﳌﺴــﺘﻘﺒﻞ ﻭﺍﻟﺒﺼﲑﺓ ﺑﻪ )ﻓﯽ ﺍﻟﺼﻴﻒ ﺿﻴّﻌﺖ ﺍﻟﻠﱭ ﻭﻓﯽ ﺍﻟﻔﺎﺭﺳﻴﺔ‪ :‬ﺟﻴﮏ‬
‫ﺟﻴﮏ ﻣﺴــﺘﻮﻧﺖ ﺑﻮﺩ ﻓﮑﺮ ﺯﻣﺴــﺘﻮﻧﺖ ﺑﻮﺩ( ﺃﻭ ﺍﻟﺴﻌﺎﺩﺓ ﮐﻤﺎ ﻳﻘﻮﻝ ﺍﳋﻴﺎﻡ ﺍﻟﻨﻴﺸﺎﺑﻮﺭﯼ ﻫﯽ‬
‫ﺍﻵﻥ‪:‬‬
‫ﺧﻮﺩ ﺣﺎﺻﻠﺖ ﺍﺯ ﻋﻤﺮ ﺟﻮﺍﻧﯽ ﺍﻳﻦ ﺍﺳﺖ‬ ‫ﺧﻮﺵ ﺑﺎﺵ ﺩﻣﯽ ﮐﻪ ﺯﻧﺪﮔﺎﻧﯽ ﺍﻳﻦ ﺍﺳﺖ‬
‫‪ :‬ﻛﻦ ﺳﻌﻴﺪﴽ ﻓﯽ ﺍﻟﻠﺤﻈﺔ ﻓﺎﳊﻴﺎﺓ ﻫﯽ‪ ،‬ﻭﻫﺬﻩ ﻫﯽ ﻧﺘﻴﺠﺔ ﺷﺒﺎﺑﻚ‬
‫ﻓﺎﻟﺪﻳﻦ ﳛﺪﺩ ﺷﺪﺓ ﺍﻟﻔﺮﺡ ﻭ ﮐﺬﻟﻚ ﺃﺳﺒﺎﺑﻪ‪:‬‬ ‫ُ‬ ‫ﻭﺃﻣﺎ ﺩﻳﻨﻴّﴼ‪:‬‬
‫ّ‬
‫ﺍﷲُّ‬ ‫ْ‬
‫ِﻜ َﻴﻼ ﺗَﺄ َﺳ ْﻮﺍ َﻋ َﻠﯽ َﻣﺎ ﻓَﺎﺗَ ُﻜ ْﻢ َﻭ َﻻ ﺗَ ْﻔ َﺮ ُﺣﻮﺍ ِﲟَﺎ ﺁﺗَﺎ ُﻛ ْﻢ َﻭ َ‬
‫‐ ﻓﺎﻟﻔﺮﺡ ﻫﻮ ﺍﻟﺘﺤﮑﻢ ﺑﻪ‪﴿ :‬ﻟ َ‬
‫ﲔ﴾‬ ‫ِﺐ ﺍﻟ َﻔ ِﺮ ِﺣ َ‬
‫ﻻﳛﱡ‬ ‫ﻻ ﺗَ ْﻔ َﺮ ْﺡ ِﺇ ﱠﻥ ﺍﷲﱠَ َ‬ ‫ﺎﻝ ﻓَ ُﺨﻮﺭٍ﴾ )ﺍﳊﺪﻳﺪ‪(٢٣ :‬؛ ﴿ َ‬ ‫َﻻ ﳛُِّــﺐ ُﻛ َّﻞ ُْﳐﺘَ ٍ‬
‫)ﻗﺼﺺ‪(٧٦ :‬؛ ﻓﺒﺤﺴــﺐ ﻫﺬﻩ ﺍﻵﻳﺎﺕ‪ ،‬ﳛﺎﻓــﻆ ﺍﳌﺆﻣﻦ ﻋﻠﯽ ﺍﻻﻋﺘﺪﺍﻝ ﻭﻻ ﻳﺼﻞ‬
‫ﺇﻟﯽ ﺣﺪ ﺍﻻﺧﺘﻴﺎﻝ ﻭﺍﻟﻐﺮﻭﺭ ﻣﻦ ﺍﻟﻔﺮﺡ ﻭﻻ ﻳﻨﻬﺎﺭ ﺑﺴﺒﺐ ﺣﺰﻧﻪ‪.‬‬
‫‐ ﻭﺍﻟﻔﺮﺡ ﻫﻮ ﲟﺎ ﳛﺪﺩﻩ ﺍﷲ‪﴿ :‬ﻗﻞ ﺑﻔﻀﻞ ﺍﷲ ﻭﺑﺮﲪﺘﻪ ﻓﺒﺬﻟﻚ ﻓﻠﻴﻔﺮﺣﻮﺍ ﻫﻮ ﺧﲑ ﳑّﺎ‬
‫ﺩﺭﺍﺳﺔ ﻣﻌﺮﻓﻴﺔ ﳌﻔﻬﻮﻡ ﺍﻟﻔﺮﺡ ﻓﯽ ﺍﻟﻠﻐﺘﲔ ﺍﻟﻌﺮﺑﻴﺔ ﻭﺍﻟﻔﺎﺭﺳﻴﺔ؛ ﺩﺭﺍﺳﺔ ﺗﻘﺎﺑﻠﻴﺔ ‪١٥١ /‬‬

‫ﳚﻤﻌﻮﻥ﴾ )ﻳﻮﻧﺲ‪(٥٨ :‬‬

‫ﻭﮐﺬﻟﻚ ﺍﻟﺴﻌﺎﺩﺓ ﻻ ﳝﻜﻦ ﺍﻟﺘﻨﺒﺆ ﺑﻬﺎ ﻋﻠﯽ ﺍﻹﻃﻼﻕ‪ :‬ﺑﺎﻟﺴﻌﺎﺩﺓ "ﺇﻥ ﺷﺎﺀ ﺍﷲ"‪.‬‬
‫ﻭﺍﻟﺴــﻌﺎﺩﺓ ﺃﺑﺪﻳﺔ ﺃﻭ ﻣﺴﺘﻤﺮﺓ‪ :‬ﺭﻭﺣﺶ ﺷــﺎﺩ ]ﻟﺘﻜﻦ ﺭﻭﺣﻪ ﻓﺮﺣﺎ[؛ ﺭﲪﻪ ﺍﷲ ]ﺃﯼ ﺑﻌﺪ‬
‫ﻣﻮﺗﻪ[ ﻭﻳﮑﻮﻥ ﻭﻋﺎﺀ ﺍﻟﻔﺮﺡ ﻓﯽ ﺍﻟﺪﻧﻴﺎ ﻗﻠﺐ ﺍﻻﻧﺴﺎﻥ ﺃﻭ ﺟﺴﻤﻪ ﻭﻟﮑﻦ ﻓﯽ ﺍﻵﺧﺮﺓ ﻓﺎﻟﺮﻭﺡ‪.‬‬

‫ﺍﻟﻨﺘﻴﺠﺔ‬
‫ﻫﻨﺎﻙ ﺍﻟﻌﺪﻳﺪ ﻣﻦ ﺍﻻﺳــﺘﻌﺎﺭﺍﺕ ﺍﳌﻔﺎﻫﻴﻤﻴﺔ ﺣﻮﻝ ﺍﻟﺸﻌﻮﺭ ﺑﺎﻟﻔﺮﺡ ﻓﯽ ﺍﻟﻠﻐﺘﲔ ﺍﻟﻔﺎﺭﺳﻴﺔ‬
‫ﻭﺍﻟﻌﺮﺑﻴﺔ ﻭﻟﻜﻦ ﻳﺒﺪﻭ ﺃﻥ ﺍﺳﺘﻌﺎﺭﺍﺕ ﺍﻟﻌﻠﻮ ﻭﺍﻟﻨﻮﺭ ﻭﺍﻟﻮﻋﺎﺀ ﳍﺎ ﺃﳘﻴﺔ ﺃﻛﺜﺮ ﻟﺘﺼﻮﺭ ﺍﻟﺴﻌﺎﺩﺓ‪.‬‬
‫ﻏﺎﻟﺒﺎ ﻣﺎ ﺗﻌﻨﯽ‬
‫ﻓﻴﻤــﺎ ﻳﺘﻌﻠﻖ ﺑﺎﺳــﺘﻌﺎﺭﺓ "ﺍﻟﻔﺮﺡ ﻓــﻮﻕ"‪ ،‬ﻓﻬﺬﻩ ﺍﻻﺳــﺘﻌﺎﺭﺓ ﺑﺎﻟﻔﺎﺭﺳــﻴﺔ ً‬
‫"ﺍﻻﺳــﺘﻌﺪﺍﺩ ﻟﻠﻄﲑﺍﻥ"‪ ،‬ﻋﻠﯽ ﺳــﺒﻴﻞ ﺍﳌﺜــﺎﻝ‪" ،‬ﺩﺍﺭﻡ ﺑﺎﻝ ﺩﺭ ﻣﯽﺁﻭﺭﻡ" )ﻳــﮑﺎﺩ ﺃﻥ ﻳﻨﺒﺖ‬
‫ﺍﻷﺟﻨﺤــﺔ ﻋﻠﯽ ﻣﻦ ﺍﻟﻔــﺮﺡ(‪ ،‬ﺑﻴﻨﻤﺎ ﻓﯽ ﺍﻟﻠﻐﺔ ﺍﻟﻌﺮﺑﻴﺔ‪" ،‬ﺍﻟﻄﺎﺋﺮ ﻳﻄــﲑ"‪ ،‬ﻣﺜﻞ "ﺃﻃﲑ ﲜﻨﺎﺡ‬
‫ﺍﻟﺴــﺮﻭﺭ ﻣﺮﺣﺎ"‪ ،‬ﳑﺎ ﻳﺪﻝ ﻋﻠﯽ ﺃﻥ "ﺍﳌﺴــﺎﻓﺔ ﻣــﻦ ﺍﻷﺭﺽ" ﻓﯽ ﺍﻟﻠﻐــﺔ ﺍﻟﻌﺮﺑﻴﺔ ﳝﻜﻦ ﺃﻥ‬
‫ﻭﺿﻮﺣﺎ ﻣﻦ ﺍﻟﻠﻐﺔ ﺍﻟﻔﺎﺭﺳــﻴﺔ‪ .‬ﻭ ﺣﻮﻝ ﺍﺳــﺘﻌﺎﺭﺓ "ﺍﻟﻔﺮﺡ ﻧــﻮﺭ"‪ ،‬ﺗﻈﻬﺮ ﺍﻟﻠﻐﺔ‬
‫ً‬ ‫ﺗﻜــﻮﻥ ﺃﻛﺜﺮ‬
‫ﺍﻟﻌﺮﺑﻴــﺔ ﺗﻔﺼﻴﻠﴼ ﺃﻛﺜﺮ ﻟﻠﺘﻌﺒﲑ ﻋﻦ ﻣﻌﺎﻧﯽ ﺍﻻﺳــﺘﻌﺎﺭﺓ‪ .‬ﳝﻜﻦ ﺃﻥ ﻳﻌﻮﺩ ﺍﻟﺴــﺒﺐ ﺇﻟﯽ ﺍﻟﻄﺒﻴﻌﺔ‬
‫ﻭﺍﺩﻋﺎﺀ‬
‫ً‬ ‫ﺍﻻﺷــﺘﻘﺎﻗﻴﺔ ﳍﺬﻩ ﺍﻟﻠﻐﺔ ﻭﺍﻟﺘﯽ ﻭﻓﺮﺕ ﻗﺪﺭﺓ ﻣﻌﺠﻤﻴﺔ ﺩﻻﻟﻴﺔ ﳑﻴﺰﺓ ﻣﻘﺎﺭﻧﺔ ﺑﺎﻟﻔﺎﺭﺳﻴﺔ‬
‫ﺑﺴﺎﺋﺮ ﺍﻟﻠﻐﺎﺕ ﻏﲑﺍﻻﺷﺘﻘﺎﻗﻴﺔ‪:‬‬
‫ﺃﺷﻊ‬ ‫ﺃﺷﻊ‪ ،‬ﺗﻸﻷ‪ ،‬ﺗﻬ ّﻠﻞ‪ ،‬ﻭﻣﺾ‪ّ ،‬‬
‫ﺑﺺ‪ ،‬ﺑﻠﺞ‪ّ ،‬‬ ‫ﺃﻟﻒ‪ .‬ﻓﯽ ﺍﻟﻌﺮﺑﻴﺔ‪ :‬ﺍﺷﺮﻕ‪ ،‬ﺑﺮﻕ‪ ،‬ﳌﻊ‪ ،‬ﺃﺿﺎﺀ‪ّ ،‬‬
‫ﺏ‪ .‬ﻓﯽ ﺍﻟﻔﺎﺭﺳﻴﺔ‪ :‬ﺩﺭﺧﺸﻴﺪ‪ ،‬ﺑﺮﻕ ﺍﻓﺘﺎﺩ‪ ،‬ﺭﻭﺷﻦ ﺷﺪ‪.‬‬
‫ﻓﻴﻤﺎ ﳜﺺ ﺍﺳﺘﻌﺎﺭﺓ "ﺍﻟﻔﺮﺡ ﺳﺎﺋﻞ ﺩﺍﺧﻞ ﺍﻟﻮﻋﺎﺀ"‪ ،‬ﻧﺮﯼ ﺃﻥ ﺍﺳﺘﺨﺪﺍﻡ ﺍﺳﺘﻌﺎﺭﺓ "ﺍﻟﻮﻋﺎﺀ"‬
‫ﻟﻠﺘﻌﺒﲑ ﻋﻦ ﺍﻟﺴﻌﺎﺩﺓ ﺃﻣﺮ ﺷﺎﺋﻊ ﻓﯽ ﻛﻠﺘﯽ ﺍﻟﻠﻐﺘﲔ ﻭﻟﮑﻨﻪ ﻳﻼﺣﻆ ﺃﻥ ﺍﻷﻣﺜﻠﺔ ﺍﻟﻠﻐﻮﻳﺔ "ﺍﳋﺎﺻﺔ"‬
‫ﳍﺬﻩ ﺍﻻﺳــﺘﻌﺎﺭﺓ‪ ،‬ﻫﯽ ﺃﮐﺜﺮ ﺗﻨﻮﻋﺎ ﻣﻘﺎﺭﻧﺔ ﺑﺎﻟﻌﺮﺑﻴﺔ‪ .‬ﻷﻥ ﻫﺬﻩ ﺍﻻﺳﺘﻌﺎﺭﺓ ﻓﯽ ﺍﻟﻔﺎﺭﺳﻴﺔ ﺗﺒﺘﻌﺪ‬
‫ﻋﻦ ﻣﺴــﺘﻮﺍﻫﺎ ﺍﻟﻌﺎﻡ ﻭﲢﻤﻞ ﺍﳌﺰﻳﺪ ﻣﻦ ﺍﻹﺣﺪﺍﺛﻴﺎﺕ ﺍﻟﺪﻻﻟﻴﺔ‪ ،‬ﻋﻠﯽ ﺳــﺒﻴﻞ ﺍﳌﺜﺎﻝ‪ ،‬ﻋﺒﺎﺭﺓ‬
‫"ﻗﻨﺪ ﺗﻮﯼ ﺩﻟﺶ ﺁﺏ ﻣﯽﺷــﻪ" ]ﺗﺬﻭﺏ ﺣﺒﺔ ﺍﻟﺴــﻜﺮ ﻓﯽ ﻗﻠﺒﻪ[‪ ،‬ﺗﺴﺘﺨﺪﻡ ﻓﯽ ﺍﳌﻮﺍﻗﻒ ﺍﻟﺘﯽ‬
‫ﻭﻛﺄﻥ ﻟﻌﺎﺏ ﻗﻠﺒﻪ ﻳﺴﻴﻞ ﻭﻳﺬﻳﺐ‬
‫ﳚﻌﻞ ﻓﻴﻬﺎ ﺷــﯽﺀ ﻣﺎ ﻳﺸﻌﺮ ﺍﻹﻧﺴﺎﻥ ﺑﺸــﻮﻕ ﻭﺇﺛﺎﺭﺓ ﮐﺜﲑﺓ ّ‬
‫ﺣﺒﺔ ﺍﻟﺴﻜﺮ ﻭﺗﺼﺒﺢ ﻣﺬﺍﻕ ﺍﻟﻘﻠﺐ ﺣﻠﻮﺓ ﻫﮑﺬﺍ؛ ﺃﻭ ﻋﺒﺎﺭﺓ "ﺗﻪ ﺩﻟﺶ ﻏﻨﺞ ﻣﯽﺭﻓﺖ" ]ﲤﻠﻤﻞ‬
 ‫‪ / ١٥٢‬ﻓﺼﻠﻴﺔ ﺇﺿﺎﺀﺍﺕ ﻧﻘﺪﻳﺔ‪ ،‬ﺍﻟﺴﻨﺔ ‪ ،١١‬ﺍﻟﻌﺪﺩ ‪ ،٤٣‬ﺧﺮﻳﻒ ‪١٤٠٠‬ﺵ‬

‫ﺃﻋﻤﺎﻕ ﻗﻠﺒﻪ ﺑﺪﻻﻝ ﻭﲤﻴﻞ ﺍﻟﯽ ﺍﻹﻏﻤﺎﺀ ﺷــﻮﻗﺎ[‪ ،‬ﺗﺴــﺘﺨﺪﻡ ﻟﻠﺘﻌﺒﲑ ﻋﻦ ﺍﻟﻔﺮﺡ ﺍﻟﺬﯼ ﻳﺴﺒﺒﻪ‬
‫ﺍﻟﺸﻮﻕ ﻭﺍﳊﻨﲔ‪.‬‬
‫ﻟﻜﻦ ﺍﻷﻣﺜﻠﺔ ﺍﻟﻌﺮﺑﻴﺔ ﻻﺳﺘﻌﺎﺭﺓ "ﺍﻟﻔﺮﺡ ﺳﺎﺋﻞ ﺩﺍﺧﻞ ﺍﻟﻮﻋﺎﺀ"‪ ،‬ﺗﻈﻬﺮ ﻏﺎﻟﺒﴼ ﻋﻠﯽ ﺍﳌﺴﺘﻮﯼ‬
‫ﺍﻟﻌﺎﻡ ﻟﻠﻐﺔ‪ ،‬ﻣﺜﻞ‪ :‬ﻭﺟﺪﺗﻪ ﻗﺪ ﺍﻣﺘﻸ ﻓﺮﺣﴼ‪ ،‬ﻭ ﻟﻜﯽ ﺗﻌﱪ ﻋﻦ ﺍﻟﻔﺮﺡ ﺍﻟﺬﯼ ﳝﻸ ﻗﻠﺒﻬﺎ‪.‬‬
‫ﺃﻥ ﺑﻴﺎﻧﺎﺕ ﻫﺬﻩ ﺍﻟﺪﺭﺍﺳﺔ ﺗﺆﻛﺪ ﻣﺎ ﻗﺎﻟﻪ ﻳﻮ )‪» (١٩٩٥:٧٧‬ﻋﻨﺪﻣﺎ ﻳﻜﻮﻥ‬
‫ﻭﺍﳉﺪﻳﺮ ﺑﺎﻟﺬﻛﺮ ّ‬
‫ﻭﻋﺎﺀ‪ ،‬ﻷﻥ‬
‫ﻭﻋﺎﺀ‪ ،‬ﻳﺮﯼ ﺳﺎﺋﻞ ﺍﻟﻔﺮﺡ ﺍﻟﺬﯼ ﻳﻔﻴﺾ‪ ،‬ﺑﺴﻬﻮﻟﺔ ﺃﻛﱪ ﳑﺎ ﻟﻮ ﻛﺎﻥ ﺍﻟﻘﻠﺐ ً‬
‫ﺍﳉﺴــﺪ ً‬
‫ﺍﻟﻘﻠــﺐ ﻋﻀــﻮ ﺩﺍﺧﻠﯽ«‪ ،‬ﻓﻌﻠﯽ ﺳــﺒﻴﻞ ﺍﳌﺜﺎﻝ‪ ،‬ﻓﯽ ﻣﺼﻄﻠﺤﺎﺕ ﻣﺜــﻞ "ﻗﻨﺪ ﺗﻮﯼ ﺩﻟﺶ ﺁﺏ‬
‫ﻳﺘﻢ ﺍﺳﺘﺨﺪﺍﻣﻬﺎ ﺑﺸﻜﻞ ﺃﺳﺎﺳﯽ ﻓﯽ ﺍﳌﻮﺍﻗﻒ ﺍﻟﺘﯽ ﻻ ﻳﻜﻮﻥ ﻓﻴﻬﺎ ﺍﻟﻔﺮﺡ ﻭﺍﻟﺴﻌﺎﺩﺓ‬
‫ﻣﯽﺷــﻪ" ّ‬
‫ﻭﺍﺿﺤﺔ ﺟﺪﴽ ﺑﺴﺒﺐ ﺑﻌﺾ ﺍﻟﻘﻴﻮﺩ ﺍﻟﺜﻘﺎﻓﻴﺔ ﺃﻭ ﺍﻟﻔﺮﺩﻳﺔ ﻓﻼ ﻳﻨﻮﯼ ﺍﻟﺸﺨﺺ ﺭﺩ ﻓﻌﻞ ﻭﺍﺿﺢ‪.‬‬
‫ﺗﻌﱪ ﻋﻦ ﺍﻟﻔﺮﺡ ﺍﻟــﺬﯼ ﳝﻸ ﻗﻠﺒﻬﺎ" ﻧﺮﯼ ﺑﻮﺿــﻮﺡ ﺃﻥ ﺇﻣﺘﻼﺀ ﺍﻟﻘﻠﺐ‬
‫ﺃﻭ ﻓــﯽ ﻋﺒﺎﺭﺓ "ﻟﻜــﯽ ّ‬
‫ﺗﻌﱪ ﻋﻦ ‪ ،[...‬ﻭﻟﻜﻦ ﻓﯽ "ﻭﺟﺪﺗﻪ ﻗﺪ ﺍﻣﺘﻸ‬
‫ﺑﺎﻟﻔﺮﺡ ﻟﻴﺲ ﻭﺍﺿﺤﴼ ﻓﺬﮐﺮﺕ ﻓﯽ ﺍﻟﻌﺒﺎﺭﺓ ]ﻟﻜﯽ ّ‬
‫ﻓﺮﺣﴼ"‪ ،‬ﻳﺮﯼ ﺍﳌﺘﺤﺪﺙ ﺃﻭ ﺍﳌﺮﺍﻗﺐ ﺃﻥ ﺍﻟﺸﺨﺺ ﺳﻌﻴﺪ ﻭﺳﻌﺎﺩﺗﻪ ﻭﺍﺿﺤﺔ‪ .‬ﻛﺬﻟﻚ ً‬
‫ﻧﻈﺮﺍ ﺇﻟﯽ‬
‫ﺗﻨﻮﻉ ﺍﻟﻌﺒﺎﺭﺍﺕ ﺍﻟﻔﺎﺭﺳﻴﺔ ﻻﺳﺘﻌﺎﺭﺓ "ﺍﻟﻘﻠﺐ" ﻛﻮﻋﺎﺀ ﻟﻠﺴﻌﺎﺩﺓ ﻭﺍﻟﱰﺩﺩ ﺍﻟﻌﺎﻟﯽ ﻻﺳﺘﺨﺪﺍﻣﻬﺎ‪،‬‬
‫ﺃﻥ ﻣﻈﺎﻫﺮ ﺍﻟﻠﻐﺔ ﺍﻟﻔﺎﺭﺳــﻴﺔ ّ‬
‫ﺗﺪﻝ ﻋﻠﯽ ﲰﺎﺕ ﺛﻘﺎﻓﻴﺔ ﺍﻧﻄﻮﺍﺋﻴﺔ ﺃﻛﺜﺮ ﻣﻘﺎﺭﻧﺔ‬ ‫ﳝﻜﻨﻨﺎ ﺃﻥ ﻧﺪﻋﯽ ّ‬
‫ﺑﺎﻟﻌﺮﺑﻴﺔ‪ ،‬ﻷﻧِّﻪ ﻓﯽ ﺍﻟﻌﺮﺑﻴﺔ ﻳﻠﻌﺐ "ﺟﺴﺪ ﺍﻟﻔﺮﺩ" ﻛﻜﻞ ﻋﻼﻭﺓ ﻋﻠﯽ "ﺍﻟﻘﻠﺐ" ﺩﻭﺭﴽ ﺭﺋﻴﺴﻴﴼ ﻓﯽ‬
‫ﺍﻟﺘﻌﺒﲑ ﻋﻦ ﺍﻟﻔﺮﺡ‪ .‬ﻛﻤﺎ ﺃﻧّﻪ ﻗﺪ ﻳﺸﲑ ﺑﻌﺾ ﺍﳌﺼﺎﺩﺭ ﺍﻟﺘﯽ ﺍﺳﺘﺨﺪﻣﺖ ﺑﺪﺍﻳﺔ ﺇﺑﺪﺍﻋﻬﺎ ﻟﺘﺼﻮﺭ‬
‫ﺍﻟﻔﺮﺡ ﺍﻟﻨﺎﺗﺞ ﻋﻦ ﺍﻟﻨﺸﻮﺓ ﻓﯽ ﺍﻟﻔﺎﺭﺳﻴﺔ‪ ،‬ﺇﻟﯽ ﻭﺟﻮﺩ ﺑﻌﺾ ﺍﻟﻘﻀﺎﻳﺎ ﺍﻻﺟﺘﻤﺎﻋﻴﺔ ﻓﯽ ﻓﱰﺓ ﻣﺎ‬
‫ﻭﺳﺮﻋﺔ ﻧﺸﺮ ﻣﺜﻞ ﻫﺬﻩ ﺍﻟﺘﻌﺒﲑﺍﺕ ﺇﻟﯽ ﺍﳌﺠﺘﻤﻊ‪.‬‬
‫ﻭﳝﻜﻦ ﺍﻟﻘﻮﻝ ّ‬
‫ﺇﻥ ﺍﻟﻔﺎﺭﺳــﻴﺔ ﻟﺪﻳﻬﺎ ﺗﻨﻮﻉ ﺃﻛﱪ ﻓﯽ ﳎﺎﻝ ﺍﳌﺼﺪﺭ ﺍﳌﺘﻌﻠﻖ ﺑـ "ﺍﳊﻴﻮﺍﻧﺎﺕ"‬
‫ﻣﺜﻞ ُﳘﺎ ﻭﺍﳊﺠــﻞ ﻭﺍﻟﺪﻳﻚ ﻭﺍﻟﻔﺄﺭ ﻭﺍﳊﻤﺎﺭ ﺑﺎﻹﺿﺎﻓﺔ ﺇﻟﯽ ﳎــﺎﻻﺕ ﺍﳌﺼﺪﺭ ﺍﳌﺮﺗﺒﻄﺔ ﺑـ‬
‫"ﺍﻷﺟﻬﺰﺓ ﻭﺍﻵﻟﻴﺎﺕ"‪" :‬ﻛﻴﻔﺶ ﻛﻮﻛﻪ" ]ﺁﻟﺘﻪ ﺍﳌﻮﺳﻴﻘﻴﺔ ﻣﻀﺒﻮﻃﺔ[ ﻭ"ﺑﺰﻥ ﺭﻭﺷﻦ ﺷﯽ" ]ﺣﻘﱢﻦ‬
‫ﻳﺘﻢ ﺗﺸﻐﻴﻞ ﺳﻴﺎﺭﺓ ﺣﺎﻟﻚ[‪ .‬ﮐﺬﻟﮏ‪ ،‬ﻻ ﻳﻨﺒﻐﯽ ﺍﻟﺘﻐﺎﺿﯽ ﻋﻦ ﺩﻭﺭ ﺍﻟﺜﻘﺎﻓﺔ ﺍﳌﻤﻴﺰﺓ‬
‫‪ ،...‬ﺣﺘﯽ ّ‬
‫ﻟــﻜﻞ ﻣﻦ ﻫﺬﻩ ﺍﻟﻠﻐﺎﺕ ﻓــﯽ ﺧﻠﻖ ﺃﻧﻮﺍﻉ ﳐﺘﻠﻔﺔ ﻣﻦ ﺍﻻﺳــﺘﻌﺎﺭﺍﺕ ﺍﻟﻠﻐﻮﻳــﺔ ﺍﳋﺎﺻﺔ ﻣﺜﻞ‬
‫ﻳﺘﻢ ﺗﺼﻮﺭ ﺍﻟﻔﺮﺡ ﻣــﻦ ﺧﻼﻝ "ﺍﻟﺜﻘﻞ"‪،‬‬
‫"ﺃﺻﺒﺤــﺖ ﻻ ﺗﻘﻠﲏ ﮐﻮﺍﻫــﻞ ﺃﺭﺿﻲ ﻣﺮﺣﺍ" ﺣﻴﺚ ّ‬
‫ُ‬
‫ﻭﻳﺒﺪﻭ ﺃﻧﻬﺎ ﻭﺍﺣﺪﺓ ﻣﻦ ﺍﻻﺳﺘﻌﺎﺭﺍﺕ ﺍﳋﺎﺻﺔ ﺑﺎﻟﻠﻐﺔ ﺍﻟﻌﺮﺑﻴﺔ؛ ﻛﻤﺎ ﺃﻥ ﺍﺳﺘﻌﺎﺭﺓ "ﺍﻟﻔﺮﺡ ﺣﺒﺔ‬
‫ﺩﺭﺍﺳﺔ ﻣﻌﺮﻓﻴﺔ ﳌﻔﻬﻮﻡ ﺍﻟﻔﺮﺡ ﻓﯽ ﺍﻟﻠﻐﺘﲔ ﺍﻟﻌﺮﺑﻴﺔ ﻭﺍﻟﻔﺎﺭﺳﻴﺔ؛ ﺩﺭﺍﺳﺔ ﺗﻘﺎﺑﻠﻴﺔ ‪١٥٣ /‬‬

‫ﺳﻜﺮ ﻓﯽ ﺍﻟﻘﻠﺐ" ﻟﻴﺲ ﳍﺎ ﻣﺜﻴﻼ ﻓﯽ ﺍﻟﻠﻐﺔ ﺍﻟﻌﺮﺑﻴﺔ‪.‬‬

‫ﺑﺎﻟﻨﺴــﺒﺔ ﺇﻟﯽ ﺍﻷﳕﺎﻁ ﺍﳌﻌﺮﻓﻴﺔ ﻟﻠﻔﺮﺡ ﻓﻬﯽ ﻧﻔﺴﻬﺎ ﺗﻘﺮﻳﺒﴼ ﻓﯽ ﻛﻠﺘﯽ ﺍﻟﻠﻐﺘﲔ‪ ،‬ﻭﻟﻜﻦ ﻧﻈﺮﴽ‬
‫ﻟﺒﻌﺾ ﺍﳌﻔﺎﻫﻴﻢ ﺍﻟﻌﺮﻓﻴﺔ ﻭﺍﻟﺪﻳﻨﻴﺔ ﺍﻟﺸــﺎﺋﻌﺔ ﻓﯽ ﺍﻟﺜﻘﺎﻓﺘﲔ ﺍﻟﻌﺮﺑﻴﺔ ﻭﺍﻟﻔﺎﺭﺳــﻴﺔ ﻣﺜﻞ‪ :‬ﺍﻟﺴﻌﺎﺩﺓ‬
‫ﺣﻆ ﺃﻭ َﮐ ﱞﺪ؛ ﺍﻟﺴــﻌﺎﺩﺓ ﻫﯽ ﺍﳊﻀﻮﺭ ﻓﯽ ﺍﻟﻠﺤﻈﺔ ﺃﻭ ﺍﻟﺘﻄﻠﻊ ﺇﻟﯽ ﺍﳌﺴــﺘﻘﺒﻞ؛ ﺍﻟﻀﺤﻚ ﺍﻟﮑﺜﲑ‬ ‫ّ‬
‫ﻣﺮﻏﻮﺏ ﻣﻦ ﺍﻷﻓﻀﻞ ﺃﻥ ﻳﻜﻮﻥ ﻛﺎﻣﻨﴼ ﻓﯽ ﺍﻟﻘﻠﺐ؛ ﺍﻟﺴﻌﺎﺩﺓ ﻫﯽ ﻭﺿﻌﻴّﺎﺕ‬‫ٌ‬ ‫ﺷﺆﻡ؛ ﺍﻟﻔﺮﺡ‬
‫ﻧﺬﻳﺮ ٍ‬
‫ُ‬
‫ـﻒ )ﻣﮑﺘﻮﺏ ﻋﻠﯽ ﺟﺒﻴﻨــﻪ ﺃﻭ ﻓﯽ ﮐ ّﻔﻪ( ﻭﺍﳌﺰﺍﺝ )ﻓﺎﻟﺴــﻮﺩﺍﻭﻳّﻮﻥ‬
‫ﺍﳉﺴــﻢ ﮐﺎﳉﺒﲔ ﺃﻭ ﺍﻟﮑـ ّ‬
‫ﻟﻴﺲ ﺍﳌﺮﺡ ﻣﻦ ﻃﺒﻴﻌﺘﻬﻢ( ﻭﺍﳉﻨﺲ ﻓﺎﻟﻔﺮﺡ ﺍﻟﺴــﻠﻮﮐﯽ ﺃﻛﺜﺮ ﺫﻛﻮﺭﻳﺎ )ﻭﺃﻓﻀﻞ ﻟﻠﻤﺮﺃﺓ ﺃﻥ ﻻ‬
‫ﺗﻀﺤﻚ ﺑﺼﻮﺕ ٍ‬
‫ﻋﺎﻝ(‪ .‬ﮐﺬﻟﮏ ﺍﻟﺪﻳﻦ ﳛﺪﺩ ﺷــﺪﺓ ﺍﻟﻔﺮﺡ ﻭﺃﺳﺒﺎﺑﻪ ﻓﻴﺠﺐ ﺃﻥ ﳛﺎﻓﻆ ﺍﳌﺴﻠﻢ‬
‫ﻋﻠــﯽ ﺍﻋﺘﺪﺍﻝ ﺣﺎﻟــﻪ ﻭﻻ ﻳﺼﻞ ﺇﻟﯽ ﺣﺪ ﺍﻟﻜﱪﻳﺎﺀ ﻣﻦ ﺍﻟﻔــﺮﺡ‪ ،‬ﻭﳚﺐ ﺃﻥ ﻳﻔﺮﺡ ﺑﻔﻀﻞ ﺍﷲ‬
‫ﻭﺑﺮﲪﺘﻪ ﻭﻫﻮ ﺧﲑ ﳑّﺎ ﳚﻤﻊ‪ .‬ﻭﻫﺬﻩ ﺍﻟﺘﻌﻠﻴﻤﺎﺕ ﺍﻟﺪﻳﻨﻴﺔ ﺗﺆﺩﯼ ﺇﻟﯽ ﲢﺪﻳﺪ ﺍﻷﳕﺎﻁ ﺍﻟﻘﻴﻤﺔ ﺃﻭ‬
‫ﻏﲑ ﺍﻟﻘﻴﻤﺔ ﮐﺎﻟﺴــﻌﺎﺩﺓ ﺍﳊﻘﻴﻘﻴﺔ ﺃﻭ ﻏﲑﻫﺎ‪ .‬ﻭﺃﺧﲑﺍ ﺍﻟﻨﻤﻂ ﺍﻟﻠﻐﻮﯼ "ﺑﺎﻟﺴﻌﺎﺩﺓ ﺇﻥ ﺷﺎﺀ ﺍﷲ"‬
‫ِ‬
‫ﻭ"ﺭﲪــﻪ ﺍﷲ" ﻋﻠﯽ ﺍﻟﺘﻮﺍﻟﯽ‪ ،‬ﺗﺼﻮﺭ ﺍﻟﺴــﻌﺎﺩﺓ ﻋﻠﯽ ﺃﻧﻬﺎ "ﻻ ﳝﻜﻦ ﺍﻟﺘﻨﺒﺆ ﺑﻬﺎ ﻋﻠﯽ ﺍﻹﻃﻼﻕ"‬
‫ﻭﺃﻧﻬﺎ "ﺃﺑﺪﯼ ﻻﺗﻨﺘﻬﯽ ﺑﻨﻬﺎﻳﺔ ﺍﻟﻌﺎﱂ ﺍﳊﺎﺿﺮ"‪.‬‬

‫ﺍﳌﺼﺎﺩﺭ ﻭﺍﳌﺮﺍﺟﻊ‬
‫ﺍﻟﻘﺮﺁﻥ ﺍﻟﻜﺮﱘ‬
‫ﺭﺍﺳــﺦ ﻣﻬﻨﺪ‪ ،‬ﳏﻤﺪ‪١٣٩٣) .‬ﺵ(‪ .‬ﺩﺭﺁﻣﺪﯼ ﺑﺮ ﺯﺑﺎﻧﺸﻨﺎﺳﯽ ﺷــﻨﺎﺧﺘﯽ‪ :‬ﻧﻈﺮﻳﻪﻫﺎ ﻭ ﻣﻔﺎﻫﻴﻢ‪ .‬ﻁ ‪ .٤‬ﻃﻬﺮﺍﻥ‪:‬‬
‫ﲰﺖ‪.‬‬
‫ﺯﻭﺭ ﻭﺭﺯ‪ ،‬ﻣﻬﺪﻳﺲ ﻭ ﺁﺯﻳﺘﺎ ﺍﻓﺮﺍﺷﯽ ﻭ ﺳﻴﺪ ﻣﺼﻄﻔﯽ ﻋﺎﺻﯽ‪١٣٩٢) .‬ﺵ(‪» .‬ﺍﺳﺘﻌﺎﺭﻩﻫﺎﯼ ﻣﻔﻬﻮﻣﯽ ﺷﺎﺩﯼ‬
‫ﺩﺭ ﺯﺑﺎﻥ ﻓﺎﺭﺳــﯽ‪ :‬ﻳﮏ ﲢﻠﻴﻞ ﭘﻴﮑﺮﻩﻣﺪﺍﺭ«‪ .‬ﳎﻠﺔ ﺯﺑﺎﻥﺷﻨﺎﺳﯽ ﻭ ﮔﻮﻳﺶﻫﺎﯼ ﺧﺮﺍﺳﺎﻥ‪ .‬ﺟﺎﻣﻌﺔ ﻓﺮﺩﻭﺳﯽ‬
‫ﻣﺸﻬﺪ‪ .‬ﺍﻟﺴﻨﺔ ﺍﳋﺎﻣﺴﺔ‪ .‬ﺍﻟﻌﺪﺩ ‪ .٢‬ﺻﺺ ‪٤٩-٧٢‬‬
‫ﺻﺮﺍﺣﯽ‪ ،‬ﳏﻤﺪ ﺍﻣﲔ‪ .(١٣٩١) .‬ﺑﺮﺭﺳــﯽ ﻣﻘﺎﺑﻠﻪﺍﯼ ﺍﺳﺘﻌﺎﺭﻩ ﺩﺭ ﺯﺑﺎﻥﻫﺎﯼ ﻓﺎﺭﺳﯽ ﻭ ﺍﻧﮕﻠﻴﺴﯽ ﺑﺮﺍﺳﺎﺱ‬
‫ﻧﻈﺮﻳﻪ ﺍﺳﺘﻌﺎﺭﻩﻫﺎﯼ ﻣﻔﻬﻮﻣﯽ‪ .‬ﺭﺳﺎﻟﺔ ﺩﮐﺘﻮﺭﺍﻩ ﻓﯽ ﺯﺑﺎﻥﺷﻨﺎﺳﯽ ﳘﮕﺎﻧﯽ‪ .‬ﺍﺻﻔﻬﺎﻥ‪ :‬ﺟﺎﻣﻌﺔ ﺍﺻﻔﻬﺎﻥ‪.‬‬
‫ﮐ ِﻮﭼﺶ‪ُ ،‬ﺯﻟﱳ‪١٣٩٨) .‬ﺵ(‪ .‬ﻣﻘﺪﻣﻪﺍﯼ ﮐﺎﺭﺑﺮﺩﯼ ﺑﺮ ﺍﺳــﺘﻌﺎﺭﻩ‪ .‬ﺗﺮﲨﻪ‪ :‬ﺷﲑﻳﻦ ﺑﻮﺭﺍﺑﺮﺍﻫﻴﻢ‪ .‬ﻁ ‪ .٢‬ﻃﻬﺮﺍﻥ‪:‬‬
‫ﲰﺖ‪.‬‬
‫ﳎﻤﻮﻋﺔ ﻣﻦ ﺍﳌﺆﻟﻔﲔ‪) .‬ﻻﺗﺎ(‪ .‬ﺍﳌﻨﺠﺪ ﻓﯽ ﺍﻟﻠﻐﺔ ﺍﻟﻌﺮﺑﻴﺔ ﺍﳌﻌﺎﺻﺮﺓ‪ .‬ﺑﲑﻭﺕ‪ :‬ﺩﺍﺭﺍﳌﺸﺮﻕ‪.‬‬
‫ﳏﻤﺪﻳﺎﻥ‪ ،‬ﻋﺒﺎﺱ ﻭ ﳎﻴﺪ ﻓﺮﺣﺎﻧﯽﺯﺍﺩﻩ‪١٣٩٧) .‬ﺵ(‪» .‬ﺍﺳــﺘﻌﺎﺭﻩ ﻣﻔﻬﻮﻣﯽ ﺷــﺎﺩﯼ ﺩﺭ ﺩﻳﻮﺍﻥ ﴰﺲ«‪ .‬ﺩﻭ‬
‫ﻓﺼﻠﻨﺎﻣﻪ ﻋﻠﻤﯽ ﭘﮋﻭﻫﺸﯽ ﻣﻄﺎﻟﻌﺎﺕ ﺯﺑﺎﻧﯽ ﻭ ﺑﻼﻏﯽ‪ .‬ﺍﻟﺴﻨﺔ ﺍﻟﺘﺎﺳﻌﺔ‪ .‬ﺍﻟﻌﺪﺩ ‪ .١٨‬ﺻﺺ ‪٣١٩-٣٥٠‬‬
 ‫‪ / ١٥٤‬ﻓﺼﻠﻴﺔ ﺇﺿﺎﺀﺍﺕ ﻧﻘﺪﻳﺔ‪ ،‬ﺍﻟﺴﻨﺔ ‪ ،١١‬ﺍﻟﻌﺪﺩ ‪ ،٤٣‬ﺧﺮﻳﻒ ‪١٤٠٠‬ﺵ‬

‫ﻣﻠﮑﻴﺎﻥ‪ ،‬ﻣﻌﺼﻮﻣﻪ ﻭ ﻓﺮﻫﺎﺩ ﺳﺎﺳﺎﻧﯽ‪١٣٩٢) .‬ﺵ(‪» .‬ﺑﻴﺎﻥ ﺍﺳﺘﻌﺎﺭﯼ ﻏﻢ ﻭ ﺷﺎﺩﯼ ﺩﺭ ﮔﻔﺘﺎﺭ ﺭﻭﺯﻣﺮﻩ«‪ .‬ﳎﻠﺔ‬
‫ﭘﮋﻭﻫﺶﻫﺎﯼ ﺯﺑﺎﻥ ﺷﻨﺎﺳﯽ ﺗﻄﺒﻴﻘﯽ‪ .‬ﺍﻟﺴﻨﺔ ﺍﻟﺜﺎﻟﺜﺔ‪ .‬ﺍﻟﻌﺪﺩ ‪ .٥‬ﺻﺺ ‪١١٣-١٣٩‬‬
‫ﻣﻮﻟﻮﺩﯼ‪ ،‬ﺍﻣﲑﺳــﻌﻴﺪ ﻭ ﻏﻼﳏﺴــﲔ ﮐﺮﳝﯽﺩﻭﺳــﺘﺎﻥ‪٢٠١٧) .‬ﻡ(‪» .‬ﺭﻭﻳﮑﺮﺩ ﭘﻴﮑﺮﻩ ﺑﻨﻴﺎﺩ ﺑﻪ ﺍﺳــﺘﻌﺎﺭﻩﻫﺎﯼ‬
‫ﺷــﻨﺎﺧﺘﯽ ﺩﺭ ﺯﺑﺎﻥ ﻓﺎﺭﺳــﯽ‪ :‬ﻣﻄﺎﻟﻌﻪ ﺣﻮﺯﻩ ﻣﻘﺼﺪ ﺗﺮﺱ«‪ .‬ﻓﺼﻠﻴﺔ ﻫﻨﺮ ﺯﺑﺎﻥ‪ .‬ﻣﺴــﺘﻤﺮ ‪ .٢‬ﺍﻟﻌﺪﺩ ‪ .٤‬ﺻﺺ‬
‫‪٧-٤٠‬‬
‫ﳒﻔﯽ‪ ،‬ﺍﺑﻮﺍﳊﺴﻦ‪١٣٨٧) .‬ﺵ(‪ .‬ﻓﺮﻫﻨﮓ ﻓﺎﺭﺳﯽ ﻋﺎﻣﻴﺎﻧﻪ‪ .‬ﻁ ‪ .٢‬ﻃﻬﺮﺍﻥ‪ :‬ﻧﻴﻠﻮﻓﺮ‪.‬‬