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Arabi04131 المعارضات الشعرية وأثرها
Arabi04131 المعارضات الشعرية وأثرها
ﻤﻠﺨـﺹ
ﻴﺘﻨﺎﻭل ﻫﺫﺍ ﺍﻟﺒﺤﺙ ﻓﻥ ﺍﻟﻤﻌﺎﺭﻀﺎﺕ ﺍﻟﺸﻌﺭﻴﺔ ﻓﻲ ﺍﻷﺩﺏ ﺍﻟﻘﺩﻴﻡ ﻭﺍﻟﺤﺩﻴﺙ ،ﻭﻴﻌﺭﺽ ﻷﺒﺭﺯ ﺍﻟﺸﻌﺭﺍﺀ ﺍﻟﺫﻴﻥ ﺃﺨﺫﻭﺍ ﺒﻬﺫﺍ ﺍﻟﻔﻥ،
ﻭﺍﻟﺸﻌﺭﺍﺀ ﺍﻟﺫﻴﻥ ﻋﻭﺭﻀﺕ ﺃﺸﻌﺎﺭﻫﻡ ،ﻭﻴﺘﻘﺼﻰ ﺍﻷﺴﺒﺎﺏ ﻭﺍﻟﺒﻭﺍﻋﺙ ﺍﻟﺘﻲ ﺃﺩﺕ ﺇﻟﻰ ﻗﻴﺎﻡ ﻫﺫﺍ ﺍﻟﻔﻥ ،ﻭﺍﺴﺘﻤﺭﺍﺭﻩ ﻋﺒﺭ ﺍﻟﻌﺼﻭﺭ
ﺍﻷﺩﺒﻴﺔ ﺇﻟﻰ ﻋﺼﺭﻨﺎ ﺍﻟﺤﺎﻀﺭ ،ﻭﺍﻟﻨﺘﺎﺌﺞ ﺍﻟﺘﻲ ﺘﻭﺼل ﺇﻟﻴﻬﺎ ،ﻭﺁﺜﺎﺭﻩ ﻋﻠﻰ ﺤﺭﻜﺔ ﺍﻟﺸﻌﺭ ﺍﻟﻌﺭﺒﻲ ﻭﻤﺴﺎﺭﻩ.
ﻼ ﺇﻟﻰ ﺍﻟﺩﺭﺍﺴﺔ ،ﺘﻡ ﺒﻤﻭﺠﺒﻪ ﺍﺴﺘﻘﺭﺍﺀ ﺍﻟﻨﺼﻭﺹ ،ﻭﺍﺴﺘﻨﺘﺎﺝ ﺍﻟﺨﺼﺎﺌﺹ ﺍﻷﺩﺒﻴﺔ ﻭﺍﺘﺨﺫ ﺍﻟﺒﺤﺙ ﺍﻟﻤﻨﻬﺞ ﺍﻟﻭﺼﻔﻲ ﺍﻟﺘﺤﻠﻴﻠﻲ ﺍﻟﻨﺎﻗﺩ ﺴﺒﻴ ﹰ
ﻁﺒﻕ ﻫﺫﺍ ﺍﻟﻤﻨﻬﺞ ﻋﻠﻰ ﻨﻤﺎﺫﺝ ﺸﻌﺭﻴﺔ ﻋﺎﺭﺽ ﻓﻴﻬﺎ ﺍﻟﻘﺩﻤﺎ ﺀ ﺍﻟﻤﺸﺘﺭﻜﺔ ﻭﺍﻟﻤﺘﺨﺎﻟﻔﺔ ﺒﻴﻥ ﺍﻟﺸﺎﻋﺭ ﺍﻟﻤﻌﺎﺭﹺﺽ ﻭﺍﻟﻤﻌﺎﺭﺽ .ﻭﻗﺩ ﹸ
ﺍﻟﻘﺩﻤﺎﺀ ،ﻭﺃﺨﺭﻯ ﻋﺎﺭﺽ ﻓﻴﻬﺎ ﺒﻌﺽ ﺍﻟﻤﺤﺩﺜﻴﻥ ﺍﻟﻘﺩﻤﺎ ﺀ .ﻭﻟﻘﺩ ﻜﺎﻨﺕ ﺩﺭﺍﺴﺔ ﺍﻜﺘﻔﺎﺀ ﻻ ﺍﺴﺘﻘﺼﺎﺀ ،ﺍﺘﺨﺫﺕ ﺠﻤﻠﺔ ﻤﻥ ﻗﺼﺎﺌﺩ
ﻼ ﻟﻠﺩﺭﺍﺴﺔ.
ﺍﻟﻤﻌﺎﺭﻀﺔ ﻤﺤ
ﻭﺩﻟﹼﺕ ﺍﻟﻨﺘﺎﺌﺞ ﻋﻠﻰ ﺃﻥ ﻫﺫﻩ ﺍﻟﻅﺎﻫﺭﺓ ﺍﻷﺩﺒﻴﺔ ﺃﺴﻬﻤﺕ ﻓﻲ ﺍﺯﺩﻫﺎﺭ ﺍﻟﺸﻌﺭ ﺍﻟﻌﺭﺒﻲ ﻭﺘﻁﻭﺭﻩ ،ﻭﻋﻠﻰ ﺃﻥ ﺒﻌﺽ ﺍﻟﺸﻌﺭﺍﺀ ﺍﻟﻤﻌﺎﺭﹺﻀﻴﻥ
ﺘﻔﻭﻗﻭﺍ ﻋﻠﻰ ﺍﻟﺸﻌﺭﺍﺀ ﺍﻟﺫﻴﻥ ﻋﺎﺭﻀﻭﻫﻡ ،ﺇﻥ ﻤﻥ ﺤﻴﺙ ﻤﻀﻤﻭﻥ ﺍﻟﻘﺼﻴﺩﺓ ﺃﻭ ﺒﻨﺎﺅﻫﺎ ﺍﻟﻠﻐﻭﻱ ﺃﻭ ﻨﺴﻴﺠﻬﺎ ﺍﻟﻔﻨﻲ ﺃﻭ ﺼﻭﺭﻫﺎ ﺍﻟﺸﻌﺭﻴﺔ.
ﺍﻟﻜﻠﻤـﺎﺕ ﺍﻟﺩﺍﻟـﺔ :ﺍﻟﻤﻌﺎﺭﻀﺎﺕ ﺍﻟﺸﻌﺭﻴﺔ ،ﺍﻟﺘﺭﺍﺙ ﺍﻷﺩﺒﻲ ،ﺍﻟﺸﻌﺭ ﺍﻟﻌﺭﺒﻲ ،ﺍﻟﻨﻘﺎﺌﺽ.
© 2009ﻋﻤﺎﺩﺓ ﺍﻟﺒﺤﺚ ﺍﻟﻌﻠﻤﻲ /ﺍﳉﺎﻣﻌﺔ ﺍﻷﺭﺩﻧﻴﺔ .ﲨﻴﻊ ﺍﳊﻘﻮﻕ ﳏﻔﻮﻇﺔ. - 903 -
ﻋﺒﺩ ﺍﻟﺭﺅﻭﻑ ﺯﻫﺩﻱ ﻤﺼﻁﻔﻰ ﻭﻋﻤﺭ ﺍﻷﺴﻌﺩ ﺍﻟﻤﻌﺎﺭﻀﺎﺕ ﺍﻟﺸﻌﺭﻴﺔ ...
ﻓﺘﻨﺎﻓﺱ ﺍﻟﻔﺤﻭل ﻤﻊ ﻤﻌﺎﺼﺭﻴﻬﻡ ﻭﻤﻊ ﺴﺎﺒﻘﻴﻬﻡ ﻟﺘﺨﺼﺏ ﺭﻴﺎﺽ ﻋﻠﻴﻬﺎ ﺒﺸﻌﺭ ﺠﺭﻴﺭ" ،ﻭﻗﻭﻟﻪ" :ﻟﻡ ﻴﻜﻥ ﺍﻷﺨﻁل ﻤﺜﻠﻬﻤﺎ ﻭﻟﻜﻥ
ﺍﻷﺩﺏ ﺒﺎﻟﻔﺭﺍﺌﺩ ،ﻭﺍﻟﻨﻔﺎﺌﺱ ﻭﺍﻟﺭﻭﺍﺌﻊ ﻭﺍﻷﻭﺍﺒﺩ ،ﻭﻟﻴﺸﻴﺩﻭﺍ ﺭﺒﻴﻌﺔ ﺘﻌﺼﺒﺕ ﻟﻪ ﻭﺃﻓﺭﻁﺕ ﻓﻴﻪ").(8
ﻟﻠﺩﺍﺭﺴﻴﻥ ﺼﺭﺤﹰﺎ ﺃﺩﺒﻴﹰﺎ ﺠﺩﻴﺭﹰﺍ ﺒﻤﻘﻭﻟﺔ ﺍﻟﺨﻠﻴﻔﺔ ﻋﻤﺭ ﺒﻥ ﺍﻟﺨﻁﺎﺏ )ﺏ( ﻭﺍﻟﻤﻌﺎﺭﻀﺔ ﺍﻟﺸﻌﺭﻴﺔ ﻤﺼﻁﻠﺢ ﺃﺩﺒﻲ ﻴﺭﺘﺒﻁ ﻤﺩﻟﻭﻟﻪ
ﺭﻀﻲ ﺍﷲ ﻋﻨﻪ" :ﺍﻟﺸﻌﺭ ﺩﻴﻭﺍﻥ ﺍﻟﻌﺭﺏ". ﺍﻟﻔﻨﻲ ﺒﻤﺩﻟﻭﻟﻪ ﺍﻟﻠﻐﻭﻱ ﺍﺭﺘﺒﺎﻁﹰﺎ ﻭﺜﻴﻘﹰﺎ .ﻭﺃﻟﺼﻕ ﺍﻟﻤﻌﺎﻨﻲ ﺒﺎﻟﻤﺩﻟﻭل
ﻴﻤﻜﻥ ﺃﻥ ﻨﻘﺴﻡ ﺍﻟﻤﻌﺎﺭﻀﺎﺕ ﺇﻟﻰ ﻤﻌﺎﺭﻀﺎﺕ ﻜﻠﻴﺔ ﻭﺃﺨﺭﻯ ﺍﻟﻔﻨﻲ ﻭﺃﻗﺭﺒﻬﺎ ﺇﻟﻴﻪ ﻴﻔﻴﺩ ﺍﻟﻤﻘﺎﺒﻠﺔ ﻭﺍﻟﻤﺒﺎﺭﺍﺓ ﻭﺍﻟﻤﻌﺎﻅﻤﺔ ﻭﺍﻟﻤﺸﺎﺒﻬﺔ
ﺠﺯﺌﻴﺔ: ﻭﺍﻟﻤﺤﺎﻜﺎﺓ .ﻴﻘﺎل ﻋﺎﺭﺽ ﺍﻟﺸﻲﺀ ﺒﺎﻟﺸﻲﺀ ﻤﻌﺎﺭﻀﺔ :ﺃﻱ ﻗﺎﺒﻠﻪ،
ﻓﺎﻟﻤﻌﺎﺭﻀﺎﺕ ﺍﻟﻜﻠﻴﺔ ﻫﻲ ﺍﻟﻘﺼﺎﺌﺩ ﺍﻟﻤﺘﻔﻘﺔ ﻓﻲ ﻤﻭﻀﻭﻋﻬﺎ ﻭﻋﺎﺭﻀﺕ ﻜﺘﺎﺒﻲ ﺒﻜﺘﺎﺒﻪ ﺃﻱ ﻗﺎﺒﻠﺘﻪ ،ﻭﻴﻘﺎل :ﻓﻼﻥ ﻴﻌﺎﺭﻀﻨﻲ:
ﻭﻭﺯﻨﻬﺎ ﻭﻗﺎﻓﻴﺘﻬﺎ ﻭﺤﺭﻜﺔ ﺭﻭﻴﻬﺎ ﺒﺤﻴﺙ ﺘﻜﻭﻥ ﺍﻟﻘﺼﻴﺩﺓ ﺍﻟﻤﺘﺄﺨﺭﺓ ﺃﻱ ﻴﺒﺎﺭﻴﻨﻲ ،ﻭﻋﺎﺭﻀﺘﻪ ﻓﻲ ﺍﻟﻤﺴﻴﺭ :ﺃﻱ ﺴﺭﺕ ﺤﻴﺎﻟﻪ
ﺼﺩﻯ ﻟﻠﻤﺘﻘﺩﻤﺔ .ﻭﻤﺜﺎﻟﻬﺎ ﻗﺼﻴﺩﺓ ﺸﻭﻗﻲ: ﻭﺴﺎﻴﺭﺘﻪ ،ﻭﻋﺎﺭﻀﺘﻪ ﺒﻤﺜل ﻤﺎ ﺼﻨﻊ :ﺃﻱ ﺃﺘﻴﺕ ﺇﻟﻴﻪ ﺒﻤﺜل ﻤﺎ
ﻥ ﻭﺍﻟﻌﹶﻠﻡﹺِ ﺭﻴ ﻡ ﻋﻠﻰ ﺍﻟﻘﺎﻉ ﺒﻴﻥ ﺍﻟﺒﺎ ِﹺ ﺃﺘﻰ ،ﻭﻤﻨﻪ ﺍﻟﻤﻌﺎﺭﻀﺔ :ﻭﻫﻲ ﺍﻟﻤﺒﺎﺭﺍﺓ ،ﻭﻤﻌﺎﺭﺽ ﺍﻟﻜﻼﻡ
ﺤ ﺭ ِﹺﻡ
ﻙ ﺩﻤﻲ ﻓﻲ ﺍﻷﺸﻬ ِﹺﺭ ﺍﻟ ﺴ ﹾﻔ
ل ﺃﺤ ﱠ ﻭﻤﻌﺎﺭﻴﻀﻪ :ﻜﻼﻡ ﻴﺸﺒﻪ ﺒﻌﻀﻪ ﺒﻌﻀﹰﺎ).(9
ﻓﻲ ﻤﻌﺎﺭﻀﺔ ﺒﺭﺩﺓ ﺍﻟﺒﻭﺼﻴﺭﻱ: ﻭﺍﻟﻤﻌﺎﺭﻀﺔ ﺒﻤﻌﻨﺎﻫﺎ ﺍﻻﺼﻁﻼﺤﻲ ﺃﻥ ﻴﻨﻅﻡ ﺸﺎﻋﺭ ﻗﺼﻴﺩﺓ
ﻥ ﺒﺫﻱ ﺴﹶﻠﻡﹺِ ﻥ ﺘﺫ ﱡﻜ ِﹺﺭ ﺠﻴﺭﺍ ﹴ ﺃ ﻤ ﻓﻲ ﻤﻭﻀﻭﻉ ﻤﻌﻴﻥ ﻋﻠﻰ ﺒﺤﺭ ﻤﻥ ﺍﻟﺒﺤﻭﺭ ﻭﻗﺎﻓﻴﺔ ﻤﻥ ﺍﻟﻘﻭﺍﻓﻲ،
)(10
ﺕ ﺩﻤﻌﹰﺎ ﺠﺭﻯ ﻤﻥ ﻤﻘﻠ ﺔ ﺒﺩ ِﹺﻡ ﻤﺯﺠ ﹶ ﻓﻴﻌﺠﺏ ﺒﻬﺎ ﺸﺎﻋﺭ ﺁﺨﺭ ﺒﺴﺒﺏ ﻤﻥ ﺍﻟﺼﻴﺎﻏﺔ ﺍﻟﻤﺘﻤﻴﺯﺓ ﺃﻭ ﺍﻹﻴﻘﺎﻉ
ﻓﻬﻤﺎ ﻤﺘﺤﺩﺘﺎﻥ ﻓﻲ ﺍﻟﻤﻭﻀﻭﻉ )ﺍﻟﻤﺩﻴﺢ ﺍﻟﻨﺒﻭﻱ( ﻭﺍﻟﻭﺯﻥ ﺍﻟﻼﻓﺕ ﺃﻭ ﺍﻟﻤﻌﺎﻨﻲ ﺍﻟﻅﺎﻫﺭﺓ ﺃﻭ ﺍﻟﺼﻭﺭ ﺍﻟﻤﻌﺒﺭﺓ ،ﻓﻴﻨﻅﻡ ﻋﻠﻰ
)ﺍﻟﺒﺴﻴﻁ( ﻭﺤﺭﻜﺔ ﺍﻟﺭﻭﻱ )ﺍﻟﻤﻴﻡ ﺍﻟﻤﻜﺴﻭﺭﺓ(. ﺒﺤﺭﻫﺎ ﻭﻗﺎﻓﻴﺘﻬﺎ ﻭﻤﻭﻀﻭﻋﻬﺎ ،ﻤﻠﺘﺯﻤﹰﺎ ﺒﺫﻟﻙ ﺍﻟﺘﺯﺍﻤﹰﺎ ﺘﺎﻤﹰﺎ ﺃﻭ
ﻭﺍﻟﻤﻌﺎﺭﻀﺎﺕ ﺍﻟﺠﺯﺌﻴﺔ :ﻤﺎ ﺨﺎﻟﻔﺕ ﻓﻴﻪ ﺍﻟﻘﺼﻴﺩﺓ ﺍﻟﻤﺘﺄﺨﺭ ﹸﺓ ﻤﺤﺩﻭﺩﺍﹰ ،ﺤﺭﻴﺼﹰﺎ ﻋﻠﻰ ﺃﻥ ﻴﻀﺎﻫﻲ ﺍﻟﺸﺎﻋﺭ ﺍﻟﻤﻌﺎﺭﺽ ﺇﻥ ﻟﻡ
ﺍﻟﻤﺘﻘﺩﻤ ﹶﺔ ﻓﻲ ﻋﻨﺼﺭ ﻤﻥ ﺍﻟﻌﻨﺎﺼﺭ ﺍﻟﻤﺫﻜﻭﺭﺓ ،ﻜﺄﻥ ﺘﻔﻘﺩ ﺃﺤﺩ ﻴ ﹸﻔﻘﹾﻪ ﻭﻴﺘﻔﻭﻕ ﻋﻠﻴﻪ.
ﻋﻨﺎﺼﺭ ﺍﻟﺸﻜل ﺍﻟﺨﺎﺭﺠﻲ ،ﺃﻭ ﺘﺨﺘﻠﻑ ﻓﻲ ﺍﻟﻤﻭﻀﻭﻉ ﺍﺨﺘﻼﻓﹰﺎ ﻓﺎﻟﻤﻌﺎﺭﻀﺔ ﺒﻤﻌﺎﻨﻴﻬﺎ ﺍﻟﻠﻐﻭﻴﺔ ﻭﺍﻻﺼﻁﻼﺤﻴﺔ ﺍﻟﻤﺘﻘﺩﻤﺔ ﻴﻐﻠﺏ
ﺠﺯﺌﻴﹰﺎ ﺃﻭ ﻜﻠﻴﹰﺎ. ﻋﻠﻴﻬﺎ ﺃﻥ ﺘﻜﻭﻥ ﻤﺩﺭﺴﺔ ﻤﻥ ﻤﺩﺍﺭﺱ ﺍﻟﻤﻭﻫﻭﺒﻴﻥ ﻤﻥ ﺍﻟﺸﻌﺭﺍﺀ،
ﺃﻤﺎ ﺍﻻﺨﺘﻼﻑ ﻓﻲ ﺍﻟﻭﺯﻥ ﻓﻜﺎﺨﺘﻼﻑ ﻫﻤﺯﻴﺘﻲ ﺍﻟﺒﻭﺼﻴﺭﻱ ﻭﻤﻅﻬﺭﹰﺍ ﻤﻥ ﻤﻅﺎﻫﺭ ﺍﻹﺒﺩﺍﻉ ﻭﺼﻭﺭﺓ ﻤﻥ ﺼﻭﺭ ﺍﻟﺘﻔﻭﻕ،
ﻭﺸﻭﻗﻲ ﻓﻲ ﻤﺩﺡ ﺍﻟﺭﺴﻭل ﺍﻟﻜﺭﻴﻡ ،ﺍﺘﻔﻘﺘﺎ ﻓﻲ ﺍﻟﻤﻭﻀﻭﻉ ﺘﻭﺤﻲ ﺒﻘﺩﺭ ﻤﻥ ﻓﺤﻭﻟﺔ ﺍﻟﺸﺎﻋﺭ ﺍﻟﻤﺘﺄﺨﺭ ﺤﻴﻥ ﻴﺠﻴﺩ ﻤﻌﺎﺭﻀﺔ
ﻭﺍﻟﻘﺎﻓﻴﺔ ،ﻭﺍﺨﺘﻠﻔﺘﺎ ﻓﻲ ﺍﻟﻭﺯﻥ؛ ﻓﺎﻷﻭﻟﻰ ﻤﻥ ﺍﻟﺨﻔﻴﻑ: ﻗﺼﻴﺩﺓ ﻤﺘـﻘﺩﻤﺔ ﻤﺸﻬﻭﺭﺓ ،ﺒﻘﺼﻴﺩﺓ ﺘﺠﺭﻱ ﻓﻲ ﻤﻀﻤﺎﺭﻫﺎ
ﻙ ﺍﻷﻨﺒﻴـﺎ ﺀ ﻜﻴﻑ ﺘﺭﻗـﻰ ﺭ ِﻗ ﻴ ﻭﺘﺤﻘﻕ ﻗﺩﺭﹰﺍ ﻤﻭﺍﺯﻴﹰﺎ ﻤﻥ ﺍﻟﺸﻬﺭﺓ ﻭﺍﻟﻘﺒﻭل ،ﺃﻭ ﺘﺘﻔﻭﻕ ﻋﻠﻴﻬﺎ ﻓﻲ
)(11
ﻴﺎ ﺴﻤﺎ ﺀ ﻤﺎ ﻁﺎﻭﹶﻟﺘﹾﻬﺎ ﺴﻤـﺎ ﺀ ﺍﻟﺸﻜل ﻭﺍﻟﻤﻀﻤﻭﻥ.
ﻭﺍﻟﺜﺎﻨﻴﺔ ﻤﻥ ﺍﻟﻜﺎﻤل: ﻭﺍﻟﻤﻌﺎﺭﻀﺔ ﻓﻲ ﻫﺫﺍ ﺍﻟﺴﻴﺎﻕ ﺘﺘﺠﺎﻭﺯ ﺍﻟﺘـﻘﻠﻴﺩ ﺇﻟﻰ ﺍﻹﺒﺩﺍﻉ،
ﺕ ﻀﻴﺎ ﺀ ﻭﻟﺩ ﺍﻟﻬـﺩﻯ ﻓﺎﻟﻜﺎﺌﻨﺎ ﹸ ﻭﺍﻟﻤﺘﺎﺒﻌﺔ ﺇﻟﻰ ﺍﻻﺒﺘﻜﺎﺭ ،ﻴﻤﺯﺝ ﻓﻴﻬﺎ ﺍﻟﺸﺎﻋﺭ ﺒﻴﻥ ﺍﻟﻘﺩﻴﻡ
)(12
ﺴـ ﻡ ﻭﺜﹶـﻨﺎ ﺀﻥ ﺘﺒ
ﻭ ﹶﻓـ ﻡ ﺍﻟﺯﻤﺎ ﹺ ﻭﺍﻟﺤﺩﻴﺙ ،ﻓﻴﺤﻴﻲ ﺃﻤﺠﺎﺩ ﺍﻟﻘﺩﻴﻡ ،ﻭﻴﻀﻔﻲ ﻋﻠﻰ ﺍﻟﺤﺩﻴﺙ ﺍﻟﻤﺎﺀ
ﻭﺃﻤﺎ ﺍﺨﺘﻼﻑ ﺍﻟﻤﻭﻀﻭﻉ ﺍﺨﺘﻼﻓﹰﺎ ﻜﻠﻴﹰﺎ ﻓﻜﻘﺼﻴﺩﺓ ﺍﻟﺸﺎﻋﺭ ﻭﺍﻟﺭﻭﻨﻕ.
ﺍﻷﻨﺩﻟﺴﻲ ﺍﺒﻥ ﺤﻤﺩﻴﺱ ﺍﻟﺼﻘﻠﻲ ﺍﻟﺫﻱ ﻴﺫﻡ ﻓﻴﻬﺎ ﺍﻟﺯﻤﺎﻥ ﻭﺃﻫﻠﻪ: ﻲ ﻴﺘﺎﺒﻊ ﺍﻟﻤﻌﺎﺭﺽ ﻓﻲ ﻗﺼﻴﺩﺘﻪ ﻜﻤﺎ ﻴﺘﺎﺒﻊ ﻭﺍﻟﻤﻌﺎﺭﹺﺽ ﺍﻟﻜﻔ
ﻥ ﺍﻟﻌﺘﺎﺒﺎ ﺃﻻ ﻜﻡ ﺘﹸﺴ ِﻤ ﻊ ﺍﻟﺯﻤ ﻲ ﻓﻲ ﺍﻟﺤﺭﺏ ﻤﻨﺎﺯﻟﻪ ﻻ ﻴﻨﻔﻙ ﻋﻨﻪ ﺤﺘﻰ ﻴﻬﺯﻤﻪ ﻭﻴﻨﺘﺼﺭ ﺍﻟﻜﻤ
)(13
ﻁﺒﻪ ﻭﻻﻴﺩﺭﻱ ﺍﻟﺨﻁﺎﺒﺎ ﺘﺨﺎ ِ ﻋﻠﻴﻪ.
ﻭﺍﻟﺘﻲ ﻋﺎﺭﻀﻬﺎ ﺃﺤﻤﺩ ﺸﻭﻗﻲ ﺒﻘﺼﻴﺩﺓ ﻓﻲ ﺫﻜﺭﻯ ﺍﻟﻤﻭﻟﺩ ﻭﻗﺩ ﺍﺨﺘﻔﻰ ﻫﺫﺍ ﺍﻟﻠﻭﻥ ﻤﻥ ﺍﻟﺨﻁﺎﺏ ﺍﻟﺸﻌﺭﻱ ﺃﻭ ﻜﺎﺩ ،ﻓﻲ
ﺍﻟﻨﺒﻭﻱ ﺍﻟﺸﺭﻴﻑ: ﺸﻌﺭﻨﺎ ﺍﻟﻤﻌﺎﺼﺭ؛ ﻷﻥ ﺨﺼﻭﺼﻴﺔ ﺍﻟﺘﺠﺭﺒﺔ ﻭﺘﺒﺎﻴﻨﻬﺎ ﺒﻴﻥ
ﺴﻠﻭﺍ ﻗﻠﺒﻲ ﻏﺩﺍ ﹶﺓ ﺴﻼ ﻭﺘﺎﺒـﺎ ﺍﻟﺸﻌﺭﺍﺀ ﺃﺼﺒﺤﺕ ﻫﻲ ﻤﻌﻴﺎﺭ ﺃﺼﺎﻟﺔ ﺍﻟﺸﺎﻋﺭ ﻭﻗﺩﺭﺘﻪ ﻋﻠﻰ
)(14
ل ﻋﻠﻰ ﺍﻟﺠﻤﺎل ﻟﻪ ﻋﺘﺎﺒﺎ ﻟﻌ ﱠ ﺍﻹﺒﺩﺍﻉ ﻭﺍﻟﺘﻔﻭﻕ.
ﻭﻴﺘﻤﺜل ﺍﺨﺘﻼﻑ ﺍﻟﻤﻭﻀﻭﻉ ﺍﺨﺘﻼﻓﹰﺎ ﺠﺯﺌﻴﹰﺎ ﻓﻲ ﺃﻥ ﻴﺘﻨﺎﻭل ﻭﻻ ﻨﻨﺴﻰ ﺩﻭﺭ ﺍﻟﺤﺎﻟﺔ ﺍﻟﻨﻔﺴﻴﺔ ﻓﻲ ﺸﻌﺭ ﺍﻟﻤﻌﺎﺭﻀﺎﺕ ﺍﻟﺘﻲ
ﺍﻟﺸﺎﻋﺭ ﻏﺭﻀ ﹰﺎ ﻭﺍﺤﺩﹰﺍ ﻤﻥ ﺃﻏﺭﺍﺽ ﺍﻟﻘﺼﻴﺩﺓ ﺍﻟﺘﻲ ﻴﻌﺎﺭﻀﻬﺎ، ﺩﻓﻌﺕ ﺍﻟﺸﻌﺭﺍﺀ ﺍﻟﻨﺎﺒﻬﻴﻥ ﺇﻟﻰ ﺃﻥ ﻴﺘﺴﺎﺒﻘﻭﺍ ﻓﻲ ﻫﺫﺍ ﺍﻟﻤﻴﺩﺍﻥ ،ﻷﻨﻬﻡ
ﺼﻨﻴﻊ ﺸﻭﻗﻲ ﻓﻲ ﺍﻻﻜﺘﻔﺎﺀ ﺒﻤﻌﺎﺭﻀﺔ ﺍﻟﻤﻘﺩﻤﺔ ﺍﻟﻐﺯﻟﻴﺔ ﻟﻘﺼﻴﺩﺓ ﺭﺃﻭﺍ ﻓﻴﻪ ﻤﻴﺩﺍﻨﹰﺎ ﻟﻌﺭﺽ ﻗﺩﺭﺍﺘﻬﻡ ،ﻭﺸﺎﻫﺩﹰﺍ ﻋﻠﻰ ﻏﺯﺍﺭﺓ ﻴﻨﺎﺒﻴﻊ
ﺍﻟﺤﺼﺭﻱ ﺍﻟﻘﻴﺭﻭﺍﻨﻲ: ﻼ ﻋﻠﻰ ﻋﻠ ﻭ ﺸﺄﻨﻬﻡ ،ﻭﺒﺭﻫﺎﻨﹰﺎ ﻋﻠﻰ ﺘﻔﻭﻗﻬﻡ، ﻤﻠﻜﺎﺘﻬﻡ ،ﻭﺩﻟﻴ ﹰ
ﺍﻟﻤﻌﺎﺭﻀﺔ ،ﺸﺄﻥ ﻤﺎ ﻓﻌل ﺸﻌﺭﺍﺀ ﻤﻌﺎﺭﻀﺔ ﻗﺼﻴﺩﺓ )ﻴﺎ ﻟﻴل ﻏ ﺩ ﻩ
ﺏ ﻤﺘﻰ ﹶ
ﺼ
ل ﺍﻟ
ﻴﺎ ﻟﻴ ُ
)(15
ﺍﻟﺼﺏ( ﻓﺎﻜﺘﻔﻰ ﺃﻜﺜﺭﻫﻡ ﺒﻤﻌﺎﺭﻀﺔ ﻤﻘﺩﻤﺔ ﺍﻟﻘﺼﻴﺩﺓ ﺍﻟﻐﺯﻟﻴﺔ ﻋ ﺩ ﻩ
ﺃﻗـﻴـﺎ ﻡ ﺍﻟﺴﺎﻋ ﺔ ﻤ ﻭ
ﺩﻭﻥ ﻏﺭﻀﻬﺎ ﺍﻷﺴﺎﺴﻲ ﻭﻫﻭ ﺍﻟﻤﺩﻴﺢ ﻭﺍﻻﺴﺘﻌﻁﺎﻑ).(17 ﻓﻲ ﻗﺼﻴﺩﺘﻪ ﺍﻟﺘﻲ ﻋﺎﺭﻀﻬﺎ ﺒﻬﺎ:
-ﻴﻐﻠﺏ ﺍﻷﺴﻠﻭﺏ ﺍﻟﺸﻌﺭﻱ ﻭﺃﺩﻭﺍﺘﻪ )ﺍﻟﺼﻭﺭﺓ ﻭﺍﻟﻠﻐﺔ (...ﻋﻠﻰ ﻙ ﺠﻔﺎ ﻩ ﻤ ﺭ ﹶﻗ ﺩ ﻩﻤـﻀـﻨﺎ
)(16
ﺍﻟﻤﻌﺎﺭﻀﺔ ﻷﻥ ﺼﺎﺤﺒﻬﺎ ﻴﺠﺘﻬﺩ ﻓﻲ ﺃﻥ ﻴﺭﻗﻰ ﺒﻬﺎ ﻋﻠﻰ ﻋﻭ ﺩ ﻩ ﻭﺒـﻜـﺎ ﻩ ﻭﺭﺤـ ﻡ
ﺼﺎﺤﺒﻪ ﻓﺘﺴﻬﻡ ﻓﻲ ﺘﻁﻭﻴﺭ ﺍﻟﺸﻌﺭ ﻭﺍﻟﺴﻤﻭ ﺒﻪ .ﻓﻤﻨﺎﻁ ﻭﺇﻫﻤﺎل ﻤﻭﻀﻭﻉ ﺍﻟﻘﺼﻴﺩﺓ ﺍﻟﺭﺌﻴﺴﻲ ﻓﻲ ﻤﺩﺡ ﺃﺤﺩ ﺍﻷﻤﺭﺍﺀ
ﺍﻟﻤﻌﺎﺭﻀﺔ ﻫﻭ ﺍﻟﺠﺎﻨﺏ ﺍﻟﻔﻨﻲ ﻭﺤﺴﻥ ﺍﻷﺩﺍﺀ ،ﻓﻲ ﺤﻴﻥ ﺃﻥ ﻭﺍﻻﻋﺘﺫﺍﺭ ﻟﻪ.
ﺍﻟﻨﻘﻴﻀﺔ ﻋﻠﻰ ﺍﻟﻌﻜﺱ ﺘﻤﺎﻤﹰﺎ ﻫﺩﻓﻬﺎ ﺍﻟﺘﻐﻠﺏ ﻋﻠﻰ ﺍﻟﺨﺼﻡ ﻋﻠﻰ
ﺤﺴﺎﺏ ﺍﻟﻌﻤل ﺍﻟﻔﻨﻲ ،ﻭﻷﻤ ﹴﺭ ﻤﺎ ﻟﻡ ﺘﻠﻕ ﺍﻟﻨﻘﺎﺌﺽ ﻤﻥ ﺍﻟﺫﻴﻭﻉ )ﺝ( ﻨﺴﺘﺨﻠﺹ ﻤﻤﺎ ﺘـﻘﺩﻡ ﺨﺼﺎﺌﺹ ﻤﺸﺘﺭﻜﺔ ﻭﻓﺭﻭﻗﹰﺎ ﺒﻴﻥ
ﻭﺍﻻﻨﺘﺸﺎﺭ ﻤﺎ ﻟﻘﻴﺘﻪ ﺍﻟﻤﻌﺎﺭﻀﺎﺕ ﺍﻟﺸﻌﺭﻴﺔ. ﺍﻟﻤﻨﺎﻗﻀﺎﺕ ﻭﺍﻟﻤﻌﺎﺭﻀﺎﺕ:
-ﺍﻟﻤﻨﺎﻗﻀﺔ ﻭﺍﻟﻤﻌﺎﺭﻀﺔ ﻫﻤﺎ ﻓﻥ ﺍﻟﻤﻨﺎﻓﺴﺔ ﻭﺍﻟﻤﺒﺎﺭﺍﺓ ﺒﻭﺠﻪ
ﻥ ﺍﻟﻤﻌﺎﺭﻀﺎﺕ ﺍﻟﺸﻌﺭﻴﺔ
ﻤ ﻋﺎﻡ ،ﻴﺠﺘﻬﺩ ﺃﺼﺤﺎﺏ ﻜل ﻁﺭﻑ ﻓﻴﻬﻤﺎ ﻓﻲ ﺍﻟﺘﻔﻭﻕ ﻋﻠﻰ
ﺍﻟﻁﺭﻑ ﺍﻵﺨﺭ.
) (1ﻤﻌﺎﺭﻀﺔ ﺍﻟﻘﺩﻤﺎﺀ ﻟﻠﻘﺩﻤﺎﺀ -ﻤﻴﺩﺍﻥ ﺍﻟﻨﻘﺎﺌﺽ ﺤﻠﻘﺔ ﻀﻴﻘﺔ ﻤﺤﺩﻭﺩﺓ ،ﻤﻭﻀﻭﻋﻬﺎ ﺍﻷﺴﺎﺴﻲ
ﻜﺜﺭﺕ ﺍﻟﻤﻌﺎﺭﻀﺎﺕ ﺒﻴﻥ ﺍﻟﻘﺩﻤﺎﺀ ،ﻓﻜﺎﻨﺕ ﻨﻭﺍﺓ ﻻﻨﺘﻘﺎل ﺍﻟﻬﺠﺎﺀ ،ﻭﻤﻴﺩﺍﻥ ﺍﻟﻤﻌﺎﺭﻀﺎﺕ ﻓﺴﻴﺢ ﻤﺘﺴﻊ ﻴﺴﺘﻭﻋﺏ ﺃﻜﺜﺭ
ﺍﻟﻤﻌﺎﺭﻀﺔ ﺇﻟﻰ ﺸﻌﺭﺍﺀ ﺍﻟﻌﺼﺭ ﺍﻟﺤﺩﻴﺙ .ﻭﻗﺩ ﺍﺨﺘﺭﻨﺎ ﻤﻥ ﺭﻜﺎﻡ ﺍﻷﻏﺭﺍﺽ ﺍﻟﺸﻌﺭﻴﺔ.
ﻫﺫﻩ ﺍﻟﻤﻌﺎﺭﻀﺎﺕ ﻁﺎﺌﻔﺔ ﺼﺎﻟﺤﺔ ﺸﻤﻠﺕ ﻋﺼﻭﺭ ﺍﺯﺩﻫﺎﺭ ﺍﻟﺸﻌﺭ -ﺘﺸﺘﺭﻙ ﺍﻟﻨﻘﻴﻀﺔ ﻭﺍﻟﻤﻌﺎﺭﻀﺔ ﻓﻲ ﺍﻻﻟﺘﺯﺍﻡ ﺒﺎﻟﻭﺯﻥ ﻭﺍﻟﻘﺎﻓﻴﺔ
ﺍﻟﻌﺭﺒﻲ ﻤﻨﺫ ﺍﻟﻌﺼﺭ ﺍﻟﺠﺎﻫﻠﻲ ﺇﻟﻰ ﻤﺎ ﺒﻌﺩ ﺴﻘﻭﻁ ﺒﻐﺩﺍﺩ ،ﺇﻟﻰ ﺴﻨﺔ ﻭﺍﻟﻤﻭﻀﻭﻉ ﺍﻟﺭﺌﻴﺴﻲ ،ﻭﺘﺨﺘﻠﻔﺎﻥ ﻓﻲ ﺍﻟﻤﻭﻀﻭﻋﺎﺕ ﺍﻟﻔﺭﻋﻴﺔ.
750ﻫـ ﺴﻨﺔ ﻭﻓﺎﺓ ﺼﻔﻲ ﺍﻟﺩﻴﻥ ﺍﻟﺤﻠﻲ ﺁﺨﺭ ﺸﻌﺭﺍﺀ ﺍﻟﻤﻌﺎﺭﻀﺔ -ﺍﻟﻤﻨﺎﻗﻀﺔ ﻋﻼﻗﺔ ﺇﻜﺭﺍﻩ ﺒﻴﻥ ﺍﻟﺸﺎﻋﺭﻴﻥ ،ﹶﻓﺭﺽ ﻓﻴﻬﺎ ﺍﻷﻭل
ﺍﻟﻤﺨﺘﺎﺭﻴﻥ).(18 ﻋﻠﻰ ﺍﻟﺜﺎﻨﻲ ﺍﻟﺒﺤﺭ ﻭﺍﻟﻘﺎﻓﻴﺔ ﻭﺍﻟﻤﻭﻀﻭﻉ ﻭﺃﻟﺯﻤﻪ ﺒﻬﺎ.
ﻭﻗﺩ ﺍﺸﺘﻤﻠﺕ ﺍﻟﻁﺎﺌﻔﺔ ﺍﻟﻤﺨﺘﺎﺭﺓ ﺒﻌﻀﹰﺎ ﻤﻥ ﺸﻌﺭﺍﺀ ﺍﻟﻤﻐﺭﺏ ﻭﺍﻟﻤﻌﺎﺭﻀﺔ ﻋﻼﻗﺔ ﺇﻋﺠﺎﺏ ﺒﻴﻨﻬﻤﺎ ،ﻓﺎﻟﺜﺎﻨﻲ ﺍﺨﺘﺎﺭ ﺍﻟﻘﺼﻴﺩﺓ
ﻭﺍﻷﻨﺩﻟﺱ ﻜﺎﺒﻥ ﻫﺎﻨﺊ ﻭﺍﺒﻥ ﻋﺒﺩ ﺭﺒﻪ .ﻭﻗﺼﻴﺩﺘﻴﻥ ﻋﻭﺭﺽ ﺒﻬﻤﺎ ﻭﺒﺤﺭﻫﺎ ﻭﻗﺎﻓﻴﺘﻬﺎ ،ﻭﻋﺎﺭﻀﻬﺎ ﻟﻘﻴﻤﺘﻬﺎ ﺍﻟﻔﻨﻴﺔ ،ﻭﺍﻻﺨﺘﻴﺎﺭ ﻴﺩل
ﺍﻟﻤﺘﻨﺒﻲ ﻤﻥ ﻗﺒل ﺍﺒﻥ ﻫﺎﻨﺊ ﻭﺼﻔﻲ ﺍﻟﺩﻴﻥ ﺍﻟﺤﻠﻲ ،ﻭﻗﺼﻴﺩﺘﻴﻥ ﻋﻠﻰ ﺍﻹﻋﺠﺎﺏ.
ﻋﺎﺭﺽ ﺒﻬﻤﺎ ﺍﻷﺒﻴﻭﺭﺩﻱ ﺍﻟﺸﺭﻴﻑ ﺍﻟﺭﻀﻲ ﻭﺍﻟﻤﻌﺭﻱ. -ﺍﻟﻨﻘﺎﺌﺽ ﺘﻘﺘﻀﻲ ﺍﻟﻤﻌﺎﺼﺭﺓ؛ ﻓﺎﻟﺸﺎﻋﺭ ﻴﻨﻘﺽ ﻗﺼﻴﺩﺓ
ﻭﻴﻼﺤﻅ ﺃﻥ ﺃﺼﺤﺎﺏ ﺍﻟﻘﺼﺎﺌﺩ ﺍﻟﺘﻲ ﻭﻗﻊ ﺍﺨﺘﻴﺎﺭﻨﺎ ﻋﻠﻴﻬﺎ ﻋﺼﺭﻴﻪ ﻭﻴﺭ ﺩ ﻋﻠﻴﻬﺎ ،ﻋﻠﻰ ﺨﻼﻑ ﺍﻟﻤﻌﺎﺭﻀﺎﺕ ﺍﻟﺘﻲ ﻻ
ﻤﻌﺎﺭﹺﻀﻴﻥ ﻭﻤﻌﺎﺭﻀﻴﻥ )ﺒﺎﻟﻜﺴﺭ ﻭﺍﻟﻔﺘﺢ( ،ﺃﻋﻼﻡ ﺫﻭﻭ ﺸﻬﺭﺓ ﻓﻲ ﺘﻠﺯﻡ ﺍﻟﻤﺘﻌﺎﺭﻀﻴﻥ ﺃﻥ ﻴﻜﻭﻨﺎ ﻤﺘﻌﺎﺼ ﺭﻴﻥ ،ﻓﻘﺩ ﻴﻔﺼل ﺒﻴﻨﻬﻤﺎ
ﻤﻴﺩﺍﻥ ﺍﻟﺸﻌﺭ ،ﻭﺫﻟﻙ ﻴﺩﻋﻡ ﺍﻟﻤﻘﻭﻟﺔ ﺍﻟﺘﻲ ﺴﻨﻨﺘﻬﻲ ﺇﻟﻴﻬﺎ ﺒﺄﻥ ﺭﻭﺡ ﻗﺭﻭﻥ ﻁﻭﻴﻠﺔ .ﻭﻗﺩ ﻴﻌﺎﺭﺽ ﺍﻟﻘﺼﻴﺩﺓ ﺍﻟﻭﺍﺤﺩﺓ ﺃﻜﺜﺭ ﻤﻥ
ﺍﻟﺘﺤﺩﻱ ﻭﺍﻟﺴﺒﻕ ﻭﺍﻟﺘـﻔﻭﻕ ﻜﺎﻨﺕ ﺘﻁﺒﻊ ﻫﺅﻻﺀ ﻓﻲ ﻤﻌﺎﺭﻀﺎﺘﻬﻡ. ﺸﺎﻋﺭ ﻓﻲ ﻋﺼﺭ ﻭﺍﺤﺩ ﺃﻭ ﻋﺼﻭﺭ ﻤﺘﺒﺎﻋﺩﺓ.
-ﺍﻟﻤﻌﺎﺭﻀﺔ ﺘﻘﻊ ﺒﻴﻥ ﺸﺎﻋﺭﻴﻥ ﺍﺜﻨﻴﻥ ﻭﺍﺤﺩ ﻴﻌﺎﺭﺽ ﺍﻵﺨﺭ،
ﻤﻌﺎﺭﻀﺔ ﺍﻟﻘﺩﻤﺎﺀ ﻟﻠﻘﺩﻤﺎﺀ ﻭﺍﻟﻨﻘﻴﻀﺔ ﺘﻘﻊ ﺒﻴﻥ ﺍﺜﻨﻴﻥ ﺃﻭ ﺃﻜﺜﺭ؛ ﻓﻘﺩ ﻴﻬﺠﻭ ﺸﺎﻋﺭ ﺨﺼﻤﻪ
ﻤﺭﺘﺒﺔ ﺃﺴﻤﺎﺅﻫﻡ ﺤﺴﺏ ﺴﻨﺔ ﻭﻓﺎﺓ ﺍﻟﻤﻌﺎﺭﹺﺽ ﻤﻊ ﺫﻜﺭ ﺴﻨﺔ ﻓﻴﺭ ﺩ ﻋﻠﻴﻪ ،ﺃﻭ ﻴﺭ ﺩ ﺒﻬﺠﺎﺌﻪ ﻭﻫﺠﺎﺀ ﺨﺼﻭﻤﻪ ﺠﻤﻴﻌﹰﺎ.
ﻭﻓﺎﺓ ﺍﻟﻤﻌﺎﺭﺽ -ﺍﻟﻤﻨﺎﻗﺽ ﻴﻘﻑ ﻤﻥ ﺼﺎﺤﺒﻪ ﻤﻭﻗﻑ ﺍﻟﺨﺼﻡ ﺍﻟﻤﻨﺎﻓﺱ ،ﻫﻤﻪ
-1ﻤﻌﺎﺭﻀﺔ ﺍﻷﺨﻁل ﻜﻌﺏ ﺒﻥ ﺯﻫﻴﺭ ﻼ ﺃﺴﻠﺤﺔ ﻤﺸﺭﻭﻋﺔ ﻭﻏﻴﺭ ﺃﻥ ﻴﻬﺯﻤﻪ ﻭﻴﺠﻬﺯ ﻋﻠﻴﻪ ،ﻤﺴﺘﻌﻤ ﹰ
) 26 -ﻫـ( ) 90 -ﻫـ( ﺏ ﺍﻟﻘﺒﻴﺢ ﻭﺍﻟﻬﺠﺎﺀ ﺍﻟﻤﻘﺫﻉ.ﻤﺸﺭﻭﻋﺔ ،ﻤﻥ ﺃﺴﺎﻟﻴﺏ ﺍﻟﺘﺴﺎ
-2ﻤﻌﺎﺭﻀﺔ ﺍﻟﻜﻤﻴﺕ ﻋﻤﺭﻭ ﺒﻥ ﻜﻠﺜﻭﻡ -ﻭﺍﻟﻤﻌﺎﺭﺽ ﻴﻘﻑ ﻤﻥ ﺼﺎﺤﺒﻪ ﻤﻭﻗﻑ ﺍﻟﻤﻘﻠﺩ ﺍﻟﻤﻌﺠﺏ،
) 40 -ﻕ ﻫـ( )126 -ﻫـ( ﺍﻟﻤﻌﺘﺭﻑ ﺒﺒﺭﺍﻋﺘﻪ ،ﺍﻟﻁﺎﻤﺢ ﺇﻟﻰ ﻤﺠﺎﺭﺍﺘﻪ ﺃﻭ ﻤﺠﺎﻭﺯﺘﻪ.
-3ﻤﻌﺎﺭﻀﺔ ﺃﺒﻲ ﺘﻤﺎﻡ ﺒﺸﺎﺭ ﺒﻥ ﺒﺭﺩ -ﺍﻟﻬﺠﺎﺀ ﻫﻭ ﺍﻟﻤﻭﻀﻭﻉ ﺍﻟﺭﺌﻴﺴﻲ ﻟﻠﻨﻘﻴﻀﺔ ،ﻭﻫﻭ ﻤﺤﻭﺭ
) 167 -ﻫـ( ) 231 -ﻫـ( ﺍﻫﺘﻤﺎﻡ ﺍﻟﺸﺎﻋﺭ ﺍﻟﺫﻱ ﻴﺭﺩ ﻋﻠﻰ ﺍﻟﻨﻘﻴﻀﺔ ،ﻻ ﻴﻬﺘﻡ ﺒﻐﻴﺭﻩ ﻭﻻ
-4ﻤﻌﺎﺭﻀﺔ ﺍﻟﺒﺤﺘﺭﻱ ﻁﺭﻓﺔ ﺒﻥ ﺍﻟﻌﺒﺩ ﻴﻌﺘﻨﻲ ﺒﺴﻭﺍﻩ .ﺃﻤﺎ ﺍﻟﻤﻌﺎﺭﻀﺔ ﻓﺘﺭﻜﹼﺯ ﻋﻠﻰ ﻤﻭﻀﻭﻉ ﻭﺍﺤﺩ
) 60 -ﻕ ﻫـ( ) 284 -ﻫـ( ﻴﺨﺘﺎﺭﻩ ﺍﻟﺸﺎﻋﺭ ﺍﻟﻤﻌﺎﺭﹺﺽ ﻤﻥ ﻤﻭﻀﻭﻋﺎﺕ ﺍﻟﻘﺼﻴﺩﺓ
ﺒﺎﻨﺕ ﺴﻌﺎ ﺩ ﻓﻔﻲ ﺍﻟﻌﻴﻨﻴﻥ ﺘﺴﻬﻴ ﺩ ﻤﻌﺎﺭﻀﺔ ﺍﺒﻥ ﻋﺒﺩ ﺭﺒﻪ ﻤﺴﻠﻡ ﺒﻥ ﺍﻟﻭﻟﻴﺩ -5
)(23
ﺏ ﻤﻌﻤﻭ ﺩ
ﺕ ﹸﻟﺒ ﻪ ﻓﺎﻟﻘﻠ
ﻭﺍﺴﺘﺤ ﹶﻘ ﺒ ﹾ ) 208 -ﻫـ( 328ﻫـ( )-
ﻭﺇﺫﺍ ﻜﺎﻥ ﻟﻨﺎ ﻓﻲ ﻻﻤﻴﺔ ﺍﻷﺨﻁل ﻏﻨﻴﺔ ،ﻓﻘﺩ ﺘﺨﻠﻰ ﻓﻴﻬﺎ ﻤﻌﺎﺭﻀﺔ ﺍﺒﻥ ﻫﺎﻨﺊ ﺍﻷﻨﺩﻟﺴﻲ ﺍﻟﻤﺘﻨﺒﻲ -6
ﺒﺒﺭﺍﻋﺔ ﻋﻥ ﻤﻭﻀﻭﻉ ﺍﻟﻘﺼﻴﺩﺓ ﺍﻟﺭﺌﻴﺴﻲ ،ﻭﻗﺼﺭ ﻗﺼﻴﺩﺘﻪ ﻋﻠﻰ ) 354 -ﻫـ( 362ﻫـ( )-
ﺍﻟﻘﺴﻤﻴﻥ ﺍﻷﻭﻟﻴﻥ ﻤﻥ ﻗﺼﻴﺩﺓ ﻜﻌﺏ :ﻭﺼﻑ ﺴﻌﺎﺩ ﻭﺫﻜﺭ ﺍﻟﻨﺎﻗﺔ، ﻤﻌﺎﺭﻀﺔ ﺍﻷﺒﻴﻭﺭﺩﻱ ﺍﻟﺸﺭﻴﻑ ﺍﻟﺭﻀﻲ -7
ﻭﺠﻌﻠﻬﻤﺎ ﻤﺩﺍﺭ ﺤﺩﻴﺜﻪ ،ﻭﻟﻡ ﻴﻤﺱ ﺍﻟﻘﺴﻡ ﺍﻟﺜﺎﻟﺙ -ﻭﻫﻭ ﺠﻭﻫﺭ ) 406 -ﻫـ( 507ﻫـ( )-
ﺴﹰﺎ ﻋﻤﻴﻘﹰﺎ ﺃﻭ ﺭﻓﻴﻘﹰﺎ. ﺍﻟﻘﺼﻴﺩﺓ ﻭﻏﺭﻀﻬﺎ ﺍﻷﺴﺎﺴﻲ -ﻤ ﻤﻌﺎﺭﻀﺔ ﺍﻷﺒﻴﻭﺭﺩﻱ ﺍﻟﻤﻌﺭﻱ -8
ﻭﻫﻭ ﻓﻲ ﻗﺴﻤﻲ ﺍﻟﻘﺼﻴﺩﺓ ﺘﺘﺒﻊ ﻜﻌﺒﹰﺎ ﻓﻲ ﺘﻨﺎﻭل ﺍﻟﺘﻔﺎﺼﻴل ) 449 -ﻫـ( 507ﻫـ( )-
ﺘﺘﺒﻌﹰﺎ ﺩﻗﻴﻘﺎﹰ ،ﺴﻭﺍﺀ ﻓﻲ ﻭﺼﻑ ﺍﻟﻤﺭﺃﺓ ﻓﻲ ﺠﺎﻨﺒﻪ ﺍﻟﺤﺴﻲ ،ﺃﻭ ﻓﻲ ﻤﻌﺎﺭﻀﺔ ﺍﺒﻥ ﺨﻔﺎﺠﺔ ﺃﺒﺎ ﺘﻤﺎﻡ -9
ﻭﺼﻑ ﺍﻟﻨﺎﻗﺔ ﻭﺴﻴﺭﻫﺎ ﺍﻟﻘﻭﻱ ،ﻭﺒﻠﻭﻍ ﺍﻟﻤﺭﺍﺩ ﺒﻌﺩ ﺍﻟﻤﻌﺎﻨﺎﺓ ) 231 -ﻫـ( 533ﻫـ( )-
ﻭﺍﻟﻤﻘﺎﺴﺎﺓ ﺍﻟﺸﺩﻴﺩﺓ .ﻭﻻ ﻴﻜﺎﺩ ﺍﻟﻨﺎﻗﺩ ﺍﻟﺒﺼﻴﺭ ﻴﻔﺭﻕ ﺒﻴﻥ ﻟﻐﺔ ﻤﻌﺎﺭﻀﺔ ﺍﻟﺒﻭﺼﻴﺭﻱ ﺍﺒﻥ ﺍﻟﻔﺎﺭﺽ -10
ل ﻋﻠﻰ ﺃﻨﻬﻤﺎ ﺍﻟﺸﺎﻋﺭﻴﻥ ﻭﺃﺴﻠﻭﺒﻴﻬﻤﺎ؛ ﻓﻘﺩ ﺘﺸﺎﺒﻬﺎ ﺘﺸﺎﺒﻬﹰﺎ ﻜﺒﻴﺭﹰﺍ ﺩ ّ ) 632 -ﻫـ( 696ﻫـ( )-
ﻤﻥ ﻤﻨﺠﻡ ﻭﺍﺤﺩ ،ﻓﻬﻤﺎ ﻴﺼﺩﺭﺍﻥ ﻋﻥ ﺃﺭﻭﻤﺔ ﺍﻟﺸﻌﺭ ﺍﻟﻌﺭﺒﻲ ﻓﻲ ﻤﻌﺎﺭﻀﺔ ﺍﻟﺤﻠﹼﻲ ﺍﻟﻤﺘﻨﺒﻲ -11
ﺃﻭﻟﻴﺎﺘﻪ ﺍﻟﺠﺎﻫﻠﻴﺔ ﻭﺍﻷﻤﻭﻴﺔ ،ﻓﺼﺎﺤﺔ ﻟﻔﻅ ،ﻭﺠﺯﺍﻟﺔ ﺘﺭﻜﻴﺏ ،ﻭﻗﻭﺓ ) 354 -ﻫـ( 750ﻫـ( )-
ﺴﺒﻙ ،ﻭﺒﺩﺍﻭﺓ ﺘﻌﺒﻴﺭ. ﻤﻌﺎﺭﻀﺔ ﺍﻟﺤﻠﹼﻲ ﺍﻟﺒﻭﺼﻴﺭﻱ -12
) 696 -ﻫـ( 750ﻫـ( )-
ﻤﻌﺎﺭﻀﺔ ﺍﻟﻜﻤﻴﺕ ﻋﻤﺭﻭ ﺒﻥ ﻜﻠﺜﻭﻡ
)(24
ﺍﻟﺘﻲ ﻟﻘﻴﺕ ﻤﻌﻠﻘﺔ ﺍﻟﺸﺎﻋﺭ ﺍﻟﺠﺎﻫﻠﻲ ﻋﻤﺭﻭ ﺒﻥ ﻜﻠﺜﻭﻡ ﻤﻌﺎﺭﻀﺔ ﺍﻷﺨﻁل ﻜﻌﺏ ﺒﻥ ﺯﻫﻴﺭ
)(19
ﻤﻁﻠﻌﻬﺎ: ﺘﻌ ﺩ ﻻﻤﻴﺔ ﻜﻌﺏ ﺒﻥ ﺯﻫﻴﺭ :
ﻙ ﻓﺎﺼﺒﺤﻴﻨﺎ ﺃﻻ ﻫﺒـﻲ ﺒﺼﺤﻨ ل
ﺒﺎﻨﺕ ﺴﻌﺎ ﺩ ﻓﻘﻠﺒﻲ ﺍﻟﻴﻭ ﻡ ﻤﺘﺒﻭ ُ
ﻭﻻ ﺘﹸﺒﻘﻲ ﺨﻤـﻭ ﺭ ﺍﻷَﻨﺩﺭﻴﻨـﺎ ل
ﻤﺘﻴ ﻡ ﺇ ﹾﺜﺭﻫﺎ ﻟﻡ ﻴ ﹾﻔ ﺩ ﻤﻜﺒﻭ ُ
ﻤﻌﺎﺭﻀﺔ ﻟﻠﺸﺎﻋﺭ ﺍﻟﻜﻤﻴﺕ ﺒﻥ ﺯﻴﺩ) (25ﻤﻁﻠﻌﻬﺎ: ﻤﻥ ﺃﺸﻬﺭ ﻗﺼﺎﺌﺩ ﺍﻟﺸﻌﺭ ﺍﻟﻌﺭﺒﻲ ﻭﺃﻭﺴﻌﻬﺎ ﺫﻴﻭﻋﺎﹰ
ﺕ ﻋﻨـﺎ ﻴﺎ ﻤﺩﻴـﻨﺎ ﺤﻴﱢﻴـ
ﺃﻻ ﻭﺍﻨﺘﺸﺎﺭﺍﹰ ،ﻭﺃﻜﺜﺭﻫﺎ ﻤﻌﺎﺭﻀﺔ ﻓﻲ ﺍﻟﻘﺩﻴﻡ ﻭﺍﻟﺤﺩﻴﺙ .ﻭﻟﻌﻠﻬﺎ
ﺴﻠﹼﻤﻴﻨﺎ
ل ﻤ
ﺱ ﺒﻘـﻭ ِﻭﻫـل ﺒـﺄ ﺍﺴﺘﻤﺩﺕ ﺸﻬﺭﺘﻬﺎ ﻤﻥ ﻜﻭﻨﻬﺎ ﺘﻤﺜل ﻨﻤﻁ ﺍﻟﻘﺼﻴﺩﺓ ﺍﻟﺠﺎﻫﻠﻴﺔ ﻓﻲ
ﺃﻤﺎ ﻤﻌﻠﻘﺔ ﻋﻤﺭﻭ ﺒﻥ ﻜﻠﺜﻭﻡ ﺍﻟﺘﻐﻠﺒﻲ ﻓﻴﺫﻜﺭ ﻓﻴﻬﺎ ﺃﻴﺎﻡ ﺒﻨﻲ ﺘﻐﻠﺏ ﻁﻠﺏ ﺍﻟﻌﻔﻭ ﻭﺍﻟﺼﻔﺢ ،ﻭﺍﻟﻘﺼﻴﺩﺓ ﺍﻹﺴﻼﻤﻴﺔ ﻓﻲ ﻤﺩﺡ ﺍﻟﺭﺴﻭل
ﻭﻴﻔﺨﺭ ﺒﻬﻡ .ﻭﻴﺴﺘﻬﻠﻬﺎ ﺒﻤﻘﺩﻤﺔ ﺨﻤﺭﻴﺔ ﻴﻌﻘﺒﻬﺎ ﺒﺄﺸﻌﺎﺭ ﻏﺯﻟﻴﺔ ﻴﻐﻠﺏ ،ﻓﺎﺴﺘﻬﻭﺕ ﺒﺫﻟﻙ ﺃﻓﺌﺩﺓ ﺍﻟﺸﻌﺭﺍﺀ ،ﻓﺴﺎﺭﻋﻭﺍ ﺇﻟﻰ ﻤﻌﺎﺭﻀﺘﻬﺎ
ﻋﻠﻴﻬﺎ ﺍﻟﻭﺼﻑ ﺍﻟﺤﺴﻲ ﻟﺠﻤﺎل ﺍﻟﻤﺭﺃﺓ ﺍﻟﺫﻱ ﺘﻔﻀﻠﻪ ﺍﻟﻌﺭﺏ. ﻭﺘﺸﻁﻴﺭﻫﺎ ﻭﺘﺨﻤﻴﺴﻬﺎ .ﻭﻟﻌل ﻤﻥ ﺃﺸﻬﺭ ﺍﻟﻤﻌﺎﺭﻀﺎﺕ ﻗﺼﻴﺩﺓ
ﻭﺒﻌﺩﻫﺎ ﻴﺸﺭﻉ ﻓﻲ ﺫﻜﺭ ﺒﻁﻭﻻﺕ ﻗﻭﻤﻪ ﻭﺸﺠﺎﻋﺘﻬﻡ ﻭﺠﺭﺃﺘﻬﻡ ﻓﻲ ﺍﻟﺒﻭﺼﻴﺭﻱ) (20ﺍﻟﺘﻲ ﻤﻁﻠﻌﻬﺎ:
ﺨﻭﺽ ﺍﻟﺤﺭﻭﺏ ﻭﻴﻌﺩﺩ ﺼﻔﺎﺘﻬﻡ ﺍﻟﺤﻤﻴﺩﺓ ﻤﻥ ﻗﺭﻯ ﺍﻷﻀﻴﺎﻑ ل
ﺕ ﻤﺸﻐﻭ ُ ﺇﻟﻰ ﻤﺘﻰ ﺃﻨﺕ ﺒﺎﻟﱠﻠﺫﺍ
ﻭﺇﻏﺎﺜﺔ ﺍﻟﻤﻠﻬﻭﻑ ﻭﺃﻨﻬﻡ ﺍﻟﺤﺎﻜﻤﻭﻥ ﺍﻟﻤﻁﺎﻋﻭﻥ ،ﻭﺍﻵﻤﺭﻭﻥ ل
ﺕ ﻤﺴﺅﻭ ُ ﻭﺃﻨﺕ ﻋﻥ ﻜل ﻤﺎ ﻗﺩﻤ ﹶ
ﺍﻟﻨﺎﻫﻭﻥ ،ﻭﺍﻟﻤﻁﻌﻤﻭﻥ ﺍﻟﻤﺎﻨﻌﻭﻥ ،ﻭﻴﺼﻑ ﺃﺩﻭﺍﺕ ﺍﻟﺤﺭﺏ ﻤﻥ ﻭﻗﺩ ﻨﺄﻴﻨﺎ ﻋﻥ ﺍﻟﻤﺸﻬﻭﺭ ﻤﻥ ﻤﻌﺎﺭﻀﺎﺕ ﻫﺫﻩ ﺍﻟﻘﺼﻴﺩﺓ
ﺍﻟﺴﻭﺍﺒﻎ ﺍﻟﺩﻻﺹ ﻭﺍﻟﺠﺭﺩ ﺍﻟﻌﺘﺎﻕ .ﻭﻴﺨﻠﺹ ﺇﻟﻰ ﺃﻥ ﺫﻟﻙ ﻜﻠﻪ ﻭﺘﻌﻤﺩﻨﺎ ﺍﺨﺘﻴﺎﺭ ﺸﺎﻋﺭ ﻻ ﻴﻅﻥ ﺃﻨﻪ ﻴﻌﻤﺩ ﺇﻟﻰ ﻤﻌﺎﺭﻀﺔ ﻻﻤﻴﺔ
ﻤﻭﺭﻭﺜﺎﺕ ﻓﻲ ﻗﻭﻤﻪ ﻴﻭﺭﺜﻭﻨﻬﺎ ﺃﺒﻨﺎﺀﻫﻡ ﻜﻤﺎ ﻭﺭﺜﻭﻫﺎ ﻋﻥ ﺁﺒﺎﺌﻬﻡ. ﻜﻌﺏ ،ﻟﺴﺒﺏ ﻤﻥ ﻋﻘﻴﺩﺘﻪ ،ﻭﻤﻥ ﻤﻭﻀﻭﻉ ﺍﻟﻘﺼﻴﺩﺓ؛ ﻓﺎﻟﺸﺎﻋﺭ
ﻭﻴﺨﺘﺘﻤﻬﺎ ﺒﺒﻌﺽ ﺍﻟﻔﺨﺭﻴﺎﺕ ﺍﻟﺘﻲ ﻤﻸ ﺒﻬﺎ ﺍﻟﺩﻨﻴﺎ ﻭﺸﻐل ﺍﻟﻨﺎﺱ: ﻨﺼﺭﺍﻨﻲ ﻭﺍﻟﻤﻭﻀﻭﻉ ﻫﻭ ﻤﺩﺡ ﺍﻟﺭﺴﻭل ﺍﻟﻜﺭﻴﻡ ﻭﺍﻟﺘـﻘﺭﺏ ﺇﻟﻴﻪ،
ﻟﻨﺎ ﺍﻟﺩﻨﻴﺎ ﻭﻤﻥ ﺃﻤﺴـﻰ ﻋﻠﻴﻬﺎ ﻓﻠﻨﻨﻅﺭ ﻜﻴﻑ ﺘﺼﺭﻑ ﺍﻷﺨﻁل) (21ﺒﻬﺫﻴﻥ ﺍﻟﻤﻌﻁﻴﻴﻥ ﻭﻭﻓﹼﻕ
ﺵ ﻗﺎﺩﺭﻴﻨﺎ ﺵ ﺤﻴﻥ ﻨﺒﻁ ﹸ ﻭﻨﺒﻁ ﹸ ﺒﻴﻨﻬﻤﺎ ﻭﺒﻴﻥ ﻤﻌﺎﺭﻀﺔ ﻗﺼﻴﺩﺓ ﻜﻌﺏ ﻓﻲ ﻗﺼﻴﺩﺘﻴﻥ ﺍﺜﻨﺘﻴﻥ ﻻﻤﻴﺔ
ﻕ ﻋﻨﹼﺎ
ﻤﻸﻨﺎ ﺍﻟﺒ ﺭ ﺤﺘﻰ ﻀـﺎ ﹶ ﻭﺩﺍﻟﻴﺔ .ﻤﻁﻠﻊ ﺍﻟﻼﻤﻴﺔ:
ﻭﻤﺎ ﺀ ﺍﻟﺒﺤـ ِﹺﺭ ﻨﻤﻠـﺅُﻩ ﺴﻔﻴﻨﺎ ل
ﺒﺎﻨﺕ ﺴﻌﺎ ﺩ ﻓﻔﻲ ﺍﻟﻌﻴﻨﻴﻥ ﻤﻠﻤﻭ ُ
)(22
ﺇﺫﺍ ﺒﻠﻎ ﺍﻟﺭﻀﻴ ﻊ ﻟﻨﺎ ﻓﻁﺎﻤـﹰﺎ ل
ﺢ ﺍﻟﺠﺴ ِﹺﻡ ﻤﺨﺒﻭ ُﺤﺒﱢﻬﺎ ﻭﺼﺤﻴ ﻤﻥ
ﹶﺘﺨـ ﺭ ﻟـﻪ ﺍﻟﺠﺒﺎﺒ ﺭ ﺴﺎﺠﺩﻴﻨﺎ ﻭﻤﻁﻠﻊ ﺍﻟﺩﺍﻟﻴﺔ:
ﻕ ﺭﺅﻭﺴﻬﻡ ﻥ ﻤﺜﺎ ﺭ ﺍﻟ ﱠﻨ ﹾﻘ ِﹺﻊ ﻓﻭ ﹶ ﻜﺄ ﻭﺃﻤﺎ ﺍﻟﻜﻤﻴﺕ ﺒﻥ ﺯﻴﺩ ﻓﻬﺎﺸﻤﻲ ﺃﺴﺩﻱ ﻤﺘﻌﺼﺏ ﻟﻤﺫﻫﺒﻪ
ل ﺘﹶﻬﺎﻭﻯ ﻜﻭﺍﻜ ﺒ ﻪ ﻭﺃﺴﻴﺎﻓﹶﻨﺎ ﻟﻴ ٌ ﻭﻗﻭﻤﻪ ،ﻭﺃﻤﺎ ﻗﺼﻴﺩﺘﻪ "ﺍﻟﻤﺫﻫﺒﺔ" ﺍﻟﺘﻲ ﻋﺎﺭﺽ ﺒﻬﺎ ﻤﻌﻠﻘﺔ ﻋﻤﺭﻭ
ﺕ ﺍﻟﻔﹸﺠﺎﺀﺓ ﺇﻨﻨﺎ ﺒ ﻌﺜﹾﻨﺎ ﻟﻬﻡ ﻤﻭ ﹶ ﻓﻘﺩ ﻫﺠﺎ ﺒﻬﺎ ﺨﺎﻟﺩﹰﺍ ﺍﻟﻘﺴﺭﻱ ﺍﻟﻴﻤﻨﻲ ،ﻭﻟﻡ ﻴﺘﺭﻙ ﺤﻴﹰﺎ ﻤﻥ ﺍﻟﻴﻤﻥ ﺇﻻ
)(31
ﻕ ﻋﻠﻴﻨﺎ ﺴﺒﺎﺌﺒ ﻪ ﺕ ﺨﻔﱠﺎ ﹲ ﺒﻨﻭ ﺍﻟﻤﻭ ﻟﻁﹼﺨﻪ ﺒﻬﺠﺎﺌﻪ).(26
ﻓﺭﺍﺤﻭﺍ ﻓﺭﻴﻘﹰﺎ ﻓﻲ ﺍﻹﺴﺎﺭ ﻭ ﻤ ﹾﺜﻠﹸﻪ ﻫﻜﺫﺍ ﻨﺭﻯ ﺃﻥ ﻤﻭﻀﻭﻋﻲ ﺍﻟﻘﺼﻴﺩﺓ ﻴﻨﺘﻅﻤﻪ ﺴﻠﻙ ﻭﺍﺤﺩ ﻓﻬﻭ
ل ﻻﺫ ﺒﺎﻟﺒﺤﺭ ﻫﺎﺭ ﺒ ﻪ ل ﻭ ﻤ ﹾﺜ ٌ ﻗﺘﻴ ٌ ﻓﻲ ﻤﻌﻠﻘﺔ ﻋﻤﺭﻭ ﺘﻬﺩﻴﺩ ﻷﺒﻲ ﻫﻨﺩ) ،(27ﻴﻐﻠﺏ ﻋﻠﻴﻪ ﺍﻟﻔﺨﺭ ﻭﺍﻟﻭﻋﻴﺩ
ﺃﻤﺎ ﻗﺼﻴﺩﺓ ﺃﺒﻲ ﺘﻤﺎﻡ ﻓﺎﻗﺘﺼﺭ ﺍﻟﻐﺯل ﻓﻴﻬﺎ ﻋﻠﻰ ﺍﻟﻤﻁﻠﻊ ﻭﺍﻟﺘﺨﻭﻴﻑ ،ﻭﻫﻭ ﻓﻲ ﻗﺼﻴﺩﺓ ﺍﻟﻜﻤﻴﺕ ﻓﺨﺭ ﺒﻘﻭﻤﻪ ﻭﺜﻨﺎﺀ ﻋﻠﻴﻬﻡ،
ﻭﺍﻨﺘﻘل ﺍﻟﻜﻼﻡ ﺒﻌﺩ ﺫﻟﻙ ﺇﻟﻰ ﺍﻟﺘﺤﻤل ﻭﺍﻻﺭﺘﺤﺎل ﻭﻭﺼﻑ ﺍﻟﺭﻜﺏ ﻭﺘﻌﺒﻴﺭ ﻋﻥ ﺴﻴﺎﺩﺘﻬﻡ ﻭﺃﻭﻟﻴﺘﻬﻡ ﻭﺼﺩﺍﺭﺘﻬﻡ ،ﻭﺍﺨﺘﺼﺎﺼﻬﻡ ﺒﻤﻜﺎﺭﻡ
ﻻ ﺇﻟﻰ ﻭﺍﻹﺒل ﻭﻗﺩﺭﺘﻬﺎ ﻋﻠﻰ ﻤﻘﺎﺴﺎﺓ ﻤﺸﺎﻕ ﺍﻟﺴﻴﺭ ،ﻭﺼﻭ ﹰ ﺍﻷﺨﻼﻕ:
ﺍﻟﻤﻤﺩﻭﺡ ﻭﺫﻜﺭ ﺼﻔﺎﺘﻪ ﻭﺨﺼﺎﻟﻪ ﻭﻗﺩﺭﺘﻪ ﺍﻟﻘﺘﺎﻟﻴﺔ: ل ﻨﺠ ﹴﻡ
ﻟﻨﺎ ﻗﻤ ﺭ ﺍﻟﺴﻤﺎ ِﺀ ﻭﻜ ﱡ
ﺽ ﻭﻗﻔﺘﹶﻪ ﻭﻴﻭ ﹴﻡ ﺃﻤﺎﻡ ﺍﻟ ﻤﻠﹾﻙ ﺩﺤ ﹴ ﺘـﺸﻴ ﺭ ﺇﻟﻴﻪ ﺃﻴﺩﻱ ﺍﻟﻤﻬﺘﺩﻴﻨﺎ
ل ﻜﺎﺜ ﺒ ﻪ ﻥ ﻻﻨﻬﺎ َ ﻭﻟﻭ ﺨ ﺭ ﻓﻴﻪ ﺍﻟﺩﻴ ﷲ ﺇﺫ ﺴﻤﻰ ﻨﺯﺍﺭﺍ ﺕ ﺍ َ ﻭﺠﺩ ﹸ
ﺕ ﺒﻪ ﻭﺠ ﻪ ﺍﻟﺨﻼﻓﺔ ﻭﺍﻟﻘﹶﻨﺎ ﺠﻠﻭ ﹶ ﻭﺃﺴﻜـ ﹶﻨﻬـ ﻡ ﺒﻤﻜـ ﹶﺔ ﻗﺎﻁﻨﻴﻨﺎ
ﺕ ﺒﻴﻥ ﺍﻟﻀﻠﻭﻉ ﻤﺫﺍﻫ ﺒ ﻪ ﺴ ﻌ ﹾ ﻗﺩ ﺍ ﱠﺘ ﺕ
ل ﺍﻟﻤﻜﺎﺭ ﻡ ﺨﺎﻟﺼﺎ ﻟﻨﺎ ﺠﻌ َ
ﺢ ﻤﻥ ﺍﻟﻁﱡﻠﻰ ﺕ ﺼﺩﺍﻩ ﻭﺍﻟﺼﻔﻴ ﺸﻔﻴ ﹶ ﺱ ﺍﻟﻘﻔـﺎ ﻭﻟﻨﺎ ﺍﻟﺠﺒﻴﻨﺎ ﻭﻟﻠﻨﺎ ﹺ
)(32
ﺏ ﻤﺸﺎﺭ ﺒ ﻪ ﺭﻭﺍ ﺀ ﻨﻭﺍﺤﻴﻪ ﻋﺫﺍ
ﺕ ﻤﺤ ﹼﻘ ﹰﺔ ﺏ ﻟﻘﺎﹶﻟ ﹾﺕ ﺤﺭ ﻓﻠﻭ ﻨﻁ ﹶﻘ ﹾ ﻤﻌﺎﺭﻀﺔ ﺃﺒﻲ ﺘﻤﺎﻡ ﺒﺸﺎﺭ ﺒﻥ ﺒﺭﺩ
ﺏ ﺍﻟﻤﺠ ﺩ ﻜﺎﺴ ﺒ ﻪ ﺴ ﹺﺃﻻ ﻫﻜﺫﺍ ﻓﻠﻴ ﹾﻜ ﻟﺒﺸﺎﺭ ﺒﻥ ﺒﺭﺩ) (28ﻗﺼﻴﺩﺓ ﻤﺸﻬﻭﺭﺓ ﻤﺩﺡ ﺒﻬﺎ ﻤﺭﻭﺍﻥ ﺒﻥ
ﻙ ﺸﺄﻭﻩ ﻭﻴﺎ ﺃﻴﻬﺎ ﺍﻟﺴﺎﻋﻲ ﻟﻴﺩ ﹺﺭ ﻤﺤﻤﺩ ﺁﺨﺭ ﺍﻟﺨﻠﻔﺎﺀ ﺍﻷﻤﻭﻴﻴﻥ ﻤﻁﻠﻌﻬﺎ:
ﻥ ﻜﺎﺫ ﺒ ﻪ ﺴ ﻭُﺃ ﺍﻟﻅ ﱢ
ﺡ ﻗﺼ ﻴﹰﺎ َﺃ ﺤ ﺯ
ﹶﺘ ﺯ ل ﺼﺎﺤ ﺒ ﻪ
ﺠﻔﺎ ﻭﺩﻩ ﻓﺎﺯﻭ ﺭ ﺃﻭ ﻤ ﱠ
ﺏ ﺃﻥ ﺘﹸﺭﻯ ﻙ ﻤﻥ ﹶﻨ ﻴلِ ﺍﻟﻤﻨﺎﻗ ﹺ ﺴ ﹺﺒ
ﺤﹺﺒ ل ﻴﻌﺎ ﺘ ﺒ ﻪ
ﻭَﺃﺯﺭﻯ ﺒﻪ ﺃﻥ ﻻ ﻴﺯﺍ َ
ﻥ ﻟﻴﺴﺕ ﺘﹸﻨـﺎل ﻤﻨﺎﻗ ﺒـ ﻪ ﻋﻠﻴﻤﹰﺎ ﺒﺄ
ﻭﺃﺒﺭﺯ ﻤﺎ ﻴﻠﻔﺕ ﺍﻟﻨﻅﺭ ﻓﻲ ﺍﻟﻘﺼﻴﺩﺘﻴﻥ ﻓﺨﺎﻤﺔ ﺍﻹﻴﻘﺎﻉ ﻭﻋﺎﺭﻀﻬﺎ ﺃﺒﻭ ﺘﻤﺎﻡ ﺒﻘﺼﻴﺩﺘﻪ ﺍﻟﻤﺸﻬﻭﺭﺓ ﺃﻴﻀ ﹰﺎ ﺍﻟﺘﻲ ﻤﺩﺡ
ﻭﺍﻟﺠﺭﺱ ﺍﻟﻤﺴﺘﻤﺩ ﻤﻥ ﻭﺯﻥ ﺍﻟﻘﺼﻴﺩﺓ ﻭﻤﻘﺎﻁﻌﻬﺎ ﺍﻟﻁﻭﻴﻠﺔ ،ﻭﻤﻥ ﺒﻬﺎ ﻋﺒﺩ ﺍﷲ ﺒﻥ ﻁﺎﻫﺭ ﻭﻤﻁﻠﻌﻬﺎ):(29
ﻗﺎﻓﻴﺘﻬﺎ ﺍﻟﻤﻘﻴﺩﺓ .ﻭﻗﺩ ﺘﻨﺎﺴﺏ ﺫﻟﻙ ﻤﻊ ﻤﻭﻀﻭﻉ ﺍﻟﻘﺼﻴﺩﺘﻴﻥ ﻑ ﻭﺼﻭﺍﺤ ﺒ ﻪ ﻥ ﻋﻭﺍﺩﻱ ﻴﻭﺴ ﻫ
ﺍﻟﺤﻤﺎﺴﻲ ﻭﻤﻌﺎﻨﻴﻪ ﺍﻟﻘﻭﻴﺔ ،ﻓﺎﺠﺘﻤﻌﺕ ﺒﺫﻟﻙ ﻋﻨﺎﺼﺭ ﻗﻭﺓ ﺍﻟﻤﻌﻨﻰ ل ﻁﺎﻟ ﺒ ﻪ ﺴ ْﺅ َ
ﻙ ﺍﻟ ﻓﻌﺯﻤﹰﺎ ﻓ ﻘﺩﻤﹰﺎ ﺃﺩﺭ
ﻭﺍﻟﻤﻀﻤﻭﻥ ﺇﻟﻰ ﻋﻨﺎﺼﺭ ﻗﻭﺓ ﺍﻟﺒﻨﺎﺀ ﻭﺍﻟﺴﺒﻙ ﻭﺍﻟﻘﺎﻓﻴﺔ ،ﻓﺠﺎﺀﺕ ﻭﻗﺩ ﺍﻟﺘﻘﻰ ﻏﺭﻀﺎ ﺍﻟﻘﺼﻴﺩﺓ ﻓﻲ ﻤﺩﺡ ﺒﺸﺎﺭ -ﻤﻊ ﺍﻟﺨﻠﻴﻔﺔ
ﺍﻟﻘﺼﻴﺩﺘﺎﻥ ﻤﻥ ﺃﺭﻭﻉ ﻤﺎ ﻗﻴل ﻓﻲ ﺸﻌﺭ ﺍﻟﺤﺭﺏ ﻭﺍﻟﺤﻤﺎﺴﺔ ﻓﻲ ﺍﻷﻤﻭﻱ -ﺍﺒﻥ ﻫﺒﻴﺭﺓ ﻗﺎﺌﺩ ﺠﻴﺵ ﻗﻴﺱ ﻏﻴﻼﻥ ،ﻭﻤﺩﺡ ﺃﺒﻲ ﺘﻤﺎﻡ
ﺍﻟﻌﺼﺭ ﺍﻟﻌﺒﺎﺴﻲ ،ﻭﻜﺄﻨﻬﻤﺎ ﺘﺼﺩﺭﺍﻥ ﻋﻥ ﻤﻨﻬل ﻭﺍﺤﺩ ﻤﻊ ﻤﺎ ﺍﺒﻥ ﻁﺎﻫﺭ ﻗﺎﺌﺩ ﺠﻴﻭﺵ ﺍﻟﻤﺄﻤﻭﻥ ،ﻭﺍﻟﺘﻘﺘﺎ ﻜﺫﻟﻙ ﻓﻲ ﺃﻗﺴﺎﻤﻬﻤﺎ
ﺒﻴﻨﻬﻤﺎ ﻤﻥ ﺍﺨﺘﻼﻑ ﺍﻟﺯﻤﺎﻥ ﻭﺘﺒﺎﻴﻥ ﺃﻤﺯﺠﺔ ﺍﻟﺸﺎﻋﺭﻴﻥ ،ﻭﻻ ﻭﻤﻭﺍﻀﻴﻌﻬﻤﺎ.
ﻻ ﺘﻤﺎﻡ ﺍﻟﻤﻌﺎﺭﻀﺔ ﺍﻟﺘﻲ ﻜﺎﻨﺕ ﺴﺒﺒﹰﺎ ﻟﺤﻴﻭﻴﺔ ﺍﻟﺸﻌﺭ ﺠﺎﻤﻊ ﺒﻴﻨﻬﻤﺎ ﺇ ﹼ ﻓﻘﺼﻴﺩﺓ ﺒﺸﺎﺭ ﺍﺴﺘﻬﻠﺕ ﺒﺸﻲﺀ ﻤﻥ ﺍﻟﻐﺯل ،ﻭﺸﻲﺀ ﻤﻥ
ﺍﻟﻌﺭﺒﻲ ،ﻭﺍﻟﺘﻘﺎﺀ ﺍﻟﻼﺤﻕ ﺒﺎﻟﺴﺎﺒﻕ. ﺍﻟﺤﻜﻤﺔ ،ﻭﻭﺼﻑ ﻤﻔﺼل ﻟﻠﺭﺍﺤﻠﺔ ﻭﺍﻟﺭﺤﻠﺔ ،ﻨﻔﺫ ﻤﻨﻪ ﺇﻟﻰ ﺫﻜﺭ
ﺍﻟﻤﻤﺩﻭﺡ ﻭﺼﻔﺎﺘﻪ ،ﻭﻭﺼﻑ ﻟﻠﻤﻌﺭﻜﺔ ﺍﻟﺘﻲ ﺃﺒﺩﻉ ﻓﻴﻬﺎ ﻭﻟﻡ ﻴﺭﻫﺎ،
ﻤﻌﺎﺭﻀﺔ ﺍﻟﺒﺤﺘﺭﻱ ﻁﺭﻓﺔ ﺒﻥ ﺍﻟﻌﺒﺩ ﻭﻤﺎ ﺘﺭﺘﹼﺏ ﻋﻠﻴﻬﺎ ﻤﻥ ﻗﺘل ﻭﺃﺴﺭ ﻭﺼﻠﺏ ﻭﺘﺄﻴﻴﻡ:
ﻟﻁﺭﻓﺔ ﺒﻥ ﺍﻟﻌﺒﺩ) (33ﻗﺼﻴﺩﺓ ﻤﻁﻠﻌﻬﺎ: ﻙ ﺍﻟﺠﺒﺎ ﺭ ﺼ ﻌ ﺭ ﺨﺩ ﻩ ﺇﺫﺍ ﺍﻟﻤﻠ
ﻑ ﺭﺴ ﻡ ﺍﻟﺩﺍﺭ ﻗﻔﺭﹰﺍ ﻤﻨﺎﺯﹸﻟ ﻪ
ﺃﺘﻌﺭ ﹸ ﻑ ﻨﻌﺎﺘ ﺒ ﻪ ﻤﺸﻴﻨﺎ ﺇﻟﻴﻪ ﺒﺎﻟﺴﻴﻭ
ﻲ ﻤﺎﺜﹸﻠ ﻪ
ﻑ ﺍﻟﻭﺸ
ﻥ ﺍﻟﻴﻤﺎﻨﻲ ﺯﺨﺭ ﹶ
ﻜﺠﻔ ﹺ ﻑ ﺒﺎﻟﺤﺼﻰ ل ﻴﺯﺤ ﹸﺢ ﺍﻟﻠﻴ ِ
ﺠ ﹾﻨ ِﹺ
ﺵﻜﻭﺠﻴ ﹴ
)(30
ﻲ ﺤﻤ ﺭ ﺜﻌﺎﻟﺒ ﻪ ل ﻭﺍﻟﺨﻁ ﱢ ﻭﺒﺎﻟﺸﱠﻭ ِ
)(34
ﺒﻘﺼﻴﺩﺓ ﻤﺩﺡ ﻓﻴﻬﺎ ﺍﻟﻔﺘﺢ ﺒﻥ ﺨﺎﻗﺎﻥ، ﻋﺎﺭﻀﻬﺎ ﺍﻟﺒﺤﺘﺭﻱ ﺨ ﺩ ِﹺﺭ ﺃﻤﻬﺎ
ﺱ ﻓﻲ
ﻏ ﺩﻭﻨﺎ ﻟﻪ ﻭﺍﻟﺸﻤ ﹶ
ﻤﻁﻠﻌﻬﺎ: ﺠ ِﹺﺭ ﺫﺍﺌ ﺒ ﻪ ﻁلﱡ ﻟﻡ ﻴ ﺘﻁﺎِﻟﻌﻨﺎ ﻭﺍﻟ ﱠ
ﺇﻟﻰ ﺍﻟﻐﺯل ﻭﺃﻁﻭﺍﺭﻩ ﻤﻥ ﺼﺩ ﻭﺇﻗﺒﺎل ﻓﺎﻟﻬﺠﺭ ﻋﻨﺩﻩ ﺃﻟﺫ ﻤﻥ ﺠ ﻊ ﻤﺎ ﺃﻨﺕ ﻗﺎﺌﹸﻠ ﻪ ﺕ ﺭ ﺏ ﺍﻟﺩﺍ ﺭ ﺭ ﺩ ﹾ
ﻫ ﹺ
ﺍﻟﻭﺼل ،ﻭﺍﻟﺠﻭﺭ ﺃﺸﻬﻰ ﻤﻥ ﺍﻟﻌﺩل: ﺏ ﺍﻟﺭ ﺒ ﻊ ﻋﻤﺎ ﺘﹸﺴﺎﺌﹸﻠ ﻪ ﻭﺃﺒﺩﻯ ﺍﻟﺠﻭﺍ
ﺕ ﺤﻴﺎ ﺀ ﺒﻭﺠﻬﻬﺎ ﺇﺫﺍ ﺠﺌﺘﹸﻬﺎ ﺼ ﺩ ﹾ ﻴﺘﻐﺯل ﻁﺭﻓﺔ ﻓﻲ ﻗﺼﻴﺩﺘﻪ ﺒﺎﻤﺭﺃﺓ ﺘﺩﻋﻰ ﺴﻠﻤﻰ ﻭﻴﺫﻜﺭ ﺃﻨﻬﺎ
ل
ﺼِ ﹶﻓ ﹶﺘ ﻬﺠﺭﻨﻲ ﻫﺠﺭﹰﺍ ﺃﻟ ﱡﺫ ﻤﻥ ﺍﻟ ﻭ ﺍﺴﺘﻭﻟﺕ ﻋﻠﻰ ﻗﻠﺒﻪ ،ﻜﻤﺎ ﺍﺴﺘﻭﻟﺕ ﻋﻠﻰ ﻗﻠﺏ ﺍﻟﻤﺭﻗﺵ ﺍﻷﻜﺒﺭ ﺍﺒﻨﺔ
ﺤ ﹾﻜﻤﻬﺎ
ﻲﺒ ﺕ ﻋﻠ ﺕ ﺠﺎ ﺭ ﹾ
ﻭﺇﻥ ﺤﻜ ﻤ ﹾ ﻋ ﹴﻡ ﻟﻪ ﺘﺩﻋﻰ ﺃﺴﻤﺎﺀ ﻓﺯﻭﺠﻬﺎ ﺃﺒﻭﻫﺎ ﻤﻥ ﻏﻴﺭﻩ ،ﻓﻘﻀﻰ ﻨﺤﺒﻪ
ل
ﺠﻭﺭ ﺃﺸﻬﻰ ﻤﻥ ﺍﻟﻌﺩ ِ ﻥ ﺫﺍﻙ ﺍﻟ ﻭﻟﻜ ﻭﺠﺩﹰﺍ ﻋﻠﻴﻬﺎ.
ﻭﺍﻟﻨﺎﻅﺭ ﻓﻲ ﺴﻬﻭﻟﺔ ﺸﻌﺭ ﺍﺒﻥ ﻋﺒﺩ ﺭﺒﻪ ﻭﺒﺩﻴﻊ ﻤﻌﻨﺎﻩ ﻭﺭﻗﺔ ل ﺩﻭﻨﹶﻬﺎ ﻙ ﻤﻥ ﺫﻱ ﺤﺎﺠ ﺔ ﺤﻴ َ ﻓﻴﺎﻟ
ﻁﺒﻌﻪ ﻻ ﻴﺭﻯ ﺸﻌﺭ ﺍﻟﺼﺭﻴﻊ ﻴ ﹾﻔﻀﻠﻪ ﺇﻻ ﺒﻔﻀل ﺍﻟﺘﻘﺩﻡ) ،(37ﻗﺎﺭﻥ ل ﻤﺎ ﻴﻬﻭﻯ ﺍﻤﺭ ٌﺅ ﻫﻭ ﻨﺎﺌﹸﻠ ﻪ ﻭﻤﺎ ﻜ ﱡ
ﺒﻴﻥ ﻗﻭل ﻤﺴﻠﻡ ﻓﻲ ﺍﻟﻌﺫل ﻭﺍﻟﻌﺫﺍل: ﺵ
ل ﻭﺠ ﺩ ﻤﺭ ﱢﻗ ﹴ ﻓ ﻭﺠﺩﻱ ﺒﺴﻠﻤﻰ ﻤﺜ ُ
ﺤﺏﱢ ﻋﺎﺫﻟﻲ ﺕ ﺍﻟﺫﻱ ﺃﻟﻘﻰ ﻤﻥ ﺍﻟ ﻜﺘﻤ ﹸ ﻕ ﻋﻭﺍﺫﹸﻟـ ﻪ ﺒﺄﺴﻤـﺎ ﺀ ﺇﺫ ﻻ ﺘﺴﺘﻔﻴ ﹸ
ل
ﺕ ﻤﻥ ﺍﻟ ﻌ ﹾﺫ ِﻓﻠﻡ ﻴ ﺩ ِﹺﺭ ﻤﺎ ﺒﻲ ﻓﺎﺴﺘﺭﺤ ﹸ ﺵ
ﻗﻀﻰ ﻨﺤﺒﻪ ﻭﺠﺩﹰﺍ ﻋﻠﻴﻬﺎ ﻤﺭ ﱢﻗ ﹲ
ﻭﻗﻭل ﺍﺒﻥ ﻋﺒﺩ ﺭﺒﻪ ﻓﻴﻪ: ﻁﹸﻠ ﻪ ﺕ ﻤﻥ ﺴﻠﻤﻰ ﺨﹶﺒﺎﻻﹰ ﺃُﻤﺎ ﻭﻋﻠﱢ ﹾﻘ ﹸ
ل ﺤ ﺒﹰﺎ ﻟ ﺫ ﹾﻜﺭﹺﻫﺎ
ﺕ ﻓﻴﻬﺎ ﺍﻟﻌﺫ َ ﻭﺃﺤﺒﺒ ﹸ ﺕ ﻻ ﻋﻘﻭﺒ ﹶﺔ ﺒﻌﺩﻩ ﻟﹶﻌﻤﺭﻱ ﻟﹶﻤ ﻭ ﹲ
ل
ﻓﻼ ﺸﻲ ﺀ ﺃﺸﻬﻰ ﻓﻲ ﻓﺅﺍﺩﻱ ﻤﻥ ﺍﻟ ﻌ ﹾﺫ ِ ﻟِﺫﻱ ﺍﻟﺒﺙﱢ ،ﺃﺸﻔﻰ ﻤﻥ ﻫﻭﻯ ﻻ ﻴﺯﺍﻴﹸﻠ ﻪ
ﺠﻬﺩﻱ ﻓﺠﺭ ﺩ ﻩ ﺍﻷﺴﻰ ﺕ ﺍﻟﻬﻭﻯ ﻜﺘﻤ ﹸ ﻭﻤﺜﻠﻤﺎ ﻗﺎﺭﻥ ﻁﺭﻓﺔ ﺒﻴﻥ ﻭﺠﺩﻩ ﺒﺴﻠﻤﻰ ﻭﻭﺠﺩ ﺍﻟﻤﺭﻗﺵ
ﺨﻁﱡ ﻭﺫﺍ ﻴﻤﻠـﻲ ﺒﻤﺎ ﺀ ﺍﻟﺒﻜﺎ ﻫﺫﺍ ﻴ ﹸ ﺒﺄﺴﻤﺎﺀ ،ﻗﺎﺭﻥ ﺍﻟﺒﺤﺘﺭﻱ ﺒﻴﻥ ﺇﺴﺭﺍﻑ ﻤﻤﺩﻭﺤﻪ ﻓﻲ ﺍﻟﺠﻭﺩ
ﻤﻊ ﺍﻷﺨﺫ ﺒﺎﻟﺤﺴﺒﺎﻥ ﺃﻥ ﺍﺒﻥ ﻋﺒﺩ ﺭﺒﻪ ﺃﺩﻴﺏ ﻏﻠﺏ ﻋﻠﻴﻪ ﻭﺇﺴﺭﺍﻑ ﺤﺎﺘﻡ ﺍﻟﻁﺎﺌﻲ ﻓﻴﻪ:
ﺍﻟﺸﻌﺭ ،ﻭﺍﻟﺼﺭﻴﻊ ﺸﺎﻋﺭ ﻏﻠﺏ ﻋﻠﻴﻪ ﺍﻟﺸﻌﺭ. ﻥ ﺃﻤﻴ ِﹺﺭ ﺍﻟﻤﺅﻤﻨﻴﻥ ﻭﺴﻴﻔﹸ ﻪ ﺴﻨﺎ
ﻥ ﻭﻨﺎﺌﹸﻠ ﻪ ﺏ ﺃﻤﻴ ِﹺﺭ ﺍﻟﻤﺅﻤﻨﻴ ﺴ ﻴ ﻭ
ﻤﻌﺎﺭﻀﺔ ﺍﺒﻥ ﻫﺎﻨﺊ ﺍﻷﻨﺩﻟﺴﻲ ﺍﻟﻤﺘﻨﺒﻲ ﻥ ﺫﺍ ﻴﻁﺎﻭﹸﻟ ﻪ ل ﺒﻨﹸﻌﻤﺎ ﻩ ﻓ ﻤ ﻁﱠﺃﹶ
)(38
ﻭﺍﻟﻤﺘﻨﺒﻲ ﻤﻌﺎﺭﻀﺔ ﺒﻴﻥ ﺠﺭﺕ ﺒﻴﻥ ﺍﺒﻥ ﻫﺎﻨﺊ ﺍﻷﻨﺩﻟﺴﻲ ﺠﺩﻭﺍﻩ ﻓﻤﻥ ﺫﺍ ﻴﺴﺎﺠﹸﻠ ﻪ ﻭﻋ ﻡ ﺒ
ﻗﺼﻴﺩﺘﻴﻥ ،ﻤﺩﺡ ﺍﻟﻤﺘﻨﺒﻲ ﻓﻲ ﻗﺼﻴﺩﺘﻪ ﻋﻠﻲ ﺒﻥ ﺃﺤﻤﺩ ﺒﻥ ﻋﺎﻤﺭ ﺴ ﻌﻭﺍ ﺃَﻴ ﺒﻠﹸﻐﻪ ﺒﺎﻟﺒﺫل ﻗﻭ ﻡ ﻭﻗﺩ
ﺍﻷﻨﻁﺎﻜﻲ ،ﻭﻤﺩﺡ ﺍﺒﻥ ﻫﺎﻨﺊ ﻓﻲ ﻗﺼﻴﺩﺘﻪ ﺍﻟﺨﻠﻴﻔﺔ ﺍﻟﻤﻌﺯ ﻟﺩﻴﻥ ﺍﷲ ﺽ ﺍﻟﺫﻱ ﻫﻭ ﺒﺎﺫﹸﻟﻪ؟ ﻓﻤﺎ ﺒﹶﻠ ﹸﻐﻭﺍ ﺒﻌ
ﺍﻟﻔﺎﻁﻤﻲ ،ﻭﻋﺭﺽ ﻓﻴﻬﺎ ﻟﻔﺘﺢ ﻤﺼﺭ ﻋﻠﻰ ﻴﺩ ﺍﻟﻘﺎﺌﺩ ﺠﻭﻫﺭ ﻑ ﻓﻲ ﺍﻟﺠﻭﺩ ﻟﻭ ﺃﻥ ﺤﺎﺘﻤﹰﺎ ﺇﻟﻰ ﻤﺴﺭ
ﺍﻟﺼﻘﻠﻲ ،ﻭﺃﻨﺸﺩﻫﺎ ﺒﺎﻟﻘﻴﺭﻭﺍﻥ. ﻟﺩﻴﻪ ﻷﻤﺴﻰ ﺤﺎﺘ ﻡ ﻭ ﻫ ﻭ ﻋﺎﺫﹸﻟ ﻪ
ﻤﻁﻠﻊ ﻗﺼﻴﺩﺓ ﺍﻟﻤﺘﻨﺒﻲ):(39 ﻭﻨﻼﺤﻅ ﻓﻲ ﻫﺎﺘﻴﻥ ﺍﻟﻘﺼﻴﺩﺘﻴﻥ ﺃﻥ ﺍﻟﺒﺤﺘﺭﻱ ﻗﺩ ﻋﺎﺭﺽ
ﻼ ﻤﻥ ﻓﻭﺍ ﹺﺭﺴﻬﺎ ﺍﻟﺩﻫ ﺭ ﻥ ﺨﻴ ﹰ
ﻋﺃُﻁﺎ ﻁﺭﻓﺔ ﺒﻥ ﺍﻟﻌﺒﺩ ﻓﻜﺭﺍﹰ ،ﻭﻨﻬﺠﺎﹰ ،ﻭﻟﻔﻅﺎﹰ ،ﻭﺃﺴﻠﻭﺒﹰﺎ ﺤﺘﻰ ﻓﻲ ﻭﻗﻭﻓﻪ
ﻭﺤﻴﺩﹰﺍ ﻭﻤﺎ ﹶﻗﻭﻟﻲ ﻜﺫﺍ ﻭﻤﻌﻲ ﺍﻟﺼﺒﺭ؟ ﻋﻠﻰ ﺍﻟﺩﻤﻥ ﻭﺍﻟﺩﻴﺎﺭ ،ﻭﻴﺠﺩ ﺍﻟﺩﺍﺭﺱ ﻭﻀﻭﺡ ﺍﻟﺼﻨﻌﺔ ﻓﻲ ﻗﺼﻴﺩﺓ
ﻭﻤﻁﻠﻊ ﻗﺼﻴﺩﺓ ﺍﺒﻥ ﻫﺎﻨﺊ):(40 ﺍﻟﺒﺤﺘﺭﻱ ﻭﻗﺩﺭﺘﻪ ﻋﻠﻰ ﺍﻹﻓﺎﺩﺓ ﻤﻥ ﻗﺼﻴﺩﺓ ﻁﺭﻓﺔ ﻤﻥ ﺤﻴﺙ
ﺼ ﺭ
ﺕ ﻤ ﺤ ﹾ
ﻴﻘﻭل ﺒﻨﻭ ﺍﻟﻌﺒﺎﺱ ﻫل ﹸﻓ ﺘ ﺍﻟﺼﻴﺎﻏﺔ ﻭﺍﻟﻐﺭﺽ ﺍﻟﺸﻌﺭﻱ.
ﻷ ﻤ ﺭ
ﻲﺍَ
ﻀل ﻟﺒﻨﻲ ﺍﻟﻌﺒﺎﺱ ﻗﺩ ﹸﻗ ﻓ ﹸﻘ ْ
ﻭﺃﻭل ﻤﺎ ﻴﻠﻔﺕ ﺍﻟﻨﻅﺭ ﻓﻲ ﺍﻟﻘﺼﻴﺩﺘﻴﻥ ﺃﻥ ﻻ ﺘﻨﺎﺴﺏ ﺒﻴﻨﻬﻤﺎ ﻻ ﻤﻌﺎﺭﻀﺔ ﺍﺒﻥ ﻋﺒﺩ ﺭﺒﻪ ﻤﺴﻠﻡ ﺒﻥ ﺍﻟﻭﻟﻴﺩ
ﻓﻲ ﺸﺨﺼﻴﺔ ﺍﻟﻤﻤﺩﻭﺡ ﻭﻻ ﻓﻲ ﻋﺩﺩ ﺍﻷﺒﻴﺎﺕ. ﻟﻤﺴﻠﻡ ﺒﻥ ﺍﻟﻭﻟﻴﺩ) (35ﻗﺼﻴﺩﺓ ﻤﻁﻠﻌﻬﺎ:
ﻭﺒﺩﻫﻲ ﺃﻥ ﻤﺠﺎل ﺍﻟﻘﻭل ﻓﻲ ﻤﺩﺡ ﺨﻠﻴﻔﺔ ﻓﺎﻁﻤﻲ ﻜﺎﻨﺕ ﺡ ﻻ ﹶﺘﺸﹾﺭﺒﺎ ﹶﻗﺒﻠﻲ ﻲ ﺍﻟﺭﺍ
ﺃَﺩﻴﺭﺍ ﻋﻠ
ﺨﻼﻓﺘﻪ ﺤﻠﻘﺔ ﻤﻥ ﺴﻠﺴﻠﺔ ﻁﻭﻴﻠﺔ ﻤﻤﺘﺩﺓ ،ﺃﺭﺤﺏ ﻭﺃﻭﺴﻊ ﻤﻥ ﻤﺩﺡ ﻁﻠﹸﺒﺎ ﻤﻥ ﻋﻨ ﺩ ﻗﺎﺘﻠﺘﻲ ﹶﺫﺤﻠﻲ ﻭﻻ ﹶﺘ ﹾ
)(36
ﻏﻤﺭ ﺤﺘﻰ ﻟﻭ ﻜﺎﻥ ﻤﺩﺍﺤﻪ ﺍﻟﻤﺘﻨﺒﻲ. ﺭﺠل ﹶ ﻋﺎﺭﻀﻬﺎ ﺍﺒﻥ ﻋﺒﺩ ﺭﺒﻪ ﺍﻷﻨﺩﻟﺴﻲ ﺒﻘﺼﻴﺩﺓ ﻤﻁﻠﻌﻬﺎ:
ﻭﻓﻲ ﺍﻟﺠﻤﻠﺔ ﻓﻘﺩ ﺘﺤﺩﺙ ﺍﻟﻤﺘﻨﺒﻲ ﻓﻴﻤﺎ ﻴﻘﺎﺭﺏ ﻨﺼﻑ ﻗﺼﻴﺩﺘﻪ ﺤﺩﻨﻲ ﹶﻗﺘﹾﻠـﻲ ﺠ
ﻅﻠﹾﻤـﹰﺎ ﻭ ﹶﺘ
ﺃَﺘ ﹾﻘﺘﹸﻠﻨﻲ ﹸ
) 18ﺒﻴﺘﹰﺎ ﻤﻥ (41ﻋﻥ ﻨﻔﺴﻪ ﻜﻌﺎﺩﺘﻪ ،ﻓﻠﻡ ﻴﺒﻕ ﻟﻠﺤﺩﻴﺙ ﻋﻥ ل
ﻋ ﺩ ِ
ﻭﻗﺩ ﻗﺎ ﻡ ﻤﻥ ﻋﻴﹶﻨ ﻴﻙ ﻟﻲ ﺸﺎ ﻫﺩﺍ
ﻤﻤﺩﻭﺤﻪ ﺒﻘﻴﺔ ﺴﻭﻯ ﻤﺎ ﺍﺴﺘﻌﺎﺽ ﺒﻪ ﻓﻲ ﻗﺼﻴﺩﻩ ﻤﻥ ﺤﻜﻤﺔ ﻫﻨﺎ ﻭﻗﺼﻴﺩﺓ ﻤﺴﻠﻡ ﺒﻥ ﺍﻟﻭﻟﻴﺩ ﻤﺯﺝ ﻓﻴﻬﺎ ﺍﻟﻐﺯل ﺒﺎﻟﺨﻤﺭﺓ ﻭﻤﺎ
ﻭﻫﻨﺎﻙ ،ﻤﻥ ﻤﺜل ﻗﻭﻟﻪ: ﺘﻔﻌل ﻓﻲ ﺍﻟﻨﻔﺱ ﻭﺍﻟﺠﺴﺩ ،ﻓﻲ ﺤﻴﻥ ﺨﻠﺼﺕ ﻗﺼﻴﺩﺓ ﺍﺒﻥ ﻋﺒﺩ ﺭﺒﻪ
ﻭﻁﺒﻴﻌﻲ ﺃﻥ ﻴﺤﺫﻭ ﺍﻷﺒﻴﻭﺭﺩﻱ ﺤﺫﻭ ﺍﻟﺸﺭﻴﻑ ﺍﻟﺭﻀﻲ، ﻥ ﺍﻟﻤﺠ ﺩ ﺯ ﹼﻗﹰﺎ ﻭﻗﻴﻨ ﹰﺔ ﻭﻻ ﺘﺤﺴﺒ
ﻓﻴﺨﺼﺹ ﺇﺤﺩﻯ ﻨﺠﺩﻴﺎﺘﻪ ﻟﻤﻌﺎﺭﻀﺔ ﻭﺍﺤﺩﺓ ﻤﻥ ﺤﺠﺎﺯﻴﺎﺘﻪ).(43 ﻑ ﻭﺍﻟﻔﺘﻜ ﹸﺔ ﺍﻟ ﹺﺒ ﹾﻜ ﺭ ﻓﻤﺎ ﺍﻟﻤﺠ ﺩ ﺇﻻ ﺍﻟﺴﻴ ﹸ
ﻭﻤﺎ ﺩﺍﻤﺕ ﺍﻟﺘﺴﻤﻴﺔ ﻤﺘﺸﺎﺒﻬﺔ ،ﻭﺍﻟﻤﻭﻀﻭﻉ ﻭﺍﺤﺩﺍﹰ ،ﻓﺎﻟﻤﻌﺎﺭﻀﺔ ﺠ ﻤ ﹺﻊ ﻤﺎِﻟ ﻪﺕ ﻓﻲ ﻕ ﺍﻟﺴﺎﻋﺎ ﻭﻤﻥ ﻴﻨﻔ ِ
ﻗﺭﻴﺒﺔ ﻭﺃﺴﺒﺎﺏ ﺍﻷﺨﺫ ﺒﻬﺎ ﻗﺎﺌﻤﺔ. ل ﺍﻟﻔﻘـ ﺭ ﻤﺨﺎﻓ ﹶﺔ ﻓﻘ ﹴﺭ ﻓﺎﻟﺫﻱ ﹶﻓﻌَ
ﻭﻗﺼﻴﺩﺓ ﺍﻟﺸﺭﻴﻑ ﺍﻟﺭﻀﻲ ﺘﻤﺜل ﺨﻴﺭ ﺘﻤﺜﻴل ﺍﻟﻐﺯل ﻓﻲ ﺤﻴﻥ ﺘﻨﺎﻭل ﺍﺒﻥ ﻫﺎﻨﺊ ﻤﻭﻀﻭﻋﻪ ﻤﻥ ﻤﻁﻠﻊ ﻗﺼﻴﺩﺘﻪ،
ﺍﻟﻭﺠﺩﺍﻨﻲ ﺍﻟﻌﺎﻁﻔﻲ ،ﻭﺍﻟﻤﺸﺎﻋﺭ ﺍﻟﻤﺘﺩﻓﻘﺔ ﺍﻟﻤﻀﻁﺭﺒﺔ ﺍﻟﻤﻀﻁﺭﻤﺔ ﻓﺘﻌﺭﺽ ﻷﺤﻘﻴﺔ ﺒﻨﻲ ﻫﺎﺸﻡ ﻓﻲ ﺍﻟﺤﻜﻡ ،ﻭﻋﺭﺽ ﺒﺒﻨﻲ ﺍﻟﻌﺒﺎﺱ
ﺍﻟﺘﻲ ﺘﻌﺘﻠﺞ ﻓﻲ ﻨﻔﻭﺱ ﺍﻟﻤﺤﺒﻴﻥ .ﻭﻤﻥ ﺘﻠﻙ ﺍﻟﻤﺸﺎﻋﺭ ﺃﻥ ﺍﻟﻤﺤﺒﻴﻥ ﻭﻋﺩﻫﻡ ﻤﻐﺘﺼﺒﻴﻥ ﻟﻠﺨﻼﻓﺔ ،ﻭﺃﺸﺎﺩ ﺒﺠﻭﻫﺭ ﺍﻟﺼﻘﻠﻲ ﻓﺎﺘﺢ ﻤﺼﺭ
ﺘﺘﺭﺠﻡ ﻋﻴﻭﻨﻬﻡ ﻋﻥ ﻭﻋﻭﺩ ﻜﺎﺫﺒﺔ ،ﻭﺃﻥ ﺭﺴﺎﺌﻠﻬﻡ ﻻ ﺘﺼل ﺤﺫﺭ ﻭﺴﻴﺭﺘﻪ ﺍﻟﺤﻤﻴﺩﺓ ﻓﻲ ﺇﺩﺍﺭﺘﻬﺎ ﻭﺴﻴﺎﺴﺘﻬﺎ.
ﺍﻟﺭﻗﻴﺏ: ﻭﻴﻼﺤﻅ ﻓﻲ ﻜﺜﻴﺭ ﻤﻥ ﻤﻘﺎﻁﻊ ﻗﺼﻴﺩﺓ ﺍﺒﻥ ﻫﺎﻨﺊ ﻏﻠﺒﺔ ﺍﻟﺴﺭﺩﻴﺔ
ﺕ ﺒﻪﻋ ﺩ ﻟﻌﻴﻨﻴﻙ ﻋﻨﺩﻱ ﻤﺎ ﻭﻓﻴ ﹸ ﻭ ﻭﺍﻟﻨﺜﺭﻴﺔ ﻋﻠﻴﻬﺎ ،ﻜﺄﻥ ﺍﻟﺸﺎﻋﺭ ﻴﺠﺘﻬﺩ ﻓﻲ ﺤﺸﺩ ﻜﺜﻴﺭ ﻤﻥ ﺍﻟﻤﻌﻠﻭﻤﺎﺕ
ﻙ
ﻲ ﻋﻴﻨﺎ
ﺕ ﻋﻴﻨ ﺏ ﻤﺎ ﻜﺫ ﺒ ﹾ ﻴﺎ ﹸﻗ ﺭ ﻓﻲ ﻗﻠﻴل ﻤﻥ ﺍﻷﺴﻁﺭ ،ﻭﻴﻨﺴﻰ ﻤﺎ ﻭﺭﺍﺀ ﺫﻟﻙ ﻤﻥ ﺍﻟﺼﻨﻌﺔ ﺍﻟﻔﻨﻴﺔ
ﺕ ﺃﺫﻜﺭﻫﺎ ﻕ ﻟﺴ ﹸ ل ﺸﻭ ٍ ﻋﻨﺩﻱ ﺭﺴﺎﺌ ُ ﻼ:
ﻭﺍﻟﺼﻭﺭﺓ ﺍﻟﺸﻌﺭﻴﺔ ﻭﺍﻟﺘﺭﻜﻴﺏ ﺍﻟﻠﻐﻭﻱ ﺍﻟﻤﻤﻴﺯ ،ﻴﻘﻭل ﻤﺜ ﹰ
ﻙ
ﺏ ﻟﻘـﺩ ﺒﱠﻠ ﹾﻐﺘﹸﻬﺎ ﻓـﺎ ﻟﻭﻻ ﺍﻟﺭﻗﻴ ﻙ ﺃﻨﻬﺎ ﺍﻟﺸﻤﺱ ﺒﻌﺩﻤﺎ ﺃﻓﻲ ﺍﻟﺸﻤﺱ ﺸ ﱞ
ﻭﺍﻟﻌﺎﺸﻕ ﻴﺭﻀﻰ ﻤﻥ ﺍﻟﻐﻨﻴﻤﺔ ﺒﺎﻹﻴﺎﺏ ،ﻭﻴﻘﻨﻊ ﺒﺎﻟﺫﻜﺭﻯ ﺴ ﹾﺘ ﺭﺱ ﻤـﻥ ﺩﻭﻨﻬﺎ ﺕ ﻋﻴﺎﻨﹰﺎ ﻟﻴ ﺘﺠﱠﻠ ﹾ
ﻭﺍﻗﺘﻔﺎﺀ ﺍﻷﺜﺭ ،ﻭﻴﺘﺤﺴﺭ ﻋﻠﻰ ﻏﻴﺎﺏ ﻟﻤﺘﻪ ﺍﻟﺴﻭﺩﺍﺀ: ﻭﻤﺎ ﻫﻲ ﺇﻻ ﺁﻴ ﹲﺔ ﺒﻌﺩ ﺁﻴ ﺔ
ل
ﺏ ﻤﻐﺘﻔ ٌ ﻭﺤﺒﺫﺍ ﻭﻗﻔ ﹲﺔ ﻭﺍﻟﺭﻜ ﻥ ﻜﺎﻥ ﻴﻐﹾﻨﻴﻜ ﻡ ﺍﻟﻨﱡ ﹾﺫ ﺭ ﻭ ﹸﻨ ﹾﺫ ﺭ ﻭﻟﻜ
ﻙ
ﺕ ﻓﻴﻪ ﻤﻁﺎﻴﺎ ﻋﻠﻰ ﹶﺜﺭﻯ ﻭﺨ ﺩ ﹾ ﻼ
ﺃﻁﻴﻌﻭﺍ ﺇﻤﺎﻤﹰﺎ ﻟﻸﺌﻤﺔ ﻓﺎﻀ ﹰ
ﻟﻭ ﻜﺎﻨﺕ ﺍﻟﱢﻠ ﻤ ﹸﺔ ﺍﻟﺴﻭﺩﺍ ﺀ ﻤﻥ ﻋﺩﺩﻱ ﻀﻠﹸﻬﺎ ﺍﻟﺒ ﺭ ل ﻴ ﹾﻔ
ﻜﻤﺎ ﻜﺎﻨﺕ ﺍﻷﻋﻤﺎ ُ
ﺕ ﺃﺸﺭﺍﻜﻲ ﻴﻭﻡ ﺍﻟﻐﹸﻤﻴ ِﹺﻡ ﻟﻤﺎ ﺃﻓﻠ ﱢ ﻓﺈﻥ ﹶﺘ ﹾﺘﺒﻌﻭ ﻩ ﻓﻬﻭ ﻤﻭﻻﻜ ﻡ ﺍﻟﺫﻱ
ﺃﻤﺎ ﻗﺼﻴﺩﺓ ﺍﻷﺒﻴﻭﺭﺩﻱ ﻓﺘﻘﺎﺭﺏ ﻗﺼﻴﺩﺓ ﺍﻟﺸﺭﻴﻑ ﻓﻲ ﻋﺩﺩ ﺨ ﺭل ﺍﷲ ﺩﻭﻨﻜ ﻡ ﺍﻟ ﹶﻔ ﹾ ﻟﻪ ﺒﺭﺴﻭ ِ
ﺃﺒﻴﺎﺘﻬﺎ ،ﻭﺘﻤﺎﺜﻠﻬﺎ ﻓﻲ ﺍﻟﻤﺤﺘﻭﻯ ﻭﺍﻟﻤﻀﻤﻭﻥ ﻭﺍﻷﻓﻜﺎﺭ: ـﻪ
ﻭﺇﻻ ﻓ ﺒﻌـﺩﹰﺍ ﻟﻠﺒﻌﻴـﺩ ﻓﺒﻴﻨ َ
ﻓﺎﻷﺒﻴﻭﺭﺩﻱ ﻴﻨﻘل ﺇﻟﻰ ﺃﺤﺩ ﺃﺒﻴﺎﺕ ﻗﺼﻴﺩﺘﻪ ،ﻤﻁﻠﻊ ﻗﺼﻴﺩﺓ ﻭﺒﻴﻨﹶﻜ ﻡ ﻤﺎ ﻻ ﻴﻘ ﱢﺭﺒﻪ ﺍﻟﺩ ﻫـ ﺭ
ﺍﻟﺸﺭﻴﻑ: ﻭﻟﻭ ﺃﻀﻴﻑ ﺇﻟﻰ ﺫﻟﻙ ﺍﻟﻤﺒﺎﻟﻐﺎﺕ ﺍﻟﺘﻲ ﺘﺭﻗﻰ ﻋﻨﺩﻩ ﺇﻟﻰ ﺩﺭﺠﺔ
ﻙ
ﻙ ﺍﻟﻴﻭﻡ ﺃﻥ ﺍﻟﻘﻠﺏ ﻤﺭﻋﺎ ِﻟ ﻴ ﻬ ﻨ ﺍﻹﺤﺎﻟﺔ ،ﻓﻴﺭﺩﻫﺎ ﺫﻟﻙ ﺇﻟﻰ ﺃﺩﻨﻰ ﺩﺭﺠﺎﺕ ﺍﻟﺘﺼﺩﻴﻕ ﺃﻭ ﻤﺎ ﻫﻭ
ﻓﻴﻘﻭل: ﺩﻭﻨﻪ ،ﻜﻘﻭﻟﻪ ﻓﻲ ﻤﻠﻴﻜﻪ:
ﻙ ﻤﻐﻨﹰﻰ ﹶﺘﻨﹾﺯﻟﻴﻥ ﺒﻪ ﻭﻤﺎ ﺍﻟﺤﻤﻰ ﻟ ﻥ ﺃﻭ ﺍ ﺩﻋﻭﺍ ﻓﻜﻭﻨﻭﺍ ﺤﺼﻴﺩﹰﺍ ﺨﺎﻤﺩﻴ
ﻙ
ﺏ ﻤﻐﻨﺎ ﻭﻟﻴﺱ ﻏﻴ ﺭ ﻓﺅﺍﺩ ﺍﻟﺼ ﱢ ﻙ ﻓﻲ ﻜﻔﹼﻪ ﺍﻟﻤﻭﺕ ﻭﺍﻟﻨﺸ ﺭ ﺇﻟﻰ ﻤﻠ
ﻭﻗﺩ ﺫﻫﺏ ﺸﻭﻁﹰﺎ ﻓﻲ ﺘﻘﻠﻴﺩ ﺃﺴﻠﻭﺒﻪ ﺤﺘﻰ ﺍﺴﺘﻌﺎﺭ ﻤﻨﻪ ﻓﻘﺩ ﺼﺎﺭﺕ ﺍﻟﺩﻨﻴﺎ ﺇﻟﻴﻜﻡ ﻤﺼﻴﺭﻫﺎ
ﺍﻟﺘﺭﻜﻴﺏ ﺍﻟﻠﻐﻭﻱ ،ﻗﺎل ﺍﻟﺸﺭﻴﻑ: ﻑ ﻭﺍﻟﺸﻜ ﺭ ﻋ ﹸﻭﺼﺎﺭ ﻟﻪ ﺍﻟﺤﻤ ﺩ ﺍﻟﻤﻀﺎ
ﻁﻠﹶﻪ
ﻥ ﻭﻤﺎ ل ﺫﻱ ﺩ ﻴ ﹴ ﺇﺫ ﻴﻠﺘﻘﻲ ﻜ ّ ﺃﺩﺭﻜﻨﺎ ﺃﻥ ﻤﺜل ﻫﺫﻩ ﺍﻹﺸﺎﺭﺍﺕ ﺘﺸﻭﻩ ﺼﻔﺤﺔ ﺘﻠﻘﻲ ﺍﻟﻨﺹ،
ﻤﻨﹼﺎ ﻭﻴﺠﺘﻤﻊ ﺍﻟﻤﺸﻜ ﻭ ﻭﺍﻟﺸﺎﻜﻲ ﻭﺘﺤﻴﻠﻪ ﺇﻟﻰ ﻭﺍﺠﺏ ﻴﻘﻭﻡ ﺍﻟﺸﺎﻋﺭ ﺒﺄﺩﺍﺌﻪ ﺩﻭﻥ ﻅﻼل ﺃﻭ ﺨﻴﺎل.
ﻭﻗﺎل ﺍﻷﺒﻴﻭﺭﺩﻱ:
ﺃﺸﻜﻭ ﺍﻟﻬﻭﻯ ِﻟ ﹶﺘ ﹺﺭﻗﹼﻲ ﻴﺎ ﺃﻤﻴﻤ ﹸﺔ ﻟﻲ ﻤﻌﺎﺭﻀﺔ ﺍﻷﺒﻴﻭﺭﺩﻱ ﺍﻟﺸﺭﻴﻑ ﺍﻟﺭﻀﻲ
)(41
ﻕ ﺍﻟﻤﺸﻜ ﻭ ﺒﺎﻟﺸﺎﻜﻲ ﻓﻁﺎﻟﻤﺎ ﺭ ﹶﻓ ﹶ ﻗﺼﻴﺩﺓ ﺍﻟﺸﺭﻴﻑ ﻋﺎﺭﺽ ﺃﺒﻭ ﺍﻟﻤﻅﻔﺭ ﺍﻷﺒﻴﻭﺭﺩﻱ
ﺍﻟﺭﻀﻲ) (42ﺍﻟﺸﻬﻴﺭﺓ:
ﻭﺍﻟﺤﻕ ﺃﻥ ﻗﺼﻴﺩﺓ ﺍﻷﺒﻴﻭﺭﺩﻱ ﺘﻔﻭﻗﺕ ﻋﻠﻰ ﻗﺼﻴﺩﺓ ﺍﻟﺸﺭﻴﻑ؛ ﻥ ﹶﺘﺭﻋﻰ ﻓﻲ ﺨﻤﺎ ِﺌﻠ ﻪ ﻴﺎ ﻅﺒﻴ ﹶﺔ ﺍﻟﺒﺎ ِﹺ
ﻀﻴﻪ( ﻓﺠﻌل ﺃﺤﺩﻫﻤﺎ
ﻓﻘﺩ ﺯﺍﺩ ﻤﻌﻨﻰ ﻟﻁﻴﻔﹰﺎ ﻋﻨﺩﻤﺎ ﺘﺤﺩﺙ ﻋﻥ )ﺒﻌ ﻙ
ﺏ ﻤﺭﻋﺎ ﻥ ﺍﻟﻘﻠ
ﻙ ﺍﻟﻴﻭ ﻡ ﺃ ِﻟ ﻴ ﻬ ﻨ
ﺸﻘﻴﹰﺎ )ﺍﻟﻌﻴﻥ ﺍﻟﺒﺎﻜﻴﺔ( ﻭﺠﻌل ﺍﻵﺨﺭ ﺴﻌﻴﺩﹰﺍ )ﺍﻟﻘﻠﺏ ﺍﻟﻬﺎﻭﻱ( ﻓﺠﻤﻊ ﺒﻘﺼﻴﺩﺓ ﺍﺴﺘﻬﻠﹼﻬﺎ ﺒﻘﻭﻟﻪ:
ﺒﻴﻥ ﺍﻟﻨﻘﻴﻀﻴﻥ ﻓﻲ ﺴﺒ ﹴﺭ ﻷﻋﻤﺎﻕ ﺍﻟﻨﻔﺱ ﺍﻟﻌﺎﺸﻘﺔ ،ﻭﻓﻲ ﺼﻴﺎﻏﺔ ﻙ
ﺱ ﻴﻨﺴﺎ ﻜﻴﻑ ﺍﻟﺴﻠ ﻭ ﻭﻗﻠﺒﻲ ﻟﻴ
ﻟﻐﻭﻴﺔ ﻤﻤﻴﺯﺓ: ﻙ
ﻭﻻ ﻴﹶﻠ ﱡﺫ ﻟِﺴﺎﻨﻲ ﻏﻴ ﺭ ﺫ ﹾﻜـﺭﺍ
ﻭﺍﻟﻨﺎﻅﺭ ﻻ ﻴﻜﺎﺩ ﻴﺸﻙ ﻓﻲ "ﻭﻗﻊ ﺍﻟﺤﺎﻓﺭ ﻋﻠﻰ ﺍﻟﺤﺎﻓﺭ" ﻓﻲ ﻤﻌﺎﺭﻀﺔ ﺍﻟﺒﻭﺼﻴﺭﻱ ﺍﺒﻥ ﺍﻟﻔﺎﺭﺽ
ﻫﺫﻩ ﺍﻷﺒﻴﺎﺕ ،ﻭﻓﻲ ﺃﻥ ﺍﻟﺜﺎﻨﻲ ﻜﺎﻥ ﻴﻨﻅﺭ ﺇﻟﻰ ﺍﻷﻭل ﻭﻴﻘﺘﻔﻲ ﺃﺜﺭﻩ ﻋﺎﺭﺽ ﺍﻟﺒﻭﺼﻴﺭﻱ) (53ﻓﻲ ﻤﻴﻤﻴﺘﻪ ﺍﻟﺸﻬﻴﺭﺓ:
ﺍﻗﺘﻔﺎﺀ ﺤﺎل ﺒﻴﻨﻪ ﻭﺒﻴﻥ ﺃﻥ ﻴﻀﻴﻑ ﺸﻴﺌﹰﺎ ﺇﻟﻰ ﺍﻟﻤﻌﻨﻰ ﺃﻭ ﺍﻟﺼﻭﺭﺓ. ﻥ ﺒﺫﻱ ﺴﹶﻠﻡﹺ ﻥ ﹶﺘ ﹶﺫ ﱡﻜﺭﹺ ﺠﻴﺭﺍ ﹴ ﺃ ﻤ
ﻭﻴﻼﺤﻅ ﺃﻥ ﺃﻏﺭﺍﺽ ﻗﺼﻴﺩﺓ ﺍﻟﺒﻭﺼﻴﺭﻱ ﺴﺎﺭﺕ ﻋﻠﻰ ﻨﻬﺞ ﻤﺯﺠﺕ ﺩﻤﻌﹰﺎ ﺠﺭﻯ ﻤﻥ ﻤ ﹾﻘﹶﻠﺔ ﺒﺩ ِﹺﻡ
ﺍﻟﺘﺭﺍﺙ ﺍﻟﻌﺭﺒﻲ ﺍﻟﺫﻱ ﻴﻀﺭﺏ ﻋﻠﻰ ﻭﺘﺭ ﺠﻤﻴل ﻋﺫﺏ ﻴﺩﺍﻋﺏ ﻤﻴﻤﻴﺔ ﺍﺒﻥ ﺍﻟﻔﺎﺭﺽ):(54
ﺃﻭﺘﺎﺭ ﺍﻟﻘﻠﻭﺏ ،ﻭﻴﻬﺩﻫﺩ ﺍﻟﻤﺸﺎﻋﺭ ﻭﺍﻷﺤﺎﺴﻴﺱ ،ﻭﻴﻤﻸ ﺍﻟﻨﻔﺱ ﻼ ﺒﺫﻱ ﺴﹶﻠﻡﹺ ﺕ ﻟﻴ ﹰ
ﻫل ﻨﺎ ﺭ ﻟﻴﻠﻰ ﺒ ﺩ ﹾ
ﺒﺸﺭﹰﺍ ﻭﻓﺭﺤﹰﺎ ﻭﺇﻋﺠﺎﺒﺎﹰ ،ﻭﻴﺤﺙ ﺍﻟﻨﻔﺱ ﻋﻠﻰ ﻋﺩﻡ ﺍﻟﻘﻨﻭﻁ ،ﻭﻴﺠﻌل ﺡ ﻓﻲ ﺍﻟ ﺯﻭﺭﺍﺀ ﻓﺎﻟﻌﹶﻠﻡﹺ ﻕﻻ ﺃﻡ ﺒﺎﺭ ﹲ
ﺃﻤﻠﻬﺎ ﻓﻲ ﺍﷲ ﺃﻗﻭﻯ: ﻭﻴﻼﺤﻅ ﺃﻥ ﺍﻟﺸﺎﻋﺭﻴﻥ ﻤﺘﻌﺎﺼﺭﺍﻥ ﻭﻟﻜﻥ ﻴﻐﻠﺏ ﻋﻠﻰ ﺍﻟﻅﻥ
ﺕ
ﻅ ﻤ ﹾﻋﹸ ﺱ ﻻ ﹶﺘ ﹾﻘﻨﹶﻁﻲ ﻋﻥ ﺯﱠﻟ ﺔ ﻴﺎ ﻨﻔ ﺃﻥ ﺍﻟﺒﻭﺼﻴﺭﻱ ﻋﺎﺭﺽ ﺍﺒﻥ ﺍﻟﻔﺎﺭﺽ ﺒﻤﻴﻤﻴﺘﻪ ﺍﻟﺘﻲ ﺃﻀﺤﺕ
ﻥ ﻜﺎﻟﹼﻠ ﻤ ِﹺﻡ
ﻥ ﺍﻟﻜﺒﺎﺌ ﺭ ﻓﻲ ﺍﻟﻐﻔﺭﺍ ِﹺ ﺇ ﻁﹰﺎ ﻷﻨﻅﺎﺭ ﺍﻟﻨﺎﻅﻤﻴﻥ ﻓﻲ ﺍﻟﻤﺩﺍﺌﺢ ﺍﻟﻨﺒﻭﻴﺔ ،ﻭﺍﻟﺨﺎﺌﻀﻴﻥ ﻏﻤﺎﺭ ﻤﺤ ﹼ
ﺱ
ل ﺭﺠﺎﺌﻲ ﻏﻴ ﺭ ﻤﻨﻌﻜ ﹴ ﺏ ﻭﺍﺠ ﻌ ْ ﻴﺎ ﺭ ﱢ ﻤﺩﺡ ﺍﻟﻨﺒﻲ ﻭﺫﻜﺭﻩ ﻭﺍﻟﺘﻘﺭﺏ ﺇﻟﻴﻪ.
ل ﺤﺴﺎﺒﻲ ﻏﻴ ﺭ ﻤﻨﺨ ﹺﺭ ﹺﻡ ﻙ ﻭﺍﺠ ﻌ ْﻟﺩﻴ ﻭﺍﻟﻘﺼﻴﺩﺘﺎﻥ ﺘﺩﻭﺭﺍﻥ ﺤﻭل ﻤﻭﻀﻭﻉ ﻭﺍﺤﺩ ﻫﻭ ﻤﺩﺡ ﺍﻟﺭﺴﻭل
ﻥ ﻟﻪ ﻙ ﻓﻲ ﺍﻟﺩﺍ ﺭﻴﻥ ﺇ
ﻑ ﺒﻌﺒﺩ ﻁ ﹾ ﻭﺍ ﹾﻟ ﹸ ﺍﻟﻜﺭﻴﻡ ﻭﻤﺎ ﻴﺘﻔﺭﻉ ﻋﻨﻪ ﻤﻥ ﺫﻜﺭ ﻤﻭﻟﺩﻩ ﻭﻤﻌﺠﺯﺍﺘﻪ ،ﻭﺃﺒﺭﺯﻫﺎ
ل ﻴﻨﻬﺯ ِﹺﻡ ﻋ ﻪ ﺍﻷﻫﻭﺍ ُﺼﺒﺭﹰﺍ ﻤﺘﻰ ﹶﺘ ﺩ ﺍﻟﻘﺭﺁﻥ ﺍﻟﻜﺭﻴﻡ ﻭﺍﻹﺴﺭﺍﺀ ﻭﺍﻟﻤﻌﺭﺍﺝ ،ﺜﻡ ﺍﻟﺘﻭﺴل ﻭﺍﻟﻤﻨﺎﺠﺎﺓ .ﻭﻫﻤﺎ
ﻙ ﺩﺍﺌﻤ ﺔ
ﺏ ﺼﻼ ﺓ ﻤﻨ ﺤ ﹺ ﺴﻥ ﺒ ﻭ ْﺃ ﹶﺫ ﻓﻲ ﻤﺠﻤﻠﻬﻤﺎ ﺘﻜﺭﺭﺍﻥ ﻜﺜﻴﺭﹰﺍ ﻤﻥ ﺍﻟﻤﻌﺎﻨﻲ ﺍﻟﻤﺘﺩﺍﻭﻟﺔ ،ﻤﺜل ﻤﺎ
ل ﻭﻤﻨﺴﺠـ ِﹺﻡ ﻲ ﺒﻤﻨﻬ ﱟ ﻋﻠﻰ ﺍﻟﻨﺒ ﱢ ﻴﺘﺭﻜﻪ ﺍﻟﻌﺸﻕ ﻓﻲ ﺠﺴﻭﻡ ﺍﻟﻌﺎﺸﻘﻴﻥ ﻭﻨﻔﻭﺴﻬﻡ ،ﻭﻤﺜل ﻋﺫل
ﻭﺍﻨﻅﺭ ﺇﻟﻰ ﻫﺫﻩ ﺍﻟﻤﻨﺎﺠﺎﺓ ﺍﻟﺘﻲ ﺠﻌﻠﺕ ﺍﻟﻤﺴﻠﻤﻴﻥ ﻴﻘﺒﻠﻭﻥ ﻋﻠﻰ ﺍﻟﻌﺎﺫﻟﻴﻥ ﻭﻟﻭﻡ ﺍﻟﻼﺌﻤﻴﻥ.
ﻫﺫﻩ ﺍﻟﺒﺭﺩﺓ ﺩﺭﺍﺴﺔ ﻭﺤﻔﻅ ﹰﺎ ﻭﻤﻌﺎﺭﻀﺔ ،ﻭﺘﺸﻁﻴﺭﺍﹰ ،ﻓﺄﺼﺒﺤﺕ ﻴﻘﻭل ﺍﺒﻥ ﺍﻟﻔﺎﺭﺽ:
ﺩﺭﺓ ﺃﻨﺎﺸﻴﺩﻫﻡ ،ﻭﺤﻠﻴﺔ ﻤﺠﺎﻟﺴﻬﻡ .ﻭﻜﺜﺭﺕ ﺍﻟﻌﻨﺎﻴﺔ ﺒﻬﺎ ﻓﺎﻏﺘﻨﺕ ﻀﺤﻰ ﻕ ﺕ ﺍﻟﻌﻘﻴ ﹶ
ﷲ ﺇﻥ ﺠﺯ ﹶ ﻙﺍ َ ﻨﺎﺸﺩ ﹸﺘ
ﺍﻟﻤﻜﺘﺒﺔ ﺍﻟﻌﺭﺒﻴﺔ ﻤﻥ ﺸﺭﻭﺤﻬﺎ ﻭﻤﺎ ﻓﻴﻬﺎ ﻤﻥ ﺩﺭﻭﺱ ﺭﻭﺤﻴﺔ ﺤ ﹶﺘﺸﻡﹺِ ﻓﹶﺎ ﹾﻗ ﺭ ﺍﻟﺴﻼ ﻡ ﻋﻠﻴﻬﻡ ﻏﻴ ﺭ ﻤ
ﻭﺘﺎﺭﻴﺨﻴﺔ. ﺕ ﺼﺭﻴﻌﹰﺎ ﻓﻲ ﺩﻴﺎﺭﻜ ﻡ ﻭﻗل ﺘﺭﻜ ﹸ
ﺴ ﹶﻘـ ِﹺﻡ ﺴ ﹾﻘ ﻡ ﻟﻠ
ﺤ ﻴﹰﺎ ﹶﻜﻤ ﻴﺕ ﻴﻌﻴ ﺭ ﺍﻟ
ﻤﻌﺎﺭﻀﺔ ﺼﻔﻲ ﺍﻟﺩﻴﻥ ﺍﻟﺤﻠﻲ ﺍﻟﻤﺘﻨﺒﻲ ﺏ ﻨﺎﺏ ﻋﻥ ﹶﻗﺒﺱﹴ ﻥ ﻓﺅﺍﺩﻱ ﻟﻬﻴ ﻓ ﻤ
ﺃﻤﺎ ﻗﺼﻴﺩﺓ ﺍﻟﻤﺘﻨﺒﻲ) (55ﺍﻟﺸﻬﻴﺭﺓ ﺍﻟﺘﻲ ﻤﻁﻠﻌﻬﺎ: ﺽ ﻜﺎﻟ ﱢﺩ ﻴ ِﹺﻡ ﻲ ﺩ ﻤ ﻊ ﻓﺎ ﻥ ﺠﻔﻭﻨ ﻭ ﻤ
ﺕ ﻏﻭﺍﺭﺒﺎ ﺱ ﺍﻟﺠﺎﻨﺤﺎ ﹸ ﹺﺒﺄَﺒﻲ ﺍﻟﺸﻤﻭ ﻋﻠﻘﻭﺍ ﻕِ ،ﻤﺎ ﺴﻨﱠ ﹸﺔ ﺍﻟ ﻌﺸﱠﺎ
ﻭﻫﺫﻩ
ﺕ ﻤﻥ ﺍﻟﺤﺭﻴﺭ ﺠﻼﺒﺒﺎ ﺍﻟﻼﱠﺒﺴﺎ ﹸ ﻥ ﻓﺨﻼ ﻋﻀ ﻭ ﻤﻥ ﺍﻷﻟ ِﹺﻡ ﺒﺸﺎ ﺩ ﹴ
ﻭﺍﻟﺘﻲ ﻴﻤﺩﺡ ﺒﻬﺎ ﻋﻠﻲ ﺒﻥ ﻤﻨﺼﻭﺭ ﺍﻟﺤﺎﺠﺏ ﻓﻘﺩ ﻋﺎﺭﻀﻬﺎ ﺴﻔﹶﻬﹰﺎ ﺤﺒﱢﻬﻡ ﻴﺎ ﻻﺌﻤﹰﺎ ﻻﻤﻨﻲ ﻓﻲ
ﺼﻔﻲ ﺍﻟﺩﻴﻥ ﺍﻟﺤﻠﻲ) (56ﺒﻘﺼﻴﺩﺘﻪ ﺍﻟﺘﻲ ﻤﻁﻠﻌﻬﺎ: ﺕ ﻟﻡ ﹶﺘﹸﻠﻡﹺِ ﹸﻜﻑﱠ ﺍﻟﻤﻼ ﻡ ﻓﻠﻭ ﺃﺤﺒﺒ ﹶ
ﻕ ﺍﻟﻨﱡﻬﻭ ﺩ ﺫﻭﺍﺌﺒﺎﻥ ﻤﻥ ﻓﻭ ِ ﺃﺴﺒﻠ
ﺏ ﺫﹶﻭﺍﺌﺒﺎ ﺕ ﺍﻟﻘﻠﻭ ﹺ ﻥ ﺤﺒﺎ ﺠ ﻌ ﹾﻠ
ﻓ ﻭﻴﻘﻭل ﺍﻟﺒﻭﺼﻴﺭﻱ:
ﻭﺍﻟﺘﻲ ﻴﻤﺩﺡ ﺒﻬﺎ ﺍﻟﺴﻠﻁﺎﻥ ﺍﻟﻨﺎﺼﺭ ﻤﺤﻤﺩ ﺒﻥ ﻗﻼﻭﻭﻥ ﻭﻗﺩ ﺕ ﺍ ﹾﻜ ﹸﻔﻔﹶﺎ ﻫﻤﺘﺎ ﻙ ﺇﻥ ﻗﻠ ﹶ ﻓﻤﺎ ﻟﻌﻴﻨﻴ
ﺍﻗﺘﹸﺭﺡ ﻋﻠﻴﻪ ﻤﻌﺎﺭﻀﺘﻬﺎ. ﻕ ﻴ ﹺﻬ ِﹺﻡﺕ ﺍﺴ ﹶﺘ ﻔ ﹾ ﻙ ﺇﻥ ﻗﻠ ﹶ ﻭﻤﺎ ﻟﻘﻠﺒ
ﻭﺃﻭل ﻤﺎ ﻴﻠﻔﺘﻨﺎ ﻓﻲ ﻗﺼﻴﺩﺓ ﺍﻟﻤﺘﻨﺒﻲ ﺍﺴﺘﻬﻼﻟﻬﺎ ﺒﺎﻟﻤﻁﻠﻊ ﺕ
ﺤ ﺒﹰﺎ ﺒﻌﺩﻤﺎ ﺸﻬ ﺩ ﹾ ﻓﻜﻴﻑ ﺘﹸ ﹾﻨ ﻜ ﺭ
ﺍﻟﻐﺯﻟﻲ ﺍﻟﺫﻱ ﺃﻨﻜﺭﻩ ﻋﻠﻰ ﺍﻟﺸﻌﺭﺍﺀ ﻭﻨﻌﻰ ﻋﻠﻴﻬﻡ ﺍﻻﻟﺘﺯﺍﻡ ﺒﻪ ﻓﻲ ﺴ ﹶﻘﻡﹺِ
ل ﺍﻟﺩﻤ ِﹺﻊ ﻭﺍﻟ ﻙ ﻋﺩﻭ َﺒﻪ ﻋﻠﻴ
ﺍﻟﻤﻁﺎﻟﻊ ﺍﻟﺘﻘﻠﻴﺩﻴﺔ: ﻀﻨﹰﻰﻋ ﺒ ﺭ ﺓ ﻭ ﻲ ﻁ ﺨﱠ ﺕ ﺍﻟﻭﺠ ﺩ ﹶ ﻭﺃﺜﺒ ﹶ
ﺏ ﺍﻟﻤﻘﺩ ﻡ
ﺡ ﻓﺎﻟﻨﺴﻴ ﺇﺫﺍ ﻜﺎﻥ ﻤ ﺩ ﺨ ﺩ ﻴﻙ ﻭﺍﻟﻌ ﹶﻨﻡﹺِ ل ﺍﻟﺒﻬﺎﺭ ﻋﻠﻰ ﹶ ﻤﺜ َ
)(57
ﺸﻌﺭﹰﺍ ﻤ ﹶﺘ ﻴﻡ؟
ﺢ ﻗﺎل َﺃ ﹸﻜلﱡ ﻓﺼﻴ ﹴ ﻥ َﺃﻫﻭﻯ ﻓ َﺄ ﺭ ﹶﻗﻨﻲ ﻑ ﻤ ﹶﻨ ﻌ ﻡ ﺴﺭﻯ ﻁﻴ ﹸ
ﻓﻤﺎ ﺒﺎﻟﻪ ﻻ ﻴﻘﻭﻯ ﻋﻠﻰ ﺍﻻﻨﻔﻜﺎﻙ ﻋﻤﺎ ﺃﻨﻜﺭﻩ ﻋﻠﻰ ﻏﻴﺭﻩ؟ ﻭﻻ ﺕ ﺒﺎﻷﻟـ ِﹺﻡ ﺽ ﺍﻟﻠﺫﺍ ﺏ ﻴﻌﺘﺭ ﻭﺍﻟﺤ
ﺘﺨﻠﻭ ﻫﺫﻩ ﺍﻟﻘﺼﻴﺩﺓ ﻤﻥ ﺍﻟﺘﻌﻘﻴﺩ ﺍﻟﻠﻔﻅﻲ ﻓﻲ ﺍﻟﺘﺭﻜﻴﺏ ﺍﻟﻠﻐﻭﻱ ﻱ ﻤﻌﺫﺭ ﹰﺓ ﻴﺎ ﻻﺌِﻤﻲ ﻓﻲ ﺍﻟﻬﻭﻯ ﺍﻟﻌﺫ ِﹺﺭ ﱢ
ﻭﺩﻻﻟﺘﻪ ،ﻜﻘﻭﻟﻪ: ﺕ ﻟﻡ ﹶﺘﹸﻠﻡﹺ ﻙ ﻭﻟﻭ ﺃﻨﺼ ﹾﻔ ﹶ ﻤﻨﹼﻲ ﺇﻟﻴ
ل ﻭﺍﻟﻨﻬﻰ ل ﺍﻟﻔﻀﺎﺌ ِ ﻥ ﺇﻟﻰ ﺃﻫ ِ ﻭﻟﻜ ﻭﻗﺩ ﻓﺎﺠﺄﻫﺎ ﻓﻲ ﺇﺤﺩﻯ ﺩﺨﻼﺘﻪ ﻋﻠﻰ ﺍﻟﻨﻌﻤﺎﻥ ﻋﺭﻴﺎﻨﺔ -ﻭﺼﻔ ﹰﺎ
ﺏ
ﻁﹶﻠ
ﻭﺨﻴﺭ ﺒﻨﻲ ﺤﻭﺍ ﺀ ﻭﺍﻟﺨﻴ ﺭ ﻴ ﹾ ﺠﺴﻡ ﺃﻋﻀﺎﺀﻫﺎ ﺒﺠﺭﺃﺓ ﻨﺎﺩﺭﺓ ،ﻭﻜﺎﻥ ﺃﻫﻭﻥ ﺃﺒﻴﺎﺘﻪ ﻗﻭﻟﻪ ﻓﻴﻬﺎ:
ﺤ ﱢﺒ ﹺﻬ ﻡ
ﺽ ﺍﻟﺫﻴﻥ ﹺﺒ ﺇﻟﻰ ﺍﻟ ﱠﻨﻔﹶﺭ ﺍﻟ ﹺﺒ ﻴ ِﹺ ﻥ ﻏﻴ ﺭ ﻤﻔﺎﻀ ﺔ ﻤﺤﻁﻭﻁ ﹸﺔ ﺍﻟﻤﺘﻨﻴ ِﹺ
ﺏ
ﺇﻟﻰ ﺍﷲ ﻓﻴﻤﺎ ﻨﺎﺒﻨﻲ َﺃ ﹶﺘ ﹶﻘـﺭ ﻑ ﺒﻀ ﹸﺔ ﺍﻟﻤﺘﺠ ﺭ ﺩ ﺭﻴﺎ ﺍﻟﺭﻭﺍﺩ
ﻲ ﻓﺈﻨﻨﻲ ﻁ ﺍﻟﻨﺒ ﹺ ﺒﻨﻲ ﻫﺎﺸ ﹴﻡ ﺭ ﻫ ﺠﻔﹶﻲ ﻜﹼﻠ ﺔﺴ ﻗﺎﻤﺕ ﺘﺭﺍﺀﻯ ﺒﻴﻥ
)(73
ﺏ
ﺒﻬﻡ ﻭﻟﻬﻡ ﺃﺭﻀﻰ ﻤﺭﺍﺭﹰﺍ ﻭﺃﻏﻀ ﺱ ﻴﻭ ﻡ ﻁﹸﻠﻭﻋﻬﺎ ﺒﺎﻷﺴ ﻌ ﺩ ﻜﺎﻟﺸﻤ ِﹺ
ﻭﻓﻲ ﺩﻴﺒﺎﺠﺔ ﻗﺼﻴﺩﺓ ﺍﻟﺒﺎﺭﻭﺩﻱ" :ﻗﺎل ﻓﻲ ﺼﺒﺎﻩ ﻴﺭﻭﺽ ﻙ ﺒﺤﺎﺠ ﺔ ﻟﻡ ﹶﺘ ﹾﻘﻀﻬﺎ ﺕ ﺇﻟﻴ ﻨﻅ ﺭ ﹾ
ﻁﺭﺩ ،ﻭﻗﺩ ﻨﻅﻤﻬﺎ ﻭﻫﻭ ﻓﻲ ﺍﻟﺭﺍﺒﻌﺔ ﻭﺍﻟﻌﺸﺭﻴﻥ، ﺍﻟﻘﻭل ﻭﻴﺫﻜﺭ ﺍﻟ ﱠ ﻅﺭ ﺍﻟﺴﻘﻴ ﹺﻡ ﺇﻟﻰ ﻭﺠﻭ ﻩ ﺍﻟ ﻌـ ﻭ ﺩ ﹶﻨ ﹶ
ﺤﻴﻥ ﺃُﺭﺴل ﻤﻊ ﻁﺎﺌﻔﺔ ﻤﺨﺘﺎﺭﺓ ﻤﻥ ﺍﻟﻀﺒﺎﻁ ﺇﻟﻰ ﺍﻨﻜﻠﺘﺭﺍ ،ﻓﺩﻋﺎﻫﻡ ﻓﺈﻥ ﻤﻀﻤﻭﻥ ﻗﺼﻴﺩﺓ ﺍﻟﺒﺎﺭﻭﺩﻱ ﺒﻌﻴﺩ ﻋﻥ ﺫﻟﻙ ﻜل ﺍﻟﺒﻌﺩ،
ﺃﺤﺩ ﻨﺒﻼﺀ ﺍﻹﻨﻜﻠﻴﺯ ﺇﻟﻰ ﺭﻴﺎﻀﺔ ﻓﻲ ﺍﻟﺭﻴﻑ ﺍﻹﻨﻜﻠﻴﺯﻱ ﻋﻠﻰ ﻭﻤﺎ ﻴﺘﺤﺩﺙ ﺒﻪ ﻋﻥ ﺍﻟﻤﺭﺃﺓ ﻤﺯﻴﺞ ﻤﻥ ﺍﻟﺤﺏ ﻭﺍﻟﺒﻁﻭﻟﺔ:
ﻅﻬﻭﺭ ﺍﻟﺨﻴل ﻟﻤﺯﺍﻭﻟﺔ ﺍﻟﺼﻴﺩ" .ﻭﺍﺴﺘﻐﺭﻕ ﻭﺼﻑ ﻫﺫﻩ ﺍﻟﺭﺤﻠﺔ ل ﻨﺎﻋﻤ ﺔ ﺍﻟﺼﱢﺒﺎ ﺒﺩﻭﻴ ﺔ ﻤﻥ ﻜ ﱢ
ﺍﻟﺭﻴﻔﻴﺔ ﻨﺼﻑ ﺃﺒﻴﺎﺕ ﺍﻟﻘﺼﻴﺩﺓ )ﺍﻷﺒﻴﺎﺕ ،(47-22ﻭﻤﻥ ﻫﺫﺍ ﺏ ﺴﻠﻴﻤ ﺔ ﺍﻟ ﻤ ﹶﺘﺠ ﺭﺩ ﺭﻴﺎ ﺍﻟﺸﹼﺒﺎ ﹺ
ﺍﻟﻭﺼﻑ ﻗﻭﻟﻪ: ﺕ
ﺕ ﻭﺇﺫﺍ ﺭ ﹶﻨ ﹾ ﺴ ﺒ ﹾ
ﺕ ﻁﺭ ﹾﺨﹶ ﻫﻴﻔﺎ ﺀ ﺇﻥ ﹶ
ﺕ ﻭﻟﻠﻜﺭﻯ ﻥ ﻟﻬ ﹴﻭ ﻗﺩ ﺩﻋﻭ ﹸ ﻭﻓﺘﻴﺎ ِﹺ ﺕ ﻓﺅﺍ ﺩ ﺍﻟﻌﺎﺒﹺﺩ ﺍﻟﻤﺘﺸ ﺩ ﺩ ﺴﹶﻠﺒ ﹾ
ﺏ
ﻁﻨﱠ ﻥ ﻤ ﹶ ﺨﺒﺎ ﺀ ﺒﺄﻫﺩﺍﺏ ﺍﻟﺠﻔﻭ ِﹺ ﺤﺘﹶﻨﻲ ﻲ ﹶﻓﻀ ﺕ ﺇﻟ ﺕ ﻭﻗﺩ ﻨﻅ ﺭ ﹾ ﻗﺎﹶﻟ ﹾ
ﺇﻟﻰ ﻤ ﺭ ﺒ ﹴﻊ ﻴﺠﺭﻱ ﺍﻟﻨﺴﻴ ﻡ ﺨﻼﻟﹶﻪ ل ﺒﻤﺭﺼ ﺩ ﻙ ﻓﺎﻟﺭﺠﺎ ُ ﺠ ﻊ ﻟﺸﺄ ﻨ ﻓﺎﺭ ﹺ
ﺏ
ﺼﺒ ﺸﺭﹺِ ﺍﻟﺨﹸﺯﺍﻤﻰ ﻭﺍﻟﻨﺩﻯ ﻴﺘ ﺒﹺ ﹶﻨ ﹾ ﻑ ﻤﻥ ﺍﻟﻌﺩﺍ ﻕ ﺍﻟﺼﻔﻭ ﹶ ﺕ ﺍﺨﺘﺭ ﹸ ﻭﺨﺭﺠ ﹸ
ﻋﻭﺘﻲ ﻥ ﺩ ﺽ ﺃﻥ ﺠﺎﺅﻭﺍ ﻤﹶﻠﺒﱢﻴ ﻓﻠﻡ ﻴﻤ ﹺ ﻑ ﻴﻠ ﻤ ﻊ ﻓﻲ ﻴﺩﻱ ﻤﺘﻠ ﹼﺜـﻤﹰﺎ ﻭﺍﻟﺴﻴ ﹸ
ﺏ
ﺴﺭﺍﻋﹰﺎ ﻜﻤﺎ ﻭﺍﻓﻰ ﻋﻠﻰ ﺍﻟﻤﺎﺀ ﺭ ﺒ ﺭ ﻭﻤﺎ ﻴﺫﻜﺭﻩ ﻋﻥ ﺍﻟﻨﺩﺍﻤﻰ ﺃﺨﻼﻁ ﻤﻥ ﺍﻟﺴﻴﺎﺩﺓ ﻭﺭﺠﺎﺤﺔ ﺍﻟﺭﺃﻱ
ﻥ ﺫﺍﻙ ﺍﻟﻴﻭ ﹺﻡ ﻟﻭ ﻜﺎﻥ ﺒﺎﻗﻴﹰﺎ ﺴ
ﺤ ﻓﻴﺎ ﻭﺍﻟﺸﺭﻑ ﻭﺍﻟﺸﺭﺍﺏ:
ﺏ ﻫﺫﺍ ﺍﻟﻠﻴل ﻟﻭ ﺩﺍﻡ ﻁ ﻴ
ﻭﻴﺎ ﻑ
ﺕ ﺍﻟﺨﻤ ﺭ ﺒﻴﻥ ﻏﻁﺎﺭ ﻭﻟﻘﺩ ﺸﺭﺒ ﹸ
)(74
ﺏ
ﻁﻴﱢ
ﹶ ﺱ ﻜﺎﻟﻐﺼﻭﻥ ﺍﻟ ﻤ ﻴ ﺩ ﻁ ِﹺ ﺸﻡﱢ ﺍﻟﻤﻌﺎ ﹸ
ﻓﺒﺎﻥ ﺒﺫﻟﻙ ﺍﻟﻔﺭﻕ ﺒﻴﻥ ﺍﻟﻘﺼﻴﺩﺘﻴﻥ ﻓﻲ ﻤﻨﺎﺴﺒﺔ ﻜل ﻤﻨﻬﻤﺎ ﺕ
ﺠ ﺭ ﹾ ﺱ ﺇﺫﺍ ﻴﺘﻼﻋﺒﻭﻥ ﻋﻠﻰ ﺍﻟﻜﺅﻭ ﹺ
ﻭﻤﻭﻀﻭﻋﻬﺎ ﻭﺃﺤﻭﺍل ﻗﺎﺌﻠﻬﺎ. ﺡ ﺍﻟﺠ ﺩ ﻓﻴﻪ ﻭﻴﻐﺘﺩﻱ ﹶﻟﻌﺒﹰﺎ ﻴﺭﻭ
ﻻ ﻴﻨﹾﻁﻘﻭﻥ ﺒﻐﻴ ِﹺﺭ ﻤﺎ َﺃﻤﺭ ﺍﻟﻬﻭﻯ
ﻤﻌﺎﺭﻀﺔ ﺍﻟﺒﺎﺭﻭﺩﻱ ﺃﺒﺎ ﻨﻭﺍﺱ ل ﻨﹶﺩﻱ ﺽ ﻤﺼﻘﻭ ٌ ﻓﻜﻼ ﻤ ﻬ ﻡ ﻜﺎﻟﺭﻭ ِﹺ
ﻷﺒﻲ ﻨﻭﺍﺱ) (77ﻗﺼﻴﺩﺓ ﻤﻁﻠﻌﻬﺎ: ﻥ ﻜﺄﻨﻪ ﺡ ﺍﻟﺠﺒﻴ ِﹺ ل ﻭﻀﺎ ِﹺ ﻤﻥ ﻜ ﱢ
ﻙ ﻏﹶﻴﻭ ﺭ ﺃﺠﺎﺭ ﹶﺓ ﺒ ﻴ ﹶﺘﻴﻨﺎ ﺃﺒﻭ ل ﺃﺴـﻭ ﺩ ﺢ ﻟﻴ ٍﺠ ﹾﻨ
ﻁ ﺴﹶ ﻗﻤ ﺭ ﺘﻭ
ﻙ ﻋﺴﻴ ﺭ ﻭ ﻤ ﻴﺴﻭ ﺭ ﻤﺎ ﻴﺭﺠﻰ ﻟﺩﻴ
ﻭﻗﺩ ﻋﺎﺭﻀﻬﺎ ﺍﻟﺒﺎﺭﻭﺩﻱ ﺒﻘﺼﻴﺩﺓ ﻤﻁﻠﻌﻬﺎ):(78 ﻤﻌﺎﺭﻀﺔ ﺍﻟﺒﺎﺭﻭﺩﻱ ﺍﻟﻜﻤﻴﺕ ﺍﻷﺴﺩﻱ
)(75
ﻥ ﻀﻤﻴ ﺭ ﺤﻕ ﺇﻻ ﺃﻥ ﻴ ﺃﺒﻰ ﺍﻟﺸﻭ ﹸ ﺘﻁﻠﻌﺕ ﺃﻨﻅﺎﺭ ﺍﻟﺒﺎﺭﻭﺩﻱ ﺇﻟﻰ ﻨﺎﺩﺭﺓ ﺍﻟﻜﻤﻴﺕ :
ﻥ ﺠﺩﻴ ﺭ ﻕ ﺒﺎﻟﺤﻨﻴ ِﹺل ﻤﺸﹸﻭ ٍ ﻭﻜ ﱡ ﺏ
ﻁ ﺭ ﺽ َﺃ ﹾ
ﺕ ﻭﻤﺎ ﺸﻭﻗﹰﺎ ﺇﻟﻰ ﺍﻟ ﹺﺒ ﻴ ِﹺ ﻁﺭﺒ ﹸ
ﻭﻗﺼﻴﺩﺓ ﺃﺒﻲ ﻨﻭﺍﺱ ﻗﺼﻴﺩﺓ ﻤﺩﺤﻴﺔ ﻤﺩﺡ ﺒﻬﺎ ﺍﻟﺨﺼﻴﺏ ﻭﺍﻟﻲ ﺏ؟
ﺏ ﻴ ﹾﻠ ﻌ
ﻭﻻ ﹶﻟﻌﺒﹰﺎ ﻤﻨﹼﻲ ﻭﺫﹸﻭ ﺍﻟﺸﻴ ﹺ
ﻤﺼﺭ ،ﻭﺨﺭﺝ ﺒﻬﺎ ﻋﻥ ﺇﻁﺎﺭ ﻗﺼﺎﺌﺩﻩ ﻭﺍﺘﺠﺎﻫﺎﺘﻬﺎ ﺍﻟﻌﺎﻤﺔ ﻓﻲ ﻓﻌﺎﺭﻀﻬﺎ ﺒﻘﺼﻴﺩﺓ ﻤﻁﻠﻌﻬﺎ):(76
ﻑ ﻤﺭﻜﺒﻪ" ﺍﻟﺨﻤﺭﻴﺎﺕ ﻭﺍﻟﻐﺯﻟﻴﺎﺕ .ﻴﺨﺎﻁﺏ "ﺍﻟﺘﻲ ﻋﻥ ﺒﻴﺘﻬﺎ ﺨ ﹼ ﺏ
ﻁ ﺭ ﻥ ﺍﻷﻏﺎﺭﻴ ﺩ ﻴ ﹾ ﻱ ﺒ ﺘﺤﻨﺎ ِﹺﺴﻭﺍ
ﻓﻴﻘﻭل ﻟﻬﺎ: ﺏ
ﺕ ﻴﻠﻬﻭ ﻭﻴﻠﻌ ﻱ ﺒﺎﻟﻠﹼﺫﺍ ﻭﻏﻴﺭ
ﻙ ﺒﺭﺤﻠ ﺔ ﺴ ﺩ ﻴ
ﺫﺭﻴﻨﻲ ﺃﻜ ﱢﺜ ﺭ ﺤﺎ ﻭﻗﺼﻴﺩﺓ ﺍﻟﻜﻤﻴﺕ ﻤﻥ ﺍﻟﻘﺼﺎﺌﺩ ﺍﻟﺘﻲ ﻨﻅﻤﻬﺎ ﻓﻲ ﻤﺩﻴﺢ ﺁل
ﺏ ﺃﻤﻴ ﺭ ﺇﻟﻰ ﺒﻠ ﺩ ﻓﻴﻪ ﺍﻟﺨﺼﻴ ﺍﻟﺒﻴﺕ ﻤﻥ ﺁل ﻫﺎﺸﻡ ﻤﻤﺎ ﻋﺭﻑ ﺒﺎﻟﻬﺎﺸﻤﻴﺎﺕ ،ﻭﻗﺩ ﻨﻅﻤﻬﺎ ﺒﻌﺩﻤﺎ
ﺽ ﺍﻟﺨﺼﻴﺏ ﺭﻜﺎﺒﻨﺎ ﺇﺫﺍ ﻟﻡ ﹶﺘ ﺯ ﺭ ﺃﺭ ﺍﺸﺘﺩ ﻋﻭﺩﻩ ﻭﺍﺴﺘﻭﻯ ﺸﻌﺭﻩ ،ﻭﻟﻡ ﻴﺼﺭﻑ ﻓﻴﻬﺎ ﺸﻭﻗﻪ ﻭﻁﺭﺒﻪ
ﺏ ﺘﹶـﺯﻭ ﺭ ﻱ ﻓﺘﹰﻰ ﺒﻌ ﺩ ﺍﻟﺨﺼﻴ ﹺ ﻓﺄ ﺇﻟﻰ ﺍﻟﺒﻴﺽ:
ل ﺍﻷﺫﻯ ﻭﺭﺅﻴ ﹸﺔ ﺠﺎﻨﻴـ ﻭﺍﺤﺘﻤﺎ ُ ﺢ ﻓﻲ ﺍﻟﻭﻏﻰ ﻑ ﻭﺍﻟﺭﻤ ﺯﻫﺎ ﺒﺎﻟﺨﺼﻴﺏ ﺍﻟﺴﻴ ﹸ
ﻀﻭﻯ ﺒﻪ ﺍﻷﺠﺴﺎ ﻡ ـ ﻪ ﻏﺫﺍ ﺀ ﹶﺘ ﺴ ﹾﻠ ِﹺﻡ ﻴﺯﻫﻭ ﻤﻨﺒ ﺭ ﻭﺴﺭﻴ ﺭ ﻭﻓﻲ ﺍﻟ ﱢ
ﺵ
ل ﺒﻌﻴ ﹴ ﻁ ﺍﻟﺫﻟﻴ َ ل ﻤﻥ ﻴ ﹾﻐ ﹺﺒ ﹸ ﹶﺫ ﱠ ﻭﺇﻨﻲ ﺠﺩﻴ ﺭ ﺇﺫ ﺒﹶﻠ ﹾﻐ ﹸﺘﻙ ﺒﺎﻟﻤﻨﻰ
ﻑ ﻤﻨﻪ ﺍﻟﺤﻤﺎ ﻡ ﺵ ﺃﺨ ﱡ ﺭﺏ ﻋﻴ ﹴ ﺕ ﻤﻨﻙ ﺠﺩﻴ ﺭ ﺕ ﺒﻤﺎ ﺃﻤﻠـ ﹸ ﻭﺃﻨ ﹶ
ﻥ ﻋﻠﻴﻪ ل ﺍﻟﻬﻭﺍ ﺴ ﻬ ِ
ﻥ ﻴ ﻤﻥ ﻴ ﻬ ﻭﻫﻲ ﻤﻌﺎﻥ ﺘﻘﻠﻴﺩﻴﺔ ﺠﻭﻫﺭﻫﺎ ﺍﺴﺘـﻨﻬﺎﺽ ﻫﻤﺔ ﺍﻟﻤﻤﺩﻭﺡ ﻓﻲ
ﺕ ﺇﻴـﻼ ﻡ ﺡ ﺒـﻤﻴ ﻤـﺎ ﻟﺠـﺭ ﹴ ﺘﻜﺭﻴﻡ ﺍﻟﺸﺎﻋﺭ ﻭﺇﻏﺩﺍﻕ ﻋﻁﺎﻴﺎﻩ ﻋﻠﻴﻪ.
ﻭﻤﻥ ﺍﻟﺼﻴﺎﻏﺔ ﺍﻟﻌﺠﻴﺒﺔ ﻓﻲ ﺍﻟﻘﺼﻴﺩﺓ ﺍﻟﺘﻌﺩﺍﺩ ،ﻭﻤﻨﻪ ﻤﺎ ﻭﻻ ﺼﻠﺔ ﻟﻤﺎ ﻋﺎﺭﺽ ﺒﻪ ﺍﻟﺒﺎﺭﻭﺩﻱ ﺃﺒﺎ ﻨﻭﺍﺱ ﺇﻻ ﺼﻠﺔ ﻭﺯﻥ
ﻭﺼﻑ ﺒﻪ ﻤﻤﺩﻭﺤﻪ ﺒﺜﻤﺎﻨﻲ ﺼﻔﺎﺕ ﻓﻲ ﺒﻴﺕ ﻭﺍﺤﺩ: ﺍﻟﻘﺼﻴﺩﺓ ﻭﻗﺎﻓﻴﺘﻬﺎ ،ﻓﻘﺼﻴﺩﺘﻪ ﺘﺩﻭﺭ ﻓﻲ ﻤﺤﻭﺭﻫﺎ ﺤﻭل ﺸﺨﺼﻴﺔ
ﻀ ﺭ
ﺼ ﻴ ﺩ ﺍﻟ
ﻷ ﺏ ﺍَ ﺏ ﺍﻟﻤﻬ ﱠﺫ ﺍﻷﺩﻴ ﺍﻟﺸﺎﻋﺭ ﻭﺘﻤﻴﺯﻩ ،ﻓﻬﻭ ﻓﻲ ﺍﻟﺤﺭﺏ ﻟﻴﺙ ﻭﺃﻤﺎﻡ ﺍﻟﻐﻭﺍﻨﻲ ﺠﺯﻭﻉ
)(86
ﻱ ﺍﻟﻬﻤﺎ ﻡﺴ ﹺﺭ
ﺠ ﻌ ﺩ ﺍﻟ
ﻲ ﺍﻟ
ﺒـ ﺍﻟﺫﻜ ﺨﺎﺌﻑ:
ﻭﻤﻨﻬﺎ ﺃﻴﻀﹰﺎ ﺍﻟﺘـﻘﺴﻴﻡ ﻓﻴﻤﺎ ﻴﺸﺒﻪ ﺍﻟﻤﻌﺎﺩﻟﺔ ﺍﻟﺭﻴﺎﻀﻴﺔ ل ﺸﺒﺎ ﹶﺓ ﺍﻟﻠﻴﺙ ﻭﻫﻭ ﻤﻨﺎﺠﹺـ ﺯ ﺃﻓـ ﱠ
)(79
ﺍﻟﻤﺘﺴﺎﻭﻴﺔ ﺍﻟﺤﺩﻴﻥ: ﻅ ﺍﻟ ﱢﺭ ْﺌ ﹺﻡ ﻭ ﻫَﻭ ﻏﺭﻴ ﺭ
ﺤﹶ
ﺏ ﹶﻟ ﻭﺃﺭ ﻫ
ﺱ ﺤﺘﻰ ﺢ ﺍﻟﻨﺎ ﻭ ﹶﻜ ﹶﻔ ﹾﺘﻙ ﺍﻟﺼﻔﺎﺌ ﻉ ﻗـﻠﺒﻲ ﻟﻠﺼﺩﻭ ﺩ ﻭﺇﻨﻨﻲ ﻭﻴﺠـﺯ
)(87
ﺢ ﺍﻷﻗﻼ ﻡ ﻗﺩ ﹶﻜ ﹶﻔ ﹾﺘﻙ ﺍﻟﺼﻔﺎﺌ )(80
ﻲ ﺼﺒﻭ ﺭ ﺵ ﺍﻟ ﹶﻜ ﻤ
ﺱ ﺇﻥ ﻁﺎ ﹶ ﻟﺩﻯ ﺍﻟﺒﺄ ِﹺ
ﺏ ﺍﻟ ﻔ ﹾﻜ ﺭ ﺤﺘﻰ ﻭ ﹶﻜ ﹶﻔ ﹾﺘﻙ ﺍﻟﺘﺠﺎﺭ ﻭﺸﻌﺭﻩ ﻴﺨﻤل ﺫﻜﺭ ﺍﻟﻤﺘﻘﺩﻤﻴﻥ ﻭﻴﺒﺫﻫﻡ ،ﻭﻻ ﻋﺒﺭﺓ ﺒﺄﻥ
)(88
ﺏ ﺍﻹﻟﻬﺎ ﻡ ﻗﺩ ﻜﻔﺎﻙ ﺍﻟﺘﺠﺎﺭ ﺍﻟﻔﻀل ﻟﻠﻤﺘﻘﺩﻡ:
ﻭﻤﻨﻬﺎ ﻗﻭﻟﻪ ﻓﻲ ﺨﻴﺭﻴﺔ ﺍﻷﻗﺩﺍﻡ ﻋﻠﻰ ﺍﻟﺭﺅﻭﺱ: ﺕ ﻓﻲ ﻋﺼ ِﹺﺭ ﺍﻟﻜﻼ ِﹺﻡ ﺍﻟﺫﻱ ﺍﻨﻘﻀﻰ ﻓﻠﻭ ﻜﻨ ﹸ
)(81
ﺱ ﻭﻟﻜﻥ ﺨﻴ ﺭ ﺃﻋﻀﺎﺌﻨﺎ ﺍﻟﺭﺅﻭ ل ﻭﺠﺭﻴ ﺭ ﻀﻠﻲ ﺠﺭﻭ ٌ ﻟﹶﺒﺎﺀ ﹺﺒ ﹶﻔ
ﻙ ﺍﻷﻗـﺩﺍ ﻡ ﺼـ ﺩ ﻓﻀﹶﻠﺘﹾﻬـﺎ ﺒ ﹶﻘ ل
ﻲ ﻟﻡ ﻴ ﹸﻘ ْ ﺴ ﺕ ﺍﻟﻨﱡﻭﺍ ﺕ ﺃﺩﺭﻜ ﹸ ﻭﻟﻭ ﻜﻨ ﹸ
)(82
ﺫﻟﻙ ﺃﻥ ﺍﻟﺭﺃﺱ "ﻤﺠﻤﻊ ﺍﻟﺤﻭﺍﺱ ،ﻭﻓﻴﻪ ﺍﻟﺩﻤﺎﻍ ﺍﻟﺫﻱ ﻫﻭ ﻙ ﻏﹶﻴﻭ ﺭ( )ﺃﺠﺎﺭ ﹶﺓ ﺒ ﻴ ﹶﺘﻴﻨﺎ ﺃﺒـﻭ
ﻤﺤل ﺍﻟﻌﻘل ،ﻭﻟﻜﻥ ﺍﻷﻗﺩﺍﻡ ﺼﺎﺭﺕ ﺒﻘﺼﺩ ﺍﻟﻤﻤﺩﻭﺡ ﺃﻓﻀل ﻤﻥ ﺕ ﻋﻨﻬ ﻡ ﻀﺭﻨﻲ ﺃﻨﻲ ﺘﺄﺨﺭ ﹸ ﻭﻤﺎ
ﺍﻟﺭﺅﻭﺱ ،ﻷﻨﻬﺎ ﻜﺎﻨﺕ ﺁﻟﺔ ﻟﻠﺴﻌﻲ ﺇﻟﻴﻙ").(89 ﻲ ﺒﻴﻥ ﺍﻟﻌﺎﻟﹶﻤﻴﻥ ﺸﻬﻴ ﺭ ﻭﻓﻀﻠ
ل
ﻕ ﺃﻭ ٌ ﺴ ﺒ ِ
ﻓﻴﺎ ﺭﺒﻤﺎ َﺃﺨﹾﻠﻰ ﻤﻥ ﺍﻟ
ﻭﻤﻥ ﺍﻟﺼﻭﺭ ﺍﻟﺒﺩﻴﻌﺔ ﺍﻟﻐﺭﻴﺒﺔ ﺍﻟﺩﻻﻟﺔ ،ﺍﻟﺘﻲ ﻴﻌﺒﺭ ﺒﻬﺎ ﻋﻥ ﺕ ﺃﺨـﻴ ﺭ ﻭﺒـ ﱠﺫ ﺍﻟﺠﻴﺎ ﺩ ﺍﻟﺴﺎﺒﻘﺎ
ﻜﺜﺭﺓ ﻋﻁﺎﺀ ﺍﻟﻤﻤﺩﻭﺡ: ﻭﺍﻟﻘﺼﻴﺩﺓ ﺘﻀﺞ ﺒﻌ ﺩ ﺒﺎﻟﺼﻭﺭ ﺍﻟﺸﻌﺭﻴﺔ ﻭﺍﻟﺘﺭﺍﻜﻴﺏ ﺍﻟﻠﻐﻭﻴﺔ
ﻙ ﻋﻨﹼﻲ ﺴ ﻴ ﹺﺒ
ﻁ ﺀ
ﻭﻤﻥ ﺍﻟﺨﻴﺭ ﺒ ﹾ ﻤﺜل :ﻁﺎﺵ ﺍﻟﻜﻤﻲ ،ﺇﻨﻲ ﻟﺫﻭ ﹸﺘ ﺩﺭﺃ) ،(83ﺘﺴﺩﻱ ﺍﻟﻬﻭﻯ ﻭﺘﻨﻴﺭ،
)(90
ﺏ ﻓﻲ ﺍﻟﻤﺴﻴ ِﹺﺭ ﺍﻟﺠﻬﺎ ﻡﺤ ِﹺ
ﺴ
ﻉ ﺍﻟ
ﺃﺴﺭ ﺃﻤﺎﻁ ﺍﻟﻠﻴل ﺜﻨﻲ ﻟﺜﺎﻤﻪ ،ﺨﻤﻴﻠﺔ ﻟﻬﺎ ﻤﻥ ﻨﺠﻭﻡ ﺍﻷﻗﺤﻭﺍﻥ ﺜﻐﻭﺭ.
ل
ﻓﺘﺄﺨﺭ ﻭﺼﻭل ﻋﻁﺎﺌﻪ -ﺒﺴﺒﺏ ﺘﺄﺨﺭ ﺯﻴﺎﺭﺘﻪ ﺇﻴﺎﻩ -ﻴﺩ ّ
ﻋﻠﻰ ﻜﺜﺭﺓ ﺫﻟﻙ ﺍﻟﻌﻁﺎﺀ ،ﻜﺎﻟﺴﺤﺎﺏ ﻴﻜﻭﻥ ﻓﻴﻪ ﺍﻟﻤﺎﺀ ،ﻓﻴﻜﻭﻥ ﺜﻘﻴل ﻤﻌﺎﺭﻀﺔ ﺍﻟﺒﺎﺭﻭﺩﻱ ﺍﻟﻤﺘﻨﺒﻲ
)(84
ﺍﻟﺤﻤل ﺒﻁﻲﺀ ﺍﻟﻤﺸﻲ! ﺃﻋﺠﺏ ﺍﻟﺒﺎﺭﻭﺩﻱ ﺒﻘﺼﻴﺩﺓ ﺍﻟﻤﺘﻨﺒﻲ ﺍﻟﺘﻲ ﻤﻁﻠﻌﻬﺎ :
ﺃﻤﺎ ﺍﻟﺒﺎﺭﻭﺩﻱ ﻓﻴﺴﺘﻬل ﻗﺼﻴﺩﺘﻪ ﺒﻬﺫﻩ ﺍﻟﺘﻭﺭﻴﺔ ﺍﻟﻠﻁﻴﻔﺔ ﺍﻟﻤﺘﻤﺜﻠﺔ ﻻ ﻟﻤﻥ ﻻ ﻴﻀﺎ ﻡ ﻻ ﺍﻓﺘﺨﺎ ﺭ ﺇ ﹼ
ﻓﻲ "ﺇﻨﺴﺎﻥ ﺍﻟﻌﻴﻥ" ﻭﻗﺩ ﺍﺸﺘﺩ ﺒﻪ ﺍﻟﻭﺠﺩ ﻭﺍﻟﻐﺭﺍﻡ ﻓﺫﻫﺏ ﺒﻘﻠﺒﻪ ﺏ ﻻ ﻴﻨـﺎ ﻡ ﻙ ﺃﻭ ﻤﺤـﺎﺭ ﹴ
ﻤﺩﺭ
)(85
ﻭﺃﻭﺭﺜﻪ ﺍﻟﺤﺯﻥ ﻭﺍﻟﺩﻤﻊ ﻭﺍﻟﺴﻬﺎﺩ ﺩﻭﻥ ﺫﻨﺏ ﺃﺘﺎﻩ ﺃﻭ ﺴﻴﺌﺔ ﻓﻌﺎﺭﻀﻬﺎ ﺒﻘﺼﻴﺩﺘﻪ ﺍﻟﺘﻲ ﺍﺴﺘﻬﻠﻬﺎ ﺒﻘﻭﻟﻪ :
ﺍﺠﺘﺭﺤﻬﺎ ،ﻓﻠﻡ ﻴﺠﺩ ﻏﻴﺭ ﻨﺩﻴﻤﻴﻪ ﻴﺭﺩﺍﻥ ﻟﻬﻔﺔ ﻗﻠﺒﻪ: ﻥ ﺇﻨﺴﺎﻨﹸﻬﺎ ﻻ ﻴﻨﺎ ﻡ ﻤﻥ ﻟﻌﻴ ﹴ
ﻥ ﻭﺩﻤ ﹴﻊ ل ﺒﻴﻥ ﺤﺯ ﹴ ﻁ ﻊ ﺍﻟﻠﻴ َ َﺃ ﹾﻗ ﹶ ﻭﻓﺅﺍ ﺩ ﻗﻀـﻰ ﻋﻠﻴﻪ ﺍﻟﻐـﺭﺍ ﻡ
ﺱ ﻋﻨﹼﻲ ﻨﻴﺎ ﻡ ﻭﺴﻬﺎ ﺩ ﻭﺍﻟﻨﺎ
ﻉ ﻟﻭﻋ ﹸﺔ ﺍﻟﺼﺒﺎﺒ ﺔ ﻤﻨﻲ ﻟﻡ ﹶﺘ ﺩ ﻭﻗﺼﻴﺩﺓ ﺍﻟﻤﺘﻨﺒﻲ ﻴﻤﺩﺡ ﺒﻬﺎ ﻋﻠﻲ ﺒﻥ ﺃﺤﻤﺩ ﺍﻟﻤﺭﻱ
ﺱ ﻏﺫﺍﺅُﻫﺎ ﺍﻵﻻ ﻡ ﻏﻴ ﺭ ﻨﻔ ﹴ ﺍﻟﺨﺭﺍﺴﺎﻨﻲ ،ﻭﻫﻭ ﻓﻴﻬﺎ – ﻜﻌﺎﺩﺘﻪ ﻓﻲ ﻏﻴﺭﻫﺎ – ﻴﻤﻁﺭ ﻗﺎﺭﺌﻪ
ﺕ ﺫﻨﺒﹰﺎ ﻭﻤﺎﻟﻲ ﺯﻋﻤﻭﻨﻲ ﺃﺘﻴ ﹸ ﺒﺴﻴل ﻤﻥ ﺍﻟﺤﻜﻡ ﻭﺘﺠﺎﺭﺏ ﺍﻟﺤﻴﺎﺓ ،ﻤﻘﺩﻤﺔ ﺒﺼﻭﺭ ﻤﺠﺎﺯﻴﺔ ﻓﺎﺌﻘﺔ،
)(91
-ﻴ ﻌﹶﻠ ﻡ ﺍﷲ -ﻓﻲ ﻫﻭﺍﻩ ﺃﺜﺎ ﻡ ﻴﻘﻭل:
ل ﺒﻴﻥ ﻴﺩﻴﻪ
ﻙ ﺍﻟﺭﺠﺎ ِ
ﻭﻋﺭﺍ ﻥ ﹶﺘﻬـ
ﻋﻠﱢﻼﻨﻲ ﻓﹶﻠ
ﻲ
ﻴﺎ ﻨﺩﻴﻤ
)(92
ﺱ
ﺽ ﺠﺭ ﹺ ﺕ ﻤﻨﻬﻡ ﻭﺇﻏﻤﺎ ﹺ ﻓﻲ ﺨﹸﻔﻭ ﺱ ﻗﺩ ﻋﱠﻠﹶﻠﺘﹾﻬﺎ ﺍﻟﻨﱢﺩﺍ ﻡ
ﻙ ﻨﻔ
ِﻟ
ﺢ
ﺢ ﻴﻬﻭﻱ ﺒﻌﺎﻤل ﺭﻤ ﹴ ﻤﻥ ﻤﺸﻴ ٍﹴ ﺏ
ل ﻴ ﺭﺩ ﻟﻬﻔ ﹶﺔ ﻗﻠ ﹴ
ﺏ ﻗﻭ ٍ
ﺭ
)(101 )(93
ﺱ
ﻥ ﺒﹺـ ﹸﺘ ﺭ ِﹺ
ﺢ ﻤﻥ ﺍﻟﺴﱢﻨﺎ ﹺ ﻭﻤﻠﻴ ٍﹴ ﻑ ﻤﻨﻪ ﺍﻟﻜﻼ ﻡ
ﺠ ﱡ
ﻭﻜﹶﻼ ﹴﻡ ﹶﺘ ﹺ
ﺘﺼﻑ ﺍﻟﻌﻴﻥ ﺃﻨﻬﻡ ﺠﺩ ﺃﺤﻴﺎ
ﺱ
ﺨـﺭ ِﹺ ﺀ ﻟﻬﻡ ﺒﻴﻨﻬـﻡ ﺇﺸـﺎﺭﺓ ﹸ ﺜﻡ ﻴﺘﺤﻭل ﺇﻟﻰ ﺫﻜﺭ ﺩﻫﺭﻩ ﻭﺴﻭﺀ ﺃﻫﻠﻪ ،ﻭﻴﺨﻠﺹ ﺇﻟﻰ ﺃﻥ
ﻲ ﺤﺘﻰ ﻴﻐﹾﺘﻠﻲ ﻓﻴﻬـ ﻡ ﺍﺭﺘﻴﺎﺒ ﺍﻟﺘﻔﺭﺩ ﻴﻜﺴﺏ ﺍﻟﻨﻔﺱ ﺍﻟﺤﺭﻴﺔ ﻭﺍﻟﻘﻭﺓ:
)(102
ﺘﹶـﺘﹶـﻘﹶـﺭﺍﻫـ ﻡ ﻴـﺩﺍﻱ ﺒﹺﹶﻠ ﻤﺱﹺِ ﻼ
ﺕ ﺨﻠﻴ ﹰ ﺕ ﻗﺩ ﺃﺼﺒ ﹸ
ﻜﻠﻤﺎ ﻗﻠ ﹸ
ﺃﻤﺎ ﻗﺼﻴﺩﺓ ﺸﻭﻗﻲ ﻓﺘﺩﻭﺭ ﺤﻭل ﻭﺼﻑ ﺁﺜﺎﺭ ﺍﻟﻤﺴﻠﻤﻴﻥ ﻓﻲ ﻏ ﺩﺭﹺِﻩ ﺍﻷﻴﺎ ﻡ
ﺤ ﹶﻜ ﹾﺘﻨﻲ ﻤﻥ ﹶﺃﻀ
ﺍﻷﻨﺩﻟﺱ ،ﻤﻤﺯﻭﺠﹰﺎ ﺒﺎﻟﺤﻨﻴﻥ ﺇﻟﻰ ﻤﺼﺭ ﻭﺍﻟﺸﻭﻕ ﺇﻟﻰ ﺍﻟﺭﺠﻭﻉ ﺤ ﺭﹰﺍ
ﹶﻓﺘﹶﻔ ﺭ ﺩ ﹶﺘﻌﺵ ﺒﻨﻔﺴﻙ
)(94
ﺇﻟﻴﻬﺎ ﺒﻌﺩ ﻨﻔﻲ ﺍﺴﺘﻁﺎل ﺃﺭﺒﻊ ﺴﻨﻭﺍﺕ ،ﻭﻗﺩ ﺍﺴﺘﻐﺭﻕ ﺫﺍﻙ ﺍﻟﺤﻨﻴﻥ ﺵ ﻟﹸﻬﺎ ﻡ
ﺭﺏ ﻓﺭ ﺩ ﻴﺨﹾﺸﺎﻩ ﺠﻴ ﹲ
ﻤﺎ ﻴﻘﺎﺭﺏ ﻨﺼﻑ ﺍﻟﻘﺼﻴﺩﺓ .ﻴﻘﻭل ﺸﻭﻗﻲ)" :(103ﻭﻜﺎﻥ ﺍﻟﺒﺤﺘﺭﻱ ﻭﻴﻅﻬﺭ ﻤﻥ ﻋﺭﺽ ﻤﻀﻤﻭﻥ ﺍﻟﻘﺼﻴﺩﺘﻴﻥ ﺃﻥ ﻤﺎ ﻴﻨﻅﻤﻬﻤﺎ ﻓﻲ
ﺭﺤﻤﻪ ﺍﷲ ﺭﻓﻴﻘﻲ ﻓﻲ ﻫﺫﺍ ﺍﻟﺘﺭﺤﺎل ﻭﺴﻤﻴﺭﻱ ﻓﻲ ﺍﻟﺭﺤﺎل" .ﺃﻤﺎ ﺴﻠﻙ ﻭﺍﺤﺩ ﺭﻭﺡ ﺍﻟﻔﺨﺭ ﻭﺍﻻﻋﺘﺯﺍﺯ ﺒﺎﻟﻨﻔﺱ ﻭﻏﻨﻰ ﺍﻟﺘﺠﺎﺭﺏ ﺍﻟﺘﻲ
ﺴﻴﻨﻴﺘﻪ "ﻓﺘﺭﻴﻙ ﺤﺴﻥ ﻗﻴﺎﻡ ﺍﻟﺸﻌﺭ ﻋﻠﻰ ﺍﻵﺜﺎﺭ ،ﻭﻜﻴﻑ ﺘﺘﺠﺩﺩ ﻴﻘﺩﻤﻬﺎ ﺍﻟﺸﺎﻋﺭﺍﻥ ،ﻓﻬﺫﺍ ﻴﻨﺴﺒﻬﺎ ﻟﻨﻔﺴﻪ ﻓﺘﻭﺤﻲ ﺇﻟﻴﻪ ﺒﺘﺠﺎﺭﺏ
ﺍﻟﺩﻴﺎﺭ ﻓﻲ ﺒﻴﻭﺘﻪ ﺒﻌﺩ ﺍﻻﻨﺩﺜﺎﺭ ...ﻭﻜﻨﺕ ﻜﻠﻤﺎ ﻭﻗﻔﺕ ﺒﺤﺠﺭ ﺃﻭ ﺍﻟﻔﻜﺭﺓ ﻭﻋﺼﺎﺭﺓ ﺍﻷﻴﺎﻡ ،ﻭﺫﺍﻙ ﻴﻌﻜﺴﻬﺎ ﻋﻠﻰ ﻤﻤﺩﻭﺤﻪ ﻓﻜﺄﻨﻤﺎ
ﺕ ﺒﺄﺒﻴﺎﺘﻬﺎ ،ﻭﺍﺴﺘﺭﺤﺕ ﻤﻥ ﻤﻭﺍﺜل ﺍﻟﻌﺒﺭ ﺇﻟﻰ ﺃﻁﻔﺕ ﺒﺄﺜﺭ ﺘﻤﺜﻠ ﹸ ﻴﺭﻯ ﺼﻔﺎﺘﻪ ﻓﻲ ﻫﺫﺍ ﺍﻟﻤﻤﺩﻭﺡ.
ﺁﻴﺎﺘﻬﺎ ،ﻭﺃﻨﺸﺩﺕ ﻓﻴﻤﺎ ﺒﻴﻨﻲ ﻭﺒﻴﻥ ﻨﻔﺴﻲ:
ﻥ ﻜﺴﺭﻯ ﻱ ﺇﻴﻭﺍ ﻅ ﺍﻟﺒﺤﺘﺭ ﻭﻋ ﹶ ) (2ﻤﻌﺎﺭﻀﺎﺕ ﺸﻭﻗﻲ
ﺸ ﻤﺱﹺ ﻭﺸ ﹶﻔ ﹾﺘﻨﻲ ﺍﻟﻘﺼﻭ ﺭ ﻤﻥ ﻋﺒ ﺩ ﹶ
ﻭﺒﻌﺩ ﺃﻥ ﻴﺫﻜﺭ ﻤﻭﻜﺏ ﺭﺤﻴل ﺍﻟﻤﺴﻠﻤﻴﻥ ﻋﻥ ﺍﻷﻨﺩﻟﺱ ﻭﻴﺸﺒﻬﻪ ﻤﻌﺎﺭﻀﺔ ﺸﻭﻗﻲ ﺍﻟﺒﺤﺘﺭﻱ
"ﺒﻤﻭﻜﺏ ﺍﻟﺩﻓﻥ" ﻴﺨﺘﺘﻡ ﻗﺼﻴﺩﺘﻪ ﺒﻬﺫﻩ ﺍﻟﻤﻭﺍﻋﻅ ﺍﻟﺒﻠﻴﻐﺔ: ﻫﺎﺘﺎﻥ ﻗﺼﻴﺩﺘﺎﻥ ﻁﺎﺭﺕ ﺸﻬﺭﺘﻬﻤﺎ ﻭﺫﺍﻉ ﺼﻴﺘﻬﻤﺎ ﻓﻲ ﺍﻟﺸﻌﺭ
ﻉ
ﻥ ﻟﻬﺎﺩ ﹴﻡ ﻭﺠﻤﻭ ﹴ ﺏ ﺒﺎ ﹴ ﺭ ﱢ ﺠﺭﺱ ﺍﻟﻌﺭﺒﻲ ،ﺠﻤﻌﻬﻤﺎ ﻭﺤﺩﺓ ﺍﻟﻤﻭﻀﻭﻉ ،ﻭﺨﻔﺔ ﺍﻟﻭﺯﻥ ،ﻭ
ﺱ
ﺨ ﱢ ِﻟ ﻤ ﻥ
ﺴﹴﺤﻭ ﻤ ﺕ
ﺸ ﱟ ِﻟ ﻤ ﺍﻹﻴﻘﺎﻉ ﻭﻫﻤﺱ ﺍﻟﻘﺎﻓﻴﺔ ،ﺍﻷﻭﻟﻰ ﻨﻅﻤﻬﺎ ﺍﻟﺒﺤﺘﺭﻱ) (95ﻓﻲ ﻭﺼﻑ
ﺱ ﻫ ﻤ ﹲﺔ ﻻ ﺘﹶﺄﺘﹼﻰ ﺇﻤﺭ ﹸﺓ ﺍﻟﻨﺎ ِﹺ ﺇﻴﻭﺍﻥ ﻜﺴﺭﻯ ﺒﺎﻟﻤﺩﺍﺌﻥ ﻭﺃﻁﻼﻟﻪ ﻭﺍﺴﺘﻬﻠﻬﺎ ﺒﻘﻭﻟﻪ:
)(104
ﺱ
ﺠ ﺒ ِﹺﺴﻨﹼﻰ ِﻟ ﹺ ﻥ ﻭﻻ ﹶﺘ ﻟﺠﺒﺎ ﹴ ﺱ ﻨﻔﺴﻲ ﺕ ﻨﻔﺴﻲ ﻋﻤﺎ ﻴﺩﻨﹼ ﺼﻨ ﹸ
)(96
ﻥ ﻗﻭ ﹴﻡ ﺏ ﺒﻨﻴﺎ ﻭﺇﺫﺍ ﻤﺎ ﺃﺼﺎ ﺱ
ﺠ ﺒ ﹺ ل ﹺ
ﺕ ﻋﻥ ﺠﺩﺍ ﻜ ﱢ ﻭﺘﺭﻓﱠﻌ ﹸ
ﻲ ُﺃﺱﱢ ﻕ ﻓﺈﻨﹼﻪ ﻭ ﻫ ﺨ ﹾﻠ ٍ
ﻲ ﹸ ﻭ ﻫ ﻭﺍﻟﺜﺎﻨﻴﺔ ﺼﺎﻏﻬﺎ ﺸﻭﻗﻲ) (97ﻓﻲ ﻭﺼﻑ ﺁﺜﺎﺭ ﺍﻟﻤﺴﻠﻤﻴﻥ ﻓﻲ
ﺕ ﺇﻟﻰ ﺍﻟﻤﺎ ﻙ ﺍﻟﺘـﻔﺎ ﹲ ﻭﺇﺫﺍ ﻓﺎﺘ ﺍﻷﻨﺩﻟﺱ ﻭﺍﺴﺘﻬﻠﻬﺎ ﺒﻘﻭﻟﻪ:
ﺠ ﻪ ﺍﻟﺘﺄﺴﱢﻲ ﻙ ﻭ ﺏ ﻋﻨ ﻀﻲ ﻓﻘﺩ ﻏﺎ ل ﻴﻨﹾﺴﻲ ﻑ ﺍﻟﻨﻬﺎ ﹺﺭ ﻭﺍﻟﻠﻴ ِﺍﺨﺘﻼ ﹸ
ﺍ ﹾﺫﻜﹸﺭﺍ ﻟِﻲ ﺍﻟﺼﱢﺒﺎ ﻭﺃﻴﺎ ﻡ ُﺃﻨﹾﺴﻲ
ﻤﻌﺎﺭﻀﺔ ﺸﻭﻗﻲ ﺍﺒﻥ ﺯﻴﺩﻭﻥ ﻭﻗﺼﻴﺩﺓ ﺍﻟﺒﺤﺘﺭﻱ ﻤﻸﻯ ﺒﺎﻟﺼﻭﺭ ﺍﻟﺸﻌﺭﻴﺔ ﺍﻟﺘﻲ ﺘﻀﻔﻲ
ل ﺇﺤﺩﺍﻫﻤﺎ ﺸﻬﺭﺓ ﻫﺎﺘﺎﻥ ﻗﺼﻴﺩﺘﺎﻥ ﺫﺍﺌﻌﺘﺎﻥ ﻤﺘﺩﺍﻭﻟﺘﺎﻥ ،ﻻ ﺘﻘ ّ ﻋﻠﻴﻬﺎ ﻋﻨﺎﺼﺭ ﺍﻟﻠﻭﻥ ﻭﺍﻟﺤﺭﻜﺔ ﻭﺍﻟﺼﻭﺕ ،ﻭﻤﺜﺎل ﺫﻟﻙ ﻟﻭﺤﺔ
ﻋﻥ ﺍﻷﺨﺭﻯ ،ﺃﺭﺴل ﺒﺎﻷﻭﻟﻰ ﺍﺒﻥ ﺯﻴﺩﻭﻥ) (105ﺇﻟﻰ ﻭﻻﹼﺩﺓ ﺒﻨﺕ ﻭﺼﻑ ﻓﻴﻬﺎ ﻤﻌﺭﻜﺔ ﺒﻴﻥ ﺍﻟﺭﻭﻡ ﻭﺍﻟﻔﺭﺱ ﺇﺫﺍ ﻤﺎ ﺘﺄﻤﻠﻬﺎ ﺍﻟﺭﺍﺌﻲ
ﺍﻟﺨﻠﻴﻔﺔ ﺍﻷﻤﻭﻱ ﺍﻷﻨﺩﻟﺴﻲ ﺍﻟﻤﺴﺘﻜﻔﻲ ،ﻴﺴﺘﺭﻀﻴﻬﺎ ﻭﻴﺴﺘﺭ ﺩ ﻜﺎﺩ ﻴﺭﻯ ﺸﺨﻭﺼﻬﺎ ﻭﻴﺴﻤﻊ ﺃﺼﻭﺍﺘﻬﺎ):(98
ﻋﻁﻔﻬﺎ ،ﺒﻌﺩ ﻋﻼﻗﺔ ﺒﻴﻨﻬﻤﺎ ﻨﺠﻡ ﻋﻨﻬﺎ ﺒﻌﺽ ﺍﻟﺼﺩﻭﺩ ﻭﺍﻟﻨﻔﻭﺭ ﺕ ﺼﻭﺭ ﹶﺓ ﺃﻨﻁﺎ ﻭﺇﺫﺍ ﻤﺎ ﺭﺃﻴ ﹶ
ﺍﻟﺫﻱ ﻴﻘﻊ ﺒﻴﻥ ﺍﻟﻤﺤﺒﻴﻥ .ﻭﻗﺩ ﺍﺴﺘﻬﻠﻬﺎ ﺒﻘﻭﻟﻪ: ﺱ
ﺕ ﺒﻴﻥ ﺭﻭ ﹴﻡ ﻭ ﹸﻓ ﺭ ﹺ ﻜ ﻴ ﹶﺔ ﺍﺭﺘﻌ ﹶ
ﻼ ﻤﻥ ﺘﺩﺍﻨﻴﻨﺎ
ﺃﻀﺤﻰ ﺍﻟﺘﱠﻨﺎﺌﻲ ﺒﺩﻴ ﹰ ل ﻭﺃﻨـﻭﺸـ ﺭ ﻭﺍﻟﻤﻨﺎﻴﺎ ﻤﻭﺍﺜـ ٌ
ﺏ ﹸﻟﻘﹾﻴﺎﻨﺎ ﺘﹶﺠﺎﻓﻴﻨﺎﺏ ﻋﻥ ﻁﻴ ﹺ ﻭﻨﺎ )(99
ﺱ
ﻑ ﺘﺤﺕ ﺍﻟ ﱢﺩ ﺭ ﹾﻓ ِﹺ
ﻥ ﻴﺯﺠﻲ ﺍﻟﺼﻔﻭ ﹶ ﻭﺍ
ﻭﻏﻠﺏ ﻋﻠﻴﻬﺎ ﻤﻔﺭﺩﺍﺕ ﺍﻟﻌﺘﺎﺏ ﻭﻏﻴﻅ ﺍﻟﺤﺴﻭﺩ ﻭﻤﺅﺍﻤﺭﺍﺕ ﺱ ﻋﻠﻰ ﺃﺼـ ﻓﻲ ﺍﺨﻀﺭﺍ ﹴﺭ ﻤﻥ ﺍﻟﻠﺒﺎ ِﹺ
)(100
ﺍﻟﻌﺫﺍل ،ﻭﺫﻜﺭﻴﺎﺕ ﺍﻟﺤﻨﻴﻥ ﻭﺍﻟﻭﺩ ﺍﻟﻐﺎﺒﺭ ،ﻭﺍﻟﺜﺒﺎﺕ ﻋﻠﻰ ﺍﻟﻌﻬﺩ، ﺱ
ل ﻓﻲ ﺼﺒﻴﻐﺔ ﻭﺭ ِﹺ ﻓ ﺭ ﻴﺨﺘﺎ ُ
ﻓﺎﻨﻅﺭ ﺇﻟﻰ ﺍﻟﺭﺴﻡ ﻭﺍﻟﺭﺴﻡ ،ﻭﺇﻟﻰ ﺍﻟﺩﻴﻥ ﻭﺍﻟﺩﻴﻥ ،ﻭﺇﻟﻰ ﺍﻟﻨﺜﺭ ﻼ:ﻴﻘﻭل ﻤﺜ ﹰ
ﻭﺍﻟﻨﻅﻡ. ﻋﻭﺍ ﻅ ﺍﻟﻌﺩﺍ ﻤﻥ ﺘﹶﺴﺎﻗﻴﻨﺎ ﺍﻟﻬﻭﻯ ﻓﺩ ﻏ ﻴ ﹶ
ﺹ ﻓﻘﺎل ﺍﻟﺩ ﻫ ﺭ ﺁﻤﻴﻨﺎ ﻥ ﹶﻨ ﹶﻐ ﺒﺄ
ﺸﻭﻗﻲ ﻴﻌﺎﺭﺽ ﺃﺒﺎ ﺍﻟﺒﻘﺎﺀ ﺍﻟﺭﻨﺩﻱ ﺴ ﺩﺤ ﻥ ﺫﻱ ﻤﺎ ﺤﻘﱡﻨﺎ ﺃﻥ ﹸﺘ ﻘﺭﻭﺍ ﻋﻴ
ﻨﻅﻡ ﺃﺒﻭ ﺍﻟﺒﻘﺎﺀ ﺍﻟﺭﻨﺩﻱ) (108ﻗﺼﻴﺩﺓ "ﻴﺭﺜﻲ ﻓﻴﻬﺎ ﺍﻷﻨﺩﻟﺱ، )(106
ﺴﺭﻭﺍ ﻜﺎﺸﺤﹰﺎ ﻓﻴﻨﺎ ﺒﻨﺎ ﻭﻻ ﺃﻥ ﹶﺘ
ﻭﻴﺴﺘﻨﺼﺭ ﺃﻫل ﺍﻟﻌﺩﻭﺓ ﺍﻷﻓﺭﻴﻘﻴﺔ ﻤﻥ ﺒﻨﻲ ﻤﺭﻴﻥ ،ﻟﻤﺎ ﺠﻌل ﺍﺒﻥ ﻕ ﻋﻬﺩﻜ ﻡ ﻋﻬ ﺩ ﺍﻟﺴﺭﻭ ِﹺﺭ ﻓﻤﺎ ﺴﹶﻟ ﻴ
ﺍﻷﺤﻤﺭ )ﺃﻭل ﺴﻼﻁﻴﻥ ﻏﺭﻨﺎﻁﺔ( ﻴﺘﻨﺎﺯل ﻟﻺﺴﺒﺎﻥ ﻋﻥ ﻋﺩﺩ ﻤﻥ ﻻ ﺭﻴﺎﺤﻴﻨﺎ ﻜﻨﺘﻡ ﻷﺭﻭﺍﺤﻨﺎ ﺇ ﹼ
ﻼ ﻓﻲ ﺃﻥ ﻴﺒﻘﻰ ﻟﻪ ﺤﻜﻤﻪ ﺍﻟﻘﻼﻉ ﻭﺍﻟﻤﺩﻥ ،ﺍﺴﺘﺭﻀﺎ ﺀ ﻟﻬﻡ ﻭﺃﻤ ﹰ ﺴﺒﻭﺍ ﻨﺄ ﻴﻜﹸﻡ ﻋﻨﺎ ﻴﻐ ﱢﻴﺭﻨﺎ ﺤ ﻻ ﹶﺘ
ﺍﻟﻤﻘﻠﻘل ﻋﻠﻰ ﻏﺭﻨﺎﻁﺔ") ،(109ﻭﻤﻁﻠﻌﻬﺎ: ﻱ ﺍﻟﻤﺤﺒﱢﻴﻨﺎﺇﻥ ﻁﺎلَ ،ﻤﺎ ﻏ ﻴ ﺭ ﺍﻟﻨﱠﺄ
ﻥ
ﻟﻜل ﺸﻲ ﺀ ﺇﺫﺍ ﻤﺎ ﺘ ﻡ ﻨﹸﻘﺼﺎ ﺃﻤﺎ ﻗﺼﻴﺩﺓ ﺸﻭﻗﻲ ﺍﻟﺘﻲ ﻋﺎﺭﺽ ﺒﻬﺎ ﻗﺼﻴﺩﺓ ﺍﺒﻥ ﺯﻴﺩﻭﻥ،
ﻥ
ﺵ ﺇﻨﺴﺎ ﺏ ﺍﻟﻌﻴ ﹺ ﻁ ﻴ ﹺ
ﻓﻼ ﻴ ﹶﻐﺭ ﹺﺒ ﻭﻤﻁﻠﻌﻬﺎ):(107
ﻭﻁﻐﺕ ﻫﺫﻩ ﺍﻟﻘﺼﻴﺩﺓ ﻋﻠﻰ ﺸﻌﺭ ﺃﺒﻲ ﺍﻟﺒﻘﺎﺀ ﻓﻜﺎﻨﺕ ﺃ ﻡ ﺸﻌﺭﻩ ﺢ ﺃﺸﺒﺎ ﻩ ﻋﻭﺍﺩﻴﻨﺎ ﻁ ﹾﻠ ِﹺ
ﺢ ﺍﻟ ﱠ ﻴﺎ ﻨﺎﺌ
ﻭﺃﺸﻬﺭ ﻨﻅﻤﻪ ،ﻟﻤﺎ ﻜﺎﻥ ﻟﻤﻭﻀﻭﻋﻬﺎ ﻤﻥ ﻭﻗ ﹴﻊ ﻤﺩ ﻭ ﻟﺩﻯ ﺤﺩﻭﺜﻪ. ﻙ ﺃﻡ ﹶﺘ ْﺄﺴﻰ ﻟِﻭﺍﺩﻴﻨﺎ ﺸﺠﻰ ﻟِﻭﺍﺩﻴ ﹶﻨ ﹾ
ﻭﻴﺴﺘﺫﻜﺭ ﺍﻟﺸﺎﻋﺭ ﻓﻲ ﻤﻁﺎﻟﻊ ﻗﺼﻴﺩﺘﻪ ﺍﻟﻬﺎﻟﻜﻴﻥ ﻤﻥ ﺍﻷﻗﻭﺍﻡ ﻓﻘﺩ "ﻨﻅﻤﻬﺎ ﻓﻲ ﻤﻨﻔﺎﻩ ﺒﺈﺴﺒﺎﻨﻴﺎ ،ﻭﻓﻴﻬﺎ ﻴﺤﻥ ﻟﻠﻭﻁﻥ ﺍﻟﻌﺯﻴﺯ،
ﻭﺍﻷﻓﺭﺍﺩ ﻭﺍﻟﻤﺩﻥ ،ﻤﻥ ﺇﺭﻡ ،ﻭﻋﺎﺩ ،ﻭﺸﺩﺍﺩ ،ﻭﻗﺤﻁﺎﻥ ،ﻭﻗﺎﺭﻭﻥ، ﻭﻴﺼﻑ ﻜﺜﻴﺭﹰﺍ ﻤﻥ ﻤﺸﺎﻫﺩﻩ ﻭﻤﻌﺎﻫﺩﻩ" ﻜﻤﺎ ﺠﺎﺀ ﻓﻲ ﺩﻴﺒﺎﺠﺔ
ﻭﺩﺍﺭﺍ ﺼﺎﺤﺏ ﺍﻹﺴﻜﻨﺩﺭ ،ﺜﻡ ﻴﻌﺭﺝ ﻋﻠﻰ ﺫﻜﺭ ﺍﻟﺠﺯﻴﺭﺓ ﺍﻟﻘﺼﻴﺩﺓ ﻓﻲ ﺍﻟﺩﻴﻭﺍﻥ.
ﺍﻷﻨﺩﻟﺴﻴﺔ ﻭﻤﺎ ﺃﺼﺎﺏ ﻤﺩﻨﻬﺎ ﻤﻥ ﻜﻭﺍﺭﺙ ﻭﻤﺤﻥ .ﻭﻴﺼﻑ ﺃﻤﺎ ﺸﻭﻗﻲ ﻭﺍﺒﻥ ﺯﻴﺩﻭﻥ ﻓﻘﺩ ﺘﺸﺎﺒﻪ ﺤﺎﻻﻫﻤﺎ ﻓﻲ ﺍﻻﻏﺘﺭﺍﺏ،
ﻭﺼﻔﹰﺎ ﺒﻠﻴﻐﹰﺎ ﻤﺅﺜﺭﹰﺍ ﺒﻌﺽ ﻤﺎ ﺃﺼﺎﺏ ﺍﻟﻘﻭﻡ ﻤﻥ ﻨﻜﺒﺎﺕ، ﻭﺘﻤﺎﺜل ﺃﻤﺭﺍﻫﻤﺎ ﻓﻲ ﺍﻟﺘﺫﻜﺭ ﻭﺍﻻﻋﺘﺒﺎﺭ :ﺘﺫﻜﱡﺭ ﺍﺒﻥ ﺯﻴﺩﻭﻥ ﺃﻴﺎﻡ
ﻭﻴﺴﺘﺼﺭﺥ ﻀﻤﺎﺌﺭ ﺍﻟﻤﺴﻠﻤﻴﻥ ﻤﻥ ﻭﺭﺍﺀ ﺍﻟﺒﺤﺭ ﻟﻴﻬﺒﻭﺍ ﻟﻨﺠﺩﺓ ﺍﻟﺼﻔﺎﺀ ﺒﻴﻥ ﺍﻟﻤﺤﺒﻴﻥ ﻭﻋﺫﻭﺒﺘﻬﺎ ﻭﺠﻤﺎﻟﻬﺎ ،ﻭﺘﺫﻜﱡﺭ ﺸﻭﻗﻲ ﺃﻴﺎﻡ
ﺇﺨﻭﺍﻨﻬﻡ: ﺍﻟﻭﻁﻥ ﻭﺫﻜﺭﻴﺎﺘﻪ ،ﻭﻤﺎ ﻴﺨﻠﹼﻔﻪ ﻫﺫﺍ ﺍﻟﺘﺫﻜﹼﺭ ﻤﻥ ﻤﺭﺍﺭﺓ ﻓﻲ ﺍﻟﻨﻔﺱ،
ل ﻀﺎﻤﺭ ﹰﺓ ﻕ ﺍﻟﺨﻴ ِ ﻥ ﻋﺘﺎ ﹶ ﻴﺎ ﺭﺍﻜﺒﻴ ﺍﺨﺘﻠﻔﺕ ﺩﻭﺍﻋﻴﻬﺎ ﻭﻤﻌﻁﻴﺎﺘﻬﺎ ﻋﻨﺩ ﺍﻟﺸﺎﻋﺭﻴﻥ.
ﻥ
ﻕ ﻋﻘﺒﺎ ﺴ ﺒ ِ
ﻜﺄﻨﻬﺎ ﻓﻲ ﻤﺠﺎل ﺍﻟ ﻭﻴﻐﻠﺏ ﻋﻠﻰ ﻗﺼﻴﺩﺓ ﺍﺒﻥ ﺯﻴﺩﻭﻥ ﺍﻟﺯﻴﻨﺔ ﺍﻟﻠﻔﻅﻴﺔ ﺍﻟﺘﻲ ﻏﻠﺒﺕ
ﻋ ﹰﺔ
ﺸ ﺭ
ﻑ ﺍﻟﻬﻨ ﺩ ﻤ ﹾ ﻥ ﺴﻴﻭ ﹶ ﻭﺤﺎﻤﻠﻴ ﻋﻠﻰ ﺸﻌﺭﺍﺀ ﺍﻷﻨﺩﻟﺱ ،ﻓﺠﺎﺀﺕ ﻤﺼﻁﻨﻌﺔ ﺃﺤﻴﺎﻨﹰﺎ ﻭﻤﻘﺒﻭﻟﺔ ﺃﺤﻴﺎﻨﹰﺎ
ﻥ
ـ ِﹺﻊ ﻨﻴﺭﺍ ﻜﺄﻨﻬﺎ ﻓﻲ ﻅﻼﻡ ﺍﻟﻨﱠﻘ ْ ﻜﻤﺎ ﻓﻲ ﻗﻭﻟﻪ:
ﻋ ﺔﻥ ﻭﺭﺍ ﺀ ﺍﻟﺒﺤ ِﹺﺭ ﻓﻲ ﺩ ﻭﺭﺍﺘﻌﻴ ﻥ ﺘـﻨﺎﺠﻴ ﹸﻜ ﻡ ﻀﻤﺎ ِﺌﺭﻨﺎ ﻨﻜﺎ ﺩ ﺤﻴ
ﻥ
ﻟﻬ ﻡ ﺒﺄﻭﻁﺎﻨﻬﻡ ﻋـ ﱞﺯ ﻭﺴﻠﻁـﺎ ﻴﻘﹾﻀﻲ ﻋﻠﻴﻨﺎ ﺍﻷﺴﻰ ﻟﻭﻻ ﹶﺘَﺄﺴﱢﻴﻨﺎ
ﺱ
ل ﺃﻨﺩﻟـ ﹴ ﺃﻋﻨﺩ ﹸﻜ ﻡ ﻨﹶﺒٌﺄ ﻤﻥ ﺃﻫـ ِ ﺕ
ﺕ ﻟﻔﻘﺩﻜ ﻡ ﺃﻴﺎﻤﻨﺎ ﻓ ﹶﻐ ﺩ ﹾ ﺤﺎﹶﻟ ﹾ
ﻥ
ﺙ ﺍﻟﻘﻭ ﹺﻡ ﺭﻜﺒﺎ ﻓﻘﺩ ﺴﺭﻯ ﺒﺤﺩﻴ ﺴﻭﺩﹰﺍ ﻭﻜﺎﻨﺕ ﺒﻜﻡ ﺒﹺﻴﻀﹰﺎ ﻟﻴﺎﻟﻴﻨﺎ
ﻭﺒﺎﺩﺭ ﺸﻭﻗﻲ -ﻜﻌﺎﺩﺘﻪ ﻓﻲ ﺘﺴﻘﹼﻁ ﺍﻟﻘﺼﺎﺌﺩ ﺍﻟﻨﺎﺩﺭﺓ ﻕ ﻤﻥ ﺘﹶﺄﱡﻟﻔﻨﺎ ﻁ ﹾﻠ ﹲ
ﺵ ﹶ
ﺏ ﺍﻟﻌﻴ ِﹺ ﺇﺫ ﺠﺎ ﻨ
ﺍﻟﻤﻭﻀﻭﻉ ،ﺍﻟﻤﻤﻴﺯﺓ ﺍﻟﺴﺒﻙ ﻭﺍﻹﻴﻘﺎﻉ -ﺇﻟﻰ ﻤﻌﺎﺭﻀﺔ ﺍﻟﻘﺼﻴﺩﺓ ﻑ ﻤﻥ ﺘﹶﺼﺎﻓﻴﻨﺎ ﻭ ﻤ ﺭ ﺒ ﻊ ﺍﻟﻠﱠﻬ ِﹺﻭ ﺼﺎ
ﺒﺄﺨﺭﻯ ﻋﻨﻭﺍﻨﻬﺎ :ﺩﻤﺸﻕ) ،(110ﻭﻤﻁﻠﻌﻬﺎ: ﻓﺎﻨﻅﺭ ﺇﻟﻰ ﺍﻷﺴﻰ ﻭﺍﻟﺘﺄﺴﻲ ،ﻭﺍﻟﻠﻴﺎﻟﻲ ﺍﻟﺴﻭﺩ ﻭﺍﻟﺒﻴﺽ،
ﺴ ﻡ ﻤﻥ ﺒﺎﻨﻭﺍ ﺸ ﺩ ﺭ
ﻕ ﻭﺍﻨ ﹸ
ﺝ ﺠﹺﱠﻠ ﹶﻗﻡ ﻨﺎ ِﹺ ﻭﺍﻟﺼﻔﺎﺀ ﻭﺍﻟﺘﺼﺎﻓﻲ.
ﻥ
ﺙ ﻭﺃﺯﻤﺎ ﺴ ﹺﻡ ﺃﺤﺩﺍ ﹲَﺸﹶﺕ ﻋﻠﻰ ﺍﻟ ﺭ ﻭﻨﺠﺩ ﻤﺜل ﻫﺫﻩ ﺍﻟﺼﻨﻌﺔ ﺍﻟﻠﻔﻅﻴﺔ ﻓﻲ ﻗﺼﻴﺩﺓ ﺸﻭﻗﻲ ﻜﺫﻟﻙ،
ﻭﻓﻴﻬﺎ ﻴﺭﺜﻲ ﺩﻤﺸﻕ ﻋﺎﺼﻤﺔ ﻤﻠﻙ ﺒﻨﻲ ﺃﻤﻴﺔ ،ﻭﻴﻌﺭﺝ ﻋﻠﻰ ﻓﻲ ﻤﺜل ﻗﻭﻟﻪ ﻓﻲ ﺍﻷﻨﺩﻟﺱ ﻭﺃﻫﻠﻪ:
ﺙ
ﺫﻜﺭ ﺠﻤﺎل ﻁﺒﻴﻌﺘﻬﺎ ،ﻭﻤﻭﺍﻀﻊ ﻤﺘﻨﺯﻫﺎﺘﻬﺎ ،ﻭﻴﺨﺘﺘﻤﻬﺎ ﺒﺤ ﹼ ﺴ ﹺﻡ ﺍﻟﻭﻓﺎﺀ ﻟﻪ ﺴ ﻡ ﻭ ﹶﻗﻔﹾﻨﺎ ﻋﻠﻰ ﺭ ﺭ
ﺃﻫﻠﻬﺎ ﻋﻠﻰ ﺍﺴﺘﻌﺎﺩﺓ ﻤﻠﹾﻜﻬﺎ ﻭﺴﻴﺎﺩﺘﻬﺎ ،ﻭﻴﺩﻟﻬﻡ ﻋﻠﻰ ﺍﻟﺴﺒﻴل ل ﻴﺜﹾﻨﻴﻨﺎ ﺵ ﺒﺎﻟﺩﻤ ِﹺﻊ ﻭﺍﻹﺠﻼ ُ ﻨﺠﻴ ﹸ
ﺍﻟﻤﻔﻀﻲ ﺇﻟﻰ ﺫﻟﻙ ،ﻭﻴﻨﺼﺢ ﻟﻬﻡ ﺒﺄﺒﻴﺎﺕ ﻭﻋﻅﻴﺔ ﻨﺒﺤﺙ ﻓﻴﻬﺎ ﻋﻥ ﻥ ﻓﻴﻪ ﻤ ﹾﻨ ﺒ ﻬ ﹲﺔ ﻟﻭ ﻟﻡ ﻴﺴﻭﺩﻭﺍ ﹺﺒﺩﻴ ٍﹴ
ﺸﺎﻋﺭﻴﺘﻪ ﻭﻋﺒﻘﺭﻴﺘﻪ ﻓﻼ ﻨﻜﺎﺩ ﻨﺠﺩﻫﺎ: ﺱ ﻜﺎﻨﺕ ﻟﻬﻡ ﺃﺨﻼﻗﹸﻬﻡ ﺩﻴﻨﺎ ﻟﻠﻨﺎ ِﹺ
ﻼ
ﻙ ﺃﻥ ﹶﺘﻌﻤﻠﻭﺍ ﻤﺎ ﺍﺴﻁﻌﺘﹸ ﻡ ﻋﻤ ﹰ ﺍﻟ ﻤ ﹾﻠ ﺕ
ﹶﻨﺴﻘﻲ ﺜﹶﺭﺍﻫﻡ ﺜﻨﺎ ﺀ ﻜﻠﻤﺎ ﹸﻨ ﺜ ﺭ ﹾ
ﻥ
ل ﺇﺘﻘﺎ
ﻥ ﻋﻠﻰ ﺍﻷﻋﻤﺎ ِ ﻭﺃﻥ ﻴﺒﻴ ﺕ ﻤﻨﻬﺎ ﻤﺭﺍﺜﻴﻨﺎ ﻅ ﻤ ﹾ ﺩﻤﻭﻋﻨﺎ ﹸﻨ
ﺍﻟﻔﺨﺭ ﻭﺍﻻﻋﺘﺯﺍﺯ ﺒﺎﻟﻨﻔﺱ ﻭﺸﻜﻭﻯ ﺍﻟﺯﻤﺎﻥ ،ﻓﺎﻜﺘﻔﻰ ﻤﻥ ﺫﻟﻙ ﺒﻤﺎ ل ﻨﺎﺸﻁ ﹰﺔﺝ ﺍﻷﻤﻭﺍ ُﻙ ﺃﻥ ﹸﺘﺨ ﺭ ﺍﻟ ﻤ ﹾﻠ
ﻴﻌﺒﺭ ﺒﻪ ﻋﻥ ﻨﻔﺴﻪ ﻤﻥ ﻏﻴﺭ ﺇﻁﺎﻟﺔ ﻭﻻ ﺘﻔﺼﻴل. ﻥ
ﺡ ﻭﻋﻤـﺭﺍ ﻁﹶﻠﺏﹴ ﻓﻴﻪ ﺇﺼﻼ ﻟﻤ ﹾ
ﺘﻨﺎﻭل ﺍﻟﺒﻭﺼﻴﺭﻱ ﻓﻲ ﻗﺼﻴﺩﺘﻪ ﺠﻭﺍﻨﺏ ﻤﻥ ﺤﻴﺎﺓ ﺍﻟﺭﺴﻭل ﺏ
ﻥ ﺤﻭﹶﻟ ﻪ ﺃﺩ
ﻙ ﺘﺤﺕ ﻟﺴﺎ ﹴ ﺍﻟ ﻤ ﹾﻠ
ﺍﻟﻜﺭﻴﻡ ﻭﺍﻷﺤﺩﺍﺙ ﺍﻟﺘﻲ ﻤ ﺭ ﺒﻬﺎ ،ﻏﻠﺏ ﻋﻠﻴﻬﺎ ﺍﻟﻭﺼﻑ ﺍﻟﺒﻌﻴﺩ ﻋﻥ ﻥ
ﻋﺭﻓﺎ
ل ﻋﻠﻰ ﺠﻨ ﺒﻴﻪ ﺕ ﻋﻘ ٍ
ﻭﺘﺤ ﹶ
ﺩﻓﻕ ﺍﻟﻌﺎﻁﻔﺔ ،ﺍﻟﻤﺠﺭﺩ ﻤﻥ ﺍﻟﻤﺸﺎﻋﺭ ﺍﻟﺠﻴﺎﺸﺔ ﺍﻟﺘﻲ ﻴﺘﻁﻠﻊ ﺍﻟﻘﺎﺭﺉ ﻥ
ﻙ ﺃﻥ ﺘﺘﻼ ﹶﻗﻭﺍ ﻓﻲ ﻫﻭﻯ ﻭﻁ ﹴ ﺍﻟ ﻤ ﹾﻠ
ﺃﻥ ﻴﺜﻴﺭﻫﺎ ﺍﻟﺸﺎﻋﺭ ﻓﻲ ﻨﻔﺴﻪ ﻻ ﺃﻥ ﻴﺨﻤﺩﻫﺎ ﻓﻴﻬﺎ ،ﻟﻨﺘﺄﻤل ﻤﺸﻬﺩ ﻥ
ﺱ ﻭﺃﺩﻴﺎ ﺕ ﻓﻴـﻪ ﺃﺠﻨـﺎ ﺘﻔﺭ ﹶﻗ ﹾ
ﺍﻹﺴﺭﺍﺀ ﻭﺍﻟﻤﻌﺭﺍﺝ ﻭﺍﻟﻠﻭﺤﺔ ﺍﻟﺒﺎﻫﺘﺔ ﺍﻟﺘﻲ ﺭﺴﻤﻬﺎ ﻟﻪ: ﻫﻜﺫﺍ ﺍﻟﺘﻘﺕ ﺍﻟﻘﺼﻴﺩﺘﺎﻥ ﻓﻲ ﺍﻟﻤﻭﻀﻭﻉ ﻓﻜﻠﺘﺎﻫﻤﺎ ﺭﺜﺕ ﻤﻠﻜﹰﺎ
ﺤ ﺭ ﹴﻡﻼ ﺇﻟﻰ ﺤ ﺭ ٍﹴﻡ ﻟﻴ ﹰ ﺕ ﻤﻥ ﺴﺭﻴ ﹶ ﻀﺎﺌﻌﹰﺎ ﻭﺒﻠﺩﹰﺍ ﻓﻘﻴﺩﺍﹰ ،ﻭﺍﻟﺘﻘﺘﺎ ﻜﺫﻟﻙ ﻓﻲ ﺍﻟﺘﻔﺎﺼﻴل؛ ﻓﻜﻠﺘﺎﻫﻤﺎ ﺫﻜﺭﺕ
ﻅﹶﻠﻡﹺِ ﺝ ﻤﻥ ﺍﻟ ﱡ ﻜﻤﺎ ﺴﺭﻯ ﺍﻟﺒﺩ ﺭ ﻓﻲ ﺩﺍ ﹴ ﻤﻭﺍﻀﻊ ﻟﻠﻨﻌﻴﻡ ﻭﺍﻟﻤﺠﺩ :ﺒﻠﻨﺴﻴﺔ ،ﻭﻤﺭﺴﻴﺔ ،ﻭﺸﺎﻁﺒﺔ ،ﻭﻗﺭﻁﺒﺔ
ﺕ ﻤﻨﺯﻟ ﹰﺔ ﺕ ﹶﺘﺭﻗﻰ ﺇﻟﻰ ﺃﻥ ﻨ ﹾﻠ ﹶ ﻭ ﹺﺒ ﱠ ﻓﻲ ﻗﺼﻴﺩﺓ ﺃﺒﻲ ﺍﻟﺒﻘﺎﺀ ،ﻭﺠﻠﹼﻕ ،ﻭﺒﺭﺩﻯ ،ﻭﺩﻤﺭ ،ﻭﺍﻟﻬﺎﻤﺔ،
ﻙ ﻭﻟﻡ ﹸﺘ ﺭ ِﹺﻡ ﻥ ﻟﻡ ﺘﹸﺩ ﺭ ﺴ ﻴ ِﹺ
ﺏ ﻗﻭ ﻤﻥ ﻗﺎ ﹺ ﻭﺍﻟﺭﺒﻭﺓ ﻓﻲ ﻗﺼﻴﺩﺓ ﺸﻭﻗﻲ ،ﻋﻠﻰ ﻤﺎ ﺒﻴﻨﻬﻤﺎ ﻤﻥ ﺍﺨﺘﻼﻑ ﻓﻲ
ﻙ ﺠﻤﻴ ﻊ ﺍﻷﻨﺒﻴﺎ ﺀ ﺒﻬـﺎ ﻭﻗ ﺩ ﻤ ﹾﺘ ﺍﻟﻤﻌﻁﻴﺎﺕ.
ﺨﺩﻡﹺِ ل ﺘﻘﺩﻴ ﻡ ﻤﺨﺩﻭ ﹴﻡ ﻋﻠﻰ ﹶ ﺴِ ﻭﺍﻟ ﺭ ﻋﻠﻰ ﺃﻥ ﺍﻟﻌﺎﻁﻔﺔ ﺒﺩﺕ ﺃﻜﺜﺭ ﺍﺘﹼﻘﺎﺩﹰﺍ ﻭﺤﺭﺍﺭﺓ ﻓﻲ ﺭﺜﺎﺀ
ﻕ ﺒﻬﻡ ﺴ ﺒ ﻊ ﺍﻟﻁﱢﺒﺎ ﹶ ﻕ ﺍﻟ
ﻭﺃﻨﺕ ﺘﺨﺘﺭ ﹸ ﺍﻷﻨﺩﻟﺱ ﻤﻨﻬﺎ ﻓﻲ ﺭﺜﺎﺀ ﺩﻤﺸﻕ ،ﻭﻟﻌل ﻤﺭ ﺩ ﺫﻟﻙ ﺃﻥ ﻨﻜﺒﺔ ﺩﻤﺸﻕ
ﺏ ﺍﻟﻌﹶﻠﻡﹺِ ﺕ ﻓﻴﻪ ﺼﺎﺤ ﺏ ﻜﻨ ﹶ ﻓﻲ ﻤﻭﻜ ﹴ ﺘﻤﺜﹼل ﻤﺭﺤﻠﺔ ﻜﺒﻭﺓ ﺍﺴﺘﺄﻨﻑ ﺒﻌﺩﻫﺎ ﺍﻟﺒﻠﺩ ﺼﺤﻭﺘﻪ ﻭﻨﺸﺎﻁﻪ ،ﻭﻨﻜﺒﺔ
ﻻ ﻤﺎ ﻭﺸﺤﻬﺎ ﺒﻪ ﻤﻥ ﺤﻜﻡ ﻭﻟﻌل ﺃﻜﺜﺭ ﻤﺎ ﻓﻲ ﺍﻟﻘﺼﻴﺩﺓ ﻗﺒﻭ ﹰ ﺍﻷﻨﺩﻟﺱ ﻨﻬﺎﻴﺔ ﻤﺭﺤﻠﺔ ﺘﺎﺭﻴﺨﻴﺔ ﻤ ْﺅﺴﻴﺔ ﻻ ﺼﺤﻭﺓ ﻤﻥ ﻜﺒﻭﺘﻬﺎ
ﻨﺜﺭﻫﺎ ﻓﻲ ﺜﻨﺎﻴﺎﻫﺎ ﻤﻥ ﺩﻭﻥ ﻤﻨﺎﺴﺒﺔ: ﺍﻟﺘﻲ ﺤﻠﹼﺕ ﺒﻬﺎ.
ﺏ ﻋﻠﻰ ﺸ ل ﺇﻥ ﹸﺘ ﻬ ﻤ ﹾﻠ ﻪ ﹶﺱ ﻜﺎﻟﻁﻔ ِ ﻭﺍﻟﻨﻔ
ﻁ ﻤ ﻪ ﻴ ﹾﻨ ﹶﻔﻁﻡﹺِﻉ ﻭﺇﻥ ﹶﺘ ﹾﻔ ﺤﺏﱢ ﺍﻟﺭﻀﺎ ِﹺ ) (3ﻤﻌﺎﺭﻀﺔ ﺍﻟﺒﺎﺭﻭﺩﻱ ﻭﺸﻭﻗﻲ ﺍﻟﺒﻭﺼﻴﺭﻱ
ﻑ ﻫﻭﺍﻫﺎ ﻭﺤﺎ ﺫ ﺭ ﺃﻥ ﹸﺘ ﻭﱢﻟ ﻴ ﻪ ﻓﺎﺼ ﹺﺭ ﹾ ﻨﻅﻡ ﺍﻟﺒﻭﺼﻴﺭﻱ) (111ﻗﺼﻴﺩﺘﻪ ﺍﻟﻤﻌﺭﻭﻓﺔ ﺒﺎﻟﺒﺭﺩﺓ ﺃﻭ ﺍﻟﺒﺭﺃﺓ
)(114
ﺼ ﹺﻡ
ﺼ ﹺﻡ ﺃﻭ ﻴ
ﻥ ﺍﻟﻬﻭﻯ ﻤﺎ ﺘﻭﻟﱠﻰ ﻴ ﺇ ﻓﻲ ﻤﺩﺡ ﺍﻟﻨﺒﻲ ،ﻭﻋﺎﺭﻀﻬﺎ ﺍﻟﺸﻌﺭﺍﺀ ﻓﺎﺸﺘﻬﺭﺕ ﺤﺘﻰ ﺼﺎﺭﺕ
ﻭﻻ ﺘﺒﻌﺩ ﻗﺼﻴﺩﺓ ﺸﻭﻗﻲ ﻓﻲ ﺃﺴﻠﻭﺏ ﺍﻟﺘﻨﺎﻭل ﻋﻥ ﺃﺴﻠﻭﺏ ﺃﺸﻬﺭ ﺸﻌﺭ ﺍﻟﺒﻭﺼﻴﺭﻱ:
ﺍﻟﺒﻭﺼﻴﺭﻱ .ﻭﺇﺫﺍ ﻜﻨﺎ ﻨﻘﻨﻊ ﻤﻥ ﺍﻟﺒﻭﺼﻴﺭﻱ ﺒﺄﺴﻠﻭﺒﻪ ﺍﻟﻭﺼﻔﻲ ﻥ ﺒﺫﻱ ﺴﹶﻠﻡﹺِ ﻥ ﹶﺘ ﹶﺫ ﱡﻜﺭﹺ ﺠﻴﺭﺍ ٍﹴ ﺃ ﻤ
ﺍﻹﺨﺒﺎﺭﻱ ،ﻭﻟﻐﺘﻪ ﺍﻟﻘﺭﻴﺒﺔ ﺍﻟﺘﻨﺎﻭل – ﻭﻫﻭ ﻤﺎ ﻋﺭﻑ ﻋﻨﻪ ﻓﻲ ﺕ ﺩﻤﻌﹰﺎ ﺠﺭﻯ ﻤﻥ ﻤ ﹾﻘﹶﻠﺔ ﹺﺒ ﺩ ِﹺﻡ ﻤﺯﺠ ﹶ
)(112
ﺸﻌﺭﻩ – ﻓﺈﻨﹼﺎ ﻜﻨﺎ ﻨﻁﻤﻊ ﺃﻥ ﻴﻘﺩﻡ ﺸﻭﻗﻲ ﺠﻭﺍﻨﺏ ﺍﻟﺴﻴﺭﺓ ﺍﻟﻜﺭﻴﻤﺔ ﻓﻲ ﻗﺼﻴﺩﺘﻪ: ﻭﻤﻤﻥ ﻋﺎﺭﻀﻬﺎ ﻤﻥ ﺍﻟﻤﺤﺩﺜﻴﻥ ﺍﻟﺒﺎﺭﻭﺩﻱ
ﺒﻤﺎ ﻴﺘﻔﻕ ﻭﺸﺎﻋﺭﻴﺘﻪ ﺍﻟﺩﻓﹼﺎﻗﺔ ،ﻭﻤﺎ ﻴﺘﻼﺀﻡ ﻭﺍﻟﺘﺠﺩﻴﺩ ﺍﻟﺸﻌﺭﻱ ﺍﻟﺫﻱ ﻥ ﻭﺍﻟﻌﹶﻠﻡﹺِ ﻋ ﺩ ﻋﻠﻰ ﺍﻟﺴﻤ ِﹺﻊ ﺫ ﹾﻜ ﺭ ﺍﻟﺒﺎ ِﹺﺃ
ﻻ ﻤﻥ ﺃﻥ ﻴﻀﻔﻲ ﻋﻠﻴﻨﺎ ﺭﻓﻊ ﺭﺍﻴﺘﻪ ﻭﺃﺴﻬﻡ ﻓﻲ ﺘﺄﺴﻴﺱ ﺒﻨﻴﺎﻨﻪ .ﻓﺒﺩ ﹰ ﺕ ﹺﺒ ﺩ ِﹺﻡ
ﺠ ﺭ ﹾ ﺏ ﺩﻤﻌﻲ ﺇﻥ
ﻭﺍﻋ ﺫ ﺭ ﺸﺂﺒﻴ
ﻤﻥ ﺍﻟﻤﺸﺎﻋﺭ ﻤﺎ ﻴﺯﻴﺩ ﺃﺤﺩﺍﺙ ﺍﻟﺴﻴﺭﺓ ﺃﻟﻘﺎﹰ ،ﻭﻤﺎ ﻴﻠﻔﹼﻬﺎ ﺒﻌﺎﻁﻔﺔ ﻭﺸﻭﻗﻲ ﻓﻲ ﻗﺼﻴﺩﺓ ﻨﻬﺞ ﺍﻟﺒﺭﺩﺓ):(113
ﻑ ﺇﻨﺸﺎﺌﻲ ﺘﻠﻤﺱ ﻓﻴﻪ ﺘﻜﻠﻑ ﺠﻴﺎﺸﺔ ﻭﻤﺸﺎﻋﺭ ﻤﺘﺩﻓﻘﺔ ،ﺠﺎﺀ ﺒﻭﺼ ﻥ ﻭﺍﻟﻌﹶﻠﻡﹺِﻉ ﺒﻴﻥ ﺍﻟﺒﺎ ِﹺ ﺭﻴ ﻡ ﻋﻠﻰ ﺍﻟﻘﺎ ِﹺ
ﺍﻟﻨﻅﻡ ﻭﺍﻗﺘﺴﺎﺭ ﺍﻷﻟﻔﺎﻅ ﻗﺴﺭﹰﺍ: ﺤ ﺭ ِﹺﻡ
ﻙ ﺩﻤﻲ ﻓﻲ ﺍﻷﺸﻬ ﹺﺭ ﺍﻟ ﺴ ﹾﻔ
ل ﺤﱠ َﺃ
ﻕ ﺍﻷﻨﺒﻴﺎ ﺀ ﻓﻜﻡ ﻕ ﺍﻟﺒﺩﻭ ﺭ ﻭﻓﺎ ﹶ ﻓﺎ ﹶ ﻭﻤﻁﺎﻟﻊ ﺍﻟﻘﺼﺎﺌﺩ ﺍﻟﺜﻼﺜﺔ -ﻜﻤﺎ ﻫﻭ ﻅﺎﻫﺭ -ﻤﺘﻔﻘﺔ ﻋﻠﻰ
ﻅﻡﹺِ ﻥ ﻭﻤﻥ ﻋ ﹶ ﺴﹴ ﺤ ﺨﹾﻠﻕ ِﻤﻥ ﻕ ﻭﺍﻟ ﹶ ﺨﹾﻠ ِ ﺒﺎﻟ ﹸ ﺴﻜﺏ ﺍﻟﺩﻤﻭﻉ ﺍﻟﻤﻤﺯﻭﺠﺔ ﺒﺎﻟﺩﻤﺎﺀ ﻤﻥ ﺘﺫﻜﺭ ﺠﻴﺭﺍﻥ ﺒﺫﻱ ﺴﻠﻡ،
ﺕ
ﺕ ﻓﺎﻨﺼ ﺭ ﻤ ﹾ ﻥ ﺒﺎﻵﻴﺎ ﺠﺎﺀ ﺍﻟﻨﺒﻴﻭ ﻭﻤﻥ ﺫﻜﺭ ﺍﻟﺒﺎﻥ ﻭﺍﻟﻌﻠﻡ ،ﻭﻤﻥ ﺭﻴﻡ ﻫﻨﺎﻙ ﻴﺜﻴﺭ ﺍﻷﺸﺠﺎﻥ ﻭﻴﺴﻔﻙ
ﺠﺌْـﺘﹶﻨﺎ ﺒﺤﻜﻴ ﹴﻡ ﻏﻴ ﹺﺭ ﻤﻨﺼﺭ ِﹺﻡ ﻭﹺ ﺍﻟﺩﻤﺎﺀ.
ﻴﻜﺎ ﺩ ﻓﻲ ﻟﻔﻅ ﺔ ﻤﻨﻪ ﻤﺸﺭﱢﻓ ﺔ ﻭﺃﻭل ﻤﺎ ﻴﻁﺎﻟﻌﻨﺎ ﻓﻲ ﺍﻟﻘﺼﺎﺌﺩ ﺍﻟﺜﻼﺙ ﻁﻭل ﻗﺼﻴﺩﺘﻲ
ﺤ ِﹺﻡ ﻕ ﻭﺍﻟﺘﻘﻭﻯ ﻭﺒﺎﻟ ﺭ ﻙ ﺒﺎﻟﺤ ﱢ ﻴﻭﺼﻴ ﺍﻟﺒﻭﺼﻴﺭﻱ ﻭﺸﻭﻗﻲ ﻭﻗﺼﺭ ﻗﺼﻴﺩﺓ ﺍﻟﺒﺎﺭﻭﺩﻱ .ﻭﻟﻌل ﺫﺍﻙ
ﺃﻤﺎ ﻗﺼﻴﺩﺓ ﺍﻟﺒﺎﺭﻭﺩﻱ ﻓﻘﺩ ﺘﻔﺭﺩﺕ ﺒﻤﻭﻀﻭﻋﻬﺎ ﻭﻫﻭ ﺍﺴﺘﺫﻜﺎﺭ ﺍﻟﺘﻔﺎﻭﺕ ﻴﺒﺭﺭﻩ ﺍﺘﺤﺎﺩ ﺍﻟﻤﻭﻀﻭﻉ ﻓﻲ ﺍﻟﻘﺼﻴﺩﺘﻴﻥ ﺍﻟﻁﻭﻴﻠﺘﻴﻥ،
ﺍﻟﺸﺎﻋﺭ ﻤﻼﻋﺏ ﺼﺒﺎﻩ ﻭﺘﺫﻜﱡﺭ ﻤﻥ ﻜﺎﻨﺕ ﻨﻭﺍﻅﺭﻩ ﺘﺭﻋﻰ ﻭﺍﺨﺘﻼﻓﻪ ﻓﻲ ﺍﻟﻘﺼﻴﺩﺓ ﺍﻟﻘﺼﻴﺭﺓ؛ ﻓﺎﻟﻘﺼﻴﺩﺘﺎﻥ ﻜﻠﺘﺎﻫﻤﺎ ﻓﻲ ﻤﺩﺡ
ﻤﺤﺎﺴﻨﻬﺎ ﻓﻲ ﺘﻠﻙ ﺍﻟﻤﻼﻋﺏ ،ﻭﻓﻴﻬﺎ ﻓﺨﺭ ﺒﻨﻔﺴﻪ ﻭﺇﺸﺎﺩﺓ ﺒﻜﺜﻴﺭ ﻤﻥ ﺍﻟﻨﺒﻲ ﺍﻟﻜﺭﻴﻡ ،ﻟﺫﺍ ﺍﺘﻔﻕ ﻟﺸﺎﻋ ﺭﻴﻬﻤﺎ ﻤﻥ ﻤﺂﺘﻲ ﺍﻟﻘﻭل ﻭﻭﺤﺩﺓ
ﻤﻨﺎﻗﺒﻪ ،ﻭﺸﻜﻭﻯ ﻤﺭﺓ ﻤﻥ ﺍﻨﻌﺩﺍﻡ ﺍﻟﻭﻓﺎﺀ ﻭﻓﻘﺩﺍﻥ ﺃﺨﻲ ﺍﻟﺜـﻘﺔ، ﺍﻟﻤﻭﻀﻭﻉ ﻤﺎ ﺠﻌﻠﻬﻤﺎ ﻴﻔﻴﻀﺎﻥ ﻓﻴﻪ .ﻭﻗﺼﻴﺩﺓ ﺍﻟﺒﺎﺭﻭﺩﻱ ﻓﻲ
ﺍﻟﺸﻌﺭﺍﺀ ﻷﻥ ﻴﺭﻭﻀﻭﺍ ﺍﻟﻘﻭل ﻓﻲ ﻤﻭﻀﻭﻋﺎﺕ ﻤﻌﻴﻨﺔ، ﻜل ﺃﻭﻟﺌﻙ ﺒﺄﺴﻠﻭﺏ ﻤﺸﺭﻕ ﻭﺸﺎﻋﺭﻴﺔ ﻅﺎﻫﺭﺓ:
ﻭﻴﻘﻠﹼﺩﻭﺍ ﺃﺴﺎﻟﻴﺏ ﺍﻟﺸﻌﺭﺍﺀ ﺍﻟﻤﻌﺎﺭﻀﻴﻥ )ﺒﺎﻟﻔﺘﺢ( ﻭ ﻴﻐﹾﻨﻭﺍ ﺕ ﺘﺭﻯ ﻙ ﻤﻥ ﺍﻟﺩﻨﻴﺎ ﻓﻠﺴ ﹶ ﺽ ﻴﺩﻴ ﻓﺎﻨ ﹸﻔ
ﺃﺴﺎﻟﻴﺒﻬﻡ ﺒﺫﻟﻙ. ﻼ ﻭﻓﻴﹰﺎ ﻭﻋﻬﺩﹰﺍ ﻏﻴ ﺭ ﻤﻨﺼﺭ ِﹺﻡ ﺨ
ﺘﺭﺍﻭﺤﺕ ﺃﺯﻤﺎﻥ ﺍﻟﻤﻌﺎﺭﻀﺎﺕ ﺒﻴﻥ ﺸﻌﺭﺍﺀ ﻤﺘﻌﺎﺼﺭﻴﻥ ﺃﻭ - ﻕ ﻓﻲ ﺍﻟﺩﻨﻴﺎ ﺃﺨﻭ ﺜـﻘ ﺔ ﺕ ﻟﻡ ﻴ ﺒ ﹶ
ﻫﻴﻬﺎ ﹶ
ﻤﺘﻘﺎﺭﺒﻴﻥ ﻴﻌﺎﺭﺽ ﺒﻌﻀﻬﻡ ﺒﻌﻀﺎﹰ ،ﻭﺒﻴﻥ ﺸﻌﺭﺍﺀ ﻤﺘﺒﺎﻋﺩﻴﻥ )(115
ﺴﹶﻠﻡﹺِ
ﻴﺭﻋﻰ ﺍﻟﻤﻭﺩ ﹶﺓ ﺃﻭ ﻴﻠﻘﻲ ﻴ ﺩ ﺍﻟ
ﺘﻤﺘﺩ ﺍﻷﺯﻤﺎﻥ ﺒﻴﻨﻬﻡ ﺤﻘﺒﹰﺎ ﻤﺘﻁﺎﻭﻟﺔ. ﻥ ﺒﺎ ﺩﺭﺘﻲ ﻕ ﺍﻟﻤﺎﻀﻴ
ﺴ ﹺﺒ ﹸ
ﻑ ﻻ ﹶﺘ ﻭﻜﻴـ ﹶ
ﻓﺎﺯ ﺒﻌﺽ ﺍﻟﻘﺩﻤﺎﺀ ﻭﺍﻟﻤﺤﺩﺜﻴﻥ ﺒﺄﻜﺜﺭ ﻤﻥ ﻤﻌﺎﺭﻀﺔ ﻭﺍﺤﺩﺓ - )(116
ﻙ ﻤﻥ ﹶﻗﻠﹶﻤﻲ ﺨﺸﹶﻰ ﺍﻟﻔﺘ ﻭﺍﻟﺴﻤﻬﺭﻴ ﹸﺔ ﹶﺘ ﹾ
ﻜﺎﻟﺤﻠﻲ ﻭﺍﻷﺒﻴﻭﺭﺩﻱ ﻤﻥ ﺍﻟﻘﺩﻤﺎﺀ ،ﻭﺍﻟﺒﺎﺭﻭﺩﻱ ﻭﺸﻭﻗﻲ ﻤﻥ ﻭﺍﺴﺘﻌﺎﺭ ﺍﻟﺸﺎﻋﺭ ﺒﻌﺽ ﺍﻟﺘﺭﺍﻜﻴﺏ ﺍﻟﻠﻐﻭﻴﺔ ﻟﺩﻯ ﺍﻟﺒﻭﺼﻴﺭﻱ،
ﺍﻟﻤﺤﺩﺜﻴﻥ ،ﻓﻘﺩ ﻋﺎﺭﺽ ﻜل ﻤﻨﻬﻡ ﺃﻜﺜﺭ ﻤﻥ ﺸﺎﻋﺭ ﻭﻗﺼﻴﺩﺓ، ﻓﺎﻨﻅﺭ ﻜﻴﻑ ﺍﺴﺘﺨﺩﻡ ﻜل ﻤﻨﻬﻤﺎ ﻗﻭﻟﻪ :ﻟﺤﻤﹰﺎ ﻋﻠﻰ ﻭﻀﻡ .ﻗﺎل
ﻭﻜﺎﻟﻤﺘﻨﺒﻲ ﻭﺍﻟﺒﻭﺼﻴﺭﻱ ﻤﻥ ﺍﻟﻘﺩﻤﺎﺀ ،ﻋﺎﺭﻀﻪ ﺃﻜﺜﺭ ﻤﻥ ﺍﻟﺒﻭﺼﻴﺭﻱ ﻤﺘﺤﺩﺜﹰﺎ ﻋﻥ ﻤﻭﺍﺠﻬﺔ ﺍﻟﺭﺴﻭل ﺃﻋﺩﺍﺀﻩ:
ل ﺫﻟﻙ ﻋﻠﻰ ﺃﻥ ﺍﻟﻘﺼﺎﺌﺩ ﺍﻟﻤﻌﺎﺭﻀﺔ ﻜﺎﻨﺕ ﺸﺎﻋﺭ ﺤﺩﻴﺙ .ﻭﺩ ّ ل ﻤ ﻌ ﹶﺘﺭﻙ ﻤﺎ ﺯﺍل ﻴﻠﻘﺎﻫ ﻡ ﻓﻲ ﻜ ﱢ
ﻁ ﺃﻨﻅﺎﺭ ﺍﻟﺸﻌﺭﺍﺀ ﻭﻤﻬﻭﻯ ﺃﻓﺌﺩﺘﻬﻡ. ﻤﺤ ﱠ )(117
ﻀ ِﹺﻡ
ﺤ ﹶﻜﻭﺍ ﺒﺎﻟﻘﹶﻨﺎ ﹶﻟﺤﻤﹰﺎ ﻋﻠﻰ ﻭ ﺤﺘﻰ
ﺘﻔﻭﻕ ﻜﺜﻴﺭ ﻤﻥ ﺍﻟﺸﻌﺭﺍﺀ ﺍﻟﻤﻌﺎﺭﹺﻀﻴﻥ )ﺒﺎﻟﻜﺴﺭ( ﻋﻠﻰ - ﻭﻗﺎل ﺍﻟﺒﺎﺭﻭﺩﻱ ﻤﺨﺎﻁﺒﹰﺎ ﺃﺨﺎ ﺍﻟﻌﺫل:
ﺍﻟﺸﻌﺭﺍﺀ ﺍﻟﺫﻴﻥ ﻋﺎﺭﻀﻭﻫﻡ ،ﺇﻥ ﻤﻥ ﺤﻴﺙ ﺍﻟﺸﻜل ﻭﺍﻷﺴﻠﻭﺏ، ﺏ ﻓﺘﻰ ﺃﻟﻭﺕ ﺒ ﹶﻨﻀﺭﺘﻪ ﻓﺎﺭﺤﻡ ﺸﺒﺎ
ﺃﻭ ﻤﻥ ﺤﻴﺙ ﺍﻟﺩﻻﻻﺕ ﻭﺍﻟﻤﻀﻤﻭﻥ ،ﻭﻜﺒﺎ ﺒﻌﻀﻬﻡ ﺩﻭﻥ ﺫﻟﻙ. ﻀ ِﹺﻡ ﺃﻴﺩﻱ ﺍﻟﻀﻨﻰ ﻓﻐﺩﺍ ﻟﺤﻤﹰﺎ ﻋﻠﻰ ﻭ
ﻟﻡ ﺘﻘﺘﺼﺭ ﺤﺭﻜﺔ ﺍﻟﻤﻌﺎﺭﻀﺔ ﺍﻟﺸﻌﺭﻴﺔ ﻋﻠﻰ ﺸﻌﺭﺍﺀ - ﻓﺎﻷﻭل ﺠﻌل ﻤﻥ ﺃﻋﺩﺍﺀ ﺍﻟﻨﺒﻲ ﻓﻲ ﺤﺭﻭﺒﻪ ﻟﺤﻤﹰﺎ ﻋﻠﻰ ﻭﻀﻡ،
ﺍﻟﻤﺸﺭﻕ ،ﺒل ﻜﺎﻥ ﻟﺸﻌﺭﺍﺀ ﺍﻷﻨﺩﻟﺱ ﻨﺼﻴﺏ ﻓﻲ ﺍﻟﻤﻌﺎﺭﻀﺔ، ﻭﺍﻟﺜﺎﻨﻲ ﺃﻟﻭﻯ ﺒﻪ ﺍﻟﺩﺍﺀ ﺍﻟﻤﺨﺎﻤﺭ ﻓﺠﻌﻠﻪ ﻟﺤﻤﹰﺎ ﻋﻠﻰ ﻭﻀﻡ ،ﻭﻫﻭ
ﻓﻘﺩ ﻋﺎﺭﺽ ﺒﻌﻀﻬﻡ ﺒﻌﻀﺎﹰ ،ﻭﻋﺎﺭﺽ ﻜﺜﻴﺭ ﻤﻨﻬﻡ ﺸﻌﺭﺍﺀ ﺘﻌﺒﻴﺭ ﻴﺭﺍﺩ ﺒﻪ ﺫﻫﺎﺏ ﺍﻟﺼﺤﺔ ﻭﺍﻨﻬﻴﺎﺭ ﺍﻟﻘﻭﺓ.
ﺍﻟﻤﺸﺎﺭﻗﺔ؛ ﺇﺫ ﻜﺎﻨﻭﺍ ﻴﻨﻅﺭﻭﻥ ﺇﻟﻴﻬﻡ ﻨﻅﺭﺓ ﺍﻟﻤﺜﺎل ﺍﻟﻤﺤﺘﺫﻯ
ﻭﺍﻷﺴﻭﺓ ﺍﻟﻤﺘﹼﺒﻌﺔ. ﺍﻟﺨﺎﺘﻤـﺔ ﻭﺍﻟﻨﺘﺎﺌـﺞ
ﻭﺃﺨﻴﺭﹰﺍ ﺤﻔﻅ ﻟﻨﺎ ﺸﻌﺭ ﺍﻟﻤﻌﺎﺭﻀﺎﺕ ﻋﻠﻰ ﻤ ﺭ ﺍﻟﻌﺼﻭﺭ -
ﺍﻷﺩﺒﻴﺔ ﺍﻟﻘﺩﻴﻤﺔ ﻭﺍﻟﺤﺩﻴﺜﺔ ،ﺘﺭﺍﺜﹰﺎ ﺸﻌﺭﻴﹰﺎ ﺃﻀﺎﻑ ﺇﻟﻰ ﺩﻴﻭﺍﻥ -ﺃﺴﻬﻤﺕ ﺍﻟﻤﻌﺎﺭﻀﺎﺕ ﺍﻟﺸﻌﺭﻴﺔ ﻓﻲ ﺇﺫﻜﺎﺀ ﺭﻭﺡ ﺍﻟﺘﻨﺎﻓﺱ ﺒﻴﻥ
ﺍﻟﺸﻌﺭ ﺼﻔﺤﺎﺕ ﻨﺎﺼﻌﺔ ،ﻟﻤﺎ ﻜﺎﻨﺕ ﻏﺎﻴﺔ ﺍﻟﺸﺎﻋﺭ ﺍﻟﻤﻌﺎﺭﹺﺽ ﺍﻟﺸﻌﺭﺍﺀ ،ﻤﻤﺎ ﻜﺎﻥ ﻟﻪ ﺃﺜﺭ ﻜﺒﻴﺭ ﻓﻲ ﺘﻁﻭﻴﺭ ﺍﻟﺸﻌﺭ ﺍﻟﻌﺭﺒﻲ
ﺍﻟﺴﻤ ﻭ ﺒﺸﻌﺭﻩ ﻋﻠﻰ ﻤﻥ ﻴﻌﺎﺭﻀﻪ ،ﻴﺄﺘﻲ ﻓﻴﻪ ﺒﺠﺩﻴﺩ ﺍﻟﻤﻌﺎﻨﻲ، ﺍﻟﺤﺩﻴﺙ ،ﻭﺇﻗﺎﻟﺘﻪ ﻤﻥ ﻋﺜﺭﺘﻪ ﻭﺘﻨﺒﻴﻬﻪ ﻤﻥ ﻏﻔﻭﺘﻪ ﺍﻟﻁﻭﻴﻠﺔ
ﻭﻟﻁﻴﻑ ﺍﻷﺴﺎﻟﻴﺏ ﻭﺒﺩﺍﺌﻊ ﺍﻟﺒﺩﻴﻊ ،ﻟﻴﺼﺏ ﺫﻟﻙ ﻜﻠﻪ ﻓﻲ ﻤﻌﻴﻥ ﺨﻼل ﻋﺼﻭﺭ ﺍﻟﺩﻭل ﺍﻟﻤﺘﺘﺎﺒﻌﺔ.
ﺍﻟﺸﻌﺭ ﺍﻟﻌﺭﺒﻲ ،ﻓﻴﺼﻔﻭ ﻤﺎﺅﻩ ﻭﻴﻌﺫﺏ ﹺﻭ ﺭﺩﻩ. -ﻭﻓﻲ ﺍﻟﻭﻗﺕ ﻨﻔﺴﻪ ﻜﺎﻨﺕ ﺍﻟﻤﻌﺎﺭﻀﺎﺕ ﻓﺭﺼﺔ ﻟﺒﻌﺽ
ﺩﻴﻭﺍﻨﻪ ﺹ ،143-136ﻭﻋﺩﺩ ﺃﺒﻴﺎﺘﻬﺎ ﻤﺌﺔ ﺒﻴﺕ ﻭﺒﻴﺕ. )(40 ﻭﺍﻟﻘﺼﻴﺩﺓ ﻓﻲ ﺩﻴﻭﺍﻨﻪ ،ﺹ ،25-6ﻭﻫﻲ ﻓﻴﻪ ﺨﻤﺴﺔ ﻭﺨﻤﺴﻭﻥ
ﻤﺤﻤﺩ ﺒﻥ ﺃﺤﻤﺩ ﺒﻥ ﺇﺴﺤﺎﻕ )507 -ﻫـ( ﻋﺒﺎﺴﻲ ،ﻭﻗﺼﻴﺩﺘﻪ )(41 ﺒﻴﺘﺎ ،ﻭﻓﻲ ﺸﺭﺡ ﻗﺼﻴﺩﺓ ﻜﻌﺏ ﺴﺒﻌﺔ ﻭﺨﻤﺴﻭﻥ.
ﻓﻲ ﺩﻴﻭﺍﻨﻪ ،239-238 :2ﻭﺃﺒﻴﺎﺘﻬﺎ ﺜﻼﺜﺔ ﻋﺸﺭ ﺒﻴﺘﺎ. ﻤﺤﻤﺩ ﺒﻥ ﺴﻌﻴﺩ ﺍﻟﺒﻭﺼﻴﺭﻱ )696-608ﻫـ( ﻨﺴﺒﺔ ﺇﻟﻰ )(20
ﻤﺤﻤﺩ ﺒﻥ ﺍﻟﺤﺴﻴﻥ )406-359ﻫـ( ﺃﺸﻌﺭ ﺍﻟﻁﺎﻟﺒﻴﻴﻥ، )(42 ﺒﻭﺼﻴﺭ ﺒﻤﺼﺭ ،ﻭﺴﻤﻰ ﻗﺼﻴﺩﺘﻪ :ﺫﺨﺭ ﺍﻟﻤﻌﺎﺩ ﻓﻲ ﻤﻌﺎﺭﻀﺔ
ﻭﺍﻟﻘﺼﻴﺩﺓ ﻓﻲ ﺩﻴﻭﺍﻨﻪ ،107 :2ﻭﺃﺒﻴﺎﺘﻬﺎ ﺜﻤﺎﻨﻴﺔ ﻋﺸﺭ ﺒﻴﺘﺎ. ﺒﺎﻨﺕ ﺴﻌﺎﺩ .ﻭﻫﻲ ﻓﻲ ﺩﻴﻭﺍﻨﻪ ﺹ ،172ﻭﻫﻲ ﻁﻭﻴﻠﺔ ﻋﺩﺓ
ﺍﺘﺨﺫ ﺍﻷﺒﻴﻭﺭﺩﻱ ﻤﻨﻬﺞ ﺍﻟﺸﺭﻴﻑ ﺍﻟﺭﻀﻲ ﻓﻲ ﺘﻘﺴﻴﻡ ﺩﻴﻭﺍﻨﻪ، )(43 ﺃﺒﻴﺎﺘﻬﺎ ﻤﺌﺘﺎﻥ ﻭﺴﺘﺔ ،ﻭﻴﻨﻅﺭ :ﻨﺼﻭﺹ ﻤﻥ ﺸﻌﺭ ﻋﺼﻭﺭ
ﻓﺴﻤﻰ ﻤﻘﻁﻌﺎﺘﻪ ﺍﻟﻐﺯﻟﻴﺔ ﻓﻲ ﺁﺨﺭ ﺩﻴﻭﺍﻨﻪ :ﺍﻟﻨﺠﺩﻴﺎﺕ ،ﺘﻴﻤﻨﺎ ﺍﻟﺩﻭل ﺍﻟﻤﺘﺘﺎﺒﻌﺔ ،ﺹ.337
ﺒﺤﺠﺎﺯﻴﺎﺕ ﺍﻟﺸﺭﻴﻑ ﻭﺘﺭﺴﻤﺎ ﻟﺨﻁﺎﻩ .ﺍﻨﻅﺭ :ﺩﻴﻭﺍﻥ ﻏﻴﺎﺙ ﺒﻥ ﻏﻭﺙ ﺍﻟﺘﻐﻠﺒﻲ )90-19ﻫـ( ﺃﻤﻭﻱ ﻤﻥ ﺸﻌﺭﺍﺀ )(21
ﺍﻷﺒﻴﻭﺭﺩﻱ 25 :1 :ﻭﻤﺎ ﺒﻌﺩﻫﺎ .ﻭﺍﻟﻘﻁﻌﺔ ﺍﻟﺘﻲ ﻋﺎﺭﺽ ﻓﻴﻬﺎ ﺍﻟﻨﻘﺎﺌﺽ.
ﺍﻟﺸﺭﻴﻑ ﻫﻲ ﺍﻟﻘﺼﻴﺩﺓ ﺍﻟﺭﺍﺒﻌﺔ ﻭﺍﻟﺨﻤﺴﻭﻥ ﻤﻥ ﺍﻟﻨﺠﺩﻴﺎﺕ. ﺩﻴﻭﺍﻨﻪ ،63-54 :1 ،ﻭﻫﻲ ﺍﺜﻨﺎﻥ ﻭﺜﻼﺜﻭﻥ ﺒﻴﺘﺎ. )(22
ﺃﺤﻤﺩ ﺒﻥ ﻋﺒﺩ ﺍﷲ )449-363ﻫـ( ﺍﻟﺸﺎﻋﺭ ﺍﻟﻔﻴﻠﺴﻭﻑ، )(44 ﺩﻴﻭﺍﻨﻪ ،104-93 :1 ،ﻭﻫﻲ ﺴﺘﺔ ﻭﺃﺭﺒﻌﻭﻥ ﺒﻴﺘﺎ ،ﻭﺍﺴﺘﺤﻘﺒﺕ )(23
ﻭﻗﺼﻴﺩﺘﻪ ﻓﻲ ﺴﻘﻁ ﺍﻟﺯﻨﺩ ﺹ ،177ﻭﻫﻲ ﺨﻤﺴﺔ ﻭﺨﻤﺴﻭﻥ ﻟﺒﻪ :ﺤﻤﻠﺘﻪ ﻭﺃﺨﺫﺘﻪ ﻤﻌﻬﺎ.
ﺒﻴﺘﺎ. ﻋﻤﺭﻭ ﺒﻥ ﻜﻠﺜﻭﻡ ) 40 -ﻕ ﻫـ( ﺠﺎﻫﻠﻲ ﻤﻥ ﺃﺼﺤﺎﺏ )(24
ﺩﻴﻭﺍﻥ ﺍﻷﺒﻴﻭﺭﺩﻱ ،191-181 :1ﻭﺃﺒﻴﺎﺘﻬﺎ ﺴﺘﺔ ﻭﺃﺭﺒﻌﻭﻥ )(45 ﺍﻟﻤﻌﻠﻘﺎﺕ ،ﻭﻤﻌﻠﻘﺘﻪ ﻓﻲ ﺸﺭﺡ ﺍﻟﻤﻌﻠﻘﺎﺕ ﺍﻟﻌﺸﺭ ﺹ ،97
ﺒﻴﺘﺎ. ﻭﺸﺭﺡ ﺍﻟﻘﺼﺎﺌﺩ ﺍﻟﺴﺒﻊ ﺹ ،369ﻭﻋﺩﺘﻬﺎ ﻤﺌﺔ ﻭﺴﺘﺔ ﺃﺒﻴﺎﺕ.
ﻫﺫﻩ ﺩﻴﺒﺎﺠﺔ ﺍﻟﻘﺼﻴﺩﺓ ﻓﻲ ﺍﻟﺩﻴﻭﺍﻥ. )(46 ﺍﻟﻜﻤﻴﺕ ﺒﻥ ﺯﻴﺩ ﺍﻷﺴﺩﻱ ) 126 -60ﻫـ( ﺸﺎﻋﺭ )(25
ﻭﻫﺫﻩ ﺩﻴﺒﺎﺠﺔ ﺍﻟﻘﺼﻴﺩﺓ. )(47 ﺍﻟﻬﺎﺸﻤﻴﻴﻥ ،ﺃﻤﻭﻱ ،ﻭﻗﺼﻴﺩﺘﻪ ﻓﻲ ﺸﻌﺭ ﺍﻟﻜﻤﻴﺕ ،ﺹ ،412
ﺍﻟﻤﺄﻗﻁ :ﻤﻭﻀﻊ ﺍﻟﺤﺭﺏ ،ﻭﺍﻟﻌﺭﺏ ﺘﻘﻭل :ﻓﻼﻥ ﺃﺨﻭ ﺼﺩﻕ ﺃﻭ )(48 ﻭﻋﺩﺩ ﺃﺒﻴﺎﺘﻬﺎ ﺜﻼﺙ ﻤﺌﺔ.
ﻭﻓﺎﺀ ﺃﻭ ﻤﺄﻗﻁ :ﺇﺫﺍ ﻜﺎﻥ ﻤﻼﺯﻤﺎ ﻟﻪ .ﻭﻁﺎﻭل ﺍﻟﻘﺭﻥ :ﻋﺎﺭﻀﻪ ﺍﻨﻅﺭ :ﺍﻷﻏﺎﻨﻲ 9 :17 ،ﻭ.18 )(26
ﻓﻲ ﺍﻟﻀﺭﺏ ﻁﻭﻻ ﻭﻏﺎﻟﺒﻪ .ﻭﻓﻲ ﺍﻷﺴﺎﺱ )ﻗﺩﺩ( :ﻗﺩﻩ ﻁﻭﻻ ﺭﺍﺠﻊ ﺍﻟﺴﺒﻊ ﺍﻟﻁﻭﺍل ،ﺹ .387 )(27
ﻭﻗﻁﻪ ﻋﺭﻀﺎ .ﻭﻗﻴل ﻓﻲ ﻋﻠﻲ ﺭﻀﻲ ﺍﷲ ﻋﻨﻪ :ﻜﺎﻥ ﺇﺫﺍ ﺒﺸﺎﺭ ﺒﻥ ﺒﺭﺩ ﺍﻟﻌﻘﻴﻠﻲ )167 -95ﻫـ( ﻤﻥ ﻤﺨﻀﺭﻤﻲ )(28
ﺍﻋﺘﻠﻰ ﻗﺩ ﻭﺇﺫﺍ ﺍﻋﺘﺭﺽ ﻗﻁ. ﺍﻟﺩﻭﻟﺘﻴﻥ ،ﻭﻗﺼﻴﺩﺘﻪ ﻓﻲ ﺩﻴﻭﺍﻨﻪ ،279-264 :1ﻭﺃﺒﻴﺎﺘﻬﺎ ﺴﺘﺔ
ﺃﻱ ﺃﻨﻪ ﻴﻐﺸﻰ ﺍﻟﺤﺭﺏ ﻭﻴﻠﺘﺤﻑ ﺒﺭﺩﺍﺀ ﺍﻟﻨﻘﻊ ﻭﺘﺸﻕ ﺍﻟﺭﻤﺎﺡ )(49 ﻭﺜﻤﺎﻨﻭﻥ ﺒﻴﺘﺎ.
ﻫﺫﺍ ﺍﻟﺭﺩﺍﺀ. ﺤﺒﻴﺏ ﺒﻥ ﺃﻭﺱ ﺍﻟﻁﺎﺌﻲ ) 231-188ﻫـ( ﻋﺒﺎﺴﻲ، )(29
ﻗﺼﻴﺩﺘﻪ ﻓﻲ ﺩﻴﻭﺍﻨﻪ ،209-198 :2ﻭﺃﺒﻴﺎﺘﻬﺎ ﻭﺍﺤﺩ ﻭﺴﺘﻭﻥ )(50 ﻭﺍﻟﻘﺼﻴﺩﺓ ﻓﻲ ﺩﻴﻭﺍﻨﻪ ،233-216 :1ﻭﺃﺒﻴﺎﺘﻬﺎ ﺃﺭﺒﻌﺔ
ﺒﻴﺘﺎ. ﻭﺃﺭﺒﻌﻭﻥ ﺒﻴﺘﺎ.
ﺇﺒﺭﺍﻫﻴﻡ ﺒﻥ ﺃﺒﻲ ﺍﻟﻔﺘﺢ ﺒﻥ ﻋﺒﺩ ﺍﷲ )533-450ﻫـ(، )(51 ﺍﻟﺤﺼﻰ :ﺍﻟﻌﺩﺩ ﺍﻟﻜﺜﻴﺭ ،ﻭﺍﻟﺸﻭل :ﺍﻟﻨﺎﻗﺔ ،ﻭﺍﻟﺨﻁﻲ :ﺍﻟﺭﻤﺢ، )(30
ﻭﻗﺼﻴﺩﺘﻪ ﻓﻲ ﺩﻴﻭﺍﻨﻪ ﺹ ،212-205ﻭﺃﺒﻴﺎﺘﻬﺎ ﺜﻤﺎﻨﻴﺔ ﻭﺤﻤﺭ ﺜﻌﺎﻟﺒﻪ :ﺩﺍﻤﻴﺔ ﺃﻁﺭﺍﻓﻪ.
ﻭﺘﺴﻌﻭﻥ. ﺍﻟﺴﺒﺎﺌﺏ :ﺠﻤﻊ ﺍﻟﺴﺒﻴﺒﺔ ،ﻭﻫﻲ ﺍﻟﻘﻁﻌﺔ ﻤﻥ ﺍﻟﻘﻤﺎﺵ ،ﻭﺃﺭﺍﺩ ﺒﻬﺎ )(31
ﺍﻨﻅﺭ ﺩﻴﺒﺎﺠﺔ ﺍﻟﻘﺼﻴﺩﺓ. )(52 ﺍﻟﺭﺍﻴﺔ.
ﻤﺤﻤﺩ ﺒﻥ ﺴﻌﻴﺩ ﺍﻟﺼﻨﻬﺎﺠﻲ ﺍﻟﺒﻭﺼﻴﺭﻱ )696-608ﻫـ( )(53 ﺍﻟﺼﻔﻴﺢ :ﺠﻤﻊ ﺼﻔﻴﺤﺔ ﻭﻫﻭ ﺍﻟﺴﻴﻑ ﺍﻟﻌﺭﻴﺽ .ﻭﺍﻟﻁﱡﻠﻰ: )(32
ﻤﻥ ﺸﻌﺭﺍﺀ ﻋﺼﻭﺭ ﺍﻟﺩﻭل ﺍﻟﻤﺘﺘﺎﺒﻌﺔ ،ﻭﻗﺼﻴﺩﺘﻪ ﻓﻲ ﺩﻴﻭﺍﻨﻪ ﺠﻤﻊ ﻁﹸﻠﻴﺔ ﻭﻫﻲ ﺼﻔﺤﺔ ﺍﻟﻌﻨﻕ.
ﺹ .249-238ﻭﺃﺒﻴﺎﺘﻬﺎ ﻤﺌﺔ ﻭﺍﺜﻨﺎﻥ ﻭﺴﺘﻭﻥ ﺒﻴﺘﺎ. ﻁﺭﻓﺔ ﺒﻥ ﺍﻟﻌﺒﺩ ﺍﻟﺒﻜﺭﻱ ) 60 -86ﻕ ﻫـ( ﻭﺍﻟﻘﺼﻴﺩﺓ ﻓﻲ )(33
ﻋﻤﺭ ﺒﻥ ﻋﻠﻲ ﺒﻥ ﺍﻟﻔﺎﺭﺽ )632-576ﻫـ( ﻤﻥ ﺸﻌﺭﺍﺀ )(54 ﺩﻴﻭﺍﻨﻪ 78-76ﻭﺃﺒﻴﺎﺘﻬﺎ ﺜﻼﺜﺔ ﻭﻋﺸﺭﻭﻥ.
ﻋﺼﻭﺭ ﺍﻟﺩﻭل ﺍﻟﻤﺘﺘﺎﺒﻌﺔ ،ﻭﺍﻟﻘﺼﻴﺩﺓ ﻓﻲ ﺩﻴﻭﺍﻨﻪ ﺹ 79 ﺍﻟﻭﻟﻴﺩ ﺒﻥ ﻋﺒﻴﺩ ﺍﻟﻁﺎﺌﻲ )284-206ﻫـ( ﻋﺒﺎﺴﻲ ،ﻭﺍﻟﻘﺼﻴﺩﺓ )(34
ﻭﻋﺩﺩ ﺃﺒﻴﺎﺘﻬﺎ ﺜﻤﺎﻨﻴﺔ ﻋﺸﺭ. ﻓﻲ ﺩﻴﻭﺍﻨﻪ 1614-1610 :3ﻭﻫﻲ ﺜﻼﺜﻭﻥ ﺒﻴﺘﺎ.
ﺃﺤﻤﺩ ﺒﻥ ﺍﻟﺤﺴﻴﻥ )354-303ﻫـ( ﻋﺒﺎﺴﻲ ،ﻭﻗﺼﻴﺩﺘﻪ ﻓﻲ )(55 ﻤﺴﻠﻡ ﺒﻥ ﺍﻟﻭﻟﻴﺩ ،ﺼﺭﻴﻊ ﺍﻟﻐﻭﺍﻨﻲ ) 208 -ﻫـ( ﻋﺒﺎﺴﻲ، )(35
ﺩﻴﻭﺍﻨﻪ ،260-250 :1ﻭﺃﺒﻴﺎﺘﻬﺎ ﺃﺭﺒﻌﻭﻥ ﺒﻴﺘﺎ. ﻭﻗﺼﻴﺩﺘﻪ ﻓﻲ ﺩﻴﻭﺍﻨﻪ ،ﺹ 43-33ﻭﻋﺩﺩ ﺃﺒﻴﺎﺘﻬﺎ ﺨﻤﺴﺔ
ﻋﺒﺩ ﺍﻟﻌﺯﻴﺯ ﺒﻥ ﺴﺭﺍﻴﺎ )750-677ﻫـ( ﻤﻥ ﺸﻌﺭﺍﺀ ﻋﺼﻭﺭ )(56 ﻭﺜﻼﺜﻭﻥ .ﻭﺍﻟﺫﺤل :ﻁﻠﺏ ﺍﻟﺩﻡ.
ﺍﻟﺩﻭل ﺍﻟﻤﺘﺘﺎﺒﻌﺔ ،ﻭﻗﺼﻴﺩﺘﻪ ﻓﻲ ﺩﻴﻭﺍﻨﻪ ﺹ ،98-95ﻭﻫﻲ ﺃﺤﻤﺩ ﺒﻥ ﻤﺤﻤﺩ )328-246ﻫـ( ﺃﻨﺩﻟﺴﻲ ،ﻭﻗﺼﻴﺩﺘﻪ ﻓﻲ )(36
ﻭﺍﺤﺩ ﻭﺴﺘﻭﻥ ﺒﻴﺘﺎ. ﺍﻟﻌﻘﺩ ﺍﻟﻔﺭﻴﺩ 374-373 :5 ،ﻭﻫﻲ ﺍﺜﻨﺎ ﻋﺸﺭ ﺒﻴﺘﺎ.
ﺩﻴﻭﺍﻨﻪ .69 :4 )(57 ﺍﻨﻅﺭ :ﺍﻟﻌﻘﺩ.373 :5 ، )(37
ﺃﺭﺍﺩ ﺃﻥ ﺍﻟﻭﺠﻨﺎﺕ ﺘﻨﻬﺏ ﺍﻟﻨﺎﻫﺏ ﻭﻫﻭ ﺍﻟﺭﺠل ﺍﻟﺸﺠﺎﻉ ﺍﻟﺫﻱ )(58 ﻤﺤﻤﺩ ﺒﻥ ﻫﺎﻨﺊ ﺍﻷﻨﺩﻟﺴﻲ )362-326ﻫـ(. )(38
ﻴﻨﻬﺏ ﺍﻟﻨﺎﺱ ،ﻭﺍﻟﻨﺎﻫﺏ :ﻤﻌﻤﻭل ﺍﺴﻡ ﺍﻟﻔﺎﻋل :ﺍﻟﻨﺎﻫﺒﺎﺕ. ﺩﻴﻭﺍﻨﻪ 264-252 :2ﻭﺃﺒﻴﺎﺘﻬﺎ ﻭﺍﺤﺩ ﻭﺃﺭﺒﻌﻭﻥ ﺒﻴﺘﺎ. )(39
ﺭﺠل ﺫﻭ ﺘﺩﺭﺃ :ﺫﻭ ﻋﺯﺓ ﻭﻤﻨﻌﺔ. )(83 ﺨﺸﻰ ﺃﻥ ﻴﺫﻴﺏ ﺤﺭ ﺃﻨﻔﺎﺴﻪ ﺜﻐﻭﺭﻫﻥ ،ﻓﺄﺫﺍﺒﻪ ﺭﺤﻴﻠﻬﻥ. )(59
ﺩﻴﻭﺍﻨﻪ ،226-215 :4ﻭﻫﻲ ﺜﻼﺜﺔ ﻭﺃﺭﺒﻌﻭﻥ ﺒﻴﺘﺎ .ﻭﺍﻟﻤﻌﻨﻰ )(84 ﺍﻟﻘﺴﻁل :ﻏﺒﺎﺭ ﺍﻟﺤﺭﺏ. )(60
ﻻ ﻓﺨﺭ ﺇﻻ ﻟﻤﻥ ﻻ ﻴﻅﻠﻡ ،ﻻﻤﺘﻨﺎﻋﻪ ﻭﻗﻭﺘﻪ ﻋﻠﻰ ﺩﻓﻊ ﺍﻟﻅﻠﻡ، ﺩﻴﻭﺍﻨﻪ ﺹ .190 )(61
ﻭﻫﻭ ﺇﻤﺎ ﻤﺩﺭﻙ ﻤﺎ ﻁﻠﺏ ،ﺃﻭ ﻤﺤﺎﺭﺏ ﻻ ﻴﻨﺎﻡ ﻭﻻ ﻴﻐﻔل ﺤﺘﻰ ﺩﻴﻭﺍﻨﻪ ﺹ ،702 – 685ﻭﺍﻟﻘﺼﻴﺩﺓ ﺃﺒﻴﺎﺘﻬﺎ ﻤﺌﺔ ﻭﺨﻤﺴﺔ )(62
ﻴﺩﺭﻙ ﻤﻁﻠﻭﺒﻪ .ﻭﺍﻨﻅﺭ ﺍﻟﻭﺠﻪ ﻓﻲ :ﻻ ﺍﻓﺘﺨﺎ ﺭ ﺒﺎﻟﺭﻓﻊ ،ﻭﻓﻲ: ﻭﺃﺭﺒﻌﻭﻥ.
ﺏ ﺒﺎﻟﺠﺭ ،ﻓﻲ ﺤﺎﺸﻴﺔ ﺍﻟﺩﻴﻭﺍﻥ .215 :4 ﻙ ﻭﻤﺤﺎﺭ ﹴ ﻤﺩﺭ ﺍﻨﻅﺭ :ﺩﻴﺒﺎﺠﺔ ﺍﻟﻘﺼﻴﺩﺓ ﺹ .685 )(63
ﺩﻴﻭﺍﻥ ﺍﻟﺒﺎﺭﻭﺩﻱ ،595-588 :3ﻋﺩﺩ ﺃﺒﻴﺎﺘﻬﺎ ﺍﺜﻨﺎﻥ )(85 ﻋﻨﻰ ﺒﺫﻟﻙ ﺴﻭﺭﺓ ﺍﻹﻨﺴﺎﻥ ﻭﺴﺒﺄ ﻭﺍﻟﻘﻠﻡ ﻤﻥ ﺴﻭﺭ ﺍﻟﻘﺭﺁﻥ )(64
ﻭﻋﺸﺭﻭﻥ. ﺍﻟﻜﺭﻴﻡ.
ﺍﻷﺼﻴﺩ :ﺍﻟﻤﻠﻙ ﺍﻟﻌﻅﻴﻡ ،ﻭﺍﻟﻀﺭﺏ :ﺍﻟﻤﺎﻀﻲ ﻓﻲ ﺍﻷﻤﻭﺭ، )(86 ﺩﻴﻭﺍﻨﻪ .58 :1 )(65
ﻭﺍﻟﺠﻌﺩ :ﺍﻟﻜﺭﻴﻡ ،ﺇﺫﺍ ﺘﺭﻙ ﺒﻐﻴﺭ ﺇﻀﺎﻓﺔ ،ﻓﺈﺫﺍ ﺃﻀﻴﻑ ﺇﻟﻰ ﻗﺩﻤﻨﺎ ﺍﻟﺒﺎﺭﻭﺩﻱ ﻋﻠﻰ ﺸﻭﻗﻲ ﻟﺠﻬﺔ ﺴﻨﺔ ﺍﻟﻭﻓﺎﺓ ،ﺜﻡ ﺭﺘﺒﻨﺎ )(66
ﺍﻟﻴﺩﻴﻥ ﻓﻘﻴل :ﻓﻼﻥ ﺠﻌﺩ ﺍﻟﻴﺩﻴﻥ ،ﻜﺎﻥ ﺒﻤﻌﻨﻰ ﺍﻟﺒﺨﻴل. ﺍﻟﻘﺼﺎﺌﺩ ﺍﻟﺘﻲ ﻋﺎﺭﻀﻬﺎ ﻜل ﻤﻨﻬﻤﺎ ﺤﺴﺏ ﺴﻨﻲ ﻭﻓﺎﺓ ﺃﺼﺤﺎﺒﻬﺎ.
ﻭﺍﻟﺴﺭﻱ :ﺍﻟﺸﺭﻴﻑ .ﻭﺍﻟﻬﻤﺎﻡ :ﺍﻟﺫﻱ ﻴﻨﻔﺫ ﻤﺎ ﻴﻬ ﻡ ﺒﻪ. ﻤﺤﻤﻭﺩ ﺴﺎﻤﻲ ﺍﻟﺒﺎﺭﻭﺩﻱ )1904-1839ﻡ( ﺤﺎﻤل ﻟﻭﺍﺀ )(67
ﺍﻟﺼﻔﺎﺌﺢ :ﺍﻟﺴﻴﻭﻑ ﺍﻟﻌﺭﻴﻀﺔ .ﻭﻜﻔﺘﻙ ﺍﻷﻗﻼﻡ ﺍﻟﺴﻴﻭﻑِ :ﻟﻤﺎ )(87 ﻤﺩﺭﺴﺔ ﺍﻹﺤﻴﺎﺀ ﻭﺘﺠﺩﻴﺩ ﺍﻟﺸﻌﺭ ﺍﻟﻌﺭﺒﻲ ،ﻭﻗﺼﻴﺩﺘﻪ ﻓﻲ ﺩﻴﻭﺍﻨﻪ
ﺍﺴﺘﻘﺭ ﻟﻙ ﻤﻥ ﺍﻟﻬﻴﺒﺔ ﻓﻲ ﺍﻟﻘﻠﻭﺏ. ،506-485 :3ﻭﻫﻲ ﺜﻼﺜﺔ ﻭﺨﻤﺴﻭﻥ ﺒﻴﺘﺎ.
ﺃﻱ ﺠﺭﺒﺕ ﺍﻷﻤﻭﺭ ﺤﺘﻰ ﻻ ﺘﺤﺘﺎﺝ ﺇﻟﻰ ﺍﻟﺘﻔﻜﺭ ﻓﻴﻬﺎ ،ﺜﻡ ﺼﺎﺭ )(88 ﻋﻨﺘﺭﺓ ﺒﻥ ﺸﺩﺍﺩ ﺍﻟﻌﺒﺴﻲ ) 22 -ﻕ ﻫـ( ﺠﺎﻫﻠﻲ ﻤﻥ )(68
ﺕ ﻻ ﹸﺘ ﹾﻠﻬﻡ ﺴﻭﺍﻩ ،ﻓﻜﻔﺎﻙ ﺇﻟﻬﺎ ﻡ ﺍﷲ ﺍﻟﺼﻭﺍﺏ ﺩﻴﺩﻨﻙ ﺤﺘﻰ ﺼﺭ ﹶ ﺃﺼﺤﺎﺏ ﺍﻟﻤﻌﻠﻘﺎﺕ ،ﻭﻗﺼﻴﺩﺘﻪ ﻓﻲ ﺩﻴﻭﺍﻨﻪ ﺹ ،137-130
ﺏ.
ﺍﻟﺘﺠﺎﺭ ﻭﻓﻲ ﺸﺭﺡ ﺍﻟﻘﺼﺎﺌﺩ ﺍﻟﺴﺒﻊ ﺹ ،366-293ﻭﻋﺩﺩ ﺃﺒﻴﺎﺘﻬﺎ
ﺍﻟﺩﻴﻭﺍﻥ .223 :4 )(89 ﻓﻲ ﺍﻟﺩﻴﻭﺍﻥ ﺘﺴﻌﺔ ﻭﺜﻤﺎﻨﻭﻥ ،ﻭﻓﻲ ﺍﻟﻘﺼﺎﺌﺩ ﺍﻟﺴﺒﻊ ﺘﺴﻌﺔ
ﺍﻟﺠﻬﺎﻡ :ﺍﻟﺴﺤﺎﺏ ﺍﻟﺫﻱ ﻻ ﻤﺎﺀ ﻓﻴﻪ. )(90 ﻭﺴﺒﻌﻭﻥ.
ﺍﻷﺜﺎﻡ :ﺍﻹﺜﻡ ﻭﺍﻟﺫﻨﻭﺏ. )(91 ﺸﺭﺡ ﺍﻟﺩﻴﻭﺍﻥ .486 :3 )(69
ﻋﻠﻠﻪ :ﻋﺎﻟﺠﻪ ﻤﻥ ﻋﻠﺘﻪ ﻭﺩﺍﻭﺍﻩ ،ﻭﺍﻟﻨﺩﺍﻡ :ﺠﻤﻊ ﻨﺩﻤﺎﻥ ،ﻭﻫﻭ )(92 ﺯﻴﺎﺩ ﺒﻥ ﻤﻌﺎﻭﻴﺔ ) 18-ﻕ ﻫـ( ﺍﻟﺸﺎﻋﺭ ﺍﻟﺠﺎﻫﻠﻲ ﺍﻟﻤﻌﺭﻭﻑ. )(70
ﺍﻟﻤﻨﺎﺩﻡ ﻭﺍﻟﻤﺼﺎﺤﺏ. ﻭﻗﺼﻴﺩﺘﻪ ﻓﻲ ﺩﻴﻭﺍﻨﻪ ﺹ ،41-27ﻭﻓﻲ ﻤﺨﺘﺎﺭ ﺍﻟﺸﻌﺭ
ﺍﻟﻜﻼﻡ :ﺍﻟﺠﺭﻭﺡ ﺠﻤﻊ ﻜﹶﻠﻡ. )(93 ﺍﻟﺠﺎﻫﻠﻲ ،187-183 :1ﻭﺃﺒﻴﺎﺘﻬﺎ ﺨﻤﺴﺔ ﻭﺜﻼﺜﻭﻥ ﺒﻴﺘﺎ.
ﺠﻴﺵ ﻟﻬﺎﻡ :ﻋﻅﻴﻡ ﻜﺜﻴﺭ. )(94 ﻓﻲ ﺍﻟﺒﻴﺕ ﺨﺯﻡ ﺒﺈﻀﺎﻓﺔ ﺍﻷﻟﻑ ﺇﻟﻰ :ﻤﻥ ،ﻓﺈﻥ ﻗﺭﺃﺕ :ﺃﻤﻥ ﺁل )(71
ﺍﻟﻭﻟﻴﺩ ﺒﻥ ﻋﺒﻴﺩ )284-206ﻫـ( ﻋﺒﺎﺴﻲ ،ﻭﻗﺼﻴﺩﺘﻪ ﻓﻲ )(95 ﻥ ﺍل ﻤﻴﺔ ﺴﻠﻤﺕ! ﺨﺯﻤﺕ ،ﻭﺇﻥ ﻭﺼﻠﺕ :ﺃﻤ
ﺩﻴﻭﺍﻨﻪ ،1162-1152 :2ﻭﺃﺒﻴﺎﺘﻬﺎ ﺴﺘﺔ ﻭﺨﻤﺴﻭﻥ. ﺩﻴﻭﺍﻥ ﺍﻟﺒﺎﺭﻭﺩﻱ ،204-196 :1ﻭﺍﻟﻘﺼﻴﺩﺓ ﺜﻤﺎﻨﻴﺔ ﻭﺃﺭﺒﻌﻭﻥ )(72
ﺍﻟﺠﺩﺍ :ﺍﻟﻌﻁﺎﺀ ،ﻭﺍﻟﺠﺒﺱ :ﺍﻟﺠﺒﺎﻥ ﻭﺍﻟﻠﺌﻴﻡ. )(96 ﺒﻴﺘﺎ.
ﺃﺤﻤﺩ ﺸﻭﻗﻲ )1932-1868ﻡ( ﺃﻤﻴﺭ ﺍﻟﺸﻌﺭﺍﺀ ،ﻭﻗﺼﻴﺩﺘﻪ ﻓﻲ )(97 ﺘﺭﺍﺀﻯ :ﺘﺘﺭﺍﺀﻯ ،ﻭﺍﻷﺴﻌﺩ :ﺒﺭﺝ ﺍﻟﺤﻤل. )(73
ﺩﻴﻭﺍﻨﻪ ﺍﻟﺸﻭﻗﻴﺎﺕ 51-43 :2ﻭﻫﻲ ﻤﺌﺔ ﻭﻋﺸﺭﺓ ﺃﺒﻴﺎﺕ. ﺍﻟﻐﻁﺭﻴﻑ :ﺍﻟﺴﻴﺩ ﺍﻟﺸﺭﻴﻑ ،ﻭﺃﺸﻡ ﺍﻟﻤﻌﻁﺱ :ﻤﺭﺘﻔﻊ ﺍﻷﻨﻑ، )(74
ﺍﻟﻤﻭﻗﻌﺔ ﺍﻟﺘﻲ ﻴﺸﻴﺭ ﺇﻟﻴﻬﺎ ﺍﻟﺸﺎﻋﺭ ﻭﻗﻌﺕ ﺴﻨﺔ 540ﻡ ﻭﻜﺎﻨﺕ )(98 ﻜﻨﺎﻴﺔ ﻋﻥ ﺍﻟﺸﺭﻑ ﻭﺍﻟﺴﻴﺎﺩﺓ.
ﻤﺴﺠﻠﺔ ﻋﻠﻰ ﺠﺩﺭﺍﻥ ﺍﻟﻘﺼﺭ. ﺍﻟﻜﻤﻴﺕ ﺒﻥ ﺯﻴﺩ ﺍﻷﺴﺩﻱ )126 – 60ﻫـ( ﺃﻤﻭﻱ ،ﺸﺎﻋﺭ )(75
ﻴﺯﺠﻲ :ﻴﺴﻭﻕ ،ﻭﺍﻟﺩﺭﻓﺱ :ﺍﻟﻌﻠﻡ ﺍﻟﻜﺒﻴﺭ ،ﻓﺎﺭﺴﻴﺔ ﻤﻌﺭﺒﺔ. )(99 ﺍﻟﻬﺎﺸﻤﻴﻴﻥ ،ﻭﻗﺼﻴﺩﺘﻪ ﻓﻲ ﺩﻴﻭﺍﻨﻪ ﺹ ،194-183ﻭﻫﻲ
ﻴﺼﻑ ﺍﻟﻔﺭﺱ ﺍﻟﺫﻱ ﻴﻤﺘﻁﻴﻪ ﺃﻨﻭﺸﺭﻭﺍﻥ. )(100 ﻁﻭﻴﻠﺔ ﺒﻠﻎ ﻋﺩﺩ ﺃﺒﻴﺎﺘﻬﺎ ﻤﺌﺔ ﻭﺍﺜﻨﻴﻥ ﻭﺃﺭﺒﻌﻴﻥ ﺒﻴﺘﺎ.
ﺍﻟﻤﺸﻴﺢ :ﺍﻟﺤﺫﺭ ﺍﻟﻤﺠﺩ ،ﻭﻋﺎﻤل ﺍﻟﺭﻤﺢ :ﺼﺩﺭﻩ .ﻭﺍﻟﻤﻠﻴﺢ: )(101 ﺩﻴﻭﺍﻥ ﺍﻟﺒﺎﺭﻭﺩﻱ 95-89 :1ﻭﺃﺒﻴﺎﺘﻬﺎ ﺍﺜﻨﺎﻥ ﻭﺨﻤﺴﻭﻥ ﺒﻴﺘﺎ. )(76
ﺍﻟﺨﺎﺌﻑ ﺍﻟﺤﺫﺭ ،ﻭﺍﻟﺴﻨﺎﻥ :ﻨﺼل ﺍﻟﺭﻤﺢ. ﺍﻟﺤﺴﻥ ﺒﻥ ﻫﺎﻨﺊ )198-146ﻫـ( ﻋﺒﺎﺴﻲ ،ﻭﻗﺼﻴﺩﺘﻪ ﻓﻲ )(77
ﺘﺘﻘﺭﺍﻫﻡ :ﺘﺘﺘﺒﻌﻬﻡ. )(102 ﺩﻴﻭﺍﻨﻪ ﺹ ،483-480ﻭﻫﻲ ﺃﺭﺒﻌﻭﻥ ﺒﻴﺘﺎ.
ﺍﻟﺸﻭﻗﻴﺎﺕ .43 :2 )(103 ﺩﻴﻭﺍﻨﻪ ،25-18 :2ﻭﺃﺒﻴﺎﺘﻬﺎ ﺘﺴﻌﺔ ﻭﺜﻼﺜﻭﻥ. )(78
ﺍﻟﺠﺒﺱ :ﺍﻟﺠﺒﺎﻥ. )(104 ﻓل ﺸﺒﺎﺘﻪ :ﻗﻬﺭﻩ ﻭﻏﻠﺒﻪ ،ﻭﺍﻟﻤﻨﺎﺠﺯﺓ :ﺍﻟﻤﻘﺎﺘﻠﺔ .ﻭﺍﻟﻐﺭﻴﺭ: )(79
ﺃﺤﻤﺩ ﺒﻥ ﻋﺒﺩ ﺍﷲ ﺍﻟﻤﺨﺯﻭﻤﻲ )463-394ﻫـ( .ﻭﺍﻟﻘﺼﻴﺩﺓ )(105 ﺍﻟﻬﺎﺩﺉ ﺍﻟﻭﺍﺩﻉ.
ﻓﻲ ﺩﻴﻭﺍﻨﻪ ﺹ ،393-386ﻭﻫﻲ ﻭﺍﺤﺩ ﻭﺨﻤﺴﻭﻥ ﺒﻴﺘﺎ، ﻁﺎﺵ ﺍﻟﻜﻤﻲ :ﻓﺭ ﺍﻟﺸﺠﺎﻉ ﻭﺠﺒﻥ. )(80
ﻭﺍﻨﻅﺭ :ﺘﺎﺭﻴﺦ ﺍﻷﺩﺏ ﺍﻟﻌﺭﺒﻲ 589 :4ﻭﻤﺎ ﺒﻌﺩﻫﺎ. ﺠﺭﻭل :ﺍﻟﺤﻁﻴﺌﺔ ) 59 -ﻫـ( ،ﺸﺎﻋﺭ ﻤﺨﻀﺭﻡ ،ﻭﺠﺭﻴﺭ )- )(81
ﺍﻟﻜﺎﺸﺢ :ﺍﻟﻤﺒﻐﺽ. )(106 110ﻫـ( ،ﺍﻟﺸﺎﻋﺭ ﺍﻷﻤﻭﻱ.
ﺍﻟﺸﻭﻗﻴﺎﺕ .107 -103 :2ﻭﻨﺎﺌﺢ ﺍﻟﻁﻠﺢ :ﺍﺒﻥ ﻋﺒﺎﺩ ﻤﻠﻙ )(107 ﺍﻟﻨﻭﺍﺴﻲ :ﺃﺒﻭ ﻨﻭﺍﺱ ،ﻭﺍﻟﻤﻌﻨﻰ :ﺃﻨﻪ ﻟﻭ ﺃﺩﺭﻙ ﺍﻟﻨﻭﺍﺴﻲ ﻟﻔﺎﻗﻪ )(82
ﺃﺸﺒﻴﻠﻴﺔ ﺍﻟﺫﻱ ﻜﺎﻥ ﻴﻠﻭﺫ ﺒﻭﺍﺩﻱ ﺍﻟﻁﻠﺢ ﺒﻌﺩ ﻨﻜﺒﺘﻪ ،ﻭﺍﻟﻭﺍﺩﻱ ﻭﺃﺨﻤﻠﻪ ﻭﻜﻔﻪ ﻋﻥ ﺍﻟﻘﻭل.
ﺩﻴﻭﺍﻨﻪ ،588-578 :3ﻭﺍﻟﻘﺼﻴﺩﺓ ﺃﺒﻴﺎﺘﻬﺎ ﺍﺜﻨﺎﻥ ﻭﺜﻼﺜﻭﻥ ﺒﻴﺘﺎ. )(112 ﺍﻵﺨﺭ :ﻭﺍﺩﻱ ﺍﻟﻨﻴل ،ﻭﺍﻟﻌﻭﺍﺩﻱ :ﺍﻟﻤﺼﻴﺒﺎﺕ ﻭﺍﻟﻨﻜﺒﺎﺕ.
ﺍﻟﺸﻭﻗﻴﺎﺕ ،208 -190 :1ﻭﻫﻲ ﻤﺌﺔ ﻭﺘﺴﻌﻭﻥ ﺒﻴﺘﺎ. )(113 ﺼﺎﻟﺢ ﺒﻥ ﻴﺯﻴﺩ )684 -ﻫـ( ،ﻭﺍﻟﻘﺼﻴﺩﺓ ﻓﻲ ﻨﻔﺢ ﺍﻟﻁﻴﺏ :6 )(108
ﺃﺼﻤﻰ ﻴﺼﻤﻲ :ﺃﺼﺎﺏ ﺍﻟﻤﻘﺘل ،ﻭﻭﺼﻡ :ﻋﺎﺏ. )(114 ،279ﻭﺃﺒﻴﺎﺘﻬﺎ ﻓﻴﻪ ﺍﺜﻨﺎﻥ ﻭﺃﺭﺒﻌﻭﻥ ﺒﻴﺘﹰﺎ.
ﻴﻠﻘﻲ ﻴﺩ ﺍﻟﺴﻠﻡ :ﻴﺭﻋﻰ ﺍﻟﻤﻭﺩﺓ ﻭﻴﻨﻘﺎﺩ ﻟﺩﺍﻋﻲ ﺍﻷﺨﻭﺓ. )(115 ﺘﺎﺭﻴﺦ ﺍﻷﺩﺏ ﺍﻟﻌﺭﺒﻲ .287 :6 )(109
ﺍﻟﺒﺎﺩﺭﺓ :ﺍﻟﺒﺩﻴﻬﺔ .ﻴﻔﺘﺨﺭ ﺒﻨﺒﻭﻏﻪ ﻭﺴﺒﻘﻪ ﻓﻲ ﻤﺠﺎل ﺍﻷﺩﺏ، )(116 ﺍﻟﺸﻭﻗﻴﺎﺕ ،102 - 99 :2ﻭﺃﺒﻴﺎﺘﻬﺎ ﻭﺍﺤﺩ ﻭﺃﺭﺒﻌﻭﻥ ﺒﻴﺘﺎ. )(110
ﻭﺃﻥ ﻗﻠﻤﻪ ﺃﺒﻠﻎ ﺃﺜﺭﺍ ﻭﺃﻋﻅﻡ ﺨﻁﺭﺍ ﻤﻥ ﺃﻤﻀﻰ ﺃﺴﻠﺤﺔ ﺍﻟﻘﺼﻴﺩﺓ ﻓﻲ ﺩﻴﻭﺍﻨﻪ ﺹ ،190ﻭﻋﺩﺩ ﺃﺒﻴﺎﺘﻬﺎ ﻤﺌﺔ ﻭﺍﺜﻨﺎﻥ )(111
ﺍﻟﻘﺘﺎل. ﻭﺴﺘﻭﻥ ﺒﻴﺘﺎ .ﻭﺍﻨﻅﺭ :ﻨﺼﻭﺹ ﻤﻥ ﺸﻌﺭ ﻋﺼﻭﺭ ﺍﻟﺩﻭل
ﺍﻟﻭﻀﻡ :ﺨﺸﺒﺔ ﺍﻟﺠﺯﺍﺭ ﺍﻟﺘﻲ ﻴﻘﻁﻊ ﻋﻠﻴﻬﺎ ﺍﻟﻠﺤﻡ. )(117 ﺍﻟﻤﺘﺘﺎﺒﻌﺔ ﺹ .339
ABSTRACT
This study aims at investigating the art of Polemic Poetry in Old and Modern Literature. It also introduces the
most important Poets in the field along with those whom they opposed. In addition, it investigates the reasons and
motivation for the emergence and continuation of this art through all artistic eras until nowadays. And finally, the
study discusses the results and effects of this art on Arabic Poetry Movement and path.
The study applied the Descriptive-Analytic Approach, through reading texts and making conclusions about
common and opposing literary characteristic of the contradicting and contradicted Poems. A large number of
Polemic Poems was studied, where Poets of Old Eras opposed each other, and Modern Poets opposed those of Old
Eras.
Results indicated that this artistic Phenomenon has contributed in the progression and development of Arabic
Poetry, and that some opposing Poets have elevated in performance over those whom they opposed in many
aspects like the content of Poems, linguistic structure, artistic texture, and metaphoric uses.
Keywords: The Oppositions, The Literature Inheritage, Al-Naq’ed, The Arabic Literature.
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*Department of Arabic Language and Literature, Faculty of Arts, Middle East University for Graduate Studies, Amman,
Jordan. Received on 26/8/2008 and Accepted for Publication on 31/3/2009.
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