Manzilah al-Khithabah al-Diniyyah fi al-'ashri al-Umawiy

‫ﻣﻨﺰﻟﺔ ﺍﳋﻄﺎﺑﺔ ﺍﻟﺪﻳﻨﻴﺔ ﰲ ﺍﻟﻌﺼﺮ ﺍﻷﻣﻮﻱ‬
‫‪ ‬ﺩﺭﺍﺳﺔ ﻭﺻﻔﻴﺔ ﺃﺩﺑﻴﺔ ﻋﻦ ﺍﳋﻄﺎﺑﺔ ﻭﺗﺎﺭﳜﻬﺎ‪‬‬

‫ﲝﺚ‬
‫ﻣﻘﺪﻡ ﻟﻠﺤﺼﻮﻝ ﻋﻠﻰ ﺍﻟﺪﺭﺟﺔ ﺍﳉﺎﻣﻌﻴﺔ ﺍﻷﻭﱃ ﻗﺴﻢ ﺍﻟﻠﻐﺔ ﺍﻟﻌﺮﺑﻴﺔ ﻭﺁﺩﺍ‪‬ﺎ‬

‫ﺍﻋﺪﺍﺩ‬
‫ﻓﺠﺮ ﻧﻮﺑﺮﻱ‬
‫ﺭﻗﻢ ﺍﻟﺘﺴﺠﻴﻞ ‪103021027467:‬‬

‫ﻗﺴﻢ ﺍﻟﻠﻐﺔ ﺍﻟﻌﺮﺑﻴﺔ ﻭﺁﺩﺍ‪‬ﺎ‬
‫ﻛﻠﻴﺔ ﺍﻵﺩﺍﺏ ﻭﺍﻟﺪﺭﺍﺳﺎﺕ ﺍﻹﻧﺴﺎﻧﻴﺔ‬
‫ﺟﺎﻣﻌﺔ ﺷﺮﻳﻒ ﻫﺪﺍﻳﺔ ﺍﷲ ﺍﻹﺳﻼﻣﻴﺔ ﺍﳊﻜﻮﻣﻴﺔ ﲜﺎﻛﺮﺗﺎ‬
‫‪ 2008‬ﻡ‪ 1429 /‬ﻫـ‬

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‫ﻣﻨﺰﻟﺔ ﺍﳋﻄﺎﺑﺔ ﺍﻟﺪﻳﻨﻴﺔ ﰲ ﺍﻟﻌﺼﺮ ﺍﻷﻣﻮﻱ‬
‫‪ ‬ﺩﺭﺍﺳﺔ ﻭﺻﻔﻴﺔ ﺃﺩﺑﻴﺔ ﻋﻦ ﺍﳋﻄﺎﺑﺔ ﻭﺗﺎﺭﳜﻬﺎ‪‬‬

‫ﲝﺚ‬

‫ﻣﻘﺪﻡ ﻟﻠﺤﺼﻮﻝ ﻋﻠﻰ ﺍﻟﺪﺭﺟﺔ ﺍﳉﺎﻣﻌﻴﺔ ﺍﻷﻭﱃ ﻗﺴﻢ ﺍﻟﻠﻐﺔ ﺍﻟﻌﺮﺑﻴﺔ ﻭﺁﺩﺍ‪‬ﺎ‬

‫ﺍﻋﺪﺍﺩ‬
‫ﻓﺠﺮ ﻧﻮﺑﺮﻱ‬
‫ﺭﻗﻢ ﺍﻟﺘﺴﺠﻴﻞ ‪103021027467:‬‬
‫ﲢﺖ ﺍﻹﺷﺮﺍﻑ‬
‫ﺍﻟﺪﻛﺘﻮﺭﺍﻧﺪﻭﺱ ﺍﳊﺎﺝ ﳏﻤﺪ ﻣﺼﻠﺢ ﺇﺩﺭﻳﺲ ﺍﻟﻠﻴﺴﺎﻧﺲ ﺍﳌﺎﺟﺴﺘﺮ‬

‫ﻗﺴﻢ ﺍﻟﻠﻐﺔ ﺍﻟﻌﺮﺑﻴﺔ ﻭﺁﺩﺍ‪‬ﺎ‬
‫ﻛﻠﻴﺔ ﺍﻵﺩﺍﺏ ﻭﺍﻟﺪﺭﺍﺳﺎﺕ ﺍﻹﻧﺴﺎﻧﻴﺔ‬
‫ﺟﺎﻣﻌﺔ ﺷﺮﻳﻒ ﻫﺪﺍﻳﺔ ﺍﷲ ﺍﻹﺳﻼﻣﻴﺔ ﺍﳊﻜﻮﻣﻴﺔ ﲜﺎﻛﺮﺗﺎ‬
‫‪ 2008‬ﻡ‪ 1429 /‬ﻫـ‬
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‫ﺗﺼﺮﻳﺢ ﺍﻟﺒﺎﺣﺚ‬
‫ﰲ ﻫﺬﻩ ﺍﳌﻨﺎﺳﺒﺔ ﺻﺮﺣﺖ ﺑﺄﻥ ‪:‬‬
‫‪ .1‬ﻫﺬﺍ ﺍﻟﺒﺤﺚ ﻛﺘﺒﺘﻪ ﺑﻨﻔﺴﻲ ﻟﺘﻜﻤﻠﺔ ﺍﻟﺸﺮﻭﻁ ﻟﻠﺤﺼﻮﻝ ﻋﻠﻰ ﺍﻟﺪﺭﺟﺔ ﺍﳉﺎﻣﻌﻴﺔ ﺍﻷﻭﱃ ﲜﺎﻣﻌﺔ‬
‫ﺷﺮﻳﻒ ﻫﺪﺍﻳﺔ ﺍﷲ ﺍﻹﺳﻼﻣﻴﺔ ﺍﳊﻜﻮﻣﻴﺔ‪-‬ﺟﺎﻛﺮﺗﺎ‬
‫‪ .2‬ﻛﻞ ﺍﳌﺮﺍﺟﻊ ﺍﻟﱴ ﺍﺳﺘﻌﻤﻠﺘﻬﺎ ﰲ ﻛﺘﺎﺑﺔ ﻫﺬﺍ ﺍﻟﺒﺤﺚ ﻗﺪ ﻭﺿﻌﺘﻬﺎ ﺣﺴﺐ ﺍﻟﻘﺮﺍﺭﺍﺕ ﺍﳌﻮﺟﻮﺩﺓ‬
‫ﲜﺎﻣﻌﺔ ﺷﺮﻳﻒ ﻫﺪﺍﻳﺔ ﺍﷲ ﺍﻹﺳﻼﻣﻴﺔ ﺍﳊﻜﻮﻣﻴﺔ‪-‬ﺟﺎﻛﺮﺗﺎ‬

‫‪ .3‬ﺇﺫﺍ ﻛﺎﻥ ﺍﻟﺒﺤﺚ ﻣﻦ ﻏﲑﻱ ﺍﻋﺪﺍﺩﻱ ﻭﺗﻮﺟﺪ ﻓﻴﻪ ﺍﻧﺘﺤﺎﻝ ﻵﺭﺍﺀ ﺍﻟﻐﲑ ﺩﻭﻥ ﺫﻛﺮﻩ ﻓﺄﺳﺘﻌﺪ ﺃﻥ‬
‫ﺃﺳﺘﻠﻢ ﻛﻞ ﺍﻟﻌﻘﻮﺑﺎﺕ ﺍﻟﱴ ﻗﺮﺭ‪‬ﺎ ﺟﺎﻣﻌﺔ ﺷﺮﻳﻒ ﻫﺪﺍﻳﺔ ﺍﷲ ﺍﻹﺳﻼﻣﻴﺔ ﺍﳊﻜﻮﻣﻴﺔ‪-‬ﺟﺎﻛﺮﺗﺎ‬
‫ﺟﺎﻛﺮﺗﺎ‪ 29 ،‬ﻳﻨﺎﻳﺮ ‪ 2008‬ﻡ‬
‫ﻓﺠﺮ ﻧﻮﺑﺮﻱ‬

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‫ﻗﺮﺍﺭ ﳉﻨﺔ ﺍﳌﻨﺎﻗﺸﺔ ﻭﺍﳊﻜﻢ ﻋﻠﻰ ﺍﻟﺒﺤﺚ‬

‫ﲤﺖ ﻣﻨﺎﻗﺸﺔ ﻫﺬﺍ ﺍﻟﺒﺤﺚ ﻭﻋﻨﻮﺍﻧﻪ "ﻣﻨﺰﻟﺔ ﺍﳋﻄﺎﺑﺔ ﺍﻟﺪﻳﻨﻴﺔ ﰲ ﺍﻟﻌﺼﺮﺍﻷﻣﻮﻱ " )ﺩﺭﺍﺳﺔ ﻭﺻﻔﻴﺔ ﺃﺩﺑﻴﺔ‬
‫ﻋﻦ ﺍﳋﻄﺎﺑﺔ ﻭﺗﺎﺭﳜﻬﺎ( ﺃﻣﺎﻡ ﳉﻨﺔ ﺍﳌﻨﺎﻗﺸﺔ ﻭﺍﳊﻜﻢ ﺑﻜﻠﻴﺔ ﺍﻵﺩﺍﺏ ﻭﺍﻟﺪﺭﺳﺎﺕ ﺍﻹﻧﺴﺎﻧﻴﺔ ﺟﺎﻣﻌﺔ ﺷﺮﻳﻒ‬
‫ﻫﺪﺍﻳﺔ ﺍﷲ ﺍﻹﺳﻼﻣﻴﺔ ﺍﳊﻜﻮﻣﻴﺔ ﲜﺎﻛﺮﺗﺎ ﰲ ‪ 6‬ﻣﺎﺭﺱ ‪ 2008‬ﻡ ﺍﳌﻮﺍﻓﻖ ‪ 28‬ﺻﻔﺮ‪ 1429‬ﻫـ‪ .‬ﻭﻗﺪ‬
‫ﰎ ﻗﺒﻮﻟﻪ ﺷﺮﻃﺎ ﻟﻠﺤﺼﻮﻝ ﻋﻠﻰ ﺍﻟﺪﺭﺟﺔ ﺍﳉﺎﻣﻌﻴﺔ ﺍﻷﻭﱃ ﰲ ﺍﻟﻠﻐﺔ ﺍﻟﻌﺮﺑﻴﺔ ﻭﺁﺩﺍ‪‬ﺎ )‪( S.S‬‬
‫ﺟﺎﻛﺮﺗﺎ‪ 6 ،‬ﻣﺎﺭﺱ ‪ 2008‬ﻡ‬
‫‪ 28‬ﺻﻔﺮ‪ 1429‬ﻫـ‬
‫ﳉﻨﺔ ﺍﳌﻨﺎﻗﺸﺔ ﻭﺍﳊﻜﻢ‬
‫ﺭﺋﻴﺲ ﺍﻟﻠﺠﻨﺔ ﻭﻋﻀﻮ‬

‫ﺳﻜﺮﻳﺘﲑ ﺍﻟﻠﺠﻨﺔ ﻭﻋﻀﻮ‬


‫ﺍﻟﺪﻛﺘﻮﺭﺍﻧﺪﻭﺱ ﺃﺩﺍﻧﺞ ﺃﺳﺪﺭﻱ ﺍﳌﺎﺟﺴﺘﺮ‬

‫ﺯﺑﻴﺰ ﺍﳌﺎﺟﺴﺘﺮ‬
‫ﺍﻷﻋﻀﺎﺀ‬

‫ﺍﳌﺸﺮﻑ‬
‫ﺍﻟﺪﻛﺘﻮﺭﺍﻧﺪﻭﺱ ﺍﳊﺎﺝ ﳏﻤﺪ ﻣﺼﻠﺢ ﺇﺩﺭﻳﺲ ﺍﻟﻠﻴﺴﺎﻧﺲ ﺍﳌﺎﺟﺴﺘﺮ‬
‫ﺍﳌﻨﺎﻗﺶ‬
‫ﺍﻷﺳﺘﺎﺫ ﺍﻟﺪﻛﺘﻮﺭ ﺍﳊﺎﺝ ﺃﲪﺪ ﺑﺎﲪﻴﺪ ﺍﻟﻠﻴﺴﺎﻧﺲ ﺍﳌﺎﺟﺴﺘﺮ‬

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‫ﲡﺮﻳﺪ‬
‫ﻓﺠﺮ ﻧﻮﺑﺮﻱ ‪ :‬ﻣﻨﺰﻟﺔ ﺍﳋﻄﺎﺑﺔ ﺍﻟﺪﻳﻨﻴﺔ ﰲ ﺍﻟﻌﺼﺮ ﺍﻷﻣﻮﻱ )ﺩﺭﺍﺳﺔ ﻭﺻﻔﻴﺔ ﺃﺩﺑﻴﺔ ﻋﻦ ﺍﳋﻄﺎﺑﺔ ﻭﺗﺎﺭﳜﻬﺎ(‬
‫ﺑﺪﺃ ﺍﻟﻌﺼﺮ ﺍﻷﻣﻮﻱ ﺑﺘﻮﱄ ﻣﻌﺎﻭﻳﺔ ﺑﻦ ﺃﰊ ﺳﻔﻴﺎﻥ ﺍﳋﻼﻓﺔ ﺳﻨﺔ ‪ 40‬ﻫـ ﻭﺍﻧﺘﻬﻰ ﺳﻨﺔ ‪132‬‬
‫ﻫـ ﺑﺴﻘﻮﻁ ﺍﻟﺪﻭﻟﺔ ﺍﻷﻣﻮﻳﺔ ﻋﻠﻰ ﻳﺪ ﺑﲏ ﺍﻟﻌﺒﺎﺱ‪ ،‬ﻭ‪‬ﺬﺍ ﻳﻜﻮﻥ ﺍﻟﻌﺼﺮ ﺍﻷﻣﻮﻱ ﻗﺪ ﺍﻣﺘﺪ ﻗﺮﺍﺑﺔ ﺗﺴﻌﲔ‬
‫ﺳﻨﺔ‪ .‬ﲤﻴ‪‬ﺰ ﺍﻟﻌﺼﺮ ﺍﻷﻣﻮﻱ ﺑﺎﻻﻧﻘﺴﺎﻣﺎﺕ ﺍﳊﺰﺑﻴﺔ ﻭﺍﻷﺣﺰﺍﺏ ﺍﻟﺴﻴﺎﺳﻴﺔ ﺍﳌﺘﻌﺪ‪‬ﺩﺓ‪ .‬ﺍﺣﺘﻠﺖ ﺍﳋﻄﺎﺑﺔ‬
‫ﻣﺮﻛﺰﺍﹰ ﻣﺮﻣﻮﻗﺎﹰ ﰲ ﺍﻟﻌﺼﺮ ﺍﻷﻣﻮﻱ ﺑﺴﺒﺐ ﺗﻌﺪﺩ ﺍﻷﺣﺰﺍﺏ ﺍﻟﺴﻴﺎﺳﻴﺔ ﻭﺍﻟﻔﺮﻕ ﺍﻟﺪﻳﻨﻴﺔ ﻭ ﻛﺜﺮﺓ ﺍﻟﻔﱳ‬
‫ﻭﺍﻻﺿﻄﺮﺍﺑﺎﺕ ﻭﺍﻣﺘﺪﺍﺩ ﺍﻟﻔﺘﻮﺡ ﺍﻹﺳﻼﻣﻴﺔ ﻭﺍﺗﺴﺎﻋﻬﺎ‪ .‬ﻭﲢﺘﻞ ﺍﳋﻄﺒﺔ ﰲ ﺍﻟﻌﺼﺮ ﺍﻷﻣﻮﻱ ﻣﻜﺎﻧﺔ‬
‫ﻣﺮﻣﻮﻗﺔ‪.‬‬

‫ﺧﻄﺒﺔ ﺩﻳﻨﻴﺔ ﻫﻲ ﺧﻄﺒﺔ ﺍﻟﻮﻋﻆ ﻭﺍﻹﺭﺷﺎﺩ ﻟﺒﻴﺎﻥ ﺃﺣﻜﺎﻡ ﺍﻟﺪﻳﻦ ﻭﺷﺮﺍﺋﻌﻪ ﻭﻛﺎﻧﺖ ﺗﻠﻘﻰ ﰲ‬
‫ﺻﻼﺓ ﺍﳉﻤﻌﺔ ﻭﺍﻟﻌﻴﺪﻳﻦ ﻭﺍﳊﺞ‪ .‬ﻭﺍﺭﺗﻔﻊ ﺷﺄﻥ ﺧﻄﺒﺔ ﺩﻳﻨﻴﺔ ﺍﻟﻌﺼﺮ ﺍﻷﻣﻮﻱ ﻟﺴﺒﺐ ﺣﺎﺟﺔ ﺍﻟﻨﺎﺱ ﺇﻟﻴﻬﺎ‬
‫ﰲ ﺣﻴﺎ‪‬ﻢ ﺍﻟﺪﻧﻴﻮﻳﺔ‪ ،‬ﻳﻘﻨﻊ ﺑﻌﻀﻬﻢ ﺑﻌﻀﺎ‪ ،‬ﻭﻳﻮﺟﻪ ﻗﺎﺩ‪‬ﻢ ﻭﻳﺆﺛﺮﻭﻥ ﻓﻴﻬﻢ‪ ،‬ﻭﺗﻜﻮﻥ ﺃﺩﺍﺓ ﻟﻠﻤﺤﺎﻛﻤﺔ‬
‫ﻭﺍﻻﺣﺘﻜﺎﻡ‪ ،‬ﻭﺃﺳﻠﻮﺏ ﺍﻟﺪﻋﻮﺓ ﺍﱃ ﺍﻟﻔﻜﺮﺓ ﻭﺍﻟﻌﻘﻴﺪﺓ‪ ،‬ﻭﻭﺳﻴﻠﺔ ﻟﻠﺪﻋﺎﻳﺔ ﻭﺍﻟﺘﻮﺟﻴﻪ‪ ،‬ﻭﻋﻤﺎﺩ ﺍﳊﺮﺏ‬
‫ﻭﺍﻟﺴﻠﻢ ﻭﺍﳌﻔﺎﻭﺿﺔ ﻭﺍﳌﻨﺎﺻﺮﺓ ﻭﺍﻟﺘﻨﻔﲑ ﻟﻠﺠﻬﺎﺩ‪.‬‬

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ABSTRAKSI

Fajar Nopri : "Kedudukan Khutbah Keagamaan Di Masa Dinasti Umawiyah" ; kajian
deskriptif mengenai khutbah keagamaan dan sejarahnya
"Khitobah" atau dalam lisan indonesia biasa dituturkan dengan khutbah, merupakan salah
satu seni prosa yang berisi tutur kata yang menyenangkan yang dapat memuaskan telinga
pendengar dan menentramkan batin mereka. Embrio khutbah pertama kali lahir di zaman jahiliyah
kemudian mengalami metamorfosis di zaman permulaan islam lalu di zaman khulafa ar-rasyidun
ia membanjiri tatanan kehidupan umat islam dan warna kesenian mereka setelah itu ia mengalami
kebangkitan yang luar biasa dan perkembangan yang sangat pesat di zaman umawiyah lalu
merangkakkan kakinya ke zaman abbasiyah, kemudian melebarkan sayapnya ke masa dinastidinasti setelahnya kemudian menghempaskan dirinya ke zaman modern sekarang ini.
Ada beberapa macam khutbah yang terus mengalami metamorphosis dari masa ke masa,

diantaranya adalah : khutbah sosial, khutbah politik, khutbah perayaan, khutbah penyambutan,
khutbah keagamaan, khutbah kehakiman dan peradilan, khutbah penyemangat, khutbah perang,
khutbah kematian, dan khutbah keilmuan.
Khutbah di zaman dinasti umawiyah berkembang dengan sangat pesat dan memiliki
pengaruh yang sangat signifikan terhadap masyarakat sosial. Diantara khutbah-khutbah tersebut
adalah khutbah keagamaan. Khutbah keagamaan adalah khutbah yang berisi untaian nasehat,
peringatan, dan penjelasan mengenai hukum-hukum syariat dan hikmahnya dan dilangsungkan
ketika khutbah jumat, khutbah dua hari raya, khutbah haji, khutbah gerhana matahari dan bulan.
Khutbah ini memiliki nilai yang sangat agung dan tinggi di tengah masyarakat karena ia
memainkan peran yang begitu sangat penting dalam menciptakan keharmonisan antara pemerintah
dan masyarakat sipil.
Khutbah keagamaan baru dikatakan sukses dan berhasil apabila memiliki daya sihir yang
mampu mempengaruhi para pendengarnya dan menyentuh relung-relung hati mereka yang paling
dalam. Sebab, islam telah menambahkan format baru di dalamnya yang berisi, balaghah, hikmah,
pengutipan ayat-ayat Al-Quran, hadits-hadits Nabi dan disertai uslub-uslub yang berasal dari alQur'an dan al-Hadits, disamping itu juga khutbah agama terkadang berisi penyampaian ilmu-ilmu
keislaman, pengetahuan-pengetahuan umum dan juga menyoroti masalah-masalah aktual yang
sedang dihadapi oleh masyarakat dengan pandangan agama tentunya.

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Ketika masa umawiyah bergulir (40 H-132 H), khutbah memegang tempat yang sangat
penting di tengah rakyat dan pemerintah. Ia menduduki peringkat yang sangat tinggi dalam
kesenian, terutama khutbah keagamaan yang terus mengalami kebangkitan yang luar biasa dan
perkembangan yang sangat pesat, ia berkobar-kobar dan menyala-nyala laksana api yang membara
yang setiap saat membakar spirit keagamaan masyarakat yang tiada henti-hentinya.
Khutbah keagamaan menempati tempat yang sangat penting dalam kedudukannya
ditengah masyarakat, ia berperan penting dalam da'wah-da'wah islam. Dan ia selalu diwajibkan
untuk diselenggarakan ketika shalat jumat dan dua hari raya dilangsungkan dengan tujuan
menyelesaikan masalah-masalah baru yang sedang terjadi dan masalah-masalah yang berhubungan
dengan kepentingan hidup kaum muslimin dan segala hal yang menyangkut urusan mereka setiap
saat.

7

‫ﺷﻜﺮ ﻭﺗﻘﺪﻳﺮ‬
‫ﺍﳊﻤﺪﷲ ﺍﻟﺬﻱ ﻧﺰﻝ ﺍﻟﻜﺘﺎﺏ ﺗﺒﻴﺎﻧﺎ ﻟﻜﻞ ﺷﺊ ﻭﻫﺪﻯ ﻭﺭﲪﺔ ﻭﺑﺸﺮﻯ ﻟﻠﻤﺴﻠﻤﲔ‪،‬‬
‫ﻭﺍﻟﺼﻼﺓ ﻭﺍﻟﺴﻼﻡ ﻋﻠﻰ ﺍﻟﻨﱯ ﺍﻷﻣﲔ ﺍﳌﺒﻌﻮﺙ ﺭﲪﺔ ﻟﻠﻌﺎﳌﲔ‪ ،‬ﻭﻋﻠﻰ ﺁﻟﻪ ﻭﺃﺻﺤﺎﺑﻪ ﺃﻭﱃ ﺍﳌﻨﺎﻗﺐ‬
‫ﺍﻟﻔﺎﺧﺮﺓ‪ ،‬ﰲ ﺍﻟﺪﻳﻦ ﻭ ﺍﻟﺪﻧﻴﺎ ﻭ ﺍﻷﺧﺮﺓ‪) .‬ﺃﻣﺎ ﺑﻌﺪ(‬
‫ﻓﺒﻌﻮﻥ ﺍﷲ ﺗﻌﺎﱃ ﻭﺗﻮﻓﻴﻘﻪ‪ ،‬ﻗﺪ ﲤﺖ ﻛﺘﺎﺑﺔ ﻫﺬﺍ ﺍﻟﺒﺤﺚ ﺍﻟﻌﻠﻤﻰ ﲢﺖ ﻋﻨﻮﺍﻥ " ﻣﻨﺰﻟﺔ‬
‫ﺍﳋﻄﺎﺑﺔ ﺍﻟﺪﻳﻨﻴﺔ ﰲ ﺍﻟﻌﺼﺮ ﺍﻷﻣﻮﻱ" )ﺩﺭﺍﺳﺔ ﻭﺻﻔﻴﺔ ﺃﺩﺑﻴﺔ ﻋﻦ ﺍﳋﻄﺎﺑﺔ ﻭﺗﺎﺭﳜﻬﺎ( ﻛﺸﺮﻁ ﻣﻦ‬

‫ﺍﻟﺸﺮﻭﻁ ﻟﻠﺤﺼﻮﻝ ﻋﻠﻰ ﺍﻟﺪﺭﺟﺔ ﺍﳉﺎﻣﻌﻴﺔ ﺍﻷﻭﱃ )‪ (S1‬ﰲ ﻗﺴﻢ ﺍﻟﻠﻐﺔ ﺍﻟﻌﺮﺑﻴﺔ ﻭﺁﺩﺍ‪‬ﺎ ﺑﻜﻠﻴﺔ‬
‫ﺍﻵﺩﺍﺏ ﻭﺍﻟﺪﺭﺍﺳﺎﺕ ﺍﻹﻧﺴﺎﻧﻴﺔ ﲜﺎﻣﻌﺔ ﺷﺮﻳﻒ ﻫﺪﺍﻳﺔ ﺍﷲ ﺍﻹﺳﻼﻣﻴﺔ ﺍﳊﻜﻮﻣﻴﺔ ﲜﺎﻛﺮﺗﺎ‪.‬‬
‫ﻭ‪‬ﺬﻩ ﺍﳌﻨﺎﺳﺒﺔ ﻳﻘﺪﻡ ﺍﻟﺒﺎﺣﺚ ﺷﻜﺮﻩ ﻭﺗﻘﺪﻳﺮﻩ ﺇﱃ ﻛﻞ ﻣﺎ ﺃﺭﺷﺪﻩ ﺑﺎﻟﺘﻮﺟﻴﻬﺎﺕ ﺍﻟﺜﻤﻨﻴﺔ‪،‬‬
‫ﻭﺍﻟﻨﺼﺎﺋﺢ ﺫﺍﺕ ﺍﻟﻘﻴﻤﺔ‪ ،‬ﻭﺃﻋﺎﻧﻪ ﺑﻌﻨﺎﻳﺔ ﻛﺒﲑﺓ ﺣﱴ ﰎ ﻫﺬﺍ ﺍﻟﺒﺤﺚ‪ ،‬ﻓﻤﻦ ﻫﺆﻵﺀ ‪:‬‬
‫‪ .1‬ﻓﻀﻴﻠﺔ ﻋﻤﻴﺪ ﻛﻠﻴﺔ ﺍﻵﺩﺍﺏ ﻭﺍﻟﺪﺭﺳﺎﺕ ﺍﻹﻧﺴﺎﻧﻴﺔ ﺍﻟﺪﻛﺘﻮﺭ ﻋﺒﺪ ﺍﳋﲑ ﻭﻣﺴﺎﻋﺪﻳﻪ‬
‫ﻭﲨﻴﻊ ﺍﻷﺳﺎﺗﺬﺓ ﺍﻟﻜﺮﺍﻡ ﺍﻟﺬﻳﻦ ﺑﺬﻟﻮﺍ ﺟﻬﻮﺩﻫﻢ ﰲ ‪‬ﺬﻳﺒﻪ ﻭﺗﻌﻠﻴﻤﻪ ﺣﱴ ﻳﺘﻤﻜﻦ ﻣﻦ‬
‫ﺇﲤﺎﻡ ﺩﺭﺍﺳﺘﻪ ﰱ ﻗﺴﻢ ﺍﻟﻠﻐﺔ ﺍﻟﻌﺮﺑﻴﺔ ﻭﺃﺩ‪‬ﺎ ﺑﻜﻠﻴﺔ ﺍﻵﺩﺍﺏ ﻭﺍﻟﺪﺭﺳﺎﺕ ﺍﻹﻧﺴﺎﻧﻴﺔ‪.‬‬
‫‪ .2‬ﻓﻀﻴﻠﺔ ﺭﺋﻴﺲ ﻗﺴﻢ ﺍﻟﻠﻐﺔ ﺍﻟﻌﺮﺑﻴﺔ ﻭﺁﺩﺍ‪‬ﺎ ﺍﻟﺪﻛﺘﻮﺭﺍﻧﺪﻭﺱ ﺃﺩﺍﻧﺞ ﺃﺳﺎﺩﺍﺭﻱ ﺍﳌﺎﺟﺴﺘﲑ‬
‫ﻭﻓﻀﻴﻠﺔ ﺳﻜﺮﺗﲑﻩ ﺯﺑﲑ ﺍﳌﺎﺟﺴﺘﲑ‪.‬‬

‫‪8‬‬

‫‪ .3‬ﻭﻓﻀﻴﻠﺔ ﺃﺳﺘﺘﺎﺫ ﺍﻟﺪﻛﺘﻮﺭﻧﺪﻭﺱ ﻣﺼﻠﺢ ﺇﺩﺭﻳﺲ ﻟﻴﺴﺎﻧﺲ ﺍﳌﺎﺣﺴﺘﺮ ﺍﻟﺬﻯ ﺑﺬﻝ‬
‫ﺟﻬﻮﺩﻩ ﰲ ﺍﻹﺷﺮﺍﻑ ﻋﻠﻰ ﻛﺘﺎﺑﺔ ﻫﺬﺍ ﺍﻟﺒﺤﺚ‪.‬‬
‫‪ .4‬ﻭﺃﻣﲔ ﺍﳌﻜﺘﺒﺔ ﺍﳌﺮﻛﺰﻳﺔ ﲜﺎﻣﻌﺔ ﺷﺮﻳﻒ ﻫﺪﺍﻳﺔ ﺍﷲ ﺍﻹﺳﻼﻣﻴﺔ ﺍﳊﻜﻮﻣﻴﺔ ﻭﻣﻮﻇﻔﻴﻬﺎ‪،‬‬
‫ﻭﺃﻣﲔ ﺍﳌﻜﺘﺒﺔ ﻛﻠﻴﺔ ﺍﻵﺩﺍﺏ ﻭﺍﻟﺪﺭﺍﺳﺎﺕ ﺍﻹﻧﺴﺎﻧﻴﺔ ﻭﻣﻮﻇﻔﻴﻬﺎ‪ ،‬ﻭﻣﻜﺘﺒﺔ ﻣﻌﻬﺪ ﺍﻟﻌﻠﻮﻡ‬
‫ﺍﻹﺳﻼﻣﻴﺔ ﻭ ﺍﻟﻌﺮﺑﻴﺔ ﺑﺈﻧﺪﻭﺑﻴﺴﺎ )‪(LIPIA‬‬
‫‪ .5‬ﻳﻘﺪﻡ ﺍﻟﺒﺎﺣﺚ ﺑﻜﻞ ﺧﻀﻮﻉ ﻭﺧﺎﻟﺺ ﺷﻜﺮﻩ ﻭﻋﻈﻴﻢ ﲢﻴﺘﻪ ﻟﻮﺍﻟﺪﻳﻪ ﺍﻟﻠﺬﻳﻦ ﻗﺪ ﺭﺑﻴﺎﻩ‬
‫ﺗﺮﺑﻴﺔ ﺣﺴﻨﺔ‪.‬‬
‫‪ .6‬ﻭﲨﻴﻊ ﺃﺻﺪﻗﺎﺋﻪ ﺍﻟﻜﺮﺍﻡ ﻋﻠﻰ ﺗﻮﺟﻴﻬﺎ‪‬ﻢ ﻭﺇﺳﻬﺎﻣﺎ‪‬ﻢ ﻭﻣﺴﺎﻋﺪ‪‬ﻢ ﻭﺍﻗﺘﺮﺍﺣﺎ‪‬ﻢ‬

‫ﺍﳋﺎﺻﺔ ﺑﺈﲤﺎﻡ ﻫﺬﺍ ﺍﻟﺒﺤﺚ ﺍﻟﻌﻠﻤﻲ‪.‬‬
‫ﻭﺃﺧﲑﺍ ﺃﺷﻜﺮ ﲨﻴﻊ ﺍﳌﻌﻠﻤﲔ ﻋﻠﻰ ﻣﺴﺎﻋﺪ‪‬ﻢ ﻟﺘﻜﻤﻠﺔ ﻛﺘﺎﺑﺔ ﻫﺬﺍ ﺍﻟﺒﺤﺚ ﻭﺟﺰﺍﻫﻢ ﺍﷲ‬
‫ﺧﲑﺍ ﻛﺜﲑﺍ‪ .‬ﻓﺎﷲ ﻧﺴﺄﻝ ﺃﻥ ﻳﻬﺪﻳﻨﺎ ﺳﺒﻴﻞ ﺍﻟﺴﺪﺍﺩ‪.‬‬
‫ﻭﺍﷲ ﺍﳌﻮﻓﻖ ﰱ ﻛﻞ ﺳﻌﻰ ﻧﺒﻴﻞ‪.‬‬
‫ﺟﺎﻛﺮﺗﺎ‪ 29 ،‬ﺻﻔﺮ ‪ 1429‬ﻫـ‬

‫ﺍﻟﺒﺎﺣﺚ‬

‫‪9‬‬

‫ﳏﺘﻮﻳﺎﺕ ﺍﻟﺒﺤﺚ‬
‫ﻣﻮﺍﻓﻘﺔ‬
‫ﺍﳌﺸﺮﻑ‪ .....................................................................‬ﺃ‬
‫ﺗﺼﺮﻳﺢ ﻟﺒﺎﺣﺚ ‪ ........................................................‬ﺏ‬
‫ﻗﺮﺍﺭ ﳉﻨﺔ ﺍﳌﻨﺎﻗﺸﺔ‬
‫ﻭﺍﳊﻜﻢ ‪ ............................................................‬ﺝ‬
‫ﲡﺮﻳﺪ ‪ .............................................................‬ﺩ‪-‬ﻭ‬
‫ﺷﻜﺮ ﻭﺗﻘﺪﻳﺮ ‪ .......................................................‬ﺯ‪-‬ﺡ‬
‫ﳏﺘﻮﻳﺎﺕ ﺍﻟﺒﺤﺚ‪ ....................................................‬ﻁ‪-‬ﻝ‬


‫ﺍﻟﺒﺎﺏ ﺍﻷﻭﻝ‬
‫‪10‬‬

‫ﻣﻘﺪﻣﺔ‬
‫ﺃ‪-‬ﺧﻠﻔﻴﺔ ﺍﳌﺸﻜﻠﺔ ‪8-1 ........................................................‬‬
‫ﺏ‪ -‬ﲢﺪﻳﺪ ﺍﳌﺸﻜﻠﺔ ‪9 ......................................................‬‬
‫ﺝ‪ -‬ﺍﻟﻐﺮﺽ ﻣﻦ ﺍﻟﺒﺤﺚ‪9 ..................................................‬‬
‫ﺩ‪ -‬ﺧﻄﺔ ﺍﻟﺒﺤﺚ ‪9 ....................................................‬‬
‫ﻩ‪-‬ﺗﻨﻈﻴﻢ ﺍﻟﺒﺤﺚ ‪10 .......................................................‬‬

‫ﺍﻟﺒﺎﺏ ﺍﻟﺜﺎﱐ‬
‫ﺍﳊﺠﺞ ﻭﺍﻟﱪﺍﻫﲔ ﻟﻠﺨﻄﺎﺑﺔ‬

‫ﺃ‪ -‬ﺍﳋﻄﺎﺑﺔ ﻟﻐﺔ ﻭﺍﺻﺘﻼﺣﺎ‪15-14 ........................................ ...‬‬
‫ﺏ‪ -‬ﻓﻮﺍﺋﺪ ﺍﳋﻄﺎﺑﺔ ‪17-16 ..............................................‬‬
‫ﺝ‪ -‬ﺃﺑﺮﺯ ﺧﺼﺎﺋﺺ ﺍﳋﻄﺎﺑﺔ ‪18 ........................................‬‬

‫ﺍﻟﺒﺎﺏ ﺍﻟﺜﺎﻟﺚ‬
‫‪11‬‬


‫ﺍﳋﻄﺎﺑﺔ ﻭﺃﻧﻮﺍﻋﻪ‬

‫ﺩ‪-‬ﺃﻧﻮﺍﻉ ﺍﳋﻄﺎﺑﺔ ‪..................................................‬‬

‫‪25-19‬‬

‫ﻩ‪ -‬ﺃﺟﺰﺍﺀ ﺍﳋﻄﺎﺑﺔ ‪28-25 ..................................................‬‬

‫ﺍﻟﺒﺎﺏ ﺍﻟﺮﺍﺑﻊ‬
‫ﺍﳋﻄﺎﺑﺔ ﺍﻟﺪﻳﻨﻴﺔ ﰲ ﺍﻟﻌﺼﺮ ﺍﻷﻣﻮﻱ‬

‫ﺃ‪ -‬ﺍﳋﻄﺎﺑﺔ ﻭﺧﺼﺎﺋﺼﻬﺎ ﰲ ﺍﻟﻌﺼﺮ ﺍﻷﻣﻮﻱ‪31-30 ...............................‬‬
‫ﺏ‪ -‬ﺃﻋﻼﻡ ﺍﳋﻄﺒﺎﺀ ﰲ ﺍﻟﻌﺼﺮ ﺍﻷﻣﻮﻱ ‪38-32 ...................................‬‬
‫ﺝ‪ -‬ﻣﻔﻬﻮﻡ ﺍﳋﻄﺎﺑﺔ ﺍﻟﺪﻳﻨﻴﺔ‪40-39 ...........................................‬‬
‫ﺩ‪ -‬ﻣﻨﺰﻟﺔ ﺍﳋﻄﺎﺑﺔ ﺍﻟﺪﻳﻨﻴ‪‬ﺔ ﰲ ﺍﻟﻌﺼﺮ ﺍﻷﻣﻮﻱ‪42-40 ........................‬‬

‫‪12‬‬

‫ﺍﻟﺒﺎﺏ ﺍﳋﺎﻣﺲ‬
‫ﺍﳋﺎﲤﺔ‬

‫ﺍﳋﻼﺻﺔ ‪:‬‬
‫ﺃ‪-‬ﻧﺘﺎﺋﺞ ﺍﻟﺒﺤﺚ ‪45-43 ...............................................‬‬
‫ﺏ‪-‬ﺍﻻﻗﺘﺮﺍﺣﺎﺕ ‪47-54 ...........................................‬‬
‫ﺝ‪ -‬ﺍﻟﺘﻮﺻﻴﺎﺕ ‪48 .............................................‬‬
‫ﻣﺮﺍﺟﻊ ﺍﻟﺒﺤﺚ‪51-49 ....................................................‬‬

‫‪13‬‬

‫ﺍﻟﺒﺎﺏ ﺍﻷﻭﻝ‬
‫ﻣﻘﺪﻣﺔ‬
‫ﺃ‪-‬ﺧﻠﻔﻴﺔ ﺍﳌﺸﻜﻠﺔ‬
‫ﻓﻦ ﺍﳋﻄﺎﺑﺔ ﺃﺣﺪ ﺍﻟﻔﻨﻮﻥ ﺍﻟﻨﺜﺮﻳﺔ‪ ،‬ﻭﻇﻴﻔﺘﻪ ﺍﻹﻗﻨﺎﻉ‪ ،‬ﳜﺘﻠﻒ ﻋﻦ ﻏﲑﻩ ﲝﻀﻮﺭ ﺍﳌﺘﻠﻘﻲ‪.‬‬
‫ﻓﻬﻮ ﻧﺺ ﻣ‪‬ﺸﺎﻓﹶﻪ‪ ‬ﺑﻪ‪ ،‬ﻭﻟﺬﻟﻚ‪ ،‬ﻻﺑﺪ ﻣﻦ ﺗﻮﻓﺮ ﻣﻮﺍﺻﻔﺎﺕ ﰲ ﺍﻟﻨﺺ ﻭﰲ ﻣﺆﺩﻳﻪ ﻟﻴﺘﺤﻘﻖ‬
‫ﺍﻹﻗﻨﺎﻉ ﻭﺍﻟﺘﺄﺛﲑ ﰲ ﺍﳉﻤﻬﻮﺭ ﺍﳌﺘﻠﻘﻲ‪ .‬ﻭﻗﺪ ﺍﻫﺘﻢ ﺍﻟﻨﻘﺎﺩ ﺍﻟﻌﺮﺏ ﲟﻮﺍﺻﻔﺎﺕ ﺍﳌﺆﺩﻱ ﻭﻫﻮ‬
‫ﺍﳋﻄﻴﺐ‪ ،‬ﻭﻣﻮﺍﺻﻔﺎﺕ ﺍﻷﺩﺍﺀ ﺃﻱ ﺍﻹﻟﻘﺎﺀ‪ ،‬ﻭﻣﻮﺍﺻﻔﺎﺕ ﺍﻟﻨﺺ ﺍﳌﻠﻘﻰ‪ .‬ﻓﺘﻄﻠﺒﻮﺍ ﰲ ﺍﳋﻄﻴﺐ‬
‫‪14‬‬

‫ﺟﻬﺎﺭﺓ ﺍﻟﺼﻮﺕ ﻭﲨﺎﻝ ﺍﳍﻴﺌﺔ ﻭﺣ‪‬ﺴﻦ ﺍﻟﻨﱪﺓ ﻭﺳﻼﻣﺔ ﺟﻬﺎﺯﻩ ﻟﻜﻼﻣﻲ ﻣﻦ ﺍﻟﻌﻴﻮﺏ‪ ،‬ﻛﻤﺎ‬
‫ﺃﻭﺻﻮﺍ ﺍﳌﺆﺩ‪ ‬ﻱ ﲝﺴﻦ ﺍﻹﻟﻘﺎﺀ ﻭﺗﻮﺯﻳﻊ ﻣﻮﺍﺿﻊ ﺍﻟﻮﻗﻒ ﺗﻮﺯﻳﻌ‪‬ﺎ ﺟﻴﺪ‪‬ﺍ‪ ،‬ﻭﺃﻥ ﻳﻘﻠﻞ ﳑﺎ ﻳ‪‬ﻨﻔﹶﺮ‬
‫ﻣﻨﻪ ﻣﺜﻞ ﺍﻟﺘﻨﺤﻨﺢ ﻭﺍﻟﺴﻌﺎﻝ‪ ،‬ﻭﺑﻌﺾ ﺍﳊﺮﻛﺎﺕ ﺍﳌﺜﲑﺓ ﻛﺎﻟﻌﺒﺚ ﺑﺎﻟﻠﺤﻴﺔ ﻭﺍﳊﺮﻛﺎﺕ‬
‫ﺍﳌﺸﻴﻨﺔ‪.‬‬

‫‪1‬‬

‫ﻭﺍﺷﺘﺮﻃﻮﺍ ﰲ ﺍﳋﻄﺎﺑﺔ ﺳﻬﻮﻟﺔ ﺍﻟﻠﻐﺔ‪ ،‬ﲝﻴﺚ ﻳﺘﺤﻘﻖ ﺍﻹﻗﻨﺎﻉ‪ ،‬ﻭﺃﻥ ﻳﺮﺍﻋﻰ ﰲ ﻟﻐﺘﻬﺎ‬
‫ﻣﻨﺎﺳﺒﺘﻬﺎ؛ ﻓﻄﺎﻟﺒﻮﻩ ﺑﺄﻻ ﻳﺴﺘﻌﻤﻞ ﺃﻟﻔﺎﻅ ﺍﳋﺎﺻﺔ ﰲ ﳐﺎﻃﺒﺔ ﺍﻟﻌﺎﻣﺔ ﻭﻻ ﻛﻼﻡ ﺍﳌﻠﻮﻙ ﻣﻊ‬
‫ﺍﻟﺴﻮﻗﺔ‪ ،‬ﺑﻞ ﻳﻌﻄﻲ ﻟﻜﻞ ﻗﻮﻡ ﻣﻦ ﺍﻟﻘﻮﻝ ﲟﻘﺪﺍﺭﻫﻢ‪ .‬ﻛﻤﺎ ﻃﺎﻟﺒﻮﺍ ﺍﳋﻄﻴﺐ ﺃﻥ ﻳﺮﺍﻋﻲ‬
‫ﺍﳌﺘﻠﻘﲔ ﻭﺍﺣﺘﻤﺎﳍﻢ ﳌﻮﺍﺻﻠﺔ ﺍﻟﺘﻠﻘﻲ‪ ،‬ﻭﻣﻦ ﰒ ﻳﻀﻊ ﺍﻹﳚﺎﺯ ﻣﻮﺿﻌﻪ‪ ،‬ﻭﺍﻹﻃﺎﻟﺔ ﻣﻮﺿﻌﻬﺎ‪ ،‬ﺃﻱ‬
‫ﻳﺮﺍﻋﻲ ﰲ ﺍﻟﻨﺺ ﺍﳌﻠﻘﻰ ﻃﻮﻻﹰ ﻭﻗﺼ‪‬ﺮ‪‬ﺍ ﺍﺳﺘﻌﺪﺍﺩ ﺍﳌﺘﻠﻘﲔ ﻟﻠﺘﻠﻘﻲ‪ ،‬ﻭﻋﱪﻭﺍ ﻋﻦ ﺫﻟﻚ ﺑﻘﻮﳍﻢ ‪:‬‬
‫ﻟﻜﻞ ﻣﻘﺎﻡﹴ ﻣﻘﺎﻝ‪.‬‬

‫‪2‬‬

‫ﻛﺎﻧﺖ ﻣﻬﻤﺔ ﺍﳋﻄﺎﺑﺔ ﰲ ﺍﳉﺎﻫﻠﻴﺔ ﺍﻟﻨﺼﺢ ﻭﺍﻹﺭﺷﺎﺩ‪ ،‬ﻭﺍﳌﻨﺎﻓﺮﺓ ﻭﺍﳌﻔﺎﺧﺮﺓ ﻭﺍﻟﺪﻋﻮﺓ‬
‫ﻟﻠﺴﻠﻢ ﻭﺣﻘﻦ ﺍﻟﺪﻣﺎﺀ‪ .‬ﻭﻣﺴﺮﺣﻬﺎ ﺍﻷﺳﻮﺍﻕ ﻭﺍﶈﺎﻓﻞ ﻭﺍﻟﻮﻓﻮﺩ ﻋﻠﻰ ﺍﳌﻠﻮﻙ ﻭﺍﻷﻣﺮﺍﺀ‪ .‬ﻭﻣﻦ‬
‫ﺃﺷﻬﺮ ﺧﻄﺒﺎﺀ ﺍﳉﺎﻫﻠﻴﺔ ﻗﺲ ﺑﻦ ﺳﺎﻋﺪﺓ ﻭﺳﻬﻴﻞ ﺑﻦ ﻋﻤﺮﻭ ﺍﻟﺬﻱ ﺃﺳﻠﻢ ﻭﺣﺴﻦ ﺇﺳﻼﻣﻪ‪،‬‬
‫ﻭﻛﺬﻟﻚ ﻟﺒﻴﺪ ﺑﻦ ﺭﺑﻴﻌﺔ ﻭﻫ‪‬ﺮﻡ ﺑﻦ ﻗﹸﻄﹾﺒﺔ ﺍﻟﻔﹶﺰﺍﺭﻱ ﻭﻏﲑﻫﻢ ﻛﺜﲑ‪ .‬ﻭﻣﺎ ﻭﺻﻞ ﺇﻟﻴﻨﺎ ﻣﻦ ﺗﻠﻚ‬
‫ﺍﳋﻄﺐ ﻳﻐﻠﺐ ﻋﻠﻴﻪ ﺍﻟﺴﺠﻊ ﻭﻫﻮ ﻋﻠﻰ ﺧﻄﺐ ﺍﻟﻜﻬﺎﻥ ﺃﻏﻠﺐ‪.‬‬

‫‪3‬‬

‫‪ 1‬أﻧﯿﺲ اﻟﻤﻘﺪﺳﻲ‪ ،‬ﺗﻄﻮر اﻷﺳﺎﻟﯿﺐ اﻟﻨﺜﺮﯾﺔ ﻓ ﻲ اﻷدب اﻟﻌﺮﺑﻲ‪ ) ،‬ﺑﯿﺮوت‪ :‬دار اﻟﻌﻠﻢ‬
‫ﻟﻠﻤﻼﯾﯿﻦ‪،(1968،‬ص ‪55‬‬
‫‪ 2‬اﺑﻦ رﺷﺪ‪ ،‬ت ﻋ ﺒ ﺪ اﻟﺮﺣﻤﻦ ﺑﺪوي‪ ،‬ﺗﻠﺨﯿﺺ اﻟﺨﻄﺎﺑﺔ‪) ،‬ﺑﯿﺮوت ‪ :‬دار اﻟﻘﻠﻢ‪،‬دس(ص‪،‬‬
‫‪20‬‬
‫‪3‬‬
‫طﮫ ﺣﺴﯿﻦ‪ ،‬ﻓ ﻲ اﻷدب اﻟﺠﺎھﻠﻲ‪ ،‬ط ‪) ،14‬اﻟﻘﺎھﺮة‪ :‬دار اﻟﻤﻌﺎرف‪1977 ،‬م(‪ ،‬ص ‪-15‬‬
‫‪16‬‬

‫‪15‬‬

‫"ﰲ ﺻﺪﺭ ﺍﻹﺳﻼﻡ ﻛﺎﻥ ﺍﻟﺮﺳﻮﻝ ﺃﺧﻄﺐ ﺍﻟﻌﺮﺏ ﻗﺎﻃﺒﺔ‪ ،‬ﻭﺃﺷﻬﺮ ﺧﻄﺒﻪ ﺗﻠﻚ ﺍﻟﱵ‬
‫ﺧﻄﺒﻬﺎ ﰲ ﺣﺠﺔ ﺍﻟﻮﺩﺍﻉ ‪.‬ﻭﺑﺎﳌﺜﻞ ﻛﺎﻥ ﺍﳋﻠﻔﺎﺀ ﺍﻟﺮﺍﺷﺪﻭﻥ ﺧﻄﺒﺎﺀ ﻣﻔﻮﻫﲔ‪ ،‬ﻭﻋﻠﻰ ﺭﺃﺳﻬﻢ‬
‫ﻋﻠﻲ ﺑﻦ ﺃﰊ ﻃﺎﻟﺐ‪ ،‬ﺭﺿﻲ ﺍﷲ ﻋﻨﻪ‪".‬‬

‫‪4‬‬

‫"ﻭﺃﺻﺒﺢ ﻟﻠﺨﻄﺒﺔ ﺗﻘﻠﻴﺪ‪ ‬ﻭﻣﻨﻬﺞ‪ ،‬ﻓﻬﻲ ﺗﺒﺪﺃ ﲝﻤﺪ ﺍﷲ ﻭﺍﻟﺴﻼﻡ ﻋﻠﻰ ﺭﺳﻮﻟﻪ‪ ،‬ﻭﺗﺒﻌﺪ‬
‫ﻋﻦ ﺍﻟﺴﺠﻊ ﻭﺗﻮ‪‬ﺷ‪‬ﻰ ﺑﺂﻳﺎﺕ ﺍﻟﻘﺮﺁﻥ ﺍﻟﻜﺮﱘ ﻭﺑﻌﺾ ﺍﻷﺣﺎﺩﻳﺚ ﺍﻟﻨﺒﻮﻳ‪‬ﺔ ﻭﺍﻷﺛﺮ ﻣﻊ ﺍﻻﺳﺘﻌﺎﻧﺔ‬
‫ﺑﺎﻷﻣﺜﺎﻝ ﻭﺍﻷﺷﻌﺎﺭ ﻭﺍﳊﻜﻢ‪".‬‬

‫‪5‬‬

‫ﺍﻋﺘﻤﺪ ﺍﻹﺳﻼﻡ ﺍﳋﻄﺎﺑﺔ ﳊﺎﺟﺘﻪ ﺇﱃ ﺍﳋﻄﺎﺑﺔ ﺃﺩﺍﺓﹰ ﰲ ﺍﻟﺘﺒﻠﻴﻎ ﻭﺗﻔﻨﻴﺪ ﺣﺠﺞ ﺍﳋﺼﻮﻡ‪،‬‬
‫ﻭﺇﻋﻼﻥ ﻗﻴﻢ ﺍﻹﺳﻼﻡ ﻭﻣ‪‬ـﺜﹸﻠﻪ ﻭﺁﺩﺍﺑﻪ ﻭﺃﺣﻜﺎﻣﻪ‪ ،‬ﻓﺄﺻﺒﺤﺖ ﻭﺳﻴﻠﺔ ﺍﻟﺪﻋﺎﺓ ﺍﳌﻔﻀﻠﺔ‪ ،‬ﺑﻞ‬
‫ﺻﺎﺭﺕ ﺷﻌﲑﺓ ﻣﻦ ﺷﻌﺎﺋﺮ ﺑﻌﺾ ﺍﻟﻌﺒﺎﺩﺍﺕ‪ .‬ﻓﻬﻲ ﺟﺰﺀ ﻣﻦ ﺻﻼﺓ ﺍﳉﻤﻌﺔ ﺍﻷﺳﺒﻮﻋﻴﺔ‬
‫ﻭﺻﻼﺓ ﺍﻟﻌﻴﺪﻳﻦ ﻭﺻﻼﺓ ﺍﻻﺳﺘﺴﻘﺎﺀ‪ .‬ﻭﻫﻲ ﺍﻟﻘﻨﺎﺓ ﻹﺑﻼﻍ ﺍﳌﺴﻠﻤﲔ ﻋﻨﺪﻣﺎ ﳛﺰ‪‬ﻢ ﺃﻣﺮ ﺃﻭ‬
‫ﻳ‪‬ﻠﻢ ‪‬ﻢ ﺧ‪‬ﻄﹾﺐ ﺃﻭ ﺗﻈﻬﺮ ﺍﳊﺎﺟﺔ ﻻﺳﺘﻨﻬﺎﺽ ﺍﻟﻨﺎﺱ ﻭﺍﺳﺘﻨﻔﺎﺭﻫﻢ‪.‬‬
‫"ﻭﺑﺘﻘﺪﻡ ﺍﻟﺘﺎﺭﻳﺦ ﺍﻟﻌﺮﰊ ﺍﻹﺳﻼﻣﻲ ﻭﺗﻌﺪﺩ ﺍﻟﻔﺮﻕ ﺍﻹﺳﻼﻣﻴﺔ‪ ،‬ﻛﺎﻧﺖ ﺍﳋﻄﺎﺑﺔ ﺃﺩﺍﺓ‬
‫ﺍﻟﺪﻋﺎﻳﺔ ﻭﻣﺼﺎﺭﻋﺔ ﺍﳋﺼﻮﻡ‪ ،‬ﻓﺎﺷﺘﻬﺮ ﻋﺪﺩ ﻣﻦ ﺍﳋﻄﺒﺎﺀ ﺣ‪‬ﻔﻈﺖ ﺧﻄﺒﻬﻢ ﻭﻇﻠﱠﺖ ﺗ‪‬ﺘﺪﺍﻭﻝ‬
‫ﻭﲢﻔﻆ ﰲ ﻣﺪﻭﻧﺎﺕ ﺍﻷﺩﺏ ﻭﺍﻟﺘﺎﺭﻳﺦ "‪.‬‬

‫‪6‬‬

‫ﰲ ﺍﻟﻌﺼﺮ ﺍﻷﻣﻮﻱ ﺍﺯﺩﻫﺮﺕ ﺍﳋﻄﺎﺑﺔ ﻭﺑﻠﻐﺖ ﺫﺭﻭ‪‬ﺎ‪ ،‬ﻭﺗﻨﻮﻋﺖ ﺃﻏﺮﺍﺿﻬﺎ ﺑﲔ‬
‫ﺍﻟﺴﻴﺎﺳﻲ ﻭﺍﻟﺪﻳﲏ ﻭﺍﻟﻌﻘﻠﻲ‪ .‬ﻭﻛﺎﻥ ﻟﻸﺣﺰﺍﺏ ﺍﻟﺴﻴﺎﺳﻴﺔ ﺩﻭﺭ ﻛﺒﲑ ﰲ ‪‬ﻀﺔ ﺍﳋﻄﺎﺑﺔ‪ ،‬ﺇﺫ‬
‫ﻛﺎﻧﺖ ﺳﻼﺣ‪‬ﺎ ﻣﻦ ﺃﺳﻠﺤﺘﻬﻢ ﰲ ﺍﻟﺪﻋﻮﺓ ﻷﺣﺰﺍ‪‬ﻢ ﻭﻣﺒﺎﺩﺋﻬﺎ‪ .‬ﻭﻳ‪‬ﻌﺪ‪ ‬ﻣﻦ ﺃﺷﻬﺮ ﺧﻄﺒﺎﺀ‬
‫‪ 4‬إﺣﺴﺎن ﺳﺮﻛﯿﺲ‪ ،‬اﻟﻈﺎھﺮة اﻷدﺑﯿﺔ ﻓ ﻲ ﺻﺪر اﻹﺳﻼم واﻟﻌﺼﺮ اﻷﻣﻮي‪) ،‬ﺑﯿﺮوت‪ :‬دار‬
‫اﻟﻄﻠﯿﻌﺔ‪،‬دس(ص‪34،‬‬
‫‪ 5‬ﻧ ﻔ ﺲ اﻟﻤﺮﺟﻊ‪ ،‬ص ‪35‬‬
‫‪ 6‬اﺑﻦ رﺷﺪ‪ ،‬ت ﻋ ﺒ ﺪ اﻟﺮﺣﻤﻦ ﺑﺪوي‪ ،‬اﻟﻤﺮﺟﻊ اﻟﺴﺎﺑﻖ‪ ،‬ص ‪50‬‬

‫‪16‬‬

‫ﺍﳋﻮﺍﺭﺝ ﻗﹶﻄﹶﺮﻱ‪ ‬ﺑﻦ ﺍﻟﻔﺠﺎﺀﺓ ﻭﺃﺑﻮﲪﺰﺓ ﺍﻟﺸﺎﺭﻱ ﺍﳋﺎﺭﺟﻲ‪ .‬ﻭﻣﻦ ﺃﺷﻬﺮ ﺧﻄﺒﺎﺀ ﺍﻟﺸﻴﻌﺔ‬
‫ﺍﳊﺴﲔ ﺑﻦ ﻋﻠﻲ ﻭﺍﳌﺨﺘﺎﺭ ﺍﻟﺜﻘﻔﻲ‪ .‬ﺃﻣﺎ ﻟﺪﻯ ﺍﻟﺰﺑﲑﻳﲔ ﻓﺈﻥ ﻋﺒﺪﺍﷲ ﺑﻦ ﺍﻟﺰﺑﲑ ﻛﺎﻥ ﺧﻄﻴﺒﻬﻢ‬
‫ﻏﲑ ﻣﺪﺍﻓﻊ‪ .‬ﻭﺑﺎﳌﺜﻞ ﻛﺎﻥ ﺍﳊﺰﺏ ﺍﻷﻣﻮﻱ ﺍﳊﺎﻛﻢ ﻳﻮﻇﻒ ﺍﳋﻄﺎﺑﺔ ﻷﻏﺮﺍﺿﻪ ﺍﻟﺴﻴﺎﺳﻴﺔ‪،‬‬
‫ﻭﻛﺎﻥ ﺍﳊﺠﺎﺝ ﺍﻟﺜﻘﻔﻲ ﻭﺯﻳﺎﺩ ﺑﻦ ﺃﰊ ﺳﻔﻴﺎﻥ ﺳﻴ‪‬ﺪﻱ ﺍﳌﻨﺎﺑﺮ ﻏﲑ ﻣﻨﺎﺯﻋ‪‬ﻴ‪‬ﻦ‪.‬‬

‫‪7‬‬

‫"ﻭﲜﺎﻧﺐ ﺍﳋﻄﺎﺑﺔ ﺍﻟﺴﻴﺎﺳﻴﺔ‪ ،‬ﺍﺯﺩﻫﺮﺕ ﺧﻄﺎﺑﺔ ﺍﶈﺎﻓﻞ ﺣﲔ ﺗﻔﺪ ﺍﻟﻮﻓﻮﺩ ﻋﻠﻰ ﺍﳋﻠﻔﺎﺀ‬
‫ﻭﺍﻟﻮﻻﺓ‪ .‬ﻭﻣﻦ ﺃﺷﻬﺮ ﻫﺆﻻﺀ ﺍﳋﻄﺒﺎﺀ ﺳﺤﺒﺎﻥ ﻭﺍﺋﻞ ﺻﺎﺣﺐ ﺍﳋﻄﺒﺔ ﺍﻟﱵ ﺳ‪‬ﻤ‪‬ﻴﺖ ﺑﺎﻟﺸ‪‬ﻮﻫﺎﺀ‪،‬‬
‫ﻭﺍﻷﺣﻨﻒ ﺑﻦ ﻗﻴﺲ"‪.‬‬

‫‪8‬‬

‫"ﻭﻛﺬﻟﻚ ‪‬ﻀﺖ ﰲ ﻫﺬﺍ ﺍﻟﻌﺼﺮ ﺍﳋﻄﺎﺑﺔ ﺍﻟﺪﻳﻨﻴﺔ ﻭﺍﻟﻮﻋﻈﻴﺔ ﻭﺍﳌﻨﺎﻓﺮﺍﺕ‪ ،‬ﻭﻣﻦ ﺃﺷﻬﺮ‬
‫ﻣﻦ ﺳﺎﺩﻭﺍ ﰲ ﻫﺬﺍ ﺍ‪‬ﺎﻝ ﺍﳊﺴﻦ ﺍﻟﺒ‪‬ﺼ‪‬ﺮﻱ ﻭﻭﺍﺻﻞ ﺑﻦ ﻋﻄﺎﺀ ﻭﺧﺎﻟﺪ ﺑﻦ ﺻﻔﻮﺍﻥ‬
‫ﻭﻏﲑﻫﻢ"‪.‬‬

‫‪9‬‬

‫"ﻭﻗﺪ ﺍﺷﺘﻬﺮﺕ ﺑﻌﺾ ﺍﳋﻄﺐ ﻣﺜﻞ‪ :‬ﺧﻄﺒﺔ ﺯﻳﺎﺩ ﺍﻟﺒﺘﺮﺍﺀ ﻟﻌﺪﻡ ﺍﺑﺘﺪﺍﺋﻬﺎ ﺑﺎﻟﺘﺤﻤﻴﺪ‬
‫ﻭﻋﺪﻡ ﺍﻓﺘﺘﺎﺣﻬﺎ ﺑﺎﻟﺘﻤﺠﻴﺪ‪ .‬ﻭﺍﳋﻄﺒﺔ ﺍﻟﺸﻮﻫﺎﺀ ﳋﻠﻮﻫﺎ ﻣﻦ ﺍﻻﻗﺘﺒﺎﺱ ﻣﻦ ﺍﻟﻘﺮﺁﻥ‪ ،‬ﻭﻋﺪﻡ‬
‫ﺗﻀﻤﻨﻬﺎ ﻟﻠﺼﻼﺓ ﻋﻠﻰ ﺍﻟﻨﱯ"‪.‬‬

‫‪10‬‬

‫‪ 7‬إﺣﺴﺎن اﻟﻨﺺ‪ ،‬اﻟﺨﻄﺎﺑﺔ اﻟﻌﺮﺑﯿﺔ ﻓ ﻲ ﻋﺼﺮھﺎ اﻟﺬھﺒﻲ‪)،‬دم‪ :‬دار اﻟﻤﻌﺎرف ﻣﺼﺮ‪،‬‬
‫‪(1969‬ص‪34 ،‬‬
‫‪ 8‬ﻧ ﻔ ﺲ اﻟﻤﺮﺟﻊ‪ ،‬ص ‪35‬‬
‫‪ 9‬ﻧ ﻔ ﺲ اﻟﻤﺮﺟﻊ‪ ،‬ص ‪36‬‬
‫‪ 10‬ﻧ ﻔ ﺲ اﻟﻤﺮﺟﻊ‪ ،‬ص ‪36‬‬

‫‪17‬‬

‫ﻭﺃﻣﺎ ﺍﻟﺪﻳﻨﻴﺔ ﻓﺈﻥ ﺣﺮﻛﺎﺕ ﺍﻹﺻﻼﺡ ﺍﻟﺪﻳﲏ ﺍﻟﱵ ﲢﺪﺛﻨﺎ ﻋﻨﻬﺎ ﻛﺎﻧﺖ ﺩﺍﻓﻌﺎﹰ ﻟﻠﺨﻄﺒﺎﺀ‬
‫ﺃﻥ ﻳﻌﻴﺪﻭﺍ ﺇﱃ ﻫﺬﻩ ﺍﳋﻄﺎﺑﺔ ﻋﺼﺮ ﺍﺯﺩﻫﺎﺭﻫﺎ‪ ،‬ﻓﺘﻨﻮﻋﺖ ﻣﻮﺿﻮﻋﺎ‪‬ﺎ ﻭﲢﺮﺭ ﺑﺄﺳﻠﻮ‪‬ﺎ ﻭﱂ‬
‫ﺗﻌﺪ ﻣﻨﺎﺳﺒﺘﻬﺎ ﳏﺪﺩﺓ ﰲ ﺍﳉﻤﻊ‪.‬‬
‫ﻭﰲ ﺍﻟﻌﺼﺮ ﺍﻷﻣﻮﻱ ﻭﺑﻌﺪ ﺍﻻﺳﻼﻡ‪ ،‬ﺷﺎﻉ ﺍﻟﻨﺜﺮ ﲤﺪﺩﺍ ﻭﺍﺗﺴﺎﻋﺎ ﺧﻄﺎﺑﺔ ﺗﺪﻋﻮ ﺍﱃ‬
‫ﺍﻟﺪﻳﻦ ﺍﳊﻨﻴﻒ ﻭﺗﻨﺒﺬ ﺍﻟﻌﺼﺒﻴﺎﺕ ﻭ‪‬ﻤﻞ ﺍﳌﻔﺎﺧﺮ‪ ,‬ﻭﺑﺮﺯﺕ ﺃﺭﺽ ﺍﻟﻌﺮﺍﻕ ﻛﺄﻋﻈﻢ ﺍﻻﺭﺍﺿﻲ‬
‫ﺍﻟﻌﺮﺑﻴﺔ ﺍﺣﺘﻔﺎﺀ ﺑﺎﳋﻄﺎﺑﺔ ﺧﻄﺐ ﺍﳊﺠﺎﺝ ﺑﻦ ﻳﻮﺳﻒ ﺍﻟﺜﻘﻔﻲ ﺑﺄﻟﻔﺎﻇﻬﺎ ﺍﳌﺨﻴﻔﺔ ﺍﳌﻔﺰﻋﺔ‬
‫ﺍﳉﺎﳓﺔ ﺍﱃ ﺍﻟﺘﻬﻮﻳﻞ ﻟﻠﺘﺨﻮﻳﻒ‪ ،‬ﻭﻣﻊ ﺫﻟﻚ ﻓﻘﺪ ﻛﺎﻧﺖ ﺧﻄﺎﺑﺔ ﻗﻮﻳﺔ ﺍﻟﺼﻮﺭﺓ ﻋﻈﻴﻤﺔ‬
‫ﺍﳌﻌﺎﱐ‪ ،‬ﰒ ﺗﺒﻌﺖ ﻣﺮﺣﻠﺔ ﺍﻟﻀﻌﻒ ﰲ ﺍﳋﻄﺎﺑﺔ ﰲ ﻋﺼﺮ ﺍﻟﻌﺒﺎﺳﻴﲔ‪ ،‬ﻭﻛﺎﻥ ﺍﻧﺪﺣﺎﺭﻫﺎ ﻣﻨﻄﻘﻴﺎ‬
‫ﺑﻌﺪ ﺍﻥ ﺍﺣﺘﺠﺐ ﺍﻟﻠﺴﺎﻥ ﺍﳋﻄﺎﰊ ﻭﺣﻞ ﳏﻠﻪ ﺍﻟﺴﻴﻒ ﻭﺑﺄﺱ ﺍﻟﺴﻠﻄﺎﻥ ﻭﺗﺒﻌﺘﻬﺎ ﺍﻟﻘﺼﺺ‬
‫ﺍﻟﱵ ﺗﺴﺮﺩ ﺃﻭ ﺗﺮﻭﻱ ﺃﺣﺪﺍﺛﺎﹰ ﺗﺎﺭﳜﻴﺔ ﻣﻠﻔﻘﺔ ﻣﻦ ﺧﻴﺎﻝ ﻛﺎﺗﺒﻬﺎ ﰲ ﺍﻋﺘﻤﺎﺩ ﻋﻠﻰ ﺍﳊﻘﻴﻘﺔ‬
‫ﻭﺍﻟﻄﺒﻴﻌﺔ ﻟﻘﺼﺺ ﻋﻨﺘﺮﺓ‪ ،‬ﺃﻟﻒ ﻟﻴﻠﺔ ﻭﻟﻴﻠﺔ ﺍﺿﺎﻓﺔ ﺍﱃ ﻗﺼﺺ ﺍﻟﺘﺴﺎﱄ ﺍﻟﺸﻌﺒﻴﺔ ﻭﱂ ﺗﺘﻄﺮﻕ‬
‫ﺍﻟﻘﺼﺺ ﺍﻟﻌﺮﺑﻴﺔ ﺍﱃ ﻋﺎﱂ ﺍﻟﻘﺼﺔ ﺍﻟﻌﺎﳌﻴﺔ ﻛﻤﺎ ﰲ ﻋﺎﱂ ﺍﳌﻼﺣﻢ ﺍﻭ ﺍﻷﺳﺎﻃﲑ ﺍﻟﻘﺪﳝﺔ‪.‬‬

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‫"ﻭﺗﺘﻨﻮﻉ ﺍﳋﻄﺎﺑﺔ ﺑﺘﻨﻮﻉ ﻣﻮﺿﻮﻋﺎ‪‬ﺎ؛ ﻓﻬﻨﺎﻙ ﺍﳋﻄﺎﺑﺔ ﺍﻟﺪﻳﻨﻴﺔ ﻭﺍﳋﻄﺎﺑﺔ ﺍﻟﺴﻴﺎﺳﻴﺔ‬
‫ﻭﺍﳋﻄﺎﺑﺔ ﺍﻻﺣﺘﻔﺎﻟﻴﺔ ﻭﺍﳋﻄﺎﺑﺔ ﺍﻟﻘﻀﺎﺋﻴﺔ"‪.‬‬

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‫ﻣﻦ ﻫﻨﺎ ﻋﺮﻑ ﺍﻟﺒﺎﺣﺚ ﺃﻥ ﺃﺯﻫﻰ ﻋﺼﺮ ﻟﻠﺨﻄﺎﺑﺔ ﺍﻟﻌﺮﺑﻴﺔ ﻫﻮ ﺍﻟﻌﺼﺮ ﺍﻹﺳﻼﻣﻲ ﻣﻨﺬ‬
‫ﺍﻟﺒﻌﺜﺔ ﻭﺣﱴ ﺍﻟﻌﺼﺮ ﺍﻷﻣﻮﻱ ﺇﺫ ﺍﺯﺩﻫﺮﺕ ﻓﻴﻬﻤﺎ ﺍﳋﻄﺎﺑﺔ ﺍﻟﺪﻳﻨﻴﺔ ﻭﺍﻟﺴﻴﺎﺳﻴﺔ ﻭ ﺍﻻﺟﺘﻤﺎﻋﻴﺔ‪.‬‬
‫ﺃﺧﺬﺕ ﺍﳋﻄﺎﺑﺔ ﺗﺜﺒﺖ ﺃﻗﺪﺍﻣﻬﺎ ﳊﺎﺟﺔ ﺍﳌﺴﻠﻤﲔ ﺇﻟﻴﻬﺎ ﻋﺼﺮﺋﺬ‪ ،‬ﻭﺑﺪﺃﺕ ﺗﺴﲑ ﰲ‬
‫ﻃﺮﻳﻖ ﺍﻟﻨﻤﺎﺀ ﻭﺍﻟﻨﻀﺞ ﺑﺸﱴ ﺃﻧﻮﺍﻋﻬﺎ ﻭﰲ ﺣﲔ ﺗﻮﺍﺭﻯ ﺳﺠﻊ ﺍﻟﻜﻬﺎﻥ ﻇﻬﺮﺕ ﻣﻜﺎﻧﺔ‬
‫‪ 7‬أﺣﻤﺪ زﻛﻲ ﺻﻔﻮت‪ ،‬ﺟﻤﮭﺮة ﺧ ﻄ ﺐ اﻟﻌﺮب‪ ،‬ﺑﯿﺮوت‪ :‬اﻟﻤﻜﺘﺒﺔ اﻟﻌﻠﻤﯿﺔ‪ ،‬دس(‪ ،‬ص‪78 ،‬‬
‫‪ 8‬ﻧ ﻔ ﺲ اﻟﻤﺮﺟﻊ‪ ،‬ص ‪80‬‬

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‫ﺍﳋﻄﺎﺑﺔ ﺍﻟﺪﻳﻨﻴﺔ‪ ،‬ﻓﻜﺎﻥ ﺍﻟﺮﺳﻮﻝ ﳜﻄﺐ ﰲ ﺍﳌﺴﻠﻤﲔ ﻣﻮﺿﺤﺎﹰ ﳍﻢ ﺷﺆﻭﻥ ﻋﻘﻴﺪ‪‬ﻢ‪ .‬ﻭﺟﺎﺀ‬
‫ﺍﳋﻠﻔﺎﺀ ﺍﻟﺮﺍﺷﺪﻭﻥ ﺑﻌﺪﻩ ﻓﺴﺎﺭﻭﺍ ﻋﻠﻰ ‪‬ﺠﻪ‪ ،‬ﻭﻛﺎﻧﻮﺍ ﻳﻌﻈﻮﻥ ﺍﳌﺴﻠﻤﲔ ﰲ ﺧﻄﺒﻬﻢ‬
‫ﻭﳛﻀﻮ‪‬ﻢ ﻋﻠﻰ ﻣﻜﺎﺭﻡ ﺍﻷﺧﻼﻕ‪ .‬ﻭﻗﺪ ﺍﺣﺘﻠﺖ ﺍﳋﻄﺎﺑﺔ ﺍﻟﺪﻳﻨﻴﺔ ﺍﳌﻨﺎﺑﺮ ﻭﺣﻠﻘﺎﺕ ﺍﳌﺴﺎﺟﺪ‬
‫ﻣﻨﺬ ﺫﻟﻚ ﺍﻟﻌﺼﺮ‪ ،‬ﻭﻛﺜﺮ ﺍﻟﻮﻋﺎﻅ ﻭﺍﻟﻘﺼﺎﺹ‪.‬‬
‫ﺍﻧﻄﻼﻗﺎ ﻣﻦ ﺧﻠﻔﻴﺔ ﺍﻟﺒﺤﺚ ﺍﻟﺴﺎﺑﻘﺔ ﺭﺃﻯ ﺍﻟﺒﺎﺣﺚ ﺃﻥ ﺍﳋﻄﺎﺑﺔ ﻓﻦ ﻣﻦ ﺍﻟﻘﻮﻝ‬
‫ﺧﺎﺹ‪ ،‬ﻳﻮﺍﺟﻪ ﻓﻴﻪ ﺻﺎﺣﺒﻪ ﲨﻬﻮﺭﺍ ﻣﻦ ﺍﻟﻨﺎﺱ ﳜﺎﻃﺒﻬﻢ‪ ،‬ﻓﻠﻴﺲ ﻫﻢ ﻛﺴﺎﺋﺮ ﻓﻨﻮﻥ ﺍﻟﻘﻮﻝ‬
‫ﺍﻷﺧﺮﻯ‪ .‬ﻛﺎﳌﻘﺎﻟﻪ ﺃﻭ ﺍﻟﻘﺼﺔ ﺃﻭ ﺍﻟﺮﺳﺎﻟﺔ‪ ،‬ﻳﻜﺘﺒﻬﺎ ﺍﻟﻜﺎﺗﺐ ﳐﺘﻠﻴﺎ ﺑﻨﻔﺴﻪ ﺣﺮﺍ ﰲ ﺃﻥ ﻳﻘﺪﻡ‬
‫ﺃﻭ ﻳﺆﺧﺮ‪ ،‬ﺃﻭ ﻳﻄﻴﻞ ﺃﻭ ﻳﻘﺼﺮ‪ ،‬ﺃﻭ ﻳﺘﻮﻗﻒ ﺃﻭ ﻳﺴﺘﻤﺮـ ﻣﻨﻬﺎ ﺃﻥ ﺍﳋﻄﺎﺑﺔ ﻓﻦ ﻣﻦ ﺍﻟﻘﻮﻝ‬
‫ﻣﺮﺗﺒﻂ ﺑﺎﳋﻄﻴﺐ ﻭﺍﳉﻤﻬﻮﺭ ﻣﻌﺎ‪ .‬ﻭﻫﺬﻩ ﺍﳌﻮﺍﺟﻬﺔ ﺗﻘﺘﻀﻲ ﺃﻣﻮﺭﺍ ﻣﻨﻬﺎ ﺃﻥ ﻳﻜﻮﻥ ﺍﳋﻄﻴﺐ‬
‫ﻗﺎﺩﺭﺍ ﻋﻠﻰ ﻣﻮﺍﺟﻬﺔ ﺍﳉﻤﻬﻮﺭ‪ ،‬ﲤﻜﻨﻪ ﻣﻦ ﺍﻟﻠﻐﺔ ﻭﻣﻦ ﺍﻟﺘﺼﺮﻑ ﰲ ﺍﻷﺳﻠﻮﺏ‪ ،‬ﻋﺎﺭﻓﺎ ﺑﻨﻔﺴﻴﺔ‬
‫ﺍﳌﺨﺎﻃﺒﲔ‪ ،‬ﻣﻠﻤﺎ ﲟﻮﺿﻮﻋﻪ ﲜﻤﻴﻊ ﺍﻃﺮﺍﻓﻪ‪ ،‬ﻭ ﻭﺟﺪﺕ ﺃﻥ ﺍﳋﻄﺎﺑﺔ ﰲ ﺍﻟﻌﺼﺮ ﺍﻷﻣﻮﻱ‬
‫ﺍﺯﺩﻫﺮﺕ ﻭﺑﻠﻐﺖ ﺫﺭﻭ‪‬ﺎ‪ ،‬ﻭﺗﻨﻮﻋﺖ ﺃﻏﺮﺍﺿﻬﺎ ﺑﲔ ﺍﻟﺴﻴﺎﺳﻲ ﻭﺍﻟﺪﻳﲏ ﻭﺍﻟﻌﻘﻠﻲ ﻣﻦ ﺍﻟﻌﺼﻮﺭ‬
‫ﺍﻷﺧﺮﻯ ﺑﻌﺪﻩ‪.‬‬
‫ﺑﻨﺎﺋﺎ ﻋﻠﻰ ‪‬ﻀﺔ ﺍﳋﻄﺎﺑﺔ ﺍﻟﺪﻳﻨﻴﺔ ﻭﺍﻟﻮﻋﻈﻴﺔ ﻭﺍﳌﻨﺎﻓﺮﺍﺕ ﰲ ﻫﺬﺍ ﺍﻟﻌﺼﺮ ﺃﺭﺍﺩ ﺍﻟﺒﺎﺣﺚ‬
‫ﺃﻥ ﻳﺒﺤﺚ ﺍﳋﻄﺎﺑﺔ ﺍﻟﺪﻳﻨﻴﺔ ﰲ ﺍﻟﻌﺼﺮ ﺍﻷﻣﻮﻱ ﻭﺃﻣﺎ ﺍﻷﺳﺒﺎﺏ ﺍﻟﱵ ﺩﻓﻌﺘﲏ ﺇﱃ ﺍﺧﺘﻴﺎﺭ ﻫﺬﺍ‬
‫ﺍﳌﻮﺿﻮﻉ ﻫﻲ‪:‬‬
‫‪ -1‬ﻷﻥ ﺍﻟﻨﺎﺱ ﰲ ﻫﺬﺍ ﺍﻟﻌﺼﺮ ﻛﺎﻧﻮﺍ ﺩﺍﺋﻤﺎ ﰲ ﺣﺎﺟﺔ ﺇﻟﻴﻬﺎ ﰲ ﺣﻴﺎ‪‬ﻢ‪ ،‬ﻳﻘﻨﻊ‬
‫ﺑﻌﻀﻬﻢ ﺑﻌﻀﺎ‪ ،‬ﻭﻳﻮﺟﻪ ﻗﺎﺩ‪‬ﻢ ﻭﻳﺆﺛﺮﻭﻥ ﻓﻴﻬﻢ‪ ،‬ﻭﺭﲟﺎ ﻛﺎﻧﺖ ﺍﻟﻜﻠﻤﺔ ﺍﻟﺒﻠﻴﻐﺔ ﰲ‬
‫ﺍﳋﻄﺒﺔ ﺍﳌﺆﺛﺮﺓ ﺃﻧﻔﻊ ﻣﻦ ﻗﻮﺓ ﺍﻟﺴﻼﺡ‪ ،‬ﻓﺎﳋﻄﺒﺔ ﺃﺳﻠﻮﺏ ﺍﻟﺪﻋﻮﺓ ﺍﱃ ﺍﻟﻔﻜﺮﺓ‬
‫ﻭﺍﻟﻌﻘﻴﺪﺓ‪ ،‬ﻭﺃﺩﺍﺓ ﻟﻠﻤﺤﺎﻛﻤﺔ ﻭﺍﻻﺣﺘﻜﺎﻡ‪ ،‬ﻭﻭﺳﻴﻠﺔ ﻟﻠﺪﻋﺎﻳﺔ ﻭﺍﻟﺘﻮﺟﻴﻪ‪ ،‬ﻭﻋﻤﺎﺩ‬
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‫ﺍﳊﺮﺏ ﻭﺍﻟﺴﻠﻢ ﻭﺍﳌﻔﺎﻭﺿﺔ ﻭﺍﳌﻨﺎﺻﺮﺓ ﻭﺍﻟﺘﻨﻔﲑ ﻟﻠﺠﻬﺎﺩ‪ .‬ﻭﺑﻔﻀﻞ ﺫﻟﻚ ﻛﻠﻪ‬
‫ﻧﻌﺘﱪﻩ ﺃﺩﺑﺎ ﺷﻌﺒﻴﺎ‪ ،‬ﺃﻭ ﻓﻨﺎ ﳜﺎﻃﺐ ﺑﻪ ﺍﳉﻤﻬﻮﺭ‪.‬‬
‫‪ -2‬ﺇﻥ ﻣﻌﺮﻓﺔ ﻣﻨﺰﻟﺔ ﺍﳋﻄﺎﺑﺔ ﺍﻟﺪﻳﻨﻴﺔ ﰲ ﺍﻟﻌﺼﺮ ﺍﻷﻣﻮﻱ ﻣﻬﻤﺔ ﳌﻦ ﻳﺪﺭﺳﻪ ﻭﻳﺒﺤﺜﻪ‬
‫ﰲ ﲝﺜﻪ‬
‫ﺏ‪-‬ﲢﺪﻳﺪ ﺍﳌﺸﻜﻠﺔ‬
‫ﻟﻠﺨﻄﺎﺑﺔ ﺃﻧﻮﺍﻉ ﻣﺘﻤﻴﺰﺓ ﻛﻤﺎ ﺫﻛﺮﺕ ﺳﺎﺑﻘﺎ ﻭﻟﻘﺪ ﻋﺮﻓﻬﺎ ﺍﻟﻌﺮﺏ ﻣﻦ ﺍﻟﻌﺼﺮ ﺍﳉﺎﻫﻠﻲ‬
‫ﺣﱴ ﻋﺼﺮ ﺍﻟﻨﻬﻀﺔ ﺍﻟﻌﺮﺑﻴﺔ ﺍﳊﺪﻳﺜﺔ ‪ ،‬ﻭﻣﻦ ﺃﺑﺮﺯﻫﺎ‪ :‬ﺍﳋﻄﺎﺑﺔ ﺍﻟﺪﻳﻨﻴ‪‬ﺔ‪ ،‬ﺍﻟﺴﻴﺎﺳﻴﺔ‪ ،‬ﺍﳊﻤﺎﺳﻴﺔ‪،‬‬
‫ﺍﻟﻘﻀﺎﺋﻴﺔ‪ ،‬ﺍﻟﺘﺄﺑﻴﻨﻴﺔ‪ ،‬ﺍﻻﺟﺘﻤﺎﻋﻴﺔ‪ ،‬ﺍﻟﻌﻠﻤﻴﺔ‪ ،‬ﺍﻟﺘﺮﺣﻴﺒﻴﺔ‪ .‬ﻻ ﳝﻜﻨﲏ ﻋﺮﺿﻬﺎ ﻣﻦ ﻛﻞ ﺟﻮﺍﻧﺒﻪ‬
‫ﻟﺬﻟﻚ ﻓﺤﺪﺩﺕ ﺍﻟﺒﺤﻮﺙ ﰲ ﺍﳋﻄﺎﺑﺔ ﺍﻟﺪﻳﻨﻴ‪‬ﺔ ﰲ ﺍﻟﻌﺼﺮ ﺍﻷﻣﻮﻱ ﻓﺤﺴﺐ‪ .‬ﻭﳝﻜﻦ ﱄ‬
‫ﺗﻘﺮﻳﺮﻫﺎ ﻛﻤﺎ ﻳﻠﻲ‪:‬‬
‫‪ -1‬ﻣﺎ ﻫﻲ ﺍﳋﻄﺎﺑﺔ ﺍﻟﺪﻳﻨﻴﺔ؟‬
‫‪ -2‬ﻭﻣﺎ ﻣﻨﺰﻟﺔ ﺍﳋﻄﺎﺑﺔ ﺍﻟﺪﻳﻨﻴﺔ ﰲ ﺍﻟﻌﺼﺮ ﺍﻷﻣﻮﻱ؟‬
‫ﺝ‪ -‬ﺍﻟﻐﺮﺽ ﻣﻦ ﺍﻟﺒﺤﺚ‬
‫ﺃﻣﺎ ﺍﻟﻐﺮﺽ ﻣﻦ ﻫﺬﺍ ﺍﻟﺒﺤﺚ ﻫﻮ ﻣﻌﺮﻓﺔ ﻣﻨﺰﻟﺔ ﺍﳋﻄﺎﺑﺔ ﺍﻟﺪﻳﻨﻴﺔ ﰲ ﺍﻟﻌﺼﺮ ﺍﻷﻣﻮﻱ‬
‫ﺩ‪ -‬ﺧﻄﺔ ﺍﻟﺒﺤﺚ‬
‫ﻳﻌﺘﻤﺪ ﻫﺬﺍ ﺍﻟﺒﺤﺚ ﻋﻠﻰ ﻣﻨﻬﺞ ﺍﻟﺒﺤﺚ ﺍﳌﻜﺘﱮ‪ ،‬ﻭﺫﻟﻚ ﲜﻤﻊ ﺍﳌﻮﺍﺩ ﺍﻵﺩﺍﺑﻴﺔ‬
‫ﻭﺍﳌﺼﺎﺩﺭﺍﻟﻌﺮﺑﻴﺔ ﺍﳌﺘﻌﻠﻘﺔ ‪‬ﺬﺍ ﺍﳌﻮﺿﻮﻉ ﺍﻟﱵ ﻛﺘﺒﻬﺎ ﺍﻷﺩﺑﺎﺀ ﻭﺍﳌﺆﺭﺧﻮﻥ ﰒ ﺃﻗﻮﻡ ﺑﺎﻃﻼﻋﻬﺎ‬
‫ﻭﺻﻒ ﻣﻀﻤﻮ‪‬ﺎ‪.‬‬
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‫ﻭﺗﻌﺘﻤﺪ ﻃﺮﻳﻘﺔ ﻛﺘﺎﺑﺘﻪ ﻋﻠﻰ ﺍﻟﺪﻟﻴﻞ ﺍﻟﺬﻱ ﺃﺻﺪﺭﺗﻪ ﻛﻠﻴﺔ ﺍﻵﺩﺍﺏ ﻭﺍﻟﺪﺭﺳﺎﺕ‬
‫ﺍﻹﻧﺴﺎﻧﻴﺔ ﺟﺎﻣﻌﺔ ﺷﺮﻳﻒ ﻫﺪﺍﻳﺔ ﺍﻟﻠﹼﻪ ﺍﻹﺳﻼﻣﻴ‪‬ﺔ ﺍﳊﻜﻮﻣﻴ‪‬ﺔ ﲜﺎﻛﺮﺗﺎ ﺑﻌﻨﻮﺍﻥ‪:‬‬
‫‪“Pedoman Penulisan Skripsi Bahasa Dan Sastra Arab, Fakultas Adab & Humaniora‬‬
‫"‪UIN Syarif Hidayatullah Jakarta 2007‬‬

‫ﻭﺗﺴﻬﻴﻼﺕ ﻟﻜﺘﺎﺑﺔ ﻫﺬﺍ ﺍﻟﺒﺤﺚ ﻓﻘﺪ ﻗﺴﻤﺘﻪ ﺇﱃ ﺃﺭﺑﻌﺔ ﺃﺑﻮﺍﺏ ﻭﻫﻲ‪:‬‬
‫ﺍﻟﺒﺎﺏ ﺍﻻﻭﻝ ‪:‬‬

‫ﻣﻘﺪﻣﺔ ﻭﻫﻲ ﺗﺸﻤﻞ ﻋﻠﻰ ﺧﻠﻔﻴﺔ ﺍﳌﺸﻜﻠﺔ‪ ،‬ﻭﲢﺪﻳﺪﻫﺎ‪ ،‬ﻭﺍﻟﻐﺮﺽ‬

‫ﻣﻦ ﺍﻟﺒﺤﺚ ﻭﺧﻄﺘﻪ‪.‬‬
‫ﺍﻟﺒﺎﺏ ﺍﻟﺜﺎﱐ‬

‫‪:‬‬

‫ﺍﳊﺠﺞ ﻭﺍﻟﱪﺍﻫﲔ ﺍﳋﻄﺎﺑﻴﺔ ﻭﻫﻲ ﺗﺸﻤﻞ ﻋﻠﻰ ﻣﻌﲎ ﺍﳋﻄﺎﺑﺔ‬

‫ﻭﻓﻮﺍﺋﺪﻫﺎ ﻭﺃﺑﺮﺯ ﺧﺼﺎﺋﺼﻬﺎ ﻭﺃﻧﻮﺍﻋﻬﺎ ﻭﺃﺟﺰﺍﺋﻬﺎ‬
‫ﺍﻟﺒﺎﺏ ﺍﻟﺜﺎﻟﺚ‬

‫‪:‬‬

‫ﻣﻜﺎﻧﺔ ﺍﳋﻄﺎﺑﺔ ﺍﻟﺪﻳﻨﻴ‪‬ﺔ ﰲ ﺍﻟﻌﺼﺮ ﺍﻷﻣﻮﻱ ﻭﻫﻲ ﺗﺸﻤﻞ ﻋﻠﻰ‬

‫ﺍﳋﻄﺎﺑﺔ ﻭﺧﺼﺎﺋﺼﻬﺎ ﰲ ﺍﻟﻌﺼﺮ ﺍﻷﻣﻮﻱ ﻭ ﺃﻋﻼﻡ ﺍﳋﻄﺒﺎﺀ ﻓﻴﻪ ﻭ ﻣﻔﻬﻮﻡ ﺍﳋﻄﺎﺑﺔ ﺍﻟﺪﻳﻨﻴ‪‬ﺔ‬
‫ﻭﻣﻨﺰﻟﺘﻬﺎ ﻓﻴﻪ‬
‫ﺍﻟﺒﺎﺏ ﺍﻟﺮﺍﺑﻊ‬

‫‪:‬‬

‫ﺍﳋﺎﲤﺔ ﻭﲢﺘﻮﻱ ﻋﻠﻰ ﺍﻟﻨﺘﺎﺋﺞ ﻣﻦ ﺍﻟﺒﺤﺚ ﻭﺍﻻﻗﺘﺮﺍﺣﺘﺎﺕ‬

‫ﻭﺍﻟﺘﻮﺻﻴﺎﺕ ﰒﹼ ﻳﻠﻴﻬﺎ ﻣﺮﺍﺟﻊ ﺍﻟﺒﺤﺚ‪.‬‬

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‫ﺍﻟﺒﺎﺏ ﺍﻟﺜﺎﱐ‬
‫ﺍﳊﺠﺞ ﻭﺍﻟﱪﺍﻫﲔ ﻟﻠﺨﻄﺎﺑﺔ‬

‫‪22‬‬

‫ﺍﳋﻄﺎﺑﺔ ﻓﻦ ﻣﻦ ﺍﻟﻘﻮﻝ ﺧﺎﺹ‪ ،‬ﻳﻮﺍﺟﻪ ﻓﻴﻪ ﺻﺎﺣﺒﻪ ﲨﻬﻮﺭﺍ ﻣﻦ ﺍﻟﻨﺎﺱ ﳜﺎﻃﺒﻬﻢ‪،‬‬
‫ﻓﻠﻴﺲ ﻫﻢ ﻛﺴﺎﺋﺮ ﻓﻨﻮﻥ ﺍﻟﻘﻮﻝ ﺍﻷﺧﺮﻯ‪ .‬ﻛﺎﳌﻘﺎﻟﻪ ﺃﻭ ﺍﻟﻘﺼﺔ ﺃﻭ ﺍﻟﺮﺳﺎﻟﺔ‪ ،‬ﻳﻜﺘﺒﻬﺎ ﺍﻟﻜﺎﺗﺐ‬
‫ﳐﺘﻠﻴﺎ ﺑﻨﻔﺴﻪ ﺣﺮﺍ ﰲ ﺃﻥ ﻳﻘﺪﻡ ﺃﻭ ﻳﺆﺧﺮ‪ ،‬ﺃﻭ ﻳﻄﻴﻞ ﺃﻭ ﻳﻘﺼﺮ‪ ،‬ﺃﻭ ﻳﺘﻮﻗﻒ ﺃﻭ ﻳﺴﺘﻤﺮـ ﻣﻨﻬﺎ‬
‫ﺃﻥ ﺍﳋﻄﺎﺑﺔ ﻓﻦ ﻣﻦ ﺍﻟﻘﻮﻝ ﻣﺮﺗﺒﻂ ﺑﺎﳋﻄﻴﺐ ﻭﺍﳉﻤﻬﻮﺭ ﻣﻌﺎ‪ .‬ﻭﻫﺬﻩ ﺍﳌﻮﺍﺟﻬﺔ ﺗﻘﺘﻀﻲ‬
‫ﺃﻣﻮﺭﺍ‪ .‬ﻣﻨﻬﺎ ﺃﻥ ﻳﻜﻮﻥ ﺍﳋﻄﻴﺐ ﻗﺎﺩﺭﺍ ﻋﻠﻰ ﻣﻮﺍﺟﻬﺔ ﺍﳉﻤﻬﻮﺭ‪ ،‬ﲤﻜﻨﻪ ﻣﻦ ﺍﻟﻠﻐﺔ ﻭﻣﻦ‬
‫ﺍﻟﺘﺼﺮﻑ ﰲ ﺍﻷﺳﻠﻮﺏ‪ ،‬ﻋﺎﺭﻓﺎ ﺑﻨﻔﺴﻴﺔ ﺍﳌﺨﺎﻃﺒﲔ‪ ،‬ﻣﻠﻤﺎ ﲟﻮﺿﻮﻋﻪ ﲜﻤﻴﻊ ﺍﻃﺮﺍﻓﻪ‪.‬ﻭﻣﻨﻬﺎ ﺃﻥ‬
‫ﻳﻌﻤﻞ ﺍﳋﻄﻴﺐ ﻋﻠﻰ ﺍﻟﺘﺄﺛﲑ ﰲ ﻧﻔﻮﺱ ﲨﻬﻮﺭﻩ ﺑﻮﺍﺳﻄﺔ ﺍﻟﻜﻠﻤﺔ ﺍﳊﻴﺔ ﺍﳌﺆﺛﺮﺓ‪ ،‬ﺍﻟﱵ ﺗﺼﺎﺩﻑ‬
‫ﻣﻮﺍﻃﻦ ﺍﻟﺸﻌﻮﺭ ﻭﺍﻹﺣﺴﺎﺱ‪ ،‬ﻭﻣﻨﻬﺎ ﺃﻥ ﺗﺘﻮﻓﺮ ﺍﳋﻄﺒﺔ ﻋﻠﻰ ﻋﻨﺎﺻﺮ ﺇﻗﻨﺎﻋﻴﺔ ﻣﻦ ﺣﺠﺞ‬
‫ﻭﺑﺮﺍﻫﲔ ﻭﻣﻨﻄﻖ ﺣﻴﻨﺎ ﻭﻋﺎﻃﻔﺔ ﺣﻴﻨﺎ ىﺨﺮ‪ .‬ﻓﺎﳋﻄﺎﺑﺔ ﻫﻲ ﻓﻦ ﺍﻹﻗﻨﺎﻉ ﺑﻮﺍﺳﻄﺔ ﺍﻷﺳﻠﻮﺏ‬
‫ﺍﻟﺒﻠﻴﻎ‪ .‬ﻭﻣﻦ ﻫﺬﻩ ﺍﻟﻨﺎﺣﻴﺔ ﺗﺸﺒﻪ ﺍﻟﺸﻌﺮ‪ ،‬ﻷ‪‬ﺎ ﺗﺜﲑ ﺍﻟﻌﻮﺍﻃﻒ ﻭﲢﺮﻙ ﺍﳋﻴﺎﻝ‪ ،‬ﻭﺗﺴﺘﻌﻤﻞ‬
‫ﺍ‪‬ﺎﺯﺍﺕ ﻛﻤﺎ ﻳﻔﻌﻞ ﺍﻟﺸﺎﻋﺮ‪ .‬ﻛﻤﺎ ﺃ‪‬ﺎ ﺗﻌﺘﻤﺪ ﻋﻠﻰ ﺍﻹﻳﻘﺎﻉ‪ ،‬ﻭﻣﺮﺍﻋﺎﺓ ﺗﻘﺴﻴﻢ ﺍﳉﻤﻞ‪،‬‬
‫ﻭﺗﻮﻓﲑ ﺍﻟﺘﻮﺍﺯﺍﻥ ﻓﻴﻬﺎ ﻣﻊ ﺑﻌﺾ ﺍﻟﺴﺠﻊ ﻭﺍﻻﺯﺩﻭﺍﺝ‪ ،‬ﻟﻴﺤﺪﺙ ﺍﻹﻳﻘﺎﻉ ﺍﻟﺬﻱ ﻳﻘﺎﺑﻞ ﺍﻟﻮﺯﻥ‬
‫ﰲ ﺍﻟﺸﻌﺮ‪ ،‬ﻭﻟﻜﻦ ﺍﳋﻄﺎﺑﺔ ﲣﺘﻠﻒ ﻋﻦ ﺍﻟﺸﻌﺮ ﻷ‪‬ﺎ ﺗﻌﺘﻤﺪ ﻋﻠﻰ ﺍﻷﺳﻠﻮﺏ ﺍﳌﺮﺳﻞ‪ ،‬ﻭﲣﺘﺺ‬
‫ﺑﺎﳌﻮﺿﻮﻋﺎﺕ ﺍﻟﺪﻳﻨﻴﺔ ﻭﺍﻟﺴﻴﺎﺳﻴﺔ ﻭﺍﻻﺟﺘﻤﺎﻋﻴﺔ ﻭﺍﳊﺮﺑﻴﺔ‪.‬‬

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‫ﺇﻥ ﺍﳋﻄﺎﺑﺔ ﻓﻦ ﻗﺪﱘ ﰲ ﺳﺎﺋﺮ ﺁﺩﺍﺏ ﺍﻷﻣﻢ‪ ،‬ﻷﻥ ﺍﻟﻨﺎﺱ ﻛﺎﻧﻮﺍ ﺩﺍﺋﻤﺎ ﰲ ﺣﺎﺟﺔ‬
‫ﺇﻟﻴﻬﺎ ﰲ ﺣﻴﺎ‪‬ﻢ ﺍﻻﺟﺘﻤﺎﻋﻴﺔ ﻭﺍﻟﺴﻴﺎﺳﻴﺔ ﻭﺍﻟﺪﻳﻨﻴﺔ‪ ،‬ﻳﻘﻨﻊ ﺑﻌﻀﻬﻢ ﺑﻌﻀﺎ‪ ،‬ﻭﻳﻮﺟﻪ ﻗﺎﺩ‪‬ﻢ‬
‫ﻭﻳﺆﺛﺮﻭﻥ ﻓﻴﻬﻢ‪ ،‬ﻭﺭﲟﺎ ﻛﺎﻧﺖ ﺍﻟﻜﻠﻤﺔ ﺍﻟﺒﻠﻴﻐﺔ ﰲ ﺍﳋﻄﺒﺔ ﺍﳌﺆﺛﺮﺓ ﺃﻧﻔﻊ ﻣﻦ ﻗﻮﺓ ﺍﻟﺴﻼﺡ‪،‬‬
‫ﻭﳍﺬﺍ ﻗﺎﻟﺖ ﺍﻟﻌﺮﺏ ﻗﺪﳝﺎ ‪ :‬ﺭﺏ ﻗﻮﻝ ﺃﻧﻔﺬ ﻣﻦ ﺻﻮﻝ‪ .‬ﻓﺎﳋﻄﺒﺔ ﺃﺳﻠﻮﺏ ﺍﻟﺪﻋﻮﺓ ﺍﱃ‬
‫‪ 13‬اﻟﺪﻛﺘﻮر طﺎھﺮ اﺑﻦ طﺎھﺮ‪ ،‬أدب اﻟﺨﻄﺎﺑﺔ‪) ،‬ﺑﯿﺮوت ‪:‬اﻟﻤﻜﺘﺒ ﺔ اﻟﻌﻠﻤﯿﺔ ‪( 1989،‬ص‪،‬‬
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‫ﺍﻟﻔﻜﺮﺓ ﻭﺍﻟﻌﻘﻴﺪﺓ‪ ،‬ﻭﺃﺩﺍﺓ ﻟﻠﻤﺤﺎﻛﻤﺔ ﻭﺍﻻﺣﺘﻜﺎﻡ‪ ،‬ﻭﻭﺳﻴﻠﺔ ﻟﻠﺪﻋﺎﻳﺔ ﻭﺍﻟﺘﻮﺟﻴﻪ‪ ،‬ﻭﻋﻤﺎﺩ‬
‫ﺍﳊﺮﺏ ﻭﺍﻟﺴﻠﻢ ﻭﺍﳌﻔﺎﻭﺿﺔ ﻭﺍﳌﻨﺎﺻﺮﺓ ﻭﺍﻟﺘﻨﻔﲑ ﻟﻠﺠﻬﺎﺩ‪ .‬ﻭﺑﻔﻀﻞ ﺫﻟﻚ ﻛﻠﻪ ﻧﻌﺘﱪﻩ ﺃﺩﺑﺎ‬
‫ﺷﻌﺒﻴﺎ‪ ،‬ﺃﻭ ﻓﻨﺎ ﳜﺎﻃﺐ ﺑﻪ ﺍﳉﻤﻬﻮﺭ‪.‬‬

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‫ﻭﲢﺘﻞ ﺍﳋﻄﺒﺔ ﰲ ﺍﻷﺩﺏ ﺍﻟﻌﺮﰊ ﻣﻜﺎﻧﺔ ﻣﺮﻣﻮﻗﺔ‪ ،‬ﻭﻻ ﺳﻴﻤﺎ ﰲ ﺍﻟﻌﺼﻮﺭ ﺍﻟﻘﺪﳝﺔ‪.‬‬
‫ﻓﻘﺪ ﻛﺎﻥ ﺍﳋﻄﺒﺎﺀ ﻳﻘﻮﻣﻮﻥ ﰲ ﺍ‪‬ﺘﻤﻊ ﺍﻟﻌﺮﰊ ﻣﻘﺎﻡ ﺍﻟﻮﻻﺓ ﻭﺍﻟﺰﻋﻤﺎﺀ ﻭﺍﻟﻘﻀﺎﺓ ﻭﺍﻟﺴﻔﺮﺍﺀ‪،‬‬
‫ﻷﻥ ﻣﻦ ﺷﺮﻭﻁ ﺍﻟﺴﻴﺎﺩﺓ ﻭﺍﻟﺘﻔﻮﻕ ﻋﻨﺪﻫﻢ ﻗﻮﺓ ﺍﻟﺒﻴﺎﻥ ﻭﺍﻟﻘﺪﺭﺓ ﻋﻠﻰ ﺍﻹﻗﻨﺎﻉ‪ ،‬ﻓﺎﳋﻄﺒﺎﺀ‬
‫ﻭﺣﺪﻫﻢ ﻳﻘﺪﺭﻭﻥ ﻋﻠﻰ ﺍﻟﻔﺼﻞ ﰲ ﺍﳋﺼﻮﻣﺎﺕ ﻭﺍﳌﺸﺎﺭﻛﺔ ﰲ ﺍﳌﻔﺎﺧﺮﺍﺕ ﻭﺍﳌﻨﺎﻓﺮﺍﺕ‪،‬‬
‫ﻭﺍﳊﻀﻮﺭ ﰲ ﺍﻟﻮﻓﺎﺩﺍﺕ ﻭﺍﳌﻔﺎﻭﺿﺎﺕ‪ .‬ﻛﺎﻥ ﺫﻟﻚ ﰲ ﺍ‪‬ﺘﻤﻊ ﺍﳉﺎﻫﻠﻲ‪ ،‬ﺃﻣﺎ ﰲ ﺍ‪‬ﺘﻤﻊ‬
‫ﺍﻹﺳﻼﻣﻲ ﺣﲔ ﻇﻬﺮ ﺍﻹﺳﻼﻡ ﻭﺣﲔ ﻗﺎﻣﺖ ﺍﻟﺪﻭﻟﺔ ﺍﻹﺳﻼﻣﻴﺔ‪ ،‬ﻭﻗﻮﻯ ﺍﻟﺼﺮﺍﻉ ﺍﻟﺴﻴﺎﺳﻲ‪،‬‬
‫ﻭﺍﺷﺘﺪﺕ ﺍﳊﺎﺟﺔ ﺍﱃ ﺍﻟﺘﻮﺟﻴﻪ ﺍﻟﺪﻳﲏ ﻭﺍﻟﺴﻴﺎﺳﻲ ﻓﻘﺪ ﻛﺎﻥ ﺷﺎﻥ ﺍﳋﻄﺎﺑﺔ ﺃﻋﻈﻢ ﻭﺃﺧﻄﺮ‪،‬‬
‫ﻭﻻ ﺳﻴﻤﺎ ﻭﺍﻷﻣﻴﺔ ﻣﺘﻔﺸﻴﺔ ﰲ ﺍﳉﻤﺎﻫﲑ‪ ،‬ﻭﻭﺳﺎﺋﻞ ﺍﻟﺘﻮﺍﺻﻞ ﺑﲔ ﺍﳌﻔﻜﺮﻳﻦ ﻭﺍﻟﻘﺎﺩﺓ ﻭﺑﲔ‬
‫ﺍﻟﺮﺃﻱ ﺍﻟﻌﺎﻡ ﻧﺎﺩﺭﺓ ﺑﺎﺳﺘﺜﻨﺎﺀ ﺍﳋﻄﺎﺑﺔ‪ .‬ﻭﻫﻜﺬﺍ ﺗﺰﺩﻫﺮ ﺍﳋﻄﺎﺑﺔ ﻋﻨﺪ ﺍﻷﻣﻢ ﺑﻘﺪﺭ ﻣﺎ ﺗﺸﻴﻊ‬
‫ﻓﻴﻬﺎ ﺍﻷﻣﻴﺔ‪ ،‬ﻭﺗﻜﺜﺮ ﻋﻨﺪﻫﺎ ﺍﳊﺮﻭﺏ ﺃﻭ ﺍﳌﻨﺎﺯﻋﺎﺕ ﺍﻟﺴﻴﺎﺳﻴﺔ‪ ،‬ﻭﺗﺘﻮﻓﺮ ﻟﺪﻳﻬﺎ ﺣﺮﻳﺔ ﺍﻟﻘﻮﻝ‪.‬‬
‫ﻭﺗﻮﺍﺟﻪ ﺍﳌﺸﻜﻼﺕ ﺍﻻﺟﺘﻤﺎﻋﻴﺔ ﻭﺍﻷﺧﻼﻗﻴﺔ‪ ،‬ﺃﻭ ﺍﻻﻧﻘﻼﺑﺎﺕ ﺍﻟﺴﻴﺎﺳﻴﺔ ﻭﺍﻟﻔﻜﺮﻳﺔ‪.‬‬
‫"ﺍﳋﻄﺎﺑﺔ ﻓﻦ ﻗﺪﱘ ﻋﺮﻓﻬﺎ ﺍﻟﻌﺮﺏ ﻭﻏﲑﻫﻢ ﰲ ﺟﺎﻫﻠﻴﺘﻬﻢ‪ ،‬ﻭﻫﺬﻩ ﺍﻟﻮﺳﻴﻠﺔ ﻫﻲ ﺍﻷﻛﺜﺮ‬
‫ﺍﻧﺘﺸﺎﺭﺍﹰ‪ ،‬ﻭﺍﻷﻗﻮﻯ ﺗﺄﺛﲑﺍﹰ ﰲ ﺍﻹﻗﻨﺎﻉ ﺑﺎﳌﺒﺎﺩﺉ ﻭﺍﻟﻘﻴﻢ ﻭﺍﳌﺬﺍﻫﺐ ﻭﺇﺛﺎﺭﺓ ﲪﺎﺱ ﺍﳉﻤﻬﻮﺭ‬
‫ﻟﻔﻜﺮﺓ‪ ،‬ﺃﻭ ﺍﻟﺘﻬﻴﺆ ﳊﺮﺏ‪ ،‬ﺃﻭ ﻏﲑ ﺫﻟﻚ‪".‬‬

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‫‪ 14‬ﻋ ﺒ ﺪ اﻟﺮﺣ ﻤ ﻦ اﻟﻐﻠﯿﻤﻲ ‪،‬ﻓﻦ اﻟﺨﻄﺎﺑﺔ‪) ،‬ﺑﯿﺮوت ‪ :‬دار اﻟﻘﻠﻢ‪(1997،‬ص‪20 ،‬‬
‫‪ 15‬أﻧﻈﺮأﺣﻤﺪ زﻛﻲ ﺻﻔﻮت‪ ،‬ﺟﻤﮭﺮة ﺧ ﻄ ﺐ اﻟﻌﺮب‪) ،‬ﺑﯿﺮوت ‪:‬اﻟﻤﻜﺘﺒﺔ اﻟﻌﻠﻤﯿﺔ ‪1989،‬‬
‫(ص‪68 ،‬‬

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‫ﻭﺍﳋﻄﺎﺑﺔ ﲟﻔﻬﻮﻣﻬﺎ ﺍﻟﻌﺎﻡ ﻻ ﺃﻋﺘﻘﺪ ﺃﻥ ﳎﺘﻤﻌﺎﹰ ﻣﻦ ﺍ‪‬ﺘﻤﻌﺎﺕ ﺍﻹﻧﺴﺎﻧﻴﺔ ﻳﺴﺘﻐﲏ‬
‫ﻋﻨﻬﺎ‪ ،‬ﺇﻻ ﺃﻥ ﺍﳋﻄﺎﺑﺔ ﺑﻌﺪ ﺍﻹﺳﻼﻡ ﺗﻐﲑﺕ ﻓﺰﺍﺩﻫﺎ ﺍﻹﺳﻼﻡ ﺑﻼﻏﺔ ﻭﺣﻜﻤﺔ ﲟﺎ ﻛﺎﻥ‬
‫ﻳﺘﻮﺧﺎﻩ ﺍﳋﻄﺒﺎﺀ ﻣﻦ ﳏﺎﻛﺎﺓ ﺃﺳﻠﻮﺏ ﺍﻟﻘﺮﺁﻥ ﻭﺍﻗﺘﺒﺎﺱ ﺍﻵﻳﺎﺕ ﺍﻟﻘﺮﺁﻧﻴﺔ‪ ،‬ﻛﻤﺎ ﺃﻥ ﻟﻠﺤﺪﻳﺚ‬
‫ﺍﻟﻨﺒﻮﻱ ﳓﻮ ﻫﺬﺍ ﺍﻟﺘﺄﺛﲑ‪ ،‬ﺇﺿﺎﻓﺔ ﺇﱃ ﺃﻥ ﺍﻹﺳﻼﻡ ﻗﺪ ﻓﺘﺢ ﺍ‪‬ﺎﻝ ﻟﻠﺨﻄﺎﺑﺔ‪ ،‬ﻓﺄﻭﺟﺐ ﻋﻠﻴﻬﻢ‬
‫ﺧﻄﺒﺎﹰ ﺗﻘﺎﻝ ﻋﻠﻰ ﺍﳌﻨﺎﺑﺮ ﰲ ﺍﳌﻨﺎﺳﺒﺎﺕ ﺍﻹﺳﻼﻣﻴﺔ ﻛﺎﳉﻤﻊ ﻭﺍﻟﻌﻴﺪﻳﻦ ‪.‬‬
‫ﺃ‪-‬ﻣﻌﲎ ﺍﳋﻄﺎﺑﺔ ‪:‬‬
‫"ﺍﳋﻄﺎﺑﺔ ﻓﻦ ﻣﺸﺎﻓﻬﺔ ﺍﳉﻤﻬﻮﺭ ﻟﻠﺘﺄﺛﲑ ﻋﻠﻴﻬﻢ ﻭﺍﺳﺘﻤﺎﻟﺘﻬﻢ‪ .‬ﻓﻬﻲ ﺗﺮﻛﺰ ﻋﻠﻰ ﺃﻣﺮﻳﻦ‪:‬‬
‫ﺍﻟﻌﻠﻢ‪ ،‬ﻭﺍﳌﻮﻫﺒﺔ‪" 16".‬ﻭﺗ‪‬ﺤﻴﻞ ﻣﺎﺩﺓ )ﺧﻄﺐ( ﻭﻣﺸﺘﻘﺎ‪‬ﺎ ﰲ ﺍﳌﻌﺎﺟﻢ ﺍﻟﻌﺮﺑﻴﺔ ﻋﻠﻰ ﻣﻌﺎﱐ‬
‫ﻣﻨﻬﺎ‪":‬‬

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‫‪-1‬ﺍﻟﺸﺄﻥ ﺃﻭ ﺍﻷﻣﺮ ﺍﻟﺬﻱ ﺗﻘﻊ ﻓﻴﻪ ﺍﳌﺨﺎﻃﺒﺔ ﺻﻐﺮ ﺃﻭ ﻋﻈﻢ ﻓﻴﻘﺎﻝ‪ :‬ﺧ‪‬ﻄﺐ ﻭﺧﻄﻮﺏ‬
‫‪'-2‬ﺍﳌﻮﺍﺟﻬﺔ ﺑﺎﻟﻜﻼﻡ'‪ ،‬ﺃﻭ 'ﻣﺮﺍﺟﻌﺔ ﺍﻟﻜﻼﻡ' ﻭﳘﺎ ﺍﳋﻄﺎﺏ ﻭﺍﳌﺨﺎﻃﺒﺔ‪' .‬ﻭﺍﳌﺨﺎﻃﺒﺔ‬
‫ﻣﻔﺎﻋﻠﺔ