Adonis uslubuhu wa syu'uruhu fi al-syu'ri alhuru : aghoniy mihyar al-Dimasqi wa qashoid ukhra
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ﺃﺩﻭﻧﻴﺲ :ﺃﺳﻠﻮﺑﻪ ﻭﺷﻌﻮﺭﻩ ﰲ ﺍﻟﺸﻌﺮ ﺍﳊﺮ
)ﺃﻏﺎﱐ ﻣﻬﻴﺎﺭ ﺍﻟﺪﻣﺸﻘﻲ ﻭﻗﺼﺎﺋﺪ ﺃﺧﺮﻯ(
ﲝﺚ
ﻣﻘﺪﻡ ﺇﱃ ﻛﻠﻴﺔ ﺍﻵﺩﺍﺏ ﻭﺍﻟﻌﻠﻮﻡ ﺍﻹﻧﺴﺎﻧﻴﺔ ﺟﺎﻣﻌﺔ ﺷﺮﻳﻒ ﻫﺪﺍﻳﺔ ﺍﷲ ﺍﻹﺳﻼﻣﻴﺔ
ﺍﳊﻜﻮﻣﻴﺔ ﺟﺎﻛﺮﺗﺎ ﻟﻠﺤﺼﻮﻝ ﻋﻠﻰ ﺍﻟﺪﺭﺟﺔ ﺍﳉﺎﻣﻌﻴﺔ ﺍﻷﻭﱃ )(S.S
ﺇﻋﺪﺍﺩ
ﺧﲑ ﺍﻟﻔﺆﺍﺩ
ﺭﻗﻢ ﺍﻟﺘﺴﺠﻴﻞ105021000803 :
ﻗﺴﻢ ﺍﻟﻠﻐﺔ ﺍﻟﻌﺮﺑﻴﺔ ﻭﺃﺩﺎ
ﻛﻠﻴﺔ ﺍﻵﺩﺍﺏ ﺍﻟﻌﻠﻮﻡ ﺍﻹﻧﺴﺎﻧﻴﺔ
ﺟﺎﻣﻌﺔ ﺷﺮﻳﻒ ﻫﺪﺍﻳﺔ ﺍﷲ ﺍﻹﺳﻼﻣﻴﺔ ﺍﳊﻜﻮﻣﻴﺔ
ﺟﺎﻛﺮﺗﺎ
2009ﻡ 1430ﻫـ
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ﻣﻠﺨﺺ
ﺧﲑﺍﻟﻔﺆﺍﺩ :ﺃﺩﻭﻧﻴﺲ :ﺃﺳﻠﻮﺑﻪ ﻭﺷﻌﻮﺭﻩ ﰲ ﺍﻟﺸﻌﺮ ﺍﳊﺮ )ﺃﻏﺎﱐ ﻣﻬﻴﺎﺭ
ﺍﻟﺪﻣﺸﻘﻲ ﻭﻗﺼﺎﺋﺪ ﺃﺧﺮﻯ(
ﺇﻥ ﺃﺩﻭﻧﻴﺲ ﺷﺎﻋﺮ ﻋﺮﻳﺾ ﺍﻟﺜﻘﺎﻓﺔ ،ﻭﻣﺘﺮﺟﻢ ﻟﻠﻌﺪﻳﺪ ﻣﻦ ﺍﳌﺆﻟﻔﺎﺕ ﺍﻟﺸﻌﺮﻳﺔ
ﻭﺍﻟﻨﻘﺪﻳﺔ ﺍﻟﻌﺎﳌﻴﺔ ،ﻛﺘﺐ ﺃﺷﻌﺎﺭﺍ ﻛﺜﲑﺓ ﻭﲨﻌﻬﺎ ﰲ ﺩﻭﺍﻭﻳﻨﻪ ﻣﻨﻬﺎ ﺍﻷﻋﻤﺎﻝ ﺍﻟﺸﻌﺮﻳﺔ
ﺃﻏﺎﱐ ﻣﻬﻴﺎﺭ ﺍﻟﺪﻣﺸﻘﻲ ﻭﻗﺼﺎﺋﺪ ﺃﺧﺮﻯ.
ﻭﺍﳌﻌﺮﻭﻑ ﺃﻥ ﺃﺩﻭﻧﻴﺲ ﻟﻪ ﺃﺳﻠﻮﺏ ﺧﺎﺹ ﰲ ﻛﺘﺎﺑﺔ ﺷﻌﺮﻩ ،ﻭﻳﻜﺜﺮ ﺍﻟﻜﻼﻡ
ﻋﻨﺪ ﺍﻟﺒﺎﺣﺜﲔ ﻭﺍﻟﻨﻘﺎﺩ ﻋﻨﻪ .ﻭﳍﺬﺍ ﻳﻮﺩ ﺍﻟﺒﺎﺣﺚ ﺃﻥ ﻳﻌﺮﻑ ﳑﻴﺰﺍﺕ ﺃﺳﻠﻮﺑﻪ ﰲ
ﺍﻟﺸﻌﺮ ﺍﳊﺮ ﻋﻠﻰ ﺳﺒﻴﻞ ﻣﻌﺮﻓﺔ ﺻﻔﺎﺕ ﺃﺳﻠﻮﺑﻪ ﻭﺷﻌﻮﺭﻩ ،ﻷﻥ ﺍﻷﺳﻠﻮﺏ ﻭﺍﻟﺸﻌﻮﺭ
ﺩﻻﻟﺘﺎﻥ ﻋﻠﻰ ﺍﻟﺸﻌﺮ ﻣﻦ ﺣﻴﺚ ﺍﳉﻴﺪ ﺃﻭ ﺍﻟﺴﻴﺊ.
ﻭﺍﻟﻐﺮﺽ ﻣﻦ ﻫﺬﺍ ﺍﻟﺒﺤﺚ ﻫﻮ ﻛﺸﻒ ﺻﻔﺎﺕ ﺍﻷﺳﻠﻮﺏ ﻭﺍﻟﺸﻌﻮﺭ ﺍﻟﺬﻱ
ﺍﺳﺘﻌﻤﻠﻪ ﺃﺩﻭﻧﻴﺲ ﰲ ﻛﺘﺎﺑﺔ ﺷﻌﺮﻩ .ﻭﺑﻌﺪ ﺍﻟﺘﺤﻠﻴﻞ ﻋﻦ ﺍﳌﻮﺿﻮﻉ ﻭﺟﺪ ﺍﻟﺒﺎﺣﺚ
ﺃﻥ ﺃﺳﺎﻟﻴﺒﻪ ﻗﻮﻳﺔ ﻭ ﻣﻨﺎﺳﺒﺔ ﰲ ﺍﺧﺘﻴﺎﺭ ﺍﻟﻜﻠﻤﺎﺕ ﺍﳉﺰﺍﻟﺔ ﻭﺍﻟﺮﻗﻴﻘﺔ .ﻭ ﻟﻜﻦ ﺃﻟﻔﺎﻇﻪ
ﻭﲨﻠﻪ ﻏﲑ ﻭﺍﺿﺤﺔ ﻭﻫﻮ ﻣﻦ ﺍﻟﺸﻌﺮﺍﺀ ﺍﳌﺘﻜﻠﻔﲔ .ﻭﻫﻮ ﺃﻳﻀﺎ ﻗﺎﺩﺭ ﻋﻠﻰ ﺍﻟﺘﻌﺒﲑ
ﻋﻦ ﻣﺸﺎﻋﺮﻩ ﺗﻌﺒﲑﺍ ﻳﺜﲑ ﺍﻹﻧﻔﻌﺎﻝ ﰲ ﻧﻔﺲ ﺍﳌﺘﻠﻘﻲ ،ﻭﺫﻟﻚ ﺑﻌﺪ ﺃﻥ ﺃﻣﻌﻦ ﺍﳌﺘﻠﻘﻲ
ﺍﻟﻨﻈﺮ ﰲ ﺃﺷﻌﺎﺭﻩ ﻣﺮﺓ ﺗﻠﻮ ﺃﺧﺮﻯ.
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ﳏﺘﻮﻳﺎﺕ ﺍﻟﺒﺤﺚ
ﻣﻮﺍﻓﻖ ﺍﳌﺸﺮﻑ .....................................................ﺏ
ﺗﺼﺮﻳﺢ ﺍﻟﺒﺎﺣﺚ .....................................................ﺝ
ﻗﺮﺍﺭﺓ ﳉﻨﺔ ﺍﳌﻨﺎﻗﺸﺔ ﻭﺍﳊﻜﻢ ﻋﻠﻰ ﺍﻟﺒﺤﺚ .................................ﺩ
ﻣﻠﺨﺺ ............................................................ھـ
ﻛﻠﻤﺔ ﺷﻜﺮ ﻭﺗﻘﺪﻳﺮ ...................................................ﻭ
ﳏﺘﻮﺍﻳﺎﺕ ﺍﻟﺒﺤﺚ ....................................................ﻁ
ﺍﻟﺒﺎﺏ ﺍﻷﻭﻝ :ﺍﳌﻘﺪﻣﺔ 1 .............................................
ﺃ.
ﺧﻠﻔﻴﺔ ﺍﳌﺸﻜﻠﺔ 1 ................................................
ﺏ .ﲢﺪﻳﺪ ﺍﳌﺸﻜﻠﺔ 6 ................................................
ﺝ .ﺍﻟﻐﺮﺽ ﻣﻦ ﺍﻟﺒﺤﺚ 6 ............................................
ﺩ.
ﺍﻟﺪﺭﺍﺳﺔ ﺍﳌﻜﺘﺒﻴﺔ 7 ...............................................
ﻫـ .ﻣﻨﻬﺞ ﺍﻟﺒﺤﺚ 7 .................................................
ﻱ
4
ﻭ.
ﺧﻄﺔ ﺍﻟﺒﺤﺚ 8 .................................................
ﺍﻟﺒﺎﺏ ﺍﻟﺜﺎﱐ :ﶈﺔ ﻋﻦ ﺩﺭﺍﺳﺔ ﺍﻷﺳﻠﻮﺏ ﻭﺍﻟﺸﻌﻮﺭ ﻭﺍﻟﺸﻌﺮ ﺍﳊﺮ 10 ...
ﺃ.
ﺍﻷﺳﻠﻮﺏ 10 ...................................................
.1ﺗﻌﺮﻳﻔﻪ 10 ..................................................
.2ﺻﻔﺎﺗﻪ ..................................................
11
.3ﺃﻧﻮﺍﻋﻪ ...................................................
14
ﺏ .ﺍﻟﺸﻌﻮﺭ 17 .....................................................
ﺝ .ﺍﻟﺸﻌﺮ ﺍﳊﺮ ..................................................
20
.1ﺗﻌﺮﻳﻔﻪ 20 ..................................................
.2ﻧﺸﺄﺗﻪ ﻭﺗﻄﻮﺭﻩ ...........................................
21
5
ﺍﻟﺒﺎﺏ ﺍﻟﺜﺎﻟﺚ :ﺗﺮﲨﺔ ﺣﻴﺎﺓ ﺃﺩﻭﻧﻴﺲ ...............................
26
ﺃ.
ﺍﲰﻪ 26 .......................................................
ﺏ .ﻣﻮﻟﺪﻩ ﻭﻧﺸﺄﺗﻪ 28 ..............................................
ﺝ.
ﻃﻠﺒﻪ ﺍﻟﻌﻠﻢ 29 .................................................
ﺩ .ﺣﻮﻝ ﺷﻌﺮﻩ 33 .................................................
ﺍﻷﺳﻠﻮﺑﻴﺔ ﰲ ﺷﻌﺮ ﺍﳊﺮ ﻷﺩﻭﻧﻴﺲ 40 ...
ﺍﻟﺒﺎﺏ ﺍﻟﺮﺍﺑﻊ :ﲢﻠﻴﻞ ﺍﳋﺼﺎﺋﺺ ﻙ
ﺃ.
ﺻﻔﺎﺕ ﺍﻷﺳﻠﻮﺏ ﰲ ﺷﻌﺮ ﺃﺩﻭﻧﻴﺲ 42 ............................
ﺏ .ﺍﻟﺸﻌﻮﺭ ﰲ ﺷﻌﺮ ﺃﺩﻭﻧﻴﺲ 55 .....................................
ﺍﻟﺒﺎﺏ ﺍﳋﺎﻣﺲ :ﺍﻻﺧﺘﺘﺎﻡ ﻭﺍﻻﻗﺘﺮﺍﺣﺎﺕ 59 .............................
ﺃ.
ﺍﻻﻗﺘﺮﺍﺣﺎﺕ 60 .................................................
ﺏ .ﺍﳌﺮﺍﺟﻊ ﻭﺍﳌﺼﺎﺩﺭ 62 .............................................
.1ﺍﳌﺮﺍﺟﻊ ﺍﻟﻌﺮﺑﻴﺔ 62 ...........................................
.2ﺍﳌﺮﺍﺟﻊ ﺍﻹﻟﻜﺘﺮﻭﻧﻴﻜﻴﺔ 64 ....................................
6
ﺍﻟﺒﺎﺏ ﺍﻷﻭﻝ
ﺍﳌﻘﺪﻣﺔ
ﺕ .ﺧﻠﻔﻴﺔ ﺍﳌﺸﻜﻠﺔ
ﺍﻟﺸﻌﺮ ﺍﻧﺒﻌﺎﺙ ﺍﻟﻜﻼﻡ ﻭﺗﻄﻮﺭ ﻣﺴﲑﺓ ﺍﻟﻠﻐﺔ ﻭﻫﻮ ﺍﻟﺘﺠﺴﻴﺪ ﺍﳊﻘﻴﻘﻲ
ﳌﻮﺳﻴﻘﻰ ﺍﻟﻜﻮﻥ ﺍﻟﻐﺎﻣﻀﺔ ،ﻭﻟﻪ ﺍﻷﺳﻠﻮﺏ ﺍﻷﺩﰊ ﻭﻫﻮ ﺍﻷﺳﻠﻮﺏ ﺍﳉﻤﻴﻞ ﺫﻭ
ﺍﳋﻴﺎﻝ ﺍﻟﺮﺍﺋﻊ ﻭﺍﻟﺘﺼﻮﻳﺮ ﺍﻟﺪﻗﻴﻖ ﺍﻟﺬﻯ ﻳﻈﻬﺮ ﺍﳌﻌﻨﻮﻱ ﰱ ﺻﻮﺭﺓ ﺍﶈﺴﻮﺱ
ﻭﺍﶈﺴﻮﺱ ﰱ ﺻﻮﺭﺓ ﺍﳌﻌﻨﻮﻱ.
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ﻓﻦ ﺍﻟﺸﻌﺮ ﻣﻦ ﺃﺷﻬﺮ ﺍﻟﻔﻨﻮﻥ ﺍﻷﺩﺑﻴﺔ ﻭﺃﻛﺜﺮﻫﺎ ﺍﻧﺘﺸﺎﺭﺍ ،ﻭﺭﲟﺎ ﺫﻟﻚ ﻟﻘﺪﻡ
ﻋﻬﺪ ﺍﻟﺒﺸﺮﻳﺔ ،ﻓﺎﻟﺸﻌﺮ ﻫﻮ ﺍﻟﺼﻮﺭﺓ ﺍﻟﺘﻌﺒﲑﻳﺔ ﺍﻷﺩﺑﻴﺔ ﺍﻷﻭﱃ ﺍﻟﱴ ﻇﻬﺮﺕ ﰲ ﺣﻴﺎﺓ
1ﻣﺎﺩﺓ ﻋﻠﻤﻴﺔ ﻣﺄﺧﻮﺫﺓ ﰲ 28ﺃﻛﺘﻮﺑﺮ 2008ﻣﻦ
http://hassanawad2006.maktoobblog.com/153904
1
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ﺍﻹﻧﺴﺎﻥ ﻣﻨﺬ ﺍﻟﻌﺼﻮﺭ ﺍﻷﻭﱃ .ﻭﻫﺬﻩ ﺍﻷﻗﺪﻣﻴﺔ ﺍﻟﱵ ﻟﻠﺸﻌﺮ ﺗﺮﺟﻊ ﺇﱃ ﺃﻧﻪ ﻛﺎﻥ ﰲ
ﺗﻠﻚ ﺍﻟﻌﺼﻮﺭ ﺿﺮﻭﺭﺓ ﺣﻴﻮﻳﺔ ﺑﻴﻮﻟﻮﺟﻴﺔ.
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ﻋﺮﻑ ﻣﻦ ﺃﻥ ﺍﻟﺸﻌﺮ ﺍﻟﻌﺮﰊ ﳝﺮ ﻣﻨﺬ ﻧﺸﺄﺗﻪ ﻣﻦ ﻋﻬﺪ ﺍﻣﺮ ﺍﻟﻘﻴﺲ ﺇﱃ ﺍﻟﻴﻮﻡ
ﺑﺄﻃﻮﺍﺭ ﻣﺘﻌﺪﺩﺓ ،ﺳﺎﺭ ﺩﻭﺭ ﺍﻟﺸﻌﺮ ﺍﻟﻌﺮﰊ ﺳﲑﺓ ﻃﻮﻳﻠﺔ ﻭﻃﺮﻳﻘﺎ ﻣﺘﻌﺮﺟﺎ ،ﺣﱴ
ﻭﺻﻞ ﺇﻟﻴﻨﺎ ﻋﻠﻰ ﺃﻧﻮﺍﻉ ﻣﺘﻌﺪﺩﺓ ﻣﻨﻬﺎ ﺍﳌﺮﺳﻞ ﻭﺍﳌﻮﺷﺤﺔ.
ﻭﻣﻦ ﻣﺸﺎﻫﲑ ﺍﻟﺸﻌﺮﺍﺀ ﺍﻟﻴﻮﻡ ﺃﺩﻭﻧﻴﺲ ﺍﻟﺬﻱ ﻭﻟﺪ ﻋﺎﻡ 1930ﻡ ﻣﻦ
ﻋﺎﺋﻠﺔ ﺩﻳﻨﻴﺔ ،ﰱ ﻗﺮﻳﺔ ﻗﺼﺎﺑﲔ ﺳﻮﺭﻳﺎ ،ﻭﺍﲰﻪ ﺍﻟﻜﺎﻣﻞ ﻋﻠﻰ ﺃﲪﺪ ﺳﻌﻴﺪ ﺃﺳﱪ،
ﻭﺃﺩﻭﻧﻴﺲ ﻫﻮ ﻟﻘﺐ ﺍﲣﺬﻩ ﻣﻨﺬ .1948ﳌﻊ ﺍﲰﻪ ﻛﻮﺍﺣﺪ ﻣﻦ ﺍﻟﺸﻌﺮﺍﺀ ﺍﻟﻜﺒﺎﺭ ﰱ
ﺍﻟﻌﺼﺮ ﺍﳊﺪﻳﺚ ،ﻭﻫﻮ ﺷﺎﻋﺮ ﻋﺮﻳﺾ ﺍﻟﺜﻘﺎﻓﺔ ،ﻭﻣﺘﺮﺟﻢ ﻟﻠﻌﺪﻳﺪ ﻣﻦ ﺍﳌﺆﻟﻔﺎﺕ
ﺍﻟﺸﻌﺮﻳﺔ ﻭﺍﻟﻨﻘﺪﻳﺔ ﺍﻟﻌﺎﳌﻴﺔ 3،ﻛﺘﺐ ﺃﺷﻌﺎﺭﺍ ﻛﺜﲑﺓ ﻭﲨﻌﻬﺎ ﰲ ﺩﻳﻮﺍﻧﻪ ﺍﻟﺬﻱ ﲰﺎﻩ
ﺍﻷﻋﻤﺎﻝ ﺍﻟﺸﻌﺮﻳﺔ ﺃﻏﺎﱐ ﻣﻬﻴﺎﺭ ﺍﻟﺪﻣﺸﻘﻲ ﻭﻗﺼﺎﺋﺪ ﺃﺧﺮﻯ.
ﺃﻣﺎ ﺍﻷﺷﻌﺎﺭ ﻷﺩﻭﻧﻴﺲ ﻓﻬﻲ ﺍﻷﺷﻌﺎﺭ ﺍﳊﺮﺓ ﺃﻱ ﻻﺗﺘﻘﻴﺪ ﺑﺎﻷﻭﺯﺍﻥ ﻭﺍﻟﻘﺎﻓﻴﺔ
ﻛﻤﺎ ﻫﻮ ﺍﳌﻌﺮﻭﻑ ﰲ ﺍﻟﻌﺮﺏ .ﻳﺮﻯ ﺃﻥ ﺍﻟﺸﻌﺮ ﲨﻴﻞ ﺇﺫﺍ ﺗﻀﻤﻦ ﻓﻴﻪ ﲨﺎﻝ ﺍﻟﻔﻜﺮﺓ
2ﺩﻛﺘﻮﺭ ﻋﺰ ﺍﻟﺪﻳﻦ ﺇﲰﺎﻋﻴﻞ ،ﺍﻷﺩﺏ ﻭﻓﻨﻮﻧﻪ )ﺍﻟﻘﺎﻫﺮﻩ :ﺩﺍﺭ ﺍﻟﻔﻜﺮﻱ1978 ،ﻡ( ،ﺹ 130
3
ﻣﺎﺩﺓ ﻋﻠﻤﻴﺔ ﻣﺄﺧﻮﺫﺓ ﰲ 28ﺃﻛﺘﻮﺑﺮ 2008ﻣﻦ
http://afaitouri.maktoobblog.com/328898
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ﻭﲨﺎﻝ ﺍﻷﺳﻠﻮﺏ ﻭﻃﺮﻳﻘﺔ ﺍﻟﺸﺎﻋﺮ ﰲ ﻋﺮﺽ ﻣﻘﺼﻮﺩﻩ ،ﻛﻤﺎ ﺃﻧﻪ ﻳﺮﻯ ﺃﻥ ﺍﻟﻴﻮﻡ
ﻻﺑﺪ ﻣﻦ ﺍﻟﺘﺠﺪﻳﺪ ﰲ ﺍﻟﺸﻌﺮ ﺍﻟﻌﺮﰊ.
ﻛﺘﺐ ﺃﺩﻭﻧﻴﺲ ﺃﺷﻌﺎﺭﻩ ﺑﺄﺳﻠﻮﺏ ﻟﻐﺔ ﺫﺍﺕ ﻣﻌﲎ ﻋﻤﻴﻖ ،ﻭﻫﻮ ﺭﻣﺰ
ﻟﻠﺤﺪﺍﺛﺔ ﺍﻟﺸﻌﺮﻳﺔ ﺍﻟﻌﺮﺑﻴﺔ ،ﺍﻟﺮﻣﺰ ﺍﻟﺬﻱ ﻻ ﻳﺰﺍﻝ ﻳﺘﻌﲔ ﺍﳉﺪﻝ :ﺍﳌﻌﺸﻮﻕ ﻭﺍﳌﺬﻣﻮﻡ
ﰲ ﺍﻟﻮﻗﺖ ﻧﻔﺴﻪ ﻷﻧﻪ ﻳﺮﻳﺪ ﺃﻥ ﻳﺘﺤﺮﺭ ﻣﻦ ﻧﻈﺎﻡ ﺍﻟﻘﺼﺎﺋﺪ ﺍﻟﻌﺮﺑﻴﺔ ﺍﻟﺘﻘﻠﻴﺪﻱ ﺍﻟﺬﻱ
ﻗﺪ ﺃﻧﺸﺄ ﺧﻼﻝ ﺍﻟﻘﺮﻭﻥ .ﻭﺍﻟﻔﻜﺮﺓ ﺍﻷﺳﺎﺳﻴﺔ ﰲ ﺍﻷﻋﻤﺎﻝ ﺍﻷﺩﺑﻴﺔ ﻷﺩﻭﻧﻴﺲ ﻫﻲ
ﺍﻟﺘﺸﺠﻴﻊ ﻋﻠﻰ ﺍﻟﺘﺠﺪﻳﺪ .4ﻭﻫﻮ ﺃﻳﻀﺎ ﻳﻌﺘﱪ ﻛﻮﺍﺣﺪ ﻣﻦ ﻛﺘﺎﺏ ﺍﻟﺸﻌﺮ ﻋﻠﻰ ﺳﺒﻴﻞ
ﺍﻟﺸﻌﺮ ﺍﳊﺮ ﺃﻱ ﻻ ﻳﺘﻘﻴﺪ ﺑﺎﻟﻮﺯﻥ ﻭﺍﻟﻘﺎﻓﻴﺔ ﻣﺜﻞ ﺍﻟﺸﻌﺮ ﺍﻵﰐ:
ﻣﺎ ﺃﻏﻤﻀﺖ ﻋﻴﻨﺎﻱ ﺇﻻ ﻋﻠﻰ
ﺣﻠﻢ ﻳﺴﲑ ﺍﳌﻮﺕ ﰲ ﺳﲑﻩ
ﻳﻨﺎﻡ ﰲ ﺍﻟﻈﻠﻤﺔ ﻣﺴﺘﻐﺮﻗﺎ
ﻭﻳﻄﻠﻊ ﺍﻟﺸﻤﺲ ﻋﻠﻰ ﻏﲑﻩ
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4ﺃﺩﻭﻧﻴﺲ ﺳﻮﻑ ﻳﻜﻮﻥ ﻣﻮﺟﻮﺩﺍ ﰲ ﺳﺎﻟﻴﺤﺎﺭﺍ ،ﻣﺎﺩﺓ ﻋﻠﻤﻴﺔ ﻣﺄﺧﻮﺫﺓ ﰲ 3ﻓﱪﺍﻳﺮ 2009ﻣﻦ
http://translate.google.co.id/translate?hl=id&langpair=id|ar&u=http://salihara.org/main.php
5ﺃﺩﻭﻧﻴﺲ ،ﺍﻷﻋﻤﺎﻝ ﺍﻟﺸﻌﺮﻳﺔ/ﺃﻏﺎﱐ ﻣﻬﻴﺎﺭ ﺍﻟﺪﻣﺸﻘﻲ ﻭﻗﺼﺎﺋﺪ ﺃﺧﺮﻯ )ﺩﻣﺸﻖ :ﺩﺍﺭ ﺍﳌﺪﻯ ﻟﻠﺜﻘﺎﻓﺔ ﻭﺍﻟﻨﺜﺮ،
1996ﻡ( ،ﺹ39 .
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ﻫﺬﺍ ﺍﻟﺸﻌﺮ ﺷﻌﺮ ﺣﺮ ﺃﻱ ﻟﻴﺲ ﻟﻪ ﺍﻟﻮﺯﻥ ﻭﺍﻟﻘﺎﻓﻴﺔ ،ﻭﻟﻜﻦ ﺍﻟﺸﺎﻋﺮ ﻋﺮﺿﻪ
ﺑﺄﺳﻠﻮﺏ ﲨﻴﻞ ﻭﺗﻀﻤﻦ ﻓﻴﻪ ﻣﻌﲎ ﻋﻤﻴﻖ ﺣﱴ ﻳﻌﺘﱪ ﺷﻌﺮﺍ ﺟﻴﺪﺍ ،ﻷﻥ ﺍﻷﺳﺎﺱ
ﻣﻦ ﺍﻷﻋﻤﺎﻝ ﺍﻷﺩﺑﻴﺔ ﻫﻮ ﺍﳉﻤﺎﻝ ﻭﺻﻮﺭ ﺍﳉﻤﺎﻝ ﻛﺜﲑﺓ ،ﻭﻫﻲ ﲨﺎﻝ ﺍﻟﻠﻔﻈﺔ
ﻭﲨﺎﻝ ﺍﻷﺳﻠﻮﺏ ﲨﺎﻝ ﺍﻟﻔﻜﺮﺓ ﻭﲨﺎﻝ ﺍﻟﻌﺮﺽ ﻭﲨﺎﻝ ﺍﻟﻮﺻﻞ.
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ﻭﻳﻘﺼﺪ ﺍﻟﺒﺎﺣﺚ ﻣﻌﺮﻓﺔ ﺍﻷﺳﻠﻮﺏ ﺍﻟﺬﻱ ﺍﺳﺘﻌﻤﻠﻪ ﺃﺩﻭﻧﻴﺲ ﰲ ﺃﺷﻌﺎﺭﻩ
ﻋﻠﻰ ﻃﺮﻳﻖ ﻣﻌﺮﻓﺔ ﺻﻔﺎﺕ ﺍﻷﺳﻠﻮﺏ ﻭﺍﻟﺸﻌﻮﺭ ﻓﻴﻬﺎ .ﻭﺍﻷﺳﻠﻮﺏ :ﻫﻮ ﻃﺮﻳﻘﺔ
ﺍﺧﺘﻴﺎﺭ ﺍﻷﻟﻔﺎﻅ ﻭﺗﺄﻟﻴﻔﻬﺎ ﻟﻠﺘﻌﺒﲑ ﺎ ﻋﻦ ﺍﳌﻌﺎﱐ ﻗﺼﺪ ﺍﻹﻳﻀﺎﺡ ﻭﺍﻟﺘﺄﺛﲑ.
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ﻭﺍﺧﺘﺮﺕ ﻫﺬﺍ ﺍﻟﺒﺤﺚ ﻷﻥ ﲨﺎﻝ ﺍﻷﺳﻠﻮﺏ-ﻛﻤﺎ ﺫﻛﺮ ﺳﺎﺑﻘﺎ -ﻛﺎﻥ ﺷﺮﻃﺎ ﰲ
ﺍﻷﻋﻤﺎﻝ ﺍﻷﺩﺑﻴﺔ ،ﻭﺍﳍﺪﻑ ﻣﻦ ﻫﺬﺍ ﺍﻟﺒﺤﺚ ﻣﻌﺮﻓﺔ ﲨﺎﻝ ﺍﻟﺸﻌﺮ ﻋﻠﻰ ﺳﺒﻴﻞ
ﻣﻌﺮﻓﺔ ﺍﻷﺳﺎﻟﻴﺐ ﻭﺍﻟﺸﻌﻮﺭ ﺍﻟﱵ ﺍﺳﺘﻌﻤﻠﻬﺎ ﺍﻟﺸﺎﻋﺮ ﰲ ﺍﻟﻌﺮﺽ.
ﻭﻣﺼﻄﻠﺢ ﺍﻷﺳﻠﻮﺑﻴﺔ ﱂ ﻳﻈﻬﺮ ﺇﻻ ﰲ ﺑﺪﺍﻳﺔ ﺍﻟﻘﺮﻥ ﺍﻟﻌﺸﺮﻳﻦ ﻣﻊ ﻇﻬﻮﺭ
ﺍﻟﺪﺭﺍﺳﺎﺕ ﺍﻟﻠﻐﻮﻳﺔ ﺍﳊﺪﻳﺜﺔ ،ﻭﺑﺎﻟﺘﺪﻗﻴﻖ ﺑﻌﺪ ﳎﻲﺀ ﺍﻟﻌﺎﱂ ﺍﻟﻠﻐﻮﻱ ﻓﺮﺩﻳﻨﺎﺩ ﺩﻱ
ﺃﲪﺪ ﺃﻛﺮﻡ ﻣﻠﺒﺎﺭﻱ ،ﻣﻘﺪﻣﺔ ﰲ ﺍﻷﺩﺏ ﺍﳌﻘﺎﺭﻥ ،ﻛﻠﻴﺔ ﺍﻵﺩﺍﺏ ﻭﺍﻟﻌﻠﻮﻡ ﺍﻹﻧﺴﺎﻧﻴﺔ )ﺟﺎﻛﺮﺗﺎ :ﺍﻟﻌﺎﻡ
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ﺍﳉﺎﻣﻌﻲ 2004-2003ﻣـ( ،ﺹ 8
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ﺟﺎﻣﻌﺔ ﺍﻷﻣﺎﻡ ﳏﻤﺪ ﺑﻦ ﺳﻌﻮﺩ ﺍﻹﺳﻼﻣﻴﺔ ،ﺍﻟﺒﻼﻏﺔ ﻭﺍﻟﻨﻘﺪ ،ﺍﻟﻄﺒﻌﺔ ﺍﻷﻭﱃ )ﺍﻟﺮﻳﺎﺽ :ﺍﳉﺎﻣﻌﺔ،
1414ﻫـ 1994 -ﻣـ( ،ﺹ 26
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ﺳﻮﺳﲑ ) (1913-1875ﺍﻟﺬﻱ ﺃﺳﺲ ﻋﻠﻢ ﺍﻟﻠﻐﺔ ﺍﳊﺪﻳﺚ ﻭﻓﻘﺎ ﳌﺒﺎﺩﺉ
ﻣﻌﻴﻨﺔ .8ﻋﺪﺕ ﺍﻷﺳﻠﻮﺑﻴﺔ ﺩﺭﺍﺳﺔ ﺍﳌﺼﺎﺩﺭ ﺍﳌﻌﱪﺓ ﻟﻠﻐﺔ ﻣﻌﻴﻨﺔ ﻭﺍﺳﺘﺒﻌﺪ ﻋﻨﻬﺎ ﺩﺭﺍﺳﺔ
ﺍﻟﻠﻐﺔ ﺍﻷﺩﺑﻴﺔ ﻭﺍﻟﻠﻐﺔ ﺍﳌﻌﺪﺓ ﻷﻋﺮﺍﺽ ﲨﺎﻟﻴﺔ .ﻭﻫﺬﻩ ﺍﻷﺳﻠﻮﺑﻴﺔ ﻟﻴﺴﺖ ﺍﳌﻘﺼﻮﺩ ﻣﻦ
ﺍﻟﺒﺤﺚ ،ﻭﺇﳕﺎ ﺍﳌﻘﺼﻮﺩ ﻣﻦ ﻫﺬﺍ ﺍﻟﺒﺤﺚ ﻫﻮ ﺩﺭﺍﺳﺔ ﺍﻷﺳﻠﻮﺏ ﻣﻦ ﺍﻟﻨﺎﺣﻴﺔ
ﺍﻟﺒﻼﻏﻴﺔ.
ﺑﻨﺎﺀ ﻋﻠﻰ ﺍﻟﺒﻴﺎﻥ ﺍﳌﻮﺟﺰ ﺍﻟﺴﺎﺑﻖ ،ﻳﺮﻳﺪ ﺍﻟﻜﺎﺗﺐ ﺃﻥ ﻳﺒﺤﺚ ﺗﺎﺭﻳﺦ ﺣﻴﺎﺓ
ﺃﺩﻭﻧﻴﺲ ﻭﻛﻴﻒ ﺻﻮﺭ ﺃﺳﻠﻮﺑﻪ ﻭﺷﻌﻮﺭﻩ ﰲ ﺍﻟﺸﻌﺮ ﺍﳊﺮ .ﻭﻫﻨﺎﻙ ﲝﺚ ﻋﻦ
ﺃﺩﻭﻧﻴﺲ ﻭﺣﺮﻛﺘﻪ ﺍﻟﺸﻌﺮﻳﺔ ﻓﺤﺴﺐ ،ﻭﻟﻜﻨﻬﺎﱂ ﺗﺘﻜﻠﻢ ﺍﻟﺒﺎﺣﺜﺔ ﻋﻦ ﺷﻌﺮﻩ ﰲ
ﺫﺍﺗﻪ .ﻓﻴﺄﺧﺬ ﺍﻟﺒﺎﺣﺚ ﺍﻵﻥ ﻳﺒﺤﺚ ﰲ ﺷﻌﺮ ﺃﺩﻭﻧﻴﺲ ﻭﻣﺎ ﻓﻴﻪ ﻣﻦ ﲨﺎﻟﻴﺔ ﺍﻷﺳﻠﻮﺏ
ﻭﺍﻟﺸﻌﻮﺭ ،ﻭﺳﻴﻜﺘﺐ ﺍﻟﺒﺎﺣﺚ ﺭﺳﺎﻟﺘﻪ ﲢﺖ ﺍﻟﻌﻨﻮﺍﻥ :ﺃﺩﻭﻧﻴﺲ :ﺃﺳﻠﻮﺑﻪ ﻭﺷﻌﻮﺭﻩ
ﰲ ﺍﻟﺸﻌﺮ ﺍﳊﺮ )ﺃﻏﺎﱐ ﻣﻬﻴﺎﺭ ﺍﻟﺪﻣﺸﻘﻲ ﻭﻗﺼﺎﺋﺪ ﺃﺧﺮﻯ(.
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ﺃﺑﻮ ﺯﻳﺪ ﻣﻮﱏ ،ﺍﻷﺳﻠﻮﺑﻴﺔ ﻧﻈﺮﺓ ﺗﺎﺭﳜﻴﺔ ﺗﺄﺭﳜﻴﺔ ،ﻣﺎﺩﺓ ﻋﻠﻤﻴﺔ ﻣﺄﺧﻮﺫﺓ ﰲ 28ﺃﻛﺘﻮﺑﺮ 2008ﻣﻦ
http://mamachenacir.maktoobblog.com/1349027/%D8%A7
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ﺙ .ﲢﺪﻳﺪ ﺍﳌﺸﻜﻠﺔ
ﺇﻥ ﻣﻮﺿﻮﻉ ﺍﻟﺒﺤﺚ ﻫﻮ "ﺃﺩﻭﻧﻴﺲ :ﺃﺳﻠﻮﺑﻪ ﻭﺷﻌﻮﺭﻩ ﰲ ﺍﻟﺸﻌﺮ ﺍﳊﺮ".
ﺍﻟﺒﺤﺚ ﰲ ﻫﺬﺍ ﺍﳌﻮﺿﻮﻉ ﻭﺍﺳﻊ ،ﻭﳍﺬﺍ ﻻﺑﺪ ﻟﻠﺒﺎﺣﺚ ﺃﻥ ﳛﺪﺩ ﲝﺜﻪ ﺍﻟﻌﻠﻤﻲ
ﺣﻮﻝ ﺍﻷﻣﺮﻳﻦ ﺍﻟﺘﺎﻟﻴﲔ:
.1ﻣﺎ ﻫﻲ ﺻﻔﺎﺕ ﺍﻷﺳﻠﻮﺏ ﰲ ﺷﻌﺮ ﺃﺩﻭﻧﻴﺲ؟
.2ﻫﻞ ﺍﻟﺸﻌﻮﺭ ﻣﻮﺟﻮﺩ ﰲ ﺷﻌﺮﻩ؟
ﺝ .ﺍﻟﻐﺮﺽ ﻣﻦ ﺍﻟﺒﺤﺚ
ﻭ ﳑﺎ ﻻ ﺭﻳﺐ ﻓﻴﻪ ﺃﻥ ﻟﻜﻞ ﻋﻤﻞ ﻏﺮﺿﺎ ﺧﺎﺻﺎ ﻳﺮﺍﺩ ﺍﳊﺼﻮﻝ ﻋﻠﻴﻪ ،ﻭﺃﻣﺎ
ﺍﻟﻐﺮﺽ ﻣﻦ ﻫﺬﺍ ﺍﻟﺒﺤﺚ ،ﻓﻬﻲ:
.1ﻣﻌﺮﻓﺔ ﺻﻔﺎﺕ ﺍﻷﺳﻠﻮﺏ ﺍﻟﱵ ﺗﺴﺘﻌﻤﻞ ﰲ ﺷﻌﺮ ﺃﺩﻭﻧﻴﺲ
.2ﻣﻌﺮﻓﺔ ﺍﻟﺸﻌﻮﺭ ﺍﳌﻮﺟﻮﺩ ﰲ ﺷﻌﺮﻩ
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ﺩ .ﺍﻟﺪﺭﺍﺳﺔ ﺍﳌﻜﺘﺒﻴﺔ
ﰲ ﺣﺪﻭﺩ ﻣﻌﺮﻓﺔ ﺍﻟﺒﺎﺣﺚ ﺍﳌﺘﻮﺍﺿﻌﺔ ﱂ ﻳﺒﺤﺚ ﺃﺣﺪ ﰲ ﻫﺬﺍ ﺍﳌﻮﺿﻮﻉ ﺇﻻ
ﺃﻥ ﻫﻨﺎﻙ ﺩﺭﺍﺳﺔ ﺳﺎﺑﻘﺔ ﺗﺘﻌﻠﻖ ﺑﺄﺩﻭﻧﻴﺲ ﻭﻋﻨﻮﺍﺎ ﺃﺩﻭﻧﻴﺲ ﻭﺁﺭﺍﺅﻩ ﰲ ﺍﳊﺮﻛﺔ
ﺍﻟﺸﻌﺮﻳﺔ ﺍﻟﻌﺮﺑﻴﺔ .ﺇﻋﺪﺍﺩ ﺍﻟﻄﺎﻟﺒﺔ ﺭﻧﺮﻥ ﻣﺮﻟﻴﺎ ﺃﺯﻫﺎﺭﻱ .ﰲ ﻫﺬﺍ ﺍﻟﺒﺤﺚ ﺗﻜﻠﻤﺖ
ﺍﻟﺒﺎﺣﺜﺔ ﻋﻦ ﺁﺭﺍﺀ ﺃﺩﻭﻧﻴﺲ ﻭﺣﺮﻛﺘﻪ ﺍﻟﺸﻌﺮﻳﺔ ،ﻭﻗﺼﺪﺕ ﺍﻟﺒﺎﺣﺜﺔ ﺍﻟﻜﺸﻒ ﻋﻦ
ﺍﳊﺮﻛﺔ ﺍﻟﻨﻘﺪﻳﺔ ﺍﻟﺸﻌﺮﻳﺔ ﺍﻟﻌﺮﺑﻴﺔ ﻋﻨﺪ ﺃﺩﻭﻧﻴﺲ.
ﻫـ .ﻣﻨﻬﺞ ﺍﻟﺒﺤﺚ
ﺃﺧﺬ ﺍﻟﺒﺎﺣﺚ ﰲ ﺩﺭﺍﺳﺔ ﺃﺩﻭﻧﻴﺲ ﻭﺷﻌﺮﻩ ﺍﳌﻨﻬﺞ ﺍﳌﻜﺘﱯ ،ﲜﻤﻊ ﺍﳌﻮﺍﺩ ﺍﻟﱵ
ﺗﺘﻌﻠﻖ ﺬﺍ ﺍﻟﺒﺤﺚ ﻣﻦ ﺍﻟﻜﺘﺐ ﺍﻷﺩﺑﻴﺔ ﻭ ﺍﻼﺕ ﻭ ﺍﳉﺮﺍﺋﺪ ﻭ ﺍﻟﺮﺳﺎﺋﻞ ﺍﳌﺘﺼﻠﺔ
ﺑﺎﳌﻮﺿﻮﻉ.
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ﺑﺪﺃ ﺍﻟﺒﺎﺣﺚ ﺑﺎﻟﺘﺤﻠﻴﻞ ﻋﻦ ﺗﺎﺭﻳﺦ ﺃﺩﻭﻧﻴﺲ ﻭ ﺍﻷﺳﺎﻟﻴﺐ ﺍﻟﱵ ﻳﺴﺘﻌﻤﻠﻬﺎ ﰲ
ﺷﻌﺮﻩ .ﺍﻋﺘﻤﺪ ﺍﻟﻜﺎﺗﺐ ﰲ ﻛﺘﺎﺑﺔ ﻫﺬﺍ ﺍﻟﺒﺤﺚ ﻋﻠﻰ ﺍﻟﻜﺘﺎﺏ ﺍﻟﺬﻱ ﺃﺻﺪﺭﺗﻪ
ﺟﺎﻣﻌﺔ ﺷﺮﻳﻒ ﻫﺪﺍﻳﺔ ﺍﷲ ﺍﻹﺳﻼﻣﻴﻪ ﺍﳊﻜﻮﻣﻴﺔ ﲜﺎﻛﺮﺗﺎ ،ﻭﻫﻮ:
“Pedoman Penulisan Skripsi Bahasa Dan Sastra Arab Fakultas Adab dan
”Humaniora UIN Syarif Hidayatullah Jakarta 2007
ﻭ .ﺧﻄﺔ ﺍﻟﺒﺤﺚ
ﻭ ﻟﺘﺴﻬﻴﻞ ﺍﻟﺒﺤﺚ ﻭﺍﻟﻜﺘﺎﺑﺔ ﻗﺴﻢ ﺍﻟﺒﺎﺣﺚ ﻫﺬ ﺍﳌﻮﺿﻮﻉ ﺇﱃ ﲬﺴﺔ ﺃﺑﻮﺍﺏ :
ﺍﻟﺒﺎﺏ ﺍﻷﻭﻝ :ﺍﳌﻘﺪﻣﺔ ،ﻭﲢﺘﻮﻱ ﻋﻠﻰ ﺧﻠﻔﻴﺔ ﺍﳌﺸﻜﻠﺔ ﻭﲢﺪﻳﺪ ﺍﻟﺒﺤﺚ ﻭﺍﻟﻐﺮﺽ
ﻣﻦ ﺍﻟﺒﺤﺚ ﻭﺍﻟﺪﺭﺍﺳﺔ ﺍﳌﻜﺘﺒﻴﺔ ﻭﻣﻨﻬﺞ ﺍﻟﺒﺤﺚ ﻭﺧﻄﺔ ﺍﻟﺒﺤﺚ.
ﺍﻟﺒﺎﺏ ﺍﻟﺜﺎﱐ :ﶈﺔ ﻋﻦ ﺩﺭﺍﺳﺔ ﺍﻷﺳﻠﻮﺏ ﻭﺍﻟﺸﻌﻮﺭ ﻭﺍﻟﺸﻌﺮ ﺍﳊﺮ ،ﲢﺘﻮﻱ ﻋﻠﻰ
ﺗﻌﺮﻳﻒ ﺍﻷﺳﻠﻮﺏ ﻭﺻﻔﺎﺗﻪ ﻭﺃﻧﻮﺍﻋﻪ ﻭﺍﻟﺒﻴﺎﻥ ﻋﻦ ﺍﻟﺸﻌﻮﺭ
ﻭﺍﻟﺸﻌﺮ ﺍﳊﺮ.
14
ﺍﻟﺒﺎﺏ ﺍﻟﺜﺎﻟﺚ :ﺗﺮﲨﺔ ﺣﻴﺎﺓ ﺃﺩﻭﻧﻴﺲ ،ﻭﲢﺘﻮﻱ ﻋﻠﻰ ﺍﲰﻪ ﻭﻣﻮﻟﺪﻩ ﻭﻧﺸﺄﺗﻪ ﻭﻃﻠﺒﻪ
ﺍﻟﻌﻠﻢ ﻭﺣﻮﻝ ﺷﻌﺮﻩ.
ﺍﻟﺒﺎﺏ ﺍﻟﺮﺍﺑﻊ :ﻭﰲ ﻫﺬﺍ ﺍﻟﺒﺎﺏ ﺗﻌﺮﺿﺖ ﻓﻴﻪ ﺧﺼﺎﺋﺺ ﺍﻷﺳﻠﻮﺏ ﻭﺍﻟﺸﻌﻮﺭ ﰲ
ﺍﻟﺸﻌﺮ ﺍﳊﺮ ﻷﺩﻭﻧﻴﺲ ،ﰲ ﻫﺬﺍ ﺍﻟﺒﺎﺏ ﺳﺄﲝﺚ ﺻﻔﺎﺕ
ﺍﻷﺳﻠﻮﺏ ﻭﺍﻟﺸﻌﻮﺭ ﰲ ﺷﻌﺮ ﺃﺩﻭﻧﻴﺲ.
ﺍﻟﺒﺎﺏ ﺍﳋﺎﻣﺲ :ﺍﳋﺎﲤﺔ ،ﲢﺘﻮﻱ ﻋﻠﻰ ﻧﺘﺎﺋﺞ ﺍﻟﺒﺤﺚ ﻭﺍﻻﻗﺘﺮﺍﺣﺎﺕ ﻭﺍﳌﺮﺍﺟﻊ ﺍﻟﱵ
ﻳﺴﺘﻨﺪ ﺇﻟﻴﻬﺎ ﺍﻟﺒﺎﺣﺚ ﰲ ﻛﺘﺎﺑﺔ ﻫﺬﺍ ﺍﻟﺒﺤﺚ.
15
ﺍﻟﺒﺎﺏ ﺍﻟﺜﺎﱐ
ﶈﺔ ﻋﻦ ﺩﺭﺍﺳﺔ ﺍﻷﺳﻠﻮﺏ ﻭﺍﻟﺸﻌﻮﺭ ﻭﺍﻟﺸﻌﺮ ﺍﳊﺮ
ﺃ .ﺍﻷﺳﻠﻮﺏ
.1ﺗﻌﺮﻳﻔﻪ
ﺇﻥ ﻛﻠﻤﺔ ﺃﺳﻠﻮﺏ ﲨﻌﻪ ﺃﺳﺎﻟﻴﺐ ،ﻭﻣﻌﻨﺎﻩ ﻟﻐﺔ ﺍﻟﻄﺮﻕ ﻭﺍﻟﻔﻨﻮﻥ،
ﻭﻛﻞ ﺷﻴﺊ ﺍﻣﺘﺪ ﻋﻠﻰ ﻏﲑ ﺍﻣﺘﻨﺎﻉ 9.ﻭﻛﻞ ﻃﺮﻳﻖ ﳑﺘﺪ ﻓﻬﻮ ﺃﺳﻠﻮﺏ ،ﻗﺎﻝ:
ﻭﺍﻷﺳﻠﻮﺏ ﺍﻟﻄﺮﻳﻖ ،ﻭﺍﻟﻮﺟﻪ ،ﻭﺍﳌﺬﻫﺐ ،ﻗﺎﻝ :ﺃﻧﺘﻢ ﰲ ﺃﺳﻠﻮﺏ ﺳﻮﺀ،
ﻭﳚﻤﻊ ﺃﺳﺎﻟﻴﺐ ،ﻭﺍﻷﺳﻠﻮﺏ :ﺍﻟﻄﺮﻳﻖ ﺗﺄﺧﺬ ﻓﻴﻪ ،ﻭﺍﻷﺳﻠﻮﺏ ﺑﺎﻟﻀﻢ:
ﺍﻟﻔﻦ.
10
9ﺃﰊ ﺣﺴﲔ ﺃﲪﺪ ﺑﻦ ﻓﺎﺭﺱ ﺑﻦ ﺯﻛﺮﻳﺎ ﺍﻟﻠﻐﻮﻱ ،ﻣﻘﺎﻳﻴﺲ ﺍﻟﻠﻐﺔ ،ﺍﳉﺰﺀ ﺍﻟﺜﺎﱐ )ﺑﲑﻭﺕ :ﻣﺆﺳﺴﺔ
ﺍﻟﺮﺳﺎﻟﺔ( ،ﺹ 470
10ﺍﺑﻦ ﻣﻨﻈﻮﺭ ،ﻟﺴﺎﻥ ﺍﻟﻌﺮﺏ ،ﺍﻠﺪ ﺍﻷﻭﻝ )ﺑﲑﻭﺕ :ﺩﺍﺭ ﺍﻟﻔﻜﺮ( ﺹ 473
10
16
ﻭﺍﺻﻄﻼﺣﺎ ﻫﻮ ﺍﳌﻌﲎ ﺍﳌﺼﻮﻍ ﰲ ﺃﻟﻔﺎﻅ ﻣﺆﻟﻔﺔ ﻋﻠﻰ ﺻﻮﺭﺓ ﺗﻜﻮﻥ
ﺃﻗﺮﺏ ﻟﻨﻴﻞ ﺍﻟﻐﺮﺽ ﺍﳌﻘﺼﻮﺩ ﻣﻦ ﺍﻟﻜﻼﻡ ،ﻭﺍﻓﻌﻞ ﰲ ﻧﻔﻮﺱ ﺳﺎﻣﻌﻴﻪ.
11
.2ﺻﻔﺎﺗﻪ
.1ﺍﻟﻮﺿﻮﺡ
ﻭﻓﻖ ﺍﻟﺸﺎﻋﺮ ﰲ ﺍﺧﺘﻴﺎﺭ ﺃﻟﻔﺎﻇﻪ ﻭﲨﻠﻪ ﻟﺘﺪﻝ ﻋﻠﻰ ﺍﳌﻌﲎ ﺍﻟﺬﻱ
ﺃﺭﺍﺩﻩ ﰲ ﺳﻬﻮﻟﺔ ﻭﻭﺿﻮﺡ .ﻭﻳﻄﻠﺐ ﻭﺿﻮﺡ ﺍﻷﺳﻠﻮﺏ ﻏﺎﻟﺒﺎ ﰲ
ﺍﻟﻨﺼﻮﺹ ﺍﻟﻌﻠﻤﻴﺔ ﻛﺎﻟﻨﺤﻮ ﻭﺍﻟﺼﺮﻑ ﻭﺍﻟﺘﺎﺭﻳﺦ ﻭﺍﳉﻐﺮﺍﻓﻴﺎ.
12
.2ﺍﻟﻘﻮﺓ
ﻳﻘﺼﺪ ﺑﺎﻟﻘﻮﺓ ﻗﺪﺭﺓ ﺍﻷﺩﻳﺐ ﻋﻠﻰ ﺍﻟﺘﺄﺛﲑ ﰲ ﻧﻔﺲ ﺍﻟﻘﺎﺭﺉ ﺃﻭ
ﺍﻟﺴﺎﻣﻊ ،ﲝﻴﺚ ﺗﻜﻮﻥ ﺃﻟﻔﺎﻇﻪ ﻭﻣﻌﺎﻧﻴﻪ ﺍﻟﱵ ﻳﺴﺘﺨﺪﻣﻬﺎ ﻗﺎﺩﺭﺓ ﻋﻠﻰ
ﺍﻟﺘﻌﺒﲑ ﻋﻦ ﺃﻓﻜﺎﺭﻩ ﻭﻣﺸﺎﻋﺮﻩ ﰲ ﻋﺎﻃﻔﺔ ﺻﺎﺩﻗﺔ.
11ﺍﻟﺴﻴﺪ ﺃﲪﺪ ﺍﳍﺎﴰﻲ ،ﺟﻮﺍﻫﺮ ﺍﻟﺒﻼﻏﺔ ﰲ ﺍﳌﻌﺎﱐ ﻭﺍﻟﺒﻴﺎﻥ ﻭﺍﻟﺒﺪﻳﻊ )ﺳﻮﺭﺍﺑﺎﻳﺎ :ﻣﻜﺘﺒﺔ ﺍﳍﺪﺍﻳﺔ1960 ،ﻡ(،
ﺹ 43
12ﺟﺎﻣﻌﺔ ﺍﻹﻣﺎﻡ ﳏﻤﺪ ﺑﻦ ﺳﻌﻮﺩ ﺍﻹﺳﻼﻣﻴﺔ ،ﺍﻟﺒﻼﻏﺔ ﻭﺍﻟﻨﻘﺪ ،ﺹ 29
17
ﻭﻣﻦ ﺍﻟﻮﺳﺎﺋﻞ ﺍﻟﱵ ﻳﺴﺘﺨﺪﻣﻬﺎ ﺍﻷﺩﻳﺐ ﻟﺘﺤﻘﻴﻖ ﻗﻮﺓ ﺍﻷﺳﻠﻮﺏ:
ﺃ .ﺍﺳﺘﻌﻤﺎﻝ ﺍﻟﻜﻠﻤﺎﺕ ﺍﺳﺘﻌﻤﺎﻻ ﳎﺎﺯﻳﺎ ﺇﺫﺍ ﺍﻗﺘﻀﻰ ﺍﳊﺎﻝ ﺫﻟﻚ.
ﺏ .ﺗﻘﺪﱘ ﻣﺎ ﺣﻘﻪ ﺍﻟﺘﺄﺧﲑ ﻣﻦ ﺍﻟﻜﻠﻤﺎﺕ ،ﻟﺘﺤﻘﻴﻖ ﻫﺪﻑ ﺑﻼﻏﻲ.
ﺝ .ﺍﻹﳚﺎﺯ ﰲ ﺍﻟﺘﻌﺒﲑ ﺇﺫﺍ ﻛﺎﻥ ﺍﳌﻘﺎﻡ ﻳﺪﻋﻮ ﺇﱃ ﺍﻹﳚﺎﺯ.
ﻓﺈﺫﺍ ﺧﺎﻟﻒ ﺍﻟﻨﺺ ﺍﻷﺩﰊ ﻫﺬﻩ ﺍﻷﺳﺲ ﺍﺑﺘﻌﺪ ﻋﻦ ﺍﻟﻘﻮﺓ ﻭﻣﺎﻝ
ﺇﱃ ﺍﻟﻀﻌﻒ.
13
.3ﺍﳉﺰﺍﻟﺔ ﻭﺍﻟﺮﻗﺔ
ﺍﳉﺰﺍﻟﺔ ﻭﺍﻟﺮﻗﺔ ﻭﺻﻔﺎﻥ ﻟﻸﻟﻔﺎﻅ ﺍﻟﱵ ﻳﺴﺘﻌﻤﻠﻬﺎ ﺍﻷﺩﻳﺐ ﰲ ﺍﻟﺘﻌﺒﲑ
ﻋﻦ ﻣﻌﺎﻧﻴﻪ ،ﻓﺈﺫﺍ ﲢﺪﺙ ﰲ ﻣﻮﺿﻮﻉ ﻣﻦ ﺍﳌﻮﺿﻮﻋﺎﺕ ﺍﻟﱵ ﲢﺘﺎﺝ ﺇﱃ
ﺍﻟﻘﻮﺓ ﻛﻮﺻﻒ ﺍﳊﺮﺏ ﻣﺜﻼ ﺍﺳﺘﻌﻤﻞ ﺍﻟﻜﻠﻤﺎﺕ ﺍﳉﺰﺍﻟﺔ ،ﺃﻣﺎ ﺇﺫﺍ ﻛﺎﻥ
ﺍﳌﻮﺿﻮﻉ ﺍﻟﺬﻱ ﻳﺘﺤﺪﺙ ﻓﻴﻪ ﺭﻗﻴﻘﺎ ﻛﻮﺻﻒ ﺍﻷﺯﻫﺎﺭ ﰲ ﺍﳊﺪﻳﻘﺔ
13ﺟﺎﻣﻌﺔ ﺍﻹﻣﺎﻡ ﳏﻤﺪ ﺑﻦ ﺳﻌﻮﺩ ﺍﻹﺳﻼﻣﻴﺔ ،ﺍﻟﺒﻼﻏﺔ ﻭﺍﻟﻨﻘﺪ ،ﺹ 29
18
ﺍﺳﺘﻌﻤﻞ ﺍﻟﻜﻠﻤﺎﺕ ﺍﻟﺮﻗﻴﻘﺔ ،ﻓﺈﺫﺍ ﺍﺑﺘﻌﺪ ﺍﻷﺳﻠﻮﺏ ﻋﻦ ﺫﻟﻚ ﻛﺎﻥ
ﺿﻌﻴﻔﺎ.
14
.4ﺍﻟﻮﺣﺪﺓ ﺍﻟﻌﻀﻮﻳﺔ
ﻳﻘﺼﺪ ﺎ ﺃﻥ ﺗﺒﲎ ﺍﻟﻘﺼﻴﺪﺓ ﺑﻨﺎﺀ ﻋﻀﻮﻳﺎ ﺣﻴﺎ ،ﻭﻳﺘﺤﻘﻖ ﺫﻟﻚ ﺇﺫﺍ
ﺗﻮﺍﻓﺮ ﰲ ﺍﻟﻘﺼﻴﺪﺓ ﻣﺎ ﻳﻠﻲ:
ﺃ .ﻭﺣﺪﺓ ﺍﳌﻮﺿﻮﻉ.
ﺏ .ﻭﺣﺪﺓ ﺍﳌﺸﺎﻋﺮ.
ﺝ .ﺗﺮﺗﻴﺐ ﺍﻟﺼﻮﺭ ﻭﺍﻷﻓﻜﺎﺭ ﺗﺮﺗﻴﺒﺎ ﻣﻨﻄﻘﻴﺎ ﺗﺘﻘﺪﻡ ﺑﻪ ﺍﻟﻘﺼﻴﺪﺓ ﺷﻴﺌﺎ
ﻓﺸﻴﺌﺎ ﺣﱴ ﺗﻨﺘﻬﻲ ﻋﻠﻰ ﺧﺎﲤﺔ ﻳﺴﺘﻠﺰﻣﻬﺎ ﺗﺮﺗﻴﺐ ﺍﻟﺼﻮﺭ
ﻭﺍﻷﻓﻜﺎﺭ.
ﺩ .ﺃﻥ ﺗﻜﻮﻥ ﺃﺟﺰﺍﺀ ﺍﻟﻘﺼﻴﺪﺓ ﻭﺃﺑﻴﺎﺎ ﳏﻜﻤﺔ ﻣﺘﺮﺍﺑﻄﺔ ﲝﻴﺚ ﻳﺆﺩﻱ
ﺑﻌﻀﻬﺎ ﺇﱃ ﺑﻌﺾ ﻋﻦ ﻃﺮﻳﻖ ﺗﺴﻠﺴﻞ ﺍﻷﻓﻜﺎﺭ ﻭﺍﳌﺸﺎﻋﺮ.
14
ﺟﺎﻣﻌﺔ ﺍﻹﻣﺎﻡ ﳏﻤﺪ ﺑﻦ ﺳﻌﻮﺩ ﺍﻹﺳﻼﻣﻴﺔ ،ﺍﻟﺒﻼﻏﺔ ﻭﺍﻟﻨﻘﺪ ،ﺹ 30
15
ﺟ ﺎﻣﻌﺔ ﺍﻹﻣﺎﻡ ﳏﻤﺪ ﺑﻦ ﺳﻌﻮﺩ ﺍﻹﺳﻼﻣﻴﺔ ،ﺍﻟﺒﻼﻏﺔ ﻭﺍﻟﻨﻘﺪ ،ﺹ 30
15
19
.5ﺍﻟﻄﺒﻊ ﻭﺍﻟﺼﻨﻌﺔ
ﻳﻘﺼﺪ ﺑﺎﻟﻄﺒﻊ ﺃﻥ ﻳﺘﺮﻙ ﺍﻷﺩﻳﺐ ﻧﻔﺴﻪ ﻋﻠﻰ ﻃﺒﻴﻌﺘﻬﺎ ﰲ ﺍﻟﺘﻌﺒﲑ
ﻋﻦ ﺃﻓﻜﺎﺭﻩ ،ﲝﻴﺚ ﲡﻴﺊ ﻛﻠﻤﺎﺗﻪ ﻭﻋﺒﺎﺭﺍﺗﻪ ﻣﻌﱪﺓ ﻋﻦ ﻣﺸﺎﻋﺮﻩ ﻣﻦ ﻏﲑ
ﺗﻜﻠﻒ .ﺃﻣﺎ ﺍﻟﺼﻨﻌﺔ ﻓﻴﻘﺼﺪ ﺎ ﺗﻜﻠﻒ ﺍﻟﻜﻠﻤﺎﺕ ﻭﺍﻟﻌﺒﺎﺭﺍﺕ ﺍﻟﱵ ﺗﺪﻝ
ﻋﻠﻰ ﺍﳌﻌﲎ ﻟﺘﺤﻘﻖ ﻧﻮﻋﺎ ﻣﻦ ﺃﻧﻮﺍﻉ ﺍﶈﺴﻨﺎﺕ ﺍﻟﻠﻔﻈﻴﺔ ﻭﺍﳌﻌﻨﻮﻳﺔ.
16
.3ﺃﻧﻮﺍﻋﻪ
ﰲ ﻛﺘﺎﺏ ﺟﻮﺍﻫﺮ ﺍﻟﺒﻼﻏﺔ ﰲ ﺍﳌﻌﺎﱐ ﻭﺍﻟﺒﻴﺎﻥ ﻭﺍﻟﺒﺪﻳﻊ ﻷﲪﺪ ﺍﳍﺎﴰﻲ
ﺃﻥ ﺃﻧﻮﺍﻉ ﺍﻷﺳﺎﻟﻴﺐ ﺛﻼﺛﺔ:
.1
ﺍﻷﺳﻠﻮﺏ ﺍﻟﻌﻠﻤﻲ
ﻭﻫﻮ ﺃﻫﺪﺃ ﺍﻷﺳﺎﻟﻴﺐ ،ﻭﺃﻛﺜﺮﻫﺎ ﺍﺣﺘﻴﺎﺟﺎ ﺇﱃ ﺍﳌﻨﻄﻖ ﺍﻟﺴﻠﻴﻢ،
ﻭﺍﻟﻔﻜﺮ ﺍﳌﺴﺘﻘﻴﻢ ،ﻭﺃﺑﻌﺪﻫﺎ ﻋﻠﻰ ﺍﳋﻴﺎﻝ ﺍﻟﺸﻌﺮﻱ ،ﻷﻧﻪ ﳜﺎﻃﺐ
ﺍﻟﻌﻘﻞ ،ﻭﻳﻨﺎﺟﻲ ﺍﻟﻔﻜﺮ ،ﻭﻳﺸﺮﺡ ﺍﳊﻘﺎﺋﻖ ﺍﻟﻌﻠﻤﻴﺔ ﺍﻟﱴ ﻻﲣﻠﻮﻣﻦ
16ﺟﺎﻣﻌﺔ ﺍﻹﻣﺎﻡ ﳏﻤﺪ ﺑﻦ ﺳﻌﻮﺩ ﺍﻹﺳﻼﻣﻴﺔ ,ﺍﻟﺒﻼﻏﺔ ﻭﺍﻟﻨﻘﺪ ،ﺹ 31
20
ﻏﻤﻮﺽ ﻭﺧﻔﺎﺀ ،ﻭﺃﻇﻬﺮ ﻣﻴﺰﺍﺕ ﻫﺬﺍ ﺍﻷﺳﻠﻮﺏ "ﺍﻟﻮﺿﻮﺡ".
ﻭﻻﺑﺪ ﺃﻥ ﻳﺒﺪﻭ ﻓﻴﻪ ﺃﺛﺮ ﺍﻟﻘﻮﺓ ﻭﺍﳉﻤﺎﻝ ،ﻭﻗﻮﺗﻪ ﰲ ﺳﻄﻮﻉ ﺑﻴﺎﻧﻪ
ﻭﺭﺻﺎﻧﺔ ﺣﺠﺠﻪ ،ﻭﲨﺎﻟﻪ ﰲ ﺳﻬﻮﻟﺔ ﻋﺒﺎﺭﺗﻪ ،ﻭﺳﻼﻣﺔ ﺍﻟﺬﻭﻕ ﰲ
ﺍﺧﺘﻴﺎﺭ ﻛﻠﻤﺎﺗﻪ ،ﻭﺣﺴﻦ ﺗﻘﺮﻳﺮﻩ ﺍﳌﻌﲎ ﰲ ﺍﻷﻓﻬﺎﻡ ،ﻣﻦ ﺃﻗﺮﺏ
ﻭﺟﻮﻩ ﺍﻟﻜﻼﻡ.
ﻓﻴﺠﺐ ﺃﻱ ﻳﻌﲎ ﻓﻴﻪ ﺑﺎﺧﺘﻴﺎﺭ ﺍﻷﻟﻔﺎﻅ ﺍﻟﻮﺍﺿﺤﺔ ﺍﻟﺼﺮﳛﺔ ﰲ
ﻣﻌﻨﺎﻫﺎ ﺍﳋﺎﱄ ﻣﻦ ﺍﻻﺷﺘﺮﺍﻙ ،ﻭﺃﻥ ﺗﺆﻟﻒ ﻫﺬﻩ ﺍﻷﻟﻔﺎﻅ ﰲ ﺳﻬﻮﻟﺔ
ﻭﺟﻼﺀ ،ﺣﱴ ﺗﻜﻮﻥ ﺛﻮﺑﺎ ﺷﻔﺎﻓﺎ ﻟﻠﻤﻌﲎ ﺍﳌﻘﺼﻮﺩ ،ﻭﺣﱴ ﻻ ﺗﺼﺒﺢ
ﻣﺜﺎﺭﺍ ﻟﻠﻈﻨﻮﻥ ،ﻭﳎﺎﻻ ﻟﻠﺘﻮﺟﻴﻪ ﻭﺍﻟﺘﺄﻭﻳﻞ.
.2
ﺍﻷﺳﻠﻮﺏ ﺍﻷﺩﰊ
ﻭﺍﳉﻤﺎﻝ ﺃﺑﺮﺯ ﺻﻔﺎﺗﻪ ،ﻭﺃﻇﻬﺮ ﳑﻴﺰﺍﺗﻪ ﻭﻣﻨﺸﺄ ﲨﺎﻟﻪ ﳌﺎ ﻓﻴﻪ ﻣﻦ
ﺧﻴﺎﻝ ﺭﺍﺋﻊ ،ﻭﺗﺼﻮﻳﺮ ﺩﻗﻴﻖ ،ﻭﺗﻠﻤﺲ ﻟﻮﺟﻮﻩ ﺍﻟﺸﺒﻪ ﺍﻟﺒﻌﻴﺪﺓ ﺑﲔ
ﺍﻷﺷﻴﺎﺀ ،ﻭﺇﻟﺒﺎﺱ ﺍﳌﻌﻨﻮﻯ ﺛﻮﺏ ﺍﶈﻤﻮﺱ ،ﻭﺇﻇﻬﺎﺭ ﺍﳌﻠﻤﻮﺱ ﰲ
ﺻﻮﺭﺓ ﺍﳌﻌﻨﻮﻯ.
21
.3
ﺍﻷﺳﻠﻮﺏ ﺍﳋﻄﺎﰊ
ﻫﻨﺎ ﺗﱪﺯ ﻗﻮﺓ ﺍﳌﻌﺎﱐ ﻭﺍﻷﻟﻔﺎﻅ ،ﻭﻗﻮﺓ ﺍﳊﺠﺔ ﻭﺍﻟﱪﻫﺎﻥ ،ﻭﻗﻮﺓ
ﺍﻟﻌﻘﻞ ﺍﳋﺼﻴﺐ ،ﻭﻫﻨﺎ ﻳﺘﺤﺪﺙ ﺍﳋﻄﻴﺐ ﺇﱃ ﺇﺭﺍﺩﺓ ﺳﺎﻣﻌﻴﻪ ﻹﺛﺎﺭﺓ
ﻋﺰﺍﺋﻤﻬﻢ ،ﻭﺍﺳﺘﻨﻬﺎﺽ ﳘﻬﻢ ﻭﺍﳉﻤﺎﻝ ﻫﺬﺍ ﺍﻷﺳﻠﻮﺏ ﻭﻭﺿﻮﺣﻪ،
ﺷﺄﻥ ﻛﺒﲑ ﰲ ﺗﺄﺛﲑﻩ ،ﻭﻭﺻﻮﻟﻪ ﺇﱃ ﻗﺮﺍﺭﺓ ﺍﻟﻨﻔﻮﺱ ،ﻭﳑﺎ ﻳﺰﻳﺪ ﰲ
ﺗﺄﺛﲑ ﻫﺬﺍ ﺍﻷﺳﻠﻮﺏ ﻣﻨﺰﻟﺔ ﺍﳋﻄﻴﺐ ﰲ ﻧﻔﻮﺱ ﺳﺎﻣﻌﻴﻪ ﻭﻗﻮﺓ
ﻋﺎﺭﺿﺘﻪ ﻭﺳﻄﻮﻉ ﺣﺠﺘﻪ ﻭﻧﱪﺍﺕ ﺻﻮﺗﻪ ﻭﺣﺴﻦ ﺇﻟﻘﺎﺋﻪ ﻭﳏﻜﻢ
ﺇﺷﺎﺭﺍﺗﻪ.
ﻭﻣﻦ ﺃﻇﻬﺮ ﳑﻴﺰﺍﺕ ﻫﺬﺍ ﺍﻷﺳﻠﻮﺏ "ﺍﻟﺘﻜﺮﺍﺭ" ﻭﺍﺳﺘﻌﻤﺎﻝ
ﺍﳌﺘﺮﺍﺩﻓﺎﺕ ﻭﺿﺮﺏ ﺍﻷﻣﺜﺎﻝ ﻭﺍﺧﺘﻴﺎﺭ ﺍﻟﻜﻠﻤﺎﺕ ﺍﳉﺰﻟﺔ ﺫﺍﺕ
ﺍﻟﺮﻧﲔ.
22
ﻭﳛﺴﻦ ﻓﻴﻪ ﺃﻥ ﺗﺘﻌﺎﻗﺐ ﺿﺮﻭﺏ ﺍﻟﺘﻌﺒﲑ ﻣﻦ ﺃﺧﺒﺎﺭ ﺇﱃ
ﺍﺳﺘﻔﻬﺎﻡ ،ﺇﱃ ﺗﻌﺠﺐ ،ﺇﱃ ﺍﺳﺘﻨﻜﺎﺭ ،ﻭﺃﻥ ﺗﻜﻮﻥ ﻣﻮﺍﻃﻦ ﺍﻟﻮﻗﻒ
ﻛﺎﻓﻴﺔ ﺷﺎﻓﻴﺔ ﰒ ﻭﺍﺿﺤﺔ ﻗﻮﻳﺔ.
17
ﺏ .ﺍﻟﺸﻌﻮﺭ
ﺍﻟﺸﻌﻮﺭ ﻫﻮ ﺍﳌﻮﻗﻒ ﺍﻟﺬﻱ ﺗﻌﺮﺽ ﻟﻪ ﺍﻷﺩﻳﺐ ،ﻭﺗﺄﺛﺮ ﺑﻪ ،ﻭﺗﻔﺎﻋﻞ
ﻣﻌﻪ ﻧﻔﺴﻴﺎﹰ ﻋﱪ ﺃﺣﺎﺳﻴﺴﻪ ﻭﻣﺸﺎﻋﺮﻩ ﺃﻭﻻﹰ ،ﻭﺛﻘﺎﻓﺘﻪ ﻭﺭﺅﻳﺘﻪ ﺍﻟﻔﻜﺮﻳﺔ ﺛﺎﻧﻴﺎﹰ،
ﻭﻣﻦ ﰒﹼ ﺍﻟﺘﺮﲨﺔ ﺍﻟﺼﺎﺩﻗﺔ ﳍﺬﺍ ﺍﳌﻮﻗﻒ ﻋﱪ ﺍﻟﻠﻐﺔ ﻭﺍﻟﺼﻮﺭ ﻭﺍﻷﻟﻔﺎﻅ ،ﺃﻱ ﻣﻦ
ﺧﻼﻝ ﺍﻟﺼﻮﺭﺓ ﺍﻟﺘﻌﺒﲑﻳﺔ.
18
ﺍﻟﺸﻌﻮﺭ ﻇﺎﻫﺮﺓ ﴰﻮﻟﻴﺔ ﳍﺎ ﻋﻤﻮﻣﻴﺘﻬﺎ ﻭﺧﺼﻮﺻﻴﺘﻬﺎ ﻛﻤﺎ ﺃﺎ ﳏﻮﺭ
ﺍﳌﻌﺎﻳﲑ ﺍﻟﻨﻔﺴﻴﺔ ﻭﺍﻟﺬﺍﺗﻴﺔ ﻭﺗﻘﺘﺮﺏ ﻇﺎﻫﺮﺓ ﺍﻟﺸﻌﻮﺭ ﻣﻦ ﺍﻟﻈﺎﻫﺮﺓ ﺍﻹﺭﺍﺩﻳﺔ.
19
17ﺍﻟﺴﻴﺪ ﺃﲪﺪ ﺍﳍﺎﴰﻲ ،ﺟﻮﺍﻫﺮ ﺍﻟﺒﻼﻏﺔ ﰲ ﺍﳌﻌﺎﱐ ﻭﺍﻟﺒﻴﺎﻥ ﻭﺍﻟﺒﺪﻳﻊ ،ﺹ 44-43
18
ﻋﺰﺕ ﻋﻤﺮ ،ﺍﻟﻨﻘﺪ ﺍﻷﰊ ﺃﺳﺌﻠﺔ ﻭﺃﺟﻮﺑﺔ ﻭﺗﻄﺒﻴﻘﺎﺕ ﺍﻣﺘﺤﺎﻧﻴﺔ ،ﻣﺎﺩﺓ ﻋﻠﻤﻴﺔ ﻣﺄﺧﻮﺫﺓ ﰲ 18ﻣﺎﻳﻮ
2009ﻣﻦ http://www.aljameah.com/d/b/alngd/103/6.htm
19
ﻋﺒﺪﺍﻟﺮﺯﺍﻕ ﻫﻮﰊ ،ﺍﻷﺧﲑﺓ :ﺛﻨﺎﺋﻴﺔ ﺍﻟﻔﻠﺴﻔﺔ ﺑﲔ ﺍﻟﻌﻘﻞ ﻭﺍﻹﳝﺎﻥ ﻭﻣﺴﺎﺭ ﺍﻟﻈﻮﺍﻫﺮ ﺍﻟﺸﻌﻮﺭﻳﺔ ،ﻣﺎﺩﺓ
ﻋﻠﻤﻴﺔ ﻣﺄﺧﻮﺫﺓ ﰲ 23ﻣﺎﻳﻮ 2009ﻣﻦ ?http://www.alsabaah.com/paper.php
23
ﻳﻌﺪ ﺍﻟﻌﻤﻞ ﺍﻷﺩﰊ ﻧﺎﺟﺤﺎ ﻣﻦ ﺧﻼﻝ ﻛﻤﺎﻝ ﺗﺼﻮﻳﺮ ﺍﻷﺩﻳﺐ ﻟﻠﺘﺠﺮﺑﺔ
ﺍﻟﺸﻌﻮﺭﻳﺔ ﺍﻟﱵ ﻣﺮ ﺎ .ﻭﻣﻘﺪﺭﺗﻪ ﻋﻠﻰ ﺍﻟﺘﻌﺒﲑ ﻋﻨﻬﺎ ﺗﻌﺒﲑﺍ ﻳﺜﲑ ﺍﻹﻧﻔﻌﺎﻝ
ﻳﻨﻔﺲ ﺍﻵﺧﺮﻳﻦ ﻟﻜﻲ ﻳﺸﺎﺭﻛﻮﺍ ﰲ ﺍﻟﺘﺠﺮﺑﺔ ،ﻭﻳﺸﻌﺮﻭﻥ ﲟﺎ ﺷﻌﺮ ﺑﻪ ﺍﻷﺩﻳﺐ
ﻭﻫﺬﺍ ﳛﺼﻞ ﺇﺫﺍ ﺍﺳﺘﻮﰱ ﺍﻟﻌﻤﻞ ﺍﻷﺩﰊ ﳎﻤﻮﻋﺔ ﻣﻦ ﺍﻟﻌﻨﺎﺻﺮ.
20
ﺇﻥ ﺣﺎﺟﺔ ﺍﻹﻧﺴﺎﻥ ﺇﱃ ﺍﻟﺘﻌﺒﲑ ﻋﻤﺎ ﻳﻌﺘﻤﻞ ﰲ ﺃﻋﻤﺎﻗﻪ ﺗﺸﲑ ﺇﱃ ﳏﺎﻭﻟﺘﻪ
ﺍﳌﺘﻮﺍﺻﻠﺔ ﺭﺳﻢ ﺍﻟﺼﻮﺭﺓ ﺍﻟﻜﺎﻣﻠﺔ ﻟﻠﺤﻘﻴﻘﺔ ﺍﻟﺼﺎﻓﻴﺔ ﺍﻟﱵ ﻳﻌﺎﻳﻨﻬﺎ ﺣﻴﻨﺎﹰ،
ﻭﺗﻐﻴﺐ ﻋﻨﻪ ﺃﺣﻴﺎﻧﺎﹰ ،ﻭﺍﻟﱵ ﺗﺒﻘﻰ ﺩﺍﺋﻤﺎﹰ ﺩﺍﻓﻌﻪ ﺍﻟﺮﺋﻴﺴﻲ ﺇﱃ ﺍﻟﺘﺄﻛﻴﺪ ﻋﻠﻰ ﻗﻴﻤﺔ
ﻭﺟﻮﺩﻩ ﻭﻋﻠﻰ ﻋﻈﻤﺔ ﺍﻟﻜﻮﻥ ﺍﶈﻴﻂ ﺑﻪ .ﻟﻜﻦ ﺣﺎﺟﺔ ﺍﻹﻧﺴﺎﻥ ﺇﱃ ﺍﻟﺘﻌﺒﲑ ﻻ
ﺗﺘﻮﻗﻒ ﻋﻠﻰ ﻧﻘﻠﻪ ﺍﻟﺼﻮﺭﺓﹶ ﺍﻟﱵ ﻳﺮﻯ ﻓﻴﻬﺎ ﺳﱪﺍﹰ ﻟﺬﺍﺗﻪ ﻭﺍﻗﺘﺮﺍﺑﺎﹰ ﻣﻦ ﺍﳊﻘﻴﻘﺔ
ﺍﻟﺸﻔﺎﻓﺔ ﺍﻟﻜﺎﻣﻨﺔ ﻓﻴﻪ ﻭﺣﺴﺐ ،ﺇﳕﺎ ﺗﺘﺴﺎﻣﻰ ﻫﺬﻩ ﺍﳊﺎﺟﺔ ﻟﻴﺼﺒﺢ ﺍﻹﻧﺴﺎﻥ
ﻧﻔﺴﻪ ﺃﺩﺍﺓﹰ ﳍﺎ .ﻭﰲ ﺣﲔ ﳓﺎﻭﻝ ﺃﻥ ﻧﻜﺸﻒ ﻋﻦ ﺻﻮﺭ ﺍﻟﺪﺍﺧﻞ ﻓﻴﻨﺎ،
ﻧﺘﻜﺸﻒ ﳓﻦ ﻋﻦ ﺗﻠﻚ ﺍﻟﺼﻮﺭ ،ﻭﻧﻌﺒﺮ ﻋﻨﻬﺎ ﺑﺘﻄﻮﺭﻧﺎ ﻭﺑﺘﻔﺘﺤﻨﺎ ﻭﺑﺘﺴﺎﻣﻴﻨﺎ؛
20ﺃﺳﲑ ،ﺍﻷﺳﻠﻮﺏ ﺍﻷﺩﰊ ﻭﺻﻔﺎﺗﻪ ،ﻣﺎﺩﺓ ﻋﻠﻤﻴﺔ ﻣﺄﺧﻮﺫﺓ ﰲ 18ﻣﺎﻳﻮ 2009ﻣﻦ
http://www.ala7ebah.com/upload/forumdisplay.php?s=d3ce487ed81ee46b18987
24
ﻓﺈﺫﺍ ﺑﺒﺤﺜﻨﺎ ﻋﻦ ﺍﳊﻘﻴﻘﺔ ﻳﺼﺒﺢ ﺍﻛﺘﻨﺎﻫﺎﹰ ﳍﺎ ،ﻭﺷﻌﻮﺭﺍﹰ ﺎ ،ﻭﺍﻗﺘﺮﺍﺑﺎﹰ ﻻ ﺣﺪﻭﺩ
ﻟﻪ ﻣﻨﻬﺎ.
ﺇﻥ ﺍﻟﺘﻌﺒﲑ ﺍﻹﻧﺴﺎﱐ ﻳﺒﺪﺃ ﺑﺎﻟﺒﺤﺚ ﻋﻦ ﺍﳊﻘﻴﻘﺔ ﰲ ﺃﹸﻃﹸﺮﹺ ﻣﻔﺎﻫﻴﻢ ﻋﺎﻣﺔ
ﳐﺘﻠﻔﺔ ،ﻛﺎﳉﻤﺎﻝ ﻭﺍﶈﺒﺔ ﻭﺍﻟﻄﺒﻴﻌﺔ ،ﻟﻜﻨﻪ ﻳﻨﺘﻬﻲ ﺇﱃ ﳊﻈﺔ ﻳﺘﺠﻠﱠﻰ ﻓﻴﻬﺎ
ﺍﻹﻧﺴﺎﻥ ﺫﺍﺗﻪ ﲝﻘﻴﻘﺔ ﺍﻟﻮﺟﻮﺩ .ﻭﺗﻜﻮﻥ ﺗﻠﻚ ﺍﻟﻠﺤﻈﺔ ﻫﻲ ﳊﻈﺔ ﺍﻟﺸﻌﻮﺭ
ﺑﺎﻻﲢﺎﺩ ﻣﻊ ﻛﻞ ﺷﻲﺀ؛ ﻭﻓﻴﻬﺎ ﺗﻨﺒﻊ ﰲ ﺍﻹﻧﺴﺎﻥ ،ﻭﺗﺘﺪﻓﻖ ﻣﻨﻪ ،ﻧﻐﻤﺎﺕ
ﺍﻟﺸﻌﺮ ﺍﻟﺼﺎﺩﻕ
ﺍﳊﻲ.
21
ﻓﺎﻟﺸﻌﺮ ﻟﻴﺲ ﺗﻌﺒﲑﺍ ﻋﻦ ﺍﳊﻴﺎﺓ-ﻛﻤﺎ ﻏﺎﱃ ﺑﻌﺾ ﺍﻟﻜﺘﺎﺏ -ﺇﳕﺎ ﻫﻮ
ﺗﻌﺒﲑ ﻋﻦ ﺍﻟﻠﺤﻈﺎﺕ ﺍﻷﻗﻮﻯ ﻭﺍﻷﻣﻸ ﺑﺎﻟﻄﺎﻗﺔ ﺍﻟﺸﻌﻮﺭﻳﺔ ﰲ ﺍﳊﻴﺎﺓ .ﻟﻴﺲ
ﳌﻮﺿﻮﻉ ﺍﻟﺘﻌﺒﲑ ﰲ ﺫﺍﺗﻪ ﺩﺍﺧﻞ ﰲ ﻫﺬﺍ .ﻓﺎﳌﻬﻢ ﻫﻮ ﺩﺭﺟﺔ ﺍﻻﻧﻔﻌﺎﻝ
ﺍﻟﺸﻌﻮﺭﻱ ﺬﺍ ﺍﳌﻮﺿﻮﻉ.
22
21ﻣﻮﺳﻰ ﺩﻳﺐ ﺍﳋﻮﺭﻯ ،ﺍﻟﺸﺎﻋﺮ ﻭ ﺍﻟﺸﻌﻮﺭ ،ﻣﺎﺩﺓ ﻋﻠﻤﻴﺔ ﻣﺄﺧﻮﺫﺓ ﰲ 17ﻳﻮﻟﻴﻮ 2009ﻣﻦ
http://www.maaber.org/indexa/al_dalil_khe.htm#khouri_m
22ﺳﻴﺪ ﻗﻄﺐ ،ﺍﻟﻨﻘﺪ ﺍﻷﺩﰊ ﺃﺻﻮﻟﻪ ﻭﻣﻨﺎﻫﺠﻪ ،ﻁ ) 3ﺩﺍﺭ ﺍﻟﻔﻜﺮﻱ ﺍﻟﻌﺮﰊ 1959ﻡ( ﺹ 57
25
ﺝ .ﺍﻟﺸﻌﺮ ﺍﳊﺮ
ﺃ .ﺗﻌﺮﻳﻔﻪ
ﺍﻟﺸﻌﺮ ﺍﳊﺮ ﺗﺮﲨﺔ ﺣﺮﻓﻴﺔ ﳌﺼﻄﻠﺢ ﻏﺮﰊ ﻫﻮ Free verse
ﺑﺎﻻﻧﻜﻠﻴﺰﻳﺔ ﻭ vers libreﺑﺎﻟﻔﺮﻧﺴﻴﺔ ،ﻭﻗﺪ ﺃﻃﻠﻘﻮﻩ ﰲ ﺍﻟﻐﺮﺏ
ﻋﻠﻰ ﺷﻌﺮ ﺧﺎﻝ ﻣﻦ ﺍﻟﻮﺯﻥ ﻭﺍﻟﻘﺎﻓﻴﺔ ﻛﻠﻴﻬﻤﺎ 23.ﻭﰲ ﺍﻻﺻﻄﻼﺡ ﻫﻮ
ﺍﻟﺸﻌﺮ ﺍﻟﺬﻱ ﻻ ﻳﺘﻘﻴﺪ ﺑﻘﺎﻓﻴﺔ ﻭﺍﺣﺪﺓ ﻭﻻ ﺑﺒﺤﺮ ﺗﺎﻡ ﻭﻳﻘﻴﻢ ﺍﻟﻘﺼﻴﺪﺓ
ﻋﻠﻰ ﺍﻟﺘﻔﻌﻴﻠﺔ ﺑﺪﻻ ﻣﻦ ﺍﻟﺸﻄﺮ ﳏﻄﻤﺎ ﺍﺳﺘﻘﻼﻝ ﺍﻟﺒﻴﺖ 24،ﻭﻗﻴﻞ ﺃﻥ
ﺍﻟﺸﻌﺮ ﺍﳊﺮ ﻫﻮ ﺍﻟﺸﻌﺮ ﺍﻟﺬﻱ ﻳﻠﺘﺰﻡ ﺑﺘﻔﻌﻴﻠﺔ ﻳﻜﺮﺭﻫﺎ ﺍﻟﺸﺎﻋﺮ ﰲ
ﺍﻟﺴﻄﺮ ،ﻓﻬﻮ ﺷﻌﺮ ﺳﻄﺮ ﻭﻟﻴﺲ ﺑﺸﻌﺮ ﺑﻴﺖ ﻓﻘﺪ ﻳﺘﻜﻮﻥ ﺍﻟﺴﻄﺮ
ﺍﻟﺸﻌﺮﻱ ﻣﻦ ﺗﻔﻌﻴﻠﺔ ﻭﺍﺣﺪﺓ ﺃﻭ ﺍﺛﻨﺘﲔ ﺃﻭ ﺛﻼﺙ ﺃﻭ ﺃﻛﺜﺮ25.ﻭﻗﺎﻟﺖ
ﻧﺎﺯﻙ ﺍﳌﻼﺋﻜﺔ ﻋﻦ ﺍﻟﺸﻌﺮ ﺍﳊﺮ ﻭﻫﻮ ﺷﻌﺮ ﺫﻭ ﺷﻄﺮ ﻭﺍﺣﺪ ﻟﻴﺲ ﻟﻪ
23ﺍﻟﺪﻛﺘﻮﺭ ﺃﲬﺪ ﻣﻄﻠﻮﺏ ،ﺍﻟﻨﻘﺪ ﺍﻷﺩﰊ ﺍﳊﺪﻳﺚ ﰲ ﺍﻟﻌﺮﺍﻕ )ﻣﻌﻬﺪ ﺍﻟﺒﺤﻮﺙ ﻭﺍﻟﺪﺭﺍﺳﺎﺕ ﺍﻟﻌﺮﺑﻴﺔ(،
ﺹ 241
24ﺍﻟﺪﻛﺘﻮﺭ ﺃﲬﺪ ﻣﻄﻠﻮﺏ ،ﺍﻟﻨﻘﺪ ﺍﻷﺩﰊ ﺍﳋﺪﻳﺚ ﰲ ﺍﻟﻌﺮﺍﻕ ،ﺹ 232
25ﺩ .ﻋﺒﺪ ﺍﻟﻌﺰﻳﺰ ﺑﻦ ﳏﻤﺪ ﻓﻴﺼﻞ ،ﻣﻊ ﺍﻟﺘﺠﺪﻳﺪ ﻭﺍﻟﺘﻘﻠﻴﺪ ﰲ ﺍﻟﺸﻌﺮ ﺍﻟﻌﺮﰊ ،ﺍﻟﻄﺒﻌﺔ ﺍﻷﻭﱃ 1414
ﻫـ
1993ﻡ ،ﺹ 126
26
ﻃﻮﻝ ﺛﺎﺑﺖ ﻭﺇﳕﺎ ﻳﺼﺢ ﺃﻥ ﻳﺘﻐﲑ ﻋﺪﺩ ﺍﻟﺘﻔﻌﻴﻼﺕ ﻣﻦ ﺷﻄﺮ ﺇﱃ
ﺷﻄﺮ ،ﻭﻣﻜﻮﻥ ﻫﺬﺍ ﺍﻟﺘﻐﲑ ﻭﻓﻖ ﺍﻟﻘﺎﻧﻮﻥ ﻋﺮﻭﺿﻲ ﻳﺘﺤﻜﻢ ﻓﻴﻪ.
26
ﺏ .ﻧﺸﺄﺗﻪ ﻭﺗﻄﻮﺭﻩ
ﺍﻟﻴﻮﻡ ﻧﻘﺎﺵ ﻓﻜﺮﻱ ﺣﻮﻝ ﺍﻟﺸﻌﺮ ﺍﳊﺮ ﺃﻭ ﺍﳌﺮﺳﻞ ﺃﻭ ﺍﳌﻄﻠﻖ ،ﻭ
ﻛﺜﲑ ﳑﻦ ﻧﻈﻢ ﻓﻴﻪ ﻳﺪﻋﻰ ﺃﻧﻪ ﻛﺎﻥ ﺍﻟﺒﺎﺩﺉ ﻓﻴﻪ ،ﻭﻳﺪﻝ ﺑﺎﻟﱪﺍﻫﲔ
ﻭﻳﺄﰐ ﺑﺎﻷﻣﺜﻠﺔ .ﻭﻳﻌﻮﺯ ﻫﺆﻻﺀ ﰲ ﺩﻋﻮﺍﻫﻢ ﺍﻟﺘﺤﻘﻴﻖ ﺍﻟﻌﻠﻤﻲ ﻭﺍﻟﺘﺘﺒﻊ
ﺍﻟﻌﻤﻴﻖ .ﻭﻛﺎﻥ ﺃﻛﺜﺮ ﻣﺎ ﻛﺘﺒﻮﻩ ﰲ ﻫﺬﺍ ﺍﻟﺸﺄﻥ ﻣﺪﻓﻮﻋﺎ ﺑﺪﺍﻓﻊ ﺍﻟﻔﺨﺮ
ﻭﺍﳌﺒﺎﻫﺎﺓ .ﻭﻣﻦ ﺃﺭﺍﺩ ﺃﻥ ﻳﻄﻠﻊ ﻋﻠﻰ ﺣﻠﻴﺔ ﺍﻷﻣﺮ ﻭﺟﺐ ﻋﻠﻴﻪ ﺃﻥ ﻳﻘﺮﺃ
ﺟﺮﺍﺋﺪ ﺍﻟﻌﺮﺍﻕ ﻣﻦ ﺳﻨﺔ 1911ﺣﱴ 1045ﻡ ،ﻟﻴﺘﻀﺢ ﻟﻪ ﺍﳊﺮﻛﺔ
ﻗﺪﳝﺔ ،ﻭﳍﺎ ﺟﺬﻭﺭﻫﺎ ﺍﻟﺘﺎﺭﳜﻴﺔ ﺍﻟﱴ ﺗﺼﻞ ﺇﱃ ﺃﻭﺍﺋﻞ ﺍﻟﻌﺸﺮﻳﻦ ،ﻷﻥ
ﻛﻞ ﻓﻜﺮﺓ ﺟﺪﻳﺪﺓ ﻻﺑﺪ ﳍﺎ ﻣﻦ ﺟﺬﻭﺭ ،ﻭﻳﻨﺒﻐﻲ ﺃﻥ ﺗﻘﺪﻡ ﻋﻠﻰ ﺃﺳﺲ
26
ﻡ( ،ﺹ 77
ﻧﺎﺯﻙ ﺍﳌﻼﺋﻜﺔ ،ﻗﻀﺎﻳﺎ ﺍﻟﺸﻌﺮ ﺍﳌﻌﺎﺻﺮ ،ﺍﻟﻄﺒﻌﺔ ﺍﻟﺜﺎﻧﻴﺔ ﻋﺸﺮﺓ )ﺑﲑﻭﺕ :ﺩﺍﺭ ﺍﻟﻌﻠﻢ ﻟﻠﻤﻼﻳﲔ2004 ،
27
ﻭﻗﻮﺍﻋﺪ ﻗﺪﳝﺔ ﺗﺴﺘﻤﺪ ﺣﻴﺎﺎ ﻣﻨﻬﺎ ﻭﱂ ﺗﺼﻞ ﺍﳊﺮﻛﺔ ﺇﱃ ﻣﺎ ﻭﺻﻠﺖ
ﺇﻟﻴﻪ ﺇﻻ ﺃﻛﺜﺮ ﻣﻦ ﺛﻼﺛﲔ ﺳﻨﺔ .ﺇﺫ ﻻﳝﻜﻦ ﻟﻠﻔﻜﺮ ﺃﻥ ﻳﺘﻄﻮﺭ ﺩﻓﻌﺔ
ﻭﺍﺣﺪﺓ ،ﻭﻻ ﺑﺪ ﻟﻪ ﻣﻦ ﺩﻭﺍﻓﻊ ﺣﻀﺎﺭﻳﺔ ﻭﺍﺟﺘﻤﺎﻋﻴﺔ.
27
ﺑﺪﺃﺕ ﳏﺎﻭﻟﺔ ﺍﻟﺘﺠﺪﻳﺪ ﺑﺎﻟﺪﻋﻮﺓ ﺇﱃ ﺍﻟﺘﺨﻠﺺ ﻣﻦ ﺭﺗﺎﺑﺔ ﺍﻟﻘﺎﻓﻴﺔ
ﺩﻭﻥ ﺗﺮﻛﻬﺎ ﲤﺎﻣﺎ ،ﻭﺗﻨﻮﻳﻊ ﺍﻟﺘﻔﻌﻴﻼﺕ ﺩﻭﻥ ﺍﳋﻠﺺ ﻣﻦ ﺍﻹﻳﻘﺎﻉ
ﺷﻴﺊ ﻗﺮﻳﺐ ﺟﺪﺍ ﳑﺎ ﺣﺪﺙ ﻣﻊ ﺣﺮﻛﺔ ﺍﻟﺘﺠﺪﻳﺪ ﺍﻟﱴ ﲤﺖ ﻋﻠﻰ ﻳﺪ
ﺍﻷﻧﺪﻟﺴﻴﲔ ﻭﺃﺧﺬﺕ ﺍﺳﻢ ﺍﳌﻮﺷﺤﺎﺕ ،ﻭﻟﻜﻦ ﺍﻟﺘﺤﺮﺭ ﻣﻦ ﻗﻴﻮﺩ ﺍﻟﻔﻦ
ﱂ ﻳﺘﻮﻗﻒ ،ﻭﻃﺮﻳﻖ ﺍﻻﳓﺪﺍﺭ ﺳﻬﻞ ،ﻓﺘﺨﻠﺺ ﺍﻟﺸﻌﺮﺍﺀ ﻭﺍﻟﺼﻐﺎﺭ
ﻣﻨﻬﻢ ﲞﺎﺻﺔ ﻣﻦ ﺍﻟﻘﺎﻓﻴﺔ ﻭﻣﻦ ﺍﻟﻮﺯﻥ ﻭﺑﺎﳉﻤﻠﺔ ﻣﻦ ﻛﻞ ﺷﻴﺊ ﻟﻴﻨﺘﻬﻮﺍ
ﺇﱃ ﻻﺷﻴﺊ ﺃﻳﻀﺎ.
ﺃﻃﻠﻖ ﻋﻠﻰ ﻫﺬﻩ ﺍﻻﲡﺎﻩ ﺍﺳﻢ ﺍﻟﺸﻌﺮ ﺍﳊﺮ ،ﺗﺮﲨﺔ ﻟﻠﻤﺼﻄﻠﺢ
ﺍﻟﻔﺮﻧﺴﻲ ،vers libresﻭﻫﻲ ﺗﺴﻤﻴﺔ ﻳﺮﻯ ﺍﻟﻨﺎﻗﺪ ﻭﺍﻟﺸﺎﻋﺮ
ﺍﻹﳒﻠﻴﺰﻱ ﺇﻟﻴﻮﺕ "ﺃﺎ ﺧﺎﻃﺌﺔ ،ﻓﻤﺎ ﻣﻦ ﺷﻌﺮ ﳝﻜﻦ ﺃﻥ ﻳﻜﻮﻥ ﺣﺮﺍ
27ﺩ .ﻳﻮﺳﻒ ﻋﺰ ﺍﻟﺪﻳﻦ ،ﰲ ﺍﻷﺩﺏ ﺍﻟﻌﺮﰊ ﺍﳊﺪﻳﺚ ،ﺍﻟﻄﺒﻌﺔ ﺍﻟﺜﺎﻟﺜﺔ )ﺍﻟﺮﻳﺎﺽ :ﺩﺍﺭ ﺍﻟﻌﻠﻮﻡ 1981ﻡ(،
ﺹ 213
28
ﻟﺪﻯ ﻣﻦ ﻳﺮﻳﺪ ﺃﻥ ﳛﻘﻖ ﺍﻹﺗﻘﺎﻥ ﻓﻴﻪ ،ﻭﺍﳊﺮﻳﺔ ﻻ ﺗﻌﲎ ﺍﳍﺮﻭﺏ ﻣﻦ
ﺍﻟﻮﺯﻥ ،ﻭﺇﳕﺎ ﺗﻌﲎ ﺍﻟﺴﻴﻄﺮﺓ ﻋﻠﻴﻪ ﻭﺇﺗﻘﺎﻧﻪ ..".ﻓﺎﳊﻖ ﺃﻥ ﺍﻟﺸﺎﻋﺮﺓ
ﺍﻟﻌﺮﺍﻗﻴﺔ ﻧﺎﺯﻙ ﺍﳌﻼﺋﻜﺔ ﻭﻫﻲ ﺃﻭﻝ ﻣﻦ ﺩﻋﺎ ﺇﻟﻴﻪ ﻧﻈﺮﻳﺔ ﺑﻌﺪ ﺍﳊﺮﻭﺏ
ﻭﳑﺎﺭﺳﺔ ﺗﻄﺒﻴﻘﺎ.
28
ﰲ ﻛﺘﺎﺏ ﻗﻀﺎﻳﺎ ﺍﻟﺸﻌﺮ ﺍﳌﻌﺎﺻﺮ ﻟﻨﺎﺯﻙ ﺍﳌﻼﺋﻜﺔ ﻛﺎﻧﺖ ﺑﺪﺍﻳﺔ
ﺣﺮﻛﺔ ﺍﻟﺸﻌﺮ ﺍﳊﺮ ﺳﻨﺔ 1947ﰲ ﺍﻟﻌﺮﺍﻕ .ﻭﻣﻦ ﺍﻟﻌﺮﺍﻕ ،ﺑﻞ ﻣﻦ
ﺑﻐﺪﺍﺩ ﻧﻔﺴﻬﺎ ،ﺯﺣﻔﺖ ﻫﺬﻩ ﺍﳊﺮﻛﺔ ﻭﺍﻣﺘﺪﺕ ﺣﱴ ﻏﻤﺮﺕ ﺍﻟﻮﻃﻦ
ﺍﻟﻌﺮﰊ ﻛﻠﻪ ﻭﻛﺎﺩﺕ ﺑﺴﺒﺐ ﺗﻄﺮﻑ ﺍﻟﺬﻳﻦ ﺍﺳﺘﺠﺎﺑﻮﺍ ﳍﺎ ﲡﺮﻑ
ﺃﺳﺎﻟﻴﺐ ﺷﻌﺮﻧﺎ ﺍﻟﻌﺮﰊ ﺍﻷﺧﺮﻯ ﲨﻴﻌﺎ.
ﻭﻛﺎﻧﺖ ﺃﻭﻝ ﻗﺼﻴﺪﺓ ﺣﺮﺓ ﺍﻟﻮﺯﻥ ﺗﻨﺸﺮ ﺍﻟﻘﺼﻴﺪﺓ ﺍﳌﻌﻨﻮﻳﺔ
"ﺍﻟﻜﻮﻟﲑﺍ"...ﻧﺸﺮﺕ ﻫﺬﻩ ﺍﻟﻘﺼﻴﺪﺓ ﰲ ﺑﲑﻭﺕ ﻭﻭﺻﻠﺖ ﻧﺴﺨﻬﺎ
ﺑﻐﺪﺍﺩ ﰲ ﺃﻭﻝ ﻛﺎﻧﻮﻥ ﺍﻷﻭﻝ .1947ﻭﰲ ﺍﻟﻨﺼﻒ ﺍﻟﺜﺎﱐ ﻣﻦ
ﺍﻟﺸﻬﺮ ﻧﻔﺴﻪ ﺻﺪﺭ ﰲ ﺑﻐﺪﺍﺩ ﺩﻳﻮﺍﻥ ﺑﺪﺭ ﺷﺎﻛﺮ ﺍﻟﺴﻴﺎﺏ "ﺃﺯﻫﺎﺭ
28ﺩﻛﺘﻮﺭ ﺍﻟﻄﺎﻫﺮ ﺃﲪﺪ ﺍﳌﻌﺎﺻﺮ ،ﺍﻟﺸﻌﺮ ﺍﻟﻌﺮﰊ ﺍﳌﻌﺎﺻﺮ ،ﺍﻟﻄﺒﺔ ﺍﻷﻭﱃ )ﺍﻟﻘﺎﻫﺮﺓ :ﺩﺍﺭ ﺍﳌﻌﺎﺭﻑ1980 ،
ﻡ( ،ﺹ 152-151
29
ﺫﺍﺑﻠﺔ" ﻭﻓﻴﻪ ﻗﺼﻴﺪﺓ ﺣﺮﺓ ﺍﻟﻮﺯﻥ ﻟﻪ ﻣﻦ ﲝﺮ ﺍﻟﺮﻣﻞ ﻋﻨﻮﺍﺎ "ﻫﻞ ﻛﺎﻥ
ﺣﺒﺎ" ﻭﻗﺪ ﻋﻠﻖ ﻋﻠﻴﻬﺎ ﰲ ﺍﳊﺎﺷﻴﺔ ﺑﺄﺎ ﻣﻦ ﺍﻟﺸﻌﺮ ﺍﳌﺨﺘﻠﻒ ﺍﻷﻭﺯﺍﻥ
ﻭﺍﻟﻘﻮﺍﰲ.
ﻋﻠﻰ ﺃﻥ ﻇﻬﻮﺭ ﻫﺎﺗﲔ ﺍﻟﻘﺼﻴﺪﺗﲔ ﱂ ﻳﻠﻔﺖ ﻧﻈﺮ ﺍﳉﻤﻬﻮﺭ،
ﻭﻛﺎﻥ ﺗﻌﻠﻴﻖ ﳎﻠﺔ "ﺍﻟﻌﺮﺑﻴﺔ" ﻋﻠﻰ ﻗﺼﻴﺪﰐ ﻫﻮ ﺍﻟﺘﻌﻠﻴﻖ ﺍﻟﻮﺣﻴﺪ ﻋﻠﻰ
ﻫﺬﻩ ﺍﻟﻨﻘﻠﺔ ﰲ ﺃﺳﻠﻮﺏ ﺍﻟﻮﺯﻥ .ﻭﻣﻀﺖ ﺳﻨﺘﺎﻥ ﺻﺎﻣﺘﺘﺎﻥ ﱂ ﺗﻨﺸﺮ
ﺧﻼﳍﻤﺎ ﺍﻟﺼﺤﻒ ﺷﻌﺮﺍ ﺣﺮﺍ ﻋﻠﻰ ﺍﻹﻃﻼﻕ.
ﻭﰲ ﺻﻴﻒ ﺳﻨﺔ 1949ﺻﺪﺭ ﺩﻳﻮﺍﱐ )ﻧﺎﺯﻙ ﺍﻟﻼﺋﻜﺔ(
"ﺷﻈﺎﻳﺎ ﻭﺍﻟﺮﻣﺎﺩ" ﻭﻗﺪ ﺿﻤﻨﺘﻪ ﳎﻤﻮﻋﺔ ﻣﻦ ﺍﻟﻘﺼﺎﺋﺪ ﺍﳊﺮﺓ ....،ﻭﰲ
ﺁﺫﺍﺭ 1950ﺻﺪﺭ ﰲ ﺑﲑﻭﺕ ﺩﻳﻮﺍﻥ ﺃﻭﻝ ﻟﺸﺎﻋﺮ ﻋﺮﺍﻗﻲ ﺟﺪﻳﺪ ﻫﻮ
ﻋﺒﺪ ﺍﻟﻮﻫﺎﺏ ﺍﻟﺒﻴﺎﰐ ﻭﻛﺎﻥ ﻋﻨﻮﺍﻧﻪ "
ﺃﺩﻭﻧﻴﺲ :ﺃﺳﻠﻮﺑﻪ ﻭﺷﻌﻮﺭﻩ ﰲ ﺍﻟﺸﻌﺮ ﺍﳊﺮ
)ﺃﻏﺎﱐ ﻣﻬﻴﺎﺭ ﺍﻟﺪﻣﺸﻘﻲ ﻭﻗﺼﺎﺋﺪ ﺃﺧﺮﻯ(
ﲝﺚ
ﻣﻘﺪﻡ ﺇﱃ ﻛﻠﻴﺔ ﺍﻵﺩﺍﺏ ﻭﺍﻟﻌﻠﻮﻡ ﺍﻹﻧﺴﺎﻧﻴﺔ ﺟﺎﻣﻌﺔ ﺷﺮﻳﻒ ﻫﺪﺍﻳﺔ ﺍﷲ ﺍﻹﺳﻼﻣﻴﺔ
ﺍﳊﻜﻮﻣﻴﺔ ﺟﺎﻛﺮﺗﺎ ﻟﻠﺤﺼﻮﻝ ﻋﻠﻰ ﺍﻟﺪﺭﺟﺔ ﺍﳉﺎﻣﻌﻴﺔ ﺍﻷﻭﱃ )(S.S
ﺇﻋﺪﺍﺩ
ﺧﲑ ﺍﻟﻔﺆﺍﺩ
ﺭﻗﻢ ﺍﻟﺘﺴﺠﻴﻞ105021000803 :
ﻗﺴﻢ ﺍﻟﻠﻐﺔ ﺍﻟﻌﺮﺑﻴﺔ ﻭﺃﺩﺎ
ﻛﻠﻴﺔ ﺍﻵﺩﺍﺏ ﺍﻟﻌﻠﻮﻡ ﺍﻹﻧﺴﺎﻧﻴﺔ
ﺟﺎﻣﻌﺔ ﺷﺮﻳﻒ ﻫﺪﺍﻳﺔ ﺍﷲ ﺍﻹﺳﻼﻣﻴﺔ ﺍﳊﻜﻮﻣﻴﺔ
ﺟﺎﻛﺮﺗﺎ
2009ﻡ 1430ﻫـ
2
ﻣﻠﺨﺺ
ﺧﲑﺍﻟﻔﺆﺍﺩ :ﺃﺩﻭﻧﻴﺲ :ﺃﺳﻠﻮﺑﻪ ﻭﺷﻌﻮﺭﻩ ﰲ ﺍﻟﺸﻌﺮ ﺍﳊﺮ )ﺃﻏﺎﱐ ﻣﻬﻴﺎﺭ
ﺍﻟﺪﻣﺸﻘﻲ ﻭﻗﺼﺎﺋﺪ ﺃﺧﺮﻯ(
ﺇﻥ ﺃﺩﻭﻧﻴﺲ ﺷﺎﻋﺮ ﻋﺮﻳﺾ ﺍﻟﺜﻘﺎﻓﺔ ،ﻭﻣﺘﺮﺟﻢ ﻟﻠﻌﺪﻳﺪ ﻣﻦ ﺍﳌﺆﻟﻔﺎﺕ ﺍﻟﺸﻌﺮﻳﺔ
ﻭﺍﻟﻨﻘﺪﻳﺔ ﺍﻟﻌﺎﳌﻴﺔ ،ﻛﺘﺐ ﺃﺷﻌﺎﺭﺍ ﻛﺜﲑﺓ ﻭﲨﻌﻬﺎ ﰲ ﺩﻭﺍﻭﻳﻨﻪ ﻣﻨﻬﺎ ﺍﻷﻋﻤﺎﻝ ﺍﻟﺸﻌﺮﻳﺔ
ﺃﻏﺎﱐ ﻣﻬﻴﺎﺭ ﺍﻟﺪﻣﺸﻘﻲ ﻭﻗﺼﺎﺋﺪ ﺃﺧﺮﻯ.
ﻭﺍﳌﻌﺮﻭﻑ ﺃﻥ ﺃﺩﻭﻧﻴﺲ ﻟﻪ ﺃﺳﻠﻮﺏ ﺧﺎﺹ ﰲ ﻛﺘﺎﺑﺔ ﺷﻌﺮﻩ ،ﻭﻳﻜﺜﺮ ﺍﻟﻜﻼﻡ
ﻋﻨﺪ ﺍﻟﺒﺎﺣﺜﲔ ﻭﺍﻟﻨﻘﺎﺩ ﻋﻨﻪ .ﻭﳍﺬﺍ ﻳﻮﺩ ﺍﻟﺒﺎﺣﺚ ﺃﻥ ﻳﻌﺮﻑ ﳑﻴﺰﺍﺕ ﺃﺳﻠﻮﺑﻪ ﰲ
ﺍﻟﺸﻌﺮ ﺍﳊﺮ ﻋﻠﻰ ﺳﺒﻴﻞ ﻣﻌﺮﻓﺔ ﺻﻔﺎﺕ ﺃﺳﻠﻮﺑﻪ ﻭﺷﻌﻮﺭﻩ ،ﻷﻥ ﺍﻷﺳﻠﻮﺏ ﻭﺍﻟﺸﻌﻮﺭ
ﺩﻻﻟﺘﺎﻥ ﻋﻠﻰ ﺍﻟﺸﻌﺮ ﻣﻦ ﺣﻴﺚ ﺍﳉﻴﺪ ﺃﻭ ﺍﻟﺴﻴﺊ.
ﻭﺍﻟﻐﺮﺽ ﻣﻦ ﻫﺬﺍ ﺍﻟﺒﺤﺚ ﻫﻮ ﻛﺸﻒ ﺻﻔﺎﺕ ﺍﻷﺳﻠﻮﺏ ﻭﺍﻟﺸﻌﻮﺭ ﺍﻟﺬﻱ
ﺍﺳﺘﻌﻤﻠﻪ ﺃﺩﻭﻧﻴﺲ ﰲ ﻛﺘﺎﺑﺔ ﺷﻌﺮﻩ .ﻭﺑﻌﺪ ﺍﻟﺘﺤﻠﻴﻞ ﻋﻦ ﺍﳌﻮﺿﻮﻉ ﻭﺟﺪ ﺍﻟﺒﺎﺣﺚ
ﺃﻥ ﺃﺳﺎﻟﻴﺒﻪ ﻗﻮﻳﺔ ﻭ ﻣﻨﺎﺳﺒﺔ ﰲ ﺍﺧﺘﻴﺎﺭ ﺍﻟﻜﻠﻤﺎﺕ ﺍﳉﺰﺍﻟﺔ ﻭﺍﻟﺮﻗﻴﻘﺔ .ﻭ ﻟﻜﻦ ﺃﻟﻔﺎﻇﻪ
ﻭﲨﻠﻪ ﻏﲑ ﻭﺍﺿﺤﺔ ﻭﻫﻮ ﻣﻦ ﺍﻟﺸﻌﺮﺍﺀ ﺍﳌﺘﻜﻠﻔﲔ .ﻭﻫﻮ ﺃﻳﻀﺎ ﻗﺎﺩﺭ ﻋﻠﻰ ﺍﻟﺘﻌﺒﲑ
ﻋﻦ ﻣﺸﺎﻋﺮﻩ ﺗﻌﺒﲑﺍ ﻳﺜﲑ ﺍﻹﻧﻔﻌﺎﻝ ﰲ ﻧﻔﺲ ﺍﳌﺘﻠﻘﻲ ،ﻭﺫﻟﻚ ﺑﻌﺪ ﺃﻥ ﺃﻣﻌﻦ ﺍﳌﺘﻠﻘﻲ
ﺍﻟﻨﻈﺮ ﰲ ﺃﺷﻌﺎﺭﻩ ﻣﺮﺓ ﺗﻠﻮ ﺃﺧﺮﻯ.
3
ﳏﺘﻮﻳﺎﺕ ﺍﻟﺒﺤﺚ
ﻣﻮﺍﻓﻖ ﺍﳌﺸﺮﻑ .....................................................ﺏ
ﺗﺼﺮﻳﺢ ﺍﻟﺒﺎﺣﺚ .....................................................ﺝ
ﻗﺮﺍﺭﺓ ﳉﻨﺔ ﺍﳌﻨﺎﻗﺸﺔ ﻭﺍﳊﻜﻢ ﻋﻠﻰ ﺍﻟﺒﺤﺚ .................................ﺩ
ﻣﻠﺨﺺ ............................................................ھـ
ﻛﻠﻤﺔ ﺷﻜﺮ ﻭﺗﻘﺪﻳﺮ ...................................................ﻭ
ﳏﺘﻮﺍﻳﺎﺕ ﺍﻟﺒﺤﺚ ....................................................ﻁ
ﺍﻟﺒﺎﺏ ﺍﻷﻭﻝ :ﺍﳌﻘﺪﻣﺔ 1 .............................................
ﺃ.
ﺧﻠﻔﻴﺔ ﺍﳌﺸﻜﻠﺔ 1 ................................................
ﺏ .ﲢﺪﻳﺪ ﺍﳌﺸﻜﻠﺔ 6 ................................................
ﺝ .ﺍﻟﻐﺮﺽ ﻣﻦ ﺍﻟﺒﺤﺚ 6 ............................................
ﺩ.
ﺍﻟﺪﺭﺍﺳﺔ ﺍﳌﻜﺘﺒﻴﺔ 7 ...............................................
ﻫـ .ﻣﻨﻬﺞ ﺍﻟﺒﺤﺚ 7 .................................................
ﻱ
4
ﻭ.
ﺧﻄﺔ ﺍﻟﺒﺤﺚ 8 .................................................
ﺍﻟﺒﺎﺏ ﺍﻟﺜﺎﱐ :ﶈﺔ ﻋﻦ ﺩﺭﺍﺳﺔ ﺍﻷﺳﻠﻮﺏ ﻭﺍﻟﺸﻌﻮﺭ ﻭﺍﻟﺸﻌﺮ ﺍﳊﺮ 10 ...
ﺃ.
ﺍﻷﺳﻠﻮﺏ 10 ...................................................
.1ﺗﻌﺮﻳﻔﻪ 10 ..................................................
.2ﺻﻔﺎﺗﻪ ..................................................
11
.3ﺃﻧﻮﺍﻋﻪ ...................................................
14
ﺏ .ﺍﻟﺸﻌﻮﺭ 17 .....................................................
ﺝ .ﺍﻟﺸﻌﺮ ﺍﳊﺮ ..................................................
20
.1ﺗﻌﺮﻳﻔﻪ 20 ..................................................
.2ﻧﺸﺄﺗﻪ ﻭﺗﻄﻮﺭﻩ ...........................................
21
5
ﺍﻟﺒﺎﺏ ﺍﻟﺜﺎﻟﺚ :ﺗﺮﲨﺔ ﺣﻴﺎﺓ ﺃﺩﻭﻧﻴﺲ ...............................
26
ﺃ.
ﺍﲰﻪ 26 .......................................................
ﺏ .ﻣﻮﻟﺪﻩ ﻭﻧﺸﺄﺗﻪ 28 ..............................................
ﺝ.
ﻃﻠﺒﻪ ﺍﻟﻌﻠﻢ 29 .................................................
ﺩ .ﺣﻮﻝ ﺷﻌﺮﻩ 33 .................................................
ﺍﻷﺳﻠﻮﺑﻴﺔ ﰲ ﺷﻌﺮ ﺍﳊﺮ ﻷﺩﻭﻧﻴﺲ 40 ...
ﺍﻟﺒﺎﺏ ﺍﻟﺮﺍﺑﻊ :ﲢﻠﻴﻞ ﺍﳋﺼﺎﺋﺺ ﻙ
ﺃ.
ﺻﻔﺎﺕ ﺍﻷﺳﻠﻮﺏ ﰲ ﺷﻌﺮ ﺃﺩﻭﻧﻴﺲ 42 ............................
ﺏ .ﺍﻟﺸﻌﻮﺭ ﰲ ﺷﻌﺮ ﺃﺩﻭﻧﻴﺲ 55 .....................................
ﺍﻟﺒﺎﺏ ﺍﳋﺎﻣﺲ :ﺍﻻﺧﺘﺘﺎﻡ ﻭﺍﻻﻗﺘﺮﺍﺣﺎﺕ 59 .............................
ﺃ.
ﺍﻻﻗﺘﺮﺍﺣﺎﺕ 60 .................................................
ﺏ .ﺍﳌﺮﺍﺟﻊ ﻭﺍﳌﺼﺎﺩﺭ 62 .............................................
.1ﺍﳌﺮﺍﺟﻊ ﺍﻟﻌﺮﺑﻴﺔ 62 ...........................................
.2ﺍﳌﺮﺍﺟﻊ ﺍﻹﻟﻜﺘﺮﻭﻧﻴﻜﻴﺔ 64 ....................................
6
ﺍﻟﺒﺎﺏ ﺍﻷﻭﻝ
ﺍﳌﻘﺪﻣﺔ
ﺕ .ﺧﻠﻔﻴﺔ ﺍﳌﺸﻜﻠﺔ
ﺍﻟﺸﻌﺮ ﺍﻧﺒﻌﺎﺙ ﺍﻟﻜﻼﻡ ﻭﺗﻄﻮﺭ ﻣﺴﲑﺓ ﺍﻟﻠﻐﺔ ﻭﻫﻮ ﺍﻟﺘﺠﺴﻴﺪ ﺍﳊﻘﻴﻘﻲ
ﳌﻮﺳﻴﻘﻰ ﺍﻟﻜﻮﻥ ﺍﻟﻐﺎﻣﻀﺔ ،ﻭﻟﻪ ﺍﻷﺳﻠﻮﺏ ﺍﻷﺩﰊ ﻭﻫﻮ ﺍﻷﺳﻠﻮﺏ ﺍﳉﻤﻴﻞ ﺫﻭ
ﺍﳋﻴﺎﻝ ﺍﻟﺮﺍﺋﻊ ﻭﺍﻟﺘﺼﻮﻳﺮ ﺍﻟﺪﻗﻴﻖ ﺍﻟﺬﻯ ﻳﻈﻬﺮ ﺍﳌﻌﻨﻮﻱ ﰱ ﺻﻮﺭﺓ ﺍﶈﺴﻮﺱ
ﻭﺍﶈﺴﻮﺱ ﰱ ﺻﻮﺭﺓ ﺍﳌﻌﻨﻮﻱ.
1
ﻓﻦ ﺍﻟﺸﻌﺮ ﻣﻦ ﺃﺷﻬﺮ ﺍﻟﻔﻨﻮﻥ ﺍﻷﺩﺑﻴﺔ ﻭﺃﻛﺜﺮﻫﺎ ﺍﻧﺘﺸﺎﺭﺍ ،ﻭﺭﲟﺎ ﺫﻟﻚ ﻟﻘﺪﻡ
ﻋﻬﺪ ﺍﻟﺒﺸﺮﻳﺔ ،ﻓﺎﻟﺸﻌﺮ ﻫﻮ ﺍﻟﺼﻮﺭﺓ ﺍﻟﺘﻌﺒﲑﻳﺔ ﺍﻷﺩﺑﻴﺔ ﺍﻷﻭﱃ ﺍﻟﱴ ﻇﻬﺮﺕ ﰲ ﺣﻴﺎﺓ
1ﻣﺎﺩﺓ ﻋﻠﻤﻴﺔ ﻣﺄﺧﻮﺫﺓ ﰲ 28ﺃﻛﺘﻮﺑﺮ 2008ﻣﻦ
http://hassanawad2006.maktoobblog.com/153904
1
7
ﺍﻹﻧﺴﺎﻥ ﻣﻨﺬ ﺍﻟﻌﺼﻮﺭ ﺍﻷﻭﱃ .ﻭﻫﺬﻩ ﺍﻷﻗﺪﻣﻴﺔ ﺍﻟﱵ ﻟﻠﺸﻌﺮ ﺗﺮﺟﻊ ﺇﱃ ﺃﻧﻪ ﻛﺎﻥ ﰲ
ﺗﻠﻚ ﺍﻟﻌﺼﻮﺭ ﺿﺮﻭﺭﺓ ﺣﻴﻮﻳﺔ ﺑﻴﻮﻟﻮﺟﻴﺔ.
2
ﻋﺮﻑ ﻣﻦ ﺃﻥ ﺍﻟﺸﻌﺮ ﺍﻟﻌﺮﰊ ﳝﺮ ﻣﻨﺬ ﻧﺸﺄﺗﻪ ﻣﻦ ﻋﻬﺪ ﺍﻣﺮ ﺍﻟﻘﻴﺲ ﺇﱃ ﺍﻟﻴﻮﻡ
ﺑﺄﻃﻮﺍﺭ ﻣﺘﻌﺪﺩﺓ ،ﺳﺎﺭ ﺩﻭﺭ ﺍﻟﺸﻌﺮ ﺍﻟﻌﺮﰊ ﺳﲑﺓ ﻃﻮﻳﻠﺔ ﻭﻃﺮﻳﻘﺎ ﻣﺘﻌﺮﺟﺎ ،ﺣﱴ
ﻭﺻﻞ ﺇﻟﻴﻨﺎ ﻋﻠﻰ ﺃﻧﻮﺍﻉ ﻣﺘﻌﺪﺩﺓ ﻣﻨﻬﺎ ﺍﳌﺮﺳﻞ ﻭﺍﳌﻮﺷﺤﺔ.
ﻭﻣﻦ ﻣﺸﺎﻫﲑ ﺍﻟﺸﻌﺮﺍﺀ ﺍﻟﻴﻮﻡ ﺃﺩﻭﻧﻴﺲ ﺍﻟﺬﻱ ﻭﻟﺪ ﻋﺎﻡ 1930ﻡ ﻣﻦ
ﻋﺎﺋﻠﺔ ﺩﻳﻨﻴﺔ ،ﰱ ﻗﺮﻳﺔ ﻗﺼﺎﺑﲔ ﺳﻮﺭﻳﺎ ،ﻭﺍﲰﻪ ﺍﻟﻜﺎﻣﻞ ﻋﻠﻰ ﺃﲪﺪ ﺳﻌﻴﺪ ﺃﺳﱪ،
ﻭﺃﺩﻭﻧﻴﺲ ﻫﻮ ﻟﻘﺐ ﺍﲣﺬﻩ ﻣﻨﺬ .1948ﳌﻊ ﺍﲰﻪ ﻛﻮﺍﺣﺪ ﻣﻦ ﺍﻟﺸﻌﺮﺍﺀ ﺍﻟﻜﺒﺎﺭ ﰱ
ﺍﻟﻌﺼﺮ ﺍﳊﺪﻳﺚ ،ﻭﻫﻮ ﺷﺎﻋﺮ ﻋﺮﻳﺾ ﺍﻟﺜﻘﺎﻓﺔ ،ﻭﻣﺘﺮﺟﻢ ﻟﻠﻌﺪﻳﺪ ﻣﻦ ﺍﳌﺆﻟﻔﺎﺕ
ﺍﻟﺸﻌﺮﻳﺔ ﻭﺍﻟﻨﻘﺪﻳﺔ ﺍﻟﻌﺎﳌﻴﺔ 3،ﻛﺘﺐ ﺃﺷﻌﺎﺭﺍ ﻛﺜﲑﺓ ﻭﲨﻌﻬﺎ ﰲ ﺩﻳﻮﺍﻧﻪ ﺍﻟﺬﻱ ﲰﺎﻩ
ﺍﻷﻋﻤﺎﻝ ﺍﻟﺸﻌﺮﻳﺔ ﺃﻏﺎﱐ ﻣﻬﻴﺎﺭ ﺍﻟﺪﻣﺸﻘﻲ ﻭﻗﺼﺎﺋﺪ ﺃﺧﺮﻯ.
ﺃﻣﺎ ﺍﻷﺷﻌﺎﺭ ﻷﺩﻭﻧﻴﺲ ﻓﻬﻲ ﺍﻷﺷﻌﺎﺭ ﺍﳊﺮﺓ ﺃﻱ ﻻﺗﺘﻘﻴﺪ ﺑﺎﻷﻭﺯﺍﻥ ﻭﺍﻟﻘﺎﻓﻴﺔ
ﻛﻤﺎ ﻫﻮ ﺍﳌﻌﺮﻭﻑ ﰲ ﺍﻟﻌﺮﺏ .ﻳﺮﻯ ﺃﻥ ﺍﻟﺸﻌﺮ ﲨﻴﻞ ﺇﺫﺍ ﺗﻀﻤﻦ ﻓﻴﻪ ﲨﺎﻝ ﺍﻟﻔﻜﺮﺓ
2ﺩﻛﺘﻮﺭ ﻋﺰ ﺍﻟﺪﻳﻦ ﺇﲰﺎﻋﻴﻞ ،ﺍﻷﺩﺏ ﻭﻓﻨﻮﻧﻪ )ﺍﻟﻘﺎﻫﺮﻩ :ﺩﺍﺭ ﺍﻟﻔﻜﺮﻱ1978 ،ﻡ( ،ﺹ 130
3
ﻣﺎﺩﺓ ﻋﻠﻤﻴﺔ ﻣﺄﺧﻮﺫﺓ ﰲ 28ﺃﻛﺘﻮﺑﺮ 2008ﻣﻦ
http://afaitouri.maktoobblog.com/328898
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ﻭﲨﺎﻝ ﺍﻷﺳﻠﻮﺏ ﻭﻃﺮﻳﻘﺔ ﺍﻟﺸﺎﻋﺮ ﰲ ﻋﺮﺽ ﻣﻘﺼﻮﺩﻩ ،ﻛﻤﺎ ﺃﻧﻪ ﻳﺮﻯ ﺃﻥ ﺍﻟﻴﻮﻡ
ﻻﺑﺪ ﻣﻦ ﺍﻟﺘﺠﺪﻳﺪ ﰲ ﺍﻟﺸﻌﺮ ﺍﻟﻌﺮﰊ.
ﻛﺘﺐ ﺃﺩﻭﻧﻴﺲ ﺃﺷﻌﺎﺭﻩ ﺑﺄﺳﻠﻮﺏ ﻟﻐﺔ ﺫﺍﺕ ﻣﻌﲎ ﻋﻤﻴﻖ ،ﻭﻫﻮ ﺭﻣﺰ
ﻟﻠﺤﺪﺍﺛﺔ ﺍﻟﺸﻌﺮﻳﺔ ﺍﻟﻌﺮﺑﻴﺔ ،ﺍﻟﺮﻣﺰ ﺍﻟﺬﻱ ﻻ ﻳﺰﺍﻝ ﻳﺘﻌﲔ ﺍﳉﺪﻝ :ﺍﳌﻌﺸﻮﻕ ﻭﺍﳌﺬﻣﻮﻡ
ﰲ ﺍﻟﻮﻗﺖ ﻧﻔﺴﻪ ﻷﻧﻪ ﻳﺮﻳﺪ ﺃﻥ ﻳﺘﺤﺮﺭ ﻣﻦ ﻧﻈﺎﻡ ﺍﻟﻘﺼﺎﺋﺪ ﺍﻟﻌﺮﺑﻴﺔ ﺍﻟﺘﻘﻠﻴﺪﻱ ﺍﻟﺬﻱ
ﻗﺪ ﺃﻧﺸﺄ ﺧﻼﻝ ﺍﻟﻘﺮﻭﻥ .ﻭﺍﻟﻔﻜﺮﺓ ﺍﻷﺳﺎﺳﻴﺔ ﰲ ﺍﻷﻋﻤﺎﻝ ﺍﻷﺩﺑﻴﺔ ﻷﺩﻭﻧﻴﺲ ﻫﻲ
ﺍﻟﺘﺸﺠﻴﻊ ﻋﻠﻰ ﺍﻟﺘﺠﺪﻳﺪ .4ﻭﻫﻮ ﺃﻳﻀﺎ ﻳﻌﺘﱪ ﻛﻮﺍﺣﺪ ﻣﻦ ﻛﺘﺎﺏ ﺍﻟﺸﻌﺮ ﻋﻠﻰ ﺳﺒﻴﻞ
ﺍﻟﺸﻌﺮ ﺍﳊﺮ ﺃﻱ ﻻ ﻳﺘﻘﻴﺪ ﺑﺎﻟﻮﺯﻥ ﻭﺍﻟﻘﺎﻓﻴﺔ ﻣﺜﻞ ﺍﻟﺸﻌﺮ ﺍﻵﰐ:
ﻣﺎ ﺃﻏﻤﻀﺖ ﻋﻴﻨﺎﻱ ﺇﻻ ﻋﻠﻰ
ﺣﻠﻢ ﻳﺴﲑ ﺍﳌﻮﺕ ﰲ ﺳﲑﻩ
ﻳﻨﺎﻡ ﰲ ﺍﻟﻈﻠﻤﺔ ﻣﺴﺘﻐﺮﻗﺎ
ﻭﻳﻄﻠﻊ ﺍﻟﺸﻤﺲ ﻋﻠﻰ ﻏﲑﻩ
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4ﺃﺩﻭﻧﻴﺲ ﺳﻮﻑ ﻳﻜﻮﻥ ﻣﻮﺟﻮﺩﺍ ﰲ ﺳﺎﻟﻴﺤﺎﺭﺍ ،ﻣﺎﺩﺓ ﻋﻠﻤﻴﺔ ﻣﺄﺧﻮﺫﺓ ﰲ 3ﻓﱪﺍﻳﺮ 2009ﻣﻦ
http://translate.google.co.id/translate?hl=id&langpair=id|ar&u=http://salihara.org/main.php
5ﺃﺩﻭﻧﻴﺲ ،ﺍﻷﻋﻤﺎﻝ ﺍﻟﺸﻌﺮﻳﺔ/ﺃﻏﺎﱐ ﻣﻬﻴﺎﺭ ﺍﻟﺪﻣﺸﻘﻲ ﻭﻗﺼﺎﺋﺪ ﺃﺧﺮﻯ )ﺩﻣﺸﻖ :ﺩﺍﺭ ﺍﳌﺪﻯ ﻟﻠﺜﻘﺎﻓﺔ ﻭﺍﻟﻨﺜﺮ،
1996ﻡ( ،ﺹ39 .
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ﻫﺬﺍ ﺍﻟﺸﻌﺮ ﺷﻌﺮ ﺣﺮ ﺃﻱ ﻟﻴﺲ ﻟﻪ ﺍﻟﻮﺯﻥ ﻭﺍﻟﻘﺎﻓﻴﺔ ،ﻭﻟﻜﻦ ﺍﻟﺸﺎﻋﺮ ﻋﺮﺿﻪ
ﺑﺄﺳﻠﻮﺏ ﲨﻴﻞ ﻭﺗﻀﻤﻦ ﻓﻴﻪ ﻣﻌﲎ ﻋﻤﻴﻖ ﺣﱴ ﻳﻌﺘﱪ ﺷﻌﺮﺍ ﺟﻴﺪﺍ ،ﻷﻥ ﺍﻷﺳﺎﺱ
ﻣﻦ ﺍﻷﻋﻤﺎﻝ ﺍﻷﺩﺑﻴﺔ ﻫﻮ ﺍﳉﻤﺎﻝ ﻭﺻﻮﺭ ﺍﳉﻤﺎﻝ ﻛﺜﲑﺓ ،ﻭﻫﻲ ﲨﺎﻝ ﺍﻟﻠﻔﻈﺔ
ﻭﲨﺎﻝ ﺍﻷﺳﻠﻮﺏ ﲨﺎﻝ ﺍﻟﻔﻜﺮﺓ ﻭﲨﺎﻝ ﺍﻟﻌﺮﺽ ﻭﲨﺎﻝ ﺍﻟﻮﺻﻞ.
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ﻭﻳﻘﺼﺪ ﺍﻟﺒﺎﺣﺚ ﻣﻌﺮﻓﺔ ﺍﻷﺳﻠﻮﺏ ﺍﻟﺬﻱ ﺍﺳﺘﻌﻤﻠﻪ ﺃﺩﻭﻧﻴﺲ ﰲ ﺃﺷﻌﺎﺭﻩ
ﻋﻠﻰ ﻃﺮﻳﻖ ﻣﻌﺮﻓﺔ ﺻﻔﺎﺕ ﺍﻷﺳﻠﻮﺏ ﻭﺍﻟﺸﻌﻮﺭ ﻓﻴﻬﺎ .ﻭﺍﻷﺳﻠﻮﺏ :ﻫﻮ ﻃﺮﻳﻘﺔ
ﺍﺧﺘﻴﺎﺭ ﺍﻷﻟﻔﺎﻅ ﻭﺗﺄﻟﻴﻔﻬﺎ ﻟﻠﺘﻌﺒﲑ ﺎ ﻋﻦ ﺍﳌﻌﺎﱐ ﻗﺼﺪ ﺍﻹﻳﻀﺎﺡ ﻭﺍﻟﺘﺄﺛﲑ.
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ﻭﺍﺧﺘﺮﺕ ﻫﺬﺍ ﺍﻟﺒﺤﺚ ﻷﻥ ﲨﺎﻝ ﺍﻷﺳﻠﻮﺏ-ﻛﻤﺎ ﺫﻛﺮ ﺳﺎﺑﻘﺎ -ﻛﺎﻥ ﺷﺮﻃﺎ ﰲ
ﺍﻷﻋﻤﺎﻝ ﺍﻷﺩﺑﻴﺔ ،ﻭﺍﳍﺪﻑ ﻣﻦ ﻫﺬﺍ ﺍﻟﺒﺤﺚ ﻣﻌﺮﻓﺔ ﲨﺎﻝ ﺍﻟﺸﻌﺮ ﻋﻠﻰ ﺳﺒﻴﻞ
ﻣﻌﺮﻓﺔ ﺍﻷﺳﺎﻟﻴﺐ ﻭﺍﻟﺸﻌﻮﺭ ﺍﻟﱵ ﺍﺳﺘﻌﻤﻠﻬﺎ ﺍﻟﺸﺎﻋﺮ ﰲ ﺍﻟﻌﺮﺽ.
ﻭﻣﺼﻄﻠﺢ ﺍﻷﺳﻠﻮﺑﻴﺔ ﱂ ﻳﻈﻬﺮ ﺇﻻ ﰲ ﺑﺪﺍﻳﺔ ﺍﻟﻘﺮﻥ ﺍﻟﻌﺸﺮﻳﻦ ﻣﻊ ﻇﻬﻮﺭ
ﺍﻟﺪﺭﺍﺳﺎﺕ ﺍﻟﻠﻐﻮﻳﺔ ﺍﳊﺪﻳﺜﺔ ،ﻭﺑﺎﻟﺘﺪﻗﻴﻖ ﺑﻌﺪ ﳎﻲﺀ ﺍﻟﻌﺎﱂ ﺍﻟﻠﻐﻮﻱ ﻓﺮﺩﻳﻨﺎﺩ ﺩﻱ
ﺃﲪﺪ ﺃﻛﺮﻡ ﻣﻠﺒﺎﺭﻱ ،ﻣﻘﺪﻣﺔ ﰲ ﺍﻷﺩﺏ ﺍﳌﻘﺎﺭﻥ ،ﻛﻠﻴﺔ ﺍﻵﺩﺍﺏ ﻭﺍﻟﻌﻠﻮﻡ ﺍﻹﻧﺴﺎﻧﻴﺔ )ﺟﺎﻛﺮﺗﺎ :ﺍﻟﻌﺎﻡ
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ﺍﳉﺎﻣﻌﻲ 2004-2003ﻣـ( ،ﺹ 8
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ﺟﺎﻣﻌﺔ ﺍﻷﻣﺎﻡ ﳏﻤﺪ ﺑﻦ ﺳﻌﻮﺩ ﺍﻹﺳﻼﻣﻴﺔ ،ﺍﻟﺒﻼﻏﺔ ﻭﺍﻟﻨﻘﺪ ،ﺍﻟﻄﺒﻌﺔ ﺍﻷﻭﱃ )ﺍﻟﺮﻳﺎﺽ :ﺍﳉﺎﻣﻌﺔ،
1414ﻫـ 1994 -ﻣـ( ،ﺹ 26
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ﺳﻮﺳﲑ ) (1913-1875ﺍﻟﺬﻱ ﺃﺳﺲ ﻋﻠﻢ ﺍﻟﻠﻐﺔ ﺍﳊﺪﻳﺚ ﻭﻓﻘﺎ ﳌﺒﺎﺩﺉ
ﻣﻌﻴﻨﺔ .8ﻋﺪﺕ ﺍﻷﺳﻠﻮﺑﻴﺔ ﺩﺭﺍﺳﺔ ﺍﳌﺼﺎﺩﺭ ﺍﳌﻌﱪﺓ ﻟﻠﻐﺔ ﻣﻌﻴﻨﺔ ﻭﺍﺳﺘﺒﻌﺪ ﻋﻨﻬﺎ ﺩﺭﺍﺳﺔ
ﺍﻟﻠﻐﺔ ﺍﻷﺩﺑﻴﺔ ﻭﺍﻟﻠﻐﺔ ﺍﳌﻌﺪﺓ ﻷﻋﺮﺍﺽ ﲨﺎﻟﻴﺔ .ﻭﻫﺬﻩ ﺍﻷﺳﻠﻮﺑﻴﺔ ﻟﻴﺴﺖ ﺍﳌﻘﺼﻮﺩ ﻣﻦ
ﺍﻟﺒﺤﺚ ،ﻭﺇﳕﺎ ﺍﳌﻘﺼﻮﺩ ﻣﻦ ﻫﺬﺍ ﺍﻟﺒﺤﺚ ﻫﻮ ﺩﺭﺍﺳﺔ ﺍﻷﺳﻠﻮﺏ ﻣﻦ ﺍﻟﻨﺎﺣﻴﺔ
ﺍﻟﺒﻼﻏﻴﺔ.
ﺑﻨﺎﺀ ﻋﻠﻰ ﺍﻟﺒﻴﺎﻥ ﺍﳌﻮﺟﺰ ﺍﻟﺴﺎﺑﻖ ،ﻳﺮﻳﺪ ﺍﻟﻜﺎﺗﺐ ﺃﻥ ﻳﺒﺤﺚ ﺗﺎﺭﻳﺦ ﺣﻴﺎﺓ
ﺃﺩﻭﻧﻴﺲ ﻭﻛﻴﻒ ﺻﻮﺭ ﺃﺳﻠﻮﺑﻪ ﻭﺷﻌﻮﺭﻩ ﰲ ﺍﻟﺸﻌﺮ ﺍﳊﺮ .ﻭﻫﻨﺎﻙ ﲝﺚ ﻋﻦ
ﺃﺩﻭﻧﻴﺲ ﻭﺣﺮﻛﺘﻪ ﺍﻟﺸﻌﺮﻳﺔ ﻓﺤﺴﺐ ،ﻭﻟﻜﻨﻬﺎﱂ ﺗﺘﻜﻠﻢ ﺍﻟﺒﺎﺣﺜﺔ ﻋﻦ ﺷﻌﺮﻩ ﰲ
ﺫﺍﺗﻪ .ﻓﻴﺄﺧﺬ ﺍﻟﺒﺎﺣﺚ ﺍﻵﻥ ﻳﺒﺤﺚ ﰲ ﺷﻌﺮ ﺃﺩﻭﻧﻴﺲ ﻭﻣﺎ ﻓﻴﻪ ﻣﻦ ﲨﺎﻟﻴﺔ ﺍﻷﺳﻠﻮﺏ
ﻭﺍﻟﺸﻌﻮﺭ ،ﻭﺳﻴﻜﺘﺐ ﺍﻟﺒﺎﺣﺚ ﺭﺳﺎﻟﺘﻪ ﲢﺖ ﺍﻟﻌﻨﻮﺍﻥ :ﺃﺩﻭﻧﻴﺲ :ﺃﺳﻠﻮﺑﻪ ﻭﺷﻌﻮﺭﻩ
ﰲ ﺍﻟﺸﻌﺮ ﺍﳊﺮ )ﺃﻏﺎﱐ ﻣﻬﻴﺎﺭ ﺍﻟﺪﻣﺸﻘﻲ ﻭﻗﺼﺎﺋﺪ ﺃﺧﺮﻯ(.
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ﺃﺑﻮ ﺯﻳﺪ ﻣﻮﱏ ،ﺍﻷﺳﻠﻮﺑﻴﺔ ﻧﻈﺮﺓ ﺗﺎﺭﳜﻴﺔ ﺗﺄﺭﳜﻴﺔ ،ﻣﺎﺩﺓ ﻋﻠﻤﻴﺔ ﻣﺄﺧﻮﺫﺓ ﰲ 28ﺃﻛﺘﻮﺑﺮ 2008ﻣﻦ
http://mamachenacir.maktoobblog.com/1349027/%D8%A7
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ﺙ .ﲢﺪﻳﺪ ﺍﳌﺸﻜﻠﺔ
ﺇﻥ ﻣﻮﺿﻮﻉ ﺍﻟﺒﺤﺚ ﻫﻮ "ﺃﺩﻭﻧﻴﺲ :ﺃﺳﻠﻮﺑﻪ ﻭﺷﻌﻮﺭﻩ ﰲ ﺍﻟﺸﻌﺮ ﺍﳊﺮ".
ﺍﻟﺒﺤﺚ ﰲ ﻫﺬﺍ ﺍﳌﻮﺿﻮﻉ ﻭﺍﺳﻊ ،ﻭﳍﺬﺍ ﻻﺑﺪ ﻟﻠﺒﺎﺣﺚ ﺃﻥ ﳛﺪﺩ ﲝﺜﻪ ﺍﻟﻌﻠﻤﻲ
ﺣﻮﻝ ﺍﻷﻣﺮﻳﻦ ﺍﻟﺘﺎﻟﻴﲔ:
.1ﻣﺎ ﻫﻲ ﺻﻔﺎﺕ ﺍﻷﺳﻠﻮﺏ ﰲ ﺷﻌﺮ ﺃﺩﻭﻧﻴﺲ؟
.2ﻫﻞ ﺍﻟﺸﻌﻮﺭ ﻣﻮﺟﻮﺩ ﰲ ﺷﻌﺮﻩ؟
ﺝ .ﺍﻟﻐﺮﺽ ﻣﻦ ﺍﻟﺒﺤﺚ
ﻭ ﳑﺎ ﻻ ﺭﻳﺐ ﻓﻴﻪ ﺃﻥ ﻟﻜﻞ ﻋﻤﻞ ﻏﺮﺿﺎ ﺧﺎﺻﺎ ﻳﺮﺍﺩ ﺍﳊﺼﻮﻝ ﻋﻠﻴﻪ ،ﻭﺃﻣﺎ
ﺍﻟﻐﺮﺽ ﻣﻦ ﻫﺬﺍ ﺍﻟﺒﺤﺚ ،ﻓﻬﻲ:
.1ﻣﻌﺮﻓﺔ ﺻﻔﺎﺕ ﺍﻷﺳﻠﻮﺏ ﺍﻟﱵ ﺗﺴﺘﻌﻤﻞ ﰲ ﺷﻌﺮ ﺃﺩﻭﻧﻴﺲ
.2ﻣﻌﺮﻓﺔ ﺍﻟﺸﻌﻮﺭ ﺍﳌﻮﺟﻮﺩ ﰲ ﺷﻌﺮﻩ
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ﺩ .ﺍﻟﺪﺭﺍﺳﺔ ﺍﳌﻜﺘﺒﻴﺔ
ﰲ ﺣﺪﻭﺩ ﻣﻌﺮﻓﺔ ﺍﻟﺒﺎﺣﺚ ﺍﳌﺘﻮﺍﺿﻌﺔ ﱂ ﻳﺒﺤﺚ ﺃﺣﺪ ﰲ ﻫﺬﺍ ﺍﳌﻮﺿﻮﻉ ﺇﻻ
ﺃﻥ ﻫﻨﺎﻙ ﺩﺭﺍﺳﺔ ﺳﺎﺑﻘﺔ ﺗﺘﻌﻠﻖ ﺑﺄﺩﻭﻧﻴﺲ ﻭﻋﻨﻮﺍﺎ ﺃﺩﻭﻧﻴﺲ ﻭﺁﺭﺍﺅﻩ ﰲ ﺍﳊﺮﻛﺔ
ﺍﻟﺸﻌﺮﻳﺔ ﺍﻟﻌﺮﺑﻴﺔ .ﺇﻋﺪﺍﺩ ﺍﻟﻄﺎﻟﺒﺔ ﺭﻧﺮﻥ ﻣﺮﻟﻴﺎ ﺃﺯﻫﺎﺭﻱ .ﰲ ﻫﺬﺍ ﺍﻟﺒﺤﺚ ﺗﻜﻠﻤﺖ
ﺍﻟﺒﺎﺣﺜﺔ ﻋﻦ ﺁﺭﺍﺀ ﺃﺩﻭﻧﻴﺲ ﻭﺣﺮﻛﺘﻪ ﺍﻟﺸﻌﺮﻳﺔ ،ﻭﻗﺼﺪﺕ ﺍﻟﺒﺎﺣﺜﺔ ﺍﻟﻜﺸﻒ ﻋﻦ
ﺍﳊﺮﻛﺔ ﺍﻟﻨﻘﺪﻳﺔ ﺍﻟﺸﻌﺮﻳﺔ ﺍﻟﻌﺮﺑﻴﺔ ﻋﻨﺪ ﺃﺩﻭﻧﻴﺲ.
ﻫـ .ﻣﻨﻬﺞ ﺍﻟﺒﺤﺚ
ﺃﺧﺬ ﺍﻟﺒﺎﺣﺚ ﰲ ﺩﺭﺍﺳﺔ ﺃﺩﻭﻧﻴﺲ ﻭﺷﻌﺮﻩ ﺍﳌﻨﻬﺞ ﺍﳌﻜﺘﱯ ،ﲜﻤﻊ ﺍﳌﻮﺍﺩ ﺍﻟﱵ
ﺗﺘﻌﻠﻖ ﺬﺍ ﺍﻟﺒﺤﺚ ﻣﻦ ﺍﻟﻜﺘﺐ ﺍﻷﺩﺑﻴﺔ ﻭ ﺍﻼﺕ ﻭ ﺍﳉﺮﺍﺋﺪ ﻭ ﺍﻟﺮﺳﺎﺋﻞ ﺍﳌﺘﺼﻠﺔ
ﺑﺎﳌﻮﺿﻮﻉ.
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ﺑﺪﺃ ﺍﻟﺒﺎﺣﺚ ﺑﺎﻟﺘﺤﻠﻴﻞ ﻋﻦ ﺗﺎﺭﻳﺦ ﺃﺩﻭﻧﻴﺲ ﻭ ﺍﻷﺳﺎﻟﻴﺐ ﺍﻟﱵ ﻳﺴﺘﻌﻤﻠﻬﺎ ﰲ
ﺷﻌﺮﻩ .ﺍﻋﺘﻤﺪ ﺍﻟﻜﺎﺗﺐ ﰲ ﻛﺘﺎﺑﺔ ﻫﺬﺍ ﺍﻟﺒﺤﺚ ﻋﻠﻰ ﺍﻟﻜﺘﺎﺏ ﺍﻟﺬﻱ ﺃﺻﺪﺭﺗﻪ
ﺟﺎﻣﻌﺔ ﺷﺮﻳﻒ ﻫﺪﺍﻳﺔ ﺍﷲ ﺍﻹﺳﻼﻣﻴﻪ ﺍﳊﻜﻮﻣﻴﺔ ﲜﺎﻛﺮﺗﺎ ،ﻭﻫﻮ:
“Pedoman Penulisan Skripsi Bahasa Dan Sastra Arab Fakultas Adab dan
”Humaniora UIN Syarif Hidayatullah Jakarta 2007
ﻭ .ﺧﻄﺔ ﺍﻟﺒﺤﺚ
ﻭ ﻟﺘﺴﻬﻴﻞ ﺍﻟﺒﺤﺚ ﻭﺍﻟﻜﺘﺎﺑﺔ ﻗﺴﻢ ﺍﻟﺒﺎﺣﺚ ﻫﺬ ﺍﳌﻮﺿﻮﻉ ﺇﱃ ﲬﺴﺔ ﺃﺑﻮﺍﺏ :
ﺍﻟﺒﺎﺏ ﺍﻷﻭﻝ :ﺍﳌﻘﺪﻣﺔ ،ﻭﲢﺘﻮﻱ ﻋﻠﻰ ﺧﻠﻔﻴﺔ ﺍﳌﺸﻜﻠﺔ ﻭﲢﺪﻳﺪ ﺍﻟﺒﺤﺚ ﻭﺍﻟﻐﺮﺽ
ﻣﻦ ﺍﻟﺒﺤﺚ ﻭﺍﻟﺪﺭﺍﺳﺔ ﺍﳌﻜﺘﺒﻴﺔ ﻭﻣﻨﻬﺞ ﺍﻟﺒﺤﺚ ﻭﺧﻄﺔ ﺍﻟﺒﺤﺚ.
ﺍﻟﺒﺎﺏ ﺍﻟﺜﺎﱐ :ﶈﺔ ﻋﻦ ﺩﺭﺍﺳﺔ ﺍﻷﺳﻠﻮﺏ ﻭﺍﻟﺸﻌﻮﺭ ﻭﺍﻟﺸﻌﺮ ﺍﳊﺮ ،ﲢﺘﻮﻱ ﻋﻠﻰ
ﺗﻌﺮﻳﻒ ﺍﻷﺳﻠﻮﺏ ﻭﺻﻔﺎﺗﻪ ﻭﺃﻧﻮﺍﻋﻪ ﻭﺍﻟﺒﻴﺎﻥ ﻋﻦ ﺍﻟﺸﻌﻮﺭ
ﻭﺍﻟﺸﻌﺮ ﺍﳊﺮ.
14
ﺍﻟﺒﺎﺏ ﺍﻟﺜﺎﻟﺚ :ﺗﺮﲨﺔ ﺣﻴﺎﺓ ﺃﺩﻭﻧﻴﺲ ،ﻭﲢﺘﻮﻱ ﻋﻠﻰ ﺍﲰﻪ ﻭﻣﻮﻟﺪﻩ ﻭﻧﺸﺄﺗﻪ ﻭﻃﻠﺒﻪ
ﺍﻟﻌﻠﻢ ﻭﺣﻮﻝ ﺷﻌﺮﻩ.
ﺍﻟﺒﺎﺏ ﺍﻟﺮﺍﺑﻊ :ﻭﰲ ﻫﺬﺍ ﺍﻟﺒﺎﺏ ﺗﻌﺮﺿﺖ ﻓﻴﻪ ﺧﺼﺎﺋﺺ ﺍﻷﺳﻠﻮﺏ ﻭﺍﻟﺸﻌﻮﺭ ﰲ
ﺍﻟﺸﻌﺮ ﺍﳊﺮ ﻷﺩﻭﻧﻴﺲ ،ﰲ ﻫﺬﺍ ﺍﻟﺒﺎﺏ ﺳﺄﲝﺚ ﺻﻔﺎﺕ
ﺍﻷﺳﻠﻮﺏ ﻭﺍﻟﺸﻌﻮﺭ ﰲ ﺷﻌﺮ ﺃﺩﻭﻧﻴﺲ.
ﺍﻟﺒﺎﺏ ﺍﳋﺎﻣﺲ :ﺍﳋﺎﲤﺔ ،ﲢﺘﻮﻱ ﻋﻠﻰ ﻧﺘﺎﺋﺞ ﺍﻟﺒﺤﺚ ﻭﺍﻻﻗﺘﺮﺍﺣﺎﺕ ﻭﺍﳌﺮﺍﺟﻊ ﺍﻟﱵ
ﻳﺴﺘﻨﺪ ﺇﻟﻴﻬﺎ ﺍﻟﺒﺎﺣﺚ ﰲ ﻛﺘﺎﺑﺔ ﻫﺬﺍ ﺍﻟﺒﺤﺚ.
15
ﺍﻟﺒﺎﺏ ﺍﻟﺜﺎﱐ
ﶈﺔ ﻋﻦ ﺩﺭﺍﺳﺔ ﺍﻷﺳﻠﻮﺏ ﻭﺍﻟﺸﻌﻮﺭ ﻭﺍﻟﺸﻌﺮ ﺍﳊﺮ
ﺃ .ﺍﻷﺳﻠﻮﺏ
.1ﺗﻌﺮﻳﻔﻪ
ﺇﻥ ﻛﻠﻤﺔ ﺃﺳﻠﻮﺏ ﲨﻌﻪ ﺃﺳﺎﻟﻴﺐ ،ﻭﻣﻌﻨﺎﻩ ﻟﻐﺔ ﺍﻟﻄﺮﻕ ﻭﺍﻟﻔﻨﻮﻥ،
ﻭﻛﻞ ﺷﻴﺊ ﺍﻣﺘﺪ ﻋﻠﻰ ﻏﲑ ﺍﻣﺘﻨﺎﻉ 9.ﻭﻛﻞ ﻃﺮﻳﻖ ﳑﺘﺪ ﻓﻬﻮ ﺃﺳﻠﻮﺏ ،ﻗﺎﻝ:
ﻭﺍﻷﺳﻠﻮﺏ ﺍﻟﻄﺮﻳﻖ ،ﻭﺍﻟﻮﺟﻪ ،ﻭﺍﳌﺬﻫﺐ ،ﻗﺎﻝ :ﺃﻧﺘﻢ ﰲ ﺃﺳﻠﻮﺏ ﺳﻮﺀ،
ﻭﳚﻤﻊ ﺃﺳﺎﻟﻴﺐ ،ﻭﺍﻷﺳﻠﻮﺏ :ﺍﻟﻄﺮﻳﻖ ﺗﺄﺧﺬ ﻓﻴﻪ ،ﻭﺍﻷﺳﻠﻮﺏ ﺑﺎﻟﻀﻢ:
ﺍﻟﻔﻦ.
10
9ﺃﰊ ﺣﺴﲔ ﺃﲪﺪ ﺑﻦ ﻓﺎﺭﺱ ﺑﻦ ﺯﻛﺮﻳﺎ ﺍﻟﻠﻐﻮﻱ ،ﻣﻘﺎﻳﻴﺲ ﺍﻟﻠﻐﺔ ،ﺍﳉﺰﺀ ﺍﻟﺜﺎﱐ )ﺑﲑﻭﺕ :ﻣﺆﺳﺴﺔ
ﺍﻟﺮﺳﺎﻟﺔ( ،ﺹ 470
10ﺍﺑﻦ ﻣﻨﻈﻮﺭ ،ﻟﺴﺎﻥ ﺍﻟﻌﺮﺏ ،ﺍﻠﺪ ﺍﻷﻭﻝ )ﺑﲑﻭﺕ :ﺩﺍﺭ ﺍﻟﻔﻜﺮ( ﺹ 473
10
16
ﻭﺍﺻﻄﻼﺣﺎ ﻫﻮ ﺍﳌﻌﲎ ﺍﳌﺼﻮﻍ ﰲ ﺃﻟﻔﺎﻅ ﻣﺆﻟﻔﺔ ﻋﻠﻰ ﺻﻮﺭﺓ ﺗﻜﻮﻥ
ﺃﻗﺮﺏ ﻟﻨﻴﻞ ﺍﻟﻐﺮﺽ ﺍﳌﻘﺼﻮﺩ ﻣﻦ ﺍﻟﻜﻼﻡ ،ﻭﺍﻓﻌﻞ ﰲ ﻧﻔﻮﺱ ﺳﺎﻣﻌﻴﻪ.
11
.2ﺻﻔﺎﺗﻪ
.1ﺍﻟﻮﺿﻮﺡ
ﻭﻓﻖ ﺍﻟﺸﺎﻋﺮ ﰲ ﺍﺧﺘﻴﺎﺭ ﺃﻟﻔﺎﻇﻪ ﻭﲨﻠﻪ ﻟﺘﺪﻝ ﻋﻠﻰ ﺍﳌﻌﲎ ﺍﻟﺬﻱ
ﺃﺭﺍﺩﻩ ﰲ ﺳﻬﻮﻟﺔ ﻭﻭﺿﻮﺡ .ﻭﻳﻄﻠﺐ ﻭﺿﻮﺡ ﺍﻷﺳﻠﻮﺏ ﻏﺎﻟﺒﺎ ﰲ
ﺍﻟﻨﺼﻮﺹ ﺍﻟﻌﻠﻤﻴﺔ ﻛﺎﻟﻨﺤﻮ ﻭﺍﻟﺼﺮﻑ ﻭﺍﻟﺘﺎﺭﻳﺦ ﻭﺍﳉﻐﺮﺍﻓﻴﺎ.
12
.2ﺍﻟﻘﻮﺓ
ﻳﻘﺼﺪ ﺑﺎﻟﻘﻮﺓ ﻗﺪﺭﺓ ﺍﻷﺩﻳﺐ ﻋﻠﻰ ﺍﻟﺘﺄﺛﲑ ﰲ ﻧﻔﺲ ﺍﻟﻘﺎﺭﺉ ﺃﻭ
ﺍﻟﺴﺎﻣﻊ ،ﲝﻴﺚ ﺗﻜﻮﻥ ﺃﻟﻔﺎﻇﻪ ﻭﻣﻌﺎﻧﻴﻪ ﺍﻟﱵ ﻳﺴﺘﺨﺪﻣﻬﺎ ﻗﺎﺩﺭﺓ ﻋﻠﻰ
ﺍﻟﺘﻌﺒﲑ ﻋﻦ ﺃﻓﻜﺎﺭﻩ ﻭﻣﺸﺎﻋﺮﻩ ﰲ ﻋﺎﻃﻔﺔ ﺻﺎﺩﻗﺔ.
11ﺍﻟﺴﻴﺪ ﺃﲪﺪ ﺍﳍﺎﴰﻲ ،ﺟﻮﺍﻫﺮ ﺍﻟﺒﻼﻏﺔ ﰲ ﺍﳌﻌﺎﱐ ﻭﺍﻟﺒﻴﺎﻥ ﻭﺍﻟﺒﺪﻳﻊ )ﺳﻮﺭﺍﺑﺎﻳﺎ :ﻣﻜﺘﺒﺔ ﺍﳍﺪﺍﻳﺔ1960 ،ﻡ(،
ﺹ 43
12ﺟﺎﻣﻌﺔ ﺍﻹﻣﺎﻡ ﳏﻤﺪ ﺑﻦ ﺳﻌﻮﺩ ﺍﻹﺳﻼﻣﻴﺔ ،ﺍﻟﺒﻼﻏﺔ ﻭﺍﻟﻨﻘﺪ ،ﺹ 29
17
ﻭﻣﻦ ﺍﻟﻮﺳﺎﺋﻞ ﺍﻟﱵ ﻳﺴﺘﺨﺪﻣﻬﺎ ﺍﻷﺩﻳﺐ ﻟﺘﺤﻘﻴﻖ ﻗﻮﺓ ﺍﻷﺳﻠﻮﺏ:
ﺃ .ﺍﺳﺘﻌﻤﺎﻝ ﺍﻟﻜﻠﻤﺎﺕ ﺍﺳﺘﻌﻤﺎﻻ ﳎﺎﺯﻳﺎ ﺇﺫﺍ ﺍﻗﺘﻀﻰ ﺍﳊﺎﻝ ﺫﻟﻚ.
ﺏ .ﺗﻘﺪﱘ ﻣﺎ ﺣﻘﻪ ﺍﻟﺘﺄﺧﲑ ﻣﻦ ﺍﻟﻜﻠﻤﺎﺕ ،ﻟﺘﺤﻘﻴﻖ ﻫﺪﻑ ﺑﻼﻏﻲ.
ﺝ .ﺍﻹﳚﺎﺯ ﰲ ﺍﻟﺘﻌﺒﲑ ﺇﺫﺍ ﻛﺎﻥ ﺍﳌﻘﺎﻡ ﻳﺪﻋﻮ ﺇﱃ ﺍﻹﳚﺎﺯ.
ﻓﺈﺫﺍ ﺧﺎﻟﻒ ﺍﻟﻨﺺ ﺍﻷﺩﰊ ﻫﺬﻩ ﺍﻷﺳﺲ ﺍﺑﺘﻌﺪ ﻋﻦ ﺍﻟﻘﻮﺓ ﻭﻣﺎﻝ
ﺇﱃ ﺍﻟﻀﻌﻒ.
13
.3ﺍﳉﺰﺍﻟﺔ ﻭﺍﻟﺮﻗﺔ
ﺍﳉﺰﺍﻟﺔ ﻭﺍﻟﺮﻗﺔ ﻭﺻﻔﺎﻥ ﻟﻸﻟﻔﺎﻅ ﺍﻟﱵ ﻳﺴﺘﻌﻤﻠﻬﺎ ﺍﻷﺩﻳﺐ ﰲ ﺍﻟﺘﻌﺒﲑ
ﻋﻦ ﻣﻌﺎﻧﻴﻪ ،ﻓﺈﺫﺍ ﲢﺪﺙ ﰲ ﻣﻮﺿﻮﻉ ﻣﻦ ﺍﳌﻮﺿﻮﻋﺎﺕ ﺍﻟﱵ ﲢﺘﺎﺝ ﺇﱃ
ﺍﻟﻘﻮﺓ ﻛﻮﺻﻒ ﺍﳊﺮﺏ ﻣﺜﻼ ﺍﺳﺘﻌﻤﻞ ﺍﻟﻜﻠﻤﺎﺕ ﺍﳉﺰﺍﻟﺔ ،ﺃﻣﺎ ﺇﺫﺍ ﻛﺎﻥ
ﺍﳌﻮﺿﻮﻉ ﺍﻟﺬﻱ ﻳﺘﺤﺪﺙ ﻓﻴﻪ ﺭﻗﻴﻘﺎ ﻛﻮﺻﻒ ﺍﻷﺯﻫﺎﺭ ﰲ ﺍﳊﺪﻳﻘﺔ
13ﺟﺎﻣﻌﺔ ﺍﻹﻣﺎﻡ ﳏﻤﺪ ﺑﻦ ﺳﻌﻮﺩ ﺍﻹﺳﻼﻣﻴﺔ ،ﺍﻟﺒﻼﻏﺔ ﻭﺍﻟﻨﻘﺪ ،ﺹ 29
18
ﺍﺳﺘﻌﻤﻞ ﺍﻟﻜﻠﻤﺎﺕ ﺍﻟﺮﻗﻴﻘﺔ ،ﻓﺈﺫﺍ ﺍﺑﺘﻌﺪ ﺍﻷﺳﻠﻮﺏ ﻋﻦ ﺫﻟﻚ ﻛﺎﻥ
ﺿﻌﻴﻔﺎ.
14
.4ﺍﻟﻮﺣﺪﺓ ﺍﻟﻌﻀﻮﻳﺔ
ﻳﻘﺼﺪ ﺎ ﺃﻥ ﺗﺒﲎ ﺍﻟﻘﺼﻴﺪﺓ ﺑﻨﺎﺀ ﻋﻀﻮﻳﺎ ﺣﻴﺎ ،ﻭﻳﺘﺤﻘﻖ ﺫﻟﻚ ﺇﺫﺍ
ﺗﻮﺍﻓﺮ ﰲ ﺍﻟﻘﺼﻴﺪﺓ ﻣﺎ ﻳﻠﻲ:
ﺃ .ﻭﺣﺪﺓ ﺍﳌﻮﺿﻮﻉ.
ﺏ .ﻭﺣﺪﺓ ﺍﳌﺸﺎﻋﺮ.
ﺝ .ﺗﺮﺗﻴﺐ ﺍﻟﺼﻮﺭ ﻭﺍﻷﻓﻜﺎﺭ ﺗﺮﺗﻴﺒﺎ ﻣﻨﻄﻘﻴﺎ ﺗﺘﻘﺪﻡ ﺑﻪ ﺍﻟﻘﺼﻴﺪﺓ ﺷﻴﺌﺎ
ﻓﺸﻴﺌﺎ ﺣﱴ ﺗﻨﺘﻬﻲ ﻋﻠﻰ ﺧﺎﲤﺔ ﻳﺴﺘﻠﺰﻣﻬﺎ ﺗﺮﺗﻴﺐ ﺍﻟﺼﻮﺭ
ﻭﺍﻷﻓﻜﺎﺭ.
ﺩ .ﺃﻥ ﺗﻜﻮﻥ ﺃﺟﺰﺍﺀ ﺍﻟﻘﺼﻴﺪﺓ ﻭﺃﺑﻴﺎﺎ ﳏﻜﻤﺔ ﻣﺘﺮﺍﺑﻄﺔ ﲝﻴﺚ ﻳﺆﺩﻱ
ﺑﻌﻀﻬﺎ ﺇﱃ ﺑﻌﺾ ﻋﻦ ﻃﺮﻳﻖ ﺗﺴﻠﺴﻞ ﺍﻷﻓﻜﺎﺭ ﻭﺍﳌﺸﺎﻋﺮ.
14
ﺟﺎﻣﻌﺔ ﺍﻹﻣﺎﻡ ﳏﻤﺪ ﺑﻦ ﺳﻌﻮﺩ ﺍﻹﺳﻼﻣﻴﺔ ،ﺍﻟﺒﻼﻏﺔ ﻭﺍﻟﻨﻘﺪ ،ﺹ 30
15
ﺟ ﺎﻣﻌﺔ ﺍﻹﻣﺎﻡ ﳏﻤﺪ ﺑﻦ ﺳﻌﻮﺩ ﺍﻹﺳﻼﻣﻴﺔ ،ﺍﻟﺒﻼﻏﺔ ﻭﺍﻟﻨﻘﺪ ،ﺹ 30
15
19
.5ﺍﻟﻄﺒﻊ ﻭﺍﻟﺼﻨﻌﺔ
ﻳﻘﺼﺪ ﺑﺎﻟﻄﺒﻊ ﺃﻥ ﻳﺘﺮﻙ ﺍﻷﺩﻳﺐ ﻧﻔﺴﻪ ﻋﻠﻰ ﻃﺒﻴﻌﺘﻬﺎ ﰲ ﺍﻟﺘﻌﺒﲑ
ﻋﻦ ﺃﻓﻜﺎﺭﻩ ،ﲝﻴﺚ ﲡﻴﺊ ﻛﻠﻤﺎﺗﻪ ﻭﻋﺒﺎﺭﺍﺗﻪ ﻣﻌﱪﺓ ﻋﻦ ﻣﺸﺎﻋﺮﻩ ﻣﻦ ﻏﲑ
ﺗﻜﻠﻒ .ﺃﻣﺎ ﺍﻟﺼﻨﻌﺔ ﻓﻴﻘﺼﺪ ﺎ ﺗﻜﻠﻒ ﺍﻟﻜﻠﻤﺎﺕ ﻭﺍﻟﻌﺒﺎﺭﺍﺕ ﺍﻟﱵ ﺗﺪﻝ
ﻋﻠﻰ ﺍﳌﻌﲎ ﻟﺘﺤﻘﻖ ﻧﻮﻋﺎ ﻣﻦ ﺃﻧﻮﺍﻉ ﺍﶈﺴﻨﺎﺕ ﺍﻟﻠﻔﻈﻴﺔ ﻭﺍﳌﻌﻨﻮﻳﺔ.
16
.3ﺃﻧﻮﺍﻋﻪ
ﰲ ﻛﺘﺎﺏ ﺟﻮﺍﻫﺮ ﺍﻟﺒﻼﻏﺔ ﰲ ﺍﳌﻌﺎﱐ ﻭﺍﻟﺒﻴﺎﻥ ﻭﺍﻟﺒﺪﻳﻊ ﻷﲪﺪ ﺍﳍﺎﴰﻲ
ﺃﻥ ﺃﻧﻮﺍﻉ ﺍﻷﺳﺎﻟﻴﺐ ﺛﻼﺛﺔ:
.1
ﺍﻷﺳﻠﻮﺏ ﺍﻟﻌﻠﻤﻲ
ﻭﻫﻮ ﺃﻫﺪﺃ ﺍﻷﺳﺎﻟﻴﺐ ،ﻭﺃﻛﺜﺮﻫﺎ ﺍﺣﺘﻴﺎﺟﺎ ﺇﱃ ﺍﳌﻨﻄﻖ ﺍﻟﺴﻠﻴﻢ،
ﻭﺍﻟﻔﻜﺮ ﺍﳌﺴﺘﻘﻴﻢ ،ﻭﺃﺑﻌﺪﻫﺎ ﻋﻠﻰ ﺍﳋﻴﺎﻝ ﺍﻟﺸﻌﺮﻱ ،ﻷﻧﻪ ﳜﺎﻃﺐ
ﺍﻟﻌﻘﻞ ،ﻭﻳﻨﺎﺟﻲ ﺍﻟﻔﻜﺮ ،ﻭﻳﺸﺮﺡ ﺍﳊﻘﺎﺋﻖ ﺍﻟﻌﻠﻤﻴﺔ ﺍﻟﱴ ﻻﲣﻠﻮﻣﻦ
16ﺟﺎﻣﻌﺔ ﺍﻹﻣﺎﻡ ﳏﻤﺪ ﺑﻦ ﺳﻌﻮﺩ ﺍﻹﺳﻼﻣﻴﺔ ,ﺍﻟﺒﻼﻏﺔ ﻭﺍﻟﻨﻘﺪ ،ﺹ 31
20
ﻏﻤﻮﺽ ﻭﺧﻔﺎﺀ ،ﻭﺃﻇﻬﺮ ﻣﻴﺰﺍﺕ ﻫﺬﺍ ﺍﻷﺳﻠﻮﺏ "ﺍﻟﻮﺿﻮﺡ".
ﻭﻻﺑﺪ ﺃﻥ ﻳﺒﺪﻭ ﻓﻴﻪ ﺃﺛﺮ ﺍﻟﻘﻮﺓ ﻭﺍﳉﻤﺎﻝ ،ﻭﻗﻮﺗﻪ ﰲ ﺳﻄﻮﻉ ﺑﻴﺎﻧﻪ
ﻭﺭﺻﺎﻧﺔ ﺣﺠﺠﻪ ،ﻭﲨﺎﻟﻪ ﰲ ﺳﻬﻮﻟﺔ ﻋﺒﺎﺭﺗﻪ ،ﻭﺳﻼﻣﺔ ﺍﻟﺬﻭﻕ ﰲ
ﺍﺧﺘﻴﺎﺭ ﻛﻠﻤﺎﺗﻪ ،ﻭﺣﺴﻦ ﺗﻘﺮﻳﺮﻩ ﺍﳌﻌﲎ ﰲ ﺍﻷﻓﻬﺎﻡ ،ﻣﻦ ﺃﻗﺮﺏ
ﻭﺟﻮﻩ ﺍﻟﻜﻼﻡ.
ﻓﻴﺠﺐ ﺃﻱ ﻳﻌﲎ ﻓﻴﻪ ﺑﺎﺧﺘﻴﺎﺭ ﺍﻷﻟﻔﺎﻅ ﺍﻟﻮﺍﺿﺤﺔ ﺍﻟﺼﺮﳛﺔ ﰲ
ﻣﻌﻨﺎﻫﺎ ﺍﳋﺎﱄ ﻣﻦ ﺍﻻﺷﺘﺮﺍﻙ ،ﻭﺃﻥ ﺗﺆﻟﻒ ﻫﺬﻩ ﺍﻷﻟﻔﺎﻅ ﰲ ﺳﻬﻮﻟﺔ
ﻭﺟﻼﺀ ،ﺣﱴ ﺗﻜﻮﻥ ﺛﻮﺑﺎ ﺷﻔﺎﻓﺎ ﻟﻠﻤﻌﲎ ﺍﳌﻘﺼﻮﺩ ،ﻭﺣﱴ ﻻ ﺗﺼﺒﺢ
ﻣﺜﺎﺭﺍ ﻟﻠﻈﻨﻮﻥ ،ﻭﳎﺎﻻ ﻟﻠﺘﻮﺟﻴﻪ ﻭﺍﻟﺘﺄﻭﻳﻞ.
.2
ﺍﻷﺳﻠﻮﺏ ﺍﻷﺩﰊ
ﻭﺍﳉﻤﺎﻝ ﺃﺑﺮﺯ ﺻﻔﺎﺗﻪ ،ﻭﺃﻇﻬﺮ ﳑﻴﺰﺍﺗﻪ ﻭﻣﻨﺸﺄ ﲨﺎﻟﻪ ﳌﺎ ﻓﻴﻪ ﻣﻦ
ﺧﻴﺎﻝ ﺭﺍﺋﻊ ،ﻭﺗﺼﻮﻳﺮ ﺩﻗﻴﻖ ،ﻭﺗﻠﻤﺲ ﻟﻮﺟﻮﻩ ﺍﻟﺸﺒﻪ ﺍﻟﺒﻌﻴﺪﺓ ﺑﲔ
ﺍﻷﺷﻴﺎﺀ ،ﻭﺇﻟﺒﺎﺱ ﺍﳌﻌﻨﻮﻯ ﺛﻮﺏ ﺍﶈﻤﻮﺱ ،ﻭﺇﻇﻬﺎﺭ ﺍﳌﻠﻤﻮﺱ ﰲ
ﺻﻮﺭﺓ ﺍﳌﻌﻨﻮﻯ.
21
.3
ﺍﻷﺳﻠﻮﺏ ﺍﳋﻄﺎﰊ
ﻫﻨﺎ ﺗﱪﺯ ﻗﻮﺓ ﺍﳌﻌﺎﱐ ﻭﺍﻷﻟﻔﺎﻅ ،ﻭﻗﻮﺓ ﺍﳊﺠﺔ ﻭﺍﻟﱪﻫﺎﻥ ،ﻭﻗﻮﺓ
ﺍﻟﻌﻘﻞ ﺍﳋﺼﻴﺐ ،ﻭﻫﻨﺎ ﻳﺘﺤﺪﺙ ﺍﳋﻄﻴﺐ ﺇﱃ ﺇﺭﺍﺩﺓ ﺳﺎﻣﻌﻴﻪ ﻹﺛﺎﺭﺓ
ﻋﺰﺍﺋﻤﻬﻢ ،ﻭﺍﺳﺘﻨﻬﺎﺽ ﳘﻬﻢ ﻭﺍﳉﻤﺎﻝ ﻫﺬﺍ ﺍﻷﺳﻠﻮﺏ ﻭﻭﺿﻮﺣﻪ،
ﺷﺄﻥ ﻛﺒﲑ ﰲ ﺗﺄﺛﲑﻩ ،ﻭﻭﺻﻮﻟﻪ ﺇﱃ ﻗﺮﺍﺭﺓ ﺍﻟﻨﻔﻮﺱ ،ﻭﳑﺎ ﻳﺰﻳﺪ ﰲ
ﺗﺄﺛﲑ ﻫﺬﺍ ﺍﻷﺳﻠﻮﺏ ﻣﻨﺰﻟﺔ ﺍﳋﻄﻴﺐ ﰲ ﻧﻔﻮﺱ ﺳﺎﻣﻌﻴﻪ ﻭﻗﻮﺓ
ﻋﺎﺭﺿﺘﻪ ﻭﺳﻄﻮﻉ ﺣﺠﺘﻪ ﻭﻧﱪﺍﺕ ﺻﻮﺗﻪ ﻭﺣﺴﻦ ﺇﻟﻘﺎﺋﻪ ﻭﳏﻜﻢ
ﺇﺷﺎﺭﺍﺗﻪ.
ﻭﻣﻦ ﺃﻇﻬﺮ ﳑﻴﺰﺍﺕ ﻫﺬﺍ ﺍﻷﺳﻠﻮﺏ "ﺍﻟﺘﻜﺮﺍﺭ" ﻭﺍﺳﺘﻌﻤﺎﻝ
ﺍﳌﺘﺮﺍﺩﻓﺎﺕ ﻭﺿﺮﺏ ﺍﻷﻣﺜﺎﻝ ﻭﺍﺧﺘﻴﺎﺭ ﺍﻟﻜﻠﻤﺎﺕ ﺍﳉﺰﻟﺔ ﺫﺍﺕ
ﺍﻟﺮﻧﲔ.
22
ﻭﳛﺴﻦ ﻓﻴﻪ ﺃﻥ ﺗﺘﻌﺎﻗﺐ ﺿﺮﻭﺏ ﺍﻟﺘﻌﺒﲑ ﻣﻦ ﺃﺧﺒﺎﺭ ﺇﱃ
ﺍﺳﺘﻔﻬﺎﻡ ،ﺇﱃ ﺗﻌﺠﺐ ،ﺇﱃ ﺍﺳﺘﻨﻜﺎﺭ ،ﻭﺃﻥ ﺗﻜﻮﻥ ﻣﻮﺍﻃﻦ ﺍﻟﻮﻗﻒ
ﻛﺎﻓﻴﺔ ﺷﺎﻓﻴﺔ ﰒ ﻭﺍﺿﺤﺔ ﻗﻮﻳﺔ.
17
ﺏ .ﺍﻟﺸﻌﻮﺭ
ﺍﻟﺸﻌﻮﺭ ﻫﻮ ﺍﳌﻮﻗﻒ ﺍﻟﺬﻱ ﺗﻌﺮﺽ ﻟﻪ ﺍﻷﺩﻳﺐ ،ﻭﺗﺄﺛﺮ ﺑﻪ ،ﻭﺗﻔﺎﻋﻞ
ﻣﻌﻪ ﻧﻔﺴﻴﺎﹰ ﻋﱪ ﺃﺣﺎﺳﻴﺴﻪ ﻭﻣﺸﺎﻋﺮﻩ ﺃﻭﻻﹰ ،ﻭﺛﻘﺎﻓﺘﻪ ﻭﺭﺅﻳﺘﻪ ﺍﻟﻔﻜﺮﻳﺔ ﺛﺎﻧﻴﺎﹰ،
ﻭﻣﻦ ﰒﹼ ﺍﻟﺘﺮﲨﺔ ﺍﻟﺼﺎﺩﻗﺔ ﳍﺬﺍ ﺍﳌﻮﻗﻒ ﻋﱪ ﺍﻟﻠﻐﺔ ﻭﺍﻟﺼﻮﺭ ﻭﺍﻷﻟﻔﺎﻅ ،ﺃﻱ ﻣﻦ
ﺧﻼﻝ ﺍﻟﺼﻮﺭﺓ ﺍﻟﺘﻌﺒﲑﻳﺔ.
18
ﺍﻟﺸﻌﻮﺭ ﻇﺎﻫﺮﺓ ﴰﻮﻟﻴﺔ ﳍﺎ ﻋﻤﻮﻣﻴﺘﻬﺎ ﻭﺧﺼﻮﺻﻴﺘﻬﺎ ﻛﻤﺎ ﺃﺎ ﳏﻮﺭ
ﺍﳌﻌﺎﻳﲑ ﺍﻟﻨﻔﺴﻴﺔ ﻭﺍﻟﺬﺍﺗﻴﺔ ﻭﺗﻘﺘﺮﺏ ﻇﺎﻫﺮﺓ ﺍﻟﺸﻌﻮﺭ ﻣﻦ ﺍﻟﻈﺎﻫﺮﺓ ﺍﻹﺭﺍﺩﻳﺔ.
19
17ﺍﻟﺴﻴﺪ ﺃﲪﺪ ﺍﳍﺎﴰﻲ ،ﺟﻮﺍﻫﺮ ﺍﻟﺒﻼﻏﺔ ﰲ ﺍﳌﻌﺎﱐ ﻭﺍﻟﺒﻴﺎﻥ ﻭﺍﻟﺒﺪﻳﻊ ،ﺹ 44-43
18
ﻋﺰﺕ ﻋﻤﺮ ،ﺍﻟﻨﻘﺪ ﺍﻷﰊ ﺃﺳﺌﻠﺔ ﻭﺃﺟﻮﺑﺔ ﻭﺗﻄﺒﻴﻘﺎﺕ ﺍﻣﺘﺤﺎﻧﻴﺔ ،ﻣﺎﺩﺓ ﻋﻠﻤﻴﺔ ﻣﺄﺧﻮﺫﺓ ﰲ 18ﻣﺎﻳﻮ
2009ﻣﻦ http://www.aljameah.com/d/b/alngd/103/6.htm
19
ﻋﺒﺪﺍﻟﺮﺯﺍﻕ ﻫﻮﰊ ،ﺍﻷﺧﲑﺓ :ﺛﻨﺎﺋﻴﺔ ﺍﻟﻔﻠﺴﻔﺔ ﺑﲔ ﺍﻟﻌﻘﻞ ﻭﺍﻹﳝﺎﻥ ﻭﻣﺴﺎﺭ ﺍﻟﻈﻮﺍﻫﺮ ﺍﻟﺸﻌﻮﺭﻳﺔ ،ﻣﺎﺩﺓ
ﻋﻠﻤﻴﺔ ﻣﺄﺧﻮﺫﺓ ﰲ 23ﻣﺎﻳﻮ 2009ﻣﻦ ?http://www.alsabaah.com/paper.php
23
ﻳﻌﺪ ﺍﻟﻌﻤﻞ ﺍﻷﺩﰊ ﻧﺎﺟﺤﺎ ﻣﻦ ﺧﻼﻝ ﻛﻤﺎﻝ ﺗﺼﻮﻳﺮ ﺍﻷﺩﻳﺐ ﻟﻠﺘﺠﺮﺑﺔ
ﺍﻟﺸﻌﻮﺭﻳﺔ ﺍﻟﱵ ﻣﺮ ﺎ .ﻭﻣﻘﺪﺭﺗﻪ ﻋﻠﻰ ﺍﻟﺘﻌﺒﲑ ﻋﻨﻬﺎ ﺗﻌﺒﲑﺍ ﻳﺜﲑ ﺍﻹﻧﻔﻌﺎﻝ
ﻳﻨﻔﺲ ﺍﻵﺧﺮﻳﻦ ﻟﻜﻲ ﻳﺸﺎﺭﻛﻮﺍ ﰲ ﺍﻟﺘﺠﺮﺑﺔ ،ﻭﻳﺸﻌﺮﻭﻥ ﲟﺎ ﺷﻌﺮ ﺑﻪ ﺍﻷﺩﻳﺐ
ﻭﻫﺬﺍ ﳛﺼﻞ ﺇﺫﺍ ﺍﺳﺘﻮﰱ ﺍﻟﻌﻤﻞ ﺍﻷﺩﰊ ﳎﻤﻮﻋﺔ ﻣﻦ ﺍﻟﻌﻨﺎﺻﺮ.
20
ﺇﻥ ﺣﺎﺟﺔ ﺍﻹﻧﺴﺎﻥ ﺇﱃ ﺍﻟﺘﻌﺒﲑ ﻋﻤﺎ ﻳﻌﺘﻤﻞ ﰲ ﺃﻋﻤﺎﻗﻪ ﺗﺸﲑ ﺇﱃ ﳏﺎﻭﻟﺘﻪ
ﺍﳌﺘﻮﺍﺻﻠﺔ ﺭﺳﻢ ﺍﻟﺼﻮﺭﺓ ﺍﻟﻜﺎﻣﻠﺔ ﻟﻠﺤﻘﻴﻘﺔ ﺍﻟﺼﺎﻓﻴﺔ ﺍﻟﱵ ﻳﻌﺎﻳﻨﻬﺎ ﺣﻴﻨﺎﹰ،
ﻭﺗﻐﻴﺐ ﻋﻨﻪ ﺃﺣﻴﺎﻧﺎﹰ ،ﻭﺍﻟﱵ ﺗﺒﻘﻰ ﺩﺍﺋﻤﺎﹰ ﺩﺍﻓﻌﻪ ﺍﻟﺮﺋﻴﺴﻲ ﺇﱃ ﺍﻟﺘﺄﻛﻴﺪ ﻋﻠﻰ ﻗﻴﻤﺔ
ﻭﺟﻮﺩﻩ ﻭﻋﻠﻰ ﻋﻈﻤﺔ ﺍﻟﻜﻮﻥ ﺍﶈﻴﻂ ﺑﻪ .ﻟﻜﻦ ﺣﺎﺟﺔ ﺍﻹﻧﺴﺎﻥ ﺇﱃ ﺍﻟﺘﻌﺒﲑ ﻻ
ﺗﺘﻮﻗﻒ ﻋﻠﻰ ﻧﻘﻠﻪ ﺍﻟﺼﻮﺭﺓﹶ ﺍﻟﱵ ﻳﺮﻯ ﻓﻴﻬﺎ ﺳﱪﺍﹰ ﻟﺬﺍﺗﻪ ﻭﺍﻗﺘﺮﺍﺑﺎﹰ ﻣﻦ ﺍﳊﻘﻴﻘﺔ
ﺍﻟﺸﻔﺎﻓﺔ ﺍﻟﻜﺎﻣﻨﺔ ﻓﻴﻪ ﻭﺣﺴﺐ ،ﺇﳕﺎ ﺗﺘﺴﺎﻣﻰ ﻫﺬﻩ ﺍﳊﺎﺟﺔ ﻟﻴﺼﺒﺢ ﺍﻹﻧﺴﺎﻥ
ﻧﻔﺴﻪ ﺃﺩﺍﺓﹰ ﳍﺎ .ﻭﰲ ﺣﲔ ﳓﺎﻭﻝ ﺃﻥ ﻧﻜﺸﻒ ﻋﻦ ﺻﻮﺭ ﺍﻟﺪﺍﺧﻞ ﻓﻴﻨﺎ،
ﻧﺘﻜﺸﻒ ﳓﻦ ﻋﻦ ﺗﻠﻚ ﺍﻟﺼﻮﺭ ،ﻭﻧﻌﺒﺮ ﻋﻨﻬﺎ ﺑﺘﻄﻮﺭﻧﺎ ﻭﺑﺘﻔﺘﺤﻨﺎ ﻭﺑﺘﺴﺎﻣﻴﻨﺎ؛
20ﺃﺳﲑ ،ﺍﻷﺳﻠﻮﺏ ﺍﻷﺩﰊ ﻭﺻﻔﺎﺗﻪ ،ﻣﺎﺩﺓ ﻋﻠﻤﻴﺔ ﻣﺄﺧﻮﺫﺓ ﰲ 18ﻣﺎﻳﻮ 2009ﻣﻦ
http://www.ala7ebah.com/upload/forumdisplay.php?s=d3ce487ed81ee46b18987
24
ﻓﺈﺫﺍ ﺑﺒﺤﺜﻨﺎ ﻋﻦ ﺍﳊﻘﻴﻘﺔ ﻳﺼﺒﺢ ﺍﻛﺘﻨﺎﻫﺎﹰ ﳍﺎ ،ﻭﺷﻌﻮﺭﺍﹰ ﺎ ،ﻭﺍﻗﺘﺮﺍﺑﺎﹰ ﻻ ﺣﺪﻭﺩ
ﻟﻪ ﻣﻨﻬﺎ.
ﺇﻥ ﺍﻟﺘﻌﺒﲑ ﺍﻹﻧﺴﺎﱐ ﻳﺒﺪﺃ ﺑﺎﻟﺒﺤﺚ ﻋﻦ ﺍﳊﻘﻴﻘﺔ ﰲ ﺃﹸﻃﹸﺮﹺ ﻣﻔﺎﻫﻴﻢ ﻋﺎﻣﺔ
ﳐﺘﻠﻔﺔ ،ﻛﺎﳉﻤﺎﻝ ﻭﺍﶈﺒﺔ ﻭﺍﻟﻄﺒﻴﻌﺔ ،ﻟﻜﻨﻪ ﻳﻨﺘﻬﻲ ﺇﱃ ﳊﻈﺔ ﻳﺘﺠﻠﱠﻰ ﻓﻴﻬﺎ
ﺍﻹﻧﺴﺎﻥ ﺫﺍﺗﻪ ﲝﻘﻴﻘﺔ ﺍﻟﻮﺟﻮﺩ .ﻭﺗﻜﻮﻥ ﺗﻠﻚ ﺍﻟﻠﺤﻈﺔ ﻫﻲ ﳊﻈﺔ ﺍﻟﺸﻌﻮﺭ
ﺑﺎﻻﲢﺎﺩ ﻣﻊ ﻛﻞ ﺷﻲﺀ؛ ﻭﻓﻴﻬﺎ ﺗﻨﺒﻊ ﰲ ﺍﻹﻧﺴﺎﻥ ،ﻭﺗﺘﺪﻓﻖ ﻣﻨﻪ ،ﻧﻐﻤﺎﺕ
ﺍﻟﺸﻌﺮ ﺍﻟﺼﺎﺩﻕ
ﺍﳊﻲ.
21
ﻓﺎﻟﺸﻌﺮ ﻟﻴﺲ ﺗﻌﺒﲑﺍ ﻋﻦ ﺍﳊﻴﺎﺓ-ﻛﻤﺎ ﻏﺎﱃ ﺑﻌﺾ ﺍﻟﻜﺘﺎﺏ -ﺇﳕﺎ ﻫﻮ
ﺗﻌﺒﲑ ﻋﻦ ﺍﻟﻠﺤﻈﺎﺕ ﺍﻷﻗﻮﻯ ﻭﺍﻷﻣﻸ ﺑﺎﻟﻄﺎﻗﺔ ﺍﻟﺸﻌﻮﺭﻳﺔ ﰲ ﺍﳊﻴﺎﺓ .ﻟﻴﺲ
ﳌﻮﺿﻮﻉ ﺍﻟﺘﻌﺒﲑ ﰲ ﺫﺍﺗﻪ ﺩﺍﺧﻞ ﰲ ﻫﺬﺍ .ﻓﺎﳌﻬﻢ ﻫﻮ ﺩﺭﺟﺔ ﺍﻻﻧﻔﻌﺎﻝ
ﺍﻟﺸﻌﻮﺭﻱ ﺬﺍ ﺍﳌﻮﺿﻮﻉ.
22
21ﻣﻮﺳﻰ ﺩﻳﺐ ﺍﳋﻮﺭﻯ ،ﺍﻟﺸﺎﻋﺮ ﻭ ﺍﻟﺸﻌﻮﺭ ،ﻣﺎﺩﺓ ﻋﻠﻤﻴﺔ ﻣﺄﺧﻮﺫﺓ ﰲ 17ﻳﻮﻟﻴﻮ 2009ﻣﻦ
http://www.maaber.org/indexa/al_dalil_khe.htm#khouri_m
22ﺳﻴﺪ ﻗﻄﺐ ،ﺍﻟﻨﻘﺪ ﺍﻷﺩﰊ ﺃﺻﻮﻟﻪ ﻭﻣﻨﺎﻫﺠﻪ ،ﻁ ) 3ﺩﺍﺭ ﺍﻟﻔﻜﺮﻱ ﺍﻟﻌﺮﰊ 1959ﻡ( ﺹ 57
25
ﺝ .ﺍﻟﺸﻌﺮ ﺍﳊﺮ
ﺃ .ﺗﻌﺮﻳﻔﻪ
ﺍﻟﺸﻌﺮ ﺍﳊﺮ ﺗﺮﲨﺔ ﺣﺮﻓﻴﺔ ﳌﺼﻄﻠﺢ ﻏﺮﰊ ﻫﻮ Free verse
ﺑﺎﻻﻧﻜﻠﻴﺰﻳﺔ ﻭ vers libreﺑﺎﻟﻔﺮﻧﺴﻴﺔ ،ﻭﻗﺪ ﺃﻃﻠﻘﻮﻩ ﰲ ﺍﻟﻐﺮﺏ
ﻋﻠﻰ ﺷﻌﺮ ﺧﺎﻝ ﻣﻦ ﺍﻟﻮﺯﻥ ﻭﺍﻟﻘﺎﻓﻴﺔ ﻛﻠﻴﻬﻤﺎ 23.ﻭﰲ ﺍﻻﺻﻄﻼﺡ ﻫﻮ
ﺍﻟﺸﻌﺮ ﺍﻟﺬﻱ ﻻ ﻳﺘﻘﻴﺪ ﺑﻘﺎﻓﻴﺔ ﻭﺍﺣﺪﺓ ﻭﻻ ﺑﺒﺤﺮ ﺗﺎﻡ ﻭﻳﻘﻴﻢ ﺍﻟﻘﺼﻴﺪﺓ
ﻋﻠﻰ ﺍﻟﺘﻔﻌﻴﻠﺔ ﺑﺪﻻ ﻣﻦ ﺍﻟﺸﻄﺮ ﳏﻄﻤﺎ ﺍﺳﺘﻘﻼﻝ ﺍﻟﺒﻴﺖ 24،ﻭﻗﻴﻞ ﺃﻥ
ﺍﻟﺸﻌﺮ ﺍﳊﺮ ﻫﻮ ﺍﻟﺸﻌﺮ ﺍﻟﺬﻱ ﻳﻠﺘﺰﻡ ﺑﺘﻔﻌﻴﻠﺔ ﻳﻜﺮﺭﻫﺎ ﺍﻟﺸﺎﻋﺮ ﰲ
ﺍﻟﺴﻄﺮ ،ﻓﻬﻮ ﺷﻌﺮ ﺳﻄﺮ ﻭﻟﻴﺲ ﺑﺸﻌﺮ ﺑﻴﺖ ﻓﻘﺪ ﻳﺘﻜﻮﻥ ﺍﻟﺴﻄﺮ
ﺍﻟﺸﻌﺮﻱ ﻣﻦ ﺗﻔﻌﻴﻠﺔ ﻭﺍﺣﺪﺓ ﺃﻭ ﺍﺛﻨﺘﲔ ﺃﻭ ﺛﻼﺙ ﺃﻭ ﺃﻛﺜﺮ25.ﻭﻗﺎﻟﺖ
ﻧﺎﺯﻙ ﺍﳌﻼﺋﻜﺔ ﻋﻦ ﺍﻟﺸﻌﺮ ﺍﳊﺮ ﻭﻫﻮ ﺷﻌﺮ ﺫﻭ ﺷﻄﺮ ﻭﺍﺣﺪ ﻟﻴﺲ ﻟﻪ
23ﺍﻟﺪﻛﺘﻮﺭ ﺃﲬﺪ ﻣﻄﻠﻮﺏ ،ﺍﻟﻨﻘﺪ ﺍﻷﺩﰊ ﺍﳊﺪﻳﺚ ﰲ ﺍﻟﻌﺮﺍﻕ )ﻣﻌﻬﺪ ﺍﻟﺒﺤﻮﺙ ﻭﺍﻟﺪﺭﺍﺳﺎﺕ ﺍﻟﻌﺮﺑﻴﺔ(،
ﺹ 241
24ﺍﻟﺪﻛﺘﻮﺭ ﺃﲬﺪ ﻣﻄﻠﻮﺏ ،ﺍﻟﻨﻘﺪ ﺍﻷﺩﰊ ﺍﳋﺪﻳﺚ ﰲ ﺍﻟﻌﺮﺍﻕ ،ﺹ 232
25ﺩ .ﻋﺒﺪ ﺍﻟﻌﺰﻳﺰ ﺑﻦ ﳏﻤﺪ ﻓﻴﺼﻞ ،ﻣﻊ ﺍﻟﺘﺠﺪﻳﺪ ﻭﺍﻟﺘﻘﻠﻴﺪ ﰲ ﺍﻟﺸﻌﺮ ﺍﻟﻌﺮﰊ ،ﺍﻟﻄﺒﻌﺔ ﺍﻷﻭﱃ 1414
ﻫـ
1993ﻡ ،ﺹ 126
26
ﻃﻮﻝ ﺛﺎﺑﺖ ﻭﺇﳕﺎ ﻳﺼﺢ ﺃﻥ ﻳﺘﻐﲑ ﻋﺪﺩ ﺍﻟﺘﻔﻌﻴﻼﺕ ﻣﻦ ﺷﻄﺮ ﺇﱃ
ﺷﻄﺮ ،ﻭﻣﻜﻮﻥ ﻫﺬﺍ ﺍﻟﺘﻐﲑ ﻭﻓﻖ ﺍﻟﻘﺎﻧﻮﻥ ﻋﺮﻭﺿﻲ ﻳﺘﺤﻜﻢ ﻓﻴﻪ.
26
ﺏ .ﻧﺸﺄﺗﻪ ﻭﺗﻄﻮﺭﻩ
ﺍﻟﻴﻮﻡ ﻧﻘﺎﺵ ﻓﻜﺮﻱ ﺣﻮﻝ ﺍﻟﺸﻌﺮ ﺍﳊﺮ ﺃﻭ ﺍﳌﺮﺳﻞ ﺃﻭ ﺍﳌﻄﻠﻖ ،ﻭ
ﻛﺜﲑ ﳑﻦ ﻧﻈﻢ ﻓﻴﻪ ﻳﺪﻋﻰ ﺃﻧﻪ ﻛﺎﻥ ﺍﻟﺒﺎﺩﺉ ﻓﻴﻪ ،ﻭﻳﺪﻝ ﺑﺎﻟﱪﺍﻫﲔ
ﻭﻳﺄﰐ ﺑﺎﻷﻣﺜﻠﺔ .ﻭﻳﻌﻮﺯ ﻫﺆﻻﺀ ﰲ ﺩﻋﻮﺍﻫﻢ ﺍﻟﺘﺤﻘﻴﻖ ﺍﻟﻌﻠﻤﻲ ﻭﺍﻟﺘﺘﺒﻊ
ﺍﻟﻌﻤﻴﻖ .ﻭﻛﺎﻥ ﺃﻛﺜﺮ ﻣﺎ ﻛﺘﺒﻮﻩ ﰲ ﻫﺬﺍ ﺍﻟﺸﺄﻥ ﻣﺪﻓﻮﻋﺎ ﺑﺪﺍﻓﻊ ﺍﻟﻔﺨﺮ
ﻭﺍﳌﺒﺎﻫﺎﺓ .ﻭﻣﻦ ﺃﺭﺍﺩ ﺃﻥ ﻳﻄﻠﻊ ﻋﻠﻰ ﺣﻠﻴﺔ ﺍﻷﻣﺮ ﻭﺟﺐ ﻋﻠﻴﻪ ﺃﻥ ﻳﻘﺮﺃ
ﺟﺮﺍﺋﺪ ﺍﻟﻌﺮﺍﻕ ﻣﻦ ﺳﻨﺔ 1911ﺣﱴ 1045ﻡ ،ﻟﻴﺘﻀﺢ ﻟﻪ ﺍﳊﺮﻛﺔ
ﻗﺪﳝﺔ ،ﻭﳍﺎ ﺟﺬﻭﺭﻫﺎ ﺍﻟﺘﺎﺭﳜﻴﺔ ﺍﻟﱴ ﺗﺼﻞ ﺇﱃ ﺃﻭﺍﺋﻞ ﺍﻟﻌﺸﺮﻳﻦ ،ﻷﻥ
ﻛﻞ ﻓﻜﺮﺓ ﺟﺪﻳﺪﺓ ﻻﺑﺪ ﳍﺎ ﻣﻦ ﺟﺬﻭﺭ ،ﻭﻳﻨﺒﻐﻲ ﺃﻥ ﺗﻘﺪﻡ ﻋﻠﻰ ﺃﺳﺲ
26
ﻡ( ،ﺹ 77
ﻧﺎﺯﻙ ﺍﳌﻼﺋﻜﺔ ،ﻗﻀﺎﻳﺎ ﺍﻟﺸﻌﺮ ﺍﳌﻌﺎﺻﺮ ،ﺍﻟﻄﺒﻌﺔ ﺍﻟﺜﺎﻧﻴﺔ ﻋﺸﺮﺓ )ﺑﲑﻭﺕ :ﺩﺍﺭ ﺍﻟﻌﻠﻢ ﻟﻠﻤﻼﻳﲔ2004 ،
27
ﻭﻗﻮﺍﻋﺪ ﻗﺪﳝﺔ ﺗﺴﺘﻤﺪ ﺣﻴﺎﺎ ﻣﻨﻬﺎ ﻭﱂ ﺗﺼﻞ ﺍﳊﺮﻛﺔ ﺇﱃ ﻣﺎ ﻭﺻﻠﺖ
ﺇﻟﻴﻪ ﺇﻻ ﺃﻛﺜﺮ ﻣﻦ ﺛﻼﺛﲔ ﺳﻨﺔ .ﺇﺫ ﻻﳝﻜﻦ ﻟﻠﻔﻜﺮ ﺃﻥ ﻳﺘﻄﻮﺭ ﺩﻓﻌﺔ
ﻭﺍﺣﺪﺓ ،ﻭﻻ ﺑﺪ ﻟﻪ ﻣﻦ ﺩﻭﺍﻓﻊ ﺣﻀﺎﺭﻳﺔ ﻭﺍﺟﺘﻤﺎﻋﻴﺔ.
27
ﺑﺪﺃﺕ ﳏﺎﻭﻟﺔ ﺍﻟﺘﺠﺪﻳﺪ ﺑﺎﻟﺪﻋﻮﺓ ﺇﱃ ﺍﻟﺘﺨﻠﺺ ﻣﻦ ﺭﺗﺎﺑﺔ ﺍﻟﻘﺎﻓﻴﺔ
ﺩﻭﻥ ﺗﺮﻛﻬﺎ ﲤﺎﻣﺎ ،ﻭﺗﻨﻮﻳﻊ ﺍﻟﺘﻔﻌﻴﻼﺕ ﺩﻭﻥ ﺍﳋﻠﺺ ﻣﻦ ﺍﻹﻳﻘﺎﻉ
ﺷﻴﺊ ﻗﺮﻳﺐ ﺟﺪﺍ ﳑﺎ ﺣﺪﺙ ﻣﻊ ﺣﺮﻛﺔ ﺍﻟﺘﺠﺪﻳﺪ ﺍﻟﱴ ﲤﺖ ﻋﻠﻰ ﻳﺪ
ﺍﻷﻧﺪﻟﺴﻴﲔ ﻭﺃﺧﺬﺕ ﺍﺳﻢ ﺍﳌﻮﺷﺤﺎﺕ ،ﻭﻟﻜﻦ ﺍﻟﺘﺤﺮﺭ ﻣﻦ ﻗﻴﻮﺩ ﺍﻟﻔﻦ
ﱂ ﻳﺘﻮﻗﻒ ،ﻭﻃﺮﻳﻖ ﺍﻻﳓﺪﺍﺭ ﺳﻬﻞ ،ﻓﺘﺨﻠﺺ ﺍﻟﺸﻌﺮﺍﺀ ﻭﺍﻟﺼﻐﺎﺭ
ﻣﻨﻬﻢ ﲞﺎﺻﺔ ﻣﻦ ﺍﻟﻘﺎﻓﻴﺔ ﻭﻣﻦ ﺍﻟﻮﺯﻥ ﻭﺑﺎﳉﻤﻠﺔ ﻣﻦ ﻛﻞ ﺷﻴﺊ ﻟﻴﻨﺘﻬﻮﺍ
ﺇﱃ ﻻﺷﻴﺊ ﺃﻳﻀﺎ.
ﺃﻃﻠﻖ ﻋﻠﻰ ﻫﺬﻩ ﺍﻻﲡﺎﻩ ﺍﺳﻢ ﺍﻟﺸﻌﺮ ﺍﳊﺮ ،ﺗﺮﲨﺔ ﻟﻠﻤﺼﻄﻠﺢ
ﺍﻟﻔﺮﻧﺴﻲ ،vers libresﻭﻫﻲ ﺗﺴﻤﻴﺔ ﻳﺮﻯ ﺍﻟﻨﺎﻗﺪ ﻭﺍﻟﺸﺎﻋﺮ
ﺍﻹﳒﻠﻴﺰﻱ ﺇﻟﻴﻮﺕ "ﺃﺎ ﺧﺎﻃﺌﺔ ،ﻓﻤﺎ ﻣﻦ ﺷﻌﺮ ﳝﻜﻦ ﺃﻥ ﻳﻜﻮﻥ ﺣﺮﺍ
27ﺩ .ﻳﻮﺳﻒ ﻋﺰ ﺍﻟﺪﻳﻦ ،ﰲ ﺍﻷﺩﺏ ﺍﻟﻌﺮﰊ ﺍﳊﺪﻳﺚ ،ﺍﻟﻄﺒﻌﺔ ﺍﻟﺜﺎﻟﺜﺔ )ﺍﻟﺮﻳﺎﺽ :ﺩﺍﺭ ﺍﻟﻌﻠﻮﻡ 1981ﻡ(،
ﺹ 213
28
ﻟﺪﻯ ﻣﻦ ﻳﺮﻳﺪ ﺃﻥ ﳛﻘﻖ ﺍﻹﺗﻘﺎﻥ ﻓﻴﻪ ،ﻭﺍﳊﺮﻳﺔ ﻻ ﺗﻌﲎ ﺍﳍﺮﻭﺏ ﻣﻦ
ﺍﻟﻮﺯﻥ ،ﻭﺇﳕﺎ ﺗﻌﲎ ﺍﻟﺴﻴﻄﺮﺓ ﻋﻠﻴﻪ ﻭﺇﺗﻘﺎﻧﻪ ..".ﻓﺎﳊﻖ ﺃﻥ ﺍﻟﺸﺎﻋﺮﺓ
ﺍﻟﻌﺮﺍﻗﻴﺔ ﻧﺎﺯﻙ ﺍﳌﻼﺋﻜﺔ ﻭﻫﻲ ﺃﻭﻝ ﻣﻦ ﺩﻋﺎ ﺇﻟﻴﻪ ﻧﻈﺮﻳﺔ ﺑﻌﺪ ﺍﳊﺮﻭﺏ
ﻭﳑﺎﺭﺳﺔ ﺗﻄﺒﻴﻘﺎ.
28
ﰲ ﻛﺘﺎﺏ ﻗﻀﺎﻳﺎ ﺍﻟﺸﻌﺮ ﺍﳌﻌﺎﺻﺮ ﻟﻨﺎﺯﻙ ﺍﳌﻼﺋﻜﺔ ﻛﺎﻧﺖ ﺑﺪﺍﻳﺔ
ﺣﺮﻛﺔ ﺍﻟﺸﻌﺮ ﺍﳊﺮ ﺳﻨﺔ 1947ﰲ ﺍﻟﻌﺮﺍﻕ .ﻭﻣﻦ ﺍﻟﻌﺮﺍﻕ ،ﺑﻞ ﻣﻦ
ﺑﻐﺪﺍﺩ ﻧﻔﺴﻬﺎ ،ﺯﺣﻔﺖ ﻫﺬﻩ ﺍﳊﺮﻛﺔ ﻭﺍﻣﺘﺪﺕ ﺣﱴ ﻏﻤﺮﺕ ﺍﻟﻮﻃﻦ
ﺍﻟﻌﺮﰊ ﻛﻠﻪ ﻭﻛﺎﺩﺕ ﺑﺴﺒﺐ ﺗﻄﺮﻑ ﺍﻟﺬﻳﻦ ﺍﺳﺘﺠﺎﺑﻮﺍ ﳍﺎ ﲡﺮﻑ
ﺃﺳﺎﻟﻴﺐ ﺷﻌﺮﻧﺎ ﺍﻟﻌﺮﰊ ﺍﻷﺧﺮﻯ ﲨﻴﻌﺎ.
ﻭﻛﺎﻧﺖ ﺃﻭﻝ ﻗﺼﻴﺪﺓ ﺣﺮﺓ ﺍﻟﻮﺯﻥ ﺗﻨﺸﺮ ﺍﻟﻘﺼﻴﺪﺓ ﺍﳌﻌﻨﻮﻳﺔ
"ﺍﻟﻜﻮﻟﲑﺍ"...ﻧﺸﺮﺕ ﻫﺬﻩ ﺍﻟﻘﺼﻴﺪﺓ ﰲ ﺑﲑﻭﺕ ﻭﻭﺻﻠﺖ ﻧﺴﺨﻬﺎ
ﺑﻐﺪﺍﺩ ﰲ ﺃﻭﻝ ﻛﺎﻧﻮﻥ ﺍﻷﻭﻝ .1947ﻭﰲ ﺍﻟﻨﺼﻒ ﺍﻟﺜﺎﱐ ﻣﻦ
ﺍﻟﺸﻬﺮ ﻧﻔﺴﻪ ﺻﺪﺭ ﰲ ﺑﻐﺪﺍﺩ ﺩﻳﻮﺍﻥ ﺑﺪﺭ ﺷﺎﻛﺮ ﺍﻟﺴﻴﺎﺏ "ﺃﺯﻫﺎﺭ
28ﺩﻛﺘﻮﺭ ﺍﻟﻄﺎﻫﺮ ﺃﲪﺪ ﺍﳌﻌﺎﺻﺮ ،ﺍﻟﺸﻌﺮ ﺍﻟﻌﺮﰊ ﺍﳌﻌﺎﺻﺮ ،ﺍﻟﻄﺒﺔ ﺍﻷﻭﱃ )ﺍﻟﻘﺎﻫﺮﺓ :ﺩﺍﺭ ﺍﳌﻌﺎﺭﻑ1980 ،
ﻡ( ،ﺹ 152-151
29
ﺫﺍﺑﻠﺔ" ﻭﻓﻴﻪ ﻗﺼﻴﺪﺓ ﺣﺮﺓ ﺍﻟﻮﺯﻥ ﻟﻪ ﻣﻦ ﲝﺮ ﺍﻟﺮﻣﻞ ﻋﻨﻮﺍﺎ "ﻫﻞ ﻛﺎﻥ
ﺣﺒﺎ" ﻭﻗﺪ ﻋﻠﻖ ﻋﻠﻴﻬﺎ ﰲ ﺍﳊﺎﺷﻴﺔ ﺑﺄﺎ ﻣﻦ ﺍﻟﺸﻌﺮ ﺍﳌﺨﺘﻠﻒ ﺍﻷﻭﺯﺍﻥ
ﻭﺍﻟﻘﻮﺍﰲ.
ﻋﻠﻰ ﺃﻥ ﻇﻬﻮﺭ ﻫﺎﺗﲔ ﺍﻟﻘﺼﻴﺪﺗﲔ ﱂ ﻳﻠﻔﺖ ﻧﻈﺮ ﺍﳉﻤﻬﻮﺭ،
ﻭﻛﺎﻥ ﺗﻌﻠﻴﻖ ﳎﻠﺔ "ﺍﻟﻌﺮﺑﻴﺔ" ﻋﻠﻰ ﻗﺼﻴﺪﰐ ﻫﻮ ﺍﻟﺘﻌﻠﻴﻖ ﺍﻟﻮﺣﻴﺪ ﻋﻠﻰ
ﻫﺬﻩ ﺍﻟﻨﻘﻠﺔ ﰲ ﺃﺳﻠﻮﺏ ﺍﻟﻮﺯﻥ .ﻭﻣﻀﺖ ﺳﻨﺘﺎﻥ ﺻﺎﻣﺘﺘﺎﻥ ﱂ ﺗﻨﺸﺮ
ﺧﻼﳍﻤﺎ ﺍﻟﺼﺤﻒ ﺷﻌﺮﺍ ﺣﺮﺍ ﻋﻠﻰ ﺍﻹﻃﻼﻕ.
ﻭﰲ ﺻﻴﻒ ﺳﻨﺔ 1949ﺻﺪﺭ ﺩﻳﻮﺍﱐ )ﻧﺎﺯﻙ ﺍﻟﻼﺋﻜﺔ(
"ﺷﻈﺎﻳﺎ ﻭﺍﻟﺮﻣﺎﺩ" ﻭﻗﺪ ﺿﻤﻨﺘﻪ ﳎﻤﻮﻋﺔ ﻣﻦ ﺍﻟﻘﺼﺎﺋﺪ ﺍﳊﺮﺓ ....،ﻭﰲ
ﺁﺫﺍﺭ 1950ﺻﺪﺭ ﰲ ﺑﲑﻭﺕ ﺩﻳﻮﺍﻥ ﺃﻭﻝ ﻟﺸﺎﻋﺮ ﻋﺮﺍﻗﻲ ﺟﺪﻳﺪ ﻫﻮ
ﻋﺒﺪ ﺍﻟﻮﻫﺎﺏ ﺍﻟﺒﻴﺎﰐ ﻭﻛﺎﻥ ﻋﻨﻮﺍﻧﻪ "