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‫ﺃﺩﻭﻧﻴﺲ‪ :‬ﺃﺳﻠﻮﺑﻪ ﻭﺷﻌﻮﺭﻩ ﰲ ﺍﻟﺸﻌﺮ ﺍﳊﺮ‬

‫)ﺃﻏﺎﱐ ﻣﻬﻴﺎﺭ ﺍﻟﺪﻣﺸﻘﻲ ﻭﻗﺼﺎﺋﺪ ﺃﺧﺮﻯ(‬
‫ﲝﺚ‬
‫ﻣﻘﺪﻡ ﺇﱃ ﻛﻠﻴﺔ ﺍﻵﺩﺍﺏ ﻭﺍﻟﻌﻠﻮﻡ ﺍﻹﻧﺴﺎﻧﻴﺔ ﺟﺎﻣﻌﺔ ﺷﺮﻳﻒ ﻫﺪﺍﻳﺔ ﺍﷲ ﺍﻹﺳﻼﻣﻴﺔ‬
‫ﺍﳊﻜﻮﻣﻴﺔ ﺟﺎﻛﺮﺗﺎ ﻟﻠﺤﺼﻮﻝ ﻋﻠﻰ ﺍﻟﺪﺭﺟﺔ ﺍﳉﺎﻣﻌﻴﺔ ﺍﻷﻭﱃ )‪(S.S‬‬

‫ﺇﻋﺪﺍﺩ‬
‫ﺧﲑ ﺍﻟﻔﺆﺍﺩ‬
‫ﺭﻗﻢ ﺍﻟﺘﺴﺠﻴﻞ‪105021000803 :‬‬

‫ﻗﺴﻢ ﺍﻟﻠﻐﺔ ﺍﻟﻌﺮﺑﻴﺔ ﻭﺃﺩ‪‬ﺎ‬

‫ﻛﻠﻴﺔ ﺍﻵﺩﺍﺏ ﺍﻟﻌﻠﻮﻡ ﺍﻹﻧﺴﺎﻧﻴﺔ‬
‫ﺟﺎﻣﻌﺔ ﺷﺮﻳﻒ ﻫﺪﺍﻳﺔ ﺍﷲ ﺍﻹﺳﻼﻣﻴﺔ ﺍﳊﻜﻮﻣﻴﺔ‬
‫ﺟﺎﻛﺮﺗﺎ‬
‫‪2009‬ﻡ ‪1430‬ﻫـ‬
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‫ﻣﻠﺨ‪‬ﺺ‬

‫ﺧﲑﺍﻟﻔﺆﺍﺩ‪ :‬ﺃﺩﻭﻧﻴﺲ‪ :‬ﺃﺳﻠﻮﺑﻪ ﻭﺷﻌﻮﺭﻩ ﰲ ﺍﻟﺸﻌﺮ ﺍﳊﺮ )ﺃﻏﺎﱐ ﻣﻬﻴﺎﺭ‬

‫ﺍﻟﺪﻣﺸﻘﻲ ﻭﻗﺼﺎﺋﺪ ﺃﺧﺮﻯ(‬

‫ﺇﻥ ﺃﺩﻭﻧﻴﺲ ﺷﺎﻋﺮ ﻋﺮﻳﺾ ﺍﻟﺜﻘﺎﻓﺔ‪ ،‬ﻭﻣﺘﺮﺟﻢ ﻟﻠﻌﺪﻳﺪ ﻣﻦ ﺍﳌﺆﻟﻔﺎﺕ ﺍﻟﺸﻌﺮﻳﺔ‬

‫ﻭﺍﻟﻨﻘﺪﻳﺔ ﺍﻟﻌﺎﳌﻴﺔ‪ ،‬ﻛﺘﺐ ﺃﺷﻌﺎﺭﺍ ﻛﺜﲑﺓ ﻭﲨﻌﻬﺎ ﰲ ﺩﻭﺍﻭﻳﻨﻪ ﻣﻨﻬﺎ ﺍﻷﻋﻤﺎﻝ ﺍﻟﺸﻌﺮﻳﺔ‬
‫ﺃﻏﺎﱐ ﻣﻬﻴﺎﺭ ﺍﻟﺪﻣﺸﻘﻲ ﻭﻗﺼﺎﺋﺪ ﺃﺧﺮﻯ‪.‬‬
‫ﻭﺍﳌﻌﺮﻭﻑ ﺃﻥ ﺃﺩﻭﻧﻴﺲ ﻟﻪ ﺃﺳﻠﻮﺏ ﺧﺎﺹ ﰲ ﻛﺘﺎﺑﺔ ﺷﻌﺮﻩ‪ ،‬ﻭﻳﻜﺜﺮ ﺍﻟﻜﻼﻡ‬
‫ﻋﻨﺪ ﺍﻟﺒﺎﺣﺜﲔ ﻭﺍﻟﻨﻘﺎﺩ ﻋﻨﻪ‪ .‬ﻭﳍﺬﺍ ﻳﻮﺩ ﺍﻟﺒﺎﺣﺚ ﺃﻥ ﻳﻌﺮﻑ ﳑﻴﺰﺍﺕ ﺃﺳﻠﻮﺑﻪ ﰲ‬
‫ﺍﻟﺸﻌﺮ ﺍﳊﺮ ﻋﻠﻰ ﺳﺒﻴﻞ ﻣﻌﺮﻓﺔ ﺻﻔﺎﺕ ﺃﺳﻠﻮﺑﻪ ﻭﺷﻌﻮﺭﻩ‪ ،‬ﻷﻥ ﺍﻷﺳﻠﻮﺏ ﻭﺍﻟﺸﻌﻮﺭ‬
‫ﺩﻻﻟﺘﺎﻥ ﻋﻠﻰ ﺍﻟﺸﻌﺮ ﻣﻦ ﺣﻴﺚ ﺍﳉﻴﺪ ﺃﻭ ﺍﻟﺴﻴﺊ‪.‬‬
‫ﻭﺍﻟﻐﺮﺽ ﻣﻦ ﻫﺬﺍ ﺍﻟﺒﺤﺚ ﻫﻮ ﻛﺸﻒ ﺻﻔﺎﺕ ﺍﻷﺳﻠﻮﺏ ﻭﺍﻟﺸﻌﻮﺭ ﺍﻟﺬﻱ‬
‫ﺍﺳﺘﻌﻤﻠﻪ ﺃﺩﻭﻧﻴﺲ ﰲ ﻛﺘﺎﺑﺔ ﺷﻌﺮﻩ‪ .‬ﻭﺑﻌﺪ ﺍﻟﺘﺤﻠﻴﻞ ﻋﻦ ﺍﳌﻮﺿﻮﻉ ﻭﺟﺪ ﺍﻟﺒﺎﺣﺚ‬
‫ﺃﻥ ﺃﺳﺎﻟﻴﺒﻪ ﻗﻮﻳﺔ ﻭ ﻣﻨﺎﺳﺒﺔ ﰲ ﺍﺧﺘﻴﺎﺭ ﺍﻟﻜﻠﻤﺎﺕ ﺍﳉﺰﺍﻟﺔ ﻭﺍﻟﺮﻗﻴﻘﺔ‪ .‬ﻭ ﻟﻜﻦ ﺃﻟﻔﺎﻇﻪ‬
‫ﻭﲨﻠﻪ ﻏﲑ ﻭﺍﺿﺤﺔ ﻭﻫﻮ ﻣﻦ ﺍﻟﺸﻌﺮﺍﺀ ﺍﳌﺘﻜﻠﻔﲔ‪ .‬ﻭﻫﻮ ﺃﻳﻀﺎ ﻗﺎﺩﺭ ﻋﻠﻰ ﺍﻟﺘﻌﺒﲑ‬
‫ﻋﻦ ﻣﺸﺎﻋﺮﻩ ﺗﻌﺒﲑ‪‬ﺍ ﻳﺜﲑ ﺍﻹﻧﻔﻌﺎﻝ ﰲ ﻧﻔﺲ ﺍﳌﺘﻠﻘﻲ‪ ،‬ﻭﺫﻟﻚ ﺑﻌﺪ ﺃﻥ ﺃﻣﻌﻦ ﺍﳌﺘﻠﻘﻲ‬
‫ﺍﻟﻨﻈﺮ ﰲ ﺃﺷﻌﺎﺭﻩ ﻣﺮﺓ ﺗﻠﻮ ﺃﺧﺮﻯ‪.‬‬
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‫ﳏﺘﻮﻳﺎﺕ ﺍﻟﺒﺤﺚ‬

‫ﻣﻮﺍﻓﻖ ﺍﳌﺸﺮﻑ ‪ .....................................................‬ﺏ‬

‫ﺗﺼﺮﻳﺢ ﺍﻟﺒﺎﺣﺚ ‪ .....................................................‬ﺝ‬

‫ﻗﺮﺍﺭﺓ ﳉﻨﺔ ﺍﳌﻨﺎﻗﺸﺔ ﻭﺍﳊﻜﻢ ﻋﻠﻰ ﺍﻟﺒﺤﺚ‪ .................................‬ﺩ‬

‫ﻣﻠﺨﺺ ‪ ............................................... .............‬ھـ‬

‫ﻛﻠﻤﺔ ﺷﻜﺮ ﻭﺗﻘﺪﻳﺮ ‪ ...................................................‬ﻭ‬

‫ﳏﺘﻮﺍﻳﺎﺕ ﺍﻟﺒﺤﺚ ‪ ....................................................‬ﻁ‬

‫ﺍﻟﺒﺎﺏ ﺍﻷﻭﻝ ‪ :‬ﺍﳌﻘﺪﻣﺔ ‪1 .............................................‬‬

‫ﺧﻠﻔﻴﺔ ﺍﳌﺸﻜﻠﺔ ‪1 ................................................‬‬ ‫ﺃ‪.‬‬

‫ﺏ‪ .‬ﲢﺪﻳﺪ ﺍﳌﺸﻜﻠﺔ ‪6 ................................................‬‬

‫ﺝ‪ .‬ﺍﻟﻐﺮﺽ ﻣﻦ ﺍﻟﺒﺤﺚ ‪6 ............................................‬‬

‫ﺍﻟﺪﺭﺍﺳﺔ ﺍﳌﻜﺘﺒﻴﺔ ‪7 ...............................................‬‬ ‫ﺩ‪.‬‬

‫ﻫـ‪ .‬ﻣﻨﻬﺞ ﺍﻟﺒﺤﺚ ‪7 .................................................‬‬

‫ﻱ‬
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‫ﺧﻄﺔ ﺍﻟﺒﺤﺚ ‪8 .................................................‬‬ ‫ﻭ‪.‬‬

‫ﺍﻟﺒﺎﺏ ﺍﻟﺜﺎﱐ ‪ :‬ﶈﺔ ﻋﻦ ﺩﺭﺍﺳﺔ ﺍﻷﺳﻠﻮﺏ ﻭﺍﻟﺸﻌﻮﺭ ﻭﺍﻟﺸﻌﺮ ﺍﳊﺮ ‪10 ...‬‬

‫ﺍﻷﺳﻠﻮﺏ ‪10 ...................................................‬‬ ‫ﺃ‪.‬‬

‫‪ .1‬ﺗﻌﺮﻳﻔﻪ ‪10 ..................................................‬‬

‫‪ .2‬ﺻﻔﺎﺗﻪ ‪..................................................‬‬

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‫‪ .3‬ﺃﻧﻮﺍﻋﻪ ‪...................................................‬‬

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‫ﺏ‪ .‬ﺍﻟﺸﻌﻮﺭ ‪17 .....................................................‬‬

‫ﺝ‪ .‬ﺍﻟﺸﻌﺮ ﺍﳊﺮ ‪..................................................‬‬

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‫‪ .1‬ﺗﻌﺮﻳﻔﻪ ‪20 ..................................................‬‬

‫‪ .2‬ﻧﺸﺄﺗﻪ ﻭﺗﻄﻮﺭﻩ ‪...........................................‬‬

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‫ﺍﻟﺒﺎﺏ ﺍﻟﺜﺎﻟﺚ ‪ :‬ﺗﺮﲨﺔ ﺣﻴﺎﺓ ﺃﺩﻭﻧﻴﺲ ‪...............................‬‬

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‫ﺍﲰﻪ ‪26 .......................................................‬‬ ‫ﺃ‪.‬‬

‫ﺏ‪ .‬ﻣﻮﻟﺪﻩ ﻭﻧﺸﺄﺗﻪ ‪28 ..............................................‬‬

‫ﻃﻠﺒﻪ ﺍﻟﻌﻠﻢ ‪29 .................................................‬‬ ‫ﺝ‪.‬‬

‫ﺩ‪ .‬ﺣﻮﻝ ﺷﻌﺮﻩ ‪33 .................................................‬‬

‫ﺍﻷﺳﻠﻮﺑﻴﺔ ﰲ ﺷﻌﺮ ﺍﳊﺮ ﻷﺩﻭﻧﻴﺲ ‪40 ...‬‬

‫ﺍﻟﺒﺎﺏ ﺍﻟﺮﺍﺑﻊ ‪ :‬ﲢﻠﻴﻞ ﺍﳋﺼﺎﺋﺺ ﻙ‬

‫ﺻﻔﺎﺕ ﺍﻷﺳﻠﻮﺏ ﰲ ﺷﻌﺮ ﺃﺩﻭﻧﻴﺲ ‪42 ............................‬‬ ‫ﺃ‪.‬‬

‫ﺏ‪ .‬ﺍﻟﺸﻌﻮﺭ ﰲ ﺷﻌﺮ ﺃﺩﻭﻧﻴﺲ ‪55 .....................................‬‬

‫ﺍﻟﺒﺎﺏ ﺍﳋﺎﻣﺲ ‪ :‬ﺍﻻﺧﺘﺘﺎﻡ ﻭﺍﻻﻗﺘﺮﺍﺣﺎﺕ ‪59 .............................‬‬

‫ﺍﻻﻗﺘﺮﺍﺣﺎﺕ ‪60 .................................................‬‬ ‫ﺃ‪.‬‬

‫ﺏ‪ .‬ﺍﳌﺮﺍﺟﻊ ﻭﺍﳌﺼﺎﺩﺭ ‪62 .............................................‬‬

‫‪ .1‬ﺍﳌﺮﺍﺟﻊ ﺍﻟﻌﺮﺑﻴﺔ ‪62 ...........................................‬‬

‫‪ .2‬ﺍﳌﺮﺍﺟﻊ ﺍﻹﻟﻜﺘﺮﻭﻧﻴﻜﻴﺔ ‪64 ....................................‬‬

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‫ﺍﻟﺒﺎﺏ ﺍﻷﻭﻝ‬

‫ﺍﳌﻘﺪﻣﺔ‬

‫ﺕ‪ .‬ﺧﻠﻔﻴﺔ ﺍﳌﺸﻜﻠﺔ‬

‫ﺍﻟﺸﻌﺮ ﺍﻧﺒﻌﺎﺙ ﺍﻟﻜﻼﻡ ﻭﺗﻄﻮﺭ ﻣﺴﲑﺓ ﺍﻟﻠﻐﺔ ﻭﻫﻮ ﺍﻟﺘﺠﺴﻴﺪ ﺍﳊﻘﻴﻘﻲ‬

‫ﳌﻮﺳﻴﻘﻰ ﺍﻟﻜﻮﻥ ﺍﻟﻐﺎﻣﻀﺔ‪ ،‬ﻭﻟﻪ ﺍﻷﺳﻠﻮﺏ ﺍﻷﺩﰊ ﻭﻫﻮ ﺍﻷﺳﻠﻮﺏ ﺍﳉﻤﻴﻞ ﺫﻭ‬

‫ﺍﳋﻴﺎﻝ ﺍﻟﺮﺍﺋﻊ ﻭﺍﻟﺘﺼﻮﻳﺮ ﺍﻟﺪﻗﻴﻖ ﺍﻟﺬﻯ ﻳﻈﻬﺮ ﺍﳌﻌﻨﻮﻱ ﰱ ﺻﻮﺭﺓ ﺍﶈﺴﻮﺱ‬

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‫ﻭﺍﶈﺴﻮﺱ ﰱ ﺻﻮﺭﺓ ﺍﳌﻌﻨﻮﻱ‪.‬‬

‫ﻓﻦ ﺍﻟﺸﻌﺮ ﻣﻦ ﺃﺷﻬﺮ ﺍﻟﻔﻨﻮﻥ ﺍﻷﺩﺑﻴﺔ ﻭﺃﻛﺜﺮﻫﺎ ﺍﻧﺘﺸﺎﺭﺍ‪ ،‬ﻭﺭﲟﺎ ﺫﻟﻚ ﻟﻘﺪﻡ‬

‫ﻋﻬﺪ ﺍﻟﺒﺸﺮﻳﺔ‪ ،‬ﻓﺎﻟﺸﻌﺮ ﻫﻮ ﺍﻟﺼﻮﺭﺓ ﺍﻟﺘﻌﺒﲑﻳﺔ ﺍﻷﺩﺑﻴﺔ ﺍﻷﻭﱃ ﺍﻟﱴ ﻇﻬﺮﺕ ﰲ ﺣﻴﺎﺓ‬

‫‪ 1‬ﻣﺎﺩﺓ ﻋﻠﻤﻴﺔ ﻣﺄﺧﻮﺫﺓ ﰲ ‪ 28‬ﺃﻛﺘﻮﺑﺮ ‪ 2008‬ﻣﻦ‬

‫‪http://hassanawad2006.maktoobblog.com/153904‬‬

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‫ﺍﻹﻧﺴﺎﻥ ﻣﻨﺬ ﺍﻟﻌﺼﻮﺭ ﺍﻷﻭﱃ‪ .‬ﻭﻫﺬﻩ ﺍﻷﻗﺪﻣﻴﺔ ﺍﻟﱵ ﻟﻠﺸﻌﺮ ﺗﺮﺟﻊ ﺇﱃ ﺃﻧﻪ ﻛﺎﻥ ﰲ‬
‫‪2‬‬
‫ﺗﻠﻚ ﺍﻟﻌﺼﻮﺭ ﺿﺮﻭﺭﺓ ﺣﻴﻮﻳﺔ ﺑﻴﻮﻟﻮﺟﻴﺔ‪.‬‬

‫ﻋﺮﻑ ﻣﻦ ﺃﻥ ﺍﻟﺸﻌﺮ ﺍﻟﻌﺮﰊ ﳝﺮ ﻣﻨﺬ ﻧﺸﺄﺗﻪ ﻣﻦ ﻋﻬﺪ ﺍﻣﺮ ﺍﻟﻘﻴﺲ ﺇﱃ ﺍﻟﻴﻮﻡ‬

‫ﺑﺄﻃﻮﺍﺭ ﻣﺘﻌﺪﺩﺓ‪ ،‬ﺳﺎﺭ ﺩﻭﺭ ﺍﻟﺸﻌﺮ ﺍﻟﻌﺮﰊ ﺳﲑﺓ ﻃﻮﻳﻠﺔ ﻭﻃﺮﻳﻘﺎ ﻣﺘﻌﺮﺟﺎ‪ ،‬ﺣﱴ‬

‫ﻭﺻﻞ ﺇﻟﻴﻨﺎ ﻋﻠﻰ ﺃﻧﻮﺍﻉ ﻣﺘﻌﺪﺩﺓ ﻣﻨﻬﺎ ﺍﳌﺮﺳﻞ ﻭﺍﳌﻮﺷﺤﺔ‪.‬‬

‫ﻭﻣﻦ ﻣﺸﺎﻫﲑ ﺍﻟﺸﻌﺮﺍﺀ ﺍﻟﻴﻮﻡ ﺃﺩﻭﻧﻴﺲ ﺍﻟﺬﻱ ﻭﻟﺪ ﻋﺎﻡ ‪ 1930‬ﻡ ﻣﻦ‬

‫ﻋﺎﺋﻠﺔ ﺩﻳﻨﻴﺔ‪ ،‬ﰱ ﻗﺮﻳﺔ ﻗﺼﺎﺑﲔ ﺳﻮﺭﻳﺎ‪ ،‬ﻭﺍﲰﻪ ﺍﻟﻜﺎﻣﻞ ﻋﻠﻰ ﺃﲪﺪ ﺳﻌﻴﺪ ﺃﺳﱪ‪،‬‬

‫ﻭﺃﺩﻭﻧﻴﺲ ﻫﻮ ﻟﻘﺐ ﺍﲣﺬﻩ ﻣﻨﺬ ‪ .1948‬ﳌﻊ ﺍﲰﻪ ﻛﻮﺍﺣﺪ ﻣﻦ ﺍﻟﺸﻌﺮﺍﺀ ﺍﻟﻜﺒﺎﺭ ﰱ‬

‫ﺍﻟﻌﺼﺮ ﺍﳊﺪﻳﺚ‪ ،‬ﻭﻫﻮ ﺷﺎﻋﺮ ﻋﺮﻳﺾ ﺍﻟﺜﻘﺎﻓﺔ‪ ،‬ﻭﻣﺘﺮﺟﻢ ﻟﻠﻌﺪﻳﺪ ﻣﻦ ﺍﳌﺆﻟﻔﺎﺕ‬

‫ﺍﻟﺸﻌﺮﻳﺔ ﻭﺍﻟﻨﻘﺪﻳﺔ ﺍﻟﻌﺎﳌﻴﺔ‪ 3،‬ﻛﺘﺐ ﺃﺷﻌﺎﺭﺍ ﻛﺜﲑﺓ ﻭﲨﻌﻬﺎ ﰲ ﺩﻳﻮﺍﻧﻪ ﺍﻟﺬﻱ ﲰﺎﻩ‬

‫ﺍﻷﻋﻤﺎﻝ ﺍﻟﺸﻌﺮﻳﺔ ﺃﻏﺎﱐ ﻣﻬﻴﺎﺭ ﺍﻟﺪﻣﺸﻘﻲ ﻭﻗﺼﺎﺋﺪ ﺃﺧﺮﻯ‪.‬‬

‫ﺃﻣﺎ ﺍﻷﺷﻌﺎﺭ ﻷﺩﻭﻧﻴﺲ ﻓﻬﻲ ﺍﻷﺷﻌﺎﺭ ﺍﳊﺮﺓ ﺃﻱ ﻻﺗﺘﻘﻴﺪ ﺑﺎﻷﻭﺯﺍﻥ ﻭﺍﻟﻘﺎﻓﻴﺔ‬

‫ﻛﻤﺎ ﻫﻮ ﺍﳌﻌﺮﻭﻑ ﰲ ﺍﻟﻌﺮﺏ‪ .‬ﻳﺮﻯ ﺃﻥ ﺍﻟﺸﻌﺮ ﲨﻴﻞ ﺇﺫﺍ ﺗﻀﻤﻦ ﻓﻴﻪ ﲨﺎﻝ ﺍﻟﻔﻜﺮﺓ‬

‫‪ 2‬ﺩﻛﺘﻮﺭ ﻋﺰ ﺍﻟﺪﻳﻦ ﺇﲰﺎﻋﻴﻞ‪ ،‬ﺍﻷﺩﺏ ﻭﻓﻨﻮﻧﻪ )ﺍﻟﻘﺎﻫﺮﻩ‪ :‬ﺩﺍﺭ ﺍﻟﻔﻜﺮﻱ‪1978 ،‬ﻡ(‪ ،‬ﺹ ‪130‬‬

‫‪http://afaitouri.maktoobblog.com/328898‬‬ ‫ﻣﺎﺩﺓ ﻋﻠﻤﻴﺔ ﻣﺄﺧﻮﺫﺓ ﰲ ‪ 28‬ﺃﻛﺘﻮﺑﺮ ‪ 2008‬ﻣﻦ‬ ‫‪3‬‬

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‫ﻭﲨﺎﻝ ﺍﻷﺳﻠﻮﺏ ﻭﻃﺮﻳﻘﺔ ﺍﻟﺸﺎﻋﺮ ﰲ ﻋﺮﺽ ﻣﻘﺼﻮﺩﻩ‪ ،‬ﻛﻤﺎ ﺃﻧﻪ ﻳﺮﻯ ﺃﻥ ﺍﻟﻴﻮﻡ‬

‫ﻻﺑﺪ ﻣﻦ ﺍﻟﺘﺠﺪﻳﺪ ﰲ ﺍﻟﺸﻌﺮ ﺍﻟﻌﺮﰊ‪.‬‬

‫ﻛﺘﺐ ﺃﺩﻭﻧﻴﺲ ﺃﺷﻌﺎﺭﻩ ﺑﺄﺳﻠﻮﺏ ﻟﻐﺔ ﺫﺍﺕ ﻣﻌﲎ ﻋﻤﻴﻖ‪ ،‬ﻭﻫﻮ ﺭﻣﺰ‬

‫ﻟﻠﺤﺪﺍﺛﺔ ﺍﻟﺸﻌﺮﻳﺔ ﺍﻟﻌﺮﺑﻴﺔ‪ ،‬ﺍﻟﺮﻣﺰ ﺍﻟﺬﻱ ﻻ ﻳﺰﺍﻝ ﻳﺘﻌﲔ ﺍﳉﺪﻝ‪ :‬ﺍﳌﻌﺸﻮﻕ ﻭﺍﳌﺬﻣﻮﻡ‬

‫ﰲ ﺍﻟﻮﻗﺖ ﻧﻔﺴﻪ ﻷﻧﻪ ﻳﺮﻳﺪ ﺃﻥ ﻳﺘﺤﺮﺭ ﻣﻦ ﻧﻈﺎﻡ ﺍﻟﻘﺼﺎﺋﺪ ﺍﻟﻌﺮﺑﻴﺔ ﺍﻟﺘﻘﻠﻴﺪﻱ ﺍﻟﺬﻱ‬

‫ﻗﺪ ﺃﻧﺸﺄ ﺧﻼﻝ ﺍﻟﻘﺮﻭﻥ‪ .‬ﻭﺍﻟﻔﻜﺮﺓ ﺍﻷﺳﺎﺳﻴﺔ ﰲ ﺍﻷﻋﻤﺎﻝ ﺍﻷﺩﺑﻴﺔ ﻷﺩﻭﻧﻴﺲ ﻫﻲ‬

‫ﺍﻟﺘﺸﺠﻴﻊ ﻋﻠﻰ ﺍﻟﺘﺠﺪﻳﺪ‪ .4‬ﻭﻫﻮ ﺃﻳﻀﺎ ﻳﻌﺘﱪ ﻛﻮﺍﺣﺪ ﻣﻦ ﻛﺘﺎﺏ ﺍﻟﺸﻌﺮ ﻋﻠﻰ ﺳﺒﻴﻞ‬

‫ﺍﻟﺸﻌﺮ ﺍﳊﺮ ﺃﻱ ﻻ ﻳﺘﻘﻴﺪ ﺑﺎﻟﻮﺯﻥ ﻭﺍﻟﻘﺎﻓﻴﺔ ﻣﺜﻞ ﺍﻟﺸﻌﺮ ﺍﻵﰐ‪:‬‬

‫ﻣﺎ ﺃﻏﻤﻀﺖ ﻋﻴﻨﺎﻱ ﺇﻻ ﻋﻠﻰ‬

‫ﺣﻠﻢ ﻳﺴﲑ ﺍﳌﻮﺕ ﰲ ﺳﲑﻩ‬

‫ﻳﻨﺎﻡ ﰲ ﺍﻟﻈﻠﻤﺔ ﻣﺴﺘﻐﺮﻗﺎ‬

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‫ﻭﻳﻄﻠﻊ ﺍﻟﺸﻤﺲ ﻋﻠﻰ ﻏﲑﻩ‬

‫‪ 4‬ﺃﺩﻭﻧﻴﺲ ﺳﻮﻑ ﻳﻜﻮﻥ ﻣﻮﺟﻮﺩﺍ ﰲ ﺳﺎﻟﻴﺤﺎﺭﺍ‪ ،‬ﻣﺎﺩﺓ ﻋﻠﻤﻴﺔ ﻣﺄﺧﻮﺫﺓ ﰲ ‪ 3‬ﻓﱪﺍﻳﺮ ‪ 2009‬ﻣﻦ‬
‫‪http://translate.google.co.id/translate?hl=id&langpair=id|ar&u=http://salihara.org/main.php‬‬
‫‪ 5‬ﺃﺩﻭﻧﻴﺲ‪ ،‬ﺍﻷﻋﻤﺎﻝ ﺍﻟﺸﻌﺮﻳﺔ‪/‬ﺃﻏﺎﱐ ﻣﻬﻴﺎﺭ ﺍﻟﺪﻣﺸﻘﻲ ﻭﻗﺼﺎﺋﺪ ﺃﺧﺮﻯ )ﺩﻣﺸﻖ‪ :‬ﺩﺍﺭ ﺍﳌﺪﻯ ﻟﻠﺜﻘﺎﻓﺔ ﻭﺍﻟﻨﺜﺮ‪،‬‬
‫‪ 1996‬ﻡ(‪ ،‬ﺹ‪39 .‬‬
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‫ﻫﺬﺍ ﺍﻟﺸﻌﺮ ﺷﻌﺮ ﺣﺮ ﺃﻱ ﻟﻴﺲ ﻟﻪ ﺍﻟﻮﺯﻥ ﻭﺍﻟﻘﺎﻓﻴﺔ‪ ،‬ﻭﻟﻜﻦ ﺍﻟﺸﺎﻋﺮ ﻋﺮﺿﻪ‬

‫ﺑﺄﺳﻠﻮﺏ ﲨﻴﻞ ﻭﺗﻀﻤﻦ ﻓﻴﻪ ﻣﻌﲎ ﻋﻤﻴﻖ ﺣﱴ ﻳﻌﺘﱪ ﺷﻌﺮﺍ ﺟﻴﺪﺍ‪ ،‬ﻷﻥ ﺍﻷﺳﺎﺱ‬

‫ﻣﻦ ﺍﻷﻋﻤﺎﻝ ﺍﻷﺩﺑﻴﺔ ﻫﻮ ﺍﳉﻤﺎﻝ ﻭﺻﻮﺭ ﺍﳉﻤﺎﻝ ﻛﺜﲑﺓ‪ ،‬ﻭﻫﻲ ﲨﺎﻝ ﺍﻟﻠﻔﻈﺔ‬
‫‪6‬‬
‫ﻭﲨﺎﻝ ﺍﻷﺳﻠﻮﺏ ﲨﺎﻝ ﺍﻟﻔﻜﺮﺓ ﻭﲨﺎﻝ ﺍﻟﻌﺮﺽ ﻭﲨﺎﻝ ﺍﻟﻮﺻﻞ‪.‬‬

‫ﻭﻳﻘﺼﺪ ﺍﻟﺒﺎﺣﺚ ﻣﻌﺮﻓﺔ ﺍﻷﺳﻠﻮﺏ ﺍﻟﺬﻱ ﺍﺳﺘﻌﻤﻠﻪ ﺃﺩﻭﻧﻴﺲ ﰲ ﺃﺷﻌﺎﺭﻩ‬

‫ﻋﻠﻰ ﻃﺮﻳﻖ ﻣﻌﺮﻓﺔ ﺻﻔﺎﺕ ﺍﻷﺳﻠﻮﺏ ﻭﺍﻟﺸﻌﻮﺭ ﻓﻴﻬﺎ‪ .‬ﻭﺍﻷﺳﻠﻮﺏ‪ :‬ﻫﻮ ﻃﺮﻳﻘﺔ‬
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‫ﺍﺧﺘﻴﺎﺭ ﺍﻷﻟﻔﺎﻅ ﻭﺗﺄﻟﻴﻔﻬﺎ ﻟﻠﺘﻌﺒﲑ ‪‬ﺎ ﻋﻦ ﺍﳌﻌﺎﱐ ﻗﺼﺪ ﺍﻹﻳﻀﺎﺡ ﻭﺍﻟﺘﺄﺛﲑ‪.‬‬

‫ﻭﺍﺧﺘﺮﺕ ﻫﺬﺍ ﺍﻟﺒﺤﺚ ﻷﻥ ﲨﺎﻝ ﺍﻷﺳﻠﻮﺏ‪-‬ﻛﻤﺎ ﺫﻛﺮ ﺳﺎﺑﻘﺎ‪ -‬ﻛﺎﻥ ﺷﺮﻃﺎ ﰲ‬

‫ﺍﻷﻋﻤﺎﻝ ﺍﻷﺩﺑﻴﺔ‪ ،‬ﻭﺍﳍﺪﻑ ﻣﻦ ﻫﺬﺍ ﺍﻟﺒﺤﺚ ﻣﻌﺮﻓﺔ ﲨﺎﻝ ﺍﻟﺸﻌﺮ ﻋﻠﻰ ﺳﺒﻴﻞ‬

‫ﻣﻌﺮﻓﺔ ﺍﻷﺳﺎﻟﻴﺐ ﻭﺍﻟﺸﻌﻮﺭ ﺍﻟﱵ ﺍﺳﺘﻌﻤﻠﻬﺎ ﺍﻟﺸﺎﻋﺮ ﰲ ﺍﻟﻌﺮﺽ‪.‬‬

‫ﻭﻣﺼﻄﻠﺢ ﺍﻷﺳﻠﻮﺑﻴﺔ ﱂ ﻳﻈﻬﺮ ﺇﻻ ﰲ ﺑﺪﺍﻳﺔ ﺍﻟﻘﺮﻥ ﺍﻟﻌﺸﺮﻳﻦ ﻣﻊ ﻇﻬﻮﺭ‬

‫ﺍﻟﺪﺭﺍﺳﺎﺕ ﺍﻟﻠﻐﻮﻳﺔ ﺍﳊﺪﻳﺜﺔ‪ ،‬ﻭﺑﺎﻟﺘﺪﻗﻴﻖ ﺑﻌﺪ ﳎﻲﺀ ﺍﻟﻌﺎﱂ ﺍﻟﻠﻐﻮﻱ ﻓﺮﺩﻳﻨﺎﺩ ﺩﻱ‬

‫ﺃﲪﺪ ﺃﻛﺮﻡ ﻣﻠﺒﺎﺭﻱ‪ ،‬ﻣﻘﺪﻣﺔ ﰲ ﺍﻷﺩﺏ ﺍﳌﻘﺎﺭﻥ‪ ،‬ﻛﻠﻴﺔ ﺍﻵﺩﺍﺏ ﻭﺍﻟﻌﻠﻮﻡ ﺍﻹﻧﺴﺎﻧﻴﺔ )ﺟﺎﻛﺮﺗﺎ‪ :‬ﺍﻟﻌﺎﻡ‬ ‫‪6‬‬

‫ﺍﳉﺎﻣﻌﻲ ‪ 2004-2003‬ﻣـ(‪ ،‬ﺹ ‪8‬‬

‫ﺟﺎﻣﻌﺔ ﺍﻷﻣﺎﻡ ﳏﻤﺪ ﺑﻦ ﺳﻌﻮﺩ ﺍﻹﺳﻼﻣﻴﺔ‪ ،‬ﺍﻟﺒﻼﻏﺔ ﻭﺍﻟﻨﻘﺪ‪ ،‬ﺍﻟﻄﺒﻌﺔ ﺍﻷﻭﱃ )ﺍﻟﺮﻳﺎﺽ‪ :‬ﺍﳉﺎﻣﻌﺔ‪،‬‬ ‫‪7‬‬

‫‪1414‬ﻫـ ‪ 1994 -‬ﻣـ(‪ ،‬ﺹ ‪26‬‬

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‫ﺳﻮﺳﲑ )‪ (1913-1875‬ﺍﻟﺬﻱ ﺃﺳﺲ ﻋﻠﻢ ﺍﻟﻠﻐﺔ ﺍﳊﺪﻳﺚ ﻭﻓﻘﺎ ﳌﺒﺎﺩﺉ‬

‫ﻣﻌﻴﻨﺔ‪ .8‬ﻋﺪ‪‬ﺕ ﺍﻷﺳﻠﻮﺑﻴﺔ ﺩﺭﺍﺳﺔ ﺍﳌﺼﺎﺩﺭ ﺍﳌﻌﱪﺓ ﻟﻠﻐﺔ ﻣﻌﻴﻨﺔ ﻭﺍﺳﺘﺒﻌﺪ ﻋﻨﻬﺎ ﺩﺭﺍﺳﺔ‬

‫ﺍﻟﻠﻐﺔ ﺍﻷﺩﺑﻴﺔ ﻭﺍﻟﻠﻐﺔ ﺍﳌﻌﺪﺓ ﻷﻋﺮﺍﺽ ﲨﺎﻟﻴﺔ‪ .‬ﻭﻫﺬﻩ ﺍﻷﺳﻠﻮﺑﻴﺔ ﻟﻴﺴﺖ ﺍﳌﻘﺼﻮﺩ ﻣﻦ‬

‫ﺍﻟﺒﺤﺚ‪ ،‬ﻭﺇﳕﺎ ﺍﳌﻘﺼﻮﺩ ﻣﻦ ﻫﺬﺍ ﺍﻟﺒﺤﺚ ﻫﻮ ﺩﺭﺍﺳﺔ ﺍﻷﺳﻠﻮﺏ ﻣﻦ ﺍﻟﻨﺎﺣﻴﺔ‬

‫ﺍﻟﺒﻼﻏﻴﺔ‪.‬‬

‫ﺑﻨﺎﺀ ﻋﻠﻰ ﺍﻟﺒﻴﺎﻥ ﺍﳌﻮﺟﺰ ﺍﻟﺴﺎﺑﻖ‪ ،‬ﻳﺮﻳﺪ ﺍﻟﻜﺎﺗﺐ ﺃﻥ ﻳﺒﺤﺚ ﺗﺎﺭﻳﺦ ﺣﻴﺎﺓ‬

‫ﺃﺩﻭﻧﻴﺲ ﻭﻛﻴﻒ ﺻﻮﺭ ﺃﺳﻠﻮﺑﻪ ﻭﺷﻌﻮﺭﻩ ﰲ ﺍﻟﺸﻌﺮ ﺍﳊﺮ‪ .‬ﻭﻫﻨﺎﻙ ﲝﺚ ﻋﻦ‬

‫ﺃﺩﻭﻧﻴﺲ ﻭﺣﺮﻛﺘﻪ ﺍﻟﺸﻌﺮﻳﺔ ﻓﺤﺴﺐ‪ ،‬ﻭﻟﻜﻨﻬﺎﱂ ﺗﺘﻜﻠﻢ ﺍﻟﺒﺎﺣﺜﺔ ﻋﻦ ﺷﻌﺮﻩ ﰲ‬

‫ﺫﺍﺗﻪ‪ .‬ﻓﻴﺄﺧﺬ ﺍﻟﺒﺎﺣﺚ ﺍﻵﻥ ﻳﺒﺤﺚ ﰲ ﺷﻌﺮ ﺃﺩﻭﻧﻴﺲ ﻭﻣﺎ ﻓﻴﻪ ﻣﻦ ﲨﺎﻟﻴﺔ ﺍﻷﺳﻠﻮﺏ‬

‫ﻭﺍﻟﺸﻌﻮﺭ‪ ،‬ﻭﺳﻴﻜﺘﺐ ﺍﻟﺒﺎﺣﺚ ﺭﺳﺎﻟﺘﻪ ﲢﺖ ﺍﻟﻌﻨﻮﺍﻥ‪ :‬ﺃﺩﻭﻧﻴﺲ‪ :‬ﺃﺳﻠﻮﺑﻪ ﻭﺷﻌﻮﺭﻩ‬

‫ﰲ ﺍﻟﺸﻌﺮ ﺍﳊﺮ )ﺃﻏﺎﱐ ﻣﻬﻴﺎﺭ ﺍﻟﺪﻣﺸﻘﻲ ﻭﻗﺼﺎﺋﺪ ﺃﺧﺮﻯ(‪.‬‬

‫ﺃﺑﻮ ﺯﻳﺪ ﻣﻮﱏ‪ ،‬ﺍﻷﺳﻠﻮﺑﻴﺔ ﻧﻈﺮﺓ ﺗﺎﺭﳜﻴﺔ ﺗﺄﺭﳜﻴﺔ‪ ،‬ﻣﺎﺩﺓ ﻋﻠﻤﻴﺔ ﻣﺄﺧﻮﺫﺓ ﰲ ‪ 28‬ﺃﻛﺘﻮﺑﺮ ‪ 2008‬ﻣﻦ‬ ‫‪8‬‬

‫‪http://mamachenacir.maktoobblog.com/1349027/%D8%A7‬‬
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‫ﺙ‪ .‬ﲢﺪﻳﺪ ﺍﳌﺸﻜﻠﺔ‬

‫ﺇﻥ ﻣﻮﺿﻮﻉ ﺍﻟﺒﺤﺚ ﻫﻮ "ﺃﺩﻭﻧﻴﺲ‪ :‬ﺃﺳﻠﻮﺑﻪ ﻭﺷﻌﻮﺭﻩ ﰲ ﺍﻟﺸﻌﺮ ﺍﳊﺮ"‪.‬‬

‫ﺍﻟﺒﺤﺚ ﰲ ﻫﺬﺍ ﺍﳌﻮﺿﻮﻉ ﻭﺍﺳﻊ‪ ،‬ﻭﳍﺬﺍ ﻻﺑﺪ ﻟﻠﺒﺎﺣﺚ ﺃﻥ ﳛﺪﺩ ﲝﺜﻪ ﺍﻟﻌﻠﻤﻲ‬

‫ﺣﻮﻝ ﺍﻷﻣﺮﻳﻦ ﺍﻟﺘﺎﻟﻴﲔ‪:‬‬

‫‪ .1‬ﻣﺎ ﻫﻲ ﺻﻔﺎﺕ ﺍﻷﺳﻠﻮﺏ ﰲ ﺷﻌﺮ ﺃﺩﻭﻧﻴﺲ؟‬

‫‪ .2‬ﻫﻞ ﺍﻟﺸﻌﻮﺭ ﻣﻮﺟﻮﺩ ﰲ ﺷﻌﺮﻩ؟‬

‫ﺝ‪ .‬ﺍﻟﻐﺮﺽ ﻣﻦ ﺍﻟﺒﺤﺚ‬

‫ﻭ ﳑﺎ ﻻ ﺭﻳﺐ ﻓﻴﻪ ﺃﻥ ﻟﻜﻞ ﻋﻤﻞ ﻏﺮﺿﺎ ﺧﺎﺻﺎ ﻳﺮﺍﺩ ﺍﳊﺼﻮﻝ ﻋﻠﻴﻪ‪ ،‬ﻭﺃﻣﺎ‬

‫ﺍﻟﻐﺮﺽ ﻣﻦ ﻫﺬﺍ ﺍﻟﺒﺤﺚ‪ ،‬ﻓﻬﻲ‪:‬‬

‫‪ .1‬ﻣﻌﺮﻓﺔ ﺻﻔﺎﺕ ﺍﻷﺳﻠﻮﺏ ﺍﻟﱵ ﺗﺴﺘﻌﻤﻞ ﰲ ﺷﻌﺮ ﺃﺩﻭﻧﻴﺲ‬

‫‪ .2‬ﻣﻌﺮﻓﺔ ﺍﻟﺸﻌﻮﺭ ﺍﳌﻮﺟﻮﺩ ﰲ ﺷﻌﺮﻩ‬

‫‪12‬‬

‫ﺩ‪ .‬ﺍﻟﺪﺭﺍﺳﺔ ﺍﳌﻜﺘﺒﻴﺔ‬

‫ﰲ ﺣﺪﻭﺩ ﻣﻌﺮﻓﺔ ﺍﻟﺒﺎﺣﺚ ﺍﳌﺘﻮﺍﺿﻌﺔ ﱂ ﻳﺒﺤﺚ ﺃﺣﺪ ﰲ ﻫﺬﺍ ﺍﳌﻮﺿﻮﻉ ﺇﻻ‬

‫ﺃﻥ ﻫﻨﺎﻙ ﺩﺭﺍﺳﺔ ﺳﺎﺑﻘﺔ ﺗﺘﻌﻠﻖ ﺑﺄﺩﻭﻧﻴﺲ ﻭﻋﻨﻮﺍ‪‬ﺎ ﺃﺩﻭﻧﻴﺲ ﻭﺁﺭﺍﺅﻩ ﰲ ﺍﳊﺮﻛﺔ‬

‫ﺍﻟﺸﻌﺮﻳﺔ ﺍﻟﻌﺮﺑﻴﺔ‪ .‬ﺇﻋﺪﺍﺩ ﺍﻟﻄﺎﻟﺒﺔ ﺭﻧﺮﻥ ﻣﺮﻟﻴﺎ ﺃﺯﻫﺎﺭﻱ‪ .‬ﰲ ﻫﺬﺍ ﺍﻟﺒﺤﺚ ﺗﻜﻠﻤﺖ‬

‫ﺍﻟﺒﺎﺣﺜﺔ ﻋﻦ ﺁﺭﺍﺀ ﺃﺩﻭﻧﻴﺲ ﻭﺣﺮﻛﺘﻪ ﺍﻟﺸﻌﺮﻳﺔ‪ ،‬ﻭﻗﺼﺪﺕ ﺍﻟﺒﺎﺣﺜﺔ ﺍﻟﻜﺸﻒ ﻋﻦ‬

‫ﺍﳊﺮﻛﺔ ﺍﻟﻨﻘﺪﻳﺔ ﺍﻟﺸﻌﺮﻳﺔ ﺍﻟﻌﺮﺑﻴﺔ ﻋﻨﺪ ﺃﺩﻭﻧﻴﺲ‪.‬‬

‫ﻫـ‪ .‬ﻣﻨﻬﺞ ﺍﻟﺒﺤﺚ‬

‫ﺃﺧﺬ ﺍﻟﺒﺎﺣﺚ ﰲ ﺩﺭﺍﺳﺔ ﺃﺩﻭﻧﻴﺲ ﻭﺷﻌﺮﻩ ﺍﳌﻨﻬﺞ ﺍﳌﻜﺘﱯ‪ ،‬ﲜﻤﻊ ﺍﳌﻮﺍﺩ ﺍﻟﱵ‬

‫ﺗﺘﻌﻠﻖ ‪‬ﺬﺍ ﺍﻟﺒﺤﺚ ﻣﻦ ﺍﻟﻜﺘﺐ ﺍﻷﺩﺑﻴﺔ ﻭ ﺍ‪‬ﻼﺕ ﻭ ﺍﳉﺮﺍﺋﺪ ﻭ ﺍﻟﺮﺳﺎﺋﻞ ﺍﳌﺘﺼﻠﺔ‬

‫ﺑﺎﳌﻮﺿﻮﻉ‪.‬‬
‫‪13‬‬

‫ﺑﺪﺃ ﺍﻟﺒﺎﺣﺚ ﺑﺎﻟﺘﺤﻠﻴﻞ ﻋﻦ ﺗﺎﺭﻳﺦ ﺃﺩﻭﻧﻴﺲ ﻭ ﺍﻷﺳﺎﻟﻴﺐ ﺍﻟﱵ ﻳﺴﺘﻌﻤﻠﻬﺎ ﰲ‬

‫ﺷﻌﺮﻩ‪ .‬ﺍﻋﺘﻤﺪ ﺍﻟﻜﺎﺗﺐ ﰲ ﻛﺘﺎﺑﺔ ﻫﺬﺍ ﺍﻟﺒﺤﺚ ﻋﻠﻰ ﺍﻟﻜﺘﺎﺏ ﺍﻟﺬﻱ ﺃﺻﺪﺭﺗﻪ‬

‫ﺟﺎﻣﻌﺔ ﺷﺮﻳﻒ ﻫﺪﺍﻳﺔ ﺍﷲ ﺍﻹﺳﻼﻣﻴﻪ ﺍﳊﻜﻮﻣﻴﺔ ﲜﺎﻛﺮﺗﺎ‪ ،‬ﻭﻫﻮ‪:‬‬

‫‪“Pedoman Penulisan Skripsi Bahasa Dan Sastra Arab Fakultas Adab dan‬‬
‫”‪Humaniora UIN Syarif Hidayatullah Jakarta 2007‬‬

‫ﻭ‪ .‬ﺧﻄﺔ ﺍﻟﺒﺤﺚ‬

‫ﻭ ﻟﺘﺴﻬﻴﻞ ﺍﻟﺒﺤﺚ ﻭﺍﻟﻜﺘﺎﺑﺔ ﻗﺴﻢ ﺍﻟﺒﺎﺣﺚ ﻫﺬ ﺍﳌﻮﺿﻮﻉ ﺇﱃ ﲬﺴﺔ ﺃﺑﻮﺍﺏ ‪:‬‬

‫ﺍﻟﺒﺎﺏ ﺍﻷﻭﻝ ‪ :‬ﺍﳌﻘﺪﻣﺔ‪ ،‬ﻭﲢﺘﻮﻱ ﻋﻠﻰ ﺧﻠﻔﻴﺔ ﺍﳌﺸﻜﻠﺔ ﻭﲢﺪﻳﺪ ﺍﻟﺒﺤﺚ ﻭﺍﻟﻐﺮﺽ‬

‫ﻣﻦ ﺍﻟﺒﺤﺚ ﻭﺍﻟﺪﺭﺍﺳﺔ ﺍﳌﻜﺘﺒﻴﺔ ﻭﻣﻨﻬﺞ ﺍﻟﺒﺤﺚ ﻭﺧﻄﺔ ﺍﻟﺒﺤﺚ‪.‬‬

‫ﺍﻟﺒﺎﺏ ﺍﻟﺜﺎﱐ ‪ :‬ﶈﺔ ﻋﻦ ﺩﺭﺍﺳﺔ ﺍﻷﺳﻠﻮﺏ ﻭﺍﻟﺸﻌﻮﺭ ﻭﺍﻟﺸﻌﺮ ﺍﳊﺮ‪ ،‬ﲢﺘﻮﻱ ﻋﻠﻰ‬

‫ﺗﻌﺮﻳﻒ ﺍﻷﺳﻠﻮﺏ ﻭﺻﻔﺎﺗﻪ ﻭﺃﻧﻮﺍﻋﻪ ﻭﺍﻟﺒﻴﺎﻥ ﻋﻦ ﺍﻟﺸﻌﻮﺭ‬

‫ﻭﺍﻟﺸﻌﺮ ﺍﳊﺮ‪.‬‬
‫‪14‬‬

‫ﺍﻟﺒﺎﺏ ﺍﻟﺜﺎﻟﺚ ‪ :‬ﺗﺮﲨﺔ ﺣﻴﺎﺓ ﺃﺩﻭﻧﻴﺲ‪ ،‬ﻭﲢﺘﻮﻱ ﻋﻠﻰ ﺍﲰﻪ ﻭﻣﻮﻟﺪﻩ ﻭﻧﺸﺄﺗﻪ ﻭﻃﻠﺒﻪ‬

‫ﺍﻟﻌﻠﻢ ﻭﺣﻮﻝ ﺷﻌﺮﻩ‪.‬‬

‫ﺍﻟﺒﺎﺏ ﺍﻟﺮﺍﺑﻊ ‪ :‬ﻭﰲ ﻫﺬﺍ ﺍﻟﺒﺎﺏ ﺗﻌﺮﺿﺖ ﻓﻴﻪ ﺧﺼﺎﺋﺺ ﺍﻷﺳﻠﻮﺏ ﻭﺍﻟﺸﻌﻮﺭ ﰲ‬

‫ﺍﻟﺸﻌﺮ ﺍﳊﺮ ﻷﺩﻭﻧﻴﺲ‪ ،‬ﰲ ﻫﺬﺍ ﺍﻟﺒﺎﺏ ﺳﺄﲝﺚ ﺻﻔﺎﺕ‬

‫ﺍﻷﺳﻠﻮﺏ ﻭﺍﻟﺸﻌﻮﺭ ﰲ ﺷﻌﺮ ﺃﺩﻭﻧﻴﺲ‪.‬‬

‫ﺍﻟﺒﺎﺏ ﺍﳋﺎﻣﺲ ‪ :‬ﺍﳋﺎﲤﺔ‪ ،‬ﲢﺘﻮﻱ ﻋﻠﻰ ﻧﺘﺎﺋﺞ ﺍﻟﺒﺤﺚ ﻭﺍﻻﻗﺘﺮﺍﺣﺎﺕ ﻭﺍﳌﺮﺍﺟﻊ ﺍﻟﱵ‬

‫ﻳﺴﺘﻨﺪ ﺇﻟﻴﻬﺎ ﺍﻟﺒﺎﺣﺚ ﰲ ﻛﺘﺎﺑﺔ ﻫﺬﺍ ﺍﻟﺒﺤﺚ‪.‬‬

‫‪15‬‬

‫ﺍﻟﺒﺎﺏ ﺍﻟﺜﺎﱐ‬

‫ﶈﺔ ﻋﻦ ﺩﺭﺍﺳﺔ ﺍﻷﺳﻠﻮﺏ ﻭﺍﻟﺸﻌﻮﺭ ﻭﺍﻟﺸﻌﺮ ﺍﳊﺮ‬

‫ﺃ‪ .‬ﺍﻷﺳﻠﻮﺏ‬

‫‪ .1‬ﺗﻌﺮﻳﻔﻪ‬

‫ﺇﻥ ﻛﻠﻤﺔ ﺃﺳﻠﻮﺏ ﲨﻌﻪ ﺃﺳﺎﻟﻴﺐ‪ ،‬ﻭﻣﻌﻨﺎﻩ ﻟﻐﺔ ﺍﻟﻄﺮﻕ ﻭﺍﻟﻔﻨﻮﻥ‪،‬‬

‫ﻭﻛﻞ ﺷﻴﺊ ﺍﻣﺘﺪ ﻋﻠﻰ ﻏﲑ ﺍﻣﺘﻨﺎﻉ‪ 9.‬ﻭﻛﻞ ﻃﺮﻳﻖ ﳑﺘﺪ ﻓﻬﻮ ﺃﺳﻠﻮﺏ‪ ،‬ﻗﺎﻝ‪:‬‬

‫ﻭﺍﻷﺳﻠﻮﺏ ﺍﻟﻄﺮﻳﻖ‪ ،‬ﻭﺍﻟﻮﺟﻪ‪ ،‬ﻭﺍﳌﺬﻫﺐ‪ ،‬ﻗﺎﻝ‪ :‬ﺃﻧﺘﻢ ﰲ ﺃﺳﻠﻮﺏ ﺳﻮﺀ‪،‬‬

‫ﻭﳚﻤﻊ ﺃﺳﺎﻟﻴﺐ‪ ،‬ﻭﺍﻷﺳﻠﻮﺏ‪ :‬ﺍﻟﻄﺮﻳﻖ ﺗﺄﺧﺬ ﻓﻴﻪ‪ ،‬ﻭﺍﻷﺳﻠﻮﺏ ﺑﺎﻟﻀﻢ‪:‬‬

‫‪10‬‬
‫ﺍﻟﻔﻦ‪.‬‬

‫‪ 9‬ﺃﰊ ﺣﺴﲔ ﺃﲪﺪ ﺑﻦ ﻓﺎﺭﺱ ﺑﻦ ﺯﻛﺮﻳﺎ ﺍﻟﻠﻐﻮﻱ‪ ،‬ﻣﻘﺎﻳﻴﺲ ﺍﻟﻠﻐﺔ‪ ،‬ﺍﳉﺰﺀ ﺍﻟﺜﺎﱐ )ﺑﲑﻭﺕ‪ :‬ﻣﺆﺳﺴﺔ‬
‫ﺍﻟﺮﺳﺎﻟﺔ(‪ ،‬ﺹ ‪470‬‬
‫‪ 10‬ﺍﺑﻦ ﻣﻨﻈﻮﺭ‪ ،‬ﻟﺴﺎﻥ ﺍﻟﻌﺮﺏ‪ ،‬ﺍ‪‬ﻠﺪ ﺍﻷﻭﻝ )ﺑﲑﻭﺕ‪ :‬ﺩﺍﺭ ﺍﻟﻔﻜﺮ( ﺹ ‪473‬‬

‫‪10‬‬
‫‪16‬‬

‫ﻭﺍﺻﻄﻼﺣﺎ ﻫﻮ ﺍﳌﻌﲎ ﺍﳌﺼﻮﻍ ﰲ ﺃﻟﻔﺎﻅ ﻣﺆﻟﻔﺔ ﻋﻠﻰ ﺻﻮﺭﺓ ﺗﻜﻮﻥ‬

‫‪11‬‬
‫ﺃﻗﺮﺏ ﻟﻨﻴﻞ ﺍﻟﻐﺮﺽ ﺍﳌﻘﺼﻮﺩ ﻣﻦ ﺍﻟﻜﻼﻡ‪ ،‬ﻭﺍﻓﻌﻞ ﰲ ﻧﻔﻮﺱ ﺳﺎﻣﻌﻴﻪ‪.‬‬

‫‪ .2‬ﺻﻔﺎﺗﻪ‬

‫‪ .1‬ﺍﻟﻮﺿﻮﺡ‬

‫ﻭﻓﻖ ﺍﻟﺸﺎﻋﺮ ﰲ ﺍﺧﺘﻴﺎﺭ ﺃﻟﻔﺎﻇﻪ ﻭﲨﻠﻪ ﻟﺘﺪﻝ ﻋﻠﻰ ﺍﳌﻌﲎ ﺍﻟﺬﻱ‬

‫ﺃﺭﺍﺩﻩ ﰲ ﺳﻬﻮﻟﺔ ﻭﻭﺿﻮﺡ‪ .‬ﻭﻳﻄﻠﺐ ﻭﺿﻮﺡ ﺍﻷﺳﻠﻮﺏ ﻏﺎﻟﺒﺎ ﰲ‬

‫‪12‬‬
‫ﺍﻟﻨﺼﻮﺹ ﺍﻟﻌﻠﻤﻴﺔ ﻛﺎﻟﻨﺤﻮ ﻭﺍﻟﺼﺮﻑ ﻭﺍﻟﺘﺎﺭﻳﺦ ﻭﺍﳉﻐﺮﺍﻓﻴﺎ‪.‬‬

‫‪ .2‬ﺍﻟﻘﻮﺓ‬

‫ﻳﻘﺼﺪ ﺑﺎﻟﻘﻮﺓ ﻗﺪﺭﺓ ﺍﻷﺩﻳﺐ ﻋﻠﻰ ﺍﻟﺘﺄﺛﲑ ﰲ ﻧﻔﺲ ﺍﻟﻘﺎﺭﺉ ﺃﻭ‬

‫ﺍﻟﺴﺎﻣﻊ‪ ،‬ﲝﻴﺚ ﺗﻜﻮﻥ ﺃﻟﻔﺎﻇﻪ ﻭﻣﻌﺎﻧﻴﻪ ﺍﻟﱵ ﻳﺴﺘﺨﺪﻣﻬﺎ ﻗﺎﺩﺭﺓ ﻋﻠﻰ‬

‫ﺍﻟﺘﻌﺒﲑ ﻋﻦ ﺃﻓﻜﺎﺭﻩ ﻭﻣﺸﺎﻋﺮﻩ ﰲ ﻋﺎﻃﻔﺔ ﺻﺎﺩﻗﺔ‪.‬‬

‫‪ 11‬ﺍﻟﺴﻴﺪ ﺃﲪﺪ ﺍﳍﺎﴰﻲ‪ ،‬ﺟﻮﺍﻫﺮ ﺍﻟﺒﻼﻏﺔ ﰲ ﺍﳌﻌﺎﱐ ﻭﺍﻟﺒﻴﺎﻥ ﻭﺍﻟﺒﺪﻳﻊ )ﺳﻮﺭﺍﺑﺎﻳﺎ‪ :‬ﻣﻜﺘﺒﺔ ﺍﳍﺪﺍﻳﺔ‪1960 ،‬ﻡ(‪،‬‬
‫ﺹ ‪43‬‬
‫‪ 12‬ﺟﺎﻣﻌﺔ ﺍﻹﻣﺎﻡ ﳏﻤﺪ ﺑﻦ ﺳﻌﻮﺩ ﺍﻹﺳﻼﻣﻴﺔ‪ ،‬ﺍﻟﺒﻼﻏﺔ ﻭﺍﻟﻨﻘﺪ‪ ،‬ﺹ ‪29‬‬
‫‪17‬‬

‫ﻭﻣﻦ ﺍﻟﻮﺳﺎﺋﻞ ﺍﻟﱵ ﻳﺴﺘﺨﺪﻣﻬﺎ ﺍﻷﺩﻳﺐ ﻟﺘﺤﻘﻴﻖ ﻗﻮﺓ ﺍﻷﺳﻠﻮﺏ‪:‬‬

‫ﺃ‪ .‬ﺍﺳﺘﻌﻤﺎﻝ ﺍﻟﻜﻠﻤﺎﺕ ﺍﺳﺘﻌﻤﺎﻻ ﳎﺎﺯﻳﺎ ﺇﺫﺍ ﺍﻗﺘﻀﻰ ﺍﳊﺎﻝ ﺫﻟﻚ‪.‬‬

‫ﺏ‪ .‬ﺗﻘﺪﱘ ﻣﺎ ﺣﻘﻪ ﺍﻟﺘﺄﺧﲑ ﻣﻦ ﺍﻟﻜﻠﻤﺎﺕ‪ ،‬ﻟﺘﺤﻘﻴﻖ ﻫﺪﻑ ﺑﻼﻏﻲ‪.‬‬

‫ﺝ‪ .‬ﺍﻹﳚﺎﺯ ﰲ ﺍﻟﺘﻌﺒﲑ ﺇﺫﺍ ﻛﺎﻥ ﺍﳌﻘﺎﻡ ﻳﺪﻋﻮ ﺇﱃ ﺍﻹﳚﺎﺯ‪.‬‬

‫ﻓﺈﺫﺍ ﺧﺎﻟﻒ ﺍﻟﻨﺺ ﺍﻷﺩﰊ ﻫﺬﻩ ﺍﻷﺳﺲ ﺍﺑﺘﻌﺪ ﻋﻦ ﺍﻟﻘﻮﺓ ﻭﻣﺎﻝ‬

‫‪13‬‬
‫ﺇﱃ ﺍﻟﻀﻌﻒ‪.‬‬

‫‪ .3‬ﺍﳉﺰﺍﻟﺔ ﻭﺍﻟﺮﻗﺔ‬

‫ﺍﳉﺰﺍﻟﺔ ﻭﺍﻟﺮﻗﺔ ﻭﺻﻔﺎﻥ ﻟﻸﻟﻔﺎﻅ ﺍﻟﱵ ﻳﺴﺘﻌﻤﻠﻬﺎ ﺍﻷﺩﻳﺐ ﰲ ﺍﻟﺘﻌﺒﲑ‬

‫ﻋﻦ ﻣﻌﺎﻧﻴﻪ‪ ،‬ﻓﺈﺫﺍ ﲢﺪﺙ ﰲ ﻣﻮﺿﻮﻉ ﻣﻦ ﺍﳌﻮﺿﻮﻋﺎﺕ ﺍﻟﱵ ﲢﺘﺎﺝ ﺇﱃ‬

‫ﺍﻟﻘﻮﺓ ﻛﻮﺻﻒ ﺍﳊﺮﺏ ﻣﺜﻼ ﺍﺳﺘﻌﻤﻞ ﺍﻟﻜﻠﻤﺎﺕ ﺍﳉﺰﺍﻟﺔ‪ ،‬ﺃﻣﺎ ﺇﺫﺍ ﻛﺎﻥ‬

‫ﺍﳌﻮﺿﻮﻉ ﺍﻟﺬﻱ ﻳﺘﺤﺪﺙ ﻓﻴﻪ ﺭﻗﻴﻘﺎ ﻛﻮﺻﻒ ﺍﻷﺯﻫﺎﺭ ﰲ ﺍﳊﺪﻳﻘﺔ‬

‫‪ 13‬ﺟﺎﻣﻌﺔ ﺍﻹﻣﺎﻡ ﳏﻤﺪ ﺑﻦ ﺳﻌﻮﺩ ﺍﻹﺳﻼﻣﻴﺔ‪ ،‬ﺍﻟﺒﻼﻏﺔ ﻭﺍﻟﻨﻘﺪ‪ ،‬ﺹ ‪29‬‬

‫‪18‬‬

‫ﺍﺳﺘﻌﻤﻞ ﺍﻟﻜﻠﻤﺎﺕ ﺍﻟﺮﻗﻴﻘﺔ‪ ،‬ﻓﺈﺫﺍ ﺍﺑﺘﻌﺪ ﺍﻷﺳﻠﻮﺏ ﻋﻦ ﺫﻟﻚ ﻛﺎﻥ‬

‫‪14‬‬
‫ﺿﻌﻴﻔﺎ‪.‬‬

‫‪ .4‬ﺍﻟﻮﺣﺪﺓ ﺍﻟﻌﻀﻮﻳﺔ‬

‫ﻳﻘﺼﺪ ‪‬ﺎ ﺃﻥ ﺗﺒﲎ ﺍﻟﻘﺼﻴﺪﺓ ﺑﻨﺎﺀ ﻋﻀﻮﻳﺎ ﺣﻴﺎ‪ ،‬ﻭﻳﺘﺤﻘﻖ ﺫﻟﻚ ﺇﺫﺍ‬

‫ﺗﻮﺍﻓﺮ ﰲ ﺍﻟﻘﺼﻴﺪﺓ ﻣﺎ ﻳﻠﻲ‪:‬‬

‫ﺃ‪ .‬ﻭﺣﺪﺓ ﺍﳌﻮﺿﻮﻉ‪.‬‬

‫ﺏ‪ .‬ﻭﺣﺪﺓ ﺍﳌﺸﺎﻋﺮ‪.‬‬

‫ﺝ‪ .‬ﺗﺮﺗﻴﺐ ﺍﻟﺼﻮﺭ ﻭﺍﻷﻓﻜﺎﺭ ﺗﺮﺗﻴﺒﺎ ﻣﻨﻄﻘﻴﺎ ﺗﺘﻘﺪﻡ ﺑﻪ ﺍﻟﻘﺼﻴﺪﺓ ﺷﻴﺌﺎ‬

‫ﻓﺸﻴﺌﺎ ﺣﱴ ﺗﻨﺘﻬﻲ ﻋﻠﻰ ﺧﺎﲤﺔ ﻳﺴﺘﻠﺰﻣﻬﺎ ﺗﺮﺗﻴﺐ ﺍﻟﺼﻮﺭ‬

‫ﻭﺍﻷﻓﻜﺎﺭ‪.‬‬

‫ﺩ‪ .‬ﺃﻥ ﺗﻜﻮﻥ ﺃﺟﺰﺍﺀ ﺍﻟﻘﺼﻴﺪﺓ ﻭﺃﺑﻴﺎ‪‬ﺎ ﳏﻜﻤﺔ ﻣﺘﺮﺍﺑﻄﺔ ﲝﻴﺚ ﻳﺆﺩﻱ‬
‫‪15‬‬
‫ﺑﻌﻀﻬﺎ ﺇﱃ ﺑﻌﺾ ﻋﻦ ﻃﺮﻳﻖ ﺗﺴﻠﺴﻞ ﺍﻷﻓﻜﺎﺭ ﻭﺍﳌﺸﺎﻋﺮ‪.‬‬

‫ﺟﺎﻣﻌﺔ ﺍﻹﻣﺎﻡ ﳏﻤﺪ ﺑﻦ ﺳﻌﻮﺩ ﺍﻹﺳﻼﻣﻴﺔ‪ ،‬ﺍﻟﺒﻼﻏﺔ ﻭﺍﻟﻨﻘﺪ‪ ،‬ﺹ ‪30‬‬ ‫‪14‬‬

‫‪ 15‬ﺟﺎﻣﻌﺔ ﺍﻹﻣﺎﻡ ﳏﻤﺪ ﺑﻦ ﺳﻌﻮﺩ ﺍﻹﺳﻼﻣﻴﺔ‪ ،‬ﺍﻟﺒﻼﻏﺔ ﻭﺍﻟﻨﻘﺪ‪ ،‬ﺹ ‪30‬‬

‫‪19‬‬

‫‪ .5‬ﺍﻟﻄﺒﻊ ﻭﺍﻟﺼﻨﻌﺔ‬

‫ﻳﻘﺼﺪ ﺑﺎﻟﻄﺒﻊ ﺃﻥ ﻳﺘﺮﻙ ﺍﻷﺩﻳﺐ ﻧﻔﺴﻪ ﻋﻠﻰ ﻃﺒﻴﻌﺘﻬﺎ ﰲ ﺍﻟﺘﻌﺒﲑ‬

‫ﻋﻦ ﺃﻓﻜﺎﺭﻩ‪ ،‬ﲝﻴﺚ ﲡﻴﺊ ﻛﻠﻤﺎﺗﻪ ﻭﻋﺒﺎﺭﺍﺗﻪ ﻣﻌﱪﺓ ﻋﻦ ﻣﺸﺎﻋﺮﻩ ﻣﻦ ﻏﲑ‬

‫ﺗﻜﻠﻒ‪ .‬ﺃﻣﺎ ﺍﻟﺼﻨﻌﺔ ﻓﻴﻘﺼﺪ ‪‬ﺎ ﺗﻜﻠﻒ ﺍﻟﻜﻠﻤﺎﺕ ﻭﺍﻟﻌﺒﺎﺭﺍﺕ ﺍﻟﱵ ﺗﺪﻝ‬
‫‪16‬‬
‫ﻋﻠﻰ ﺍﳌﻌﲎ ﻟﺘﺤﻘﻖ ﻧﻮﻋﺎ ﻣﻦ ﺃﻧﻮﺍﻉ ﺍﶈﺴﻨﺎﺕ ﺍﻟﻠﻔﻈﻴﺔ ﻭﺍﳌﻌﻨﻮﻳﺔ‪.‬‬

‫‪ .3‬ﺃﻧﻮﺍﻋﻪ‬

‫ﰲ ﻛﺘﺎﺏ ﺟﻮﺍﻫﺮ ﺍﻟﺒﻼﻏﺔ ﰲ ﺍﳌﻌﺎﱐ ﻭﺍﻟﺒﻴﺎﻥ ﻭﺍﻟﺒﺪﻳﻊ ﻷﲪﺪ ﺍﳍﺎﴰﻲ‬

‫ﺃﻥ ﺃﻧﻮﺍﻉ ﺍﻷﺳﺎﻟﻴﺐ ﺛﻼﺛﺔ‪:‬‬

‫ﺍﻷﺳﻠﻮﺏ ﺍﻟﻌﻠﻤﻲ‬ ‫‪.1‬‬

‫ﻭﻫﻮ ﺃﻫﺪﺃ ﺍﻷﺳﺎﻟﻴﺐ‪ ،‬ﻭﺃﻛﺜﺮﻫﺎ ﺍﺣﺘﻴﺎﺟﺎ ﺇﱃ ﺍﳌﻨﻄﻖ ﺍﻟﺴﻠﻴﻢ‪،‬‬

‫ﻭﺍﻟﻔﻜﺮ ﺍﳌﺴﺘﻘﻴﻢ‪ ،‬ﻭﺃﺑﻌﺪﻫﺎ ﻋﻠﻰ ﺍﳋﻴﺎﻝ ﺍﻟﺸﻌﺮﻱ‪ ،‬ﻷﻧﻪ ﳜﺎﻃﺐ‬

‫ﺍﻟﻌﻘﻞ‪ ،‬ﻭﻳﻨﺎﺟﻲ ﺍﻟﻔﻜﺮ‪ ،‬ﻭﻳﺸﺮﺡ ﺍﳊﻘﺎﺋﻖ ﺍﻟﻌﻠﻤﻴﺔ ﺍﻟﱴ ﻻﲣﻠﻮﻣﻦ‬

‫‪ 16‬ﺟﺎﻣﻌﺔ ﺍﻹﻣﺎﻡ ﳏﻤﺪ ﺑﻦ ﺳﻌﻮﺩ ﺍﻹﺳﻼﻣﻴﺔ‪ ,‬ﺍﻟﺒﻼﻏﺔ ﻭﺍﻟﻨﻘﺪ‪ ،‬ﺹ ‪31‬‬

‫‪20‬‬

‫ﻏﻤﻮﺽ ﻭﺧﻔﺎﺀ‪ ،‬ﻭﺃﻇﻬﺮ ﻣﻴﺰﺍﺕ ﻫﺬﺍ ﺍﻷﺳﻠﻮﺏ "ﺍﻟﻮﺿﻮﺡ"‪.‬‬

‫ﻭﻻﺑﺪ ﺃﻥ ﻳﺒﺪﻭ ﻓﻴﻪ ﺃﺛﺮ ﺍﻟﻘﻮﺓ ﻭﺍﳉﻤﺎﻝ‪ ،‬ﻭﻗﻮﺗﻪ ﰲ ﺳﻄﻮﻉ ﺑﻴﺎﻧﻪ‬

‫ﻭﺭﺻﺎﻧﺔ ﺣﺠﺠﻪ‪ ،‬ﻭﲨﺎﻟﻪ ﰲ ﺳﻬﻮﻟﺔ ﻋﺒﺎﺭﺗﻪ‪ ،‬ﻭﺳﻼﻣﺔ ﺍﻟﺬﻭﻕ ﰲ‬

‫ﺍﺧﺘﻴﺎﺭ ﻛﻠﻤﺎﺗﻪ‪ ،‬ﻭﺣﺴﻦ ﺗﻘﺮﻳﺮﻩ ﺍﳌﻌﲎ ﰲ ﺍﻷﻓﻬﺎﻡ‪ ،‬ﻣﻦ ﺃﻗﺮﺏ‬

‫ﻭﺟﻮﻩ ﺍﻟﻜﻼﻡ‪.‬‬

‫ﻓﻴﺠﺐ ﺃﻱ ﻳﻌﲎ ﻓﻴﻪ ﺑﺎﺧﺘﻴﺎﺭ ﺍﻷﻟﻔﺎﻅ ﺍﻟﻮﺍﺿﺤﺔ ﺍﻟﺼﺮﳛﺔ ﰲ‬

‫ﻣﻌﻨﺎﻫﺎ ﺍﳋﺎﱄ ﻣﻦ ﺍﻻﺷﺘﺮﺍﻙ‪ ،‬ﻭﺃﻥ ﺗﺆﻟﻒ ﻫﺬﻩ ﺍﻷﻟﻔﺎﻅ ﰲ ﺳﻬﻮﻟﺔ‬

‫ﻭﺟﻼﺀ‪ ،‬ﺣﱴ ﺗﻜﻮﻥ ﺛﻮﺑﺎ ﺷﻔﺎﻓﺎ ﻟﻠﻤﻌﲎ ﺍﳌﻘﺼﻮﺩ‪ ،‬ﻭﺣﱴ ﻻ ﺗﺼﺒﺢ‬

‫ﻣﺜﺎﺭﺍ ﻟﻠﻈﻨﻮﻥ‪ ،‬ﻭﳎﺎﻻ ﻟﻠﺘﻮﺟﻴﻪ ﻭﺍﻟﺘﺄﻭﻳﻞ‪.‬‬

‫ﺍﻷﺳﻠﻮﺏ ﺍﻷﺩﰊ‬ ‫‪.2‬‬

‫ﻭﺍﳉﻤﺎﻝ ﺃﺑﺮﺯ ﺻﻔﺎﺗﻪ‪ ،‬ﻭﺃﻇﻬﺮ ﳑﻴﺰﺍﺗﻪ ﻭﻣﻨﺸﺄ ﲨﺎﻟﻪ ﳌﺎ ﻓﻴﻪ ﻣﻦ‬

‫ﺧﻴﺎﻝ ﺭﺍﺋﻊ‪ ،‬ﻭﺗﺼﻮﻳﺮ ﺩﻗﻴﻖ‪ ،‬ﻭﺗﻠﻤﺲ ﻟﻮﺟﻮﻩ ﺍﻟﺸﺒﻪ ﺍﻟﺒﻌﻴﺪﺓ ﺑﲔ‬

‫ﺍﻷﺷﻴﺎﺀ‪ ،‬ﻭﺇﻟﺒﺎﺱ ﺍﳌﻌﻨﻮﻯ ﺛﻮﺏ ﺍﶈﻤﻮﺱ‪ ،‬ﻭﺇﻇﻬﺎﺭ ﺍﳌﻠﻤﻮﺱ ﰲ‬

‫ﺻﻮﺭﺓ ﺍﳌﻌﻨﻮﻯ‪.‬‬
‫‪21‬‬

‫ﺍﻷﺳﻠﻮﺏ ﺍﳋﻄﺎﰊ‬ ‫‪.3‬‬

‫ﻫﻨﺎ ﺗﱪﺯ ﻗﻮﺓ ﺍﳌﻌﺎﱐ ﻭﺍﻷﻟﻔﺎﻅ‪ ،‬ﻭﻗﻮﺓ ﺍﳊﺠﺔ ﻭﺍﻟﱪﻫﺎﻥ‪ ،‬ﻭﻗﻮﺓ‬

‫ﺍﻟﻌﻘﻞ ﺍﳋﺼﻴﺐ‪ ،‬ﻭﻫﻨﺎ ﻳﺘﺤﺪﺙ ﺍﳋﻄﻴﺐ ﺇﱃ ﺇﺭﺍﺩﺓ ﺳﺎﻣﻌﻴﻪ ﻹﺛﺎﺭﺓ‬

‫ﻋﺰﺍﺋﻤﻬﻢ‪ ،‬ﻭﺍﺳﺘﻨﻬﺎﺽ ﳘﻬﻢ ﻭﺍﳉﻤﺎﻝ ﻫﺬﺍ ﺍﻷﺳﻠﻮﺏ ﻭﻭﺿﻮﺣﻪ‪،‬‬

‫ﺷﺄﻥ ﻛﺒﲑ ﰲ ﺗﺄﺛﲑﻩ‪ ،‬ﻭﻭﺻﻮﻟﻪ ﺇﱃ ﻗﺮﺍﺭﺓ ﺍﻟﻨﻔﻮﺱ‪ ،‬ﻭﳑﺎ ﻳﺰﻳﺪ ﰲ‬

‫ﺗﺄﺛﲑ ﻫﺬﺍ ﺍﻷﺳﻠﻮﺏ ﻣﻨﺰﻟﺔ ﺍﳋﻄﻴﺐ ﰲ ﻧﻔﻮﺱ ﺳﺎﻣﻌﻴﻪ ﻭﻗﻮﺓ‬

‫ﻋﺎﺭﺿﺘﻪ ﻭﺳﻄﻮﻉ ﺣﺠﺘﻪ ﻭﻧﱪﺍﺕ ﺻﻮﺗﻪ ﻭﺣﺴﻦ ﺇﻟﻘﺎﺋﻪ ﻭﳏﻜﻢ‬

‫ﺇﺷﺎﺭﺍﺗﻪ‪.‬‬

‫ﻭﻣﻦ ﺃﻇﻬﺮ ﳑﻴﺰﺍﺕ ﻫﺬﺍ ﺍﻷﺳﻠﻮﺏ "ﺍﻟﺘﻜﺮﺍﺭ" ﻭﺍﺳﺘﻌﻤﺎﻝ‬

‫ﺍﳌﺘﺮﺍﺩﻓﺎﺕ ﻭﺿﺮﺏ ﺍﻷﻣﺜﺎﻝ ﻭﺍﺧﺘﻴﺎﺭ ﺍﻟﻜﻠﻤﺎﺕ ﺍﳉﺰﻟﺔ ﺫﺍﺕ‬

‫ﺍﻟﺮﻧﲔ‪.‬‬
‫‪22‬‬

‫ﻭﳛﺴﻦ ﻓﻴﻪ ﺃﻥ ﺗﺘﻌﺎﻗﺐ ﺿﺮﻭﺏ ﺍﻟﺘﻌﺒﲑ ﻣﻦ ﺃﺧﺒﺎﺭ ﺇﱃ‬

‫ﺍﺳﺘﻔﻬﺎﻡ‪ ،‬ﺇﱃ ﺗﻌﺠﺐ‪ ،‬ﺇﱃ ﺍﺳﺘﻨﻜﺎﺭ‪ ،‬ﻭﺃﻥ ﺗﻜﻮﻥ ﻣﻮﺍﻃﻦ ﺍﻟﻮﻗﻒ‬

‫‪17‬‬
‫ﻛﺎﻓﻴﺔ ﺷﺎﻓﻴﺔ ﰒ ﻭﺍﺿﺤﺔ ﻗﻮﻳﺔ‪.‬‬

‫ﺏ‪ .‬ﺍﻟﺸﻌﻮﺭ‬

‫ﺍﻟﺸﻌﻮﺭ ﻫﻮ ﺍﳌﻮﻗﻒ ﺍﻟﺬﻱ ﺗﻌﺮ‪‬ﺽ ﻟﻪ ﺍﻷﺩﻳﺐ‪ ،‬ﻭﺗﺄﺛﺮ ﺑﻪ‪ ،‬ﻭﺗﻔﺎﻋﻞ‬

‫ﻣﻌﻪ ﻧﻔﺴﻴﺎﹰ ﻋﱪ ﺃﺣﺎﺳﻴﺴﻪ ﻭﻣﺸﺎﻋﺮﻩ ﺃﻭﻻﹰ‪ ،‬ﻭﺛﻘﺎﻓﺘﻪ ﻭﺭﺅﻳﺘﻪ ﺍﻟﻔﻜﺮﻳﺔ ﺛﺎﻧﻴﺎﹰ‪،‬‬

‫ﻭﻣﻦ ﰒﹼ ﺍﻟﺘﺮﲨﺔ ﺍﻟﺼﺎﺩﻗﺔ ﳍﺬﺍ ﺍﳌﻮﻗﻒ ﻋﱪ ﺍﻟﻠﻐﺔ ﻭﺍﻟﺼﻮﺭ ﻭﺍﻷﻟﻔﺎﻅ‪ ،‬ﺃﻱ ﻣﻦ‬
‫‪18‬‬
‫ﺧﻼﻝ ﺍﻟﺼﻮﺭﺓ ﺍﻟﺘﻌﺒﲑﻳﺔ‪.‬‬

‫ﺍﻟﺸﻌﻮﺭ ﻇﺎﻫﺮﺓ ﴰﻮﻟﻴﺔ ﳍﺎ ﻋﻤﻮﻣﻴﺘﻬﺎ ﻭﺧﺼﻮﺻﻴﺘﻬﺎ ﻛﻤﺎ ﺃ‪‬ﺎ ﳏﻮﺭ‬

‫‪19‬‬
‫ﺍﳌﻌﺎﻳﲑ ﺍﻟﻨﻔﺴﻴﺔ ﻭﺍﻟﺬﺍﺗﻴﺔ ﻭﺗﻘﺘﺮﺏ ﻇﺎﻫﺮﺓ ﺍﻟﺸﻌﻮﺭ ﻣﻦ ﺍﻟﻈﺎﻫﺮﺓ ﺍﻹﺭﺍﺩﻳﺔ‪.‬‬

‫‪ 17‬ﺍﻟﺴﻴﺪ ﺃﲪﺪ ﺍﳍﺎﴰﻲ‪ ،‬ﺟﻮﺍﻫﺮ ﺍﻟﺒﻼﻏﺔ ﰲ ﺍﳌﻌﺎﱐ ﻭﺍﻟﺒﻴﺎﻥ ﻭﺍﻟﺒﺪﻳﻊ‪ ،‬ﺹ ‪44-43‬‬

‫ﻋﺰﺕ ﻋﻤﺮ‪ ،‬ﺍﻟﻨﻘﺪ ﺍﻷﰊ ﺃﺳﺌﻠﺔ ﻭﺃﺟﻮﺑﺔ ﻭﺗﻄﺒﻴﻘﺎﺕ ﺍﻣﺘﺤﺎﻧﻴﺔ‪ ،‬ﻣﺎﺩﺓ ﻋﻠﻤﻴﺔ ﻣﺄﺧﻮﺫﺓ ﰲ ‪ 18‬ﻣﺎﻳﻮ‬ ‫‪18‬‬

‫‪ 2009‬ﻣﻦ ‪http://www.aljameah.com/d/b/alngd/103/6.htm‬‬
‫ﻋﺒﺪﺍﻟﺮﺯﺍﻕ ﻫﻮﰊ‪ ،‬ﺍﻷﺧﲑﺓ‪ :‬ﺛﻨﺎﺋﻴﺔ ﺍﻟﻔﻠﺴﻔﺔ ﺑﲔ ﺍﻟﻌﻘﻞ ﻭﺍﻹﳝﺎﻥ ﻭﻣﺴﺎﺭ ﺍﻟﻈﻮﺍﻫﺮ ﺍﻟﺸﻌﻮﺭﻳﺔ‪ ،‬ﻣﺎﺩﺓ‬ ‫‪19‬‬

‫ﻋﻠﻤﻴﺔ ﻣﺄﺧﻮﺫﺓ ﰲ ‪ 23‬ﻣﺎﻳﻮ ‪ 2009‬ﻣﻦ ?‪http://www.alsabaah.com/paper.php‬‬

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‫ﻳﻌﺪ ﺍﻟﻌﻤﻞ ﺍﻷﺩﰊ ﻧﺎﺟﺤ‪‬ﺎ ﻣﻦ ﺧﻼﻝ ﻛﻤﺎﻝ ﺗﺼﻮﻳﺮ ﺍﻷﺩﻳﺐ ﻟﻠﺘﺠﺮﺑﺔ‬

‫ﺍﻟﺸﻌﻮﺭﻳﺔ ﺍﻟﱵ ﻣﺮ ‪‬ﺎ‪ .‬ﻭﻣﻘﺪﺭﺗﻪ ﻋﻠﻰ ﺍﻟﺘﻌﺒﲑ ﻋﻨﻬﺎ ﺗﻌﺒﲑ‪‬ﺍ ﻳﺜﲑ ﺍﻹﻧﻔﻌﺎﻝ‬

‫ﻳﻨﻔﺲ ﺍﻵﺧﺮﻳﻦ ﻟﻜﻲ ﻳﺸﺎﺭﻛﻮﺍ ﰲ ﺍﻟﺘﺠﺮﺑﺔ ‪ ،‬ﻭﻳﺸﻌﺮﻭﻥ ﲟﺎ ﺷﻌﺮ ﺑﻪ ﺍﻷﺩﻳﺐ‬

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‫ﻭﻫﺬﺍ ﳛﺼﻞ ﺇﺫﺍ ﺍﺳﺘﻮﰱ ﺍﻟﻌﻤﻞ ﺍﻷﺩﰊ ﳎﻤﻮﻋﺔ ﻣﻦ ﺍﻟﻌﻨﺎﺻﺮ‪.‬‬

‫ﺇﻥ ﺣﺎﺟﺔ ﺍﻹﻧﺴﺎﻥ ﺇﱃ ﺍﻟﺘﻌﺒﲑ ﻋﻤﺎ ﻳﻌﺘﻤﻞ ﰲ ﺃﻋﻤﺎﻗﻪ ﺗﺸﲑ ﺇﱃ ﳏﺎﻭﻟﺘﻪ‬

‫ﺍﳌﺘﻮﺍﺻﻠﺔ ﺭﺳﻢ‪ ‬ﺍﻟﺼﻮﺭﺓ ﺍﻟﻜﺎﻣﻠﺔ ﻟﻠﺤﻘﻴﻘﺔ ﺍﻟﺼﺎﻓﻴﺔ ﺍﻟﱵ ﻳﻌﺎﻳﻨﻬﺎ ﺣﻴﻨﺎﹰ‪،‬‬

‫ﻭﺗﻐﻴﺐ ﻋﻨﻪ ﺃﺣﻴﺎﻧﺎﹰ‪ ،‬ﻭﺍﻟﱵ ﺗﺒﻘﻰ ﺩﺍﺋﻤﺎﹰ ﺩﺍﻓﻌﻪ ﺍﻟﺮﺋﻴﺴﻲ ﺇﱃ ﺍﻟﺘﺄﻛﻴﺪ ﻋﻠﻰ ﻗﻴﻤﺔ‬

‫ﻭﺟﻮﺩﻩ ﻭﻋﻠﻰ ﻋﻈﻤﺔ ﺍﻟﻜﻮﻥ ﺍﶈﻴﻂ ﺑﻪ‪ .‬ﻟﻜﻦ ﺣﺎﺟﺔ ﺍﻹﻧﺴﺎﻥ ﺇﱃ ﺍﻟﺘﻌﺒﲑ ﻻ‬

‫ﺗﺘﻮﻗﻒ ﻋﻠﻰ ﻧﻘﻠﻪ ﺍﻟﺼﻮﺭﺓﹶ ﺍﻟﱵ ﻳﺮﻯ ﻓﻴﻬﺎ ﺳﱪﺍﹰ ﻟﺬﺍﺗﻪ ﻭﺍﻗﺘﺮﺍﺑﺎﹰ ﻣﻦ ﺍﳊﻘﻴﻘﺔ‬

‫ﺍﻟﺸﻔﺎﻓﺔ ﺍﻟﻜﺎﻣﻨﺔ ﻓﻴﻪ ﻭﺣﺴﺐ‪ ،‬ﺇﳕﺎ ﺗﺘﺴﺎﻣﻰ ﻫﺬﻩ ﺍﳊﺎﺟﺔ ﻟﻴﺼﺒﺢ ﺍﻹﻧﺴﺎﻥ‬

‫ﻧﻔﺴﻪ ﺃﺩﺍﺓﹰ ﳍﺎ‪ .‬ﻭﰲ ﺣﲔ ﳓﺎﻭﻝ ﺃﻥ ﻧﻜﺸﻒ ﻋﻦ ﺻﻮﺭ ﺍﻟﺪﺍﺧﻞ ﻓﻴﻨﺎ‪،‬‬

‫ﻧﺘﻜﺸ‪‬ﻒ ﳓﻦ ﻋﻦ ﺗﻠﻚ ﺍﻟﺼﻮﺭ‪ ،‬ﻭﻧﻌﺒ‪‬ﺮ ﻋﻨﻬﺎ ﺑﺘﻄﻮ‪‬ﺭﻧﺎ ﻭﺑﺘﻔﺘﺤﻨﺎ ﻭﺑﺘﺴﺎﻣﻴﻨﺎ؛‬

‫‪ 20‬ﺃﺳﲑ‪ ،‬ﺍﻷﺳﻠﻮﺏ ﺍﻷﺩﰊ ﻭﺻﻔﺎﺗﻪ‪ ،‬ﻣﺎﺩﺓ ﻋﻠﻤﻴﺔ ﻣﺄﺧﻮﺫﺓ ﰲ ‪ 18‬ﻣﺎﻳﻮ ‪ 2009‬ﻣﻦ‬

‫‪http://www.ala7ebah.com/upload/forumdisplay.php?s=d3ce487ed81ee46b18987‬‬
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‫ﻓﺈﺫﺍ ﺑﺒﺤﺜﻨﺎ ﻋﻦ ﺍﳊﻘﻴﻘﺔ ﻳﺼﺒﺢ ﺍﻛﺘﻨﺎﻫﺎﹰ ﳍﺎ‪ ،‬ﻭﺷﻌﻮﺭﺍﹰ ‪‬ﺎ‪ ،‬ﻭﺍﻗﺘﺮﺍﺑﺎﹰ ﻻ ﺣﺪﻭﺩ‬

‫ﻟﻪ ﻣﻨﻬﺎ‪.‬‬

‫ﺇﻥ ﺍﻟﺘﻌﺒﲑ ﺍﻹﻧﺴﺎﱐ ﻳﺒﺪﺃ ﺑﺎﻟﺒﺤﺚ ﻋﻦ ﺍﳊﻘﻴﻘﺔ ﰲ ﺃﹸﻃﹸﺮﹺ ﻣﻔﺎﻫﻴﻢ ﻋﺎﻣﺔ‬

‫ﳐﺘﻠﻔﺔ‪ ،‬ﻛﺎﳉﻤﺎﻝ ﻭﺍﶈﺒﺔ ﻭﺍﻟﻄﺒﻴﻌﺔ‪ ،‬ﻟﻜﻨﻪ ﻳﻨﺘﻬﻲ ﺇﱃ ﳊﻈﺔ ﻳﺘﺠﻠﱠﻰ ﻓﻴﻬﺎ‬

‫ﺍﻹﻧﺴﺎﻥ ﺫﺍﺗ‪‬ﻪ ﲝﻘﻴﻘﺔ ﺍﻟﻮﺟﻮﺩ‪ .‬ﻭﺗﻜﻮﻥ ﺗﻠﻚ ﺍﻟﻠﺤﻈﺔ ﻫﻲ ﳊﻈﺔ ﺍﻟﺸﻌﻮﺭ‬

‫ﺑﺎﻻﲢﺎﺩ ﻣﻊ ﻛﻞ ﺷﻲﺀ؛ ﻭﻓﻴﻬﺎ ﺗﻨﺒﻊ ﰲ ﺍﻹﻧﺴﺎﻥ‪ ،‬ﻭﺗﺘﺪﻓﻖ ﻣﻨﻪ‪ ،‬ﻧﻐﻤﺎﺕ‪‬‬

‫‪21‬‬
‫ﺍﳊﻲ‪.‬‬ ‫ﺍﻟﺸﻌﺮ ﺍﻟﺼﺎﺩﻕ‬

‫ﻓﺎﻟﺸﻌﺮ ﻟﻴﺲ ﺗﻌﺒﲑﺍ ﻋﻦ ﺍﳊﻴﺎﺓ‪-‬ﻛﻤﺎ ﻏﺎﱃ ﺑﻌﺾ ﺍﻟﻜﺘﺎﺏ‪ -‬ﺇﳕﺎ ﻫﻮ‬

‫ﺗﻌﺒﲑ ﻋﻦ ﺍﻟﻠﺤﻈﺎﺕ ﺍﻷﻗﻮﻯ ﻭﺍﻷﻣﻸ ﺑﺎﻟﻄﺎﻗﺔ ﺍﻟﺸﻌﻮﺭﻳﺔ ﰲ ﺍﳊﻴﺎﺓ‪ .‬ﻟﻴﺲ‬

‫ﳌﻮﺿﻮﻉ ﺍﻟﺘﻌﺒﲑ ﰲ ﺫﺍﺗﻪ ﺩﺍﺧﻞ ﰲ ﻫﺬﺍ‪ .‬ﻓﺎﳌﻬﻢ ﻫﻮ ﺩﺭﺟﺔ ﺍﻻﻧﻔﻌﺎﻝ‬

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‫ﺍﻟﺸﻌﻮﺭﻱ ‪‬ﺬﺍ ﺍﳌﻮﺿﻮﻉ‪.‬‬

‫‪ 21‬ﻣﻮﺳﻰ ﺩﻳﺐ ﺍﳋﻮﺭﻯ‪ ،‬ﺍﻟﺸﺎﻋﺮ ﻭ ﺍﻟﺸﻌﻮﺭ‪ ،‬ﻣﺎﺩﺓ ﻋﻠﻤﻴﺔ ﻣﺄﺧﻮﺫﺓ ﰲ ‪ 17‬ﻳﻮﻟﻴﻮ ‪ 2009‬ﻣﻦ‬
‫‪http://www.maaber.org/indexa/al_dalil_khe.htm#khouri_m‬‬
‫‪ 22‬ﺳﻴﺪ ﻗﻄﺐ‪ ،‬ﺍﻟﻨﻘﺪ ﺍﻷﺩﰊ ﺃﺻﻮﻟﻪ ﻭﻣﻨﺎﻫﺠﻪ‪ ،‬ﻁ ‪) 3‬ﺩﺍﺭ ﺍﻟﻔﻜﺮﻱ ﺍﻟﻌﺮﰊ ‪1959‬ﻡ( ﺹ ‪57‬‬
‫‪25‬‬

‫ﺝ‪ .‬ﺍﻟﺸﻌﺮ ﺍﳊﺮ‬

‫ﺃ‪ .‬ﺗﻌﺮﻳﻔﻪ‬

‫ﺍﻟﺸﻌﺮ ﺍﳊﺮ ﺗﺮﲨﺔ ﺣﺮﻓﻴﺔ ﳌﺼﻄﻠﺢ ﻏﺮﰊ ﻫﻮ ‪Free verse‬‬

‫ﺑﺎﻻﻧﻜﻠﻴﺰﻳﺔ ﻭ ‪ vers libre‬ﺑﺎﻟﻔﺮﻧﺴﻴﺔ‪ ،‬ﻭﻗﺪ ﺃﻃﻠﻘﻮﻩ ﰲ ﺍﻟﻐﺮﺏ‬

‫ﻋﻠﻰ ﺷﻌﺮ ﺧﺎﻝ ﻣﻦ ﺍﻟﻮﺯﻥ ﻭﺍﻟﻘﺎﻓﻴﺔ ﻛﻠﻴﻬﻤﺎ‪ 23.‬ﻭﰲ ﺍﻻﺻﻄﻼﺡ ﻫﻮ‬

‫ﺍﻟﺸﻌﺮ ﺍﻟﺬﻱ ﻻ ﻳﺘﻘﻴﺪ ﺑﻘﺎﻓﻴﺔ ﻭﺍﺣﺪﺓ ﻭﻻ ﺑﺒﺤﺮ ﺗﺎﻡ ﻭﻳﻘﻴﻢ ﺍﻟﻘﺼﻴﺪﺓ‬

‫ﻋﻠﻰ ﺍﻟﺘﻔﻌﻴﻠﺔ ﺑﺪﻻ ﻣﻦ ﺍﻟﺸﻄﺮ ﳏﻄﻤﺎ ﺍﺳﺘﻘﻼﻝ ﺍﻟﺒﻴﺖ‪ 24،‬ﻭﻗﻴﻞ ﺃﻥ‬

‫ﺍﻟﺸﻌﺮ ﺍﳊﺮ ﻫﻮ ﺍﻟﺸﻌﺮ ﺍﻟﺬﻱ ﻳﻠﺘﺰﻡ ﺑﺘﻔﻌﻴﻠﺔ ﻳﻜﺮﺭﻫﺎ ﺍﻟﺸﺎﻋﺮ ﰲ‬

‫ﺍﻟﺴﻄﺮ‪ ،‬ﻓﻬﻮ ﺷﻌﺮ ﺳﻄﺮ ﻭﻟﻴﺲ ﺑﺸﻌﺮ ﺑﻴﺖ ﻓﻘﺪ ﻳﺘﻜﻮﻥ ﺍﻟﺴﻄﺮ‬

‫ﺍﻟﺸﻌﺮﻱ ﻣﻦ ﺗﻔﻌﻴﻠﺔ ﻭﺍﺣﺪﺓ ﺃﻭ ﺍﺛﻨﺘﲔ ﺃﻭ ﺛﻼﺙ ﺃﻭ ﺃﻛﺜﺮ‪25.‬ﻭﻗﺎﻟﺖ‬

‫ﻧﺎﺯﻙ ﺍﳌﻼﺋﻜﺔ ﻋﻦ ﺍﻟﺸﻌﺮ ﺍﳊﺮ ﻭﻫﻮ ﺷﻌﺮ ﺫﻭ ﺷﻄﺮ ﻭﺍﺣﺪ ﻟﻴﺲ ﻟﻪ‬

‫‪ 23‬ﺍﻟﺪﻛﺘﻮﺭ ﺃﲬﺪ ﻣﻄﻠﻮﺏ‪ ،‬ﺍﻟﻨﻘﺪ ﺍﻷﺩﰊ ﺍﳊﺪﻳﺚ ﰲ ﺍﻟﻌﺮﺍﻕ )ﻣﻌﻬﺪ ﺍﻟﺒﺤﻮﺙ ﻭﺍﻟﺪﺭﺍﺳﺎﺕ ﺍﻟﻌﺮﺑﻴﺔ(‪،‬‬
‫ﺹ ‪241‬‬
‫‪ 24‬ﺍﻟﺪﻛﺘﻮﺭ ﺃﲬﺪ ﻣﻄﻠﻮﺏ‪ ،‬ﺍﻟﻨﻘﺪ ﺍﻷﺩﰊ ﺍﳋﺪﻳﺚ ﰲ ﺍﻟﻌﺮﺍﻕ‪ ،‬ﺹ ‪232‬‬

‫‪ 25‬ﺩ‪ .‬ﻋﺒﺪ ﺍﻟﻌﺰﻳﺰ ﺑﻦ ﳏﻤﺪ ﻓﻴﺼﻞ‪ ،‬ﻣﻊ ﺍﻟﺘﺠﺪﻳﺪ ﻭﺍﻟﺘﻘﻠﻴﺪ ﰲ ﺍﻟﺸﻌﺮ ﺍﻟﻌﺮﰊ‪ ،‬ﺍﻟﻄﺒﻌﺔ ﺍﻷﻭﱃ ‪1414‬‬
‫‪ 1993‬ﻡ‪ ،‬ﺹ ‪126‬‬ ‫ﻫـ‬
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‫ﻃﻮﻝ ﺛﺎﺑﺖ ﻭﺇﳕﺎ ﻳﺼﺢ ﺃﻥ ﻳﺘﻐﲑ ﻋﺪﺩ ﺍﻟﺘﻔﻌﻴﻼﺕ ﻣﻦ ﺷﻄﺮ ﺇﱃ‬

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‫ﺷﻄﺮ‪ ،‬ﻭﻣﻜﻮﻥ ﻫﺬﺍ ﺍﻟﺘﻐﲑ ﻭﻓﻖ ﺍﻟﻘﺎﻧﻮﻥ ﻋﺮﻭﺿﻲ ﻳﺘﺤﻜﻢ ﻓﻴﻪ‪.‬‬

‫ﺏ‪ .‬ﻧﺸﺄﺗﻪ ﻭﺗﻄﻮﺭﻩ‬

‫ﺍﻟﻴﻮﻡ ﻧﻘﺎﺵ ﻓﻜﺮﻱ ﺣﻮﻝ ﺍﻟﺸﻌﺮ ﺍﳊﺮ ﺃﻭ ﺍﳌﺮﺳﻞ ﺃﻭ ﺍﳌﻄﻠﻖ‪ ،‬ﻭ‬

‫ﻛﺜﲑ ﳑﻦ ﻧﻈﻢ ﻓﻴﻪ ﻳﺪﻋﻰ ﺃﻧﻪ ﻛﺎﻥ ﺍﻟﺒﺎﺩﺉ ﻓﻴﻪ‪ ،‬ﻭﻳﺪﻝ ﺑﺎﻟﱪﺍﻫﲔ‬

‫ﻭﻳﺄﰐ ﺑﺎﻷﻣﺜﻠﺔ‪ .‬ﻭﻳﻌﻮﺯ ﻫﺆﻻﺀ ﰲ ﺩﻋﻮﺍﻫﻢ ﺍﻟﺘﺤﻘﻴﻖ ﺍﻟﻌﻠﻤﻲ ﻭﺍﻟﺘﺘﺒﻊ‬

‫ﺍﻟﻌﻤﻴﻖ‪ .‬ﻭﻛﺎﻥ ﺃﻛﺜﺮ ﻣﺎ ﻛﺘﺒﻮﻩ ﰲ ﻫﺬﺍ ﺍﻟﺸﺄﻥ ﻣﺪﻓﻮﻋﺎ ﺑﺪﺍﻓﻊ ﺍﻟﻔﺨﺮ‬

‫ﻭﺍﳌﺒﺎﻫﺎﺓ‪ .‬ﻭﻣﻦ ﺃﺭﺍﺩ ﺃﻥ ﻳﻄﻠﻊ ﻋﻠﻰ ﺣﻠﻴﺔ ﺍﻷﻣﺮ ﻭﺟﺐ ﻋﻠﻴﻪ ﺃﻥ ﻳﻘﺮﺃ‬

‫ﺟﺮﺍﺋﺪ ﺍﻟﻌﺮﺍﻕ ﻣﻦ ﺳﻨﺔ ‪ 1911‬ﺣﱴ ‪ 1045‬ﻡ‪ ،‬ﻟﻴﺘﻀﺢ ﻟﻪ ﺍﳊﺮﻛﺔ‬

‫ﻗﺪﳝﺔ‪ ،‬ﻭﳍﺎ ﺟﺬﻭﺭﻫﺎ ﺍﻟﺘﺎﺭﳜﻴﺔ ﺍﻟﱴ ﺗﺼﻞ ﺇﱃ ﺃﻭﺍﺋﻞ ﺍﻟﻌﺸﺮﻳﻦ‪ ،‬ﻷﻥ‬

‫ﻛﻞ ﻓﻜﺮﺓ ﺟﺪﻳﺪﺓ ﻻﺑﺪ ﳍﺎ ﻣﻦ ﺟﺬﻭﺭ‪ ،‬ﻭﻳﻨﺒﻐﻲ ﺃﻥ ﺗﻘﺪﻡ ﻋﻠﻰ ﺃﺳﺲ‬

‫ﻧﺎﺯﻙ ﺍﳌﻼﺋﻜﺔ‪ ،‬ﻗﻀﺎﻳﺎ ﺍﻟﺸﻌﺮ ﺍﳌﻌﺎﺻﺮ‪ ،‬ﺍﻟﻄﺒﻌﺔ ﺍﻟﺜﺎﻧﻴﺔ ﻋﺸﺮﺓ )ﺑﲑﻭﺕ‪ :‬ﺩﺍﺭ ﺍﻟﻌﻠﻢ ﻟﻠﻤﻼﻳﲔ‪2004 ،‬‬ ‫‪26‬‬

‫ﻡ(‪ ،‬ﺹ ‪77‬‬

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‫ﻭﻗﻮﺍﻋﺪ ﻗﺪﳝﺔ ﺗﺴﺘﻤﺪ ﺣﻴﺎ‪‬ﺎ ﻣﻨﻬﺎ ﻭﱂ ﺗﺼﻞ ﺍﳊﺮﻛﺔ ﺇﱃ ﻣﺎ ﻭﺻﻠﺖ‬

‫ﺇﻟﻴﻪ ﺇﻻ ﺃﻛﺜﺮ ﻣﻦ ﺛﻼﺛﲔ ﺳﻨﺔ‪ .‬ﺇﺫ ﻻﳝﻜﻦ ﻟﻠﻔﻜﺮ ﺃﻥ ﻳﺘﻄﻮﺭ ﺩﻓﻌﺔ‬

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‫ﻭﺍﺣﺪﺓ‪ ،‬ﻭﻻ ﺑﺪ ﻟﻪ ﻣﻦ ﺩﻭﺍﻓﻊ ﺣﻀﺎﺭﻳﺔ ﻭﺍﺟﺘﻤﺎﻋﻴﺔ‪.‬‬

‫ﺑﺪﺃﺕ ﳏﺎﻭﻟﺔ ﺍﻟﺘﺠﺪﻳﺪ ﺑﺎﻟﺪﻋﻮﺓ ﺇﱃ ﺍﻟﺘﺨﻠﺺ ﻣﻦ ﺭﺗﺎﺑﺔ ﺍﻟﻘﺎﻓﻴﺔ‬

‫ﺩﻭﻥ ﺗﺮﻛﻬﺎ ﲤﺎﻣﺎ‪ ،‬ﻭﺗﻨﻮﻳﻊ ﺍﻟﺘﻔﻌﻴﻼﺕ ﺩﻭﻥ ﺍﳋﻠﺺ ﻣﻦ ﺍﻹﻳﻘﺎﻉ‬

‫ﺷﻴﺊ ﻗﺮﻳﺐ ﺟﺪﺍ ﳑﺎ ﺣﺪﺙ ﻣﻊ ﺣﺮﻛﺔ ﺍﻟﺘﺠﺪﻳﺪ ﺍﻟﱴ ﲤﺖ ﻋﻠﻰ ﻳﺪ‬

‫ﺍﻷﻧﺪﻟﺴﻴﲔ ﻭﺃﺧﺬﺕ ﺍﺳﻢ ﺍﳌﻮﺷﺤﺎﺕ‪ ،‬ﻭﻟﻜﻦ ﺍﻟﺘﺤﺮﺭ ﻣﻦ ﻗﻴﻮﺩ ﺍﻟﻔﻦ‬

‫ﱂ ﻳﺘﻮﻗﻒ‪ ،‬ﻭﻃﺮﻳﻖ ﺍﻻﳓﺪﺍﺭ ﺳﻬﻞ‪ ،‬ﻓﺘﺨﻠﺺ ﺍﻟﺸﻌﺮﺍﺀ ﻭﺍﻟﺼﻐﺎﺭ‬

‫ﻣﻨﻬﻢ ﲞﺎﺻﺔ ﻣﻦ ﺍﻟﻘﺎﻓﻴﺔ ﻭﻣﻦ ﺍﻟﻮﺯﻥ ﻭﺑﺎﳉﻤﻠﺔ ﻣﻦ ﻛﻞ ﺷﻴﺊ ﻟﻴﻨﺘﻬﻮﺍ‬

‫ﺇﱃ ﻻﺷﻴﺊ ﺃﻳﻀﺎ‪.‬‬

‫ﺃﻃﻠﻖ ﻋﻠﻰ ﻫﺬﻩ ﺍﻻﲡﺎﻩ ﺍﺳﻢ ﺍﻟﺸﻌﺮ ﺍﳊﺮ‪ ،‬ﺗﺮﲨﺔ ﻟﻠﻤﺼﻄﻠﺢ‬

‫ﺍﻟﻔﺮﻧﺴﻲ ‪ ،vers libres‬ﻭﻫﻲ ﺗﺴﻤﻴﺔ ﻳﺮﻯ ﺍﻟﻨﺎﻗﺪ ﻭﺍﻟﺸﺎﻋﺮ‬

‫ﺍﻹﳒﻠﻴﺰﻱ ﺇﻟﻴﻮﺕ "ﺃ‪‬ﺎ ﺧﺎﻃﺌﺔ‪ ،‬ﻓﻤﺎ ﻣﻦ ﺷﻌﺮ ﳝﻜﻦ ﺃﻥ ﻳﻜﻮﻥ ﺣﺮﺍ‬

‫‪ 27‬ﺩ‪ .‬ﻳﻮﺳﻒ ﻋﺰ ﺍﻟﺪﻳﻦ‪ ،‬ﰲ ﺍﻷﺩﺏ ﺍﻟﻌﺮﰊ ﺍﳊﺪﻳﺚ‪ ،‬ﺍﻟﻄﺒﻌﺔ ﺍﻟﺜﺎﻟﺜﺔ )ﺍﻟﺮﻳﺎﺽ‪ :‬ﺩﺍﺭ ﺍﻟﻌﻠﻮﻡ ‪ 1981‬ﻡ(‪،‬‬
‫ﺹ ‪213‬‬
‫‪28‬‬

‫ﻟﺪﻯ ﻣﻦ ﻳﺮﻳﺪ ﺃﻥ ﳛﻘﻖ ﺍﻹﺗﻘﺎﻥ ﻓﻴﻪ‪ ،‬ﻭﺍﳊﺮﻳﺔ ﻻ ﺗﻌﲎ ﺍﳍﺮﻭﺏ ﻣﻦ‬

‫ﺍﻟﻮﺯﻥ‪ ،‬ﻭﺇﳕﺎ ﺗﻌﲎ ﺍﻟﺴﻴﻄﺮﺓ ﻋﻠﻴﻪ ﻭﺇﺗﻘﺎﻧﻪ‪ ..".‬ﻓﺎﳊﻖ ﺃﻥ ﺍﻟﺸﺎﻋﺮﺓ‬

‫ﺍﻟﻌﺮﺍﻗﻴﺔ ﻧﺎﺯﻙ ﺍﳌﻼﺋﻜﺔ ﻭﻫﻲ ﺃﻭﻝ ﻣﻦ ﺩﻋﺎ ﺇﻟﻴﻪ ﻧﻈﺮﻳﺔ ﺑﻌﺪ ﺍﳊﺮﻭﺏ‬
‫‪28‬‬
‫ﻭﳑﺎﺭﺳﺔ ﺗﻄﺒﻴﻘﺎ‪.‬‬

‫ﰲ ﻛﺘﺎﺏ ﻗﻀﺎﻳﺎ ﺍﻟﺸﻌﺮ ﺍﳌﻌﺎﺻﺮ ﻟﻨﺎﺯﻙ ﺍﳌﻼﺋﻜﺔ ﻛﺎﻧﺖ ﺑﺪﺍﻳﺔ‬

‫ﺣﺮﻛﺔ ﺍﻟﺸﻌﺮ ﺍﳊﺮ ﺳﻨﺔ ‪ 1947‬ﰲ ﺍﻟﻌﺮﺍﻕ‪ .‬ﻭﻣﻦ ﺍﻟﻌﺮﺍﻕ‪ ،‬ﺑﻞ ﻣﻦ‬

‫ﺑﻐﺪﺍﺩ ﻧﻔﺴﻬﺎ‪ ،‬ﺯﺣﻔﺖ ﻫﺬﻩ ﺍﳊﺮﻛﺔ ﻭﺍﻣﺘﺪﺕ ﺣﱴ ﻏﻤﺮﺕ ﺍﻟﻮﻃﻦ‬

‫ﺍﻟﻌﺮﰊ ﻛﻠﻪ ﻭﻛﺎﺩﺕ ﺑﺴﺒﺐ ﺗﻄﺮﻑ ﺍﻟﺬﻳﻦ ﺍﺳﺘﺠﺎﺑﻮﺍ ﳍﺎ ﲡﺮﻑ‬

‫ﺃﺳﺎﻟﻴﺐ ﺷﻌﺮﻧﺎ ﺍﻟﻌﺮﰊ ﺍﻷﺧﺮﻯ ﲨﻴﻌﺎ‪.‬‬

‫ﻭﻛﺎﻧﺖ ﺃﻭﻝ ﻗﺼﻴﺪﺓ ﺣﺮﺓ ﺍﻟﻮﺯﻥ ﺗﻨﺸﺮ ﺍﻟﻘﺼﻴﺪﺓ ﺍﳌﻌﻨﻮﻳﺔ‬

‫"ﺍﻟﻜﻮﻟﲑﺍ"‪...‬ﻧﺸﺮﺕ ﻫﺬﻩ ﺍﻟﻘﺼﻴﺪﺓ ﰲ ﺑﲑﻭﺕ ﻭﻭﺻﻠﺖ ﻧﺴﺨﻬﺎ‬

‫ﺑﻐﺪﺍﺩ ﰲ ﺃﻭﻝ ﻛﺎﻧﻮﻥ ﺍﻷﻭﻝ ‪ .1947‬ﻭﰲ ﺍﻟﻨﺼﻒ ﺍﻟﺜﺎﱐ ﻣﻦ‬

‫ﺍﻟﺸﻬﺮ ﻧﻔﺴﻪ ﺻﺪﺭ ﰲ ﺑﻐﺪﺍﺩ ﺩﻳﻮﺍﻥ ﺑﺪﺭ ﺷﺎﻛﺮ ﺍﻟﺴﻴﺎﺏ "ﺃﺯﻫﺎﺭ‬

‫‪ 28‬ﺩﻛﺘﻮﺭ ﺍﻟﻄﺎﻫﺮ ﺃﲪﺪ ﺍﳌﻌﺎﺻﺮ‪ ،‬ﺍﻟﺸﻌﺮ ﺍﻟﻌﺮﰊ ﺍﳌﻌﺎﺻﺮ‪ ،‬ﺍﻟﻄﺒﺔ ﺍﻷﻭﱃ )ﺍﻟﻘﺎﻫﺮﺓ‪ :‬ﺩﺍﺭ ﺍﳌﻌﺎﺭﻑ‪1980 ،‬‬
‫ﻡ(‪ ،‬ﺹ ‪152-151‬‬
‫‪29‬‬

‫ﺫﺍﺑﻠﺔ" ﻭﻓﻴﻪ ﻗﺼﻴﺪﺓ ﺣﺮﺓ ﺍﻟﻮﺯﻥ ﻟﻪ ﻣﻦ ﲝﺮ ﺍﻟﺮﻣﻞ ﻋﻨﻮﺍ‪‬ﺎ "ﻫﻞ ﻛﺎﻥ‬

‫ﺣﺒﺎ" ﻭﻗﺪ ﻋﻠﻖ ﻋﻠﻴﻬﺎ ﰲ ﺍﳊﺎﺷﻴﺔ ﺑﺄ‪‬ﺎ ﻣﻦ ﺍﻟﺸﻌﺮ ﺍﳌﺨﺘﻠﻒ ﺍﻷﻭﺯﺍﻥ‬

‫ﻭﺍﻟﻘﻮﺍﰲ‪.‬‬

‫ﻋﻠﻰ ﺃﻥ ﻇﻬﻮﺭ ﻫﺎﺗﲔ ﺍﻟﻘﺼﻴﺪﺗﲔ ﱂ ﻳﻠﻔﺖ ﻧﻈﺮ ﺍﳉﻤﻬﻮﺭ‪،‬‬

‫ﻭﻛﺎﻥ ﺗﻌﻠﻴﻖ ﳎﻠﺔ "ﺍﻟﻌﺮﺑﻴﺔ" ﻋﻠﻰ ﻗﺼﻴﺪﰐ ﻫﻮ ﺍﻟﺘﻌﻠﻴﻖ ﺍﻟﻮﺣﻴﺪ ﻋﻠﻰ‬

‫ﻫﺬﻩ ﺍﻟﻨﻘﻠﺔ ﰲ ﺃﺳﻠﻮﺏ ﺍﻟﻮﺯﻥ‪ .‬ﻭﻣﻀﺖ ﺳﻨﺘﺎﻥ ﺻﺎﻣﺘﺘﺎﻥ ﱂ ﺗﻨﺸﺮ‬

‫ﺧﻼﳍﻤﺎ ﺍﻟﺼﺤﻒ ﺷﻌﺮﺍ ﺣﺮﺍ ﻋﻠﻰ ﺍﻹﻃﻼﻕ‪.‬‬

‫ﻭﰲ ﺻﻴﻒ ﺳﻨﺔ ‪ 1949‬ﺻﺪﺭ ﺩﻳﻮﺍﱐ )ﻧﺎﺯﻙ ﺍﻟﻼﺋﻜﺔ(‬

‫"ﺷﻈﺎﻳﺎ ﻭﺍﻟﺮﻣﺎﺩ" ﻭﻗﺪ ﺿﻤﻨﺘﻪ ﳎﻤﻮﻋﺔ ﻣﻦ ﺍﻟﻘﺼﺎﺋﺪ ﺍﳊﺮﺓ‪ ....،‬ﻭﰲ‬

‫ﺁﺫﺍﺭ ‪ 1950‬ﺻﺪﺭ ﰲ ﺑﲑﻭﺕ ﺩﻳﻮﺍﻥ ﺃﻭﻝ ﻟﺸﺎﻋﺮ ﻋﺮﺍﻗﻲ ﺟﺪﻳﺪ ﻫﻮ‬

‫ﻋﺒﺪ ﺍﻟﻮﻫﺎﺏ ﺍﻟﺒﻴﺎﰐ ﻭﻛﺎﻥ ﻋﻨﻮﺍﻧﻪ "ﻣﻼﺋﻜﺔ ﻭﺷﻴﻄﺎﻥ" ﻭﻓﻴﻪ ﻗﺼﺎﺋﺪ‬

‫ﺣﺮﺓ ﺍﻟﻮﺯﻥ‪ .‬ﺗﻼ ﺫﻟﻚ ﺩﻳﻮﺍﻥ "ﺍﳌﺴﺎﺀ ﺍﻷﺧﲑ" ﻟﺸﺎﺫﻝ ﻃﺎﻗﺔ ﰲ‬

‫ﺻﻴﻒ ‪ 1950‬ﰒ ﺻﺪﺭ "ﺃﺳﺎﻃﲑ" ﻟﺒﺪﺭ ﺷﺎﻛﺮ ﺍﻟﺴﻴﺎﺏ ﰲ ﺃﻳﻠﻮﻝ‬

‫‪ 1950‬ﻭﺗﺘﺎﻟﺖ ﺑﻌﺪ ﺫﻟﻚ ﺍﻟﺪﻭﺍﻭﻳﻦ‪ ،‬ﻭﺭﺍﺣﺖ ﺩﻋﻮﺓ ﺍﻟﺸﻌﺮ ﺍﳊﺮ‬

‫‪30‬‬

‫ﺗﺘﺨﺬ ﻣﻈﻬﺮﺍ ﺃﻗﻮﻯ ﺣﱴ ﺭﺍﺡ ﺑﻌﺾ ﺍﻟﺸﻌﺮﺍﺀ ﳚﻬﺮﻭﻥ ﺃﺳﻠﻮﺏ‬

‫‪29‬‬
‫ﺍﻟﺸﻄﺮﻳﻦ ﻫﺠﺮﺍ ﻗﺎﻃﻌﺎ ﻟﻴﺴﺘﻌﻤﻠﻮﺍ ﺍﻷﺳﻠﻮﺏ ﺍﳉﺪﻳﺪ‪.‬‬

‫‪ 29‬ﻧﺎﺯﻙ ﺍﳌﻼﺋﻜﺔ‪ ،‬ﻗﻀﺎﻳﺎ ﺍﻟﺸﻌﺮ ﺍﳌﻌﺎﺻﺮ‪ ،‬ﺹ ‪36-35‬‬

‫‪31‬‬

‫ﺍﻟﺒﺎﺏ ﺍﻟﺜﺎﻟﺚ‬

‫ﺗﺮﲨﺔ ﺣﻴﺎﺓ ﺃﺩﻭﻧﻴﺲ‬

‫‪ .1‬ﺗﺮﲨﺔ ﺣﻴﺎﺓ ﺃﺩﻭﻧﻴﺲ‬

‫ﺃ‪ .‬ﺍﲰﻪ‬

‫ﺍﲰﻪ ﻋﻠﻲ ﺃﲪﺪ ﺳﻌﻴﺪ ﺇﺳﱪ‪ .‬ﻭﻟﺪ ﰲ ‪ 1930‬ﺑﻘﺮﻳﺔ ﻗﺼﺎﺑﲔ‬

‫ﺍﻟﺴﻮﺭﻳﺔ‪ .‬ﺗﺒﲎ ﺍﺳﻢ ﺃﺩﻭﻧﻴﺲ ﺍﻟﺬﻱ ﺧﺮﺝ ﺑﻪ ﻋﻠﻰ ﺗﻘﺎﻟﻴﺪ ﺍﻟﺘﺴﻤﻴﺔ ﺍﻟﻌﺮﺑﻴﺔ‬
‫‪30‬‬
‫ﻣﻨﺬ ﺍﻟﻌﺎﻡ ‪.1948‬‬

‫ﻭﺃﺩﻭﻧﻴﺲ ﻫﻮ ﺃﺣﺪ ﺃﻟﻘﺎﺏ ﺍﻵﳍﺔ ﰲ ﺍﻟﻠﻐﺔ ﺍﻟﻜﻨﻌﺎﻧﻴﺔ‪-‬ﺍﻟﻔﻴﻨﻴﻘﻴﺔ‪،‬‬

‫ﻓﺎﻟﻜﻠﻤﺔ "ﺃﺩﻭﻥ" ﲢﻤﻞ ﻣﻌﲎ ﺳﻴﺪ ﺃﻭ ﺇﻟﻪ ﺑﺎﻟﻜﻨﻌﺎﻧﻴﺔ ﻣﻀﺎﻑ ﺇﻟﻴﻬﺎ ﺍﻟﺴﲔ‬

‫)ﺍﻟﺘﺬﻛﲑ ﺑﺎﻟﻴﻮﻧﺎﻧﻴﺔ( ﻭﻫﻮ ﻣﻌﺸﻮﻕ ﺍﻹﳍﺔ ﻋﺸﺘﺎﺭ ﺍﻧﺘﻘﻠﺖ ﺃﺳﻄﻮﺭﺓ‬

‫ﺃﺩﻭﻧﻴﺲ ﻟﻠﺜﻘﺎﻓﺔ ﺍﻟﻴﻮﻧﺎﻧﻴﺔ ﻭﺣﺒﻴﺒﺘﻪ ﺻﺎﺭﺕ ﺃﻓﺮﻭﺩﻳﺖ‪ .‬ﳚﺴﺪ ﺍﻟﺮﺑﻴﻊ‬

‫ﺃﺩﻭﻧﻴﺲ‪ :‬ﺣﻴﺎﺗﻪ ﻭﺷﻌﺮﻩ‪ ،‬ﻣﺎﺩﺓ ﻋﻠﻤﻴﺔ ﻣﺎﺧﻮﺫﺓ ﰲ ‪ 24‬ﻳﻨﺎﻳﲑ ‪ 2009‬ﻣﻦ‬ ‫‪30‬‬

‫‪http://www.sami9.net/vb/showthread.php?t=34912‬‬

‫‪26‬‬
‫‪32‬‬

‫ﻭﺍﻹﺧﺼﺎﺏ ﻟﺪﻯ ﺍﻟﻜﻨﻌﺎﻧﲔ ﻭﺍﻹﻏﺮﻳﻖ‪ .‬ﻭﻛﺎﻥ ﻳﺼﻮﺭ ﻛﺸﺎﺏ ﺭﺍﺋﻊ‬

‫ﻭﻫﺬﺍ ﺍﻟﻠﻘﺐ ﻫﻮ ﺍﻟﺬﻱ ﺃﻃﻠﻖ ﻋﻠﻰ ﻧﻔﺴﻪ ﻳﻘﻮﻝ‪» :‬ﺃﻧﺎ ﺍﻟﺬﻱ‬ ‫‪31‬‬
‫ﺍﳉﻤﺎﻝ‪.‬‬

‫ﺃﻃﻠﻘﺖ ﻋﻠﻰ ﻧﻔﺴﻲ ﻫﺬﺍ ﺍﻻﺳﻢ‪ ،‬ﺫﺍﺕ ﻣﺮﺓ ﻭﺑﺎﳌﺼﺎﺩﻓﺔ ﻭﻗﻌﺖ ﺑﲔ ﻳﺪﻱ‬

‫ﳎﻠﺔ ﻗﺮﺃﺕ ﻓﻴﻬﺎ ﻣﻮﺿﻮﻋﺎﹰ ﺣﻮﻝ ﺃﺳﻄﻮﺭﺓ ﺃﺩﻭﻧﻴﺲ ﻓﺄﻋﺠﺒﺖ ‪‬ﺎ ﻭﺑﻌﺪﻫﺎ‬

‫ﺣﺪﺙ ﻧﻮﻉ ﻣﻦ ﺍﻟﺘﻄﺎﺑﻖ ﺑﻴﲏ ﻭﺑﲔ ﺑﻄﻠﻬﺎ ﻓﻘﻠﺖ ﰲ ﻧﻔﺴﻲ ﺇﻥ ﺍﻟﺼﺤﻒ‬

‫ﺍﻟﱵ ﻻ ﺗﻨﺸﺮ ﻗﺼﺎﺋﺪﻱ ﻫﻲ ﲟﺜﺎﺑﺔ ﺍﳋﻨﺰﻳﺮ ﺍﻟﱪﻱ‪ .‬ﻭﻗﺮﺭﺕ ﺃﻥ ﺃﻛﺘﺐ ﺑﺎﺳﻢ‬

‫ﺃﺩﻭﻧﻴﺲ‪ ،‬ﺃﻧﻄﻮﻥ ﺳﻌﺎﺩﻩ ﱂ ﻳﻄﻠﻖ ﻋﻠﻲ‪ ‬ﻫﺬﺍ ﺍﻟﻠﻘﺐ‪ ،‬ﻫﺬﻩ ﺷﺎﺋﻌﺔ ﻻ‬

‫‪32‬‬
‫ﺃﻛﺜﺮ«‪.‬‬

‫ﺍﳌﻮﺳﻮﻋﺔ ﺍﳊﺮﺓ‪ ،‬ﺃﺩﻭﻧﻴﺲ‪ ،‬ﻣﺎﺩﺓ ﻋﻠﻤﻴﺔ ﻣﺎﺧﻮﺫﺓ ﰲ ‪ 24‬ﻳﻨﺎﻳﲑ ‪ 2009‬ﻣﻦ‬ ‫‪31‬‬

‫?‪http://ar.wikipedia.org/w/index.php‬‬
‫‪ 32‬ﺭﺷﺎ ﳏﻔﻮﺽ‪ ،‬ﺃﺩﻭﻧﻴﺲ‪...‬ﺍﻷﺷﻜﺎﻟﻴﺔ ﺍﳌﺘﺠﺪﺩﺓ‪ :‬ﻻﻭﺟﻮﺩ ﻟﻠﺜﻘﺎﻓﺔ ﰲ ﺍﻟﺒﻠﺪﺍﻥ ﺍﻟﻌﺮﺑﻴﺔ‪ ،‬ﻣﺎﺩﺓ ﻋﻠﻤﻴﺔ‬
‫ﻣﺎﺧﻮﺫﺓ ﰲ ‪ 30‬ﻣﺎﺭﺱ ‪ 2009‬ﻣﻦ‬
‫‪http://www.tahawolat.com/cms/article.php3?id_article=181‬‬
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‫ﺏ‪ .‬ﻣﻮﻟﺪﻩ ﻭﻧﺸﺄﺗﻪ‬

‫ﻋﻠﻲ ﺃﲪﺪ ﺳﻌﻴﺪ ﺇﺳﱪ ﺍﳌﻌﺮﻭﻑ ﺑﺄﺩﻭﻧﻴﺲ ﻭﻟﺪ ﰲ ‪ 1930‬ﺑﻘﺮﻳﺔ‬

‫ﻗﺼﺎﺑﲔ ﰲ ﺳﻮﺭﻳﺎ‪ .‬ﺗﺒﲎ ﺍﺳﻢ ﺃﺩﻭﻧﻴﺲ ﺍﻟﺬﻱ ﺧﺮﺝ ﺑﻪ ﻋﻠﻰ ﺗﻘﺎﻟﻴﺪ‬

‫ﻓﺈﻥ ﺃﻳﺎﻡ ﺃﺩﻭﻧﻴﺲ ﻛﺎﻧﺖ ﲤﻀﻲ ﰲ ﻛﻞ ﻟﻴﻠﺔ ﻗﺮﺍﺀﺓﹲ‬ ‫‪33‬‬

‫ﺍﻟﺘﺴﻤﻴﺔ ﺍﻟﻌﺮﺑﻴﺔ‪.‬‬

‫ﻟﻠﺸﻌﺮ ﻭﺣﺪﻩ ﺃﻱ ﺍﻟﺸﻌﺮ ﺍﻟﻌﺮﰊ ﺍﻟﻘﺪﱘ ﻭﻛﺎﻥ ﺫﻟﻚ ﺑﻌﻨﺎﻳﺔ ﻭﺍﻟﺪﻩ ﻭﺳﻬﺮﻩ‬

‫ﻋﻠﻰ ﺗﺮﺑﻴﺘﻪ‪ .‬ﻛﺎﻧﺖ ﺍﻟﻘﺮﺍﺀﺓ ﺗﺘﻢ ﺑﺼﻮﺕ ﻋﺎﻝﹴ‪ ،‬ﻭﺃﻣﺎﻡ ﺿﻴﻮﻑ ﳛﺒ‪‬ﻮﻥ‬

‫ﺍﻟﺴﻤﺎﻉ‪ .‬ﻭﻳﺬﻛﺮ ﺃﺩﻭﻧﻴﺲ ﺃﻥ ﺍﻟﻘﺮﺍﺀﺓ ﱂ ﺗﻜﻦ ﺑﺎﻟﺮﺃﺱ ﻭﺣﺪﻩ ﺑﻞ ﻛﺎﻥ‬

‫ﻳﻘﺮﺃ ﺑﻘﻠﺒﻪ ﻭﺣﻮﺍﺳﻪ ﻭﺟﺴﺪﻩ ﻛﻠﻪ‪.‬‬

‫ﻭﻫﻜﺬﺍ ﻣﻀﺖ ﺍﻷﻳﺎﻡ ﺇﱃ ﺃﻥ ﺃﺻﺒﺢ ﻋﻤﺮﻩ ﺛﻼﺙ ﻋﺸﺮﺓ ﺳﻨﺔ‬

‫ﻓﺮﺍﻭﺩﻩ ﺣﻠﻢ ﻳﻘﻈﺔ ﺭﺳﻢ ﻓﻴﻪ ﺍﻟﻄﺮﻳﻖ ﺇﱃ ﺩﺧﻮﻝ ﺍﳌﺪﺭﺳﺔ‪ .‬ﻭﻛﺎﻥ ﺃﻥ‬

‫ﺍﻟﺮﺋﻴﺲ ﺍﻷﻭﻝ ﺷﻜﺮﻱ ﺍﻟﻘﻮﺗﻠﻲ ﻟﻠﺠﻤﻬﻮﺭﻳﺔ ﺍﻷﻭﱃ ﺍﻟﺴﻮﺭﻳﺔ ﺑﻌﺪ‬

‫‪ 33‬ﺩﻳﻮﺍﻥ ﺍﻟﻌﺮﺏ‪ ،‬ﺃﺩﻭﻧﻴﺲ‪ ،‬ﻣﺎﺩﺓ ﻋﻠﻤﻴﺔ ﻣﺎﺧﻮﺫﺓ ﰲ ‪ 12‬ﻣﺎﺭﺱ ‪ 2009‬ﻣﻦ‬

‫‪http://www.diwanalarab.com/spip.php?rubrique85‬‬
‫‪34‬‬

‫ﺍﻻﺳﺘﻘﻼﻝ ﻭﺯﻭﺍﻝ ﺍﻻﻧﺘﺪﺍﺏ )ﺃﻱ ﰲ ﻋﺎﻡ ‪ (1944-1943‬ﺳﻴﺰﻭﺭ‬

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‫ﻣﻨﻄﻘﺔ ﺍﻟﻼﺫﻗﻴﺔ‪ ،‬ﺿﻤﻦ ﺑﺮﻧﺎﻣﺞ ﺯﻳﺎﺭﺗﻪ ﻟﻠﻤﻨﺎﻃﻖ ﺍﻟﺴﻮﺭﻳﺔ‪.‬‬

‫ﺑﺪﺀًﺍ ﻣﻦ ﻋﺎﻡ ‪ 1981‬ﺗﻜﺮﺭﺕ ﺩﻋﻮﺗﻪ ﻛﺄﺳﺘﺎﺫ ﺯﺍﺋﺮ ﺇﱃ‬

‫ﺟﺎﻣﻌﺎﺕ ﻭﻣﺮﺍﻛﺰ ﻟﻠﺒﺤﺚ ﰲ ﻓﺮﻧﺴﺎ ﻭﺳﻮﻳﺴﺮﺍ ﻭﺍﻟﻮﻻﻳﺎﺕ ﺍﳌﺘﺤﺪﺓ‬

‫ﻭﺃﳌﺎﻧﻴﺎ‪ .‬ﺗﻠﻘﻰ ﻋﺪﺩ‪‬ﺍ ﻣﻦ ﺍﳉﻮﺍﺋﺰ ﺍﻟﻠﺒﻨﺎﻧﻴﺔ ﻭﺍﻟﻌﺎﳌﻴﺔ ﻭﺃﻟﻘﺎﺏ ﺍﻟﺘﻜﺮﱘ ‪.‬‬

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‫ﻭﺗﺮﲨﺖ ﺃﻋﻤﺎﻟﻪ ﺇﱃ ﺛﻼﺙ ﻋﺸﺮﺓ ﻟﻐﺔ‪.‬‬

‫ﺝ‪.‬ﻃﻠﺒﻪ ﺍﻟﻌﻠﻢ‬

‫ﻛﺎﻥ ﻳﺬﻫﺐ ﻛﻞ ﻳﻮﻡ ﺣﺎﰲ ﺍﻟﻘﺪﻣﲔ ﺇﱃ "ﺍﻟﻜﺘ‪‬ﺎﺏ" ﺃﻱ ﺍﻟﺸﻴﺦ‬

‫ﻭﻫﻮ ﻣﻌﻠﹼﻢ ﺍﻟﻘﺮﻳﺔ ﻟﻜﻲ ﻳﺘﻌﻠﹼﻢ ﺍﻟﻘﺮﺍﺀﺓ ﻭﺍﻟﻜﺘﺎﺑﺔ‪ .‬ﻭﻫﻜﺬﺍ ﺣﱴ ﺍﻟﺜﺎﻧﻴﺔ ﻋﺸﺮﺓ‬

‫‪ 34‬ﻧﺒﻴﻠﺔ ﺳﻼﻣﺔ‪ ،‬ﺃﺩﻭﻧﻴﺲ‪ ،‬ﻣﺎﺩﺓ ﻋﻠﻤﻴﺔ ﻣﺎﺧﻮﺫﺓ ﰲ ‪ 30‬ﻣﺎﺭﺱ ‪ 2009‬ﻣﻦ‬

‫‪http://www.discover-syria.com/results/113#StableUnstable‬‬

‫‪ 35‬ﻋﻤﺮﻭ ﺍﻟﻄﻠﺨﺎﻭﻯ‪ ،‬ﻧﺒﺬﺓ ﺣﻮﻝ ﺍﻟﺸﺎﻋﺮ ﺃﺩﻭﻧﻴﺲ‪ ،‬ﻣﺎﺩﺓ ﻋﻠﻤﻴﺔ ﻣﺎﺧﻮﺫﺓ ﰲ ‪ 24‬ﻳﻨﺎﻳﲑ ‪ 2009‬ﻣﻦ‬
‫‪http://eskindria.com/vb/t3927.html#post21041‬‬
‫‪35‬‬

‫ﻣﻦ ﻋﻤﺮﻩ ﱂ ﻳﻌﺮﻑ ﻣﺪﺭﺳﺔ ﻧﻈﺎﻣﻴﺔ‪ .‬ﻭﻛﺎﻧﺖ ﺃﻗﺮﺏ ﻣﺪﺭﺳﺔ ﺇﱃ ﺍﻟﻘﺮﻳﺔ‬

‫‪36‬‬
‫ﺗﺒﻌﺪ ﻣﺴﺎﻓﺔ ﻃﻮﻳﻠﺔ ﻻ ﻳﻘﺪﺭ ﻃﻔﻞ ﰲ ﺳﻨﻪ ﺃﻥ ﳚﺘﺎﺯﻫﺎ ﻣﺮﺗﲔ ﻳﻮﻣﻴﺎﹰ‪.‬‬

‫ﻭﰲ ﺍﻟﺴﺎﺑﻌﺔ ﻋﺸﺮﺓ ﻣﻦ ﻋﻤﺮﻩ‪ ،‬ﻳﻜﻤﻞ ﺩﺭﺍﺳﺘﻪ ﰲ ﺛﺎﻧﻮﻳﺔ ﺟﻮﻝ‬

‫ﲨﺎﻝ ﰲ ﻣﺪﻳﻨﺔ ﺍﻟﻼﺫﻗﻴﺔ ﺣﲔ ﻗﺮﺭ ﺍﺳﺘﺒﺪﺍﻝ ﺍﲰﻪ‪ ،‬ﺑﻌﺪ ﺃﻥ ﻗﺮﺃ ﻣﻘﺎﻻﹰ ﻋﻦ‬

‫ﺃﺳﻄﻮﺭﺓ ﺃﺩﻭﻧﻴﺲ‪ 37.‬ﺣﻔﻆ ﺍﻟﻘﺮﺁﻥ ﻋﻠﻰ ﻳﺪ ﺃﺑﻴﻪ‪ ،‬ﻛﻤﺎ ﺣﻔﻆ ﻋﺪﺩ‪‬ﺍ ﻛﺒﲑ‪‬ﺍ‬

‫ﻣﻦ ﻗﺼﺎﺋﺪ ﺍﻟﻘﺪﺍﻣﻰ‪ .‬ﻭﰲ ﺭﺑﻴﻊ ‪ ,1944‬ﺃﻟﻘﻰ ﻗﺼﻴﺪﺓ ﻭﻃﻨﻴﺔ ﻣﻦ ﺷﻌﺮﻩ‬

‫ﺃﻣﺎﻡ ﺷﻜﺮﻱ ﺍﻟﻘﻮﺗﻠﻲ‪ ،‬ﺭﺋﻴﺲ ﺍﳉﻤﻬﻮﺭﻳﺔ ﺍﻟﺴﻮﺭﻳﺔ ﺣﻴﻨﺬﺍﻙ‪ ،‬ﻭﺍﻟﺬﻱ ﻛﺎﻥ‬

‫ﰲ ﺯﻳﺎﺭﺓ ﻟﻠﻤﻨﻄﻘﺔ‪ .‬ﻧﺎﻟﺖ ﻗﺼﻴﺪﺗﻪ ﺍﻹﻋﺠﺎﺏ‪ ،‬ﻓﺄﺭﺳﻠﺘﻪ ﺍﻟﺪﻭﻟﺔ ﺇﱃ‬

‫ﺍﳌﺪﺭﺳﺔ ﺍﻟﻌﻠﻤﺎﻧﻴﺔ ﺍﻟﻔﺮﻧﺴﻴﺔ ﰲ ﻃﺮﻃﻮﺱ‪ ،‬ﻓﻘﻄﻊ ﻣﺮﺍﺣﻞ ﺍﻟﺪﺭﺍﺳﺔ ﻗﻔﺰﺍﹰ‪,‬‬

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‫ﻭﲣﺮﺝ ﻣﻦ ﺟﺎﻣﻌﺔ ﺩﻣﺸﻖ ﻣﺘﺨﺼﺼﺎﹰ ﰲ ﺍﻟﻔﻠﺴﻔﺔ ﺳﻨﺔ ‪.1954‬‬

‫ﻧﺒﻴﻠﺔ ﺳﻼﻣﺔ‪ ،‬ﺃﺩﻭﻧﻴﺲ‪ ،‬ﻣﺎﺩﺓ ﻋﻠﻤﻴﺔ ﻣﺎﺧﻮﺫﺓ ﰲ ‪ 24‬ﻳﻨﺎﻳﲑ ‪ 2009‬ﻣﻦ‬ ‫‪36‬‬

‫?‪http://ar.wikipedia.org/w/index.php‬‬

‫ﻣﺎﺩﺓ ﻋﻠﻤﻴﺔ ﻣﺎﺧﻮﺫﺓ ﰲ ‪ 30‬ﻣﺎﺭﺱ ‪ 2009‬ﻣﻦ‬ ‫‪37‬‬

‫‪http:// www.mamduhadwan.net/News/article/sid%3D129.html‬‬
‫ﺍﳌﻮﺳﻮﻋﺔ ﺍﳊﺮﺓ‪ ،‬ﺃﺩﻭﻧﻴﺲ‪ ،‬ﻣﺎﺩﺓ ﻋﻠﻤﻴﺔ ﻣﺎﺧﻮﺫﺓ ﰲ ‪ 24‬ﻳﻨﺎﻳﲑ ‪ 2009‬ﻣﻦ‬ ‫‪38‬‬

‫?‪http://ar.wikipedia.org/w/index.php‬‬
‫‪36‬‬

‫ﻳﻌﻮﺩ ﺍﺣﺘﻜﺎﻙ ﺃﺩﻭﻧﻴﺲ ﺍﻷﻭﻝ ﺑﺎﳌﺪﻳﻨﺔ ﺇﱃ ﺍﻟﻌﺎﻡ ‪ 1944‬ﻋﻨﺪﻣﺎ‬

‫ﺗﺮﻙ ﻗﺮﻳﺘﻪ ﺍﳉﺒﻠﻴﺔ ﻗﺼﺎﺑﲔ ﻗﺎﺻﺪ‪‬ﺍ ﺑﺎﻟﻘﻨﺒﺎﺯ ﺍﻟﺮﻳﻔﻲ ﻣﺪﺭﺳﺔ ﺍﻟﻼﻳﻴﻚ ﰲ‬

‫ﻣﺪﻳﻨﺔ ﻃﺮﻃﻮﺱ‪ .‬ﻭﰲ ﺃﻋﻘﺎﺏ ﺍﻻﺳﺘﻘﻼﻝ‪ ،‬ﺃﹸﻏﻠ‪‬ﻘﹶﺖ ﺍﳌﺪﺭﺳﺔ‪ ،‬ﻓﺎﻧﺘﻘﻞ‬

‫ﺃﺩﻭﻧﻴﺲ ﺇﱃ ﺍﻟﻼﺫﻗﻴﺔ ﳌﺘﺎﺑﻌﺔ ﺩﺭﺍﺳﺘﻪ ﺍﻟﺜﺎﻧﻮﻳﺔ‪ ،‬ﻭﺍﻧﻀﻢ ﻫﻨﺎﻙ ﰲ ﺍﻟﻌﺎﻡ‬

‫‪ 1948‬ﺇﱃ ﺍﳊﺰﺏ ﺍﻟﺴﻮﺭﻱ ﺍﻟﻘﻮﻣﻲ ﺍﻻﺟﺘﻤﺎﻋﻲ‪ ،‬ﻭﻧﺎﻝ ﰲ ﺍﻟﻌﺎﻡ‬

‫‪ 1949‬ﺷﻬﺎﺩﺗﻪ ﺍﻟﺜﺎﻧﻮﻳﺔ‪ ،‬ﰒ ﺳﺎﻓﺮ ﺇﱃ ﺩﻣﺸﻖ ﻹﻛﻤﺎﻝ ﺗﻌﻠﻴﻤﻪ ﺍﳉﺎﻣﻌﻲ‪.‬‬

‫ﺟﺎﺀ ﺃﺩﻭﻧﻴﺲ ﺇﱃ ﺩﻣﺸﻖ – ﺍﻟﻌﺎﺻﻤﺔ ﻭﺍﻟﺘﻘﺎﻟﻴﺪ ﻭﺍﻟﺘﺎﺭﻳﺦ ﻭﺍﳉﺎﻣﻌﺔ‬

‫ﻭﺍﻷﺣﺰﺍﺏ ﺍﻟﺴﻴﺎﺳﻴﺔ ﻭﺍﻻﻧﻘﻼﺑﺎﺕ ﺍﻟﻌﺴﻜﺮﻳﺔ ﻭﺍﳌﺪ‪ ‬ﺍﻟﻘﻮﻣﻲ – ﺑﺎﺣﺜﹰﺎ ﻋﻦ‬

‫ﻣﺼﲑ ﺁﺧﺮ‪ .‬ﺃﺗﻰ ﺇﱃ ﺩﻣﺸﻖ ﺍﳋﻤﺴﻴﻨﺎﺕ ﻣﺴﻜﻮﻧ‪‬ﺎ ‪‬ﺎﺟﺲ ﺗﻐﻴﲑ ﻣﺼﲑﻩ‪،‬‬

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‫ﻭﻣﺴﻜﻮﻧ‪‬ﺎ ﺑﺎﻷﻓﻖ ﺍﻟﺬﻱ ﻳﺘﻴﺢ ﻟﻪ ﺃﻥ ﻳﻘﻴﺲ ﻧﻔﺴﻪ ﻓﻴﻪ ﻭﺃﻥ ﻳﻐﻴ‪‬ﺮ‪.‬‬

‫ﺍﻟﺘﺤﻖ ﺑﺎﳋﺪﻣﺔ ﺍﻟﻌﺴﻜﺮﻳﺔ ﻋﺎﻡ ‪ ،1954‬ﻭﻗﻀﻰ ﻣﻨﻬﺎ ﺳﻨﺔ ﰲ‬

‫ﺍﻟﺴﺠﻦ ﺑﻼ ﳏﺎﻛﻤﺔ ﺑﺴﺒﺐ ﺍﻧﺘﻤﺎﺋﻪ ‪-‬ﻭﻗﺘﺬﺍﻙ‪ -‬ﻟﻠﺤﺰﺏ ﺍﻟﺴﻮﺭﻱ ﺍﻟﻘﻮﻣﻲ‬

‫‪ 39‬ﳏﻤﺪ ﻋﻠﻲ ﺍﻷﺗﺎﺳﻲ‪ ،‬ﺍﻻﻟﺘﺒﺎﺱ ﺍﻟﺪﻣﺸﻘﻲ ﰲ ﺷﻌﺮ ﺃﺩﻭﻧﻴﺲ ﻭﺣﻴﺎﺗﻪ‪ ،‬ﻣﺎﺩﺓ ﻋﻠﻤﻴﺔ ﻣﺎﺧﻮﺫﺓ ﰲ ‪30‬‬
‫ﻣﺎﺭﺱ ‪ 2009‬ﻣﻦ‬
‫‪http://maaber.50megs.com/issue_november03/literature12.htm‬‬
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‫ﺍﻻﺟﺘﻤﺎﻋﻲ ﺍﻟﺬﻱ ﺗﺮﻛﻪ ﻋﺎﻡ ‪ .1960‬ﻏﺎﺩﺭ ﺳﻮﺭﻳﺎ ﺇﱃ ﻟﺒﻨﺎﻥ ﻋﺎﻡ‬

‫‪ ،1956‬ﺣﻴﺚ ﺍﻟﺘﻘﻰ ﺑﺎﻟﺸﺎﻋﺮ ﻳﻮﺳﻒ ﺍﳋﺎﻝ‪ ,‬ﻭﺃﺻﺪﺭﺍ ﻣﻌﺎﹰ ﳎﻠﺔ ﺷﻌﺮ‬

‫ﰲ ﻣﻄﻠﻊ ﻋﺎﻡ ‪ .1975‬ﰒ ﺃﺻﺪﺭ ﺃﺩﻭﻧﻴﺲ ﳎﻠﺔ ﻣﻮﺍﻗﻒ ﺑﲔ ﻋﺎﻣﻲ‬

‫‪ 1969‬ﻭ ‪.1994‬‬

‫ﺩﺭ‪‬ﺱ ﰲ ﺍﳉﺎﻣﻌﺔ ﺍﻟﻠﺒﻨﺎﻧﻴﺔ‪ ،‬ﻭﻧﺎﻝ ﺩﺭﺟﺔ ﺍﻟﺪﻛﺘﻮﺭﺍﺓ ﰲ ﺍﻷﺩﺏ ﻋﺎﻡ‬

‫‪ 1973‬ﻣﻦ ﺟﺎﻣﻌﺔ ﺍﻟﻘﺪﻳﺲ ﻳﻮﺳﻒ‪ ,‬ﻭﺃﺛﺎﺭﺕ ﺃﻃﺮﻭﺣﺘﻪ ﺍﻟﺜﺎﺑﺖ‬

‫ﻭﺍﳌﺘﺤﻮﻝ ﺳﺠﺎﻻﹰ ﻃﻮﻳﻼﹰ‪ .‬ﺑﺪﺀﺍﹰ ﻣﻦ ﻋﺎﻡ ‪ ،1981‬ﺗﻜﺮﺭﺕ ﺩﻋﻮﺗﻪ‬

‫ﻛﺄﺳﺘﺎﺫ ﺯﺍﺋﺮ ﺇﱃ ﺟﺎﻣﻌﺎﺕ ﻭﻣﺮﺍﻛﺰ ﻟﻠﺒﺤﺚ ﰲ ﻓﺮﻧﺴﺎ ﻭﺳﻮﻳﺴﺮﺓ‬

‫ﻭﺍﻟﻮﻻﻳﺎﺕ ﺍﳌﺘﺤﺪﺓ ﻭﺃﳌﺎﻧﻴﺎ‪ .‬ﺗﻠﻘﻰ ﻋﺪﺩﺍﹰ ﻣﻦ ﺍﳉﻮﺍﺋﺰ ﺍﻟﻌﺎﳌﻴﺔ ﻭﺃﻟﻘﺎﺏ‬

‫ﺍﻟﺘﻜﺮﱘ ﻭﺗ‪‬ﺮﲨﺖ ﺃﻋﻤﺎﻟﻪ ﺇﱃ ﺛﻼﺙ ﻋﺸﺮﺓ ﻟﻐﺔ‪ .‬ﻏﺎﺩﺭ ﺑﲑﻭﺕ ﰲ ‪1985‬‬

‫ﻣﺘﻮﺟﻬﺎ ﺇﱃ ﺑﺎﺭﻳﺲ ﺑﺴﺒﺐ ﻇﺮﻭﻑ ﺍﳊﺮﺏ‪.‬‬

‫ﺣﺼﻞ ﺳﻨﺔ ‪ 1986‬ﻋﻠﻰ ﺍﳉﺎﺋﺰﺓ ﺍﻟﻜﱪﻯ ﺑﱪﻭﻛﺴﻞ ﰒ ﺟﺎﺋﺰﺓ‬

‫ﺍﻟﺘﺎﺝ ﺍﻟﺬﻫﱯ ﻟﻠﺸﻌﺮ ﰲ ﻣﻘﺪﻭﻧﻴﺎ ﺗﺸﺮﻳﻦ ﺍﻷﻭﻝ ‪.1997‬‬

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‫ﻳﻌﺘﱪ ﺍﻟﺒﻌﺾ ﺃﻥ ﺃﺩﻭﻧﻴﺲ ﻣﻦ ﺃﻛﺜﺮ ﺍﻟﺸﻌﺮﺍﺀ ﺍﻟﻌﺮﺏ ﺇﺛﺎﺭﺓ ﻟﻠﺠﺪﻝ‪.‬‬

‫ﻓﻤﻨﺬ ﺃﻏﺎﱐ ﻣﻬﻴﺎﺭ ﺍﻟﺪﻣﺸﻘﻲ‪ ،‬ﺍﺳﺘﻄﺎﻉ ﺃﺩﻭﻧﻴﺲ ﺑﻠﻮﺭﺓ ﻣﻨﻬﺞ ﺟﺪﻳﺪ ﰲ‬

‫ﺍﻟﺸﻌﺮ ﺍﻟﻌﺮﰊ ﻳﻘﻮﻡ ﻋﻠﻰ ﺗﻮﻇﻴﻒ ﺍﻟﻠﻐﺔ ﻋﻠﻰ ﳓﻮ ﻓﻴﻪ ﻗﺪﺭ ﻛﺒﲑ ﻣﻦ‬

‫ﺍﻹﺑﺪﺍﻉ ﻭﺍﻟﺘﺠﺮﻳﺐ ﺗﺴﻤﻮ ﻋﻠﻰ ﺍﻹﺳﺘﺨﺪﺍﻣﺎﺕ ﺍﻟﺘﻘﻠﻴﺪﻳﺔ ﺩﻭﻥ ﺃﻥ ﳜﺮﺝ‬

‫ﺃﺑﺪﺍﹰ ﻋﻦ ﺍﻟﻠﻐﺔ ﺍﻟﻌﺮﺑﻴﺔ ﺍﻟﻔﺼﺤﻰ ﻭﻣﻘﺎﻳﻴﺴﻬﺎ ﺍﻟﻨﺤﻮﻳﺔ‪.‬‬

‫ﺍﺳﺘﻄﺎﻉ ﺃﺩﻭﻧﻴﺲ ﺃﻥ ﻳﻨﻘﻞ ﺍﻟﺸﻌﺮ ﺍﻟﻌﺮﰊ ﺇﱃ ﺍﻟﻌﺎﳌﻴﺔ‪ .‬ﻭﻣﻨﺬ ﻣﺪﺓ‪‬‬

‫ﻃﻮﻳﻠﺔ‪ ،‬ﻳﺮﺷﺤﻪ ﺍﻟﻨﻘﺎﺩ ﻟﻨﻴﻞ ﺟﺎﺋﺰﺓ ﻧﻮﺑﻞ ﻟﻶﺩﺍﺏ‪ .‬ﻛﻤﺎ ﺃﻧﻪ‪ ،‬ﺑﺎﻹﺿﺎﻓﺔ‬

‫ﳌﻨﺠﺰﻩ ﺍﻟﺸﻌﺮﻱ‪ ،‬ﻳ‪‬ﻌﺪ‪ ‬ﻭﺍﺣﺪﺍﹰ ﻣﻦ ﺃﻛﺜﺮ ﺍﻟﻜﺘﺎﺏ ﺍﻟﻌﺮﺏ ﺇﺳﻬﺎﻣﺎ ﰲ‬

‫ﺍ‪‬ﺎﻻﺕ ﺍﻟﻔﻜﺮﻳﺔ ﻭﺍﻟﻨﻘﺪﻳﺔ ﺑﺎﻹﺿﺎﻓﺔ ﻹﺗﻘﺎﻧﻪ ﺍﻟﺮﺳﻢ ﻭﺧﺎﺻﺔ‬

‫‪40‬‬
‫ﺑﺎﻟﻜﻮﻻﺝ‪.‬‬

‫ﺩ‪ .‬ﺣﻮﻝ ﺷﻌﺮﻩ‬

‫ﺍﳌﻮﺳﻮﻋﺔ ﺍﳊﺮﺓ‪ ،‬ﺃﺩﻭﻧﻴﺲ‪ .‬ﻣﺎﺩﺓ ﻋﻠﻤﻴﺔ ﻣﺎﺧﻮﺫﺓ ﰲ ‪ 24‬ﻳﻨﺎﻳﲑ ‪ 2009‬ﻣﻦ‬ ‫‪40‬‬

‫?‪http://ar.wikipedia.org/w/index.php‬‬
‫‪39‬‬

‫ﻧﺸﺮ ﺃﺩﻭﻧﻴﺲ ﳏﺎﻭﻻﺗﻪ ﺍﻟﺸﻌﺮﻳﺔ ﺍﻷﻭﱃ ﰲ ﳎﻠﺔ "ﺍﻟﻘﻴﺜﺎﺭﺓ" ﻭﺫﻟﻚ‬

‫ﰲ ﺃﻭﺍﺧﺮ ﺍﻷﺭﺑﻌﻴﻨﺎﺕ ﻭﻛﺎﻧﺖ ﻫﺬﻩ ﺍ‪‬ﻠﺔ ﺗﺼﺪﺭ ﰲ ﺍﻟﻼﺫﻗﻴﺔ ﻭﻳﺪﻳﺮﻫﺎ‬

‫ﻭﻳﺸﺮﻑ ﻋﻠﻴﻬﺎ ﺍﻟﺸﺎﻋﺮ ﻛﻤﺎﻝ ﻓﻮﺯﻱ ﺍﻟﺸﺮﺍﰊ‪ .‬ﻭﻛﺎﻧﺖ ﺧﺎﺻﺔ ﺑﺎﻟﺸﻌﺮ‪.‬‬

‫ﻭﻛﺎﻥ ﺍﻟﻄﺎﺑﻊ ﺍﻟﺮﻭﻣﻨﻄﻴﻘﻲ – ﺍﻟﺮﻣﺰﻱ ﻫﻮ ﺍﻟﻐﺎﻟﺐ ﻋﻠﻰ ﺍﻟﻘﺼﺎﺋﺪ ﺍﻟﱵ‬

‫ﺗﻨﺸﺮﻫﺎ ﻫﺬﻩ ﺍ‪‬ﻠﺔ‪.‬‬

‫ﻭﰲ ﻫﺬﻩ ﺍﳌﺮﺣﻠﺔ ﻣﻦ ﺣﻴﺎﺗﻪ ﺃﻳﻀﺎ‪ ،‬ﺍﻧﺸﻐﻞ ﺃﺩﻭﻧﻴﺲ ﺑﺎﻟﺴﻴﺎﺳﺔ‪،‬‬

‫ﻭﺫﻟﻚ ﺑﻌﺪ ﺍﻃﻼﻋﻪ ﻋﻠﻰ ﻛﺘﺎﺏ ﺃﻧﻄﻮﻥ ﺳﻌﺎﺩﺓ ﻣﺆﺳﺲ ﺍﳊﺰﺏ ﺍﻟﻘﻮﻣﻲ‬

‫ﺍﻟﺴﻮﺭﻱ "ﺍﻟﺼﺮﺍﻉ ﺍﻟﻔﻜﺮﻱ ﰲ ﺍﻷﺩﺏ ﺍﻟﺴﻮﺭﻱ" ﻭﻋﻦ ﺗﺄﺛﲑ ﻫﺬﺍ ﺍﻟﻜﺘﺎﺏ‬

‫ﻋﻠﻴﻪ ﺷﻌﺮﻳﺎ ﻭﻓﻜﺮﻳﺎ ﻭﺳﻴﺎﺳﻴﺎ ﻳﻘﻮﻝ ﺃﺩﻭﻧﻴﺲ‪:‬‬

‫"ﺃﺳﺘﻄﻴﻊ ﺃﻥ ﺃﻗﻮﻝ ﺃﻥ ﻛﺘﺎﺏ ﺃﻧﻄﻮﻥ ﺳﻌﺎﺩﺓ "ﺍﻟﺼﺮﺍﻉ ﺍﻟﻔﻜﺮﻱ‬

‫ﰲ ﺍﻷﺩﺏ ﺍﻟﺴﻮﺭﻱ" ﻛﺎﻥ ﺻﺎﺣﺐ ﺍﻷﺛﺮ ﺍﻷﻭﻝ ﰲ ﺃﻓﻜﺎﺭﻱ ﻭﰲ ﺗﻮﺟﻬﻲ‬

‫ﺍﻟﺸﻌﺮﻱ‪ .‬ﻭﻷﻧﻪ‪ ،‬ﺑﺎﻹﺿﺎﻓﺔ ﺇﱃ ﺫﻟﻚ‪ ،‬ﺃﺛﺮ ﺗﺄﺛﲑﺍ ﻛﺒﲑﺍ ﰲ ﺟﻴﻞ ﻛﺎﻣﻞ ﻣﻦ‬

‫ﺍﻟﺸﻌﺮﺍﺀ ﺑﺪﺀﺍ ﻣﻦ ﺳﻌﻴﺪ ﻋﻘﻞ ﻭﺻﻼﺡ ﻟﺒﻜﻲ ﻭﻳﻮﺳﻒ ﺍﳋﺎﻝ ﻭﻓﺆﺍﺩ‬

‫ﺳﻠﻴﻤﺎﻥ‪ ،‬ﻭﺍﻧﺘﻬﺎﺀ ﲞﻠﻴﻞ ﺣﺎﻭﻱ‪ .‬ﻭﻛﺎﻥ ﺇﱃ ﺫﻟﻚ ﻣﻠﻬﻤﺎ ﻟﻜﺜﲑ ﻣﻦ‬

‫‪40‬‬

‫ﺍﻷﻓﻜﺎﺭ ﻭﺍﻵﺭﺍﺀ ﺍﻟﺸﻌﺮﻳﺔ ﰲ ﺍﻟﻨﻘﺎﺵ ﺍﻟﺬﻱ ﺩﺍﺭ ﺣﻮﻝ ﳎﻠﺔ »ﺷﻌﺮ« ﻋﻨﺪ‬

‫ﺗﺄﺳﻴﺴﻬﺎ ﻭﺍﳌﺸﻜﻼﺕ ﺍﻟﱵ ﺁﺛﺎﺭ‪‬ﺎ"‪.‬‬

‫ﻭﰲ ﻣﻄﻠﻊ ﺍﳋﻤﺴﻴﻨﺎﺕ ﺃﺻﺪﺭ ﺃﺩﻭﻧﻴﺲ ﺩﻳﻮﺍﻧﻪ ﺍﻷﻭﻝ "ﻗﺎﻟﺖ‬

‫ﺍﻷﺭﺽ" ﻭﻛﺎﻧﺖ ﺍﻟﻘﺼﺎﺋﺪ ﺍﻟﱵ ﺗﻀﻤﻨﻬﺎ ﻫﺬﺍ ﺍﻟﺪﻳﻮﺍﻥ ﺧﺎﺿﻌﺔ ﻛﻠﻬﺎ‬

‫ﻟﻠﺘﻔﻌﻴﻠﺔ ﺍﳋﻠﻴﻠﻴﺔ‪.‬‬

‫ﻭﻛﺎﻧﺖ ﻗﺼﻴﺪﺓ "ﺃﺭﻭﺍﺩ ﻳﺎ ﺃﻣﲑﺓ ﺍﻟﻮﻫﻢ" ﺍﻟﱵ ﻧﺸﺮﻫﺎ ﺃﺩﻭﻧﻴﺲ ﰲ‬

‫ﳎﻠﺔ "ﺷﻌﺮ" ﻋﺎﻡ ‪ 1959‬ﻫﻲ ﺑﺪﺍﻳﺔ ﲡﺮﺑﺘﻪ ﻛﺘﺎﺑﺔ ﺍﻟﺸﻌﺮ ﻧﺜﺮﺍ‪ .‬ﻭﻫﻮ ﻳﻘﻮﻝ‬

‫ﺑﺄﻧﻪ ﻛﺘﺐ ﻫﺬﻩ ﺍﻟﻘﺼﻴﺪﺓ ﰲ ﻣﻨﺎﺥ ﺍﳉﺪﻝ ﺍﻟﺬﻱ ﺃﺛﲑ ﰲ ﺍﺟﺘﻤﺎﻋﺎﺕ ﲨﺎﻋﺔ‬

‫ﳎﻠﺔ "ﺷﻌﺮ" ﺣﻮﻝ ﺃﺷﻜﺎﻝ ﺍﻟﺘﻌﺒﲑ ﺍﻟﺸﻌﺮﻱ ﻭﻣﺸﺮﻭﻋﻴﺔ ﺍﻟﺒﺤﺚ ﻋﻦ‬

‫‪41‬‬
‫ﺃﺷﻜﺎﻝ ﺟﺪﻳﺪﺓ‪.‬‬

‫ﻭﰲ ﻫﺬﺍ ﺍﻟﺒﺤﺚ ﻳﺮﻳﺪ ﺃﻥ ﳛﻠﻞ ﺍﻟﺒﺎﺣﺚ ﻋﻦ ﺷﻌﺮﻱ ﺃﺩﻭﻧﻴﺲ ﰲ‬

‫ﺩﻳﻮﺍﻧﻪ "ﺃﻏﺎﱐ ﻣﻬﻴﺎﺭ ﺍﻟﺪﻣﺸﻘﻲ ﻭﻗﺼﺎﺋﺪ ﺃﺧﺮﻯ"‪.‬‬

‫ﺣﺴﻮﻧﺔ ﺍﳌﺼﺒﺎﺣﻲ‪ ،‬ﺃﺩﻭﻧﻴﺲ ﻭﻣﻐﺎﻣﺮﺓ ﲡﺪﻳﺪ ﺍﻟﺸﻌﺮ ﺍﻟﻌﺮﰊ ﺍﳊﺪﻳﺚ‪ ،‬ﻣﺎﺩﺓ ﻋﻠﻤﻴﺔ ﻣﺎﺧﻮﺫﺓ ﰲ ‪7‬‬ ‫‪41‬‬

‫ﻳﻮﻧﻴﻮ ‪ 2009‬ﻣﻦ ‪http://www.dai3tna.com/nuke/static.php?file=abauesber.htm‬‬

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‫ﺍﻟﺸﻌﺮ ﺍﻷﻭﻝ‬
‫ﺭﺅﻳﺎ‬

‫ﻫﺮﺑﺖ ﻣﺪﻳﻨﺘﻨﺎ‬
‫ﻓﻴﻜﻀﺖ ﺍﺳﺘﺠﻠﻲ ﻣﺴﺎﻛﻠﻬﺎ‬
‫ﻭﻧﻈﺮﺕ‪ -‬ﱂ ﺃﳌﺢ ﺳﻮﻯ ﺍﻷﻓﻖ‬
‫ﻭﺭﺃﻳﺖ ﺃﻥ ﺍﳍﺎﺭﺑﲔ ﻏﺪﺍ‬
‫ﻭﺍﻟﻌﺎﺋﺪﻳﻦ ﻏﺪﺍ‬
‫ﺟﺴﺪﺍ ﺃﻣﺰﻗﻪ ﻋﻠﻰ ﻭﺭﻗﻲ‪.‬‬
‫ﻭﺭﺃﻳﺖ‪ -‬ﻛﺎﻥ ﺍﻟﻐﻴﻢ ﺣﻨﺠﺮﺓ‬
‫ﻭﺍﳌﺎﺀ ﺟﺪﺭﺍﻧﺎ ﻣﻦ ﺍﻟﻠﻬﺐ‬
‫ﻭﺭﺃﻳﺖ ﺧﻴﻄﺎ ﺃﺻﻔﺮﺍ ﺩﺑﻘﺎ‬
‫ﺧﻴﻄﺎ ﻣﻦ ﺍﻟﺘﺎﺭﻳﺦ ﻳﻌﻠﻖ ﰊ‬
‫ﲡﺘﺮ ﺃﻳﺎﻣﻲ ﻭﺗﻘﻌﺪﻫﺎ‬
‫ﻭﺗﻜﺮﻫﺎ ﻓﻴﻪ‪ -‬ﻳﺪ ﻭﺭﺛﺖ‬
‫ﺟﻨﺲ ﺍﻟﺪﻣﻰ ﻭﺳﻼﻟﺔ ﺍﳋﺮﻕ‪.‬‬
‫ﻭﺩﺧﻠﺖ ﰲ ﻃﻘﺲ ﺍﳋﻠﻴﻘﺔ ﰲ‬
‫ﺭﺣﻢ ﺍﳌﻴﺎﻩ ﻭﻓﺘﻨﺔ ﺍﻟﺸﺠﺮ‬
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‫ﻓﺮﺃﻳﺖ ﺃﺷﺠﺎﺭﺍ ﺗﺮﺍﻭﺩﱐ‬

‫ﻭﺭﺍﻳﺖ ﺑﲔ ﻏﺼﻮ‪‬ﺎ ﻏﺮﻓﺎ‬
‫ﻭﺃﺳﺮﺓ ﻭﻛﻮﻯ ﺗﻌﺎﻧﺪﱐ‪،‬‬
‫ﻭﺭﺃﻳﺖ ﺃﻃﻔﺎﻻ ﻗﺮﺃﺕ ﳍﻢ‬
‫ﺭﻣﻠﻲ‪ ،‬ﻗﺮﺃﺕ ﳍﻢ‬
‫ﺳﻮﺭ ﺍﻟﻐﻤﺎﻡ ﻭ ﺁﻳﺔ ﺍﳊﺠﺮ‪،‬‬
‫ﻭﺭﺃﻳﺖ ﻛﻴﻒ ﻳﺴﺎﻓﺮﻭﻥ ﻣﻌﻲ‬
‫ﻭﺭﺃﻳﺖ ﻛﻴﻒ ﺗﻀﻲﺀ ﺧﻠﻔﻬﻢ‬
‫ﺑﺮﻙ ﺍﻟﺪﻣﻮﻉ ﻭﺟﺜﺔ ﺍﳌﻄﺮ‪.‬‬
‫ﻫﺮﺑﺖ ﻣﺪﻳﻨﺘﻨﺎ‪-‬‬
‫ﻣﺎﺫﺍ ﺃﻧﺎ‪ ،‬ﻣﺎﺫﺍ؟ ﺃﺳﻨﺒﻠﺔ‬
‫ﺗﺒﻜﻲ ﻟﻘﱪﺓ‬
‫ﻣﺎﺗﺖ ﻭﺭﺍﺀ ﺍﻟﺜﻠﺞ ﻭﺍﻟﱪﺩ‬
‫ﻣﺎﺗﺖ ﻭﱂ ﺗﻜﺸﻒ ﺭﺳﺎﺋﻠﻬﺎ‬
‫ﻋﲏ ﻭﱂ ﺗﻜﺘﺐ ﺇﱃ ﺃﺣﺪ‪،‬‬
‫ﻭﺳﺄﻟﺘﻬﺎ ﻭﺭﺃﻳﺖ ﺟﺜﺘﻬﺎ‬
‫ﻣﻄﺮﻭﺣﺔ ﰲ ﺁﺧﺮ ﺍﻟﺰﻣﻦ‬
‫ﻭﺻﺮﺧﺖ‪)) -‬ﻳﺎ ﺻﻤﺖ ﺍﳉﻠﻴﺪ ﺃﻧﺎ‬
‫ﻭﻃﻦ ﻟﻐﺮﺑﺘﻬﺎ‬
‫ﺃﻧﺎ ﺍﻟﻐﺮﻳﺐ ﻭﻗﱪﻫﺎ ﻭﻃﲏ((‪.‬‬
‫ﻫﺮﺑﺖ ﻣﺪﻳﻨﺘﻨﺎ‬
‫‪43‬‬

‫ﻓﺮﺃﻳﺖ ﻛﻴﻒ ﲢﻮﻟﺖ ﻗﺪﻣﻲ‬

‫‪‬ﺮﺍ ﻳﻄﻮﻑ ﺩﻣﺎ‬
‫ﻭﻣﺮﺍﻛﺒﺎ ﺗﻨﺄﻯ ﻭﺗﺘﺴﻊ‬
‫ﻭﺭﺃﻳﺖ ﺃﻥ ﺷﻮﺍﻃﺌﻲ ﻏﺮﻕ‬
‫ﻳﻐﻮﻱ ﻭﻣﻮﺟﻲ ﺍﻟﺮﻳﺢ ﻭﺍﻟﺒﺠﻊ‪.‬‬
‫ﻫﺮﺑﺖ ﻣﺪﻳﻨﺘﻨﺎ‬
‫ﻭﺍﻟﺮﻓﺾ ﻟﺆﻟﺆ ﻣﻜﺴﺮﺓ‬
‫ﺗﺮﺳﻮ ﺑﻔﺎﻳﺎﻫﺎ ﻋﻠﻰ ﺳﻔﲏ‬
‫ﻭﺍﻟﺮﻓﺾ ﺧﻄﺎﺏ ﻳﻌﻴﺶ ﻋﻠﻰ‬
‫ﻭﺟﻬﻲ‪ -‬ﻳﻠﻤﻠﻤﲏ ﻭﻳﺸﻌﻠﲏ‬
‫ﻭﺍﻟﺮﻓﺾ ﺃﺑﻌﺎﺩ ﺗﺸﺘﺘﲏ‬
‫ﻓﺄﺭﻯ ﺩﻣﻲ ﻭﺃﺭﻯ ﻭﺭﺍﺀ ﺩﻣﻲ‬
‫ﻣﻮﰐ ﳛﺎﻭﺭﱐ ﻭﻳﺘﺒﻌﲏ‪.‬‬
‫ﻫﺮﺑﺖ ﻣﺪﻳﻨﺘﻨﺎ‬
‫ﻓﺮﺃﻳﺖ ﻛﻴﻒ ﻳﻀﻴﺌﲏ ﻛﻔﲏ‬
‫‪42‬‬
‫ﻭﺭﺃﻳﺖ‪ -‬ﻟﻴﺖ ﺍﳌﻮﺕ ﳝﻬﻠﲏ‪.‬‬

‫ﺍﻟﺸﻌﺮ ﺍﻟﺜﺎﱐ‬
‫ﺍﻟﺰﻣﺎﻥ ﺍﻟﺼﻐﲑ‬

‫ﺃﺩﻭﻧﻴﺲ‪ ،‬ﺍﻷﻋﻤﺎﻝ ﺍﻟﺸﻌﺮﻳﺔ‪/‬ﺃﻏﺎﱐ ﻣﻬﻴﺎﺭ ﺍﻟﺪﻣﺸﻘﻲ ﻭﻗﺼﺎﺋﺪ ﺃﺧﺮﻯ‪ ،‬ﺹ ‪264-262‬‬ ‫‪42‬‬
‫‪44‬‬

‫ﺍﻟﺴﺮﺍﺏ ﺍﳌﺮﺍﺋﻲ ﻟﻨﺎ ﻭﺍﻟﻨﻬﺎﺭ ﺍﻟﻀﺮﻳﺮ‬

‫ﻭﻟﻨﺎ ﺟﺜﺔ ﺍﻟﺪﻟﻴﻞ‪،‬‬
‫ﳓﻦ ﺟﻴﻞ ﺍﻟﺴﻔﻴﻨﺔ‬
‫ﳓﻦ ﺃﺑﻨﺎﺀ ﻫﺬﺍ ﺍﻟﺰﻣﺎﻥ ﺍﻟﺼﻐﲑ‪.‬‬
‫ﺃﺳﻠﻤﺘﻨﺎ ﺍﻟﺒﺤﺎﺭ ﺍﻷﻣﻴﻨﺔ‬
‫ﺍﻟﺒﺤﺎﺭ ﺍﻟﱵ ﺗﺮﺗﻞ ﻣﺮﻳﺌﺔ ﺍﻟﺮﺣﻴﻞ‬
‫ﺃﺳﻠﻤﺘﻨﺎ ﺇﱃ ﺍﳌﺘﺎﺀ‪-‬‬
‫ﳓﻦ ﺟﻴﻞ ﺍﳊﻮﺍﺭ ﺍﻟﻄﻮﻳﻞ‬
‫‪43‬‬
‫ﺑﲔ ﺃﻧﻘﺎﺿﻨﺎ ﻭﺍﻹﻟﻪ‪.‬‬

‫ﺃﺩﻭﻧﻴﺲ‪ ،‬ﺍﻷﻋﻤﺎﻝ ﺍﻟﺸﻌﺮﻳﺔ‪/‬ﺃﻏﺎﱐ ﻣﻬﻴﺎﺭ ﺍﻟﺪﻣﺸﻘﻲ ﻭﻗﺼﺎﺋﺪ ﺃﺧﺮﻯ‪ ،‬ﺹ ‪286‬‬ ‫‪43‬‬
‫‪45‬‬

‫ﺍﻟﺒﺎﺏ ﺍﻟﺮﺍﺑﻊ‬

‫ﺃﺩﻭﻧﻴﺲ‪ :‬ﺃﺳﻠﻮﺑﻪ ﻭﺷﻌﻮﺭﻩ ﰲ ﺍﻟﺸﻌﺮ ﺍﳊﺮ‬

‫)ﺃﻏﺎﱐ ﻣﻬﻴﺎﺭ ﺍﻟﺪﻣﺸﻘﻲ ﻭﻗﺼﺎﺋﺪ ﺃﺧﺮﻯ(‬

‫ﺃﻏﺎﱐ ﻣﻬﻴﺎﺭ ﺍﻟﺪﻣﺸﻘﻲ ﻫﻲ ﺇﺣﺪﻯ ﺭﻭﺍﺋﻊ ﺍﻟﺸﺎﻋﺮ ﺍﻟﻜﺒﲑ ﺃﺩﻭﻧﻴﺲ ﻷ‪‬ﺎ‬

‫ﲢﻤﻞ ﰲ ﻣﻀﺎﻣﻴﻨﻬﺎ ﻋﺪﺓ ﺗﺴﺎﺅﻻﺕ ﺣﲑﻯ‪ ،‬ﻭﻗﻀﺎﻳﺎ ﳐﺘﻠﻔﺔ‪ ،‬ﻭﺭﺅﻯ ﻣﺘﺒﺎﻳﻨﺔ ﰲ‬

‫ﺍﻟﻜﻮﻥ ﺍﻟﺸﺎﺳﻊ‪ .‬ﺍﻟﻜﻠﻤﺔ ﻋﻨﺪ ﻣﻬﻴﺎﺭ ﺍﻟﺪﻣﺸﻘﻲ ﰲ ﺍﻟﻠﻐﺔ ﺍﻟﺸﻌﺮﻳﺔ ﺗﻜﻤﻦ ﰲ ﺛﻨﺎﺋﻴﺔ‬

‫ﺑﺆﺭﻳﺔ ﲤﻨﺢ ﺍﻷﻟﻔﺎﻅ ﻭﺍﳌﻔﺮﺩﺍﺕ ﻭﺍﻟﺘﺮﺍﻛﻴﺐ ﺍﳛﺎﺀﺍﺕ ﻣﺘﻨﻮﻋﺔ‪ ،‬ﻭﺩﻻﻻﺕ ﻣﺘﺸﺎﺑﻜﺔ‬

‫ﺑﲔ ﻋﺪﺩ ﻻ‪‬ﺎﺋﻲ ﻣﻦ ﺍﻟﻌﻨﺎﺻﺮ ﺍﳌﺘﻌﺪﺩﺓ‪ .‬ﻫﺬﻩ ﺍﻟﻌﻼﻗﺎﺕ ﺍﳉﺪﻟﻴﺔ ﺑﲔ ﺳﻜﻦ ﻣﻬﻴﺎﺭ‪:‬‬

‫ﻫﻲ ﺃﺭﺿﻪ ﻭﲰﺎﺅﻩ ﻭﻫﻮﺍﺅﻩ ﺑﻞ ﻫﻲ ﺃﺻﻞ ﺍﻟﻌﺎﱂ ﰲ ﻣﻔﻬﻮﻡ ﻣﻬﻴﺎﺭ‪ ،‬ﻓﺎﳌﻔﺮﺩﺓ ﺃﻭ‬

‫ﺍﻟﻠﻔﻈﺔ ﻋﻨﺪ ﻣﻬﻴﺎﺭ‪ :‬ﻫﻲ ﺍﳋﻠﻖ ﻭﺍﻻﺑﺪﺍﻉ ﻭﺍﻟﻮﺟﻮﺩ‪ ،‬ﻟﻐﺔ ﻧﻔﺮﻳﺔ ﻣﺸﺤﻮﻧﺔ ﺑﺎﻻﳛﺎﺀ‬

‫ﺍﳌﻮﻏﻞ ﰲ ﺍﻟﻐﻠﻮ‪ ،‬ﻟﻐﺔ ﻣﺎ ﻭﺭﺍﺋﻴﺔ ﺃﻭ ﻣﻴﺘﺎﻓﻴﺰﻳﻘﻴﺔ ﺃ ﹼﻥ ﺻﺢ ﺍﻟﺘﻌﺒﲑ‪.‬‬

‫ﺑﻴﺪ ﺃﻥﹼ ﺍﻟﻨﺺ ﺍﻟﺸﻌﺮﻱ ﻳﺘﺤﺮﻙ ﺑﺸﻜﻞ ﺗﺴﻠﺴﻠﻲ ﻋﱪ ﻋﻼﻗﺔ ﻣﺘﻨﺎﻓﺮﺓ‬

‫ﻣﺘﺠﺎﻭﺭﺓ‪ ،‬ﻫﺬﺍ ﺍﻟﻨﻤﻂ ﻣﻦ ﺍﻟﻔﺠﻮﺍﺕ ﺍﻟﺪﻻﻟﻴﺔ ﺍﻟﱵ ﲣﻠﻖ ﻣﺴﺎﻓﺎﺕ ﻣﺘﻮﺗﺮﺓ ﺑﲔ‬

‫‪40‬‬
‫‪46‬‬

‫ﺍﻻﻧﺘﻤﺎﺀ ﻭﺍﻟﻼﻧﺘﻤﺎﺀ ﻋﱪ ﻏﻴﺎﺏ ﻟﻐﺔ ﺍﶈﺴﻮﺳﺎﺕ ﺇﱃ ﻟﻐﺔ ﺍﻟﺘﺄﻣﻞ ﺍﳌﻴﺘﺎﻓﻴﺰﻳﻘﻲ‬

‫ﻭﺍﻟﻔﻠﺴﻔﻲ‪ ،‬ﻭﻫﻲ ﺃﺻﻼﹰ ﺍﳌﻨﺒﻊ ﺍﻷﺳﺎﺳﻲ ﻟﻠﺸﻌﺮﻳﺔ ﻭﺍﻟﻠﻐﺔ ﺍﻟﺸﻌﺮﻳﺔ ﺍﻟﻜﺎﻣﻨﺔ ﺑﺎﻟﺘﻀﺎﺩ‬

‫ﻭﺍﳌﻔﺎﺭﻗﺔ ﻭﺍﻟﻔﻜﺮ ﺍﻟﻄﺎﻏﻲ ﺍﻟﺬﻱ ﻳﺆﺩﻱ ﺇﱃ ﺍﳌﻜﻮﻧﺎﺕ ﺍﳉﻮﻫﺮﻳﺔ ﻟﻠﺸﻌﺮﻳﺔ ﺃﻭ ﺇﱃ‬

‫ﺍﻟﻄﺎﻗﺔ ﺍﻟﺸﻌﺮﻳﺔ ﺍﳌﺒﺪﻋﺔ‪.‬‬

‫ﻭﻣﻦ ﻫﻨﺎ ﻧﺴﺘﻄﻴﻊ ﺍﻟﻘﻮﻝ ﺇﻥﹼ ﺃﻏﺎﱐ ﻣﻬﻴﺎﺭ ﺍﻟﺪﻣﺸﻘﻲ ﻫﻲ ﻋﺒﺎﺭﺓ ﻋﻦ ﺭﻓﺾ‬

‫ﻟﺼﻮﺭﺓ ﺍﻟﻌﺎﱂ ﰲ ﺑﻨﺎﻩ ﺃﻭ ﻣﻜﻮﻧﺎﺗﻪ ﺍﻟﺴﻴﺎﺳﻴﺔ ﻭﺍﻻﺟﺘﻤﺎﻋﻴﺔ ﻭﺍﻟﺜﻘﺎﻓﻴﺔ‪ .‬ﺭﻏﻢ ﺍﻟﻠﻐﺔ‬

‫ﺍﻟﺸﻌﺮﻳﺔ ﺍﳌﺘﻔﺮﺩﺓ ﻭﺍﳌﺘﻤﻴﺰﺓ ﺑﺎﻻﳛﺎﺀ ﻭﺍﳊﺪﺳﻴﺔ ﻭﺍﻟﻜﻠﻤﺎﺕ ﺍﻟﻐﺮﻳﺒﺔ‪ .‬ﻭﻣﺎ ﻳﻘﺎﻝ ﻋﻦ‬

‫ﺷﻌﺮ ﺃﺩﻭﻧﻴﺲ ﰲ ﻫﺬﺍ ﺍ‪‬ﺎﻝ ﻓﻬﻮ ﺷﺎﻋﺮ ﻟﻪ ﻣﺪﺭﺳﺘﻪ ﺍﳋﺎﺻﺔ‪ ،‬ﻭﺃﺳﻠﻮﺑﻪ ﻭﻟﻐﺘﻪ‬

‫ﺍﻟﺸﻌﺮﻳﺔ ﺍﳌﺘﻔﺮﺩﺓ‪ ،‬ﻭﻣﻬﻤﺎ ﺗﺄﻣﻠﻨﺎ ﰲ ﺷﻌﺮ ﺃﺩﻭﻧﻴﺲ ﻓﻠﻦ ﻧﺼﻞ ﺇﱃ ﻣﺒﺘﻐﺎﻧﺎ‪ ،‬ﺑﻞ‬
‫‪44‬‬
‫ﺳﻨﺼﻞ ﺇﱃ ﻃﺮﻳﻖ ﻻ ‪‬ﺎﺋﻲ‪.‬‬

‫ﻭﺍﻵﻥ ﺳﺄﲝﺚ ﰲ ﺍﻟﺘﺤﻠﻴﻞ ﻋﻦ ﺃﺳﻠﻮﺏ ﺃﺩﻭﻧﻴﺲ ﰲ ﺍﻟﺸﻌﺮ ﺍﳊﺮ ﻛﺎﻵﰐ‪:‬‬

‫ﺃﲪﺪﺍﻟﻔﻘﻴﺔ‪ ،‬ﻗﺮﺍﺀﺓ ﻧﺼﻴﺔ ﻣﻦ ﺃﻏﺎﱐ ﻣﻬﻴﺎﺭ ﺍﻟﺪﻣﺸﻘﻲ‪ ،‬ﻣﺎﺩﺓ ﻋﻠﻤﻴﺔ ﻣﺄﺧﻮﺫﺓ ﰲ ‪ 13‬ﻣﺎﺭﺱ ‪2009‬‬ ‫‪44‬‬

‫ﻣﻦ ‪http://www.26sep.net/newsweekarticle.php?Ing=arabicßsid=28037‬‬
‫‪47‬‬

‫‪ .1‬ﺻﻔﺎﺕ ﺍﻷﺳﻠﻮﺏ ﰲ ﺷﻌﺮ ﺃﺩﻭﻧﻴﺲ‬

‫‪ .1‬ﺍﻟﻮﺿﻮﺡ‬

‫ﳒﺪ ﺃﻥ ﻛﻞ ﺃﺷﻌﺎﺭﻩ )ﺃﺩﻭﻧﻴﺲ( ﺗﺸﻊ‪ ‬ﺑﻨﻮﺭ ﺍﳉﻤﺎﻝ ﻭﺍﳊﺮﻳﺔ ﻭﺍﶈﺒﺔ‬

‫ﻭﺍﻹﻧﺴﺎﻧﻴﺔ‪ .‬ﻳﺒﺪﻭ ﻟﻠﺒﻌﺾ ﺃﻥ ﺷﻌﺮﻩ ﻏﺎﻣﺾ‪ 45،‬ﺃﻱ ﻳﺼﻌﺐ ﻟﻠﻘﺎﺭﺉ ﺃﻥ‬

‫ﻳﻔﻬﻤﻬﺎ ﻭﻻ ﻳﺼﻞ ﺇﱃ ﻣﻘﺼﻮﺩﻫﺎ ﺇﻻ ﺑﻌﺪ ﻓﻬﻢ ﺩﻗﻴﻖ ﻭﺗﻔﻜﲑ ﻃﻮﻳﻞ ﻷﻥ‬

‫ﻣﻌﺎﻧﻴﻬﺎ ﺗﺄﰐ ﺇﱃ ﺍﻟﺬﻫﻦ ﺑﺘﻌﺐ‪ ،‬ﻣﺜﻞ ﺍﻷﺳﻄﺮ ﺍﻵﰐ‪:‬‬

‫"ﻫﺮﺑﺖ ﻣﺪﻳﻨﺘﻨﺎ‬

‫ﻓﻴﻜﻀﺖ ﺍﺳﺘﺠﻠﻲ ﻣﺴﺎﻛﻠﻬﺎ‬

‫ﻭﻧﻈﺮﺕ‪ -‬ﱂ ﺃﳌﺢ ﺳﻮﻯ ﺍﻷﻓﻖ‬

‫ﻭﺭﺃﻳﺖ ﺃﻥ ﺍﳍﺎﺭﺑﲔ ﻏﺪﺍ‬

‫ﻭﺍﻟﻌﺎﺋﺪﻳﻦ ﻏﺪﺍ‬
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‫ﺟﺴﺪﺍ ﺃﻣﺰﻗﻪ ﻋﻠﻰ ﻭﺭﻗﻲ‪".‬‬

‫‪ 45‬ﺍﳌﻮﺳﻮﻋﺔ ﺍﳊﺮﺓ‪ ،‬ﺃﺩﻭﻧﻴﺲ ﺷﺎﻋﺮﺍ ﺑﻌﻴﻮﻥ‪ ،‬ﻣﺎﺩﺓ ﻋﻠﻤﻴﺔ ﻣﺄﺧﻮﺫﺓ ﰲ ‪ 15‬ﻣﺎﻳﻮ ‪ 2009‬ﻣﻦ‬
‫‪http://www.internasional.daralhayat.com‬‬
‫ﺃﺩﻭﻧﻴﺲ‪ ،‬ﺍﻷﻋﻤﺎﻝ ﺍﻟﺸﻌﺮﻳﺔ‪/‬ﺃﻏﺎﱐ ﻣﻬﻴﺎﺭ ﺍﻟﺪﻣﺸﻘﻲ ﻭﻗﺼﺎﺋﺪ ﺃﺧﺮﻯ‪ ،‬ﺹ ‪262‬‬ ‫‪46‬‬
‫‪48‬‬

‫ﰲ ﺍﻷﺳﻄﺮ ﺍﻟﺴﺎﺑﻘﺔ ﺍﺳﺘﻌﻤﻞ ﺃﺩﻭﻧﻴﺲ ﺍﻟﻜﻠﻤﺎﺕ ﺍﻟﻌﺎﺩﻳﺔ ﺍﻟﻴﻮﻣﻴﺔ‪،‬‬

‫ﻭﻟﻜﻦ ﺭﺑﻄﻬﺎ ﰲ ﺃﺳﻠﻮﺏ ﻳﺼﻌﺐ ﻟﻠﺬﻫﻦ ﺃﻥ ﻳﻔﻬﻤﻬﺎ ﺣﱴ ﳛﺘﺎﺝ ﻛﻞ‬

‫ﺍﻟﻘﺎﺭﺉ ﺇﱃ ﻓﻬﻢ ﺩﻗﻴﻖ ﻭﺗﻔﻜﲑ ﻃﻮﻳﻞ ﻟﻴﺼﻠﻮﺍ ﺇﱃ ﻣﺎ ﺃﺭﺍﺩﻩ‪ .‬ﻭﳍﺬﺍ ﺃﻗﻮﻝ‬

‫ﺇﻥ ﺃﺳﻠﻮﺏ ﺃﺩﻭﻧﻴﺲ ﻏﲑ ﻭﺍﺿﺢ‪ ،‬ﻷﻥ ﺍﻟﻮﺿﻮﺡ ﰲ ﺍﻟﺸﻌﺮ ﻫﻮ ﻭﻓﻖ‬

‫ﺍﻟﺸﺎﻋﺮ ﰲ ﺍﺧﺘﻴﺎﺭ ﺃﻟﻔﺎﻇﻪ ﻭﲨﻠﻪ ﻟﺘﺪﻝ ﻋﻠﻰ ﺍﳌﻌﲎ ﺍﻟﺬﻱ ﺃﺭﺍﺩﻩ ﰲ‬

‫‪47‬‬
‫ﺳﻬﻮﻟﺔ ﻭﻭﺿﻮﺡ‪.‬‬

‫‪ .2‬ﺍﻟﻘﻮﺓ‬

‫ﻳﻘﺼﺪ ﺑﺎﻟﻘﻮﺓ ﻗﺪﺭﺓ ﺍﻷﺩﻳﺐ ﻋﻠﻰ ﺍﻟﺘﺄﺛﲑ ﰲ ﻧﻔﺲ ﺍﻟﻘﺎﺭﺉ ﺃﻭ‬

‫ﺍﻟﺴﺎﻣﻊ‪ ،‬ﲝﻴﺚ ﺗﻜﻮﻥ ﺃﻟﻔﺎﻇﻪ ﻭﻣﻌﺎﻧﻴﻪ ﺍﻟﱵ ﻳﺴﺘﺨﺪﻣﻬﺎ ﻗﺎﺩﺭﺓ ﻋﻠﻰ‬

‫‪48‬‬
‫ﺍﻟﺘﻌﺒﲑ ﻋﻦ ﺃﻓﻜﺎﺭﻩ ﻭﻣﺸﺎﻋﺮﻩ ﰲ ﻋﺎﻃﻔﺔ ﺻﺎﺩﻗﺔ‪.‬‬

‫‪ 47‬ﺟﺎﻣﻌﺔ ﺍﻷﻣﺎﻡ ﳏﻤﺪ ﺑﻦ ﺳﻌﻮﺩ ﺍﻹﺳﻼﻣﻴﺔ‪ ،‬ﺍﻟﺒﻼﻏﺔ ﻭﺍﻟﻨﻘﺪ‪ ،‬ﺹ ‪29‬‬

‫‪ 48‬ﺟﺎﻣﻌﺔ ﺍﻷﻣﺎﻡ ﳏﻤﺪ ﺑﻦ ﺳﻌﻮﺩ ﺍﻹﺳﻼﻣﻴﺔ‪,‬ﺍﻟﺒﻼﻏﺔ ﻭﺍﻟﻨﻘﺪ‪ ,‬ﺹ ‪26‬‬

‫‪49‬‬

‫ﻭﻗﻮﺓ ﻫﺬﺍ ﺍﻟﺸﻌﺮ ﻧﻌﺮﻓﻪ ﻣﻦ ﺍﻷﻟﻔﺎﻅ ﻭﺍﳉﻤﻞ ﺍﻟﱵ ﺍﺳﺘﻌﻤﻠﻬﺎ‬

‫ﺃﺩﻭﻧﻴﺲ ﻣﻨﻬﺎ‪:‬‬
‫‪49‬‬
‫"ﻓﺮﺃﻳﺖ ﺃﺷﺠﺎﺭﺍ ﺗﺮﺍﻭﺩﱐ"‬

‫"ﺃ‪‬ﺷﺠﺎﺭﺍ" ﲨﻊ ﻣﻦ ﺷﺠﺮﺓ ﻭﻫﻲ ﻣﺎ ﻗﺎﻡ ﻋﻠﻲ ﺳﺎﻕ ﻣﻦ ﻧﺒﺎﺕ‬

‫ﻭ"ﺗﺮﺍﻭﺩﱐ" ﺃﺻﻠﻪ ﺭﺍﻭﺩ ﻭﻣﺼﺪﺭﻩ ﻣﺮﺍﺩﻭﺓ ﺃﻱ ﺧﺎﺩﻋﻪ‬ ‫‪50‬‬

‫ﺍﻷﺭﺽ‪،‬‬

‫ﻭﻃﻠﺐ ﻣﻨﻪ ﺍﳌﻨﻜﺮ‪ 51،‬ﻭﻧﻮﻥ ﺍﻟﻮﻗﺎﻳﺔ ﰲ ﳏﻞ ﻧﺼﺐ ﻣﻔﻌﻮﻝ ﺑﻪ‪.‬‬

‫ﻫﺬﻩ ﺍﳉﻤﻠﺔ ﲨﻠﺔ ﺍﺳﺘﻌﺎﺭﺓ ﻭﻫﻲ ﺷﺒﻬﺖ ﺃﺷﺠﺎﺭ ﺑﺎﻹﻧﺴﺎﻥ ﰒ‬

‫ﺧﺬﻑ ﺍﳌﺸﺒﻪ ﺑﻪ ﻋﻠﻰ ﺳﺒﻴﻞ ﺍﻻﺳﺘﻌﺎﺭﺓ ﺍﳌﻜﻨﻴﺔ ﺍﻷﺻﻠﻴﺔ ﻷ‪‬ﺎ ﺟﺎﺭﺕ ﰲ‬

‫ﺍﺳﻢ ﺟﺎﻣﺪ‪ ،‬ﻭﻳﺬﻛﺮﳑﺎ ﻳﻼﺋﻢ ﺍﳌﺸﺒﻪ ﺑﻪ ﻭﻫﻮ ﺗﺮﺍﻭﺩﱐ ﻋﻠﻰ ﺳﺒﻴﻞ‬

‫ﺍﻻﺳﺘﻌﺎﺭﺓ ﺍﳌﺮﺷﺤﺔ‪.‬‬

‫ﰒ ﻭﺟﺪ ﺃﻳﻀﺎ ﰲ ﺍﻟﺒﻴﺖ ﺍﻵﺧﺮ "ﺃﺳﻨﺒﻠﺔ ﺗﺒﻜﻰ ﻟﻘﱪﺓ ﻣﺎﺗﺖ ﻭﺭﺍﺀ‬

‫ﺍﻟﺜﻠﺞ ﻭﺍﻟﱪﺩ"‪ 52.‬ﻭﻫﺬﻩ ﺍﳉﻤﻠﺔ ﲨﻠﺔ ﺍﺳﺘﻌﺎﺭﺓ ﺃﻳﻀﺎ ﻭﻫﻲ ﺷﺒﻬﺖ ﺳﻨﺒﻠﺔ‬

‫‪ 49‬ﺃﺩﻭﻧﻴﺲ‪ ،‬ﺍﻷﻋﻤﺎﻝ ﺍﻟﺸﻌﺮﻳﺔ‪/‬ﺃﻏﺎﱐ ﻣﻬﻴﺎﺭ ﺍﻟﺪﻣﺸﻘﻲ ﻭﻗﺼﺎﺋﺪ ﺃﺧﺮﻯ‪ ،‬ﺹ ‪263‬‬

‫ﺍﻷﺏ ﻟﻮﻳﺲ ﻣﺎﻟﻮﺹ ﺍﻟﺴﻴﻮﻋﻰ‪ ،‬ﺍﳌﻨﺠﺪ ﰲ ﺍﻟﻠﻐﺔ ﻭﺍﻷﻋﻼﻡ‪ ،‬ﻁ ‪) 40‬ﺑﲑﻭﺕ‪ :‬ﺩﺍﺭ ﺍﳌﺸﺮﻕ‪،‬‬ ‫‪50‬‬

‫‪ ،(2003‬ﺹ ‪374‬‬
‫‪ 51‬ﺍﻷﺏ ﻟﻮﻳﺲ ﻣﺎﻟﻮﺹ ﺍﻟﺴﻴﻮﻋﻰ‪ ،‬ﺍﳌﻨﺠﺪ ﰲ ﺍﻟﻠﻐﺔ ﻭﺍﻷﻋﻼﻡ‪ ،‬ﺹ ‪286‬‬
‫‪50‬‬

‫ﺑﺎﻟﺮﺟﻞ ﰒ ﺧﺬﻑ ﺍﳌﺸﺒﻪ ﺑﻪ ﻋﻠﻰ ﺳﺒﻴﻞ ﺍﻻﺳﺘﻌﺎﺭﺓ ﺍﳌﻜﻨﻴﺔ ﺍﻷﺻﻠﻴﺔ ﻷ‪‬ﺎ‬

‫ﺟﺎﺭﺕ ﰲ ﺍﺳﻢ ﺟﺎﻣﺪ‪ ،‬ﻭﻳﺬﻛﺮﳑﺎ ﻳﻼﺋﻢ ﺍﳌﺸﺒﻪ ﺑﻪ ﻭﻫﻮ ﺗﺒﻜﻰ ﻋﻠﻰ‬

‫ﺳﺒﻴﻞ ﺍﻻﺳﺘﻌﺎﺭﺓ ﺍﳌﺮﺷﺤﺔ‪.‬‬

‫ﻭﻫﺬﻩ ﺍﻟﻌﺒﺎﺭﺓ ﺗﺪﻝ ﻋﻠﻰ ﻗﻮﺓ ﺍﻷﺳﻠﻮﺏ ﺍﻟﺬﻱ ﺍﺳﺘﻌﻤﻠﻪ ﺃﺩﻭﻧﻴﺲ ﰲ‬

‫ﺷﻌﺮﻩ ﻷﻥ ﻗﻮﺓ ﺍﻷﺳﻠﻮﺏ ﺇﺫﺍ ﺗﻀﻤﻦ ﻓﻴﻪ ﺍ‪‬ﺎﺯ ﻭﺍﻻﺳﺘﻌﺎﺭﺓ ﻭﺍﻹﳚﺎﺯ‬

‫ﻭﺗﻘﺪﱘ ﻣﺎ ﺣﻘﻪ ﺍﻟﺘﺄﺧﲑ ﺇﺫﺍ ﺍﻗﺘﻀﻰ ﺍﳊﺎﻝ ﺫﻟﻚ‪.‬‬

‫‪ .3‬ﺍﳉﺰﺍﻟﺔ ﻭﺍﻟﺮﻗﺔ‪.‬‬

‫ﻟﻘﺪ ﺍﺧﺘﺎﺭ ﺃﺩﻭﻧﻴﺲ ﺍﻷﻟﻔﺎﻅ ﺍﳌﻨﺎﺳﺒﺔ ﻟﻠﺘﻌﺒﲑ ﻋﻦ ﻣﺸﺎﻋﺮﻩ‪ ،‬ﻣﺜﻼ‬

‫ﺣﲔ ﺗﻜﻠﻢ ﺃﺩﻭﻧﻴﺲ ﻋﻦ ﺍﻟﺮﻓﺾ‪ ،‬ﻳﻘﻮﻝ‪:‬‬

‫" ﻭﺍﻟﺮﻓﺾ ﻟﺆﻟﺆ ﻣﻜﺴﺮﺓ‬

‫ﺗﺮﺳﻮ ﺑﻔﺎﻳﺎﻫﺎ ﻋﻠﻰ ﺳﻔﲏ‬

‫ﻭﺍﻟﺮﻓﺾ ﺧﻄﺎﺏ ﻳﻌﻴﺶ ﻋﻠﻰ‬

‫‪ 52‬ﺃﺩﻭﻧﻴﺲ‪ ،‬ﺍﻷﻋﻤﺎﻝ ﺍﻟﺸﻌﺮﻳﺔ‪/‬ﺃﻏﺎﱐ ﻣﻬﻴﺎﺭ ﺍﻟﺪﻣﺸﻘﻲ ﻭﻗﺼﺎﺋﺪ ﺃﺧﺮﻯ‪ ،‬ﺹ ‪263‬‬

‫‪51‬‬

‫ﻭﺟﻬﻲ‪ -‬ﻳﻠﻤﻠﻤﲏ ﻭﻳﺸﻌﻠﲏ‬

‫ﻭﺍﻟﺮﻓﺾ ﺃﺑﻌﺎﺩ ﺗﺸﺘﺘﲏ‬

‫ﻓﺄﺭﻯ ﺩﻣﻲ ﻭﺃﺭﻯ ﻭﺭﺍﺀ ﺩﻣﻲ‬

‫‪53‬‬
‫ﻣﻮﰐ ﳛﺎﻭﺭﱐ ﻭﻳﺘﺒﻌﲏ"‪.‬‬

‫ﰲ ﻫﺬﻩ ﺍﻟﻌﺒﺎﺭﺓ ﻭﺟﺪﺕ ﺍﻟﻜﻠﻤﺎﺕ ﺍﳉﺰﺍﻟﺔ ﻣﺜﻞ "ﻟﺆﻟﺆ ﻣﻜﺴﺮﺓ" ﻭ‬

‫"ﺧﻄﺎﺏ ﻳﻌﻴﺶ ﻋﻠﻰ ﻭﺟﻬﻲ‪ -‬ﻳﻠﻤﻠﻤﲏ ﻭ ﻳﺸﻌﻠﲏ" ﻭ "ﺃﺑﻌﺎﺩ‬

‫ﺗﺴﺘﺘﲏ‪ ."...‬ﻭﻫﺬﻩ ﺍﳉﻤﻠﺔ ﺗﺴﺘﻌﻤﻞ ﻟﺸﻴﺊ ﺟﺰﺍﻟﺔ ﻣﺜﻞ ﺍﻟﺮﻓﺾ ﻛﻤﺎ‬

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‫ﻋﺮﻓﻨﺎ ﺃﻥ ﺍﻟﺮﻓﺾ ﺃﺻﻠﻪ ﺭﻓﺾ ‪ -‬ﻳﺮﻓﺾ ‪ -‬ﺭﻓﻀﺎ ﺃﻱ ﺭﻣﺎﻩ ﻭﺗﺮﻛﻪ‬

‫ﻭﻫﻮ ﻓﻌﻞ ﻟﺮﺩ ﺷﻴﺊ ﻗﺼﺪ ﺗﺮﻛﻪ‪ ،‬ﻭﻋﱪ ﺍﻟﺸﺎﻋﺮ ﻫﺬﻩ ﺍﻷﺣﻮﺍﻝ‬

‫ﺑﺎﻟﻜﻠﻤﺎﺕ ﺍﳉﺰﻟﺔ‪ .‬ﻭﺍﻟﺮﺩ ﻻ ﳝﻜﻦ ﺃﻥ ﻳﻌﱪ ﺑﻜﻠﻤﺎﺕ ﺭﻗﻴﻘﺔ ﻷﻥ ﺇﺫﺍ ﻋﱪ‬

‫ﺫﻟﻚ ﺑﻜﻠﻤﺎﺕ ﺭﻗﻴﻘﺔ ﻛﺎﻥ ﺍﻷﺳﻠﻮﺏ ﺿﻌﻴﻔﺎ‪.‬‬

‫‪ 53‬ﺃﺩﻭﻧﻴﺲ‪ ،‬ﺍﻷﻋﻤﺎﻝ ﺍﻟﺸﻌﺮﻳﺔ‪/‬ﺃﻏﺎﱐ ﻣﻬﻴﺎﺭ ﺍﻟﺪﻣﺸﻘﻲ ﻭﻗﺼﺎﺋﺪ ﺃﺧﺮﻯ‪ ،‬ﺹ‬

‫‪ 54‬ﺍﻷﺏ ﻟﻮﻳﺲ ﻣﺎﻟﻮﺹ ﺍﻟﺴﻴﻮﻋﻰ‪ ،‬ﺍﳌﻨﺠﺪ ﰲ ﺍﻟﻠﻐﺔ ﻭﺍﻷﻋﻼﻡ‪ ،‬ﺹ ‪270‬‬
‫‪ 46‬ﺃﺩﻭﻧﻴﺲ‪ ،‬ﺍﻷﻋﻤﺎﻝ ﺍﻟﺸﻌﺮﻳﺔ‪/‬ﺃﻏﺎﱐ ﻣﻬﻴﺎﺭ ﺍﻟﺪﻣﺸﻘﻲ ﻭﻗﺼﺎﺋﺪ ﺃﺧﺮﻯ‪ ،‬ﺹ ‪264‬‬
‫‪52‬‬

‫ﻭﺍﺳﺘﻌﻤﻞ ﺃﺩﻭﻧﻴﺲ ﺍﻟﻜﻠﻤﺎﺕ ﺍﻟﺮﻗﻴﻘﺔ ﺣﲔ ﺗﻜﻠﻢ ﻋﻦ ﺍﻟﺴﻼﻣﺔ‪،‬‬

‫ﻳﻘﻮﻝ‪:‬‬

‫" ﺃﺳﻠﻤﺘﻨﺎ ﺍﻟﺒﺤﺎﺭ ﺍﻷﻣﻴﻨﺔ‬

‫ﺍﻟﺒﺤﺎﺭ ﺍﻟﱵ ﺗﺮﺗﻞ ﻣﺮﻳﺌﺔ ﺍﻟﺮﺣﻴﻞ‬

‫‪55‬‬
‫ﺃﺳﻠﻤﺘﻨﺎ ﺇﱃ ﺍﳌﺘﺎﺀ"‬

‫ﻛﻞ ﺍﻟﻨﺎﺱ ﻳﺘﻤﻨﻮﻥ ﺃﻥ ﻳﻨﺎﻝ ﺍﻟﺴﻼﻣﺔ‪ ،‬ﻭﻋﱪ ﺃﺩﻭﻧﻴﺲ ﻫﺬﺍ ﺍﳊﺎﻝ‬

‫ﺑﻜﻠﻤﺎﺕ ﺭﻗﻴﻘﺔ ﻛﻤﺎ ﻭﺟﺪﺕ ﰲ ﺑﻌﺾ ﺃﺑﻴﺎﺗﻪ‪ ،‬ﻣﺜﻞ "ﺃﺳﻠﻤﺘﻨﺎ ﺍﻟﺒﺤﺎﺭ‬

‫ﺍﻷﻣﻴﻨﺔ" ﻭ"‪..‬ﺗﺮﺗﻞ ﻣﺮﻳﺌﺔ ﺍﻟﺮﺣﻴﻞ"‪.‬‬

‫ﻭﺇﺫﺍ ﺗﺄﻣﻠﻨﺎ ﺗﻠﻚ ﺍﻷﺑﻴﺎﺕ‪ ،‬ﻓﺎﻟﺸﺎﻋﺮ ﻗﺪ ﺍﺧﺘﺎﺭ ﻛﻠﻤﺎﺕ ﻣﻨﺎﺳﺒﺔ‬

‫ﻟﺘﻌﺒﲑ ﻋﻦ ﺍﻟﺴﻼﻣﺔ‪ ،‬ﺷﻴﺊ ﺭﻗﻴﻖ ﻻﺑﺪ ﺃﻥ ﻳﻌﱪ ﺑﻜﻠﻤﺎﺕ ﺭﻗﻴﻘﺔ‪.‬‬

‫‪ .4‬ﺍﻟﻮﺣﺪﺓ ﺍﻟﻌﻀﻮﻳﺔ‪.‬‬

‫ﺃﺩﻭﻧﻴﺲ‪ ،‬ﺍﻷﻋﻤﺎﻝ ﺍﻟﺸﻌﺮﻳﺔ‪/‬ﺃﻏﺎﱐ ﻣﻬﻴﺎﺭ ﺍﻟﺪﻣﺸﻘﻲ ﻭﻗﺼﺎﺋﺪ ﺃﺧﺮﻯ‪ ،‬ﺹ ‪286‬‬ ‫‪55‬‬
‫‪53‬‬

‫ﻭﺗﺴﺘﻠﺰﻡ ﻫﺬﻩ ﺍﻟﻮﺣﺪﺓ ﺃﻥ ﻳﻔﻜﺮ ﺍﻟﺸﺎﻋﺮ ﺗﻔﻜﲑﺍﹰ ﻃﻮﻳﻼﹰ ﰲ ﻣﻨﻬﺞ‬

‫ﻗﺼﻴﺪﺗﻪ ﻭﰲ ﺍﻷﺛﺮ ﺍﻟﺬﻱ ﻳﺮﻳﺪ ﺃﻥ ﳛﺪﺛﻪ ﰲ ﺳﺎﻣﻌﻴﻪ ﻭﰲ ﺍﻷﺟﺰﺍﺀ ﺍﻟﱵ‬

‫ﺗﻨﺪﺭﺝ ﰲ ﺃﺣﺪﺍﺙ ﻫﺬﺍ ﺍﻷﺛﺮ ﲝﻴﺚ ﺗﺘﻤﺸﻰ ﻣﻊ ﺑﻨﻴﺔ ﺍﻟﻘﺼﻴﺪﺓ ﺑﻮﺻﻔﻬﺎ‬

‫ﻭﺣﺪﺓ ﺣﻴﺔ ﰒ ﰲ ﺍﻷﻓﻜﺎﺭ ﻭﺍﻟﺼﻮﺭ ﺍﻟﱵ ﻳﺸﺘﻤﻞ ﻋﻠﻴﻬﺎ ﻛﻞ ﺟﺰﺀ ﲝﻴﺚ‬

‫ﺗﺘﺤﺮﻙ ﺑﻪ ﺍﻟﻘﺼﻴﺪﺓ ﺇﱃ ﺍﻷﻣﺎﻡ ﺑﺄﺣﺪﺍﺙ ﺍﻷﺛﺮ ﺍﳌﻘﺼﻮﺩ ﻣﻨﻬﺎ‪ ،‬ﻭﻋﻦ‬

‫ﻃﺮﻳﻖ ﺍﻟﺘﺘﺎﺑﻊ ﺍﳌﻨﻄﻘﻲ ﻭﺗﺴﻠﺴﻞ ﺍﻷﻓﻜﺎﺭ ﻭﺍﻟﻮﻗﻮﻑ ﻋﻠﻰ ﺍﳌﻨﻬﺞ ﻗﺒﻞ ﳎﺊ‬
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‫ﺍﻟﻨﺺ ﻛﻞ ﻫﺬﺍ ﻳﺴﺎﻋﺪ ﺍﻻﺑﺘﻜﺎﺭ ﻟﻸﻓﻜﺎﺭ ﺍﳉﺰﺋﻴﺔ ﻭﺍﻟﺼﻮﺭ ﺍﳌﺸﺎ‪‬ﺔ‪.‬‬

‫ﻭﻧﻌﺮﻑ ﺍﻟﻮﺣﺪﺓ ﺍﻟﻌﻀﻮﻳﺔ ﰲ ﺷﻌﺮ ﺃﺩﻭﻧﻴﺲ ﻣﻦ ﺍﻟﻌﻨﺎﺻﺮ ﺍﻵﺗﻴﺔ‪:‬‬

‫‪ .1‬ﻭﺣﺪﺓ ﺍﳌﻮﺿﻮﻉ‪.‬‬

‫ﺃ‪ .‬ﰲ ﺍﻟﺸﻌﺮ ﺍﻷﻭﻝ "ﺭﺅﻳﺎ" ﺗﻜﻠﻢ ﺃﺩﻭﻧﻴﺲ ﻋﻦ ﺿﻴﺎﻉ ﻛﻞ ﻣﺎ‬

‫ﳝﻠﻜﻪ ﰲ ﺍﳊﻴﺎﺓ‪ ،‬ﻭﻫﺬﺍ ﻋﱪﻩ ﺃﺩﻭﻧﻴﺲ ﰲ ﻣﻮﺿﻮﻉ ﻭﺍﺣﺪ ﻣﻦ‬

‫ﺃﻭﻝ ﺳﻄﺮ ﺇﱃ ﺍﻟﻨﻬﺎﻳﺔ ﻭﻻ ﻳﻮﺟﺪ ﺷﻴﺊ ﺧﺎﺭﺝ ﻣﻦ ﻫﺬﺍ‬

‫ﺷﺮﺡ ﻣﺒﺴﻂ ﳌﺎﺩﺓ ﺍﻟﻨﻘﺪ ﺍﳊﺪﻳﺚ ﰲ ﺍﻟﺸﻌﺮ ﺍﻟﻌﺮﰊ‪ ،‬ﻣﺎﺩﺓ ﻋﻠﻤﻴﺔ ﻣﺎﺧﻮﺫﺓ ﰲ ‪ 25‬ﻣﺎﻳﻮ ‪ 2009‬ﻣﻦ‬ ‫‪56‬‬

‫‪http://www.rufaaforall.com/board/shwthread.php?t=32236‬‬
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‫ﺍﳌﻮﺿﻮﻉ‪ .‬ﺍﳌﻮﺿﻮﻉ ﺍﻟﺬﻱ ﺑﺪﺃ ﺑﻪ ﺍﻟﺸﺎﻋﺮ ﺍﺳﺘﻤﺮ ﺑﻪ ﺳﺘﺔ‬

‫ﺃﺳﻄﺮ‪ ،‬ﰒ ﺍﺳﺘﻤﺮ ﰲ ﺇﻃﺎﻟﺘﻪ ﰲ ﻋﺪﺩ ﺍﻷﺑﻴﺎﺕ ﺑﻌﺪﻩ ﺑﺼﻠﺔ‬

‫ﺍﻟﻔﻜﺮﺓ ﻭﺍﳌﻮﺿﻮﻉ‪ ،‬ﺣﱵ ﺍﺳﺘﻄﺎﻉ ﺑﻜﻞ ﻣﻬﺎﺭﺓ ﻭﺿﻊ ﻧﻘﻄﺔ‬

‫‪‬ﺎﻳﺔ ﺍﻟﺴﻄﺮ‪.‬‬

‫ﺏ‪ .‬ﻭ ﰲ ﺍﻟﺸﻌﺮ ﺍﻟﺜﺎﱐ‪ ،‬ﺗﻜﻠﻢ ﻓﻴﻪ ﺃﺩﻭﻧﻴﺲ ﻋﻦ "ﺍﻟﺰﻣﺎﻥ ﺍﻟﺼﻐﲑ"‪،‬‬

‫ﺑﺪﺃ ﻓﻴﻪ ﺑﺼﻮﺭ ﻣﺎ ﺭﺃﻯ ﻣﻦ ﺣﻘﻴﺔ ﺍﻟﻮﺍﻗﻊ ﻣﺜﻞ ﺍﻟﺴﺮﺍﺏ ﺍﳌﺮﺍﺋﻲ‬

‫ﻭﺍﻟﻨﻬﺎﺭ ﺍﻟﻀﺮﻳﺮ‪ ،‬ﻭﺍﳌﺮﺍﺩ ﺑﻪ ﺃﻧﻨﺎ ﻻ ﳕﻠﻚ ﺷﻴﺌﺎ‪ ،‬ﰒ ﰲ ﺃﺛﻨﺎﺀ‬

‫ﺍﶈﻮﺭ ﺫﻛﺮ ﻋﻦ ﺍﻟﺴﻔﻴﺔ ﻭﺍﻟﺒﺤﺎﺭ ﺍﻟﱴ ﺃﺳﻠﻤﺘﻨﺎ ﺇﱃ ﺍﳌﺘﺎﺀ ﻗﺼﺪ ﺑﻪ‬

‫ﺑﺄﻥ ﻻﻧﻜﻦ ﻣﺘﺸﺎﺋﻤﲔ ﻷﻥ ﻫﻨﺎﻙ ﺃﻣﻞ ﳝﻜﻨﻨﺎ ﻧﻴﻠﻪ‪.‬‬

‫ﻭﺑﻌﺪ ﺍﳌﻼﺣﻈﺔ ﰲ ﺍﻟﺸﻌﺮﻳﻦ ﺍﻟﺴﺎﺑﻘﲔ ﺭﺃﻯ ﺍﻟﺒﺎﺣﺚ ﺃ‪‬ﻤﺎ‬

‫ﺿﻤﻨﺎ ﻣﻮﺿﻮﻋﺎ ﻣﻌﻴﻨﺎ ﻻ ﻳﻨﺘﻘﻞ ﺍﻟﺸﺎﻋﺮ ﻣﻨﻪ ﺇﱃ ﻣﻮﺍﺿﻴﻊ ﺃﺧﺮﻯ ﻟﻴﺲ‬

‫ﳍﺎ ﺻﻠﺔ ﺑﺎﳌﻮﺿﻮﻉ ﺍﻟﺮﺋﻴﺴﻲ ﻟﻠﺸﻌﺮ‪ ،‬ﻭﻫﺬﺍ ﻳﺪﻝ ﻋﻠﻰ ﻭﺟﻮﺩ ﻭﺣﺪﺓ‬

‫ﺍﳌﻮﺿﻮﻉ ﰲ ﺷﻌﺮ ﺃﺩﻭﻧﻴﺲ‪.‬‬

‫‪ .2‬ﻭﺣﺪﺓ ﺍﳌﺸﺎﻋﺮ‪.‬‬
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‫ﻭﻣﻦ ﻧﺎﺣﻴﺔ ﺍﳌﺸﺎﻋﺮ ﻭﺟﺪ ﺍﻟﺒﺎﺣﺚ ﺃﻥ ﺃﺩﻭﻧﻴﺲ ﻛﺘﺐ ﻫﺬﻳﻦ‬

‫ﺍﻟﺸﻌﺮﻳﻦ ﰲ ﺷﻌﻮﺭ ﻭﺍﺣﺪ ﲟﻌﲎ ﺍﻟﺸﻌﺮ ﺍﻷﻭﻝ ﰲ ﺷﻌﻮﺭ ﻭﺍﺣﺪ‬

‫ﻭﻛﺬﻟﻚ ﺍﻟﺸﻌﺮ ﺍﻟﺜﺎﱐ ﰲ ﺷﻌﻮﺭ ﻭﺍﺣﺪ‪.‬‬

‫ﺃ‪ .‬ﻳﺒﺪﺃ ﺃﺩﻭﻧﻴﺲ ﰲ ﺍﻟﺸﻌﺮ ﺍﻷﻭﻝ ﺑﺘﺼﻮﻳﺮ ﻋﻦ ﺁﻻﻣﻪ ﻭﺧﺰﻧﻪ‬

‫ﻟﻀﻴﺎﻉ ﻛﻞ ﺷﻴﺊ ﻣﻨﻪ‪ ،‬ﻭﻛﺬﻟﻚ ﰲ ﳏﻮﺭ ﺍﻟﺸﻌﺮ ﺃﺣﺲ ﺍﻟﺸﺎﻋﺮ‬

‫ﲞﺰﻥ ﻟﻀﻴﺎﻉ ﻣﺎ ﳛﺒﻪ‪ ،‬ﻭﻋﱪ ﺫﻟﻚ ﻟﻠﻘﺎﺭﺉ ﺷﻴﺌﺎ ﻓﺸﻴﺌﺎ ﺣﱴ‬

‫ﺍﻧﺘﻬﻰ ﺇﱃ ﺍﻟﻐﺎﻳﺔ ﺑﻘﻮﻟﻪ "ﻟﻴﺖ ﺍﳌﻮﺕ ﳝﻬﻠﲏ"‪ .‬ﻫﺬﺍ ﻳﺪﻝ ﻋﻠﻰ‬

‫ﻭﺟﻮﺩ ﻭﺣﺪﺓ ﺍﳌﺸﺎﻋﺮ ﰲ ﺷﻌﺮ ﺃﺩﻭﻧﻴﺲ‪.‬‬

‫ﺏ‪ .‬ﻭﻛﺬﻟﻚ ﰲ ﺍﻟﺸﻌﺮ ﺍﻟﺜﺎﱐ‪ ،‬ﻛﺘﺐ ﺃﺩﻭﻧﻴﺲ ﻫﺬﺍ ﺍﻟﺸﻌﺮ ﰲ‬

‫ﺷﻌﻮﺭ ﻭﺍﺣﺪ ﻧﻌﺮﻓﻪ ﻣﻦ ﺍﻟﻌﺒﺎﺭﺍﺕ ﺍﻟﱵ ﻋﺮﺿﻬﺎ‪ ،‬ﻳﺆﰐ ﺍﻟﺼﻮﺭﺓ‬

‫ﺃﻧﻨﺎ ﺃﺑﻨﺎﺀ ﺍﻟﺰﻣﺎﻥ ﺍﻟﺼﻐﲑ ﻭﻻﳕﻠﻚ ﺷﻴﺌﺎ‪ ،‬ﻭﻟﻜﻦ ﰲ ﳏﻮﺭ ﺍﻟﺸﻌﺮ‬

‫ﻳﺘﺼﻮﺭ ﰲ ﺫﻫﻨﻨﺎ ﺃﻥ ﺍﻟﺒﺤﺮ ﺍﳍﺎﺩﺉ ﻛﺄﻧﻪ ﺃﻣﻞ ﻳﺸﺠﻌﻨﺎ ﻣﻦ‬

‫ﺍﻟﻴﺄﺱ ﻭﻛﻠﻪ ﺍﳌﻤﻜﻦ ﻟﻨﻴﻞ ﻛﻞ ﻣﺎ ﻧﺮﻳﺪﻩ ﻣﻦ ﺍﻷﺷﻴﺎﺀ‪ .‬ﻭﻋﱪ‬

‫ﺃﺩﻭﻧﻴﺲ ﺷﻌﻮﺭﻩ ﺷﻴﺌﺎ ﻓﺸﻴﺌﺎ ﺣﱴ ﺍﻧﺘﻬﻰ ﺇﱃ ﺍﻟﻐﺎﻳﺔ‪.‬‬

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‫‪ .3‬ﺗﺮﺗﻴﺐ ﺍﻟﺼﻮﺭ ﻭﺍﻷﻓﻜﺎﺭ‪.‬‬

‫ﺍﻷﺩﻳﺐ ﺣﲔ ﻳﻌﱪ ﻋﻦ ﺍﻟﺼﻮﺭ ﻭﺍﻷﻓﻜﺎﺭ ﻻﺑﺪ ﺃﻥ ﻳﺮﺗﺒﻬﺎ‬

‫ﺗﺮﺗﻴﺒﺎ ﻣﻨﻄﻘﻴﺎ ﺗﺘﻘﺪﻡ ﺑﻪ ﺍﻟﻘﺼﻴﺪﺓ ﺷﻴﺌﺎ ﻓﺸﻴﺌﺎ ﺣﱴ ﺗﻨﺘﻬﻲ ﺇﱃ ﺧﺎﲤﺔ‬

‫ﻳﺴﺘﻠﺰﻣﻬﺎ ﺗﺮﺗﻴﺐ ﺍﻟﺼﻮﺭ ﻭﺍﻷﻓﻜﺎﺭ‪.‬‬

‫ﻭﺑﻌﺪ ﻣﺎ ﻻﺣﻆ ﺍﻟﺒﺎﺣﺚ ﻫﺬﻳﻦ ﺍﻟﺸﻌﺮﻳﻦ ﻭﺟﺪ ﺃ‪‬ﻤﺎ ﻣﺘﺮﺗﺒﺎﻥ‬

‫ﰲ ﺍﻟﺼﻮﺭ ﻭﺍﻷﻓﻜﺎﺭ‪.‬‬

‫ﺃ‪ .‬ﺑﺪﺃ ﺃﺩﻭﻧﻴﺲ ﰲ ﺍﻟﺸﻌﺮ ﺍﻷﻭﻝ ﻳﺼﻮﺭ ﺃﻓﻜﺎﺭﻩ ﻋﻤﺎ ﺭﺃﻯ ﻣﻦ‬

‫ﺣﻘﻴﻘﺔ ﺍﻟﻮﺍﻗﻊ‪ ،‬ﻭﻫﻲ ﺁﻻﻣﻪ ﻭﺃﺣﺰﺍﻧﻪ ﻟﻀﻴﺎﻉ ﻛﻞ ﺷﻴﺊ ﻣﻨﻪ‪ ،‬ﰒ‬

‫ﺍﺳﺘﻤﺮ ﺑﺘﺼﻮﻳﺮ ﺃﻓﻜﺎﺭﻩ ﺑﻀﻴﺎﻉ ﻣﺎ ﳛﺒﻪ ﻭﻫﻮ ﰲ ﺷﺪﺓ ﺍﳊﺰﻥ‬

‫ﻟﺬﻟﻚ ﺣﱴ ﻳﺒﻜﻲ‪ ،‬ﻭﰲ ﺁﺧﺮ ﺍﻟﺸﻌﺮ ﺭﺃﻯ ﺃﻧﻪ ﺳﻴﻔﲎ ﺃﻳﻀﺎ ﻛﻤﺎ‬

‫ﺣﺪﺙ ﺑﺎﻵﺧﺮ ﻭﻳﺘﻤﲎ ﺃﻥ ﻳﺆﺧﺮﻩ ﺍﳌﻮﺕ ﺑﻘﻮﻟﻪ "ﻟﻴﺖ ﺍﳌﻮﺕ‬

‫ﳝﻬﻠﲏ"‪.‬‬

‫ﺏ‪ .‬ﻭﺑﺪﺃ ﺃﺩﻭﻧﻴﺲ ﺍﻟﺸﻌﺮ ﺍﻟﺜﺎﱐ ﺑﺘﺼﻮﻳﺮ ﺃﻓﻜﺎﺭﻩ ﻋﻦ ﺍﻟﺰﻣﺎﻥ‬

‫ﺍﻟﺼﻐﲑ‪ ،‬ﺃﻧﻨﺎ ﻻ ﳕﻠﻚ ﺷﻴﺌﺎ ﻭﻻ ﻧﺴﺘﻄﻴﻊ ﺃﻥ ﻧﻔﻌﻞ ﺷﻴﺌﺎ‪ ،‬ﻭﺃﺛﻨﺎﺀ‬

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‫ﺫﻟﻚ ﺍﻟﻴﺄﺱ ﺟﺎﺀ ﺑﺎﻟﺮﺟﺎﺀ‪ ،‬ﺃﻥ ﻫﻨﺎﻙ ﺃﻣﻼ ﳝﻜﻨﻨﺎ ﻧﻴﻠﻪ ﻭﳓﻦ‬

‫ﻗﺎﺩﺭﻭﻥ ﺃﻥ ﳒﻌﻞ ﺍﳊﻴﺎﺓ ﺑﻌﻴﺪﺓ ﻣﻦ ﺍﻟﻴﺄﺱ ﻷﻥ ﻛﻞ ﺷﻴﺊ ﳑﻜﻦ‬

‫ﺇﺫﺍ ﳒﺘﻬﺪ ﻓﻴﻪ‪.‬‬

‫ﻭﺑﻌﺪ ﻫﺬﻩ ﺍﳌﻼﺣﻈﺔ ﺭﺃﻯ ﺍﻟﺒﺎﺣﺚ ﺃﻥ ﺷﻌﺮﻱ ﺃﺩﻭﻧﻴﺲ‬

‫ﺍﻟﺴﺎﺑﻘﲔ ﻛﺎﻧﺎ ﻣﺘﺮﺗﺒﲔ ﰲ ﺍﻟﺼﻮﺭ ﻭﺍﻷﻓﻜﺎﺭ‪.‬‬

‫‪ .4‬ﺃﺟﺰﺍﺀ ﺍﻟﻘﺼﻴﺪﺓ ﻭﺃﺑﻴﺎ‪‬ﺎ ﳏﻜﻤﺔ ﻣﺘﺮﺍﺑﻄﺔ‪.‬‬

‫ﺃﺟﺰﺍﺀ ﺍﻟﻘﺼﻴﺪﺓ ﻭﺃﺑﻴﺎ‪‬ﺎ ﻻﺑﺪ ﺃﻥ ﺗﻜﻮﻥ ﳏﻜﻤﺔ ﻭﻣﺘﺮﺍﺑﻄﺔ‬

‫ﲝﻴﺚ ﻳﺆﺩﻱ ﺑﻌﻀﻬﺎ ﺇﱃ ﺑﻌﺾ ﻋﻦ ﻃﺮﻳﻖ ﺗﺴﻠﺴﻞ ﺍﻷﻓﻜﺎﺭ‬

‫ﻭﺍﳌﺸﺎﻋﺮ‪.‬‬

‫ﰲ ﺍﻟﺸﻌﺮﻳﻦ ﺍﻟﺴﺎﺑﻘﲔ‪ ،‬ﻛﺎﻧﺖ ﺃﺑﻴﺎ‪‬ﻤﺎ ﳏﻜﻤﺘﲔ ﻣﺘﺮﺍﺑﻄﲔ‪،‬‬

‫ﻧﻌﺮﻓﻬﻤﺎ ﻣﻦ ﺗﺴﻠﺴﻞ ﺍﻷﻓﻜﺎﺭ ﻭﺍﳌﺸﺎﻋﺮ‪ .‬ﺍﻷﻟﻔﺎﻅ ﺍﻟﱴ ﺍﺳﺘﻌﻤﻠﻬﺎ‬

‫ﺃﺩﻭﻧﻴﺲ ﺗﺼﻮﺭ ﻟﻨﺎ ﺍﻷﻓﻜﺎﺭ ﺍﻟﱴ ﻳﺮﻳﺪ ﺃﻥ ﻳﻌﱪﻫﺎ ﺑﻌﻀﻬﺎ ﺇﱃ ﺑﻌﺾ‬

‫ﻋﻦ ﻃﺮﻳﻖ ﺗﺴﻠﺴﻞ ﺍﻷﻓﻜﺎﺭ ﻭﺍﳌﺸﺎﻋﺮ‪.‬‬

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‫ﺃ‪ .‬ﰲ ﺍﻟﺸﻌﺮ ﺍﻷﻭﻝ ﻋﱪ ﺃﺩﻭﻧﻴﺲ ﻋﻦ ﺍﻷﱂ ﻭﺍﳊﺰﻥ ﻟﻔﻘﺪ ﻣﺎ ﳝﻠﻜﻪ‬

‫ﻣﻦ ﺍﻷﺷﻴﺎﺀ‪ ،‬ﰒ ﻳﺴﺘﻤﺮ ﻫﺬﺍ ﺍﻟﺸﻌﻮﺭ ﺑﻌﺒﺎﺭﺓ ﺃﺧﺮﻯ ﺗﻨﺎﺳﺐ ﲟﺎ‬

‫ﻳﺸﻌﺮﻩ ﻣﻦ ﺣﻘﻴﻘﺔ ﺍﻟﻮﺍﻗﻊ ﻋﻠﻰ ﺳﺒﻴﻞ ﺗﺴﻠﺴﻞ ﺍﻷﻓﻜﺎﺭ‬

‫ﻭﺍﳌﺸﺎﻋﺮ ﻭﰲ ﺍﻟﻨﻬﺎﻳﺔ ﳜﺘﺘﻢ ﻫﺬﺍ ﺍﻟﺸﻌﺮ ﺑﻘﻮﻟﻪ "ﻟﻴﺖ ﺍﳌﻮﺕ‬

‫ﳝﻬﻠﲏ" ﻭﻫﺬﻩ ﺍﻟﻌﺒﺎﺭﺓ ﺗﺪﻝ ﻋﻠﻰ ﻏﺎﻳﺔ ﺍﻟﻴﺄﺱ ﺑﺄﻧﻪ ﺳﻴﻔﲎ ﻛﻤﺎ‬

‫ﺣﺪﺙ ﺑﻪ ﺍﻷﺧﺮﻭﻥ‪.‬‬

‫ﺏ‪ .‬ﻭﰲ ﺍﻟﺸﻌﺮ ﺍﻟﺜﺎﱐ‪ ،‬ﺭﺃﻳﻨﺎ ﺗﺴﻠﺴﻞ ﺍﻷﻓﻜﺎﺭ ﻣﻦ ﺍﻟﺒﻴﺖ ﺍﻷﻭﻝ ﺇﱃ‬

‫ﺁﺧﺮ ﺍﻟﺸﻌﺮ‪ ،‬ﺑﺪﺃ ﺃﺩﻭﻧﻴﺲ ﺑﺘﻌﺒﲑ ﻋﻦ ﺍﻟﺴﺮﺍﺏ ﻭﺍﻟﻨﻬﺎﺭ ﺍﻟﻀﺮﻳﺮ‬

‫ﻭﺍﳌﺮﺍﺩ ﺑﻪ ﺑﺄﻧﻨﺎ ﻟﻴﺲ ﻋﻨﺪﻧﺎ ﺷﻴﺊ ﻭﻻ ﻧﺴﺘﻄﻴﻊ ﺃﻥ ﻧﻔﻌﻞ ﺷﻴﺌﺎ‬

‫ﻷﻧﻨﺎ ﻧﺴﻜﻦ ﰲ ﺍﻟﺰﻣﺎﻥ ﺍﻟﺼﻐﲑ‪ ،‬ﰒ ﻳﺄﰐ ﺑﺎﻟﺮﺟﺎﺀ ﺑﺄﻥ ﻛﻞ ﺷﻴﺊ‬

‫ﳑﻜﻦ ﺇﺫﺍ ﳒﺘﻬﺪ ﻓﻴﻪ‪ .‬ﻭﺍﻟﻔﻜﺮﺓ ﺍﻟﱴ ﻋﺮﺿﻬﺎ ﺍﻟﺸﺎﻋﺮ ﻟﻠﻘﺎﺭﺉ‬

‫ﻫﻲ ﺍﻟﺘﺸﺠﻴﻊ ﻟﻔﻌﻞ ﺍﻷﺷﻴﺎﺀ ﻭﳒﺘﻬﺪ ﰲ ﻋﻤﻠﻨﺎ ﻭﻟﻮ ﳒﺪ‬

‫ﺍﻟﺼﻌﻮﺑﺔ ﰲ ﺍﳊﻴﺎﺓ ﻷﻥ ﺍﻟﻨﺠﺎﺡ ﻳﺄﰐ ﳌﻦ ﳚﺘﻬﺪ ﰲ ﺍﳊﻴﺎﺓ‪.‬‬

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‫‪ .5‬ﺍﻟﻄﺒﻊ ﻭﺍﻟﺼﻨﻌﺔ‬

‫ﻳﻘﺼﺪ ﺑﺎﻟﻄﺒﻊ ﺃﻥ ﻳﺘﺮﻙ ﺍﻷﺩﻳﺐ ﻧﻔﺴﻪ ﻋﻠﻰ ﻃﺒﻴﻌﺘﻬﺎ ﰲ ﺍﻟﺘﻌﺒﲑ ﻋﻦ‬

‫ﺃﻓﻜﺎﺭﻩ‪ ،‬ﲝﻴﺚ ﲡﻴﺊ ﻛﻠﻤﺎﺗﻪ ﻭﻋﺒﺎﺭﺍﺗﻪ ﻣﻌﱪﺓ ﻋﻦ ﻣﺸﺎﻋﺮﻩ ﻣﻦ ﻏﲑ‬

‫ﺗﻜﻠﻒ‪ .‬ﺃﻣﺎ ﺍﻟﺼﻨﻌﺔ ﻓﻴﻘﺼﺪ ‪‬ﺎ ﺗﻜﻠﻒ ﺍﻟﻜﻠﻤﺎﺕ ﻭﺍﻟﻌﺒﺎﺭﺍﺕ ﺍﻟﱵ ﺗﺪﻝ‬
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‫ﻋﻠﻰ ﺍﳌﻌﲎ ﻟﺘﺤﻘﻖ ﻧﻮﻋﺎ ﻣﻦ ﺃﻧﻮﺍﻉ ﺍﶈﺴﻨﺎﺕ ﺍﻟﻠﻔﻈﻴﺔ ﻭﺍﳌﻌﻨﻮﻳﺔ‪.‬‬

‫ﰲ ﺍﻟﺸﻌﺮﻳﻦ ﺍﻟﺴﺎﺑﻘﲔ ﻭﺟﺪ ﺍﻟﺒﺎﺣﺚ ﺃﻥ ﺍﻟﺸﺎﻋﺮ ﻋﱪ ﻋﻦ ﺃﻓﻜﺎﺭﻩ‬

‫ﻳﻐﲑ ﺳﻬﻮﻟﺔ ﺑﻞ ﻭﺟﺪ ﺍﻟﺘﻜﻠﻒ ﰲ ﺇﺟﻬﺎﺩ ﺫﻫﻨﻪ ﻭﺇﻋﻤﺎﻝ ﻓﻜﺮﻩ‪.‬‬

‫ﺍﻷﺳﻠﻮﺏ ﻭﺍﻟﻌﺒﺎﺭﺍﺕ ﺍﻟﱴ ﺍﺳﺘﻌﻤﻠﻬﺎ ﻛﺎﻧﺖ ﺻﻌﻮﺑﺔ ﻭﺗﺘﻀﻤﻦ ﻓﻴﻬﺎ‬

‫ﺍﳌﻌﺎﱐ ﺍﻟﻌﻤﻴﻖ ﻻ ﻳﺼﻞ ﺍﻟﻘﺎﺭﺉ ﺇﱃ ﺗﻠﻚ ﺍﳌﻌﺎﱐ ﺇﻻ ﺑﻌﺪ ﻓﻬﻢ ﻭﺗﻔﻜﲑ‬

‫ﻃﻮﻳﻞ‪ .‬ﻭﻟﻜﻦ ﰲ ﺑﻌﺾ ﺃﺑﻴﺎﺗﻪ ﻳﺴﺘﻌﻤﻞ ﺍﻟﺸﺎﻋﺮ ﺍﻟﺘﺼﻮﻳﺮ ﺍﻟﺒﻴﺎﱐ ﻣﺜﻞ‬

‫ﺍﻻﺳﺘﻌﺎﺭﺓ ﻭﺍﻟﺘﺸﺒﻪ‪.‬‬

‫ﻭﻭﺟﺪ ﺍﻟﺒﺎﺣﺚ ﺃﻥ ﺍﻟﺸﺎﻋﺮ ﻳﺘﻜﻠﻒ ﰲ ﺇﺟﻬﺎﺩ ﺍﻟﻌﻘﻞ ﰲ ﺍﻟﺒﺤﺚ‬

‫ﻋﻦ ﺍﻷﻓﻜﺎﺭ ﻭﺍﳌﺒﺎﻟﻐﺔ ﰲ ﺍﺳﺘﺨﺪﺍﻡ ﺍﶈﺴﻨﺎﺕ ﺍﳌﻌﻨﻮﻳﺔ‪ .‬ﻭﻫﺬﺍ ﻳﺪﻝ ﻋﻠﻰ‬

‫‪ 57‬ﺟﺎﻣﻌﺔ ﺍﻷﻣﺎﻡ ﳏﻤﺪ ﺑﻦ ﺳﻌﻮﺩ ﺍﻹﺳﻼﻣﻴﺔ‪ ،‬ﺍﻟﺒﻼﻏﺔ ﻭﺍﻟﻨﻘﺪ‪ ،‬ﺹ ‪26‬‬

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‫ﺃﻥ ﻛﺜﲑﺍ ﻣﻦ ﻋﺒﺎﺭﺍﺕ ﺍﻟﻨﺺ ﰲ ﺷﻌﺮ ﺃﺩﻭﻧﻴﺲ ﺟﺮﺕ ﻋﻠﻰ ﺳﻨﻦ‬

‫ﺍﻟﺼﻨﻌﺔ‪.‬‬

‫ﻭ‪‬ﺬﻩ ﺍﳌﻼﺣﻈﺔ ﺭﺃﻳﺖ ﺃﻥ ﺃﺩﻭﻧﻴﺲ ﻛﺎﻥ ﻛﺎﺗﺒﺎ ﻏﲑ ﻣﻄﺒﻮﻉ‪ ،‬ﻷﻥ‬

‫ﺃﻛﺜﺮ ﺍﻟﻌﺒﺎﺭﺍﺕ ﰲ ﺃﺷﻌﺎﺭﻩ ﺗﺄﰐ ﻋﻠﻰ ﺍﻟﺘﻜﻠﻒ‪.‬‬

‫‪ .2‬ﺍﻟﺸﻌﻮﺭ ﰲ ﺷﻌﺮ ﺃﺩﻭﻧﻴﺲ‬

‫ﻛﻤﺎ ﺫﻛﺮ ﺳﺎﺑﻘﺎ ﺃﻥ ﺍﻟﺸﻌﻮﺭ ﻫﻮ ﺍﳌﻮﻗﻒ ﺍﻟﺬﻱ ﺗﻌﺮ‪‬ﺽ ﻟﻪ ﺍﻷﺩﻳﺐ‪،‬‬

‫ﻭﺗﺄﺛﺮ ﺑﻪ‪ ،‬ﻭﺗﻔﺎﻋﻞ ﻣﻌﻪ ﻧﻔﺴﻴﺎﹰ ﻋﱪ ﺃﺣﺎﺳﻴﺴﻪ ﻭﻣﺸﺎﻋﺮﻩ ﺃﻭﻻﹰ‪ ،‬ﻭﺛﻘﺎﻓﺘﻪ ﻭﺭﺅﻳﺘﻪ‬

‫ﺍﻟﻔﻜﺮﻳﺔ ﺛﺎﻧﻴﺎﹰ‪ ،‬ﻭﻣﻦ ﰒﹼ ﺍﻟﺘﺮﲨﺔ ﺍﻟﺼﺎﺩﻗﺔ ﳍﺬﺍ ﺍﳌﻮﻗﻒ ﻋﱪ ﺍﻟﻠﻐﺔ ﻭﺍﻟﺼﻮﺭ‬

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‫ﻭﺍﻷﻟﻔﺎﻅ‪ ،‬ﺃﻱ ﻣﻦ ﺧﻼﻝ ﺍﻟﺼﻮﺭﺓ ﺍﻟﺘﻌﺒﲑﻳﺔ‪.‬‬

‫ﻭﺑﻌﺪ ﺍﳌﻼﺣﻈﺔ ﺍﻟﺪﻗﻴﻘﺔ ﰲ ﺍﻟﺸﻌﺮﻳﻦ ﺍﻟﺴﺎﺑﻘﲔ‪ ،‬ﻭﺟﺪ ﺍﻟﺒﺎﺣﺚ ﺍﳌﺸﺎﻋﺮ‬

‫ﲡﺬﺏ ﺍﻧﻔﻌﺎﻝ ﺍﻟﻘﺎﺭﺉ ﻋﻨﺪ ﻗﺮﺍﺀﺗﻪ ﻣﺜﻞ ﺍﻷﺑﻴﺎﺕ ﺍﻟﺘﺎﻟﻴﺔ‪:‬‬

‫ﻋﺰﺕ ﻋﻤﺮ‪ ،‬ﺍﻟﻨﻘﺪ ﺍﻷﰊ ﺃﺳﺌﻠﺔ ﻭﺃﺟﻮﺑﺔ ﻭﺗﻄﺒﻴﻘﺎﺕ ﺍﻣﺘﺤﺎﻧﻴﺔ‪ ،‬ﻣﺎﺩﺓ ﻋﻠﻤﻴﺔ ﻣﺄﺧﻮﺫﺓ ﰲ ‪ 18‬ﻣﺎﻳﻮ‬ ‫‪58‬‬

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‫"ﻣﺎﺫﺍ ﺃﻧﺎ‪ ،‬ﻣﺎﺫﺍ؟ ﺃﺳﻨﺒﻠﺔ‬

‫ﺗﺒﻜﻲ ﻟﻘﱪﺓ‬
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‫ﻣﺎﺗﺖ ﻭﺭﺍﺀ ﺍﻟﺜﻠﺞ ﻭﺍﻟﱪﺩ"‬

‫ﰲ ﻫﺬﻩ ﺍﻷﺑﻴﺎﺕ ﻭﺟﺪ ﺃﻥ ﺍﻟﺸﺎﻋﺮ ﻣﺜﻞ ﺳﻨﺒﻠﺔ ﺣﺰﻳﻨﺔ ﳌﻮﺕ ﻗﱪﺓ ﺑﺴﺒﺐ‬

‫ﺷﺪﺓ ﺍﻟﱪﺩ‪ .‬ﻫﺬﺍ ﻳﺪﻝ ﻋﻠﻰ ﺍﺧﺘﻼﻁ ﺃﱂ ﺍﳊﺲ ﻭﺍﻟﻨﻔﺲ‪ .‬ﲟﻌﲎ ﺃﻥ ﺍﳊﺰﻥ‬

‫ﻳﺸﻌﺮﻩ ﺍﻟﻘﻠﺐ ﻳﺪﻝ ﺃﻧﻪ ﺃﻣﺮ ﺣﺴﻲ ﲞﻼﻑ ﺷﺪﺓ ﺍﻟﱪﺩ ﻫﺬﺍ ﺃﻣﺮ ﻣﺪﻱ ﺗﺸﻌﺮﻩ‬

‫ﺍﳉﻮﺍﺭﺡ‪.‬‬

‫ﻫﺬﻩ ﺍﻟﻌﺒﺎﺭﺓ ﺗﺜﲑ ﺍﻻﻧﻔﻌﺎﻝ ﰲ ﻧﻔﺲ ﺍﻟﻘﺎﺭﺉ ﺣﱴ ﻳﺸﺘﺮﻙ ﺍﻟﻘﺎﺭﺉ ﲟﺎ‬

‫ﺷﻌﺮﻩ ﺍﻟﺸﺎﻋﺮ‪ .‬ﻭﻫﺬﺍ ﻫﻮ ﻋﺎﳌﻪ ﺍﻷﱂ ﺑﺎﻟﺴﻄﻮﺡ ﻭﺍﻷﻋﻤﺎﻕ ﻣﻦ ﺃﱂ ﺍﳊﺲ‬

‫ﻭﺍﳉﻮﺍﺭﺡ‪ .‬ﻷﻥ ﺍﻟﺸﺎﻋﺮ ﻋﱪ ﻣﺸﺎﻋﺮﻩ ﻭ ﺃﺣﺎﺳﻴﺴﻪ ﰲ ﺻﻮﺭﺓ ﻟﻔﻈﻴﺔ ﻋﻤﻠﺖ‬

‫ﻋﻠﻰ ﺇﻳﺼﺎﻝ ﺑﻐﻴﺘﻪ ﺇﱃ ﺍﳌﺘﻠﻘﻲ ﻓﺸﺎﺭﻛﻪ ﲡﺮﺑﺘﻪ ‪ ،‬ﻓﺒﺪﺕ ﻋﺎﻃﻔﺔ ﺇﻧﺴﺎﻧﻴﺔ ﻧﺎﺑﻌﺔ‬

‫ﻣﻦ ﺍﻟﻘﻠﺐ‪.‬‬

‫"ﺍﻟﺴﺮﺍﺏ ﺍﳌﺮﺍﺋﻲ ﻟﻨﺎ ﻭﺍﻟﻨﻬﺎﺭ ﺍﻟﻀﺮﻳﺮ‬

‫ﺃﺩﻭﻧﻴﺲ‪ ،‬ﺍﻷﻋﻤﺎﻝ ﺍﻟﺸﻌﺮﻳﺔ‪/‬ﺃﻏﺎﱐ ﻣﻬﻴﺎﺭ ﺍﻟﺪﻣﺸﻘﻲ ﻭﻗﺼﺎﺋﺪ ﺃﺧﺮﻯ‪ ،‬ﺹ ‪263‬‬ ‫‪59‬‬
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‫ﻭﻟﻨﺎ ﺟﺜﺔ ﺍﻟﺪﻟﻴﻞ‪،‬‬

‫ﳓﻦ ﺟﻴﻞ ﺍﻟﺴﻔﻴﻨﺔ‬

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‫ﳓﻦ ﺃﺑﻨﺎﺀ ﻫﺬﺍ ﺍﻟﺰﻣﺎﻥ ﺍﻟﺼﻐﲑ‪".‬‬

‫ﻋﱪ ﺍﻟﺸﺎﻋﺮ ﻋﻦ ﻣﺸﺎﻋﺮﻩ ﻭ ﺃﺣﺎﺳﻴﺴﻪ ﰲ ﺻﻮﺭﺓ ﻟﻔﻈﻴﺔ ﲟﺎ ﺭﺃﻯ ﻋﻦ‬

‫ﺣﻘﻴﻘﺔ ﺍﻟﻮﺍﻗﻊ‪ ،‬ﻟﻴﺲ ﻋﻨﺪﻧﺎ ﺇﻻ ﺍﻟﺴﺮﺍﺏ ﻭﺍﻟﻨﻬﺎﺭ ﺍﻟﻀﺮﻳﺮ ﻭﻧﻌﻴﺶ ﰲ ﺯﻣﺎﻥ‬

‫ﺻﻐﲑ‪ ،‬ﻫﺬﺍ ﺇﺣﺴﺎﺱ ﻭﻣﺸﺎﻋﺮ ﻋﻦ ﺍﻟﻴﺄﺱ‪ ،‬ﻭﺭﺃﻳﻨﺎ ﺍﻟﺸﺎﻋﺮ ﻳﻐﻮﺹ ﰲ ﺃﻋﻤﺎﻕ‬

‫ﲡﺮﺑﺘﻪ ﺣﱴ ﺗﻜﻮﻥ ﻋﺎﻃﻔﺔ ﻗﻮﻳﺔ ﻣﺆﺛﺮﺓ ﺣﻴﺚ ﺻﻮ‪‬ﺭ ﻟﻨﺎ ﻣﺎ ﺭﺃﻯ ﻋﻦ ﺣﻘﻴﻘﺔ‬

‫ﺍﻟﻮﺍﻗﻊ‪.‬‬

‫ﻭﻫﻜﺬﺍ ﳒﺪ ﻛﻴﻒ ﻛﺎﻥ ﺍﻟﺸﻌﻮﺭ ﰲ ﻫﺬﺍ ﺍﻟﺸﻌﺮ ﻣﻠﻴﺊ ﺑﻮﻫﺞ ﺍﻟﺘﺠﺮﺑﺔ‬

‫ﺍﻟﺸﻌﻮﺭﻳﺔ ﻭ ﺣﺮﺍﺭﺓ ﺍﳌﻌﺎﻧﺎﺓ ﻭ ﺍﻷﺳﻰ ﻋﻦ ﲨﻴﻊ ﺇﺣﺴﺎﺱ ﺍﻟﺸﺎﻋﺮ ﻭﻣﺸﺎﻋﺮﻩ‪.‬‬

‫ﺇﻥ ﻛﺎﻥ ﺻﺪﻕ ﺍﻟﻌﺎﻃﻔﺔ ﺻﺪﻭﺭﻫﺎ ﻣﻦ ﻧﻔﺲ ﻣﺘﺸﺒﻌﺔ ﺑﺎﻟﻌﺎﻃﻔﺔ‪ ،‬ﻓﻬﻲ ﻟﺪﻯ‬

‫ﺍﻟﺸﺎﻋﺮ ﰲ ﻗﻤﺔ ﺻﺪﻗﻬﺎ‪ ،‬ﻓﺎﻟﺸﺎﻋﺮ ﰲ ﻗﺼﻴﺪﺗﻪ ﺟﺴﺪ ﻟﻨﺎ ﻭﻋﱪﺕ ﻋﻦ ﻣﺸﺎﻋﺮﻩ‬

‫ﺑﺼﺪﻕ ﻭ ﺣﺮﺍﺭﺓ‪ ،‬ﻓﻄﻮ‪‬ﻉ ﺍﻟﻜﻠﻤﺎﺕ ﻟﺘﺄﺩﻳﺔ ﻓﻜﺮﺗﻪ ﰲ ﺻﻮﺭ ﻣﺄﻟﻮﻓﺔ‪ ،‬ﻭﻧﺎﺩﺭﺍﹰ ﻣﺎ‬

‫ﺃﺩﻭﻧﻴﺲ‪ ،‬ﺍﻷﻋﻤﺎﻝ ﺍﻟﺸﻌﺮﻳﺔ‪/‬ﺃﻏﺎﱐ ﻣﻬﻴﺎﺭ ﺍﻟﺪﻣﺸﻘﻲ ﻭﻗﺼﺎﺋﺪ ﺃﺧﺮﻯ‪ ،‬ﺹ ‪286‬‬ ‫‪60‬‬
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‫ﳉﺄ ﺇﱃ ﺍﻟﺼﻮﺭ ﺍﳌﺮﻛﺒﺔ ﻭﺗﺘﺠﻠﻰ ﺃﺻﺪﻕ ﳏﺎﻭﻻﺗﻪ ﻟﻨﻘﻞ ﺃﺣﺎﺳﻴﺴﻪ‬

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‫ﻭﻣﺸﺎﻋﺮﻩ‪.‬‬

‫‪ 61‬ﻣﺮﺍﱘ‪ ،‬ﺍﻟﺘﺠﺮﺑﺔ ﺍﻟﺸﻌﻮﺭﻳﺔ ﰲ ﻗﺼﻴﺪﺓ ﺃﲪﺪ ﺍﻟﻌﺪﻭﺍﱐ‪ ،‬ﻣﺎﺩﺓ ﻋﻠﻤﻴﺔ ﻣﺄﺧﻮﺫﺓ ﰲ ‪ 23‬ﻣﺎﻳﻮ ‪ 2009‬ﻣﻦ‬
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‫ﺍﻟﺒﺎﺏ ﺍﳋﺎﻣﺲ‬

‫ﺍﳋﺎﲤﺔ‬

‫ﻭﺑﻌﺪ ﺍﻧﺘﻬﺎﺀ ﻛﺘﺎﺑﺔ ﺍﻟﺒﺤﺚ ﲢﺖ ﺍﳌﻮﺿﻮﻉ "ﺃﺩﻭﻧﻴﺲ‪ :‬ﺃﺳﻠﻮﺑﻪ‬

‫ﻭﺷﻌﻮﺭﻩ ﰲ ﺍﻟﺸﻌﺮ ﺍﳊﺮ )ﺃﻏﺎﱐ ﻣﻬﻴﺎﺭ ﺍﻟﺪﻣﺸﻘﻲ ﻭﻗﺼﺎﺋﺪ ﺃﺧﺮﻯ("‪،‬‬

‫ﻇﻬﺮﺕ ﻟﺪﻯ ﺍﻟﺒﺎﺣﺚ ﺍﻟﻨﺘﺎﺋﺞ ﻛﻤﺎ ﻳﻠﻲ‪:‬‬

‫ﻛﺎﻥ ﺃﺩﻭﻧﻴﺲ ﺷﺎﻋﺮﺍ ﻭﻣﻔﻜﺮﺍ ﰲ ﺍﻟﻌﺼﺮ ﺍﳊﺪﻳﺚ‪ ،‬ﻭﲨﻊ ﺃﺷﻌﺎﺭﻩ ﰲ‬

‫ﺩﻭﺍﻭﻳﻨﻪ ﻣﻨﻬﺎ "ﺃﻏﺎﱐ ﻣﻬﻴﺎﺭ ﺍﻟﺪﻣﺸﻘﻲ ﻭﻗﺼﺎﺋﺪ ﺃﺧﺮﻯ"‪ .‬ﰲ ﻫﺬﺍ ﺍﻟﺪﻳﻮﺍﻥ‬

‫ﻛﺘﺐ ﺃﺩﻭﻧﻴﺲ ﺃﺷﻌﺎﺭﻩ ﺑﺄﺳﻠﻮﺏ ﻗﻮﻱ ﻭ ﻭﺻﻮﺭﻩ ﺑﺄﻟﻔﺎﻅ ﻣﻨﺎﺳﺒﺔ ﰲ ﺍﺧﺘﻴﺎﺭ‬

‫ﺍﻟﻜﻠﻤﺎﺕ ﺍﳉﺰﺍﻟﺔ ﻭﺍﻟﺮﻗﻴﻘﺔ‪ .‬ﻭﻫﻮ‪-‬ﲟﻘﻴﺎﺱ ﺍﻟﻘﺪﱘ‪ -‬ﺷﺎﻋﺮ ﻏﲑ ﻣﻄﺒﻮﻉ ﻷﻧﻪ‬

‫ﻳﺘﻜﻠﻒ ﰲ ﺇﺟﻬﺎﺩ ﺍﻟﻌﻘﻞ ﰲ ﺍﻟﺒﺤﺚ ﻋﻦ ﺍﻷﻓﻜﺎﺭ ﻭﺍﳌﺒﺎﻟﻐﺔ ﰲ ﺍﺳﺘﺨﺪﺍﻡ‬

‫ﺍﶈﺴﻨﺎﺕ ﺍﳌﻌﻨﻮﻳﺔ‪ ،‬ﺍﻷﻟﻔﺎﻅ ﻭﺍﳉﻤﻞ ﺍﻟﱴ ﺍﺳﺘﻌﻤﻠﻬﺎ ﻏﲑ ﻭﺍﺿﺤﺔ ﲟﻌﲎ‬

‫ﻳﺼﻌﺐ ﻟﻠﺬﻫﻦ ﺃﻥ ﻳﻔﻬﻢ ﻣﻌﻨﺎﻫﺎ ﻭﻳﺼﻞ ﺍﻟﻘﺎﺭﺉ ﺇﱃ ﺍﻟﻔﻬﻢ ﺑﺼﻌﻮﺑﺔ ﻭﻟﻴﺲ‬

‫ﺑﺴﻬﻮﻟﺔ‪.‬‬

‫‪59‬‬
‫‪65‬‬

‫ﻭﻣﻦ ﻧﺎﺣﻴﺔ ﺍﻟﺸﻌﻮﺭ‪ ،‬ﻟﻘﺪ ﺍﺳﺘﻌﻤﻞ ﺃﺩﻭﻧﻴﺲ ﺍﻷﻟﻔﺎﻅ ﻭﺍﳉﻤﻞ ﺍﳌﻨﺎﺳﺒﺔ ﻭﻫﻮ‬

‫ﻗﺎﺩﺭ ﻋﻠﻰ ﺍﻟﺘﻌﺒﲑ ﻋﻦ ﻣﺸﺎﻋﺮﻩ ﺗﻌﺒﲑ‪‬ﺍ ﻳﺜﲑ ﺍﻹﻧﻔﻌﺎﻝ ﰲ ﻧﻔﺲ ﺍﳌﺘﻠﻘﻲ ﻟﻜﻲ‬

‫ﻳﺸﺎﺭﻛﻮﺍ ﰲ ﺍﻟﺘﺠﺮﺑﺔ‪ ،‬ﻭﻳﺸﻌﺮﻭﻥ ﲟﺎ ﺷﻌﺮ ﺑﻪ ﻋﻦ ﺇﺣﺴﺎﺳﻪ ﻭﻣﺸﺎﻋﺮﻩ‪ ،‬ﻭﺫﻟﻚ‬

‫ﺑﻌﺪ ﺃﻥ ﺃﻣﻌﻦ ﺍﳌﺘﻠﻘﻲ ﺍﻟﻨﻈﺮ ﰲ ﺃﺷﻌﺎﺭﻩ ﻣﺮﺓ ﺗﻠﻮ ﺃﺧﺮﻯ‪.‬‬

‫‪ .1‬ﺍﻻﻗﺘﺮﺍﺣﺎﺕ‬

‫ﻭﻣﻦ ﻧﺘﺎﺋﺞ ﺍﻟﺒﺤﺚ ﺍﻟﱴ ﻗﺪ ﺫﻛﺮﺕ ﺳﺎﺑﻘﺎ‪ ،‬ﺗﻘﺪﻡ ﺍﻟﺒﺎﺣﺚ‬

‫ﺍﻻﻗﺘﺮﺍﺣﺎﺕ ﳛﺴﻦ ﺍﻫﺘﻤﺎﻣﻬﺎ ﻭﻫﻲ ﻛﻤﺎ ﻳﻠﻲ‪:‬‬

‫‪ .1‬ﻳﻨﺒﻐﻰ ﻟﻠﻄﻠﺒﺔ ﺃﻥ ﻳﺘﻌﻤﻘﻮﺍ ﺍﻟﻠﻐﺔ ﺍﻟﻌﺮﺑﻴﺔ ﻭﺃﺩ‪‬ﺎ ﻷﻥ ﺍﻟﻠﻐﺔ ﺍﻟﻌﺮﺑﻴﺔ ﺳﻮﻯ‬

‫ﺍﻟﻠﻐﺔ ﺍﻟﺪﻳﻨﻴﺔ ﻭﻫﻲ ﺃﻳﻀﺎ ﻗﺪ ﺃﺻﺒﺤﺖ ﺍﻟﻠﻐﺔ ﺍﻟﻌﺎﳌﻴﺔ‪.‬‬

‫‪ .2‬ﺍﻟﻄﻠﺒﺔ ﰲ ﻗﺴﻢ ﺍﻟﻠﻐﺔ ﺍﻟﻌﺮﺑﻴﺔ ﻭﺃﺩ‪‬ﺎ ﻳﻠﺰﻡ ﺃﻥ ﻳﻌﺮﻑ ﺃﻫﻞ ﺍﻟﻠﻐﺎﺕ‬

‫ﻭﺍﻟﺸﻌﺮﺍﺀ ﻗﺪﳝﺎ ﻭﺣﺪﻳﺜﺎ ﻣﺜﻞ ﺃﺩﻭﻧﻴﺲ ﻭﻣﺎﺫﺍ ﳑﻴﺰﺍﺗﻪ ﻣﻦ ﺍﻟﺸﻌﺮﺍﺀ‬

‫ﺍﻵﺧﺮﻳﻦ‪.‬‬
‫‪66‬‬

‫‪ .3‬ﺃﺭﺟﻮ ﻣﻦ ﺍﻟﺒﺎﺣﺜﲔ ﰲ ﺍﳌﺴﺘﻘﺒﻞ ﺃﻥ ﻳﻜﻤﻠﻮﺍ ﻫﺬﺍ ﺍﻟﺒﺤﺚ ﻭﻳﻄﻮﺭﻭﻩ‬

‫ﺑﺎﻟﻄﺮﻳﻘﺔ ﺍﻟﺘﺤﻠﻴﻠﻴﺔ ﻣﻦ ﻧﺎﺣﻴﺔ ﺃﺧﺮﻯ‪.‬‬

‫‪ .4‬ﻭﻟﻌﻞ ﻫﺬﺍ ﺍﻟﺒﺤﺚ ﻳﻨﻔﻊ ﱄ ﺧﺎﺻﺔ ﻭﳉﻤﻴﻊ ﻃﻠﺒﺔ ﺍﻟﻌﻠﻢ ﺍﻟﺬﻳﻦ ﳛﺮﺻﻮﻥ‬

‫ﰲ ﺗﻌﻤﻖ ﺍﻟﻠﻐﺔ ﺍﻟﻌﺮﺑﻴﺔ ﻭﺃﺩ‪‬ﺎ‪.‬‬

‫‪" .5‬ﺗﻌﻠﻢ ﻟﻴﺲ ﺍﳌﺮﺀ ﻳﻮﻟﺪ ﻋﺎﳌﺎ ﻭﻟﻴﺲ ﺃﺧﻮ ﺍﻟﻌﻠﻢ ﻛﻤﻦ ﻫﻮ ﺟﺎﻫﻞ"‪.‬‬
‫‪67‬‬

‫ﺍﳌﺼﺎﺩﺭ ﻭﺍﳌﺮﺍﺟﻊ‬

‫ﺃ‪ .‬ﺍﳌﺮﺍﺟﻊ ﺍﻟﻌﺮﺑﻴﺔ‬

‫ﺍﻷﺏ ﻟﻮﻳﺲ ﻣﺎﻟﻮﺹ ﺍﻟﻴﺴﻮﻋﻰ‪" ،‬ﺍﳌﻨﺠﺪ ﰲ ﺍﻟﻠﻐﺔ ﻭﺍﻷﻋﻼﻡ"‪ ،‬ﻁ ‪ 9‬ﺑﲑﻭﺕ‪:‬‬

‫ﺩﺍﺭ ﺍﳌﺸﺮﻕ‪1287 ،‬‬

‫ﺍﺑﻦ ﻣﻨﻈﻮﺭ‪ ،‬ﻟﺴﺎﻥ ﺍﻟﻌﺮﺏ‪ ،‬ﺍ‪‬ﻠﺪ ﺍﻷﻭﻝ‪ ،‬ﺑﲑﻭﺕ‪ :‬ﺩﺍﺭ ﺍﻟﻔﻜﺮ‬

‫ﺃﰊ ﺣﺴﲔ ﺃﲪﺪ ﺑﻦ ﻓﺎﺭﺱ ﺑﻦ ﺯﻛﺮﻳﺎ ﺍﻟﻠﻐﻮﻱ‪ ،‬ﻣﻘﺎﻳﻴﺲ ﺍﻟﻠﻐﺔ‪ ،‬ﺍﳉﺰﺀ ﺍﻟﺜﺎﱐ‪،‬‬
‫ﺑﲑﻭﺕ‪ :‬ﻣﺆﺳﺴﺔ ﺍﻟﺮﺳﺎﻟﺔ‪.‬‬
‫‪.‬‬
‫ﺃﲪﺪ ﺃﻛﺮﻡ ﻣﻠﺒﺎﺭﻱ‪" ،‬ﻣﻘﺪﻣﺔ ﰲ ﺍﻷﺩﺏ ﺍﳌﻘﺎﺭﻥ"‪ ،‬ﻛﻠﻴﺔ ﺍﻵﺩﺍﺏ ﻭﺍﻟﻌﻠﻮﻡ‬
‫ﺍﻹﻧﺴﺎﻧﻴﺔ‪ ،‬ﺟﺎﻛﺮﺗﺎ‪ :‬ﺍﻟﻌﺎﻡ ﺍﳉﺎﻣﻌﻲ ‪2004-2003‬‬

‫ﺃﲬﺪ ﻣﻄﻠﻮﺏ‪" ،‬ﺍﻟﻨﻘﺪ ﺍﻷﺩﰊ ﺍﳊﺪﻳﺚ ﰲ ﺍﻟﻌﺮﺍﻕ"‪ ،‬ﻣﻌﻬﺪ ﺍﻟﺒﺨﻮﺙ‬

‫ﻭﺍﻟﺪﺭﺍﺳﺎﺕ ﺍﻟﻌﺮﺑﻴﺔ‪.‬‬

‫ﺃﺩﻭﻧﻴﺲ‪" ،‬ﺍﻷﻋﻤﺎﻝ ﺍﻟﺸﻌﺮﻳﺔ‪/‬ﺃﻏﺎﱐ ﻣﻬﻴﺎﺭ ﺍﻟﺪﻣﺸﻘﻲ ﻭﻗﺼﺎﺋﺪ ﺃﺧﺮﻯ"‪ ،‬ﺩﻣﺸﻖ‪:‬‬

‫ﺩﺍﺭ ﺍﳌﺪﻯ ﻟﻠﺜﻘﺎﻓﺔ ﻭﺍﻟﻨﺜﺮ‪ 1996 ،‬ﻡ‬

‫‪62‬‬
‫‪68‬‬

‫ﺇﲰﺎﻋﻴﻞ ﻣﺼﻄﻔﻰ ﺍﻟﺼﻴﻔﻲ ﻭﳏﻤﺪ ﺣﺴﻦ ﻋﺒﺪ ﺍﷲ‪" ،‬ﺍﻟﻨﻘﺪ ﺍﻷﺩﰊ ﻭﺍﻟﺒﻼﻏﺔ"‪ ،‬ﻁ‬
‫‪ ،1‬ﺍﻟﻜﻮﻳﺖ‪ :‬ﻭﺯﺍﺭﺓ ﺍﻟﺘﺮﺑﻴﺔ‪1970-1969 ،‬‬

‫ﺟﺎﻣﻌﺔ ﺍﻹﻣﺎﻡ ﳏﻤﺪ ﺑﻦ ﺳﻌﻮﺩ ﺍﻹﺳﻼﻣﻴﺔ‪" ،‬ﺍﻟﺒﻼﻏﺔ ﻭﺍﻟﻨﻘﺪ"‪ ،‬ﻁ ‪ ،1‬ﺍﻟﺮﻳﺎﺽ‪:‬‬

‫ﺍﳉﺎﻣﻌﺔ‪1414 ،‬ﻫـ ‪ 1994 -‬ﻣـ‬

‫ﺍﻟﺴﻴﺪ ﺃﲪﺪ ﺍﳍﺎﴰﻲ‪" ،‬ﺟﻮﺍﻫﺮ ﺍﻟﺒﻼﻏﺔ ﰲ ﺍﳌﻌﺎﱐ ﻭﺍﻟﺒﻴﺎﻥ ﻭﺍﻟﺒﺪﻳﻊ"‪ ،‬ﺳﻮﺭﺍﺑﺎﻳﺎ‪:‬‬

‫ﻣﻜﺘﺒﺔ ﺍﳍﺪﺍﻳﺔ‪1960 ،‬ﻡ‬

‫ﺳﻴﺪ ﻗﻄﺐ‪ "،‬ﺍﻟﻨﻘﺪ ﺍﻷﺩﰊ ﺃﺻﻮﻟﻪ ﻭﻣﻨﺎﻫﺠﻪ"‪ ،‬ﻁ ‪ ،3‬ﺩﺍﺭ ﺍﻟﻔﻜﺮﻱ ﺍﻟﻌﺮﰊ‬
‫‪1959‬ﻡ‬

‫ﺍﻟﻄﺎﻫﺮ ﺃﲪﺪ ﻣﻜﻲ‪" ،‬ﺍﻟﺸﻌﺮ ﺍﻟﻌﺮﰊ ﺍﳌﻌﺎﺻﺮ"‪ ،‬ﻁ ‪ ،1‬ﺍﻟﻘﺎﻫﺮﺓ‪ :‬ﺩﺍﺭ ﺍﳌﻌﺎﺭﻑ‪،‬‬
‫‪ 1980‬ﻡ‬

‫ﻋﺒﺪ ﺍﻟﻌﺰﻳﺰ ﺑﻦ ﳏﻤﺪ ﻓﻴﺼﻞ‪" ،‬ﻣﻊ ﺍﻟﺘﺠﺪﻳﺪ ﻭﺍﻟﺘﻘﻠﻴﺪ ﰲ ﺍﻟﺸﻌﺮ ﺍﻟﻌﺮﰊ"‪ ،‬ﻁ ‪،1‬‬
‫‪ 1993‬ﻡ‬ ‫‪ 1414‬ﻫـ‬

‫ﻋﺰ ﺍﻟﺪﻳﻦ‪ "،‬ﰲ ﺍﻷﺩﺏ ﺍﻟﻌﺮﰊ ﺍﳊﺪﻳﺚ"‪ ،‬ﻁ ‪ ،3‬ﺍﻟﺮﻳﺎﺽ‪ :‬ﺩﺍﺭ ﺍﻟﻌﻠﻮﻡ ‪1981‬‬
‫ﻡ‬

‫ﻋﺰ ﺍﻟﺪﻳﻦ ﺇﲰﺎﻋﻴﻞ‪ "،‬ﺍﻷﺩﺏ ﻭﻓﻨﻮﻧﻪ"‪ ،‬ﺍﻟﻘﺎﻫﺮﻩ‪ :‬ﺩﺍﺭ ﺍﻟﻔﻜﺮﻱ‪1978 ،‬‬

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‫ﺏ‪ .‬ﺍﳌﺮﺍﺟﻊ ﺍﻹﻟﻜﺘﺮﻭﻧﻴﻜﻴﺔ‬

‫ﺃﺑﻮ ﺯﻳﺪ ﻣﻮﱏ‪ ،‬ﺍﻷﺳﻠﻮﺑﻴﺔ‪ ،‬ﻧﻈﺮﺓ ﺗﺎﺭﳜﻴﺔ ﺗﺄﺭﳜﻴﺔ‪ ،‬ﻣﺎﺩﺓ ﻋﻠﻤﻴﺔ ﻣﺄﺧﻮﺫﺓ ﰲ ‪28‬‬
‫ﺃﻛﺘﻮﺑﺮ ‪ 2008‬ﻣﻦ‬
‫‪http://www.mamachenacir.maktoobblog.com/1349027/%D8%A7‬‬

‫ﺃﲪﺪﺍﻟﻔﻘﻴﺔ‪ "،‬ﻗﺮﺍﺀﺓ ﻧﺼﻴﺔ ﻣﻦ ﺃﻏﺎﱐ ﻣﻬﻴﺎﺭ ﺍﻟﺪﻣﺸﻘﻲ"‪ ،‬ﻣﺎﺩﺓ ﻋﻠﻤﻴﺔ ﻣﺄﺧﻮﺫﺓ‬

‫ﰲ ‪13‬ﻣﺎﺭﺱ‪2009‬ﻣﻦ‬
‫‪http://www.26sep.net/newsweekarticle.php?Ing=arabicßsid=28037‬‬

‫"ﺃﺩﻭﻧﻴﺲ‪ :‬ﺣﻴﺎﺗﻪ ﻭﺷﻌﺮﻩ"‪ ،‬ﻣﺎﺩﺓ ﻋﻠﻤﻴﺔ ﻣﺎﺧﻮﺫﺓ ﰲ ‪ 24‬ﻳﻨﺎﻳﲑ ‪ 2009‬ﻣﻦ‬

‫‪http://www.sami9.net/vb/showthread.php?t=34912‬‬

‫"ﺃﺩﻭﻧﻴﺲ ﺳﻮﻑ ﻳﻜﻮﻥ ﻣﻮﺟﻮﺩﺍ ﰲ ﺳﺎﻟﻴﺤﺎﺭﺍ"‪ ،‬ﻣﺎﺩﺓ ﻋﻠﻤﻴﺔ ﻣﺄﺧﻮﺫﺓ ﰲ ‪3‬‬

‫ﻓﱪﺍﻳﺮ ‪ 2009‬ﻣﻦ‬
‫‪http://translate.google.co.id/translate?hl=id&langpair=id|ar&u=http://s‬‬
‫‪alihara.org/main.php‬‬

‫ﺃﺳﲑ‪ ،‬ﺍﻷﺳﻠﻮﺏ ﺍﻷﺩﰊ ﻭﺻﻔﺎﺗﻪ‪ ،‬ﻣﺎﺩﺓ ﻋﻠﻤﻴﺔ ﻣﺄﺧﻮﺫﺓ ﰲ ‪ 18‬ﻣﺎﻳﻮ ‪2009‬‬

‫ﻣﻦ‬
‫‪http://www.ala7ebah.com/upload/forumdisplay.php?s=d3ce487ed81ee‬‬
‫‪46b18987‬‬
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‫ﺣﺴﻮﻧﺔ ﺍﳌﺼﺒﺎﺣﻲ‪ ،‬ﺃﺩﻭﻧﻴﺲ ﻭﻣﻐﺎﻣﺮﺓ ﲡﺪﻳﺪ ﺍﻟﺸﻌﺮ ﺍﻟﻌﺮﰊ ﺍﳊﺪﻳﺚ‪ ،‬ﻣﺎﺩﺓ‬

‫ﻋﻠﻤﻴﺔ ﻣﺎﺧﻮﺫﺓ ﰲ ‪ 7‬ﻳﻮﻧﻴﻮ ‪ 2009‬ﻣﻦ‬
‫‪http://www.dai3tna.com/nuke/static.php?file=abauesber.htm‬‬

‫ﺩﻳﻮﺍﻥ ﺍﻟﻌﺮﺏ‪ "،‬ﺃﺩﻭﻧﻴﺲ"‪ ،‬ﻣﺎﺩﺓ ﻋﻠﻤﻴﺔ ﻣﺎﺧﻮﺫﺓ ﰲ ‪ 12‬ﻣﺎﺭﺱ ‪ 2009‬ﻣﻦ‬

‫‪http://www.diwanalarab.com/spip.php?rubrique85‬‬

‫ﺭﺷﺎ ﳏﻔﻮﺽ‪ "،‬ﺃﺩﻭﻧﻴﺲ‪...‬ﺍﻷﺷﻜﺎﻟﻴﺔ ﺍﳌﺘﺠﺪﺩﺓ‪ :‬ﻻﻭﺟﻮﺩ ﻟﻠﺜﻘﺎﻓﺔ ﰲ ﺍﻟﺒﻠﺪﺍﻥ‬

‫ﺍﻟﻌﺮﺑﻴﺔ"‪ ،‬ﻣﺎﺩﺓ ﻋﻠﻤﻴﺔ ﻣﺎﺧﻮﺫﺓ ﰲ ‪ 30‬ﻣﺎﺭﺱ ‪ 2009‬ﻣﻦ‬
‫‪http://www.tahawolat.com/cms/article.php3?id_article=181‬‬

‫ﻋﺒﺪﺍﻟﺮﺯﺍﻕ ﻫﻮﰊ‪ "،‬ﺍﻷﺧﲑﺓ‪ :‬ﺛﻨﺎﺋﻴﺔ ﺍﻟﻔﻠﺴﻔﺔ ﺑﲔ ﺍﻟﻌﻘﻞ ﻭﺍﻹﳝﺎﻥ ﻭﻣﺴﺎﺭ‬

‫ﺍﻟﻈﻮﺍﻫﺮ ﺍﻟﺸﻌﻮﺭﻳﺔ"‪ ،‬ﻣﺎﺩﺓ ﻋﻠﻤﻴﺔ ﻣﺄﺧﻮﺫﺓ ﰲ ‪ 23‬ﻣﺎﻳﻮ ‪ 2009‬ﻣﻦ‬
‫?‪http://www.alsabaah.com/paper.php‬‬

‫ﻋﺰﺕ ﻋﻤﺮ‪ "،‬ﺍﻟﻨﻘﺪ ﺍﻷﰊ ﺃﺳﺌﻠﺔ ﻭﺃﺟﻮﺑﺔ ﻭﺗﻄﺒﻴﻘﺎﺕ ﺍﻣﺘﺤﺎﻧﻴﺔ"‪ ،‬ﻣﺎﺩﺓ ﻋﻠﻤﻴﺔ‬
‫ﻣﺄﺧﻮﺫﺓ ﰲ ‪ 18‬ﻣﺎﻳﻮ ‪ 2009‬ﻣﻦ‬
‫‪http://www.aljameah.com/d/b/alngd/103/6.htm‬‬

‫ﻋﻤﺮﻭ ﺍﻟﻄﻠﺨﺎﻭﻯ‪ "،‬ﻧﺒﺬﺓ ﺣﻮﻝ ﺍﻟﺸﺎﻋﺮ ﺃﺩﻭﻧﻴﺲ"‪ ،‬ﻣﺎﺩﺓ ﻋﻠﻤﻴﺔ ﻣﺎﺧﻮﺫﺓ ﰲ‬

‫‪ 24‬ﻳﻨﺎﻳﲑ ‪ 2009‬ﻣﻦ‬
‫‪http://eskindria.com/vb/t3927.html#post21041‬‬

‫ﻣﺎﺩﺓ ﻋﻠﻤﻴﺔ ﻣﺄﺧﻮﺫﺓ ﰲ ‪ 28‬ﺃﻛﺘﻮﺑﺮ ‪ 2008‬ﻣﻦ‬

‫‪http://hassanawad2006.maktoobblog.com/153904‬‬
‫‪71‬‬

‫ﻣﺎﺩﺓ ﻋﻠﻤﻴﺔ ﻣﺄﺧﻮﺫﺓ ﰲ ‪ 28‬ﺃﻛﺘﻮﺑﺮ ‪ 2008‬ﻣﻦ‬

‫‪http://afaitouri.maktoobblog.com/328898‬‬

‫ﻣﺎﺩﺓ ﻋﻠﻤﻴﺔ ﻣﺎﺧﻮﺫﺓ ﰲ ‪ 30‬ﻣﺎﺭﺱ ‪ 2009‬ﻣﻦ‬

‫‪http://www.mamduhadwan.net/News/article/sid%3D129.html‬‬

‫ﺍﳌﻮﺳﻮﻋﺔ ﺍﳊﺮﺓ‪ "،‬ﺃﺩﻭﻧﻴﺲ ﺷﺎﻋﺮﺍ ﺑﻌﻴﻮﻥ"‪ ،‬ﻣﺎﺩﺓ ﻋﻠﻤﻴﺔ ﻣﺄﺧﻮﺫﺓ ﰲ ‪ 15‬ﻣﺎﻳﻮ‬

‫‪http://www.internasional.daralhayat.com‬‬ ‫‪ 2009‬ﻣﻦ‬

‫ﺍﳌﻮﺳﻮﻋﺔ ﺍﳊﺮﺓ‪ "،‬ﺃﺩﻭﻧﻴﺲ"‪ ،‬ﻣﺎﺩﺓ ﻋﻠﻤﻴﺔ ﻣﺎﺧﻮﺫﺓ ﰲ ‪ 24‬ﻳﻨﺎﻳﲑ ‪ 2009‬ﻣﻦ‬

‫?‪http://ar.wikipedia.org/w/index.php‬‬

‫ﳏﻤﺪ ﻋﻠﻲ ﺍﻷﺗﺎﺳﻲ‪ "،‬ﺍﻻﻟﺘﺒﺎﺱ ﺍﻟﺪﻣﺸﻘﻲ ﰲ ﺷﻌﺮ ﺃﺩﻭﻧﻴﺲ ﻭﺣﻴﺎﺗﻪ"‪ ،‬ﻣﺎﺩﺓ‬

‫ﻋﻠﻤﻴﺔ ﻣﺎﺧﻮﺫﺓ ﰲ ‪ 30‬ﻣﺎﺭﺱ ‪ 2009‬ﻣﻦ‬
‫‪http://maaber.50megs.com/issue_november03/literature12.htm‬‬

‫ﻣﺮﺍﱘ‪ ،‬ﺍﻟﺘﺠﺮﺑﺔ ﺍﻟﺸﻌﻮﺭﻳﺔ ﰲ ﻗﺼﻴﺪﺓ ﺃﲪﺪ ﺍﻟﻌﺪﻭﺍﱐ‪ ،‬ﻣﺎﺩﺓ ﻋﻠﻤﻴﺔ ﻣﺄﺧﻮﺫﺓ ﰲ‬

‫‪http://www.almotmaiz.net/vb/5552‬‬ ‫‪ 23‬ﻣﺎﻳﻮ ‪ 2009‬ﻣﻦ‬

‫ﻣﻮﺳﻰ ﺩﻳﺐ ﺍﳋﻮﺭﻯ‪ "،‬ﺍﻟﺸﺎﻋﺮ ﺍﻟﺸﻌﻮﺭ"‪ ،‬ﻣﺎﺩﺓ ﻋﻠﻤﻴﺔ ﻣﺄﺧﻮﺫﺓ ﰲ ‪ 17‬ﻳﻮﻟﻴﻮ‬

‫‪2009‬ﻣﻦ‬
‫‪http://www.maaber.org/indexa/al_dalil_khe.htm#khouri_m‬‬
72

‫ ﻣﻦ‬2009 ‫ ﻣﺎﺭﺱ‬30 ‫ ﻣﺎﺩﺓ ﻋﻠﻤﻴﺔ ﻣﺎﺧﻮﺫﺓ ﰲ‬،"‫" ﺃﺩﻭﻧﻴﺲ‬،‫ﻧﺒﻴﻠﺔ ﺳﻼﻣﺔ‬

http://www.discover-syria.com/results/113#StableUnstable