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‫ﺟﻤﻬﻮﺭﻳﺔ ﺍﻟﻌﺮﺍﻕ‬
‫ﺑﻐﺪﺍﺩ ‪ -‬ﺍﻟﻜﺎﻇﻤﻴﺔ ﺍﻟﻤﻘﺪﺳﺔ‬

‫رﻗﻢ اﻹﻳﺪاع ﻓﻲ دار اﻟﻜﺘﺐ واﻟﻮﺛﺎﺋﻖ ﺑﺒﻐﺪاد ‪ ٢٢٥٣‬ﻟﺴﻨﺔ ‪٢٠١٧‬م‬

‫ﺍﻟﻤﻮﻗﻊ ﻋﻠﻰ ﺍﻹﻧﺘﺮﻧﻴﺖ‬

‫‪www.jawadainlib.com/qirtasalmaarefa.htm‬‬

‫ﺍﻟﺒﺮﻳﺪ ﺍﻹﻟﻜﺘﺮﻭﻧﻲ‬
‫‪qertasalmaarefa@gmail.com‬‬

‫‪٠٧٨٠٨٥٠٤٠٩٢ - ٠٧٧٣٥٩٣٠٥٢٠ - ٠٧٩٠١٩٦٥٣٧٤‬‬

‫دار اﻟﺮاﻓﺪ ﻟﻠﻄﺒﺎﻋﺔ واﻟﻨﺸﺮ واﻟﺘﻮزﻳﻊ‬

‫اﻟﺘﻮزﻳﻊ‪ :‬ﻣﻜﺘﺐ اﻟﻤﺼﺎدر ﻟﻠﻄﺒﺎﻋﺔ‬
‫ﺑﻐﺪاد – ﺑﺎب اﻟﻤﻌﻈﻢ‬
‫‪٠٧٩٠١٩٧٩٤٥٤‬‬
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‫ﺍﻟﻤﺸﺮﻑ ﺍﻟﻌﺎﻡ‬
‫اﻟﺴﻴﺪ ﻣﺤﻤﺪ إﻳﺎد ﺟﻮاد ﻫﺒﺔ اﻟﺪﻳﻦ‬

‫ﺭﺋﻴﺲ ﺍﻟﺘﺤﺮﻳﺮ‬
‫أ‪.‬م‪.‬د إﺳﻤﺎﻋﻴﻞ ﻃﻪ اﻟﺠﺎﺑﺮي‬

‫ﻣﺪﻳﺮ ﺍﻟﺘﺤﺮﻳﺮ‬
‫اﻟﺪﻛﺘﻮر اﻟﺸﻴﺦ ﻋﻤﺎد اﻟﻜﺎﻇﻤﻲ‬

‫ﺍﻟﻬﻴﺄﺓ ﺍﻻﺳﺘﺸﺎﺭﻳﺔ‬
‫‪ -١‬أ‪.‬د ﻋﺒﺪ اﻟﺠﺒﺎر ﻧﺎﺟﻲ ‪ /‬أﺳﺘﺎذ ﻣﺘﻤﺮس‬
‫‪ -٢‬أ‪.‬د إﺑﺮاﻫﻴﻢ اﻟﻌﺎﺗﻲ ‪ /‬ﻟﻨﺪن ‪ /‬اﻟﺠﺎﻣﻌﺔ اﻟﻌﺎﻟﻤﻴﺔ ﻟﻠﻌﻠﻮم اﻹﺳﻼﻣﻴﺔ‪.‬‬
‫‪ -٣‬أ‪.‬د ﺣﻤﻴﺪ أﺣﻤﺪ ﺣﻤﺪان اﻟﺘﻤﻴﻤﻲ ‪ /‬ﺟﺎﻣﻌﺔ اﻟﺒﺼﺮة ‪ /‬أﺳﺘﺎذ ﻣﺘﻤﺮس‪.‬‬
‫‪ -٤‬أ‪.‬د ﻋﺒﺪ اﻟﺴﻼم ﻓﻴﻐﻮ ‪ /‬اﻟﻤﻐﺮب ‪ /‬ﺟﺎﻣﻌﺔ اﻟﻤﻠﻚ ﻣﺤﻤﺪ اﻟﺨﺎﻣﺲ‬
‫‪ -٥‬أ‪.‬د ﻣﺤﻤﻮد ﻋﺒﺪ اﻟﻮاﺣﺪ اﻟﻘﻴﺴﻲ ‪ /‬ﺟﺎﻣﻌﺔ ﺑﻐﺪاد ‪ /‬ﻛﻠﻴﺔ اﻵداب‪.‬‬
‫‪ -٦‬أ‪.‬د ﻣﺤﻤﺪ ﻣﻬﺪي ذو اﻟﻔﻘﺎر زادﻩ ‪ /‬إﻳﺮان ‪ /‬ﺟﺎﻣﻌﺔ ﻃﻬﺮان‪.‬‬
‫‪ -٧‬أ‪.‬د ﻧﺎﺑﻲ ﺑﻮ ﻋﻠﻲ ‪ /‬اﻟﺠﺰاﺋﺮ ‪ /‬ﺟﺎﻣﻌﺔ ﻣﻌﺴﻜﺮ‪.‬‬
‫‪ -٨‬أ‪.‬د ﻋﺒﺪ اﻟﻜﺮﻳﻢ ﻋﺰ اﻟﺪﻳﻦ اﻷﻋﺮﺟﻲ ‪ /‬ﺟﺎﻣﻌﺔ ﺑﻐﺪاد ‪ /‬ﻛﻠﻴﺔ اﻟﺘﺮﺑﻴﺔ ﻟﻠﺒﻨﺎت‪.‬‬
‫‪ -٩‬أ‪.‬د ﻣﺤﻤﺪ ﻣﻬﺪي ﻫﻤﺎﻳﻮن ‪ /‬إﻳﺮان ‪ /‬ﺟﺎﻣﻌﺔ اﻹﻣﺎم اﻟﺼﺎدق‪.‬‬
‫‪ -١٠‬أ‪.‬د ﻋﻬﻮد ﻋﺒﺪ اﻟﻮاﺣﺪ اﻟﻌﻜﻴﻠﻲ ‪ /‬ﺟﺎﻣﻌﺔ ﺑﻐﺪاد ‪ /‬ﻛﻠﻴﺔ اﻟﺘﺮﺑﻴﺔ ٱﺑﻦ رﺷﺪ‪.‬‬
‫‪ -١١‬أ‪.‬د أﺣﻤﺪ راﺳﻢ اﻟﻨﻔﻴﺲ ‪ /‬ﻣﺼﺮ‪.‬‬
‫‪ -١٢‬أ‪.‬د ﻋﻼء ﺣﺴﻴﻦ اﻟﺮﻫﻴﻤﻲ ‪ /‬ﺟﺎﻣﻌﺔ اﻟﻜﻮﻓﺔ ‪ /‬ﻛﻠﻴﺔ اﻵداب‪.‬‬
‫‪ -١٣‬أ‪.‬د ﻋﺒﺪ اﻟﺒﺎﺳﻂ اﻟﻐﺎﺑﺮي ‪ /‬ﺗﻮﻧﺲ ‪ /‬ﺟﺎﻣﻌﺔ اﻟﺰﻳﺘﻮﻧﺔ‪.‬‬
‫‪ -١٤‬أ‪.‬د ﺧﺪﻳﺠﺔ ﺣﻴﺪر اﻟﻤﻮﺳﻮي ‪ /‬اﻟﺠﺎﻣﻌﺔ اﻟﻤﺴﺘﻨﺼﺮﻳﺔ ‪ /‬ﻛﻠﻴﺔ اﻵداب‪.‬‬
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‫ﻣﺪﻳﺮ ﺍﻟﻌﻼﻗﺎﺕ ﺍﻟﻌﺎﻣﺔ‬

‫أ‪.‬د ﻫﺎدي ﻋﺒﺪ اﻟﻨﺒﻲ اﻟﺘﻤﻴﻤﻲ‬

‫ﺳﻜﺮﺗﻴﺮ ﺍﻟﺘﺤﺮﻳﺮ‬
‫اﻟﻤﻬﻨﺪس ﻋﺒﺪ اﻟﻜﺮﻳﻢ ﻋﺒﺪ اﻟﺮﺳﻮل اﻟﺪﺑﺎغ‬

‫ﻫﻴﺄﺓ ﺍﻟﺘﺤﺮﻳﺮ‬
‫‪ -١‬أ‪.‬د ﻋﺒﺪ اﻟﺒﺎﻗﻲ ﺑﺪر اﻟﺨﺰرﺟﻲ ‪ /‬اﻟﺠﺎﻣﻌﺔ اﻟﻤﺴﺘﻨﺼﺮﻳﺔ ‪ /‬ﻛﻠﻴﺔ اﻵداب‪.‬‬
‫‪ -٢‬أ‪.‬د أﻣﻴﺮ رﺳﺘﻤﻲ ‪ /‬إﻳﺮان ‪ /‬ﺟﺎﻣﻌﺔ ﻃﻬﺮان‪.‬‬
‫‪ -٣‬أ‪.‬د ﻣﺤﻤﺪ ﻣﺤﻤﻮد زوﻳﻦ ‪ /‬ﺟﺎﻣﻌﺔ اﻟﻜﻮﻓﺔ ‪ /‬ﻛﻠﻴﺔ اﻟﻔﻘﻪ‪.‬‬
‫‪ -٤‬أ‪.‬د ﻋﻠﻲ رﺿﺎ ﺑﻴﺮوزﻣﻨﺪ ‪ /‬إﻳﺮان ‪ /‬اﻟﻬﻴﺄة اﻟﻌﻠﻤﻴﺔ اﻷﻛﺎدﻳﻤﻴﺔ ﻓﻲ ﻗﻢ‪.‬‬
‫‪ -٥‬أ‪.‬د ﻋﺒﻮد ﺟﻮدي اﻟﺤﻠﻲ ‪ /‬ﺟﺎﻣﻌﺔ ﻛﺮﺑﻼء ‪ /‬ﻛﻠﻴﺔ اﻟﺘﺮﺑﻴﺔ‪.‬‬
‫‪ -٦‬أ‪.‬د ﺳﺘﺎر ﺟﺒﺮ اﻷﻋﺮﺟﻲ ‪ /‬ﺟﺎﻣﻌﺔ اﻟﻜﻮﻓﺔ ‪ /‬ﻛﻠﻴﺔ اﻵداب‪.‬‬
‫‪ -٧‬أ‪.‬د ﺣﺎﻣﺪ ﻧﺎﺻﺮ اﻟﻈﺎﻟﻤﻲ‪ /‬ﺟﺎﻣﻌﺔ اﻟﺒﺼﺮة ‪ /‬ﻛﻠﻴﺔ اﻟﺘﺮﺑﻴﺔ ﻟﻠﻌﻠﻮم اﻹﻧﺴﺎﻧﻴﺔ‪.‬‬
‫‪ -٨‬أ‪.‬د داود ﺳﻠﻤﺎن ﺧﻠﻒ ‪ /‬ﺟﺎﻣﻌﺔ ﺑﻐﺪاد ‪ /‬ﻛﻠﻴﺔ اﻟﺘﺮﺑﻴﺔ ٱﺑﻦ رﺷﺪ‪.‬‬
‫‪ -٩‬أ‪.‬د إﻧﻌﺎم اﻟﺼﺮﻳﻔﻲ‪ /‬ﺟﺎﻣﻌﺔ ذي ﻗﺎر ‪ /‬ﻛﻠﻴﺔ اﻟﺘﺮﺑﻴﺔ ﻟﻠﻌﻠﻮم اﻹﻧﺴﺎﻧﻴﺔ‪.‬‬
‫‪ -١٠‬أ‪.‬م‪.‬د ﺣﻤﻴﺪ ﻣﺠﻴﺪ ﻫﺪو ‪ /‬ﻛﻠﻴﺔ ﺻﺪر اﻟﻌﺮاق اﻟﺠﺎﻣﻌﺔ‪.‬‬
‫‪ -١١‬أ‪.‬م‪.‬د راﻏﺪة ﻣﺤﻤﺪ اﻟﻤﺼﺮي ‪ /‬ﻟﺒﻨﺎن ‪ /‬اﻟﺠﺎﻣﻌﺔ اﻟﻠﺒﻨﺎﻧﻴﺔ‪.‬‬
‫‪ -١٢‬أ‪.‬م‪.‬د إﻳﺎد ﻛﺮﻳﻢ اﻟﺼﻼﺣﻲ ‪ /‬ﺟﺎﻣﻌﺔ واﺳﻂ ‪ /‬ﻛﻠﻴﺔ اﻵداب‪.‬‬
‫‪ -١٣‬أ‪.‬م‪.‬د ﻗﺼﻲ اﻟﺤﺴﻴﻨﻲ ‪ /‬اﻟﺠﺎﻣﻌﺔ اﻟﻤﺴﺘﻨﺼﺮﻳﺔ ‪ /‬ﻛﻠﻴﺔ اﻵداب‪.‬‬
‫‪ -١٤‬أ‪.‬م‪.‬د ﻧﻮري اﻟﺴﺎﻋﺪي ‪ /‬ﺟﺎﻣﻌﺔ ﺑﻐﺪاد ‪ /‬ﻛﻠﻴﺔ اﻟﺘﺮﺑﻴﺔ‪.‬‬
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‫ﺗﺪﻗﻴﻖ ﺍﻟﻠﻐﺔ ﺍﻟﻌﺮﺑﻴﺔ‬

‫اﻟﺸﻴﺦ ﻣﻨﻴﺮ ﺻﺎدق اﻟﻜﺎﻇﻤﻲ‬

‫ﺗﺪﻗﻴﻖ ﺍﻟﻠﻐﺔ ﺍﻹﻧﻜﻠﻴﺰﻳﺔ‬

‫رﻳﺎض ﻋﺒﺪ اﻟﻐﻨﻲ اﻟﺤﺴﻦ اﻟﻜﺎﻇﻤﻲ‬

‫ﺍﻹﺩﺍﺭﺓ ﺍﻟﻤﺎﻟﻴﺔ‬
‫ﻋﻠﻲ ﻋﺒﺪ اﻷﻣﻴﺮ ﻣﻬﺪي‬
‫ﻫﺸﺎم ﻓﺎﺿﻞ ﻋﺒﺪ اﻟﺠﻠﻴﻞ‬

‫ﺍﻟﺘﻨﺴﻴﻖ ﻭﺍﻟﻤﺘﺎﺑﻌﺔ‬
‫ﻋﻤﺎر إﺳﻤﺎﻋﻴﻞ ﻣﺤﻤﺪ ﺣﺴﻴﻦ‬

‫ﺍﻟﻤﻮﻗﻊ ﺍﻹﻟﻜﺘﺮﻭﻧﻲ‬
‫ﻋﻠﻲ ﻣﻮﺳﻰ ﻣﺤﻤﻮد‬

‫ﺍﻟﺘﺼﻤﻴﻢ ﺍﻟﻄﺒﺎﻋﻲ‬
‫اﻟﻤﻬﻨﺪس ﺻﻼح ﺣﺴﻦ ﻋﺒﻮد‬

‫ﺍﻟﻨﺸﺮ ﻭﺍﻟﺘﻮﺯﻳﻊ‬
‫ﻧﺎﺻﺮ ﻣﻜﻲ ﺣﻠﻮ ‪ /‬ﻣﻜﺘﺐ اﻟﻤﺼﺎدر‬
‫ﺑﻐﺪاد – ﺑﺎب اﻟﻤﻌﻈﻢ ‪ -‬ﻣﺠﺎور ﻣﺠﻤﻊ اﻟﻜﻠﻴﺎت‬
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‫ﻗﻮﺍﻋﺪ ﺍﻟﻨﺸﺮ ﻓﻲ ﺍﻟﻤﺠﻠﺔ‬

‫‪ -١‬ﻳﺸﺘﺮط ﻓﻲ اﻟﺒﺤﻮث أ ْن ﺗﻜﻮن ﻋﻠﻰ وﻓﻖ ﻣﻨﻬﺠﻴـﺔ اﻟﺒﺤـﺚ اﻟﻌﻠﻤـﻲ اﻟﻤﺘﻌﺎرﻓـﺔ‬
‫ﻟﺪى اﻟﺒﺎﺣﺜﻴﻦ‪ ،‬وﺑﺎﻟﻠﻐﺔ اﻟﻌﺮﺑﻴﺔ‪.‬‬
‫ﻣﻨﺸﻮرا ﻓﻲ ﻣﺠﻠﺔ‪ ،‬أو ﻛﺘﺎب‪ ،‬أو وﻗﺎﺋﻊ ﻣﺆﺗﻤﺮ‪ ،‬أو ﺟﺰء‬
‫ً‬ ‫‪ -٢‬أ ْن ﻻ ﻳﻜﻮن اﻟﺒﺤﺚ‬
‫ﻣﻦ رﺳﺎﻟﺔ ﺟﺎﻣﻌﻴﺔ‪ ،‬أو ﻋﻠﻰ اﻟﻤﻮاﻗﻊ اﻹﻟﻜﺘﺮوﻧﻴﺔ وﻏﻴﺮﻫﺎ‪.‬‬
‫ﻣﻄﺒﻮﻋﺎ ﻋﻠﻰ ورق )‪ (A٤‬ﺑﻨـﺴﺨﺔ واﺣـﺪة‪ ،‬ﻣـﻊ ﻗـﺮص ﻟﻴـﺰري‪،‬‬
‫ً‬ ‫‪ -٣‬ﻳُـ َﻘﺪ‪‬م اﻟﺒﺤﺚ‬
‫ﺑﻨﻮع ﺧﻂ )‪ ،(Traditional Arabic‬وﺑﺤﺠـﻢ ﺧـﻂ )‪ ،(١٥‬واﻟﻬـﺎﻣﺶ‬
‫ﺑﺤﺠـ ــﻢ )‪ ،(١٣‬وﻳﺘ ـ ـﺮاوح ﺑـ ــﻴﻦ )‪ (٣٥-٢٠‬ﺻـ ــﻔﺤﺔ‪ ،‬وﻣـ ــﺴﺎﻓﺔ اﻟﻔﻘ ـ ـﺮات ﺑـ ــﻴﻦ‬
‫اﻷﺳﻄﺮ )‪.(١‬‬
‫‪ -٤‬ﺗﺨــﺼﺺ اﻟــﺼﻔﺤﺔ اﻷوﻟــﻰ ﻟﻌﻨ ــﻮان اﻟﺒﺤــﺚ‪ ،‬وٱﺳــﻢ اﻟﺒﺎﺣــﺚ أو اﻟﺒ ـ ِ‬
‫ـﺎﺣﺜَـ ْﻴﻦ‪،‬‬
‫ورﻗﻢ اﻟﻤﻮﺑﺎﻳﻞ‪ ،‬واﻟﺒﺮﻳﺪ اﻹﻟﻜﺘﺮوﻧﻲ‪ ،‬ﻣﻊ ﻣﺮاﻋﺎة ﻋـﺪم ذﻛـﺮ ٱﺳـﻢ اﻟﺒﺎﺣـﺚ ﺿـﻤﻦ‬
‫ﺻﻔﺤﺎت اﻟﺒﺤﺚ‪.‬‬
‫‪ -٥‬ﺗﻮﺿﻊ ﻫﻮاﻣﺶ اﻟﺒﺤﺚ ﻓﻲ ﻧﻬﺎﻳﺔ اﻟﺒﺤﺚ ﻣﺮﻗﻤﺔ ﺗﺴﻠﺴﻠﻴ‪‬ﺎ‪ ،‬وﺗﺮﻓﻖ ﻣﻌﻪ ﻗﺎﺋﻤـﺔ‬
‫ﺑﺎﻟﻤﺼﺎدر واﻟﻤﺮاﺟﻊ اﻟﺘﻲ ٱﻋﺘﻤﺪ اﻟﺒﺤﺚ ﻋﻠﻴﻬﺎ‪ ،‬ﻣﺘﺴﻠﺴﻠﺔ ﻋﻠـﻰ وﻓـﻖ اﻟﺤـﺮوف‬
‫اﻟﻬﺠﺎﺋﻴــﺔ‪ ،‬ﻛﺎﻣﻠــﺔ اﻟﺘﻮﺛﻴ ــﻖ‪ .‬ﻋــﺪا اﻟﻨــﺼﻮص اﻟﻤﺤﻘﻘ ــﺔ ﻓــﺎﻟﻬﻮاﻣﺶ ﻓــﻲ اﻟ ــﺼﻔﺤﺔ‬
‫ﻧﻔﺴﻬﺎ‪.‬‬
‫‪ -٦‬ﺗﻘــﺪﻳﻢ ﻣﻠﺨــﺺ ﻟﻠﺒﺤــﺚ ﺑﺎﻟﻠﻐــﺔ اﻟﻌﺮﺑﻴــﺔ‪ ،‬وآﺧــﺮ ﺑﺎﻟﻠﻐــﺔ اﻹﻧﻜﻠﻴﺰﻳــﺔ ﺑﺎﻻﻋﺘﻤــﺎد‬
‫ﻋﻠ ــﻰ ﻣﺘ ــﺮﺟﻢ ﻣﺨ ــﺘﺺ ﻓ ــﻲ ذﻟ ــﻚ‪ ،‬ﺑﺤ ــﺪود ﺻ ــﻔﺤﺔ واﺣ ــﺪة‪ ،‬ﺗﺘ ــﻀﻤﻦ ﻋﻨ ــﻮان‬
‫اﻟﺒﺤﺚ‪ ،‬وٱﺳﻢ اﻟﺒﺎﺣﺚ‪.‬‬
‫‪ -٧‬ﺗﻄﺒﻊ اﻟﺠﺪاول واﻟﺼﻮر واﻟﺨﺮاﺋﻂ ﻋﻠﻰ أوراق ﻣﺴﺘﻘﻠﺔ ﻣﻠﺤﻘﺔ ﺑﺎﻟﺒﺤـﺚ‪ ،‬ﻣـﻊ‬
‫اﻹﺷﺎرة إﻟﻴﻬﺎ ﻓﻲ أﺳﻔﻞ اﻟﺸﻜﻞ‪.‬‬
‫‪ -٨‬ﻳﻘ ــﺪم اﻟﺒﺎﺣ ــﺚ اﻟ ــﺴﻴﺮة اﻟﻌﻠﻤﻴ ــﺔ‪ ،‬ﻣ ــﻊ ﺻ ــﻮرة ﻣﻠﻮﻧ ــﺔ‪ ،‬ورﻗ ــﻢ اﻟﻤﻮﺑﺎﻳ ــﻞ‪ ،‬واﻟﺒﺮﻳ ــﺪ‬
‫اﻹﻟﻜﺘﺮوﻧﻲ‪ ،‬وﻣﻜﺎن اﻟﻌﻤﻞ‪.‬‬
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‫‪ -٩‬ﺗﺨ ــﻀﻊ اﻟﺒﺤ ــﻮث ﻟﺘﻘ ــﻮﻳﻢ ﻋﻠﻤ ــﻲ ِﺳـ ـ ‪‬ﺮي ﻟﺒﻴ ــﺎن ﺻ ــﻼﺣﻴﺘﻪ ﻟﻠﻨ ــﺸﺮ‪ ،‬وﻻ ﺗﻌ ــﺎد‬
‫اﻟﺒﺤﻮث إﻟﻰ أﺻﺤﺎﺑﻬﺎ ﺳﻮاء أﻗﺒﻠﺖ اﻟﺒﺤﻮث ﻟﻠﻨﺸﺮ أم ﻟﻢ ﺗﻘﺒﻞ‪ ،‬واﻟﻤﺠﻠﺔ ﻏﻴـﺮ‬
‫ﻣﻠﺰﻣﺔ ﺑﺒﻴﺎن أﺳﺒﺎب ﻋﺪم اﻟﻨﺸﺮ إ ْن ﻟﻢ ﻳﻜﻦ اﻟﺒﺤﺚ ﻣﺆ ‪‬ﻫﻼً ﻟﻠﻨﺸﺮ‪.‬‬
‫‪ -١٠‬ﻳﻠﺘــﺰم اﻟﺒﺎﺣــﺚ ﺑﻮﺟــﻮب إﺟ ـﺮاء اﻟﺘﻌــﺪﻳﻼت اﻟﺘــﻲ ﺗﺤــﺪدﻫﺎ اﻟﻠﺠﻨــﺔ اﻟﻌﻠﻤﻴــﺔ‬
‫ﻟﻠﻤﺠﻠﺔ‪ ،‬وﺑﺨﻼف ذﻟﻚ ﻻ ﻳﺘﻢ ﻧﺸﺮ اﻟﺒﺤﺚ‪.‬‬
‫‪ -١١‬ﻳـ ــﺘﻢ إرﺳـ ــﺎل اﻟﺒﺤـ ــﻮث اﻟﻤـ ــﺸﺎرﻛﺔ إﻟـ ــﻰ ﻣﻮﻗـ ــﻊ اﻟﻤﺠﻠـ ــﺔ‪ ،‬أو ﻋﺒـ ــﺮ اﻟﺒﺮﻳـ ــﺪ‬
‫اﻹﻟﻜﺘﺮوﻧﻲ ﻟﻠﻤﺠﻠﺔ‪ ،‬وﺳـﻴﺘﻢ إﻋـﻼم اﻟﺒﺤـﺚ ﺑﺘـﺴﻠﻢ ﺑﺤﺜـﻪ‪ ،‬وإﺣﺎﻟﺘـﻪ إﻟـﻰ اﻟﺘﻘـﻮﻳﻢ‬
‫اﻟﻌﻠﻤــﻲ‪ ،‬وﻳُـﺒَـﻠ‪‬ــﻎ اﻟﺒﺎﺣــﺚ ﺑﻘﺒــﻮل اﻟﺒﺤــﺚ أو ﻋﺪﻣــﻪ ﺧــﻼل ﺷــﻬﺮﻳﻦ ﻣــﻦ ﺗ ــﺄرﻳﺦ‬
‫ﺗﺴﻠﻢ ﺑﺤﺜﻪ‪.‬‬
‫‪ -١٢‬ﻳﺮاﻋﻰ ﻓﻲ أﺳـﺒﻘﻴﺔ اﻟﻨـﺸﺮ اﻟﺒﺤـﻮث اﻟﻤـﺸﺎرﻛﺔ ﻓـﻲ اﻟﻤـﺆﺗﻤﺮات اﻟﺘـﻲ ﺗﻘﻴﻤﻬـﺎ‬
‫ﺟﻬﺔ اﻹﺻﺪار‪ ،‬وأﺳﺒﻘﻴﺔ ﺗﺴﻠ‪‬ﻢ اﻟﻤﺠﻠﺔ ﻟﻬﺎ‪ ،‬وﺗﻨﻮﻳﻊ ﻣﺠﺎﻻت اﻟﺒﺤﻮث ﻛﻤـﺎ ﺗـﺮاﻩ‬
‫أﺳﺮة اﻟﺘﺤﺮﻳﺮ‪.‬‬
‫‪ -١٣‬ﻳﻤﻨﺢ ُﻛ ‪‬ﻞ ﺑﺎﺣﺚ ﻧﺴﺨﺔ واﺣﺪة ﻣـﻦ اﻟﻌـﺪد اﻟـﺬي ﺗـﻢ ﻧـﺸﺮ ﺑﺤﺜـﻪ ﻓﻴﻬـﺎ‪ ،‬ﻣـﻊ‬
‫ﻀﺎ ‪.‬‬
‫ﻣﺴﺘﻞ واﺣﺪ أﻳ ً‬
‫‪ -١٤‬ﺗﺨ ــﻀﻊ اﻟﺒﺤ ــﻮث إﻟ ــﻰ ﺑﺮﻧ ــﺎﻣﺞ اﻻﺳ ــﺘﻼل اﻟﻌﻠﻤ ــﻲ ﻟﺒﻴ ــﺎن ﺻ ــﻼﺣﻴﺔ ﻗﺒ ــﻮل‬
‫اﻟﺒﺤﺚ ﻗﺒﻞ إرﺳﺎﻟﻪ ﻋﻠﻰ اﻟﻠﺠﻨﺔ اﻟﻌﻠﻤﻴﺔ‪.‬‬

‫* ﻣﻠﺤﻮﻇﺔ‪:‬‬
‫إ ‪‬ن ﺟﻤﻴــﻊ اﻟﺒﺤــﻮث اﻟﺘــﻲ ﺗﻨــﺸﺮ ﻓــﻲ اﻟﻤﺠﻠــﺔ ﺗﻌﺒ‪‬ــﺮ ﻋــﻦ آراء ﻛﺎﺗﺒﻴﻬــﺎ‪ ،‬وﻻ ﺗﻌﺒ‪‬ــﺮ‬
‫ﺑﺎﻟﻀﺮورة ﻋﻦ ﺟﻬﺔ إﺻﺪار اﻟﻤﺠﻠﺔ‪.‬‬
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‫ﻛﻠﻤﺔ ﺍﻟﻌﺪﺩ ‪..‬‬

‫ﻛﺔ‪‬‬
‫ﻏ ‪‬ﺮﺱ‪ ‬ﻓﻲ ﺃﹶ ‪‬ﺭﺽﹴ ‪‬ﻣﺒ‪‬ﺎ ‪‬ﺭ ﹶ‬ ‫‪‬ﻗ ‪‬ﺮﻃﹶﺎﺱ‪ ‬ﺍ ﹾﻟ ‪‬ﻤ ‪‬ﻌ ﹺﺮ ﹶﻓﺔ‪ .. ‬ﹶ‬
‫اﻟﺤﻤـ ـ ــﺪ ﷲ رب اﻟﻌـ ـ ــﺎﻟﻤﻴﻦ‪ ،‬واﻟـ ـ ــﺼﻼة واﻟـ ـ ــﺴﻼم ﻋﻠـ ـ ــﻰ رﺳـ ـ ــﻮل اﷲ اﻟـ ـ ــﺼﺎدق‬
‫اﻷﻣﻴﻦ‪ ،‬وﻋﻠﻰ آﻟﻪ اﻷﻃﻬﺎر اﻟﻤﻴﺎﻣﻴﻦ ‪..‬‬
‫ﺑﻌـ ـ ــﺪ اﻟﺘﻮﻛـ ـ ــﻞ ﻋﻠـ ـ ــﻰ اﷲ وﺑﺘﻈـ ـ ــﺎﻓﺮ ﺟﻬـ ـ ــﻮد اﻟﺨﻴ‪‬ـ ـ ـﺮﻳﻦ ﻣـ ـ ــﻦ أﺳـ ـ ــﺎﺗﺬة أﻛـ ـ ــﺎدﻣﻴﻴﻦ‬
‫وﺑـ ــﺎﺣﺜﻴﻦ‪ ،‬ﻳـ ــﺼﺪر اﻟﻌـ ــﺪد )اﻷول( ﻣـ ــﻦ ﻣﺠﻠـ ــﺔ ﻗﺮﻃـ ــﺎس اﻟﻤﻌﺮﻓـ ــﺔ‪ ،‬وﻫـ ــﻲ ﻣﺠﻠـ ــﺔ ﻋﻠﻤﻴـ ــﺔ‬
‫ﺗُﻌﻨ ـ ــﻰ ﺑﺎﻟﺪراﺳ ـ ــﺎت اﻹﻧ ـ ــﺴﺎﻧﻴﺔ‪ ،‬وﻧ ـ ــﺴﻌﻰ ﻟﺘﻜ ـ ــﻮن ﻣﺤﻜﻤ ـ ــﺔ وﻣﻌﺘﻤ ـ ــﺪة ﻷﻏـ ـ ـﺮاض اﻟﺘﺮﻗﻴ ـ ــﺔ‬
‫اﻟﻌﻠﻤﻴﺔ‪.‬‬
‫إ ‪‬ن إﺻ ـ ــﺪار ﻫ ـ ــﺬﻩ اﻟﻤﺠﻠ ـ ــﺔ ﻟ ـ ــﻢ ﻳﻜ ـ ــﻦ ﺗﺮﻓًـ ــﺎ ﻓﻜﺮﻳـ‪ ‬ـ ـﺎ‪ ،‬وﻻ إﺿ ـ ــﺎﻓﺔ رﻗ ـ ــﻢ ﻷﻋ ـ ــﺪاد‬
‫اﻟﻤﺠـ ـ ــﻼت اﻟﻌﻠﻤﻴ ـ ـ ــﺔ اﻟﺘـ ـ ــﻲ ﺗ ـ ـ ــﺼﺪرﻫﺎ اﻟﻤﺆﺳـ ـ ــﺴﺎت اﻷﻛﺎدﻳﻤﻴ ـ ـ ــﺔ وﻏﻴﺮﻫـ ـ ــﺎ‪ ،‬ﺑ ـ ـ ــﻞ ﺟ ـ ـ ــﺎء‬
‫ﻟﺠﻤﻠـ ــﺔ أﻫـ ــﺪاف ﻧـ ــﺮى أﻫﻤﻴـ ــﺔ ﺗﺤﻘﻴﻘﻬـ ــﺎ‪ ،‬وﻣﻨﻬـ ــﺎ ﻫـ ــﻮ ﺣـ ــﺮص ﻣﻜﺘﺒـ ــﺔ اﻟﺠـ ــﻮادﻳﻦ اﻟﻌﺎﻣـ ــﺔ‬
‫ﻋﺎﻣ ــﺎ ﻋﻠ ــﻰ ﻣﻮاﺻ ــﻠﺔ اﻟﺨ ــﻂ اﻟ ــﺬي ﺑ ــﺪأﻩ‬
‫اﻟﺘ ــﻲ ﻣ ــﻀﻰ ﻋﻠ ــﻰ ﺗﺄﺳﻴ ــﺴﻬﺎ أﻛﺜ ــﺮ ﻣ ــﻦ ﺳ ــﺒﻌﻴﻦ ً‬
‫ﻣﺆﺳ ـ ــﺴﻬﺎ اﻟﺮاﺣ ـ ــﻞ اﻟ ـ ــﺴﻴﺪ ﻫﺒ ـ ــﺔ اﻟ ـ ــﺪﻳﻦ اﻟﺤ ـ ــﺴﻴﻨﻲ اﻟ ـ ــﺸﻬﺮﺳﺘﺎﻧﻲ ﻣ ـ ــﻊ ﻣﺠﻠﺘ ـ ــﻪ اﻟﻌﺮﻳﻘ ـ ــﺔ‬
‫)اﻟﻌﻠـ ــﻢ( اﻟﺘـ ــﻲ أﺻـ ــﺪرﻫﺎ ﻋـ ــﺎم ‪١٩١٠‬م‪ ،‬أي ﻗﺒـ ــﻞ أﻛﺜـ ــﺮ ﻣـ ــﻦ ﻗـ ــﺮن‪ ،‬وأﻣـ ــﺎ اﻟﻴـ ــﻮم وﻗـ ــﺪ‬
‫ﻏ ــﺪت ﻫ ــﺬﻩ اﻟﻤﻜﺘﺒ ــﺔ ﻣﺮﻛ ـ ًـﺰا ﺑﺤﺜﻴ‪‬ــﺎ ﻳ ــﺸﺎر إﻟﻴﻬ ــﺎ ﺑﺎﻟﺒﻨ ــﺎن‪ ،‬ﻓﻴﺆ‪‬ﻣﻬ ــﺎ ﻋ ــﺪد ﻛﺒﻴ ــﺮ ﻣ ــﻦ ﻃﻠﺒ ــﺔ‬
‫اﻟﺪراﺳ ـ ــﺎت اﻟﻌﻠﻴـ ـ ــﺎ واﻟﺒـ ـ ــﺎﺣﺜﻴﻦ‪ ،‬ﻓﻸﺟـ ـ ــﻞ ﺗﻘـ ـ ــﺪﻳﻢ ﺧـ ـ ــﺪﻣﺎﺗﻬﺎ اﻟﻤﺨﺘﻠﻔـ ـ ــﺔ ﻟﻬـ ـ ــﻢ وﻟﻐﻴـ ـ ــﺮﻫﻢ‬
‫ﻛﺎﻧ ـ ــﺖ ﻫ ـ ــﺬﻩ اﻟﺨﻄ ـ ــﻮة اﻟﻤﺒﺎرﻛ ـ ــﺔ ﻓ ـ ــﻲ إﺻ ـ ــﺪار ﻣﺠﻠ ـ ــﺔ ﻋﻠﻤﻴ ـ ــﺔ‪ ،‬ٱﻗﺘﺒ ـ ــﺴﺖ ٱﺳ ـ ــﻤﻬﺎ ﻣ ـ ــﻦ‬
‫أﻫ ـ ــﺪاف ﻣﺆﺳ ـ ــﺴﺘﻬﺎ‪ ،‬وﻣﻨﻬ ـ ــﺎ ﺗﺤﺮﻳ ـ ــﻚ اﻟﻨ ـ ــﺸﺎط اﻟﻌﻠﻤ ـ ــﻲ واﻟﺜﻘ ـ ــﺎﻓﻲ اﻟﻤ ـ ــﻨﻈﻢ واﻟﺮﺻ ـ ــﻴﻦ‬
‫ﻓ ــﻲ ﻫ ــﺬﻩ اﻟﻤﺪﻳﻨـ ــﺔ اﻟﻌﻠﻤﻴ ــﺔ اﻟﻜﺒﻴـ ــﺮة‪ ،‬وٱﺳ ــﺘﻘﻄﺎب اﻟﻜﻔ ــﺎءات اﻟﻌﻠﻤﻴـ ــﺔ ﻓ ــﻲ اﻟﺠﺎﻣﻌـ ــﺎت‬
‫اﻟﻌﺮاﻗﻴ ـ ـ ـ ــﺔ وﻏﻴﺮﻫ ـ ـ ـ ــﺎ ﻟﻠﻨ ـ ـ ـ ــﺸﺮ ﻓﻴﻬ ـ ـ ـ ــﺎ‪ ،‬واﻹﻓ ـ ـ ـ ــﺎدة ﻣ ـ ـ ـ ــﻦ ﺑﺤﻮﺛﻬ ـ ـ ـ ــﺎ ودراﺳ ـ ـ ـ ــﺎﺗﻬﺎ وﺗﺤﻘﻴ ـ ـ ـ ــﻖ‬
‫ﻣﺨﻄﻮﻃﺎﺗﻬ ــﺎ‪ ،‬وﻗ ــﺪ ﺣﺮﺻـ ـﺖ اﻟﻤﻜﺘﺒ ــﺔ ﻋﻠ ــﻰ ﺗﻼﻗ ــﺢ اﻷﻓﻜ ــﺎر واﻟﺨﺒـ ـﺮات اﻟﻜﺒﻴ ــﺮة اﻟﺘ ــﻲ‬
‫ـﺪاء ﺑﺄﺳـ ــﺎﺗﺬة اﻟﻬﻴـ ــﺄﺗﻴﻦ اﻻﺳﺘـ ــﺸﺎرﻳﺔ واﻟﺘﺤـ ــﻀﻴﺮﻳﺔ ﻣـ ــﻦ ﻣﺨﺘﻠـ ــﻒ اﻟﺠﺎﻣﻌـ ــﺎت‬
‫ﺗﺘﻤﺜـ ــﻞ ٱﺑﺘـ ـ ً‬
‫اﻟﻌﺮاﻗﻴ ــﺔ واﻟﻌﺮﺑﻴـ ــﺔ وﻏﻴﺮﻫﻤـ ــﺎ‪ ،‬ﻟﺘﻘ ــﺪﻳﻢ أﻓـ ــﻀﻞ اﻟﻤـ ــﺸﻮرات اﻟﻌﻠﻤﻴ ــﺔ‪ ،‬واﻟﻤﻘﺘﺮﺣـ ــﺎت اﻟﺘـ ــﻲ‬
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‫ع ﻳﻮﻟ‪‬ـ ـ ـ ـ ُﺪ ِﺣﺮا ًﻛ ـ ـ ــﺎ ﻋﻠﻤﻴ‪‬ـ ـ ــﺎ وﺛﻘﺎﻓﻴ‪‬ـ ـ ــﺎ ﺿ ـ ـ ــﻤﻦ‬

‫ﺗﺘﻘ ـ ـ ــﺪم ﺑﺎﻟﺒﺤ ـ ـ ــﺚ وﻣﻘﻮﻣﺎﺗ ـ ـ ــﻪ‪ ،‬وﻫ ـ ـ ــﺬا اﻟﺘﻨ ـ ـ ـ ‪‬ـﻮ ُ‬
‫ٱﺧﺘـ ـ ـ ــﺼﺎص اﻟﻤﺠﻠ ـ ـ ـ ــﺔ‪ ،‬ﻓﻨﺄﻣـ ـ ـ ــﻞ ﻣ ـ ـ ـ ــﻦ اﻟـ ـ ـ ــﺴﺎدة اﻟﺒ ـ ـ ـ ــﺎﺣﺜﻴﻦ رﻓـ ـ ـ ــﺪ اﻟﻤﺠﻠ ـ ـ ـ ــﺔ ﺑﺒﺤ ـ ـ ـ ــﻮﺛﻬﻢ‬
‫ودراﺳ ــﺎﺗﻬﻢ اﻟﻘﻴﻤـ ــﺔ‪ ،‬اﻟﺘ ــﻲ ﺗﻨﺤـ ــﻮ ﺑﺎﻟﻤﺠﻠـ ــﺔ ﻣ ــﻊ أﺧﻮاﺗﻬـ ــﺎ اﻟﻤﺠـ ــﻼت اﻟﻌﻠﻤﻴ ــﺔ ﻓـ ــﻲ رﻓـ ــﺪ‬
‫اﻟﻤﻜﺘﺒﺔ ﺑﺒﺤﻮث ﻣﺘﻨﻮﻋﺔ ﺟﺪﻳﺪة‪.‬‬

‫إ ‪‬ن ﻫ ـ ــﺬﻩ ﻫ ـ ــﻲ اﻟﺨﻄ ـ ــﻮة اﻷوﻟ ـ ــﻰ ﻟﻼﻧﻄ ـ ــﻼق ﺑﻬ ـ ــﺬا اﻟﻐ ـ ــﺮس ﻣ ـ ــﻦ ﻫ ـ ــﺬﻩ اﻷرض‬
‫اﻟﻤﺒﺎرﻛ ـ ــﺔ‪ ،‬واﻟﺨﻄ ـ ــﻮة اﻟﻘﺎدﻣ ـ ــﺔ ﻫ ـ ــﻮ اﻟﻌﻤ ـ ــﻞ ﻋﻠ ـ ــﻰ ﻣﻮاﻓﻘ ـ ــﺔ ٱﻋﺘﻤﺎدﻫ ـ ــﺎ ﻷﻏـ ـ ـﺮاض اﻟﺘﺮﻗﻴ ـ ــﺔ‬
‫اﻟﻌﻠﻤﻴ ـ ــﺔ‪ ،‬وﻫ ـ ــﺬا ﺑـ ـ ــﻼ ﺷ ـ ــﻚ ﻳﺘﻄﻠ ـ ــﺐ ﻣﺰﻳ ـ ـ ـ ًﺪا ﻣ ـ ــﻦ اﻟﺠ ـ ــﺪ واﻻﺟﺘﻬـ ـ ــﺎد‪ ،‬واﻟﺘﻌ ـ ــﺎون ﺑـ ـ ــﻴﻦ‬
‫اﻟﻌﺎﻣﻠﻴﻦ ﻋﻠﻰ إﺻﺪار اﻟﻤﺠﻠﺔ واﻷﺳﺎﺗﺬة اﻟﺒﺎﺣﺜﻴﻦ‪.‬‬
‫ﺧﺘﺎﻣـ ــﺎ ﻻ ﺑـ ــﺪ ﻣـ ــﻦ ﺗﻘـ ــﺪﻳﻢ اﻟـ ــﺸﻜﺮ واﻟﺜﻨـ ــﺎء ﻟﺠﻤﻴـ ــﻊ َﻣـ ـ ْـﻦ ﺳـ ــﻌﻰ ﻟﻬـ ــﺬﻩ اﻟﺒـ ــﺬرة‪،‬‬
‫ً‬
‫ﻳﺎﻧﻌـ ــﺎ‪ ،‬واﻟـ ــﻰ ُﻛ ـ ـ ‪‬ﻞ ﻣـ ــﻦ أﺳـ ــﻬﻢ ﻓـ ــﻲ‬
‫وﺳ ــﻘﺎﻫﺎ ﺑﺠﻬـ ــﺪﻩ وﻓﻜـ ــﺮﻩ‪ ،‬ﻛـ ــﻲ ﻳﺨـ ــﺮج ﻋﻮدﻫـ ــﺎ ﻗﻮﻳـ‪ ‬ــﺎ ً‬
‫إﺻـ ـ ـ ـ ــﺪار ﻫـ ـ ـ ـ ــﺬا اﻟﻌـ ـ ـ ـ ــﺪد ﻣ ـ ـ ـ ـ ـﻦ اﻟﺒـ ـ ـ ـ ــﺎﺣﺜﻴﻦ واﻟـ ـ ـ ـ ــﺴﺎدة أﻋـ ـ ـ ـ ــﻀﺎء اﻟﻬﻴـ ـ ـ ـ ــﺄﺗﻴﻦ اﻟﺘﺤﺮﻳﺮﻳـ ـ ـ ـ ــﺔ‬
‫واﻻﺳﺘ ـ ــﺸﺎرﻳﺔ‪ ،‬وﻣ ـ ــﻼك اﻟﻤﺠﻠ ـ ــﺔ اﻹداري‪ ،‬ﻓﻨ ـ ــﺴﺄل اﷲ ﺗﻌ ـ ــﺎﻟﻰ اﻟﻘﺒ ـ ــﻮل‪ ،‬وﻣﻨ ـ ــﻪ ﻧ ـ ــﺴﺘﻤﺪ‬
‫اﻟﻌﻮن‪.‬‬

‫أ‪.‬م‪.‬د إﺳﻤﺎﻋﻴﻞ ﻃﻪ اﻟﺠﺎﺑﺮي‬

‫رﺋﻴﺲ اﻟﺘﺤﺮﻳﺮ‬
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‫م‪.‬م أﺣﻤﺪ ﺣﺴﻦ‬ ‫أﺛﺮ اﻟﺸﻌﺮ ﻓﻲ ﺗﻔﺴﻴﺮ‬

‫ﺻﺎﺣﺐ اﻟﻤﻮﺳﻮي‬ ‫اﻟﻘﺮآن ﻋﻨﺪ اﻟﺸﺮﻳﻒ‬
‫‪٤٤-١٥‬‬
‫ﻛﻠﻴﺔ اﻹﻣﺎم اﻟﻜﺎﻇﻢ‬ ‫اﻟﻤﺮﺗﻀﻰ‪-‬درر اﻟﻔﻮاﺋﺪ‬
‫)ﻋﻠﻴﻪ اﻟﺴﻼم(‬ ‫أﻧﻤﻮذﺟﺎ‪-‬‬
‫ً‬ ‫وﻏﺮر اﻟﻘﻼﺋﺪ‬
‫إ‪.‬د إﺑﺘﺴﺎم ﻋﺒﺪ‬
‫اﻟﻜﺮﻳﻢ اﻟﻤﺪﻧﻲ‬
‫‪٧٢-٤٥‬‬ ‫ﺗﻮﺻﻴﻒ ﻓﻦ اﻟﺤﻮار‬
‫ﻛﻠﻴﺔ اﻟﺘﺮﺑﻴﺔ اﻷﺳﺎﺳﻴﺔ‬
‫ﺟﺎﻣﻌﺔ اﻟﻜﻮﻓﺔ‬
‫ﻣﺨﺎﻃﺮ ﻣﻮاﻗﻊ اﻟﺘﻮاﺻﻞ‬
‫أ‪.‬د ﻋﻠﻲ ﻣﺤﻤﺪ اﻟﻌﺒﻴﺪي‬
‫اﻻﺟﺘﻤﺎﻋﻲ ﻋﻠﻰ‬
‫‪١٠٢-٧٣‬‬ ‫اﺳﺘﺸﺎري ﻓﻲ ﻣﺮﻛﺰ اﻟﻤﻌﺮﻓﺔ‬
‫اﻟﻌﻼﻗﺎت اﻷﺳﺮﻳﺔ‬
‫ﻟﻺﺳﻨﺎد اﻷﺳﺮي‬
‫‪-‬اﻷﺳﺮة اﻟﻌﺮاﻗﻴﺔ ﻧﻤﻮذﺟﺎً‪-‬‬
‫ٱﺑﻦ أﺑﻲ زﻣﻨﻴﻦ‬
‫‪١٣٦-١٠٣‬‬ ‫أ‪.‬د ﻋﻼء ﺟﺎﺳﻢ ﺟﺎﺑﺮ‬
‫أدﻳﺐ اﻷَﻧﺪﻟﺲ اﻟﺰاﻫﺪ‬
‫أ‪.‬م‪.‬د ﺳﻤﻴﺔ ﺣﺴﻦ ﻋﻠﻴﺎن‬ ‫رﺳﺎﻟﺔ اﻟﻘﺮآن اﻟﻜﺮﻳﻢ‬
‫‪١٦٦-١٣٧‬‬ ‫ﺟﺎﻣﻌﺔ إﺻﻔﻬﺎن‬ ‫اﻟﻌﺎﻟﻤﻴﺔ ﻟﻺﻧﺴﺎن‬
‫ﻛﻠﻴﺔ اﻟﻠﻐﺎت اﻷﺟﻨﺒﻴﺔ‬ ‫اﻟﻤﻌﺎﺻﺮ وﻣﺸﺎﻛﻠﻪ‬
‫اﻹﺻﻼح اﻟﻔﻜﺮي‬
‫أ‪.‬م‪.‬د ﻗﺼﻲ ﻋﺪﻧﺎن اﻟﺤﺴﻴﻨﻲ‬ ‫واﻟﺘﻄﻮر اﻟﻤﻌﺮﻓﻲ‬
‫‪١٩٤-١٦٧‬‬ ‫ﻛﻠﻴ‪‬ﺔ اﻵداب‬ ‫ﻓﻲ اﻟﻌﺼﻮر اﻷﻧﺪﻟﺴﻴﺔ‬
‫اﻟﺠﺎﻣﻌﺔ اﻟﻤﺴﺘﻨﺼﺮﻳﺔ‬ ‫‪-‬ﻗﺮاءة ﺗﺤﻘﻴﺒﻴﺔ ﺟﺪﻳﺪة‪-‬‬
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‫أ‪.‬م‪.‬د ﻧﻮري ﻛﺎﻇﻢ اﻟﺴﺎﻋﺪي‬ ‫أﺛﺮ اﻟﻔﻠﺴﻔﺔ واﻟﻤﻨﻄﻖ ﻓﻲ‬

‫‪٢٣٨-١٩٥‬‬ ‫ﺟﺎﻣﻌﺔ ﺑﻐﺪاد‬ ‫اﻟﺒﻼﻏﺔ اﻟﻌﺮﺑﻴﺔ‬
‫ﻛﻠﻴﺔ اﻟﺘﺮﺑﻴﺔ )ٱﺑﻦ رﺷﺪ(‬ ‫إﻧﻤﻮذﺟﺎ‪-‬‬
‫ً‬ ‫‪-‬اﻟﺴﺠﻠﻤﺎﺳﻲ‬
‫ﻛﻴﻔﻴﺔ أداء‬
‫اﻟﻀﺎد اﻟﻤﻌﺠﻤﺔ‬
‫ﺗﺤﻘﻴﻖ‬
‫ﺗﺄﻟﻴﻒ‬
‫أ‪.‬د ﺻﺎﻟﺢ ﻣﻬﺪي ﻋﺒﺎس‬
‫‪٢٧٤-٢٣٩‬‬ ‫اﻟﺸﻴﺦ ﻣﺤﻤﺪ ﺑﻦ أﺑﻲ‬
‫ﻣﺮﻛﺰ إﺣﻴﺎء اﻟﺘﺮاث اﻟﻌﻠﻤﻲ‬
‫ﺑﻜﺮ اﻟﻤﺮﻋﺸﻲ اﻟﺸﻬﻴﺮ‬
‫اﻟﻌﺮﺑﻲ ﺟﺎﻣﻌﺔ ﺑﻐﺪاد‬
‫ﺑﺴﺎﺟﻘﻠﻲ زادة‬
‫)ت‪١١٥٠‬ﻫـ(‬
 ‫ﻛﻴﻔﻴﺔ ﺃﺩﺍﺀ ﺍﻟﻀﺎﺩ ﺍﻟﻤﻌﺠﻤﺔ ‪ ..‬ﺃ‪.‬ﺩ ﺻﺎﻟﺢ ﻣﻬﺪﻱ ﻋﺒﺎﺱ‬ ‫‪٢٣٩‬‬

‫ﻛﻴﻔﻴﺔ ﺃﺩﺍﺀ ﺍﻟﻀﺎﺩ ﺍﻟﻤﻌﺠﻤﺔ‬

‫ﺗﺄﻟﻴﻒ‬
‫اﻟﺸﻴﺦ ﻣﺤﻤﺪ ﺑﻦ أﺑﻲ ﺑﻜﺮ اﻟﻤﺮﻋﺸﻲ اﻟﺸﻬﻴﺮ‬
‫ﺑﺴﺎﺟﻘﻠﻲ زادة )ت ‪١١٥٠‬ﻫـ(‬

‫ﺗﺤﻘﻴﻖ‬
‫أ‪.‬د ﺻﺎﻟﺢ ﻣﻬﺪي ﻋﺒﺎس‬
‫ﻣﺮﻛﺰ إﺣﻴﺎء اﻟﺘﺮاث اﻟﻌﻠﻤﻲ اﻟﻌﺮﺑﻲ‬
‫ﺟﺎﻣﻌﺔ ﺑﻐﺪاد‬

‫ﺍﻟﺴﻨﺔ ﺍﻷﻭﻟﻰ ﺍﻟﻌﺪﺩ ﺍﻷﻭﻝ ‪١٤٣٩‬ﻫ ‪ ٢٠١٨‬ﻡ‬

‫ﻛﻴﻔﻴﺔ ﺃﺩﺍﺀ ﺍﻟﻀﺎﺩ ﺍﻟﻤﻌﺠﻤﺔ ‪ ..‬ﺃ‪.‬ﺩ ﺻﺎﻟﺢ ﻣﻬﺪﻱ ﻋﺒﺎﺱ‬ ‫‪٢٤٠‬‬

‫ﺍﻟﺴﻨﺔ ﺍﻷﻭﻟﻰ ﺍﻟﻌﺪﺩ ﺍﻷﻭﻝ ‪١٤٣٩‬ﻫ ‪ ٢٠١٨‬ﻡ‬

 ‫ﻛﻴﻔﻴﺔ ﺃﺩﺍﺀ ﺍﻟﻀﺎﺩ ﺍﻟﻤﻌﺠﻤﺔ ‪ ..‬ﺃ‪.‬ﺩ ﺻﺎﻟﺢ ﻣﻬﺪﻱ ﻋﺒﺎﺱ‬ ‫‪٢٤١‬‬

‫ﻣﻠﺨﺺ ﺍﻟﺒﺤﺚ ‪..‬‬

‫إ ‪‬ن اﻟﻤﺨﻄــﻮط ﻣــﻦ ﻣﺆﻟﻔــﺎت ﻣﺤﻤــﺪ ﺑــﻦ أﺑــﻲ ﺑﻜــﺮ اﻟﻤﺮﻋــﺸﻲ اﻟﻤﻌــﺮوف ﺑــﺴﺎﺟﻘﻠﻲ زادة‬
‫ـﺤﻴﺤﺎ ﻣــﻦ ﻣﺨﺮﺟ ــﻪ‬
‫ـﻠﻴﻤﺎ ﺻـ ً‬
‫)ت‪١١٥٠‬ﻫ(‪ ،‬وﻳﺒﺤــﺚ ﻓــﻲ ﻛﻴﻔﻴــﺔ ﻧﻄــﻖ اﻟــﻀﺎد اﻟﻤﻌﺠﻤ ــﺔ ﻧﻄ ًﻘــﺎ ﺳـ ً‬
‫ـﺪدﻩ ﻋﻠﻤـﺎء اﻟﻌﺮﺑﻴــﺔ وﻋﻠﻤــﺎء اﻟﺘﺠﻮﻳـﺪ‪ :‬ﻣــﻦ أول ﺣﺎﻓـﺔ اﻟﻠــﺴﺎن وﻣــﺎ ﻳﻠﻴﻬـﺎ ﻣــﻦ اﻷﺿــﺮاس‪،‬‬
‫اﻟـﺬي ﺣـ َ‬
‫ﺧﺎﻟﺼﺎ ﻣـﻦ ﻏﻴـﺮ ﺧﻠـﻂ ﺑـﻴﻦ ﻫـﺬا اﻟﺤـﺮف واﻟﻈـﺎء واﻟـﺪال‪ ،‬ﻛﻤـﺎ ﻫـﻮ اﻟﺤـﺎل ﻓـﻲ ﻧﻄﻘـﻪ ﻋﻨـﺪ اﻟﻜﺜﻴـﺮ‬
‫ً‬
‫ﻣﻦ أﺑﻨﺎء اﻷﻣﺔ اﻟﻌﺮﺑﻴﺔ ﻓﻲ ﺑﻌﺾ اﻷﻣﺼﺎر‪.‬‬
‫وﻣﺸﻜﻠﺔ اﻟـﻀﺎد اﻟﻌﺮﺑﻴـﺔ ﻣـﺸﻜﻠﺔ ﻗﺪﻳﻤـﺔ أوﻻﻫـﺎ ﻋﻠﻤﺎؤﻧـﺎ اﻟﻘـﺪاﻣﻰ واﻟﻤﺤـ َﺪﺛﻮن ﺑﺎﻟﺒﺤـﺚ‬
‫واﻟﺪراﺳــﺔ‪ ،‬ووﺿــﻌﻮا ﻓﻴﻬــﺎ اﻟﻤــﺼﻨﻔﺎت اﻟﺘــﻲ ﺗﻤﻴﺰﻫــﺎ ﻣــﻦ اﻟﻈــﺎء‪ ،‬ودراﺳــﺔ ﺧﺼﺎﺋــﺼﻬﺎ اﻟﻨﻄﻘﻴــﺔ ﻣــﻦ‬
‫أﺟﻞ اﻟﺘﻮﺻﻞ إﻟﻰ ﻧﻄﻘﻬﺎ اﻟﺴﻠﻴﻢ اﻟﺼﺤﻴﺢ اﻟﺬي ﺣﺪدﻩ اﻟﻌﻠﻤﺎء‪ ،‬وﻣﻨﻬﺎ ﻫﺬا اﻟﻜﺘﺎب‪.‬‬
‫وٱﻋﺘﻤــﺪت ﻓــﻲ ﺗﺤﻘﻴــﻖ ﻫــﺬا اﻟﻤﺨﻄــﻮط ﻋﻠــﻰ ﻧــﺴﺨﺘﻴﻦ ﺧﻄﻴﺘــﻴﻦ ﻣﺤﻔــﻮﻇﺘﻴﻦ إﺣــﺪاﻫﻤﺎ‬
‫ﻓــﻲ دار اﻟﻤﺨﻄﻮﻃــﺎت ﺑﺘــﻮﻧﺲ اﻷﺧــﺮى ﻓــﻲ دار اﻟﻤﺨﻄﻮﻃــﺎت ﺑﺒﻐــﺪاد‪ ،‬واﻟﻤﺨﻄــﻮط ﻳﺘــﺄﻟﻒ ﻣــﻦ‬
‫أوراق ﺳﺒﻊ‪.‬‬

‫ﺍﻟﺴﻨﺔ ﺍﻷﻭﻟﻰ ﺍﻟﻌﺪﺩ ﺍﻷﻭﻝ ‪١٤٣٩‬ﻫ ‪ ٢٠١٨‬ﻡ‬

‫ﻛﻴﻔﻴﺔ ﺃﺩﺍﺀ ﺍﻟﻀﺎﺩ ﺍﻟﻤﻌﺠﻤﺔ ‪ ..‬ﺃ‪.‬ﺩ ﺻﺎﻟﺢ ﻣﻬﺪﻱ ﻋﺒﺎﺱ‬ ‫‪٢٤٢‬‬

‫ﺍﻟﺴﻨﺔ ﺍﻷﻭﻟﻰ ﺍﻟﻌﺪﺩ ﺍﻷﻭﻝ ‪١٤٣٩‬ﻫ ‪ ٢٠١٨‬ﻡ‬

 ‫ﻛﻴﻔﻴﺔ ﺃﺩﺍﺀ ﺍﻟﻀﺎﺩ ﺍﻟﻤﻌﺠﻤﺔ ‪ ..‬ﺃ‪.‬ﺩ ﺻﺎﻟﺢ ﻣﻬﺪﻱ ﻋﺒﺎﺱ‬ ‫‪٢٤٣‬‬

‫‪ -‬ﺍﻟﻤﺆﻟﻒ‪:‬‬
‫) ‪(١‬‬
‫ﻫﻮ ﻣﺤﻤﺪ ﺑﻦ أﺑﻲ ﺑﻜﺮ اﻟﻤﺮﻋﺸﻲ اﻟﻤﻌﺮوف ﺑﺴﺎﺟﻘﻠﻲ زادة‪.‬‬
‫واﻟﻤﺮﻋــﺸﻲ‪ :‬ﻧــﺴﺒﺔ إﻟــﻰ ﻣﺪﻳﻨــﺔ َﻣ ـ ْﺮ َﻋﺶ‪ :‬ﺑﻔــﺘﺢ اﻟﻤــﻴﻢ وﺳــﻜﻮن اﻟ ـﺮاء وﻓــﺘﺢ اﻟﻌــﻴﻦ‬
‫اﻟﻤﻬﻤﻠــﺔ ‪ ،‬وﺷــﻴﻦ ﻣﻌﺠﻤــﺔ‪ .‬وﻫــﻲ ﻣﺪﻳﻨــﺔ ﻓــﻲ اﻟﺜﻐــﻮر ﺑــﻴﻦ اﻟــﺸﺎم وﺑــﻼد اﻟــﺮوم‪ ،‬ﻟﻬــﺎ ﺳــﻮران‬
‫وﺧﻨﺪق‪ ،‬وﻓﻲ وﺳﻄﻬﺎ ﺣﺼﻦ ﻋﻠﻴﻪ ﺳـﻮر ﻳﻌـﺮف ﺑـﺎﻟﻤﺮواﻧﻲ ﺑﻨـﺎﻩ ﻣـﺮوان ﺑـﻦ ﻣﺤﻤـﺪ اﻟـﺸﻬﻴﺮ‬
‫) ‪(٢‬‬
‫ﺑﻤﺮوان اﻟﺤﻤﺎر ‪....‬‬
‫‪ -‬ﻧﺸﺄﺗﻪ ﻭﺳﻴﺮﺗﻪ‪:‬‬
‫ﻟــﻢ ﺗــﺬﻛﺮ اﻟﻤــﺼﺎدر اﻟﺘــﻲ ﺗﺮﺟﻤــﺖ ﻟــﻪ ﺗــﺎرﻳﺦ وﻻدﺗــﻪ‪ ،‬وﻻ ﻓــﻲ أﻳــﺔ ﻣﺪﻳﻨــﺔ أو ﺑﻠــﺪة‬
‫وﻟﺪ‪ .‬وﻣﻦ ﺗﻜﻔﻞ ﺑﻪ وأﺷﺮف ﻋﻠﻰ رﻋﺎﻳﺘﻪ؟! إﻟﻰ ﻛﺜﻴﺮ ﻣﻦ اﻷﺳﺌﻠﺔ اﻟﺘﻲ ﺗﻜﺸﻒ ﻋﻦ ﻧـﺸﺄﺗﻪ‬
‫وﺷﺨﺼﻴﺘﻪ ﻟﻮ وﺟـﺪﻧﺎ اﻹﺟﺎﺑـﺔ ﻋﻨﻬـﺎ‪ ،‬وﻻ ﻏﺮاﺑـﺔ ﻓـﻲ ذﻟـﻚ‪ ،‬ﻓﻜﺜﻴـﺮ ﻣـﻦ ﻋﻠﻤﺎﺋﻨـﺎ اﻷﻓـﺬاذ ﻻ‬
‫ﻧﻌ ــﺮف ﻋ ــﻦ ﻧ ــﺸﺄﺗﻬﻢ اﻷوﻟ ــﻰ ﺷ ــﻴﺌﺎ ذا أﻫﻤﻴ ــﺔ‪ ،‬ﻳﻠﻘ ــﻲ اﻟ ــﻀﻮء ﻋﻠ ــﻰ ﺣﻴ ــﺎﺗﻬﻢ اﻟﺸﺨ ــﺼﻴﺔ‬
‫واﻟﻌﻠﻤﻴﺔ‪ ،‬وﻳﻨﻴﺮ اﻟﺪرب أﻣﺎﻣﻨﺎ ﻟﺘﻜﻮﻳﻦ ﺻﻮرة واﺿﺤﺔ اﻟﻤﻌﺎﻟﻢ ﻋﻦ ﻫﺆﻻء اﻷﻋﻼم‪.‬‬
‫ﻟﻘــﺪ ﻧــﺴﺒﺖ اﻟﻤــﺼﺎدر ﺻــﺎﺣﺒﻨﺎ ﻫــﺬا إﻟــﻰ ﻣــﺮﻋﺶ وٱﻗﺘــﺼﺮت ﻓــﻲ ﺗــﺴﻤﻴﺘﻪ ﻋﻠ ـﻰ‬
‫ٱﺳﻤﻪ وٱﺳﻢ أﺑﻴﻪ ﻣﻦ دون زﻳﺎدة ﺗﺬﻛﺮ‪ ،‬وﻻ ﻋﺠﺐ ﻓﻲ ذﻟﻚ ﻓـﺈ ‪‬ن اﻟﻤﺆﻟـﻒ ﻧﻔـﺴﻪ ﻓـﻲ ﻛﺜﻴـﺮ‬
‫ﻣﻦ ﻣﺆﻟﻔﺎﺗﻪ )‪ (٣‬ﻟﻢ ﻳﺰد ﻓﻲ ٱﺳﻤﻪ ﻋﻠﻰ ﻣﺎ ذﻛﺮﺗﻪ اﻟﻤﺼﺎدر اﻟﺘﻲ ﺗﺮﺟﻤﺖ ﻟﻪ‪ ،‬ﻓﻤﻦ أﻳﻦ ﻳﺄﺗﻲ‬
‫اﻻرﺗﻔﺎع ﺑﻨﺴﺐ اﻟﻤﺆﻟﻒ‪ ،‬إذا ﻛﺎن اﻟﻤﺆﻟﻒ ﻟﻢ ﻳﺬﻛﺮ ﻧﺴﺒﻪ ﻓﻲ ﻛﺘﺒﻪ؟!‬
‫أﻗﺎم ﺳﺎﺟﻘﻠﻲ زادﻩ ﻓﻲ ﻣﺮﻋﺶ وأﺧﺬ ﻋﻦ ﺷﻴﻮﺧﻬﺎ‪ ،‬وﺣﻔﻆ اﻟﻘﺮآن اﻟﻜﺮﻳﻢ وﺗﻌﻠ‪‬ﻢ‬
‫اﻟﻠﻐﺔ اﻟﻌﺮﺑﻴﺔ وأﺗﻘﻨﻬﺎ‪ ،‬وأﻟ‪‬ﻒ ﻓﻴﻬﺎ‪ ،‬ﻓﻀﻼً ﻋﻦ اﻟﺘﺄﻟﻴﻒ ﺑﻠﻐﺘﻪ اﻷﺻﻠﻴﺔ "اﻟﺘﺮﻛﻴﺔ"‪.‬‬

‫)‪ (١‬إﻳـ ـ ـ ــﻀﺎح اﻟﻤﻜﻨـ ـ ـ ــﻮن‪ ، ٣٨٧ ، ٣١٥/١ ،‬وﻫﺪﻳـ ـ ـ ــﺔ اﻟﻌـ ـ ـ ــﺎرﻓﻴﻦ‪ ٣٢٢ /٢ :‬ـ ـ ـ ـ ـ ‪ ، ٣٢٣‬وﻣﻌﺠـ ـ ـ ــﻢ‬
‫اﻟﻤﻄﺒﻮﻋـ ــﺎت‪ ، ٩٩٥ :‬وﺗـ ــﺎرﻳﺦ آداب اﻟﻠﻐـ ــﺔ اﻟﻌﺮﺑﻴـ ــﺔ‪ ، ٣٤٤/٣ :‬واﻷﻋـ ــﻼم‪ ، ٦٠/٦ :‬وﻣﻌﺠـ ــﻢ‬
‫اﻟﻤﺆﻟﻔﻴﻦ‪.١٤/١٢ :‬‬
‫)‪ (٢‬ﻣﻌﺠﻢ اﻟﺒﻠﺪان‪.١٠٧/٥ :‬‬
‫)‪ (٣‬ﻳﻨﻈﺮ‪ :‬ﻣﻦ ﻣﺆﻟﻔﺎت اﻟﻤﺮﻋﺸﻲ ﺟﻬﺪ اﻟﻤﻘﻞ‪ ،‬وﺑﻴﺎن ﺟﻬﺪ اﻟﻤﻘﻞ‪ ،‬وﻛﻴﻔﻴﺔ أداء اﻟﻀﺎد‪.‬‬
‫ﺍﻟﺴﻨﺔ ﺍﻷﻭﻟﻰ ﺍﻟﻌﺪﺩ ﺍﻷﻭﻝ ‪١٤٣٩‬ﻫ ‪ ٢٠١٨‬ﻡ‬
 ‫ﻛﻴﻔﻴﺔ ﺃﺩﺍﺀ ﺍﻟﻀﺎﺩ ﺍﻟﻤﻌﺠﻤﺔ ‪ ..‬ﺃ‪.‬ﺩ ﺻﺎﻟﺢ ﻣﻬﺪﻱ ﻋﺒﺎﺱ‬ ‫‪٢٤٤‬‬

‫وﻟﻤـﺎ أﺗﻘـﻦ ﻋﻠــﻮم ﺑﻠـﺪﻩ ﻣــﺮﻋﺶ وﻣﻌـﺎرف ﻋـﺼﺮﻩ‪ ،‬ﺗﺎﻗــﺖ ﻧﻔـﺴﻪ إﻟــﻰ اﻟﺮﺣﻠـﺔ‪ ،‬ﻓﻘــﺎم‬
‫ﺑﺮﺣﻠ ـ ــﺔ ﻋﻠﻤﻴ ـ ــﺔ دﺧ ـ ــﻞ ﻓﻴﻬ ـ ــﺎ إﻟ ـ ــﻰ دﻣ ـ ــﺸﻖ وأﺧ ـ ــﺬ ﻋ ـ ــﻦ اﻟ ـ ــﺸﻴﺦ ﻋﺒ ـ ــﺪ اﻟﻐﻨ ـ ــﻲ اﻟﻨﺎﺑﻠ ـ ــﺴﻲ‬
‫)ت‪١١٤٣‬ﻫـ(‪.‬‬
‫وﻟﺒﺲ ﺧﺮﻗﺔ اﻟﺘﺼﻮف ﻣﻨﻪ )‪ (٤‬ﺛﻢ ٱرﺗﺤﻞ إﻟﻰ ﺣﻠﺐ‪ ،‬ودرس ﺑﻤﺪرﺳﺘﻬﺎ اﻟﺸﻌﺒﺎﻧﻴﺔ‬
‫) ‪(٥‬‬
‫ﻓﻲ ﺣﺪود ﺳﻨﺔ أﻟﻒ وﻣﺌﺔ ﺑﻌﺪ اﻟﻬﺠﺮة‪.‬‬
‫ﺛــﻢ ﻋــﺎد ﻣــﻦ رﺣﻠﺘــﻪ إﻟــﻰ ﻣﻮﻃﻨــﻪ ﻣــﺮﻋﺶ وٱﻧــﺼﺮف إﻟــﻰ ﺗــﺪرﻳﺲ اﻟﻌﻠــﻢ‪ ،‬ﻓــﺎﻧﺘﻈﻢ‬
‫اﻟﻄﻠﺒــﺔ ﺣﻮﻟــﻪ ﻳُ َﺪ ‪‬رﺳــﻬﻢ اﻟﻌﻠــﻮم اﻹﺳــﻼﻣﻴﺔ ﻣــﻦ ﺗﻔــﺴﻴﺮ وﺣــﺪﻳﺚ وﻓﻘــﻪ‪ ،‬وﻋﺮﺑﻴــﺔ‪ ،‬وﻗ ـﺮاءات‬
‫وﺗﺠﻮﻳــﺪ‪ ،‬ﻓﻜــﺎن ﺑﺤ ـ ‪‬ﻖ ﻣــﺸﺎرًﻛﺎ ﻓــﻲ ﻫــﺬﻩ اﻟﻌﻠــﻮم‪ ،‬وﻣــﺼﻨ ًﻔﺎ ﻓﻴﻬــﺎ‪ ،‬ﻛﻤــﺎ ﻳﻈﻬــﺮ ﻣــﻦ آﺛــﺎرﻩ‬
‫اﻟﺠﻠﻴﻠﺔ‪.‬‬
‫ﻟﻘﺪ ﻛﺎﻧﺖ ﻣﺮﻋﺶ ﻓﻲ اﻟﻮﻗﺖ اﻟﺬي ﻋﺎش ﻓﻴﻬﺎ ﺳـﺎﺟﻘﻠﻲ زادة‪ ،‬ﻣﺮﻛ ًـﺰا ﻣـﻦ ﻣﺮاﻛـﺰ‬
‫اﻟﻌﻠــﻢ واﻟﻤﻌﺮﻓــﺔ ﻓــﻲ ﺗﺮﻛﻴــﺎ‪ ،‬ﻓﻘــﺪ ﻧــﺸﻄﺖ ﻓﻴﻬــﺎ اﻟﺤﻴــﺎة اﻟﻔﻜﺮﻳــﺔ‪ ،‬وﻛﺜــﺮت ﻓﻴﻬــﺎ اﻟﻤــﺪارس‬
‫واﻟﺠﻮاﻣــﻊ اﻟﺘــﻲ أﺳــﻬﻤﺖ ﺑﻘــﺴﻂ واﻓــﺮ ﻓــﻲ ﻧــﺸﺮ اﻟﺜﻘﺎﻓــﺔ واﻟﻌﻠــﻮم ﻓــﻲ ﻫــﺬﻩ اﻟﻤﺪﻳﻨــﺔ اﻟﺘــﻲ‬
‫ٱﻣﺘﺎزت ﻣﻦ ﻏﻴﺮﻫﺎ ﻣﻦ اﻟﻤﺪن اﻟﺘﺮﻛﻴﺔ‪ ،‬وﻧﻈﺮة ﻓﺎﺣﺼﺔ إﻟﻰ اﻟﻤﺨﻄﻮﻃﺎت اﻟﺘـﻲ ﺗﺤـﺘﻔﻆ ﺑﻬـﺎ‬
‫ـﻀﺎ )‪(٦‬ﻧﺠـﺪ أ ‪‬ن ﻛﺜﻴـ ًـﺮا ﻣــﻦ‬
‫ﻣﻜﺘﺒـﺔ اﻷﺳــﺘﺎذ ﻣﺤـﺮم ﺟﻠﺒــﻲ اﻟﻤﺮﻋـﺸﻲ اﻟــﺬي ﻫـﻮ ﻣــﻦ أﺑﻨﺎﺋﻬـﺎ أﻳـ ً‬
‫ﻫـﺬﻩ اﻟﻤﺨﻄﻮﻃــﺎت ﻛﺘﺒــﺖ ﻓــﻲ ﻣـﺪارس ﻣــﺮﻋﺶ‪ ،‬ﻣــﻦ أﻣﺜــﺎل‪ :‬ﻣﺪرﺳـﺔ ﺳــﻴﺪ ﻋﻠــﻲ‪ ،‬وﻣﺪرﺳــﺔ‬
‫ﻗﺎﺿــﻲ ﻣﺤﻤــﻮد‪ ،‬وﻣﺪرﺳــﺔ ﺷــﺮﻗﻴﺎن‪ ،‬وﻣﺪرﺳــﺔ ﻗــﺮة ﺧﻄﻴــﺐ‪ ،‬وﻣﺪرﺳــﺔ أﺻــﺤﺎب اﻟﻜﻬــﻒ‬
‫اﻟﺸﺮﻳﻒ‪ ،‬وﻣﺪرﺳﺔ ﻗﺒﺎﺑﺎ أﺷﺒﻴﻪ وﻏﻴﺮﻫﺎ ﻣﻦ اﻟﻤﺪارس اﻟﺘﻲ ﻛﺎﻧﺖ ﺗﻌﺞ ﺑﺎﻟﻄﻠﺒﺔ ورواد اﻟﻌﻠـﻢ‬
‫واﻟﻤﻌﺮﻓﺔ‪ ،‬وﺷﻴﻮخ اﻹﻗﺮاء واﻟﺤﺪﻳﺚ‪.‬‬

‫)‪ (٤‬اﻷﻋﻼم‪.٦٠/٦ :‬‬

‫)‪ (٥‬ﺟﻬﺪ اﻟﻤﻘﻞ‪ ٧ :‬ﻧﻘﻼً ﻋﻦ ﻛﺘﺎﺑﻪ )ﺣﺎﺷﻴﺔ ﻋﻠﻰ ﺣﺎﺷﻴﺘﻲ اﻟﺨﻴﺎﻟﻲ وﻗﻮل أﺣﻤﺪ(‪.‬‬
‫)‪َ (٦‬ﻋ ‪‬ﺮف ﺑﻬﺎ د‪ .‬ﻃﻪ ﻣﺤﺴﻦ ﻓﻲ ﺑﺤﺜﻪ اﻟﻤﻮﺳـﻮم )ﻓﻬـﺮس ﻣﺨﻄﻮﻃـﺎت اﻷﺳـﺘﺎذ ﻣﺤـﺮم ﺟﻠﺒـﻲ اﻟﻤﺮﻋـﺸﻲ‬
‫اﻟﺬي ﻧﺸﺮﻩ ﻓﻲ ﻣﺠﻠﺔ اﻟﻤﻮرد اﻟﻌﺮاﻗﻴﺔ‪/‬اﻟﻤﺠﻠﺪ اﻟﺮاﺑﻊ‪/‬اﻟﻌﺪد اﻟﺮاﺑﻊ‪/‬اﻟﺴﻨﺔ ‪١٩٧٥‬م‪.‬‬
‫ﺍﻟﺴﻨﺔ ﺍﻷﻭﻟﻰ ﺍﻟﻌﺪﺩ ﺍﻷﻭﻝ ‪١٤٣٩‬ﻫ ‪ ٢٠١٨‬ﻡ‬
 ‫ﻛﻴﻔﻴﺔ ﺃﺩﺍﺀ ﺍﻟﻀﺎﺩ ﺍﻟﻤﻌﺠﻤﺔ ‪ ..‬ﺃ‪.‬ﺩ ﺻﺎﻟﺢ ﻣﻬﺪﻱ ﻋﺒﺎﺱ‬ ‫‪٢٤٥‬‬

‫وﻟﻜﻦ ‪-‬ﻟﻸﺳﻒ اﻟﺸﺪﻳﺪ‪ -‬ﻟﻢ ﻧﺴﺘﻄﻊ اﻟﺘﻌﺮف ﻋﻠﻰ ﺗﻼﻣﻴﺬ اﻹﻣﺎم اﻟﻤﺮﻋﺸﻲ ﻓﻲ‬
‫ﻫﺬﻩ اﻟﺤﻘﺒﺔ اﻟﺰﻣﻨﻴﺔ‪ ،‬وﻣﺎ ذﻛﺮﺗﻪ اﻟﻤﺼﺎدر ﻻ ﻳﻜﺎد ﻳﺘﻔـﻖ وﻣﻜﺎﻧـﺔ اﻟﻤﺮﻋـﺸﻲ اﻟﻌﻠﻤﻴـﺔ‪ ،‬ﻓﻘـﺪ‬
‫ﻋﺪدا ﺿﺌﻴﻼً ﻣﻦ ﺗﻼﻣﻴﺬﻩ ‪،‬ﻛﺎن ﻣﻨﻬﻢ‪ :‬ﻋﺒﺪ اﻟﺮﺣﻤﻦ ﺑﻦ ﻋﻠﻲ اﻟﻌﻴﻨﺘﺎﺑﻲ اﻟﻤﺘﻮﻓﻰ ﺑﻌﺪ‬
‫ﻋﺮﻓﻨﺎ ً‬
‫ﺳﻨﺔ ‪١١٦٨‬ﻫ اﻟﺬي ﺻ ‪‬ﺮح اﻟﻤﺮﻋﺸﻲ ﻧﻔﺴﻪ ﺑﺘﻠﻤﺬﺗﻪ ﻋﻠﻴﻪ‪ ،‬ﻛﻤﺎ ﺟﺎء ﻓﻲ ﻣﻘﺪﻣـﺔ ﺣﺎﺷـﻴﺘﻪ‬
‫)ﺣﺎﺷــﻴﺘﻲ اﻟﺨﻴــﺎﻟﻲ وﻗــﻮل أﺣﻤــﺪ( )‪ ،(٧‬وﻣﺤﻤــﺪ ﺑــﻦ ﻋﻤــﺮ ﺑــﻦ ﻋﺜﻤــﺎن اﻟﺪارﻧــﺪي اﻟﺤﻨﻔــﻲ‬
‫) ‪(٨‬‬
‫)‪١١٥٢‬ﻫ(‪.‬‬
‫‪ -‬ﻣﺆﻟﻔﺎﺗﻪ‪:‬‬
‫أﺣﺎط ﺳﺎﺟﻘﻠﻲ زادة ﺑﻌﻠﻮم ﻋﺼﺮﻩ‪ ،‬وﺗﻮﻓﺮ ﻋﻠﻰ إﺗﻘﺎﻧﻬﺎ وﺿﺒﻄﻬﺎ واﻟﺘـﺄﻟﻴﻒ ﻓﻴﻬـﺎ‪،‬‬
‫وﻧﻈــﺮة ﺳـﺮﻳﻌﺔ ﻓــﻲ ﻛﺘﺎﺑــﻪ "ﺗﺮﺗﻴــﺐ اﻟﻌﻠــﻮم" )‪ (٩‬ﺗــﺪل دﻻﻟــﺔ واﺿــﺤﺔ ﻋﻠــﻰ ﺳــﻌﺔ ﻫــﺬا اﻟﻌــﺎﻟﻢ‬
‫وﺷﻤﻮﻟﻴﺘﻪ ﻟﻠﻌﻠﻮم واﻟﻤﻌﺎرف اﻹﺳﻼﻣﻴﺔ‪ ،‬ﻓﻤـﺎ ﻣـﻦ ﻋﻠـﻢ إﻻ وﻟـﻪ ﻓﻴـﻪ ﻣﻌﺮﻓـﺔ ﺗﺎﻣـﺔ أو ﺗـﺄﻟﻴﻒ‪،‬‬
‫وﻣــﻦ ﻫﻨــﺎ ﻛﺜــﺮت ﻣﺆﻟﻔﺎﺗــﻪ وﺗﻨﻮﻋــﺖ ﻣﻮﺿــﻮﻋﺎﺗﻬﺎ‪ ،‬ﻓﻜﺄﻧ‪‬ـﻪ داﺋــﺮة ﻣﻌــﺎرف ٱﺷــﺘﻤﻠﺖ ﻋﻠــﻰ ُﻛـ ‪‬ﻞ‬
‫ﻣﻔﻴــﺪ وﻧــﺎﻓﻊ ﻓــﻲ ﺣﻴــﺎة اﻹﻧــﺴﺎن اﻟﻌﻠﻤﻴــﺔ‪ ،‬وﻗــﺪ رﺗ‪‬ﺒـ ُ‬
‫ـﺖ ﻫــﺬﻩ اﻟﻤﺆﻟﻔــﺎت ﻋﻠــﻰ ﻧــﺴﻖ ﺣــﺮوف‬
‫اﻟﻤﻌﺠﻢ‪ ،‬وأﺷﺮت إﻟﻰ اﻟﻤﺼﺎدر اﻟﺘﻲ ذﻛﺮﺗﻬﺎ‪ ،‬وﻫﻲ‪:‬‬
‫)‪(١٠‬‬
‫‪ -١‬أﺑﻴﺎت وﺣﻜﺎﻳﺎت ﻋﻠﻰ ﻟﺴﺎن اﻟﺤﺸﺮات‪ ،‬ﻧﻈﻤﻬﺎ ﺑﺎﻟﺘﺮﻛﻴﺔ‪.‬‬
‫) ‪(١١‬‬
‫‪ -٢‬ﺑﻐﻴﺔ اﻟﻤﺮﺗﺎد ﻟﺘﺼﺤﻴﺢ اﻷﺿﺪاد‪.‬‬
‫) ‪(١٢‬‬
‫‪ -٣‬ﺑﻴﺎن ﺟﻬﺪ اﻟﻤﻘﻞ‪.‬‬
‫) ‪(١٣‬‬
‫‪ -٤‬ﺗﺤﺮﻳﺮ اﻟﺘﻘﺮﻳﺮ ﻓﻲ اﻟﻤﻨﺎﻇﺮة‪.‬‬

‫)‪ (٧‬ﺟﻬﺪ اﻟﻤﻘﻞ‪.١٠/١ :‬‬

‫)‪ (٨‬ﻫﺪﻳﺔ اﻟﻌﺎرﻓﻴﻦ‪.٣٢٤/٢ :‬‬
‫)‪ (٩‬ﻫﻮ ﻓﻲ ﻣﻮﺿﻮﻋﺎت اﻟﻌﻠﻮم وﺗﻘﺴﻴﻤﻬﺎ ﻋﻨﺪ اﻟﻌﺮب‪ ،‬وﻛﺘﺎب ﺗﺮﺗﻴﺐ اﻟﻌﻠـﻮم ﻟـﺴﺎﺟﻘﻠﻲ زادة ﺣﻘﻘﺘـﻪ د‪.‬‬
‫ﻧﺠﻼء ﻗﺎﺳﻢ ﻋﺒﺎس وﻫﻮ ﻣﻦ إﺻﺪارات ﻣﺮﻛﺰ إﺣﻴﺎء اﻟﺘﺮاث اﻟﻌﻠﻤﻲ اﻟﻌﺮﺑﻲ‪.‬‬
‫)‪ (١٠‬ﻓﻬﺮس ﻣﺨﻄﻮﻃﺎت ﻣﺤﺮم ﺟﻠﺒﻲ اﻟﻤﺮﻋﺸﻲ‪ ،٣١١ :‬وﺳﻨﺸﻴﺮ إﻟﻴﻪ ﺑﺎﺳﻢ ﻣﺨﻄﻮﻃﺎت ﺟﻠﺒﻲ‪.‬‬
‫)‪ (١١‬ﺗﺎرﻳﺦ اﻷدب اﻟﻌﺮﺑﻲ ﻟﺒﺮوﻛﻠﻤﺎن‪ :‬اﻟﺬﻳﻞ‪.٤١٨/٢ :‬‬
‫)‪ (١٢‬اﻟﺨﺰاﻧﺔ اﻟﺘﻴﻤﻮرﻳﺔ )‪ ١٢٤‬ﻣﺠﺎﻣﻴﻊ (‪ ،‬ودار ﺑﻐﺪاد ﻟﻠﻤﺨﻄﻮﻃﺎت )‪.(٦/١١٠٦٨‬‬
‫ﺍﻟﺴﻨﺔ ﺍﻷﻭﻟﻰ ﺍﻟﻌﺪﺩ ﺍﻷﻭﻝ ‪١٤٣٩‬ﻫ ‪ ٢٠١٨‬ﻡ‬
 ‫ﻛﻴﻔﻴﺔ ﺃﺩﺍﺀ ﺍﻟﻀﺎﺩ ﺍﻟﻤﻌﺠﻤﺔ ‪ ..‬ﺃ‪.‬ﺩ ﺻﺎﻟﺢ ﻣﻬﺪﻱ ﻋﺒﺎﺱ‬ ‫‪٢٤٦‬‬

‫) ‪(١٤‬‬
‫‪ -٥‬ﺗﺮﺗﻴﺐ اﻟﻌﻠﻮم‪.‬‬
‫) ‪(١٥‬‬
‫‪ -٦‬ﺗﺴﻬﻴﻞ اﻟﻔﺮاﺋﺾ‪.‬‬
‫) ‪(١٦‬‬
‫‪ -٧‬ﺗﻌﻠﻴﻖ ﻋﻠﻰ إﻳﺴﺎﻏﻮﺟﻲ ﻷﺛﻴﺮ اﻟﺪﻳﻦ اﻷﺑﻬﺮي‪.‬‬
‫‪ -٨‬ﺗﻌﻠﻴــﻖ ﻋﻠــﻰ ﺗﻌﺮﻳــﻒ اﻹﻣﻜــﺎن اﻟﻌــﺎم ﻓــﻲ ﻛﺘــﺎب "اﻟﺘﻌﺮﻳﻔــﺎت" ﻟﻠــﺸﺮﻳﻒ اﻟﺠﺮﺟــﺎﻧﻲ‪.‬‬
‫) ‪(١٨‬‬ ‫) ‪(١٧‬‬
‫ﺗﻔﺴﻴﺮ ﻗﻮﻟﻪ ﺗﻌﺎﻟﻰ‪" :‬ﻫﻞ أﺗﺎك ﺣﺪﻳﺚ ﻣﻮﺳﻰ‪."...‬‬ ‫‪-٩‬‬
‫) ‪(١٩‬‬
‫‪ -١٠‬ﺗﻘﺮﻳﺮ اﻟﻘﻮاﻧﻴﻦ اﻟﻤﺘﺪاوﻟﺔ ﻓﻲ ﻋﻠﻢ اﻟﻤﻨﺎﻇﺮة‪.‬‬
‫) ‪(٢٠‬‬
‫‪ -١١‬ﺗﻬﺬﻳﺐ اﻟﻘﺮاءات اﻟﻌﺸﺮ‪.‬‬
‫) ‪(٢١‬‬
‫‪ -١٢‬ﺗﻮﺿﻴﺢ زﺑﺪة اﻟﻤﻨﺎﻇﺮة‪.‬‬
‫) ‪(٢٢‬‬
‫‪ -١٣‬ﺟﺎﻣﻊ اﻟﻜﻨﻮز‪.‬‬
‫) ‪(٢٣‬‬
‫‪ -١٤‬ﺟﻬﺪ اﻟﻤﻘﻞ‪.‬‬
‫) ‪(٢٤‬‬
‫‪ -١٥‬ﺣﺎﺷﻴﺔ ﻋﻠﻰ ﺣﺎﺷﻴﺘﻲ اﻟﺨﻴﺎﻟﻲ وﻗﻮل أﺣﻤﺪ‪.‬‬

‫)‪ (١٣‬ﻫﺪﻳﺔ اﻟﻌﺎرﻓﻴﻦ‪.٣٢٢/٢ :‬‬

‫)‪ (١٤‬ﻫﺪﻳﺔ اﻟﻌﺎرﻓﻴﻦ‪ .٣٢٢/٢ :‬وﻗﺪ ﺳﺒﻘﺖ اﻹﺷﺎرة إﻟﻴﻪ‪.‬‬
‫)‪ (١٥‬ﻣﺨﻄﻮﻃﺎت ﺟﻠﺒﻲ‪ ، ٣١٥ :‬وﻫﺪﻳﺔ اﻟﻌﺎرﻓﻴﻦ‪.٣٢٢/٢ :‬‬
‫)‪ (١٦‬ﻓﻬﺮس دار اﻟﻜﺘﺐ اﻟﻤﺼﺮﻳﺔ‪ ١٦٤/١ :‬ﺗﺤﺖ رﻗﻢ )‪٣٩٦٥‬ح(‪.‬‬
‫)‪ (١٧‬ﻓﻬﺮس ﻣﻜﺘﺒﺔ ﻛﻮﺑﺮﻳﻠﻲ‪ ٣٦٠/٣ :‬ﺑﺮﻗﻢ )‪٧٢٠‬ﻣﺠﺎﻣﻴﻊ(‪.‬‬
‫)‪ (١٨‬ﻓﻬﺮس اﻟﺨﺰاﻧﺔ اﻟﺘﻴﻤﻮرﻳﺔ‪ ٨٩/٢ :‬ﺑﺮﻗﻢ )‪ ١٧٣‬ﻣﺠﺎﻣﻴﻊ(‪.‬‬
‫)‪ (١٩‬ﻣﻄﺒﻮع ‪،‬ﻣﻌﺠﻢ اﻟﻤﻄﺒﻮﻋﺎت اﻟﻌﺮﺑﻴﺔ واﻟﻤﻌﺮﺑﺔ‪.٩٩٥ :‬‬
‫)‪ (٢٠‬ﻓﻬﺮس اﻟﺨﺰاﻧﺔ اﻟﺘﺒﻴﻤﻮرﻳﺔ‪ ٣٧٦/١ :‬ﺑﺮﻗﻢ ‪٣١٩‬ﺗﻔﺴﻴﺮ(‪.‬‬
‫)‪ (٢١‬ﻫﺪﻳﺔ اﻟﻌﺎرﻓﻴﻦ‪ ،٣٢٢/٢ :‬وﻣﻌﺠﻢ اﻟﻤﺆﻟﻔﻴﻦ‪.١٤/١٢ :‬‬
‫)‪ (٢٢‬ﻫﺪﻳﺔ اﻟﻌﺎرﻓﻴﻦ‪ ،٣٢٢/٢ :‬وﻣﻌﺠﻢ اﻟﻤﺆﻟﻔﻴﻦ‪.١٤/١٢ :‬‬
‫)‪ (٢٣‬ﺣﻘﻘـﻪ اﻟـﺴﻴﺪ ﺳـﺎﻟﻢ ﻗـﺪوري اﻟﺤﻤـﺪ وﻧـﺎل ﺑـﻪ ﺷـﻬﺎدة اﻟـﺪﻛﺘﻮراﻩ ﻣـﻦ ﻛﻠﻴـﺔ اﻵداب‪/‬ﺟﺎﻣﻌـﺔ ﺑﻐـﺪاد ـ‬
‫‪١٩٩٣‬م‪.‬‬
‫)‪ (٢٤‬ﻓﻬـ ــﺮس ﻣﺨﻄﻮﻃـ ــﺎت ﻣﻜﺘﺒـ ــﺔ اﻷوﻗـ ــﺎف اﻟﻌﺎﻣـ ــﺔ ﺑﺎﻟﻤﻮﺻـ ــﻞ‪ ١٢٧/٦ :‬ﺑـ ــﺮﻗﻢ )‪ ٩/١٣‬ﻣﺠـ ــﺎﻣﻴﻊ(‪،‬‬
‫وﻓﻬﺮس ﻣﻜﺘﺒﺔ ﻛﻮﺑﺮﻳﻠﻲ‪ ٩٤/٣ :‬ﺑﺮﻗﻢ )‪.(٢١١‬‬
‫ﺍﻟﺴﻨﺔ ﺍﻷﻭﻟﻰ ﺍﻟﻌﺪﺩ ﺍﻷﻭﻝ ‪١٤٣٩‬ﻫ ‪ ٢٠١٨‬ﻡ‬
 ‫ﻛﻴﻔﻴﺔ ﺃﺩﺍﺀ ﺍﻟﻀﺎﺩ ﺍﻟﻤﻌﺠﻤﺔ ‪ ..‬ﺃ‪.‬ﺩ ﺻﺎﻟﺢ ﻣﻬﺪﻱ ﻋﺒﺎﺱ‬ ‫‪٢٤٧‬‬

‫) ‪(٢٥‬‬
‫ﺣﺎﺷﻴﺔ ﻋﻠﻰ ﺷﺮح دﻳﺒﺎﺟﺔ اﻟﻄﺮﻳﻘﺔ اﻟﻤﺤﻤﺪﻳﺔ ﻟﻠﺒﺮوﻛﻮي‪.‬‬ ‫‪-١٦‬‬
‫) ‪(٢٦‬‬
‫ﺣﺎﺷﻴﺔ ﻋﻠﻰ ﺷﺮح رﺳﺎﻟﺔ اﻵداب ﻟﻄﺎش ﻛﺒﺮى زادة‪.‬‬ ‫‪-١٧‬‬
‫) ‪(٢٧‬‬
‫ﺣﺎﺷﻴﺔ ﻋﻠﻰ ﺷﺮح اﻟﺴﻌﺪ ﻟﻠﻌﻘﺎﺋﺪ اﻟﻨﺴﻔﻴﺔ‪.‬‬ ‫‪-١٨‬‬
‫) ‪(٢٨‬‬
‫رﺳﺎﻟﺔ اﻹرادة اﻟﺠﺰﺋﻴﺔ‪.‬‬ ‫‪-١٩‬‬
‫) ‪(٢٩‬‬
‫رﺳﺎﻟﺔ اﻟﺘﻐﻨﻲ واﻟﻠﺤﻦ‪.‬‬ ‫‪-٢٠‬‬
‫رﺳـﺎﻟﺔ اﻟﺘﻨﺰﻳﻬــﺎت ﻓــﻲ ﺗﺄﻳﻴــﺪ رﺳــﺎﻟﺔ اﻵﻳــﺎت اﻟﻤﺘــﺸﺎﺑﻬﺎت‪ ،‬وﺟﻮاﺑًـﺎ ﻟــﺴﻨﺒﻞ زادة ﻋــﻦ‬ ‫‪-٢١‬‬
‫) ‪(٣٠‬‬
‫ردﻩ ﻋﻠﻴﻪ‪.‬‬
‫) ‪(٣١‬‬
‫رﺳﺎﻟﺔ اﻟﺠﻮاب‪.‬‬ ‫‪-٢٢‬‬
‫) ‪(٣٢‬‬
‫رﺳﺎﻟﺔ ذﻛﺮ ﻣﺎ ﻗﺒﻞ اﻟﺪرس وﺑﻌﺪﻩ‪.‬‬ ‫‪-٢٣‬‬
‫) ‪(٣٣‬‬
‫رﺳﺎﻟﺔ ﺳﻼﻣﺔ اﻟﻘﻠﻮب ﻓﻲ إﺛﺒﺎت اﻟﻤﻄﻠﻮب‪.‬‬ ‫‪-٢٤‬‬
‫) ‪(٣٤‬‬
‫اﻟﺮﺳﺎﻟﺔ اﻟﻌﺪﻟﻴﺔ‪.‬‬ ‫‪-٢٥‬‬
‫) ‪(٣٥‬‬
‫رﺳﺎﻟﺔ اﻟﻔﺮج واﻟﺴﺮور ﻓﻲ واﻟﺪي اﻟﺮﺳﻮل )ﺻﻠﻰ اﷲ ﻋﻠﻴﻪ وﺳﻠﻢ(‪.‬‬ ‫‪-٢٦‬‬
‫) ‪(٣٦‬‬
‫رﺳﺎﻟﺔ ﻓﻲ اﻵﻳﺎت اﻟﻤﺘﺸﺎﺑﻬﺎت‪.‬‬ ‫‪-٢٧‬‬

‫)‪ (٢٥‬ﻓﻬﺮس اﻟﺨﺰاﻧﺔ اﻟﺘﻴﻤﻮرﻳﺔ‪.٤٩/٤ :‬‬

‫)‪ (٢٦‬ﻫﺪﻳﺔ اﻟﻌﺎرﻓﻴﻦ‪ ، ٣٢٢/٢ :‬وﻣﻌﺠﻢ اﻟﻤﺆﻟﻔﻴﻦ‪.١٤/١٢ :‬‬
‫)‪ (٢٧‬ﻫﺪﻳﺔ اﻟﻌﺎر ﻓﻴﻦ‪.٣٢٢/٢ :‬‬
‫)‪ (٢٨‬ﺗﺎرﻳﺦ اﻷدب اﻟﻌﺮﺑﻲ ﻟﺒﺮوﻛﻠﻤﺎن ـ اﻟﺬﻳﻞ‪.٤٩٨/٢ :‬‬
‫)‪ (٢٩‬ﻓﻬﺮس اﻟﺨﺰاﻧﺔ اﻟﺘﻴﻤﻮرﻳﺔ‪.٢٥٦/٢ :‬‬
‫)‪ (٣٠‬ﻫﺪﻳﺔ اﻟﻌﺎرﻓﻴﻦ‪ ، ٣٢٢/٢ :‬وﻣﻌﺠﻢ اﻟﻤﺆﻟﻔﻴﻦ‪.١٤/١٢ :‬‬
‫)‪ (٣١‬دار ﺑﻐﺪاد ﻟﻠﻤﺨﻄﻮﻃﺎت ﺑﺮﻗﻢ )‪.(٢/١٠٨٢٨‬‬
‫)‪ (٣٢‬ﺗﺎرﻳﺦ اﻷدب اﻟﻌﺮﺑﻲ ﻟﺒﺮوﻛﻠﻤﺎن ‪ /‬اﻟﺬﻳﻞ‪.٤٨٧/٢ :‬‬
‫)‪ (٣٣‬ﻓﻬﺮس دار اﻟﻜﺘﺐ اﻟﻤﺼﺮﻳﺔ‪ ٤٦٢/١ :‬ﺑﺮﻗﻢ )‪٣٩٦٥‬ج(‪.‬‬
‫)‪ (٣٤‬ﺗﺎرﻳﺦ اﻷدب اﻟﻌﺮﺑﻲ ﻟﺒﺮوﻛﻠﻤﺎن‪.٢٤٨٦/٢ :‬‬
‫)‪ (٣٥‬ﺗــﺎرﻳﺦ اﻷدب اﻟﻌﺮﺑــﻲ ﻟﺒﺮوﻛﻠﻤــﺎن‪ ،٢٤٩٨/٢ :‬وﻣﺨﻄﻮﻃــﺎت ﺟﻠﺒــﻲ‪ ، ٣١٦ :‬وﻫﺪﻳــﺔ اﻟﻌــﺎرﻓﻴﻦ‪:‬‬
‫‪ ، ٣٢٢/٢‬واﻷﻋﻼم‪ ٦٠/٦ :‬وﻓﻴﻬﻤﺎ )رﺳﺎﻟﺔ اﻟﺴﺮور واﻟﻔﺮج(‪.‬‬
‫ﺍﻟﺴﻨﺔ ﺍﻷﻭﻟﻰ ﺍﻟﻌﺪﺩ ﺍﻷﻭﻝ ‪١٤٣٩‬ﻫ ‪ ٢٠١٨‬ﻡ‬
 ‫ﻛﻴﻔﻴﺔ ﺃﺩﺍﺀ ﺍﻟﻀﺎﺩ ﺍﻟﻤﻌﺠﻤﺔ ‪ ..‬ﺃ‪.‬ﺩ ﺻﺎﻟﺢ ﻣﻬﺪﻱ ﻋﺒﺎﺱ‬ ‫‪٢٤٨‬‬

‫) ‪(٣٧‬‬
‫رﺳﺎﻟﺔ ﻓﻲ إﺑﺎﺣﺔ ﻗﺘﻞ اﻟﻜﻼب‪.‬‬ ‫‪-٢٨‬‬
‫) ‪(٣٨‬‬
‫رﺳﺎﻟﺔ ﻓﻲ آداب اﻟﺒﺤﺚ‪.‬‬ ‫‪-٢٩‬‬
‫) ‪(٣٩‬‬
‫رﺳﺎﻟﺔ ﻓﻲ ﺗﻠﻔﻆ اﻟﺤﺮوف وﻣﺨﺎرﺟﻬﺎ‪.‬‬ ‫‪-٣٠‬‬
‫) ‪(٤٠‬‬
‫رﺳﺎﻟﺔ ﻓﻲ ﺗﻔﺼﻴﻞ ﻣﺴﺎﺋﻞ ذوي اﻷرﺣﺎم‪.‬‬ ‫‪-٣١‬‬
‫) ‪(٤١‬‬
‫رﺳﺎﻟﺔ ﻓﻲ اﻟﺪﻋﻮات اﻟﻤﺄﺛﻮرة‪.‬‬ ‫‪-٣٢‬‬
‫) ‪(٤٢‬‬
‫رﺳﺎﻟﺔ ﻓﻲ ذم اﻟﺪﺧﺎن‪.‬‬ ‫‪-٣٣‬‬
‫) ‪(٤٣‬‬
‫رﺳﺎﻟﺔ ﻓﻲ ﻋﺬاب اﻟﻘﺒﺮ‪.‬‬ ‫‪-٣٤‬‬
‫) ‪(٤٤‬‬
‫رﺳﺎﻟﺔ ﻓﻲ ﻋﻠﻢ اﻟﺒﻼﻏﺔ‪.‬‬ ‫‪-٣٥‬‬
‫) ‪(٤٥‬‬
‫رﺳﺎﻟﺔ ﻓﻲ ﻋﻠﻢ اﻟﻤﻨﺎﻇﺮة‪.‬‬ ‫‪-٣٦‬‬
‫) ‪(٤٦‬‬
‫رﺳﺎﻟﺔ ﻓﻲ اﻟﻜﻼم‪.‬‬ ‫‪-٣٧‬‬
‫)‪(٤٧‬‬
‫رﺳﺎﻟﺔ ﻓﻲ اﻟﻔﺘﻮى‪.‬‬ ‫‪-٣٨‬‬
‫)‪(٤٨‬‬
‫رﺳﺎﻟﺔ ﻓﻲ ﻓﻦ اﻟﻤﻨﺎﻇﺮة‪.‬‬ ‫‪-٣٩‬‬

‫)‪ (٣٦‬ﻫﺪﻳﺔ اﻟﻌﺎرﻓﻴﻦ‪ ، ٣٢٢/٢ :‬وﻣﻌﺠﻢ اﻟﻤﺆﻟﻔﻴﻦ‪.١٤/١٢ :‬‬

‫)‪ (٣٧‬ﻓﻬﺮس ﻣﻜﺘﺒﺔ ﻛﻮﺑﺮﻳﻠﻲ‪ ٦١٩ :‬ﺑﺮﻗﻢ )‪.(١٠/٣٤٦‬‬
‫)‪ (٣٨‬ﻣﺨﻄﻮﻃﺎت ﺟﻠﺒﻲ‪.٣١٥ :‬‬
‫)‪ (٣٩‬ﻣﺨﻄﻮﻃﺎت ﺟﻠﺒﻲ‪ ،٣١٥ :‬وﻓﻬﺮس اﻟﺨﺰاﻧﺔ اﻟﺘﻴﻤﻮرﻳﺔ‪) ٢٥٧/٢ :‬ﺑﺮﻗﻢ ‪ (٣/١٧٣‬ﺑﺎﺳـﻢ )رﺳـﺎﻟﺔ‬
‫ﻓﻲ ﻣﺨﺎرج اﻟﺤﺮوف(‪.‬‬
‫)‪ (٤٠‬ﺗﺎرﻳﺦ اﻷدب اﻟﻌﺮﺑﻲ ﻟﺒﺮوﻛﻠﻤﺎن ـ اﻟﺬﻳﻞ‪.٤٨٦/٢ :‬‬
‫)‪ (٤١‬ﻓﻬﺮس ﻣﻜﺘﺒﺔ ﻛﻮﺑﺮﻳﻠﻲ‪ ٤٦٤/٢ :‬ﺑﺮﻗﻢ )‪.(١٢٧‬‬
‫)‪ (٤٢‬ﺗﺎرﻳﺦ آداب اﻟﻠﻐﺔ اﻟﻌﺮﺑﻴﺔ‪ ٣٤٤/٣ :‬وﻣﻨﻪ ﻧﺴﺨﺔ ﻓﻲ ﻣﻜﺘﺒﺔ ﺑﺮﻟﻴﻦ ﺑﺮﻗﻢ )‪.(٥/٣٣٣‬‬
‫)‪ (٤٣‬ﻓﻬﺮس ﻣﻜﺘﺒﺔ ﻛﻮﺑﺮﻳﻠﻲ‪) ٩٣/٣ :‬ﺑﺮﻗﻢ ‪.(٢٠٩‬‬
‫)‪ (٤٤‬ﻓﻬﺮس دار اﻟﻜﺘﺐ اﻟﻤﺼﺮﻳﺔ‪) ٤٠٢/١ :‬ﺑﺮﻗﻢ ‪٣٩٦٥‬ج(‪.‬‬
‫)‪ (٤٥‬ﻣﺨﻄﻮﻃﺎت ﺟﻠﺒﻲ‪.٣٠٩ :‬‬
‫)‪ (٤٦‬ﻓﻬﺮس دار اﻟﻜﺘﺐ اﻟﻤﺼﺮﻳﺔ‪ ٤٠٥/١ :‬ﺑﺮﻗﻢ )‪٢١٦٠٦‬ج(‪.‬‬
‫)‪ (٤٧‬ﻓﻬﺮس دار اﻟﻜﺘﺐ اﻟﻤﺼﺮﻳﺔ‪) ٤١٧/١ :‬ﺑﺮﻗﻢ ‪٣٩٦٥‬ج(‬
‫ﺍﻟﺴﻨﺔ ﺍﻷﻭﻟﻰ ﺍﻟﻌﺪﺩ ﺍﻷﻭﻝ ‪١٤٣٩‬ﻫ ‪ ٢٠١٨‬ﻡ‬
 ‫ﻛﻴﻔﻴﺔ ﺃﺩﺍﺀ ﺍﻟﻀﺎﺩ ﺍﻟﻤﻌﺠﻤﺔ ‪ ..‬ﺃ‪.‬ﺩ ﺻﺎﻟﺢ ﻣﻬﺪﻱ ﻋﺒﺎﺱ‬ ‫‪٢٤٩‬‬

‫)‪(٤٩‬‬
‫رﺳﺎﻟﺔ ﻓﻲ ﻛﻠﻤﺎت اﻟﻜﻔﺮ واﻹﻳﻤﺎن‪.‬‬ ‫‪-٤٠‬‬
‫)‪(٥٠‬‬
‫رﺳﺎﻟﺔ ﻓﻲ ﻛﻴﻔﻴﺔ أداء اﻟﻀﺎد‪.‬‬ ‫‪-٤١‬‬
‫)‪(٥١‬‬
‫رﺳﺎﻟﺔ ﻓﻲ اﻟﻤﻌﺎﻧﻲ‪.‬‬ ‫‪-٤٢‬‬
‫)‪(٥٢‬‬
‫رﺳﺎﻟﺔ ﻓﻲ وﻗﻮف ﻻزﻣﺔ‪.‬‬ ‫‪-٤٣‬‬
‫)‪(٥٣‬‬
‫اﻟﺮﺳﺎﻟﺔ اﻟﻮﻟﺪﻳﺔ‪.‬‬ ‫‪-٤٤‬‬
‫)‪(٥٤‬‬
‫رﺷﺤﺔ اﻟﻨﺼﻴﺢ ﻣﻦ اﻟﺤﺪﻳﺚ اﻟﺼﺤﻴﺢ‪.‬‬ ‫‪-٤٥‬‬
‫)‪(٥٥‬‬
‫زﺑﺪة اﻟﻤﻨﺎﻇﺮة‪.‬‬ ‫‪-٤٦‬‬
‫)‪(٥٦‬‬
‫ﺳﻠﺴﺒﻴﻞ اﻟﻤﻌﺎﻧﻲ‪.‬‬ ‫‪-٤٧‬‬
‫)‪(٥٧‬‬
‫ﺷﺮح اﻟﺮﺳﺎﻟﺔ اﻟﺴﻤﺮﻗﻨﺪﻳﺔ‪.‬‬ ‫‪-٤٨‬‬
‫)‪(٥٨‬‬
‫ﺷﺮح اﻟﺮﺳﺎﻟﺔ اﻟﻘﻴﺎﺳﻴﺔ ﻓﻲ اﻟﻤﻨﻄﻖ‪.‬‬ ‫‪-٤٩‬‬
‫)‪(٥٩‬‬
‫ﺷﺮح ﺳﻼﻣﺔ اﻟﻘﻠﻮب ﻓﻲ إﺛﺒﺎت اﻟﻤﻄﻠﻮب ﻓﻲ اﻟﻤﻨﻄﻖ‪.‬‬ ‫‪-٥٠‬‬
‫)‪(٦٠‬‬
‫ﺷﺮح ﻋﻨﺪﻟﻴﺐ اﻵداب‪.‬‬ ‫‪-٥١‬‬

‫)‪ (٤٨‬ﻣﺨﻄﻮﻃﺎت ﺟﻠﺒﻲ‪.٣١٤ :‬‬

‫)‪ (٤٩‬ﻣﺨﻄﻮﻃﺎت ﺟﻠﺒﻲ‪.٣١٥:‬‬
‫)‪ (٥٠‬ﻫﻲ ﻣﻮﺿﻮع اﻟﺒﺤﺚ ﺳﻴﺄﺗﻲ اﻟﻜﻼم ﻋﻠﻴﻬﺎ‪.‬‬
‫)‪ (٥١‬ﻓﻬﺮس دار اﻟﻜﺘﺐ اﻟﻤﺼﺮﻳﺔ‪) ٤١٩/١ :‬ﺑﺮﻗﻢ ‪٣٩٦٥‬ج(‪.‬‬
‫)‪ (٥٢‬ﻓﻬﺮس اﻟﺨﺰاﻧﺔ اﻟﺘﻴﻤﻮرﻳﺔ‪) ٢٦٩/١ :‬ﺑﺮﻗﻢ ‪١٢٤‬ﻣﺠﺎﻣﻴﻊ(‪.‬‬
‫)‪ (٥٣‬ﻣﻌﺠﻢ اﻟﻤﻄﺒﻮﻋﺎت اﻟﻌﺮﺑﻴﺔ‪.٩٩٥ :‬‬
‫)‪ (٥٤‬ﺗﺎرﻳﺦ اﻷدب اﻟﻌﺮﺑﻲ ﻟﺒﺮوﻛﻠﻤﺎن ـ اﻟﺬﻳﻞ‪.٤٨٦/٢ :‬‬
‫)‪ (٥٥‬ﻫﺪﻳﺔ اﻟﻌﺎرﻓﻴﻦ‪ ، ٣٢٢/٢ :‬وﺗﺎرﻳﺦ اﻷدب اﻟﻌﺮﺑﻲ ـ اﻟﺬﻳﻞ‪.٤٨٧/٢ :‬‬
‫)‪ (٥٦‬ﻫﺪﻳﺔ اﻟﻌﺎرﻓﻴﻦ‪.٣٢٢/٢ :‬‬
‫)‪ (٥٧‬وﺗﺎرﻳﺦ اﻷدب اﻟﻌﺮﺑﻲ ﻟﺒﺮوﻛﻠﻤﺎن ‪ /‬اﻟﺬﻳﻞ‪.٤٩٨/٢ :‬‬
‫)‪ (٥٨‬اﻷﻋﻼم‪ ، ٦٠/٦ :‬وﻫﻮ ﻣﻄﺒﻮع ﺑﺎﻷﺳﺘﺎﻧﺔ ﺳﻨﺔ ‪١٢٨١‬ﻫـ‬
‫)‪ (٥٩‬ﻓﻬﺮس دار اﻟﻜﺘﺐ اﻟﻤﺼﺮﻳﺔ‪) ٥٠/٢ :‬ﺑﺮﻗﻢ ‪٣٩٦٥‬ج(‪.‬‬
‫)‪ (٦٠‬ﻓﻬﺮس دار اﻟﻜﺘﺐ اﻟﻤﺼﺮﻳﺔ‪ ) ٥٠/٢ :‬ﺑﺮﻗﻢ ‪٣٩٦٥‬ج(‪.‬‬
‫ﺍﻟﺴﻨﺔ ﺍﻷﻭﻟﻰ ﺍﻟﻌﺪﺩ ﺍﻷﻭﻝ ‪١٤٣٩‬ﻫ ‪ ٢٠١٨‬ﻡ‬
 ‫ﻛﻴﻔﻴﺔ ﺃﺩﺍﺀ ﺍﻟﻀﺎﺩ ﺍﻟﻤﻌﺠﻤﺔ ‪ ..‬ﺃ‪.‬ﺩ ﺻﺎﻟﺢ ﻣﻬﺪﻱ ﻋﺒﺎﺱ‬ ‫‪٢٥٠‬‬

‫)‪(٦١‬‬
‫ﺻﺒﺤﺔ اﻟﻘﺪﻳﺮ ﻓﻲ ﻣﺪح )اﻟﻤﻠﻚ( اﻟﻘﺪﻳﺮ‪.‬‬ ‫‪-٥٢‬‬
‫)‪(٦٢‬‬
‫اﻟﻌﺮاﺋﺲ ﻓﻲ اﻟﻤﻨﻄﻖ‪.‬‬ ‫‪-٥٣‬‬
‫) ‪(٦٣‬‬
‫ﻋﺼﻤﺔ اﻷذﻫﺎن ﻓﻲ ﻋﻠﻢ اﻟﻤﻴﺰان‪.‬‬ ‫‪-٥٤‬‬
‫)‪(٦٤‬‬
‫ﻋﻨﺪﻟﻴﺐ اﻟﻤﻨﺎﻇﺮة‪.‬‬ ‫‪-٥٥‬‬
‫) ‪(٦٥‬‬
‫ﻋﻨﺪﻟﻴﺐ ﻣﻦ اﻵداب‪.‬‬ ‫‪-٥٦‬‬
‫) ‪(٦٦‬‬
‫ﻋﻴﻦ اﻟﺤﻴﺎة ﻓﻲ ﺑﻴﺎن اﻟﻤﻨﺎﺳﺒﺎت ﻓﻲ ﺳﻮرة اﻟﻔﺎﺗﺤﺔ‪.‬‬ ‫‪-٥٧‬‬
‫) ‪(٦٧‬‬
‫ﻏﺎﻳﺔ اﻟﺒﺮﻫﺎن ﻓﻲ ﺑﻴﺎن أﻋﻈﻢ آﻳﺔ ﻓﻲ اﻟﻘﺮآن )ﻓﻲ ﺗﻔﺴﻴﺮ آﻳﺔ اﻟﻜﺮﺳﻲ(‪.‬‬ ‫‪-٥٨‬‬
‫)‪(٦٨‬‬
‫اﻟﻘﻮل اﻟﻤﻔﻴﺪ‪.‬‬ ‫‪-٥٩‬‬
‫) ‪(٦٩‬‬
‫ﻣﺠﻤﻮﻋﺔ أذﻛﺎر وأدﻋﻴﺔ‪ ،‬ﺟﻤﻌﻬﺎ ﻣﻦ ﻛﺘﺎب اﻟﺤﺼﻦ اﻟﺤﺼﻴﻦ ﻻﺑﻦ اﻟﺠﺰري‪.‬‬ ‫‪-٦٠‬‬
‫)‪(٧٠‬‬
‫ﻧﺸﺮ اﻟﻄﻮاﻟﻊ ﻓﻲ ﻋﻠﻢ اﻟﻜﻼم‪.‬‬ ‫‪-٦١‬‬
‫)‪(٧١‬‬
‫ﻧﻬﺮ اﻟﻨﺠﺎة ﻓﻲ ﺗﻔﺼﻴﻞ ﻋﻴﻦ اﻟﺤﻴﺎة‪.‬‬ ‫‪-٦٢‬‬
‫)‪(٧٢‬‬
‫ﻧﻬﺮ اﻟﻨﺠﺎة ﻓﻲ ﻣﻨﺎﺳﺒﺎت آﻳﺎت اﻟﻜﺘﺎب‪.‬‬ ‫‪-٦٣‬‬

‫)‪ (٦١‬ﻫﺪﻳﺔ اﻟﻌﺎرﻓﻴﻦ‪.٣٢٢/٢ :‬‬

‫)‪ (٦٢‬ﻫﺪﻳﺔ اﻟﻌﺎرﻓﻴﻦ‪.٣٢٢/٢ :‬‬
‫)‪ (٦٣‬ﻓﻬﺮس دار اﻟﻜﺘﺐ اﻟﻤﺼﺮﻳﺔ‪)١٢٦/٢ :‬ﺑﺮﻗﻢ ‪٣٩٦٥‬ج(‪ ،‬وﻫﺪﻳﺔ اﻟﻌﺎرﻓﻴﻦ‪.٣٢٢/٢ :‬‬
‫)‪ (٦٤‬ﻫﺪﻳﺔ اﻟﻌﺎرﻓﻴﻦ‪.٣٢٣/٢ :‬‬
‫)‪ (٦٥‬ﻓﻬﺮس دار اﻟﻜﺘﺐ اﻟﻤﺼﺮﻳﺔ‪) ١٤٤/٢ :‬ﺑﺮﻗﻢ ‪٣٩٦٥‬ج(‪.‬‬
‫)‪ (٦٦‬ﻫﺪﻳﺔ اﻟﻌﺎرﻓﻴﻦ‪.٣٢٣/٢ :‬‬
‫)‪ (٦٧‬ﻫﺪﻳﺔ اﻟﻌﺎرﻓﻴﻦ‪.٣٢٢/٢ :‬‬
‫)‪ (٦٨‬ﺗﺎرﻳﺦ اﻟﺪب اﻟﻌﺮﺑﻲ ﻟﺒﻮﻛﻠﻤﺎن ‪ /‬اﻟﺬﻳﻞ‪.٤٩٨/٢ :‬‬
‫)‪ (٦٩‬ﻣﺨﻄﻮﻃﺎت ﺟﻠﺒﻲ‪.٣١٠ :‬‬
‫)‪ (٧٠‬ﻫﺪﻳﺔ ﻟﻌﺎرﻓﻴﻦ‪ ،٣٢٢/٢ :‬واﻟﻌﻼم‪ ٦٠/٦ :‬وﻫﻮ ﺷﺮح ﻟﻜﺘﺎب اﻟﻄﻮاﻟﻊ ﻟﻠﺒﻴﻀﺎوي‪.‬‬
‫)‪ (٧١‬ﻫﺪﻳﺔ اﻟﻌﺎرﻓﻴﻦ‪.٣٢٣/٢ :‬‬
‫)‪ (٧٢‬إﻳﻀﺎح اﻟﻤﻜﻨﻮن‪.٣١٥/١ :‬‬
‫ﺍﻟﺴﻨﺔ ﺍﻷﻭﻟﻰ ﺍﻟﻌﺪﺩ ﺍﻷﻭﻝ ‪١٤٣٩‬ﻫ ‪ ٢٠١٨‬ﻡ‬
 ‫ﻛﻴﻔﻴﺔ ﺃﺩﺍﺀ ﺍﻟﻀﺎﺩ ﺍﻟﻤﻌﺠﻤﺔ ‪ ..‬ﺃ‪.‬ﺩ ﺻﺎﻟﺢ ﻣﻬﺪﻱ ﻋﺒﺎﺱ‬ ‫‪٢٥١‬‬

‫‪ -‬ﻭﻓﺎﺗﻪ‪:‬‬
‫ﺗﻮﻓﻲ اﻟﺸﻴﺦ ﻣﺤﻤﺪ ﺑﻦ أﺑﻲ ﺑﻜﺮ اﻟﻤﺮﻋﺸﻲ ﺑﻤﺪﻳﻨﺔ ﻣﺮﻋﺶ ﻓـﻲ ﺳـﻨﺔ ﺧﻤـﺴﻴﻦ وﻣﺌـﺔ‬
‫وأﻟﻒ ﻟﻠﻬﺠﺮة اﻟﻨﺒﻮﻳﺔ اﻟﺸﺮﻳﻔﺔ ودﻓﻦ ﻓﻴﻬﺎ‪ ،‬رﺣﻤﻪ اﷲ ﺗﻌﺎﻟﻰ‪.‬‬
‫‪(٧٣ ) .‬‬
‫وﻗﺪ ذﻛﺮ اﻟﺰرﻛﻠﻲ أﻧﻪ ﺗﻮﻓﻲ ﺳﻨﺔ ﺧﻤﺲ وأرﺑﻌﻴﻦ وﻣﺌﺔ وأﻟﻒ ﻟﻠﻬﺠﺮة‬
‫وﻗﺪ أﻛﺪت ﻣﻌﻈﻢ اﻟﻤﺼﺎدر اﻟﺘﻲ ﺗﺮﺟﻤﺖ ﻟﻪ ﺗﺎرﻳﺦ وﻓﺎﺗﻪ ﻓـﻲ ﺳـﻨﺔ ﺧﻤـﺴﻴﻦ وﻣﺌـﺔ‬
‫أﻳﻀﺎ–‪.‬‬
‫وأﻟﻒ ﻟﻠﻬﺠﺮة‪ ،‬وﻧﺤﻦ ﻧﻤﻴﻞ إﻟﻰ ﻫﺬا اﻟﺮأي ‪ً -‬‬

‫ﺍﻟﺘﻌﺮﻳﻒ ﺑﺎﻟﻤﺨﻄﻮﻁ ) ﻛﻴﻔﻴﺔ ﺃﺩﺍﺀ ﺍﻟﻀﺎﺩ ﺍﻟﻤﻌﺠﻤﺔ(‪.‬‬

‫‪ -‬ﻣﻮﺿﻮﻉ ﺍﻟﻤﺨﻄﻮﻁ‪:‬‬
‫ـﺤﻴﺤﺎ ﻣـﻦ‬
‫ﺳﻠﻴﻤﺎ ﺻ ً‬
‫ﻳﺒﺤﺚ ﻫﺬا اﻟﻤﺨﻄﻮط ﻓﻲ ﻛﻴﻔﻴﺔ ﻧﻄﻖ اﻟﻀﺎد اﻟﻤﻌﺠﻤﺔ ﻧﻄ ًﻘﺎ ً‬
‫ﺣﺪدﻩ ﻋﻠﻤﺎء اﻟﻌﺮﺑﻴﺔ وﻋﻠﻤﺎء اﻟﺘﺠﻮﻳﺪ‪ :‬ﻣﻦ أول ﺣﺎﻓﺔ اﻟﻠﺴﺎن وﻣﺎ ﻳﻠﻴﻬﺎ ﻣﻦ‬
‫ﻣﺨﺮﺟﻪ اﻟﺬي َ‬
‫ﺧﺎﻟﺼﺎ ﻣـﻦ ﻏﻴـﺮ ﺧﻠـﻂ ﺑـﻴﻦ ﻫـﺬا اﻟﺤـﺮف واﻟﻈـﺎء واﻟـﺪال‪ ،‬ﻛﻤـﺎ ﻫـﻮ اﻟﺤـﺎل ﻓـﻲ‬
‫ً‬ ‫اﻷﺿﺮاس‪،‬‬
‫ﻧﻄﻘﻪ ﻋﻨﺪ اﻟﻜﺜﻴﺮ ﻣﻦ أﺑﻨﺎء اﻷﻣﺔ اﻟﻌﺮﺑﻴﺔ ﻓﻲ ﺑﻌﺾ اﻷﻣﺼﺎر‪.‬‬
‫وﻣﺸﻜﻠﺔ اﻟﻀﺎد اﻟﻌﺮﺑﻴﺔ ﻣﺸﻜﻠﺔ ﻗﺪﻳﻤﺔ أوﻻﻫﺎ ﻋﻠﻤﺎؤﻧﺎ اﻟﻘﺪاﻣﻰ واﻟﻤﺤ َﺪﺛﻮن ﺑﺎﻟﺒﺤﺚ‬
‫واﻟﺪراﺳﺔ‪ ،‬ووﺿﻌﻮا ﻓﻴﻬﺎ اﻟﻤﺼﻨَﻔﺎت اﻟﺘﻲ ﺗﻤﻴﺰﻫﺎ ﻣـﻦ اﻟﻈـﺎء‪ ،‬ودراﺳـﺔ ﺧﺼﺎﺋـﺼﻬﺎ اﻟﻨﻄُﻘﻴـﺔ‬
‫ﻣﻦ أﺟﻞ اﻟﺘﻮﺻﻞ إﻟﻰ ﻧﻄﻘﻬﺎ اﻟﺴﻠﻴﻢ اﻟﺼﺤﻴﺢ اﻟﺬي ﺣ ّﺪدﻩ اﻟﻌﻠﻤﺎء‪ ،‬وﻣﻨﻬﺎ ﻫﺬا اﻟﻜﺘﺎب‪.‬‬
‫‪ -‬ﺗﻮﺛﻴﻖ ﺍﻟﻤﺨﻄﻮﻁ‪:‬‬
‫) ‪(٧٤‬‬
‫وﻫــﻮ ﻳﺘﺤــﺪث‬ ‫أﺷـﺎر إﻟﻴــﻪ اﻟﻤﺆﻟــﻒ ﻣﺤﻤــﺪ اﻟﻤﺮﻋــﺸﻲ ﻓــﻲ ﻛﺘﺎﺑــﻪ )ﺟﻬــﺪ اﻟﻤﻘــﻞ(‬
‫ﻋــﻦ ﺻــﻔﺎت اﻟــﻀﺎد اﻟﻌﺮﺑﻴــﺔ ﻓﻘــﺎل‪ ...)) :‬ﻓﻬــﺬا ﻫــﻮ اﻟﺤــﻖ اﻟﻤﺆﻳــﺪ ﺑﻜﻠﻤــﺎت اﻷﺋﻤــﺔ ﻓــﻲ‬

‫)‪ (٧٣‬اﻷﻋﻼم‪.٦٠/٦ :‬‬

‫ـﻀﺎ ﻓـﻲ ﻛﺘﺎﺑـﻪ )ﺑﻴــﺎن ﺟﻬـﺪ اﻟﻤﻘـﻞ( اﻟـﺬي ﻟـﻢ ﻧﻌﺜـﺮ ﻋﻠـﻰ ﻧـﺴﺨﺔ ﻛﺎﻣﻠــﺔ‬
‫)‪ (٧٤‬ﻟﻌـﻞ اﻟﻤﺆﻟـﻒ أﺷـﺎر إﻟﻴـﻪ أﻳ ً‬
‫ﻣﻨﻪ‪.‬‬
‫ﺍﻟﺴﻨﺔ ﺍﻷﻭﻟﻰ ﺍﻟﻌﺪﺩ ﺍﻷﻭﻝ ‪١٤٣٩‬ﻫ ‪ ٢٠١٨‬ﻡ‬
 ‫ﻛﻴﻔﻴﺔ ﺃﺩﺍﺀ ﺍﻟﻀﺎﺩ ﺍﻟﻤﻌﺠﻤﺔ ‪ ..‬ﺃ‪.‬ﺩ ﺻﺎﻟﺢ ﻣﻬﺪﻱ ﻋﺒﺎﺱ‬ ‫‪٢٥٢‬‬

‫ﻛﺘــﺒﻬﻢ‪ ،‬وﻳــﺸﺒﻪ ﺻــﻮﺗﻬﺎ ﺣﻴﻨﺌــﺬ ﺻــﻮت اﻟﻈــﺎء اﻟﻤﻌﺠﻤــﺔ ﺑﺎﻟــﻀﺮورة وﻣــﺎذا ﺑﻌــﺪ اﻟﺤــﻖ إﻻ‬
‫اﻟﻀﻼل‪ ،‬وﻹﺷﻜﺎل أﻣﺮ اﻟﻀﺎد أﻃﻨﺒﺖ ﻓﻲ اﻟﻜﻼم‪ ،‬وﻗﺪ أﻓﺮدت ﻟﻬﺎ رﺳﺎﻟﺔ(( )‪.(٧٥‬‬
‫)‪(٧٦‬‬
‫وﻗﺪ أﺷﺎر إﻟﻴﻪ اﻟﺰرﻛﻠﻲ وذﻛﺮ ﻟﻪ ﻧﺴﺨﺔ ﺧﻄﻴﺔ ﺑﺪﻣﺸﻖ‪.‬‬
‫ﻧﺴﺨﺘﺎ ﺍﻟﻤﺨﻄﻮﻁ‪:‬‬
‫ٱﻋﺘﻤﺪت ﻓﻲ ﺗﺤﻘﻴﻖ ﻫﺬا اﻟﻤﺨﻄﻮط ﻋﻠﻰ ﻧﺴﺨﺘﻴﻦ ﺧﻄﻴﺘﻴﻦ‪:‬‬
‫اﻷوﻟـ ـ ــﻰ‪ :‬ﻧـ ـ ــﺴﺨﺔ دار اﻟﻜﺘـ ـ ــﺐ اﻟﻮﻃﻨﻴـ ـ ــﺔ ﺑﺘـ ـ ــﻮﻧﺲ‪ ،‬اﻟﻤﺤﻔﻮﻇـ ـ ــﺔ ﺿـ ـ ــﻤﻦ ﻣﺠﻤـ ـ ــﻮع ﺑـ ـ ــﺮﻗﻢ‬
‫)‪ (٥/١٨٠٢‬ﻏﺎﻟﺒــﻪ ﻓــﻲ اﻟﻘ ـﺮاءات ورﺳــﺎﺋﻞ ﻟﻐﻮﻳــﺔ ﺻــﻐﻴﺮة‪ ،‬وﻳﺘﻜــﻮن ﻫــﺬا اﻟﻤﺨﻄــﻮط ﻣــﻦ‬
‫)ﺳﺒﻊ ورﻗﺎت( ﻛﺘﺒـﺖ ﺑﺨـﻂ ﻧـﺴﺨﻲ واﺿـﺢ ﺟـ ‪‬ﺪا وﺑﺤـﺮف ﻛﺒﻴـﺮ‪ ،‬وﻗﻴـﺎس ﻫـﺬا اﻟﻤﺨﻄـﻮط‬
‫ﺳﻄﺮا ﻓﻲ ﻛﻞ ﺻﻔﺤﺔ‪ ،‬وﺗﺘﺮاوح ﻛﻠﻤﺎت اﻟـﺴﻄﺮ اﻟﻮاﺣـﺪ ﻣـﺎ‬
‫‪ ١٨×٢٤‬ﺳﻢ وﻣﺴﻄﺮﺗﺔ ‪ً ١٧‬‬
‫ﺑﻴﻦ ‪ ٨ -٦‬ﻛﻠﻤﺎت‪.‬‬
‫وﻗﺪ ﻛﺘﺐ ﻫﺬا اﻟﻤﺨﻄﻮط ﺑﺎﻟﻤﺪاد اﻷﺳﻮد‪ ،‬وﻟﻢ ﺗُﻔﺮد ﻋﻨﻮاﻧﺎﺗﻪ ﺑﺨﻂ أﻛﺒﺮ أو ﺑﺤﺒﺮ ﻣﻐﺎﻳﺮ‪.‬‬
‫وﻛﺎن زﻣﻦ ﺗﺄﻟﻴﻒ ﻫﺬﻩ اﻟﺮﺳﺎﻟﺔ ﺳﻨﺔ ﺛﻼث وﺛﻼﺛﻴﻦ وﻣﺌﺔ وأﻟﻒ ﻟﻠﻬﺠﺮة اﻟﺸﺮﻳﻔﺔ‪ ،‬ﻛﻤﺎ ﺟﺎء‬
‫ﻓﻲ ﺧﺎﺗﻤﺔ اﻟﻤﺠﻤﻮع اﻟﻤﺬﻛﻮر‪.‬‬
‫وﻗــﺪ ﻛﺘﺒــﺖ ﻫــﺬﻩ اﻟﻨــﺴﺨﺔ ﻓــﻲ ﻳــﻮم اﻟﺠﻤﻌــﺔ اﻟﻤﻮاﻓــﻖ أرﺑﻌــﺔ ﻋــﺸﺮ )ﻛــﺬا( ﻣــﻦ ﺷــﻬﺮ‬
‫اﻟﻤﺤﺮم ﺳﻨﺔ أﻟﻒ وﺛﻼﺛﻤﺌﺔ وﺳﺒﻊ وﻋﺸﺮﻳﻦ ﻣﻦ ﻫﺠـﺮة ﺳـﻴﺪﻧﺎ ﻣﺤﻤـﺪ ﺧـﺎﺗﻢ اﻟﻨﺒﻴﻴ ــﻦ ﺻـﻠﻰ‬
‫اﷲ ﻋﻠﻴﻪ وﻋﻠﻰ آﻟﻪ وأﺻﺤﺎﺑﻪ‪ ،‬وﻗﺪ ﻛﺘﺒﻬـﺎ اﻟﻄﺎﻟـﺐ ﻋﻔــﻮ اﷲ ﻣ ــﻦ اﷲ ﻋﺒ ــﺪ اﷲ ﻣﺤﻤـﺪ ﺑـﻦ‬
‫ﻣﺤﻤﺪ اﻟﺤﺎﻣﺪي اﻟﻘﺮﺷﻲ اﻟﻬﺎﺷﻤﻲ اﻟﺸﻬﻴﺮ ﺑﺎﻟﺤﻤﺪاﻧﻲ‪.‬‬
‫وﻟﻢ ﻳﺬﻛﺮ ﻣﻜﺎن اﻟﻨﺴﺦ ﻟﻬﺬﻩ اﻟﻨﺴﺨﺔ‪ .‬وﻗﺪ ﺟﻌﻠﺘﻬﺎ أﺻﻼً ﻓﻲ اﻟﺘﺤﻘﻴﻖ‪.‬‬
‫اﻟﺜﺎﻧﻴ ــﺔ‪ :‬ﻧــﺴﺨﺔ دار ﺑﻐــﺪاد ﻟﻠﻤﺨﻄﻮﻃــﺎت اﻟﻤﺤﻔﻮﻇــﺔ ﺗﺤــﺖ رﻗــﻢ )‪ (٦/١١٠٦٨‬ﺿــﻤﻦ‬
‫ﻣﺠﻤــﻮع ﻓــﻲ ﻋﻠــﻮم اﻟﻘــﺮآن واﻟﻘ ـﺮاءات‪ ،‬وﺗﺘﻜــﻮن ﻣــﻦ ﺳــﺒﻊ ﺻــﻔﺤﺎت‪ ،‬وﻗــﺪ ﻛﺘﺒــﺖ ﺑﺨــﻂ‬
‫ﻧــﺴﺨﻲ دﻗﻴــﻖ ﺟـ ـ ‪‬ﺪا‪ ،‬وﻋﻠﻴﻬــﺎ ﺣ ــﻮاش ﻣﻔﻴــﺪة ﻛﺘﺒﻬ ــﺎ أﺣــﺪ اﻟﻔ ــﻀﻼء اﻟﻤﻌﻨﻴــﻴﻦ ﺑ ــﺎﻟﻘﺮاءات‬

‫)‪ (٧٥‬ﺟﻬﺪ اﻟﻤﻘﻞ‪.١٤٦ :‬‬

‫)‪ (٧٦‬اﻷﻋﻼم‪.٦٠/٦ :‬‬
‫ﺍﻟﺴﻨﺔ ﺍﻷﻭﻟﻰ ﺍﻟﻌﺪﺩ ﺍﻷﻭﻝ ‪١٤٣٩‬ﻫ ‪ ٢٠١٨‬ﻡ‬
 ‫ﻛﻴﻔﻴﺔ ﺃﺩﺍﺀ ﺍﻟﻀﺎﺩ ﺍﻟﻤﻌﺠﻤﺔ ‪ ..‬ﺃ‪.‬ﺩ ﺻﺎﻟﺢ ﻣﻬﺪﻱ ﻋﺒﺎﺱ‬ ‫‪٢٥٣‬‬

‫واﻟﻌﺮﺑﻴﺔ‪ ،‬وﻗﺪ ٱﺳﺘﻨﺪ ﻓﻲ ﻛﺘﺎﺑﺔ ﻫﺬﻩ اﻟﺤﻮاﺷﻲ إﻟﻰ ﻛﺘﺐ اﻟـﺴﺨﺎوي واﻟﺠﻌﺒـﺮي وﻣـﻼ ﻋﻠـﻰ‬
‫ﺳﻄﺮا ﻓﻲ ﻛﻞ ﺻﻔﺤﺔ‪ ،‬وﺗﺘـﺮاوح ﻛﻠﻤـﺎت اﻟـﺴﻄﺮ اﻟﻮاﺣـﺪ‬
‫اﻟﻘﺎرئ وﻏﻴﺮﻫﻢ‪ .‬وﻣﺴﻄﺮﺗﻬﺎ ‪ً ١٩‬‬
‫ﻣــﺎﺑﻴﻦ ‪ ١١-٩‬ﻛﻠﻤــﺔ‪ ،‬وﻓﻴﻬــﺎ ﺑﻌــﺾ اﻻﺧﺘﻼﻓــﺎت ﻋــﻦ ﻧــﺴﺨﺔ اﻷﺻــﻞ‪ ،‬وﻟــﻢ اﻟﺤــﻆ ﺗــﺎرﻳﺦ‬
‫ﻧﺴﺨﻬﺎ‪.‬‬
‫وﻗﺪ رﻣﺰت ﻟﻬﺎ ﺑﺄﺣﺮف ))د(( وأﺷﺮت إﻟﻰ ذﻟﻚ ﻓﻲ اﻟﻬﻮاﻣﺶ‪.‬‬

‫ﻋﻤﻠﻲ ﻓﻲ ﺍﻟﺘﺤﻘﻴﻖ‪:‬‬
‫‪ -١‬ﻗﻴ‪‬ﺪت اﻟﻨﺺ وﻧﻈ‪‬ﻤﺘﻪ‪ ،‬ووﺿﻌﺖ اﻷﻗﻮاس واﻟﻔﻮاﺻﻞ واﻟﻨﻘﺎط ﺑﻤـﺎ ﻫـﻮ ﻣﺘﻌـﺎرف ﻋﻠﻴـﻪ‬
‫ﻣﻦ ﻃﺮاﺋﻖ اﻟﻜﺘﺎﺑﺔ اﻟﺤﺪﻳﺜﺔ‪ ،‬وﺛﺒ‪‬ﺖ اﻻﺧﺘﻼﻓﺎت ﺑﻴﻦ اﻟﻨﺴﺨﺘﻴﻦ ﻓﻲ اﻟﻬﻮاﻣﺶ‪.‬‬
‫‪َ -٢‬ﻋ ‪‬ﺮﻓ ــﺖ ﺑـ ــﺎﻷﻋﻼم اﻟﻤ ــﺬﻛﻮرﻳﻦ‪ ،‬وأﺣﻠـ ــﺖ ﻓـ ــﻲ ﺗـ ـﺮاﺟﻤﻬﻢ ﻋﻠـ ــﻰ ﻋ ــﺪد ﻣـ ــﻦ اﻟﻤـ ــﺼﺎدر‬
‫اﻟﻤﺨﺘﺎرة‪.‬‬
‫‪َ -٣‬ﺧ ‪‬ﺮﺟﺖ اﻟﻘﺮاءات اﻟﻘﺮآﻧﻴﺔ ﻣﻦ أﻣﻬﺎت ﻛﺘﺐ اﻟﻘﺮاءات‪.‬‬
‫‪ -٤‬وﺛ‪‬ﻘﺖ ﻣﻮﺿﻮﻋﺎت اﻟﺮﺳﺎﻟﺔ ﻣﻦ ﻋﺪد ﻣﻦ اﻟﻤﺼﺎدر اﻟﻤﻌﻨﻴﺔ ﺑﺎﻟﻤﻮﺿﻮع وﻻ ﺳﻴﻤﺎ ﻛﺘﺐ‬
‫اﻟﻌﺮﺑﻴﺔ واﻟﻘﺮاءات واﻟﺘﺠﻮﻳﺪ‪.‬‬
‫أرﻗﺎﻣﺎ ﻟﻮرﻗـﺎت ﻣﺨﻄﻮﻃـﺔ اﻷﺻـﻞ داﺧـﻞ اﻟـﻨﺺ ﺑـﻴﻦ ﻣﻌﻘـﻮﻓﺘﻴﻦ ﺗـﺴﻬﻴﻼً ﻟﻤـﻦ‬
‫‪ -٥‬وﺿﻌﺖ ً‬
‫أراد اﻟﺮﺟﻮع إﻟﻴﻬﺎ‪.‬‬
‫ﺧﺎﻟﺼﺎ ﻟﻮﺟﻪ اﷲ ﺗﻌﺎﻟﻰ‪ ،‬واﷲ اﻟﻤﻮﻓﻖ ﻟ ُﻜ ‪‬ﻞ ﺧﻴﺮ‪.‬‬
‫وﺧﺘﺎﻣﺎ أرﺟﻮ أ ْن ﻳﻜﻮن ﻋﻤﻠﻲ ً‬
‫ً‬

‫ﺍﻟﺴﻨﺔ ﺍﻷﻭﻟﻰ ﺍﻟﻌﺪﺩ ﺍﻷﻭﻝ ‪١٤٣٩‬ﻫ ‪ ٢٠١٨‬ﻡ‬

‫ﻛﻴﻔﻴﺔ ﺃﺩﺍﺀ ﺍﻟﻀﺎﺩ ﺍﻟﻤﻌﺠﻤﺔ ‪ ..‬ﺃ‪.‬ﺩ ﺻﺎﻟﺢ ﻣﻬﺪﻱ ﻋﺒﺎﺱ‬ ‫‪٢٥٤‬‬

‫ﺍﻟﺴﻨﺔ ﺍﻷﻭﻟﻰ ﺍﻟﻌﺪﺩ ﺍﻷﻭﻝ ‪١٤٣٩‬ﻫ ‪ ٢٠١٨‬ﻡ‬

‫ﻛﻴﻔﻴﺔ ﺃﺩﺍﺀ ﺍﻟﻀﺎﺩ ﺍﻟﻤﻌﺠﻤﺔ ‪ ..‬ﺃ‪.‬ﺩ ﺻﺎﻟﺢ ﻣﻬﺪﻱ ﻋﺒﺎﺱ‬ ‫‪٢٥٥‬‬

‫ﺍﻟﺴﻨﺔ ﺍﻷﻭﻟﻰ ﺍﻟﻌﺪﺩ ﺍﻷﻭﻝ ‪١٤٣٩‬ﻫ ‪ ٢٠١٨‬ﻡ‬

‫ﻛﻴﻔﻴﺔ ﺃﺩﺍﺀ ﺍﻟﻀﺎﺩ ﺍﻟﻤﻌﺠﻤﺔ ‪ ..‬ﺃ‪.‬ﺩ ﺻﺎﻟﺢ ﻣﻬﺪﻱ ﻋﺒﺎﺱ‬ ‫‪٢٥٦‬‬

‫ﺍﻟﺴﻨﺔ ﺍﻷﻭﻟﻰ ﺍﻟﻌﺪﺩ ﺍﻷﻭﻝ ‪١٤٣٩‬ﻫ ‪ ٢٠١٨‬ﻡ‬

‫ﻛﻴﻔﻴﺔ ﺃﺩﺍﺀ ﺍﻟﻀﺎﺩ ﺍﻟﻤﻌﺠﻤﺔ ‪ ..‬ﺃ‪.‬ﺩ ﺻﺎﻟﺢ ﻣﻬﺪﻱ ﻋﺒﺎﺱ‬ ‫‪٢٥٧‬‬

‫ﺍﻟﺴﻨﺔ ﺍﻷﻭﻟﻰ ﺍﻟﻌﺪﺩ ﺍﻷﻭﻝ ‪١٤٣٩‬ﻫ ‪ ٢٠١٨‬ﻡ‬

 ‫ﻛﻴﻔﻴﺔ ﺃﺩﺍﺀ ﺍﻟﻀﺎﺩ ﺍﻟﻤﻌﺠﻤﺔ ‪ ..‬ﺃ‪.‬ﺩ ﺻﺎﻟﺢ ﻣﻬﺪﻱ ﻋﺒﺎﺱ‬ ‫‪٢٥٨‬‬

‫ﺍﻟﻨﺺ ﺍﻟﻤﺤﻘــﻖ ﻟﺮﺳﺎﻟﺔ ﻛﻴﻔﻴﺔ ﺃﺩﺍﺀ ﺍﻟﻀﺎﺩ ﺍﻟﻤﻌﺠﻤﺔ‬

‫ﻟﻠﺸﻴﺦ ﻣﺤﻤﺪ ﺑﻦ ﺃﺑﻲ ﺑﻜﺮ ﺍﻟﻤﺮﻋﺸﻲ ﺍﻟﺸﻬﻴﺮ ﺑﺴﺎﺟﻘﻠﻲ ﺯﺍﺩﺓ‬
‫ﺍﻟﻤﺘﻮﻓﻰ ﺳﻨﺔ ‪١١٥٠‬ﻫـﺠﺮﻳﺔ‬

‫ﺑﺴﻢ اﷲ اﻟﺮﺣﻤﻦ اﻟﺮﺣﻴﻢ ]‪١‬ب[‬

‫ﺑــﺴﻢ اﷲ وﺑﺤﻤــﺪﻩ‪ ،‬وﺻــﻼة ﻋﻠــﻰ رﺳـ ِ‬
‫ـﻮﻟﻪ وآﻟــﻪ‪ ،‬ﻳﻘــﻮل اﻟﺒــﺎﺋﺲ اﻟﻔﻘﻴــﺮ ﻣﺤﻤــﺪ اﻟﻤﺮﻋــﺸﻲ‬ ‫ُ‬
‫) ‪(٧٧‬‬
‫اﻟﻤﺪﻋﻮ ﺑﺴﺎﺟﻘﻠﻲ زادﻩ‪ ،‬أﻛﺮﻣﻪ اﷲ ﺳﺒﺤﺎﻧﻪ ﺑﺎﻟﻔﻼح واﻟـﺴﻌﺎدة‪ :‬ﻫـﺬﻩ ﻛﻠﻤـﺎت ﺗﺘﻌﻠـﻖ‬
‫ﺑﻜﻴﻔﻴﺔ أداء اﻟﻀﺎد اﻟﻤﻌﺠﻤﺔ ﻓﻴﻬﺎ‪ :‬ﻣﻘﺪﻣﺔ‪ ،‬وﻣﻘﺼﺪ‪ ،‬وﺧﺎﺗﻤﺔ‪.‬‬
‫أﻣﺎ اﻟﻤﻘﺪﻣﺔ ﻓﻬﻲ أ ‪‬ن ﺣﺮوف اﻹﻃﺒﺎق أرﺑﻌﺔ‪ :‬اﻟﻄـﺎء‪ ،‬واﻟـﻀﺎد‪ ،‬واﻟـﺼﺎد‪ ،‬واﻟﻈـﺎء‪ .‬وﺑﻌـﻀﻬﺎ‬
‫أﻗﻮى ﻓﻲ اﻹﻃﺒﺎق ﻣﻦ ﺑﻌﺾ‪:‬‬
‫ﻓﺎﻟﻄﺎء اﻟﻤﻬﻤﻠﺔ‪ :‬أﻗﻮاﻫﺎ ﻓﻲ اﻹﻃﺒﺎق‪.‬‬
‫واﻟﻈﺎء‪ :‬أﺿﻌﻔﻬﺎ ﻓﻴﻪ‪.‬‬
‫واﻟﻀﺎد واﻟﺼﺎد‪ :‬ﻣﺘﻮﺳﻄﺘﺎن ﻓﻴﻪ )‪.(٧٨‬‬
‫واﻹﻃﺒﺎق‪ :‬ٱﻧﻄﺒﺎق ﻇﻬﺮ اﻟﻠﺴﺎن إﻟﻰ اﻟﺤﻨﻚ وٱﻧﺤﺼﺎر اﻟﺮﻳﺢ ﺑﻴﻨﻬﻤﺎ‪.‬‬
‫ﻛــﺬا ﻓــﻲ ﻛﺘــﺎب "اﻟﺮﻋﺎﻳــﺔ " )‪ (٧٩‬ﻟﻤﻜــﻲ )‪ .(٨٠‬ﻓﺒﺎﻟﻄــﺎء اﻟﻤﻬﻤﻠــﺔ ﻳﻨﻄﺒــﻖ ﻇﻬــﺮ اﻟﻠــﺴﺎن إﻟــﻰ‬
‫) ‪(٨١‬‬
‫ﻣﺤﻜﻤـﺎ وﻳﻨﺤــﺼﺮ ﺑﻴﻨﻬﻤــﺎ اﻟـﺮﻳﺢ ﺑﺎﻟﻜﻠﻴــﺔ‪ ،‬ﻟﺠﻬ ِﺮﻫــﺎ وﺷــﺪﺗﻬﺎ ﺑﺨــﻼف‬
‫ً‬ ‫اﻟﺤﻨــﻚ ٱﻧﻄﺒﺎﻗًـﺎ‬
‫اﻟﺜﻼﺛﺔ اﻟﺒﺎﻗﻴﺔ)‪.(٨٢‬‬

‫)‪ (٧٧‬ﺳﺒﺤﺎﻧﻪ ﻟﻴﺲ ﻓﻲ اﻷﺻﻞ‪.‬‬

‫)‪ (٧٨‬ﻛﺘــﺎب ﺳــﻴﺒﻮﻳﻪ‪ ،٤٣٦/٤ :‬وﺳــﺮ ﺻــﻨﺎﻋﺔ اﻹﻋ ـﺮاب‪ ،٧٠/١ :‬اﻟﺮﻋﺎﻳــﺔ‪ ،٩٨ :‬اﻟﺘﺤﺪﻳــﺪ‪،١٠٨ :‬‬
‫واﻟﻤﻮﺿﺢ‪ ،٩٠ :‬وﺷﺮح اﻟﺸﺎﻓﻴﺔ ﻟﻺﺳﺘﺮﺑﺎدي‪.٢٦٢/٣ :‬‬
‫)‪ (٧٩‬اﻟﺮﻋﺎﻳـﺔ‪ ،٩٨ :‬واﻟـﺬي ﻓﻴــﻪ‪) :‬وإﻧ‪‬ﻤـﺎ ﺳـﻤﻴﺖ ﺑﺤــﺮوف اﻹﻃﺒـﺎق ﻷ ‪‬ن ﻃﺎﺋﻔـﺔ ﻣــﻦ اﻟﻠـﺴﺎن ﺗﻨﻄﺒـﻖ ﻣــﻊ‬
‫اﻟـﺮﻳﺢ إﻟــﻰ اﻟﺤﻨــﻚ ﻋﻨــﺪ اﻟﻨﻄــﻖ ﺑﻬــﺬﻩ اﻟﺤــﺮوف‪ ،‬وﺗﻨﺤــﺼﺮ اﻟـﺮﻳﺢ ﻣــﻦ اﻟﻠــﺴﺎن واﻟﺤﻨــﻚ اﻷﻋﻠــﻰ ﻋﻨــﺪ‬
‫اﻟﻨﻄﻖ ﺑﻬﺎ ﻣﻊ ٱﺳﺘﻌﻼﺋﻬﺎ ﻓﻲ اﻟﻔﻢ(‪.‬‬
‫ﺍﻟﺴﻨﺔ ﺍﻷﻭﻟﻰ ﺍﻟﻌﺪﺩ ﺍﻷﻭﻝ ‪١٤٣٩‬ﻫ ‪ ٢٠١٨‬ﻡ‬
 ‫ﻛﻴﻔﻴﺔ ﺃﺩﺍﺀ ﺍﻟﻀﺎﺩ ﺍﻟﻤﻌﺠﻤﺔ ‪ ..‬ﺃ‪.‬ﺩ ﺻﺎﻟﺢ ﻣﻬﺪﻱ ﻋﺒﺎﺱ‬ ‫‪٢٥٩‬‬

‫وﻗﺎل ﻋﻠﻲ اﻟﻘﺎري )‪ (٨٣‬ﻓﻲ "ﺷﺮح ]‪٢‬أ[ ﻣﻘﺪﻣﺔ ٱﺑﻦ اﻟﺠﺰري"‪ :‬ﻓﻤﺎ ﺟﻤﻊ ﺟﻤﻴﻊ اﻟﺼﻔﺎت‬
‫ِ‬
‫اﻟﻤﻬﻤﻠﺔ )‪ (٨٤‬ٱﻧﺘﻬﻰ‪ .‬واﻟﺜﻼﺛﺔ )‪ (٨٥‬اﻟﺒﺎﻗﻴﺔ ﻣﻦ اﻟﺤﺮوف‬ ‫اﻟﻘﻮﻳﺔ ﻓﻬﻮ أﻗﻮى اﻟﺤﺮوف ﻛﺎﻟﻄﺎء‬
‫اﻟﺮﺧﻮة‪.‬‬
‫ـﺼﺎرا‬
‫واﻟﺮﺧﺎوة‪ :‬ﺟﺮﻳﺎن اﻟﺼﻮت ﺑـﺴﻬﻮﻟﺔ وﻋـﺪم ٱﻧﺤـﺼﺎرﻩ أﺻـﻼً‪ .‬واﻟـﺸﺪة‪ :‬ٱﻧﺤـﺼﺎرﻩ ٱﻧﺤ ً‬
‫ﺗﺎ ‪‬ﻣﺎ‪.‬‬
‫) ‪(٨٦‬‬
‫ﻛﺬا ﻗﺎل ﻋﻠﻲ اﻟﻘﺎري‪.‬‬
‫) ‪(٨٧‬‬
‫أﻳﻀﺎ‪ :‬ﻗﺪ ﻳﺠﺮي اﻟﺼﻮت‪ ،‬وﻻ ﻳﺠﺮي اﻟﻨﻔﺲ ﻛﺎﻟﻀﺎد واﻟﻐﻴﻦ اﻟﻤﻌﺠﻤﺘﻴﻦ‪.‬‬ ‫وﻗﺎل ً‬
‫وﻣـﺮادﻩ ﺑﻌـﺪم َﺟﺮﻳـﺎن اﻟـﻨﻔﺲ‪ :‬ﻋـﺪم ﺟﺮﻳﺎﻧــﻪ ﺑـﻼ ﺻـﻮت‪ ،‬ﻛﻤـﺎ أ ‪‬ن ﺷـﺄن اﻟﻤﻬﻤـﻮس أ ْن ﻳﺒﻘــﻰ‬
‫ﺑﻌﺾ )‪ (٨٨‬اﻟﻨﻔﺲ اﻟﺠﺎري ﻣﻌﻪ ﺑﻼ ﺻﻮت‪ ،‬ﻻ ﻋﺪم )‪ (٨٩‬ﺟﺮﻳﺎﻧﻪ أﺻﻼً‪ ،‬إذ ﺟﺮﻳﺎن اﻟﺼﻮت‬
‫) ‪(٩٠‬‬
‫ﻻ ﻳﻤﻜﻦ ﺑﺪون ﺟﺮﻳﺎن اﻟﻨ َﻔﺲ‪ ،‬وﺗﺤﻘﻴﻖ اﻟﻤﻘﺎم ﻓﻲ "ﻛﺘﺎب" ﻋﻠﻲ اﻟﻘﺎري‪.‬‬

‫ﺣﻤﻮش ﺑﻦ ﻣﺤﻤﺪ ﺑﻦ ﻣﺨﺘﺎر اﻟﻘﻴـﺴﻲ اﻟﻘﻴﺮواﻧـﻲ‬

‫)‪ (٨٠‬ﻫﻮ اﻹﻣﺎم اﻟﻌﻼﻣﺔ اﻟﻤﻘﺮئ ﻣﻜﻲ ﺑﻦ أﺑﻲ ﻃﺎﻟﺐ ّ‬
‫ﺛﻢ اﻷﻧﺪﻟﺴﻲ اﻟﻘﺮﻃﺒﻲ ﺻـﺎﺣﺐ اﻟﺘـﺼﺎﻧﻴﻒ اﻟﺠﻠﻴﻠـﺔ ﻓـﻲ ﻋﻠـﻮم اﻟﻘـﺮآن ت‪٤٣٧‬ﻫ‪ ،‬وﻗﻴـﻞ ﻏﻴـﺮ ذﻟـﻚ‪.‬‬
‫)ﻧﺰﻫــﺔ اﻷﻟﺒــﺎء‪ ،٢٥٥-٢٥٤ :‬وإﻧﺒــﺎﻩ اﻟــﺮواة‪ ،٣١٩-٣١٣/٣ :‬وﻣﻌﺮﻓــﺔ اﻟﻘ ـﺮاء اﻟﻜﺒــﺎر‪-٣٩٤/٣ :‬‬
‫‪ .(٣٩٦‬وﻗﺪ ورد ﻓﻲ ﻧﺴﺨﺔ اﻷﺻﻞ‪ :‬اﻟﺮﻋﺎﻳﺔ ﻟﻠﻤﻜﻲ‪ ،‬وﻟﻴﺲ ﺑﺸﻲء‪.‬‬
‫)‪ (٨١‬ﻓﻲ اﻷﺻﻞ )إﻃﺒﺎﻗﺎ(‪.‬‬
‫)‪ (٨٢‬اﻟﺮﻋﺎﻳﺔ‪ ،٩٨ :‬واﻟﻤﻮﺿﺢ‪ ،٩٠ :‬وﻓﻲ اﻷﺻﻞ و)د( اﻟﺜﻼث‪.‬‬
‫)‪ (٨٣‬ﻫــﻮ اﻟــﺸﻴﺦ اﻟﻤــﻼ ﻋﻠــﻲ ﺑــﻦ ﺳــﻠﻄﺎن ﻣﺤﻤــﺪ اﻟﻬــﺮوي اﻟﻘــﺎري ‪ ،‬ﻟــﻪ ﻋــﺪة ﻣــﺼﻨﻔﺎت ﻓــﻲ اﻟﻘ ـﺮاءات‬
‫واﻟﻔﻘــﻪ واﻟﺤــﺪﻳﺚ )ت ‪١٠١٤‬ﻫـ ـ( )ﺧﻼﺻــﺔ اﻷﺛــﺮ‪ ،١٨٥/٣ :‬واﻟﺒــﺪر اﻟﻄــﺎﻟﻊ ‪ ،٤٤٥/١‬واﻟﻔﻮاﺋــﺪ‬
‫اﻟﺒﻬﻴﺔ‪.(٨ :‬‬
‫)‪ (٨٤‬اﻟﻤﻨﺢ اﻟﻔﻜﺮﻳﺔ‪ .١٧ :‬وﻓﻲ )د(‪) :‬ﻓﻲ ﺟﻤﻊ ﺟﻤﻴﻊ(‪.‬‬
‫)‪ (٨٥‬ﻓﻲ اﻷﺻﻞ‪ :‬اﻟﺜﻼث‪.‬‬
‫ـﺼﺎرا ﺗﺎ ‪‬ﻣـﺎ‪ ،‬ﻓـﻼ‬
‫)‪ (٨٦‬اﻟﻤﻨﺢ اﻟﻔﻜﺮﻳﺔ‪ ،١٥ :‬واﻟﺬي ﻓﻴﻪ‪) :‬إذا ٱﻧﺤـﺼﺮ ﺻـﻮت اﻟﺤـﺮف ﻓـﻲ ﻣﺨﺮﺟـﻪ ٱﻧﺤ ً‬
‫ﻳﺠﺮي ﺟﺮﻳﺎﻧًﺎ ﺳﻬﻼً ﻳﺴﻤﻰ ﺷـﺪﻳ ًﺪا‪ ...‬وأﻣـﺎ إذا ﺟـﺮى اﻟـﺼﻮت ﺟﺮﻳﺎﻧًـﺎ ﺗﺎ ‪‬ﻣـﺎ وﻻ ﻳﻨﺤـﺼﺮ أﺻـﻼً ﻳـﺴﻤﻰ‬
‫رﺧﻮا(‪.‬‬
‫ً‬
‫)‪ (٨٧‬اﻟﻤﻨﺢ اﻟﻔﻜﺮﻳﺔ‪) .١٥ :‬ﻗﺪ( ﻟﻴﺲ ﻓﻲ اﻷﺻﻞ‪.‬‬
‫ﺍﻟﺴﻨﺔ ﺍﻷﻭﻟﻰ ﺍﻟﻌﺪﺩ ﺍﻷﻭﻝ ‪١٤٣٩‬ﻫ ‪ ٢٠١٨‬ﻡ‬
 ‫ﻛﻴﻔﻴﺔ ﺃﺩﺍﺀ ﺍﻟﻀﺎﺩ ﺍﻟﻤﻌﺠﻤﺔ ‪ ..‬ﺃ‪.‬ﺩ ﺻﺎﻟﺢ ﻣﻬﺪﻱ ﻋﺒﺎﺱ‬ ‫‪٢٦٠‬‬

‫أول ﺣﺎﻓ ِـﺔ اﻟﻠـﺴﺎن إﻟـﻰ آﺧﺮﻫـﺎ ﺣﺘـﻰ‬

‫وﻓﻲ اﻟﻀﺎد )‪ (٩١‬ٱﺳﺘﻄﺎﻟﺔ وﻫﻲ‪ :‬ٱﻣﺘﺪاد اﻟﺼﻮت ﻣـﻦ ِ‬
‫ﺗﺘﺼﻞ ﺑﻤﺨﺮج اﻟﻼم ﻓﺘﻜﻮن ﻛﺤﺮف اﻟﻤﺪ )‪ ،(٩٢‬وﻳﻔـﺮق ﻣﻨـﻪ ‪-‬ﻛﻤـﺎ ﻗﺎﻟـﻪ اﻟﺠﻌﺒـﺮي )‪–(٩٣‬‬
‫) ‪(٩٥‬‬ ‫) ‪(٩٤‬‬
‫ﺲ‬ ‫‪‬‬
‫أن اﻟﻤــﺴﺘﻄﻴﻞ ﺟــﺮى ﻓــﻲ ﻣﺨﺮﺟــﻪ‪ ،‬واﻟﻤﻤــﺪود ﺟــﺮى ﻓــﻲ ﻧﻔــﺴﻪ ‪ ،‬وﺟــﺮى اﻟ ـﻨ‪‬ـ َﻔ ُ‬
‫)‪ (٩٦‬ﺑﻤﻌﻨﻰ ٱﻣﺘﺪ‪ ،‬واﻟﻨﻔﺲ ﺑﺴﻜﻮن اﻟﻔﺎء ]‪٢‬ب [– ﺑﻤﻌﻨﻰ اﻟﺬات أو ﺑﻔﺘﺤﺔ‪.‬‬
‫وﺗﻮﺿـﻴﺤﻪ‪ :‬إ ‪‬ن اﻟــﻨﻔﺲ اﻟﻤﻘـﺮون ﺑﺎﻟــﺼﻮت ٱﻣﺘـﺪ ﻣــﻦ أول ﻣﺨـﺮج اﻟﺤــﺮف )‪ (٩٧‬اﻟﻤــﺴﺘﻄﻴﻞ‬
‫إﻟﻰ آﺧﺮﻩ‪ ،‬ﻓﺤﺼﻞ ﺻﻮت ﻣﻤﺘﺪ ﺑﻘﺪر ﻃﻮل اﻟﻤﺨﺮج‪ ،‬وﻳﻨﺘﻬﻲ اﻟﺼﻮت ﺑﺎﻧﺘﻬﺎء اﻟﻤﺨﺮج‪.‬‬
‫وﺻﻮت اﻟﻤﻤﺪود ﻻ ﻳﻨﺘﻬﻲ ﺑﺎﻧﺘﻬـﺎء ﻣﺨﺮﺟـﻪ ﺑـﻞ ﺑﺎﻧﺘﻬـﺎء اﻟـﻨﻔﺲ اﻟﺠـﺎري ﻋﻠﻴـﻪ‪ ،‬وﻟـﺬا ﻳﻘﺒـﻞ‬
‫اﻟﺰﻳﺎدة واﻟﻨﻘﺼﺎن‪ ،‬وذﻟﻚ ﻛﺎﻟﻤﺎء اﻟﺠﺎري ﻓﻲ اﻟﻤﻴﺰاب )‪ .(٩٨‬وﻓﻴﻬﺎ )‪ (٩٩‬ﺗَـ َﻔﺶ دون ﺗﻔﺸﻲ‬
‫اﻟﺴﻴﻦ ﻛﻤﺎ ﻓﻲ اﻟﻔﺎء‪.‬‬

‫)‪ ) (٨٨‬ﺑﻌﺾ( ﻟﻴﺲ ﻓﻲ )د(‪.‬‬

‫)‪ (٨٩‬ﻓﻲ )د(‪ ) :‬ﻻ ﻋﺪام(‪.‬‬
‫)‪ (٩٠‬اﻟﻤﻨﺢ اﻟﻔﻜﺮﻳﺔ‪.١٥ :‬‬
‫)‪ (٩١‬ﻓﻲ اﻷﺻﻞ " اﻟﺼﺎد" وﻟﻴﺲ ﺑﺸﻲء‪.‬‬
‫)‪ (٩٢‬اﻟﺮﻋﺎﻳﺔ‪ ،١٠٩ :‬واﻟﺘﺤﺪﻳﺪ‪ ،١١١:‬واﻟﻤﻮﺿﺢ‪ ،١١٤:‬واﻟﻤﻔﻴﺪ‪ ،٩٢ :‬واﻟﺘﻤﻬﻴﺪ‪.١٠٧ :‬‬
‫اﻟﺠ ْﻌَﺒـ ِﺮ ‪‬‬
‫ي‪ ،‬ﺷـﻴﺦ ﺑﻠـﺪ اﻟﺨﻠﻴـﻞ )ﻋﻠﻴـﻪ‬ ‫)‪ (٩٣‬ﻫﻮ اﻹﻣﺎم اﻟﻌﺎﻟﻢ ﺑﺮﻫﺎن اﻟـﺪﻳﻦ إﺑـﺮاﻫﻴﻢ ﺑـﻦ ﻋﻤـﺮ ﺑـﻦ إﺑـﺮاﻫﻴﻢ َ‬
‫اﻟﺴﻼم( ﺑﺎﻟﻘﺮاءات‪ ،‬ﻟﻪ آﺛﺎر ﺟﻠﻴﻠـﺔ ﻓـﻲ اﻟﻘـﺮاءات واﻟﺘﻔـﺴﻴﺮ واﻟﺤـﺪﻳﺚ واﻟﻔﻘـﻪ )ت‪٧٣٢‬ﻫ( ) ﻣﻌﺠـﻢ‬
‫ﺷﻴﻮخ اﻟـﺬﻫﺒﻲ‪ /١ :‬اﻟﻮرﻗـﺔ ‪ ،٣٤‬وﻣﻌﺮﻓـﺔ اﻟﻘـﺮاء اﻟﻜﺒـﺎر‪ ،٧٤٣/٢ :‬وﻏﺎﻳـﺔ اﻟﻨﻬﺎﻳـﺔ‪ (١٢/١ :‬وﻟﻨـﺎ ﻓﻴـﻪ‬
‫ﻣﻨــﺼﻒ ﺑﻌﻨــﻮان‪) :‬ﺑﺮﻫــﺎن اﻟــﺪﻳﻦ اﻟﺠﻌﺒــﺮي وﻓﻬﺮﺳــﺖ ﻣــﺼﻨﻔﺎﺗﻪ( ﻣــﻦ ﻣﻨــﺸﻮرات ﻣﺮﻛــﺰ إﺣﻴــﺎء اﻟﺘ ـﺮاث‬
‫اﻟﻌﻠﻤﻲ اﻟﻌﺮﺑﻲ ﻓﻲ ﺟﺎﻣﻌﺔ ﺑﻐﺪاد ـ ‪١٩٨٤‬م‪.‬‬
‫)‪ (٩٤‬ﻓﻲ )د(‪) :‬واﻟﻤﺪور(‪.‬‬
‫)‪ (٩٥‬اﻟﻤﻨﺢ اﻟﻔﻜﺮﻳﺔ‪ ،١٧ :‬وﺟﻬﺪ اﻟﻤﻘﻞ‪١٣٢ :‬ﻧﻘﻼ ﻋﻦ اﻟﺠﻌﺒﺮي‪.‬‬
‫ﺲ( ﻟﻴﺲ ﻓﻲ )د(‪.‬‬
‫)‪) (٩٦‬اﻟﻨ‪‬ـ َﻔ ُ‬
‫)‪) (٩٧‬اﻟﺤﺮف( ﻟﻴﺲ ﻓﻲ )د(‪.‬‬
‫)‪ (٩٨‬اﻟﻤﻨﺢ اﻟﻔﻜﺮﻳﺔ‪ ،١٧ :‬وﺟﻬﺪ اﻟﻤﻘﻞ‪١٣٢ :‬ـ ‪.١٣٣‬‬
‫)‪ (٩٩‬ﻳﻌﻨﻲ )اﻟﻀﺎد اﻟﻤﻌﺠﻤﺔ(‪.‬‬
‫ﺍﻟﺴﻨﺔ ﺍﻷﻭﻟﻰ ﺍﻟﻌﺪﺩ ﺍﻷﻭﻝ ‪١٤٣٩‬ﻫ ‪ ٢٠١٨‬ﻡ‬
 ‫ﻛﻴﻔﻴﺔ ﺃﺩﺍﺀ ﺍﻟﻀﺎﺩ ﺍﻟﻤﻌﺠﻤﺔ ‪ ..‬ﺃ‪.‬ﺩ ﺻﺎﻟﺢ ﻣﻬﺪﻱ ﻋﺒﺎﺱ‬ ‫‪٢٦١‬‬

‫ﺻـﺮح ﺑـﻪ اﻟﺠﻌﺒـﺮي )‪ ،(١٠٠‬وﺻـﺎﺣﺐ "اﻟﺮﻋﺎﻳـﺔ " )‪ (١٠١‬وﻫـﻮ )‪ :(١٠٢‬ٱﻧﺘـﺸﺎر اﻟـﺮﻳﺢ ﻛﻤـﺎ ﻓــﻲ‬
‫) ‪(١٠٤‬‬
‫اﻻﻧﺘــﺸﺎر‬ ‫"اﻟﺮﻋﺎﻳـﺔ" )‪ .(١٠٣‬ﻟﻜــﻦ ٱﻧﺘـﺸﺎر اﻟـﺮﻳﺢ ﻻ ﻳﺘﺠـﺎوز ﻣﺨــﺮج اﻟـﻀﺎد‪ ،‬ﻓﺎﻣﺘـﺪاد‬
‫ﺑﻘــﺪر ٱﻣﺘــﺪاد ﻣﺨﺮﺟــﻪ ﻻ ﻳﺘﺠــﺎوزﻩ‪ .‬وﺗﻔــﺸﻲ اﻟــﺸﻴﻦ ﻳﺘﺠــﺎوز اﻟ ـﺮﻳﺢ اﻟﻤﻨﺘــﺸﺮ ﻣﺨﺮﺟــﻪ إﻟــﻰ‬
‫ﻣﺨــﺮج اﻟﻈــﺎء اﻟﻤﻌﺠﻤــﺔ )‪ ،(١٠٥‬وﻟﻤــﺎ ﻓــﻲ اﻟــﻀﺎد اﻟﻤﻌﺠﻤــﺔ ﻣــﻦ اﻟﺘﻔــﺸﻲ‪ ،‬ﻗــﺎل ﺻــﺎﺣﺐ‬
‫"اﻟ ‪‬ﺮﻋﺎﻳـ ــﺔ"‪ :‬ﻻ ﺑـ ــﺪ )‪ (١٠٦‬ﻟﻠﻘـ ــﺎرئ اﻟﻤﺠـ ــﻮد أ ْن ﻳﻠﻔـ ــﻆ ﺑﺎﻟـ ــﻀﺎد ]‪٣‬أ[ اﻟﻤﻌﺠﻤـ ــﺔ ﻣﻔﺨﻤـ ــﺔ‬
‫ﻣﺴﺘﻌﻠﻴﺔ‪ ،‬ﻣﺴﺘﻄﻴﻠﺔ )‪ ،(١٠٧‬ﻓﻴﻈﻬﺮ ﺻﻮت ﺧﺮوج اﻟﺮﻳﺢ ﻋﻨﺪ ﺿﻐﻂ ﺣﺎﻓﺔ اﻟﻠـﺴﺎن ﻟﻤـﺎ ﻳﻠﻴـﻪ‬
‫ﻣﻦ اﻷﺿﺮاس ﻋﻨﺪ اﻟﻠﻔﻆ )‪ (١٠٨‬ﺑﻬﺎ)‪.(١٠٩‬‬
‫ﺛﻢ ٱﻋﻠﻢ أﻧﻪ ﻗﺎل –ﻋﻠﻲ اﻟﻘﺎري‪ :-‬وأَ ‪‬ﻣﺎ ﻗﻮل زﻛﺮﻳﺎ )‪ :(١١٠‬وﻳﻠﺰم ﺑﻴﺎن اﻟﻀﺎد ﻣﻦ اﻟﻄﺎء ﻓﻲ‬
‫ﺿـﻄُ‪‬ﺮ﴾ )‪ (١١١‬ﻓﻠـﻴﺲ ﻓـﻲ ﻣﺤﻠـﻪ‪ ،‬إذ ﻻ ٱﺷـﺘﺒﺎﻩ ﺑـﻴﻦ اﻟـﻀﺎد اﻟﻤﻌﺠﻤـﺔ‬
‫ﻗﻮﻟﻪ ﺗﻌﺎﻟﻰ‪﴿ :‬ﻓَ َﻤ ِﻦ ٱ ْ‬
‫واﻟﻄﺎء اﻟﻤﻬﻤﻠﺔ )‪ (١١٢‬ٱﻧﺘﻬﻰ‪.‬‬

‫)‪ (١٠٠‬ﻳﻨﻈﺮ‪ :‬ﺟﻬﺪ اﻟﻤﻘﻞ‪ ،١٤١-١٤٠:‬وﻗﺪ ﻧﻘﻞ ﻗﻮل اﻟﺠﻌﺒﺮي‪.‬‬

‫)‪ (١٠١‬اﻟﺮﻋﺎﻳﺔ‪.١١٠ :‬‬
‫)‪ (١٠٢‬ﻳﺮﻳﺪ‪ :‬اﻟﺘﻔﺸﻲ‬
‫)‪ (١٠٣‬اﻟﺮﻋﺎﻳﺔ‪ ،١١٠-١٠٩ :‬وﻳﻨﻈﺮ‪ :‬اﻟﻤﻮﺿﺢ‪ ،٩٦ :‬واﻟﺘﻤﻬﻴﺪ‪.١٠٧ :‬‬
‫)‪ (١٠٤‬ﻓﻲ )د(‪) :‬ﻓﺎﻣﺪك(‪.‬‬
‫)‪ (١٠٥‬ﻓﻲ اﻷﺻﻞ‪) :‬اﻟﻀﺎد اﻟﻤﻌﺠﻤﺔ( وﻟﻴﺲ ﺑﺸﻲء‪ ،‬وﻳﻨﻈﺮ‪ :‬اﻟﻤﻮﺿﺢ"‪ ،٩٦‬واﻟﺮﻋﺎﻳﺔ‪.١١٠ :‬‬
‫)‪) (١٠٦‬ﻻ ﺑﺪ( ﻣﻦ ﺣﺎﺷﻴﺔ ﻧﺴﺨﺔ اﻷﺻﻞ ﺑﺨﻂ ﻣﻐﺎﻳﺮ‪.‬‬
‫)‪ (١٠٧‬ﻓﻲ اﻟﺮﻋﺎﻳﺔ‪) ١٥٨ :‬ﻣﺴﺘﻌﻠﻴﺔ ﻣﻨﻄﺒﻘﺔ ﻣﺴﺘﻄﻴﻠﺔ(‪.‬‬
‫)‪ (١٠٨‬ﻓﻲ اﻷﺻﻞ ) ﻋﻨﺪ اﻟﻠﻔﻆ( وﻛﻠﻤﺔ )ﺑﻬﺎ( ﺳﺎﻗﻄﺔ‪.‬‬
‫)‪ (١٠٩‬اﻟﺮﻋﺎﻳﺔ‪ ،١٥٩-١٥٨ :‬وﺟﻬﺪ اﻟﻤﻘﻞ‪.١٤١ :‬‬
‫)‪ (١١٠‬ﻫــﻮ اﻟــﺸﻴﺦ أﺑــﻮ ﻳﺤﻴــﻰ زﻛﺮﻳــﺎ ﺑ ـﻦ ﻣﺤﻤــﺪ ﺑــﻦ أﺣﻤــﺪ اﻷﻧــﺼﺎري اﻟﻤــﺼﺮي اﻟــﺸﺎﻓﻌﻲ ﺻــﺎﺣﺐ‬
‫اﻟﻤﺆﻟﻔ ــﺎت اﻟﻤﻔﻴ ــﺪة )ت ‪٩٢٦‬ﻫ( )اﻟﻜﻮاﻛ ــﺐ اﻟ ــﺴﺎﺋﺮة‪ ،١٩٦/١ :‬وﺷ ــﺬرات اﻟ ــﺬﻫﺐ‪-١٣٤/٨ :‬‬
‫‪ ،١٣٦‬وأرخ وﻓﺎﺗﻪ ﺑﺴﻨﺔ ‪٩٢٥‬ﻫ(‪.‬‬
‫)‪ (١١١‬ﺳﻮرة اﻟﺒﻘﺮة ‪ /‬اﻵﻳﺔ ‪ ،١٧٣‬وﺳﻮرة اﻷﻧﻌﺎم ‪/‬اﻵﻳﺔ ‪ ،١٤٥‬وﺳﻮرة اﻟﻨﺤﻞ ‪/‬اﻵﻳﺔ ‪.١١٥‬‬
‫)‪ (١١٢‬اﻟﻤﻨﺢ اﻟﻔﻜﺮﻳﺔ‪ ،٣٩ :‬وﻳﻨﻈﺮ‪ :‬ﺟﻬﺪ اﻟﻤﻘﻞ‪.١٤٢ :‬‬
‫ﺍﻟﺴﻨﺔ ﺍﻷﻭﻟﻰ ﺍﻟﻌﺪﺩ ﺍﻷﻭﻝ ‪١٤٣٩‬ﻫ ‪ ٢٠١٨‬ﻡ‬
 ‫ﻛﻴﻔﻴﺔ ﺃﺩﺍﺀ ﺍﻟﻀﺎﺩ ﺍﻟﻤﻌﺠﻤﺔ ‪ ..‬ﺃ‪.‬ﺩ ﺻﺎﻟﺢ ﻣﻬﺪﻱ ﻋﺒﺎﺱ‬ ‫‪٢٦٢‬‬

‫وﻗﺎل ﺻﺎﺣﺐ "اﻟﺮﻋﺎﻳﺔ "‪ :‬اﻟﻀﺎد اﻟﻤﻌﺠﻤﺔ ﻳﺸﺒِﻪ ﻟﻔﻈﻬﺎ ﻟﻔﻆ اﻟﻈﺎء اﻟﻤﻌﺠﻤﺔ )‪.(١١٣‬‬
‫) ‪(١١٤‬‬
‫ﺴﻤﻊ ﻟ ْﻔــﻆ اﻟــﻀﺎد؛ ﻷﻧ‪‬ﻬﻤــﺎ ﻣــﻦ‬
‫ﻓــﻲ اﻟ ـ ‪‬‬ ‫ـﻀﺎ‪ :‬اﻟﻈــﺎء اﻟﻤﻌﺠﻤــﺔ ﻳــﺸﺒﻪ ﻟﻔﻈﻬــﺎ‬
‫وﻗــﺎل أﻳـ ً‬
‫ﺣــﺮوف اﻷﻃﺒــﺎق‪ ،‬وﻣــﻦ اﻟﺤــﺮوف اﻟﻤــﺴﺘﻌﻠﻴﺔ‪ ،‬وﻣــﻦ اﻟﺤــﺮوف اﻟﻤﺠﻬــﻮرة‪ ،‬وﻟــﻮﻻ ٱﺧــﺘﻼف‬
‫ﺿﺎدا )‪ (١١٥‬اﻧﺘﻬﻰ‪.‬‬ ‫ِ‬
‫ﺳﺘﻄﺎﻟﺔ اﻟﺘﻲ ﻓﻲ اﻟﻀﺎد‪ ،‬ﻟﻜﺎﻧﺖ اﻟﻈﺎء ً‬ ‫ﺮﺟﻴﻦ ﻟﻬﻤﺎ‪ ،‬وزﻳﺎدة اﻻ‬ ‫اﻟﻤ ْﺨ َ‬
‫َ‬
‫ﻓﻈﻬــﺮ وﺟــﻪ اﻟﺘﻌﻠﻴــﻞ ﻓﻴﻤــﺎ ﻗﺎﻟــﻪ ﻋﻠــﻲ اﻟﻘــﺎري ﻓــﻲ ﺑــﺎب اﻟﻈــﺎءات اﻟﻤﻌﺠﻤــﺔ‪)) :‬ﻗــﺪ‬
‫أﻧﻔــﺮد ﺣــﺮف اﻟــﻀﺎد ﺑﺎﻻﺳــﺘﻄﺎﻟﺔ ﺣﺘــﻰ ﺗﺘــﺼﻞ ﺑﻤﺨــﺮج اﻟــﻼم ]‪٣‬ب[‪ ،‬ﻟﻤــﺎ ﻓﻴــﻪ ﻣــﻦ ﻗـ ‪‬ـﻮِة‬
‫اﻟﺠﻬﺮ‪ ،‬واﻹﻃﺒﺎق‪ ،‬واﻻﺳﺘﻌﻼء(( )‪ (١١٦‬ٱﻧﺘﻬﻰ‪.‬‬
‫ْ‬
‫) ‪(١١٧‬‬
‫ٱﻧﻔـﺮاد‬ ‫ـﺎﺣﺘﻴﺞ إﻟـﻰ‬ ‫ﻳﻌﻨﻲ‪ :‬إ ‪‬ن ﻫﺬﻩ اﻟﺜﻼث ﺻـﻔﺔ ﻟﻠﻈـﺎء اﻟﻤﻌﺠﻤـﺔ –أﻳ ً‬
‫ـﻀﺎ‪ ،-‬ﻓ ْ‬
‫اﻟﻀ‪‬ﺎد ﻋﻨﻬﺎ ﺑﺎﻻﺳﺘﻄﺎﻟﺔ‪ ،‬ﻟﺘﺘﻤﻴﺰ ﻋﻨﻬﺎ ﻓﻲ اﻟﺴ ‪‬ﻤﻊ‪.‬‬
‫وﻗﺎل ﺻﺎﺣﺐ "اﻟﺮﻋﺎﻳﺔ"‪ :‬وﻣﺘـﻰ ﻓـ ‪‬ﺮط اﻟﻘـﺎرئ ﻓـﻲ ﺗﺠﻮﻳـﺪ ﻟ ْﻔـﻆ )‪ (١١٨‬اﻟﻈـﺎد اﻟﻤﻌﺠﻤـﺔ أﺗـﻰ‬
‫) ‪(١١٩‬‬
‫ﺑﻠﻔﻆ اﻟﻈﺎء أو اﻟﺬال اﻟﻤﻌﺠﻤﺘﻴﻦ‪.‬‬
‫ـﻀﺎ‪ :-‬وﻣﺘــﻰ ﻓــﺮط ﻓــﻲ ﺗﺠﻮﻳــﺪ ﻟﻔــﻆ اﻟﻈــﺎء اﻟﻤﻌﺠﻤــﺔ‪ ،‬أﺧﺮﺟﻬــﺎ إﻟــﻰ اﻟــﻀﺎد أو‬
‫وﻗــﺎل –أﻳـ ً‬
‫) ‪(١٢٠‬‬
‫اﻟﺬال اﻟﻤﻌﺠﻤﺘﻴﻦ‪.‬‬
‫أﻳﻀﺎ‪ :-‬ﻻ ﺑﺪ ﻣﻦ اﻟﺘ‪‬ﺤ ‪‬ﻔﻆ ﺑﺘﺮﻗﻴﻖ اﻟـﺬالِ اﻟﻤﻌﺠﻤـﺔ إذا أﺗـﺖ ﺑﻌـﺪﻫﺎ ﻗـﺎف‪ ،‬ﻧﺤـﻮ‬
‫وﻗﺎل ‪ً -‬‬
‫ـﺎء‪ ،‬ﻳﻌﻨ ــﻲ‪ :‬اﻟﻤﻌﺠﻤﺘ ــﻴﻦ ‪ ...‬إﻟ ــﻰ ﺗﻤ ــﺎم ﻣ ــﺎ ذﻛ ــﺮﻩ ﻣ ــﻦ‬
‫ـﺎدا أو ﻇ ـ ً‬
‫"ذاق" وإﻻ ﺻ ــﺎرت ﺿ ـ ً‬

‫)‪ (١١٣‬اﻟﺮﻋﺎﻳﺔ‪.١٥٨ :‬‬

‫)‪) (١١٤‬ﻟﻔﻈﻬﺎ( ﻟﻴﺲ ﻓﻲ )د(‪.‬‬
‫)‪ (١١٥‬اﻟﺮﻋﺎﻳــﺔ‪ ١٩٤ :‬وﻓﻴــﻪ" وﻟــﻮﻻ ٱﺧــﺘﻼف اﻟﻤﺨــﺮﺟﻴﻦ ﺑﻴﻨﻬﻤــﺎ "‪ .‬وﻓــﻲ ﻧــﺴﺨﺔ ﺧﻄﻴــﺔ ﻣــﻦ اﻟﺮﻋﺎﻳــﺔ‪:‬‬
‫"ﻟﻬﻤﺎ" ﻛﻤﺎ ذﻛﺮ ﻣﺆﻟﻔﻨﺎ‪.‬‬
‫)‪ (١١٦‬اﻟﻤﻨﺢ اﻟﻔﻜﺮﻳﺔ‪.٣٤ :‬‬
‫‪) ١١٧‬إﻟﻰ( ﻟﻴﺲ ﻓﻲ اﻷﺻﻞ‪.‬‬
‫)‪ (١١٨‬ﻓﻲ )د(‪ " :‬ﻟﻔﻈﺔ"‪.‬‬
‫)‪ (١١٩‬اﻟﺮﻋﺎﻳﺔ‪ ،١٥٩ :‬وزاد‪" :‬ﻓﻴﻜﻮن ﻣﺒ ّﺪﻻ وﻣﻐﻴّـ ًﺮا‪.‬‬
‫ﻗﺼﺮ اﻟﻘﺎرئ‪."...‬‬
‫)‪ (١٢٠‬اﻟﺮﻋﺎﻳﺔ‪ ،١٩٤ :‬وﻓﻴﻪ‪ :‬و"ﻣﺘﻰ ّ‬
‫ﺍﻟﺴﻨﺔ ﺍﻷﻭﻟﻰ ﺍﻟﻌﺪﺩ ﺍﻷﻭﻝ ‪١٤٣٩‬ﻫ ‪ ٢٠١٨‬ﻡ‬
 ‫ﻛﻴﻔﻴﺔ ﺃﺩﺍﺀ ﺍﻟﻀﺎﺩ ﺍﻟﻤﻌﺠﻤﺔ ‪ ..‬ﺃ‪.‬ﺩ ﺻﺎﻟﺢ ﻣﻬﺪﻱ ﻋﺒﺎﺱ‬ ‫‪٢٦٣‬‬

‫اﻟﻜﻠﻤـﺎت اﻟﺪاﻟـﺔ ﻋﻠـﻰ أ ‪‬ن اﻟﺤـﺮوف اﻟﺜﻼﺛـﺔ وﻫـﻲ‪ :‬اﻟـﻀ‪‬ﺎد‪ ،‬واﻟﻈ‪‬ـﺎء‪ ،‬و اﻟـ ‪‬ﺬال اﻟﻤﻌﺠﻤــﺎت‬
‫) ‪(١٢١‬‬
‫ﻳﺘﻤﺎﻳﺰ َن ﻓﻴﻪ ﺑﻤﺨﺎ ِرﺟﻬﻦ‪ ،‬وﺑﻌﺾ ﺻﻔﺎﺗﻬ ‪‬ﻦ‪.‬‬ ‫ﺴﻤﻊ‪ ،‬وإﻧ‪‬ﻤﺎ ْ‬ ‫ﻣﺘﺸﺎﺑﻬﺎت ﻓﻲ اﻟ ‪‬‬
‫ﺼﺮ ﻓﻴﻪ أﻛﺜﺮ ﻣﻦ رأﻳﺖ ﻣﻦ اﻟ ُﻘ ‪‬ﺮاء‬ ‫أﻳﻀﺎ‪ :-‬اﻟﺘ‪‬ﺤ ‪‬ﻔﻆ ﺑﻠﻔﻆ اﻟﻀ‪‬ﺎد اﻟﻤﻌﺠﻤﺔ أﻣﺮ ﻳﻘ ‪‬‬ ‫وﻗﺎل – ً‬
‫) ‪(١٢٢‬‬
‫ﻟﻢ ﻳَ ْﺪ َرب ﻓﻴﻪ‪.‬‬ ‫ِ‬
‫ﻣﻦ ْ‬ ‫واﻷﺋﻤﺔ ﻟﺼ ُﻌﻮﺑﺘﻪ ]‪٤‬أ[ ﻋﻠﻰ ْ‬
‫ﻀﺎد أﺻـ ــﻌﺐ اﻟﺤ ـ ــﺮوف ﺗﻜﻠ‪ً‬ﻔ ـ ـﺎ ﻓ ـ ــﻲ اﻟﻤﺨـ ــﺮج‪ ،‬وأﺷـ ـ ـﺪ‪‬ﻫﺎ ﺻـ ــﻌﻮﺑﺔ ﻋﻠ ـ ــﻰ‬‫ﺛـ ــﻢ ﻗـ ــﺎل‪ :‬ﻓﺎﻟـ ـ ـ ‪‬‬
‫) ‪(١٢٣‬‬
‫اﻟﻼ‪‬ﻓﻆ‪.‬‬
‫وأﻣﺎ اﻟﻤﻘﺼـﺪ‪:‬‬
‫ﻀﺎد اﻟﻤﻌﺠﻤ ــﺔ )‪ (١٢٤‬ﻛﺎﻟﻄ‪‬ــﺎء‬ ‫ﻓﻬ ــﻮ أ ‪‬ن ﻣ ــﺎ ﺷ ــﺎع ﻓ ــﻲ أﻛﺜ ــﺮ اﻷﻗﻄ ــﺎر ﻣ ــﻦ ﺗﻠ ‪‬ﻔـ ـﻆ اﻟـ ـ ‪‬‬
‫) ‪(١٢٥‬‬
‫وﺗﻔﺨﻴﻤـﺎ‬
‫ً‬ ‫ﺴﻤﻊ‪ ،‬ﺑـﺴﺒﺐ إﻋﻄﺎﺋﻬـﺎ ﺷـﺪ‪‬ة وإﻃﺒﺎﻗًـﺎ أﻗـﻮى ﻛﺈﻃﺒـﺎق اﻟﻄ‪‬ـﺎء‬ ‫اﻟﻤﻬﻤﻠﺔ ﻓﻲ اﻟـ ‪‬‬
‫) ‪(١٢٦‬‬
‫ﺑﺎﻟﻐًﺎ ﻛﺘﻔﺨﻴﻤﻬﺎ ﺧﻄﺄ ﻟﻮﺟﻮﻩ‪.‬‬
‫أﺣــﺪﻫﺎ‪ :‬إ ‪‬ن اﻟ ـﻀ‪‬ﺎد اﻟﻤﻌﺠﻤــﺔ ﻣــﻦ اﻟﺤــﺮوف اﻟ ‪‬ﺮﺧــﻮة‪ ،‬وإ ‪‬ن إﻃﺒﺎﻗﻬــﺎ ﻛﺈﻃﺒــﺎق اﻟ ـ ‪‬‬
‫ﺼﺎد دون‬
‫) ‪(١٢٧‬‬
‫إﻃﺒﺎق اﻟﻄ‪‬ﺎء اﻟﻤﻬﻤﻠﺔ‪ ،‬وﻗ ْﺪر اﻟﺘ‪‬ﻔﺨﻴﻢ ﻋﻠﻰ ﻗ ْﺪر اﻹﻃﺒﺎق‪.‬‬
‫وﺛﺎﻧﻴﻬ ــﺎ‪ :‬إ ‪‬ن اﻟﻄ‪ ‬ــﺎء اﻟﻤﻬﻤﻠ ــﺔ أﻗ ــﻮى اﻟﺤ ــﺮوف )‪ ،(١٢٨‬ﻓﻜﻴ ــﻒ ﺗﻠﻔ ــﻆ ﻣﺜﻠﻬ ــﺎ ﺑﺤ ــﺮف ﻣ ــﻦ‬
‫اﻟﺤﺮوف اﻟ ‪‬ﺮﺧﻮة‪ ،‬ﺑﻞ ﻗ ْﺪ ﺗﺴﻤﻊ ﻗﺮاءة ﺑﻌﺾ )‪َ (١٢٩‬ﻣـ ْﻦ ﻳَـﺪ‪‬ﻋﻲ اﻟﻤﻬـﺎرة ﻓـﻲ اﻷداء ﻓَــﺘَ ُﺤﺲ‬

‫)‪ (١٢١‬اﻟﺮﻋﺎﻳﺔ‪ ١٩٩-١٩٨ :‬ﺑﺘﻘﺪﻳﻢ وﺗﺄﺧﻴﺮ ﻓﻲ اﻟﻨﺺ‪.‬‬

‫ﻳﺪرب ﻓﻴﻪ"‪.‬‬
‫)‪ (١٢٢‬اﻟﺮﻋﺎﻳﺔ‪١٥٨ :‬وﻓﻴﻪ‪ " :‬ﻟﺼﻌﻮﺑﺔ ﻣﻦ ﻟﻢ ّ‬
‫)‪ (١٢٣‬اﻟﺮﻋﺎﻳﺔ‪.١٥٩ :‬‬
‫)‪) (١٢٤‬اﻟﻤﻌﺠﻤﺔ( ﻟﻴﺲ ﻓﻲ اﻷﺻﻞ‪.‬‬
‫)‪ (١٢٥‬ﻓﻲ اﻷﺻﻞ‪) :‬وﺗﻔﺨﻴﻤﻬﺎ(‪.‬‬
‫)‪ (١٢٦‬ﻓﻲ )د( "ﺑﻮﺟﻮﻩ"‪.‬‬
‫)‪ (١٢٧‬اﻟﺮﻋﺎﻳﺔ‪ ،٩٤ :‬واﻟﺘﺤﺪﻳﺪ‪ ،١٠٨ :‬واﻟﺘﻤﻬﻴﺪ‪ ،٩٨ :‬وﺟﻬﺪ اﻟﻤﻘﻞ‪.١٢٧ :‬‬
‫)‪ (١٢٨‬اﻟﺮﻋﺎﻳﺔ‪ ،٩٨ :‬و‪ ،١٧٢‬واﻟﻤﻮﺿﺢ‪ ،٩٠ :‬واﻟﺘﻤﻬﻴﺪ‪.١٤٣ ،١٠٠ :‬‬
‫)‪) (١٢٩‬ﺑﻌﺾ( ﻟﻴﺲ ﻓﻲ "د"‪.‬‬
‫ﺍﻟﺴﻨﺔ ﺍﻷﻭﻟﻰ ﺍﻟﻌﺪﺩ ﺍﻷﻭﻝ ‪١٤٣٩‬ﻫ ‪ ٢٠١٨‬ﻡ‬
 ‫ﻛﻴﻔﻴﺔ ﺃﺩﺍﺀ ﺍﻟﻀﺎﺩ ﺍﻟﻤﻌﺠﻤﺔ ‪ ..‬ﺃ‪.‬ﺩ ﺻﺎﻟﺢ ﻣﻬﺪﻱ ﻋﺒﺎﺱ‬ ‫‪٢٦٤‬‬

‫ﻴﻦ﴾ )‪ (١٣١‬أﻗـ ــﻮى وأﻓﺨـ ــﻢ ﻣـ ــﻦ اﻟﻄ‪‬ـ ــﺎء ﻓـ ــﻲ‬‫‪‬‬

‫ﺑﺎﻟ ـ ـﻀ‪‬ﺎد ﻓـ ــﻲ ﴿ َوﻻَ اﻟ ـ ـﻀ‪‬ﺎﻟ َ‬
‫) ‪(١٣٠‬‬
‫أﻧ‪‬ـ ـﻪ ﻳﻠﻔـ ــﻆ‬
‫) ‪(١٣٢‬‬
‫ﺼ َﺮا َط﴾‪.‬‬
‫﴿اﻟ ‪‬‬
‫) ‪(١٣٣‬‬
‫إﻻ‪ ‬ﻷ ‪‬ن أﺳــﺎس ﻗـﺮاءﺗﻬﻢ اﻟﺘ ‪‬ﻘﻠﻴــﺪ اﻟﻤﺤـ ُ‬
‫ـﺾ‪ .‬وﻣـ ْـﻦ ﻛــﺎن ﻛــﺬﻟﻚ ﻻ ﻳﻠﺒــﺚ أ ْن‬ ‫وﻣــﺎ ذاك‬
‫ﻳﺸﻚ وﻳﺪﺧﻠﻪ اﻟﺘ‪‬ﺤﺮﻳـﻒ و ]اﻟﺘ‪‬ـﺼﺤﻴﻒ [ )‪ (١٣٤‬إذ ﻟْـﻢ ﻳ ْـﺒ ِﻦ ﻗﺮاءﺗـﻪ ﻋﻠـﻰ أﺻـﻞ‪ .‬ﻛـﺬا ﻓـﻲ‬ ‫‪‬‬
‫) ‪(١٣٥‬‬
‫"اﻟﺮﻋﺎﻳﺔ"‪.‬‬
‫وﺛﺎﻟﺜ ـ ــﻬﺎ‪ :‬ﻣـ ــﺎ ﺻ ـ ـ ‪‬ﺮح ﺑـ ــﻪ ﻋﻠـ ــﻲ اﻟﻘـ ــﺎري‪ :‬أﻧ‪‬ـ ـﻪ ﻻ ٱﺷـ ــﺘﺒﺎﻩ ﺑـ ــﻴﻦ اﻟ ـ ـﻀ‪‬ﺎد اﻟﻤﻌﺠﻤـ ــﺔ واﻟﻄ‪‬ـ ــﺎء‬
‫) ‪(١٣٧‬‬
‫اﻟﻤﻬﻤﻠﺔ)‪ .(١٣٦‬ﻛﻤﺎ ﺳﺒﻖ ﻧ ْﻘﻠﻪ‪.‬‬
‫) ‪(١٣٨‬‬
‫ﺼﻮت‪ ،‬واﻟ ‪‬‬
‫ﺸﺪة‪:‬‬ ‫ﺘﺪاد اﻟ ‪‬‬
‫اﻟﺸﺪة‪ ،‬إذ اﻻﺳﺘﻄﺎﻟﺔ‪ :‬ٱﻣ ُ‬ ‫وراﺑﻌﻬﺎ‪ :‬إ ‪‬ن ٱﺳﺘﻄﺎﻟﺔ اﻟﻀ‪‬ﺎد ﺗُﻨﺎﻓﻲ‬
‫ٱﺣﺘﺒﺎﺳ ـ ــﻪ )‪ .(١٣٩‬ﻛ ـ ــﺬا ﺗﻔ ـ ــﺸﻴﻬﺎ ﻳﻨ ـ ــﺎﻓﻲ اﻹﻃﺒ ـ ــﺎق اﻷﻗ ـ ــﻮى اﻟ ـ ــﺬي ﻫ ـ ــﻮ ٱﺣﺘﺒ ـ ــﺎس اﻟـ ـ ـﺮﻳﺢ‬
‫) ‪(١٤٠‬‬
‫ﺑﺎﻟ ُﻜﻠﻴﺔ‪.‬‬
‫وﺧﺎﻣﺴﻬﺎ‪ :‬إ ‪‬ن إﻋﻄﺎء اﻟﻀ‪‬ﺎد اﻟﻤﻌﺠﻤﺔ ]‪٤‬ب[ إﻃﺒﺎﻗًﺎ أﻗﻮى ﻛﺈﻃﺒﺎق اﻟﻄ‪‬ﺎء اﻟﻤﻬﻤﻠﺔ ﻳﺰﻳﻠﻬﺎ‬
‫ﻋــﻦ ﻣﺨﺮﺟﻬــﺎ‪ ،‬إذ اﻹﻃﺒــﺎق اﻷﻗــﻮى ﻻ ﻳﻜــﻮن إﻻ ﺑــﺄ ْن ﻳﻠﺘــﺼﻖ ﻇﻬــﺮ اﻟﻠــﺴﺎن إﻟــﻰ اﻟﺤﻨــﻚ‬

‫)‪" (١٣٠‬أﻧﻪ ﻳﻠﻔﻆ ﻟﻴﺲ ﻓﻲ اﻟﺼﻞ"‪.‬‬

‫)‪ (١٣١‬ﺳﻮرة اﻟﻔﺎﺗﺤﺔ ‪ /‬اﻵﻳﺔ ‪.٧‬‬
‫)‪ (١٣٢‬ﺳﻮرة اﻟﻔﺎﺗﺤﺔ ‪ /‬اﻵﻳﺔ ‪ ،٥‬وﻣﻮاﺿﻊ أﺧﺮ‪.‬‬
‫)‪ (١٣٣‬ﻓﻲ )د(‪" :‬وﻣﺎ ذﻟﻚ"‪.‬‬
‫)‪ (١٣٤‬ﻛﻠﻤﺔ "واﻟﺘﺼﺤﻴﻒ " ﻟﻢ ﺗﺮد ﻓﻲ اﻷﺻﻞ و)د( وﺳﻴﺬﻛﺮﻫﺎ اﻟﻤﺆﻟﻒ ﺑﻌﺪ ﻗﻠﻴﻞ‪.‬‬
‫)‪ (١٣٥‬اﻟﺮﻋﺎﻳﺔ‪.٦٩ :‬‬
‫)‪ (١٣٦‬اﻟﻤﻨﺢ اﻟﻔﻜﺮﻳﺔ‪.٣٩ :‬‬
‫)‪ (١٣٧‬ﺗﻘﺪم ﻓﻲ ص‪.٢٠‬‬
‫)‪ (١٣٨‬ﻓﻲ اﻷﺻﻞ‪" :‬ﻳﻨﺎﻓﻲ أو ﻳﺘﻨﺎﻓﻰ"‪.‬‬
‫)‪ (١٣٩‬ﺗﻘﺪم ﻓﻲ ص‪.١٩‬‬
‫)‪ (١٤٠‬ﺗﻘﺪم ﻓﻲ ص‪.٢٠‬‬
‫ﺍﻟﺴﻨﺔ ﺍﻷﻭﻟﻰ ﺍﻟﻌﺪﺩ ﺍﻷﻭﻝ ‪١٤٣٩‬ﻫ ‪ ٢٠١٨‬ﻡ‬
 ‫ﻛﻴﻔﻴﺔ ﺃﺩﺍﺀ ﺍﻟﻀﺎﺩ ﺍﻟﻤﻌﺠﻤﺔ ‪ ..‬ﺃ‪.‬ﺩ ﺻﺎﻟﺢ ﻣﻬﺪﻱ ﻋﺒﺎﺱ‬ ‫‪٢٦٥‬‬

‫ﺤﻜﻤ ـﺎ ﻓﻴـ ُـﺰول ﺣﻴﻨــﺬ ﺣﺎﻓ‪‬ــﺔ اﻟ‪‬ﻠــﺴﺎن ﻋــﻦ اﻷﺿ ـﺮاس‪ ،‬وﻳــﺼﻞ رأﺳــﻪ إﻟــﻰ‬
‫اﻷﻋﻠــﻰ ٱﻟﺘــﺼﺎﻗًﺎ ُﻣ ً‬
‫أﺻﻞ اﻟﺜﻨﻴﺘﻴﻦ )‪ (١٤١‬اﻟﻌﻠﻴﻴﻦ‪ ،‬وذﻟﻚ ﻣﺨﺮج اﻟﻄ‪‬ﺎء اﻟﻤﻬﻤﻠﺔ )‪.(١٤٢‬‬
‫أﺷـ ــﺎر إﻟﻴـ ــﻪ ٱﺑـ ــﻦ اﻟﺠـ ــﺰري )‪ (١٤٣‬ﻓـ ــﻲ "اﻟﺘﻤﻬﻴـ ــﺪ" ﺑﻘﻮﻟـ ــﻪ‪ :‬وﻣـ ــﻨﻬﻢ َﻣـ ـ ْـﻦ ﻻ ﻳُﻮﺻـ ــﻞ اﻟ ـ ـﻀ‪‬ﺎد‬
‫ﻣﻤﺰوﺟـﺔ ﺑﺎﻟﻄ‪‬ـﺎء اﻟﻤﻬﻤﻠـﺔ‪ ،‬وﻫـﻢ‬ ‫ﻳﺨﺮﺟﻬـﺎ دو َن ﻣﺨﺮﺟﻬـﺎ ُ‬ ‫إﻟﻰ ﻣﺨﺮﺟﻬـﺎ‪ ،‬ﺑـﻞ ُ‬
‫) ‪(١٤٤‬‬
‫اﻟﻤﻌﺠﻤﺔ‬
‫) ‪(١٤٥‬‬
‫أﻛﺜﺮ اﻟﻤﺼﺮﻳﻴﻦ‪ ،‬وﺑﻌﺾ أﻫﻞ اﻟﻤﻐﺮب‪.‬‬
‫ﻀﺎد اﻟﻤﻌﺠﻤــﺔ ﻃــﺎء ﻣﻬﻤﻠــﺔ ﻛﺎﻟﻤــﺼﺮﻳﻴﻦ )‪.(١٤٦‬‬
‫وﻗــﺎل ﻋﻠــﻲ اﻟﻘــﺎري‪ :‬وﻣــﻨﻬﻢ َﻣـ ْـﻦ ﻳُﺨــﺮج اﻟـ ‪‬‬
‫ٱﻧﺘﻬﻰ‪.‬‬
‫وﻟﻢ ﻳﻘﻞ ﻛﺎﻟﻄ‪‬ﺎء اﻟﻤﻬﻤﻠﺔ‪ ،‬إﺷﺎرة إﻟﻰ أ ‪‬ن اﻟﻀ‪‬ﺎد ﻋﻠﻰ ﻣـﺎ ﻧﻄﻘـﻮا ﺑـﻪ ﻳـﺰول ﻋـﻦ ِ‬
‫ﻣﺨﺮﺟـﻪ إﻟـﻰ‬ ‫ْ‬
‫‪.‬‬ ‫) ‪(١٤٨‬‬
‫ﻃﺎء‪ ،‬واﷲ ﺗﻌﺎﻟﻰ أﻋﻠﻢ‬ ‫) ‪(١٤٧‬‬
‫ﻣﺨﺮج اﻟﻄ‪‬ﺎء‪ ،‬ﻓﻴﻜﻮن أﺣﺮى ﺑﺄ ْن ﻳُ َﺴ ‪‬ﻤﻰ‬
‫وﺳﺎدﺳــﻬﺎ‪ :‬إﻧ‪‬ـﻪ ﻳﺠــﺐ أ ْن ﻳﻜــﻮن اﻟﻨ‪‬ﻄــﻖ ﺑﺎﻟ ـﻀ‪‬ﺎد اﻟﻤﻌﺠﻤــﺔ ﻣــﻊ ﺟﺮﻳــﺎن اﻟ ـ ‪‬‬
‫ﺼﻮت ﻛــﺎﻟﻐَﻴﻦ‬
‫) ‪(١٤٩‬‬
‫ﺼﻮت ﻣﻌﻬــﺎ إذا‬‫وﺟ ـ َﺪاﻧَﻚ ﻫــﻞ ﺗُﺠــﺮي اﻟ ـ ‪‬‬
‫ﻓﺮاﺟــﻊ ]‪٥‬أ[ ْ‬ ‫اﻟﻤﻌﺠﻤــﺔ‪ ،‬ﻛﻤــﺎ ﺳــﺒﻖ ﻧﻘﻠــﻪ‬
‫ﻧﻄﻘﺖ ﺑﻬﺎ ﻛﺎﻟﻄ‪‬ﺎء اﻟﻤﻬﻤﻠﺔ؟‬

‫)‪ (١٤١‬ﻓﻲ اﻷﺻﻞ " اﻟﺸﻴﻦ" وﻟﻴﺲ ﺑﺸﻲء‪.‬‬

‫)‪ (١٤٢‬ﺗﻘﺪم ذﻟﻚ‪.‬‬
‫)‪ (١٤٣‬ﻫﻮ اﻹﻣﺎم اﻟﻌـﺎﻟﻢ ﺷـﻤﺲ اﻟـﺪﻳﻦ ﻣﺤﻤـﺪ ﺑـﻦ ﻣﺤﻤـﺪ ﺑـﻦ ﻣﺤﻤـﺪ ﺑـﻦ اﻟﺠـﺰري اﻟﺪﻣـﺸﻘﻲ ﺻـﺎﺣﺐ‬
‫اﻟﻤــﺼﻨﻔﺎت اﻟﻤﻔﻴــﺪة ﻓــﻲ ﻋﻠــﻮم اﻟﻘــﺮآن واﻟﻘ ـﺮاءات واﻟﺘﺠﻮﻳــﺪ )ت‪٨٣٣‬ﻫ( )إﻧﺒــﺎء اﻟﻐﻤــﺮ‪،٤٦٦/٣ :‬‬
‫واﻟﻀﻮء اﻟﻼﻣﻊ‪."٢٥٦-٢٥٥/٩ :‬‬
‫)‪ (١٤٤‬ﻓﻲ )د(‪" :‬ﻣﻦ ﻻ ﻳﻮﺻﻠﻬﺎ أي اﻟﻀﺎد اﻟﻤﻌﺠﻤﺔ"‪.‬‬
‫)‪ (١٤٥‬اﻟﺘﻤﻬﻴﺪ‪.١٤١ :‬‬
‫)‪ (١٤٦‬اﻟﻤﻨﺢ اﻟﻔﻜﺮﻳﺔ‪.٣٤ :‬‬
‫)‪ (١٤٧‬ﻓﻲ )د(‪" :‬ﻳﻜﻮن" ﻣﻜﺎن ﻛﻠﻤﺔ "ﻳﺴﻤﻰ"‪.‬‬
‫)‪ (١٤٨‬ﻓﻲ )د(‪" :‬واﷲ أﻋﻠﻢ"‪.‬‬
‫)‪ (١٤٩‬ﺗﻘﺪم ﻓﻲ ص‪.١٩‬‬
‫ﺍﻟﺴﻨﺔ ﺍﻷﻭﻟﻰ ﺍﻟﻌﺪﺩ ﺍﻷﻭﻝ ‪١٤٣٩‬ﻫ ‪ ٢٠١٨‬ﻡ‬
 ‫ﻛﻴﻔﻴﺔ ﺃﺩﺍﺀ ﺍﻟﻀﺎﺩ ﺍﻟﻤﻌﺠﻤﺔ ‪ ..‬ﺃ‪.‬ﺩ ﺻﺎﻟﺢ ﻣﻬﺪﻱ ﻋﺒﺎﺱ‬ ‫‪٢٦٦‬‬

‫ﺴﻤﻊ‪ ،‬ﻋﻠــﻰ ﻣــﺎ َﺳــﺒﻖ‬

‫ﻓــﻲ اﻟ ـ ‪‬‬
‫) ‪(١٥٠‬‬
‫وﺳــﺎﺑﻌﻬﺎ‪ :‬إ ‪‬ن اﻟ ـﻀ‪‬ﺎد واﻟﻈ‪‬ــﺎء اﻟﻤﻌﺠﻤﺘــﻴﻦ ُﻣﺘــﺸﺎﺑﻬﺘﺎن‬
‫) ‪(١٥١‬‬
‫ﺮوﺣﺎ‪.‬‬
‫ﻣ ْﺸ ً‬
‫وﺗﻮﺿﻴﺢ اﻟﻤﻘﺼﺪ‪:‬‬
‫إ ‪‬ن ﺟﻌــﻞ اﻟ ـﻀ‪‬ﺎد اﻟﻤﻌﺠﻤــﺔ ﻃــﺎء ﻣﻬﻤﻠــﺔ ُﻣﻄﻠ ًﻘ ـﺎ –أ ْﻋﻨــﻲ ﻓــﻲ اﻟﻤﺨــﺮج واﻟــﺼﻔﺎت–‬
‫ـﺾ‪ ،‬وﻛــﺬا ﺟﻌﻠﻬــﺎ ﻇــﺎء ﻣﻌﺠﻤــﻪ ُﻣﻄﻠ ًﻘـﺎ‪ .‬ﻟﻜـ ‪‬ﻦ ﺑﻌــﺾ اﻟﻔﻘﻬــﺎء ﻗــﺎل‬
‫ﻣﺤـ ٌ‬
‫ﻟﺤـ ٌـﻦ ﺟﻠـ ‪‬ـﻲ‪ ،‬وﺧﻄـﺄُ ْ‬
‫) ‪(١٥٢‬‬
‫ﺴﺮ اﻟﺘ‪‬ﻤﻴﻴــﺰ ﺑﻴﻨﻬﻤــﺎ‪ ،‬ﻓﻬــﻮ‬
‫ـﺎء ﻣﻌﺠﻤــﺔ ُﻣﻄﻠ ًﻘ ـﺎ؛ ﻟﺘﻌـ ‪‬‬
‫َﻣ ـ ْﻦ ﺟﻌﻠﻬــﺎ ﻇـ ً‬ ‫ﺑﻌــﺪم ﻓــﺴﺎد ﺻــﻼة‬
‫) ‪(١٥٣‬‬
‫أﻫﻮن اﻟﺨﻄﺄﻳﻦ‪.‬‬
‫ﻣﺨﺮﺟﻬﺎ‬
‫ﺴﻤﻊ‪ ،‬ﺑﺄ ْن ﺟﻌﻠﺖ َ‬ ‫ﺟﻌﻠﺖ اﻟﻀ‪‬ﺎد اﻟﻤﻌﺠﻤﺔ ﻛﺎﻟﻄ‪‬ﺎء اﻟﻤﻬﻤﻠﺔ ﻓﻲ اﻟ ‪‬‬
‫َ‬ ‫وأﻣﺎ إ ْن‬
‫ﻣﻦ ﺣﺎﻓﺔ اﻟﻠ‪‬ﺴﺎن ﻣﻊ ﻣﺎ ﻳﻠﻴﻬﺎ ﻣﻦ اﻷﺿﺮاس‪ ،‬ﻟﻜﻦ أﻋﻄﻴﺘﻬﺎ ﺷﺪة وإﻃﺒﺎﻗًﺎ أﻗﻮى‪ ،‬ﻛﺈﻃﺒـﺎق‬
‫ﺴﺒﺐ رﺧﺎوﺗُﻬﺎ وٱﺳﺘﻄﺎﻟﺘﻬﺎ وﺗﻔـﺸﻴﻬﺎ‬ ‫وﺗﻔﺨﻴﻤﺎ ﻛﺘﻔﺨﻴﻤﻬﺎ‪ ،‬ﻓﺎﻧﺘﻔﻰ ﺑﺬﻟﻚ اﻟ ‪‬‬ ‫ً‬ ‫اﻟﻄﺎء اﻟﻤﻬﻤﻠﺔ‪،‬‬
‫ﺼﺎد اﻟﻤﻬﻤﻠـﺔ ]‪٥‬ب[‬ ‫ﻣﺴﺘﻄﻴﻞ ُﻣﺘﻔﺶ ﻣﻄﺒﻖ ُﻣﻔﺨ‪‬ﻢ ﻛﺈﻃﺒﺎق اﻟـ ‪‬‬ ‫ٌ‬ ‫ﺣﺮف )‪ (١٥٤‬ر ْﺧ ٌﻮ‬
‫ﻣﻊ أﻧ‪‬ﻬﺎ ٌ‬
‫وﺟـ ٍـﻪ‪ ،‬وﻫــﻮ ﻟﺤـ ٌـﻦ ﺧﻔـ ‪‬ـﻲ ﻓﻴــﻪ ﺧـ ْـﻮف‬ ‫ٍ‬
‫ـﺒﺖ ﻣــﻦ وﺟــﻪ‪ ،‬وأﺧﻄــﺄت ﻣــﻦ ْ‬ ‫وﺗﻔﺨﻴﻤﻬــﺎ‪ ،‬ﻓﻘــﺪ أﺻـ َ‬
‫وإن ٱ ْﺷــﺘﻬﺮ اﻷداء ﺑــﻪ )‪،(١٥٦‬‬‫اﻟﻌﻘــﺎب‪ ،‬ﻓــﺈن‪ (١٥٥) ‬ذﻟــﻚ اﻟﺨﻄـﺄُ ﻣ ‪‬ﻤــﺎ ﻳﻌﺮﻓــﻪ ﻋﺎ ‪‬ﻣــﺔ اﻟ ُﻘـ ‪‬ﺮاء‪ِ ،‬‬
‫ْ‬
‫ﺴ ُﺪ ﺑﻪ‪.‬‬‫ﺼﻼة ﻻ ﺗ ْﻔ ُ‬‫وﻟﻌ ‪‬ﻞ اﻟ ‪‬‬

‫)‪ (١٥٠‬ﻓﻲ )د(‪ :‬ﻣﺘﺸﺎﺑﻬﺘﻴﻦ‪.‬‬

‫)‪ (١٥١‬ﺗﻘﺪم ﻓﻲ ص‪.٢٠‬‬
‫)‪) (١٥٢‬ﺻﻼة( ﻟﻴﺲ ﻓﻲ )د(‪.‬‬
‫)‪ (١٥٣‬ﻫﺬﻩ اﻟﻤﺴﺄﻟﺔ ﺧﻼﻓﻴﺔ وﻗﺪ ﻓﺼﻞ اﻟﻘﻮل ﻓﻴﻬﺎ ﻣﻼ ﻋﻠـﻲ اﻟﻘـﺎري ﻓـﻲ ﻛﺘﺎﺑـﻪ اﻟﻤـﻨﺢ اﻟﻔﻜﺮﻳـﺔ‪،٣٩ :‬‬
‫ﻓﻘـﺎل‪" :‬وﺧﻼﺻـﺔ اﻟﻤـﺮام ﻣـﺎ ذﻛــﺮﻩ ٱﺑـﻦ اﻟﻬﻤــﺎم ﻣـﻦ أ ‪‬ن اﻟﻔــﺼﻞ إ ْن ﻛـﺎن ﺑــﻼ ﻣـﺸ ‪‬ﻘﺔ ﻛﺎﻟﻄــﺎء ﻣـﻊ اﻟــﺼﺎد‬
‫ﻓﻘﺮأ اﻟﻄﺎﻟﺤﺎت ﻣﻜﺎن اﻟﺼﺎﻟﺤﺎت‪ :‬ﺗﻔﺴﺪ‪ ،‬وإ ْن ﻛﺎن ﺑﻤﺸ ‪‬ﻘﺔ ﻛﺎﻟﻈﺎء ﻣﻊ اﻟـﻀﺎد‪ ،‬واﻟـﺼﺎد ﻣـﻊ اﻟـﺴﻴﻦ‪،‬‬
‫واﻟﻄﺎء ﻣﻊ اﻟﺘﺎء‪ ،‬ﻗﻴﻞ‪ :‬ﺗﻔﺴﺪ‪ ،‬وأﻛﺜﺮﻫﻢ ﻻ ﺗﻔﺴﺪ "‪ .‬وﻳﻨﻈﺮ‪ :‬اﻟﺘﻤﻬﻴﺪ‪.١٤٠ :‬‬
‫)‪ (١٥٤‬ﺣﺮف ﻟﻴﺲ ﻓﻲ )د(‪.‬‬
‫)‪ (١٥٥‬ﻓﻲ )د(‪" :‬ﻷن"‪.‬‬
‫)‪" (١٥٦‬ﺑﻪ" ﻟﻴﺲ ﻓﻲ )د(‪.‬‬
‫ﺍﻟﺴﻨﺔ ﺍﻷﻭﻟﻰ ﺍﻟﻌﺪﺩ ﺍﻷﻭﻝ ‪١٤٣٩‬ﻫ ‪ ٢٠١٨‬ﻡ‬
 ‫ﻛﻴﻔﻴﺔ ﺃﺩﺍﺀ ﺍﻟﻀﺎﺩ ﺍﻟﻤﻌﺠﻤﺔ ‪ ..‬ﺃ‪.‬ﺩ ﺻﺎﻟﺢ ﻣﻬﺪﻱ ﻋﺒﺎﺱ‬ ‫‪٢٦٧‬‬

‫اﻟﻮﺟ ِﻪ اﻟﺨـﺎﻣﺲ‪ :‬إ ‪‬ن اﻹﻃﺒـﺎق اﻷﻗـﻮى ﻳُﺰﻳﻠﻬـﺎ ﻋـﻦ ﻣﺨﺮﺟﻬـﺎ‪ .‬وأﻣـﺎ‬
‫وﻗﺪ ﺳﻤﻌﺖ ﻓﻲ ْ‬
‫ﻣﺨﺮﺟﻬﺎ ﻣﻦ ﺣﺎﻓـﺔ اﻟﻠ‪‬ـﺴﺎن ﻣـﻊ‬
‫َ‬
‫) ‪(١٥٧‬‬
‫ْﺖ‬
‫ﺴﻤﻊ ﺑﺄ ْن ﺟﻌﻠ َ‬ ‫إ ْن ﺟﻌﻠﺘَﻬﺎ ﻛﺎﻟﻈ‪‬ﺎء اﻟﻤﻌﺠﻤﺔ ﻓﻲ اﻟ ‪‬‬
‫ﻣﺎ ﻳﻠﻴﻬﺎ ﻣﻦ اﻷﺿﺮاس‪ ،‬ﻓﺄﻋﻄﻴﺖ )‪ (١٥٨‬ﻟﻬﺎ ﺻـﻔﺎﺗﻬﺎ اﻟﻤـﺬﻛﻮرة وﻫـﻲ‪ :‬اﻹﻃﺒـﺎق‪ ،‬واﻟﺘ‪‬ﻔﺨـﻴﻢ‬
‫) ‪(١٥٩‬‬
‫ﺸﻲ اﻟﻘﻠﻴﻞ‪.‬‬‫واﻟﺠﻬﺮ‪ ،‬واﻻﺳﺘِﻄﺎﻟﺔ‪ ،‬واﻟﺘ‪‬ﻔ ‪‬‬
‫ْ‬ ‫اﻟﻮﺳﻄﺎن‪ ،‬واﻟ ‪‬ﺮﺧﺎوة‪،‬‬
‫ﺼﻮاب اﻟﻤﺆﻳ‪ُ ‬ﺪ ﺑﻜﻠﻤﺎت اﻷﺋﻤﺔ ﻓﻲ ُﻛﺘُﺒﻬﻢ‪ .‬واﻟﺤﻤﺪ اﷲ ﻋﻠﻰ اﻟﺘﻮﻓﻴﻖ‪.‬‬
‫ﻓﻬﺬا ﻫﻮ اﻟ ‪‬‬
‫وأ ‪‬ﻣﺎ اﻟﺨﺎﺗﻤﺔ‪:‬‬
‫ﻓﻬﻲ ﻓﻲ )‪ (١٦٠‬دﻓْﻊ ﻣﺎ ﻋﺴﻰ أ ْن ﻳﻮرد ﻋﻠـﻰ اﻟﻤ ْﻘـﺼﺪ‪ :‬إ ْن ﻗﻠـﺖ ﻓـﻲ اﻟـﻀ‪‬ﺎد اﻟﻤﻌﺠﻤـﺔ‬
‫ﻗﻮة اﻟﺠﻬﺮ واﻹﻃﺒﺎق واﻻﺳﺘﻌﻼء ﻛﺎﻟﻄ‪‬ﺎء اﻟﻤﻬﻤﻠﺔ‪ ،‬وﻟﺬا ﻳُﻠﻔﻆ ﻣﺜﻠﻬﺎ‪.‬‬
‫أﻳﻀﺎ ﻓـﻲ ﺗﻠـﻚ اﻟـﺼﻔﺎت )‪ ،(١٦٢‬وﻓـﻲ‬ ‫اﻟﻈ‪‬ﺎء اﻟﻤﻌﺠﻤﺔ ً‬
‫) ‪(١٦١‬‬
‫ﻠﺖ‪ :‬ﻫﻲ ﺗﺸﺘﺮك ]ﻣﻊ[‬ ‫ﻗُ ُ‬
‫ـﻀﺎ‪ .‬وإ ‪‬ن إﻃﺒﺎﻗﻬــﺎ ]‪٦‬أ[ ﻓــﻲ ﻣﺮﺗﺒــﺔ إﻃﺒــﺎق اﻟـ ‪‬‬
‫ﺼﺎد اﻟﻤﻬﻤﻠــﺔ دون إﻃﺒــﺎق اﻟﻄــﺎء‬ ‫اﻟ ‪‬ﺮﺧــﺎوة أﻳـ ً‬
‫اﻟﻤﻬﻤﻠــﺔ ﻛﻤ ــﺎ ﺳ ــﺒﻖ )‪ .(١٦٣‬واﻟﺘ‪‬ﻔﺨ ــﻴﻢ واﻻﺳ ــﺘﻌﻼء ﻋﻠــﻰ ﻗـ ـ ْﺪر اﻹﻃﺒ ــﺎق‪ ،‬وﻓﻴﻬ ــﺎ ٱﺳ ــﺘﻄﺎﻟﺔ‬
‫) ‪(١٦٥‬‬ ‫) ‪(١٦٤‬‬
‫ـﺸﺎرا‬
‫ﺗﻔــﺶ‪ ،‬ﻗﻴــﻞ ﻳﻘﺘــﻀﻲ ٱﻧﺘــﺸﺎر اﻟ ـ ‪‬ﺮﻳﺢ ٱﻧﺘـ ً‬ ‫ﺼﻮت‪ ،‬وﻓﻴﻬــﺎ‬
‫ﺗﻘﺘــﻀﻲ ٱﻣﺘــﺪاد اﻟ ـ ‪‬‬
‫) ‪(١٦٦‬‬
‫ـﻀﺎ ﻋــﻦ‬
‫‪ .‬وﻳﻤﺘــﺎز أﻳـ ً‬ ‫ﻗﻠــﻴﻼً‪ .‬وﺑﺎﻟــﺼﻔﺘﻴﻦ اﻷﺧﻴـﺮﺗﻴﻦ ﻳﻤﺘــﺎز ﻋــﻦ ﺗﻠــﻚ اﻟﺤــﺮوف اﻟﺜﻼﺛــﺔ‬

‫)‪ (١٥٧‬ﻓﻲ )د(‪" :‬ﺟﻌﻠﺘﻬﺎ"‪.‬‬

‫)‪ (١٥٨‬ﻓﻲ )د(‪ ":‬وأﻋﻄﻴﺖ"‪.‬‬
‫)‪ (١٥٩‬ﺟﻬﺪ اﻟﻤﻘﻞ‪ ،١٤٦ :‬وﻳﻨﻈﺮ‪ :‬اﻟﺮﻋﺎﻳﺔ‪ ،١٧٢ :‬واﻟﻤﻮﺿﺢ‪.١١٥ :‬‬
‫)‪ (١٦٠‬ﻓﻲ )د(‪" :‬ﻓﻔﻲ دﻓﻊ"‪.‬‬
‫)‪ (١٦١‬ﻣﺎ ﺑﻴﻦ اﻟﻌﻀﺎدﺗﻴﻦ زﻳﺎدة ﺿﺮورﻳﺔ‪.‬‬
‫أﻳﻀﺎ ﻓﻲ ﺗﻠﻚ اﻟﺼﻔﺎت" ﻟﻴﺲ ﻓﻲ )د(‪.‬‬
‫)‪ً " (١٦٢‬‬
‫)‪ (١٦٣‬ﺗﻘﺪم ﻓﻲ ص‪.١٩‬‬
‫)‪" (١٦٤‬وﻓﻴﻬﺎ" ﻟﻴﺲ ﻓﻲ )د(‪.‬‬
‫ﻧﺘﺸﺎرا " ﻟﻴﺲ ﻓﻲ )د(‪.‬‬
‫)‪" (١٦٥‬ٱ ً‬
‫)‪ (١٦٦‬ﻓﻲ )د(‪" :‬اﻟﺜﻼث"‪.‬‬
‫ﺍﻟﺴﻨﺔ ﺍﻷﻭﻟﻰ ﺍﻟﻌﺪﺩ ﺍﻷﻭﻝ ‪١٤٣٩‬ﻫ ‪ ٢٠١٨‬ﻡ‬
 ‫ﻛﻴﻔﻴﺔ ﺃﺩﺍﺀ ﺍﻟﻀﺎﺩ ﺍﻟﻤﻌﺠﻤﺔ ‪ ..‬ﺃ‪.‬ﺩ ﺻﺎﻟﺢ ﻣﻬﺪﻱ ﻋﺒﺎﺱ‬ ‫‪٢٦٨‬‬

‫ﺼﻔﻴﺮ‪.‬‬
‫ﺼﺎد اﻟﻤﻬﻤﻠﺔ ﺑﺎﻟﺠﻬﺮ وٱﻧﺘﻔﺎء اﻟ ‪‬‬ ‫اﻟﻄ‪‬ﺎء اﻟﻤﻬﻤﻠﺔ ﺑﺎﻟ ‪‬ﺮﺧﺎوة وﺿﻌﻒ اﻹﻃﺒﺎق‪ ،‬وﻋﻦ اﻟ ‪‬‬
‫) ‪(١٦٨‬‬
‫وﺑﺎﻟﺠﻤﻠﺔ‪ :‬إ ‪‬ن اﻟﻀ‪‬ﺎد اﻟﻤﻌﺠﻤﺔ )‪ (١٦٧‬أﺷﺒﻪُ ﺑﺎﻟﻈﺎء اﻟﻤﻌﺠﻤﺔ ﻓﺘَﺪﺑ‪‬ﺮ‪.‬‬
‫) ‪(١٧١‬‬ ‫) ‪(١٧٠‬‬
‫ﻓﻴﻬـﺎ ﻓـﻲ‬ ‫ـﺖ‪ :‬ﻓﻜﻴـﻒ ﺷـﺎع اﻟﺘﻘـﺼﻴﺮ‬ ‫ﻗُﻠ َ‬ ‫وﻓﻘﻨﺎ اﷲ ﺳﺒﺤﺎﻧﻪ وإﻳـﺎك )‪ .(١٦٩‬وإ ْن‬
‫ـﺴﻤﻊ ﻣــﺎ ﻗﺎﻟــﻪ ﺻــﺎﺣﺐ "اﻟﺮﻋﺎﻳــﺔ"‪ :‬اﻟ ـﺘ‪َ ‬ﺤ ‪‬ﻔﻆ ﺑﻠﻔــﻆ اﻟ ـﻀ‪‬ﺎد‬ ‫أﻛﺜــﺮ اﻷﻗﻄــﺎر؟ ﻗﻠــﺖ‪ :‬أﻟــﻢ ﺗـ ْ‬
‫ـﺪرب‬
‫ﻣﻦ رأﻳﺖ ﻣﻦ اﻟ ُﻘ ‪‬ﺮاء واﻷﺋﻤﺔ؛ ﻟﺼﻌﻮﺑﺘﻪ ﻋﻠﻰ َﻣ ْـﻦ ﻟْـﻢ ﻳَ َ‬
‫اﻟﻤﻌﺠﻤﺔ أﻣﺮ ﻳﻘﺼﺮ ﻓﻴﻪ أﻛﺜﺮ ْ‬
‫ـﻀﺎ‪ :‬ﻣــﻦ )‪ (١٧٣‬أﻧ‪‬ﻬــﺎ أﺻــﻌﺐ اﻟﺤــﺮوف ﺗﻜﻠ ًﻔ ـﺎ ﻓــﻲ اﻟﻤﺨــﺮج )‪.(١٧٤‬‬
‫وﻣــﺎ ﻗﺎﻟــﻪ أﻳـ ً‬
‫) ‪(١٧٢‬‬
‫ﻓﻴــﻪ‬
‫) ‪(١٧٥‬‬
‫ٱﻧﺘﻬﻰ‪.‬‬
‫وذﻟــﻚ ﻓــﻲ ﺗــﺎرﻳﺦ أرﺑــﻊ ﻣﺌــﺔ وﻋــﺸﺮﻳﻦ )‪ ،(١٧٦‬وزﻣﺎﻧُﻨــﺎ ﻫــﺬا أﺣ ـ ‪‬ﻖ ﺑﺎﻟﺘﻘــﺼﻴﺮ‪ ،‬ﻓــﺎﻋﺘﺒﺮوا‬
‫ﻂ اﻟﻤﺼﺮﻳﻴﻦ )‪ (١٧٨‬ﻗ ْﺪ ﺷـﺎع‪ .‬ﺛ‪‬ـﻢ إ ‪‬ن ﺷـﻴﻮع ﻫـﺬا اﻟﺨﻄـﺄ ﻟـﻴﺲ ﺑﺄﻋﺠـﺐ ﻣـﻦ‬ ‫ﻓﻠﻌﻞ ﻏﻠ َ‬
‫) ‪(١٧٧‬‬

‫ـﻴﻮع إﻇﻬــﺎر )‪ (١٧٩‬ﺗﻜﺮﻳــﺮ اﻟ ـ ‪‬ﺮاء ﻣــﻊ أ ‪‬ن ﻛﺘــﺐ اﻟﺘﺠﻮﻳــﺪ ﻣــﺸﺤﻮﻧﺔ ﺑﺎﻟﺘﺤــﺬﻳﺮ ﻋــﻦ إﻇﻬــﺎر‬
‫ﺷـ ِ‬
‫ﺗﻜﺮﻳﺮﻫﺎ ]‪٦‬ب[‪.‬‬

‫)‪" (١٦٧‬اﻟﻤﻌﺠﻤﺔ" ﻟﻴﺲ ﻓﻲ )د(‪.‬‬

‫)‪ (١٦٨‬ﻓﻲ )د(‪ " :‬ﻓﺘﺪﺑﺮوا"‪.‬‬
‫)‪ (١٦٩‬ﻓﻲ )د(‪" :‬وإﻳﺎﻛﻢ"‪.‬‬
‫)‪ (١٧٠‬ﻓﻲ )د(‪" :‬ﻓﺈن"‪.‬‬
‫)‪ (١٧١‬ﻓﻲ اﻷﺻﻞ "اﻟﺘﺼﻔﻴﺮ" وﻟﻴﺲ ﺑﺸﻲء‪.‬‬
‫)‪ (١٧٢‬اﻟﺮﻋﺎﻳﺔ‪.١٥٩-١٥٨ :‬‬
‫)‪" (١٧٣‬ﻣﻦ" ﻟﻴﺲ ﻓﻲ )د(‪.‬‬
‫)‪ (١٧٤‬اﻟﺮﻋﺎﻳﺔ‪.١٥٩ :‬‬
‫)‪" (١٧٥‬ٱﻧﺘﻬﻰ" ﻟﻴﺲ ﻓﻲ اﻷﺻﻞ‪.‬‬
‫)‪ (١٧٦‬ﻫــﻮ ﺗــﺎرﻳﺦ ﺗــﺄﻟﻴﻒ ﻛﺘــﺐ "اﻟﺮﻋﺎﻳــﺔ " ﻟﻤﻜــﻲ ﺑــﻦ أﺑــﻲ ﻃﺎﻟــﺐ اﻟﻘﻴــﺴﻲ‪ ،‬إذ ﺑــﺪأ ﻓﻴــﻪ ﺳــﻨﺔ ﺗــﺴﻌﻴﻦ‬
‫وﺛﻼﺛﻤﺌﺔ‪ ،‬وأﺗﻤﻪ ﺑﻌﺪ ﻧﺤﻮ ﻣﻦ ﺛﻼﺛﻴﻦ ﺳﻨﺔ‪ ،‬ﻛﻤﺎ ﺟﺎء ﻓﻲ دﻳﺒﺎﺟﺔ اﻟﺮﻋﺎﻳﺔ‪.٤٢ :‬‬
‫)‪" (١٧٧‬ﻓﺎﻋﺘﺒﺮوا" ﻟﻴﺲ ﻓﻲ )د(‪.‬‬
‫)‪ (١٧٨‬ﺗﻘﺪم ﻓﻲ ص‪.٢٤‬‬
‫)‪" (١٧٩‬إﻇﻬﺎر" ﻟﻴﺲ ﻓﻲ اﻷﺻﻞ‪.‬‬
‫ﺍﻟﺴﻨﺔ ﺍﻷﻭﻟﻰ ﺍﻟﻌﺪﺩ ﺍﻷﻭﻝ ‪١٤٣٩‬ﻫ ‪ ٢٠١٨‬ﻡ‬
 ‫ﻛﻴﻔﻴﺔ ﺃﺩﺍﺀ ﺍﻟﻀﺎﺩ ﺍﻟﻤﻌﺠﻤﺔ ‪ ..‬ﺃ‪.‬ﺩ ﺻﺎﻟﺢ ﻣﻬﺪﻱ ﻋﺒﺎﺱ‬ ‫‪٢٦٩‬‬

‫–ﻣ ــﺜﻼً‬
‫) ‪(١٨١‬‬
‫ـﻴﻮع ﺗﻘﻠﻴ ــﻞ ﺗ ــﺸﺪﻳﺪﻫﺎ ﻓ ــﻲ ﻟﻔ ــﻆ )‪﴿ (١٨٠‬اﻟـ ـ ‪‬ﺮ ْﺣ َﻤ ِﻦ اﻟـ ـ ‪‬ﺮِﺣ ْﻴ ِﻢ﴾‬
‫وﻛ ــﺬا ﺷ ـ ُ‬
‫) ‪(١٨٣‬‬
‫ـﺐ ﻋﻠـﻰ‬‫وﺟ َ‬
‫اء َ‬‫ـﺮف اﻟﻤـﺸﺪد ر ً‬ ‫ﺻﺎﺣﺐ "اﻟﺮﻋﺎﻳـﺔ" ﻗـﺎل‪ :‬ﻓـﺈذا ﻛـﺎن اﻟﺤ ُ‬ ‫)‪ ،(١٨٢‬ﻣﻊ أ ‪‬ن‬
‫) ‪(١٨٤‬‬
‫اﻟﻘــﺎرئ أ ْن ﻳ ــﺘﺤﻔﻆ ﻓ ــﻲ ﺗــﺸﺪﻳﺪﻫﺎ ﻣ ــﻊ إﺧﻔ ــﺎء ﺗﻜﺮﻳﺮﻫــﺎ‪ ،‬ﻓﻴُــﺸﺪ‪‬دﻫﺎ ﺗ ــﺸﺪﻳ ًﺪا ﺑﺎﻟﻐًـ ـﺎ‬
‫ـﻀﺎ‪ :-‬أ ‪‬ن أﺑﻠــﻎَ اﻟﺤــﺮوف اﻟﻤــﺸ ‪‬ﺪدة ﺗــﺸﺪﻳ ًﺪا ﺑﺎﻟﻐًـﺎ‪ ،‬ﻫــﻲ‬ ‫ٱﻧﺘﻬﻰ‪.‬وﻳﻠﺨــﺺ ﻣــﻦ ﻛﻠﻤﺎﺗــﻪ –أﻳـ ً‬
‫اﻟـ ـ ‪‬ﺮاء اﻟﻤ ــﺸﺪدة‪ ،‬ﻫ ــﺬا وﻟﻜـ ـ ‪‬ﻦ اﷲ –ﺳ ــﺒﺤﺎﻧﻪ )‪ (١٨٥‬وﺗﻌ ــﺎﻟﻰ– ﺣﻔ ــﻆ ﻛﺘﺎﺑ ــﻪ اﻟﻜـ ـﺮﻳﻢ ﻋ ــﻦ‬
‫‪ .‬ﻛﻤــﺎ َوﻋــﺪﻩُ‪ ،‬إذ وﻓ‪‬ــﻖ اﻟﻌﻠﻤـ َ‬
‫) ‪(١٨٦‬‬
‫ـﺎء ﻟﺤﻔــﻆ‬ ‫اﻟﺘﺤﺮﻳــﻒ ﻓــﻲ ﻛﻠﻤﺎﺗــﻪ‪ ،‬وﻓــﻲ ﻛﻴﻔﻴ‪‬ــﺔ أداﺋﻬــﺎ‬
‫ﻛﻠﻤﺎﺗﻪ‪ ،‬وﺗﺒﻴﻴﻦ ﺻﻔﺎت ﺣﺮوﻓﻪ ﻓﻲ ﻣﺆﻟﻔﺎﺗﻬﻢ ﺑﺤﻴﺚ إ ‪‬ن َﻣ ْﻦ ﻳﻄﻠﺐ اﻟﺤﻖ ﻳﺠﺪﻩ اﻟﺒﺘﺔ‪.‬‬
‫ﺛ ‪‬ﻢ إﻧ‪‬ﻪ ﻻ ﻳﺠﻮز ﻟﻠﺸﻴﺦ اﻟﻤﻘﺮئ أ ْن ﻳﻜﺘﻔﻲ ﺑﺎﻟﺘﻘﻠﻴﺪ ﻣﻦ ﺷﻴﺨﻪ‪ ،‬ﺑـﻞ ﻳﻄﻠـﺐ ﻣﻌﺮﻓـﺔ ﺻـﻔﺎت‬
‫اﻟﺤــﺮوف ﻣــﻦ اﻟﻜﺘــﺐ اﻟﻤﺒــﺴﻮﻃﺔ ﻛﻜﺘــﺎب "اﻟﺮﻋﺎﻳــﺔ" ﻓﻠﻌﻠــﻪ أو ﺷــﻴﺨﻪ ﻗــﺪ ِ‬
‫وﻫــﻢ ﻓــﻲ ﺑﻌــﺾ‬ ‫ُ‬
‫) ‪(١٨٧‬‬
‫اﻟﺤﺮوف ﻓﺤ ‪‬ﺮﻓﻪ‪.‬‬
‫ﻗـﺎل ﺻـﺎﺣﺐ "اﻟﺮﻋﺎﻳــﺔ"‪ :‬اﻟ ُﻘـ ‪‬ﺮاء ﻳﺘﻔﺎﺿــﻠﻮن ﻓـﻲ اﻟﻌﻠــﻢ ﺑﺎﻟﺘﺠﻮﻳـﺪ ﻓﻤــﻨﻬﻢ ]‪٧‬أ[ َﻣـ ْﻦ ﻳَﻌﻠﻤــﻪ‬
‫وﻗﻴﺎﺳ ـﺎ وﺗﻤﻴ‪‬ﻴـ ًـﺮا‪ ،‬ﻓــﺬﻟﻚ ﻫــﻮ )‪ (١٨٨‬اﻟﺤــﺎذق اﻟﻔﻄـ ُـﻦ )‪ ،(١٨٩‬وﻣــﻨﻬﻢ )‪َ (١٩٠‬ﻣ ـ ْﻦ ﻳﻌﺮﻓــﻪ‬
‫رواﻳــﺔ ً‬

‫)‪" (١٨٠‬ﻟﻔﻆ" ﻟﻴﺲ ﻓﻲ )د(‪.‬‬

‫)‪ (١٨١‬ﺳﻮرة اﻟﻔﺎﺗﺤﺔ ‪ /‬اﻵﻳﺘﺎن ‪١‬و‪ ،٢‬وﻣﻮاﺿﻊ أﺧﺮ ﻣﻦ اﻟﻘﺮآن اﻟﻜﺮﻳﻢ‪.‬‬
‫)‪ (١٨٢‬اﻟﺮﻋﺎﻳﺔ‪.١٧١-١٧٠ :‬‬
‫)‪" (١٨٣‬أن" ﻟﻴﺲ ﻓﻲ )د(‪.‬‬
‫)‪ (١٨٤‬اﻟﺮﻋﺎﻳﺔ‪.٢٣٠ :‬‬
‫)‪" (١٨٥‬ﺳﺒﺤﺎﻧﻪ" ﻟﻴﺲ ﻓﻲ )د(‪.‬‬
‫)‪ (١٨٦‬ﻓﻲ )د(‪" :‬أداﺋﻪ"‪.‬‬
‫)‪ (١٨٧‬ﻓﻲ )د(‪" :‬ﻣﺨﺮﺟﻪ"‪.‬‬
‫)‪" (١٨٨‬ﻫﻮ" ﻟﻴﺲ ﻓﻲ )د(‪.‬‬
‫)‪" (١٨٩‬اﻟﻔﻄﻦ" ﻟﻴﺲ ﻓﻲ اﻷﺻﻞ‪.‬‬
‫)‪ (١٩٠‬ﻓﻲ )د(‪" :‬ﻓﻤﻨﻬﻢ"‪.‬‬
‫ﺍﻟﺴﻨﺔ ﺍﻷﻭﻟﻰ ﺍﻟﻌﺪﺩ ﺍﻷﻭﻝ ‪١٤٣٩‬ﻫ ‪ ٢٠١٨‬ﻡ‬
 ‫ﻛﻴﻔﻴﺔ ﺃﺩﺍﺀ ﺍﻟﻀﺎﺩ ﺍﻟﻤﻌﺠﻤﺔ ‪ ..‬ﺃ‪.‬ﺩ ﺻﺎﻟﺢ ﻣﻬﺪﻱ ﻋﺒﺎﺱ‬ ‫‪٢٧٠‬‬

‫وﺗﻘﻠﻴ ًﺪا ﻓﺬﻟﻚ ﻫـﻮ اﻟ َـﻮ ِﻫﻦ اﻟـﻀ‪‬ﻌﻴﻒ‪ ،‬ﻻ ﻳﻠﺒ ُ‬

‫) ‪(١٩١‬‬
‫ـﺚ أ ‪‬ن ﻳ ‪‬‬
‫ـﺸﻚ وﻳﺪﺧﻠـﻪ اﻟﺘ‪‬ﺤﺮﻳـﻒ‬ ‫ﺳﻤﺎﻋﺎ‬
‫ً‬
‫) ‪(١٩٢‬‬
‫ٱﻧﺘﻬﻰ‪.‬‬ ‫أﺻﻞ‪ ،‬وﻻ ﻧﻘﻞ ﻋﻦ ٍ‬
‫ﻓﻬﻢ‬ ‫واﻟﺘّﺼﺤﻴﻒ‪ ،‬إذ ﻟﻢ ﻳﺒ ِﻦ ﻋﻠﻰ ٍ‬
‫وﻻ ﻳﻨﺒﻐـ ــﻲ أ ْن ﻳﻜﺘ َﻔـ ــﻲ )‪ (١٩٣‬ﺑﺎﻟﻤﻘ ـ ـﺪ‪‬ﻣﺎت واﻟ ‪‬ﺮﺳ ـ ـﺎﺋﻞ إذ ﻻ ﻛﻔﺎﻳـ ــﺔ ﻓﻴﻬـ ــﺎ‪ .‬ﺛ ـ ـ ‪‬ﻢ ﻻ ﻳﻨﺒﻐـ ــﻲ‬
‫ﻟﻠﻤﺴﻠِﻢ أ ْن ﻳُﺼ ‪‬ﺮ ﻋﻠﻰ اﻟﺨﻄﺄ ﺑﻌﺪ ﻣﺎ ٱﺳﺘﻴﻘﻦ اﻟﺤ ‪‬ﻖ‪.‬‬ ‫ُ‬
‫اﻟﻤﺤ ‪‬ﺠـﺔ ﻟﻬـﻢ‪ ،‬وأ ‪‬ﻛـﺪت‬ ‫‪ :‬ﻗ ْﺪ َوﻓ‪‬ـﻖ اﷲُ –ﺳـﺒﺤﺎﻧﻪ– ﻓﺄوﺿ ْ‬
‫(‬‫‪١٩٤‬‬ ‫)‬ ‫ِ‬
‫ﺖ َ‬ ‫ـﺤ ُ‬ ‫اﻟﻔﻘﻴﺮ‬
‫ُ‬ ‫ﺲ‬‫ﻳﻘﻮل اﻟﺒﺎﺋ ُ‬
‫ُ‬
‫) ‪(١٩٥‬‬
‫ﺚ ﺑَـ ْﻌ َﺪﻩُ ﻳُـ ْﺆِﻣﻨُـ ْﻮ َن﴾‪.‬‬
‫ي ﺣ ِﺪﻳ ٍ‬ ‫ِ‬
‫اﻟﺤﺠﺔ ﻋﻠﻴﻬﻢ‪ ،‬ﻓﺈن ٱرﺗﺎﺑﻮا ﺑﻌﺪ ذﻟﻚ ﴿ﻓَﺒِﺄَ ‪ْ َ ‬‬
‫اﻟﻌ َـﺰِة َﻋ ‪‬ﻤـﺎ‬
‫ب ِ‬ ‫ـﻚ َر ‪‬‬
‫وﺟﻼﻟﻪ ﺗﺘﻢ اﻟﺼﺎﻟﺤﺎت‪ُ ﴿ ،‬ﺳ ْـﺒ َﺤﺎ َن َرﺑ‪َ ‬‬ ‫ِ‬ ‫واﻟﺤﻤﺪ اﷲ اﻟﺬي )‪ (١٩٦‬ﺑﻌﺰﺗﻪ‬
‫) ‪(١٩٧‬‬
‫ب اﻟْ َﻌﺎﻟ َِﻤﻴْ َﻦ﴾‪.‬‬ ‫ﺼ ُﻔﻮ َن * وﺳ َﻼم َﻋﻠَﻰ اﻟﻤﺮﺳﻠِﻴﻦ * واﻟﺤﻤ ُﺪ ﻟِ ِ‬
‫ﻠﻪ َر ‪‬‬ ‫ﻳِ‬
‫ُْ َ َ َ َ ْ‬ ‫ََ ٌ‬ ‫َ‬

‫ﺳﻤﺎﻋﺎ"‬
‫ﺳﻤﺎﻋﺎ ً‬
‫)‪ (١٩١‬ﻓﻲ )د( " ً‬
‫)‪ (١٩٢‬اﻟﺮﻋﺎﻳﺔ‪.٦٩ :‬‬
‫)‪" (١٩٣‬ﻳﻜﺘﻔﻲ" ﻟﻴﺲ ﻓﻲ )د(‪.‬‬
‫)‪ (١٩٤‬ﻫﻮ اﻟﻤﺆﻟﻒ ﻣﺤﻤﺪ اﻟﻤﺮﻋﺸﻲ‪.‬‬
‫)‪ (١٩٥‬ﺳﻮرة اﻟﻤﺮﺳﻼت ‪ /‬اﻵﻳﺔ ‪.٥٠‬‬
‫)‪" (١٩٦‬اﻟﺬي "ﻟﻴﺲ ﻓﻲ )د(‪.‬‬
‫)‪ (١٩٧‬ﺳﻮرة اﻟﺼﺎﻓﺎت ‪ /‬اﻵﻳﺎت ‪.١٨٢ ،١٨١‬‬
‫ﺍﻟﺴﻨﺔ ﺍﻷﻭﻟﻰ ﺍﻟﻌﺪﺩ ﺍﻷﻭﻝ ‪١٤٣٩‬ﻫ ‪ ٢٠١٨‬ﻡ‬
 ‫ﻛﻴﻔﻴﺔ ﺃﺩﺍﺀ ﺍﻟﻀﺎﺩ ﺍﻟﻤﻌﺠﻤﺔ ‪ ..‬ﺃ‪.‬ﺩ ﺻﺎﻟﺢ ﻣﻬﺪﻱ ﻋﺒﺎﺱ‬ ‫‪٢٧١‬‬

‫ﻗﺎﺋﻤﺔ ﺍﻟﻤﺼﺎﺩﺭ ﻭﺍﻟﻤﺮﺍﺟﻊ‬

‫* اﻟﻘﺮآن اﻟﻜﺮﻳﻢ‪.‬‬
‫‪ -١‬اﻷﻋـ ــﻼم ‪-‬ﻗـ ــﺎﻣﻮس ﺗـ ــﺮاﺟﻢ‪ -‬ﻟﺨﻴـ ــﺮ اﻟـ ــﺪﻳﻦ اﻟﺰرﻛﻠـ ــﻲ )ت‪١٩٧٦‬م( دار اﻟﻌﻠـ ــﻢ ﻟﻠﻤﻼﻳـ ــﻴﻦ‪،‬‬
‫ﺑﻴﺮوت ‪١٩٧٩‬م‪.‬‬
‫‪ -٢‬إﻧﺒﺎء اﻟﻐﻤﺮ ﺑﺄﺑﻨﺎء اﻟﻌﻤﺮ‪ ،‬ﺷﻬﺎب اﻟﺪﻳﻦ أﺣﻤﺪ ﺑﻦ ﻋﻠـﻲ ﺑـﻦ ﺣﺠـﺮ اﻟﻌـﺴﻘﻼﻧﻲ )ت‪٨٥٢‬ﻫ(‪،‬‬
‫داﺋﺮة اﻟﻤﻌﺎرف اﻟﻌﺜﻤﺎﻧﻴﺔ‪ ،‬ﺣﻴﺪ آﺑﺎد اﻟﺪﻛﻦ‪ ،‬اﻟﻬﻨﺪ ‪١٩٧٦-١٩٦٧‬م‪.‬‬
‫‪ -٣‬إﻧﺒــﺎﻩ اﻟــﺮواة ﻋﻠــﻰ أﻧﺒــﺎء اﻟﻨﺤــﺎة‪ ،‬ﺟﻤــﺎل اﻟــﺪﻳﻦ ﻋﻠــﻲ ﺑــﻦ ﻳﻮﺳــﻒ اﻟﻘﻔﻄــﻲ )ت‪٦٤٦‬ﻫ( ﺗــﺢ‪:‬‬
‫ﻣﺤﻤﺪ أﺑﻮ اﻟﻔﻀﻞ إﺑﺮاﻫﻴﻢ‪ ،‬دار اﻟﻜﺘﺐ اﻟﻤﺼﺮﻳﺔ‪ ،‬اﻟﻘﺎﻫﺮة‪١٣٦٩ ،‬ﻫ‪١٩٥٠‬م‪.‬‬
‫‪ -٤‬إﻳــﻀﺎح اﻟﻤﻜﻨــﻮن ﻓــﻲ اﻟــﺬﻳﻞ ﻋﻠــﻰ ﻛــﺸﻒ اﻟﻈﻨــﻮن ﻋــﻦ أﺳــﺎﻣﻲ اﻟﻜﺘــﺐ واﻟﻔﻨــﻮن‪ ،‬إﺳــﻤﺎﻋﻴﻞ‬
‫ﺑﺎﺷﺎ اﻟﺒﻐﺪادي )ت‪١٣٣٩‬ﻫ( إﺳﻼﻣﺒﻮل‪١٣٦٤ ،‬ﻫـ‪١٩٤٥‬م‪.‬‬
‫‪ -٥‬اﻟﺒ ــﺪر اﻟﻄ ــﺎﻟﻊ ﺑﻤﺤﺎﺳ ــﻦ ﻣ ــﻦ ﺑﻌ ــﺪ اﻟﻘ ــﺮن اﻟ ــﺴﺎﺑﻊ‪ ،‬اﻟﻘﺎﺿ ــﻲ ﻣﺤﻤ ــﺪ ﺑ ــﻦ ﻋﻠ ــﻲ اﻟ ــﺸﻮﻛﺎﻧﻲ‬
‫)ت‪١٢٥٠‬ﻫ( اﻟﻘﺎﻫﺮة‪ ،‬ﻣﻄﺒﻌﺔ اﻟﺴﻌﺎدة‪ ،‬اﻟﻘﺎﻫﺮة‪١٣٤٨ ،‬م‪.‬‬
‫‪ -٦‬ﺑﺮﻫــﺎن اﻟــﺪﻳﻦ اﻟﺠﻌﺒــﺮي وﻓﻬﺮﺳــﺖ ﻣــﺼﻨﻔﺎﺗﻪ‪ ،‬ﺻــﺎﻟﺢ ﻣﻬــﺪي ﻋﺒــﺎس‪ ،‬ﻣﻨــﺸﻮرات ﻣﺮﻛــﺰ إﺣﻴــﺎء‬
‫اﻟﺘﺮاث اﻟﻌﻠﻤﻲ اﻟﻌﺮﺑﻲ ﺑﺠﺎﻣﻌﺔ ﺑﻐﺪاد‪ ،‬ﺑﻐﺪاد‪١٩٨٤ ،‬م‪.‬‬
‫‪ -٧‬ﺗــﺎرﻳﺦ آداب اﻟﻠﻐــﺔ اﻟﻌﺮﺑﻴــﺔ‪ ،‬ﺟﺮﺣــﻲ زﻳــﺪان‪ ،‬ﻣﻨــﺸﻮرات دار ﻣﻜﺘﺒــﺔ اﻟﺤﻴــﺎة‪ ،‬اﻟﻄﺒﻌــﺔ اﻟﺜﺎﻧﻴــﺔ‪،‬‬
‫ﺑﻴﺮوت‪١٩٧٨ ،‬م‪.‬‬
‫‪ -٨‬ﺗﺎرﻳﺦ اﻷدب اﻟﻌﺮﺑﻲ‪ ،‬ﺑﺮوﻛﻠﻤﺎن‪ ،‬اﻟﻄﺒﻌﺔ اﻷﻟﻤﺎﻧﻴﺔ‪ ،‬ﻣﻄﺎﺑﻊ ﺑﺮﻳﻞ‪ ،‬ﻟﻴﺪن‪١٩٤٩ ،‬م‪.‬‬
‫‪ -٩‬اﻟﺘﺤﺪﻳ ـ ــﺪ ﻓ ـ ــﻲ اﻹﺗﻘ ـ ــﺎن واﻟﺘﺠﻮﻳ ـ ــﺪ‪ ،‬أﺑ ـ ــﻮ ﻋﻤ ـ ــﺮو ﻋﺜﻤ ـ ــﺎن ﺑ ـ ــﻦ ﺳ ـ ــﻌﻴﺪ اﻟ ـ ــﺪاﻧﻲ اﻷﻧﺪﻟ ـ ــﺴﻲ‬
‫)ت‪٤٤٤‬ﻫ(‪ ،‬ﺗﺢ د‪ :‬ﻏﺎﻧﻢ ﻗﺪوري اﻟﺤﻤﺪ‪ ،‬دار اﻷﻧﺒﺎر‪ ،‬ﺑﻐﺪاد‪١٤٠٧ ،‬ﻫ‪.‬‬
‫‪ -١٠‬ﺗﺮﺗﻴ ـ ــﺐ اﻟﻌﻠ ـ ــﻮم‪ ،‬اﻟ ـ ــﺸﻴﺦ ﻣﺤﻤ ـ ــﺪ ﺑ ـ ــﻦ أﺑ ـ ــﻲ ﺑﻜ ـ ــﺮ اﻟﻤﺮﻋ ـ ــﺸﻲ اﻟ ـ ــﺸﻬﻴﺮ ﺑ ـ ــﺴﺎﺟﻘﻠﻲ زادة‬
‫)ت‪١١٥٠‬ﻫ(‪ ،‬ﺗــﺢ اﻟ ــﺴﻴﺪة ﻧﺠــﻼء ﻗﺎﺳ ــﻢ ﻋﺒ ــﺎس‪ ،‬ﻣﻨــﺸﻮرات ﻣﺮﻛ ــﺰ إﺣﻴــﺎء اﻟﺘ ــﺮاث اﻟﻌﻠﻤ ــﻲ‬
‫اﻟﻌﺮﺑﻲ‪ ،‬ﺟﺎﻣﻌﺔ ﺑﻐﺪاد‪.١٩٨٤ ،‬‬

‫ﺍﻟﺴﻨﺔ ﺍﻷﻭﻟﻰ ﺍﻟﻌﺪﺩ ﺍﻷﻭﻝ ‪١٤٣٩‬ﻫ ‪ ٢٠١٨‬ﻡ‬

 ‫ﻛﻴﻔﻴﺔ ﺃﺩﺍﺀ ﺍﻟﻀﺎﺩ ﺍﻟﻤﻌﺠﻤﺔ ‪ ..‬ﺃ‪.‬ﺩ ﺻﺎﻟﺢ ﻣﻬﺪﻱ ﻋﺒﺎﺱ‬ ‫‪٢٧٢‬‬

‫‪ -١١‬اﻟﺘﻤﻬﻴــﺪ ﻓــﻲ ﻋﻠــﻢ اﻟﺘﺠﻮﻳــﺪ‪ ،‬ﺷــﻤﺲ اﻟــﺪﻳﻦ أﺑ ـﻮ اﻟﺨﻴــﺮ ﻣﺤﻤــﺪ ﺑــﻦ ﻣﺤﻤــﺪ ٱﺑــﻦ اﻟﺠــﺰري‬
‫)ت‪٨٣٣‬ﻫ(‪ ،‬ﺗﺤﻘﻴـ ــﻖ د‪ :‬ﻏـ ــﺎﻧﻢ ﻗـ ــﺪوري اﻟﺤﻤـ ــﺪ‪ ،‬ﺑﻴـ ــﺮوت‪ ،‬ﻣﺆﺳـ ــﺴﺔ اﻟﺮﺳـ ــﺎﻟﺔ‪١٤٠٦ ،‬ﻫـ ـ ـ‪-‬‬
‫‪١٩٨٦‬م‪.‬‬
‫‪ -١٢‬ﺟﻬــﺪ اﻟﻤﻘــﻞ‪ ،‬ﻣﺤﻤــﺪ ﺑــﻦ أﺑــﻲ ﺑﻜــﺮ اﻟﻤﺮﻋ ـﺸﻲ اﻟﻤﻌــﺮوف ﺑــﺴﺎﺟﻘﻠﻲ زادة )ت‪١١٥٠‬ﻫ(‬
‫رﺳـ ــﺎﻟﺔ دﻛﺘـ ــﻮراﻩ‪ ،‬ﺗﺤﻘﻴـ ــﻖ اﻟـ ــﺴﻴﺪ ﺳـ ــﺎﻟﻢ ﻗـ ــﺪوري ﺣﻤـ ــﺪ ﻣـ ــﻦ ﻛﻠﻴـ ــﺔ اﻵداب‪ ،‬ﺟﺎﻣﻌـ ــﺔ ﺑﻐـ ــﺪاد‪،‬‬
‫‪١٩٩٣‬م‪.‬‬
‫‪ -١٣‬ﺧﻼﺻﺔ اﻷﺛﺮ ﻓﻲ أﻋﻴﺎن اﻟﻘﺮن اﻟﺤﺎدي ﻋﺸﺮ‪ ،‬اﻟﺸﻴﺦ ﻣﺤﻤﺪ أﻣﻴﻦ ﺑـﻦ ﻓـﻀﻞ اﷲ اﻟﻤﺤﺒـﻲ‬
‫)ت‪١١١١‬ﻫ(‪ ،‬ﻣﻜﺘﺒﺔ دار ﺻﺎدر‪ ،‬ﺑﻴﺮوت‪١٩٦٦ ،‬م‪.‬‬
‫‪ -١٤‬اﻟﺮﻋﺎﻳﺔ ﻟﺘﺠﻮﻳﺪ اﻟﻘﺮاءة وﺗﺤﻘﻴﻖ ﻟﻔﻆ اﻟﺘﻼوة‪ ،‬ﻣﻜﻲ ﺑﻦ أﺑﻲ ﻃﺎﻟـﺐ اﻟﻘﻴـﺴﻲ )ت‪٤٣٧‬ﻫ(‪،‬‬
‫ﺗﺢ د‪ :‬أﺣﻤﺪ ﻓﺮﺣﺎت‪ ،‬دار اﻟﻤﻌﺎرف ﻟﻠﻄﺒﺎﻋﺔ‪ ،‬دﻣﺸﻖ‪١٣٩٣ ،‬ﻫ ‪١٩٧٣‬م‪.‬‬
‫‪ -١٥‬ﺳ ــﺮ ﺻ ــﻨﺎﻋﺔ اﻹﻋ ــﺮاب‪ ،‬أﺑـ ـﻮ اﻟﻔ ــﺘﺢ ﻋﺜﻤ ــﺎن ﺑ ــﻦ ﺟﻨ ــﻲ اﻟﻨﺤ ــﻮي )ت‪٣٩٢‬ﻫ(‪ ،‬ﺗﺤﻘﻴـ ـﻖ ك‬
‫ﻣﺼﻄﻔﻰ اﻟﺴﻘﺎ وآﺧﺮﻳﻦ– ﻣﻄﺒﻌﺔ ﻣﺼﻄﻔﻰ اﻟﺒﺎﺑﻲ اﻟﺤﻠﺒﻲ‪ ،‬اﻟﻘﺎﻫﺮة‪١٣٧٤ ،‬ﻫ‪١٩٥٤‬م‪.‬‬
‫‪ -١٦‬ﺷــﺬرات اﻟــﺬﻫﺐ ﻓــﻲ أﺧﺒــﺎر ﻣــﻦ ذﻫــﺐ‪ ،‬أﺑــﻮ اﻟﻔــﻼح ﻋﺒــﺪ اﻟﺤــﻲ ﺑــﻦ أﺣﻤــﺪ ٱﺑــﻦ اﻟﻌﻤــﺎد‬
‫اﻟﺤﻨﺒﻠﻲ )ت‪١٠٨٩‬ﻫـ(‪ ،‬اﻟﻘﺎﻫﺮة‪١٣٥٠،‬ﻫ‪.‬‬
‫‪ -١٧‬ﺷــﺮح ﺷ ــﺎﻓﻴﺔ ٱﺑ ــﻦ اﻟﺤﺎﺟ ــﺐ‪ ،‬رﺿ ــﻲ اﻟ ــﺪﻳﻦ ﻣﺤﻤ ــﺪ اﻟﺤ ــﺴﻦ اﻹﺳ ــﺘﺮاﺑﺎدي )ت‪٦٨٦‬ﻫ(‪،‬‬
‫ﺗﺤﻘﻴﻖ‪ :‬ﻣﺤﻤﺪ اﻟﺰﻓﺰات وآﺧﺮﻳﻦ‪ ،‬ﻣﻄﺒﻌﺔ ﺣﺠﺎزي‪ ،‬اﻟﻘﺎﻫﺮة ‪١٣٥٥‬ﻫ‪١٣٥٨-‬ﻫـ‪.‬‬
‫‪ -١٨‬اﻟــﻀﻮء اﻟﻼﻣــﻊ ﻷﻫــﻞ اﻟﻘــﺮن اﻟﺘﺎﺳــﻊ‪ ،‬ﺷــﻤﺲ اﻟــﺪﻳﻦ ﻣﺤﻤــﺪ ﺑــﻦ ﻋﺒــﺪ اﻟــﺮﺣﻤﻦ اﻟــﺴﺨﺎوي‬
‫)ت‪٩٠٢‬ﻫـ(‪ ،‬ﻣﻜﺘﺒﺔ ﺣﺴﺎم اﻟﺪﻳﻦ اﻟﻘﺪﺳﻲ‪ ،‬اﻟﻘﺎﻫﺮة‪١٣٥٣ ،‬ﻫ‪.‬‬
‫‪ -١٩‬ﻏﺎﻳــﺔ اﻟﻨﻬﺎﻳــﺔ ﻓــﻲ ﻃﺒﻘــﺎت اﻟﻘ ـﺮاء‪ ،‬ﺷــﻤﺲ اﻟــﺪﻳﻦ ٱﺑــﻦ اﻟﺠــﺰري‪ ،‬ﻧــﺸﺮﻩ‪ :‬ج‪ .‬ﺑﺮﺟــﺴﺘﺮاﺳﺮ‪،‬‬
‫اﻟﻘﺎﻫﺮة‪١٣٥١،‬ﻫـ‪١٩٣٢‬م‪.‬‬
‫‪ -٢٠‬ﻓﻬﺮس اﻟﺨﺰاﻧﺔ اﻟﺘﻴﻤﻮرﻳﺔ‪ ،،‬ﻣﻄﺒﻌﺔ دار اﻟﻜﺘﺐ اﻟﻤﺼﺮﻳﺔ‪ ،‬اﻟﻘﺎﻫﺮة‪١٣٦٧ ،‬ﻫ‪١٩٤٨‬م‬
‫‪ - ٢١‬ﻓﻬ ـ ـ ــﺮس اﻟﻤﺨﻄﻮﻃ ـ ـ ــﺎت ﺑ ـ ـ ــﺪار اﻟﻜﺘ ـ ـ ــﺐ اﻟﻤ ـ ـ ــﺼﺮﻳﺔ‪ ،‬ﻣﻄﺒﻌ ـ ـ ــﺔ دار اﻟﻜﺘ ـ ـ ــﺐ اﻟﻤـ ـ ـ ـﺼﺮﻳﺔ‪،‬‬
‫اﻟﻘﺎﻫﺮة‪١٣٨٠،‬ﻫـ‪١٩٦١‬م‪.‬‬
‫‪ -٢٢‬ﻓﻬــﺮس ﻣﺨﻄﻮﻃــﺎت ﻣﻜﺘﺒــﺔ اﻷوﻗــﺎف اﻟﻌﺎﻣــﺔ ﺑﺎﻟﻤﻮﺻــﻞ‪ ،‬إﻋــﺪاد ﺳــﺎﻟﻢ ﻋﺒــﺪ اﻟــﺮزاق اﺣﻤ ـﺪ‪،‬‬
‫ﻣﻄﺒﻌﺔ اﻷوﻗﺎف‪ ،‬ﺑﻐﺪاد‪١٩٧٦ ،‬م‪.‬‬

‫ﺍﻟﺴﻨﺔ ﺍﻷﻭﻟﻰ ﺍﻟﻌﺪﺩ ﺍﻷﻭﻝ ‪١٤٣٩‬ﻫ ‪ ٢٠١٨‬ﻡ‬

 ‫ﻛﻴﻔﻴﺔ ﺃﺩﺍﺀ ﺍﻟﻀﺎﺩ ﺍﻟﻤﻌﺠﻤﺔ ‪ ..‬ﺃ‪.‬ﺩ ﺻﺎﻟﺢ ﻣﻬﺪﻱ ﻋﺒﺎﺱ‬ ‫‪٢٧٣‬‬

‫‪ -٢٣‬ﻓﻬ ــﺮس ﻣﺨﻄﻮﻃـ ــﺎت ﻣﻜﺘﺒـ ــﺔ ﻛـ ــﻮﺑﺮﻳﻠﻲ‪ -‬ﺗﺮﻛﻴـ ــﺎ‪ ،‬ﻣﻨـ ــﺸﻮرات ﻣﻨﻈﻤـ ــﺔ اﻟﻤـ ــﺆﺗﻤﺮ اﻹﺳـ ــﻼﻣﻲ‪،‬‬
‫إﺳﻼﻣﺒﻮل ‪١٤٠٦‬ﻫ‪١٩٨٦‬م‬
‫‪ -٢٤‬اﻟﻔﻮاﺋﺪ اﻟﺒﻬﻴﺔ ﻓﻲ ﺗـﺮاﺟﻢ اﻟﺤﻨﻔﻴـﺔ‪ ،‬ﻣﺤﻤـﺪ ﻋﺒـﺪ اﻟﺤـﻲ اﻟﻠﻜﻨـﻮي اﻟﻬﻨـﺪي )ت‪١٣٠٤‬ﻫ ـ(‪،‬‬
‫ﺗﺼﺤﻴﺢ‪ :‬ﻣﺤﻤﺪ ﺑﺪر اﻟﺪﻳﻦ اﻟﻨﻌﺴﺎﻧﻲ‪ ،‬ﻣﺼﺮ‪ ،‬ﻣﻄﺒﻌﺔ اﻟﺴﻌﺎدة‪١٣٢٤ ،‬ﻫـ‪.‬‬
‫‪ -٢٥‬اﻟﻜﺘــﺎب‪ ،‬ﺳــﻴﺒﻮﻳﻪ ﻋﻤــﺮو ﺑــﻦ ﻋﺜﻤــﺎن ﺑــﻦ ﻗﻨﺒــﺮ )ت‪١٨٠‬ﻫ( ﺗﺤﻘﻴــﻖ‪ :‬ﻋﺒــﺪ اﻟــﺴﻼم ﻣﺤﻤــﺪ‬
‫ﻫﺎرون‪ ،‬ﻋﺎﻟﻢ اﻟﻜﺘﺐ‪ ،‬ﺑﻴﺮوت‪) ،‬ﻻ‪.‬ت(‬
‫‪ -٢٦‬اﻟﻜﻮاﻛــﺐ اﻟــﺴﺎﺋﺮة ﺑﺄﻋﻴــﺎن اﻟﻤﺌــﺔ اﻟﻌﺎﺷــﺮة‪ ،‬اﻟــﺸﻴﺦ ﻧﺠــﻢ اﻟــﺪﻳﻦ ﻣﺤﻤــﺪ ﺑــﻦ ﻣﺤﻤــﺪ اﻟﻐــﺰي‬
‫)ت‪١٠٦١‬ﻫ( ﺗﺤﻘﻴﻖ‪ :‬ﺟﺒﺮاﺋﻴﻞ ﺳﻠﻴﻤﺎن ﺟﺒﻮر‪ ،‬دار اﻵﻓﺎق اﻟﺠﺪﻳﺪة‪ ،‬ﺑﻴﺮوت‪١٩٧٩ ،‬م‪.‬‬
‫‪ -٢٧‬ﻣﻌﺠــﻢ اﻟﺒﻠ ــﺪان‪ ،‬ﻳــﺎﻗﻮت ﺑ ــﻦ ﻋﺒــﺪ اﷲ اﻟﺤﻤ ــﻮي )ت‪٦٢٦‬ﻫ(‪ ،‬دار ﺻــﺎدر ودار ﺑﻴ ــﺮوت‪،‬‬
‫ﻟﺒﻨﺎن ‪١٣٩٧‬ﻫـ‪١٩٧٧‬م‬
‫‪ -٢٨‬ﻣﻌﺠﻢ ﺷﻴﻮخ اﻟﺬﻫﺒﻲ‪ ،‬ﺷﻤﺲ اﻟﺪﻳﻦ ﻣﺤﻤﺪ ﺑـﻦ أﺣﻤـﺪ ﺑـﻦ ﻋﺜﻤـﺎن اﻟﺪﻣـﺸﻘﻲ )ت‪٧٤٨‬ﻫ(‬
‫ﻧﺴﺨﺔ ﻣﺼﻮرة ﻣﺤﻔﻮﻇﺔ ﻓﻲ ﻣﻜﺘﺒﺔ اﻷوﻗﺎف‪ ،‬ﺑﻐﺪاد‪ ،‬وﻗﺪ أﻛﻤﻠﻨﺎ ﺗﺤﻘﻴﻘﻪ‪.‬‬
‫‪ -٢٩‬ﻣﻌﺠﻢ اﻟﻤﻄﺒﻮﻋﺎت اﻟﻌﺮﺑﻴﺔ واﻟﻤﻌﺮﺑـﺔ‪ ،‬ﻳﻮﺳـﻒ إﻳﻠﻴـﺎن ﺳـﺮﻛﻴﺲ‪ ،‬ﻣﻄﺒﻌـﺔ ﺳـﺮﻛﻴﺲ‪ ،‬اﻟﻘـﺎﻫﺮة‪،‬‬
‫‪١٣٤٦‬ﻫـ‪١٩٢٨‬م‪.‬‬
‫‪ -٣٠‬ﻣﻌﺠــﻢ اﻟﻤــﺆﻟﻔﻴﻦ ‪-‬ﺗــﺮاﺟﻢ ﻣــﺼﻨﻔﻲ اﻟﻜﺘــﺐ اﻟﻌﺮﺑﻴــﺔ‪ ،٠‬ﻋﻤــﺮ رﺿــﺎ ﻛﺤﺎﻟــﺔ‪ ،‬ﻣﻄﺒﻌــﺔ اﻟﺘﺮﻗــﻲ‪،‬‬
‫دﻣﺸﻖ‪١٣٧٦ ،‬ﻫـ‪١٩٥٧‬م‪.‬‬
‫‪ -٣١‬ﻣﻌﺮﻓﺔ اﻟﻘﺮاء اﻟﻜﺒﺎر ﻋﻠـﻰ اﻟﻄﺒﻘـﺎت واﻹﻋـﺼﺎر‪ ،‬ﺷـﻤﺲ اﻟـﺪﻳﻦ اﻟـﺬﻫﺒﻲ‪ ،‬ﺗﺤﻘﻴـﻖ د‪ .‬ﺑـﺸﺎر‬
‫ﻋﻮاد ﻣﻌﺮوف واﻟﺸﻴﺦ ﺷـﻌﻴﺐ اﻷرﻧـﺎؤوط وﺻـﺎﻟﺢ ﻣﻬـﺪي ﻋﺒـﺎس‪ ،‬ﻣﺆﺳـﺴﺔ اﻟﺮﺳـﺎﻟﺔ‪ ،‬ﺑﻴـﺮوت‪،‬‬
‫‪١٤٠٤‬ﻫـ‪١٩٨٤‬م‪.‬‬
‫‪ -٣٢‬اﻟﻤﻔﻴــﺪ ﻓــﻲ ﺷــﺮح ﻋﻤــﺪة اﻟﻤﺠﻴــﺪ ﻓــﻲ اﻟــﻨﻈﻢ واﻟﺘﺠﻮﻳــﺪ‪ ،‬اﻟــﺸﻴﺦ ﺑــﺪر اﻟــﺪﻳﻦ اﻟﺤــﺴﻦ ﺑــﻦ‬
‫ﻗﺎﺳــﻢ ﺑــﻦ ﻋﺒــﺪ اﷲ اﻟﻤــﺮادي )ت‪٧٤٩‬ﻫـ ـ(‪ ،‬ﺗﺤﻘﻴــﻖ د‪ .‬ﻋﻠــﻲ ﺣــﺴﻴﻦ اﻟﺒــﻮاب‪ ،‬ﻣﻜﺘﺒــﺔ اﻟﻤﻨــﺎر‪،‬‬
‫اﻟﺰرﻗﺎء‪ ،‬اﻷردن‪١٤٠٧ ،‬ﻫـ‪١٩٨٧‬م‪.‬‬
‫‪ -٣٣‬اﻟﻤﻨﺢ اﻟﻔﻜﺮﻳﺔ ﺑـﺸﺮح اﻟﻤﻘﺪﻣـﺔ اﻟﺠﺰرﻳـﺔ‪ ،‬اﻟﻤـﻼ ﻋﻠـﻲ ﺑـﻦ ﺳـﻠﻄﺎن اﻟﻘـﺎري )ت‪١٠١٤‬ﻫ ـ(‪،‬‬
‫اﻟﻤﻄﺒﻌﺔ اﻟﻤﻴﻤﻨﻴﺔ‪ ،‬اﻟﻘﺎﻫﺮة‪١٣٠٨ ،‬ﻫـ‪.‬‬

‫ﺍﻟﺴﻨﺔ ﺍﻷﻭﻟﻰ ﺍﻟﻌﺪﺩ ﺍﻷﻭﻝ ‪١٤٣٩‬ﻫ ‪ ٢٠١٨‬ﻡ‬

 ‫ﻛﻴﻔﻴﺔ ﺃﺩﺍﺀ ﺍﻟﻀﺎﺩ ﺍﻟﻤﻌﺠﻤﺔ ‪ ..‬ﺃ‪.‬ﺩ ﺻﺎﻟﺢ ﻣﻬﺪﻱ ﻋﺒﺎﺱ‬ ‫‪٢٧٤‬‬

‫‪ -٣٤‬اﻟﻤﻮﺿﺢ ﻓﻲ اﻟﺘﺠﻮﻳﺪ‪ ،‬اﻟﺸﻴﺦ ﻋﺒﺪ اﻟﻮﻫﺎب ﺑﻦ ﻣﺤﻤـﺪ اﻟﻘﺮﻃﺒـﻲ اﻷﻧﺪﻟـﺴﻲ )ت‪٤٦١‬ﻫ(‪،‬‬

‫ﺗﺢ د‪ .‬ﻏﺎﻧﻢ ﻗﺪوري اﻟﺤﻤﺪ‪ ،‬اﻟﻤﻨﻈﻤﺔ اﻟﻌﺮﺑﻴﺔ ﻟﻠﺘﺮﺑﻴﺔ واﻟﺜﻘﺎﻓﺔ واﻟﻌﻠﻮم‪ ،‬اﻟﻜﻮﻳﺖ‪١٩٩٠ ،‬م‪.‬‬
‫‪ -٣٥‬ﻧﺰﻫ ــﺔ اﻷﻟﺒـ ــﺎء ﻓ ــﻲ ﻃﺒﻘـ ــﺎت اﻷدﺑ ــﺎء‪ ،‬أﺑـ ــﻮ اﻟﺒﺮﻛ ــﺎت ﻋﺒـ ــﺪ اﻟ ــﺮﺣﻤﻦ ﺑـ ــﻦ ﻣﺤﻤ ــﺪ اﻷﻧﺒـ ــﺎري‬
‫)ت‪٥٧٧‬ﻫـ(‪ ،‬ﺗﺤﻘﻴﻖ د‪ .‬إﺑﺮاﻫﻴﻢ اﻟﺴﺎﻣﺮاﺋﻲ‪ ،‬ﻣﻜﺘﺒﺔ اﻷﻧﺪﻟﺲ‪ ،‬ﺑﻐﺪاد‪١٩٧٠ ،‬م‪.‬‬
‫‪ -٣٦‬ﻫﺪﻳـ ـ ــﺔ اﻟﻌـ ـ ــﺎرﻓﻴﻦ أﺳـ ـ ــﻤﺎء اﻟﻤـ ـ ــﺆﻟﻔﻴﻦ وآﺛـ ـ ــﺎر اﻟﻤـ ـ ــﺼﻨﻔﻴﻦ‪ ،‬إﺳـ ـ ــﻤﺎﻋﻴﻞ ﺑﺎﺷـ ـ ــﺎ اﻟﺒﻐـ ـ ــﺪادي‬
‫)ت‪١٣٣٩‬ﻫـ(‪ ،‬اﻟﻄﺒﻌﺔ اﻟﺜﺎﻟﺜﺔ‪ ،‬دﻣﺸﻖ‪١٣٨٧ ،‬ﻫـ‪١٩٦٧‬م‪.‬‬

‫* ﺍﻟﺪﻭﺭﻳﺎﺕ‪:‬‬
‫ﻓﻬﺮس ﻣﺨﻄﻮﻃﺎت ﻣﺤـﺮم ﺟﻠﺒـﻲ اﻟﻤﺮﻋـﺸﻲ‪ ،‬إﻋـﺪاد اﻟـﺴﻴﺪ ﻃـﻪ ﻣﺤـﺴﻦ‪ ،‬ﻧـﺸﺮﻩ ﻓـﻲ ﻣﺠﻠـﺔ اﻟﻤـﻮرد‬
‫اﻟﻌﺮاﻗﻴﺔ‪ ،‬اﻟﻤﺠﻠﺪ اﻟﺮاﺑﻊ‪ ،‬اﻟﻌﺪد اﻟﺮاﺑﻊ‪ ،‬ﻟﺴﻨﺔ ‪١٣٩٥‬ﻫـ‪١٩٧٥‬م‪.‬‬

‫ﺍﻟﺴﻨﺔ ﺍﻷﻭﻟﻰ ﺍﻟﻌﺪﺩ ﺍﻷﻭﻝ ‪١٤٣٩‬ﻫ ‪ ٢٠١٨‬ﻡ‬

 .................................................................. 26

Abstract:
Production of Arabic Dhad (‫ )ض‬Sound

Author
Shaykh Muhammad ibn Abi Bakr al-Mar'ashi, known as
Sajqali Zadeh (d. 1150)

Investigation
Dr. Saleh Mahdi Abbas
Center for the Revival of Arab Scientific Heritage
Baghdad University

This manuscript is a book written by Mohammed bin Abu-

Bakr Al-Mar’ashi, who was known as Sajulqi Zadeh (d.
1150 AH). The book describes how the Arabic (‫ )ض‬sound
can be correctly produced at the place of articulation
specified by the Arabic Scholars and Tajweed Scholars:
starting from the tip of the tongue and neighboring molar
teeth avoiding any confusion with the sounds of (‫ )ظ‬and (‫)د‬,
as is the case now in many Arab countries.
The (‫ )ض‬production is an old issue addressed with thorough
studies by our old and modern scholars who wrote books on
distinguishing it from (‫ )ظ‬sound with full description of its
articulation characteristics. This book is one of them.
In my critical editing, I depended on two manuscripts; one
kept with the House of Manuscripts in Tunis, and the other
in the House of Manuscripts in Baghdad. The manuscript
consists of seven sheets.
 .................................................................. 25

Some of the conclusions that appeared indicated the spots of

power and hard work in Al-Sijilmasi approach. They can be
summarized as follows:
- The research disclosed that Al-Sijilmasi's approach is
a virgin one that never before did rhetoricians and
critics focus on. When he categorized his subjects
according to ten high types of paronomasia, they
were: Iejaz (brevity), Takhyeel (illusion), Ishara
(reference), Mubalagha (exaggeration), Rasf
(ranging), Mudhahara (mutual support), Tawdheeh
(clarification), Ittisaa (expansion), Inthinaa (bending),
and Takreer (repetition).
- The research also outlined that Al-Sijilmasi, by
choosing Number Ten for his types of paronomasia,
achieved harmony between the methodology adopted
by the Arab Muslim philosophers who considered the
TEN categories of Aristotle and the one adopted by
rhetoricians and critics, through Al-Rummani who
divided rhetoric into ten categories.
- The paper concluded that Al-Sijilmasi inherited a
knowledge accumulation in literature and language,
which he managed to employ extensively in his book.
 .................................................................. 24

us. The forms, in which he sought objectivity and accuracy,

were unprecedented.
Al-Sijilmasi derived his book’s points of departure from the
Aristotle’s references of language, literature and philosophy
and their commentaries, within which his voice clearly
appears. His way of thinking is clearly distinguished in the
approach he adopted and followed, let alone the subject
matter that he configured and employed in discussion, with
the ultimate objective clearly identified.
All the afore-said have been legitimized by the knowledge
accumulation, the foundations of which were objectively
discussed, directed, or sometimes overlooked. This paper
considers the knowledge tributary that Al-Sijilmasi
employed in his book Manza' Al-Badee' fi Tajnees Asaleeb
Al-Badee', besides the methodology he followed in tracing
the philosophical and logical tributaries for their
significance. It is important for Al-Sijilmasi’s reader to be
well-acquainted with this tributary in order to conclude the
concept that he/she seeks to attain. Our study here seeks to
know the impact of philosophy and logic on Arabic rhetoric.
To Al-Sijilmasi, the philosophical tributary is rich and
effective in his book. It appears first in the title, and is soon
employed in his ten types of paronomasia. He employed the
most accurate philosophical system supported by a great
philosophical terminology. Though there are many
philosophical methods adopted, old and modern, such as the
hypothetical method of Plato, representational method of
Aristotle, dialectical method of Hegel, intuitive method of
Princeton, method of doubt which Descartes adopted,
Phenomenology as adopted by Husserl, and the analytical
method as adopted by Bertrand Russell,Al-Sijilmasi,
employed syllogism. Although he did not explicitly express
it, the elements of that methodology were there starting from
his premise.
 .................................................................. 23

under its scholars. He was also known as a man of literature,

for he studied at Al-Quraween Mosque and wrote a book
named: Al-Manza' Al-Badee' fi Tajnees Asaleeb Al-Badee'
and finished it in 704 AH.
Al-Sijilmasi was almost a contemporary of Hazim Al-
Qirtajini (d. 684 AH), who wrote Minhaj Al-Bulaghaa Wa
Siraj Al-Udabaa. In writing, they both followed the
Aristotelian approach and that of the Arab Muslim
philosophers. In spite of the fact that their trends both were
restricted by Aristotle's Episteme which was connected to
Greek laws of knowledge, they did their best to combine the
Arab and Greek cultures or achieve harmony between the
methodology of philosophers and that of rhetoricians and
critics, and strike a balance between constitution and
application.
In order to be acquainted with the impact of philosophy and
logic on the product of Al-Sijilmasi, the paper adopted the
descriptive approach with illustration for his approach or his
texts, providing analysis for those texts and striking a
balance for them with texts by philosophers, rhetoricians and
critics.
Some data contributed to knowledge acquisition by Al-
Sijilmasiand became a power of acquisition and achievement
in his achieved work Al-Manza' Al-Badee' fi Tajnees Asaleeb
Al-Badee'. Two main factors contributed to the achievement
of that product: Time & Space, for he inherited an abundant
knowledge accumulation from precedent peers from the East
and the West in philosophy, literature and religion who lived
throughout the seven centuries that preceded him. He
comprehended a portion thereof, so abundant that it provided
him access to the other factor which lied in his creative self
that enabled him to take in that knowledge accumulation and
then mold it into virgin forms as they were passed down to
 .................................................................. 22

Abstract:
The Impact of Philosophy & Logic on Arabic
Rhetoric (Sijilmasi as a sample)

Asst. Prof. Dr. Noori Kadhim Al-Sa’idi, Arabic Language

Dept., College of Education (Ibn Rushd), Baghdad
University.

At a very early stage, old scholars were aware of the impact

of Arabic Rhetoric. That was evident in the Sibawayh’s
book, Majaz Al-Quran, by Abu Obeidah, and Maani Al-
Quran by Al-Farraa. It was even clear in Qawaid Al-Shi'r by
Tha'lab and Al-Badee' by Ibn Al-Mu'taz who was considered
a pioneer in writing on rhetoric. Writing in relative subjects,
then, followed. Many books appeared, such as Naqd Al-
Sh'ir, by Qudama bin Jaafar Al-Baghdadi, Al-Sina'atain, by
Abu-Hilal Al-Askari, Al-Omda, by Ibn Rashiq Al-
Qairawani, Asrar Al-Balagha&Dala'il Al-I'ijaz, both written
by Abdul-Qadir Al-Jirjani, Al-Mathal Al-Sair Fi Adab Al-
Katib Wa Al-Sha'ir&Al-Jami' Al-Kabeer, both written by
Dhiya Al-Deen bin Al-Atheer, Al-Burhan&Al-Tibyan, both
by Al-Zamalqani, Nihayat Al-Iejaz, by Fakhr Al-Deen Al-
Razi, andBadee' Al-Quran&Thareer Al-Tahbeer, both by Al-
Misri.
Those books adopted multiple approaches in introducing
their contents. The literary orientation, however, was a
dominant characteristic, which distinguished those books
and signified them with Eastern Rhetoric.
In order to scrutinize the impact of philosophy and logic on
Arabic rhetoric, the research focused on a critic and a
rhetorician from Morroco, Al-Qasim bin Mohammed Al-
Ansari Al-Sijilmasi, a scholar who lived in the seventh and
eighth Hijri centuries. He was born and raised in Sijilmasa, a
town in Morroco. He moved to Fez and acquired knowledge
 .................................................................. 21

quantitatively a literary phenomenon that cannot be ignored

by historians and orientalists, as well as specialists in
Andalusian literature and its history in the Arab world.
Itamar Even-Zohar believes that "the literary phenomenon"
is consistent with its emergence and popularity during a
certain historical moment. According to the literary and
historical data, the image of the Andalusian society has
become complete starting from the conquest to the final
expulsion, but not to the surrender of Granada. It seems hard
to logically explain how a people, like that of Andalusia,
simply disappeared once the "Treaty of Extradition of
Granada" was signed, and hence dissolved in the Christian
community that used to be governed by it months before the
treaty was signed.
In this way, the Andalusian people must regain their human
identity of religion, language and homeland. According to
the French critic, "Roland Bart" 1915-1980, literature only
exists when it is taught, and this is what I want to arrive at:
Morisco literature as a school material; to be preserved in the
memory of generations, and become a part of the Arab
literature, Islamic and global literary heritage.
 .................................................................. 20

that demonstrated their adherence to their "human identity",

including homeland, religion, and language reflecting their
level of knowledge. At that time, the inquisitions have
worked hard to dissolve this identity. Their heritage has
become evident describing their pain, oppression, dedication
and aspiration to preserve their identity. Spanish and
Tunisian scholars and researchers, following long years of
search for Andalusian literary output through investigations
and studies of Morisco manuscripts, have unfortunately
entered a period of slumber and fainting. Therefore, it is
necessary to determine the period of time that the Moriscos
lived after Granada was handed over until the decision of the
final expulsion was taken in (1609-1492 AD) (1103-897
AH).
I proposed my project to the Faculty of Arts / Arabic
Language Department / University of Mustansiriya in
Baghdad after a five-year study on the Moriscan heritage. I
remained, for three years, teaching Morisco literature to
undergraduates of the third stage.
Like other societies, the Moriscos had a literary and religious
heritage, not to mention the nature and themes of which they
are based according to its intellectual system at that time for
which we should set a time or an era, like other peoples and
societies with an intellectual heritage. It is the natural state
of the intellectual and cultural life of peoples in the course of
human civilizations, and literature is the mirror of peoples. It
reflects the conditions of that society with sincerity and
spontaneity. Thus, the Morisco literature was a talking
document depicting the tragedies that the Moriscos had
suffered from and the great persecution and genocide they
experienced at the hands of the Inquisitions.
Morisco literature is a literary phenomenon:
After the handover of Granada in 897 AH (1492 AD), the
Morisco literary heritage became qualitatively and
 .................................................................. 19

Abstract:
Andalusia Ages, Intellectual Reform and
Epistemological Development
New periodization Study of the Morisco
Era / 1492-1609 AD

Dr. Qusay Adnan Al-Husseini

Department of Arabic Language
Faculty of Arts / University of Mustansiriya– Baghdad

After the glorious ages during the Andalusian civilization

which was characterized by science, scientists and their
works, Andalusia became a destination for science and
literature led by researchers and scholars from all over the
world where they aimed to get scientific benefits. The fates,
however, had it that the wonderful legend of prosperity and
progress should end in all ways of life, "The Kingdom of
Granada" handed over the last Andalusia kingdoms to
"Fernando and his wife Elisabella" in 897 AH / 1492 AD, by
the "Sons of the Red", which the researchers called the last
era of Andalusia. Hence the research was entitled the
"Morisco era" relative to the Moriscos, who were named
after the settlement with the "Mudejar" brothers in the year
1492 AD - 907 AH, and I believe that this put the "Morisco
era" as the last Andalusian age, a new ninth age added to
Andalusia; nine ages, not eight.
Why the Morisco era‫؟‬
It is not reasonable for a people to perish by changing
their own king or authority, although they lived about twenty
years with the various types of psychological oppression,
physical torment, displacement, exclusion, expulsion, and
murder. In spite of all this, the impoverished class left us
with colors of literature and forms of religious knowledge
 .................................................................. 18

can achieve happiness for man in this world and in the

hereafter as well.
On this basis, this research aims at studying the problems
and crises that contemporary man is facing and searching for
their solutions from within the Holy Quran through using
descriptive analytic approach.
While delving into this subject, it is important to underline
that the Holy Quran calls man to maintain a balance in crises
and not to give up, to announce repentance and return to
God. Man should seek the help of people of experience.
Besides, man usually resorts to faith and reason in order to
attain tranquility and peace.
The Holy Quran puts forward a set of effective solutions
before contemporary man to overcome those crises. Among
those solutions are:

• Knowledge of God.
• Knowledge of Self.
• Being armed with knowledge.
• To act as God instructs: “And say (unto them): Act!
Allah will behold your actions, and (so will) His
messenger and the believers, and ye will be brought
back to the Knower of the Invisible and the Visible,
and He will tell you what ye used to do.” (Tawba:
105)
• To reform the economic system of the community.
To achieve family reform
 .................................................................. 17

Abstract:
World’s Message of Holy Quran
for Contemporary Man and Problems
Asst. Prof. Dr. Sumayya Hasan Alyan
College of Foreign Languages\
Isfahan University

The Holy Quran is the eternal miracle introduced by the

Prophet Mohammed (SAAW). Not only was it confined to
the time of revelation, but it is also valid for every time and
place, since it represents the Light of God that finds its way
to every heart seeking the knowledge of God.
On the other hand, contemporary man is facing a multitude
of problems and crises that are hard to solve. There are many
causes for the emergence of crises in the human society,
including:
• Despair & frustration.
• Misunderstanding.
• Human faults.
• Misestimation.
• Arbitrary management.
• Excessive attention paid to materialistic and worldly
affairs.
• Whims and fervor.
There may still be other causes, but we should have qualified
well-trained people in order to face crises, and a
contemporary man must learn to deal with them and find
effective solutions for them. We may not overstate if we
claim that the Holy Quran, through the Divine programs
introduced, is the only way out of those crises, because that
book was revealed by God Who knows man better than man
knows himself, and it definitely contains the programs that
 .................................................................. 16

Abstract:
Life and Poetry of
Ibn Abi Zamaneen
Prof. Dr. AlaaJasim Jabir

This paper deals with a knowledgeable figure from

Anadalus, who lived in the fourth century of Hijra. He was
an ascetic, well-versed in Islamic jurisprudence, literature,
poetry, Quranic interpretation and writing. He belongs to a
family of knowledge. His full name is Mohammed bin
Abdullah bin Abi Zamaneen, an odd family name that
remained a perplexing mystery.
He lived a life moving between three cities, Tunis, Elvira &
Granada. He had teachers as well as students. He was
appointed as a judge, as was his father before him, issuing
verdicts according to the Maliki Sect. He was brilliant and
had good manners
He did not gain the fame he deserved, and only one of his
books, which was an interpretation of Holy Quran, was
printed.
 .................................................................. 15

• When family members meet in the dining room at meal

times, all telephone or television sets must be switched off,
so that they have the opportunity to talk and converse.
• At least once a week, as a sign of respect to the household,
telephone sets must be switched off in order to create a
leisure time to exercise a recreational activity or converse
among the family members.
2. Time management: Family members, old and young, must
be made aware of the value of time, and spend it in a useful
and fruitful manner.Hours spent using technology devices
should be reduced.
3. The Ministry of Education is invited to introduce
educational, cultural and instructional curricula to rationalize
the use of social networks and increase family control over
the youth.
4 - Media Devices: Media means, official and private, play a
role in educating people about the detrimental impacts of
technology tools. This education should not be abandoned
under the pretext of cultural and civilizational openness and
the transfer of all types of disintegration and moral decay
through movies, TV series and the Internet.
5 –NGOs' efforts should be intensified, especially those
concerned with the issues of children, youth and family in
general, in order to maintain the cohesion of family and raise
awareness of its children, because the well-being of the
family and its members is good for society and the whole
nation.
 .................................................................. 14

Abstract:
Risks of Social Networking Sites
on Family Relationships

Prof. Dr. Ali Mohamed Aboud Al-Obeidi

The modern means of communication and the technological

leapachieved in recent years has changed many aspects of
our practical, academic and household lives. At a time when
explosive communication technology has become accessible
to all, it has brought with it unprecedented family problems.
Some sociologists have exaggerated the status of the
contemporary family. Having been the "first cell of society"
in the past, some describe it as an institution that oscillates
between death and life. It is more like a dead body that
rescuersare trying to bring life back to.
The research dealt with the following topics:
1- The concept of social networking sites.
2. Family concept.
3. The concept of family relations.
4. Areas of family relations.
Among the findings I achieved were:
1 - Poor relationship of child with his/her parents.
2 - Poor relationship of adolescent or young man with his
parents.
3 - Poor relationship betweenspouses because of mobile
phones.
4 - Poor relationship between family members because of
television.
I suggested somemethods to address them:
1. Dialogue among family members:
Parents must follow a specific well-organized family order;
such as:
 .................................................................. 13

Hijab from attending the Government’s educational

institutions, as is the case in France. Some friends from
Holland told me that a female teacher described her veiled
student as an “idiot”. Even in sat channels, dialogue has
turned into a real battle field causing people to be killed.
The afore-mentioned points insistently urged me to make a
distinction between the “art of dialogue” and other arts of
speech, such as: argument, negotiation, debate, etc. I have
chosen my paper to address “the Art of Dialogue” with a
clear-cut description drawing up a program for decision
makers with strict rules, which, if breached, would bring
them to accountability and punish them.
On that basis, I find it necessary to start my research with a
preface and several topics. The preface goes through
previous studies on the art of dialogue and explains the
reasons why the name of this art has been confused with
terms of other arts. The topics discussed were:
First: Necessity and Eligibility of the Term.
Second: Definitions of Term Criticized.
Third: Risk of Dialogue Lies in Confusion with Other
Terms.
Fourth: Meaning of Description.
Fifth: Aims and Benefits of Description of Dialogue.
Sixth: Disciplines of Dialogue under the Current
Description.
Seventh: Outcomes of Dialogue within the Description.
Finally, the paper ends with conclusions and
recommendations.
 .................................................................. 12

Abstract:
The Art of Dialogue Described

Prof. Dr. Ibtisam Abdulkareem Al-Madani

Basic Education College/ University of Kufa

Dialogue may be the most dangerous human activity. From

it spring love, construction, knowledge and a great deal of
good. From it erupts wars, disasters, genocide and
corruption, in the general sense of the word. That is because
dialogue is an umbrella for every talk between two people. It
may become a tool for bringing goodness or a target for
every spiteful opportunist.
Dialogue may be raised as an appealing slogan; however, it
soon becomes clear that it was a conspiracy to undermine the
doctrinal structure of others in order to subdue them, and
dialogists find themselves involved in a scourge-bringing
animosity.
It is interesting to find that all the outputs of human
civilization talk peacefully and may interact to produce
aesthetic results, while the producer (man) is the only
element that is difficult to establish dialogue with. Although
dialogue is a slogan raised all over the world, wars are still
waged and terrorism is still alive, while muzzling policies
and suppression have become daily behaviours, not only in
developing states, but also in technologically advanced states
where the freedom of thought is said to be observed. In the
latter, some beliefs, especially the Islamic ones, are being
suppressed in terms of preventing Muslim women wearing
 .................................................................. 11

contextual interpretation, and interpretation by referring to

poetic legacy.
The second level is the impact of poetry on the interpretation
of Holy Quran as viewed by Al-Murtadha, since Arabic
language and literature constitute a pivotal source in
interpreting the Holy Quran that no exegete of Quran can
dispense with.
To Al-Murtadha, the poetic evidence was very crucial in
determining many connotations, be it for a particular word,
an expression style, or even a single letter.
The poetic evidence was, to him, an important tool through
which he succeeded in harmonizing some verses, explaining
how far they are interconnected, and rebutting any
contradictions claimed by some skeptics. In this respect, he
demonstrated a high level of excellence and revealed an
extraordinary talent and a remarkable insight.
 .................................................................. 10

Abstract:
Impact of Poetry on Interpretation of Quran
From the perspective of Al-Sharif Al-Murtadha
Duraul-FawaidWaGhurarulQalaa’id, as a sample

Ahmed H. S. Al-Musawi
Imam Kadhim College for Islamic Science

It is no secret for biographers of people of knowledge and

intellectuals that fields of knowledge differ in their
significance and importance of their subjects, let alone if
some scholars were versatile and of multipletalents.

Today, we stand before Al-Sharif Al-Murtadha, Ali s/o

Hussein Al-Musawi Al-Baghdadi (355-436 AH), an
authority of the Arab-Islamic thought, who had an evident
impact in enriching the realm of knowledge for the followers
of Ahlul-Bayt School with such numerous aspects of it that it
is hard to encompass the entire production of this
encyclopedic scholar.
Putting all these facts into consideration, we thought it
would be convenient to shed a light on part of what this
noble scholar added to knowledge by using his literature
skills in interpreting the Holy Quran, considering the impact
of poetry on the interpretation of Quran from the perspective
of Al-Sharif Al-Murtadha. As a sample, we used his book
(Duraul-FawaidWaGhurarulQalaa’id) as a reference.
We did our research focusing on two levels:
The first level is Al-Murtadha’s methodology in interpreting
Holy Quran. After reviewing the methodology he adopted in
his book (Al-Amaali), and becoming aware of his tendency
to apply more than one approach in interpretation, we found
it essential to discuss part of his methodology in
interpretation including Quran-by-Quran interpretation,
 .................................................................. 9

activities in this great city of knowledge, to polarize

academic qualifications from Iraqi and other universities to
write for the magazine, and to make use of its researches and
studies and critically edit manuscripts. The library is always
interested in cross-fertilization of ideas and great
experiences, especially by the professors of the advisory and
preparatory boards who come from different Iraqi, Arab and
other universities and contribute a lot with their academic
advice and suggestions that may push research forward. This
variety generates a scientific and cultural mobility within the
specialization of the magazine.
We sincerely urge researchers to provide the magazine with
their invaluable studies that would enrich, with its other
sister magazines, the library with new diversified studies.
This is the first step to start with this planting in this blessed
land. The next step will be to obtain the necessary approval
to have it accredited for academic promotion purposes. This
will, no doubt, require more hard work and cooperation by
the Magazine’s staff and researcher-professors.
Finally, I must extend my thanks and gratitude to all those
who planted this seedand watered it with their efforts so that
its trunk would grow stronger, to every author who
participated in publishing this issue and to the management
staff of the magazine.
May Allah accept our deeds, and from Him we seek help.

Asst. Prof. Dr. Ismael Taha Al-Jabiri

Editor-in-Chief
 .................................................................. 8

Editorial
Qirtas Al-Ma’rifa
APlanting in a Blessed Land
All praise be to Allah, and peace and blessings be on the
Messenger of Allah, the faithful and honest one, and on his
pure progeny.
Having trust in the Almighty, and thanks to the efforts
exerted by some noblemen including academicians and
researchers, we are publishing issue no. Zero of our Qirtas
Al-Ma’rifa, an academic magazine, especially concerned
with humanist studies, and we seek to make it adjudicated
and accredited for academic promotion purposes.
Publishing this magazine has not come as an intellectual
extravagance or to be an addition of one more academic
magazine; rather, it is for a set of objectives that we find
imperative to be fulfilled. One of these objectives is that the
more than 70-year-old Al-Jawadain Public Library is keen to
pursue the approach adopted by its founder the late
SayedHibatuddin Al-Shihristani, when he first published his
famous magazine (Al-Ilm) in 1910, i.e. over a century ago.
Today, the library has turned into an outstanding research
center that attracts a great number of post-graduates and
researchers. Therefore, in order to be able to provide its
various services to them and others, the decision to publish
an academic magazine, which derived its name from the
objectives of its founder, has been taken. Among other
objectives are to stir up the organized academic and cultural
 .................................................................. 7

9. All research papers are subject to double blind review and

evaluation for publishing. Whether approved for publishing or
not, papers will not be returned to their authors. The journal is
not bound to disclose the reasons of rejection if the material is
not suitable for publishing.

10. The researcher should make the amendments suggested by the

journal’s scientific committee; otherwise, the article will not be
published.

11. Articles may be submitted to the office or via email. Once

received, an acknowledgement of receipt is sent, and then the
work is referred for evaluation. Within two months after
receiving the article, a notice is sent to the author notifying
him/her about accepting or rejecting the article.

12. Publishing priority will be considered for the works which

have participated in the conferences held by the Journal’s
Editorial Board, for the earlier articles received by the Journal,
and the diversity of subjects in the Journal, as deemed proper
by the Editorial Board.

13. Every researcher will receive one copy of the journal with an
extract of the article.

14. Research is subject to the Scientific Astrology Program to

demonstrate the validity of the research acceptance before it is
sent to the Scientific Committee.

Important:
All articles published in the Journal reflect the views of their
authors and are not necessarily those of the Editorial Board.
 .................................................................. 6

Terms of Publishing:
1. Articles must be written in Arabic language and follow the
scientific research methodology recognized by authors.

2. Articles submitted must not have been published before in a

journal, a book, conference proceedings, as part of an academic
dissertation or thesis, or a website, etc.

3. Articles are to be submitted in a printed form in one copy using

A4 paper and a digital copy recorded on a compact disk. The
font to be used is (Traditional Arabic), size 15 and endnotes of
size 13. The article shall contain 20-35 pages with single
space lines.

4. The first page must show the title of the research, name(s) of
author(s), mobile phone number, and email address. Please
ensure not to mention the name(s) of author(s) across the pages
of the article.

5. The notes of the research must be set as serialized endnotes,

along with a list of alphabetically-sorted, fully-documented
references that the author refers to in his article, except for
critically edited texts. For the latter, notes should be placed on
the same pages.

6. An Arabic abstract of one page for the research topic must be

submitted with an English version translated by a professional
translator, including the title of the research and the name(s) of
author(s).

7. Any tables, illustrations or maps can be printed, fully

captioned, on separate papers as appendices.

8. A biography for the author, including a color photo, mobile

phone number, email address and place of work must be
provided.
 .................................................................. 5

Revision of Arabic language:

Sheikh Muneer Sadiq Al-Kadhimi

Revision of English translations:

Riadh A. M. Alhasan

Financial management:
Ali A. Mehdi & Hisham F. Abduljaleel

Coordination & follow-up:

Ammar I. M. Hussein

Website:
Ali M. Mahmood

Print Design:
Eng. Salah H. Abbood

Publishing & Distribution:

Nasir M. Hilu; Al-Masadir Agency, neighboring the
colleges complex, Babul-Mu'adham, Baghdad.
 .................................................................. 4

Prof. Dr. Hadi Abdulnabi Al-Tamimi

Editorial Secretary
Eng. Abdulkareem Al-Dabbagh

Editorial Board
1. Prof. Dr. Abdulbaqi B. Al-Khazraji, College of Arts,
Mustansiriyah University.
2. Prof. Dr. Ameer Rustumi/ Tehran University, Iran.
3. Prof. Dr. Mohammed M. Zuayn/ College of Islamic
Jurisprudence, University of Kufa.
4. Prof. Dr. Ali R. Berozmend/ Academic Scientific Board,
Qum, Iran.
5. Prof. Dr. Abood J. Al-Hilli/ College of Education,
University of Kerbala.
6. Prof. Dr. Sattar Jabur Al-Aaraji/ College of Arts,
University of Kufa.
7. Prof. Dr. Hamid Nasir Al-Dhalimi/ College of Education for
Humanities, University of Basrah.
8. Prof. Dr. Dawood S. Khalaf, College of Education- Ibn
Rushd, Baghdad University.
9. Prof. Dr. Inaam Q. Al-Suraifi/ College of Education for
Humanities, University of Thi-Qar.
10. Asst. Prof. Dr. Hameed M. Haddaw, University College of
Sadrul-Iraq.
11. Asst. Prof. Dr. Raghida Mohammed Al-Misri, Labanese
University, Lebanon.
12. Asst. Prof. Dr. Iyad K. Al-Salahi, College of Arts, Wasit
University.
 .................................................................. 3

Sayed Mohammed Iyad J. Hibatuddin

Editor-in-Chief
Asst. Prof. Dr. Ismael Taha Al-Jabiri

Managing Editor
Dr. Sheikh Emad Al-Kadhimi

Advisory Board
1. Prof. Dr. Abduljabbar Naji; Veteran Professor.
2. Prof. Dr. Ibrahim Al-Aati, International Colleges of
Islamic Science, London.
3. Hameed Ahmed H. Al-Tamimi, Basra University;
Veteran Professor.
4. Prof. Dr. Abdulsalam Figho, King Mohammed V
University, Morocco.
5. Prof. Dr. Mahmood A. Al-Qaisi, College of Arts,
Baghdad University.
6. Prof. Dr. Mohammed Mehdi Thulfiqar Zadeh, Tehran
University, Iran.
7. Prof. Dr. Nabi Bu-Ali, Muaskar University, Algeria.
8. Prof. Dr. Abdulkareem E. Al-Aaraji, Faculty of
Education for Women, Baghdad University.
9. Prof. Dr. Mohammed Mehdi Hamayoon, Imam Sadiq
University, Iran.
10. Prof. Dr. Uhood A. Al-Ogaili, College of Education/Ibn
Rushd, Baghdad University.
11. Prof. Dr. Ahmed Rasim Al-Nafees, Egypt.
12. Prof. Dr. Alaa H. Al-Ruhaimi, College of Arts, University
of Kufa.
13. Prof. Dr. Abdulbasit Al-Ghabiri, Ez-zitouna
University, Tunis.
14. Prof. Dr. Khadija H. N. Al-Musawi, College of Arts,
Mustansiriyah University.
Director of Public Relations
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Qirtas Al-Ma’rifa
Biannual Journal for Research and Humanist Studies

Issued by
Al-Jawadain Public Library
Holy Kadhimiya, Republic of Iraq

Website
http://www.jawadainlib.com/qertasalmaarefa.htm

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qertasalmaarefa@gmail.com

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Baghdad: 2253 for 2017

General Supervision
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