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سميرة سلامي( باحث )
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استخدم مصطلح الجليل بمعان متعددة، و طرق متباينة. لكنه في الفكر العربي الإسلامي، الذي ينتمي إليه المتنبي، ارتكز على نقطة جوهرية، هي الكمال. فالكمال هو الجوهر في الجلال. و من أهم صفاته العظمة و المجد. و جاءت تجليات الجليل في شعر المتنبي، مماثلة لهذا الفهم، و قد شملت الكثير من عناصر الوجود. لكن الصورة الأبرز و الأوضح كانت صورة الإنسان الجليل، و لهذا فقد اقتصرنا على دراسة الجليل الإنساني من خلال صورتين هما: 1- الذات الجليلة، و هي صورة المتنبي نفسه، الذي تجلى فيه الكمال بمستوياته، المادي و المعنوي و الروحاني. 2- البطل الجليل، و هي صورة سيف الدولة، المثل الأعلى للبطل العربي المنقذ. و نظرًا لارتباط الجليل بالجميل عند المتنبي، فقد أوضحنا فهمه لهذا النوع من الجمال، فتبين أنه، من عالم النفس، أو الروح، أو العقل، لا من عالم المادة. و تأكد لنا، في النهاية، أن المتنبي استند في فهمه للجليل على أساس فلسفي محكم، و لم ينطلق من رأي عارض، أو نظرة عابرة.
The term greatness was taken on multiple meanings, and different ways. However in the Islamic Arab thought, which Al-Motanabby belongs to this concept was based on an essential point which is perfection. In other words, perfection is the core of greatness and the most important feature in it is glory. In Al-Motanabby's poetry, greatness was manifested in this sense, and included many elements of existence, but the clearest and most important image was the one of the great man. Therefore, we focus, in this study, on human greatness through two images: First, the great self, the image of Al-Motanabby him self. Second, the great hero, the image of Sayf-Aldawlah the ideal savior Arab hero . And as great is associated with beautiful for Al-Motanabby, so we clarified his understanding of this kind of beauty, to discover that it was from spiritual or mental word, and not from material one
References used
المتنبي، أبو الطيب، مبروك المناعي، دار اليمامة للنشر والتوزيع، تونس، ط 3 . 1992
الغزالي، أبو حامد إحياء علوم الدين، دار المعرفة، بيروت- دون تا .
الفارابي، آراء أهل المدينة الفاضلة، مطبعة التقدم بمصر، ط2 1907
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Al-Mutanabbi, as we all know, is a poet who filled the world with poetry providing a
tale and reflecting the sublimity of creation and art.He is still like a torrential spring from
which scholars drinkn to quench the thierdt of their pens in search
of his creative works,
trying to reveal the secret of that creation which involves inventive psychological feelings
that made him form his poetry with wonderful aesthetic artistry, something which, gave
Arabic a particular dealing with the word use which, perhaps, is almost unique to Al-
Mutanabbi so that this creation which remained constanly with him till he became famous
for it as if it had been his identification card he held. No sooner does ascholar read that
language than he sees Al-Mutanabbi's ID Card which has later became the ID card of
Arabic poetry, affecting its advance and restrationcreativey, aristically and intellectually
throughout ages and history.
This paper attempts at focusing on analyzing the poetic structure of a pre-and-post-
Islamic poet who witnessed and lived in the early Islamic and Umayyad Eras. With regard
to the objective, the paper is intended to shed light on the major features
and master pieces
of literary output, be its prose or verse, which is the human ego, the driving force and
dynamo behind any human creativity.
In this regard, the paper attempts at categorizing the major subjective characteristics
of a famous poet, such as Al-Farazdaq, who represented a unique phenomenon on the
creative, literary, and poetic scene, through the poetic satirical exchanges with Jareer, the
Umayyad poet laureate.
All this is being dealt with through trying to trace the major characteristics of this
ego and the impact it had left on the Arab poetic output.
يحاول هذا البحث الكشف عن جماليات الشام في شعر بدوي الجبل. فلم تكن الشام في نفسه مكاناً جغرافياً فحسب، بل كانت عاصمة للمجد العربي في الماضي و هي كذلك في الحاضر.
لقد ولجت مجالات وظيفية جديدة، فهو يتحدث عنها "الشام الأموية" بصورة "ملحمية" و يقدمها نموذ
جاً إيجابياً يرقى للمثال الذي يحّفز و يلهم و يقود، و كانت ضرباً من الرؤية الفنية التي لم تفقد طاقتها التأثيرية – على كثرة تكرار الحديث عنها - فظل إشعاعها متقداً يفتح أمام روحه منافذ البوح.
و ذلك بسبب دقة إحساس الشاعر برؤيته الإبداعية "للشام" و صدقه في التماس ماتوحي به. فاستهلك في عشقها قاموس الحب و الحنين، و كثف في وصفها شذى ياسمينها الفواح، فسجدت قوافيه أمام جلالها، و حنى هامة الشعر تبجيلاً لتاريخها الذي يحمل خصوصية قومية ماتزال جذوتها متقدة على مر الزمان.
Al-Wahidi is one of the greatest syntactic critics who have explained al-Mutanabbi's Anthology. His explanation contains concepts, and syntactic and critical opinions that deserve study and scrutiny. Al-Mutanabbi's poetry stands as a fertile domain f
or syntractic
criticism as is apparent in the critical arena over his poetry. Through his syntactic judgement, al-Wahidi attempts to support a doctrine, oppose some point of view, elaborate on what violates a proposed principle, or uncover a certain problematic issue somewhere in
al-Mutanabbi's poetry; specially when disagreement among critics' opinions appears, and dissimilarity among their doctrines and approaches materialises. Poetry was and is still one
significant source to formulate the syntactic structure, even if it witnessed some unstability due to narrators' uncertainties, and imprecision of transference. So, narratives and narrators
of poetry have varied, which has consequently created an obvious phenomenon that requires research, and study of the effect that may have on the syntactic rules. This is because syntax is one fundamental aspect of the culture of those interested in the literatry
exegeses. This study comes to focus on one essential aspect of syntactic criticism that is already applied to al-Mutanabbi's poetry.
This research talks about the value of sublime being one of the aesthetic values
which underlie aesthetics. Sublime indicates from one hand adding respect and veneration
to what the sublime person does including noble actions, through which he gets
higher than
others. And this what generosity can do being a way to reach the sublime, thus we
privileged generosity and showing its relation tosublime asan aesthetic value. Therefore,
generosity is an individual and social trait which is achieved through giving money or
doing a Nobile action, which makes the person who does it deserve respect and reverence.
Hence, the value off sublime is to reveal the generosity aspect when it is formed in
oneself, and this is as the sublime value is reflected in others, who benefited from it,
watched it or heard about it.
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