‫ﺟﺎﻣﻌﺔ ﺍﳉﺰﺍﺋﺮ‬

‫ﺑﻦ ﻳﻮﺳﻒ ﺑﻦ ﺧﺪﺓ‬

‫ﻗﺴﻢ ﺍﻟﻠﻐﺔ ﺍﻟﻌﺮﺑﻴﺔ ﻭ ﺁﺩﺍ‪‬ﺎ‬ ‫ﻛﻠﻴﺔ ﺍﻵﺩﺍﺏ ﻭ ﺍﻟﻠﻐﺎﺕ‬

‫ﺷﺮح‬
‫ﺗﺤﻔﺔ اﻹﺧﻮان ﻓﻲ ﻋﻠﻢ اﻟﻤﺠﺎز‬
‫ﻟـ‪ :‬ﺃﺒﻲ ﺍﻟﺒﺭﻜﺎﺕ ﺃﺤﻤﺩ ﺒﻥ ﻤﺤﻤﺩ ﺒﻥ ﺃﺒﻲ ﺤﺎﻤﺩ ﺍﻟﻌﺩﻭﻱ‬
‫ﺍﻟﺸﻬﻴﺭ ﺒﺎﻟﺩﺭﺩﻴﺭ‬
‫)ﺕ‪ 1201 :‬ﻫـ ‪ 1786 /‬ﻡ(‬
‫ﺘﻘﺩﻴﻡ ﻭ ﺘﺤﻘﻴﻕ‬

‫ﻣﺬﻛﺮﺓ ﻟﻨﻴﻞ ﺷﻬﺎﺩﺓ ﺍﳌﺎﺟﺴﺘﲑ‬

‫ﺇﻋﺪﺍﺩ ﺍﻟﻄﺎﻟﺐ‪:‬‬
‫ﻋﻤﺮﻭ ﺭﺍﲝﻲ‬

‫‪2005/2004‬‬ ‫ﺍﻟﺴﻨﺔ ﺍﳉﺎﻣﻌﻴﺔ‬

‫ﺟﺎﻣﻌﺔ ﺍﳉﺰﺍﺋﺮ‬
‫ﻗﺴﻢ ﺍﻟﻠﻐﺔ ﺍﻟﻌﺮﺑﻴﺔ ﻭ ﺁﺩﺍ‪‬ﺎ‬ ‫ﻛﻠﻴﺔ ﺍﻵﺩﺍﺏ ﻭ ﺍﻟﻠﻐﺎﺕ‬
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 ‫ﺷﺮح‬
‫ﺗﺤﻔﺔ اﻹﺧﻮان ﻓﻲ ﻋﻠﻢ اﻟﻤﺠﺎز‬
‫ﻟـ‪ :‬ﺃﺒﻲ ﺍﻟﺒﺭﻜﺎﺕ ﺃﺤﻤﺩ ﺒﻥ ﻤﺤﻤﺩ ﺒﻥ ﺃﺒﻲ ﺤﺎﻤﺩ ﺍﻟﻌﺩﻭﻱ‬
‫ﺍﻟﺸﻬﻴﺭ ﺒﺎﻟﺩﺭﺩﻴﺭ‬
‫)ﺕ‪ 1201 :‬ﻫـ ‪ 1786 /‬ﻡ(‬

‫ﺘﻘﺩﻴﻡ ﻭ ﺘﺤﻘﻴﻕ‬
‫ﻣﺬﻛﺮﺓ ﻟﻨﻴﻞ ﺷﻬﺎﺩﺓ ﺍﳌﺎﺟﺴﺘﲑ‬

‫ﺇﺷﺮﺍﻑ ﺍﻟﺪﻛﺘﻮﺭ‪:‬‬ ‫ﺇﻋﺪﺍﺩ ﺍﻟﻄﺎﻟﺐ‪:‬‬

‫ﺍﻟﺸﺮﻳﻒ ﻣﺮﻳﺒﻌﻲ‬ ‫ﻋﻤﺮﻭ ﺭﺍﲝﻲ‬

‫ﺃﻋﻀﺎﺀ ﳉﻨﺔ ﺍﳌﻨﺎﻗﺸﺔ‪:‬‬

‫ﺍﻟﺪﻛﺘﻮﺭ‪ :‬ﺑﺮﻛﺎﻫﻢ ﺍﻟﻌﻠﻮﻱ ‪ . . . . . . . . . .‬ﺭﺋﻴﺴﺎ‪.‬‬
‫ﺍﻟﺪﻛﺘﻮﺭ‪ :‬ﺍﻟﺸﺮﻳﻒ ﻣﺮﻳﺒﻌﻲ ‪ . . . . . . . . . .‬ﻣﺸﺮﻓﺎ ﻭ ﻣﻘﺮﺭﺍ‪.‬‬
‫ﺍﻟﺪﻛﺘﻮﺭ‪ :‬ﺯﻫﻴﺔ ﺳﻌﺪﻭ ‪ . . . . . . . . . . . .‬ﻋﻀﻮﺍ ﻣﻨﺎﻗﺸﺎ‪.‬‬

‫‪2005/2004‬‬ ‫ﺍﻟﺴﻨﺔ ﺍﳉﺎﻣﻌﻴﺔ‬

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-3-
 ‫ﻋﻠـﻢ اﻟﺒﻴـﺎن‬
‫ﺗﻌﺮﻳﻔﻪ ﻭﻓﺎﺋﺪﺗﻪ‪:‬‬
‫ﺍﻟﺒﻴﺎﻥ ﻟﻐﺔ‪ :‬ﺍﻟﻜﺸﻒ‪ ,‬ﻭﺍﻹﻳﻀﺎﺡ ﻭﺍﻟﻈﻬﻮﺭ‪ ,‬ﻭﺑﺎﻥ ﺍﻟﺸﻲﺀ ﻳﺒﲔ ﺑﻴﺎﻧﺎ ‪ .‬ﺍﺗﻀﺢ ‪,‬ﻓﻬﻮ ﺑﲔ ‪.‬ﻭﺃﺑﺎﻥ‬
‫ﺍﻟﺸﻲﺀ ﻓﻬﻮ ﻣﺒﲔ ﻭﺃﺑﻨﺘﻪ‪:‬ﺃﻱ ﻭﺿﺤﺘﻪ ﻭﺍﺳﺘﺒﺎﻥ ﺍﻟﺸﻲﺀ ﻇﻬﺮ ﻭﺍﻟﺘﺒﲔ‪ .‬ﺍﻹﻳﻀﺎﺡ‪ ,‬ﻗﺎﻝ ﺗﻌﺎﱃ ))‬
‫ﻭﻣﺎ ﺃﺭﺳﻠﻨﺎ ﻣﻦ ﺭﺳﻮﻝ ﺇﻻ ﺑﻠﺴﺎﻥ ﻗﻮﻣﻪ ﻟﻴﺒﲔ ﳍﻢ ((‬
‫ﻭﺍﺻﻄﻼﺣﺎ‪:‬ﺃﺻﻮﻝ ﻭﻗﻮﺍﻋﺪ ﻳﻌﺮﻑ ‪‬ﺎ ﺇﻳﺮﺍﺩ ﺍﳌﻌﲎ ﺍﻟﻮﺍﺣﺪ‪ ,‬ﺑﻄﺮﻕ ﳜﺘﻠﻒ ﺑﻌﻀﻬﺎ ﻋﻦ ﺑﻌﺾ‪,‬‬
‫ﰲ ﻭﺿﻮﺡ ﺍﻟﺪﻻﻟﺔ ﺍﻟﻌﻘﻠﻴﺔ ﻋﻠﻰ ﺫﻟﻚ ﺍﳌﻌﲎ ﻧﻔﺴﻪ ‪.‬ﻭﺍﺿﻊ ﻫﺬﺍ ﺍﻟﻌﻠﻢ‪:‬ﺩﻭﻥ ﺃﺑﻮ ﻋﺒﻴﺪﻩ ﰲ‬
‫ﻛﺘﺎﺑﻪ)) ﳎﺎﺯ ﺍﻟﻘﺮﺁﻥ (( ﻣﺴﺎﺋﻞ ﻫﺬﺍ ﺍﻟﻌﻠﻢ‪,‬ﻭﲢﺪﺙ ﻋﻨﻪ ﻧﻘﺎﺩ ﺁﺧﺮﻭﻥ ﻛﺎﳉﺎﺣﻆ‪ ,‬ﻭﺑﺸﺮ ﺑﻦ‬
‫ﺍﳌﻌﺘﻤﺮ ﻭﺍﻟﺮﻣﺎﱐ ‪.‬ﻭﺍﻵﻣﺪﻱ ﻭﺍﻟﻘﺎﺿﻲ ﺍﳉﺮ ﺟﺎﱐ ‪ ,‬ﻭﺍﺑﻦ ﺭﺷﻴﻖ ﻭﺃﰊ ﻫﻼﻝ ﺍﻟﻌﺴﻜﺮﻱ ﻭﻣﺎ‬
‫ﺇﻥ ﺟﺎﺀ ﻋﺒﺪ ﺍﻟﻘﺎﻫﺮ ﺍﳉﺮ ﺟﺎﱐ ﺣﱴ ﺃﺣﻜﻢ ﺃﺳﺎﺱ ﻫﺬﺍ ﺍﻟﻌﻠﻢ ﻭﺷﻴﺪ ﺑﻨﺎﺀﻩ ﻭﺭﺗﺐ ﻗﻮﺍﻋﺪﻩ‬
‫ﺑﺸﻜﻞ ﺩﻗﻴﻖ‪....‬ﻭﺗﺒﻌﻪ ﰲ ﺫﻟﻚ ﻣﻦ ﺟﺎﺀ ﺑﻌﺪﻩ‪.‬‬
‫ﻓﺎﺋﺪﺗﻪ‪ :‬ﺍﻟﻮﻗﻮﻑ ﻋﻠﻰ ﺃﺳﺮﺍﺭ ﻛﻼﻡ ﺍﻟﻌﺮﺏ ﻣﻨﻄﻮﻗﺔ ﻭﻣﻨﺜﻮﺭﺓ‪.‬ﻭﻣﻌﺮﻓﺔ ﻣﺎﻓﻴﻪ ﻣﻦ ﺗﻔﺎﻭﺕ ﰲ‬
‫ﻓﻨﻮﻥ ﺍﻟﻔﺼﺎﺣﺔ ﻭﺍﻟﺒﻼﻏﺔ ﺍﻟﱵ ﻳﺼﻞ ‪‬ﺎ ﺇﱃ ﻣﺮﺗﺒﺔ ﻋـﺎﻟﻴﺔ‪.‬‬
‫ﺍﻧﻈﺮ ﺍﻟﺒﻼﻏﺔ ﻭﺍﻷﺳﻠﻮﺑﻴﺔ ﻣﻘﺪﻣﺎﺕ ﻋﺎﻣﺔ‪ ,‬ﻝ‪:‬ﺩ ﻳﻮﺳﻒ ﺃﺑﻮ ﺍﻟﻌﺪﻭﺱ’ﻣﻄﺒﻌﺔ ﺍﻷﻫﻠﻴﺔ ﻟﻠﻨﺸﺮ‬
‫ﻁ‪ 99/1:‬ﺹ‪97:‬‬ ‫ﻭﺍﻟﺘﻮﺯﻳﻊ ‪ .‬ﺍﻷﺭﺩﻥ ‪.‬‬

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 ‫ﺍﻻﺻﻄﻼﺣﺎﺕ ﻭ ﺍﻟﺮﻣﻮﺯ ﺍﻟﻮﺍﺭﺩﺓ ﰲ ﻫﺬﺍ ﺍﻟﺘﺤﻘﻴﻖ‬
‫ﺭﻣﺰ ﺍﻟﺼﻔﺤﺔ ‪) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .‬ﺹ(‬ ‫‪.1‬‬

‫)ﺝ (‬ ‫ﺭﻣﺰ ﺍﳉﺰﺀ ‪. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .‬‬ ‫‪.2‬‬

‫ﻭﺟﻪ ﺍﻟﻮﺭﻗﺔ ‪) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .‬ﻭ‪(/‬‬ ‫‪.3‬‬

‫ﻇﻬﺮ ﺍﻟﻮﺭﻗﺔ ‪) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .‬ﻅ‪(/‬‬ ‫‪.4‬‬

‫ﺭﻣﺰ ﺍﳌﺨﻄﻮﻁ ﺍﻷﺻﻠﻲ ‪) . . . . . . . . . . . . . . . . . . . . . . . . . . .‬ﻣﺦ(‬ ‫‪.5‬‬

‫ﺭﻣﺰ ﳐﻄﻮﻃﺔ ﺍﳌﻌﻬﺪ ﺍﻟﻘﺎﲰﻲ ‪) . . . . . . . . . . . . . . . . . . . . . . . .‬ﻕ(‬ ‫‪.6‬‬

‫ﺭﻣﺰ ﳐﻄﻮﻁ ﺧﺰﺍﻧﺔ ﺍﻟﺮﺑﺎﻁ ‪) . . . . . . . . . . . . . . . . . . . . . . . . .‬ﺥ(‬ ‫‪.7‬‬

‫ﺭﻣﺰ ﳐﻄﻮﻃﺔ ﺍﳌﻜﺘﺒﺔ ﺍﻟﻮﻃﻨﻴﺔ ‪) . . . . . . . . . . . . . . . . . . . . . . . .‬ﻡ(‬ ‫‪.8‬‬

‫ﺍﳋﻂ ﺍﳌﺎﺋﻞ ﻳﺪﻝ ﻋﻠﻰ ﺑﺪﺀ ﺍﻟﺼﻔﺤﺔ ﺍﳉﺪﻳﺪﺓ ﻭ ﺍﻧﺘﻬﺎﺀ ﺍﻟﺼﻔﺤﺔ ﺍﻟﺴﺎﺑﻘﺔ ‪(.../...) . . . .‬‬ ‫‪.9‬‬

‫] [‬ ‫‪ .10‬ﺍﳊﺎﺻﺮﺗﺎﻥ ﺗﺪﻻﻥ ﻋﻠﻰ ﻛﻞ ﻣﺎ ﺍﺳﺘﺪﺭﻙ ﻣﻦ ﺍﻟﻨﺴﺦ ﺍﻷﺧﺮﻯ ‪. . . . . . . . .‬‬

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 ‫ﻣﻘﺪﻣﺔ‬
‫ﺇﻥ ﺍﻟﺒﺤﺚ ﰲ ﺍﻟﺘﺮﺍﺙ ﻭﺍﻻﻫﺘﻤﺎﻡ ﺑﻪ ﻣﻦ ﺍﳌﻬﺎﻡ ﻟﱵ ﺑﺎﺗﺖ ﺗﻨﺘﻈﺮﺍ ﳉﻤﻴﻊ ﺃﻓﺮﺍﺩﺍ ﻛﺎﻧﻮﺍ ﺃﻡ‬
‫ﲨﺎﻋﺎﺕ ﺃﻡ ﻫﻴﺄﺕ ﺫﻟﻚ‪ ،‬ﻷﻥ ﺍﳌﺬﺧﻮﺭ ﺍﻟﺜﻘﺎﰲ ﻭﺍﻟﻌﻠﻤﻲ ﺍﻟﺬﻱ ﺗﺮﻛﻪ ﺍﻷﺳﻼﻑ ﻣﻨﺬ ﻋﻬﻮﺩ ﻣﻀﺖ ﻣﻦ‬
‫ﺍﻟﻀﺨﺎﻣﺔ ﻣﺎ ﻳﺴﺘﺪﻋﻲ ﺗﻌﺎﻭﻥ ﻭﺗﻀﺎﻓﺮ ﻛﻞ ﺍﳉﻬﻮﺩ ﺍﳌﺨﺘﺼﺔ ﻻﺳﺘﺨﺮﺍﺟﻪ ﻭﲢﻘﻴﻘﻪ ﻭﻓﻬﺮﺳﺘﻪ‪ ,‬ﻭﻫﺬﻩ‬
‫ﺍﳌﻬﻤﺔ ﻟﻴﺴﺖ ﻣﻬﻤﺔ ﺧﺎﺻﺔ ﺑﺎﻟﺒﺎﺣﺜﲔ ﺃﻭ ﺍﻟﺪﺍﺭﺳﲔ ﺩﻭﻥ ﺳﻮﺍﻫﻢ‪ ,‬ﺑﻞ ﺇ‪‬ﺎ ﻣﻬﻤﺔ ﻛﻞ ﺍﳌﺜﻘﻔﲔ ﻣﻦ ﺃﺑﻨﺎﺀ‬
‫ﻫﺬﻩ ﺍﻷﻣﺔ‪ .‬ﻟﻠﺤﻔﺎﻅ ﻋﻠﻰ ﻣﺎ ﺗﺮﻛﻪ ﺍﻷﺟﺪﺍﺩ ﻣﻦ ﺇﻧﺘﺎﺝ ﻋﻠﻤﻲ ﻷﻥ ﻋﻄﺎﺀ ﺍﳊﻀﺎﺭﺓ ﺍﻟﻌﺮﺑﻴﺔ ﺍﻹﺳﻼﻣﻴﺔ‬
‫ﻳﻮﻡ ﺃﻥ ﻛﺎﻧﺖ ﰲ ﺃﻭﺟﻬﺎ ﺇﺑﺎﻥ ﻋﺼﻮﺭﻫﺎ ﺍﻟﺰﺍﻫﺮﺓ ﻗﺪ ﺃﻓﻀﻰ ﺇﱃ ﻣﺎ ﻻ ﳛﺼﻰ ﻋﺪﻩ ﺃﻭ ﺣﺼﺮﻩ ﻣﻦ‬
‫ﺍﳌﺆﻟﻔﺎﺕ ﺃﻭ ﺍﳌﺨﻄﻮﻃﺎﺕ‪ ,‬ﻟﺬﻟﻚ ﳒﺪ ﻛﻤﺎ ﻫﺎﺋﻼ ﻣﻦ ﺍﳌﺆﻟﻔﺎﺕ ﰲ ﺷﱴ ﺍﳌﻌﺎﺭﻑ ﻻ ﺗﺰﺍﻝ ﺭﻫﻦ‬
‫ﺍﳌﻜﺘﺒﺎﺕ ﺍﳌﺨﺘﻠﻔﺔ ﰲ ﺍﻟﺸﺮﻕ ﻭ ﺍﻟﻐﺮﺏ ﺗﻨﺘﻈﺮ ﺃﺑﻨﺎﺀﻫﺎ ﺍﻟﱪﺭﺓ‪ ،‬ﻣﻦ ﻳﺰﻳﺢ ﻋﻨﻬﺎ ﻏﺒﺎﺭ ﺍﻟﺴﻨﲔ ﺍﻟﻨﺴﻴﺎﻥ‪،‬‬
‫ﻭ ﳜﺮﺟﻬﺎ ﺇﱃ ﺍﻟﻨﻮﺭ‪ ,‬ﻭﻛﻤﺎ ﻻ ﻧﻨﺴﻰ ﺃﻥ ﻫﻨﺎﻙ ﺍﻟﻜﺜﲑ ﻣﻨﻬﺎ ﰲ ﺗﻜﺎﻳﺎ ﺃﻭ ﺩﻫﺎﻟﻴﺰ ﻭﺃﻗﺒﻴﺔ ﻣﻈﻠﻤﺔ ﻳﺘﻌﺮﺽ‬
‫ﻳﻮﻣﺎ ﺑﻌﺪ ﻳﻮﻡ ﺇﱃ ﺍﻟﺘﻠﻒ ﺃﻭ ﺍﻻﻧﺪﺛﺎﺭ ‪ -‬ﺃﻭ ﳘﺎ ﻣﻌﺎ ‪ -‬ﺑﺴﺒﺐ ﺍ ﻟﻌﻮﺍﻣﻞ ﺍﻟﻄﺒﻴﻌﺔ ﻛﺎﻟﺮﻃﻮﺑﺔ ﺃ ﻭﺍﳊﺮﺍﺭﺓ ﺃﻭ‬
‫ﺍﻟﱪﻭﺩﺓ ﺃﻭ ﺗﺄﺛﲑ ﺍﻷﺭﺿﺔ ﺃﻭ ﻏﲑﻫﺎ ﻣﻦ ﻋﻮﺍﻣﻞ ﺍﻟﺘﻠﻒ‪.‬‬
‫ﻭﰲ ﻫﺬﺍ ﺍﻹﻃﺎﺭ‪ ،‬ﻭﻣﻦ ﻫﺬﺍ ﺍﳌﻨﻄﻠﻖ ﻭﺟﺪﺕ ﻧﻔﺴﻲ ﻣﻊ ﺃﺣﺪ ﺍﳌﺆﻟﻔﺎﺕ ﺍﻟﱵ ﺗﺮﻛﻬﺎ ﺍﻷﺳﻼﻑ‪،‬‬
‫ﺁﻣﻼ ﰲ ﺍﻹﺳﻬﺎﻡ ﻭ ﻟﻮ ﺑﺎﻟﱰﺭ ﺍﻟﻴﺴﲑ ﰲ ﺇﺛﺮﺍﺀ ﻣﻜﺘﺒﺔ ﺍﻟﺘﺮﺍﺙ‪ .‬ﻭﻫﺬﺍ ﻹﳝﺎﱐ ﺃﻥ ﻣﺎ ﻗﺎﻡ ﺑﻪ ﺍﻷﺳﻼﻑ‬
‫ﺟﺪﻳﺮ ﺑﺎﻟﻌﻨﺎﻳﺔ ﻭﺍﻻﻫﺘﻤﺎﻡ‪ .‬ﻭﻗﺪ ﺣﺪﺍﱐ ‪ -‬ﰲ ﻫﺬﺍ ﺍﻟﺸﺄﻥ ‪ -‬ﺑﺎﻋﺚ ﺍﻻﺧﺘﻴﺎﺭ ﺇﱃ ﺩﺭﺍﺳﺔ ﻭﲢﻘﻴﻖ ﻛﺘﺎﺏ‬
‫)ﺷﺮﺡ ﲢﻔﺔ ﺍﻹﺧﻮﺍﻥ ﰲ ﻋﻠﻢ ﺍ‪‬ﺎﺯ( ﻟﻴﻜﻮﻥ ﻣﻮﺿﻮﻉ ﲝﺜﻲ ﳌﺬﻛﺮﺓ ﺍﳌﺎﺟﺴﺘﲑ‪ ،‬ﻭﻫﻮ ﻟﻠﻔﻘﻴﻪ‪ .‬ﺍﻟﻌﺎﱂ‪.‬‬
‫ﺍﳌﺘﺒﺼﺮ ﺍﻟﺸﻴﺦ ﺍﻟﻌﻼﻣﺔ ‪ -‬ﺍﻟﺪﺭ ﺩﻳﺮ ‪ -‬ﺭﲪﻪ ﺍﷲ ﺗﻌﺎﱃ – ﻭ ﻗﺪ ﻛﺎﻥ ﻫﺬﺍ ﺍﻟﺸﺮﺡ ﻋﺒﺎﺭﺓ ﻋﻦ ﺭﺳﺎﻟﺔ‬
‫ﺻﻐﲑﺓ ﺟﺪﺍ ﺃﻭ ﲢﻔﺔ ﳐﺘﺼﺮﺓ ﻛﻤﺎ ﲰﺎﻫﺎ ﰲ ﺍﳌﻘﺪﻣﺔ‪ ،‬ﻭﺍﻟﱵ ﻛﺎﻥ ﻗﺪ ﺃﻟﻔﻬﺎ ﺑﺪﺍﻳﺔ ﰒ ﻗﺎﻡ ﻓﻴﻤﺎ ﺑﻌﺪ‬
‫ﺑﺸﺮﺣﻬﺎ ﺑﻨﻔﺴﻪ‪ ،‬ﻭﻻ ﺃﻋﺮﻑ ﺍﻟﺪﺍﻓﻊ ﺍﳊﻘﻴﻘﻲ ﻭﺭﺍﺀ ﻫﺬﺍ ﺍﻟﻌﻤﻞ ﺇﻻ ﻣﺎ ﺻﺮﺡ ﺑﻪ ﰲ ﻣﻘﺪﻣﺘﻪ ﳍﺬﺍ‬
‫ﺍﻟﺸﺮﺡ‪ ،‬ﺣﻴﺚ ﻗﺎﻝ‪) :‬ﻫﺬﺍ ﺷﺮﺡ ﻟﻄﻴﻒ ﻋﻠﻰ ﺍﻟﺮﺳﺎﻟﺔ ﺍﻟﱵ ﺟﻌﻠﺘﻬﺎ ﰲ ﺑﻴﺎﻥ ﺍ‪‬ﺎﺯ ﻭﺍﻟﺘﺸﺒﻴﻪ ﻭﺍﻟﻜﻨﺎﻳﺔ‬
‫)ﻅ‪(1/‬‬
‫ﻳﻮﺿﺢ ﻣﻌﺎﻧﻴﻬﺎ ﻭﳛﻞ ﻣﺒﺎﻧﻴﻬﺎ(‬

‫ﺧﻄـﺔ ﺍﻟﺒﺤـﺚ‪:‬‬
‫ﻭﻗﺪ ﺟﺎﺀ ﺍﻟﺒﺤﺚ ﰲ ﻗﺴﻤﲔ ﺃﻭﳍﻤﺎ ﻟﻠﺘﻘﺪﱘ‪ .‬ﻭ ﺛﺎﻧﻴﻬﻤﺎ ﻟﻠﺘﺤﻘﻴﻖ‪ ،‬ﻓﻔﻲ ﺍﻟﻘﺴﻢ ﺍﻷﻭﻝ ﺗﻌﺮﺿـﺖ‬
‫ﻓﻴﻪ ﺇﱃ ﺍﳌﻨﺎﺥ ﺍﻟﺴﻴﺎﺳﻲ ﻭﺍﻻﺟﺘﻤﺎﻋﻲ ﻭﺍﻟﺜﻘﺎﰲ ﻟﻠﻤﺆﻟﻒ‪ ،‬ﻭﻓﻴﻪ ﺣﺪﻳﺚ ﻋﻦ ﺍﻷﻭﺿﺎﻉ ﺍﻟـﱵ ﻛﺎﻧـﺖ‬
‫ﺗﻌﻴﺸﻬﺎ ﻣﺼﺮ ﺑﻠﺪ ﺍﳌﺆﻟﻒ ‪,‬ﻭﻓﻴﻪ ﶈﺔ ﻣﻮﺟﺰﺓ ﻋﻦ ﻧﻈﺎﻡ ﺍﳊﻜﻢ ﺍﻟﺴﺎﺋﺪ ﰲ ﻫﺬﻩ ﺍﳊﻘﺒﺔ‪ ,‬ﺑﺎﻹﺿـﺎﻓﺔ ﺇﱃ‬
‫ﺍﳊﺎﻟﺔ ﺍﻻﺟﺘﻤﺎﻋﻴﺔ ﺍﻟﺴﺎﺋﺪﺓ ‪,‬ﻭ ﺃﻫﻢ ﺍﳌﺮﺍﻛﺰ ﺍﻟﺜﻘﺎﻓﻴﺔ ﻭﺍﻟﻌﻠﻤﻴﺔ ﻭﺗﺄﺛﲑﺍ‪‬ﺎ ﰲ ﺍﳊﻴﺎﺓ ﺍﻟﻌﺎﻣﺔ‪.‬‬
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‫ﻭﻣﺎﺩﺍﻡ ﺍﻟﺒﺤﺚ ﳜﺘﺺ ﺑﺸﺨﺼﻴﺔ ﺍﻟﺪﺭ ﺩﻳﺮ ﻭﻣﺆﻟﻔﻪ‪ ،‬ﻓﻘﺪ ﻗﻤﺖ ﺑﺎﺳﺘﻌﺮﺍﺽ ﻣﻔﺼﻞ ﻷﻫﻢ ﺃﻃﻮﺍﺭ‬
‫ﺣﻴﺎﺗﻪ‪ ,‬ﻭﻫﺬﺍ ﺑﺎﻟﺘﻌﺮﺽ ﻻﲰﻪ ﻭﻧﺴﺒﻪ ﻭﻭﻻﺩﺗﻪ ﻭﺷﻴﻮﺧﻪ ﻭﺗﻼﻣﺬﺗﻪ ﻭﻭﻓﺎﺗﻪ ﻭﺃﺭﺍﺀ ﺍﻟﻌﻠﻤﺎﺀ ﻓﻴـﻪ‪ ,‬ﻛﻤـﺎ‬
‫ﻭﻗﻔﺖ ﻋﻠﻰ ﺁﺛﺎﺭﻩ ﻣﻦ ﺍﻟﻜﺘﺐ‪ ,‬ﺳﻮﺍﺀ ﺍﳌﻄﺒﻮﻋﺔ ﻣﻨﻬﺎ‪ ,‬ﺃﻭ ﺍﳌﺨﻄﻮﻃﺔ‪.‬ﺇﺿﺎﻓﺔ ﺇﱃ ﺍﺳﻢ ﺍﻟﻜﺘﺎﺏ ﻭﻋﻨﻮﺍﻧـﻪ‬
‫ﻭﻧﺴﺒﺘﻪ ﺇﱃ ﺍﻟﺪﺭ ﺩﻳﺮ‪,‬ﻭﺍﱃ ﺃﳘﻴﺘﻪ ﻭﳏﺘﻮﺍﻩ ﻭﺃﻗﺴﺎﻣﻪ ‪,‬ﻭﺍﻟﻨﺴﺦ ﺍﳌﻌﺘﻤﺪﺓ ﰲ ﻫﺬﻩ ﺍﳌﺬﻛﺮﺓ‪ ,‬ﺑﺎﻹﺿـﺎﻓﺔ ﺇﱃ‬
‫ﺇﺛﺒﺎﺕ ﳕﺎﺫﺝ ﻣﻦ ﺍﻟﺼﻮﺭ ﻟﻠﻨﺴﺦ ﺍﳌﻌﺘﻤﺪﺓ ﰲ ﻫﺬﺍ ﺍﻟﺘﺤﻘﻴﻖ‪.‬‬
‫ﺃﻣﺎ ﰲ ﺍﻟﻘﺴﻢ ﺍﻟﺜﺎﱐ‪ ،‬ﻓﻘﺪ ﺧﺼﺼﺘﻪ ﻟﻠﻨﺺ ﺍﶈﻘﻖ‪ ،‬ﻭﻓﻴﻪ ﻭﻗﻔﺖ ﻋﻠﻰ ﻋﺮﺽ ﺍﻟﻨﺴﺦ ﺍﳌﺨﺘﻠﻔﺔ‬
‫ﻟﻠﻤﻘﺎﺭﻧﺔ ﺑﻴﻨﻬﺎ ﻭﺍﻟﺘﻌﻠﻴﻖ ﻭ ﺃﻭﺿﺤﺖ ﺃﻭﺟﻪ ﺍﻻﺧﺘﻼﻑ ﻭﺃﳊﻘﺘﻪ ﰲ ﺍﻷﺧﲑ ﺑﻌﺪﺩ ﻣﻦ ﺍﳌﻼﺣﻖ ﻭﺍﻟﻔﻬﺎﺭﺱ‬
‫ﺍﻟﻔﻨﻴﺔ ﻭﻣﺼﺎﺩﺭ ﺍﻟﺘﺤﻘﻴﻖ‪.‬ﻓﻀﻼ ﻋﻦ ﺍﻟﻔﻬﺮﺱ ﺍﻟﻌﺎﻡ ﺍﻟﺬﻱ ﻳﻀﻢ ﻷﻫﻢ ﺭﺅﻭﺱ ﺍﳌﻮﺿﻮﻋﺎﺕ ﺍﳌﺪﺭﺟﺔ ﰲ‬
‫ﻫﺬﻩ ﺍﳌﺬﻛﺮﺓ‪.‬‬
‫ﻼ ﻓﻴﻤﺎ ﻳﻠﻲ‪:‬‬
‫ﻭﻗﺪ ﻛﺎﻥ ﻋﻤﻠﻲ ﰲ ﻫﺬﺍ ﺍﻟﺘﺤﻘﻴﻖ ﳑﺜ ﹰ‬
‫‪ -‬ﺿﺒﻂ ﻣﱳ ﺍﻟﺸﺮﺡ ﺑﺎﻟﺸﻜﻞ ﺍﻟﺘﺎﻡ‪.‬‬
‫‪ -‬ﺍﺗﺒﻌﺖ ﻃﺮﻳﻘﺔ ﺍﳌﻘﺎﺭﻧﺔ ﺑﲔ ﻧﺺ ﺍﻟﻨﺴﺨﺔ )ﻣﺦ( ﻭﺑﺎﻗﻲ ﺍﻟﻨﺴﺦ ﺍﻷﺧﺮﻯ ﻭﻗﺪ ﻇﻬﺮ ﱄ‬
‫ﺍﻻﺧﺘﻼﻑ ﺍﳌﻼﺣﻆ ‪‬ﺎﻣﺶ ﺍﻟﺘﺤﻘﻴﻖ‪.‬‬
‫‪ -‬ﻛﻤﺎ ﺃﻧﲏ ﺣﺎﻓﻈﺖ ﻋﻠﻰ ﺍﻟﻨﺺ ﺍﻷﺻﻠﻲ ﻭﱂ ﺃﻏﲑ ﻭﻟﻮ ﻛﻠﻤﺔ ﺃﻭ ﺃﺑﺪﻝ ﺣﺮﻓﹰﺎ ﻭﺿﻌﻪ ﺍﳌﺆﻟﻒ ﺃﻭ‬
‫ﻗﻠﻢ ﺍﻟﻨﺎﺳﺦ ﰲ ﻏﲑ ﻣﻮﺿﻌﻪ ﺩﻭﻥ ﺍﻟﺘﻨﺒﻴﻪ ﺇﻟﻴﻪ ﰲ ﻫﺎﻣﺶ ﻫﺬﻩ ﺍﳌﺬﻛﺮﺓ‪.‬‬
‫‪ -‬ﻋﻤﺪﺕ ﰲ ﺑﻌﺾ ﺍﻷﺣﻴﺎﻥ ﺇﱃ ﺷﺮﺡ ﺑﻌﺾ ﺍﻟﻜﻠﻤﺎﺕ ﺍﻟﻠﻐﻮﻳﺔ ﺍﻟﱵ ﻳﺴﺘﻌﺼﻲ ﻓﻬﻤﻬﺎ ﻭﺫﻟﻚ‬
‫ﺑﺎﻟﻌﻮﺩﺓ ﺇﱃ ﻣﻀﺎ‪‬ﺎ ﻛﺎﳌﻌﺎﺟﻢ ﻭﺍﳌﺮﺍﺟﻊ‪.‬‬
‫‪ -‬ﺃﺭﺟﻌﺖ ﻛﻞ ﺁﻳﺔ ﻣﻦ ﺁﻱ ﺍﻟﺬﻛﺮ ﺍﳊﻜﻴﻢ ﺇﱃ ﺳﻮﺭ‪‬ﺎ ﻣﻊ ﲢﺪﻳﺪ ﺭﻗﻤﻬﺎ‪.‬‬
‫‪ -‬ﻗﻤﺖ ﺑﺘﺨﺮﻳﺞ ﺍﻷﺣﺎﺩﻳﺚ ﺍﻟﻨﺒﻮﻳﺔ ﺍﻟﺸﺮﻳﻔﺔ ﻣﻊ ﺫﻛﺮ ﺭﻭﺍ‪‬ﺎ‪.‬‬
‫‪ -‬ﻗﻤﺖ ﺑﻌﺰﻭ ﺍﻷﻣﺜﺎﻝ ﺇﱃ ﻣﺼﺎﺩﺭﻫﺎ ﻣﻊ ﺫﻛﺮ ﻣﻮﺍﺭﺩﻫﺎ ﻭﺫﻟﻚ ﺭﻏﻢ ﻗﻠﺘﻬﺎ ﻫﻨﺎ‪.‬‬
‫‪ -‬ﻭﺿﻌﺖ ﻓﻬﺎﺭﺱ ﺧﺎﺻﺔ ﺑﺎﻷﺷﻌﺎﺭ ﻣﻊ ﺍﻹﺷﺎﺭﺓ ﺇﱃ ﻗﺎﺋﻠﻴﻬﺎ ﻭﲝﻮﺭﻫﺎ‪.‬‬
‫‪ -‬ﺃﻓﺮﺩﺕ ﰲ ‪‬ﺎﻳﺔ ﻫﺬﻩ ﺍﳌﺬﻛﺮﺓ ﻣﻠﺤﻘﺎ ﺧﺎﺻﺎ ﲟﱳ ﺍﻟﺘﺤﻔﺔ ﻟﻺﻃﻼﻉ ﻭﺫﻟﻚ ﻟﻠﻤﺰﻳﺪ ﻣﻦ‬
‫ﺍﻻﺳﺘﻔﺎﺩﺓ ﻭﺍﻻﻃﻼﻉ‪.‬‬
‫‪ -‬ﻭﺿﻌﺖ ﺻﻮﺭﹰﺍ ﻟﻠﻤﺨﻄﻮﻃﺎﺕ ﺍﳌﻌﺘﻤﺪﺓ ﰲ ﻫﺬﻩ ﺍﳌﺬﻛﺮﺓ ﻭﺃﺷﺮﺕ ﺇﱃ ﺭﻣﻮﺯﻫﺎ‬
‫‪ -‬ﺃﺗﺒﻌﺖ ﺍﻟﻜﻞ ﺑﻔﻬﺮﺱ ﺧﺎﺹ ﺑﺎﻷﻋﻼﻡ ﺍﻟﻮﺍﺭﺩﺓ ﻣﻊ ﺫﻛﺮ ﺭﻗﻢ ﺍﻟﺼﻔﺤﺔ‪.‬‬
‫‪ -‬ﺃﻓﺮﺩﺕ ﻓﻬﺮﺳﺎ ﺧﺎﺻﺎ ﺑﺎﳌﺼﻄﻠﺤﺎﺕ ﺍﻟﱵ ﺗﺘﻀﻤﻦ ﻋﻠﻢ ﺍﻟﺒﻴﺎﻥ‪.‬‬

‫ﻭﺧﺘﻤﺖ ﻫﺬﺍ ﺍﻟﻌﻤﻞ ﺑﻔﻬﺮﺱ ﺧﺎﺹ ﺫﻛﺮﺕ ﻓﻴﻪ ﺍﳌﺼﺎﺩﺭ ﻭﺍﳌﺮﺍﺟﻊ ﺍﳌﻌﺘﻤﺪﺓ ﻭﺫﻳﻠﺖ ﺍﻟﻜﻞ‬

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 ‫ﺑﻔﻬﺮﺱ ﻋﺎﻡ ﻟﻠﻤﻮﺿﻮﻋﺎﺕ ﻟﻠﻌﻮﺩﺓ ﺇﱃ ﺍﳌﻮﺿﻮﻉ ﺍﳌﺮﺍﺩ ﺑﺴﻬﻮﻟﺔ ﻭﻳﺴﺮ‪.‬‬

‫ﺍﳌﺼﺎﺩﺭ ﻭﺍﳌﺮﺍﺟﻊ‪:‬‬
‫ﺃﻣﺎ ﻣﺼﺎﺩﺭ ﺍﻟﺘﺤﻘﻴﻖ ﰲ ﻫﺬﻩ ﺍﳌﺬﻛﺮﺓ ﻓﻬﻲ ﻛﺜﲑﺓ ﻭﻣﺘﻨﻮﻋﺔ ﺗﻨﻮﻉ ﺍﳌﻮﺍﺩ ﺍﻟﻮﺍﺭﺩﺓ ﰲ ﺍﻟﺸﺮﺡ ﻭﳝﻜﻦ‬
‫ﺗﻘﺴﻴﻤﻬﺎ ﺇﱃ ﺑﻌﺾ ﻛﺘﺐ ﺍﻟﺘﺮﺍﺟﻢ ﻭﺍﻟﻄﺒﻘﺎﺕ ﺍﳌﺘﻘﺪﻣﺔ ﻣﻨﻬﺎ ﻭﺍﳌﺘﺄﺧﺮﺓ‪،‬ﻭﻗﺪ ﺍﺳﺘﻔﺪﺕ ﻣﻨﻬﺎ ﺍﻟﻜﺜﲑ ﰲ‬
‫ﺍﻟﺘﻌﺮﻳﻒ ﺑﺎﻷﻋﻼﻡ ﺍﻟﻮﺍﺭﺩﺓ ﺳﻮﺍﺀ ﰲ ﺍﻟﺘﻘﺪﱘ ﺃﻭ ﺍﻟﺸﺮﺡ‬
‫ﺍ‪-‬ﺍﻟﺪﻭﺍﻭﻳﻦ ﺍﻟﺸﻌﺮﻳﺔ‪ ،‬ﻭﺍﻟﻜﺘﺐ ﺍﻷﺩﺑﻴﺔ ﻭﺍﻟﻠﻐﻮﻳﺔ ﻛﺎﳌﻌﺎﺟﻢ ﻭﻫﻲ ﻛﺜﲑﺓ ﻭ ﻣﺘﻨﻮﻋﺔ ﻭﻗﺪ ﺍﺳﺘﻌﻨﺖ‬
‫‪‬ﺎ ﰲ ﺗﻮﺛﻴﻖ ﺍﻟﺸﻮﺍﻫﺪ ﺍﳌﺨﺘﻠﻔﺔ ﻭﻳﺄﰐ ﰲ ﻣﻘﺪﻣﺘﻬﺎ ﻣﻌﺠﻢ )ﻟﺴﺎﻥ ﺍﻟﻌﺮﺏ(‬
‫ﺏ ـ ﻛﺘﺐ ﺍﻟﻔﻬﺎﺭﺱ ‪ ،‬ﺍﳌﺘﺨﺼﺼﺔ ﰲ ﺍﳌﺨﻄﻮﻃﺎﺕ ﻭﺍﻷﻋﻼﻡ ﻭﻫﻲ ﻛﺜﲑﺓ ﺃﻳﻀﺎ‪،‬ﻭﻣﺎ ﻣﻦ‬
‫ﻣﺼﺪﺭ ﺃﻭ ﻣﺮﺟﻊ ﰲ ﻫﻮﺍﻣﺶ ﺍﻟﻨﺺ ﺇﻻ ﻭﺍﺳﺘﻔﺪﺕ ﻣﻨﻪ ﺳﻮﺍﺀ ﰲ ﺷﺮﺡ ﺃﻡ ﺗﻌﻠﻴﻖ ‪.‬‬
‫ﺍﻟﺼﻌﻮﺑﺎﺕ ‪:‬‬
‫ﻻﺟﺮﻡ ﺃﻥ ﺍﻟﻮﻗﻮﻑ ﻋﻠﻰ ﻫﺬﻩ ﺍﳌﺼﺎﺩﺭ ﻭﺍﳌﺮﺍﺟﻊ‪ ،‬ﻟﻴﺲ ﺑﺎﻷﻣﺮ ﺍﻟﺴﻬﻞ ﺫﻟﻚ ﻻﻥ ﺍﻟﺒﺤﺚ ﻣﻬﻤﺎ‬
‫ﻛﺎﻥ ﻻ ﳜﻠﻮ ﻣﻦ ﺻﻌﻮﺑﺎﺕ ﺗﻌﺘﺮﺽ ﺍﻟﺒﺎﺣﺚ ﻭ ﺗﻜﻔﻲ ﻛﻠﻤﺔ ﲝﺚ ﻟﻠﺘﺪﻟﻴﻞ ﻋﻠﻰ ﺫﻟﻚ‪.‬‬
‫‪1‬ـ ﻭ ﺃﻭﱃ ﺍﻟﺼﻌﻮﺑﺎﺕ ﺍﻟﱵ ﻭﺍﺟﻬﺘﲏ ﰲ ﻫﺬﻩ ﺍﳌﺬﻛﺮﺓ ﻣﺸﻜﻠﺔ ﺍﻟﻨﺴﺦ ﺍﳌﻤﺎﺛﻠﺔ ﻟﻠﻤﺨﻄﻮﻃﺔ ﻋﻠﻰ‬
‫ﺍﻟﺮﻏﻢ ﻣﻦ ﺍﻣﺘﻼﻛﻲ ﻟﻠﻨﺴﺨﺔ ﺍﻷﻡ ﻭﻟﻮﻻ ﻓﻀﻞ ﺍﷲ ﰒ ﺑﻌﺾ ﺍﻟﺬﻳﻦ ﳛﺒﻮﻥ ﺍﻟﻌﻠﻢ ﻭ ﻳﺴﻌﻮﻥ ﻣﻦ ﺃﺟﻞ‬
‫ﻧﺸﺮﻩ ﻭ ﺇﺷﺎﻋﺘﻪ ﺑﲔ ﺍﻟﻨﺎﺱ ﻣﺎ ﻛﻨﺖ ﺃﻇﻔﺮ ﺑﺒﻘﻴﺔ ﺍﻟﻨﺴﺦ‪.‬‬
‫‪2‬ـ ﺍﻓﺘﻘﺎﺭ ﺟﺎﻣﻌﺎﺗﻨﺎ ﻭ ﻣﻜﺘﺒﺎﺗﻨﺎ ﻭﻣﺮﺍﻛﺰﻧﺎ ﺍﻟﻌﻠﻤﻴﺔ ﺇﱃ ﺃﻣﻬﺎﺕ ﺍﳌﺼﺎﺩﺭ ﺍﻟﺘﺮﺍﺛﻴﺔ ﻻﺳﻴﻤﺎ ﻣﺎ‬
‫ﺍﺳﺘﺠﺪ ﰲ ﻣﻴﺪﺍﻥ ﺍﻟﺒﺤﺚ ﺍﻟﻌﻠﻤﻲ ‪،‬ﻓﻴﻀﻄﺮ ﺍﻟﺒﺎﺣﺚ ﺇﱃ ﺍﻟﺘﻨﻘﻞ ﻣﻦ ﻣﻜﺎﻥ ﺇﱃ ﺁﺧﺮ ﻭ ﺭﲟﺎ ﺇﱃ ﺧﺎﺭﺝ‬
‫ﺃﺭﺽ ﺍﻟﻮﻃﻦ‪ ،‬ﻭﻫﺬﺍ ﻣﺎ ﺣﺪﺙ ﱄ ﺑﺎﻟﻔﻌﻞ ﻻﺳﻴﻤﺎ ﻣﺎ ﺗﻌﻠﻖ ﺑﺎﻷﻣﻮﺭ ﺍﳌﺎﺩﻳﺔ‪.‬‬
‫‪-3‬ﻣﻦ ﺍﳌﺸﺎﻛﻞ ﺃﻭ ﺍﻟﺼﻌﻮﺑﺎﺕ ﺍﻟﱵ ﻋﺎﻧﻴﺖ ﻣﻨﻬﺎ ﰲ ﻫﺬﺍ ﺍﻟﺒﺤﺚ ﻋﻨﺪﻣﺎ ﻗﻤﺖ ﺑﺘﺨﺰﻳﻦ ﻫﺬﻩ‬
‫ﺍﳌﺬﻛﺮﺓ ﰲ ﺟﻬﺎﺯ ﺍﳊﺎﺳﻮﺏ ﺍﻟﺬﻱ ﺃﺗﻠﻔﻬﺎ ﺛﻼﺙ ﻣﺮﺍﺕ ﻣﺘﻮﺍﻟﻴﺎﺕ ﳑﺎ ﺍﺿﻄﺮﱐ ﺇﱃ ﻛﺘﺎﺑﺘﻬﺎ ﻭﻃﺒﻌﻬﺎ‬
‫ﻟﻠﻤﺮﺓ ﺍﻟﺮﺍﺑﻌﺔ‪.‬‬
‫ﻭﻣﻊ ﻫﺬﺍ ﻓﺎﻥ ﺍﳌﻌﺎﻧﺎﺓ ﺍﻟﱵ ﻳﻼﻗﻴﻬﺎ ﺍﻟﺒﺎﺣﺚ ﺃﻭ ﺍﻟﺪﺍﺭﺱ ﺳﺮﻋﺎﻥ ﻣﺎ ﺗﻨﻘﻠﺐ ﺇﱃ ﻣﺘﻌﺔ ﻻﺳﻴﻤﺎ ﺇﺩﺍ‬
‫ﻛﺎﻥ ﺍﻟﻌﻤﻞ ﺍﳌﻨﺠﺰ ﻗﺪ ﺃﻭﺻﻠﻪ ﺇﱃ ﺍﻟﻨﻬﺎﻳﺔ ﺍﻟﱵ ﻛﺎﻥ ﻳﻄﻤﺢ ﺇﻟﻴﻬﺎ‪.‬‬

‫‪-8-‬‬
 ‫ﺷﻜﺮ ﻭ ﺍﻋﺘﺮﺍﻑ‪:‬‬
‫ﻭﰲ ﺍﻷﺧﲑ ﻻ ﻳﺴﻌﲏ ﺇﻻ ﺃﻥ ﺃﻗﻮﻝ ﻛﻠﻤﺔ ﻣﻮﺟﺰﺓ‪ ،‬ﻓﺈﻥ ﺃﺻﺒﺖ ﺍﶈﺰ ﻓﺬﺍﻙ ﺍﻟﺬﻱ ﻛﻨﺖ ﺃﺗﻄﻠﻊ‬
‫ﻭﺇﻥ ﻛﺎﻧﺖ ﺍﻷﺧﺮﻯ ﻓﺬﺍﻙ ﺍﻟﺬﻱ ﻛﻨﺖ ﺃﺣﺎﺫﺭ‪ ،‬ﻭﻋﻠﻰ ﺗﺮﺩﺩ ﻣﲏ ﻭﺍﺳﺘﺤﻴﺎﺀ ﺁﺛﺮﺕ ﻃﺒﻌﻪ ﻭﻻ ﻳﺴﻌﲏ‬
‫ﰲ ﻫﺬﻩ ﺍﻟﻮﻗﻔﺔ ﺇﻻ ﺃﻥ ﺃﺗﻘﺪﻡ ﲜﺰﻳﻞ ﺷﻜﺮﻱ ﻭﺍﻣﺘﻨﺎﱐ ﺇﱃ ﻛﻞ ﻣﻦ ﺳﺎﻋﺪﱐ ﻭﺃﻋﺎﻧﲏ ﻭﺃﺧﺺ ﺑﺎﻟﺬﻛﺮ‪:‬‬
‫ﺃﺳﺘﺎﺫﻱ ﺍﶈﺘﺮﻡ ﺍﻟﺪﻛﺘﻮﺭ‪ /‬ﳏﻤﺪ ﺣﺴﲔ ﺍﻷﻋﺮﺟﻲ ﺍﻟﺬﻱ ﺷﺠﻌﺘﲏ ﺣﻠﻘﺎﺗﻪ ﺍﻟﻌﻠﻤﻴﺔ ﺇﺑﺎﻥ ﻣﻘﺎﻋﺪ‬
‫ﺍﻟﺪﺭﺍﺳﺔ ﰲ ﺍﳉﺎﻣﻌﺔ ﺍﳌﺮﻛﺰﻳﺔ‪ ،‬ﺣﻴﺚ ﻛﺎﻧﺖ ﳏﺎﺿﺮﺍﺗﻪ ﰲ ﻣﻨﺎﻫﺞ ﺍﻟﺒﺤﺚ ﺍﻷﺩﰊ ﺩﺍﻓﻌﺎ ﻗﻮﻳﺎ ﱄ ﰲ ﺍﺗﺒﺎﻉ‬
‫ﻣﻨﻬﺞ ﺍﻟﺘﻮﺛﻴﻖ ﻭ ﻛﺬﻟﻚ ﺍﻷﺳﺘﺎﺫ ﺍﻟﺪﻛﺘﻮﺭ‪ :‬ﻋﻤﺎﺭ ﺍﻟﺪﺩﻭ ﻭﺍﻟﻄﺎﻗﻢ ﺍﳌﻜﻠﻒ ﺑﻘﺴﻢ ﺍﳌﺨﻄﻮﻃﺎﺕ ﲟﺮﻛﺰ‬
‫ﲨﻌﺔ ﺍﳌﺎﺟﺪ ﻟﻠﺜﻘﺎﻓﺔ ﻭﺍﻟﺘﺮﺍﺙ ‪ -‬ﺩﰊ ‪ -‬ﻋﻠﻰ ﺍﻟﺮﺳﺎﻟﺔ ﺍﳊﻀﺎﺭﻳﺔ ﺍﻟﱵ ﻳﺆﺩﻭ‪‬ﺎ ﻣﻦ ﺃﺟﻞ ﺗﺮﺍﺛﻨﺎ ﺍﻟﻌﺮﻳﻖ‬
‫ﻭﺷﻜﺮ ﺁﺧﺮ ﺇﱃ ﺍﻷﺳﺘﺎﺫ ﺍﻟﺪﻛﺘﻮﺭ‪ :‬ﻋﺰ ﺍﻟﺪﻳﻦ ﺑﻦ ﺯﻏﻴﺒﺔ ﺭﺋﻴﺲ ﲢﺮﻳﺮ ﳎﻠﺔ ﺁﻓﺎﻕ ﺍﻟﺘﺮﺍﺙ ﺑﻨﻔﺲ‬
‫ﺍﳌﺆﺳﺴﺔ ﻭﻋﻠﻰ ﺭﺃﺱ ﻫﺆﻻﺀ ﺍﻟﺴﻴﺪ ﺍﶈﺘﺮﻡ ﺑﻘﻴﺔ ﺍﻟﺴﻠﻒ ﻣﻌﺎﱄ‪/‬ﲨﻌﺔ ﺍﳌﺎﺟﺪ ﺻﺎﺣﺐ ﺍﳌﺮﻛﺰ‬
‫ﻭﻻ ﺃﻧﺴﻰ ﺍﻷﺥ ﺍﶈﺘﺮﻡ ﺟﻨﺪﻱ ﺣﻠﻴﻢ ﺍﻟﺬﻱ ﲡﺸﻢ ﺍﻟﺘﻌﺐ ﺍﻟﻜﺜﲑ ﰲ ﺇﺧﺮﺍﺝ ﻫﺬﻩ ﺍﳌﺬﻛﺮﺓ ﻋﻤﺎ ﻫﻲ‬
‫ﻋﻠﻴﻪ ﺍﻵﻥ )ﻛﺘﺎﺑﺔ ﻭﺗﻨﺴﻴﻘﺎ ﻭﻃﺒﺎﻋﺔ(‪.‬‬
‫ﻭﻛﺬﻟﻚ ﺍﻻﺳﺘﺎﺩ ﺍﶈﺘﺮﻡ‪ /‬ﻋﻠﻲ ﺑﻮﺩﻳﻦ ﺭﺋﻴﺲ ﺍﻟﻠﺠﻨﺔ ﺍﻟﻮﻻﺋﻴﺔ ﻟﻠﺨﺪﻣﺎﺕ ﺍﻹﺟﺘﻤﺎﻋﻴﺔ ﻟﻌﻤﺎﻝ‬
‫ﺍﻟﺘﺮﺑﻴﺔ ﻟﻮﻻﻳﺔ ﺍﳌﺪﻳﺔ ﺍﻟﺬﻱ ﻛﺎﻧﺖ ﻟﻪ ﻳﺪ ﺑﻴﻀﺎﺀ ﰲ ﺇﳒﺎﺯ ﻫﺪﺍ ﺍﻟﺒﺤﺚ‪.‬‬
‫ﻭﻫﻨﺎﻙ ﻛﻠﻤﺔ ﺧﺘﺎﻣﻴﺔ ﻭﻫﻲ ﻛﻠﻤﺔ ﺗﻘﺪﻳﺮ ﻭﻋﺮﻓﺎﻥ ﺃﺗﻘﺪﻡ ‪‬ﺎ ﻟﻸﺳﺘﺎﺫ ﺍﶈﺘﺮﻡ‪:‬‬

‫اﻟﺪآﺘـﻮر‪ /‬اﻟﺸﺮﻳـﻒ ﻣﺮﻳﺒﻌـﻲ‬

‫ﻋﻠﻰ ﻗﺒﻮﻟﻪ ﺍﻹﺷﺮﺍﻑ ﻭﻋﻠﻰ ﺗﻮﺟﻴﻬﺎﺗﻪ ﻭﻣﻼﺣﻈﺎﺗﻪ ﺍﻟﻘﻴﻤﺔ ﻭﻫﺬﺍ ﻋﻠﻰ ﺍﻟﺮﻏﻢ ﻣﻦ ﺍﻷﻋﺒﺎﺀ ﺍﳌﻠﻘﺎﺓ ﻋﻠﻰ‬
‫ﻋﺎﺗﻘﻪ ﻓﻠﻪ ﻣﺮﺓ ﺃﺧﺮﻯ ﺷﻜﺮﻱ ﺍﳋﺎﻟﺺ ﻭﺍﻣﺘﻨﺎﱐ ﺍﻟﻮﺍﻓﺮ‪ ،‬ﻭﺍﱃ ﺃﻋﻀﺎﺀ ﺍﻟﻠﺠﻨﺔ ﺍﻟﱵ ﺷﺮﻓﺘﲏ ﺟﺎﻣﻌﺔ ﺍﳉﺰﺍﺋﺮ‬
‫ﲟﻨﺎﻗﺸﺔ ﻫﺬﻩ ﺍﳌﺬﻛﺮﺓ ﻛﻞ ﺍﻟﺘﻘﺪﻳﺮ ﻭﺍﻟﺸﻜﺮ ﺍﳉﺰﻳﻞ‪.‬‬

‫ﻭﺍﷲ ﺍﳍﺎﺩﻱ ﺇﱃ ﺍﻟﺴﺒﻴﻞ ﻭﺍﳌﻮﻓﻖ ﺇﱃ ﺍﻟﺼﻮﺍﺏ‪.‬‬

‫ﻋﻤـﺮﻭ ﺭﺍﲝـﻲ‬
‫ﺍﳉﺰﺍﺋﺮ ‪ 2005/04/30 :‬ﻡ‬
‫‪ 21‬ﺭﺑﻴﻊ ﺍﻷﻭﻝ ‪1426‬ﻫـ‬

‫‪-9-‬‬
‫ﺍﻟﻘﺴﻢ ﺍﻷﻭﻝ‬
‫ﺗﻘﺪﱘ ﺍﻟﻜﺘﺎﺏ‬

‫‪- 10 -‬‬
‫ﺍﻟﻘﺴﻢ ﺍﻷﻭﻝ‪:‬‬
‫ﺗﻘﺪﱘ ﺍﻟﻜﺘﺎﺏ‪.‬‬ ‫‪-‬‬
‫ﺍﳌﺆﻟﻒ ﻭ ﻋﺼﺮﻩ‪.‬‬ ‫‪-‬‬
‫ﻣﺮﺍﻛﺰ ﺍﻟﺜﻘﺎﻓﺔ ﰲ ﻣﺼﺮ‪.‬‬ ‫‪-‬‬
‫ﺃﺛﺮ ﺍﻷﺯﻫﺮ ﰲ ﺍﳊﻴﺎﺓ ﺍﻟﻌﺎﻣﺔ‪.‬‬ ‫‪-‬‬

‫‪- 11 -‬‬
‫ﺍﳌﺆﻟﻒ ﻭ ﻋﺼﺮﻩ‬

‫‪- 12 -‬‬
‫ﺣﻴﺎﺓ ﺍﳌﺆﻟﻒ‪:‬‬
‫ﺍﲰﻪ ﻭ ﻧﺴﺒﻪ‪.‬‬ ‫‪.1‬‬
‫ﻭﻻﺩﺗﻪ‪.‬‬ ‫‪.2‬‬
‫ﺷﻴﻮﺧﻪ‪.‬‬ ‫‪.3‬‬
‫ﺗﻼﻣﻴﺬﻩ‪.‬‬ ‫‪.4‬‬
‫ﻣﻮﺍﻗﻔﻪ ﻭ ﺃﺧﻼﻗﻪ‪.‬‬ ‫‪.5‬‬
‫ﺁﺛﺎﺭﻩ‪.‬‬ ‫‪.6‬‬
‫ﻭﻓﺎﺗﻪ ﻭ ﺍﳌﻜﺎﻥ ﺍﻟﺬﻱ ﺩﻓﻦ ﻓﻴﻪ‪.‬‬ ‫‪.7‬‬
‫ﺃﻗﻮﺍﻝ ﺍﻟﻌﻠﻤﺎﺀ ﻓﻴﻪ‪.‬‬ ‫‪.8‬‬

‫‪- 13 -‬‬
 ‫ﻋﺼﺮ ﺍﳌﺆﻟﻒ ﺍﻟﺴﻴﺎﺳﻲ‪:‬‬
‫ﺍﻟﻜﺎﺗﺐ ﺃﻭ ﺍﻟﻌﺎﱂ‪ ،‬ﻫﻮ ﰲ ﺍﻟﻌﺎﺩﺓ ﺻﻮﺭﺓ ﻣﻌﱪﺓ ﻋﻦ ﺍﻟﺒﻴﺌﺔ ﺍﻟﱵ ﺃﳒﺒﺘﻪ‪ .‬ﻭﺍﻟﺒﺎﺣﺚ ﺃﻭ ﺍﻟﺪﺍﺭﺱ ﺇﺫﺍ‬
‫ﻣﺎ ﺃﺭﺍ ﺩ ﺃﻥ ﳛﻘﻖ ﰲ ﺃﺛﺮ ﻣﻦ ﺁﺛﺎﺭ ﺍﻟﻜﺎﺗﺐ ﺃﻭ ﺍﻟﻌﺎﱂ ﻻﺑﺪ ﻟﻪ ﻣﻦ ﺍﻹﻃﻼﻉ ﻋﻠﻰ ﺍﻟﻮﺳﻂ ﺍﻟﺬﻱ ﺗﺮﻋﺮﻉ‬
‫ﻓﻴﻪ ﻫﺬﺍ ﺍﻟﻌﺎﱂ ﺃﻭ ﺫﺍﻙ‪ .‬ﻷﻧﻪ ﻳﻨﺪﺭ ﺃﻥ ﲡﺪ ﺃﺣﺪﺍ ﲢﺮﺭ ﻣﻦ ﺳﻠﻄﺎﻥ ﺍ‪‬ﺘﻤﻊ ﻭﻋﺎﺩﺍﺗﻪ‪.‬ﺃﻣﺎ ﺑﻴﺌﺔ ﺍﳌﺆﻟﻒ ﻓﻬﻲ‬
‫ﻋﺮﺑﻴﺔ ﺗﻌﺮﺿﺖ ﻟﻈﺮﻭﻑ ﻗﺎﺳﻴﺔ ﻣﻦ ﻇﻠﻢ ﻭﺣﺮﻣﺎﻥ ﻭﺍﺳﺘﺒﺪﺍﺩ ﻣﻦ ﻃﺮﻑ ﺑﻌﺾ ﺍﳊﻜﺎﻡ ﻧﺘﻴﺠﺔ ﻟﻌﺼﺮ‬
‫ﺍﻟﻀﻌﻒ ﺍﻟﺬﻱ ﻇﻠﺖ ﻓﻴﻪ ﺑﻼﺩ ﺍﻟﻌﺮﺏ ﻭﻣﺼﺮ ﺇﺑﺎﻥ ﺣﻜﻢ‪.‬‬
‫ﺍﻟﻌﺜﻤﺎﻧﻴﲔ ﺍﻟﺬﻳﻦ ﺩﺧﻠﻮﺍ ﻣﺼﺮ ﺍﺑﺘﺪﺍ ﺀ ﻣﻦ ﺳﻨﺔ ‪1517‬ﻡ ـ ﺇﱃ ـ ‪1914‬ﻡ ﻭﻫﻰ ﺍﻟﺴﻨﺔ ﺍﻟﱵ‬
‫ﺃﻋﻠﻨﺖ ﻓﻴﻬﺎ ﺍﳊﻤﺎﻳﺔ ﺍﻹﳒﻠﻴﺰﻳﺔ ﻋﻠﻰ ﻣﺼﺮ ‪ ،‬ﻭﻟﻮ ﻋﺪﻧﺎ ﺇﱃ ﻫﺬﻩ ﺍﻟﻘﺮﻭﻥ ﺍﻷﺭﺑﻌﺔ ﺍﻟﱵ ﻣﺮ ‪‬ﺎ ﺡﻛﻢ‬
‫ﺍﻟﻌﺜﻤﺎﻧﻴﲔ ﺍﻷﺗﺮﺍﻙ ﻟﻨﺘﻌﺮﻑ ﻋﻠﻰ ﻣﻼﻣﺢ ﺍﳊﻴﺎﺓ ﻟﻮﺟﺪﻧﺎ ﺃﻥ ﺍﳊﻜﻢ ﻓﻴﻬـﺎ ﱂ ﻳﻜﻦ ﻳﺴﲑ ﻭﻓﻖ ﳕﻂ ﻭﺍﺣﺪ‬
‫ﺑﻞ ﻛﺎﻧﺖ ﻫﻨﺎﻙ ﻋﻮﺍﻣﻞ ﻭﺃﺣﺪﺍﺙ ﺳﺎﻋﺪﺕ ﻋﻠﻰ ﺑﺮﻭﺯ ﺣﻜﻢ ﺍﳌﻤﺎﻟﻴﻚ ﺍﻟﺬﻱ ﺃﻋﻘﺐ ﺣﻜﻢ ﺍﻷﺗﺮﺍﻙ‬
‫ﻭﻗﺪ ﲤﻴﺰ ﺑﻔﺘﺮﺗﲔ ﺑﺎﺭﺯﺗﲔ‪.‬‬
‫‪ 1‬ـ ﺍﻟﻔﺘﺮﺓ ﺍﻷﻭﱃ‪:‬‬
‫ﻣﻦ ﺍﻟﻔﺘﺢ ﺍﻟﻌﺜﻤﺎﱐ ﺇﱃ ﻋﻠﻰ ﺑﻚ ﺍﻟﻜﺒﲑ) ‪1763‬ﻡ()‪ (1‬ﻭﻫﺬﻩ ﺍﻟﻔﺘﺮﺓ ﻛﺎﻧﺖ ﻓﺘﺮﺓ ﺍﳊﻜﻢ ﺍﻟﻌﺜﻤﺎﱐ‬
‫ﺑﻜﻞ ﺍﳌﻘﺎﻳﻴﺲ ﺃﻭ ﺍﳋﺼﺎﺋﺺ‪.‬‬
‫‪ 2‬ـ ﺍﻟﻔﺘﺮﺓ ﺍﻟﺜﺎﻧﻴﺔ‪:‬‬
‫ﻣﻦ ﻋﻠﻰ ﺑﻚ ﺍﻟﻜﺒﲑ ﺇﱃ ﳏﻤﺪ ﻋﻠﻰ ‪1805‬ﻡ)‪ (2‬ﻭﻫﺬﻩ ﺍﻟﻔﺘﺮﺓ ﻛﺎﻧﺖ ﺍﻟﺴﻠﻄﺔ ﻓﻴﻬﺎ ﻟﻠﻤﻤﺎﻟﻴﻚ ﻭﻗﺪ‬
‫ﺍﻧﺘﻬﺖ ﲝﻤﻠﺔ ﻧﺎﺑﻠﻴﻮﻥ ﻋﻠﻰ ﻣﺼﺮ ﻭﻣﺎ ﻳﻬﻤﻨﺎ ﻫﺬ ﻩ ﺍﻝﻑﺗﺮﺓ ﺍﻟﺜﺎﻧﻴﺔ ﺍﻟﱵ ﻛﺎﻥ ﺍﳌﺆ ﻟﻒ ﻣﻌﺎﺻﺮﺍ ﻷﺣﺪﺍﺛﻬﺎ‬
‫ﻭﺗﻘﻠﺒﺎ‪‬ﺎ‪.‬‬
‫ﻭﻋﻨﺪﻣﺎ ﺃﺻﺒﺢ ﻋﻠﻲ ﺑﻚ ﺍﻟﻜﺒﲑ ﰲ ﺍﻟﻄﺒﻘﺔ ﺍﻷﻭﱃ ﺑﲔ ﳑﺎﻟﻴﻚ ﻣﺼﺮ‪ ،‬ﻛﺎﻧﺖ ﺍﻷﺣﻮﺍﻝ ﺑﺎﻟﺒﻼﺩ ﻗﺪ‬
‫ﺳﺎﺀﺕ ﺇﱃ ﺍﺑﻌﺪ ﺣﺪ ﻓﺎﳋﺼﻮﻣﺔ ﺑﲔ ﺯﻋﻤﺎﺀ ﺍﳌﻤﺎﻟﻴﻚ ﺷﺪﻳﺪﺓ ﻭﺯﻋﻤﺎﺀ ﺍﻟﻘﺒﺎﺋﻞ ﺍﻟﻌﺮﺑﻴﺔ ﻳﻜﻮﻧﻮﻥ ﲟﺼﺮ‬
‫ﺩﻭﻻ ﺩﺍﺧﻞ ﺍﻟﺪﻭﻟﺔ ﻭﻗﻄﺎﻉ ﺍﻟﻄﺮﻳﻖ ﻫﻨﺎ ﻭﻫﻨﺎﻙ‪ ،‬ﻭﺍﻟﺮﺷﻮﺓ ﺳﺎﺋﺪﺓ ﺑﲔ ﺍﳌﻮﻇﻔﲔ ﻭﺭﺟﺎﻝ ﺍﳊﺴﺒﺔ ‪ ،‬ﻭﻟﻌﻞ‬
‫ﻫﺬﻩ ﺍﻷﺣﺪﺍﺙ ﻫﻲ ﺍﻟﱵ ﺻﺒﻐﺖ ﻋﻠﻲ ﺑﻚ ﺑﺎﻟﺼﺒﻐﺔ ﺍﻟﻘﺎﺳﻴﺔ ﺍﻟﱵ ﺳﻨﺮﺍﻫﺎ ﻭﺍﺿﺤﺔ )‪ (3‬ﻓﻴﻪ ﻭﻛﺎﻥ ﻋﻠﻲ‬
‫ﺑﻚ ﻛﻤﺎ ﻳﻘﻮﻝ ﺍﳉﱪﰐ ﺷﺪﻳﺪ ﺍﳌﺮﺍﺱ ﻗﻮﻯ ﺍﻟﺸﻜﻴﻤﺔ ﻋﻈﻴﻢ ﺍﳍﻤﺔ ﻻ ﳛﺐ ﺍﻟﻠﻬﻮ ﻭﻻ ﺍﳌﺰﺍﺡ ﻭﻻ ﻳﻌﺮﻑ‬

‫ﺍﻟﻤﺼﺭﻱ‪,‬ﺍﻟﻘﺎﻫﺭﺓ‪,‬ﻤﺼﺭ‪ ,‬ﻁ‪ 1970/‬ﺹ‪.242 :‬‬

‫ﺓ‬ ‫‪ - ( 1‬ﺍﻟﺘﺎﺭﻴﺦ ﺍﻹﺴﻼﻤﻲ‪ ،‬ﺩ‪ :‬ﺃﺤﻤﺩ ﺸﻠﺒﻲ‪ ،‬ﻤﻜﺘﺒﺔ ﺍﻟﻨﻬﻀﺔ‬
‫‪ - ( 2‬ﺍﻟﻤﺼﺩﺭ ﻨﻔﺴﻪ‪.‬ﺹ‪244:‬‬
‫‪ - ( 3‬ﺍﻟﻤﺼﺩﺭ ﺍﻟﺴﺎﺒﻕ‪ ،‬ﺹ‪. 257 :‬‬

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 ‫ﻋﺼﺮ ﺍﳌﺆﻟﻒ ﺍﻟﺴﻴﺎﺳﻲ‪:‬‬
‫ﺍﻟﻜﺎﺗﺐ ﺃﻭ ﺍﻟﻌﺎﱂ‪ ،‬ﻫﻮ ﰲ ﺍﻟﻌﺎﺩﺓ ﺻﻮﺭﺓ ﻣﻌﱪﺓ ﻋﻦ ﺍﻟﺒﻴﺌﺔ ﺍﻟﱵ ﺃﳒﺒﺘﻪ‪ .‬ﻭﺍﻟﺒﺎﺣﺚ ﺃﻭ ﺍﻟﺪﺍﺭﺱ ﺇﺫﺍ‬
‫ﻣﺎ ﺃﺭﺍﺩ ﺃﻥ ﳛﻘﻖ ﰲ ﺃﺛﺮ ﻣﻦ ﺁﺛﺎﺭ ﺍﻟﻜﺎﺗﺐ ﺃﻭ ﺍﻟﻌﺎﱂ ﻻﺑﺪ ﻟﻪ ﻣﻦ ﺍﻹﻃﻼﻉ ﻋﻠﻰ ﺍﻟﻮﺳﻂ ﺍﻟﺬﻱ ﺗﺮﻋﺮﻉ‬
‫ﻓﻴﻪ ﻫﺬﺍ ﺍﻟﻌﺎﱂ ﺃﻭ ﺫﺍﻙ‪ .‬ﻷﻧﻪ ﻳﻨﺪﺭ ﺃﻥ ﲡﺪ ﺃﺣﺪﺍ ﲢﺮﺭ ﻣﻦ ﺳﻠﻄﺎﻥ ﺍ‪‬ﺘﻤﻊ ﻭﻋﺎﺩﺍﺗﻪ‪.‬ﺃﻣﺎ ﺑﻴﺌﺔ ﺍﳌﺆﻟﻒ ﻓﻬﻲ‬
‫ﻋﺮﺑﻴﺔ ﺗﻌﺮﺿﺖ ﻟﻈﺮﻭﻑ ﻗﺎﺳﻴﺔ ﻣﻦ ﻇﻠﻢ ﻭﺣﺮﻣﺎﻥ ﻭﺍﺳﺘﺒﺪﺍﺩ ﻣﻦ ﻃﺮﻑ ﺑﻌﺾ ﺍﳊﻜﺎﻡ ﻧﺘﻴﺠﺔ ﻟﻌﺼﺮ‬
‫ﺍﻟﻀﻌﻒ ﺍﻟﺬﻱ ﻇﻠﺖ ﻓﻴﻪ ﺑﻼﺩ ﺍﻟﻌﺮﺏ ﻭﻣﺼﺮ ﺇﺑﺎﻥ ﺣﻜﻢ‪.‬‬
‫ﺍﻟﻌﺜﻤﺎﻧﻴﲔ ﺍﻟﺬﻳﻦ ﺩﺧﻠﻮﺍ ﻣﺼﺮ ﺍﺑﺘﺪﺍﺀ ﻣﻦ ﺳﻨﺔ ‪1517‬ﻡ ـ ﺇﱃ ـ‪1914‬ﻡ ﻭﻫﻰ ﺍﻟﺴﻨﺔ ﺍﻟﱵ‬
‫ﺃﻋﻠﻨﺖ ﻓﻴﻬﺎ ﺍﳊﻤﺎﻳﺔ ﺍﻹﳒﻠﻴﺰﻳﺔ ﻋﻠﻰ ﻣﺼﺮ‪ ،‬ﻭﻟﻮ ﻋﺪﻧﺎ ﺇﱃ ﻫﺬﻩ ﺍﻟﻘﺮﻭﻥ ﺍﻷﺭﺑﻌﺔ ﺍﻟﱵ ﻣﺮ ‪‬ﺎ ﺣﻜﻢ‬
‫ﺍﻟﻌﺜﻤﺎﻧﻴﲔ ﺍﻷﺗﺮﺍﻙ ﻟﻨﺘﻌﺮﻑ ﻋﻠﻰ ﻣﻼﻣﺢ ﺍﳊﻴﺎﺓ ﻟﻮﺟﺪﻧﺎ ﺃﻥ ﺍﳊﻜﻢ ﻓﻴﻬـﺎ ﱂ ﻳﻜﻦ ﻳﺴﲑ ﻭﻓﻖ ﳕﻂ ﻭﺍﺣﺪ‬
‫ﺑﻞ ﻛﺎﻧﺖ ﻫﻨﺎﻙ ﻋﻮﺍﻣﻞ ﻭﺃﺣﺪﺍﺙ ﺳﺎﻋﺪﺕ ﻋﻠﻰ ﺑﺮﻭﺯ ﺣﻜﻢ ﺍﳌﻤﺎﻟﻴﻚ ﺍﻟﺬﻱ ﺃﻋﻘﺐ ﺣﻜﻢ ﺍﻷﺗﺮﺍﻙ‬
‫ﻭﻗﺪ ﲤﻴﺰ ﺑﻔﺘﺮﺗﲔ ﺑﺎﺭﺯﺗﲔ‪.‬‬
‫‪ 1‬ـ ﺍﻟﻔﺘﺮﺓ ﺍﻷﻭﱃ‪:‬‬
‫ﻣﻦ ﺍﻟﻔﺘﺢ ﺍﻟﻌﺜﻤﺎﱐ ﺇﱃ ﻋﻠﻰ ﺑﻚ ﺍﻟﻜﺒﲑ)‪1763‬ﻡ()‪ (1‬ﻭﻫﺬﻩ ﺍﻟﻔﺘﺮﺓ ﻛﺎﻧﺖ ﻓﺘﺮﺓ ﺍﳊﻜﻢ ﺍﻟﻌﺜﻤﺎﱐ‬
‫ﺑﻜﻞ ﺍﳌﻘﺎﻳﻴﺲ ﺃﻭ ﺍﳋﺼﺎﺋﺺ‪.‬‬
‫‪ 2‬ـ ﺍﻟﻔﺘﺮﺓ ﺍﻟﺜﺎﻧﻴﺔ‪:‬‬
‫ﻣﻦ ﻋﻠﻰ ﺑﻚ ﺍﻟﻜﺒﲑ ﺇﱃ ﳏﻤﺪ ﻋﻠﻰ ‪1805‬ﻡ)‪ (2‬ﻭﻫﺬﻩ ﺍﻟﻔﺘﺮﺓ ﻛﺎﻧﺖ ﺍﻟﺴﻠﻄﺔ ﻓﻴﻬﺎ ﻟﻠﻤﻤﺎﻟﻴﻚ ﻭﻗﺪ‬
‫ﺍﻧﺘﻬﺖ ﲝﻤﻠﺔ ﻧﺎﺑﻠﻴﻮﻥ ﻋﻠﻰ ﻣﺼﺮ ﻭﻣﺎ ﻳﻬﻤﻨﺎ ﻫﺬﻩ ﺍﻟﻔﺘﺮﺓ ﺍﻟﺜﺎﻧﻴﺔ ﺍﻟﱵ ﻛﺎﻥ ﺍﳌﺆﻟﻒ ﻣﻌﺎﺻﺮﺍ ﻷﺣﺪﺍﺛﻬﺎ‬
‫ﻭﺗﻘﻠﺒﺎ‪‬ﺎ‪.‬‬
‫ﻭﻋﻨﺪﻣﺎ ﺃﺻﺒﺢ ﻋﻠﻲ ﺑﻚ ﺍﻟﻜﺒﲑ ﰲ ﺍﻟﻄﺒﻘﺔ ﺍﻷﻭﱃ ﺑﲔ ﳑﺎﻟﻴﻚ ﻣﺼﺮ‪ ،‬ﻛﺎﻧﺖ ﺍﻷﺣﻮﺍﻝ ﺑﺎﻟﺒﻼﺩ ﻗﺪ‬
‫ﺳﺎﺀﺕ ﺇﱃ ﺍﺑﻌﺪ ﺣﺪ ﻓﺎﳋﺼﻮﻣﺔ ﺑﲔ ﺯﻋﻤﺎﺀ ﺍﳌﻤﺎﻟﻴﻚ ﺷﺪﻳﺪﺓ ﻭﺯﻋﻤﺎﺀ ﺍﻟﻘﺒﺎﺋﻞ ﺍﻟﻌﺮﺑﻴﺔ ﻳﻜﻮﻧﻮﻥ ﲟﺼﺮ‬
‫ﺩﻭﻻ ﺩﺍﺧﻞ ﺍﻟﺪﻭﻟﺔ ﻭﻗﻄﺎﻉ ﺍﻟﻄﺮﻳﻖ ﻫﻨﺎ ﻭﻫﻨﺎﻙ‪ ،‬ﻭﺍﻟﺮﺷﻮﺓ ﺳﺎﺋﺪﺓ ﺑﲔ ﺍﳌﻮﻇﻔﲔ ﻭﺭﺟﺎﻝ ﺍﳊﺴﺒﺔ‪ ،‬ﻭﻟﻌﻞ‬
‫ﻫﺬﻩ ﺍﻷﺣﺪﺍﺙ ﻫﻲ ﺍﻟﱵ ﺻﺒﻐﺖ ﻋﻠﻲ ﺑﻚ ﺑﺎﻟﺼﺒﻐﺔ ﺍﻟﻘﺎﺳﻴﺔ ﺍﻟﱵ ﺳﻨﺮﺍﻫﺎ ﻭﺍﺿﺤﺔ)‪ (3‬ﻓﻴﻪ ﻭﻛﺎﻥ ﻋﻠﻲ‬
‫ﺑﻚ ﻛﻤﺎ ﻳﻘﻮﻝ ﺍﳉﱪﰐ ﺷﺪﻳﺪ ﺍﳌﺮﺍﺱ ﻗﻮﻯ ﺍﻟﺸﻜﻴﻤﺔ ﻋﻈﻴﻢ ﺍﳍﻤﺔ ﻻ ﳛﺐ ﺍﻟﻠﻬﻮ ﻭﻻ ﺍﳌﺰﺍﺡ ﻭﻻ ﻳﻌﺮﻑ‬
‫ﺇﻻ ﺍﳉﺪ‪ ،‬ﻭﻳﺮﻭﻯ ﺍﻧﻪ ﺟﺮﺕ ﻣﺸﺎﻭﺭﺓ ﻟﺘﻘﻠﻴﺪﻩ ﻣﺸﻴﺨﺔ ﺍﻟﺒﻠﺪ ﻓﺰﻛﺎﻩ ﺑﻌﺾ ﺍﳌﻤﺎﻟﻴﻚ ﻭﻋﺎﺭﺽ ﺁﺧﺮﻭﻥ‪،‬‬

‫‪ - ( 1‬ﺍﻟﺘﺎﺭﻴﺦ ﺍﻹﺴﻼﻤﻲ‪ ،‬ﺩ‪ :‬ﺃﺤﻤﺩ ﺸﻠﺒﻲ‪ ،‬ﻤﻜﺘﺒﺔ ﺍﻟﻨﻬﻀﺔ ﺍﻟﻤﺼﺭﻴﺔ‪,‬ﺍﻟﻘﺎﻫﺭﺓ‪,‬ﻤﺼﺭ‪ ,‬ﻁ‪ 1970/‬ﺹ‪.242 :‬‬
‫‪ - ( 2‬ﺍﻟﻤﺼﺩﺭ ﻨﻔﺴﻪ‪.‬ﺹ‪244:‬‬
‫‪ - ( 3‬ﺍﻟﻤﺼﺩﺭ ﺍﻟﺴﺎﺒﻕ‪ ،‬ﺹ‪. 257 :‬‬
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‫ﻭﳌﺎ ﺑﻠﻐﻪ ﺍﻷﻣﺮ ﺻﺎﺡ ﻗﺎﺋﻼ‪ ) :‬ﺇﱐ ﻻ ﺃﺗﻘﻠﺪ ﺍﻹﻣﺎﺭﺓ ﺇﻻ ﺑﺴﻴﻔﻲ ﻭﻻ ﺃﺭﺿﻰ ﺍﻟﻌﻮﻥ ﻣﻦ ﻏﲑﻱ(‪ ،‬ﻭﻗﺪ ﺑﺪﺃ‬
‫ﻋﻠﻲ ﺑﻚ ﻧﻀﺎﻟﻪ ﻓﺄﻭﻗﻊ ﺑﻘﻄﺎﻉ ﺍﻟﻄﺮﻕ ﻭﺍﳌﻔﺴﺪﻳﻦ ﻭﻗﻄﻊ ﺩﺍﺑﺮﻫﻢ ﻭﻋﺮﺝ ﻋﻠﻲ ﺍﳌﻮﻇﻔﲔ ﺍﻟﺬﻳﻦ ﻳﻘﺒﻠﻮﻥ‬
‫ﺍﻟﺮﺷﺎﻭﻯ ﻓﺄﻧﺰﻝ ‪‬ﻢ ﺍﻗﺴﻲ ﺍﻟﻌﻘﺎﺏ‪ ،‬ﻭﺭﺍﺡ ﻟﻠﻌﺎﺑﺜﲔ ﺑﺎﻷﻣﻦ ﻭﺍﳌﺴﺘﻬﺘﺮﻳﻦ ﻳﻀﺮ‪‬ﻢ ﺑﻴﺪ ﻻ ﺗﺮﺣﻢ‪ .‬ﻭﻛﺎﻥ‬
‫ﰲ ﺃﺛﻨﺎﺀ ﺫﻟﻚ ﻳﻜﺜﺮ ﺷﺮﺍﺀ ﺍﳌﻤﺎﻟﻴﻚ ﻭﺗﺮﺑﻴﺘﻬﻢ ﺣﱴ ﺃﺻﺒﺢ ﻟﻪ ‪‬ﻢ ﺟﺎﻩ ﻋﻈﻴﻢ ﻭﻛﺎﻥ ﰲ ﻗﻤﺘﻬﻢ ﳑﻠﻮﻛﺔ‬
‫ﺍﻟﻜﺒﲑ ﳏﻤﺪ ﺃﺑﻮ ﺍﻟﺬﻫﺐ‪ ،‬ﻓﺎﻧﱪﻯ ﺑﺴﻠﻄﺎﻧﻪ ﻭﺑﺄﺗﺒﺎﻋﻪ ﻳﻀﺮﺏ ﺑﻘﺴﻮﺓ ﻛﻞ ﻣﻦ ﻳﻘﻒ ﰲ ﻃﺮﻳﻘﻪ ﻭﻳﺼﺎﺩﺭ‬
‫ﻣﺎ ﺍﺣﺘﺎﺝ ﻟﻪ ﻣﻦ ﻣﺎﻝ ﻟﻴﻘﻮﻯ ﻧﻔﺴﻪ‪.‬‬
‫ﻭﻳﻌﺪ ﺟﻨﺪﻩ ﻭﳌﺎ ﻭﺻﻞ ﺇﱃ ﻏﺎﻳﺔ ﻋﻈﻤﻰ ﰲ ﺍﻟﻘﻮﺓ ﻭﺍﻟﺒﺄﺱ‪ ،‬ﺍﻧﱪﻯ ﺇﱃ ﺃﻋﺪﺍﺋﻪ ﺍﻟﻜﺒﺎﺭ ﻣﻦ ﺯﻋﻤﺎﺀ‬
‫ﺍﳌﻤﺎﻟﻴﻚ ﻭﺃﺧﺬ ﻳﻀﺮ‪‬ﻢ ﺍﻟﻮﺍﺣﺪ ﺑﻌﺪ ﺍﻷﺧﺮ‪ ،‬ﻳﺴﺘﺼﻔﻲ ﺃﻣﻮﺍﳍﻢ ﻭﻳﻘﺘﻠﻬﻢ ﺃﻭ ﻳﻨﻔﻴﻬﻢ ﻭﻳﺮﺩ ﻋﻠﻰ ﺭﺟﺎﻟﻪ ﻣﺎ‬
‫ﻛﺎﻥ ﺑﺄﻳﺪﻱ ﻫﺆﻻﺀ ﻣﻦ ﺍﻷﻣﻮﺍﻝ ﺑﻞ ﻭﺻﻞ ﺑﻪ ﺃﻥ ﺃﻭﻗﻊ ﺑﺴﻴﺪﻩ ﻋﺒﺪ ﺍﻟﺮﲪﺎﻥ ﻛﺘﺨﺬﺍ ﻓﻨﻔﺎﻩ ﺇﱃ ﺍﳊﺠﺎﺯ‬
‫ﻭﻗﺪ ﺑﻘﻲ ﻫﺬﺍ ﰲ ﻣﻨﻔﺎﻩ ﺍﺛﲏ ﻋﺸﺮ ﻋﺎﻣﺎ ﻭﱂ ﻳﺮﺟﻊ ﺇﻻ ﻭﻫﻮ ﺣﻄﺎﻡ ﱂ ﻳﻠﺒﺚ ﺃﻥ ﻣﺎﺕ‪ .‬ﻭﻛﺎﻥ ﻛﺒﲑ‬
‫ﺍﳌﻤﺎﻟﻴﻚ ﺍﻟﻘﺎﲰﻴﺔ ﻳﺪﻋﻰ ﺻﺎﱀ ﺑﻚ ﺍﻟﻘﺎﲰﻰ ﻭﻛﺎﻥ ﻋﻠﻰ ﺑﻚ ﻳﻀﻤﺮ ﻟﻪ ﺍﻟﺴﻮﺀ ﻓﻠﻤﺎ ﻧﻔﻰ ﻋﺒﺪ ﺍﻟﺮﲪﻦ‬
‫ﻛﺘﺨﺬﺍ )‪ (4‬ﺃﻣﺮ ﺍﻟﻘﺎﲰﻰ ﺃﻥ ﻳﺸﻴﻌﻪ ﺇﱃ ﻣﻨﻔﺎﻩ ﻓﻠﻤﺎ ﺧﺮﺝ ﺻﺎﱀ ﺑﻚ ﻳﺸﻴﻊ ﻋﺒﺪ ﺍﻟﺮﲪﻦ ﻛﺘﺨﺬﺍ ﺃﺭﺳﻞ‬
‫ﻋﻠﻰ ﺑﻚ ﰲ ﺃ ﻋﻘﺎﺑﻪ ﺃﻣﺮﺍ ﺛﺎﻧﻴﺎ ﺑﻨﻔﻲ ﺻﺎﱀ ﺑﻚ ﺇﱃ ﻏﺰﺓ‪ .‬ﻭﻟﻜﻦ ﺻﺎﱀ ﺑﻚ ﺍﺳﺘﻄﺎﻉ ﺃﻥ ﻳﻔﺮ‪ ،‬ﻭﺍﻟﺘﻒ‬
‫ﺣﻮﻟﻪ ﺃﺑﻨﺎﺀ ﺷﻴﻌﺘﻪ ﻭﰱ ﺍﻟﻮﻗﺖ ﻧﻔﺴﻪ ﲣﻠﻰ ﺃﺗﺒﺎﻉ ﻋﻠﻰ ﺑﻚ ﻋﻨﻪ ﻭﺣﺎﻭﻟﻮﺍ ﺍﻟﻘﻀﺎﺀ ﻋﻠﻴﻪ ﻭﻟﻜﻦ ﻋﻠﻰ‬
‫ﺑﻚ ﻓﺮ ﻣﻨﻬﻢ ﻭﳉﺄ ﺇﱃ ﻋﺪﻭﻩ ﺍﻟﺴﺎﺑﻖ ﺻﺎﱀ ﺑﻚ ﻭﻃﻠﺐ ﲪﺎﻳﺘﻪ ﻭﺃﻋﻄﺎﻩ ﺍﳌﻮﺍﺛﻴﻖ ﻋﻠﻰ ﺍﻟﻮﺩ ﻭﺇﻻ‬
‫ﺧﻼﺹ ﻓﺼﺪﻗﻪ ﺻﺎﱀ ﺑﻚ ﺍﻟﻘﺎﲰﻲ ﻭﺳﺎﻋﺪﻩ ﺣﱴ ﺍﺳﺘﻌﺎﺩ ﻣﻜﺎﻧﺘﻪ‬
‫ﻭﺣﻴﻨﺌﺬ ﺃﺧﺬ ﻳﻘﺘﻞ ﺃﻭﻟﺌﻚ ﺍﻟﺬﻳﻦ ﲣﻠﻮ ﻋﻨﻪ ﻭﺃﺳﺮﻑ ﻓﻴﻬﻢ ﻗﺘﻼ ﻭﺧﻨﻘﺎ ﺑﻼ ﺭﲪﺔ ﻭﻻ ﺷﻔﻘﺔ‬
‫ﻭﻭﺻﻞ ﺇﱃ ﻗﻤﺔ ﺟﺤﻮﺩﻩ ﺇﺫ ﺃﺳﺮﻉ ﻭﺗﺂﻣﺮ ﺿﺪ ﺻﺎﱀ ﺑﻚ ﺍﻟﺬﻱ ﲪﺎﻩ ﻭﺧﺮ ﺻﺎﱀ ﻗﺘﻴﻼ ﺑﺴﻴﻮﻑ ﺃﺗﺒﺎﻉ‬
‫ﻋﻠﻲ ﺑﻚ‪ ،‬ﻭﱂ ﻳﺴﻠﻢ ﺷﻴﻮﺥ ﺍﻟﻌﺮﺏ ﻣﻦ ﻓﺘﻚ ﻋﻠﻲ ﺑﻚ ﺍﻟﻜﺒﲑ‪ ،‬ﻓﻘﺪ ﻗﺘﻞ ﺷﻴﺦ ﺍﳊﺒﺎﻳﺒﺔ ﻭ‪‬ﺐ ﺃﻣﻮﺍﻟﻪ‬
‫ﻭﺧﺮﺏ ﺩﻳﺎﺭﻩ‪ ،‬ﻭﻗﺘﻞ ﺷﻴﺦ ﺍﳍﻮﺍﺭﺓ ﻭﺧﺮﺏ ﻋﺎﺻﻤﺘﻪ ﻭﺑﺪﺩ ﺃﻋﻮﺍﻧﻪ‪ ،‬ﻭ‪‬ﺬﺍ ﺩﺍﻧﺖ ﻟﻪ ﺍﻟﺒﻼﺩ ﻣﻦ ﺃﺳﻮﺍﻥ‬
‫ﺇﱃ ﺍﻹﺳﻜﻨﺪﺭﻳﺔ‪ ،‬ﻭﱂ ﻳﻌﺪ ﰲ ﻣﺼﺮ ﻣﻦ ﻳﻨﺎﺯﻋﻪ‪ ،‬ﻭﺩﻓﻌﻪ ﺫﻟﻚ ﺇﱃ ﺃﻥ ﻳﺘﺠﻪ ﺻﻮﺏ ﺳﻮﺭﻳﺎ ﻋﻘﺎﺑﺎ ﻟﻮﺍﻟﻴﻬﺎ‬
‫ﻋﺜﻤﺎﻥ ﺑﻚ ﺍﻟﻌﻈﻢ ﺍﻟﺬﻱ ﺃﻓﺴﺢ ﺻﺪﺭﻩ ﻟﻠﻤﻤﺎﻟﻴﻚ ﺍﻟﻔﺎﺭﻳﻦ ﻣﻦ ﻋﻠﻲ ﺑﻚ ﻭﻗﺴﻮﺗﻪ‪ ،‬ﻭﻗﺪ ﺳﺎﺭ ﰲ ﻏﺰﻭﻩ‬
‫ﺣﱴ ﻭﺻﻞ ﺣﻠﺐ‪ ،‬ﺑﻞ ﺃﻣﺮ ﻗﻮﺍﺩﻩ ﺃﻥ ﻳﺘﻘﺪﻣﻮﺍ ﺇﱃ ﺍﻷﺭﺽ ﺍﻟﻌﺜﻤﺎﻧﻴﺔ ﻓﺎﲢﲔ‪ ،‬ﻭﺑﺴﺒﺐ ﻫﺬﻩ ﺍﻻﻧﺘﺼﺎﺭﺍﺕ‬
‫ﻣﻨﺢ ﻟﻘﺐ ﺍﻟﻜﺒﲑ‪ ،‬ﻓﺄﺻﺒﺢ ﻳﺴﻤﻰ ﻋﻠﻲ ﺑﻚ ﺍﻟﻜﺒﲑ ﻭﻳﺒﺪﻭ ﺃﻥ ﺍﻛﱪ ﻗﻮﺍﺩﻩ ﻣﻠﻮﺍ ﺍﻟﻘﺘﺎﻝ ﻭﺳﻔﻚ ﺍﻟﺪﻣﺎﺀ‬
‫ﻓﺎﺗﻔﻘﻮﺍ ﻋﻠﻰ ﳐﺎﻟﻔﺔ ﺳﻴﺪﻫﻢ ﻭﰲ ﻗﻤﺘﻬﻢ ﺭﺑﻴﺒﻪ ﻭﺯﻭﺝ ﺍﺑﻨﺘﻪ ﳏﻤﺪ ﺃﺑﻮ ﺍﻟﺬﻫﺐ ﻭﺃﻳﺪﺕ ﺍﻟﻘﺴﻄﻨﻄﻴﻨﻴﺔ‬
‫ﻫﺆﻻﺀ ﺍﳋﺎﺭﺟﲔ ﻭﺃﻣﺪ‪‬ﻢ ﺑﺎﳌﺎﻝ ﻭﺍﻟﺴﻼﺡ ﻓﺎﻧﺘﺼﺮﻭﺍ ﻋﻠﻰ ﻋﻠﻲ ﺑﻚ ﻭﺍﻟﻘﻮﺍ ﺍﻟﻘﺒﺾ ﻋﻠﻴﻪ ﻋﻠﻰ ﺍﻟﺮﻏﻢ ﻣﻦ‬

‫‪ - ( 4‬ﺍﻟﻤﺼﺩﺭ ﺍﻟﺴﺎﺒﻕ‪ ،‬ﺹ‪259 :‬‬

‫‪- 16 -‬‬
‫ﻣﺴﺎﻋﺪﺓ ﻇﺎﻫﺮ ﺍﻟﻌﻤﺮ ﺣﺎﻛﻢ ﺍﻟﺸﺎﻡ ﻭﺣﻠﻴﻒ ﻋﻠﻲ ﺑﻚ ﺍﻟﻜﺒﲑ ﻭﻋﻠﻰ ﺍﻟﺮﻏﻢ ﻣﻦ ﻣﺴﺎﻋﺪﺓ ﺍﻟﺮﻭﺱ ﺍﻟﺬﻳﻦ‬
‫ﻛﺎﻧﻮﺍ ﻳﺆﻳﺪﻭﻥ ﺍﻟﺜﻮﺍﺭ ﺿﺪ ﺍﳊﻜﻢ ﺍﻟﻌﺜﻤﺎﱐ‪ ،‬ﻭﻛﺎﻧﺖ ﻣﻌﺮﻛﺔ ﺍﻟﺼﺎﳊﻴﺔ ﻫﻲ ﺍﳌﻌﺮﻛﺔ ﺍﻟﻔﺎﺻﻠﺔ ﺑﲔ ﻋﻠﻰ‬
‫ﺑﻚ ﻭﺍﻟﺜﺎﺋﺮﻳﻦ ﻋﻠﻴﻪ‪ ،‬ﻭﻓﻴﻬﺎ ﺳﻘﻂ ﻋﻠﻲ ﺑﻚ ﺟﺮﳛﺎ ﻭﲪﻞ ﺇﱃ ﻣﱰﻟﻪ ﺣﻴﺚ ﻣﺎﺕ ﺑﻌﺪ ﻋﺪﺓ ﺃﻳﺎﻡ‪ ،‬ﺳﻨﺔ‬
‫‪1187‬ﻫـ ‪1772‬ﻡ‪ ،‬ﻭﺧﻠﻰ ﺍﳉﻮ ﶈﻤﺪ ﺑﻚ ﺃﺑﻮ ﺍﻟﺬﻫﺐ ﻭﻗﺪ ﺍﺳﺘﻄﺎﻉ ﻫﺬﺍ ﺃﻥ ﻳﺴﺘﺼﺪﺭ ﺃﻣﺮﺍ ﻣﻦ‬
‫ﺍﻷﺳﺘﺎﻧﺔ ﲟﺤﺎﺭﺑﺔ ﻇﺎﻫﺮ ﺍﻟﻌﻤﺮ ﻋﻘﺎﺑﺎ ﻟﻪ ﻋﻠﻰ ﺗﺄﻳﻴﺪﻩ ﻟﻌﻠﻲ ﺑﻚ‪ ،‬ﻭﳌﺎ ﺻﺪﺭ ﻟﻪ ﻫﺬﺍ ﺍﻷﻣﺮ ﻓﺘﺤﺖ ﻟﻪ ﺑﻼﺩ‬
‫ﺍﻟﺸﺎﻡ ﺍﻟﺒﻠﺪﺓ ﺗﻠﻮ ﺍﻟﺒﻠﺪﺓ ﺩﻭﻥ ﻋﻨﺎﺀ ﻛﺒﲑ‪ ،‬ﻭﻟﻜﻦ ﺃﻳﺎﻡ ﺃﰊ ﺍﻟﺬﻫﺐ ﻛﺎﻧﺖ ﻗﺼﲑﺓ ﻓﻘﺪ ﻣﺎﺕ ﺳﻨﺔ ‪1775‬ﻡ‬
‫ﻭﺍﺳﻠﻢ ﻣﻮﺗﻪ ﺍﻟﺒﻼﺩ ﺇﱃ ﺧﻼﻑ ﻣﺮﻳﺮ)‪.(5‬‬
‫ﻣﺮﺍﻛﺰ ﺍﻟﺜﻘﺎﻓﺔ ﰲ ﻣﺼﺮ‪:‬‬
‫ﻭﻋﻨﺪﻣﺎ ﻧﺘﺤﺪﺙ ﻋﻦ ﺍﳌﺮﺍﻛﺰ ﺍﻟﺜﻘﺎﻓﻴﺔ ﺍﳌﻮﺟﻮﺩﺓ ﰲ ﻫﺬﺍ ﺍﻟﻌﻬﺪ ﻓﺈﻧﻨﺎ ﳒﺪﻫﺎ ﺗﺘﻮﺯﻉ ﻋﻠﻰ ﻛﺘﺎﺗﻴﺐ‬
‫ﻭﺯﻭﺍﻳﺎ ﺃﻭﺗﻜﺎﻳﺎ ﺃﻭ ﻣﺴﺎﺟﺪ ﻭﻟﻴﺴﺖ ﻫﺬﻩ ﺍﳌﺮﺍﻛﺰ ﻣﻘﺘﺼﺮﺓ ﻋﻠﻰ ﻣﺼﺮ ﻟﻮﺣﺪﻫﺎ‪ ،‬ﺑﻞ ﻛﺎﻧﺖ ﻣﻮﺟﻮﺩﺓ ﰲ‬
‫ﻛﻞ ﺍﻟﺒﻼﺩ ﺍﻟﻌﺮﺑﻴﺔ ﻭﺍﻹﺳﻼﻣﻴﺔ‪ ،‬ﻭﺇﻥ ﻛﺎﻧﺖ ﻣﺼﺮ ﻗﺪ ﻧﺎﻟﺖ ﺷﻬﺮﺓ ﻋﻠﻤﻴﺔ ﻓﻴﻤﺎ ﺑﲔ ﻫﺬﻩ ﺍﻟﺒﻼﺩ ﲝﻜﻢ‬
‫ﻇﺮﻭﻑ ﻋﺮﻓﺘﻬﺎ ﺍﳌﻨﻄﻘﺔ‪ ،‬ﻣﻦ ﺫﻟﻚ ﺳﻘﻮﻁ ﺑﻐﺪﺍﺩ ﻋﻠﻰ ﺃﻳﺪﻱ ﺍﻟﺘﺘﺎﺭ ﺳﻨﺔ ‪656‬ﻫـ ﻭﺍﻧﺘﻘﺎﻝ ﺍﻟﻜﺜﲑ ﻣﻦ‬
‫ﺍﻟﻌﻠﻤﺎﺀ ﺑﺎﲡﺎﻩ ﻣﺼﺮ‪ ،‬ﻭﺍﻻﺳﺘﻘﺮﺍﺭ ‪‬ﺎ‪ ،‬ﻭﻗﻴﺎﻣﻬﻢ ﺑﺎﻟﺘﺪﺭﻳﺲ ﺑﺎﳉﺎﻣﻊ ﺍﻷﺯﻫﺮ‪ ،‬ﺇﺿﺎﻓﺔ ﺇﱃ ﻫﺬﺍ ﺗﻮﺳﻂ ﻣﺼﺮ‬
‫ﻟﻠﻌﺎﱂ ﺍﻹﺳﻼﻣﻲ ﻭﻗﺮ‪‬ﺎ ﻣﻦ ﺍﻟﺒﻘﺎﻉ ﺍﳌﻘﺪﺳﺔ‪ ،‬ﻭﺇﻥ ﻛﺎﻧﺖ ﻫﻨﺎﻙ ﺑﻌﺾ ﺍﳌﺮﺍﻛﺰ ﺍﻟﻌﻠﻤﻴﺔ ﻣﻮﺟﻮﺩﺓ ﺑﺎﳊﺠﻢ‬
‫ﻧﻔﺴﻪ ﻭﺍﳌﻜﺎﻧﺔ‪ ،‬ﻛﻤﺎ ﻫﻮ ﺍﳊﺎﻝ ﻋﻨﺪﻣﺎ ﻧﺬﻛﺮ ﺟﺎﻣﻊ ﺍﻟﺰﻳﺘﻮﻧﺔ‪ ،‬ﺑﺘﻮﻧﺲ ﺃﻭ ﺍﻟﻘﺮﻭﻳﲔ ﺑﺎﳌﻐﺮﺏ‪ ،‬ﻭﻟﻜﻦ ﻣﻊ‬
‫ﻫﺬﺍ ﻛﺎﻥ ﻟﻸﺯﻫﺮ ﺍﻷﺛﺮ ﺍﻷﻛﱪ ﻟﻸﺳﺒﺎﺏ ﺍﻟﺴﺎﻟﻔﺔ ﺍﻟﺬﻛﺮ‪.‬‬
‫ﺃﺛﺮ ﺍﻷﺯﻫﺮ ﰲ ﺍﳊﻴﺎﺓ ﺍﻟﻌﺎﻣﺔ)‪:(6‬‬
‫ﺇﻥ ﺍﻷﺯﻫﺮ ﱂ ﻳﻜﻦ ﺩﻭﺭﻩ ﻣﻘﺘﺼﺮﺍ ﻋﻠﻰ ﺍﻟﺘﻌﻠﻴﻢ ﻭﺍﻟﻮﻋﻆ ﻭﺍﻹﺭﺷﺎﺩ ﻭﲣﺮﻳﺞ ﺍﳌﺪﺭﺳﲔ‪ ،‬ﺑﻞ ﺍﻣﺘﺪ‬
‫ﺃﺛﺮﻩ ﺇﱃ ﺍﳊﻴﺎﺓ ﺍﻟﻌﺎﻣﺔ‪ ،‬ﻓﻜﺎﻥ ﻣﻼﺫﹰﺍ ﻟﻠﻨﺎﺱ ﺣﲔ ﻳﻘﻊ ‪‬ﻢ ﻇﻠﻢ ﺃﻭ ﺟﻮﺭ ﻭﻧﺴﺠﻞ ﰲ ﻫﺬﺍ ﺍﳌﻘﺎﻡ ﺑﻌﺾ‬
‫ﺍﳌﻮﺍﻗﻒ ﺍﳌﺸﻬﻮﺩﺓ ﻟﻪ ﰲ ﺗﻮﺟﻴﻪ ﺍﻟﻨﺎﺱ ﻭﺍﻟﻮﻗﻮﻑ ﺇﱃ ﺟﺎﻧﺒﻬﻢ ﺣﺎﻝ ﺗﻌﺮﺿﻬﻢ ﻟﻠﻈﻠﻢ ﺃﻭ ﺍﻟﻌﺪﻭﺍﻥ‪ ،‬ﻳﺬﻛﺮ‬
‫ﺍﻟﺘﺎﺭﻳﺦ ﺣﲔ ﻗﺎﻡ )ﻣﺮﺍﺩ ﺑﻚ( ﺃﺣﺪ ﻛﺒﺎﺭ ﺍﳌﻤﺎﻟﻴﻚ ﰲ ﺍﻟﻌﺼﺮ ﺍﻟﻌﺜﻤﺎﱐ ﺑﺎﳍﺠﻮﻡ ﻋﻠﻰ ﺑﻴﻮﺕ ﺑﻌﺾ ﺍﻟﻨﺎﺱ‬
‫ﰲ ﺍﻟﻘﺎﻫﺮﺓ‪ ،‬ﻭﻣﺼﺎﺩﺭﺓ ﳑﺘﻠﻜﺎ‪‬ﻢ ﺟﺎﺀ ﺍﻟﻨﺎﺱ ﺣﻴﻨﻬﺎ ﺇﱃ ﺍﻟﺸﻴﺦ ﺃﲪﺪ ﺍﻟﺪﺭﺩﻳﺮ‪ ،‬ﻭﻛﺎﻥ ﻭﻗﺘﺌﺬ ﻣﻦ ﻛﺒﺎﺭ‬
‫ﻋﻠﻤﺎﺀ ﺍﻷﺯﻫﺮ‪ ،‬ﻓﻘﺎﻡ ﺑﺜﻮﺭﺓ ﻻﺳﺘﺮﺩﺍﺩ ﺍﳊﻘﻮﻕ ﺍﳌﻐﺘﺼﺒﺔ‪ ،‬ﻭﻣﺎ ﺇﻥ ﻋﻠﻢ ﺇﺑﺮﺍﻫﻴﻢ ﺑﻚ ﻭﻛﺎﻥ ﺷﺮﻳﻜﹰﺎ ﳌﺮﺍﺩ‬

‫‪ - ( 5‬ﺍﻟﻤﺼﺩﺭ ﺍﻟﺴﺎﺒﻕ‪ ،‬ﺹ‪.. 260 :‬‬

‫‪ - ( 6‬ﺘﻡ ﺇﻨﺸﺎﺀ ﺠﺎﻤﻊ ﺍﻷﺯﻫﺭ ﻤﻥ ﻁﺭﻑ ﺠﻭﻫﺭ ﺍﻟﺼﻘﻠﻲ ﻗﺎﺌﺩ ﺍﻟﻤﻌﺯ ﻟﺩﻴﻥ ﺍﷲ ﺍﻟﻔﺎﻁﻤﻲ‪ ،‬ﻭﺸﺭﻉ ﻓﻲ ﺒﻨﺎﺀﻩ ﺴـﻨﺔ‪ 359 :‬ﻫﺠﺭﻴـﺔ ‪970‬‬
‫ﻤﻴﻼﺩﻴﺔ ﻭﻜﻤل ﺒﻨﺎﺀﻩ ﺴﻨﺔ‪ 361 :‬ﻫﺠﺭﻴﺔ ‪ 972‬ﻤﻴﻼﺩﻴﺔ ﻭﻜﺎﻥ ﺍﻟﻐﺭﺽ ﻤﻥ ﺇﻨﺸﺎﺌﻪ ﻟﻴﻜﻭﻥ ﺭﻤﺯﹰﺍ ﻟﻠﺴﻴﺎﺩﺓ ﺍﻟﺭﻭﺤﻴﺔ ﻟﻠﺩﻭﻟﺔ ﺍﻟﻔﺎﻁﻤﻴﺔ‪ ،‬ﻴﻨﻅﺭ‬
‫ﺍﻷﺯﻫﺭ ﻓﻲ ﺃﻟﻑ ﻋﺎﻡ‪ ،‬ﻋﺒﺩ ﺍﻟﻤﻨﻌﻡ ﺨﻔﺎﺠﻲ‪ ، :‬ﻋﺎﻟﻡ ﺍﻟﻜﺘﺏ‪ ،‬ﺒﻴﺭﻭﺕ – ﻟﺒﻨﺎﻥ‪ ،‬ﻭ ﻤﻜﺘﺒﺔ ﺍﻟﻜﻠﻴﺎﺕ ﺍﻷﺯﻫﺭﻴﺔ‪ ،‬ﺍﻟﻘـﺎﻫﺭﺓ – ﻤـﺼﺭ‪ .‬ﻁ‪1987 / 2:‬ﻡ‬
‫‪.27/1‬‬
‫‪- 17 -‬‬
‫ﺑﻚ ﰲ ﺣﻜﻢ ﺍﻟﺒﻼﺩ ﺣﱴ ﺧﺸﻲ ﺍﺳﺘﻔﺤﺎﻝ ﺍﻟﺜﻮﺭﺓ ﻓﺄﺭﺳﻞ ﺇﱃ ﺍﻟﺸﻴﺦ ﺍﻟﺪﺭ ﺩﻳﺮ ﻳﺴﺘﺮﺿﻴﻪ ﻭﻳﻌﺘﺬﺭ ﺇﻟﻴﻪ‬
‫ﳑﺎ ﺻﻨﻊ ﺯﻣﻴﻠﻪ ﻭﳜﱪﻩ ﺑﺄﻧﻪ ﻣﻠﺘﺰﻡ ﺑﺮﺩ ﻣﺎ ‪‬ﺐ ﺃﻭ ﺩﻓﻊ ﻗﻴﻤﺘﻪ‪.‬‬
‫ﻭﺑﻌﺪ ﻋﺸﺮ ﺳﻨﻮﺍﺕ ﻣﻦ ﻫﺬﻩ ﺍﻟﻐﻀﺒﺔ ﺍﻷﺯﻫﺮﻳﺔ‪ ،‬ﻗﺎﺩ ﺍﻟﺸﻴﺦ ﻋﺒﺪ ﺍﷲ ﺍﻟﺸﺮﻗﺎﻭﻱ)‪ (7‬ﺷﻴﺦ ﺍﳉﺎﻣﻊ‬
‫ﺍﻷﺯﻫﺮ ﺃﻳﻀﺎ ﺛﻮﺭﺓ ﺃﺧﺮﻯ‪ ،‬ﻻﺳﺘﺮﺩﺍﺩ ﺍﳊﻘﻮﻕ ﻭﺩﻓﻊ ﺍﻟﻈﻠﻢ ﻭﻣﻘﺎﻭﻣﺔ ﺍﻟﻄﻐﻴﺎﻥ‪.‬‬
‫ﻭ ﰲ ﻫﺬﺍ ﳛﺪﺛﻨﺎ ﻋﺒﺪ ﺍﳌﻨﻌﻢ ﺧﻔﺎﺟﻲ ﰲ ﻛﺘﺎﺑﻪ ﺍﻷﺯﻫﺮ ﰲ ﺃﻟﻒ ﻋﺎﻡ ﺣﻴﺚ ﻳﻘﻮﻝ‪" :‬ﻭﻗﺪ ﺣﺪﺛﺖ‬
‫ﺣﻮﺍﺩﺙ ﺃﻳﺎﻡ ﻣﺸﻴﺨﺔ ﺍﻟﺸﻴﺦ ﺍﻟﺸﺮﻗﺎﻭﻱ‪ ،‬ﻣﻨﻬﺎ ﺃﻥ ﻃﺎﺋﻔﺔ ﺍ‪‬ﺎﻭﺭﻳﻦ ﺑﺎﻷﺯﻫﺮ ﻣﻦ ﺍﻟﺸﺮﻗﺎﻭﻳﲔ ﻛﺎﻧﻮﺍ‬
‫ﻗﺎﻃﻨﲔ ﺑﺎﻟﻄﻴﱪﺳﻴﺔ‪ ،‬ﻭ ﻛﺎﻧﺖ ﳍﻢ ﺧﺰﺍﺋﻦ ﺑﺮﻭﺍﻕ ﻣﻌﻤﺮ ﻓﻮﻗﻊ ﺑﻴﻨﻬﻢ ﻭ ﺑﲔ ﺃﻫﻞ ﺍﻟﻄﻴﱪﺳﻴﺔ ﻣﺸﺎﺟﺮﺓ‬
‫ﻭﺿﺮﺑﻮﺍ ﻧﻘﻴﺐ ﺍﻟﺮﻭﺍﻕ")‪ (8‬ﻭ ﻛﺬﻟﻚ ﻭﻗﻌﺖ ﻣﻈﺎﱂ ﰲ ﺣﻘﻬﻢ ﺳﻨﺔ ‪1209‬ﻫـ‪ .‬ﺣﻴﺚ ﻳﺬﻛﺮ ﺃﻥ ﺃﺗﺒﺎﻉ‬
‫ﳏﻤﺪ ﺑﻚ ﺍﻷﻟﻔﻲ ﻇﻠﻤﻮﻫﻢ ﻭ ﻃﻠﺒﻮﺍ ﻣﻨﻬﻢ ﻣﺎﻻ ﻻ ﻗﺪﺭﺓ ﳍﻢ ﻋﻠﻴﻪ‪ ،‬ﻓﺎﻏﺘﺎﺽ ﺍﻟﺸﻴﺦ ﺍﻟﺸﺮﻗﺎﻭﻱ ﻣﻦ ﺫﻟﻚ‬
‫ﻭﺣﻀﺮ ﺇﱃ ﺍﻷﺯﻫﺮ‪ .‬ﻭ ﲨﻊ ﺍﳌﺸﺎﻳﺦ ﻭ ﻗﻔﻠﻮﺍ ﺃﺑﻮﺍﺏ ﺍﳉﺎﻣﻊ ﻭ ﺫﻟﻚ ﺑﻌﺪ ﺃﻥ ﺧﻄﺐ ﻣﺮﺍﺩ ﺑﻚ ﻭﺇﺑﺮﺍﻫﻴﻢ‬
‫ﺑﻚ ﻭ ﱂ ﻳﺒﺪﻳﺎ ﺷﻴﺌﺎ‪ ،‬ﻭ ﺃﻣﺮ ﺍﻟﺸﻴﺦ ﺍﻟﻨﺎﺱ ﺑﻐﻠﻖ ﺍﻷﺳﻮﺍﻕ ﺍﻟﻮ ﺍﳊﻮﺍﻧﻴﺖ)‪ (9‬ﻭ ﺑﻌﺪ ﺛﻼﺛﺔ ﺃﻳﺎﻡ ﻣﻦ‬
‫ﺍﻻﺣﺘﺠﺎﺝ ﻭﻗﻊ ﺍﻟﺼﻠﺢ‪ ،‬ﺣﻴﺚ ﺍﺟﺘﻤﻊ ﺍﳌﺸﺎﻳﺦ ﰲ ﺑﻴﺖ ﺇﺑﺮﺍﻫﻴﻢ ﺑﻚ ﻭ ﻓﻴﻬﻢ ﺍﻟﺸﻴﺦ ﺍﻟﺸﺮﻗﺎﻭﻱ ﻭﺍﻧﻌﻘﺪ‬
‫ﺍﻟﺼﻠﺢ ﻋﻠﻰ ﺭﻓﻊ ﺍﳌﻈﺎﱂ ﻣﺎﻋﺪﺍ ﺩﻳﻮﺍﻥ ﺑﻮﻻﻕ ﻭ ﺃﻥ ﻳﻜﻔﻮﺍ ﺃﺗﺒﺎﻋﻬﻢ ﻋﻦ ﻣﺪ ﺃﻳﺪﻳﻬﻢ ﺇﱃ ﺃﻣﻮﺍﻝ ﺍﻟﻨﺎﺱ‬
‫ﻭﻳﺴﲑﻭﺍ ﰲ ﺍﻟﻨﺎﺱ ﺳﲑﺓ ﺣﺴﻨﺔ )‪.(10‬‬

‫ﺣﻴـﺎﺓ ﺍﳌـﺆﻟـﻒ )*(‬

‫ﺃﻭ ﹰﻻ‪ :‬ﺍﲰﻪ ﻭﻧﺴﺒﻪ‪:‬‬

‫‪ - 7‬ﻤﻥ ﺍﻷﻋﻼﻡ ﺍﻟﻤﺸﻬﻭﺭﻴﻥ ﻓﻲ ﺘﺎﺭﻴﺦ ﺍﻷﺯﻫﺭ‪,‬ﻤﻥ ﻤﻭﺍﻟﻴﺩ ﺒﻠﺩﺓ )ﺍﻟﻁﻭﻴﻠﺔ( ﺒﺎﻟﺸﺭﻗﻴﺔ ﺴﻨﺔ‪1150‬ﻫـ‪/‬ﻭﺘﻌﻠﻡ ﺒﺎﻷﺯﻫﺭ‪,‬ﻭﺘﻭﻟﻰ ﻤﺸﻴﺨﺔ‬
‫ﺍﻷﺯﻫﺭﺴﻨﺔ‪1208‬ﻫـ ﻭﻓﻲ ﻋﻬﺩﻫﺄﻨﺸﻰﺀ ﺭﻭﺍﻕ )ﺍﻟﺸﺭﺍﻗﻭﺓ( ﻭﻜﺎﻥ ﺍﻟﺸﻴﺦ ﺍﻟﺸﺭﻗﺎﻭﻱ ﻋﺎﻟﻤﺎ ﺠﻠﻴﻼ‪ ,‬ﻭﺯﻋﻴﻤﺎ ﺴﻴﺎﺴﻴﺎ‪,‬ﻭﻤﺠﺎﻫﺩﺍ ﻤﻀﺤﻴﺎ‪ ,‬ﻭﻟﻪ‬
‫ﻤﻭﺍﻗﻔﻪ ﺍﻟﻤﺸﺭﻓﺔ ﻓﻲ ﺍﻟﺩﻓﺎﻉ ﻋﻥ ﺤﺭﻴﺔ ﺍﻟﺸﻌﺏ ﻭﻜﺭﺍﻤﺘﻪ ﻭﺍﻟﻭﻁﻥ‪,‬ﻭﻗﺩ ﺘﻭﻓﻲ ﻓﻲ ﺍﻟﻘﺎﻫﺭﺓ ﺴﻨﺔ‪1227‬ﻫـ ‪.‬ﻟﻪ ﻤﺅﻟﻔﺎﺕ ﻋﺩﺓ ﻋﻠﻰ ﻓﻘﻪ ﺍﻹﻤﺎﻡ‬
‫ﺍﻟﺸﺎﻓﻌﻲ ‪.‬ﺃﻤﺎ ﻓﻲ ﺍﻟﺘﺎﺭﻴﺦ ﻓﻠﻪ‪ :‬ﺘﺎﺭﻴﺦ ﻤﺼﺭ‪ .‬ﻴﺘﻅﺭ ﻴﺴﺄﻟﻭﻨﻙ ﻓﻲ ﺍﻟﺩﻴﻥ ﻭﺍﻟﺤﻴﺎﺓ‪379/7,‬‬
‫‪ - 8‬اﻷزهﺮ ﻓﻲ أف ﻋﺎم ص ‪.62/1‬‬
‫‪ - 9‬اﻟﻤﺼﺪر ﻧﻔﺴﻪ‪.‬‬
‫‪ - 10‬اﻟﻤﺼﺪر ﻧﻔﺴﻪ‪.‬‬
‫‪- 18 -‬‬
 ‫ﻫﻮ ﺃﲪﺪ ﺑﻦ ﳏﻤﺪ ﺑﻦ ﺃﲪﺪ ﺑﻦ ﺃﰊ ﺣﺎﻣﺪ ﺍﻟﻌﺪﻭﻱ ﺃﺑﻮ ﺍﻟﱪﻛﺎﺕ ﺍﳌﺼﺮﻱ‬
‫ﺍﻷﺯﻫﺮﻱ ﺍﳌﺎﻟﻜﻲ ﺍﻟﺸﻬﲑ ﺑﺎﻟﺪﺭ ﺩﻳﺮ)‪.(11‬‬

‫)*( ‪ -‬ﺘﺭﺠﻡ ﻟﻠﺩﺭﺩﻴﺭ ﺍﻟﻜﺜﻴﺭ ﻤﻥ ﺍﻟﻤﺅﻟﻔﻴﻥ ﻭﺃﺼﺤﺎﺏ ﺍﻟﺘﺭﺍﺠﻡ ﻓﻲ ﻋﺼﺭﻩ ﺜﻡ ﻤﻥ ﺒﻌﺩﻩ ﻭﻨﺠﺩ ﻓﻲ ﻁﻠﻴﻌﺘﻬﻡ‪.‬‬
‫‪ – 1‬ﺍﻟﺠﺒﺭﺘﻲ‪ :‬ﻋﺒﺩ ﺍﻟﺭﺤﻤﻥ‪ ،‬ﻓﻲ ﺘﺎﺭﻴﺦ ﻋﺠﺎﺌﺏ ﺍﻵﺜﺎﺭ ﻓﻲ ﺍﻟﺘﺭﺍﺠﻡ ﻭﺍﻷﺨﺒﺎﺭ‪ ،‬ﺩﺍﺭ ﺍﻟﺠﻴل‪ ,‬ﺒﻴﺭﻭﺕ ـ ﻟﺒﻨﺎﻥ ـ )ﺩ‪/‬ﺕ( ﺝ‪.144-35-32/2‬‬
‫‪ – 2‬ﻤﺤﻤﺩ ﺒﻥ ﻤﺤﻤﺩ ﻤﺨﻠﻭﻑ‪ :‬ﻓﻲ ﺸﺠﺭﺓ ﺍﻟﻨﻭﺭ ﺍﻟﺯﻜﻴﺔ ﻓﻲ ﻁﺒﻘﺎﺕ ﺍﻟﺴﺎﺩﺓ ﺍﻟﻤﺎﻟﻜﻴﺔ‪ ،‬ﺩﺍﺭ ﺍﻟﻜﺘﺎﺏ ﺍﻟﻌﺭﺒﻲ‪ ،‬ﺒﻴﺭﻭﺕ – ﻟﺒﻨﺎﻥ‪.‬ﺩ‪،‬ﻁ ‪ ،‬ﺩ‪ ،‬ﺕ ‪ ،‬ﺹ‪359:‬‬
‫‪.‬‬
‫‪ – 3‬ﻜﺤﺎﻟﺔ ﻋﻤﺭ‪ :‬ﻓﻲ ﻤﻌﺠﻡ ﺍﻟﻤﺅﻟﻔﻴﻥ ﻭﺘﺭﺍﺠﻡ ﻤﺼﻨﻔﻲ ﺍﻟﻜﺘﺏ ﺍﻟﻌﺭﺒﻴﺔ‪ ،‬ﺩﺍﺭ ﺇﺤﻴﺎﺀ ﺍﻟﺘﺭﺍﺙ ﻭ ﻤﻁﺒﻌﺔ ﺍﻟﺘﺭﻗﻲ‪ ،‬ﺩﻤﺸﻕ – ﺴﻭﺭﻴﺎ ‪ -‬ﻁ‪:‬‬
‫‪1376‬ﻫـ‪1957/‬ﻡ‪ ،‬ﺝ‪.67/2‬‬
‫‪ – 4‬ﺍﻟﺒﻐﺩﺍﺩﻱ‪ :‬ﺍﺴﻤﺎﻋﻴل ﺒﺎﺸﺎ‪ ،‬ﻓﻲ ﻫﺩﺍﻴﺔ ﺍﻟﻌﺎﺭﻓﻴﻥ ﺒﺄﺴﻤﺎﺀ ﺍﻟﻤﺅﻟﻔﻴﻥ ﻭﺃﺜﺎﺭ ﺍﻟﻤﺼﻨﻔﻴﻥ ﻤﻥ ﻜﺸﻑ ﺍﻟﻅﻨﻭﻥ‪،‬‬
‫ﺩﺍﺭ ﺍﻟﻜﺘﺏ ﺍﻟﻌﻠﻤﻴﺔ‪ ،‬ﺒﻴﺭﻭﺕ – ﻟﺒﻨﺎﻥ‪ .‬ﺩ‪،‬ﻁ ‪،1992/‬ﺝ‪. 181/5‬‬
‫‪ – 5‬ﺍﻟﻜﺘﺎﻨﻲ‪ :‬ﻋﺒﺩ ﺍﻟﻜﺭﻴﻡ ﻤﺤﻤﺩ ﺍﻟﺤﺴﻨﻲ ﺍﻹﺩﺭﻴﺴﻲ ﺍﻟﻔﺎﺴﻲ ‪ ،‬ﻓﻲ ﻓﻬﺭﺱ ﺍﻟﻔﻬﺎﺭﺱ‪ ،‬ﺍﻟﻤﻁﺒﻌﺔ ﺍﻟﺠﺩﻴﺩﺓ‪ ،‬ﺍﻟﻤﻐﺭﺏ‪:‬‬
‫‪ .‬ﻁ ‪ 1947:‬ﻡ‪ ،‬ﺝ‪.294-293/1‬‬
‫‪ – 6‬ﺴﺭﻜﻴﺱ‪ :‬ﻓﻲ ﻤﻌﺠﻡ ﺍﻟﻤﻁﺒﻭﻋﺎﺕ ﺍﻟﻌﺭﺒﻴﺔ ﻭﺍﻟﻤﻌﺭﺒﺔ ‪.871-869 ،‬‬
‫‪ – 7‬ﺍﻟﻤﻭﺴﻭﻋﺔ ﺍﻟﻌﺭﺒﻴﺔ ﺍﻟﻤﻴﺴﺭﺓ‪ ، :‬ﺩﺍﺭ ﺍﻟﺠﻴل‪ ،‬ﺒﻴﺭﻭﺕ‪ ،‬ﺍﻟﻘﺎﻫﺭﺓ‪ ،‬ﺘﻭﻨﺱ‪ ،‬ﻨﺸﺭ‪:‬ﺍﻟﺠﻤﻌﻴﺔ ﺍﻟﻤﺼﺭﻴﺔ ﻟﻨﺸﺭ ﺍﻟﻤﻌﺭﻓﺔ‬
‫ﻭﺍﻟﺜﻘﺎﻓﺔ ﺍﻟﻌﺎﻟﻤﻴﺔ ﻁ‪2001 :2:‬ﻡ‪،1087/2 - .‬‬
‫‪ – 8‬ﺍﻟﺸﺭﺒﺎﺼﻲ ﺃﺤﻤﺩ‪ :‬ﻓﻲ ﻴﺴﺄﻟﻭﻨﻙ ﻓﻲ ﺍﻟﺩﻴﻥ ﻭﺍﻟﺤﻴﺎﺓ‪ ،‬ﺩﺍﺭ ﺍﻟﺠﻴل‪ ،‬ﺒﻴﺭﻭﺕ – ﻟﺒﻨﺎﻥ‪ .‬ﺝ‪.369-368/7‬‬
‫‪) – 9‬ﺥ(‪ :‬ﺍﻟﺒﻴﻁﺎﺭ‪ :‬ﻋﺒﺩ ﺍﻟﺭﺯﺍﻕ ‪ :‬ﺤﻠﻴﺔ ﺍﻟﺒﺸﺭ ﻓﻲ ﺘﺎﺭﻴﺦ ﺍﻟﻘﺭﻥ ﺍﻟﺜﺎﻟﺙ ﻋﺸﺭ‪ ،‬ﻤﻁﺒﻭﻋﺎﺕ ﻤﺠﻤﻊ ﺍﻟﻠﻐﺔ ﺍﻟﻌﺭﺒﻴﺔ‪ ،‬ﺩﻤﺸﻕ – ﺴﻭﺭﻴﺎ ﻁ ‪1961:‬ﻡ‪،‬‬
‫ﻓﻬﺭﺱ ﺍﻟﻤﺅﻟﻔﻴﻥ ﺍﻟﻅﺎﻫﺭﻴﺔ ‪.180-177/1 ،‬‬
‫‪ - 10‬ﺍﻷﺯﻫﺭﻱ‪ :‬ﻤﺤﻤﺩ ﺍﻟﺒﺸﻴﺭ ﻅﺎﻓﺭ ‪ :‬ﺍﻟﻴﻭﺍﻗﻴﺕ ﺍﻟﺜﻤﻴﻨﺔ ﻓﻲ ﺃﻋﻴﺎﻥ ﻤﺫﻫﺏ ﻋﺎﻟﻡ ﺍﻟﻤﺩﻴﻨﺔ ‪ ،‬ﻤﻁﺒﻌﺔ ﺍﻟﻤﻼﺠﺊ ﺍﻟﻌﺒﺎﺴﻴﺔ ﺍﻟﺘﺎﺒﻌﺔ ﻟﺠﻤﻌﻴﺔ ﺍﻟﻌﺭﻭﺓ ﺍﻟﻭﺜﻘﻰ‪،‬‬
‫ﻁ‪1324 :‬ﻫـ ‪.294-293/1 ،‬‬
‫‪ – 11‬ﻁﻠﺱ ‪ :‬ﻤﺤﻤﺩ ﺃﺴﻌﺩ ‪ ،‬ﺍﻟﻜﺸﺎﻑ ﻋﻥ ﻤﺨﻁﻭﻁﺎﺕ ﺨﺯﺍﺌﻥ ﻜﺘﺏ ﺍﻷﻭﻗﺎﻑ‪ ،‬ﻤﻁﺒﻌﺔ ﺍﻟﻌﺎﻨﻲ‪ –:‬ﺒﻐﺩﺍﺩ ‪ -‬ﺍﻟﻌﺭﺍﻕ‪ ،‬ﻁ‪1372 :‬ﻫـ‪1953/‬ﻡ ‪ ،‬ﺹ‪:‬‬
‫‪.92‬‬
‫‪ –13 12‬ﻋﻠﻲ ﻤﺒﺎﺭﻙ‪ :‬ﺍﻟﺨﻁﻁ ﺍﻟﺘﻭﻓﻴﻘﻴﺔ ﺍﻟﺠﺩﻴﺩﺓ ﻟﻤﺼﺭ ﺍﻟﻘﺎﻫﺭﺓ ﻭﻤﺩﻨﻬﺎ ﻭﺒﻼﺩﻫﺎ ﺍﻟﻘﺩﻴﻤﺔ ﻭﺍﻟﺸﻬﻴﺭﺓ‪ ، ،‬ﻤﻁﺒﻌﺔ ﺒﻭﻻﻕ‪ ،‬ﻁ‪1305 :2 :‬ﻫـ ‪-90/9 ،‬‬
‫‪.96‬‬
‫‪ -‬ﺍﻟﺩﺴﻭﻗﻲ‪ :‬ﻤﺤﻤﺩ ﻋﺭﻓﺔ ‪ ،‬ﺤﺎﺸﻴﺔ ﻋﻠﻰ ﺍﻟﺸﺭﺡ ﺍﻟﻜﺒﻴﺭ‪ ، .‬ﺩﺍﺭ ﺍﻟﻔﻜﺭ ﺍﻟﻘﺎﻫﺭﺓ – ﻤﺼﺭ‪ .‬ﺩ‪،‬ﻁ‪/‬ﺩ‪،‬ﺕ‪.555 ،554 /1.‬‬
‫‪ -14‬ﺨﻔﺎﺠﻲ ‪ :‬ﻤﺤﻤﺩ ﻋﺒﺩ ﺍﻟﻤﻨﻌﻡ‪ ،‬ﺍﻷﺯﻫﺭ ﻓﻲ ﺃﻟﻑ ﻋﺎﻡ ‪ ،‬ﻋﺎﻟﻡ ﺍﻟﻜﺘﺏ‪ ،‬ﺒﻴﺭﻭﺕ – ﻟﺒﻨﺎﻥ‪ ،‬ﻭ ﻤﻜﺘﺒﺔ ﺍﻟﻜﻠﻴﺎﺕ ﺍﻷﺯﻫﺭﻴﺔ‪ ،‬ﺍﻟﻘﺎﻫﺭﺓ – ﻤﺼﺭ‪ .‬ﻁ‪/ 2:‬‬
‫‪1987‬ﻡ ‪.318-317/2 ،‬‬
‫‪ -15‬ﺍﻟﺯﺭﻜﻠﻲ ‪ :‬ﺨﻴﺭ ﺍﻟﺩﻴﻥ‪ ،‬ﺍﻷﻋﻼﻡ‪ ، ،‬ﻤﻁﺒﻌﺔ ﻜﻭﺴﺘﺎ ﺘﻭﻤﺎﺱ ﻭ ﺸﺭﻜﺎﻩ ‪ ،‬ﻭ– ﺩﺍﺭ ﺍﻟﻌﻠﻡ ﻟﻠﻤﻼﻴﻴﻥ‪ ،‬ﺒﻴﺭﻭﺕ – ﻟﺒﻨﺎﻥ‪ ،‬ﻁ‪ ،2:‬ﺩ‪،‬ﺕ ‪ ،‬ﻁ‪/ 10 :‬‬
‫‪1992‬ﻡ‪. 232/1.‬‬
‫‪-16‬ﻜﺎﺭل ﺒﺭﻭﻜﻠﻤﺎﻥ‪ :‬ﺘﺎﺭﻴﺦ ﺍﻷﺩﺏ ﺍﻟﻌﺭﺒﻲ‪.‬ﺍﻹﺸﺭﺍﻑ ﻭﺍﻟﺘﺭﺠﻤﺔ ﺍﻟﻌﺭﺒﻴﺔ ﺃ‪.‬ﺩ ﻤﺤﻤﻭﺩ ﻓﻬﻤﻲ ﺤﺠﺎﺯﻱ‪.‬ﻨﻘﻠﻪ ﺇﻟﻰ ﺍﻟﻌﺭﺒﻴﺔ‪,‬ﺩ‪/‬ﻋﻤﺭ ﺼﺎﺒﺭ ﻋﺒﺩ ﺍﻟﻤﺠﻴﺩ‪,‬‬
‫ﻤﻁﺎﺒﻊ ﺍﻟﻬﻴﺌﺔ ﺍﻟﻤﺼﺭﻴﺔ ﺍﻟﻌﺎﻤﺔ ﻟﻠﻜﺘﺎﺏ‪ .‬ﻁ‪ 1995/‬ـ ‪315.314.313.312/8‬‬
‫‪- 19 -‬‬
‫ﻭﺃﺣﺪ ﺍﻟﺮﺟﺎﻝ ﺍﻟﺬﻳﻦ ﺿﺮﺑﻮﺍ ﺑﺴﻬﻢ ﻛﺒﲑ ﺳﻮﺍﺀ ﰲ ﺍﻟﺘﺮﺑﻴﺔ ﺃﻭ ﺍﻹﻓﺘﺎﺀ ﻭﺍﻟﺘﻌﻠﻴﻢ ‪..‬ﺗﻮﱃ ﻣﺸﻴﺨﺔ ﺍﳌﺎﻟﻜﻴـﺔ‬
‫ﻭﻧﻈﺎﺭﺓ ﻭﻗﻒ ﺍﻟﺼﻌﺎﻳﺪﺓ‪ ،‬ﻭﻣﺸﻴﺨﺔ ﺭﻭﺍﻗﻬﻢ‪ ،‬ﻭﻛﺎﻥ ﻻ ﻳﻬﺎﺏ ﺳﻄﻮﺓ ﺍﳌﻤﺎﻟﻴﻚ‪ ،‬ﺑﻞ ﻳﻘـﻒ ﲜـﻮﺍﺭ‬
‫ﺍﻟﺸﻌﺐ ﰲ ﻣﻘﺎﻭﻣﺔ ﻣﻈﺎﱂ ﺍﳊﻜﺎﻡ ﺍﻟﺬﻳﻦ ﻛﺎﻧﻮﺍ ﻳﻬﺎﺑﻮﻧﻪ ﻭﻳﻌﺮﻓﻮﻥ ﻣﻜﺎﻧﺘﻪ ﺍﻟﺸﻌﺒﻴﺔ)‪.(12‬‬
‫ﻟﻘﺒـــﻪ‪:‬‬
‫ﻳﻘﻮﻝ ﺍﳉﱪﰐ ﻭﺫﻛﺮ ﻟﻨﺎ ﻋﻦ ﻟﻘﺒﻪ‪ :‬ﺃﻥ ﻗﺒﻴﻠﺔ ﻣﻦ ﺍﻟﻌﺮﺏ ﻧﺰﻟﺖ ﺑﺒﻠﺪﻩ‪ ،‬ﻛﺒﲑﻫﻢ ﻳـﺪﻋﻰ‪ ،‬ـﺬﺍ‬
‫ﺍﻟﻠﻘﺐ ﻓﻮﻟﺪ ﺟﺪﻩ ﻋﻨﺪ ﺫﻟﻚ‪ ،‬ﻓﻠﻘﺐ ﺑﻠﻘﺒﻪ ﺗﻔﺎﺅ ﹰﻻ ﻟﺸﻬﺮﺗﻪ)‪.(13‬‬

‫ﺛﺎﻧﻴـﹰﺎ‪ :‬ﻭﻻﺩﺗـﻪ‪:‬‬

‫ﻭﻟﺪ ﺳﻨﺔ ‪ 1127‬ﻫﺠﺮﻳﺔ ﺑﺒﲏ ﻋﺪﻯ ﲟﺤﺎﻓﻈﺔ )ﺃﺳﻴﻮﻁ( ﻣﻦ ﺻﻌﻴﺪ ﻣﺼﺮ ﻭ ﻓﻴﻬﺎ ﺣﻔﻆ ﺍﻟﻘـﺮﺁﻥ‬
‫ﺍﻟﻜﺮﱘ ﻭﻟﻌﻞ ﺩﺭﺍﺳﺘﻪ ﰲ ﺗﻠﻚ ﺍﻟﻔﺘﺮﺓ ﺍﳌﺒﻜﺮﺓ ﱂ ﺗﻜﻦ ﲣﺘﻠﻒ ﻋﻤﺎ ﻳﺘﻠﻘﺎﻩ ﺃﻣﺜﺎﻟﻪ ﻣﻦ ﺍﻟﺼﺒﻴﺎﻥ ﻣﻦ ﺣﻔـﻆ‬
‫ﻟﻠﻘﺮﺁﻥ ﻭﺇﳌﺎﻡ ﲟﺒﺎﺩﺉ‪.‬ﺍﻟﻨﺤﻮ ﻭﺍﻟﻠﻐﺔ ﻭﺍﻟﻔﻘﻪ ﻭﺍﻷﺩﺏ ﺃﻭ ﹰﻻ ﰲ ﺍﻟﻜﺘﺎﺏ ﻋﻨﺪ ﺃﺣﺪ ﺍﳌﺸﺎﻳﺦ ﺃﻭ ﻣـﺮﺑﲔ ﰒ‬
‫ﻳﻮﺍﺻﻞ ﺩﺭﺍﺳﺘﻪ ﺍﻟﻌﻠﻴﺎ ﻓﻴﻤﺎ ﺑﻌﺪ ﺇﻥ ﺷﺎﺀ ﰲ ﺑﻌﺾ ﺍﳌﻌﺎﻫﺪ ﺃﻭ ﺍﳉﻮﺍﻣﻊ ﺍﻟﻜﱪﻯ ﻭﺍﻧﻄﻼﻗـﹰﺎ ﻣـﻦ ﻗـﻮﻝ‬
‫ﺍﻟﺮﺳﻮﻝ ﺻﻠﻰ ﺍﷲ ﻋﻠﻴﻪ ﻭﺳﻠﻢ ﻓﻴﻤﻦ ﺗﻌﻠﻢ ﺍﻟﻘﺮﺁﻥ ﺃﻭ ﻋﻠﻤﻪ ﺍﻟﻔﻀﻞ ﺍﻟﻜﺒﲑ ﺣﻴﺚ ﻳﻘﻮﻝ )ﺧﲑﻛﻢ ﻣـﻦ‬
‫ﺗﻌﻠﻢ ﺍﻟﻘﺮﺁﻥ ﻭﻋﻠﻤﻪ( )‪.(14‬‬
‫ﻫﺎﻫﻮ ﻭﺍﻟﺪ ﺍﻟﺪﺭ ﺩﻳﺮ ﻣﻦ ﺃﻭﻻﺋﻚ ﺍﻟﺮﺟﺎﻝ ﺍﻟﺬﻳﻦ ﻧﺬﺭﻭﺍ ﺣﻴﺎ‪‬ﻢ ﳍﺬﺍ ﺍﻟﻐﺮﺽ ﺍﻟﻨﺒﻴﻞ ﺍﻟـﺸﺮﻳﻒ‪،‬‬
‫ﺣﻴﺚ ) ﺍﺷﺘﻐﻞ ﺑﺘﻌﻠﻴﻢ ﺍﻷﻃﻔﺎﻝ ﻛﺘﺎﺏ ﺍﷲ ﻓﺤﻔﻆ ﺍﻟﻘﺮﺁﻥ ﺍﻟﻜﺮﱘ ﻋﻠﻰ ﻳﺪﻩ ﺧﻠﻖ ﻛﺜﲑ‪ ،‬ﻭﻛﺎﻥ ﻳﻌﻠـﻢ‬
‫ﺍﻟﻔﻘﺮﺍﺀ‪ ،‬ﺣﺴﺒﺔ ﷲ ﺗﻌﺎﱃ‪ .‬ﻻ ﻳﺄﺧﺬ ﻣﻨﻬﻢ ﺻﺮﺍﻓﺔ ﻭﻻ ﻏﲑﻫﺎ ﺑﻞ ﺭﲟﺎ ﻭﺍﺳﺎﻫﻢ ﻣﻦ ﻋﻨﺪﻩ( )‪ ،(15‬ﻭﺇﻥ ﻛﻨﺎ‬
‫ﻻ ﻧﻌﺮﻑ ﺍﻟﻜﺜﲑ ﻋﻦ ﺃﺳﺮﺗﻪ ﻷﻥ ﻛﺘﺐ ﺍﻟﺘﺮﺍﺟﻢ ﻻ ﺗﺴﻌﻒ ﰲ ﻫﺬﺍ ﺍ‪‬ﺎﻝ ﻭﻟﻜﻦ ﻳﻜﻔﻲ ﺃﻧﻪ ﺗﺮﻋـﺮﻉ ﰲ‬
‫ﻫﺬﺍ ﺍﻟﻮﺳﻂ ﻭﺣﻔﻆ ﺍﻟﻘﺮﺁﻥ ﺍﻟﻜﺮﱘ ﻭﺇﻥ ﻛﺎﻧﺖ ﺍﻷﻗﺪﺍﺭ ﻗﺪ ﺷﺎﺀﺕ ﻟﻪ ﺃﻥ ﻳﻔﻘﺪ ﻭﺍﻟﺪﻩ ﻭﻫﻮ ﰲ ﺍﻟﻌﺎﺷﺮﺓ‬
‫ﻣﻦ ﻋﻤﺮﻩ‪ ،‬ﺣﻴﺚ ﻣﺎﺕ ﺷﻬﻴﺪﹰﺍ ﺑﺎﻟﻄﺎﻋﻮﻥ ﺳﻨﺔ‪1138:‬ﻫـ)‪ .(16‬ﻭﺃﺻﺒﺢ ﺣﻴﻨﺌﺬ ﻳﺘﻴﻤﹰﺎ ﻟﻜﻨﻪ ﱂ ﻳﺘﻮﺍﻥ ﻋﻦ‬

‫‪ - ( 12‬ﺍﻨﻅﺭ ﻴﺴﺄﻟﻭﻨﻙ ﻓﻲ ﺍﻟﺩﻴﻥ ﻭﺍﻟﺤﻴﺎﺓ ‪368 /7‬‬

‫‪ - ( 13‬ﺃﻨﻅﺭ ﻋﺠﺎﺌﺏ ﺍﻵﺜﺎﺭ‪.32/2 :‬‬
‫‪ - (3‬ﺣﺪﻳﺚ رواﻩ اﻟﺪار ﻣﻲ ﻓﻲ اﻟﺴﻨﻦ ﺑﺎب ﻓﻀﻞ اﻟﻘﺮﺁن‪ ،‬رﻗﻢ اﻟﺤﺪﻳﺚ‪ ،2834 :‬وآﺬا اﻟﺘﺮﻣﻴﺬي‪ ،‬رﻗﻢ اﻟﺤﺪﻳﺚ‪.3203 :‬‬
‫‪ - ( 15‬ﺃﻨﻅﺭ ﻤﺨﺘﺼﺭ ﺍﻟﺸﺭﺡ ﺍﻟﺼﻐﻴﺭ‪ ،‬ﺹ‪ .01 :‬ﻋﻠﻰ ﺃﻗﺭﺏ ﺍﻟﻤﺴﺎﻟﻙ ﺇﻟﻰ ﻤﺫﻫﺏ ﺍﻹﻤﺎﻡ ﻤﺎﻟﻙ‪ ،‬ﻨﺸﺭ‪ :‬ﻤﺅﺴﺴﺔ ﺍﻟﻌﺼﺭ ﻟﻠﻤﻨﺸﻭﺭﺍﺕ ﺍﻹﺴﻼﻤﻴﺔ‪،‬‬
‫ﻭﺯﺍﺭﺓ ﺍﻟﺸﺅﻭﻥ ﺍﻟﺩﻴﻨﻴﺔ‪ ،‬ﺍﻟﺠﺯﺍﺌﺭ‪ .‬ﻁ‪1413 :‬ﻫـ‪1992 -‬ﻡ‪.‬‬
‫‪ - ( 16‬ﺃﻨﻅﺭ ﺍﻟﻤﺼﺩﺭ ﻨﻔﺴﻪ‪.‬‬
‫‪- 20 -‬‬
‫ﺇﲤﺎﻡ ﺣﻔﻆ ﺍﻟﻘﺮﺁﻥ ﻭﲡﻮﻳﺪﻩ ﺑﻞ ﻭﺍﺻﻞ ﻣﺸﻮﺍﺭﻩ ﺍﻟﻌﻠﻤﻲ ﺑﻌﺪ ﻫﺬﺍ ﺇﱃ ﺃﻥ ﺻﺎﺭ ﺫﺍ ﺷـﺄﻥ ﻭﻫـﺬﺍ ﺩﺃﺏ‬
‫ﺍﻟﻨﺎ‪‬ﲔ ﻛﺄﻣﺜﺎﻟﻪ ﺍﻟﺬﻳﻦ ﻻ ﺗﺜﺒﻂ ﳘﻤﻬﻢ ﺍﳌﺸﺎﻛﻞ ﺃﻭ ﲢﺪ ﻣﻦ ﻋﺰﺍﺋﻤﻬﻢ ﺍﶈﻦ ﺃﻭ ﺍﻟﺼﻌﺎﺏ‪.‬‬

‫ﻭﻛﺎﻧﺖ ﳘﺘﻪ ﻋﺎﻟﻴﺔ‪ ،‬ﺣﻴﺚ ﱂ ﻳﻜﺘﻒ ﲝﻔﻆ ﺍﻟﻘﺮﺁﻥ ﻓﻘﻂ ﺑﻞ ﺗﺎﻗﺖ ﻧﻔﺴﻪ ﺇﱃ ﺍﻻﺳﺘﺰﺍﺩﺓ ﻣﻦ‬
‫ﻃﻠﺐ ﺍﻟﻌﻠﻢ ﻭﺍﳌﻌﺮﻓﺔ‪ ،‬ﻓﺴﺎﻓﺮ ﺷﻄﺮ ﺍﻟﻘﺎﻫﺮﺓ ﳏﻤﻮ ﹰﻻ ﻋﻠﻰ ﳒﺎﺋﺐ ﺍﻟﺸﻮﻕ‪ ،‬ﻳﻨﺸﺪ ﺍﻻﻟﺘﺤﺎﻕ ﺑﺎﻷﺯﻫﺮ‬
‫ﺍﻟﺸﺮﻳﻒ ﺍﻟﺬﻱ ﻛﺎﻥ ﻭﻗﺘﺌﺬ ﳏﻂ ﺃﻧﻈﺎﺭ ﻃﻼﺏ ﺍﻟﻌﻠﻢ ﻭﺍﳌﻌﺮﻓﺔ‪ ،‬ﺣﻴﺚ ﻛﺎﻥ ﺛﺎﻟﺚ ﺛﻼﺛﺔ ﻣﺮﺍﻛﺰ ﻋﻠﻤﻴﺔ‬
‫ﻛﱪﻯ ﰲ ﺍﻟﻌﺎﱂ ﺍﻟﻌﺮﰊ‪ ،‬ﻛﺎﻟﺰﻳﺘﻮﻧﺔ ﺑﺘﻮﻧﺲ ﻭﺍﻟﻘﺮﻭﻳﲔ ﺑﺎﳌﻐﺮﺏ ﺍﻷﻗﺼﻰ ﻭﻫﻨﺎﻙ ﺑﲔ ﺃﺭﻭﻗﺔ ﺍﻷﺯﻫﺮ‬
‫ﺣﻀﺮ ﻣﺆﻟﻔﻨﺎ ﺩﺭﻭﺱ ﺍﻟﻌﻠﻤﺎﺀ ﻭﺍﳌﺸﺎﻳﺦ ﻭﺍﺳﺘﻔﺎﺩ ﻣﻨﻬﻢ ﺍﻟﻜﺜﲑ‪ ،‬ﺣﱴ ﺻﺎﺭ ﻋﺎﳌﹰﺎ ﻣﻦ ﻋﻠﻤﺎﺋﻪ ﺑﻞ ﻭﺣﱴ‬
‫ﻣﺼﺮ ﻛﻠﻬﺎ ﻭﻗﺪ ﺫﻛﺮ ﻋﻨﻪ ﺫﻟﻚ ﻋﺒﺪ ﺍﻟﺮﲪﻦ ﺍﳉﱪﰐ ﰲ ﻛﺘﺎﺑﻪ ﺗﺎﺭﻳﺦ ﻋﺠﺎﺋﺐ ﺍﻵﺛﺎﺭ‪ ،‬ﺇﺫ ﻳﻘﻮﻝ‪) :‬ﻓﻮﺭﺩ‬
‫ﺍﳉﺎﻣﻊ ﺍﻷﺯﻫﺮ ﻭﺣﻀﺮ ﺩﺭﻭﺱ ﺍﻟﻌﻠﻤﺎﺀ ﻭﲰﻊ ﺍﻷﻭﻟﻴﺔ ﻋﻦ ﺍﻟﺸﻴﺦ ﳏﻤﺪ ﺍﻟﺪﻓﺮﻱ)‪ (17‬ﺑﺸﺮﻃﻪ‪ ،‬ﻭﺍﳊﺪﻳﺚ‬
‫ﻋﻠﻰ ﻛﻞ ﻣﻦ ﺍﻟﺸﻴﺦ ﺃﲪﺪ ﺍﻟﺼﺒﺎﻍ ﻭﴰﺲ ﺍﻟﺪﻳﻦ ﺍﳊﻔﲏ ﻭﺑﻪ ﲣﺮﺝ ﰲ ﻃﺮﻳﻖ ﺍﻟﻘﻮﻡ‪ ،‬ﻭﺗﻔﻘﻪ ﻋﻠﻰ ﺍﻟﺸﻴﺦ‬
‫ﻋﻠﻲ ﺍﻟﺼﻌﻴﺪﻱ‪ ،‬ﻭﻻﺯﻣﻪ ﰲ ﺟﻞ ﺩﺭﻭﺳﻪ()‪.(18‬‬

‫ﺛﺎﻟﺜﺎ‪ :‬ﺷﻴﻮﺧﻪ‪:‬‬

‫ﻟﻘﺪ ﺃﺧﺬ ﺍﻟﺪﺭﻳﺪﻳﺮ ﺍﻟﻌﻠﻢ ﻋﻦ ﺟﻠﺔ ﻣﻦ ﺍﳌﺸﺎﻳﺦ ﻧﺬﻛﺮ ﻣﻦ ﺑﻴﻨﻬﻢ‪:‬‬

‫‪ - 1‬ﺍﻹﻣﺎﻡ ﺍﻟﻔﻘﻴﻪ ﺍﶈﺪﺙ ﺍﻷﺻﻮﱄ ﺍﳌﺘﻜﻠﻢ ﺷﻴﺦ ﺍﻹﺳﻼﻡ‪ :‬ﺍﻟﺸﻴﺦ ﺃﲪﺪ ﺑﻦ ﺍﳊﺴﻦ ﺑﻦ ﻋﺒﺪ‬
‫ﺍﻟﻜﺮﱘ ﺑﻦ ﳏﻤﺪ ﺑﻦ ﻳﻮﺳﻒ ﺑﻦ ﻛﺮﱘ ﺍﻟﺪﻳﻦ ﺍﻟﻜﺮﳝﻲ‪ .‬ﺍﳋﺎﻟﺪﻱ ﺍﻟﺸﻬﲑ ﺑﺎﳉﻮﻫﺮﻱ‪ .‬ﻷﻥ ﻭﺍﻟﺪﻩ ﻛﺎﻥ‬
‫ﻳﺒﻴﻊ ﺍﳉﻮﻫﺮ‪ .‬ﻭﻟﺪ ﲟﺼﺮ ﺳﻨﺔ‪ 1096 :‬ﻫﺠﺮﻳﺔ‪ .‬ﺍﺷﺘﻐﻞ ﺑﺎﻟﻌﻠﻢ ﻭﺟﺪ ﰲ ﲢﺼﻴﻠﻪ ﺣﱴ ﻓﺎﻕ ﺃﻫﻞ ﻋﺼﺮﻩ‪،‬‬
‫ﺩﺭﺱ ﺑﺎﻷﺯﻫﺮ ﻭﺃﻓﱴ ﳓﻮ ﺳﺘﲔ ﺳﻨﺔ)‪.(19‬‬
‫‪ - 2‬ﺃﲪﺪ ﺍﻟﺼﺒﺎﻍ‪ ،‬ﻫﻮ ﺃﺑﻮ ﺍﻟﻌﺒﺎﺱ ﺃﲪﺪ ﺑﻦ ﻣﺼﻄﻔﻰ ﺑﻦ ﺃﲪﺪ ﺍﻟﺼﺒﺎﻍ ﺍﻟﺰﺑﲑﻱ ﺍﻹﺳﻜﻨﺪﺭﻱ‬
‫ﻧﺰﻳﻞ ﻣﺼﺮ ﺍﻟﻔﻘﻴﻪ ﺍﶈﺪﺙ ﻳﻌﺪ ﻣﻦ ﺍﻟﻄﺒﻘﺔ ﺍﻟﺮﺍﺑﻌﺔ ﻭﺍﻟﻌﺸﺮﻳﻦ ﻣﻦ ﻃﺒﻘﺎﺕ ﻓﻘﻬﺎﺀ ﺍﳌﺎﻟﻜﻴﺔ)‪ ،(20‬ﺃﻟﻒ‬
‫ﺷﺮﺣﹰﺎ ﻋﻠﻰ ﺍﻵﺟﺮﻭﻣﻴﺔ ﻳﻌﺮﻑ ﺑﺎﻟﺪﺭﺭ ﺍﻟﺼﺒﺎﻏﻴﺔ‪.‬‬
‫‪ -3‬ﺍﻟﺸﻴﺦ ﻋﻠﻲ ﺍﻟﺼﻌﻴﺪﻱ‪ ،‬ﻫﻮ ﺃﺑﻮ ﺍﳊﺴﻦ ﻋﻠﻲ ﺑﻦ ﺃﲪﺪ ﺍﻟﻌﺪﻭﻱ‪ ،‬ﻭﻟﺪ ﺳﻨﺔ ‪ 1112‬ﻫﺠﺮﻳﺔ‬
‫ﺑﺒﲏ ﻋﺪﻱ ﰒ ﻗﺪﻡ ﻣﺼﺮ ﻭﺣﻀﺮ ﺩﺭﻭﺱ ﺍﻟﻌﻠﻤﺎﺀ ﻭﺍﳌﺸﺎﻳﺦ ﻛﻌﺒﺪ ﺍﻟﻮﻫﺎﺏ ﺍﳌﻠﻮﻱ ﻭﺷﻠﱯ ﻭﺍﻟﻨﻔﺮﺍﻭﻱ‬

‫‪ - ( 17‬ﻤﺤﻤﺩ ﺍﻟﺩﻓﺭﻱ ﺍﻟﻤﺘﻭﻓﻰ ﺴﻨﺔ‪1171‬ﻫـ ﺍﻨﻅﺭ ﻋﺠﺎﺌﺏ ﺍﻵﺜﺎﺭ‪ 247/1‬ـ‪ 367‬ﻭ‪36/2‬‬

‫‪ - ( 18‬ﺃﻨﻅﺭ ﻋﺠﺎﺌﺏ ﺍﻵﺜﺎﺭ‪ ،‬ﺝ‪32/2:‬‬
‫‪ - ( 19‬ﺃﻨﻅﺭ ﻋﺠﺎﺌﺏ ﺍﻷﺜﺎﺭ ﺝ‪.346/1:‬‬
‫‪ - ( 20‬أﻧﻈﺮ ﺗﺮﺟﻤﺘﻪ ﻓﻲ ﺷﺠﺮة اﻟﻨﻮر اﻟﺰآﻴﺔ‪ ،‬ص‪ 338 :‬و ﻋﺠﺎﺋﺐ اﻵﺛﺎر ‪ 418/1 ،‬و ‪.33 /2:‬‬
‫‪- 21 -‬‬
‫ﻭﺍﻟﻌﻤﺎﺭﻱ ﻭﺍﻟﺒﻠﻴﺪﻱ‪ .‬ﺩﺭﺱ ﺑﺎﻷﺯﻫﺮ ﻭﻋﻨﻪ ﺃﺧﺬ ﺍﻟﺪﺭﺩﻳﺮ ﻭﺍﻟﺒﻴﻠﻲ ﻭﺍﻟﺪﺳﻮﻗﻲ ﻭﺍﻷﻣﲑ‪ ،‬ﻭﻣﻦ ﻣﺆﻟﻔﺎﺗﻪ‬
‫ﺣﺎﺷﻴﺔ ﻋﻠﻰ ﺍﺑﻦ ﺗﺮﻛﻲ ﻭﻋﻠﻰ ﺍﻟﺰﺭﻗﺎﱐ ﻭﻋﻠﻰ ﺃﰊ ﺍﳊﺴﻦ ﻋﻠﻰ ﺍﻟﺮﺳﺎﻟﺔ ﻭﻋﻠﻰ ﺷﺮﺣﻲ ﺍﳋﺮﺷﻲ‬
‫ﻭﺍﻟﺰﺭﻗﺎﱐ ﻛﻼﳘﺎ ﻋﻠﻰ ﺍﳌﺨﺘﺼﺮ‪ .‬ﻭﺣﺎﺷﻴﺘﺎﻥ ﻋﻠﻰ ﺷﺮﺡ ﻋﺒﺪ ﺍﻟﺴﻼﻡ ﺍﻟﻠﻘﺎﱐ ﻋﻠﻰ ﺍﳉﻮﻫﺮﺓ ﰲ ﺍﻟﺘﻮﺣﻴﺪ‬
‫ﻛﱪﻯ ﻭﺻﻐﺮﻯ ﻭﻋﻠﻰ ﺷﺮﺡ ﺍﻟﺴﻠﻢ ﻭﻋﻠﻰ ﺷﺮﺡ ﺷﻴﺦ ﺍﻹﺳﻼﻡ ﻋﻠﻰ ﺃﻟﻔﻴﺔ ﺍﳌﺼﻄﻠﺢ ﻟﻠﻌﺮﺍﻗﻲ ﻭﻟﻪ ﻏﲑ‬
‫ﺫﻟﻚ‪ ،‬ﺗﻮﰲ ﰲ ﺍﻟﻌﺎﺷﺮ ﻣﻦ ﺭﺟﺐ ﺳﻨﺔ ‪1189‬ﻫﺠﺮﻳﺔ)‪.(21‬‬
‫‪ - 4‬ﳏﻤﺪ ﺍﻟﺪﻓﺮﻱ‪ ،‬ﺗﻮﰲ ﺳﻨﺔ ‪ 1171‬ﻫﺠﺮﻳﺔ)‪.(22‬‬
‫‪ - 5‬ﴰﺲ ﺍﻟﺪﻳﻦ ﺍﳊﻔﲏ‪ ،‬ﻫﻮ ﳏﻤﺪ ﺍﺑﻦ ﺳﺎﱂ ﺍﳊﻔﻨﺎﻭﻱ ﺍﻟﺸﺎﻓﻌﻲ ﺍﳋﻠﻮﰐ)‪ (23‬ﻭﻫﻮ ﺣﺴﻴﲏ ﻣﻦ‬
‫ﺟﻬﺔ ﺃﻡ ﺃﺑﻴﻪ‪ ،‬ﻭﻟﺪ ﻋﻠﻰ ﺭﺃﺱ ﺍﳌﺎﺋﺔ ﺑﺒﻠﺪﻩ )ﺣﻔﻨﺎ( ﺑﺎﻟﻘﺼﺮ ﻭﻫﻲ ﻗﺮﻳﺔ ﻣﻦ ﺃﻋﻤﺎﻝ )ﺑﻠﺒﻴﺲ( ﻭ‪‬ﺎ ﻧﺸﺄ‬
‫ﻭﺍﻟﻨﺴﺒﺔ ﺇﻟﻴﻬﺎ ﺣﻔﻨﺎﻭﻱ ﻭﺣﻔﲏ ﻭﺣﻔﻨﻮﻱ ﻭﻗﺪ ﻏﻠﺒﺖ ﻋﻠﻴﻪ ﻫﺬﻩ ﺍﻟﻨﺴﺒﺔ ﺣﱴ ﺻﺎﺭ ﻻ ﻳﺬﻛﺮ ﺇﻻ ‪‬ﺎ‪.‬‬
‫ﻭﻗﺮﺃ ﺍﻟﻘﺮﺁﻥ ﺍﻟﻜﺮﱘ ‪‬ﺎ ﺇﱃ ﺳﻮﺭﺓ ﺍﻟﺸﻌﺮﺍﺀ ﰒ ﺣﺠﺰﻩ ﻭﺍﻟﺪﻩ ﻭﺑﻌﺪ ﺫﻟﻚ ﺃﻛﻤﻞ ﺍﻟﻘﺮﺁﻥ ﺍﻟﻜﺮﱘ‬
‫ﺑﺎﻟﻘﺎﻫﺮﺓ ﰒ ﺍﺷﺘﻐﻞ ﲝﻔﻆ ﺍﳌﺘﻮﻥ ﻛﺄﻟﻔﻴﺔ ﺑﻦ ﻣﺎﻟﻚ ﻭﺍﻟﺴﻠﻢ ﻭﺍﳉﻮﻫﺮﺓ ﻭﺍﻟﺮﺣﺒﻴﺔ ﻭﻏﲑﻫﺎ ﻭﻗﺪ ﺃﺧﺬ ﺍﻟﻌﻠﻢ‬
‫ﻋﻦ ﻋﻠﻤﺎﺀ ﻋﺼﺮﻩ ﻭﺍﺳﺘﻔﺎﺩ ﻣﻨﻬﻢ ﺍﻟﻜﺜﲑ ﻭﺃﺟﺎﺯﻩ ﺑﺎﻹﻓﺘﺎﺀ ﻭﺍﻟﺘﺪﺭﻳﺲ ﻭﻣﻦ ﺃﺟﻞ ﺷﻴﻮﺧﻪ ﺍﻟﺬﻳﻦ ﲣﺮﺝ‬
‫ﻋﻨﻬﻢ ﺍﻟﺸﻴﺦ ﳏﻤﺪ ﺍﻟﺒﺪﻳﺮﻱ ﺍﻟﺪﻣﻴﺎﻃﻲ ﻭﻛﺬﻟﻚ ﺍﻟﻌﻼﻣﺔ ﻣﺼﻄﻔﻰ ﺍﻟﻌﺰﻳﺰﻱ ﻭﺇﲰﺎﻋﻴﻞ ﺍﻟﻐﻨﻴﻤﻲ‪ ،‬ﻭﻣﻦ‬
‫ﻣﺆﻟﻔﺎﺗﻪ ﺣﺎﺷﻴﺔ ﻋﻠﻰ ﺷﺮﺡ ﺭﺳﺎﻟﺔ ﺍﻟﻌﻀﺪ ﻟﻠﺴﻌﺪ‪ ،‬ﻭﻋﻠﻰ ﺍﻟﺸﻨﺸﻮﺭﻱ ﰲ ﺍﻟﻔﺮﺍﺋﺾ‪ ،‬ﻭﻋﻠﻰ ﺷﺮﺡ‬
‫ﺍﳍﻤﺰﻳﺔ ﻻﺑﻦ ﺣﺠﺮ‪ ،‬ﻭﻋﻠﻰ ﳐﺘﺼﺮ ﺍﻟﺴﻌﺪ‪ ،‬ﻭﻋﻠﻰ ﺷﺮﺡ ﺍﻟﺴﻤﺮﻗﻨﺪﻱ ﻟﻠﻴﺎﲰﻴﻨﻴﺔ ﰲ ﺍﳉﱪ ﻭﺍﳌﻘﺎﺑﻠﺔ‪.‬‬
‫ﻭﻓﺎﺗﻪ‪ :‬ﺗﻮﰲ ﻳﻮﻡ ﺍﻟﺴﺒﺖ ﺍﻟﺴﺎﺑﻊ ﻋﺸﺮ ﺭﺑﻴﻊ ﺍﻷﻭﻝ ﺳﻨﺔ ‪ 1181‬ﻫﺠﺮﻳﺔ‪.‬‬

‫ﺭﺍﺑﻌـﹰﺎ‪ :‬ﺗﻼﻣﻴـﺬﻩ‪:‬‬
‫ﻻ ﺟﺮﻡ ﺃﻥ ﺍﻟﺸﻴﺦ ﺍﻟﺪﺭ ﺩﻳﺮ ﻭﻫﻮ ﻣﻦ ﻛﺒﺎﺭ ﻋﻠﻤﺎﺀ ﺍﻷﺯﻫﺮ ﻭﻣﻦ ﺍﻟﻄﺒﻘﺔ ﺍﻟﺮﺍﺑﻌﺔ ﻭﺍﻟﻌﺸﺮﻳﻦ ﻣﻦ‬
‫ﻋﻠﻤﺎﺀ ﺍﳌﺎﻟﻜﻴﺔ ﻟﻪ ﺗﻼﻣﻴﺬ ﻛﺜﺮ ﲪﻠﻮﺍ ﻋﻨﻪ ﺃﻣﺮ ﺍﻟﻌﻠﻢ‪ .‬ﻭﻫﻢ ﳜﺘﻠﻔﻮﻥ ﻣﻦ ﺣﻴﺚ ﺍﻷﻗﻄﺎﺭ ﻭﺍﻟﺒﻠﺪﺍﻥ ﺍﻟﱵ‬
‫ﺟﺎﺀﻭﺍ ﻣﻨﻬﺎ ﻭﻻ ﺑﺄﺱ ﺃﻥ ﻧﺬﻛﺮ ﻟﻔﻴﻔﺎ ﻣﻦ ﻫﺆﻻﺀ ﺍﻟﺮﺟﺎﻝ ﺍﻟﺬﻳﻦ ﺃﺧﺬﻭﺍ ﻋﻨﻪ ﺍﻟﻌﻠﻢ ﺳﻮﺍﺀ ﻣﻦ ﻣﺼﺮ ﺃﻡ‬
‫ﺑﻠﺪﺍﻥ ﺃﺧﺮﻯ ﻭﻻ ﻧﻨﺴﻰ ﺃﻥ ﺃﺣﺪ ﺗﻼﻣﺬﺗﻪ ﻛﺎﻥ ﻣﻦ ﺍﳉﺰﺍﺋﺮ ﻭﻛﺎﻥ ﻟﻪ ﺃﻛﱪ ﺍﻷﺛﺮ ﻋﻠﻰ ﺍﳉﺰﺍﺋﺮ ﺑﻞ ﻭﺣﱴ‬
‫ﺇﻓﺮﻳﻘﻴﺎ‪.‬‬

‫‪ - ( 21‬ﺃﻨﻅﺭ ﺸﺠﺭﺓ ﺍﻟﻨﻭﺭ ﺍﻟﺯﻜﻴﺔ ﻓﻲ ﻁﺒﻘﺎﺕ ﺍﻟﻤﺎﻟﻜﻴﺔ ﺹ‪ 341 :‬ﻭ ‪ ، 342‬ﻭﺃﻨﻅﺭ ﺘﺭﺠﻤﺘﻪ ﻓﻲ ﺍﻷﺯﻫﺭ ﻓﻲ ﺃﻟﻑ ﻋﺎﻡ‪.318/2 .‬‬
‫‪ - ( 22‬ﺴﺒﻘﺕ ﺍﻷﺸﺎﺭﺓ ﺍﻟﻴﻪ ﺍﻨﻅﺭ ﺍﻟﺼﻔﺤﺔ ﺍﻟﺴﺎﺒﻘﺔ‬
‫‪ ( - ( 23‬ﺍﻟﺨﻠﻭﺘﺔ‪ :‬ﻫﻲ ﻁﺭﻴﻘﺔ ﺼﻭﻓﻴﺔ ﺘﻨﺴﺏ ﺇﻟﻰ ﺍﻟﺸﻴﺦ ﻤﺤﻤﺩ ﺍﻟﺨﻠﻭﺘﻲ ﺃﺤﺩ ﺃﻫل ﺍﻟﺴﻠﺴﻠﺔ ﻭﻴﻌﺭﻓﻭﻥ ﺃﻴﻀﹰﺎ ﺒﺎﻟﻘﺭﺒﺸﻠﻴﺔ ﻨﺴﺒﺔ ﺇﻟﻰ ﻋﻠﻲ ﺃﻓﻨﺩﻱ ﻗﺭﻩ ﺒﺎﺵ‬
‫ﺃﺤﺩ ﺭﺠﺎﻟﻬﺎ ﻭﻫﻭ ﺍﻻﺴﻡ ﺍﻟﺨﺎﺹ ﺍﻟﻤﻤﻴﺯ ﻟﻬﻡ ﻋﻥ ﻏﻴﺭﻫﻡ ﻤﻥ ﺍﻟﺨﻠﻭﺘﻴﺔ ﻭﻟﺫﻟﻙ ﻗﺎل ﺍﻟﺴﻴﺩ ﺍﻟﺒﻜﺭﻱ ﻓﻲ ﺍﻷﻟﻔﻴﺔ‪.‬‬
‫ﻭﺍﻟﺨﻠﻭﺘﻴﺔ ﺍﻟﻜﺭﺍﻡ ﻓﺭﻕ * ﻗﺩ ﻨﻬﺠﻭﺍ ﻨﻬﺞ ﺍﻟﺠﻨﻴﺩ ﻓﺭﻗﻭﺍ‬
‫ﻭﺨﻴﺭﻫﻡ ﻁﺭﻴﻘﺘﻨﺎ ﺍﻟﻌﻠﻴﺔ * ﻤﻥ ﻗﺩ ﺩﻋﻭﺍ ﺒﺎﻟﻘﺭﺒﺎ ﺸﻠﻴﺔ‬
‫ﺃﻨﻅﺭ ﻋﺠﺎﺌﺏ ﺍﻵﺜﺎﺭ ﺹ‪. 341 /1:‬‬
‫‪- 22 -‬‬
‫‪ -1‬ﺃﺑﻮ ﺍﻟﻌﺒﺎﺱ ﺃﲪﺪ ﺍﻟﺼﺎﻭﻱ ﺍﳋﻠﻮﰐ‪ ،‬ﺍﻟﻔﻘﻴﻪ ﻋﻤﺪﺓ ﺃﻫﻞ ﺍﻟﺘﺤﻘﻴﻖ ﻗﺪﻭﺓ ﺍﻟﺴﺎﻟﻜﲔ ﻭﻣﺮﰊ‬
‫ﺍﳌﺮﻳﺪﻳﻦ ﺍﳌﺘﻮﰱ ﺑﺎﳌﺪﻳﻨﺔ ﺍﳌﻨﻮﺭﺓ ﺳﻨﺔ‪ 1241 :‬ﻫﺠﺮﻳﺔ‪.‬‬
‫ﻭﻫﻮ ﺻﺎﺣﺐ ﺍﳌﺆﻟﻔﺎﺕ ﺍﻵﺗﻴﺔ‪:‬‬
‫ﺣﺎﺷﻴﺔ ﻋﻠﻰ ﺗﻔﺴﲑ ﺍﳉﻼﻟﲔ‪ ،‬ﻭﺣﺎﺷﻴﺔ ﻋﻠﻰ ﺷﺮﺡ ﺍﳋﺮﻳﺪﺓ ﺍﻟﺒﻬﻴﺔ ﻟﻠﺪﺭﺩﻳﺮ‪ ،‬ﻭﺣﺎﺷﻴﺔ ﻋﻠﻰ ﺷﺮﺡ‬
‫ﺭﺳﺎﻟﺔ ﺍﻟﺪﺭﺩﻳﺮ ﰲ ﻋﻠﻢ ﺍﻟﺒﻴﺎﻥ – ﺍﳌﻘﺼﻮﺩﺓ ﻫﻨﺎ ﺑﺎﻟﺘﺤﻘﻴﻖ‪.‬‬
‫‪ -2‬ﴰﺲ ﺍﻟﺪﻳﻦ ﺃﺑﻮ ﻋﺒﺪ ﺍﷲ ﳏﻤﺪ ﺑﻦ ﺃﲪﺪ ﺑﻦ ﻋﺮﻓﺔ ﺍﻟﺪﺳﻮﻗﻲ ﺍﻷﺯﻫﺮﻱ ﻭﻟﺪ‬
‫ﺑﺪﺳﻮﻕ ﺣﻀﺮ ﺇﱃ ﺍﻷﺯﻫﺮ ﻭﺣﻔﻆ ﺍﻟﻘﺮﺁﻥ ﺍﻟﻜﺮﱘ ﻭﺟﻮﺩﻩ ﻋﻠﻰ ﺍﻟﺸﻴﺦ ﺍﳌﻨﲑ ﻭﻟﺰﻡ ﺍﻟﺸﻴﺦ ﺍﻟﺼﻌﻴﺪﻱ‬
‫ﻭﺍﻟﺪﺭﺩﻳﺮ ﻭﺍﳉﻨﺎﺣﻲ ﻭﺣﺴﻦ ﺍﳉﱪﰐ ﻭﺗﺼﺪﺭ ﻟﻠﺘﺪﺭﻳﺲ ﻟﻪ ﺗﺄﻟﻴﻒ ﻣﻨﻬﺎ‪:‬‬
‫ﺣﺎﺷﻴﺔ ﻋﻠﻰ ﳐﺘﺼﺮ ﺍﻟﺴﻌﺪ ﻟﻠﺘﻔﺘﺎﺯﺍﱐ‪ ،‬ﻭﺣﺎﺷﻴﺔ ﻋﻠﻰ ﺍﻟﺪﺭﺩﻳﺮ ﻋﻠﻰ ﺍﳌﺨﺘﺼﺮ )ﻓﻘﻪ(‪ ،‬ﻭﺣﺎﺷﻴﺔ‬
‫ﻋﻠﻰ ﺷﺮﺡ ﺍﳉﻼﻝ ﺍﶈﻠﻲ ﻋﻠﻰ ﺍﻟﱪﺩﺓ‪ ،‬ﻭﺣﺎﺷﻴﺔ ﻋﻠﻰ ﻛﱪﻯ ﺍﻟﺴﻨﻮﺳﻲ ﻭﺻﻐﺮﺍﻩ )ﻋﻘﻴﺪﺓ()‪.(24‬‬

‫‪ -3‬ﺃﺑﻮ ﺍﻟﺮﺑﻴﻊ ﺳﻠﻴﻤﺎﻥ ﺑﻦ ﳏﻤﺪ ﺍﻟﻔﻴﻮﻣﻲ‪ ،‬ﺃﺧﺬ ﻋﻦ ﺍﻟﺸﻴﺦ ﺍﻟﺼﻌﻴﺪﻱ ﻭﺍﻟﺪﺭﺩﻳﺮ ﻭﺳﺎﻓﺮ‬
‫ﰲ ﻣﻬﻢ ﺑﺪﺍﺭ ﺍﻟﺴﻠﻄﻨﺔ‪ ،‬ﺗﻮﰱ ﺳﻨﺔ‪ 1224 :‬ﻫﺠﺮﻳﺔ)‪.(25‬‬

‫‪ -4‬ﺃﺑﻮ ﺍﳋﲑﺍﺕ ﻣﺼﻄﻔﻰ ﺍﻟﻌﻘﺒﺎﻭﻱ ﻧﺴﺒﺔ ﳌﻨﻴﺔ ﻋﻘﺒﺔ ﺑﺎﳉﻴﺰﺓ ‪ ،‬ﺣﻀﺮ ﺍﻷﺯﻫﺮ ﺻﻐﲑﹰﺍ ﻭﻻﺯﻡ‬
‫ﺍﻟﺸﻴﺦ ﳏﻤﺪ ﺍﻟﻌﻘﺎﺩ ﺍﳌﺎﻟﻜﻲ ﰒ ﺍﻟﺸﻴﺦ ﻋﺒﺎﺩﺓ ﺍﻟﻌﺪﻭﻱ ﻭﺣﻀﺮ ﺩﺭﻭﺱ ﺍﻟﺸﻴﺦ ﺍﻟﺪﺭﺩﻳﺮ‪.‬‬

‫‪ -5‬ﺍﻟﺸﻴﺦ ﳏﻤﺪ ﺑﻦ ﻋﺒﺪ ﺍﻟﺮﲪﻦ ﺍﻷﺯﻫﺮﻱ‪ .‬ﺍﻟﺸﻴﺦ ﺍﻟﻔﻘﻴـﻪ ﺍﻟﺼﻮﰲ ﺑﻦ ﺃﰊ ﺍﻟﻘﺎﺳﻢ‬

‫ﺍﻟﻘﺸﻄﻮﱄ ﺍﻟﺰﻭﺍﻭﻱ ﺍﻻﺩﺭﻳﺴﻲ ﺍﳊﺴﲏ ﺻﺎﺣﺐ )ﺍﻟﻄﺮﻳﻘﺔ ﺍﻟﺮﲪﺎﻧﻴﺔ( ﺍﳋﻠﻮﺗﻴﺔ ﺍﳌﻨﺘﺸﺮﺓ ﰲ ﻛﺎﻣﻞ‬
‫ﺇﻓﺮﻳﻘﻴﺎ‪ ،‬ﻭﻟﺪ ﺑﻘﺮﻳﺔ ﺑﻮﻋﻼﻭﺓ ﺑﻌﺸﲑﺓ ﺃﻳﺖ ﺇﲰﺎﻋﻴﻞ ﲜﺮﺟﺮﺓ ﺣﻮﺍﱄ ﺳﻨﺔ‪1208/1122).‬ﻫـ‬
‫‪1794/1711‬ﻡ( ﻭ‪‬ﺎ ﻧﺸﺄ ﻭﺯﺍﻭﻝ ﺗﻌﻠﻤﻪ ﺍﻻﺑﺘﺪﺍﺋﻲ ﻋﻠﻰ ﻳﺪ ﺍﻟﺸﻴﺦ ﺑﻦ ﺃﻋﺮﺍﺏ ﰒ ﺭﺣﻞ ﺇﱃ ﺍﳌﺸﺮﻕ‬
‫‪1152‬ﻫـ ‪1740/‬ﻡ‪ ،‬ﺣﻴﺚ ﺣﺞ ﻭﻧﺰﻝ ﺍﻟﻘﺎﻫﺮﺓ ﳎﺎﻭﺭﹰﺍ ﺑﺎﻷﺯﻫﺮ ﺑﺮﻭﺍﻕ ﺍﳌﻐﺎﺭﺑﺔ ﻓﺄﺧﺬ ﻋﻦ ﺟﻠﺔ ﻣﻦ‬

‫‪ - ( 24‬ﺃﻨﻅﺭ ﺸﺠﺭﺓ ﺍﻟﻨﻭﺭ ﺍﻟﺯﻜﻴﺔ‪ ،‬ﺹ‪.364 – 361 :‬‬

‫‪ - ( 25‬ﺃﻨﻅﺭ ﺸﺠﺭﺓ ﺍﻟﻨﻭﺭ‪ ،‬ﺹ‪.361 :‬‬
‫‪- 23 -‬‬
‫ﺍﻟﻌﻠﻤﺎﺀ ﻛﺎﻟﺸﻴﺦ ﳏﻤﺪ ﺑﻦ ﺳﺎﱂ ﺍﳊﻔﻨﺎﻭﻱ‪ ،‬ﻭﻋﻠﻲ ﺑﻦ ﺃﲪﺪ ﺍﻟﺼﻌﻴﺪﻱ ﻭﺍﻟﺸﻴﺦ ﺃﲪﺪ ﺑﻦ ﳏﻤﺪ ﺍﻟﺪﺭﺩﻳﺮ‬
‫ﻋﺎﺩ ﺇﱃ ﺍﳉﺰﺍﺋﺮ ﻭﺍﺳﺘﻘﺮ ﺑﺒﺠﺎﻳﺔ ﰒ ﺃﻗﺎﻡ ﺑﺎﻟﻌﺎﺻﻤﺔ ﲟﻨﻄﻘﺔ )ﺍﳊﺎﻣﺔ( ﻭﻫﻨﺎ ﻛﺜﺮ ﺃﺗﺒﺎﻋﻪ ﻭﺃﺻﺒﺢ ﻳﻠﻘﻦ ﺃﺩﺍﺏ‬
‫ﺍﻟﻄﺮﻳﻘﺔ ﺍﳋﻠﻮﺗﻴﺔ ﺍﻟﱵ ﺍﺷﺘﻬﺮﺕ ﺑﺎﺳﻢ ﺍﻟﺮﲪﺎﻧﻴﺔ ﻧﺴﺒﺔ ﺇﻟﻴﻪ‪،‬‬
‫ﻭﻣﻦ ﺃﺛــﺎﺭﻩ‪ :‬ﺷﺮﺡ ﻭﺿﻌﻪ ﻋﻠﻰ ﺭﺳﺎﻟﺔ ﺍﻟﺸﻴﺦ ﻋﺒﺪ ﺍﷲ ﺑﻦ ﻋﺒﺪ ﺍﷲ ﳏﻤﺪ ﺍﻟﺮﻓﺎﻭﻱ ﺍﻷﺯﻫﺮﻱ‬
‫– )ﳐﻄﻮﻁ(‪.‬‬
‫ﻭﻟﻪ ﻗﺼﻴﺪﺓ ﻋﺼﻤﺎﺀ ﰲ ﺍﳊﻨﲔ ﺇﱃ ﺍﳌﺪﻳﻨﺔ ﻋﻠﻰ ﺳﺎﻛﻨﻬﺎ ﺍﻟﺼﻼﺓ ﻭﺍﻟﺴﻼﻡ ﻋﻨﻮﺍ‪‬ﺎ )ﲢﺮﻳﻚ‬
‫ﺍﻟﺴﺎﻛﻦ‪ ،‬ﻭ‪‬ﻴﺞ ﺍﻟﻜﺎﻣﻦ ﰲ ﺯﻳﺎﺭﺓ ﻃﻴﺒﺔ ﻭﻣﻦ ‪‬ﺎ ﺳﺎﻛﻦ(‪،‬‬
‫ﻫﺠﺮﻳﺔ )‪ ،(26‬ﺃﻟﻒ‬ ‫‪1266‬‬ ‫ﻭﻟﻪ ﻣﻘﺪﻣﺔ ﰲ ﺍﻟﻨﺤﻮ ﻣﺸﻬﻮﺭﺓ ﻭﻋﻠﻴﻬﺎ ﺷﺮﻭﺡ ﻛﺜﲑﺓ ﺗﻮﰱ ﺳﻨﺔ‬
‫ﺗﻜﻤﻴﻞ ﺃﻗﺮﺏ ﺍﳌﺴﺎﻟﻚ ﻟﺸﻴﺨﻪ ﺍﻟﺪﺭﺩﻳﺮ‪ ،‬ﺗﻮﰱ ﺳﻨﺔ ‪1221‬ﻫﺠﺮﻳﺔ‪.‬‬
‫ﺧﺎﻣﺴﹰﺎ‪ :‬ﻣﻮﺍﻗﻔـﻪ ﻭﺃﺧﻼﻗـﻪ‪:‬‬
‫ﻛﺎﻧﺖ ﰲ ﻧﻔﺴﻪ ﳎﻤﻮﻋﺔ ﻣﻦ ﺍﳋﺼﺎﻝ ﻭﺍﻷﺧﻼﻕ ﺍﳊﻤﻴﺪﺓ ﺍﻟﱵ ﺗﻨﺒﺊ ﻋﻦ ﻋﻠﻮ ﻛﻌﺐ ﻭﲰﻮ‬
‫ﺃﺧﻼﻕ ﻭﳑﺎ ﺫﻛﺮﻩ ﻣﻦ ﺷﻌﺮ ﰲ ﻫﺬﺍ ﺍ‪‬ﺎﻝ ﰲ ﺍﳌﻌﺎﻣﻠﺔ ﻣﻊ ﺍﻟﻨﺎﺱ ﻣﺎ ﻳﺪﻝ ﻋﻠﻰ ﺻﺪﻕ ﻫﺬﻩ ﺍﳋﺼﺎﻝ‪.‬‬
‫ﻭﳑﺎ ﺛﺒﺖ ﻋﻨﻪ ﻣﻦ ﺷﻌﺮ ﰲ ﻫﺬﺍ ﻗﻮﻟﻪ ﻣﻦ ﺍﻟﺴﺮﻳﻊ‪:‬‬

‫*‬
‫ﲰﺎﺣـﺔ ﺍﻟﻨﻔﺲ ﻭﺗـﺮﻙ ﺍﻟﻠﺠﺎﺝ‬ ‫ﻣـﻦ ﻋﺎﺷـﺮ ﺍﻷﻧــﺎﻡ ﻓﻠﻴﻠـﺰﻡ‬
‫*‬
‫ﺃﻱ ﻃﺮﻳـﻖ ﻟﻴـﺲ ﻓﻴﻪ ﺍﻋﻮﺟﺎﺝ‬ ‫ﻭﳛﻔـﻆ ﺍﳌﻌـﻮﺝ ﻣـﻦ ﺧﻠﻔﻬﻢ‬

‫ﻓﺈﺫﺍ ﻛﺎﻧﺖ ﻫﺬﻩ ﺃﺧﻼﻗﻪ ﻣﻊ ﺍﻟﻨﺎﺱ ﻭﺩﻋﻮﺗﻪ ﺇﱃ ﺍﻟﺼﻔﺢ ﻓﺈﻥ ﻣﻮﺍﻗﻔﻪ ﺣﻴﺎﻝ ﺍﻟﻈﻠﻤﺔ ﻭﺍﳌﻌﺘﺪﻳﻦ ﺃﻳﺎ‬
‫ﻛﺎﻧﻮﺍ ﻭﻣﻬﻤﺎ ﻛﺎﻧﻮﺍ ﱂ ﲤﻨﻌﻪ ﻣﻦ ﻣﻮﺍﺟﻬﺘﻬﻢ ﻭﺍﻟﻮﻗﻮﻑ ﳍﻢ ﺑﻞ ﻭﺍﻟﺪﻋﻮﺓ ﺇﱃ ﳏﺎﺭﺑﺘﻬﻢ ﻭﻣﻦ ﻫﺬﻩ‬
‫ﺍﳌﻮﺍﻗﻒ ﺍﳌﺸﻬﻮﺩﺓ ﻟﻪ ﺗﻠﻚ ﺍﻟﺜﻮﺭﺓ ﺍﻟﺸﻌﺒﻴﺔ ﺍﻟﱵ ﻗﺎﺩﻫﺎ ﻋﻨﺪﻣﺎ ﻛﺎﻥ ﺷﻴﺨﺎ ﻟﻸﺯﻫﺮ ﺣﻴﺚ ﻳﺬﻛﺮ ﺍﻟﺘﺎﺭﻳﺦ‬
‫ﺃﻧﻪ ﰲ ﻳﻮﻡ ﻣﻦ ﺃﻳﺎﻡ ﺷﻬﺮ ﺭﺑﻴﻊ ﺍﻷﻭﻝ ﻣﻦ ﻋﺎﻡ‪1200‬ﻫـ ﻳﻨﺎﻳﺮ‪1786‬ﻡ ‪‬ﺐ ﺃﺣﺪ ﺃﻣﺮﺍﺀ ﺍﳌﻤﺎﻟﻴﻚ ﻭﺍﲰﻪ‬
‫)ﺣﺴﲔ ﺑﻚ ﺷﻔﺖ( ﻫﻮ ﻭﺟﻨﻮﺩﻩ ﺩﺍﺭﺍ ﻟﺸﺨﺺ)‪.(27‬‬

‫‪ - ( 26‬ﺃﻨﻅﺭ ﺘﺎﺭﻴﺦ ﺍﻟﺠﺯﺍﺌﺭ ﺍﻟﻌﺎﻡ ﻟﻌﺒﺩ ﺍﻟﺭﺤﻤﻥ ﺍﻟﺠﻴﻼﻟﻲ ‪ :‬ﺩﺍﺭ ﺍﻟﺜﻘﺎﻓﺔ‪ ،‬ﺒﻴﺭﻭﺕ – ﻟﺒﻨﺎﻥ‪ ، .‬ﻁ‪1400 :‬ﻫـ‪1980/‬ﻡ ‪ 51-48-47/4 ،‬ﻭﺃﻨﻅﺭ‬
‫ﺘﺭﺠﻤﺘﻪ ﻓﻲ ﻤﻌﺠﻡ ﺃﻋﻼﻡ ﺍﻟﺠﺯﺍﺌﺭ‪ ,‬ﺘﺄﻟﻴﻑ‪ :‬ﻋﺎﺩل ﻨﻭﻴﻬﺽ‪ ، ،‬ﻨﺸﺭ‪ :‬ﻤﺅﺴﺴﺔ ﻨﻭﻴﻬﺽ ﺍﻟﺜﻘﺎﻓﻴﺔ ﻟﻠﺘﺄﻟﻴﻑ ﻭﺍﻟﺘﺭﺠﻤﺔ‪ ،‬ﺒﻴﺭﻭﺕ ﻟﺒﻨﺎﻥ‪.‬‬
‫ﻁ‪1403/3:‬ﻫـ‪ 1983/‬ﻡ‪166-165 :‬‬
‫‪ - ( 27‬ﺍﻷﺯﻫﺭ ﻓﻲ ﺃﻟﻑ ﻋﺎﻡ‪, 317/2‬ﻤﺤﻤﺩ ﻋﺒﺩ ﺍﻟﻤﻨﻌﻡ ﺨﻔﺎﺠﻰ‪ ,‬ﻁ‪ 2/‬ـ‪1407‬ﻫـ ـ‪ , 1997‬ﺩﺍﺭ ﻋﺎﻟﻡ ﺍﻟﻜﺘﺏ ‪,‬ﺒﻴﺭﻭﺕ‪ ،‬ﻭﻤﻜﺘﺒﺔ ﺍﻟﻜﻠﻴﺎﺕ ﺍﻷﺯﻫﺭﻴﺔ‪:‬‬
‫ﺍﻟﻘﺎﻫﺭﺓ ‪ -‬ﻤﺼﺭ‪.‬‬
‫‪- 24 -‬‬
‫ﻟﻜﻦ ﻫﺬﺍ ﺍﻟﻈﻠﻢ ﺍﳌﺴﻠﻂ ﱂ ﻳﻘﺒﻠﻪ ﺃﻫﺎﱄ ﺍﻟﻘﺎﻫﺮﺓ ﺑﻞ ﺭﺍﺣﻮﺍ ﻳﺒﺤﺜﻮﻥ ﻋﻦ ﻭﺳﻴﻠﺔ ﻟﻠﺘﺨﻠﺺ ﻣﻨﻪ‬
‫ﻭﻟﻜﻦ ﻭ ﰲ ﺍﻷﺧﲑ ﺍﺗﻔﻘﺖ ﻛﻠﻤﺘﻬﻢ ﺣﻮﻝ ﺷﺨﺼﻴﺔ ﺍﻟﺪﺭﺩﻳﺮ ﻭﻫﻨﺎﻙ ﻗﺼﺪﻭﻩ ﻋﻨﺪ ﺟﺎﻣﻊ ﺍﻷﺯﻫﺮ‬
‫ﻭﺃﺧﱪﻭﻩ ﺑﺎﳊﺎﺩﺙ ﻓﻐﻀﺐ )) ﻭ ﻧﺎﺩﻯ ﰲ ﺍﳉﻤﺎﻫﲑ ﻏﲑ ﻫﺎﺋﺐ ﻭﻻ ﺧﺎﺋﻒ ﻗﺎﺋﻼ ﳍﻢ‪ :‬ﺃﻧﺎ‪.‬‬
‫ﻣﻌﻜﻢ ﻭﻏﺪﺍ ﳒﻤﻊ ﺍﻟﺸﻌﺐ ﻣﻦ ﻛﻞ ﻣﻜﺎﻥ ﰲ ﺍﳊﺎﺭﺍﺕ ﻭﺍﻟﻀﻮﺍﺣﻲ ﻭﺑﻮﻻﻕ ﻭﻣﺼﺮ ﺍﻟﻘﺪﳝﺔ‪,‬‬
‫ﻭﺃﺭﻛﺐ ﻣﻌﻜﻢ ﻭﻧﻨﻬﺐ ﺑﻴﻮ‪‬ﻢ ﻛﻤﺎ ﻳﻨﻬﺒﻮﻥ ﺑﻴﻮﺗﻨﺎ ﻭﳕﻮﺕ ﺷﻬﺪﺍﺀ ﺃﻭ ﻳﻨﺼﺮﻧﺎ ﺍﷲ ﻋﻠﻴﻬﻢ(( )‪.(28‬‬
‫ﻭﱂ ﻳﻜﺘﻒ ‪‬ﺬﺍ ﺑﻞ ﺭﺍﺡ ﺇﱃ ﺃﺑﻌﺪ ﻣﻦ ﻫﺬﺍ ﻋﻨﺪﻣﺎ ﺃﻣﺮ ﺍﻟﺸﻌﺐ ﺑﺎﻻﺳﺘﻌﺪﺍﺩ ﻟﻠﺤﺮﺏ ﻭﺫﻟﻚ ﺑﺪﻕ‬
‫ﺍﻟﻄﺒﻮﻝ ﻋﻠﻰ ﺍﳌﻨﺎﺭﺍﺕ‪ ،‬ﻭﻫﻨﺎﻙ ﺗﺮﺍﻣﺖ ﺃﺧﺒﺎﺭ ﺍﻟﺜﻮﺭﺓ ﺇﱃ ﻣﺴﺎﻣﻊ ﺍﳊﻜﺎﻡ ﻭﻣﻨﻬﻢ ﺍﻷﻣﲑ ﺇﺑﺮﺍﻫﻴﻢ ﺑﻚ ﻭﳌﺎ‬
‫ﺑﻠﻐﻪ ﺗﺼﻤﻴﻢ ﺍﻟﺸﻴﺦ ﺍﻟﺪﺭﺩﻳﺮ ﻋﻠﻰ ﻗﻴﺎﺩﺓ ﺍﻟﺸﻌﺐ ﺿﺪ ﺍﻷﻣﺮﺍﺀ ﻭﻛﺎﻥ ﻳﻌﻠﻢ ﻣﻘﺪﺍﺭ ﻣﺎ ﻟﻠﺸﻴﺦ ﻣﻦ ﻣﻜﺎﻧﺔ‬
‫ﻭﻧﻔﻮﺫ ﺑﲔ ﺍﻟﺸﻌﺐ)‪.(29‬‬
‫ﺧﺎﻑ ﻣﻦ ﺍﺳﺘﻔﺤﺎﻝ ﺍﻷﻣﺮ ﻭﺧﺸﻲ ﻣﻦ ﺍﻣﺘﺪﺍﺩ ﺍﻟﺸﺮﺍﺭﺓ ﺇﱃ ﺍﳉﻤﺎﻫﲑ ﻓﻘﺎﻡ ﺑﺈﺭﺳﺎﻝ ﻧﺎﺋﺒﻪ ﻭﻣﻌﻪ‬
‫ﺃﺣﺪ ﺍﻷﻣﺮﺍﺀ ﺇﱃ ﺍﻹﻣﺎﻡ ﺍﻟﺪﺭﺩﻳﺮ ﻟﻴﻌﺘﺬﺭ ﻟﻪ ﻋﻤﺎ ﺣﺪﺙ ﻭﻭﻋﺪ ﺑﺄﻥ ﻳﻜﻒ ﺃﻳﺪﻱ ﺍﻷﻣﺮﺍﺀ ﻋﻠﻰ ﺍﻟﺸﻌﺐ‬
‫ﻛﻤﺎ ﻗﺮﺭ ﺗﻮﺑﻴﺦ )ﺣﺴﲔ ﺑﻚ ﺷﻔﺖ( ﻋﻠﻰ ﺻﻨﻴﻌﻪ ﻭﻃﻠﺐ ﻗﺎﺋﻤﺔ ﲜﻤﻊ ﻣﺎ ‪‬ﺒﻪ ﻟﻴﺄﻣﺮﻩ ﺑﺮﺩ ﺗﻠﻚ‬
‫ﺍﳌﻨﻬﻮﺑﺎﺕ ﺇﱃ ﺻﺎﺣﺒﻬﺎ)‪ ،(30‬ﻭﺑﻌﺪ ﻫﺬﺍ ﺍﻻﻋﺘﺬﺍﺭ ﺍﻟﺬﻱ ﺭﺩ ﺍﳊﻘﻮﻕ ﺇﱃ ﺃﺻﺤﺎ‪‬ﺎ ﻭﺍﻓﻖ ﺍﻟﺸﻴﺦ ﻭﺃﻭﻗﻒ‬
‫ﺍﻟﺜﻮﺭﺓ‪.‬‬
‫ﺳﺎﺩﺳﹰﺎ‪ :‬ﺁﺛـﺎﺭﻩ‪:‬‬
‫ﺗﺮﻙ ﺍﻟﺸﻴﺦ ﺍﻟﺪﺭﺩﻳﺮ ﳎﻤﻮﻋﺔ ﻣﻦ ﺍﳌﺆﻟﻔﺎﺕ ﺃﻏﻠﺒﻬﺎ ﻋﻠﻰ ﻓﻘﻪ ﺇﻣﺎﻡ ﺩﺍﺭ ﺍﳍﺠﺮﺓ ﻣﺎﻟﻚ)‪ (31‬ﺑﻦ ﺃﻧﺲ‬
‫ﺑﺎﻹﺿﺎﻓﺔ ﺇﱃ ﻣﺆﻟﻔﺎﺕ ﰲ ﺍﻟﻌﻘﺎﺋﺪ ﻭﺍﻟﺘﺼﻮﻑ ﻭﻗﺪ ﻃﺒﻌﺖ ﻛﻠﻬﺎ‪.‬‬
‫ﺍﻟﻔﻘـــﻪ‪:‬‬
‫‪ -1‬ﺷﺮﺡ ﳐﺘﺼﺮ ﺧﻠﻴﻞ ﺃﻭﺭﺩ ﻓﻴﻪ ﺧﻼﺻﺔ ﻣﺎ ﺫﻛﺮﻩ ﺍﻷﺟﻬﻮﺭﻱ ﻭ ﺍﻟﺰﺭﻗﺎﱐ ﻭﺍﻗﺘﺼﺮ ﻓﻴﻪ ﻋﻠﻰ‬
‫ﺍﻟﺮﺍﺟﺢ ﻣﻦ ﺍﻷﻗﻮﺍﻝ‪.‬‬
‫‪ -2‬ﻣﱳ ﰲ ﻓﻘﻪ ﺍﳌﺬﻫﺐ ﲰﺎﻩ ‪ -‬ﺃﻗﺮﺏ ﺍﳌﺴﺎﻟﻚ ﳌﺬﻫﺐ ﻣﺎﻟﻚ‪ .-‬ﻛﺘﺒﻪ ﻧﻘﻼ ﻋﻦ‪ :‬ﳐﺘﺼﺮ ﺧﻠﻴﻞ‬
‫ﻃﺒﻊ ﺑﺒﻮﻻﻕ ‪ ،1282,1281‬ﻣﻊ ﺷﺮﺡ ﻟﻠﻤﺆﻟﻒ )ﺍﻟﺸﺮﺡ ﺍﻟﺼﻐﲑ( ﻭﻋﻠﻴﻪ ﺷﺮﻭﺡ ﻭﺣﻮﺍﺷﻲ ﻣﻄﺒﻮﻋﺔ‬

‫‪ - ( 28‬ﺍﻟﻤﺼﺩﺭ ﻨﻔﺴﻪ‪.‬‬
‫‪ - ( 29‬ﺍﻷﺯﻫﺭ ﻓﻲ ﺃﻟﻑ ﻋﺎﻡ‪317/2 ،‬‬
‫‪ - ( 30‬ﺍﻟﻤﺼﺩﺭ ﻨﻔﺴﻪ‪318/2 ،‬‬
‫‪ - ( 31‬هﻮ إﻣﺎم دار اﻟﻬﺠﺮة أﺑﻮ ﻋﺒﺪ اﷲ‪ :‬ﻣﺎﻟﻚ ﺑﻦ أﻧﺲ ﺑﻦ ﻣﺎﻟ ﻚ ﺑ ﻦ أﺑ ﻲ ﻋ ﺎﻣﺮ ﺑ ﻦ ﻋﻤ ﺮ ﺑ ﻦ اﻟﺤ ﺎرث اﻷﺻ ﺒﺤﻲ‪ ،‬ﻣ ﻦ ﺳ ﺎدة أﺗﺒ ﺎع اﻟﺘ ﺎﺑﻌﻴﻦ‪ ،‬وﻣ ﻦ ﺟﻠ ﺔ‬
‫ﻼ ﺑﻬ ﺬﻩ اﻟ ﺴﻨﺔ اﻟ ﺸﺮﻳﻔﺔ‬
‫اﻟﻔﻘﻬﺎء واﻟﺼﺎﻟﺤﻴﻦ‪ ،‬وﻣﻦ آﺜﺮة ﻋﻨﺎﻳﺘﻪ ﺑﺎﻟﺴﻨﻦ وﺟﻤﻌﻪ ﻟﻬﺎ وذﺑﻪ ﻋﻦ ﺣﺮﻳﻤﻬﺎ وﻗﻤﻌﻪ ﻟﻤ ﻦ ﺧﺎﻟﻔﻬ ﺎ أو رام اﻹﻧﺤ ﺮاف ﻋﻨﻬ ﺎ ﻗ ﺎﺋ ً‬
‫دون اﻻﻋﺘﻤﺎد ﻋﻠﻰ اﻟﻤﻘﺎﻳﺴﺎت واﻟﺘﻌﻠﻴﻞ وهﻮ ﺻﺎﺣﺐ )اﻟﻤﻮﻃﺄ( اﻟﻤﺸﻬﻮر اﻟﻤﺘﺪاول إﻟﻰ هﺬا اﻟﻴﻮم وﻟﺪ ﺳﻨﺔ‪ 93 :‬وﻗﻴ ﻞ ‪ 94‬هﺠﺮﻳ ﺔ‪ ،‬وﻣ ﺎت ﻓ ﻲ ﺳ ﻨﺔ‪:‬‬
‫‪ 179‬هﺠﺮﻳﺔ ﺑﻜﺮة اﻟﻴﻮم اﻟﺮاﺑﻊ ﻋﺸﺮ ﻣﻦ رﺑﻴﻊ اﻷول‪ ،‬واﻷﺻﺒﺤﻲ ﻧﺴﺒﺔ إﻟﻰ ذي أﺻﺒﺢ وهﻮ ﺑﻄﻦ ﻣﻦ ﺣﻤﻴﺮ‪ ،‬وﻋﻨﻪ ﻳﻘ ﻮل اﻹﻣ ﺎم اﻟ ﺸﺎﻓﻌﻲ إذا ذآ ﺮ‬
‫اﻟﻌﻠﻤﺎء ﻓﻤﺎﻟﻚ اﻟﻨﺠﻢ‪ ،‬أﻧﻈﺮ ﻳﺴﺄﻟﻮﻧﻚ ﻓﻲ اﻟﺪﻳﻦ و اﻟﺤﻴﺎة‪ 544،546/6 ،‬و اﻟﻔﺮق ﺑﻴﻦ اﻟﻔﺮق ﻟﻌﺒﺪ اﻟﻘ ﺎهﺮ ﺑ ﻦ ﻃ ﺎهﺮ ﺑ ﻦ ﻣﺤﻤ ﺪ اﻟﺒﻐ ﺪادي اﻻﺳ ﻔﺮاﻳﻴﻨﻲ‬
‫اﻟﺘﻤﻴﻤﻲ‪ ،‬ﺗﺤﻘﻴﻖ‪ :‬ﻣﺤﻤﺪ ﻣﺤﻲ اﻟﺪﻳﻦ ﻋﺒﺪ اﻟﺤﻤﻴﺪ‪ ،‬دار اﻟﻤﻌﺮﻓﺔ‪ ،‬ﺑﻴﺮوت‪ ،‬ﻟﺒﻨﺎن‪ )،‬د‪-‬ط ‪ /‬د‪-‬ت( ص‪. 27 ::‬‬
‫‪- 25 -‬‬
 ‫‪ -3‬ﺷﺮﺡ ﻋﻠﻰ ﻣﺴﺎﺋﻞ ﻛﻞ ﺻﻼﺓ ﺑﻄﻠﺖ ﻋﻠﻰ ﺍﻹﻣﺎﻡ‪ ،‬ﻭﺍﻷﺻﻞ ﻟﻠﺸﻴﺦ ﺍﻟﺒﻴﻠﻲ)‪. (32‬‬
‫ﻋﻠﻮﻡ ﺍﻟﻘﺮﺁﻥ‪:‬‬
‫‪ -4‬ﺭﺳﺎﻟﺔ ﰲ ﻣﺘﺸﺎ‪‬ﺎﺕ ﺍﻟﻘﺮﺁﻥ‪.‬‬

‫ﺭﺳﺎﻟﺔ ﺃﻓﺮﺩ ﻓﻴﻬﺎ ﻃﺮﻳﻘﺔ ﺣﻔﺺ‪.‬‬

‫ﺍﻟﻌﻘﻴــﺪﺓ‪:‬‬
‫ﻫـ ﻭﻃﺒﻌﺖ ﻋﺪﺓ‬ ‫‪ -5‬ﻧﻈﻢ ﺍﳋﺮﻳﺪﺓ ﺍﻟﺴﻨﻴﺔ ﰲ ﺍﻟﺘﻮﺣﻴﺪ ﻭﺷﺮﺣﻬﺎ‪) .‬ﻁ(‪ :‬ﺍﻟﻘﺎﻫﺮﺓ‬
‫‪1276‬‬
‫ﻃﺒﻌﺎﺕ‬
‫‪ -‬ﺷﺮﺡ ﻣﻘﺪﻣـﺔ ﻧﻈﻢ ﺍﻟﺘﻮﺣﻴﺪ ﻟﻠﺴﻴﺪ ﻛﻤﺎﻝ ﺍﻟﺪﻳﻦ ﳏﻤﺪ ﺑﻦ ﻣﺼﻄﻔﻰ ﺍﻟﺒﻜﺮﻱ‬
‫‪,‬ﻁ‪1314:‬ﻫـ‬
‫‪ -6‬ﺷﺮﺡ ﻋﻠﻰ ﺭﺳﺎﻟﺔ ﰲ ﺍﻟﺘﻮﺣﻴﺪ ﻣﻦ ﻛﻼﻡ ﺩﻣﺮﺩﺍﺵ‬
‫‪ -7‬ﺍﻟﺘﻮﺟﻪ ﺍﻷﺳﲎ ﺑﻨﻈﻢ ﺍﻷﲰﺎﺀ ﺍﳊﺴﲎ‪ .‬ﻣﻊ ﺷﺮﺡ ﻟﻠﺼﺎﻭﻱ‪ ،‬ﳐﻄﻮﻃﺔ‪ ،‬ﺑﺎﻹﺳﻜﻨﺪﺭﻳﺔ‪ ،‬ﻃﺒﻊ‬
‫ﺍﻟﻜﺘﺎﺑﺎﻥ ﰲ ﳎﻤﻮﻉ ﻟﻄﺎﺋﻒ‪1861‬ﻡ‬
‫ﺍﻟﺘﺼـﻮﻑ‪:‬‬
‫ﻭ‪1300‬‬ ‫‪ -8‬ﲢﻔﺔ ﺍﻹﺧﻮﺍﻥ ﰲ ﺁﺩﺍﺏ ﺃﻫﻞ ﺍﻟﻌﺮﻓﺎﻥ ﻃﺒﻊ ﻋﻠﻰ ﺍﳊﺠﺮ ﰲ ﺍﻟﻘﺎﻫﺮﺓ ‪1284‬‬
‫ﻭ‪ 1302‬ﻭ ‪ 1332‬ﻫـ ﻣﻊ ﺗﻘﺮﻳﺮ ﻟﻌﻠﻲ ﺑﻦ ﺣﺴﲔ ﺍﳌﺴﺮﻋﻲ ﺍﻟﺒﻮﻻﻗﻲ‬
‫‪ -9‬ﺷﺮﺡ ﻋﻠﻰ ﻭﺭﺩ ﺍﻟﺸﻴﺦ ﻛﺮﱘ ﺍﻟﺪﻳﻦ ﺍﳋﻠﻮﰐ‪.‬‬
‫‪ -10‬ﺭﺳﺎﻟﺔ ﰲ ﺷﺮﺡ ﺻﻼﺓ ﺍﻟﺴﻴﺪ ﺃﲪﺪ ﺍﻟﺒﺪﻭﻱ‪.‬‬
‫‪ -11‬ﺍﳌﻮﺭﺩ ﺍﻟﺒﺎﺭﻕ ﰲ ﺍﻟﺼﻼﺓ ﻋﻠﻰ ﺃﻓﻀﻞ ﺍﳋﻼﺋﻖ‪ ,‬ﻣﻊ ﺷﺮﺡ ﺍﻣﺪﺍﺩ ﲨﻊ ﺍﳊﻘﺎﺋﻖ ﻻﺑﻦ ﻋﺒﺪ‬
‫ﺍﻟﱪ‬

‫‪32‬‬
‫( ‪ -‬ﻫﻭ ﺍﺤﻤﺩ ﺒﻥ ﻤﻭﺴﻰ ﺒﻥ ﺃﺤﻤﺩ ﺒﻥ ﻤﺤﻤﺩ ﺃﺒﻭ ﺍﻟﻌﺒﺎﺱ ﺍﻟﺒﻴﻠﻲ ]‪[1798/1728-1213/1141‬ﻓﻘﻴﻪ ﻤﺎﻟﻜﻲ ﻭﻟﺩ ﺒﺒﻨﻲ ﻋﺩﻱ ﺒﺼﻌﻴﺩ ﻤﺼﺭ ﻭﺘﻔﻘﻪ‬
‫ﺒﺎﻷﺯﻫﺭ ﻭﻭﻟﻲ ﻓﻴﻪ ﻤﺸﻴﺨﺔ )ﺭﻭﺍﻕ ﺍﻟﺼﻌﺎﻴﺩﺓ( ﺒﻌﺩ ﻭﻓﺎﺓ ﺍﻟﺩﺭﺩﻴﺭ ﻭﺘﺼﺩﺭ ﻟﻠﺘﺩﺭﻴﺱ ﻗﺎل ﺍﻟﺠﺒﺭﺘﻲ‪ :‬ﻜﺎﻨﺕ ﻟﻪ ﻗﺭﻴﺤﺔ ﺠﻴﺩﺓ ﻭﺤﺎﻓﻅﺔ‬
‫ﻏﺭﻴﺒﺔ‪,‬ﻴﻤﻠﻲ ﻋﻠﻰ ﺍﻟﻁﻠﺒﺔ ﻤﺎ ﺫﻜﺭﻩ ﺃﺭﺒﺎﺏ ﺍﻟﺤﻭﺍﺸﻲ ﻭﻗﺩ ﺠﻤﻊ ﺒﻌﺽ ﻤﺎ ﺃﻤﻼﻩ ﻓﺼﺎﺭ ﻤﺠﻠﺩﺍﺕ ﺘﻭﻓﻲ ﺒﺎﻟﻘﺎﻫﺭﺓ‪ ,‬ﻤﻥ ﻜﺘﺒﻪ‪ ) -‬ﺍﻟﻤﻨﺢ ﺍﻟﻤﺘﻜﻠﻔﺔ‬
‫ﺒﺤل ﺃﻟﻔﺎﻅ ﺍﻟﻘﺼﻴﺩﺓ ﺍﻟﻤﻭﺴﻭﻤﺔ ﺒﻤﻭﺭﺩ ﺍﻟﻅﻤﺂﻥ ﻓﻲ ﺼﻨﺎﻋﺔ ﺍﻟﺒﻴﺎﻥ –ﺥ( ﻭ)ﻓﺎﺌﺩﺓ ﺍﻟﻭﺭﺩ ﻓﻲ ﺍﻟﻜﻼﻡ ﻋﻠﻰ ﺃﻤﺎ ﺒﻌﺩ( ﺘﺭﺠﻤﺘﻪ ﻓﻲ ﺍﻷﻋﻼﻡ ﻟﻠﺯﺭﻜﻠﻲ‪:‬‬
‫‪ ،262/1‬ﺃﻨﻅﺭ ﺃﻴﻀﹰﺎ ﺘﺭﺠﻤﺘﻪ ﻓﻲ ﺘﺎﺭﻴﺦ ﺍﻷﺩﺏ ﺍﻟﻌﺭﺒﻲ – ﻟﺒﺭﻭﻜﻠﻤﺎﻥ‪.67 ،66/8 ،‬‬
‫‪- 26 -‬‬
‫‪ -12‬ﺭﺳﺎﻟﺔ ﰲ ﺍﳌﻮﻟﺪ ﺍﻟﺸﺮﻳﻒ‪ .‬ﺃﻟﻔﻪ )‪1183‬ﻫـ‪1769/‬ﻡ( ﻭﻋﻠﻴﻪ ﺷﺮﺡ ﺑﻌﻨﻮﺍﻥ ﺍﺷﺮﺍﻕ‬
‫ﻣﺼﺎﺑﻴﺢ ﺍﻷﻧﻮﺍﺭ ﻷﲪﺪ ﺑﻦ ﻧﺼﺮ ﺍﻟﺴﻼﻭﻱ‪ ،‬ﺃﻟﻔﻪ )‪1235‬ﻫـ‪1820/‬ﻡ( ﻭﻋﻠﻴﻪ ﺣﻮﺍﺷﻲ‪.‬‬

‫‪ -13‬ﺭﺳﺎﻟﺔ ﰲ ﻗﻮﻝ ﺍﻟﻮ ﻓﺎﺋﻴﺔ‪) .‬ﻳﺎ ﻣﻮﻻﻱ ﻳﺎ ﻣﻮﻻﻱ ﻳﺎ ﺩﺍﺋﻢ ﻳﺎ ﻋﻠﻲ ﻳﺎ ﺣﻜﻴﻢ(‪.‬‬
‫ﻛﺘﺐ ﺃﺧﺮﻯ‪:‬‬
‫‪ -14‬ﺷﺮﺡ ﺁﺩﺍﺏ ﺍﻟﺒﺤﺚ‪.‬‬
‫‪ -15‬ﺷﺮﺡ ﻋﻠﻰ ﺍﻟﺸﻤﺎﺋﻞ ﱂ ﻳﻜﻤﻞ‪.‬‬
‫‪ -16‬ﳎﻤﻮﻉ ﺫﻛﺮ ﻓﻴﻪ ﺃﺳﺎﻟﻴﺐ ﺍﻟﺸﻴﻮﺥ‪.‬‬
‫‪ -17‬ﺭﺳﺎﻟﺔ ﺟﻌﻠﻬﺎ ﺷﺮﺣﹰﺎ ﻋﻠﻰ ﺭﺳﺎﻟﺔ ﺍﻟﻘﺎﺿﻲ ﻣﺼﺮ ﻋﺒﺪ ﺍﷲ ﺃﻓﻨﺪﻱ ﺍﳌﻌﺮﻭﻑ ﺑﻄﻄﺮ ﺯﺍﺩﻩ‬
‫ﺍﻟﻠﻐـــﺔ‪:‬‬
‫‪ -18‬ﺭﺳﺎﻟﺔ ﰲ ﺍﻻﺳﺘﻌﺎﺭﺍﺕ ﺍﻟﺜﻼﺙ‪.‬‬
‫‪ -19‬ﺭﺳﺎﻟﺔ ﰲ ﺍﳌﻌﺎﱐ ﻭﺍﻟﺒﻴﺎﻥ ﻭﻫﻲ ﺍﳌﻘﺼﻮﺩﺓ ﻫﻨﺎ ﺑﺎﻟﺪﺭﺍﺳﺔ ﻭﻗﺪ ﺫﻛﺮﻫﺎ ﺑﺮﻭﻛﻠﻤﺎﻥ ﲢﺖ‬
‫ﻋﻨﻮﺍﻥ )ﺗﺒﻴﲔ ﺍﻟﺒﻴﺎﻥ( ﻭﻗﺎﻝ ﻋﻨﻪ ﺇﻧﻪ ﺃﲤﻪ ﺳﻨﺔ ‪ 1882 /1299‬ﻭﺗﺒﻴﺎﻥ ﺍﻟﺒﻴﺎﻥ ﻋﻠﻰ ﺣﻮﺍﺷﻲ ﺷﺮﺡ ﲢﻔﺔ‬
‫ﺍﻹﺧﻮﺍﻥ‪ ،‬ﻭﻫﻮ ﺗﻘﺮﻳﺮ ﻟﻠﻌﻼﻣﺔ ﺍﻟﺸﻴﺦ ﻋﻠﻲ ﺑﻦ ﺣﺴﲔ ﺍﳌﺴﺮﻋﻲ ﺍﳌﻌﺮﻭﻑ ﺑﺎﻟﺒﻮﻻﻗﻲ ﻋﻠﻰ ﺣﺎﺷﻴﺔ‬
‫ﺍﻟﺸﻴﺦ ﺃﲬﺪ ﺍﻟﺼﺎﻭﻱ‪ ،‬ﻋﻠﻰ ﺷﺮﺡ ﺍﻟﺪﺭﺩﻳﺮ ﻋﻠﻰ ﺭﺳﺎﻟﺘﻪ ﰲ ﺍﻟﺒﻴﺎﻥ ﺍﳌﺴﻤﺎﺓ ))ﲢﻔﺔ ﺍﻹﺧﻮﺍﻥ(( ﻓﺮﻍ ﻣﻦ‬
‫ﺗﺄﻟﻴﻔﻪ ﺳﻨﺔ ‪1219‬ﻫـ‪ .‬ﻓﻬﺮﺱ ﺍﳌﻜﺘﺒﺔ ﺍﻷﺯﻫﺮﻳﺔ ﻁ‪1948:‬ﻡ‪ 346/4،‬ﻭﻧﺴﺨﺔ ﻣﻄﺒﻮﻋﺔ ﻋﻠﻴﻬﺎ ﺳﻨﺔ‬
‫‪1315‬ﻫـ ﺑﺎﳌﻄﺒﻌﺔ ﺍﳊﻤﻴﺪﻳﺔ‪ ،‬ﻁ‪:‬ﺃﻭﱃ‪ ،‬ﲝﺎﺷﻴﺔ ﳏﻤﺪ ﺑﻦ ﳏﻤﺪ ﺍﻹﻧﺒﺎﰊ ﺍﳌﺘﻮﰱ ‪ 1791/1206‬ﻭﺣﺎﺷﻴﺔ‬
‫ﳊﺠﺎﺯﻱ ﺑﻦ ﻋﺒﺪ ﺍﳌﻄﻠﺐ ﺍﻟﻌﺪﻭﻯ ﺍﳌﺎﻟﻜﻲ )ﳐﻄﻮﻁ()‪.(33‬‬
‫ﺳﺎﺑﻌﹰﺎ‪ :‬ﻭﻓﺎﺗﻪ ﻭﺍﳌﻜﺎﻥ ﺍﻟﺬﻱ ﺩﻓﻦ ﻓﻴﻪ‪:‬‬
‫ﻻ ﲣﺘﻠﻒ ﺍﳌﺼﺎﺩﺭ ﺍﻟﱵ ﺗﺮﲨﺖ ﻟﻠﺪﺭﺩﻳﺮ ﺑﺄﻥ ﻭﻓﺎﺗﻪ ﻛﺎﻧﺖ ﰲ ﺳﺎﺩﺱ ﺷﻬﺮ ﺭﺑﻴﻊ ﺍﻷﻭﻝ‬
‫‪1201‬ﻫـ ﺍﳌﻮﺍﻓﻖ ﻝ‪ 18 :‬ﺩﻳﺴﻤﱪ ‪1786‬ﻡ ﺗﻮﰱ ﺍﻹﻣﺎﻡ ﺍﻟﻌﺎﱂ ﺍﻟﻌﻼﻣﺔ ﺃﻭﺣﺪ ﻭﻗﺘﻪ ﰲ ﺍﻟﻔﻨﻮﻥ ﺍﻟﻌﻘﻠﻴﺔ‬
‫ﻭﺍﻟﻨﻘﻠﻴﺔ ﺍﻟﺸﻴﺦ ﺃﲪﺪ ﺍﻟﺪﺭ ﺩﻳﺮ ﺑﻌﺪ ﻣﺎ ﺗﻌﻠﻞ ﺃﻳﺎﻣﹰﺎ ﻭﻟﺰﻡ ﺍﻟﻔﺮﺍﺵ ﻭﻗﺪ ﺻﻠﻲ ﻋﻠﻴﻪ ﺑﺎﻷﺯﻫﺮ ﲟﺸﻬﺪ ﻋﻈﻴﻢ‬
‫ﺣﺎﻓﻞ‪ ،‬ﻭﺩﻓﻦ ﺑﺰﺍﻭﻳﺘﻪ ﺍﻟﱵ ﺃﻧﺸﺄﻫﺎ ﲞﻂ ﺍﻟﻜﻌﻜﻴﲔ‪.‬‬

‫‪ - ( 33‬أﻧﻈﺮ ﺗﺎرﻳﺦ اﻷدب اﻟﻌﺮﺑﻲ ﻟﺒﺮوآﻠﻤﺎن‪.315/8 ،‬‬

‫‪- 27 -‬‬
 ‫)‪(34‬‬
‫ﻭﺻﺎﳊﻲ ﺍﳌﺴﻠﻤﲔ‪ ،‬ﻭﻗﺪ ﺗﻮﰲ ﻋﻦ ﺃﺭﺑﻌﺔ ﻭﺳﺒﻌﲔ ﻋﺎﻣﺎ‪،‬‬ ‫ﲜﻮﺍﺭ ﻗﱪ ﺍﻟﺸﻴﺦ ﳛﻲ ﺑﻦ ﻋﻘﺐ‬
‫ﻗﻀﺎﻫﺎ ﰲ ﺧﺪﻣﺔ ﺍﻟﻌﻠﻢ ﻭﺍﻟﺘﺮﺑﻴﺔ ﻭﺍﻟﺘﻠﻘﲔ‪.‬‬
‫ﺛﺎﻣﻨﹰﺎ‪ :‬ﺃﻗﻮﺍﻝ ﺍﻟﻌﻠﻤﺎﺀ ﻓﻴﻪ‪:‬‬
‫ﺫﻛﺮ ﺍﻟﻨﺒﻬﺎﱐ ﰲ ﻛﺘﺎﺑﻪ )ﺟﺎﻣﻊ ﻛﺮﺍﻣﺎﺕ ﺍﻷﻭﻟﻴﺎﺀ(‬ ‫‪-‬‬
‫ﺃﺣﺪ ﺍﻷﺋﻤﺔ ﺃﻭﻟﻴﺎﺀ ﺍﷲ ﺍﻟﻌﺎﺭﻓﲔ ﻭﺍﻟﻌﻠﻤﺎﺀ ﺍﻟﻌﺎﻣﻠﲔ ‪ .‬ﻭﺷﻬﺮﺗﻪ ﺑﻜﺜﺮﺓ ﺍﻟﻌﻠﻢ ﻭﺍﻟﻌﻤﻞ ﻭﺍﻟﻮﻻﻳﺔ‬
‫ﻭﺍﻹﺭﺷﺎﺩ ﻭﻛﺜﺮﺓ ﺍﳌﻨﺎﻗﺐ ﻭﺍﻟﻔﻀﺎﺋﻞ ﻋﻠﻰ ﺗﻌﺪﺩ ﺃﻧﻮﺍﻋﻬﺎ ﺗﻐﲏ ﻋﻦ ﺍﻹﻃﺎﻟﺔ ﺑﺸﺮﺡ ﺣﺎﻟﻪ ﻓﻬﻮ ﴰﺲ‬
‫ﺍﻟﻌﺮﻓﺎﻥ ﻭﻋﺎﺭﻑ ﺍﻟﺰﻣﺎﻥ ﺍ‪‬ﻤﻊ ﻋﻨﺪ ﺍﳌﺴﻠﻤﲔ ﻛﺎﻓﺔ ﻋﻠﻰ ﺍﺧﺘﻼﻑ ﺍﳌﺬﺍﻫﺐ ﻭﺍﳌﺸﺎﺭﺏ ﻋﻠﻰ ﺟﻼﻟﺔ‬
‫ﻗﺪﺭﻩ ﻭﻭﻻﻳﺘﻪ‪ .‬ﻭ ﺃﺭﺷﺎﺩﻩ ﻭﺍﺗﺴﺎﻉ ﻋﻠﻤﻪ ﻭﻋﻤﻮﻡ ﻧﻔﻌﻪ ﰲ ﺳﺎﺋﺮ ﺑﻼﺩ ﺍﳌﺴﻠﻤﲔ‪ .‬ﺫﻛﺮﻩ ﺷﻴﺨﻨﺎ ﺍﻟﺸﻴﺦ‬
‫ﺣﺴﻦ ﺍﻟﻌﺪﻭﻱ ﰲ ﻛﺘﺎﺑﻪ‪ -‬ﺍﻟﻨﻔﺤﺎﺕ ﺍﻟﺸﺎﺫﻟﻴﺔ ﰲ ﺷﺮﺡ ﺍﻟﱪﺩﺓ ﺍﻟﺒﺼﲑﻳﺔ ﻓﻤﻤﺎ ﻗﺎﻟﻪ ﺃﻥ ﺷﻴﺨﻪ ﺍﻟﺸﻴﺦ‬
‫ﳏﻤﺪ ﺍﻟﺴﺒﺎﻋﻲ ﻛﺎﻥ ﻳﺒﺸﺮﻩ ﺑﺎﻟﻔﺘﺢ ﻭﺗﻜﺮﺭ ﻣﻨﻪ ﻣﺮﺍﺭﺍ ﰲ ﺃﻳﺎﻡ ﻣﺘﻌﺪﺩﺓ ﻗﻮﻟﻪ ﻟﻪ ﻭﺍﷲ ﺃﻭ ﻭﻋﺰﺓ ﺭﰊ ﺇﻧﻚ‬
‫ﶈﺒﻮﺏ ﺍﻟﺪﺭﺩﻳﺮ‪ .‬ﻗﺎﻝ ﻓﺘﻌﻠﻘﺖ ﺁﻣﺎﱄ ﲟﺤﺒﺔ ﻫﺎﺗﻴﻚ ﺍﻷﻋﺘﺎﺏ)‪.(35‬‬
‫ﻭﻗﺎﻝ ﻓﻴﻪ ﺻﺎﺣﺐ ﻛﺘﺎﺏ ﺍﻷﺯﻫﺮ ﺇﱃ ﺃﻳﻦ‪.‬ﻟﻘﺪ ﻛﺎﻥ ﺍﻟﺸﻴﺦ ﺍﻟﺪﺭﺩﻳﺮ ﻣﻦ ﻛﺒﺎﺭ ﺷﻴﻮﺥ ﺍﻟﻌﻠﻤﺎﺀ‪،‬‬
‫ﻭﻛﺎﻥ ﳎﻠﺴﻪ ﺍﳌﺨﺘﺎﺭ ﺃﻣﺎﻡ ﺍﻟﻘﺒﻠﺔ ﺍﻟﻘﺪﳝﺔ ﰲ ﺍﳉﺎﻣﻊ ﺍﻷﺯﻫﺮ‪ ،‬ﻭﻛﺎﻥ ﺇﻣﺎﻣﻨﺎ ﺍﻟﺮﺍﺣﻞ ﻋﺒﺪ ﺍﳊﻠﻴﻢ ﳏﻤﻮﺩ‬
‫ﳛﺮﺱ ﻋﻠﻰ ﺯﻳﺎﺭﺓ ﻫﺬﺍ ﺍﳌﻜﺎﻥ ﻛﻠﻤﺎ ﺳﻨﺤﺖ ﻓﺮﺻﺔ ﻟﻠﺼﻼﺓ ﰲ ﻫﺬﺍ ﺍﳌﺴﺠﺪ‪.‬‬
‫ﺇﻥ ﺗﺎﺭﻳﺦ ﺍﻷﺯﻫﺮ ﻫﻮ ﺗﺎﺭﻳﺦ ﻫﺆﻻﺀ ﺍﻟﻌﻠﻤﺎﺀ ﺍﻟﺬﻱ ﲡﺮﺩﻭﺍ ﻟﻠﻌﻠﻢ ﻃﻠﺒﹰﺎ ﳌﺮﺿﺎﺓ ﺭ‪‬ﻢ ﺍﻷﻋﻠﻰ)‪.(36‬‬

‫‪ - ( 34‬هﻮ ﻣﻌﻠﻢ اﻟﺤﺴﻦ واﻟﺤﺴﻴﻦ رﺿﻲ اﷲ ﻋﻨﻬﻤﺎ أﻧﻈﺮ آﺸﻒ اﻟﻈﻨﻮن ﻋﻦ أﺳﺎﻣﻲ اﻟﻜﺘﺐ واﻟﻔﻨﻮن ‪ ،‬ﺗﺄﻟﻴﻒ ﻣﺼﻄﻔﻰ ﺑﻦ ﻋﺒﺪ اﷲ اﻟﻘﺴﻄﻨﻄﻴﻨﻲ اﻟﺮوﻣﻲ‬
‫اﻟﺤﻨﻔﻲ‪ .‬دار اﻟﻜﺘﺐ اﻟﻌﻠﻤﻴﺔ‪ ،‬ﺑﻴﺮوت‪ -‬ﻟﺒﻨﺎن‪،‬ط‪1413 :‬هـ‪1992/‬م ‪،1318/2‬‬
‫‪ - ( 35‬اﻧﻈﺮ‪:‬ﺟﺎﻣﻊ آﺮاﻣﺎت اﻷوﻟﻴﺎء ‪ .‬ﻟﻠﺸﻴﺦ ﻳﻮﺳﻒ ﺑﻦ إﺳﻤﺎﻋﻴﻞ اﻟﻨﺒﻬﺎﻧﻲ ت‪1350:‬هـ ﺗﺤﻘﻴﻖ وﻣﺮاﺟﻌﺔ إﺑﺮاهﻴﻢ ﻋﻄﻮة ﻋﻮض‪.‬ﻧﺸﺮ‪ :‬ﺷﺮآﺔ وﻣﻜﺘﺒﺔ‬
‫اﻟﺒﺎﺑﻲ اﻟﺤﻠﺒﻲ‪ .‬ط‪.564/1 -1962/1:‬‬
‫‪ - ( 36‬ﺍﻷﺯﻫﺭ ﺇﻟﻰ ﺃﻴﻥ؟‪ ،‬ﺍﻟﺩﻜﺘﻭﺭ ﻋﺒﺩ ﺍﻟﻭﺩﻭﺩ ﺸﻠﺒﻲ‪ ،‬ﻨﺸﺭ ﺩﺍﺭ ﺍﻻﻋﺘﺼﺎﻡ‪ ،‬ﺍﻟﻘﺎﻫﺭﺓ‪ ،‬ﻁﺒﻌﺔ‪1998 :‬ﻡ‪ ،‬ﺹ‪.14:‬‬
‫‪- 28 -‬‬
‫* ﺍﺳﻢ ﺍﻟﻜﺘﺎﺏ ﻋﻨﻮﺍﻧﻪ ﻭﻧﺴﺒﺘﻪ ﺇﱃ ﻣﺆﻟﻔﻪ‪* .‬‬

‫‪ -‬ﺃﳘﻴﺔ ﻫﺬﺍ ﺍﻟﻜﺘﺎﺏ‬

‫‪ -‬ﳏﺘﻮﻯ ﺍﻟﻜﺘﺎﺏ ﻭﺃﻗﺴﺎﻣﻪ‪.‬‬
‫‪ -‬ﻧﺴﺦ ﺍﻟﻜﺘﺎﺏ‪.‬‬
‫‪ -‬ﺻﻮﺭ ﻋﻦ ﻧﺴﺨﻪ ﺍﳌﻌﺘﻤﺪﺓ‪.‬‬

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‫ﺍﻟﻜﺘﺎﺏ ﻭﻋﻨﻮﺍﻧﻪ‬

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 ‫ﺍﺳﻢ ﺍﻟﻜﺘﺎﺏ ﻭﻋﻨﻮﺍﻧﻪ ﻭﻧﺴﺒﺘﻪ ﺇﱃ ﻣﺆﻟﻔﻪ‪:‬‬
‫ﺇﻥ ﺍﳌﺮﺍﺟﻊ ﻭﺍﳌﺼﺎﺩﺭ ﺍﻟﱵ ﺍﻋﺘﻤﺪﺕ ﻋﻠﻴﻬﺎ ﰲ ﺇﺛﺒﺎﺕ ﻧﺴﺒﺔ ﻫﺬﺍ ﺍﻟﻜﺘﺎﺏ ﺳﻮﺍﺀ ﻣﻨﻬﺎ ﺍﻟﺘـﺮﺍﺟﻢ ﺃﻡ‬
‫ﺍﳌﺮﺍﺟﻊ ﺍﻟﱵ ﻋﺪﺕ ﺇﻟﻴﻬﺎ ﰲ ﺇﺛﺒﺎﺕ ﺗﺮﲨﺔ ﺍﳌﺆﻟﻒ ﻭﻗﺪ ﺟﺎﺀﺕ ﳐﺘﻠﻔﺔ ﰲ ﺫﻛﺮﻫـﺎ ﻟﻌﻨـﻮﺍﻥ ﺍﻟﻜﺘـﺎﺏ‬
‫ﺑﺎﺳﺘﺜﻨﺎﺀ ﺍﻟﺒﻌﺾ‪ ،‬ﺃﻣﺎ ﻣﻦ ﺣﻴﺚ ﺍﳌﱳ ﻓﻘﺪ ﻛﺎﻥ ﻭﺍﺣﺪﺍ‪ ،‬ﻭﳑﺎ ﻳﺜﺒﺖ ﻫﺬﺍ ﺍﻻﺧﺘﻼﻑ ﺍﳊﺎﺻﻞ ﺑﲔ ﺍﻟﻨﺴﺦ‬
‫ﺍﳌﻌﺘﻤﺪﺓ ﰲ ﻫﺬﺍ ﺍﻟﺸﺮﺡ ﻣﺎ ﺟﺎﺀ ﰲ ﻏﻼﻑ ﺍﻟﻨﺴﺨﺔ )ﻣﺦ( ﻭﺍﻟﱵ ﺍﻋﺘﱪ‪‬ـﺎ ﺍﻷﺻـﻞ ﺃﻭ ﺍﻷﻡ ﰲ ﻫـﺬﺍ‬
‫ﺍﻟﺘﺤﻘﻴﻖ ﺣﻴﺚ ﺟﺎﺀ ﰲ ﺑﺪﺍﻳﺘﻬﺎ ﻫﻜﺬﺍ‪:‬‬
‫ﻫﺬﺍ ﺷﺮﺡ ﺍﻟﻌﻼﻣﺔ ﺍﻟﺪﺭﺩﻳﺮ ﻋﻠﻰ ﺭﺳﺎﻟﺘﻪ ﺍﳌﺴﻤﺎﺓ ﺑﺘﺤﻔﺔ ﺍﻹﺧﻮﺍﻥ ﰲ ﻋﻠﻢ ﺍ‪‬ﺎﺯ ﺑﺎﻟﺘﻤﺎﻡ ﻭﺍﻟﻜﻤﺎﻝ‬
‫ﻭﺍﳊﻤﺪ ﷲ ﻋﻠﻰ ﻛﻞ ﺣﺎﻝ‬
‫ﺃﻣﺎ ﺍﻟﻨﺴﺨﺔ )ﻕ( ﻓﻘﺪ ﺟﺎﺀﺕ ﻫﻜﺬﺍ‪:‬‬
‫ﻫﺬﺍ ﺷﺮﺡ ﲢﻔﺔ ﺍﻹﺧﻮﺍﻥ ﰲ ﻋﻠﻢ ﺍﻟﺒﻴﺎﻥ( ﺃﻣﺎ ﰲ ﺍﳌﻘﺪﻣﺔ ﻓﻘﺪ ﺟﺎﺀ ﻫﻜﺬﺍ)ﻗﺎﻝ ﺍﻟﺸﻴﺦ ﺍﻹﻣﺎﻡ‬
‫ﺍﻟﻌﻼﻣﺔ ﺍﳍﻤﺎﻡ ﺃﺑﻮ ﺍﻟﱪﻛﺎﺕ ﺷﻬﺎﺏ ﺍﻟﺪﻳﻦ ﺃﲪﺪ ﺑﻦ ﳏﻤﺪ ﺍﻟﺪﺭ ﺩﻳﺮ ﺍﻟﻌﺪﻭﻱ ﺍﳌﺎﻟﻜﻲ ﺭﺿﻲ ﺍﷲ ﻋﻨﻪ‬
‫ﺁﻣﲔ ﺁﻣﲔ ﺁﻣﲔ‬
‫ﻭﺃﻣﺎ ﺍﻟﻨﺴﺨﺔ)ﻡ( ﻓﻘﺪ ﻛﺎﻧﺖ ﺿﻤﻦ ﳎﻤﻮﻉ ﻣﻨﺴﻮﺑﺔ ﺇﱃ ﻣﺆﻟﻒ ﳎﻬﻮﻝ ﻭﻗﺪ ﺃﺷﺮﺕ ﺇﻟﻴﻬﺎ ﻣـﻦ‬
‫ﺧﻼﻝ ﺗﻄﺮﻗﻲ ﻟﻮﺻﻒ ﺍﻟﻨﺴﺨﺔ ﺍﳌﻘﺎﺭﻧﺔ ﻋﻠﻴﻬﺎ ﻭﻗﺪ ﺩﻟﺘﲏ ﻋﻠﻴﻬﺎ ﺍﳌﻘﺪﻣﺔ ﺍﻟﱵ ﻛﺎﻧﺖ ﺳﺒﺒﹰﺎ ﰲ ﺍﻻﻫﺘـﺪﺍﺀ‬
‫ﺇﱃ ﻣﻌﺮﻓﺔ ﻣﺆﻟﻔﻬﺎ ﻭﺍﻟﱵ ﻛﺎﻥ ﻗﺪ ﺍﺳﺘﻬﻠﻬﺎ ﺍﻟﻨﺎﺳﺦ ﺑﻌﺪ ﺍﳊﻤﺪﻟﺔ ﻭﺍﻟﺒﺴﻤﻠﺔ ﻫﻜﺬﺍ‪:‬‬
‫ﻫﺬﺍ ﺷﺮﺡ ﻟﻄﻴﻒ ﻋﻠﻰ ﺍﻟﺮﺳﺎﻟﺔ ﺍﻟﱵ ﺟﻌﻠﺘﻬﺎ ﰲ ﺑﻴﺎﻥ ﺍ‪‬ﺎﺯ ﻭﺍﻟﺘﺸﺒﻴﻪ ﻭﺍﻟﻜﻨﺎﻳﺔ(‬
‫ﺃﻣﺎ ﺍﻟﻨﺴﺨﺔ )ﺥ( ﻓﻘﺪ ﻛﺎﻧﺖ ﲞﻂ ﺍﻟﻨﺎﺳﺦ ﻣﻜﺘﻮﺏ ﰲ ﻣﻘﺪﻣﺘﻬﺎ ﻫﻜﺬﺍ‪:‬‬
‫ﻫﺬﺍ ﺷﺮﺡ ﻟﻠﻔﻘﻴﻪ ﺃﲪﺪ ﺍﻟﺪﺭﺩﻳﺮ ﻋﻠﻰ ﺭﺳﺎﻟﺘﻪ ﰲ ﻋﻠﻢ ﺍﻟﺒﻴﺎﻥ ﺍﳌﺴﻤﺎﺓ ﺑﺘﺤﻔﺔ ﺍﻹﺧﻮﺍﻥ ﻧﻔﻌﻨﺎ ﺍﷲ‬
‫ﺑﻌﻠﻮﻣﻪ ﺃﻣﲔ‬
‫ﻭﺃﻣﺎ ﰲ ﻣﱳ ﺍﻟﺘﺤﻔﺔ ﺍﳌﺨﻄﻮﻃﺔ ﺍﻟﱵ ﺳﻨﻔﺮﺩ ﳍﺎ ﻣﻠﺤﻘﺎ ﺧﺎﺻﺎ ‪‬ﺎ ﰲ ‪‬ﺎﻳﺔ ﻫﺬﻩ ﺍﳌﺬﻛﺮﺓ ﻓﻘﺪ ﺟﺎﺀ‬

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 ‫ﻫﻜﺬﺍ‪:‬‬
‫ﻫﺬﻩ ﺭﺳﺎﻟﺔ ﺍﻷﺻﻞ ﺍﳌﺴﻤﺎﺓ ﲢﻔﺔ ﺍﻹﺧﻮﺍﻥ ﰲ ﺍ‪‬ﺎﺯ ﻭﺍﻟﺘﺸﺒﻴﻪ ﻭﺍﻟﻜﻨﺎﻳﺔ ﳌﺆﻟﻔﻬﺎ ﺍﻟﻮﱄ ﺍﻟﺸﻬﲑ‬
‫ﺳﻴﺪﻱ ﺃﲪﺪ ﺍﻟﺪﺭﺩﻳﺮ ﺭﺿﻲ ﺍﷲ ﻋﻨﻪ ﻭﻧﻔﻌﻨﺎ ﺑﻪ ﰲ ﺍﻟﺪﺍﺭﻳﻦ‬
‫ﻭﺃﻣﺎ ﺍﻟﻨﺴﺨﺔ ﺍﳌﻄﺒﻮﻋﺔ ﻓﻬﻲ ﺍﻷﺧﺮﻯ ﲢﺖ ﻋﻨﻮﺍﻥ )ﻣﱳ ﲢﻔﺔ ﺍﻹﺧﻮﺍﻥ ﰲ ﻋﻠﻢ ﺍﻟﺒﻴـﺎﻥ( ﻭﻗـﺪ‬
‫ﻃﺒﻌﺖ ﲟﻜﺘﺒﺔ ـ ﺍﻟﺸﻴﺦ ﺃﲪﺪ ﻋﻠﻲ ﺍﳌﻠﻴﺠﻲ ﺍﻟﻜﺘﱯ ﺍﻟﻘﺎﻫﺮﺓ )ﺑﺪﻭﻥ ﻣﻌﻠﻮﻣﺎﺕ(‪.‬‬
‫ﻭﻋﻨﺪ ﺗﻔﺤﺼﻲ ﳍﺬﻩ ﺍﻟﻨﺴﺦ ﻭ ﺇﻃﻼﻋﻲ ﻋﻠﻴﻬﺎ ﺗﺒﲔ ﱄ ﺃﻧﻪ ﺭﻏﻢ ﻣﺎ ﻭﺭﺩ ﻣﻦ ﺍﺧﺘﻼﻑ ﰲ ﺇﻳـﺮﺍﺩ‬
‫ﺍﻟﻌﻨﺎﻭﻳﻦ ﻓﺈﻥ ﺍﳌﱳ ﺃﻭ ﺍﶈﺘﻮﻯ ﻛﺎﻥ ﻭﺍﺣﺪﹰﺍ ﻭﳑﺎ ﻳﺆﻛﺪ ﻫﺬﺍ ﺃﻳﻀﺎ ﻣﺎ ﺟﺎﺀ ﰲ ﻛﺘﺎﺏ ‪ -‬ﺗـﺎﺭﻳﺦ ﺍﻷﺩﺏ‬
‫ﺍﻟﻌﺮﰊ ‪ -‬ﻟﻜﺎﺭﻝ ﺑﺮﻭﻛﻠﻤﺎﻥ ﻭﻫﻮ ﻣﻦ ﺍﳌﺆﻟﻔﲔ ﺍﻟﺬﻳﻦ ﺣﺼﺮﻭﺍ ﻟﻠﺪﺭﺩﻳﺮ ﻛﻞ ﻣﺆﻟﻔﺎﺗـﻪ ﲟـﺎ ﰲ ﺫﻟـﻚ‬
‫ﻼ ﻋﻦ ﺍﳊﻮﺍﺷﻲ ﻭﺍﻟﺸﺮﻭﺡ‪ ،‬ﻭﻗﺪ ﺗﺒﲔ ﱄ ﺑﻌﺪ ﺍﻹﻃﻼﻉ ﻋﻠﻰ ﺣﻴـﺎﺓ‬
‫ﺍﳌﻄﺒﻮﻋﺔ ﻣﻨﻬﺎ ﺃﻭ ﺍﳌﺨﻄﻮﻃﺔ ﻓﻀ ﹰ‬
‫ﺍﻟﺪﺭﺩﻳﺮ ﻭﻣﺆﻟﻔﺎﺗﻪ ﺃﻥ ﻫﻨﺎﻙ ﺭﺳﺎﻟﺔ ﻟﻠﻤﺆﻟﻒ ﲢﺖ ﻋﻨﻮﺍﻥ )ﺭﺳﺎﻟﺔ ﰲ ﻋﻠﻢ ﺍﻟﺒﻴﺎﻥ( ﻋﻠﻴﻬﺎ ﺷﺮﺡ ﻟﻠﻤﺼﻨﻒ‬
‫ﻧﻔﺴﻪ ﺑﺎﻹﺿﺎﻓﺔ ﺇﱃ ﺫﻛﺮ ﻟﻠﺤﻮﺍﺷﻲ ﺍﻟﱵ ﻛﺘﺒﺖ ﻋﻠﻴﻬﺎ ﻛﺤﺎﺷﻴﺔ ﺍﻟﺸﻴﺦ ﺃﲪﺪ ﺑـﻦ ﳏﻤـﺪ ﺍﻟـﺼﺎﻭﻱ‬
‫ﻭﻋﻨﺪﻱ ﻋﻠﻴﻬﺎ ﻧﺴﺨﺘﺎﻥ ﳐﻄﻮﻃﺔ ﻭﻧﺴﺨﺔ ﻣﻄﺒﻮﻋﺔ ﻋﻠﻴﻬﺎ ﺗﻘﺮﻳﺮﺍﺕ ﺍﻟﺸﻴﺦ ﻋﻠﻲ ﺑﻦ ﺣﺴﲔ ﺍﳌـﺴﺮﻋﻲ‬
‫ﺍﳌﻌﺮﻭﻑ ﺑﺎﻟﺒﻮﻻﻗﻲ ﻭﻗﺪ ﻃﺒﻌﺖ ﻷﻭﻝ ﻣﺮﺓ ﺳﻨﺔ ‪1315‬ﻫـ‪ ،‬ﺍﳌﻄﺒﻌﺔ ﺍﳊﻤﻴﺪﻳﺔ ﺍﳌﺼﺮﻳﺔ‪ ،‬ﺃﻣﺎ ﺍﳌﺨﻄﻮﻃﺔ‬
‫ﻓﻘﺪ ﺫﻛﺮ‪‬ﺎ ﻋﻨﺪ ﺍﳊﺪﻳﺚ ﻋﻦ ﻭﺻﻒ ﺍﳌﺨﻄﻮﻃﺔ )ﻣﺦ( ﻫﻲ ﻭﺣﺎﺷﻴﺔ ﳏﻤﺪ ﺍﻹﻧﺒﺎﰊ ﺍﻟﱵ ﱂ ﻳﺘﻄﺮﻕ ﺇﻟﻴﻬﺎ‬
‫ﺑﺮﻭﻛﻠﻤﺎﻥ ﻭﻗﺪ ﺫﻛﺮ ﺣﺎﺷﻴﺔ ﻋﻠﻴﻬﺎ ﻭﻫﻲ‪:‬‬
‫)ﳊﺠﺎﺯﻱ ﺑﻦ ﻋﺒﺪ ﺍﳌﻄﻠﺐ ﺍﻟﻌﺪﻭﻱ ﺍﳌﺎﻟﻜﻲ ‪ -‬ﳐﻄﻮﻁ ﻭﻫﺬﻩ ﺍﻷﺧﲑﺓ ﱂ ﺃﻗﻒ ﻋﻠﻴﻬﺎ( ﻭﺫﻛﺮ ﺇﱃ‬
‫ﺟﺎﻧﺒﻬﺎ ﺭﺳﺎﻟﺔ ﻣﻨﺴﻮﺑﺔ ﻟﻠﻤﺆﻟﻒ ﺑﻌﻨﻮﺍﻥ ‪ -‬ﺭﺳﺎﻟﺔ ﺍ‪‬ﺎﺯ ﻭﺍﻟﺘﺸﺒﻴﻪ ﻭﺍﻟﻜﻨﺎﻳﺔ ‪ -‬ﻭﻫﺬﺍ ﺍﻟﻮﻫﻢ ﺍﻟﺬﻱ ﻭﻗـﻊ‬
‫ﻓﻴﻪ ﻋﺒﺪ ﺍﻟﺮﲪﺎﻥ ﺍﳉﱪﰐ ﻭﺍﺗﺒﻌﻪ ﰲ ﺫﻟﻚ ﺑﺮﻭﻛﻠﻤﺎﻥ ﻋﻨﺪ ﺗﺮﲨﺘﻪ ﻟﻠﻤﺆﻟﻒ ﻭﻣﻦ ﻫﻨﺎ ﳝﻜﻦ ﺍﻟﻘـﻮﻝ ﺇﻥ‬
‫ﺍﻟﻜﺘﺎﺏ ﻫﻮ ﺑﻌﻨﻮﺍﻥ‪:‬‬
‫‪ -‬ﺷﺮﺡ ﲢﻔﺔ ﺍﻹﺧﻮﺍﻥ ﰲ ﻋﻠﻢ ﺍﻟﺒﻴﺎﻥ ‪-‬‬
‫ﻭﻋﻠﻰ ﻫﺬﺍ ﺍﻟﻌﻨﻮﺍﻥ ﺍﺳﺘﻘﺮ ﺭﺃﻳﻲ ﻟﻸﺳﺒﺎﺏ ﺍﻟﺴﺎﻟﻔﺔ ﺍﻟﺬﻛﺮ‪.‬‬

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 ‫ﺃﳘﻴﺔ ﻫﺬﺍ ﺍﻟﻜﺘﺎﺏ‪:‬‬
‫ﱂ ﻳﺴﺒﻖ ﻧﺸﺮ ﻫﺬﺍ ﺍﻟﺸﺮﺡ ﻣﻦ ﻗﺒﻞ‪ ،‬ﻭﻫﻮ ﰲ ﺍﻟﻮﺍﻗﻊ‪ ،‬ﺍﻟﺮﺳﺎﻟﺔ ﺍﻟﻮﺣﻴﺪﺓ ﻟﻠﻤﺆﻟﻒ ﰲ ﻋﻠﻢ ﺍ‪‬ﺎﺯ‪،‬‬
‫ﻋﻠﻰ ﺍﻟﺮﻏﻢ ﻣﻦ ﺃﻥ ﺑﻌﺾ ﺍﳌﺮﺍﺟﻊ ﺗﺬﻛﺮﻫﺎ ﻋﻠﻰ ﺃ‪‬ﺎ ﺭﺳﺎﻟﺔ ﰲ ﻋﻠﻢ ﺍﻟﺒﻴﺎﻥ )ﻭﻫﻮ ﻣﻌﺮﻓﺔ ﺇﻳﺮﺍﺩ ﺍﳌﻌﲎ‬
‫ﺍﻟﻮﺍﺣﺪ ﺑﻄﺮﻕ ﳐﺘﻠﻔﺔ ﰲ ﻭﺿﻮﺡ ﺍﻟﺪﻻﻟﺔ()‪ ،(37‬ﻭﺃﻣﺎ ﻣﺒﺎﺩﺋﻪ ﻓﺒﻌﻀﻬﺎ ﻋﻘﻠﻴﺔ‪ ،‬ﻛﺄﻗﺴﺎﻡ ﺍﻟﺪﻻﻻﺕ‬
‫ﻭﺍﻟﺘﺸﺒﻴﻬﺎﺕ‪ ،‬ﻭﺍﻟﻌﻼﻗﺎﺕ ﺍ‪‬ﺎﺯﻳﺔ‪ ،‬ﻭﻣﺮﺍﺗﺐ ﺍﻟﻜﻨﺎﻳﺎﺕ‪ ،‬ﻭﺑﻌﻀﻬﺎ ﻭﺟﺪﺍﻧﻴﺔ ﺫﻭﻗﻴﺔ ﻛﻮﺟﻮﻩ ﺍﻟﺘﺸﺒﻴﻬﺎﺕ‬
‫ﻭﺃﻗﺴﺎﻡ ﺍﻻﺳﺘﻌﺎﺭﺍﺕ)‪ ،(38‬ﻭﺇﻥ ﻛﺎﻥ ﺍﻻﺧﺘﻼﻑ ﺑﲔ ﻋﻠﻢ ﺍ‪‬ﺎﺯ ﻭﻋﻠﻢ ﺍﻟﺒﻴﺎﻥ ﰲ )ﺍﺻﻄﻼﺡ ﺍﳌﺘﻘﺪﻣﲔ‬
‫ﻣﻦ ﺃﺋﻤﺔ ﺍﻟﺒﻼﻏﺔ ﻳﻄﻠﻖ ﻋﻠﻰ ﻓﻨﻮ‪‬ﺎ ﺍﻟﺜﻼﺛﺔ ﻣﻦ ﺑﺎﺏ ﺗﺴﻤﻴﺔ ﺍﻟﻜﻞ ﺑﺎﺳﻢ ﺍﻟﺒﻌﺾ‪ ،‬ﻭﺍﻟﻜﻨﺎﻳﺔ ﻭﺍﻟﻐﺮﺽ ﻣﻦ‬
‫ﺻﻮﻍ ﺍﻟﻜﻼﻡ ﺑﻄﺮﻳﻘﺔ ﺗﺒﲔ ﻣﺎ ﰲ ﻧﻔﺲ ﺍﳌﺘﻜﻠﻢ ﻣﻦ ﺍﳌﻘﺎﺻﺪ ﻭﺗﻮﺻﻞ ﺍﻷﺛﺮ ﺍﻟﺬﻱ ﻳﺮﻳﺪﻩ ﺑﻪ ﺇﱃ ﻧﻔﺲ‬
‫ﺍﻟﺴﺎﻣﻊ()‪ (39‬ﻭﻫﻨﺎﻙ ﺭﺳﺎﻟﺔ ﰲ ﺍﻻﺳﺘﻌﺎﺭﺍﺕ ﺫﻛﺮﻫﺎ ﺍﳉﱪﰐ ﰲ ﻛﺘﺎﺑﻪ ﻋﺠﺎﺋﺐ ﺍﻵﺛﺎﺭ ﻋﻨﺪﻣﺎ ﺗﺮﺟﻢ‬
‫ﳊﻴﺎﺓ ﺍﳌﺆﻟﻒ ﺍﻟﺸﻴﺦ ﺍﻟﺪﺭﺩﻳﺮ ﻭﺫﻛﺮﻫﺎ ﻣﻦ ﺑﲔ ﻣﺆﻟﻔﺎﺗﻪ‪ ،‬ﻭﳓﻦ ﻻ ﻧﺸﻚ ﺃﻥ ﻟﻠﻤﺆﻟﻒ ﺭﺳﺎﻟﺔ ﻭﺍﺣﺪﺓ‬
‫ﺍﺧﺘﻠﻔﺖ ﺣﻮﳍﺎ ﺍﻟﻌﻨﺎﻭﻳﻦ‪ ،‬ﻭﻣﺮﺩ ﻫﺬﺍ ﺍﻻﺧﺘﻼﻑ ﻳﻌﻮﺩ ﺇﱃ ﺗﺄﻟﻴﻒ ﺍﻟﺪﺭﺩﻳﺮ ﻟﻠﺘﺤﻔﺔ ﰲ ﺃﻭﻝ ﺍﻷﻣﺮ‪،‬‬
‫ﻭﺟﻌﻠﻬﺎ ﻣﻘﺪﻣﺔ ﻟﺮﺳﺎﻟﺔ ﺍﻻﺳﺘﻌﺎﺭﺍﺕ ﻟﻺﻣﺎﻡ ﺍﻟﺴﻤﺮﻗﻨﺪﻱ)‪.(40‬‬
‫ﻭﻗﺪ ﺫﻛﺮ ﺍﳌﺆﻟﻒ ﻧﻔﺴﻪ ﻫﺬﺍ‪ ،‬ﰲ ﺍﻟﺘﺤﻔﺔ ﰲ ﺍﻟﻔﺼﻞ ﺍﻷﻭﻝ‪ ،‬ﺣﻴﺚ ﻗﺎﻝ ﺑﺎﳊﺮﻑ ﺍﻟﻮﺍﺣﺪ‬
‫)ﻭﺗﻔﺼﻴﻞ ﺍﳌﺬﺍﻫﺐ ﰲ ﺍﳌﻜﻨﻴﺔ ﻭﺍﻟﺘﺨﻴﻴﻠﻴﺔ ﻭﻣﺎ ﻳﺘﻌﻠﻖ ‪‬ﻤﺎ ﻣﺬﻛﻮﺭ ﰲ ﺍﻟﺴﻤﺮﻗﻨﺪﻳﺔ ﺍﻟﱵ ﺟﻌﻠﺖ ﻫﺬﻩ‬
‫ﺍﻟﺮﺳﺎﻟﺔ ﰲ ﺍﳊﻘﻴﻘﺔ ﻣﻘﺪﻣﺔ ﳍﺎ(]ﻭ‪.[6/‬‬
‫ﻭﻋﻨﺪﻣﺎ ﻧﻌﻮﺩ ﺇﱃ ﺍﻟﺸﺮﺡ ﳒﺪ ﺍﳌﺆﻟﻒ ﻗﺪ ﻗﺎﻡ ﺑﻪ ﺑﻌﺪ ﺃﻥ ﻋﺮﻓﺖ ﺍﻟﺘﺤﻔﺔ ﻛﻤﻘﺪﻣﺔ ﻟﻠﺴﻤﺮﻗﻨﺪﻳﺔ ﺃﻭ‬
‫ﺭﺳﺎﻟﺔ ﰲ ﺍﻻﺳﺘﻌﺎﺭﺍﺕ‪ .‬ﻟﺬﺍ ﳒﺪ ﳑﻦ ﻏﻢ ﻋﻠﻴﻬﻢ ﺍﻟﺘﻤﻴﻴﺰ ﺑﲔ ﻋﻨﺎﻭﻳﻦ ﻫﺬﻩ ﺍﻟﺮﺳﺎﻟﺔ ﺍﳌﺨﺘﻠﻔﺔ ﻳﺬﻛﺮﻭ‪‬ﺎ‬
‫ﺭﺳﺎﻟﺔ ﰲ ﻋﻠﻢ ﺍﻟﺒﻴﺎﻥ ﺃﻭ ﺭﺳﺎﻟﺔ ﰲ ﺍﻻﺳﺘﻌﺎﺭﺍﺕ ﺃﻭ ﺇﱃ ﺷﺮﺡ ﲢﻔﺔ ﺍﻹﺧﻮﺍﻥ ﰲ‬

‫‪ ( 37‬ﺃﻨﻅﺭ ﻤﻔﺘﺎﺡ ﺍﻟﺴﻌﺎﺩﺓ ﻭﻤﺼﺒﺎﺡ ﺍﻟﺴﻴﺎﺩﺓ ﻓﻲ ﻤﻭﻀﻭﻋﺎﺕ ﺍﻟﻌﻠﻭﻡ ‪ ،‬ﺃﺤﻤﺩ ﺒﻥ ﻤﺼﻁﻔﻰ ﺍﻟﻤﺸﻬﻭﺭ ﺒﻁﺎﺵ ﻜﺒﺭﻯ ﺯﺍﺩﻩ – ﻁﺒﻊ‪ :‬ﺩﺍﺭ ﺍﻟﻜﺘﺏ ﺍﻟﻌﻠﻤﻴﺔ‬
‫– ﺒﻴﺭﻭﺕ – ﻟﺒﻨﺎﻥ‪) .‬ﺩ‪.‬ﻁ ‪ /‬ﺩ‪.‬ﺕ(‪،186/1 .‬‬
‫‪ ( 38‬ﺃﻨﻅﺭ ﺍﻟﻤﺼﺩﺭ ﻨﻔﺴﻪ‪ ،‬ﺹ‪.187 :‬‬
‫‪ ( 39‬ﺃﻨﻅﺭ ﺠﻭﺍﻫﺭ ﺍﻟﺒﻼﻏﺔ ﻓﻲ ﺍﻟﻤﻌﺎﻨﻲ ﻭﺍﻟﺒﻴﺎﻥ ﻭﺍﻟﺒﺩﻴﻊ‪ ،‬ﺘﺄﻟﻴﻑ ﺍﻟﺴﻴﺩ‪ :‬ﺃﺤﻤﺩ ﺍﻟﻬﺎﺸﻤﻲ‪ ،‬ﻀﺒﻁ ﻭﺘﺩﻗﻴﻕ ﻭﺘﻭﺜﻴﻕ‪ :‬ﻴﻭﺴﻑ ﺍﻟﺼﻤﻴﻠﻲ – ﺍﻟﻤﻜﺘﺒﺔ‬
‫ﺍﻟﻌﺼﺭﻴﺔ‪ ،‬ﺒﻴﺭﻭﺕ – ﻟﺒﻨﺎﻥ‪ ،‬ﻁ‪ 1999/1 :‬ﺹ‪.16 :‬‬
‫‪ ( 40‬ﻫﻭ ﺍﻹﻤﺎﻡ ﺃﺒﻭ ﺍﻟﻘﺎﺴﻡ ﺍﻟﻠﻴﺜﻲ ﺍﻟﻤﺘﻭﻓﻰ ﺒﻌﺩ ‪ 888‬ﻫﺠﺭﻴﺔ ‪ 1483 /‬ﻤﻴﻼﺩﻴﺔ‪ ،‬ﻓﻘﻴﻪ ﻭﺃﺩﻴﺏ ﻟﻪ ) ﻤﺴﺘﺨﻠﺹ ﺍﻟﺤﻘﺎﺌﻕ ﻓﻲ ﺸﺭﺡ ﻜﻨﺯ ﺍﻟﺩﻗﺎﺌﻕ ﻓﻲ‬
‫ﺍﻟﻔﻘﻪ ﺍﻟﺤﻨﻔﻲ‪ ،‬ﻭﺍﻟﺭﺴﺎﻟﺔ ﺍﻟﺴﻤﺭﻗﻨﺩﻴﺔ( ﻭ ) ﺒﻠﻭﻍ ﺍﻷﺭﺏ ﻤﻥ ﺘﺤﻘﻴﻕ ﺍﺴﺘﻌﺎﺭﺍﺕ ﺍﻟﻌﺭﺏ( ﺃﻨﻅﺭ ﺍﻟﻤﻨﺠﺩ ﻓﻲ ﺍﻟﻠﻐﺔ ﻭﺍﻷﻋﻼﻡ‪ ، ،‬ﻨﺸﺭ‪ :‬ﺩﺍﺭ ﺍﻟﻤﺸﺭﻕ‬
‫ﺒﻴﺭﻭﺕ – ﻟﺒﻨﺎﻥ ﻁ‪ .26 :‬ﺹ‪.365 :‬‬

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‫ﻋﻠﻢ ﺍ‪‬ﺎﺯ ﻭﳌﺎ ﲰﺢ ﱄ ﺍﻹﻃﻼﻉ ﻋﻠﻰ ﻧﺴﺨﺔ ﻣﻦ ﻣﱳ ﺍﻟﺘﺤﻔﺔ ﱂ ﺃﺟﺪ ﺍﺧﺘﻼﻓﹰﺎ ﺑﻴﻨﻬﺎ ﻭﺑﲔ‬
‫ﺍﻟﺮﺳﺎﻟﺔ ﺍﻟﱵ ﻫﻲ ﲝﻮﺯﰐ ﺃﻭ ﺗﻠﻚ ﺍﻟﺸﺮﻭﺡ ﺍﻟﱵ ﻗﺎﺭﻧﺖ ﻋﻠﻴﻬﺎ ﻫﺬﺍ ﺍﻟﻌﻤﻞ‪ ،‬ﻭﻣﻦ ﻫﻨﺎ ﳝﻜﻦ ﺍﻟﻘﻮﻝ ﺑﺄﻥ ﻣﺎ‬
‫ﺃﻭﺭﺩﻩ ﻋﺒﺪ ﺍﻟﺮﲪﻦ ﺍﳉﱪﰐ ﰲ ﻛﺘﺎﺑﻪ ﺭﲟﺎ ﻳﻜﻮﻥ ﺧﻄﹰﺄ ﺃﻭ ﺳﺒﻖ ﻗﻠﻢ ﻷﻥ ﺍﻟﺬﻳﻦ ﺗﺮﲨﻮﺍ ﻟﻠﺪﺭﺩﻳﺮ ﱂ‬
‫ﻳﺬﻛﺮﻭﺍ ﺇﻻ ﺍﻟﺮﺳﺎﻟﺔ ﺍﳋﺎﺻﺔ ﺑﻌﻠﻢ ﺍﻟﺒﻴﺎﻥ ﻓﻘﻂ‪.‬‬
‫ﳏﺘﻮﻯ ﺍﻟﻜﺘﺎﺏ ﻭﺃﻗﺴﺎﻣﻪ‪:‬‬
‫ﻳﻀﻢ ﻫﺬﺍ ﺍﻟﻜﺘﺎﺏ ‪ -‬ﺑﲔ ﺩﻓﺘﻴﻪ ‪ -‬ﻣﻘﺪﻣﺔ ﻭﺃﺭﺑﻌﺔ ﻓﺼﻮﻝ ﺍﺳﺘﻬﻠﻪ ﰲ ﺍﳌﻘﺪﻣﺔ ﺑﺈﺷﺎﺭﺓ ﺇﱃ ﺃﳘﻴﺔ‬
‫ﺍﻟﺒﺴﻤﻠﺔ ﻭﺍﳊﻤﺪﻟﺔ ﰲ ﻛﻞ ﺃﻣﺮ ﺫﻱ ﺑﺎﻝ‪ ،‬ﻭﺑﻌﺪﻫﺎ ﺃﺭﺩﻑ ﻣﺒﻴﻨﻨﹰﺎ ﺣﺠﻢ ﺍﻟﺮﺳﺎﻟﺔ ﺍﻟﱵ ﻛﺎﻥ ﻗﺪ ﺃﻟﻔﻬﺎ ﺑﺪﺍﻳﺔ‬
‫ﻣﺒﻴﻨﹰﺎ ﻣﻮﺿﻮﻋﻬﺎ ﺍﻟﺬﻱ ﻛﺎﻥ ﰲ ﻋﻠﻢ ﺍ‪‬ﺎﺯ ﻣﻄﻠﻘﹰﺎ ﻭﺍﻟﺘﺸﺒﻴﻪ ﻭﺍﻟﻜﻨﺎﻳﺔ ﻭﺑﲔ ﺑﺄ‪‬ﺎ ﺗﺘﻤﻴﺰ ﺑﺎﻻﺧﺘﺼﺎﺭ ﻷﻧﻪ‬
‫ﺃﻟﻔﻬﺎ ﻛﺘﺤﻔﺔ ﺃﻭ ﻫﺪﻳﺔ ﻟﻺﺧﻮﺍﻥ‪.‬‬
‫ﻭﺷﺮﻉ ﰲ ﺷﺮﺡ ﻣﻌﲎ ﺍ‪‬ﺎﺯ ﻭﻛﻴﻒ ﻳﺸﺘﺮﻙ ﻓﻴﻪ ﺍﻟﻌﻘﻠﻲ ﻭﺍﻟﻠﻐﻮﻱ ﰒ ﺑﲔ ﺣﺎﻟﺘﻪ ﰲ ﺍﻹﻓﺮﺍﺩ‬
‫ﻭﺍﻟﺘﺮﻛﻴﺐ ﻭﺍﳌﺮﺍﺩ ﻣﻨﻪ‪ ،‬ﻛﺎﺳﻢ ﺍﻟﻔﺎﻋﻞ ﻭﺍﺳﻢ ﺍﳌﻔﻌﻮﻝ ﻭﻣﻨﻪ ﺇﱃ ﺍﻹﺳﻨﺎﺩ ﻭﻣﺎ ﻳﺆﻭﻝ ﺇﻟﻴﻪ ﺳﻮﺍﺀ ﰲ ﺍﻟﻜﻠﻤﺔ‬
‫ﻼ ﺃﻡ ﺣﺮﻓﹰﺎ ﺃﻡ ﻣﺮﻛﺒﹰﺎ ﻭﳎﺮﻳﺎﺗﻪ‪.‬‬
‫ﺇﻥ ﻛﺎﻧﺖ ﺍﲰﺎﹰ‪ ،‬ﺃﻡ ﻓﻌ ﹰ‬
‫ﻓﻔﻲ ﺍﻟﻔﺼﻞ ﺍﻷﻭﻝ ﺗﻄﺮﻕ ﻓﻴﻪ ﺇﱃ ﺗﻘﺴﻴﻢ ﺍﻻﺳﺘﻌﺎﺭﺓ ﻭﻣﺎ ﻳﻄﺮﺃ ﻋﻠﻴﻬﺎ ﻭﺷﺮﺡ ﻣﻌﲎ ﺍﳌﺼﺮﺡ‬
‫)ﺍﻟﺘﺼﺮﳛﻴﺔ( ﻭﺍﳌﻜﻨﻴﺔ )ﺃﻭ ﺑﺎﻟﻜﻨﺎﻳﺔ( ﻭﺍﻟﺘﺨﻴﻠﻴﺔ‪.‬‬
‫ﻭﰲ ﺍﻟﻔﺼﻞ ﺍﻟﺜﺎﱐ ﻗﺴﻤﻬﺎ ﺇﱃ ﻣﺮﺷﺤﺔ ﻭﳎﺮﺩﺓ ﻭﻣﻄﻠﻘﺔ ﻭﻗﺪﻡ ﺃﻣﺜﻠﺔ ﻋﻠﻰ ﺫﻟﻚ‪.‬‬
‫ﻭﺍﻟﻔﺼﻞ ﺍﻟﺜﺎﻟﺚ ﻗﺴﻢ ﺍﻻﺳﺘﻌﺎﺭﺓ ﺇﱃ ﺃﺻﻠﻴﺔ ﻭﺗﺒﻌﻴﺔ‪ ،‬ﻭﺑﲔ ﺃﻥ ﺍﻷﺻﻠﻴﺔ ﻫﻲ ﺍﻟﱵ ﻟﻴﺴﺖ ﺗﺎﺑﻌﺔ‬
‫ﻟﺸﻲﺀ ﺑﻞ ﻗﺎﺋﻤﺔ ﺑﺬﺍ‪‬ﺎ ﻭﻋﻘﺪ ﻣﻘﺎﺭﻧﺔ ﺑﻴﻨﻬﻤﺎ ﰒ ﺑﲔ ﺃﻥ ﺍﻷﻭﱃ ﺣﻘﻴﻘﺔ ﺃﻣﺎ ﺍﻟﺜﺎﻧﻴﺔ ﻓﻤﺠﺎﺯ ﻛﻤﺎ ﺃﺿﺎﻑ‬
‫ﺗﺒﻴﺎﻥ ﳎﺮﻳﺎﺕ ﺍﻻﺳﺘﻌﺎﺭﺓ ﰲ ﺍﳊﺮﻭﻑ ﻭﻋﻼﻗﺘﻬﺎ ﺑﺎﻟﺘﺸﺒﻴﻪ ﻭﺃﺭﻛﺎﻧﻪ ﺍﳌﺪﺭﻛﺔ ﻏﺎﻟﺒﹰﺎ ﺑﺎﳊﻮﺍﺱ ﺍﳋﻤﺲ ﺃﻭ‬
‫ﺑﺎﻟﻌﻘﻞ‪.‬‬
‫ﻭﰲ ﺍﻟﻔﺼﻞ ﺍﻟﺮﺍﺑﻊ ﲢﺪﺙ ﻋﻦ ﺃﺻﻞ ﺍﻻﺳﺘﻌﺎﺭﺓ ﺍﻟﺘﺼﺮﳛﻴﺔ ﻭﺍﳌﻜﻨﻴﺔ ﻣﺒﻴﱢﻨﹰﺎ ﺃﻥ ﺃﺻﻞ ﺍﻟﺸﻲﺀ ﻣﺎ ﺑﲏ‬
‫ﻋﻠﻴﻪ ﻭﺑﲔ ﺃﻥ ﺍﻻﺳﺘﻌﺎﺭﺓ ﺿﺮﺏ ﻣﻦ ﺍﻟﺘﺸﺒﻴﻪ ﺇﺫﺍ ﺣﺬﻓﻨﺎ ﻣﻨﻪ )ﺍﳌﺸﺒﻪ‪ ،‬ﻭﺍﻷﺩﺍﺓ‪ ،‬ﻭﻭﺟﻪ ﺍﻟﺸﺒﻪ( ﺻﺎﺭﺕ‬
‫ﺍﺳﺘﻌﺎﺭﺓ ﻭﻫﻲ ﻫﻨﺎ ﻣﺒﻨﻴﺔ ﻋﻠﻰ ﺗﻨﺎﺳﻲ ﺍﻟﺘﺸﺒﻴﻪ‪.‬‬
‫ﻧﺴﺦ ﺍﻟﻜﺘﺎﺏ‪:‬‬
‫ﺍﻋﺘﻤﺪﺕ ﰲ ﲢﻘﻴﻖ ﻫﺬﻩ ﺍﻟﺮﺳﺎﻟﺔ )ﺷﺮﺡ ﲢﻔﺔ ﺍﻹﺧﻮﺍﻥ ﰲ ﻋﻠﻢ ﺍ‪‬ﺎﺯ( ﻋﻠﻰ ﺃﺭﺑﻊ ﻧﺴﺦ ﳐﻄﻮﻃﺔ‬
‫ﻼ ﻋﻦ ﻣﱳ ﻟﻠﺘﺤﻔﺔ ﻭﻫﻮ ﺍﻵﺧﺮ ﳐﻄﻮﻁ ﲢﺼﻠﻨﺎ ﻋﻠﻰ ﻧﺴﺨﺔ ﻣﻨﻪ ﻣﻦ ﺯﺍﻭﻳﺔ ﺍﻟﻘﺎﲰﻲ )ﺑﺎﳍﺎﻣﻞ‪-‬‬ ‫ﻓﻀ ﹰ‬
‫ﺑﻮﺳﻌﺎﺩﺓ( ﻭﻗﻤﻨﺎ ﺑﺘﺼﻮﻳﺮﻩ ﻭﺇﺩﺭﺍﺟﻪ ﰲ ﺍﳌﻼﺣﻖ ﻧﻈﺮﹰﺍ ﻟﺼﻐﺮ ﺣﺠﻤﻪ ﻭﻷﳘﻴﺘﻪ ﰲ ﻫﺬﻩ ﺍﻟﺪﺭﺍﺳﺔ‪.‬‬

‫ﻭﻣﻦ ﻫﻨﺎ ﳝﻜﻨﻨﺎ ﺍﻟﻘﻮﻝ ﺇﻥ ﺍﻟﻨﺴﺦ ﺍﻟﱵ ﺃﻭﺭﺩﻧﺎﻫﺎ ﰲ ﻫﺬﻩ ﺍﻟﺪﺭﺍﺳﺔ ﻫﻲ ﺍﳌﻌﺮﻭﻓﺔ ﻋﻨﺪﻧﺎ‪ ،‬ﻭﻧﻈﻦ ﺃ‪‬ﺎ‬
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 ‫ﻛﻞ ﻣﺎ ﻭﺻﻠﻨﺎ ﻣﻦ ﺍﻟﻨﺴﺦ ﺍﳌﺨﻄﻮﻃﺔ ﻭﻫﻲ ﺍﻟﺘﺎﻟﻴﺔ‪:‬‬
‫ﺍﻟﻨﺴﺨﺔ ﺍﳋﻄﻴﺔ ﺍﻷﻭﱃ‪ :‬ﻭﻫﻲ ﻣﻮﺟﻮﺩﺓ ﲟﻜﺘﺒﺘﻨﺎ ﺍﳋﺎﺻﺔ ﻭﺍﻟﱵ ﺭﻣﺰﻧﺎ ﳍﺎ ﺑﺎﳊﺮﻑ )ﻣﺦ( ﻛﻤﺎ ﻫﻮ‬
‫ﻣﺬﻛﻮﺭ ﰲ ﺍﳍﻮﺍﻣﺶ ﻭﻫﻲ ﺗﻘﻊ ﺿﻤﻦ ﳎﻤﻮﻉ ﳎﻠﺪ ﻳﻀﻢ ﺳﺖ ﺭﺳﺎﺋﻞ ﳐﺘﻠﻔﺔ‪ ،‬ﻣﺮﻗﻤﺔ ﻭﻣﺮﺗﺒﺔ ﻣﻦ‬
‫ﻭﺍﺣﺪ ﺇﱃ ﺳﺘﺔ ﺣﻴﺚ ﳒﺪﻫﺎ ﺃﻱ ﺍﻟﺮﺳﺎﻟﺔ ﻣﻦ ﺑﻦ ﻫﺬﻩ ﺍﻟﺮﺳﺎﺋﻞ ﺍﻷﻭﱃ ﺗﻠﻴﻬﺎ ﻛﻞ ﻣﻦ ﺣﺎﺷﻴﱵ‬
‫ﺍﻟﺼﺎﻭﻱ)‪ (41‬ﻭﳏﻤﺪ ﺍﻹﻧﺒﺎﰊ)‪ (42‬ﻋﻠﻰ ﺍﻟﺘﺤﻔﺔ ﺃﻣﺎ ﺍﻟﺮﺳﺎﻟﺔ ﺍﻟﺮﺍﺑﻌﺔ ﻓﻬﻲ ﺭﺳﺎﻟﺔ ﰲ ﺍﻟﺘﻮﺣﻴﺪ ﺑﻌﻨﻮﺍﻥ‬
‫)ﺍﻟﻌﻘﻴﺪﺓ ﺍﳉﺰﺍﻳﺮﻳﺔ()‪ (43‬ﻣﺘﺒﻮﻋﺔ ﺑﺸﺮﺡ ﳐﺘﺼﺮ ﺍﳍﺪﺍﻳﺎ ﺍﻟﺴﻌﻴﺪﻳﺔ ﰲ ﺍﳊﻜﻤﺔ ﺍﻟﻄﺒﻴﻌﻴﺔ ﻋﻠﻰ ﻣﺬﻫﺐ‬
‫ﺍﳌﺸﺎﺋﲔ ﳌﺆﻟﻔﻬﺎ ﺍﻹﻣﺎﻡ ﺍﻟﺮﳛﺎﻭﻱ)‪ (44‬ﺃﻣﺎ ﺍﻟﺮﺳﺎﻟﺔ ﺍﻟﺴﺎﺩﺳﺔ ﻭﺍﻷﺧﲑﺓ ﻓﻬﻲ ﰲ ﻋﻠﻢ ﺍﳊﺪﻳﺚ ﻭﻫﻲ‬
‫ﺑﻌﻨﻮﺍﻥ )ﳐﺘﺼﺮ ﺃﰊ ﲨﺮﺓ ﰲ ﺍﳊﺪﻳﺚ()‪.(45‬‬
‫ﻭﻗﺪ ﻟﻮﺣﻆ ﺃ‪‬ﺎ ﻛﺎﻧﺖ ﻏﲑ ﻣﻌﺘﻤﺪﺓ ﰲ ﺍﻟﺪﺭﺍﺳﺔ ﺃﻭ ﺍﻟﺘﻌﻠﻴﻢ‪ ،‬ﻣﺎ ﺗﺪﻝ ﻋﻠﻰ ﺫﻟﻚ ﺍﳊﻮﺍﺷﻲ‬
‫ﺍﻟﻮﺍﺳﻌﺔ ﺍﳋﺎﻟﻴﺔ ﻣﻦ ﻛﻞ ﻛﺘﺎﺑﺔ ﺇﻻ ﺍﻟﺘﻌﻘﻴﺒﺔ ﻋﻠﻰ ﻋﻜﺲ ﻣﺎ ﻫﻮ ﻣﻌﻤﻮﻝ ﺑﻪ ﰲ ﻛﺘﺐ ﺍﻟﻘﺪﺍﻣﻰ ﰲ ﻣﺜﻞ‬
‫ﻫﺬﺍ ﺍ‪‬ﺎﻝ‪ ،‬ﺍﻟﱵ ﺗﻜﻮﻥ ﻏﺎﻟﺒﹰﺎ ﳑﻠﻮﺀﺓ ﺑﺎﻟﺸﻮﺍﻫﺪ ﻭﺍﻷﺩﻟﺔ ﻭﺍﻻﺳﺘﺪﺭﺍﻛﺎﺕ‪.‬‬
‫ﺃﺑﺮﺯ ﺍﳌﻤﻴﺰﺍﺕ ﰲ ﻫﺬﻩ ﺍﻟﻨﺴﺨﺔ ﻫﻲ ﺍﻟﺘﺎﻟﻴﺔ‪:‬‬
‫‪ -‬ﺗﻌﺘﱪ ﻣﻦ ﺃﻭﺿﺢ ﺍﻟﻨﺴﺦ ﻭﺃﺻﺤﻬﺎ ﻋﻠﻰ ﺍﻹﻃﻼﻕ‪.‬ﻓﻬﻲ ﺧﺎﻟﻴﺔ ﻣﻦ ﺍﻷﺧﻄﺎﺀ ﺍﻟﻠﻐﻮﻳﺔ ﻭﺍﳌﺆﺛﺮﺍﺕ‬
‫ﺍﻟﻄﺒﻴﻌﻴﺔ‪.‬‬
‫‪-‬ﻛﺘﺒﺖ ﲞﻂ ﻧﺴﺨﻲ ﲨﻴﻞ ﺑﺎﺭﺯ )ﻋﺮﻳﺾ ﻧﻮﻋﹰﺎ ﻣﺎ ( ﺑﺎﳌﻘﺎﺭﻧﺔ ﻣﻊ ﺍﻟﻨﺴﺦ ﺍﻷﺧﺮﻯ ﺍﻟﱵ ﻗﺎﺭﻧﺎ‬
‫ﻋﻠﻴﻬﺎ ﻫﺬﺍ ﺍﻟﻌﻤﻞ‪.‬‬

‫‪ -‬ﺃﻣﺎ ﺍﻟﺘﺠﻠﻴﺪ ﻓﻬﻨﺎﻙ ﻭﺭﻕ ﻣﻘﻮﻯ ﻏﻄﻲ ﲜﻠﺪ ﺭﻗﻴﻖ ﺃﲪﺮ ﲨﻴﻞ ﻋﻤﺪ ﻣﻦ ﻗﺎﻡ ﺑﻪ ﺇﱃ ﺗﻐﻠﻴﻔﻪ ﻣﻦ‬
‫ﺍﻟﺪﺍﺧﻞ ﻭﺍﳋﺎﺭﺝ ﻛﻤﺎ ﺭﲰﺖ ﻋﻠﻴﻪ ﻣﺎ ﻳﺸﺒﻪ ﺍﻟﺪﻭﺍﺋﺮ ﻣﺰﺭﻛﺸﺔ ﺍﻟﻠﻮﻥ‪ ،‬ﻭﻫﺬﺍ ﺍﻟﻮﺭﻕ ﻛﺎﻥ ﺷﺪﻳﺪ‬

‫‪ - ( 41‬ﻫﻭ ﺃﺒﻭ ﺍﻟﻌﺒﺎﺱ ﺃﺤﻤﺩ ﺒﻥ ﻤﺤﻤﺩ ﺍﻟﺼﺎﻭﻱ ﺍﻟﻤﺎﻟﻜﻲ ﺍﻟﺨﻠﻭﺍﺕ ﺍﻟﻤﺘﻭﻓﻰ‪1241 :‬ﻫـ ﺒﺎﻟﻤﺩﻴﻨﺔ ﺍﻟﻤﻨﻭﺭﺓ‪ ،‬ﺃﻨﻅﺭ ﺸﺠﺭﺓ ﺍﻟﻨﻭﺭ ﺍﻟﺯﻜﻴﺔ ﻓـﻲ ﻁﺒﻘـﺎﺕ‬
‫ﺍﻟﻤﺎﻟﻜﻴﺔ‪ ،‬ﺘﺄﻟﻴﻑ‪ :‬ﻤﺤﻤﺩ ﺒﻥ ﻤﺤﻤﺩ ﻤﺨﻠﻭﻑ‪ ،‬ﻨﺸﺭ‪ :‬ﺩﺍﺭ ﺍﻟﻜﺘﺎﺏ ﺍﻟﻌﺭﺏ‪ ،‬ﺒﻴﺭﻭﺕ – ﻟﺒﻨﺎﻥ‪) ،‬ﺩ‪.‬ﻁ‪/‬ﺩ‪.‬ﺕ( ‪ ،‬ﺹ‪.364 :‬‬
‫‪ -( 42‬ﻤﺤﻤﺩ ﺒﻥ ﻤﺤﻤﺩﺍﻹﻨﺒﺎﺒﻰ ﻓﻘﻴﻪ ﺸﺎﻓﻌﻰ ﻤﻭﻟﺩﻩ ﻭﻭﻓﺎﺘﻪ ﺒﺎﻟﻘﺎﻫﺭﺓ ﺘﻌﻠﻡ ﻓﻰ ﺍﻷﺯﻫﺭ ﻟﻪ ﺭﺴﺎﺌل ﻭﺤﻭﺍﺸﻲ ﻜﺜﻴﺭﺓ‪ ,‬ﻤﻨﻬﺎ‪ ,‬ﺤﺎﺸﻴﺔ ﻋﻠﻰ ﺭﺴﺎﻟﺔ ﺍﻟـﺼﺒﺎﻥ‬
‫)ﺒﻴﺎﻥ( ﺤﺎﺸﻴﺔ ﻓﻰ ﺘﺄﺩﻴﺏ ﺍﻷﻁﻔﺎل‪ ,‬ﺤﺎﺸﻴﺔ ﻋﻠﻰ ﺭﺴﺎﻟﺔ ﻓﻰ ﻋﻠﻡ ﺍﻟﻭﻀﻊ‪,‬ﺤﺎﺸﻴﺔ ﻋﻠﻰ ﺸﺭﺡ ﺍﻟﺭﻤﻠﻰ)ﻓﻘﻪ( ﺍﻨﻅﺭ ﺘﺭﺠﻤﺘﻪ ﻓﻰ ﺍﻷﻋﻼﻡ ‪ 985/2‬ﺍﻟﻁﺒﻌـﺔ‬
‫ﺍﻟﻌﺭﺒﻴﺔ ﺍﻟﻤﻌﺭﺒﺔ ‪.‬‬
‫‪ ( - ( 43‬ﻫﻲ ﻷﺤﻤﺩ ﺒﻥ ﻋﺒﺩ ﺍﷲ ﺍﻟﺠﺯﺍﺌﺭﻱ ﺍﻟﺯﻭﺍﻭﻱ ﻓﺎﻀل ﻤﺎﻟﻜﻲ ﻤﻥ ﻗﺒﻴﻠﺔ ﺍﻟﺯﻭﺍﻭﺓ ﻟﻪ )ﺍﻟﻼﻤﻴﺔ( ﻓﻲ ﻋﻠﻡ ﺍﻟﻜﻼﻡ ﺘﺴﻤﻰ‪ :‬ﺍﻟﺠﺯﺍﻴﺭﻴـﺔ ﻓـﻲ ﺍﻟﻌﻘﺎﺌـﺩ‬
‫ﺍﻹﻴﻤﺎﻨﻴﺔ‪.‬ﺥ‪/‬ﻓﻲ ﺍﻷﺯﻫﺭﻴﺔ‪ ،‬ﺸﺭﺤﻬﺎ ﺍﻹﻤﺎﻡ ﺍﻟﺴﻨﻭﺴﻲ‪ ،‬ﻴﻨﻅﺭﺍﻷﻋﻼﻡ ﻟﺨﻴﺭ ﺍﻟﺩﻴﻥ ﺍﻟﺯﺭﻜﻠﻲ‪،160/1 .‬‬
‫‪ - ( 44‬ﻫﻭ ﻤﺤﻤﺩ ﻓﻀل ﺍﻟﺤﻕ ﺍﻟﻌﻤﺭﻱ ﺍﻟﺤﻨﻔﻲ ﺍﻟﻤﺘﻭﺭﺩﻱ ﺍﻟﺨﻴﺭ ﺃﺒﺎﺩﻱ ﺘﻭﻓﻰ ﺴﻨﺔ ‪1278‬ﻫـ‬
‫‪ - ( 45‬ﻫﻭ ﺃﺒﻭ ﻤﺤﻤﺩ ﻋﺒﺩ ﺍﷲ ﺒﻥ ﺴﻌﺩ ﺒﻥ ﺃﺒﻲ ﺠﻤﺭﺓ ﺍﻷﺯﺩﻱ ﺍﻷﻨﺩﻟﺴﻲ ﺍﻟﻤﺘﻭﻓﻰ ﺴﻨﺔ‪675 :‬ﻫـ ﻟﻪ ﻤﺨﺘﺼﺭ ﻓﻲ ﺍﻟﺤﺩﻴﺙ ﺃﻭﻟﻪ‪ :‬ﺍﻟﺤﻤﺩ ﷲ ﺤﻕ ﺤﻤـﺩﻩ‬
‫ﺇﻟﻰ ﺇﻟﺦ‪ .‬ﺃﻨﻅﺭ ﻜﺸﻑ ﺍﻟﻅﻨﻭﻥ ﻋﻥ ﺃﺴﺎﻤﻲ ﺍﻟﻜﺘﺏ ﻭﺍﻟﻔﻨﻭﻥ‪ ،‬ﻟﻤﺅﻟﻔﻪ‪ :‬ﻤﺼﻁﻔﻰ ﺒﻥ ﻋﺒﺩ ﺍﷲ ﺍﻟﻘﺴﻁﻨﻁﻴﻨﻲ ﺍﻟﺭﻭﻤﻲ ﺍﻟﺤﻨﻔﻲ )ﺕ‪1067.‬ﻫـ( ﻨـﺸﺭ‪:‬‬
‫ﺩﺍﺭ ﺍﻟﻜﺘﺏ ﺍﻟﻌﻠﻤﻴﺔ‪ ،‬ﺒﻴﺭﻭﺕ – ﻟﺒﻨﺎﻥ‪ ،‬ﻁ‪1413:‬ﻫـ‪1992/‬ﻡ‪ .‬ﻭﻗﺩ ﻜﺘﺏ ﻋﻠﻰ ﻭﺠﻪ ﺍﻟﻤﺠﻠﺩ )ﺘﺤﻔﺔ ﺍﻹﺨﻭﺍﻥ ﻓﻲ ﻋﻠﻡ ﺍﻟﻤﺠﺎﺯ( ﺃﻤﺎ ﻋﻠﻰ ﻅﻬﺭ ﺍﻟﻤﺠﻠﺩ‬
‫ﻓﻘﺩ ﻜﺘﺒﺕ ﺃﺴﻤﺎﺀ ﺍﻟﺭﺴﺎﺌل ﻤﺭﻗﻤﺔ ﺘﺒﺎﻋﹰﺎ ﻭﻫﺫﺍ ﻤﺎ ﻴﻌﻁﻲ ﻓﻜﺭﺓ ﻋﻥ ﺍﻟﻤﺠﻤﻭﻉ ﺒﺄﻨﻪ ﻜﺎﻤل ﻏﻴﺭ ﻨﺎﻗﺹ ﻭﻫﺫﻩ ﺍﻟﻨﺴﺨﺔ ﻫﻲ ﺍﻟﺘﻲ ﺍﻋﺘﻤﺩﻨﺎﻫﺎ ﻓـﻲ ﻫـﺫﺍ‬
‫ﺍﻟﺘﺤﻘﻴﻕ ﻭﺍﻋﺘﺒﺭﻨﺎﻫﺎ ﺍﻷﻡ ﻭﺫﻟﻙ ﻟﻌﺩﺓ ﺃﺴﺒﺎﺏ ﻨﺭﺍﻫﺎ ﻫﻨﺎ ﻭﺠﻴﻬﺔ ﻭﻤﻨﻁﻘﻴﺔ‪ ،‬ﺤﻴﺙ ﺘﺘﻤﻴﺯ ﺒﺼﺤﺘﻬﺎ ﻭﻭﻀﻭﺤﻬﺎ ﻭﺴﻼﻤﺘﻬﺎ ﻤﻥ ﺍﻟﺨﺭﻡ ﺃﻭ ﺘﺄﺜﻴﺭ ﻷﺭﻀﺔ‬
‫ﻭﻗﺩ ﻜﺘﺒﺕ ﺒﺨﻁ ﻨﺴﺨﻲ ﺠﻴﺩ ﻭﺠﻤﻴل ﻭﻭﺍﻀﺢ ﻟﻡ ﻴﻠﺘﺯﻡ ﺍﻟﻨﺎﺴﺦ ﻓﻴﻬﺎ ﺍﻟﺸﻜل ﺇﻻ ﻓﻲ ﺒﻌﺽ ﺍﻷﺤﻴﺎﻥ ﺍﻟﺘﻲ ﻴﺤﺘﻤل ﻟﻠﻜﻠﻤﺔ ﺃﻭﺠﻪ ﻤﺘﻌﺩﺩﺓ ﺃﻭ ﺘﻌﻥ ﻋـﻥ‬
‫ﺍﻟﻔﻬﻡ ﻓﻴﻘﻭﻡ ﺍﻟﻨﺎﺴﺦ ﺒﻀﺒﻁﻬﺎ‪.‬‬
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‫ﺍﻻﻟﺘﺼﺎﻕ ﺑﺎﳉﻠﺪ ﻭﻟﺸﺪﺓ ﺍﻻﻟﺘﺼﺎﻕ ﳜﻴﻞ ﻟﻠﻨﺎﻇﺮ ﺃﻧﻪ ﺍﳉﻠﺪ ﻧﻔﺴﻪ ﻭﻗﺪ ﺗﺮﻙ ﻣﻘﺪﺍﺭ ﺍﺛﻨﲔ ﺳﻨﺘﻴﻢ ﻋﻠﻰ‬
‫ﺣﻮﺍﺷﻴﻪ ﻟﻴﻈﻬﺮ ﻫﺬﺍ ﺍ‪‬ﻠﺪ ﲟﻘﻴﺎﺱ ﻣﺘﺒﺎﻋﺪ ﻭﻣﻨﻈﻢ ﻣﻦ ﻛﻞ ﺟﻮﺍﻧﺒﻪ ﳛﻜﻲ ﺑﺮﺍﻋﺔ ﰲ ﺍﻟﺘﺠﻠﻴﺪ ﻭﺭﻭﻧﻘﺎ‬
‫ﻭﲨﺎﻻ‪.‬‬
‫ﺍﳌﺆﺛﺮﺍﺕ ﺍﻟﻄﺒﻴﻌﻴﺔ ﻧﻼﺣﻆ ﻭﺟﻮﺩ ﺑﻘﻊ ﻭﺛﻘﻮﺏ ﺻﻐﲑﺓ ﺟﺪﹰﺍ ﻣﻦ ﺃﺛﺮ ﺍﻷﺭﺿﺔ ﻋﻠﻰ ﺍﳉﻠﺪ ﺍﻟﺮﻗﻴﻖ‬
‫ﻼ ﺟﺪﹰﺍ‪.‬‬
‫ﻭﺇﻥ ﻛﺎﻥ ﺍﻟﺘﺄﺛﲑ ﻗﻠﻴ ﹰ‬
‫‪ -‬ﻭﻋﺪﺩ ﺃﻭﺭﺍﻕ ﻫﺬﻩ ﺍﻟﻨﺴﺨﺔ ) ﺳﺒﻌﺔ ﻋﺸﺮ ﻭﺭﻗﺔ( ‪‬ﺎﻣﺶ ﻋﺮﻳﺾ‪.‬‬
‫‪ -‬ﻣﻘﻴﺎﺱ ﺍﻟﻮﺭﻗﺔ ﻣﻜﺘﻮﺑﺔ ‪ 17,5‬ﺳﻢ × ‪9‬ﺳﻢ‬
‫‪ -‬ﻋﺪﺩ ﺍﻷﺳﻄﺮ ﰲ ﺍﻟﻮﺭﻗﺔ ﺍﻟﻮﺍﺣﺪﺓ ‪ 22‬ﺳﻄﺮﹰﺍ ﻭﻫﺬﺍ ﲟﻌﺪﻝ )‪ 8‬ﺇﱃ ‪ 10‬ﻛﻠﻤﺔ ﰲ ﺍﻟﺴﻄﺮ‬
‫ﺍﻟﻮﺍﺣﺪ(‪.‬‬
‫‪ -‬ﱂ ﻳﺬﻛﺮ ﺍﺳﻢ ﺍﻟﻨﺎﺳﺦ ﺇﻻ ﻣﺎ ﺟﺎﺀ ﰲ ﺑﺪﺍﻳﺔ ﺍﻟﺸﺮﺡ ) ‪ ...‬ﻫﺬﺍ ﺷﺮﺡ ﻟﻄﻴﻒ ﻋﻠﻰ ﺍﻟﺮﺳﺎﻟﺔ ﺍﻟﱵ‬
‫ﺟﻌﻠﺘﻬﺎ ﰲ ﺑﻴﺎﻥ ﺍﻟﺘﺸﺒﻴﻪ ﻭﺍﻟﻜﻨﺎﻳﺔ ‪.(..‬‬
‫‪ -‬ﻧﻌﺘﻘﺪ ﺑﺄ‪‬ﺎ ﻟﻠﻤﺆﻟﻒ ﻭﲞﻄﻪ ﻟﻌﺪﻡ ﺍﻟﻀﺒﻂ ﺃﻭ ﻛﺘﺒﻬﺎ ﺃﺣﺪ ﺍﻟﻨﺴﺎﺥ ﺑﺄﻣﺮﻩ‪ ،‬ﻭﺇﻥ ﱂ ﺗﻜﻦ ﻣﻦ‬
‫ﻧﺴﺨﻪ ﻓﻬﻲ ﻗﺮﻳﺒﺔ ﺍﻟﻌﻬﺪ ﻣﻦ ﺷﺮﺡ ﺍﻟﺘﺤﻔﺔ‪.‬‬
‫‪ -‬ﻛﺘﺒﺖ ﲟﺼﺮ ﻭﺣﱴ ﺣﺎﺷﻴﺘﺎ ﳏﻤﺪ ﺍﻻﻧﺒﺎﰊ ﻭﺍﻟﺼﺎﻭﻱ ﺍﳌﺮﻓﻘﺘﺎﻥ ﳍﺎ ﺿﻤﻦ ﺍ‪‬ﻠﺪ ﻗﺪ ﻛﺘﺒﺘﺎ ﳘﺎ‬
‫ﺃﻳﻀﹰﺎ ﲟﺴﺠﺪ ﺍﳊﺴﲔ )ﺍﻟﻘﺎﻫﺮﺓ( ﻛﻤﺎ ﺫﻛﺮ ﺫﻟﻚ ﺍﻟﻨﺎﺳﺦ ﰲ ﺍﳋﺘﺎﻡ ﻭﺫﻟﻚ ﺑﻌﺪ ﻭﻓﺎﺓ ﺍﳌﺆﻟﻒ ﺑﺜﻤﺎﱐ‬
‫ﻋﺸﺮﺓ ﺳﻨﺔ ﻭﻗﺪ ﺫﻛﺮ ﺍﻟﻨﺎﺳﺦ ﺃﻥ ﺗﺴﻮﻳﺪ ﻫﺬﻩ ﺍﻟﻨﺴﺨﺔ ﰎ ﰲ ﺳﻨﺔ ‪ 1219‬ﻫﺠﺮﻳﺔ ﻋﻤﺪ ﺍﻟﻨﺎﺳﺦ ﻛﻌﺎﺩﺓ‬
‫ﺍﻟﺴﺎﺑﻘﲔ ﺇﱃ ﺗﻠﻴﲔ ﺍﳍﻤﺰ ﻓﻨﺠﺪﻩ ﻣﺜﻼ ﺑﺪﻝ ﺃﻥ ﻳﻜﺘﺐ ﻳﺆﻭﻝ ﻳﻜﺘﺒﻬﺎ ﻳﻮﻝ ﻳﻜﺘﺒﻬﺎ )ﻳﻮﻭﻝ( ﻭﺍﳌﺆﻟﻔﺔ‬
‫ﻭﻳﺮﲰﻬﺎ )ﺍﳌﻮﻟﻔﺔ( ﻭﺍﻟﺰﺍﺋﺪ ﻳﻜﺘﺒﻬﺎ ﺍﻟﺰﺍﻳﺪ ﻭﺍﳊﻴﺎ ﺑﺪﻝ ﺍﳊﻴﺎﺀ ﺃﻭ ﻗﺎﺋﻞ ﺭﲰﻬﺎ ﻗﺎﻳﻞ ﺃﻭ ﻃﺎﺭﺉ ﻓﲑﲰﻬﺎ‬
‫)ﻃﺎﺭ( ﻭﻳﻬﻤﻠﻬﺎ ﻣﺮﺓ ﺃﺧﺮﻯ ﻭﻫﻜﺬﺍ ﻣﻊ ﺑﺎﻗﻲ ﺍﻷﻟﻔﺎﻅ ﺍﻷﺧﺮﻯ‪.‬‬
‫‪ -‬ﺃﺑﺮﺯ ﺍﻟﻨﺎﺳﺦ ﻗﻮﻟﻪ )ﳓﻮ( ﻟﻠﺪﻻﻟﺔ ﻋﻠﻰ ﺑﺪﺀ ﺍﻟﺸﺎﻫﺪ ﺃﻭ ﺍﳌﺜﺎﻝ‪.‬‬
‫ﻼ ﻭﺇﻥ ﺃﻭﺭﺩﻫﺎ ﻓﺒﺸﻜﻞ ﻋﺎﺑﺮ ﺃﻭ ﻣﻘﺘﻀﺐ‪.‬‬ ‫‪ -‬ﻟﻮﺣﻆ ﺃﻥ ﺍﳌﺆﻟﻒ ﱂ ﻳﻜﺜﺮ ﻣﻦ ﺍﻟﺸﻮﺍﻫﺪ ﺇﻻ ﻗﻠﻴ ﹰ‬

‫‪ -‬ﻟﻮﺣﻆ ﺃﻥ ﺍﳌﺆﻟﻒ ﻳﻜﺜﺮ ﻣﻦ ﺍﺳﺘﺨﺪﺍﻡ ﺍﻷﺩﺍﺓ ﺍﻟﺘﻔﺴﲑﻳﺔ‪) .‬ﺃﻱ( ﻟﻮﺣﻆ ﺃﻥ ﺍﳌﺆﻟﻒ ﻛﺎﻥ ﻻ‬
‫ﻳﺮﺳﻢ ﻗﺎﻝ ﺗﻌﺎﱃ ﻋﻨﺪ ﺇﻳﺮﺍﺩﻩ ﺍﻟﺸﺎﻫﺪ ﺍﻟﻘﺮﺁﱐ ﺑﻞ ﻳﺬﻛﺮﻩ ﻣﺒﺎﺷﺮﺓ ﻭﰲ ﺑﻌﺾ ﺍﻷﺣﻴﺎﻥ ﻓﺒﺸﻜﻞ ﻋﺎﺑﺮ ﺣﱴ‬

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‫ﳜﻴﻞ ﳌﻦ ﻟﻴﺴﺖ ﻟﻪ ﺩﺭﺍﻳﺔ ﺃﻭ ﺇﻃﻼﻉ ﻋﻠﻰ ﻧﺼﻮﺹ ﺍﻟﻘﺮﺁﻥ ﺍﻟﻜﺮﱘ ﺃﻥ ﻫﺬﺍ ﻟﻴﺲ ﻣﻦ ﺍﻟﻘﺮﺁﻥ‪ ،‬ﻛﻤﺎ ﻫﻮ‬
‫ﺍﳊﺎﻝ ﻋﻨﺪ ﻗﻮﻟﻪ ﺗﻌﺎﱃ‪ ) :‬ﰲ ﻋﻴﺸﺔ ﺭﺍﺿﻴﺔ ( ﻭﻛﺬﻟﻚ )ﰲ ﻋﲔ ﲪﺌﺔ( ﻭﻣﺎ ﻫﻨﺎﻟﻚ ﻣﻦ ﺍﻟﺸﻮﺍﻫﺪ‪.‬‬
‫‪ -‬ﱂ ﻳﻠﺘﺰﻡ ﺍﻟﻨﺎﺳﺦ ﻛﺘﺎﺑﺔ ﻛﻠﻤﺔ )ﺷﻌﺮ( ﻗﺒﻞ ﻛﺘﺎﺑﺔ ﺍﻟﺸﺎﻫﺪ ﺍﻟﺸﻌﺮﻱ‪ ،‬ﻭﱂ ﻳﺬﻛﺮ ﺣﱴ ﺍﻟﻘﺎﺋﻞ‬
‫ﻛﻤﺎ ﻫﻮ ﺍﳊﺎﻝ ﻋﻨﺪ ﺑﻌﺾ ﺍﻟﻨﺴﺎﺥ‪ ،‬ﻭﺇﳕﺎ ﻛﺎﻥ ﻳﺴﺘﻌﻴﺾ ﻋﻦ ﺫﻟﻚ ﺑﺄﺣﺪ ﺃﻣﺮﻳﻦ ﺍﺛﻨﲔ‬
‫ﺃﻭﳍﻤـﺎ‪ :‬ﺗﺮﻙ ﻓﺮﺍﻍ ﻟﻜﺘﺎﺑﺔ ﻣﻘﺪﺍﺭ ﻛﻠﻤﺘﲔ ﰒ ﻳﻮﺭﺩ ﺍﻟﺸﺎﻫﺪ ﺑﻌﺪﻩ‪.‬‬
‫ﺛﺎﻧﻴﻬﻤﺎ‪ :‬ﺟﻌﻞ ﺍﻟﺸﺎﻫﺪ ﺍﻟﺸﻌﺮﻱ ﺑﲔ ﻓﺎﺻﻠﺘﲔ ﻫﻜﺬﺍ‪ (،،) ،‬ﻭﻣﺎ ﺑﲔ ﺍﻟﺸﻄﺮﻳﻦ ﺛﻼﺙ ﻧﻘﺎﻁ‪،‬‬
‫)‪ (..‬ﻟﻜﻨﻪ ﱂ ﻳﻜﻦ ﻳﻠﺘﺰﻡ ﺫﻟﻚ ﺍﻻﻟﺘﺰﺍﻡ ﻛﻠﻪ ﻓﻘﺪ ﻳﻀﺎﻋﻔﻬﻢ ﺃﻭ ﻳﻬﻤﻠﻬﻢ‪ ،‬ﻭﻗﺪ ﳜﺘﻠﻂ ﺍﻟﺸﺎﻫﺪ ﺍﻟﺸﻌﺮﻱ‬
‫ﺑﺎﻟﺸﺮﺡ ﻻﺳﻴﻤﺎ ﺇﺫﺍ ﺃﻭﺭﺩ‪ .‬ﺍﻟﺸﻄﺮ ﺍﻷﻭﻝ ﰲ ﻣﻨﺘﺼﻒ ﺍﻟﻮﺭﻗﺔ ﺃﻭ ﺍﻟﺼﻔﺤﺔ ﻳﻌﻮﺩ ﻭﻳﻜﻤﻠﻪ ﰲ ﺑﺪﺍﻳﺔ‬
‫ﺍﻟﺴﻄﺮ ﰒ ﻳﻮﺍﺻﻞ ﺍﻟﺸﺮﺡ ﻭﻫﻜﺬﺍ ﺩﻭﺍﻟﻴﻚ‪.‬‬
‫ﺍﻟﻨﺴﺨﺔ ﺍﳋﻄﻴﺔ ﺍﻟﺜﺎﻧﻴﺔ‪ :‬ﻭﻫﻲ ﺍﻟﱵ ﺭﻣﺰﺕ ﳍﺎ ﺑﺎﳊﺮﻑ )ﻕ( ﻭﻫﻲ ﻣﻮﺟﻮﺩﺓ ﺑﺎﳌﻌﻬﺪ ﺍﻟﻘﺎﲰﻲ )ﺯﺍﻭﻳﺔ‬
‫ﺍﳍﺎﻣﻞ( ﺑﺒﻮﺳﻌﺎﺩﺓ ﲢﺖ ﺭﻗﻢ ‪ 5092, 5046‬ﻭﻫﻲ ﺿﻤﻦ ﳎﻤﻮﻉ ﻳﻀﻢ ﺷﺮﺡ ﺍﻟﺴﻠﻢ ﻟﻸﺧﻀﺮﻱ )ﺷﺮﺡ‬
‫ﺍﳌﻠﻮﻱ( ﻭ )ﲢﻔﺔ ﺍﻹﺧﻮﺍﻥ ﰲ ﻋﻠﻢ ﺍ‪‬ﺎﺯ( ﻭ)ﺷﺮﺡ ﺍﳊﻀﺮﻣﻲ ﻟﻼﻣﻴﺔ ﺍﻷﻓﻌﺎﻝ( ﻻﺑﻦ ﻣﺎﻟﻚ‪ ،‬ﻭﻗﺪ ﻛﺘﺒﺖ‬
‫ﻫﺬﻩ ﺍﻟﻨﺴﺨﺔ ﲞﻂ ﻣﻐﺮﰊ ﻭﺍﺿﺢ ﻋﻤﻮﻣﹰﺎ ﺧﺎﻟﻴﺔ ﻣﻦ ﺍﳋﺮﻡ ﺃﻭ ﺗﺄﺛﲑ ﺍﻷﺭﺿﺔ ﻭﻗﺪ ﻛﺘﺒﺖ ﲞﻂ ﺃﺳﻮﺩ‬
‫ﻭﺃﲪﺮ ﺧﺎﺹ ﺑﺎﻟﺘﺤﻔﺔ ﻭﻧﻈﺮﹰﺍ ﻟﻮﺟﻮﺩﻫﺎ ﺿﻤﻦ ﻫﺬﺍ ﺍ‪‬ﻤﻮﻉ ﱂ ﺗﺘﺄﺛﺮ ﺑﻔﻌﻞ ﺍﻟﻌﻮﺍﻣﻞ ﺍﻟﻄﺒﻴﻌﻴﺔ‪.‬‬
‫ﻋﺪﺩ ﺍﻷﻭﺭﺍﻕ ﲦﺎﻧﻴﺔ )‪.(08‬‬
‫ﻋﺪﺩ ﺍﻷﺳﻄﺮ ﰲ ﺍﻟﺼﻔﺤﺔ ﺍﻟﻮﺍﺣﺪﺓ ﺳﺒﻌﺔ ﻭﻋﺸﺮﻭﻥ ﺳﻄﺮﹰﺍ )‪(27‬‬
‫ﻣﻘﻴﺎﺱ ﺍﻟﻮﺭﻗﺔ ﻛﺎﻣﻠﺔ ‪ 16,5‬ﺳﻢ × ‪ 21‬ﺳﻢ‪.‬‬
‫ﻣﻘﻴﺎﺱ ﺍﻟﻮﺭﻗﺔ ﻣﻜﺘﻮﺑﺔ ‪17‬ﺳﻢ × ‪ 12‬ﺳﻢ‪.‬‬
‫ﺫﻛﺮ ﻓﻴﻬﺎ ﺗﺎﺭﻳﺦ ﺍﻟﻨﺴﺦ ﻭﻫﻮ ﻳﻮﻡ ﺍﻟﺜﺎﻣﻦ ﻋﺸﺮ ﺭﺑﻴﻊ ﺍﻟﺜﺎﱐ ﺳﻨﺔ ‪1300‬ﻫﺠﺮﻳﺔ‪.‬‬
‫ﺃﻣﺎ ﺍﻟﻨﺎﺳﺦ ﻓﻬﻮ‪ :‬ﺍﳌﺴﻌﻮﺩ ﺑﻦ ﻋﺒﺪ ﺍﷲ ﺑﻦ ﻗﻮ ﻳﺪﺭ ﺑﻦ ﻋﺰﻳﺰ ﺑﻦ ﺍﻟﻄﻴﺐ ﺑﻦ ﻋﺒﺪ ﺍﷲ ﺑﻦ ﳏﻤﺪ‬
‫ﺍﳌﻮﻓﻖ ﺍﳊﺴﲏ ﻧﺴﺒﹰﺎ ﺍﻟﺪﻧﺪﺍﱐ ﻭﻃﻨﹰﺎ‪.‬‬

‫ﻫﻮ ﻃﺎﻟﺐ ﻋﻠﻢ ﻛﺎﻥ ﻳﺪﺭﺱ ﺑﺎﻟﺰﺍﻭﻳﺔ ﻛﻠﻔﻪ ﺷﻴﺦ ﺍﻟﺰﺍﻭﻳﺔ ﺑﻨﺴﺦ ﺍﻟﺮﺳﺎﻟﺔ ﺣﺴﺐ ﻣﺎﺣﺪﺛﲏ )ﺃﺑﻮ‬
‫ﺍﻷﻧﻮﺍﺭﺩﺣﻴﺔ( ﺃﺳﺘﺎﺫ ﺍﻟﻠﻐﺔ ﺍﻟﻌﺮﺑﻴﺔ ﺑﺎﳌﻌﻬﺪ ﻭﺻﺎﺣﺐ ﻓﻬﺮﺱ ﳐﻄﻮﻃﺎﺕ ﺍﳌﻜﺘﺒﺔ ﺍﻟﻘﺎﲰﻴﺔ )‪.(46‬‬

‫ﺍﻟﻘﺎﺴﻤﻲ ‪ -‬ﻭﻤﺤﻤﺩ ﻓﺅﺍﺩ ﺨﻠﻴل‬ ‫‪ ( 4646‬ﺍﻨﻅﺭﻓﻬﺭﺱ ﻤﺨﻁﻭﻁﺎﺕ ﺍﻟﻤﻜﺘﺒﺔ ﺍﻟﻘﺎﺴﻤﻴﺔ ﺒﺯﺍﻭﻴﺔ ﺍﻟﻬﺎﻤل ﺍﻋﺩﺍﺩ‪:‬ﺃﺒﻭ ﺍﻷﻨﻭﺍﺭ ﺩﺤﻴﺔ‪,‬ﺃﺴﺘﺎﺫﺍﻟﻠﻐﺔ ﺍﻟﻌﺭﺒﻴﺔ‪,‬ﺒﺎﻟﻤﻌﻬﺩ‬
‫ﺍﻟﻘﺎﺴﻤﻲ ﺍﻟﺤﺴﻨﻲ ﺃﻤﻴﻥ ﺍﻟﻤﻜﺘﺒﺔ ﺍﻟﻘﺎﺴﻤﻴﺔ‬

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‫ﺍﻟﻨﺴﺨﺔ ﺍﳋﻄﻴﺔ ﺍﻟﺜﺎﻟﺜﺔ‪ :‬ﻭﻫﻲ ﺍﻟﱵ ﺭﻣﺰﺕ ﳍﺎ ﺑﺎﳊﺮﻑ )ﺥ( ﻭﻫﻲ ﻣﻮﺟﻮﺩﺓ ﺑﺎﳋﺰﺍﻧﺔ ﺍﻟﻌﺎﻣﺔ ‪/‬‬
‫ﺍﻟﺮﺑﺎﻁ ﺑﺎﳌﻐﺮﺏ ‪ /‬ﻭﻫﻲ ﲢﺖ ﺭﻗﻢ ‪ / 1890‬ﺭﻗﻢ ﺍﳌﺮﻛﺰ ‪ 3046‬ﻭﻫﻲ ﺗﻘﻊ ﰲ ﺗﺴﻊ ﻭﺭﻗﺎﺕ ﺿﻤﻦ‬
‫ﳎﻤﻮﻉ ﻭﻟﻘﺪ ﺃﺧﺬﺕ ﱄ ﻋﻠﻴﻬﺎ ﻧﺴﺦ ﻣﺼﻮﺭﺓ ﻋﻨﺪ ﺯﻳﺎﺭﰐ ﳌﺮﻛﺰ ﲨﻌﺔ ﺍﳌﺎﺟﺪ ﻟﻠﺜﻘﺎﻓﺔ ﻭﺍﻟﺘﺮﺍﺙ ‪ -‬ﺑﺪﰊ‬
‫‪ -‬ﺧﻼﻝ ﺯﻳﺎﺭﰐ ﻟﻺﻣﺎﺭﺍﺕ ﺍﻟﻌﺮﺑﻴﺔ ﺍﳌﺘﺤﺪﺓ ﰲ ﺻﻴﻒ ‪2003‬ﻡ ﻭﻫﺬﻩ ﺍﻟﻨﺴﺨﺔ ﻛﺴﺎﺑﻘﺘﻬﺎ ﻣﻜﺘﻮﺑﺔ ﲞﻂ‬
‫ﻣﻐﺮﰊ ﺃﻗﻞ ﻭﺿﻮﺣﹰﺎ ﻣﻦ ﺍﻟﺴﺎﺑﻘﺔ ﻭﻋﻨﺪ ﺗﻔﺤﺼﻲ ﳍﺎ ﱂ ﺃﺟﺪ ﺍﺧﺘﻼﻓﹰﺎ ﺑﻴﻨﻬﺎ ﻭﺑﲔ ﺍﻟﻨﺴﺨﺔ )ﻕ( ﻭﻫﻲ‬
‫ﺍﻷﺧﺮﻯ ﻗﺪ ﻛﺘﺒﺖ ﲟﺪﺍﺩ ﺃﺳﻮﺩ ﺑﺎﺳﺘﺜﻨﺎﺀ ﺍﻟﺘﺤﻔﺔ ﻓﻘﺪ ﻛﺎﻧﺖ ﲟﺪﺍﺩ ﺃﲪﺮ ﻣﻌﺘﺎﺩ‪.‬‬
‫ﻭﻋﺪﺩ ﺍﻷﻭﺭﺍﻕ ‪‬ﺎ ﺗﺴﻊ ﻭﺭﻗﺎﺕ )‪(09‬‬
‫ﻋﺪﺩ ﺍﻷﺳﻄﺮ ﰲ ﺍﻟﺼﻔﺤﺔ ﺍﻟﻮﺍﺣﺪ ﺍﺛﻨﺎﻥ ﻭﻋﺸﺮﻭﻥ ﺳﻄﺮﹰﺍ )‪(22‬‬
‫ﻣﻘﻴﺎﺱ ﺍﻟﻮﺭﻗﺔ ﻛﺎﻣﻠﺔ ‪19‬ﺳﻢ × ‪27‬ﺳﻢ‬
‫ﻣﻘﻴﺎﺱ ﺍﻟﻮﺭﻗﺔ ﻣﻜﺘﻮﺑﺔ ‪20‬ﺳﻢ × ‪15‬ﺳﻢ‬
‫ﱂ ﻳﺬﻛﺮ ﻓﻴﻬﺎ ﺍﺳﻢ ﺍﻟﻨﺎﺳﺦ ﺃﻭ ﺗﺎﺭﻳﺦ ﺍﻟﻨﺴﺦ ﺃﻭ ﺍﳌﻜﺎﻥ‪.‬‬
‫ﺍﻟﻨﺴﺨﺔ ﺍﳋﻄﻴﺔ ﺍﻟﺮﺍﺑﻌﺔ‪ :‬ﻭﻫﻲ ﺍﻟﱵ ﺭﻣﺰﻧﺎ ﳍﺎ ﺑﺎﳊﺮﻑ )ﻡ( ﻭﻫﻲ ﻣﻮﺟﻮﺩﺓ ﰲ ﺍﳌﻜﺘﺒﺔ ﺍﻟﻮﻃﻨﻴﺔ‬
‫ﺍﳊﺎﻣﺔ ‪ /‬ﺍﳉﺰﺍﺋﺮ ﲢﺖ ﺭﻗﻢ‪ / 898 :‬ﻓﻬﺮﺱ ﻓﺎﻧﻴﺎﻥ – ﻭﻫﻲ ﺃﻳﻀﹰﺎ ﺗﻮﺟﺪ ﺿﻤﻦ ﳎﻤﻮﻉ ﳎﻠﺪ ﻳﻀﻢ‬
‫ﳎﻤﻮﻋﺔ ﻣﻦ ﺍﻟﺮﺳﺎﺋﻞ ﺍﳌﺨﺘﻠﻔﺔ‪ ،‬ﻭﻫﻲ ﺗﻘﻊ ﻣﻦ ﻫﺬﺍ ﺍ‪‬ﻤﻮﻉ ﰲ ﺍﻷﺧﲑ ﻣﻦ ﺣﻴﺚ ﺍﻟﺘﺮﺗﻴﺐ‪.‬‬
‫ﻭﱄ ﻣﻊ ﻫﺬﻩ ﺍﻟﻨﺴﺨﺔ ﻗﺼﺔ‪ ،‬ﺣﻴﺚ ﻛﻨﺖ ﻛﺜﲑﹰﺍ ﻣﺎ ﺃﺟ ‪‬ﺪ ﺍﻟﺒﺤﺚ ﻋﻦ ﻧﺴﺨﺔ ﳑﺎﺛﻠﺔ ﰲ ﺍﳌﻜﺘﺒﺔ‬
‫ﺍﻟﻮﻃﻨﻴﺔ ﻛﻲ ﺃﻋﺰﺯ ﺍﻟﺒﺤﺚ ﻭﻟﻜﻦ ﺍﳊﻆ ﱂ ﻳﺴﻌﻔﲏ ﰲ ﺃﻭﻝ ﺍﻷﻣﺮ ﻋﻨﺪﻣﺎ ﻛﻨﺖ ﺃﲝﺚ ﰲ ﺍﻟﻔﻬﺎﺭﺱ‬
‫ﺍﳌﺘﻌﺪﺩﺓ ﻭﻛﺪﺕ ﺃﺟﺰﻡ ﺑﺄﻥ ﻻ ﻭﺟﻮﺩ ﻟﻨﺴﺨﺔ ﳑﺎﺛﻠﺔ ﺃﻗﺎﺭﻥ ‪‬ﺎ‪ ،‬ﻭﺑﻌﺪﻣﺎ ﺗﻴﺴﺮ ﱄ ﲨﻊ ﺍﻟﻨﺴﺦ ﺍﻟﺜﻼﺛﺔ‬
‫ﺍﻷﻭﱃ‪ ،‬ﻛﻨﺖ ﻳﻮﻣﹰﺎ ﺃﻃﻠﻊ ﰲ ﻓﻬﺮﺱ ﻓﺎﻧﻴﺎﻥ ﻭﺇﺫ ﰊ ﺃﻗﻒ ﻭﺑﻄﺮﻳﻖ ﺍﻟﺼﺪﻓﺔ ﻻ ﻏﲑ ﻋﻠﻰ ﻣﻘﺪﻣﺔ ﺍﻟﺮﺳﺎﻟﺔ‬
‫ﻭﺑﻌﺪ ﺍﻟﺘﺄﻛﺪ ﻣﻦ ﺍ‪‬ﻤﻮﻉ ﺍﻟﺬﻱ ﻧﺎﻭﻟﲏ ﺇﻳﺎﻩ ﺍﳌﺸﺮﻑ ﺑﺎﳌﻜﺘﺒﺔ ﺗﺄﻛﺪ ﱄ ﺃﻧﲏ ﻗﺪ ﻇﻔﺮﺕ ﺑﺎﻟﻨﺴﺨﺔ ﺍﻟﺮﺍﺑﻌﺔ‬
‫ﻭﻫﻨﺎﻙ ﻗﻤﺖ ﺑﺘﺼﺤﻴﺢ ﺍﻟﻔﻬﺮﺱ ﻭﻧﺴﺒﺔ ﻣﺆﻟﻒ ﺍﻟﺮﺳﺎﻟﺔ ﺍﻟﱵ ﻛﺎﻧﺖ ﻣﻌﺰﻭﺓ ‪‬ﻬﻮﻝ‪.‬‬
‫ﻭﻫﻲ ﺗﻘﻊ ﰲ ﺗﺴﻊ ﺃﻭﺭﺍﻕ‪.‬‬
‫‪ -‬ﻋﺪﺩ ﺍﻷﺳﻄﺮ ﰲ ﺍﻟﺼﻔﺤﺔ ﺍﻟﻮﺍﺣﺪﺓ ﺃﺭﺑﻌﺔ ﻭﻋﺸﺮﻭﻥ ﺳﻄﺮﺍﹰ‪ ،‬ﲟﻌﺪﻝ ﺛﻼﺙ ﻋﺸﺮﺓ ﻛﻠﻤﺔ‬
‫ﰲ ﺍﻟﺴﻄﺮ ﺍﻟﻮﺍﺣﺪ‪ ،‬ﻭﻗﺪ ﻛﺘﺒﺖ ﲞﻂ ﻣﻐﺮﰊ ﲨﻴﻞ ﻟﻮﻻ ﺃﻧﻪ ﺭﻗﻴﻖ‪.‬‬
‫‪ -‬ﺃﻣﺎ ﻧﻮﻉ ﺍﳊﱪ ﻓﻬﻮ ﺃﺳﻮﺩ ﺑﺎﺳﺘﺜﻨﺎﺀ ﺍﳌﱳ ﺍﻟﺬﻱ ﻛﺎﻥ ﺑﻘﻠﻢ ﺃﲪﺮ ﲨﻴﻞ ﻣﻐﺎﻳﺮ‪.‬‬
‫‪ -‬ﱂ ﻳﺬﻛﺮ ﻓﻴﻬﺎ ﺍﺳﻢ ﺍﻟﻨﺎﺳﺦ ﺍﻟﺬﻱ ﻛﺎﻥ ﻫﻮ ﺍﻷﺧﺮ ﳎﻬﻮ ﹰﻻ ﻭﻛﺬﻟﻚ ﺗﺎﺭﻳﺦ ﺍﻟﻨﺴﺦ ﻭﺍﳌﻜﺎﻥ‪،‬‬
‫ﻭﻧﻈﺮﹰﺍ ﻟﻘﺪﻡ ﺍﻟﻨﺴﺨﺔ ﻭﻭﺟﻮﺩﻫﺎ ﰲ ‪‬ﺎﻳﺔ ﺍ‪‬ﻤﻮﻉ ﺗﺄﺛﺮﺕ ﺑﻔﻌﻞ ﺍﻟﻔﺘﺢ ﻭﺍﻟﻐﻠﻖ‪ ،‬ﻭﳑﺎ ﺯﺍﺩ ﻋﻠﻰ ﺫﻟﻚ ﻭﺃﺛﺮ‬
‫ﻋﻠﻴﻬﺎ ﺍﻻﻧﻜﻤﺎﺵ ﺍﻟﺬﻱ ﺍﻋﺘﺮﻯ ﺍﻷﻭﺭﺍﻕ ﻭﺳﺒﺐ ﳍﺎ ﲤﺰﻗﹰﺎ ﻻﺳﻴﻤﺎ ﻣﻦ ﺍﻷﺳﻔﻞ‪.‬‬

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 ‫**‬
‫ﺻﻮﺭ ﻟﻠﻨﺴﺦ ﺍﳌﻌﺘﻤﺪﺓ‬

‫‪- 39 -‬‬
‫ﻏﻼﻑ ﺍﻟﻮﺭﻗﺔ )ﻣﺦ(‬

‫‪- 40 -‬‬
‫ﻇﻬﺮ ﺍﻟﻮﺭﻗﺔ ﺍﻷﻭﻟﻰ )ﻣﺦ(‬

‫‪- 41 -‬‬
‫ﻇﻬﺮ ﺍﻟﻮﺭﻗﺔ ﺍﻷﺧﻴﺮﺓ ﻟﻠﻤﺨﻄﻮﻃﺔ )ﻣﺦ(‬

‫‪- 42 -‬‬
‫ﻭﺟﻪ ﺍﻟﻮﺭﻗﺔ ﺍﻷﻭﻟﻰ ﻟﻠﻤﺨﻄﻮﻃﺔ )ﻕ(‬

‫‪- 43 -‬‬
‫ﻧﻬﺎﻳﺔ ﺍﻟﻮﺭﻗﺔ ﺍﻷﺧﻴﺮﺓ ﻟﻠﻤﺨﻄﻮﻃﺔ )ﻕ(‬

‫‪- 44 -‬‬
‫ﻭﺟﻪ ﺍﻟﻮﺭﻗﺔ ﺍﻷﻭﻟﻰ ﻣﻦ ﺍﻟﻤﺨﻄﻮﻃﺔ )ﺥ(‬

‫‪- 45 -‬‬
‫ﻧﻬﺎﻳﺔ ﺍﻟﻤﺨﻄﻮﻃﺔ)ﺥ(‬

‫‪- 46 -‬‬
‫ﻭﺟﻪ ﺍﻟﻮﺭﻗﺔ ﺍﻷﻭﻟﻰ ﻣﻦ ﺍﻟﻤﺨﻄﻮﻃﺔ )ﻡ(‬

‫‪- 47 -‬‬
‫ﻧﻬﺎﻳﺔ ﺍﻟﻮﺭﻗﺔ ﻟﻠﻤﺨﻄﻮﻃﺔ )ﻡ(‬

‫‪- 48 -‬‬
‫ﺍﻟﻘﺴﻢ ﺍﻟﺜﺎﱐ‬
‫)ﺍﻟﻨﺺ ﺍﶈﻘﻖ(‬

‫]ﻭ‪[1/‬‬

‫‪- 49 -‬‬
 ‫ﻫﺬﺍ ﺷﺮﺡ‬
‫ﺍﻟﻌﻼﻣﺔ ﺍﻟﺪﺭﺩﻳﺮ ﻋﻠﻰ ﺭﺳﺎﻟﺘﻪ ﺍﳌﺴﻤﺎﺓ ﺑﺘﺤﻔﺔ‬
‫ﺍﻹﺧﻮﺍﻥ ﰲ ﻋﻠﻢ ﺍ‪‬ﺎﺯ ﺑﺎﻟﺘﻤﺎﻡ ﻭ ﺍﻟﻜﻤﺎﻝ‬
‫ﻭ ﺍﳊﻤﺪ ﷲ ﻋﻠﻰ ﻛﻞ ﺣﺎﻝ‬

‫‪- 50 -‬‬
 ‫ﺑﺴﻢ ﺍﷲ ﺍﻟﺮﲪﻦ ﺍﻟﺮﺣﻴﻢ‬ ‫]ﻅ‪[1/‬‬
‫)‪(47‬‬
‫]ﻣﻘﺪﻣﺔ ﺍﳌﺆﻟﻒ[‬
‫ﺍﳊﻤﺪ ﷲ ﻋﻠﻰ ﻣﺎ ﺃﻧﻌﻢ ﻣﻦ ﺍﻟﺒﻴﺎﻥ)‪ (48‬ﻭﺃﳍﻢ)‪ (49‬ﻣﻦ ﺍﻟﺘﺒﻴـﺎﻥ)‪ (50‬ﻭﺍﻟـﺼﻼﺓ‬
‫ﻭﺍﻟﺴﻼﻡ)‪ (51‬ﻋﻠﻰ ﺳﻴﺪ)‪ (52‬ﺍﻷﻧﺎﻡ ﻭﻋﻠﻰ ﺁﻟﻪ)‪ (53‬ﻭﺃﺻﺤﺎﺑﻪ ﺍﻷﺋﻤﺔ ﺍﻷﻋﻼﻡ‬
‫ﻭﺑﻌـﺪ‪ :‬ﻓﻬﺬﺍ ﺷﺮﺡ ﻟﻄﻴﻒ ﻋﻠﻰ ﺍﻟﺮﺳﺎﻟﺔ )ﺍﻟـﱵ ﺟﻌﻠﺘـﻬﺎ ﰲ ﺑﻴـﺎﻥ‬
‫ﺍ‪‬ﺎﺯ()‪ (54‬ﻭﺍﻟﺘﺸﺒﻴﻪ ﻭﺍﻟﻜﻨﺎﻳﺔ‪.‬ﻳﻮﺿﺢ ﻣﻌﺎﻧﻴﻬﺎ ﻭﳛﻞ ﻣﺒﺎﻧﻴﻬﺎ‪.‬‬
‫ﻓﺄﻗﻮﻝ ﻭﺑﺎﷲ ﺍﻟﺘﻮﻓﻴﻖ‪ ،‬ﺭﺍﺟﻴﺎ ﻣﻨﻪ ﺳﺒﺤﺎﻧﻪ)‪ (55‬ﻭﺗﻌﺎﱃ ﺃﻥ ﻳـﺴﻠﻚ ﺑﻨـﺎ‬
‫ﺃﻧﻔﻊ)‪ (56‬ﻃﺮﻳﻖ‪.‬‬

‫‪ ( 47‬ﺍﻟﻤﻘﺩﻤﺔ ﻤﻥ ﻭﻀﻌﻲ‪.‬‬
‫‪ ( 48‬ﻗﺎل ﺘﻌﺎﻟﻰ ) ﺍﻟﺭﺤﻤﻥ ﻋﻠﻡ ﺍﻟﻘﺭﺁﻥ ﺨﻠﻕ ﺍﻹﻨﺴﺎﻥ ﻋﻠﻤﻪ ﺍﻟﺒﻴﺎﻥ (‪ .‬ﻤﻁﻠﻊ ﺴﻭﺭﺓ ﺍﻟﺭﺤﻤﻥ‪ .‬ﺍﻵﻴﺔ )‪ .(1،2‬ﻗﺎل ﺍﺒﻥ ﺍﻟﻤﻌﺘﺯ‪ :‬ﺍﻟﺒﻴﺎﻥ ﺘﺭﺠﻤﺎﻥ ﺍﻟﻘﻠﻭﺏ‬
‫ﻭﺼﻴﻘل ﺍﻟﻌﻘﻭل‪ ،‬ﻭﺃﻤﺎ ﺤﺩﻩ ﻓﻘﺩ ﻗﺎل ﺍﻟﺠﺎﺤﻅ‪ :‬ﺍﻟﺒﻴﺎﻥ ﺍﺴﻡ ﺠﺎﻤﻊ ﻟﻜل ﻤﺎ ﻜﺸﻑ ﻟﻙ ﺍﻟﻤﻌﻨﻰ‪ - ،‬ﺃﻨﻅﺭ‪ -‬ﺍﻟﻤﺴﺘﻁﺭﻑ ﻓﻲ ﻜل ﻓﻥ ﻤﺴﺘﻅﺭﻑ‪ .‬ﻟﺸﻬﺎﺏ‬
‫ﺍﻟﺩﻴﻥ ﺒﻥ ﻤﺤﻤﺩ ﺒﻥ ﺃﺤﻤﺩ ﺃﺒﻲ ﺍﻟﻔﺘﺢ ﺍﻹﺒﺸﻴﻬﻲ‪ ،‬ﺘﺢ‪ :‬ﺩ‪ :‬ﻤﻔﻴﺩ ﻤﺤﻤﺩ ﻗﻤﻴﺤﺔ‪ ،‬ﺩﺍﺭ ﺍﻟﻜﺘﺏ ﺍﻟﻌﻠﻤﻴﺔ ﻁ‪1986/2:‬ﻡ‪ 94 /1 ،‬ﻭﺍﺼﻁﻼﺤﹰﺎ‪ :‬ﻫﻭ ﻋﻠﻡ‬
‫ﻴﻌﺭﻑ ﺒﻪ ﺇﻴﺭﺍﺩ ﺍﻟﻤﻌﻨﻲ ﺍﻟﻭﺍﺤﺩ‪ ،‬ﻭﺇﺒﺭﺍﺯﻩ ﻓﻲ ﺼﻭﺭ ﻤﺨﺘﻠﻔﺔ‪ ،‬ﻭﺘﺭﺍﻜﻴﺏ ﻤﺘﻔﺎﻭﺘﺔ‪ ،‬ﺯﻴﺎﺩﺓ ﻭﻨﻘﺼﺎﻨﺎﹰ‪ ،‬ﻓﻲ ﻭﻀﻭﺡ ﺍﻟﺩﻻﻟﺔ ﻋﻠﻴﻪ‪ ،‬ﻟﻴﺤﺘﺭﺯ ﺒﺎﻟﻭﻗﻭﻑ‬
‫ﻋﻠﻰ ﺫﻟﻙ‪ ،‬ﻋﻥ ﺍﻟﺨﻁﺄ ﻓﻲ ﻤﻁﺎﺒﻘﺔ ﺍﻟﻜﻼﻡ ﻟﺘﻤﺎﻡ ﺍﻟﻤﺭﺍﺩ ﻤﻨﻪ‪ ،‬ﺃﻨﻅﺭ ﺘﻠﺨﻴﺹ ﺍﻟﻤﻔﺘﺎﺡ‪ ،‬ﺹ‪ .133 :‬ﻭﺍﻟﺒﻴﺎﻥ ﻟﻐﺔ‪ :‬ﺍﻟﻜﺸﻑ ﻭﺍﻹﻴﻀﺎﺡ ﻭﺍﻟﻅﻬﻭﺭ‪ ،‬ﻭﻫﻭ‬
‫ﻤﻥ ﺒﺎﻥ ﺍﻟﺸﻲﺀ ﻴﺒﻴﻥ ﺒﻴﺎﻨﺎﹰ‪ ،‬ﺇﺫﺍ ﺍﺘﻀﺢ ﻭﻅﻬﺭ‪ .‬ﻭﺍﻟﺒﻴﺎﻥ ﻓﻲ ﺍﻟﻠﻐﺔ ﺃﻴﻀﹰﺎ‪ :‬ﺍﻟﻔﺼﺎﺤﺔ ﻭﺍﻟﻠﺴﻥ‪ ،‬ﻭﻓﻲ ﺍﻟﺤﺩﻴﺙ ﺍﻟﻨﺒﻭﻱ ﺍﻟﺸﺭﻴﻑ )ﻋﻥ ﻋﺒﺩ ﺍﷲ ﺒﻥ ﻋﻤﺭ‬
‫ﺒﻥ ﺍﻟﺨﻁﺎﺏ ﺭﻀﻲ ﺍﷲ ﺘﻌﺎﻟﻰ ﻋﻨﻬﻤﺎ ﻗﺎل‪ :‬ﻗﺩﻡ ﺭﺠﻼﻥ ﻤﻥ ﺍﻟﻤﺸﺭﻕ ﻓﺨﻁﺒﺎ ﻓﻌﺠﺏ ﺍﻟﻨﺎﺱ ﻟﺸﺄﻨﻬﻤﺎ ﻓﻘﺎل ﺭﺴﻭل ﺍﷲ ﺼﻠﻰ ﺍﷲ ﻋﻠﻴﻪ ﻭﺴﻠﻡ‪ :‬ﺇﻥ ﻤﻥ‬
‫ﺍﻟﺒﻴﺎﻥ ﻟﺴﺤﺭﹰﺍ ﺃﻭ ﺃﻥ ﺒﻌﺽ ﺍﻟﺒﻴﺎﻥ ﻟﺴﺤﺭ( ﺤﺩﻴﺙ ﺼﺤﻴﺢ ﺃﺨﺭﺠﻪ ﺍﻟﺒﺨﺎﺭﻱ ﻓﻲ ﺼﺤﻴﺤﻪ‪ ،‬ﻋﻥ ﻋﺒﺩ ﺍﷲ ﺒﻥ ﻴﻭﺴﻑ ﻋﻥ ﻤﺎﻟﻙ ﺒﻥ ﺁﻨﺱ‪ ،‬ﺃﻨﻅﺭ ﺤﻠﻴﺔ‬
‫ﺍﻷﻭﻟﻴﺎﺀ ﻟـ‪ :‬ﺃﺒﻲ ﻨﻌﻴﻡ ﺃﺤﻤﺩ ﺒﻥ ﻋﺒﺩ ﺍﷲ ﺍﻷﺼﻔﻬﺎﻨﻲ‪ ،‬ﺕ‪430 :‬ﻫـ‪ ،‬ﺩﺍﺭ ﺍﻟﻜﺘﺎﺏ ﺍﻟﻌﺭﺒﻲ‪ ،‬ﺒﻴﺭﻭﺕ ﻟﺒﻨﺎﻥ‪ ، ،‬ﻁ‪1405 /4 :‬ﻫـ ‪224/3 ،‬‬
‫ﻤﺨﺘﺎﺭ ﺍﻟﺼﺤﺎﺡ ‪ ،‬ﻟﻤﺤﻤﺩ ﺒﻥ ﺃﺒﻲ ﺒﻜﺭ ﺒﻥ ﻋﺒﺩ ﺍﻟﻘﺎﺩﺭ ﺍﻟﺭﺍﺯﻱ‪ ،‬ﺘﺢ‪ :‬ﻤﺤﻤﻭﺩ ﺨﺎﻁﺏ ﺍﻟﻁﺒﻌﺔ ﺍﻟﺠﺩﻴﺩﺓ‪ ،‬ﺩﺍﺭ ﻤﻜﺘﺒﺔ ﻟﺒﻨﺎﻥ‪ .‬ﻨﺎﺸﺭﻭﻥ ﺒﻴﺭﻭﺕ‪،‬‬
‫‪1415‬ﻫـ‪1995/‬ﻡ‪ 29/1 ،‬ﻁﺒﻘﺎﺕ ﺍﻟﺸﺎﻓﻌﻴﺔ ﺍﻟﻜﺒﺭﻯ ‪ ،‬ﻟـ‪ :‬ﺃﺒﻲ ﻨﺼﺭ ﻋﺒﺩ ﺍﻟﻭﻫﺎﺏ ﺒﻥ ﻋﻠﻲ ﺒﻥ ﻋﺒﺩ ﺍﻟﻜﺎﻓﻲ ﺍﻟﺴﺒﻜﻲ ﺘﺤﻘﻴﻕ‪ :‬ﺩ‪ :‬ﻋﺒﺩ ﺍﻟﻔﺘﺎﺡ‬
‫ﻤﺤﻤﺩ ﺍﻟﺤﻠﻭ – ﺩ‪ :‬ﻤﺤﻤﻭﺩ ﻤﺤﻤﺩ ﺍﻟﻁﻨﺎﺤﻲ‪،‬ﺕ‪771 :‬ﻫـ‪ ،‬ﻨﺸﺭ‪ :‬ﺩﺍﺭ ﺍﻟﺠﻴﺯﺓ ‪،‬ﻁ‪1992 /2 :‬ﻡ‪ 221/1 ،‬ﺒﻐﻴﺔ ﺍﻟﻁﻠﺏ ﻓﻲ ﺘﺎﺭﻴﺦ ﺤﻠﺏ‪ ، ،‬ﻟـ‪:‬‬
‫ﻜﻤﺎل ﺍﻟﺩﻴﻥ ﻋﻤﺭ ﺒﻥ ﺃﺤﻤﺩ ﺒﻥ ﺃﺒﻲ ﺠﺭﺍﺩﺓ‪ ،‬ﺘﺤﻘﻴﻕ‪ :‬ﺩ‪ :‬ﺴﻬﻴل ﺯﻜﺎﺭ – ﺩﺍﺭ ﺍﻟﻔﻜﺭ – ﺒﻴﺭﻭﺕ ﻟﺒﻨﺎﻥ‪،‬ﻁ‪1988 /1 :‬ﻡ‪1251/3 .‬‬
‫‪ ( 49‬ﺍﻹﻟﻬﺎﻡ‪ :‬ﻁﺭﻭﺀ ﻓﻜﺭﺓ ﻋﻠﻰ ﺍﻟﺫﻫﻥ ﺒﺼﻭﺭﺓ ﻤﻔﺎﺠﺌﺔ ﺃﻭ ﺍﻜﺘﺸﺎﻑ ﻤﻔﺎﺠﺊ ﻟﺤل ﻤﺸﻜﻠﺔ ﻤﺎ‪ ،‬ﺃﻭ ﻟﺤﻅﺔ ﻋﻤل ﻤﻌﻴﻨﺩﻭﻥ ﺃﻥ ﻴﻨﺘﺞ ﻋﻥ ﺘﻔﻜﻴﺭ ﺴﺎﺒﻕ‬
‫ﻭﻤﺒﺎﺸﺭ‪ ،‬ﺃﻭ ﺍﻟﻤﺤﺎﻭﻟﺔ ﻭﺍﻟﺨﻁﺄ‪ ،‬ﻭﻫﻭ ﻤﺭﺤﻠﺔ ﻤﻥ ﻤﺭﺍﺤل ﺍﻟﺘﻔﻜﻴﺭ ﺍﻟﻤﺒﺩﻉ ﻭﻴﻘﻭﻡ ﺍﻟﻜﺜﻴﺭ ﻤﻥ ﺍﻷﻋﻤﺎل ﺍﻟﻔﻨﻴﺔ ﻋﻠﻰ ﺍﻹﻟﻬﺎﻡ – ﺃﻨﻅﺭ ﻤﻌﺠﻡ ﻤﺼﻁﻠﺤﺎﺕ‬
‫ﺍﻟﺩﺭﺍﺴﺎﺕ ﺍﻹﻨﺴﺎﻨﻴﺔ ﻭﺍﻟﻔﻨﻭﻥ ﺍﻟﺠﻤﻴﻠﺔ ﻭﺍﻟﺘﺸﻜﻴﻠﻴﺔ‪ ،‬ﺃﺤﻤﺩ ﺯﻜﻲ ﺒﺩﻭﻱ‪ ، ،‬ﺩﺍﺭ ﺍﻟﻜﺘﺎﺏ ﺍﻟﻤﺼﺭﻱ‪ ،‬ﻭﺩﺍﺭ ﺍﻟﻜﺘﺎﺏ ﺍﻟﻠﺒﻨﺎﻨﻲ ‪ .‬ﻁ‪1991/1 :‬ﻡ‪ .‬ﺹ‪.193 :‬‬
‫‪ ( 50‬ﻓﻲ )ﻕ(‪ :‬ﻭﺃﻟﻬﻡ ﻤﻥ ﺍﻟﺘﺒﺎﻨﻲ ﻭﺍﻟﺼﻭﺍﺏ ﻤﻥ ﺒﻘﻴﺔ ﺍﻟﻨﺴﺦ‪.‬‬
‫‪ ( 51‬ﻓﻲ )ﻕ(‪ :‬ﻗﺩﻡ ﺍﻟﻨﺎﺴﺦ ﺍﻟﺴﻼﻡ ﻋﻠﻰ ﺍﻟﺼﻼﺓ ﺤﻴﺙ ﻜﺘﺒﻬﺎ ﻫﻜﺫﺍ )ﻭﺍﻟﺴﻼﻡ ﻭﺍﻟﺼﻼﺓ(‪.‬‬
‫‪ ( 52‬ﻓﻲ )ﻕ(‪ :‬ﺴﻴﺩﻱ ﻭﺍﻷﺼﺢ ﻤﺎ ﺃﺜﺒﺘﻨﺎﻩ‪.‬‬
‫‪ ( 53‬ﻓﻲ )ﻕ(‪ :‬ﻜﺘﺏ ﺍﻟﻨﺎﺴﺦ ﻓﻲ ﺍﻟﺒﺩﺍﻴﺔ ﻭﻋﻠﻰ ﺃﺼﺤﺎﺒﻪ ﺜﻡ ﺘﺭﺍﺠﻊ ﻭﺸﻁﺏ ﻋﻠﻴﻬﺎ ﻭﺃﺒﻘﻰ ﻋﻠﻰ )ﻭﻋﻠﻰ ﺁﻟﻪ(‪.‬‬
‫‪ ( 54‬ﻓﻲ )ﻕ(‪ :‬ﺠﻌﻠﺘﻬﺎ ﻟﻠﻤﺠﺎﺯ‪.‬‬
‫‪ -( 55‬ﻓﻲ )ﻕ( ﻭ )ﺥ( ﻭ)ﻡ(‪ :‬ﻤﻭﺠﻭﺩﺓ ﻓﻲ ﺍﻷﺼل ﻭ ﻤﺤﺫﻭﻓﺔ ﻤﻥ ﺒﻘﻴﺔ ﺍﻟﻨﺴﺦ ‪.‬‬
‫‪ - ( 56‬ﻓﻲ )ﻕ(‪ :‬ﺃﺴﺭﻉ‪.‬‬
‫‪- 51 -‬‬
 ‫ﺑﺴﻢ ﺍﷲ ﺍﻟﺮﲪﻦ ﺍﻟﺮﺣﻴﻢ ﺍﳊﻤﺪ ﷲ‬
‫ﺃﺑﺘﺪﺉ ‪‬ﻤﺎ )ﰲ()‪ (57‬ﻫﺬﻩ ﺍﻟﺮﺳﺎﻟﺔ‪ ،‬ﺍﻗﺘﺪﺍﺀ ﺑﺎﻟﻜﺘﺎﺏ ﺍ‪‬ﻴﺪ)‪ (58‬ﻭﻋﻤﻼ ﲝﺪﻳﺜﻲ ﺍﻟﺒﺴﻤﻠﺔ ﻭﺍﳊﻤﺪ ﻟﻪ‬
‫ﺍﳌﻌﻠﻮﻣﲔ)‪ (59‬ﻭﻣﻦ ﰒ ﺗﺮﻙ ﺍﻟﻌﺎﻃﻒ‪ ،‬ﺗﻨﺒﻴﻬﺎ ﻋﻠﻰ ﺃﻥ ﻛﻼ ﻣﻨﻬﻤﺎ ﻣﻘﺼﻮﺩ ﺑﺎﻻﺑﺘﺪﺍﺀ‪.‬‬
‫ﻭﺍﻟﺼﻼﺓ ﻭﺍﻟﺴﻼﻡ ﻋﻠﻰ ﺭﺳﻮﻝ ﺍﷲ ﺍﳌﻌﲏ‪ ،‬ﻭﺃﻃﻠﺐ ﻣﻦ ﺍﷲ ﺃﻥ ﻳﺼﻠﻲ ﻭﻳﺴﻠﻢ ﻋﻠﻰ‬
‫ﺭﺳﻮﻟﻪ)‪(60‬ﳏﻤﺪ ﺻﻠﻰ ﺍﷲ ﻋﻠﻴﻪ ﻭﺳﻠﻢ‪.‬‬
‫ﻭﺍﻟﺼﻼﺓ ﻟﻐﺔ‪ :‬ﺍﻟﺪﻋﺎﺀ ﲞﲑ‪ ،‬ﻓﺈﺫ ﺃﺿﻴﻔﺖ ﺇﱃ ﺍﷲ ﺗﻌﺎﱃ‪ ،‬ﻛﺎﻥ ﻣﻌﻨﺎﻫﺎ ﺇﲤﺎﻡ ﺍﻟﻨﻌﻤﺔ ﻭﻋﻈﻢ ﺍﻟﻘﺪﺭ‪،‬‬
‫ﻭﻟﺬﺍ)‪(61‬ﺧﺼﺖ ‪‬ﺎ)‪(62‬ﺍﻷﻧﺒﻴﺎﺀ ﻭﺍﳌﻼﺋﻜﺔ‪ ،‬ﻓﻼ ﺗﻄﻠﺐ ﻟﻐﲑﻫﻢ ﺇﻻ ﺗﺒﻌﺎﹰ‪ ،‬ﻭﺍﻟﺴﻼﻡ ﺍﻟﺘﺤﻴﺔ‪.‬‬
‫ﻫﺬﻩ‪ :‬ﺃﻱ ﺍﳌﺆﻟﻔﺔ ﺍﳊﺎﺿﺮﺓ ﰲ ﺍﻟـﺬﻫﻦ)‪(63‬ﺃﻱ‪ :‬ﺍﻟﻌﻘـﻞ‪ ،‬ﻧﺰﳍـﺎ ﻣﱰﻟـﺔ ﺍﶈـﺴﻮﺱ‪ ،‬ﲜـﺎﻣﻊ‬
‫ﺍﻟﺘﺤﻘﻖ)‪(64‬ﻓﺄﺷﺎﺭ )ﺇﻟﻴﻬﺎ( )‪ (65‬ﺭﺳﺎﻟﺔ ﻟﻄﻴﻔﺔ ﺃﻱ‪ :‬ﺻﻐﲑﺓ ﺟﺪﺍﹰ‪ ،‬ﰲ ﺑﻴﺎﻥ ﺍ‪‬ﺎﺯ ﻣﻄﻠﻘﹰﺎ‪.‬‬

‫‪ - ( 57‬ﻓﻲ )ﻕ( ﻭ)ﻡ(‪ :‬ﺴﺎﻗﻁﺔ‪.‬‬

‫‪ - ( 58‬ﻓﻲ )ﻕ( ﻭ)ﻡ(‪ :‬ﺍﻟﻌﺯﻴﺯ‪.‬‬
‫‪ - ( 59‬ﺇﺸﺎﺭﺓ ﺇﻟﻰ ﺍﻟﺤﺩﻴﺙ ﺍﻟﻨﺒﻭﻱ ﺍﻟﺸﺭﻴﻑ ﺍﻟﺫﻱ ﺭﻭﺍﻩ ﺃﺤﻤﺩ ﻓﻲ ﻤﺴﻨﺩﻩ ﻋﻥ ﻋﺎﺼﻡ ﻗﺎل ‪ :‬ﺴﻤﻌﺕ ﺃﺒﺎ ﺘﻤﻴﻤﺔ ﻴﺤﺩﺙ ﻋﻥ ﺭﺩﻴﻑ ﺍﻟﻨﺒﻲ‪ ρ‬ﻗـﺎل‪):‬ﻋﺜﺭ‬
‫ﺒﺎﻟﻨﺒﻲ‪ ρ‬ﻓﻘﻠﺕ‪ :‬ﺘﻌﺱ ﺍﻟﺸﻴﻁﺎﻥ‪,‬ﻓﻘﺎل ﺍﻟﻨﺒﻲ‪ ρ‬ﻻﺘﻘل ﺘﻌﺱ ﺍﻟﺸﻴﻁﺎﻥ‪ ,‬ﻓﺈﻨﻙ ﺇﺫﺍ ﻗﻠﺕ ﺘﻌﺱ ﺍﻟﺸﻴﻁﺎﻥ ﺘﻌﺎﻅﻡ‪ .‬ﻭﻗﺎل ﺒﻘﻭﺘﻲ ﺼﺭﻋﺘﻪ‪ ,‬ﻭﺇﺫﺍ ﻗﻠﺕ‪:‬ﺒﺴﻡ ﺍﷲ‪.‬‬
‫ﺘﺼﺎﻏﺭ ﺤﺘﻰ ﻴﺼﻴﺭ ﻤﺜل ﺍﻟﺫﺒﺎﺏ (ﺭﻭﺍﻩ ﺃﺒﻭ ﺩﺍﻭﺩ ﻭﻏﻴﺭﻩ‪ ,‬ﺭﻗﻡ ﺍﻟﺤﺩﻴﺙ‪19769:‬ﻭﻋﻥ ﺃﺒﻲ ﻫﺭﻴﺭﺓ ﻗﺎل‪ :‬ﻗﺎل ﺭﺴﻭل ﺍﷲ ‪ ) ρ‬ﻜل ﻜﻼﻡ ﻻ ﻴﺒﺩﺃ ﻓﻴﻪ‬
‫ﻼ‪ :‬ﺃﺨﺭﺠﻪ ﺃﺤﻤﺩ ﻓﻲ ﻤﺴﻨﺩﻩ‬ ‫ﺒﺎﻟﺤﻤﺩ ﷲ ﻓﻬﻭ ﺃﺠﺫﻡ(‪ .‬ﻗﺎل ﺃﺒﻭ ﺩﺍﻭﺩ ﺭﻭﺍﻩ ﻴﻭﻨﺱ ﻭﻋﻘﻴل ﻭﺸﻌﻴﺏ ﻭﺴﻌﻴﺩ ﺍﺒﻥ ﻋﺒﺩ ﺍﻟﻌﺯﻴﺯ ﻋﻥ ﺍﻟﺯﻫﺭﻱ ﻋﻥ ﺍﻟﻨﺒﻲ‪ ρ‬ﻤﺭﺴ ﹰ‬
‫ﺭﻗﻡ ﺍﻟﺤﺩﻴﺙ‪ ، 8355 :‬ﻭﺴﻨﻥ ﺍﺒﻥ ﻤﺎﺠﺔ ﺭﻗﻡ ﺍﻟﺤﺩﻴﺙ‪ .1884 :‬ﻟـ‪ :‬ﺃﺒﻭ ﻋﺒﺩ ﺍﷲ ﻤﺤﻤﺩ ﺒﻥ ﻴﺯﻴﺩ ﺍﻟﻘﺯ ﻭﻴﻨﻲ‪ ،‬ﺕ‪275 :‬ﻫـ‪ ،‬ﺘﺤﻘﻴﻕ‪ :‬ﻤﺤﻤﺩ ﻓﺅﺍﺩ ﻋﺒﺩ‬
‫ﺍﻟﺒﺎﻗﻲ‪ ،‬ﻨﺸﺭ‪ :‬ﺩﺍﺭ ﺍﻟﻔﻜﺭ‪ .‬ﻭﻗﺩ ﻀﻌﻔﻪ ﺼﺎﺤﺏ)ﺍﺭﻭﺍﺀﺍﻟﻐﻠﻴل(‪ :‬ﻤﺤﻤﺩ ﻨﺎﺼﺭ ﺍﻟﺩﻴﻥ ﺍﻷﻟﺒﺎﻨﻲ‪ ,‬ﺍﻟﻤﻜﺘﺏ ﺍﻹﺴﻼﻤﻲ ‪,‬ﺒﻴﺭﻭﺕ‪,‬ﺩﻤﺸﻕ‪,‬ﻁ‪2,1405‬ﻫـ‪1985/‬ﻡ‬
‫‪,30/1:‬ﻻﻀﻁﺭﺍﺒﻪ ﻓﻲ ﺍﻟﻤﺘﻥ ﻭﻟﻀﻌﻑ ﺴﻨﺩﻩ‪.‬ﻭﻗﺩ ﻭﻓﻕ ﺍﺒﻥ ﺍﻟﺴﺒﻜﻲ ﺒﻴﻥ ﺍﻟﺭﻭﺍﻴﺎﺕ ﺍﻟﺘﻲ ﺠﺎﺀ ﺒﻬﺎ‪,‬ﻜﺄ ﻗﻁﻊ ﻭﺃﺒﺘﺭ ﻭﺃﺠﺫﻡ‪,‬ﻭﺒﺒﺴﻡ ﺍﷲ‪,‬ﻭﺒﺫﻜﺭ‬
‫ﺍﷲ‪,‬ﻭﺒﺎﻟﺤﻤﺩﻟﺔ‪,‬ﻭﻻ ﺘﻌﺎﺭﺽ ﺒﻴﻥ ﺍﻟﺭﻭﺍﻴﺎﺕ‪,‬ﻻﺃﻥ ﺍﻹ ﺍﺒﺘﺩﺍﺀ ﺤﻘﻴﻘﻲ ﻭﺍﻀﺎﻓﻲ ‪,‬ﻓﺒﺎﻟﺒﺴﻤﻠﺔ ﺤﺼل ﺍﻟﺤﻘﻴﻘﻲ ‪,‬ﻭﺒﺎﻟﺤﻤﺩﻟﺔ ﺤﺼل ﺍﻹﻀﺎﻓﻲ‪ .‬ﺃﻱ ﺒﺎﻹﻀﺎﻓﺔ ﺍﻟﻰ‬
‫ﻏﻴﺭﻫﺎ ‪.‬ﺸﺭﺡ ﻤﺘﻥ ﺍﻟﺠﺯﺭﻴﺔ ﻓﻲ ﻤﻌﺭﻓﺔ ﺘﺠﻭﻴﺩﺍﻵﻴﺎﺕ ﺍﻟﻘﺭﺁﻨﻴﺔ ‪:‬ﺯﻜﺭﻴﺎ ﺍﻷﻨﺼﺎﺭﻱ‪,‬ﻗﺼﺭ ﺍﻟﻜﺘﺎﺏ ﺍﻟﺒﻠﻴﺩﺓ‪ ,‬ﺍﻟﺠﺯﺍﺌﺭ‪.‬ﺏ ﺕ‪,2:‬ﻓﺘﺢ ﺍﻟﻌﻼﻡ ﺒﺸﺭﺡ ﺍﻹﻋﻼﻡ‬
‫ﺒﺄﺤﺎﺩﻴﺙ ﺍﻷﺤﻜﺎﻡ‪:‬ﺯﻜﺭﻴﺎﺀ ﺍﻷﻨﺼﺎﺭﻱ ‪,‬ﺘﺤﻘﻴﻕ‪:‬ﻋﻠﻲ ﻤﺤﻤﺩ ﻋﻭﺽ‪ ,‬ﻭﻋﺎﺩل ﺃﺤﻤﺩ ﻋﺒﺩ ﺍﻟﻤﻭﺠﻭﺩ‪ ,‬ﺘﻘﺩﻴﻡ ﻭﺘﻘﺭﻴﻅ‪:‬ﻋﺒﺩ ﺍﻟﻔﺘﺎﺡ ﺃﺒﻭ ﺴﻨﺔ‪,‬ﺩﺍﺭ ﺍﻟﻜﺘﺏ‬
‫ﺍﻟﻌﻠﻤﻴﺔ‪,‬ﺒﻴﺭﻭﺕ‪,‬ﻁ‪1411 ,1‬ﻫـ‪1990/‬ﻡ‪.43:‬ﻭﻤﻌﻨﻰ ﺍﻟﺤﻘﻴﻘﻲ ﻫﻭ ﺍﻻﺒﺘﺩﺍﺀ ﺒﺎﻟﺸﻲﺀﺃﻤﺎﻡ ﺍﻟﻤﻘﺼﻭﺩ‪ ,‬ﺒﺤﻴﺙ ﻻﻴﺘﻘﺩﻡ ﻋﻥ ﺫﻟﻙ ﺍﻟﺸﻲﺀ ﺸﻲﺀ ﻤﺎ‪,‬ﻭﺍﻹﻀﺎﻓﻲ‬
‫ﻫﻭ ﺍﻻﺒﺘﺩﺍﺀ ﺒﺎﻟﺸﻲﺀ ﺃﻤﺎﻡ ﺍﻟﻤﻘﺼﻭﺩ‪ ,‬ﺒﺤﻴﺙ ﻻﻴﺘﻘﺩﻡ ﻋﻥ ﺫﻟﻙ ﺍﻟﺸﻲﺀ ﺸﻲﺀ ﻤﺎ‪ ,‬ﺴﻭﺍﺀ ﺘﻘﺩﻡ ﻋﻠﻰ ﺫﻟﻙ ﺍﻟﺸﻲﺀ ﺸﻲﺀ ﺁﺨﺭ ﻏﻴﺭ ﺍﻟﻤﻘﺼﻭﺩ ﺃﻡ ﻟﻡ ﻴﺘﻘﺩﻡ ‪.‬‬
‫ﺸﺭﺡ ﺠﻭﻫﺭﺓ ﺍﻟﺘﻭﺤﻴﺩ‪:‬ﺇﺒﺭﺍﻫﻴﻡ ﺍﻟﺒﺎﺠﻭﺭﻱ‪ ,‬ﺘﻨﺴﻴﻕ ﻭﺘﺨﺭﻴﺞ‪:‬ﻤﺤﻤﺩ ﺃﺩﻴﺏ ﺍﻟﻜﻴﻼﻨﻲ‪,‬ﻭﻋﺒﺩ ﺍﻟﻜﺭﻴﻡ ﺘﺘﺎﻥ‪,‬ﻤﺭﺍﺠﻌﺔ ﻭﺘﻘﺩﻴﻡ‪:‬ﻋﺒﺩ ﺍﻟﻜﺭﻴﻡ ﺍﻟﺭﻓﺎﻋـﻲ‪,‬ﺒﺩﻭﻥ‬
‫ﻤﻌﻠﻭﻤﺎﺕ‪ 10:‬ﻭﺠﺎﺀ ﻓﻲ ﺘﻔﺴﻴﺭ ﺍﻷﻟﻭﺴﻲ‪ :‬ﻗﺎل ﺭﺴﻭل ﺍﷲ ‪ ρ‬ﻓﻴﻤﺎ ﺭﻭﺍﻩ ﻋﻨﻪ ﺃﺒﻭ ﻫﺭﻴﺭﺓ ﻭﺃﺨﺭﺠﻪ ﺍﻟﺤﺎﻓﻅ ﻋﺒﺩ ﺍﻟﻘﺎﺩﺭ ﺍﻟﺭﻫﺎﻭﻱ ﻜل ﺃﻤﺭ ﻻ ﻴﺒﺩﺃ ﻓﻴﻪ‬
‫ﺒﺒﺴﻡ ﺍﷲ ﻓﻬﻭ ﺃﺒﻨﺭ‪ .‬ﻭﺍﻟﺒﺎل ﺍﻟﺤﺎل ﻭﺍﻟﺸﺄﻥ ﻓﻤﻌﻨﻰ ﺫﻱ ﺒﺎل ﺸﺭﻴﻑ ﻴﺤﺘﻔل ﺒﻪ ﻭﻴﻬﺘﻡ ﻜﺄﻨﻪ ﺸﻐل ﺍﻟﻘﻠﺏ ﻭﻤﻠﻜﻪ ﺤﺘﻰ ﺼﺎﺭ ﺼﺎﺤﺒﻪ‪ ,‬ﻭﻗﻴل ﺸﺒﻪ ﺍﻷﻤﺭ‬
‫ﺍﻟﻌﻅﻴﻡ ﺒﺫﻱ ﻗﻠﺏ ﻋﻠﻰ ﺴﺒﻴل ﺍﻻﺴﺘﻌﺎﺭﺓ ﺍﻟﻤﻜﻨﻴﺔ ﻭﺍﻟﺘﺨﻴﻠﻴﺔ‪.‬ﻭﻓﻲ ﻫﺫﺍ ﺍﻟﻭﺼﻑ ﻓﺎﺌﺩﺘﺎﻥ ﺇﺤﺩﺍﻫﻤﺎ ﺭﻋﺎﻴﺔ ﺘﻌﻅﻴﻡ ﺍﺴﻡ ﺍﷲ ﺘﻌـﺎﻟﻰ ﻷﻥ ﻴﺒﺘﺩﻯﺀ ﺒﻪ ﻓﻲ‬
‫ﺍﻷﻤﻭﺭ ﺍﻟﻤﻌﺘﺩ ﺒﻬﺎ ‪.‬ﻭﺍﻷﺨﺭﻯ ﺍﻟﺘﻴﺴﻴﺭ ﻋﻠﻰ ﺍﻟﻨﺎﺱ ﻓﻲ ﻤﺤﻘﺭﺍﺕ ﺍﻷﻤﻭﺭ ﻜﺫﺍ ﻗﺎﻟﻭﻩ ﻭﻋﻨﺩﻱ ﺃﻥ ﺍﻷﻅﻬﺭ ﺠﻌل ﺍﻟﻭﺼﻑ ﻟﻠﺘﻌﻤﻴﻡ ﻜﻤﺎ ﻓﻲ ﻗﻭﻟﻪ ﺘﻌﺎﻟﻰ)‬
‫ﻭﻻﻁﺎﺌﺭ ﻴﻁﻴﺭ ﺒﺠﻨﺎﺤﻴﻪ‪ .‬ﺍﻨﻅﺭ ‪:‬ﺭﻭﺡ ﺍﻟﻤﻌﺎﻨﻲ ﻓﻲ ﺘﻔﺴﻴﺭ ﺍﻟﻘﺭﺁﻥ ﺍﻟﻌﻅﻴﻡ ﻭﺍﻟﺴﺒﻊ ﺍﻟﻤﺜﺎﻨﻲ ﻤﺤﻤﻭﺩ ﺍﻷﻟﻭﺴﻲ ‪.‬ﺕ‪1270 :‬ﻨﺸﺭ ‪,‬ﺩﺍﺭ ﺇﺤﻴﺎﺀ ﺍﻟﺘﺭﺍﺙ‬
‫ﺍﻟﻌﺭﺒﻲ‪,‬ﺒﻴﺭﻭﺕ‪.‬ﻟﺒﻨﺎﻥ‪ .‬ﺩ‪/‬ﻁ‪.‬ﺩ‪/‬ﺕ ‪.66/1:‬‬
‫‪ - ( 60‬ﻓﻲ )ﻕ(‪ :‬ﻜﺘﺒﻬﺎ ﺭﺴﻭل ﺍﷲ ﺜﻡ ﺍﺴﺘﺩﺭﻜﻬﺎ ﺍﻟﻨﺎﺴﺦ ﻓﻲ ﺍﻟﻬﺎﻤﺵ ﻭﻜﺘﺏ ﺒﺩﻟﻬﺎ )ﺭﺴﻭﻟﻪ( ﻭﻓﻲ )ﻡ(‪ :‬ﺭﺴﻭل ﺍﷲ‪.‬‬
‫‪ - ( 61‬ﻓﻲ )ﺥ(‪ :‬ﻭ ﻟﻬﺫﺍ‪.‬‬
‫‪ - ( 62‬ﻓﻲ )ﻡ(‪ :‬ﺒﻪ‪.‬‬
‫‪ - ( 63‬ﺍﻟﻔﺭﻕ ﺒﻴﻥ ﺍﻟﻌﻘل ﻭﺍﻟﺫﻫﻥ ﺃﻥ ﺍﻟﺫﻫﻥ ﻫﻭ ﻨﻘﻴﺽ ﺴﻭﺀ ﺍﻟﻔﻬﻡ ﻭﻫﻭ ﻋﺒﺎﺭﺓ ﻋﻥ ﻭﺠﻭﺩ ﺍﻟﺤﻔﻅ ﻟﻤﺎ ﻴﺘﻌﻠﻤﻪ ﺍﻹﻨﺴﺎﻥ ﻭﻻ ﻴﻭﺼﻑ ﺍﷲ ﺒﻪ ﻷﻨﻪ ﻻ‬
‫ﻴﻭﺼﻑ ﺒﺎﻟﺘﻌﻠﻡ‪ ،‬ﺍﻟﻔﺭﻭﻕ ﻓﻲ ﺍﻟﻠﻐﺔ‪ :‬ﻟـ‪ :‬ﺃﺒﻲ ﻫﻼل ﺍﻟﻌﺴﻜﺭﻱ‪ .‬ﺘﺤﻘﻴﻕ‪ :‬ﻟﺠﻨﺔ ﺇﺤﻴﺎﺀ ﺍﻟﺘﺭﺍﺙ‪ ،‬ﺩﺍﺭ ﺍﻷﻓﺎﻕ ﺍﻟﺠﺩﻴﺩﺓ ‪ .‬ﺒﻴﺭﻭﺕ ‪ -‬ﻟﺒﻨﺎﻥ ﻁ‪1981 /5 :‬ﻡ‪،‬‬
‫ﺹ‪77:‬‬
‫‪ - ( 64‬ﻓﻲ )ﻕ( ﻭ)ﻡ(‪ :‬ﺍﻟﺘﺤﻘﻴﻕ‪.‬‬
‫‪ - ( 65‬ﻓﻲ )ﻕ(‪ :‬ﻭﺭﺩﺕ ﻫﻜﺫﺍ )ﻟﻬﺎ ﺒﻘﻭﻟﻪ( ﻭﻓﻲ )ﺥ(‪) :‬ﻋﻠﻴﻬﺎ ﺒﻘﻭﻟﻪ ﻫﺎﺘﻪ(‪.‬‬
‫‪- 52 -‬‬
‫)‪(66‬‬
‫)ﻭﰲ ﺑﻴﺎﻥ ﺍﻟﺘﺸﺒﻴﻪ ﻭ ﰲ ﺑﻴﺎﻥ ﺍﻟﻜﻨﺎﻳﺔ( ‪ ،‬ﻋﻠﻰ ﺳﺒﻴﻞ ﺍﻻﺧﺘـﺼﺎﺭ ﺃﻱ‪ :‬ﻋﻠـﻰ )ﻃﺮﻳـﻖ ﻫـﻲ(‬
‫ﺍﻻﺧﺘﺼﺎﺭ)‪ // .(67‬ﻭﻫﻮ)‪ (68‬ﺗﻘﻠﻴﻞ ﺍﻟﻠﻔﻆ ﻣﻊ ﻛﺜﺮﺓ ﺍﳌﻌﲎ‪ ،‬ﻭ ﻋﻠﻰ ﺳﺒﻴﻞ ﺍﻻﻗﺘـﺼﺎﺭ ﻋﻠـﻰ ﺑﻌـﺾ‬ ‫]و‪[2/‬‬
‫ﺍﻷﻗﺴﺎﻡ‪ ،‬ﻭﻋﻠﻰ ﻣﺬﻫﺐ ﺍﻟﻘﻮﻡ ﺗﻘﺮﻳﺒﺎ ﳌﺒﺘﺪﺉ ‪ ،‬ﺟﻌﻠﺘﻬﺎ ﲢﻔﺔ)‪ (69‬ﺃﻱ ﻫﺪﻳﺔ ﻣﺴﺘﻈﺮﻓﺔ ﻟﻺﺧﻮﺍﻥ‪ ،‬ﲨـﻊ‬
‫ﺃﺥ‪ ،‬ﻭﳚﻤﻊ )ﺃﺥ()‪ (70‬ﺃﻳﻀﺎ ﻋﻠﻰ ﺇﺧﻮﺓ)‪ (71‬ﺇﻻ ﺃﻧﻪ ﺷﺎﻉ ﺍﻹﺧﻮﺍﻥ‪ ،‬ﰲ ﲨﻊ ﺃﺥ ﲟﻌـﲎ ﺍﻟـﺼﺎﺣﺐ‪،‬‬
‫ﻭﺍﻻﺧﻮﺓ ﰲ ﲨﻊ ﺃﺥ ﻣﻦ ﺍﻟﻨﺴﺐ‪ ،‬ﺿﺎﻋﻒ ﺃﻱ ﻛﺜﺮ ﺍﷲ ﱄ ﻭﳍﻢ ﺍﻷﺟﻮﺭ)‪ (72‬ﲨﻊ ﺃﺟﺮ‪ ،‬ﻭﻫﻮ ﻣﻘﺪﺍﺭ‬
‫ﻣﻦ ﺍﳉﺰﺍﺀ‪ ،‬ﰲ ﻧﻈﲑ ﺍﻟﻌﻤﻞ‪ .‬ﻭﺍﻹﺣﺴﺎﻥ‪ ،‬ﻋﻄﻒ ﻋﺎﻡ ﻋﻠﻰ ﺧﺎﺹ‪ ،‬ﻭﻓﻴـﻪ ﺇﺷـﺎﺭﺓ ﺇﱃ ﺃﻥ ﺍﻟﻌﺒـﺪ ﻻ‬
‫ﻳﺴﺘﺤﻖ ﻋﻠﻰ ﺍﷲ ﺗﻌﺎﱃ ﺷﻴﺌﺎ ﰲ ﻧﻈﲑ )ﺍﻟﻌﻤﻞ)‪ (73‬ﻋﻠﻰ ﺃﻧﻪ ﻻ ﻋﻤﻞ)‪ (74‬ﻟﻪ ﰲ ﺍﳊﻘﻴﻘﺔ( )‪ (75‬ﻗﺎﻝ ﺗﻌـﺎﱃ‬
‫)‪(79‬‬
‫)‪ )(76‬ﻭﺍﷲ ﺧﻠﻘﻜﻢ ﻭﻣﺎ ﺗﻌﻤﻠﻮﻥ()‪ (77‬ﻭﻟﻮ ﺳﻠﻢ ﱂ ﻳﻌﺪ ﻋﻠﻴﻪ)‪ (78‬ﺗﻌﺎﱃ ﻣﻨﻪ ﻧﻔﻊ‪ ،‬ﺗﻌﺎﱃ ﺍﷲ ﻋـﻦ‬
‫ﺫﻟﻚ )ﻋﻠﻮﺍ ﻛﺒﲑﺍ( )‪.(80‬‬
‫ﻓﻜﻴﻒ ﻳﺼﺢ ﺍﻟﻘﻮﻝ ﺑﻮﺟﻮﺏ ﺍﻟﺼﻼﺡ‪ ،‬ﺍﻟﺬﻱ ﻣﻨﻪ ﺍﻷﺟﺮ‪.‬‬

‫‪ - ( 66‬ﻓﻲ )ﻕ(‪ :‬ﻤﺎ ﺒﻴﻥ ﺍﻟﻘﻭﺴﻴﻥ ﻭﻀﻊ ﺍﻟﻨﺎﺴﺦ ﺇﺸﺎﺭﺓ ﺜﻡ ﻜﺘﺏ ﻋﻠﻰ ﺍﻟﻬﺎﻤﺵ ﻫﻜﺫﺍ )ﻓﺎﻹﻀﺎﻓﺔ ﺒﻴﺎﻨﻴﺔ ﺃﻭ ﺒﺎﻹﻀﺎﻓﺔ ﺒﻴﺎﻨﻴﺔ ﻭﻨﻅﺭﹰﺍ ﻟﻁﺭﻴﻘﺔ ﺍﻟﻤﻐﺎﺭﺒﺔ‬
‫ﻓﻲ ﺭﺴﻡ ﺍﻟﻔﺎﺀ ﻟﻡ ﺃﺘﻤﻜﻥ ﻤﻥ ﺍﻟﺘﻤﻴﺯ ﺒﻴﻨﻬﺎ ﻭﺒﻴﻥ ﺍﻟﺒﺎﺀ ﺃﻤﺎ )ﻫﻲ( ﻓﻬﻲ ﺴﺎﻗﻁﺔ ﻓﻲ )ﺥ(‪.‬‬
‫‪ - ( 67‬ﺍﻟﻔﺭﻕ ﺒﻴﻥ ﺍﻻﺨﺘﺼﺎﺭ ﻭﺍﻹﻴﺠﺎﺯ ﺃﻥ ﺍﻻﺨﺘﺼﺎﺭ ﻫﻭ ﺇﻟﻘﺎﺅﻙ ﻓﻀﻭل ﺍﻷﻟﻔﺎﻅ ﻤﻥ ﺍﻟﻜﻼﻡ ﺍﻟﻤﺅﻟﻑ ﻤﻥ ﻏﻴﺭ ﺇﺨﻼل ﺒﻤﻌﺎﻨﻴﻪ ﻭﻟﻬﺫﺍ ﻴﻘﻭﻟﻭﻥ ﺍﺨﺘﺼﺭ‬
‫ﻓﻼﻥ ﻜﺘﺏ ﺍﻟﻜﻭﻓﻴﻴﻥ ﺃﻭ ﻏﻴﺭﻫﺎ ﺇﺫﺍ ﺃﻟﻘﻰ ﻓﻀﻭل ﺃﻟﻔﺎﻅﻬﻡ ﻭﺃﺩﻯ ﻤﻌﺎﻨﻴﻬﻡ ﻓﻲ ﺃﻗل ﻤﻤﺎ ﺃﺩﻭﻫﺎ ﻓﻴﻪ ﻤﻥ ﺍﻷﻟﻔﺎﻅ‪ .‬ﻓﺎﻻﺨﺘﺼﺎﺭ ﻴﻜﻭﻥ ﻓﻲ ﻜﻼﻡ ﻗﺩ ﺴﺒﻕ‬
‫ﺤﺩﻭﺜﻪ ﻭﺘﺄﻟﻴﻔﻪ‪ .‬ﻭﺍﻹﻴﺠﺎﺯ ﻫﻭ ﺃﻥ ﻴﺒﻨﻰ ﺍﻟﻜﻼﻡ ﻋﻠﻰ ﻗﻠﺔ ﺍﻟﻠﻔﻅ ﻭﻜﺜﺭﺓ ﺍﻟﻤﻌﺎﻨﻲ ﻴﻘﺎل‪ .‬ﺃﻭﺠﺯ ﺍﻟﺭﺠل ﻓﻲ ﻜﻼﻤﻪ ﺇﺫﺍ ﺠﻌﻠﻪ ﻋﻠﻰ ﻫﺫﺍ ﺍﻟﺴﺒﻴل ﻭﺍﺨﺘﺼﺭ‬
‫ﻜﻼﻤﻪ ﺃﻭ ﻜﻼﻡ ﻏﻴﺭﻩ ﺇﺫﺍ ﻗﺼﺭﻩ ﺒﻌﺩ ﺇﻁﺎﻟﺔ ﻓﺈﻥ ﺍﺴﺘﻌﻤل ﺃﺤﺩﻫﻤﺎ ﻤﻭﻀﻊ ﺍﻷﺨﺭ ﻓﻠﺘﻘﺎﺭﺏ ﻤﻌﻨﻴﻴﻬﻤﺎ‪ .‬ﺃﺒﻭ ﻫﻼل ﺍﻟﻌﺴﻜﺭﻱ‪ :‬ﺍﻟﻔﺭﻭﻕ ﻓﻲ ﺍﻟﻠﻐﺔ ﺹ‪:‬‬
‫‪.31‬‬
‫‪ - ( 68‬ﻓﻲ )ﻡ(‪ :‬ﻭﻫﻲ‪.‬‬
‫‪ - ( 69‬ﺍﻟﺘﺤﻔﺔ‪ :‬ﺍﻟﻁﺭﻓﺔ ﻤﻥ ﺍﻟﻔﺎﻜﻬﺔ ﻭﻏﻴﺭﻫﺎ ﻤﻥ ﺍﻟﺭﻴﺎﺤﻴﻥ‪ .‬ﻭﺍﻟﺘﺤﻔﺔ‪ :‬ﻤﺎ ﺃﺘﺤﻔﺕ ﺒﻪ ﺍﻟﺭﺠل ﻤﻥ ﺍﻟﺒﺭ ﻭﺍﻟﻠﻁﻑ ﻭ ﺍﻟﻨﻐﺹ ﻭﻜﺫﻟﻙ ﺍﻟﺘﺤﻔﺔ‪ :‬ﺒﻔﺘﺢ ﺍﻟﺤﺎﺀ‬
‫ﻭﺍﻟﺠﻤﻊ ﺘﺤﻑ ﻭﻗﺩ ﺃﺘﺤﻔﻪ ﺒﻬﺎ‪.‬‬
‫‪ - ( 70‬ﻓﻲ )ﻡ(‪ :‬ﺃﺥ ﻭﻫﻲ ﻓﻲ ﺍﻷﺼل ﺴﺎﻗﻁﺔ ﻭ ﺍﻹﻀﺎﻓﺔ ﻤﻥ )ﻡ(‪.‬‬
‫‪ ( - ( 71‬ﺍﻟﺘﻬﺫﻴﺏ‪ :‬ﺍﻷﺥ ﺍﻟﻭﺍﺤﺩ ﻭﺍﻻﺜﻨﺎﻥ ﺃﺨﻭﺍﻥ ﻭﺍﻟﺠﻤﻊ ﺇﺨﻭﺍﻥ ﻭﺇﺨﻭﺓ‪ .‬ﺍﻷﺥ ﺃﺼﻠﻪ ﺃﺨﻭ ﺒﺎﻟﺘﺤﺭﻴﻙ ﺒﺄﻨﻙ ﻨﻘﻭل ﻓﻲ ﺍﻟﺴﻨﻴﺔ ﺃﺨﻭﺍﻥ ﻭﻴﺠﻤﻊ ﺃﻴﻀﹰﺎ ﻋﻠﻰ‬
‫ﺍﺨﻭﺍﻥ ﻭﻋﻠﻰ ﺇﺨﻭﺓ ﻭﺃﺨﻭﺕ ﻋﻥ ﺍﻟﻔﺭﺍﺀ ﻭﻗﺩ ﻴﺘﺴﻊ ﻓﻴﻪ ﻓﻴﺭﺍﺩ ﺒﻪ ﺍﻻﺜﻨﺎﻥ ﻜﻘﻭﻟﻪ ﺘﻌﺎﻟﻲ‪ :‬ﻓﺈﻥ ﻜﺎﻥ ﻟﻪ ﺇﺨﻭﺓ‪ ،‬ﻭﺃﻜﺜﺭ ﻤﺎ ﻴﺴﺘﻌﻤل ﺍﻹﺨﻭﺍﻥ ﻓﻲ‬
‫ﺍﻷﺼﺩﻗﺎﺀ ﻭﺍﻻﺨﻭﺓ ﻓﻲ ﺍﻟﻭﻻﺩﺓ ﻭﻻ ﻴﻘﺎل ﺃﺨﻭﻥ ﻭﻻ ﺃﺒﻭ ﺇﻻ ﻤﻀﺎﻓﹰﺎ‪ .‬ﺘﻘﻭل‪) :‬ﻫﺫﺍ ﺃﺒﻭﻙ ﻭﺃﺨﻭﻙ ﻭﻤﺭﺭﺕ ﺒﺄﺒﻴﻙ ﻭﺃﺨﻴﻙ ﻭﺭﺃﻴﺕ ﺃﺒﺎﻙ ﻭﺃﺨﺎﻙ( ﺃﻨﻅﺭ‬
‫)ﻤﺎﺩﺓ ﺃﺥ( ﻓﻲ ﻟﺴﺎﻥ ﺍﻟﻌﺭﺏ‪ ،‬ﻟـ‪ :‬ﺍﻟﻌﻼﻤﺔ ﺃﺒﻲ ﺍﻟﻔﻀل ﺠﻤﺎل ﺍﻟﺩﻴﻥ ﻤﺤﻤﺩ ﺒﻡ ﻤﻜﺭﻡ ﺒﻥ ﻤﻨﻅﻭﺭ ﺍﻹﻓﺭﻴﻘﻲ ﺍﻟﻤﺼﺭﻱ‪ ،‬ﺕ‪711 :‬ﻫـ‪ ، ،‬ﻨﺸﺭ‪ :‬ﺩﺍﺭ‬
‫ﺼﺎﺩﺭ‪ ،‬ﺒﻴﺭﻭﺕ – ﻟﺒﻨﺎﻥ‪ ،‬ﻁ‪1990/1 :‬ﻡ‪.‬‬
‫‪ -( 72‬ﺍﻷﺠﺭ‪:‬ﺍﻟﺜﻭﺍﺏ ﺘﻘﻭل ﺃﺠﺭﻩ ﺍﷲ ﻴﺄﺠﺭﻩ ﻭﻴﺄﺠﺭﻩ ﺃﺠﺭﹰﺍ‪.‬ﻭﻜﺫﻟﻙ ﺁﺠﺎﺭﻩ ﺍﷲ ﺇﻴﺠﺎﺭﹰﺍ‪.‬ﻭﺍﻷﺠﺭﺓ‪:‬ﺍﻟﻜﺭﺍﺀ)ﺃﻨﻅﺭ ﺍﻟﻠﺴﺎﻥ ﻤﺎﺩﺓ ﺃﺠﺭ(‬
‫‪ - ( 73‬ﻓﻲ )ﺥ(‪ :‬ﻋﻤﻠﻪ‪.‬‬
‫‪ - ( 74‬ﻓﻲ )ﺥ(‪ :‬ﻜﺘﺒﻬﺎ ﺍﻟﻨﺎﺴﺦ )ﻻ ﻴﻌﻤل( ﺜﻡ ﺘﺭﺍﺠﻊ ﻭﻭﻀﻊ ﻓﻭﻗﻬﺎ )ﻋﻤل(‪.‬‬
‫‪ - ( 75‬ﻓﻲ )ﺥ(‪ :‬ﻤﺎ ﺒﻴﻥ ﺍﻟﻤﻌﻘﻭﻓﺘﻴﻥ ﻭﺭﺩ ﻫﻜﺫﺍ )ﻋﻤل ﻻ ﻤﺤل ﻟﻪ ﻓﻲ ﺍﻟﺤﻘﻴﻘﺔ(‪ .‬ﻜﻤﺎ ﻜﺘﺏ ﺒﻨﻔﺱ ﺍﻟﺨﻁ ﻓﻲ ﺍﻟﻬﺎﻤﺵ ﻗﺼﺩ ﺍﻟﺘﺼﺤﻴﺢ ﻭﻨﻅﺭﹰﺍ ﻟﻌﺩﻡ‬
‫ﺘﺒﻴﻥ ﺍﻟﻜﺘﺎﺒﺔ ﻟﻡ ﺃﺴﺘﻁﻊ ﺇﺜﺒﺎﺘﻬﺎ ﻫﻨﺎ‪.‬‬
‫‪ - ( 76‬ﺘﺭﺘﻴﺏ ﺍﻗﺘﻀﺎﻩ ﺍﻟﺴﻴﺎﻕ‬
‫‪ - ( 77‬ﺴﻭﺭﺓ ‪ :‬ﺍﻟﺼﻔﺎﺕ‪ ،‬ﺍﻵﻴﺔ‪.96 :‬‬
‫‪ - ( 78‬ﻓﻲ )ﺥ(‪ :‬ﺇﻟﻴﻪ‪.‬‬
‫‪ - ( 79‬ﻓﻲ )ﻡ(‪ :‬ﻋﻠﻰ‪.‬‬
‫‪ - ( 80‬ﻓﻲ )ﺥ(‪ :‬ﻏﻴﺭ ﻤﻭﺠﻭﺩﺓ ﻓﻲ ﺍﻷﺼل ﻭ ﺍﻹﻀﺎﻓﺔ ﻤﻥ )ﺥ(‪.‬‬
‫‪- 53 -‬‬
 ‫ﺍﻋﻠﻢ ﺃﻣﺮ ﺑﺎﻟﻌﻠﻢ‪ ،‬ﻟﻠﺤﺚ )‪ (81‬ﻋﻠﻰ ﻣﻌﺮﻓﺔ ﻣﺎ ﻳﺄﰐ‪.‬‬
‫ﺇﻥ ﺍ‪‬ﺎﺯ)‪ (82‬ﻫﻮ ﻟﻔﻆ ﻣﺸﺘﺮﻙ ﺑﲔ ﺍ‪‬ﺎﺯ ﺍﻟﻌﻘﻠﻲ)‪ (83‬ﻭﺍﻟﻠﻐﻮﻱ‪ ،‬ﻣﻔﺮﺩﹰﺍ ﻛﺎﻥ ﺃﻭ ﻣﺮﻛﺒﺎ‪ ،‬ﻭﻫﻮ ﰲ‬
‫ﺍﻷﺻﻞ ﻣﻔﻌﻞ‪ ،‬ﻓﺄﺻﻠﻪ ﳎﻮﺯ ﻧﻘﻠﺖ ﺣﺮﻛﺔ)‪ (84‬ﺍﻟﻌﲔ ﺇﱃ ﺍﻟﻔﺎﺀ ﻗﺒﻠﻬﺎ‪ ،‬ﰒ ﻗﻠﺒﺖ ﺃﻟﻔﺎ‪ ،‬ﻛﺎﳌﻘﺎﻝ‪ ،‬ﻣﻦ ﺟﺎﺯ‬
‫ﺍﳌﻜﺎﻥ ﳚﻮﺯﻩ‪ ،‬ﺇﺫﺍ ﺗﻌﺪﺍﻩ‪ ،‬ﻓﻬﻮ ﻣﺼﺪﺭ ﻣﻴﻤﻲ ﻣﻌﻨﺎﻩ ﺍﻟﺘﻌﺪﻳﺔ‪ ،‬ﲟﻌﲎ ﺍﻻﻧﺘﻘﺎﻝ ﻭﻫﻮ ‪‬ﺬﺍ ﺍﳌﻌﲎ‪ ،‬ﻳﻌﻢ ﺍﻟﻌﻘﻠﻲ‬
‫ﻭﻏﲑﻩ‪ ،‬ﻓﻴﻜﻮﻥ ﺑﺎﻗﻴﺎ ﻋﻠﻰ ﻣﺼﺪﺭﻳﺘﻪ‪ ،‬ﻭﻳﻄﻠﻖ ﻋﻠﻰ ﺍﻟﻜﻠﻤﺔ ﺍﳉﺎﺋﺰﺓ ﺃﻭ ﺍ‪‬ﻮﺯ ‪‬ﺎ‪ ،‬ﻓﻴﻜﻮﻥ ﺍﳌﺮﺍﺩ ﻣﻨﻪ‪ ،‬ﺍﺳﻢ‬
‫ﺍﻟﻔﺎﻋﻞ ﺃﻭ ﺍﺳﻢ ﺍﳌﻔﻌﻮﻝ‪ ،‬ﻭﻫﺬﺍ ﺍﻹﻃﻼﻕ ﻫﻮ ﺍﻟﺸﺎﺋﻊ‪ ،‬ﺍﳌﺘﺒﺎﺩﺭ ﻋﻨﺪ ﺍﻹﻃﻼﻕ ‪ //‬ﺇﻣﺎ ﺃﻥ ﻳﻜﻮﻥ ﰲ‬ ‫]ظ‪[2/‬‬

‫ﺍﻹﺳﻨﺎﺩ ﻭﻫﻮ ﺿﻢ ﻛﻠﻤﺔ ﻭﻟﻮ ﺣﻜﻤﺎ‪ ،‬ﺇﱃ ﺃﺧﺮﻯ ﻋﻠﻰ ﻭﺟﻪ ﻳﻔﻴﺪ‪ ،‬ﻭﻗﻮﻟﻨﺎ ﻭﻟﻮ ﺣﻜﻤﹰﺎ ﻹﺩﺧﺎﻝ ﻣﺎ‬
‫ﻳﺆ ‪‬ﻭﻝ)‪ (85‬ﺑﺎﻟﻜﻠﻤﺔ ﻭﻟﻮ ﲨﻠﺔ‪.‬‬
‫ﳓﻮ‪ ..‬ﺯﻳﺪ ﻗﺎﻡ ﺃﺑﻮﻩ ﻭﺇﻣﺎ ﺃﻥ ﻳﻜﻮﻥ ﰲ ﺍﻟﻜﻠﻤﺔ‪ ،‬ﻭﻫﻲ ﻗﻮﻝ ﻣﻔﺮﺩ)‪ (86‬ﺍﲰﹰﺎ ﻛﺎﻧﺖ)‪ (87‬ﺃﻭ ﻓﻌﻼ ﺃﻭ‬
‫ﺣﺮﻓﺎ ‪.‬‬

‫‪ - ( 81‬ﻓﻲ )ﻕ(‪ :‬ﻜﺘﺏ ﺍﻟﻨﺎﺴﺦ ﻓﻲ ﺍﻟﺒﺩﺍﻴﺔ )ﻭﺍﻟﺤﺙ ﻋﻠﻰ ﻤﺎ ﻴﺄﺘﻲ( ﺜﻡ ﺭﺍﺡ ﻭﺸﻁﺏ ﻋﻠﻰ ﻤﺎ ﻴﺄﺘﻲ ﻭﺘﺭﻙ )ﺍﻟﺤﺙ(‪.‬‬
‫ﻻ(‪ .‬ﺤﻜﻰ ﺫﻟﻙ ﺍﻟﺤﺎﺘﻤﻲ‪،‬‬ ‫‪ - (82‬ﻤﻌﻨﻰ ﺍﻟﻤﺠﺎﺯ‪ :‬ﻭ ﻤﻌﻨﻰ ﺍﻟﻤﺠﺎﺯ ﻁﺭﻴﻕ ﺍﻟﻘﻭل ﻭﻤﺄﺨﺫﻩ‪ ،‬ﻭﻫﻭ ﻤﺼﺩﺭ )ﺠﺯﺕ ﻤﺠﺎﺯﹰﺍ( ﻜﻤﺎ ﺘﻘﻭل )ﻗﻤﺕ ﻤﻘﺎﻤﹰﺎ ﻭﻗﻠﺕ ﻤﻘﺎ ﹰ‬
‫ﻭﻤﻥ ﻜﻼﻡ ﻋﺒﺩ ﺍﷲ ﺒﻥ ﻤﺴﻠﻡ ﺒﻥ ﻗﺘﻴﺒﺔ ﻓﻲ ﺍﻟﻤﺠﺎﺯ ﻗﺎل‪ :‬ﻟﻭ ﻜﺎﻥ ﺍﻟﻤﺠﺎﺯ ﻜﺫﺒﹰﺎ ﻟﻜﺎﻥ ﺃﻜﺜﺭ ﻜﻼﻤﻨﺎ ﺒﺎﻁﻼﹰ‪ ،‬ﻷﻨﺎ ﻨﻘﻭل ﻨﺒﺕ ﺍﻟﺒﻘل‪ ،‬ﻭﻁﺎﻟﺕ ﺍﻟﺸﺠﺭﺓ‬
‫ﻭﺃﻴﻨﻌﺕ ﺍﻟﺜﻤﺭﺓ‪ ،‬ﻭﺃﻗﺎﻡ ﺍﻟﺠﺒل ﻭﺭﺨﺹ ﺍﻟﺴﻌﺭ ﻭﻨﻘﻭل ﻜﺎﻥ ﻫﺫﺍ ﺍﻟﻔﻌل ﻤﻨﻙ ﻓﻲ ﻭﻗﺕ ﻜﺫﺍ‪ .‬ﻭﺍﻟﻔﻌل ﻟﻡ ﻴﻜﻥ ﻭﺇﻨﻤﺎ ﻴﻜﻭﻥ ﻭﺘﻘﻭل‪ :‬ﻜﺎﻥ ﺍﷲ‪ ،‬ﻭﻜﺎﻥ‬
‫ﺒﻤﻌﻨﻰ ﺤﺩﺙ‪ ،‬ﻭﺍﷲ ﻗﺒل ﻜل ﺸﻲﺀ‪ ،‬ﻭﻗﺎل ﻓﻲ ﻗﻭل ﺍﷲ ﻋﺯ ﻭﺠل )ﻓﻭﺠﺩ ﻓﻴﻬﺎ ﺠﺩﺍﺭﹰﺍ ﻴﺭﻴﺩ ﺃﻥ ﻴﻨﻘﺽ ﻓﺄﻗﺎﻤﻪ( ﺍﻟﻜﻬﻑ‪ .77،‬ﻟﻭ ﻗﻠﻨﺎ ﻟﻤﻨﻜﺭ ﻫﺫﺍ ﻜﻴﻑ‬
‫ﺘﻘﻭل ﻓﻲ ﺠﺩﺍﺭ ﺭﺃﻴﺘﻪ ﻋﻠﻰ ﺸﻔﺎ ﺍﻨﻬﻴﺎﺭ؟‪ .‬ﻟﻡ ﻴﺠﺩ ﺒﺩﹰﺍ ﻤﻥ ﺃﻥ ﻴﻘﻭل‪ :‬ﻴﻬﻡ ﺃﻥ ﻴﻨﻘﺽ‪ ،‬ﺃﻭ ﻴﻜﺎﺩ‪ ،‬ﺃﻭ ﻴﻘﺎﺭﺏ ﻓﺈﻥ ﻓﻌل ﻓﻘﺩ ﺠﻌﻠﻪ ﻓﺎﻋﻼﹰ‪ ،‬ﻭﻻ ﺃﺤﺴﺒﻪ‬
‫ﻴﺼل ﺇﻟﻰ ﻫﺫﺍ ﺍﻟﻤﻌﻨﻰ ﻓﻲ ﺸﻲﺀ ﻤﻥ ﺃﻟﺴﻨﺔ ﺍﻟﻌﺠﻡ ﺇﻻ ﺒﻤﺜل ﻫﺫﻩ ﺍﻷﻟﻔﺎﻅ‪ .‬ﺍﻟﻤﺠﺎﺯ ﺃﺒﻠﻎ ﻤﻥ ﺍﻟﺤﻘﻴﻘﺔ‪ :‬ﻭﺍﻟﻤﺠﺎﺯ ﻓﻲ ﻜﺜﻴﺭ ﻤﻥ ﺍﻟﻜﻼﻡ ﺃﺒﻠﻎ ﻤﻥ ﺍﻟﺤﻘﻴﻘﺔ‪،‬‬
‫ﻻ ﻤﺤﻀﹰﺎ ﻓﻬﻭ ﻤﺠﺎﺯ‪ .‬ﻻﺤﺘﻤﺎﻟﻪ ﻭﺠﻭﻩ ﺍﻟﺘﺄﻭﻴل ﻓﺼﺎﺭ‬ ‫ﻭﺃﺤﺴﻥ ﻤﻭﻗﻊ ﻓﻲ ﺍﻟﻘﻠﻭﺏ ﻭﺍﻷﺴﻤﺎﻉ‪ ،‬ﻭﻤﺎ ﻋﺩﻯ ﺍﻟﺤﻘﺎﺌﻕ ﻤﻥ ﺠﻤﻴﻊ ﺍﻷﻟﻔﺎﻅ ﺜﻡ ﻟﻡ ﻴﻜﻥ ﻤﺤﺎ ﹰ‬
‫ﺍﻟﺘﺸﺒﻴﻪ ﻭﺍﻻﺴﺘﻌﺎﺭﺓ ﻭﻏﻴﺭﻫﻤﺎ ﻤﻥ ﻤﺤﺎﺴﻥ ﺍﻟﻜﻼﻡ ﺩﺍﺨﻠﺔ ﺘﺤﺕ ﺍﻟﻤﺠﺎﺯ‪ ،‬ﺇﻻ ﺃﻨﻬﻡ ﺨﺼﻭﺍ ﺒﻪ – ﺃﻋﻨﻲ ﻋﻠﻡ ﺍﻟﻤﺠﺎﺯ – ﺒﺎﺏ ﺒﻌﻴﻨﻪ‪ ،‬ﻭﺫﻟﻙ ﺃﻥ ﻴﺴﻤﻰ‬
‫ﺍﻟﺸﻲﺀ ﺒﺎﺴﻡ ﻤﺎ ﻗﺎﺭﺒﻪ ﺃﻭ ﻜﺎﻥ ﻤﻨﻪ ﺴﺒﺏ‪ .‬ﻜﻤﺎ ﻗﺎل ﺠﺭﻴﺭ ﺒﻥ ﻋﻁﻴﺔ‪:‬‬
‫ﺇﺫﺍ ﺴﻘﻁ ﺍﻟﺴﻤﺎﺀ ﺒﺄﺭﺽ ﻗﻭﻡ * ﺭﻋﻴﻨﺎﻩ ﻭﺇﻥ ﻜﺎﻨﻭﺍ ﻏﻀﺎﺒ ﹰﺎ‪.‬‬
‫ﺃﺭﺍﺩ ﺍﻟﻤﻁﺭ ﻟﻘﺭﺒﻪ ﻤﻥ ﺍﻟﺴﻤﺎﺀ‪ ،‬ﻭﻴﺠﻭﺯ ﺃﻥ ﺘﺭﻴﺩ ﺒﺎﻟﺴﻤﺎﺀ ﺍﻟﺴﺤﺎﺏ‪ ،‬ﻷﻥ ﻜل ﻤﺎ ﺃﻀﻠﻙ ﻓﻬﻭ ﺴﻤﺎ ًﺀ ﻭﻗﺎل‪) :‬ﺴﻘﻁ( ﻴﺭﻴﺩ‬
‫ﺴﻘﻭﻁ ﺍﻟﻤﻁﺭ ﺍﻟﺫﻱ ﻓﻴﻪ‪ ،‬ﻭﻗﺎل‪) :‬ﺭﻋﻴﻨﺎﻩ( ﻭﺍﻟﻤﻁﺭ ﻻ ﻴﺭﻋﻰ‪ ،‬ﻭﻟﻜﻥ ﺃﺭﺍﺩ ﺍﻟﻨﺒﺕ ﺍﻟﺫﻱ ﻴﻜﻭﻥ ﻋﻨﻪ‪ ،‬ﻓﻬﺫﺍ ﻜﻠﻪ ﻤﺠﺎﺯ ﻭﻜﺫﻟﻙ‬
‫ﻗﻭل ﺍﻟﻌﺘﺎﺒﻲ‪ :‬ﻴـﺎ ﻟﻴﻠﺔ ﻟﻲ ﺒﺠﻭ‪‬ﺍﺭﻴﻥ ﺴﺎﻫﺭﺓ * ﺤﺘﻰ ﻴﻜﻠﻡ ﻓﻲ ﺍﻟﺼﺒﺢ ﺍﻟﻌﺼﺎﻓﻴﺭ)‪.(02‬‬
‫ﻓﺠﻌل ﺍﻟﻠﻴﻠﺔ ﺴﺎﻫﺭﺓ ﻋﻠﻰ ﺍﻟﻤﺠﺎﺯ‪ ،‬ﻭﺇﻨﻤﺎ ﻴﺴﻬﺭ ﻓﻴﻬﺎ‪ ،‬ﻭﺠﻌل ﻟﻠﻌﺼﺎﻓﻴﺭ ﻜﻼﻤﹰﺎ‪ .‬ﻭﻻ ﻜﻼﻡ ﻟﻬﺎ ﻋﻠﻰ ﺍﻟﺤﻘﻴﻘﺔ‪ (...‬ﺍﻟﻌﻤﺩﺓ ﻓﻲ ﻤﺤﺎﺴﻥ ﺍﻟﺸﻌﺭ ﻭﺁﺩﺍﺒﻪ‪ .،‬ﻟـ‪:‬‬
‫ﺃﺒﻲ ﻋﻠﻲ ﺍﻟﺤﺴﻥ ﺒﻥ ﺭﺸﻴﻕ ﺍﻟﻘﻴﺭﻭﺍﻨﻲ ﺘﻘﺩﻴﻡ ﻭﺸﺭﺡ ﻭﻓﻬﺭﺴﺔ ‪ :‬ﺩ‪ :‬ﺼﺎﻟﺢ ﺍﻟـﺩﻴﻥ ﺍﻟﻬـﻭﺍﺭﻱ ﻭ ﺃ‪ :‬ﻫـﺩﻯ ﻋـﻭﺩﺓ‪ ،‬ﺩﺍﺭ ﻭﻤﻜﺘﺒـﺔ ﺍﻟﻬـﻼل‪ ،‬ﻁ‪/1 :‬‬
‫‪1416‬ﻫـ‪1996/‬ﻡ‪ .‬ﺹ‪. 422/421 :‬‬
‫‪ - ( 83‬ﺍﻟﻤﺠﺎﺯ ﺍﻟﻌﻘﻠﻲ ﻋﺭﻓﻪ ﺍﻟﺴﻜﺎﻜﻲ )ﺒﺄﻨﻪ ﺍﻟﻜﻼﻡ ﺍﻟﻤﻔﺎﺩ ﺒﻪ ﺨﻼﻑ ﻤﺎ ﻋﻨﺩ ﺍﻟﻤﺘﻜﻠﻡ ﻤﻥ ﺍﻟﺤﻜﻡ ﻓﻴﻪ ﺍﻟﻀﺭﺏ ﻤﻥ ﺍﻟﺘﺄﻭﻴل ﺇﻓﺎﺩﺓ ﻟﻠﺨﻼﻑ ﻻ ﺒﻭﺍﺴﻁﺔ‬
‫ﻭﻭﻀﻊ ﻜﻘﻭﻟﻙ‪ :‬ﺃﻨﺒﺕ ﺍﻟﺭﺒﻴﻊ ﺍﻟﺒﻘل‪ ،‬ﻭﺸﻔﻰ ﺍﻟﻤﺭﻴﺽ ﻭﻜﺴﺎ ﺍﻟﺨﻠﻴﻔﺔ ﺍﻟﻜﻌﺒﺔ ﻭﻫﺯﻡ ﺍﻷﻤﻴﺭ ﺍﻟﺠﻨﺩ ﻭﺒﻨﻰ ﺍﻟﻭﺯﻴﺭ ﺍﻟﻘﺼﺭ(ﺃﻨﻅﺭ ﻤﻔﺘﺎﺡ ﺍﻟﻌﻠﻭﻡ‪ ، :‬ﻟـ‪:‬‬
‫ﺃﺒﻲ ﻴﻌﻘﻭﺏ ﻴﻭﺴﻑ ﻤﺤﻤﺩ ﺒﻥ ﻋﻠﻲ ﺍﻟﺴﻜﺎﻜﻲ‪ ،‬ﺘﺤﻘﻴﻕ‪ :‬ﺩ‪ :‬ﻋﺒﺩ ﺍﻟﺤﻤﻴﺩ ﻫﻨﺩﺍﻭﻱ‪ ،‬ﺩﺍﺭ ﺍﻟﻨﺸﺭ‪ ،‬ﻤﻨﺸﻭﺭﺍﺕ ﻤﺤﻤﺩ ﻋﻠﻲ ﺒﻴﻀﻭﻥ )ﺩﺍﺭ ﺍﻟﻜﺘﺏ ﺍﻟﻌﻠﻤﻴﺔ(‬
‫ﻁ‪1420 /1 :‬ﻫـ‪2000/‬ﻡ‪ .‬ﺹ‪. 208:‬‬
‫‪ - ( 84‬ﻓﻲ )ﻤﺦ( ﻜﺘﺒﻬﺎ ﻫﻜﺫﺍ )ﺤﺭﻜﺕ(‪.‬‬
‫‪ - ( 85‬ﻓﻲ )ﻤﺦ(ﻤﺎ ﻴﻭل‪.‬‬
‫‪ - ( 86‬ﻓﻲ )ﺥ(‪ :‬ﻤﻔﺭﺩﹰﺍ‪.‬‬
‫‪ - ( 87‬ﻓﻲ )ﻡ(‪ :‬ﻜﺎﻥ‪.‬‬
‫‪- 54 -‬‬
 ‫)‪(88‬‬
‫ﻭﺇﻣﺎ ﺃﻥ ﻳﻜﻮﻥ ﰲ ﺍﳌﺮﻛﺐ‪ ،‬ﻳﻌﲏ )ﺍﻻﺳﻨﺎﺩﻱ(‬
‫)‪(89‬‬
‫ﻓﺎ‪‬ﺎﺯ ﰲ ﺍﻹﺳﻨﺎﺩ‪ ،‬ﺧﱪﻳﹰﺎ ﻛﺎﻥ ﺃﻭ ﺇﻧﺸﺎﺋﻴﹰﺎ‪ ،‬ﻫﻮ ﺇﺳﻨﺎﺩ ﺍﻟﻔﻌﻞ ﺃﻭ ﺍﺳﻨﺎﺩ ﻣﺎ )ﻓﻴﻪ(‬
‫ﻣﻌﻨﺎﻩ‪ .‬ﺃﻱ ﻣﻌﲎ ﺍﻟﻔﻌﻞ )ﻏﲑ()‪ (90‬ﺍﻷﺻﻠﻲ‪ ،‬ﻭﻫﻮ ﺍﳊﺪﺙ ﻷﻧﻪ ﻫﻮ ﺍﻟﺬﻱ ﺩﻝ ﻋﻠﻴﻪ ﺟﻮﻫﺮ ﺍﻟﻠﻔﻆ‪،‬‬
‫ﺩﻭﻥ ﺍﻟﺰﻣﺎﻥ ﻭﺫﻟﻚ ﻛﺎﳌﺼﺪﺭ‪ ،‬ﻭﺍﺳﻢ ﺍﻟﻔﺎﻋﻞ‪ ،‬ﻭﺍﺳﻢ ﺍﳌﻔﻌﻮﻝ‪ ،‬ﻭﺍﻟﺼﻔﺔ ﺍﳌﺸﺒﻬﺔ‪ ،‬ﻭﺍﺳﻢ ﺍﻟﺘﻔﻀﻴﻞ‪،‬‬
‫ﻭﺍﻟﻈﺮﻑ‪ ،‬ﻭﺍﳉﺎﺭ ﻭﺍ‪‬ﺮﻭﺭ ﺇﱃ ﻏﲑ ﻣﺎ‪ .‬ﺃﻱ‪ :‬ﺇﱃ ﻏﲑ ﺷﻲﺀ‪.‬‬
‫)‪(91‬‬
‫ﺇﱃ ﻏﲑ ﻣﺎ ﺣﻘﻪ ﺃﻥ ﻳﺴﻨﺪ‬ ‫ﻫﻮ ﺃﻱ ﺍﻟﻔﻌﻞ ﺃﻭ ﻣﺎ ﰲ ﻣﻌﻨﺎﻩ‪ ،‬ﻟﻪ ﺃﻱ ﻟﺬﻟﻚ ﺍﻟﺸﻲﺀ )ﺃﻱ(‬
‫)ﻟﻪ()‪ (92‬ﳌﻼﺑﺴﺔ‪ .‬ﻣﺘﻌﻠﻖ ﺑﺈﺳﻨﺎﺩ ﺃﻱ ﺇﺳﻨﺎﺩ ﻣﺎ ﺫﻛﺮ ﻷﺟﻞ ﻣﻼﺑﺴﺔ ﺃﻱ ﺗﻌﻠﻖ‪.‬‬
‫ﺑﲔ ﺍﳌﺴﻨﺪ ﻭﺫﻟﻚ ﺍﻟﻐﲑ‪ ،‬ﺍﻟﺬﻱ ﺃﺳﻨﺪ ﺇﻟﻴﻪ ﻳﺸﺎﺑﻪ ﺗﻌﻠﻘﻪ ﲟﺎ ﻫﻮ ﻟﻪ‪ ،‬ﰲ ﻣﻄﻠﻖ ﺍﻟﺘﻌﻠﻖ ﻳﻌﲏ ﺃﻥ ﺍﻟﻔﻌﻞ‬
‫ﺃﻭ ﻣﺎ )ﻓﻴﻪ()‪ (93‬ﻣﻌﻨﺎﻩ ﺍﳌﺒﲏ ﻟﻠﻔﺎﻋﻞ ﺣﻘﻪ ﺃﻥ ﻳﺴﻨﺪ ﺇﱃ )ﺍﻟﻔﺎﻋﻞ()‪ (94‬ﺍﻟﺬﻱ ﻗﺎﻡ ﺑﻪ ﺍﻟﻔﻌﻞ‪ ،‬ﻭﺍﺗﺼﻒ‬
‫)ﻫﻮ()‪ (95‬ﺑﻪ ﻋﻨﺪ ﺍﳌﺘﻜﻠﻢ ﰲ ﺍﻟﻈﺎﻫﺮ‪.‬‬
‫ﻓﺈﺫﺍ ﺍﺳﻨﺪ ﺇﱃ ﻏﲑ ﺍﻟﻔﺎﻋﻞ‪ ،‬ﻣﻦ ﻣﻔﻌﻮﻝ ﺃﻭ ﻣﺼﺪﺭ ﺃﻭ ﻇﺮﻑ‪ ،‬ﻟﻜﻮﻧﻪ ﻣﻼﺑﺴﹰﺎ ‪ //‬ﻟـﻪ‪ .‬ﻳﻜـﻮﻥ‬ ‫]و‪[3/‬‬

‫)ﺇﺳﻨﺎﺩ()‪ (96‬ﺫﻟﻚ ﺍﻟﻔﻌﻞ‪ ،‬ﻟﺬﻟﻚ)‪ (97‬ﺍﻟﻐﲑ ﻟﻠﻤﻼﺑﺴﺔ ﳎﺎﺯﹰﺍ‪ ،‬ﻭﻛﺬﺍ ﺍﻟﻔﻌﻞ ﺍﳌﺒﲏ ﻟﻠﻤﻔﻌﻮﻝ‪ ،‬ﺣﻘﻪ ﺃﻥ ﻳﺴﻨﺪ‬
‫)ﻟﻠﻤﻔﻌﻮﻝ ﺑﻪ( ‪98‬ﺃﻭ ﻣﺎ ﺟﺮﻯ ﳎﺮﺍﻩ‪ ،‬ﻓﺈﺫﺍ ﺃﺳﻨﺪ ﺇﱃ )ﻏﲑﻩ( )‪ (99‬ﻛﺎﻟﻔﺎﻋﻞ ﻟﺸﺒﻬﻪ ﺑﻪ ﰲ ﺍﳌﻼﺑﺴﺔ‪.‬‬
‫ﻳﻜﻮﻥ ﺍﻹﺳﻨﺎﺩ ﳎﺎﺯﺍ)‪ (100‬ﻣﻊ ﻗﺮﻳﻨﺔ ﻣﺎﻧﻌﺔ‪ ،‬ﺃﻱ ﺻﺎﺭﻓﺔ‪) ،‬ﻣﻦ( )‪ (101‬ﺇﺭﺍﺩﺓ ﺍﻹﺳﻨﺎﺩ ﺇﱃ ﻣﺎ ﻫﻮ‬
‫ﻟﻪ‪ ،‬ﻭﻫﻮ ﺍﻹﺳﻨﺎﺩ ﺍﳊﻘﻴﻘﻲ‪ ،‬ﻛﺎﻹﺳﻨﺎﺩ ﺇﱃ ﺍﻟﻔﺎﻋﻞ ﻓﻴﻤﺎ ﺑﲏ )ﺍﻟﻔﺎﻋﻞ()‪ (102‬ﻟﻪ‪.‬‬

‫‪ - ( 88‬ﻓﻲ )ﺥ(‪ :‬ﺍﻹﺴﻨﺎﺩ‪.‬‬

‫‪ - ( 89‬ﻓﻲ )ﺥ(‪ :‬ﻓﻲ ﻭ ﻴﺠﻭﺯ ﺍﻷﻤﺭﺍﻥ ﺒﺎﻋﺘﺒﺎﺭ ﺃﻨﻬﺎ ﻭﻗﻌﺕ ﺼﻠﺔ ﺍﻟﻤﻭﺼﻭل‪.‬‬
‫‪ - ( 90‬ﻓﻲ )ﺥ( ﻭ)ﻡ(‪ :‬ﺴﺎﻗﻁﺔ‪.‬‬
‫‪ - ( 91‬ﻓﻲ )ﻕ(‪ :‬ﺃﺘﻰ ﻭﻫﻭ ﺘﺤﺭﻴﻑ ﻭﺍﻀﺢ‪.‬‬
‫‪ - ( 92‬ﻓﻲ )ﺥ(‪ :‬ﺇﻟﻴﻪ‪.‬‬
‫‪ - ( 93‬ﻓﻲ )ﻕ(ﻭ)ﺥ(‪ :‬ﻤﺎ ﻓﻲ‪.‬‬
‫‪ - ( 94‬ﻓﻲ )ﻕ(‪ :‬ﻟﻠﻔﺎﻋل‪.‬‬
‫‪ - ( 95‬ﻓﻲ )ﻕ(‪ :‬ﺴﺎﻗﻁﺔ‪.‬‬
‫‪ – ( 96‬ﻓﻲ )ﻕ( ﺇﺴﻨﺎﺩﺍ ‪.‬‬
‫‪ - ( 97‬ﻓﻲ )ﻕ(‪ :‬ﺇﻟﻰ ﺫﻟﻙ‪.‬‬
‫‪ - ( 98‬ﻓﻲ )ﻕ(‪ :‬ﺇﻟﻰ ﺍﻟﻤﻔﻌﻭل‪.‬‬
‫‪ - ( 99‬ﻓﻲ )ﻕ( ﻭ)ﺥ( ﻭ)ﻡ(‪ :‬ﻟﻐﻴﺭﻩ‪.‬‬
‫‪ - ( 100‬ﻓﻲ )ﻕ(‪ :‬ﻤﺠﺎﺯﻴﹰﺎ‪.‬‬
‫‪ - ( 101‬ﻓﻲ )ﻕ( ﻭ)ﺥ(‪ :‬ﻋﻥ‪.‬‬
‫‪ - ( 102‬ﻓﻲ )ﻕ( ﻭ)ﺥ(‪ :‬ﺍﻟﻔﻌل‪.‬‬
‫‪- 55 -‬‬
 ‫ﳓﻮ‪ :‬ﺿﺮﺏ ﺯﻳﺪ ﻋﻤﺮﹰﺍ‪ ،‬ﻭﺍﱃ ﺍﳌﻔﻌﻮﻝ ﻓﻴﻤﺎ ﺑﲏ ﺍﻟﻔﻌﻞ ﻟﻪ‪.‬‬
‫)‪(103‬‬
‫ﳓﻮ‪ :‬ﺿﺮﺏ ﻋﻤﺮﻭ‪ ،‬ﻓﺈﻥ ﺍﻟﻀﺎﺭﺑﻴﺔ ﻟﺰﻳﺪ ﺣﻘﻴﻘﺔ‪) ،‬ﻭ ﺍﳌﻀﺮﻭﺑﻴﺔ ﻟﻌﻤﺮﻭ ﺣﻘﻴﻘﺔ(‬
‫ﻓﺨﺮﺝ ﺑﻘﻮﻟﻪ ﺇﱃ ﻏﲑ ﻣﺎ ﻫﻮ ﻟﻪ‪ ،‬ﺍﻹﺳﻨﺎﺩ ﺍﳊﻘﻴﻘﻲ‪.‬‬
‫ﻛﻘﻮﻝ ﺍﳌﺆﻣﻦ‪ :‬ﺃﻧﺒﺖ ﺍﷲ ﺍﻟﺒﻘﻞ )ﻭ()‪ (104‬ﳓﻮ‪ :‬ﺿﺮﺏ ﺯﻳﺪ )ﻋﻤﺮﹰﺍ()‪ (105‬ﻭﺑﻘﻮﻟﻪ ﳌﻼﺑﺴﺔ ﻣـﺎﻻ‬
‫ﻣﻼﺑﺴﺔ ﺑﻴﻨﻪ ﻭﺑﲔ ﺍﳌﺴﻨﺪ ﺇﻟﻴﻪ‪ ،‬ﻓﺈﻧﻪ ﻻ ﻳﺼﺢ ﺇﺳﻨﺎﺩﻩ ﺇﻟﻴﻪ‪ ،‬ﻷﻧﻪ ﻛﺎﳍﺬﻳﺎﻥ‪ ،‬ﻭﺑﻘﻮﻟﻪ ﻣـﻊ ﻗﺮﻳﻨـﺔ…ﺍﱁ‬
‫ﺍﻟﻜﺬﺏ)*(‪.‬‬
‫ﻭﻗﻮﻝ ﺍﳉﺎﻫﻞ ‪ ..‬ﺃﻧﺒﺖ ﺍﻟﺮﺑﻴﻊ ﺍﻟﺒﻘﻞ‪ ،‬ﻻﻋﺘﻘﺎﺩﻩ )ﺃﻥ()‪ (106‬ﺍﻟﺮﺑﻴﻊ ﻫﻮ ﺍﳌﻨﺒﺖ‪ ،‬ﻓﻬﻮ ﺣﻘﻴﻘﺔ ﻛﻤـﺎ‬
‫ﺃﻧﻪ )ﴰﻞ()‪ (107‬ﻗﻮﻟﻪ‪ :‬ﺃﻧﺒﺖ ﺍﷲ )ﺍﻟﺒﻘﻞ()‪ (108‬ﻷﻧﻪ ﻧﺼﺐ ﺣﺎﻟﻪ ﻗﺮﻳﻨﺔ ﻋﻠﻰ ﺃﻧﻪ ﱂ ﻳﺮﺩ ﻇﺎﻫﺮﻩ ﻓﻴﻜـﻮﻥ‬
‫ﳎﺎﺯﺍ ﻭﻳﺴﻤﻰ )ﺃﻱ()‪ (109‬ﺍ‪‬ﺎﺯ ﰲ )ﺍﻹﺳﻨﺎﺩ()‪ (110‬ﺃﻳﻀﺎ ﳎﺎﺯﺍ ﰲ ﺍﻹﺛﺒﺎﺕ‪.‬‬
‫ﺍﻟﻄﺮﻓﲔ ﻟﻶﺧﺮ‪ ،‬ﻭﺍﻟﺴﻠﺐ ﺗﺎﺑﻊ ﻟﻪ )ﻭﻃﺎﺭ( )‪ (112‬ﻋﻠﻴﻪ ﻭﳎـﺎﺯﺍ‬ ‫)‪(111‬‬
‫ﳊﺼﻮﻟﻪ ﰲ ﺇﺛﺒﺎﺕ )ﺃﺣﺪ(‬
‫ﻋﻘﻠﻴﺎ ﻟﺘﺼﺮﻑ ﺍﻟﻌﻘﻞ ﻓﻴﻪ‪ ،‬ﺑﺎﳌﻼﺑﺴﺔ ﻭﺍﻟﻘﺮﻳﻨﺔ ﲞﻼﻑ)‪ (113‬ﺍﻟﻠﻐﻮﻱ‪ ،‬ﻓﺈﻧﻪ ﻳﺮﺟﻊ ﺇﱃ ﻭﺿﻊ ﺍﻟﻠﻐﺔ‪.‬‬
‫)ﻭﺇﺳﻨﺎﺩﺍ()‪ (114‬ﳎﺎﺯﻳﹰﺎ‪ ،‬ﻧﺴﺒﺔ ﺇﱃ ﺍ‪‬ﺎﺯ ﲟﻌﲎ ﺍﳌﺼﺪﺭ‪ ،‬ﻷﻥ ﺍﳌﺘﻜﻠﻢ ‪ //‬ﺟﺎﻭﺯ ﺑﻪ ﺣﻘﻴﻘﺘﻪ‪ ،‬ﻭﺃﺻﻠﻪ‬ ‫]و‪[4/‬‬

‫ﳎﺎﺯﺍ)‪(116‬‬ ‫)‪(115‬‬
‫ﺣﻜﻤﻴﹰﺎ ﻧﺴﺒﺔ ﺇﱃ ﺍﳊﻜﻢ‪ ،‬ﲟﻌﲎ ﺍﻟﻨﺴﺒﺔ ﻟﻮﻗﻮﻋﻪ ﰲ ﺍﳊﻜﻢ‬ ‫ﺃﻳﻀﺎ‬ ‫ﺇﱃ ﻏﲑﻩ‪) ،‬ﻭﻳﺴﻤﻰ(‬
‫ﺑﺎﳌﺴﻨﺪ ﻋﻠﻰ ﺍﳌﺴﻨﺪ ﺇﻟﻴﻪ‪ ،‬ﻭﻟﻪ ﺃﻱ )ﻟﻠﻔﻌﻞ()‪) (117‬ﺃﻭ()‪) (118‬ﻣﺎ ﻓﻴﻪ()‪ (119‬ﻣﻌﻨﺎﻩ ﻣﻼﺑﺴﺎﺕ ﺷﱴ‪.‬‬

‫*( ﺃﻱ ﺍﻟﺫﻱ ﺍﻋﺘﻘﺩ ﺍﻟﻤﺘﻜﻠﻡ ﻜﺫﺒﻪ ﻭ ﻗﺼﺩ ﺘﺭﻭﻴﺢ ﻅﺎﻫﺭﻩ ﻭ ﻟﻡ ﻴﻌﻠﻡ ﺍﻟﻤﺨﺎﻁﺏ ﺒﻜﺫﺒﻪ ﻜﻤﺎ ﺘﻘﺩﻡ‪ ،‬ﻭ ﺒﻬﺫﺍ ﺍﻨﺩﻓﻊ ﻤﺎ ﻴﻘﺎل ﺇﻥ ﻗﻭل ﺍﻟﺠﺎﻫل ﻜﺫﺏ ﺍﻴﻀﺎ‪ ،‬ﻷﻥ‬
‫ﺍﻟﺠﺎﻫل ﻻ ﻴﻌﺘﻘﺩ ﻜﺫﺏ ﻗﻭﻟﻪ‪.‬‬
‫‪ - ( 103‬ﻤﺎ ﺒﻴﻥ ﺍﻟﻤﻌﻘﻭﻓﺘﻴﻥ ﻜﺘﺒﻬﺎ ﺍﻟﻨﺎﺴﺦ ﻓﻲ ﺍﻟﻬﺎﻤﺵ ﻭﺃﺸﺎﺭ ﺇﻟﻴﻬﺎ‪ .‬ﺼﺢ ﺼﺢ‪ .‬ﻭﺫﻟﻙ ﻗﺼﺩ ﺍﺴﺘﺩﺭﺍﻜﻬﺎ‪.‬‬
‫‪ - ( 104‬ﻓﻲ )ﻕ(‪ :‬ﺴﺎﻗﻁﺔ‪.‬‬
‫‪ - ( 105‬ﻓﻲ )ﻕ( ﻭ)ﻡ(‪ :‬ﻋﻤﺭﻭﺍ ﻭﺍﻟﺼﺤﻴﺢ ﻤﺎ ﺃﺜﺒﺘﻨﺎﻩ‪ .‬ﻷﻥ ﻋﻤﺭﺍ ﻭﻗﻊ ﻋﻠﻴﻪ ﺍﻟﻀﺭﺏ ﻓﺘﺭﺘﻴﺏ ﺍﻟﺠﻤﻠﺔ ﻴﻘﺘﻀﻲ ﺍﻟﻔﻌل ﻭﺍﻟﻔﺎﻋل ﻭﺍﻟﻤﻔﻌﻭل ﺒﻪ‪.‬‬
‫‪ - ( 106‬ﻓﻲ )ﻡ(‪ :‬ﻜﺄﻥ‬
‫‪ - ( 107‬ﻓﻲ )ﻕ(‪ :‬ﺸﺎﻤل‪.‬‬
‫‪ - ( 108‬ﻓﻲ )ﻕ(‪ :‬ﺍﻟﺒﻘﻭل‪.‬‬
‫‪ - ( 109‬ﻓﻲ )ﻕ(‪ :‬ﺃﻱ ﺴﺎﻗﻁﺔ‪.‬‬
‫‪ - ( 110‬ﻓﻲ )ﻕ(‪ :‬ﺒﺎﻹﺴﻨﺎﺩ‪.‬‬
‫‪ - ( 111‬ﻓﻲ )ﻕ(‪ :‬ﺇﺤﺩﻯ‪.‬‬
‫‪ - ( 112‬ﻓﻲ )ﻕ(‪ :‬ﻤﺎ ﺒﻴﻥ ﺍﻟﻤﻌﻭﻗﺘﻴﻥ ﺃﻱ ﻭ ﻁﺎﺭﻯﺀ ﻋﻠﻴﻪ ﺃﻱ ﻏﻴﺭ ﻤﻼﺯﻡ ﻟﻪ‪.‬‬
‫‪ - ( 113‬ﻓﻲ )ﻕ(‪ :‬ﺨﻼﻑ‪.‬‬
‫‪ - ( 114‬ﻓﻲ )ﻕ(‪ :‬ﺍﻷﻟﻑ ﺴﺎﻗﻁﺔ ﻓﻲ ﺇﺴﻨﺎﺩﹰﺍ‪.‬‬
‫‪ - ( 115‬ﻓﻲ )ﻕ(‪ :‬ﻟﻠﻤﺠﺎﺯ‪.‬‬
‫‪ - ( 116‬ﻓﻲ )ﻕ(‪ :‬ﻭﺴﻤﻲ‪.‬‬
‫‪ - ( 117‬ﻓﻲ )ﻕ(‪ :‬ﻤﺠﺎﺯﻴﹰﺎ‪.‬‬
‫‪ - ( 118‬ﻓﻲ )ﻕ(‪ :‬ﺃﻱ ﻭﻟﻠﻔﻌل‪.‬‬
‫‪ - ( 119‬ﻓﻲ )ﺥ(‪ :‬ﺴﺎﻗﻁﺔ ﻭ ﻓﻲ )ﻡ( ﻤﺎﻓﻲ‪.‬‬
‫‪- 56 -‬‬
 ‫)‪(120‬‬
‫ﺗﻠﻚ‬ ‫ﰒ ﺃﺷﺎﺭ ﺇﱃ )ﺗﻔﺼﻴﻞ(‬ ‫ﺃﻱ‪ :‬ﳐﺘﻠﻔﺔ ﲨﻊ ﺷﺘﻴﺖ‪ ،‬ﻛﻤﺮﻳﺾ ﻭﻣﺮﺿﻰ‪،‬‬
‫)‪(121‬‬
‫ﺍﻟﱵ ﺗﻀﻤﻨﻬﺎ ﺍﻟﺘﻌﺮﻳﻒ‪ ،‬ﺑﻘﻮﻟﻪ‪ :‬ﻳﻼﺑﺲ ﺍﻟﺰﻣﺎﻥ ﻭﺍﳌﻜﺎﻥ‪ ،‬ﻟﻮﻗﻮﻋﻪ ﻓﻴﻬﻤﺎ ﻭﺍﳌﻔﻌﻮﻝ‬ ‫)ﺍﳌﻼﺑﺴﺎﺕ(‬
‫ﻟﻮﻗﻮﻋﻪ ﻋﻠﻴﻪ ﻓﺎﳌﺮﺍﺩ ﺍﳌﻔﻌﻮﻝ ﺑﻪ‪ ،‬ﻷﻧﻪ ﺍﻟﺬﻱ )ﻳﻨﺼﺮﻑ()‪ (122‬ﺇﻟﻴﻪ ﺍﳌﻔﻌﻮﻝ ﻋﻨﺪ ﺍﻹﻃﻼﻕ‪.‬‬
‫)‪(123‬‬
‫ﰲ‬ ‫ﺃﻱ‪ :‬ﻭﻟﻮ ﺑﻮﺍﺳﻄﺔ ﺍﳊﺮﻑ‪ ،‬ﻭﺍﻟﺴﺒﺐ ﻋﺎﺩﻳﺎ ﺃﻭ ﻋﻘﻠﻴﺎ ﺃﻭ ﺷﺮﻋﻴﺎ‪ ،‬ﻷﻥ ﻟﻪ )ﺩﺧ ﹰ‬
‫ﻼ(‬
‫)‪(125‬‬ ‫)‪(124‬‬
‫ﻛﻤﺎ ﻳﺴﻨﺪ )ﺇﱃ ﺍﻟﻔﺎﻋﻞ ﰲ ﺍﳌﺒﲏ(‬ ‫ﺣﺼﻮﻟﻪ ﻭﻛﺬﺍ ﻳﻼﺑﺲ ﺍﳌﺼﺪﺭ ﻓﻴﺴﻨﺪ ﺇﱃ ﻛﻞ )ﻣﻨﻬﺎ(‬
‫ﻟﻠﻔﺎﻋﻞ ﺣﻘﻴﻘﺔ‪.‬‬
‫)‪(126‬‬
‫ﰲ ﺍﳌﺒﲏ ﻟﻪ ﻛﺬﻟﻚ ﳓﻮ‪ :‬ﺧﻠﻘﺖ ﺍﻷﺭﺽ ﰒ‬ ‫ﳓﻮ‪ :‬ﺧﻠﻖ ﺍﷲ ﺍﻷﺭﺽ‪ ،‬ﻭﺍﱃ ﺍﳌﻔﻌﻮﻝ )ﺑﻪ(‬
‫ﺷﺮﻉ‪ :‬ﰲ ﺃﻣﺜﻠﺔ ﺍ‪‬ﺎﺯ ﺍﻟﻌﻘﻠﻲ ﻓﻘﺎﻝ‪ :‬ﳓﻮ‪ :‬ﺎﺭﻩ ﺻﺎﺋﻢ‪ ،‬ﻓﻴﻤﺎ ﺑﲏ ﻟﻠﻔﺎﻋﻞ ﻭﺃﺳﻨﺪ ﺇﱃ ﺍﻟﺰﻣﺎﻥ ﳎﺎﺯﺍ‬
‫ﻭﺍﻷﺻﻞ‪ ،‬ﺯﻳﺪ ﺻﺎﺋﻢ ﰲ ‪‬ﺎﺭﻩ‪ ،‬ﻓﺤﺬﻑ ﺍﳌﺒﺘﺪﺉ ﻭﺃﻗﻴﻢ ﺍﻟﺰﻣﺎﻥ ﻣﻘﺎﻣﻪ‪ ،‬ﻭﺃﺳﻨﺪ ﺇﻟﻴﻪ ﺻﺎﺋﻢ‪ ،‬ﻭ‪‬ﺮ ﺟﺎﺭ‪،‬‬
‫)‪(129‬‬ ‫)‪(128‬‬ ‫)‪(127‬‬
‫ﻭﺍﻷﺻﻞ ﺍﳌﺎﺀ‬ ‫)ﺇﺫ ﺍﻟﻨﻬﺮ ﻣﻜﺎﻥ ﺟﺮﻱ ﺍﳌﺎﺀ(‬ ‫ﻟﻠﻔﺎﻋﻞ ﻭﺃﺳﻨﺪ ﺇﱃ )ﻣﻜﺎﻥ(‬ ‫ﻓﻴﻤﺎ )ﺑﲏ(‬
‫ﺟﺎﺭ ﰲ ﺍﻟﻨﻬﺮ‪] ،‬ﻗﺎﻝ ﺗﻌﺎﱃ[ )‪)(130‬ﰲ ﻋﻴﺸﺔ ﺭﺍﺿﻴﺔ ()‪ (131‬ﻓﻴﻤﺎ ﺑﲏ ﻟﻠﻔﺎﻋﻞ ﻭﺃﺳﻨﺪ ﺇﱃ ﺍﳌﻔﻌﻮﻝ ﺑﻪ‪ .‬ﺇﺫ‬
‫ﺍﻟﻌﻴﺸﺔ ﻣﺮﺿﻴﺔ‪ ،‬ﻭﺍﻷﺻﻞ ﻫﻮ ﺭﺍﺽ ﻋﻴﺸﺘﻪ‪ ،‬ﻓﺤﺬﻑ ﺍﳌﺒﺘﺪﺃ ﻭﺃﻗﻴﻢ ﺍﳌﻔﻌﻮﻝ ﻣﻘﺎﻣﻪ‪ ،‬ﻭﺃﺳﻨﺪ‪.‬‬

‫‪ – ( 120‬ﻓﻲ ﺍﻷﺼل ﺴﺎﻗﻁﺔ ﻭﺍﻹﻜﻤﺎل ﻤﻥ ﺒﻘﻴﺔ ﺍﻟﻨﺴﺦ‪.‬‬

‫‪ - ( 121‬ﻓﻲ )ﺥ(‪:‬ﺍﻟﻤﻼﺒﺴﺔ‪.‬‬
‫‪ - ( 122‬ﻓﻲ )ﻡ(‪ :‬ﻴﺼﺭﻑ‪.‬‬
‫‪ - ( 123‬ﻓﻲ ﺒﻘﻴﺔ ﺍﻟﻨﺴﺦ ‪ :‬ﺩﺨﻭﻻ‪.‬‬
‫‪ - ( 124‬ﻓﻲ )ﻕ( ﻭ )ﺥ(‪ :‬ﻤﻨﻬﻤﺎ‪.‬‬
‫‪ – ( 125‬ﻓﻲ اﻷﺻﻞ ﺳﺎﻗﻂ و اﻹآﻤﺎل ﻣﻦ ﺑﻘﻴﺔ اﻟﻨﺴﺦ ‪.‬‬
‫‪ - ( 126‬ﻓﻲ )ﻕ(‪ :‬ﻟﻪ‪.‬‬
‫‪ - ( 127‬ﻓﻲ )ﻕ(‪ :‬ﻴﺒﻨﻲ‪.‬‬
‫‪ – ( 128‬ﻓﻲ ﺒﻘﻴﺔ ﺍﻟﻨﺴﺦ ﻟﻠﻤﻜﺎﻥ‪.‬‬
‫‪ - ( 129‬ﻤﺎ ﺒﻴﻥ ﺍﻟﻤﻌﻘﻭﻓﺘﻴﻥ ﻓﻲ )ﻕ(‪ :‬ﻭﺭﺩ ﻫﻜﺫﺍ )ﻭﺇﺫ ﺃﻟﻘﻰ ﻤﻜﺎﻥ ﺠﺭﻯ ﺍﻟﻤﺎﺀ( ﻤﻊ ﺍﺨﺘﻼﻑ ﻓﻲ ﺴﻴﺎﻕ ﺍﻟﻜﻼﻡ‪.‬‬
‫‪ - ( 130‬ﺇﻀﺎﻓﺔ ﺍﻗﺘﻀﺎﻫﺎ ﺍﻟﺴﻴﺎﻕ‪.‬‬
‫‪ - ( 131‬ﺴﻭﺭﺓ ﺍﻟﻘﺎﺭﻋﺔ‪ ،‬ﺍﻵﻴﺔ ‪ .07‬ﻭﻫﻲ ﻗﻭﻟﻪ ﺘﻌﺎﻟﻰ)) ﻓﺄﻣﺎ ﻣﻦ ﺛﻘﻠﺖ ﻣﻮازﻳﻨﻪ ﻓﻬﻮ ﻓﻲ ﻋﻴﺸﺔ راﺿﻴﺔ ((‬
‫‪- 57 -‬‬
 ‫)‪(132‬‬
‫ﰲ ﺍﻵﻳﺔ ﻓﻘﺪ ﺟﻌﻞ ﺍﻟﻔﺎﻋﻞ ﻣﻈﺮﻭﻓﹰﺎ ﰲ‬ ‫ﺇﻟﻴﻪ ﺍﻟﺮﺿﻰ‪ ،‬ﺑﻌﺪ ﺣﺬﻑ ﺍﳌﻀﺎﻑ ﺇﻟﻴﻪ )ﻭﺃﻣﺎ(‬
‫ﺍﻟﻌﻴﺸﺔ ﻣﺒﺎﻟﻐﺔ‪ .‬ﰒ ﺃﺳﻨﺪ ﺇﻟﻴﻬﺎ ﺭﺍﺿﻴﺔ‪.‬‬
‫)‪(134‬‬ ‫)‪(133‬‬
‫ﻭﺃﺳﻨﺪ ﺇﱃ ﺍﳌﻔﻌﻮﻝ ﺑﻪ‪ ،‬ﺑﻮﺍﺳﻄﺔ ﰲ‪،‬‬ ‫ﰲ ﺍﻟﻔﻌﻞ ﺍﳌﺒﲏ )ﻟﻠﻔﺎﻋﻞ(‬ ‫ﻭﺳﺎﻟﺖ )ﺍﻻﺑﺎﻃﺢ(‬
‫ﻭﺍﻷﺻﻞ ﺳﺎﻝ ﺍﳌﺎﺀ ﰲ )ﺍﻷﺑﺎﻃﺢ()‪ (135‬ﻓﺤﺬﻑ ﺍﳉﺎﺭ ﺗﻮﺳﻌﺎ‪ ،‬ﰒ ﺣﺬﻑ ﺍﻟﻔﺎﻋﻞ‪ ،‬ﻭﺃﺳﻨﺪ ﺍﻟﻔﻌﻞ ﺇﱃ‬
‫ﺍﳌﻔﻌﻮﻝ‪.‬‬
‫]ﻗﺎﻝ ﺗﻌﺎﱃ[ )‪ )(136‬ﻭﺃﺧﺮﺟﺖ ﺍﻷﺭﺽ ﺃﺛﻘﺎﳍﺎ ( )‪.(137‬‬
‫ﻓﻴﻤﺎ ﺃﺳﻨﺪ )ﻟﻠﻤﻔﻌﻮﻝ()‪ (138‬ﺑﻮﺍﺳﻄﺔ ﻣﻦ‪ ،‬ﻭﺍﻷﺻﻞ ﺃﺧﺮﺝ ﺍﷲ ﻣﻦ ﺍﻷﺭﺽ ﺃﺛﻘﺎﳍﺎ )ﻓﻔﻌﻞ ﺑﻪ ﻛﻤﺎ‬
‫ﻣﺘﺎﻉ ﺍﻟﺒﻴﺖ‪ ،‬ﺃﻱ ﻣﺎ ﻓﻴﻬﺎ ﻣﻦ‬ ‫)‪(140‬‬
‫ﻓﻌﻞ ﰲ ﺍﻟﺬﻱ ﻗﺒﻠﻪ( )‪ (139‬ﺍﻷﺛﻘﺎﻝ‪ ،‬ﲨﻊ ﺛﻘﻞ ﺑﻔﺘﺤﺘﲔ )ﻭﻫﻮ(‬
‫)‪(143‬‬
‫)ﺍﻟﺪﻓﺎﺋﻦ()‪ (141‬ﻭﺃﻧﺒﺖ ﺍﻟﺮﺑﻴﻊ ﺍﻟﺒﻘﻞ‪) ،‬ﻓﻴﻤﺎ()‪ (142‬ﺃﺳﻨﺪ ﻟﻠﺴﺒﺐ ﺍﻟﻌﺎﺩﻱ‪ ،‬ﻭﺍﳌﻨﺒﺖ ﰲ )ﺍﳊﻘﻴﻘﺔ(‬
‫ﻫﻮ ﺍﷲ ﺗﻌﺎﱃ‪.‬‬
‫ﻭﺑﲎ ﺍﻷﻣﲑ ﺍﳌﺪﻳﻨﺔ‪ ،‬ﻓﻴﻤﺎ ﺃﺳﻨﺪ )ﻟﻠﺴﺒﺐ( )‪) (144‬ﺍﻟﻌﺎﺩﻱ()‪ (145‬ﺍﻷﻣﺮ ﻭﺍﻟﺒﺎﱐ ﺣﻘﻴﻘﺔ ﻫﻮ ﺍﻟﻌﻤﻠﺔ‬
‫ﻭﺍﻟﻘﺮﻳﻨﺔ ﺍﻟﱵ ﺗﻘﺪﻡ ﺫﻛﺮﻫﺎ ﰲ ﺍﻟﺘﻌﺮﻳﻒ‪.‬‬

‫‪ - ( 132‬ﻓﻲ )ﻕ( ﻭ ﻤﺎ‪.‬‬

‫‪ - ( 133‬ﻓﻲ )ﻕ(‪ :‬ﺍﻻﺒﻁﺢ‪.‬‬
‫‪ - ( 134‬ﻓﻲ )ﻕ(‪ :‬ﻟﻔﺎﻋل‪.‬‬
‫‪ ( - ( 135‬ﻓﻲ )ﻕ(‪ :‬ﺍﻻﺒﻁﺢ‪.‬‬
‫‪ - ( 136‬ﺇﻀﺎﻓﺔ ﺍﻗﺘﻀﺎﻫﺎ ﺍﻟﺴﻴﺎﻕ‬
‫‪ - ( 137‬ﺴﻭﺭﺓ ﺍﻟﺯﻟﺯﻟﺔ‪ ،‬ﺍﻵﻴﺔ‪.2 :‬‬
‫‪ - ( 138‬ﻓﻲ )ﻕ(‪ :‬ﺇﻟﻰ ﺍﻟﻤﻔﻌﻭل‪.‬‬
‫‪ - ( 139‬ﻓﻲ )ﻕ( ﻭ)ﺥ(‪ :‬ﻤﺎ ﺒﻴﻥ ﺍﻟﻤﻌﻘﻭﻓﺘﻴﻥ ﻭﺭﺩ ﻫﻜﺫﺍ )ﻓﻔﻌل ﻓﻴﻬﺎ ﻜﻤﺎ ﻓﻌل ﻓﻲ ﺍﻟﺫﻱ ﻗﺒﻠﻬﺎ(‪.‬‬
‫‪ - ( 140‬ﻓﻲ )ﻕ(‪ :‬ﻫﻭ‪.‬‬
‫‪ - ( 141‬ﻓﻲ )ﻤﺦ( ﺍﻟﺩﻓﺎﻴﻥ‪.‬‬
‫‪ - ( 142‬ﻓﻲ )ﻕ(‪ :‬ﻓﻲ ﻤﺎ‪.‬‬
‫‪ - ( 143‬ﻓﻲ )ﻕ( ﻭ)ﺥ( ﻭ)ﻡ(‪ :‬ﺤﻘﻴﻘﺔ‪.‬‬
‫‪ - ( 144‬ﻓﻲ )ﻕ(‪ :‬ﻟﺴﺒﺏ‪.‬‬
‫‪ - ( 145‬ﻓﻲ )ﺥ(‪ :‬ﺍﻟﻌﺎﺩﻱ ﺴﺎﻗﻁﺔ‪.‬‬
‫‪- 58 -‬‬
‫ﺇﻣﺎ ﻟﻔﻈﻴﺔ ﻛﻘﻮﻝ ﳎﻬﻮﻝ ﺍﳊﺎﻝ ﺃﻱ‪ :‬ﺍﻟﺬﻱ ﻻ ﻳﻌﻠﻢ ﺣﺎﻟﻪ‪ ،‬ﻫﻞ ﻫﻮ ﻣﻮﺣﺪ ﺃﻭ )ﺩﻫﺮﻱ()‪(146‬ﺑﻌﺪ‬
‫ﻗﻮﻟﻪ‪ :‬ﺃﻧﺒﺖ ﺍﻟﺮﺑﻴﻊ ﺍﻟﺒﻘﻞ‪] .‬ﻗﺎﻝ ﺗﻌﺎﱃ[ )‪)(147‬ﺇﻥ ﺍﷲ ﻋﻠﻰ ﻛﻞ ﺷﻲﺀ ﻗﺪﻳﺮ()‪) (148‬ﻓﻘﻮﻟﻪ( )‪ (149‬ﺍﻥ‬
‫ﺍﷲ ﻋﻠﻰ ﻛﻞ ﺷﻲﺀ ﻗﺪﻳﺮ‪) ،‬ﻗﺮﻳﻨﺔ( )‪ (150‬ﻟﻔﻈﻴﺔ‪ ،‬ﻋﻠﻰ ﺃﻧﻪ ﺃﺭﺍﺩ ﺃﻥ ﺇﺳﻨﺎﺩ ﺍﻹﻧﺒﺎﺕ ﺇﱃ ﺍﻟﺮﺑﻴﻊ‪ ،‬ﺇﱃ ﻏﲑ ﻣﺎ‬
‫ﻫﻮ ﻟﻪ‪.‬‬
‫ﻭﻛﻘﻮﻟﻚ‪) :‬ﻫﺰﻡ( )‪ (151‬ﺍﻷﻣﲑ ﺍﳉﻨﺪ‪ ،‬ﻭﻫﻮ ﰲ ﻗﺼﺮﻩ‬
‫ﻓﻘﻮﻟﻚ‪ :‬ﻭﻫﻮ ﰲ ﻗﺼﺮﻩ‪ ،‬ﻗﺮﻳﻨﺔ ﻋﻠﻰ ﺃﻥ ﺇﺳﻨﺎﺩ ﺍﳍﺰﻡ ‪ //‬ﺇﻟﻴﻪ ﳎﺎﺯ‪ ،‬ﻭﺇﻣﺎ )ﻣﻌﻨﻮﻳﺔ ﻋﻄﻒ ﻋﻠﻰ(‬ ‫]ظ‪[4/‬‬

‫)‪ (152‬ﺇﻣﺎ ﻟﻔﻈﻴﺔ‪.‬‬

‫ﻛﺼﺪﻭﺭ ﺍﻷﻭﻝ ﺃﻱ ﺃﻧﺒﺖ ﺍﻟﺮﺑﻴﻊ ﺍﻟﺒﻘﻞ‪ ،‬ﻣﻦ ﺍﳌﻮﺣﺪ‪ .‬ﺇﺫ ﻳﻌﻠﻢ ﻣﻦ ﺣﺎﻟﻪ ﺃﻥ ﺍﻹﺳـﻨﺎﺩ ﳎـﺎﺯﻯ‬
‫ﻻﻋﺘﻘﺎﺩﻩ ﺃﻥ ﺍﳌﻨﺒﺖ ﺣﻘﻴﻘﺔ ﻫﻮ ﺍﷲ )ﺗﻌﺎﱃ( )‪.(153‬‬
‫ﻭﻛﺎﺳﺘﺤﺎﻟﺔ ﻗﻴﺎﻡ ﺍﳌﺴﻨﺪ ﺑﺎﳌﺬﻛﻮﺭ‪ ،‬ﺃﻱ‪ :‬ﺑﺎﳌﺴﻨﺪ ﺇﻟﻴﻪ ﺍﳌﺬﻛﻮﺭ ﻣﻊ ﺍﳌﺴﻨﺪ‪ ،‬ﻛﻘﻮﻟـﻚ‪ :‬ﳏﺒﺘـﻚ‬
‫)ﺟﺎﺀﺕ( )‪ (154‬ﰊ ﺇﻟﻴﻚ ﻟﻈﻬﻮﺭ ﺍﺳﺘﺤﺎﻟﺔ ﻗﻴﺎﻡ ﺍ‪‬ﻲ ﺑﺎﶈﺒﺔ‪.‬‬

‫‪ - ( 146‬ﺩﻫﺭﻱ‪ :‬ﻨﺴﺒﺔ ﺇﻟﻰ ﺍﻟﺩﻫﺭﻴﺔ‪ :‬ﻭﻫﻲ ﻜﻠﻤﺔ ﻋﺭﺒﻴﺔ ﻤﺄﺨﻭﺫﺓ ﻤﻥ ﺍﻵﻴﺔ ) وﻗﺎﻟﻮا ﻣﺎ هﻲ إﻻ ﺣﻴﺎﺗﻨﺎ اﻟﺪﻧﻴﺎ ﻧﻤﻮت وﻧﺤﻴﺎ وﻣﺎ ﻳﻬﻠﻜﻨﺎ إﻻ اﻟﺪهﺮ( ﺍﻟﺠﺎﺜﻴﺔ‬
‫ﺁﻴﺔ‪ ،23 :‬ﻭﺘﻁﻠﻕ ﻋﻠﻰ ﺃﻭﻟﺌﻙ ﺍﻟﺫﻴﻥ ﺃﻨﻜﺭﻭﺍ ﺍﻻﻋﺘﻘﺎﺩ ﻓﻲ ﺍﷲ ﻭﺃﻨﻜﺭﻭﺍ ﺨﺎﻟﻕ ﺍﻟﻌﺎﻟﻡ ﻭﺍﻟﻐﺎﻴﺔ ﺍﻹﻟﻬﻴﺔ‪ .‬ﻭﻟﻡ ﻴﺴﻠﻤﻭﺍ ﺒﻤﺎ ﺠﺎﺀﺕ ﺒﻪ ﺍﻷﺩﻴﺎﻥ ﺍﻟﺤﻘﺔ‬
‫ﻜﺎﻟﺸﺭﺍﺌﻊ ﺍﻟﺴﻤﺎﻭﻴﺔ ﻭﺍﻟﺒﻌﺙ ﻭﺍﻟﻌﻘﺎﺏ ﻭﺘﻘﻭل ﺒﻘﺩﻡ ﺍﻟﻌﺎﻟﻡ ﻭﺃﺒﺩﻴﺘﻪ ﻭﻤﺎ ﻴﺤﺩﺙ ﻓﻲ ﺍﻟﻌﺎﻟﻡ ﺇﻨﻤﺎ ﻴﺤﺩﺙ ﺒﻘﻭﺍﻨﻴﻨﻪ ﺍﻟﻁﺒﻴﻌﻴﺔ‪ .‬ﻓﻬﻡ ﺃﺸﺒﻪ ﺒﻤﺎ ﻴﺴﻤﻰ ﺍﻟﻴﻭﻡ‬
‫ﺍﻟﻤﺎﺩﻴﻴﻥ ﺃﻭ ﺍﻟﻁﺒﻴﻌﻴﻴﻥ ﻫﺫﻩ ﺍﻟﻔﺭﻗﺔ ﻜﺎﻨﺕ ﻤﻭﺠﻭﺩﺓ ﻋﻠﻰ ﺯﻤﻥ ﺇﺒﺭﺍﻫﻴﻡ ﺍﻟﻨﻅﺎﻡ ﺸﻴﺦ ﺍﻟﻤﻌﺘﺯﻟﺔ ﻓﻲ ﺍﻟﻌﺭﺍﻕ ﻭﻗﺩ ﺨﺼﺹ ﺠﺯﺀ ﻜﺒﻴﺭﹰﺍ ﻓﻲ ﺍﻟﺭﺩ ﻋﻠﻴﻬﻡ‪.‬‬
‫ﺃﻨﻅﺭ ﻀﺤﻰ ﺍﻹﺴﻼﻡ ﺝ ‪ 03‬ﺹ‪ .222/221 :‬ﻟـ‪ :‬ﺃﺤﻤﺩ ﺃﻤﻴﻥ‪ ،‬ﺩﺍﺭ ﺍﻟﻜﺘﺎﺏ ﺍﻟﻌﺭﺒﻲ‪ ،‬ﺒﻴﺭﻭﺕ ﻟﺒﻨﺎﻥ‪ ،‬ﻁ‪ :‬ﺍﻟﻌﺎﺸﺭﺓ‪) ،‬ﺩ‪.‬ﺕ(‪ ،‬ﻭﺩﺍﺌﺭﺓ ﺍﻟﻤﻌﺎﺭﻑ‬
‫ﺍﻹﺴﻼﻤﻴﺔ ﺝ‪ ،9:‬ﺹ‪) ،339/338/337:‬ﺩ‪.‬ﺕ‪/‬ﺩ‪.‬ﻁ( ﺩﺍﺭ ﺍﻟﻤﻌﺭﻓﺔ‪ ،‬ﺒﻴﺭﻭﺕ ‪ -‬ﻟﺒﻨﺎﻥ‪ .‬ﻭﺍﻟﺘﻤﻬﻴﺩ ﻻﺒﻥ ﻋﺒﺩ ﺍﻟﺒﺭ ﺝ‪ ، 18:‬ﺹ‪ .155:‬ﻟـ ﺃﺒﻲ‬
‫ﻋﻤﺭ ﻴﻭﺴﻑ ﺒﻥ ﻋﺒﺩ ﺍﷲ ﺒﻥ ﻋﺒﺩ ﺍﻟﺒﺭ ﺍﻟﻨﻤﺭﻱ ﺕ‪463 :‬ﻫـ‪ ،‬ﺩﺍﺭ ﺍﻟﻨﺸﺭ‪ :‬ﻭﺯﺍﺭﺓ ﻋﻤﻭﻡ ﺍﻷﻭﻗﺎﻑ ﻭﺍﻟﺸﺅﻭﻥ ﺍﻹﺴﻼﻤﻴﺔ – ﺍﻟﻤﻐﺭﺏ‪ ،‬ﻁﺒﻌﺔ ﺴﻨﺔ‪:‬‬
‫‪1387‬ﻫـ‪ ،‬ﺘﺤﻘﻴﻕ‪ :‬ﻤﺼﻁﻔﻰ ﺒﻥ ﺃﺤﻤﺩ ﺍﻟﻌﻠﻭﻱ – ﻭﻤﺤﻤﺩ ﻋﺒﺩ ﺍﻟﻜﺒﻴﺭ ﺍﻟﺒﻜﺭﻱ‪ ،‬ﻭﺴﻴﺭ ﺃﻋﻼﻡ ﺍﻟﻨﺒﻼﺀ ﺝ‪، 6:‬ﺹ‪ .105:‬ﻟـ‪ :‬ﻤﺤﻤﺩ ﺒﻥ ﺃﺤﻤﺩ ﺒﻥ‬
‫ﻋﺜﻤﺎﻥ ﻗﺎﻴﻤﺎﺯ ﺍﻟﺫﻫﺒﻲ ﺕ‪778 :‬ﻫـ‪ ،‬ﻨﺸﺭ‪ :‬ﻣﺆﺳﺴﺔ اﻟﺮﺳﺎﻟﺔ‪ ،‬ﺑﻴﺮوت – ﻟﺒﻨﺎن‪ ،‬ﻃﺒﻌﺔ ﺳﻨﺔ‪1413 :‬هـ‪.‬‬
‫‪ - ( 147‬ﺇﻀﺎﻓﺔ ﺍﻗﺘﻀﺎﻫﺎ ﺍﻟﺴﻴﺎﻕ‬
‫‪ - ( 148‬ﺴﻭﺭﺓ‪ :‬ﺍﻟﺒﻘﺭﺓ‪ ،‬ﺍﻵﻴﺔ‪ ،20 :‬ﻭﺒﺩﺍﻴﺔ ﺍﻵﻴﺔ ) ﻴﻜﺎﺩ ﺍﻟﺒﺭﻕ ﻴﺨﻁﻑ ﺃﺒﺼﺎﺭﻫﻡ ﻜﻠﻤﺎ ﺃﻀﺎﺀ ﻟﻬﻡ ﻤﺸﻭﺍ ﻓﻴﻪ ﻭﺇﺫﺍ ﺃﻅﻠﻡ ﻋﻠﻴﻬﻡ ﻗﺎﻤﻭﺍ ﻭﻟﻭ ﺸﺎﺀ ﺍﷲ ﻟﺫﻫﺏ‬
‫ﺒﺴﻤﻌﻬﻡ ﻭﺃﺒﺼﺎﺭﻫﻡ ﺇﻥ ﺍﷲ ﻋﻠﻰ ﻜل ﺸﻲﺀ ﻗﺩﻴﺭ( ﻭﻜﺫﻟﻙ ﺍﻵﻴﺔ‪ 109 :‬ﻭﺍﻵﻴﺔ ‪) 148 :‬ﻜﻤﺎ ﻭﺭﺩﺕ ﻓﻲ ﺴﻭﺭ ﺃﺨﺭﻯ ﺒﻨﻔﺱ ﺍﻟﻠﻔﻅ ﻓﻲ ﻨﻬﺎﻴﺔ ﻜل‬
‫ﺁﻴﺔ‪ ،‬ﺤﻴﺙ ﻭﺭﺩﺕ ﻓﻲ ﺴﻭﺭﺓ ﺁل ﻋﻤﺭﺍﻥ ﺍﻵﻴﺔ ‪ ،165‬ﻭﺍﻟﻨﺤل ﺍﻵﻴﺔ ‪ 77‬ﺍﻟﻨﻭﺭ ﺍﻵﻴﺔ ‪ 45‬ﻭﺍﻟﻌﻨﻜﺒﻭﺕ ﺍﻵﻴﺔ ‪ 20‬ﻭﻓﺎﻁﺭ ﺍﻵﻴﺔ ‪01‬‬
‫‪ - ( 149‬ﻓﻲ )ﻡ(‪ :‬ﻓﻘﻭل‪.‬‬
‫‪ - ( 150‬ﻓﻲ )ﻕ(‪ :‬ﺴﺎﻗﻁﺔ‪.‬‬
‫‪ - ( 151‬ﺍﺴﺘﺩﺭﻜﻬﺎ ﺍﻟﻨﺎﺴﺦ ﻓﻲ ﺍﻟﻬﺎﻤﺵ ﻭﺃﻜﺩﻫﺎ )ﻫﺯﻡ(‪.‬‬
‫‪ - ( 152‬ﻓﻲ )ﻕ(‪ :‬ﻜﺘﺏ ﻓﻭﻕ ﻤﻌﻨﻭﻴﺔ ﻭﻋﻠﻰ ﻟﻔﻅﺔ )ﻋﻁﻑ(‪.‬‬
‫‪ - ( 153‬ﻓﻲ )ﺥ(‪ :‬ﺘﻌﺎﻟﻰ ﻤﺤﺫﻭﻓﺔ‪.‬‬
‫‪ - ( 154‬ﻓﻲ )ﻤﺦ( ﻜﺘﺒﻬﺎ ﺍﻟﻨﺎﺴﺦ ﺠﺎﺀﺕ ﺩﻭﻥ ﻫﻤﺯﺓ‪.‬‬
‫‪- 59 -‬‬
‫ﻭﺃﻣﺎ ﺍ‪‬ﺎﺯ ﺍﳌﻔﺮﺩ‪ ،‬ﻭﻫﻮ ﺍﳌﺸﺎﺭ ﺇﻟﻴﻪ ﻓﻴﻤﺎ ﺗﻘﺪﻡ‪ ،‬ﺑﻘﻮﻟﻪ‪ :‬ﻭﺃﻣﺎ ﰲ ﺍﻟﻜﻠﻤﺔ ﻭﻋﺪﻝ ﻋﻨﻪ ﻫﻨﺎ )ﻟﻴﺘﺄﺗﻰ‬
‫ﻟﻪ()‪ (155‬ﺗﻌﺮﻳﻔﻪ ﺑﺎﻟﻜﻠﻤﺔ ﺍﳌﺴﺘﻌﻤﻠﺔ ‪ ...‬ﺍﱁ‪.‬‬
‫ﻟﻴﻜﻮﻥ ﺟﺎﺭﻳﺎ ﻋﻠﻰ ﺍﳌﺸﻬﻮﺭ ﰲ ﺗﻌﺮﻳﻔﻪ‪ ،‬ﻭ ﺇﻻ ﻟﻌﺮﻓﻪ ﺑﺎﻻﺳﺘﻌﻤﺎﻝ‪ ،‬ﻭﻫﻮ ﻭﺍﻥ ﻛﺎﻥ ﺻﺤﻴﺤﺎ ﺇﻻ ﺃﻧﻪ ﻟﻴﺲ‬
‫ﺍﳌﺸﻬﻮﺭ‪ ،‬ﻭﻋﱪ ﻓﻴﻤﺎ ﺗﻘﺪﻡ ﲟﺎ ﺗﻘﺪﻡ ﻷﻧﻪ )ﺍﻷﻧﺴﺐ( )‪ (156‬ﺑﻘﻮﻟﻪ ﰲ ﺍﻹﺳﻨﺎﺩ‪ ،‬ﻓﻬﻮ )ﺍﻟﻜﻠﻤﺔ( )‪ (157‬ﺍﲰﺎ‬
‫ﺃﻭ ﻓﻌﻼ ﺃﻭ ﺣﺮﻓﺎ‪ ،‬ﺍﳌﺴﺘﻌﻤﻠﺔ )ﺧﺮﺟﺖ()‪ (158‬ﺍﻟﻜﻠﻤﺔ ﻗﺒﻞ ﺍﻻﺳﺘﻌﻤﺎﻝ‪ ،‬ﻓﻼ ﺗﻮﺻﻒ ﺑﺎ‪‬ﺎﺯ ﻛﻤﺎ ﻻ‬
‫)‪(159‬‬
‫ﺗﻮﺻﻒ ﺑﺎﳊﻘﻴﻘﺔ‪ ،‬ﰲ ﻏﲑ ﻣﺎ )ﺃﻱ ﻣﻌﲎ ﻭﺿﻌﺖ ﻟﻪ ﺃﻭﻻ ﺧﺮﺝ ﺍﳊﻘﻴﻘﺔ(‬
‫)‪(161‬‬
‫ﻛﺄﺳﺪ ﰲ ﺍﳊﻴﻮﺍﻥ ﺍﳌﻔﺘﺮﺱ‪ ،‬ﻭﻋﲔ ﰲ ﺍﻟﺒﺎﺻﺮﺓ ﺃﻭ ﺍﳉﺎﺭﻳﺔ‪) ،‬ﻷﻧﻪ ﻭﺿﻊ()‪ (160‬ﻟﻜﻞ ﻣﻨﻬﻤﺎ )ﻭﺿﻌﹰﺎ(‬
‫ﺃﻭﻟﻴﺎ‪ ،‬ﻟﻌﻼﻗﺔ‪ ،‬ﺃﻱ‪ :‬ﻷﺟﻞ ﻣﻨﺎﺳﺒﺔ ﺑﲔ ﺍﳌﻌﲎ‪ //‬ﺍﻟﺬﻱ ﻭﺿﻌﺖ ﺍﻟﻜﻠﻤﺔ ﻟﻪ‪) ،‬ﻭﺍﻟﺬﻱ()‪ (162‬ﱂ ﺗﻮﺿﻊ ﻟﻪ‬ ‫]و‪[5/‬‬
‫)‪(163‬‬
‫ﺍﻟﻌﻼﻗﺔ‪ ،‬ﻓﻼ ﺑﺪ ﺣﻴﻨﺌﺬ ﻣﻦ ﺍﻋﺘﺒﺎﺭﻫﺎ ﻭﻣﻼﺣﻈﺘﻬﺎ‪ ،‬ﻓﺨﺮﺝ‬ ‫ﻓﺎﳊﺎﻣﻞ ﻋﻠﻰ ﺍﻻﺳﺘﻌﻤﺎﻝ )ﻫﻮ(‬
‫)ﺍﻟﻐﻠﻂ()‪ (164‬ﻭﺇﻥ ﻭﺟﺪﺕ ﻓﻴﻪ ﻋﻼﻗﺔ‪.‬‬
‫ﳓﻮ‪ :‬ﺭﺃﻳﺖ ﺃﺳﺪﹰﺍ‪ ،‬ﺗﺮﻳﺪ )ﺑﻪ()‪ (165‬ﺭﺟﻼ ﺷﺠﺎﻋﺎ‪ ،‬ﺃﺭﺩﺕ ﺃﻥ ﺗﻨﻄﻖ ﺑﺎﻟﺮﺟﻞ ﺍﻟﺸﺠﺎﻉ‪ ،‬ﻓﻐﻠﻄﺖ ﻓﻨﻄﻘﺖ‬
‫ﺑﺎﻷﺳﺪ‪) ،‬ﻓﻠﻴﺲ ﻫﺬﺍ ﻣﻦ ﺍ‪‬ﺎﺯ( )‪) (166‬ﻷﻥ( )‪ (167‬ﺍﻟﻌﻼﻗﺔ )ﻫﻨﺎ ﻟﻴﺴﺖ( )‪(168‬ﻋﻠﺔ ﻻﺳﺘﻌﻤﺎﻟﻚ‪ ،‬ﻟﻌـﺪﻡ‬
‫ﻣﻼﺣﻈﺘﻬﺎ ﻣﻊ ﻗﺮﻳﻨﺔ ﺣﺎﻟﻴﺔ ﺃﻭ ﻣﻘﺎﻟﻴﺔ ﻣﺎﻧﻌﺔ‪ ،‬ﺃﻱ ﺻﺎﺭﻓﺔ ﻋﻦ )ﺇﺭﺍﺩﺓ( )‪ (169‬ﺃﻱ ﺇﺭﺍﺩﺓ ﻣـﺎ ﻭﺿـﻌﺖ‬
‫ﺍﻟﻜﻠﻤﺔ ﻟﻪ‪ ،‬ﺧﺮﺝ ﺍﻟﻜﻨﺎﻳﺔ‪.‬‬

‫ﳓﻮ‪ :‬ﺯﻳﺪ ﻃﻮﻳﻞ ﺍﻟﻨﺠﺎﺩ‪ ،‬ﻓﺎﻥ ﺍﳌﺮﺍﺩ ﺑﻄﻮﻝ ﺍﻟﻨﺠﺎﺩ‪ ،‬ﻻﺯﻣﻪ ﻣﻦ ﻃﻮﻝ ﺍﻟﻘﺎﻣﺔ‪ ،‬ﻓﺎﻟﻨﺠﺎﺩ ﺍﳌﻮﺻﻮﻑ‬
‫)‪( 172‬‬ ‫)‪(171‬‬
‫ﻟﻌﻼﻗﺔ ﻣﻊ ﻗﺮﻳﻨﺔ ﺣﺎﻟﻴﺔ‪)،‬ﻭﻫﻲ(‬ ‫)ﺑﺎﻟﻄﻮﻝ( )‪(170‬ﻛﻠﻤﺔ ﻣﺴﺘﻌﻤﻠﺔ ﰲ ﻏﲑ ﻣﺎ ﻭﺿﻌﺖ )ﻟﻪ(‬

‫‪ – ( 155‬ﻓﻲ )ﻕ(‪ :‬ﻤﺎ ﺒﻴﻥ ﻤﻌﻘﻭﻓﺘﻴﻥ ﻭﺭﺩ ﻫﻜﺫﺍ )ﻟﻴﺘﺄﺕ ﺘﻌﺭﻴﻔﻪ(‪.‬‬

‫‪ - ( 156‬ﻓﻲ )ﻕ(‪ :‬ﺃﻨﺴﺏ‪.‬‬
‫‪ - ( 157‬ﻓﻲ )ﻕ(‪ :‬ﻜﻠﻤﺔ‪.‬‬
‫‪ - ( 158‬ﻓﻲ )ﻕ( ﻭ)ﻡ(‪ :‬ﺨﺭﺝ‪.‬‬
‫‪ - ( 159‬ﻓﻲ )ﻕ(‪ :‬ﻭﺭﺩ ﻫﻜﺫﺍ )ﻓﻲ ﻏﻴﺭ ﻤﺎ ﻭﻀﻌﺕ ﻟﻪ ﺃﻭ ﹰ‬
‫ﻻ ﺨﺭﺝ ﺍﻟﺤﻘﻴﻘﺔ(‪.‬‬
‫‪ - ( 160‬ﻓﻲ )ﻕ(‪ :‬ﻷﻨﻬﺎ ﻭﻀﻌﺕ‪.‬‬
‫‪ - ( 161‬ﻓﻲ )ﺥ(‪ :‬ﺴﺎﻗﻁﺔ‪.‬‬
‫‪ - ( 162‬ﻓﻲ )ﻡ(‪:‬ﻭﺍﻟﺘﻰ‬
‫‪ - ( 163‬ﻓﻲ )ﻕ(‪ :‬ﺴﺎﻗﻁﺔ‪.‬‬
‫‪ - ( 164‬ﻓﻲ )ﻕ(‪ :‬ﺍﻟﻌﻠﻡ‪ .‬ﻭ)ﻡ(‪ :‬ﺍﻟﻠﻔﻅ‪.‬‬
‫‪ - ( 165‬ﺒﻪ ﺴﺎﻗﻁﺔ ﻓﻲ )ﻤﺦ(‪.‬ﻭ)ﻡ( ﻭﻫﻲ ﻤﻥ )ﺥ(‪.‬‬
‫‪ - ( 166‬ﻓﻲ )ﻕ( ﻭ)ﺥ(‪) :‬ﻓﻠﻴﺱ ﻫﺫﺍ ﺍﻟﻤﺠﺎﺯﺍ( ﺃﻤﺎ ﻓﻲ )ﻡ(‪ :‬ﻓﻠﻴﺱ ﻫﺫﺍ ﺒﻤﺠﺎﺯ‪.‬‬
‫‪ - ( 167‬ﻓﻲ )ﻕ( ﻭ)ﺥ(‪ :‬ﺃﻥ‪.‬‬
‫‪ - ( 168‬ﻓﻲ )ﻕ( ﻭ)ﺥ(‪ :‬ﻭﺭﺩﺕ ﻫﻜﺫﺍ )ﻟﻴﺴﺕ ﻫﻨﺎ(‪.‬‬
‫‪ - ( 169‬ﻓﻲ )ﻡ(‪ :‬ﺍﺭﺍﺩﺘﻪ‬
‫‪ - ( 170‬ﻓﻲ )ﻕ( ﻭ)ﺥ(‪ :‬ﺒﻁﻭل‪.‬‬
‫‪ - ( 171‬ﻓﻲ )ﻕ( ﻭ)ﺥ(‪ :‬ﺴﺎﻗﻁﺔ‬
‫‪- 60 -‬‬
‫ﺍﳌﺪﺡ ﺇﻻ ﺃﻥ ﻫﺬﻩ )ﺍﻟﻘﺮﻳﻨﺔ()‪ .(173‬ﻻ ﲤﻨﻊ ﺇﺭﺍﺩﺓ ﺍﳌﻌﲎ ﺍﳊﻘﻴﻘﻲ‪ ،‬ﻭﻫﻮ ﻃﻮﻝ ﻋﻼﻗﺔ ﺍﻟﺴﻴﻒ ﻣﻊ‬
‫)ﺍﻟﻜﻨﺎﻳﺔ()‪.(174‬‬
‫ﻓﺈﻥ ﻛﺎﻧﺖ ﻋﻼﻗﺘﻪ‪ ،‬ﺃﻱ ﻋﻼﻗﺔ ﺍ‪‬ﺎﺯ ﺍﳌﺸﺎ‪‬ﺔ ﺑﲔ ﺍﳌﻌﲎ ﺍﳊﻘﻴﻘﻲ ﻭﺍ‪‬ﺎﺯﻯ ﻓﺎﺳﺘﻌﺎﺭﺓ‪،‬‬
‫ﻓﺎﻻﺳﺘﻌﺎﺭﺓ ﳎﺎﺯ ﻋﻼﻗﺘﻪ )ﺍﳌﺸﺎ‪‬ﺔ()‪ (175‬ﻛﺄﺳﺪ‪ ،‬ﰲ ﻗﻮﻟﻨﺎ ﺭﺃﻳﺖ ﺃﺳﺪﹰﺍ ﻳﺮﻣﻰ‪ ،‬ﻓﺎﻧﻪ ﺍﺳﺘﻌﻤﻞ ﰲ ﺍﻟﺮﺟﻞ‬
‫ﺍﻟﺸﺠﺎﻉ ﻭﺍﻟﻌﻼﻗﺔ ﺑﻴﻨﻬﻤﺎ ﺍﳌﺸﺎ‪‬ﺔ ﰲ ﺍﻟﺸﺠﺎﻋﺔ‪ ،‬ﻭﺍﻟﺸﺠﺎﻋﺔ ﻫﻲ ﻭﺟﻪ ﺍﻟﺸﺒﻪ‪ ،‬ﻓﺸﺒﻬﻨﺎ ﺍﻟﺮﺟﻞ ﺑﺎﻷﺳﺪ‬
‫)‪(176‬‬
‫ﻏﲑﻫﺎ‪) ،‬ﺃﻱ(‬ ‫ﲜﺎﻣﻊ ﺍﻟﺸﺠﺎﻋﺔ‪ ،‬ﰲ ﻛﻞ‪ .‬ﻭﺍﺳﺘﻌﲑ ﻟﻔﻆ ﺃﺳﺪ ﻟﻠﺮﺟﻞ‪ ،‬ﻭﺇﻥ ﻛﺎﻧﺖ )ﻋﻼﻗﺘﻪ(‬
‫)‪(178‬‬
‫]ظ‪//(177) [5/‬ﻏﲑ ﺍﳌﺸﺎ‪‬ﺔ‪) .‬ﻛﺎﻟﺴﺒﺒﻴﺔ(‬
‫ﰲ ﳓﻮ‪ :‬ﺭﻋﻴﻨﺎ ﺍﻟﻐﻴﺚ‪ ،‬ﺃﻱ ﺍﻟﻨﺒﺎﺕ ﺍﻟﺬﻱ ﺳﺒﺒﻪ ﺍﻟﻐﻴﺚ‪ ،‬ﻓﻠﻔﻆ ﺍﻟﻐﻴﺚ ﻛﻠﻤﺔ ﻣﺴﺘﻌﻤﻠﺔ‪ ،‬ﰲ ﻏﲑ ﻣﺎ‬
‫)‪(179‬‬
‫ﺍﳊﻘﻴﻘﻲ ﺍﻟﺬﻱ ﻫﻮ ﺍﳌﻄﺮ‪،‬‬ ‫ﻭﺿﻌﺖ ﻟﻪ‪ ،‬ﻟﻌﻼﻗﺔ ﺍﻟﺴﺒﺒﻴﺔ ﻣﻊ ﻗﺮﻳﻨﺔ ﻣﺎﻧﻌﺔ‪ ،‬ﻣﻦ ﺇﺭﺍﺩﺓ )ﻣﻌﻨﺎﻩ(‬
‫)ﻭﻫﻲ()‪ (180‬ﻗﻮﻟﻪ ﺭﻋﻴﻨﺎ ﻷﻥ ﺍﻟﺮﻋﻲ ﻟﻠﻨﺒﺎﺕ ‪) ،‬ﻭ ﺍﳌﺴﺒﺒﻴﺔ()‪. (181‬‬

‫)‪(182‬‬
‫ﻳﻜﻮﻥ ﺍﻟﻨﺒﺎﺕ )ﻣﺴﺒﺒﺎ ﻋﻨﻪ‪ ،‬ﻓﻘﺪ ﺃﻃﻠﻖ ﺍﳌﺴﺒﺐ‬ ‫ﰲ ﳓﻮ ‪ :‬ﺃﻣﻄﺮﺕ ﺍﻟﺴﻤﺎﺀ )ﻧﺒﺎﺗﺎ ﺃﻱ ﻏﻴﺜﺎ(‬
‫ﻭ ﺍ‪‬ﺎﻭﺭﺓ ﰲ ﳓﻮ‪ :‬ﺷﺮﺑﺖ ﻣﻦ )ﺍﻟﺮﺍﻭﻳﺔ()‪ (184‬ﺃﻱ ﺍﳌـﺰﺍﺩﺓ‪ ،‬ﺃﻱ‬ ‫)‪(183‬‬
‫ﻭﺃﺭﻳﺪ ﺍﻟﺴﺒﺐ‪ ،‬ﻋﻜﺲ ﻣﺎ ﻗﺒﻠﻪ(‬
‫)ﺍﳉﻠﺪ()‪ (185‬ﺍﻟﺬﻱ ﻳﻮﺿﻊ ﻓﻴﻪ ﺍﳌﺎﺀ ﻟﻠﺴﻔﺮ‪.‬‬

‫‪ - ( 172‬ﻓﻲ )ﻕ( ﻭﻫﻭ‬

‫‪ - ( 173‬ﻓﻲ )ﻕ(‪ :‬ﺴﺎﻗﻁﺔ‪.‬‬
‫‪ - ( 174‬ﻓﻲ )ﻕ(‪ :‬ﻜﻨﺎﻴﺔ‪.‬‬
‫‪ - ( 175‬ﻓﻲ )ﻕ(‪ :‬ﻋﻼﻗﺔ‬
‫‪ - ( 176‬ﻓﻲ )ﻕ(‪ :‬ﻤﺸﺎﺒﻬﺔ‬
‫‪ - ( 177‬ﻓﻲ )ﻕ(‪ :‬ﺃﻱ ﺴﺎﻗﻁﺔ‪.‬‬
‫‪ – ( 178‬ﺍﻟﺴﺒﺒﻴﺔ ﻭ ﻫﻲ ﺃﻥ ﻴﻁﻠﻕ ﻟﻔﻅ ﺍﻟﻤﺴﺒﺏ ﻭ ﻴﺭﺍﺩ ﺍﻟﺴﺒﺏ ﻜﻤﺎ ﻫﻭ ﺍﻟﺤﺎل ﻓﻲ ﺍﻟﻤﺜﺎل ﻭ ﻤﻨﻪ ﻗﻭﻟﻪ ﺘﻌﺎﻟﻰ )ﻓﻤﻥ ﺸﻬﺩ ﻤﻨﻜﻡ ﺍﻟﺸﻬﺭ ﻓﻠﻴﺼﻤﻪ( ﺍﻟﺒﻘﺭﺓ‬
‫ﺍﻻﻴﺔ ‪ .184:‬ﻭ ﺍﻟﺸﻬﺭ ﻻ ﻴﺸﺎﻫﺩ ﻭ ﺇﻨﻤﺎ ﺍﻟﺫﻱ ﻴﺸﺎﻫﺩ ﻫﻭ ﺍﻟﻬﻼل ﺍﻟﺫﻱ ﻴﻅﻬﺭ ﺃﻭل ﻟﻴﻠﺔ ﻓﻲ ﺍﻟﺸﻬﺭ‪ ،‬ﻓﺈﻁﻼﻕ ﺍﻟﺸﻬﺭ ﻋﻠﻴﻪ ﻤﺠﺎﺯ ﻤﺭﺴل ﻋﻼﻗﺘﻪ ﺍﻟﺴﺒﺒﻴﺔ ‪.‬‬
‫ﻻ )ﻤﻌﻨﻲ( ﺜﻡ ﻜﺘﺏ ﻓﻲ ﺍﻟﻬﺎﻤﺵ ﻤﺼﺤﺤﹰﺎ ﻫﻜﺫﺍ )ﻤﻌﻨﺎﻩ(‪.‬‬ ‫‪ ( 179‬ﻓﻲ )ﻕ(‪ :‬ﻤﻌﻨﺎﻩ ﻭﻓﻲ )ﻡ(‪ :‬ﻜﺘﺏ ﺍﻟﻨﺎﺴﺦ ﺃﻭ ﹰ‬
‫‪ - ( 180‬ﻓﻲ )ﻕ(‪ :‬ﻭﻫﻭ‪.‬‬
‫‪ - - ( 181‬ﺍﻟﻤﺴﺒﺒﻴﺔ‪ :‬ﺘﺴﻤﻴﺔ ﺍﻟﺸﻲﺀ ﺒﺎﺴﻡ ﻤﺴﺒﺒﻪ ﻨﺤﻭ‪) :‬ﺃﻤﻁﺭﺕ ﺍﻟﺴﻤﺎﺀ ﻨﺒﺎﺘﹰﺎ(‪ ،‬ﻓﻬﻭ ﻤﺠﺎﺯ ﻋﻼﻗﺘﻪ ﺍﻟﻤﺴﺒﺒﻴﺔ‪ ،‬ﺃﻨﻅﺭ ﺘﻠﺨﻴﺹ ﺍﻟﻤﻔﺘﺎﺡ‪ ،‬ﺹ‪.150 :‬ﻟـ‬
‫ﺠﻼل ﺍﻟﺩﻴﻥ ﻤﺤﻤﺩ ﺒﻥ ﻋﺒﺩ ﺍﻟﺭﺤﻤﻥ ﺍﻟﻘﺯﻭﻴﻨﻲ ﺕ‪739 :‬ﻫـ‪ ،‬ﻗﺭﺃﺀﺓ ﻭﺘﻘﺩﻴﻡ ﺩ‪ :‬ﻴﺴﻴﻥ ﺍﻷﻴﻭﺒﻲ ﻁ‪ :‬ﺍﻷﻭﻟﻰ‪ ،‬ﺴﻨﺔ‪1423 :‬ﻫـ‪2002/‬ﻡ‪ ،‬ﺍﻟﻤﻜﺘﺒﺔ‬
‫ﺍﻟﻌﺼﺭﻴﺔ ﻟﻠﻁﺒﺎﻋﺔ ﻭﺍﻟﻨﺸﺭ ﺒﻴﺭﻭﺕ ﻟﺒﻨﺎﻥ‪.‬‬
‫‪ – ( 182‬ﻓﻲ )ﻕ( ﻤﺎ ﺒﻴﻥ ﺍﻟﻤﻌﻘﻭﻓﺘﻴﻥ ﺴﺎﻗﻁ ‪.‬‬
‫‪ - ( 183‬ﻓﻲ )ﻕ(‪ :‬ﻤﺎ ﺒﻴﻥ ﺍﻟﻤﻌﻘﻭﻓﺘﻴﻥ ﻭﺭﺩ ﻫﻜﺫﺍ )ﻤﺴﺒﺏ ﻋﻨﻪ ﻓﻘﺩ ﺃﻁﻠﻕ ﺍﻟﻤﺴﺒﺏ ﻭﺃﺭﺍﺩ ﺍﻟﺴﺒﺏ ﻋﻜﺱ ﻤﺎ ﻗﺒﻠﻪ(‪.‬‬
‫‪- 61 -‬‬
‫ﻭﻫﻲ ﰲ ﺍﻷﺻﻞ‪ ،‬ﺍﺳﻢ ﻟﻠﺒﻌﲑ ﺍﻟﺬﻱ ﳛﻤﻠﻪ‪ ،‬ﻓﻔﻴﻪ ﺗﺴﻤﻴﺔ ﺍﻟﺸﻲﺀ ﺑﺎﺳﻢ ﳎﺎﻭﺭﻩ‪ ،‬ﻟﻌﻼﻗﺔ‬
‫)ﺍ‪‬ﺎﻭﺭﺓ()‪.(186‬‬
‫)ﻭﺍﻟﻜﻠﻴﺔ()‪ (187‬ﰲ ﳓﻮ‪] :‬ﻗﻮﻟﻪ ﺗﻌﺎﱃ[ )‪ )(188‬ﳚﻌﻠﻮﻥ ﺃﺻﺎﺑﻌﻬﻢ ﰲ ﺁﺫﺍ‪‬ﻢ ( )‪(189‬ﺃﻱ ﺃﻧﺎﻣﻠﻬﻢ‪،‬‬
‫ﻓﻔﻴﻪ ﺇﻃﻼﻕ ﺍﻟﻜﻞ ﻋﻠﻰ ﺍﻟﺒﻌﺾ‪.‬‬
‫)‪(190‬‬
‫ﻓﻔﻴﻪ ﺇﻃﻼﻕ ﺍﻟﺒﻌﺾ ﻭﺇﺭﺍﺩﺓ ﺍﻟﻜﻞ ﺃﻱ ﻭﻫﻮ‬ ‫ﻭ ﺍﻟﺒﻌﻀﻴﺔ ﰲ ﳓﻮ‪ :‬ﺭﺃﻳﺖ ﺍﻟﻌﲔ‪ ،‬ﺃﻱ )ﺍﻟﺮﻗﻴﺐ(‬
‫ﺍﻟﺬﺍﺕ )ﺇﺫ()‪ (191‬ﺍﻟﻌﲔ ﺟﺰﺅﻩ‪ ،‬ﻭﻳﺸﺘﺮﻁ ﺃﻥ ﻳﻜﻮﻥ ﺍﳉﺰﺀ ﺍﻟﺬﻱ ﻳﻄﻠﻖ ﻋﻠﻰ ﺍﻟﻜﻞ ﻣﻦ ﺑـﲔ ﺍﻷﺟـﺰﺍﺀ‬
‫)ﻣﺰﻳﺪ()‪(192‬ﺍﺧﺘﺼﺎﺹ ﺑﺎﳌﻌﲎ ﺍﳌﻘﺼﻮﺩ‪ ،‬ﻓﻼ ﳚﻮﺯ ﺇﻃﻼﻕ‪.‬‬
‫ﳓﻮ‪ :‬ﺍﻟﻴﺪ ﻋﻠﻰ ﺍﳉﺎﺳﻮﺱ ﻭﺍﻋﺘﺒﺎﺭ ﻣﺎ ﻛﺎﻥ ﰲ ﳓﻮ‪] :‬ﻗﻮﻟﻪ ﺗﻌﺎﱃ[ )‪ )(193‬ﻭﺁﺗﻮﺍ ﺍﻟﻴﺘﺎﻣﻰ‬
‫)‪(196‬‬ ‫)‪(195‬‬
‫ﺍﻟﺬﻱ ﻻ ﺃﺏ ﻟﻪ‪ ،‬ﻓﺎﺳﺘﻌﻤﻠﻪ ﰲ ﺍﻟﺒﺎﻟﻎ‪) ،‬ﻟﻌﻼﻗﺔ(‬ ‫ﺃﻣﻮﺍﳍﻢ()‪)(194‬ﻓﺈﻥ ﺍﻟﻴﺘﻴﻢ ﺣﻘﻴﻘﺔ ﺍﻟﺼﻐﲑ(‬
‫)‪(197‬‬
‫ﺍﻋﺘﺒﺎﺭ ﻣﺎ ﻛﺎﻥ ﻋﻠﻴﻪ ﻗﺒﻞ ﺍﻟﺒﻠﻮﻍ‪ ،‬ﻭﺍﻋﺘﺒﺎﺭ )ﻣﺎﻳﺆﻭﻝ ﺇﻟﻴﻪ(‬
‫ﻛﻤﺎ ﰲ )ﳓﻮ( )‪](198‬ﻗﻮﻟﻪ ﺗﻌﺎﱃ[ )‪ ) :(199‬ﺇﱐ ﺃﺭﺍﱐ ﺃﻋﺼﺮ ﲬﺮﺍ ( ﺃﻱ ﻋـﺼﲑﺍ‪ ،‬ﻳـﺆﻭﻝ ﺇﱃ‬
‫ﻛﻮﻧﻪ ﲬﺮﺍ ﻭﳓﻮﻫﺎ )ﻛﺎﶈﻠﻴﺔ()‪ // (200‬ﰲ ﳓﻮ‪]:‬ﻗﻮﻟﻪ ﺗﻌﺎﱃ[ )‪ )(201‬ﻓﻠﻴﺪﻉ ﻧﺎﺩﻳـﻪ ( )‪(202‬ﺃﻱ ﺃﻫـﻞ‬ ‫]و‪[6/‬‬

‫‪ - ( 184‬ﺍﻟﺭﺍﻭﻴﺔ ‪:‬ﻫﻲ ﺍﻟﻤﺯﺍﺩﺓ ﻭﻴﺴﻤﻰ ﺍﻟﺒﻌﻴﺭ ﺭﺍﻭﻴﺔ ﻋﻠﻰ ﺘﺴﻤﻴﺔ ﺍﻟﺸﻰﺀ ﺒﺎﺴﻡ ﻏﻴﺭﻩ ﻭﻟﻘﺭﺒﻪ ﻤﻨﻪ ﻗﻭل ﻟﺒﻴﺩ‪ :‬ﻓﻭﻟﻭﺍ ﻓﺎﺘﺭﺍ ﻤﺸﻴﻬﻡ ﻜﺭﻭﺍﻴﺎ ﺍﻟﻁﺒﻊ ﻫﻤﺕ‬
‫ﺒﺎﻟﻭﺤل ﻭﻴﻘﺎل ﻟﻠﻀﻌﻴﻑ ﺍﻟﻭﺍﺩﻉ ﻤﺎ ﻴﺭﺩ ﺍﻟﺭﺍﻭﻴﺔ ﺃﻱ ﺃﻨﻪ ﻴﻀﻌﻑ ﻋﻥ ﺭﺩﻫﺎ ﻋﻠﻰ ﺜﻘﻠﻬﺎ ﻟﻤﺎ ﻋﻠﻴﻬﺎ ﻤﻥ ﺍﻟﻤﺎﺀ ‪.‬ﻭﺍﻟﺭﺍﻭﻴﺔ ﻫﻭ ﺍﻟﺒﻌﻴﺭ ﺃﻭ ﺍﻟﺒﻐل ﺃﻭ‬
‫ﺍﻟﺤﻤﺎﺭ ﺍﻟﺫﻱ ﻴﺴﺘﻘﻰ ﻋﻠﻴﻪ ﺍﻟﻤﺎﺀ ﻭﺍﻟﺭﺠل ﺍﻟﻤﺴﺘﻘﻲ ﺃﻴﻀﺎ ﺭﺍﻭﻴﺔ ‪.‬ﻗﺎل ﻭﺍﻟﻌﺎﻤﺔ ﺘﺴﻤﻲ ﺍﻟﻤﺯﺍﺩﺓ ﺭﺍﻭﻴﺔ ﻭﺫﻟﻙ ﺠﺎﺌﺯ ﻋﻠﻰ ﺍﻹﺴﺘﻌﺎﺭﺓ ‪.‬ﺍﻟﻠﺴﺎﻥ ‪ :‬ﺃﻨﻅﺭ‬
‫ﻤﺎﺩﺓ )ﺭﻭﻯ( ‪.‬‬
‫‪ - ( 185‬ﻓﻲ )ﻡ(‪ :‬ﺍﻟﺠﻠﺩ ﺴﺎﻗﻁﺔ ﺒﺴﺒﺏ ﺘﺂﻜل ﺍﻟﻭﺭﻗﺔ‪.‬‬
‫‪ - ( 186‬ﻓﻲ )ﻡ(‪ :‬ﺒﺎﻟﻤﺠﺎﻭﺭﺓ‪.‬‬
‫‪ - ( 187‬ﺍﻟﻜﻠﻴﺔ‪ :‬ﺘﺴﻤﻴﺔ ﺍﻟﺸﻲﺀ ﺒﺎﺴﻡ ﻜﻠﻪ – ﺃﻨﻅﺭ ﻋﻠﻡ ﺍﻟﺒﻴﺎﻥ‪ ،‬ﺼﻔﺤﺔ‪ .160 :‬ﺘﺄﻟﻴﻑ ﺍﻟﺩﻜﺘﻭﺭ ﻋﺒﺩ ﺍﻟﻌﺯﻴﺯ ﻋﺘﻴﻕ‪ .‬ﻨﺸﺭ ﺩﺍﺭ ﺍﻟﻨﻬﻀﺔ ﺍﻟﻌﺭﺒﻴﺔ ﻟﻠﻁﺒﺎﻋﺔ‬
‫ﻭﺍﻟﻨﺸﺭ‪ ،‬ﺒﻴﺭﻭﺕ – ﻟﺒﻨﺎﻥ‪ ،‬ﺴﻨﺔ‪1405 :‬ﻫـ‪1985/‬ﻡ‬
‫‪ - ( 188‬ﺘﺭﺘﻴﺏ ﺍﻗﺘﻀﺎﻩ ﺍﻟﺴﻴﺎﻕ‬
‫‪ - ( 189‬ﺴﻭﺭﺓ ﺍﻟﺒﻘﺭﺓ‪ ،‬ﺍﻵﻴﺔ ‪.19‬‬
‫‪ - ( 190‬ﺍﻟﺭﻗﻴﺏ‪ :‬ﺃﻭ ﺍﻟﺭﺒﻴﺌﺔ ﻭﻫﻭ ﺍﻟﺸﺨﺹ ﻴﻁﻠﻊ ﻋﻠﻰ ﻋﻭﺭﺍﺕ ﺍﻟﻌﺩﻭ ﻓﻲ ﻤﻜﺎﻥ ﻋﺎل‪ ،‬ﻭﺃﻁﻠﻘﺕ ﺍﻟﻌﻴﻥ ﻋﻠﻴﻪ ﻷﻨﻬﺎ ﻫﻲ ﺍﻟﻤﻘﺼﻭﺩﺓ ﻓﻲ ﻜﻭﻥ ﺍﻟﺭﺠل‬
‫ﺒﻴﺌﺔ‪ :‬ﺃﻨﻅﺭ ﺍﻟﻤﻔﺘﺎﺡ‪ ،‬ﺍﻟﺼﻔﺤﺔ‪.150 :‬‬
‫‪ - ( 191‬ﻓﻲ )ﻕ(‪ :‬ﺇﺫﺍ‪.‬‬
‫‪ - ( 192‬ﻓﻲ )ﻡ(‪ :‬ﻤﺯﻴﺔ‬
‫‪ - ( 193‬ﺘﺭﺘﻴﺏ ﺍﻗﺘﻀﺎﻩ ﺍﻟﺴﻴﺎﻕ‪.‬‬
‫‪ - ( 194‬ﻤﻁﻠﻊ ﺍﻵﻴﺔ ‪ 2‬ﻤﻥ ﺴﻭﺭﺓ ﺍﻟﻨﺴﺎﺀ‪.‬‬
‫‪ - ( 195‬ﻓﻲ )ﺥ(‪ :‬ﺍﻟﻴﺘﻴﻡ ﻓﻲ ﺍﻟﺤﻘﻴﻘﺔ‪ ،‬ﻭﻓﻰ)ﻡ( ‪ ):‬ﻓﺎﻥ ﺍﻟﻴﺘﻴﻡ ﺤﻘﻴﻘﺔ ﻓﻲ ﺍﻟﺼﻐﻴﺭ(‬
‫‪ - ( 196‬ﻓﻲ )ﻕ(‪ :‬ﻭﺍﻟﻌﻼﻗﺔ‪ ،‬ﻭﻓﻰ )ﻡ(‪ :‬ﻭﺍﻟﻘﺭﻴﻨﺔ‬
‫‪ - ( 197‬ﻓﻲ )ﻤﺦ(‪ :‬ﻤﺎﻴﻭل ﺇﻟﻴﻪ‪.‬‬
‫‪ - ( 198‬ﻓﻲ )ﻕ(‪ :‬ﻨﺤﻭ ﺴﺎﻗﻁﺔ‪.‬‬
‫‪ - ( 199‬ﺴﻭﺭﺓ ﻴﻭﺴﻑ‪ ،‬ﺍﻵﻴﺔ ‪.36‬‬
‫‪ - ( 200‬ﺍﻟﻤﺤﻠﻴﺔ‪ :‬ﻤﻥ ﻋﻼﻗﺎﺕ )ﺍﻟﻤﺠﺎﺯ ﺍﻟﻤﺭﺴل( ﺃﻴﻀﹰﺎ ﻓﻴﻤﺎ ﺇﺫﺍ ﺫﻜﺭ ﻟﻔﻅ ﺍﻟﻤﺤل ﻭﺃﺭﻴﺩ ﺍﻟﺤﺎل ﻓﻴﻪ‪ ،‬ﻨﺤﻭ ﻗﻭﻟﻬﻡ‪ )) :‬ﺠﺭﻯ ﺍﻟﻤﻴﺯﺍﺏ(( ﻴﺭﻴﺩﻭﻥ ﻤﺎﺀﻩ‬
‫ﺘﻌﺎﻟﻲ[‪:‬‬ ‫]ﻭﻗﻭﻟﻪ‬ ‫ﻓﻴﻪ‪،‬‬ ‫ﺍﻟﻤﺠﺘﻤﻌﻴﻥ‬ ‫ﻴﺭﻴﺩ‬ ‫‪.17‬‬ ‫ﺍﻵﻴﺔ‪:‬‬ ‫ﺍﻟﻌﻠﻕ‬ ‫(‬ ‫ﻨﺎﺩﻴﻪ‬ ‫)ﻓﻠﻴﺩﻋﻭﺍ‬ ‫ﺘﻌﺎﻟﻲ[‪:‬‬ ‫]ﻭﻜﻘﻭﻟﻪ‬
‫) ﻭﺍﺴﺄل ﺍﻟﻘﺭﻴﺔ ﺍﻟﺘﻲ ﻜﻨﺎ ﻓﻴﻬﺎ ( ﻴﻭﺴﻑ ﺍﻵﻴﺔ‪ ، .82 :‬ﺃﻁﻠﻕ ﻟﻔﻅ ﺍﻟﻘﺭﻴﺔ‪ ،‬ﻭﺃﺭﺍﺩ ﺴﻜﺎﻨﻬﺎ‪ .‬ﻭﻗﺩ ﻴﻜﻭﻥ ﻫﺫﺍ ﻤﻥ )ﻤﺠﺎﺯ ﺍﻟﺤﺫﻑ( ﺃﻱ ﺤﺫﻑ ﺍﻟﻤﻀﺎﻑ‪،‬‬
‫ﺃﻱ‪ :‬ﻤﺎﺀ ﺍﻟﻤﻴﺯﺍﺏ ﻭﺃﻫل ﺍﻟﻨﺎﺩﻱ ﻭﺴﻜﺎﻥ ﺍﻟﻘﺭﻴﺔ‪ ،‬ﺒﺩﻭﻱ ﻁﺒﺎﻨﺔ‪ ،‬ﻤﻌﺠﻡ ﺍﻟﺒﻼﻏﺔ ﺍﻟﻌﺭﺒﻴﺔ‪ ،‬ﺩﺍﺭ ﺍﻟﻤﻨﺎﺭ ﻟﻠﻨﺸﺭ ﻭﺍﻟﺘﻭﺯﻴﻊ‪ ،‬ﺠﺩﺓ ﻭﺩﺍﺭ ﺍﻟﺭﻴﻔﺎﻋﻲ ﻟﻠﻨﺸﺭ‬
‫ﻭﺍﻟﻁﺒﺎﻋﺔ ﻭﺍﻟﺘﻭﺯﻴﻊ ﺍﻟﺭﻴﺎﺽ‪ ،‬ﻁ‪1408 ،3:‬ﻫـ‪1988/‬ﻡ‪ ،‬ﺹ‪.182 :‬‬
‫‪- 62 -‬‬
‫ﻧﺎﺩﻳﻪ‪ ،‬ﻭﺍﻟﻨﺎﺩﻱ )ﺍ‪‬ﻠﺲ()‪ (203‬ﺃﻭ )ﺍﳊﺎﻟﻴﺔ()‪ (204‬ﰲ ﳓﻮ‪] :‬ﻗﻮﻟﻪ ﺗﻌـﺎﱃ[ )‪ )(205‬ﻓﻔـﻲ ﺭﲪـﺔ ﺍﷲ (‬
‫)‪(206‬ﺃﻱ ﺍﳉﻨﺔ )ﺍﻟﱵ()‪ (207‬ﲢﻞ ﻓﻴﻬﺎ ﺍﻟﺮﲪﺔ‪) ،‬ﺃﻱ()‪ (208‬ﺍﻟﻨﻌﻤﺔ‪ ،‬ﻓﻘﺪ ﺃﻃﻠﻖ ﺍﳊﺎﻝ‪ ،‬ﻭﺃﺭﺍﺩ ﺍﶈﻞ‪ ،‬ﻋﻜﺲ‬
‫ﻣﺎ ﻗﺒﻠﻪ‪ ) ،‬ﺎﺯ ﻣﺮﺳﻞ( )‪ (209‬ﺃﻱ ﻳﺴﻤﻰ ﺑﺬﻟﻚ ﻷﻧﻪ ﺃﺭﺳﻞ‪ ،‬ﺃﻱ‪ :‬ﺃﻃﻠـﻖ ﻋـﻦ )ﺍﻟـﺪﻋﺎﺀ( )‪ (210‬ﺇﻥ‬
‫)ﺍﳌﺸﺒﻪ( )‪ (211‬ﻣﻦ )ﺟﻨﺲ( )‪ (212‬ﺍﳌﺸﺒﻪ ﺑﻪ ﺃﻭ ﻋﻦ )ﺍﻟﺘﻘﻴـﺪ( )‪ (213‬ﺑﻌﻼﻗـﺔ ﲞـﻼﻑ ﺍﻻﺳـﺘﻌﺎﺭﺓ‪،‬‬
‫)ﻓﻌﻼﻗﺘﻬﺎ()‪ (214‬ﺍﳌﺸﺎ‪‬ﺔ ﻓﻘﻂ‪.‬‬

‫‪ - ( 201‬ﺇﻀﺎﻓﺔ ﺍﻗﺘﻀﺎﻫﺎ ﺍﻟﺴﻴﺎﻕ ‪.‬‬

‫‪ - ( 202‬ﺴﻭﺭﺓ ﺍﻟﻌﻠﻕ‪ ،‬ﺍﻵﻴﺔ ‪.17‬‬
‫‪ - ( 203‬ﻜﺘﺒﻬﺎ ﻓﻲ )ﻤﺦ(ﺍﻟﻨﺎﺴﺦ ﻫﻜﺫﺍ ) ﺍﻟﻤﺠﺱ ﺩﻭﻥ ﻻﻡ ﺜﻡ ﺍﺴﺘﺩﺭﻜﻬﺎ ﻭﻭﻀﻊ ﺒﺩﻟﻬﺎ ﺍﻟﻤﺠﻠﺱ (‪.‬‬
‫‪ - ( 204‬ﺍﻟﺤﺎﻟﻴﺔ ﻤﻥ ﻋﻼﻗﺎﺕ )ﺍﻟﻤﺠﺎﺯ ﺍﻟﻤﺭﺴل( ﻭﺫﻟﻙ ﺇﺫ ﺫﻜﺭ ﻟﻔﻅ )ﺍﻟﺤﺎل( ﻭﺃﺭﻴﺩ )ﺍﻟﻤﺤل( ﻟﻤﺎ ﺒﻴﻨﻬﻤﺎ ﻤﻥ ﺍﻟﻤﻼﺯﻤﺔ‪ ،‬ﻨﺤﻭ‪] :‬ﻗﻭﻟﻪ ﺘﻌﺎﻟﻰ[ } ﻭﺃﻤﺎ‬
‫ﺍﻟﺫﻴﻥ ﺍﺒﻴﻀﺕ ﻭﺠﻭﻫﻬﻡ ﻓﻔﻲ ﺭﺤﻤﺔ ﺍﷲ ﻫﻡ ﻓﻴﻬﺎ ﺨﺎﻟﺩﻭﻥ{ ﺃﻱ ﻓﻲ ﺠﻨﺘﻪ ﺍﻟﺘﻲ ﺘﺤل ﻓﻴﻬﺎ ﺍﻟﺭﺤﻤﺔ‪ ،‬ﺁل ﻋﻤﺭﺍﻥ‪ ،‬ﺍﻵﻴﺔ‪] 107:‬ﻭﻗﻭﻟﻪ ﺘﻌﺎﻟﻲ[ )ﺨﺫﻭﺍ‬
‫ﺯﻴﻨﺘﻜﻡ ﻋﻨﺩ ﻜل ﻤﺴﺠﺩ( ﺍﻟﺴﻭﺭﺓ‪ :‬ﺍﻷﻋﺭﺍﻑ ﺍﻵﻴﺔ‪ 31 :‬ﺃﻱ ﻟﺒﺎﺴﻜﻡ ﻟﺤﻠﻭل ﺍﻟﺯﻴﻨﺔ ﻓﻴﻪ‪ ،‬ﻓﺎﻟﺯﻴﻨﺔ ﺤﺎل‪ ،‬ﻭﺍﻟﻠﺒﺎﺱ ﻤﺤﻠﻬﺎ ﻭﻨﺤﻭ ﻗﻭل ﺍﻟﺸﺎﻋﺭ‪:‬‬
‫ﻗل ﻟﻠﺠﺒﺎﻥ ﺇﺫﺍ ﺘﺄﺨﺭ ﺴﺭﺠﻪ * ﻫل ﺃﻨﺕ ﻤﻥ ﺸﺭﻙ ﺍﻟﻤﻨﻴﺔ ﻨﺎﺝ؟‪.‬‬
‫ﻴﺭﻴﺩ ﺇﺫﺍ ﺘﺄﺨﺭ ﻓﺭﺴﻪ‪ ،‬ﻭﺍﻟﺴﺭﺝ ﺤﺎل ﻭﺍﻟﻔﺭﺱ ﻤﺤل ﻟﻪ‪ .‬ﺃﻨﻅﺭ ﺒﺩﻭﻱ ﻁﺒﺎﻨﺔ‪ ،‬ﻤﻌﺠﻡ ﺍﻟﺒﻼﻏﺔ‪ ،‬ﺹ‪.182 :‬‬
‫‪ - ( 205‬ﺇﻀﺎﻓﺔ ﺍﻗﺘﻀﺎﻫﺎ ﺍﻟﺴﻴﺎﻕ‬
‫‪ - ( 206‬ﺴﻭﺭﺓ‪ :‬ﺃل ﻋﻤﺭﺍﻥ‪ ،‬ﺍﻵﻴﺔ‪.107 :‬‬
‫‪ – ( 207‬ﻓﻲ )ﻕ( ﻜﺘﺒﻬﺎ ﺍﻟﺫﻱ ‪.‬‬
‫‪ - ( 208‬ﻓﻲ )ﻕ(‪ :‬ﺃﻭ‪.‬‬
‫‪ - ( 209‬ﻓﻲ )ﻕ(‪ :‬ﻤﺠﺎﺯ ﺃﺭﺴل ﻭﻓﻲ )ﻡ(‪ :‬ﻓﻤﺠﺎﺯ ﻤﺭﺴل‪.‬‬
‫‪ - ( 210‬ﻓﻲ )ﻕ(‪ :‬ﺍﺩﻋﺎﺀ ﻭ ﺍﻟﺼﺤﻴﺢ ﻤﺎ ﺃﺜﺒﺘﻨﺎﻩ‪.‬‬
‫‪ - ( 211‬ﻓﻲ )ﻕ(‪ :‬ﺍﻷﺸﺒﻪ‪.‬‬
‫‪ - ( 212‬ﻓﻲ )ﻕ( ﻤﻥ ﻏﻴﺭ‪.‬‬
‫‪ – ( 213‬ﻓﻲ ﺒﻘﻴﺔ ﺍﻟﻨﺴﺦ ﺍﻟﺘﻘﻴﻴﺩ‪.‬‬
‫‪ - ( 214‬ﻓﻲ ﺒﻘﻴﺔ ﺍﻟﻨﺴﺦ ﻓﻌﻼﻗﺘﻪ‪.‬‬
‫‪- 63 -‬‬
 ‫ﻓﺼﻞ‬
‫)‪(215‬‬
‫ﰲ ﺗﻘﺴﻴﻢ ﺍﻻﺳﺘﻌﺎﺭﺓ ﺑﺎﻟﺬﺍﺕ )ﺃﻱ ﺑﻘﻄﻊ ﺍﻟﻨﻈﺮ ﻋﻤﺎ ﻳﻄﺮﺃ ﻋﻠﻴﻬﺎ(‬
‫ﺍﻻﺳﺘﻌﺎﺭﺓ ﺇﻣﺎ ﺗﺼﺮﳛﻴﺔ‪ ،‬ﻧﺴﺒﺔ ﺇﱃ )ﺍﻟﺘﺼﺮﻳﺢ()‪ (216‬ﻭﻳﻘﺎﻝ ﻣﺼﺮﺣﺔ ﺃﻳﻀﺎ‪ ،‬ﻭﺇﻣﺎ ﻣﻜﻨﻴﺔ‪ ،‬ﻭﻳﻘﺎﻝ‬
‫ﺑﺎﻟﻜﻨﺎﻳﺔ )ﺃﻳﻀﺎ()‪ (217‬ﻭﺇﻣﺎ )ﲣﻴﻴﻠﻴﺔ( )‪ (218‬ﻭ)ﺍﻻﺳﺘﻌﺎﺭﺓ()‪ (219‬ﺍﻟﺘﺼﺮﳛﻴﺔ ﻫﻲ ﺍﻟﱵ ﺻﺮﺡ ﻓﻴﻬﺎ‪ ،‬ﺗﻄﻠﻖ‬
‫ﺍﻻﺳﺘﻌﺎﺭﺓ ﻋﻠﻰ ﺍﻻﺳﺘﻌﻤﺎﻝ‪ ،‬ﻛﻤﺎ ﺗﻄﻠﻖ ﻋﻠﻰ ﺍﻟﻠﻔﻆ ﺍﳌﺴﺘﻌﻤﻞ‪ ،‬ﻭﺑﺈﺭﺍﺩﺓ ﺍﻷﻭﻝ ﺗﻈﻬﺮ )ﺍﻟﻈﺮﻓﻴﺔ()‪.(220‬‬
‫)‪(223‬‬
‫ﻭﺇﻻ ﻟﻘﺎﻝ ﻫﻲ ﻟﻔﻆ ﺍﳌﺸﺒﻪ ﺑﻪ‪ ،‬ﺍﳌﺼﺮﺡ )ﺑﻪ()‪ .(221‬ﺑﺬﻛﺮ ﺍﳌﺸﺒﻪ ﺑﻪ‪).‬ﺃﻳﻀﺎ()‪) :(222‬ﺑﺎﻟﻠﻔﻆ(‬
‫ﺍﻟﺪﺍﻝ ﻋﻠﻴﻪ ﻓﻘﻂ‪) ،‬ﺃﻱ()‪ (224‬ﻣﻦ ﻏﲑ ﺃﻥ ﻳﺬﻛﺮ ﺷﻲﺀ‪ ،‬ﻣﻦ ﺃﺭﻛﺎﻥ ﺍﻟﺘﺸﺒﻴﻪ ﺳﻮﺍﻩ‪.‬‬
‫ﳓﻮ‪ :‬ﺭﺃﻳﺖ ﺃﺳﺪﺍ ﰲ ﺍﳊﻤﺎﻡ‪ ،‬ﻓﺈﻧﻪ ﺻﺮﺡ ﻓﻴﻪ ﺑﺬﻛﺮ )ﺷﻲﺀ ﻣﻦ()‪ (225‬ﺍﳌﺸﺒﻪ ﺑﻪ ﻓﻘﻂ‪ ،‬ﻭﻫﻮ ﻟﻔﻆ‬
‫)‪(227‬‬ ‫)‪(226‬‬
‫ﰲ ﻛﻞ‪،‬‬ ‫ﻭﺗﻘﺮﻳﺮﻫﺎ ﺃﻥ ﻳﻘﺎﻝ ﺷﺒﻪ ﺍﻟﺮﺟﻞ ﺍﻟﺸﺠﺎﻉ ﺑﺎﻷﺳﺪ‪ ،‬ﲜﺎﻣﻊ )ﺍﳉﺮﺍﺀﺓ(‬ ‫)ﺍﻷﺳﺪ(‬
‫ﻭﺍﺳﺘﻌﲑ ﺍﻟﻠﻔﻆ ﺍﻟﺪﺍﻝ ﻋﻠﻰ ﺍﳌﺸﺒﻪ ﺑﻪ‪ .‬ﻭﻫﻮ ﻟﻔﻆ ﺃﺳﺪ ﻟﻠﺮﺟﻞ ﺍﻟﺸﺠﺎﻉ‪ ،‬ﺍﺳﺘﻌﺎﺭﺓ ﺗﺼﺮﳛﻴﺔ‪.‬‬

‫‪ – ( 215‬ﺴﺎﻗﻁ ﻓﻲ ﺍﻷﺼل ﻭ ﺍﻹﻜﻤﺎل ﻤﻥ ﺒﻘﻴﺔ ﺍﻟﻨﺴﺦ‪.‬‬

‫‪ - ( 216‬ﻓﻲ )ﻕ( ﻭ)ﺥ(‪ :‬ﻟﻠﺘﺼﺭﻴﺢ‬
‫‪ – ( 217‬ﻓﻲ)ﻤﺦ(‪ :‬ﺴﺎﻗﻁﺔ‬
‫‪ - ( 218‬ﺍﻟﺘﺨﻴﻴﻠﻴﺔ‪ :‬ﻭﻗﺩ ﺴﻤﺎﻫﺎ ﺍﻟﻌﻠﻭﻱ ﺍﻹﺴﺘﻌﺎﺭﺓ ﺍﻟﺨﻴﺎﻟﻴﺔ ﺍﻟﻭﻫﻤﻴﺔ‪ ،‬ﻓﻬﻲ ﺃﻥ ﺘﺴﺘﻌﻴﺭ ﻟﻔﻅﹰﺎ ﺩﺍ ﹰ‬
‫ﻻ ﻋﻠﻰ ﺤﻘﻴﻘﺔ ﺨﻴﺎﻟﻴﺔ ﺘﻘﺩﺭﻫﺎ ﻓﻲ ﺍﻟﻭﻫﻡ‪ ،‬ﺜـﻡ ﺘﺭﺩﻓﻬـﺎ‬
‫ﺒﺫﻜﺭ ﺍﻟﻤﺴﺘﻌﺎﺭ ﻟﻪ ﺇﻴﻀﺎﺤﹰﺎ ﻟﻬﺎ ﻭﺘﻌﺭﻴﻔﹰﺎ ﻟﺤﺎﻟﻬﺎ‪ ،‬ﻜﻘﻭل‪:‬‬
‫ﺃﺭﻁﺄﺓ ﺒﻥ ﺴﻬﻴﺔ‪] :‬ﺍﻟﻁﻭﻴل[‬
‫ﻓﻘﻠﺕ ﻟﻬﺎ ﻴﺎ ﺃﻡ ﺒﻴﻀﺎﺀ ﺇﻨﻨﻲ * ﻫﺭﻴﻕ ﺸﺒﺎﺒﻲ ﻭ ﺍﺴﺘﺸﻥ ﺃﺩﻴﻤﻲ‬
‫ﻓﻘﺎل‪) :‬ﻫﺭﻴﻕ ﺸﺒﺎﺒﻲ( ﻟﻤﺎ ﻑ ﺍﻟﺸﺒﺎﺏ ﻤﻥ ﺍﻟﺭﻭﻨﻕ ﻭﺍﻟﻁﺭﺍﻭﺓ ﺍﻟﺘﻲ ﻫﻲ ﻜﺎﻟﻤﺎﺀ ﺜﻡ ﻋﻘﺒﻪ ﺒﻘﻭﻟﻪ )ﺍﺴﺘﺸﻥ ﺃﺩﻴﻤﻲ( ﻷﻥ ﺍﻟﺸﻥ ﻫﻲ ﺍﻟﻘﺭﺒﺔ ﺍﻟﻴﺎﺒـﺴﺔ‪ ،‬ﻓﻜـﺄﻥ‬
‫ﺃﺩﻴﻤﻪ ﺼﺎﺭ ﺸﻨﹰﺎ ﻫﺭﻴﻕ ﻤﺎﺀ ﺸﺒﺎﺒﻪ‪ ،‬ﻓﺼﺤﺕ ﻟﻪ ﺍﻻﺴﺘﻌﺎﺭﺓ ﻤﻥ ﻜل ﻭﺠﻪ ﻭﺨﺎﺼﺔ ﺍﻟﺘﺨﻴﻠﻴﺔ‪ .‬ﺍﻟﻤﻌﺠﻡ ﺍﻟﻤﻔﺼل ﻓﻲ ﻋﻠﻭﻡ ﺍﻟﺒﻼﻏـﺔ ﻭ ﺍﻟﺒـﺩﻴﻊ ﻭﺍﻟﺒﻴـﺎﻥ‬
‫ﻭﺍﻟﻤﻌﺎﻨﻲ‪ ،‬ﺘﺄﻟﻴﻑ ﺃﻨﻌﺎﻡ ﻓﻭﺍل ﻋﻜﺎﻭﻱ ﻤﺭﺍﺠﻌﺔ ﺸﻤﺱ ﺍﻟﺩﻴﻥ‪ ،‬ﺩﺍﺭ ﺍﻟﻜﺘﺏ ﺍﻟﻌﻠﻤﻴﺔ ﺒﻴﺭﻭﺕ – ﻟﺒﻨﺎﻥ‪ .‬ﻁ‪1413 :‬ﻫـ‪1992/‬ﻡ‪ .‬ﺹ‪.99 :‬‬
‫‪ - ( 219‬ﻓﻲ )ﻕ( ﻭ)ﻡ(‪ :‬ﻓﺎﻻﺴﺘﻌﺎﺭﺓ‪.‬‬
‫‪ - ( 220‬ﻓﻲ )ﻕ(‪ :‬ﺴﺎﻗﻁﺔ ﻭﻟﻌل ﺍﻟﻜﺎﺘﺏ ﻓﻲ ﺍﻷﺼل ﻜﺘﺏ ﺍﻟﻅﺭﻓﻴﺔ ﺜﻡ ﺃﻋﺎﺩ ) ﻓﻴﻪ( ﺨﻁًﺄ‪.‬‬
‫‪ - ( 221‬ﺒﻪ‪ :‬ﺴﺎﻗﻁﺔ ﻓﻲ)ﻤﺦ( ﻭ ﻓﻲ )ﻡ(‪.‬‬
‫‪ – ( 222‬ﻓﻲ)ﻤﺦ(‪:‬ﺴﺎﻗﻁﺔ‬
‫‪ - ( 223‬ﻓﻲ )ﻕ(‪ :‬ﺃﻱ ﺍﻟﻠﻔﻅ‪.‬‬
‫‪ – ( 224‬ﻓﻲ )ﻡ( ﺴﺎﻗﻁﺔ ‪.‬‬
‫‪ – ( 225‬ﺴﺎﻗﻁ ﻓﻲ ﺍﻷﺼل ﻭ ﺍﻹﻜﻤﺎل ﻤﻥ ﺒﻘﻴﺔ ﺍﻟﻨﺴﺦ ‪.‬‬
‫‪ – ( 226‬ﻓﻲ )ﻕ( ﻭ )ﻡ( ﺃﺴﺩ ‪.‬‬
‫‪ – ( 227‬ﻓﻲ )ﻕ( ﺍﻟﺠﺭﺃﺓ ‪.‬‬
‫‪- 64 -‬‬
‫ﻷﻧﻪ )ﲟﱰﻟﺔ()‪ (230‬ﺍﻟﻠﺒﺎﺱ‪ ،‬ﺍﻟﺬﻱ ﺍﺳﺘﻌﲑ‬ ‫)‪(229‬‬
‫ﻓﺎﻟﺘﺸﺒﻴﻪ ﺑﲔ )ﺍﳌﻌﺎﱐ()‪ (228‬ﻭﺍﻻﺳﺘﻌﺎﺭﺓ )ﺍﻟﻠﻔﻆ(‬ ‫]ظ‪[6/‬‬

‫ﻣﻦ ﺃﺣﺪ‪ .//‬ﻓﺄﻟﺒﺲ ﻏﲑﻩ‪ ،‬ﻭﻗﻮﻟﻨﺎ ﰲ ﺍﳊﻤﺎﻡ‪ ،‬ﻗﺮﻳﻨﺔ ﻣﺎﻧﻌﺔ ﻣﻦ ﺇﺭﺍﺩﺓ ﺍﻷﺳﺪ ﺍﳊﻘﻴﻘﻲ‪ .‬ﻭ ﺍﻻﺳﺘﻌﺎﺭﺓ‬
‫)‪(232‬‬ ‫)‪(231‬‬
‫ﻫﻲ ﺍﻟﱵ ﻃﻮﻱ ﺃﻱ‪ ،‬ﱂ ﻳﺬﻛﺮ ﻓﻴﻬﺎ ﺫﻛﺮ ﺍﳌﺸﺒﻪ ﺑﻪ‪ .‬ﺑﺬﻛﺮ‬ ‫)ﺍﳌﺨﻔﻴﺔ(‬ ‫ﺍﳌﻜﻨﻴﺔ ﺃﻱ‪) :‬ﻫﻲ(‬
‫ﺷﻲﺀ ﻣﻦ ﻟﻮﺍﺯﻣﻪ‪.‬‬
‫ﺃﻱ‪ :‬ﻟﻮﺍﺯﻡ ﺍﳌﺸﺒﻪ ﺑﻪ‪ ،‬ﻭﺍﻟﺒﺎﺀ ﺳﺒﺒﻴﺔ ﺃﻭ ﲟﻌﲎ ﻣﻊ‪ ،‬ﻓﻠﻢ ﻳﺬﻛﺮ ﻓﻴﻬﺎ ﻣﻦ ﺃﺭﻛﺎﻥ ﺍﻟﺘﺸﺒﻴﻪ ﺳﻮﻯ‬
‫ﺍﳌﺸﺒﻪ ﻭﺍﻻﺳﺘﻌﺎﺭﺓ ﺍﻟﺘﺨﻴﻴﻠﻴﺔ‪ ،‬ﻫﻲ )ﺇﺛﺒﺎﺕ( )‪ (233‬ﺫﻟﻚ ﺍﻟﻼﺯﻡ ﻟﻠﻤﺸﺒﻪ )ﺑﻪ()‪ (234‬ﺍﻟﺪﺍﻝ ﺫﻟﻚ ﺍﻟﻼﺯﻡ‬
‫ﻋﻠﻰ ﺍﺳﺘﻌﺎﺭﺓ ﻟﻔﻆ ﺍﳌﺸﺒﻪ ﺑﻪ‪ .‬ﻟﻠﻤﺸﺒﻪ ﻓﻬﻲ ﺃﻱ‪ :‬ﺍﻟﺘﺨﻴﻴﻠﻴﺔ ﻣﻼﺯﻣﺔ ﻟﻠﻤﻜﻨﻴﺔ ‪.‬ﻻ ﺗﻨﻔﻚ ﻋﻨﻬﺎ‪ ،‬ﻭﻟﺬﺍ ﻣﺜﻞ‬
‫)ﳍﻤﺎ()‪ (235‬ﲟﺜﺎﻝ ﻭﺍﺣﺪ ﺑﻘﻮﻟﻪ‪:‬‬
‫ﳓﻮ‪ :‬ﺃﻇﻔﺎﺭ ﺍﳌﻨﻴﺔ ﻧﺸﺒﺖ ﺑﻜﺴﺮ ﺍﻟﺸﲔ‪ ،‬ﺃﻱ ﻋﻠﻘﺖ ﺑﻔﻼﻥ‪ ،‬ﻭﺗﻘﺮﻳﺮ ﺍﻻﺳﺘﻌﺎﺭﺓ ﻓﻴﻬﻤﺎ‪ ،‬ﻣﻦ ﻫﺬﺍ‬
‫ﺍﳌﺜﺎﻝ ﺃﻥ ﻳﻘﺎﻝ ﺷﺒﻬﺖ ﺍﳌﻨﻴﺔ ﺍﳌﺬﻛﻮﺭﺓ‪ ،‬ﺑﺎﻟﺴﺒﻊ ﰲ ﺍﻻﻏﺘﻴﺎﻝ‪ .‬ﺃﻱ ﲜﺎﻣﻊ ﺍﻏﺘﻴﺎﻝ ﺍﻟﻨﻔﻮﺱ‪ ،‬ﰲ ﻛﻞ ﻣﻦ‬
‫)‪(236‬‬
‫ﺑﲔ ﻧﻔﺎﻉ ﻭﺿﺮﺍﺭ‪ .‬ﻭﺍﺳﺘﻌﲑ ﺍﺳﻢ ﺍﻟﺴﺒﻊ ﳍﺎ‪ ،‬ﺃﻱ ﻟﻠﻤﻨﻴﺔ ﺃﻱ ﻗﺪﺭ ﺍﺳﺘﻌﺎﺭﺗﻪ ﳍﺎ ﰒ‬ ‫ﻏﲑ )ﺗﻔﺮﻗﺔ(‬
‫ﻃﻮﺏ ﺫﻛﺮﻩ‪ ،‬ﺃﻱ‪ :‬ﺫﻛﺮ ﺍﺳﻢ ﺍﳌﺸﺒﻪ ﺑﻪ‪ ،‬ﺑﻨﺎﺀ ﻋﻠﻰ ﺃﻥ ﺍﻟﺬﻛﺮ‪ .‬ﲟﻌﲎ ﺍﳌﺬﻛﻮﺭ‪ ،‬ﺃﻭ ﺫﻛﺮ ﺍﻻﺳﻢ ﺑﻨﺎﺀ‬
‫)‪(237‬‬
‫ﻋﻠﻰ ﺃﻧﻪ ﺑﺎﻕ ﻋﻠﻰ ﻣﺼﺪﺭﻳﺘﻪ‪.‬ﻭﻗﻮﻟﻪ ﺍﺳﺘﻌﺎﺭﺓ ﺑﺎﻟﻜﻨﺎﻳﺔ ‪،‬ﺃﻱ ﻣﺘﻠﺒﺴﺔ ﺑﺎﳋﻔﺎﺀ ﺇﺫ ﺍﻟﻜﻨﺎﻳﺔ )ﺇﳊﺎﻕ(‬
‫ﻣﻌﻤﻮﻝ‪).‬ﻛﻘﻮﻟﻪ()‪ (238‬ﺍﺳﺘﻌﲑ‬

‫‪ - ( 228‬ﻓﻲ )ﻕ(‪ :‬ﺍﻟﻤﻜﺎﻨﻲ ﻭ ﻫﻭ ﺘﺤﺭﻴﻑ ﻭﺍﻀﺢ‪.‬‬

‫‪ -( 229‬ﻓﻲ )م( ﻟﻠﻔﻆ‪.‬‬
‫‪ - ( 230‬ﻓﻲ )ﻕ(‪ :‬ﻤﻨﺯﻟﺔ‪.‬‬
‫‪ - ( 231‬ﺴﺎﻗﻁﺔ ﻓﻲ ﺍﻷﺼل‪.‬‬
‫‪ - ( 232‬ﻓﻲ )ﻕ(‪ :‬ﺍﻟﺨﻔﻴﺔ‪.‬‬
‫‪ - ( 233‬ﻓﻲ )ﻕ(‪ :‬ﺫﻜﺭ‪.‬‬
‫‪ - ( 234‬ﺒﻪ ﺴﺎﻗﻁﺔ ﻓﻲ)ﻤﺦ(ﻭﻫﻲ ﻤﻥ )ﺥ(‪.‬‬
‫‪ - ( 235‬ﻓﻲ )ﺥ(‪ :‬ﻟﻬﺎ‪.‬‬
‫‪ - ( 236‬ﻓﻲ )ﻡ(‪ :‬ﺘﻔﺭﻴﻘﻪ‬
‫‪ - ( 237‬ﻓﻲ ﺒﻘﻴﺔ ﺍﻟﻨﺴﺦ ﺍﻟﺨﻔﺎﺀ‪.‬‬
‫‪ - ( 238‬ﻓﻲ )ﻕ( ﻭ)ﻡ(‪ :‬ﻟﻘﻭﻟﻪ‪.‬‬
‫‪- 65 -‬‬
‫ﻭﻗﻮﻟﻪ )ﻭﺩﻝ()‪ (239‬ﻋﻄﻒ ﻋﻠﻰ ﻃﻮﻯ‪ .‬ﰲ ﻗﻮﺓ )ﺍﻟﻌﻠﺔ()‪ (240‬ﻟﻪ ﻋﻠﻴﻪ ﺃﻱ ﻋﻠﻰ ﺫﻛﺮ ﺍﳌﺸﺒﻪ ﺑﻪ‪،‬‬
‫)ﺑﺬﻛﺮ( )‪(241‬ﻻﺯﻣﻪ ﻭﻫﻮ ﺍﻷﻇﻔﺎﺭ‪ ،‬ﺍﻟﺬﻱ ﻫﻮ ﻗﺮﻳﻨﺔ ﺍﳌﻜﻨﻴﺔ‪.‬‬
‫ﻗﺎﻝ ﺍﶈﻘﻖ ﺍﻟﺘﻔﺘﺎﺯﺍﱏ)‪.(242‬‬
‫ﻓﺎﳌﻘﺼﻮﺩ ﻣﻦ ﻗﻮﻟﻨﺎ ﺃﻇﻔﺎﺭ ﺍﳌﻨﻴﺔ‪ //‬ﺍﺳﺘﻌﺎﺭﺓ ﺍﻟﺴﺒﻊ ﻟﻠﻤﻨﻴﺔ‪ ،‬ﻛﺎﺳﺘﻌﺎﺭﺓ ﺍﻷﺳﺪ ﻟﻠﺮﺟﻞ ﺍﻟﺸﺠﺎﻉ‪ ،‬ﺇﻻ‬ ‫]و‪[ 7/‬‬
‫)‪(243‬‬
‫ﺃﻧﺎ ﱂ ﻧﺼﺮﺡ ﺑﺬﻛﺮ ﺍﳌﺴﺘﻌﺎﺭ‪ ،‬ﺃﻋﲎ ﺍﻟﺴﺒﻊ‪ ،‬ﺑﻞ ﺍﻗﺘﺼﺮﻧﺎ ﻋﻠﻰ ﺫﻛﺮ ﻻﺯﻣﻪ‪ ،‬ﻭﻫﻮ ﺍﻷﻇﻔﺎﺭ )ﻟﺘﻨﺘﻘﻞ(‬
‫ﻣﻨﻪ ﺇﱃ ﺍﳌﻘﺼﻮﺩ‪ ،‬ﻛﻤﺎ ﻫﻮ ﺷﺄﻥ ﺍﻟﻜﻨﺎﻳﺔ ﻓﺎﳌﺴﺘﻌﺎﺭ ﻫﻮ ﻟﻔﻆ ﺍﻟﺴﺒﻊ ﺍﻟﻐﲑ ﺍﳌﺼﺮﺡ ﺑﻪ ﻭﺍﳌﺴﺘﻌﺎﺭ ﻣﻨﻪ ﻫﻮ‬
‫)‪(244‬‬
‫ﺍﻷﻇﻔﺎﺭ )ﻟﻠﻤﻨﻴﺔ ﲣﻴﻴﻠﻴﺔ ﻭﺃﻣﺎ ﻟﻔﻆ‬ ‫ﺍﳊﻴﻮﺍﻥ ﺍﳌﻔﺘﺮﺱ‪ ،‬ﻭﺍﳌﺴﺘﻌﺎﺭ ﻟﻪ‪ ،‬ﻫﻮ ﺍﳌﻨﻴﺔ )ﻭﺍﺛﺒﺎﺕ(‬
‫ﺍﻷﻇﻔﺎﺭ()‪ (245‬ﻓﻬﻮ ﻣﺴﺘﻌﻤﻞ ﰲ ﺣﻘﻴﻘﺘﻪ )ﺃﻣﺎ ﻛﻮﻥ ﺍﻹﺛﺒﺎﺕ ﺍﺳﺘﻌﺎﺭﺓ )ﻓﻸﻧﻪ( )‪ (246‬ﻗﺪ ﺍﺳﺘﻌﲑ ﻟﻠﻤﺸﺒﻪ‬
‫)ﺃﻱ()‪ (247‬ﺇﺛﺒﺎﺕ ﺍﻷﻣﺮ ﺍﻟﺬﻱ ﳜﺺ ﺍﳌﺸﺒﻪ ﺑﻪ( ﻭﺃﻣﺎ ﻛﻮﻧﻪ ﲣﻴﻴﻠﻴﺔ‪ ،‬ﻓﻸﻧﻪ ﳜﻴﻞ‪ ،‬ﺃﻱ‪ :‬ﻳﻮﻗﻊ ﰲ ﺍﳋﻴﺎﻝ‪.‬‬
‫ﺃﻱ‪ :‬ﺍﻟﺬﻫﻦ ﺇﻥ ﺍﳌﺸﺒﻪ ﻣﻦ ﺟﻨﺲ ﺍﳌﺸﺒﻪ )ﺑﻪ()‪ (248‬ﻭﻗﺪ ﻋﻠﻤﺖ ﺃﻥ ﺍ‪‬ﺎﺯ ﺇﳕﺎ ﻫﻮ ﰲ ﺍﻹﺛﺒﺎﺕ‬
‫ﺃﻱ‪ :‬ﺇﺛﺒﺎﺕ ﺷﻲﺀ ﻟﺸﻲﺀ‪ ،‬ﻟﻴﺲ ﻫﻮ ﻟﻪ‪) ،‬ﻓﺎﻟﺘﺨﻴﻴﻠﻴﺔ()‪ (249‬ﰲ ﺍﳊﻘﻴﻘﺔ ﳎﺎﺯ ﻋﻘﻠﻲ‪ .‬ﻛﺈﺛﺒﺎﺕ‬
‫)ﺍﻹﻧﺒﺎﺕ()‪ (250‬ﻟﻠﺮﺑﻴﻊ‪ ،‬ﻭﺍﻥ ﻻﺯﻡ ﺍﳌﺸﺒﻪ ﺑﻪ‪.‬‬

‫‪ - ( 239‬ﻓﻲ )ﻕ(‪ :‬ﺍﻟﻭﺍﻭ ﺴﺎﻗﻁﺔ ﻤﻥ )ﻭﺩل(‪.‬‬

‫‪ -( 240‬ﻓﻲ )ﻤﺦ( ﺴﺎﻗﻁﺔ ﻭ ﺍﻹﻜﻤﺎل ﻤﻥ ﺒﻘﻴﺔ ﺍﻟﻨﺴﺦ‪.‬‬
‫‪ - ( 241‬ﻓﻲ )ﻕ(‪ :‬ﻓﺫﻜﺭ‪.‬‬
‫‪ - ( 242‬ﻫﻭ ﺴﻌﺩ ﺍﻟﺩﻴﻥ ﻤﺴﻌﻭﺩ ﺒﻥ ﻋﻤﺭ ﺒﻥ ﻋﺒﺩ ﺍﷲ ﺍﻟﺘﻔﺘﺎﺯﺍﻨﻲ ﻤﻥ ﻜﺒﺎﺭ ﻋﻠﻤﺎﺀ ﺍﻟﻌﺭﺒﺔ ﻭﺍﻟﺒﻴﺎﻥ ﻭﻋﻠﻡ ﺍﻟﻜﻼﻡ ﻭﺍﻟﻤﻨﻁﻕ ﻭﻟﺩ ﺒﺘﻔﺘـﺎﺯﺍﻥ ﺒﺨﺭﺴـﺎﻥ‪،‬‬
‫ﺴﻨﺔ‪712 :‬ﻫـ ﻭﻗﻴل ‪722‬ﻫـ ﻭﺍﻷﺭﺠﺢ ﺍﻷﻭل ﻭﻋﺎﺵ ﺒﺴﺭﺨﺱ ﺜﻡ ﺃﺒﻌﺩﻩ ﺘﻴﻤﻭﺭ ﻟﻨﻙ ﺇﻟـﻰ ﺴـﻤﺭﻗﻨﺩ ﻓﻌـﺎﺵ ﺒﻬـﺎ ﻓﺘـﺭﺓ ﺤﺘـﻰ ﺘـﻭﻓﻲ ﺴـﻨﺔ‪:‬‬
‫‪793‬ﻫـ‪1390/‬ﻡ‪ .‬ﺜﻡ ﺤﻤل ﺇﻟﻰ )ﺴﺭﺨﺱ( ﻓﺩﻓﻥ ﺒﻬﺎ‪ .‬ﻜﺎﻥ ﺍﻟﺘﻔﺘﺎﺯﺍﻨﻲ ﻋﺎﻟﻤﹰﺎ ﻤﺸﻬﻭﺭﹰﺍ ﻓﻲ ﻋﻠﻭﻡ ﺍﻟﻨﺤﻭ ﻭﺍﻟﺼﺭﻑ ﻭﺍﻟﻤﻌﺎﻨﻲ ﻭﺍﻟﺒﻴﺎﻥ ﻭﺍﻟﻤﻨﻁﻕ ﻭﻋﻠـﻡ‬
‫ﺍﻟﻜﻼﻡ ﺒﻠﻎ ﻤﻨﺯﻟﺔ ﻋﻅﻴﻤﺔ ﻓﻲ ﺘﻠﻙ ﺍﻟﻌﻠﻭﻡ ﺤﺘﻰ ﻋﻼ ﺸﺄﻨﻪ ﻭﺫﺍﻉ ﺼﻴﺘﻪ‪ ،‬ﻜﻤﺎ ﺍﺸﺘﻬﺭ ﺒﺎﻟﺘﺼﻭﻑ‪.‬ﻭﺘﻨﺎﻭل ﻓﻲ ﻜﺘﺏ ﺍﻟﻜﻼﻡ ﻭﺍﻟﻤﻨﻁـﻕ‪ ،‬ﻭﺍﻟﺤـﺩﻴﺙ ﻋـﻥ‬
‫ﺍﻟﺘﺼﻭﻑ ﻭﺍﺒﻥ ﻋﺭﺒﻲ ﺨﺎﺼﺔ‪ ،‬ﻭﻋﺎﺭﺽ ﻜﺘﺎﺒﻪ )ﻓﺼﻭﺹ ﺍﻟﺤﻜﻡ( ﻭﻗﺎل ﻋﻨﻪ ﺇﻨﻪ ﻨﻘﻴﺽ ﺍﻟﺤﻜﻡ ﻟﻪ ﻤﺅﻟﻔﺎﺕ ﻏﺯﻴﺭﺓ ﻤﻨﻬﺎ‪ :‬ﺘﻬﺫﻴﺏ ﺍﻟﻤﻨﻁﻕ‪ ،‬ﺍﻟﻤﻁﻭل ﻓﻲ‬
‫ﺍﻟﻨﺤﻭ‪ ،‬ﻤﻘﺎﺼﺩ ﺍﻟﻁﺎﻟﺒﻴﻥ ﻓﻲ ﺍﻟﺒﻼﻏﺔ‪ ،‬ﺸﺭﺡ ﺍﻟﻌﻀﺩ ﻋﻠﻰ ﻤﺨﺘﺼﺭ ﺍﺒﻥ ﺍﻟﺤﺎﺠﺏ ﻓﻲ ﺍﻷﺼﻭل‪ ،‬ﺸﺭﺡ ﺍﻟﺸﻤﺴﻴﺔ ﻓﻲ ﺍﻟﻤﻨﻁﻕ‪ ،‬ﻭﺭﺡ ﺍﻷﺭﺒﻌﻴﻥ ﺍﻟﻨﻭﻭﻴـﺔ‪،‬‬
‫ﻭﻏﻴﺭﻫﺎ‪ ،‬ﺃﻨﻅﺭ ﺘﺭﺠﻤﺘﻪ ﻓﻲ ﺍﻷﻋﻼﻡ ﻟﻠﺯﺭﻜﺎﻟﻲ‪ ،‬ﺝ‪.219/4:‬‬
‫‪ - ( 243‬ﻓﻲ )ﻕ(‪ :‬ﺍﻟﻤﻨﺘﻘل ﺃﻤﺎ ﻓﻲ )ﻡ(‪ :‬ﻟﻨﻨﻘل ﺃﻭ ﻟﺘﻨﻘل‪.‬‬
‫‪ - ( 244‬ﻓﻲ )ﻕ(‪ :‬ﺴﺎﻗﻁ‪.‬‬
‫‪ - ( 245‬ﻓﻲ )ﻕ(‪ :‬ﻤﺎ ﺒﻴﻥ ﺍﻟﻤﻌﻘﻭﻓﺘﻴﻥ ﻭﺭﺩ ﻫﻜﺫﺍ ﻤﻊ ﺒﻌﺽ ﺍﻟﺘﻘﺩﻴﻡ ﻭﺍﻟﺘﺄﺨﻴﺭ )ﻭﺇﺜﺒﺎﺕ ﺍﻷﻅﻔﺎﺭ ﻟﻠﻤﻨﻴﺔ ﺍﺴﺘﻌﺎﺭﺓ ﺘﺨﻴﻠﻴﺔ ﺃﻤﺎ ﻜﻭﻥ ﺍﻻﺜﺒﺎﺕ ﺍﺴﺘﻌﺎﺭﺓ‬
‫ﻓﻸﻨﻪ ﻗﺩ ﺍﺴﺘﻌﻴﺭﺍ ﻟﻠﻤﺸﺒﻪ ﺇﺜﺒﺎﺕ ﺍﻷﻤﺭ ﺍﻟﺫﻱ ﻴﺨﺹ ﺍﻟﻤﺸﺒﻪ ﺒﻪ(‪.‬‬
‫‪ - ( 246‬ﻓﻲ )ﻕ(‪ :‬ﻤﺎ ﺒﻴﻥ ﺍﻟﻤﻌﻘﻭﻓﺘﻴﻥ ﻭﺭﺩ ﻫﻜﺫﺍ ﻤﻊ ﺒﻌﺽ ﺍﻟﺘﻘﺩﻴﻡ ﻭﺍﻟﺘﺄﺨﻴﺭ )ﻭﺇﺜﺒﺎﺕ ﺍﻷﻅﻔﺎﺭ ﻟﻠﻤﻨﻴﺔ ﺍﺴﺘﻌﺎﺭﺓ ﺘﺨﻴﻠﻴﺔ ﺃﻤﺎ ﻜﻭﻥ ﺍﻻﺜﺒﺎﺕ ﺍﺴﺘﻌﺎﺭﺓ‬
‫ﻓﻸﻨﻪ ﻗﺩ ﺍﺴﺘﻌﻴﺭﺍ ﻟﻠﻤﺸﺒﻪ ﺇﺜﺒﺎﺕ ﺍﻷﻤﺭ ﺍﻟﺫﻱ ﻴﺨﺹ ﺍﻟﻤﺸﺒﻪ ﺒﻪ(‪.‬‬
‫‪ – ( 247‬ﻓﻲ)ﻣﺦ( و)م( ‪ :‬ﺳﺎﻗﻄﺔ ‪.‬‬
‫‪ - ( 248‬ﻓﻲ )ﻡ(‪ :‬ﺴﺎﻗﻁﺔ‪.‬‬
‫‪ - ( 249‬ﻓﻲ )ﻕ(‪ :‬ﻓﻲ ﺍﻟﺘﺨﻴﻠﻴﺔ‪.‬‬
‫‪ - ( 250‬ﻓﻲ )ﻕ(‪ :‬ﻜﺘﺏ ﺍﻟﻨﺎﺴﺦ ﻓﻲ ﺍﻟﺒﺩﺍﻴﺔ ﻜﺎﻟﻨﺒﺎﺕ ﻟﻠﺭﺒﻴﻊ ﺜﻡ ﺘﺭﺍﺠﻊ ﻭﻭﻀﻊ ﺇﺸﺎﺭﺓ ﻓﻭﻗﻬﺎ ﻭﺍﺴﺘﺩﺭﻙ ﺍﻟﺨﻁﺄ ﻓﻲ ﺍﻟﻬﺎﻤﺵ ﻫﻜﺫﺍ )ﻜﺈﺜﺒﺎﺕ ﺍﻹﻨﺒﺎﺕ(‬
‫‪- 66 -‬‬
 ‫)‪(252‬‬ ‫)‪(251‬‬
‫ﻭﺗﻔﺼﻴﻞ ﺍﳌﺬﺍﻫﺐ ﰲ ﺍﳌﻜﻨﻴﺔ‬ ‫ﻣﺬﻫﺐ )ﺍﻟﻘﻮﻡ(‬ ‫ﻣﺴﺘﻌﻤﻞ ﰲ ﺣﻘﻴﻘﺘﻪ ﻭﻫﺬﺍ )ﻫﻮ(‬
‫ﻭﺍﻟﺘﺨﻴﻴﻠﻴﺔ ﻭﻣﺎ ﻳﺘﻌﻠﻖ ‪‬ﻤﺎ ﻣﺬﻛﻮﺭ ﰲ )ﺍﻟﺴﻤﺮﻗﻨﺪﻳﺔ()‪ (253‬ﺍﻟﱵ ﺟﻌﻠﺖ )ﻫﺬﻩ( )‪ (254‬ﺍﻟﺮﺳﺎﻟﺔ ﰲ ﺍﳊﻘﻴﻘﺔ‬
‫ﻣﻘﺪﻣﺔ ﳍﺎ‪.‬‬

‫* * *‬

‫‪ - ( 251‬ﻓﻲ )ﻕ(‪ :‬ﺴﺎﻗﻁﺔ‪.‬‬

‫‪ – ( 252‬ﻴﻌﻨﻲ ﺍﻟﺒﻼﻏﻴﻴﻥ‪ .‬ﻓﻲ )ﻕ(‪ :‬ﺴﺎﻗﻁﺔ‪.‬‬
‫‪ - ( 253‬ﺍﻟﺴﻤﺭﻗﻨﺩﻴﺔ‪ :‬ﻟﻸﻤﺎﻡ ﺃﺒﻰ ﺍﻟﻘﺎﺴﻡ ﺍﻟﻠﻴﺜﻰ ﺍﻟﻤﺘﻭﻓﻰ ﺴﻨﺔ ‪1483‬ﻫـ ﻓﻘﻴﻪ ﻭﻋﺎﻟﻡ ﺒﺎﻟﻠﻐﺔ ﻭﺍﻷﺩﺏ ﻭﺍﻟﺭﺴﺎﻟﺔ ﺍﻟﺴﻤﺭﻗﻨﺩﻴﺔ ﻤﻥ ﻜﺘﺒﻪ ﻭﻟﻪ ﺃﻴﻀﺎ ﺒﻠﻭﻍ‬
‫ﺍﻷﺭﺏ ﻤﻥ ﻜﻼﻡ ﺍﻟﻌﺭﺏ ﺍﻨﻅﺭ ﺠﻭﺍﻫﺭ ﺍﻟﺒـﻼﻏﺔ ﺹ‪ 262:‬ﻟـ‪ :‬ﺃﺤﻤﺩ ﺍﻟﻬﺎﺸﻤﻲ – ﻀﺒﻁ ﻭﺘﺩﻗﻴﻕ ﻭﺘﻭﺜﻴﻕ‪ :‬ﻴﻭﺴﻑ ﺍﻟﺼﻤﻴﻠﻲ‪ ،‬ﺍﻟﻁﺒﻌﺔ ﺍﻷﻭﻟﻰ‪ ،‬ﺴﻨﺔ‪:‬‬
‫‪1420‬ﻫـ‪1999/‬ﻡ‪ .‬ﻨﺸﺭ ﺍﻟﻤﻜﺘﺒﺔ ﺍﻟﻌﺼﺭﻴﺔ‪ ،‬ﺒﻴﺭﻭﺕ – ﻟﺒﻨﺎﻥ‪ .‬ﻴﻌﻨﻲ ﺍﻟﺒﻼﻏﻴﻴﻥ‪.‬‬
‫‪ – ( 254‬ﻓﻲ )ﺥ(‪ :‬ﻫﻲ ﺍﻟﺭﺴﺎﻟﺔ‬

‫‪- 67 -‬‬
 ‫ﻓﺼﻞ‬
‫)‪(255‬‬
‫ﻭﳎﺮﺩﺓ)‪ (256‬ﻭﻣﻄﻠﻘﺔ)‪ (257‬ﺍﻻﺳﺘﻌﺎﺭﺓ ﺇﻥ ﻗﺮﻧﺖ ﺑﻌﺪ‬ ‫ﰲ ﺗﻘﺴﻴﻢ ﺍﻻﺳﺘﻌﺎﺭﺓ‪ .‬ﺇﱃ ﻣﺮﺷﺤﺔ‬
‫)ﲤﺎﻡ ﺍﻻﺳﺘﻌﺎﺭﺓ ﺑﺬﻛﺮ( )‪ (258‬ﺍﻟﻘﺮﻳﻨﺔ ﺍﳌﺎﻧﻌﺔ ‪ //‬ﻭﻛﺬﺍ ﺑﻌﺪ ﺍﳌﻌﻴﻨﺔ ﺑﻜﺴﺮ ﺍﻟﻴﺎﺀ ﻓﻼ ﻳﻌﺪ ﻳﻌﻄﻰ ﻣﻦ ﻗﻮﻟﻨﺎ‬ ‫]ظ‪[7/‬‬

‫ﺭﺃﻳﺖ ﲝﺮﺍ ﰲ ﺍﳊﻤﺎﻡ ﻳﻌﻄﻰ‪ .‬ﲡﺮﻳﺪﺍ ﻷ‪‬ﺎ ﻗﺮﻳﻨﺔ ﻣﻌﻴﻨﺔ ﺑﻌﺪ ﲤﺎﻡ ﺍﻻﺳﺘﻌﺎﺭﺓ‪.‬‬
‫)‪(259‬‬
‫ﺍﳌﺴﺘﻌﺎﺭ ﻣﻨﻪ‬ ‫ﺑﺎﳌﺎﻧﻌﺔ‪ .‬ﺍﻟﱵ ﻫﻲ ﰲ ﺍﳊﻤﺎﻡ ﲟﺎ ﺃﻱ‪ :‬ﺑﺸﻲﺀ ﻳﻼﺋﻢ ﺃﻱ‪ ،‬ﻳﻨﺎﺳﺐ )ﺍﳌﺸﺒﻪ ﺑﻪ(‬
‫)‪(260‬‬
‫ﺍﳌﻼﺋﻢ ﳓﻮ‪ :‬ﺭﺃﻳﺖ ﺃﺳﺪﺍ ﰲ‬ ‫ﻓﻤﺮﺷﺤﺔ ﺃﻱ‪ :‬ﺗﺴﻤﻰ ﺑﺬﻟﻚ ﻟﺘﺮﺷﻴﺤﻬﺎ‪ ،‬ﺃﻱ ﺗﻘﻮﻳﺘﻬﺎ )ﺑﺬﻛـﺮ(‬
‫ﺍﳊﻤﺎﻡ ﻟﻪ ﻟﺒﺪ ‪،‬ﻛﻌﻨﺐ ﲨﻊ ﻟﺒﺪﺓ )ﻛﺴﺪﺭﺓ()‪ (261‬ﻭﻫﻲ ﻣﺎ )ﺗﻠﺒﺪ()‪ (262‬ﻣﻦ ﺷﻌﺮ ﺍﻷﺳﺪ ﻋﻠﻰ ﻣﻨﻜﺒﻪ‪،‬‬
‫ﻓﻘﻮﻟﻪ‪ :‬ﰲ ﺍﳊﻤﺎﻡ ﻗﺮﻳﻨﺔ‪ .‬ﻭﻗﻮﻟﻪ‪ :‬ﻟﻪ ﻟﺒﺪ ﺗﺮﺷﻴﺢ ﻷﻧﻪ‪ :‬ﻣﻦ ﻣﻼﺋﻤﺎﺕ ﺍﳌﺴﺘﻌﺎﺭ ﻣﻨﻪ ﻭﺇﻥ ﻗﺮﻧﺖ ﲟﺎ ﻳﻼﺋﻢ‬
‫ﺍﳌﺸﺒﻪ ﺍﳌﺴﺘﻌﺎﺭ ﻟﻪ ﻓﻤﺠﺮﺩﺓ‪.‬‬

‫‪ - ( 255‬ﻤﺭﺸﺤﺔ‪:‬ﻭﻫﻲ ﺍﻟﺘﻲ ﻗﺭﻨﺕ ﺒﻤﻼﺌﻡ ﺍﻟﻤﺴﺘﻌﺎﺭ ﻤﻨﻪ)ﺃﻱ ﺍﻟﻤﺸﺒﻪ ﺒﻪ( ﻨﺤﻭ ﻗﻭﻟﻪ ﺘﻌﺎﻟﻰ‪ ) :‬ﺃﻭﻟﺌﻙ ﺍﻟﺫﻴﻥ ﺍﺸﺘﺭﻭﺍ ﺍﻟﻀﻼﻟﺔ ﺒﺎﻟﻬﺩﻯ ﻓﻤﺎ ﺭﺒﺤﺕ‬
‫ﺘﺠﺎﺭﺘﻬﻡ ( ]ﺍﻟﺒﻘﺭﺓ‪ [16:‬ﺍﺴﺘﻌﻴﺭ ﺍﻟﺸﺭﺍﺀ ﻟﻸﺴﺘﺒﺩﺍل ﻭﺍﻻﺨﺘﻴﺎﺭ‪.‬ﺜﻡ ﻓﺭﻉ ﻋﻠﻴﻬﺎ ﻤﺎﻴﻼﺌﻡ ﺍﻟﻤﺴﺘﻌﺎﺭ ﻤﻨﻪ ﻤﻥ ﺍﻟﺭﺒﺢ ﻭﺍﻟﺘﺠﺎﺭﺓ ﻭﻨﺤﻭ‪ :‬ﻤﻥ ﺒﺎﻉ ﺩﻴﻨﻪ‬
‫ﺒﺩﻨﻴﺎﻩ ﻟﻡ ﺘﺭﺒﺢ ﺘﺠﺎﺭﺘﻪ‪ ,‬ﻭﺴﻤﻴﺕ ﻤﺭﺸﺤﺔ ﻟﺘﺭﺸﻴﺤﻬﺎ ﻭﺘﻘﻭﻴﺘﻬﺎ ﺒﺫﻜﺭ ﺍﻟﻤﻼﺌﻡ‬
‫ﺃﻭ ﺍﻟﺘﺭﺸﻴﺤﻴﺔ ﻜﻤﺎ ﻋﺭﻓﻬﺎ ﺍﻟﺴﻜﺎﻜﻲ )ﺃﻥ ﻴﻜﻭﻥ ﺍﻟﺘﺭﺸﻴﺢ ﺘﺨﻴﻴﻠﻴﹰﺎ ﻤﺜل ﻤﺎ ﺫﻜﺭﻩ ﻓﻴﻪ‪ ،‬ﺃﻥ ﺍﻟﺘﺭﺸﻴﺢ ﻓﻴﻪ ﺇﺜﺒﺎﺕ ﺒﻌﺽ ﻤﺎ ﻴﺨﺹ ﺍﻟﻤﺸﺒﻪ ﺒﻪ ﻟﻠﻤﺸﺒﻪ‪ ،‬ﺇﻻ‬
‫ﺃﻥ ﺍﻟﺘﻌﺒﻴﺭ ﻋﻥ ﺍﻟﻤﺸﺒﻪ ﻑ ﺍﻟﺘﺨﻴﻴﻠﻴﺔ ﺒﻠﻔﻅﻪ ﺍﻟﻤﻭﻀﻭﻉ ﻟﻪ ﻭﻓﻲ ﺍﻟﺘﺭﺸﻴﺢ ﺒﻐﻴﺭ ﻟﻔﻅﻪ(‪ ،‬ﺃﻨﻅﺭ ﺍﻟﻤﻌﺠﻡ ﺍﻟﻤﻔﺼل‪ ،‬ﺹ‪.100 :‬‬
‫‪ - ( 256‬ﻤﺠﺭﺩﺓ ‪ :‬ﻫﻲ ﺍﻟﺘﻰ ﻗﺭﻨﺕ ﺒﻤﻼﺌﻡ ﺍﻟﻤﺴﺘﻌﺎﺭ ﻟﻪ" ﺃﻱ ﺍﻟﻤﺸﺒﻪ " ﻨﺤﻭ‪ :‬ﺭﺃﻴﺕ ﺒﺤﺭﺍ ﻋﻠﻰ ﻓﺭﺱ ﻴﻌﻁﻰ ﻓﻴﻌﻁﻰ ﺘﺠﺭﻴﺩ ﻷﻨﻪ ﻴﻨﺎﺴﺏ ﺍﻟﻤﺴﺘﻌﺎﺭ ﻟﻪ‪،‬‬
‫ﺍﻟﺫﻱ ﻫﻭ ﺍﻟﺭﺠل ﺍﻟﻜﺭﻴﻡ‪ ,‬ﻭﻨﺤﻭ ﺍﺸﺘﺭ ﺒﺎﻟﻤﻌﺭﻭﻑ ﻋﺭﻀﻙ ﻤﻥ ﺍﻟﺫﻱ‪ ,‬ﻭﺴﻤﻴﺕ ﺒﺫﻟﻙ ﻟﺘﺠﺭﻴﺩﻫﺎ ﻋﻥ ﺒﻌﺽ ﺍﻟﻤﺒﺎﻟﻐﺔ ﻟﺒﻌﺩ ﺍﻟﻤﺸﺒﻪ ﺤﻴﻨﺌﺫ ﻋﻥ ﺍﻟﻤﺸﺒﻪ‬
‫ﺒﻪ ﺒﻌﺽ ﺒﻌﺩ‪ ,‬ﻭﺫﻟﻙ ﺒﺒﻌﺩ ﺩﻋﻭﻯ ﺍﻻﺘﺤﺎﺩ ﺍﻟﺫﻱ ﻫﻭ ﻤﺒﻨﻰ ﺍﻻﺴﺘﻌﺎﺭﺓ‪ .‬ﺍﻨﻅﺭ ﺠﻭﺍﻫﺭ ﺍﻟﺒﻼﻏﺔ ﺹ‪.272:‬‬
‫] ﺍﻟﻜﺎﻤل[‬ ‫ﻭﺫﻜﺭ ﺍﻟﻌﺒﺎﺴﻲ ﺍﻹﺴﺘﻌﺎﺭﺓ ﺍﻟﻤﺠﺭﺩﺓ ﺃﻭ )ﺍﻟﺘﺠﺭﻴﺩﻴﺔ( ﻭﻫﻲ ﻤﺎ ﻗﺭﻨﺕ ﺒﻤﻼﺌﻡ ﺍﻟﻤﺴﺘﻌﺎﺭ ﻟﻪ‪ .‬ﻓﻘﺩ ﺍﺴﺘﻌﺎﺭ ﻜﺜﻴﺭ ﻋﺯﺓ ﻓﻲ ﻗﻭﻟﻪ‪:‬‬
‫ﻏﻤﺭ ﺍﻟﺭﺩﺍﺀ ﺇﺫﺍ ﺘﺒﺴﻡ ﻀﺎﺤﻜﹰﺎ * ﻋﻠﻘﺔ ﻟﻀﺤﻜﺘﻪ ﺭﻗﺎﺏ ﺍﻟﻤﺎل‪.‬‬
‫ﺍﻟﺸﺭﺡ‪ :‬ﺃﺭﺍﺩ ﻋﻤﺭ ﺍﻟﺭﺩﺍﺀ ﺃﻱ‪ :‬ﻜﺜﻴﺭ ﺍﻟﻌﻁﺎﺀ‪ ،‬ﺃﻨﻅﺭ ﺍﻟﻤﻌﺠﻡ ﺍﻟﻤﻔﺼل‪ ،‬ﺹ‪.97 :‬‬
‫‪ - ( 257‬ﻤﻁﻠﻘﺔ‪ :‬ﻫﻲ ﺍﻟﺘﻰ ﻟﻡ ﺘﻘﺘﺭﻥ ﺒﻤﻼﺌﻡ ﺃﺼﻼ ﻨﺤﻭ‪] :‬ﻗﻭﻟﻪ ﺘﻌﺎﻟﻰ[‪ ) :‬ﻴﻨﻘﻀﻭﻥ ﻋﻬﺩ ﺍﷲ ( ]ﺍﻟﺭﻋﺩ‪ [25:‬ﺃﻭ ﺫﻜﺭ ﻓﻴﻬﺎ ﻤﻼﺌﻤﻬﺎ ﻤﻌﺎ ﻜﻘﻭل ﺯﻫﻴﺭ‪:‬‬
‫ﻟﺩﻯ ﺃﺴﺩ ﺸﺎﻜﻰ ﺍﻟﺴﻼﺡ ﻗﺫﻑ * ﻟﻪ ﻟﺒﺩ ﺃﻅﻔﺎﺭﻩ ﻟﻡ ﺘﻘﻠﻡ‪.‬‬
‫ﺍﻨﻅﺭ ﺠﻭﺍﻫﺭ ﺍﻟﺒﻼﻏﺔ‪ ،‬ﺹ‪272 :‬‬
‫‪ - ( 258‬ﻓﻲ )ﻕ(‪ :‬ﻤﺎ ﺒﻴﻥ ﺍﻟﻤﻌﻘﻭﻓﺘﻴﻥ ﺴﺎﻗﻁﺔ‪.‬‬
‫‪ - ( 259‬ﻤﺎ ﺒﻴﻥ ﺍﻟﻤﻌﻘﻭﻓﺘﻴﻥ ﻭﺭﺩ ﻓﻲ )ﺥ( ﺃﻤﺎ ﻓﻲ ﺍﻷﺼل ﻭ )ﻕ( ﺴﺎﻗﻁﺔ‪.‬‬
‫‪ - ( 260‬ﻓﻲ )ﻕ(‪ :‬ﺒﺫﻟﻙ‪.‬‬
‫‪ - ( 261‬ﻓﻲ )ﻕ(‪ :‬ﻜﺴﺩﺓ‪.‬‬
‫‪ - ( 262‬ﻓﻲ )ﺥ(‪ :‬ﻤﺘﻠﺒﺩ‪.‬‬
‫‪- 68 -‬‬
 ‫)‪(263‬‬
‫ﻋﻦ ﺑﻌﺾ ﺍﳌﺒﺎﻟﻐﺔ ﳌﺎ ﻓﻴﻪ ﻣﻦ ﺿﻌﻒ ﺩﻋﻮﻯ ﺍﻻﲢﺎﺩ‬ ‫ﺃﻱ ﺗﺴﻤﻰ ﺑﺬﻟﻚ)ﻟﺘﺠﺮﻳﺪﻫﺎ(‬
‫)ﺍﻟﺬﻱ()‪)(264‬ﺑﻨﻴﺖ ﺍﻻﺳﺘﻌﺎﺭﺓ ﻋﻠﻴﻪ()‪.(265‬‬
‫ﳓﻮ‪ :‬ﺭﺃﻳﺖ ﺃﺳﺪﺍ ﰲ ﺍﳊﻤﺎﻡ ﻟﻪ ﺳﻼﺡ‪ .‬ﻓﻘﻮﻟﻪ‪ :‬ﻟﻪ ﺳﻼﺡ ﲡﺮﻳﺪ ﻷﻧﻪ ﻣﻦ ﻣﻼﺋﻤﺎﺕ ﺍﳌﺴﺘﻌﺎﺭ ﻟﻪ‪.‬‬
‫ﻭﻫﻮ ﺍﻟﺮﺟﻞ ﺍﻟﺸﺠﺎﻉ‪ ،‬ﻭﺇﻻ ﺃﻱ‪ ،‬ﻭﺍﻥ ﱂ ﺗﻘﺘﺮﻥ ﲟﺎ ﻳﻼﺋﻢ ﺍﳌﺴﺘﻌﺎﺭ ﻣﻨﻪ‪ ،‬ﻭﻻ ﺍﳌﺴﺘﻌﺎﺭ ﻟـﻪ‪ ،‬ﻓﻤﻄﻠﻘـﺔ‬
‫ﺃﻱ‪،‬ﺗﺴﻤﻰ ﺑﺬﻟﻚ ﻹﻃﻼﻗﻬﺎ ﻋﻠﻰ )ﺍﻟﺘﻘﻴﺪ()‪(266‬ﺑﺸﻲﺀ ﻣﻦ ﻣﻼﺋﻤﺎﺕ ﺍﳌﺴﺘــــﻌﺎﺭ ﻣﻨﻪ‪،‬ﻭ ﺍﳌﺴﺘﻌﺎﺭ‬
‫ﻟﻪ‪.‬‬
‫ﳓﻮ‪ :‬ﺭﺃﻳﺖ ﺃﺳﺪﺍ ﰲ ﺍﳊﻤﺎﻡ‪ ،‬ﻭﺍﻟﺘﺮﺷﻴﺢ ﻻﺷﺘﻤﺎﻟﻪ ﻋﻠﻰ ﲤﺎﻡ ﺍﳌﺒﺎﻟﻐﺔ ﰲ ﺍﻟﺘﺸﺒﻴﻪ ﺃﺑﻠﻎ‪ ،‬ﺃﻱ‪ :‬ﺃﻛﺜﺮ‬
‫)‪(267‬‬
‫ﻧﻌﺖ ﻟﻺﻃﻼﻕ ﺃﻱ‪ :‬ﺍﻹﻃﻼﻕ‬ ‫ﻣﺒﺎﻟﻐﺔ‪ ،‬ﻣﻦ ﺇﻃﻼﻕ‪ //‬ﺍﳌﺸﺘﻤﻞ ﻋﻠﻰ ﺍﳌﺒﺎﻟﻐﺔ ﰲ ﺍﻟﺘﺸﺒﻴﻪ‪) ،‬ﺍﻻﺑﻠﻎ(‬ ‫]و‪[8/‬‬

‫ﺍﻟﺬﻱ ﻫﻮ ﺃﺑﻠﻎ ﻣﻦ ﺍﻟﺘﺠﺮﻳﺪ‪ ،‬ﺍﳌﺸﺘﻤﻞ ﻋﻠﻰ ﺿﻌﻒ ﺍﳌﺒﺎﻟﻐﺔ ﰲ ﺍﻟﺘﺸﺒﻴﻪ ﻭﻗﺪ ﳚﺘﻤﻊ ﺍﻟﺘﺮﺷﻴﺢ ﻭ ﺍﻟﺘﺠﺮﻳﺪ‪،‬‬
‫ﻓﺘﻜﻮﻥ ﺍﻻﺳﺘﻌﺎﺭﺓ ﰲ ﻗﻮﺓ ﺍﳌﻄﻠﻘﺔ ﻛﻘﻮﻟﻪ‪:‬‬
‫] ﺍﻟﻄﻮﻳﻞ[‬
‫ﻟﺪﻱ ﺃﺳﺪ ﺷﺎﻛﻲ ﺍﻟﺴﻼﺡ ﻣﻘﺬﻑ * ﻟﻪ ﻟﺒﺪ ﺃﻇﻔﺎﺭﻩ ﱂ ﺗﻘﻠﻢ)‪.(268‬‬

‫‪ - ( 263‬ﻓﻲ )ﻕ(‪ :‬ﻜﺘﺒﺕ )ﺍﻟﺘﺠﺭﻴﺩ ﺍﻟﻤﺸﺒﻪ(‬

‫‪ - ( 264‬ﻜﺘﺏ ﺍﻟﻨﺎﺴﺦ ﻓﻲ ﺍﻟﺒﺩﺍﻴﺔ ﺍﻟﺘﻲ ﺜﻡ ﺘﺭﺍﺠﻊ ﻭﻜﺘﺏ ﻓﻭﻗﻬﺎ ﺍﻟﺫﻱ‪.‬‬
‫‪ - ( 265‬ﻓﻲ )ﻕ( ﻭ)ﻡ(‪ :‬ﻜﺘﺒﺕ ﻫﻜﺫﺍ )ﻓﻲ ﺍﻻﺴﺘﻌﺎﺭﺓ( ﺃﻤﺎ ﻓﻲ )ﺥ( )ﺍﻟﺫﻱ ﻓﻲ ﺍﻻﺴﺘﻌﺎﺭﺓ(‪.‬‬
‫‪ - ( 266‬ﻓﻲ )ﻕ( ﻭ)ﺥ( ﻭ)ﻡ(‪ :‬ﺍﻟﺘﻘﻴﻴﺩ‪.‬‬
‫‪ - ( 267‬ﻤﺎ ﺒﻴﻥ ﺍﻟﻤﻌﻘﻭﻓﺘﻴﻥ ﻓﻲ )ﻕ( ﻭﺭﺩ ﻫﻜﺫﺍ ) ﺍﻷﺒﻠﻎ ﻨﻌﺕ ﻟﻺﻁﻼﻕ ﺍﻟﺫﻱ ﻫﻭ ﺃﺒﻠﻎ ﻤﻥ ﺍﻟﺘﺠﺭﻴﺩ ﺍﻟﻤﺸﺘﻤل ﻋﻠﻰ ﻀﻌﻑ ﺍﻟﻤﺒﺎﻟﻐﺔ ﻓﻲ ﺍﻟﺘﺸﺒﻴﻪ ﻭﻗﺩ‬
‫ﻴﺠﻤﻊ ﺍﻟﺘﺭﺸﻴﺢ ﻭﺍﻟﺘﺠﺭﻴﺩ ﻓﺘﻜﻭﻥ ﺍﻻﺴﺘﻌﺎﺭﺓ ﻓﻲ ﻗﻭﺓ ﺍﻟﻤﻁﻠﻘﺔ ﻜﻘﻭﻟﻪ‪:‬‬
‫ﻟﺩﻯ ﺃﺴﺩ ﺸﺎﻜﻲ ﺍﻟﺴﻼﺡ ﻗﺫﻑ * ﻟﻪ ﻟﺒﺩ ﺃﻅﻔﺎﺭﻩ ﻟﻡ ﺘﻘﻠﻡ(‪.‬‬
‫‪ - ( 268‬ﻫﺫﺍ ﺍﻟﺒﻴﺕ ﻤﻥ ﻤﻌﻠﻘﺔ ﺯﻫﻴﺭ ﺒﻥ ﺃﺒﻲ ﺴﻠﻤﻰ‪ ،‬ﺍﻟﺘﻲ ﻤﻁﻠﻌﻬﺎ‬
‫ﺃﻤﻥ ﺃﻡ ﺃﻭﻓﻰ ﺩﻤﻨﺔ ﻟﻡ ﺘﻜﻠــﻡ * ﺒﺤﻭﻤﺎﻨﺔ ﺍﻟﺩﺭﺍﺝ ﻓﺎﻟﻤﺘﺜﻠﻡ‬
‫ﻭﻫﻭ ﺯﻫﻴﺭ ﺒﻥ ﺭﺒﻴﻌﺔ ﺒﻥ ﻗﺭﻁ‪ ،‬ﻭﺍﻟﻨﺎﺱ ﻴﻨﺴﺒﻭﻨﻪ ﺇﻟﻰ ﻤﺯﻴﻨﺔ ﻭﺇﻨﻤﺎ ﻨﺴﺒﻪ ﻓﻲ ﻏﻁﻔﺎﻥ‪ ،‬ﻭﻫﻭ ﺃﺤﺩ ﺍﻟﺸﻌﺭﺍﺀ ﺍﻟﻤﻘﺩﻤﻴﻥ ﻓﻲ ﺍﻟﺠﺎﻫﻠﻴﺔ ﺯﻫﻴﺭ ﻭﺍﻤـﺭﺅ‬
‫ﺍﻟﻘﻴﺱ ﻭﺍﻟﻨﺎﺒﻐﺔ ﻭﻜﺎﻥ ﻻ ﻴﻌﺎﻀل ﻓﻲ ﻜﻼﻤﻪ‪ ،‬ﻭﻜﺎﻥ ﻻ ﻴﻤﺩﺡ ﺃﺤﺩﺍ ﺇﻻ ﺒﻤﺎ ﻓﻴﻪ ﻭﻜﺎﻥ ﻴﻀﺭﺏ ﺒﻪ ﺍﻟﻤﺜل ﻓﻲ ﺘﻨﻘﻴﺢ ﺍﻟﺸﻌﺭ ﺤﺘﻰ ﺴﻤﻴﺕ ﻗﺼﺎﺌﺩﻩ ﺒﺎﻟﺤﻭﻟﻴﺎﺕ‬
‫– ﺍﻨﻅﺭ ﺩﻴﻭﺍﻥ ﺯﻫﻴﺭ‪ ،‬ﺍﻟﺼﻔﺤﺔ‪ ،06 ،05 :‬ﻤﻁﺒﻌﺔ ﺩﺍﺭ ﺒﻴﺭﻭﺕ ﻟﻠﻁﺒﺎﻋﺔ ﻭﺍﻟﻨﺸﺭ ﺍﻟﻁﺒﻌﺔ‪1399 :‬ﻫـ ‪1999 -‬ﻡ ﻭﻜﺫﻟﻙ ﻓﻲ ﺍﻟﺸﻌﺭ ﻭﺍﻟﺸﻌﺭﺍﺀ ﺹ‪:‬‬
‫‪ 73،74،75‬ﻟـ‪ :‬ﺃﺒﻲ ﻤﺤﻤﺩ ﻋﺒﺩ ﺍﷲ ﺒﻥ ﻤﺴﻠﻡ ﺒﻥ ﻗﺘﻴﺒﺔ‪ ،‬ﺍﻟﻁﺒﻌﺔ ﺍﻟﺜﺎﻟﺜﺔ‪ ،‬ﺴﻨﺔ‪1407 :‬ﻫـ‪1987/‬ﻡ ‪ ،‬ﻨﺸﺭ ﺩﺍﺭ ﺇﺤﻴﺎﺀ ﺍﻟﻌﻠﻭﻡ‪ ،‬ﺒﻴﺭﻭﺕ – ﻟﺒﻨـﺎﻥ‪- .‬‬
‫ﻭﺍﻟﺒﻼﻏﺔ ﺍﻟﻭﺍﻀﺤﺔ ﺹ‪ 171 :‬ﻟـ‪ :‬ﻋﻠﻲ ﺍﻟﺠﺎﺭﻡ – ﻭﻤﺼﻁﻔﺔ ﺃﻤﻴﻥ‪) ،‬ﺩ‪.‬ﺕ‪/‬ﺩ‪.‬ﻁ(‪.‬‬
‫‪- 69 -‬‬
‫ﻓﻘﻮﻟﻪ‪ :‬ﺷﺎﻛﻰ ﺍﻟﺴﻼﺡ( ﲡﺮﻳﺪ ﻭﻗﻮﻟﻪ ﻟﺒﺪ ‪ ...‬ﺍﱁ ﺗﺮﺷﻴﺢ‪ ،‬ﻭﻫﺬﺍ )ﻭ()‪(269‬ﺇﻥ ﺗﺴﺎﻭﻳﺎ‪ ،‬ﻓﺈﻥ‬
‫ﺯﺍﺩﺍ ﺍﺣﺪﳘﺎ ﻋﻠﻰ ﺍﻵﺧﺮ‪ ،‬ﻓﺎﻟﻌﱪﺓ ﺑﺎﻟﺰﺍﺋﺪ‪ ،‬ﻭﻗﻮﻟﻨﺎ‪ :‬ﺑﻌﺪ ﺍﻟﻘﺮﻳﻨﺔ ﺗﻨﺒﻴﻪ ﻋﻠﻰ ﺃﻥ ﺍﻋﺘﺒﺎﺭ ﺍﻟﺘﺮﺷﻴﺢ ﻭﺍﻟﺘﺠﺮﻳﺪ‬
‫ﺇﳕﺎ ﻳﻜﻮﻥ ﺑﻌﺪ ﲤﺎﻡ ﺍﻻﺳﺘﻌﺎﺭﺓ‪ ،‬ﺑﺬﻛﺮ ﺍﻟﻘﺮﻳﻨﺔ ﻓﻼ )ﺗﻌﺪ( )‪ (270‬ﻗﺮﻳﻨﺔ ﺍﳌﺼﺮﺣﺔ )ﲡﺮﻳﺪﺍ()‪ (271‬ﻭﻻ ﻗﺮﻳﻨﺔ‬
‫)‪(273‬‬ ‫)‪(272‬‬
‫ﻣﻦ ﺃﻥ ﺍﳌﺮﺍﺩ ﺑﺎﻻﺳﺘﻌﺎﺭﺓ ﻟﻔﻆ ﺍﳌﺴﺘﻌﺎﺭ‪) ،‬ﳎﺮﺩﺍ(‬ ‫ﺍﳌﻜﻨﻴﺔ )ﺗﺮﺷﻴﺤﺎ ﺩﻓﻌﺎ ﳌﺎ ﻳﺘﻮﻫﻢ(‬
‫)ﻋﻦ()‪ (274‬ﺍﻟﻘﺮﻳﻨﺔ )ﻭﺃﻥ ﺍﻟﻘﺮﻳﻨﺔ( )‪ (275‬ﺗﻌﺘﱪ ﻣﻦ ﺍﻟﺘﺮﺷﻴﺢ ﺃﻭ ﺍﻟﺘﺠﺮﻳﺪ‪ ،‬ﻭﺍﻟﻘﻴﺪ ﺇﺫﺍ ﺫﻛﺮ ﻟﺪﻓﻊ ﺍﻟﺘﻮﻫﻢ‬
‫)‪(276‬‬
‫ﻓﺎﻧﺪﻓﻊ ﻣﺎ ﻳﻘﺎﻝ ﺃﻥ ﺍﻟﻠﻔﻆ ﻻ ﻳﻜﻮﻥ ﺍﺳﺘﻌﺎﺭﺓ‪ ،‬ﺇﻻ‬ ‫ﻛﺎﻥ ﰲ ﺫﻛﺮﻩ ﻓﺎﺋﺪﺓ )ﺃﻱ ﻓﺎﺋﺪﺓ(‬
‫ﺑﻌﺪ)ﺫﻛﺮ()‪ (277‬ﺍﻟﻘﺮﻳﻨﺔ‪ ،‬ﻓﻼ ﺣﺎﺟﺔ ﺇﱃ ﻗﻴﺪ ﺑﻌﺪ ﺍﻟﻘﺮﻳﻨﺔ‪.‬‬

‫***‬

‫)ﺥ(‪ :‬ﺍﻟﻭﺍﻭ ﺴﺎﻗﻁﺔ‪.‬‬ ‫ﻓﻲ‬ ‫‪-‬‬ ‫(‬ ‫‪269‬‬

‫)ﺥ(‪ :‬ﺘﻌﺩ ﺴﺎﻗﻁﺔ‪.‬‬ ‫ﻓﻲ‬ ‫‪-‬‬ ‫(‬ ‫‪270‬‬
‫)ﻕ(‪ :‬ﺍﻟﺘﺠﺭﻴﺩ‪.‬‬ ‫ﻓﻲ‬ ‫‪-‬‬ ‫(‬ ‫‪271‬‬
‫)ﺥ(‪ :‬ﺘﺭﺸﻴﺤﹰﺎ ﺒﻤﺎ ﻟﻡ ﻴﺘﻭﻫﻡ‪.‬‬ ‫ﻓﻲ‬ ‫‪-‬‬ ‫(‬ ‫‪272‬‬
‫)ﻕ(‪ :‬ﻤﺠﺭﺩ‪.‬‬ ‫ﻓﻲ‬ ‫‪-‬‬ ‫(‬ ‫‪273‬‬
‫)ﻕ(‪ :‬ﻋﻠﻰ‪.‬‬ ‫ﻓﻲ‬ ‫‪-‬‬ ‫(‬ ‫‪274‬‬
‫)ﻕ(‪ :‬ﺴﺎﻗﻁﺔ‪.‬‬ ‫ﻓﻲ‬ ‫‪-‬‬ ‫(‬ ‫‪275‬‬
‫)ﻕ(‪ :‬ﺴﺎﻗﻁﺔ‪.‬‬ ‫ﻓﻲ‬ ‫‪-‬‬ ‫(‬ ‫‪276‬‬
‫ﻻ )ﺘﻤﺎﻡ ﺫﻜﺭ( ﺒﻌﺩﻫﺎ ﺼﺤﺤﻬﺎ ﻋﻠﻰ ﺘﻤﺎﻡ ﻭﺃﺒﻘﻰ ﻋﻠﻰ ﺫﻜﺭ‪.‬‬
‫)ﻤﺦ(‪:‬ﻜﺘﺏ ﺍﻟﻨﺎﺴﺦ ﺃﻭ ﹰ‬ ‫ﻓﻲ‬ ‫‪-‬‬ ‫(‬ ‫‪277‬‬
‫‪- 70 -‬‬
 ‫ﻓﺼﻞ‬
‫ﰲ ﺗﻘﺴﻴﻢ ﺍﻻﺳﺘﻌﺎﺭﺓ‪ ،‬ﺇﱃ )ﺃﺻﻠﻴﺔ()‪) (278‬ﻭﺗﺒﻌﻴﺔ()‪ (279‬ﺇﻥ ﻛﺎﻥ ﺍﻟﻠﻔﻆ ﺍﳌﺴﺘﻌﺎﺭ ﻟﻠﻤﺸﺒﻪ ﺍﺳﻢ ﺟﻨﺲ‪،‬‬
‫)‪(280‬‬
‫ﺑﻮﺻﻒ‬ ‫ﺍﺳﻢ ﺍﳉﻨﺲ ﻫﻮ ﺍﻟﻜﻠﻲ ﺍﻟﺼﺎﺩﻕ‪ //‬ﻋﻠﻰ ﻛﺜﲑﻳﻦ‪ ،‬ﻭﻟﻮ ﺗﺄﻭﻳﻼ‪ ،‬ﻓﻴﺪﺧﻞ ﺍﻟﻌﻠﻢ )ﺍﳌﺸﻬﻮﺭ(‬ ‫]ظ‪[8/‬‬
‫)‪(281‬‬
‫ﺍﳌﺸﻬﻮﺭ ﺑﻮﺻﻒ ﺍﳉﻮﺩ‪ ،‬ﻓﺎﻧﻪ ﻳﺆﻭﻝ ﺑﻮﺍﺳﻄﺔ ﺍﺷﺘﻬﺎﺭﻩ ﺑﺎﳉﻮﺩ‪ ،‬ﺑﺄﻧﻪ ﻣﻮﺿﻮﻉ ﻟﻠﺠﻮﺍﺩ‪،‬‬ ‫)ﻛﺤﺎﰎ(‬

‫ﻻ ﺃﻭﻟﻴﺎ‪ ،‬ﻭﻗﺩ ﺃﻭﻀﺢ‬‫ﻼ ﻓﻲ ﺍﻟﻤﺴﺘﻌﺎﺭ ﺩﺨﻭ ﹰ‬‫‪ - ( 278‬ﺍﻻﺴﺘﻌﺎﺭﺓ ﺍﻷﺼﻠﻴﺔ ﻫﻲ ﺍﻟﺘﻲ ﺘﻜﻭﻥ ﻓﻲ ﺃﺴﻤﺎﺀ ﺍﻷﺠﻨﺎﺱ ﻏﻴﺭ ﺍﻟﻤﺸﺘﻘﺔ‪ ،‬ﻭﻴﻜﻭﻥ ﻤﻌﻨﻲ ﺍﻟﺘﺸﺒﻴﻪ ﺩﺍﺨ ﹰ‬
‫ﺍﻟﺴﻜﺎﻜﻲ ﻤﻌﻨﺎﻫﺎ ﺒﻘﻭﻟﻪ‪:‬‬
‫)) ﻫﻲ ﺃﻥ ﻴﻜﻭﻥ ﺍﻟﻤﺴﺘﻌﺎﺭ ﺍﺴﻡ ﺠﻨﺱ‪ ،‬ﻜﺭﺠل ﻭﻗﻴﺎﻡ ﻭﻗﻌﻭﺩ‪ .‬ﻭﻭﺠﻪ ﻜﻭﻨﻬﺎ ﺃﺼﻠﻴﺔ‪ ،‬ﻫﻭ ﺃﻥ ﺍﻻﺴﺘﻌﺎﺭﺓ ﻤﺒﻨﺎﻫﺎ ﻋﻠﻰ ﺘﺸﺒﻴﻪ ﺍﻟﻤﺴﺘﻌﺎﺭ ﻟﻪ ﺒﺎﻟﻤﺴﺘﻌﺎﺭ‬
‫ﻤﻨﻪ(( ﻭﺇﻟﻰ ﺫﻟﻙ ﺫﻫﺏ ﺍﺒﻥ ﻤﺎﻟﻙ ﻭﺍﻟﻘﺯﻭﻴﻨﻲ ﻭﺍﻟﺴﺒﻜﻲ ﻭﺍﻟﺘﻔﺘﺎﺯﺍﻨﻲ ﻭﺍﻟﺴﻴﻭﻁﻲ ﻭﺍﻻﺴﻔﺭﺍﻴﻨﻲ ﻭﺍﺒﻥ ﻤﻌﺼﻭﻡ ﺍﻟﻤﺩﻨﻲ ﻭﺍﻟﻤﻐﺭﺒﻲ ﻭﺍﻟﻌﺒﺎﺴﻲ‪.‬‬
‫ﻭﻤﻨﻬﺎ ﻗﻭﻟﻪ ﺘﻌﺎﻟﻲ‪ ) :‬ﻭﺍﺨﻔﺽ ﻟﻬﻤﺎ ﺠﻨﺢ ﺍﻟﺫل ﻤﻥ ﺍﻟﺭﺤﻤﺔ( ﺍﻹﺴﺭﺍﺀ ﺍﻵﻴﺔ‪.24 :‬‬
‫ﻭﻜﻘﻭل ﺍﻟﺒﺤﺘﻭﺭﻱ‪) :‬ﺍﻟﻭﺍﺜﺭ(‬
‫ﻴﺅﺩﻭﻥ ﺍﻟﺘﺤﻴﺔ ﻤﻥ ﺒﻌﻴﺩ * ﺇﻟﻰ ﻗﻤﺭ ﻤﻥ ﺍﻻﻴﻭﺍﻥ ﻨﺎﺩ‬
‫ﺃﻭ ﻗﻭل ﺍﻟﻤﺘﻨﺒﻲ ﻓﻲ ﺘﺸﺒﻴﻪ ﻤﻤﺩﻭﺤﺔ‪) :‬ﺍﻟﻁﻭﻴل(‬
‫ﺃﺤﺒﻙ ﻴﺎ ﺸﻤﺱ ﺍﻟﺯﻤﺎﻥ ﻭﺒﺩﺭﻩ * ﻭﺇﻥ ﻻ ﻤﻨﻲ ﻓﻴﻙ ﺍﻟﺴﻬﺎ ﻭﺍﻟﻔﺭﻗﺩ‬
‫ﺃﻨﻅﺭ ﺍﻟﻤﻌﺠﻡ ﺍﻟﻤﻔﺼل ﺹ‪.95 :‬‬
‫‪ - ( 279‬ﻋﺭﻑ ﺍﻟﻌﺒﺎﺴﻲ ﺍﻻﺴﺘﻌﺎﺭﺓ ﺍﻟﺘﺒﻌﻴﺔ ﺒﻘﻭﻟﻪ‪ :‬ﺇﻥ ﻤﺩﺍﺭ ﻗﺭﻴﻨﺔ ﺍﻻﺴﺘﻌﺎﺭﺓ ﺍﻟﺘﺒﻌﻴﺔ ﻓﻲ ﺍﻟﻔﻌل ﻭﻤﺎ ﻴﺸﺘﻕ ﻤﻨﻪ ﻋﻠﻰ ﺍﻟﻔﺎﻋل ﺃﻭ ﺍﻟﻤﻔﻌﻭل ﻜﻤﺎ ﻓﻲ ﻗﻭل‬
‫ﺍﻟﻘﻁﺎﻤﻲ ] ﺍﻟﺒﺴﻴﻁ [ ‪.‬‬
‫ﻨﻘﺭﻴﻬﻡ ﻟﻬﺫﻤﻴﺎﺕ ﻨﻘﺩ ﺒﻬﺎ * ﻤﺎ ﻜﺎﻥ ﺨﺎﻁﺎ ﻋﻠﻴﻬﻡ ﻜل ﺯﺭﺍﺩ‬
‫ﻓﻘﻭﻟﻪ ) ﺍﻟﻠﻬﺫﻤﻴﺎﺕ( ﻗﺭﻴﻨﺔ ﻋﻠﻰ ﺃﻥ )ﻨﻘﺭﻴﻬﻡ( ﺍﺴﺘﻌﺎﺭﺓ ﺘﺒﻌﻴﺔ ﻭﻜﻘﻭل ﺍﺒﻥ ﺍﻟﻤﻌﺘﺯ )ﺍﻟﻭﺍﻓﺭ(‬
‫ﺠﻤﻊ ﺍﻟﺤﻕ ﻟﻨﺎ ﻓﻲ ﺇﻤﺎﻡ * ﻗﺘل ﺍﻟﺒﺨل ﻭﺃﺤﻴﺎ ﺍﻟﺴﻤﺎﺤﺎ‬
‫ﻼ * ﻴﺤﺴﺏ ﺍﻟﺴﻴﻑ ﻋﻠﻴﻪ ﻭﺸﺎﺤﺎ‬ ‫ﻼ ﻭﻜﻬ ﹰ‬
‫ﺃﻟﻑ ﺍﻟﻬﻴﺠﺎﺀ ﻁﻔ ﹰ‬
‫ﻭﺍﻟﺸﺎﻫﺩ ﻓﻴﻪ ﻤﺩﺍﺭ ﻗﺭﻴﻨﺔ ﺍﻻﺴﺘﻌﺎﺭﺓ ﺍﻟﺘﺒﻌﻴﺔ ﻋﻠﻰ ﺍﻟﻤﻔﻌﻭل ﻓﺈﻥ ﺍﻟﻘﺘل ﻭﺍﻹﺤﻴﺎﺀ ﺍﻟﺤﻘﻴﻘﻴﻴﻥ ﻻ ﻴﻌﻠﻘﺎﻥ ﺒﺎﻟﺒﺨل ﻭﺍﻟﺠﻭﺩ((‬
‫ﻼ ﺃﻭﻟﻴﺎ‪ ،‬ﺒل ﻫﻲ ﻤﺎ ﺘﻘﻊ ﻓﻲ ﻏﻴﺭ ﺃﺴﻤﺎﺀ ﺍﻷﺠﻨـﺎﺱ ﻜﺎﻷﻓﻌـﺎل ﻭﺍﻟـﺼﻔﺎﺕ ﺍﻟﻤـﺸﺘﻘﺔ ﻤﻨﻬـﺎ‬ ‫ﻭﻗﺎل ﺍﻟﺴﻜﺎﻜﻲ‪ )) :‬ﻫﻲ ﺃﻥ ﻻ ﻴﻜﻭﻥ ﻤﻌﻨﻲ ﺍﻟﺘﺸﺒﻴﻪ ﺩﺍﺨ ﹰ‬
‫ﻭﻜﺎﻟﺤﺭﻭﻑ((‪ ،‬ﺃﻨﻅﺭ ﺍﻟﻤﻌﺠﻡ ﺍﻟﻤﻔﺼل‪ ،‬ﺹ‪.97-96 :‬‬
‫‪ - ( 280‬ﻓﻲ )ق(‪ :‬هﻮ اﻟﺮﺟﻞ اﻟﻤﻌﺮوف وﻓﻲ )خ(‪ :‬اﻟﺮﺟﻞ اﻟﺸﺠﺎع‪.‬‬
‫‪ - ( 281‬ﻫﻭ ﺤﺎﺘﻡ ﺒﻥ ﻋﺒﺩ ﺍﷲ ﺒﻥ ﺴﻌﺩ ﺒﻥ ﺍﻟﺤﺸﺭﺝ ﻤﻥ ﻁﻲﺀ‪ .‬ﻜﺎﻥ ﺠﻭﺍﺩﺍ ﺸﺎﻋﺭﺍ ﺠﻴﺩ ﺍﻟﺸﻌﺭ ﻭﻜﺎﻥ ﺤﻴﺙ ﻤﺎ ﻨﺯل ﻋﺭﻑ ﻤﻨﺯﻟﻪ ﻭﻜﺎﻥ ﻅﻔﺭﺍ ‪ ,‬ﺍﺫﺍ‬
‫ﻗﺎﺘل ﻏﻠﺏ ﻭﺇﺫﺍ ﻏﻨﻡ ﺍﻨﻬﺏ ﻭﺇﺫﺍ ﺴﺌل ﻭﻫﺏ ﻭﺇﺫﺍ ﻀﺭﺏ ﺒﺎﻟﻘﺩﺍﺡ ﺴﺒﻕ ﻭﺇﺫﺍ ﺃﺴﺭ ﺃﻁﻠﻕ ﻗﺎل ﺃﺒﻭ ﻋﺒﻴﺩﺓ ﺃﺠﻭﺍﺩ ﺍﻟﻌﺭﺏ ﺜﻼﺜﺔ ‪:‬ﻜﻌﺏ ﺒﻥ ﺍﻤﺎﻤﺔ ﻭﺤـﺎﺘﻡ‬
‫ﻁﻲﺀ ﻭﻫﺭﻡ ﺒﻥ ﺴﻨﺎﻥ‪ .‬ﺘﻭﻓﻰ ﺤـﻭﺍﻟﻲ ﺴـﻨﺔ‪600 :‬ﻡ‪ .‬ﺘﺭﺠﻤﺘـﻪ ﻓـﻲ ﺍﻟـﺩﻴﻭﺍﻥ ﺹ‪ .10/9/8/7/6/5 :‬ﺩﺍﺭ ﺒﻴـﺭﻭﺕ ﻟﻠﻁﺒﺎﻋـﺔ ﻭﺍﻟﻨـﺸﺭ‪ ،‬ﻁ‪:‬‬
‫‪1974‬ﻡ‪1494/‬ﻫـ‪،‬‬
‫‪ -‬ﻓﻲ )ﻕ(‪ :‬ﻫﻭ ﺍﻟﺭﺠل ﺍﻟﻤﻌﺭﻭﻑ ﻭﻓﻲ )ﺥ(‪ :‬ﺍﻟﺭﺠل ﺍﻟﺸﺠﺎﻉ‪.‬‬

‫‪- 71 -‬‬
 ‫)‪(283‬‬ ‫)‪(282‬‬
‫ﺇﻃﻼﻗﻪ ﻋﻠﻰ ﺍﳌﻌﻬﻮﺩ ﻳﻜﻮﻥ ﺣﻘﻴﻘﺔ‪،‬‬ ‫ﺃﻭ ﻏﲑﻩ )ﻟﻜﻦ(‬ ‫ﺳﻮﺍﺀ ﻛﺎﻥ )ﻫﺬﺍ ﺍﻟﺮﺟﻞ ﺍﳌﻌﺮﻭﻑ(‬
‫)‪(284‬‬
‫ﻭﻋﻠﻰ ﻏﲑﻩ ﻳﻜﻮﻥ ﳎﺎﺯﹰﺍ‪ ،‬ﻛﻤﺎ ﺃﻥ ﺃﺳﺪﺍ ﻳﺘﻨﺎﻭﻝ )ﺍﳊﻴﻮﺍﻥ ﺍﳌﻔﺘﺮﺱ(‬
‫ﻓﻴﻪ ﺍﻻﺳﺘﻌﺎﺭﺓ‬ ‫)ﻓﺘﺠﺮﻯ(‬
‫)‪(286‬‬ ‫)‪(285‬‬
‫ﻭﺍﻟﺮﺟﻞ ﺍﻟﺸﺠﺎﻉ‪ ،‬ﻟﻜﻦ ﺍﻷﻭﻝ ﺣﻘﻴﻘﺔ‪ ،‬ﻭﺍﻟﺜﺎﱐ )ﳎﺎﺯﺍ(‬
‫)‪(287‬‬
‫)ﺣﻴﻨﺌﺬ(‬

‫ﳓﻮ‪ :‬ﺭﺃﻳﺖ ﺍﻟﻴﻮﻡ ﺣﺎﲤﺎ‪ ،‬ﺃﻱ‪ :‬ﺭﺟﻼ ﺟﻮﺍﺩﺍ‪ ،‬ﺷﺒﻪ ﻫﺬﺍ ﺍﻟﺮﺟﻞ ﺍﳉﻮﺍﺩ ﲝﺎﰎ‪) ،‬ﻭ ﺍﺩﻋﻰ()‪ (288‬ﺃﻧﻪ ﻓﺮﺩ ﻣﻦ‬
‫ﺃﻓﺮﺍﺩﻩ‪ ،‬ﻛﻤﺎ ﰲ )ﺍﻟﺪﻋﺎﺀ( )‪ (289‬ﺇﻥ ﺍﻟﺮﺟﻞ ﺍﻟﺸﺠﺎﻉ ﻣﻦ ﺃﻓﺮﺍﺩ ﺍﳊﻴﻮﺍﻥ ﺍﳌﻔﺘﺮﺱ‪) ،‬ﻭﺍﺳﺘﻌﲑ()‪ (290‬ﻟﻔﻆ‬
‫ﺣﺎﰎ‪ ،‬ﻫﺬﺍ ﺍﻟﺮﺟﻞ‪ ،‬ﺍﺳﺘﻌﺎﺭﺓ ﺗﺼﺮﳛﻴﺔ ﺃﺻﻠﻴﺔ‪ ،‬ﻭﳌﺎ ﻛﺎﻥ ﺍﺳﻢ )ﺍﳉﻨﺲ()‪ (291‬ﻳﺸﻤﻞ ﺍﳌﺸﺘﻖ‪ ،‬ﻣﻊ ﺃﻥ‬
‫)‪(292‬‬
‫ﻓﻘﺎﻝ‪ :‬ﺃﻱ ﺍﲰﺎ ﻏﲑ ﻣﺸﺘﻖ‪ ،‬ﻛﺄﻧﻪ ﻗﺎﻝ ﺍﳌﺮﺍﺩ ﺑﺎﺳﻢ ﺍﳉﻨﺲ‪،‬‬ ‫ﺍﻻﺳﺘﻌﺎﺭﺓ ﻓﻴﻪ ﺗﺒﻌﻴﺔ‪ ،‬ﻓﺴﺮﻩ )ﺑﻘﻴﺪ(‬
‫ﻏﲑ ﺍﳌﺸﺘﻖ )ﺃﻣﺎ()‪ (293‬ﺍﺳﻢ ﺍﳉﻨﺲ ﺍﳌﺸﺘﻖ‪) ،‬ﻓﻼ ﺗﻜﻮﻥ ﺍﻻﺳﺘﻌﺎﺭﺓ ﻓﻴﻪ()‪ (294‬ﺃﺻﻠﻴﺔ‪ ،‬ﻭﻟﻮ ﻗﺎﻝ ﺇﻥ ﻛﺎﻥ‬
‫)‪(295‬‬
‫ﻋﺒﺎﺭﺓ‬ ‫ﺍﳌﺴﺘﻌﺎﺭ ﺍﺳﻢ ﺟﻨﺲ ﻏﲑ ﻣﺸﺘﻖ‪ ،‬ﻛﺎﻥ ﺃﺧﺺ ﻭﺃﻭﺿﺢ‪ ،‬ﻭﻛﺄﻧﻪ ﻗﺼﺪ ﺑﺎﻟﺘﻔﺴﲑ )ﺗﻘﻴﻴﺪ(‬
‫)ﺍﻟﺘﻠﺨﻴﺺ( )‪ (296‬ﻷﻧﻪ ﺃﻃﻠﻖ ﺍﺳﻢ ﺍﳉﻨﺲ )ﻋﻠﻴﻪ()‪ (297‬ﻓﻠﻮ ﻗﺎﻝ ﰲ ﺍﻟﺘﻔﺴﲑ‪ ،‬ﺃﻱ‪ :‬ﻏﲑ ﻣﺸﺘﻖ‪ ،‬ﲝﺬﻑ‬

‫‪ -‬ﻓﻲ )ﺥ(‪ :‬ﻻﻜﻥ ﻭﺍﻟﺼﺤﻴﺢ ﻤﺎ ﺃﺜﺒﺘﻨﺎﻩ‪.‬‬ ‫(‬ ‫‪282‬‬

‫‪ -‬ﻓﻲ )ﺥ(‪ :‬ﻤﺎ ﺒﻴﻥ ﺍﻟﻤﻌﻘﻭﻓﺘﻴﻥ ﺴﺎﻗﻁﺔ‪.‬‬ ‫(‬ ‫‪283‬‬
‫‪ -‬ﻓﻲ )ﻤﺦ(‪ :‬ﻤﺠﺎﺯ‪.‬‬ ‫(‬ ‫‪284‬‬
‫– ﻓﻲ )ﻤﺦ(‪:‬ﻤﺠﺎﺯ ﻭ ﺍﻟﺼﺤﻴﺢ ﻤﺎ ﺃﺜﺒﺘﻨﺎﻩ ‪.‬‬ ‫(‬ ‫‪285‬‬
‫– ﻓﻲ )ﻤﺦ(‪ :‬ﺍﻟﻴﺎﺀ ﺴﺎﻗﻁﺔ‪.‬‬ ‫(‬ ‫‪286‬‬
‫‪ -‬ﻓﻲ )ﻕ(‪ :‬ﻜﺘﺒﻬﺎ ﺤﻴﻨﺌﺫ ﺃﻤﺎ ﻓﻲ ﺍﻷﺼل ﻓﻘﺩ ﺭﻤﺯ ﻟﻬﺎ ﺒـ )ﺡ(‪.‬‬ ‫(‬ ‫‪287‬‬
‫)ﻕ( ﻭ)ﻡ(‪ :‬ﻭﺍﺩﻋﻰ‪ .‬ﻭ ﻫﺫﺍ ﻫﻭ ﺍﻟﺼﻭﺍﺏ‪.‬‬ ‫ﻓﻲ‬ ‫‪-‬‬ ‫(‬ ‫‪288‬‬
‫)ﻕ(‪ :‬ﺍﺩﻋﺎﺀ‪.‬‬ ‫ﻓﻲ‬ ‫‪-‬‬ ‫(‬ ‫‪289‬‬
‫)ﻕ( ﻭ)ﺥ( ﻭ)ﻡ(‪ :‬ﻓﺎﺴﺘﻌﻴﺭ‪.‬‬ ‫ﻓﻲ‬ ‫‪-‬‬ ‫(‬ ‫‪290‬‬
‫)ﻕ(‪ :‬ﺴﺎﻗﻁﺔ‪.‬‬ ‫ﻓﻲ‬ ‫‪-‬‬ ‫(‬ ‫‪291‬‬
‫)ﺥ( ﻭ)ﻡ(‪ :‬ﺒﻘﻴﺩﻩ‪.‬‬ ‫ﻓﻲ‬ ‫‪-‬‬ ‫(‬ ‫‪292‬‬
‫)ﻕ(‪ :‬ﻭﺃﻤﺎ‬ ‫ﻓﻲ‬ ‫‪-‬‬ ‫(‬ ‫‪293‬‬
‫)ﺥ(‪ :‬ﻓﻼ ﺘﻜﻭﻥ ﻓﻴﻪ ﺍﻻﺴﺘﻌﺎﺭﺓ ﻭﻓﻲ )ﻡ(‪) :‬ﻓﻴﻪ( ﺃﺴﺘﺩﺭﻜﻬﺎ ﺍﻟﻨﺎﺴﺦ ﻓﻴﻤﺎ ﺒﻌﺩ ﻭﺃﺜﺒﺘﻬﺎ‪.‬‬ ‫ﻓﻲ‬ ‫‪-‬‬ ‫(‬ ‫‪294‬‬
‫)ﻕ(‪ :‬ﻤﻘﻴﺩﻩ ﻭﻓﻲ )ﻡ(‪ :‬ﺒﻘﻴﺩﻩ‪.‬‬ ‫ﻓﻲ‬ ‫‪-‬‬ ‫(‬ ‫‪295‬‬
‫)ﻕ(‪ :‬ﺍﻟﺘﺨﻠﻴﺹ‪.‬‬ ‫ﻓﻲ‬ ‫‪-‬‬ ‫(‬ ‫‪296‬‬
‫)ﻕ(‪ :‬ﻭﻋﻠﻴﻪ‪.‬‬ ‫ﻓﻲ‬ ‫‪-‬‬ ‫(‬ ‫‪297‬‬
‫‪- 72 -‬‬
 ‫)‪(298‬‬
‫ﻋﻠﻢ ﺍﻟﺸﺨﺺ ﻭﻻ ﻗﺎﺋﻞ‬ ‫ﺍﲰﺎ ﻛﺎﻥ ﺃﺑﲔ‪ ،‬ﻭﻟﻴﺲ ﺗﻔﺴﲑ ﺍﳊﻘﻴﻘﺔ ﺍﺳﻢ ﺍﳉﻨﺲ ﻭ ﺇﻻ )ﻟﺸﻤﻞ(‬
‫)ﺑﺄﻧﻪ()‪ (299‬ﺍﺳﻢ‪ //‬ﺟﻨﺲ ﻭﻻ )ﳚﺮﻳﺎﻥ()‪.(300‬‬
‫)‪(301‬‬
‫ﻛﺎﻷﺳﺪ‪ ،‬ﺇﺫﺍ ﺍﺳﺘﻌﲑ ﻟﻠﺮﺟﻞ‬ ‫ﺍﻻﺳﺘﻌﺎﺭﺓ ﻓﻴﻪ ﺇﻻ ﺑﺎﻟﺘﺄﻭﻳﻞ‪ ،‬ﻭﻫﺬﺍ ﺍﻟﺘﻔﺴﲑ ﺃﺻﻠﻪ )ﻟﻠﺴﻤﺮﻗﻨﺪﻱ(‬
‫)‪(302‬‬
‫ﻳﺮﻣﻲ‪ ،‬ﻭﺍﻟﻘﺘﻞ ﺇﺫﺍ ﺍﺳﺘﻌﲑ ﻟﻠﻀﺮﺏ ﺍﻟﺸﺪﻳﺪ‪ ،‬ﰲ ﳓﻮ‪:‬‬ ‫ﺍﻟﺸﺠﺎﻉ‪ ،‬ﰲ ﳓﻮ‪ :‬ﺭﺃﻳﺖ )ﺃﺳﺪﺍ(‬
‫)ﺷﺎﻫﺪﺕ()‪ (303‬ﻗﺘﻞ ﺯﻳﺪ‪.‬‬
‫ﺍﻷﻭﻝ ﺇﺳﻢ ﻋﲔ‪ ،‬ﻭﺍﻟﺜﺎﱐ ﺍﺳﻢ ﻣﻌﲎ‪.‬‬
‫)‪(304‬‬
‫ﻷ‪‬ﺎ ﻟﻴﺴﺖ ﺗﺎﺑﻌﺔ ﻟﺸﻲﺀ‪ ،‬ﺑﻞ ﻗﺎﺋﻤﺔ ﺑﻨﻔﺴﻬﺎ‪،‬‬ ‫ﻓﺎﻻﺳﺘﻌﺎﺭﺓ ﺃﺻﻠﻴﺔ‪ ،‬ﺃﻱ‪ :‬ﺗﺴﻤﻰ )ﺑﺬﻟﻚ(‬
‫)‪(305‬‬
‫ﻭﺇﻻ‪ ،‬ﺃﻱ‪ :‬ﻭﺍﻥ ﱂ ﻳﻜﻦ ﺍﳌﺴﺘﻌﺎﺭ ﺍﺳﻢ ﺟﻨﺲ‪ ،‬ﺑﺄﻥ ﻛﺎﻥ ﻓﻌﻼ ﺃﻭ ﺣﺮﻓﺎ ﺃﻭ ﺍﲰﺎ ﻣﺸﺘﻘﺎ‪) ،‬ﻛﺎﲰﻲ(‬
‫ﺍﻟﻔﺎﻋﻞ ﻭﺍﳌﻔﻌﻮﻝ ﻭﺍﻟﺼﻔﺔ ﺍﳌﺸﺒﻬﺔ‬
‫ﻓﺘﺒﻌﻴﺔ‪ ،‬ﺃﻱ ﺗﺴﻤﻰ)ﺑﺬﻟﻚ( )‪ (306‬ﳉﺮﻳﺎ‪‬ﺎ ﰲ ﺍﻟﻔﻌﻞ‪ ،‬ﺃﻭ )ﰲ()‪ (307‬ﺍﻻﺳﻢ ﺍﳌﺸﺘﻖ‪ ،‬ﺑﻌﺪ ﺟﺮﻳﺎ‪‬ﺎ‬
‫ﰲ ﻣﺼﺪﺭﻩ‪.‬‬
‫ﺃﻱ‪) :‬ﰲ()‪ (308‬ﻣﺼﺪﺭ ﻛﻞ ﻣﻦ ﺍﻟﻔﻌﻞ ﺃﻭ ﺍﳌﺸﺘﻖ)‪) (309‬ﻓﻬﻲ()‪ .(310‬ﺗﺎﺑﻌﺔ ﻟﻼﺳﺘﻌﺎﺭﺓ ﰲ ﺍﳌﺼﺪﺭ‪،‬‬
‫ﻣﺜﺎﻝ ﺍﻻﺳﺘﻌﺎﺭﺓ ﰲ ﺍﻟﻔﻌﻞ‪ ،‬ﻧﻄﻘﺖ ﺍﳊﺎﻝ ﺃﻱ ﺩﻟﺖ ﺷﺒﻬﺖ ﺍﻟﺪﻻﻟﺔ ﺑﺎﻟﻨﻄﻖ‪ ،‬ﰲ ﺍﻳﻀﺎﺡ ﺍﳌﻌﲎ‪ ،‬ﻭﺇﻳﺼﺎﻟﻪ‬

‫‪ - ( 298‬ﻓﻲ )ﻕ(‪ :‬ﺸﻤل‪.‬‬

‫‪ - ( 299‬ﻓﻲ )ﻕ(‪ :‬ﺃﻨﻪ‪.‬‬
‫‪ - ( 300‬ﻓﻲ )ﻕ( ﻭ)ﺥ(‪ :‬ﻭﻻ ﻴﺠﺭﻱ‪.‬‬
‫‪ - ( 301‬ﻓﻲ )ﻕ( ﻭ)ﻡ(‪ :‬ﺍﻟﺴﻤﺭﻗﻨﺩﻴﺔ‪.‬‬
‫‪ - ( 302‬ﻓﻲ )ﻕ(‪ :‬ﺃﺴﺩ‪.‬‬
‫‪ - ( 303‬ﻓﻲ )ﻕ(‪ :‬ﺸﻬﺩﺕ‪.‬‬
‫)ﺥ(‪ :‬ﺒﺫﺍﻟﻙ‪ .‬ﻭﺍﻟﺼﺤﻴﺢ ﻤﺎ ﺃﺜﺒﺘﻨﺎﻩ‪.‬‬ ‫ﻓﻲ‬ ‫‪-‬‬ ‫(‬ ‫‪304‬‬
‫)ﻕ( ﻭ)ﻡ(‪ :‬ﻜﺎﺴﻡ‪.‬‬ ‫ﻓﻲ‬ ‫‪-‬‬ ‫(‬ ‫‪305‬‬
‫)ﻕ(‪ :‬ﺴﺎﻗﻁﺔ‪.‬‬ ‫ﻓﻲ‬ ‫‪-‬‬ ‫(‬ ‫‪306‬‬
‫)ﻕ(‪ :‬ﺴﺎﻗﻁﺔ‪.‬‬ ‫ﻓﻲ‬ ‫‪-‬‬ ‫(‬ ‫‪307‬‬
‫)ﻕ(‪ :‬ﺴﺎﻗﻁﺔ‪.‬‬ ‫ﻓﻲ‬ ‫‪-‬‬ ‫(‬ ‫‪308‬‬
‫)ﻕ(‪ :‬ﻭﺍﻟﻤﺸﺘﻕ‪.‬‬ ‫ﻓﻲ‬ ‫‪-‬‬ ‫(‬ ‫‪309‬‬
‫)ﻕ(‪ :‬ﻓﻬﻭ‪.‬‬ ‫ﻓﻲ‬ ‫‪-‬‬ ‫(‬ ‫‪310‬‬

‫‪- 73 -‬‬
‫ﻭﺍﺳﺘﻌﲑ ﺍﻟﻨﻄﻖ ﻟﻠﺪﻻﻟﺔ ﺃﻱ‪) :‬ﺑﻘﺪﺭ()‪) (312‬ﺫﻟﻚ( )‪ (313‬ﻭﺍﺷﺘﻖ ﻣﻦ ﺍﻟﻨﻄﻖ ﻧﻄﻘﺖ‪،‬‬ ‫)‪(311‬‬
‫ﺇﱃ )ﺍﻟﺬﻫﻦ(‬
‫ﲟﻌﲎ ﺩﻟﺖ )ﻭﻣﺜﺎﳍﺎ()‪ (314‬ﰲ ﺍﳌﺸﺘﻖ ﺯﻳﺪ ﻣﻘﺘﻮﻝ‪.‬‬

‫)‪(316‬‬ ‫)‪(315‬‬
‫ﺍﻟﻀﺮﺏ ﺍﻟﺸﺪﻳﺪ ﺑﺎﻟﻘﺘﻞ‪ ،‬ﰲ ﺷﺪﺓ ﺍﻟﺘﺄﺛﲑ‬ ‫ﺑﻘﺮﻳﻨﺔ ﺍﳊﺎﻝ)ﺷﺒﻪ(‬ ‫ﺗﺮﻳﺪ ﻣﻀﺮﻭﺑﺎ ﺿﺮﺑﺎ )ﺷﺪﻳﺪﺍ(‬
‫)ﰲ ﻛﻞ()‪ (317‬ﻭﺍﺳﺘﻌﲑ ﺍﺳﻢ ﺍﻟﻘﺘﻞ ﻟﻠﻀﺮﺏ ﺍﻟﺸﺪﻳﺪ‪ ،‬ﺃﻱ )ﺑﻘﺪﺭ()‪) (318‬ﺫﻟﻚ()‪ (319‬ﻭﺍﺷﺘﻖ ﻣﻦ ﺍﻟﻘﺘﻞ‬
‫ﻣﻘﺘﻮﻝ ﲟﻌﲎ ﻣﻀﺮﻭﺏ ‪ //‬ﺿﺮﺑﺎ ﺷﺪﻳﺪﺍ‪ ،‬ﻭﻋﻠﻰ ﻫﺬﺍ ﺍﻟﻘﻴﺎﺱ‪ ،‬ﻭﺇﳕﺎ ﻛﺎﻧﺖ ﺗﺒﻌﻴﺔ ﻻﻥ ﺍﻻﺳﺘﻌﺎﺭﺓ‬ ‫]ظ‪[9/‬‬

‫ﺗﻌﺘﻤﺪ ﺍﻟﺘﺸﺒﻴﻪ‪ ،‬ﻭﺍﻟﺘﺸﺒﻴﻪ‪ .‬ﻳﻘﺘﻀﻲ ﻛﻮﻥ ﺍﳌﺸﺒﻪ ﻣﻮﺻﻮﻓﺎ ﺑﻮﺟﻪ ﺍﻟﺸﺒﻪ‪ ،‬ﻭﺇﳕﺎ ﻳﺼﻠﺢ ﻟﻠﻤﻮﺻﻮﻓﻴﺔ ﺍﳊﻘﺎﺋﻖ‬
‫ﺍﳌﺘﻘﺮﺭﺓ‬
‫ﺃﻱ‪ :‬ﺍﻷﻣﻮﺭ ﺍﻟﺜﺎﺑﺘﺔ‪ ،‬ﻛﻘﻮﻟﻚ‪ :‬ﺟﺴﻢ ﺃﺑﻴﺾ ﻭﺑﻴﺎﺽ ﺻﺎﻑ‪ ،‬ﺩﻭﻥ ﻣﻌﺎﱐ ﺍﻷﻓﻌﺎﻝ ﻭﺍﻟﺼﻔﺎﺕ‬
‫)‪(320‬‬
‫ﻏﲑ ﻣﺘﻘﺮﺭﺓ‪ ،‬ﺑﻮﺍﺳﻄﺔ ﺩﺧﻮﻝ ﺍﻟﺰﻣﺎﻥ ﰲ ﻣﻔﻬﻮﻡ ﺍﻷﻓﻌﺎﻝ‪ ،‬ﻭﻋﺮﻭﺿﻪ‬ ‫ﺍﳌﺸﺘﻘﺔ ﻟﻜﻮ‪‬ﺎ ﻣﺘﺠﺪﺩﺓ‬
‫ﻟﻠﺼﻔﺎﺕ‪ ،‬ﻫﺬﺍ ﺗﻌﻠﻴﻞ ﺍﻟﻘﻮﻡ)‪.(321‬‬
‫ﻭﳉﺮﻳﺎ‪‬ﺎ ﰲ ﺍﳊﺮﻑ)‪ (322‬ﺍﳌﺴﺘﻌﺎﺭ ﺑﻌﺪ ﺟﺮﻳﺎ‪‬ﺎ ﰲ ﻣﺘﻌﻠﻖ ﻣﻌﻨﺎﻩ‪ ،‬ﺃﻱ ﻣﻌﲎ ﺍﳊﺮﻑ ﻭﻟﻴﺲ ﺍﳌﺮﺍﺩ ﲟﺘﻌﻠﻖ‬
‫ﻣﻌﲎ ﺍﳊﺮﻑ‪ ،‬ﻫﻮ ﺍ‪‬ﺮﻭﺭ ﻛﻤﺎ ﻗﺎﻝ)‪ (323‬ﺻﺎﺣﺐ ﺍﻟﺘﻠﺨﻴﺺ)‪ (324‬ﺑﻞ)‪ (325‬ﺍﳌﺮﺍﺩ ﲟﺘﻌﻠﻖ ﻣﻌﲎ ﺍﳊﺮﻑ‬
‫ﺍﳌﻌﲎ ﺍﻟﻜﻠﻰ‪ ،‬ﺍﻟﺬﻱ ﻳﻌﱪ ﺑﻪ)‪ (326‬ﻋﻦ ﻣﻌﻨﺎﻩ ﻋﻨﺪ ﺗﻔﺴﲑﻩ‪.‬‬

‫ﻓﻲ )ﻕ( ﻭ)ﺥ(‪ :‬ﻟﻠﺫﻫﻥ‪.‬‬ ‫‪-‬‬ ‫(‬ ‫‪311‬‬

‫ﻓﻲ )ﻕ(‪ :‬ﻴﻘﺩﺭ‪.‬‬ ‫‪-‬‬ ‫(‬ ‫‪312‬‬
‫ﻓﻲ )ﻕ(‪ :‬ﺒﺫﻟﻙ‪.‬‬ ‫‪-‬‬ ‫(‬ ‫‪313‬‬
‫ﻓﻲ )ﺥ(‪ :‬ﻭﻤﺜﺎﻟﻪ‪.‬‬ ‫‪-‬‬ ‫(‬ ‫‪314‬‬
‫ﻓﻲ )ﻕ(‪ :‬ﺸﺩﻴﺩ‪.‬‬ ‫‪-‬‬ ‫(‬ ‫‪315‬‬
‫ﻓﻲ )ﻤﺦ(ﻭ) ﺸﺒﻪ( ﺴﺎﻗﻁﺔ‪.‬‬ ‫‪-‬‬ ‫(‬ ‫‪316‬‬
‫ﻓﻲ )ﻜل( ﺴﺎﻗﻁﺔ ﻓﻲ )ﻤﺦ( ﻭ )ﻡ(‪.‬‬ ‫‪-‬‬ ‫(‬ ‫‪317‬‬
‫ﻓﻲ )ﻕ(‪ :‬ﺒﻘﺩﺭ‪.‬‬ ‫‪-‬‬ ‫(‬ ‫‪318‬‬
‫ﻓﻲ )ﺥ(‪ :‬ﺫﺍﻟﻙ‪ .‬ﻭﺍﻟﺼﺤﻴﺢ ﻤﺎ ﺃﺜﺒﺘﻨﺎﻩ‪.‬‬ ‫‪-‬‬ ‫(‬ ‫‪319‬‬
‫ﻓﻲ )ﺥ(‪ :‬ﻤﺘﺠﺩﺩﺓ‪.‬‬ ‫‪-‬‬ ‫(‬ ‫‪320‬‬
‫ﺍﻟﻘﻭﻡ‪ :‬ﺍﻟﺒﻼﻏﻴﻴﻥ‬ ‫‪-‬‬ ‫(‬ ‫‪321‬‬
‫ﻓﻲ )ﻡ(‪ :‬ﺍﻟﺤﺭﻭﻑ‪.‬‬ ‫‪-‬‬ ‫(‬ ‫‪322‬‬
‫ﻓﻲ )ﻕ(‪ :‬ﻗﺎﻟﻪ‪.‬‬ ‫‪-‬‬ ‫(‬ ‫‪323‬‬
‫ﻓﻲ )ﻕ(‪ :‬ﺍﻟﺘﺨﻠﻴﺹ‪.‬‬ ‫‪-‬‬ ‫(‬ ‫‪324‬‬
‫ﻓﻲ )ﻕ(‪ :‬ﺴﺎﻗﻁﺔ‪.‬‬ ‫‪-‬‬ ‫(‬ ‫‪325‬‬
‫ﻓﻲ )ﻕ(‪ :‬ﺴﺎﻗﻁﺔ‪.‬‬ ‫‪-‬‬ ‫(‬ ‫‪326‬‬
‫‪- 74 -‬‬
 ‫)‪(327‬‬
‫ﻣﻦ‪ ،‬ﻭﺍﻻﻧﺘﻬﺎﺀ ﰲ ﻣﻌﲎ ﺇﱃ ﻓﺎﻧﻪ ﻣﺘﻌﻠﻖ‬ ‫ﻛﺎﻻﺑﺘﺪﺍﺀ‪ ،‬ﰲ ﻣﻌﲎ ﻣﻦ ﻓﺎﻧﻪ ﻣﺘﻌﻠﻖ)ﻣﻌﲎ(‬
‫ﻭﺍﻟﻈﺮﻓﻴﺔ ﰲ ﻣﻌﲎ ﰲ‪ ،‬ﻭﺍﻻﺳﺘﻌﻼﺀ ﰲ ﻣﻌﲎ ﻋﻠﻰ‪ ،‬ﻓﻠﻴﺴﺖ )‪ ( 329‬ﻫﺬﻩ ﺍﳌﻌﺎﱐ ﺍﻟﻜﻠﻴﺔ‬ ‫)‪(328‬‬
‫)ﻣﻌﻨﺎﻫﺎ(‬
‫ﻣﻌﺎﱐ ﻟﻠﺤﺮﻭﻑ )‪ (330‬ﺇﺫ ﺍﳊﺮﻑ ﻻ ﻳﺆﺩﻱ ﺇﻻ )‪.(331‬ﻣﻌﲎ ﺟﺰﺋﻴﺎ‪ ،‬ﻭﺇﻻ ﳌﺎ)ﻛﺎﻥ ﺣﺮﻓﺎ()‪ (332‬ﺑﻞ ﺍﲰﺎ‬
‫ﻣﺴﺘﻘﻠﺔ)‪ (335‬ﺑﺎﳌﻔﻬﻮﻣﻴﺔ‪.‬‬ ‫)‪(334‬‬
‫ﻷﻧﻪ)‪ (333‬ﺣﻴﻨﺌﺬ ﺗﻜﻮﻥ‬
‫ﺇﺫ ﺍﻻﲰﻴﺔ ﻭﺍﳊﺮﻓﻴﺔ ﺇﳕﺎ ﻫﻲ ﺑﺎﻋﺘﺒﺎﺭ ﺍﳌﻌﲎ )ﻓﺎﻥ ﻛﺎﻥ‪ //‬ﺍﳌﻌﲎ ﻣﺴﺘﻘﻼ‪ ،‬ﻓﺪﺍﻟﻪ ﺍﻻﺳﻢ‪ ،‬ﻭﺇﻥ ﱂ‬ ‫]و‪[10/‬‬
‫)‪(338‬‬ ‫)‪(337‬‬ ‫)‪(336‬‬
‫ﺍﻟﻜﻠﻴﺎﺕ‬ ‫ﺑﻞ ﻫﺬﻩ‬ ‫ﳉﺮﺩ ﺍﻟﺮﺑﻂ ﻓﺎﻟﺪﺍﻝ ﻋﻠﻴﻪ ﺍﳊﺮﻑ‬ ‫ﻳﻜﻦ ﻣﺴﺘﻘﻼﹰ‪ ،‬ﺑﻞ ﺃﻭ ﺃﺗﻰ ﺑﻪ(‬
‫)‪(339‬‬
‫)ﺗﻌﻠﻖ ﺑﺎﻟﻜﻞ‬ ‫ﻣﺘﻌﻠﻘﺎﺕ ﳌﻌﺎﻧﻴﻬﺎ‪ ،‬ﻟﻜﻮﻥ ﻣﻌﺎﻧﻴﻬﺎ ﺟﺰﺋﻴﺎﺕ ﳍﺎ‪) .‬ﻭﺍﳉﺰﺀ ﻟﻪ(‬
‫)‪(341‬‬ ‫)‪(340‬‬
‫ﺍﻟﻜﻠﻰ‪ ،‬ﻣﺜﺎﻝ ﺍﻻﺳﺘﻌﺎﺭﺓ ﰲ ﺍﳊﺮﻑ‪،‬‬ ‫ﺃﻱ‪ :‬ﺇﻧﺪﺭﺍﺝ ﺍﳉﺰﺀ ﲢﺘﻪ )ﺃﻱ ﲢﺖ(‬ ‫ﻻﻧﺪﺭﺍﺟﻪ(‬
‫) ﻭﻷﺻﻠﺒﻨﻜﻢ ﰲ ﺟﺬﻭﻉ ﺍﻟﻨﺨﻞ( )‪ (344‬ﺃﻱ‬ ‫)‪(343‬‬
‫ﻋﻠﻰ ﰲ ﻗﻮﻟﻪ ﺗﻌﺎﱃ‬ ‫)‪(342‬‬
‫ﺍﺳﺘﻌﺎﺭﺓ ﻟﻔﻆ ﰲ ﺍﳌﻌﲎ‬
‫ﻋﻠﻴﻬﺎ‪ ،‬ﺷﺒﻪ ﺍﻻﺳﺘﻌﻼﺀ ﺍﻟﻜﻠﻰ ﺑﺎﻟﻈﺮﻓﻴﺔ ﺍﻟﻜﻠﻴﺔ‪ ،‬ﲜﺎﻣﻊ ﺍﻟﺘﻤﻜﻦ ﻭﺍﺳﺘﻌﲑ ﻟﻔﻆ ﺍﻟﻈﺮﻓﻴﺔ ﻟﻼﺳﺘﻌﻼﺀ‬
‫ﺃﻱ‪ :‬ﻳﻘﺪﺭ ﺫﻟﻚ)‪ (345‬ﻓﺴﺮﻯ ﺍﻟﺘﺸﺒﻴﻪ)ﻣﻦ ﺍﻟﻜﻠﻴﺎﺕ()‪ (346‬ﺇﱃ ﺍﳉﺰﺋﻴﺎﺕ‪ ،‬ﺍﻟﱵ ﻫﻲ ﻣﻌﺎﱐ‬
‫ﺍﳊﺮﻭﻑ‪ ،‬ﻓﺎﺳﺘﻌﲑ ﻟﻔﻆ‪ ،‬ﰲ ﳌﻮﺿﻮﻋﻪ)‪ (347‬ﻟﻜﻞ ﺟﺰﺀ ﻣﻦ ﺟﺰﺋﻴﺎﺕ ﺍﻟﻈﺮﻓﻴﺔ‪ ،‬ﳌﻌﲎ ﻋﻠﻰ)‪ (348‬ﻭﻫﻮ‬
‫ﺍﻻﺳﺘﻌﻼﺀ ﺍﳋﺎﺹ‪.‬‬

‫( ‪ -‬ﻤﻌﻨﻰ ﻓﻲ ﺍﻷﺼل ﺴﺎﻗﻁﺔ ﺃﻤﺎ ﻓﻲ )ﻡ(‪ :‬ﻤﻌﻨﺎﻩ‪.‬‬ ‫‪327‬‬

‫( ‪ -‬ﻓﻲ )ﻕ(‪ :‬ﻤﺎ ﺒﻴﻥ ﺍﻟﻤﻌﻘﻭﻓﺘﻴﻥ ﺴﺎﻗﻁ‪.‬‬ ‫‪328‬‬
‫( ‪ -‬ﻓﻲ )ﻡ(‪ :‬ﻓﻠﻴﺱ‪.‬‬ ‫‪329‬‬
‫( ‪ -‬ﻓﻲ )ﻕ( ﻭ)ﻡ(‪ :‬ﺍﻟﺤﺭﻭﻑ‪.‬‬ ‫‪330‬‬
‫( ‪ -‬ﻓﻲ )ﻕ(‪ :‬ﺇﻟﻰ‪.‬‬ ‫‪331‬‬
‫( ‪ -‬ﻓﻲ )ﻕ(‪ :‬ﻜﺎﻨﺕ ﺤﺭﻭﻓﹰﺎ‪.‬‬ ‫‪332‬‬
‫( ‪ -‬ﻓﻲ )ﻕ( ﻭ)ﻡ(‪ :‬ﻷﻨﻬﺎ‪.‬‬ ‫‪333‬‬
‫( ‪ -‬ﻓﻲ )ﻕ(‪ :‬ﺴﺎﻗﻁﺔ ﻭﻓﻲ )ﺥ(‪ :‬ﻴﻜﻭﻥ‪.‬‬ ‫‪334‬‬
‫ﻼ‪.‬‬
‫( ‪ -‬ﻓﻲ )ﺥ(‪ :‬ﻤﺴﺘﻘ ﹰ‬ ‫‪335‬‬
‫ﻼ ﺒل ﺃﻭﺘﻰ ﺒﻤﺠﺭﺩ(‬
‫( ‪ -‬ﻓﻲ )ﻕ(‪ :‬ﻤﺎ ﺒﻴﻥ ﺍﻟﻤﻌﻘﻭﻓﺘﻴﻥ ﺠﺎﺀ ﻫﻜﺫﺍ ﻤﻊ ﺸﻲﺀ ﻤﻥ ﺍﻻﺨﺘﻼﻑ ﻭﺍﻟﺯﻴﺎﺩﺓ )ﺒﺩل ﻟﻪ ﺍﺴﻡ ﻭﺇﻥ ﻟﻡ ﻴﻜﻥ ﻤﺴﺘﻘ ﹰ‬ ‫‪336‬‬
‫( ‪ -‬ﻓﻲ )ﻕ( ﻭ)ﻡ(‪ :‬ﺤﺭﻑ‪.‬‬ ‫‪337‬‬
‫( ‪ -‬ﻓﻲ )ﻡ(‪ :‬ﻫﻨﺎ‪.‬‬ ‫‪338‬‬
‫( ‪ -‬ﻓﻲ )ﻕ(‪ :‬ﻭﺭﺩ ﻫﻜﺫﺍ‪) .‬ﻓﺎﻟﺠﺯﺀ ﻤﻥ ﻟﻪ(‪.‬‬ ‫‪339‬‬
‫( ‪ -‬ﻓﻲ )ﺥ(‪ :‬ﻭﺭﺩ ﻫﻜﺫﺍ‪) .‬ﺒﺎﻟﻜﻠﻰ ﻻﻨﺩﺭﺍﺠﻪ ﺃﻱ ﺍﻨﺩﺭﺍﺝ ﺍﻟﺠﺯﺌﻲ ﺘﺤﺘﻪ ﺃﻱ‪ :‬ﺘﺤﺕ ﺍﻟﻜﻠﻰ(‪.‬‬ ‫‪340‬‬
‫(‪ -‬ﻓﻲ )ﻕ(‪ :‬ﻭﺭﺩ ﻫﻜﺫﺍ )ﺃﻱ ﺍﻨﺩﺭﺍﺝ ﺍﻟﺠﺯﺀ ﺘﺤﺘﻪ ﺃﻱ ﺘﺤﺕ ﺍﻟﻜﻠﻰ‬ ‫‪341‬‬
‫( ‪ -‬ﻓﻲ )ﺥ(‪ :‬ﻟﻤﻌﻨﻰ‪.‬‬ ‫‪342‬‬
‫( ‪ -‬ﻓﻲ )ﻕ(‪ :‬ﺘﻌﺎﻟﻰ ﺴﺎﻗﻁﺔ‪.‬‬ ‫‪343‬‬
‫( ‪ -‬ﺴﻭﺭﺓ ﻁﻪ‪ ،‬ﺍﻵﻴﺔ ‪71‬‬ ‫‪344‬‬
‫( ‪ -‬ﻓﻲ )ﺥ(‪ :‬ﺫﺍﻟﻙ‪.‬‬ ‫‪345‬‬
‫( ‪ -‬ﻤﺎ ﺒﻴﻥ ﺍﻟﻤﻌﻘﻭﻓﺘﻴﻥ ﺴﺎﻗﻁ ﻓﻲ)ﻤﺦ(ﻭ)ﻡ(‪.‬‬ ‫‪346‬‬
‫( ‪ -‬ﻓﻲ )ﻕ( ﻭ)ﺥ( ﻭ)ﻡ(‪ :‬ﺍﻟﻤﻭﻀﻭﻋﺔ‪.‬‬ ‫‪347‬‬
‫( ‪ -‬ﻓﻲ )ﻕ(‪ :‬ﻋﻼ‪.‬‬ ‫‪348‬‬
‫‪- 75 -‬‬
 ‫)‪(349‬‬
‫ﺍﳌﺘﻌﻠﻖ ﺑﺎﻟﺘﺼﻠﻴﺐ‪ ،‬ﻭﺍﳉﺬﻭﻉ ﰲ ﻫﺬﺍ ﺍﳌﺜﺎﻝ‪ ،‬ﻭﺃﻣﺎ ﺍ‪‬ﺎﺯ ﺍﳌﺮﻛﺐ‪) ،‬ﻓﻬﻮ ﺍﻟﻠﻔﻆ‬ ‫ﺃﻱ‪:‬‬
‫)‪(351‬‬ ‫)‪(350‬‬
‫ﺍﳌﻌﲎ ﺍﻷﺻﻠﻲ‬ ‫ﺧﺮﺝ ﺍﳌﻔﺮﺩ ﺍﳌﺴﺘﻌﻤﻞ ﺧﺮﺝ ﺍﳌﻬﻤﻞ ﺍﳌﺮﻛﺐ ﰲ ﻏﲑ ﻣﺎ ﺃﻱ‪:‬‬ ‫ﺍﳌﺮﻛﺐ(‬
‫)ﺍﻟﺬﻱ()‪ (352‬ﻭﺿﻊ ﺍﳌﺮﻛﺐ ﻟﻪ ﺣﻘﻴﻘﺔ)‪ (353‬ﺧﺮﺟﺖ ﺍﳊﻘﻴﻘﺔ ﺍﳌﺮﻛﺒﺔ ﻟﻌﻼﻗﺔ ﺧﺮﺝ ﺍﻟﻐﻠﻂ‪.‬‬
‫ﺍﻋﻄﲏ)‪ (355‬ﻫﺬﺍ ﺍﻟﺜﻮﺏ‪ ،‬ﻣﻊ ﻗﺮﻳﻨﺔ ﻣﺎﻧﻌﺔ ﻣﻦ ﺇﺭﺍﺩﺗﻪ‪،‬‬ ‫)‪(354‬‬
‫ﳓﻮ‪ :‬ﺧﺬ ﻫﺬﺍ ﺍﻟﻜﺘﺎﺏ ﻋﻨﺪ ﺇﺭﺍﺩﺓ‬
‫ﺃﻱ‪ :‬ﺇﺭﺍﺩﺓ ﺍﳌﻮﺿﻮﻉ ﻟﻪ‪ ،‬ﺧﺮﺟﺖ ﺍﻟﻜﻨﺎﻳﺔ ﺍﳌﺮﻛﺒﺔ ﻛﻘﻮﻝ ﺍﻟﺴﺎﺋﻞ‪ :‬ﺇﱐ ﳏﺘﺎﺝ ﻓﺎﻧﻪ ﻟﻔﻆ ﻣﺮﻛﺐ ﻛﻨﺎﻳﺔ‬
‫ﻋﻦ ﺍﻟﻄﻠﺐ ‪ //‬ﻭﱂ ﻳﻮﺿﻊ ﻟﻪ ﺣﻘﻴﻘﺔ‪ ،‬ﻭﻟﻴﺲ ﳎﺎﺯﹰﺍ‪ ،‬ﺇﺫ ﺍﻟﻘﺮﻳﻨﺔ )ﻭﻫﻲ ﺣﺎﻝ ﺍﻟﺴﺎﺋﻞ()‪ (356‬ﻻ‬ ‫]ظ‪[10/‬‬

‫)‪(357‬‬
‫ﺇﺭﺍﺩﺓ ﺍﳌﻌﲏ ﺍﳊﻘﻴﻘﻲ ﻣﻊ ﺍﻟﻄﻠﺐ‪ ،‬ﻓﺎﻥ ﻛﺎﻧﺖ ﻋﻼﻗﺘﻪ ﺍﳌﺸﺎ‪‬ﺔ ﺑﲔ ﺍﻟﻄﺮﻓﲔ‬ ‫ﲤﻨﻊ ﻣﻦ‬
‫)‪(358‬‬
‫ﺍﺳﺘﻌﺎﺭﺓ‪ ،‬ﻷﻧﻪ ﺍﺳﺘﻌﲑ ﺍﻟﻠﻔﻆ ﺍﻟﺪﺍﻝ ﻋﻠﻰ ﺍﳌﺸﺒﻪ ﺑﻪ‪ ،‬ﻟﻠﻤﺸﺒﻪ‪ ،‬ﲤﺜﻴﻠﻴﺔ ﻧﺴﺒﺔ ﻟﻠﺘﻤﺜﻴﻞ ﻭﻫﻮ‬ ‫ﲰﻲ‬
‫ﺍﻟﺘﺸﺒﻴﻪ‪ ،‬ﻣﻄﻠﻘﺎ ﻭﺍﳌﺮﺍﺩ ﻫﻨﺎ ﻣﺎ ﻛﺎﻥ ﻭﺟﻪ ﺍﻟﺸﺒﻪ ﻓﻴﻬﺎ)‪ (359‬ﻫﻴﺌﺔ ﻣﻨﺘﺰﻋﺔ)ﺇﻻ()‪ (360‬ﻣﻦ ﻋﺪﺓ ﺃﻣﻮﺭ‪ ،‬ﻓﺎﻥ‬
‫ﺍﻻﺳﺘﻌﺎﺭﺓ ﺍﳌﺮﻛﺒﺔ ﺍﻟﺘﻤﺜﻴﻠﻴﺔ ﳚﺐ ﺃﻥ ﻳﻜﻮﻥ ﻭﺟﻪ ﺍﻟﺸﺒﻪ ﻓﻴﻬﺎ ﻫﻴﺌﺔ ﻣﻨﺘﺰﻋﺔ ﻣﻦ ﻣﺘﻌﺪﺩ‪ ،‬ﻭﻛﺬﺍ)‪ (361‬ﳚﺐ‬
‫ﺃﻥ ﻳﻜﻮﻥ ﻃﺮﻓﺎﳘﺎ)‪ (362‬ﻫﻴﺌﺘﲔ ﻣﻨﺘﺰﻋﺘﲔ ﻣﻦ ﳎﻤﻮﻉ ﺃﺷﻴﺎﺀ‪ ،‬ﺗﻀﺎﻣﺖ ﻭﺗﻼﺻﻘﺖ ﺣﱴ ﺻﺎﺭﺕ ﺷﻴﺌﺎ‬
‫ﻭﺍﺣﺪﺍ‪.‬‬
‫)‪(365‬‬
‫ﻓﺘﺸﺒﻪ)‪ (363‬ﺇﺣﺪﻯ ﺍﳍﻴﺌﺘﲔ ﺍﳌﻨﺘﺰﻋﺘﲔ ﺑﺎﻷﺧﺮﻯ ﺑﺎﺩﻋﺎﺀ)‪ (364‬ﺇﻥ ﺻﻮﺭﺓ ﺍﳌﺸﺒﻪ‪ ،‬ﻣﻦ ﺟﻨﺲ ﺻﻮﺭﺓ‬
‫ﺍﳌﺸﺒﻪ ‪‬ﺎ‪ ،‬ﻓﺘﻄﻠﻖ)‪ (366‬ﻋﻠﻰ ﺍﻟﺼﻮﺭﺓ ﺃﻱ)‪ (367‬ﺍﳍﻴﺌﺔ ﺍﳌﺸﺒﻬﺔ ﺑﺎﻟﻠﻔﻆ)‪ (368‬ﺍﻟﺪﺍﻝ ﻋﻠﻰ ﺍﻟﺼﻮﺭﺓ ﺍﳌﺸﺒﻬﺔ‬

‫)ﻕ(‪ :‬ﺃﻥ‪.‬‬ ‫ﻓﻲ‬ ‫‪-‬‬ ‫(‬ ‫‪349‬‬

‫)ﻕ(‪ :‬ﻤﺎ ﺒﻴﻥ ﺍﻟﻤﻌﻘﻭﻓﺘﻴﻥ ﺴﺎﻗﻁ ﻭﺃﻤﺎ )ﺍﻟﻤﺠﺎﺯ ﺍﻟﻤﺭﻜﺏ( ﻓﻘﺩ ﻜﺘﺒﻬﺎ ﺍﻟﻨﺎﺴﺦ ﻓﻲ ﺍﻟﺒﺩﺍﻴﺔ ﺜﻡ ﻭﻀﻊ ﻓﻭﻗﻬﺎ ﺨﻁ‪.‬‬ ‫ﻓﻲ‬ ‫‪-‬‬ ‫(‬ ‫‪350‬‬
‫)ﻕ(‪ :‬ﺃﻥ ‪.‬‬ ‫ﻓﻲ‬ ‫‪-‬‬ ‫(‬ ‫‪351‬‬
‫)ﻕ(‪ :‬ﺍﻟﺫﻱ ﺴﺎﻗﻁﺔ‪.‬‬ ‫ﻓﻲ‬ ‫‪-‬‬ ‫(‬ ‫‪352‬‬
‫)ﻕ(‪ :‬ﺩﻗﻴﻘﺔ ﻓﻲ‪.‬‬ ‫ﻓﻲ‬ ‫‪-‬‬ ‫(‬ ‫‪353‬‬
‫)ﻕ(‪ :‬ﺇﺭﺍﺩﺘﻲ‪.‬‬ ‫ﻓﻲ‬ ‫‪-‬‬ ‫(‬ ‫‪354‬‬
‫)ﻕ(‪ :‬ﺃﻋﻅﻡ‪.‬‬ ‫ﻓﻲ‬ ‫‪-‬‬ ‫(‬ ‫‪355‬‬
‫)ﻡ(‪ :‬ﻫﻭ ﺤﺎل ﺍﻟﺴﺎﺌل‪.‬‬ ‫ﻓﻲ‬ ‫‪-‬‬ ‫(‬ ‫‪356‬‬
‫)ﻡ(‪ :‬ﺴﺎﻗﻁﺔ‪.‬‬ ‫ﻓﻲ‬ ‫‪-‬‬ ‫(‬ ‫‪357‬‬
‫)ﻕ(‪ :‬ﺘﺴﻤﻰ‪.‬‬ ‫ﻓﻲ‬ ‫‪-‬‬ ‫(‬ ‫‪358‬‬
‫)ﻕ( ﻭ)ﺥ( ﻭ)ﻡ(‪ :‬ﻓﻴﻪ‪.‬‬ ‫ﻓﻲ‬ ‫‪-‬‬ ‫(‬ ‫‪359‬‬
‫ﺍﻷﺼل ﻭ)ﻡ(‪ :‬ﺴﺎﻗﻁﺔ‪.‬‬ ‫ﻓﻲ‬ ‫‪-‬‬ ‫(‬ ‫‪360‬‬
‫)ﺥ(‪ :‬ﻭ ﻜل‪.‬‬ ‫ﻓﻲ‬ ‫‪-‬‬ ‫(‬ ‫‪361‬‬
‫)ﺥ( ﻭ)ﻡ(‪ :‬ﻁﺭﻓﺎﻫﺎ‪.‬‬ ‫ﻓﻲ‬ ‫‪-‬‬ ‫(‬ ‫‪362‬‬
‫)ﺥ(‪ :‬ﻓﻴﺸﺒﻪ‪.‬‬ ‫ﻓﻲ‬ ‫‪-‬‬ ‫(‬ ‫‪363‬‬
‫‪- 76 -‬‬
 ‫)‪(369‬‬
‫ﺑﺎﻟﺘﻤﺜﻴﻞ ﻣﻦ ﻏﲑ ﻗﻴﺪ ﺑﻘﻮﻟﻨﺎ ﻋﻠﻰ ﺳﺒﻴﻞ‬ ‫‪‬ﺎ‪ ،‬ﻭﺗﺴﻤﻰ ﺃﻳﻀﺎ )ﺑﺎﻟﺘﻤﺜﻴﻞ ﻋﻠﻰ ﺳﺒﻴﻞ ﺍﻻﺳﺘﻌﺎﺭﺓ(‬
‫ﺍﻻﺳﺘﻌﺎﺭﺓ ﻛﻘﻮﻟﻚ ﳌﻦ ﻳﺘﺮﺩﺩ ﰲ ﺃﻣﺮ ﻣﻦ ﺍﻷﻣﻮﺭ‪ ،‬ﻫﻞ ﻳﻔﻌﻠﻪ؟ ﺑﺎﻥ ﻳﺒﺪﻭﺍ ﻟﻪ ﻭﺟﻪ ﺍﻟﻔﻌﻞ )ﻓﻴﻘﺪﻡ‬
‫ﻭﻋﺪﻣﻪ()‪ (370‬ﻓﻴﺤﺠﻢ ﺇﱐ ﺃﺭﺍﻙ ﺗﻘﺪﻡ ﺭﺟﻼ ﺗﺎﺭﺓ‪ ،‬ﻭﺗﺆﺧﺮ‪ //‬ﺗﺎﺭﺓ ﺃﺧﺮﻯ‪.‬‬ ‫]و‪[11/‬‬

‫ﻓﺄﺧﺮﻯ ﻧﻌﺖ ﻟﺘﺎﺭﺓ)‪ (371‬ﳏﺬﻭﻑ‪ ،‬ﻭﻣﻔﻌﻮﻝ ﺗﺆﺧﺮ ﳏﺬﻭﻑ‪ ،‬ﺃﻱ‪ :‬ﻭﺗﺆﺧﺮﻫﺎ)‪ (372‬ﻭﻟﻴﺲ‬
‫ﻧﻌﺘﺎ)‪ (373‬ﻟﺮﺟﻞ ﳏﺬﻭﻑ‪ ،‬ﻣﻔﻌﻮﻝ ﻟﺘﺆﺧﺮ)‪) (374‬ﺇﺫ ﻻ ﳏﺼﻞ ﻟﻪ ﻓﺸﺒﻪ()‪ (375‬ﺣﺎﻝ ﺍﳌﺘﺮﺩﺩ ﰲ ﻓﻌﻞ‬

‫ﺃﻣﺮ ﻣﻦ ﺍﻷﻣﻮﺭ‪ ،‬ﲝﺎﻝ ﻣﻦ ﻳﺘﺮﺩﺩ ﰲ ﺍﻟﺬﻫﺎﺏ ﳊﺎﺟﺔ‪ ،‬ﻓﺘﺎﺭﺓ ﻳﺒﺪﻭ ﻟﻪ ﻭﺟﻪ ﺍﻟﺬﻫﺎﺏ ﻓﻴﻘﺪﻡ ﺭﺟﻠﻪ‪،‬‬
‫ﻭﺗﺎﺭﺓ ﻻ ﻓﻴﺆﺧﺮﻫﺎ‪ ،‬ﺑﺎﻟﺪﻋﺎﺀ)‪ (376‬ﺇﻥ ﺍﳊﺎﻟﺔ ﺃﻱ)‪) (377‬ﺍﳍﻴﺌﺔ ﺍﳌﺸﺒﻬﺔ ﻣﻦ ﺟﻨﺲ ﺍﳊﺎﻟﺔ ﺍﳌﺸﺒﻪ ‪‬ﺎ ﰒ‬
‫ﺍﺳﺘﻌﲑ ﺍﻟﻠﻔﻆ ﺍﻟﺪﺍﻝ ﻋﻠﻰ ﺍﳍﻴﺌﺔ ﺍﳌﺸﺒﻪ ‪‬ﺎ‪ ،‬ﻟﻠﻬﻴﺌﺔ ﺍﳌﺸﺒﻬﺔ ﻭﻭﺟﻪ ﺍﻟﺸﺒﻪ()‪(378‬ﻭﻫﻮ ﻫﻴﺌﺔ ﺍﻹﻗﺪﺍﻡ ﺗﺎﺭﺓ‬
‫ﻭﺍﻹﺣﺠﺎﻡ ﺃﺧﺮﻯ‪ ،‬ﻣﻨﺘﺰﻉ ﻣﻦ ﻋﺪﺓ ﺃﻣﻮﺭ‪ ،‬ﻛﻤﺎ ﺗﺮﻯ‪ ،‬ﻭﻣﱴ ﻓﺸﺎ‪ ،‬ﺃﻱ‪ :‬ﻛﺜﺮ ﻭﺷﺎﻉ ﺑﲔ ﺍﻟﻨﺎﺱ‬
‫ﺍﺳﺘﻌﻤﺎﻟﻪ ﺃﻱ‪ :‬ﺍ‪‬ﺎﺯ ﺍﳌﺮﻛﺐ‪ ،‬ﻛﺬﻟﻚ ﺃﻱ ﻋﻠﻰ ﺳﺒﻴﻞ ﺍﻻﺳﺘﻌﺎﺭﺓ‪.‬‬

‫ﲰﻲ ﻣﺜﻼ )ﻭﻟﺬﺍ ﺃﻱ ﻭﻳﻜﻮﻥ()‪ (379‬ﺍﳌﺜﻞ)‪ (380‬ﲤﺜﻴﻼ)‪ (381‬ﻓﺸﺎ ﺍﺳﺘﻌﻤﺎﻟﻪ ﻋﻠﻰ ﺳﺒﻴﻞ ﺍﻻﺳﺘﻌﺎﺭﺓ‪،‬‬
‫ﻻ ﺗﻐﲑ)‪ (382‬ﺍﻷﻣﺜﺎﻝ‪ ،‬ﻷﻥ ﺍﻻﺳﺘﻌﺎﺭﺓ ﳚﺐ ﺃﻥ ﻳﻜﻮﻥ )‪ (383‬ﻟﻔﻆ)‪ (384‬ﺍﳌﺸﺒﻪ ﺑﻪ )ﺍﳌﺴﺘﻌﻤﻞ ﰲ ﺍﳌﺸﺒﻪ‬

‫– ﻜﺘﺏ ﻓﻲ ﺍﻷﺼل ﺒﺎﻟﺩﻋﺎﺀ ﻭ ﻓﻲ )ﺥ( ﻭ )ﻡ( ﺒﺎﺩﻋﺎﺀ ﻭ ﻫﻭ ﺍﻟﺼﻭﺍﺏ‪.‬‬ ‫(‬ ‫‪364‬‬

‫‪ -‬ﻓﻲ )ﺥ( )ﻡ(‪ :‬ﺍﻟﺼﻭﺭﺓ‪.‬‬ ‫(‬ ‫‪365‬‬
‫‪ -‬ﻓﻲ )ﻕ(‪ :‬ﻓﻴﻁﻠﻕ‪.‬‬ ‫(‬ ‫‪366‬‬
‫‪ -‬ﻓﻲ )ﺥ(‪ :‬ﺃﻥ‪.‬‬ ‫(‬ ‫‪367‬‬
‫]ظ‪[11/‬‬
‫‪ -‬ﻓﻲ )ﻕ( ﻭ)ﺥ(‪ :‬ﺍﻟﻠﻔﻅ‪.‬‬ ‫(‬ ‫‪368‬‬
‫‪ -‬ﻓﻲ )ﻕ( ﻭ)ﺥ( ﻭ)ﻡ(‪ :‬ﻜﺘﺏ ﻫﻜﺫﺍ )ﺒﺎﻟﺘﻤﺜﻴل ﻤﻥ ﻏﻴﺭ ﻗﻴﺩ ﺒﻘﻭﻟﻨﺎ ﻋﻠﻰ ﺴﺒﻴل ﺍﻻﺴﺘﻌﺎﺭﺓ(‪.‬‬ ‫(‬ ‫‪369‬‬
‫‪ -‬ﻓﻲ )ﺥ(‪ :‬ﻭﺭﺩ ﻫﻜﺫﺍ‪) .‬ﻓﻴﻘﺩﻡ ﺒﻘﺩﻤﻪ ﻭﻋﺩﻤﻪ(‪.‬‬ ‫(‬ ‫‪370‬‬
‫‪ -‬ﻓﻲ )ﻕ(‪ :‬ﻟﺘﺄﺨﺭﻩ‪.‬‬ ‫(‬ ‫‪371‬‬
‫‪ -‬ﻓﻲ )ﻕ(‪ :‬ﺘﻭﻓﺭﻫﻤﺎ ﻭﻓﻲ )ﺥ( ﻭﺘﺄﺨﺭﻫﻤﺎ‪.‬‬ ‫(‬ ‫‪372‬‬
‫‪ -‬ﻓﻲ )ﻕ(‪ :‬ﻨﻌﺕ ﺒﺩﻭﻥ ﺃﻟﻑ‪.‬‬ ‫(‬ ‫‪373‬‬
‫‪ -‬ﻓﻲ )ﻕ(‪ :‬ﻟﺘﺄﺨﺭ‪.‬‬ ‫(‬ ‫‪374‬‬
‫‪ -‬ﻓﻲ )ﻕ( ﻭ)ﺥ(‪ :‬ﻻ ﻴﺤﺼل ﻟﻪ ﺸﺒﻪ‪.‬‬ ‫(‬ ‫‪375‬‬
‫‪ -‬ﻓﻲ )ﻕ( ﻭ)ﺥ( ﻭ)ﻡ(‪ :‬ﺒﺎﺩﻋﺎﺀ‪.‬‬ ‫(‬ ‫‪376‬‬
‫‪ -‬ﻓﻲ )ﻕ(‪ :‬ﺃﻱ ﺴﺎﻗﻁﺔ‪.‬‬ ‫(‬ ‫‪377‬‬
‫‪ -‬ﻓﻲ )ﻕ( ﻭ)ﺥ(‪ :‬ﻭﺭﺩ ﻫﻜﺫﺍ ﻤﻊ ﺒﻌﺽ ﺍﻻﺨﺘﻼﻑ )ﺍﻟﻤﺸﺒﻬﺔ ﺒﻬﺎ ﺜﻡ ﺍﺴﺘﻌﻴﺭ ﺍﻟﻠﻔﻅ ﺍﻟﺩﺍل ﻋﻠﻰ ﺍﻟﻬﻴﺌﺔ ﺍﻟﻤﺸﺒﻬﺔ‪ ،‬ﻭﻭﺠﻪ ﺍﻟﺸﺒﻪ(‪.‬‬ ‫(‬ ‫‪378‬‬
‫‪ -‬ﻓﻲ )ﻕ( ﻭ)ﺥ( ﻭ)ﻡ(‪) :‬ﻭﻟﺫﺍ ﺃﻱ ﻭﻟﻜﻭﻥ(‪.‬‬ ‫(‬ ‫‪379‬‬
‫‪ -‬ﻓﻲ )ﺥ(‪ :‬ﺍﻟﻤﺜﺎل‪.‬‬ ‫(‬ ‫‪380‬‬
‫ﻓﻲ )ﻡ(‪ :‬ﺘﻤﺜﻴل‪.‬‬ ‫(‬ ‫‪381‬‬
‫‪ -‬ﻓﻲ )ﻕ(‪ :‬ﺘﻐﻴﻴﺭ‪.‬‬ ‫(‬ ‫‪382‬‬
‫‪- 77 -‬‬
‫ﻓﻠﻮ ﻏﲑ ﺍﳌﺜﻞ ﳌﺎ ﻛﺎﻥ ﻟﻔﻆ ﺍﳌﺸﺒﻪ ﻟﻪ()‪ (385‬ﺑﻌﻴﻨﻪ ﻓﻼ ﻳﻜﻮﻥ ﺍﺳﺘﻌﺎﺭﺓ‪ ،‬ﻓﻼ ﻳﻜﻮﻥ ﻣﺜﻼ‪ ،‬ﻭﳍﺬﺍ ﻻ ﻳﻠﺘﻔﺖ‬
‫)‪(386‬‬
‫ﻭﺇﻓﺮﺍﺩﺍ ﻭﺗﺜﻨﻴﺔ ﻭﲨﻌﺎ‪ ،‬ﺑﻞ ﺇﳕﺎ ﻳﻨﻈﺮ ﰲ ﻣﻮﺍﺭﺩﻫﺎ ﻛﻤﺎ‬ ‫ﰲ ﺍﻷﻣﺜﺎﻝ ﺇﱃ ﻣﻀﺎﺭ‪‬ﺎ )ﺗﺬﻛﲑﺍ ﻭﺗﺄﻧﻴﺜﺎ(‬
‫ﻳﻘﺎﻝ ﻟﻠﺮﺟﻞ)‪ …) (387‬ﺍﻟﺼﻴﻒ ﺿﻴﻌﺖ ﺍﻟﻠﱭ‪ (388) (...‬ﺑﻜﺴﺮ ﺗﺎﺀ ﺍﳋﻄﺎﺏ‪ //‬ﻷﻧﻪ ﰲ ﺍﻷﺻﻞ ﻻﻣﺮﺃﺓ‬
‫ﻗﺎﻟﻪ)‪ (389‬ﺍﶈﻘﻖ ﺍﻟﺘﻔﺘﺎﺯﺍﱐ)‪ (390‬ﻭﺇﻥ ﻛﺎﻧﺖ ﻋﻼﻗﺘﻪ)‪ (391‬ﺍ‪‬ﺎﺯ ﺍﳌﺮﻛﺐ‪ ،‬ﻏﲑﻫﺎ‪ ،‬ﺃﻱ‪ :‬ﻏﲑ ﺍﳌﺸﺎ‪‬ﺔ ﲰﻰ‬
‫)‪(393‬‬ ‫)‪(392‬‬
‫ﻛﻤﺎ ﰲ ﺍﳉﻤﻞ ﺍﳋﱪﻳﺔ‬ ‫ﻟﻪ ﺑﺎﺳﻢ ﳜﺼﻪ )ﻭﺫﻟﻚ(‬ ‫ﳎﺎﺯﺍ ﻣﺮﻛﺒﺎ‪ ،‬ﻭﱂ ﻳﻮﺟﺪ ﻟﻠﻘﻮﻡ ﺗﺴﻤﻴﺘﻪ‬
‫)‪(395‬‬
‫)‪ (394‬ﺍﻟﱵ ﺃﺭﻳﺪ ﻣﻨﻬﺎ ﺍﻹﻧﺸﺎﺀ‪ ،‬ﻛﻘﻮﻟﻪ‬
‫] ﺍﻟﻄﻮﻳﻞ [‬
‫ﻫﻮﺍﻱ ﻣﻊ ﺍﻟﺮﻛﺐ ﺍﻟﻴﻤﺎﻧﲔ ﻣﺼﻌﺪ * ﺟﻨﻴﺐ ﻭﺟﺜﻤﺎﱏ ﲟﻜﺔ ﻣﻮﺛﻖ‬
‫ﻓﺎﻥ ﻫﺬﺍ ﺍﳌﺮﻛﺐ ﻣﻮﺿﻮﻉ ﻟﻺﺧﺒﺎﺭ‪ ،‬ﻭﺍﻟﻐﺮﺽ)‪ (396‬ﻣﻨﻪ ﺇﻧﺸﺎﺀ ﺍﻟﺘﺤﺰﻥ ﻭﺍﻟﺘﺤﺴﺮ‪ ،‬ﻓﻘﺪ ﺍﺳﺘﻌﻤﻞ‬
‫ﰲ ﻏﲑ ﻣﺎ ﻭﺿﻊ ﻟﻪ‪ ،‬ﻟﻌﻼﻗﺔ ﺍﻟﻀﺪﻳﺔ‪ ،‬ﺇﺫ ﺍﻹﺧﺒﺎﺭ ﻳﻀﺎﺩ)‪ (397‬ﺍﻹﻧﺸﺎﺀ‪ ،‬ﺗﺄﻣﻞ‪ ،‬ﻭﺃﻣﺎ ﺍﻟﺘﺸﺒﻴﻪ ﻓﻬﻮ ﺍﻟﺪﻻﻟﺔ‬

‫‪ - ( 383‬ﻓﻲ )ﻕ( ﻭ)ﺥ(‪ :‬ﺘﻜﻭﻥ‪.‬‬

‫‪ - ( 384‬ﻓﻲ )ﻡ(‪ :‬ﺍﻟﻠﻔﻅ‪.‬‬
‫‪ - ( 385‬ﻓﻲ )ﻕ(‪ :‬ﻤﺎ ﺒﻴﻥ ﺍﻟﻤﻌﻘﻭﻓﺘﻴﻥ )ﺍﻟﻤﺴﺘﻌﻤل ﻓﻲ ﺍﻟﻤﺸﺒﻪ ﻓﻠﻭ ﻏﻴﺭ ﺍﻟﻤﺜل ﻟﻤﺎ ﻜﺎﻥ ﻟﻔﻅ ﺍﻟﻤﺸﺒﻪ ﻟﻪ( ﻭﻫﻭ ﺴﺎﻗﻁ ﻓﻲ ﺍﻷﺼل ﻭﻓﻲ )ﻡ(‪.‬‬
‫‪ - ( 386‬ﺍﻟﻭﺍﻭ ﺴﺎﻗﻁﺔ ﻓﻲ )ﻤﺦ(‪.‬‬
‫‪ - ( 387‬ﻓﻲ )ﻡ(‪ :‬ﺍﻟﺭﺠل‪.‬‬
‫‪ - ( 388‬ﻫﺫﺍ ﻤﺜل ﻗﻴل ﻓﻲ ﺍﻤﺭﺃﺓ‪ .‬ﻭﻴﺭﻭﻯ ﺍﻟﺼﻴﻑ ﻀﻴﻌﺕ ﺍﻟﻠﺒﻥ‪ ),‬ﻭﻭﺭﺩﺕ ﻀﻴﺤﺕ ﺒﺎﻟﺤﺎﺀ ﺒﺩﻻ ﻤﻥ ﺍﻟﻌﻴﻥ ‪ ,‬ﻤﻥ ﺍﻟﻀﻴﺎﺡ ﻭﺍﻟﻀﻴﺢ ﻭﻫﻭ ﺍﻟﻠﺒﻥ‬
‫ﺍﻟﻤﻤﺫﻭﻕ ﺍﻟﻜﺜﻴﺭ ﺍﻟﻤﺎﺀ ﻴﺭﻴﺩ ﺍﻟﺼﻴﻑ ﺃﻓﺴﺩﺕ ﺍﻟﻠﺒﻥ ﻭﺤﺭﻤﺘﻪ ﻨﻔﺴﻙ )‪ (1‬ﻭﺍﻟﺘﺎﺀ ﻤﻥ ﻀﻴﻌﺕ ﻤﻜﺴﻭﺭﺓ ﻓﻲ ﻜل ﺤﺎل ﺍﺫﺍ ﺨﻭﻁﺏ ﺒﻪ ﺍﻟﻤﺫﻜﺭ ﻭﺍﻟﻤﺅﻨﺙ‬
‫ﻭﺍﻻﺜﻨﺎﻥ ﻭﺍﻟﺠﻤﻊ ﻷﻥ ﺍﻟﻤﺜل ﻓﻲ ﺍﻷﺼل ﺨﻭﻁﺒﺕ ﺒﻪ ﺍﻤﺭﺃﺓ ﻭﻫﻲ ﺩﺨﺘﻨﻭﺱ ﺒﻨﺕ ﻟﻘﻴﻁ ﺒﻥ ﺯﺭﺍﺭﺓ ﻜﺎﻨﺕ ﺘﺤﺕ ﻋﻤﺭﻭ ﺒﻥ ﻋﻤﺭﻭ ﺒﻥ ﻋﺩﺱ ﻭﻜﺎﻥ‬
‫ﺸﻴﺨﺎ ﻜﺒﻴﺭﺍ ﻓﻔﺭﻜﺘﻪ ﻓﻁﻠﻘﻬﺎ ﺜﻡ ﺘﺯﻭﺠﻬﺎ ﻓﺘﻰ ﺠﻤﻴل ﺍﻟﻭﺠﻪ ﻭﺃﺠﺩﺒﺕ ﻓﺒﻌﺜﺕ ﺇﻟﻰ ﻋﻤﺭﻭ ﺘﻁﻠﺏ ﻤﻨﻪ ﺤﻠﻭﺒﺔ ﻓﻘﺎل ﻋﻤﺭﻭ‪ :‬ﻓﻲ ﺍﻟﺼﻴﻑ ﻀﻴﻌﺕ ﺍﻟﻠﺒﻥ‪،‬‬
‫ﻓﻠﻤﺎ ﺭﺠﻊ ﺍﻟﺭﺴﻭل ﻭﻗﺎل ﻟﻬﺎ ﻤﺎ ﻗﺎل ﻋﻤﺭﻭ ﻀﺭﺒﺕ ﻴﺩﺍﻫﺎ ﻋﻠﻰ ﻤﻨﻜﺏ ﺯﻭﺠﻬﺎ‪ .‬ﻭﻗﺎﻟﺕ ﻫﺫﺍ ﻭﻤﺫﻗﻪ ﺨﻴﺭ ﺘﻌﻨﻰ ﺃﻥ ﻫﺫﺍ ﺍﻟﺯﻭﺝ ﻤﻊ ﻋﺩﻡ ﺍﻟﻠﺒﻥ ﺨﻴﺭ‬
‫ﻤﻥ ﻋﻤﺭﻭ ﻓﺫﻫﺒﺕ ﻜﻠﻤﺎﺘﻬﺎ ﻤﺜﻼ‪ ,‬ﻓﺎﻷﻭل ﻴﻀﺭﺏ ﻟﻤﻥ ﻴﻁﻠﺏ ﺸﻴﺌﺎ ﻓﻘﺩ ﻓﻭﺘﻪ ﻋﻠﻰ ﻨﻔﺴﻪ ﻭ ﺍﻟﺜﺎﻨﻲ ﻴﻀﺭﺏ ﻟﻤﻥ ﻗﻨﻊ ﺒﺎﻟﻴﺴﻴﺭ ﺇﺫﺍ ﻟﻡ ﻴﺠﺩ ﺍﻟﺨﻁﻴﺭ‪,‬‬
‫ﻭﺇﻨﻤﺎ ﺨﺹ ﺍﻟﺼﻴﻑ ﻷﻥ ﺴﺅﺍﻟﻬﺎ ﺍﻟﻁﻼﻕ ﻜﺎﻥ ﻓﻲ ﺍﻟﺼﻴﻑ ﺃﻭ ﺃﻥ ﺍﻟﺭﺠل ﺇﺫﺍ ﻟﻡ ﻴﻁﺭﻕ ﻤﺎﺸﻴﺘﻪ ﻓﻲ ﺍﻟﺼﻴﻑ ﻜﺎﻥ ﻤﻀﻴﻌﺎ ﻷﻟﺒﺎﻨﻬﺎ ﻋﻨﺩ ﺍﻟﺤﺎﺠﺔ()‪(2‬‬
‫)‪ (2), (1‬ﺍﻨﻅﺭ ﻤﺠﻤﻊ ﺍﻷﻤﺜﺎل ﻟﻠﻤﻴﺩﺍﻨﻰ ﺝ‪ ،68/2‬ﻟـ‪ :‬ﺃﺒﻲ ﺍﻟﻔﻀل ﺒﻥ ﻤﺤﻤﺩ ﺍﻟﻤﻴﺩﺍﻨﻲ ﺍﻟﻨﻴﺴﺎﺒﻭﺭﻱ‪ ،‬ﺘﺤﻘﻴﻕ‪ :‬ﻤﺤﻴﻲ ﺍﻟﺩﻴﻥ ﻋﺒﺩ ﺍﻟﺤﻤﻴﺩ‬
‫)ﺩ‪.‬ﺕ‪/‬ﺩ‪.‬ﻁ(‪ ،‬ﻨﺸﺭ‪ :‬ﺩﺍﺭ ﺍﻟﻤﻌﺭﻓﺔ‪ ،‬ﺒﻴﺭﻭﺕ – ﻟﺒﻨﺎﻥ‪ .‬ﻭﺠﻤﻬﺭﺓ ﺍﻷﻤﺜﺎل ﺝ‪ 07/1‬ﻟـ‪ :‬ﺃﺒﻲ ﺍﻟﻬﻼل ﺍﻟﻌﺴﻜﺭﻱ ﺘﺤﻘﻴﻕ‪ :‬ﻤﺤﻤﺩ ﺃﺒﻭ ﺍﻟﻔﻀل ﺇﺒﺭﺍﻫﻴﻡ –‬
‫ﻭﻋﺒﺩ ﺍﻟﺤﻤﻴﺩ ﻗﻁﺎﻤﺵ‪ ،‬ﻁ‪1988 :‬ﻡ )ﺩ‪.‬ﻁ( ﻨﺸﺭ‪ :‬ﺩﺍﺭ ﺍﻟﻔﻜﺭ ﻟﻠﻨﺸﺭ‪ ،‬ﺒﻴﺭﻭﺕ – ﻟﺒﻨﺎﻥ‪ 575,576 .‬ﻭﻓﺼل ﺍﻟﻤﻘﺎل ﻓﻲ ﺸﺭﺡ ﻜﺘﺎﺏ ﺍﻷﻤﺜﺎل‬
‫ﺝ‪ 357,358,359/1‬ﻟـ‪ :‬ﺃﺒﻲ ﻋﺒﻴﺩ ﺍﻟﺒﻜﺭﻱ‪ ،‬ﺘﺤﻘﻴﻕ‪ :‬ﺩ‪ :‬ﺇﺤﺴﺎﻥ ﻋﺒﺎﺱ – ﻭ ﺩ‪ :‬ﻋﺒﺩ ﺍﻟﻤﺠﻴﺩ ﻋﺎﺒﺩﻴﻥ‪ ،‬ﻁ‪ :‬ﺍﻟﺜﺎﻟﺜﺔ‪ ،‬ﺴﻨﺔ‪1983 :‬ﻡ‪ ،‬ﻨﺸﺭ ﻤﺅﺴﺴﺔ‬
‫ﺍﻟﺭﺴﺎﻟﺔ‪ .‬ﺒﻴﺭﻭﺕ – ﻟﺒﻨﺎﻥ‪.‬‬
‫‪ - ( 389‬ﻓﻲ )ﻡ(‪ :‬ﻗﺎل‪.‬‬
‫‪ - ( 390‬ﺍﻟﺘﻔﺘﺯﺍﻨﻲ ﺴﺒﻕ ﺍﻟﺘﻌﺭﻴﻑ ﺒﻪ‪ ،‬ﺃﻨﻅﺭ ﺼﻔﺤﺔ‪.‬ﺹ‪.33:‬‬
‫‪ - ( 391‬ﻓﻲ )ﻕ(‪ :‬ﻋﻼﻗﺔ‪.‬‬
‫‪ - ( 392‬ﻓﻲ )ﻕ( ﻭ)ﺥ(‪ :‬ﺘﺴﻤﻴﺔ‪.‬‬
‫‪ - ( 393‬ﻓﻲ )ﻕ(ﻭ)ﺥ(‪ :‬ﺴﺎﻗﻁﺔ‪.‬‬
‫‪ - ( 394‬ﻓﻲ )ﺥ(‪ :‬ﺍﻟﺒﺭﻴﺔ ﻭﻫﻭ ﺨﻁﺄ‪.‬‬
‫‪ - ( 395‬ﺍﻟﺸﺎﻋﺭ ﺠﻌﻔﺭ ﺒﻥ ﻋﻠﺒﺔ ﺍﻟﺤﺎﺭﺜﻲ ﻴﻨﺘﻬﻲ ﻨﺴﺒﻪ ﺇﻟﻰ ﻜﻌﺏ ﺒﻥ ﺍﻟﺤﺎﺭﺙ ﺸﺎﻋﺭ ﻤﻘل ﻏﺯل ﻓﺎﺭﺱ ﻤﺫﻜﻭﺭ ﻓﻲ ﻗﻭﻤﻪ ﻭﻜﺎﻥ ﻤﻥ ﻤﺨﻀﺭﻤﻲ‬
‫ﺍﻟﺩﻭﻟﺘﻴﻥ ﺍﻷﻤﻭﻴﺔ ﻭﺍﻟﻌﺒﺎﺴﻴﺔ ﻭﻗﺘل ﻓﻲ ﻗﺼﺎﺹ ﺍﺨﺘﻼﻑ ﻓﻲ ﺴﺒﺒﻪ‪ ،‬ﺃﻨﻅﺭ ﺍﻟﺤﻤﺎﺴﺔ ﺍﻟﺒﺼﺭﻴﺔ‪ ،‬ﺹ‪ 929 :‬ﻭ‪ .873‬ﺃﻨﻅﺭ ﺍﻟﺒﻴﺕ ﺝ‪ 1‬ﺹ‪،48 :‬‬
‫ﺍﻹﻴﻀﺎﺡ ﻓﻲ ﻋﻠﻭﻡ ﺍﻟﺒﻼﻏﺔ ﻟﺠﻼل ﺍﻟﺩﻴﻥ ﺃﺒﻭ ﻋﺒﺩ ﺍﷲ ﻤﺤﻤﺩ ﺒﻥ ﺴﻌﺩ ﺍﻟﺩﻴﻥ ﺒﻥ ﻋﻤﺭ ﺍﻟﻘﺯﻭﻴﻨﻲ‪ .‬ﻁ‪ :‬ﺍﻟﺭﺍﺒﻌﺔ‪ ،‬ﻨﺸﺭ‪ :‬ﺩﺍﺭ ﺇﺤﻴﺎﺀ ﺍﻟﻌﻠﻭﻡ ‪ ،‬ﺒﻴﺭﻭﺕ –‬
‫ﻟﺒﻨﺎﻥ‪.‬‬
‫ﺍﻟﺸﺭﺡ‪ :‬ﺍﻟﺭﻜﺏ‪ :‬ﺍﻟﺭﻜﺒﺎﻥ ﺍﻹﺒل ﺨﺎﺼﺔ ﺍﻟﻴﻤﺎﻨﻴﻭﻥ ﺠﻤﻊ ﻴﻤﺎﻥ ﺍﻟﻤﻨﺴﻭﺏ ﺇﻟﻰ ﺍﻟﻴﻤﻥ ﻭﺍﻟﻤﺼﻌﺩ ﺍﻟﻤﺒﻌﺩ ﻤﻥ ﺍﻻﺼﻌﺎﺩ ﺃﻱ ﺍﻹﺒﻌﺎﺩ‪ ،‬ﻭﺠﻨﻴﺏ ﻟﻤﻌﻨﻲ ﻤﺤﺒﻭﺏ‬
‫ﻤﺴﺘﺘﺒﻊ ﻭﺍﻟﺠﺜﻤﺎﻥ ﺍﻟﺒﺩﻥ ﻭﺍﻟﻤﻭﺜﻕ ﺍﻟﻤﻘﻴﺩ‪ ،‬ﻴﻘﻭل ﻫﻭﺍﻱ ﻤﻊ ﺭﻜﺒﺎﻥ ﺍﻹﺒل ﺍﻟﻘﺎﺼﺩﻴﻥ ﻨﺤﻭ ﺍﻟﻴﻤﻥ ﻨﻘﻭﺩ ﻭﺒﺩﻨﻲ ﻤﺄﺴﻭﺭ ﻤﻘﻴﺩ‪ ،‬ﺃﻨﻅﺭ ﺸﺭﺡ ﺤﻤﺎﺴﺔ ﺃﺒﻲ ﺘﻤﺎﻡ‬
‫ﻟﻸﻋﻠﻡ ﺍﻟﺸﻨﺘﻤﺭﻱ‪ ،‬ﺝ ‪ ، 1‬ﺍﻟﺼﻔﺤﺔ‪ .419 :‬ﻟـ‪ :‬ﺩ‪ :‬ﻋﻠﻲ ﺍﻟﻤﻔﻀل ﺠﻭﺩﺍﻥ‪ ،‬ﻤﻁﺒﻭﻋﺎﺕ ﺠﻤﻌﺔ ﺍﻟﻤﺎﺠﺩ ﻟﻠﺜﻘﺎﻓﺔ ﻭﺍﻟﺘﺭﺍﺙ‪ ،‬ﺩﺒﻲ‪ ،‬ﺴﻨﺔ ﻁ‪:‬‬
‫‪1413‬ﻫـ‪1992/‬ﻡ‪.‬‬
‫‪ - ( 396‬ﻓﻲ )ﺥ(‪ :‬ﻭﺍﻟﻤﺭﺍﺩ‪.‬‬
‫‪- 78 -‬‬
‫ﻣﺼﺪﺭ ﻗﻮﻟﻚ ﺩﻟﻠﺖ ﻓﻼﻧﺎ ﻋﻠﻰ ﻛﺬﺍ‪ ،‬ﺇﺫﺍ ﻫﺪﻳﺘﻪ ﺇﻟﻴﻪ‪ ،‬ﻋﻠﻰ ﻣﺸﺎﺭﻛﺔ ﺃﻣﺮ ﻷﻣﺮ‪ ،‬ﰲ ﻣﻌـﲎ ﻻ ﻋﻠـﻰ‬
‫ﻭﺟﻪ‪ ،‬ﺃﻱ‪ :‬ﻃﺮﻳﻖ ﺍﻻﺳﺘﻌﺎﺭﺓ ﺍﻟﺘﺼﺮﳛﻴﺔ ﻭﺍﳌﻜﻨﻴﺔ‪ ،‬ﻓﺎﻥ ﺍﻻﺳﺘﻌﺎﺭﺓ ﻭﺍﻥ ﻛﺎﻥ ﻓﻴﻬﺎ ﺍﻟﺪﻻﻟﺔ ﺍﳌﺬﻛﻮﺭﺓ‪ ،‬ﺇﻻ‬
‫)‪(399‬‬
‫ﺃ‪‬ﺎ ﻻ ﺗﺴﻤﻰ ﺗﺸﺒﻴﻬﺎ ﺍﺻﻄﻼﺣﹰﺎ)‪(398‬ﻭﻳﻘﺎﻝ ﰲ ﺗﻌﺮﻳﻔﻪ ﺃﻳﻀﺎ‪) ،‬ﺃﻧﻪ(‬

‫ﻫﻮ ﺍﻟﺪﻻﻟﺔ ﻋﻠﻰ ﻣﺸﺎﺭﻛﺔ ﺃﻣﺮ ﻷﻣﺮ ﰲ ﻣﻌﲎ ﺑﺎﻟﻜﺎﻑ‪ ،‬ﻭﳓﻮﻩ ﻓﻴﺨﺮﺝ ﺑﻘﻮﻟﻪ ﺑﺎﻟﻜﺎﻑ ﻭﳓﻮﻩ‬
‫ﺍﻻﺳﺘﻌﺎﺭﺓ‪ ،‬ﻭﻛﺜﲑﺍ ﻣﺎ ﻳﻄﻠﻖ ﺍﻟﺘﺸﺒﻴﻪ ﻋﻠﻰ ﺍﻟﻜﻼﻡ ﺍﻟﺪﺍﻝ ﻋﻠﻰ ﺍﳌﺸﺎﺭﻛﺔ ﺍﳌﺬﻛﻮﺭﺓ‪ ،‬ﻛﻘﻮﻟﻨﺎ ﺯﻳﺪ ﻛﺎﻷﺳﺪ‬
‫]و‪[12/‬‬
‫ﰲ ﺍﻟﺸﺠﺎﻋﺔ‪ ،‬ﻭﺃﺭﻛﺎﻧﻪ ﺃﻱ‪ :‬ﺍﻟﺘﺸﺒﻴﻪ ﺃﺭﺑﻌﺔ ﻭﻫﻰ ﻃﺮﻓﺎﻩ ‪ //‬ﺃﻱ ﺍﳌﺸﺒﻪ ﻭﺍﳌﺸﺒﻪ ﺑﻪ‪ ،‬ﻭﻭﺟﻬﻪ ﻭﻫﻮ ﺍﳌﻌﲎ‬
‫ﺍﳌﺸﺘﺮﻙ ﺑﲔ ﺍﻟﻄﺮﻓﲔ‪ ،‬ﻭﺃﺩﺍﺓ)‪ (400‬ﻭﻫﻰ ﺍﻟﻜﺎﻑ‪ ،‬ﻭﻛﺄﻥ‪ ،‬ﻭﻣﺜﻞ‪ ،‬ﻭﻣﺎ ﰲ ﻣﻌﻨﺎﻩ)‪ (401‬ﳓﻮ‪ :‬ﺯﻳﺪ ﻛﺎﻟﺒﺪﺭ‬
‫)‪(402‬‬
‫‪‬ﺎ ﺍﻟﺘﺸﺒﻴﻪ‪،‬‬ ‫ﰲ ﺍﳊﺴﻦ‪ ،‬ﻓﺰﻳﺪ ﻣﺸﺒﻪ ﻭﺍﻟﺒﺪﺭ ﻣﺸﺒﻪ ﺑﻪ‪ ،‬ﻭﺍﻟﻜﺎﻑ ﺃﺩﺍﺓ ﺗﺸﺒﻴﻪ ﺃﻱ ﻛﻠﻤﺔ ﻳﺆﺩﻯ‬
‫ﻭﺍﳊﺴﻦ ﻭﺟﻬﻪ‪.‬‬
‫ﰒ ﺷﺮﻉ ﻳﺘﻜﻠﻢ ﻋﻠﻰ ﺑﻌﺾ ﻣﺎ ﻳﺘﻌﻠﻖ ‪‬ﺬﻩ )‪ (403‬ﺍﻷﺭﻛﺎﻥ‪ ،‬ﻓﻘﺎﻝ‪ :‬ﻭﻗﺪ ﻫﻲ)ﻫﺎ ﻫﻨﺎ()‪ (404‬ﻟﻠﺘﺤﻘﻴﻖ‬
‫ﻳﻜﻮﻥ ﻃﺮﻓﺎﻩ ﺣﺴﻴﲔ‪ ،‬ﺃﻱ‪ :‬ﻳﺪﺭﻛﺎﻥ ﺑﺈﺣﺪﻯ ﺍﳊﻮﺍﺱ ﺍﳋﻤﺲ ﺍﻟﻈﺎﻫﺮﺓ‪ ،‬ﻭﻫﻲ ﺍﻟﺒﺼﺮ ﻭﺍﻟﺴﻤﻊ ﻭﺍﻟﺸﻢ‬
‫ﻭﺍﻟﺬﻭﻕ ﻭ ﺍﻟﻠﻤﺲ‪ ،‬ﻛﻤﺎ ﻣﺜﻞ ﺑﻘﻮﻟﻨﺎ‪ ،‬ﺯﻳﺪ ﻛﺎﻟﺒﺪﺭ ﰲ ﺍﳊﺴﻦ)ﻓﺰﻳﺪ ﻭﺍﻟﺒﺪﺭ()‪ (405‬ﺣﺴﻴﺎﻥ‬
‫ﻻﺩﺭﺍﻛﻬﻤﺎ)‪ (406‬ﲝﺎﺳﺔ ﺍﻟﺒﺼﺮ‪ ،‬ﺃﻭ ﻋﻘﻠﻴﲔ‪ ،‬ﳓﻮ‪ :‬ﻗﻮﻟﻨﺎ ﺍﻟﻌﻠﻢ ﻛﺎﳊﻴﺎﺓ)‪ (407‬ﰲ ﻛﻮ‪‬ﻤﺎ ﺟﻬﱵ ﺍﺩﺭﺍﻙ‪،‬‬

‫‪ - ( 397‬ﻓﻲ )ﺥ(‪ :‬ﻴﻀﺩ‪.‬‬

‫‪ - (398‬ﻓﻲ )ﺥ(‪ :‬ﺍﺼﻁﻼﺤﹰﺎ‪.‬‬
‫‪ - (399‬ﺴﺎﻗﻁﺔ ﻓﻲ )ﻤﺦ( ﻭ)ﻡ(‪.‬‬
‫‪ - ( 400‬ﻓﻲ )ﻕ(‪ :‬ﻭﺍﻷﺩﺍﺓ‪.‬‬
‫‪ - ( 401‬ﻓﻲ )ﺥ(‪ :‬ﻤﻌﻨﺎﻫﺎ‪.‬‬
‫‪ - ( 402‬ﻓﻲ )ﺥ(‪ :‬ﺘﺅﺩﻱ‪.‬‬
‫‪ - ( 403‬ﻓﻲ )ﺥ(‪ :‬ﺒﻬﺫﻩ‪ .‬ﺭﺴﻤﻬﺎ ﺒﺎﻷﻟﻑ ﻫﻜﺫﺍ )ﺒﻬﺎﺫﻩ(‪.‬‬
‫‪ - ( 404‬ﻓﻲ )ﺥ( ﻭ)ﻡ(‪ :‬ﻫﻨﺎ‪.‬‬
‫‪ - ( 405‬ﻓﻲ )ﻕ( ﻭ)ﺥ( ﻭ)ﻡ(‪ :‬ﻓﺈﻥ ﺯﻴﺩﺍ ﻭﺍﻟﺒﺩﺭ‪.‬‬
‫‪ - ( 406‬ﻓﻲ )ﻕ(‪ :‬ﻻ ﻴﺩﺭﻜﺎﻥ‪.‬‬
‫‪ - ( 407‬ﻓﻲ )ﻕ( ﻭ)ﺥ(‪ :‬ﺍﻟﺤﻴﻭﺍﺓ‪.‬‬
‫‪- 79 -‬‬
‫ﻓﺎﳌﺮﺍﺩ ﺑﺎﻟﻌﻠﻢ ﺍﳌﻠﻜﺔ)‪ (408‬ﻭﻻ ﳜﻔﻰ ﺃ‪‬ﺎ ﻃﺮﻳﻖ ﻟﻺﺩﺭﺍﻙ ﻛﺎﳊﻴﺎﺓ‪ ،‬ﻭﻛﻞ ﻣﻦ ﺍﻟﻌﻠﻢ ﻭﺍﳊﻴﺎﺓ ﻋﻘﻠﻲ‪،‬‬
‫)‪(409‬‬
‫ﻻﺩﺭﺍﻛﻬﻤﺎ ﺑﺎﻟﻌﻘﻞ‪ ،‬ﺇﺫ ﺍﳊﺲ ﻻ ﻳﺪﺭﻙ ﺷﻴﺌﺎ ﻣﻨﻬﻤﺎ‬

‫ﻷ‪‬ﻤﺎ ﻻ ﻳﺒﺼﺮﺍﻥ ﻭﻻ ﻳﺴﻤﻌﺎﻥ)‪ (410‬ﻭﻻ ﻳﺬﺍﻗﺎﻥ ﻭﻻ ﻳﺸﻤﺎﻥ ﻭﻻ ﻳﻠﻤﺴﺎﻥ‪ ،‬ﻓﺘﻌﲔ ﺇﺩﺭﺍﻛﻬﻤﺎ ﺑﺎﻟﻌﻘﻞ‬
‫ﻭﻋﻠﻢ ﺃﻥ ﺍﳉﺎﻣﻊ)‪ (411‬ﺑﻴﻨﻬﻤﺎ ﻛﻮ‪‬ﻤﺎ ﺟﻬﱵ ﺇﺩﺭﺍﻙ‪ ،‬ﺃﻭ)‪ (412‬ﳐﺘﻠﻔﲔ )ﺑﺎﻥ ﻳﻜﻮﻥ ﺃﺣﺪﳘﺎ ﺣﺴﻴﺎ‬
‫]ظ‪[12/‬‬
‫ﻭﺍﻷﺧﺮ ﻋﻘﻠﻴﺎ()‪ (413‬ﻛﺎﳌﻨﻴﺔ ﻭﺍﻟﺴﺒﻊ ‪ ،‬ﰲ ﻗﻮﻟﻨﺎ‪ :‬ﺍﳌﻨﻴﺔ ‪//‬ﻛﺎﻟﺴﺒﻊ ﰲ ﺍﻻﻏﺘﻴﺎﻝ‬

‫ﻓﺎﻥ ﺍﳌﺸﺒﻪ ﻭﻫﻮ ﺍﳌﻨﻴﺔ ﻋﻘﻠﻲ‪ ،‬ﻷﻧﻪ ﻋﺪﻡ ﺍﳊﻴﺎﺓ ﻭﺍﳌﺸﺒﻪ ﺑﻪ‪ ،‬ﺣﺴﻲ ﻭﻛﺘﺸﺒﻴﻪ ﺍﻟﻨﻮﺭ ﺑﺎﻟﻌﻠﻢ ﰲ )‪(414‬‬
‫ﻋﻜﺴﻪ‪ ،‬ﻭﻫﻮ ﻣﻦ ﺍﻟﺘﺸﺒﻴﻪ ﺍﳌﻘﻠﻮﺏ ﻟﻠﻤﺒﺎﻟﻐﺔ‪ ،‬ﺇﺫ ﺍﶈﺴﻮﺱ ﺃﺻﻞ ﻟﻠﻤﻌﻘﻮﻝ‪ ،‬ﻓﺘﺸﺒﻴﻬﻪ ﺑﺎﳌﻌﻘﻮﻝ ﻣﻦ ﺑﺎﺏ‬
‫ﺟﻌﻞ ﺍﻟﻔﺮﻉ ﺃﺻﻼ‪ ،‬ﻭﺍﻷﺻﻞ ﻓﺮﻋﺎ)‪ .(415‬ﻭﻭﺟﻬﻪ‪.‬‬

‫ﺃﻱ‪ :‬ﻭﺟﻪ ﺍﻟﺸﺒﻪ ﻭﻫﻮ ﺍﳌﻌﲎ ﺍﻟﺬﻱ ﻗﺼﺪ ﺍﺷﺘﺮﺍﻙ ﺍﻟﻄﺮﻓﲔ ﻓﻴﻪ‪ ،‬ﻛﻤﺎ ﻳﻜﻮﻥ ﻣﻔﺮﺩﺍ ﻛﺎﻟـﺸﺠﺎﻋﺔ‪،‬‬
‫ﰲ ﺗﺸﺒﻴﻪ ﺍﻟﺮﺟﻞ ﺍﻟﺸﺠﺎﻉ ﺑﺎﻷﺳﺪ‪ ،‬ﻭﺍﳊﻤﺮﺓ ﰲ ﺗﺸﺒﻴﻪ ﺍﳋﺪ ﺑﺎﻟﻮﺭﺩﺓ)‪) (416‬ﻭ()‪ (417‬ﻗﺪ ﻳﻜﻮﻥ ﻣﺮﻛﺒﺎ‪،‬‬
‫ﺑﺄﻥ ﻳﻜﻮﻥ ﻫﻴﺌﺔ ﻣﻨﺘﺰﻋﺔ‪ ،‬ﺃﻱ‪ :‬ﺍﻧﺘﺰﻋﻬﺎ ﺍﻟﻌﻘﻞ ﻣﻦ ﻋﺪﺓ ﺃﻣﻮﺭ)‪ (418‬ﺳﻮﺍﺀ ﻛﺎﻥ ﺍﻟﻄﺮﻓﺎﻥ ﻣﻔـﺮﺩﻳﻦ ﺃﻭ‬
‫ﻣﺮﻛﺒﲔ‪ ،‬ﺃﻱ‪ :‬ﻛﻞ ﻣﻨﻬﻤﺎ ﻫﻴﺌﺔ ﻣﻨﺘﺰﻋﺔ ﻣﻦ ﻋﺪﺓ ﺃﻣﻮﺭ‪ ،‬ﺃﻭ ﺃﺣﺪﳘﺎ ‪419‬ﻣﻨﻔﺮﺩﺍ)‪ (420‬ﻭﺍﻵﺧﺮ ﻣﺮﻛﺒـﺎ‪،‬‬
‫ﻣﺜﺎﻝ ﻭﺟﻪ ﺍﻟﺸﺒﻪ‬

‫‪ -‬ﻓﻲ )ﺥ(‪ :‬ﺍﻟﻤﻠﻜﻴﺔ‪.‬‬ ‫(‬ ‫‪408‬‬

‫‪ -‬ﻓﻲ )ﺥ(‪ :‬ﻤﻨﻬﺎ‪.‬‬ ‫(‬ ‫‪409‬‬
‫‪ -‬ﻓﻲ )ﻕ(‪ :‬ﻜﺘﺒﻬﺎ ﺍﻟﻨﺎﺴﺦ ﻓﻲ ﺍﻟﺒﺩﺍﻴﺔ ﻫﻜﺫﺍ )ﻴﺴﻤﻊ( ﺩﻭﻥ ﺃﻟﻑ ﻭﻨﻭﻥ ﺜﻡ ﺘﺭﺍﺠﻊ ﻭﺃﻀﺎﻑ ﻟﻬﺎ ﺃﻥ‬ ‫(‬ ‫‪410‬‬
‫‪ -‬ﻓﻲ )ﺥ(‪ :‬ﺍﻟﺠﻤﻴﻊ‪.‬‬ ‫(‬ ‫‪411‬‬
‫‪) -‬ﺃﻭ( ﺴﺎﻗﻁﺔ ﻓﻲ )ﻤﺦ(‪.‬‬ ‫(‬ ‫‪412‬‬
‫‪ -‬ﻓﻲ )ﻕ(‪ :‬ﺴﺎﻗﻁﺔ‪.‬‬ ‫(‬ ‫‪413‬‬
‫‪ -‬ﻓﻲ )ﻕ(‪ :‬ﻭ‪.‬‬ ‫(‬ ‫‪414‬‬
‫‪ -‬ﻓﻲ )ﻕ(‪ :‬ﻓﺭﻉ‪.‬‬ ‫(‬ ‫‪415‬‬
‫‪ -‬ﻓﻲ )ﻕ( ﻭ)ﺥ( ﻭ)ﻡ(‪ :‬ﺍﻟﻭﺭﺩ‪.‬‬ ‫(‬ ‫‪416‬‬
‫– ﻓﻲ )ﻤﺦ( ﻭ)ﻡ(‪:‬ﺴﺎﻗﻁﺔ‬ ‫(‬ ‫‪417‬‬
‫‪ -‬ﻓﻲ )ﻕ(‪) :‬ﻤﻥ ﻋﺩﺓ ﺃﻤﻭﺭ ﻭﻫﻭ ﺘﻘﺩﻴﻡ ﻜﻤﺎ ﻫﻭ ﻤﻼﺤﻅ ﻭﻫﻲ ﻓﻲ ﺍﻷﺼل ﺴﺎﻗﻁﺔ( ﻭﻓﻲ )ﺥ(‪) :‬ﺃﻱ ﺍﻟﻌﻘل ﻤﻥ ﻋﺩﺓ ﺃﻤﻭﺭ(‪.‬‬ ‫(‬ ‫‪418‬‬
‫‪ -‬ﻓﻲ )ﻕ(‪ :‬ﺃﻭ ﺇﺤﺩﺍﻫﻤﺎ‪.‬‬ ‫(‬ ‫‪419‬‬
‫‪ -‬ﻓﻲ )ﻕ(‪ :‬ﻤﻔﺭﺩﹰﺍ‪.‬‬ ‫(‬ ‫‪420‬‬
‫‪- 80 -‬‬
‫ﺍﳌﺮﻛـــﺐ )ﰲ ﺍﻟﺘـــﺸﺒﻴﻪ()‪(421‬ﺍﻟـــﺬﻱ ﻃﺮﻓـــﺎﻩ ﻣﻨﻔـــﺮﺩﺍﻥ)‪ .(422‬ﻗﻮﻟـــﻪ)‪: (423‬‬
‫]ﻣــــﻦ‬
‫ﺍﻟﻄﻮﻳﻞ[‬

‫ﻭﻗﺪ ﻻﺡ ﰲ ﺍﻟﺼﺒﺢ ﺍﻟﺜﺮﻳﺎ ﻛﻤﺎ ﺗﺮﻯ * ﻛﻌﻨﻘﻮﺩ ﻣﻼﺣﻴﺔ ﺣﲔ ﻧﻮﺭ‬

‫ﻛﻤﺎ ﺗﺮﻯ ﻛﻌﻨﻘﻮﺩ ﻣﻼﺣﻴﺔ ﺣﲔ ﻧﻮﺭ ﻓﺎﻟﻄﺮﻓﺎﻥ)‪ (424‬ﻣﻔﺮﺩﺍﻥ ﻷﻥ ﺍﳌﺸﺒﻪ ﻫﻮ)‪ (425‬ﺍﻟﺜﺮﻳﺎ ﻭﺍﳌﺸﺒﻪ‬
‫ﺑﻪ ﻫﻮ ﺍﻟﻌﻨﻘﻮﺩ‪ ،‬ﻣﻘﻴﺪﺍ ﺑﻜﻮﻧﻪ ﻋﻨﻘﻮﺩ ﺍﳌﻼﺣﻴﺔ‪ ،‬ﰲ ﺣﺎﻝ ﺇﺧﺮﺍﺝ ﺍﻟﻨﻮ‪‬ﺭ ﻭﺍﻟﺘﻘﻴﻴﺪ ﻻ ﻳﻨﺎﰲ ﺍﻹﻓﺮﺍﺩ‪ ،‬ﻭﻭﺟﻪ‬
‫ﺍﻟﺸﺒﻪ ﻫﻴﺌﺔ ﺣﺎﺻﻠﺔ ﻣﻦ ﺗﻘﺎﺭﻥ ﺻﻮﺭ ﺑﻴﺾ ﻣﺴﺘﺪﻳﺮﺓ ﺻﻐﺎﺭ ﺍﳌﻘﺎﺩﻳﺮ ﰲ ﺭﺃﻯ‬

‫)‪(426‬‬
‫ﻣﻨﻀﻤﺔ ﺇﱃ ﺍﳌﻘﺪﺍﺭ ﺍﳌﺨﺼﻮﺹ‪ ،‬ﻣﻦ ﺍﻟﻄﻮﻝ‬ ‫ﺍﻟﻌﲔ‪ ،‬ﻻ ﻣﻠﺘﺼﻘﺔ‪ ،‬ﻭﻻ ﺷﺪﻳﺪﺓ ﺍﻻﻓﺮﺍﻕ‬
‫)‪(427‬‬
‫ﺑﻀﻢ ﺍﳌﻴﻢ‪،‬‬ ‫ﻭﺍﻟﻌﺮﺽ‪ ،‬ﻓﻘﺪ ﻧﻈﺮ‪ //‬ﺇﱃ ﻋﺪﺓ ﺃﺷﻴﺎﺀ ﻭﻗﺼﺪ ﺇﱃ ﻫﻴﺌﺔ ﺣﺎﺻﻠﺔ ﻣﻨﻬﺎ‪ ،‬ﻭﺍﳌﻼﺣﻴﺔ‬ ‫]و‪[13/‬‬

‫ﻭﲣﻔﻴﻒ ﺍﻟﻼﻡ‪ ،‬ﻭﻗﺪ ﺗﺸﺪﺩ‪ ،‬ﻛﻤﺎ ﻫﻨﺎ ﻋﻨﺐ ﺃﺑﻴﺾ ﰲ ﺣﺒﻪ ﻃﻮﻝ‪ ،‬ﻭﻣﺜﺎﻝ ﻣﺎ ﻃﺮﻓﺎﻩ ﻣﺮﻛﺒﺎﻥ‪.‬‬
‫ﳓﻮ ﻗﻮﻝ ﺑﺸﺎﺭ)‪ (428‬ﻛﺄﻥ ﻣﺜﺎﺭ ﺍﻟﻨﻘﻊ‪ ،‬ﻣﻦ ﺁﺛﺎﺭ ﺍﻟﻐﺒﺎﺭ ﻫﻴﺠﻪ ﺃﻱ‪ :‬ﻛﺄﻥ ﺍﻟﻐﺒﺎﺭ ﺍﳌﻨﻌﻘﺪ‪ ،‬ﻓﻮﻕ‬
‫)‪(429‬‬
‫ﺣﺬﻓﺖ ﻣﻨﻪ‬ ‫ﺭﺅﻭﺳﻨﺎ ﻣﻦ ﺁﺛﺎﺭ ﺟﺮﻱ ﺍﳋﻴﻞ)ﻭﺃﺳﻴﺎﻓﻨﺎ( ﺃﻱ ﻣﻊ ﺃﺳﻴﺎﻓﻨﺎ )ﻟﻴﻞ ‪‬ﺎﻭﻯ(ﺃﺻﻠﻪ ‪‬ﺎﻭﻱ‬

‫‪ - ( 421‬ﻓﻲ )ﺥ(‪ :‬ﻓﻲ ﺍﻟﺘﺸﺒﻴﻪ‪.‬‬

‫‪ - ( 422‬ﻓﻲ )ﻕ( ﻭ)ﺥ( ﻭ)ﻡ(‪ :‬ﻤﻔﺭﺩﺍﻥ‪.‬‬
‫‪ - ( 423‬ﺍﻟﺸﺎﻋﺭ ﻫﻭ ﺍﻟﺸﻤﺎﺥ ﺒﻥ ﻀﺭﺍﺭ ﺒﻥ ﺤﺭﻤﻠﺔ ﺒﻥ ﺴﻨﺎﻥ ﺍﻟﻤﺎﺯﻨﻲ ﺍﻟﺫﺒﻴﺎﻨﻲ ﺍﻟﻐﻁﻔﺎﻨﻲ‪ .‬ﺸﺎﻋﺭ ﻤﺨﻀﺭﻡ ﺃﺩﺭﻙ ﺍﻟﺠﺎﻫﻠﻴﺔ ﻭﺍﻹﺴﻼﻡ ﻭﻫﻭ ﻤﻥ ﻁﺒﻘﺔ‬
‫ﻟﺒﻴﺩ ﻭﺍﻟﻨﺎﺒﻐﺔ ﻜﺎﻥ ﺸﺩﻴﺩ ﻤﺘﻭﻥ ﺍﻟﺸﻌﺭ‪ ،‬ﻭﻟﺒﻴﺩ ﺃﺴﻬل ﻤﻨﻪ ﻤﻨﻁﻘﹰﺎ ﻭﻜﺎﻥ ﺃﺭﺠﺯ ﺍﻟﻨﺎﺱ ﻋﻠﻰ ﺍﻟﺒﺩﻴﻬﺔ‪ .‬ﺠﻤﻊ ﺒﻌﺽ ﺸﻌﺭﻩ ﻓﻲ ﺩﻴﻭﺍﻥ ﺸﻬﺩ ﺍﻟﻘﺎﺩﺴﻴﺔ‬
‫ﻭﺘﻭﻓﻰ ﻓﻲ ﻏﺯﻭﺓ ﻤﻭﺘﺎﻥ ﻭﺃﺨﺒﺎﺭﻩ ﻜﺜﻴﺭﺓ‪ ،‬ﻗﺎل ﺍﻟﺒﻐﺩﺍﺩﻱ‪ :‬ﺍﺴﻤﻪ ﻤﻌﻘل ﺒﻥ ﻀﺭﺍﺭ ﻭﺍﻟﺸﻤﺎﺥ ﻟﻘﺒﻪ ﺃﻨﻅﺭ‪ :‬ﺍﻟﺸﻌﺭ ﻭﺍﻟﺸﻌﺭﺍﺀ ﺹ‪199‬‬
‫‪ - ( 424‬ﻓﻲ )ﺥ(‪ :‬ﻓﻁﺭﻓﺎﻥ‪.‬‬
‫‪ - ( 425‬ﻓﻲ ﺍﻷﺼل ﺴﺎﻗﻁﺔ ﺇﻻ ﺃﻥ ﺍﻟﻨﺎﺴﺦ ﺼﺤﺤﻬﺎ ﻓﻲ ﺍﻟﻬﺎﻤﺵ ﻤﺴﺘﺩﺭﻜﹰﺎ ﺇﻴﺎﻫﺎ ﺒﻘﻠﻡ ﻤﻐﺎﻴﺭ‪.‬‬
‫‪ - ( 426‬ﻓﻲ )ﻕ(‪ :‬ﺍﻻﻓﺘﺭﺍﻕ‪ ،‬ﻭﻓﻲ )ﺥ(‪ :‬ﺍﻻﻗﺘﺭﺍﺏ‪ .‬ﻭﻓﻲ )ﻡ(‪ :‬ﺍﻻﻗﺘﺭﺍﻥ‪.‬‬
‫‪ - ( 427‬ﻓﻲ )ﻡ(‪ :‬ﺍﻟﻤﻼﺤﺔ‪.‬‬
‫ﻏﺭﺒﻲ ﻨﻬﺭ ﺠﻴﺤﻭﻥ‬ ‫‪ - ( 428‬ﺒﺸﺎﺭ ﺒﻥ ﺒﺭﺩ ﺍﻟﻌﻘﻴﻠﻲ ﺃﺒﻭ ﻤﻌﺎﺫ )‪95‬ﻫـ ‪167-‬ﻫـ( ﺃﺸﻌﺭ ﺍﻟﻤﻭﻟﺩﻴﻥ ﻋﻠﻰ ﺍﻹﻁﻼﻕ ﺃﺼﻠﻪ ﻤﻥ ﻁﺨﺎﺭﺴﺘﺎﻥ‬
‫ﻭﺃﺩﺭﻙ ﺍﻟﺩﻭﻟﺘﻴﻥ ﺍﻷﻤﻭﻴﺔ ﻭﺍﻟﻌﺒﺎﺴﻴﺔ‪ ،‬ﻭﺸـﻌﺭﻩ‬ ‫ﻭﻨﺴﺒﺘﻪ ﺇﻟﻰ ﺍﻤﺭﺃﺓ ﻋﻘﻴﻠﻴﺔ ﻗﻴل ﺃﻨﻬﺎ ﺃﻋﺘﻘﺘﻪ ﻤﻥ ﺍﻟﺭﻕ‪ .‬ﻜﺎﻥ ﻀﺭﻴﺭﺍﹰ‪ ،‬ﻨﺸﺄ ﺒﺎﻟﺒﺼﺭﺓ ﻭﻗﺩﻡ ﺒﻐﺩﺍﺩ‪،‬‬
‫ﻓﻤﺎﺕ ﻀﺭﺒﹰﺎ ﺒﺎﻟﺴﻴﺎﻁ ﻭﺩﻓﻥ ﺒﺎﻟﺒﺼﺭﺓ‪ ،‬ﺃﻨﻅﺭ‪ :‬ﺍﻟﺸﻌﺭ ﻭﺍﻟﺸﻌﺭﺍﺀ ﺹ‪513‬‬ ‫ﻜﺜﻴﺭ ﻤﺘﻔﺭﻕ ﻤﻥ ﻁﻘﺔ ﺍﻷﻭﻟﻰ ﺠﻤﻊ ﺒﻌﻀﻪ ﻓﻲ ﺩﻴﻭﺍﻥ‪ .‬ﺃﺘﻬﻡ ﺒﺎﻟﺯﻨﺩﻗﺔ‬
‫ﻭﺍﻟﺩﻴﻭﺍﻥ ﺝ‪...8/1:‬ﺇﻟﻰ ‪ ،16‬ﺠﻤﻊ ﻭﺘﺤﻘﻴﻕ ﻭﺸﺭﺡ‪ :‬ﻓﻀﻴﻠﺔ ﺍﻟﻌﻼﻤﺔ ﻤﺤﻤﺩ ﺍﻟﻁﺎﻫﺭ ﺒﻥ ﻋﺎﺸﻭﺭ‪ ،‬ﻨﺸﺭ‪ :‬ﺍﻟـﺸﺭﻜﺔ ﺍﻟﺘﻭﻨـﺴﻴﺔ ﻟﻠﺘﻭﺯﻴـﻊ – ﻭﺍﻟـﺸﺭﻜﺔ‬
‫ﺍﻟﺠﺯﺍﺌﺭﻴﺔ ﻟﻠﻨﺸﺭ ﻭﺍﻟﺘﻭﺯﻴﻊ‪ ،‬ﻁ‪1976 :‬ﻡ‪ .‬ﻭﺘﺭﺠﻤﺘﻪ ﻑ ﺃﺩﺒﺎﺀ ﺍﻟﻌﺭﺏ ﻓﻲ ﺍﻷﻋﺼﺭ ﺍﻟﻌﺒﺎﺴﻴﺔ‪ ،‬ﺒﻁﺭﺱ ﺍﻟﺒﺴﺘﺎﻨﻲ‪ ،‬ﺹ‪ ،37-36:‬ﻨﺸﺭ‪ :‬ﺩﺍﺭ ﻤـﺎﺭﻭﻥ‬
‫ﻋﺒﻭﺩ‪ ،‬ﻁ‪1979 :‬ﻡ‪ ،‬ﺒﻴﺭﻭﺕ – ﻟﺒﻨﺎﻥ‪.‬‬
‫‪ - ( 429‬ﻓﻲ )ﻕ( ﻭ)ﺥ( ﻭ)ﻡ(‪ :‬ﺘﺘﻬﺎﻭﻯ‪.‬‬
‫‪- 81 -‬‬
 ‫)‪(430‬‬
‫)ﻛﻮﺍﻛﺒﻪ(ﺑﻌﻀﻬﺎ ﺍﺛﺮ ﺑﻌﺾ‪ ،‬ﻓﻮﺟﻪ ﺍﻟﺸﺒﻪ ﻣﺮﻛﺐ‪ ،‬ﻭﻫﻮ ﺍﳍﻴﺌﺔ‬ ‫ﺇﺣﺪﻯ ﺍﻟﺘﺎﻳﲔ‪ ،‬ﺃﻱ ﺗﺘﺴﺎﻗﻂ‬
‫ﺍﳊﺎﺻﻠﺔ)‪ (431‬ﻣﻦ ﺗﺴﺎﻗﻂ ﺃﺟﺮﺍﻡ ﻣﺸﺮﻗﺔ ﻣﺴﺘﻄﻴﻠﺔ)‪ (432‬ﻣﺘﻨﺎﺳﺒﺔ ﺍﳌﻘﺪﺍﺭ‪.‬‬
‫ﻣﺘﻔﺮﻗﺔ ﰲ ﺟﻮﺍﻧﺐ ﺷﻲﺀ ﻣﻈﻠﻢ‪ ،‬ﻭﻛﺬﺍ ﺍﻟﻄﺮﻓﺎﻥ‪ ،‬ﻷﻧﻪ ﺷﺒﻪ ﻫﻴﺌﺔ ﺍﻟﺴﻴﻮﻑ ﻭﻗﺪ ﺳﻠﺖ ﻣﻦ‬
‫ﺃﻏﻤﺎﺩﻫﺎ)‪ (433‬ﻭﻫﻲ ﺗﻌﻠﻮ)‪ (434‬ﻭﺗﺮﺳﺐ‪ ،‬ﻭﲡﻲﺀ ﻭﺗﺬﻫﺐ ﻭﺗﻀﻄﺮﺏ)‪ (435‬ﻭﺗﺘﺤﺮﻙ ﺇﱃ ﺟﻬﺎﺕ ﳐﺘﻠﻔﺔ‬
‫)‪(437‬‬
‫‪‬ﻴﺌﺔ ﺍﻟﻜﻮﺍﻛﺐ‪ ،‬ﰲ ‪‬ﺎﻭﻳﻬﺎ ﺗﻮﺍﻓﻖ)‪ (436‬ﻭﺗﺪﺍﺧﻼ ﻭﺍﺳﺘﻄﺎﻟﺔ‪ ،‬ﻭﻣﺜﺎﻝ ﻣﺎ ﻃﺮﻓﺎﻩ ﳐﺘﻠﻔﺎﻥ‬
‫‪439‬‬
‫ﺇﱃ ﺍﺣﺪﳘﺎ)‪ (438‬ﻣﻔﺮﺩ ﻭﺍﻟﺜﺎﱐ ﻣﺮﻛﺐ ﻗﻮﻟﻪ‬
‫] ﳎﺰﻭﺀ ﺍﻟﻜﺎﻣﻞ[‬
‫ﻭﻛﺄﻥ ﳏﻤﺮ ﺍﻟﺸﻘﻴـ * ﻕ ﺇﺫﺍ ﺗﺼـﻮﺏ ﺃﻭ ﺗﺼﻌﺪ‬
‫‪441‬‬
‫ﺃﻋﻼﻡ ﻳﺎﻗﻮﺕ‪ 440‬ﻧﺸﺮ * ﻥ ﻋﻠﻰ ﺭﻣﺎﺡ ﻣﻦ ﺯﺑﺮﺟﺪ‬
‫ﻓﻮﺟﻪ ﺍﻟﺸﺒﻪ ﻫﻴﺌﺔ ﺣﺎﺻﻠﺔ ﻣﻦ ﻧﺸﺮ ﺃﺟﺮﺍﻡ‪ 442‬ﲪﺮ ﻣﺒﺴﻮﻃﺔ‪ ،‬ﻋﻠﻰ ﺭﺅﻭﺱ ﺃﺟﺮﺍﻡ ﺧﻀﺮ‬
‫ﻣﺴﺘﻄﻴﻠﺔ ‪ //‬ﻭﺍﳌﺸﺒﻪ ﻣﻔﺮﺩ‪ ،‬ﻭﻫﻮ ﺍﻟﺸﻘﻴﻖ ﻭﺍﳌﺸﺒﻪ ﺑﻪ ﻣﺮﻛﺐ‪ ،‬ﻣﻦ ﺃﻋﻼﻡ ﻳﺎﻗﻮﺗﻴﺔ ﻣﻨﺜﻮﺭﺓ ﻋﻠﻰ ﺭﻣﺎﺡ‬ ‫]ظ‪[13/‬‬

‫ﺯﺑﺮﺟﺪﻳﺔ‪ ،‬ﻭﻋﻜﺴﻪ ﻭﻫﻮ ﻣﺎ ﻟﺸﺒﻪ)‪ (443‬ﻣﺮﻛﺐ ﻭﺍﳌﺸﺒﻪ ﺑﻪ ﻣﻔﺮﺩ )‪ (444‬ﻗﻮﻟﻪ)‪:(445‬‬

‫‪ - ( 430‬ﻓﻲ )ﺥ(‪ :‬ﻜﺘﺒﺕ ﻫﻜﺫﺍ )ﺴﺎﻗﻁﺔ(‪.‬‬

‫‪ - ( 431‬ﻓﻲ )ﻡ(‪ :‬ﺍﻟﺤﺎﻤﻲ‪.‬‬
‫‪ - ( 432‬ﻓﻲ )ﻕ(‪ :‬ﻜﺘﺒﻬﺎ ﻫﻜﺫﺍ ﻤﺴﺎﻗﻁﺔ ﻭ ﻫﻭ ﺘﺤﺭﻴﻑ ﻭﺍﻀﺢ‪.‬‬
‫‪ - ( 433‬ﻜﺘﺒﻬﺎ ﺍﻟﻨﺎﺴﺦ ﺒﺎﻟﻘﺎﻑ ﻭﺍﻟﺼﺤﻴﺢ ﻤﺎ ﺃﺜﺒﺘﻨﺎﻩ‪.‬‬
‫‪ - ( 434‬ﻜﺘﺏ ﺍﻟﻨﺎﺴﺦ ﻓﻲ ﺍﻟﺒﺩﺍﻴﺔ )ﺃﻭ( ﺜﻡ ﺘﺭﺍﺠﻊ ﻭﺸﻁﺏ ﻋﻠﻴﻬﺎ ﻭﺭﺒﻤﺎ ﺍﺸﺘﺒﻪ ﻋﻠﻴﻪ ﺘﻘﺎﺭﺏ ﺍﻟﻠﻔﻅﺘﻴﻥ ﺘﻌﻠﻭﺍ ﻭﺘﺭﺴﺏ‬
‫‪ - ( 435‬ﻓﻲ )ﻕ(‪ :‬ﻭﺘﻀﺭﺏ ﻭﻓﻲ )ﻡ(‪ :‬ﻭﺘﻁﺭﺏ‪.‬‬
‫‪ - ( 436‬ﻓﻲ )ﻕ( ﻭ)ﺥ(‪ :‬ﺘﺩﺍﻓﻌﹰﺎ‪ .‬ﻭﻓﻲ )ﻡ(‪ :‬ﺘﻭﺍﻓﻘﹰﺎ‪.‬‬
‫‪ - ( 437‬ﻓﻲ )ﻤﺦ( ﻜﺘﺒﺕ ﻤﺨﺘﻠﻔﺎﺕ ﻭﺍﻟﺼﺤﻴﺢ ﻤﺎ ﺃﺜﺒﺘﻨﺎﻩ ﻷﻥ ﺍﻟﺴﻴﺎﻕ ﻴﻘﺘﻀﻰ ﺫﻟﻙ‪.‬‬
‫‪ - ( 438‬ﻓﻲ )ﻕ(‪ :‬ﺴﺎﻗﻁﺔ‪.‬‬
‫‪ - ( 439‬ﺍﻟﺒﻴﺘﺎﻥ ﻟﻠﺼﻨﻭﺒﺭﻱ ﻭﻫﻭ ﺃﺤﻤﺩ ﺒﻥ ﻤﺤﻤﺩ ﺒﻥ ﺍﻟﺤﺴﻥ ﺍﻟﻀﺒﻲ ﻋﺭﻑ ﺒﺎﻟﺼﻨﻭﺒﺭﻱ ﻟﻜﺜﺭﺓ ﺇﻗﺒﺎﻟﻪ ﻋﻠﻰ ﻭﺼﻑ ﺍﻟﺭﻴﺎﺽ ﻭ ﺇﻗﺒﺎﻟﻪ ﻋﻠﻰ ﻭﺼﻑ‬
‫ﻭﻗﻴل ﺃﻥ ﺘﺴﻤﻴﺘﻪ ﺒﺎﻟﺼﻨﻭﺒﺭﻱ ﻟﺴﺒﺏ ﺘﺸﺒﻴﻪ ﺃﻁﻠﻘﻪ ﻋﻠﻴﻪ ﺠﺩﻩ ﺍﻟﺤﺴﻥ‪ ،‬ﺼﺎﺤﺏ ﺒﻴﺕ ﺍﻟﺤﻜﻤﺔ ﻓﻲ‬ ‫ﺍﻟﺭﻴﺎﺽ ﻭﺍﻷﺯﻫﺎﺭ‪,‬ﺘﻭﻓﻴﺘﻨﺔ‪334‬ﻫـ‪946/‬ﻡ‬
‫ﻋﻬﺩ ﺍﻟﻤﺄﻤﻭﻥ‪ .‬ﻓﻘﺎل ﻟﻪ‪ :‬ﻭﻗﺩ ﺃﻋﺠﺏ ﺒﻜﻼﻤﻪ ﻭﺸﻌﺭﻩ‪ :‬ﺇﻨﻙ ﻟﺼﻨﻭﺒﺭﻱ ﺍﻟﺸﻜل‪ ،‬ﺃﻨﻅﺭﺩﻴﻭﺍﻨﻪ‪,‬ﺘﺤﻘﻴﻕ‪:‬ﺇﺤﺴﺎﻥ ﻋﺒﺎﺱ ‪,‬ﻨﺸﺭﻭﺘﻭﺯﻴﻊ‪:‬ﺩﺍﺭ ﺍﻟﺜﻘﺎﻓﺔ ﺒﻴﺭﻭﺕ‪-‬‬
‫ﻟﺒﻨﺎﻥ‪ -‬ﺹ‪ 477 ,5:‬ﺍﻨﻅﺭ ﺍﻹﻴﻀﺎﺡ‪ ،‬ﺹ‪ 336- 335 :‬ﻭﻤﻌﺎﻫﺩ ﺍﻟﺘﻨﺼﻴﺹ ﻋﻠﻰ ﺸﻭﺍﻫﺩ ﺍﻟﺘﻠﺨﻴﺹ ﺍﻟﻤﺅﻟﻑ‪ :‬ﺍﻟﻌﺒﺎﺴﻲ ﻋﺒﺩ ﺍﻟﺭﺤﻤﻥ ﺒﻥ‬
‫ﺃﺤﻤﺩ‪ ،‬ﺘﺤﻘﻴﻕ‪ :‬ﻤﺤﻤﺩ ﻤﺤﻲ ﺍﻟﺩﻴﻥ ﻋﺒﺩ ﺍﻟﺤﻤﻴﺩ‪ ،‬ﺴﻨﺔ ﻁ‪1947 :‬ﻡ )ﺩ‪.‬ﻁ(‪ ،‬ﻨﺸﺭ‪ :‬ﺩﺍﺭ ﻋﺎﻟﻡ ﺍﻟﻜﺘﺏ‪ ،‬ﺒﻴﺭﻭﺕ – ﻟﺒﻨﺎﻥ‪ .‬ﺝ‪/2‬ﺹ‪ ،04:‬ﺃﻨﻅﺭ ﺘﺭﺠﻤﺘﻪ‬
‫ﻓﻲ ﺘﺎﺭﻴﺦ ﺍﻷﺩﺏ ﺍﻟﻌﺭﺒﻲ ﻟﻌﻤﺭ ﻓﺭﻭﺥ‪ ،‬ﺝ‪ ،2‬ﺹ‪ .438-437 :‬ﻁ‪ :‬ﺍﻟﺭﺍﺒﻌﺔ‪ ،‬ﺴﻨﺔ‪1401 :‬ﻫـ‪1981/‬ﻡ‪ ،‬ﻨﺸﺭ‪ :‬ﺩﺍﺭ ﺍﻟﻌﻠﻡ ﻟﻠﻤﻼﻴﻴﻥ‪ ،‬ﺒﻴﺭﻭﺕ –‬
‫ﻟﺒﻨﺎﻥ‪ .‬ﻭﺍﻟﺒﺩﺍﻴﺔ ﻭﺍﻟﻨﻬﺎﻴﺔ‪ ،‬ﻷﺒﻲ ﺍﻟﻔﺩﺍﺀ ﺍﺴﻤﺎﻋﻴل ﺍﺒﻥ ﻜﺜﻴﺭ ﺍﻟﺩﻤﺸﻘﻲ‪ ،‬ﺕ‪774 :‬ﻫـ‪ ،‬ﻁ‪1411 02‬ﻫـ‪1990/‬ﻡ‪ ،‬ﻤﻜﺘﺒﺔ ﺍﻟﻤﻌﺎﺭﻑ‪ ،‬ﺒﻴﺭﻭﺕ ‪ -‬ﻟﺒﻨﺎﻥ‬
‫ﺝ‪ ،119/11:‬ﻤﺤﻤﺭ ﺍﻟﺸﻘﻴﻕ‪ ،‬ﻴﺭﺍﺩ ﺒﻪ ﺸﻘﺎﻕ ﺍﻟﻨﻌﻤﺎﻥ‪ ،‬ﻭﻫﻭ ﻭﺭﺩ ﺃﺤﻤﺭ ﻓﻲ ﻭﺴﻁﻪ ﺴﻭﺍﺩ‪ ،‬ﻭﺇﻨﻤﺎ ﺃﻀﻴﻑ ﺇﻟﻰ ﺍﻟﻨﻌﻤﺎﻥ ﻷﻨﻪ – ﺃﻱ ﺍﻟﻨﻌﻤﺎﻥ – ﺤﻤﻰ‬
‫ﺃﺭﺽ ﻜﺜﺭ ﻓﻴﻬﺎ ﻫﺫﺍ ﺍﻟﻭﺭﺩ‪ .‬ﺘﺼﻭﺏ‪ :‬ﻤﺎل ﺇﻟﻰ ﺃﺴﻔل‪ .‬ﺘﺼﻌﺩ‪ :‬ﻤﺎل ﺇﻟﻰ ﺃﻋﻼ‪.‬‬
‫‪ - ( 440‬ﺍﻟﻴﺎﻗﻭﺕ‪ :‬ﺤﺠﺭ ﻜﺭﻴﻡ ﺃﺤﻤﺭ‬
‫‪ - ( 441‬ﻓﻲ )ﻕ(‪ :‬ﻜﺘﺒﻬﺎ ﺯﺒﺭﺩﺝ ﻭﺍﻟﺼﺤﻴﺢ ﺯﺒﺭﺠﺩ ﻭﻫﻭ ﻤﺎ ﺃﺜﺒﺘﻨﺎﻩ ﻭﻫﻭ ﺤﺠﺭ ﻜﺭﻴﻡ ﺃﺨﻀﺭ ﻴﻨﻅﺭ ﺍﻟﺘﻠﺨﻴﺹ ﺹ‪.136 :‬‬
‫‪ - ( 442‬ﺍﻟﻔﺭﻕ ﺒﻴﻥ ﺍﻟﺠﺴﻡ ﻭﺍﻟﺠﺭﻡ ﻷﻥ ﺠﺭﻡ ﺍﻟﺸﻲﺀ ﻫﻭ ﺨﻠﻘﺘﻪ ﺍﻟﺘﻲ ﺨﻠﻕ ﻋﻠﻴﻬﺎ‪ .‬ﻴﻘﺎل ﻓﻼﻥ ﺼﻐﻴﺭ ﺍﻟﺠﺭﻡ ﺃﻱ ﺼﻐﻴﺭ ﻤﻥ ﺃﺼل ﺍﻟﺨﻠﻘﺔ‪ ،‬ﻭﺃﺼل‬
‫ﺍﻟﺠﺭﻡ ﻓﻲ ﺍﻟﻌﺭﺒﻴﺔ ﺍﻟﻘﻁﻊ ﻜﺄﻨﻪ ﻗﻁﻊ ﻋﻠﻰ ﺍﻟﺼﻐﺭ ﺃﻭ ﺍﻟﻜﺒﺭ‪ ،‬ﻭﻗﻴل ﺍﻟﺠﺭﻡ ﺃﻴﻀﹸﺎ ﺍﻟﻜﻭﻥ‪ ،‬ﻭﺍﻟﺠﺭﻡ ﺼﻭﺕ ﺃﻭﺭﺩ ﺫﻟﻙ ﺒﻌﻀﻬﻡ‪ ،‬ﻭﻗﺎل ﺒﻌﻀﻬﻡ ﺍﻟﺠﺭﻡ‬
‫ﺍﺴﻡ ﻟﺠﻨﺱ ﺍﻷﺠﺴﺎﻡ‪ ،‬ﻭﻗﻴل ﺍﻟﺠﺭﻡ ﺍﻟﺠﺴﻡ ﺍﻟﻤﺤﺩﻭﺩ‪ ،‬ﻭﺍﻟﺠﺴﻡ ﻫﻭ ﺍﻟﻁﻭﻴل ﺍﻟﻌﺭﻴﺽ ﺍﻟﻌﻤﻴﻕ ﻭﺫﻟﻙ ﺃﻨﻪ ﺇﺫﺍ ﺯﺍﺩ ﻓﻲ ﻁﻭﻟﻪ ﻭﻋﺭﻀﻪ ﻭﻋﻤﻘﻪ ﻗﻴل ﺃﻨﻪ‬
‫ﺠﺴﻡ ﻭﺃﺠﺴﻡ ﻤﻥ ﻏﻴﺭﻩ ﻓﻼ ﺘﺠﻲﺀ ﺍﻟﻤﺒﺎﻟﻐﺔ ﻤﻥ ﻟﻔﻅ ﺍﺴﻡ ﻋﻨﺩ ﺯﻴﺎﺩﺓ ﺍﻟﻤﻌﻨﻲ ﺇﻻ ﻭﺫﻟﻙ ﺍﻻﺴﻡ ﻤﻭﻀﻭﻉ ﻟﻤﺎ ﺠﺎﺀﺕ ﺍﻟﻤﺒﺎﻟﻐﺔ ﻤﻥ ﻟﻔﻅ ﺍﺴﻤﻪ ﺃﻻ ﺘﺭﻯ‬
‫ﺃﻨﻪ ﻻ ﻴﻘﺎل ﻫﻭ ﺃﻗﺩﺭ ﻤﻥ ﻏﻴﺭﻩ ﺇﻻ ﻭﺍﻟﻤﻌﻠﻭﻤﺎﺕ ﻟﻪ ﺃﺠﻠﻰ‪ ،‬ﻭﺃﻤﺎ ﻗﻭﻟﻬﻡ ﺃﻤﺭ ﺠﺴﻴﻡ ﻓﻤﺠﺎﺯ ﻓﻠﻭ ﻜﺎﻥ ﺤﻘﻴﻘﺔ ﻟﺠﺎﺯ ﻓﻲ ﻏﻴﺭ ﻤﺒﺎﻟﻐﺔ ﻓﻘﻴل ﺃﻤﺭ ﺠﺴﻴﻡ‬
‫ﻭﻜل ﻤﺎ ﻻ ﻴﻁﻠﻕ ﺇﻻ ﻓﻲ ﻤﻭﻀﻊ ﻤﺨﺼﻭﺹ ﻓﻬﻭ ﻤﺠﺎﺯ‪ .‬ﺃﻨﻅﺭ ﺍﻟﻔﺭﻭﻕ ﻓﻲ ﺍﻟﻠﻐﺔ‪ ،‬ﺍﻟﺼﻔﺤﺔ‪.152 ،‬‬
‫‪ - ( 443‬ﻓﻲ )ﻕ( ﻭ)ﻡ(‪ :‬ﺍﻟﻤﺸﺒﻪ‪.‬‬
‫‪- 82 -‬‬
 ‫] ﺍﻟﻜﺎﻣﻞ[‬
‫ﻳﺎ ﺻﺎﺣﱯ ﺗﻘﺼﻴﺎ ﻧﻈﺮﻳﻜﻤﺎ * ﺗﺮﻳﺎ ﻭﺟﻮﻩ ﺍﻷﺭﺽ ﻛﻴﻒ ﺗﺼﻮﺭ‬
‫ﺗﺮﻳﺎ ‪‬ﺎﺭﹰﺍ ﻣﺸﻤﺴﺎ ﻗﺪ ﺷﺎﺑﻪ * ﺯﻫﺮ ﺍﻟﺮﺑﺎ ﻓﻜﺄﳕﺎ ﻫـﻮ ﻣﻘﻤـﺮ‬
‫ﻓﻮﺟﻪ ﺍﻟﺸﺒﻪ‪ ،‬ﻫﻴﺌﺔ ﺣﺎﺻﻠﺔ ﻣﻦ ﺗﺪﺍﺧﻞ ﺍﻷﻧﻮﺍﺭ‪ ،‬ﺑﲔ ﺃﺷﻴﺎﺀ ﻣﺴﻮﺩﺓ ﺣﱴ ﻋﺎﺩﺕ ﺗﻀﺮﺏ ﺇﱃ‬
‫ﺍﻻﺻﻔﺮﺍﺭ‪ ،‬ﻭﺍﳌﺸﺒﻪ ﻣﺮﻛﺐ ﻭﻫﻲ)‪ (446‬ﻫﻴﺌﺔ ﺿﻮﺀ ﺍﻟﺸﻤﺲ‪ ،‬ﻭﻗﺪ ﺧﺎﻟﻄﻪ ﺯﻫﺮ ﺍﻟﺮﺑﺎ ﺣﱴ ﻋﺎﺩﺕ‬

‫)‪(448‬‬ ‫)‪(447‬‬
‫ﺇﱃ ﺍﻟﺼﻔﺮﺓ‪،‬‬ ‫ﺗﻀﺮﺏ ﺇﱃ ﺍﻟﺴﻮﺍﺩ‪ ،‬ﻭ ﻧﻮﺭ ﺍﻟﺸﻤﺲ(‬ ‫ﺍﻷﺯﻫﺎﺭ )ﲟﺨﺎﻟﻄﺔ ﺍﻟﺸﻤﺲ‬
‫)‪(450‬‬
‫ﻣﻨﻪ‬ ‫ﻭﺍﳌﺸﺒﻪ ﺑﻪ ﻭﻫﻮ ﺍﻟﻘﻤﺮ ﻣﻨﻔﺮﺩ)‪(449‬ﻭﻗﻮﻟﻪ‪ :‬ﺗﺼﻮﺭ ﺑﻔﺘﺢ ﺍﻟﺘﺎﺀ ﺃﺻﻠﻪ ﺗﺘﺼﻮﺭ )ﻭﺣﺬﻓﺖ…(‬
‫)‪(451‬‬
‫ﻭ ﺍﻟﺮﰉ ﲨﻊ ﺭﺑﻮﺓ‪،‬‬ ‫ﺇﺣﺪﻯ ﺍﻟﺘﺎﻳﲔ ﻳﻘﺎﻝ‪ :‬ﺻﻮﺭﻩ ﺍﷲ ﰲ ﺻﻮﺭﺓ ﺣﺴﻨﺔ‪ ،‬ﻓﺘﺼﻮﺭ ﻭﺷﺎﺑﻪ ﺧﺎﻟﻂ‬
‫ﻭﻫﻲ ﺍﻷﺭﺽ ﺍﳌﺮﺗﻔﻌﺔ‪ ،‬ﻭﺧﺼﻬﺎ ﻷ‪‬ﺎ ﺃﻧﻈﺮ ﻭﺃﺷﺪ )‪ (452‬ﺧﻀﺮﺓ‪ ،‬ﻭﺍﻷﻏﻠﺐ‪.‬‬
‫)‪(453‬‬
‫ﺃﻱ‪ :‬ﺍﻷﻛﺜﺮ ﰲ ﺍﻟﺘﺸﺒﻴﻪ ﺣﺬﻓﻪ‪ ،‬ﺃﻱ ﺣﺬﻑ )ﻭﺟﻬﻪ(‬
‫)‪(454‬‬
‫ﳎﻤﻼ‪ ،‬ﻭﻗﺪ ﻳﺬﻛﺮ ﳓﻮ‪ :‬ﺯﻳﺪ ﻛﺎﻟﺒﺪﺭ ﰲ ﺍﳊﺴﻦ‪،‬‬ ‫ﳓﻮ‪ :‬ﺯﻳﺪ ﻛﺎﻟﺒﺪﺭ‪ ،‬ﻭ ﻳﺴﻤﻰ ﺣﻴﻨﺌﺬ‬
‫ﻭﻳﺴﻤﻰ ﻣﻔﺼﻼ ﻭﻗﺪ ﲢﺬﻑ ﺍﻷﺩﺍﺓ)‪) (455‬ﺃﻱ ﺃﺩﺍﺓ ﺍﻟﺘﺸﺒﻴﻪ ﺃﻳﻀﺎ( )‪ (456‬ﺃﻱ ﻛﻤﺎ ﳛﺬﻑ ﻭﺟﻬﻪ‪ ،‬ﳓﻮ‪:‬‬

‫]و‪[14/‬‬
‫‪ - ( 444‬ﻓﻲ )ﺥ(‪ :‬ﻤﻔﺭﺩﹰﺍ‪.‬‬
‫ﻤﻴﻼﺩﻩ ﺨﻼﻑ ﻓﻘﻴل‬ ‫‪ - ( 445‬ﺍﻟﺒﻴﺘﺎﻥ ﻟﻠﺸﺎﻋﺭ ﺃﺒﻲ ﺘﻤﺎﻡ ﺤﺒﻴﺏ ﺒﻥ ﺃﻭﺱ ﺍﻟﻁﺎﺌﻲ‪:‬ﻭﻟﺩ ﻓﻲ ﺍﻟﺸﺎﻡ ﺒﻘﺭﻴﺔ ﺠﺎﺴﻡ ﻤﻥ ﺃﻋﻤﺎل ﺩﻤﺸﻕ ﻭﻓﻰ ﺘﺎﺭﻴﺦ‬
‫ﻭﻗﻴل ‪229‬ﻫـ ﻭﻗﻴل ﻏﻴﺭ ﻫﺫﺍ‬ ‫ﺃﻨﻬﺎ ﺴﻨﺔ ‪190‬ﻫـ ﻭﻗﻴل ‪188‬ﻫـ ﻭﻗﻴل ‪192‬ﻫـ ﻭﻜﺫﻟﻙ ﺍﺨﺘﻠﻔﻭﺍ ﻓﻲ ﻭﻓﺎﺘﻪ ﻓﻘﻴل ‪228‬ﻫـ‬
‫ﺍﻨﻅﺭﺍﻟﺩﻴﻭﺍﻥ‪ :‬ﺸﺭﺡ ﺍﻟﺨﻁﻴﺏ ﺍﻟﺘﺒﺭﻴﺯﻯ‪,‬ﻗﺩﻡ ﻟﻪ ﻭﻭﻀﻊ ﻫﻭﺍﻤﺸﻪ ﻭﻓﻬﺎﺭﺴﻪ‪ -‬ﺭﺍﺠﻲ ﺍﻷﺴﻤﺭ‪,‬ﻨﺸﺭ‪,‬ﺩﺍﺭ ﺍﻟﻜﺘﺎﺏ ﺍﻟﻌﺭﺒﻲ‪,‬ﻁ‪.1994/2‬ﺒﻴﺭﻭﺕ‪,‬ﺹ‪-5.‬‬
‫‪ 6‬ﻭ‪333/1‬ﻭﻓﻴﺎﺕ ﺍﻷﻋﻴﺎﻥ ﻟـ‪ :‬ﺃﺒﻲ ﺍﻟﻌﺒﺎﺱ ﺃﺤﻤﺩ ﺒﻥ ﺨﻠﻜﺎﻥ‪ ،‬ﺝ‪ 17/2‬ﺘﺤﻴﻕ‪ :‬ﺇﺤﺴﺎﻥ ﻋﺒﺎﺱ‪) ،‬ﺩ‪.‬ﺕ‪/‬ﺩ‪.‬ﻁ( ﻨﺸﺭ‪ :‬ﺩﺍﺭ ﺍﻟﺜﻘﺎﻓﺔ‪ ،‬ﺒﻴﺭﻭﺕ – ﻟﺒﻨﺎﻥ‬
‫ﻭ ﺍﻟﻤﺜﺎﻟﻴﺔ ﻓﻲ ﺍﻟﺸﻌﺭ ﺍﻟﻌﺭﺒﻲ ﺹ‪478:‬‬
‫‪ - ( 446‬ﻓﻲ )ﻕ( ﻭ)ﺥ( ﻭ)ﻡ(‪ :‬ﻭﻫﻭ‪.‬‬
‫‪ - ( 447‬ﻓﻲ )ﻕ( ﻭ)ﺥ(‪ :‬ﺴﺎﻗﻁﺔ‪.‬‬
‫‪ - ( 448‬ﻤﺎ ﺒﻴﻥ ﺍﻟﻤﻌﻘﻭﻓﺘﻴﻥ ﻓﻲ )ﻡ(‪ :‬ﻭﺭﺩ ﻫﻜﺫﺍ‪) .‬ﺒﻤﺨﺎﻟﻁﺘﻪ(‬
‫‪ - ( 449‬ﻓﻲ )ﻕ( ﻭ)ﺥ( ﻭ)ﻡ(‪ :‬ﻤﻔﺭﺩ‪.‬‬
‫‪ - ( 450‬ﻓﻲ )ﻕ( ﻭ)ﺥ(‪ :‬ﺤﺫﻓﺕ‪ .‬ﻭﻓﻲ )ﻡ(‪ :‬ﻭﺤﺫﻓﺕ‪.‬‬
‫‪ - ( 451‬ﻓﻲ )ﻕ( ﻭ)ﺥ(‪ :‬ﺨﺎﻟﻁﻪ‪.‬‬
‫‪ - ( 452‬ﻓﻲ ﺍﻷﺼل ﻜﺘﺒﻬﺎ )ﻭﺍﺸﺘﺩ( ﻭﺍﻟﺼﺤﻴﺢ ﻤﺎ ﺃﺜﺒﺘﻨﺎﻩ‪.‬‬
‫‪ - ( 453‬ﻓﻲ )ﺥ(‪ :‬ﻭﺠﻪ ﺍﻟﺸﺒﻪ‪.‬‬
‫‪ - ( 454‬ﻓﻲ )ﺥ(‪ :‬ﻭﻓﻲ )ﻤﺦ( ﺤﻴﻨﺌﺫ ﻜﺘﺒﻬﺎ ﺇﺨﺘﺼﺎﺭﹰﺍ ﻫﻜﺫﺍ‪) .‬ﺡ(‪ .‬ﺃﻤﺎ ﻓﻲ )ﻕ( ﻓﻘﺩ ﻜﺘﺒﻬﺎ ﺍﻟﻨﺎﺴﺦ )ﺤﻨﻴﺩ(‪ .‬ﻭﻟﻌﻠﻪ ﺴﺒﻕ ﻗﻠﻡ ﺃﻭ ﺴﻬﻭ ﻭﺍﻟﺼﺤﻴﺢ ﻤﺎ‬
‫ﺃﺜﺒﺘﻨﺎﻩ‪.‬‬
‫‪- 83 -‬‬
‫ﺯﻳﺪ ﺑﺪﺭ ﻭﻳﺴﻤﻰ ﺑﻠﻴﻐﹰﺎ‪ ،‬ﲝﺬﻑ ﺍﻷﺩﺍﺓ‪ ،‬ﻭﻣﺆﻛﺪﺍ ﺃﻳﻀﺎ‪ ،‬ﻭﻣﻨﻪ ﻣﺎ ﻳﻀﻴﻒ)‪ (457‬ﺍﳌﺸﺒﻪ ‪ //‬ﺑﻪ ﺇﱃ ﺍﳌﺸﺒﻪ‬
‫ﺑﻌﺪ ﺣﺬﻑ ﺍﻷﺩﺍﺓ ﻛﻘﻮﻟﻪ)‪:(458‬‬
‫] ﺍﻟﻜﺎﻣﻞ [‬
‫ﻭﺍﻟﺮﻳﺢ ﺗﻌﺒﺚ ﺑﺎﻟﻐﺼﻮﻥ ﻭﻗﺪ ﺟﺮﻯ)‪ *.(459‬ﺫﻫﺐ ﺍﻷﺻﻴﻞ ﻋﻠﻰ ﳉﲔ ﺍﳌﺎﺀ‬

‫)‪(460‬‬
‫ﺃﻱ ﺍﻟﻔﻀﺔ‪ ،‬ﰲ ﺍﻟﺼﻔﺎﺀ ﻭﺍﻟﺒﻴﺎﺽ‪ ،‬ﻭﻗﺪ ﺗﺬﻛﺮ ﺍﻷﺩﺍﺓ‪،‬‬ ‫ﺃﻱ ﻋﻠﻰ )ﻣﺎ ﻛﺎﻥ ﻟﻠﺠﲔ(‬
‫)‪(464‬‬ ‫)‪(463‬‬ ‫)‪(462‬‬ ‫)‪(461‬‬
‫ﻣﻦ‬ ‫ﺍﳌﺒﺎﻟﻐﺔ ﻭﺍﻟﺘﺄﻛﻴﺪ ﺍﳌﺴﺘﻔﺎﺩ‬ ‫ﻻﺭﺳﺎﻟﻪ ﺃﻱ‪ :‬ﺍﻃﻼﻗﻪ )ﻋﻦ(‬ ‫ﻣﺮﺳﻼ‪ ،‬ﺃﻱ‬ ‫ﻭﻳﺴﻤﻰ‬
‫)‪(465‬‬
‫ﻭﺍﻋﻠﻢ ﺃﻥ ﺍﻟﺘﺸﺒﻴﻪ ﺇﺫﺍ ﻛﺎﻥ ﻭﺟﻬﻪ ﻇﺎﻫﺮﹰﺍ‪ ،‬ﲝﻴﺚ ﻳﺪﺭﻙ ﻣﻦ ﺃﻭﻝ ﺍﻷﻣﺮ‪ ،‬ﻣﻦ ﻏﲑ‬ ‫ﺣﺬﻑ ﺍﻷﺩﺍﺓ‬
‫)‪(467‬‬
‫ﺇﻣﻌﺎﻥ ﻧﻈﺮ‪ ،‬ﻳﺴﻤﻰ)‪ (466‬ﻗﺮﻳﺒﺎ ﻣﺒﺘﺪ ﹰﻻ‬
‫ﳓﻮ‪ :‬ﺯﻳﺪ)‪ (468‬ﻛﺎﻟﺒﺪﺭ‪ ،‬ﻭ ﺇﺫﺍ ﻛﺎﻥ ﺧﻔﻴﺎ‪ ،‬ﻻ ﻳﺪﺭﻙ ﺇﻻ ﺑﻌﺪ ﺍﻟﺘﺄﻣﻞ)‪ (469‬ﻛﻤﺎ ﺇﺫﺍ ﻛﺎﻥ ﻫﻴﺌﺔ‬
‫ﻣﻨﺘﺰﻋﺔ ﻣﻦ ﻣﺘﻌﺪﺩ ﻳﺴﻤﻰ)‪ (470‬ﻏﺮﻳﺒﺎ)‪ (471‬ﻛﻘﻮﻟﻪ)‪:(472‬‬

‫‪ - ( 455‬ﻓﻲ )ﻕ( ﻭ)ﻡ(‪ :‬ﺭﺴﻤﻬﺎ ﺍﻟﻨﺎﺴﺦ )ﺍﻷﺩﺍﺕ( ﺒﺎﻟﺘﺎﺀ ﺍﻟﻤﻔﺘﻭﺤﺔ ﻭﺍﻷﺼﺢ )ﺍﻷﺩﺍﺓ(‪.‬‬
‫‪ - ( 456‬ﻤﺎ ﺒﻴﻥ ﺍﻟﻤﻌﻘﻭﻓﺘﻴﻥ ﺴﺎﻗﻁ ﻓﻲ )ﻡ(‪ .‬ﺃﻤﺎ )ﺍﻟﺘﺸﺒﻴﻪ( ﻓﻔﻲ )ﻕ(‪) :‬ﺍﻟﺸﺒﻪ(‪.‬‬
‫‪ - ( 457‬ﻓﻲ )ﺥ(‪ :‬ﺃﻀﻴﻑ‪.‬‬
‫‪ - ( 458‬ﻜﻘﻭﻟﻪ‪ :‬ﺴﺎﻗﻁﺔ ﻓﻲ )ﻤﺦ( ﻭﻓﻲ )ﺥ(‪.‬‬
‫‪ - ) 459‬ﺍﻟﺒﻴﺕ ﻟﻠﺸﺎﻋﺭ ﺒﻥ ﺨﻔﺎﺠﺔ ﺍﻷﻨﺩﻟﺴﻲ‪ :‬ﻭﻫﻭ ﺃﺒﻭ ﺇﺴﺤﺎﻕ ﺇﺒﺭﺍﻫﻴﻡ ﺒﻥ ﺃﺒﻲ ﻓﺘﺢ ﺒﻥ ﺨﻔﺎﺠﺔ ﺍﻷﻨﺩﻟﺴﻲ‪ ،‬ﻤﻥ ﺃﺒﻨﺎﺀ ﺒﻠﻨﺴﻴﺔ ﺸﺭﻗﻲ ﺍﻷﻨﺩﻟﺱ‪ ،‬ﻭﻟﺩ ﺴﻨﺔ‬
‫‪450‬ﻫـ‪ /‬ﻭﺘﻭﻓﻰ ﺴﻨﺔ ‪523‬ﻫـ‪1135/‬ﻡ‪ .‬ﺃﻨﻅﺭ‪ :‬ﺩﻴﻭﺍﻨﻪ ‪:‬ﻁﺒﻊ ﻭﻨﺸﺭ ﺩﺍﺭ ﺒﻴﺭﻭﺕ ﻟﻠﻁﺒﺎﻋﺔ ﻭﺍﻟﻨﺸﺭ‪.‬ﻁ‪ ,1980:‬ﺹ‪ ,11:‬ﺍﻨﻅﺭ ﺘﺭﺠﻤﺘﻪ ﻓﻲ‬
‫ﺍﻟﺩﻴﻭﺍﻥ‪:‬ﺹ‪ 5,‬ﻭﺃﻴﻀﺎ )ﺃﺒﻥ ﺨﻔﺎﺠﺔ‪ :‬ﻟﻌﺒﺩ ﺍﻟﺭﺤﻤﻥ ﺠﺒﻴﺭ – ﻤﻨﺸﻭﺭﺍﺕ ﺩﺍﺭ ﺍﻷﻓﺎﻕ ﺍﻟﺠﺩﻴﺩﺓ( )ﺩ‪.‬ﺕ‪/‬ﺩ‪.‬ﻁ( ﺘﺭﺠﻤﺘﻪ ﻓﻲ ﻭﻓﻴﺎﺕ ﺍﻷﻋﻴﺎﻥ ﻭﺃﺒﻨﺎﺀ‬
‫ﺍﻟﺯﻤﺎﻥ ﻷﺒﻲ ﺍﻟﻌﺒﺎﺱ ﺃﺤﻤﺩ ﺒﻥ ﻤﺤﻤﺩ ﺒﻥ ﺃﺒﻲ ﺒﻜﺭ ﺒﻥ ﺨﻠﻜﺎﻥ‪ ,‬ﻨﺸﺭ‪:‬ﺩﺍﺭ ﺍﻟﺜﻘﺎﻓﺔ ‪.‬ﺒﻴﺭﻭﺕ‪.‬ﺘﺤﻘﻴﻕ‪.‬ﺇﺤﺴﺎﻥ ﻋﺒﺎﺱ‪,‬ﻁ‪1968/1‬ﺹ‪57.56/1 :‬‬
‫ﻭﺍﻟﺘﻜﻤﻠﺔ ﻟﻜﺘﺎﺏ ﺍﻟﺼﻠﺔ‪,‬ﻷﺒﻲ ﻋﺒﻴﺩ ﺍﷲ ﻤﺤﻤﺩ ﺒﻥ ﻋﺒﺩ ﺍﷲ ﺒﻥ ﺃﺒﻲ ﺒﻜﺭ ﺍﻟﻘﻀﺎﻋﻲ‪-‬ﺩﺍﺭ ﺍﻟﻔﻜﺭ‪,‬ﺒﻴﺭﻭﺕ ‪.‬ﻁ‪.1995/1:‬ﺘﺤﻘﻴﻕ‪:‬ﻋﺒﺩ ﺍﻟﺴﻼﻡ ﺍﻟﻬﺭﺍﺱ‪-‬‬
‫‪ 125,124/1‬ﻭﺴﻴﺭ ﺃﻋﻼﻡ ﺍﻟﻨﺒﻼﺀ‪,‬ﻟﻤﺤﻤﺩ ﺒﻥ ﺃﺨﻤﺩ ﺒﻥ ﻋﺜﻤﺎﻥ ﺒﻥ ﻗﺎﻴﻤﺎﺯ ﺍﻟﺫﻫﺒﻲ‪,‬ﻨﺸﺭ‪:‬ﻤﺅﺴﺴﺔ ﺍﻟﺭﺴﺎﻟﺔ ‪,‬ﺒﻴﺭﻭﺕ ﻟﺒﻨﺎﻥ‪.‬ﻁ‪1413/9:‬ﻫـ‬
‫‪.‬ﺘﺤﻘﻴﻕ‪:‬ﺸﻌﻴﺏ ﺍﻷﺭﻨﺎﺅﻭﻁ‪ .‬ﻭﻤﺤﻤﺩ ﻨﻌﻴﻡ ﺍﻟﻌﺭﻗﺴﻭﺴﻲ‪ 51/ 20‬ﻭﺃﺒﺠﺩ ﺍﻟﻌﻠﻭﻡ ﺍﻟﻭﺸﻲ ﺍﻟﻤﺭ ﻗﻭﻡ ﻓﻲ ﺒﻴﺎﻥ ﺃﺤﻭﺍل ﺍﻟﻌﻠﻭﻡ ‪,‬ﻟﺼﺩﻴﻕ ﺒﻥ ﺤﺴﻥ‬
‫ﺍﻟﻘﻨﻭﺠﻲ‪ .‬ﻨﺸﺭ‪:‬ﺩﺍﺭ ﺍﻟﻜﺘﺏ ﺍﻟﻌﻠﻤﻴﺔ‪-‬ﺒﻴﺭﻭﺕ‪,‬ﻁ‪1978/1‬ﺘﺤﻘﻴﻕ‪:‬ﻋﺒﺩ ﺍﻟﺠﺒﺎﺭﺯﻜﺎﺭ‬
‫ﺍﻟﺸﺭﺡ‪ :‬ﺍﻟﺭﻴﺢ ﺘﻌﺒﺙ ﺒﺎﻟﻐﺼﻭﻥ‪ :‬ﺘﻤﻴﻠﻬﺎ‪ ،‬ﺍﻷﺼﻴل‪ :‬ﻭﻗﺕ ﻏﺭﻭﺏ ﺍﻟﺸﻤﺱ‪ ،‬ﺫﻫﺏ ﺍﻷﺼﻴل‪ :‬ﺼﻔﺭﺘﻪ‪ ،‬ﺍﻟﻠﺠﻴﻥ‪ :‬ﺍﻟﻔﻀﺔ‪ ،‬ﻋﻠﻰ ﻟﺠﻴﻥ ﺍﻟﻤﺎﺀ‪ :‬ﺃﻱ ﻋﻠﻰ ﻤﺎﺀ‬
‫ﻜﺎﻟﻔﻀﺔ ﻓﻲ ﺍﻟﺒﻴﺎﺽ ﻭﺍﻟﺼﻔﺎﺀ( ﺃﻨﻅﺭ ﺘﻠﺨﻴﺹ ﺍﻟﻤﻔﺘﺎﺡ‪ ،‬ﺹ‪.148 :‬‬
‫‪ - ( 460‬ﻓﻲ )ﻡ(‪ :‬ﻤﺎﺀ ﻜﺎﻟﺤﻴﻥ ﻭﻓﻲ )ﺥ(‪ :‬ﻟﺠﻴﻥ ﺍﻟﻤﺎﺀ‬
‫‪ - ( 461‬ﻓﻲ )ﻡ(‪ :‬ﻓﻴﺴﻤﻰ‪.‬‬
‫‪ - ( 462‬ﻓﻲ )ﻡ(‪ :‬ﺴﺎﻗﻁﺔ‪.‬‬
‫‪ - ( 463‬ﻓﻲ )ﻕ( ﻭ)ﻡ(‪ :‬ﻤﻥ‪.‬‬
‫‪ - ( 464‬ﻓﻲ )ﻕ(‪ :‬ﻟﻠﻤﺴﺘﻔﺎﺩ ﻭﻓﻲ )ﺥ(‪ :‬ﺍﻟﻤﺴﺘﻌﺎﺩ‪.‬‬
‫‪ - ( 465‬ﻓﻲ )ﻡ(‪ :‬ﺍﻷﺩﺍﺕ‪.‬‬
‫‪ - ( 466‬ﻓﻲ )ﻕ( ﻭ)ﺥ( ﻭ)ﻡ(‪ :‬ﺴﻤﻲ‪.‬‬
‫‪ - ( 467‬ﻓﻲ )ﻕ(‪ :‬ﻤﺘﺒﺩ ﹰ‬
‫ﻻ‪.‬‬
‫‪ - ( 468‬ﻓﻲ )ﻕ(‪ :‬ﺍﺴﺘﺩﺭﻙ ﺍﻟﻨﺎﺴﺦ )ﺯﻴﺩ( ﻓﻲ ﺍﻟﻬﺎﻤﺵ ﻭﺃﺸﺎﺭ ﺇﻟﻰ ﻤﻜﺎﻨﻪ‪.‬‬
‫‪ - ( 469‬ﻓﻲ )ﻕ( ﻭ)ﺥ(‪ :‬ﺘﺄﻤل‪.‬‬
‫‪ - ( 470‬ﻓﻲ )ﻕ( ﻭ)ﺥ( ﻭ)ﻡ(‪ :‬ﺴﻤﻲ‪.‬‬
‫‪ - ( 471‬ﻓﻲ ﺍﻷﺼل ﻭﺭﺩ ﻏﺭﻴﺏ ﺒﺩﻭﻥ ﺃﻟﻑ ﻭ ﺍﻹﻜﻤﺎل ﻤﻥ ﺒﻘﻴﺔ ﺍﻟﻨﺴﺦ ﻭ ﻫﻭ ﺍﻷﺼﺢ‪.‬‬
‫‪- 84 -‬‬
 ‫]ﺍﻟﻄﻮﻳﻞ[‬
‫)‪(475‬‬
‫ﻛﺄﻥ ﻣﺜﺎﺭ)‪ (473‬ﺍﻟﻨﻘﻊ)‪ (474‬ﻓﻮﻕ ﺭﺅﻭﺳﻨﺎ * ﻭﺃﺳﻴﺎﻓﻨﺎ ﻟﻴﻞ ‪‬ﺎﻭﺕ ﻛﻮﺍﻛﺒﻪ‬
‫ﻭﺍﻟﻴﻪ ﺃﺷﺎﺭ ﺑﻘﻮﻟﻪ‪ :‬ﻭﻛﻠﻤﺎ ﺑﻌﺪ ﺍﻟﻮﺟﻪ ﺩﻕ ﻭﺣﺴﻦ‪ ،‬ﻭﻗﺪ ﻳﺘﺼﺮﻑ ﰲ ﺍﻟﻘﺮﻳﺐ ﺍﳌﺒﺘﺬﻝ ﲟﺎ‬
‫ﻳﺼﲑﻩ )ﺩﻗﻴﻘﺎ()‪ (476‬ﺣﺴﻨﺎ‪ ،‬ﻓﻴﻠﺘﺤﻖ ﺑﺎﻟﻘﺮﻳﺐ‪.‬ﻛﻘﻮﻟﻪ)‪:(477‬‬
‫]ﺍﻟﻜﺎﻣﻞ[‬
‫)‪(478‬‬
‫ﱂ ﺗﻠﻖ ﻫﺬﺍ ﺍﻟﻮﺟﻪ ﴰﺲ ‪‬ﺎﺭﻧﹰﺎ * ﺇﻻ ﺑﻮﺟﻪ ﻟﻴﺲ ﻓﻴﻪ ﺣﻴﺎﺀ‬

‫ﻳﻌﲏ ﺃﻥ ﴰﺲ ﺍﻟﻨﻬﺎﺭ ﻻ ﺗﻘﺎﺑﻞ ﻭﺟﻪ ﳏﺒﻮﺑﻪ‪ ،‬ﺇﻻ ﻭﻫﻲ ﻣﺘﺼﻔﺔ ﺑﻌﺪﻡ ﺍﳊﻴﺎﺀ‪ ،‬ﺍﺫ ﻟﻮ ﻛﺎﻧﺖ ﺗﺴﺘﺤﻲ‬
‫ﻣﺎ ﻻﻗﺘﻪ‪ ،‬ﻭﻻ ﻇﻬﺮﺕ ﻋﻨﺪ ﻭﺟﻮﺩﻩ‪ ،‬ﻷﻧﻪ ﺃﻋﻠﻰ ﻣﻨﻬﺎ ﺣﺴﻨﺎ ﻭ‪‬ﺎ)‪:(479‬‬
‫ﻓﺘﺸﺒﻴﻪ ﺍﻟﻮﺟﻪ ﺑﺎﻟﺸﻤﺲ ﻣﺒﺘﺬﻝ ﺇﻻ ﺃﻥ ﺫﻛﺮ ﺍﳊﻴﺎﺓ)‪.................................(480‬‬

‫ﻭﻣﺎ ﻓﻴﻪ ﻣﻦ ﺍﻟﺪﻗﺔ ﻭﺍﳋﻔﺎﺀ)‪ (481‬ﺃﺧﺮﺟﻪ ﺇﱃ ﺍﻟﻐﺮﺍﺑﺔ‪ ،‬ﻭﺻﺎﺭ ﻣﻦ ﺍﻟﺘﺸﺒﻴﻪ ﺍﳌﻘﻠﻮﺏ‪ ،‬ﻷﻥ‪ //‬ﻗﻮﺓ ﺍﻟﻜﻼﻡ‬ ‫]ظ‪[14/‬‬

‫ﺗﻔﻴﺪ ﺃﻧﻪ ﺃﻋﻈﻢ ﺷﺄﻧﺎ ﻣﻦ ﺍﻟﺸﻤﺲ‪.‬‬

‫‪ - ( 472‬ﺍﻟﺸﺎﻋﺭ ﻫﻭ ﺒﺸﺎﺭ ﺒﻥ ﺒﺭﺩ‪ ،‬ﺴﺒﻕ ﺍﻟﺘﻌﺭﻴﻑ ﺒﻪ‪ ،‬ﺹ‪ ،07 :‬ﻭﻗﺩ ﻗﻴل ﻟﺒﺸﺎﺭ ﻴﻭﻤﹰﺎ ﻭﻗﺩ ﺃﻨﺸﺩﻩ ﻤﺎ ﻗﺎل ﺃﺤﺩ ﺃﺤﺴﻥ ﻤﻥ ﻫﺫﺍ ﺍﻟﺘﺸﺒﻴﻪ‪ ،‬ﻓﻤﻥ ﺃﻴﻥ ﻟﻙ‬
‫ﻫﺫﺍ ﻭﻟﻡ ﺘﺭ ﺍﻟﺩﻨﻴﺎ ﻗﻁ ﻭﻻ ﺸﻲﺀ ﻓﻴﻬﺎ؟‪ .‬ﻓﻘﺎل‪ :‬ﺇﻥ ﻋﺩﻡ ﺍﻟﻨﻅﺭ ﻴﻘﻭﻯ ﺫﻜﺎﺀ ﺍﻟﻘﻠﺏ ﻭﻴﻘﻁﻊ ﻋﻨﻪ ﺍﻟﺸﻐل ﺒﻤﺎ ﻴﻨﻅﺭ ﺇﻟﻴﻪ ﻤﻥ ﺍﻷﺸﻴﺎﺀ ﻓﻴﺘﻭﻓﺭ ﺤﺴﻪ ﻭﺘﺫﻜﻭ‬
‫ﻗﺭﻴﺤﺘﻪ ﺜﻡ ﺃﻨﺸﺩ‪:‬‬
‫ﻼ‪.‬‬‫ﻋﻤﻴﺕ ﺠﻨﻴﻨ ﹰﺎ ﻭﺍﻟﺫﻜﺎﺀ ﻤﻥ ﺍﻟﻌﻤﻰ * ﻓﺠﺌﺕ ﻋﺠﻴﺏ ﺍﻟﻅﻥ ﻟﻠﻌﻠﻡ ﻤﻭﺌ ﹰ‬
‫ﻭﻏﺎﺽ ﻀﻴﺎﺀ ﺍﻟﻌﻴﻥ ﻟﻠﻌﻠﻡ ﺭﺍﻓﺩﹰﺍ * ﻟﻘﻠﺏ ﺇﺫﺍ ﻤﺎ ﻀﻴﻊ ﺍﻟﻨﺎﺱ ﺤﺼﻼ‪.‬‬
‫ﻭﺸﻌﺭ ﻜﻨﻭﺭ ﺍﻟﺭﻭﺽ ﻻﺀﻤﺕ ﺒﻴﻨﻪ * ﺒﻘﻭل ﺇﺫﺍ ﻤﺎ ﺃﺤﺯﻥ ﺍﻟﺸﻌﺭ ﺃﺴﻬﻼ‬
‫ﺃﻨﻅﺭ ﺃﺨﺒﺎﺭ ﺃﺒﻲ ﺘﻤﺎﻡ‪ ،‬ﺹ‪.18 :‬‬
‫‪ - ( 473‬ﻤﺜﺎﺭ‪ :‬ﻤﻥ ﺃﺜﺎﺭ ﺃﻱ‪ :‬ﻫﻴﺞ‬
‫‪ - ( 474‬ﺍﻟﻨﻘﻊ‪ :‬ﺍﻟﻐﺒﺎﺭ‪.‬‬
‫‪ - ( 475‬ﺘﻬﺎﻭﻯ ﻜﻭﺍﻜﺒﻪ ﻓﻲ ﺭﻭﺍﻴﺔ ﺃﺨﺭﻯ ﻭﻫﻲ ﺘﺴﺎﻗﻁ ﺒﻌﻀﻬﺎ ﺇﺜﺭ ﺒﻌﺽ‪ .‬ﺃﻨﻅﺭ ﺍﻟﺘﻠﺨﻴﺹ‪ ،‬ﺹ‪139 :‬‬
‫‪ - ( 476‬ﺩﻗﻴﻕ ﻓﻲ)ﻤﺦ( ﺴﺎﻗﻁﺔ‪.‬‬
‫‪ 477‬ﺍﻟﺒﻴﺕ ﻟﻠﻤﺘﻨﺒﻲ ﻴﻤﺩﺡ ﻓﻴﻬﺎ ﺃﺒﺎ ﻫﺎﺭﻭﻥ ﺒﻥ ﻋﺒﺩ ﺍﻟﻌﺯﻴﺯ ﻤﻥ ﻗﺼﻴﺩﺓ ﻤﻁﻠﻌﻬﺎ‬
‫ﺃﻤﻥ ﺍﺯﺩﻴﺎﺭﻙ ﻓﻲ ﺍﻟﺩﺠﻰ ﺍﻟﺭﻗﻴﺎﺀ * ﺇﺫ ﺤﻴﺙ ﻜﻨﺕ ﻤﻥ ﺍﻟﻅﻼﻡ ﻀﻴﺎﺀ‬
‫ﻭ ﻫﻭ ﺃﺤﻤﺩ ﺒﻥ ﺍﻟﺤﺴﻴﻥ ﺒﻥ ﻋﺒﺩ ﺍﻟﺼﻤﺩ ﺃﺒﻭ ﺍﻟﻁﻴﺏ ﺍﻟﺠﻌﻔﻰ ﺍﻟﺸﺎﻋﺭﺍﻟﻤﻌﺭﻭﻑ ﺒﺎﻟﻤﺘﻨﺒﻰ‪ , ,‬ﻭﻟﺩ ﺒﺎﻟﻜﻭﻓﺔ ﻓﻲ ﻤﺤﻠﺔ ﺘﺴﻤﻰ ﻜﻨﺩﺓ ﻭﻫﻨﺎﻙ ﻤﻥ ﻴﻨﺴﺒﻪ ﺇﻟﻰ‬
‫ﻜﻨﺩﺓ ﻗﺒﻴﻠﺔ ﺍﻤﺭﻯﺀ ﺍﻟﻘﻴﺱ‪.‬ﺍﺘﺼل ﺒﺒﺩﺭ ﺒﻥ ﻋﻤﺎﺭ ﻭﺒﺴﻴﻑ ﺍﻟﺩﻭﻟﺔ ﺃﻤﻴﺭ ﺤﻠﺏ ﺜﻡ ﺒﻜﺎﻓﻭﺭ ﺍﻷﺨﺸﻴﺩﻯ ﺒﻤﺼﺭ ﺜﻡ ﺍﻨﺼﺭﻑ ﻋﻨﻪ ﻭﻫﺠﺎﻩ ﻭﺃﺨﺫ ﺒﻌـﺩ ﺫ ﻟـﻙ‬
‫ﻴﺘﻘﻠﺏ ﺒﻴﻥ ﺍﻟﻌﺭﺍﻕ ﻭﻓﺎﺭﺱ ﺜﻡ ﻗﺘل ﻓﻲ ﻁﺭﻴﻕ ﺍﻟﻌﻭﺩﺓ ﺇﻟﻰ ﺒﻐﺩﺍﺩ‪ ,‬ﺍﺸﺘﻬﺭ ﺒﻁﻤﻭﺤﻪ ﺇﻟﻰ ﺍﻟﻤﻠﻙ ﻭﻜﺒﺭﻴﺎﺌﻪ‪ .‬ﻜﺎﻥ ﻴﻤﺘﺎﺯ ﺒﺎﻟﺤﻜﻤﺔ ﻭﻀﺭﺏ ﺍﻷﻤﺜﺎل ﺘـﺭﻙ‬
‫ﺩﻴﻭﺍﻥ ﺸﻌﺭ‪ 303) :‬ـ‪354‬ﻫـ( ﺍﻨﻅﺭ‪):‬ﺩﻴﻭﺍﻥ ﺍﻟﻤﺘﻨﺒﻲ ( ﻁﺒﻊ ﻭﻨﺸﺭ ‪,‬ﺩﺍﺭ ﺼـﺎﺩﺭ‪,‬ﺒﻴﺭﻭﺕ‪,‬ﻁ‪ , 2000:‬ﺹ‪87:‬‬
‫ﺘﺭﺠﻤﺘﻪ ﻓﻲ ﺍﻟﺩﻴﻭﺍﻥ ﺹ‪ 5:‬ﻭ ﺍﻟﺒﺩﺍﻴﺔ ﻭﺍﻟﻨﻬﺎﻴﺔﺝ‪ ،256/11‬ﻟـ‪ :‬ﺃﺒﻲ ﺍﻟﻔﺩﺍ ﺍﺴﻤﺎﻋﻴل ﺒﻥ ﻜﺜﻴﺭ ﺍﻟﺩﻤﺸﻘﻲ‪ ،‬ﺍﻟﻤﺘﻭﻓﻰ ﺴﻨﺔ‪774 :‬ﻫـ‪ ،‬ﻁ‪ :‬ﺍﻟﺜﺎﻨﻴﺔ‪ ،‬ﺴـﻨﺔ‪:‬‬
‫‪1411‬ﻫـ‪1990/‬ﻡ‪ ،‬ﻨﺸﺭ‪ :‬ﻤﻜﺘﺒﺔ ﺍﻟﻤﻌﺎﺭﻑ ‪ ،‬ﺒﻴﺭﻭﺕ – ﻟﺒﻨﺎﻥ‪ .‬ﺍﻟﻤﺜل ﺍﻟﺴﺎﺌﺭ‪ ،‬ﺹ‪ 313.314:‬ﻟـ‪ :‬ﺃﺒﻲ ﺍﻟﻔﺘﺢ ﻀﻴﺎﺀ ﺍﻟﺩﻴﻥ ﻨﺼﺭ ﺍﷲ ﺒﻥ ﻤﺤﻤﺩ ﺒﻥ‬
‫= ﻤﺤﻤﺩ ﺒﻥ ﻋﺒﺩ ﺍﻟﻜﺭﻴﻡ ﺍﻟﻤﻭﺼﻠﻲ ﺕ‪637:‬ﻫـ‪) ،‬ﺩ‪.‬ﻁ( ﺴﻨﺔ‪1995 :‬ﻡ‪ ،‬ﺘﺤﻘﻴﻕ‪ :‬ﻤﺤﻤﺩ ﻤﺤﻲ ﺍﻟﺩﻴﻥ ﻋﺒﺩ ﺍﻟﺤﻤﻴﺩ‪ ،‬ﺒﻴﺭﻭﺕ – ﻟﺒﻨﺎﻥ‪ ،‬ﻭﻤﻭﺠﺯ ﺩﻴـﻭﺍﻥ‬
‫ﺍﻟﻤﺘﻨﺒﻲ – ﺸﺭﺡ ﺍﻟﻴﺎﺯﺠﻲ‪ ،‬ﺹ‪ ،128 :‬ﺍﺨﺘﺼﺭﻩ ﺴﻠﻴﻤﺎﻥ ﺍﻟﻌﻴﺴﻲ ﻭ ﺍﻟﻭﻓﻴﺎﺕ‪124/1‬‬
‫‪ - ( 478‬ﻜﺘﺒﻬﺎ ﻓﻲ )ﻤﺦ ﺩﻭﻥ ﻫﻤﺯﺓ ﻫﻜﺫﺍ )ﺤﻴﺎ(‪.‬‬
‫‪ - ( 479‬ﻓﻲ )ﻕ(‪ :‬ﺒﻬﺎﺀ )ﺒﺎﻟﻬﻤﺯﺓ(‪.‬‬
‫‪ – ( 480‬ﻭﺭﺩ ﻓﻲ ﺍﻷﺼل ﺍﻟﺤﻴﺎ ﻭ ﺍﻟﺼﺤﻴﺢ ﻤﺎ ﺃﺜﺒﺘﻨﺎﻩ‪.‬‬
‫‪ - ( 481‬ﻭﺍﻟﺨﻔﺎﺀ ﺴﺎﻗﻁﺔ ﻓﻲ )ﻤﺦ( ﻭ)ﻕ(‪ .‬ﻭﻓﻲ )ﻡ(‪ :‬ﺍﻟﺨﻔﺎ‪.‬‬
‫‪- 85 -‬‬
 ‫]ﻣﻦ ﺍﻟﺒﺴﻴﻂ[‬ ‫ﻭﻛﻘﻮﻟﻪ)‪:(482‬‬

‫ﻳﺎ ﺃﻳﻬﺎ ﺍﻟﺮﺷﺎ ﺍﳌﻜﺤﻮﻝ ﻧﺎﻇﺮﻩ * ﺑﺎﻟﺴﺤﺮ ﺣﺴﺒﻚ ﻗﺪ ﺃﺣﺮﻗﺖ ﺃﺣﺸﺎﺋﻲ‬

‫ﺇﻥ ﺇﻧﻐﻤﺎﺳﻚ ﰲ ﺍﻟﺘﻴﺎﺭ ﺣﻘﻖ ﺃ * ﻥ ﺍﻟﺸﻤﺲ ﺗﻐﺮﺏ ﰲ ﻋﲔ ﻣﻦ ﺍﳌﺎﺀ‬

‫)‪(483‬‬
‫ﺑﺎﻟﺸﻤﺲ‪ ،‬ﻗﺮﻳﺐ ﻣﺒﺘﺬﻝ‪ ،‬ﻟﻜﻦ ﳌﺎ ﺗﺼﺮﻑ ﻓﻴﻪ‪ ،‬ﲟﺎ ﺗﺮﻯ ﻣﻦ‬ ‫ﻓﺈﻥ ﺍﻟﺘﺸﺒﻴﻪ ﺍﳉﻤﻴﻞ‬
‫ﺣﻴﺚ)‪ (484‬ﺍﻻﻧﻐﻤﺎﺱ ﰲ ﺍﻟﺘﻴﺎﺭ‪ ،‬ﺃﻱ‪ :‬ﺍﳌﺎﺀ ﺍﻟﻐﺰﻳﺮ ﺍﳉﺎﺭﻱ‪ ،‬ﺣﱴ ﺃﻧﻪ ﺟﻌﻞ ﺍﻧﻐﻤﺎﺳﻪ‪ ،‬ﺃﻱ‪ :‬ﺍﻧﻐﻤﺎﺱ‬

‫)‪(488‬‬
‫ﺍﳉﻤﻴﻞ ﰲ ﺍﳌﺎﺀ ﺩﻟﻴﻼ)‪ (485‬ﻋﻠﻰ ﺃﻥ )ﺍﻟﺸﻤﺲ ﰲ)‪ (486‬ﺍﳊﻘﻴﻘﺔ( )‪ (487‬ﺗﻐﺮﺏ ﰲ ﻋﲔ ﻣﻦ‬
‫ﺍﳌﺎﺀ‪ ،‬ﻷﻧﻪ ﺃﻋﻠﻰ)‪ (489‬ﻣﻨﻬﺎ ﺣﺴﻨﺎ ﻭ‪‬ﺎﺀ‪ ،‬ﻭﻗﺪ ﺍﻧﻐﻤﺲ ﰲ ﺍﳌﺎﺀ ﻓﻠﺘﻜﻦ ﻫﻲ ﻛﺬﻟﻚ)‪ (490‬ﺑﺎﻷﻭﱃ ﻳﻌﲏ ﺃﻥ‬
‫ﻗﻮﻟﻪ ﺗﻌﺎﱃ‪) :‬ﺗﻐﺮﺏ ﰲ ﻋﲔ ﲪﺌﺔ ( )‪ (491‬ﻣﻦ ﺑﺎﺏ ﻋﻠﻢ ﺍﻟﻴﻘﲔ‪) ،‬ﻭﺍﻧﻐﻤﺎﺳﻚ ﰲ ﺍﻟﺘﻴﺎﺭ ﺟﻌﻠﻪ ﻣﻦ ﺑﺎﺏ‬
‫)‪(493‬‬ ‫)‪(492‬‬
‫ﻣﻦ ﺍﻟﺘﺸﺒﻴﻪ‬ ‫ﺍﻟﻴﻘﲔ ﻭﻗﻮﻟﻪ ﺩﻕ‪ ،‬ﺃﻱ‪ :‬ﺍﻟﺘﺸﺒﻴﻪ ﻭﻟﻄﻒ‪ ،‬ﻭﺧﺮﺝ ﺇﱃ ﺍﻟﻐﺮﺍﺑﺔ ﻓﺼﺎﺭ‬ ‫ﻋﲔ(‬
‫ﺍﳌﻘﻠﻮﺏ‪ ،‬ﺟﻮﺍﺏ ﳌﺎ‬

‫‪ - ( 482‬ﺍﻟﺒﻴﺘﺎﻥ ﻟـ‪ :‬ﺍﻟﺠﻼل ﺒﻥ ﺍﻟﺼﻔﺎﺭ ﺃﻟﻤﺎ ﺭﺩﻴﻨﻲ ﻭﻗﻴل ﺃﻨﻬﻤﺎ ﻷﺒﻲ ﺇﺴﺤﺎﻕ ﺍﻟﺸﻴﺭﺍﺯﻱ ﻭﻟﻡ ﺃﻗﻑ ﻋﻠﻴﻬﻤﺎ ﺇﻻ ﻓﻲ ﻤﺼﺩﺭ ﻭﺍﺤﺩ ﻭﻫـﻭ ﻜﺘﺎﺏ‪:‬‬
‫ﺍﻟﻨﺠﻭﻡ ﺍﻟﺯﺍﻫﺭﺓ ﻓﻲ ﻤﻠﻭﻙ ﻤﺼﺭ ﻭﺍﻟﻘﺎﻫﺭﺓ‪ .‬ﻟـ‪ :‬ﺠﻤﺎل ﺍﻟﺩﻴﻥ ﺃﺒﻲ ﺍﻟﻤﺤﺎﺴﻥ ﻴﻭﺴﻑ ﺒﻥ ﺘﻐﺭﻱ ﺒﺭﺩﻱ ﺍﻷﺘﺎﺒﻜﻲ ﺕ‪874 :‬ﻫـ ‪ ,‬ﻨﺸﺭ‪ :‬ﺍﻟﻤﺅﺴﺴﺔ‬
‫ﺍﻟﻤﺼﺭﻴﺔ ﺍﻟﻌﺎﻤﺔ ﻟﻠﺘﺄﻟﻴﻑ ﻭﺍﻟﺘﺭﺠﻤﺔ ﻭﺍﻟﻁﺒﺎﻋﺔ‪ ،‬ﺍﻟﻘﺎﻫﺭﺓ )ﺩ‪.‬ﺕ‪/‬ﺩ‪.‬ﻁ( ‪252/7‬‬
‫‪ - ( 483‬ﻓﻲ )ﻡ(‪ :‬ﺘﺸﺒﻴﻪ ﺍﻟﺠﻤﻴل‬
‫‪ - ( 484‬ﻓﻲ )ﻕ( ﻭ)ﺥ(‪ :‬ﺤﺩﻴﺙ‪.‬‬
‫‪ - ( 485‬ﻓﻲ )ﻕ( ﻭ)ﻡ(‪ :‬ﺩﻟﻴل‪.‬‬
‫‪) - ( 486‬ﻓﻲ( ﺴﺎﻗﻁﺔ ﻓﻲ )ﺥ( ﻭ)ﻡ(‪.‬‬
‫‪ - ( 487‬ﻤﺎ ﺒﻴﻥ ﺍﻟﻤﻌﻘﻭﻓﺘﻴﻥ ﻓﻲ )ﻡ(‪ :‬ﺸﻤﺱ ﺍﻟﺤﻘﻴﻘﺔ‪.‬‬
‫‪ - ( 488‬ﻓﻲ )ﻕ(‪ :‬ﻤﻥ ﺴﺎﻗﻁﺔ‪.‬‬
‫‪ - ( 489‬ﻓﻲ )ﻕ(‪ :‬ﻜﺘﺒﺕ ﺃﻋﻼ‪.‬‬
‫‪ ( 490‬ﻓﻲ )ﺥ(‪ :‬ﻜﺫﺍﻟﻙ ﺭﺴﻤﻬﺎ ﺍﻟﻨﺎﺴﺦ ﺒﺎﻷﻟﻑ‪.‬‬
‫‪ - ( 491‬ﺴﻭﺭﺓ ﺍﻟﻜﻬﻑ‪.‬ﺍﻵﻴﺔ ‪84‬‬
‫‪ - ( 492‬ﻤﺎ ﺒﻴﻥ ﺍﻟﻤﻌﻘﻭﻓﺘﻴﻥ ﺴﺎﻗﻁ ﻓﻲ )ﻕ( ﺒﺎﺴﺘﺜﻨﺎﺀ ﻟﻔﻅﺔ )ﻋﻠﻡ( ﺃﻤﺎ ﻓﻲ )ﺥ(‪ :‬ﻭﺭﺩ ﻫﻜﺫﺍ )ﻭﺍﻨﻐﻤﺎﺴﻪ ﻓﻲ ﺍﻟﺘﻴﺎﺭ ﺠﻌﻠﻪ ﻤﻥ ﺒﺎﺏ ﻋﻴﻥ ﺍﻟﻴﻘﻴﻥ(‪.‬‬
‫‪ - ( 493‬ﻓﻲ )ﺥ(‪ :‬ﻭﺼﺎﺭ‪.‬‬
‫‪- 86 -‬‬
 ‫ﻓﺼﻞ‬
‫ﺃﺻﻞ ﺍﻻﺳﺘﻌﺎﺭﺓ ﺍﻟﺘﺼﺮﳛﻴﺔ ﻭﺍﳌﻜﻨﻴﺔ‪ ،‬ﻭﺃﺻﻞ ﺍﻟﺸﻲﺀ )ﻣﺎ ﺑﲎ ﺍﻟﺸﻲﺀ ﻋﻠﻴﻪ()‪ (494‬ﺍﻟﺘﺸﺒﻴﻪ ﺧـﱪ‬
‫ﻗﻮﻟﻪ ﺃﺻﻞ‪ ،‬ﻓﺎﻻﺳﺘﻌﺎﺭﺓ ﻣﺘﻔﺮﻋﺔ ﻋﻨﻪ‪ ،‬ﻷﻧﻪ ﺇﺫﺍ ﺣﺬﻑ ﻣﻨﻪ‪ ،‬ﺃﻱ‪ :‬ﻣﻦ ﺍﻟﺘﺸﺒﻴﻪ ﻣﺎﻋﺪﺍ ﺍﳌﺸﺒﻪ ﺑﻪ‪ ،‬ﺑـﺄﻥ‬
‫ﺣﺬﻑ ﺍﳌﺸﺒﻪ ﻭﺍﻷﺩﺍﺓ)‪ (495‬ﻭﺍﻟﻮﺟﻪ ﳓﻮ‪ :‬ﺭﺃﻳﺖ ﺃﺳﺪﺍ‪ ،‬ﺻﺎﺭ ﺍﺳﺘﻌﺎﺭﺓ ﺗﺼﺮﳛﻴﺔ‪ ،‬ﻭﺇﺫﺍ ﺣﺬﻑ ﻣﺎﻋﺪﺍ‪//‬‬
‫]و‪ [15/‬ﺍﳌﺸﺒﻪ‪ .‬ﺑﺄﻥ ﺣﺬﻑ ﺍﳌﺸﺒﻪ ﺑﻪ‪ ،‬ﻭﺍﻟﻮﺟﻪ ﻭﺍﻷﺩﺍﺓ ﳓﻮ‪ :‬ﺃﻇﻔﺎﺭ ﺍﳌﻨﻴﺔ ﻧﺸﺒﺖ ﺑﻔـﻼﻥ‪ ،‬ﺻـﺎﺭ ﺍﺳـﺘﻌﺎﺭﺓ‬
‫ﺑﺎﻟﻜﻨﺎﻳﺔ‪ ،‬ﻋﻠﻰ ﻣﺎ ﺗﻘﺪﻡ‪ ،‬ﻣﻦ ﺍﻋﺘﺒﺎﺭ ﺍﻟﻌﻼﻗﺔ ﻭﺍﻟﻘﺮﻳﻨﺔ‪ ،‬ﻭﺫﻛﺮ ﻻﺯﻡ ﺍﳌﺸﺒﻪ ﺑﻪ ﰲ ﺍﳌﻜﻨﻴـﺔ‪ ،‬ﻭﻟﻜـﻦ ﻻ‬
‫ﻳﺴﻤﻲ ﺣﻴﻨﺌﺬ‪ ،‬ﺃﻱ‪ :‬ﺣﲔ ﺇﺫ ﺻﺎﺭ)‪ (496‬ﺍﺳﺘﻌﺎﺭﺓ ﺗﺸﺒﻴﻬﺎ‪ .‬ﺇﺫ ﻣﺒﲎ)‪ (497‬ﺍﻻﺳﺘﻌﺎﺭﺓ‪ ،‬ﺃﻱ ﻷﻥ ﺍﻻﺳﺘﻌﺎﺭﺓ‬

‫)ﻕ(‪ :‬ﻤﺎ ﻴﺒﻨﻰ ﻋﻠﻴﻪ‪.‬‬ ‫ﻓﻲ‬ ‫‪-‬‬ ‫(‬ ‫‪494‬‬

‫)ﻡ(‪ :‬ﻜﺘﺒﻬﺎ ﺍﻷﺩﺍﺕ ﺒﺎﻟﺘﺎﺀ ﺍﻟﻤﻔﺘﻭﺤﺔ‪.‬‬ ‫ﻓﻲ‬ ‫‪-‬‬ ‫(‬ ‫‪495‬‬
‫)ﻕ(‪ :‬ﺼﺎﺭﺕ‪.‬‬ ‫ﻓﻲ‬ ‫‪-‬‬ ‫(‬ ‫‪496‬‬
‫)ﻡ(‪ :‬ﻤﻌﻨﻰ‪.‬‬ ‫ﻓﻲ‬ ‫‪-‬‬ ‫(‬ ‫‪497‬‬

‫‪- 87 -‬‬
‫)‪(498‬‬
‫ﻣﺒﻨﻴﺔ ﺑﻌﺪ ﺍﻋﺘﺒﺎﺭ ﺍﻟﺘﺸﺒﻴﻪ ﻋﻠﻰ ﺗﻨﺎﺳﻲ ﺍﻟﺘﺸﺒﻴﻪ‪ ،‬ﺃﻱ‪ :‬ﻋﻠﻰ ﻛﻮﻥ ﺍﻟﺘﺸﺒﻴﻪ ﺻﺎﺭ ﻧﺴﻴﺎ ﻣﻨﺴﻴﺎ ﺑﺎﻟﺪﻋﺎﺀ‬
‫ﺇﻥ ﺍﳌﺸﺒﻪ ﺑﻪ)‪ (499‬ﺻﺎﺭ ﻣﻦ ﺟﻨﺲ )ﺍﳌﺸﺒﻪ ﻭﳍﺬﺍ( )‪ (500‬ﺻﺢ ﺍﻟﺘﻌﺠﺐ ﰲ ﻗﻮﻟﻪ)‪:(501‬‬
‫]ﺍﻟﻜﺎﻣﻞ[‬
‫ﻗﺎﻣﺖ ﺗﻈﻠﻠﲏ ﻣﻦ ﺍﻟﺸﻤﺲ * ﻧﻔﺲ ﺃﻋﺰ ﺇﱄ ﻣﻦ ﻧﻔﺴﻲ‬
‫ﻗﺎﻣﺖ ﺗﻈﻠﻠﲏ ﻭﻣﻦ ﻋﺠﺐ * ﴰﺲ ﺗﻈﻠﻠﲏ ﻣﻦ ﺍﻟﺸﻤﺲ‬
‫]ﺍﳌﻨﺴﺮﺡ[‬ ‫ﻭﺍﻟﻨﻬﻲ ﻋﻨﻪ ﰲ ﻗﻮﻟﻪ)‪:(502‬‬

‫ﻻ ﺗﻌﺠﺒﻮﺍ ﻣﻦ ﺑﻠﻰ ﻏﻼﻟﺘﻪ * ﻗﺪ ﺯﺭﺍ ﺃﺯﺭﺍﺭﻩ ﻋﻠﻰ ﺍﻟﻘﻤﺮ‬

‫)‪(505‬‬ ‫)‪(504‬‬ ‫)‪(503‬‬
‫ﳌﺎ ﻛﺎﻥ‬ ‫ﺍﻟﻐﻼﻡ ﺍﳉﻤﻴﻞ‪ ،‬ﻣﻦ ﺃﻓﺮﺍﺩ ﺍﻟﺸﻤﺲ ﺍﳊﻘﻴﻘﺔ‬ ‫ﺃﻥ ﺫﺍﻙ‬ ‫ﻓﻠﻮﻻ ﺃﻧﻪ ﺍﺩﻋﻰ‬
‫)‪(506‬‬
‫ﺃﻧﻪ ﺍﺩﻋﻰ ﺃﻥ‬ ‫ﻟﺘﻌﺠﺒﻪ ﻣﻌﲎ‪ ،‬ﺇﺫ ﻻ ﻋﺠﺐ ﰲ ﻛﻮﻥ ﺇﻧﺴﺎﻥ ﲨﻴﻞ ﺍﻟﺼﻮﺭﺓ‪ ،‬ﻳﻈﻠﻞ ﻏﲑﻩ‪ ،‬ﻭﻟﻮﻻ‬
‫ﳏﺒﻮﺑﻪ ﻣﻦ ﺃﻓﺮﺍﺩ ﺍﻟﻘﻤﺮ ﺣﻘﻴﻘﺔ‪ ،‬ﳌﺎ ﻛﺎﻥ ﺍﻟﻨﻬﻰ)‪ (507‬ﻋﻦ ﺍﻟﺘﻌﺠﺐ )ﺇﺫ ﻣﻌﲎ()‪ (508‬ﺍﻟﻐﻼﻟﺔ‪ ،‬ﺇﳕﺎ ﻳﺴﺮﻉ‬
‫)‪(510‬‬
‫ﺇﻟﻴﻬﺎ ﺍﻟﺒﻼ)‪ (509‬ﺑﺴﺒﺐ ﻣﻼﺑﺴﺔ ﺍﻟﻘﻤﺮ ﺍﳊﻘﻴﻘﻲ‪ ،‬ﻻ ﺑﺴﺒﺐ )ﻣﻼﺑﺴﺔ ﺍﻧﺴﺎﻥ ﻛﺎﻟﻘﻤﺮ ﰲ ﺍﳊﺴﻦ(‬
‫ﻭﺃﻣﺎ ﺍﻟﻜﻨﺎﻳﺔ‪ ،‬ﻫﻲ ﰲ ﺍﻟﻠﻐﺔ ‪ //‬ﻣﺼﺪﺭ ﻛﻨﻴﺖ ﺑﻜﺬﺍ ﻋﻦ ﻛﺬﺍ ﺇﺫﺍ ﺗﺮﻛﺖ ﺍﻟﺘﺼﺮﻳﺢ ﺑﻪ‪ ،‬ﻭﺃﻣﺎ ﰲ‬ ‫]ظ‪[15/‬‬
‫)‪(512‬‬ ‫)‪(511‬‬
‫ﺧﺮﺟﺖ ﺍﳊﻘﻴﻘﺔ‪ ،‬ﻣﻊ ﺟﻮﺍﺯ ﺇﺭﺍﺩﺓ ﺍﳌﻌﲎ‬ ‫ﻓﻬﻲ ﻟﻔﻆ ﺃﺭﻳﺪ ﺑﻪ ﻻﺯﻡ )ﻣﻌﻨﺎﻩ(‬ ‫ﺍﻻﺻﻄﻼﺡ‬
‫ﺍﳊﻘﻴﻘﻲ ﻣﻌﻪ‪.‬‬

‫‪ - ( 498‬ﻓﻲ )ﻤﺦ(‪:‬ﻜﺘﺏ ﻓﻲ ﺍﻟﻬﺎﻤﺵ ﻫﻜﺫﺍ )ﺍﻟﺒﺎﻗﻲ ﻗﻭﻟﻪ ﺒﺎﻟﺩﻋﺎﺀ ﺒﻤﻌﻨﻲ ﻤﻊ ﻤﻘﺎﺒل ﺍﻟﺩﻋﺎﺀ( ﻭﻓﻲ )ﺥ( ﻭ)ﻡ(‪ :‬ﺒﺎﺩﻋﺎﺀ‪.‬‬
‫‪) - ( 499‬ﺒﻪ( ﻓﻲ )ﻤﺦ(ﻭ)ﺥ( ﺴﺎﻗﻁﺔ‪.‬‬
‫‪ ( 500‬ﻓﻲ )ﺥ(‪ :‬ﺍﻟﻤﺸﺒﻪ ﺒﻪ ﻭﻟﻬﺫﺍ‪.‬‬
‫‪ - ( 501‬ﺍﻟﺒﻴﺘﺎﻥ ﻻﺒﻥ ﺍﻟﻌﻤﻴﺩ‪ :‬ﻫﻭ ﺍﻟﻭﺯﻴﺭ ﺃﺒﻭ ﺍﻟﻔﻀل ﻤﺤﻤﺩ ﺒﻥ ﺍﻟﻌﻤﻴﺩ ﻨﺒﻎ ﻓﻲ ﺍﻷﺩﺏ ﻭﻋﻠﻭﻡ ﺍﻟﻔﻠﺴﻔﺔ ﻭﺍﻟﻨﺠﻭﻡ‪ ،‬ﻭﻗﺩ ﺒﺭﺯ ﻓﻲ ﺍﻟﻜﺘﺎﺒﺔ ﻋﻠﻰ ﺃﻫل ﺯﻤﺎﻨﻪ‬
‫ﺤﺘﻰ ﻗﻴل )ﺒﺩﺃﺕ ﺒﻌﺒﺩ ﺍﻟﺤﻤﻴﺩ ﻭﺨﺘﻤﺕ ﺒﺎﺒﻥ ﺍﻟﻌﻤﻴﺩ ﺘﻭﻓﻰ ﺴﻨﺔ‪260 :‬ﻫـ‪ ،‬ﺃﻨﻅﺭ ﺍﻟﺒﻼﻏﺔ ﺍﻟﻭﺍﻀﺤﺔ‪ ،‬ﺹ‪ ،69 :‬ﺘﺄﻟﻴﻑ‪ :‬ﻋﻠﻲ ﺍﻟﺠﺎﺭﻡ ﻭﻤـﺼﻁﻔﻰ‬
‫ﺃﻤﻴﻥ‪.‬‬
‫‪ - ( 502‬ﺍﻟﻘﺎﺌل ﻫﻭ ﺍﺒﻥ ﻁﺒﺎﻁﺒﺎ ﺍﻟﻌﻠﻭﻱ ﻭﺍﺴﻤﻪ ﺍﻟﻜﺎﻤل )ﻤﺤﻤﺩ ﺒﻥ ﺃﺤﻤﺩ ﺒﻥ ﻤﺤﻤﺩ ﺒﻥ ﺃﺤﻤﺩ ﺒﻥ ﺒﺭﺍﻫﻡ ﻁﺒﺎﻁﺒﺎ ﺍﻟﺤﺴﻴﻨﻲ ﺍﻟﻌﻠﻭﻱ ﺃﺒﻭ ﺍﻟﺤﺴﻥ( ﺸﺎﻋﺭ‬
‫ﻭﻋﺎﻟﻡ ﻓﻲ ﺍﻷﺩﺏ‪ .‬ﻤﻭﻟﺩﻩ ﻭﻭﻓﺎﺘﻪ )‪250‬ﻫـ ﺇﻟﻰ ‪320‬ﻫـ( ﺒﺄﺼﺒﻬﺎﻥ ﻭﻟﻡ ﻴﻐﺎﺩﺭﻫﺎ ﺇﻟﻰ ﻏﻴﺭﻫﺎ‪ .‬ﺃﻨﻅﺭ‪ :‬ﺍﻟﺘﻠﺨﻴﺹ‪ ،‬ﺹ‪152 :‬‬
‫‪ - ( 503‬ﻓﻲ )ﻤﺦ(‪:‬ﺍﻟﺩﻋﻲ‪.‬‬
‫‪ - ( 504‬ﻓﻲ )ﺥ( ﻭ)ﻡ(‪ :‬ﺫﺍﻟﻙ‪.‬‬
‫‪ - ( 505‬ﻓﻲ ﺍﻷﺼل ﺍﻟﺤﻘﻴﻘﺔ ﻭ ﻓﻲ )ﻡ( ﺍﻟﺤﻘﻴﻘﻴﺔ ﻭ ﻫﻭ ﺍﻟﺼﻭﺍﺏ‪.‬‬
‫‪ - ( 506‬ﻓﻲ )ﻕ(‪) :‬ﻻ( ﺴﺎﻗﻁﺔ‪.‬‬
‫‪ - ( 507‬ﻓﻲ )ﻕ(‪ :‬ﻟﻠﻤﻨﻬﻲ‪.‬‬
‫‪ - ( 508‬ﻓﻲ )ﺥ( ﻭ)ﻡ(‪ :‬ﻤﻌﻨﻰ ﺇﺫ‪.‬‬
‫‪ - ( 509‬ﻓﻲ )ﺥ(‪ :‬ﺍﻟﺒﻠﻰ‪.‬‬
‫‪ - ( 510‬ﻓﻲ )ﻕ( ﻭ)ﺥ(‪) :‬ﻜﺘﺒﺕ ﻫﻜﺫﺍ ﻤﻼﺒﺴﺔ ﺍﻟﻘﻤﺭ ﺍﻟﺤﻘﻴﻘﻲ ﻻ ﺒﺴﺒﺏ ﻤﻼﺒﺴﺔ ﺇﻨﺴﺎﻥ ﻜﺎﻟﻘﻤﺭ(‪.‬‬
‫‪ - ( 511‬ﻓﻲ )ﻕ(‪ :‬ﻓﻲ ﺍﻹﺼﻼﺡ ﻭﺍﻟﺼﺤﻴﺢ ﻤﺎ ﺃﺜﺒﺘﻨﺎﻩ‪.‬‬
‫‪ - ( 512‬ﻓﻲ )ﻤﺦ(ﻭ)ﻕ(‪ :‬ﻤﻌﻨﺎﻩ ﺴﺎﻗﻁﺔ‪.‬‬
‫‪- 88 -‬‬
‫ﺃﻱ‪ :‬ﻣﻊ ﺫﻟﻚ ﺍﻟﻼﺯﻡ ﻛﻠﻔﻆ ﻃﻮﻳﻞ ﺍﻟﻨﺠﺎﺩ ﺍﳌﺮﺍﺩﺑﻪ ﻃﻮﻝ ﺍﻟﻘﺎﻣﺔ‪ ،‬ﻣﻊ ﺟﻮﺍﺯ ﺇﺭﺍﺩﺓ ﺣﻘﻴﻘﺘﻪ‬
‫ﻣﻦ)‪ (513‬ﻃﻮﻝ ﺍﻟﻨﺠﺎﺩ ﺃﻳﻀﺎ‪ ،‬ﺧﺮﺝ ﺍ‪‬ﺎﺯ ﺇﺫ)‪ (514‬ﻻ ﻳﺼﺢ ﺇﺭﺍﺩﺓ ﺍﳌﻌﲎ ﺍﳊﻘﻴﻘﻲ ﻟﻠﻘﺮﻳﻨﺔ ﺍﳌﺎﻧﻌﺔ ﻣﻨﻪ‪.‬‬

‫ﻓﻬﻲ ﺃﻱ‪ :‬ﺍﻟﻜﻨﺎﻳﺔ ﲣﺎﻟﻒ ﺍ‪‬ﺎﺯ ﻣﻦ ﺟﻬﺔ ﺟﻮﺍﺯ ﺇﺭﺍﺩﺓ ﺍﳌﻌﲎ ﺍﳊﻘﻴﻘﻲ ﻣﻊ ﺇﺭﺍﺩﺓ ﻻﺯﻣﻪ‪ ،‬ﻛﺈﺭﺍﺩﺓ‬
‫ﻃﻮﻝ ﺍﻟﻨﺠﺎﺩ ﻣﻊ ﺇﺭﺍﺩﺓ ﻃﻮﻝ ﺍﻟﻘﺎﻣﺔ ﲞﻼﻑ ﺍ‪‬ﺎﺯ‪.‬ﻭﺗﻮﺍﻓﻘﻪ ﻣﻦ ﺟﻬﺔ‪ ،‬ﺃﻥ ﺍﻻﻧﺘﻘﺎﻝ ﻓﻴﻬﺎ ﻣﻦ ﺍﳌﻠﺰﻭﻡ ﺇﱃ‬
‫ﺍﻟﻼﺯﻡ‪ ،‬ﻛﻤﺎ ﰲ ﺍ‪‬ﺎﺯ ﻭﺇﳕﺎ ﻗﺎﻝ ﻣﻊ ﺟﻮﺍﺯ )ﺇﺭﺍﺩﺓ ﺍﱁ()‪ (515‬ﻷﻥ ﺍﳌﺪﺍﺭ ﻋﻠﻰ ﺟﻮﺍﺯ ﺍﻹﺭﺍﺩﺓ ﺍﳌﺬﻛﻮﺭﺓ‪ ،‬ﻻ‬
‫ﻋﻠﻰ ﺍﻹﺭﺍﺩﺓ ﺑﺎﻟﻔﻌﻞ)‪ (516‬ﺇﺫ ﻛﺜﲑﺍ ﻣﺎ ﲣﻠﻮ ﺍﻟﻜﻨﺎﻳﺔ ﻋﻦ ﺇﺭﺍﺩﺓ)‪ (517‬ﺍﳌﻌﲎ‬

‫ﺍﳊﻘﻴﻘﻲ ﻟﻠﻘﻄﻊ ﺑﺼﺤﺔ ﻗﻮﻟﻨﺎ‪ ،‬ﻓﻼﻥ ﻃﻮﻳﻞ ﺍﻟﻨﺠﺎﺩ ﻭﻣﻬﺰﻭﻝ ﺍﻟﻔﺼﻴﻞ)‪ (518‬ﻭﺇﻥ ﱂ ﻳﻜﻦ ﻟﻪ ﳒﺎﺩ‬
‫ﻭﻻ ﻓﺼﻴﻞ‪ ،‬ﻭﺍﻋﻠﻢ ﺃﻥ ﺍﳌﻄﻠﻮﺏ)‪) (519‬ﺎ(‪.‬‬
‫ﺇﻣﺎ ﺻﻔﺔ ﻣﻦ ﺍﻟﺼﻔﺎﺕ ﻛﺎﳉﻮﺩ ﻭﺍﻟﻜﺮﻡ‪ ،‬ﻭﺍﻟﺒﺨﻞ ﻭﺍﻟﻌﻠﻢ ﻭﺍﳊﻠﻢ‪ ،‬ﻭﺍﳉﱭ ﻭﺍﻟﺸﺠﺎﻋﺔ ﻭﺍﻟﻄﻮﻝ‪،‬‬
‫ﻭﺍﻟﻘﺼﺮ ﻭﳓﻮ ﺫﻟﻚ ﻭﻫﻲ ﺿﺮﺑﺎﻥ ﻗﺮﻳﺒﺔ ﻭﺑﻌﻴﺪﺓ‪ ،‬ﻓﺎﻥ ﻛﺎﻥ ﺍﻻﻧﺘﻘﺎﻝ ﻣﻦ ﺍﻟﻜﻨﺎﻳﺔ ﺇﱃ ﺍﳌﻄﻠﻮﺏ‪ ،‬ﺑﻼ‬
‫ﻭﺍﺳﻄﺔ‪ ،‬ﻓﻘﺮﻳﺒﺔ ﳓﻮ‪ :‬ﺯﻳﺪ ﻃﻮﻳﻞ ﺍﻟﻨﺠﺎﺩ)‪ (520‬ﺗﺮﻳﺪ ﺑﻘﻮﻟﻚ ﻃﻮﻳﻞ ﺍﻟﻨﺠﺎﺩ‪ ،‬ﻃﻮﻳﻞ )‪ (521‬ﺍﻟﻘﺎﻣﺔ ﻓﺈﻥ ‪//‬‬
‫ﻃﻮﻝ ﺍﻟﻨﺠﺎﺩ ﻳﺴﺘﻠﺰﻡ ﻃﻮﻝ ﺍﻟﻘﺎﻣﺔ ﻭﺍﻻﻧﺘﻘﺎﻝ ﻣﻦ ﻃﻮﻝ ﺍﻟﻨﺠﺎﺩ ﺍﱃ ﻃﻮﻝ ﺍﻟﻘﺎﻣﺔ‪ ،‬ﻻ ﻳﺘﻮﻗﻒ ﻋﻠﻰ‬ ‫]و‪[16/‬‬

‫)‪(522‬‬
‫ﻭﺫﻟﻚ ﳓﻮ‪ :‬ﺯﻳﺪ ﻣﻬﺰﻭﻝ ﺍﻟﻔﺼﻴﻞ‪ ،‬ﻛﻨﺎﻳﺔ ﻋﻦ‬ ‫ﻭﺍﺳﻄﺔ‪ ،‬ﻭﺍﻥ ﻛﺎﻥ ﺍﻻﻧﺘﻘﺎﻝ ﺑﻮﺍﺳﻄﺔ‪ ،‬ﻓﺒﻌﻴﺪ‬
‫ﻛﺮﻣﻪ‪ ،‬ﻓﺈﻥ ﻫﺰﺍﻝ ﺍﻟﻔﺼﻴﻞ ﳑﺎ ﻳﺴﺘﺪﻝ ﺑﻪ ﻋﻠﻰ ﺍﻟﻜﺮﻡ‪ ،‬ﻓﺎﳍﺰﺍﻝ ﻣﻠﺰﻭﻡ ﻭﺍﻟﻜﺮﻡ ﻻﺯﻡ ﲝﺴﺐ ﺍﻻﻋﺘﻘﺎﺩ‪.‬‬

‫‪ ( 513‬ـ ﻓﻲ)ﻤﺦ(‪:‬ﻤﻊ‪.‬‬
‫‪ - ( 514‬ﺴﺎﻗﻁﺔ ﻓﻲ)ﻤﺦ(‪.‬‬
‫‪ - ( 515‬ﻓﻲ )ﻕ(‪ :‬ﺇﺭﺍﺩﺘﻪ‪ .‬ﻭﻭﻗﻊ ﺍﻟﻨﺎﺴﺦ ﻓﻲ ﻟﺒﺱ ﻋﻨﺩﻤﺎ ﻜﺘﺏ ﺇﻟﻰ ﺒﺩل ﺇﻟﻰ ﺍﻟﺦ‪.‬‬
‫‪ - ( 516‬ﻓﻲ )ﺥ(‪ :‬ﻓﻲ )ﻤﺦ(ﻭﻓﻲ )ﻕ(‪ :‬ﺒﺎﻟﻔﻌل ﺴﺎﻗﻁﺔ‪.‬‬
‫‪ - ( 517‬ﻓﻲ )ﻤﺦ(ﻜﺘﺒﻬﺎ ﺍﻟﻨﺎﺴﺦ ﺒﺎﻟﺘﺎﺀ ﺍﻟﻤﻔﺘﻭﺤﺔ ﻜﺫﺍ )ﺇﺭﺍﺩﺕ( ﻭﺍﻟﺼﺤﻴﺢ ﻤﺎ ﺃﺜﺒﺘﻨﺎﻩ‪.‬‬
‫‪ - ( 518‬ﺍﻟﻔﺼﻴل‪ :‬ﻤﻥ ﺃﻭﻻﺩ ﺍﻹﺒل‪ ،‬ﻓﻌﻴل ﺒﻤﻌﻨﻲ ﻤﻔﻌﻭل‪ ،‬ﻭﺃﻜﺜﺭ ﻤﺎ ﻴﻁﻠﻕ ﻓﻲ ﺍﻹﺒل ﻭﻗﺩ ﻴﻘﺎل ﻓﻲ ﺍﻟﺒﻘﺭ‪ ،‬ﻭﻤﻨﻪ ﺤﺩﻴﺙ ﺃﺼﺤﺎﺏ ﺍﻟﻐﺎﺭ‪ :‬ﻓﺸﺘﺭﻴﺕ ﺒـﻪ‬
‫ﻓﺼﻴل ﻤﻥ ﺍﻟﺒﻘﺭ‪ ،‬ﻭﻓﻲ ﺭﻭﺍﻴﺔ ﻓﺼﻴﻠﺔ‪ ،‬ﻭﻫﻭ ﻤﺎ ﻓﺼل ﻋﻥ ﺍﻟﻠﺒﻥ ﻤﻥ ﺃﻭﻻﺩ ﺍﻟﺒﻘﺭ‪ ،‬ﻭﺍﻟﻔﺼﻴل‪ :‬ﻭﻟﺩ ﺍﻟﻨﺎﻗﺔ ﺇﺫﺍ ﻓﺼل ﺃﻤﻪ‪ ،‬ﻭﺍﻟﺠﻤﻊ ﻓﺼﻼﻥ ﻭﻓﺼﺎل‪،‬‬
‫ﻓﻤﻥ ﻗﺎل ﻓﺼﻼﻥ ﻓﻌﻠﻰ ﺍﻟﺘﺴﻤﻴﺔ‪ .‬ﺃﻨﻅﺭ ﺍﻟﻠﺴﺎﻥ ﻤﺎﺩﺓ ﻓﺼﻴل‪.‬‬
‫‪ - ( 519‬ﻓﻲ )ﻕ(‪ :‬ﻟﻠﻤﻁﻠﻭﺏ‪.‬‬
‫‪ - ( 520‬ﺍﻟﻨﺠﺎﺩ‪ :‬ﺤﻤﻰ ﺇﻟﻰ ﺍﻟﺴﻴﻑ‬
‫‪ - ( 521‬ﻓﻲ )ﻡ(‪ :‬ﻁﻭل‪.‬‬
‫‪ - ( 522‬ﻓﻲ )ﻕ( ﻭ)ﺥ( ﻭ)ﻡ(‪ :‬ﻓﺒﻌﻴﺩﺓ‪.‬‬
‫‪- 89 -‬‬
‫ﻟﻜﻦ)‪ (523‬ﺍﻻﻧﺘﻘﺎﻝ ﻣﻦ ﻫﺰﺍﻝ ﺍﻟﻔﺼﻴﻞ ﺇﱃ ﺍﻟﻜﺮﻡ‪ ،‬ﳑﺎ ﻳﺘﻮﻗﻒ ﻋﻠﻰ ﺍﻟﻮﺍﺳﻄﺔ‪ ،‬ﻓﺎﻧﻪ ﻳﻨﺘﻘﻞ ﻣﻨﻪ ﺇﱃ‬
‫ﺟﻮﻋﻪ ﺑﻌﺪﻡ ﺷﺮﺑﻪ ﺍﻟﻠﱭ‪ ،‬ﻭﻣﻨﻪ ﺇﱃ ﻛﺜﺮﺓ ﺣﻠﺐ ﺃﻣﻪ‪ ،‬ﻭﻣﻨﻬﺎ ﺇﱃ ﻛﺜﺮﺓ ﺍﻷﻛﻠﺔ‪ ،‬ﻭﻣﻨﻬﺎ ﺇﱃ ﻛﺜﺮﺓ‬
‫)‪(524‬‬
‫ﺃﻭ ﳓﻮ‪ :‬ﺯﻳﺪ ﻛﺜﲑ ﺍﻟﺮﻣﺎﺩ‪ ،‬ﻛﻨﺎﻳﺔ ﻋﻦ ﻛﺮﻣﻪ‪ ،‬ﻓﺎﻧﻪ‬ ‫ﺍﻟﻀﻴﻮﻑ‪ ،‬ﻭﻣﻨﻬﺎ ﺇﱃ ﺍﳌﻄﻠﻮﺏ‪ ،‬ﻭﻫﻮ ﺍﻟﻜﺮﻡ‬
‫ﻳﻨﺘﻘﻞ ﻣﻦ ﻛﺜﺮﺓ ﺍﻟﺮﻣﺎﺩ ﺇﱃ ﻛﺜﺮﺓ ﺇﺣﺮﺍﻕ ﺍﳊﻄﺐ‪ ،‬ﲢﺖ ﺍﻟﻘﺪﺭ ﻭﻣﻦ ﻛﺜﺮﺓ ﺍﻻﺣﺮﺍﻕ ﺇﱃ ﻛﺜﺮﺓ ﺍﻟﻄﺒﺦ‪،‬‬
‫ﻭﻣﻦ ﻛﺜﺮﺓ ﺍﻟﻄﺒﺦ ﺇﱃ ﻛﺜﺮﺓ ﺍﻷﻛﻠﺔ)‪ (525‬ﻭﻣﻨﻬﺎ ﺇﱃ ﻛﺜﺮﺓ ﺍﻟﻀﻴﻮﻑ‪ ،‬ﻭﻣﻨﻬﺎ ﺇﱃ ﺍﳌﻄﻠﻮﺏ ﻭﻫﻮ ﺍﻟﻜﺮﻡ‪،‬‬
‫ﻭﺇﻣﺎ ﺃﻥ ﻳﻜﻮﻥ ﺍﳌﻄﻠﻮﺏ ‪‬ﺎ )ﻧﺴﺒﺔ()‪.(526‬‬

‫)‪(527‬‬
‫ﻋﻨﻪ‪ ،‬ﳓﻮ‪ :‬ﺇﻥ ﺍﻟﺴﻤﺎﺣﺔ ﻭﺍﳌﺮﻭﺀﺓ ﻫﻲ ﻛﻤﺎﻝ ﺍﻟﺮﺟﻮﻟﻴﺔ‬ ‫ﺃﻱ‪ :‬ﺇﺛﺒﺎﺕ ﺃﻣﺮ ﻷﻣﺮ ﻭﻧﻔﻴﻪ‬
‫ﻭﺍﻟﻨﺪﻯ‪ 528‬ﺃﻱ‪ :‬ﺍﻹﻋﻄﺎﺀ ﰲ ﻗﺒﺔ ﺿﺮﺑﺖ ﻋﻠﻰ ﺍﺑﻦ ﺍﳊﺸﺮﺝ‪ 529‬ﻓﻬﺬﺍ)‪ (530‬ﺍﻟﻜﻼﻡ ﻛﻨﺎﻳﺔ ﻋﻦ ﺛﺒﻮﺕ‬
‫ﻫﺬﻩ ﺍﻟﺼﻔﺎﺕ ﺍﻟﺜﻼﺛﺔ ﻟﻪ‪ ،‬ﺃﻱ‪ :‬ﻻﺑﻦ ﺍﳊﺸﺮﺝ‪ ،‬ﻓﺎﻥ ﻫﺬﺍ ﺍﻟﺸﺎﻋﺮ ﺃﺭﺍﺩ ﺃﻥ ﻳﺜﺒﺖ ﻫﺬﻩ ﺍﻟﺼﻔﺎﺕ ﻟﻪ‪ ،‬ﻓﺘﺮﻙ‬
‫ﺍﻟﺘﺼﺮﻳﺢ ﺑﺬﻟﻚ‪ ،‬ﺑﺄﻥ ﻳﻘﻮﻝ ﻫﺬﻩ ﺍﻟﺼﻔﺎﺕ)‪ // (531‬ﻟﻪ)‪ (532‬ﺛﺒﺘﺖ ﻻﺑﻦ ﺍﳊﺸﺮﺝ ﻣﺜﻼ ﺇﱃ ﺍﻟﻜﻨﺎﻳﺔ‪.‬‬ ‫]ظ‪[16/‬‬

‫ﺑﺄﻥ ﺟﻌﻠﻬﺎ ﰲ ﻗﺒﺔ ﻣﻀﺮﻭﺑﺔ ﻋﻠﻴﻪ)ﻷﻧﻪ ()‪ (533‬ﺇﺫﺍ ﺛﺒﺖ ﺍﻟﺸﻲﺀ ﰲ ﻣﻜﺎﻥ ﺍﻟﺮﺟﻞ ﻭﺣﻴﺰﻩ‪ ،‬ﻓﻘﺪ ﺃﺛﺒﺘﻪ ﻟﻪ‪،‬‬
‫ﻭﻣﻦ ﺫﻟﻚ ﻗﻮﳍﻢ‪ :‬ﺍ‪‬ﺪ ﺑﲔ ﺛﻮﺑﻴﻪ ﻭﺍﻟﻜﺮﻡ ﺑﲔ ﺑﺮﺩﻳﻪ )ﺣﻴﺚ ﺗﺮﻙ ﺍﻟﺘﺼﺮﻳﺢ ﺑﺜﺒﻮﺕ ﺍ‪‬ﺪ ﻭﺍﻟﻜﺮﻡ‪ ،‬ﺇﱃ‬
‫ﺍﻟﻜﻨﺎﻳﺔ ﻋﻦ ﺫﻟﻚ‪ ،‬ﺑﺄﻥ ﺟﻌﻞ ﻣﺎ ﺫﻛﺮ ﺑﲔ ﺛﻮﺑﻴﻪ ﻭﺑﺮﺩﻳﻪ()‪. (534‬‬

‫‪ - ( 523‬ﻓﻲ )ﻡ(‪ :‬ﻻﻜﻥ‪.‬‬

‫‪ - ( 524‬ﻤﺎ ﺒﻴﻥ ﺍﻟﻤﻌﻘﻭﻓﺘﻴﻥ ﻭﺭﺩ ﻓﻲ )ﻕ( ﻫﻜﺫﺍ ﻤﻊ ﺍﺨﺘﻼﻑ )ﻤﻥ ﺇﻟﻰ ﺒﻌﺩﻡ ﺸﺭﺒﻪ ﺍﻟﻠﺒﻥ ﻭﻤﻨﻪ ﺇﻟﻰ ﻜﺜﺭﺓ ﺤﻠﺏ ﺃﻤﻪ ﻭﻤﻨﻬﺎ ﺇﻟﻰ ﻜﺜﺭﺓ ﺍﻟﻀﻴﻭﻑ ﺍﻷﻜﻠﺔ‬
‫ﻭﻤﻨﻪ ﺇﻟﻰ ﻜﺜﺭﺓ ﺍﻟﻤﻁﻠﻭﺏ ﻭﻫﻭ ﺍﻟﻜﺭﻡ(‪.‬‬
‫‪ - ( 525‬ﻓﻲ )ﻤﺦ(ﺃﻜل ﺴﺎﻗﻁﺔ‪ ،‬ﻭ ﺍﻟﺘﺼﺤﻴﺢ ﻤﻥ ﺒﻘﻴﺔ ﺍﻟﻨﺴﺦ‬
‫‪ - ( 526‬ﻓﻲ )ﻡ(‪ :‬ﻨﺴﺒﺔ ﻭﻓﻲ )ﻤﺦ(ﺴﺎﻗﻁﺔ‪.‬‬
‫‪ - ( 527‬ﻓﻲ )ﻡ(‪ :‬ﺃﻭ ﻨﻔﻴﻪ‪.‬‬
‫‪ - ( 528‬ﻓﻲ )ﻡ(‪ :‬ﺍﻟﻨﺩﺍ‬
‫‪ - ( 529‬ﺍﺒﻥ ﺍﻟﺤﺸﺭﺝ‪ :‬ﺍﺴﻤﻪ ﻋﺒﺩ ﺍﷲ‪ .‬ﻭﻜﺎﻥ ﺴﻴﺩﺍ ﻤﻥ ﺴﺎﺩﺍﺕ ﻗﺭﻴﺵ‪,‬ﻭﺃﻤﻴﺭﺍ ﻤﻥ ﺃﻤﺭﺍﺌﻬﺎ‪ ,‬ﻭﻟﻲ ﻜﺜﻴﺭﺍ ﻤﻥ ﺃﻋﻤﺎل ﺨﺭﺍﺴﺎﻥ ﻭﻤﻥ ﺃﻋﻤـﺎل ﻓـﺎﺭﺱ‬
‫ﻭﻜﺭﻤﺎﻥ‪ ،‬ﺃﻨﻅﺭ ﺍﻟﺒﻼﻏﺔ ﺍﻟﻭﺍﻀﺤﺔ‪ ،‬ﺹ‪ ،128 :‬ﻭﻜﺎﻥ ﺠﻭﺍﺩﺍ ﻜﺜﻴﺭ ﺍﻟﻌﻁﺎﺀ‬
‫‪ - ( 530‬ﻓﻲ )ﺥ(‪ :‬ﻭﻫﺫﺍ‪.‬‬
‫‪ - ( 531‬ﻓﻲ )ﻡ(‪ :‬ﺍﻟﺼﻔﺎﺕ ﺭﺴﻤﻬﺎ ﺍﻟﻨﺎﺴﺦ ﺒﺘﺎﺀ ﻤﺭﺒﻭﻁﺔ ﻫﻜﺫﺍ )ﺍﻟﺼﻔﺎﺓ(‪.‬‬
‫‪ – ( 532‬ﻟﻪ ﻓﻲ ﺍﻷﺼل ﺴﺎﻗﻁﺔ ‪.‬‬
‫‪ - ( 533‬ﻓﻲ )ﻕ(‪ :‬ﻷﻨﻪ ﺴﺎﻗﻁﺔ‪.‬‬
‫‪ -( 534‬ﻤﺎ ﺒﻴﻥ ﺍﻟﻤﻌﻘﻭﻓﺘﻴﻥ ﻭﺭﺩ ﻓﻲ )ﻕ( ﻫﻜﺫﺍ ﻤﻊ ﺍﺨﺘﻼﻑ )ﻤﻥ ﺇﻟﻰ ﺒﻌﺩﻡ ﺸﺭﺒﻪ ﺍﻟﺒﻥ ﻭﻤﻨﻪ ﺇﻟﻰ ﻜﺜﺭﺓ ﺤﻠﺏ ﺃﻤﻪ ﻭﻤﻨﻬﺎ ﺇﻟﻰ ﻜﺜﺭﺓ ﺍﻟﻀﻴﻭﻑ ﺍﻷﻜﻠـﺔ‬
‫ﻭﻤﻨﻪ ﺇﻟﻰ ﻜﺜﺭﺓ ﺍﻟﻤﻁﻠﻭﺏ ﻭﻫﻭ ﺍﻟﻜﺭﻡ(‪.‬‬

‫‪- 90 -‬‬
‫ﻭﷲ ﺍﳊﻤﺪ ﻋﻠﻰ ﺍﻻﺑﺘﺪﺍﺀ ﻭﺍﻻﺧﺘﺘﺎﻡ‪ ،‬ﻭﺍﻟﺼﻼﺓ ﻭﺍﻟﺴﻼﻡ ﻋﻠﻰ ﺧﺎﰎ ﺃﻧﺒﻴﺎﺀ ﺍﷲ ﺍﻟﻜﺮﺍﻡ‪ ،‬ﻋﻠﻴﻬﻢ‬
‫ﻭﻋﻠﻰ ﺁﳍﻢ ﺍﻟﺼﻼﺓ ﻭﺍﻟﺴﻼﻡ‪ .‬ﰎ ﻫﺬﺍ ﺍﻟﺸﺮﺡ ﲝﻤﺪ ﺍﷲ ﻭﻋﻮﻧﻪ‪ ،‬ﻭﺣﺴﻦ ﺗﻮﻓﻴﻘﻪ‪ ،‬ﻭﺍﳊﻤﺪ ﷲ ﻋﻠﻰ ﺫﻟﻚ‬
‫ﻭﺃﺳﺄﻟﻪ ﺍﻟﻨﺠﺎﺓ ﻣﻦ ﲨﻴﻊ ﺍﳌﻬﺎﻟﻚ‪ ،‬ﱄ ﻭﳉﻤﻴﻊ ﺇﺧﻮﺍﱐ ﻣﻦ ﺳﺎﻟﻚ ﻭﻏﲑ ﺳﺎﻟﻚ‪ ،‬ﰲ ﻃﺮﻳﻖ ﺍﳍﺪﻯ ﻭﺍﻟﺒﻌﺪ‬
‫ﻋﻦ ﺍﻟﺮﺩﻯ ﻭﺍﻟﺼﺪﻯ ﻭﺃﻥ ﻳﺮﻓﻘﲏ ﻧﺒﻴﻪ ﻣﻊ ﺍﻷﺣﺒﺎﺏ‪ ،‬ﰲ ﺃﻋﻠﻰ ﺩﺭﺟﺎﺕ ﺍﳉﻨﺎﻥ‪ ،‬ﲜﺎﻩ ﺳﻴﺪ ﻭﻟﺪ ﻋﺪﻧﺎﻥ‬
‫ﺁﻣﲔ ﺁﻣﲔ‬
‫ﻭﺻﻠﻰ ﺍﷲ ﻋﻠﻰ ﺳﻴﺪﻧﺎ ﳏﻤﺪ ﻭﻋﻠﻰ ﺁﻟﻪ ﻭﺻﺤﺒﻪ ﺃﲨﻌﲔ‪.‬‬

‫‪- 91 -‬‬
‫ﺍﳌــﻼﺣﻖ‬

‫‪- 92 -‬‬
‫ﻣﻠﺤﻖ ﺧﺎﺹ ﺑﺎﻟﺘﺤﻔﺔ‬

‫‪- 93 -‬‬
 ‫ﺍﳌﻠﺤﻖ ﺍﻷﻭﻝ‬
‫ﻧﺴﺨﺔ ﻣﺼﻮﺭﺓ ﳌﱳ ﺍﻟﺘﺤﻔﺔ ﺍﳌﺨﻄﻮﻃﺔ‬

‫‪- 94 -‬‬
- 95 -
- 96 -
- 97 -
 ‫ﺍﳌﻠﺤﻖ ﺍﻟﺜﺎﱐ‬
‫)ﲢﻔﺔ ﺍﻹﺧﻮﺍﻥ ﰲ ﺍ‪‬ﺎﺯ ﻭﺍﻟﺘﺸﺒﻴﻪ ﻭﺍﻟﻜﻨﺎﻳﺔ (‬

‫‪- 98 -‬‬
 ‫ﺑﺴﻢ اﷲ اﻟﺮﺣﻤﻦ اﻟﺮﺣﻴﻢ‬
‫اﻟﺤﻤ ﺪ ﷲ واﻟ ﺼﻼة واﻟ ﺴﻼم ﻋﻠ ﻰ رﺳ ﻮل اﷲ )ه ﺬﻩ( رﺳ ﺎﻟﺔ ﻟﻄﻴﻔ ﺔ ﻓ ﻲ اﻟﻤﺠ ﺎز‬
‫واﻟﺘﺸﺒﻴﻪ واﻟﻜﻨﺎﻳﺔ ﻋﻠﻰ ﺳﺒﻴﻞ اﻻﺧﺘﺼﺎر واﻻﻗﺘﺼﺎر ﺟﻌﻠﺘﻬ ﺎ ﺗﺤﻔ ﺔ ﻟﻺﺧ ﻮان ﺿ ﺎﻋﻒ‬
‫اﷲ ﻟﻲ وﻟﻬﻢ اﻷﺟﻮر واﻹﺣﺴﺎن‪.‬‬
‫)اﻋﻠﻢ( إن اﻟﻤﺠﺎز إﻣﺎ أن ﻳﻜﻮن ﻓ ﻲ اﻹﺳ ﻨﺎد وإﻣ ﺎ ﻓ ﻲ اﻟﻜﻠﻤ ﺔ وإﻣ ﺎ ﻓ ﻲ اﻟﻤﺮآ ﺐ‬
‫)ﻓﺎﻟﻤﺠﺎز ﻓﻲ اﻹﺳﻨﺎد( هﻮ إﺳﻨﺎد اﻟﻔﻌﻞ أو ﻣﺎ ﻓﻲ ﻣﻌﻨﺎﻩ إﻟﻰ ﻏﻴﺮ ﻣ ﺎ ه ﻮ ﻟ ﻪ ﻣ ﻊ ﻗﺮﻳﻨ ﺔ‬
‫ﻣﺎﻧﻌ ﺔ ﻋ ﻦ إرادة اﻹﺳ ﻨﺎد إﻟ ﻰ ﻣ ﺎ ه ﻮ ﻟ ﻪ وﻳ ﺴﻤﻰ ﻣﺠ ﺎزا ﻓ ﻲ اﻹﺛﺒ ﺎت وﻣﺠ ﺎزا ﻋﻘﻠﻴ ﺎ‬
‫وإﺳﻨﺎدا ﻣﺠﺎزﻳﺎ )وﻟﻪ ﻣﻼﺑﺴﺎت ﺷﺘﻰ ( ﻳﻼﺑﺲ اﻟﺰﻣ ﺎن واﻟﻤﻜ ﺎن واﻟﻤﻔﻌ ﻮل واﻟ ﺴﺒﺐ‬
‫ﻧﺤﻮ ‪ :‬ﻧﻬﺎرﻩ ﺻﺎﺋﻢ وﻧﻬﺮ ﺟﺎر وﻋﻴ ﺸﺔ راﺿ ﻴﺔ وﺳ ﺎﻟﺖ اﻷﺑ ﺎﻃﺢ وأﺧﺮﺟ ﺖ اﻷرض‬
‫أﺛﻘﺎﻟﻬﺎ واﻧﺒﺖ اﻟﺮﺑﻴﻊ اﻟﺒﻘﻞ إن اﷲ ﻋﻠﻰ آﻞ ﺷﻲء ﻗﺪﻳﺮ وآﻘﻮﻟ ﻚ ‪ :‬ه ﺰم اﻷﻣﻴ ﺮ اﻟﺠﻨ ﺪ‬
‫وه ﻮ ﻓ ﻲ ﻗ ﺼﺮﻩ وأﻣ ﺎ ﻣﻌﻨﻮﻳ ﺔ آ ﺼﺪور اﻷول ﻣ ﻦ اﻟﻤﻮﺣ ﺪ وآﺎﺳ ﺘﺤﺎﻟﺔ ﻗﻴ ﺎم اﻟﻤ ﺴﻨﺪ‬
‫ﺑﺎﻟﻤ ﺬآﻮر )وأﻣ ﺎ اﻟﻤﺠ ﺎز اﻟﻤﻔ ﺮد ( ﻓﻬ ﻮ اﻟﻜﻠﻤ ﺔ اﻟﻤ ﺴﺘﻌﻤﻠﺔ ﻓ ﻲ ﻏﻴ ﺮ ﻣ ﺎ وﺿ ﻌﺖ ﻟ ﻪ‬
‫ﻟﻌﻼﻗﺔ ﻣﻊ ﻗﺮﻳﻨﺔ ﻣﺎﻧﻌﺔ ﻋﻦ إرادﺗﻪ ﻓﺎن آﺎﻧ ﺖ ﻋﻼﻗﺘ ﻪ اﻟﻤ ﺸﺎﺑﻬﺔ ﻓﺎﺳ ﺘﻌﺎرة وإن آﺎﻧ ﺖ‬
‫ﻏﻴﺮهﺎ آﺎﻟﺴﺒﺒﻴﺔ واﻟﻤﺴﺒﺒﻴﺔ واﻟﻤﺠﺎورة واﻟﻜﻠﻴﺔ واﻟﺒﻌﻀﻴﺔ واﻋﺘﺒﺎر ﻣﺎ آﺎن واﻋﺘﺒﺎر ﻣﺎ‬
‫ﻳﺆول إﻟﻴﻪ وﻧﺤﻮهﺎ‬
‫‪) .1‬ﻓﺼﻞ ( اﻻﺳﺘﻌﺎرة إﻣﺎ ﺗﺼﺮﻳﺤﻴﺔ وإﻣﺎ ﻣﻜﻨﻴ ﺔ وإﻣ ﺎ ﺗﺨﻴﻴﻠﻴ ﺔ )ﻓﺎﻟﺘ ﺼﺮﻳﺤﻴﺔ(‬
‫هﻲ اﻟﺘﻲ ﺻﺮح‬
‫ﻓﻴﻬﺎ ﺑﺬآﺮ اﻟﻤﺸﺒﻪ ﺑﻪ ﻓﻘﻂ ﻧﺤﻮ رأﻳﺖ أﺳﺪا ﻓﻲ اﻟﺤﻤﺎم )واﻟﻤﻜﻨﻴﺔ( هﻲ اﻟﺘﻲ ﻃ ﻮى ﻓﻴﻬ ﺎ‬
‫ذآﺮ اﻟﻤﺸﺒﻪ ﺑﻪ ﺑﺬآﺮ ﺷﻲء ﻣﻦ ﻟﻮازﻣﻪ ﻓﻠﻢ ﻳﺬآﺮ ﻓﻴﻬﺎ ﺳ ﻮى اﻟﻤ ﺸﺒﻪ )واﻟﺘﺨﻴﻴﻠﻴ ﺔ( ه ﻲ‬
‫إﺛﺒﺎت ذﻟﻚ اﻟﻼزم اﻟﺪال ﻋﻠﻰ اﻟﻤﺸﺒﻪ ﺑﻪ ﻓﻬﻲ ﻣﻼزﻣﺔ ﻟﻠﻤﻜﻨﻴﺔ ﻧﺤﻮ أﻇﻔﺎر اﻟﻤﻨﻴﺔ ﻧﺸﺒﺖ‬
‫ﺑﻔﻼن ﺷﺒﻬﺖ اﻟﻤﻨﻴﺔ ﺑﺎﻟﺴﺒﻊ واﺳﺘﻌﻴﺮ اﺳﻢ اﻟﺴﺒﻊ ﻟﻬﺎ ﺛ ﻢ ﻃ ﻮي ذآ ﺮﻩ اﺳ ﺘﻌﺎرة ﺑﺎﻟﻜﻨﺎﻳ ﺔ‬
‫ودل ﻋﻠﻴﻪ ﺑﺬآﺮ ﻻزﻣﻪ وهﻮ اﻷﻇﻔﺎر واﺛﺒﺎت اﻷﻇﻔﺎر ﺗﺨﻴﻴﻠﻴﺔ‪.‬‬
‫‪).2‬ﻓﺼﻞ( واﻻﺳﺘﻌﺎرة إن ﻗﺮﻧﺖ ﺑﻌﺪ اﻟﻘﺮﻳﻨﺔ ﺑﻤﺎ ﻳﻼﺋ ﻢ اﻟﻤ ﺴﺘﻌﺎر ﻣﻨ ﻪ ﻓﻤﺮﺷ ﺤﺔ‬

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‫ﻧﺤﻮ رأﻳﺖ أﺳﺪا ﻓﻲ اﻟﺤﻤﺎم ﻟﻪ ﻟﺒﺪ ﻗﺮﻧﺖ ﺑﻤ ﺎ ﻳﻼﺋ ﻢ اﻟﻤ ﺴﺘﻌﺎر ﻟ ﻪ ﻓﻤﺠ ﺮدة ﻧﺤ ﻮ رأﻳ ﺖ‬
‫أﺳ ﺪا ﻓ ﻲ اﻟﺤﻤ ﺎم ﻟ ﻪ ﺳ ﻼح وإﻻ ﻓﻤﻄﻠﻘ ﺔ واﻟﺘﺮﺷ ﻴﺢ أﺑﻠ ﻎ ﻣ ﻦ اﻹﻃ ﻼق اﻷﺑﻠ ﻎ ﻣ ﻦ‬
‫اﻟﺘﺠﺮﻳﺪ‪.‬‬
‫)ﻓ ﺼﻞ( إن آ ﺎن اﻟﻤ ﺴﺘﻌﺎر اﺳ ﻢ ﺟ ﻨﺲ أي اﺳ ﻤﺎ ﻏﻴ ﺮ ﻣ ﺸﺘﻖ آﺎﻷﺳ ﺪ واﻟﻘﺘ ﻞ‬
‫ﻓﺎﻻﺳﺘﻌﺎرة أﺻﻠﻴﺔ وإﻻ ﻓﺘﺒﻌﻴﺔ ﻟﺠﺮﻳﺎﻧﻬﺎ ﻓﻲ اﻟﻔﻌﻞ أو ﻓﻲ اﻻﺳ ﻢ اﻟﻤ ﺸﺘﻖ ﺑﻌ ﺪ ﺟﺮﻳﺎﻧﻬ ﺎ‬
‫ﻓ ﻲ ﻣ ﺼﺪرﻩ وﻓ ﻲ اﻟﺤ ﺮف ﺑﻌ ﺪ ﺟﺮﻳﺎﻧﻬ ﺎ ﻓ ﻲ ﻣﺘﻌﻠ ﻖ ﻣﻌﻨ ﺎﻩ واﻟﻤ ﺮاد ﺑﻤﺘﻌﻠ ﻖ ﻣﻌﻨ ﻲ‬
‫اﻟﺤ ﺮف اﻟﻤﻌﻨ ﻲ اﻟﻜﻠ ﻲ آﺎﻻﺑﺘ ﺪاء ﻓ ﻲ ﻣ ﻦ واﻻﻧﺘﻬ ﺎء ﻓ ﻲ إﻟ ﻰ واﻟﻈﺮﻓﻴ ﺔ ﻓ ﻲ )ﻓ ﻲ(‬
‫واﻻﺳ ﺘﻌﻼء ﻓ ﻲ )ﻋﻠ ﻰ( إذ ﻻ ﻳ ﺆدي إﻻ ﻣﻌﻨ ﻰ ﺟﺰﺋﻴ ًﺎ وﻓ ﻲ اﻟﺠﺰﺋ ﻲ ﻟ ﻪ ﺗﻌﻠ ﻖ ﺑ ﺎﻟﻜﻠﻰ‬
‫ﻻﻧﺪراﺟﻪ ﺗﺤﺘﻪ‬
‫)وأﻣ ﺎ اﻟﻤﺠ ﺎز اﻟﻤﺮآ ﺐ( ﻓﻬ ﻮ اﻟﻠﻔ ﻆ اﻟﻤﺮآ ﺐ اﻟﻤ ﺴﺘﻌﻤﻞ ﻓ ﻲ ﻏﻴ ﺮ ﻣ ﺎ وﺿ ﻊ ﻟ ﻪ‬
‫ﻟﻌﻼﻗﺔ ﻣﻊ ﻗﺮﻳﻨﺔ ﻣﺎﻧﻌﺔ ﻣﻦ إرادﺗﻪ ﻓﺎن آﺎﻧﺖ ﻋﻼﻗﺘ ﻪ اﻟﻤ ﺸﺎﺑﻬﺔ ﻓﻬ ﻲ اﺳ ﺘﻌﺎرة ﺗﻤﺜﻴﻠﻴ ﺔ‬
‫ﻼ وﺗ ﺆﺧﺮ أﺧ ﺮى وﻣﺘ ﻰ ﻓ ﺸﺎ اﺳ ﺘﻌﻤﺎﻟﻪ‬
‫آﻘﻮﻟﻚ ﻟﻤﻦ ﻳﺘﺮدد ﻓﻲ أﻣﺮ إﻧﻲ أراك ﺗﻘﺪم رﺟ ً‬
‫آﺬﻟﻚ ﺳﻤﻲ ﻣﺜﻼ وﻟﺬا ﻻ ﺗﻐﻴﺮ اﻷﻣﺜﺎل وان آﺎﻧﺖ ﻏﻴﺮهﺎ ﺳﻤﻲ ﻣﺠﺎزا ﻣﺮآﺒﺎ‬
‫)وأﻣ ﺎ اﻟﺘ ﺸﺒﻴﻪ( ﻓﻬ ﻮ اﻟﺪﻻﻟ ﺔ ﻋﻠ ﻰ ﻣ ﺸﺎرآﺔ أﻣ ﺮ ﻷﻣ ﺮ ﻣﻌﻨ ﻲ ﻓ ﻲ ﻻ ﻋﻠ ﻰ وﺟ ﻪ‬
‫اﻻﺳﺘﻌﺎرة )وأرآﺎﻧﻪ( أرﺑﻌﺔ ﻃﺮﻓﺎﻩ ووﺟﻪ و أداة‬
‫ﻧﺤﻮ‪ :‬زﻳﺪ آﺎﻟﺒﺪر ﻓﻲ اﻟﺤﺴﻦ وﻗﺪ ﻳﻜﻮن ﻃﺮﻓﺎﻩ ﺣ ﺴﻴﻴﻦ آﻤ ﺎ ﻣﺜ ﻞ أو ﻋﻘﻠ ﻴﻦ ﻧﺤ ﻮ‬
‫ﻗﻮﻟﻨﺎ اﻟﻌﻠﻢ آﺎﻟﺤﻴ ﺎة ﻓ ﻲ آﻮﻧﻬ ﺎ ﺟﻬﺘ ﻲ إدراك أو ﻣﺨﺘﻠﻔ ﻴﻦ آﺎﻟﻤﻨﻴ ﺔ واﻟ ﺴﺒﻊ ووﺟﻬ ﻪ ﻗ ﺪ‬
‫ﻳﻜﻮن هﻴﺌﺔ ﻣﻨﺘﺰﻋﺔ ﻣﻦ ﻋﺪة أﻣﻮر ﻧﺤﻮ‪:‬‬
‫آﺄن ﻣﺜﺎر اﻟﻨﻘﻊ ﻓﻮق رؤوﺳﻨﺎ * وأﺳﻴﺎﻓﻨﺎ ﻟﻴﻞ ﺗﻬﺎوى آﻮاآﺒﻪ‬
‫وﻗ ﺪ ﺗﺤ ﺬف اﻷداة أﻳ ﻀﺎ وﻳ ﺴﻤﻰ ﺑﻠﻴﻐ ﺎ وآﻠﻤ ﺎ ﺑﻌ ﺪ اﻟﻮﺟ ﻪ دق وﺣ ﺴﻦ وﻗ ﺪ‬
‫ﻳﺘﺼﺮف ﻓﻲ اﻟﻘﺮﻳﺐ اﻟﻤﺒﺘﺬل ﺑﻤﺎ ﻳﺼﻴﺮﻩ دﻗﻴﻘﺎ ﺣﺴﻨﺎ آﻘﻮﻟﻪ ‪:‬‬
‫ﻳﺎ أﻳﻬﺎ اﻟﺮﺷﺎ اﻟﻤﻜﺤﻮل ﻧﺎﻇﺮﻩ * ﺑﺎﻟﺴﺤﺮ ﺣﺴﺒﻚ ﻗﺪ أﺣﺮﻗﺖ أﺣﺸﺎﺋﻲ‬
‫إن اﻧﻐﻤﺎﺳـﻚ ﻓﻲ اﻟﺘﻴﺎر ﺣﻘﻖ * أن اﻟﺸﻤﺲ ﺗﻐﺮب ﻓﻲ ﻋﻴﻦ ﻣﻦ اﻟﻤﺎء‬

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‫ﻓﺈن ﺗﺸﺒﻴﻪ اﻟﺠﻤﻴﻞ ﺑﺎﻟﺸﻤﺲ ﻗﺮﻳﺐ ﻣﺒﺘﺬل ﻟﻜﻦ ﻟﻤﺎ ﺗﺼﺮف ﻓﻴﻪ ﺑﻤﺎ ﺗﺮى ﺣﺘﻰ أﻧﻪ‬
‫ﺟﻌﻞ اﻧﻐﻤﺎﺳﻪ دﻟﻴﻼ ﻋﻠﻰ أن اﻟﺸﻤﺲ ﺗﻐﺮب ﻓﻲ ﻋﻴﻦ ﻣﻦ اﻟﻤﺎء دق وﻟﻄﻒ‬
‫)ﻓ ﺼﻞ( أﺻ ﻞ اﻹﺳ ﺘﻌﺎرة اﻟﺘ ﺸﺒﻴﻪ ﻷﻧ ﻪ إذا ﺣ ﺬف ﻣﻨ ﻪ ﻣﺎﻋ ﺪا اﻟﻤ ﺸﺒﻪ‪ .‬ﺻ ﺎر‬
‫اﺳﺘﻌﺎرة ﺗﺼﺮﻳﺤﻴﺔ وإذا ﺣﺬف ﻋﺪا اﻟﻤﺸﺒﻪ ﺻ ﺎر اﺳ ﺘﻌﺎرة ﺑﺎﻟﻜﻨﺎﻳ ﺔ ﻋﻠ ﻰ ﻣ ﺎ ﺗﻘ ﺪم وﻻ‬
‫ﻳﺴﻤﻰ ﺣﻴﻨﺌﺬ ﺗﺸﺒﻴﻬًﺎ إذ ﻣﺒﻨﻰ اﻻﺳﺘﻌﺎرة ﻋﻠﻰ ﺗﻨﺎﺳﻰ اﻟﺘ ﺸﺒﻴﻪ )وأﻣ ﺎ اﻟﻜﻨﺎﻳ ﺔ( ﻓﻬ ﻲ ﻟﻔ ﻆ‬
‫أرﻳﺪ ﺑﻪ ﻻزم ﻣﻌﻨﺎﻩ ﻣﻊ ﺟﻮاز إرادة اﻟﻤﻌﻨﻰ ﻣﻌﻪ ﻓﻬﻲ ﺗﺨﺎﻟﻒ اﻟﻤﺠﺎز ﻣ ﻦ ﺟﻬ ﺔ ﺟ ﻮاز‬
‫إردة اﻟﻤﻌﻨﻰ اﻟﺤﻘﻴﻘﻲ ﻣﻊ إردة ﻻزﻣﻪ ﻧﺤﻮ ‪ :‬زﻳﺪ ﻃﻮﻳﻞ اﻟﻨﺠﺎد ﺗﺮﻳﺪ ﻃﻮﻳﻞ اﻟﻘﺎﻣﺔ‬
‫وزﻳﺪ ﻣﻬﺰول اﻟﻔﺼﻴﻞ أو آﺜﻴﺮ اﻟﺮﻣﺎد آﻨﺎﻳﺔ ﻋﻦ آﺮﻣﻪ وﻧﺤﻮ‪:‬‬
‫إن اﻟﺴﻤﺎﺣﺔ واﻟﻤﺮوءة واﻟﻨﺪى * ﻓﻲ ﻗﺒﺔ ﺿﺮﺑﺖ ﻋﻠﻰ اﺑﻦ اﻟﺤﺸﺮج‬
‫آﻨﺎﻳﺔ ﻋﻦ ﺛﺒﻮت هﺬﻩ اﻟﺼﻔﺎت ﻟﻪ‬
‫)) ﺗﻤﺖ هﺬﻩ اﻟﻨﺴﺨﺔ اﻟﻤﺒﺎرآﺔ ((‬

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 ‫♣اﻟﺨــﺎﺗﻤﺔ♣‬
‫ﺇﱃ ﻫﻨﺎ ﻭﰲ ﺧﺘﺎﻡ ﻫﺬﺍ ﺍﻟﻌﻤﻞ ﻻ ﻳﺴﻌﲏ ﺇﻻ ﺃﻥ ﺃﻗﻮﻝ ﻣﺎ ﻫﺬﺍ ﺍﻟﺒﺤﺚ ﺇﻻ ﳏﺎﻭﻟﺔ ﻣﺘﻮﺍﺿﻌﺔ ﰲ‬
‫ﺇﺑﺮﺍﺯ ﺃﺛﺮ ﻣﻦ ﺁﺛﺎﺭ ﺍﻟﺘﺮﺍﺙ ﰲ ﻣﺎﺩﺓ ﺍﻟﺒﻼﻏﺔ ﺍﻟﻌﺮﺑﻴﺔ‪ ،‬ﻭﺍﻟﻮﺍﻗﻊ ﺃ‪‬ﺎ ﺭﺳﺎﻟﺔ ﺻﻐﲑﺓ ﺍﳊﺠﻢ ﺃﻟﻔﻬﺎ ﺍﻟﺪﺭﺩﻳﺮ‬
‫ﺑﺪﺍﻳﺔ ﻛﻤﻘﺪﻣﺔ ﻟﻠﺴﻤﺮﻗﻨﺪﻳﺔ ﰒ ﺗﺒﲔ ﻟﻪ ﻓﻴﻤﺎ ﺑﻌﺪ ﺃﻥ ﻳﻀﻊ ﻋﻠﻴﻬﺎ ﺷﺮﺣﹰﺎ ﻭﻫﺬﺍ ﺍﻟﺬﻱ ﻗﻤﺖ ﺑﺘﺤﻘﻴﻘﻪ ﻋﻠﻰ‬
‫ﺍﻟﻨﺴﺦ ﺍﳌﺬﻛﻮﺭﺓ ﰲ ﺍﻟﺘﻘﺪﱘ‪.‬‬
‫ﻭﻛﺎﻥ ﻣﻦ ﺍﻟﻌﺎﺩﺓ ﻋﻨﺪ ﺍﳌﺘﻌﻠﻤﲔ ﻭﺃﻫﻞ ﺍﻟﻌﻠﻢ ﰲ ﻋﺼﺮ ﺍﳌﺆﻟﻒ ﻛﺜﺮﺓ ﺍﳌﺨﺘﺼﺮﺍﺕ ﻭﺍﻟﺘﺼﺎﻧﻴﻒ‬
‫ﻭﻛﺬﺍ ﺍﳊﻮﺍﺷﻲ ﺍﻟﱵ ﻛﺎﻧﺖ ﺗﻜﺘﺐ ﻋﻠﻴﻬﺎ‪.‬‬
‫ﻭﻗﺪ ﺟﺎﺀ ﻫﺬﺍ ﺍﻟﺸﺮﺡ ﲢﺖ ﻋﻨﻮﺍﻥ )ﺷﺮﺡ ﲢﻔﺔ ﺍﻹﺧﻮﺍﻥ ﰲ ﻋﻠﻢ ﺍ‪‬ﺎﺯ( ﻟﻜﻦ ﺑﻌﺪ ﺍﻹﻃﻼﻉ‬
‫ﻋﻠﻰ ﺍﻟﻨﺴﺦ ﺍﳌﻘﺎﺭﻧﺔ ﻭﺍﻟﺘﺮﺍﺟﻢ ﺍﻟﱵ ﺫﻛﺮﺕ ﻫﺬﺍ ﺍﳌﺆﻟﻒ ﺟﺎﺀ ﲢﺖ ﻋﻨﻮﺍﻥ )ﺷﺮﺡ ﲢﻔﺔ ﺍﻹﺧﻮﺍﻥ ﰲ‬
‫ﻋﻠﻢ ﺍﻟﺒﻴﺎﻥ( ﻭﻫﺬﺍ ﻣﻦ ﺑﺎﺏ ﺗﺴﻤﻴﺔ ﺍﳉﺰﺀ ﺑﺎﺳﻢ ﺍﻟﻜﻞ‪ ،‬ﻭﻗﺪ ﻗﺴﻢ ﺍﻟﺒﺎﺣﺚ ﻫﺬﺍ ﺍﻟﺸﺮﺡ ﺇﱃ ﺃﺭﺑﻌﺔ‬
‫ﻓﺼﻮﻝ ﺣﻴﺚ ﻗﺴﻢ ﰲ ﺍﻟﻔﺼﻞ ﺍﻷﻭﻝ ﺍﻻﺳﺘﻌﺎﺭﺓ ﺇﱃ ﺗﺼﺮﳛﻴﺔ ﻭﻣﻜﻨﻴﺔ ﻭﲣﻴﻠﻴﺔ ﻭﰲ ﺍﻟﻔﺼﻞ ﺍﻟﺜﺎﱐ ﺇﱃ‬
‫ﻣﺮﺷﺤﺔ ﻭﳎﺮﺩﺓ ﻭﻣﻄﻠﻘﺔ ﻭﰲ ﺍﻟﺜﺎﻟﺚ ﺇﱃ ﺃﺻﻠﻴﺔ ﻭﺗﺒﻌﻴﺔ ﺃﻣﺎ ﰲ ﺍﻟﻔﺼﻞ ﺍﻟﺮﺍﺑﻊ ﺇﱃ ﺃﺻﻞ ﺍﻻﺳﺘﻌﺎﺭﺓ‬
‫ﺍﳌﻜﻨﻴﺔ‪.‬‬
‫ﻭﻗﺪ ﺧﻠﺼﺖ ﺇﱃ ﺃﻥ ﻫﺬﺍ ﺍﻟﻨﻮﻉ ﻣﻦ ﺍﻟﺘﺄﻟﻴﻒ ﻳﱪﺯ ﳕﻂ ﻣﻦ ﺃﳕﺎﻁ ﺍﻟﺪﺭﺍﺳﺔ ﰲ ﺍﻟﻌﺼﺮ ﺍﳌﻤﻠﻮﻛﻲ‬
‫ﻭﻫﻮ ﻣﱳ ﻳﻔﻴﺪ ﺍﻟﻄﻠﺒﺔ ﻭﺍﳌﺪﺭﺳﲔ ﻋﻠﻰ ﺍﻟﺴﻮﺍﺀ ﻓﻠﻠﻄﻠﺒﺔ ﺯﺍﺩﹰﺍ ﳝﻜﻦ ﺣﻔﻈﻪ ﻭﺍﺳﺘﻈﻬﺎﺭﻩ ﻭﻟﻠﻤﺪﺭﺳﲔ‬
‫ﻣﺮﺟﻌﹰﺎ ﻟﻼﺳﺘﺌﻨﺎﺱ ﻟﺘﻤﻴﺰﻩ ﺑﺎﻟﺪﻗﺔ ﻭﺍﻻﺧﺘﺼﺎﺭ‪ ،‬ﻓﻬﻮ ﻳﺸﺒﻪ ﺇﱃ ﺣﺪ ﻣﺎ ﺗﻠﻚ ﺍﻷﺭﺍﺟﻴﺰ ﻭﺍﳌﺘﻮﻥ ﻟﻌﺼﺮ‬
‫ﺍﳌﺆﻟﻒ ﻛﺄﻟﻔﻴﺔ ﺍﺑﻦ ﻣﺎﻟﻚ ﰲ ﺍﻟﻨﺤﻮ ﻭﺍﺑﻦ ﻣﻌﻂ ﻭﻣﻘﺪﻣﺔ ﺍﺑﻦ ﺁﺟﺮﻭﻡ ﻭﻏﲑﻫﺎ‪.‬‬
‫ﻭﻗﺒﻞ ﺃﻥ ﺃﺿﻊ ﺍﻟﻘﻠﻢ ﺃﻗﻮﻝ ﻓﺈﻥ ﺃﺻﺒﺖ ﺍﳍﺪﻑ ﻓﺬﺍﻙ ﺍﻟﺬﻱ ﻛﻨﺖ ﺃﺳﻌﻰ ﻭﺃﺟﺘﻬﺪ ﻭﺇﻥ ﺃﺧﻄﺄﺕ‬
‫ﻭﺍﳋﻄﺄ ﻭﺍﺭﺩ ﻻ ﳏﺎﻟﺔ ﻓﺤﺴﱯ ﺃﻧﲏ ﺣﺎﻭﻟﺖ ﻭﺍﷲ ﻣﻦ ﻭﺭﺍﺀ ﺍﻟﻘﺼﺪ‪.‬‬

‫‪- 102 -‬‬

 ‫ﺍﻟﻔﻬـﺎﺭﺱ ﺍﻟﻌﺎﻣـﺔ‬

‫‪ – 1‬ﻓﻬﺮﺱ ﺍﻵﻳﺎﺕ ﺍﻟﻘﺮﺁﻧﻴﺔ‪.‬‬

‫‪ – 2‬ﻓﻬﺮﺱ ﺍﻷﺣﺎﺩﻳﺚ‪.‬‬
‫‪ – 3‬ﻓﻬﺮﺱ ﺍﻷﻣﺜﺎﻝ ﻭﺍﳊﻜﻢ‬
‫‪ – 4‬ﻓﻬﺮﺱ ﺍﻷﺷﻌﺎﺭ‪.‬‬
‫‪ – 5‬ﻓﻬﺮﺱ ﺍﻷﻋﻼﻡ‪.‬‬
‫‪ – 6‬ﻓﻬﺮﺱ ﺍﻷﻣﺎﻛﻦ‪.‬‬
‫‪ -7‬ﻓﻬﺮﺱ ﺍﳌﺼﻄﻠﺤﺎﺕ ﺍﻟﺒﻼﻏﻴﺔ‬
‫‪ -8‬ﻓﻬﺮﺱ ﺍﳌﺆﻟﻔﺎﺕ ﻭﺍﳌﺼﻨﻔﺎﺕ‬
‫‪ -9‬ﻓﻬﺮﺱ ﺍﳌﺼﺎﺩﺭ ﻭﺍﳌﺮﺍﺟﻊ‬
‫‪ -10‬ﻓﻬﺮﺱ ﺍﳌﻮﺿﻮﻋﺎﺕ‬

‫‪- 103 -‬‬

 ‫‪–1-‬‬
‫ﻓﻬﺮﺱ ﺍﻵﻳﺎﺕ ﺍﻟﻘﺮﺁﻧﻴﺔ‬
‫اﻟﺼﻔﺤﺔ‬ ‫رﻗﻤﻬﺎ‬ ‫اﻵﻳﺔ‬
‫‪ -‬اﻟﺒﻘﺮة ‪-‬‬
‫‪61‬‬ ‫‪16‬‬ ‫} ﺃﻭﻟﺌﻙ ﺍﻟﺫﻴﻥ ﺍﺸﺘﺭﻭﺍ ﺍﻟﻀﻼﻟﺔ ﺒﺎﻟﻬﺩﻯ ﻓﻤﺎ ﺭﺒﺤﺕ ﺘﺠﺎﺭﺘﻬﻡ {‬
‫‪52‬‬ ‫‪19‬‬ ‫} ﺃﻭ ﻜﺼﻴﺏ ﻤﻥ ﺍﻟﺴﻤﺎﺀ ﻓﻴﻪ ﻅﻠﻤﺎﺕ ﻭﺭﻋﺩ ﻭﺒﺭﻕ ﻴﺠﻌﻠﻭﻥ ﺃﺼﺎﺒﻌﻬﻡ‬
‫ﻓﻲ ﺃﺫﺍﻨﻬﻡ ﻤﻥ ﺍﻟﺼﻭﺍﻋﻕ ﺤﺫﺭ ﺍﻟﻤﻭﺕ ﻭﺍﷲ ﻤﺤﻴﻁ ﺒﺎﻟﻜﺎﻓﺭﻴﻥ {‬
‫‪52‬‬ ‫‪20‬‬ ‫} ﻴﻜﺎﺩ ﺍﻟﺒﺭﻕ ﻴﺨﻁﻑ ﺃﺒﺼﺎﺭﻫﻡ ﻜﻠﻤﺎ ﺃﻀﺎﺀ ﻟﻬﻡ ﻤﺸﻭﺍ ﻓﻴﻪ ﻭﺇﺫﺍ ﺃﻅﻠﻡ‬
‫ﻋﻠﻴﻬﻡ ﻗﺎﻤﻭﺍ ﻭﻟﻭ ﺸﺎﺀ ﺍﷲ ﻟﺫﻫﺏ ﺒﺴﻤﻌﻬﻡ ﻭﺃﺒﺼﺎﺭﻫﻡ ﺇﻥ ﺍﷲ ﻋﻠﻰ ﻜل‬
‫ﺸﻲﺀ ﻗﺩﻴﺭ {‬
‫‪52‬‬ ‫‪109‬‬ ‫} ﻭﺩ ﻜﺜﻴﺭ ﻤﻥ ﺃﻫل ﺍﻟﻜﺘﺎﺏ ﻟﻭ ﻴﺭﺩﻭﻜﻡ ﻤﻥ ﺒﻌﺩ ﺇﻴﻤﺎﻨﻜﻡ ﻜﻔﺎﺭﹰﺍ ﺤﺴﺩﹰﺍ ﻤﻥ‬
‫ﻋﻨﺩ ﺃﻨﻔﺴﻬﻡ ﻤﻥ ﺒﻌﺩ ﻤﺎ ﺘﺒﻴﻥ ﻟﻬﻡ ﺍﻟﺤﻕ ﻓﺎﻋﻔﻭﺍ ﻭﺍﺼﻔﺤﻭﺍ ﺤﺘﻰ ﻴﺄﺘﻲ ﺍﷲ‬
‫ﺒﺄﻤﺭﻩ ﺇﻥ ﺍﷲ ﻋﻠﻰ ﻜل ﺸﻲﺀ ﻗﺩﻴﺭ{‬
‫‪52‬‬ ‫‪148‬‬ ‫} ﻭﻟﻜل ﻭﺠﻬﺔ ﻫﻭ ﻤﻭﻟﻴﻬﺎ ﻓﺎﺴﺘﺒﻘﻭﺍ ﺍﻟﺨﻴﺭﺍﺕ ﺃﻴﻨﻤﺎ ﺘﻜﻭﻨﻭﺍ ﻴﺄﺘﻲ ﺒﻜﻡ ﺍﷲ‬
‫ﺠﻤﻴﻌﹰﺎ ﺇﻥ ﺍﷲ ﻋﻠﻰ ﻜل ﺸﻲﺀ ﻗﺩﻴﺭ {‬
‫‪54‬‬ ‫‪184‬‬ ‫} ﻓﻤﻥ ﺸﻬﺩ ﻤﻨﻜﻡ ﺍﻟﺸﻬﺭ ﻓﻠﻴﺼﻤﻪ {‬
‫‪ -‬ﺃل ﻋﻤﺭﺍﻥ ‪-‬‬
‫‪56‬‬ ‫‪107‬‬ ‫}ﻭﺃﻤﺎ ﺍﻟﺫﻴﻥ ﺍﺒﻴﻀﺕ ﻭﺠﻭﻫﻬﻡ ﻓﻔﻲ ﺭﺤﻤﺔ ﺍﷲ ﻫﻡ ﻓﻴﻬﺎ ﺨﺎﻟﺩﻭﻥ{‬
‫‪56‬‬ ‫‪165‬‬ ‫} ﻭﻟﻤﺎ ﺃﺼﺎﺒﺘﻜﻡ ﻤﺼﻴﺒﺔ ﻗﺩ ﺃﺼﺒﺘﻡ ﻤﺜﻠﻴﻬﺎ ﻗﻠﺘﻡ ﺃﻨﻰ ﻫﺫﺍ ﻗل ﻫﻭ ﻤﻥ ﻋﻨﺩ‬
‫ﺃﻨﻔﺴﻜﻡ ﺇﻥ ﺍﷲ ﻋﻠﻰ ﻜل ﺸﻲﺀ ﻗﺩﻴﺭ {‬
‫‪ -‬ﺍﻟﻨﺴﺎﺀ ‪-‬‬
‫‪55‬‬ ‫‪02‬‬ ‫} ﻭﺁﺘﻭﺍ ﺍﻟﻴﺘﺎﻤﻰ ﺃﻤﻭﺍﻟﻬﻡ ﻭﻻ ﺘﺘﺒﺩﻟﻭﺍ ﺍﻟﺨﺒﻴﺙ ﺒﺎﻟﻁﻴﺏ ﻭﻻ ﺘﺄﻜﻠﻭﺍ ﺃﻤﻭﺍﻟﻬﻡ‬
‫ﺇﻟﻰ ﺃﻤﻭﺍﻟﻜﻡ ﺇﻨﻪ ﻜﺎﻥ ﺤﻭﺒﹰﺎ ﻜﺒﻴﺭﹰﺍ {‬
‫‪ -‬ﻴﻭﺴﻑ ‪-‬‬
‫‪56‬‬ ‫‪36‬‬ ‫} ﻭﺩﺨل ﻤﻌﻪ ﺍﻟﺴﺠﻥ ﻓﺘﻴﺎﻥ ﻗﺎل ﺃﺤﺩﻫﻤﺎ ﺇﻨﻲ ﺃﺭﺍﻨﻲ ﺃﻋﺼﺭ ﺨﻤﺭﹰﺍ ﻭﻗﺎل‬
‫ﺍﻵﺨﺭ ﺇﻨﻲ ﺃﺤﻤل ﻓﻭﻕ ﺭﺃﺴﻲ ﺨﺒﺯﹰﺍ ﺘﺄﻜل ﺍﻟﻁﻴﺭ ﻤﻨﻪ ﻨﺒﺌﻨﺎ ﺒﺘﺎﻭﻴﻠﻪ ﺇﻨﺎ‬
‫ﻨﺭﺍﻙ ﻤﻥ ﺍﻟﻤﺤﺴﻨﻴﻥ {‬
‫‪ -‬ﺍﻟﺭﻋﺩ ‪-‬‬

‫‪- 104 -‬‬

 ‫‪61‬‬ ‫‪25‬‬ ‫} ﻭﺍﻟﺫﻴﻥ ﻴﻨﻘﻀﻭﻥ ﻋﻬﺩ ﺍﷲ ﻤﻥ ﺒﻌﺩ ﻤﻴﺜﺎﻗﻪ ﻭﻴﻘﻁﻌﻭﻥ ﻤﺎ ﺃﻤﺭ ﺍﷲ ﺒﻪ ﺃﻥ‬
‫ﻴﻭﺼل ﻭﻴﻔﺴﺩﻭﻥ ﻓﻲ ﺍﻷﺭﺽ ﺃﻭﻟﺌﻙ ﻟﻬﻡ ﺍﻟﻠﻌﻨﺔ ﻭﻟﻬﻡ ﺴﻭﺀ ﺍﻟﺩﺍﺭ {‬
‫‪ -‬ﺍﻟﻨﺤل ‪-‬‬
‫‪52‬‬ ‫‪77‬‬ ‫} ﻭﷲ ﻏﻴﺏ ﺍﻟﺴﻤﻭﺍﺕ ﻭﺍﻷﺭﺽ ﻭﻤﺎ ﺃﻤﺭ ﺍﻟﺴﺎﻋﺔ ﺇﻻ ﻜﻠﻤﺢ ﺍﻟﺒﺼﺭ ﺃﻭ‬
‫ﻫﻭ ﺃﻗﺭﺏ ﺇﻥ ﺍﷲ ﻋﻠﻰ ﻜل ﺸﻲﺀ ﻗﺩﻴﺭ {‬
‫‪ -‬ﺍﻟﻜﻬﻑ ‪-‬‬
‫‪79‬‬ ‫‪84‬‬ ‫} ﻓﺎﺘﺒﻊ ﺴﺒﺒﹰﺎ ﺤﺘﻰ ﺇﺫﺍ ﺒﻠﻎ ﻤﻐﺭﺏ ﺍﻟﺸﻤﺱ ﻭﺠﺩﻫﺎ ﺘﻐﺭﺏ ﻓﻲ ﻋﻴﻥ‬
‫ﺤﻤﻴﺌﺔ ﻭﻭﺠﺩ ﻋﻨﺩﻫﺎ ﻗﻭﻤﹰﺎ ﻗﻠﻨﺎ ﻴﺎ ﺫﺍ ﺍﻟﻘﺭﻨﻴﻥ ﺇﻤﺎ ﺃﻥ ﺘﻌﺫﺏ ﻭﺇﻤﺎ ﺃﻥ ﺘﺘﺨﺫ‬
‫ﻓﻴﻬﻡ ﺤﺴﻨﺎ {‬
‫‪ -‬ﻁﻪ ‪-‬‬
‫‪68‬‬ ‫‪71‬‬ ‫} ﻗﺎل ﺁﻤﻨﺘﻡ ﻟﻪ ﻗﺒل ﺃﻥ ﺁﺫﻥ ﻟﻜﻡ ﺇﻨﻪ ﻟﻜﺒﻴﺭﻜﻡ ﺍﻟﺫﻱ ﻋﻠﻤﻜﻡ ﺍﻟﺴﺤﺭ‬
‫ﻓﻸﻗﻁﻌﻥ ﺃﻴﺩﻴﻜﻡ ﻭﺃﺭﺠﻠﻜﻡ ﻤﻥ ﺨﻼﻑ ﻭﻷﺼﻠﺒﻨﻜﻡ ﻓﻲ ﺠﺫﻭﻉ ﺍﻟﻨﺨل‬
‫ﻭﻟﺘﻌﻠﻤﻥ ﺃﻴﻨﺎ ﺃﺸﺩ ﻋﺫﺍﺒﹰﺎ ﻭﺃﺒﻘﻰ {‬
‫‪ -‬ﺍﻟﻨﻭﺭ ‪-‬‬
‫‪52‬‬ ‫‪45‬‬ ‫} ﻭﺍﷲ ﺨﻠﻕ ﻜل ﺩﺍﺒﺔ ﻤﻥ ﻤﺎﺀ ﻓﻤﻨﻬﻡ ﻤﻥ ﻴﻤﺸﻲ ﻋﻠﻰ ﺒﻁﻨﻪ ﻭﻤﻨﻬﻡ ﻤﻥ‬
‫ﻴﻤﺸﻲ ﻋﻠﻰ ﺭﺠﻠﻴﻥ ﻭﻤﻨﻬﻡ ﻤﻥ ﻴﻤﺸﻲ ﻋﻠﻰ ﺃﺭﺒﻊ ﻴﺨﻠﻕ ﺍﷲ ﻤﺎ ﻴﺸﺎﺀ ﺇﻥ‬
‫ﺍﷲ ﻋﻠﻰ ﻜل ﺸﻲﺀ ﻗﺩﻴﺭ {‬
‫‪ -‬ﺍﻟﻌﻨﻜﺒﻭﺕ ‪-‬‬
‫‪52‬‬ ‫‪20‬‬ ‫} ﻗل ﺴﻴﺭﻭﺍ ﻓﻲ ﺍﻷﺭﺽ ﻓﺎﻨﻅﺭﻭﺍ ﻜﻴﻑ ﺒﺩﺃ ﺍﻟﺨﻠﻕ ﺜﻡ ﺍﷲ ﻴﻨﺸﻰﺀ ﺍﻟﻨﺸﺄﺓ‬
‫ﺍﻵﺨﺭﺓ ﺇﻥ ﺍﷲ ﻋﻠﻰ ﻜل ﺸﻲﺀ ﻗﺩﻴﺭ {‬
‫‪ -‬ﻓﺎﻁﺭ ‪-‬‬
‫‪52‬‬ ‫‪01‬‬ ‫ﻼ ﺃﻭﻟﻰ‬
‫} ﺍﻟﺤﻤﺩ ﷲ ﻓﺎﻁﺭ ﺍﻟﺴﻤﻭﺍﺕ ﻭﺍﻷﺭﺽ ﺠﺎﻋل ﺍﻟﻤﻼﺌﻜﺔ ﺭﺴ ﹰ‬
‫ﺃﺠﻨﺤﺔ ﻤﺜﻨﻰ ﻭﺜﻼﺙ ﻭﺭﺒﺎﻉ ﻴﺯﻴﺩ ﻓﻲ ﺍﻟﺨﻠﻕ ﻤﺎ ﻴﺸﺎﺀ ﺇﻥ ﺍﷲ ﻋﻠﻰ ﻜل‬
‫ﺸﻲﺀ ﻗﺩﻴﺭ {‬
‫‪ -‬ﺍﻟﺼﺎﻓﺎﺕ ‪-‬‬
‫‪46‬‬ ‫‪96‬‬ ‫} ﻭﺍﷲ ﺨﻠﻘﻜﻡ ﻭﻤﺎ ﺘﻌﻤﻠﻭﻥ {‬

‫‪ -‬ﺍﻟﺠﺎﺜﻴﺔ ‪-‬‬

‫‪- 105 -‬‬

‫‪52‬‬ ‫‪23‬‬ ‫} ﻭﻗﺎﻟﻭﺍ ﻤﺎ ﻫﻲ ﺇﻻ ﺤﻴﺎﺘﻨﺎ ﺍﻟﺩﻨﻴﺎ ﻨﻤﻭﺕ ﻭﻨﺤﻴﺎ ﻭﻤﺎ ﻴﻬﻠﻜﻨﺎ ﺇﻻ ﺍﻟﺩﻫﺭ‬
‫ﻭﻤﺎﻟﻬﻡ ﺒﺫﻟﻙ ﻤﻥ ﻋﻠﻡ ﺇﻥ ﻫﻡ ﺇﻻ ﻴﻅﻨﻭﻥ {‬
‫‪ -‬ﺍﻟﺭﺤﻤﻥ ‪-‬‬
‫‪44‬‬ ‫‪02‬‬ ‫} ﺍﻟﺭﺤﻤﻥ ﻋﻠﻡ ﺍﻟﻘﺭﺁﻥ ‪ .‬ﺨﻠﻕ ﺍﻹﻨﺴﺎﻥ ﻋﻠﻤﻪ ﺍﻟﺒﻴﺎﻥ {‬
‫‪ -‬ﺍﻟﻌﻠﻕ ‪-‬‬
‫‪56‬‬ ‫‪17‬‬ ‫} ﻓﻠﻴﺩﻉ ﻨﺎﺩﻴﻪ {‬
‫‪ -‬ﺍﻟﺯﻟﺯﻟﺔ ‪-‬‬
‫‪51‬‬ ‫‪02‬‬ ‫} ﻭﺃﺨﺭﺠﺕ ﺍﻷﺭﺽ ﺃﺜﻘﺎﻟﻬﺎ {‬
‫‪ -‬ﺍﻟﻘﺎﺭﻋﺔ ‪-‬‬
‫‪50‬‬ ‫‪07‬‬ ‫} ﻓﻬﻭ ﻓﻲ ﻋﻴﺸﺔ ﺭﺍﻀﻴﺔ {‬

‫‪- 106 -‬‬

 ‫‪–2-‬‬
‫ﻓﻬﺮﺱ ﺍﻷﺣﺎﺩﻳﺚ‬
‫ﺍﻟﺼﻔﺤﺔ‬ ‫ﺍﳊﺪﻳـــﺚ‬
‫‪12‬‬ ‫ﺧﲑﻛﻢ ﻣﻦ ﺗﻌﻠﻢ ﺍﻟﻘﺮﺁﻥ ﻭﻋﻠﻤﻪ‬
‫‪45‬‬ ‫ﻛﻞ ﻛﻼﻡ ﻻ ﻳﺒﺪﺃ ﰲ ﺑﺎﳊﻤﺪ ﷲ ﻓﻬﻮ ﺃﺟﺬﻡ‬
‫‪44‬‬ ‫ﺇﻥ ﻣﻦ ﺍﻟﺒﻴﺎﻥ ﻟﺴﺤﺮﹰﺍ‬

‫‪- 107 -‬‬

 ‫‪–3-‬‬
‫ﻓﻬـﺮﺱ ﺍﻷﻣﺜــــﺎﻝ‬
‫ﺍﻟﺼﻔﺤﺔ‬ ‫ﺍﻟﻤﺜل‬
‫‪70‬‬ ‫ﺍﻟﺼﻴﻒ ﺿﻴﻌﺖ ﺍﻟﻠﱭ‬

‫‪- 108 -‬‬

 ‫‪–4-‬‬
‫ﻓﻬﺮﺱ ﺍﻷﺷﻌﺎﺭ‬
‫ﺍﻟﺼﻔﺤﺔ‬ ‫ﺍﻟﺒﺤﺭ‬
‫‪61‬‬ ‫ﻋﻠﻘـﺕ ﻟﻀﺤﻜﺘـﻪ ﺭﻗـﺎﺏ ﺍﻟﻤﺎل ﺍﻟﻁﻭﻴــل‬
‫*‬ ‫ﻋﻤـﺭ ﺍﻟـﺭﺩﺍﺀ ﺇﺫﺍ ﺘﺒﺴﻡ ﻀﺎﺤﻜﺎ‬
‫‪62‬‬ ‫ﻟـﻪ ﻟﺒـﺩ ﺃﻅﻔـﺎﺭﻩ ﻟـﻡ ﺘﻘــﻠﻡ‬
‫*‬ ‫ﻟـﺩﻯ ﺃﺴﺩ ﺸﺎﻜﻲ ﺍﻟﺴﻼﺡ ﻤﻘﺫﻑ‬
‫‪62‬‬ ‫ﺒﺤﻭﻤﺎﻨـﺔ ﺍﻟـﺩﺭﺍﺝ ﻓﺎﻟﻤﺘﺜﻠــﻡ‬
‫*‬ ‫ﺃﻤـﻥ ﺃﻡ ﺃﻭﻓـﻰ ﺩﻤﻨـﺔ ﻟﻡ ﺘﻜﻠﻡ‬

‫‪64‬‬ ‫ﺇﻟـﻰ ﻗﻤـﺭ ﻤـﻥ ﺍﻹﻴـﻭﺍﻥ ﻨـﺎﺩ ﺍﻟﻁﻭﻴــل‬

‫*‬ ‫ﻴــﺅﺩﻭﻥ ﺍﻟﺘﺤﻴـﺔ ﻤـﻥ ﺒﻌﻴـﺩ‬

‫‪64‬‬ ‫ﺍﻟﻁﻭﻴــل‬ ‫ﻭﺍﻥ ﻻﻤﻨـﻲ ﻓﻴﻙ ﺍﻟﺴﻬﺎ ﻭﺍﻟﻔﺭﻗﺩ‬

‫*‬ ‫ﺃﺤﺒـﻙ ﻴﺎ ﺸﻤـﺱ ﺍﻟﺯﻤﺎﻥ ﻭﺒﺩﺭﻩ‬

‫‪71‬‬ ‫ﺠﻨﻴـﺏ ﻭﺠﺜﻤﺎﻨـﻲ ﺒﻤﻜـﺔ ﻤﻭﺜﻕ ﺍﻟﻁﻭﻴــل‬

‫*‬ ‫ﻫﻭﺍﻱ ﻤﻊ ﺍﻟﺭﻜﺏ ﺍﻟﻴﻤﺎﻨﻴﻥ ﻤﺼﻌﺩ‬

‫‪73‬‬ ‫ﺍﻟﻁﻭﻴــل‬ ‫ﻜﻌﻨﻘـﻭﺩ ﻤﻼﺤﻴـﺔ ﺤﻴـﻥ ﻨـﻭﺭ‬

‫*‬ ‫ﻭﻗﺩ ﻻﺡ ﻓﻲ ﺍﻟﺼﺒﺢ ﺍﻟﺜﺭﻴﺎ ﻜﻤﺎ ﺘﺭﻯ‬

‫‪77‬‬ ‫ﺍﻟﻁﻭﻴــل‬ ‫ﻭﺃﺴﻴﺎﻓﻨـﺎ ﻟﻴل ﺘﻬﺎﻭﺕ ﻜﻭﺍﻜﺒـﻪ‬

‫*‬ ‫ﻜـﺄﻥ ﻤﺜـﺎﺭ ﺍﻟﻨﻘﻊ ﻓﻭﻕ ﺭﺅﺴـﻨﺎ‬

‫‪77‬‬ ‫ﺍﻟﻁﻭﻴــل‬ ‫ﻓﺠﺌﺕ ﻋﺠﻴﺏ ﺍﻟﻅﻥ ﻟﻠﻌﻠﻡ ﻤﻭﺌـﻼ‬

‫*‬ ‫ﻋﻤﻴـﺕ ﺠﻨﻴﻨﺎ ﻭﺍﻟﺫﻜﺎﺀ ﻤﻥ ﺍﻟﻌﻤﻰ‬
‫‪77‬‬ ‫ﻟﻘﻠﺏ ﺇﺫﺍ ﻤﺎ ﻀﻴﻊ ﺍﻟﻨﺎﺱ ﺤﺼـﻼ‬
‫*‬ ‫ﻭﻏـﺎﺽ ﻀﻴﺎﺀ ﺍﻟﻌﻴﻥ ﻟﻠﻌﻠﻡ ﺭﺍﻓﺩﺍ‬
‫‪77‬‬ ‫ﺒﻘﻭل ﺇﺫﺍ ﻤﺎ ﺃﺤﺯﻥ ﺍﻟﺸﻌﺭ ﺃﺴﻬـﻼ‬
‫*‬ ‫ﻭﺸﻌﺭ ﻜﻨﻭﺭ ﺍﻟﺭﻭﺽ ﻻﺀﻤﺕ ﺒﻴﻨﻪ‬

‫‪14‬‬ ‫ﺍﻟﺒﺴﻴـﻁ‬ ‫ﻗـﺩ ﻨﻬﺠﻭﺍ ﻨﻬﺞ ﺍﻟﺠﻨﻴﺩ ﻓﺭﻗـﻭﺍ‬

‫*‬ ‫ﻭﺍﻟﺨـﻠﻭﺘﻴـﺔ ﺍﻟﻜــﺭﺍﻡ ﻓــﺭﻕ‬
‫‪14‬‬ ‫ﻤـﻥ ﻗـﺩ ﺩﻋـﻭﺍ ﺒﺎﻟﻘﺭﺒﺎﺸﻠﻴـﺔ‬
‫*‬ ‫ﻭﺨﻴﺭﻫــﻡ ﻁﺭﻴﻘﺘﻨـﺎ ﺍﻟﻌﻠﻴــﺔ‬

‫‪47‬‬ ‫ﺍﻟﺒﺴﻴــﻁ‬ ‫ﺤﺘـﻰ ﻴﻜﻠﻡ ﻓﻲ ﺍﻟﺼﺒﺢ ﺍﻟﻌﺼﺎﻓﻴﺭ‬

‫*‬ ‫ﻴﺎﻟﻴﻠـﺔ ﻟـﻲ ﺒﺠﻭﺍﺭﻴﻥ ﺴﺎﻫـﺭﺓ‬

‫‪- 109 -‬‬

‫ﺍﻟﺼﻔﺤﺔ‬ ‫ﺍﻟﺒﺤﺭ‬

‫‪64‬‬ ‫ﺍﻟﺒﺴﻴــﻁ‬ ‫ﻤـﺎ ﻜـﺎﻥ ﺨﺎﻁ ﻋﻠﻴﻬﻡ ﻜل ﺯﺭﺍﺩ‬

‫*‬ ‫ﻨﻘﺭﻴﻬـﻡ ﻟﻬﺫﻤﻴـﺎﺕ ﻨﻘـﺩ ﺒﻬـﺎ‬

‫‪78‬‬ ‫ﺍﻟﺒﺴﻴــﻁ‬ ‫ﺒﺎﻟﺴﺤﺭ ﺤﺴﺒﻙ ﻗﺩ ﺃﺤﺭﻗﺕ ﺃﺤﺸﺎﺌﻲ‬

‫*‬ ‫ﻴﺎ ﺃﻴﻬـﺎ ﺍﻟﺭﺸﺎ ﺍﻟﻤﻜﺤﻭل ﻨﺎﻅـﺭﻩ‬
‫‪78‬‬ ‫ﻥ ﺍﻟﺸﻤﺱ ﺘﻐﺭﺏ ﻓﻲ ﻋﻴﻥ ﻤﻥ ﺍﻟﻤﺎﺀ‬
‫*‬ ‫ﺇﻥ ﺍﻨﻐﻤﺎﺴـﻙ ﻓـﻲ ﺍﻟﺘﻴﺎﺭ ﺤﻘﻕ ﺃ‬

‫‪47‬‬ ‫ﺍﻟﻭﺍﻓــﺭ‬ ‫ﺭﻋﻴﻨــﺎﻩ ﻭﺍﻥ ﻜﺎﻨــﻭﺍ ﻏﻀﺎﺒﺎ‬

‫*‬ ‫ﺇﺫﺍ ﺴﻘـﻁ ﺍﻟﺴﻤـﺎﺀ ﺒﺄﺭﺽ ﻗﻭﻡ‬

‫‪56‬‬ ‫ﺍﻟﻜﺎﻤــل‬ ‫ﻓـل ﺃﻨﺕ ﻤﻥ ﺸﺭﻙ ﺍﻟﻤﻨﻴﺔ ﻨﺎﺝ؟‪.‬‬

‫*‬ ‫ﻗـل ﻟﻠﺠﺒـﺎﻥ ﺇﺫﺍ ﺘﺄﺨـﺭ ﺴﺭﺠﻪ‬
‫‪57‬‬ ‫ﻫﺭﻴـﻕ ﺸﺒﺎﺒـﻲ ﻭﺴﺘﺸﻥ ﺃﺩﻴﻤﻲ‬
‫*‬ ‫ﻓﻘﻠـﺕ ﻟﻬـﺎ ﻴﺎ ﺃﻡ ﺒﻴﻀـﺎﺀ ﺇﻨﻨﻲ‬

‫‪75‬‬ ‫ﺍﻟﻜﺎﻤــل‬ ‫ﺘﺭﻴـﺎ ﻭﺠﻭﻩ ﺍﻷﺭﺽ ﻜﻴﻑ ﺘﺼﻭﺭ‬

‫*‬ ‫ﻴﺎ ﺼﺎﺤﺒـﻲ ﺘﻘﺼﻴـﺎ ﻨﻅﺭﻴﻜﻤـﺎ‬
‫‪75‬‬ ‫ﺯﻫـﺭ ﺍﻟﺭﺒﺎ ﻓﻜﺄﻨﻤﺎ ﻫـﻭ ﻤﻘـﻤﺭ‬
‫*‬ ‫ﺘﺭﻴـﺎ ﻨﻬـﺎﺭﺍ ﻤﺸﻤﺴـﺎ ﻗﺩ ﺸﺎﺒﻪ‬

‫‪76‬‬ ‫ﺍﻟﻜﺎﻤــل‬ ‫ﺫﻫـﺏ ﺍﻷﺼﻴل ﻋﻠﻰ ﻟﺠﻴﻥ ﺍﻟﻤﺎﺀ‬

‫*‬ ‫ﻭﺍﻟﺭﻴﺢ ﺘﻌﺒﺙ ﺒﺎﻟﻐﺼﻭﻥ ﻭﻗﺩ ﺠﺭﻯ‬

‫‪78‬‬ ‫ﺍﻟﻜﺎﻤــل‬ ‫ﺇﻻ ﺒﻭﺠـﻪ ﻟﻴـﺱ ﻓﻴـﻪ ﺤﻴـﺎﺀ‬

‫*‬ ‫ﻟﻡ ﺘﻠﻕ ﻫﺫﺍ ﺍﻟﻭﺠﻪ ﺸﻤﺱ ﻨﻬﺎﺭﻨﺎ‬

‫‪80‬‬ ‫ﺍﻟﻜﺎﻤــل‬ ‫ﻨﻔـﺱ ﺃﻋـﺯ ﺇﻟـﻲ ﻤﻥ ﻨﻔﺴـﻲ‬

‫*‬ ‫ﻗﺎﻤـﺕ ﺘﻅﻠﻠﻨـﻲ ﻤـﻥ ﺍﻟﺸﻤـﺱ‬
‫‪80‬‬ ‫ﺸﻤـﺱ ﺘﻅﻠﻠﻨـﻲ ﻤﻥ ﺍﻟﺸﻤـﺱ‬
‫*‬ ‫ﻗﺎﻤـﺕ ﺘﻅﻠﻠﻨـﻲ ﻭﻤـﻥ ﻋﺠـﺏ‬

‫‪93‬‬ ‫ﻓﻲ ﻗﺒﺔ ﻀﺭﺒﺕ ﻋﻠﻰ ﺍﺒﻥ ﺍﻟﺤﺸﺭﺝ ﺍﻟﻜﺎﻤــل‬

‫*‬ ‫ﺇﻥ ﺍﻟﺴﻤﺎﺤﺔ ﻭﺍﻟﻤﺭﻭﺀﺓ ﻭﺍﻟﻨـﺩﻯ‬
‫‪77‬‬ ‫ﺍﻟﻜﺎﻤل‬ ‫ﺇﺫ ﺤﻴﺙ ﻜﻨﺕ ﻤﻥ ﺍﻟﻅﻼﻡ ﻀﻴﺎﺀ‬ ‫ﺃﻤﻥ ﺍﺯﺩﻴﺎﺭﻙ ﻓﻲ ﺍﻟﺩﺠﻰ ﺍﻟﺭﻗﺒﺎﺀ‬

‫‪75‬‬ ‫ﻤﺠـﺯﻭﺀ‬ ‫ﻕ ﺇﺫﺍ ﺘﺼــﻭﺏ ﺃﻭ ﺘﺼﻌـــﺩ‬

‫*‬ ‫ﻭﻜــﺄﻥ ﻤﺤﻤــﺭ ﺍﻟﺸﻘﻴــــ‬
‫ﺍﻟﻜﺎﻤــل‬
‫‪75‬‬ ‫ﻥ ﻋﻠـﻰ ﺭﻤــﺎﺡ ﻤﻥ ﺯﺒﺭﺠـﺩ‬
‫*‬ ‫ﺃﻋـــﻼﻡ ﻴﺎﻗـــﻭﺕ ﻨﺸــﺭ‬

‫‪- 110 -‬‬

‫ﺍﻟﺼﻔﺤﺔ‬ ‫ﺍﻟﺒﺤﺭ‬

‫‪64‬‬ ‫ﺍﻟﻤﺩﻴــﺩ‬ ‫ﻗﺘـل ﺍﻟﺒﺨـل ﻭ ﺃﺤﻴﺎ ﺍﻟﺴﻤﺎﺤـﺎ‬

‫*‬ ‫ﺠﻤـﻊ ﺍﻟﺤـﻕ ﻟﻨـﺎ ﻓـﻲ ﺇﻤـﺎﻡ‬
‫‪64‬‬ ‫ﻴﺤﺴـﺏ ﺍﻟﺴﻴـﻑ ﻋﻠﻴـﻪ ﻭﺸﺎﺤﺎ‬
‫*‬ ‫ﺃﻟـﻑ ﺍﻟﻬﻴﺠـﺎﺀ ﻁﻔـﻼ ﻭﻜﻬـﻼ‬

‫‪16‬‬ ‫ﺍﻟﺴﺭﻴــﻊ‬ ‫ﺴﻤﺎﺤـﺔ ﺍﻟﻨﻔﺱ ﻭﺘـﺭﻙ ﺍﻟﻠﺠﺎﺝ‬

‫*‬ ‫ﻤـﻥ ﻋﺎﺸـﺭ ﺍﻷﻨــﺎﻡ ﻓﻠﻴﻠـﺯﻡ‬
‫‪16‬‬ ‫ﺃﻱ ﻁﺭﻴـﻕ ﻟﻴـﺱ ﻓﻴﻪ ﺍﻋﻭﺠﺎﺝ‬
‫*‬ ‫ﻭﻴﺤﻔـﻅ ﺍﻟﻤﻌـﻭﺝ ﻤـﻥ ﺨﻠﻔﻬﻡ‬

‫‪81‬‬ ‫ﻗـﺩ ﺯﺭﺍ ﺃﺯﺭﺍﺭﻩ ﻋﻠـﻰ ﺍﻟﻘﻤــﺭ ﺍﻟﻤﻨﺴـﺭﺡ‬

‫*‬ ‫ﻻ ﺘﻌﺠﺒـﻭﺍ ﻤـﻥ ﺒﻠـﻰ ﻏﻼﻟﺘـﻪ‬

‫‪- 111 -‬‬

 ‫‪–5-‬‬
‫ﻓﻬﺮﺱ ﺍﻷﻋﻼﻡ‬
‫ﺣﺮﻑ ﺍﳍﻤﺰﺓ‬
‫‪.52‬‬ ‫ﺃﻣﲔ ﺃﲪﺪ ‪......................................‬‬
‫‪80 ،76 ،75 ،74 ،78‬‬ ‫ﺇﺣﺴﺎﻥ ﻋﺒﺎﺱ‪....................................‬‬
‫‪.17 ،31‬‬ ‫ﺍﻷﻣﲑ ‪..........................................‬‬
‫‪28 ،27 ،24 ،19‬‬ ‫ﺍﻷﻧﺒﺎﰊ ‪.........................................‬‬
‫‪.71‬‬ ‫ﺍﻷﻋﻠﻢ ﺍﻟﺸﻨﺘﻤﺮﻱ ‪...............................‬‬
‫‪11‬‬ ‫ﺍﻷﺯﻫﺮﻱ ﳏﻤﺪ ﺍﻟﺒﺸﲑ ﻇﺎﻓﺮ‪........................‬‬
‫‪.17‬‬ ‫ﺍﻷﺟﻬﻮﺭﻱ ‪.....................................‬‬
‫‪19 ،14‬‬ ‫ﺃﻓﻨﺪﻱ ﻃﻄﺮ ﺯﺍﺩﻩ ‪...............................‬‬
‫‪.54‬‬ ‫ﺍﻷﻳﻮﰊ ﻳﺎﺳﲔ ‪..................................‬‬
‫‪17‬‬ ‫ﺍﻻﺳﻔﺮﺍﻳﻴﲏ ‪......................................‬‬
‫‪.44‬‬ ‫ﺍﻷﺻﻔﻬﺎﱐ ﺃﺑﻮ ﻧﻌﻴﻢ ﺃﲪﺪ ﺑﻦ ﻋﺒﺪ ﺍﷲ ‪..............‬‬
‫‪.44‬‬ ‫ﺍﻻﺑﺸﻴﻬﻲ ﺷﻬﺎﺏ ﺍﻟﺪﻳﻦ‪...........................‬‬
‫‪.44‬‬ ‫ﺍﺑﻦ ﺃﰊ ﺟﺮﺍﺩﺓ‪ .‬ﻛﻤﺎﻝ ﺍﻟﺪﻳﻦ ﻋﻤﺮ ﺑﻦ ﺃﲪﺪ ‪........‬‬
‫ﺣﺮﻑ ﺍﻟﺒﺎﺀ‪:‬‬
‫‪73 ،17 ، 11‬‬ ‫ﺍﻟﺒﻐﺪﺍﺩﻱ ‪.......................................‬‬
‫‪77 ،74‬‬ ‫ﺑﺸﺎﺭ ﺑﻦ ﺑﺮﺩ ‪....................................‬‬
‫‪74‬‬ ‫ﺍﻟﺒﺴﺘﺎﱏ ﺑﻄﺮﺱ ‪..................................‬‬
‫‪11‬‬ ‫ﺍﻟﺒﻴﻄﺎﺭ ﻋﺒﺪ ﺍﻟﺮﺯﺍﻕ ‪..............................‬‬
‫‪18‬‬ ‫ﺍﻟﺒﻜﺮﻱ ‪.........................................‬‬
‫‪13‬‬ ‫ﺍﻟﺒﻴﻠﻲ ‪..........................................‬‬
‫‪14‬‬ ‫ﺍﻟﺒﺪﻳﺮﻱ ﳏﻤﺪ ‪...................................‬‬
‫‪18‬‬ ‫ﺍﻟﺒﺪﻭﻱ ﺃﲪﺪ ‪....................................‬‬

‫‪- 112 -‬‬

 ‫‪44‬‬ ‫ﺍﻟﺒﺨﺎﺭﻱ ‪........................................‬‬
‫ﺣﺮﻑ ﺍﻟﺘﺎﺀ‪:‬‬
‫‪71 ،64 ،59‬‬ ‫ﺍﻟﺘﻔﺘﺎﺯﺍﱐ ‪........................................‬‬
‫‪75‬‬ ‫ﺃﺑﻮﲤﺎﻡ ) ﺣﺒﻴﺐ ﺑﻦ ﺃﻭﺱ ( ‪........................‬‬
‫ﺣﺮﻑ ﺍﳉﻴﻢ ‪:‬‬
‫‪71‬‬ ‫ﺟﻌﻔﺮ ﺑﻦ ﻋﻠﺒﺔ ﺍﳊﺎﺭﺙ ‪.........................‬‬
‫‪71‬‬ ‫ﺟﻮﺩﺍﻥ ﻋﻠﻲ ﺍﳌﻔﻀﻞ ‪.............................‬‬
‫‪71‬‬ ‫ﲨﻌﺔ ﺍﳌﺎﺟﺪ ‪...................................‬‬
‫‪76‬‬ ‫ﺟﺒﲑ ﻋﺒﺪ ﺍﻟﺮﲪﻦ ‪...............................‬‬
‫‪11‬‬ ‫ﺍﳉﱪﰐ ﻋﺒﺪ ﺍﻟﺮﲪﻦ ‪.............................‬‬
‫‪16‬‬ ‫ﺍﳉﻼﱄ ﻋﺒﺪ ﺍﻟﺮﲪﻦ ‪..............................‬‬
‫‪47‬‬ ‫ﺟﺮﻳﺮ ﺑﻦ ﻋﻄﻴﺔ ‪................................‬‬
‫‪62‬‬ ‫ﺍﳉﺎﺭﻡ ﻋﻠﻲ ‪.....................................‬‬
‫‪44‬‬ ‫ﺍﳉﺎﺣﻆ ‪........................................‬‬
‫ﺣﺮﻑ ﺍﳊﺎﺀ‪:‬‬
‫‪83‬‬ ‫ﺍﺑﻦ ﺍﳊﺸﺮﺝ ﻋﺒﺪ ﺍﷲ ‪............................‬‬
‫‪13‬‬ ‫ﺍﳊﻔﲎ‪ :‬ﴰﺲ ﺍﻟﺪﻳﻦ ‪..............................‬‬
‫‪14‬‬ ‫ﺍﺑﻦ ﺣﺠﺮ ‪.......................................‬‬
‫‪18‬‬ ‫ﺣﻔﺺ ‪.........................................‬‬
‫‪59‬‬ ‫ﺍﺑﻦ ﺍﳊﺎﺟﺐ ‪...................................‬‬
‫‪44‬‬ ‫ﺍﳊﻠﻮ‪ :‬ﻋﺒﺪ ﺍﻟﻔﺘﺎﺡ ﳏﻤﺪ ‪..........................‬‬
‫ﺣﺮﻑ ﺍﳋﺎﺀ‪:‬‬
‫‪75‬‬ ‫ﺍﺑﻦ ﺧﻠﻜﺎﻥ ﺍﺑﻮ ﺍﻟﻌﺒﺎﺱ ﺃﲪﺪ ‪.....................‬‬
‫‪76‬‬ ‫ﺍﺑﻦ ﺧﻔﺎﺟﺔ ‪ :‬ﺍﺑﻮ ﺍﺳﺤﺎﻕ ﺍﺑﺮﺍﻫﻴﻢ ‪................‬‬
‫‪6‬‬ ‫ﺧﻔﺎﺟﻰ‪:‬ﳏﻤﺪ ﻋﺒﺪ ﺍﳌﻨﻌﻢ ‪.......................‬‬
‫ﺣﺮﻑ ﺍﻟﺪﺍﻝ‪:‬‬
‫‪18 ، 13‬‬ ‫ﺍﻟﺪﺭﺩﻳﺮ‪ :‬ﺃﲪﺪﺑﻦ ﳏﻤﺪ ‪...........................‬‬

‫‪- 113 -‬‬

‫‪13 ، 11‬‬ ‫ﺍﻟﺪﺳﻮﻗﻲ ‪.......................................‬‬
‫‪13‬‬ ‫ﺍﻟﺪﻓﺮﻯ ‪ :‬ﳏﻤﺪ ‪.................................‬‬
‫‪18‬‬ ‫ﺩﻣﺮﺩﺍﺵ ‪.......................................‬‬
‫‪70‬‬ ‫ﺩ ﺧﺘﻨﻮﺱ ‪.......................................‬‬
‫‪45‬‬ ‫ﺃﺑﻮ ﺩﺍﻭﺩ ‪........................................‬‬
‫ﺣﺮﻑ ﺍﻟﺬﺍﻝ ‪:‬‬
‫‪.76-52‬‬ ‫ﺍﻟﺬﻫﱯ‪ :‬ﳏﻤﺪ ﺑﻦ ﺃﲪﺪﺑﻦ ﻋﺜﻤﺎﻥ ‪.................‬‬
‫ﺣﺮﻑ ﺍﻟﺮﺍﺀ‬
‫‪.27‬‬ ‫ﺍﻟﺮﳛﺎﻭﻯ ‪......................................‬‬
‫‪16‬‬ ‫ﺍﻟﺮﻓﺎﻭﻱ‪:‬ﳏﻤﺪ)ﻋﺒﺪﺍﷲ ﺑﻦ ﻋﺒﺪ ﺍﷲ( ‪...............‬‬
‫‪47‬‬ ‫ﺍﺑﻦ ﺭﺷﻴﻖ ‪......................................‬‬
‫‪.44‬‬ ‫ﺍﻟﺮﺍﺯﻱ‪:‬ﳏﻤﺪﺑﻦ ﺃﰉ ﺑﻜﺮ ‪.........................‬‬
‫ﺣﺮﻑ ﺍﻟﺰﺍﻱ ‪:‬‬
‫‪15‬‬ ‫ﺍﻟﺰﻭﺍﻭﻯ ﺃﲪﺪ ﺑﻦ ﻋﺒﺪ ﺍﷲ ‪......................‬‬
‫‪15‬‬ ‫ﺍﻟﺰﺭﻛﻠﻲ ﺧﲑ ﺍﻟﺪﻳﻦ ‪.............................‬‬
‫‪14-13‬‬ ‫ﺍﻟﺰﺭﻗﺎﱐ ‪........................................‬‬
‫‪61‬‬ ‫ﺯﻫﲑ ‪...........................................‬‬
‫‪45‬‬ ‫ﺍﻟﺰﻫﺮﻱ ‪.........................................‬‬
‫ﺣﺮﻑ ﺍﻟﺴﲔ ‪:‬‬
‫‪78‬‬ ‫ﺳﻠﻴﻤﺎﻥ ﺍﻟﻌﻴﺴﻰ ‪................................‬‬
‫‪25‬‬ ‫ﺍﻟﺴﻤﺮﻗﻨﺪﻯ ‪.....................................‬‬
‫‪27‬‬ ‫ﺍﻟﺴﻨﻮﺳﻲ ‪.......................................‬‬
‫‪11‬‬ ‫ﺳﺮﻛﻴﺲ ‪........................................‬‬
‫‪14‬‬ ‫ﺍﻟﺴﻌﺪ ‪..........................................‬‬
‫‪47‬‬ ‫ﺍﻟﺴﻜﺎﻛﻲ‪ :‬ﺃﺑﻮ ﻳﻌﻘﻮﺏ ‪...........................‬‬
‫‪57‬‬ ‫ﺍﺑﻦ ﺳﻬﻴﺔ ﺍﺭﻃﺄﺓ ‪................................‬‬
‫‪64‬‬ ‫ﺍﻟﺴﻴﻮﻃﻲ ‪.......................................‬‬

‫‪- 114 -‬‬

 ‫‪44‬‬ ‫ﺍﻟﺴﺒﻜﻲ‪:‬ﺃﰊ ﻧﺼﺮﻋﺒﺪ ﺍﻟﻮﻫﺎﺏ ﺑﻦ ﻋﻠﻲ ‪.............‬‬
‫‪44‬‬ ‫ﺳﻬﻴﻞ ﺯﻛﺎﺭ ‪.....................................‬‬
‫ﺣﺮﻑ ﺍﻟﺸﲔ‪:‬‬
‫‪73‬‬ ‫ﺍﻟﺸﻤﺎﺥ ﺿﺮﺍﺭ ﺑﻦ ﺣﺮﻣﻠﺔ ﺑﻦ ﺳﻨﺎﻥ ﺍﳌﺎﺯﱏ ﺍﻟﺬﺑﻴﺎﱏ ‪..‬‬
‫‪78‬‬ ‫ﺍﻟﺸﲑﺍﺯﻯ ‪:‬ﺃﺑﻮﺍﺳﺤﺎﻕ ‪............................‬‬
‫‪11‬‬ ‫ﺍﻟﺸﺮﺑﺎﺻﻰ ﺃﲪﺪ ‪.................................‬‬
‫‪45‬‬ ‫ﺷﻌﻴﺐ ‪.........................................‬‬
‫ﺣﺮﻑ ﺍﻟﺼﺎﺩ‬
‫‪75‬‬ ‫ﺍﻟﺼﻨﻮﺑﺮﻯ ﺃﺑﻮﺑﻜﺮﺃﲪﺪ ﺑﻦ ﳏﻤﺪ ﺑﻦ ﺍﳊﺴﻦ ‪.....‬‬
‫‪27 ، 15‬‬ ‫ﺍﻟﺼﺎﻭﻱ‪ :‬ﺃﺑﻮ ﺍﻟﻌﺒﺎﺱ ﺃﲪﺪ ‪......................‬‬
‫‪13‬‬ ‫ﺍﻟﺼﺒﺎﻍ‪ :‬ﺃﺑﻮ ﺍﻟﻌﺒﺎﺱ ﺃﲪﺪ ﰊ ﻣﺼﻄﻔﻰ ‪...........‬‬
‫‪.25‬‬ ‫ﺍﻟﺼﻤﻴﻠﻲ ﻳﻮﺳﻒ ‪...............................‬‬
‫ﺣﺮﻑ ﺍﻟﻄﺎﺀ‬
‫‪25‬‬ ‫ﻃﺎﺵ ﻛﱪﻯ ‪:‬ﺃﲪﺪﺑﻦ ﻣﺼﻄﻔﻰ ‪..................‬‬
‫‪11‬‬ ‫ﻃﻠﺲ ﳏﻤﺪﺃﺳﻌﺪ ‪...............................‬‬
‫‪56 – 15‬‬ ‫ﻃﺒﺎﻧﺔ ﺑﺪﻭﻱ ‪....................................‬‬
‫‪44‬‬ ‫ﺍﻟﻄﻨﺎﺣﻲ‪:‬ﳏﻤﻮﺩ ﳏﻤﺪ ‪............................‬‬
‫ﺣﺮﻑ ﺍﻟﻌﲔ‬
‫‪74‬‬ ‫ﺍﺑﻦ ﻋﺎﺷﻮﺭ ﳏﻤﺪ ﺍﻟﻄﺎﻫﺮ ‪.........................‬‬
‫‪92‬‬ ‫ﺍﻟﻌﺒﺎﺳﻰ ﻋﺒﺪ ﺍﻟﺮﲪﻦ ﺑﻦ ﺃﲪﺪ ‪.....................‬‬
‫‪17‬‬ ‫ﻋﺒﺪ ﺍﳊﻤﻴﺪ ﳏﻤﺪ ﳏﻲ ﺍﻟﺪﻳﻦ ‪......................‬‬
‫‪80‬‬ ‫ﺍﺑﻦ ﺍﻟﻌﻤﻴﺪ‪ :‬ﺃﺑﻮ ﺍﻟﻔﻀﻞ ‪...........................‬‬
‫‪15‬‬ ‫ﺍﺑﻦ ﺃﻋﺮﺍﺏ ‪......................................‬‬
‫‪47‬‬ ‫ﻋﻮﺩﺓ ﻫﺪﻯ ‪.............. ......................‬‬
‫‪52‬‬ ‫ﺍﻟﻌﻠﻮﻱ‪:‬ﻣﺼﻄﻔﻰ ﺑﻦ ﺃﲪﺪ ‪........................‬‬
‫‪52‬‬ ‫ﺍﺑﻦ ﻋﺒﺪ ﺍﻟﱪ‪ :‬ﺃﰊ ﻋﻤﺮﻳﻮﺳﻒ ‪.....................‬‬
‫‪55‬‬ ‫ﻋﺘﻴﻖ‪:‬ﻋﺒﺪ ﺍﻟﻌﺰﻳﺰ ‪.................................‬‬

‫‪- 115 -‬‬

 ‫‪57‬‬ ‫ﻋﻜﺎﻭﻱ ﺍﻧﻌﺎﻡ ‪...................................‬‬
‫‪59‬‬ ‫ﺍﺑﻦ ﻋﺮﰊ ‪.......................................‬‬
‫‪64‬‬ ‫ﺃﺑﻮ ﻋﺒﻴﺪﺓ ‪.......................................‬‬
‫‪70‬‬ ‫ﺍﺑﻦ ﻋﺪﺱ ﻋﻤﺮﻭ ﺑﻦ ﻋﻤﺮﻭ‪.........................‬‬
‫‪44‬‬ ‫ﻋﺒﺪ ﺍﷲ ﺑﻦ ﻋﻤﺮ ﺑﻦ ﺍﳋﻄﺎﺏ ‪....................‬‬
‫‪56-52-47-44-25-20‬‬ ‫ﻋﺒﺪ ﺍﷲ ﺑﻦ ﻳﻮﺳﻒ ‪..............................‬‬
‫ﺣﺮﻑ ﺍﻟﻐﲔ‬
‫‪73‬‬ ‫ﺍﻟﻐﻄﻔﺎﱏ ‪.......................................‬‬
‫ﺣﺮﻑ ﺍﻟﻔﺎﺀ‬
‫‪.74‬‬ ‫ﻓﺮﻭﺥ ﻋﻤﺮ ‪.....................................‬‬
‫‪.15‬‬ ‫ﺍﻟﻔﻴﻮﻣﻲ‪:‬ﺃﺑﻮ ﺍﻟﺮﺑﻴﻊ ﺳﻠﻴﻤﺎﻥ ﺑﻦ ﳏﻤﺪ ‪..............‬‬
‫ﺣﺮﻑ ﺍﻟﻘﺎﻑ‬
‫‪.64 – 54‬‬ ‫ﺍﻟﻘﺰﻭﻳﲎ ‪.......................................‬‬
‫‪.44‬‬ ‫ﻗﻤﻴﺤﺔ‪:‬ﻣﻔﻴﺪ ﳏﻤﺪ ‪.............................‬‬
‫ﺣﺮﻑ ﺍﻟﻜﺎﻑ‬
‫‪.71‬‬ ‫ﻛﻌﺐ ﺍﺑﻦ ﺍﳊﺎﺭﺙ ‪...............................‬‬
‫‪.44‬‬ ‫ﻛﺤﺎﻟﺔ ﻋﻤﺮ ‪.....................................‬‬
‫‪.64‬‬ ‫ﺍﻟﻜﺘﺎﱏ ﻋﺒﺪ ﺍﻟﻜﺮﱘ ﳏﻤﺪ ﳏﻤﺪ ﺍﳊﺴﲎ ‪.............‬‬
‫‪.71‬‬ ‫ﻛﻮﺳﺘﺎ ﺗﻮﻣﺎﺱ ‪..................................‬‬
‫‪.18‬‬ ‫ﻛﻤﺎﻝ ﺍﻟﺪﻳﻦ ‪....................................‬‬
‫ﺣﺮﻑ ﺍﻟﻼﻡ‬
‫‪73-55‬‬ ‫ﻟﺒﻴﺪ ‪............................................‬‬
‫‪.25‬‬ ‫ﺍﻟﻠﻴﺜﻰ‪ :‬ﺍﺑﻮ ﺍﻟﻘﺎﺳﻢ ‪...............................‬‬
‫‪.14‬‬ ‫ﺍﻟﻠﻘﺎﱐ ‪..........................................‬‬
‫ﺣﺮﻑ ﺍﳌﻴﻢ‬
‫‪77 – 64‬‬ ‫ﺍﳌﺘﻨﱯ ﺃﲪﺪ ﺑﻦ ﺍﳊﺴﲔ ‪..........................‬‬
‫‪73‬‬ ‫ﻣﻌﻘﻞ ﺑﻦ ﺿﺮﺍﺭ ﺍﻧﻈﺮ ) ﺍﻟﺸﻤﺎﺥ( ‪..................‬‬

‫‪- 116 -‬‬

 ‫‪75‬‬ ‫ﺍﳌﺄﻣﻮﻥ ‪.........................................‬‬
‫‪78‬‬ ‫ﺍﳌﻮﺻﻠﻲ‪ :‬ﺃﺑﻮ ﺍﻟﻔﺘﺢ ﺿﻴﺎﺀ ﺍﻟﺪﻳﻦ ﻧﺼﺮﺍﻟﻪ ﺑﻦ ﳏﻤﺪ ‪....‬‬
‫‪78‬‬ ‫ﺍﳌﺎﺭﺩﻳﲎ‪ :‬ﺍﳉﻼﻝ ﺑﻦ ﺍﻟﺼﻔﺎﺭ ‪......................‬‬
‫‪27‬‬ ‫ﳐﻠﻮﻑ ﳏﻤﺪﺑﻦ ﳏﻤﺪ ‪...........................‬‬
‫‪13‬‬ ‫ﺍﳌﻠﻮﻱ‪ :‬ﻋﺒﺪ ﺍﻟﻮﻫﺎﺏ ‪...........................‬‬
‫‪15‬‬ ‫ﺍﳌﻨﲑ ‪.........................................‬‬
‫‪15‬‬ ‫ﺍﶈﻠﻲ‪:‬ﺍﳉﻼﻝ ‪...................................‬‬
‫‪17‬‬ ‫ﻣﺎﻟﻚ ﺑﻦ ﺃﻧﺲ ‪..................................‬‬
‫‪95 – 64 – 29‬‬ ‫ﺍﺑﻦ ﻣﺎﻟﻚ ‪......................................‬‬
‫‪64‬‬ ‫ﺍﺑﻦ ﻣﻌﺼﻮﻡ ‪....................................‬‬
‫‪64‬‬ ‫ﺍﳌﺪﱐ ‪..........................................‬‬
‫‪64‬‬ ‫ﺍﺑﻦ ﺃﻣﺎﻣﺔ ‪.......................................‬‬
‫‪64 – 52 – 44‬‬ ‫ﺍﺑﻦ ﺍﳌﻌﱰ ‪........................................‬‬
‫‪44‬‬ ‫ﳏﻤﻮﺩ ﺧﺎﻃﺐ ‪...................................‬‬
‫‪45‬‬ ‫ﺍﺑﻦ ﻣﺎﺟﺔ ‪.......................................‬‬
‫‪46‬‬ ‫ﺍﺑﻦ ﻣﻨﻈﻮﺭ ‪......................................‬‬
‫ﺣﺮﻑ ﺍﻟﻨﻮﻥ‬
‫‪73‬‬ ‫ﺍﻟﻨﺎﺑﻐﺔ ‪..........................................‬‬
‫‪75‬‬ ‫ﺍﻟﻨﻌﻤﺎﻥ ‪.........................................‬‬
‫‪13‬‬ ‫ﺍﻟﻨﻔﺮﺍﻭﻱ ‪.......................................‬‬
‫‪52‬‬ ‫ﺍﻟﻨﻈﺎﻡ‪ :‬ﺍﺑﺮﺍﻫﻴﻢ ‪..................................‬‬
‫ﺣﺮﻑ ﺍﳍﺎﺀ‬
‫‪59‬‬ ‫ﺍﳍﺎﴰﻲ ﺃﲪﺪ ‪....................................‬‬
‫‪46‬‬ ‫ﺍﳍﻮﺍﺭﻱ‪:‬ﺻﻼﺡ ﺍﻟﺪﻳﻦ ‪............................‬‬
‫‪46‬‬ ‫ﻫﻨﺪﺍﻭﻱ‪ :‬ﻋﺒﺪ ﺍﳊﻤﺒﺪ ‪............................‬‬
‫‪64‬‬ ‫ﻫﺮﻡ ﺑﻦ ﺳﻨﺎﻥ ‪...................................‬‬
‫‪45‬‬ ‫ﺃﺑﻮ ﻫﺮﻳﺮﺓ ‪.......................................‬‬

‫‪- 117 -‬‬

 ‫ﺣﺮﻑ ﺍﻟﻴﺎﺀ‬
‫‪77‬‬ ‫ﺍﻟﻴﺎﺯﺟﻲ ‪........................................‬‬
‫‪45‬‬ ‫ﻳﻮﻧﺲ ‪.........................................‬‬

‫‪–6-‬‬
‫‪- 118 -‬‬
 ‫ﻓﻬﺮﺱ ﺍﻷﻣﺎﻛﻦ‬

‫‬
‫‪20 ،16 ،15 ،14 ،13 ،11 ،7‬‬
‫‪80‬‬
‫‪77 ،74 ،11 ،7‬‬
‫‪،27 ،25 ،20 ،17 ،16 ،11،7‬‬
‫‪،57 ،55 ،54 ،52 ،46 ،45 ،44‬‬
‫‪،75 ،74 ،71 ،70 ،64 ،62 ،60‬‬
‫‪.78 ،77 ،76‬‬
‫ﺣﺮﻑ ﺍﳍﻤﺰﺓ‬
‫ﺁﺳﻴﻮﻁ ‪.................................................‬‬
‫ﺍﻷﺯﻫﺮ‪...................................................‬‬
‫ﺃﺻﺒﻬﺎﻥ‪..................................................‬‬
‫ﺣﺮﻑ ﺍﻟﺒﺎﺀ‬
‫ﺑﻐﺪﺍﺩ ‪...................................................‬‬
‫ﺑﲑﻭﺕ‪...................................................‬‬

‫‪17‬‬ ‫ﺑﻮﻻﻕ ‪..................................................‬‬

‫‪.14 ،7‬‬ ‫ﺑﻠﺒﻴﺲ‪...................................................‬‬
‫‪76‬‬ ‫ﺑﻠﻨﺴﻴﺔ‪...................................................‬‬
‫‪.29 ،26‬‬ ‫ﺑﻮﺳﻌﺎﺩﺓ‪.................................................‬‬
‫ﺣﺮﻑ ﺍﻟﺘﺎﺀ‬
‫‪.13 ،7‬‬ ‫ﺗﻮﻧﺲ ‪...................................................‬‬

‫ﺣﺮﻑ ﺍﳉﻴﻢ‬
‫‪15‬‬ ‫ﺍﳉﻴﺰﺓ ‪...................................................‬‬
‫‪74‬‬ ‫ﺟﻴﺤﻮﻥ ‪.................................................‬‬
‫‪15‬‬ ‫ﺟﺮﺟﺮﺓ ‪.................................................‬‬
‫ﺣﺮﻑ ﺍﳊﺎﺀ‬
‫‪82 ،3‬‬ ‫ﺣﻠﺐ ‪...................................................‬‬
‫‪42‬‬ ‫ﺣﻔﻨﺎ ‪....................................................‬‬
‫ﺣﺮﻑ ﺍﳋﺎﺀ‬
‫‪59‬‬ ‫ﺧﺮﺍﺳﺎﻥ ‪................................................‬‬

‫‪- 119 -‬‬

 ‫ﺣﺮﻑ ﺍﻟﺪﺍﻝ‬
‫‪30 ،10 ،9‬‬ ‫ﺩﰊ ‪.....................................................‬‬
‫‪135‬‬ ‫ﺩﺳﻮﻕ‪...................................................‬‬
‫‪.77 ،75 ،74 ،45 ،11‬‬ ‫ﺩﻣﺸﻖ‪...................................................‬‬
‫ﺣﺮﻑ ﺍﻟﺮﺍﺀ‪ ،‬ﺍﻟﺰﺍﻱ‪ ،‬ﺍﻟﺴﲔ‬
‫‪30‬‬ ‫ﺍﻟﺮﺑﺎﻁ ‪.................................................‬‬
‫‪27‬‬ ‫ﺯﻭﺍﻭﺓ ‪...................................................‬‬
‫‪59‬‬ ‫ﺳﺮﺧﺲ‪..................................................‬‬
‫‪14‬‬ ‫ﲰﺮﻗﻨﺪ ‪..................................................‬‬
‫‪3‬‬ ‫ﺳﻮﺭﻳﺎ ‪..................................................‬‬
‫ﺣﺮﻑ ﺍﻟﺸﲔ‪ ،‬ﺍﻟﻄﺎﺀ‪ ،‬ﺍﻟﻌﲔ‬
‫‪74‬‬ ‫ﺍﻟﺸﺮﻓﻴﺔ ‪.................................................‬‬
‫‪74‬‬ ‫ﻃﺨﺎﺭﺳﺘﺎﻥ ‪..............................................‬‬
‫ﺍﻟﻌﺮﺍﻕ ‪..................................................‬‬
‫ﺣﺮﻑ ﺍﻟﻐﲔ‪ ،‬ﺍﻟﻘﺎﻑ‪ ،‬ﺍﻟﻜﺎﻑ‬
‫‪62‬‬ ‫ﻏﻄﻔﺎﻥ ‪..................................................‬‬
‫‪،24 ،18 ،16 ،15 ،14 ،13 ،7 ،4‬‬ ‫ﺍﻟﻘﺎﻫﺮﺓ ‪..................................................‬‬
‫‪.28‬‬
‫‪.13 ،4‬‬ ‫ﺍﻟﻘﺮﻭﻳﲔ ‪................................................‬‬
‫‪77‬‬ ‫ﺍﻟﻜﻮﻓﺔ ‪..................................................‬‬
‫‪19‬‬ ‫ﺍﻟﻜﻌﻜﺒﻴﲔ ‪...............................................‬‬
‫ﺣﺮﻑ ﺍﻟﻼﻡ ‪.............................................‬‬
‫‪،44 ،27 ،25 ،20 ،17 ،16 ،11‬‬ ‫ﻟﺒﻨﺎﻥ ‪....................................................‬‬
‫‪،60 ،57 ،55 ،54 ،52 ،46 ،45‬‬
‫‪،76 ،75 ،74 ،71 ،70 ،64 ،62‬‬
‫‪.78 ،77‬‬
‫ﺣﺮﻑ ﺍﳌﻴﻢ‪ ،‬ﺍﳍﺎﺀ‪،‬‬
‫‪،17 ،14 ،13 ،12 ،11 ،8 ،7 ،4‬‬ ‫ﻣﺼﺮ ‪....................................................‬‬
‫‪،59 ،57 ،28 ،26 ،24 ،19‬‬

‫‪- 120 -‬‬

 ‫‪15‬‬ ‫ﺍﳌﺪﻳﻨﺔ ﺍﳌﻨﻮﺭﺓ ‪............................................‬‬
‫‪15‬‬ ‫ﻣﻨﻴﺔ ﻋﻘﺒﺔ ‪................................................‬‬
‫‪30 ،13 ،4‬‬ ‫ﺍﳌﻐﺮﺏ ‪..................................................‬‬
‫‪29 ،26‬‬ ‫ﺍﳍﺎﻣﻞ ‪...................................................‬‬

‫‪–7-‬‬
‫ﻓﻬﺮﺱ ﺍﳌﺼﻄﻼﺣﺎﺕ ﺍﻟﺒﻼﻏﻴﺔ‬

‫‪- 121 -‬‬

 ‫‪،64 ،63 ،62 ،61 ،58 ،57 ،56 ،54‬‬ ‫ﺍﻻﺳﺘﻌﺎﺭﺓ ‪..........................................‬‬
‫‪72 ،71 ،70 ،68 ،66 ،65‬‬
‫‪.80 ،71 ،57‬‬ ‫ﺍﻻﺳﺘﻌﺎﺭﺓ ﺍﻟﺘﺼﺮﳛﻴﺔ ‪................................‬‬
‫‪.80 ،71 ،58‬‬ ‫ﺍﻻﺳﺘﻌﺎﺭﺓ ﺍﳌﻜﻨﻴﺔ ‪...................................‬‬
‫‪61‬‬ ‫ﺍﻻﺳﺘﻌﺎﺭﺓ ﺍﳌﺮﺷﺤﺔ ‪..................................‬‬
‫‪58‬‬ ‫ﺍﻻﺳﺘﻌﺎﺭﺓ ﺍﻟﺘﺨﻴﻠﻴﺔ‪...................................‬‬
‫‪61‬‬ ‫ﺍﻻﺳﺘﻌﺎﺭﺓ ﺍ‪‬ﺮﺩﺓ ‪...................................‬‬
‫‪61‬‬ ‫ﺍﻻﺳﺘﻌﺎﺭﺓ ﺍﳌﻄﻠﻘﺔ ‪...................................‬‬
‫‪66 ،64‬‬ ‫ﺍﻻﺳﺘﻌﺎﺭﺓ ﺍﻷﺻﻠﻴﺔ ‪..................................‬‬
‫‪64‬‬ ‫ﺍﻻﺳﺘﻌﺎﺭﺓ ﺍﻟﺘﺒﻌﻴﺔ ‪....................................‬‬
‫‪46‬‬ ‫ﺍﻹﳚﺎﺯ ‪.............................................‬‬
‫‪96 ،44 ،26 ،25 ،24 ،23 ،19 ،15 ،9‬‬ ‫ﺍﻟﺒﻴﺎﻥ ‪..............................................‬‬
‫‪55‬‬ ‫ﺍﻟﺒﻌﻀﻴﺔ ‪............................................‬‬
‫‪44‬‬ ‫ﺍﻟﺘﺒﻴﺎﻥ ‪.............................................‬‬
‫‪73 ،62‬‬ ‫ﺍﻟﺘﻘﻴﻴﺪ ‪.............................................‬‬
‫‪،57 ،46 ،44 ،28 ،26 ،25 ،24 ،23‬‬ ‫ﺍﻟﺘﺸﺒﻴﻪ ‪............................................‬‬
‫‪،76 ،73 ،72 ،71 ،68 ،67 ،62 ،58‬‬
‫‪،90 ،80 ،79 ،78 ،77‬‬
‫ﺍﳊﺎﻟﻴﺔ ‪.............................................‬‬
‫‪80 ،63 ،61 ،54 ،51 ،49‬‬ ‫ﺍﻟﻘﺮﻳﻨﺔ ‪.............................................‬‬
‫‪،53 ،46 ،44 ،28 ،26 ،25 ،24 ،23‬‬ ‫ﺍﻟﻜﻨﺎﻳﺔ ‪.............................................‬‬
‫‪83 ،82 ،81 ،80 ،68 ،59 ،58 ،57‬‬
‫‪68 ،67 ،55‬‬ ‫ﺍﻟﻜﻠﻴﺔ ‪.............................................‬‬
‫‪،69 ،67 ،61 ،59 ،58 ،57 ،56 ،26‬‬ ‫ﺍﳌﺸﺒﻪ ﻭ ﺍﳌﺸﺒﻪ ﺑﻪ ‪...................................‬‬
‫‪80 ،76 ،74 ،73 ،72 ،71‬‬
‫‪،47 ،45 ،44 ،24،29 ،25 ،24 ،23‬‬ ‫ﺍ‪‬ﺎﺯ ‪...............................................‬‬
‫‪81 ،59 ،54 ،53 ،49‬‬

‫‪56‬‬ ‫ﺍ‪‬ﺎﺯ ﺍﳌﺮﺳﻞ ‪........................................‬‬

‫‪70 ،68 ،48‬‬ ‫ﺍ‪‬ﺎﺯ ﺍﳌﺮﻛﺐ ‪......................................‬‬

‫‪- 122 -‬‬

 ‫‪48 ،47‬‬ ‫ﺍ‪‬ﺎﺯ ﺍﻟﻌﻘﻠﻲ ‪......................................‬‬
‫‪47‬‬ ‫ﺍ‪‬ﺎﺯ ﺍﻟﻠﻐﻮﻱ ‪......................................‬‬
‫‪53‬‬ ‫ﺍ‪‬ﺎﺯ ﺍﳌﻔﺮﺩ ‪.......................................‬‬
‫‪56‬‬ ‫ﺍﶈﻠﻴﺔ ‪.............................................‬‬
‫‪54‬‬ ‫ﺍﻟﺴﺒﺒﻴﺔ ‪...........................................‬‬
‫‪54‬‬ ‫ﺍﳌﺴﺒﺒﻴﺔ ‪...........................................‬‬

‫‪–8-‬‬
‫ﻓﻬﺮﺱ ﺍﳌﺆﻟﻔﺎﺕ ﻭﺍﳌﺼﻨﻔﺎﺕ‬

‫‪- 123 -‬‬

 ‫ﺍﳍﻤﺰﺓ‬
‫‪20‬‬ ‫ﺍﻷﺯﻫﺮ ﺇﱃ ﺃﻳﻦ‪...............................................‬‬
‫‪17 ،16 ،14 ،11 ،4‬‬ ‫ﺍﻷﺯﻫﺮ ﰲ ﺃﻟﻒ ﻋﺎﻡ‪...........................................‬‬
‫‪14‬‬ ‫ﺃﻟﻔﻴﺔ ﺑﻦ ﻣﺎﻟﻚ‪...............................................‬‬
‫‪17 ،16 ،12‬‬ ‫ﺃﻗﺮﺏ ﺍﳌﺴﺎﻟﻚ ﳌﺬﻫﺐ ﻣﺎﻟﻚ‪..................................‬‬
‫‪74‬‬ ‫ﺃﺩﺑﺎﺀ ﺍﻟﻌﺮﺏ ﰲ ﺍﻷﻋﺼﺮ ﺍﻟﻌﺒﺎﺳﻴﺔ‪...............................‬‬
‫‪75‬‬ ‫ﺃﺧﺒﺎﺭ ﺃﰊ ﲤﺎﻡ‪................................................‬‬
‫‪74 ،71‬‬ ‫ﺍﻹﻳﻀﺎﺡ ﰲ ﻋﻠﻮﻡ ﺍﻟﺒﻼﻏﺔ ‪.....................................‬‬
‫‪76‬‬ ‫ﺍﺑﻦ ﺧﻔﺎﺟﺔ‪..................................................‬‬
‫‪59 ،27 ،18 ،11‬‬ ‫ﺍﻷﻋﻼﻡ‪......................................................‬‬
‫ﺍﻟﺒﺎﺀ‬
‫‪25‬‬ ‫ﺑﻠﻮﻍ ﺍﻷﺭﺏ ﻣﻦ ﲢﻘﻴﻖ ﺍﺳﺘﻌﺎﺭﺍﺕ ﺍﻟﻌﺮﺏ‪.......................‬‬
‫‪60‬‬ ‫ﺑﻠﻮﻍ ﺍﻷﺭﺏ ﻣﻦ ﻛﻼﻡ ﺍﻟﻌﺮﺏ‪.................................‬‬
‫‪83 ،80 ،62‬‬ ‫ﺍﻟﺒﻼﻏﺔ ﺍﻟﻮﺍﺿﺤﺔ ‪............................................‬‬
‫‪77 ،74‬‬ ‫ﺍﻟﺒﺪﺍﻳﺔ ﻭﺍﻟﻨﻬﺎﻳﺔ‪...............................................‬‬
‫‪44‬‬ ‫ﺑﻐﻴﺔ ﺍﻟﻄﻠﺐ ﰲ ﺗﺎﺭﻳﺦ ﺣﻠﺐ‪...................................‬‬
‫ﺍﻟﺘﺎﺀ‬
‫‪16‬‬ ‫ﺗﺎﺭﻳﺦ ﺍﳉﺰﺍﺋﺮ ﺍﻟﻌﺎﻡ‪............................................‬‬
‫‪80 ،78 ،76 ،75 ،54 ،44‬‬ ‫ﺗﻠﺨﻴﺺ ﺍﳌﻔﺘﺎﺡ‪...............................................‬‬
‫‪46‬‬ ‫ﺍﻟﺘﻬﺬﻳﺐ‪.....................................................‬‬
‫‪52‬‬ ‫ﺍﻟﺘﻤﻬﻴﺪ‪......................................................‬‬
‫‪59‬‬ ‫‪‬ﺬﻳﺐ ﺍﳌﻨﻄﻖ‪................................................‬‬
‫‪،27 ،26 ،25 ،24 ،23 ،19‬‬ ‫ﲢﻔﺔ ﺍﻻﺧﻮﺍﻥ ﰲ ﻋﻠﻢ ﺍ‪‬ﺎﺯ‪....................................‬‬
‫‪46 ،30 ،29‬‬
‫‪18‬‬ ‫ﲢﻔﺔ ﺍﻻﺧﻮﺍﻥ ﰲ ﺃﺩﺏ ﺃﻫﻞ ﺍﻟﻌﺮﻓﺎﻥ‪.............................‬‬
‫‪16‬‬ ‫ﲢﺮﻳﻚ ﺍﻟﺴﺎﻛﻦ ﻭ‪‬ﻴﻴﺞ ﺍﻟﻜﺎﻣﻦ‪.................................‬‬
‫‪18‬‬ ‫ﺍﻟﺘﻮﺟﻪ ﺍﻷﺳﲎ ﺑﻨﻈﻢ ﺍﻷﲰﺎﺀ ﺍﳊﺴﲎ‪.............................‬‬
‫‪24‬‬ ‫ﺗﺎﺭﻳﺦ ﺍﻷﺩﺏ ﺍﻟﻌﺮﰊ‪..........................................‬‬
‫‪- 124 -‬‬
 ‫‪2‬‬ ‫ﺍﻟﺘﺎﺭﻳﺦ ﺍﻹﺳﻼﻣﻲ‪.............................................‬‬
‫ﺍﳉﻴﻢ‬
‫‪70‬‬ ‫ﲨﻬﺮﺓ ﺍﻷﻣﺜﺎﻝ‪................................................‬‬
‫‪58 ،30 ،25‬‬ ‫ﺟﻮﺍﻫﺮ ﺍﻟﺒﻼﻏﺔ‪...............................................‬‬
‫ﺍﳉﻮﻫﺮﺓ‪.....................................................‬‬
‫ﺍﳊﺎﺀ‬
‫‪44‬‬ ‫ﺣﻠﻴﺔ ﺍﻷﻭﻟﻴﺎﺀ‪.................................................‬‬
‫‪11‬‬ ‫ﺣﻠﻴﺔ ﺍﻟﺒﺸﺮ ﰲ ﺗﺎﺭﻳﺦ ﺍﻟﻘﺮﻥ ﺍﻟﺜﺎﻟﺚ ﻋﺸﺮ‪........................‬‬
‫‪11‬‬ ‫ﺣﺎﺷﻴﺔ ﻋﻠﻰ ﺍﻟﺸﺮﺡ ﺍﻟﻜﺒﲑ )ﺍﻟﺪﺳﻮﻗﻲ(‪..........................‬‬
‫‪28 ،24 ،19‬‬ ‫ﺣﺎﺷﻴﺔ ﺍﻻﻧﺒﺎﰊ‪...............................................‬‬
‫‪27‬‬ ‫ﺣﺎﺷﻴﺔ ﻋﻠﻰ ﺭﺳﺎﻟﺔ ﺍﻟﺼﺒﺎﻥ‪.....................................‬‬
‫‪27‬‬ ‫ﺣﺎﺷﻴﺔ ﰲ ﺗﺄﺩﻳﺐ ﺍﻷﻃﻔﺎﻝ‪.....................................‬‬
‫‪27‬‬ ‫ﺣﺎﺷﻴﺔ ﻋﻠﻰ ﺭﺳﺎﻟﺔ ﰲ ﻋﻠﻢ ﺍﻟﻮﺿﻊ‪..............................‬‬
‫‪14‬‬ ‫ﺣﺎﺷﻴﺔ ﻋﻠﻰ ﺭﺳﺎﻟﺔ ﺍﻟﻌﻀﺪ ﻟﻠﺴﻌﺪ‪..............................‬‬
‫‪14‬‬ ‫ﺣﺎﺷﻴﺔ ﻋﻠﻰ ﺷﺮﺡ ﺭﺳﺎﻟﺔ ﻟﺸﻨﺸﻮﺭﻱ‪............................‬‬
‫‪15 ،14‬‬ ‫ﺣﺎﺷﻴﺔ ﻋﻠﻰ ﳐﺘﺼﺮ ﺍﻟﺴﻌﺪ‪.....................................‬‬
‫‪15‬‬ ‫ﺣﺎﺷﻴﺔ ﻋﻠﻰ ﺗﻔﺴﲑ ﺍﳉﻼﻟﻴﲔ‪...................................‬‬
‫‪15‬‬ ‫ﺣﺎﺷﻴﺔ ﻋﻠﻰ ﺷﺮﺡ ﺍﳋﺮﻳﺪﺓ ﺍﻟﺒﻬﻴﺔ‪...............................‬‬
‫‪15‬‬ ‫ﺣﺎﺷﻴﺔ ﻋﻠﻰ ﺍﳉﻼﻝ ﺍﶈﻠﻲ‪.....................................‬‬
‫‪15‬‬ ‫ﺣﺎﺷﻴﺔ ﻋﻠﻰ ﻛﱪﻯ ﺍﻟﺴﻨﻮﺳﻲ ﻭﺻﻐﺮﺍﻩ‪..........................‬‬
‫‪13‬‬ ‫ﺣﺎﺷﻴﺔ ﻋﻠﻰ ﺍﺑﻦ ﺗﺮﻛﻲ‪........................................‬‬
‫‪17 ،14 ،13‬‬ ‫ﺣﺎﺷﻴﺔ ﻋﻠﻰ ﺍﻟﺰﺭﻗﺎﱐ‪..........................................‬‬
‫‪14‬‬ ‫ﺣﺎﺷﻴﺔ ﻋﻠﻰ ﻋﺒﺪ ﺍﻟﻼﻡ ﺍﻟﻠﻘﺎﱐ‪..................................‬‬
‫‪29 ،14‬‬ ‫ﺣﺎﺷﻴﺔ ﻋﻠﻰ ﺷﺮﺡ ﺍﻟﺴﻠﻢ‪......................................‬‬
‫‪14‬‬ ‫ﺣﺎﺷﻴﺔ ﻋﻠﻰ ﺃﻟﻔﻴﺔ ﺍﳌﺼﻄﻠﺢ ﻟﻠﻌﺮﺍﻗﻲ‪.............................‬‬
‫ﺍﳋﺎﺀ‬
‫‪11‬‬ ‫ﺍﳋﻄﻂ ﺍﻟﺘﻮﻓﻴﻘﻴﺔ ﺍﳉﺪﻳﺪﺓ‪......................................‬‬

‫‪- 125 -‬‬

 ‫ﺍﻟﺪﺍﻝ‬
‫‪74 ،52‬‬ ‫ﺩﺍﺋﺮﺓ ﺍﳌﻌﺎﺭﻑ ﺍﻹﺳﻼﻣﻴﺔ‪.......................................‬‬
‫‪77 ،74‬‬ ‫ﺩﻳﻮﺍﻥ ﺑﺸﺎﺭ ﺑﻦ ﺑﺮﺩ‪...........................................‬‬
‫‪75‬‬ ‫ﺩﻳﻮﺍﻥ ﺣﺎﰎ ﺍﻟﻄﺎﺋﻲ‪............................................‬‬
‫‪62‬‬ ‫ﺩﻳﻮﺍﻥ ﺯﻫﲑ ﺑﻦ ﺃﰊ ﺳﻠﻤﺔ‪......................................‬‬
‫‪78 ،77‬‬ ‫ﺩﻳﻮﺍﻥ ﺍﳌﺘﻨﱯ‪..................................................‬‬
‫ﺍﻟﺮﺍﺀ‬
‫‪18‬‬ ‫ﺭﺳﺎﻟﺔ ﰲ ﻣﺘﺸﺒﻬﺎﺕ ﺍﻟﻘﺮﺁﻥ‪....................................‬‬
‫‪60 ،25‬‬ ‫ﺍﻟﺮﺳﺎﻟﺔ ﺍﻟﺴﻤﺮﻗﻨﺪﻳﺔ‪...........................................‬‬
‫ﺍﻟﺴﲔ‬
‫‪76 ،52‬‬ ‫ﺳﲑ ﺃﻋﻼﻡ ﺍﻟﻨﺒﻼﺀ‪.............................................‬‬
‫ﺍﻟﺸﲔ‬
‫‪27 ،15 ،14 ،13 ،11‬‬ ‫ﺷﺠﺮﺓ ﺍﻟﻨﻮﺭ ﺍﻟﺰﻛﻴﺔ‪...........................................‬‬
‫‪14‬‬ ‫ﺷﺮﺡ ﺍﳊﻤﺰﻳﺔ ﻹﺑﻦ ﺣﺠﺮ‪......................................‬‬
‫‪14‬‬ ‫ﺷﺮﺡ ﺍﳋﺮﺷﻲ ﻋﻠﻰ ﺍﳌﺨﺘﺼﺮ‪...................................‬‬
‫‪18‬‬ ‫ﺷﺮﺡ ﺻﻼﺓ ﺍﻟﺴﻴﺪ ﺃﲪﺪ ﺍﻟﺒﺪﻭﻱ‪...............................‬‬
‫‪19‬‬ ‫ﺷﺮﺡ ﺁﺩﺍﺏ ﺍﻟﺒﺤﺚ‪...........................................‬‬
‫‪19‬‬ ‫ﺷﺮﺡ ﻋﻠﻰ ﺍﻟﺸﻤﺎﺋﻞ‪...........................................‬‬
‫‪17‬‬ ‫ﺷﺮﺡ ﳐﺘﺼﺮ ﺧﻠﻴﻞ‪...........................................‬‬
‫‪18‬‬ ‫ﺷﺮﺡ ﻋﻠﻰ ﻣﺴﺎﺋﻞ ﻛﻞ ﺻﻼﺓ ﺑﻄﻠﺖ ﻋﻠﻰ ﺍﻹﻣﺎﻡ‪.................‬‬
‫‪18‬‬ ‫ﺷﺮﺡ ﻣﻘﺪﻣﺔ ﻧﻈﻢ ﺍﻟﺘﻮﺣﻴﺪ ﻟﻠﺒﻜﺮﻱ‪.............................‬‬
‫‪18‬‬ ‫ﺷﺮﺡ ﻋﻠﻰ ﺭﺳﺎﻟﺔ ﰲ ﺍﻟﺘﻮﺣﻴﺪ ﻣﻦ ﻛﻼﻡ ﺩﻣﺮﺩﺍﺵ‪.................‬‬
‫‪18‬‬ ‫ﺷﺮﺡ ﻋﻠﻰ ﻭﺭﺩ ﺍﻟﺸﻴﺦ ﻛﺮﱘ ﺍﻟﺪﻳﻦ ﺍﳋﻠﻮﰐ‪......................‬‬
‫‪59‬‬ ‫ﺷﺮﺡ ﺍﻷﺭﺑﻌﲔ ﺍﻟﻨﻮﻭﻳﺔ‪........................................‬‬
‫‪71‬‬ ‫ﺷﺮﺡ ﲪﺎﺳﺔ ﺃﰊ ﲤﺎﻡ )ﻟﻸﻋﻠﻢ ﺍﻟﺸﻨﺘﻤﺮﻱ(‪.......................‬‬
‫‪27‬‬ ‫ﺷﺮﺡ ﳐﺘﺼﺮ ﺍﳍﺪﺍﻳﺔ ﺍﻟﺴﻌﻴﺪﻳﺔ‪..................................‬‬
‫‪59‬‬ ‫ﺷﺮﺡ ﺍﻟﻌﻀﺪ ﻋﻠﻰ ﳐﺘﺼﺮ ﺇﺑﻦ ﺍﳊﺎﺟﺐ‪..........................‬‬

‫‪- 126 -‬‬

 ‫‪59‬‬ ‫ﺷﺮﺡ ﺍﻟﺸﻤﺴﻴﺔ‪...............................................‬‬
‫ﺍﻟﻌﲔ‪.‬‬ ‫ﺍﻟﻄﺎﺀ‪ ،‬ﺍﻟﻀﺎﺩ‪،‬‬
‫‪52‬‬ ‫ﺿﺤﻰ ﺍﻹﺳﻼﻡ‪...............................................‬‬
‫‪47‬‬ ‫ﺍﻟﻌﻤﺪﺓ ﰲ ﳏﺎﺳﻦ ﺍﻟﺸﻌﺮ ﻭﺁﺩﺍﺑﻪ‪.................................‬‬
‫‪26 ،24 ،23 ،19 ،15‬‬ ‫ﻋﻠﻢ ﺍﻟﺒﻴﺎﻥ‪...................................................‬‬
‫‪14 ،13 ،11‬‬ ‫ﻋﺠﺎﺋﺐ ﺍﻵﺛﺎﺭ‪...............................................‬‬
‫‪27‬‬ ‫ﺍﻟﻌﻘﻴﺪﺓ ﺍﳉﺰﺍﺋﺮﻳﺔ‪..............................................‬‬
‫ﺍﻟﻔﺎﺀ‪ ،‬ﺍﻟﻜﺎﻑ‬
‫‪75 ،46 ،45‬‬ ‫ﺍﻟﻔﺮﻭﻕ ﰲ ﺍﻟﻠﻐﺔ‪..............................................‬‬
‫‪59‬‬ ‫ﻓﺼﻮﺹ ﺍﳊﻜﻢ‪...............................................‬‬
‫‪11‬‬ ‫ﻓﻬﺮﺱ ﺍﻟﻔﻬﺎﺭﺱ‪..............................................‬‬
‫‪20‬‬ ‫ﻛﺮﺍﻣﺎﺕ ﺍﻷﻭﻟﻴﺎﺀ‪.............................................‬‬
‫‪27 ،20 ،11‬‬ ‫ﻛﺸﻒ ﺍﻟﻈﻨﻮﻥ‪...............................................‬‬
‫‪11‬‬ ‫ﺍﻟﻜﺸﺎﻑ ﻋﻦ ﳐﻄﻮﻃﺎﺕ ﺧﺰﺍﺋﻦ ﻛﺘﺐ ﺍﻷﻭﻗﺎﻑ‪.................‬‬
‫ﺍﻟﻼﻡ‪ ،‬ﺍﳌﻴﻢ‬
‫‪82 ،55 ،46‬‬ ‫ﻟﺴﺎﻥ ﺍﻟﻌﺮﺏ‪.................................................‬‬
‫‪55 ،57‬‬ ‫ﻣﻔﺘﺎﺡ ﺍﻟﻌﻠﻮﻡ‪.................................................‬‬
‫‪16‬‬ ‫ﻣﻌﺠﻢ ﺃﻋﻼﻡ ﺍﳉﺰﺍﺋﺮ‪..........................................‬‬
‫‪25‬‬ ‫ﻣﻔﺘﺎﺡ ﺍﻟﺴﻌﺎﺩﺓ ﻭﻣﺼﺒﺎﺡ ﺍﻟﺴﻴﺎﺩﺓ‪...............................‬‬
‫‪25‬‬ ‫ﻣﺴﺘﺨﻠﺺ ﺍﳊﻘﺎﺋﻖ‪............................................‬‬
‫‪56‬‬ ‫ﻣﻌﺠﻢ ﺍﻟﺒﻼﻏﺔ ﺍﻟﻌﺮﺑﻴﺔ‪.........................................‬‬
‫‪44‬‬ ‫ﺍﳌﺴﺘﻄﺮﻑ ﰲ ﻛﻞ ﻓﻦ ﻣﺴﺘﻈﺮﻑ‪...............................‬‬
‫‪59‬‬ ‫ﺍﳌﻄﻮﻝ ﰲ ﺍﻟﻨﺤﻮ‪..............................................‬‬
‫‪44‬‬ ‫ﻣﻌﺠﻢ ﺍﻟﺪﺭﺍﺳﺎﺕ ﺍﻹﻧﺴﺎﻧﻴﺔ ﻭﺍﻟﻔﻨﻮﻥ ﺍﳉﻤﻴﻠﺔ ﻭﺍﻟﺘﺸﻜﻴﻠﻴﺔ‪...........‬‬
‫‪11‬‬ ‫ﻣﻌﺠﻢ ﺍﳌﺆﻟﻔﲔ ﻭﺗﺮﺍﺟﻢ ﻣﺼﻨﻔﻲ ﺍﻟﻜﺘﺐ ﺍﻟﻌﺮﺑﻴﺔ‪...................‬‬
‫‪12‬‬ ‫ﳐﺘﺼﺮ ﺍﻟﺸﺮﺡ ﺍﻟﺼﻐﲑ‪.........................................‬‬
‫‪27‬‬ ‫ﳐﺘﺼﺮ ﺃﰊ ﲨﺮﺓ‪..............................................‬‬

‫‪- 127 -‬‬

 ‫‪25‬‬ ‫ﻣﺴﺘﺨﻠﺺ ﺍﳊﻘﺎﺋﻖ ﰲ ﺷﺮﺡ ﻛﱰ ﺍﻟﺪﻗﺎﺋﻖ‪........................‬‬
‫‪25‬‬ ‫ﺍﳌﻨﺠﺪ ﰲ ﺍﻟﻠﻐﺔ ﻭﺍﻷﻋﻼﻡ‪.......................................‬‬
‫‪64 ،61 ،57‬‬ ‫ﺍﳌﻌﺠﻢ ﺍﳌﻔﺼﻞ ﰲ ﻋﻠﻮﻡ ﺍﻟﺒﻼﻏﺔ‪................................‬‬
‫‪59‬‬ ‫ﻣﻘﺎﺻﺪ ﺍﻟﻄﺎﻟﺒﻴﲔ‪..............................................‬‬
‫‪44‬‬ ‫ﳐﺘﺎﺭ ﺍﻟﺼﺤﺎﺡ ﻟﻠﺮﺍﺯﻱ‪........................................‬‬
‫‪78‬‬ ‫ﻣﻮﺟﺰ ﺩﻳﻮﺍﻥ ﺍﳌﺘﻨﱯ‪...........................................‬‬
‫ﺍﻟﻨﻮﻥ‪ ،‬ﺍﳍﺎﺀ‪ ،‬ﺍﻟﻮﺍﻭ‪ ،‬ﺍﻟﻴﺎﺀ‬
‫‪78‬‬ ‫ﺍﻟﻨﺠﻮﻡ ﺍﻟﺰﺍﻫﺮﺓ ﰲ ﺃﺧﺒﺎﺭ ﻣﺼﺮ ﻭﺍﻟﻘﺎﻫﺮﺓ‪.........................‬‬
‫‪11‬‬ ‫ﻫﺪﺍﻳﺔ ﺍﻟﻌﺎﺭﻓﲔ ﺑﺄﲰﺎﺀ ﺍﳌﺆﻟﻔﲔ ﻭﺃﺛﺎﺭ ﺍﳌﺼﻨﻔﲔ ﻣﻦ ﻛﺸﻒ ﺍﻟﻈﻨﻮﻥ‪..‬‬
‫‪76 ،75‬‬ ‫ﻭﻓﻴﺎﺕ ﺍﻷﻋﻴﺎﻥ‪...............................................‬‬
‫‪17 ،12‬‬ ‫ﻳﺴﺄﻟﻮﻧﻚ ﰲ ﺍﻟﺪﻳﻦ ﻭﺍﳊﻴﺎﺓ‪.....................................‬‬
‫‪11‬‬ ‫ﺍﻟﻴﻮﺍﻗﻴﺖ ﺍﻟﺜﻤﻴﻨﺔ‪..............................................‬‬

‫‪–9-‬‬
‫ﻓﻬﺮﺱ ﺍﳌﺼﺎﺩﺭ ﻭﺍﳌﺮﺍﺟﻊ‬
‫ﺍﻟﻘﺮﺃﻥ ﺍﻟﻜﺮﱘ ‪.‬‬
‫‪ / 01‬ﺃﺧﺒﺎﺭ ﺃﰊ ﲤﺎﻡ‪.‬‬
‫‪- 128 -‬‬
‫‪ -‬ﻟـ‪ :‬ﺃﰊ ﺑﻜﺮ ﳏﻤﺪ ﺑﻦ ﳛﻲ ﺍﻟﺼﻮﱄ‪ - .‬ﺣﻘﻘﻪ ﻭﻋﻠﻖ ﻋﻠﻴﻪ‪ :‬ﻋﺒﺪﻩ ﻋﺰﺍﻡ – ﺧﻠﻴﻞ ﳏﻤﻮﺩ ﻋﺴﺎﻛﺮ‪-‬‬
‫ﻧﻈﲑ ﺍﻹﺳﻼﻡ ﺍﳍﻨﺪﻱ ‪-‬ﻣﻨﺸﻮﺭﺍﺕ ﺩﺍﺭ ﺍﻷﻓﺎﻕ ﺍﳉﺪﻳﺪﺓ‪ .‬ﺑﲑﻭﺕ – ﻟﺒﻨﺎﻥ‪.‬‬
‫‪ -‬ﻁ‪ 3 :‬ﺳﻨﺔ ‪1400‬ﻫـ‪1980/‬ﻡ‪.‬‬
‫‪ / 02‬ﺃﺩﺑﺎﺀ ﺍﻟﻌﺮﺏ ﰲ ﺍﻷﻋﺼﺮ ﺍﻟﻌﺒﺎﺳﻴﺔ‬
‫‪ -‬ﻟﺒﻄﺮﺱ ﺍﻟﺒﺴﺘﺎﱐ‪ ،‬ﻧﺸﺮ ﺩﺍﺭ ﻣﺎﺭﻭﻥ ﻋﺒﻮﺩ‪ ،‬ﺑﲑﻭﺕ ﻟﺒﻨﺎﻥ‪،‬ﺩ ‪،‬ﻁ‪.1971 :‬‬
‫‪ / 03‬ﺍﻷﻋﻼﻡ‪.‬‬
‫‪ -‬ﻟـ‪ :‬ﺧﲑ ﺍﻟﺪﻳﻦ ﺍﻟﺰﺭﻛﻠﻲ ]ﺕ‪1396‬ﻫـ‪1976/‬ﻡ[‪ - .‬ﺩﺍﺭ ﺍﻟﻌﻠﻢ ﻟﻠﻤﻼﻳﲔ – ﺑﲑﻭﺕ – ﻟﺒﻨﺎﻥ‪.‬‬
‫– ﻁ‪ -1992 / 10:‬ﻭ ‪،‬ﻁ ‪.1995 / 11:‬‬
‫‪ / 04‬ﺍﻷﺯﻫﺮ ﰲ ﺃﻟﻒ ﻋﺎﻡ‪،‬‬
‫‪ -‬ﶈﻤﺪ ﻋﺒﺪ ﺍﳌﻨﻌﻢ ﺧﻔﺎﺟﻲ‪ ،‬ﻋﺎﱂ ﺍﻟﻜﺘﺐ‪ ،‬ﺑﲑﻭﺕ‪ ،‬ﻟﺒﻨﺎﻥ – ﻭﻣﻜﺘﺒﺔ ﺍﻟﻜﻠﻴﺎﺕ ﺍﻷﺯﻫﺮﻳﺔ‪ ،‬ﺍﻟﻘﺎﻫﺮﺓ ‪،‬‬
‫ﻣﺼﺮ‪ .‬ﻁ‪.1972/2 :‬‬
‫‪ / 05‬ﺍﻷﺯﻫﺮﺇﻟىﺄﻳﻦ؟‬
‫‪-‬ﺍﻟﺪﻛﺘﻮﺭ‪:‬ﻋﺒﺪ ﺍﻟﻮﺩﻭﺩ ﺷﻠﱯ‪-‬ﺩﺍﺭ ﺍﻹﻋﺘﺼﺎﻡ‪,‬ﺍﻟﻘﺎﻫﺮﺓ‪-‬ﻣﺼﺮ‪)-‬ﺩ‪-‬ﻁ(‪.‬ﻁ‪1998/‬‬
‫‪ / 06‬ﺍﺑﻦ ﺧﻔﺎﺟﺔ‪،‬‬
‫‪ -‬ﻟﻌﺒﺪ ﺍﻟﺮﲪﺎﻥ ﺟﺒﲑ – ﻣﻨﺸﻮﺭﺍﺕ ﺩﺍﺭ ﺍﻷﻓﺎﻕ ﺍﳉﺪﻳﺪﺓ ‪ ،‬ﺑﲑﻭﺕ‪ ،‬ﻟﺒﻨﺎﻥ‪.‬‬
‫)ﺩ‪،‬ﻁ ﺩ‪،‬ﺕ (‬
‫‪ / 07‬ﺍﻹﻳﻀﺎﺡ ﰲ ﻋﻠﻮﻡ ﺍﻟﺒﻼﻏﺔ‬
‫‪ -‬ﻟـ‪ :‬ﺟﻼﻝ ﺍﻟﺪﻳﻦ ﺃﺑﻮ ﻋﺒﺪ ﺍﷲ ﳏﻤﺪ ﺑﻦ ﺳﻌﺪ ﺍﻟﺪﻳﻦ ﺑﻦ ﻋﻤﺮ ﺍﻟﻘﺰﻭﻳﲏ‪ ].‬ﺕ‪739‬ﻫـ[‪.‬‬
‫‪ -‬ﺩﺍﺭ ﺍﻟﻨﺸﺮ‪ :‬ﺩﺍﺭ ﺃﺣﻴﺎﺀ ﺍﻟﻌﻠﻮﻡ‪ - .‬ﺑﲑﻭﺕ – ﻟﺒﻨﺎﻥ‪ – .‬ﻁ‪ -.4:‬ﺩ‪،‬ﺕ‬
‫‪ / 08‬ﺍﻟﺒﺪﺍﻳﺔ ﻭﺍﻟﻨﻬﺎﻳﺔ‬
‫‪ -‬ﻟـ‪ :‬ﺃﰊ ﺍﻟﻔﺪﺍﺀ ﺇﲰﺎﻋﻴﻞ ﺍﺑﻦ ﻛﺜﲑ ﺍﻟﺪﻣﺸﻘﻲ‪] .‬ﺕ‪774‬ﻫـ[‪.‬‬
‫‪ -‬ﻣﻜﺘﺒﺔ ﺍﳌﻌﺎﺭﻑ ﺑﲑﻭﺕ‪ ،‬ﻟﺒﻨﺎﻥ‪.‬ﻁ‪1990 /2:‬‬
‫‪ / 09‬ﺍﻟﺒﻼﻏﺔ ﺍﻟﻮﺍﺿﺤﺔ‬
‫‪ -‬ﻟـ‪ :‬ﻋﻠﻲ ﺍﳉﺎﺭﻡ – ﻭﻣﺼﻄﻔﻰ ﺃﻣﲔ ﺩ ﻁ ‪ /‬ﺩ ﺕ‪.‬‬

‫‪ / 10‬ﺑﻐﻴﺔ ﺍﻟﻄﻠﺐ ﰲ ﺗﺎﺭﻳﺦ ﺣﻠﺐ‪.‬‬

‫ﻟﻜﻤﺎﻝ ﺍﻟﺪﻳﻦ ﻋﻤﺮ ﺑﻦ ﺃﲪﺪ ﺑﻦ ﺃﰊ ﺟﺮﺍﺩﺓ‪ ،‬ﲢﻘﻴﻖ‪ :‬ﺳـﻬﻴﻞ ﺯﻛـﺎﺭ‪ ،‬ﺩﺍﺭ ﺍﻟﻔﻜـﺮ‪ ،‬ﺑـﲑﻭﺕ‪ ،‬ﻟﺒﻨـﺎﻥ‪.‬‬
‫ﻁ‪.1988/1:‬‬
‫‪ / 11‬ﺗﻠﺨﻴﺺ ﺍﳌﻔﺘﺎﺡ ﰲ ﺍﳌﻌﺎﱐ ﻭﺍﻟﺒﻴﺎﻥ ﻭﺍﻟﺒﺪﻳﻊ‪.‬‬
‫ﻟﻠﺨﻄﻴﺐ ﺍﻟﻘﺰﻭﻳﲏ‪ ،‬ﺟﻼﻝ ﺍﻟﺪﻳﻦ ﳏﻤﺪ ﺑﻦ ﻋﺒﺪ ﺍﻟﺮﲪﻦ ﻗﺮﺃﻩ ﻭﻛﺘﺐ ﺣﻮﺍﺷﻴﻪ ﻭﻗﺪﻡ ﻟﻪ‪،‬‬
‫ﻳﺎ ﺳﲔ ﺍﻷﻳﻮﰊ‪ ،‬ﻣﻄﺒﻌﺔ‪ :‬ﺍﳌﻜﺘﺒﺔ ﺍﻟﻌﺼﺮﻳﺔ‪ ،‬ﺻﻴﺪﺍ‪ ،‬ﻟﺒﻨﺎﻥ‪ .‬ﺩ‪،‬ﻁ‪2002 -‬‬
‫‪ / 12‬ﺍﻟﺘﻤﻬﻴﺪ‬
‫‪- 129 -‬‬
‫‪ -‬ﻟـ‪ :‬ﺃﰊ ﻋﻤﺮ ﻳﻮﺳﻒ ﺑﻦ ﻋﺒﺪ ﺍﷲ ﺑﻦ ﻋﺒﺪ ﺍﻟﱪ ﺍﻟﻨﻤﺮﻱ ]ﺕ‪463‬ﻫـ‪ ،‬ﲢﻘﻴﻖ‪ :‬ﻣﺼﻄﻔﻰ ﺑﻦ ﺃﲪﺪ‬
‫ﺍﻟﻌﻠﻮﻱ – ﻭﳏﻤﺪ ﻋﺒﺪ ﺍﻟﺒﲑ ﺍﻟﺒﻜﺮﻱ[ ‪.‬‬
‫‪ -‬ﻧﺸﺮ‪ :‬ﻭﺯﺍﺭﺓ ﻋﻤﻮﻡ ﺍﻷﻭﻗﺎﻑ ﻭﺍﻟﺸﺆﻭﻥ ﺍﻹﺳﻼﻣﻴﺔ – ﺍﳌﻐﺮﺏ‪ -‬ﺩ‪،‬ﺕ‪ 1387 -‬ﻫـ ‪-‬‬
‫‪ / 13‬ﺗﻌﺮﻳﻒ ﺍﳋﻠﻒ ﺑﺮﺟﺎﻝ ﺍﻟﺴﻠﻒ‪.‬‬
‫‪ -‬ﺍﳊﻔﻨﺎﻭﻱ‪ :‬ﺃﺑﻮ ﺍﻟﻘﺴﻢ ﳏﻤﺪ ﺑﻦ ﺍﻟﺸﻴﺦ ﺑﻦ ﺃﰊ ﺍﻟﻘﺎﺳﻢ ﺍﻟﺪﻳﺴﻲ ﺑﻦ ﺳﻴﺪﻱ ﺇﺑﺮﺍﻫﻴﻢ ﺍﻟﻐﻮﻝ‪.‬‬
‫]ﺕ‪1324‬ﻫـ‪1906/‬ﻡ[‪ .‬ﻣﺆﺳﺴﺔ ﺍﻟﺮﺳﺎﻟﺔ‪ ،‬ﺑﲑﻭﺕ – ﻟﺒﻨﺎﻥ‪،‬ﻁ‪– 2‬ﺩ‪،‬ﺕ ﻭﺍﳌﻜﺘﺒﺔ ﺍﻟﻌﺘﻴﻘﺔ‪،‬‬
‫ﺗﻮﻧﺲ‪،‬ﺩ‪،‬ﻁ‪1405:‬ﻫـ‪1985/‬ﻡ‪ - .‬ﻭﺳﻠﺴﻠﺔ ﺍﻷﻧﻴﺲ ﻣﻮﻓﻢ ﻟﻠﻨﺸﺮ‪ .‬ﻃﺒﻌﺔ ﺍﳉﺰﺍﺋﺮ‪،.‬ﺩ‪ ،‬ﻁ‪1991 :‬ﻡ‪.‬‬
‫‪ / 14‬ﺗﺎﺭﻳﺦ ﺍﻷﺩﺏ ﺍﻟﻌﺮﰊ‪.‬‬
‫‪ -‬ﻟـ‪ :‬ﻟﻌﻤﺮ ﻓﺮﻭﺥ‪ ، .‬ﺩﺍﺭ ﺍﻟﻌﻠﻢ ﻟﻠﻤﻼﻳﲔ‪ ،‬ﺑﲑﻭﺕ‪ ،‬ﻟﺒﻨﺎﻥ‪.‬ﻁ‪. 1981/ 4:‬‬
‫‪ / 15‬ﺗﺎﺭﻳﺦ ﺍﻷﺩﺏ ﺍﻟﻌﺮﰊ ﻟﻜﺎﺭﻝ ﺑﺮﻭﻛﻠﻤﺎﻥ‪.‬‬
‫ﺍﻻﺷﺮﺍﻑ ﻭﺍﻟﺘﺮﲨﺔ ﺍﻟﻌﺮﺑﻴﺔ ﺃ‪ ،‬ﺩ ﳏﻤﻮﺩ ﻓﻬﻤﻲ ﺣﺠﺎﺯﻱ‪ ،‬ﻧﻘﻠﻪ ﺇﱃ ﺍﻟﻌﺮﺑﻴﺔ ﺍﻟﺪﻛﺘﻮﺭ‪ :‬ﻋﻤﺮ ﺻﺎﺑﺮ ﻋﺒﺪ ﺍ‪‬ﻴﺪ‪،‬‬
‫ﻣﻄﺎﺑﻊ ﺍﳍﻴﺌﺔ ﺍﳌﺼﺮﻳﺔ ﺍﻟﻌﺎﻣﺔ‪ ،‬ﺩ‪،‬ﻁ‪1995 :‬ﻡ‪.‬‬
‫‪ / 16‬ﺗﺎﺭﻳﺦ ﺍﳉﺰﺍﺋﺮ ﺍﻟﻌﺎﻡ‬
‫‪ -‬ﻟﻌﺒﺪ ﺍﻟﺮﲪﻦ ﺍﳉﻴﻼﱄ ‪ ،‬ﺩﺍﺭ ﺍﻟﺜﻘﺎﻓﺔ‪ ،‬ﺑﲑﻭﺕ‪ ،‬ﻟﺒﻨﺎﻥ‪ .‬ﺩ ‪،‬ﻁ ‪.1980 :‬‬
‫‪/ 17‬ﺍﻟﺘﺎﺭﻳﺦ ﺍﻹﺳﻼﻣﻲ ﻭﺍﳊﻀﺎﺭﺓﺍﻹﺳﻼﻣﻴﺔ‬
‫ﻟـ‪ :‬ﺩﻛﺘﻮﺭ‪ -‬ﺃﲪﺪ ﺷﻠﱯ‪ -‬ﻣﻜﺘﺒﺔ ﺍﻟﻨﻬﻀﺔ ﺍﳌﺼﺮﻳﺔ‪ -‬ﺍﻟﻘﺎﻫﺮﺓ‪ -‬ﻣﺼﺮ‪ -‬ﻁ‪1970/4:‬ﻡ‬
‫‪ /18‬ﲨﻬﺮﺓ ﺍﻷﻣﺜﺎﻝ‬
‫‪ -‬ﻟـ‪ :‬ﺃﰊ ﻫﻼﻝ ﺍﻟﻌﺴﻜﺮﻱ‪ .‬ﲢﻘﻴﻖ‪ :‬ﳏﻤﺪ ﺃﺑﻮ ﺍﻟﻔﻀﻞ ﺍﺑﺮﺍﻫﻴﻢ – ﻭﻋﺒﺪ ﺍﳉﻤﻴﺪ ﻗﻄﺎﻣﺶ‪.‬‬
‫‪ -‬ﺩﺍﺭ ﺍﻟﻔﻜﺮ ﺑﲑﻭﺕ – ﻟﺒﻨﺎﻥ )ﺩ ‪ ،‬ﻁ(‪1988 :‬ﻡ ‪.‬‬
‫‪ / 19‬ﺟﻮﺍﻫﺮ ﺍﻟﺒﻼﻏﺔ‬
‫‪ -‬ﻟـ‪ :‬ﺃﲪﺪ ﺍﳍﺎﴰﻲ‪ - .‬ﺿﺒﻂ ﻭﺗﺪﻗﻴﻖ ﻭﺗﻮﺛﻴﻖ‪ :‬ﻳﻮﺳﻒ ﺍﻟﺼﻤﻴﻠﻲ‪ .‬ﺍﳌﻜﺘﺒﺔ ﺍﻟﻌﺼﺮﻳﺔ ﺑﲑﻭﺕ‪ ،‬ﻟﺒﻨﺎﻥ‪.‬‬
‫‪ -‬ﻁ‪1999 / 1‬ﻡ ‪.‬‬
‫‪ / 20‬ﺣﺎﺷﻴﺔ ﺍﻟﺪﺳﻮﻗﻲ ﻋﻠﻰ ﺍﻟﺸﺮﺡ ﺍﻟﻜﺒﲑ‬
‫‪ -‬ﻟـ‪ :‬ﺍﻟﻌﻼﻣﺔ ﳏﻤﺪ ﻋﺮﻓﺔ‪ .‬ﺩﺍﺭ ﺍﻟﻔﻜﺮ – ﺍﻟﻘﺎﻫﺮﺓ ‪ ،‬ﻣﺼﺮ ‪،‬ﺩ ‪،‬ﻁ ‪ ،‬ﺩ‪ ،‬ﺕ‪.‬‬
‫‪ / 21‬ﺣﻠﻴﺔ ﺍﻷﻭﻟﻴﺎﺀ‪.‬‬
‫‪ -‬ﻟـ‪ :‬ﺃﰊ ﻧﻌﻴﻢ ﺃﲪﺪ ﺑﻦ ﻋﺒﺪ ﺍﷲ ﺍﻷﺻﻔﻬﺎﱐ‪ ،‬ﺩﺍﺭ ﺍﻟﻜﺘﺎﺏ ﺍﻟﻌﺮﰊ‪ ،‬ﺑﲑﻭﺕ‪ ،‬ﻟﺒﻨﺎﻥ‪.‬‬
‫ﻁ‪ 1405/4 :‬ﻫـ‪.‬‬
‫‪ / 22‬ﺣﻠﻴﺔ ﺍﻟﺒﺸﺮ ﰲ ﺗﺎﺭﻳﺦ ﺍﻟﻘﺮﻥ ﺍﻟﺜﺎﻟﺚ ﻋﺸﺮ‬
‫‪ -‬ﻟـ‪ :‬ﻋﺒﺪ ﺍﻟﺮﺯﺍﻕ ﺍﻟﺒﻴﻄﺎﺭ‪ - .‬ﲢﻘﻴﻖ‪ :‬ﳏﻤﺪ ‪‬ﺠﺔ ﺍﻟﺒﻴﻄﺎﺭ‪ .‬ﻣﻄﺒﻮﻋﺎﺕ‪ :‬ﳎﻤﻊ ﺍﻟﻠﻐﺔ ﺍﻟﻌﺮﺑﻴﺔ ﺩﻣﺸﻖ‬
‫– ﺳﻮﺭﻳﺎ‪ .‬ﺩ‪،‬ﻁ ‪.1961/‬‬
‫‪ /23‬ﺍﳋﻄﻂ ﺍﻟﺘﻮﻓﻴﻘﻴﺔ ﺍﳉﺪﻳﺪﺓ ﳌﺼﺮ ﺍﻟﻘﺎﻫﺮﺓ ﻭﻣﺪ‪‬ﺎ ﻭﺑﻼﺩﻫﺎ ﺍﻟﻘﺪﳝﺔ ﻭﺍﻟﺸﻬﲑﺓ‪ .‬ﻣﻄﺒﻌﺔ‪ :‬ﺑﻮﻻﻕ‪،‬‬
‫ﺍﻟﻘﺎﻫﺮﺓ‪ ،‬ﻣﺼﺮ‪ ،‬ﻁ ‪ 1305/2 :‬ﻫـ‪.‬‬
‫‪- 130 -‬‬
 ‫‪ / 24‬ﺩﺍﺋﺮﺓ ﺍﳌﻌﺎﺭﻑ ﺍﻹﺳﻼﻣﻴﺔ‬
‫‪ -‬ﺩﺍﺭ ﺍﳌﻌﺮﻓﺔ‪ - .‬ﺑﲑﻭﺕ – ﻟﺒﻨﺎﻥ‪ .‬ﺩ – ﻁ ‪ /‬ﺩ – ﺕ‪.‬‬
‫‪ / 25‬ﺩﻳﻮﺍﻥ ﺯﻫﲑ ﺑﻦ ﺃﰊ ﺳﻠﻤﻰ‬
‫‪ -‬ﻣﻄﺒﻌﺔ‪ :‬ﺩﺍﺭ ﺑﲑﻭﺕ ﻟﻠﻄﺒﺎﻋﺔ ﻭﺍﻟﻨﺸﺮ‪ .‬ﺑﲑﻭﺕ ﻟﺒﻨﺎﻥ‪ .‬ﺩ‪،‬ﻁ ‪.1979/‬‬
‫‪ / 26‬ﺩﻳﻮﺍﻥ ﺍﳌﺘﻨﱯ‪.‬‬
‫ﲢﻘﻴﻖ‪ :‬ﻋﺒﺪ ﺍﻟﺮﲪﻦ ﺍﻟﱪﻗﻮﻗﻲ‪ ،‬ﻣﺼﺮ‪ ،‬ﺩ‪،‬ﻁ ‪.1930/‬‬
‫‪ / 27‬ﺩﻳﻮﺍﻥ ﺣﺎﰎ ﺍﻟﻄﺎﺋﻲ‪.‬‬
‫ﺩﺍﺭ ﺑﲑﻭﺕ ﻟﻠﻄﺒﺎﻋﺔ ﻭﺍﻟﻨﺸﺮ‪ ،‬ﻟﺒﻨﺎﻥ‪ ،‬ﺩ‪،‬ﻁ‪1974 :‬ﻡ‪1394 ،‬ﻫـ‪.‬‬
‫‪ / 28‬ﺩﻳﻮﺍﻥ ﺑﺸﺎﺭ ﺑﻦ ﺑﺮﺩ‪،‬‬
‫ﲨﻊ ﻭﲢﻘﻴﻖ ﻭﺷﺮﺡ‪ :‬ﳏﻤﺪ ﺍﻟﻄﺎﻫﺮ ﺑﻦ ﻋﺎﺷﻮﺭ‪ ،‬ﻧﺸﺮ‪ :‬ﺍﻟﺸﺮﻛﺔ ﺍﻟﺘﻮﻧﺴﻴﺔ ﻟﻠﺘﻮﺯﻳﻊ‪ ،‬ﻭﺍﻟﺸﺮﻛﺔ ﺍﳉﺰﺍﺋﺮﻳﺔ ﻟﻠﻨﺸﺮ‬
‫ﻭﺍﻟﺘﻮﺯﻳﻊ‪ ،‬ﺩ‪،‬ﻁ‪1976 :‬ﻡ‪.‬‬
‫‪ / 29‬ﺳﻴّﺮ ﺃﻋﻼﻡ ﺍﻟﻨﺒﻼﺀ‬
‫‪ -‬ﻟـ‪ :‬ﳏﻤﺪ ﺑﻦ ﺃﲪﺪ ﺑﻦ ﻋﺜﻤﺎﻥ ﻗﺎﳝﺎﺯ ﺍﻟﺬﻫﱯ]ﺕ‪738‬ﻫـ[ ‪ .‬ﲢﻘﻴﻖ ‪ :‬ﺷﻌﻴﺐ ﺍﻷﺭﻧﺎﺅﻭﻁ –‬
‫ﻭﳏﻤﺪ ﻧﻌﻴﻢ ﺍﻟﻌﺮﻗﺴﻮﺳﻲ‪.‬ﻣﺆﺳﺴﺔ ﺍﻟﺮﺳﺎﻟﺔ ﺑﲑﻭﺕ ‪،‬ﻟﺒﻨﺎﻥ ﺩ‪،‬ﻁ ‪ 1413‬ﻫـ‬
‫‪ / 30‬ﺳﻨﻦ ﺑﻦ ﻣﺎﺟﺔ‪،‬‬
‫ﻷﰊ ﻋﺒﺪ ﺍﷲ ﳏﻤﺪ ﺑﻦ ﻳﺰﻳﺪ ﺍﻟﻘﺰﻭﻳﲏ‪ ،‬ﲢﻘﻴﻖ‪ :‬ﳏﻤﺪ ﻓﺆﺍﺩ ﻋﺒﺪ ﺍﻟﺒﺎﻗﻲ‪ ،‬ﺩﺍﺭ ﺍﻟﻔﻜﺮ ﺩ‪،‬ﻁ ‪ ،‬ﺩ‪ ،‬ﺕ ‪.‬‬
‫‪ -31‬ﺭﻭﺡ ﺍﳌﻌﺎﱐ ﰲ ﺗﻔﺴﲑ ﺍﻟﻘﺮﺁﻥ ﺍﻟﻌﻈﻴﻢ ﻭﺍﻟﺴﺒﻊ ﺍﳌﺜﺎﱐ‬
‫ﶈﻤﻮﺩ ﺍﻷﻟﻮﺳﻲ ‪ ،‬ﺩﺍﺭ ﺇﺣﻴﺎﺀ ﺍﻟﺘﺮﺍﺙ ﺍﻟﻌﺮﰊ – ﺑﲑﻭﺕ ﻟﺒﻨﺎﻥ – ﺩ‪،‬ﻁ ‪1966/ 1-‬‬
‫‪ / 32‬ﺍﻟﺸﻌﺮ ﻭﺍﻟﺸﻌﺮﺍﺀ‬
‫‪ -‬ﻟـ‪ :‬ﺃﰊ ﳏﻤﺪ ﻋﺒﺪ ﺍﷲ ﺑﻦ ﻣﺴﻠﻢ ﺑﻦ ﺃﰊ ﻗﺘﻴﺒﺔ‪ :- .‬ﺩﺍﺭ ﺇﺣﻴﺎﺀ ﺍﻟﻌﻠﻮﻡ‪.‬‬
‫‪ -‬ﺑﲑﻭﺕ – ﻟﺒﻨﺎﻥ‪.‬ﻁ‪1987/ 3‬‬

‫‪ / 33‬ﺷﺮﺡ ﲪﺎﺳﺔ ﺃﰊ ﲤﺎﻡ ﻟﻸﻋﻠﻢ ﺍﻟﺸﻨﺘﻤﺮﻱ‬

‫‪ -‬ﻟـ‪ :‬ﺩﻛﺘﻮﺭ ﻋﻠﻲ ﺍﳌﻔﻀﻞ ﺣﻮﺩﺍﻥ‪ - .‬ﻣﻄﺒﻮﻋﺎﺕ‪ :‬ﲨﻌﺔ ﺍﳌﺎﺟﺪ ﻟﻠﺜﻘﺎﻓﺔ ﻭﺍﻟﺘﺮﺍﺙ – ﺩﰊ‪.‬‬
‫ﺩ‪،‬ﻁ‪1992،‬‬
‫‪ / 34‬ﺷﺠﺮﺓ ﺍﻟﻨﻮﺭ ﺍﻟﺰﻛﻴﺔ ﰲ ﻃﺒﻘﺎﺕ ﺍﳌﺎﻟﻜﻴﺔ‬
‫‪ -‬ﻟـ‪ :‬ﳏﻤﺪ ﺑﻦ ﳏﻤﺪ ﳐﻠﻮﻑ‪ .‬ﺩﺍﺭ ﺍﻟﻜﺘﺎﺏ ﺍﻟﻌﺮﰊ‪ - .‬ﺑﲑﻭﺕ ‪ -‬ﻟﺒﻨﺎﻥ‪.‬‬
‫ﺩ ﻁ‪ .‬ﺩ ﺕ‬
‫‪ / 35‬ﺍﻟﺸﺮﺡ ﺍﻟﺼﻐﲑ ﻋﻠﻰ ﳐﺘﺼﺮ ﺃﻗﺮﺏ ﺍﳌﺴﺎﻟﻚ ﻟﻠﻤﺬﻫﺐ ﺍﻻﻣﺎﻡ ﻣﺎﻟﻚ‬
‫ﻼ ﻋﻦ ﻃﺒﻌﺔ ﺍﻹﺩﺍﺭﺓ ﺍﳌﺮﻛﺰﻳـﺔ ﻟﻠﻤﻌﺎﻫـﺪ ﺍﻷﺯﻫﺮﻳـﺔ‪-.‬‬ ‫‪ -‬ﻟـ‪ :‬ﺍﻟﺪﺭﺩﻳﺮ‪] .‬ﺕ‪1201‬ﻫـ[‪ - .‬ﻧﻘ ﹰ‬
‫ﻧﺸﺮ‪:‬ﻣﺆﺳﺴﺔ ﺍﻟﻌﺼﺮ ﻟﻠﻤﻨﺸﻮﺭﺍﺕ ﺍﻹﺳﻼﻣﻴﺔ )ﻭﺯﺍﺭﺓ ﺍﻟﺸﺆﻭﻥ ﺍﻟﺪﻳﻨﻴﺔ(‪.‬‬
‫‪- 131 -‬‬
 ‫‪ -‬ﺍﳉﺰﺍﺋﺮ‪ -‬ﻁ‪1413 :‬ﻫـ ‪1992 /‬ﻡ‪.‬‬
‫‪ / 36‬ﺿﺤﻰ ﺍﻹﺳﻼﻡ‬
‫‪ -‬ﻟـ‪ :‬ﺃﲪﺪ ﺃﻣﲔ ]ﺕ‪1954‬ﻡ[‪ - .‬ﺩﺍﺭ ﺍﻟﻜﺘﺎﺏ ﺍﻟﻌﺮﰊ – ﺑﲑﻭﺕ – ﻟﺒﻨﺎﻥ –ﻁ‪ –10‬ﺩ – ﺕ‬
‫‪ / 37‬ﻃﺒﻘﺎﺕ ﺍﻟﺸﺎﻓﻌﻴﺔ ﺍﻟﻜﱪﻯ‪.‬‬
‫ﻷﰊ ﻧﺼﺮ ﻋﺒﺪ ﺍﻟﻮﻫﺎﺏ ﺑﻦ ﻋﻠﻲ ﺑﻦ ﻋﺒﺪ ﺍﻟﻜﺎﰲ ﺍﻟﺴﺒﻜﻲ‪ ،‬ﲢﻘﻴﻖ‪ :‬ﺍﻟﺪﻛﺘﻮﺭ ﳏﻤﺪ ﺍﳊﻠﻮ ﻭ ﳏﻤﻮﺩ ﳏﻤﺪ‬
‫ﺍﻟﻄﻨﺎﺣﻲ ‪ ،‬ﻧﺸﺮ ﺩﺍﺭ ﺍﳉﻴﺰﺓ‪ ،‬ﺍﻟﻘﺎﻫﺮﺓ‪ ،‬ﻣﺼﺮ‪ ،‬ﻁ‪1992/2 :‬ﻡ‪.‬‬
‫‪ / 38‬ﻋﺠﺎﺋﺐ ﺍﻵﺛﺎﺭ ﰲ ﺍﻟﺘﺮﺍﺟﻢ ﻭﺍﻷﺧﺒﺎﺭ‬
‫‪ -‬ﻟـ‪ :‬ﻋﺒﺪ ﺍﻟﺮﲪﻦ ﺍﳉﱪﰐٍ‪ - .‬ﺩﺍﺭ ﺍﳉﻴﻞ‪ ،‬ﺑﲑﻭﺕ ﻟﺒﻨﺎﻥ‪.‬ﺩ‪،‬ﻁ ‘ ﺩ‪ ،‬ﺕ ‪.‬‬
‫‪ / 39‬ﻋﻠﻢ ﺍﻟﺒﻴﺎﻥ‬
‫ﺗﺄﻟﻴﻒ ﻋﺒﺪ ﺍﻟﻌﺰﻳﺰ ﻋﺘﻴﻖ ‪ -‬ﺩﺍﺭ ﺍﻟﻨﺸﺮ‪ :‬ﺩﺍﺭ ﺍﻟﻨﻬﻀﺔ ﺍﻟﻌﺮﺑﻴﺔ ﻟﻠﻄﺒﺎﻋـﺔ ﻭﺍﻟﻨـﺸﺮ‪ ،‬ﺑـﲑﻭﺕ‪ ،‬ﻟﺒﻨـﺎﻥ‪.‬‬
‫ﺩ‪،‬ﻁ‪1985/‬‬
‫‪ / 40‬ﺍﻟﻌﻤﺪﺓ ﰲ ﳏﺎﺳﻦ ﺍﻟﺸﻌﺮ ﻭﺁﺩﺍﺑﻪ‬
‫‪ -‬ﻟـ‪ :‬ﺃﰊ ﻋﻠﻲ ﺍﳊﺴﻦ ﺑﻦ ﺭ ﺷﻴﻖ ﺍﻟﻘﲑﻭﺍﱐ‪ -.‬ﺗﻘﺪﱘ ﻭﺷﺮﺡ ﻭﻓﻬﺮﺳﺔ‪ :‬ﺩ – ﺻﻼﺡ ﺍﻟﺪﻳﻦ ﺍﳍﻮﺍﺭﻱ‬
‫ﻭﺃ ‪ -‬ﻫﺪﻯ ﻋﻮﺩﺓ‪ - .‬ﺩﺍﺭ ﺍﻟﻨﺸﺮ‪ :‬ﺩﺍﺭ ﻭﻣﻜﺘﺒﺔ ﺍﳍﻼﻝ‪.‬‬
‫ﻁ‪.1996 / 1:‬‬
‫‪ / 41‬ﻓﺼﻞ ﺍﳌﻘﺎﻝ ﰲ ﺷﺮﺡ ﻛﺘﺎﺏ ﺍﻷﻣﺜﺎﻝ‬
‫‪ -‬ﻟـ‪ :‬ﺃﰊ ﻋﺒﻴﺪ ﺍﻟﺒﻜﺮﻱ ]ﺕ‪.‬ﺑﻌﺪ‪.395‬ﻫـ‪ /‬ﺑﻌﺪ ‪1005‬ﻡ[‪ - .‬ﲢﻘﻴﻖ‪ :‬ﺩ – ﺃﺣـﺴﺎﻥ ﻋﺒـﺎﺱ‬
‫ﻭﺩ‪:‬ﻋﺒﺪ ﺍ‪‬ﻴﺪ ﻋﺎﺑﺪﻳﻦ‪ - .‬ﺩﺍﺭ ﺍﻟﻨﺸﺮ‪ :‬ﻣﺆﺳﺴﺔ ﺍﻟﺮﺳﺎﻟﺔ‪ - .‬ﺑﲑﻭﺕ – ﻟﺒﻨﺎﻥ‪.‬ﻁ‪1983 /3:‬‬
‫‪ / 42‬ﻓﻬﺮﺱ ﺍﻟﻔﻬﺎﺭﺱ ﻭﺍﻹﺛﺒﺎﺕ ﻭﻣﻌﺠﻢ ﺍﳌﻌﺎﺟﻢ ﻭﺍﳌﺸﻴﺨﺎﺕ ﻭﺍﳌﺴﻠﺴﻼﺕ‬
‫‪ -‬ﻟـ‪ :‬ﻋﺒﺪ ﺍﻟﻜﺮﱘ ﳏﻤﺪ ﺍﳊﺴﲏ ﺍﻹﺩﺭﻳﺴﻲ ﺍﻟﻜﺘﺎﱐ ﺍﻟﻔﺎﺳﻲ‪ - .‬ﻃﺒﻊ ﺍﳌﻄﺒﻌﺔ ﺍﳉﺪﻳﺪﺓ ‪،‬‬
‫ﺍﳌﻐﺮﺏ‪.‬ﺩ‪،‬ﻁ‪.1947:‬‬

‫‪ / 43‬ﺍﻟﻔﺮﻭﻕ ﰲ ﺍﻟﻠﻐﺔ‬
‫‪ -‬ﻟـ‪ :‬ﻷﰊ ﻫﻼﻝ ﺍﻟﻌﺴﻜﺮﻱ ]ﺕ‪369‬ﻫـ[‪ - .‬ﲢﻘﻴﻖ‪ :‬ﳉﻨﺔ ﺃﺣﻴﺎﺀ ﺍﻟﺘﺮﺍﺙ‪.‬‬
‫‪ -‬ﺩﺍﺭ ﺍﻟﻨﺸﺮ‪ :‬ﺩﺍﺭ ﺍﻷﻓﺎﻕ ﺍﳉﺪﻳﺪﺓ‪ .‬ﺑﲑﻭﺕ – ﻟﺒﻨﺎﻥ‪.‬ﻁ‪.1981/ 5:‬‬

‫‪/ 44‬ﺍﻟﻔﺮﻕ ﺑﲔ ﺍﻟﻔﺮﻕ‬

‫ﻟـ‪ :‬ﻋﺒﺪ ﺍﻟﻘﺎﻫﺮ ﺑﻦ ﻃﺎﻫﺮ ﺑﻦ ﳏﻤﺪ ﺍﻟﺒﻐﺪﺍﺩﻱ ﺍﻻﺳﻔﺮﺍﻳﻴﲏ ﺍﻟﺘﻤﻴﻤﻲ ‪.‬‬
‫ﲢﻘﻴﻖ ‪ :‬ﳏﻤﺪ ﳏﻲ ﺍﻟﺪﻳﻦ ﻋﺒﺪ ﺍﳊﻤﻴﺪ – ﺩﺍﺭ ﺍﳌﻌﺮﻓﺔ ﺑﲑﻭﺕ ‪ ،‬ﻟﺒﻨﺎﻥ ‪.‬ﺩ‪،‬ﻁ‪ /‬ﺩ‪،‬ﺕ‬
‫‪ -45‬ﻓﻬﺮﺱ ﳐﻄﻮﻃﺎﺕ ﺍﳌﻜﺘﺒﺔ ﺍﻟﻘﺎﲰﻴﺔ‬
‫ﺇﻋﺪﺍﺩ ‪ :‬ﺃﺑﻮ ﺍﻷﻧﻮﺍﺭ ﺩﺣﻴﺔ – ﻭﳏﻤﺪ ﻓﺆﺍﺩ ﺧﻠﻴﻞ ﺍﻟﻘﺎﲰﻲ )ﺑﺪﻭﻥ ﻣﻌﻠﻮﻣﺎﺕ(‬
‫‪ -46‬ﻛﺸﻒ ﺍﻟﻈﻨﻮﻥ ﻋﻦ ﺃﺳﺎﻣﻲ ﺍﻟﻜﺘﺐ ﻭﺍﻟﻔﻨﻮﻥ‬
‫‪- 132 -‬‬
 ‫‪ -‬ﺗﺄﻟﻴﻒ‪ :‬ﺣﺎﺟﻲ ﺧﻠﻴﻔﺔ‪ ،‬ﺍﳌﻮﱃ ﻣﺼﻄﻔﻰ ﺑﻦ ﻋﺒﺪ ﺍﷲ ﺍﻟﻘﺴﻄﻨﻄﻴﲏ ﺍﻟﺮﻭﻣﻲ ﺍﳊﻨﻔﻲ ﺍﻟﺸﻬﲑ ﺑﺎﳌﻼ‪،‬‬
‫ﻛﺎﺗﺐ ﺍﳊﻠﱯ‪].‬ﺕ‪1067‬ﻫـ‪1657/‬ﻡ[‪ - .‬ﻧﺸﺮ ﺩﺍﺭ ﺍﻟﻜﺘﺐ ﺍﻟﻌﻠﻤﻴﺔ ﺑﲑﻭﺕ – ﻟﺒﻨﺎﻥ‪ .‬ﺩ‪،‬ﻁ ‪.1992 /‬‬
‫‪ / 47‬ﺍﻟﻜﺸﺎﻑ ﻋﻦ ﺧﺰﺍﺋﻦ ﳐﻄﻮﻃﺎﺕ ﺍﻷﻭﻗﺎﻑ‬
‫‪ -‬ﺗﺄﻟﻴﻒ‪ :‬ﳏﻤﺪ ﺃﺳﻌﺪ ﻃﻠﺲ‪ - .‬ﻣﻄﺒﻌﺔ ﺍﻟﻌﺎﱐ‪ ،‬ﺑﻐﺪﺍﺩ – ﺍﻟﻌﺮﺍﻕ‪ .‬ﺩ‪،‬ﻁ‪1953 /‬ﻡ‪.‬‬
‫‪ / 48‬ﻟﺴﺎﻥ ﺍﻟﻌﺮﺏ‬
‫‪ -‬ﻟـ‪ :‬ﺍﻟﻌﻼﻣﺔ ﺃﰊ ﺍﻟﻔﻀﻞ ﲨﺎﻝ ﺍﻟﺪﻳﻦ ﳏﻤﺪ ﺑﻦ ﻣﻜﺮﻡ ﺑﻦ ﻣﻨﻈﻮﺭ ﺍﻹﻓﺮﻳﻘﻲ‬
‫ﺍﳌﺼﺮﻱ‪] .‬ﺕ‪630‬ﻫـ[‪ - .‬ﺩﺍﺭ ﺻﺎﺩﺭ ﻟﻠﻄﺒﺎﻋﺔ ﻭﺍﻟﻨﺸﺮ‪ ،‬ﺑﲑﻭﺕ – ﻟﺒﻨﺎﻥ‪.‬‬
‫‪ -‬ﻁ‪1990 /1:‬ﻡ‬
‫‪ / 49‬ﳎﻤﻊ ﺍﻷﻣﺜﺎﻝ‬
‫‪ -‬ﻟـ‪ :‬ﺃﰊ ﺍﻟﻔﻀﻞ ﺑﻦ ﳏﻤﺪ ﺍﳌﻴﺪﺍﱐ ﺍﻟﻨﻴﺴﺎﺑﻮﺭﻱ‪ - .‬ﲢﻘﻴﻖ‪ :‬ﳏﻲ ﺍﻟﺪﻳﻦ ﻋﺒﺪ ﺍﳊﻤﻴﺪ ‪ -‬ﺩﺍﺭ ﺍﳌﻌﺮﻓﺔ‪.‬‬
‫‪ -‬ﺑﲑﻭﺕ – ﻟﺒﻨﺎﻥ‪.‬ﻁ‪.1988 / 2:‬‬
‫‪ / 50‬ﻣﻔﺘﺎﺡ ﺍﻟﻌﻠﻮﻡ‬
‫‪ -‬ﻟـ‪ :‬ﺃﰊ ﻳﻌﻘﻮﺏ ﻳﻮﺳﻒ ﳏﻤﺪ ﺑﻦ ﻋﻠﻲ ﺍﻟﺴﻜﺎﻛﻲ ]ﺕ‪626‬ﻫـ[‪ - .‬ﲢﻘﻴﻖ‪ :‬ﺩ‪ -‬ﻋﺒﺪ ﺍﳊﻤﻴﺪ‬
‫ﻫﻨﺪﺍﻭﻱ‪ - .‬ﻣﻨﺸﻮﺭﺍﺕ ﳏﻤﺪ ﻋﻠﻲ ﺑﻴﻀﻮﻥ )ﺩﺍﺭ ﺍﻟﻜﺘﺐ ﺍﻟﻌﻠﻤﻴﺔ(‪.‬‬
‫ﻁ‪.2000/ 1:‬‬
‫‪ / 51‬ﺍﳌﺜﺎﻟﻴﺔ ﰲ ﺍﻟﺸﻌﺮ ﺍﻟﻌﺮﰊ‬
‫‪ -‬ﺗﺄﻟﻴﻒ‪ :‬ﻣﻮﻫﻮﺏ ﻣﺼﻄﻔﺎﻱ‪ - .‬ﻃﺒﻊ‪ :‬ﺩﻳﻮﺍﻥ ﺍﳌﻄﺒﻮﻋﺎﺕ ﺍﳉﺎﻣﻌﻴﺔ ﺍﳉﺰﺍﺋﺮ‪.‬‬
‫ﺩ ‪،‬ﻁ‪1982/‬‬
‫‪ / 52‬ﻣﻔﺘﺎﺡ ﺍﻟﺴﻌﺎﺩﺓ ﻭﻣﺼﺒﺎﺡ ﺍﻟﺴﻴﺎﺩﺓ ﰲ ﻣﻮﺿﻮﻋﺎﺕ ﺍﻟﻌﻠﻮﻡ‬
‫‪ -‬ﺗﺄﻟﻴﻒ‪ :‬ﺃﲪﺪ ﺑﻦ ﻣﺼﻄﻔﻰ ﺍﳌﺸﻬﻮﺭ ﺑﻄﺎﺵ ﻛﱪﻯ ﺯﺍﺩﻩ – ﻃﺒﻊ‪ :‬ﺩﺍﺭ ﺍﻟﻜﺘﺐ ﺍﻟﻌﻠﻤﻴﺔ – ﺑﲑﻭﺕ‬
‫– ﻟﺒﻨﺎﻥ‪) .‬ﺩ‪.‬ﻁ ‪ /‬ﺩ‪.‬ﺕ(‪.‬‬
‫‪ / 53‬ﻣﻌﺠﻢ ﺍﳌﻄﺒﻮﻋﺎﺕ ﺍﻟﻌﺮﺑﻴﺔ ﻭﺍﳌﻌﺮﺑﺔ‬
‫ﻟﺴﺮﻛﻴﺲ )ﺑﺪﻭﻥ ﻣﻌﻠﻮﻣﺎﺕ(‬
‫‪ / 54‬ﻣﻌﺠﻢ ﺃﻋﻼﻡ ﺍﳉﺰﺍﺋﺮ‪.‬‬
‫ﻟﻌﺎﺩﻝ ﻧﻮﻳﻬﺾ‪ ،‬ﻧﺸﺮ‪ :‬ﺍﳌﺆﺳﺴﺔ ﺍﻟﺜﻘﺎﻓﻴﺔ ﻟﻠﺘﺄﻟﻴﻒ ﻭﺍﻟﺘﺮﲨﺔ‪ ،‬ﻧﻮﻳﻬﺾ‪ ،‬ﺑﲑﻭﺕ‪ ،‬ﻟﺒﻨﺎﻥ‪ ،‬ﻁ‪1983/3 :‬ﻡ‪،‬‬
‫‪ 1403‬ﻫـ‪.‬‬
‫‪ / 55‬ﳐﺘﺎﺭ ﺍﻟﺼﺤﺎﺡ‪.‬‬
‫ﶈﻤﺪ ﺑﻦ ﺃﰊ ﺑﻜﺮ ﺑﻦ ﻋﺒﺪ ﺍﻟﻘﺎﺩﺭ ﺍﻟﺮﺍﺯﻱ‪ ،‬ﺍﻟﻄﺒﻌﺔ ﺍﳉﺪﻳﺪﺓ – ﲢﻘﻴﻖ‪ :‬ﳏﻤﻮﺩ ﺧﺎﻃﺐ‪ ،‬ﺩﺍﺭ ﻣﻜﺘﺒﺔ ﻟﺒﻨﺎﻥ‪،‬‬
‫ﻧﺎﺷﺮﻭﻥ‪ :‬ﺑﲑﻭﺕ‪،‬ﺩ‪ ،‬ﻁ‪1905 :‬ﻡ‪1415/‬ﻫـ‬
‫‪ / 56‬ﻣﻌﺠﻢ ﺍﻟﺒﻼﻏﺔ ﺍﻟﻌﺮﺑﻴﺔ‪.‬‬
‫ﻟﺒﺪﻭﻱ ﻃﺒﺎﻧﺔ‪ ،‬ﺩﺍﺭ ﺍﳌﻨﺎﺭ ﻟﻠﻨﺸﺮ ﻭﺍﻟﺘﻮﺯﻳﻊ‪ ،‬ﺟﺪﺓ ﻭﺩﺍﺭ ﺍﻟﺮﻓﺎﻋﻲ ﻟﻠﻨـﺸﺮ ﻭﺍﻟﻄﺒﺎﻋـﺔ ﻭﺍﻟﺘﻮﺯﻳـﻊ ﺍﻟﺮﻳـﺎﺽ‪،‬‬
‫ﻁ‪1988/3:‬ﻡ‪1408 ،‬ﻫـ‪.‬‬
‫‪- 133 -‬‬
 ‫‪ / 57‬ﺍﳌﻌﺠﻢ ﺍﳌﻔﺼﻞ ﰲ ﻋﻠﻮﻡ ﺍﻟﺒﻼﻏﺔ ﻭﺍﻟﺒﺪﻳﻊ ﻭﺍﻟﺒﻴﺎﻥ ﻭﺍﳌﻌﺎﱐ‪.‬‬
‫ﻹﻧﻌﺎﻡ ﻓﻮﺍﻝ ﻋﻜﺎﻭﻱ – ﻣﺮﺍﺟﻌﺔ ﴰﺲ ﺍﻟﺪﻳﻦ – ﺩﺍﺭ ﺍﻟﻜﺘﺐ ﺍﻟﻌﻠﻤﻴﺔ‪ ،‬ﺑﲑﻭﺕ‪ ،‬ﻟﺒﻨﺎﻥ‪.‬‬
‫ﻁ‪1992/ 2:‬ﻡ‪ 1413 ،‬ﻫـ‪.‬‬
‫‪ / 58‬ﺍﳌﺜﻞ ﺍﻟﺴﺎﺋﺮ‪.‬‬
‫ﻷﰊ ﺍﻟﻔﺘﺢ ﺿﻴﺎﺀ ﺍﻟﺪﻳﻦ ﻧﺼﺮ ﺍﷲ ﺑﻦ ﳏﻤﺪ ﺑﻦ ﻋﺒﺪ ﺍﻟﻜﺮﱘ ﺍﳌﻮﺻﻠﻲ‪ ،‬ﲢﻘﻴﻖ‪ :‬ﳏﻤﺪ ﳏﻲ ﺍﻟﺪﻳﻦ‪ ،‬ﺑﲑﻭﺕ‪،‬‬
‫ﻟﺒﻨﺎﻥ‪ ،‬ﺩ‪ ،‬ﻁ‪1955 :‬ﻡ‪.‬‬
‫‪ / 59‬ﺍﳌﺴﺘﻄﺮﻑ ﰲ ﻛﻞ ﻓﻦ ﻣﺴﺘﻈﺮﻑ‬
‫‪ -‬ﻟـ‪ :‬ﺷﻬﺎﺏ ﺍﻟﺪﻳﻦ ﺑﻦ ﳏﻤﺪ ﺑﻦ ﺃﲪﺪ ﺍﰊ ﺍﻟﻔﺘﺢ ﺍﻻﺑﻴﺸﻴﻬﻲ‪] .‬ﺕ‪850‬ﻫـ[ ‪.‬‬
‫‪ -‬ﲢﻘﻴﻖ‪ :‬ﺩ – ﻣﻔﻴﺪ ﳏﻤﺪ ﻗﻤﻴﺤﺔ‪ ،‬ﺩﺍﺭ ﺍﻟﻜﺘﺎﺏ ﺍﻟﻌﻠﻤﻴﺔ ‪ ،‬ﺑﲑﻭﺕ ﻟﺒﻨﺎﻥ ‪،‬ﻁ‪1986/2:‬‬
‫‪ / 60‬ﻣﻌﺠﻢ ﻣﺼﻄﻠﺤﺎﺕ ﺍﻟﺪﺭﺍﺳﺎﺕ ﺍﻹﻧﺴﺎﻧﻴﺔ ﻭﺍﻟﻔﻨﻮﻥ ﺍﻟﺘﺸﻜﻴﻠﻴﺔ‪.‬‬
‫‪ -‬ﻟـ‪ :‬ﺃﲪﺪ ﺯﻛﻲ ﺑﺪﻭﻱ‪ : .‬ﺩﺍﺭ ﺍﻟﻜﺘﺎﺏ ﺍﳌﺼﺮﻱ ﻭﺩﺍﺭ ﺍﻟﻜﺘﺎﺏ ﺍﻟﻠﺒﻨﺎﱐ‪،‬ﻁ‪1991/1:‬‬
‫‪ / 61‬ﻣﻌﺎﻫﺪ ﺍﻟﺘﻨﺼﻴﺺ ﻋﻠﻰ ﺷﻮﺍﻫﺪ ﺍﻟﺘﻠﺨﻴﺺ‬
‫‪ -‬ﻟـ‪ :‬ﺍﻟﻌﺒﺎﺳﻲ ﻋﺒﺪ ﺍﻟﺮﲪﻦ ﺑﻦ ﺃﲪﺪ‪ - .‬ﲢﻘﻴﻖ‪ :‬ﳏﻤﺪ ﳏﻲ ﺍﻟﺪﻳﻦ ﻋﺒﺪ ﺍﳊﻤﻴﺪ‪.‬‬
‫‪ -‬ﺩﺍﺭ ﺍﻟﻨﺸﺮ‪ :‬ﺩﺍﺭ ﻋﺎﱂ ﺍﻟﻜﺘﺎﺏ‪ - .‬ﺑﲑﻭﺕ – ﻟﺒﻨﺎﻥ‪.‬ﺩ‪،‬ﻁ ‪1947/‬‬
‫‪ / 62‬ﺍﳌﻮﺳﻮﻋﺔ ﺍﻟﻌﺮﺑﻴﺔ ﺍﳌﻴﺴﺮﺓ‬
‫ﺩﺍﺭ ﺍﳉﻴﻞ – ﺑﲑﻭﺕ – ﺍﻟﻘﺎﻫﺮﺓ – ﺗﻮﻧﺲ‪ - .‬ﺍﳉﻤﻌﻴﺔ ﺍﳌﺼﺮﻳﺔ ﻟﻨﺸﺮ ﺍﳌﻌﺮﻓﺔ ﻭﺍﻟﺜﻘﺎﻓﺔ ﺍﻟﻌﺎﳌﻴﺔ‪.‬‬
‫ﻁ‪2001/2:‬ﻡ‪.‬‬
‫‪ / 63‬ﻣﻌﺠﻢ ﺍﳌﺆﻟﻔﲔ ﻭﺗﺮﺍﺟﻢ ﻣﺼﻨﻔﻲ ﺍﻟﻜﺘﺐ ﺍﻟﻌﺮﺑﻴﺔ‬
‫‪ -‬ﺗﺄﻟﻴﻒ‪ :‬ﻋﻤﺮ ﺭﺿﺎ ﻛﺤﺎﻟﺔ‪ - .‬ﺩﺍﺭ ﺇﺣﻴﺎﺀ ﺍﻟﺘﺮﺍﺙ‪ - .‬ﺩ‪.‬ﻁ ‪ /‬ﺩ‪.‬ﺕ ﻭﻣﻄﺒﻌﺔ ﺍﻟﺘﺮﻗﻲ ﺩﻣﺸﻖ –‬
‫ﺳﻮﺭﻳﺎ‪ .‬ﺩ‪ ،‬ﻁ‪1376 :‬ﻫـ‪1957/‬ﻡ‪.‬‬
‫‪ / 64‬ﺍﳌﻨﺠﺪ ﰲ ﺍﻟﻠﻐﺔ ﻭﺍﻷﻋﻼﻡ‬
‫‪ -‬ﺩﺍﺭ ﺍﳌﺸﺮﻕ‪ ،‬ﺑﲑﻭﺕ‪ ،‬ﻟﺒﻨﺎﻥ ‪.‬ﻁ ‪، 26 :‬ﺩ‪،‬ﺕ‪.‬‬
‫‪ / 65‬ﻣﻮﺟﺰ ﺩﻳﻮﺍﻥ ﺍﳌﺘﻨﱯ‬
‫‪ -‬ﺷﺮﺡ ﺍﻟﻴﺎﺯﺟﻲ‪ :‬ﺍﺧﺘﺼﺮﻩ ﺳﻠﻴﻤﺎﻥ ﺍﻟﻌﻴﺴﻲ ]ﺕ‪354‬ﻫـ[‪ .‬ﺩﺍﺭ ﺍﻟﻨﺸﺮ‪ :‬ﻃﻼﺱ‪ - .‬ﺩﻣﺸﻖ –‬
‫ﺳﻮﺭﻳﺎ‪.‬ﺩ‪،‬ﻁ ‪1984 /‬ﻡ‪.‬‬
‫‪ / 66‬ﺍﻟﻨﺠﻮﻡ ﺍﻟﺰﺍﻫﺮﺓ ﰲ ﻣﻠﻮﻙ ﻣﺼﺮ ﻭﺍﻟﻘﺎﻫﺮﺓ‬
‫‪ -‬ﻟـ‪ :‬ﲨﺎﻝ ﺍﻟﺪﻳﻦ ﺃﰊ ﺍﶈﺎﺳﻦ ﻳﻮﺳﻒ ﺑﻦ ﺗﻐﺮﻱ ﺑﺮﺩﻱ ﺍﻷﺗﺎﺑﻜﻲ ]ﺕ‪874‬ﻫـ[‪.‬‬
‫‪ -‬ﺩﺍﺭ ﺍﻟﻨﺸﺮ‪ :‬ﺍﳌﺆﺳﺴﺔ ﺍﳌﺼﺮﻳﺔ ﺍﻟﻌﺎﻣﺔ ﻟﻠﺘﺄﻟﻴﻒ ﻭﺍﻟﺘﺮﲨﺔ ﻭﺍﻟﻄﺒﺎﻋﺔ ﻭﺍﻟﻨﺸﺮ‬
‫‪ -‬ﺍﻟﻘﺎﻫﺮﺓ – ﻣﺼﺮ‪ .‬ﺩ‪-‬ﻁ ‪/‬ﺩ‪-‬ﺕ ‪.‬‬
‫‪ / 67‬ﻫﺪﺍﻳﺔ ﺍﻟﻌﺎﺭﻓﲔ ﺑﺄﲰﺎﺀ ﺍﳌﺆﻟﻔﲔ ﻭﺃﺛﺎﺭ ﺍﳌﺼﻨﻔﲔ ﻣﻦ ﻛﺸﻒ ﺍﻟﻈﻨﻮﻥ‬
‫‪ -‬ﻟـ‪ :‬ﺍﲰﺎﻋﻴﻞ ﺑﺎﺷﺎ ﺍﻟﺒﻐﺪﺍﺩﻱ‪ -‬ﺩﺍﺭ ﺍﻟﻜﺘﺐ ﺍﻟﻌﻠﻤﻴﺔ‪ - .‬ﺑﲑﻭﺕ – ﻟﺒﻨﺎﻥ‪.‬ﺩ‪،‬ﻁ‪1992/‬‬
‫‪ / 68‬ﻭﻓﻴﺎﺕ ﺍﻷﻋﻴﺎﻥ‬
‫‪- 134 -‬‬
 ‫‪ -‬ﻟـ‪ :‬ﻷﰊ ﺍﻟﻌﺒﺎﺱ ﺃﲪﺪ ﺑﻦ ﺧﻠﻜﺎﻥ‪] .‬ﺕ‪ 608‬ﻫـ[‪ - .‬ﲢﻘﻴﻖ‪ :‬ﺃﺣﺴﻦ ﻋﺒﺎﺱ‪.‬‬
‫‪ -‬ﺩﺍﺭ ﺍﻟﻨﺸﺮ‪ :‬ﺩﺍﺭ ﺍﻟﺜﻘﺎﻓﺔ‪ - .‬ﺑﲑﻭﺕ ﻟﺒﻨﺎﻥ ﺩ ﻁ‪ / .‬ﺩ ﺕ‪.‬‬
‫‪ / 69‬ﻳﺴﺄﻟﻮﻧﻚ ﰲ ﺍﻟﺪﻳﻦ ﻭﺍﳊﻴﺎﺓ‬
‫‪ -‬ﻟـ‪ :‬ﺩﻛﺘﻮﺭ‪ :‬ﺃﲪﺪ ﺍﻟﺸﺮﺑﺎﺻﻲ‪ - .‬ﺩﺍﺭ ﺍﳉﻴﻞ‪ ،‬ﺑﲑﻭﺕ‪ ،‬ﻟﺒﻨﺎﻥ‪.‬‬
‫– ﻁ‪1401 /1:‬ﻫـ ‪1981 -‬ﻡ‪.‬‬
‫‪ / 70‬ﺍﻟﻴﻮﺍﻗﻴﺖ ﺍﻟﺜﻤﻴﻨﺔ ﰲ ﺃﻋﻴﺎﻥ ﻣﺬﻫﺐ ﻋﺎﱂ ﺍﳌﺪﻳﻨﺔ‬
‫‪ -‬ﻟـ‪ :‬ﳏﻤﺪ ﺍﻟﺒﺸﲑ ﻇﺎﻓﺮ ﺍﻷﺯﻫﺮﻱ‪ - .‬ﻣﻄﺒﻌﺔ ﺍﳌﻼﺟﺊ ﺍﻟﻌﺒﺎﺳﻴﺔ ﺍﻟﺘﺎﺑﻌﺔ ﳉﻤﻌﻴﺔ ﺍﻟﻌﺮﻭﺓ ﺍﻟﻮﺛﻘﻰ‪،‬‬
‫ﺩ‪،‬ﻁ‪1324/‬ﻫـ‪.‬‬

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 ‫‪- 10 -‬‬
‫* ﻓﻬﺮﺱ ﺍﳌﻮﺿﻮﻋﺎﺕ *‬
‫ﺍﻟﺼﻔﺤﺔ‬ ‫ﺍﳌﻮﺿﻮﻉ‬
‫ﺍﻹﻫﺩﺍﺀ ‪..........................................................................‬‬
‫ﻤﻘﺩﻤﺔ ‪...........................................................................‬‬
‫ﺍﻟﻘﺴﻡ ﺍﻷﻭل‬
‫ﺍﻟﻘﺴﻡ ﺍﻷﻭل ﺘﻘﺩﻴﻡ ﺍﻟﻜﺘﺎﺏ ‪........................................................‬‬
‫ﻋﺼﺭ ﺍﻟﻤﺅﻟﻑ ﺍﻟﺴﻴﺎﺴﻲ ‪........................................................‬‬
‫‪.11‬‬ ‫ﺤﻴﺎﺓ ﺍﻟﻤﺅﻟﻑ ‪....................................................................‬‬
‫‪.12‬‬ ‫ﻭﻻﺩﺘﻪ ‪..........................................................................‬‬
‫‪.13‬‬ ‫ﺸﻴﻭﺨﻪ ‪..........................................................................‬‬
‫‪.14‬‬ ‫ﺘﻼﻤﻴﺫﻩ ‪..........................................................................‬‬
‫‪.16‬‬ ‫ﻤﻭﺍﻗﻔﻪ ﻭﺃﺨﻼﻗﻪ ‪..................................................................‬‬
‫‪.17‬‬ ‫ﺁﺜﺎﺭﻩ ‪............................................................................‬‬
‫‪.19‬‬ ‫ﻭﻓﺎﺘﻪ ﻭﺃﻗﻭﺍل ﺍﻟﻌﻠﻤﺎﺀ ﻓﻴﻪ ‪.........................................................‬‬
‫‪.21‬‬ ‫ﺍﺴﻡ ﺍﻟﻜﺘﺎﺏ ﻭﻋﻨﻭﺍﻨﻪ ‪.............................................................‬‬
‫‪.25‬‬ ‫ﺃﻫﻤﻴﺔ ﻫﺫﺍ ﺍﻟﻜﺘﺎﺏ ‪................................................................‬‬
‫‪.26‬‬ ‫ﻤﺤﺘﻭﻯ ﺍﻟﻜﺘﺎﺏ ﻭﺃﻗﺴﺎﻤﻪ ‪.........................................................‬‬
‫‪.26‬‬ ‫ﻨﺴﺦ ﺍﻟﻜﺘﺎﺏ ‪.....................................................................‬‬
‫‪.32‬‬ ‫ﺼﻭﺭ ﻟﻠﻨﺴﺦ ﺍﻟﻤﻌﺘﻤﺩﺓ ‪............................................................‬‬
‫‪.42‬‬ ‫ﺍﻻﺼﻁﻼﺤﺎﺕ ﻭﺍﻟﺭﻤﻭﺯ ﺍﻟﻭﺍﺭﺩﺓ ﻓﻲ ﺍﻟﺘﺤﻘﻴﻕ ‪......................................‬‬
‫)ﺍﻟﻨﺹ ﺍﻟﻤﺤﻘﻕ(‬ ‫ﺍﻟﻘﺴﻡ ﺍﻟﺜﺎﻨﻲ‬
‫‪.44‬‬ ‫ﻤﻘﺩﻤﺔ ﺍﻟﻤﺅﻟﻑ ‪...................................................................‬‬
‫‪.57‬‬ ‫ﻓﺼل ﻓﻲ ﺘﻘﺴﻴﻡ ﺍﻻﺴﺘﻌﺎﺭﺓ ﺇﻟﻰ ﺘﺼﺭﻴﺤﻴﺔ ﻭﻤﻜﻨﻴﺔ ﻭﺘﺨﻴﻴﻠﻴﺔ ‪........................‬‬

‫‪- 136 -‬‬

 ‫‪.61‬‬ ‫ﻓﺼل ﻓﻲ ﺘﻘﺴﻴﻡ ﺍﻻﺴﺘﻌﺎﺭﺓ ﺇﻟﻰ ﻤﺭﺸﺤﺔ ﻭﻤﺠﺭﺓ ﻭﻤﻁﻠﻘﺔ ‪...........................‬‬
‫‪.64‬‬ ‫ﻓﺼل ﻓﻲ ﺘﻘﺴﻴﻡ ﺍﻻﺴﺘﻌﺎﺭﺓ ﺇﻟﻰ ﺃﺼﻠﻴﺔ ﻭﺘﺒﻌﻴﺔ ‪.....................................‬‬

‫ﺍﻟﺼﻔﺤﺔ‬ ‫ﺍﻟﻤﻭﻀﻭﻉ‬
‫‪.80‬‬ ‫ﺃﺼل ﺍﻻﺴﺘﻌﺎﺭﺓ ﺍﻟﺘﺼﺭﻴﺤﻴﺔ ﻭﺍﻟﻤﻜﻨﻴﺔ ‪.............................................‬‬
‫‪.84‬‬ ‫ﺍﻟﻤﻼﺤﻕ ‪........................................................................‬‬
‫‪.85‬‬ ‫ﻤﻠﺤﻕ ﺨﺎﺹ ﺒﺎﻟﺘﺤﻔﺔ ‪.............................................................‬‬
‫‪.86‬‬ ‫ﺍﻟﻤﻠﺤﻕ ﺍﻷﻭل )ﻨﺴﺨﺔ ﻤﺼﻭﺭﺓ ﻟﻤﺘﻥ ﺍﻟﺘﺤﻔﺔ( ‪......................................‬‬
‫‪.90‬‬ ‫ﺍﻟﻤﻠﺤﻕ ﺍﻟﺜﺎﻨﻲ )ﺘﺤﻔﺔ ﺍﻹﺨﻭﺍﻥ ﻓﻲ ﺍﻟﻤﺠﺎﺯ ﻭﺍﻟﺘﺸﺒﻴﻪ ﻭﺍﻟﻜﻨﺎﻴﺔ( ‪.......................‬‬
‫‪.94‬‬ ‫ﺍﻟﺨﺎﺘﻤﺔ ‪.........................................................................‬‬
‫‪.96‬‬ ‫ﺍﻟﻔﻬﺎﺭﺱ ﺍﻟﻌﺎﻤﺔ ‪.................................................................‬‬
‫‪.97‬‬ ‫ﻓﻬﺭﺱ ﺍﻵﻴﺎﺕ ﺍﻟﻘﺭﺁﻨﻴﺔ ‪...........................................................‬‬
‫‪.100‬‬ ‫ﻓﻬﺭﺱ ﺍﻷﺤﺎﺩﻴﺙ ‪................................................................‬‬
‫‪.101‬‬ ‫ﻓﻬﺭﺱ ﺍﻷﻤﺜﺎل ‪..................................................................‬‬
‫‪.102‬‬ ‫ﻓﻬﺭﺱ ﺍﻷﺸﻌﺎﺭ ‪..................................................................‬‬
‫‪106‬‬ ‫ﻓﻬﺭﺱ ﺍﻷﻋﻼﻡ ‪..................................................................‬‬
‫‪113‬‬ ‫ﻓﻬﺭﺱ ﺍﻷﻤﺎﻜﻥ ‪..................................................................‬‬
‫‪116‬‬ ‫ﻓﻬﺭﺱ ﺍﻟﻤﺼﻁﻠﺤﺎﺕ ﺍﻟﺒﻼﻏﻴﺔ ‪....................................................‬‬
‫‪118‬‬ ‫ﻓﻬﺭﺱ ﺍﻟﻤﺅﻟﻔﺎﺕ ﻭﺍﻟﻤﺼﻨﻔﺎﺕ ‪.....................................................‬‬
‫‪123‬‬ ‫ﻓﻬﺭﺱ ﺍﻟﻤﺼﺎﺩﺭ ﻭﺍﻟﻤﺭﺍﺠﻊ ‪......................................................‬‬
‫‪130‬‬ ‫ﻓﻬﺭﺱ ﺍﻟﻤﻭﻀﻭﻋﺎﺕ ‪............................................................‬‬

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- 138 -