استوى عود الفنّ المقامي، و استقرّت حدوده عند حدود مقامات البديع (398ه) و الحريري (516ه)، و لم يطعن في تلك الصّوى طاعن، فمثّلت طريقتهما نهجاً و قواعد خطا الأندلسيون على هداها، و صارت محاكاتهما إبداعاً، فتنامى التّقليد المصنوع إيحاءً بالاقتداء؛ الذي كان بذاته دليلاً على التفوّق.و لا يكاد يتفق للباحثين رأي حول طبيعة العمل القصصي في المقامات و قيمته الفنية، فمنهم من رفض وجوده رفضاً تاماً، و منهم من يؤكد وجوده بإصرار، و نرى أن أحكام المعارضين و المثبتين قد جنحت إلى التعميم، فالمقامة جنس أدبي قائم بذاته، له خصائصه الفنية الخاصة به و إن تداخلت حدوده مع فنون أدبية أخرى. و قد حُدَّت المقامة بأنها سرد قصصي حواري فَكِه، يرويه بطل حاذق يخفي شخصيته بما يلائم المقام و المناسبة، و يلجأ إلى الحيل للتخفيف من متاعب الحياة، و يبرع في التخلص من المآزق و في التماس العيش بطرق ملتوية.
The Maqamat art grew up and its limits settled down at Al Badeea Maqamat limits(398 AH), and Al Hariri (516 AH). No one contested that. Thus, their methods represented rules and concept which the Andalusian followed. And their imitation became creation and the manufactured imitation increased suggesting the following of the patterns which were themselves an evidence of superiority. Researchers, almost, haven’t got one opinion about the nature of the narration in the Maqamat and its artistic value. Some of them refused it completely: others confirmed it permanently. We notice that the judgement of the opposers and the confirmers tended to generalization. The Maqama is a literary genre which has its own artistic qualities even though its limits interacted with other literary arts. The essay has its importance because it aims at conceiving the Andalusian Maqama limit, and the narrative elements in it, depending on inducting some of the Andalusian Maqama describing and analyzing it.
References used
الإفريقي، ابن منظور، لسان العرب: ( 15 جزءاً)، دار صادر، بيروت، ط 2, 1300ه.
الحميدي ( ت 488 ه)، جذوة المقتبس، تح: إبراهيم الأبياري، دار الكاتب اللبناني، ط 2, 1983
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