Al-Shuwar Al-Bayaniyah Fi Risalah Maimun Al-Ibtidai Mubarok Al-Intihai Li Abi Hayyan Al-Tauhidi

‫ﺍﻟﺸﻜﺮ ﻭﺍﻟﺘﻘﺪﻳﺮ‬
‫ﺳﺒﺤﺎﻥ ﻣﻦ ﺧﺺ ﺍﻹﻧﺴﺎﻥ ﺑﺎﻟﻨﻄﻖ ﺍﳌﺒﲔ ﻓﺴﺎﻣﻰ ﺑﻪ ﻓﻮﻕ ﺍﳌﺨﻠﻮﻗﺎﺕ‬
‫ﺍﻷﺧﺮﻯ ﻭﺍﻟﺼﻼﺓ ﻭﺍﻟﺴﻼﻡ ﻋﻠﻰ ﺃﻓﺼﺢ ﻣﻦ ﻧﻄﻖ ﺑﺎﻟﻌﺮﺑﻴﺔ‪.‬‬
‫ﻭﺑﻌﻨﺎﻳﺔ ﺍﷲ ﻗﺪ ﲤﺖ ﻛﺘﺎﺑﺔ ﻫﺬﺍ ﺍﻟﺒﺤﺚ ﺍﻟﻌﻠﻤﻲ ﺍﻟﱵ ﺗﻜﻮﻥ ﺷﺮﻃﺎ‬
‫ﻟﻠﺤﺼﻮﻝ ﻋﻠﻲ ﺍﻟﺪﺭﺟﺔ ﺍﳉﺎﻣﻌﻴﺔ ﺍﻷﻭﱃ ﺑﻘﺴﻢ ﺍﻟﻠﻐﺔ ﺍﻟﻌﺮﺑﻴﺔ ﻭﺁﺩﺍ‪‬ﺎ ﰲ ﻛﻠﻴﺔ‬
‫ﺍﻵﺩﺍﺏ ﻭﺍﻟﻌﻠﻮﻡ ﺍﻹﻧﺴﺎﻧﻴﺔ ﺟﺎﻣﻌﺔ ﺷﺮﻳﻒ ﻫﺪﻳﺔ ﺍﷲ ﺍﻹﺳﻼﻣﻴﺔ ﺍﳊﻜﻮﻣﻴﺔ‬
‫ﺟﺎﻛﺮﺗﺎ‪.‬‬
‫ﰲ ﻫﺬﻩ ﺍﳌﻨﺎﺳﺒﺔ ﺗﺮﻳﺪ ﺍﻟﺒﺎﺣﺜﺔ ﺃﻥ ﺗ‪‬ﻘﺪﻡ ﺍﻟﺸﻜﺮ ﻭﺍﻟﺘﻘﺪﻳﺮ ﺇﱃ ﲨﻴﻊ ﻣﻦ‬
‫ﺃﺭﺷﺪﻭﺍ ﺑﺎﻟﺘﻮﺟﻴﻬﺎﺕ ﺍﻟﺜﻤﻴﻨﺔ ﻭﺍﻟﻨﺼﺎﺋﺢ ﺍﻟﱴ ﺍﻟﻘﻴﻤﺔ ﻭﺃﻋﺎﻧﻮﻫﺎ ﻋﻠﻰ ﺇﲤﺎﻡ ﻫﺬﺍ‬
‫ﺍﻟﺒﺤﺚ ﺍﻟﻌﻠﻤﻰ‪ ,‬ﻓﻤﻦ ﻫﺆﻻﺀ‪:‬‬
‫‪ .1‬ﻓﻀﻴﻠﺔ ﻋﻤﻴﺪ ﻛﻠﻴﺔ ﺍﻵﺩﺍﺏ ﻭﺍﻟﻌﻠﻮﻡ ﺍﻹﻧﺴﺎﻧﻴﺔ ﺍﻟﺪﻛﺘﻮﺭ ﺍﳊﺎﺝ ﻋﺒﺪ‬
‫ﺍﳋﲑ‪.‬‬
‫‪ .2‬ﻓﻀﻴﻠﺔ ﺭﺋﻴﺲ ﻗﺴﻢ ﺍﻟﻠﻐﺔ ﺍﻟﻌﺮﺑﻴﺔ ﻭﺁﺩﺍ‪‬ﺎ ﺍﻟﺪﻛﺘﻮﺭ ﺍﻧﺪﻭﺱ ﺍﳊﺎﺝ ﺃﺩﺍﻧﺞ‬
‫ﺃﺳﺪﺭﻱ ﺍﳌﺎﺟﻴﺴﺘﲑ‪ ,‬ﻭﺳﻜﺮﺗﲑﻩ ﺍﻟﺪﻛﺘﻮﺭ ﺯﺑﲑ ﺍﳌﺎﺟﻴﺴﺘﲑ‪.‬‬

‫ه‬

‫‪ .3‬ﻓﻀﻴﻠﺔ ﺍﻷﺳﺘﺎﺫ ﺍﻟﺪﻛﺘﻮﺭ ﺍﳊﺎﺝ ﺃﲪﺪ ﺑﺎﲪﻴﺪ ﻟﻴﺴﺎﻧﺲ ﰱ ﺁﺩﺍﺏ ﻓﻬﻮ‬
‫ﺍﻟﺬﻱ ﻗﺎﻡ ﺑﺎﻹﺷﺮﺍﻑ ﻭﺍﻟﺘﻮﺟﻴﻪ ﰱ ﻛﺘﺎﺑﺔ ﻫﺬﺍ ﺍﻟﺒﺤﺚ‪.‬‬
‫‪ .4‬ﺍﻟﺴﺎﺩﺓ ﺍﳌﺪﺭﺳﻮﻥ ﺍﻟﻜﺮﺍﻡ ﺑﻘﺴﻢ ﺍﻟﻠﻐﺔ ﺍﻟﻌﺮﺑﻴﺔ ﺍﻟﺬﻳﻦ ﺑﺬﻟﻮﺍ ﳎﻬﻮﺩﺍ‪‬ﻢ‬
‫ﻭﻗﺎﻣﻮﺍ ﺑﻮﺍﺟﺒﺎ‪‬ﻢ ﻣﻦ ﺇﻟﻘﺎﺀ ﺍﶈﺎﺿﺮﺍﺕ ﻭﺯﻭﺩﻭﺍ ﺍﻟﺒﺎﺣﺜﺔ ﺑﺎﻟﻌﻠﻮﻡ‬

‫ﻭﺍﳌﻌﺎﺭﻑ ﺣﱴ ﻭﺻﻠﺖ ﺇﱃ ‪‬ﺎﻳﺔ ﺍﻟﺪﺭﺍﺳﺔ‪.‬‬
‫‪ .5‬ﺭﺋﻴﺲ ﻣﻜﺘﺒﺔ ﺟﺎﻣﻌﺔ ﺷﺮﻳﻒ ﻫﺪﻳﺔ ﺍﷲ ﺍﻹﺳﻼﻣﻴﺔ ﺍﳊﻜﻮﻣﻴﺔ‬
‫ﺟﺎﻛﺮﺗﺎ‪,‬ﻭﺭﺋﻴﺲ ﻣﻜﺘﺒﺔ ﻛﻠﻴﺔ ﺍﻵﺩﺍﺏ ﻭﺍﻟﻌﻠﻮﻡ ﺍﻹﻧﺴﺎﻧﻴﺔ‪.‬‬
‫‪ .6‬ﺍﻟﻄﻼﺏ ﻭﺍﻟﻄﺎﻟﺒﺎﺕ ﺑﻘﺴﻢ ﺍﻟﻠﻐﺔ ﺍﻟﻌﺮﺑﻴﺔ ﻭﺁﺩﺍ‪‬ﺎ ﺍﻟﺬﻳﻦ ﻗﺪ ﺭﺍﻓﻘﻮﺍ‬
‫ﺍﻟﺒﺎﺣﺜﺔ ﺧﻼﻝ ﺩﺭﺍﺳﺘﻬﺎ ﻭﺳﺎﻋﺪﻭﺍ ﰲ ﺍ‪‬ﲤﺎﻡ ﻫﺬ ﺍﻟﺒﺤﺚ‪.‬‬
‫‪ .7‬ﲣﺺ ﺍﻟﺒﺎﺣﺜﺔ ﺑﻜﻞ ﺧﻀﻮﻉ ﺧﺎﻟﺺ ﺍﻟﺸﻜﺮ ﻭﺍﻟﺘﻘﺪﻳﺮ ﺇﱃ ﺃﺑﻴﻬﺎ‬
‫ﺍﻟﺪﻛﺘﻮﺭﺍﻧﺪﻭﺱ ﺍﳊﺎﺝ ﺳﻮﻫﺮﺳﻮﻧﻮ ﺍﳌﺎﺟﺴﺘﲑ ﻭﺃﻣ‪‬ﻬﺎ ﺍﻟﺪﻛﺘﻮﺭﺍﻧﺪﺓ‬
‫ﺍﳊﺎﺟﺔ ﺃﲰﺎﻧﺔ ﺍﻟﻠﺬﻳﻦ ﻗﺪ ﻗﺎﻣﺎ ﺑﺘﺮﺑﻴﺘﻬﺎ ﺗﺮﺑﻴﺔ ﻛﺮﳝﺔ ﻭﺗﻌﻠﻴﻤﻬﺎ ﺗﻌﻠﻴﻤﺎ‬
‫ﺭﺍﻗﻴﺎ‪.‬‬

‫ه‬

‫‪ .8‬ﲨﻴﻊ ﺇﺧﻮﺍﻥ ﺍﻟﺒﺎﺣﺜﺔ ﻭﺧﺼﻮﺻﺎ ﺃﺧﻮﺍ‪‬ﺎ ﺭﺍﻓﻴﻼ ﺍﺛﻨﲔ ﻛﺮﳝﺔ ﻭﺣﺴﻨﺎﻥ‬
‫ﺣﺒﻴﺐ ﻛﺮﱘ ﺍﻟﻠﺬﻳﻦ ﻗﺪ ﺳﺎﻋﺪﻭﺍ ﺍﻟﺒﺎﺣﺜﺔ ﻭﻳﺪﻋﻮﺍ ﻟﻪ ﺩﺍﺋﻤﺎ ﰲ ﻛﻞ ﺣﺎﻝ‬
‫ﻭﺳﺎﻋﺔ‪.‬‬
‫‪ .9‬ﲨﻴﻊ ﺃﺻﺪﻗﺎﺀ ﺍﻟﺒﺎﺣﺜﺔ ﻭﺃﺻﺤﺎ‪‬ﺎ ﺑﺎﳋﺼﻮﺹ ﻓﺎﺋﻘﺔ ﻓﻘﻴﻪ ﺍﻟﱵ ﻗﺪ‬
‫ﺳﺎﻋﺪﻭﺍ ﺍﻟﺒﺎﺣﺜﺔ ﻭﺷﺠﻌﻮﻫﺎ ﻋﻠﻰ ﺫﻟﻚ ﰲ ﻛﻞ ﻭﻗﺖ‪.‬‬
‫‪ .10‬ﲨﻴﻊ ﺍﻷﻋﻀﺎﺀ ﺍﳌﻨﺘﺴﺒﲔ ﳊﺮﻛﺔ ﺍﻟﻄﻠﺒﺔ ﺍﻹﺳﻼﻣﻴﺔ ﺍﻹﻧﺪﻭﻧﺴﻴﺔ‬
‫ﺑﻘﻮﻣﻴﺴﺎﺭﻳﺔ ﻛﻠﻴﺔ ﺍﻵﺩﺍﺏ ﻭﺍﻟﻌﻠﻮﻡ ﺍﻹﻧﺴﺎﻧﻴﺔ ﻓﺮﻉ ﺗﺸﺒﻮﺗﺎﺕ‪.‬‬
‫‪ .11‬ﺣﺰﺏ ﺍﲢﺎﺩ ﺍﻟﻄﻼﺏ ﲜﺎﻣﻌﺔ ﺷﺮﻳﻒ ﻫﺪﺍﻳﺔ ﺍﷲ ﺍﻹﺳﻼﻣﻴﺔ ﺍﳊﻜﻮﻣﻴﺔ‬

‫ﲜﺎﻛﺮﺗﺎ‪.‬‬
‫ﻭﺍﷲ ﻧﺴﺄﻝ ﺃﻥ ﻳﻮﻓﹼﻘﻨﺎ ﻭﻳﻬﺪﻳﻨﺎ ﺳﻮﺍﺀ ﺍﻟﺴﺒﻴﻞ‪.‬‬

‫ﺩﻳﺎﻩ ﺃﺻﺮﺩﻳﲎ ﺃﺳﺮﻳﲎ‬

‫ز‬

‫ﺍﻟﺒﺎﺏ ﺍﻷﻭﻝ‬
‫ﻣﻘﺪﻣﺔ‬

‫ﺃ‪ .‬ﺧﻠﻔﻴﺔ ﺍﳌﺸﻜﻠﺔ‬
‫ﺍﻟﻨﺜﺮ ﻟﻐﺔﹰ ﺍﻟﻜﻼﻡ ﺍﳌﺮﺳﻞ ﺑﻼ ﻭﺯﻥ ﻭﻻ ﻗﺎﻓﻴﺔ‪ ،‬ﻋﻜﺴﻪ ﺷﻌﺮ‪ .١‬ﺃﻭ ﰱ ﻣﻌﺠﻢ‬
‫ﺍﻟﻮﺳﻴﻂ ﺑﺰﻳﺎﺩﺓ ﻛﻠﻤﺔ ﺍﳉﻴﺪ‪ ،‬ﻭﻫﻮ ﺍﻟﻜﻼﻡ ﺍﳉﻴﺪ ﺑﻼ ﻭﺯﻥ ﻭﻻ ﻗﺎﻓﻴﺔ‪ ،‬ﺧﻼﻑ‬
‫ﺍﻟﻨﻈﻢ ) ﺍﻟﺸﻌﺮ(‪ .٢‬ﺇﻥ ﺍﻟﺮﺳﺎﻟﺔ ﻧﻮﻉ ﻣﻦ ﺃﻧﻮﺍﻉ ﺍﻟﻨﺜﺮ‪ .‬ﻭﺍﻟﺮﺳﺎﻟﺔ ﺍﻟﻠﻐﻮﻳﺔ ﻫﻲ‬
‫ﺍﻟﺮﺳﺎﻟﺔ ﺝ ﺭﺳﺎﺋﻞ ﻭﺭﺳﺎﻻﺕ‪ :‬ﻣﻌﻨﺎﻫﺎ‪ ،‬ﺍﻟﺼﺤﻴﻔﺔ ﺍﻟﱴ ﻳﻜﺘﺐ ﻓﻴﻬﺎ ﺍﻟﻜﻼﻡ‬
‫ﺍﳌﺮﺳﻞ‪ ٣‬ﺭﺳﺎﺋﻞ‪" :‬ﺭﺳﺎﻟﺔ ﻏﺮﺍﻣﻴﺔ ﻫﻰ ﻛﺘﺎﺏ ﻣﻮﺟﺰ ﻳﺸﺘﻤﻞ ﻋﻠﻰ ﻗﻠﻴﻞ ﻣﻦ‬
‫ﺍﳌﺴﺎﺋﻞ ﺗﻜﻮﻥ ﺫﺍﺕ ﻣﻮﺿﻮﻉ ﻭﺍﺣﺪ‪.‬‬
‫ﺃﻭ ﲝﺚ ﻣﺒﺘﻜﺮ ﻳﻘﺪﻡ ﻟﻠﺤﺼﻮﻝ ﻋﻠﻰ ﺷﻬﺎﺩﺓ ﻋﻠﻴﺎ) ﻣﺎﺟﺴﺘﲑ‪ ،‬ﺩﻛﺘﻮﺭﺓ‪ ،‬ﺩﺑﻠﻮﻡ(‬
‫‪١‬‬

‫ﺃﲪﺪ ﺍﻟﻌﺎﺩﻱ ﻭﺁﺧﺮﻭﻥ‪ ،‬ﺍﳌﻌﺠﻢ ﺍﻟﻌﺮﰊ ﺍﻷﺳﺎﺳﻰ ﻟﻠﻨﺎﻃﻘﲔ ﺑﺎﻟﻌﺮﺑﻴﺔ ﻭﻣﺘﻌﻠﻤﻴﻬﺎ‪) ،‬ﺟﺎﻣﻌﺔ ﺍﻟﺪﻭﻝ‬

‫ﺍﻟﻌﺮﺑﻴﺔ‪ ،‬ﺍﳌﻨﻈﻤﺔ ﻟﻠﺘﺮﺑﻴﺔ ﻭﺍﻟﺜﻘﺎﻓﺔ ﻭﺍﻟﻌﻠﻮﻡ‪ :‬ﺍﻟﺪﺭﻭﺱ‪ ،‬ﺩ ﺕ( ﺹ ‪١١٧٣‬‬

‫‪ ٢‬ﺍﳌﻌﺠﻢ ﺍﻟﻮﺳﻴﻂ‪ ،‬ﺝ‪ ،٢‬ﻁ‪) ،3‬ﺩ‪.‬ﻡ‪.‬ﻥ‪ :.‬ﺩ‪.‬ﺕ‪ (.‬ﺹ‪٩٣٧‬‬

‫‪ ٣‬ﻟﻮﻳﺲ ﻣﻌﻠﻮﻑ‪ ،‬ﺍﳌﻨﺠﺪ ﰲ ﺍﻟﻠﻐﺔ ﻭﺍﻷﻋﻼﻡ‪ ، ،‬ﻁ‪ ) ۲١‬ﺑﲑﻭ‪ :‬ﺩﺍﺭ ﺍﻟﺸﺮﻭﻕ‪ ١٩٨٦ ،‬ﻡ( ﺹ ‪۲٥٩‬‬

‫ه‬

‫ﻭ ﺗﺴﻤﻰ ﰱ ﺑﻌﺾ ﺍﻟﺒﻼﺩ ﺍﻟﻌﺮﺑﻴﺔ )ﺃﹸﻃﹾﺮ‪‬ﻭﺣ‪‬ﺔﹲ("‪ ٤‬ﱂ ﺗﱪﺯ ﺍﻟﺮﺳﺎﺋﻞ ﺍﻟﻔﻨﻴﺔ ﺇﻻ ﰲ‬
‫ﺁﺧﺮ ﺍﻟﻌﺼﺮ ﺍﻷﻣﻮﻱ‪ ،‬ﺃﻣﺎ ﻗﺒﻞ ﺫﻟﻚ ﻓﺎﻟﺮﺳﺎﻟﺔ ﻫﻰ ﺍﻣﺘﺪﺍﺩ ﻟﻠﻜﻼﻡ ﺍﻟﻌﺎﺩﻱ‪ ،‬ﻓﻬﻲ‬
‫ﺧﺎﻟﻴﺔ ﻣﻦ ﺍﻟﺘﻜﻠﻒ‪ ،‬ﺳﻬﻠﺔ ﺍﻟﻌﺒﺎﺭﺓ‪ ،‬ﺧﺎﻟﻴﺔ ﻣﻦ ﻋﺒﺎﺭﺍﺕ ﺍﻟﺘﻔﺨﻴﻢ‪ ٥‬ﺃﻣﺎ ﺍﻟﺮﺳﺎﻟﺔ‬
‫ﺍﻟﻔﻨﻴﺔ ﻓﻬﻲ ﺍﻟﱵ ﺗﻜﺘﺐ ﺑﺄﺳﻠﻮﺏ ﻣﻨﺘﻘﻰ ﺗﺘﺼﺪﺭﻩ ﻋﺒﺎﺭﺍﺕ ﺍﻟﺘﻔﺨﻴﻢ ﺇﺫﺍ ﻛﺎﻥ‬
‫ﺍﳌﺮﺳﻞ ﺇﻟﻴﻪ ﻳﺴﺘﺤﻖ ﺫﻟﻚ‪.‬‬
‫ﺃ‪.‬ﺃ‪ .‬ﺭﺳﺎﻟﺔ ﻣﻴﻤﻮﻥ ﺍﻻﺑﺘﺪﺍﺀ ﻣﺒﺎﺭﻙ ﺍﻻﻧﺘﻬﺎﺀ‬
‫ﻛﺎﻧﺖ ﺭﺳﺎﻟﺔ ﻣﻴﻤﻮﻥ ﺍﻻﺑﺘﺪﺍﺀ ﻣﺒﺎﺭﻙ ﺍﻻﻧﺘﻬﺎﺀ ﺇﺣﺪﻯ ﻣﻮﺿﻮﻋﺎﺕ ﺍﻟﺮﺳﺎﻟﺔ‬
‫ﻷﰉ ﺣﻴﺎﻥ ﺍﻟﺘﻮﺣﻴﺪﻯ ﰱ ﻛﺘﺎﺏ ﺍﻹﺷﺎﺭﺍﺕ ﺍﻹﳍﻴﺔ‪ .‬ﺍﻟﺮﺳﺎﻟﺔ ﻷﰉ ﺣﻴﺎﻥ‬
‫ﺍﻟﺘﻮﺣﻴﺪﻯ ﻧﻮﻉ ﻣﻦ ﺍﻟﺮﺳﺎﺋﻞ ﺍﻟﺸﺨﺼﻴﺔ‪ ،‬ﻭﺭﺳﺎﻟﺔ ﻣﻴﻤﻮﻥ ﺍﻻﺑﺘﺪﺍﺀ ﻣﺒﺎﺭﻙ ﺍﻻﻧﺘﻬﺎﺀ‬
‫ﺗﻌﺘﱪ ﻋﻦ ﻧﻔﺲ ﺩﻟﺖ ﻋﻠﻰ ﺍﻻﳝﺎﻥ ﺍﳌﺴﺘﺴﻠﻢ ﺑﻌﺪ ﺃﻥ ﻋﺎﻧﺖ ﻣﻦ ﲡﺎﺭﺏ ﺍﳊﻴﺎﺓ‬

‫ﺃﻫﻮﺍﻻ ﻃﻮﺍﻻ‪.‬‬

‫‪ ٤‬ﺃﲪﺪ ﺍﻟﻌﺎﻳﺪ ﻭﺁﺧﺮﻭﻥ‪ ،‬ﺍﳌﻌﺠﻢ ﺍﻟﻌﺮﰊ ﺍﻷﺳﺎﺳﻰ ﻟﻠﻨﺎﻃﻘﲔ ﺑﺎﻟﻌﺮﺑﻴﺔ ﻭﻣﺘﻌﻠﻤﻴﻬﺎ‪ ،‬ﺹ ‪٥۲۲- ٥۲١‬‬

‫‪ ٥‬ﻋﺒﺪ ﺍﻟﻌﺰﻳﺰ ﺑﻦ ﳏﻤﺪ ﺍﻟﻔﻴﺼﻞ‪ ،‬ﺍﻷﺩﺏ ﺍﻟﻌﺮﰊ ﻭﺗﺎﺭﳜﻪ‪ :‬ﺍﻟﻌﺼﺮ ﺍﳉﺎﻫﻠﻰ ﻭﺍﻟﻌﺼﺮ ﺻﺪﺭ ﺍﻹﺳﻼﻡ‬
‫ﻭﺍﻟﻌﺼﺮ ﺍﻷﻣﻮﻱ‪ ،‬ﻁ‪) 1‬ﺍﳌﻤﻠﻜﺔ ﺍﻟﻌﺮﺑﻴﺔ ﺍﻟﺴﻌﻮﺩﻳﺔ‪ :‬ﻭﺯﺍﺭﺓ ﺍﻟﺘﻌﻠﻴﻢ ﺍﻟﻌﺎﱄ‪ ،‬ﺟﺎﻣﻌﺔ ﺍﻹﻣﺎﻡ ﳎﻤﺪ ﺑﻦ ﺳﻌﻮﺩ‬
‫ﺍﻹﺳﻼﻣﻴﺔ‪ ،(١٤٠٦ -١٤٠٥ ،‬ﺹ ‪٢۷‬‬
‫ط‬

‫ﻭﻳﺸﺘﻤﻞ ﻛﺘﺎﺏ ﺍﻹﺷﺎﺭﺍﺕ ﺍﻹﳍﻴﺔ ﻋﻠﻰ ﺃﺭﺑﻌﺔ ﻣﻮﺿﻮﻋﺎﺕ‪ :‬ﻭﺍﳌﻮﺿﻮﻉ‬
‫ﺍﻷﻭﻝ ﻳﺸﺘﻤﻞ ﻋﻠﻰ ﺍﺛﻨﱴ ﻋﺸﺮﺓ ﺭﺳﺎﻟﺔ‪ ،‬ﻭﺍﳌﻮﺿﻮﻉ ﺍﻟﺜﺎﱏ ﻳﺸﺘﻤﻞ ﻋﻠﻰ ﺭﺳﺎﻟﺔ‬
‫ﻭﺍﺣﺪﺓ‪ ،‬ﻭﺍﳌﻮﺿﻮﻉ ﺍﻟﺜﺎﻟﺚ ﻳﺸﺘﻤﻞ ﻋﻠﻰ ﺳﺒﻊ ﻋﺸﺮﺓ ﺭﺳﺎﻟﺔ‪ ،‬ﻭﺍﳌﻮﺿﻮﻉ ﺍﻟﺮﺍﺑﻊ‬
‫ﻟﻪ ﺛﻼﺛﺔ ﻭﻋﺸﺮﻭﻥ ﺭﺳﺎﻟﺔ‪ .‬ﻭﺭﺳﺎﻟﺔ ﻣﻴﻤﻮﻥ ﺍﻻﺑﺘﺪﺍﺀ ﻣﺒﺎﺭﻙ ﺍﻻﻧﺘﻬﺎﺀ ﻫﻰ ﺍﳌﻮﺿﻮﻉ‬
‫ﺍﻷﻭﻝ ﻣﻦ ﻛﺘﺎﺏ ﺍﻹﺷﺎﺭﺍﺕ ﺍﻹﳍﻴﺔ‪.‬‬
‫ﻭﻭﺟﺪﺕ ﺍﻟﺒﺎﺣﺜﺔ ﰲ ﺭﺳﺎﻟﺔ ﻣﻴﻤﻮﻥ ﺍﻻﺑﺘﺪﺍﺀ ﻣﺒﺎﺭﻙ ﺍﻻﻧﺘﻬﺎﺀ ﺃﻧﻮﺍﻋﺎ ﻣﻦ‬
‫ﺍﻟﺼﻮﺭ ﺍﻟﺒﻴﺎﻧﻴﺔ‪ ،‬ﻭﻣﻦ ﺍﳌﻌﻠﻮﻡ ﺃﻥ ﻋﻠﻢ ﺍﻟﺒﻼﻏﺔ ﻳﻨﻘﺴﻢ ﺇﱃ ﺛﻼﺛﺔ ﺃﻗﺴﺎﻡ ﻫﻲ ﻋﻠﻢ‬
‫ﺍﳌﻌﺎﱏ ﻭﻋﻠﻢ ﺍﻟﺒﻴﺎﻥ ﻭﻋﻠﻢ ﺍﻟﺒﺪﻳﻊ‪ .‬ﻓﻌﻠﻢ ﺍﻟﺒﻴﺎﻥ ﻋﻠﻢ ﻳﻌﺮﻑ ﺑﻪ ﺇﻳﺮﺍﺩ ﺍﳌﻌﲎ ﺍﻟﻮﺍﺣﺪ‬
‫ﰱ ﺻﻮﺭ ﳐﺘﻠﻔﺔ‪ ،‬ﻣﺘﻔﺎﻭﺗﺔ ﰱ ﻭﺿﻮﺡ ﺍﻟﺪﻻﻟﺔ‪ ،‬ﻣﻊ ﻣﻄﺎﺑﻘﺔ ﻛﻞ ﻣﻨﻬﺎ ﳌﻘﺘﻀﻰ‬
‫ﺍﳊﺎﻝ‪.‬‬
‫ﻓﻠﺬﻟﻚ ﻗﺎﻣﺖ ﺍﻟﺒﺎﺣﺜﺔ ﺑﺒﺤﺚ ﻋﻠﻤﻰ ﲢﺖ ﺍﳌﻮﺿﻮﻉ‪ " :‬ﺍﻟﺼﻮﺭ ﺍﻟﺒﻴﺎﻧﻴﺔ ﰲ‬

‫ﺭﺳﺎﻟﺔ ﻣﻴﻤﻮﻥ ﺍﻻﺑﺘﺪﺍﺀ ﻣﺒﺎﺭﻙ ﺍﻻﻧﺘﻬﺎﺀ ﻷﰊ ﺣﻴﺎﻥ ﺍﻟﺘﻮﺣﻴﺪﻯ"‬

‫ه‬

‫ﺏ‪ .‬ﲢﺪﻳﺪ ﺍﳌﺸﻜﻠﺔ‬
‫ﺇﻥ ﻣﻮﺿﻮﻋﺎﺕ ﺍﻟﺒﺤﺚ ﺍﻟﱴ ﺗﺘﻢ ﲝﺜﹸﻬﺎ ﰲ ﻋﻠﻢ ﺍﻟﺒﻴﺎﻥ ﻭﺍﺳﻌﺔ ﲝﺜﻮﺍ‪.‬‬
‫ﻓﺤﺪﺩﺕ ﺍﻟﺒﺎﺣﺜﺔ ﺍﻟﺒﺤﺚ ﰱ ﺻﻮﺭﺗﲔ ﳘﺎ‪ :‬ﺍﻟﺘﺸﺒﻴﻪ‪ ،‬ﻭﺍ‪‬ﺎﺯ‪.‬‬

‫ﺝ‪ .‬ﺍﻟﻐﺮﺽ ﻣﻦ ﺍﻟﺒﺤﺚ‬
‫ﺃﻣﺎ ﺍﻟﻐﺮﺽ ﻣﻦ ﺍﻟﺒﺤﺚ ﻓﻬﻮ ﻣﻌﺮﻓﺔ ﺍﻟﺼﻮﺭ ﺍﻟﺒﻴﺎﻧﻴﺔ ﰲ ﺭﺳﺎﻟﺔ ﻣﻴﻤﻮﻥ‬
‫ﺍﻻﺑﺘﺪﺍﺀ ﻣﺒﺎﺭﻙ ﺍﻻﻧﺘﻬﺎﺀ ﻷﰊ ﺣﻴﺎﻥ ﺍﻟﺘﻮﺣﻴﺪﻯ‪.‬‬

‫ك‬

‫ﺩ‪ .‬ﻃﺮﻳﻘﺔ ﺍﻟﺒﺤﺚ‬
‫ﺃﻣﺎ ﺍﻟﻄﺮﻳﻘﺔ ﺍﳌﺴﺘﺨﺪﻣﺔ ﰲ ﻫﺬﺍ ﺍﻟﺒﺤﺚ ﺍﻟﻌﻠﻤﻰ ﻓﻬﻲ ﺍﻟﻄﺮﻳﻘﺔ ﺍﳌﻜﺘﺒﻴﺔ‬
‫ﲜﻤﻊ ﺑﻌﺾ ﺍﳌﻮﺍﺩ ﻣﻦ ﺍﻟﻜﺘﺐ ﻭﻣﻄﺎﻟﻌﺘﻬﺎ ﺍﻟﱴ ﳍﺎ ﻋﻼﻗﺔ ﻭﺛﻴﻘﺔ ﺑﺎﻟﺒﺤﺚ‪ .‬ﺍﻟﺘﺤﻠﻴﻞ‬
‫ﺍﳌﺴﺘﺨﺪﻡ ﻓﻴﻬﺎ ﺍﻟﺪﺭﺍﺳﺔ ﺍﻟﺒﻼﻏﻴﺔ‪ .‬ﻭﻣﻦ ﺟﻬﺔ ﻃﺮﻳﻘﺔ ﺍﻟﻜﺘﺎﺑﺔ ﺍﻋﺘﻤﺪﺕ ﺍﻟﺒﺎﺣﺜﺔ‬
‫ﻋﻠﻰ ﺍﻟﻜﺘﺎﺏ ﺍﻟﺬﻯ ﺃﺻﺪﺭﺗﻪ ﺟﺎﻣﻌﺔ ﺷﺮﻳﻒ ﻫﺪﺍﻳﺔ ﺍﷲ ﺍﻹﺳﻼﻣﻴﺔ ﺍﳊﻜﻮﻣﻴﺔ‬
‫ﲜﺎﻛﺮﺗﺎ ﲢﺖ ﻋﻨﻮﺍﻥ‪:‬‬

‫‪Pedoman Penulisan Karya Ilmiah Skripsi, Tesis dan Disertasi UIN Syarif‬‬
‫)‪Hidayatullah Jakarta (UIN Jakarta Press. Cet II, April 2007 M‬‬

‫ه‬

‫ﻩ‪ .‬ﺧﻄﺔ ﺍﻟﺒﺤﺚ‬
‫ﻗﺴﻤﺖ ﺍﻟﺒﺎﺣﺜﺔ ﻫﺬﺍ ﺍﻟﺒﺤﺚ ﺇﱃ ﲬﺴﺔ ﺃﺑﻮﺍﺏ‪:‬‬
‫ﺍﻟﺒﺎﺏ ﺍﻷﻭﻝ ‪ :‬ﺍﳌﻘﺪﻣﺔ ﺗﺸﺘﻤﻞ ﻋﻠﻰ ﺧﻠﻔﻴﺔ ﺍﳌﺸﻜﻠﺔ ﻭﲢﺪﻳﺪ ﺍﳌﺸﻜﻠﺔ ﻭﺍﻟﻐﺮﺽ‬
‫ﻣﻦ ﺍﻟﺒﺤﺚ ﻭﻃﺮﻳﻘﺔ ﺍﻟﺒﺤﺚ ﻭﺧﻄﺔ ﺍﻟﺒﺤﺚ‬
‫ﺍﻟﺒﺎﺏ ﺍﻟﺜﺎﱏ ‪ :‬ﺗﺮﲨﺔ ﺍﳊﻴﺎﺓ ﻷﰉ ﺣﻴﺎﻥ ﺍﻟﺘﻮﺣﻴﺪﻯ‬
‫ﺍﻟﺒﺎﺏ ﺍﻟﺜﺎﻟﺚ ‪ :‬ﶈﺔ ﻋﻦ ﻋﻠﻢ ﺍﻟﺒﻴﺎﻥ ﻳﺸﺘﻤﻞ ﻋﻠﻰ ﻣﻔﻬﻮﻣﻪ ﻭﺃﻗﺴﺎﻣﻪ‬
‫ﺍﻟﺒﺎﺏ ﺍﻟﺮﺍﺑﻊ ‪ :‬ﺍﻟﺘﺸﺒﻴﻪ ﻭﺍ‪‬ﺎﺯ ﰱ ﺭﺳﺎﻟﺔ ﻣﻴﻤﻮﻥ ﺍﻻﺑﺘﺪﺍﺀ ﻣﺒﺎﺭﻙ ﺍﻻﻧﺘﻬﺎﺀ ﻷﰉ‬
‫ﺣﻴﺎﻥ ﺍﻟﺘﻮﺣﻴﺪﻯ‬
‫ﺍﻟﺒﺎﺏ ﺍﳋﺎﻣﺲ ‪ :‬ﺧﺎﲤﺔ ﺗﺸﺘﻤﻞ ﻋﻠﻰ ﺍﳋﻼﺻﺔ ﻭﺍﻹﻗﺘﺮﺍﺣﺎﺕ‬

‫م‬

‫ﺍﻟﺒﺎﺏ ﺍﻟﺜﺎﱏ‬
‫ﺗﺮﲨﺔ ﺍﳊﻴﺎﺓ ﻷﰉ ﺣﻴﺎﻥ ﺍﻟﺘﻮﺣﻴﺪﻯ‬

‫ﺃ‪ .‬ﻣﻮﻟﺪ ﺃﰉ ﺣﻴﺎﻥ ﺍﻟﺘﻮﺣﻴﺪﻯ ﻭﻧﺸﺄﺗﻪ‬
‫ﻫﻮ ﻋﻠﻲ ﺑﻦ ﳏﻤﺪ ﺑﻦ ﺍﻟﻌﺒﺎﺱ ﺃﺑﻮ ﺣﻴﺎﻥ ﺍﻟﺘﻮﺣﻴﺪﻯ ﻭﺍﺧﺘﻠﻒ ﺍﳌﺆﺭﺣﻮﻥ‬
‫ﰱ ﺃﺻﻠﻪ ﺑﲔ ﺃﻧﻪ ﺷﲑﺍﺯﻯ ﺃﻭﻧﻴﺴﺎﺑﻮﺭﻯ ﺃﻭ ﻭﺍﺳﻄﻰ‪ ،‬ﻭﻣﻬﻤﺎ ﻳﻜﻦ ﻣﻦ ﺧﻼﻑ ﻓﻼ‬
‫ﺷﻚ ﰱ ﺃﻧﻪ ﻓﺎﺭﺳﻰ ﺍﻷﺻﻞ‪ ،‬ﻭﺇﻻ ﻓﻤﺎ ﺳﻜﺘﻮﺍ ﻋﻦ ﺍﻟﺘﻌﺮﻳﻒ ﺑﺄﺻﻠﻪ‪ ،‬ﻭﻻ ﺃﺣﺪ ﻣﻦ‬
‫ﻣﺆﺭﺧﻴﻪ ﻳﺘﻌﺮﺽ ﻟﺬﻛﺮ ﻣﻜﺎﻥ ﻣﻮﻟﺪﻩ‪ ،‬ﻭﻻ ﻟﻮﻗﺖ ﺍﻟﺬﻯ ﻭﻟﺪ ﻓﻴﻪ‪ .‬ﻣﻊ ﺃﻥ ﺍﺑﻦ‬
‫ﻗﺎﺿﻰ ﺷﻬﺒﺔ ﺫﻛﺮ ﺃﻥ ﺃﺑﺎﻩ ﳏﻤﺪ ﺑﻦ ﺍﻟﻌﺒ‪‬ﺎﺱ ﻛﺎﻥ ﻳﺘﺠﺮ ﺑﺎﻟﺘﻤﺮ ﰱ ﺑﻐﺪﺍﺩ‪.٦‬‬
‫ﺃﻣﺎ ﺗﺎﺭﻳﺦ ﻣﻴﻼﺩﻩ ﻓﻘﺪ ﺃﻏﻔﻠﻪ ﻛﻞ ﻣﻦ ﻛﺘﺐ ﻋﻨﻪ‪ ،‬ﻏﲑ ﺃﻧﻪ ﻗﺪ ﺣﺪﺩ ﺳﻨﺔ‬
‫ﰱ ﺍﻟﺮﺳﺎﻟﺔ ﺍﻟﱴ ﻛﺘﺒﻬﺎ ﰱ ﺳﻨﺔ ﺃﺭﺑﻌﻤﺎﺋﺔ ﺇﱃ ﺍﻟﻘﺎﺿﻰ ﺃﰉ ﺳﻬﻞ ﻋﻠﻰ ﺑﻦ ﳏﻤﺪ‬
‫ﺣﻴﺚ ﻗﺎﻝ ﻟﻪ "ﻓﺈﱏ ﰱ ﻋﺸﺮ ﺍﻟﺘﺴﻌﲔ" ﺇﺫﺍ ﺗﻌﲔ ﺃﻥ ﻣﻴﻼﺩﻩ ﻛﺎﻥ ﰱ ﺍﻟﻌﺸﺮﺓ‬
‫ﺍﻟﺜﺎﻧﻴﺔ ﺑﻌﺪ ﺍﻟﺜﻠﺜﻤﺎﺋﺔ‪ .‬ﻭﻋﻠﻴﻪ ﺣﻖ ﻟﻨﺎ ﺃﻥ ﻳﻘﻮﻝ‪:‬‬
‫‪ ٦‬ﺣﺴﻦ ﺍﻟﺴﻨﺪﻭﰊ‪ ،‬ﺍﳌﻘﺎﺑﺴﺔ ﻷﰊ ﺣﻴﺎﻥ ﺍﻟﺘﻮﺟﻴﺪﻯ )ﺍﻟﻘﺎﻫﺮﺓ‪ :‬ﺩﺍﺭ ﺳﻌﺎﺩ ﺍﻟﺼﺒﺎﺡ(‪ ،‬ﺹ‪٨‬‬

‫ه‬

‫ﻭﻟﺪ ﺃﺑﻮ ﺣﻴﺎﻥ ﺍﻟﺘﻮﺣﻴﺪﻯ ﰱ ﺑﻐﺪﺍﺩ ﺳﻨﺔ ‪ ٣١٢‬ﻭ‪‬ﺎ ﻧﺸﺄ‪.۷‬‬
‫ﻭﰲ ﺑﻐﺪﺍﺩ ﺩﺭﺱ ﺃﺑﻮ ﺣﻴﺎﻥ ﺍﻟﻨﺤﻮ ﻋﻠﻰ ﺍﻟﺴﲑﺍﰲ ﻭﺍﻟﺮﻣﺎﱐ‪ ،‬ﻭﺍﻟﻔﻘﻪ ﺍﻟﺸﺎﻓﻌﻲ ﻋﻠﻰ‬
‫ﺃﰉ ﺣﺎﻣﺪ ﺍﳌﺮﻭﺍﻟﺮﻭﺫﻯ ﻭ ﺃﰊ ﺑﻜﺮ ﺍﻟﺸﺎﺷﻰ‪ ،‬ﻛﻤﺎ ﺃﻧﻪ ﻛﺎﻥ ﳛﻀﺮ ﳎﺎﻟﺲ ﺷﻴﻮﺥ‬
‫ﺍﻟﺼﻮﻓﻴﺔ‪ ،‬ﻭﻛﺎﻥ ﳛﺘﺮﻑ ﻣﻬﻨﺔ ﺍﻟﻨﺴﺦ ﻭﻳﺘﻜﺴﺐ ﻣﻨﻬﺎ‪.٨‬‬
‫ﻭﳌﺎ ﻋﺎﺩ ﺃﺑﻮ ﺣﻴﺎﻥ ﺇﱃ ﺑﻐﺪﺍﺩ ﰲ ‪‬ﺎﻳﺔ ﻋﺎﻡ ‪٣٧٠‬ﻫ ) ‪ ٩٧٠‬ﻡ( ﺃﻭ ﺻﻰ‬
‫ﺑﻪ ﺯﻳﺪ ﺑﻦ ﺭﻓﺎﻋﺔ ﻭﺃﺑﻮ ﺍﻟﻮﻓﺎ ﺍﻟﺒﻮﺯﺟﺎﱏ ﺍﶈﺎﺳﺐ ﺧﲑﺍ ﻟﺪﻯ ﺍﺑﻦ ﺳﻌﺪﺍﻥ "ﻛﲎ‬

‫ﺑﺬﻟﻚ ﻧﺴﺒﺔ ﺇﱃ ﻣﻨﺼﺒﻪ ﻭﻫﻮ ﻣﻔﺘﺶ ﺍﳉﻴﺶ‪" :‬ﺍﻟﻌﺎﺭﺽ"؛ ﺍﻧﻈﺮ ﺍﻟﺮﻭﺫﻭﺍﻭﺭﻯ‪:‬‬
‫ﺫﻳﻞ ﲡﺎﺭﺏ ﺍﻷﻣﻢ‪ ،‬ﻭﻣﻦ ﰒ ﺟﺎﺀ ﺍﻟﻠﺒﺲ ﺍﻟﺬﻯ ﻭﻗﻊ ﻓﻴﻪ ﺍﺑﻦ ﺍﻟﻘﻔﻈﻰ ﻭﺍﳌﺆﻟ‪‬ﻔﻮﻥ‬
‫ﺍﶈﺪﺛﻮﻥ"‪ .‬ﻭﻗﺪ ﺑﺪﺃ ﺃﺑﻮ ﺣﻴﺎﻥ ﻳﻜﺘﺐ ﻷﺑﻦ ﺳﻌﺪﺍﻥ ﻛﺘﺎﺏ ﺍﻟﺼﺪﻳﻖ ﻭﺍﻟﺼﺪﺍﻗﺔ‬
‫ﺍﻟﺬﻯ ﱂ ﻳﺘﻢ ﻣﻊ ﺫﻟﻚ ﺇﻻ ﺑﻌﺪ ﺛﻼﺛﲔ ﺳﻨﺔ‪ .‬ﻭﻗﺪ ﻇﻞ ﺃﺑﻮ ﺣﻴﺎﻥ ﻣﻦ ﺣﺎﺷﻴﺔ‬
‫ﺍﻟﻮﺯﻳﺮ ﺍﳌﻼﺯﻣﲔ ﳛﻀﺮ ﺍﺳﺘﻘﺒﺎﻻﺗﻪ ﺍﳌﺴﺎﺋﻴﺔ ﺣﻴﺚ ﻛﺎﻥ ﻋﻠﻴﻪ ﺃﻥ ﳚﻴﺐ ﺍﻟﻮﺯﻳﺮ ﻋﻦ‬

‫‪ ۷‬ﺣﺴﻦ ﺍﻟﺴﻨﺪﻭﰊ‪ ،‬ﺍﳌﻘﺎﺑﺴﺔ ﻷﰊ ﺣﻴﺎﻥ ﺍﻟﺘﻮﺟﻴﺪﻯ )ﺍﻟﻘﺎﻫﺮﺓ‪ :‬ﺩﺍﺭ ﺳﻌﺎﺩ ﺍﻟﺼﺒﺎﺡ(‪ ،‬ﺹ‪٢٧٢٨‬‬

‫‪ ٨‬ﺇﺑﺮﺍﻫﻴﻢ ﺯﻛﺮ ﺧﻮﺭﺷﻴﺪ ﻭﺃﲪﺪ ﺍﻟﺸﻨﺘﻨﺎﻭﻯ ﻭﻋﺒﺪ ﺍﳊﻤﻴﺪ ﻳﻮﻧﺲ‪ ،‬ﺩﺍﺋﺮﺓ ﺍﳌﻌﺎﺭﻑ ﺍﻹﺳﻼﻣﻴﺔ )ﺍﻟﻘﺎﻫﺮﺓ‪:‬‬

‫ﺍﻟﺸﻌﺐ ﺍﻟﻘﺎﻫﺮﺓ ‪ ،(٣١٨١‬ﺹ‪٤٦١‬‬
‫س‬

‫ﻣﺴﺎﺋﻞ ﳐﺘﻠﻔﺔ ﺃﺷﺪ ﺍﳋﻼﻑ ﻣﻦ ﻟﻐﻮﻳﺔ ﺇﱃ ﺃﺩﺑﻴﺔ ﺇﱃ ﻓﻠﺴﻔﺔ ﺛﺮﺛﺮﺓ ﺗﺪﻭﺭ ﰱ‬
‫ﺍﻟﺒﻼﻁ ﻭﺃﲰﺎﺭ ﰱ ﺍﻷﺩﺏ‪.٩‬‬
‫ﻭﻗﺪ ﻛﺎﻥ ﺃﺑﻮ ﺣﻴﺎﻥ ﻣﻦ ﺃﺻﺤﺎﺏ ﺍﻷﺳﺎﻟﻴﺐ ﰱ ﺍﻟﻌﺮﺑﻴﺔ‪ ،‬ﻳﻌﺠﺐ‬
‫ﺑﺎﳉﺎﺣﻆ ﺃﺷﺪ ﺍﻹﻋﺠﺎﺏ ﺣﱴ ﺇﻧﻪ ﻛﺘﺐ ﰱ ﻣﺪﺣﻪ ﺭﺳﺎﻟﺔ ﺧﺎﺻﺔ ﻫﻲ "ﺗﺜﺮﻳﻆ‬
‫ﺍﳉﺎﺣﻆ" )ﺭﻭﻯ ﻣﻨﻬﺎ ﻳﺎﻗﻮﺕ ﺷﻮﺍﻫﺪ ﰱ ﺝ ‪ ،١‬ﺹ ‪١٢٤‬؛ ﺝ ‪٣‬؛ ﺹ ‪٨٦‬؛‬
‫ﺝ ‪ ،٤‬ﺹ‪٦٩ ،٥٨‬؛ ﺍﺑﻦ ﺃﰉ ﺍﳊﺪﻳﺪ‪ :‬ﺷﺮﺡ ‪‬ﺞ ﺍﻟﺒﻼﻏﺔ‪ ،‬ﺝ ‪ ،٣‬ﺹ ‪،(٢٨٢‬‬
‫ﻭﺭﻏﺒﺔ ﺃﰉ ﺣﻴﺎﻥ ﰱ ﺗﻘﻠﻴﺪ ﻫﺬﺍ ﺍﻟﻌﻠﻢ ﻣﻦ ﺃﻋﻼﻡ ﺍﻟﻨﺜﺮ ﺍﻟﻌﺮﰉ ﻭﺍﺿﺤﺔ ﺟﻠﻴﺔ‪.١٠‬‬

‫ﺏ‪ .‬ﺷﺨﺼﻴﺘﻪ‬
‫ﻋﻠﻰ ﺑﻦ ﳏﻤﺪ ﺑﻦ ﺍﻟﻌﺒﺎﺱ ﺍﻟﺘﻮﺣﻴﺪﻯ )ﲰﻰ ﺑﺬﻟﻚ ﻧﺴﺒﺔ ﻷﺣﺪ ﺃﺟﺪﺍﺩﻩ‬
‫ﺍﻟﺬﻱ ﻛﺎﻥ ﻳﺒﻴﻊ ﻧﻮﻋﺎ ﻣﻦ ﺍﻟﺘﻤﺮ ﻳﺴﻤﻰ "ﺍﻟﺘﻮﺣﻴﺪ"‪ ،‬ﺃﻭ ﻷﻧﻪ ﻛﺎﻥ ﻣﻦ ﺍﻟﻘﺎﺋﻠﲔ‬
‫ﺑﺎﻟﺘﻮﺣﻴﺪ ﰲ ﺍﻟﻘﺮﻥ ﺍﻟﺮﺍﺑﻊ ﺍﳍﺠﺮﻯ) ﺍﻟﻌﺎﺷﺮ ﺍﳌﻴﻼﺩﻯ(‪ .‬ﻭﱂ ﻳﺼﻞ ﺇﻟﻴﻨﺎ ﺇﻻ ﺍﻟﻘﻠﻴﻞ‬
‫‪ ٩‬ﺇﺑﺮﺍﻫﻴﻢ ﺯﻛﺮ ﺧﻮﺭﺷﻴﺪ ﻭﺃﲪﺪ ﺍﻟﺸﻨﺘﻨﺎﻭﻯ ﻭﻋﺒﺪ ﺍﳊﻤﻴﺪ ﻳﻮﻧﺲ‪ ،‬ﺩﺍﺋﺮﺓ ﺍﳌﻌﺎﺭﻑ ﺍﻹﺳﻼﻣﻴﺔ ‪ ،‬ﺹ‪٤٦٢‬‬
‫‪ ١٠‬ﺇﺑﺮﺍﻫﻴﻢ ﺯﻛﺮ ﺧﻮﺭﺷﻴﺪ ﻭﺃﲪﺪ ﺍﻟﺸﻨﺘﻨﺎﻭﻯ ﻭﻋﺒﺪ ﺍﳊﻤﻴﺪ ﻳﻮﻧﺲ‪ ،‬ﺩﺍﺋﺮﺓ ﺍﳌﻌﺎﺭﻑ ﺍﻹﺳﻼﻣﻴﺔ ‪،‬‬
‫ﺹ‪٤٦٣‬‬

‫ه‬

‫ﻋﻦ ﺳﲑﺗﻪ‪ ،‬ﻭﻟﻜﻨﻨﺎ ﻧﺴﺘﺪﻝ ﻣﻦ ﺍﻟﻮﺛﺎﺋﻖ ﺍﻟﱴ ﺫﻛﺮﻫﺎ ﻳﺘﻘﻮﺕ‪ ،‬ﺃﻧﻪ ﻛﺎﻥ ﻋﻠﻰ ﻗﺒﺪ‬
‫ﺍﳊﻴﺎﺓ ﰲ ﺭﺟﺐ ﻋﺎﻡ ‪٤٠٠‬ﻫ )ﻓﱪﺍ ﻳﺮ ‪١٠١٠‬ﻡ( ﻭﺃﻧﻪ ﺗﻮﰱ ﺑﺎﻟﻐﺎ ﻣﻦ ﺍﻟﻌﻤﺮ ﺃﻛﺜﺮ‬
‫ﻣﻦ ﲦﺎﻧﲔ ﻋﺎﻣﺎ‪ .‬ﻭﺍﺧﺘﻠﻔﺖ ﺍﻟﺮﻭﺍﻳﺎﺕ ﰱ ﻣﻮﻃﻨﻪ‪ ،‬ﻳﺬﻛﺮ ﺑﻌﻀﻬﺎ "ﻧﻴﺴﺎﺑﻮﺭ"‬
‫ﻭﺑﻌﻀﻬﺎ "ﺷﲑﺍﺯ" ﻭﺍﻟﺒﻌﺾ ﺍﻷﺧﺮ "ﻭﺍﺳﻂ"‪ .‬ﻭﻗﺪ ﺻﺮﻑ ﺍﳉﺰﺀ ﺍﻷﻛﱪ ﻣﻦ ﺣﻴﺎﺗﻪ‬
‫ﰲ ﺑﻐﺪﺍﺩ ﺣﻴﺚ ﺩﺭﺱ ﺍﻟﻨﺤﻮ ﻋﻠﻰ ﺃﰉ ﺳﻌﻴﺪ ﺍﻟﺴﲑﺍﱏ‪ ،‬ﻭﻋﻠﻰ ﺑﻦ ﻋﻴﺴﻰ ﺍﻟﺮﻣﺎﱏ‪،‬‬
‫ﻛﻤﺎ ﺩﺭﺱ ﺍﻟﻔﻘﻪ ﺍﻟﺸﺎﻓﻌﻰ ﻋﻠﻰ ﺃﰉ ﺣﺎﻣﺪ ﺍﳌﺮﻭﺭﻭﺫﻯ‪ ،‬ﻭﺃﰉ ﺑﻜﺮ ﺍﻟﺸﺎﻓﻌﻰ؛‬
‫ﻭﺣﻀﺮ ﰲ ﻭﻗﺖ ﻣﺘﺄﺧﺮ ﻣﻦ ﺣﻴﺎﺗﻪ ﺩﺭﺵ ﺍﻟﻔﻠﺴﻔﺔ ﺍﻟﱴ ﻛﺎﻥ ﻳﻠﻘﻴﻬﺎ ﳛﲕ ﺍﺑﻦ‬
‫ﻋﺪﻯ‪ ،‬ﻭﺃﺑﻮ ﺳﻠﻴﻤﺎﻥ ﳏﻤﺪ ﺑﻦ ﻃﺎﻫﺮ ﺍﳌﻨﻄﻘﻰ ﻭﻏﲑﳘﺎ ﰲ ﺃﻭﻗﺎﺕ ﳐﺘﻠﻔﺔ ﺑﲔ‬
‫ﻋﺎﻣﻰ ‪ ۳٦١‬ﻭ ‪٣٩١‬ﻫ )‪١٠٠١-٩٧١‬ﻡ(‪.١١‬‬

‫ﻭﻧﻔﺎﻩ ﺍﳌﻬﻠﱮ ﺍﳌﺘﻮﰱ ﻋﺎﻡ ‪۳٥٢‬ﻫ )‪٩٦٣‬ﻡ( ﻣﻦ ﺑﻐﺪﺍﺩ )ﻭﻛﺎﻥ ﻳﻌﻴﺶ ﻓﻴﻬﺎ‬
‫ﻣﻦ ﺍﻟﻌﻠﻢ ﻧﺴﺎﺧﺎ( ﻟﺰﻧﺪﻗﺘﻪ ﰱ ﺁﺭﺍﺋﻪ ﺃﻭﺭﺩﻫﺎ ﰱ ﻣﺼﻨﻔﺎﺕ ﻟﻪ ﻓﻘﺪﺕ ﺍﻵﻥ‪ .‬ﻭﻃﻠﺐ‬
‫ﺃﻭﻝ ﺍﻷﻣﺮ ﻣﻌﻮﻧﺔ ﺍﺑﻦ ﺍﻟﻌﻤﻴﺪ ﰱ ﺧﺮﺳﺎﻥ‪ ،‬ﻭﺗﻘﺪﻡ ﺇﻟﻴﻪ ﺑﺮﺳﺎﻟﺔ ﳏﻜﻤﺔ ﺍﻟﺼﻨﻌﺔ‬
‫ﺃﺫﺍﻋﻬﺎ ﺑﻌﺪ ﺫﻟﻚ ﻋﻠﻰ ﺃ‪‬ﺎ ﻣﺜﺎﻝ ﻣﻦ ﺃﻣﺜﻠﺔ ﺍﻟﻔﺼﺎﺣﺔ‪ .‬ﻭﻋﺎﺵ ﺃﺑﻮ ﺣﻴﺎﻥ ﻣﻦ ﻋﺎﻡ‬
‫‪١١‬ﺇﺑﺮﺍﻫﻴﻢ ﺯﻛﺮ ﺧﻮﺭﺷﻴﺪ ﻭﺃﲪﺪ ﺍﻟﺸﻨﺘﻨﺎﻭﻯ ﻭﻋﺒﺪ ﺍﳊﻤﻴﺪ ﻳﻮﻧﺲ‪ ،‬ﺩﺍﺋﺮﺓ ﺍﳌﻌﺎﺭﻑ ﺍﻹﺳﻼﻣﻴﺔ‪) ،‬ﺍﻟﻘﺎﻫﺮﺓ‪:‬‬
‫ﺍﻟﺸﻌﺐ ﺍﻟﻘﺎﻫﺮﺓ ‪٤٥٩ ،( ٣١٨١‬‬
‫ف‬

‫‪ ٣٦٧‬ﺇﱃ ﻋﺎﻡ ‪٣٧٠‬ﻫ )‪ (٩٨٠ -٩٧٧‬ﰱ ﺑﻼﻁ ﺍﺑﻦ ﻋﺒﺎﺩ ﲟﺪﻳﻨﺔ ﺍﻟﺮ‪‬ﻯ‪ ،‬ﻭﻟﻜﻨﻪ‬
‫ﱂ ﻳﻨﻞ ﻣﻨﻪ ﺃﻯ ﻧﻮﺍﻝ ﻟﺮﻓﻀﺔ ﺃﻥ ﻳﻜﻮﻥ ﻧﺎﺳﺨﺎ ﻟﻜﺘﺒﻪ‪ .‬ﻭﻗﺪ ﺛﺄﺭ ﻟﻨﻔﺴﻪ ﺑﻌﺪ ﺫﻟﻚ‬
‫ﻣﻦ ﻫﺬﻳﻦ ﺍﻟﻮﺯﻳﺮﻳﻦ ﲟﻬﺎ ﲨﺘﻬﻤﺎ ﰱ ﺭﺳﺎﻟﺔ ﺗﻨﺎﻭﻟﺖ ﻣﺜﺎﳍﻤﺎ‪ ،‬ﻛﻤﺎ ﻫﺠﺎﳘﺎ ﰱ‬
‫ﻛﺘﺎﺑﻪ "ﺍﻹﻣﺘﺎﻉ"‪ .‬ﻭﻳﻈﻬﺮ ﺃﻧﻪ ﻛﺎﻥ ﺃﻛﺜﺮ ﺗﻮﻓﻴﻘﺎ ﻣﻊ ﻭﺯﻳﺮﻯ ﺻﻤﺼﺎﻡ ﺍﻟﺪﻭﻟﺔ‪ :‬ﺍﺑﻦ‬
‫ﺳﻌﺪﺍﻥ ﺍﳌﺘﻮﰱ ﻋﺎﻡ ‪٣٧٥‬ﻫ ) ‪٩٨٦ -٩٨٥‬ﻡ( ﻭﻋﺒﺪ ﺍﷲ ﺑﻦ ﺍﻟﻌﺮﻳﺾ ﺍﻟﺸﲑﺍﺯﻯ‪:‬‬
‫ﻭﺻﺮﻑ ﺍﳉﺰﺀ ﺍﻷﺧﲑ ﻣﻦ ﺣﻴﺎﺗﻪ ﰱ ﺑﻐﺪﺍﺩ ﻣﺮﺓ ﺃﺧﺮﻯ ﺣﻴﺚ ﻛﺎﻥ ﻳﻌﻴﺶ ﰱ‬
‫ﻓﻘﺮ‪ .‬ﻭﰱ ﺃﻭﺍﺧﺮ ﺃﻳﺎﻣﻪ ﺃﺣﺮﻕ ﻣﻜﺘﺒﻪ ﻭﺍﻋﺘﺬﺭ ﻋﻦ ﻫﺬﺍ ﺍﻟﻌﻤﻞ ﺑﺈﻋﺮﺍﺽ ﺃﻫﻞ ﺑﻐﺪﺍﺩ‬
‫ﻋﻨﻪ ﻣﻊ ﺃﻧﻪ ﻋﺎﺵ ﺑﻴﻨﻬﻢ ﻋﺸﺮﻳﻦ ﻋﺎﻣﺎ‪ ،‬ﻭﻗﺪ ﺫﻛﺮ ﰱ ﻣﻘﺪﻣﺔ ﺭﺳﺎﻟﺘﻪ "ﺍﻟﺼﺪﻳﻖ‬
‫ﻭﺍﻟﺼﺪﺍﻕ" ﺃﻧﻪ ﻛﺎﻥ ﻣﻨﺒﻮﺫﺍ ﻣﻦ ﺍﳉﻤﻴﻊ ﰱ ﺗﻠﻚ ﺍﻟﻌﺎﺻﻤﺔ‪.١٢‬‬
‫ﻭﺍﻟﻜﺘﺎﺏ ﺍﻟﺴﺎﺩﺱ ﳎﻤﻮﻋﺔ ﻟﻠﻤﺠﺎﺩﻻﺕ ﺍﻟﻔﻠﺴﻔﺔ ﺍﻟﱴ ﻳﻘﻮﻝ ﺃﺑﻮ ﺣﻴﺎﻥ ﺇﻧﻪ‬
‫ﺣﻀﺮﻫﺎ ﺑﻨﻔﺴﻪ‪ ،‬ﻭﻛﺎﻥ ﺃﻫﻢ ﻣﻦ ﺍﺷﺘﺮﻙ ﰱ ﻫﺬﻩ ﺍ‪‬ﺎﺩﻻﺕ ﺃﺑﻮ ﺳﻠﻴﻤﺎﻥ ﺍﳌﻨﻄﻘﻰ‪،‬‬
‫ﻋﻠﻰ ﺃﻧﻪ ﻗﺪ ﺣﻀﺮﻫﺎ ﻣﻌﻪ ﺑﻌﺾ ﺍﻟﺸﺨﺼﻴﺎﺕ ﺍﻟﺒﺎﺭﺯﺓ‪ ،‬ﺃﻣﺜﺎﻝ ﺃﰉ ﺍﳊﺴﻦ ﺍﻟﺼﺎﰉ‪،‬‬

‫ﻭﺑﻜﺮ ﺍﳋﺮﺍﺭﺯﻣﻰ‪ ،‬ﻭﺃﰉ ﺍﳊﺴﻦ ﺍﳊﺮ‪‬ﺍﱏ‪ ،‬ﻭﳛﻲ ﺑﻦ ﻋﺪﻯ‪ .‬ﻭﺍﳌﻨﻄﻖ ﻭﺍﻹﳍﻴﺎﺕ‬

‫‪ ١٢‬ﺇﺑﺮﺍﻫﻴﻢ ﺯﻛﺮ ﺧﻮﺭﺷﻴﺪ ﻭﺃﲪﺪ ﺍﻟﺸﻨﺘﻨﺎﻭﻯ ﻭﻋﺒﺪ ﺍﳊﻤﻴﺪ ﻳﻮﻧﺲ‪ ،‬ﺩﺍﺋﺮﺓ ﺍﳌﻌﺎﺭﻑ ﺍﻹﺳﻼﻣﻴﺔ‪ ،‬ﺹ‪٤٦١‬‬

‫ه‬

‫ﺃﻫﻢ ﻣﺎﺩﺍﺭﺣﻮﻟﻪ ﺍﳉﺪﻝ‪ .‬ﻭﺃﺑﻮ ﺣﻴﺎﻥ ﻳﻘﻠﺪ ﰱ ﻛﺘﺎﺑﻪ ﺭﻗﻢ ‪)١‬ﻛﻤﺎ ﻓﻌﻞ ﰱ ﻏﲑﻩ(‬
‫ﺃﺳﻠﻮﺏ ﺍﳉﺎﺣﻆ ﺍﻟﺴﻠﺲ ﺍﳌﻄﺒﻮﻉ‪ ،‬ﻋﻠﻰ ﺃﻧﻪ ﱂ ﻳﻀﻒ ﺇﻻ ﺍﻟﻘﻠﻴﻞ ﻋﻠﻰ ﻣﺎ ﲨﻌﻪ‬
‫ﻓﻴﻪ ﻣﻦ ﺍﻟﻨﻮﺍﺩﺭ ﻭﺍﻟﺸﻮﺍﻫﺪ‪ .‬ﻭﺍﺷﻬﺮ ﻛﺘﺎﺑﻪ ﺭﻗﻢ ‪٩‬ﺑﺄﻧﻪ ﻛﺘﺎﺏ ﻣﺸﺌﻮﻡ‪ :‬ﻭﺭﲟﺎ‬
‫ﻛﺎﻧﺖ ﺍﻟﺴﻤﻌﺔ ﺍﻟﺴﻴﺌﺔ ﺍﻟﱴ ﺃﻟﺼﻘﻬﺎ ﺑﺄﰉ ﺣﻴﺎﻥ ﻫﻰ ﺍﻟﺴﺒﺐ ﰱ ﻋﺪﻡ ﺫﻛﺮ ﺍﲰﻪ‬
‫ﺑﲔ ﺍﳊﻜﻤﺎﺀ ﺃﻭ ﺍﳌﺘﺼﻮﻓﺔ ﻣﻊ ﺃﻧﻪ ﻣﻨﻬﻢ‪.١٣‬‬
‫ﻭﻷﰉ ﺣﻴﺎﻥ ﺗﺼﺎﻧﻴﻒ ﻛﺜﲑﺓ ﻣﻨﻬﺎ‪ :‬ﻛﺘﺎﺏ ﺭﺳﺎﻟﺔ ﺍﻟﺼﺪﻳﻖ ﻭﺍﻟﺼﺪﺍﻗﺔ‪،‬‬
‫ﻛﺘﺎﺏ ﺍﻟﺮﺩ‪ ‬ﻋﻠﻰ ﺍﺑﻦ ﺟﲎ ﰱ ﺷﻌﺮ ﺍﳌﺘﻨﱯ‪ ،‬ﻛﺘﺎﺏ ﺍﻹﻣﺘﺎﻉ ﻭﺍﻟﺆﻧﺴﺔ ﺟﺰﺀﺍﻥ‪،‬‬
‫ﻛﺘﺎﺏ ﺍﻹﺷﺎﺭﺍﺕ ﺍﻹﳍﻴﺔ ﺟﺰﺀﺍﻥ‪ ،‬ﻛﺘﺎﺏ ﺍﻟﺰﻟﻔﺔ ﺟﺰﺀ‪ ،‬ﻛﺘﺎﺏ ﺍﳌﻘﺎﺑﺴﺔ‪ ،‬ﻛﺘﺎﺏ‬
‫ﺭﻳﺎﺽ ﺍﻟﻌﺎﺭﻓﲔ‪ ،‬ﻛﺘﺎﺏ ﺗﻘﺮﻳﻆ ﺍﳉﺎﺣﻆ‪ ،‬ﻛﺘﺎﺏ ﺫﻡ ﺍﻟﻮﺯﻳﺮﻳﻦ‪ ،‬ﻛﺘﺎﺏ ﺍﳊﺞ‬
‫ﺍﻟﻌﻘﻠﻲ ﺇﺫﺍﺿﺎﻕ ﺍﻟﻔﻀﺎﺀ ﻋﻦ ﺍﳊﺞ ﺍﻟﺸﺮﻋﻲ‪ ،‬ﻛﺘﺎﺏ ﺍﻟﺮﺳﺎﻟﺔ ﰱ ﺻﻼﺕ ﺍﻟﻔﻘﻬﺎﺀ‬
‫ﰱ ﺍﳌﻨﺎﻇﺮﺓ‪ ،‬ﻛﺘﺎﺏ ﺍﻟﺮﺳﺎﻟﺔ ﺍﻟﺒﻐﺪﺍﺩﻳﺔ‪ ،‬ﻛﺘﺎﺏ ﺍﻟﺮﺳﺎﻟﺔ ﰱ ﺃﺧﺒﺎﺭ ﺍﻟﺼﻮﻓﻴﺔ ﺃﻳﻀﺎ‪،‬‬

‫‪ ١٣‬ﺇﺑﺮﺍﻫﻴﻢ ﺯﻛﺮ ﺧﻮﺭﺷﻴﺪ ﻭﺃﲪﺪ ﺍﻟﺸﻨﺘﻨﺎﻭﻯ ﻭﻋﺒﺪ ﺍﳊﻤﻴﺪ ﻳﻮﻧﺲ‪ ،‬ﺩﺍﺋﺮﺓ ﺍﳌﻌﺎﺭﻑ ﺍﻹﺳﻼﻣﻴﺔ‪،‬ﺹ ‪٤٦١‬‬
‫ق‬

‫ﻛﺘﺎﺏ ﺍﻟﺮﺳﺎﻟﺔ ﰱ ﺍﳊﻨﲔ ﺇﱃ ﺍﻷﻭﻃﺎﻥ‪ ،‬ﻛﺘﺎﺏ ﺍﻟﺒﺼﺎﺋﺮ ﻭﻫﻮ ﻋﺸﺮﺓ ﳎﻠﺪﺍﺕ ﻛﻞ‬
‫ﳎﻠﺪ ﻟﻪ ﻓﺎﲢﺔ ﻭﺧﺎﲤﺔ‪ ،‬ﻛﺘﺎﺏ ﺍﶈﺎﺿﺮﺍﺕ ﻭﺍﳌﻨﺎﻇﺮﺍﺕ‪.١٤‬‬

‫ﺃ‪.‬ﺩ‪ .‬ﻭﻓﺎﺗﻪ‬
‫ﺇﺧﺘﻠﻔﻮﺍ ﰲ ﻭﻓﺎﺗﻪ ﺍﺧﺘﻼﻓﺎ ﺑﻴﻨﺎ‪ ،‬ﻭﺇﺫﺍ ﻛﺎﻥ ﻗﺪ ﻗﺎﻝ ﻫﻮ ﻋﻦ ﻧﻔﺴﻪ ﰲ ﺳﻨﺔ‬
‫‪" ٤٠٠‬ﺃﻧﻪ ﰲ ﻋﺸﺮ ﺍﻟﺘﺴﻌﲔ" ﺣﻖ ﻟﻨﺎ ﺃﻥ ﻧﻘﻮﻝ ﺍﻧﻪ ﺗﻮﰲ ﺣﻮﺍﱃ ﺳﻨﺔ ‪٤٠۳‬ﻫ‪.١٥‬‬

‫‪ ١٤‬ﺃﰊ ﻋﺒﺪﺍﷲ ﻳﺎﻗﻮﺕ ﺑﻦ ﻋﺒﺪﺍﷲ ﺍﻟﺮﻭﻣﻰ ﺍﳊﻤﻮﻱ‪ ،‬ﻣﻌﺠﻢ ﺍﻷﺩﺑﺎﺀ ﺃﻭ ﺇﺭﺛﺎﺩ ﺍﻷﺩﻳﺐ ﺇﱃ ﻣﻌﺮﻓﺔ‬
‫ﺍﻷﺩﻳﺐ‪ ،‬ﻁ‪) ٤‬ﺑﲑﻭﺕ‪ :‬ﺩﺍﺭ ﺍﻟﻜﺘﺐ ﺍﻟﻌﻠﻤﻴﺔ‪ ،‬ﺩ‪.‬ﺕ(‪ ،‬ﺹ ‪٢٥۷‬‬
‫‪١٥‬‬

‫ﺣﺴﻦ ﺍﻟﺴﻨﺪﻭﰊ‪ ،‬ﺍﳌﻘﺎﺑﺴﺎﺕ ﻷﰊ ﺣﻴﺎﻥ ﺍﻟﺘﻮﺣﻴﺪﻯ‪) ،‬ﺍﻟﻘﺎﻫﺮﺓ‪ :‬ﺩﺍﺭ ﺳﻌﺎﺩ ﺍﻟﺼﺒﺎﺡ(‪ ،‬ﺹ‪١٨‬‬

‫ه‬

‫ﺍﻟﺒﺎﺏ ﺍﻟﺜﺎﻟﺚ‬
‫ﶈﺔ ﻋﻦ ﺍﻟﺼﻮﺭﺓ ﺍﻟﺒﻴﺎﻧﻴﺔ‬
‫ﺃ‪ .‬ﻣﻔﻬﻮﻡ ﺍﻟﺼﻮﺭﺓ ﺍﻟﺒﻴﺎﻧﻴﺔ‬
‫ﺍﻟﺒﻴﺎﻥ ﻣﻦ ﺑﺎﻥ ﺍﻟﺸﻲﺀ‪ :‬ﺍﺗﻀﺢ‪ .‬ﻭﺍﻟﺒﻴﺎﻥ‪ :‬ﺍﻟﻔﺼﺎﺣﺔ ﻭﺍﻟﻠﺴﺎﻥ‪ ،‬ﻛﻼﻡ ﺑﻴ‪‬ﻦ‪:‬‬
‫ﻓﺼﻴﺢ‪ .‬ﻭﺍﻟﺒﻴﺎﻥ ﺍﻹﻓﺼﺎﺡ‪ .‬ﻭﺃﺑﻠﻎ ﻋﻼﻣﺔ ﺍﻟﺒﻴﺎﻥ ﰱ ﺍﻟﻜﺘﺎﺏ ﺍﻟﻌﺰﻳﺰ ﻗﻮﻝ ﺗﻌﺎﱃ‪:‬‬
‫)ﻫﺬﺍ ﺑﻴﺎﻥ ﻟﻠﻨﺎﺱ ﻭﻫﺪﻯ ﻭﻣﻮﻋﻈﺔ ﻟﻠﻤﺘﻘﲔ( ﻭﻛﺬﻟﻚ ﻗﻮﻟﻪ ﺗﻌﺎﱃ‪) :‬ﺍﻟﺮﲪﻦ ﻋﻠﹼﻢ‬
‫ﺍﻟﻘﺮﺁﻥ ﺧﻠﻖ ﺍﻻﻧﺴﺎﻥ ﻋﻠﹼﻤﻪ ﺍﻟﺒﻴﺎﻥ( ﻭﰱ ﺍﻷﺣﺎﺩﻳﺚ ﺍﻟﺸﺮﻳﻔﺔ ﻣﺎ ﻳﺸﲑ ﺇﱃ ﺫﻟﻚ ﰱ‬
‫‪١٦‬‬

‫ﻗﻮﻟﻪ ﺻﻠﻰ ﺍﷲ ﻋﻠﻴﻪ ﻭﺳﻠﻢ )) ﺇﻥﹼ ﻣﻦ ﺍﻟﺒﻴﺎﻥ ﻟﺴﺤﺮﺍ ((‬

‫ﻗﺎﻝ ﺻﺎﺣﺐ ﻟﺴﺎﻥ ﺍﻟﻌﺮﰊ‪ :‬ﺍﻟﺒﻴﺎﻥ ﻣﺎ ﻳﺒﲔ ﺑﻪ ﺍﻟﺸﻲﺀ ﻣﻦ ﺍﻟﺪﻻﻟﺔ ﻭﻏﲑﻫﺎ‪،‬‬
‫ﻭﺑﺎﻥ ﺍﻟﺸﻲﺀ ﺍﺗﻀﺢ‪ ،‬ﻓﻬﻮ ﺑﲔ‪ ،‬ﻭﺍﺳﺘﺒﺎﻥ ﺍﻟﺸﻲﺀ‪ ،‬ﻇﻬﺮ‪ ،‬ﻭﺍﻟﺒﻴﺎﻥ ﺍﻟﻔﺼﺎﺣﺔ ﻭ‬
‫ﺍﻟﻠﺴﺎﻥ ﻭﻛﻼﻡ ﺑﲔ ﺃﻱ ﻓﺼﻴﺢ‪.١٧‬‬
‫‪ ١٦‬ﺇﻧﻌﺎﻡ ﻧﻮ‪‬ﺍﻝ ﻋﻜﹶﺎﻭﻱ )ﻣﺮﺍﺟﻌﺔ ﺃﲪﺪ ﴰﺲ ﺍﻟﺪﻳﻦ‪ ،‬ﺍﳌﻌﺠﻢ ﺍﳌﻔﺼ‪‬ﻞ ﰱ ﻋﻠﻮﻡ ﺍﻟﺒﻼﻏﺔ ﺍﻟﺒﺪﻳﻊ ﻭﺍﻟﺒﻴﺎﻥ‬
‫ﻭﺍﳌﻌﺎﱐ‪) ،‬ﺩﺍﺭ ﺍﻟﻜﺘﺐ ﺍﻟﻌﻠﻤﻴﺔ ﺑﲑﻭﺕ‪ -‬ﻟﺒﻨﺎﻥ‪ ،‬ﻁ ‪١٩٩٦ ،٢‬ﻡ(‪ ،‬ﺹ‪٢٦٩‬‬

‫‪ ١٧‬ﻋﻠﻰ ﺍﻟﺒﺪﺭﻯ‪ ،‬ﻋﻠﻢ ﺍﻟﺒﻴﺎﻥ ﰲ ﺍﻟﺪﺭﺍﺳﺎﺕ ﺍﻟﺒﻼﻏﻴﺔ‪) ،‬ﺍﻟﻘﺎﻫﺮﺓ‪ :‬ﻣﻜﺘﺒﺔ ﺍﻟﻨﻬﻀﺔ ﺍﳌﺼﺮﻳﺔ‪١٩٨٤ ،‬ﻡ(‪،‬‬

‫ﻁ‪ ،٢‬ﺹ‪٨‬‬
‫ش‬

‫ﻭﺫﻛﺮ ﺍﳉﺎﺣﻆ ﺗﻌﺮﻳﻒ ﺟﻌﻔﺮ ﺑﻦ ﳛﲕ ﻟﻠﺒﻴﺎﻥ ﻓﻘﺎﻝ‪ :‬ﺍﻟﺒﻴﺎﻥ ﺃﻥ ﳛﻴﻂ‬
‫ﺍﻻﺳﻢ ﲟﻌﻨﺎﻩ ﻭﳚﻠﻰ ﻋﻦ ﻣﻐﺰﺍﻩ‪ .‬ﻭﳜﺮﺟﻪ ﻋﻦ ﺍﻟﺸﺮﻛﺔ ﻭﻻ ﺗﺴﺘﻌﲔ ﻋﻠﻴﻪ ﺑﺎﻟﻔﻜﺮﺓ‪،‬‬
‫ﻭﺍﻟﺬﻯ ﻻﺑﺪ ﻣﻨﻪ ﺃﻥ ﻳﻜﻮﻥ ﺳﻠﻴﻤﺎ ﻣﻦ ﺍﻟﺘﻜﻠﻒ ﺑﻌﻴﺪ ﻣﻦ ﺍﻟﺼﻨﻌﺔ ﺑﺮﻳﺌﺎ ﻣﻦ ﺍﻟﺘﻌﻘﻴﺪ‬
‫ﻏﻨﻴﺎ ﻋﻦ ﺍﻟﺘﺄﻭﻳﻞ‪ .‬ﻭﺃﻣﺎ ﺇﻣﺎﻡ ﺍﻟﺒﻼﻏﺔ ﻋﺒﺪ ﺍﻟﻘﺎﻫﺮ ﻓﻘﺪ ﺍﻋﺘﱪ ﺍﻟﻔﺼﺎﺣﺔ ﻭﺍﻟﱪﺍﻋﺔ‬
‫ﻭﺍﻟﺒﻼﻏﺔ ﻭﺍﻟﺒﻴﺎﻥ ﺃﻣﺮﺍ ﻭﺍﺣﺪﺍ‪.١٨‬‬
‫ﻭﻣﻦ ﺃﺟﻞ ﺫﻟﻚ ﻋﺮﻑ ﺍﻟﺒﻴﺎﻧﻴﻮﻥ ﻋﻠﻢ ﺍﻟﺒﻴﺎﻥ ﺑﻘﻮﳍﻢ‪ :‬ﻋﻠﻢ ﻳﻌﺮﻑ ﺑﻪ ﺇﻳﺮﺍﺩ‬
‫ﺍﳌﻌﲎ ﺍﻟﻮﺍﺣﺪ ﰱ ﺻﻮﺭ ﳐﺘﻠﻔﺔ‪ ،‬ﻣﺘﻔﺎﻭﺗﺔ ﰱ ﻭﺿﻮﺡ ﺍﻟﺪﻻﻟﺔ‪ ،‬ﻣﻊ ﻣﻄﺎﺑﻘﺔ ﻛﻞ ﻣﻨﻬﺎ‬
‫ﳌﻘﺘﻀﻰ ﺍﳊﺎﻝ‪.١٩‬‬
‫ﻭﺃﻣﺎ ﺗﻌﺮﻳﻒ ﻋﻠﻢ ﺍﻟﺒﻴﺎﻥ ﺍﺻﻄﻼﺣﺎ ﻓﻬﻮ ﺃﺻﻮﻝ ﻭﻗﻮﺍﻋﺪ ﻳﻌﺮﻑ ‪‬ﺎ ﺇﻳﺮﺍﺩ‬
‫ﺍﳌﻌﲎ ﺍﻟﻮﺍﺣﺪ ﺑﻄﺮﻕ ﳜﺘﻠﻒ ﺑﻌﻀﻬﺎ ﻋﻦ ﺑﻌﺾ ﰱ ﻭﺿﻮﻉ ﺍﻟﺪﻻﻟﺔ ﻋﻠﻰ ﻧﻔﺲ‬
‫ﺫﻟﻚ ﺍﳌﻌﲎ‪.٢٠‬‬

‫‪ ١٨‬ﻋﻠﻰ ﺍﻟﺒﺪﺭﻯ‪ ،‬ﻋﻠﻢ ﺍﻟﺒﻴﺎﻥ ﰲ ﺍﻟﺪﺭﺍﺳﺎﺕ ﺍﻟﺒﻼﻏﻴﺔ‪) ،‬ﺍﻟﻘﺎﻫﺮﺓ‪ :‬ﻣﻜﺘﺒﺔ ﺍﻟﻨﻬﻀﺔ ﺍﳌﺼﺮﻳﺔ‪١٩٨٤ ،‬ﻡ(‪،‬‬
‫ﻁ‪ ،٢‬ﺹ‪١١‬‬

‫‪ ١٩‬ﻋﺒﺪ ﺍﻟﻔﺘﺎﺡ ﻻﺷﲔ‪ ،‬ﺍﻟﺒﻴﺎﻥ ﰱ ﺿﻮﺀ ﺃﺳﺎﻟﻴﺐ ﺍﻟﻘﺮﺁﻥ‪) ،‬ﺩﺍﺭ ﺍﳌﻌﺎﺭﻑ‪ ،‬ﻁ‪ ،(١٩٨٥ ،٢‬ﺹ‪٢١‬‬

‫‪ ٢٠‬ﺃﲪﺪ ﺍﳍﺎﴰﻰ‪ ،‬ﺟﻮﺍﻫﺮ ﺍﻟﺒﻼﻏﺔ‪ ) ،‬ﺑﲑﻭﺕ‪ :‬ﺩﺍﺭ ﺍﻟﻔﻜﺮ‪١٩٩٤ ،‬ﻡ(‪ ،‬ﺹ‪٢١٢‬‬

‫ه‬

‫ﺏ‪ .‬ﺃﻗﺴﻤﻪ‬
‫ﻭﺗﻨﻘﺴﻢ ﺍﻟﺼﻮﺭﺓ ﺍﻟﺒﻴﺎﻧﺒﺔ ﺇﱃ ﺛﻼﺛﺔ ﺃﻗﺴﺎﻡ‪ :‬ﺍﻟﺘﺸﺒﻴﻪ‪ ،‬ﻭﺍ‪‬ﺎﺯ‪ ،‬ﻭﺍﻟﻜﻨﺎﻳﺔ‪.‬‬
‫‪ .١‬ﺍﻟﺘﺸﺒﻴﻪ‬
‫ﺍﻟﺘﺸﺒﻴﻪ ﻟﻐﺔﹰ ﺍﻟﺘﻤﺜﻴﻞ‪ ،‬ﻭﺍﻟﺘﺸﺒﻴﻪ ﺇﺻﻄﻼﺣﺎ ﻋﻘﺪ ﳑﺎ ﺛﻠﺔ ﺑﲔ ﺃﻣﺮﻳﻦ‪ ،‬ﺃﻭ‬
‫ﺃﻛﺜﺮ‪ ،‬ﻗﺼﺪ ﺍﺷﺘﺮﺍﻛﻬﻤﺎ ﰲ ﺻﻔﺔ‪ ،‬ﺃﻭ ﺃﻛﺜﺮ‪ ،‬ﺑﺄﺩﺍﺓ‪ :‬ﻟﻐﺮﺽ ﻳﻘﺼﺪﻩ ﳌﺘﻜﻠﻢ‪.٢١‬‬
‫ﻭﺍﻟﺘﺸﺒﻴﻪ ﰲ ﻋﺮﻑ ﻋﻠﻤﺎﺀ ﺍﻟﺒﻴﺎﻥ ﺍﻷﺧﺮﻯ ﻫﻮ ﺇﳊﺎﻕ ﺃﻣﻮﺭ ﺑﺄﻣﺮ ﰲ ﻣﻌﲎ‬
‫ﻣﺸﺘﺮﻙ ﺑﻴﻨﻬﻤﺎ ﺑﺄﺩﺍﺓ ﻇﺎﻫﺮﺓ ﺃﻭ ﻣﻠﺤﻮﻇﺔ ﻟﻐﺮﺽ ﻳﻘﺼﺪﻩ ﺍﳌﺘﻜﻠﻢ‪.٢٢‬‬
‫ﻭﺃﺭﻛﺎﻥ ﺍﻟﺘﺸﺒﻴﻪ ﺃﺭﺑﻌﺔ‪:‬‬
‫‪ .١‬ﺍﳌﺸﺒﻪ ﻫﻮ ﺍﻷﻣﺮ ﺍﻟﺬﻯ ﻳﺮﺍﺩ ﺇﳊﺎﻗﻪ ﺑﻐﲑﻩ‬
‫‪ .٢‬ﺍﳌﺸﺒﻪ ﺑﻪ ﻫﻮ ﺍﻷﻣﺮ ﺍﻟﺬﻯ ﻳﻠﺤﻖ ﺑﻪ ﺍﳌﺸﺒﻪ‪ ،‬ﻭﳘﺎ ﻃﺮﻓﺎﻥ ﺃﺳﺎﺳﻴﺎﻥ‬
‫‪ .۳‬ﺃﺩﺍﺓ ﺍﻟﺘﺸﺒﻴﻪ ﻫﻰ ﺍﻟﻠﻔﻆ ﺍﻟﺬﻯ ﻳﺪﻝﹶ ﻋﻠﻰ ﺍﻟﺘﺸﺒﻴﻪ‪ ،‬ﻭﻳﺮﺑﻂ ﺍﳌﺸﺒﻪ ﺑﺎﳌﺸﺒﻪ ﺑﻪ‪،‬‬
‫ﻭﻗﺪ ﺗﺬﻛﺮ ﺍﻷﺩﺍﺓ ﰱ ﺍﻟﺘﺸﺒﻴﻪ‪ ،‬ﻭﻗﺪ ﲢﺬﻑ‪،‬‬

‫‪ ٢١‬ﺃﲪﺪ ﺍﳍﺎﴰﻰ‪ ،‬ﺟﻮﺍﻫﺮ ﺍﻟﺒﻼﻏﺔ‪ ،‬ﺹ‪٣٤٨‬‬

‫‪ ٢٢‬ﻋﻠﻰ ﺍﻟﺒﺪﺭﻯ‪ ،‬ﻋﻠﻢ ﺍﻟﺒﻴﺎﻥ ﰲ ﺍﻟﺪﺭﺍﺳﺎﺕ ﺍﻟﺒﻼﻏﻴﺔ‪ ،‬ﺹ‪٢٦‬‬
‫ث‬

‫‪ .٤‬ﻭﺟﻪ ﺍﻟﺸﺒﻪ ﻫﻮ ﺍﻟﻮﺻﻒ ﺍﳌﺸﺘﺮﻙ ﺑﲔ ﺍﻟﻄﺮﻓﲔ‪ ،‬ﺍﳌﺸﺒﻪ ﻭﺍﳌﺸﺒﻪ ﺑﻪ ﻭﻳﻜﻮﻥ ﰲ‬
‫ﺍﳌﺸﺒﻪ ﺑﻪ ﺃﻗﻮﻯ ﻣﻨﻪ ﰲ ﺍﳌﺸﺒﻪ ﻭﻗﺪ ﻳﺬﻛﺮ ﻭﺟﻪ ﺍﻟﺸﺒﻪ ﰲ ﺍﻟﻜﻼﻡ‪.٢٣‬‬
‫ﻭﺗﻘﺴﻴﻢ ﺍﻟﺘﺸﺒﻴﻪ ﺑﺎﻋﺘﺒﺎﺭ ﺫﻛﺮ ﻭﺟﻪ ﺍﻟﺸﺒﻪ ﻭﺃﺩﺍﺓ ﻭﻋﺪﻡ ﺫﻛﺮﻛﻞ ﻣﻨﻬﻤﺎ‪:‬‬
‫‪ .١‬ﺍﻟﺘﺸﺒﻴﻪ ﺍﳌﺮﺳﻞ ﻫﻮ ﻣﺎﺫﻛﺮﺕ ﻓﻴﻪ ﺍﻷﺩﺍﺓ‬
‫‪ .٢‬ﺍﻟﺘﺸﺒﻴﻪ ﺍﳌﺆﻛﺪ ﻫﻮ ﻣﺎﺣﺬﻓﺖ ﻣﻨﻪ ﺃﺩﺍﺗﻪ‬
‫‪ .۳‬ﺍﻟﺘﺸﺒﻴﻪ ﺍﳌﻔﺼﻞ ﻫﻮ ﻣﺎﺫﻛﺮﻓﻴﻪ ﻭﺟﻪ ﺍﻟﺸﺒﻪ‬
‫‪ .٤‬ﺍﻟﺘﺸﺒﻴﻪ ﺍ‪‬ﻤﻞ ﻫﻮ ﻣﺎﺣﺬﻑ ﻣﻨﻪ ﻭﺟﻪ ﺍﻟﺸﺒﻪ‬
‫‪ .٥‬ﺍﻟﺘﺸﺒﻴﻪ ﺍﻟﺒﻠﻴﻎ ﻫﻮ ﻣﺎﺣﺬﻓﺖ ﻣﻨﻪ ﺍﻷﺩﺍﺓ ﻭﻭﺟﻪ ﺍﻟﺸﺒﻪ‪.٢٤‬‬
‫‪ .٢‬ﺍ‪‬ﺎﺯ‬
‫ﺍ‪‬ﺎﺯ ﻫﻮ ﺍﻟﻠﻔﻆ ﺍﳌﺴﺘﻌﻤﻞ ﰲ ﻏﲑ ﻣﺎ ﻭﺿﻊ ﻟﻪ ﰲ ﺍﺻﻄﻼﺡ ﺍﻟﺘﺨﺎﻃﺐ‬
‫ﻟﻌﻼﻗﺔ ﻣﻊ ﺍﻟﻘﺮﻳﻨﺔ ﻣﺎ ﻧﻌﺔ ﻣﻦ ﺇﺭﺍﺩﺓ ﺍﳌﻌﲎ ﺍﻟﻮﺿﻌﻰ ﻭﺍﻟﻌﻼﻗﺔ ﻫﻰ ﺍﳌﻨﺎﺳﺒﺔ ﺑﲔ ﺍﳌﻌﲎ‬
‫ﺍﳊﻘﻴﻘﻲ ﻭﺍﳌﻌﲎ ﺍ‪‬ﺎﺯﻯ‪ .‬ﻗﺪ ﺗﻜﻮﻥ ﺍﳌﺸﺎ‪‬ﺔ ﺑﲔ ﺍﳌﻌﻨﲔ ﻭﻗﺪ ﺗﻜﻮﻥ ﻏﲑﻫﺎ ﻓﺈﺫﺍ‬
‫‪ ٢٣‬ﺃﲪﺪ ﺍﳍﺎﴰﻰ‪ ،‬ﺟﻮﺍﻫﺮ ﺍﻟﺒﻼﻏﺔ‪ ،‬ﺹ‪۲٤٩‬‬

‫‪ ٢٤‬ﻋﻠﻰ ﺍﳉﺎﺭﻣﻰ ﻭﻣﺼﻄﻔﻰ ﺃﻣﲔ‪ ،‬ﺍﻟﺒﻼﻏﺔ ﺍﻟﻮﺍﺿﺤﺔ‪) ،‬ﺍﻟﻘﺎﻫﺮﺓ‪ :‬ﺩﺍﺭ ﺍﳌﻌﺎﺭﻑ‪ ،( ١٩٨٥ ،‬ﺹ‪٢٥‬‬

‫ه‬

‫ﻛﺎﻧﺖ ﺍﻟﻌﻼﻗﺔ ﺍﳌﺸﺎ‪‬ﺔ ﻓﺎ‪‬ﺎﺯ ﺍﺳﺘﻌﺎﺭﺓ ﻭﺇﻻ ﻓﻬﻮ ﳎﺎﺯ ﻣﺮﺳﻞ‪ .‬ﻭﺍﻟﻘﺮﻳﻨﺔ ﻫﻰ‬
‫ﺍﳌﺎﻧﻌﺔ ﻣﻦ ﺇﺭﺍﺩﺓ ﺍﳌﻌﲎ ﺍﳊﻘﻴﻘﻰ‪ ،‬ﻗﺪ ﺗﻜﻮﻥ ﻟﻔﻈﻴﺔ ﻭﻗﺪ ﺗﻜﻮﻥ ﺣﺎﻟﻴﺔ‪.٢٥‬‬
‫ﻳﻨﻘﺴﻢ ﺍ‪‬ﺎﺯ ﺍﻟﻠﻐﻮﻯ ﺇﱃ ﻗﺴﻤﲔ‪:‬‬
‫‪ .١‬ﺍﻻﺳﺘﻌﺎﺭﺓ‬
‫ﺍﻻﺳﺘﻌﺎﺭﺓ ﳎﺎﺯ ﻟﻐﻮﻯ ﻭﻗﺪ ﻋﺮﻓﻪ ﲨﻬﻮﺭ ﺍﻟﺒﻴﺎﻧﻴﲔ ﺑﺄﻧﻪ‪ :‬ﺍﻟﻠﻔﻆ ﺍﳌﺴﺘﻌﻤﻞ‬
‫ﰲ ﻏﲑ ﻣﺎﻭﺿﻊ ﻟﻪ ﻟﻌﻼﻗﺔ ﺍﳌﺸﺎ‪‬ﺔ ﺑﲔ ﺍﳌﻌﻨﻴﲔ ﺍﻷﺻﻠﻰ ﻭﺍ‪‬ﺎﺯ ﻣﻊ ﻗﺮﻳﻨﺔ ﻣﺎﻧﻌﻪ ﻣﻦ‬
‫ﺇﺭﺍﺩﺓ ﺍﳌﻌﲎ ﺍﻷﺻﻠﻰ ﻟﻠﻔﻆ‪ .‬ﻓﺈﻥ ﻛﺎﻧﺖ ﺍﻟﻌﻼﻗﺔ ﺑﲔ ﺍﳌﻌﻨﻴﲔ)ﺍﳌﻨﻘﻮﻝ ﻋﻨﻪ‪،‬‬
‫ﻭﺍﳌﻨﻨﻘﻮﻝ ﺇﻟﻴﻪ( ﺍﳌﺸﺎ‪‬ﺔ ﻛﺎﻥ ﺍﻟﺘﻌﺒﲑ ﺍﺳﺘﻌﺎﺭﺓ‪.٢٦‬‬
‫ﺍﻻﺳﺘﻌﺎﺭﺓ ﻟﻐﺔ ﻃﻠﺐ ﺍﻹﻋﺎﺭﺓ‪ ،‬ﻭﺃﻣﺎ ﺍﺻﻄﻼﺣﺎ ﻫﻰ ﺍﺳﺘﻌﻤﺎﻝ ﺍﻟﻠﻔﻆ ﰲ‬
‫ﻏﲑ ﻣﺎﻭﺿﻊ ﻟﻪ ﻟﻌﻼﻗﺔ) ﺍﳌﺸﺎ‪‬ﺔ( ﺑﲔ ﺍﳌﻌﲎ ﺍﳌﻨﻘﻮﻝ ﻋﻨﻪ ﻭﺍﳌﻌﲎ ﺍﳌﺴﺘﻌﻤﻞ ﻓﻴﻪ‪،‬‬

‫‪ ٢٥‬ﻋﻠﻰ ﺍﳉﺎﺭﻣﻰ ﻭﻣﺼﻄﻔﻰ ﺃﻣﲔ‪ ،‬ﺍﻟﺒﻼﻏﺔ ﺍﻟﻮﺍﺿﺤﺔ‪ ،‬ﺹ‪٧١‬‬

‫‪ ٢٦‬ﻋﻠﻰ ﺍﻟﺒﺪﺭﻯ‪ ،‬ﻋﻠﻢ ﺍﻟﺒﻴﺎﻥ ﰲ ﺍﻟﺪﺭﺍﺳﺎﺕ ﺍﻟﺒﻼﻏﻴﺔ‪) ،‬ﺍﻟﻘﺎﻫﺮﺓ‪ :‬ﻣﻜﺘﺒﺔ ﺍﻟﻨﻬﻀﺔ ﺍﳌﺼﺮﻳﺔ‪١٩٨٤ ،‬ﻡ(‪،‬‬
‫ﻁ‪ ،٢‬ﺹ‪١٨٦‬‬
‫ذ‬

‫ﻣﻊ) ﻗﺮﻳﻨﺔ( ﺻﺎﺭﻓﺔ ﻋﻦ ﺇﺭﺍﺩﺓ ﺍﳌﻌﲎ ﺍﻻﺻﻠﻰ) ﻭﺍﻻﺳﺘﻌﺎﺭﺓ( ﻟﻴﺴﺖ ﺇﻻ ﺗﺸﺒﻴﻬﺎ‬
‫ﳐﺘﺼﺮﺍ‪ ،‬ﻭﻟﻜﻨﻬﺎ ﺍﺑﻠﻎ ﻣﻨﻪ‪.٢۷‬‬
‫ﻭﺍﻻﺳﺘﻌﺎﺭﺓ ﺃﺻﻠﻬﺎ ﺍﻟﺘﺸﺒﻴﻪ ﻭﻻﺑﺪ ﻓﻴﻬﺎ ﻣﻦ ﺣﺬﻑ ﺃﺣﺪ ﻃﺮﰱ ﺍﻟﺘﺸﺒﻴﻪ‬
‫ﻭﻭﺟﺪ ﺷﺒﻬﻪ ﻭﺃﺩﺍﺗﻪ‪ ،‬ﻭﺃﺭﻛﺎﻥ ﺍﻻﺳﺘﻌﺎﺭﺓ ﺛﻼﺛﺔ‪ :‬ﻣﺴﺘﻌﺎﺭ ﻋﻨﻪ) ﺫﺍﺕ ﺍﳌﺸﺒﻪ ﺑﻪ(‬
‫ﺍﻟﺬﻯ ﺃﺧﺬ ﻣﻨﻪ ﺍﲰﻪ ﻭﺃﻋﻄﻰ ﻟﻠﻤﺸﺒﻪ‪ ،‬ﻭﻣﺴﺘﻌﺎﺭ ﻟﻪ ﻭﻫﻮ ﺫﺍﺕ ﺍﳌﺸﺒﻪ‬
‫ﻭﻣﺴﺘﻌﺎﺭ‪.٢٨‬‬
‫ﻭﺗﻘﺴﻴﻢ ﺍﻻﺳﺘﻌﺎﺭﺓ ﺑﺎﻋﺘﺒﺎﺭ ﺫﻛﺮ ﺍﳌﺸﺒﻪ ﺑﻪ‪:‬‬
‫‪ .١‬ﺍﻟﺘﺼﺮﳛﻴﺔ ﻫﻰ ﻣﺎﺻﺮﺡ ﻓﻴﻬﺎ ﺑﻠﻔﻆ ﺍﳌﺸﺒﻪ ﺑﻪ‬
‫‪ .٢‬ﺍﳌﻜﻨﻴﺔ ﻫﻰ ﻣﺎﺣﺬﻑ ﻓﻴﻬﺎ ﺍﳌﺸﺒﻪ ﺑﻪ ﻭﺭﻣﺰ ﻟﻪ ﺑﺸﻲﺀ ﻣﻦ ﻧﻮﺍﺯﻣﻪ‬
‫‪ .۳‬ﺍﳌﺮﺷ‪‬ﺤﺔ ﻫﻰ ﻣﺎﺫﻛﺮ ﻣﻌﻬﺎ ﻣﻼﺋﻢ ﺍﳌﺸﺒﻪ ﺑﻪ‬
‫‪ .٤‬ﺍ‪‬ﺮ‪‬ﺩﺓ ﻫﻰ ﻣﺎﺫﻛﺮ ﻣﻌﻬﺎ ﻣﻼﺋﻢ ﺍﳌﺸﺒﻪ‬
‫‪ .٥‬ﺍﳌﻄﻠﻘﺔ ﻫﻰ ﻣﺎﺧﻠﺖ ﻣﻦ ﻣﻼﺋﻤﺎﺕ ﺍﳌﺸﺒﻪ ﺑﻪ ﺃﻭﺍﳌﺸﺒﻪ‪.٢٩‬‬

‫‪ ٢۷‬ﺃﲪﺪ ﺍﳍﺎﴰﻰ‪ ،‬ﺟﻮﺍﻫﺮ ﺍﻟﺒﻼﻏﺔ‪ ) ،‬ﺑﲑﻭﺕ‪ :‬ﺩﺍﺭ ﺍﻟﻔﻜﺮ‪١٩٩٤ ،‬ﻡ(‪ ،‬ﺹ‪۳٠٤ -٣٠٣‬‬
‫‪ ٢٨‬ﻋﻠﻰ ﺍﻟﺒﺪﺭﻯ‪ ،‬ﻋﻠﻢ ﺍﻟﺒﻴﺎﻥ ﰲ ﺍﻟﺪﺭﺍﺳﺎﺕ ﺍﻟﺒﻼﻏﺔ‪ ،‬ﺹ‪١٧٩ -١٧٨‬‬
‫‪ ٢٩‬ﻋﻠﻰ ﺍﳉﺎﺭﻣﻰ ﻭﻣﺼﻄﻔﻰ ﺃﻣﲔ‪ ،‬ﺍﻟﺒﻼﻏﺔ ﺍﻟﻮﺍﺿﺤﺔ‪ ،‬ﺹ‪٩١ -٧٧‬‬

‫ه‬

‫ﻭﺑﺎﻋﺘﺒﺎﺭ ﺍﻟﻠﻔﻆ ﺍﳌﺴﺘﻌﺎﺭ ﺗﻘﺴﻴﻤﻪ ﺇﱃ‪:‬‬
‫‪ .١‬ﺍﻷﺻﻠﻴﺔ ﻫﻮ ﺇﺫﺍ ﻛﺎﻥ ﺍﻟﻠﻔﻆ ﺍﳌﺴﺘﻌﺎﺭ ﺍﲰﺎ ﺟﺎﻣﺪﺍ ﻟﻠﺬﺍﺕ ﻛﺎﻟﺒﺪﺭ ﺇﺫﺍ ﺍﺳﺘﻌﲑ‬
‫ﻟﻠﺠﻤﻴﻞ ﻭﺍﲰﺎ ﺟﺎﻣﺪﺍ ﻟﻠﻤﻌﲎ ﻛﺎﻟﻘﺘﺎﻝ ﺇﺫﺍ ﺍﺳﺘﻌﲑ ﻟﻠﻀﺮﺏ ﺍﻟﺸﺪﻳﺪ‬
‫‪ .٢‬ﺍﻟﺘﺒﻌﻴﺔ ﻫﻮ ﻣﺎﻳﻜﻮﻥ ﺍﳌﺴﺘﻌﺎﺭ ﻓﻴﻬﺎ ﻓﻌﻼ ﺃﻭ ﻣﺸﺘﻘﺎ ﻭﻛﻞ ﺗﺒﻌﻴﺔ ﻗﺮﻳﻨﺘﻬﺎ ﻣﻜﻨﻴﺔ‬
‫ﻭﺇﺫﺍ ﺃﺟﺮﻳﺖ ﺍﻻﺳﺘﻌﺎﺭﺓ ﰲ ﻭﺍﺣﺪﺓ ﻣﻨﻬﺎ ﺍﻣﺘﻨﻊ ﺇﺟﺮﺍﺅﻫﺎ ﰲ ﺍﻷﺧﺮﻯ‪.۳٠‬‬

‫‪ .٢.١‬ﺍ‪‬ﺎﺯ ﺍﳌﺮﺳﻞ‬
‫ﺍ‪‬ﺎﺯ ﺍﳌﺮﺳﻞ ﻫﻮ ﻛﻠﻤﺔ ﺍﺳﺘﻌﻤﻠﺖ ﰱ ﻏﲑ ﻣﻌﻨﺎﻫﺎ ﺍﻷﺻﻠﻰ ﻟﻌﻼﻗﺔ ﻏﲑ‬
‫ﺍﳌﺸﺎ‪‬ﺔ ﻣﻊ ﻗﺮﻳﻨﺔ ﻣﺎﻧﻌﺔ ﻣﻦ ﺇﺭﺍﺩﺓ ﺍﳌﻌﲎ ﺍﻷﺻﻠﻰ‪.۳١‬‬
‫ﻭﻣﻦ ﻋﻼﻗﺘﻪ ﺍ‪‬ﺎﺯ ﺍﳌﺮﺳﻞ‪ :‬ﺍﻟﺴﺒﺒﻴ‪‬ﺔ‪ ،‬ﺍﳌﺴﺒﺒﻴ‪‬ﺔ‪ ،‬ﺍﳉﺰﺋﻴﺔ‪ ،‬ﺍﻟﻜﻠﻴﺔ‪ ،‬ﺍﻋﺘﺒﺎﺭ ﻣﺎﻛﺎﻥ‪،‬‬
‫ﺍﻋﺘﺒﺎﺭ ﻣﺎﻳﻜﻮﻥ‪ ،‬ﺍﶈﻠﻴﺔ‪ ،‬ﺍﳊﺎﻟﻴﺔ‪.‬‬

‫‪ ۳٠‬ﻋﻠﻰ ﺍﳉﺎﺭﻣﻰ ﻭﻣﺼﻄﻔﻰ ﺃﻣﲔ‪ ،‬ﺍﻟﺒﻼﻏﺔ ﺍﻟﻮﺍﺿﺤﺔ‪ ،‬ﺹ‪٨٤‬‬

‫‪ ۳١‬ﻋﻠﻰ ﺍﳉﺎﺭﻣﻰ ﻭﻣﺼﻄﻔﻰ ﺃﻣﲔ‪ ،‬ﺍﻟﺒﻼﻏﺔ ﺍﻟﻮﺍﺿﺤﺔ‪ ،‬ﺹ‪١١٠‬‬
‫غ‬

‫‪ .٢‬ﺍ‪‬ﺎﺯ ﺍﻟﻌﻘﻠﻰ‬
‫ﺍ‪‬ﺎﺯ ﺍﻟﻌﻘﻠﻰ ﻫﻮ ﺇﺳﻨﺎﺩ ﺍﻟﻔﻌﻞ ﺃﻭﻣﺎﰱ ﻣﻌﻨﺎﻩ ﺇﱃ ﻏﲑ ﻣﺎﻫﻮ ﻟﻪ ﻟﻌﻼﻗﺔ ﻣﻊ‬
‫ﻗﺮﻳﻨﺔ ﻣﺎﻧﻌﺔ ﻣﻦ ﺇﺭﺍﺩﺓ ﺍﻻﺳﻨﺎﺩ ﺍﳊﻘﻴﻘﻰ‪.۳٢‬‬

‫‪ .۳‬ﺍﻟﻜﻨﺎﻳﺔ‬
‫ﺍﻟﻜﻨﺎﻳﺔ ﻟﻐﺔﹰ ﻟﻔﻆ ﻳﺘﻜﻠﻢ ﺑﻪ ﺍﻻﻧﺴﺎﻥ ﻭﻳﺮﻳﺪ ﻏﲑﻩ‪ ،‬ﻭﰱ ﺍﺻﻄﻼﺡ ﺍﻟﺒﻴﺎﻧﻴﲔ‬
‫ﻫﻰ ﻟﻔﻆ ﺃﺭﻳﺪ ﺑﻪ ﻻﺯﻡ ﻣﻌﻨﺎﻩ ﺍﳊﻘﻴﻘﻰ‪ ،‬ﻣﻊ ﺟﻮﺍﺯ ﺇﺭﺍﺩﺗﻪ ﻟﺬﻟﻚ ﺍﳌﻌﲎ ﺍﳊﻘﻴﻘﻰ‪.۳۳‬‬
‫ﺍﻟﻜﻨﺎﻳﺔ ﻫﻰ ﻟﻔﻆ ﺃﻃﻠﻖ ﻭﺃﺭﻳﺪ ﺑﻪ ﻻﺯﻡ ﻣﻌﻨﺎﻩ ﻣﻊ ﺟﻮﺍﺯ ﺇﺭﺍﺩﺓ ﺫﻟﻚ‬
‫ﺍﳌﻌﲎ‪.۳٤‬‬

‫‪ .٤‬ﻣﻀﻤﻮﻥ ﺭﺳﺎﻟﺔ ﻣﻴﻤﻮﻥ ﺍﻹﺑﺘﺪﺍﺀ ﻣﺒﺎﺭﻙ ﺍﻹﻧﺘﻬﺎﺀ‬
‫‪ ۳٢‬ﻋﻠﻰ ﺍﳉﺎﺭﻣﻰ ﻭﻣﺼﻄﻔﻰ ﺃﻣﲔ‪ ،‬ﺍﻟﺒﻼﻏﺔ ﺍﻟﻮﺍﺿﺤﺔ‪ ،‬ﺹ‪١١٧‬‬

‫‪ ۳۳‬ﺇﻧﻌﺎﻡ ﻧﻮ‪‬ﺍﻝ ﻋﻜﹶﺎﻭﻱ )ﻣﺮﺍﺟﻌﺔ ﺃﲪﺪ ﴰﺲ ﺍﻟﺪﻳﻦ(‪ ،‬ﺍﳌﻌﺠﻢ ﺍﳌﻔﺼ‪‬ﻞ ﰱ ﻋﻠﻮﻡ ﺍﻟﺒﻼﻏﺔ ﺍﻟﺒﺪﻳﻊ ﻭﺍﻟﺒﻴﺎﻥ‬

‫ﻭﺍﳌﻌﺎﱐ‪ ،‬ﺹ‪٦٢٨‬‬

‫‪ ۳٤‬ﻋﻠﻰ ﺍﳉﺎﺭﻣﻰ ﻭﻣﺼﻄﻔﻰ ﺃﻣﲔ‪ ،‬ﺍﻟﺒﻼﻏﺔ ﺍﻟﻮﺍﺿﺤﺔ‪ ،‬ﺹ‪١٢٥‬‬

‫ه‬

‫ﺍﻟﺒﺎﺏ ﺍﻟﺮﺍﺑﻊ‬

‫ﺍﻟﺘﺸﺒﻴﻪ ﻭﺍ‪‬ﺎﺯ ﰱ ﺭﺳﺎﻟﺔ "ﻣﻴﻤﻮﻥ ﺍﻹﺑﺘﺪﺍﺀ ﻣﺒﺎﺭﻙ ﺍﻹﻧﺘﻬﺎﺀ ﻷﰉ ﺣﻴﺎﻥ‬
‫ﺍﻟﺘﻮﺣﻴﺪﻯ‬

‫ﺃ‪ .‬ﺍﻟﺘﺸﺒﻴﻪ‬
‫ﻭﺃﻣﺎ ﺻﻮﺭﺓ ﺍﻟﺘﺸﺒﻴﻪ ﺍﳌﻮﺟﻮﺩﺓ ﰱ ﺭﺳﺎﻟﺔ ﻣﻴﻤﻮﻥ ﺍﻹﺑﺘﺪﺍﺀ ﻣﺒﺎﺭﻙ ﺍﻹﻧﺘﻬﺎﺀ ﻓﻬﻰ‬
‫ﻛﻤﺎ ﻳﻠﻰ‪:‬‬
‫‪ .١‬ﺍﻟﺘﺸﺒﻴﻪ ﺍﳌﺮﺳﻞ‬
‫ﻭﻫﻮ ﻣﺎﺫﻛﺮﺕ ﻓﻴﻪ ﺍﻷﺩﺍﺓ‪،‬‬
‫" ﻭﻳﺆﻧﺴﲎ ﻭ‪‬ﻋﺪ‪ ‬ﻛﻮﹺﺭ‪‬ﺩ‪ ‬ﺑﻘﻴﻌﺔ ﻣﱴ ﺭﻣﺘﻪ ﻛﻠﻔﺖ ﺑﻴﺪﺍﺀ ﻳﻠﻘﻌﺎ"‬

‫أأ‬

‫ﰱ ﺍﻟﺒﻴﺖ‪ :‬ﺗﺸﺒﻴﻪ ﻣﺮﺳﻞ‪ .‬ﺍﳌﺸﺒﻪ‪ :‬ﻭﻋﺪ؛ ﻭﺍﳌﺸﺒﻪ ﺑﻪ‪ :‬ﻭﹺﺭﺩ‪‬؛ ﻭﺍﻷﺩﺍﺓ‪ :‬ﺍﻟﻜﺎﻑ؛‬
‫ﻭﻭﺟﻪ ﺍﻟﺸﺒﻪ‪ :‬ﻋﻈﻴﻢ ﺃﻭ ﺷﺮﻳﻒ‪ .‬ﺍﻟﻜﻼﻡ ﻣﺸﺮﻳﻒ ﻫﻮ ﻭﻋﺪ ﺃﻱ ﺍﻟﺴﺮ‪‬؛ ﻭﺍﻟﻮﹺﺭﺩ‬
‫ﻫﻮ ﺍﻹﺷﺮﺍﻑ ﻋﻠﻰ ﺍﳌﺎﺀ‪ ،‬ﻭﺑﻴﺎﻥ ﺣﺎﻝ ﺍﳌﺸﺒﻪ‪.‬‬
‫"ﻭﺇﺫﺍ ﲢﺮﻛﺖ ﺍﳌﻄﺎﻣﻊ ﲝﻼﻭﺍﺕ ﺍﻹﺭﺍﺩﺓ‪ ،‬ﺯﺣﻔﺖ ﳓﻮﺍ ﻛﺘﺎﺋﺐ ﺍﻟﻴﺄﺱ‬
‫ﲟﺮﺍﺭﺓ ﺍﻹﺑﺎﺩﺓ"‬
‫ﰱ ﻫﺬﻩ ﺍﳉﻤﻠﺔ‪ :‬ﺗﺸﺒﻴﻪ ﻣﺮﺳﻞ‪ .‬ﺍﳌﺸﺒﻪ‪ :‬ﲢﺮﻛﺖ ﺍﳌﻄﺎﻣﻊ؛ ﻭﺍﳌﺸﺒﻪ ﺑﻪ‪ :‬ﺗﺎﺋﺐ‬
‫ﺍﻟﻴﺄﺱ؛ ﻭﺍﻷﺩﺍﺓ ﺍﻟﻜﺎﻑ؛ ﻭﻭﺟﻪ ﺍﻟﺸﺒﻪ‪ :‬ﺑﻌﻴﺪ ﻣﻦ ﻧﻌﻤﺔ ﺍﷲ ﺃﻱ ﺍﻟﻄﻤﻊ‪ ،‬ﻭﺑﻴﺎﻥ‬
‫ﺣﺎﻝ ﺍﳌﺸﺒﻪ‪.‬‬

‫"ﻓﹶﻘﹾﺮ‪ ‬ﻛﻔﻘﺮ ﺍﻷﻧﺒﻴﺎﺀ ﻭﻋ‪‬ﺮ‪‬ﺑ‪‬ﺔﹲ ﻭﺻ‪‬ﺎﺑﺔ ﻟﻴﺲ ﺍﻟﺒﻼﺀ ﺑﻮﺍﺣﺪ"‬
‫ﰲ ﺍﻟﺒﻴﺖ‪ :‬ﺗﺸﺒﻴﻪ ﻣﺮﺳﻞ‪ .‬ﺍﳌﺸﺒﻪ‪ :‬ﻓﹶﻘﹾﺮ‪‬؛ ﻭﺍﳌﺸﺒﻪ ﺑﻪ‪ :‬ﻓﻘﺮ ﺍﻷﻧﺒﻴﺎﺀ؛ ﻭﺍﻷﺩﺍﺓ‪:‬‬
‫ﺍﻟﻜﺎﻑ؛ ﻭﻭﺟﻪ ﺍﻟﺸﺒﻪ‪ :‬ﺗﻌﺒﻪ )ﻭﺻﺒ‪‬ﻪ( ﻟﻴﺲ ﺍﻟﺒﻼﺀ ﺑﻮﺍﺣﺪ‪.‬‬

‫"ﻓﺈﱃ ﻣﱴ ﻧﻌﺒﺪ ﺍﻟﺼﻨﻢ‪ ،‬ﻛﺄﻧﻨﺎ ﺣ‪‬ﻤ‪‬ﺮ ﺃﻭ ﻧﻌﻢ!"‬

‫ه‬

‫ﰱ ﻫﺬﻩ ﺍﳉﻤﻠﺔ‪ :‬ﺗﺸﺒﻴﻪ ﻣﺮﺳﻞ‪ .‬ﺍﳌﺸﺒﻪ‪ :‬ﺍﻟﺼﻨﻢ ﺑﻌﺪ ﺍﻟﺼﻨﻢ؛ ﻭﺍﳌﺸﺒﻪ ﺑﻪ‪ :‬ﺣ‪‬ﻤ‪‬ﺮ ﺃﻭ‬
‫ﻧ‪‬ﻌ‪‬ﻢ؛ ﻭﺍﻷﺩﺍﺓ‪ :‬ﺍﻟﻜﺎﻑ؛ ﻭﻭﺟﻪ ﺷﺒﻪ‪ :‬ﳐﺬﻭﻓﺔ‪.‬‬

‫‪ .٢‬ﺍﻟﺘﺸﺒﻴﻪ ﺍﻟﺒﻠﻴﻎ‬
‫ﻭﻫﻮ ﻣﺎﺧﺬﻓﺖ ﻓﻴﻪ ﺃﺩﺍﺓ ﺍﻟﺘﺸﺒﻴﻪ‪ ،‬ﻭﻭﺟﻪ ﺍﻟﺸﺒﻪ‪.‬‬
‫"ﻧﺒﺄ ﻏﺮﻳﺐ ﺍﺳﺘﻨﺒﻂ ﻣﻦ ﺍﻟﻐﻴﺐ ﺍﳌﻜﻨﻮﻥ‪ ،‬ﻭﺍﻟﺴﺮ‪ ‬ﺍﳌﺨﺰﻭﻥ"‬
‫ﻣﺸﺒﻪ‪ :‬ﻧﺒﺄ ﻏﺮﻳﺐ ﺍﺳﺘﻨﺒﻂ ﻣﻦ ﺍﻟﻐﻴﺐ ﺍﳌﻜﻨﻮﻥ‪ ،‬ﻣﺸﺒﻪ ﺑﻪ‪ :‬ﺍﻟﺴﺮ‪ ‬ﺍﳌﺨﺰﻭﻥ‪ ،‬ﺍﻵﺩﺓ‪:‬‬
‫ﳐﺬﻭﻓﺔ‪ ،‬ﻭﺟﻪ ﺍﻟﺸﺒﻪ‪ :‬ﳐﺬﻭﻓﺔ‪.‬‬
‫ﺍﳌﺮﺍﺩ؛ ﻧﺒﺄ ﻏﺮﻳﺐ ﺃﻱ ﺧﱪ‪‬ﺍ ﻣﺎﺗﺮﺍﻩ ﺍﻟﻌﲔ‪ ،‬ﻭﺍﻟﺴﺮ‪ ‬ﺍﳌﺨﺰﻭﻥ ﺃﻱ ﺃﻣﺎﻧﺔ‪.‬‬

‫ﺏ‪ .‬ﺍ‪‬ﺎﺯ‬
‫ﻳﻨﻘﺴﻢ ﺍ‪‬ﺎﺯ ﺛﻼﺛﺔ ﺍﻗﺴﺎﻡ ﻫﻰ ﳎﺎﺯ ﺍﻟﻌﻘﻠﻰ ﻭﳎﺎﺯ ﺍﻟﻠﻐﻮﻯ ﻭﺍﻻﺳﺘﻌﺎﺭﺓ‪.‬‬
‫ﻭﻭﺟﺪﺕ ﰱ ﻫﺬﻩ ﺭﺳﺎﻟﺔ ﻫﻰ‪:‬‬
‫‪ .١‬ﳎﺎﺯ ﺍﻟﻌﻘﻠﻰ‬

‫جج‬

‫ﻫﻮ ﺇﺳﻨﺎﺩ ﺍﻟﻔﻌﻞ‪ ،‬ﺃﻭ ﻣﺎﰱ ﻣﻌﻨﺎﻩ )ﻣﻦ ﺍﺳﻢ ﻓﺎﻋﻞ‪ ،‬ﺃﻭ ﺍﺳﻢ ﻣﻔﻌﻮﻝ‪ ،‬ﺃﻭ ﻣﺼﺪﺭ(‬
‫ﺇﱃ ﻏﲑ ﻣﺎﻫﻮ ﻟﻪ ﰱ ﺍﻟﻈﺎﻫﺮ؛ ﻣﻦ ﺍﳌﺘﻜﻠﻢ‪ ،‬ﻟﻌﻼﻗﺔ ﻣﻊ ﻗﺮﻳﻨﺔ ﲤﻨﻊ ﻣﻦ ﺃﻥ ﻳﻜﻮﻥ‬
‫ﺍﻹﺳﻨﺎﺩ ﺇﱃ ﻣﺎﻫﻮ ﻟﻪ‪.‬‬
‫"ﻭﻏﺎﻟﺐ ﻇﲎ ﻳﺎﺳﻴﺪﻯ ﺃﻧﻚ ﳌﺴﺎﻋﺪﺗﻰ ﻋﻠﻰ ﻫﺬﺍ ﺍﻟﺸﺠﻮ ﺗﺆﺛﺮ ﺃﺛﺮﺍ ﳜﻒ‪‬‬
‫ﺑﻪ ﻣﺎﺑﻨﺎ‪"...،‬‬
‫ﺇﺳﻨﺎﺩ ﺍﻟﻔﻌﻞ ﺇﱃ ﺍﳌﺼﺪﺭ‪ ،‬ﳎﺎﺯ ﻋﻘﻠﻰ ﻋﻼﻗﺘﻪ ﺍﳌﺼﺪﺭﻳﺔ‪.‬‬

‫" ﻭﳜﻒ ﺑﺮﺅﻳﺘﻬﻢ ﺍﳋﻔﻮﻑ ﻋﻦ ﻫﺬﺍ ﺍﻟﻌﺎﱂ ﺍﻟﺴﻔﻠﻰ ﺇﱃ ﳏﻞ ﺫﻟﻚ‬
‫ﺍﻟﻌﻠﻮﻯ"‬
‫ﺇﺳﻨﺎﺩ ﺍﻟﻔﻌﻞ ﺇﱃ ﺍﳌﺼﺪﺭ‪ ،‬ﳎﺎﺯ ﻋﻘﻠﻰ ﻋﻼﻗﺘﻪ �