Qishshah As-Saih wa Ash-Shaigh Al-Qoshirah Fi Kitab Kalilah Wa Dimnah Li 'Abdullah Bin Al-Muqofa' Wa Anashiruha Al-Dakhiliyah
ﻗﺼﺔ "ﺍﻟﺴﺎﺋﺢ ﻭ ﺍﻟﺼﺎﺋﻎ" ﺍﻟﻘﺼﲑﺓ ﰲ ﻛﺘﺎﺏ ﻛﻠﻴﻠﺔ ﻭ ﺩﻣﻨﺔ ﻟﻌﺒﺪ
ﺍﷲ ﺑﻦ ﺍﳌﻘﻔﻊ ﻭ ﻋﻨﺎﺻﺮﻫﺎ ﺍﻟﺪﺍﺧﻠﻴﺔ
ﲝﺚ
ﻣﻘﺪﻡ ﺇﱃ ﻛﻠﻴﺔ ﺍﻵﺩﺍﺏ ﻭﺍﻟﻌﻠﻮﻡ ﺍﻹﻧﺴﺎﻧﻴﺔ ﺟﺎﻣﻌﺔ ﺷﺮﻳﻒ ﻫﺪﺍﻳﺔ ﺍﷲ ﺍﻹﺳﻼﻣﻴﺔ
ﺍﳊﻜﻮﻣﻴﺔ ﺟﺎﻛﺮﺗﺎ ﻟﻠﺤﺼﻮﻝ ﻋﻠﻰ ﺍﻟﺪﺭﺟﺔ ﺍﳉﺎﻣﻌﻴﺔ ﺍﻷﻭﱄ )(S.S.
ﺇﻋﺪﺍﺩ
ﺃﺯﻭﺭﺍﻟﺪﻳﻦ
ﺭﻗﻢ ﺍﻟﺘﺴﺠﻴﻞ 102021024272 :
ﻗﺴﻢ ﺍﻟﻠﻐﺔ ﺍﻟﻌﺮﺑﻴﺔ ﻭﺁﺩﺍﺑـﻬﺎ
ﺑﻜﻠﻴﺔ ﺍﻵﺩﺍﺏ ﻭﺍﻟﻌﻠﻮﻡ ﺍﻹﻧﺴﺎﻧﻴﺔ
ﺑـﺠﺎﻣﻌﺔ ﺷﺮﻳﻒ ﻫﺪﺍﻳﺔ ﺍﷲ ﺍﻹﺳﻼﻣﻴﺔ ﺍﳊﻜﻮﻣﻴﺔ
ﺟﺎﻛﺮﺗﺎ
2009ﻡ1430/ﻫـ
1
ﻗﺼﺔ "ﺍﻟﺴﺎﺋﺢ ﻭ ﺍﻟﺼﺎﺋﻎ" ﺍﻟﻘﺼﲑﺓ ﰲ ﻛﺘﺎﺏ ﻛﻠﻴﻠﺔ ﻭ ﺩﻣﻨﺔ ﻟﻌﺒﺪ
ﺍﷲ ﺑﻦ ﺍﳌﻘﻔﻊ ﻭ ﻋﻨﺎﺻﺮﻫﺎ ﺍﻟﺪﺍﺧﻠﻴﺔ
ﲝﺚ
ﻣﻘﺪﻡ ﺇﱃ ﻛﻠﻴﺔ ﺍﻵﺩﺍﺏ ﻭﺍﻟﻌﻠﻮﻡ ﺍﻹﻧﺴﺎﻧﻴﺔ ﺟﺎﻣﻌﺔ ﺷﺮﻳﻒ ﻫﺪﺍﻳﺔ ﺍﷲ ﺍﻹﺳﻼﻣﻴﺔ
ﺍﳊﻜﻮﻣﻴﺔ ﺟﺎﻛﺮﺗﺎ ﻟﻠﺤﺼﻮﻝ ﻋﻠﻰ ﺍﻟﺪﺭﺟﺔ ﺍﳉﺎﻣﻌﻴﺔ ﺍﻷﻭﱄ )(S.S.
ﺇﻋﺪﺍﺩ
ﺃﺯﻭﺭﺍﻟﺪﻳﻦ
ﺭﻗﻢ ﺍﻟﺘﺴﺠﻴﻞ 102021024272 :
ﲢﺖ ﺇﺷﺮﺍﻑ
)ﺍﻷﺳﺘﺎﺫ ﺍﻟﺪﻛﺘﻮﺭﺍﻧﺪﻭﺱ ﺩﻳﺪﻳﻦ ﺳﺮﺍﺝ ﺍﻟﺪﻳﻦ ﺍﳌﺎﺟﺴﺘﲑ(
ﻗﺴﻢ ﺍﻟﻠﻐﺔ ﺍﻟﻌﺮﺑﻴﺔ ﻭﺁﺩﺍﺑـﻬﺎ
ﻛﻠﻴﺔ ﺍﻵﺩﺍﺏ ﻭﺍﻟﻌﻠﻮﻡ ﺍﻹﻧﺴﺎﻧﻴﺔ
ﺟﺎﻣﻌﺔ ﺷﺮﻳﻒ ﻫﺪﺍﻳﺔ ﺍﷲ ﺍﻹﺳﻼﻣﻴﺔ ﺍﳊﻜﻮﻣﻴﺔ
ﺟﺎﻛﺮﺗﺎ
2009ﻡ1430/ﻫـ
2
ﻗﺮﺍﺭ ﳉﻨﺔ ﺍﳌﻨﺎﻗﺸﺔ ﻭﺍﳊﻜﻢ ﻋﻠﻰ ﺍﻟﺒﺤﺚ
ﲤﺖ ﻣﻨﺎﻗﺸﺔ ﻫﺬﺍ ﺍﻟﺒﺤﺚ ﻭﻋﻨﻮﺍﻧﻪ " :ﻗﺼﺔ "ﺍﻟﺴﺎﺋﺢ ﻭ ﺍﻟﺼﺎﺋﻎ" ﺍﻟﻘﺼﲑﺓ ﰲ ﻛﺘﺎﺏ
ﻛﻠﻴﻠﺔ ﻭ ﺩﻣﻨﺔ ﻟﻌﺒﺪ ﺍﷲ ﺑﻦ ﺍﳌﻘﻔﻊ ﻭ ﻋﻨﺎﺻﺮﻫﺎ ﺍﻟﺪﺍﺧﻠﻴﺔ " ﺃﻣﺎﻡ ﳉﻨﺔ ﺍﳌﻨﺎﻗﺸﺔ ﻭﺍﳊﻜﻢ
ﺑﻜﻠﻴﺔ ﺍﻵﺩﺍﺏ ﻭﺍﻟﻌﻠﻮﻡ ﺍﻹﻧﺴﺎﻧﻴﺔ ﺟﺎﻣﻌﺔ ﺷﺮﻳﻒ ﻫﺪﺍﻳﺔ ﺍﷲ ﺍﻹﺳﻼﻣﻴﺔ ﺍﳊﻜﻮﻣﻴﺔ
– ﺟﺎﻛﺮﺗﺎ ،ﰲ 17ﻣﻦ ﻳﻮﻧﻴﻮ 2009ﺍﳌﻮﺍﻓﻖ 23ﲨﺎﺩﺍﻟﺜﺎﱏ 1430ﻫـ
ﻭﻗﺪ ﰎ ﻗﺒﻮﻟﻪ ﺷﺮﻃﺎ ﻟﻠﺤﺼﻮﻝ ﻋﻠﻰ ﺍﻟﺪﺭﺟﺔ ﺍﳉﺎﻣﻌﺔ ﺍﻷﻭﱃ ﰲ ﺍﻟﻠﻐﺔ ﺍﻟﻌﺮﺑﻴﺔ
ﻭﺁﺩﺍﺎ )(S.S.
ﺟﺎﻛﺮﺗﺎ 17 ،ﻣﻦ ﻳﻮﻧﻴﻮ 2009
23ﲨﺎﺩﺍﻟﺜﺎﱏ 1430
ﻫـ
ﳉﻨﺔ ﺍﳌﻨﺎﻗﺸﺔ ﻭﺍﳊﻜﻢ
ﺳﻜﺮﺗﲑ ﺍﻟﻠﺠﻨﺔ ﻭﻋﻀﻮ
ﺭﺅﻳﺲ ﺍﻟﻠﺠﻨﺔ ﻭﻋﻀﻮ
ﺍﻟﺪﻛﺘﻮﺭ ﺯﺑﲑ ﺍﳌﺎﺟﺴﺘﲑ
ﺭﻗﻢ ﺍﻟﺘﻮﻇﻴﻒ150295496:
ﺍﻟﺪﻛﺘﻮﺭﺍﻧﺪﻭﺱ ﺃﺩﺍﻧﺞ ﺃﺳﺪﺭﻱ ﺍﳌﺎﺟﺴﺘﲑ
ﺭﻗﻢ ﺍﻟﺘﻮﻇﻴﻒ 150246291 :
ﺍﻷﻋﻀﺎﺀ
ﺍﳌﺸﺮﻑ
ﺍﻟﺪﻛﺘﻮﺭﺍﻧﺪﻭﺱ ﺩﻳﺪﻳﻦ ﺳﺮﺍﺝ ﺍﻟﺪﻳﻦ ﺍﳌﺎﺟﺴﺘﺮ
ﺭﻗﻢ ﺍﻟﺘﻮﻇﻴﻒ 150234507 :
3
ﺍﳌﻨﺎﻗﺶ
ﺍﻟﺪﻛﺘﻮﺭ ﺯﺑﲑ ﺍﳌﺎﺟﺴﺘﲑ
ﺭﻗﻢ ﺍﻟﺘﻮﻇﻴﻒ 150295496 :
ﺗﺼﺮﻳﺢ ﺍﻟﺒﺤﺎﺙ
ﰱ 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 ﰱ ﻛﺘﺎﺑﺔ ﻫﺬﺍ ﺍﻟﺒﺤﺚ ﻗﺪ ﻭﺿﻌﺘﻬﺎ
ﺣﺴﺐ ﺍﻟﻘﺮﺍﺭﺍﺕ ﺍﳌﻮﺟﻮﺩﺓ ﲜﺎﻣﻌﺔ ﺷﺮﻳﻒ ﻫﺪﺍﻳﺔ ﺍﷲ ﺍﻹﺳﻼﻣﻴﺔ
ﺍﳊﻜﻮ ﻣﻴﺔ – ﺟﺎﻛﺮﺗﺎ
.3ﺇﺫﺍ ﻛﺎﻥ ﺍﻟﺒﺤﺚ ﻣﻦ ﻏﲑ ﺇﻋﺪﺍﺩﻱ ﻭﺗﻮﺟﺪ ﻓﻴﻪ ﺍﻧﺘﺤﺎﻝ ﻵﺭﺍﺀ ﺍﻟﻐﲑ
ﺩﻭﻥ ﺫﻛﺮﻩ ﻓﺄﺳﺘﻌﺪ ﺃﻥ ﺃﺳﺘﻠﻢ ﻛﻞ ﺍﻟﻌﻘﻮﺑﺎﺕ ﺍﻟﱴ ﻗﺮﺭﺎﺟﺎﻣﻌﺔ
ﺷﺮﻳﻒ ﻫﺪﺍﻳﺔ ﺍﷲ ﺍﻹﺳﻼﻣﻴﺔ ﺍﳊﻜﻮ ﻣﻴﺔ – ﺟﺎﻛﺮﺗﺎ
ﺟﺎﻛﺮﺗﺎ 17 ،ﻳﻮﻧﻴﻮ 2009ﻡ
ﺃﺯﻭﺭﺍﻟﺪﻳﻦ
4
ﲡﺮﻳﺪ
ﺍﺯﻭﺭﺍﻟﺪﻳﻦ :ﻗﺼﺔ "ﺍﻟﺴﺎﺋﺢ ﻭ ﺍﻟﺼﺎﺋﻎ" ﺍﻟﻘﺼﲑﺓ ﰲ ﻛﺘﺎﺏ ﻛﻠﻴﻠﺔ ﻭ ﺩﻣﻨﺔ ﻟﻌﺒﺪ
ﺍﷲ ﺑﻦ ﺍﳌﻘﻔﻊ ﻭ ﻋﻨﺎﺻﺮﻫﺎ ﺍﻟﺪﺍﺧﻠﻴﺔ.
ﻛﺘﺎﺏ " ﻛﻠﻴﻠﺔ ﻭ ﺩﻣﻨﺔ " ﻳﻌﺪ ﻣﻦ ﺃﻋﻈﻢ ﺍﳌﺆﻟﻔﺎﺕ ﻻﺑﻦ ﺍﳌﻘﻔﻊ ﻭ ﺍﺷﻬﺮ ﻫﺎ ﻭ
ﺃﺭﻭﻉ ﺍﻟﺘﺮﺍﺙ ﺍﻹﻧﺴﺎﱏ ﺍﻟﺮﻓﻴﻊ .ﻭ ﻫﻮ ﻛﺘﺎﺏ ﺍﳍﻨﺪﻯ ﺍﻷﺻﻞ ﻭ ﻳﻀﻤﻦ ﻗﺼﺺ
ﺍﳊﻴﻮﺍﻥ ،ﳛﻜﻰ ﻓﻴﻪ ﻋﻦ ﺗﻌﺎﻟﻴﻢ ﺍﻷﺧﻼﻕ ﻭ ﺬﻳﺐ ﺍﻟﻨﻔﻮﺱ ﻧﻘﻞ ﺍﻟﻜﺘﺎﺏ ﻣﻦ
ﺍﻟﻔﺎﺭﺳﻴﺔ ﻭ ﺗﺮﲨﺔ ﺍﺑﻦ ﺍﳌﻘﻔﻊ ﺍﱃ ﺍﻟﻌﺮﺑﻴﺔ ،ﻭﻣﻨﻬﺎ ﺗﺮﺟﻢ ﺍﱃ ﺃﻛﺜﺮ ﻣﻦ ﻋﺸﺮﻳﻦ ﻟﻐﺔ
ﰱ ﺍﻟﻌﺎﱂ.
ﻭﺍﳌﺸﻜﻠﺔ ﰱ ﻫﺬﺍ ﺍﻟﺒﺤﺚ ﻫﻮ ﻛﻞ ﺣﻘﻴﻘﺔ ﰱ ﻫﺬﻩ ﺍﻟﻌﺎﱂ ﲢﺼﻞ ﺍﻟﻨﺼﺮ .ﻣﻦ ﻭﺿﻊ
ﺍﻟﻌﻤﻞ ﺍﳌﻌﺮﻭﻑ ﻓﻴﻌﻄﻲ ﺍﷲ ﺧﲑ ﺍﳉﺰﺍﺀ ﺍﻟﻜﺜﲑﺓ.
ﺍﻟﻐﺮﺽ ﺍﻟﺒﺎﺣﺚ ﻣﻦ ﻛﺘﺎﺑﺔ ﻫﺬﺍ ﺍﻟﺒﺤﺚ ﻫﻲ ﻣﻌﺮﻓﺔ ﺍﻟﻌﻨﺎﺻﺮ ﺍﻟﺪﺍﺧﻠﻴﺔ ﰱ ﻗﺼﺔ
ﻗﺼﲑﺓ " ﺍﻟﺴﺎﺋﺢ ﻭ ﺍﻟﺼﺎﺋﻎ " ﻣﻨﻬﺎ ﺍﳌﻮﺿﻮﻉ ،ﻭ ﺍﻟﺸﺨﺼﻴﺔ ،ﻭ ﺍﻟﺒﻴﺌﺔ ،ﻭ
ﺍﻟﺘﻮﺻﻴﺔ .ﻭ ﺃﻣﺎ ﺍﻟﻄﺮﻳﻘﺔ ﺍﻟﱴ ﺳﻠﻜﻬﺎ ﺍﻟﺒﺎﺣﺚ ﰱ ﻛﺘﺎﺑﺔ ﻫﺬﺍ ﺍﻟﺒﺤﺚ ﻓﻬﻲ ﺍﻟﻄﺮﻳﻘﺔ
ﺍﳌﻜﺘﺒ ﺔ ﲢﻠﻴﻞ ﺍﻟﻌﻨﺎﺻﺮ ﺍﻟﺪﺍﺧﻠﻴﺔ ﺍﻟﱴ ﺇﻋﺘﻤﺪﺕ ﻋﻠﻴﻬﺎ ﺍﻟﻜﺎﺗﺐ ﻓﻬﻲ ﻗﺮﺍﺀﺓ ﺍﻟﻜﺘﺎﺏ
ﺍﳌﺘﻌﻠﻘﺔ ﲟﻮﺿﻮﻉ ﺍﻟﺒﺤﺚ.
ﺍﳌﻮﺿﻮﻉ ﺍﻷﻏﻠﱮ ﰱ ﻫﺬﻩ ﺍﻟﻘﺼﺔ ﺍﻟﻘﺼﲑﺓ ﻫﻮ ﺍﻟﺘﺮﺑﻴﺔ ،ﻭ ﺍﻟﺸﺨﺼﻴﺔ ﺍﻟﺮﺋﻴﺴﻴﺔ ﰲ
ﻫﺬﻩ ﺍﻟﻘﺼﺔ ﺍﻟﻘﺼﲑﺓ ﳘﺎ ﺍﻟﺴﺎﺋﺢ ﻭ ﺍﻟﺼﺎﺋﻎ .ﻭﺍﻟﺸﺨﺼﻴﺔ ﺍﻟﺜﺎﻧﻮﻳﺔ ﺗﻜﻮﻥ ﻣﻦ ﺳﺘﺔ
ﻭ ﻫﻲ ﺍﻟﻘﺮﺩ ،ﺍﻟﺒﱪ ،ﺍﳊﻴﺔ ،ﺍﳌﻠﻚ ،ﺍﺑﻦ ﺍﳌﻠﻚ ،ﺍﳉﻦ .ﺍﻣﺎ ﺍﳊﺒﻜﺔ ﰲ ﻫﺬﻩ ﺍﻟﻘﺼﺔ
ﺍﻟﻘﺼﲑﺓ ﻓﻜﻤﺎﻳﻠﻰ ﻣﺮﺣﻠﺔ ﻭﺻﻒ ﺍﳊﺎﻟﺔ ﻭﺍﻟﻮﺿﻴﻌﻴﺔ ،ﻣﺮﺣﻠﺔ ﻇﻬﻮﺭ ﺻﺮﺍﻉ،
5
ﻣﺮﺣﻠﺔ ﺍﺭﺗﻘﺎﺀ ﺍﻟﺼﺮﺍﻉ ،ﻣﺮﺣﻠﺔ ﺫﺭﻭﺓ ﺍﻟﺼﺮﺍﻉ ،ﻣﺮﺣﻠﺔ ﻧﺰﻭﻝ ﺍﻟﺼﺮﺍﻉ .ﻭﺑﻴﺌﺔ ﰲ
ﻫﺬﻩ ﺍﻟﻘﺼﺔ ﺍﻻﹼ ﺧﻠﻔﻴﺔ ﺍﳌﻜﺎﻧﻴﺔ ﻭﻫﻲ ﺭﻛﻴﺔ ،ﺍﳌﺪﻳﻨﺔ ﺍﻟﻨﻮﺍﺩﺭﺧﺖ ،ﻣﻠﻜﻴﺔ،
ﺍﻟﺴﺠﻦ .ﻭﺍﻟﺘﻮﺻﻴﺔ ﰲ ﻫﺬﻩ ﺍﻟﻘﺼﺔ ﻫﻲ "ﻭﺿﻊ ﺍﻟﻌﻤﻞ ﺍﳌﻌﺮﻭﻑ ﰲ ﻏﲑ ﻣﻮﺿﻌﻪ ﻭ
ﺭﺟﻊ ﺍﻟﺸﻜﺮ ﻋﻠﻴﻪ".
6
ﺷﻜﺮ ﻭﺗﻘﺪﻳﺮ
ﺍﳊﻤﺪ ﷲ ﺍﻟﺬﻯ ﺃﻛﺮﻣﻨﺎ ﺑﺎﻹﺳﻼﻡ ،ﻭﺃﻋﺰﻧﺎ ﺑﺎﻹﳝﺎﻥ ،ﻭﺃﻧﻌﻢ ﻋﻠﻴﻨﺎ ﺑﺒﻌﺚ
ﳏﻤﺪ ﺻﻠﻰ ﺍﷲ ﻋﻠﻴﻪ ﻭﺳﻠﹼﻢ ﻓﻬﺪﺍﻧﺎ ﻣﻦ ﺍﻟﻀﻼﻝ ﻭﺃﻧﻘﺬﻧﺎ ﻣﻦ ﺍﻟﺸﺘﺎﺕ ،ﻭﺃﻟﹼﻒ ﺑﲔ
ﻗﻠﻮﺑﻨﺎ ﻓﺄﺻﺒﺤﻨﺎ ﺑﻨﻌﻤﺔ ﺳﺒﺤﺎﻧﻪ ﻭﺗﻌﺎﱃ ﺇﺧﻮﺍﻧﺎ ﳓﻤﺪﻩ ﻋﻠﻰ ﻫﺬﻩ ﺍﻟﻨﻌﻢ ﻭﻧﺴﺄﻟﻪ
ﺍﳌﺰﻳﺪ ﻭﺍﻟﺘﻮﻓﻴﻖ ﻭﺍﻟﺸﻜﺮﺍ ﻋﻠﻴﻬﺎ ﺃﻣﺎ ﺑﻌﺪ :
ﻓﺒﻌﻨﺎﻳﺔ ﺍﷲ ﻭﺗﻮﻓﻴﻘﻪ ﻭﺇﺭﺍﺩﺗﻪ ﻗﺪ ﺍﻧﺘﻬﻴﺖ ﻣﻦ ﻛﺘﺎﺑﺔ ﻫﺬﺍ ﺍﻟﺒﺤﺚ ﺍﻟﺬﻯ
ﻳﻜﻮﻥ ﺷﺮﻃﺎ ﻟﻠﺤﺼﻮﻝ ﻋﻠﻰ ﺍﻟﺪﺭﺟﺔ ﺍﳉﺎﻣﻌﻴﺔ ﺍﻷﻭﱃ ﰲ ﻗﺴﻢ ﺍﻟﻠﻐﺔ ﺍﻟﻌﺮﺑﻴﺔ
ﻭﺁﺩﺍﺑـﻬﺎ ﺑﻜﻠﻴﺔ ﺍﻵﺩﺍﺏ ﻭﺍﻟﻌﻠﻮﻡ ﺍﻹﻧﺴﺎﻧﻴﺔ ﺟﺎﻣﻌﺔ ﺷﺮﻳﻒ ﻫﺪﺍﻳﺔ ﺍﷲ ﺍﻹﺳﻼﻣﻴﺔ
ﺍﳊﻜﻮﻣﻴﺔ ﲜﺎﻛﺮﺗﺎ.
ﻭﺑـﻬﺬﻩ ﺍﳌﻨﺎﺳﺒﺔ ﺃﻗﺪﻡ ﺷﻜﺮﻱ ﻭﺗﻘﺪﻳﺮﻱ ﻟﻜﻞ ﻣﻦ ﺃﺭﺷﺪﱐ ﺑﺎﻟﺘﻮﺟﻴﻬﺎﺕ
ﺍﻟﺜﻤﻴﻨﺔ ﻭﺍﻟﻨﺼﺎﺋﺢ ﺫﺍﺕ ﺍﻟﻘﻴﻤﺔ ،ﻭﺃﻋﺎﱐ ﺑﻌﻨﺎﻳﺔ ﻛﺒﲑﺓ ﺍﱃ ﺃﻥ ﰎﹼ ﻫﺬﺍ ﺍﻟﺒﺤﺚ ،ﳑﻦ
ﻫﺆﻵﺀ :
7
-1ﻓﻀﻴﻠﺔ ﻋﻤﻴﺪ ﻛﻠﻴﺔ ﺍﻵﺩﺍﺏ ﻭﺍﻟﻌﻠﻮﻡ ﺍﻹﻧﺴﺎﻧﻴﺔ ﲜﺎﻣﻌﺔ ﺷﺮﻳﻒ ﻫﺪﺍﻳﺔ ﺍﷲ
ﲜﺎﻛﺮﺗﺎ ،ﺍﻟﺪﻛﺘﻮﺭ ﻋﺒﺪ ﺍﳋﲑ.
-2ﻓﻀﻴﻠﺔ ﺍﳌﺪﺭﺱ ﺍﻟﻔﺎﺿﻞ ﺍﻷﺳﺘﺎﺫ ﺍﻟﺪﻛﺘﻮﺭﺍﻧﺪﻭﺱ ﺩﻳﺪﻳﻦ ﺳﺮﺍﺝ ﺍﻟﺪﻳﻦ
ﺍﳌﺎﺟﺴﺘﲑ ﺍﻟﺬﻱ ﺃﺷﺮﻑ ﻋﻠﻰ ﺍﻟﻜﺎﺗﺐ ﰲ ﻛﺘﺎﺑﺔ ﻫﺬﺍ ﺍﻟﺒﺤﺚ ﻭﻗﺎﻡ ﲝﺴﻦ
ﺍﻟﺘﻮﺟﻴﻪ ﻭﲨﻴﻞ ﺍﻹﺭﺷﺎﺩ ﻣﻊ ﺃﻧﻪ ﻣﺸﻐﻮﻝ ﺑﻮﻇﻴﻔﺘﻪ.
-3ﻓﻀﻴﻠﺔ ﺭﺋﻴﺲ ﻗﺴﻢ ﺍﻟﻠﻐﺔ ﺍﻟﻌﺮﺑﻴﺔ ﻭﺁﺩﺍﺑـﻬﺎ ،ﺍﻟﺪﻛﺘﻮﺭﺍﻧﺪﻭﺱ ﺃﺩﻧﺞ
ﺃﺳﺪﺭﻯ ﺍﳌﺎﺟﺴﺘﲑ ﻭﻓﻀﻴﻠﺔ ﺳﻜﺮﺗﲑ ﻗﺴﻢ ﺍﻟﻠﻐﺔ ﺍﻟﻌﺮﺑﻴﺔ ﻭﺁﺩﺍﺑـﻬﺎ
ﺍﻟﺪﻛﺘﻮﺭ ﺯﺑﲑ ﺃﲪﺪ ﺍﳌﺎﺟﺴﺘﲑ.
-4ﺃﺧﺺ ﺑﻜﻞ ﺧﻀﻮﻉ ﺧﺎﻟﺺ ﺷﻜﺮﻱ ﻭﺗﻘﺪﻳﺮﻱ ﻟﻠﻤﻜﺮﻣﲔ ﻭﺍﻟﺪﻱ ﺃﰊ
ﺍﳊﺎﺝ ﺑﺮﻫﺎﻥ ﺍﻟﺪﻳﻦ ﻭﺃﻣﻰ ﺍﳊﺎﺟﺔ ﺑﺪﺭﻳﺔ ﺍﻟﻠﺬﻳﻦ ﺭﺑﻴﺎﱐ ﺃﺣﺴﻦ ﺗﺮﺑﻴﺔ
ﻭﺑﺬﻻ ﺟﻬﻮﺩﳘﺎ ﻭﻃﺎﻗﺘﻬﻤﺎ ﻟﺼﺮﻑ ﺍﻟﺮﺳﻮﻡ ﺍﻟﺪﺭﺍﺳﻴﺔ ﻷﲤﻜﻦ ﻣﻦ
ﻣﻮﺍﺻﻠﺔ ﺩﺭﺍﺳﱵ ﻭﺍﻟﻮﺻﻮﻝ ﺇﱃ ﻫﺬﻩ ﺍﳌﺮﺣﻠﺔ ﻣﻦ ﻣﺮﺍﺣﻞ ﺍﻟﺘﻌﻠﻴﻢ ﺍﻟﻌﻠﻤﻲ.
-5ﲨﻴﻊ ﺍﻷﺻﺪﻗﺎﺀ ﺍﻟﺬﻳﻦ ﻃﻠﺒﺖ ﻣﻌﻬﻢ ﺍﻟﻌﻠﻮﻡ ﻣﻨﺬ ﻗﻴﺎﻣﻲ ﰲ ﻫﺬﻩ ﺍﳉﺎﻣﻌﺔ،
ﻭﺻﺎﺣﺒﲏ ﰲ ﻛﺜﲑ ﻣﻦ ﺍﻷﻭﻗﺎﺕ ﰲ ﺍﻷﻓﺮﺍﺡ ﻭﺍﻷﺗﺮﺍﺡ ،ﻣﻨﻬﻢ ﺍﶈﺒﻮﺑﺔ
8
ﻳﻮﺍﻧﺘﺎ ﻓﺮﻭﻯ ﺩﻳﻮﻯ ﻭ ﻧﻮﺭ ﺳﻠﻴﻢ ﻭ ﻋﺮﻓﺎﻥ ﺿﺎﺿﻰ ﻭ ﺃﲪﺪ ﻓﻮﺯﻳﻦ ﻭ
ﺯﻛﺮﻳﺎ ﺃﻧﺼﺎﺭﻯ ﻭﻫﲑﻱ ﺳﻮﺳﻴﻠﻮ ﻭ ﺇﺭﻭﺍﻥ ﻭﺣﻴﺪﻱ ﻭﺍﺳﺮﺍﺗﻪ ﻭ ﺷﻴﻒ
ﺍﻟﻌﺎﺭﻓﲔ ﻭ ﻋﺒﺎﺩﺍﷲ ﻭ ﺃﺻﺪﻗﺎﺋﻰ ﻣﻦ ﲨﻌﻴﺔ ﺍﻟﻄﻼﹼﺏ ﺍﳌﺴﻠﻤﲔ
)(HMI
ﻭﻛﺬﻟﻚ ﺇﺧﻮﺍﰐ ﺍﶈﺒﻮﺑﺎﺕ ﺇﻳﺪﺍ ﺯﺭﻳﺪﺓ ﻭ ﺯﻭﺟﻬﺎ ﻭ ﻭﻟﺪﻫﺎ ﳏﻤﺪ ﺭﺍﺩﻳﻦ
ﺃﺭﺿﻴﻮﻥ ﻭ ﺍﰲ ﺷﻠﻔﻴﺔ ﻭ ﺍﻳﻔﺎ ﻣﺰﺩﻟﻔﺔ ﻭﻏﲑ ﻫﺆﻵﺀ ﺍﻟﺬﻳﻦ ﻻ ﳝﻜﻨﲏ ﺃﻥ
ﺃﺫﻛﺮ ﺃﲰﺎﺋﻬﻢ ﻭﺍﺣﺪ ﺑﻌﺪ ﻭﺍﺣﺪ.
ﺃﺧﲑﺍ ،ﺭﺟﺎﺋﻲ ﻣﻦ ﺍﳌﻮﱃ ﺳﺒﺤﺎﻧﻪ ﻭﺗﻌﺎﱃ ﺃﻥ ﳚﻌﻞ ﻫﺬﺍ ﺍﻟﺒﺤﺚ ﺍﻟﻌﻠﻤﻲ
ﻋﻤﻼ ﺻﺎﳊﺎ ﻣﻘﺒﻮﻻ .ﺇﻧﻪ ﻭﱄ ﺍﻟﺘﻮﻓﻴﻖ ﻋﻠﻴﻪ ﺗﻮﻛﻠﺖ ﻭﺇﻟﻴﻪ ﺃﻧﻴﺐ.
ﺍﺯﻭﺭﺍﻟﺪﻳﻦ
9
ﻣـﺤﺘﻮﻳﺎﺕ ﺍﻟﺒﺤﺚ
ﺍﻟﺒﺎﺏ ﺍﻷﻭﻝ
ﻣﻘﺪﻣﺔ
) ( 7 -1
ﺃ .ﺧﻠﻔﻴﺔ ﺍﳌﺸﻜﻠﺔ 1 ...................................................
ﺏ.ﲢﺪﻳﺪ ﺍﳌﺸﻜﻠﺔ ................................................
5
ﺝ .ﺍﻟﻐﺮﺽ ﻣﻦ ﺍﻟﺒﺤﺚ 6 ...............................................
ﺩ .ﻣﻨﻬﺞ ﺍﻟﺒﺤﺚ 6 ....................................................
ﻩ .ﺧﻄﺔ ﺍﻟﺒﺤﺚ 7 ....................................................
ﺍﻟﺒﺎﺏ ﺍﻟﺜﺎﱐ
ﻛﺘﺎﺏ ﻛﻠﻴﻠﺔ ﻭﺩﻣﻨﺔ ﻻﺑﻦ ﺍﳌﻘﻔﻊ
)(11- 8
ﺃ .ﺍﺑﻦ ﺍﳌﻘﻔﻊ8 .......................................................
ﺏ .ﻛﺘﺎﺏ " ﻛﻠﻴﻠﺔ ﻭ ﺩﻣﻨﺔ 11 ...........................................
ﺍﻟﺒﺎﺏ ﺍﻟﺜﺎﻟﺚ
ﶈﺔ ﻋﻦ ﺍﻟﻘﺼﺔ ﺍﻟﻘﺼﲑﺓ
)(21 - 51
ﺃ .ﻣﻔﻬﻮﻡ ﺍﻟﻘﺼﺔ ﺍﻟﻘﺼﲑﺓ15 ............................................
ﺏ .ﺗﻄﻮﺭ ﺍﻟﻘﺼﺔ ﺍﻟﻘﺼﲑﺓ17 ............................................
ﺝ .ﺍﻟﻌﻨﺎﺻﺮ ﺍﻟﺪﺍﺧﻠﻴﺔ ﰱ ﺑﻨﺎﺀ ﺍﻟﻘﺼﺔ ﺍﻟﻘﺼﲑﺓ21 ..........................
10
ﺍﻟﺒﺎﺏ ﺍﻟﺮﺍﺑﻊ
ﺍﻟﺘﺤﻠﻴﻞ ﻋﻦ ﺍﻟﻌﻨﺎﺻﺮ ﺍﻟﺪﺍﺧﻠﻴﺔ ﰱ ﺍﻟﻘﺼﺔ "ﺍﻟﺴﺎﺋﺢ ﻭﺍﻟﺼﺎﺋﻎ"
)(40 – 28
أ.
ب.
ﺇﺧﺘﺼﺎﺭ ﺍﻟﻘﺼﺔ ﺍﻟﻘﺼﲑﺓ "ﺍﻟﺴﺎﺋﺢ ﻭﺍﻟﺼﺎﺋﻎ"28 ..................
ﺍﻟﺘﺤﻠﻴﻞ ﻋﻦ ﺍﻟﻌﻨﺎﺻﺮ ﺍﻟﺪﺍﺧﻠﻴﺔ ﰱ ﺍﻟﻘﺼﺔ ﺍﻟﻘﺼﲑﺓ "ﺍﻟﺴﺎﺋﺢ ﻭﺍﻟﺼﺎﺋﻎ"،
ﻣﻨﻬﺎ31 .................................................. :
.1ﺍﳌﻮﺿﻮﻉ 31 .......................................
.2ﺍﻟﺸﺨﺼﻴﺔ 31 ......................................
.3ﺍﳊﺒﻜﺔ 33 .........................................
.4ﺍﻟﺒﻴﺌﺔ 39 ...........................................
.5ﺍﻟﺘﻮﺻﻴﺔ 43 ........................................
.6ﻋﻼﻗﺔ ﺑﲔ ﺍﻟﻌﻨﺎﺻﺮ45 ...............................
ﺍﻟﺒﺎﺏ ﺍﳋﺎﻣﺲ
ﺍﳋـﺎﰎ
)(43 – 46
ﺍﳋﻼﺻﺔ 46 ...........................................................
ﻣﺮﺟﻊ ﺍﻟﺒﺤﺚ 48......................................................
11
ﺍﻟﺒﺎﺏ ﺍﻷﻭﻝ
ﺍﳌﻘﺪﻣﺔ
أ.
ﺧﻠﻔﻴﺔ ﺍﳌﺸﻜﻠﺔ
ﺇﻧﻪ ﱂ ﻳﻌﺮﻑ ﺍﻟﻌﺮﺏ ﰱ ﺟﺎﻫﻠﻴﺘﻬﻢ ﻣﻌﲎ ﻟﻜﻠﻤﺔ ﺍﻷﺩﺏ ﺇﻻ ﻣﺎ ﻳﺘﺼﻞ
ﺑﺎﻟﺪﻋﻮﺓ ﺇﱃ ﺍﻟﻄﻌﺎﻡ ﺑﺎﳋﻠﻖ ﺍﳊﺴﻦ 1،ﻭﳛﺘﻤﻞ ﰱ ﺻﺪﺭ ﺍﻹﺳﻼﻡ ﺍﺳﺘﺨﺪﻡ ﺍﻟﻌﺮﺏ
ﻛﻠﻤﺔ ﺍﻷﺩﺏ ﲟﻌﲎ ﺍﻟﺜﻘﺎﻓﺔ ﻭﺍﻟﺘﻌﻠﻢ ﻭﺍﻟﺜﻘﻴﻒ ،ﻭﳛﻤﻞ ﻫﺬﺍﳌﻌﲎ ﻣﺎﺭﻭﻯ ﻋﻦ
ﺭﺳﻮﻝ ﺍﷲ ﺻﻠﻰ ﺍﷲ ﻋﻠﻴﻪ ﻭﺳﻠﻢ "ﺃﺩﺑﲏ ﺭﰊ ﻓﺄﺣﺴﻦ ﺗﺄﺩﻳﺒﱯ ﻭﺭﺑﻴﺖ ﰱ ﺑﲎ
ﺳﻌﺪ" .ﻭﰱ ﺍﻟﻌﺼﺮ ﺍﻷﻣﻮﻱ ﺻﺎﺭﺕ ﻛﻠﻤﺔ "ﺃﺩﺏ" ﺗﻌﲎ ﻧﻮﻋﺎ ﺧﺎﺻﺎ ﻣﻦ ﺍﻟﺜﻘﺎﻓﺔ
ﻭﻫﻮ ﺍﻟﺬﻯ ﻳﺪﻭﺭ ﺣﻮﻝ ﺍﻟﺸﻌﺮ ﻭﺍﻷﺧﺒﺎﺭ ﻭﺍﻷﻧﺴﺎﺏ ،ﰒ ﺗﻄﻮﺭ ﻣﻌﻨﺎﻩ ﰱ ﺍﻟﻘﺮﻥ
1
Achmad Bachmid, “Karakteristik Sastra Arab Masa Jahiliyah dan
ﺹ Islam”, (At-Turas, X, 3 (September 2004), 187-185
12
ﺍﻟﺜﺎﻟﺚ ﺍﺍﳍﺠﺮﻱ ﻓﺄﺻﺒﺤﺖ ﺗﻌﲎ ﻣﻌﺮﻓﺔ ﺍﳌﺄﺛﻮﺭ ﻣﻦ ﺍﻟﺸﻌﺮ ﻭﺍﻟﻨﺜﺮ .ﻭﻗﺪ ﻋﺮﻑ
ﺍﻷﺩﺏ ﺑﻌﻀﻬﻢ ﺑﺄﻧﻪ ﻋﻠﻢ ﳜﺘﺮﺯ ﺑﻪ ﻋﻦ ﺍﳋﻠﻞ ﰱ ﻛﻼﻡ ﺍﻟﻌﺮﺏ ﻟﻔﻈﺎ ﺃﻭ ﻛﺘﺎﺑﺔ
ﻭﻗﺴﻤﻮﻩ ﺇﱃ ﺇﺛﲏ ﻋﺸﺮ ﻗﺴﻤﺎ ،ﻫﻲ :ﺍﻟﻨﺤﻮ ﻭﺍﻟﺼﺮﻑ ﻭﺍﻟﻌﺮﻭﺽ ﻭﺍﻟﻘﺎﻓﻴﺔ ﻭﺍﻟﺸﻌﺮ
ﻭﺍﻹﻧﺸﺎﺀ ﻭﺍﻟﻠﻐﺔ ﻭﺍﳋﻂ ﻭﺍﻟﺒﻴﺎﻥ ﻭﺍﳌﻌﺎﱐ ﻭﺍﶈﺎﺿﺮﺓ ﻭﺍﻹﺷﺘﻘﺎﻕ .ﻭﻫﺬﻩ ﺍﻟﻨﻈﺮﺓ
ﺍﻟﻮﺍﺳﻌﺔ ﱂ ﺗﺪﻡ ﻃﻮﻳﻼ ،ﻓﻘﺪ ﺿﺎﻕ ﻣﻌﻨﺎﻩ ﻭﺍﻗﺘﺼﺮ ﻣﻌﻨﺎﻩ ﻋﻠﻰ ﺍﻟﺸﻌﺮ ﻭﺍﻟﻨﺜﺮ ،ﻭﻫﻮ
ﺍﳌﻌﲎ ﺍﻟﺬﻯ ﻋﺮﻑ ﺑﻪ ﰱ ﺍﻟﻌﺼﺮ ﺍﻷﻣﻮﻱ ﻭﻳﺴﺘﻤﺮ ﺇﱃ ﻋﺼﺮﻧﺎ ﺍﳊﺎﺿﺮ.
2
ﻣﻦ ﺍﳌﻌﻠﻮﻡ ،ﺃﻥ ﺍﻷﺩﺏ ﺗﻌﺒﲑ ﻋﻦ ﺍﻟﻔﻜﺮﺓ ﺃﻭ ﺍﻟﺮﺃﻱ ﺃﻭ ﺍﻟﺸﻌﻮﺭ ﺑﺎﺳﺘﻌﻤﺎﻝ
ﺍﻟﻠﻐﺔ ﺍﳉﻤﻴﻠﺔ .ﻭﻫﻮ ﻳﺪﻋﻮ ﻟﻘﺮﺍﺀ ﻣﺴﺄﻟﺔ ﺍﳊﻴﺎﺓ ﺍﳌﺘﻨﻮﻋﺔ ،ﻭﻳﺪﻋﻮﻫﻢ ﻹﻧﺼﺎﻑ
ﺃﻧﻔﺴﻬﻢ ﻣﻦ ﻓﻜﺮﺓ ﻗﺒﻴﺤﺔ ﻭﺧﺒﻴﺜﺔ ﻭﻟﺘﺤﺮﻳﺮﻫﺎ .ﺣﱴ ﺻﺎﺭ ﺍﻷﺩﺏ ﻭﺳﻴﻠﺔ ﻟﺘﺒﻠﻴﻎ
ﺍﻟﺘﻮﺻﻴﺔ ﻟﻠﻘﺮﺍﺀ ﻋﻦ ﺣﺎﻟﺔ ﺍﻟﺰﻣﻦ ،ﻭﺣﺎﻟﺔ ﺍﻻﺟﺘﻤﺎﻉ ﻭﺍﻟﺜﻘﺎﻓﺔ ﻭﺍﺘﻤﻊ ﰱ ﺫﻟﻚ
ﺍﻟﺰﻣﻦ .ﻟﺬﻟﻚ ﺑﺎﻷﺩﺏ ﻧﺴﺘﻄﻴﻊ ﺃﻥ ﻧﻌﺮﻑ ﺻﻮﺭﺓ ﻋﻦ ﺣﻴﺎﺓ ﺍﺘﻤﻊ ﺑﻜﻞﹼ ﻧﺎﺣﻴﺔ.
2ﻓﻮﺯﻯ ﺍﻟﺴﻴﺪ ﻋﺒﺪ ﺭﺑﻪ ،ﺩﺭﺍﺳﺎﺕ ﰲ ﺍﻟﺒﻼﻏﺔ ﺍﻟﻌﺮﺑﻴﺔ) ،ﺍﻟﻘﺎﻫﺮﺓ :ﺟﺎﻣﻌﺔ ﺍﻷﺯﻫﺮ ،ﻛﻠﻴﺔ ﺍﻟﺪﺭﺍﺳﺎﺕ
ﺍﻹﺳﻼﻣﻴﺔ ﻭﺍﻟﻌﺮﺑﻴﺔ ﻟﻠﺒﻨﲔ1998 ،ﻡ( ،ﺹ 27-26
13
ﺭﺃﻳﻨﺎ ﺃﻥ ﺍﻷﺩﺏ ﺗﻌﺒﲑ ﻟﻐﻮﻱ ﲨﻴﻞ ﻋﻦ ﺍﳊﻴﺎﺓ ،ﻟﻪ ﻗﻮﺍﻟﺐ ﻛﺜﲑﺓ ،ﺗﺘﺠﻤﻊ
ﰱ ﻗﺴﻤﲔ ﻛﺒﲑﻳﻦ ،ﳘﺎ :ﺍﻟﺸﻌﺮ ﻭﺍﻟﹼﻨﺜﺮ .ﻟﻠﻨﺜﺮ -ﻗﻮﺍﻟﺐ ﻋﺪﺓ ،ﻭﺗﻜﻮﻥ ﻣﻦ ﺍﻟﻘﺼﺔ
ﺗﻨﻘﺴﻢ ﺇﱃ ﺛﻼﺙ ﺃﻗﺴﺎﻡ ﲝﻴﺚ ﺗﻄﻮﻝ ﻓﻴﻬﺎ ﻭﺍﻟﻨﺰﺍﻉ ﺍﻟﹼﺬﻯ ﻳﻮﺟﺪ ﻓﻴﻬﺎ ﻛﻤﺎ ﻳﻠﻲ:
(1ﺍﻷﻗﺼﻮﺻﺔ ،ﻭﻫﻲ ﺗﻜﺘﺐ ﰲ ﺻﻔﺤﺔ ﺃﻭ ﺻﻔﺤﺘﲔ ﻭﻻ ﻳﺴﻤﺢ ﻣﻴﺪﺍﺎ ﺑﺘﻌﺪﺩ
ﺍﻷﺣﺪﺍﺙ ﻭﺍﻟﺸﺨﺼﻴﺎﺕ.
(2ﺍﻟﻘﺼﺔ ،ﻭﻫﻲ ﺃﻃﻮﻝ ﻣﻦ ﺍﻷﻗﺼﻮﺻﺔ ﻭﺗﻜﺘﺐ ﻣﻦ ﻓﺼﻞ ﻭﺍﺣﺪ ﻋﺎﺩﺓ.
(3ﺍﻟﺮﻭﺍﻳﺔ ،ﻫﻲ ﺗﺘﻌﺪﺩ ﻓﺼﻮﳍﺎ ﻳﺴﻤﺢ ﻣﻴﺪﺍﺎ ﺑﺘﻌﺪﺩ ﺍﻷﺣﺪﺍﺙ ﻭﺍﻟﺸﺨﺼﻴﺎﺕ
ﺃﻛﺜﺮ ﻣﻦ ﺍﻟﻘﺼﺔ.
ﺍﻟﻘﺼﺔ ﺍﻟﻘﺼﲑﺓ ﺑﺼﻔﺔ ﺧﺎﺻﺔ ﺷﻲﺀ ﻳﺘﻠﻬﻰ ﺑﻪ ﺍﻹﻧﺴﺎﻥ ﰱ ﺃﻭﻗﺎﺕ ﻓﺮﺍﻏﻪ،
ﻭﻣﻦ ﰒ ﺟﺎﺀ ﻋﺪﻡ ﺗﻘﺪﻳﺮﻫﻢ ﻟﻜﺘﺎﺑﺘﻬﺎ ﺳﻮﺍﺀ ﻣﻨﻬﻢ ﻋﺎﻣﺔ ﺍﻟﻘﺮﺍﺀ ﺃﻭ ﺧﺎﺻﺔ ﺍﳌﺜﻘﻔﲔ
ﺃﻭ ﺣﱴ ﺍﻷﺩﺑﺎﺀ ﺃﻧﻔﺴﻬﻢ ،ﻗﺪ ﺍﻋﺘﺪﻭﺍ ﺃﻥ ﻳﻨﻈﺮﻭﺍ ﺇﱄ ﺍﻷﺩﺏ ﰱ ﺍﻟﺸﻌﺮ ﺃﻭﻻ ﰒﹼ
ﺍﳌﻘﺎﻝ ﺍﻻﺟﺘﻤﺎﻋﻰ ﻭﺍﻟﻨﻘﺪﻯ ﺛﺎﻧﻴﺎ ،ﻭﺃﺻﺒﺤﻮﺍ ﻳﻌﻄﻮﻥ ﻟﻠﺸﻌﺮ ﺍﳌﻜﺎﻧﺔ ﺍﻟﻌﻠﻴﺎ ﻣﻦ ﺑﲔ
ﻓﻨﻮﻥ ﺍﻷﺩﺏ ﲨﻴﻌﺎ ،ﻭﺍﻟﻨﺎﺱ ﺇﱃ ﺣﲔ ﻗﺮﻳﺐ ﻛﺎﻧﻮﺍ ﻳﻨﻈﺮﻭﻥ ﺇﱃ ﺍﻟﻘﺼﺔ ﺑﻌﲔ
14
ﺍﻟﺴﺨﺮﻳﺔ ﻭﺍﻻﺯﺩﺭﺍﺀ ﻭﻻ ﻳﻌﺪﻭﻥ ﻣﻦ ﺍﻷﺩﺏ ﺍﻟﺮﻓﻴﻊ ﺷﻴﺌﺎ ،ﺑﻞ ﺃﻏﻠﺒﻬﻢ ﻳﻈﻦ ﺃﺎ ﳍﻮ
ﻭﻋﺒﺚ.
3
ﻭﺇﻥ ﺍﻟﺒﻨﺎﺀ ﺍﻟﻘﺼﺼﻰ ﻟﻪ ﻋﻨﺎﺻﺮ ﺩﺍﺧﻠﻴﺔ ﺃﺳﺎﺳﻴﺔ ،ﻻﲣﻠﻮ ﻣﻨﻬﺎ ﺍﻟﻘﺼﺔ
ﺍﻟﻘﺼﲑﺓ -ﻋﻠﻰ ﺍﻷﻗﻞ -ﻭﻫﻲ :ﺍﳌﻮﺿﻮﻉ ،ﻭﺍﻟﺸﺨﺼﻴﺎﺕ ،ﻭﺍﳊﺒﻜﺔ ،ﻭﺍﻟﺒﻴﺌﺔ،
4
ﻭﺍﻟﺘﻮﺻﻴﺔ.
ﻭﻛﺎﻧﺖ ﻀﺔ ﺍﻟﻔﻜﺮﺓ ﰱ ﺍﻟﻌﺼﺮ ﺍﻟﻌﺒﺎﺳﻰ ﺍﻟﱴ ﻗﺪﻣﻬﺎ ﺍﳋﻠﻴﻔﺔ ﺟﻌﻔﺮ
ﺍﳌﻨﺼﻮﺭ ﺗﻌﺘﻤﺪ ﺇﻋﺘﻤﺎﺩﺍ ﻣﻠﺤﻮﻇﺎ ﻋﻠﻰ ﻧﺸﺎﻁ ﻭﺍﺳﻊ ﻟﻠﺘﺮﲨﺔ ﻣﻦ ﺍﻟﻠﻐﺔ
ﺍﻟﺴﻨﺴﻜﺮﻳﺘﻴﺔ ﻭﺍﻟﺒﻬﻠﻮﻳﺔ ﻭﺍﻟﻴﻮﻧﺎﻧﻴﺔ ﺇﱃ ﺍﻟﻌﺮﺑﻴﺔ .ﻓﺎﺳﺘﺠﺎﺏ ﻛﺜﲑ ﻣﻦ ﺍﻟﺒﺎﺣﺜﲔ
ﻭﺍﳌﺘﺮﲨﲔ ﳍﺬﻩ ﺍﻟﺮﻏﺒﺔ .ﻭﻣﻦ ﺍﻟﻜﺘﺐ ﺍﻵﺩﺑﻴﺔ ﺍﳌﺘﺮﲨﺔ ﺍﳌﺸﻬﻮﺭﺓ ﻫﻮ ﻛﺘﺎﺏ "ﻛﻠﻴﻠﺔ
ﻭﺩﻣﻨﺔ" ﺍﳍﻨﺪﻯ ﺍﻵﺻﻠﻰ ﺍﻟﺬﻯ ﻭﺿﻌﻪ ﺑﻴﺪﺑﺎ ﺍﻟﻔﻴﻠﺴﻮﻑ ﺍﳍﻨﺪﻱ ﻟﺪﻯ ﺑﺸﻠﻢ ﻣﻠﻚ
3
ﺳﻴﺪ ﺣﺎﻣﺪ ﺍﻟﻨﺴﺎﺝ ،ﺗﻄﻮﺭ ﻣﻦ ﺍﻟﻘﺼﺔ ﺍﻟﻘﺼﲑﺓ ﰱ ﻣﺼﺮ) ،ﺍﻟﻘﺎﻫﺮﺓ :ﻣﻜﺘﺒﺔ ﻏﺮﻳﺐ1999 ،ﻡ(،ﺹ
32
Mursal Este, Kesusastraan: Pengantar Teori dan Sejarah,(Bandung: Angkasa, 2000),
4
c 10, h 20
15
ﺍﳍﻨﺪﻯ 5.ﻭﻗﺪ ﻧﻘﻞ ﺑﻠﻴﻎ ﺍﻟﻌﺮﺏ ﻋﺒﺪ ﺍﷲ ﺑﻦ ﺍﳌﻘﻔﻊ ﻛﺘﺎﺏ "ﻛﻠﻴﻠﺔ ﻭﺩﻣﻨﺔ" ﻣﻦ
ﺍﻟﺒﻬﻠﻮﻳﺔ ﺇﱃ ﺍﻟﻌﺮﺑﻴﺔ.
6
ﺗﺄﺳﻴﺴﺎ ﻋﻠﻰ ﺍﻟﺒﻴﺎﻥ ﺍﳌﻮﺣﺰ ﺍﻟﺴﺎﺑﻖ ﻣﻦ ﺍﳊﺼﺎﺋﺺ ﺍﳌﻤﺘﺎﺯﺓ ﰱ ﺍﻟﻘﺼﺔ
"ﻛﻠﻴﻠﺔ ﻭﺩﻣﻨﺔ ،ﻳﻮﺩ ﺍﻟﺒﺎﺣﺚ ﺍﻥ ﻳﺘﺨﺬﻫﺎ ﻣﻮﺿﻮﻉ ﲝﺜﻪ ﺍﻟﻌﻠﻤﻲ ﺭﺟﺎﺀ ﺍﻥ ﻳﺴﺘﻔﻴﺪ
ﻣﻨﻪ ﺍﻟﻘﺎﺭﺉ ﺍﻟﺘﻌﻠﻴﻢ ﺍﳉﺪﻳﺪﺓ ﺍﳌﺘﻌﻠﻘﺔ ﺑﺎﻵﺩﺏ ﺍﻟﻌﺮﰊ ﻭﺍﻟﻘﺼﺔ ﻭﻣﺎ ﻓﻴﻬﻤﺎ ﻣﻦ
ﺍﳋﺼﺎﺋﺺ ﺍﳌﻤﺘﺎﺯﺓ .ﻭﺳﻴﻜﺘﺐ ﺍﻟﺒﺎﺣﺚ ﺭﺳﺎﻟﺘﻪ ﲢﺖ ﺍﳌﻮﺿﻮﻉ :ﺍﻟﻘﺼﺔ ﺍﻟﻘﺼﲑﺓ
"ﺍﻟﺴﺎﺋﺢ ﻭﺍﻟﺼﺎﺋﻎ" ﰱ ﻛﺘﺎﺏ ﻛﻠﻴﻠﺔ ﻭﺩﻣﻨﺔ ﻟﻌﺒﺪ ﺍﷲ ﺑﻦ ﺍﳌﻘﻔﻊ ﻭ ﻋﻨﺎﺻﺮﻫﺎ
ﺍﻟﺪﺍﺧﻠﻴﺔ.
ﺏ .ﲢﺪﻳﺪ ﺍﳌﺸﻜﻠﺔ
ﺇﻥ ﻫﺬﺍ ﺍﻟﺒﺤﺚ ﻭﺍﺳﻊ ﺍﻟﻨﻄﺎﻕ ،ﻓﺤﺪﺩ ﺍﻟﺒﺎﺣﺚ ﻋﻠﻰ ﻗﺼﺔ ﻗﺼﲑﺓ"ﺍﻟﺴﺎﺋﺢ
ﻭ ﺍﻟﺼﺎﺋﻎ" ﰱ ﻛﺘﺎﺏ ﻛﻠﻴﻠﺔ ﻭﺩﻣﻨﺔ ﻻﺑﻦ ﺍﳌﻘﻔﻊ ﻭﻋﻨﺎﺻﺮﻫﺎ ﺍﻟﺪﺍﺧﻠﻴﺔ .ﻓﻴﻘﺘﺼﺮ
ﻋﻠﻰ ﻣﺎ ﻳﻠﻰ:
5
ﺃﲪﺪ ﺷﻠﱮ ،ﻣﻮﺳﻮﻋﺔ ﺍﻟﺘﺎﺭﻳﺦ ﺍﻹﺳﻼﻣﻰ ﻭﺍﳊﻈﺎﺭﺓ ﺍﻹﺳﻼﻣﻴﺔ) ،ﺍﻟﻘﺎﻫﺮﺓ :ﻣﻜﺘﺒﺔ ﺍﻟﻨﻬﻀﺔ ﺍﳌﺼﺮﻳﺔ،
1996ﻡ( ،ﻁ ،11ﺝ ،3ﺹ 246
6ﳏﻤﺪ ﺛﺎﺑﺖ ﺍﻟﻔﻨﺪﻯ ،ﺩﺍﺋﺮﺓ ﺍﳌﻌﺎﺭﻑ ﺍﻹﺳﻼﻣﻴﺔ) ،ﺩ.ﻡ :ﺩ.ﻥ1933 ،ﻡ( ،ﻁ ،1ﺹ 282
16
.1ﻣﻦ ﻫﻮ ﺍﺑﻦ ﺍﳌﻘﻔﻊ؟
.2ﻣﺎ ﻣﻔﻬﻮﻡ ﺍﻟﻘﺼﺔ ﺍﻟﻘﺼﲑﺓ؟
.3ﻛﻴﻒ ﻛﺎﻧﺖ ﺻﻮﺭﺓ ﺍﻟﻌﻨﺎﺻﺮ ﺍﻟﺪﺍﺧﻠﻴﺔ ﰱ ﺍﻟﻘﺼﺔ ﺍﻟﻘﺼﲑﺓ " ﺍﻟﺴﺎﺋﺢ
ﻭﺍﻟﺼﺎﺋﻎ "؟
.4ﻣﺎ ﻋﻼﻗﺔ ﺑﲔ ﺍﻟﻌﻨﺎﺻﺮ ﰱ ﺑﻨﺎﺀ ﺍﻟﻘﺼﺔ؟
ج.
ﺍﻟﻐﺮﺽ ﻣﻦ ﺍﻟﺒﺤﺚ
ﺃﻣﺎ ﺍﻟﻐﺮﺽ ﻣﻦ ﻛﺘﺎﺑﺔ ﻫﺬﺍ ﺍﻟﺒﺤﺚ ﻓﻬﻮ ﻛﻤﺎ ﻳﻠﻰ:
ﻣﻌﺮﻓﺔ ﺍﻟﻌﻨﺎﺻﺮ ﺍﻟﺪﺍﺧﻠﻴﺔ ﰱ ﻗﺼﺔ "ﺍﻟﺴﺎﺋﺢ ﻭﺍﻟﺼﺎﺋﻎ" ،ﻣﻨﻬﺎ ﺍﳌﻮﺿﻮﻉ ،ﻭﺍﳊﺒﻜﺔ،
ﻭ ﺍﻟﺸﺨﺼﻴﺔ ،ﻭ ﺍﻟﺒﻴﺌﺔ ،ﻭﺍﻟﺘﻮﺻﻴﺔ.
د.
ﻣﻨﻬﺞ ﺍﻟﺒﺤﺚ
ﺳﻴﻨﻬﺞ ﺍﻟﺒﺎﺣﺚ ﰱ ﺩﺭﺍﺳﺘﻪ ﺍﻟﻌﻠﻤﻴﺔ ﻋﻦ ﺻﻮﺭﺓ ﺍﻟﻌﻨﺎﺻﺮ ﺍﻟﺪﺍﺧﻠﻴﺔ ﰱ ﺑﻨﺎﺀ
ﺍﻟﻘﺼﺔ ﺍﻟﻘﺼﲑﺓ "ﺍﻟﺴﺎﺋﺢ ﻭﺍﻟﺼﺎﺋﻎ" ﰱ ﻛﺘﺎﺏ ﻛﻠﻴﻠﺔ ﻭﺩﻣﻨﺔ ﻻﺑﻦ ﺍﳌﻘﻔﻊ ﻣﻨﻬﺠﺎ
ﻣﻜﺘﺒﻴﺎ ﰱ ﲨﻊ ﻣﻮﺍﺩﻩ ﺑﺎﻻﻃﻼﻉ ﻋﻠﻰ ﺑﻌﺾ ﻛﺘﺐ ﺍﻻﺩﺏ ﺍﻟﻌﺮﰊ ﻭﺑﻌﺾ ﻛﺘﺐ
17
ﺍﻟﺘﺎﺭﻳﺦ ﺍﳌﺘﻌﻠﻘﺔ ﺑﺎﺑﻦ ﺍﳌﻘﻔﻊ ﻭﻧﺸﺎﻃﺎﺗﻪ ﺍﻟﻌﻠﻤﻴﺔ ﻭﺍﻟﻘﺼﺺ ﺍﻟﱴ ﻛﺎﻧﺖ ﻣﻨﺜﻮﺭﺓ ﰱ
ﻛﺘﺎﺏ ﻛﻠﻴﻠﺔ ﻭﺩﻣﻨﺔ ﻭﻳﺘﺨﺬ ﺍﻟﺒﺎﺣﺚ ﰱ ﺍﻟﺘﺤﻠﻴﻞ ﻋﻦ ﺍﻟﻌﻨﺎﺻﺮ ﺍﻟﺪﺍﺧﻠﻴﺔ ﰱ ﺍﻟﻘﺼﺔ
ﻣﻨﻬﺞ ﺍﻟﺘﺤﻠﻴﻞ ﺍﻟﻮﺻﻔﻰ ﺍﻱ ﺑﻮﺻﻒ ﻛﻞ ﻣﻦ ﻋﻨﺎﺻﺮﻫﺎ ﺍﻷﺩﺑﻴﺔ ﻭﺍﻟﺘﺎﺭﳜﻲ ﺍﻱ
ﺑﺎﻟﻨﻈﺮ ﺇﱃ ﻣﺎ ﺗﻜﻠﻤﻬﺎ ﺍﻟﺘﺎﺭﻳﺦ ﺍﻷﺳﻠﻮﰉ ﰱ ﺑﻴﺎﻥ ﺻﻼﺕ ﺑﲔ ﺍﻟﻌﻨﺎﺻﺮ ﺍﻟﺪﺍﺧﻠﻴﺔ
ﺍﳌﺴﺘﻘﺮﺓ ﻓﻴﻬﺎ.
ﻭﰱ ﻛﺘﺎﺑﺘﻪ ﺍﻋﺘﻤﺪ ﻋﻠﻰ ﺍﻟﻜﺘﺎﺏ ﺍﳌﻘﺮﺭ ﻟﻜﺘﺎﺑﺔ ﺍﻟﺒﺤﻮﺙ ﻭﺍﻟﺮﺳﺎﺋﻞ ﺍﻟﻌﻠﻤﻴﺔ
ﺍﻟﺬﻯ ﺃﺻﺪﺭﺗﻪ ﺟﺎﻣﻌﺔ ﺷﺮﻳﻒ ﻫﺪﺍﻳﺔ ﺍﷲ ﺍﻹﺳﻼﻣﻴﺔ ﺍﳊﻜﻮﻣﻴﺔ ﲜﺎﻛﺮﺗﺎ
Pedoman Penulisan Skripsi، Tesis dan Disertasi UIN Syarif
Hidayatullah Jakarta
ﻭ .ﺧﻄﺔ ﺍﻟﺒﺤﺚ
ﻭﻟﺘﺴﻬﻴﻞ ﺍﻟﺒﺤﺚ ﻭﺍﻟﻜﺘﺎﺑﺔ ﻗﺴﻢ ﺍﻟﺒﺎﺣﺚ ﻫﺬﺍ ﺍﳌﻮﺿﻮﻉ ﺇﱃ ﲬﺴﺔ ﺃﺑﻮﺍﺏ:
ﺍﻟﺒﺎﺏ ﺍﻷﻭﻝ ﻫﻮ ﻋﺒﺎﺭﺓ ﻋﻦ ﺍﳌﻘﺪﻣﺔ ﺍﻟﱴ ﲢﺘﻮﻯ ﻋﻠﻰ ﺧﻠﻔﻴﺔ ﺍﳌﺸﻜﻠﺔ ،ﻭﲢﺪﻳﺪ
ﺍﳌﺸﻜﻠﺔ ،ﻭﺍﻟﻐﺮﺽ ﻣﻦ ﺍﻟﺒﺤﺚ ،ﻭﺧﻄﺔ ﺍﻟﺒﺤﺚ.ﺍﻟﺒﺎﺏ ﺍﻟﺜﺎﱏ ﻫﻮ ﶈﺔ ﻋﻦ ﻛﺘﺎﺏ
ﻛﻠﻴﻠﺔ ﻭﺩﻣﻨﺔ ﻭﺗﺸﺘﻤﻞ ﻋﻠﻰ ﻣﺆﻟﻔﻪ ﻭﻫﻮ ﺑﻦ ﻣﻘﻔﻊ ﻭ ﻛﺘﺎﺏ ﻛﻠﻴﻠﺔ ﻭﺩﻣﻨﺔ .ﺍﻟﺒﺎﺏ
ﺍﻟﺜﺎﻟﺚ ﶈﺔ ﻋﻦ ﺍﻟﻘﺼﺔ ﺍﻟﻘﺼﲑﺓ ،ﻭﺗﺸﺘﻤﻞ ﻋﻠﻰ ﻣﻔﻬﻮﻡ ﺍﻟﻘﺼﺔ ﺍﻟﻘﺼﲑﺓ،
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ﻭﺗﻄﻮﺭﻫﺎ ،ﻭﺍﻟﺒﻴﺎﻥ ﻋﻦ ﺍﻟﻘﺼﺔ " ﺍﻟﺴﺎﺋﺢ ﻭ ﺍﻟﺼﺎﺋﻎ" .ﺍﻟﺒﺎﺏ ﺍﻟﺮﺍﺑﻊ ﲢﻠﻴﻼﺕ
ﺍﻟﻌﻨﺎﺻﺮ ﺍﻟﺪﺍﺧﻠﻴﺔ ﰱ ﻗﺼﺔ " ﺍﻟﺴﺎﺋﺢ ﻭ ﺍﻟﺼﺎﺋﻎ" ،ﻭﻫﻲ ﲢﻠﻴﻠﻬﺎ ﰱ ﺍﳌﻮﺿﻮﻉ،
ﻭﺍﻟﺸﺨﺼﻴﺎﺕ ،ﻭﺍﳊﺒﻜﺔ ،ﻭﺍﻟﺒﻴﺌﺔ ،ﻭﺍﻟﺘﻮﺻﻴﺔ.ﺍﻟﺒﺎﺏ ﺍﳋﺎﻣﺲ ﺍﳋﺎﲤﺔ ،ﲢﺘﻮﻯ ﻋﻠﻰ
ﺍﳋﻼﺻﺔ ﻭﻛﺘﺐ ﺍﳌﺮﺍﺟﻊ.
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ﺍﻟﺒﺎﺏ ﺍﻟﺜﺎﱏ
ﻛﺘﺎﺏ ﻛﻠﻴﻠﺔ ﻭﺩﻣﻨﺔ ﻻﺑﻦ ﺍﳌﻘﻔﻊ
ﺃ.ﺍﺑﻦ ﺍﳌﻘﻔﻊ
ﻛﺎﻥ ﺩﺍﺫﻭﻳﺔ )ﻭﺍﻟﺪ ﻋﺒﺪﺍﷲ ﺍﺑﻦ ﺍﳌﻘﻔﻊ( ﺭﺟﻼ ﻓﺎﺭﺳﻴﺎ ﳎﻮﺳﻴﺎ .ﻭﻟﺪ ﰱ ﻗﺮﻳﺔ
ﺟﻮﺩ ﻣﻦ ﺇﻗﻠﻴﻢ ﻓﺎﺭﺱ .ﻭﺟﺎﺀ ﺇﱃ ﺍﻟﺒﺼﺮﺓ ﻭﺗﻮﱃ ﻓﻴﻬﺎ ﺑﻌﺾ ﺃﻋﻤﺎﻝ ﺍﳋﺮﺍﺝ ﰱ
ﺃﻳﺎﻡ ﺍﻟﺪﻭﻟﺔ ﺍﻷﻣﻮﻳﺔ.
ﻋﻨﺪ ﻣﺎ ﻛﺎﻥ ﺩﺍﺫﻭﻳﺔ ﻳﺴﻜﻦ ﰱ ﺍﻟﺒﺼﺮﺓ ﺳﻨﺔ 106ﻫـ ﺭﺯﻕ ﺑﻮﻟﺪ ﲰﺎﻩ
ﺭﻭﺯﻳﺔ ﺑﻦ ﺩﺍﺫﻭﻳﺔ ﻭﻫﻮ ﺍﺳﻢ ﻓﺎﺭﺳﻰ ﻭﻟﻘﺒﻪ ﺃﺑﺎ ﻋﻤﺮﻭ ﺗﻘﺮﺑﺎ ﺇﱃ ﺃﻫﻞ ﺍﻟﺒﻴﺌﺔ ﺍﻟﻌﺮﺑﻴﺔ
ﺍﻟﱴ ﺑﻌﻴﺶ ﻓﻴﻬﺎ.
ﻧﺸﺄ ﺭﻭﺯﻳﺔ ﰱ ﺍﻟﺒﺼﺮﺓ ﻧﺸﺄﺓ ﻋﺮﺑﻴﺔ ﺇﱃ ﺟﺎﻧﺐ ﺍﻟﺜﻘﺎﻓﺔ ﺍﻟﻔﺎﺭﺳﻴﺔ ﺍﻟﱴ ﻭﺭﺛﻬﺎ
ﻣﻦ ﺃﺳﺮﺗﻪ ،ﻭﰱ ﺃﻭﺍﺧﺮ ﺍﻟﻌﺼﺮ ﺍﻷﻣﻮﻯ ﺃﺻﺒﺢ ﻛﺎﺗﺒﺎ ﻏﻰ ﺧﺪﻣﺔ ﺁﻝ ﻫﺒﲑﺓ
ﻭﺧﺎﺻﺔ ﺑﺪﺍﻭﻭﺩ ﺑﻦ ﻋﻤﺮ ﺑﻦ ﻫﺒﲑﺓ ﺃﺧﻰ ﻳﺰﻳﺪ ﺑﻦ ﻋﻤﺮ ﻭﺇﱃ ﺍﻟﺒﺼﺮﺓ
ﻭﺍﻟﻜﻮﻓﺔ)132-129ﻫـ( ،ﺣﱴ ﺍﺗﺼﻞ ﺑﻌﻴﺴﻰ ﺑﻦ ﻋﻠﻲ ﺑﻦ ﻋﺒﺪ ﺍﷲ ﺑﻦ ﻋﺒﺎﺱ
ﻋﻢ ﺍﳋﻠﻴﻔﺔ ﺍﻟﻌﺒﺎﺳﻰ ﺍﰉ ﺟﻌﻔﺮ ﺍﳌﻨﺼﻮﺭ ﻭﺍﱃ ﺍﻷﻫﻮﺍﺯ )135-132ﻫـ(،
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ﻭﺃﺳﻠﻢ ﻋﻠﻰ ﻳﺪﻳﻪ ﻭﲰﻲ ﺑﻌﺒﺪﺍﷲ ﻭﺗﻠﻘﺐ ﺃﺑﺎ ﳏﻤﺪ .ﻭﻣﻨﺬ ﺫﻟﻚ ﺍﳊﲔ ﺃﺻﺒﺢ
ﻳﺪﻋﻰ ﺑﻌﺒﺪﺍﷲ ﺑﻦ ﺍﳌﻘﻔﻊ .ﰒ ﺃﻟﺰﻣﻪ ﺃﺧﻮﻩ ﺇﲰﺎﻋﻴﻞ ﺑﻦ ﻋﻠﻲ ﺑﻌﺾ ﺑﻨﻴﻪ ﻟﻴﺆﺩﺑﻪ ﰒ
ﻛﺎﻥ ﺍﺧﺮ ﺃﻣﺮﻩ ﰱ ﺧﺪﻣﺔ ﺃﺧﻴﻬﻤﺎ ﺳﻠﻴﻤﺎﻥ ﺑﻦ ﻋﻠﻲ ﺃﻳﺎﻡ ﻭﻻﻳﺘﻪ ﻭﻳﻈﻬﺮ ﺃﻧﻪ ﺍﺗﺼﻞ
ﰱ ﺃﺛﻨﺎﺀ ﺫﺍﻟﻚ ﺑﺄﰉ ﺟﻌﻔﺮ ﺍﳌﻨﺼﻮﺭ ﺍﺗﺼﻞ ﻣﻌﺮﻓﺔ ﻻﺍﺗﺼﻞ ﺧﺪﻣﺔ .ﻓﺘﺮﺟﻢ ﻟﻪ ﻛﺜﲑﺍ
ﻣﻦ ﺍﻟﻜﺘﺎﺏ ﺍﻟﻔﺎﺭﺳﻴﺔ ﻭﺍﻟﻴﻮﻧﺎﻧﻴﺔ ﺍﳌﻨﻘﻮﻟﺔ ﻗﺪﳝﺎ ﺇﱃ ﺍﻟﻔﺎﺭﺳﻴﺔ.
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ﻣﺎﺕ ﻋﺒﺪﺍﷲ ﺑﻦ ﺍﳌﻘﻔﻊ ﻣﻘﺘﻮﻻ ﰱ ﺍﻟﺒﺼﺮﺓ ﺳﻨﺔ 142ﻫـ)759ﻡ(.
ﻭﺍﺧﺘﻠﻒ ﺍﳌﺆﺧﺮﻭﻥ ﰱ ﺳﺒﺐ ﻗﺘﻞ ﺍﺑﻦ ﺍﳌﻘﻔﻊ ﻭﱂ ﳒﺪ ﺳﺒﺒﺎ ﺁﺧﺮ ﻟﻘﺘﻠﻪ ،ﺇﻻ ﻣﺎ
ﺣﻜﺎﻩ ﺍﳉﺎﺣﻆ ﻣﻦ ﺃﻥ ﺍﺑﻦ ﺍﳌﻘﻔﻊ ﻛﺎﻥ ﺃﻏﺮﻯ ﻋﺒﺪﺍﷲ ﺑﻦ ﻋﻠﻲ ﺑﻦ ﺍﳌﻨﺼﻮﺭ ﻓﻔﻄﻦ
ﻟﻪ ﻭﻗﺘﻞ.
ﻋﻨﺪﻣﺎ ﻳﺬﻛﺮ ﻛﺘﺎﺏ ﻛﻠﻴﻠﻪ ﻭﺩﻣﻨﺔ ﻳﺬﻛﺮ ﺍﺑﻦ ﺍﳌﻘﻔﻊ ﺑﺎﻟﺘﻘﺪﻳﺮ ﻭﺍﻹﺟﻼﻝ ﻭﺇﺫﺍ
ﺫﻛﺮ ﺍﺑﻦ ﺍﳌﻘﻔﻊ ﻳﺘﺒﺎﺩﺭ ﻋﻠﻰ ﺍﻟﺬﻫﻦ ﻛﺘﺎﺑﻪ ﻛﻠﻴﻠﺔ ﻭﺩﻣﻨﺔ ﺍﳋﺎﻟﺪ ﺍﻟﺬﻯ ﻳﻌﺪ ﻣﻦ
ﺃﻋﻈﻢ ﺍﻹﻧﺘﺎﺝ ﺍﻟﻔﻜﺮﻯ ﺍﻟﻌﺎﳌﻰ ﻭﻣﻦ ﺃﺭﻭﻉ ﺍﻟﺘﺮﺍﺙ ﺍﻹﻧﺴﺎﱏ ﺍﻟﺮﻓﻴﻊ .ﻭﺃﺻﻞ
1ﺃﲪﺪ ﺍﻹﺳﻜﻨﺪﺭﻯ ﻭﻣﺴﻄﻔﻰ ﻋﻨﺎﱏ ،ﺍﻟﻮﺳﻴﻂ ﰱ ﺍﻷﺩﺏ ﺍﻟﻌﺮﰉ ﻭﺗﺎﺭﳜﻪ) ،ﺍﻟﻘﺎﻫﺮﺓ :ﺩﺍﺭ ﺍﳌﻌﺎﺭﻑ1978 ،ﻡ( ،ﺹ205
2ﻋﻤﺮ ﻓﺮﻭﺥ ،ﺗﺎﺭﻳﺦ ﺍﻷﺩﺏ ﺍﻷﻋﺼﺮ ﺍﻟﻌﺒﺎﺳﻴﺔ) ،ﺑﲑﻭﺕ :ﺩﺍﺭ ﺍﻟﻌﻠﻢ ﻟﻠﻤﻼﻳﲔ ،ﺩﺕ( ،ﺹ 51
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ﺍﻟﻜﺘﺎﺏ ﻣﺘﺮﺟﻢ ،ﻭﻟﻜﻦ ﺍﺑﻦ ﺍﳌﻘﻔﻊ ﺃﺩﺧﻞ ﻋﻠﻴﻪ ﺗﻌﺪﻳﻼﺕ ﻭﺇﺿﺎﻓﺎﺕ ﺟﺪﻳﺪﺓ ﻣﻦ
ﻋﻨﺪﻩ ،ﻓﻬﻮ ﻣﺰﻳﺞ ﻣﻦ ﺍﻟﺘﺮﲨﺔ ﻭﺍﻟﺘﺄﻟﻴﻒ.
ﻓﻜﺎﻥ ﺍﺑﻦ ﺍﳌﻘﻔﻊ ﺃﻭﻝ ﻣﻦ ﻋﲎ ﺑﺎﻟﺘﺮﲨﺔ .ﻭﻗﺪ ﺗﺮﺟﻢ ﺍﺑﻦ ﺍﳌﻘﻔﻊ ﻛﻠﻴﻠﻪ ﻭﺩﻣﻨﺔ
ﻭﻋﺪﺩﺍ ﻛﺒﲑﺍ ﻣﻦ ﺍﻟﻜﺘﺎﺏ ﺍﻷﺩﺑﻴﺔ ﻭﺍﻟﺘﺎﺭﳜﻴﺔ ﻭﺍﻟﻔﻠﺴﻔﻴﺔ ﻣﻦ ﺍﻟﻠﻐﺔ ﺍﻟﺒﻬﻠﻮﻳﺔ ،ﺇﺫﺍ
ﺣﺎﻭﻝ ﺃﻥ ﻳﻨﻘﻞ ﺇﱃ ﺍﻟﻠﻐﺔ ﺍﻟﻌﺮﺑﻴﺔ ﺧﲑ ﻣﺎ ﻋﺮﻓﻪ ﻣﻦ ﺍﻟﻠﻐﺔ ﺍﻟﻔﺎﺭﺳﻴﺔ ﺳﻮﺍﺀ ﺃﻛﺎﻥ ﻣﺎ
ﻋﺮﻓﻪ ﻓﻴﻬﺎ ﻓﺎﺭﺳﻴﺎ ﺧﺎﻟﺼﺎ ﺃﻡ ﻛﺎﻥ ﻳﻮﻧﺎﻧﻴﺎ ﺃﻡ ﻛﺎﻥ ﻫﻨﺪﻳﺎ .ﺃﻣﺎ ﺍﻟﻔﺎﺭﺳﻰ ﺍﳋﺎﻟﺺ
ﻓﻘﺪ ﺗﺮﺟﻢ ﻣﻨﻪ ﻛﺘﺎﺏ ﻣﺰﺩﻙ ،ﻭﻛﺘﺎﺏ ﺧﺪﺍﻧﺎﻣﻪ ﻭﻛﺘﺎﺏ ﺍﻳﲔ ﻧﺎﻣﻪ ﻭﺗﺮﺟﻢ ﺃﻳﻀﺎ
ﻛﺘﺎﺏ ﺍﻟﺘﺎﺝ.
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ﻭﺗﺮﺟﻢ ﲜﺎﻧﺒﻬﺎ ﺑﻌﺾ ﻣﺎ ﻧﻘﻞ ﺇﱃ ﻟﻐﺘﻪ ﻣﻦ ﺍﻟﺘﺮﺍﺙ ﺍﻟﻴﻮﻧﺎﱏ ﻛﺒﻌﺾ ﻛﺘﺎﺏ
ﺃﺭﺳﻄﻮ ،ﻭﻫﻲ ﻗﺎﻃﺎ ﻏﻮﺭﻳﺎﺱ )ﺍﳌﻘﻮﻻﺕ ﺍﻟﻌﺸﺮ( ،ﻭﺑﺎﺭﻯ ﺃﺭﻣﻴﻨﻴﺎﺱ )ﺍﻟﻌﺒﺎﺭﺓ(،
ﻭﺃﻧﺎﻟﻮﻃﻴﻘﺎ )ﲢﻠﻴﻞ ﺍﻟﻘﻴﺎﺱ(.
3ﺷﻮﻗﻰ ﺿﻴﻒ ،ﺍﻟﻔﻦ ﻭﻣﺬﺍﻫﺒﻪ ﰱ ﺍﻟﻨﺜﺮ ﺍﻟﻌﺰﰉ) ،ﺍﻟﻘﺎﻫﺮﺓ :ﺩﺍﺭ ﺍﳌﻌﺎﺭﻑ ،ﺩﺕ( ،ﺹ 138
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ﺏ.ﻛﺘﺎﺏ ﻛﻠﻴﻠﺔ ﻭﺩﻣﻨﺔ
ﻫﻮ ﻛﺘﺎﺏ ﰱ ﺇﺻﻼﺡ ﺍﻷﺧﻼﻕ ﻭ ﺬﻳﺐ ﺍﻟﻨﻔﻮﺱ ،ﻭﺿﻌﻪ ﻓﻴﻠﺴﻮﻑ ﻫﻨﺪﻯ
ﺍﲰﻪ ﺑﻴﺪﺑﺎ ﻣﻨﺬ ﻧﻴﻒ ﻭﻋﺸﺮﻳﻦ ﻗﺮﻧﺎ ﳌﻠﻚ ﻣﻦ ﻣﻠﻮﻙ ﺍﳍﻨﺪ ﺍﲰﻪ ﺩﺑﺸﻠﻴﻢ ،ﺫﻛﺮﻭﺍ
ﺃﻧﻪ ﺗﻮﱃ ﺍﳍﻨﺪ ﺑﻌﺪ ﻓﺘﺢ ﺍﻹﺳﻜﻨﺪﺭﻳﺔ ﻭﻃﻐﻰ ﻭﺑﻐﻰ ﻓﺄﺭﺍﺩ ﺑﻴﺪﺑﺎ ﺇﺻﻼﺣﻪ ﻭﺗﺪﺭﻳﺒﻪ،
ﻓﺄﻟﻒ ﻫﺬﺍ ﺍﻟﻜﺘﺎﺏ ﻭﺟﻌﻞ ﺍﻟﻨﺼﺎﺡ ﻓﻴﻪ ﻋﻠﻰ ﺃﻟﺴﻨﺔ ﺍﻟﺒﻬﺎﺋﻢ ﻭﺍﻟﻄﻴﻮﺭ ﻋﻠﻰ ﻋﺎﺩﺓ
ﺍﳍﻨﻮﺩ ﺍﻟﱪﺍﳘﺔ ﰱ ﻋﺼﻮﺭﻫﻢ ﺍﻟﻘﺪﳝﺔ ...ﻓﺈﻢ ﻛﺎﻧﻮﺍ ﻳﺮﻭﻭﻥ ﺍﳊﻜﻤﺔ ﻋﻠﻰ ﺃﻟﺴﻨﺔ
ﺍﳊﻴﻮﻧﺎﺕ ﻻﻋﺘﻘﺎﺩﻫﻢ ﺑﺘﻨﺎﺳﺦ ﺍﻷﺭﻭﺍﺡ .ﻭﺍﳌﻈﻨﻮﻥ ﺃﻥ ﻣﻌﻈﻢ ﻣﺎﻳﺘﻨﻘﺎﻟﻪ ﺍﻟﻨﺎﺱ ﻣﻦ
ﺃﻣﻴﺎﻝ ﻫﺬﻩ ﺍﻷﻗﺎﺻﻴﺺ ﺃﺻﻠﻪ ﻣﻦ ﺍﳍﻨﺪ .ﻭﻗﺪ ﺻﻨﻒ ﰲ ﻫﺬﺍ ﺍﳌﻮﺿﻮﻉ ﻭﻋﻠﻰ ﻫﺬﻩ
ﺍﻟﻜﻴﻔﻴﺔ ﻏﲑ ﻭﺍﺣﺪ ﻣﻦ ﺍﳊﻜﻤﺎﺀ .ﻭﻳﻘﺎﻝ ﺇﻥ ﺑﻴﺪﺑﺎ ﺃﻭﻝ ﻓﺎﺗﺢ ﳍﺬﺍ ﺍﻟﺒﺎﺏ ﻭﻛﻞ ﻣﻦ
ﺻﻨﻒ ﺑﻌﺪﻩ ﰱ ﻧﻮﺍﺩﺭ ﺍﳊﻜﺎﻳﺎﺕ ﻣﻘﺘﺒﺲ ﻣﻦ ﺿﻴﺎﺋﻪ...
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ﻭﺗﺮﺟﻊ ﻣﻮﺿﻌﺎﺕ ﺍﻟﻨﺼﺢ ﰱ ﻫﺬﺍ ﺍﻟﻜﺘﺎﺏ ﺇﱃ ﻣﺎ ﳛﺘﺎﺝ ﺍﻟﻨﺎﺱ ﺇﻟﻴﻪ ﰱ
ﻣﻌﺎﻣﻠﺘﻬﻢ ﻛﻮﺟﻮﺏ ﺍﻹﺑﺘﻌﺎﺩ ﻋﻦ ﲰﺎﻉ ﻛﻼﻡ ﺍﻟﺴﺎﻋﻲ ﻭﺍﻟﻨﻤﺎﻡ ﻭﻭﺧﺎﻣﺔ ﻋﺎﻗﺒﺔ
ﺍﻷﺷﺮﺍﺭ ﻭﻣﻨﺎﻓﻊ ﺍﻷﺻﺤﺎﺏ ﻭﻋﺪﻡ ﺟﻮﺍﺯ ﺍﻷﻣﻦ ﻣﻦ ﻛﻴﺪ ﺍﻟﻌﺪﻭ ﻭﻣﻀﺎﺭ ﺍﻹﳘﺎﻝ
4ﺟﺮﺟﻰ ﺯﻳﺪﺍﻥ ،ﺗﺎﺭﻳﺦ ﺁﺩﺏ ﺍﻟﻐﺔ ﺍﻟﻌﺮﺑﻴﺔ) ،ﺑﲑﻭﺕ :ﺩﺍﺭ ﺍﻟﻔﻜﺮ،ﺩﺕ( ﻁ ﺟﺪﻳﺪﺓ ،ﺟـ ,2ﺹ143
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ﻭﺍﻟﻐﻔﻠﺔ ﻭﺍﻓﺔ ﺍﻟﺘﻌﺠﻴﻞ ﻭﻓﺎﺋﺪﺓ ﺍﳊﺰﻡ ﻭﻋﺪﻡ ﺍﻹﻋﺘﻤﺎﺩ ﻋﻠﻰ ﺃﺭﺑﺎﺏ ﺍﳊﻘﺪ ﻭﳓﻮ
ﺫﻟﻚ ﳑﺎ ﻳﻬﺪﺏ ﺍﻟﻨﻔﻮﺱ ﻭﻳﺮﻗﻰ ﺍﻟﻌﻮﺍﻃﻒ ﰱ ﺟﻜﺎﻳﺔ ،ﻳﺘﻔﺮﻉ ﺑﻌﻀﻬﺎ ﻋﻦ
ﺑﻌﺾ..
11
ﻭﻗﺪ ﻛﺘﺐ ﺃﻭﻻ ﺑﺎﻟﻠﻐﺔ ﺍﳍﻨﺪﻳﺔ ﺍﻟﺴﻨﺴﻜﺮﻳﺘﻴﺔ ﰱ 12ﺑﺎﺑﺎ ،ﻭﻧﻘﻞ ﺇﱃ ﻟﻐﺔ
ﺍﻟﺘﻴﺒﺖ ،ﻓﺎﻟﻠﻐﺔ ﺍﻟﺴﺮﻳﺎﻧﻴﺔ ،ﰒ ﺇﱃ ﺍﻟﻔﻬﻠﻮﻳﺔ ﺃﻱ ﺍﻟﻔﺎﺭﺳﻴﺔ ﺍﻟﻘﺪﳝﺔ ،ﻭﻋﻨﻬﺎ ﻧﻘﻞ ﺍﺑﻦ
ﺍﳌﻘﻔﻊ ﺍﻟﺘﺮﲨﺔ ﺇﱃ ﺍﻟﻌﺮﺑﻴﺔ ﻭﺻﺪﺭ ﺍﻟﺘﺮﲨﺔ ﲟﻘﺪﻣﺔ ﲰﺎﻫﺎ "ﻋﺮﺽ ﺍﻟﻜﺘﺎﺏ" ﻭﺻﻒ
ﺎ ﺍﻟﻜﺘﺎﺏ ﻭﺃﻓﺎﺽ ﰱ ﺍﻟﺘﺤﺮﻳﺾ ﻋﻠﻰ ﻣﻄﺎﻟﻌﺘﻪ ،ﻓﻠﻤﺎ ﺍﻃﻠﻊ ﺍﻟﻌﺮﺏ ﻋﻠﻰ ﻓﻮﺍﺋﺪﻩ
ﺃﻋﺠﺒﻮﺍﺑﻪ ﻭﺃﺧﺬﻭﺍ ﻳﺘﺪﺭﺳﻮﻧﻪ ﻭﻳﺘﻨﺎﻗﻠﻮﻧﻪ ،ﻭﻛﺄﻥ ﻋﻠﻤﺎﺀ ﺍﻟﻠﻐﺔ ﻭﺃﺩﺍﺎ ﺣﺴﺪﻭﺍ ﻋﻠﻰ
ﺍﺑﻦ ﺍﳌﻘﻔﻊ ﻋﻠﻰ ﺳﺒﻘﻪ ﰱ ﺗﺮﲨﺘﻪ ﻓﺄﻗﺪﻡ ﺑﻌﻀﻬﻢ ﻋﻠﻰ ﻧﻘﻠﻪ ﺛﺎﻧﻴﺔ ،ﻭﺍﺷﺘﻐﻞ ﻏﲑﻩ
ﺑﻨﻈﻤﻪ ﺷﻌﺮﺍ ﳊﻔﻈﻪ ،ﻭﺗﺼﺪﻯ ﺍﺧﺮﻭﻥ ﳌﻌﺎﺭﺿﺘﻪ ﻛﻤﺎ ﺳﻴﺠﺊ ﰱ ﺍﻟﺒﺤﺚ ﺍﻵﺗﻰ.
ﻋﻠﻰ ﺃﻥ ﺍﻟﺘﺮﺟﻨﺔ ﺭﺟﻌﺖ ﻛﻠﻬﺎ ﻟﺘﺮﲨﺔ ﺍﺑﻦ ﺍﳌﻘﻔﻊ ﺍﻟﱴ ﻫﻰ ﺑﲔ ﺃﻳﺪﻳﻨﺎ ،ﻭﻗﺪ
ﺗﻐﲑﺕ ﺑﺘﻮﺍﱃ ﺍﻷﺯﻣﺎﻥ ﺑﲔ ﺗﻨﻘﻴﺢ ﻭﺗﺼﺪﻳﺮ ﻭﺗﺬﻳﻴﻞ ﻓﺒﻠﻐﺖ ﺃﺑﻮﺍﺎ 21ﺑﺎﺑﺎ
ﺑﻌﻀﻬﺎ ﻫﻨﺪﻯ ﺍﻷﺻﻞ ﻭﺍﻷﺧﺮ ﻓﺎﺭﺳﻰ ﻭﺍﻷﺧﺮ ﻋﺮﰉ.
5ﺟﺮﺟﻰ ﺯﻳﺪﺍﻥ ،ﺗﺎﺭﻳﺦ ﺁﺩﺏ ﺍﻟﻐﺔ ﺍﻟﻌﺮﺑﻴﺔ) ،ﺑﲑﻭﺕ :ﺩﺍﺭ ﺍﻟﻔﻜﺮ،ﺩﺕ( ﻁ ﺟﺪﻳﺪﺓ ،ﺟـ2
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ﻓﺎﻷﺑﻮﺍﺏ ﺍﳍﻨﺪﻳﺔ 12ﻭﻫﻰ :ﺑﺎﺏ ﺍﻷﺳﺪ ﻭﺍﻟﺜﻮﺭ ،ﻭﺍﳊﻤﺎﻣﺔ ﺍﳌﻄﻮﻗﺔ ،ﻭﺍﻟﺒﻮﻡ
ﻭﺍﻟﻐﺮﺑﺎﻥ ،ﻭﺍﻟﻘﺮﺩ ﻭﺍﻟﻐﻴﻠﻢ ،ﻭﺍﻟﻨﺎﺳﻚ ﻭﺍﺑﻦ ﻋﺮﺱ ،ﻭﺍﳉﺮﺫ ﻭﺍﻟﺴﻨﻮﺭ ،ﻭﺍﳌﻠﻚ
ﻭﺍﻟﻄﺎﺋﺮﺓ ﻓﻨﺰﺓ ،ﻭﺍﻷﻳﺪ ﻭﺍﺑﻦ ﺍﻭﻯ ،ﻭﺇﻳﻼﺫ ﻭﺑﻼﺫ ﻭﺇﻳﺮﺍﺧﺖ ،ﻭﺍﻟﻠﺒﻮﺓ ﻭﺍﻹﺳﻮﺍﺭ
ﻭﺍﻟﺸﻐﱪ ,ﻭﺍﻟﺴﺎﺋﺢ ﻭﺍﻟﺼﺎﺋﻎ ،ﻭﺍﺑﻦ ﺍﳌﻠﻚ ﻭﺃﺻﺤﺎﺑﻪ.
ﻭﺍﻟﻔﺎﺭﺳﻴﺔ ﺛﻼﺛﺔ :ﻣﻘﺪﻣﺔ ﺑﺮﺯﻭﻳﺔ ،ﻭﺑﺎﺏ ﺑﻌﺜﺔ ﺑﺮﺯﻭﻳﺔ ،ﻭﺑﺎﺏ ﻣﻠﻚ ﺍﳉﺮﺫﺍﻥ.
ﻭﻫﻨﺎﻙ ﺳﺘﺔ ﺃﺑﻮﺍﺏ ﱂ ﺗﻜﻦ ﻣﻌﺮﻭﻓﺔ ﻗﺒﻞ ﺍﻟﺘﺮﲪﺔ ﺍﻟﻌﺮﺑﻴﺔ ،ﻳﻌﲎ ﻣﻘﺪﻣﺔ ﺍﻟﻜﺘﺎﺏ
ﻋﻠﻰ ﻟﺴﺎﻥ ﻨﻮﺩ ﺑﻦ ﺳﺤﻮﺍﻥ ﺍﳌﻌﺮﻭﻑ ﺑﻌﻠﻰ ﺑﻦ ﺍﻟﺸﺎﻩ ﺍﻟﻔﺎﺭﺳﻰ ،ﻭﺑﺎﺏ ﻋﺮﺽ
ﺍﻟﻜﺘﺎﺏ ﻻﺑﻦ ﺍﳌﻘﻔﻊ ،ﻭﺑﺎﺏ ﺍﻟﻔﺤﺺ ﻋﻦ ﺃﻣﺮ ﺩﻣﻨﺔ ،ﻭﺑﺎﺏ ﺍﻟﻨﺎﺳﻚ ﻭﺍﻟﻀﻴﻒ،
ﻭﺑﺎﺏ ﻣﺎﻟﻚ ﺍﳊﺰﻥ ﻭﺍﻟﺒﻄﻠﺔ ،ﻭﺑﺎﺏ ﺍﳊﻤﺎﻡ ﻭﺍﻟﺜﻌﻠﺐ ﻭﻣﺎﻟﻚ ﺍﳊﺰﻳﻦ .ﻭﺑﻌﺾ
ﻫﺬﻩ ﺍﻟﻔﺼﻮﻝ ﻻﻳﻮﺟﺪ ﺍﻻﻥ ﰱ ﺍﻟﻨﺴﺦ ﺍﳌﻄﺒﻮﻋﺔ ﻣﻦ ﺍﻟﺘﺮﲨﺔ ﺍﻟﻌﺮﺑﻴﺔ.
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ﻭﻃﺒﻊ ﻛﺘﺎﺏ ﻛﻠﻴﻠﺔ ﻭﺩﻣﻨﺔ ﰱ ﺍﻟﻌﺮﺑﻴﺔ ﻣﺮﺍﺭﺍ ﻣﻦ ﺃﻭﺍﺧﺮ ﺍﻟﻘﺮﻥ ﺍﻟﺜﺎﻣﻦ ﻋﺸﺮ
ﺇﱃ ﺍﻵﻥ .ﻭﺑﻌﺾ ﻃﺒﻌﺎﺗﻪ ﻣﺰﺩﺍﻧﺔ ﺑﺎﻟﺮﺳﻮﻡ ،ﻭﻗﺪ ﺿﺒﻄﻪ ﺑﺎﻟﺸﻜﻞ ﺍﻟﻜﺎﻣﻞ
6ﺟﺮﺟﻰ ﺯﻳﺪﺍﻥ ،ﺗﺎﺭﻳﺦ ﺁﺩﺏ ﺍﻟﻐﺔ ﺍﻟﻌﺮﺑﻴﺔ) ،ﺑﲑﻭﺕ :ﺩﺍﺭ ﺍﻟﻔﻜﺮ،ﺩﺕ( ﻁ ﺟﺪﻳﺪﺓ ،ﺟـ ،2ﺹ 144
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ﻟﻠﻤﺮﺣﻮﻡ ﺍﻟﺸﻴﺦ ﺧﻠﻴﻞ ﺍﻟﻴﺎﺯﺟﻰ .ﻭﻫﻮ ﻻﻳﺰﺍﻝ ﺇﱃ ﺍﻵﻥ ﻣﻦ ﺧﲑﺓ ﺍﻟﻜﺘﺐ ﰱ
ﺍﻟﻺﻧﺸﺎﺀ ،ﻭﻗﺪ ﺷﻐﻒ ﺍﻟﻌﺮﺏ ﲟﻌﺎﻧﻴﻪ ﻓﻨﻘﻠﻮﻫﺎ ﺇﱃ ﺍﻟﺸﻌﺮ.
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ﺍﻟﺒﺎﺏ ﺍﻟﺜﺎﻟﺚ
ﶈﺔ ﻋﻦ ﺍﻟﻘﺼﺔ ﺍﻟﻘﺼﲑﺓ
ﺃ.
ﻣﻔﻬﻮﻡ ﺍﻟﻘﺼﺔ ﺍﻟﻘﺼﲑﺓ
ﻟﻌﻠﻨﺎ ﻻ ﳒﺎﻭﺯ ﺍﳊﻘﻴﻘﺔ ﻋﻨﺪﻣﺎ ﻧﺰﻋﻢ ﺃﻥ ﻋﺪﻡ ﻭﺟﻮﺩ ﺗﻌﺮﻳﻒ ﳏﺪﺩ ﳌﺼﻄﻠﺢ
ﺍﻟﻘﺼﺔ ﺍﻟﻘﺼﲑﺓ ﻫﻮ ﺃﻫﻢ ﺍﻷﺳﺒﺎﺏ ﺍﻟﱴ ﺃﻭﺟﺪﺕ ﺍﻹﺧﺘﻼﻁ ﺑﲔ ﺍﻟﻘﺼﺔ ﺍﻟﻘﺼﲑﺓ
ﻭﻏﲑﻫﺎ ﻣﻦ ﺍﻷﳕﺎﻁ ﳑﺎ ﻳﺪﻓﻌﻨﺎ ﺇﱃ ﺿﺮﻭﺭﺓ ﲢﺪﻳﺪ ﻣﻔﻬﻮﻣﻬﺎ ،ﺃﻭ ﺗﻌﺮﻳﻔﻬﺎ ﺗﻌﺮﻳﻔﺎ
ﳏﺪﺩﺍ ﳚﻌﻠﻬﺎ ﻓﻨﺎ ﺃﺩﺑﻴﺎ ﺧﺎﺻﺎ ﻣﺘﻤﻴﺰﺍ ﻋﻦ ﻏﲑﻩ ﻣﻦ ﻓﻨﻮﻥ ﺍﻷﺩﺏ ،ﻭﺑﺮﻏﻢ ﻣﺎ ﻳﻠﻘﺎﻧﺎ
ﻣﻦ ﺗﻌﺮﻳﻔﺎﺕ ﺍﻟﻨﻘﺎﺩ ﻭﺍﻟﺪﺍﺭﺳﲔ ﻟﻠﻘﺼﺔ ﺍﻟﻘﺼﲑﺓ ﻓﺈﻧﻨﺎ ﻧﻮﺩ ﺃﻥ ﳔﺘﺎﺭ ﻣﻨﻬﺎ ﻣﺎ
ﻳﺬﻫﺐ ﺇﱃ ﺃﻥ ﺍﻟﻘﺼﺔ ﺍﻟﻘﺼﲑﺓ ﺳﻠﺴﻠﺔ ﺍﳌﺸﺎﻫﺪ ﺍﳌﻮﺻﻮﻓﺔ ﺗﻨﺸﺄ ﺧﻼﳍﺎ ﺣﺎﻟﺔ
ﻣﺴﺒﺒﺔ ﺗﺘﻄﻠﺐ ﺷﺨﺼﻴﺔ ﺣﺎﲰﺔ ﺫﺍﺕ ﺻﻔﺔ ﻣﺴﻴﻄﺮﺓ ﲢﺎﻭﻝ ﺃﻥ ﲢﻞ ﻧﻮﻋﺎ ﻣﻦ
ﺍﳌﺸﻜﻠﺔ ﻣﻦ ﺧﻼﻝ ﺑﻌﺾ ﺍﻷﺣﺪﺍﺙ ﺍﻟﱴ ﺗﺘﻌﺮﺽ ﻟﺒﻌﺾ ﺍﻟﻌﻮﺍﺋﻖ ﻭﺍﻟﺘﺼﻌﻴﺪﺍﺕ ﺃﻭ
ﺍﻟﻌﻘﺪﺓ،ﺣﱴ ﺗﺼﻞ ﺇﱃ ﻧﺘﻴﺠﺔ ﻗﺮﺍﺭ ﺗﻠﻚ ﺍﻟﺸﺨﺼﻴﺔ ﺍﻟﻨﻬﺎﺋﻰ ﻓﻴﻤﺎ ﻳﻌﺮﻑ ﺑﻠﺤﻈﺔ
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ﺍﻟﺘﻨﻮﻳﺮ ﺃﻭ ﺍﳊﻞ ﰱ ﺍﻷﺳﻠﻮﺏ ﳝﺘﺎﺯ ﺑﺎﻟﺘﺮﻛﻴﺰ ﻭﺍﻟﺘﻜﺸﻴﻒ ﺍﻟﺪﻻﱃ ﺩﻭﻥ ﺃﻥ ﻳﻜﻮﻥ
ﻟﻠﺒﻌﺪ ﺍﻟﻜﻤﻰ ﻓﻴﻤﺎ ﻛﺒﲑ ﺷﺄﻥ.
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ﺃﻣﺎ ﺍﻟﻘﺼﺔ ﺍﻟﻘﺼﲑﺓ ﺃﻭ ﺍﻷﻗﺼﻮﺻﺔ ﻓﻬﻤﺎ ﻧﻮﻉ ﺃﺩﰉ ،ﻭﺍﺣﺪ ﻳﻨﺒﻐﻰ ﺃﻥ ﻳﻘﻮﻡ
ﻋﻠﻰ ﺃﻗﻞ ﻣﺎ ﳝﻜﻦ ﻣﻦ ﺍﻷﺣﺪﺍﺙ ﺃﻯ ﺣﺪﺙ ﻭﺍﺣﺪ ﻳﺘﻨﺎﻣﻰ ﻋﱪ ﺷﺨﺼﻴﺎﺕ
ﳏﺪﻭﺩﺓ ﺃﻭ ﺷﺨﺼﻴﺔ ﻭﺍﺣﺪﺓ ﺣﺎﲰﺔ ،ﻭﰱ ﺇﻃﺎﺭ ﳏﺪﻭﺩ ﺟﺪﺍ ﻣﻦ ﺍﻟﺰﻣﺎﻥ ﻭﺍﳌﻜﺎﻥ
ﺣﱴ ﻳﺒﻠﻎ ﺍﻟﺼﺮﺍﻉ ﺫﺭﻭﺗﻪ ﻋﻨﺪ ﺗﺄﺯﻡ ﺍﳌﻮﻗﻒ ﻭﺗﻌﻘﻴﺪﻩ ﻟﺘﺄﺗﻰ ﻣﻦ ﰒ ﳊﻈﺔ ﺍﻟﺘﻨﻮﻳﺮ
ﺍﳌﻨﺎﺳﺒﺔ ﻣﻌﺰﻭﻟﺔ ﻋﻦ ﺍﳌﺼﺎﺩﻓﺔ ﻭﺍﻹﻓﺘﻌﺎﻝ ﺩﻭﻥ ﺍﺷﺘﺮﺍﻁ ﺍﳊﺠﻢ ﺃﻭ ﺍﻟﻄﻮﻝ ﺍﻟﺬﻯ
ﻳﻨﺒﻐﻰ ﺃﻥ ﻳﻜﻮﻥ ﳏﺪﻭﺩﺍ ﺑﻄﺒﻴﻌﺔ ﺍﳊﺎﻝ.
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ﻟﻘﺪ ﺍﺧﺘﻠﻔﺖ ﺍﻟﻘﺼﺔ ﺍﻟﻘﺼﲑﺓ ﻋﻠﻰ ﺃﻳﺪﻱ ﻫﺆﻻﺀ ﺍﻟﺸﺒﺎﺏ ﺍﺧﺘﻼﻓﺎ ﻛﺒﲑﺍ ﻋﻤﺎ
ﻛﺎﻧﺖ ﻋﻠﻴﻪ ﻋﻨﺪ ﺃﺳﻼﻓﻬﻢ ﻣﻦ ﺍﻟﻮﺍﻗﻌﲔ .ﱂ ﺗﻌﺪ ﺗﻌﲎ ﺑﺎﻟﺒﻴﺌﺔ ﺍﳌﺎﺩﻳﺔ ﺃﻭ ﺍﻟﻮﺍﻗﻊ
ﺍﳊﺴﻰ ،ﺑﻞ ﺑﺎﻟﻠﺤﻈﺎﺕ ﺍﻟﺸﻌﻮﺭﻳﺔ ﻭﺍﳌﻮﺍﻗﻒ ﺍﻟﻨﻔﺴﻴﺔ ﺍﳌﺘﻮﺍﺗﺮﺓ .ﻭﱂ ﺗﻌﺪ ﺘﻢ
ﺑﺎﳌﺸﺎﻛﻞ ﺍﻹﺟﺘﻤﺎﻋﻴﺔ ﺍﻫﺘﻤﺎﻣﺎ ﻣﺒﺎﺷﺮﺍ ،ﺑﻞ ﲟﺎ ﻗﺪ ﺗﻌﻜﺴﻪ ﻫﺬﻩ ﺍﳌﺸﺎﻛﻞ ﻣﻦ
1ﺧﻠﻴﻞ ﺇﺑﺮﻫﻴﻢ ﺍﺑﻮ ﺫﻳﺎﺏ ،ﺩﺭﺍﺳﺎﺕ ﰱ ﻓﻦ ﺍﻟﻘﺼﺔ) ،ﺍﻹﺳﻜﻨﺮﻳﺔ :ﺩﺍﺭ ﺍﻟﻮﻓﺎﺀ،(2000،ﺹ 14
2ﺧﻠﻴﻞ ﺇﺑﺮﻫﻴﻢ ﺍﺑﻮ ﺫﻳﺎﺏ ،ﺩﺭﺍﺳﺎﺕ ﰱ ﻓﻦ ﺍﻟﻘﺼﺔ) ،ﺍﻹﺳﻜﻨﺮﻳﺔ :ﺩﺍﺭ ﺍﻟﻮﻓﺎﺀ ،(2000،ﺹ 17
28
ﺃﺣﺎﺳﻴﺲ ﺫﺍﺗﻴﺔ ﻏﺎﻣﻀﺔ ،ﻻﺗﺒﺤﺚ ﻋﻦ ﺣﻞ ﻣﻌﲔ ،ﻭﺇﻥ ﻛﺎﻧﺖ ﺗﻮﻣﺊ ﺇﻟﻴﻪ
15
ﺃﺣﻴﺎﻧﺎ.
ﺗﻄﻮﺭ ﺍﻟﻘﺼﺔ ﺍﻟﻘﺼﲑﺓ
ﺏ.
ﺷﻬﺪ ﻋﺎﻡ ) (1930ﻭﻻﺩﺓ ﺃﻭﻝ ﺭﻭﺍﻳﺔ ﺳﻌﻮﺩﻳﺔ ،ﻭﻫﻲ ﺭﻭﺍﻳﺔ "ﺍﻟﺘﻮﺃﻣﺎﻥ"
ﻟﻌﺒﻴﺪ ﺍﻟﻘﺪﻭﺱ ﺍﻷﻧﺼﺎﺭﻯ ،ﺣﻴﺚ ﺃﻛﺪ ﻋﺪﺩ ﻣﻦ ﺍﻟﻨﻘﺎﺩ ،ﺃﻧﻪ ﱂ ﻳﻜﻦ ﻗﺪ ﺻﺪﺭ
ﻫﺬﺍ ﺍﻟﻌﺎﻡ ﺃﻯ ﻋﻤﻞ ﺭ ﻭﺍﺉ ﰱ ﺍﻟﺒﻼﺩ ﺍﻟﺴﻌﻮﺩﻳﺔ ﻟﻜﻦ ﳎﻤﻮﻋﺔ ﻣﻦ ﺍﻟﻌﻮﺍﻣﻞ ﻛﺎﻧﺖ
ﺗﻨﺴﺞ ﺧﻴﻮﻃﻬﺎ ﰱ ﺍﻟﺴﺎﺣﺔ ﺍﻷﺩﺑﻴﺔ ،ﻭﺗﺘﻈﺎﻓﺮ ﻟﺘﻬﻴﺌﺘﻬﺎ ﻟ
ﺍﷲ ﺑﻦ ﺍﳌﻘﻔﻊ ﻭ ﻋﻨﺎﺻﺮﻫﺎ ﺍﻟﺪﺍﺧﻠﻴﺔ
ﲝﺚ
ﻣﻘﺪﻡ ﺇﱃ ﻛﻠﻴﺔ ﺍﻵﺩﺍﺏ ﻭﺍﻟﻌﻠﻮﻡ ﺍﻹﻧﺴﺎﻧﻴﺔ ﺟﺎﻣﻌﺔ ﺷﺮﻳﻒ ﻫﺪﺍﻳﺔ ﺍﷲ ﺍﻹﺳﻼﻣﻴﺔ
ﺍﳊﻜﻮﻣﻴﺔ ﺟﺎﻛﺮﺗﺎ ﻟﻠﺤﺼﻮﻝ ﻋﻠﻰ ﺍﻟﺪﺭﺟﺔ ﺍﳉﺎﻣﻌﻴﺔ ﺍﻷﻭﱄ )(S.S.
ﺇﻋﺪﺍﺩ
ﺃﺯﻭﺭﺍﻟﺪﻳﻦ
ﺭﻗﻢ ﺍﻟﺘﺴﺠﻴﻞ 102021024272 :
ﻗﺴﻢ ﺍﻟﻠﻐﺔ ﺍﻟﻌﺮﺑﻴﺔ ﻭﺁﺩﺍﺑـﻬﺎ
ﺑﻜﻠﻴﺔ ﺍﻵﺩﺍﺏ ﻭﺍﻟﻌﻠﻮﻡ ﺍﻹﻧﺴﺎﻧﻴﺔ
ﺑـﺠﺎﻣﻌﺔ ﺷﺮﻳﻒ ﻫﺪﺍﻳﺔ ﺍﷲ ﺍﻹﺳﻼﻣﻴﺔ ﺍﳊﻜﻮﻣﻴﺔ
ﺟﺎﻛﺮﺗﺎ
2009ﻡ1430/ﻫـ
1
ﻗﺼﺔ "ﺍﻟﺴﺎﺋﺢ ﻭ ﺍﻟﺼﺎﺋﻎ" ﺍﻟﻘﺼﲑﺓ ﰲ ﻛﺘﺎﺏ ﻛﻠﻴﻠﺔ ﻭ ﺩﻣﻨﺔ ﻟﻌﺒﺪ
ﺍﷲ ﺑﻦ ﺍﳌﻘﻔﻊ ﻭ ﻋﻨﺎﺻﺮﻫﺎ ﺍﻟﺪﺍﺧﻠﻴﺔ
ﲝﺚ
ﻣﻘﺪﻡ ﺇﱃ ﻛﻠﻴﺔ ﺍﻵﺩﺍﺏ ﻭﺍﻟﻌﻠﻮﻡ ﺍﻹﻧﺴﺎﻧﻴﺔ ﺟﺎﻣﻌﺔ ﺷﺮﻳﻒ ﻫﺪﺍﻳﺔ ﺍﷲ ﺍﻹﺳﻼﻣﻴﺔ
ﺍﳊﻜﻮﻣﻴﺔ ﺟﺎﻛﺮﺗﺎ ﻟﻠﺤﺼﻮﻝ ﻋﻠﻰ ﺍﻟﺪﺭﺟﺔ ﺍﳉﺎﻣﻌﻴﺔ ﺍﻷﻭﱄ )(S.S.
ﺇﻋﺪﺍﺩ
ﺃﺯﻭﺭﺍﻟﺪﻳﻦ
ﺭﻗﻢ ﺍﻟﺘﺴﺠﻴﻞ 102021024272 :
ﲢﺖ ﺇﺷﺮﺍﻑ
)ﺍﻷﺳﺘﺎﺫ ﺍﻟﺪﻛﺘﻮﺭﺍﻧﺪﻭﺱ ﺩﻳﺪﻳﻦ ﺳﺮﺍﺝ ﺍﻟﺪﻳﻦ ﺍﳌﺎﺟﺴﺘﲑ(
ﻗﺴﻢ ﺍﻟﻠﻐﺔ ﺍﻟﻌﺮﺑﻴﺔ ﻭﺁﺩﺍﺑـﻬﺎ
ﻛﻠﻴﺔ ﺍﻵﺩﺍﺏ ﻭﺍﻟﻌﻠﻮﻡ ﺍﻹﻧﺴﺎﻧﻴﺔ
ﺟﺎﻣﻌﺔ ﺷﺮﻳﻒ ﻫﺪﺍﻳﺔ ﺍﷲ ﺍﻹﺳﻼﻣﻴﺔ ﺍﳊﻜﻮﻣﻴﺔ
ﺟﺎﻛﺮﺗﺎ
2009ﻡ1430/ﻫـ
2
ﻗﺮﺍﺭ ﳉﻨﺔ ﺍﳌﻨﺎﻗﺸﺔ ﻭﺍﳊﻜﻢ ﻋﻠﻰ ﺍﻟﺒﺤﺚ
ﲤﺖ ﻣﻨﺎﻗﺸﺔ ﻫﺬﺍ ﺍﻟﺒﺤﺚ ﻭﻋﻨﻮﺍﻧﻪ " :ﻗﺼﺔ "ﺍﻟﺴﺎﺋﺢ ﻭ ﺍﻟﺼﺎﺋﻎ" ﺍﻟﻘﺼﲑﺓ ﰲ ﻛﺘﺎﺏ
ﻛﻠﻴﻠﺔ ﻭ ﺩﻣﻨﺔ ﻟﻌﺒﺪ ﺍﷲ ﺑﻦ ﺍﳌﻘﻔﻊ ﻭ ﻋﻨﺎﺻﺮﻫﺎ ﺍﻟﺪﺍﺧﻠﻴﺔ " ﺃﻣﺎﻡ ﳉﻨﺔ ﺍﳌﻨﺎﻗﺸﺔ ﻭﺍﳊﻜﻢ
ﺑﻜﻠﻴﺔ ﺍﻵﺩﺍﺏ ﻭﺍﻟﻌﻠﻮﻡ ﺍﻹﻧﺴﺎﻧﻴﺔ ﺟﺎﻣﻌﺔ ﺷﺮﻳﻒ ﻫﺪﺍﻳﺔ ﺍﷲ ﺍﻹﺳﻼﻣﻴﺔ ﺍﳊﻜﻮﻣﻴﺔ
– ﺟﺎﻛﺮﺗﺎ ،ﰲ 17ﻣﻦ ﻳﻮﻧﻴﻮ 2009ﺍﳌﻮﺍﻓﻖ 23ﲨﺎﺩﺍﻟﺜﺎﱏ 1430ﻫـ
ﻭﻗﺪ ﰎ ﻗﺒﻮﻟﻪ ﺷﺮﻃﺎ ﻟﻠﺤﺼﻮﻝ ﻋﻠﻰ ﺍﻟﺪﺭﺟﺔ ﺍﳉﺎﻣﻌﺔ ﺍﻷﻭﱃ ﰲ ﺍﻟﻠﻐﺔ ﺍﻟﻌﺮﺑﻴﺔ
ﻭﺁﺩﺍﺎ )(S.S.
ﺟﺎﻛﺮﺗﺎ 17 ،ﻣﻦ ﻳﻮﻧﻴﻮ 2009
23ﲨﺎﺩﺍﻟﺜﺎﱏ 1430
ﻫـ
ﳉﻨﺔ ﺍﳌﻨﺎﻗﺸﺔ ﻭﺍﳊﻜﻢ
ﺳﻜﺮﺗﲑ ﺍﻟﻠﺠﻨﺔ ﻭﻋﻀﻮ
ﺭﺅﻳﺲ ﺍﻟﻠﺠﻨﺔ ﻭﻋﻀﻮ
ﺍﻟﺪﻛﺘﻮﺭ ﺯﺑﲑ ﺍﳌﺎﺟﺴﺘﲑ
ﺭﻗﻢ ﺍﻟﺘﻮﻇﻴﻒ150295496:
ﺍﻟﺪﻛﺘﻮﺭﺍﻧﺪﻭﺱ ﺃﺩﺍﻧﺞ ﺃﺳﺪﺭﻱ ﺍﳌﺎﺟﺴﺘﲑ
ﺭﻗﻢ ﺍﻟﺘﻮﻇﻴﻒ 150246291 :
ﺍﻷﻋﻀﺎﺀ
ﺍﳌﺸﺮﻑ
ﺍﻟﺪﻛﺘﻮﺭﺍﻧﺪﻭﺱ ﺩﻳﺪﻳﻦ ﺳﺮﺍﺝ ﺍﻟﺪﻳﻦ ﺍﳌﺎﺟﺴﺘﺮ
ﺭﻗﻢ ﺍﻟﺘﻮﻇﻴﻒ 150234507 :
3
ﺍﳌﻨﺎﻗﺶ
ﺍﻟﺪﻛﺘﻮﺭ ﺯﺑﲑ ﺍﳌﺎﺟﺴﺘﲑ
ﺭﻗﻢ ﺍﻟﺘﻮﻇﻴﻒ 150295496 :
ﺗﺼﺮﻳﺢ ﺍﻟﺒﺤﺎﺙ
ﰱ 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 ﰱ ﻛﺘﺎﺑﺔ ﻫﺬﺍ ﺍﻟﺒﺤﺚ ﻗﺪ ﻭﺿﻌﺘﻬﺎ
ﺣﺴﺐ ﺍﻟﻘﺮﺍﺭﺍﺕ ﺍﳌﻮﺟﻮﺩﺓ ﲜﺎﻣﻌﺔ ﺷﺮﻳﻒ ﻫﺪﺍﻳﺔ ﺍﷲ ﺍﻹﺳﻼﻣﻴﺔ
ﺍﳊﻜﻮ ﻣﻴﺔ – ﺟﺎﻛﺮﺗﺎ
.3ﺇﺫﺍ ﻛﺎﻥ ﺍﻟﺒﺤﺚ ﻣﻦ ﻏﲑ ﺇﻋﺪﺍﺩﻱ ﻭﺗﻮﺟﺪ ﻓﻴﻪ ﺍﻧﺘﺤﺎﻝ ﻵﺭﺍﺀ ﺍﻟﻐﲑ
ﺩﻭﻥ ﺫﻛﺮﻩ ﻓﺄﺳﺘﻌﺪ ﺃﻥ ﺃﺳﺘﻠﻢ ﻛﻞ ﺍﻟﻌﻘﻮﺑﺎﺕ ﺍﻟﱴ ﻗﺮﺭﺎﺟﺎﻣﻌﺔ
ﺷﺮﻳﻒ ﻫﺪﺍﻳﺔ ﺍﷲ ﺍﻹﺳﻼﻣﻴﺔ ﺍﳊﻜﻮ ﻣﻴﺔ – ﺟﺎﻛﺮﺗﺎ
ﺟﺎﻛﺮﺗﺎ 17 ،ﻳﻮﻧﻴﻮ 2009ﻡ
ﺃﺯﻭﺭﺍﻟﺪﻳﻦ
4
ﲡﺮﻳﺪ
ﺍﺯﻭﺭﺍﻟﺪﻳﻦ :ﻗﺼﺔ "ﺍﻟﺴﺎﺋﺢ ﻭ ﺍﻟﺼﺎﺋﻎ" ﺍﻟﻘﺼﲑﺓ ﰲ ﻛﺘﺎﺏ ﻛﻠﻴﻠﺔ ﻭ ﺩﻣﻨﺔ ﻟﻌﺒﺪ
ﺍﷲ ﺑﻦ ﺍﳌﻘﻔﻊ ﻭ ﻋﻨﺎﺻﺮﻫﺎ ﺍﻟﺪﺍﺧﻠﻴﺔ.
ﻛﺘﺎﺏ " ﻛﻠﻴﻠﺔ ﻭ ﺩﻣﻨﺔ " ﻳﻌﺪ ﻣﻦ ﺃﻋﻈﻢ ﺍﳌﺆﻟﻔﺎﺕ ﻻﺑﻦ ﺍﳌﻘﻔﻊ ﻭ ﺍﺷﻬﺮ ﻫﺎ ﻭ
ﺃﺭﻭﻉ ﺍﻟﺘﺮﺍﺙ ﺍﻹﻧﺴﺎﱏ ﺍﻟﺮﻓﻴﻊ .ﻭ ﻫﻮ ﻛﺘﺎﺏ ﺍﳍﻨﺪﻯ ﺍﻷﺻﻞ ﻭ ﻳﻀﻤﻦ ﻗﺼﺺ
ﺍﳊﻴﻮﺍﻥ ،ﳛﻜﻰ ﻓﻴﻪ ﻋﻦ ﺗﻌﺎﻟﻴﻢ ﺍﻷﺧﻼﻕ ﻭ ﺬﻳﺐ ﺍﻟﻨﻔﻮﺱ ﻧﻘﻞ ﺍﻟﻜﺘﺎﺏ ﻣﻦ
ﺍﻟﻔﺎﺭﺳﻴﺔ ﻭ ﺗﺮﲨﺔ ﺍﺑﻦ ﺍﳌﻘﻔﻊ ﺍﱃ ﺍﻟﻌﺮﺑﻴﺔ ،ﻭﻣﻨﻬﺎ ﺗﺮﺟﻢ ﺍﱃ ﺃﻛﺜﺮ ﻣﻦ ﻋﺸﺮﻳﻦ ﻟﻐﺔ
ﰱ ﺍﻟﻌﺎﱂ.
ﻭﺍﳌﺸﻜﻠﺔ ﰱ ﻫﺬﺍ ﺍﻟﺒﺤﺚ ﻫﻮ ﻛﻞ ﺣﻘﻴﻘﺔ ﰱ ﻫﺬﻩ ﺍﻟﻌﺎﱂ ﲢﺼﻞ ﺍﻟﻨﺼﺮ .ﻣﻦ ﻭﺿﻊ
ﺍﻟﻌﻤﻞ ﺍﳌﻌﺮﻭﻑ ﻓﻴﻌﻄﻲ ﺍﷲ ﺧﲑ ﺍﳉﺰﺍﺀ ﺍﻟﻜﺜﲑﺓ.
ﺍﻟﻐﺮﺽ ﺍﻟﺒﺎﺣﺚ ﻣﻦ ﻛﺘﺎﺑﺔ ﻫﺬﺍ ﺍﻟﺒﺤﺚ ﻫﻲ ﻣﻌﺮﻓﺔ ﺍﻟﻌﻨﺎﺻﺮ ﺍﻟﺪﺍﺧﻠﻴﺔ ﰱ ﻗﺼﺔ
ﻗﺼﲑﺓ " ﺍﻟﺴﺎﺋﺢ ﻭ ﺍﻟﺼﺎﺋﻎ " ﻣﻨﻬﺎ ﺍﳌﻮﺿﻮﻉ ،ﻭ ﺍﻟﺸﺨﺼﻴﺔ ،ﻭ ﺍﻟﺒﻴﺌﺔ ،ﻭ
ﺍﻟﺘﻮﺻﻴﺔ .ﻭ ﺃﻣﺎ ﺍﻟﻄﺮﻳﻘﺔ ﺍﻟﱴ ﺳﻠﻜﻬﺎ ﺍﻟﺒﺎﺣﺚ ﰱ ﻛﺘﺎﺑﺔ ﻫﺬﺍ ﺍﻟﺒﺤﺚ ﻓﻬﻲ ﺍﻟﻄﺮﻳﻘﺔ
ﺍﳌﻜﺘﺒ ﺔ ﲢﻠﻴﻞ ﺍﻟﻌﻨﺎﺻﺮ ﺍﻟﺪﺍﺧﻠﻴﺔ ﺍﻟﱴ ﺇﻋﺘﻤﺪﺕ ﻋﻠﻴﻬﺎ ﺍﻟﻜﺎﺗﺐ ﻓﻬﻲ ﻗﺮﺍﺀﺓ ﺍﻟﻜﺘﺎﺏ
ﺍﳌﺘﻌﻠﻘﺔ ﲟﻮﺿﻮﻉ ﺍﻟﺒﺤﺚ.
ﺍﳌﻮﺿﻮﻉ ﺍﻷﻏﻠﱮ ﰱ ﻫﺬﻩ ﺍﻟﻘﺼﺔ ﺍﻟﻘﺼﲑﺓ ﻫﻮ ﺍﻟﺘﺮﺑﻴﺔ ،ﻭ ﺍﻟﺸﺨﺼﻴﺔ ﺍﻟﺮﺋﻴﺴﻴﺔ ﰲ
ﻫﺬﻩ ﺍﻟﻘﺼﺔ ﺍﻟﻘﺼﲑﺓ ﳘﺎ ﺍﻟﺴﺎﺋﺢ ﻭ ﺍﻟﺼﺎﺋﻎ .ﻭﺍﻟﺸﺨﺼﻴﺔ ﺍﻟﺜﺎﻧﻮﻳﺔ ﺗﻜﻮﻥ ﻣﻦ ﺳﺘﺔ
ﻭ ﻫﻲ ﺍﻟﻘﺮﺩ ،ﺍﻟﺒﱪ ،ﺍﳊﻴﺔ ،ﺍﳌﻠﻚ ،ﺍﺑﻦ ﺍﳌﻠﻚ ،ﺍﳉﻦ .ﺍﻣﺎ ﺍﳊﺒﻜﺔ ﰲ ﻫﺬﻩ ﺍﻟﻘﺼﺔ
ﺍﻟﻘﺼﲑﺓ ﻓﻜﻤﺎﻳﻠﻰ ﻣﺮﺣﻠﺔ ﻭﺻﻒ ﺍﳊﺎﻟﺔ ﻭﺍﻟﻮﺿﻴﻌﻴﺔ ،ﻣﺮﺣﻠﺔ ﻇﻬﻮﺭ ﺻﺮﺍﻉ،
5
ﻣﺮﺣﻠﺔ ﺍﺭﺗﻘﺎﺀ ﺍﻟﺼﺮﺍﻉ ،ﻣﺮﺣﻠﺔ ﺫﺭﻭﺓ ﺍﻟﺼﺮﺍﻉ ،ﻣﺮﺣﻠﺔ ﻧﺰﻭﻝ ﺍﻟﺼﺮﺍﻉ .ﻭﺑﻴﺌﺔ ﰲ
ﻫﺬﻩ ﺍﻟﻘﺼﺔ ﺍﻻﹼ ﺧﻠﻔﻴﺔ ﺍﳌﻜﺎﻧﻴﺔ ﻭﻫﻲ ﺭﻛﻴﺔ ،ﺍﳌﺪﻳﻨﺔ ﺍﻟﻨﻮﺍﺩﺭﺧﺖ ،ﻣﻠﻜﻴﺔ،
ﺍﻟﺴﺠﻦ .ﻭﺍﻟﺘﻮﺻﻴﺔ ﰲ ﻫﺬﻩ ﺍﻟﻘﺼﺔ ﻫﻲ "ﻭﺿﻊ ﺍﻟﻌﻤﻞ ﺍﳌﻌﺮﻭﻑ ﰲ ﻏﲑ ﻣﻮﺿﻌﻪ ﻭ
ﺭﺟﻊ ﺍﻟﺸﻜﺮ ﻋﻠﻴﻪ".
6
ﺷﻜﺮ ﻭﺗﻘﺪﻳﺮ
ﺍﳊﻤﺪ ﷲ ﺍﻟﺬﻯ ﺃﻛﺮﻣﻨﺎ ﺑﺎﻹﺳﻼﻡ ،ﻭﺃﻋﺰﻧﺎ ﺑﺎﻹﳝﺎﻥ ،ﻭﺃﻧﻌﻢ ﻋﻠﻴﻨﺎ ﺑﺒﻌﺚ
ﳏﻤﺪ ﺻﻠﻰ ﺍﷲ ﻋﻠﻴﻪ ﻭﺳﻠﹼﻢ ﻓﻬﺪﺍﻧﺎ ﻣﻦ ﺍﻟﻀﻼﻝ ﻭﺃﻧﻘﺬﻧﺎ ﻣﻦ ﺍﻟﺸﺘﺎﺕ ،ﻭﺃﻟﹼﻒ ﺑﲔ
ﻗﻠﻮﺑﻨﺎ ﻓﺄﺻﺒﺤﻨﺎ ﺑﻨﻌﻤﺔ ﺳﺒﺤﺎﻧﻪ ﻭﺗﻌﺎﱃ ﺇﺧﻮﺍﻧﺎ ﳓﻤﺪﻩ ﻋﻠﻰ ﻫﺬﻩ ﺍﻟﻨﻌﻢ ﻭﻧﺴﺄﻟﻪ
ﺍﳌﺰﻳﺪ ﻭﺍﻟﺘﻮﻓﻴﻖ ﻭﺍﻟﺸﻜﺮﺍ ﻋﻠﻴﻬﺎ ﺃﻣﺎ ﺑﻌﺪ :
ﻓﺒﻌﻨﺎﻳﺔ ﺍﷲ ﻭﺗﻮﻓﻴﻘﻪ ﻭﺇﺭﺍﺩﺗﻪ ﻗﺪ ﺍﻧﺘﻬﻴﺖ ﻣﻦ ﻛﺘﺎﺑﺔ ﻫﺬﺍ ﺍﻟﺒﺤﺚ ﺍﻟﺬﻯ
ﻳﻜﻮﻥ ﺷﺮﻃﺎ ﻟﻠﺤﺼﻮﻝ ﻋﻠﻰ ﺍﻟﺪﺭﺟﺔ ﺍﳉﺎﻣﻌﻴﺔ ﺍﻷﻭﱃ ﰲ ﻗﺴﻢ ﺍﻟﻠﻐﺔ ﺍﻟﻌﺮﺑﻴﺔ
ﻭﺁﺩﺍﺑـﻬﺎ ﺑﻜﻠﻴﺔ ﺍﻵﺩﺍﺏ ﻭﺍﻟﻌﻠﻮﻡ ﺍﻹﻧﺴﺎﻧﻴﺔ ﺟﺎﻣﻌﺔ ﺷﺮﻳﻒ ﻫﺪﺍﻳﺔ ﺍﷲ ﺍﻹﺳﻼﻣﻴﺔ
ﺍﳊﻜﻮﻣﻴﺔ ﲜﺎﻛﺮﺗﺎ.
ﻭﺑـﻬﺬﻩ ﺍﳌﻨﺎﺳﺒﺔ ﺃﻗﺪﻡ ﺷﻜﺮﻱ ﻭﺗﻘﺪﻳﺮﻱ ﻟﻜﻞ ﻣﻦ ﺃﺭﺷﺪﱐ ﺑﺎﻟﺘﻮﺟﻴﻬﺎﺕ
ﺍﻟﺜﻤﻴﻨﺔ ﻭﺍﻟﻨﺼﺎﺋﺢ ﺫﺍﺕ ﺍﻟﻘﻴﻤﺔ ،ﻭﺃﻋﺎﱐ ﺑﻌﻨﺎﻳﺔ ﻛﺒﲑﺓ ﺍﱃ ﺃﻥ ﰎﹼ ﻫﺬﺍ ﺍﻟﺒﺤﺚ ،ﳑﻦ
ﻫﺆﻵﺀ :
7
-1ﻓﻀﻴﻠﺔ ﻋﻤﻴﺪ ﻛﻠﻴﺔ ﺍﻵﺩﺍﺏ ﻭﺍﻟﻌﻠﻮﻡ ﺍﻹﻧﺴﺎﻧﻴﺔ ﲜﺎﻣﻌﺔ ﺷﺮﻳﻒ ﻫﺪﺍﻳﺔ ﺍﷲ
ﲜﺎﻛﺮﺗﺎ ،ﺍﻟﺪﻛﺘﻮﺭ ﻋﺒﺪ ﺍﳋﲑ.
-2ﻓﻀﻴﻠﺔ ﺍﳌﺪﺭﺱ ﺍﻟﻔﺎﺿﻞ ﺍﻷﺳﺘﺎﺫ ﺍﻟﺪﻛﺘﻮﺭﺍﻧﺪﻭﺱ ﺩﻳﺪﻳﻦ ﺳﺮﺍﺝ ﺍﻟﺪﻳﻦ
ﺍﳌﺎﺟﺴﺘﲑ ﺍﻟﺬﻱ ﺃﺷﺮﻑ ﻋﻠﻰ ﺍﻟﻜﺎﺗﺐ ﰲ ﻛﺘﺎﺑﺔ ﻫﺬﺍ ﺍﻟﺒﺤﺚ ﻭﻗﺎﻡ ﲝﺴﻦ
ﺍﻟﺘﻮﺟﻴﻪ ﻭﲨﻴﻞ ﺍﻹﺭﺷﺎﺩ ﻣﻊ ﺃﻧﻪ ﻣﺸﻐﻮﻝ ﺑﻮﻇﻴﻔﺘﻪ.
-3ﻓﻀﻴﻠﺔ ﺭﺋﻴﺲ ﻗﺴﻢ ﺍﻟﻠﻐﺔ ﺍﻟﻌﺮﺑﻴﺔ ﻭﺁﺩﺍﺑـﻬﺎ ،ﺍﻟﺪﻛﺘﻮﺭﺍﻧﺪﻭﺱ ﺃﺩﻧﺞ
ﺃﺳﺪﺭﻯ ﺍﳌﺎﺟﺴﺘﲑ ﻭﻓﻀﻴﻠﺔ ﺳﻜﺮﺗﲑ ﻗﺴﻢ ﺍﻟﻠﻐﺔ ﺍﻟﻌﺮﺑﻴﺔ ﻭﺁﺩﺍﺑـﻬﺎ
ﺍﻟﺪﻛﺘﻮﺭ ﺯﺑﲑ ﺃﲪﺪ ﺍﳌﺎﺟﺴﺘﲑ.
-4ﺃﺧﺺ ﺑﻜﻞ ﺧﻀﻮﻉ ﺧﺎﻟﺺ ﺷﻜﺮﻱ ﻭﺗﻘﺪﻳﺮﻱ ﻟﻠﻤﻜﺮﻣﲔ ﻭﺍﻟﺪﻱ ﺃﰊ
ﺍﳊﺎﺝ ﺑﺮﻫﺎﻥ ﺍﻟﺪﻳﻦ ﻭﺃﻣﻰ ﺍﳊﺎﺟﺔ ﺑﺪﺭﻳﺔ ﺍﻟﻠﺬﻳﻦ ﺭﺑﻴﺎﱐ ﺃﺣﺴﻦ ﺗﺮﺑﻴﺔ
ﻭﺑﺬﻻ ﺟﻬﻮﺩﳘﺎ ﻭﻃﺎﻗﺘﻬﻤﺎ ﻟﺼﺮﻑ ﺍﻟﺮﺳﻮﻡ ﺍﻟﺪﺭﺍﺳﻴﺔ ﻷﲤﻜﻦ ﻣﻦ
ﻣﻮﺍﺻﻠﺔ ﺩﺭﺍﺳﱵ ﻭﺍﻟﻮﺻﻮﻝ ﺇﱃ ﻫﺬﻩ ﺍﳌﺮﺣﻠﺔ ﻣﻦ ﻣﺮﺍﺣﻞ ﺍﻟﺘﻌﻠﻴﻢ ﺍﻟﻌﻠﻤﻲ.
-5ﲨﻴﻊ ﺍﻷﺻﺪﻗﺎﺀ ﺍﻟﺬﻳﻦ ﻃﻠﺒﺖ ﻣﻌﻬﻢ ﺍﻟﻌﻠﻮﻡ ﻣﻨﺬ ﻗﻴﺎﻣﻲ ﰲ ﻫﺬﻩ ﺍﳉﺎﻣﻌﺔ،
ﻭﺻﺎﺣﺒﲏ ﰲ ﻛﺜﲑ ﻣﻦ ﺍﻷﻭﻗﺎﺕ ﰲ ﺍﻷﻓﺮﺍﺡ ﻭﺍﻷﺗﺮﺍﺡ ،ﻣﻨﻬﻢ ﺍﶈﺒﻮﺑﺔ
8
ﻳﻮﺍﻧﺘﺎ ﻓﺮﻭﻯ ﺩﻳﻮﻯ ﻭ ﻧﻮﺭ ﺳﻠﻴﻢ ﻭ ﻋﺮﻓﺎﻥ ﺿﺎﺿﻰ ﻭ ﺃﲪﺪ ﻓﻮﺯﻳﻦ ﻭ
ﺯﻛﺮﻳﺎ ﺃﻧﺼﺎﺭﻯ ﻭﻫﲑﻱ ﺳﻮﺳﻴﻠﻮ ﻭ ﺇﺭﻭﺍﻥ ﻭﺣﻴﺪﻱ ﻭﺍﺳﺮﺍﺗﻪ ﻭ ﺷﻴﻒ
ﺍﻟﻌﺎﺭﻓﲔ ﻭ ﻋﺒﺎﺩﺍﷲ ﻭ ﺃﺻﺪﻗﺎﺋﻰ ﻣﻦ ﲨﻌﻴﺔ ﺍﻟﻄﻼﹼﺏ ﺍﳌﺴﻠﻤﲔ
)(HMI
ﻭﻛﺬﻟﻚ ﺇﺧﻮﺍﰐ ﺍﶈﺒﻮﺑﺎﺕ ﺇﻳﺪﺍ ﺯﺭﻳﺪﺓ ﻭ ﺯﻭﺟﻬﺎ ﻭ ﻭﻟﺪﻫﺎ ﳏﻤﺪ ﺭﺍﺩﻳﻦ
ﺃﺭﺿﻴﻮﻥ ﻭ ﺍﰲ ﺷﻠﻔﻴﺔ ﻭ ﺍﻳﻔﺎ ﻣﺰﺩﻟﻔﺔ ﻭﻏﲑ ﻫﺆﻵﺀ ﺍﻟﺬﻳﻦ ﻻ ﳝﻜﻨﲏ ﺃﻥ
ﺃﺫﻛﺮ ﺃﲰﺎﺋﻬﻢ ﻭﺍﺣﺪ ﺑﻌﺪ ﻭﺍﺣﺪ.
ﺃﺧﲑﺍ ،ﺭﺟﺎﺋﻲ ﻣﻦ ﺍﳌﻮﱃ ﺳﺒﺤﺎﻧﻪ ﻭﺗﻌﺎﱃ ﺃﻥ ﳚﻌﻞ ﻫﺬﺍ ﺍﻟﺒﺤﺚ ﺍﻟﻌﻠﻤﻲ
ﻋﻤﻼ ﺻﺎﳊﺎ ﻣﻘﺒﻮﻻ .ﺇﻧﻪ ﻭﱄ ﺍﻟﺘﻮﻓﻴﻖ ﻋﻠﻴﻪ ﺗﻮﻛﻠﺖ ﻭﺇﻟﻴﻪ ﺃﻧﻴﺐ.
ﺍﺯﻭﺭﺍﻟﺪﻳﻦ
9
ﻣـﺤﺘﻮﻳﺎﺕ ﺍﻟﺒﺤﺚ
ﺍﻟﺒﺎﺏ ﺍﻷﻭﻝ
ﻣﻘﺪﻣﺔ
) ( 7 -1
ﺃ .ﺧﻠﻔﻴﺔ ﺍﳌﺸﻜﻠﺔ 1 ...................................................
ﺏ.ﲢﺪﻳﺪ ﺍﳌﺸﻜﻠﺔ ................................................
5
ﺝ .ﺍﻟﻐﺮﺽ ﻣﻦ ﺍﻟﺒﺤﺚ 6 ...............................................
ﺩ .ﻣﻨﻬﺞ ﺍﻟﺒﺤﺚ 6 ....................................................
ﻩ .ﺧﻄﺔ ﺍﻟﺒﺤﺚ 7 ....................................................
ﺍﻟﺒﺎﺏ ﺍﻟﺜﺎﱐ
ﻛﺘﺎﺏ ﻛﻠﻴﻠﺔ ﻭﺩﻣﻨﺔ ﻻﺑﻦ ﺍﳌﻘﻔﻊ
)(11- 8
ﺃ .ﺍﺑﻦ ﺍﳌﻘﻔﻊ8 .......................................................
ﺏ .ﻛﺘﺎﺏ " ﻛﻠﻴﻠﺔ ﻭ ﺩﻣﻨﺔ 11 ...........................................
ﺍﻟﺒﺎﺏ ﺍﻟﺜﺎﻟﺚ
ﶈﺔ ﻋﻦ ﺍﻟﻘﺼﺔ ﺍﻟﻘﺼﲑﺓ
)(21 - 51
ﺃ .ﻣﻔﻬﻮﻡ ﺍﻟﻘﺼﺔ ﺍﻟﻘﺼﲑﺓ15 ............................................
ﺏ .ﺗﻄﻮﺭ ﺍﻟﻘﺼﺔ ﺍﻟﻘﺼﲑﺓ17 ............................................
ﺝ .ﺍﻟﻌﻨﺎﺻﺮ ﺍﻟﺪﺍﺧﻠﻴﺔ ﰱ ﺑﻨﺎﺀ ﺍﻟﻘﺼﺔ ﺍﻟﻘﺼﲑﺓ21 ..........................
10
ﺍﻟﺒﺎﺏ ﺍﻟﺮﺍﺑﻊ
ﺍﻟﺘﺤﻠﻴﻞ ﻋﻦ ﺍﻟﻌﻨﺎﺻﺮ ﺍﻟﺪﺍﺧﻠﻴﺔ ﰱ ﺍﻟﻘﺼﺔ "ﺍﻟﺴﺎﺋﺢ ﻭﺍﻟﺼﺎﺋﻎ"
)(40 – 28
أ.
ب.
ﺇﺧﺘﺼﺎﺭ ﺍﻟﻘﺼﺔ ﺍﻟﻘﺼﲑﺓ "ﺍﻟﺴﺎﺋﺢ ﻭﺍﻟﺼﺎﺋﻎ"28 ..................
ﺍﻟﺘﺤﻠﻴﻞ ﻋﻦ ﺍﻟﻌﻨﺎﺻﺮ ﺍﻟﺪﺍﺧﻠﻴﺔ ﰱ ﺍﻟﻘﺼﺔ ﺍﻟﻘﺼﲑﺓ "ﺍﻟﺴﺎﺋﺢ ﻭﺍﻟﺼﺎﺋﻎ"،
ﻣﻨﻬﺎ31 .................................................. :
.1ﺍﳌﻮﺿﻮﻉ 31 .......................................
.2ﺍﻟﺸﺨﺼﻴﺔ 31 ......................................
.3ﺍﳊﺒﻜﺔ 33 .........................................
.4ﺍﻟﺒﻴﺌﺔ 39 ...........................................
.5ﺍﻟﺘﻮﺻﻴﺔ 43 ........................................
.6ﻋﻼﻗﺔ ﺑﲔ ﺍﻟﻌﻨﺎﺻﺮ45 ...............................
ﺍﻟﺒﺎﺏ ﺍﳋﺎﻣﺲ
ﺍﳋـﺎﰎ
)(43 – 46
ﺍﳋﻼﺻﺔ 46 ...........................................................
ﻣﺮﺟﻊ ﺍﻟﺒﺤﺚ 48......................................................
11
ﺍﻟﺒﺎﺏ ﺍﻷﻭﻝ
ﺍﳌﻘﺪﻣﺔ
أ.
ﺧﻠﻔﻴﺔ ﺍﳌﺸﻜﻠﺔ
ﺇﻧﻪ ﱂ ﻳﻌﺮﻑ ﺍﻟﻌﺮﺏ ﰱ ﺟﺎﻫﻠﻴﺘﻬﻢ ﻣﻌﲎ ﻟﻜﻠﻤﺔ ﺍﻷﺩﺏ ﺇﻻ ﻣﺎ ﻳﺘﺼﻞ
ﺑﺎﻟﺪﻋﻮﺓ ﺇﱃ ﺍﻟﻄﻌﺎﻡ ﺑﺎﳋﻠﻖ ﺍﳊﺴﻦ 1،ﻭﳛﺘﻤﻞ ﰱ ﺻﺪﺭ ﺍﻹﺳﻼﻡ ﺍﺳﺘﺨﺪﻡ ﺍﻟﻌﺮﺏ
ﻛﻠﻤﺔ ﺍﻷﺩﺏ ﲟﻌﲎ ﺍﻟﺜﻘﺎﻓﺔ ﻭﺍﻟﺘﻌﻠﻢ ﻭﺍﻟﺜﻘﻴﻒ ،ﻭﳛﻤﻞ ﻫﺬﺍﳌﻌﲎ ﻣﺎﺭﻭﻯ ﻋﻦ
ﺭﺳﻮﻝ ﺍﷲ ﺻﻠﻰ ﺍﷲ ﻋﻠﻴﻪ ﻭﺳﻠﻢ "ﺃﺩﺑﲏ ﺭﰊ ﻓﺄﺣﺴﻦ ﺗﺄﺩﻳﺒﱯ ﻭﺭﺑﻴﺖ ﰱ ﺑﲎ
ﺳﻌﺪ" .ﻭﰱ ﺍﻟﻌﺼﺮ ﺍﻷﻣﻮﻱ ﺻﺎﺭﺕ ﻛﻠﻤﺔ "ﺃﺩﺏ" ﺗﻌﲎ ﻧﻮﻋﺎ ﺧﺎﺻﺎ ﻣﻦ ﺍﻟﺜﻘﺎﻓﺔ
ﻭﻫﻮ ﺍﻟﺬﻯ ﻳﺪﻭﺭ ﺣﻮﻝ ﺍﻟﺸﻌﺮ ﻭﺍﻷﺧﺒﺎﺭ ﻭﺍﻷﻧﺴﺎﺏ ،ﰒ ﺗﻄﻮﺭ ﻣﻌﻨﺎﻩ ﰱ ﺍﻟﻘﺮﻥ
1
Achmad Bachmid, “Karakteristik Sastra Arab Masa Jahiliyah dan
ﺹ Islam”, (At-Turas, X, 3 (September 2004), 187-185
12
ﺍﻟﺜﺎﻟﺚ ﺍﺍﳍﺠﺮﻱ ﻓﺄﺻﺒﺤﺖ ﺗﻌﲎ ﻣﻌﺮﻓﺔ ﺍﳌﺄﺛﻮﺭ ﻣﻦ ﺍﻟﺸﻌﺮ ﻭﺍﻟﻨﺜﺮ .ﻭﻗﺪ ﻋﺮﻑ
ﺍﻷﺩﺏ ﺑﻌﻀﻬﻢ ﺑﺄﻧﻪ ﻋﻠﻢ ﳜﺘﺮﺯ ﺑﻪ ﻋﻦ ﺍﳋﻠﻞ ﰱ ﻛﻼﻡ ﺍﻟﻌﺮﺏ ﻟﻔﻈﺎ ﺃﻭ ﻛﺘﺎﺑﺔ
ﻭﻗﺴﻤﻮﻩ ﺇﱃ ﺇﺛﲏ ﻋﺸﺮ ﻗﺴﻤﺎ ،ﻫﻲ :ﺍﻟﻨﺤﻮ ﻭﺍﻟﺼﺮﻑ ﻭﺍﻟﻌﺮﻭﺽ ﻭﺍﻟﻘﺎﻓﻴﺔ ﻭﺍﻟﺸﻌﺮ
ﻭﺍﻹﻧﺸﺎﺀ ﻭﺍﻟﻠﻐﺔ ﻭﺍﳋﻂ ﻭﺍﻟﺒﻴﺎﻥ ﻭﺍﳌﻌﺎﱐ ﻭﺍﶈﺎﺿﺮﺓ ﻭﺍﻹﺷﺘﻘﺎﻕ .ﻭﻫﺬﻩ ﺍﻟﻨﻈﺮﺓ
ﺍﻟﻮﺍﺳﻌﺔ ﱂ ﺗﺪﻡ ﻃﻮﻳﻼ ،ﻓﻘﺪ ﺿﺎﻕ ﻣﻌﻨﺎﻩ ﻭﺍﻗﺘﺼﺮ ﻣﻌﻨﺎﻩ ﻋﻠﻰ ﺍﻟﺸﻌﺮ ﻭﺍﻟﻨﺜﺮ ،ﻭﻫﻮ
ﺍﳌﻌﲎ ﺍﻟﺬﻯ ﻋﺮﻑ ﺑﻪ ﰱ ﺍﻟﻌﺼﺮ ﺍﻷﻣﻮﻱ ﻭﻳﺴﺘﻤﺮ ﺇﱃ ﻋﺼﺮﻧﺎ ﺍﳊﺎﺿﺮ.
2
ﻣﻦ ﺍﳌﻌﻠﻮﻡ ،ﺃﻥ ﺍﻷﺩﺏ ﺗﻌﺒﲑ ﻋﻦ ﺍﻟﻔﻜﺮﺓ ﺃﻭ ﺍﻟﺮﺃﻱ ﺃﻭ ﺍﻟﺸﻌﻮﺭ ﺑﺎﺳﺘﻌﻤﺎﻝ
ﺍﻟﻠﻐﺔ ﺍﳉﻤﻴﻠﺔ .ﻭﻫﻮ ﻳﺪﻋﻮ ﻟﻘﺮﺍﺀ ﻣﺴﺄﻟﺔ ﺍﳊﻴﺎﺓ ﺍﳌﺘﻨﻮﻋﺔ ،ﻭﻳﺪﻋﻮﻫﻢ ﻹﻧﺼﺎﻑ
ﺃﻧﻔﺴﻬﻢ ﻣﻦ ﻓﻜﺮﺓ ﻗﺒﻴﺤﺔ ﻭﺧﺒﻴﺜﺔ ﻭﻟﺘﺤﺮﻳﺮﻫﺎ .ﺣﱴ ﺻﺎﺭ ﺍﻷﺩﺏ ﻭﺳﻴﻠﺔ ﻟﺘﺒﻠﻴﻎ
ﺍﻟﺘﻮﺻﻴﺔ ﻟﻠﻘﺮﺍﺀ ﻋﻦ ﺣﺎﻟﺔ ﺍﻟﺰﻣﻦ ،ﻭﺣﺎﻟﺔ ﺍﻻﺟﺘﻤﺎﻉ ﻭﺍﻟﺜﻘﺎﻓﺔ ﻭﺍﺘﻤﻊ ﰱ ﺫﻟﻚ
ﺍﻟﺰﻣﻦ .ﻟﺬﻟﻚ ﺑﺎﻷﺩﺏ ﻧﺴﺘﻄﻴﻊ ﺃﻥ ﻧﻌﺮﻑ ﺻﻮﺭﺓ ﻋﻦ ﺣﻴﺎﺓ ﺍﺘﻤﻊ ﺑﻜﻞﹼ ﻧﺎﺣﻴﺔ.
2ﻓﻮﺯﻯ ﺍﻟﺴﻴﺪ ﻋﺒﺪ ﺭﺑﻪ ،ﺩﺭﺍﺳﺎﺕ ﰲ ﺍﻟﺒﻼﻏﺔ ﺍﻟﻌﺮﺑﻴﺔ) ،ﺍﻟﻘﺎﻫﺮﺓ :ﺟﺎﻣﻌﺔ ﺍﻷﺯﻫﺮ ،ﻛﻠﻴﺔ ﺍﻟﺪﺭﺍﺳﺎﺕ
ﺍﻹﺳﻼﻣﻴﺔ ﻭﺍﻟﻌﺮﺑﻴﺔ ﻟﻠﺒﻨﲔ1998 ،ﻡ( ،ﺹ 27-26
13
ﺭﺃﻳﻨﺎ ﺃﻥ ﺍﻷﺩﺏ ﺗﻌﺒﲑ ﻟﻐﻮﻱ ﲨﻴﻞ ﻋﻦ ﺍﳊﻴﺎﺓ ،ﻟﻪ ﻗﻮﺍﻟﺐ ﻛﺜﲑﺓ ،ﺗﺘﺠﻤﻊ
ﰱ ﻗﺴﻤﲔ ﻛﺒﲑﻳﻦ ،ﳘﺎ :ﺍﻟﺸﻌﺮ ﻭﺍﻟﹼﻨﺜﺮ .ﻟﻠﻨﺜﺮ -ﻗﻮﺍﻟﺐ ﻋﺪﺓ ،ﻭﺗﻜﻮﻥ ﻣﻦ ﺍﻟﻘﺼﺔ
ﺗﻨﻘﺴﻢ ﺇﱃ ﺛﻼﺙ ﺃﻗﺴﺎﻡ ﲝﻴﺚ ﺗﻄﻮﻝ ﻓﻴﻬﺎ ﻭﺍﻟﻨﺰﺍﻉ ﺍﻟﹼﺬﻯ ﻳﻮﺟﺪ ﻓﻴﻬﺎ ﻛﻤﺎ ﻳﻠﻲ:
(1ﺍﻷﻗﺼﻮﺻﺔ ،ﻭﻫﻲ ﺗﻜﺘﺐ ﰲ ﺻﻔﺤﺔ ﺃﻭ ﺻﻔﺤﺘﲔ ﻭﻻ ﻳﺴﻤﺢ ﻣﻴﺪﺍﺎ ﺑﺘﻌﺪﺩ
ﺍﻷﺣﺪﺍﺙ ﻭﺍﻟﺸﺨﺼﻴﺎﺕ.
(2ﺍﻟﻘﺼﺔ ،ﻭﻫﻲ ﺃﻃﻮﻝ ﻣﻦ ﺍﻷﻗﺼﻮﺻﺔ ﻭﺗﻜﺘﺐ ﻣﻦ ﻓﺼﻞ ﻭﺍﺣﺪ ﻋﺎﺩﺓ.
(3ﺍﻟﺮﻭﺍﻳﺔ ،ﻫﻲ ﺗﺘﻌﺪﺩ ﻓﺼﻮﳍﺎ ﻳﺴﻤﺢ ﻣﻴﺪﺍﺎ ﺑﺘﻌﺪﺩ ﺍﻷﺣﺪﺍﺙ ﻭﺍﻟﺸﺨﺼﻴﺎﺕ
ﺃﻛﺜﺮ ﻣﻦ ﺍﻟﻘﺼﺔ.
ﺍﻟﻘﺼﺔ ﺍﻟﻘﺼﲑﺓ ﺑﺼﻔﺔ ﺧﺎﺻﺔ ﺷﻲﺀ ﻳﺘﻠﻬﻰ ﺑﻪ ﺍﻹﻧﺴﺎﻥ ﰱ ﺃﻭﻗﺎﺕ ﻓﺮﺍﻏﻪ،
ﻭﻣﻦ ﰒ ﺟﺎﺀ ﻋﺪﻡ ﺗﻘﺪﻳﺮﻫﻢ ﻟﻜﺘﺎﺑﺘﻬﺎ ﺳﻮﺍﺀ ﻣﻨﻬﻢ ﻋﺎﻣﺔ ﺍﻟﻘﺮﺍﺀ ﺃﻭ ﺧﺎﺻﺔ ﺍﳌﺜﻘﻔﲔ
ﺃﻭ ﺣﱴ ﺍﻷﺩﺑﺎﺀ ﺃﻧﻔﺴﻬﻢ ،ﻗﺪ ﺍﻋﺘﺪﻭﺍ ﺃﻥ ﻳﻨﻈﺮﻭﺍ ﺇﱄ ﺍﻷﺩﺏ ﰱ ﺍﻟﺸﻌﺮ ﺃﻭﻻ ﰒﹼ
ﺍﳌﻘﺎﻝ ﺍﻻﺟﺘﻤﺎﻋﻰ ﻭﺍﻟﻨﻘﺪﻯ ﺛﺎﻧﻴﺎ ،ﻭﺃﺻﺒﺤﻮﺍ ﻳﻌﻄﻮﻥ ﻟﻠﺸﻌﺮ ﺍﳌﻜﺎﻧﺔ ﺍﻟﻌﻠﻴﺎ ﻣﻦ ﺑﲔ
ﻓﻨﻮﻥ ﺍﻷﺩﺏ ﲨﻴﻌﺎ ،ﻭﺍﻟﻨﺎﺱ ﺇﱃ ﺣﲔ ﻗﺮﻳﺐ ﻛﺎﻧﻮﺍ ﻳﻨﻈﺮﻭﻥ ﺇﱃ ﺍﻟﻘﺼﺔ ﺑﻌﲔ
14
ﺍﻟﺴﺨﺮﻳﺔ ﻭﺍﻻﺯﺩﺭﺍﺀ ﻭﻻ ﻳﻌﺪﻭﻥ ﻣﻦ ﺍﻷﺩﺏ ﺍﻟﺮﻓﻴﻊ ﺷﻴﺌﺎ ،ﺑﻞ ﺃﻏﻠﺒﻬﻢ ﻳﻈﻦ ﺃﺎ ﳍﻮ
ﻭﻋﺒﺚ.
3
ﻭﺇﻥ ﺍﻟﺒﻨﺎﺀ ﺍﻟﻘﺼﺼﻰ ﻟﻪ ﻋﻨﺎﺻﺮ ﺩﺍﺧﻠﻴﺔ ﺃﺳﺎﺳﻴﺔ ،ﻻﲣﻠﻮ ﻣﻨﻬﺎ ﺍﻟﻘﺼﺔ
ﺍﻟﻘﺼﲑﺓ -ﻋﻠﻰ ﺍﻷﻗﻞ -ﻭﻫﻲ :ﺍﳌﻮﺿﻮﻉ ،ﻭﺍﻟﺸﺨﺼﻴﺎﺕ ،ﻭﺍﳊﺒﻜﺔ ،ﻭﺍﻟﺒﻴﺌﺔ،
4
ﻭﺍﻟﺘﻮﺻﻴﺔ.
ﻭﻛﺎﻧﺖ ﻀﺔ ﺍﻟﻔﻜﺮﺓ ﰱ ﺍﻟﻌﺼﺮ ﺍﻟﻌﺒﺎﺳﻰ ﺍﻟﱴ ﻗﺪﻣﻬﺎ ﺍﳋﻠﻴﻔﺔ ﺟﻌﻔﺮ
ﺍﳌﻨﺼﻮﺭ ﺗﻌﺘﻤﺪ ﺇﻋﺘﻤﺎﺩﺍ ﻣﻠﺤﻮﻇﺎ ﻋﻠﻰ ﻧﺸﺎﻁ ﻭﺍﺳﻊ ﻟﻠﺘﺮﲨﺔ ﻣﻦ ﺍﻟﻠﻐﺔ
ﺍﻟﺴﻨﺴﻜﺮﻳﺘﻴﺔ ﻭﺍﻟﺒﻬﻠﻮﻳﺔ ﻭﺍﻟﻴﻮﻧﺎﻧﻴﺔ ﺇﱃ ﺍﻟﻌﺮﺑﻴﺔ .ﻓﺎﺳﺘﺠﺎﺏ ﻛﺜﲑ ﻣﻦ ﺍﻟﺒﺎﺣﺜﲔ
ﻭﺍﳌﺘﺮﲨﲔ ﳍﺬﻩ ﺍﻟﺮﻏﺒﺔ .ﻭﻣﻦ ﺍﻟﻜﺘﺐ ﺍﻵﺩﺑﻴﺔ ﺍﳌﺘﺮﲨﺔ ﺍﳌﺸﻬﻮﺭﺓ ﻫﻮ ﻛﺘﺎﺏ "ﻛﻠﻴﻠﺔ
ﻭﺩﻣﻨﺔ" ﺍﳍﻨﺪﻯ ﺍﻵﺻﻠﻰ ﺍﻟﺬﻯ ﻭﺿﻌﻪ ﺑﻴﺪﺑﺎ ﺍﻟﻔﻴﻠﺴﻮﻑ ﺍﳍﻨﺪﻱ ﻟﺪﻯ ﺑﺸﻠﻢ ﻣﻠﻚ
3
ﺳﻴﺪ ﺣﺎﻣﺪ ﺍﻟﻨﺴﺎﺝ ،ﺗﻄﻮﺭ ﻣﻦ ﺍﻟﻘﺼﺔ ﺍﻟﻘﺼﲑﺓ ﰱ ﻣﺼﺮ) ،ﺍﻟﻘﺎﻫﺮﺓ :ﻣﻜﺘﺒﺔ ﻏﺮﻳﺐ1999 ،ﻡ(،ﺹ
32
Mursal Este, Kesusastraan: Pengantar Teori dan Sejarah,(Bandung: Angkasa, 2000),
4
c 10, h 20
15
ﺍﳍﻨﺪﻯ 5.ﻭﻗﺪ ﻧﻘﻞ ﺑﻠﻴﻎ ﺍﻟﻌﺮﺏ ﻋﺒﺪ ﺍﷲ ﺑﻦ ﺍﳌﻘﻔﻊ ﻛﺘﺎﺏ "ﻛﻠﻴﻠﺔ ﻭﺩﻣﻨﺔ" ﻣﻦ
ﺍﻟﺒﻬﻠﻮﻳﺔ ﺇﱃ ﺍﻟﻌﺮﺑﻴﺔ.
6
ﺗﺄﺳﻴﺴﺎ ﻋﻠﻰ ﺍﻟﺒﻴﺎﻥ ﺍﳌﻮﺣﺰ ﺍﻟﺴﺎﺑﻖ ﻣﻦ ﺍﳊﺼﺎﺋﺺ ﺍﳌﻤﺘﺎﺯﺓ ﰱ ﺍﻟﻘﺼﺔ
"ﻛﻠﻴﻠﺔ ﻭﺩﻣﻨﺔ ،ﻳﻮﺩ ﺍﻟﺒﺎﺣﺚ ﺍﻥ ﻳﺘﺨﺬﻫﺎ ﻣﻮﺿﻮﻉ ﲝﺜﻪ ﺍﻟﻌﻠﻤﻲ ﺭﺟﺎﺀ ﺍﻥ ﻳﺴﺘﻔﻴﺪ
ﻣﻨﻪ ﺍﻟﻘﺎﺭﺉ ﺍﻟﺘﻌﻠﻴﻢ ﺍﳉﺪﻳﺪﺓ ﺍﳌﺘﻌﻠﻘﺔ ﺑﺎﻵﺩﺏ ﺍﻟﻌﺮﰊ ﻭﺍﻟﻘﺼﺔ ﻭﻣﺎ ﻓﻴﻬﻤﺎ ﻣﻦ
ﺍﳋﺼﺎﺋﺺ ﺍﳌﻤﺘﺎﺯﺓ .ﻭﺳﻴﻜﺘﺐ ﺍﻟﺒﺎﺣﺚ ﺭﺳﺎﻟﺘﻪ ﲢﺖ ﺍﳌﻮﺿﻮﻉ :ﺍﻟﻘﺼﺔ ﺍﻟﻘﺼﲑﺓ
"ﺍﻟﺴﺎﺋﺢ ﻭﺍﻟﺼﺎﺋﻎ" ﰱ ﻛﺘﺎﺏ ﻛﻠﻴﻠﺔ ﻭﺩﻣﻨﺔ ﻟﻌﺒﺪ ﺍﷲ ﺑﻦ ﺍﳌﻘﻔﻊ ﻭ ﻋﻨﺎﺻﺮﻫﺎ
ﺍﻟﺪﺍﺧﻠﻴﺔ.
ﺏ .ﲢﺪﻳﺪ ﺍﳌﺸﻜﻠﺔ
ﺇﻥ ﻫﺬﺍ ﺍﻟﺒﺤﺚ ﻭﺍﺳﻊ ﺍﻟﻨﻄﺎﻕ ،ﻓﺤﺪﺩ ﺍﻟﺒﺎﺣﺚ ﻋﻠﻰ ﻗﺼﺔ ﻗﺼﲑﺓ"ﺍﻟﺴﺎﺋﺢ
ﻭ ﺍﻟﺼﺎﺋﻎ" ﰱ ﻛﺘﺎﺏ ﻛﻠﻴﻠﺔ ﻭﺩﻣﻨﺔ ﻻﺑﻦ ﺍﳌﻘﻔﻊ ﻭﻋﻨﺎﺻﺮﻫﺎ ﺍﻟﺪﺍﺧﻠﻴﺔ .ﻓﻴﻘﺘﺼﺮ
ﻋﻠﻰ ﻣﺎ ﻳﻠﻰ:
5
ﺃﲪﺪ ﺷﻠﱮ ،ﻣﻮﺳﻮﻋﺔ ﺍﻟﺘﺎﺭﻳﺦ ﺍﻹﺳﻼﻣﻰ ﻭﺍﳊﻈﺎﺭﺓ ﺍﻹﺳﻼﻣﻴﺔ) ،ﺍﻟﻘﺎﻫﺮﺓ :ﻣﻜﺘﺒﺔ ﺍﻟﻨﻬﻀﺔ ﺍﳌﺼﺮﻳﺔ،
1996ﻡ( ،ﻁ ،11ﺝ ،3ﺹ 246
6ﳏﻤﺪ ﺛﺎﺑﺖ ﺍﻟﻔﻨﺪﻯ ،ﺩﺍﺋﺮﺓ ﺍﳌﻌﺎﺭﻑ ﺍﻹﺳﻼﻣﻴﺔ) ،ﺩ.ﻡ :ﺩ.ﻥ1933 ،ﻡ( ،ﻁ ،1ﺹ 282
16
.1ﻣﻦ ﻫﻮ ﺍﺑﻦ ﺍﳌﻘﻔﻊ؟
.2ﻣﺎ ﻣﻔﻬﻮﻡ ﺍﻟﻘﺼﺔ ﺍﻟﻘﺼﲑﺓ؟
.3ﻛﻴﻒ ﻛﺎﻧﺖ ﺻﻮﺭﺓ ﺍﻟﻌﻨﺎﺻﺮ ﺍﻟﺪﺍﺧﻠﻴﺔ ﰱ ﺍﻟﻘﺼﺔ ﺍﻟﻘﺼﲑﺓ " ﺍﻟﺴﺎﺋﺢ
ﻭﺍﻟﺼﺎﺋﻎ "؟
.4ﻣﺎ ﻋﻼﻗﺔ ﺑﲔ ﺍﻟﻌﻨﺎﺻﺮ ﰱ ﺑﻨﺎﺀ ﺍﻟﻘﺼﺔ؟
ج.
ﺍﻟﻐﺮﺽ ﻣﻦ ﺍﻟﺒﺤﺚ
ﺃﻣﺎ ﺍﻟﻐﺮﺽ ﻣﻦ ﻛﺘﺎﺑﺔ ﻫﺬﺍ ﺍﻟﺒﺤﺚ ﻓﻬﻮ ﻛﻤﺎ ﻳﻠﻰ:
ﻣﻌﺮﻓﺔ ﺍﻟﻌﻨﺎﺻﺮ ﺍﻟﺪﺍﺧﻠﻴﺔ ﰱ ﻗﺼﺔ "ﺍﻟﺴﺎﺋﺢ ﻭﺍﻟﺼﺎﺋﻎ" ،ﻣﻨﻬﺎ ﺍﳌﻮﺿﻮﻉ ،ﻭﺍﳊﺒﻜﺔ،
ﻭ ﺍﻟﺸﺨﺼﻴﺔ ،ﻭ ﺍﻟﺒﻴﺌﺔ ،ﻭﺍﻟﺘﻮﺻﻴﺔ.
د.
ﻣﻨﻬﺞ ﺍﻟﺒﺤﺚ
ﺳﻴﻨﻬﺞ ﺍﻟﺒﺎﺣﺚ ﰱ ﺩﺭﺍﺳﺘﻪ ﺍﻟﻌﻠﻤﻴﺔ ﻋﻦ ﺻﻮﺭﺓ ﺍﻟﻌﻨﺎﺻﺮ ﺍﻟﺪﺍﺧﻠﻴﺔ ﰱ ﺑﻨﺎﺀ
ﺍﻟﻘﺼﺔ ﺍﻟﻘﺼﲑﺓ "ﺍﻟﺴﺎﺋﺢ ﻭﺍﻟﺼﺎﺋﻎ" ﰱ ﻛﺘﺎﺏ ﻛﻠﻴﻠﺔ ﻭﺩﻣﻨﺔ ﻻﺑﻦ ﺍﳌﻘﻔﻊ ﻣﻨﻬﺠﺎ
ﻣﻜﺘﺒﻴﺎ ﰱ ﲨﻊ ﻣﻮﺍﺩﻩ ﺑﺎﻻﻃﻼﻉ ﻋﻠﻰ ﺑﻌﺾ ﻛﺘﺐ ﺍﻻﺩﺏ ﺍﻟﻌﺮﰊ ﻭﺑﻌﺾ ﻛﺘﺐ
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ﺍﻟﺘﺎﺭﻳﺦ ﺍﳌﺘﻌﻠﻘﺔ ﺑﺎﺑﻦ ﺍﳌﻘﻔﻊ ﻭﻧﺸﺎﻃﺎﺗﻪ ﺍﻟﻌﻠﻤﻴﺔ ﻭﺍﻟﻘﺼﺺ ﺍﻟﱴ ﻛﺎﻧﺖ ﻣﻨﺜﻮﺭﺓ ﰱ
ﻛﺘﺎﺏ ﻛﻠﻴﻠﺔ ﻭﺩﻣﻨﺔ ﻭﻳﺘﺨﺬ ﺍﻟﺒﺎﺣﺚ ﰱ ﺍﻟﺘﺤﻠﻴﻞ ﻋﻦ ﺍﻟﻌﻨﺎﺻﺮ ﺍﻟﺪﺍﺧﻠﻴﺔ ﰱ ﺍﻟﻘﺼﺔ
ﻣﻨﻬﺞ ﺍﻟﺘﺤﻠﻴﻞ ﺍﻟﻮﺻﻔﻰ ﺍﻱ ﺑﻮﺻﻒ ﻛﻞ ﻣﻦ ﻋﻨﺎﺻﺮﻫﺎ ﺍﻷﺩﺑﻴﺔ ﻭﺍﻟﺘﺎﺭﳜﻲ ﺍﻱ
ﺑﺎﻟﻨﻈﺮ ﺇﱃ ﻣﺎ ﺗﻜﻠﻤﻬﺎ ﺍﻟﺘﺎﺭﻳﺦ ﺍﻷﺳﻠﻮﰉ ﰱ ﺑﻴﺎﻥ ﺻﻼﺕ ﺑﲔ ﺍﻟﻌﻨﺎﺻﺮ ﺍﻟﺪﺍﺧﻠﻴﺔ
ﺍﳌﺴﺘﻘﺮﺓ ﻓﻴﻬﺎ.
ﻭﰱ ﻛﺘﺎﺑﺘﻪ ﺍﻋﺘﻤﺪ ﻋﻠﻰ ﺍﻟﻜﺘﺎﺏ ﺍﳌﻘﺮﺭ ﻟﻜﺘﺎﺑﺔ ﺍﻟﺒﺤﻮﺙ ﻭﺍﻟﺮﺳﺎﺋﻞ ﺍﻟﻌﻠﻤﻴﺔ
ﺍﻟﺬﻯ ﺃﺻﺪﺭﺗﻪ ﺟﺎﻣﻌﺔ ﺷﺮﻳﻒ ﻫﺪﺍﻳﺔ ﺍﷲ ﺍﻹﺳﻼﻣﻴﺔ ﺍﳊﻜﻮﻣﻴﺔ ﲜﺎﻛﺮﺗﺎ
Pedoman Penulisan Skripsi، Tesis dan Disertasi UIN Syarif
Hidayatullah Jakarta
ﻭ .ﺧﻄﺔ ﺍﻟﺒﺤﺚ
ﻭﻟﺘﺴﻬﻴﻞ ﺍﻟﺒﺤﺚ ﻭﺍﻟﻜﺘﺎﺑﺔ ﻗﺴﻢ ﺍﻟﺒﺎﺣﺚ ﻫﺬﺍ ﺍﳌﻮﺿﻮﻉ ﺇﱃ ﲬﺴﺔ ﺃﺑﻮﺍﺏ:
ﺍﻟﺒﺎﺏ ﺍﻷﻭﻝ ﻫﻮ ﻋﺒﺎﺭﺓ ﻋﻦ ﺍﳌﻘﺪﻣﺔ ﺍﻟﱴ ﲢﺘﻮﻯ ﻋﻠﻰ ﺧﻠﻔﻴﺔ ﺍﳌﺸﻜﻠﺔ ،ﻭﲢﺪﻳﺪ
ﺍﳌﺸﻜﻠﺔ ،ﻭﺍﻟﻐﺮﺽ ﻣﻦ ﺍﻟﺒﺤﺚ ،ﻭﺧﻄﺔ ﺍﻟﺒﺤﺚ.ﺍﻟﺒﺎﺏ ﺍﻟﺜﺎﱏ ﻫﻮ ﶈﺔ ﻋﻦ ﻛﺘﺎﺏ
ﻛﻠﻴﻠﺔ ﻭﺩﻣﻨﺔ ﻭﺗﺸﺘﻤﻞ ﻋﻠﻰ ﻣﺆﻟﻔﻪ ﻭﻫﻮ ﺑﻦ ﻣﻘﻔﻊ ﻭ ﻛﺘﺎﺏ ﻛﻠﻴﻠﺔ ﻭﺩﻣﻨﺔ .ﺍﻟﺒﺎﺏ
ﺍﻟﺜﺎﻟﺚ ﶈﺔ ﻋﻦ ﺍﻟﻘﺼﺔ ﺍﻟﻘﺼﲑﺓ ،ﻭﺗﺸﺘﻤﻞ ﻋﻠﻰ ﻣﻔﻬﻮﻡ ﺍﻟﻘﺼﺔ ﺍﻟﻘﺼﲑﺓ،
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ﻭﺗﻄﻮﺭﻫﺎ ،ﻭﺍﻟﺒﻴﺎﻥ ﻋﻦ ﺍﻟﻘﺼﺔ " ﺍﻟﺴﺎﺋﺢ ﻭ ﺍﻟﺼﺎﺋﻎ" .ﺍﻟﺒﺎﺏ ﺍﻟﺮﺍﺑﻊ ﲢﻠﻴﻼﺕ
ﺍﻟﻌﻨﺎﺻﺮ ﺍﻟﺪﺍﺧﻠﻴﺔ ﰱ ﻗﺼﺔ " ﺍﻟﺴﺎﺋﺢ ﻭ ﺍﻟﺼﺎﺋﻎ" ،ﻭﻫﻲ ﲢﻠﻴﻠﻬﺎ ﰱ ﺍﳌﻮﺿﻮﻉ،
ﻭﺍﻟﺸﺨﺼﻴﺎﺕ ،ﻭﺍﳊﺒﻜﺔ ،ﻭﺍﻟﺒﻴﺌﺔ ،ﻭﺍﻟﺘﻮﺻﻴﺔ.ﺍﻟﺒﺎﺏ ﺍﳋﺎﻣﺲ ﺍﳋﺎﲤﺔ ،ﲢﺘﻮﻯ ﻋﻠﻰ
ﺍﳋﻼﺻﺔ ﻭﻛﺘﺐ ﺍﳌﺮﺍﺟﻊ.
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ﺍﻟﺒﺎﺏ ﺍﻟﺜﺎﱏ
ﻛﺘﺎﺏ ﻛﻠﻴﻠﺔ ﻭﺩﻣﻨﺔ ﻻﺑﻦ ﺍﳌﻘﻔﻊ
ﺃ.ﺍﺑﻦ ﺍﳌﻘﻔﻊ
ﻛﺎﻥ ﺩﺍﺫﻭﻳﺔ )ﻭﺍﻟﺪ ﻋﺒﺪﺍﷲ ﺍﺑﻦ ﺍﳌﻘﻔﻊ( ﺭﺟﻼ ﻓﺎﺭﺳﻴﺎ ﳎﻮﺳﻴﺎ .ﻭﻟﺪ ﰱ ﻗﺮﻳﺔ
ﺟﻮﺩ ﻣﻦ ﺇﻗﻠﻴﻢ ﻓﺎﺭﺱ .ﻭﺟﺎﺀ ﺇﱃ ﺍﻟﺒﺼﺮﺓ ﻭﺗﻮﱃ ﻓﻴﻬﺎ ﺑﻌﺾ ﺃﻋﻤﺎﻝ ﺍﳋﺮﺍﺝ ﰱ
ﺃﻳﺎﻡ ﺍﻟﺪﻭﻟﺔ ﺍﻷﻣﻮﻳﺔ.
ﻋﻨﺪ ﻣﺎ ﻛﺎﻥ ﺩﺍﺫﻭﻳﺔ ﻳﺴﻜﻦ ﰱ ﺍﻟﺒﺼﺮﺓ ﺳﻨﺔ 106ﻫـ ﺭﺯﻕ ﺑﻮﻟﺪ ﲰﺎﻩ
ﺭﻭﺯﻳﺔ ﺑﻦ ﺩﺍﺫﻭﻳﺔ ﻭﻫﻮ ﺍﺳﻢ ﻓﺎﺭﺳﻰ ﻭﻟﻘﺒﻪ ﺃﺑﺎ ﻋﻤﺮﻭ ﺗﻘﺮﺑﺎ ﺇﱃ ﺃﻫﻞ ﺍﻟﺒﻴﺌﺔ ﺍﻟﻌﺮﺑﻴﺔ
ﺍﻟﱴ ﺑﻌﻴﺶ ﻓﻴﻬﺎ.
ﻧﺸﺄ ﺭﻭﺯﻳﺔ ﰱ ﺍﻟﺒﺼﺮﺓ ﻧﺸﺄﺓ ﻋﺮﺑﻴﺔ ﺇﱃ ﺟﺎﻧﺐ ﺍﻟﺜﻘﺎﻓﺔ ﺍﻟﻔﺎﺭﺳﻴﺔ ﺍﻟﱴ ﻭﺭﺛﻬﺎ
ﻣﻦ ﺃﺳﺮﺗﻪ ،ﻭﰱ ﺃﻭﺍﺧﺮ ﺍﻟﻌﺼﺮ ﺍﻷﻣﻮﻯ ﺃﺻﺒﺢ ﻛﺎﺗﺒﺎ ﻏﻰ ﺧﺪﻣﺔ ﺁﻝ ﻫﺒﲑﺓ
ﻭﺧﺎﺻﺔ ﺑﺪﺍﻭﻭﺩ ﺑﻦ ﻋﻤﺮ ﺑﻦ ﻫﺒﲑﺓ ﺃﺧﻰ ﻳﺰﻳﺪ ﺑﻦ ﻋﻤﺮ ﻭﺇﱃ ﺍﻟﺒﺼﺮﺓ
ﻭﺍﻟﻜﻮﻓﺔ)132-129ﻫـ( ،ﺣﱴ ﺍﺗﺼﻞ ﺑﻌﻴﺴﻰ ﺑﻦ ﻋﻠﻲ ﺑﻦ ﻋﺒﺪ ﺍﷲ ﺑﻦ ﻋﺒﺎﺱ
ﻋﻢ ﺍﳋﻠﻴﻔﺔ ﺍﻟﻌﺒﺎﺳﻰ ﺍﰉ ﺟﻌﻔﺮ ﺍﳌﻨﺼﻮﺭ ﻭﺍﱃ ﺍﻷﻫﻮﺍﺯ )135-132ﻫـ(،
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ﻭﺃﺳﻠﻢ ﻋﻠﻰ ﻳﺪﻳﻪ ﻭﲰﻲ ﺑﻌﺒﺪﺍﷲ ﻭﺗﻠﻘﺐ ﺃﺑﺎ ﳏﻤﺪ .ﻭﻣﻨﺬ ﺫﻟﻚ ﺍﳊﲔ ﺃﺻﺒﺢ
ﻳﺪﻋﻰ ﺑﻌﺒﺪﺍﷲ ﺑﻦ ﺍﳌﻘﻔﻊ .ﰒ ﺃﻟﺰﻣﻪ ﺃﺧﻮﻩ ﺇﲰﺎﻋﻴﻞ ﺑﻦ ﻋﻠﻲ ﺑﻌﺾ ﺑﻨﻴﻪ ﻟﻴﺆﺩﺑﻪ ﰒ
ﻛﺎﻥ ﺍﺧﺮ ﺃﻣﺮﻩ ﰱ ﺧﺪﻣﺔ ﺃﺧﻴﻬﻤﺎ ﺳﻠﻴﻤﺎﻥ ﺑﻦ ﻋﻠﻲ ﺃﻳﺎﻡ ﻭﻻﻳﺘﻪ ﻭﻳﻈﻬﺮ ﺃﻧﻪ ﺍﺗﺼﻞ
ﰱ ﺃﺛﻨﺎﺀ ﺫﺍﻟﻚ ﺑﺄﰉ ﺟﻌﻔﺮ ﺍﳌﻨﺼﻮﺭ ﺍﺗﺼﻞ ﻣﻌﺮﻓﺔ ﻻﺍﺗﺼﻞ ﺧﺪﻣﺔ .ﻓﺘﺮﺟﻢ ﻟﻪ ﻛﺜﲑﺍ
ﻣﻦ ﺍﻟﻜﺘﺎﺏ ﺍﻟﻔﺎﺭﺳﻴﺔ ﻭﺍﻟﻴﻮﻧﺎﻧﻴﺔ ﺍﳌﻨﻘﻮﻟﺔ ﻗﺪﳝﺎ ﺇﱃ ﺍﻟﻔﺎﺭﺳﻴﺔ.
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ﻣﺎﺕ ﻋﺒﺪﺍﷲ ﺑﻦ ﺍﳌﻘﻔﻊ ﻣﻘﺘﻮﻻ ﰱ ﺍﻟﺒﺼﺮﺓ ﺳﻨﺔ 142ﻫـ)759ﻡ(.
ﻭﺍﺧﺘﻠﻒ ﺍﳌﺆﺧﺮﻭﻥ ﰱ ﺳﺒﺐ ﻗﺘﻞ ﺍﺑﻦ ﺍﳌﻘﻔﻊ ﻭﱂ ﳒﺪ ﺳﺒﺒﺎ ﺁﺧﺮ ﻟﻘﺘﻠﻪ ،ﺇﻻ ﻣﺎ
ﺣﻜﺎﻩ ﺍﳉﺎﺣﻆ ﻣﻦ ﺃﻥ ﺍﺑﻦ ﺍﳌﻘﻔﻊ ﻛﺎﻥ ﺃﻏﺮﻯ ﻋﺒﺪﺍﷲ ﺑﻦ ﻋﻠﻲ ﺑﻦ ﺍﳌﻨﺼﻮﺭ ﻓﻔﻄﻦ
ﻟﻪ ﻭﻗﺘﻞ.
ﻋﻨﺪﻣﺎ ﻳﺬﻛﺮ ﻛﺘﺎﺏ ﻛﻠﻴﻠﻪ ﻭﺩﻣﻨﺔ ﻳﺬﻛﺮ ﺍﺑﻦ ﺍﳌﻘﻔﻊ ﺑﺎﻟﺘﻘﺪﻳﺮ ﻭﺍﻹﺟﻼﻝ ﻭﺇﺫﺍ
ﺫﻛﺮ ﺍﺑﻦ ﺍﳌﻘﻔﻊ ﻳﺘﺒﺎﺩﺭ ﻋﻠﻰ ﺍﻟﺬﻫﻦ ﻛﺘﺎﺑﻪ ﻛﻠﻴﻠﺔ ﻭﺩﻣﻨﺔ ﺍﳋﺎﻟﺪ ﺍﻟﺬﻯ ﻳﻌﺪ ﻣﻦ
ﺃﻋﻈﻢ ﺍﻹﻧﺘﺎﺝ ﺍﻟﻔﻜﺮﻯ ﺍﻟﻌﺎﳌﻰ ﻭﻣﻦ ﺃﺭﻭﻉ ﺍﻟﺘﺮﺍﺙ ﺍﻹﻧﺴﺎﱏ ﺍﻟﺮﻓﻴﻊ .ﻭﺃﺻﻞ
1ﺃﲪﺪ ﺍﻹﺳﻜﻨﺪﺭﻯ ﻭﻣﺴﻄﻔﻰ ﻋﻨﺎﱏ ،ﺍﻟﻮﺳﻴﻂ ﰱ ﺍﻷﺩﺏ ﺍﻟﻌﺮﰉ ﻭﺗﺎﺭﳜﻪ) ،ﺍﻟﻘﺎﻫﺮﺓ :ﺩﺍﺭ ﺍﳌﻌﺎﺭﻑ1978 ،ﻡ( ،ﺹ205
2ﻋﻤﺮ ﻓﺮﻭﺥ ،ﺗﺎﺭﻳﺦ ﺍﻷﺩﺏ ﺍﻷﻋﺼﺮ ﺍﻟﻌﺒﺎﺳﻴﺔ) ،ﺑﲑﻭﺕ :ﺩﺍﺭ ﺍﻟﻌﻠﻢ ﻟﻠﻤﻼﻳﲔ ،ﺩﺕ( ،ﺹ 51
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ﺍﻟﻜﺘﺎﺏ ﻣﺘﺮﺟﻢ ،ﻭﻟﻜﻦ ﺍﺑﻦ ﺍﳌﻘﻔﻊ ﺃﺩﺧﻞ ﻋﻠﻴﻪ ﺗﻌﺪﻳﻼﺕ ﻭﺇﺿﺎﻓﺎﺕ ﺟﺪﻳﺪﺓ ﻣﻦ
ﻋﻨﺪﻩ ،ﻓﻬﻮ ﻣﺰﻳﺞ ﻣﻦ ﺍﻟﺘﺮﲨﺔ ﻭﺍﻟﺘﺄﻟﻴﻒ.
ﻓﻜﺎﻥ ﺍﺑﻦ ﺍﳌﻘﻔﻊ ﺃﻭﻝ ﻣﻦ ﻋﲎ ﺑﺎﻟﺘﺮﲨﺔ .ﻭﻗﺪ ﺗﺮﺟﻢ ﺍﺑﻦ ﺍﳌﻘﻔﻊ ﻛﻠﻴﻠﻪ ﻭﺩﻣﻨﺔ
ﻭﻋﺪﺩﺍ ﻛﺒﲑﺍ ﻣﻦ ﺍﻟﻜﺘﺎﺏ ﺍﻷﺩﺑﻴﺔ ﻭﺍﻟﺘﺎﺭﳜﻴﺔ ﻭﺍﻟﻔﻠﺴﻔﻴﺔ ﻣﻦ ﺍﻟﻠﻐﺔ ﺍﻟﺒﻬﻠﻮﻳﺔ ،ﺇﺫﺍ
ﺣﺎﻭﻝ ﺃﻥ ﻳﻨﻘﻞ ﺇﱃ ﺍﻟﻠﻐﺔ ﺍﻟﻌﺮﺑﻴﺔ ﺧﲑ ﻣﺎ ﻋﺮﻓﻪ ﻣﻦ ﺍﻟﻠﻐﺔ ﺍﻟﻔﺎﺭﺳﻴﺔ ﺳﻮﺍﺀ ﺃﻛﺎﻥ ﻣﺎ
ﻋﺮﻓﻪ ﻓﻴﻬﺎ ﻓﺎﺭﺳﻴﺎ ﺧﺎﻟﺼﺎ ﺃﻡ ﻛﺎﻥ ﻳﻮﻧﺎﻧﻴﺎ ﺃﻡ ﻛﺎﻥ ﻫﻨﺪﻳﺎ .ﺃﻣﺎ ﺍﻟﻔﺎﺭﺳﻰ ﺍﳋﺎﻟﺺ
ﻓﻘﺪ ﺗﺮﺟﻢ ﻣﻨﻪ ﻛﺘﺎﺏ ﻣﺰﺩﻙ ،ﻭﻛﺘﺎﺏ ﺧﺪﺍﻧﺎﻣﻪ ﻭﻛﺘﺎﺏ ﺍﻳﲔ ﻧﺎﻣﻪ ﻭﺗﺮﺟﻢ ﺃﻳﻀﺎ
ﻛﺘﺎﺏ ﺍﻟﺘﺎﺝ.
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ﻭﺗﺮﺟﻢ ﲜﺎﻧﺒﻬﺎ ﺑﻌﺾ ﻣﺎ ﻧﻘﻞ ﺇﱃ ﻟﻐﺘﻪ ﻣﻦ ﺍﻟﺘﺮﺍﺙ ﺍﻟﻴﻮﻧﺎﱏ ﻛﺒﻌﺾ ﻛﺘﺎﺏ
ﺃﺭﺳﻄﻮ ،ﻭﻫﻲ ﻗﺎﻃﺎ ﻏﻮﺭﻳﺎﺱ )ﺍﳌﻘﻮﻻﺕ ﺍﻟﻌﺸﺮ( ،ﻭﺑﺎﺭﻯ ﺃﺭﻣﻴﻨﻴﺎﺱ )ﺍﻟﻌﺒﺎﺭﺓ(،
ﻭﺃﻧﺎﻟﻮﻃﻴﻘﺎ )ﲢﻠﻴﻞ ﺍﻟﻘﻴﺎﺱ(.
3ﺷﻮﻗﻰ ﺿﻴﻒ ،ﺍﻟﻔﻦ ﻭﻣﺬﺍﻫﺒﻪ ﰱ ﺍﻟﻨﺜﺮ ﺍﻟﻌﺰﰉ) ،ﺍﻟﻘﺎﻫﺮﺓ :ﺩﺍﺭ ﺍﳌﻌﺎﺭﻑ ،ﺩﺕ( ،ﺹ 138
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ﺏ.ﻛﺘﺎﺏ ﻛﻠﻴﻠﺔ ﻭﺩﻣﻨﺔ
ﻫﻮ ﻛﺘﺎﺏ ﰱ ﺇﺻﻼﺡ ﺍﻷﺧﻼﻕ ﻭ ﺬﻳﺐ ﺍﻟﻨﻔﻮﺱ ،ﻭﺿﻌﻪ ﻓﻴﻠﺴﻮﻑ ﻫﻨﺪﻯ
ﺍﲰﻪ ﺑﻴﺪﺑﺎ ﻣﻨﺬ ﻧﻴﻒ ﻭﻋﺸﺮﻳﻦ ﻗﺮﻧﺎ ﳌﻠﻚ ﻣﻦ ﻣﻠﻮﻙ ﺍﳍﻨﺪ ﺍﲰﻪ ﺩﺑﺸﻠﻴﻢ ،ﺫﻛﺮﻭﺍ
ﺃﻧﻪ ﺗﻮﱃ ﺍﳍﻨﺪ ﺑﻌﺪ ﻓﺘﺢ ﺍﻹﺳﻜﻨﺪﺭﻳﺔ ﻭﻃﻐﻰ ﻭﺑﻐﻰ ﻓﺄﺭﺍﺩ ﺑﻴﺪﺑﺎ ﺇﺻﻼﺣﻪ ﻭﺗﺪﺭﻳﺒﻪ،
ﻓﺄﻟﻒ ﻫﺬﺍ ﺍﻟﻜﺘﺎﺏ ﻭﺟﻌﻞ ﺍﻟﻨﺼﺎﺡ ﻓﻴﻪ ﻋﻠﻰ ﺃﻟﺴﻨﺔ ﺍﻟﺒﻬﺎﺋﻢ ﻭﺍﻟﻄﻴﻮﺭ ﻋﻠﻰ ﻋﺎﺩﺓ
ﺍﳍﻨﻮﺩ ﺍﻟﱪﺍﳘﺔ ﰱ ﻋﺼﻮﺭﻫﻢ ﺍﻟﻘﺪﳝﺔ ...ﻓﺈﻢ ﻛﺎﻧﻮﺍ ﻳﺮﻭﻭﻥ ﺍﳊﻜﻤﺔ ﻋﻠﻰ ﺃﻟﺴﻨﺔ
ﺍﳊﻴﻮﻧﺎﺕ ﻻﻋﺘﻘﺎﺩﻫﻢ ﺑﺘﻨﺎﺳﺦ ﺍﻷﺭﻭﺍﺡ .ﻭﺍﳌﻈﻨﻮﻥ ﺃﻥ ﻣﻌﻈﻢ ﻣﺎﻳﺘﻨﻘﺎﻟﻪ ﺍﻟﻨﺎﺱ ﻣﻦ
ﺃﻣﻴﺎﻝ ﻫﺬﻩ ﺍﻷﻗﺎﺻﻴﺺ ﺃﺻﻠﻪ ﻣﻦ ﺍﳍﻨﺪ .ﻭﻗﺪ ﺻﻨﻒ ﰲ ﻫﺬﺍ ﺍﳌﻮﺿﻮﻉ ﻭﻋﻠﻰ ﻫﺬﻩ
ﺍﻟﻜﻴﻔﻴﺔ ﻏﲑ ﻭﺍﺣﺪ ﻣﻦ ﺍﳊﻜﻤﺎﺀ .ﻭﻳﻘﺎﻝ ﺇﻥ ﺑﻴﺪﺑﺎ ﺃﻭﻝ ﻓﺎﺗﺢ ﳍﺬﺍ ﺍﻟﺒﺎﺏ ﻭﻛﻞ ﻣﻦ
ﺻﻨﻒ ﺑﻌﺪﻩ ﰱ ﻧﻮﺍﺩﺭ ﺍﳊﻜﺎﻳﺎﺕ ﻣﻘﺘﺒﺲ ﻣﻦ ﺿﻴﺎﺋﻪ...
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ﻭﺗﺮﺟﻊ ﻣﻮﺿﻌﺎﺕ ﺍﻟﻨﺼﺢ ﰱ ﻫﺬﺍ ﺍﻟﻜﺘﺎﺏ ﺇﱃ ﻣﺎ ﳛﺘﺎﺝ ﺍﻟﻨﺎﺱ ﺇﻟﻴﻪ ﰱ
ﻣﻌﺎﻣﻠﺘﻬﻢ ﻛﻮﺟﻮﺏ ﺍﻹﺑﺘﻌﺎﺩ ﻋﻦ ﲰﺎﻉ ﻛﻼﻡ ﺍﻟﺴﺎﻋﻲ ﻭﺍﻟﻨﻤﺎﻡ ﻭﻭﺧﺎﻣﺔ ﻋﺎﻗﺒﺔ
ﺍﻷﺷﺮﺍﺭ ﻭﻣﻨﺎﻓﻊ ﺍﻷﺻﺤﺎﺏ ﻭﻋﺪﻡ ﺟﻮﺍﺯ ﺍﻷﻣﻦ ﻣﻦ ﻛﻴﺪ ﺍﻟﻌﺪﻭ ﻭﻣﻀﺎﺭ ﺍﻹﳘﺎﻝ
4ﺟﺮﺟﻰ ﺯﻳﺪﺍﻥ ،ﺗﺎﺭﻳﺦ ﺁﺩﺏ ﺍﻟﻐﺔ ﺍﻟﻌﺮﺑﻴﺔ) ،ﺑﲑﻭﺕ :ﺩﺍﺭ ﺍﻟﻔﻜﺮ،ﺩﺕ( ﻁ ﺟﺪﻳﺪﺓ ،ﺟـ ,2ﺹ143
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ﻭﺍﻟﻐﻔﻠﺔ ﻭﺍﻓﺔ ﺍﻟﺘﻌﺠﻴﻞ ﻭﻓﺎﺋﺪﺓ ﺍﳊﺰﻡ ﻭﻋﺪﻡ ﺍﻹﻋﺘﻤﺎﺩ ﻋﻠﻰ ﺃﺭﺑﺎﺏ ﺍﳊﻘﺪ ﻭﳓﻮ
ﺫﻟﻚ ﳑﺎ ﻳﻬﺪﺏ ﺍﻟﻨﻔﻮﺱ ﻭﻳﺮﻗﻰ ﺍﻟﻌﻮﺍﻃﻒ ﰱ ﺟﻜﺎﻳﺔ ،ﻳﺘﻔﺮﻉ ﺑﻌﻀﻬﺎ ﻋﻦ
ﺑﻌﺾ..
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ﻭﻗﺪ ﻛﺘﺐ ﺃﻭﻻ ﺑﺎﻟﻠﻐﺔ ﺍﳍﻨﺪﻳﺔ ﺍﻟﺴﻨﺴﻜﺮﻳﺘﻴﺔ ﰱ 12ﺑﺎﺑﺎ ،ﻭﻧﻘﻞ ﺇﱃ ﻟﻐﺔ
ﺍﻟﺘﻴﺒﺖ ،ﻓﺎﻟﻠﻐﺔ ﺍﻟﺴﺮﻳﺎﻧﻴﺔ ،ﰒ ﺇﱃ ﺍﻟﻔﻬﻠﻮﻳﺔ ﺃﻱ ﺍﻟﻔﺎﺭﺳﻴﺔ ﺍﻟﻘﺪﳝﺔ ،ﻭﻋﻨﻬﺎ ﻧﻘﻞ ﺍﺑﻦ
ﺍﳌﻘﻔﻊ ﺍﻟﺘﺮﲨﺔ ﺇﱃ ﺍﻟﻌﺮﺑﻴﺔ ﻭﺻﺪﺭ ﺍﻟﺘﺮﲨﺔ ﲟﻘﺪﻣﺔ ﲰﺎﻫﺎ "ﻋﺮﺽ ﺍﻟﻜﺘﺎﺏ" ﻭﺻﻒ
ﺎ ﺍﻟﻜﺘﺎﺏ ﻭﺃﻓﺎﺽ ﰱ ﺍﻟﺘﺤﺮﻳﺾ ﻋﻠﻰ ﻣﻄﺎﻟﻌﺘﻪ ،ﻓﻠﻤﺎ ﺍﻃﻠﻊ ﺍﻟﻌﺮﺏ ﻋﻠﻰ ﻓﻮﺍﺋﺪﻩ
ﺃﻋﺠﺒﻮﺍﺑﻪ ﻭﺃﺧﺬﻭﺍ ﻳﺘﺪﺭﺳﻮﻧﻪ ﻭﻳﺘﻨﺎﻗﻠﻮﻧﻪ ،ﻭﻛﺄﻥ ﻋﻠﻤﺎﺀ ﺍﻟﻠﻐﺔ ﻭﺃﺩﺍﺎ ﺣﺴﺪﻭﺍ ﻋﻠﻰ
ﺍﺑﻦ ﺍﳌﻘﻔﻊ ﻋﻠﻰ ﺳﺒﻘﻪ ﰱ ﺗﺮﲨﺘﻪ ﻓﺄﻗﺪﻡ ﺑﻌﻀﻬﻢ ﻋﻠﻰ ﻧﻘﻠﻪ ﺛﺎﻧﻴﺔ ،ﻭﺍﺷﺘﻐﻞ ﻏﲑﻩ
ﺑﻨﻈﻤﻪ ﺷﻌﺮﺍ ﳊﻔﻈﻪ ،ﻭﺗﺼﺪﻯ ﺍﺧﺮﻭﻥ ﳌﻌﺎﺭﺿﺘﻪ ﻛﻤﺎ ﺳﻴﺠﺊ ﰱ ﺍﻟﺒﺤﺚ ﺍﻵﺗﻰ.
ﻋﻠﻰ ﺃﻥ ﺍﻟﺘﺮﺟﻨﺔ ﺭﺟﻌﺖ ﻛﻠﻬﺎ ﻟﺘﺮﲨﺔ ﺍﺑﻦ ﺍﳌﻘﻔﻊ ﺍﻟﱴ ﻫﻰ ﺑﲔ ﺃﻳﺪﻳﻨﺎ ،ﻭﻗﺪ
ﺗﻐﲑﺕ ﺑﺘﻮﺍﱃ ﺍﻷﺯﻣﺎﻥ ﺑﲔ ﺗﻨﻘﻴﺢ ﻭﺗﺼﺪﻳﺮ ﻭﺗﺬﻳﻴﻞ ﻓﺒﻠﻐﺖ ﺃﺑﻮﺍﺎ 21ﺑﺎﺑﺎ
ﺑﻌﻀﻬﺎ ﻫﻨﺪﻯ ﺍﻷﺻﻞ ﻭﺍﻷﺧﺮ ﻓﺎﺭﺳﻰ ﻭﺍﻷﺧﺮ ﻋﺮﰉ.
5ﺟﺮﺟﻰ ﺯﻳﺪﺍﻥ ،ﺗﺎﺭﻳﺦ ﺁﺩﺏ ﺍﻟﻐﺔ ﺍﻟﻌﺮﺑﻴﺔ) ،ﺑﲑﻭﺕ :ﺩﺍﺭ ﺍﻟﻔﻜﺮ،ﺩﺕ( ﻁ ﺟﺪﻳﺪﺓ ،ﺟـ2
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ﻓﺎﻷﺑﻮﺍﺏ ﺍﳍﻨﺪﻳﺔ 12ﻭﻫﻰ :ﺑﺎﺏ ﺍﻷﺳﺪ ﻭﺍﻟﺜﻮﺭ ،ﻭﺍﳊﻤﺎﻣﺔ ﺍﳌﻄﻮﻗﺔ ،ﻭﺍﻟﺒﻮﻡ
ﻭﺍﻟﻐﺮﺑﺎﻥ ،ﻭﺍﻟﻘﺮﺩ ﻭﺍﻟﻐﻴﻠﻢ ،ﻭﺍﻟﻨﺎﺳﻚ ﻭﺍﺑﻦ ﻋﺮﺱ ،ﻭﺍﳉﺮﺫ ﻭﺍﻟﺴﻨﻮﺭ ،ﻭﺍﳌﻠﻚ
ﻭﺍﻟﻄﺎﺋﺮﺓ ﻓﻨﺰﺓ ،ﻭﺍﻷﻳﺪ ﻭﺍﺑﻦ ﺍﻭﻯ ،ﻭﺇﻳﻼﺫ ﻭﺑﻼﺫ ﻭﺇﻳﺮﺍﺧﺖ ،ﻭﺍﻟﻠﺒﻮﺓ ﻭﺍﻹﺳﻮﺍﺭ
ﻭﺍﻟﺸﻐﱪ ,ﻭﺍﻟﺴﺎﺋﺢ ﻭﺍﻟﺼﺎﺋﻎ ،ﻭﺍﺑﻦ ﺍﳌﻠﻚ ﻭﺃﺻﺤﺎﺑﻪ.
ﻭﺍﻟﻔﺎﺭﺳﻴﺔ ﺛﻼﺛﺔ :ﻣﻘﺪﻣﺔ ﺑﺮﺯﻭﻳﺔ ،ﻭﺑﺎﺏ ﺑﻌﺜﺔ ﺑﺮﺯﻭﻳﺔ ،ﻭﺑﺎﺏ ﻣﻠﻚ ﺍﳉﺮﺫﺍﻥ.
ﻭﻫﻨﺎﻙ ﺳﺘﺔ ﺃﺑﻮﺍﺏ ﱂ ﺗﻜﻦ ﻣﻌﺮﻭﻓﺔ ﻗﺒﻞ ﺍﻟﺘﺮﲪﺔ ﺍﻟﻌﺮﺑﻴﺔ ،ﻳﻌﲎ ﻣﻘﺪﻣﺔ ﺍﻟﻜﺘﺎﺏ
ﻋﻠﻰ ﻟﺴﺎﻥ ﻨﻮﺩ ﺑﻦ ﺳﺤﻮﺍﻥ ﺍﳌﻌﺮﻭﻑ ﺑﻌﻠﻰ ﺑﻦ ﺍﻟﺸﺎﻩ ﺍﻟﻔﺎﺭﺳﻰ ،ﻭﺑﺎﺏ ﻋﺮﺽ
ﺍﻟﻜﺘﺎﺏ ﻻﺑﻦ ﺍﳌﻘﻔﻊ ،ﻭﺑﺎﺏ ﺍﻟﻔﺤﺺ ﻋﻦ ﺃﻣﺮ ﺩﻣﻨﺔ ،ﻭﺑﺎﺏ ﺍﻟﻨﺎﺳﻚ ﻭﺍﻟﻀﻴﻒ،
ﻭﺑﺎﺏ ﻣﺎﻟﻚ ﺍﳊﺰﻥ ﻭﺍﻟﺒﻄﻠﺔ ،ﻭﺑﺎﺏ ﺍﳊﻤﺎﻡ ﻭﺍﻟﺜﻌﻠﺐ ﻭﻣﺎﻟﻚ ﺍﳊﺰﻳﻦ .ﻭﺑﻌﺾ
ﻫﺬﻩ ﺍﻟﻔﺼﻮﻝ ﻻﻳﻮﺟﺪ ﺍﻻﻥ ﰱ ﺍﻟﻨﺴﺦ ﺍﳌﻄﺒﻮﻋﺔ ﻣﻦ ﺍﻟﺘﺮﲨﺔ ﺍﻟﻌﺮﺑﻴﺔ.
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ﻭﻃﺒﻊ ﻛﺘﺎﺏ ﻛﻠﻴﻠﺔ ﻭﺩﻣﻨﺔ ﰱ ﺍﻟﻌﺮﺑﻴﺔ ﻣﺮﺍﺭﺍ ﻣﻦ ﺃﻭﺍﺧﺮ ﺍﻟﻘﺮﻥ ﺍﻟﺜﺎﻣﻦ ﻋﺸﺮ
ﺇﱃ ﺍﻵﻥ .ﻭﺑﻌﺾ ﻃﺒﻌﺎﺗﻪ ﻣﺰﺩﺍﻧﺔ ﺑﺎﻟﺮﺳﻮﻡ ،ﻭﻗﺪ ﺿﺒﻄﻪ ﺑﺎﻟﺸﻜﻞ ﺍﻟﻜﺎﻣﻞ
6ﺟﺮﺟﻰ ﺯﻳﺪﺍﻥ ،ﺗﺎﺭﻳﺦ ﺁﺩﺏ ﺍﻟﻐﺔ ﺍﻟﻌﺮﺑﻴﺔ) ،ﺑﲑﻭﺕ :ﺩﺍﺭ ﺍﻟﻔﻜﺮ،ﺩﺕ( ﻁ ﺟﺪﻳﺪﺓ ،ﺟـ ،2ﺹ 144
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ﻟﻠﻤﺮﺣﻮﻡ ﺍﻟﺸﻴﺦ ﺧﻠﻴﻞ ﺍﻟﻴﺎﺯﺟﻰ .ﻭﻫﻮ ﻻﻳﺰﺍﻝ ﺇﱃ ﺍﻵﻥ ﻣﻦ ﺧﲑﺓ ﺍﻟﻜﺘﺐ ﰱ
ﺍﻟﻺﻧﺸﺎﺀ ،ﻭﻗﺪ ﺷﻐﻒ ﺍﻟﻌﺮﺏ ﲟﻌﺎﻧﻴﻪ ﻓﻨﻘﻠﻮﻫﺎ ﺇﱃ ﺍﻟﺸﻌﺮ.
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ﺍﻟﺒﺎﺏ ﺍﻟﺜﺎﻟﺚ
ﶈﺔ ﻋﻦ ﺍﻟﻘﺼﺔ ﺍﻟﻘﺼﲑﺓ
ﺃ.
ﻣﻔﻬﻮﻡ ﺍﻟﻘﺼﺔ ﺍﻟﻘﺼﲑﺓ
ﻟﻌﻠﻨﺎ ﻻ ﳒﺎﻭﺯ ﺍﳊﻘﻴﻘﺔ ﻋﻨﺪﻣﺎ ﻧﺰﻋﻢ ﺃﻥ ﻋﺪﻡ ﻭﺟﻮﺩ ﺗﻌﺮﻳﻒ ﳏﺪﺩ ﳌﺼﻄﻠﺢ
ﺍﻟﻘﺼﺔ ﺍﻟﻘﺼﲑﺓ ﻫﻮ ﺃﻫﻢ ﺍﻷﺳﺒﺎﺏ ﺍﻟﱴ ﺃﻭﺟﺪﺕ ﺍﻹﺧﺘﻼﻁ ﺑﲔ ﺍﻟﻘﺼﺔ ﺍﻟﻘﺼﲑﺓ
ﻭﻏﲑﻫﺎ ﻣﻦ ﺍﻷﳕﺎﻁ ﳑﺎ ﻳﺪﻓﻌﻨﺎ ﺇﱃ ﺿﺮﻭﺭﺓ ﲢﺪﻳﺪ ﻣﻔﻬﻮﻣﻬﺎ ،ﺃﻭ ﺗﻌﺮﻳﻔﻬﺎ ﺗﻌﺮﻳﻔﺎ
ﳏﺪﺩﺍ ﳚﻌﻠﻬﺎ ﻓﻨﺎ ﺃﺩﺑﻴﺎ ﺧﺎﺻﺎ ﻣﺘﻤﻴﺰﺍ ﻋﻦ ﻏﲑﻩ ﻣﻦ ﻓﻨﻮﻥ ﺍﻷﺩﺏ ،ﻭﺑﺮﻏﻢ ﻣﺎ ﻳﻠﻘﺎﻧﺎ
ﻣﻦ ﺗﻌﺮﻳﻔﺎﺕ ﺍﻟﻨﻘﺎﺩ ﻭﺍﻟﺪﺍﺭﺳﲔ ﻟﻠﻘﺼﺔ ﺍﻟﻘﺼﲑﺓ ﻓﺈﻧﻨﺎ ﻧﻮﺩ ﺃﻥ ﳔﺘﺎﺭ ﻣﻨﻬﺎ ﻣﺎ
ﻳﺬﻫﺐ ﺇﱃ ﺃﻥ ﺍﻟﻘﺼﺔ ﺍﻟﻘﺼﲑﺓ ﺳﻠﺴﻠﺔ ﺍﳌﺸﺎﻫﺪ ﺍﳌﻮﺻﻮﻓﺔ ﺗﻨﺸﺄ ﺧﻼﳍﺎ ﺣﺎﻟﺔ
ﻣﺴﺒﺒﺔ ﺗﺘﻄﻠﺐ ﺷﺨﺼﻴﺔ ﺣﺎﲰﺔ ﺫﺍﺕ ﺻﻔﺔ ﻣﺴﻴﻄﺮﺓ ﲢﺎﻭﻝ ﺃﻥ ﲢﻞ ﻧﻮﻋﺎ ﻣﻦ
ﺍﳌﺸﻜﻠﺔ ﻣﻦ ﺧﻼﻝ ﺑﻌﺾ ﺍﻷﺣﺪﺍﺙ ﺍﻟﱴ ﺗﺘﻌﺮﺽ ﻟﺒﻌﺾ ﺍﻟﻌﻮﺍﺋﻖ ﻭﺍﻟﺘﺼﻌﻴﺪﺍﺕ ﺃﻭ
ﺍﻟﻌﻘﺪﺓ،ﺣﱴ ﺗﺼﻞ ﺇﱃ ﻧﺘﻴﺠﺔ ﻗﺮﺍﺭ ﺗﻠﻚ ﺍﻟﺸﺨﺼﻴﺔ ﺍﻟﻨﻬﺎﺋﻰ ﻓﻴﻤﺎ ﻳﻌﺮﻑ ﺑﻠﺤﻈﺔ
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ﺍﻟﺘﻨﻮﻳﺮ ﺃﻭ ﺍﳊﻞ ﰱ ﺍﻷﺳﻠﻮﺏ ﳝﺘﺎﺯ ﺑﺎﻟﺘﺮﻛﻴﺰ ﻭﺍﻟﺘﻜﺸﻴﻒ ﺍﻟﺪﻻﱃ ﺩﻭﻥ ﺃﻥ ﻳﻜﻮﻥ
ﻟﻠﺒﻌﺪ ﺍﻟﻜﻤﻰ ﻓﻴﻤﺎ ﻛﺒﲑ ﺷﺄﻥ.
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ﺃﻣﺎ ﺍﻟﻘﺼﺔ ﺍﻟﻘﺼﲑﺓ ﺃﻭ ﺍﻷﻗﺼﻮﺻﺔ ﻓﻬﻤﺎ ﻧﻮﻉ ﺃﺩﰉ ،ﻭﺍﺣﺪ ﻳﻨﺒﻐﻰ ﺃﻥ ﻳﻘﻮﻡ
ﻋﻠﻰ ﺃﻗﻞ ﻣﺎ ﳝﻜﻦ ﻣﻦ ﺍﻷﺣﺪﺍﺙ ﺃﻯ ﺣﺪﺙ ﻭﺍﺣﺪ ﻳﺘﻨﺎﻣﻰ ﻋﱪ ﺷﺨﺼﻴﺎﺕ
ﳏﺪﻭﺩﺓ ﺃﻭ ﺷﺨﺼﻴﺔ ﻭﺍﺣﺪﺓ ﺣﺎﲰﺔ ،ﻭﰱ ﺇﻃﺎﺭ ﳏﺪﻭﺩ ﺟﺪﺍ ﻣﻦ ﺍﻟﺰﻣﺎﻥ ﻭﺍﳌﻜﺎﻥ
ﺣﱴ ﻳﺒﻠﻎ ﺍﻟﺼﺮﺍﻉ ﺫﺭﻭﺗﻪ ﻋﻨﺪ ﺗﺄﺯﻡ ﺍﳌﻮﻗﻒ ﻭﺗﻌﻘﻴﺪﻩ ﻟﺘﺄﺗﻰ ﻣﻦ ﰒ ﳊﻈﺔ ﺍﻟﺘﻨﻮﻳﺮ
ﺍﳌﻨﺎﺳﺒﺔ ﻣﻌﺰﻭﻟﺔ ﻋﻦ ﺍﳌﺼﺎﺩﻓﺔ ﻭﺍﻹﻓﺘﻌﺎﻝ ﺩﻭﻥ ﺍﺷﺘﺮﺍﻁ ﺍﳊﺠﻢ ﺃﻭ ﺍﻟﻄﻮﻝ ﺍﻟﺬﻯ
ﻳﻨﺒﻐﻰ ﺃﻥ ﻳﻜﻮﻥ ﳏﺪﻭﺩﺍ ﺑﻄﺒﻴﻌﺔ ﺍﳊﺎﻝ.
14
ﻟﻘﺪ ﺍﺧﺘﻠﻔﺖ ﺍﻟﻘﺼﺔ ﺍﻟﻘﺼﲑﺓ ﻋﻠﻰ ﺃﻳﺪﻱ ﻫﺆﻻﺀ ﺍﻟﺸﺒﺎﺏ ﺍﺧﺘﻼﻓﺎ ﻛﺒﲑﺍ ﻋﻤﺎ
ﻛﺎﻧﺖ ﻋﻠﻴﻪ ﻋﻨﺪ ﺃﺳﻼﻓﻬﻢ ﻣﻦ ﺍﻟﻮﺍﻗﻌﲔ .ﱂ ﺗﻌﺪ ﺗﻌﲎ ﺑﺎﻟﺒﻴﺌﺔ ﺍﳌﺎﺩﻳﺔ ﺃﻭ ﺍﻟﻮﺍﻗﻊ
ﺍﳊﺴﻰ ،ﺑﻞ ﺑﺎﻟﻠﺤﻈﺎﺕ ﺍﻟﺸﻌﻮﺭﻳﺔ ﻭﺍﳌﻮﺍﻗﻒ ﺍﻟﻨﻔﺴﻴﺔ ﺍﳌﺘﻮﺍﺗﺮﺓ .ﻭﱂ ﺗﻌﺪ ﺘﻢ
ﺑﺎﳌﺸﺎﻛﻞ ﺍﻹﺟﺘﻤﺎﻋﻴﺔ ﺍﻫﺘﻤﺎﻣﺎ ﻣﺒﺎﺷﺮﺍ ،ﺑﻞ ﲟﺎ ﻗﺪ ﺗﻌﻜﺴﻪ ﻫﺬﻩ ﺍﳌﺸﺎﻛﻞ ﻣﻦ
1ﺧﻠﻴﻞ ﺇﺑﺮﻫﻴﻢ ﺍﺑﻮ ﺫﻳﺎﺏ ،ﺩﺭﺍﺳﺎﺕ ﰱ ﻓﻦ ﺍﻟﻘﺼﺔ) ،ﺍﻹﺳﻜﻨﺮﻳﺔ :ﺩﺍﺭ ﺍﻟﻮﻓﺎﺀ،(2000،ﺹ 14
2ﺧﻠﻴﻞ ﺇﺑﺮﻫﻴﻢ ﺍﺑﻮ ﺫﻳﺎﺏ ،ﺩﺭﺍﺳﺎﺕ ﰱ ﻓﻦ ﺍﻟﻘﺼﺔ) ،ﺍﻹﺳﻜﻨﺮﻳﺔ :ﺩﺍﺭ ﺍﻟﻮﻓﺎﺀ ،(2000،ﺹ 17
28
ﺃﺣﺎﺳﻴﺲ ﺫﺍﺗﻴﺔ ﻏﺎﻣﻀﺔ ،ﻻﺗﺒﺤﺚ ﻋﻦ ﺣﻞ ﻣﻌﲔ ،ﻭﺇﻥ ﻛﺎﻧﺖ ﺗﻮﻣﺊ ﺇﻟﻴﻪ
15
ﺃﺣﻴﺎﻧﺎ.
ﺗﻄﻮﺭ ﺍﻟﻘﺼﺔ ﺍﻟﻘﺼﲑﺓ
ﺏ.
ﺷﻬﺪ ﻋﺎﻡ ) (1930ﻭﻻﺩﺓ ﺃﻭﻝ ﺭﻭﺍﻳﺔ ﺳﻌﻮﺩﻳﺔ ،ﻭﻫﻲ ﺭﻭﺍﻳﺔ "ﺍﻟﺘﻮﺃﻣﺎﻥ"
ﻟﻌﺒﻴﺪ ﺍﻟﻘﺪﻭﺱ ﺍﻷﻧﺼﺎﺭﻯ ،ﺣﻴﺚ ﺃﻛﺪ ﻋﺪﺩ ﻣﻦ ﺍﻟﻨﻘﺎﺩ ،ﺃﻧﻪ ﱂ ﻳﻜﻦ ﻗﺪ ﺻﺪﺭ
ﻫﺬﺍ ﺍﻟﻌﺎﻡ ﺃﻯ ﻋﻤﻞ ﺭ ﻭﺍﺉ ﰱ ﺍﻟﺒﻼﺩ ﺍﻟﺴﻌﻮﺩﻳﺔ ﻟﻜﻦ ﳎﻤﻮﻋﺔ ﻣﻦ ﺍﻟﻌﻮﺍﻣﻞ ﻛﺎﻧﺖ
ﺗﻨﺴﺞ ﺧﻴﻮﻃﻬﺎ ﰱ ﺍﻟﺴﺎﺣﺔ ﺍﻷﺩﺑﻴﺔ ،ﻭﺗﺘﻈﺎﻓﺮ ﻟﺘﻬﻴﺌﺘﻬﺎ ﻟ