al-fikrah wa al-khayyal fi al-maqomat al-matlabiyah li badu' al-zaman al-hamdzani

‫ﺍﻟﻔﻜﺮﺓ ﻭﺍﳋﻴﺎﻝ ﰱ ﺍﳌﻘﺎﻣﺔ ﺍﳌﻄﻠﺒﻴ‪‬ﺔ ﻟﺒﺪﻳﻊ ﺍﻟﺰﻣﺎﻥ ﺍﳍﻤﺬﺍﱏ‬

‫ﺇﻋﺪﺍﺩ‬
‫ﺃﲪﺪ ﺑﺸﺮﻯ ﺭﺍﻟﺪﻳﻦ‬

‫ﺭﻗﻢ ﺍﻟﺘﺴﺠﻴﻞ‪١٠٦٠٢١٠٠٠٨١٦:‬‬

‫‪١٤٣٢/٢٠١١‬ﻫـ‬

‫ﺍﻟﻔﻜﺮﺓ ﻭﺍﳋﻴﺎﻝ ﰱ ﺍﳌﻘﺎﻣﺔ ﺍﳌﻄﻠﺒﻴ‪‬ﺔ ﻟﺒﺪﻳﻊ ﺍﻟﺰ‪‬ﻣﺎﻥ ﺍﳍﻤﺬﺍﱏ‬
‫ﲝﺚ‬
‫ﻣﻘﺪﻡ ﺇﱃ ﻛﻠﻴﺔ ﺍﻵﺩﺍﺏ ﻭﺍﻟﻌﻠﻮﻡ ﺍﻹﻧﺴﺎﻧﻴﺔ ﺟﺎﻣﻌﺔ ﺷﺮﻳﻒ ﻫﺪﺍﻳﺔ ﺍﷲ ﺍﻹﺳﻼﻣﻴﺔ‬
‫ﺍﳊﻜﻮﻣﻴﺔ ﺟﺎﻛﺮﺗﺎ ﻟﻠﺤﺼﻮﻝ ﻋﻠﻰ ﺍﻟﺪﺭﺟﺔ ﺍﳉﺎﻣﻌﻴﺔ ﺍﻷﻭﱃ )‪(S.S.‬‬

‫ﺇﻋﺪﺍﺩ‬
‫ﺃﲪﺪ ﺑﺸﺮﻯ ﺭﺍﻟﺪﻳﻦ‬
‫ﺭﻗﻢ ﺍﻟﺘﺴﺠﻴﻞ ‪١٠٦٠٢١٠٠٠٨١٦ :‬‬
‫ﲢﺖ ﺇﺷﺮﺍﻑ‬
‫)ﺍﻟﺪﻛﺘﻮﺭﺍﻧﺪﻭﺱ ﻧﻮﺍﻭﻱ ﺍﳌﺎﺟﺴﺘﲑ(‬
‫ﻗﺴﻢ ﺍﻟﻠﻐﺔ ﺍﻟﻌﺮﺑﻴﺔ ﻭﺁﺩﺍ‪‬ﺎ‬
‫ﻛﻠﻴﺔ ﺍﻵﺩﺍﺏ ﻭﺍﻟﻌﻠﻮﻡ ﺍﻹﻧﺴﺎﻧﻴﺔ‬

‫ﺟﺎﻣﻌﺔ ﺷﺮﻳﻒ ﻫﺪﺍﻳﺔ ﺍﷲ ﺍﻹﺳﻼﻣﻴﺔ ﺍﳊﻜﻮﻣﻴﺔ‬
‫ﺟﺎﻛﺮﺗﺎ‬
‫‪٢٠١١‬ﻡ‪١٤٣٢/‬ﻩ‬
‫أ‬

‫ﻗﺮﺍﺭ ﳉﻨﺔ ﺍﳌﻨﺎﻗﺸﺔ ﻭﺍﳊﻜﻢ ﻋﻠﻰ ﺍﻟﺒﺤﺚ‬
‫ﲢﺖ ﻣﻨﺎﻗﺸﺔ ﻫﺬﺍ ﺍﻟﺒﺤﺚ ﻭﻋﻨﻮﺍﻧﻪ ‪ " :‬ﺍﻟﻔﻜﺮﺓ ﻭﺍﳋﻴﺎﻝ ﰱ ﺍﳌﻘﺎﻣﺔ ﺍﳌﻄﻠﺒﻴ‪‬ﺔ‬
‫ﻟﺒﺪﻳﻊ ﺍﻟﺰﻣﺎﻥ ﺍﳍﻤﺬﺍﱏ " ﺃﻣﺎﻡ ﳉﻨﺔ ﺍﳌﻨﺎﻗﺸﺔ ﻭﺍﳊﻜﻢ ﺑﻜﻠﻴﺔ ﺍﻵﺩﺍﺏ ﻭﺍﻟﻌﻠﻮﻡ‬
‫ﺍﻹﻧﺴﺎﻧﻴﺔ ﺟﺎﻣﻌﺔ ﺷﺮﻳﻒ ﻫﺪﺍﻳﺔ ﺍﷲ ﺍﻹﺳﻼﻣﻴﺔ ﺍﳊﻜﻮﻣﻴﺔ – ﺟﺎﻛﺮﺗﺎ‪ ,‬ﰱ ‪١٥‬‬
‫ﺭﺟﺐ ‪ ١٤٣٢‬ﻩ ﺍﳌﻮﺍﻓﻖ ‪ ١٧‬ﻳﻮﻧﻴﻮ ‪ ٢٠١١‬ﻡ ﻭﻗﺪ ﰎ ﻗﺒﻮﻟﻪ ﺷﺮﻃﺎ ﻟﻠﺤﺼﻮﻝ‬
‫ﻋﻠﻰ ﺍﻟﺪﺭﺍﺟﺔ ﺍﳉﺎﻣﻌﺔ ﺍﻷﻭﱃ ﰱ ﺍﻟﻠﻐﺔ ﺍﻟﻌﺮﺑﻴﺔ ﻭﺁﺩﺍ‪‬ﺎ‪(S.S.) .‬‬

‫ﺟﺎﻛﺮﺗﺎ‪ ١٥ ,‬ﺭﺟﺐ ‪ ١٤٣٢‬ﻩ‬
‫‪ ١٧‬ﻳﻮﻧﻴﻮ ‪ ٢٠١١‬ﻡ‬
‫ﳉﻨﺔ ﺍﳌﻨﺎﻗﺸﺔ ﻭﺍﳊﻜﻢ‬
‫ﺳﻜﺮﺗﲑ ﺍﻟﻠﺠﻨﺔ ﻭﻋﻀﻮ‬

‫ﺭﺋﻴﺲ ﺍﻟﻠﺠﻨﺔ ﻭﻋﻀﻮ‬

‫)ﺍﻟﺪﻛﺘﻮﺍﻧﺪﻭﺱ ﺃﺩﺍﻧﺞ ﺃﺳﺪﺭﻱ ﺍﳌﺎﺟﺴﺘﲑ( )ﺍﻟﺪﻛﺘﻮﺭﺓ ﺷﻬﻴﺎ ﺑﻮﺍﻧﺎ ﺍﳌﺎﺟﺴﺘﲑ(‬

‫ﺍﻷﻋﻀﺎﺀ‬
‫ﺍﳌﻨﺎﻗﺶ‬

‫ﺍﳌﺸﺮﻑ‬

‫)ﺍﻟﺪﻛﺘﻮﺭ ﺯﺑﲑ ﺍﳌﺎﺟﺴﺘﲑ(‬

‫)ﺍﻟﺪﻛﺘﻮﺭﺍﻧﺪﻭﺱ ﻧﻮﺍﻭﻱ ﺍﳌﺎﺟﺴﺘﲑ(‬
‫ب‬

‫ﺗﺼﺮﻳﺢ ﺍﻟﺒﺎﺣﺚ‬
‫ﰱ ﻫﺬﻩ ﺍﳌﻨﺎﺳﺒﺔ ﺻﺮﺣﺖ ﺑﺄﻥ ‪:‬‬

‫‪ .١‬ﻫﺬﺍ ﺍﻟﺒﺤﺚ ﻛﺘﺒﺘﻪ ﺑﻨﻔﺴﻰ ﻟﺘﻜﻤﻠﺔ ﺍﻟﺸﺮﻭﻁ ﻟﻠﺤﺼﻮﻝ ﻋﻠﻰ ﺍﻟﺪﺭﺟﺔ‬
‫ﺍﳉﺎﻣﻌﻴﺔ ﺍﻷﻭﱃ ﲜﺎﻣﻌﺔ ﺷﺮﻳﻒ ﻫﺪﺍﻳﺔ ﺍﷲ ﺍﻹﺳﻼﻣﻴﺔ ﺍﳊﻜﻮﻣﻴﺔ ‪-‬‬
‫ﺟﺎﻛﺮﺗﺎ‪.‬‬

‫‪ .٢‬ﻛﻞ ﺍﳌﺮﺍﺟﻊ ﺍﻟﱴ ﺍﺳﺘﻌﻤﻠﺘﻬﺎ ﰱ ﻛﺘﺎﺑﺔ ﻫﺬﺍ ﺍﻟﺒﺤﺚ ﻗﺪ ﻭﺿﻌﺘﻬﺎ ﺣﺴﺐ‬
‫ﺍﻟﻘﺮﺍﺭﺍﺕ ﺍﳌﻮﺟﻮﺩﺓ ﲜﺎﻣﻌﺔ ﺷﺮﻳﻒ ﻫﺪﺍﻳﺔ ﺍﷲ ﺍﻹﺳﻼﻣﻴﺔ ﺍﳊﻜﻮﻣﻴﺔ ‪-‬‬

‫ﺟﺎﻛﺮﺗﺎ‪.‬‬

‫‪ .٣‬ﺇﺫﺍ ﻛﺎﻥ ﺍﻟﺒﺤﺚ ﻣﻦ ﻏﲑ ﺇﻋﺪﺍﺩﻱ ﻭﺟﺪ ﻓﻴﻪ ﺍﻧﺘﺤﺎﻝ ﻷﺭﺍﺀ ﺍﻟﻐﲑ ﺩﻭﻥ‬
‫ﺫﻛﺮﻩ ﻓﺄﺳﺘﻌﺪ ﺃﻥ ﺃﺳﺘﻠﻢ ﻛﻞ ﺍﻟﻌﻘﻮﺑﺎﺕ ﺍﻟﱴ ﻗﺮﺭ‪‬ﺎ ﺟﺎﻣﻌﺔ ﺷﺮﻳﻒ‬
‫ﻫﺪﺍﻳﺔ ﺍﷲ ﺍﻹﺳﻼﻣﻴﺔ ﺍﳊﻜﻮﻣﻴﺔ ‪-‬ﺟﺎﻛﺮﺗﺎ‪.‬‬

‫ﺃﲪﺪ ﺑﺸﺮﻯ ﺭﺍﻟﺪﻳﻦ‬
‫ج‬

‫ﺷﻜﺮ ﻭﺗﻘﺪﻳﺮ‬
‫ﺍﳊﻤﺪ ﷲ ﺍﻟﺬﻯ ﺃﻛﺮﻣﻨﺎ ﺑﺎﻹﺳﻼﻡ‪ ,‬ﻭﺃﻋﺰﻧﺎ ﺑﺎﻹﳝﺎﻥ‪ ,‬ﻭﺃﻧﻌﻢ ﻋﻠﻴﻨﺎ ﺑﺒﻌﺚ‬
‫ﳏﻤ‪‬ﺪ ﺻﻠﻰ ﺍﷲ ﻋﻠﻴﻪ ﻭﺳﻠﹼﻢ ﻓﻬﺪﺍﻧﺎ ﻣﻦ ﺍﻟﻀﻼﻝ ﻭﺃﻧﻘﺬﻧﺎ ﻣﻦ ﺍﻟﺸﺘﺎﺕ‪ ,‬ﻭﺃﻟﹼﻒ ﺑﲔ‬
‫ﻗﻠﻮﺑﻨﺎ ﻓﺄﺻﺒﺤﻨﺎ ﺑﻨﻌﻤﺘﻪ ﺳﺒﺤﺎﻧﻪ ﻭﺗﻌﺎﱃ ﺍﺧﻮﺍﻧﺎ ﳓﻤﺪﻩ ﻋﻠﻰ ﻫﺬﻩ ﺍﻟﻨﻌﻢ ﻭﻧﺴﺄﻟﻪ‬
‫ﺍﳌﺰﻳﺪ ﻭﺍﻟﺘﻮﻓﻴﻖ ﻭﺍﻟﺸﻜﺮ ﻋﻠﻴﻬﺎ ﺃﻣﺎ ﺑﻌﺪ ‪:‬‬

‫ﻓﺒﻌﻨﺎﻳﺔ ﺍﷲ ﻭﺗﻮﻓﻴﻘﻪ ﻭﺇﺭﺍﺩﺗﻪ ﻗﺪ ﺍﻧﺘﻬﻴﺖ ﻣﻦ ﻛﺘﺎﺑﺔ ﻫﺬﺍ ﺍﻟﺒﺤﺚ ﺍﻟﺬﻯ‬
‫ﻳﻜﻮﻥ ﺷﺮﻃﺎ ﻟﻠﺤﺼﻮﻝ ﻋﻠﻰ ﺍﻟﺪﺭﺟﺔ ﺍﳉﺎﻣﻌﻴﺔ ﺍﻷﻭﱃ ﰱ ﻗﺴﻢ ﺍﻟﻠﻐﺔ ﺍﻟﻌﺮﺑﻴﺔ‬
‫ﻭﺁﺩﺍ‪‬ﺎ ﺑﻜﻠﻴﺔ ﺍﻵﺩﺍﺏ ﻭﺍﻟﻌﻠﻮﻡ ﺍﻹﻧﺴﺎﻧﻴﺔ ﲜﺎﻣﻌﺔ ﺷﺮﻳﻒ ﻫﺪﺍﻳﺔ ﺍﷲ ﺍﻹﺳﻼﻣﻴﺔ‬
‫ﺍﳊﻜﻮﻣﻴﺔ ﲜﺎﻛﺮﺗﺎ‪.‬‬

‫ﻭ‪‬ﺬﻩ ﺍﳌﻨﺎﺳﺒﺔ ﺃﻗﺪﻡ ﺷﻜﺮﻱ ﻭﺗﻘﺪﻳﺮﻱ ﻟﻜﻞ ﻣﻦ ﺃﺭﺷﺪﱐ ﺑﺎﻟﺘﻮﺟﻴﻬﺎﺕ‬
‫ﺍﻟﺜﻤﻴﻨﺔ ﻭﺍﻟﻨﺼﺎﺋﺢ ﺫﺍﺕ ﺍﻟﻘﻴﻤﺔ‪ ,‬ﻭﺃﻋﺎﻧﲏ ﺑﻌﻨﺎﻳﺔ ﻛﺒﲑﺓ ﺣﱴ ﺃﻥ ﰎﹼ ﻫﺬﺍ ﺍﻟﺒﺤﺚ‪,‬‬
‫ﳑﻦ ﻫﺆﻵﺀ‪.‬‬

‫‪ .١‬ﻓﻀﻴﻠﺔ ﻋﻤﻴﺪ ﻛﻠﻴﺔ ﺍﻵﺩﺍﺏ ﻭﺍﻟﻌﻠﻮﻡ ﺍﻹﻧﺴﺎﻧﻴﺔ ﲜﺎﻣﻌﺔ ﺷﺮﻳﻒ ﻫﺪﺍﻳﺔ ﺍﷲ‬
‫ﲜﺎﻛﺮﺗﺎ‪ ,‬ﺍﻟﺪﻛﺘﻮﺭ ﻋﺒﺪ ﺍﻟﻮﺣﻴﺪ ﻫﺎﺷﻢ ﺍﳌﺎﺟﺴﺘﲑ‪.‬‬
‫د‬

‫‪ .٢‬ﻓﻀﻴﻠﺔ ﺍﳌﺸﺮﻑ ﺍﻟﻔﺎﺿﻞ ﺍﻟﺪﻛﺘﻮﺭﺍﻧﺪﻭﺱ ﻧﻮﺍﻭﻱ ﺍﳌﺎﺟﺴﺘﲑ ﺍﻟﺬﻯ ﺃﺷﺮﻑ‬
‫ﻋﻠﻲ‪ ‬ﰱ ﻛﺘﺎﺑﺔ ﻫﺬﺍ ﺍﻟﺒﺤﺚ ﻭﻗﺎﻡ ﲝﺴﻦ ﺍﻟﺘﻮﺟﻴﻪ ﻭﲨﻴﻞ ﺍﻹﺭﺷﺎﺩ ﻣﻊ ﺃﻧﻪ‬
‫ﻣﺸﻐﻮﻝ ﺑﻮﻇﻴﻔﺘﻪ‪.‬‬

‫‪ .٣‬ﻓﻀﻴﻠﺔ ﺭﺋﻴﺲ ﻗﺴﻢ ﺍﻟﻠﻐﺔ ﺍﻟﻌﺮﺑﻴﺔ ﻭﺁﺩﺍ‪‬ﺎ‪ ,‬ﺍﻟﺪﻛﺘﻮﺭﺍﻧﺪﻭﺱ ﺃﺩﺍﻧﺞ ﺃﺳﺪﺭﻯ‬
‫ﺍﳌﺎﺟﺴﺘﲑ ﻭﻓﻀﻴﻠﺔ ﺳﻜﺮﺗﲑﺓ ﻗﺴﻢ ﺍﻟﻠﻐﺔ ﺍﻟﻌﺮﺑﻴﺔ ﻭﺁﺩﺍ‪‬ﺎ ﺍﻟﺪﻛﺘﻮﺭﺓ ﺷﻬﻴﺎ‬
‫ﺑﻮﺍﻧﺎ ﺍﳌﺎﺟﺴﺘﲑ‪.‬‬

‫ﻭﺃﺧﺺ ﺑﻜﻞ ﺧﻀﻮﻉ ﺧﺎﻟﺺ ﺷﻜﺮﻱ ﻭﺗﻘﺪﻳﺮﻱ ﻟﻠﻤﻜﺮﻣﲔ ﻭﺍﻟﺪﻱ ﺃﰊ‬
‫ﺍﳊﺎﺝ ﻣﺘﺴﺎﺳﻴﻪ ﻭﺃﻣﻲ ﺍﳊﺎﺟﺔ ﻣﻨﲑﺓ ﺍﻟﺬﻳﻦ ﺭﺑﻴﺎﱏ ﺃﺣﺴﻦ ﺗﺮﺑﻴﺔ ﻭﺑﺬﻻ‬
‫ﺟﻬﻮﺩﳘﺎ ﻭﻃﺎﻗﺘﻬﻤﺎ ﻟﺼﺮﻑ ﺍﻟﺮﺳﻮﻡ ﺍﻟﺪﺭﺍﺳﻴﺔ ﻷﲤﻜﻦ ﻣﻦ ﻣﻮﺍﺻﻠﺔ ﺩﺭﺍﺳﱵ‬
‫ﻭﺍﻟﻮﺻﻮﻝ ﺇﱃ ﻫﺬﻩ ﺍﳌﺮﺣﻠﺔ ﻣﻦ ﻣﺮﺍﺣﻞ ﺍﻟﺘﻌﻠﻴﻢ ﺍﻟﻌﻠﻤﻰ‪.‬‬

‫ﲨﻴﻊ ﺍﻷﺻﺪﻗﺎﺀ ﺍﶈﺒﻮﺑﲔ ﺍﻟﺬﻳﻦ ﻃﻠﺒﺖ ﻣﻌﻬﻢ ﺍﻟﻌﻠﻮﻡ ﻣﻨﺬ ﻗﻴﺎﻣﻲ ﰱ ﻫﺬﻩ‬
‫ﺍﳉﺎﻣﻌﺔ‪ ,‬ﻭﺻﺎﺣﺒﲏ ﰱ ﻛﺜﲑ ﻣﻦ ﺍﻷﻭﻗﺎﺕ ﰱ ﺍﻷﻓﺮﺍﺡ ﻭﺍﻷﺗﺮﺍﺡ‪.‬‬

‫ه‬

‫ﺃﺧﲑﺍ‪ ,‬ﺭﺟﺎﺋﻲ ﻣﻦ ﺍﳌﻮﱃ ﺳﺒﺤﺎﻧﻪ ﻭﺗﻌﺎﱃ ﺃﻥ ﳚﻌﻞ ﻫﺬﺍ ﺍﻟﺒﺤﺚ‬
‫ﺍﻟﻌﻠﻤﻲ ﻋﻤﻼ ﺻﺎﳊﺎ ﻣﻘﺒﻮﻻ‪ .‬ﺇﻧﻪ ﻭﱄ ﺍﻟﺘﻮﻓﻴﻖ ﻋﻠﻴﻪ ﺗﻮﻛﻠﺖ ﻭﺇﻟﻴﻪ ﺃﻧﻴﺐ‪.‬‬

‫ﺃﲪﺪ ﺑﺸﺮﻯ ﺭﺍﻟﻴﲔ‬

‫و‬

‫ﻗﺮﺍﺭ ﳉﻨﺔ ﺍﳌﻨﺎﻗﺸﺔ ﻭ ﺍﳊﻜﻢ ﻋﻠﻰ ﺍﻟﺒﺤﺚ‬
‫ﲤﺖ ﻣﻨﺎﻗﺸﺔ ﻫﺬﺍ ﺍﻟﺒﺤﺚ ﻭﻋﻨﻮﺍﻧﻪ‪ :‬ﺍﻟﻔﻜﺮﺓ ﻭﺍﳋﻴﺎﻝ ﰱ ﺍﳌﻘﺎﻣﺔ ﺍﳌﻄﻠﺒﻴﺔ ﻟﺒﺪﻳﻊ ﺍﻟﺰﻣﺎﻥ ﺍﳍﻤﺬﺍﱏ ﺃﻣﺎﻡ‬

‫ﳉﻨﺔ ﺍﳌﻨﺎﻗﺸﺔ ﻭﺍﳊﻜﻢ ﺑﻜﻠﻴﺔ ﺍﻵﺩﺍﺏ ﻭﺍﻟﻌﻠﻮﻡ ﺍﻹﻧﺴﺎﻧﻴﺔ ﺟﺎﻣﻌﺔ ﺷﺮﻳﻒ ﻫﺪﺍﻳﺔ ﺍﷲ ﺍﻹﺳﻼﻣﻴﺔ ﺍﳊﻜﻮﻣﻴﺔ –‬

‫ﲜﺎﻛﺮﺗﺎ‪ ،‬ﰲ ‪ ١٧‬ﻣﻦ ﻳﻮﻧﻴﻮ ‪ ٢٠١١‬ﻡ ﺍﳌﻮﺍﻓﻖ ‪ ١٥‬ﺭﺟﺐ ‪١٤٣٢‬ھ‪ .‬ﻗﺪ ﰎ ﻗﺒﻮﻟﻪ ﺷﺮﻃﺎ ﻟﻠﺤﺼﻮﻝ ﻋﻠﻰ‬
‫ﺍﻟﺪﺭﺍﺟﺔ ﺍﳉﺎﻣﻌﻴﺔ ﺍﻷﻭﱃ ﰲ ﺍﻟﻠﻐﺔ ﺍﻟﻌﺮﺑﻴﺔ ﻭ ﺁﺩﺍ‪‬ﺎ‪.‬‬

‫ﺟﺎﻛﺮﺗﺎ‪ ١٧ ،‬ﻳﻮﻧﻴﻮ ‪٢٠١١‬ﻡ‬
‫ﺭﺋﻴﺲ ﺍﻟﻠﺠﻨﺔ ﻭﻋﻀﻮ‬

‫ﳉﻨﺔ ﺍﳌﻨﺎﻗﺸﺔ ﻭﺍﳊﻜﻢ‬

‫ﺳﻜﺮﺗﲑ ﺍﻟﻠﺠﻨﺔ ﻭﻋﻀﻮ‬

‫ﺍﻟﺪﻛﺘﻮﺭﺓ ﺟﻬﻴﺎ ﺑﻮﺍﻧﺎ ﺍﳌﺎﺟﺴﺘﲑ‬
‫ﺍﻟﺪﻛﺘﻮﺭﺍﻧﺪﻭﺱ ﺃﻧﺪﺍﺝ ﺃﺳﺪﺍﺭﻱ ﺍﳌﺎﺟﺴﺘﲑ‬
‫ﺭﻗﻢ ﺍﻟﺘﻮﻇﻴﻒ‪ ١٠٥٩٠٥١٠١٩٩١٠٣١٠٠١ :‬ﺭﻗﻢ ﺍﻟﺘﻮﻇﻴﻒ ‪١٩٧٥٠٦٣٠٢٠٠٣١٢٢٠٠١ :‬‬

‫ﺍﳌﺸﺮﻑ‬
‫ﺍﻟﺪﻛﺘﻮﺭﺍﻧﺪﻭﺱ ﻧﻮﺍﻭﻯ ﺍﳌﺎﺟﺴﺘﲑ‬
‫ﺭﻗﻢ ﺍﻟﺘﻮﻇﻴﻒ ‪١٩٥٦١١٠٩١٩٩١٠٣١٠٠١:‬‬
‫ﺍﻷﻋﻀﺎﺀ‬

‫ﺍﳌﻨﺎﻗﺸﺔ ﺍﻟﺜﺎﻧﻴﺔ‬

‫ﺍﳌﻨﺎﻗﺶ ﺍﻷﻭﻝ‬

‫ﺍﻟﺪﻛﺘﻮﺭﺓ ﺟﻬﻴﺎ ﺑﻮﺍﻧﺎ ﺍﳌﺎﺟﺴﺘﲑ‬

‫ﺍﻟﺪﻛﺘﻮﺭ ﺯﺑﲑ ﺍﳌﺎﺟﺴﺘﲑ‬
‫ﺭﻗﻢ ﺍﻟﺘﻮﻇﻴﻒ‪١٩٧٣١٢٣١١٩٩٩٠٣١٠١٢:‬‬
‫ج‬

‫ﺭﻗﻢ ﺍﻟﺘﻮﻇﻴﻒ ‪١٩٧٥٠٦٣٠٢٠٠٣١٢٢٠٠١ :‬‬

‫ﲡﺮﻳﺪ‬
‫ﺃﲪﺪ ﺑﺸﺮﻯ ﺭﺍﻟﺪﻳﻦ ‪ :‬ﺍﻟﻔﻜﺮﺓ ﻭﺍﳋﻴﺎﻝ ﰱ ﺍﳌﻘﺎﻣﺔ ﺍﳌﻄﻠﺒﻴﺔ ﻟﺒﺪﻳﻊ ﺍﻟﺰﻣﺎﻥ‬
‫ﺍﳍﻤﺬﺍﱐ‪.‬‬
‫ﺇﻥ ﺍﳌﻘﺎﻣﺔ ﻟﻐﺔ ﻫﻰ ﺍ‪‬ﻠﺲ ﺃﻭ ﺍﳉﻤﺎﻋﺔ ﻣﻦ ﺍﻟﻨﺎﺱ‪ .‬ﻭﺃﺻﻞ ﻛﻠﻤﺔ ﻣﻘﺎﻣﺔ‬
‫ﻋﻨﺪ ﳏﻤﺪ ﻣﺼﻄﻔﻰ ﻫﻰ ﺍﺳﻢ ﻣﻜﺎﻥ ﻣﻦ ﻗﺎﻡ ﲟﻌﲎ ﺃﻗﺎﻡ‪ ،‬ﻭﺍﳌﻌﲎ ﺃ‪‬ﺎ ﻣﻮﺿﻮﻉ‬
‫ﻟﻺﻗﺎﻣﺔ‪ .‬ﻭﺫﻫﺐ ﺍﳊﺮﻳﺮﻯ ﺇﱃ ﺃﻥ ﺍﳌﻘﺎﻣﺔ ﻫﻰ ﺍ‪‬ﻠﺲ ﻳﻘﻮﻡ ﻓﻴﻪ ﺍﳋﻄﻴﺐ ﳜﺺ‪‬‬
‫ﻋﻠﻰ ﻓﻌﻞ ﺍﳋﲑ‪ .‬ﻭﺃﻣﺎ ﻋﻨﺪ ﺍﺑﻦ ﺍﳌﺪﺑﺮ ﻫﻰ ﺍﳋﻄﺒﺔ ﺃﻭ ﺍﻟﻌﻈﺔ ﻳﻠﻘﻴﻬﺎ ﺍﻟﺮﺟﻞ ﰱ‬
‫ﺣﺼﺮﺓ ﺍﳋﻠﻴﻔﺔ ﺃﻭ ﺍﳌﻠﻚ‪ .‬ﻭﺍﺻﻄﻼﺣﺎ ﻫﻰ ﻧﻮﻉ ﻣﻦ ﺍﻟﻨﺜﺮ ﺍﻟﻔﲏ ﳝﺘﺎﺯ ﲟﺎ ﻳﻜﻮﻥ ﻓﻴﻪ‬
‫ﻣﻦ ﺍﻷﻧﺎﻗﺔ ﺍﻟﻠﻔﻈﻴﺔ‪ .‬ﻭﺍﳌﻘﺎﻣﺔ ﺍﳌﻄﻠﺒﻴﺔ ﻫﻰ ﺇﺣﺪﻯ ﻣﻦ ﺍﳌﻘﺎﻣﺎﺕ ﺑﺪﻳﻊ ﺍﻟﺰﻣﺎﻥ‬
‫ﺍﳍﻤﺬﺍﱏ‪ ،‬ﻭﻛﺎﻧﺖ ﻓﻴﻬﺎ ﺣﻘﻴﻘﺔ ﻭﺧﻴﺎﻻ‪.‬‬
‫ﻭﻣﻦ ﺣﻼﻝ ﺍﻟﺒﺤﺚ ﳛﺎﻭﻝ ﺍﻟﺒﺎﺣﺚ ﺃﻥ ﳚﻴﺐ ﺍﻷﺳﺌﻠﺔ ﺍﻷﺗﻴﺔ ‪ :‬ﻣﺎ ﻫﻮ‬
‫ﺍﳌﻘﺎﻣﺔ؟ ﻭﻣﺎ ﺍﻟﻔﻜﺮﺓ ﻭﺍﳋﻴﺎﻝ ﰲ ﺍﳌﻘﺎﻣﺔ ﺍﳌﻄﻠﺒﻴﺔ ﻟﺒﺪﻳﻊ ﺍﻟﺰﻣﺎﻥ ﺍﳍﻤﺬﺍﱏ؟ ﺃﻣﺎ‬

‫ﺍﻟﻐﺮﺽ ﻣﻦ ﺍﻟﺒﺤﺚ ﻓﻬﻮ ﺍﻟﻜﺸﻒ ﻋﻤﺎ ﻳﺘﻌﻠﹼﻖ ﺑﺎﻟﻔﻜﺮﺓ ﻭﺍﳋﻴﺎﻝ ﰱ ﺍﳌﻘﺎﻣﺔ ﺍﳌﻄﻠﺒﻴﺔ‬
‫ﻟﺒﺪﻳﻊ ﺍﻟﺰﻣﺎﻥ ﺍﳍﻤﺬﺍﱏ ﺑﺎﻹﺿﺎﻓﺔ ﺇﱃ ﻣﻌﺮﻓﺔ ﻣﻔﻬﻮﻡ ﺍﳌﻘﺎﻣﺔ ﻭﻧﺸﺄ‪‬ﺎ ﻭﺩﻭﺭ ﺍﳍﻤﺬﺍﱏ‬
‫ﻓﻴﻬﺎ‪ .‬ﻹﺟﺎﺑﺔ ﺍﻟﺴﺆﺍﻝ ﺍﳌﻄﺮﻭﺡ ﻭﻟﻠﺤﺼﻮﻝ ﻋﻠﻰ ﺍﻟﻐﺮﺽ ﺍﳌﺮﺟﻮﺀ ﻳﺴﺘﺨﺪﻡ‬
‫ﺍﻟﺒﺎﺣﺚ ﺍﻟﻄﺮﻳﻘﺔ ﺍﳌﻜﺘﺒﻴﺔ ﰱ ﲨﻊ ﻣﻮﺍﺩ ﺍﻟﺒﺤﺚ ﻭﲢﻠﻴﻠﻬﺎ ﲢﺖ ﺍﻟﺪﺭﺍﺳﺔ ﺍﻟﻨﻘﺪ‬
‫ﺍﻷﺩﰊ ﻣﻌﺘﻤﺪﺍ ﻋﻠﻰ ﻛﺘﺎﺏ "ﺩﻟﻴﻞ ﺍﻟﺒﺤﺚ ﺍﻟﺬﻯ ﺃﺻﺪﺭﻩ ﻗﺴﻢ ﺍﻟﻠﻐﺔ ﺍﻟﻌﺮﺑﻴﺔ‬
‫ﻭﺁﺩﺍ‪‬ﺎ"‪.‬‬

‫ﻭﺑﻌﺪ ﺍﻟﺘﺤﻠﻴﻞ ﻋﻦ ﺍﳌﻮﺿﻮﻉ ﻇﻬﺮﺕ ﻧﺘﺎﺋﺞ ﺍﻟﺒﺤﺚ ﻓﻴﻤﺎ ﻳﻠﻰ‪ :‬ﺃﻣﺎ ﺍﻟﻔﻜﺮﺓ‬
‫ﰱ ﺍﳌﻘﺎﻣﺔ ﺍﳌﻄﻠﺒﻴﺔ ﻫﻰ‪ .١ :‬ﺇﻥ ﺍﻹﻧﺴﺎﻥ ﻻﻳﻘﺒﻞ ﺍﻟﻔﺨﺮ ﺣﱴ ﻳﻜﻮﻥ ﻓﺨﺮﻩ ﺑﺈﺣﺪﻯ‬
‫ﺟﻬﱵ ﺍﻟﺸﺮﻑ ﺍﳊﻘﻴﻘﻰ ﻭﻫﻮ ﺍﻟﻌﻠﻢ ﻭﺍﻟﻨﺴﺐ ‪ .٢‬ﺇﻥ ﻣﻦ ﻳﺄﻣﻞ ﺃﻥ ﻳﻨﺎﻝ ﺍﻟﻌﻠﻢ ﺃﻭ‬
‫ﻳﻄﻠﺐ ﲢﺼﻴﻠﻪ ﻻﻳﺰﺍﻝ ﻳﺪﺃﺏ ﻋﻠﻰ ﺫﺍﻟﻚ ﻭﳚﺘﻬﺪ ﻓﻴﻪ ﻭﻻ ﻳﻌﺘﺮﻳﻪ ﺍﳌﻠﻞ ﻭﺍﻟﻴﺄﺱ‬
‫ﻣﻬﻤﺎ ﺷﻖ‪ ‬ﻋﻠﻴﻪ ﺃﻭ ﺗﻌﻴﺐ ﻓﻴﻪ ‪ .٣‬ﺇﻥ ﻣﻦ ﻋﻤﻞ ﻋﻤﻼ ﻭﺟﺪ ﻋﺎﻗﺒﺘﻪ ﻭﻟﻘﻰ ﻏﺒ‪‬ﻪ ‪. ٤‬‬

‫ﺇﻥ ﰱ ﺍﻟﺪﻧﻴﺎ ﻻﺑﺪ‪ ‬ﻣﻦ ﺗﻨﺎﻭﻝ ﺷﻴﺊ ﻣﻦ ﺍﻟﻄﻌﺎﻡ ﻭﳛﻔﻆ ﻋﻠﻴﻨﺎ ﺣﻴﺎﺗﻨﺎ ﳌﺎ ﻧﺎﻟﻨﺎ ﻣﻦ‬
‫ﺷﺪﺓ ﺍﳉﻮﻉ‪ .‬ﻭﺃﻣﺎ ﺍﳋﻴﺎﻝ ﻫﻮ ﺃﻥ ﺍﻟﺒﺪﻳﻊ ﻗﺪ ﺍﺳﺘﻌﻤﻞ ﺑﺼﻮﺭﺓ ﺍﻟﺘﺸﺒﻴﻪ ﻭﺍﻟﻜﻨﺎﻳﺔ‬
‫ﻷﻧﻪ ﻭﻫﻮ ﻳﺪﻝﹼ ﻋﻠﻰ ﻗﻮ‪‬ﺓ ﺧﻴﺎﻟﻪ ﺍﻟﻌﺎﻟﻴﺔ ﻭﺗﻜﻮﻥ ﻋﻠﻰ ﺍﳋﻴﺎﻝ ﺍﻻﺑﺘﻜﺎﺭﻯ‪.‬‬

‫ﳏﺘﻮﻳﺎﺕ ﺍﻟﺒﺤﺚ‬
‫ﻣﻮﺍﻓﻘﺔ ﺍﳌﺸﺮﻑ‪ ........................................................‬ﺃ‬
‫ﻗﺮﺍﺭ ﳉﻨﺔ ﺍﳌﻨﺎﻗﺸﺔ ﻭﺍﳊﻜﻢ ﻋﻠﻰ ﺍﻟﺒﺤﺚ‪ .................................‬ﺏ‬

‫ﺗﺼﺮﻳﺢ ﺍﻟﺒﺎﺣﺚ‪ ......................................................‬ﺝ‬
‫ﲡﺮﻳﺪ‪ ................................................................‬ﺩ‬
‫ﺷﻜﺮ ﻭﺗﻘﺪﻳﺮ‪ .........................................................‬ﻩ‬
‫ﳏﺘﻮﻳﺎﺕ ﺍﻟﺒﺤﺚ‪ ......................................................‬ﻭ‬

‫ﺍﻟﺒﺎﺏ ﺍﻷﻭﻝ‬
‫ﻣﻘﺪﻣﺔ‬
‫)‪(٩- ١‬‬

‫ﺃ‪ .‬ﺧﻠﻔﻴﺔ ﺍﳌﺸﻜﻠﺔ‪١ .....................................................‬‬
‫ﺏ‪ .‬ﲢﺪﻳﺪ ﺍﳌﺸﻜﻠﺔ‪٦ ...................................................‬‬
‫ﺝ‪ .‬ﺍﻟﻐﺮﺽ ﻣﻦ ﺍﻟﺒﺤﺚ‪٧ ................................................‬‬
‫ﺩ‪ .‬ﺍﻟﺪﺭﺍﺳﺔ ﺍﻟﺴﺎﺑﻘﺔ‪٧ ...................................................‬‬
‫ﻩ‪ .‬ﻣﻨﻬﺞ ﺍﻟﺒﺤﺚ‪٨ .....................................................‬‬

‫ﻭ‪ .‬ﺧﻄﺔ ﺍﻟﺒﺤﺚ‪٨ ......................................................‬‬
‫ﺍﻟﺒﺎﺏ ﺍﻟﺜﺎﱏ‬
‫ﺑﺪﻳﻊ ﺍﻟﺰﻣﺎﻥ ﺍﳍﻤﺬﺍﱏ ﻭﺍﳌﻘﺎﻣﺎﺕ‬
‫)‪(٣٤- ١٠‬‬

‫ﺃ‪ .‬ﺑﺪﻳﻊ ﺍﻟﺰﻣﺎﻥ‪١٠ ......................................................‬‬
‫ﺃ‪ .‬ﻧﺸﺄﺗﻪ ﻭﺷﺨﺼﻴﺘﻪ‪١٠ .............................................‬‬
‫ﺏ‪ .‬ﺷﻴﻮﺧﻪ‪١٣ ....................................................‬‬
‫ﺝ‪ .‬ﻣﺆﻟﻔﺎﺗﻪ‪١٥ .....................................................‬‬
‫ﺏ‪ .‬ﺍﳌﻘﺎﻣﺎﺕ‪٢٠ .......................................................‬‬
‫ﺃ‪ .‬ﻣﻔﻬﻮﻡ ﺍﳌﻘﺎﻣﺔ‪٢٠ ..................................................‬‬
‫ﺏ‪ .‬ﻧﺸﺄﺓ ﻓﻦ ﺍﳌﻘﺎﻣﺔ ﻭﺩﻭﺭ ﺍﳍﻤﺬﺍﱏ ﻓﻴﻬﺎ‪٢٥ ..............................‬‬
‫ﺝ‪ .‬ﳕﻮﺫﺝ ﻣﻦ ﻣﻘﺎﻣﺔ ﺍﳌﻄﻠﺒﻴﺔ ﻟﺒﺪﻳﻊ ﺍﻟﺰﻣﺎﻥ ﺍﳍﻤﺬﺍﱏ‪٣١.....................‬‬

‫ﺍﻟﺒﺎﺏ ﺍﻟﺜﺎﻟﺚ‬
‫ﻣﻔﻬﻮﻡ ﺍﻟﻔﻜﺮﺓ ﻭﺍﳋﻴﺎﻝ‬
‫)‪(٤٤- ٣٥‬‬

‫ﺃ‪ .‬ﺍﻟﻔﻜﺮﺓ ﻣﻦ ﻧﺎﺣﻴﺔ ﺍﻟﻨﻘﺪ ﺍﻷﺩﰊ‪٣٥....................................‬‬

‫ﺏ‪ .‬ﺍﳋﻴﺎﻝ‪٣٩ .......................................................‬‬
‫ﺃ‪ .‬ﻣﻦ ﻧﺎﺣﻴﺔ ﺍﻟﻨﻘﺪ ﺍﻷﺩﰉ‪٣٩ ....................................‬‬
‫ﺏ‪ .‬ﻣﻦ ﻧﺎﺣﻴﺔ ﻋﻠﻢ ﺍﻟﺒﻼﻏﺔ‪٤٣....................................‬‬

‫ﺍﻟﺒﺎﺏ ﺍﻟﺮﺍﺑﻊ‬

‫ﺍﻟﻔﻜﺮﺓ ﻭﺍﳋﻴﺎﻝ ﰱ ﺍﳌﻘﺎﻣﺔ ﺍﳌﻄﻠﺒﻴﺔ ﻟﺒﺪﻳﻊ ﺍﻟﺰﻣﺎﻥ ﺍﳍﻤﺬﺍﱏ‬
‫)‪(٥٠- ٤٥‬‬

‫ﺃ‪ .‬ﻭﺟﻮﻩ ﺍﻟﻔﻜﺮﺓ ﻓﻴﻬﺎ‪٤٤ ................................................‬‬
‫ﺏ‪ .‬ﻭﺟﻮﻩ ﺍﳋﻴﺎﻝ ﻓﻴﻬﺎ‪٤٦ ...............................................‬‬

‫ﺍﻟﺒﺎﺏ ﺍﳋﺎﻣﺲ‬
‫ﺍﳋﺎﲤﺔ‬
‫)‪(٥٦- ٥١‬‬

‫ﺍﳋﻼﺻﺔ‪٥١ ...........................................................‬‬
‫ﺍﻻﻗﺘﺮﺍﺣﺎﺕ‪٥٣ ........................................................‬‬
‫ﻣﺮﺍﺟﻊ ﺍﻟﺒﺤﺚ‪٥٥ ......................................................‬‬

‫ﺍﻟﺒﺎﺏ ﺍﻷﻭﻝ‬
‫ﻣﻘﺪﻣﺔ‬
‫ﺃ‪ .‬ﺧﻠﻔﻴﺔ ﺍﳌﺸﻜﻠﺔ‬
‫ﻣﻌﺮﻭﻑ ﺃﻥ ﻣﺎﺩﺓ ﺍﻟﺒﺤﺚ ﺍﻷﺩﰊ ﻫﻰ ﺍﻷﺩﺏ ﺑﻔﺮﻋﻴﻪ ﻣﻦ ﺍﻟﺸﻌﺮ ﻭﺍﻟﻨﺜﺮ ﻭﻣﺎ‬
‫ﺍﻣﺘﺪ ﻋﻠﻰ ﻛﻞ ﻓﺮﻉ ﻣﻦ ﻏﺼﻮﻥ ﳐﺘﻠﻔﺔ‪ .‬ﻭﳓﻦ ﻧﺘﺪﺍﻭﻝ ﻛﻠﻤﺔ ﺍﻷﺩﺏ ﻭﺗﺪﻭﺭ ﻋﻠﻰ‬
‫ﺃﻟﺴﻨﺘﻨﺎ ﺩﻭﺭﺍﻧﺎ ﻭﺍﺳﻌﺎ ﻟﻜﺜﺮﺓ ﺍﻃﻼﻋﻨﺎ ﻋﻠﻰ ﺃﺛﺎﺭﻩ ﺍﻟﺸﻌﺮﻳﺔ ﻭﺍﻟﻨﺜﺮﻳﺔ‪.‬ﻭﺍﻷﺩﺏ ﻛﻤﺎ ﻫﻮ‬
‫ﺫﺍﺋﻊ ﻣﺸﻬﻮﺭ ﻳﻘﺼﺪ ﺑﻪ ﺇﱃ ﺇﺛﺎﺭﺓ ﺍﻹﻧﻔﻌﺎﻻﺕ ﰱ ﻗﻠﻮﺏ ﺍﻟﻘﺮﺍﺀ ﻭﺍﻟﺴﺎﻣﻌﲔ‪ ،‬ﻭﻟﺬﻟﻚ‬
‫ﻛﺎﻥ ﻳﻌﺘﻤﺪ ﻋﻠﻰ ﺍﳋﻴﺎﻝ‪ ،‬ﻳﻌﺘﻤﺪ ﻋﻠﻴﻪ ﰱ ﺍﻟﺘﺮﻛﻴﺐ ﺍﻟﻜﻠﻰ ﻻﺛﺎﺭﻩ‪.١‬‬

‫ﻭﺃﺩﺏ ﺍﻟﻠﻐﺔ ﻫﻮ ﻣﺎ ﺃﺛﲑ ﻋﻦ ﺷﻌﺮﺍﺋﻬﺎ ﻭﻛﺘﺎ‪‬ﺎ ﻣﻦ ﺑﺪﺍﺋﻊ ﺍﻟﻘﻮﻝ ﺍﳌﺸﺘﻤﻞ ﻋﻠﻰ‬
‫ﺗﺼﻮﺭ ﺍﻷﺧﻠﺔ ﺍﻟﺪﻗﻴﻘﺔ‪ ،‬ﻭﺗﺼﻮﻳﺮ ﺍﳌﻌﺎﱏ ﺍﻟﺮﻗﻴﻘﺔ‪ ،‬ﳑﺎ ﻳﻬﺬﺏ ﺍﻟﻨﻔﺲ ﻭﻳﺮﻗﻖ ﺍﳊﺲ‬
‫ﻭﻳﺜﻘﻒ ﺍﻟﻠﺴﺎﻥ‪ ،‬ﻭﻗﺪ ﻳﻄﻠﻖ ﺍﻷﺩﺏ ﻋﻠﻰ ﲨﻴﻊ ﻣﺎ ﺻﻨﻒ ﰱ ﻛﻞ ﻟﻐﺔ ﻣﻦ ﺍﻟﺒﺤﻮﺙ‬
‫‪١‬ﺍﻟﺪﻛﺘﻮﺭ ﺷﻮﻗﻰ ﺿﻴﻒ‪ ،‬ﺍﻟﺒﺤﺚ ﺍﻷﺩﰉ‪ ) ،‬ﺍﻟﻘﺎﻫﺮﺓ ‪ :‬ﺩﺍﺭ ﺍﳌﻌﺎﺭﻑ‪ ،(١١١٩ ،‬ﺹ ‪٩‬‬

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‫ﺍﻟﻌﻠﻤﻴﺔ ﻭﺍﻟﻔﻨﻮﻥ ﺍﻷﺩﺑﻴﺔ‪ ،‬ﻓﻴﺸﺘﻤﻞ ﻋﻠﻰ ﻛﻞ ﻣﺎﺍﻧﺘﺠﺘﻪ ﺧﻮﺍﻃﺮ ﺍﻟﻌﻠﻤﺎﺀ ﻭﻗﺮﺍﺋﺢ‬
‫ﺍﻟﻜﺘﺎﺏ ﻭﺍﻟﺸﻌﺮﺍﺀ‪.٢‬‬

‫ﱂ ﺗﻌﺮﻑ ﺍﳊﻴﺎﺓ ﺍﻷﺩﺑﻴﺔ ﻭﺍﻟﻌﻠﻤﻴﺔ ﻋﻨﺪ ﺍﻟﻌﺮﺏ ﻋﻬﺪﺍ ﺧﺼﺒﺎ ﺑﺎﻟﺮﺟﺎﻝ ﻭﺍﻷﻓﻜﺎﺭ‬
‫ﻭﳐﺘﻠﻒ ﺍﻷﻣﺰﺟﺔ‪ ،‬ﻛﻤﺎ ﻋﺮﻓﺖ ﰱ ﺻﺪﺭ ﺍﻟﺪﻭﻟﺔ ﺍﻟﻌﺒﺎﺳﻴﺔ‪ .‬ﻓﻘﺪ ﻛﺎﻥ ﻓﻴﻬﺎ ﺿﺮﻭﺏ‬
‫ﺷﱴ ﻣﻦ ﺍﻟﺘﻔﻜﲑ‪ ،‬ﻭﺿﺮﻭﺏ ﺷﱴ ﻣﻦ ﺍﻟﺒﺤﻮﺙ ؛ ﻭﻗﺪ ﻛﺎﻥ ﻓﻴﻬﺎ ﻭﻟﻮﻉ ﺑﺎﳌﻌﺮﻓﺔ‪،‬‬
‫ﻭﺍﻧﺼﺮﺍﻑ ﺇﱃ ﺍﻟﻌﻠﻮﻡ ﻭﺍﻟﻔﻨﻮﻥ ﰱ ﻗﻮﺓ ﻭﺇﳝﺎﻥ ‪.٣‬‬

‫ﻭﺍﻟﻌﺼﺮ ﺍﻟﻌﺒﺎﺳﻰ ﻫﻮ ﺍﻟﻌﺼﺮ ﺍﻟﺬﻫﱮ ﻟﻠﻜﺘﺎﺑﺔ ﺍﻟﻔﻨﻴﺔ‪ ،‬ﻓﻘﺪ ﻧﺒﻎ ﻓﻴﻪ ﻛﺒﺎﺭ‬
‫ﺍﻟﻜﺘﺎﺏ ﺍﻟﺬﻳﻦ ﺟﺪﺩﻭﺍ ﰱ ﺃﺳﺎﻟﻴﺐ ﺍﻟﻨﺜﺮ ﻭﻣﻌﺎﻧﻴﻪ‪ ،‬ﻭﻓﺘﺤﻮﺍ ﺁﻓﺎﻗﺎ ﺟﺪﻳﺪﺓ ﻟﻠﻜﺘﺎﺑﺔ‪.‬ﻭﻗﺪ‬
‫ﺍﺭﺗﻔﻊ ﺷﺄﻥ ﺍﻟﻜﺘﺎﺏ ﰱ ﺍﻟﻌﺼﺮ ﺍﻟﻌﺒﺎﺳﻰ‪ ،‬ﻓﺄﺻﺒﺢ ﻟﻜﻞ ﺧﻠﻴﻔﺔ ﺃﻭ ﻭﺯﻳﺮ ﻛﺎﺗﺐ ﺃﻭ‬

‫‪٢‬ﺃﲪﺪ ﺣﺴﻦ ﺍﻟﺰﻳﺎﺕ‪ ،‬ﺗﺎﺭﻳﺦ ﺍﻷﺩﺏ ﺍﻟﻌﺮﰉ‪ ) ،‬ﺍﻟﻘﺎﻫﺮﺓ ‪ :‬ﺩﺍﺭ ﺍﻟﻨﻬﻀﺔ‪ ،‬ﺩﺕ (‪ .‬ﺩ ﻁ‪ ،‬ﺹ ‪٧‬‬

‫‪٣‬ﻃﻪ ﺃﲪﺪ ﺇﺑﺮﺍﻫﻴﻢ ‪ ،‬ﺗﺎﺭﻳﺦ ﺍﻟﻨﻘﺪ ﺍﻷﺩﰊ ﻋﻨﺪ ﺍﻟﻌﺮﺏ ﻣﻦ ﺍﻟﻌﺼﺮ ﺍﳉﺎﻫﻠﻲ ﺇﱃ ﺍﻟﻘﺮﻥ ﺍﻟﺮﺍﺑﻊ‬
‫ﺍﳍﺠﺮﻯ‪)،‬ﺑﲑﻭﺕ ‪-‬ﻟﺒﻨﺎﻥ‪ :‬ﺩﺍﺭ ﺍﻟﻜﺘﺐ ﺍﻟﻌﻠﻤﻴﺔ‪٢٠٠٣ ،‬ﻡ ‪١٤٢٤-‬ﻩ(‪ ،‬ﻁ ‪ ،٣‬ﺹ ‪.١٠٧‬‬

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‫ﺃﻛﺜﺮ‪ .‬ﻭﻫﻨﺎﻙ ﺍﻟﻜﺘﺎﺑﺎﺕ ﻭﺍﻟﺮﺳﺎﺋﻞ ﺍﻹﺧﻮﺍﻧﻴﺔ ﺍﳌﺘﺒﺎﺩﻟﺔ ﺑﲔ ﺍﻟﻜﺘﺎﺏ ﰱ ﺃﻣﻮﺭﻫﻢ‬
‫ﺍﳋﺎﺻﺔ ﻣﻦ ﻣﺪﺡ ﺃﻭ ﺍﻋﺘﺬﺍﺭ ﺃﻭ ‪‬ﻨﺌﺔ ﺃﻭ ﺗﻌﺰﻳﺔ‪.٤‬‬

‫ﻭﻟﻌﻞ ﻣﺎ ﻳﻮﺿﺢ ﺍﻟﻘﻮﻝ ﻫﻮ ﺃﻥ ﻧﺸﺄ ﰱ ﺃﻭﺍﺧﺮ ﺍﻟﻌﺼﺮ ﺍﻟﻌﺒﺎﺳﻰ ﻓﻦ ﺟﺪﻳﺪ‬
‫ﻭﻓﺴﺢ ﻟﻪ ﳎﺎﻻ ﺭﺣﺒﺎ ﻭﻫﻮ ﺍﳌﻘﺎﻣﺔ ﺍﻟﱴ ﺃﺑﺪﻋﻬﺎ ﺑﺪﻳﻊ ﺍﻟﺰﻣﺎﻥ ﺍﳍﻤﺬﺍﱏ‪ ،‬ﻭﻗﻴﻞ ﺇﻧﻪ‬
‫ﺃﺧﺬﻫﺎ ﻋﻦ ﺃﺳﺘﺎﺫﻩ ﺍﺑﻦ ﻓﺎﺭﺱ‪.٥‬‬

‫ﺇﻥ ﺃﻭﻝ ﻣﻦ ﺃﻧﺸﺄ ﺍﳌﻘﺎﻣﺎﺕ ﰱ ﺍﻷﺩﺏ ﺍﻟﻌﺮﰉ ﻫﻮ ﺍﻟﻌﺎﱂ ﺍﻟﻠﻐﻮﻯ ﺍﺑﻮ ﺑﻜﺮ ﺑﻦ‬
‫ﺩﺭﻳﺪ)ﺍﳌﺘﻮﰱ ﻋﺎﻡ ‪ ٣٢١‬ﻩ(‪ ،‬ﻓﻘﺪ ﻛﺘﺐ ﺃﺭﺑﻌﲔ ﻣﻘﺎﻣﺔ ﻛﺎﻧﺖ ﻫﻰ ﺍﻷﺻﻞ ﻟﻔﻦ‬
‫ﺍﳌﻘﺎﻣﺎﺕ‪ ،‬ﻭﻟﻜﻦ ﻣﻘﺎﻣﺘﻪ ﻏﲑ ﻣﻌﺮﻭﻓﺔ ﻟﻨﺎ‪ .‬ﰒ ﺟﺎﺀ ﺑﻌﺪﻩ ﺍﻟﻌﺎﱂ ﺍﻟﻠﻐﻮﻯ ﺃﲪﺪ ﺑﻦ ﻓﺎﺭﺱ‬
‫)ﺍﳌﺘﻮﰱ ﻋﺎﻡ ‪ ٣٩٥‬ﻩ(‪ ،‬ﻓﻜﺘﺐ ﻋﺪﺩﺍ ﻣﻦ ﺍﳌﻘﺎﻣﺎﺕ ﺃﻳﻀﺎ‪ .‬ﰒ ﺟﺎﺀ ﺑﻌﺪﻩ ﺑﺪﻳﻊ ﺍﻟﺰﻣﺎﻥ‬
‫ﺍﳍﻤﺬﺍﱏ‪ ،‬ﻭﻛﺘﺐ ﻣﻘﺎﻣﺎﺗﻪ ﺍﳌﺸﻬﻮﺭﺓ‪ ،‬ﻭﻗﺪ ﺗﺄﺛﺮ ﻓﻴﻬﺎ ﺑﺎﺑﻦ ﻓﺎﺭﺱ ﺣﻴﺚ ﺩﺭﺱ ﻋﻠﻴﻪ‪.‬‬

‫ﻭﻳﻌﺘﱪ ﺍﻟﺒﺪﻳﻊ ﻫﻮ ﺍﻟﺮﺍﺋﺪ ﺍﳊﻘﻴﻘﻰ ﻟﻠﻤﻘﺎﻣﺎﺕ ﰱ ﺍﻷﺩﺏ ﺍﻟﻌﺮﰉ‪ .‬ﰒ ﺟﺎﺀ ﺑﻌﺪﻩ ﻛﺘﺎﺏ‬
‫‪ ٤‬ﳏﻤﺪ ﻋﺒﺪ ﺍﻟﺮﲪﻦ ﺍﻟﺮﺑﻴﻊ‪ ،‬ﺍﻷﺩﺏ ﺍﻟﻌﺮﰉ ﻭﺗﺎﺭﳜﻪ‪ ،١٤١. ،‬ﺹ ‪٨٣‬‬
‫‪ ٥‬ﺍﳊﺮﻳﺮﻯ‪ ،‬ﻣﻘﺎﻣﺎﺕ ﺍﳊﺮﻳﺮﻯ‪ ) ،‬ﺑﲑﻭﺕ‪ :‬ﺩﺍﺭ ﺻﺎﺩﺭ‪ ، ( ١٩٨.،‬ﺹ ‪٥‬‬

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‫ﻛﺜﲑﻭﻥ‪ ،‬ﺃﺷﻬﺮﻫﻢ ﺃﺑﻮ ﳏﻤﺪ ﺍﻟﻘﺎﺳﻢ ﺑﻦ ﻋﻠﻰ ﺍﳊﺮﻳﺮﻯ ﺻﺎﺣﺐ ﺍﳌﻘﺎﻣﺎﺕ ﺍﳌﺸﻬﻮﺭﺓ‬
‫ﲟﻘﺎﻣﺎﺕ ﺍﳊﺮﻳﺮﻯ‪.٦‬‬

‫ﻟﻘﺪ ‪‬ﺾ ﻓﻦ ﺍﳌﻘﺎﻣﺔ ﺍﻟﺬﻯ ﺃﺳﺴﻪ ﺍﳍﻤﺬﺍﱏ ﰒ ﺍﳊﺮﻳﺮﻯ ‪‬ﺬﻩ ﺍﳌﻬﻤﺔ ﰱ ﳎﺎﻝ‬
‫ﺍﻟﻨﺜﺮ‪ ،‬ﻭﱂ ﺗﻜﻦ ﺍﳌﻘﺎﻣﺎﺕ ﻫﻰ ﺍﻟﺸﻜﻞ ﺍﻟﻘﺼﺼﻲ ﺍﻟﻮﺣﻴﺪ ﺍﻟﺬﻯ ﻋﺮﻓﻪ ﺍﻷﺩﺏ ﺍﻟﻌﺮﰉ‬
‫ﻋﱪ ﺍﻟﻌﺼﻮﺭ ﺍﻟﻌﺒﺎﺳﻴﺔ‪.٧‬‬

‫ﻭﺍﳌﻘﺎﻣﺎﺕ ﻫﻰ ﺣﻜﺎﻳﺎﺕ ﻗﺼﲑﺓ ﺗﺸﺘﻤﻞ ﻋﻠﻰ ﻛﻞ ﻭﺍﺣﺪﺓ ﻣﻨﻬﺎ ﺣﺎﺩﺛﺔ ﻻ‬
‫ﺗﺴﺘﻐﺮﻕ ﻏﺎﻟﺒﺎ ﺃﻛﺜﺮ ﻣﻦ ﻣﻘﺎﻣﺔ )ﺟﻠﺴﺔ( ﻭﺗﻨﺘﻬﻰ ﺑﻌﻈﺔ ﺃﻭ ﻣﻠﺤﺔ‪ ،‬ﻭﳊﺴﻦ ﺍﻟﺪﻳﺒﺎﺟﺔ‬
‫ﻭﺃﻧﺎﻗﺔ ﺍﻷﺳﻠﻮﺏ‪ ،‬ﻭﺍﻟﺒﺪﻳﻊ ﺃﻭﻝ ﻣﻦ ﺃﺟﺎﺩ ﻫﺬﺍ ﺍﻟﻨﻮﻉ‪.٨‬‬

‫ﻭﺍﳌﻘﺎﻣﺎﺕ ﺃﻗﺎﺻﻴﺺ ﺧﻴﺎﻟﻴﺔ ﳐﺘﻠﻔﺔ ﺍﻷﻏﺮﺍﺽ ﻭﺍﳌﻮﺿﻮﻋﺎﺕ ﻓﻤﻨﻬﺎ ﺍﻷﺩﺑﻴﺔ‪،‬‬
‫ﻭﻣﻨﻬﺎ ﺍﻟﻌﻠﻤﻴﺔ ﻭﻣﻨﻬﺎ ﺍﻟﺪﻳﻨﻴﺔ ﻭﻣﻨﻬﺎ ﺍﻻﺟﺘﻤﺎﻋﻴﺔ ﺃﻭ ﺍﳋﻠﻘﻴﺔ ﻭﻣﻨﻬﺎ ﺍ‪‬ﻮﻧﻴﺔ‪ .‬ﻭﻓﻴﻬﺎ‬
‫‪ ٦‬ﳏﻤﺪ ﻋﺒﺪ ﺍﻟﺮﲪﻦ ﺍﻟﺮﺑﻴﻊ‪ ،‬ﺍﳌﺮﺟﻊ ﺍﻟﺴﺎﺑﻖ‪ ،‬ﺹ ‪٨٧‬‬
‫‪٧‬ﳏﻤﺪ ﺣﺴﻦ ﻋﺒﺪ ﺍﷲ‪ ،‬ﻣﻘﺪﻣﺔ ﰱ ﺍﻟﻨﻘﺪ ﺍﻷﺩﰉ‪) ،‬ﺩﺍﺭ ﺍﻟﺒﺤﻮﺙ ﺍﻟﻌﻠﻤﻴﺔ(‪ ،‬ﺹ ‪٤١٢‬‬
‫‪ ٨‬ﺃﲪﺪ ﺣﺴﻦ ﺍﻟﺰﻳﺎﺕ‪ ،‬ﺍﳌﺮﺟﻊ ﺍﻟﺴﺎﺑﻖ‪ ،‬ﺹ‬

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‫ﺳﺨﺮ ﺷﺪﻳﺪ‪ ،‬ﻭﻧﻘﺪ ﻻﺫﻉ‪ ،‬ﻭﻓﻴﻬﺎ ﺿﺮﻭﺏ ﻣﻦ ﺍﻟﺘﺨﺎﺑﺚ ﻭﺍﻻﺣﺘﻴﺎﻝ‪ ،‬ﻟﻠﺘﻜﺴﺐ‬
‫ﻭﺍﻟﺘﻌﻴﺶ‪ .‬ﻭﻓﻴﻬﺎ ﺻﻮﺭ ﻣﺘﻠﻮ‪‬ﻥ ﻟﻄﺒﺎﺋﻊ ﺍ‪‬ﺘﻤﻊ ﻭﻋﺎﺩﺍﺗﻪ‪.٩‬‬

‫ﻭﻛﺎﻧﺖ ﺍﳌﻘﺎﻣﺔ ﺩﻳﻮﺍﻧﺎ ﳑﺘﻌﺎ ﻟﻸﻟﻔﺎﻅ ﺍﻟﻌﺮﺑﻴﺔ‪ ،‬ﻭﻧﻮﺍﺩﺭ ﺍﻟﻠﻐﺔ‪ ،‬ﻭﺍﻟﺼﻨﺎﻋﺔ‬
‫ﺍﻟﻠﻔﻈﻴﺔ‪ .‬ﻟﻘﺪ ﻳﺒﺪﻭ ﺃﺣﻴﺎﻧﺎ ﺃﻥ ﺃﺳﻠﻮ‪‬ﺎ ﺃﻗﺮﺏ ﺇﱃ ﺍﻟﻜﻼﻡ ﺍﻟﻔﻄﺮﻯ ‪ .‬ﻭﻫﻰ ﻣﺴﺠﻮﻋﺔ‪،‬‬
‫ﻭﻟﻜﻦ‪ ‬ﺳﺠﻌﻬﺎ ﺭﻗﻴﻖ ﺳﻬﻞ‪ ،‬ﺍﺣﺘﻮﻯ ﻋﻠﻰ ﻛﺜﲑ ﻣﻦ ﺍﶈﺴ‪‬ﻨﺎﺕ ﺍﻟﺒﺪﻳﻌﻴﺔ‪ ،‬ﻭﺍﻻﺳﺘﻌﺎﺭﺓ‬
‫ﻭﺍ‪‬ﺎﺯ‪.١٠‬‬

‫ﻭﻣﻦ ﺍﳌﻼﺣﻆ ﺃﻥ ﺍﳌﻘﺎﻣﺎﺕ ﻟﺒﺪﻳﻊ ﺍﻟﺰﻣﺎﻥ ﺍﳍﻤﺬﺍﱏ ﻓﻴﻬﺎ ﺣﻘﻴﻘﺔ ﻭ ﺧﻴﺎﻝ‪ ،‬ﻭﻣﻦ‬
‫ﺍﳌﻠﺤﻮﻅ ﺃﻥ ﻟﺒﺪﻳﻊ ﺍﻟﺰﻣﺎﻥ ﺍﳍﻤﺬﺍﱏ ﻣﻘﺎﻣﺎﺕ ﻛﺜﲑﺓ ﺑﻠﻎ ﻋﺪﺩﻫﺎ ﺃﺭﺑﻌﻤﺎﺋﺔ ﻣﻘﺎﻣﺔ‪،١١‬‬
‫ﻭﺍﺣﺪﻫﺎ ﺍﳌﻘﺎﻣﺔ ﺍﳌﻄﻠﺒﻴ‪‬ﺔ‪.‬‬

‫‪ ٩‬ﺃﲪﺪ ﳏﻤﺪ ﺍﻟﺸﻨﻮﺍﱏ‪ ،‬ﻛﺘﺐ ﻏﲑﺕ ﺍﻟﻔﻜﺮ ﺍﻹﻧﺴﺎﰉ‪) ،‬ﺍﳍﻴﺌﺔ ﺍﳌﺼﺮﻳﺔ ﺍﻟﻌﺎﻣﺔ ﻟﻠﻜﺘﺎﺏ‪ (١٩٩٨ ،‬ﺹ ‪١٥٤‬‬

‫‪ ١٠‬ﺃﲪﺪ ﺍﻷﺳﻜﻨﺪﺭﻯ‪ ،‬ﺃﲪﺪ ﺃﻣﲔ‪ ،‬ﻋﻠﻰ ﺍﳉﺎﺭﻡ ﻋﺒﺪ ﺍﻟﻌﺰﻳﺰ ﺍﻟﺒﺸﺮﻯ‪ ،‬ﺃﲪﺪ ﺿﻴﻒ‪ ،‬ﺍﳌﻔﺼ‪‬ﻞ ﰱ ﺗﺎﺭﻳﺦ ﺍﻷﺩﺏ‬
‫ﺍﻟﻌﺮﰉ‪ ،‬ﺹ ‪٨٠‬‬
‫‪ ١١‬ﻃﻪ ﻧﺪﺍ‪ ،‬ﺍﻷﺩﺏ ﺍﳌﻘﺎﺭﻥ‪) ،‬ﺍﻟﻘﺎﻫﺮﺓ ‪ :‬ﺩﺍﺭ ﺍﳌﻌﺎﺭﻑ‪ ١٩٨١ ،‬ﻡ (‪ ،‬ﺩﻁ‪،‬‬

‫ﺹ ‪١٧٦‬‬

‫‪٦‬‬

‫ﻭﺍﳌﻘﺎﻣﺔ ﺍﳌﻄﻠﺒﻴﺔ ﻣﻘﺎﻣﺔ ﺍﻟﱴ ﳍﺎ ﻋﻨﺎﺻﺮ ﺣﻘﻴﻘﻴﺔ ﻭ ﺧﻴﺎﻟﻴﺔ‪ ،‬ﻭﻗﺪ ﻗﻴﻞ ﺇﻥ‬
‫ﻣﻘﺎﻣﺎﺕ ﻟﺒﺪﻳﻊ ﺍﻟﺰﻣﺎﻥ ﺍﳍﻤﺬﺍﱏ ﻓﻴﻬﺎ ﺣﻘﻴﻘﺔ ﻭ ﺧﻴﺎﻝ ﺃﻱ ﺃﻥ ﻓﻴﻬﺎ ﻋﻨﺎﺻﺮ ﺣﻘﻴﻘﻴﺔ ﻭ‬
‫ﺧﻴﺎﻟﻴﺔ‪ .‬ﻭﻫﻞ ﰱ ﺍﳌﻘﺎﻣﺔ ﺍﳌﻄﻠﺒﻴ‪‬ﺔ ﻟﺒﺪﻳﻊ ﺍﻟﺰﻣﺎﻥ ﺍﳍﻤﺬﺍﱏ ﻋﻨﺎﺻﺮ ﺣﻘﻴﻘﻴﺔ ﻭ ﺧﻴﺎﻟﻴﺔ‪...‬؟‬
‫ﻫﺬﻩ ﺍﻷﺳﺌﻠﺔ ﲢﺘﺎﺝ ﺍﱃ ﺍﻟﺒﺤﺚ ﺍﻟﺪﻗﻴﻖ‪ ،‬ﻭﺃﺟﻌﻠﻬﺎ ﲝﺜﺎ ﱃ‪ ،‬ﻓﺎﺧﺘﺮﺕ ﻣﻮﺿﻮﻉ "‬

‫ﺍﻟﻌﻨﺎﺻﺮ ﺍﳊﻘﻴﻘﻴﺔ ﻭ ﺍﳋﻴﺎﻟﻴﺔ ﰱ ﺍﳌﻘﺎﻣﺔ ﺍﳌﻄﻠﺒﻴ‪‬ﺔ ﻟﺒﺪﻳﻊ ﺍﻟﺰﻣﺎﻥ ﺍﳍﻤﺬﺍﱏ "‪.‬‬
‫ﺏ‪ .‬ﲢﺪﻳﺪ ﺍﳌﺸﻜﻠﺔ‬
‫ﺍﳌﺴﺄﻟﺔ ﺍﻟﱴ ﻳﺪﻭﺭ ﺣﻮﳍﺎ ﺍﻟﺒﺤﺚ ﻭﻫﻰ ﻋﻠﻰ ﺍﻟﻨﺤﻮ ﺍﻻﺗﻰ‪:‬‬

‫( ﻣﻔﻬﻮﻡ ﺍﳌﻘﺎﻣﺔ‬
‫( ﻧﺸﺄﺓ ﻓﻦ ﺍﳌﻘﺎﻣﺔ ﻭﺩﻭﺭ ﺍﳍﻤﺬﺍﱏ ﻓﻴﻬﺎ‬
‫( ﺍ ﺍﻟﻔﻜﺮﺓ ﻭ ﺍﳋﻴﺎﻝ ﰱ ﺍﳌﻘﺎﻣﺔ ﺍﳌﻄﻠﺒﻴﺔ ﻟﺒﺪﻳﻊ ﺍﻟﺰﻣﺎﻥ ﺍﳍﻤﺬﺍﱏ‬

‫‪٧‬‬

‫ﺝ‪ .‬ﺍﻟﻐﺮﺽ ﻣﻦ ﺍﻟﺒﺤﺚ‬
‫ﻭﺍﻟﻐﺮﺽ ﻣﻦ ﺍﻟﺒﺤﺚ ﻫﻮ‪ :‬ﺍﻟﻜﺸﻒ ﻋﻤﺎ ﻳﺘﻌﻠﻖ ﺑﺎﻟﻌﻨﺎﺻﺮ ﺍﻟﻔﻜﺮﻳﺔ ﻭ ﺍﳋﻴﺎﻟﻴﺔ ﰱ‬
‫ﺍﳌﻘﺎﻣﺔ ﺍﳌﻄﻠﺒﻴﺔ ﻣﻦ ﻣﻘﺎﻣﺎﺕ ﻟﺒﺪﻳﻊ ﺍﻟﺰﻣﺎﻥ ﺍﳍﻤﺬﺍﱏ ﺑﺎﻹﺿﺎﻓﺔ ﺍﱃ ﻣﻌﺮﻓﺔ ﻣﻔﻬﻮﻡ‬
‫ﺍﳌﻘﺎﻣﺔ ﻭﻧﺸﺄ‪‬ﺎ ﻭﺩﻭﺭ ﺍﳍﻤﺬﺍﱏ ﻓﻴﻬﺎ‪.‬‬

‫ﺩ‪ .‬ﺍﻟﺪﺭﺍﺳﺔ ﺍﻟﺴﺎﺑﻘﺔ‬
‫ﻭﺃﻣﺎ ﺍﻟﺒﺤﺚ ﺍﻟﺬﻯ ﺳﺒﻖ ﻫﺬﺍ ﺍﻟﺒﺤﺚ ﻓﻬﻮ ﺍﻟﺬﻯ ﻛﺘﺒﻪ ﳏﻤﺪ ﺯﻳﻦ ﺍﻟﺪﻳﻦ ﲢﺖ‬
‫ﺍﳌﻮﺿﻮﻉ " ﺍﳌﻘﺎﻣﺔ ﺍﻟﻌﻠﻤﻴﺔ ﻟﺒﺪﻳﻊ ﺍﻟﺰﻣﺎﻥ ﺍﳍﻤﺬﺍﱏ ﻭ ﺍﶈﺴﻨﺎﺕ ﺍﻟﺒﺪﻳﻌﻴﺔ ﻓﻴﻬﺎ "‪.‬‬

‫ﻭﻛﺘﺒﻪ ﺃﻟﲑﻣﺎﻥ ﲢﺖ ﻣﻮﺿﻮﻉ " ﺑﺪﻳﻊ ﺍﻟﺰﻣﺎﻥ ﺍﳍﻤﺬﺍﱏ ﻭ ﺍﶈﺴ‪‬ﻨﺎﺕ ﺍﻟﺒﺪﻳﻌﻴﺔ ﰱ‬
‫ﺭﺳﺎﺋﻠﻪ"‪ .‬ﻭﻛﺘﺒﻪ ﺃﺗﻴﻒ ﻋﺒﺪ ﺍﻟﺮ‪‬ﻓﻴﻖ ﲢﺖ ﻣﻮﺿﻮﻉ " ﺍﳌﻘﺎﻣﺔ ﺍﳋﻤﺮﻳﺔ ﻟﺒﺪﻳﻊ ﺍﻟﺰﻣﺎﻥ‬
‫ﺍﳍﻤﺬﺍﱏ)ﺩﺭﺍﺳﺔ ﻣﻘﺎﺭﻧﺔ( "‪.‬‬

‫‪٨‬‬

‫ﻩ‪ .‬ﻣﻨﻬﺞ ﺍﻟﺒﺤﺚ‬
‫ﺍﻟﻄﺮﻳﻘﺔ ﺍﻟﱴ ﺳﻠﻜﻬﺎ ﰱ ﻫﺬﺍ ﺍﻟﺒﺤﺚ ﻫﻰ ﺍﻟﻄﺮﻳﻘﺔ ﺍﳌﻜﺘﺒﻴﺔ ﻭﺍﻟﺪﺭﺍﺳﺔ ﺍﻟﻨﻘﺪ‬
‫ﺍﻷﺩﰉ ﻷ‪‬ﺎ ﺃﻗﺮﺏ ﺇﱃ ﺍﻟﻮﺻﻮﻝ ﻟﻠﻤﻘﺼﻮﺩ‪ .‬ﻭﺍﻋﺘﻤﺪﺕ ﻓﻴﻬﺎ ﻋﻠﻰ ﺍﻟﻜﺘﺎﺏ ﺍﻟﺬﻯ‬
‫ﺃﺻﺪﺭﺗﻪ ﺟﺎﻣﻌﺔ ﺷﺮﻳﻒ ﻫﺪﺍﻳﺔ ﺍﷲ ﺍﻹﺳﻼﻣﻴﺔ ﺍﳊﻜﻮﻣﻴﺔ‪ ،‬ﻭﻫﻮ ﺩﻟﻴﻞ ﻛﺘﺎﺑﺔ ﺍﻟﺒﺤﻮﺙ‬
‫ﻭ ﺍﻟﺮﺳﺎﺋﻞ ﺍﻟﻌﻠﻤﻴﺔ ﺑﻌﻨﻮﺍﻥ ؛‬
‫‪PENULISAN SKRIPSI, TESIS, DAN DISERTASI UIN SYARIF‬‬

‫‪“ PEDOMAN‬‬

‫”‬

‫‪HIDAYATULLAH JAKARTA TAHUN ٢٠٠٧‬‬

‫ﻭ‪ .‬ﺧﻄﺔ ﺍﻟﺒﺤﺚ‬
‫ﻭﺗﺴﻬﻴﻼ ﻟﻜﺘﺎﺑﺔ ﺍﻟﺒﺤﺚ ﰎ ﺗﺒﻮﻳﺒﻪ ﻋﻠﻰ ﺍﻟﻨﺤﻮ ﺍﻟﺘﺎﱃ ‪:‬‬

‫ﺍﻟﺒﺎﺏ ﺍﻷﻭﻝ ‪ :‬ﺍﳌﻘﺪﻣﺔ‪ ،‬ﻭ ﲢﺘﻮﻯ ﻋﻠﻰ ﲬﺴﺔ ﻋﻨﺎﺻﺮ ؛ ﺧﻠﻔﻴﺔ ﺍﳌﺸﻜﻠﺔ ﻭ ﲢﺪﻳﺪﻫﺎ‬
‫ﻭ ﺍﻟﻐﺮﺽ ﻣﻦ ﺍﻟﺒﺤﺚ ﻭ ﺍﻟﺪﺭﺍﺳﺔ ﺍﻟﺴﺎﺑﻘﺔ ﻭ ﺧﻄﺔ ﺍﻟﺒﺤﺚ‪.‬‬

‫‪٩‬‬

‫ﺍﻟﺒﺎﺏ ﺍﻟﺜﺎﱏ ‪ :‬ﺗﺮﲨﺔ ﺣﻴﺎﺓ ﺑﺪﻳﻊ ﺍﻟﺰﻣﺎﻥ ﺍﳍﻤﺬﺍﱏ ﻭ ﺍﳌﻘﺎﻣﺎﺕ ﻭ ﻫﻰ ﺗﻀﻤﻦ ﻋﻠﻰ‬
‫ﻧﺸﺄﺗﻪ ﻭ ﺷﺨﺼﻴﺘﻪ ﻭ ﺷﻴﻮﺧﻪ ﻭ ﻣﺆﻟﻔﺎﺗﻪ ﻭ ﻣﻔﻬﻮﻡ ﺍﳌﻘﺎﻣﺔ ﻭ ﻧﺸﺄﺓ ﻓﻦ ﺍﳌﻘﺎﻣﺔ ﻭ ﺩﻭﺭ‬
‫ﺑﺪﻳﻊ ﺍﻟﺰﻣﺎﻥ ﺍﳍﻤﺬﺍﱏ ﻓﻴﻬﺎ ﻭﳕﻮﺫﺝ ﻣﻦ ﻣﻘﺎﻣﺔ ﺍﳌﻄﻠﺒﻴﺔ‪.‬‬

‫ﺍﻟﺒﺎﺏ ﺍﻟﺜﺎﻟﺚ ‪ :‬ﻣﻔﻬﻮﻡ ﻋﻦ ﺍﻟﻔﻜﺮﺓ ﻭ ﺍﳋﻴﺎﻝ ﺍﻟﱴ ﺗﻀﻤﻦ ﻋﻠﻰ ﺍﳊﻘﻴﻘﺔ ﻭ ﺍﳋﻴﺎﻝ ﰱ‬
‫ﻧﺎﺣﻴﺔ ﺍﻟﻨﻘﺪ ﺍﻷﺩﰊ ﻭ ﺍﻟﺒﻼﻏﻲ‬
‫ﺍﻟﺒﺎﺏ ﺍﻟﺮﺍﺑﻊ ‪ :‬ﺍﻟﻔﻜﺮﺓ ﻭ ﺍﳋﻴﺎﻝ ﰱ ﺍﳌﻘﺎﻣﺔ ﺍﳌﻄﻠﺒﻴﺔ ﻟﻠﻬﻤﺬﺍﱏ ﻭ ﻫﻰ ﺗﺸﺘﻤﻞ ﻋﻠﻰ‬
‫ﻭﺟﻮﻩ ﺍﻟﻔﻜﺮﺓ ﻭ ﺍﳋﻴﺎﻝ ﻓﻴﻬﺎ‬
‫ﺍﻟﺒﺎﺏ ﺍﳋﺎﻣﺶ ‪ :‬ﺍﳋﺎﲤﺔ ﻭﻫﻲ ﺗﺸﺘﻤﻞ ﻋﻠﻰ ﻧﺘﺎﺋﺞ ﺍﻟﺒﺤﺚ ﻭﺍﻻﻗﺘﺮﺍﺣﺎﺕ ﻭﺍﳌﺮﺍﺟﻊ‬
‫ﺍﻟﺒﺤﺚ‬

‫‪٥٢‬‬
‫‪١٠‬‬

‫ﻣﺮﺍﺟﻊ ﺍﻟﺒﺤﺚ‬

‫ﺍﻟﺪﻛﺘﻮﺭ ﺷﻮﻗﻰ ﺿﻴﻒ‪ ،‬ﺍﻟﺒﺤﺚ ﺍﻷﺩﰉ‪ ،‬ﺍﻟﻘﺎﻫﺮﺓ ‪ :‬ﺩﺍﺭ ﺍﳌﻌﺎﺭﻑ‪. ١١١٩،‬‬
‫ﺃﲪﺪ ﺣﺴﻦ ﺍﻟﺰﻳﺎﺕ‪ ،‬ﺗﺎﺭﻳﺦ ﺍﻷﺩﺏ ﺍﻟﻌﺮﰉ‪ ،‬ﺍﻟﻘﺎﻫﺮﺓ ‪ :‬ﺩﺍﺭ ﺍﻟﻨﻬﻀﺔ‪ ،‬ﺩﺕ‪.‬‬
‫ﳏﻤﺪ ﻋﺒﺪ ﺍﻟﺮﲪﻦ ﺍﻟﺮﺑﻴﻊ‪ ،‬ﺍﻷﺩﺏ ﺍﻟﻌﺮﰉ ﻭﺗﺎﺭﳜﻪ‪. ١٤١.،‬‬

‫ﺍﳊﺮﻳﺮﻯ‪ ،‬ﻣﻘﺎﻣﺎﺕ ﺍﳊﺮﻳﺮﻯ‪ ،‬ﺑﲑﻭﺕ‪ :‬ﺩﺍﺭ ﺻﺎﺩﺭ‪١٩١.،‬‬
‫ﳏﻤﺪ ﺣﺴﻦ ﻋﺒﺪ ﺍﷲ‪ ،‬ﻣﻘﺪﻣﺔ ﰱ ﺍﻟﻨﻘﺪ ﺍﻷﺩﰉ‪ ،‬ﺩﺍﺭ ﺍﻟﺒﺤﻮﺙ ﺍﻟﻌﻠﻤﻴﺔ‬
‫ﺃﲪﺪ ﳏﻤﺪ ﺍﻟﺸﻨﻮﺍﱏ‪ ،‬ﻛﺘﺐ ﻏﲑﺕ ﺍﻟﻔﻜﺮ ﺍﻹﻧﺴﺎﰉ‪ ،‬ﺍﳍﻴﺌﺔ ﺍﳌﺼﺮﻳﺔ ﺍﻟﻌﺎﻣﺔ‬
‫ﻟﻠﻜﺘﺎﺏ‪.١٩٩٨ ،‬‬

‫ﻃﻪ ﺃﲪﺪ ﺇﺑﺮﺍﻫﻴﻢ‪ ،‬ﺗﺎﺭﻳﺦ ﺍﻟﻨﻘﺪ ﺍﻷﺩﰊ ﻋﻨﺪ ﺍﻟﻌﺮﺏ ﻣﻦ ﺍﻟﻌﺼﺮ ﺍﳉﺎﻫﻠﻲ ﺇﱃ‬
‫ﺍﻟﻘﺮﻥ ﺍﻟﺮﺍﺑﻊ ﺍﳍﺠﺮﻯ‪ ،‬ﺩﺍﺭ ﺍﻟﻜﺘﺐ ﺍﻟﻌﻠﻤﻴﺔ‪٢٠٠٣ ،‬ﻡ ‪١٤٢٤-‬ﻩ‪.‬‬

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‫‪٥٣‬‬

‫ﺃﲪﺪ ﺍﻷﺳﻜﻨﺪﺭﻯ‪ ،‬ﺃﲪﺪ ﺃﻣﲔ‪ ،‬ﻋﻠﻰ ﺍﳉﺎﺭﻡ ﻋﺒﺪ ﺍﻟﻌﺰﻳﺰ ﺍﻟﺒﺸﺮﻯ‪ ،‬ﺃﲪﺪ‬
‫ﺿﻴﻒ‪ ،‬ﺍﳌﻔﺼ‪‬ﻞ ﰱ ﺗﺎﺭﻳﺦ ﺍﻷﺩﺏ ﺍﻟﻌﺮﰉ‪.‬‬

‫ﻃﻪ ﻧﺪﺍ‪ ،‬ﺍﻷﺩﺏ ﺍﳌﻘﺎﺭﻥ‪) ،‬ﺍﻟﻘﺎﻫﺮﺓ ‪ :‬ﺩﺍﺭ ﺍﳌﻌﺎﺭﻑ‪ ١٩٨١ ،‬ﻡ‬
‫ﻛﺎﺭﻝ ﺑﺮﻭﻛﻠﻤﺎﻥ ﺗﺮﲪﺔ ﻋﻨﺪ ﺍﳊﻠﻴﻢ ﺍﻟﻨﺠﺎﺭ‪,‬ﺗﺎﺭﻳﺦ ﺍﻷﺩﺏ ﺍﻷﺭﰉ‪) ,‬ﺍﻟﻘﺎﻫﺮﺓ‪:‬‬
‫ﺩﺍﺭ ﺍﳌﻌﺎﺭﻑ‪ ١٩٦١ ,‬ﻡ(‬
‫ﳏﻤﺪ ﺭﺿﻮﺍﻥ ﺍﻟﺪﺍﻳﺔ‪ ,‬ﺇﻋﻼﻡ ﺍﻷﺩﺏ ﺍﻟﻌﺒﺎﺳﻰ‪) ,‬ﺑﲑﻭﺕ‪ :‬ﻣﺆﺳﺴﺔ ﺍﻟﺮﺳﺎﻟﺔ‪,‬‬
‫‪ ١٤٠٠‬ﻡ(‬
‫ﺃﲪﺪ ﺍﻹﺳﻜﻨﺪﺭﻯ ﻭﻣﺼﻄﻔﻰ ﻋﻨﺎﱏ‪ ,‬ﺍﻟﻮﺳﻴﻂ ﰱ ﺍﻷﺩﰉ ﺍﻟﻌﺮﰉ‪) ,‬ﺍﻟﻘﺎﻫﺮﺓ‪:‬‬
‫ﺩﺍﺭ ﺍﳌﻌﺎﺭﻑ‪ ,‬ﺩﺕ(‬

‫ﺣﻨﺎ ﺍﻟﻔﺎﺧﻮﺭﻯ‪ ,‬ﺍﳉﺪﻳﺪ ﰱ ﺍﻷﺩﺏ ﺍﻟﻌﺮﰉ‪) ,‬ﺑﲑﻭﺕ‪ :‬ﻣﻜﺘﺒﺔ ﻣﺪﺭﺳﺔ‪ ,‬ﺩﺍﺭ‬
‫ﺍﻟﻜﺘﺎﺏ ﺍﻟﻠﺒﻨﺎﻥ‪ ,‬ﺩﺕ(‬

‫‪٥٤‬‬
‫‪١٢‬‬

‫ﳏﻤﺪ ﳏﻲ ﺍﻟﺪﻳﻦ ﻋﺒﺪ ﺍﳊﻤﻴﺪ‪ ,‬ﺷﺮﺡ ﻣﻘﺎﻣﺎﺕ ﺑﺪﻳﻊ ﺍﻟﺰﻣﺎﻥ ﺍﳍﻤﺬﺍﱏ‪,‬‬
‫)ﺑﲑﻭﺕ‪ :‬ﺩﺍﺭ ﺍﻟﻜﺘﺎﺏ ﺍﻟﻌﻠﻤﻴﺔ‪ ,‬ﺩﺕ(‬
‫ﺇﺑﺮﻫﻴﻢ ﻋﻠﻰ ﺃﺑﻮ ﺍﳋﺸﺐ‪ ,‬ﺗﺎﺭﻳﺦ ﺍﻷﺩﺏ ﺍﻟﻌﺮﰉ ﰱ ﺍﻟﻌﺼﺮ ﺍﻟﻌﺒﺎﺳﻰ ﺍﻟﺜﺎﱏ‪,‬‬
‫)ﺍﻟﻘﺎﻫﺮﺓ‪ :‬ﺩﺍﺭ ﺍﻟﻔﻜﺮ ﺍﻟﻌﺮﰉ‪(١٩٧٥- ١٩٧٣ ,‬‬

‫ﻟﻮﻳﺲ ﻣﻌﻠﻮﻑ‪ ,‬ﺍﳌﻨﺠﺪ ﰱ ﺍﻟﻠﻐﺔ ﻭﺍﻷﻋﻼﻡ‪) ,‬ﺑﲑﻭﺕ‪ :‬ﺩﺍﺭ ﺍﳌﺸﺮﻕ‪١٩٨٦ ,‬‬
‫ﻡ(‬
‫ﻃﻪ ﺷﺪﺍﺩ‪ ,‬ﺍﻷﺩﺏ ﺍﳌﻘﺎﺭﻥ‪ ,‬ﺩﻁ )ﺍﻟﻘﺎﻫﺮﺓ‪ :‬ﺩﺍﺭ ﺍﳌﻌﺎﺭﻑ‪ ١٩٨٠ ,‬ﻡ(‬

‫ﺃﲪﺪ ﺍﻟﺸﺎﻳﺐ‪ ,‬ﺃﺻﻮﻝ ﺍﻟﻨﻘﺪ ﺍﻷﺩﰉ‪ ,‬ﻁ ‪ ) ٧‬ﺍﻟﻘﺎﻫﺮﺓ‪ :‬ﻣﻜﺘﺒﺔ ﺍﻟﻨﻬﻀﺔ‬
‫ﺍﳌﺼﺮﻳﺔ‪ ١٨٦٤ ,‬ﻡ(‬

‫ﳏﻤﺪ ﻋﺒﺪ ﺍﳌﻨﻌﻢ‪ ,‬ﺍﻷﺩﺏ ﺍﻟﻌﺮﰉ ﺍﳊﺪﻳﺚ‪ ,‬ﺩﻁ)ﺍﻟﻘﺎﻫﺮﺓ‪ :‬ﻣﻜﺘﺒﺔ ﺍﻟﻜﻠﻴﺎﺕ‬
‫ﺍﻷﺯﻫﺎﺭﻳﺔ‪ ,‬ﺩﺕ(‬
‫ﻃﻪ ﻛﺮﻳﺸﺔ‪ ,‬ﰱ ﻣﻴﺰﺍﻥ ﺍﻟﻨﻘﺪ‪ ,‬ﺩﻁ )ﺍﻟﻘﺎﻫﺮﺓ‪ :‬ﻀﺔ ﻣﺼﺮﻯ‪,‬ﺩﺕ(‬

‫‪٥٥‬‬
‫‪١٣‬‬

‫ﻃﺎﻫﺮ ﻋﺒﺪ ﺍﻟﻠﻄﻴﻒ ﻋﻮﺽ‪ ,‬ﺍﻷﺩﺏ ﺍﻟﻌﺮﰉ‪) ,‬ﺍﻟﻘﺎﻫﺮﺓ‪ :‬ﺟﺎﻣﻌﺔ ﺍﻷﺯﻫﺎﺭ‪,‬‬
‫‪ ١٩٩٩‬ﻡ(‬
‫ﳏﻤﺪ ﻋﺒﺪ ﺍﳌﻨﻌﻢ ﺧﻔﺎﺟﻰ ﻭ ﻋﺒﺪ ﺍﻟﻌﺰﻳﺰ ﺷﺮﻑ‪ ,‬ﳓﻮ ﺑﻼﻏﺔ ﺟﺪﻳﺪﺓ‪.‬‬
‫ﺍﲰﺎﻋﻴﻞ ﻣﺼﻄﻔﻰ ﺍﻟﺼﻴﻔﻰ ﻭ ﳏﻤﺪ ﺣﺴﻦ ﻋﺒﺪ ﺍﷲ‪ ,‬ﺍﻟﻨﻘﺪ ﺍﻷﺩﰉ ﻭﺍﻟﺒﻼﻏﺔ‪,‬‬
‫ﻁ ‪.١٩٧٠- ١٩٦٩ ,١‬‬

‫ﺍﻟﺒﺎﺏ ﺍﻟﺜﺎﱏ‬
‫ﺑﺪﻳﻊ ﺍﻟﺰﻣﺎﻥ ﺍﳍﻤﺬﺍﱏ ﻭﺍﳌﻘﺎﻣﺎﺕ‬
‫ﺃ‪ .‬ﺑﺪﻳﻊ ﺍﻟﺰﻣﺎﻥ‬
‫ﺃ‪ .‬ﻧﺸﺄﺗﻪ ﻭﺷﺨﺼﻴﺘﻪ‬
‫ﺑﺪﻳﻊ ﺍﻟﺰﻣﺎﻥ ﺍﲰﻪ ﺃﺑﻮ ﺍﻟﻔﻀﻞ ﺃﲪﺪ ﺑﻦ ﺍﳊﺴﲔ ﺑﻦ ﳛﻲ ﺑﻦ ﺳﻌﻴﺪ‬
‫ﺍﳍﻤﺬﺍﱏ‪ .‬ﻭﻟﺪ ‪‬ﻤﺬﺍﻥ ﺛﺎﻟﺚ ﻋﺸﺮ ﻣﻦ ﲨﺎﺩﻯ ﺍﻟﺜﺎﻧﻴﺔ ﺳﻨﺔ ‪ ٣٥٨‬ﻩ‪ ٩٦٩ /‬ﻡ ‪.١‬‬

‫ﻭﻧﺴﺐ ﺑﺪﻳﻊ ﺍﻟﺰﻣﺎﻥ ﺇﱃ ﳘﺬﺍﻥ ) ﻣﺪﻳﻨﺔ ﴰﺎﻝ ﻓﺎﺭﺱ ( ﻭﻓﻴﻬﺎ ﻧﺸﺄ ﻭﻗﻀﻰ ﺣﻴﺎﺗﻪ‬
‫ﺍﻷﻭﱃ ‪.٢‬‬

‫‪١‬ﻛﺎﺭﻝ ﺑﺮﻭ ﻛﻠﻤﺎﻥ ﺗﺮﲨﺔ ﻋﺒﺪ ﺍﳊﻠﻴﻢ ﺍﻟﻨﺠﺎﺭ‪ ,‬ﺗﺎﺭﻳﺦ ﺍﻷﺩﺏ ﺍﻟﻌﺮﰉ‪) ,‬ﺍﻟﻘﺎﻫﺮﺓ ‪ :‬ﺩﺍﺭ ﺍﳌﻌﺎﺭﻑ‪١٩٦١ ,‬‬

‫ﻡ(‪ ,‬ﻁ ‪ ,٢‬ﺹ ‪.١١٢‬‬

‫‪٢‬ﳏﻤﺪ ﺭﺿﻮﺍﻥ ﺍﻟﺪﺍﻳﺔ‪ ,‬ﺇﻋﻼﻡ ﺍﻷﺩﺏ ﺍﻟﻌﺒﺎﺳﻰ‪) ,‬ﺑﲑﻭﺕ ‪ :‬ﻣﺆﺳﺴﺔ ﺍﻟﺮﺳﺎﻟﺔ‪ ١٤٠٠ ,‬ﻩ(‪ ,‬ﻁ ‪ ,٢‬ﺹ‬
‫‪.١٧٨‬‬

‫‪١٠‬‬

‫‪١١‬‬

‫ﻭﻛﺎﻥ ﺑﺪﻳﻊ ﺍﻟﺰﻣﺎﻥ ﺭﺣ‪‬ﺎﻻ‪ .‬ﻓﻔﻰ ﺳﻨﺔ ‪ ٣٨.‬ﻩ ﺧﺮﺝ ﺇﱃ ﻫﺮﺍﺓ ﻓﺴﻜﻨﻬﺎ‪.‬‬

‫ﻭﻗﺪﻡ ﺇﱃ ﺟﺮﺟﺎﻥ ‪ ,‬ﻗﺎﻝ ﺍﻟﺜﻌﻠﱯ ﻓﻴﻪ ‪" :‬ﻭﺃﻗﺎﻡ ‪‬ﺎ –ﲜﺮﺟﺎﻥ ‪ -‬ﻣﺪﺓ ﻋﻠﻰ ﻣﺪﺍﺧﻠﺔ‬
‫ﺍﻹﲰﺎﻋﻴﻠﻴﺔ‪ ,‬ﻭﺍﻟﺘﻌﻴ‪‬ﺶ ﻓﻴﻪ ﻣﺪﺓ" ‪.٣‬‬

‫ﰒ ﻗﺼﺪ ﺇﱃ ﻧﻴﺴﺎﺑﻮﺭ ﺳﻨﺔ ‪ ٣٩٢‬ﻩ ﻭﻫﻨﺎﻙ ﺃﻣﻠﻰ ﻣﻘﺎﻣﺘﻪ‪ ,‬ﻭﺍﺗﺼﻞ ﺑﺒﻌﺾ‬
‫ﺃﻋﻴﺎ‪‬ﺎ‪ .‬ﻭﺣﺎﻭﻝ ﺇﱃ ﺃﰉ ﺑﻜﺮ ﺍﳋﻮﺍﺭﺯﻣﻰ –ﺃﺩﻳﺐ ﺍﻟﻌﺼﺮ‪ .‬ﻭﺍﻧﺘﻬﻰ ﺇﱃ ﻫﺮﺍﺓ‪,‬‬

‫ﻭﺍﺳﺘﻘﺮ‪‬ﺎ‪ ,‬ﻭﺗﺰﻭﺝ ‪ .٤‬ﻭﺗﻮﰱ ‪‬ﺎ ﺳﻨﺔ ‪ ٣٩٨‬ﻩ‪ ,‬ﻭﻗﻴﻞ ﺇﻧﻪ ﺩﻓﻦ ﻗﺒﻞ ﻭﻓﺎﺗﻪ‪,‬ﺇﺫﺍ‬
‫ﺃﺻﺎﺑﻪ ﺍﻟﻔﺎﰿ‪ ,‬ﻓﻈﻨﻪ ﺃﻫﻠﻪ ﻣﻴﺘﺎ ‪.٥‬‬

‫ﻭﺑﺪﻳﻊ ﺍﻟﺰﻣﺎﻥ ﻫﻮ ﺍﻟﻜﺎﺗﺐ ﺍﳌﺘﺮﺳﻞ ﻭﺍﻟﺸﺎﻋﺮ ﺍﳌﺒﺪﻉ‪ ,‬ﺣﺎﻓﻆ ﻋﺼﺮﻩ‬
‫ﻭﺃﺫﻛﻰ ﺩﻫﺮﻩ‪ ,‬ﻭﻗﺪﻭﺓ ﺍﳊﺮﻳﺮﻯ ﰱ ﺇﻧﺸﺎﺀ ﺍﳌﻘﺎﻣﺎﺕ‪ ,‬ﻭﻗﺮﻳﻊ ﺍﳊﻮﺍﺭﺯﻣﻰ ﰱ‬

‫‪٣‬‬

‫ﺹ ‪.١٧٨‬‬
‫‪٤‬‬

‫ﳏﻤﺪ ﺭﺿﻮﺍﻥ ﺍﻟﺪﺍﻳﺔ‪ ,‬ﺇﻋﻼﻡ ﺍﻷﺩﺏ ﺍﻟﻌﺒﺎﺳﻰ‪) ,‬ﺑﲑﻭﺕ ‪ :‬ﻣﺆﺳﺴﺔ ﺍﻟﺮﺳﺎﻟﺔ‪ ١٤٠٠ ,‬ﻩ(‪ ,‬ﻁ ‪,٢‬‬
‫ﳏﻤﺪ ﺭﺿﻮﺍﻥ ﺍﻟﺪﺍﻳﺔ‪ ,‬ﺇﻋﻼﻡ ﺍﻷﺩﺏ ﺍﻟﻌﺒﺎﺳﻰ‪) ,‬ﺑﲑﻭﺕ ‪ :‬ﻣﺆﺳﺴﺔ ﺍﻟﺮﺳﺎﻟﺔ‪ ١٤٠٠ ,‬ﻩ(‪ ,‬ﻁ ‪,٢‬‬

‫ﺹ ‪.١٧٨‬‬
‫‪٥‬ﻛﺎﺭﻝ ﺑﺮﻭ ﻛﻠﻤﻦ ﺗﺮﲨﺔ ﻋﺒﺪ ﺍﳊﻠﻴﻢ ﺍﻟﻨﺠﺎﺭ‪ ,‬ﺍﳌﺮﺟﻊ ﺍﻟﺴﺎﺑﻖ‪ ,‬ﺹ ‪.١١٢‬‬

‫‪١٢‬‬

‫ﺍﳌﺒﺎﺩﻫﺎﺕ ﻭﺍﳌﻜﺎﺗﺒﺎﺕ‪ .‬ﻭﻛﺎﻥ ﺍﻟﺒﺪﻳﻊ ﺃﺳﺮﻉ ﺃﻫﻞ ﺯﻣﺎﻧﻪ ﺑﺪﻳﻬﺔ‪ ,‬ﻭﺃﻛﺜﺮ ﻛﺘﺎﺑﻪ‬
‫ﻭﺷﻌﺮﻩ ﻣﺮﲡﻞ ‪.٦‬‬

‫ﻛﺎﻥ ﺍﻟﺒﺪﻳﻊ ﻣﻘﺒﻮﻝ ﺍﻟﺼﻮﺭﺓ‪ ,‬ﺧﻔﻴﻒ ﺍﻟﺮﻭﺡ‪ ,‬ﻧﺎﺻﻊ ﺍﻟﻈﺮﻑ‪ ,‬ﺫﻛﻰ‬
‫ﺍﻟﻘﻠﺐ‪ ,‬ﻗﻮﻯ ﺍﳊﺎﻓﻈﺔ‪ ,‬ﺣﺪﺙ ﺍﻟﺘﺎﺭﻳﺦ ﺃﻧﻪ ﻛﺎﻥ ﻳﻨﻈﺮ ﰱ ﺃﻭﺭﺍﻕ ﻣﻦ ﻛﺘﺎﺏ ﱂ‬
‫ﻳﻌﺮﻓﻪ ﻧﻈﺮﺓ ﻭﺍﺣﺪﺓ ﰒ ﻳﺆﺩﻱ ﻣﺎﻓﻴﻬﺎ ﻻﳜﺮﻡ ﻣﻨﻬﺎ ﺣﺮﻓﺎ ‪ .٧‬ﻭﻛﺎﻥ ﻟﻪ ﺧﻠﻖ ﻓﺎﺿﻞ‬
‫ﻭﻧﻔﺲ ﻋﺎﻟﻴﺔ‪ ,‬ﺣﱴ ﻗﺎﻝ ﻋﻨﻪ ﺻﺎﺣﺐ ﺍﻟﻴﺘﻴﻤﺔ "ﻭﻛﺎﻥ ﻣﻘﺒﻮﻝ ﺍﻟﺼﻮﺭﺓ‪ ,‬ﺧﻔﻴﻒ‬
‫ﺍﻟﺮﻭﺡ‪ ,‬ﺣﺴﻦ ﺍﻟﻌﺸﺮﺓ‪ ,‬ﻧﺎﺻﻊ ﺍﻟﻈﺮﻑ‪ ,‬ﻋﻈﻴﻢ ﺍﳋﻠﻖ‪ ,‬ﺷﺮﻳﻒ ﺍﻟﻨﻔﺲ‪ ,‬ﻛﺮﱘ‬
‫ﺍﻟﻌﻬﺪ‪ ,‬ﺧﺎﻟﺺ ﺍﻟﻮﺩ‪ ,‬ﺣﻠﻮ ﺍﻟﺼﺪﺍﻗﺔ‪ ,‬ﻣﺮ‪ ‬ﺍﻟﻌﺪﺍﻭﺓ‪.٨ "...‬‬
‫ﻭﻛﺎﻥ ﺍﻟﺒﺪﻳﻊ ﺭﺟﻞ ﻃﻤﻊ ﻭﺃﺛﺮﺓ‪ ,‬ﻳﺘﻮﺳﻞ ﲜﻤﻴﻊ ﺍﻟﻮﺳﺎﺋﻞ ﻟﺒﻠﻮﻍ ﺃﻫﺪﺍﻓﻪ‪,‬‬

‫ﻭﻳﺪﻭﺭ ﺑﺎﻟﻠﻴﺎﱄ ﻛﻤﺎ ﺗﺪﻭﺭ ﻟﲑﺿﻰ ﻗﻠﺒﺎ ﺷﺮﺷﺎ ﻭﻛﺒﺪﺍ ﻏﻠﻴﻈﺔ‪ ,‬ﻭﳍﺬﺍ ﻛﺎﻥ ﺷﺪﻳﺪ‬
‫‪٦‬ﺃﲪﺪ ﺍﻹﺳﻜﻨﺪﺭﻯ ﻭﻣﺼﻄﻔﻰ ﻋﻨﺎﱏ‪ ,‬ﺍﻟﻮﺳﻴﻂ ﰱ ﺍﻷﺩﺏ ﺍﻟﻌﺮﰉ‪) ,‬ﺍﻟﻘﺎﻫﺮﺓ ‪ :‬ﺩﺍﺭ ﺍﳌﻌﺎﺭﻑ‪ ,‬ﺩﺕ(‪,‬‬

‫ﺹ ‪.٢١٥- ٢١٤‬‬

‫‪٧‬ﺃﲪﺪ ﺣﺴﻦ ﺍﻟﺰﻳﺎﺕ‪ ,‬ﺗﺎﺭﻳﺦ ﺍﻷﺩﺏ ﺍﻟﻌﺮﰉ‪) ,‬ﺍﻟﻘﺎﻫﺮﺓ ‪ :‬ﺩﺍﺭ ﺍﻟﻨﺤﻀﺔ‪ ,‬ﺩﺕ(‪ ,‬ﺩﻁ‪ ,‬ﺹ ‪.٢٤٢‬‬
‫‪٨‬ﳏﻤﺪ ﳏﻲ ﺍﻟﺪﻳﻦ ﻋﺒﺪ ﺍﳊﻤﻴﺪ‪ ,‬ﺷﺮﺡ ﻣﻘﺎﻣﺎﺕ ﺑﺪﻳﻊ ﺍﻟﺰﻣﺎﻥ ﺍﳍﻤﺬﺍﱏ‪) ,‬ﺑﲑﻭﺕ ‪ :‬ﺩﺍﺭ ﺍﻟﻜﺘﺎﺏ ﺍﻟﻌﻠﻤﻴﺔ‪,‬‬

‫ﺩﺕ(‪ ,‬ﻁ ‪ ,٢‬ﺹ‬

‫‪.٨‬‬

‫‪١٣‬‬

‫ﺍﳊﺴﺪ‪ ,‬ﺷﺪﻳﺪ ﺍﻻﺳﺘﻌﻼﺀ‪ ,‬ﺣﺪﻳﺪ ﺍﻟﻠﺴﺎﻥ ﺳﻠﻴﻄﺔ‪ ,‬ﻳﻜﺸﻒ ﺍﻟﻌﻮﺭﺍﺕ ﻭﻳﺸﻦ‬
‫ﺍﻟﻐﺎﺭﺍﺕ‪ ,‬ﰱ ﻏﲑ ﻫﻮﺍﺩﺓ ﻭﻻﺍﻋﺘﺪﺍﻝ‪ ,‬ﻭﻫﻮ ﻳﺘﺒﺎﻫﻰ ﲟﺎ ﻫﻮ ﻋﻠﻴﻪ ﻣﻦ ﺳﻼﻃﺔ‪,‬‬

‫ﻭﻳﺘﻌﺎﱃ ﲟﻘﺪﺭﺗﻪ ﻋﻠﻰ ﺍﻟﺴﺨﺮ ﻭﺍﻟﺘﻬﻜﻢ‪ ,‬ﻭﻳﺘﻄﺎﻭﻝ ﺇﺫﺍ ﻏﻀﺐ‪ ,‬ﺑﻜﻞ ﻣﺎﰱ ﻧﻔﺴﻪ‬
‫ﻣﻦ ﻟﺆﻡ ﻭﻋﻨﻔﻮﺍﻥ ﻭﺑﺬﺍﺋﺔ ‪.٩‬‬

‫ﺏ‪ .‬ﺷﻴﻮﺧﻪ‬
‫ﻗﺪ ﺳﺒﻖ ﺍﻟﻜﻼﻡ ﺃﻥ ﺑﺪﻳﻊ ﺍﻟﺰﻣﺎﻥ ﰱ ﺣﻴﺎﺗﻪ ﺭﺣ‪‬ﺎﻝ‪ ,‬ﻓﺈﻧﻪ ﻗﺪ ﺯﺍﺭ ﺧﺮﺳﺎﻥ ‪,‬‬

‫ﻭﺟﺮﺟﺎﻥ‪ ,‬ﻭﺳﺠﺴﺘﺎﻥ‪ ,‬ﻭﻧﻴﺴﺎﺑﻮﺭ‪ ,‬ﻭﻏﺰﻧﺔ ؛ ﻭﱂ ﻳﺒﻖ ﰱ ﺍﺣﺪﻯ ﻣﻜﺎﻥ ﺇﻻ ﻷﺧﺬ‬
‫ﲦﺮ ﺗﻠﻚ ﺍﳌﻜﺎﻥ ﻣﻦ ﺍﻟﻌﻠﻮﻡ ﻭﺍﻷﺩﺏ‪.‬‬

‫ﻭﻗﺪ ﺗﻌﻠﻢ ﺍﻟﺒﺪﻳﻊ ﺍﻟﻌﻠﻢ ﺑﺎﻟﻠﻐﺘﲔ ﺍﻟﻔﺮﻳﺴﻴﺔ ﻭﺍﻟﻌﺮﺑﻴﺔ ‪ ,١٠‬ﻭﻛﺎﻥ ﻣﻌﻠﻤﻪ‬
‫ﺍﻷﻭﻝ ﺃﺑﺎ ﺍﳊﺴﲔ ﺃﲪﺪ ﺑﻦ ﻓﺎﺭﺱ ﺍﻟﻠﻐﻮﻱ ﺍﳌﺸﻬﻮﺭﺓ ‪.١١‬‬

‫‪٩‬ﺣﻨﺎ ﺍﻟﻔﺎﺧﻮﺭﻯ‪ ،‬ﺍﳉﺪﻳﺪ ﰱ ﺍﻷﺩﺏ ﺍﻟﻌﺮﰊ‪) ،‬ﺑﲑﻭﺕ ‪ :‬ﻣﻜﺘﺒﺔ ﻣﺪﺭﺳﺔ‪ ،‬ﺩﺍﺭ ﺍﻟﻜﺘﺎﺏ ﺍﻟﻠﺒﻨﺎﱏ‪ ،‬ﺩﺕ(‪،‬‬
‫ﺹ ‪.١٤٥‬‬
‫‪١٠‬ﺃﲪﺪ ﺣﺴﻦ ﺍﻟﺰﻳﺎﺕ‪ ,‬ﺍﳌﺮﺟﻊ ﺍﻟﺴﺎﺑﻖ‪ ,‬ﺹ ‪.٢٢٩‬‬
‫‪١١‬ﺣﻨﺎ ﺍﻟﻔﺎﺧﻮﺭﻯ‪ ,‬ﺍﳌﺮﺟﻊ ﺍﻟﺴﺎﺑﻖ‪ ,‬ﺹ ‪.١٤٤‬‬

‫‪١٤‬‬

‫ﻭﻛﺎﻥ ﺍﻟﺒﺪﻳﻊ ﻋﻨﺪﻣﺎ ﺃﺩﺭﻙ ﺍﻟﺜﺎﻧﻴﺔ ﻋﺸﺮﺓ ﻣﻦ ﻋﻤﺮﻩ ﺗﺮﻙ ﺑﻠﺪﺗﻪ ﻭﺭﺍﺡ‬
‫ﻳﻀﺮﺏ ﰱ ﺍﻟﺒﻼﺩ ﺣﱴ ﺑﻠﻎ ﺍﻟﺮﻱ‪ ‬ﻓﺎﺗﺼﻞ ﺑﺎﻟﺼﺎﺣﺐ ﺑﻦ ﻋﺒﺎﺩ – ﻛﺎﻥ ﺍﻟﺼﺎﺣﺐ‬
‫ﻣﻦ ﺃﺻﺤﺎﺏ ﺍﻟﺘﺮﺳﻞ ﻭﻣﻦ ﺃﺷﺪ ﺍﻟﻨﺎﺱ ﻋﻨﺎﻳﺔ ﺑﻠﻮﰱ ﺍﻟﺘﺼﻮﻳﺮ ﻭﺍﳉﻨﺎﺱ‪ ,‬ﻭﻗﺪ ﺑﻠﻎ‬
‫ﻣﺬﻫﺐ ﺍﻟﺘﻨﻤﻴﻖ ﻣﺒﻠﻐﺎ ﻋﻈﻴﻤﺎ ‪ , -‬ﻭﻟﺰﻡ ﺩﺍﺭ ﻛﺘﺒﻪ‪ ,‬ﻭﻗﺪ ﺭﺑ‪‬ﻰ ﻋﻠﻰ ﺃﺳﻠﻮﺑﻪ ﰱ‬
‫ﺍﻟﺘﺴﺠﻴﻊ ﻭﺍﻟﺘﻨﻤﻴﻖ ؛ ﰒ ﻗﺼﺪ ﺟﺮﺟﺎﻥ ﺣﻴﺚ ﺍﺗﺼﻞ ﺑﻌﻠﻤﺎﺀ ﺍﻹﲰﺎﻋﻴﻠﻴﺔ ﻭﻭﻗﻒ‬
‫ﻋﻠﻰ ﻣﺬﻫﺐ ﺍﻟﺒﺎﻃﻨﻴﺔ‪ ,‬ﰒ ﺍﻧﺘﻘﻞ ﺇﱃ ﻧﻴﺴﺎﺑﻮﺭ ﺣﻴﺚ ﻛﺎﻧﺖ ﻟﻪ ﺳﻨﺔ ‪ ٩٩٢‬ﻡ‬
‫ﻣﻌﺮﻛﺔ ﺃﺩﺑﻴﺔ ﺷﺪﻳﺪﺓ ﻣﻊ ﺃﰉ ﺑﻜﺮ ﺍﳋﻮﺍﺭﺯﻣﻲ‪ ‬ﺷﻴﺦ ﺍﻟﻜﺘﺎﺏ ﰱ ﺫﻟﻚ ﺍﻟﻌﺼﺮ ‪.‬‬

‫ﻭﻗﺪ ﺍﺳﺘﻄﺎﻉ ﺑﺪﻳﻊ ﺍﻟﺰﻣﺎﻥ ﺑﺪﻫﺎﺋﻪ ﻭﻣﻜﺮﻩ ﺃﻥ ﻳﺘﻐﻠﺐ ﻋﻠﻰ ﺧﺼﻤﻪ ﺗﻐﻠﺒﺎ‬
‫ﺍﻃﺎﺭﺻﻴﺘﻪ ﻭﻧﺸﺮ ﺍﺧﺒﺎﺭﻩ ﰱ ﺍﳌﻨﺘﺪﻳﺎﺕ ﻭﳏﺎﻓﻞ ﺍﻟﺜﻘﺎﻓﺔ ‪ .١٢‬ﻭﺣﲔ ﺯﺍﺭ ﺑﺪﻳﻊ ﺍﻟﺰﻣﺎﻥ‬
‫ﺳﺠﺴﺘﺎﻥ ﻟﻘﻰ ﺑﺄﰉ ﺃﲪﺪ ﺧﻠﻒ ﺑﻦ ﺃﲪﺪ ﻭﺃﺧﺬ ﻣﻨﻪ ﻣﺎﻋﻨﺪﻩ ﻣﻦ ﺍﻟﻌﻠﻮﻡ‪.‬‬

‫ﻭﻛﺎﻥ ﺍﻟﺒﺪﻳﻊ ﻣﻨﺸﺊ ﻓﻦ ﺍﳌﻘﺎﻣﺔ‪ ,‬ﻭﻫﻰ ﻓﻦ ﺟﺪﻳﺪ ﰱ ﻫﺬﺍ ﺍﻟﻌﺼﺮ‪ ,‬ﻭﻗﻴﻞ‬
‫ﺇﻧﻪ ﺃﻧﺸﺄ ﺍﳌﻘﺎﻣﺎﺕ ﻣﺘﺄﺛﺮﺍ ﺑﺄﺣﺎﺩﻳﺚ ﺍﺑﻦ ﺩﺭﻳﺪ‪ ,‬ﻭﻫﻮ )ﺍﺑﻦ ﺩﺭﻳﺪ( ﺻﺎﺣﺐ‬
‫‪ ١٢‬ﺣﻨﺎ ﺍﻟﻔﺎﺧﻮﺭﻯ‪ ،‬ﺍﳉﺪﻳﺪ ﰱ ﺍﻷﺩﺏ ﺍﻟﻌﺮﰊ‪) ،‬ﺑﲑﻭﺕ ‪ :‬ﻣﻜﺘﺒﺔ ﻣﺪﺭﺳﺔ‪ ،‬ﺩﺍﺭ ﺍﻟﻜﺘﺎﺏ ﺍﻟﻠﺒﻨﺎﱏ‪ ،‬ﺩﺕ(‪،‬‬
‫ﺹ ‪.١٤٥‬‬

‫‪١٥‬‬

‫ﺍﳌﻘﺼﻮﺭﺓ ﺍﳌﺸﻬﻮﺭﺓ‪ ,‬ﻭﺍﳉﻤﻬﺮﺓ ﰱ ﺍﻟﻠﻐﺔ‪ ,‬ﻭﻗﺪ ﻭﺿﻊ ﺃﺭﺑﻌﲔ ﻣﻘﺎﻣﺔ‪ ,‬ﻭﻗﺪ ﻭﻟﻴﻪ ﺃﺑﻮ‬
‫ﺍﳊﺴﲔ ﺃﲪﺪ ﺑﻦ ﻓﺎﺭﺱ ﺍﻟﺮﺍﺯﻯ )ﺍﳌﺘﻮﰱ ‪ ٢٩٠‬ﻩ( ﻭﺟﺎﺀ ﺑﺪﻳﻊ ﺍﻟﺰﻣﺎﻥ ﺍﳍﻤﺬﺍﱏ‬
‫ﻓﺄﻣﻠﻰ ﺃﺭﺑﻌﻤﺎﺋﺔ ﻣﻘﺎﻣﺔ ﱂ ﻳﻌﺜﺮ ﻣﻨﻬﺎ ﺇﻻ ﲬﺴﲔ‪ ,‬ﻭﻗﺪ ﺃﺛﺮ ﺃﺳﺘﺎﺫ ﺍﺑﻦ ﻓﺎﺭﺱ‪ ,‬ﰒ‬
‫ﺟﺎﺀ ﺑﻌﺪﻩ ﺍﺑﻦ ﻧ�