Qasiyah al-mawakitab li jibran khalil jibran Dirasah fi daw' semiofikiyah michael riffaterre
ﻗﺼﻴﺪﺓ ﺍﳌﻮﺍﻛﺐ ﳉﱪﺍﻥ ﺧﻠﻴﻞ ﺟﱪﺍﻥ
ﺩﺭﺍﺳﺔ ﰱ ﺿﻮﺀ ﺳﻴﻤﻴﻮﻃﻴﻘﻴﺔ ﻣﻴﻜﺎﺋﻞ ﺭﻳﻔﺎﺗﲑ )(Michael Riffaterre
ﲝﺚ
ﻣﻘﺪﻡ ﺍﱄ ﻛﻠﻴﺔ ﺍﻵﺩﺍﺏ ﻭ ﺍﻟﻌﻠﻮﻡ ﺍﻹﻧﺴﺎﻧﻴﺔ ﺟﺎﻣﻌﺔ ﺷﺮﻳﻒ ﻫﺪﺍﻳﺔ ﺍﷲ ﺍﻹﺳﻼﻣﻴﺔ ﺍﳊﻜﻮﻣﻴﺔ ﺟﺎﻛﺮﺗﺎ
ﻟﻠﺤﺼﻮﻝ ﻋﻠﻲ ﺍﻟﺪﺭﺟﺔ ﺍﳉﺎﻣﻌﻴﺔ ﺍﻷﻭﱄ )(S.S
ﺇﻋﺪﺍﺩ:
ﻗﻤﺮ ﺍﻟﺪﻳﻦ
ﺭﻗﻢ ﺍﻟﺘﺴﺠﻴﻞ ١٠٦٠٢١٠٠٠٨٤٤ :
ﻗﺴﻢ ﺍﻟﻠﻐﺔ ﺍﻟﻌﺮﺑﻴﺔ ﻭ ﺁﺩﺍﺎ
ﺑﻜﻠﻴﺔ ﺍﻵﺩﺍﺏ ﻭ ﺍﻟﻌﻠﻮﻡ ﺍﻹﻧﺴﺎﻧﻴﺔ
ﲜﺎﻣﻌﺔ ﺷﺮﻳﻒ ﻫﺬﺍﻳﺔ ﺍﷲ ﺍﻹﺳﻼﻣﻴﺔ ﺍﳊﻜﻮﻣﻴﺔ
ﺟﺎﻛﺮﺗﺎ
٢٠١١ﻡ ١٤٣٢ /ﻩ
ﺃ
ﺏ
ﺗﺼﺮﻳﺢ ﺍﻟﺒﺎﺣﺚ
ﰲ ﻫﺬﻩ ﺍﳌﻨﺎﺳﺒﺔ ﺻﺮﺣﺖ ﺑﺄﻥﹼ:
.١ﻫﺬﺍ ﺍﻟﺒﺤﺚ ﻛﺘﺒﺖ ﺑﻨﻔﺴﻲ ﻟﺘﻜﻤﻠﺔ ﺍﻟﺸﺮﻭﻁ ﻟﻠﺤﺼﻮﻝ ﻋﻠﻰ ﺍﻟﺪﺭﺟﺔ
ﺍﳉﺎﻣﻌﻴﺔ ﺍﻷﻭﱃ ﲜﺎﻣﻌﺔ ﺷﺮﻳﻒ ﻫﺪﺍﻳﺔ ﺍﷲ ﺍﻹﺳﻼﻣﻴﺔ ﺍﳊﻜﻮﻣﻴﺔ ﲜﺎﻛﺮﺗﺎ.
.٢ﻛﻞ ﺍﳌﺮﺍﺟﻊ ﺍﻟﱴ ﺍﺳﺘﻌﻤﻠﺘﻬﺎ ﰱ ﻛﺘﺎﺑﺔ ﻫﺬﺍ ﺍﻟﺒﺤﺚ ﺍﻟﻌﻠﻤﻲ ﻗﺪ ﻭﺿﻌﺘﻬﺎ
ﺣﺴﺐ ﺍﻟﻘﺮﺍﺭﺍﺕ ﺍﳌﻮﺟﻮﺩﺓ ﲜﺎﻣﻌﺔ ﺷﺮﻳﻒ ﻫﺪﺍﻳﺔ ﺍﷲ ﺍﻹﺳﻼﻣﻴﺔ ﺍﳊﻜﻮﻣﻴﺔ
ﲜﺎﻛﺮﺗﺎ.
.٣ﺇﺫﺍ ﻛﺎﻥ ﺍﻟﺒﺤﺚ ﻣﻦ ﻏﲑ ﺇﻋﺪﺍﺩﻱ ﻭﻳﻮﺟﺪ ﻓﻴﻪ ﺍﻧﺘﺤﺎﻝ ﻵﺭﺍﺀ ﺍﻟﻐﲑ ﺩﻭﻥ
ﺫﻛﺮﻩ ﻓﺄﺳﺘﻌﺪ ﺃﻥ ﺃﺳﺘﻠﻢ ﻛﻞ ﺍﻟﻌﻘﻮﺑﺎﺕ ﺍﻟﱵ ﻗﺮﺭﺎ ﺟﺎﻣﻌﺔ ﺷﺮﻳﻒ ﻫﺪﺍﻳﺔ
ﺍﷲ ﺍﻹﺳﻼﻣﻴﺔ ﺍﳊﻜﻮﻣﻴﺔ ﲜﺎﻛﺮﺗﺎ.
ﺟﺎﻛﺮﺗﺎ ١٣ ،ﻳﻮﻟﻴﻮ ٢٠١١
ﻗﻤﺮ ﺍﻟﺪﻳﻦ
ﺝ
ﲡﺮﻳﺪ
ﻗﻤﺮ ﺍﻟﺪﻳﻦ :ﻭﻗﺪ ﲝﺚ ﺍﻟﺒﺎﺣﺚ ﰱ ﻫﺬﺍ ﺍﻟﺒﺤﺚ ﺍﻟﻌﻠﻤﻲ ﻋﻦ ﻗﺼﻴﺪﺓ
ﺍﳌﻮﺍﻛﺐ ﳉﱪﺍﻥ ﺧﻠﻴﻞ ﺟﲑﺍﻥ :ﺩﺭﺍﺳﺔ ﰱ ﺿﻮﺀ ﺳﻴﻤﻴﻮﻃﻴﻘﻴﺔ ﻣﻴﻜﺎﺋﻞ ﺭﻳﻔﺎﺗﲑ
) ، (Michael Riffaterreﻭﺃﻣﺎ ﻗﺼﻴﺪﺓ ﺍﳌﻮﺍﻛﺐ ﳉﱪﺍﻥ ﺧﻠﻴﻞ ﺟﱪﺍﻥ ﺗﻌﺒﺮ ﻋﻦ ﻓﻠﺴﻔﺔ
ﺍﳊﻴﺎﺓ .ﻭﻛﺎﻥ ﺟﱪﺍﻥ ﺧﻠﻴﻞ ﺟﱪﺍﻥ ﻣﻦ ﺃﺷﻬﺮ ﺍﻟﺸﻌﺮﺍﺀ ﰱ ﻋﺼﺮﻩ ﻭﻫﻮ ﻣﺆﺩﺏ
ﻓﻴﻠﻮﺳﻒ ،ﻣﻔﻜﺮ ﺍﻟﺬﻯ ﻳﺼﻨﻊ ﺍﻟﻌﻤﻞ ﺍﻷﺩﺏ ﻭﳝﻴﻞ ﻟﻠﺸﻌﺮ .ﻭﲝﺚ ﰱ ﻗﺼﻴﺪﺓ
ﺍﳌﻮﺍﻛﺐ ﺑﻨﻈﺮﻳﺔ ﺳﻴﻤﻴﻮﻃﻴﻘﻲ ﻋﻨﺪ ﻣﻴﻜﺎﺋﻞ ﺭﻳﻔﺎﺗﲑ ) (Michael Riffaterreﺍﻟﺬﻱ
ﻳﺬﻫﺐ ﺃﻥﹼ ﳛﻠﹼﻞ ﺍﻟﻌﻤﻞ ﺍﻷﺩﰊ ﺑﺎﺳﺘﻌﻤﺎﻝ ﲢﻠﻴﻞ ﺳﻴﻤﻴﻮﻃﻴﻘﻴﺔ ﺑﻄﺮﻳﻘﲔ ،ﳘﺎ ﻗﺮﺍﺀﺓ
ﻫﲑﻳﺴﻄﻴﻘﻴﺔ ) (Heuristicﻭﻗﺮﺍﺀﺓ ﻫﲑﻣﻴﻨﻴﻄﻴﻘﻴﺔ ).(Hermeneutic
ﻭﺑﻌﺪ ﺃﻥ ﳛﻠﹼﻞ ﺍﻟﺒﺎﺣﺚ ﰱ ﻫﺬﻩ ﺍﻟﻘﺼﻴﺪﺓ ﻓﻨﻌﺮﻑ ﺃﻥﹼ ﲢﻠﻴﻞ ﻫﺬﻩ ﺍﻟﻘﺼﻴﺪﺓ ﺬﻩ
ﺍﻟﻨﻈﺮﻳﺔ ﻣﻦ ﺧﲑ ﺍﳌﻨﺎﻫﺞ ﻟﻜﺸﻒ ﻣﻌﻨﺎﻫﺎ ﺍﻟﺬﻯ ﻗﺪ ﻋﺮﻓﻨﺎ ﺃﻥﹼ ﺃﻛﺜﺮ ﺃﺷﻌﺎﺭ ﺧﻠﻴﻞ
ﺟﱪﺍﻥ ﺻﻌﺐ ﰱ ﻓﻬﻤﻬﺎ ﻷﻥ ﺃﻛﺜﺮ ﺃﺷﻌﺎﺭﻫﺎ ﻳﺘﻀﻤﺔ ﺍﻟﻔﻠﺴﻔﺔ .ﻭﲢﻠﻴﻞ
ﺳﻴﻤﻴﻮﻃﻴﻘﻰ ﻗﺪ ﳝﻜﻦ ﺃﻥ ﻳﺴﺘﻌﻤﻞ ﻋﻠﻰ ﻗﺼﻴﺪﺓ ﺍﳌﻮﺍﻛﺐ .ﻭﻣﻦ ﺫﻟﻚ ﲢﻠﻴﻞ
ﺍﻟﺬﻯ ﻳﺘﺄﺳﺲ ﻋﻠﻰ ﻗﺮﺍﺀﺓ ﻫﲑﻳﺴﻄﻴﻘﻴﺔ ) (Heuristicﻭﻗﺮﺍﺀﺓ ﻫﲑﻣﻴﻨﻴﻄﻴﻘﻴﺔ
) (Hermeneuticﻓﻴﻜﻮﻥ ﳍﻤﺎ ﻧﺘﻴﺠﺔ ﻛﻤﺎ ﻳﻠﻰ :ﳛﺼﻞ ﻣﻌﲎ ﻗﺼﻴﺪﺓ ﺍﳌﻮﺍﻛﺐ ﻣﻦ
ﻗﺮﺍﺀﺓ ﻫﲑﻳﺴﻄﻴﻘﻴﺔ ) (Heuristicﻋﻠﻰ ﻣﻌﲎ ﺳﻴﻤﻴﻮﻃﻴﻘﻲ ﰱ ﺍﻟﺪﺍﺭﺟﺔ ﺍﻷﻭﱃ .ﻭﻣﻦ
ﻗﺮﺍﺀﺓ ﻫﲑﻣﻴﻨﻴﻄﻴﻘﻴﺔ ) (Hermeneuticﻛﺸﻒ ﻣﻌﲎ ﻗﺼﻴﺪﺓ ﺍﳌﻮﺍﻛﺐ ﻋﻠﻰ ﻣﻌﲎ
ﺳﻴﻤﻴﻮﻃﻴﻘﻴﺔ ﰱ ﺍﻟﺪﺍﺭﺟﺔ ﺍﻟﺜﺎﻧﻴﺔ ،ﻭﳝﻜﻦ ﻣﻨﻬﺎ ﻓﻬﻢ ﺍﻟﺸﻌﺮ ﺳﻬﻼ ﻭﻣﻌﻨﺎﻩ
ﺍﳊﺎﺫﰊ.
ﺩ
ﺷﻜﺮ ﻭﺗﻘﺪﻳـﺮ
ﺍﳊﻤﺪ ﷲ ﺭﺏ ﺍﻟﻌﺎﳌﲔ ﻭﺃﺷﻬﺪ ﺃﻥ ﻻ ﺇﻟﻪ ﺇﻻﹼ ﺍﷲ ﻭﺣﺪﻩ ﻻ ﺷﺮﻳﻚ ﻟﻪ،
ﻭﺃﺷﻬﺪ ﺃ ﹼﻥ ﺳﻴﺪﻧﺎ ﳏﻤﺪﺍ ﻋﺒﺪﻩ ﻭﺭﺳﻮﻟﻪ ،ﺍﻟﻠﻬﻢ ﺻﻞﹼ ﻋﻠﻴﻪ ﻭﺁﻟﻪ ﻭﺻﺤﺒﻪ ﻭﺳﻠﻢ.
ﻭﺑﻌﺪ ﺍﻧﺘﻬﺎﺀ ﻛﺘﺎﺑﺔ ﻫﺬﺍ ﺍﻟﺒﺤﺚ ﺍﻟﻌﻠﻤﻰ ﻳﺮﻳﺪ ﺍﻟﺒﺎﺣﺚ ﺃﻥ ﻳﺸﻜﺮ ﳌﻦ
ﻳﺴﺎﻋﺪ ﺍﻟﺒﺎﺣﺚ ﰱ ﻛﺘﺎﺑﺔ ﻫﺬﺍ ﺍﻟﺒﺤﺚ ﺍﻟﻌﻠﻤﻲ:
ﻭﺍﻋﺘﺮﻑ ﺍﻟﺒﺎﺣﺚ ﺑﺄﻥ ﻛﺜﲑﺍ ﻣﻦ ﺍﻟﺬﻳﻦ ﻳﻔﻀﻠﻮﻥ ﺑﺎﻹﺭﺷﺎﺩﺍﺕ
ﻭﺍﻟﺘﻮﺟﻴﻬﺎﺕ ﻭﺍﻟﻨﺼﺎﺋﻊ ﻭﺍﳌﺴﺎﻋﺪﺍﺕ ﰱ ﻛﺘﺎﺑﺔ ﻫﺬﺍ ﺍﻟﺒﺤﺚ ﺍﻟﻌﻠﻤﻲ ،ﻓﻴﻨﺒﻐﻰ
ﻟﻠﺒﺎﺣﺚ ﺃﻥ ﻳﻘﺪﻡ ﺍﻟﺸﻜﺮ ﺍﳉﺰﻳﻞ ﻭﺍﻟﺘﻘﺪﻳﺮ ﺍﻟﻌﻤﻴﻖ ﺇﱃ ﻛﻞ ﻣﻦ ﻣﺪﻭﺍ ﺃﻳﺪﻳﻬﻢ
ﻹﲤﺎﻡ ﻫﺬﺍ ﺍﻟﺒﺤﺚ ﺍﻟﻌﻠﻤﻲ ،ﻓـﻤﻦ ﻫﺆﻻﺀ:
.١ﻋﻤﻴﺪ ﻛﻠﻴﺔ ﺍﻵﺩﺍﺏ ﻭﺍﻟﻌﻠﻮﻡ ﺍﻹﻧﺴﺎﻧﻴﺔ ﲜﺎﻣﻌﺔ ﺷﺮﻳﻒ ﻫﺪﺍﻳﺔ ﺍﷲ
ﺍﻻﺳﻼﻣﻴﺔ ﺍﳊﻜﻮﻣﻴﺔ ﺟﺎﻛﺮﺗﺎ ،ﻓﻀﻴﻠﺔ ﺍﻟﺪﻛﺘﻮﺭ ﻋﺒﺪ ﺍﻟﻮﺍﺣﺪ ﻫﺎﺷﻢ
ﺍﳌﺎﺟﺴﺘﲑ.
ﻩ
.٢ﻭﻓﻀﻴﻠﺔ ﺭﺋﻴﺲ ﻗﺴﻢ ﺍﻟﻠﻐﺔ ﺍﻟﻌﺮﺑﻴـﺔ ﻭﺁﺩﺍﺎ ﺍﻟﺪﻛﺘﻮﺭﺍﻧﺪﻭﺱ ﺃﺩﻧﺞ
ﺃﺳـﺪﺍﺭﻱ ﺍﳌﺎﺟﺴﺘﲑ ﻭﺳﻜﺮﺗﲑﻩ ﺍﻟﺪﻛﺘـﻮﺭﺓ ﺟﻬﻴﺎ ﺑﻮﺍﻧﺎ ﺍﳌﺎﺟﺴﺘﲑﺓ.
.٣ﻓﻀﻴﻠﺔ ﺍﻟﱪﻭﺑﺴﻮﺭ ﺍﻟﺪﻛﺘﻮﺭ ﺍﳊﺎﺝ ﺷﻜﺮﺍﻥ ﻛﺎﻣﻞ ﺍﻟﹼﺬﻯ ﺑﺬﻝ ﻋﻠـﻰ
ﺇﺷﺮﺍﻑ ﻛﺘﺎﺑﺔ ﻫﺬﺍ ﺍﻟﺒﺤﺚ.
.٤ﻭﻓﻀﻴﻠﺔ ﺭﺋﻴﺲ ﻣﻜﺘﺒﺔ ﺟﺎﻣﻌﺔ ﺷﺮﻳﻒ ﻫﺪﺍﻳﺔ ﺍﷲ ﺍﻹﺳﻼﻣﻴﺔ ﺍﳊﻜﻮﻣﻴﺔ
ﲜﺎﻛﺮﺗﺎ ﻭﻣﻮﻇﻔﻴﻬـﺎ ،ﻭﺭﺋﻴﺲ ﻣﻜﺘﺒﺔ ﻛﻠﻴﺔ ﺍﻵﺩﺍﺏ ﻭﺍﻟﻌﻠﻤﻮﻡ ﺍﻹﻧﺴﺎﻧﻴﺔ،
ﻭﺳﺎﺋﺮ ﻣﻮﻇﻔﻴـﻬﺎ ﺍﻟﺬﻳﻦ ﺃﺗﺎﺣﻮﺍ ﻟﻠﺒﺎﺣﺚ ﻓﺮﺻﺔ ﻟﻠﺤﺼﻮﻝ ﻋﻠﻰ ﺍﻟﻜﺘﺐ
ﺍﻟﱴ ﳛﺘﺎﺝ ﺇﻟﻴﻬﺎ ﺃﺛﻨﺎﺀ ﻛﺘﺎﺑـﺔ ﻫﺬﺍ ﺍﻟﺒﺤﺚ ﺍﻟﻌﻠﻤﻲ.
.٥ﺃﺑﻮ ﺍﻟﺒﺎﺣﺚ ﺍﻟﺬﻯ ﻳﺸﺠﻊ ﺍﻟﺒﺎﺣﺚ ﺩﺍﺋﻤﺎ ﻹﲤﺎﻡ ﻫﺬﺍ ﺍﻟﺒﺤﺚ ،ﻭﺃﻡ ﺍﻟﺒﺎﺣﺚ
ﺍﻟﱴ ﺳﻠﹼﺖ ﺍﻟﺒﺎﺣﺚ ﻭﺃﻋﻄﺎﻩ ﺍﻟﻌﻨﺎﻳﺔ ﺩﺍﺋﻤﺎ ﰱ ﺇﲤﺎﻡ ﻫﺬﺍ ﺍﻟﺒﺤﺚ.
.٦ﲨﻴﻊ ﺃﺻﺪﻗﺎﺀ ﺍﻟﺒﺎﺣﺚ ﺍﻟﺬﻳﻦ ﻳﺴﺎﻋﺪﻭﺍﻩ ﻭﻳﺸﺠﻌﻮﺍﻩ ﻹﲤﺎﻡ ﻫﺬﺍ ﺍﻟﺒﺤﺚ،
ﻭﺃﺻﺪﻗﺎﺀ ﺍﻟﺒﺎﺣﺚ ﰱ ﺍﻟﻔﺼﻞ ﺍﻟﺬﻳﻦ ﻻﳝﻜﻦ ﻟﻠﺒﺎﺣﺚ ﺫﻛﺮﻫﻢ ﻓﻴﻪ.
ﻭﺃﺧﻴـﺮﺍ ،ﺃﺳﺄﻝ ﺍﷲ ﻛﻞﹼ ﺧﲑ ﳍﻢ ﻭﺳﻬﻞ ﺍﷲ ﳍﻢ ﰱ ﻛﻞﹼ ﺃﻣﻮﺭﻫﻢ ﻭﺃﻧﻔﻊ
ﺍﷲ ﻋﻠﻰ ﻫﺬﺍ ﺍﻟﺒﺤﺚ ﺍﻟﻌﻠﻤﻲ ﻟﻠﺒﺎﺣﺚ ﻭﳌﻦ ﻳﻘﺮﺃ ﻫﺬﺍ ﺍﻟﺒﺤﺚ
ﻭ
ﳏﺘﻮﻳﺎﺕ ﺍﻟﺒﺤﺚ
ﺃ .ﻣﻮﺍﻓﻘﺔ ﺍﳌﺸﺮﻑ .............................................ﺃ
ﺏ .ﻗﺮﺍﺭ ﳉﻨﺔ ﺍﳌﻨﺎﻗﺸﺔ ﻭﺍﳊﻜﻢ ﻋﻠﻰ ﺍﻟﺒﺤﺚ ........................ﺏ
ﺝ .ﺗﺼﺮﻳﺢ ﺍﻟﺒﺎﺣﺚ .............................................ﺝ
ﺩ .ﲡﺮﻳﺪ ......................................................ﺩ
ﻫـ .ﺷﻜﺮ ﻭﺗﻘﺪﻳﺮ ...............................................ﻭ
ﻭ .ﳏﺘﻮﻳﺎﺕ ﺍﻟﺒﺤﺚ .............................................ﺡ
ﺍﻟﺒﺎﺏ ﺍﻷﻭﻝ :ﻣﻘﺪﻣﺔ١ ........................................ ...
ﺃ .ﺧﻠﻔﻴﺔ ﺍﳌﺸﻜﻠﺔ١ ........................................... ...
ﺏ .ﲢﺪﻳﺪ ﺍﳌﺸﻜﻠﺔ ...........................................
٥
ﺝ .ﺍﻟﻐﺮﺽ ﻣﻦ ﺍﻟﺒﺤﺚ ........................................
٦
ﺩ .ﺍﻟﺪﺭﺍﺳﺎﺕ ﺍﻟﺴﺎﺑﻘﺔ ٦ ..........................................
ﺯ
ﻩ .ﻣﻨﻬﺞ ﺍﻟﺒﺤﺚ٧ .......................................... ....
ﻭ .ﺧﻄﺔ ﺍﻟﺒﺤﺚ٨ ............................................. .
ﺍﻟﺒﺎﺏ ﺍﻟﺜﺎﱏ :ﻧﻈﺮﻳﺔ ﺍﻟﺸﻌﺮ ﻭﺳﻴﻤﻴﻮﻃﻴﻘﻴﺔ١٠ ........................
ﺃ.
ﺍﻟﺸﻌﺮ١٠ ................................. ..................
ﺏ .ﻧﻈﺮﻳﺔ ﺍﻟﺴﻤﻴﻮﻃﻴﻘﻴﺔ .....................................
١٨
ﺝ .ﻧﻈﺮﻳﺔ ﺍﻟﺴﻤﻴﻮﻃﻴﻘﻴﺔ ﻟﻸﺩﺏ٢٥ ..................................
ﺍﻟﺒﺎﺏ ﺍﻟﺜﺎﻟﺚ :ﺗﺮﲨﺔ ﺟﱪﺍﻥ ﺧﻠﻴﻞ ﺟﱪﺍﻥ....................
٣٣
ﺃ .ﻣﻮﻟﺪﻩ ﻭﻧﺸﺄﺗﻪ ٣٣ ...............................................
ﺏ .ﻣﺆﻟﻔﺎﺕ ﺟﱪﺍﻥ ﺧﻠﻴﻞ ﺟﱪﺍﻥ ٣٧ .................................
.١ﺃﺩﺑﻪ ٣٧ .................................................
.٢ﺃﺷﻌﺎﺭﻩ ٤٤ ..............................................
ﺝ .ﺃﺭﺍﺀ ﺍﻟﻨﻘﺎﺩ ﻋﻦ ﺃﺩﺏ ﳉﱪﺍﻥ ﺧﻠﻴﻞ ﺟﱪﺍﻥ ﻭﺷﻌﺮﻩ٥٢ ................
ﺡ
ﺍﻟﺒﺎﺏ ﺍﻟﺮﺍﺑﻊ :ﲢﻠﻴﻞ ﻗﺼﻴﺪﺓ ﺍﳌﻮﺍﻛﺐ...............................
٦٠
ﺃ .ﻧﻈﺮﺓ ﻗﺼﻴﺪﺓ ﺍﳌﻮﺍﻛﺐ ٦٠ ......................................
ﺏ .ﻧﺺ ﺍﻟﺸﻌﺮ٦٢ ...............................................
ﺝ .ﻗﺮﺍﺀﺓ ﻫﲑﻳﺴﻄﻴﻘﻴﺔ ) (Heuristicﻋﻠﻰ ﻗﺼﻴﺪﺓ ﺍﳌﻮﺍﻛﺐ٦٥ ...........
ﺩ .ﻗﺮﺍﺀﺓ ﻫﲑﻣﻴﻨﻴﻄﻴﻘﻴﺔ ) (Hermeneuticﻋﻠﻰ ﻗﺼﻴﺪﺓ ﺍﳌﻮﺍﻛﺐ٦٨ ..........
ﺍﻟﺒﺎﺏ ﺍﳋﺎﻣﺲ :ﺍﳋﺎﲤﺔ.......................................
٨١
ﺃ .ﻧﺘﺎﺋﺞ ﺍﻟﺒﺤﺚ...............................................
٨١
ﺏ .ﺍﻻﻗﺘﺮﺍﺣﺎﺕ ٨٣ ................................................
ﻣﺮﺍﺟﻊ ﺍﻟﺒﺤﺚ ٨٤ .................................................
ﺃ .ﺍﻟﻌﺮﺑﻴﺔ٨٧ ......................................................
ﺏ .ﺍﻷﺟﻨﺒﻴﺔ ٩٠ ..................................................
ﻁ
١
ﺍﻟﺒﺎﺏ ﺍﻷﻭﻝ
ﻣﻘﺪﻣﺔ
ﺃ .ﺧﻠﻔﻴﺔ ﺍﳌﺸﻜﻠﺔ
ﻛﺎﻥ ﺟﱪﺍﻥ ﺧﻠﻴﻞ ﺟﱪﺍﻥ ﻣﻦ ﺃﺣﺪ ﺷﻌﺮﺍﺀ ﺍﻟﻌﺮﺏ ﺍﺪﺩﻳﻦ .ﻭﻟﺪ ﰱ ٦
ﺩﻳﺴﻤﱪ ١٨٨٣ﻭﺗﻮﰱ ١٠ﺃﺑﺮﻳﻞ .١٩٣١ﻭﻫﻮ ﻣﻦ ﺷﻌﺮﺍﺀ ﺍﻟﻌﺮﺍﺏ ﺍﻷﻭﱃ
ﺍﻟﺬﻯ ﻳﺴﺘﻌﻤﻞ ﺍﻟﺴﺠﻊ ﺍﳊﺮ ﰲ ﺍﻟﺸﻌﺮ ﺍﻟﻌﺮﰊ ﳒﺎﺣﺎ .ﻭﰲ ﺛﻮﺭﺗﻪ ﻋﻠﻰ ﲨﺎﻋﺔ
ﺍﻟﺮﲰﻴﺔ ﺍﻟﻘﺪﳝﺔ ﺃﻧﻪ ﺍﻛﺘﺸﺎﻑ ﺍﻟﺘﺠﺪﻳﺪ ،ﻭﻛﺎﻥ ﻟﻪ ﺃﺛﺮ ﻛﺒﲑ ﻟﻠﺸﻌﺮﺍﺀ ﻭﺍﻟﻜﺎﺗﺒﲔ ﻣﻦ
ﺑﻌﺪﻩ .ﻭﻛﺎﻧﺖ ﻣﺆﻟﻔﺎﺗﻪ ﻛﺜﲑﺓ ،ﻭﻫﻰ ﻣﻦ ﻓﻦ ﺍﻟﻨﺜﺮ ﻭﺍﻟﺸﻌﺮ١.ﻭﻟﻜﻦ ﺃﻋﻤﺎﻟﻪ ﺍﻷﺩﺑﻴﺔ
ﺧﺼﻮﺻﺎ ﰱ ﺇﻧﺪﻭﻧﺴﻲ -ﻟﻮ ﻛﺎﻧﺖ ﻣﺸﻬﻮﺭﺓ ﻟﻜﻦ ﺍﻟﺘﺤﻠﻴﻞ ﺍﻟﻌﻠﻤﻲ ﻋﻠﻴﻬﺎ ﻗﻠﻴﻞﺟﺪﺍ.
١
Hartojo Andangdjaja, Puisi Arab Modern, (Jakarta: Dunia Pustaka Jaya,
٩٢.ﺹ ١٩٨٧،
٢
ﻛﺎﻧﺖ ﻗﺼﻴﺪﺓ ﺍﳌﻮﺍﻛﺐ ﻣﻦ ﳎﻤﻮﻋﺔ ﺍﻟﺸﻌﺮ ﳉﱪﺍﻥ ﺍﳌﻌﺮﻭﻓﺔ .ﻭﻛﺎﻧﺖ
ﺍﻟﻘﺼﻴﺪﺓ ﺍﻟﱴ ﲤﺜﻞ ﺣﺪﺍ ﻓﺎﺻﻼ ﺑﲔ ﻋﻬﺪﻳـﻦ ﻣﻦ ﺣﻴﺎﺓ ﺟﱪﺍﻥ ﺍﻷﺩﺑﻴﺔ
ﻭﺍﻟﻔﻜﺮﻳﺔ٢.ﻭﻳﺪﻝ ﻗﺼﻴﺪﺓ ﺍﳌﻮﺍﻛﺐ ﻣﻦ ﺍﻟﺸﻌﺮ ﺍﻟﻔﻠﺴﻔﻰ .ﻭﻫﻮ ﻟﻮﻥ ﻣﻦ ﺍﻟﺸﻌﺮ
ﺑﻌﻴﺪ ﻋﻦ ﺍﻷﻏﺮﺍﺽ ﺍﻷﺳﺎﺳﻴﺔ ﻭﻳـﺘﻀﻤﻦ ﺃﻓﻜﺎﺭﺍ ﻓﻠﺴﻔﻴﺔ ،ﻭﻧﻈﺮﺍﺕ ﺑﻌﻴﺪﺓ ﰱ
ﺍﳊﻴﺎﺓ ٣.ﻟﻘﺪ ﻧﻈﻢ ﻗﺼﻴﺪﺓ ﺍﳌﻮﺍﻛﺐ ﰱ ﺍﻟﺸﻜﻞ ﺍﻟﻘﺪﱘ ﰱ ﺍﻟﻮﻗﺖ ﺍﻟﺬﻯ ﻳﺘﻬﻢ ﻓﻴﻪ
ﺷﻌﺮﺍﺀ ﺍﳌﻬﺠﺮ ﺑﺎﻟﺘﺨﻠﻰ ﻋﻦ ﻋﺮﻭﺽ ﺍﳋﻠﻴﻞ ﻭﻋﻦ ﺍﻟﻘﺎﻓﻴﺔ ﺍﳌﻄﺮﺩﺓ ﻋﺠﺰﺍﹰ
ﻭﻗﺼﻮﺭﺍﹰ.
٤
ﺍﻟﻌﻤﻞ ﺍﻷﺩﰉ ﻫﻮ ﺍﻟﻌﻤﻞ ﺍﻟﻔﲎ ﺍﻟﺬﻯ ﻳﺴﺘﻌﻤﻞ ﺍﻟﻠﻐﺔ ﻭﺳﻴﻠﺔ .ﻭﺃﻣﺎ ﺍﻟﻠﻐﺔ ﻫﻰ
ﻧﻈﺎﻡ ﺍﻟﻌﻼﻣﺔ .ﻭﻳﺬﻛﺮ ﺟﺮﺝ ﻟﺘﻤﺎﻥ
)(Jurij Latman
ﺃﻥ ﺍﻟﻠﻐﺔ ﻫﻰ ﻧﻈﺎﻡ ﺍﻟﻌﻼﻣﺔ
ﺍﻷﻭﻟﻴﺔ ﻭﺍﻟﻌﻤﻞ ﺍﻷﺩﰉ ﻫﻮ ﻧﻈﺎﻡ ﺍﻟﻌﻼﻣﺔ ﺍﻟﺜﻨﺎﻭﻳﺔ .ﻭﺍﻟﻠﻐﺔ ﺍﻟﱴ ﻫﻰ ﻧﻈﺎﻡ ﺍﻟﻌﻼﻣﺔ
٢ﻧﺎﺩﺭﺓ ﲨﻴﻞ ﺍﻟﺴﺮﺍﺝ ،ﺍﻟﺸﻌﺮﺍﺀ ﺍﻟﺮﺑﻄﺔ ﺍﻟﻘﻠﻤﻴﺔ ،ﺩﺭﺍﺳﺎﺕ ﰱ ﺍﻟﺸﻌﺮ ﺍﳌﻬﺠﺮ) ،ﺍﻟﻘﺎﻫـﺮﺓ :ﺩﺍﺭ
ﺍﳌﻌﺎﺭﻑ ،(١٩٥٧ ،ﺹ.٢٦٩ ،
٣ﳏﻤﺪ ﺍﻟﺘﻮﳒﻰ ،ﺍﳌﻌﺠﻢ ﺍﳌﻔﺼﻞ ﰱ ﺍﻷﺩﺏ) ،ﺑﲑﻭﺕ :ﺩﺍﺭ ﺍﻟﻜﺘﺎﺏ ﺍﻟﻌﻠﻤﻴﺔ ،(١٩٩٣ ،ﺹ . ٥٦٢
٤ﺇﺧﻼﺹ ﻓﺨﺮﻯ ﻋﻤﺎﺩﺓ ،ﺍﻟﺸﻌﺮ ﻭﳘﻮﻡ ﺍﻹﻧﺴﺎﻥ ﺍﳌﻌﺎﺻﺮ) ،ﺍﻟﻘﺎﻫﺮﺓ :ﻣﻜﺘﺒﺔ ﺍﻵﺩﺍﺏ (١٩٩٢ ،ﺹ
.٢١٤-٢١٣
٣
ﺍﻷﻭﻟﻴﺔ ﺗﺴﺘﻌﻤﻞ ﻟﻠﻤﻮﺍﺻﻠﺔ ،ﻭﺍﻟﺘﻔﻜﲑ ﻭﺇﻟﻘﺎﺀ ﻛﻞ ﺷﺊ .ﻭﻧﻈﺎﻡ ﺍﻟﻌﻼﻣﺔ ﺍﻟﺜﻨﺎﻭﻳﺔ
ﻫﻮ ﺃﻥ ﻳﺴﺘﻨﻔﻊ ﺍﻷﺩﻳﺐ ﺑﺎﻟﻠﻐﺔ ﻟﺼﻴﺎﻏﺔ ﻓﻜﺮﺗﻪ ﺑﺎﻟﺼﻮﺭﺓ ﺍﻟﻔﻨﻴﺔ .ﻭﰱ ﺻﻨﺎﻋﺔ ﺍﻟﻌﻤﻞ
ﺍﻷﺩﰉ ﻓﻴﺘﻘﻴﺪ ﺍﻷﺩﻳﺐ ﲟﻌﲎ ﺍﻟﻠﻐﺔ ﺃﻭﻻ .ﰒ ﳛﻀﺮﻩ ﺍﻷﺩﻳﺐ ﺣﱴ ﳚﻌﻞ ﺍﻟﻌﻤﻞ
ﺍﻷﺩﻳﱮ ﻓﻴﺘﻐﻴﺮ ﻷﻥ ﺍﻟﻠﻐﺔ ﺍﻟﱴ ﺗﺴﺘﻌﻤﻞ ﻟﺼﻨﺎﻋﺔ ﺍﻟﻌﻤﻞ ﺍﻷﺩﰉ ﻗﺪ ﺗﺴﻠﹼﻤﺖ ﺯﻳﺎﺩﺓ
ﺍﳌﻌﲎ .ﻓﻴﻜﻮﻥ ﻣﻌﲎ ﺍﻟﻠﻐﺔ ﻗﺒﻞ ﺃﻥ ﳚﻌﻞ ﺍﻟﻌﻤﻞ ﺍﻷﺩﰉ )ﺍﻟﻠﻐﺔ ﺍﻟﱴ ﺗﺴﺘﻌﻤﻞ ﻛﻞ
ﻳﻮﻡ ﻟﻠﻤﻮﺍﺻﻼﺕ( ﻳﺴﻤﻰ "ﺑﺎﳌﻌﲎ" ) .(Meaningﻭﻣﻌﲎ ﺍﻟﻠﻐﺔ ﺍﻟﺬﻯ ﳚﻌﻞ ﺍﻟﻌﻤﻞ
ﺍﻷﺩﰉ ﻳﺴﻤﻰ "ﺑﺎﳌﻐﺰﻯ" ) ٥.(Significanceﻭﺃﻣﺎ ﰱ ﻋﻠﻢ ﺳﻴﻤﻴﻮﻃﻴﻘﻴﺔ – ﺍﻟﺬﻯ
ﻳﺒﺤﺚ ﻋﻦ ﻋﻼﻣﺔ ﺍﻟﻠﻐﺔ ﺑﻨﻈﺎﻡ ﺍﻟﻌﻼﻣﺔ ﺍﻷﻭﻟﻴﺔ ﻳﺴﻤﻰ ﺑﺴﻴﻤﻴﻮﻃﻴﻘﻴﺔ ﰱ ﺍﻟﺪﺭﺍﺟﺔ
ﺍﻷﻭﱃ .ﻭﺍﻟﻠﻐﺔ ﺑﻨﻈﺎﻡ ﺍﻟﻌﻼﻣﺔ ﺍﻟﺜﻨﺎﻭﻳﺔ ﻳﺴﻤﻰ ﺑﺴﻴﻤﻴﻮﻃﻴﻘﻴﺔ ﰱ ﺍﻟﺪﺭﺍﺟﺔ ﺍﻟﺜﺎﻧﻴﺔ.
ﻭﻣﻦ ﺃﺣﺪ ﺍﻟﻨﻘﺎﺩ ﺍﳌﺸﻬﻮﺭﺓ ﻫﻮ ﻣﻴﻜﺎﺋﻞ ﺭﻳﻔﺎﺗﲑ ) (Michael Riffaterreﻧﺎﻗﺪ
ﺍﻷﺩﺏ ﺍﻟﻔﺮﻧﺴﻲ ﺍﳌﺆﺛﺮ ﺍﻟﺬﻯ ﺗﻌﻤﻖ ﻧﻈﺮﻳﺔ ﺳﻴﻤﻴﻮﻃﻴﻘﻴﺔ ﰲ ﺍﻷﺩﺏ ٦.ﻭﻋﺮﻑ
ﺭﻳﻔﺎﺗﲑ
)(Riffaterre
ﺍﻟﻄﺮﻳﻘﺘﲔ ﻟﺘﺤﻠﻴﻞ ﺍﻟﺸﻌﺮ ﺑﺎﺳﺘﻌﻤﺎﻝ ﻧﻈﺮﻳﺔ ﺳﻴﻤﻴﻮﻃﻴﻘﻴﺔ،
٥
Sukron Kamil, Teori Kritik Sastra Arab Klasik dan Modern, (Jakarta:
٢٠٤-٢٠٥.ﺹ Rajawali Press, ٢٠٠٩),
http//en. Wikipedia. Org/wiki/Michael_Riffaterre. ١١١٤ AM ١٧ Dec.
٦
٢٠١٠.
٤
ﻭﳘﺎ ﺍﻟﻄﺮﻳﻘﺔ ﺍﻟﺘﺤﻠﻴﻞ ﺑﻘﺮﺍﺀﺓ ﻫﲑﻳﺴﻄﻴﻘﻴﺔ
ﻫﲑﻣﻴﻨﻴﻄﻴﻘﻴﺔ ).(Hermeneutic
)(Heuristic
ﻭﻃﺮﻳﻘﺔ ﺍﻟﺘﺤﻠﻴﻞ ﻗﺮﺍﺀﺓ
٧
ﻧﻘﺪ ﺍﻷﺩﺏ ﺍﻟﻌﻠﻤﻰ ﻫﻮ ﺍﻟﻌﻤﻞ ﻳﻘﺒﺾ ﺍﳌﻌﲎ ﰱ ﺍﻟﻌﻤﻞ ﺍﻷﺩﰉ ،ﻭﺍﺻﻄﻠﺢ
ﻓﻴﻠﻜﺲ ﻓﺎﺩﻳﻜﺎﺀ ﻋﻠﻰ ﻗﺒﺾ ﺍﳌﻌﲎ ﰱ ﺍﻟﻌﻤﻞ ﺍﻷﺩﰉ "ﺑﺎﻟﻮﺍﻗﻌﻰ" ).(Konkretisasi
٨
ﻭﺍﻟﺘﺤﻠﻴﻞ ﺍﻟﻌﻠﻤﻲ ﻋﻠﻰ ﺍﻷﺩﺏ ﻳﺘﺮﻛﹶﺰ ﻛﺜﲑﺍ ﻋﻠﻰ ﺍﳉﺎﻧﺐ ﺍﻟﺪﺍﺧﻠﻰ ﺃﻭ ﺍﳋﺎﺭﺟﻰ
ﻭﻟﻮ ﻛﺎﻥ ﻋﻠﻰ ﺍﻟﺸﻌﺮ ﺍﻟﻔﻠﺴﻔﻰ ،ﻭﺃﻣﺎ ﲢﻠﻴﻞ ﺳﻴﻤﻴﻮﻃﻴﻘﻴﺔ ﻫﻮ ﺍﻟﺘﺤﻠﻴﻞ ﺍﻟﺬﻯ
ﳚﻤﻊ ﺑﻴﻨﻬﻤﺎ.
ﻭﻋﻠﻰ ﺫﻟﻚ ،ﻓﲑﻳﺪ ﺍﻟﺒﺎﺣﺚ ﰱ ﻫﺬﺍ ﺍﻟﺒﺤﺚ ﺍﻟﻌﻠﻤﻰ ﺃﻥ ﻳﺒﺤﺚ ﻗﺼﻴﺪﺓ
ﺍﳌﻮﺍﻛﺐ ﳉﱪﺍﻥ ﺑﺎﻟﺪﺭﺍﺳﺔ ﺍﻟﺴﻴﻤﻴﻮﻃﻴﻘﻴﺔ ﻟﻘﺒﺾ ﻣﻌﻨﺎﻫﺎ ﻋﻠﻰ ﺍﳉﺎﻧﺐ ﺍﻟﺪﺍﺧﻠﻰ ﺃﻭ
ﺍﳋﺎﺭﺟﻰ .ﻭﺃﻣﺎ ﻧﻈﺮﻳﺔ ﺳﻴﻤﻴﻮﻃﻴﻘﻴﺔ ﺍﻟﱴ ﺳﻴﺴﺘﻌﻤﻠﻬﺎ ﺍﻟﺒﺎﺣﺚ ﻓﻴﻪ ﻓﻬﻰ ﺍﻟﻨﻈﺮﻳﺔ
ﺍﻟﺴﻴﻤﻴﻮﻃﻴﻘﻴﺔ ﻋﻨﺪ ﻣﻴﻜﺎﺋﻞ ﺭﻳﻔﺎﺗﲑ
)(Riffaterre
ﺍﻟﱴ ﺗﺄﺳﺴﺖ ﻋﻠﻰ ﻗﺮﺍﺀﺓ
Michael Riffaterre, Semiotics Of Poetry, (Bloomington: Indiana
٧
٥-٦.ﺹ University Press, ١٩٨٤),
٨
Rachmat Djoko Pradopo, Beberapa Teori Sastra, Metode Kritik, dan
١٠٦-١٠٧.ﺹ Penerapannya, (Yogyakarta: Pustaka Pelajar, ١٩٩٥),
٥
ﻫﲑﻳﺴﻄﻴﻘﻴﺔ
)(Heuristic
ﻭﻗﺮﺍﺀﺓ ﻫﲑﻣﻴﻨﻴﻄﻴﻘﻴﺔ ) .(Hermeneuticﻭﺍﺧﺘﺎﺭ ﺍﻟﺒﺎﺣﺚ
ﻗﺼﻴﺪﺓ ﺍﳌﻮﺍﻛﺐ ﻷﺎ ﻣﻦ ﺃﺷﻬﺮ ﺍﻷﻋﻤﺎﻝ ﺍﻷﺩﺑﻴﺔ ﳉﱪﺍﻥ ﺧﻠﻴﻞ ﺟﱪﺍﻥ ﻣﻦ ﺣﻴﺚ
ﺍﻟﺸﻌﺮ ،ﻭﲜﺎﻧﺐ ﺁﺧﺮ ﻛﺎﻥ ﺍﻟﺒﺤﺚ ﺍﻟﻌﻠﻤﻰ ﻋﻠﻰ ﻋﻤﻠﻪ ﺃﻛﺜﺮﺍ ﻋﻠﻰ ﻧﺜﺮﻩ .ﻭﻋﻠﻰ
ﻫﺬﺍ ،ﺳﻴﻘﻮﻡ ﺍﻟﺒﺎﺣﺚ ﺍﻟﺒﺤﺚ ﰱ ﻫﺬﺍ ﺍﻟﺒﺤﺚ ﺍﻟﻌﻠﻤﻲ ﲢﺖ ﻋﻨﻮﺍﻥ:
ﻗﺼﻴﺪﺓ "ﺍﳌﻮﺍﻛﺐ" ﳉﱪﺍﻥ ﺧﻠﻴﻞ ﺟﱪﺍﻥ:
ﺩﺭﺍﺳﺔ ﰱ ﺿﻮﺀ ﺳﻴﻤﻴﻮﻃﻴﻘﻴﺔ ﻣﻴﻜﺎﺋﻞ ﺭﻳﻔﺎﺗﲑ )(Michael Riffaterre
ﺏ .ﲢﺪﻳﺪ ﺍﳌﺸﻜﻠﺔ
ﻭ ﻛﺎﻥ ﻫﺬﺍ ﺍﻟﺒﺤﺚ ﻭﺍﺳﻊ ﺍﻷﻃﺮﺍﻑ ﻓﺤﺪﺩ ﺍﻟﺒﺎﺣﺚ ﺣﻮﻝ ﲝﺜﻪ ﻗﺼﻴﺪﺓ
"ﺍﳌﻮﺍﻛﺐ" ﳉﱪﺍﻥ ﺧﻠﻴﻞ ﺟﱪﺍﻥ .ﻭﻟﺬﺍ ﻛﺎﻥ ﺍﻟﺴﺆﺍﻝ ﺍﻟﺬﻯ ﻳﻄﺮﺡ ﰱ ﻫﺬﺍ ﺍﻟﺒﺤﺚ
ﻫﻮ :ﻣﺎﻣﻌﲎ ﻗﺼﻴﺪﺓ ﺍﳌﻮﺍﻛﺐ ﳉﱪﺍﻥ ﺧﻠﻴﻞ ﺟﱪﺍﻥ؟.
٦
ﺝ .ﺍﻟﻐﺮﺽ ﻣﻦ ﺍﻟﺒﺤﺚ
ﻭﻧﻈﺮﺍ ﻟﻠﻤﺸﻜﻠﺔ ﺍﻟﺴﺎﺑﻘﺔ ﻛﺎﻥ ﺍﻟﻐﺮﺽ ﻣﻦ ﻫﺬﺍ ﺍﻟﺒﺤﺚ ﻫﻮ ﻣﻌﺮﻓﺔ ﻣﻌﲎ
ﻗﺼﻴـﺪﺓ ﺍﳌﻮﺍﻛﺐ ﳉﱪﺍﻥ ﺧﻠﻴﻞ ﺟﱪﺍﻥ.
ﺩ .ﺍﻟﺪﺭﺍﺳﺎﺕ ﺍﻟﺴﺎﺑﻘﺔ
ﻗﺪ ﻭﺟﺪ ﺍﻟﺒﺎﺣﺚ ﲝﺚ ﺍﻟﻌﻠﻤﻰ ﺍﻟﺴﺎﺑﻖ ﻣﻦ ﻗﺼﻴﺪﺓ ﺍﳌﻮﺍﻛﺐ ﳉﱪﺍﻥ ﺧﻠﻴﻞ
ﺟﱪﺍﻥ ﰱ ﻣﻜﺘﺒﺔ ﻛﻠﻴﺔ ﺍﻵﺩﺍﺏ ﻭﺍﻟﻌﻠﻮﻡ ﺍﻹﻧﺴﺎﻧﻴﺔ ﻭﻣﻜﺘﺒﺔ ﺍﻟﻌﺎﻣﺔ ﺟﺎﻣﻌﺔ ﺷﺮﻳﻒ
ﻫﺪﺍﻳﺔ ﺍﷲ ﺟﺎﻛﺮﺗﺎ ﺍﻟﺬﻯ ﻛﺘﺒﻪ ﳏﻤﺪ ﻣﻜﻔﻰ ﺍﻟﺘﻤﻤﻰ ﲢﺖ ﻋﻨﻮﺍﻥ "ﺷﻌﺮ ﺍﳌﻮﺍﻛﺐ
ﳉﱪﺍﻥ ﺧﻠﻴﻞ ﺟﱪﺍﻥ )ﺩﺭﺍﺳﺔ ﺭﻭﻣﺎﻧﺘﻴﻜﻴﺔ(" ،ﻭﺧﺮﺝ ﻣﻦ ﻛﻠﻴﺔ ﺍﻵﺩﺍﺏ ﻭﺍﻟﻌﻠﻮﻡ
ﺍﻹﻧﺴﺎﻧﻴﺔ ﺳﻨﺔ .٢٠١٠
ﺃﻣﺎ ﺗﺸﺎﺑﻪ ﻫﺬﺍ ﺍﻟﺒﺤﺚ ﺍﻟﻌﻠﻤﻰ ﺑﺎﻟﺒﺤﺚ ﺍﻟﺴﺎﺑﻖ ﺃﻧﻪ ﻳﺒﺤﺚ ﻗﺼﻴﺪﺓ
ﺍﳌﻮﺍﻛﺐ ﳉﱪﺍﻥ ﺧﻠﻴﻞ ﺟﱪﺍﻥ ﻭﻛﺬﻟﻚ ﻫﺬﺍ ﺍﻟﺒﺤﺚ .ﻭﺃﻣﺎ ﻓﺮﻕ ﻫﺬﺍ ﺍﻟﺒﺤﺚ
٧
ﺑﺎﻟﺒﺤﺚ ﺍﻟﺴﺎﺑﻖ ﻭﻫﻮ ﻳﺒﺤﺚ ﻗﺼﻴﺪﺓ ﺍﳌﻮﺍﻛﺐ ﳉﱪﺍﻥ ﺧﻠﻴﻞ ﺟﱪﺍﻥ ﺑﺘﺤﻠﻴﻞ
ﺩﺭﺍﺳﺔ ﺭﻭﻣﺎﻧﺘﻴﻜﻴﺔ ،ﻭﻫﻰ ﺩﺭﺍﺳﺔ ﺍﻟﱴ ﲢﻠﹼﻞ ﻗﺼﻴﺪﺓ ﺍﳌﻮﺍﻛﺐ ﻋﻦ ﻭﺟﻮﻩ ﲨﻠﻴﺔ
ﺍﻷﺳﻠﻮﺏ ،ﻭﺍﻟﻔﻜﺮﺓ ،ﻭﺍﻟﻌﺎﻃﻔﺔ ،ﻭﺍﳋﻴﺎﻝ ،ﻭﺃﻣﺎ ﻫﺬﺍ ﺍﻟﺒﺤﺚ ﻳﺒﺤﺚ ﻗﺼﻴﺪﺓ
ﺍﳌﻮﺍﻛﺐ ﺑﺘﺤﻠﻴﻞ ﺩﺭﺍﺳﺔ ﺳﻴﻤﻴﻮﻃﻴﻘﻴﺔ ،ﻭﻫﻰ ﺩﺭﺍﺳﺔ ﺍﻟﱴ ﺗﻜﺸﻒ ﻣﻌﲎ ﻗﺼﻴﺪﺓ
ﺍﳌﻮﺍﻛﺐ ﻣﻦ ﻧﻈﺎﻡ ﻋﻼﻣﺔ ﺛﻨﺎﻭﻳﺘﻬﺎ.
ﻩ .ﻣﻨﻬﺞ ﺍﻟﺒﺤﺚ
ﺃﻣﺎ ﺍﻟﻄﺮﻳﻘﺔ ﺍﻟﱵ ﺳﻠﻜﻬﺎ ﺍﻟﺒﺎﺣﺚ ﰲ ﻫﺬﺍ ﺍﻟﺒﺤﺚ ﻫﻲ ﻃﺮﻳﻘﺔ ﺍﻟﺒﺤﺚ
ﺍﳌﻜﺘﱯ .ﻭﻫﻲ ﲨﻊ ﺍﳌﻌﻠﻮﻣﺎﺕ ﻣﻦ ﺍﻟﻜﺘﺐ ﻭﺍﻼﺕ ﻭﻏﲑﻫﺎ ﺍﻟﱵ ﳍﺎ ﺻﻠﺔ
ﺑﺎﳌﻮﻭﺿﻮﻉ .ﰒ ﺳﻴﺴـﺘﻌﻤﻞ ﺍﻟﺒﺎﺣﺚ ﻧﻈﺮﻳﺔ ﺳﻴﻤﻴﻮﻃﻴﻘﻴﺔ ﻣﻴﻜﺎﺋﻞ ﺭﻳﻔﺎﺗﲑ
)(Michael Riffaterre
ﻟﻠﺸﻌﺮ ﺍﻟﱴ ﺗﻌﺘﻤﺪ ﻋﻠﻰ ﺍﻟﻘﺮﺍﺀﺓ ﺍﳍﲑﻳﺴﻄﻴﻘﻴﺔ
)(Heuristic
ﻭﺍﻟﻘﺮﺍﺀﺓ ﻫﲑﻣﻴﻨﻴﻄﻴﻘﻴﺔ ) .(Hermeneuticﻭﺍﳌﺮﺍﺩ ﺑﺎﻟﻘﺮﺍﺀﺓ ﺍﳍﲑﻳﺴﻄﻴﻘﻴﺔ ﻫﻰ ﺃﻥ
ﻳﺒﺤﺚ ﺍﻟﺒﺎﺣﺚ ﺍﻟﻌﻤﻞ ﺍﻷﺩﰉ ﺑﺎﻟﻘﺮﺍﺀﺓ ﻟﻠﻌﻤﻞ ﺍﻷﺩﰉ ﲝﺴﺐ ﻟﻐﺔ ﺍﻟﺸﻌﺮ
ﺑﺎﺳﺘﻌﻤﺎﻝ ﺍﻟﻠﻐﺔ ﺍﻷﺻﻠﻴﺔ )ﺍﻟﻠﻐﺔ ﺍﻟﱴ ﺗﻄﺎﺑﻖ ﺑﻘﺮﺍﺭ ﻋﻠﻢ ﺍﻟﻠﻐﺔ( ،ﻭﻟﺘﻮﺿﻴﺢ ﺍﳌﻌﲎ
٨
ﻓﻴﺤﺘﺎﺝ ﺇﱃ ﺇﻋﻄﺎﺀ ﺍﻟﻠﻔﻆ ﰱ ﺧﻼﻝ ﻛﻠﻤﺎﺕ ﺑﻴﺖ ﺍﻟﺸﻌﺮ ،ﻛﺎﻟﻠﻔﻆ ﺍﳌﺘﺮﺍﺩﻑ ﺃﻭ
ﺍﻟﻠﻔﻆ ﺍﻟﺬﻯ ﻳﻮﺻﻞ ﻋﻠﻰ ﺃﻟﻔﺎﻅ ﺍﻟﺸﻌﺮ ﺍﻟﺬﻯ ﻳﻮﺿﻊ ﺑﲔ ﺍﻟﻘﻮﺳﲔ .ﻭﺃﻣﺎ ﺍﻟﻘﺮﺍﺀﺓ
ﺍﳍﲑﻳﺴﻄﻴﻘﻴﺔ ﻫﻰ ﺍﻃﻼﻕ ﺍﻟﻌﻤﻞ ﺍﻷﺩﰉ ﺍﻟﺬﻯ ﻳﺒﺪﺃ ﻣﻦ ﻣﻀﻤﻮﻧﻪ ﻭﻣﻌﻨﺎﻩ ﺍﻟﺬﻯ
ﻳﻈﻬﺮ ﰒ ﻳﺘﺠﻪ ﺇﱃ ﻣﻌﲎ ﻧﺺ ﺍﻟﻌﻤﻞ ﺍﻷﺩﰉ ﺍﻟﺴﺮﻯ .ﻭﻃﺮﻳﻘﺔ ﺗﻠﻚ ﺍﻟﻘﺮﺍﺀﺓ ﻫﻰ
ﺑﺎﺳﺘﻌﻤﺎﻝ ﺍﻟﻨﻈﺮﺓ ﺍﻟﺒﺎﻃﻨﻴﺔ ﺑﻘﺮﻳﻨﺔ ﺍﻟﱴ ﺗﻜﻮﻥ ﰱ ﺍﻟﻨﺺ ﻭﺑﺎﻫﺘﻤﺎﻡ ﺗﺎﺭﳜﻴﺔ ﺍﳌﺆﻟﻒ.
ﻓﻘﺪ ﺍﻋﺘﻤﺪ ﺍﻟﺒﺎﺣﺚ ﻋﻠﻰ ﻛﺘﺎﺏ ﺍﻟﺪﻟﻴﻞ ﺍﻟﺬﻯ ﺃﺻﺪﺭﻩ ﻗﺴﻢ ﺍﻟﻠﻐﺔ ﺍﻟﻌﺮﺍﺑﻴﺔ ﻭﺁﺩﺍﺎ
ﰱ ﺟﺎﻣﻌﺔ ﺷﺮﻳﻒ ﻫﺪﺍﻳﺔ ﺍﷲ ﺍﻹﺳﻼﻣﻴﺔ ﺍﳊﻜﻮﻣﻴﺔ ﺟﺎﻛﺮﺗﺎ ﲢﺖ ﻋﻨﻮﺍﻥ:
Pedoman Penulisan Skripsi Bahasa dan Sastra Arab Fakultas Adab dan Humaniora
UIN Syarif Hidayatullah Jakarta.
ﻭ .ﺧﻄﺔ ﺍﻟﺒﺤﺚ
ﻭﻟﺘﻜﻮﻥ ﻫﺬﻩ ﻛﺘﺎﺑﺔ ﺍﻟﺒﺤﺚ ﺍﻟﻌﻠﻤﻲ ﻣﺮﺗﺒﺎ ﺗﻨﻈﻴﻤﺎ ﻓﻘﺴﻤﻪ ﺍﻟﺒﺎﺣﺚ ﻋﻠﻰ
ﲬﺴﺔ ﺃﺑﻮﺍﺏ ،ﻭﻫﻰ:
٩
ﺍﻟﺒﺎﺏ ﺍﻷﻭﻝ :ﻣﻘﺪﻣﺔ ﺍﻟﱴ ﲢﺘﻮﻱ ﻋﻠﻰ ﺧﻠﻔﻴﺔ ﺍﳌﺸﻜﻠﺔ ،ﻭﲢﺪﻳﺪ
ﺍﳌﺸﻜﻠﺔ،
ﻭﺍﻟﻐﺮﺽ ﻣﻦ ﺍﻟﺒﺤﺚ ،ﻭﺍﻟﺪﺭﺍﺳﺎﺕ
ﺍﻟﺴﺎﺑﻘﺔ ،ﻭﻣﻨﻬﺞ ﺍﻟﺒﺤﺚ ،ﻭﺧﻄﺔ ﺍﻟﺒﺤﺚ.
ﺍﻟﺒﺎﺏ ﺍﻟﺜﺎﱐ :ﻧﻈﺮﻳﺔ ﺍﻟﺸﻌﺮ ﻭﺍﻟﺴﻴﻤﻴﻮﻃﻴﻘﻴﺔ ﻭﲢﺘﻮﻯ ﻋﻠﻰ ﻧﻈﺮﻳﺔ ﺍﻟﺸﻌﺮ
ﻭﻧﻈﺮﻳﺔ ﺍﻟﺴﻤﻴﻮﻃﻴﻘﻴﺔ ،ﻭﻧﻈﺮﻳﺔ ﺍﻟﺴﻴﻤﻴﻮﻃﻘﻴﺔ ﻟﻸﺩﺏ.
ﺍﻟﺒﺎﺏ ﺍﻟﺜﺎﻟﺚ :ﺗﺮﳎـﺔ ﺟﱪﺍﻥ ﺧﻠﻴـﻞ ﺟﱪﺍﻥ ﻭﲢﺘﻮﻯ ﻋﻠﻰ ﻣﻮﻟﺪﻩ
ﻭﻧﺸﺄﺗﻪ ﻭﻣﺆﻟﻔﺎﺗﻪ ﻭﺁﺭﺍﺀ ﺍﻟﻨﻘﺎﺩ ﻋﻨﻬـﺎ.
ﺍﻟﺒﺎﺏ ﺍﻟﺮﺍﺑـــــــﻊ :ﲢﻠﻴﻞ ﻗﺼﻴﺪﺓ ﺍﳌﻮﺍﻛﺐ ﻭﳛﺘﻮﻯ ﻋﻠﻰ
ﻧﻈﺮﺓ ﺍﻟﻘﺼﻴﺪﺓ ﺍﳌﻮﺍﻛﺐ ﻭﻧﺺ ﺍﻟﻘﺼﻴﺪﺓ ﺍﳌﻮﺍﻛﺐ
ﻭﲢﻠﻴﻞ ﻗﺼﻴﺪﺓ ﺍﳌﻮﺍﻛـﺐ ﳉﱪﺍﻥ ﺧﻠﻴﻞ ﺟﱪﺍﻥ ﻣﻦ
ﺧﻼﻝ ﺍﻟﻨﻈﺮﻳﺔ ﺍﻟﺴﻴﻤﻴﻮﻃﻘﻴﺔ ﳌﻴﻜﺎﺋﻞ ﺭﻳﻔﺎﺗﲑ ﺍﻟﱴ ﺗﻌﺘﻤﺪ
ﻋﻠﻰ ﺍﻟﻘﺮﺍﺀﺓ ﺍﳍﲑﻳﺴﻄﻴﻘﻴﺔ
ﺍﳍﲑﻣﻴﻨﻴﻄﻴﻘﻴﺔ ).(Hermeneutic
)(Heuristic
ﻭﺍﻟﻘﺮﺍﺀﺓ
١٠
ﺍﻟﺒﺎﺏ ﺍﳋﺎﻣﺲ :ﺧﺎﲤﺔ ﺍﻟﱴ ﲢﺘﻮﻯ ﻋﻠﻰ ﻧﺘﺎﺋﺞ ﺍﻟﺒﺤﺚ ﻭﺍﻻﻗﺘﺮﺍﺣﺎﺕ
ﻭﺍﳌﺮﺍﺟﻊ.
١١
ﺍﻟﺒﺎﺏ ﺍﻟﺜﺎﻧـﻰ
ﻧﻈﺮﻳﺔ ﺍﻟﺸﻌﺮ ﻭﺍﻟﺴﻴﻤﻴﻮﻃﻴﻘﻴﺔ
ﺃ .ﺍﻟﺸﻌـﺮ
ﺍﻟﺸﻌﺮ ﻫﻮ ﺍﻟﻜﻼﻡ ﺍﳌﻮﺯﻭﻥ ﺍﳌﻘﻔﻰ ﺍﳌﻌﱪ ﻋﻦ ﺍﻷﺧﻴﻠﺔ ﺍﻟﺒـﺪﻳﻌﺔ ﻭﺍﻟﺼﻮﺭ
ﺍﳌﺆﺛﺮﺓ ﺍﻟﺒﻠﻴﻐﺔ ٧.ﻭﺍﻟﺸﻌﺮ ﻋﻨـﺪ ﺍﻟﻌﺮﻭﺿﻴﲔ ﻫﻮ ﺍﻟﻜﻼﻡ ﺍﳌﻮﺯﻭﻥ ﺍﳌﻘﻔﻰ ﻗﺼﺪﺍﹰ.
ﻭﺍﶈﻘﻘﻮﻥ ﻣﻦ ﺍﻷﺩﺑﺎﺀ ﳜﺼﻮﻥ ﺍﻟﺸﻌﺮ ﺑﺄﻧﻪ ﺍﻟﻜﻼﻡ ﺍﻟﻔﺼﻴﺢ ﺍﳌﻮﺯﻭﻥ ﺍﳌﻘﻔﻰ ﺍﳌﻌﱪ
ﻏﺎﻟﺒﺎﹰ ﻋﻦ ﺻﻮﺭ ﺍﳋﻴﺎﻝ ﺍﻟﺒـﺪﻳﻊ ٨.ﻭﺃﻣﺎ ﺍﻟﺸﻌﺮ ﻋﻨﺪ ﺍﺑﻦ ﺧﻠﺪﻭﻥ ﻫﻮ ﺍﻟﻜﻼﻡ
ﺍﻟﺒﻠﻴﻎ ﺍﳌﺒﲎ ﻋﻠﻰ ﺍﻹﺳﺘﻌﺎﺭﺓ ﻭﺍﻷﻭﺻﺎﻑ ﺍﳌﻔﺼﻞ ﺑﺄﺟﺰﺍﺀ ﻣﺘﻔﻘـﺔ ﰱ ﺍﻟﻮﺯﻥ
٧ﻧﺒﻴﻠﺔ ﻟﻮﺑﻴﺲ ،ﺍﳌﻌﲔ ﰱ ﺍﻷﺩﺏ ﺍﻟﻌﺮﰊ ﻭﺗﺎﺭﳜـﻪ) ،ﻛﻠﻴﺔ ﺍﻵﺩﺍﺏ ﻭﺍﻟﻌﻠﻮﻡ ﺍﻻﻧﺴﺎﻧﻴـﺔ ،ﺟﺎﻣﻌﺔ ﺷﺮﻳﻒ
ﻫﺪﺍﻳﺔ ﺍﷲ ﺍﻻﺳﻼﻣﻴﺔ ﺍﳊﻜﻮﻣﻴﺔ ﺟﺎﻛﺮﺗﺎ ،( ٢٠٠ ٥ ،ﺹ٥ .
٨ﺃﲪﺪ ﺍﻹﺳﻜﺎﻧﺪﺭ ﻭﻣﺼﻄﻔﻰ ﻋﻨﺎﻧـﻰ ،ﺍﻟﻮﺳﻴﻂ ﰱ ﺍﻷﺩﺏ ﺍﻟﻌﺮﰉ ﻭﺗﺎﺭﳜﻪ) ،ﺍﻟﻘﺎﻫـﺮﺓ :ﺩﺍﺭ ﺍﳌﻌﺎﺭﻑ،
،(١٩٧٦ﺹ٤٢ .
١٢
ﻭﺍﻟﺮﻭﻱ ﻣﺴﺘﻘﻞ ﻛﻞ ﺟﺰﺀ ﻣﻨﻬﺎ ﰱ ﻏﺮﺿﻪ ﻭﻣﻘﺼﻮﺩﻩ ﻋﻤﺎ ﻗﺒﻠﻪ ﻭﺑﻌﺪﻩ ﺍﳉﺎﺭﻱ
ﻋﻠﻰ ﺃﺳﺎﻟﻴﺐ ﺍﻟﻌﺮﺏ ﺍﳌﺨﺼﻮﺻﺔ ﺑﻪ.
٩
ﻳـﺮﻯ )ﺃﺭﺳﻄﻮ( ﺃﻥ ﺍﻟﺸﻌﺮ ﻓﺮﻉ ﻣﻦ ﺍﻟﺘﻘﻠﻴﺪ ﻭﺍﶈﺎﻛﺎﺓ ﻟﻠﺤﻴﺎﺓ ﻭﺍﻟﻄﺒﻴﻌﺔ.
ﻛﻤﺎ ﻛﺎﻥ ﻳﺮﺟﻊ ﰱ ﻧﻘﺪﻩ ﺇﱃ ﺣﻜﻢ ﺍﻟﻔﻜﺮ ﻻ ﺍﻟﻌﺎﻃﻔـﺔ ﻛﺎﻥ ﺃﺭﺳﻄﻮ ﺃﻭﻝ ﻧﺎﻗﺪ
ﻧﻈﺮ ﺇﱃ ﺍﻟﻨﻘﺪ ﻛﻌﻠﻢ ،ﻭﺳﻦ ﻧﻈﺮﻳﺔ ﻟﻠﺸﻌﺮ ﺟﺮﻯ ﻋﻠﻴﻬﺎ ﰱ ﻧـﻘﺪﻩ( .ﻭﺭﺃﻯ ﺃﻳﻀﺎ
ﺃﻥ ﺍﻟﺸﻌﺮ -ﻣﺜﻞ ﺳﺎﺋﺮ ﺍﻟﻔﻨﻮﻥ – ﺗﻘﻠﻴﺪ ﺃﻭ ﳏﺎﻛﺎﺓ ﻟﻠﻄﺒﻴﻌﺔ ﻭﺍﻹﻧﺴﺎﻥ ،ﰒ ﻗﺴﻤﻪ
ﺇﱃ ﺃﻧﻮﺍﻉ ﺛﻼﺛﺔ :ﻏﻨﺎﺋﻰ ،ﻭﻗﺼﺼﻰ ،ﻭﲤﺜﻴﻠﻰ ١٠.ﺍﻟﺸﻌﺮ ﺍﻟﻐﻨﺎﺋﻰ ﻫﻮ ﺍﻟﺬﻯ ﻳﺼﻒ
ﻓﻴﻪ ﺍﻟﺸﺎﻋﺮ ﻣﺎ ﳛﺲ ﺑـﻪ ﻣﻦ ﺧﻮﺍﻃﺮ ،ﻭﻣﺎ ﳚﻴﺶ ﰲ ﻧﻔﺴﻪ ﻣﻦ ﺧﻮﺍﰿ ﻣﻦ ﺣﺐ
ﻭﺑﻐﺾ ﻭﻓﺮﺡ ﻭﺣﺰﻥ ﻭﻏﻀﺐ ﻭﺭﺿﻰ .ﻭﺍﻟﺸﻌﺮ ﺍﻟﻘﺼﺼﻰ ﻫﻮ ﺍﻟﺸﻌﺮ ﺍﻟﺬﻯ
ﻳﻌﺘﻤﺪ ﰱ ﻣﺎﺩﺗﻪ ﻋﻠﻰ ﺫﻛﺮ ﻭﻗﺎﺋﻊ ﻭﺗﺼﻮﻳﺮ ﺣﻮﺍﺩﺙ ﰱ ﻗﺼﺔ ﺗﺴﺎﻕ ﻣﻘﺪﻣﺎﺎ
ﻭﲢﻜﻰ ﻣﻨﺎﻇﺮﻫﺎ ﻭﻳﻨﻄﻖ ﺃﺷﺨﺎﺻﻬﺎ .ﻭﺃﻣﺎ ﺍﻟﺸﻌﺮ ﺍﻟﺘﻤﺜﻴﻠﻰ ﻫﻮ ﺍﻟﺸﻌﺮ ﻳﻘﺼﺪ ﺑﻪ
ﺗﺼﻮﻳﺮ ﺣﺎﺩﺛﺔ ﻣﻦ ﺍﳊﻮﺍﺩﺙ ﺗﺴﺎﻕ ﰱ ﻗﺼﺔ ﻣﻦ ﺍﻟﻘﺼﺼﻰ ﻓﻴﻬﺎ ﻣﻨﺎﻇﺮ ﻳﻘﻮﻡ
٩ﺍﺑﻦ ﺧﻠﺪﻭﻥ ،ﺗﺎﺭﻳﺦ ﺍﺑﻦ ﺧﻠﺪﻭﻥ) ،ﺑﲑﻭﺕ :ﺍﳌﻜﺘﺒﺔ ﺍﻟﻌﺼﺮﻳﺔ ،(٢٠٠٧ ،ﺹ٣٥٥ .
١٠ﳏﻤﺪ ﻋﺒـﺪ ﺍﳌﻨﻌﻢ ﺧﻔﺎﺟﻰ ،ﻣﺪﺍﺭﺱ ﺍﻟﻨﻘﺪ ﺍﻻﺩﺏ ﺍﳊﺪﻳﺚ) ،ﺍﻟﻘﺎﻫﺮﺓ :ﺍﻟﺪﺍﺭ ﺍﳌﺼﺮﻳﺔ ﺍﻟﻠﺒﻨﺎﻳﺔ،
،(١٩٩٥ﺹ .٢٧
١٣
ﺑـﻬﺎ ﺃﺑﻄﺎﻝ ﻭﺃﺷﺨﺎﺹ ﳝﺜﹼــــــﻞ ﻛﻞﹼ ﻣﻨﻬﻢ ﺩﻭﺭﻩ ﻭﻳﺆﺩﻱ ﻣﻬﻤﺘﻪ
ﻭﻳﱪﺯ ﺃﻣﺎﻡ ﺍﻟﻌﻴﻮﻥ ﺑﺎﻟﻮﺍﻗﻊ ﻭﻋﻤﺎﺩ ﺍﻟﺸﻌﺮ ﺍﻟﺘﻤﺜﻴﻠﻰ ﺍﳊﻮﺍﺭ ﺑﻴـﻦ ﺃﺷﺨﺎﺹ
ﳐﺘﻠﻔﲔ ١١.ﻭﺍﻟﻐﺎﻟﺐ ﻋﻠﻰ ﺍﻟﺸﻌﺮ ﺍﻟﻌﺮﰉ ﻫﻮ ﺍﻟﻐﻨﺎﺀ ،ﺫﻟﻚ ﺍﻟﻔﻦ ﺍﻟﹼﺬﻯ ﻳﺼﻮﺭ
ﺍﻟﻌﻮﺍﻃﻒ ﺍﻟﺸﺨﺼﻴﺔ ﻭﻳﻌﺘﻤﺪ ﻋﻠﻰ ﺍﳋﻴﺎﻝ ﺍﻟﺘﻔﺴﲑﻯ.
١٢
ﻭﻳﻨـﻘﺴﻢ ﺷﻌﺮ ﺍﻟﻌﺮﺏ ﺑﺈﻋﺘﺒﺎﺭ ﺷﻜﻠـﻪ ﻭﻣﻀﻤﻮﻧﻪ ﺇﱃ ﺃﻗﺴـﺎﻡ ،ﻭﺃﻣﺎ
ﺍﻟﺸﻌﺮ ﻣﻦ ﺣﻴﺚ ﺷﻜﻠﻪ ﻳﻨـﻘﺴﻢ ﺇﱃ ﺛﻼﺛﺔ ﺃﻗﺴﺎﻡ ﻫﻰ ﺍﻷﻭﻝ ،ﺷﻌﺮ ﺍﳌﻠﺘـﺰﻡ ﺃﻭ
ﺍﻟﺘﻘﻠﻴﺪﻱ ﻫﻮ ﺍﻟﺸﻌﺮ ﺍﻟﺬﻯ ﻳﺘﻘﻴﺪ ﺑﺎﻟﻮﺯﻥ ﻭﺍﻟﻘﺎﻓﻴـﺔ .ﺍﻟﺜﺎﱏ ،ﺷﻌﺮ ﺍﳌﺮﺳﻞ ﺃﻭ
ﺍﳌﻄﻠﻖ ﻫﻮ ﺍﻟﺸﻌﺮ ﺍﻟﺬﻯ ﳛﺘﻔﻆ ﺑﺎﻹﻳﻘﺎﻉ ﺩﻭﻥ ﺍﻟﻮﺯﻥ ﻭﻻ ﻳﻘﻴﺪ ﺑﺎﻟﻘﺎﻓﻴﺔ .ﺍﻟﺜﺎﻟﺚ،
ﺷﻌﺮ ﺍﳌﻨﺜﻮﺭ ﺃﻭ ﺍﳊﺮ ﻫﻮ ﺍﻟﹼﺬﻯ ﻻﻳﻠﺘﺰﻡ ﺑﻮﺯﻥ ﺍﺻﻄﻼﺣﻰ ﻭﻻ ﻗﺎﻓﻴـﺔ ﻭﻟﻜﻦ ﻟﻪ
ﻣﻊ ﺫﻟﻚ ﻧﻮﻉ ﻣﻦ ﺇﻳﻘﺎﻉ ﻭﻭﺯﻥ ﺧﺎﺻﲔ ﺑﻪ ﻻﳜﻠﻮﻥ ﻣﻨﻬﻤﺎ ﻧﺜﺮ ﺃﺩﰊ ﺭﻓﻴﻊ.
١٣
١١
Mas’an Hamid, Ilmu Arudl dan Qawafi, (Surabaya: Al-Ikhlas, ١٩٩٥),
٦٦-٦٩.ﺹ cet. Pertama,
١٢ﺃﲪﺪ ﺍﻟﺴﺎﻳﺐ ،ﺃﺻﻮﻝ ﺍﻟﻨﻘﺪ ﺍﻷﺩﰉ) ،ﺍﻟﻘﺎﻫﺮﺓ :ﻣﻜﺘﺒﺔ ﻟﻨﻬﻀﺔ ﺍﳌﺼﺮﻳﺔ ،(١٩٦٤ ،ﺹ .٣١٣
٥٤-٥٧.ﺹ Mas’an Hamid, Ilmu Arudl dan Qawafi,
١٣
١٤
ﻭﺍﻟﺸﻌﺮ ﻋﻨﺪ ﺍﻟﻌﺮﺏ ﻳﺴﺘﻤﻞ ﻋﻠﻰ ﺃﻏﺮﺍﺽ ﻛﺜﻴـﺮﺓ ﻭﻫﻰ:
١٤
.١ﺍﳊﻤﺎﺳﺔ :ﺍﻟﺸﻌﺮ ﺍﳊﻤﺎﺳﻲ ﻫﻮ ﺍﻟﺸﻌﺮ ﺍﻟﺬﻯ ﳝﺠﺪ ﺍﻟﺒﻄﻮﻟﺔ ﻭﻳﺘﻐﲎ
ﺑﺎﻟﺸﺠﺎﻋﺔ ﻭﻳﺼﻮﺭ ﺍﻟﺮﺟﻮﻟﺔ ﻭﺭﻛﻮﺏ ﺍﳋﻴﻞ ﻭﺧﻮﺽ ﺍﳌﻌﺎﺭﻙ
ﻭﻣﻨﺎﺯﻟﺔ ﺍﻷﻋﺪﺍﺀ ﻭﺻﻮﻥ ﺍﳊﺮﱘ ﺍﻷﺧﺬ ﺑﺎﻟﺜﺄﺭ ﻭﺍﻟﺘﺤﺮﻳﺾ ﻋﻠﻰ
ﺍﻟﻘﺘﺎﻝ.
.٢ﺍﳌﺪﺡ :ﻫﻮ ﺗﻌﺒـﲑ ﺍﻟﺸﺎﻋﺮ ﻋﻦ ﺍﻹﻋﺠﺎﺏ ﺑﺎﳌﻤﺪﺡ ﻭﺇﺑﺮﺍﺯ
ﺍﻟﺼﻔﺎﺕ ﺍﳋﻴﺮﺓ ،ﻭﺍﻷﺧﻼﻕ ﺍﻟﻨﺒﻴﻠﺔ ﻭﺍﳋﺼﺎﻝ ﺍﳊﻤﻴﺪﺓ ﺍﻟﱵ
ﻳﺘﺤﻠﻰ ﺑـﻬﺎ ﺍﳌﻤﺪﺡ ،ﻓﺎﻟﺸﺎﻋﺮ ﺑﻔﻨـﻪ ﺍﶈﺒﺐ ﺇﱃ ﺍﻟﻨﻔﻮﺱ ﻳﱪﺯ
ﺗﻠﻚ ﺍﻟﺼﻔﺎﺕ ﰱ ﺃﺛﻮﺍﺏ ﺯﺍﻫﻴﺔ ﺗﻌﺠﺐ ﺍﻟﻘﺎﺭﺉ ﻭﺍﳌﺴﺘﻤﻊ.
.٣ﺍﻟﺮﺛﺎﺀ :ﺍﻟﺮﺛﺎﺀ ﻫﻮ ﺍﻟﺸﻌﺮ ﺍﻟﺬﻯ ﻳﻌﱪ ﻋﻦ ﺍﻷﺳﻰ ﻭﺍﳊﺰﻥ ﻭﺍﻷﱂ،
ﻓﻴﱪﺯ ﺍﻟﺸﺎﻋﺮ ﺃﺣﺎﺳﻴــﺴــــﻪ ﻭﺧﻠﺠﺎﺕ ﻧﻔﺴﻪ ﲡﺎﻩ
ﺍﻟﻔﻘﻴﺪ ،ﻭﺭﲟﺎ ﻋﺪﺩ ﺍﻟﺸﺎﻋﺮ ﺍﻟﺼﻔﺎﺕ ﺍﳊﻤﻴﺪﺓ ﺍﻟﱵ ﻳﺘﺼﻒ ﺎ
١٤ﻧﺒﻴﻠﺔ ﻟﻮﺑﻴﺲ ،ﺍﳌﻌﲔ ﰱ ﺍﻷﺩﺏ ﺍﻟﻌﺮﰊ ﻭﺗﺎﺭﳜـﻪ) ،ﻛﻠﻴﺔ ﺍﻵﺩﺍﺏ ﻭﺍﻟﻌﻠﻮﻡ ﺍﻻﻧﺴﺎﻧﻴـﺔ ،ﺟﺎﻣﻌﺔ
ﺷﺮﻳﻒ ﻫﺪﺍﻳﺔ ﺍﷲ ﺍﻻﺳﻼﻣﻴﺔ ﺍﳊﻜﻮﻣﻴﺔ ﺟﺎﻛﺮﺗﺎ ،( ٢٠٠ ٥ ،ﺹ٩-٧ .
١٤
١٥
ﺍﳌﻴﺖ ﻣﻦ ﺷﺠﺎﻋﺔ ﻭﻛﺮﻡ ﺃﻭ ﻣﻦ ﻋﻠﻢ ﻭﻓﻀﻞ ،ﻭﺃﺣﻴﺎﻧﺎﹰ ﻳﻨﺪﻓﻊ
ﺍﻟﺸﺎﻋﺮ ﺇﱃ ﺍﻟﺘﻔﻜﲑ ﰲ ﺍﳊﻴﺎﺓ ﻭﺍﳌﻮﺕ.
.٤ﺍﳍﺠﺎﺀ :ﺍﳍﺠﺎﺀ ﺗﺼﻮﻳﺮ ﺍﻟﺴﺨﻂ ﻭﺍﻟﻐﻀﺐ ﻭﺍﻟﻨﻘﻤﺔ ﰱ ﺃﺑﻴﺎﺕ
ﻭﻗﺼﺎﺋﺪ ﺗﻌﱪ ﻋﻤﺎ ﳛﺲ ﺑﻪ ﺍﻟﺸﺎﻋﺮ ﲡﺎﻩ ﺍﳌﻬﺠﻮ ،ﻭﻟﺬﻟﻚ ﳒﺪ
ﺷﻌﺮ ﺍﳍﺠﺎﺀ ﻳﻌﺪﺩ ﺍﻟﺼﻔﺎﺕ ﺍﻟﺬﻣﻴﻤﺔ ﺍﻟﱵ ﻳﺘﺼﻒ ﺎ ﺍﳌﻬﺠﻮ ﺃﻭ
ﺍﻟﱵ ﻳﺮﻣﻴﻪ ﺎ ﺍﻟﺸﺎﻋﺮ ،ﻭﻳﻬﺬﻑ ﺍﳍﺠﺎﺀ ﺇﱃ ﺍﻟﺘﻘﻠﻴﻞ ﻣﻦ ﺷﺄﻥ
ﺍﳋﺼﻢ.
.٥ﺍﻟﻮﺻﻒ :ﺍﻟﻮﺻﻒ ﺗﺼﻮﻳﺮ ﻣﺎﳛﻴﻂ ﺑﺎﻟﺸﺎﻋﺮ ﻣﻦ ﻃﺒﻴﻌﺔ ،ﻭﻣﺎ ﻳﺮﺍﻩ
ﻣﻦ ﺣﻴﻮﺍﻥ ﺃﻭ ﻃﲑ ،ﻳﺒـﺮﺯ ﺫﻟﻚ ﰱ ﺃﺑﻴﺎﺕ ﻗﺪ ﻳﺘﻘﺪﻡ ﻓﻴﻬﺎ
ﺍﻟﺸﺎﻋﺮ ﻋﻠﻰ ﺍﻟﺮﺳﺎﻡ ،ﻓﺎﻟﺸﻌﺮ ﺍﻟﻌﺮﰊ ﻭﺻﻒ ﺍﻟﻨﺎﻗﺔ ﻭﺍﻟﻔﺮﺱ
ﻭﺍﻟﺒﻘﺮﺓ ﺍﻟﻮﺣﺸﻴﺔ ﺍﻟﻈﻠﻴﻢ ﻭﺍﻟﺬﺋﺐ ،ﻛﻤﺎ ﻭﺻﻒ ﻣﻌﺎﺭﻙ ﺍﻟﺼﻴﺪ
ﻭﻣﻌﺎﺭﻙ ﺍﻟﻘﺘﺎﻝ ،ﻭﻭﺻﻒ ﲨﺎﻝ ﺍﻟﻄﺒﻴـﻌﺔ ﻭﺃﻟﻮﺍﻥ ﺍﻟﺮﻳﺎﺽ،
ﻭﺑﺮﻉ ﰱ ﻭﺻﻒ ﺍﻟﻘﺼﻮﺭ ﻭﺍﻵﺛﺎﺭ ﺍﻟﺒﺎﻗﻴﺔ ﻣﻦ ﺣﻀﺎﺭﺍﺕ ﺍﻷﻣﻢ
ﺍﳌﺎﺿﻴﺔ.
١٦
.٦ﺍﻟﻐﺰﻝ :ﻫﻮ ﺫﻟﻚ ﺍﻟﺸﻌﺮ ﺍﻟﺬﻱ ﻳﺼﻮﺭ ﻓﻴﻪ ﺍﻟﺸﺎﻋﺮ ﺷﻮﻗﻪ
ﻭﺇﺣﺴﺎﺳﻪ ﲡﺎﻩ ﺍﳌﺮﺃﺓ ،ﻭﻣﺎ ﺃﺻﺎﺑﻪ ﻣﻦ ﺍﻵﻻﻡ ﺍﻟﱴ ﻳﻜﺎﺑﺪﻫﺎ
ﻭﺍﻟﺸﻘﺎﺀ ﺍﻟﺬﻱ ﻳﻌﺎﻧﻴﻪ ،ﻭﻳﺼﻮﺭ ﺍﻟﺸﺎﻋﺮ ﲨﺎﻝ ﺍﳌﺮﺃﺓ ﺍﻟﱵ ﳛﺒﻬﺎ
ﰱ ﺃﺣﺴﻦ ﺻﻮﺭ ﺍﳉﻤﺎﻝ .ﻭﻛﺜﲑﺍﹰ ﻣﺎ ﻳﻌﱪ ﺷﻌﺮﺍﺀ ﺍﻟﻐﺰﻝ ﻋﻦ
ﺍﳌﺮﺍﺭﺓ ﺍﻟﱴ ﳛﺴﻮﻥ ﺎ ﺑﺴﺒﺐ ﻓﻘﺪ ﺍﳊﺒﻴﺐ ،ﻭﻗﺪ ﻳﻜﻮﻥ ﺍﻟﻐﺰﻝ
ﻋﻔﻴﻔﺎﹰ ،ﻛﻤﺎ ﻗﺪ ﻳﻜﻮﻥ ﺳﺎﻓﻼﹰ ﳑﺠﻮﺣﺎﹰ ﻣﻨﺎﻓﻴﺎﹰ ﻟﻸﺧﻼﻕ
ﺍﻟﻌﺎﳌﻴـﺔ.
ﺍﻟﺸﻌﺮ ﻟﻪ ﺻﻠﺔ ﺑﺎﳌﻮﺳﻴﻘﻰ .ﻭﺍﳌﻮﺳﻴﻘﻰ ﻫﻮ ﻋﻠﻢ ﻳﺒﺤﺚ ﰱ ﺍﻟﺰﻣﻦ
ﺍﻟﺼﻮﺕ ،ﻭﳍﺬﺍ ﻳﻨﻘﺴﻢ ﺇﱃ ﻓﺮﻋﲔ ﻫﺎﻣﲔ ﳘﺎ:
١٥
.١ﺍﻹﻳﻘﺎﻉ :ﻭﻳﺪﺭﺱ ﺃﺟﺰﺍﺀ ﺍﻟﺰﻣﻦ ﺿﻤﻦ ﳎﻤﻮﻋﺎﺕ ﻣﺘﻜﺎﻓﺌﺔ ﺗﺪﻋﻰ
ﺇﻳﻘﺎﻉ ﺍﻟﻘﻄﻌـﺔ .ﻭﺍﳌﻴﺰﺍﻥ ﺍﻹﻳﻘﺎﻋﻲ ﰱ ﺍﳌﻮﺳﻴﻘﻰ ﻟﻪ ﺛﻼﺛﺔ
ﺍﺣﺘﻤﺎﻻﺕ ﻫﻰ:
٣/٤ ٢/٤ ٤/٤
ﺃﻭ ﺍﻟﺮﺑﺎﻋﻲ ،ﺃﻭ ﺍﻟﺜﻨﺎﺋﻲ،
ﻭﺍﻟﺜﻼﺛﻰ .ﻭﻋﻨﺪ ﻣﺎ ﳒﺪ ﻋﻠﻰ ﺍﻟﻨﻮﺗﻪ ﺍﳌﻮﺳﻴﻘﻴـﺔ ﺍﻟﺜﻨﺎﺋﻲ ﻧﻌﲏ ﺃﻥ
١٥ﳏﻤﺪ ﻋﺒﺪ ﺍﻟﻐﲎ ﻭﳎﺪ ﳏﻤﺪ ﺍﻟﺒﺎﻛﻴـﺮ ،ﲢﻠﻴﻞ ﺍﻟﻨﺎﺹ ﺍﻷﺩﰉ ﻣﻦ ﺍﻟﻨﻈﺮﻳﺔ ﻭﺍﻟﺘﻄﺒﻴﻖ) ،ﻋﻤﺎﻥ:
ﻣﺆﺳـﺴﺔ ﺍﻟﻮﺭﺍﻕ ،( ٢٠٠٢ ،ﺹ .٤٧-٤٥
١٧
ﻛﻞ ﲨﻠﺔ ﻣﻮﺳﻴﻘﻴﺔ ﺗﻌﺰﻑ ﺧﻼﻝ ﺛﺎﻧﻴﺘﲔ ،ﻭﻳﻘﺎﺑﻠﻬﺎ ﰱ ﺍﻟﻌﺮﻭﺽ
ﺍﻟﻌﺮﰉ ﺍﻟﺒﺤﻮﺭ ﺍﻟﺸﻌﺮﻳـﺔ ﺛﻨﺎﺋﻴﺔ ﺍﻟﺘﻔﻌﻴـﻠﺔ ﻭﻫﻰ :ﺍﻟﺒﺤﺮ ﺍﳍﺰﺝ
)ﻋﻠﻰ ﺍﻷﻫﺰﺍﺝ ﺗﺴﻬﻴﻞ ’ﻣﻔﺎﻋﻴﻠﻦ ﻣﻔﺎﻋﻴﻞ‘( ،ﻭﺍﻟﺒﺤﺮ ﺍﺘﺚ
)ﺍﺟﺘﺚ ﺍﳊﺮﻛﺎﺕ ’ﻣﺴﺘﻔﻌﻠﻦ ﻓﺎﻋـﻼﺕ‘( ،ﺍﻟﺒﺤﺮ ﺍﳌﻀﺎﺭﻉ
)ﺗﻌﺪ ﺍﳌﻀﺎﺭﻋﺎﺕ ’ﻣﻔﺎﻋﻴﻠﻦ ﻓﺎﻋﻼﺕ‘( ،ﻭﺍﻟﺒﺤﺮ ﺍﳌﻘﺘﻀﺐ
)ﺍﻗﺘﻀﺐ ﻛﻤﺎ ﻓﻌﻠﻮﺍ ’ﻣﻔﻌﻮﻻﺕ ﻣﻔﺘﻌﻠﻦ‘( .ﰒ ﻣﻦ ﺇﻳﻘﺎﻉ
ﺍﻟﺜﻼﺛﻲ ،ﻳﻌﲏ ﲨﻠـﺔ ﻣﻮﺳﻴﻘﻴﺔ ﺗﻌﺰﻑ ﺧﻼﻝ ﺛﻼﺙ ﺛﻮﺍﻥ،
ﻭﻫﻰ ﺗﻨﺎﺳـﺐ ﺍﻟﺒﺤﻮﺭ ﺍﻟﻌﺮﺑﻴـﺔ ﺛﻼﺛﻴﺔ ﺍﻟﺘﻔﻌﻴﻠﺔ ﻭﻫﻰ :ﺍﳌﺪﻳﺪ
)ﳌﺪﻳـﺪ ﺍﻟﺸﻌﺮ ﻋﻨﺪﻱ ﺻﻔﺎﺕ ’ﻓﺎﻋﻼﺗﻦ ﻓﺎﻋﻠﻦ ﻓﺎﻋﻼﺗﻦ‘(،
ﺍﻟﻮﺍﻓﺮ )ﲝﻮﺭ ﺍﻟﺸﻌﺮ ﻭﺍﻓﺮﻫﺎ ﲨﻴﻞ ’ﻣﻔﺎﻋﻠﱳ ﻣﻔﺎﻋﻠﱳ ﻓﻌﻠﻮﻟﻦ‘(،
ﺍﻟﻜﺎﻣﻞ )ﻛﻤﻞ ﺍﳉﻤﺎﻝ ﻣﻦ ﺍﻟﺒﺤﻮﺭ ﻛﺎﻣﻞ ’ﻣﺘﻔﺎﻋﻠﻦ ﻣﺘﻔﺎﻋﻠﻦ
ﻣﺘﻔﺎﻋﻞ‘( ،ﺍﻟﺮﺟﺰ )ﰱ ﺃﲝﺮ ﺍﻷﺭﺟﺎﺯ ﲝﺮ ﻳﺴﻬﻞ ’ﻣﺴﺘﻔﻌﻠﻦ
ﻣﺴﺘﻔﻌﻠﻦ ﻣﺴﺘﻔﻌﻠﻦ‘( ،ﺍﻟﺮﻣﻞ )ﺭﻣﻞ ﺍﻷﲝﺮ ﺗﺮﻭﻳـﺔ ﺍﻟﺜﻘﺎﺕ
’ﻓﺎﻋﻼﺗﻦ ﻓﺎﻋﻼﺗﻦ ﻓﺎﻋﻼﺕ‘( ،ﺍﻟﺴﺮﻳﻊ )ﲝﺮ ﺳﺮﻳﻊ ﻣﺎﻟـﻪ
١٨
ﺳﺎﺣﻞ ’ﻣﺴﺘﻔﻌﻠﻦ ﻣﺴﺘﻔﻌﻠﻦ ﻓﺎﻋﻠﻦ‘( ،ﺍﳌﻨﺴﺮﺡ )ﻣﻨﺴﺮﺡ ﻓﻴﻪ
ﻳﻀﺮﺏ ﺍﳌﺜـﻞ ’ﻣﺴﺘﻔﻌﻠﻦ ﻣﻔﻌﻼﺕ ﻣﺘﻔﺘﻌﻠﻦ‘( ،ﺍﳋﻔﻴـﻒ
)ﻳﺎﺧﻔﻴﻔﺎ ﺧﻔﺖ ﺑـﻪ ﺍﳊﺮﻛﺎﺕ ’ﻓﺎﻋﻼﺗﻦ ﻣﺴﺘﻔﻌﻠﻦ
ﻓﺎﻋﻼﺕ‘( .ﰒ ﺇﻳﻘﺎﻉ ﺍﻟﺮﺑﺎﻋﻰ ،ﻳﻌﲏ ﲨﻠـﺔ ﻣﻮﺳﻴﻘﻴﺔ ﺗﻌﺰﻑ
ﺧﻼﻝ ﺃﺭﺑﻊ ﺛﻮﺍﻥ ،ﻭﻫﻰ ﺗﻨﺎﺳﺐ ﺍﻟﺒﺤﻮﺭ ﺍﻟﻌﺮﺑﻴـﺔ ﺭﺑﺎﻋﻴﺔ
ﺍﻟﺘﻔﻌﻴﻠﺔ ﻭﻫﻰ :ﺍﻟﻄﻮﻳﻞ )ﻃﻮﻳﻞ ﻟﻪ ﺑﲔ ﺍﻟﺒﺤﻮﺭ ﻓﻀﺎﺋﻞ ’ﻓﻌﻮﻟﻦ
ﻣﻔﺎﻋﻠﲔ ﻓﻌﻮﻟﻦ ﻣﻔﺎﻋﻠﻦ‘( ،ﺍﻟﺒﺴﻴﻂ )ﺇﻥ ﺍﻟﺒﺴﻴﻂ ﻟﺪﻳﻪ ﻳﻨﺒﺴﻂ
ﺍﻷﻣﻞ ’ﻣﺴﺘﻔﻌﻠﻦ ﻓﺎﻋﻠﻦ ﻣﺴﺘﻔﻌﻠﻦ ﻓﺎﻋﻠﻦ‘( ،ﺍﳌﺘﻘﺎﺭﺏ )ﻋﻦ
ﺍﳌﺘﻘﺎﺭﺏ ﺣﺎﻝ ﺍﳋﻠﻴﻞ ﻓﻌﻮﻟﻦ ﻓﻌﻮﻟﻦ ﻓﻌﻮﻟﻦ ﻓﻌﻮﻝ‘(.
.٢ﺍﻟﻨﻐﻢ :ﻭﻳﻌﲎ ﻃﺒﻘﺔ ﺍﻟﺼﻮﺕ ﺍﳊﺎﺩ ﻣﺜﻞ ﺍﻟﺼﻮﺕ ﺍﻟﻄﻔﻞ ،ﻭﺍﳋﺸﻦ
ﺍﻷﺟﺶ ﻣﺜﻞ ﺻﻮﺕ ﺍﻟﺸﻴﺦ ،ﻭﰲ ﺍﻟﺸﻌﺮ ﺗﻘﻮﻡ ﺍﻟﻘﺮﺍﺀﺓ ﺍﳌﻌﱪﺓ
ﻣﺜﻞ ﺭﻓﻊ ﺍﻟﺼﻮﺕ ﺃﺣﻴﺎﻧﺎ ﻭﺧﻔﻀـﻪ ﺃﺣﻴﺎﻧﺎ ﺃﺧﺮﻯ ﻭﺗﻠﻮﻳﻦ
ﺍﻟﻨﱪﺍﺕ ﻣﻘﺎﻡ ﺍﻟﻨﻐـﻢ ﰱ ﺍﻟﻘﻄﻌﺔ ﺍﳌﻮﺳﻴﻘﻴﺔ ﺍﻋﺘﻤﺎﺩﺍ ﻋﻠﻰ
ﺍﻟﻨـﻐﻢ ﺍﻟﻨﺎﺑﻊ ﻣﻦ ﺍﻟﺮﻭﻱ ﻭﺍﻟﻘﺎﻓﻴﺔ.
١٩
ﺗﻨﻘـﺴﻢ ﺍﳌﻮﺳﻴﻘﻲ ﰱ ﺍﻟﺸﻌﺮ ﺇﱃ ﻗﺴﻤﲔ ﻫﺎﻣﲔ ﻭﳘﺎ :ﺍﳌﻮﺳﻴﻘﻰ ﺍﻟﺪﺍﺧﻠﻴﺔ
ﻭﺍﳌﻮﺳﻴﻘﻰ ﺍﳋﺎﺭﺟﻴﺔ .ﻭﺗﻌﺮﻳﻒ ﺍﳌﻮﺳﻘﻰ ﺍﻟﺪﺍﺧﻠﻴﺔ ﻫﻮ ﺍﻟﻨﻐﻢ ﺍﻟﻨﺎﺷﺊ ﻋﻦ
ﺍﻧﺴﺠـﺎﻡ ﺍﳊﺮﻭﻑ ﺿﻤﻦ ﺍﻟﻜﻠﻤﺔ ﺍﻟﻮﺍﺣﺪﺓ ﻋﻨﺪﻣﺎ ﺗﺘﺒﺎﻋﺪ ﳐﺎﺭﺟﻬﺎ ﻭﺗﺄﺗﻠﻒ ﰱ
ﺻﻔﺎﺎ ﻣﺜﻞ :ﺑﺪﺃ ،ﺷﺮﺏ ،ﺑﻴﻨﻤﺎ ﺗﺘﻨﺎﻓﺮ ﺍﻟﻨﻐﻤﺎﺕ ﻭﺗﻀﻌﻴﻒ ﺍﳌﻮﺳﻴﻘﻰ ﺍﻟﺪﺍﺧﻠﻴﺔ
ﻋﻨﺪﻣﺎ ﺗﺘﻘﺎﺭﺏ ﳐﺎﺭﺝ ﺍﳊﺮﻭﻑ ،ﻭﺻﻔﺎﺎ ﰱ :ﺍﺿﻄﺮﺏ ،ﺍﺿﻄﺠﻊ ،ﺍﺻﻄﱪ.
ﻭﺃﻣﺎ ﺗﻌﺮﻳﻒ ﺍﳌﻮﺳﻴﻘﻰ ﺍﳋﺎﺭﺟﻴﺔ ﻫﻰ ﺍﻹﻳﻘﺎﻉ ﺍﻟﻨﺎﺟﻢ ﻋﻦ ﺍﻟﺒﺤﺮ ﺍﻟﻌﺮﻭﺿﻲ،
ﻭﺍﻟﺮﻭﻱ ﻭﻫﻮ ﺍﳊﺮﻑ ﺍﻟﺬﻯ ﻳﺘﻜﺮﺭ ﰱ ﺎﻳﺔ ﻛﻞ ﺑﻴﺖ ﻣﻦ ﺃﺑﻴﺎﺕ ﺍﻟﻘﺼﻴـﺪﺓ
ﺍﻟﻌﻤﻮﺩﻳﺔ.
١٦
ﺏ .ﻧﻈﺮﻳـﺔ ﺍﻟﺴﻴﻤﻴﻮﻃﻴﻘﻴﺔ
ﺇﻥﹼ ﺳﻴﻤﻴﻮﻃﻴﻘﻴﺔ
)(Semiotic
ﰲ ﻗﺎﻣﻮﺱ ﺍﻷﺩﺏ ﺍﻟﻌﺮﰊ ﻛﻘﺎﻣﻮﺱ
ﻣﺼﻄﻠﺤﺎﺕ ﺍﻷﺩﺏ ﺗﺴﻤﻰ ﺑﻌﻠﻢ ﺍﻟﻌﻼﻣﺔ ﺃﻭ ﻋﻠﻢ ﺍﻹﺷﺎﺭﺓ .ﻭﺗﺸﺎﺭﻟﺰ ﺱ .ﺑﲑﺱ
)(Charles Sander Pierce
ﰲ ﺍﻟﻐﺮﺏ )ﺍﻷﻣﺮﻳﻜﻴﺔ( ﻗﺪ ﻋﺮﻑ ﻛﻠﻤﺔ ﺳﻴﻤﻴﻮﻃﻴﻘﻴﺔ
١٦ﳏﻤﺪ ﻋﺒﺪ ﺍﻟﻐﲎ ﻭﳎﺪ ﳏﻤﺪ ﺍﻟﺒﺎﻛﻴـﺮ ،ﲢﻠﻴﻞ ﺍﻟﻨﺎﺹ ﺍﻷﺩﰉ ﻣﻦ ﺍﻟﻨﻈﺮﻳﺔ ﻭﺍﻟﺘﻄﺒﻴﻖ) ، ،ﻋﻤﺎﻥ:
ﻣﺆﺳـﺴﺔ ﺍﻟﻮﺭﺍﻕ ،( ٢٠٠٢ ،ﺹ. ٥٤-٤٩
٢٠
).(Semiotic
١٧
ﻭﱂ ﻳﺒﺘﻜﺮ ﺑﲑﺱ
)(Pierce
ﻣﺼﻄﻠﺢ ﺍﻟﺴﻴﻤﻴﻮﻃﻴﻘﺎ ﻣﻦ ﻋﻨﺪﻩ ،ﺑﻞ
ﺍﺳﺘﻤﺪﻩ ﻣﻦ ﺍﳌﺼﻄﻠﺢ ﺍﻟﺬﻱ ﺃﻃﻠﻘﻪ ﺟﻮﻥ ﻟﻮﻙ ) (John Lockeﻋﻠﻰ ﺍﻟﻌﻠﻢ ﺍﳋﺎﺹ
ﺑﺎﻟﻌﻼﻣﺎﺕ ﻭﺍﻟﺪﻻﻻﺕ ﻭﺍﳌﻌﺎﱐ ﺍﳌﺘﻔﺮﻉ ﻣﻦ ﺍﳌﻨﻄﻖ ،ﻭﺍﻟﺬﻱ ﺍﻋﺘﱪﻩ ﻟﻮﻙ )(Locke
ﻋﻠﻢ ﺍﻟﻠﻐﺔ.
١٨
ﻭﻳﻮﺟﺪ ﺍﳌﺼﻄﻠﺤﺎﺕ ﺍﻷﺧﺮﻯ ﻣﻦ "ﻋﻠﻢ ﺍﻟﻌﻼﻣﺔ" ﰲ ﻛﺘﺐ ﻧﻈﺮﻳﺔ
ﺍﻷﺩﺏ ﻭﻧﻘﺪ ﺍﻷﺩﺏ ﻛﻤﺎ ﺫﻛﺮﻩ ﺻﻼﺡ ﻓﻀﻞ ﻭﻫﻮ ﻳﻌﺮﻑ ﺑﻌﻠﻢ ﺍﻹﺷﺎﺭﺓ
ﻭﺳﻴﻤﻴﻮﻃﻴﻘﻴﺔ .ﻭﺳﻴﻤﻴﻮﻃﻴﻘﻴﺔ ﻫﻰ ﻣﻌﺮﺏ ﻣﻦ ﺳﻴﻤﻴﻮﻃﻴﻘﻴﺔ ) (Semioticﺍﻟﱵ ﻛﺎﻥ
ﺗﻌﺮﻳﻔﻬﺎ ﺳﻮﺍﺀ ﺑﺴﻴﻤﻴﻮﻃﻴﻘﻴﺔ ) .(Semioticﻭ"ﺳﻴﻤﻴﻮﻟﻮﺟﻴﺔ" ) (Semiologiﻫﻲ
ﺍﻟﻜﻠﻤﺔ ﺍﻟﱵ ﺗﻌﺮﻑ ﺎ ﻓﺮﺩﻳﻨﺎﻧﺪ ﺩﻱ ﺳﻮﺳﲑ ) (Ferdinand De Saussureﰲ ﻓﺮﻧﺲ.
ﻭﻣﻊ ﺫﻟﻚ ،ﺗﻌﺮﻑ ﻛﻠﻤﺔ ﺳﻴﻤﻴﻮﻃﻴﻘﻴﺔ ﰲ ﺍﻟﻠﻐﺔ ﺍﻟﻌﺮﺑﻴﺔ ﺃﻳﻀﺎ ﺑﺎ
ﺩﺭﺍﺳﺔ ﰱ ﺿﻮﺀ ﺳﻴﻤﻴﻮﻃﻴﻘﻴﺔ ﻣﻴﻜﺎﺋﻞ ﺭﻳﻔﺎﺗﲑ )(Michael Riffaterre
ﲝﺚ
ﻣﻘﺪﻡ ﺍﱄ ﻛﻠﻴﺔ ﺍﻵﺩﺍﺏ ﻭ ﺍﻟﻌﻠﻮﻡ ﺍﻹﻧﺴﺎﻧﻴﺔ ﺟﺎﻣﻌﺔ ﺷﺮﻳﻒ ﻫﺪﺍﻳﺔ ﺍﷲ ﺍﻹﺳﻼﻣﻴﺔ ﺍﳊﻜﻮﻣﻴﺔ ﺟﺎﻛﺮﺗﺎ
ﻟﻠﺤﺼﻮﻝ ﻋﻠﻲ ﺍﻟﺪﺭﺟﺔ ﺍﳉﺎﻣﻌﻴﺔ ﺍﻷﻭﱄ )(S.S
ﺇﻋﺪﺍﺩ:
ﻗﻤﺮ ﺍﻟﺪﻳﻦ
ﺭﻗﻢ ﺍﻟﺘﺴﺠﻴﻞ ١٠٦٠٢١٠٠٠٨٤٤ :
ﻗﺴﻢ ﺍﻟﻠﻐﺔ ﺍﻟﻌﺮﺑﻴﺔ ﻭ ﺁﺩﺍﺎ
ﺑﻜﻠﻴﺔ ﺍﻵﺩﺍﺏ ﻭ ﺍﻟﻌﻠﻮﻡ ﺍﻹﻧﺴﺎﻧﻴﺔ
ﲜﺎﻣﻌﺔ ﺷﺮﻳﻒ ﻫﺬﺍﻳﺔ ﺍﷲ ﺍﻹﺳﻼﻣﻴﺔ ﺍﳊﻜﻮﻣﻴﺔ
ﺟﺎﻛﺮﺗﺎ
٢٠١١ﻡ ١٤٣٢ /ﻩ
ﺃ
ﺏ
ﺗﺼﺮﻳﺢ ﺍﻟﺒﺎﺣﺚ
ﰲ ﻫﺬﻩ ﺍﳌﻨﺎﺳﺒﺔ ﺻﺮﺣﺖ ﺑﺄﻥﹼ:
.١ﻫﺬﺍ ﺍﻟﺒﺤﺚ ﻛﺘﺒﺖ ﺑﻨﻔﺴﻲ ﻟﺘﻜﻤﻠﺔ ﺍﻟﺸﺮﻭﻁ ﻟﻠﺤﺼﻮﻝ ﻋﻠﻰ ﺍﻟﺪﺭﺟﺔ
ﺍﳉﺎﻣﻌﻴﺔ ﺍﻷﻭﱃ ﲜﺎﻣﻌﺔ ﺷﺮﻳﻒ ﻫﺪﺍﻳﺔ ﺍﷲ ﺍﻹﺳﻼﻣﻴﺔ ﺍﳊﻜﻮﻣﻴﺔ ﲜﺎﻛﺮﺗﺎ.
.٢ﻛﻞ ﺍﳌﺮﺍﺟﻊ ﺍﻟﱴ ﺍﺳﺘﻌﻤﻠﺘﻬﺎ ﰱ ﻛﺘﺎﺑﺔ ﻫﺬﺍ ﺍﻟﺒﺤﺚ ﺍﻟﻌﻠﻤﻲ ﻗﺪ ﻭﺿﻌﺘﻬﺎ
ﺣﺴﺐ ﺍﻟﻘﺮﺍﺭﺍﺕ ﺍﳌﻮﺟﻮﺩﺓ ﲜﺎﻣﻌﺔ ﺷﺮﻳﻒ ﻫﺪﺍﻳﺔ ﺍﷲ ﺍﻹﺳﻼﻣﻴﺔ ﺍﳊﻜﻮﻣﻴﺔ
ﲜﺎﻛﺮﺗﺎ.
.٣ﺇﺫﺍ ﻛﺎﻥ ﺍﻟﺒﺤﺚ ﻣﻦ ﻏﲑ ﺇﻋﺪﺍﺩﻱ ﻭﻳﻮﺟﺪ ﻓﻴﻪ ﺍﻧﺘﺤﺎﻝ ﻵﺭﺍﺀ ﺍﻟﻐﲑ ﺩﻭﻥ
ﺫﻛﺮﻩ ﻓﺄﺳﺘﻌﺪ ﺃﻥ ﺃﺳﺘﻠﻢ ﻛﻞ ﺍﻟﻌﻘﻮﺑﺎﺕ ﺍﻟﱵ ﻗﺮﺭﺎ ﺟﺎﻣﻌﺔ ﺷﺮﻳﻒ ﻫﺪﺍﻳﺔ
ﺍﷲ ﺍﻹﺳﻼﻣﻴﺔ ﺍﳊﻜﻮﻣﻴﺔ ﲜﺎﻛﺮﺗﺎ.
ﺟﺎﻛﺮﺗﺎ ١٣ ،ﻳﻮﻟﻴﻮ ٢٠١١
ﻗﻤﺮ ﺍﻟﺪﻳﻦ
ﺝ
ﲡﺮﻳﺪ
ﻗﻤﺮ ﺍﻟﺪﻳﻦ :ﻭﻗﺪ ﲝﺚ ﺍﻟﺒﺎﺣﺚ ﰱ ﻫﺬﺍ ﺍﻟﺒﺤﺚ ﺍﻟﻌﻠﻤﻲ ﻋﻦ ﻗﺼﻴﺪﺓ
ﺍﳌﻮﺍﻛﺐ ﳉﱪﺍﻥ ﺧﻠﻴﻞ ﺟﲑﺍﻥ :ﺩﺭﺍﺳﺔ ﰱ ﺿﻮﺀ ﺳﻴﻤﻴﻮﻃﻴﻘﻴﺔ ﻣﻴﻜﺎﺋﻞ ﺭﻳﻔﺎﺗﲑ
) ، (Michael Riffaterreﻭﺃﻣﺎ ﻗﺼﻴﺪﺓ ﺍﳌﻮﺍﻛﺐ ﳉﱪﺍﻥ ﺧﻠﻴﻞ ﺟﱪﺍﻥ ﺗﻌﺒﺮ ﻋﻦ ﻓﻠﺴﻔﺔ
ﺍﳊﻴﺎﺓ .ﻭﻛﺎﻥ ﺟﱪﺍﻥ ﺧﻠﻴﻞ ﺟﱪﺍﻥ ﻣﻦ ﺃﺷﻬﺮ ﺍﻟﺸﻌﺮﺍﺀ ﰱ ﻋﺼﺮﻩ ﻭﻫﻮ ﻣﺆﺩﺏ
ﻓﻴﻠﻮﺳﻒ ،ﻣﻔﻜﺮ ﺍﻟﺬﻯ ﻳﺼﻨﻊ ﺍﻟﻌﻤﻞ ﺍﻷﺩﺏ ﻭﳝﻴﻞ ﻟﻠﺸﻌﺮ .ﻭﲝﺚ ﰱ ﻗﺼﻴﺪﺓ
ﺍﳌﻮﺍﻛﺐ ﺑﻨﻈﺮﻳﺔ ﺳﻴﻤﻴﻮﻃﻴﻘﻲ ﻋﻨﺪ ﻣﻴﻜﺎﺋﻞ ﺭﻳﻔﺎﺗﲑ ) (Michael Riffaterreﺍﻟﺬﻱ
ﻳﺬﻫﺐ ﺃﻥﹼ ﳛﻠﹼﻞ ﺍﻟﻌﻤﻞ ﺍﻷﺩﰊ ﺑﺎﺳﺘﻌﻤﺎﻝ ﲢﻠﻴﻞ ﺳﻴﻤﻴﻮﻃﻴﻘﻴﺔ ﺑﻄﺮﻳﻘﲔ ،ﳘﺎ ﻗﺮﺍﺀﺓ
ﻫﲑﻳﺴﻄﻴﻘﻴﺔ ) (Heuristicﻭﻗﺮﺍﺀﺓ ﻫﲑﻣﻴﻨﻴﻄﻴﻘﻴﺔ ).(Hermeneutic
ﻭﺑﻌﺪ ﺃﻥ ﳛﻠﹼﻞ ﺍﻟﺒﺎﺣﺚ ﰱ ﻫﺬﻩ ﺍﻟﻘﺼﻴﺪﺓ ﻓﻨﻌﺮﻑ ﺃﻥﹼ ﲢﻠﻴﻞ ﻫﺬﻩ ﺍﻟﻘﺼﻴﺪﺓ ﺬﻩ
ﺍﻟﻨﻈﺮﻳﺔ ﻣﻦ ﺧﲑ ﺍﳌﻨﺎﻫﺞ ﻟﻜﺸﻒ ﻣﻌﻨﺎﻫﺎ ﺍﻟﺬﻯ ﻗﺪ ﻋﺮﻓﻨﺎ ﺃﻥﹼ ﺃﻛﺜﺮ ﺃﺷﻌﺎﺭ ﺧﻠﻴﻞ
ﺟﱪﺍﻥ ﺻﻌﺐ ﰱ ﻓﻬﻤﻬﺎ ﻷﻥ ﺃﻛﺜﺮ ﺃﺷﻌﺎﺭﻫﺎ ﻳﺘﻀﻤﺔ ﺍﻟﻔﻠﺴﻔﺔ .ﻭﲢﻠﻴﻞ
ﺳﻴﻤﻴﻮﻃﻴﻘﻰ ﻗﺪ ﳝﻜﻦ ﺃﻥ ﻳﺴﺘﻌﻤﻞ ﻋﻠﻰ ﻗﺼﻴﺪﺓ ﺍﳌﻮﺍﻛﺐ .ﻭﻣﻦ ﺫﻟﻚ ﲢﻠﻴﻞ
ﺍﻟﺬﻯ ﻳﺘﺄﺳﺲ ﻋﻠﻰ ﻗﺮﺍﺀﺓ ﻫﲑﻳﺴﻄﻴﻘﻴﺔ ) (Heuristicﻭﻗﺮﺍﺀﺓ ﻫﲑﻣﻴﻨﻴﻄﻴﻘﻴﺔ
) (Hermeneuticﻓﻴﻜﻮﻥ ﳍﻤﺎ ﻧﺘﻴﺠﺔ ﻛﻤﺎ ﻳﻠﻰ :ﳛﺼﻞ ﻣﻌﲎ ﻗﺼﻴﺪﺓ ﺍﳌﻮﺍﻛﺐ ﻣﻦ
ﻗﺮﺍﺀﺓ ﻫﲑﻳﺴﻄﻴﻘﻴﺔ ) (Heuristicﻋﻠﻰ ﻣﻌﲎ ﺳﻴﻤﻴﻮﻃﻴﻘﻲ ﰱ ﺍﻟﺪﺍﺭﺟﺔ ﺍﻷﻭﱃ .ﻭﻣﻦ
ﻗﺮﺍﺀﺓ ﻫﲑﻣﻴﻨﻴﻄﻴﻘﻴﺔ ) (Hermeneuticﻛﺸﻒ ﻣﻌﲎ ﻗﺼﻴﺪﺓ ﺍﳌﻮﺍﻛﺐ ﻋﻠﻰ ﻣﻌﲎ
ﺳﻴﻤﻴﻮﻃﻴﻘﻴﺔ ﰱ ﺍﻟﺪﺍﺭﺟﺔ ﺍﻟﺜﺎﻧﻴﺔ ،ﻭﳝﻜﻦ ﻣﻨﻬﺎ ﻓﻬﻢ ﺍﻟﺸﻌﺮ ﺳﻬﻼ ﻭﻣﻌﻨﺎﻩ
ﺍﳊﺎﺫﰊ.
ﺩ
ﺷﻜﺮ ﻭﺗﻘﺪﻳـﺮ
ﺍﳊﻤﺪ ﷲ ﺭﺏ ﺍﻟﻌﺎﳌﲔ ﻭﺃﺷﻬﺪ ﺃﻥ ﻻ ﺇﻟﻪ ﺇﻻﹼ ﺍﷲ ﻭﺣﺪﻩ ﻻ ﺷﺮﻳﻚ ﻟﻪ،
ﻭﺃﺷﻬﺪ ﺃ ﹼﻥ ﺳﻴﺪﻧﺎ ﳏﻤﺪﺍ ﻋﺒﺪﻩ ﻭﺭﺳﻮﻟﻪ ،ﺍﻟﻠﻬﻢ ﺻﻞﹼ ﻋﻠﻴﻪ ﻭﺁﻟﻪ ﻭﺻﺤﺒﻪ ﻭﺳﻠﻢ.
ﻭﺑﻌﺪ ﺍﻧﺘﻬﺎﺀ ﻛﺘﺎﺑﺔ ﻫﺬﺍ ﺍﻟﺒﺤﺚ ﺍﻟﻌﻠﻤﻰ ﻳﺮﻳﺪ ﺍﻟﺒﺎﺣﺚ ﺃﻥ ﻳﺸﻜﺮ ﳌﻦ
ﻳﺴﺎﻋﺪ ﺍﻟﺒﺎﺣﺚ ﰱ ﻛﺘﺎﺑﺔ ﻫﺬﺍ ﺍﻟﺒﺤﺚ ﺍﻟﻌﻠﻤﻲ:
ﻭﺍﻋﺘﺮﻑ ﺍﻟﺒﺎﺣﺚ ﺑﺄﻥ ﻛﺜﲑﺍ ﻣﻦ ﺍﻟﺬﻳﻦ ﻳﻔﻀﻠﻮﻥ ﺑﺎﻹﺭﺷﺎﺩﺍﺕ
ﻭﺍﻟﺘﻮﺟﻴﻬﺎﺕ ﻭﺍﻟﻨﺼﺎﺋﻊ ﻭﺍﳌﺴﺎﻋﺪﺍﺕ ﰱ ﻛﺘﺎﺑﺔ ﻫﺬﺍ ﺍﻟﺒﺤﺚ ﺍﻟﻌﻠﻤﻲ ،ﻓﻴﻨﺒﻐﻰ
ﻟﻠﺒﺎﺣﺚ ﺃﻥ ﻳﻘﺪﻡ ﺍﻟﺸﻜﺮ ﺍﳉﺰﻳﻞ ﻭﺍﻟﺘﻘﺪﻳﺮ ﺍﻟﻌﻤﻴﻖ ﺇﱃ ﻛﻞ ﻣﻦ ﻣﺪﻭﺍ ﺃﻳﺪﻳﻬﻢ
ﻹﲤﺎﻡ ﻫﺬﺍ ﺍﻟﺒﺤﺚ ﺍﻟﻌﻠﻤﻲ ،ﻓـﻤﻦ ﻫﺆﻻﺀ:
.١ﻋﻤﻴﺪ ﻛﻠﻴﺔ ﺍﻵﺩﺍﺏ ﻭﺍﻟﻌﻠﻮﻡ ﺍﻹﻧﺴﺎﻧﻴﺔ ﲜﺎﻣﻌﺔ ﺷﺮﻳﻒ ﻫﺪﺍﻳﺔ ﺍﷲ
ﺍﻻﺳﻼﻣﻴﺔ ﺍﳊﻜﻮﻣﻴﺔ ﺟﺎﻛﺮﺗﺎ ،ﻓﻀﻴﻠﺔ ﺍﻟﺪﻛﺘﻮﺭ ﻋﺒﺪ ﺍﻟﻮﺍﺣﺪ ﻫﺎﺷﻢ
ﺍﳌﺎﺟﺴﺘﲑ.
ﻩ
.٢ﻭﻓﻀﻴﻠﺔ ﺭﺋﻴﺲ ﻗﺴﻢ ﺍﻟﻠﻐﺔ ﺍﻟﻌﺮﺑﻴـﺔ ﻭﺁﺩﺍﺎ ﺍﻟﺪﻛﺘﻮﺭﺍﻧﺪﻭﺱ ﺃﺩﻧﺞ
ﺃﺳـﺪﺍﺭﻱ ﺍﳌﺎﺟﺴﺘﲑ ﻭﺳﻜﺮﺗﲑﻩ ﺍﻟﺪﻛﺘـﻮﺭﺓ ﺟﻬﻴﺎ ﺑﻮﺍﻧﺎ ﺍﳌﺎﺟﺴﺘﲑﺓ.
.٣ﻓﻀﻴﻠﺔ ﺍﻟﱪﻭﺑﺴﻮﺭ ﺍﻟﺪﻛﺘﻮﺭ ﺍﳊﺎﺝ ﺷﻜﺮﺍﻥ ﻛﺎﻣﻞ ﺍﻟﹼﺬﻯ ﺑﺬﻝ ﻋﻠـﻰ
ﺇﺷﺮﺍﻑ ﻛﺘﺎﺑﺔ ﻫﺬﺍ ﺍﻟﺒﺤﺚ.
.٤ﻭﻓﻀﻴﻠﺔ ﺭﺋﻴﺲ ﻣﻜﺘﺒﺔ ﺟﺎﻣﻌﺔ ﺷﺮﻳﻒ ﻫﺪﺍﻳﺔ ﺍﷲ ﺍﻹﺳﻼﻣﻴﺔ ﺍﳊﻜﻮﻣﻴﺔ
ﲜﺎﻛﺮﺗﺎ ﻭﻣﻮﻇﻔﻴﻬـﺎ ،ﻭﺭﺋﻴﺲ ﻣﻜﺘﺒﺔ ﻛﻠﻴﺔ ﺍﻵﺩﺍﺏ ﻭﺍﻟﻌﻠﻤﻮﻡ ﺍﻹﻧﺴﺎﻧﻴﺔ،
ﻭﺳﺎﺋﺮ ﻣﻮﻇﻔﻴـﻬﺎ ﺍﻟﺬﻳﻦ ﺃﺗﺎﺣﻮﺍ ﻟﻠﺒﺎﺣﺚ ﻓﺮﺻﺔ ﻟﻠﺤﺼﻮﻝ ﻋﻠﻰ ﺍﻟﻜﺘﺐ
ﺍﻟﱴ ﳛﺘﺎﺝ ﺇﻟﻴﻬﺎ ﺃﺛﻨﺎﺀ ﻛﺘﺎﺑـﺔ ﻫﺬﺍ ﺍﻟﺒﺤﺚ ﺍﻟﻌﻠﻤﻲ.
.٥ﺃﺑﻮ ﺍﻟﺒﺎﺣﺚ ﺍﻟﺬﻯ ﻳﺸﺠﻊ ﺍﻟﺒﺎﺣﺚ ﺩﺍﺋﻤﺎ ﻹﲤﺎﻡ ﻫﺬﺍ ﺍﻟﺒﺤﺚ ،ﻭﺃﻡ ﺍﻟﺒﺎﺣﺚ
ﺍﻟﱴ ﺳﻠﹼﺖ ﺍﻟﺒﺎﺣﺚ ﻭﺃﻋﻄﺎﻩ ﺍﻟﻌﻨﺎﻳﺔ ﺩﺍﺋﻤﺎ ﰱ ﺇﲤﺎﻡ ﻫﺬﺍ ﺍﻟﺒﺤﺚ.
.٦ﲨﻴﻊ ﺃﺻﺪﻗﺎﺀ ﺍﻟﺒﺎﺣﺚ ﺍﻟﺬﻳﻦ ﻳﺴﺎﻋﺪﻭﺍﻩ ﻭﻳﺸﺠﻌﻮﺍﻩ ﻹﲤﺎﻡ ﻫﺬﺍ ﺍﻟﺒﺤﺚ،
ﻭﺃﺻﺪﻗﺎﺀ ﺍﻟﺒﺎﺣﺚ ﰱ ﺍﻟﻔﺼﻞ ﺍﻟﺬﻳﻦ ﻻﳝﻜﻦ ﻟﻠﺒﺎﺣﺚ ﺫﻛﺮﻫﻢ ﻓﻴﻪ.
ﻭﺃﺧﻴـﺮﺍ ،ﺃﺳﺄﻝ ﺍﷲ ﻛﻞﹼ ﺧﲑ ﳍﻢ ﻭﺳﻬﻞ ﺍﷲ ﳍﻢ ﰱ ﻛﻞﹼ ﺃﻣﻮﺭﻫﻢ ﻭﺃﻧﻔﻊ
ﺍﷲ ﻋﻠﻰ ﻫﺬﺍ ﺍﻟﺒﺤﺚ ﺍﻟﻌﻠﻤﻲ ﻟﻠﺒﺎﺣﺚ ﻭﳌﻦ ﻳﻘﺮﺃ ﻫﺬﺍ ﺍﻟﺒﺤﺚ
ﻭ
ﳏﺘﻮﻳﺎﺕ ﺍﻟﺒﺤﺚ
ﺃ .ﻣﻮﺍﻓﻘﺔ ﺍﳌﺸﺮﻑ .............................................ﺃ
ﺏ .ﻗﺮﺍﺭ ﳉﻨﺔ ﺍﳌﻨﺎﻗﺸﺔ ﻭﺍﳊﻜﻢ ﻋﻠﻰ ﺍﻟﺒﺤﺚ ........................ﺏ
ﺝ .ﺗﺼﺮﻳﺢ ﺍﻟﺒﺎﺣﺚ .............................................ﺝ
ﺩ .ﲡﺮﻳﺪ ......................................................ﺩ
ﻫـ .ﺷﻜﺮ ﻭﺗﻘﺪﻳﺮ ...............................................ﻭ
ﻭ .ﳏﺘﻮﻳﺎﺕ ﺍﻟﺒﺤﺚ .............................................ﺡ
ﺍﻟﺒﺎﺏ ﺍﻷﻭﻝ :ﻣﻘﺪﻣﺔ١ ........................................ ...
ﺃ .ﺧﻠﻔﻴﺔ ﺍﳌﺸﻜﻠﺔ١ ........................................... ...
ﺏ .ﲢﺪﻳﺪ ﺍﳌﺸﻜﻠﺔ ...........................................
٥
ﺝ .ﺍﻟﻐﺮﺽ ﻣﻦ ﺍﻟﺒﺤﺚ ........................................
٦
ﺩ .ﺍﻟﺪﺭﺍﺳﺎﺕ ﺍﻟﺴﺎﺑﻘﺔ ٦ ..........................................
ﺯ
ﻩ .ﻣﻨﻬﺞ ﺍﻟﺒﺤﺚ٧ .......................................... ....
ﻭ .ﺧﻄﺔ ﺍﻟﺒﺤﺚ٨ ............................................. .
ﺍﻟﺒﺎﺏ ﺍﻟﺜﺎﱏ :ﻧﻈﺮﻳﺔ ﺍﻟﺸﻌﺮ ﻭﺳﻴﻤﻴﻮﻃﻴﻘﻴﺔ١٠ ........................
ﺃ.
ﺍﻟﺸﻌﺮ١٠ ................................. ..................
ﺏ .ﻧﻈﺮﻳﺔ ﺍﻟﺴﻤﻴﻮﻃﻴﻘﻴﺔ .....................................
١٨
ﺝ .ﻧﻈﺮﻳﺔ ﺍﻟﺴﻤﻴﻮﻃﻴﻘﻴﺔ ﻟﻸﺩﺏ٢٥ ..................................
ﺍﻟﺒﺎﺏ ﺍﻟﺜﺎﻟﺚ :ﺗﺮﲨﺔ ﺟﱪﺍﻥ ﺧﻠﻴﻞ ﺟﱪﺍﻥ....................
٣٣
ﺃ .ﻣﻮﻟﺪﻩ ﻭﻧﺸﺄﺗﻪ ٣٣ ...............................................
ﺏ .ﻣﺆﻟﻔﺎﺕ ﺟﱪﺍﻥ ﺧﻠﻴﻞ ﺟﱪﺍﻥ ٣٧ .................................
.١ﺃﺩﺑﻪ ٣٧ .................................................
.٢ﺃﺷﻌﺎﺭﻩ ٤٤ ..............................................
ﺝ .ﺃﺭﺍﺀ ﺍﻟﻨﻘﺎﺩ ﻋﻦ ﺃﺩﺏ ﳉﱪﺍﻥ ﺧﻠﻴﻞ ﺟﱪﺍﻥ ﻭﺷﻌﺮﻩ٥٢ ................
ﺡ
ﺍﻟﺒﺎﺏ ﺍﻟﺮﺍﺑﻊ :ﲢﻠﻴﻞ ﻗﺼﻴﺪﺓ ﺍﳌﻮﺍﻛﺐ...............................
٦٠
ﺃ .ﻧﻈﺮﺓ ﻗﺼﻴﺪﺓ ﺍﳌﻮﺍﻛﺐ ٦٠ ......................................
ﺏ .ﻧﺺ ﺍﻟﺸﻌﺮ٦٢ ...............................................
ﺝ .ﻗﺮﺍﺀﺓ ﻫﲑﻳﺴﻄﻴﻘﻴﺔ ) (Heuristicﻋﻠﻰ ﻗﺼﻴﺪﺓ ﺍﳌﻮﺍﻛﺐ٦٥ ...........
ﺩ .ﻗﺮﺍﺀﺓ ﻫﲑﻣﻴﻨﻴﻄﻴﻘﻴﺔ ) (Hermeneuticﻋﻠﻰ ﻗﺼﻴﺪﺓ ﺍﳌﻮﺍﻛﺐ٦٨ ..........
ﺍﻟﺒﺎﺏ ﺍﳋﺎﻣﺲ :ﺍﳋﺎﲤﺔ.......................................
٨١
ﺃ .ﻧﺘﺎﺋﺞ ﺍﻟﺒﺤﺚ...............................................
٨١
ﺏ .ﺍﻻﻗﺘﺮﺍﺣﺎﺕ ٨٣ ................................................
ﻣﺮﺍﺟﻊ ﺍﻟﺒﺤﺚ ٨٤ .................................................
ﺃ .ﺍﻟﻌﺮﺑﻴﺔ٨٧ ......................................................
ﺏ .ﺍﻷﺟﻨﺒﻴﺔ ٩٠ ..................................................
ﻁ
١
ﺍﻟﺒﺎﺏ ﺍﻷﻭﻝ
ﻣﻘﺪﻣﺔ
ﺃ .ﺧﻠﻔﻴﺔ ﺍﳌﺸﻜﻠﺔ
ﻛﺎﻥ ﺟﱪﺍﻥ ﺧﻠﻴﻞ ﺟﱪﺍﻥ ﻣﻦ ﺃﺣﺪ ﺷﻌﺮﺍﺀ ﺍﻟﻌﺮﺏ ﺍﺪﺩﻳﻦ .ﻭﻟﺪ ﰱ ٦
ﺩﻳﺴﻤﱪ ١٨٨٣ﻭﺗﻮﰱ ١٠ﺃﺑﺮﻳﻞ .١٩٣١ﻭﻫﻮ ﻣﻦ ﺷﻌﺮﺍﺀ ﺍﻟﻌﺮﺍﺏ ﺍﻷﻭﱃ
ﺍﻟﺬﻯ ﻳﺴﺘﻌﻤﻞ ﺍﻟﺴﺠﻊ ﺍﳊﺮ ﰲ ﺍﻟﺸﻌﺮ ﺍﻟﻌﺮﰊ ﳒﺎﺣﺎ .ﻭﰲ ﺛﻮﺭﺗﻪ ﻋﻠﻰ ﲨﺎﻋﺔ
ﺍﻟﺮﲰﻴﺔ ﺍﻟﻘﺪﳝﺔ ﺃﻧﻪ ﺍﻛﺘﺸﺎﻑ ﺍﻟﺘﺠﺪﻳﺪ ،ﻭﻛﺎﻥ ﻟﻪ ﺃﺛﺮ ﻛﺒﲑ ﻟﻠﺸﻌﺮﺍﺀ ﻭﺍﻟﻜﺎﺗﺒﲔ ﻣﻦ
ﺑﻌﺪﻩ .ﻭﻛﺎﻧﺖ ﻣﺆﻟﻔﺎﺗﻪ ﻛﺜﲑﺓ ،ﻭﻫﻰ ﻣﻦ ﻓﻦ ﺍﻟﻨﺜﺮ ﻭﺍﻟﺸﻌﺮ١.ﻭﻟﻜﻦ ﺃﻋﻤﺎﻟﻪ ﺍﻷﺩﺑﻴﺔ
ﺧﺼﻮﺻﺎ ﰱ ﺇﻧﺪﻭﻧﺴﻲ -ﻟﻮ ﻛﺎﻧﺖ ﻣﺸﻬﻮﺭﺓ ﻟﻜﻦ ﺍﻟﺘﺤﻠﻴﻞ ﺍﻟﻌﻠﻤﻲ ﻋﻠﻴﻬﺎ ﻗﻠﻴﻞﺟﺪﺍ.
١
Hartojo Andangdjaja, Puisi Arab Modern, (Jakarta: Dunia Pustaka Jaya,
٩٢.ﺹ ١٩٨٧،
٢
ﻛﺎﻧﺖ ﻗﺼﻴﺪﺓ ﺍﳌﻮﺍﻛﺐ ﻣﻦ ﳎﻤﻮﻋﺔ ﺍﻟﺸﻌﺮ ﳉﱪﺍﻥ ﺍﳌﻌﺮﻭﻓﺔ .ﻭﻛﺎﻧﺖ
ﺍﻟﻘﺼﻴﺪﺓ ﺍﻟﱴ ﲤﺜﻞ ﺣﺪﺍ ﻓﺎﺻﻼ ﺑﲔ ﻋﻬﺪﻳـﻦ ﻣﻦ ﺣﻴﺎﺓ ﺟﱪﺍﻥ ﺍﻷﺩﺑﻴﺔ
ﻭﺍﻟﻔﻜﺮﻳﺔ٢.ﻭﻳﺪﻝ ﻗﺼﻴﺪﺓ ﺍﳌﻮﺍﻛﺐ ﻣﻦ ﺍﻟﺸﻌﺮ ﺍﻟﻔﻠﺴﻔﻰ .ﻭﻫﻮ ﻟﻮﻥ ﻣﻦ ﺍﻟﺸﻌﺮ
ﺑﻌﻴﺪ ﻋﻦ ﺍﻷﻏﺮﺍﺽ ﺍﻷﺳﺎﺳﻴﺔ ﻭﻳـﺘﻀﻤﻦ ﺃﻓﻜﺎﺭﺍ ﻓﻠﺴﻔﻴﺔ ،ﻭﻧﻈﺮﺍﺕ ﺑﻌﻴﺪﺓ ﰱ
ﺍﳊﻴﺎﺓ ٣.ﻟﻘﺪ ﻧﻈﻢ ﻗﺼﻴﺪﺓ ﺍﳌﻮﺍﻛﺐ ﰱ ﺍﻟﺸﻜﻞ ﺍﻟﻘﺪﱘ ﰱ ﺍﻟﻮﻗﺖ ﺍﻟﺬﻯ ﻳﺘﻬﻢ ﻓﻴﻪ
ﺷﻌﺮﺍﺀ ﺍﳌﻬﺠﺮ ﺑﺎﻟﺘﺨﻠﻰ ﻋﻦ ﻋﺮﻭﺽ ﺍﳋﻠﻴﻞ ﻭﻋﻦ ﺍﻟﻘﺎﻓﻴﺔ ﺍﳌﻄﺮﺩﺓ ﻋﺠﺰﺍﹰ
ﻭﻗﺼﻮﺭﺍﹰ.
٤
ﺍﻟﻌﻤﻞ ﺍﻷﺩﰉ ﻫﻮ ﺍﻟﻌﻤﻞ ﺍﻟﻔﲎ ﺍﻟﺬﻯ ﻳﺴﺘﻌﻤﻞ ﺍﻟﻠﻐﺔ ﻭﺳﻴﻠﺔ .ﻭﺃﻣﺎ ﺍﻟﻠﻐﺔ ﻫﻰ
ﻧﻈﺎﻡ ﺍﻟﻌﻼﻣﺔ .ﻭﻳﺬﻛﺮ ﺟﺮﺝ ﻟﺘﻤﺎﻥ
)(Jurij Latman
ﺃﻥ ﺍﻟﻠﻐﺔ ﻫﻰ ﻧﻈﺎﻡ ﺍﻟﻌﻼﻣﺔ
ﺍﻷﻭﻟﻴﺔ ﻭﺍﻟﻌﻤﻞ ﺍﻷﺩﰉ ﻫﻮ ﻧﻈﺎﻡ ﺍﻟﻌﻼﻣﺔ ﺍﻟﺜﻨﺎﻭﻳﺔ .ﻭﺍﻟﻠﻐﺔ ﺍﻟﱴ ﻫﻰ ﻧﻈﺎﻡ ﺍﻟﻌﻼﻣﺔ
٢ﻧﺎﺩﺭﺓ ﲨﻴﻞ ﺍﻟﺴﺮﺍﺝ ،ﺍﻟﺸﻌﺮﺍﺀ ﺍﻟﺮﺑﻄﺔ ﺍﻟﻘﻠﻤﻴﺔ ،ﺩﺭﺍﺳﺎﺕ ﰱ ﺍﻟﺸﻌﺮ ﺍﳌﻬﺠﺮ) ،ﺍﻟﻘﺎﻫـﺮﺓ :ﺩﺍﺭ
ﺍﳌﻌﺎﺭﻑ ،(١٩٥٧ ،ﺹ.٢٦٩ ،
٣ﳏﻤﺪ ﺍﻟﺘﻮﳒﻰ ،ﺍﳌﻌﺠﻢ ﺍﳌﻔﺼﻞ ﰱ ﺍﻷﺩﺏ) ،ﺑﲑﻭﺕ :ﺩﺍﺭ ﺍﻟﻜﺘﺎﺏ ﺍﻟﻌﻠﻤﻴﺔ ،(١٩٩٣ ،ﺹ . ٥٦٢
٤ﺇﺧﻼﺹ ﻓﺨﺮﻯ ﻋﻤﺎﺩﺓ ،ﺍﻟﺸﻌﺮ ﻭﳘﻮﻡ ﺍﻹﻧﺴﺎﻥ ﺍﳌﻌﺎﺻﺮ) ،ﺍﻟﻘﺎﻫﺮﺓ :ﻣﻜﺘﺒﺔ ﺍﻵﺩﺍﺏ (١٩٩٢ ،ﺹ
.٢١٤-٢١٣
٣
ﺍﻷﻭﻟﻴﺔ ﺗﺴﺘﻌﻤﻞ ﻟﻠﻤﻮﺍﺻﻠﺔ ،ﻭﺍﻟﺘﻔﻜﲑ ﻭﺇﻟﻘﺎﺀ ﻛﻞ ﺷﺊ .ﻭﻧﻈﺎﻡ ﺍﻟﻌﻼﻣﺔ ﺍﻟﺜﻨﺎﻭﻳﺔ
ﻫﻮ ﺃﻥ ﻳﺴﺘﻨﻔﻊ ﺍﻷﺩﻳﺐ ﺑﺎﻟﻠﻐﺔ ﻟﺼﻴﺎﻏﺔ ﻓﻜﺮﺗﻪ ﺑﺎﻟﺼﻮﺭﺓ ﺍﻟﻔﻨﻴﺔ .ﻭﰱ ﺻﻨﺎﻋﺔ ﺍﻟﻌﻤﻞ
ﺍﻷﺩﰉ ﻓﻴﺘﻘﻴﺪ ﺍﻷﺩﻳﺐ ﲟﻌﲎ ﺍﻟﻠﻐﺔ ﺃﻭﻻ .ﰒ ﳛﻀﺮﻩ ﺍﻷﺩﻳﺐ ﺣﱴ ﳚﻌﻞ ﺍﻟﻌﻤﻞ
ﺍﻷﺩﻳﱮ ﻓﻴﺘﻐﻴﺮ ﻷﻥ ﺍﻟﻠﻐﺔ ﺍﻟﱴ ﺗﺴﺘﻌﻤﻞ ﻟﺼﻨﺎﻋﺔ ﺍﻟﻌﻤﻞ ﺍﻷﺩﰉ ﻗﺪ ﺗﺴﻠﹼﻤﺖ ﺯﻳﺎﺩﺓ
ﺍﳌﻌﲎ .ﻓﻴﻜﻮﻥ ﻣﻌﲎ ﺍﻟﻠﻐﺔ ﻗﺒﻞ ﺃﻥ ﳚﻌﻞ ﺍﻟﻌﻤﻞ ﺍﻷﺩﰉ )ﺍﻟﻠﻐﺔ ﺍﻟﱴ ﺗﺴﺘﻌﻤﻞ ﻛﻞ
ﻳﻮﻡ ﻟﻠﻤﻮﺍﺻﻼﺕ( ﻳﺴﻤﻰ "ﺑﺎﳌﻌﲎ" ) .(Meaningﻭﻣﻌﲎ ﺍﻟﻠﻐﺔ ﺍﻟﺬﻯ ﳚﻌﻞ ﺍﻟﻌﻤﻞ
ﺍﻷﺩﰉ ﻳﺴﻤﻰ "ﺑﺎﳌﻐﺰﻯ" ) ٥.(Significanceﻭﺃﻣﺎ ﰱ ﻋﻠﻢ ﺳﻴﻤﻴﻮﻃﻴﻘﻴﺔ – ﺍﻟﺬﻯ
ﻳﺒﺤﺚ ﻋﻦ ﻋﻼﻣﺔ ﺍﻟﻠﻐﺔ ﺑﻨﻈﺎﻡ ﺍﻟﻌﻼﻣﺔ ﺍﻷﻭﻟﻴﺔ ﻳﺴﻤﻰ ﺑﺴﻴﻤﻴﻮﻃﻴﻘﻴﺔ ﰱ ﺍﻟﺪﺭﺍﺟﺔ
ﺍﻷﻭﱃ .ﻭﺍﻟﻠﻐﺔ ﺑﻨﻈﺎﻡ ﺍﻟﻌﻼﻣﺔ ﺍﻟﺜﻨﺎﻭﻳﺔ ﻳﺴﻤﻰ ﺑﺴﻴﻤﻴﻮﻃﻴﻘﻴﺔ ﰱ ﺍﻟﺪﺭﺍﺟﺔ ﺍﻟﺜﺎﻧﻴﺔ.
ﻭﻣﻦ ﺃﺣﺪ ﺍﻟﻨﻘﺎﺩ ﺍﳌﺸﻬﻮﺭﺓ ﻫﻮ ﻣﻴﻜﺎﺋﻞ ﺭﻳﻔﺎﺗﲑ ) (Michael Riffaterreﻧﺎﻗﺪ
ﺍﻷﺩﺏ ﺍﻟﻔﺮﻧﺴﻲ ﺍﳌﺆﺛﺮ ﺍﻟﺬﻯ ﺗﻌﻤﻖ ﻧﻈﺮﻳﺔ ﺳﻴﻤﻴﻮﻃﻴﻘﻴﺔ ﰲ ﺍﻷﺩﺏ ٦.ﻭﻋﺮﻑ
ﺭﻳﻔﺎﺗﲑ
)(Riffaterre
ﺍﻟﻄﺮﻳﻘﺘﲔ ﻟﺘﺤﻠﻴﻞ ﺍﻟﺸﻌﺮ ﺑﺎﺳﺘﻌﻤﺎﻝ ﻧﻈﺮﻳﺔ ﺳﻴﻤﻴﻮﻃﻴﻘﻴﺔ،
٥
Sukron Kamil, Teori Kritik Sastra Arab Klasik dan Modern, (Jakarta:
٢٠٤-٢٠٥.ﺹ Rajawali Press, ٢٠٠٩),
http//en. Wikipedia. Org/wiki/Michael_Riffaterre. ١١١٤ AM ١٧ Dec.
٦
٢٠١٠.
٤
ﻭﳘﺎ ﺍﻟﻄﺮﻳﻘﺔ ﺍﻟﺘﺤﻠﻴﻞ ﺑﻘﺮﺍﺀﺓ ﻫﲑﻳﺴﻄﻴﻘﻴﺔ
ﻫﲑﻣﻴﻨﻴﻄﻴﻘﻴﺔ ).(Hermeneutic
)(Heuristic
ﻭﻃﺮﻳﻘﺔ ﺍﻟﺘﺤﻠﻴﻞ ﻗﺮﺍﺀﺓ
٧
ﻧﻘﺪ ﺍﻷﺩﺏ ﺍﻟﻌﻠﻤﻰ ﻫﻮ ﺍﻟﻌﻤﻞ ﻳﻘﺒﺾ ﺍﳌﻌﲎ ﰱ ﺍﻟﻌﻤﻞ ﺍﻷﺩﰉ ،ﻭﺍﺻﻄﻠﺢ
ﻓﻴﻠﻜﺲ ﻓﺎﺩﻳﻜﺎﺀ ﻋﻠﻰ ﻗﺒﺾ ﺍﳌﻌﲎ ﰱ ﺍﻟﻌﻤﻞ ﺍﻷﺩﰉ "ﺑﺎﻟﻮﺍﻗﻌﻰ" ).(Konkretisasi
٨
ﻭﺍﻟﺘﺤﻠﻴﻞ ﺍﻟﻌﻠﻤﻲ ﻋﻠﻰ ﺍﻷﺩﺏ ﻳﺘﺮﻛﹶﺰ ﻛﺜﲑﺍ ﻋﻠﻰ ﺍﳉﺎﻧﺐ ﺍﻟﺪﺍﺧﻠﻰ ﺃﻭ ﺍﳋﺎﺭﺟﻰ
ﻭﻟﻮ ﻛﺎﻥ ﻋﻠﻰ ﺍﻟﺸﻌﺮ ﺍﻟﻔﻠﺴﻔﻰ ،ﻭﺃﻣﺎ ﲢﻠﻴﻞ ﺳﻴﻤﻴﻮﻃﻴﻘﻴﺔ ﻫﻮ ﺍﻟﺘﺤﻠﻴﻞ ﺍﻟﺬﻯ
ﳚﻤﻊ ﺑﻴﻨﻬﻤﺎ.
ﻭﻋﻠﻰ ﺫﻟﻚ ،ﻓﲑﻳﺪ ﺍﻟﺒﺎﺣﺚ ﰱ ﻫﺬﺍ ﺍﻟﺒﺤﺚ ﺍﻟﻌﻠﻤﻰ ﺃﻥ ﻳﺒﺤﺚ ﻗﺼﻴﺪﺓ
ﺍﳌﻮﺍﻛﺐ ﳉﱪﺍﻥ ﺑﺎﻟﺪﺭﺍﺳﺔ ﺍﻟﺴﻴﻤﻴﻮﻃﻴﻘﻴﺔ ﻟﻘﺒﺾ ﻣﻌﻨﺎﻫﺎ ﻋﻠﻰ ﺍﳉﺎﻧﺐ ﺍﻟﺪﺍﺧﻠﻰ ﺃﻭ
ﺍﳋﺎﺭﺟﻰ .ﻭﺃﻣﺎ ﻧﻈﺮﻳﺔ ﺳﻴﻤﻴﻮﻃﻴﻘﻴﺔ ﺍﻟﱴ ﺳﻴﺴﺘﻌﻤﻠﻬﺎ ﺍﻟﺒﺎﺣﺚ ﻓﻴﻪ ﻓﻬﻰ ﺍﻟﻨﻈﺮﻳﺔ
ﺍﻟﺴﻴﻤﻴﻮﻃﻴﻘﻴﺔ ﻋﻨﺪ ﻣﻴﻜﺎﺋﻞ ﺭﻳﻔﺎﺗﲑ
)(Riffaterre
ﺍﻟﱴ ﺗﺄﺳﺴﺖ ﻋﻠﻰ ﻗﺮﺍﺀﺓ
Michael Riffaterre, Semiotics Of Poetry, (Bloomington: Indiana
٧
٥-٦.ﺹ University Press, ١٩٨٤),
٨
Rachmat Djoko Pradopo, Beberapa Teori Sastra, Metode Kritik, dan
١٠٦-١٠٧.ﺹ Penerapannya, (Yogyakarta: Pustaka Pelajar, ١٩٩٥),
٥
ﻫﲑﻳﺴﻄﻴﻘﻴﺔ
)(Heuristic
ﻭﻗﺮﺍﺀﺓ ﻫﲑﻣﻴﻨﻴﻄﻴﻘﻴﺔ ) .(Hermeneuticﻭﺍﺧﺘﺎﺭ ﺍﻟﺒﺎﺣﺚ
ﻗﺼﻴﺪﺓ ﺍﳌﻮﺍﻛﺐ ﻷﺎ ﻣﻦ ﺃﺷﻬﺮ ﺍﻷﻋﻤﺎﻝ ﺍﻷﺩﺑﻴﺔ ﳉﱪﺍﻥ ﺧﻠﻴﻞ ﺟﱪﺍﻥ ﻣﻦ ﺣﻴﺚ
ﺍﻟﺸﻌﺮ ،ﻭﲜﺎﻧﺐ ﺁﺧﺮ ﻛﺎﻥ ﺍﻟﺒﺤﺚ ﺍﻟﻌﻠﻤﻰ ﻋﻠﻰ ﻋﻤﻠﻪ ﺃﻛﺜﺮﺍ ﻋﻠﻰ ﻧﺜﺮﻩ .ﻭﻋﻠﻰ
ﻫﺬﺍ ،ﺳﻴﻘﻮﻡ ﺍﻟﺒﺎﺣﺚ ﺍﻟﺒﺤﺚ ﰱ ﻫﺬﺍ ﺍﻟﺒﺤﺚ ﺍﻟﻌﻠﻤﻲ ﲢﺖ ﻋﻨﻮﺍﻥ:
ﻗﺼﻴﺪﺓ "ﺍﳌﻮﺍﻛﺐ" ﳉﱪﺍﻥ ﺧﻠﻴﻞ ﺟﱪﺍﻥ:
ﺩﺭﺍﺳﺔ ﰱ ﺿﻮﺀ ﺳﻴﻤﻴﻮﻃﻴﻘﻴﺔ ﻣﻴﻜﺎﺋﻞ ﺭﻳﻔﺎﺗﲑ )(Michael Riffaterre
ﺏ .ﲢﺪﻳﺪ ﺍﳌﺸﻜﻠﺔ
ﻭ ﻛﺎﻥ ﻫﺬﺍ ﺍﻟﺒﺤﺚ ﻭﺍﺳﻊ ﺍﻷﻃﺮﺍﻑ ﻓﺤﺪﺩ ﺍﻟﺒﺎﺣﺚ ﺣﻮﻝ ﲝﺜﻪ ﻗﺼﻴﺪﺓ
"ﺍﳌﻮﺍﻛﺐ" ﳉﱪﺍﻥ ﺧﻠﻴﻞ ﺟﱪﺍﻥ .ﻭﻟﺬﺍ ﻛﺎﻥ ﺍﻟﺴﺆﺍﻝ ﺍﻟﺬﻯ ﻳﻄﺮﺡ ﰱ ﻫﺬﺍ ﺍﻟﺒﺤﺚ
ﻫﻮ :ﻣﺎﻣﻌﲎ ﻗﺼﻴﺪﺓ ﺍﳌﻮﺍﻛﺐ ﳉﱪﺍﻥ ﺧﻠﻴﻞ ﺟﱪﺍﻥ؟.
٦
ﺝ .ﺍﻟﻐﺮﺽ ﻣﻦ ﺍﻟﺒﺤﺚ
ﻭﻧﻈﺮﺍ ﻟﻠﻤﺸﻜﻠﺔ ﺍﻟﺴﺎﺑﻘﺔ ﻛﺎﻥ ﺍﻟﻐﺮﺽ ﻣﻦ ﻫﺬﺍ ﺍﻟﺒﺤﺚ ﻫﻮ ﻣﻌﺮﻓﺔ ﻣﻌﲎ
ﻗﺼﻴـﺪﺓ ﺍﳌﻮﺍﻛﺐ ﳉﱪﺍﻥ ﺧﻠﻴﻞ ﺟﱪﺍﻥ.
ﺩ .ﺍﻟﺪﺭﺍﺳﺎﺕ ﺍﻟﺴﺎﺑﻘﺔ
ﻗﺪ ﻭﺟﺪ ﺍﻟﺒﺎﺣﺚ ﲝﺚ ﺍﻟﻌﻠﻤﻰ ﺍﻟﺴﺎﺑﻖ ﻣﻦ ﻗﺼﻴﺪﺓ ﺍﳌﻮﺍﻛﺐ ﳉﱪﺍﻥ ﺧﻠﻴﻞ
ﺟﱪﺍﻥ ﰱ ﻣﻜﺘﺒﺔ ﻛﻠﻴﺔ ﺍﻵﺩﺍﺏ ﻭﺍﻟﻌﻠﻮﻡ ﺍﻹﻧﺴﺎﻧﻴﺔ ﻭﻣﻜﺘﺒﺔ ﺍﻟﻌﺎﻣﺔ ﺟﺎﻣﻌﺔ ﺷﺮﻳﻒ
ﻫﺪﺍﻳﺔ ﺍﷲ ﺟﺎﻛﺮﺗﺎ ﺍﻟﺬﻯ ﻛﺘﺒﻪ ﳏﻤﺪ ﻣﻜﻔﻰ ﺍﻟﺘﻤﻤﻰ ﲢﺖ ﻋﻨﻮﺍﻥ "ﺷﻌﺮ ﺍﳌﻮﺍﻛﺐ
ﳉﱪﺍﻥ ﺧﻠﻴﻞ ﺟﱪﺍﻥ )ﺩﺭﺍﺳﺔ ﺭﻭﻣﺎﻧﺘﻴﻜﻴﺔ(" ،ﻭﺧﺮﺝ ﻣﻦ ﻛﻠﻴﺔ ﺍﻵﺩﺍﺏ ﻭﺍﻟﻌﻠﻮﻡ
ﺍﻹﻧﺴﺎﻧﻴﺔ ﺳﻨﺔ .٢٠١٠
ﺃﻣﺎ ﺗﺸﺎﺑﻪ ﻫﺬﺍ ﺍﻟﺒﺤﺚ ﺍﻟﻌﻠﻤﻰ ﺑﺎﻟﺒﺤﺚ ﺍﻟﺴﺎﺑﻖ ﺃﻧﻪ ﻳﺒﺤﺚ ﻗﺼﻴﺪﺓ
ﺍﳌﻮﺍﻛﺐ ﳉﱪﺍﻥ ﺧﻠﻴﻞ ﺟﱪﺍﻥ ﻭﻛﺬﻟﻚ ﻫﺬﺍ ﺍﻟﺒﺤﺚ .ﻭﺃﻣﺎ ﻓﺮﻕ ﻫﺬﺍ ﺍﻟﺒﺤﺚ
٧
ﺑﺎﻟﺒﺤﺚ ﺍﻟﺴﺎﺑﻖ ﻭﻫﻮ ﻳﺒﺤﺚ ﻗﺼﻴﺪﺓ ﺍﳌﻮﺍﻛﺐ ﳉﱪﺍﻥ ﺧﻠﻴﻞ ﺟﱪﺍﻥ ﺑﺘﺤﻠﻴﻞ
ﺩﺭﺍﺳﺔ ﺭﻭﻣﺎﻧﺘﻴﻜﻴﺔ ،ﻭﻫﻰ ﺩﺭﺍﺳﺔ ﺍﻟﱴ ﲢﻠﹼﻞ ﻗﺼﻴﺪﺓ ﺍﳌﻮﺍﻛﺐ ﻋﻦ ﻭﺟﻮﻩ ﲨﻠﻴﺔ
ﺍﻷﺳﻠﻮﺏ ،ﻭﺍﻟﻔﻜﺮﺓ ،ﻭﺍﻟﻌﺎﻃﻔﺔ ،ﻭﺍﳋﻴﺎﻝ ،ﻭﺃﻣﺎ ﻫﺬﺍ ﺍﻟﺒﺤﺚ ﻳﺒﺤﺚ ﻗﺼﻴﺪﺓ
ﺍﳌﻮﺍﻛﺐ ﺑﺘﺤﻠﻴﻞ ﺩﺭﺍﺳﺔ ﺳﻴﻤﻴﻮﻃﻴﻘﻴﺔ ،ﻭﻫﻰ ﺩﺭﺍﺳﺔ ﺍﻟﱴ ﺗﻜﺸﻒ ﻣﻌﲎ ﻗﺼﻴﺪﺓ
ﺍﳌﻮﺍﻛﺐ ﻣﻦ ﻧﻈﺎﻡ ﻋﻼﻣﺔ ﺛﻨﺎﻭﻳﺘﻬﺎ.
ﻩ .ﻣﻨﻬﺞ ﺍﻟﺒﺤﺚ
ﺃﻣﺎ ﺍﻟﻄﺮﻳﻘﺔ ﺍﻟﱵ ﺳﻠﻜﻬﺎ ﺍﻟﺒﺎﺣﺚ ﰲ ﻫﺬﺍ ﺍﻟﺒﺤﺚ ﻫﻲ ﻃﺮﻳﻘﺔ ﺍﻟﺒﺤﺚ
ﺍﳌﻜﺘﱯ .ﻭﻫﻲ ﲨﻊ ﺍﳌﻌﻠﻮﻣﺎﺕ ﻣﻦ ﺍﻟﻜﺘﺐ ﻭﺍﻼﺕ ﻭﻏﲑﻫﺎ ﺍﻟﱵ ﳍﺎ ﺻﻠﺔ
ﺑﺎﳌﻮﻭﺿﻮﻉ .ﰒ ﺳﻴﺴـﺘﻌﻤﻞ ﺍﻟﺒﺎﺣﺚ ﻧﻈﺮﻳﺔ ﺳﻴﻤﻴﻮﻃﻴﻘﻴﺔ ﻣﻴﻜﺎﺋﻞ ﺭﻳﻔﺎﺗﲑ
)(Michael Riffaterre
ﻟﻠﺸﻌﺮ ﺍﻟﱴ ﺗﻌﺘﻤﺪ ﻋﻠﻰ ﺍﻟﻘﺮﺍﺀﺓ ﺍﳍﲑﻳﺴﻄﻴﻘﻴﺔ
)(Heuristic
ﻭﺍﻟﻘﺮﺍﺀﺓ ﻫﲑﻣﻴﻨﻴﻄﻴﻘﻴﺔ ) .(Hermeneuticﻭﺍﳌﺮﺍﺩ ﺑﺎﻟﻘﺮﺍﺀﺓ ﺍﳍﲑﻳﺴﻄﻴﻘﻴﺔ ﻫﻰ ﺃﻥ
ﻳﺒﺤﺚ ﺍﻟﺒﺎﺣﺚ ﺍﻟﻌﻤﻞ ﺍﻷﺩﰉ ﺑﺎﻟﻘﺮﺍﺀﺓ ﻟﻠﻌﻤﻞ ﺍﻷﺩﰉ ﲝﺴﺐ ﻟﻐﺔ ﺍﻟﺸﻌﺮ
ﺑﺎﺳﺘﻌﻤﺎﻝ ﺍﻟﻠﻐﺔ ﺍﻷﺻﻠﻴﺔ )ﺍﻟﻠﻐﺔ ﺍﻟﱴ ﺗﻄﺎﺑﻖ ﺑﻘﺮﺍﺭ ﻋﻠﻢ ﺍﻟﻠﻐﺔ( ،ﻭﻟﺘﻮﺿﻴﺢ ﺍﳌﻌﲎ
٨
ﻓﻴﺤﺘﺎﺝ ﺇﱃ ﺇﻋﻄﺎﺀ ﺍﻟﻠﻔﻆ ﰱ ﺧﻼﻝ ﻛﻠﻤﺎﺕ ﺑﻴﺖ ﺍﻟﺸﻌﺮ ،ﻛﺎﻟﻠﻔﻆ ﺍﳌﺘﺮﺍﺩﻑ ﺃﻭ
ﺍﻟﻠﻔﻆ ﺍﻟﺬﻯ ﻳﻮﺻﻞ ﻋﻠﻰ ﺃﻟﻔﺎﻅ ﺍﻟﺸﻌﺮ ﺍﻟﺬﻯ ﻳﻮﺿﻊ ﺑﲔ ﺍﻟﻘﻮﺳﲔ .ﻭﺃﻣﺎ ﺍﻟﻘﺮﺍﺀﺓ
ﺍﳍﲑﻳﺴﻄﻴﻘﻴﺔ ﻫﻰ ﺍﻃﻼﻕ ﺍﻟﻌﻤﻞ ﺍﻷﺩﰉ ﺍﻟﺬﻯ ﻳﺒﺪﺃ ﻣﻦ ﻣﻀﻤﻮﻧﻪ ﻭﻣﻌﻨﺎﻩ ﺍﻟﺬﻯ
ﻳﻈﻬﺮ ﰒ ﻳﺘﺠﻪ ﺇﱃ ﻣﻌﲎ ﻧﺺ ﺍﻟﻌﻤﻞ ﺍﻷﺩﰉ ﺍﻟﺴﺮﻯ .ﻭﻃﺮﻳﻘﺔ ﺗﻠﻚ ﺍﻟﻘﺮﺍﺀﺓ ﻫﻰ
ﺑﺎﺳﺘﻌﻤﺎﻝ ﺍﻟﻨﻈﺮﺓ ﺍﻟﺒﺎﻃﻨﻴﺔ ﺑﻘﺮﻳﻨﺔ ﺍﻟﱴ ﺗﻜﻮﻥ ﰱ ﺍﻟﻨﺺ ﻭﺑﺎﻫﺘﻤﺎﻡ ﺗﺎﺭﳜﻴﺔ ﺍﳌﺆﻟﻒ.
ﻓﻘﺪ ﺍﻋﺘﻤﺪ ﺍﻟﺒﺎﺣﺚ ﻋﻠﻰ ﻛﺘﺎﺏ ﺍﻟﺪﻟﻴﻞ ﺍﻟﺬﻯ ﺃﺻﺪﺭﻩ ﻗﺴﻢ ﺍﻟﻠﻐﺔ ﺍﻟﻌﺮﺍﺑﻴﺔ ﻭﺁﺩﺍﺎ
ﰱ ﺟﺎﻣﻌﺔ ﺷﺮﻳﻒ ﻫﺪﺍﻳﺔ ﺍﷲ ﺍﻹﺳﻼﻣﻴﺔ ﺍﳊﻜﻮﻣﻴﺔ ﺟﺎﻛﺮﺗﺎ ﲢﺖ ﻋﻨﻮﺍﻥ:
Pedoman Penulisan Skripsi Bahasa dan Sastra Arab Fakultas Adab dan Humaniora
UIN Syarif Hidayatullah Jakarta.
ﻭ .ﺧﻄﺔ ﺍﻟﺒﺤﺚ
ﻭﻟﺘﻜﻮﻥ ﻫﺬﻩ ﻛﺘﺎﺑﺔ ﺍﻟﺒﺤﺚ ﺍﻟﻌﻠﻤﻲ ﻣﺮﺗﺒﺎ ﺗﻨﻈﻴﻤﺎ ﻓﻘﺴﻤﻪ ﺍﻟﺒﺎﺣﺚ ﻋﻠﻰ
ﲬﺴﺔ ﺃﺑﻮﺍﺏ ،ﻭﻫﻰ:
٩
ﺍﻟﺒﺎﺏ ﺍﻷﻭﻝ :ﻣﻘﺪﻣﺔ ﺍﻟﱴ ﲢﺘﻮﻱ ﻋﻠﻰ ﺧﻠﻔﻴﺔ ﺍﳌﺸﻜﻠﺔ ،ﻭﲢﺪﻳﺪ
ﺍﳌﺸﻜﻠﺔ،
ﻭﺍﻟﻐﺮﺽ ﻣﻦ ﺍﻟﺒﺤﺚ ،ﻭﺍﻟﺪﺭﺍﺳﺎﺕ
ﺍﻟﺴﺎﺑﻘﺔ ،ﻭﻣﻨﻬﺞ ﺍﻟﺒﺤﺚ ،ﻭﺧﻄﺔ ﺍﻟﺒﺤﺚ.
ﺍﻟﺒﺎﺏ ﺍﻟﺜﺎﱐ :ﻧﻈﺮﻳﺔ ﺍﻟﺸﻌﺮ ﻭﺍﻟﺴﻴﻤﻴﻮﻃﻴﻘﻴﺔ ﻭﲢﺘﻮﻯ ﻋﻠﻰ ﻧﻈﺮﻳﺔ ﺍﻟﺸﻌﺮ
ﻭﻧﻈﺮﻳﺔ ﺍﻟﺴﻤﻴﻮﻃﻴﻘﻴﺔ ،ﻭﻧﻈﺮﻳﺔ ﺍﻟﺴﻴﻤﻴﻮﻃﻘﻴﺔ ﻟﻸﺩﺏ.
ﺍﻟﺒﺎﺏ ﺍﻟﺜﺎﻟﺚ :ﺗﺮﳎـﺔ ﺟﱪﺍﻥ ﺧﻠﻴـﻞ ﺟﱪﺍﻥ ﻭﲢﺘﻮﻯ ﻋﻠﻰ ﻣﻮﻟﺪﻩ
ﻭﻧﺸﺄﺗﻪ ﻭﻣﺆﻟﻔﺎﺗﻪ ﻭﺁﺭﺍﺀ ﺍﻟﻨﻘﺎﺩ ﻋﻨﻬـﺎ.
ﺍﻟﺒﺎﺏ ﺍﻟﺮﺍﺑـــــــﻊ :ﲢﻠﻴﻞ ﻗﺼﻴﺪﺓ ﺍﳌﻮﺍﻛﺐ ﻭﳛﺘﻮﻯ ﻋﻠﻰ
ﻧﻈﺮﺓ ﺍﻟﻘﺼﻴﺪﺓ ﺍﳌﻮﺍﻛﺐ ﻭﻧﺺ ﺍﻟﻘﺼﻴﺪﺓ ﺍﳌﻮﺍﻛﺐ
ﻭﲢﻠﻴﻞ ﻗﺼﻴﺪﺓ ﺍﳌﻮﺍﻛـﺐ ﳉﱪﺍﻥ ﺧﻠﻴﻞ ﺟﱪﺍﻥ ﻣﻦ
ﺧﻼﻝ ﺍﻟﻨﻈﺮﻳﺔ ﺍﻟﺴﻴﻤﻴﻮﻃﻘﻴﺔ ﳌﻴﻜﺎﺋﻞ ﺭﻳﻔﺎﺗﲑ ﺍﻟﱴ ﺗﻌﺘﻤﺪ
ﻋﻠﻰ ﺍﻟﻘﺮﺍﺀﺓ ﺍﳍﲑﻳﺴﻄﻴﻘﻴﺔ
ﺍﳍﲑﻣﻴﻨﻴﻄﻴﻘﻴﺔ ).(Hermeneutic
)(Heuristic
ﻭﺍﻟﻘﺮﺍﺀﺓ
١٠
ﺍﻟﺒﺎﺏ ﺍﳋﺎﻣﺲ :ﺧﺎﲤﺔ ﺍﻟﱴ ﲢﺘﻮﻯ ﻋﻠﻰ ﻧﺘﺎﺋﺞ ﺍﻟﺒﺤﺚ ﻭﺍﻻﻗﺘﺮﺍﺣﺎﺕ
ﻭﺍﳌﺮﺍﺟﻊ.
١١
ﺍﻟﺒﺎﺏ ﺍﻟﺜﺎﻧـﻰ
ﻧﻈﺮﻳﺔ ﺍﻟﺸﻌﺮ ﻭﺍﻟﺴﻴﻤﻴﻮﻃﻴﻘﻴﺔ
ﺃ .ﺍﻟﺸﻌـﺮ
ﺍﻟﺸﻌﺮ ﻫﻮ ﺍﻟﻜﻼﻡ ﺍﳌﻮﺯﻭﻥ ﺍﳌﻘﻔﻰ ﺍﳌﻌﱪ ﻋﻦ ﺍﻷﺧﻴﻠﺔ ﺍﻟﺒـﺪﻳﻌﺔ ﻭﺍﻟﺼﻮﺭ
ﺍﳌﺆﺛﺮﺓ ﺍﻟﺒﻠﻴﻐﺔ ٧.ﻭﺍﻟﺸﻌﺮ ﻋﻨـﺪ ﺍﻟﻌﺮﻭﺿﻴﲔ ﻫﻮ ﺍﻟﻜﻼﻡ ﺍﳌﻮﺯﻭﻥ ﺍﳌﻘﻔﻰ ﻗﺼﺪﺍﹰ.
ﻭﺍﶈﻘﻘﻮﻥ ﻣﻦ ﺍﻷﺩﺑﺎﺀ ﳜﺼﻮﻥ ﺍﻟﺸﻌﺮ ﺑﺄﻧﻪ ﺍﻟﻜﻼﻡ ﺍﻟﻔﺼﻴﺢ ﺍﳌﻮﺯﻭﻥ ﺍﳌﻘﻔﻰ ﺍﳌﻌﱪ
ﻏﺎﻟﺒﺎﹰ ﻋﻦ ﺻﻮﺭ ﺍﳋﻴﺎﻝ ﺍﻟﺒـﺪﻳﻊ ٨.ﻭﺃﻣﺎ ﺍﻟﺸﻌﺮ ﻋﻨﺪ ﺍﺑﻦ ﺧﻠﺪﻭﻥ ﻫﻮ ﺍﻟﻜﻼﻡ
ﺍﻟﺒﻠﻴﻎ ﺍﳌﺒﲎ ﻋﻠﻰ ﺍﻹﺳﺘﻌﺎﺭﺓ ﻭﺍﻷﻭﺻﺎﻑ ﺍﳌﻔﺼﻞ ﺑﺄﺟﺰﺍﺀ ﻣﺘﻔﻘـﺔ ﰱ ﺍﻟﻮﺯﻥ
٧ﻧﺒﻴﻠﺔ ﻟﻮﺑﻴﺲ ،ﺍﳌﻌﲔ ﰱ ﺍﻷﺩﺏ ﺍﻟﻌﺮﰊ ﻭﺗﺎﺭﳜـﻪ) ،ﻛﻠﻴﺔ ﺍﻵﺩﺍﺏ ﻭﺍﻟﻌﻠﻮﻡ ﺍﻻﻧﺴﺎﻧﻴـﺔ ،ﺟﺎﻣﻌﺔ ﺷﺮﻳﻒ
ﻫﺪﺍﻳﺔ ﺍﷲ ﺍﻻﺳﻼﻣﻴﺔ ﺍﳊﻜﻮﻣﻴﺔ ﺟﺎﻛﺮﺗﺎ ،( ٢٠٠ ٥ ،ﺹ٥ .
٨ﺃﲪﺪ ﺍﻹﺳﻜﺎﻧﺪﺭ ﻭﻣﺼﻄﻔﻰ ﻋﻨﺎﻧـﻰ ،ﺍﻟﻮﺳﻴﻂ ﰱ ﺍﻷﺩﺏ ﺍﻟﻌﺮﰉ ﻭﺗﺎﺭﳜﻪ) ،ﺍﻟﻘﺎﻫـﺮﺓ :ﺩﺍﺭ ﺍﳌﻌﺎﺭﻑ،
،(١٩٧٦ﺹ٤٢ .
١٢
ﻭﺍﻟﺮﻭﻱ ﻣﺴﺘﻘﻞ ﻛﻞ ﺟﺰﺀ ﻣﻨﻬﺎ ﰱ ﻏﺮﺿﻪ ﻭﻣﻘﺼﻮﺩﻩ ﻋﻤﺎ ﻗﺒﻠﻪ ﻭﺑﻌﺪﻩ ﺍﳉﺎﺭﻱ
ﻋﻠﻰ ﺃﺳﺎﻟﻴﺐ ﺍﻟﻌﺮﺏ ﺍﳌﺨﺼﻮﺻﺔ ﺑﻪ.
٩
ﻳـﺮﻯ )ﺃﺭﺳﻄﻮ( ﺃﻥ ﺍﻟﺸﻌﺮ ﻓﺮﻉ ﻣﻦ ﺍﻟﺘﻘﻠﻴﺪ ﻭﺍﶈﺎﻛﺎﺓ ﻟﻠﺤﻴﺎﺓ ﻭﺍﻟﻄﺒﻴﻌﺔ.
ﻛﻤﺎ ﻛﺎﻥ ﻳﺮﺟﻊ ﰱ ﻧﻘﺪﻩ ﺇﱃ ﺣﻜﻢ ﺍﻟﻔﻜﺮ ﻻ ﺍﻟﻌﺎﻃﻔـﺔ ﻛﺎﻥ ﺃﺭﺳﻄﻮ ﺃﻭﻝ ﻧﺎﻗﺪ
ﻧﻈﺮ ﺇﱃ ﺍﻟﻨﻘﺪ ﻛﻌﻠﻢ ،ﻭﺳﻦ ﻧﻈﺮﻳﺔ ﻟﻠﺸﻌﺮ ﺟﺮﻯ ﻋﻠﻴﻬﺎ ﰱ ﻧـﻘﺪﻩ( .ﻭﺭﺃﻯ ﺃﻳﻀﺎ
ﺃﻥ ﺍﻟﺸﻌﺮ -ﻣﺜﻞ ﺳﺎﺋﺮ ﺍﻟﻔﻨﻮﻥ – ﺗﻘﻠﻴﺪ ﺃﻭ ﳏﺎﻛﺎﺓ ﻟﻠﻄﺒﻴﻌﺔ ﻭﺍﻹﻧﺴﺎﻥ ،ﰒ ﻗﺴﻤﻪ
ﺇﱃ ﺃﻧﻮﺍﻉ ﺛﻼﺛﺔ :ﻏﻨﺎﺋﻰ ،ﻭﻗﺼﺼﻰ ،ﻭﲤﺜﻴﻠﻰ ١٠.ﺍﻟﺸﻌﺮ ﺍﻟﻐﻨﺎﺋﻰ ﻫﻮ ﺍﻟﺬﻯ ﻳﺼﻒ
ﻓﻴﻪ ﺍﻟﺸﺎﻋﺮ ﻣﺎ ﳛﺲ ﺑـﻪ ﻣﻦ ﺧﻮﺍﻃﺮ ،ﻭﻣﺎ ﳚﻴﺶ ﰲ ﻧﻔﺴﻪ ﻣﻦ ﺧﻮﺍﰿ ﻣﻦ ﺣﺐ
ﻭﺑﻐﺾ ﻭﻓﺮﺡ ﻭﺣﺰﻥ ﻭﻏﻀﺐ ﻭﺭﺿﻰ .ﻭﺍﻟﺸﻌﺮ ﺍﻟﻘﺼﺼﻰ ﻫﻮ ﺍﻟﺸﻌﺮ ﺍﻟﺬﻯ
ﻳﻌﺘﻤﺪ ﰱ ﻣﺎﺩﺗﻪ ﻋﻠﻰ ﺫﻛﺮ ﻭﻗﺎﺋﻊ ﻭﺗﺼﻮﻳﺮ ﺣﻮﺍﺩﺙ ﰱ ﻗﺼﺔ ﺗﺴﺎﻕ ﻣﻘﺪﻣﺎﺎ
ﻭﲢﻜﻰ ﻣﻨﺎﻇﺮﻫﺎ ﻭﻳﻨﻄﻖ ﺃﺷﺨﺎﺻﻬﺎ .ﻭﺃﻣﺎ ﺍﻟﺸﻌﺮ ﺍﻟﺘﻤﺜﻴﻠﻰ ﻫﻮ ﺍﻟﺸﻌﺮ ﻳﻘﺼﺪ ﺑﻪ
ﺗﺼﻮﻳﺮ ﺣﺎﺩﺛﺔ ﻣﻦ ﺍﳊﻮﺍﺩﺙ ﺗﺴﺎﻕ ﰱ ﻗﺼﺔ ﻣﻦ ﺍﻟﻘﺼﺼﻰ ﻓﻴﻬﺎ ﻣﻨﺎﻇﺮ ﻳﻘﻮﻡ
٩ﺍﺑﻦ ﺧﻠﺪﻭﻥ ،ﺗﺎﺭﻳﺦ ﺍﺑﻦ ﺧﻠﺪﻭﻥ) ،ﺑﲑﻭﺕ :ﺍﳌﻜﺘﺒﺔ ﺍﻟﻌﺼﺮﻳﺔ ،(٢٠٠٧ ،ﺹ٣٥٥ .
١٠ﳏﻤﺪ ﻋﺒـﺪ ﺍﳌﻨﻌﻢ ﺧﻔﺎﺟﻰ ،ﻣﺪﺍﺭﺱ ﺍﻟﻨﻘﺪ ﺍﻻﺩﺏ ﺍﳊﺪﻳﺚ) ،ﺍﻟﻘﺎﻫﺮﺓ :ﺍﻟﺪﺍﺭ ﺍﳌﺼﺮﻳﺔ ﺍﻟﻠﺒﻨﺎﻳﺔ،
،(١٩٩٥ﺹ .٢٧
١٣
ﺑـﻬﺎ ﺃﺑﻄﺎﻝ ﻭﺃﺷﺨﺎﺹ ﳝﺜﹼــــــﻞ ﻛﻞﹼ ﻣﻨﻬﻢ ﺩﻭﺭﻩ ﻭﻳﺆﺩﻱ ﻣﻬﻤﺘﻪ
ﻭﻳﱪﺯ ﺃﻣﺎﻡ ﺍﻟﻌﻴﻮﻥ ﺑﺎﻟﻮﺍﻗﻊ ﻭﻋﻤﺎﺩ ﺍﻟﺸﻌﺮ ﺍﻟﺘﻤﺜﻴﻠﻰ ﺍﳊﻮﺍﺭ ﺑﻴـﻦ ﺃﺷﺨﺎﺹ
ﳐﺘﻠﻔﲔ ١١.ﻭﺍﻟﻐﺎﻟﺐ ﻋﻠﻰ ﺍﻟﺸﻌﺮ ﺍﻟﻌﺮﰉ ﻫﻮ ﺍﻟﻐﻨﺎﺀ ،ﺫﻟﻚ ﺍﻟﻔﻦ ﺍﻟﹼﺬﻯ ﻳﺼﻮﺭ
ﺍﻟﻌﻮﺍﻃﻒ ﺍﻟﺸﺨﺼﻴﺔ ﻭﻳﻌﺘﻤﺪ ﻋﻠﻰ ﺍﳋﻴﺎﻝ ﺍﻟﺘﻔﺴﲑﻯ.
١٢
ﻭﻳﻨـﻘﺴﻢ ﺷﻌﺮ ﺍﻟﻌﺮﺏ ﺑﺈﻋﺘﺒﺎﺭ ﺷﻜﻠـﻪ ﻭﻣﻀﻤﻮﻧﻪ ﺇﱃ ﺃﻗﺴـﺎﻡ ،ﻭﺃﻣﺎ
ﺍﻟﺸﻌﺮ ﻣﻦ ﺣﻴﺚ ﺷﻜﻠﻪ ﻳﻨـﻘﺴﻢ ﺇﱃ ﺛﻼﺛﺔ ﺃﻗﺴﺎﻡ ﻫﻰ ﺍﻷﻭﻝ ،ﺷﻌﺮ ﺍﳌﻠﺘـﺰﻡ ﺃﻭ
ﺍﻟﺘﻘﻠﻴﺪﻱ ﻫﻮ ﺍﻟﺸﻌﺮ ﺍﻟﺬﻯ ﻳﺘﻘﻴﺪ ﺑﺎﻟﻮﺯﻥ ﻭﺍﻟﻘﺎﻓﻴـﺔ .ﺍﻟﺜﺎﱏ ،ﺷﻌﺮ ﺍﳌﺮﺳﻞ ﺃﻭ
ﺍﳌﻄﻠﻖ ﻫﻮ ﺍﻟﺸﻌﺮ ﺍﻟﺬﻯ ﳛﺘﻔﻆ ﺑﺎﻹﻳﻘﺎﻉ ﺩﻭﻥ ﺍﻟﻮﺯﻥ ﻭﻻ ﻳﻘﻴﺪ ﺑﺎﻟﻘﺎﻓﻴﺔ .ﺍﻟﺜﺎﻟﺚ،
ﺷﻌﺮ ﺍﳌﻨﺜﻮﺭ ﺃﻭ ﺍﳊﺮ ﻫﻮ ﺍﻟﹼﺬﻯ ﻻﻳﻠﺘﺰﻡ ﺑﻮﺯﻥ ﺍﺻﻄﻼﺣﻰ ﻭﻻ ﻗﺎﻓﻴـﺔ ﻭﻟﻜﻦ ﻟﻪ
ﻣﻊ ﺫﻟﻚ ﻧﻮﻉ ﻣﻦ ﺇﻳﻘﺎﻉ ﻭﻭﺯﻥ ﺧﺎﺻﲔ ﺑﻪ ﻻﳜﻠﻮﻥ ﻣﻨﻬﻤﺎ ﻧﺜﺮ ﺃﺩﰊ ﺭﻓﻴﻊ.
١٣
١١
Mas’an Hamid, Ilmu Arudl dan Qawafi, (Surabaya: Al-Ikhlas, ١٩٩٥),
٦٦-٦٩.ﺹ cet. Pertama,
١٢ﺃﲪﺪ ﺍﻟﺴﺎﻳﺐ ،ﺃﺻﻮﻝ ﺍﻟﻨﻘﺪ ﺍﻷﺩﰉ) ،ﺍﻟﻘﺎﻫﺮﺓ :ﻣﻜﺘﺒﺔ ﻟﻨﻬﻀﺔ ﺍﳌﺼﺮﻳﺔ ،(١٩٦٤ ،ﺹ .٣١٣
٥٤-٥٧.ﺹ Mas’an Hamid, Ilmu Arudl dan Qawafi,
١٣
١٤
ﻭﺍﻟﺸﻌﺮ ﻋﻨﺪ ﺍﻟﻌﺮﺏ ﻳﺴﺘﻤﻞ ﻋﻠﻰ ﺃﻏﺮﺍﺽ ﻛﺜﻴـﺮﺓ ﻭﻫﻰ:
١٤
.١ﺍﳊﻤﺎﺳﺔ :ﺍﻟﺸﻌﺮ ﺍﳊﻤﺎﺳﻲ ﻫﻮ ﺍﻟﺸﻌﺮ ﺍﻟﺬﻯ ﳝﺠﺪ ﺍﻟﺒﻄﻮﻟﺔ ﻭﻳﺘﻐﲎ
ﺑﺎﻟﺸﺠﺎﻋﺔ ﻭﻳﺼﻮﺭ ﺍﻟﺮﺟﻮﻟﺔ ﻭﺭﻛﻮﺏ ﺍﳋﻴﻞ ﻭﺧﻮﺽ ﺍﳌﻌﺎﺭﻙ
ﻭﻣﻨﺎﺯﻟﺔ ﺍﻷﻋﺪﺍﺀ ﻭﺻﻮﻥ ﺍﳊﺮﱘ ﺍﻷﺧﺬ ﺑﺎﻟﺜﺄﺭ ﻭﺍﻟﺘﺤﺮﻳﺾ ﻋﻠﻰ
ﺍﻟﻘﺘﺎﻝ.
.٢ﺍﳌﺪﺡ :ﻫﻮ ﺗﻌﺒـﲑ ﺍﻟﺸﺎﻋﺮ ﻋﻦ ﺍﻹﻋﺠﺎﺏ ﺑﺎﳌﻤﺪﺡ ﻭﺇﺑﺮﺍﺯ
ﺍﻟﺼﻔﺎﺕ ﺍﳋﻴﺮﺓ ،ﻭﺍﻷﺧﻼﻕ ﺍﻟﻨﺒﻴﻠﺔ ﻭﺍﳋﺼﺎﻝ ﺍﳊﻤﻴﺪﺓ ﺍﻟﱵ
ﻳﺘﺤﻠﻰ ﺑـﻬﺎ ﺍﳌﻤﺪﺡ ،ﻓﺎﻟﺸﺎﻋﺮ ﺑﻔﻨـﻪ ﺍﶈﺒﺐ ﺇﱃ ﺍﻟﻨﻔﻮﺱ ﻳﱪﺯ
ﺗﻠﻚ ﺍﻟﺼﻔﺎﺕ ﰱ ﺃﺛﻮﺍﺏ ﺯﺍﻫﻴﺔ ﺗﻌﺠﺐ ﺍﻟﻘﺎﺭﺉ ﻭﺍﳌﺴﺘﻤﻊ.
.٣ﺍﻟﺮﺛﺎﺀ :ﺍﻟﺮﺛﺎﺀ ﻫﻮ ﺍﻟﺸﻌﺮ ﺍﻟﺬﻯ ﻳﻌﱪ ﻋﻦ ﺍﻷﺳﻰ ﻭﺍﳊﺰﻥ ﻭﺍﻷﱂ،
ﻓﻴﱪﺯ ﺍﻟﺸﺎﻋﺮ ﺃﺣﺎﺳﻴــﺴــــﻪ ﻭﺧﻠﺠﺎﺕ ﻧﻔﺴﻪ ﲡﺎﻩ
ﺍﻟﻔﻘﻴﺪ ،ﻭﺭﲟﺎ ﻋﺪﺩ ﺍﻟﺸﺎﻋﺮ ﺍﻟﺼﻔﺎﺕ ﺍﳊﻤﻴﺪﺓ ﺍﻟﱵ ﻳﺘﺼﻒ ﺎ
١٤ﻧﺒﻴﻠﺔ ﻟﻮﺑﻴﺲ ،ﺍﳌﻌﲔ ﰱ ﺍﻷﺩﺏ ﺍﻟﻌﺮﰊ ﻭﺗﺎﺭﳜـﻪ) ،ﻛﻠﻴﺔ ﺍﻵﺩﺍﺏ ﻭﺍﻟﻌﻠﻮﻡ ﺍﻻﻧﺴﺎﻧﻴـﺔ ،ﺟﺎﻣﻌﺔ
ﺷﺮﻳﻒ ﻫﺪﺍﻳﺔ ﺍﷲ ﺍﻻﺳﻼﻣﻴﺔ ﺍﳊﻜﻮﻣﻴﺔ ﺟﺎﻛﺮﺗﺎ ،( ٢٠٠ ٥ ،ﺹ٩-٧ .
١٤
١٥
ﺍﳌﻴﺖ ﻣﻦ ﺷﺠﺎﻋﺔ ﻭﻛﺮﻡ ﺃﻭ ﻣﻦ ﻋﻠﻢ ﻭﻓﻀﻞ ،ﻭﺃﺣﻴﺎﻧﺎﹰ ﻳﻨﺪﻓﻊ
ﺍﻟﺸﺎﻋﺮ ﺇﱃ ﺍﻟﺘﻔﻜﲑ ﰲ ﺍﳊﻴﺎﺓ ﻭﺍﳌﻮﺕ.
.٤ﺍﳍﺠﺎﺀ :ﺍﳍﺠﺎﺀ ﺗﺼﻮﻳﺮ ﺍﻟﺴﺨﻂ ﻭﺍﻟﻐﻀﺐ ﻭﺍﻟﻨﻘﻤﺔ ﰱ ﺃﺑﻴﺎﺕ
ﻭﻗﺼﺎﺋﺪ ﺗﻌﱪ ﻋﻤﺎ ﳛﺲ ﺑﻪ ﺍﻟﺸﺎﻋﺮ ﲡﺎﻩ ﺍﳌﻬﺠﻮ ،ﻭﻟﺬﻟﻚ ﳒﺪ
ﺷﻌﺮ ﺍﳍﺠﺎﺀ ﻳﻌﺪﺩ ﺍﻟﺼﻔﺎﺕ ﺍﻟﺬﻣﻴﻤﺔ ﺍﻟﱵ ﻳﺘﺼﻒ ﺎ ﺍﳌﻬﺠﻮ ﺃﻭ
ﺍﻟﱵ ﻳﺮﻣﻴﻪ ﺎ ﺍﻟﺸﺎﻋﺮ ،ﻭﻳﻬﺬﻑ ﺍﳍﺠﺎﺀ ﺇﱃ ﺍﻟﺘﻘﻠﻴﻞ ﻣﻦ ﺷﺄﻥ
ﺍﳋﺼﻢ.
.٥ﺍﻟﻮﺻﻒ :ﺍﻟﻮﺻﻒ ﺗﺼﻮﻳﺮ ﻣﺎﳛﻴﻂ ﺑﺎﻟﺸﺎﻋﺮ ﻣﻦ ﻃﺒﻴﻌﺔ ،ﻭﻣﺎ ﻳﺮﺍﻩ
ﻣﻦ ﺣﻴﻮﺍﻥ ﺃﻭ ﻃﲑ ،ﻳﺒـﺮﺯ ﺫﻟﻚ ﰱ ﺃﺑﻴﺎﺕ ﻗﺪ ﻳﺘﻘﺪﻡ ﻓﻴﻬﺎ
ﺍﻟﺸﺎﻋﺮ ﻋﻠﻰ ﺍﻟﺮﺳﺎﻡ ،ﻓﺎﻟﺸﻌﺮ ﺍﻟﻌﺮﰊ ﻭﺻﻒ ﺍﻟﻨﺎﻗﺔ ﻭﺍﻟﻔﺮﺱ
ﻭﺍﻟﺒﻘﺮﺓ ﺍﻟﻮﺣﺸﻴﺔ ﺍﻟﻈﻠﻴﻢ ﻭﺍﻟﺬﺋﺐ ،ﻛﻤﺎ ﻭﺻﻒ ﻣﻌﺎﺭﻙ ﺍﻟﺼﻴﺪ
ﻭﻣﻌﺎﺭﻙ ﺍﻟﻘﺘﺎﻝ ،ﻭﻭﺻﻒ ﲨﺎﻝ ﺍﻟﻄﺒﻴـﻌﺔ ﻭﺃﻟﻮﺍﻥ ﺍﻟﺮﻳﺎﺽ،
ﻭﺑﺮﻉ ﰱ ﻭﺻﻒ ﺍﻟﻘﺼﻮﺭ ﻭﺍﻵﺛﺎﺭ ﺍﻟﺒﺎﻗﻴﺔ ﻣﻦ ﺣﻀﺎﺭﺍﺕ ﺍﻷﻣﻢ
ﺍﳌﺎﺿﻴﺔ.
١٦
.٦ﺍﻟﻐﺰﻝ :ﻫﻮ ﺫﻟﻚ ﺍﻟﺸﻌﺮ ﺍﻟﺬﻱ ﻳﺼﻮﺭ ﻓﻴﻪ ﺍﻟﺸﺎﻋﺮ ﺷﻮﻗﻪ
ﻭﺇﺣﺴﺎﺳﻪ ﲡﺎﻩ ﺍﳌﺮﺃﺓ ،ﻭﻣﺎ ﺃﺻﺎﺑﻪ ﻣﻦ ﺍﻵﻻﻡ ﺍﻟﱴ ﻳﻜﺎﺑﺪﻫﺎ
ﻭﺍﻟﺸﻘﺎﺀ ﺍﻟﺬﻱ ﻳﻌﺎﻧﻴﻪ ،ﻭﻳﺼﻮﺭ ﺍﻟﺸﺎﻋﺮ ﲨﺎﻝ ﺍﳌﺮﺃﺓ ﺍﻟﱵ ﳛﺒﻬﺎ
ﰱ ﺃﺣﺴﻦ ﺻﻮﺭ ﺍﳉﻤﺎﻝ .ﻭﻛﺜﲑﺍﹰ ﻣﺎ ﻳﻌﱪ ﺷﻌﺮﺍﺀ ﺍﻟﻐﺰﻝ ﻋﻦ
ﺍﳌﺮﺍﺭﺓ ﺍﻟﱴ ﳛﺴﻮﻥ ﺎ ﺑﺴﺒﺐ ﻓﻘﺪ ﺍﳊﺒﻴﺐ ،ﻭﻗﺪ ﻳﻜﻮﻥ ﺍﻟﻐﺰﻝ
ﻋﻔﻴﻔﺎﹰ ،ﻛﻤﺎ ﻗﺪ ﻳﻜﻮﻥ ﺳﺎﻓﻼﹰ ﳑﺠﻮﺣﺎﹰ ﻣﻨﺎﻓﻴﺎﹰ ﻟﻸﺧﻼﻕ
ﺍﻟﻌﺎﳌﻴـﺔ.
ﺍﻟﺸﻌﺮ ﻟﻪ ﺻﻠﺔ ﺑﺎﳌﻮﺳﻴﻘﻰ .ﻭﺍﳌﻮﺳﻴﻘﻰ ﻫﻮ ﻋﻠﻢ ﻳﺒﺤﺚ ﰱ ﺍﻟﺰﻣﻦ
ﺍﻟﺼﻮﺕ ،ﻭﳍﺬﺍ ﻳﻨﻘﺴﻢ ﺇﱃ ﻓﺮﻋﲔ ﻫﺎﻣﲔ ﳘﺎ:
١٥
.١ﺍﻹﻳﻘﺎﻉ :ﻭﻳﺪﺭﺱ ﺃﺟﺰﺍﺀ ﺍﻟﺰﻣﻦ ﺿﻤﻦ ﳎﻤﻮﻋﺎﺕ ﻣﺘﻜﺎﻓﺌﺔ ﺗﺪﻋﻰ
ﺇﻳﻘﺎﻉ ﺍﻟﻘﻄﻌـﺔ .ﻭﺍﳌﻴﺰﺍﻥ ﺍﻹﻳﻘﺎﻋﻲ ﰱ ﺍﳌﻮﺳﻴﻘﻰ ﻟﻪ ﺛﻼﺛﺔ
ﺍﺣﺘﻤﺎﻻﺕ ﻫﻰ:
٣/٤ ٢/٤ ٤/٤
ﺃﻭ ﺍﻟﺮﺑﺎﻋﻲ ،ﺃﻭ ﺍﻟﺜﻨﺎﺋﻲ،
ﻭﺍﻟﺜﻼﺛﻰ .ﻭﻋﻨﺪ ﻣﺎ ﳒﺪ ﻋﻠﻰ ﺍﻟﻨﻮﺗﻪ ﺍﳌﻮﺳﻴﻘﻴـﺔ ﺍﻟﺜﻨﺎﺋﻲ ﻧﻌﲏ ﺃﻥ
١٥ﳏﻤﺪ ﻋﺒﺪ ﺍﻟﻐﲎ ﻭﳎﺪ ﳏﻤﺪ ﺍﻟﺒﺎﻛﻴـﺮ ،ﲢﻠﻴﻞ ﺍﻟﻨﺎﺹ ﺍﻷﺩﰉ ﻣﻦ ﺍﻟﻨﻈﺮﻳﺔ ﻭﺍﻟﺘﻄﺒﻴﻖ) ،ﻋﻤﺎﻥ:
ﻣﺆﺳـﺴﺔ ﺍﻟﻮﺭﺍﻕ ،( ٢٠٠٢ ،ﺹ .٤٧-٤٥
١٧
ﻛﻞ ﲨﻠﺔ ﻣﻮﺳﻴﻘﻴﺔ ﺗﻌﺰﻑ ﺧﻼﻝ ﺛﺎﻧﻴﺘﲔ ،ﻭﻳﻘﺎﺑﻠﻬﺎ ﰱ ﺍﻟﻌﺮﻭﺽ
ﺍﻟﻌﺮﰉ ﺍﻟﺒﺤﻮﺭ ﺍﻟﺸﻌﺮﻳـﺔ ﺛﻨﺎﺋﻴﺔ ﺍﻟﺘﻔﻌﻴـﻠﺔ ﻭﻫﻰ :ﺍﻟﺒﺤﺮ ﺍﳍﺰﺝ
)ﻋﻠﻰ ﺍﻷﻫﺰﺍﺝ ﺗﺴﻬﻴﻞ ’ﻣﻔﺎﻋﻴﻠﻦ ﻣﻔﺎﻋﻴﻞ‘( ،ﻭﺍﻟﺒﺤﺮ ﺍﺘﺚ
)ﺍﺟﺘﺚ ﺍﳊﺮﻛﺎﺕ ’ﻣﺴﺘﻔﻌﻠﻦ ﻓﺎﻋـﻼﺕ‘( ،ﺍﻟﺒﺤﺮ ﺍﳌﻀﺎﺭﻉ
)ﺗﻌﺪ ﺍﳌﻀﺎﺭﻋﺎﺕ ’ﻣﻔﺎﻋﻴﻠﻦ ﻓﺎﻋﻼﺕ‘( ،ﻭﺍﻟﺒﺤﺮ ﺍﳌﻘﺘﻀﺐ
)ﺍﻗﺘﻀﺐ ﻛﻤﺎ ﻓﻌﻠﻮﺍ ’ﻣﻔﻌﻮﻻﺕ ﻣﻔﺘﻌﻠﻦ‘( .ﰒ ﻣﻦ ﺇﻳﻘﺎﻉ
ﺍﻟﺜﻼﺛﻲ ،ﻳﻌﲏ ﲨﻠـﺔ ﻣﻮﺳﻴﻘﻴﺔ ﺗﻌﺰﻑ ﺧﻼﻝ ﺛﻼﺙ ﺛﻮﺍﻥ،
ﻭﻫﻰ ﺗﻨﺎﺳـﺐ ﺍﻟﺒﺤﻮﺭ ﺍﻟﻌﺮﺑﻴـﺔ ﺛﻼﺛﻴﺔ ﺍﻟﺘﻔﻌﻴﻠﺔ ﻭﻫﻰ :ﺍﳌﺪﻳﺪ
)ﳌﺪﻳـﺪ ﺍﻟﺸﻌﺮ ﻋﻨﺪﻱ ﺻﻔﺎﺕ ’ﻓﺎﻋﻼﺗﻦ ﻓﺎﻋﻠﻦ ﻓﺎﻋﻼﺗﻦ‘(،
ﺍﻟﻮﺍﻓﺮ )ﲝﻮﺭ ﺍﻟﺸﻌﺮ ﻭﺍﻓﺮﻫﺎ ﲨﻴﻞ ’ﻣﻔﺎﻋﻠﱳ ﻣﻔﺎﻋﻠﱳ ﻓﻌﻠﻮﻟﻦ‘(،
ﺍﻟﻜﺎﻣﻞ )ﻛﻤﻞ ﺍﳉﻤﺎﻝ ﻣﻦ ﺍﻟﺒﺤﻮﺭ ﻛﺎﻣﻞ ’ﻣﺘﻔﺎﻋﻠﻦ ﻣﺘﻔﺎﻋﻠﻦ
ﻣﺘﻔﺎﻋﻞ‘( ،ﺍﻟﺮﺟﺰ )ﰱ ﺃﲝﺮ ﺍﻷﺭﺟﺎﺯ ﲝﺮ ﻳﺴﻬﻞ ’ﻣﺴﺘﻔﻌﻠﻦ
ﻣﺴﺘﻔﻌﻠﻦ ﻣﺴﺘﻔﻌﻠﻦ‘( ،ﺍﻟﺮﻣﻞ )ﺭﻣﻞ ﺍﻷﲝﺮ ﺗﺮﻭﻳـﺔ ﺍﻟﺜﻘﺎﺕ
’ﻓﺎﻋﻼﺗﻦ ﻓﺎﻋﻼﺗﻦ ﻓﺎﻋﻼﺕ‘( ،ﺍﻟﺴﺮﻳﻊ )ﲝﺮ ﺳﺮﻳﻊ ﻣﺎﻟـﻪ
١٨
ﺳﺎﺣﻞ ’ﻣﺴﺘﻔﻌﻠﻦ ﻣﺴﺘﻔﻌﻠﻦ ﻓﺎﻋﻠﻦ‘( ،ﺍﳌﻨﺴﺮﺡ )ﻣﻨﺴﺮﺡ ﻓﻴﻪ
ﻳﻀﺮﺏ ﺍﳌﺜـﻞ ’ﻣﺴﺘﻔﻌﻠﻦ ﻣﻔﻌﻼﺕ ﻣﺘﻔﺘﻌﻠﻦ‘( ،ﺍﳋﻔﻴـﻒ
)ﻳﺎﺧﻔﻴﻔﺎ ﺧﻔﺖ ﺑـﻪ ﺍﳊﺮﻛﺎﺕ ’ﻓﺎﻋﻼﺗﻦ ﻣﺴﺘﻔﻌﻠﻦ
ﻓﺎﻋﻼﺕ‘( .ﰒ ﺇﻳﻘﺎﻉ ﺍﻟﺮﺑﺎﻋﻰ ،ﻳﻌﲏ ﲨﻠـﺔ ﻣﻮﺳﻴﻘﻴﺔ ﺗﻌﺰﻑ
ﺧﻼﻝ ﺃﺭﺑﻊ ﺛﻮﺍﻥ ،ﻭﻫﻰ ﺗﻨﺎﺳﺐ ﺍﻟﺒﺤﻮﺭ ﺍﻟﻌﺮﺑﻴـﺔ ﺭﺑﺎﻋﻴﺔ
ﺍﻟﺘﻔﻌﻴﻠﺔ ﻭﻫﻰ :ﺍﻟﻄﻮﻳﻞ )ﻃﻮﻳﻞ ﻟﻪ ﺑﲔ ﺍﻟﺒﺤﻮﺭ ﻓﻀﺎﺋﻞ ’ﻓﻌﻮﻟﻦ
ﻣﻔﺎﻋﻠﲔ ﻓﻌﻮﻟﻦ ﻣﻔﺎﻋﻠﻦ‘( ،ﺍﻟﺒﺴﻴﻂ )ﺇﻥ ﺍﻟﺒﺴﻴﻂ ﻟﺪﻳﻪ ﻳﻨﺒﺴﻂ
ﺍﻷﻣﻞ ’ﻣﺴﺘﻔﻌﻠﻦ ﻓﺎﻋﻠﻦ ﻣﺴﺘﻔﻌﻠﻦ ﻓﺎﻋﻠﻦ‘( ،ﺍﳌﺘﻘﺎﺭﺏ )ﻋﻦ
ﺍﳌﺘﻘﺎﺭﺏ ﺣﺎﻝ ﺍﳋﻠﻴﻞ ﻓﻌﻮﻟﻦ ﻓﻌﻮﻟﻦ ﻓﻌﻮﻟﻦ ﻓﻌﻮﻝ‘(.
.٢ﺍﻟﻨﻐﻢ :ﻭﻳﻌﲎ ﻃﺒﻘﺔ ﺍﻟﺼﻮﺕ ﺍﳊﺎﺩ ﻣﺜﻞ ﺍﻟﺼﻮﺕ ﺍﻟﻄﻔﻞ ،ﻭﺍﳋﺸﻦ
ﺍﻷﺟﺶ ﻣﺜﻞ ﺻﻮﺕ ﺍﻟﺸﻴﺦ ،ﻭﰲ ﺍﻟﺸﻌﺮ ﺗﻘﻮﻡ ﺍﻟﻘﺮﺍﺀﺓ ﺍﳌﻌﱪﺓ
ﻣﺜﻞ ﺭﻓﻊ ﺍﻟﺼﻮﺕ ﺃﺣﻴﺎﻧﺎ ﻭﺧﻔﻀـﻪ ﺃﺣﻴﺎﻧﺎ ﺃﺧﺮﻯ ﻭﺗﻠﻮﻳﻦ
ﺍﻟﻨﱪﺍﺕ ﻣﻘﺎﻡ ﺍﻟﻨﻐـﻢ ﰱ ﺍﻟﻘﻄﻌﺔ ﺍﳌﻮﺳﻴﻘﻴﺔ ﺍﻋﺘﻤﺎﺩﺍ ﻋﻠﻰ
ﺍﻟﻨـﻐﻢ ﺍﻟﻨﺎﺑﻊ ﻣﻦ ﺍﻟﺮﻭﻱ ﻭﺍﻟﻘﺎﻓﻴﺔ.
١٩
ﺗﻨﻘـﺴﻢ ﺍﳌﻮﺳﻴﻘﻲ ﰱ ﺍﻟﺸﻌﺮ ﺇﱃ ﻗﺴﻤﲔ ﻫﺎﻣﲔ ﻭﳘﺎ :ﺍﳌﻮﺳﻴﻘﻰ ﺍﻟﺪﺍﺧﻠﻴﺔ
ﻭﺍﳌﻮﺳﻴﻘﻰ ﺍﳋﺎﺭﺟﻴﺔ .ﻭﺗﻌﺮﻳﻒ ﺍﳌﻮﺳﻘﻰ ﺍﻟﺪﺍﺧﻠﻴﺔ ﻫﻮ ﺍﻟﻨﻐﻢ ﺍﻟﻨﺎﺷﺊ ﻋﻦ
ﺍﻧﺴﺠـﺎﻡ ﺍﳊﺮﻭﻑ ﺿﻤﻦ ﺍﻟﻜﻠﻤﺔ ﺍﻟﻮﺍﺣﺪﺓ ﻋﻨﺪﻣﺎ ﺗﺘﺒﺎﻋﺪ ﳐﺎﺭﺟﻬﺎ ﻭﺗﺄﺗﻠﻒ ﰱ
ﺻﻔﺎﺎ ﻣﺜﻞ :ﺑﺪﺃ ،ﺷﺮﺏ ،ﺑﻴﻨﻤﺎ ﺗﺘﻨﺎﻓﺮ ﺍﻟﻨﻐﻤﺎﺕ ﻭﺗﻀﻌﻴﻒ ﺍﳌﻮﺳﻴﻘﻰ ﺍﻟﺪﺍﺧﻠﻴﺔ
ﻋﻨﺪﻣﺎ ﺗﺘﻘﺎﺭﺏ ﳐﺎﺭﺝ ﺍﳊﺮﻭﻑ ،ﻭﺻﻔﺎﺎ ﰱ :ﺍﺿﻄﺮﺏ ،ﺍﺿﻄﺠﻊ ،ﺍﺻﻄﱪ.
ﻭﺃﻣﺎ ﺗﻌﺮﻳﻒ ﺍﳌﻮﺳﻴﻘﻰ ﺍﳋﺎﺭﺟﻴﺔ ﻫﻰ ﺍﻹﻳﻘﺎﻉ ﺍﻟﻨﺎﺟﻢ ﻋﻦ ﺍﻟﺒﺤﺮ ﺍﻟﻌﺮﻭﺿﻲ،
ﻭﺍﻟﺮﻭﻱ ﻭﻫﻮ ﺍﳊﺮﻑ ﺍﻟﺬﻯ ﻳﺘﻜﺮﺭ ﰱ ﺎﻳﺔ ﻛﻞ ﺑﻴﺖ ﻣﻦ ﺃﺑﻴﺎﺕ ﺍﻟﻘﺼﻴـﺪﺓ
ﺍﻟﻌﻤﻮﺩﻳﺔ.
١٦
ﺏ .ﻧﻈﺮﻳـﺔ ﺍﻟﺴﻴﻤﻴﻮﻃﻴﻘﻴﺔ
ﺇﻥﹼ ﺳﻴﻤﻴﻮﻃﻴﻘﻴﺔ
)(Semiotic
ﰲ ﻗﺎﻣﻮﺱ ﺍﻷﺩﺏ ﺍﻟﻌﺮﰊ ﻛﻘﺎﻣﻮﺱ
ﻣﺼﻄﻠﺤﺎﺕ ﺍﻷﺩﺏ ﺗﺴﻤﻰ ﺑﻌﻠﻢ ﺍﻟﻌﻼﻣﺔ ﺃﻭ ﻋﻠﻢ ﺍﻹﺷﺎﺭﺓ .ﻭﺗﺸﺎﺭﻟﺰ ﺱ .ﺑﲑﺱ
)(Charles Sander Pierce
ﰲ ﺍﻟﻐﺮﺏ )ﺍﻷﻣﺮﻳﻜﻴﺔ( ﻗﺪ ﻋﺮﻑ ﻛﻠﻤﺔ ﺳﻴﻤﻴﻮﻃﻴﻘﻴﺔ
١٦ﳏﻤﺪ ﻋﺒﺪ ﺍﻟﻐﲎ ﻭﳎﺪ ﳏﻤﺪ ﺍﻟﺒﺎﻛﻴـﺮ ،ﲢﻠﻴﻞ ﺍﻟﻨﺎﺹ ﺍﻷﺩﰉ ﻣﻦ ﺍﻟﻨﻈﺮﻳﺔ ﻭﺍﻟﺘﻄﺒﻴﻖ) ، ،ﻋﻤﺎﻥ:
ﻣﺆﺳـﺴﺔ ﺍﻟﻮﺭﺍﻕ ،( ٢٠٠٢ ،ﺹ. ٥٤-٤٩
٢٠
).(Semiotic
١٧
ﻭﱂ ﻳﺒﺘﻜﺮ ﺑﲑﺱ
)(Pierce
ﻣﺼﻄﻠﺢ ﺍﻟﺴﻴﻤﻴﻮﻃﻴﻘﺎ ﻣﻦ ﻋﻨﺪﻩ ،ﺑﻞ
ﺍﺳﺘﻤﺪﻩ ﻣﻦ ﺍﳌﺼﻄﻠﺢ ﺍﻟﺬﻱ ﺃﻃﻠﻘﻪ ﺟﻮﻥ ﻟﻮﻙ ) (John Lockeﻋﻠﻰ ﺍﻟﻌﻠﻢ ﺍﳋﺎﺹ
ﺑﺎﻟﻌﻼﻣﺎﺕ ﻭﺍﻟﺪﻻﻻﺕ ﻭﺍﳌﻌﺎﱐ ﺍﳌﺘﻔﺮﻉ ﻣﻦ ﺍﳌﻨﻄﻖ ،ﻭﺍﻟﺬﻱ ﺍﻋﺘﱪﻩ ﻟﻮﻙ )(Locke
ﻋﻠﻢ ﺍﻟﻠﻐﺔ.
١٨
ﻭﻳﻮﺟﺪ ﺍﳌﺼﻄﻠﺤﺎﺕ ﺍﻷﺧﺮﻯ ﻣﻦ "ﻋﻠﻢ ﺍﻟﻌﻼﻣﺔ" ﰲ ﻛﺘﺐ ﻧﻈﺮﻳﺔ
ﺍﻷﺩﺏ ﻭﻧﻘﺪ ﺍﻷﺩﺏ ﻛﻤﺎ ﺫﻛﺮﻩ ﺻﻼﺡ ﻓﻀﻞ ﻭﻫﻮ ﻳﻌﺮﻑ ﺑﻌﻠﻢ ﺍﻹﺷﺎﺭﺓ
ﻭﺳﻴﻤﻴﻮﻃﻴﻘﻴﺔ .ﻭﺳﻴﻤﻴﻮﻃﻴﻘﻴﺔ ﻫﻰ ﻣﻌﺮﺏ ﻣﻦ ﺳﻴﻤﻴﻮﻃﻴﻘﻴﺔ ) (Semioticﺍﻟﱵ ﻛﺎﻥ
ﺗﻌﺮﻳﻔﻬﺎ ﺳﻮﺍﺀ ﺑﺴﻴﻤﻴﻮﻃﻴﻘﻴﺔ ) .(Semioticﻭ"ﺳﻴﻤﻴﻮﻟﻮﺟﻴﺔ" ) (Semiologiﻫﻲ
ﺍﻟﻜﻠﻤﺔ ﺍﻟﱵ ﺗﻌﺮﻑ ﺎ ﻓﺮﺩﻳﻨﺎﻧﺪ ﺩﻱ ﺳﻮﺳﲑ ) (Ferdinand De Saussureﰲ ﻓﺮﻧﺲ.
ﻭﻣﻊ ﺫﻟﻚ ،ﺗﻌﺮﻑ ﻛﻠﻤﺔ ﺳﻴﻤﻴﻮﻃﻴﻘﻴﺔ ﰲ ﺍﻟﻠﻐﺔ ﺍﻟﻌﺮﺑﻴﺔ ﺃﻳﻀﺎ ﺑﺎ