‫ﺠﺎﻤﻌﺔ ﺍﻟﻨﺠﺎﺡ ﺍﻟﻭﻁﻨﻴّﺔ‬

‫ﻜﻠﻴّﺔ ﺍﻟﺩﺭﺍﺴﺎﺕ ﺍﻟﻌﻠﻴﺎ‬

‫ﺹ‬
‫ﻲ ﻟﻠﻨ ّ‬
‫ﺍﻟﺘﺤﻠﻴل ﺍﻟﺼﻭﺘ ّ‬
‫)ﺒﻌﺽ ﻗﺼﺎﺭ ﺴﻭﺭ ﺍﻟﻘﺭﺁﻥ ﺍﻟﻜﺭﻴﻡ ﺃﻨﻤﻭﺫﺠًﺎ(‬

‫ﺇﻋـﺩﺍﺩ‬
‫ﻤﻬﺩﻱ ﻋﻨﺎﺩ ﺃﺤﻤﺩ ﻗﺒﻬﺎ‬

‫ﺇﺸـﺭﺍﻑ‬
‫ﺃ‪ .‬ﺩ‪ .‬ﻤﺤﻤّﺩ ﺠﻭﺍﺩ ﺍﻟﻨﻭﺭﻱ‬

‫ﻗﺩّﻤﺕ ﻫﺫﻩ ﺍﻷﻁﺭﻭﺤﺔ ﺍﺴﺘﻜﻤﺎ ﹰﻻ ﻟﻤﺘﻁﻠﹼﺒﺎﺕ ﺍﻟﺤﺼﻭل ﻋﻠﻰ ﺩﺭﺠﺔ ﺍﻟﻤﺎﺠﺴﺘﻴﺭ ﻓﻲ ﺍﻟﻠﹼﻐﺔ ﺍﻟﻌﺭﺒ ّﻴﺔ‬
‫ﻭﺁﺩﺍﺒﻬﺎ ﺒﻜﻠﻴّﺔ ﺍﻟﺩﺭﺍﺴﺎﺕ ﺍﻟﻌﻠﻴﺎ ﻓﻲ ﺠﺎﻤﻌﺔ ﺍﻟﻨﺠﺎﺡ ﺍﻟﻭﻁﻨﻴّﺔ ﻓﻲ ﻨﺎﺒﻠﺱ‪ ،‬ﻓﻠﺴﻁﻴﻥ‪.‬‬
‫‪2011‬ﻡ‬
 ‫اإلھــداء‬
‫ﺇﻟﻰ ﻜﺘﺎﺒﻲ ﺍﻷ ّﻭ ﹺل‪َ :‬ﻴ َﺩﻴْـﻬﺎ ﺍﻟﺩﺍﻋﻴﺘﻴﻥ‪،‬‬

‫ﻥ ﺤﺒ َﺭ ﻫﺫﺍ ﺍﻟﻘﻠﻡ‪:‬‬
‫ﻕ ﺠﺒﻴﻨِﻪ ﺍﻟﺫﻱ ﻜﺎ َ‬
‫ﻭﺇﻟﻰ ﻋﺭ ِ‬

‫ﺡ ﺍﻟﺫ ﱢل ﻤﻥ ﺍﻟﺭﺤﻤﺔ‪،‬‬
‫ﺇﻟﻰ ﺃﻤّﻲ ﻭﺃﺒﻲ‪ ،‬ﺨﺎﻓﻀًﺎ ﻟﻬﻤﺎ ﺠﻨﺎ َ‬

‫ﺃﻫﺩﻱ ﻫﺫﺍ ﺍﻟﺤﺼﺎ َﺩ‪ :‬ﺤﺼﺎﺩَﻫﻤﺎ‪.‬‬

‫ﷲ ﺘﻌﺎﻟﻰ ‪:-‬‬
‫ﻭﺇﻟﻴﻬﻡ ‪ -‬ﺭﻋﺎﻫﻡ ﺍ ُ‬

‫ﺇﺨﻭﺘﻲ‪ ،‬ﻭﺯﻭﺠﻲ‪ ،‬ﻭﻁﻔﻠﺘﻲ )ﻨﹶـﻭﺍﺭ(‪.‬‬

‫الشكر والتقـدير‬
‫ت‬
‫ﺸﻜ َﺭ ﻤُﻘـ ﱢﺩ ﹴﺭ ﻤُﻭﻗﱢـ ﹴﺭ‪ ،‬ﻻ ﺸﻜ َﺭ ﻤﻜـﺎﻓﺊ‪ ،‬ﺃﺸـﻜ ُﺭ ﺃﺴـﺘﺎﺫﻱ‬
‫ﺍﻟﻔﺎﻀل‪ :‬ﺍﻷﺴﺘﺎﺫ ﺍﻟﺩﻜﺘﻭﺭ ﻤﺤﻤّﺩ ﺠﻭﺍﺩ ﺍﻟﻨﻭﺭﻱ‪ ،‬ﺍﻟﺫﻱ ﺭﻋـﻰ ﻫـﺫﻩ‬
‫ﺍﻷﻁﺭﻭﺤ ﹶﺔ ﺒﺠﻬـﺩِﻩ ﺍﻟﻜﺭﻴ ﹺﻡ‪ ،‬ﺤﺘﹼﻰ ﺍﺴﺘﻭﺕﹾ ﻋﻠﻰ ﺴﺎﻗِﻬـﺎ ﻴﺎﻨﻌــﺔ‪،‬‬
‫ﷲ‪ ،‬ﺴﺒﺤﺎﻨﹶـﻪ‪ ،‬ﺃﻥ ﻴﺯﻴﺩَﻩ ﻨـﻭﺭًﺍ ﻋﻠـﻰ ﻨـﻭﺭ‪.‬‬
‫ﻼﺍ َ‬
‫ﺴﺎﺌـ ﹰ‬

‫ﻜﻤـﺎ ﺃﺸﻜ ُﺭ ﻜ ﱠل َﻤﻥْ ﺃﺴﻬ َﻡ ﻓﻲ ﻤﻨﺎﻗﺸـ ِﺔ ﻫـﺫﻩ ﺍﻷﻁﺭﻭﺤـﺔ‬

‫ﷲ ﻜ ﱠل ﺨﻴﺭ ‪ .-‬ﻭﻜ ﱠل َﻤﻥْ ﻜﺎ َ‬
‫ﻥ ﻟﻪ ﻴـﺩٌ ﻓﻴﻬـﺎ‪.‬‬ ‫– ﺠﺯﺍﻫﻡ ﺍ ُ‬

‫ث‬
 ‫ﺍﻹﻗـﺭﺍﺭ‬

‫ﺃﻨﺎ ﺍﻟﻤﻭﻗﹼﻊ ﺃﺩﻨﺎﻩ‪ ،‬ﻤﻘﺩّﻡ ﺍﻟﺭﺴﺎﻟﺔ ﺍﻟﺘﻲ ﺘﺤﻤل ﺍﻟﻌﻨﻭﺍﻥ‪:‬‬

‫ﺹ‬
‫ﻲ ﻟﻠﻨ ّ‬
‫ﺍﻟﺘﺤﻠﻴل ﺍﻟﺼﻭﺘ ّ‬
‫)ﺒﻌﺽ ﻗﺼﺎﺭ ﺴﻭﺭ ﺍﻟﻘﺭﺁﻥ ﺍﻟﻜﺭﻴﻡ ﺃﻨﻤﻭﺫﺠًﺎ(‬

‫ﺹ‪ ،‬ﺒﺎﺴـﺘﺜﻨﺎﺀ ﻤـﺎ‬

‫ﻥ ﻤﺎ ﺍﺸﺘﻤﻠﺕ ﻋﻠﻴﻪ ﻫﺫﻩ ﺍﻟﺭﺴﺎﻟﺔ‪ ،‬ﻟﻡ ﻴﻜﻥ ﺴﻭﻯ ﻨﺘﺎﺝ ﺠﻬﺩﻱ ﺍﻟﺨـﺎ ّ‬
‫ﺃﻗ ّﺭ ﺒﺄ ّ‬

‫ﻥ ﻫﺫﻩ ﺍﻟﺭﺴﺎﻟﺔ ﻟﻡ ﺘﻘﺩّﻡ ﻤﻥ ﻗﺒل‪ :‬ﻜﻠﹼﻬﺎ ﺃﻭ ﺒﻌﻀﻬﺎ؛ ﻟﻨﻴل ﺃﻴّـﺔ ﺩﺭﺠـﺔ‪ ،‬ﺃﻭ‬
‫ﺃﺸﺭﺕ ﺇﻟﻴﻪ ﺤﻴﺙ ﻭﺭﺩ‪ ،‬ﻭﺃ ّ‬

‫ﻲ‪ ،‬ﺇﻟﻰ ﺃﻴّﺔ ﻤﺅﺴّﺴﺔ ﺘﻌﻠﻴﻤﻴّﺔ‪ ،‬ﺃﻭ ﺒﺤﺜﻴّﺔ ﺃﺨﺭﻯ‪.‬‬

‫ﻲ ﺃﻭ ﺒﺤﺜ ّ‬
‫ﻟﻘﺏ ﻋﻠﻤ ّ‬

‫‪Declaration‬‬

‫‪The work provided in this thesis, unless otherwise referenced, is the‬‬

‫‪researcher's own work, and has not been submitted elsewhere for any other‬‬

‫‪degree or qualification.‬‬

‫‪Student's Name:‬‬ ‫ﺍﺴﻡ ﺍﻟﻁﺎﻟﺏ‪:‬‬

‫‪Signature:‬‬ ‫ﺍﻟﺘﻭﻗﻴﻊ‪:‬‬

‫‪Date:‬‬ ‫ﺍﻟﺘﺎﺭﻴﺦ‪:‬‬

‫ج‬
 ‫ﻓﻬﺭﺱ ﺍﻟﻤﺤﺘﻭﻴﺎﺕ‬
‫ﺍﻟﺼﻔﺤـﺔ‬ ‫ﺍﻟﻤﻭﻀـﻭﻉ‬
‫ﺕ‬ ‫ﺍﻹﻫـﺩﺍﺀ‬
‫ﺙ‬ ‫ﺍﻟﺸﻜﺭ ﻭﺍﻟﺘﻘﺩﻴﺭ‬
‫ﺝ‬ ‫ﺍﻹﻗـﺭﺍﺭ‬
‫ﺡ‬ ‫ﻓﻬﺭﺱ ﺍﻟﻤﺤﺘﻭﻴﺎﺕ‬
‫ﺩ‬ ‫ﻓﻬﺭﺱ ﺍﻟﺠﺩﺍﻭل‬
‫ﺫ‬ ‫ﻓﻬﺭﺱ ﺍﻷﺸﻜﺎل‬
‫ﺭ‬ ‫ﺍﻟﻤﻠﺨﹼﺹ‬
‫‪1‬‬ ‫ﺍﻟﻤﻘﺩّﻤـﺔ‬
‫‪7‬‬ ‫ﺹ‬
‫ﺍﻟﻔﺼل ﺍﻷﻭّل‪ :‬ﻋﻭﺍﻤل ﺍﻟﻘﻭّﺓ ﻭﺍﻟﻀﻌﻑ ﺍﻟﺼﻭﺘﻴّﻴﻥ ﻓﻲ ﺍﻟﻨ ّ‬
‫‪9‬‬ ‫ﺍﻟﻌﻭﺍﻤل ﺍﻟﺩّﺍﺨﻠﻴّﺔ‬
‫‪9‬‬ ‫ﺍﻟﺠﻬﺭ ﻭﺍﻟﻬﻤﺱ‬
‫‪13‬‬ ‫ﺍﻟﺘﻔﺨﻴﻡ ﻭﺍﻟﺘﺭﻗﻴﻕ‬
‫‪15‬‬ ‫ﺍﻻﻨﻔﺠﺎﺭ‬
‫‪16‬‬ ‫ﺍﻻﺤﺘﻜﺎﻙ‬
‫‪17‬‬ ‫ﺍﻟﺼﻔﻴﺭ‬
‫‪17‬‬ ‫ﺍﻟﺘﱠﻜﺭﺍﺭ‬
‫‪18‬‬ ‫ﺍﻟﺘﱠﺭﻜﻴﺏ‬
‫‪19‬‬ ‫ﺍﻟﺠﺎﻨﺒﻴّﺔ )ﺍﻻﻨﺤﺭﺍﻑ(‬
‫‪20‬‬ ‫ﺍﻷﻨﻔﻴّﺔ‬
‫‪21‬‬ ‫ﺍﻟﺤﺭﻜﻴّﺔ‬
‫‪22‬‬ ‫ﺍﻟﻌﻭﺍﻤل ﺍﻟﺨﺎﺭﺠﻴّﺔ‬
‫‪23‬‬ ‫ﺹ‬
‫ﺍﻟﻔﻭﻨﻴﻤﺎﺕ ﻏﻴﺭ ﺍﻟﺘﺭﻜﻴﺒﻴّﺔ ﺍﻟﻤﺴﺘﺨﺩﻤﺔ ﻓﻲ ﺍﻟﻨ ّ‬
‫‪24‬‬ ‫ﺹ‬
‫ﻲ ﻟﻜﺎﺘﺏ ﺍﻟﻨ ّ‬
‫ﺍﻻﺨﺘﻴﺎﺭ ﺍﻟﺼﻭﺘ ّ‬
‫‪25‬‬ ‫ﺹ‬
‫ﺘﻨﻅﻴﻡ ﺍﻷﺼﻭﺍﺕ ﻓﻲ ﺍﻟﻨ ّ‬

‫ح‬
‫ﺍﻟﺼﻔﺤـﺔ‬ ‫ﺍﻟﻤﻭﻀـﻭﻉ‬
‫‪26‬‬ ‫ﺍﻟﻤﻘﺎﻁﻊ ﺍﻟﺼﻭﺘﻴّﺔ‬
‫ﺍﻟﻔﺼل ﺍﻟﺜﹼﺎﻨﻲ‪ :‬ﺃﺜﺭ ﻋﻭﺍﻤل ﺍﻟﻘﻭّﺓ ﻭﺍﻟﻀﻌﻑ ﺍﻟﺼﻭﺘﻴّﻴﻥ‪ :‬ﺍﻟﺩﺍﺨﻠﻴّﺔ ﻭﺍﻟﺨﺎﺭﺠﻴّﺔ‪ ،‬ﻓﻲ‬
‫‪29‬‬
‫ﺠﻭﺩﺓ ﺍﻟﻨﺹّ‪ ،‬ﻭﺍﻟﻤﺘﻠﻘﹼﻲ‬
‫‪30‬‬ ‫ﻲ‬
‫ﺍﻷﺜﺭ ﺍﻟﻨﻁﻘ ّ‬
‫‪37‬‬ ‫ﻲ‬
‫ﺍﻷﺜﺭ ﺍﻟﺴﻤﻌ ّ‬
‫‪46‬‬ ‫ﻲ‬
‫ﺍﻷﺜﺭ ﺍﻟﻤﻭﺴﻴﻘ ّ‬
‫‪53‬‬ ‫ﻲ‬
‫ﺍﻷﺜﺭ ﺍﻟﺩّﻻﻟ ّ‬
‫ﺍﻟﻔﺼل ﺍﻟﺜﺎﻟﺙ‪ :‬ﺩﺭﺍﺴـﺔ ﺘﻁﺒﻴﻘـﻴّﺔ‪ :‬ﺘﺤﻠﻴـل ﺒﻌﺽ ﻗﺼﺎﺭ ﺴﻭﺭ ﺍﻟﻘـﺭﺁﻥ ﺍﻟﻜﺭﻴﻡ‬
‫‪72‬‬
‫ﺼﻭﺘﻴ‪‬ﺎ‬
‫‪74‬‬ ‫ﺘﺤﻠﻴل ﺴﻭﺭﺓ ﺍﻟﺘﱠﻜﺎﺜﺭ‬
‫‪94‬‬ ‫ﺘﺤﻠﻴل ﺴﻭﺭﺓ ﺍﻟﻌﺼﺭ‬
‫‪104‬‬ ‫ﺘﺤﻠﻴل ﺴﻭﺭﺓ ﺍﻟﻔﻴل‬
‫‪117‬‬ ‫ﺘﺤﻠﻴل ﺴﻭﺭﺓ ﻗﺭﻴﺵ‬
‫‪124‬‬ ‫ﺘﺤﻠﻴل ﺴﻭﺭﺓ ﺍﻟﻜﻭﺜﺭ‬
‫‪130‬‬ ‫ﺘﺤﻠﻴل ﺴﻭﺭﺓ ﺍﻹﺨﻼﺹ‬
‫‪136‬‬ ‫ﺘﺤﻠﻴل ﺴﻭﺭﺓ ﺍﻟﻨﹼﺎﺱ‬
‫‪144‬‬ ‫ﺍﻟﺨﺎﺘﻤـﺔ‬
‫‪147‬‬ ‫ﻗﺎﺌﻤﺔ ﺍﻟﻤﺼﺎﺩﺭ ﻭﺍﻟﻤﺭﺍﺠﻊ‬
‫‪158‬‬ ‫ﺍﻟﻤﺼﻁﻠﺤﺎﺕ‬
‫‪b‬‬ ‫‪Abstract‬‬

‫خ‬
 ‫ﻓﻬﺭﺱ ﺍﻟﺠﺩﺍﻭل‬
‫ﺍﻟﺼﻔﺤﺔ‬ ‫ﺍﻟﺠﺩﻭل‬ ‫ﺍﻟﺭﻗﻡ‬
‫‪6‬‬ ‫ﺭﻤﻭﺯ ﺍﻟﻜﺘﺎﺒﺔ ﺍﻟﺼﻭﺘﻴّﺔ ﻷﺼﻭﺍﺕ ﺍﻟﻌﺭﺒﻴّﺔ‬ ‫ﺍﻟﺠﺩﻭل )‪(1‬‬
‫ﺃﻁﻭﺍل ﺍﻟﺼﻭﺍﻤﺕ ﺍﻟﻌﺭﺒﻴّﺔ ﺍﻟﻨﺴﺒﻴّﺔ‪ ،‬ﺒﺎﻟﻤﻴﻠﻲ ﻤﻥ ﺍﻟﺜﺎﻨﻴﺔ‪ ،‬ﺒﺎﺴـﺘﺜﻨﺎﺀ‬
‫‪40‬‬ ‫ﺍﻟﺠﺩﻭل )‪(2‬‬
‫ﺍﻟﻬﻤﺯﺓ ﻭﺍﻟﻌﻴﻥ‬
‫ﻲ‪ ،‬ﺒﺎﻟﻤﻴﻠﻲ ﻤﻥ ﺍﻟﺜﺎﻨﻴـﺔ‪ ،‬ﺒﺎﺴـﺘﺜﻨﺎﺀ‬
‫ﻤﺘﻭﺴّﻁ ﻁﻭل ﺍﻟﺼﺎﻤﺕ ﺍﻟﻌﺭﺒ ّ‬
‫‪40‬‬ ‫ﺍﻟﺠﺩﻭل )‪(3‬‬
‫ﺍﻟﻬﻤﺯﺓ ﻭﺍﻟﻌﻴﻥ‬
‫‪89‬‬ ‫ﺍﻟﻌﻨﺎﺼﺭ ﺍﻟﺼﻭﺘﻴّﺔ ﻟﺴﻭﺭﺓ ﺍﻟﺘﹼﻜﺎﺜﺭ‬ ‫ﺍﻟﺠﺩﻭل )‪(4‬‬
‫‪101‬‬ ‫ﺍﻟﻌﻨﺎﺼﺭ ﺍﻟﺼﻭﺘﻴّﺔ ﻟﺴﻭﺭﺓ ﺍﻟﻌﺼﺭ‬ ‫ﺍﻟﺠﺩﻭل )‪(5‬‬
‫‪114‬‬ ‫ﺍﻟﻌﻨﺎﺼﺭ ﺍﻟﺼﻭﺘﻴّﺔ ﻟﺴﻭﺭﺓ ﺍﻟﻔﻴل‬ ‫ﺍﻟﺠﺩﻭل )‪(6‬‬
‫‪120‬‬ ‫ﺍﻟﻌﻨﺎﺼﺭ ﺍﻟﺼﻭﺘﻴّﺔ ﻟﺴﻭﺭﺓ ﻗﺭﻴﺵ‬ ‫ﺍﻟﺠﺩﻭل )‪(7‬‬
‫‪128‬‬ ‫ﺍﻟﻌﻨﺎﺼﺭ ﺍﻟﺼﻭﺘﻴّﺔ ﻟﺴﻭﺭﺓ ﺍﻟﻜﻭﺜﺭ‬ ‫ﺍﻟﺠﺩﻭل )‪(8‬‬
‫‪133‬‬ ‫ﺍﻟﻌﻨﺎﺼﺭ ﺍﻟﺼﻭﺘﻴّﺔ ﻟﺴﻭﺭﺓ ﺍﻹﺨﻼﺹ‬ ‫ﺍﻟﺠﺩﻭل )‪(9‬‬
‫‪139‬‬ ‫ﺍﻟﺠﺩﻭل )‪ (10‬ﺍﻟﻌﻨﺎﺼﺭ ﺍﻟﺼﻭﺘﻴّﺔ ﻟﺴﻭﺭﺓ ﺍﻟﻨﹼﺎﺱ‬

‫د‬
 ‫ﻓﻬﺭﺱ ﺍﻷﺸﻜﺎل‬

‫ﺍﻟﺼﻔﺤﺔ‬ ‫ﺍﻟﺸﻜل‬ ‫ﺍﻟﺭﻗﻡ‬

‫‪5‬‬ ‫ﻤﺨﺎﺭﺝ ﺃﺼﻭﺍﺕ ﺍﻟﻌﺭﺒﻴّﺔ‬ ‫ﺍﻟﺸﻜل )‪(1‬‬
‫‪42‬‬ ‫ﺼﻭﺭﺘﺎ ﺴﺒﻜﺘﺭﻭﺠﺭﺍﻑ‪ ،‬ﺘﻅﻬﺭﺍﻥ ﺘﺸﺎﺒﻪ ﻤﻌﺎﻟﻡ ﺍﻟﻬﻤﺯﺓ ﻭﺍﻟﻌﻴﻥ‬ ‫ﺍﻟﺸﻜل )‪(2‬‬
‫‪107‬‬ ‫ﺍﻟﻔﺭﻕ ﻓﻲ ﺍﻟﺘﻨﻐﻴﻡ‪ ،‬ﺒﻴﻥ ﺠﻤﻠﺔ ﺨﺒﺭﻴّﺔ‪ ،‬ﻭﺠﻤﻠﺔ ﺍﺴﺘﻔﻬﺎﻤ ّﻴﺔ‬ ‫ﺍﻟﺸﻜل )‪(3‬‬

‫ذ‬
 ‫ﺹ‬
‫ﻲ ﻟﻠﻨ ّ‬
‫ﺍﻟﺘﺤﻠﻴل ﺍﻟﺼﻭﺘ ّ‬
‫)ﺒﻌﺽ ﻗﺼﺎﺭ ﺴﻭﺭ ﺍﻟﻘﺭﺁﻥ ﺍﻟﻜﺭﻴﻡ ﺃﻨﻤﻭﺫﺠًﺎ(‬
‫ﺇﻋـﺩﺍﺩ‬
‫ﻤﻬﺩﻱ ﻋﻨﺎﺩ ﺃﺤﻤﺩ ﻗﺒﻬﺎ‬
‫ﺇﺸـﺭﺍﻑ‬
‫ﺃ‪ .‬ﺩ‪ .‬ﻤﺤﻤّﺩ ﺠﻭﺍﺩ ﺍﻟﻨﻭﺭﻱ‬
‫ﺍﻟﻤﻠﺨﹼﺹ‬

‫ل ﺼﻭﺘ ّﻴ ﹰﺔ‪ ،‬ﻤﻥ ﺸﺄﻨِﻬﺎ ﺃﻥ ﺘﺅ ﹼﺜ َﺭ ﺇﻴﺠﺎﺒًﺎ ﺃﻭ ﺴﻠﺒًﺎ‪ ،‬ﻓـﻲ‬

‫ﻲ‪ ،‬ﻓﻲ ﺨﻼﻟِﻪ‪ ،‬ﻋﻭﺍﻤ َ‬
‫ﺹ ﺍﻟﻔﻨﹼـ ﱡ‬
‫ل ﺍﻟﻨ ﱡ‬
‫ﻴﺤﻤ ُ‬

‫ﺱ‪ ،‬ﻭﺍﻟﺘﻔﺨـﻴ ﹺﻡ‪،‬‬

‫ﺹ‪ ،‬ﻜﺎﻟﺠﻬ ﹺﺭ‪ ،‬ﻭﺍﻟﻬﻤ ﹺ‬
‫ﺕ ﻫﺫﺍ ﺍﻟﻨ ﱢ‬
‫ﺢ ﺍﻟﺘﻤﻴﻴﺯ ّﻴ ِﺔ ﻷﺼـﻭﺍ ِ‬
‫ل ﻓﻲ ﺍﻟﻤﻼﻤ ﹺ‬
‫ﺃﺴﻠﻭﺒﹺﻪ ﻭﺃﺩﺍﺌِﻪ‪ ،‬ﺘﺘﻤﺜﹼ ُ‬

‫ﺏ ﻤﻘﺎﻁﻌِﻪ ﺍﻟﺼـﻭﺘ ّﻴ ِﺔ‬

‫ﺕ ﻏﻴ ﹺﺭ ﺍﻟﺘﺭﻜﻴﺒ ّﻴ ِﺔ ﺍﻟﻤﺴﺘﺨﺩﻤ ِﺔ ﻓﻴﻪ‪ ،‬ﺇﻟﻰ ﺠﺎﻨ ﹺ‬
‫ﻕ‪ ،‬ﻭﺍﻟﺘﱠﻜﺭﺍﺭ‪ ،‬ﻭﻓﻲ ﺍﻟﻔﻭﻨﻴﻤﺎ ِ‬
‫ﻭﺍﻟﺘﺭﻗﻴ ِ‬
‫ﺏ‪ ،‬ﻭﺍﻟﺘﻨﻅﻴ ﹺﻡ ﺍﻟﺫﻱ ﻴﺤﻜ ُﻡ ﻫﺫﺍ ﺍﻻﺨﺘﻴﺎﺭ‪.‬‬
‫ﻲ ﻟﻠﻜﺎﺘ ﹺ‬
‫ل ﻓﻲ ﺍﻻﺨﺘﻴﺎ ﹺﺭ ﺍﻟﺼﻭﺘ ﱢ‬
‫ﺍﻟﺘﻲ ﺘﻨﺘﻅﻤُﻪ‪ ،‬ﻜﻤﺎ ﺘﺘﻤﺜﹼ ُ‬

‫ل‬
‫ﺙ‪ ،‬ﺍﻟﺫﻱ ﻴﺴﺘﻤ ﱡﺩ ﺃﺼﻭﻟﹶﻪ ﻤﻥ ﻋﻠـ ﹺﻡ ﺍﻷﺼﻭﺍﺕ؛ ﻟﺩﺭﺍﺴـ ِﺔ ﻫـﺫﻩ ﺍﻟﻌﻭﺍﻤـ ﹺ‬
‫ﻭﻗﺩ ﺠﺎ َﺀ ﻫﺫﺍ ﺍﻟﺒﺤ ﹸ‬

‫ﺹ ﺍﻷﺴﻠﻭﺒ ّﻴ ِﺔ ﻭﺍﻷﺩﺍﺌ ّﻴ ِﺔ‪،‬‬

‫ﻲ‪ ،‬ﺍﻟﺫﻱ ﻴﺭﻓـ ُﻊ ﻤﻥ ﺠﻭﺩ ِﺓ ﺍﻟﻨ ﱢ‬
‫ﺝ ﺍﻟﺼﻭﺘـ ﱢ‬
‫ﺍﻟﺼﻭﺘ ّﻴ ِﺔ‪ ،‬ﻜﺎﺸﻔﹰﺎ ﻋﻥ ﺫﻟﻙ ﺍﻷﻨﻤﻭﺫ ﹺ‬
‫ﺹ‪ ،‬ﺃﻻ‬ ‫ل‪ ،‬ﻓﻲ ﺃﺭﺒﻌـ ِﺔ ﺠﻭﺍﻨـ َ‬
‫ﺏ ﺭﺌﻴﺴـ ٍﺔ ﻟﻠـﻨ ّ‬ ‫ل ﺩﺭﺍﺴـ ِﺔ ﺍﻷﺜ ﹺﺭ ﺍﻟﺫﻱ ﺘﺘﺭﻜﹸﻪ ﻫﺫﻩ ﺍﻟﻌﻭﺍﻤـ ُ‬
‫ﻤﻥ ﺨﻼ ﹺ‬

‫ل‬
‫ﻲ؛ ﻭﻤﻥ ﺨـﻼ ﹺ‬
‫ﺏ ﺍﻟﺩﻻﻟ ّ‬
‫ﻲ‪ ،‬ﻭﺍﻟﺠﺎﻨ ُ‬
‫ﺏ ﺍﻟﻤﻭﺴﻴﻘ ﱡ‬
‫ﻲ‪ ،‬ﻭﺍﻟﺠﺎﻨ ُ‬
‫ﺏ ﺍﻟﺴﻤﻌ ﱡ‬
‫ﻲ‪ ،‬ﻭﺍﻟﺠﺎﻨـ ُ‬
‫ﺏ ﺍﻟﻨﻁﻘ ﱡ‬
‫ﻭﻫـﻲ‪ :‬ﺍﻟﺠﺎﻨ ُ‬

‫ﻥ ﺍﻟﻜﺭﻴــ ﹺﻡ ﺼـﻭﺘﻴ‪‬ﺎ‪ ،‬ﻜﺴـﻭﺭ ِﺓ ﺍﻟﻌﺼـ ﹺﺭ‪،‬‬

‫ﺽ ﻗﺼﺎ ﹺﺭ ﺴﻭ ﹺﺭ ﺍﻟﻘﺭﺁ ﹺ‬
‫ل ﺒﻌ ﹺ‬
‫ﺘﻘﺩﻴ ﹺﻡ ﺩﺭﺍﺴ ٍﺔ ﺘﻁﺒﻴﻘ ّﻴ ٍﺔ‪ ،‬ﺒﺘﺤﻠﻴ ﹺ‬

‫ﺹ‪ ،‬ﻭﺍﻟﻨﹼﺎﺱ‪.‬‬
‫ﻭﺍﻹﺨﻼ ﹺ‬

‫ر‬
 ‫ﺍﻟﻤﻘﺩّﻤﺔ‬

‫ﻥ؛ ﻓﻘﺭَﺃ ﻭﻜﺘـﺏ‪ ،‬ﻭﺍﻟﺼﻼ ﹸﺓ ﻭﺍﻟﺴـﻼ ُﻡ ﻋﻠﻰ ﺭﺴﻭﻟِﻨﺎ ﺍﻟﻜـﺭﻴ ﹺﻡ‬

‫ﻥ ﺍﻟﺒﻴﺎ َ‬
‫ﷲ ﺍﻟﺫﻱ ﻋﹼﻠ َﻡ ﺍﻹﻨﺴﺎ َ‬
‫ﺍﻟﺤﻤ ُﺩ ِ‬

‫ﺢ ﺍﻟﻌﺭﺏ‪ .‬ﺃﻤّﺎ ﺒﻌـﺩ‪:‬‬

‫ﺃﻓﺼ ﹺ‬

‫‪،‬‬ ‫ﺱ ﻋﻨﺎﺼ َﺭ ﺼﻭﺘ ّﻴ ﹰﺔ ﻤﺒﻌﺜﺭﺓ‪ ،‬ﺒلْ ﻜﻼ ًﻤﺎ ﺤﻴ‪‬ﺎ‬

‫ﻥ ﺍﻟﻨﺎ ﹺ‬
‫ﺵ ﻋﻠﻰ ﺃﻟﺴ ﹺ‬
‫ﻥ ﺍﻟﻠﹼﻐ ﹶﺔ ﻻ ﺘﻌﻴ ﹸ‬ ‫ﻓـ))ﻤﻥ ﺍﻟﻤﻌﺭﻭ ِ‬
‫ﻑﺃﱠ‬

‫ﻑ ﻤـﻥ‬
‫ﺼ ِﺔ ﺒﻬﺎ‪ .‬ﻓﻤـﺎ ﺍﺌﺘﻠـ ﹶ‬
‫ﻕ ﻨﻭﺍﻤﻴﺴِﻬﺎ ﺍﻟﺼﻭﺘ ّﻴ ِﺔ ﺍﻟﺨﺎ ّ‬
‫ﺕ‪ ،‬ﻭَﻓﹾ ﹶ‬
‫ل ﻟﻐ ٍﺔ ﻤﻥ ﺍﻟﻠﹼﻐﺎ ِ‬
‫ﻑ ﻋﻨﺎﺼﺭُﻩ ﻓﻲ ﻜ ﱢ‬
‫ﺘﺄﺘﻠ ﹸ‬

‫ﺞ ﺍﻷﻟﻔﺎﻅ‪ ،‬ﻭﺍﻟﻤﻨﺒﻭ ﹸﺫ ﻴﺒﻘﻰ ﺃﻤﺸﺎﺠًﺎ‬

‫ﺴُ‬
‫ل ﻤﻨﻪ ﻨﹸ ُ‬
‫ﻑ ﻨﹸﺒﺫ‪ ،‬ﻭﺍﻟﻤﺄﺨﻭ ﹸﺫ ﺘﺘﺸﻜﹼ ُ‬
‫ﺍﻟﻌﻨﺎﺼ ﹺﺭ ﺍﻟﺼﻭﺘ ّﻴ ِﺔ ﺃُﺨﺫ‪ ،‬ﻭﻤﺎ ﺍﺨﺘﻠ ﹶ‬

‫ل ﻫﺫﻩ ﺍﻟﻌﻨﺎﺼــ ُﺭ‬

‫ﻭﺘﺘﻤﺜﹼ ُ‬ ‫ﻟﻠ ﱠﻨﺴْـﺞ(()‪.(1‬‬ ‫ﻁ ﻏﻴ ُﺭ ﺍﻟﺼﺎﻟﺤ ِﺔ‬
‫ﻤﻘﻁﹼﻌ ﹰﺔ ﻏﻴ َﺭ ﻤﺴﺘﻌﻤﻠﺔ‪ ،‬ﻜﻤﺎ ﺘﹸﻠﻘﻰ ﻨﻜﺎﺜ ﹸﺔ ﺍﻟﺨﻴﻭ ِ‬

‫ﺕ ﻏﻴ ﹺﺭ ﺍﻟﺘﺭﻜﻴﺒ ّﻴ ِﺔ‬
‫ﺕ ﺍﻟﻠﹼﻐﻭ ّﻴـ ِﺔ ﺍﻟﺘﺭﻜﻴﺒ ّﻴـ ِﺔ )‪ ،(Segmental Phonemes‬ﻭﺍﻟﻔﻭﻨﻴﻤﺎ ِ‬
‫ﻓـﻲ ﺍﻷﺼـﻭﺍ ِ‬

‫)‪ ،(Suprasegmental Phonemes‬ﻭﺍﻟﻤﻘﺎﻁ ﹺﻊ ﺍﻟﺼﻭﺘﻴّﺔ )‪.(Syllables‬‬

‫ﻅ ﺍﻟﹼﻠﻐ ِﺔ‪ ،‬ﻭﻅﻴﻔﺘﹸﻬﺎ ﺍﻟﻔ ﹼﻨ ّﻴ ﹸﺔ ﺍﻟﺠﻤﺎﻟ ّﻴ ﹸﺔ ﺍﻟﻤﻬﻤّـﺔ؛ ﻓﺘﺴـﺘﻁﻴ ُﻊ‬

‫ﻭﻟﻬﺫﻩ ﺍﻟﻌﻨﺎﺼ ﹺﺭ‪ ،‬ﺇﻀﺎﻓ ﹰﺔ ﺇﻟﻰ ﺘﺸﻜﻴِﻠﻬﺎ ﺃﻟﻔﺎ ﹶ‬

‫ﺕ ﺃﺴﻠﻭﺒ ّﻴ ٍﺔ ﻓـﻲ ﻨﺼﻭﺼِﻬﺎ‪ ،‬ﺒﻤﻘﺩﺍ ﹺﺭ ﻤﺎ ﻴﻜﻭ ُ‬

‫ﻥ ﻟﻬﺎ ﻤـﻥ ﺤ ّﺭﻴّـ ِﺔ‬ ‫ﺍﻟﻠﹼﻐ ﹸﺔ ﺃﻥ ﺘﺴﺘﺨﺩ َﻡ ﻫﺫﻩ ﺍﻟﻌﻨﺎﺼ َﺭ ﻟﻐﺎﻴﺎ ٍ‬

‫ﻑ ﺒﻬﺫﻩ ﺍﻟﻌﻨﺎﺼ ﹺﺭ‪ ،‬ﻓﻲ ﺍﻟﺴﻠﺴﻠ ِﺔ ﺍﻟﻜﻼﻤﻴّﺔ)‪.(2‬‬

‫ﺍﻟﺘﺼ ّﺭ ِ‬

‫ﻑ‬
‫ﺕ ﻤﺎ ﻴُﻌـﺭ ﹸ‬
‫ﺝ ﺒﺫﻟﻙ ﺘﺤ ﹶ‬
‫ﺏ ﻫﺫﻩ ﺍﻟﻭﻅﻴﻔ ِﺔ ﺍﻟﺼﻭﺘ ّﻴ ِﺔ ﺍﻟﺠﻤﺎﻟ ّﻴـ ِﺔ ﻴﺄﺘﻲ ﻫﺫﺍ ﺍﻟﺒﺤﺙ؛ ﻟﻴﻨﺩﺭ َ‬
‫ﻭﻤﻥ ﺒﺎ ﹺ‬

‫ﻲ )‪ ،(Phonostylistics‬ﺍﻟـﺫﻱ ﻴﺴـﻌﻰ ﺇﻟـﻰ‬

‫ل ﺍﻟﺼﻭﺘـ ﱢ‬
‫ﺒﺎﻷﺴﻠﻭﺒﻴّـ ِﺔ ﺍﻟﺼﻭﺘﻴّـ ِﺔ‪ ،‬ﺃﻭ ﻋﻠ ﹺﻡ ﺍﻟﺠﻤﺎ ﹺ‬

‫ﻥ ﺒﺫﻟﻙ‬
‫ﺹ ﺍﻷﺩﺒﻴّﺔ؛ ﻟﻴﻜﻭ َ‬
‫ل ﻭﻁﺭﻴﻘ ِﺔ ﺘﺄﺜﻴﺭﹺﻫﺎ‪ ،‬ﻤﻥ ﺍﻟﻨﺎﺤﻴ ِﺔ ﺍﻟﺼﻭﺘ ّﻴ ِﺔ‪ ،‬ﻓﻲ ﺍﻟﻨﺼﻭ ﹺ‬
‫ﻥ ﺍﻟﺠﻤﺎ ﹺ‬
‫ﺩﺭﺍﺴ ِﺔ ﻤﻭﺍﻁ ﹺ‬
‫ﻉ‬
‫ل‪ ،‬ﺒـﺩﻭﺭﹺﻩ‪ ،‬ﻓﺭﻋًـﺎ ﻤـﻥ ﻓــﺭﻭ ﹺ‬
‫ﻉ ﻋﻠ ﹺﻡ ﺍﻷﺴﻠـﻭﺏ )‪ ،(Stylistics‬ﺍﻟـﺫﻱ ﻴﻤﺜﹼ ُ‬
‫ﻓﺭﻋًﺎ ﻤﻥ ﻓﺭﻭ ﹺ‬

‫ﺕ ﺃﻭ ﻋﻠ ﹺﻡ ﺍﻟﻠﹼﻐﺔ )‪.(3)(Linguistics‬‬
‫ﺍﻟﻠﹼﺴﺎﻨﻴّﺎ ِ‬

‫ﻑ ﺇﻟﻰ ﺇﺒـﺭﺍ ﹺﺯ ﻗﻴﻤـ ِﺔ‬

‫ﻻ ﺒﻜﻭﻨِﻪ ﻴﻬﺩ ﹸ‬
‫ﻲ‪ ،‬ﺇ ﹼ‬
‫ل ﺍﻟﺼﻭﺘ ﱢ‬
‫ﺕ ﻋﻠ ﹺﻡ ﺍﻟﺠﻤﺎ ﹺ‬
‫ﺝ ﺘﺤ ﹶ‬
‫ﺙ ﻟﻴﻨﺩﺭ َ‬
‫ﻭﻟﻡ ﻴﻜﻥْ ﻫﺫﺍ ﺍﻟﺒﺤ ﹸ‬

‫ﻱ‪ ،‬ﺇﻟـﻰ ﺍﻻﺴـﺘﺨﺩﺍ ﹺﻡ‬

‫ﺹ ﺍﻟﺫﻱ ﻴﺘﻌﺩّﻯ ﺍﺴﺘﺨﺩﺍ َﻡ ﺍﻟﻠﹼﻐـ ِﺔ ﺍﻟﻌـﺎﺩ ﱠ‬
‫ل ﺫﻟﻙ ﺍﻟﻨ ﱢ‬
‫ﻲ‪ ،‬ﻓﻲ ﺘﺸﻜﻴ ﹺ‬
‫ﺏ ﺍﻟﺼﻭﺘ ﱢ‬
‫ﺍﻟﺠﺎﻨ ﹺ‬

‫ل ﻓـﻲ ﺍﻟﺸـﻌ ﹺﺭ‬

‫ﺹ ﺃﺩﺒﻴ‪‬ﺎ‪ ،‬ﻴﺘﻤﺜﹼ ُ‬
‫ﻥ ﻫﺫﺍ ﺍﻟﻨ ﱡ‬
‫ﻕ ﺍﻟﺘﺄﺜﻴ ﹺﺭ ﺍﻟﻤﺭﺍ ِﺩ ﻓﻲ ﻤﺘﻠﻘﹼﻴﻪ‪ ،‬ﺴﻭﺍﺀٌ ﺃﻜﺎ َ‬
‫ﻲ؛ ﻟﺘﺤﻘﻴ ِ‬
‫ﻲ ﺍﻟﻔ ﹼﻨ ﱢ‬
‫ﺍﻟﺠﻤﺎﻟ ﱢ‬

‫)‪(1‬‬
‫ﻁﻠﻴﻤﺎﺕ‪ ،‬ﻏﺎﺯﻱ ﻤﺨﺘﺎﺭ‪ :‬ﻓﻲ ﻋﻠﻡ ﺍﻟﻠﹼﻐﺔ‪ .‬ﻁ‪ .2‬ﺩﻤﺸﻕ‪ :‬ﺩﺍﺭ ﻁﻼﺱ‪ .2000 .‬ﺹ‪.156‬‬
‫)‪(2‬‬
‫ﻱ‪ .1994 .‬ﺹ‪.60‬‬
‫ﺒﻴﻴﺭﺠﻴﺭﻭ‪ :‬ﺍﻷﺴﻠﻭﺒﻴّﺔ‪ .‬ﺘﺭﺠﻤﺔ ﻤﻨﺫﺭ ﻋﻴﺎﺸﻲ‪ .‬ﻁ‪ .2‬ﺤﻠﺏ‪ :‬ﻤﺭﻜﺯ ﺍﻹﻨﻤﺎﺀ ﺍﻟﺤﻀﺎﺭ ّ‬
‫)‪(3‬‬
‫ﺍﻟﻀﺎﻟﻊ‪ ،‬ﻤﺤﻤّﺩ ﺼﺎﻟﺢ‪ :‬ﺍﻷﺴﻠﻭﺒﻴّﺔ ﺍﻟﺼﻭﺘﻴّﺔ‪ .‬ﺍﻟﻘﺎﻫﺭﺓ‪ :‬ﺩﺍﺭ ﻏﺭﻴﺏ‪ .2002 .‬ﺹ‪.18 ،15 ،7‬‬
‫‪1‬‬
‫ﺙ ﻜﺫﻟﻙ‪ ،‬ﺇﻟـﻰ‬
‫ﻑ ﺍﻟﺒﺤ ﹸ‬
‫ﺙ ﺍﻟﺸﺭﻴﻑ‪ .‬ﻭﻴﻬﺩ ﹸ‬
‫ﻲ‪ ،‬ﻭﺍﻟﺤﺩﻴ ِ‬
‫ﺹ ﺍﻟﻘﺭﺁﻨ ﱢ‬
‫ﻲ‪ ،‬ﻜﺎﻟﻨ ﱢ‬
‫ﻭﺍﻟﻨﺜ ﹺﺭ ﺒﺄﻨﻭﺍﻋِﻬﻤﺎ‪ ،‬ﺃﻡ ﻏﻴ َﺭ ﺃﺩﺒ ﱟ‬

‫ﺹ ﺍﻟﺼـﻭﺘ ّﻴ ِﺔ‪،‬‬
‫ﻑ ﺇﻟﻰ ﺇﺒﺭﺍ ﹺﺯ ﻗﻴﻤ ِﺔ ﺠﻭﺩ ِﺓ ﺍﻟﻨ ﱢ‬
‫ﺹ‪ ،‬ﻜﻤﺎ ﻴﻬﺩ ﹸ‬
‫ﻲ ﻓﻲ ﺩﺭﺍﺴ ِﺔ ﺍﻟﻨ ّ‬
‫ل ﺍﻟﺼﻭﺘ ﱢ‬
‫ﻥ ﻤﻜﺎﻨ ِﺔ ﺍﻟﺘﺤﻠﻴ ﹺ‬
‫ﺒﻴﺎ ﹺ‬

‫ﻲ‪ ،‬ﺍﻟـﺫﻱ‬
‫ﺝ ﺍﻟﺼﻭﺘ ﱢ‬
‫ﻑ ﻋﻥ ﺫﻟﻙ ﺍﻷﻨﻤﻭﺫ ﹺ‬
‫ﻲ ﺇﻟﻰ ﺍﻟﻜﺸ ِ‬
‫ﺴﻌْ ﹺ‬
‫ل ﺍﻟ َ‬
‫ﻓﻲ ﺍﻟﺤﻜ ﹺﻡ ﻋﻠﻰ ﺠﻭﺩﺘِﻪ ﺍﻟﻜﹼﻠ ّﻴـ ِﺔ‪ ،‬ﻤﻥ ﺨﻼ ﹺ‬
‫ﺝ ﻤﻥ ﺘﺄﺜﻴ ﹴﺭ‬
‫ﻥ ﺍﺘﹼﺨﺎﺫﹸﻩ ﻤﻌﻴﺎﺭًﺍ ﻟﻠﺤﻜـ ﹺﻡ ﻋﻠﻰ ﺍﻟﺠﻭﺩ ِﺓ ﺍﻟﺼﻭﺘـ ّﻴ ِﺔ‪ ،‬ﺒﻨﺎ ًﺀ ﻋﻠﻰ ﻤﺎ ﻴﺤﺩﺜﹸﻪ ﻫﺫﺍ ﺍﻷﻨﻤﻭﺫ ُ‬
‫ﻴﻤﻜ ُ‬

‫ﻓﻲ ﺍﻟﻤﺘﻠﻘﹼﻲ‪.‬‬

‫ﺱ‬
‫ﺕ ﺍﻟﺘــﻲ ﺘـﺩﺭ ُ‬
‫ﺕ‪ ،‬ﺃﻫﻤﱡﻬﺎ‪ :‬ﻗﹼﻠ ﹸﺔ ﺍﻟﻤُﺅﻟﱠﻔـﺎ ِ‬
‫ﻑ ﺍﺴﺘﺠﺎﺒ ﹰﺔ ﻟﻌ ّﺩ ِﺓ ﻤﺴﻭّﻏﺎ ٍ‬
‫ﻭﻗﺩ ﺠﺎﺀﺕ ﻫﺫﻩ ﺍﻷﻫـﺩﺍ ﹸ‬
‫ﺹ ﺍﻟﺘﺄﺜﻴﺭ ّﻴـ ِﺔ ﻭﻋﻨﺎﺼﺭﹺﻩ ﺍﻟﺼﻭﺘ ّﻴ ِﺔ‪ ،‬ﻓﻲ ﺍﻟﻤﻜﺘﺒـ ِﺔ ﺍﻟﻠﹼﻐﻭﻴّـ ِﺔ ﺍﻟﻌﺭﺒﻴّـﺔ؛‬
‫ﻥ ﻗﺩﺭ ِﺓ ﺍﻟﻨ ﱢ‬
‫ﺍﻟﻌﻼﻗ ﹶﺔ ﺍﻟﻘﺎﺌﻤ ﹶﺔ ﺒﻴ َ‬

‫ﻥ‪ ،‬ﻜﻤﺤﻤّﺩ ﻤﻨﺩﻭﺭ‪ ،‬ﻭﻤﺤﻤّﺩ ﺍﻟﻨﻭﻴﻬﻲ‪ ،‬ﻭﻤﺤﻤﻭﺩ ﻨﺤﻠﺔ‪ ،‬ﺇﻟﻰ‬

‫ﻥ ﺍﻟﻤﺤﺩﺜﻴـ َ‬
‫ﺽ ﺍﻟﻨﻘﹼﺎ ِﺩ ﻭﺍﻟﺩﺍﺭﺴﻴ َ‬
‫ﺡ ﺒﻌ ﹺ‬
‫ﻭﺠﻨﻭ ُ‬

‫ل ﺍﻟﺘﺄﻁﻴﺭ‪ .‬ﺃﻀﻑﹾ‬
‫ﺕ ﺫﻟﻙ ﻅﺎﻫﺭ ﹰﺓ ﻻﻓﺘ ﹰﺔ ﺘﻘﺒ ُ‬
‫ﺹ ﻭﺩﺭﺍﺴﺘِﻪ؛ ﻓﺒﺎ ﹶ‬
‫ﻲ ﻓـﻲ ﻨﻘ ِﺩ ﺍﻟﻨ ﱢ‬
‫ﺏ ﺍﻟﺼﻭﺘ ﱢ‬
‫ﺍﺴﺘﺨﺩﺍ ﹺﻡ ﺍﻟﺠﺎﻨ ﹺ‬

‫ﺕ ﻟﺯﺍﻤًﺎ ﺃﻥ‬
‫ل ﻤُﻼﺤَﻅ؛ ﻓﺒﺎ ﹶ‬
‫ﺕ ﺍﻟﺼﻭﺘ ّﻴ ِﺔ ﺍﻟﻌﺭﺒ ّﻴ ِﺔ‪ ،‬ﻓـﻲ ﺍﻵﻭﻨ ِﺔ ﺍﻷﺨﻴﺭ ِﺓ ﺒﺸﻜ ﹴ‬
‫ﺇﻟﻰ ﺫﻟﻙ‪ ،‬ﺍﺯﺩﻫﺎ َﺭ ﺍﻟﺩﺭﺍﺴﺎ ِ‬

‫ﺱ ﺍﻷﺜـ َﺭ ﺍﻟـﺫﻱ ﺘﺘﺭﻜﹸـﻪ‬ ‫ل ﺩﺭﺍﺴ ٍﺔ ﻟﻐﻭ ّﻴ ٍﺔ‪ ،‬ﻜﻬﺫﺍ ﺍﻟﺒﺤ ِ‬

‫ﺙ ﺍﻟﺫﻱ ﻴﺩﺭ ُ‬ ‫ﺕ ﻤﻜﺎﻨﹶﻬﺎ ﻓﻲ ﻜ ﱢ‬
‫ﺘﺄﺨ ﹶﺫ ﻫﺫﻩ ﺍﻟﺩﺭﺍﺴﺎ ﹸ‬

‫ﻥ‬
‫ﻑ ﺍﻟﺼـﻭﺘﻴّﻴ ﹺ‬
‫ل ﺍﻟﻘ ّﻭ ِﺓ ﻭﺍﻟﻀـﻌ ِ‬
‫ل ﺩﺭﺍﺴ ِﺔ ﻋﻭﺍﻤ ﹺ‬
‫ﺹ ﻭﻤﺘﻠﻘﹼﻴـﻪ‪ ،‬ﻤﻥ ﺨﻼ ﹺ‬
‫ﺍﻟﻌﻨﺎﺼ ُﺭ ﺍﻟﺼﻭﺘ ّﻴ ﹸﺔ‪ ،‬ﻓـﻲ ﺍﻟﻨ ﱢ‬

‫ﻓﻴﻪ‪.‬‬

‫ﺨﺼُﻬﺎ ﺨﺎﺘﻤﺔﹲ ﻤﻊ ﺇﻴﺭﺍ ِﺩ ﺃﻫـ ﱢﻡ‬

‫ل‪ ،‬ﺘﻠ ﹼ‬
‫ﻲ‪ ،‬ﻓـﻲ ﺜﻼﺜ ِﺔ ﻓﺼﻭ ﹴ‬
‫ﺞ ﺍﻟﺘﻜﺎﻤﻠ ﱢ‬
‫ﺙ ﺫﻭ ﺍﻟﻤﻨﻬ ﹺ‬
‫ﻭﻗﺩ ﺠﺎ َﺀ ﻫﺫﺍ ﺍﻟﺒﺤ ﹸ‬
‫ل‬
‫ﺹ‪ ،‬ﻤـﻥ ﺨـﻼ ﹺ‬
‫ﻥ ﻓﻲ ﺍﻟـﻨ ﱢ‬
‫ﻑ ﺍﻟﺼﻭﺘﻴّﻴ ﹺ‬ ‫ﺱ ﻋﻭﺍﻤـ َ‬
‫ل ﺍﻟﻘ ّﻭ ِﺓ ﻭﺍﻟﻀﻌ ِ‬ ‫ل‪ ،‬ﻓﻴﺩﺭ ُ‬
‫ل ﺍﻷﻭّ ُ‬
‫ﺍﻟﻨﺘﺎﺌﺞ‪ .‬ﺃﻤّﺎ ﺍﻟﻔﺼ ُ‬
‫ﻱ ﺫﺍﺘِﻪ‪ ،‬ﺨﺎﺭﺠـ ﹰﺔ ﻋﻠﻰ ﺴﻴﻁﺭ ِﺓ ﺍﻟﻜﺎﺘـﺏ‪،‬‬
‫ﺕ ﺍﻟﻠﹼﻐﻭ ﱢ‬
‫ﻥ ﻓـﻲ ﺍﻟﺼﻭ ِ‬
‫ﻥ‪ :‬ﺩﺍﺨﻠ ّﻴ ٍﺔ ﺘﻜﻤ ُ‬
‫ﺘﻘﺴﻴﻤِﻬﺎ ﻋﻠﻰ ﻗﺴﻤﻴ ﹺ‬
‫‪،‬‬ ‫ﺢ ﺍﻟﺘﻤﻴﻴﺯ ّﻴ ِﺔ ﻟﻠﺼﻭﺕ )‪ ،(Distinctive Features‬ﻜﺎﻟﺠﻬ ﹺﺭ‪ ،‬ﻭﺍﻟﻬﻤ ﹺ‬
‫ﺱ‪ ،‬ﻭﺍﻟﺘﻔﺨـﻴ ﹺﻡ‬ ‫ل ﻓﻲ ﺍﻟﻤﻼﻤ ﹺ‬
‫ﻭﺘﺘﻤﺜﹼ ُ‬
‫ﺕ ﻏﻴـ ﹺﺭ‬
‫ل ﻓﻲ ﺍﻟﻔﻭﻨﻴﻤﺎ ِ‬
‫ﻕ‪ ،‬ﻭﺍﻻﻨﻔﺠﺎ ﹺﺭ‪ ،‬ﻭﺍﻻﺤﺘﻜﺎﻙ؛ ﻭﺨﺎﺭﺠﻴّـ ٍﺔ ﻴﺴﻴﻁ ُﺭ ﻋﻠﻴﻬﺎ ﺍﻟﻜﺎﺘﺏ‪ ،‬ﻭﺘﺘﻤﺜﹼ ُ‬
‫ﻭﺍﻟﺘﺭﻗﻴ ِ‬
‫ﺏ ﺃﺼﻭﺍﺘﹶﻪ ﻭﻤﻘﺎﻁﻌَﻪ ﺍﻟﺼﻭﺘ ّﻴ ﹶﺔ‪ ،‬ﻤـﻥ ﺠﻬـﺔ‪،‬‬
‫ﺹ‪ ،‬ﻭﻓﻲ ﺍﺨﺘﻴﺎ ﹺﺭ ﺍﻟﻜﺎﺘ ﹺ‬
‫ﺍﻟﺘﺭﻜﻴﺒ ّﻴـ ِﺔ ﺍﻟﻤﺴﺘﺨﺩﻤ ِﺔ ﻓﻲ ﺍﻟﻨ ّ‬
‫ﺱ ﻤﺎ ﺘﺤﺩﺜﹸﻪ‬
‫ل ﺍﻟﺜﺎﻨﻲ‪ ،‬ﻓﻴﺩﺭ ُ‬
‫ﺕ ﻭﺍﻟﻤﻘﺎﻁ َﻊ‪ ،‬ﻤﻥ ﺠﻬ ٍﺔ ﺃﺨﺭﻯ‪ .‬ﻭﺃﻤّﺎ ﺍﻟﻔﺼ ُ‬
‫ﻭﻁﺭﻴﻘ ِﺔ ﺘﻨﻅﻴ ِﻤﻪ ﻫﺫﻩ ﺍﻷﺼﻭﺍ ﹶ‬
‫ﺏ ﺭﺌﻴﺴـ ٍﺔ‪،‬‬
‫ل ﺍﺴﺘﺒﺎﻨ ِﺔ ﺘﺄﺜﻴﺭﹺﻫﺎ ﻓﻲ ﺃﺭﺒﻌ ِﺔ ﺠﻭﺍﻨـ َ‬ ‫ل ﻤﻥ ﺃﺜ ﹴﺭ ﻓﻲ ﺍﻟﻨ ﱢ‬
‫ﺹ ﻭﺍﻟﻤﺘﻠﻘﹼﻲ‪ ،‬ﻤﻥ ﺨﻼ ﹺ‬ ‫ﻫﺫﻩ ﺍﻟﻌﻭﺍﻤ ُ‬
‫ل‬
‫ﻲ‪ .‬ﻭﺃﻤّﺎ ﺍﻟﻔﺼـ ُ‬
‫ﺏ ﺍﻟﺩﻻﻟـ ّ‬
‫ﻲ‪ ،‬ﻭﺍﻟﺠﺎﻨ ُ‬
‫ﺏ ﺍﻟﻤﻭﺴﻴﻘ ﱡ‬
‫ﻲ‪ ،‬ﻭﺍﻟﺠﺎﻨ ُ‬
‫ﺏ ﺍﻟﺴﻤﻌ ﱡ‬
‫ﻲ‪ ،‬ﻭﺍﻟﺠﺎﻨ ُ‬
‫ﺏ ﺍﻟﻨﻁﻘ ﱡ‬
‫ﻭﻫﻲ‪ :‬ﺍﻟﺠﺎﻨ ُ‬
‫ﻥ‬
‫ﺽ ﻗﺼﺎ ﹺﺭ ﺴـﻭ ﹺﺭ ﺍﻟﻘـﺭﺁ ﹺ‬
‫ل ﺒﻌ ﹺ‬
‫ﻥ‪ ،‬ﺩﺭﺍﺴ ﹰﺔ ﺘﻁﺒﻴﻘ ّﻴ ﹰﺔ‪ ،‬ﺒﺘﺤﻠﻴ ﹺ‬
‫ﻥ ﺍﻟﺴﺎﺒﻘﻴ ﹺ‬
‫ﺍﻷﺨﻴ ُﺭ‪ ،‬ﻓﻴﻘﺩّ ُﻡ ﻤﺴﺘﻨﻴﺭًﺍ ﺒﺎﻟﻔﺼﻠﻴ ﹺ‬
‫ل‪ ،‬ﻭﺍﻟ ﹼﻨـﺎﺱ‪.‬‬
‫ﺍﻟﻜﺭﻴ ﹺﻡ ﺼﻭﺘﻴ‪‬ﺎ‪ ،‬ﻜﺴﻭﺭ ِﺓ ﺍﻟﻌﺼ ﹺﺭ‪ ،‬ﻭﺍﻟﻔﻴـ ﹺ‬
‫‪2‬‬
‫ﺙ ﺃﻫ ّﻤ ّﻴﺘﹸﻪ ﺍﻟﺘﻲ ﻴﺴﺘﻤﺩﱡﻫﺎ ﻤﻥ ﺠﻬ ٍﺔ‪ ،‬ﻤﻥ ﻋﻠ ﹺﻡ ﺍﻷﺼﻭﺍﺕ )‪(Phonetics‬؛ ﻓﻴﻌ ﱡﺩ ﻋﻠﻤـﺎ ُﺀ‬
‫ﻭﻟﻬﺫﺍ ﺍﻟﺒﺤ ِ‬

‫ﺕ‬
‫ل ﺃﺼﻐ َﺭ ﻭﺤـﺩﺍ ِ‬
‫ل ﺨﻁﻭ ٍﺓ ﻓﻲ ﺃ ّﻴ ِﺔ ﺩﺭﺍﺴ ٍﺔ ﻟﻐﻭﻴّﺔ؛ ﻷﻨﱠﻬﺎ ﺘﺘﻨﺎﻭ ُ‬
‫ﺕ ﺃ ّﻭ َ‬
‫ﻥ ﺩﺭﺍﺴ ﹶﺔ ﺍﻷﺼﻭﺍ ِ‬
‫ﺍﻟﹼﻠﻐ ِﺔ ﺍﻟﻤﺤﺩﺜﻭ َ‬

‫ﻲ)‪ .(1‬ﻭﻤﻥ ﺠﻬ ٍﺔ ﺃﺨﺭﻯ‪ ،‬ﻴﺴﺘﻤﺩﱡﻫﺎ‬

‫ل ﺍﻟﻤﺎ ّﺩ ﹶﺓ ﺍﻟﺨـﺎ َﻡ ﻟﻠﻜﻼ ﹺﻡ ﺍﻹﻨﺴﺎﻨ ّ‬
‫ﺕ‪ ،‬ﺍﻟﺫﻱ ﻴﻤﺜﹼ ُ‬
‫ﺍﻟﻠﹼﻐﺔ‪ ،‬ﺃﻻ ﻭﻫﻲ ﺍﻟﺼﻭ ﹸ‬
‫ﺹ ﻭﻨﻘـﺩِﻩ‪ ،‬ﻴﺴـﺘﻤ ﱡﺩ ﺃﺼـﻭﻟﹶﻪ ﻤـﻥ ﻋﻠـ ﹺﻡ‬
‫ﺞ ﺠﺩﻴ ِﺩ ﺍﻟﻌﻬ ِﺩ‪ ،‬ﻓﻲ ﺩﺭﺍﺴ ِﺔ ﺍﻟﻨ ﱢ‬
‫ﻤﻥ ﺇﺴﻬﺎﻤِﻪ ﻓﻲ ﺒﻠﻭﺭ ِﺓ ﻤﻨﻬ ﹴ‬

‫ﻼ‪ ،‬ﻓـﻲ‬
‫ﺞ ﻤـﺜ ﹰ‬
‫ﺱ ﻭﻓﻬﻤِﻪ؛ ﻓﻴﺴﻬ ُﻡ ﻫﺫﺍ ﺍﻟﻤﻨﻬ ُ‬
‫ﺹ ﺍﻟﻤﺩﺭﻭ ﹺ‬
‫ﻕ ﻗﺩﺭ ﹰﺓ ﺃﻜﺒ َﺭ ﻋﻠﻰ ﺘﻔﺴﻴ ﹺﺭ ﺍﻟﻨ ﱢ‬
‫ﺍﻷﺼﻭﺍﺕ؛ ﻟﻴﺤ ﹼﻘ ﹶ‬

‫ل‬
‫ﺕ ﻫﻲ ﻤﻅﻬ ُﺭ ﺍﻻﻨﻔﻌﺎ ﹺ‬
‫ﻥ ﻤﺎ ّﺩ ﹶﺓ ﺍﻟﺼﻭ ِ‬
‫ﺱ ﻴﺨﻔﻰ ﺃ ﱠ‬
‫ﻑ ﻋﻥ ﺍﻟﺤﺭﻜ ِﺔ ﺍﻻﻨﻔﻌﺎﻟ ّﻴ ِﺔ ﻓﻲ ﺍﻟﻨﺼﻭﺹ؛ ﻓـ))ﻟﻴ َ‬
‫ﺍﻟﻜﺸ ِ‬
‫ﺕ‪ ،‬ﺒﻤﺎ ﻴُﺨﺭﺠُﻪ ﻓﻴـﻪ ﻤـﺩ‪‬ﺍ‪ ،‬ﺃﻭ‬
‫ل ﺒﻁﺒﻴﻌﺘِﻪ‪ ،‬ﺇﻨﹼﻤﺎ ﻫﻭ ﺴﺒﺏٌ ﻓﻲ ﺘﻨﻭﻴ ﹺﻊ ﺍﻟﺼﻭ ِ‬
‫ﻥ ﻫﺫﺍ ﺍﻻﻨﻔﻌﺎ َ‬
‫ﻲ‪ ،‬ﻭﺃ ﱠ‬
‫ﺍﻟﻨﻔﺴ ّ‬

‫ﺕ ﺍﻟﻤﺨﺘﻠﻔ ِﺔ ﻓﻲ ﺍﻀﻁﺭﺍﺒﹺﻪ ﻭﺘﺘﺎﺒﻌِﻪ ﻋﻠـﻰ ﻤﻘـﺎﺩﻴ َﺭ‬

‫ﺊ ﻟﻪ ﻤﻥ ﺍﻟﺤﺭﻜﺎ ِ‬
‫ﻏ ﹼﻨ ﹰﺔ‪ ،‬ﺃﻭ ﻟﻴﻨﹰﺎ‪ ،‬ﺃﻭ ﺸﺩّﺓ؛ ﻭﺒﻤﺎ ﻴُﻬﻴّ ُ‬

‫ﺱ ﻤﻥ ﺃﺼﻭﻟِﻬﺎ(()‪.(2‬‬
‫ﺏ ﻤﺎ ﻓﻲ ﺍﻟﻨﻔ ﹺ‬
‫ﺘﻨﺎﺴ ُ‬

‫ﺕ ﺠﺩﻴﺩ ٍﺓ‪ ،‬ﻴﺜﺭﻯ ﺒﻬﺎ‬

‫ﺙ ﻜﺫﻟﻙ‪ ،‬ﻤﻤّﺎ ﻗ ّﺩﻤَﻪ – ﻓﻲ ﺤﺩﻭ ِﺩ ﺍﻁﹼﻼﻋﻲ ‪ -‬ﻤﻥ ﺇﻀﺎﺀﺍ ٍ‬
‫ﻭﺘﺄﺘﻲ ﺃﻫ ّﻤ ّﻴ ﹸﺔ ﺍﻟﺒﺤ ِ‬

‫ﻱ‬
‫ﺢ ﺍﻟﺘﻤﻴﻴـﺯ ﱢ‬
‫ﻲ ﻤﻥ ﺠﻬ ٍﺔ ﺃﺨﺭﻯ‪ ،‬ﻜﺘﺒﺭﻴﺭﹺﻩ ﻗ ّﻭ ﹶﺓ ﺍﻟﻤﻠﻤ ﹺ‬
‫ﺹ ﺍﻟﺼﻭﺘ ﱡ‬
‫ل ﺍﻟﻨ ﱢ‬
‫ﺕ ﻤﻥ ﺠﻬﺔ‪ ،‬ﻭﺘﺤﻠﻴ ُ‬
‫ﻋﻠ ُﻡ ﺍﻷﺼﻭﺍ ِ‬

‫ﻥ‪ :‬ﺍﻟﻬﻤﺯ ِﺓ ﻭﺍﻟﺠﻴــ ﹺﻡ‪ ،‬ﻓــﻲ ﺍﻟﻭﻀـﻭ ﹺ‬

‫ﺡ‬ ‫ﺃﻭ ﻀﻌ ﹶﻔﻪ‪ ،‬ﻤﻥ ﺍﻟﻨﺎﺤﻴ ِﺔ ﺍﻟﻌﻠﻤﻴّﺔ؛ ﻭﺘﺤﺩﻴـﺩِﻩ ﺭﺘﺒ ﹶﺔ ﺍﻟﺼﻭﺘﻴ ﹺ‬

‫ﻥ‬
‫ﻲ؛ ﻓﺘﻜـﻭ ُ‬
‫ﻕ ﺍﻟﺸﺨﺼ ّ‬
‫ﺱ ﻋﻥ ﺘﺤ ﹼﻜ ﹺﻡ ﺍﻟﺫﻭ ِ‬
‫ﻲ ﺍﻟﺘﻲ ﺘﺒﻌ ُﺩ ﺍﻟﺩﺍﺭ َ‬
‫ل ﺍﻟﺼﻭﺘ ﱢ‬
‫ﻲ؛ ﻭﺭﺴﻤِﻪ ﻫﻴﻜﻠ ّﻴ ﹶﺔ ﺍﻟﺘﺤﻠﻴ ﹺ‬
‫ﺍﻟﺴﻤﻌ ّ‬

‫ﻕ‪ ،‬ﻭﺃﻜﺜ َﺭ ﻤﻭﻀﻭﻋﻴّﺔ‪.‬‬

‫ﺩﺭﺍﺴﺘﹸﻪ ﺒﺫﻟﻙ ﺃﺩ ﱠ‬

‫ﺕ‬
‫ﷲ – ﺴﺒﺤﺎﻨﹶﻪ – ﺇﻟﻴﻪ ﻤـﻥ ﺩﺭﺍﺴـﺎ ٍ‬
‫ﻻ ﺒﻤﺎ ﻫﺩﺍﻨﻲ ﺍ ُ‬
‫ﻭﺃﺨﻴﺭًﺍ‪ ،‬ﻟﻡ ﺘﻜﻥْ ﻫـﺫﻩ ﺍﻟﺩﺭﺍﺴـ ﹸﺔ ﻟﺘﻘﻭ َﻡ‪ ،‬ﺇ ﹼ‬
‫ﻗﻴّﻤ ٍﺔ ﺴﺎﺒﻘـ ٍﺔ‪ ،‬ﻓـﻲ ﺍﻟﻤﻀﻤﺎ ﹺﺭ ﺫﺍ ِﺘـﻪ‪ ،‬ﻤﻬّﺩﺕﹾ ﻟﻲ ﺍﻟﻁﺭﻴﻕ‪ ،‬ﻜﻜﺘﺎ ﹺ‬
‫ﺏ ﺍﻟﺩﻜﺘﻭ ﹺﺭ ﺇﺒﺭﺍﻫﻴﻡ ﺃﻨﻴﺱ )ﻤﻭﺴﻴﻘﻰ‬

‫ﺏ ﺍﻟﹼﻠﻐ ِﺔ‬
‫ﺕ ﺍﻟﻠﹼﻐﻭﻴّﺔ‪ ،‬ﻴﻨﺘﻔ ُﻊ ﺒﻪ ﻁﺎﻟ ُ‬
‫ﺴﺱٌ ﻋﻠﻰ ﺍﻟﺩﺭﺍﺴ ِﺔ ﺍﻟﺤﺩﻴﺜ ِﺔ ﻟﻸﺼﻭﺍ ِ‬
‫ﻲ ﻤﺅ ّ‬
‫ﺸﻌْﺭ(؛ ﻓﻬﻭ ))ﺒﺤﺙﹲ ﻋﻠﻤ ﱞ‬
‫ﺍﻟ ﱢ‬

‫ﻭﺍﻟﻤﺤﺩﺜﻴــﻥ(()‪(3‬؛‬ ‫ﻱ ﻋﻨ َﺩ ﺍﻟﻘﺩﻤـﺎ ِﺀ‬

‫ﺞ ﺍﻟﺸﻌﺭ ﱢ‬
‫ﺽ ﺃﺴﺭﺍ ﹺﺭ ﺍﻟ ﱠﻨﺴْ ﹺ‬
‫ﻓﻲ ﺩﺭﺍﺴﺎﺘِﻪ ﺍﻟﺠﺎﻤﻌﻴّﺔ‪ ،‬ﻭﻴﻭﻗﻔﹸﻪ ﻋﻠﻰ ﺒﻌ ﹺ‬
‫ل ﺃﻥ ﻴﺨﻁ َﻭ‬
‫ﻲ(‪ ،‬ﺍﻟﺫﻱ ))ﻴﺤﺎﻭ ُ‬
‫ﺸﻌْ ﹺﺭ ﺍﻟﻌﺭﺒ ّ‬
‫ﻲ ﻴﻭﻨﺱ )ﻨﻅﺭﺓﹲ ﺠﺩﻴﺩﺓﹲ ﻓﻲ ﻤﻭﺴﻴﻘﻰ ﺍﻟ ﱢ‬
‫ﺏ ﺍﻟﺩﻜﺘـﻭ ﹺﺭ ﻋﻠ ّ‬
‫ﻭﻜﺘﺎ ﹺ‬

‫ل ﺩﺭﺍﺴﺘِﻪ‪،‬‬
‫ﻓـﻲ ﻤﺠﺎ ﹺ‬ ‫ﻜﺒﺎﺭٌ(()‪،(4‬‬ ‫ل ﺍﻟﺫﻱ ﻓﺘﺤَﻪ ﻭﻤ ّﻬﺩَﻩ ﺭ ّﻭﺍﺩٌ‬
‫ﻕ ﺍﻟﻁﻭﻴ ﹺ‬
‫ﺕ‪ ،‬ﻋﻠـﻰ ﺍﻟﻁﺭﻴ ِ‬
‫ﺨﻁﻭ ﹰﺓ ﺃﻭ ﺨﻁﻭﺍ ٍ‬

‫)‪(1‬‬
‫ﻱ ﻋﻨﺩ ﺍﻟﻌﺭﺏ‪ .‬ﻁ‪ .6‬ﺍﻟﻘﺎﻫﺭﺓ‪ :‬ﻋﺎﻟﻡ ﺍﻟﻜﺘﺏ‪ .1988 .‬ﺹ‪.93‬‬
‫ﻋﻤﺭ‪ ،‬ﺃﺤﻤﺩ ﻤﺨﺘﺎﺭ‪ :‬ﺍﻟﺒﺤﺙ ﺍﻟﻠﹼﻐﻭ ّ‬
‫)‪(2‬‬
‫ﻲ‪ .2005 .‬ﺹ‪.149‬‬
‫ﺍﻟﺭﺍﻓﻌﻲ‪ ،‬ﻤﺼﻁﻔﻰ ﺼﺎﺩﻕ‪ :‬ﺇﻋﺠﺎﺯ ﺍﻟﻘﺭﺁﻥ ﻭﺍﻟﺒﻼﻏﺔ ﺍﻟﻨﺒﻭﻴّﺔ‪ .‬ﺒﻴﺭﻭﺕ‪ :‬ﺩﺍﺭ ﺍﻟﻜﺘﺎﺏ ﺍﻟﻌﺭﺒ ّ‬
‫)‪(3‬‬
‫ﺃﻨﻴﺱ‪ ،‬ﺇﺒﺭﺍﻫﻴﻡ‪ :‬ﻤﻭﺴﻴﻘﻰ ﺍﻟﺸﻌﺭ‪ .‬ﻁ‪ .2‬ﺍﻟﻘﺎﻫﺭﺓ‪ :‬ﻤﻜﺘﺒﺔ ﺍﻷﻨﺠﻠﻭ ﺍﻟﻤﺼﺭﻴّﺔ‪ .1952 .‬ﺹ‪.3‬‬
‫)‪(4‬‬
‫ﻲ‪ .‬ﺍﻟﻬﻴﺌﺔ ﺍﻟﻤﺼﺭﻴّﺔ ﺍﻟﻌﺎﻤّﺔ ﻟﻠﻜﺘﺎﺏ‪ .1993 .‬ﺹ‪.16‬‬
‫ﻲ‪ :‬ﻨﻅﺭﺓ ﺠﺩﻴﺩﺓ ﻓﻲ ﻤﻭﺴﻴﻘﻰ ﺍﻟﺸﻌﺭ ﺍﻟﻌﺭﺒ ّ‬
‫ﻴﻭﻨﺱ‪ ،‬ﻋﻠ ّ‬
‫‪3‬‬
‫ﺏ ﺍﻟﺩﻜﺘﻭ ﹺﺭ ﻤﺤﻤّﺩ‬
‫ﺕ ﺍﻟﺘﻲ ﻜﺎﻨﺕﹾ ﻟﻲ ﻋﻀﺩًﺍ‪ ،‬ﻜﺘﺎ ُ‬
‫ﻜﺎﻟﺩﻜﺘﻭ ﹺﺭ ﺇﺒﺭﺍﻫﻴﻡ ﺃﻨﻴﺱ ﺒﻜﺘﺎﺒﹺﻪ ﺍﻟﺴﺎﺒﻕ‪ .‬ﻭﻤﻥ ﺍﻟﺩﺭﺍﺴﺎ ِ‬

‫ﺕ ﻤﻨﻪ؛ ﻓﻬﻭ‬
‫ل ﺍﻟﺫﻱ ﺃﻓﺩ ﹸ‬
‫ﻥ ﻓﺼﻠِﻪ ﺍﻷ ّﻭ ﹺ‬
‫ل ﻋﻨﻭﺍﻨﹸﻪ ﻋﻨﻭﺍ َ‬
‫ﺼﺎﻟﺢ ﺍﻟﻀﺎﻟﻊ )ﺍﻷﺴﻠﻭﺒﻴّ ﹸﺔ ﺍﻟﺼﻭﺘﻴّﺔ(‪ ،‬ﺍﻟﺫﻱ ﻴﻤﺜﹼ ُ‬

‫ﺹ ﺍﻟﺸﻌﺭ ّﻴ ِﺔ‪ ،‬ﻤﻥ‬

‫ﺕ ﺍﻟﻨﺼﻭ ﹺ‬
‫ﻲ ﻷﺼﻭﺍ ِ‬
‫ل ﺍﻷﺴﻠﻭﺒ ﱠ‬
‫ﺱ ﻗﻀﺎﻴﺎ ﺍﻟﺭﻤﺯ ّﻴ ِﺔ ﺍﻟﺼﻭﺘ ّﻴ ِﺔ‪ ،‬ﻤﻥ ﻨﺎﺤﻴﺔ‪ ،‬ﻭﺍﻟﺘﺤﻠﻴ َ‬
‫ﻴﺩﺭ ُ‬
‫ﻨﺎﺤﻴ ٍﺔ ﺃﺨﺭﻯ)‪.(1‬‬

‫ﺏ ﺩﻋـﻭ ﹶﺓ‬
‫ل ﻓـﻲ ﻫﺫﻩ ﺍﻟﺩﺭﺍﺴـ ِﺔ ﻤﺎ ﻴﻨﻔ ُﻊ ﺍﻟﻌﺭﺒﻴّـ ﹶﺔ ﻭﺃﻫﻠﹶﻬﺎ‪ .‬ﺇﻨﱠﻪ ﻗﺭﻴﺏٌ ﻴﺠﻴ ُ‬
‫ل ﺃﻥ ﻴﺠﻌ َ‬
‫ﷲ ﺃﺴﺄ ُ‬
‫ﻭﺍ َ‬

‫ﺍﻟﺩّﺍﻋﻲ ﺇﺫﺍ ﺩﻋﺎﻩ‪.‬‬

‫)‪(1‬‬
‫ﺍﻟﻀﺎﻟﻊ‪ ،‬ﻤﺤﻤّﺩ ﺼﺎﻟﺢ‪ :‬ﺍﻷﺴﻠﻭﺒﻴّﺔ ﺍﻟﺼﻭﺘﻴّﺔ‪ .‬ﺹ‪.5‬‬
‫‪4‬‬
 ‫ﺍﻟﺸﻜل )‪ :(1‬ﻤﺨﺎﺭﺝ ﺃﺼﻭﺍﺕ ﺍﻟﻌﺭﺒﻴّﺔ‬

‫‪ .11‬ﻟﺴﺎﻥ ﺍﻟﻤﺯﻤﺎﺭ‪.‬‬ ‫‪ .6‬ﺍﻟﻐﺎﺭ )ﺍﻟﺤﻨﻙ ﺍﻟﺼﻠﺏ(‪.‬‬ ‫‪ .1‬ﺍﻟﺸﻔﺔ ﺍﻟﻌﻠﻴﺎ‪.‬‬

‫‪ .12‬ﺍﻟﺤﻨﺠﺭﺓ‪.‬‬ ‫‪ .7‬ﺴﻘﻑ ﺍﻟﺤﻨﻙ‪.‬‬ ‫‪ .2‬ﺍﻟﺸﻔﺔ ﺍﻟﺴﻔﻠﻰ‪.‬‬

‫‪ .13‬ﺍﻟﻭﺘﺭﺍﻥ ﺍﻟﺼﻭﺘﻴّﺎﻥ‪.‬‬ ‫‪ .8‬ﺍﻟﻁﺒﻕ )ﺍﻟﺤﻨﻙ ﺍﻟﻠﻴّﻥ(‪.‬‬ ‫‪ .3‬ﺍﻷﺴﻨﺎﻥ ﺍﻟﻌﻠﻴﺎ‪.‬‬

‫‪ .14‬ﺍﻟﺒﻠﻌﻭﻡ‪.‬‬ ‫‪ .9‬ﺍﻟﻠﹼﻬﺎﺓ‪.‬‬ ‫‪ .4‬ﺍﻷﺴﻨﺎﻥ ﺍﻟﺴﻔﻠﻰ‪.‬‬

‫‪ .15‬ﻤﻤ ّﺭ ﺍﻟﻬﻭﺍﺀ‪.‬‬ ‫‪ .10‬ﺍﻟﺤﻠﻕ‪.‬‬ ‫‪ .5‬ﺍﻟﺤﺎﻓﺔ ﺍﻟﻠﹼﺜﻭﻴّﺔ‪.‬‬

‫‪5‬‬
 ‫ﺍﻟﺠﺩﻭل )‪ :(1‬ﺭﻤﻭﺯ ﺍﻟﻜﺘﺎﺒﺔ ﺍﻟﺼﻭﺘﻴّﺔ ﻷﺼﻭﺍﺕ ﺍﻟﻌﺭﺒﻴّﺔ‬

‫ﺍﻟﺭﻤﺯ‬ ‫ﺍﻟﺼﺎﻤﺕ‬ ‫ﺍﻟﺭﻤﺯ‬ ‫ﺍﻟﺼﺎﻤﺕ‬

‫ﻍ‬ ‫ﺀ‬
‫‪f‬‬ ‫ﻑ‬ ‫‪b‬‬ ‫ﺏ‬
‫‪q‬‬ ‫ﻕ‬ ‫‪t‬‬ ‫ﺕ‬
‫‪k‬‬ ‫ﻙ‬ ‫‪θ‬‬ ‫ﺙ‬
‫‪l‬‬ ‫ل‬ ‫‪:‬‬ ‫ﺝ‬
‫‪m‬‬ ‫ﻡ‬ ‫ﺡ‬
‫‪n‬‬ ‫ﻥ‬ ‫‪x‬‬ ‫ﺥ‬
‫‪h‬‬ ‫ﻫـ‬ ‫‪d‬‬ ‫ﺩ‬
‫ﺍﻟﺭﻤﺯ‬ ‫ﻨﺼﻑ ﺍﻟﺤﺭﻜﺔ‬ ‫ﺫ‬
‫‪w‬‬ ‫ﻭ‬ ‫‪r‬‬ ‫ﺭ‬
‫‪y‬‬ ‫ﻱ‬ ‫‪z‬‬ ‫ﺯ‬
‫ﺍﻟﺭﻤﺯ‬ ‫ﺍﻟﺤﺭﻜﺔ‬ ‫‪s‬‬ ‫ﺱ‬
‫‪i‬‬ ‫ﺍﻟﻜﺴﺭﺓ ﺍﻟﻘﺼﻴﺭﺓ‬ ‫ﺵ‬
‫‪ii‬‬ ‫ﺍﻟﻜﺴﺭﺓ ﺍﻟﻁﻭﻴﻠﺔ‬ ‫ﺹ‬
‫‪a‬‬ ‫ﺍﻟﻔﺘﺤﺔ ﺍﻟﻘﺼﻴﺭﺓ‬ ‫ﺽ‬
‫‪aa‬‬ ‫ﺍﻟﻔﺘﺤﺔ ﺍﻟﻁﻭﻴﻠﺔ‬ ‫ﻁ‬
‫‪u‬‬ ‫ﺍﻟﻀﻤّﺔ ﺍﻟﻘﺼﻴﺭﺓ‬ ‫ﻅ‬
‫‪uu‬‬ ‫ﺍﻟﻀﻤّﺔ ﺍﻟﻁﻭﻴﻠﺔ‬ ‫‪c‬‬ ‫ﻉ‬

‫‪6‬‬
 ‫ﺍﻟﻔﺼ ُل ﺍﻷﻭّل‬

‫ﺹ‬
‫ﻥ ﻓﻲ ﺍﻟﻨ ّ‬
‫ﻑ ﺍﻟﺼﻭﺘﻴّﻴ ﹺ‬
‫ﻋﻭﺍﻤ ُل ﺍﻟﻘ ّﻭ ِﺓ ﻭﺍﻟﻀﻌ ِ‬

‫‪7‬‬
 ‫ﺍﻟﻔﺼ ُل ﺍﻷﻭّل‬

‫ﺹ‬
‫ﻥ ﻓﻲ ﺍﻟﻨ ّ‬
‫ﻑ ﺍﻟﺼﻭﺘﻴّﻴ ﹺ‬
‫ﻋﻭﺍﻤ ُل ﺍﻟﻘ ّﻭ ِﺓ ﻭﺍﻟﻀﻌ ِ‬

‫ﻙ‬
‫ﺕ ﻤﻀﻤﻭﻨﹶﻬﺎ؛ ﻓﻴﻔﻌﻤُﻙ ﺫﺍﻙ ﺒﺎﻟﺴـﻌﺎﺩﺓ‪ ،‬ﻟﻜﻨﹼـ َ‬
‫ﻥ ﺃﻨ ﹶ‬
‫ﺙ ﻴﻭﻤًﺎ‪ ،‬ﺃﻥْ ﺘﻤ ﱠﺭ ﺒﺘﺠﺭﹺﺒ ٍﺔ ﻓ ﹼﻨّﻴ ٍﺔ‪ ،‬ﺘﻜﻭ ُ‬
‫ﻗﺩ ﻴﺤﺩ ﹸ‬
‫ﻙ ﻜﻤﺎ ﻴﻨﺒﻐـﻲ‪ .‬ﻓﺘﺨﻴّـلْ‬
‫ﻥ ﺘﻠﻙ ﺍﻟﺘﺠﺭﹺﺒ ﹶﺔ‪ ،‬ﻻ ﺘﻤﺜﹼـﹸﻠ َ‬
‫ﺕﺃّ‬
‫ل ﺇﻟﻰ ﻨﺎﻗ ٍﺩ ﺴﻠﻴﻁ؛ ﺇﺫﺍ ﺍﻜﺘﺸﻔ ﹶ‬
‫ﻥ ﻤﺎ ﺘﺘﺤﻭّ ُ‬
‫ﺴﺭﻋﺎ َ‬
‫ﺕ‪ ،‬ﻭﺃﻁﻠﻌَـﻙ‬
‫ﻍ ﻤﻥ ﻟﻭﺤﺘِﻪ ﺍﻟﺘﻲ ﻫﻲ ﺃﻨ ﹶ‬
‫ﺕ ﺃﻤﺎ َﻡ ﺭﺴّﺎ ﹴﻡ‪ ،‬ﻭﺼﻔﻭﻩ ﻟﻙ ﺒﺎﻟﻤﺎﻫ ﹺﺭ؛ ﻟﻴﺭﺴﻤَﻙ‪ ،‬ﻓﻔﺭ ﹶ‬
‫ﻙ ﻭﻗﻔ ﹶ‬
‫ﺴ َ‬
‫ﻨﻔ َ‬
‫ﺕ ﺃﻨﹼﻬﺎ ﺘﻭﺍﻓﻘﹸﻙ ﻤﻀـﻤﻭﻨﹰﺎ‪،‬‬
‫ﻼ‪ ،‬ﻭﺃﺤﺴﺴ ﹶ‬
‫ﻙ ﺃﻨﹼﻙ ﺴﺘﺴ ﱡﺭ ﺒﻬﺫﻩ ﺍﻟﻠﻭﺤ ِﺔ ﺇﻥ ﻁﺎﺒﻘﺘﻙ ﺸﻜ ﹰ‬
‫ﻋﻠﻰ ﺇﺒﺩﺍﻋِﻪ‪ .‬ﻻ ﺸ ﱠ‬
‫ﻥ ﻀـﺩﱠﻩ‬
‫ﺽ ﺃﻥ ﻴﻜﻭ َ‬
‫ﺕ ﻓﻲ ﺃﻟﻭﺍﻨِﻬﺎ‪ ،‬ﻜﺄﻥْ ﺘﺭﻯ ﻟﻭﻨﹰﺎ ﺒﺎﻫﺘﹰﺎ‪ ،‬ﻤﻥ ﺍﻟﻤﻔﺭﻭ ﹺ‬
‫ﺕ ﻟﻬﻔﻭﺍ ٍ‬
‫ﻟﻜﻨﹼﻙ ﺴﺘﺴﺎ ُﺀ ﺇﻥ ﺍﻨﺘﺒﻬ ﹶ‬
‫ﻕ ﻜﻤﺎ ﻴﺠـﺏ‪...‬؛‬
‫ﻥ ﻏﻴ َﺭ ﻤﺘﻨﺎﺴ ٍ‬
‫ﺽ ﺍﻷﻟﻭﺍ ﹺ‬
‫ﻑ ﺒﻌ َ‬
‫ﻓﻲ ﻤﻭﻀﻌِﻪ‪ ،‬ﺃﻭ ﺘﺭﻯ ﻟﻭﻨﹰﺎ ﻓﻲ ﻏﻴ ﹺﺭ ﻤﻜﺎﻨِﻪ‪ ،‬ﺃﻭ ﺘﻜﺘﺸ ﹶ‬
‫ل ﻭﺍﻟﻤﻀﻤﻭﻥ‪.‬‬
‫ﻲ‪ ،‬ﻓﻲ ﺍﻟﺸﻜ ﹺ‬
‫ﻥ ﻤﻥ ﺩﻭ ﹴﺭ ﺠﻠ ﱟ‬
‫ﻭﺫﻟﻙ ﻟﻤﺎ ﻟﻸﻟﻭﺍ ﹺ‬

‫ﺕ ﻓـﻲ‬
‫ﻥ ﻓﻲ ﺍﻟﻠﹼﻭﺤﺔ‪ ،‬ﻫﻭ ﺍﻟﺩﻭ ُﺭ ﺫﺍﺘﹸﻪ‪ ،‬ﺍﻟﺫﻱ ﺘﻘﻭ ُﻡ ﺒﻪ ﺍﻷﺼﻭﺍ ﹸ‬
‫ﻥ ﻫﺫﺍ ﺍﻟﺩﻭ َﺭ ﺍﻟﺫﻱ ﺘﻘﻭ ُﻡ ﺒﻪ ﺍﻷﻟﻭﺍ ُ‬
‫ﺇﱠ‬
‫ﺕ‬
‫ﻥ ﺍﻷﺼـﻭﺍ ﹶ‬
‫ل‪ ،‬ﻭﻭﺠﻬُﻬﺎ ﺍﻵﺨ ُﺭ ﺍﻟﺩﻻﻟـﺔ‪ ،‬ﻓـﺈ ﱠ‬
‫ل ﺍﻟﺸﻜ ُ‬
‫ﻋﻤْـﻠ ﹰﺔ‪ ،‬ﻭﺠﻬُﻬﺎ ﺍﻷﻭّ ُ‬
‫ﺹ ُ‬
‫ﻥ ﺍﻟﻨ ﱡ‬
‫ﺹ؛ ﻓﺈﺫﺍ ﻜﺎ َ‬
‫ﺍﻟﻨ ّ‬
‫ﻉ‪ ،‬ﺃﻥ‬
‫ﻥ ﺍﻟﻔﺭ ﹺ‬ ‫ﺕ ﺍﻷﻭﻟﻰ‪ ،‬ﺍﻟﺘﻲ ﺘﺘﻜﻭّ ُ‬
‫ﻥ ﻤﻨﻬﺎ ﺍﻟﻨﺼﻭﺹ‪ .‬ﻭﻤﻥ ﺸﺄ ﹺ‬ ‫ﻥ ﻫﺫﻩ ﺍﻟ ُﻌﻤْـﻠﺔ؛ ﺒﺼﻔﺘِﻬﺎ ﺍﻟﻭﺤﺩﺍ ِ‬
‫َﻤﻌْ ِﺩ ُ‬
‫ﺹ ﻭﻤﻀﻤﻭﻨِﻪ‪ ،‬ﻭﻤـﻥ‬
‫ل ﺍﻟﻨ ﱢ‬
‫ل ﻓﻲ ﺸﻜ ﹺ‬
‫ﺕ ﺒﺫﻟﻙ‪ ،‬ﺍﻟﺘﺄﺜﻴ ُﺭ ﺍﻷﻭّ ُ‬
‫ﻥ ﻟﻸﺼﻭﺍ ِ‬
‫ﺹ ﺍﻷﺼل؛ ﻟﻴﻜﻭ َ‬
‫ل ﺨﺼﺎﺌ َ‬
‫ﻴﺤﻤ َ‬
‫ﺜ ﱠﻡ ﻓﻲ ﺍﻟﻤﺘﻠﻘﹼﻲ‪.‬‬

‫ﺕ‬
‫ل ﻓﻲ ﻨﺼﱢﻪ‪ ،‬ﻏﻴﺭﺘﹶﻙ ﻋﻠـﻰ ﺘﻠـﻙ ﺍﻟﻠﹼﻭﺤـ ِﺔ‪ ،‬ﺍﻟﺘـﻲ ﻜﻨـ ﹶ‬
‫ﻕ‪ ،‬ﻫﻭ ﺫﺍﻙ ﺍﻟﺫﻱ ﻴﺤﻤ ُ‬
‫ﺏ ﺍﻟﺤ ﱡ‬
‫ﻭﺍﻟﻜﺎﺘ ُ‬
‫ﻲ‬
‫ﺱ ﺍﻟﺩﻻﻟ ﱡ‬ ‫ﺞ ﻨﺼﱠﻪ ﻤﻌﺎﻟﺠ ﹰﺔ ﺼﻭﺘ ّﻴ ﹰﺔ ﻤﺘﻜﺎﻤﻠـﺔ‪ ،‬ﻴﺘﺤﻘﹼ ﹸ‬
‫ﻕ ﺒﻬﺎ ﺍﻟﺘﻨﺎﻏ ُﻡ ﺍﻟﻼﻓﺕ‪ ،‬ﻭﺍﻻﻨﻌﻜﺎ ُ‬ ‫ﻤﻀﻤﻭﻨﹶﻬﺎ؛ ﻓﻴﻌﺎﻟ ُ‬
‫ﺍﻟﻭﺍﺴﻊ؛ ﻟﻴﺨﺭﺠَﻪ ﺒﺫﻟﻙ‪ ،‬ﻋﻠﻰ ﺃﺘ ﱢﻡ ﻭﺠ ٍﻪ ﻤﻥ ﺍﻟﺩ ﹼﻗ ِﺔ ﻭﺍﻟﺠﻤﺎل‪.‬‬

‫ﻥ ﻤـﻥ‬
‫ﺹ‪ ،‬ﻭﻓﻲ ﺍﻟﻤﺘﻠ ﹼﻘﻲ ﺒﻌ َﺩ ﺫﻟﻙ‪ ،‬ﺘﺒﻌًـﺎ ﻟﻨـﻭﻋﻴ ﹺ‬
‫ﺕ ﻓﻲ ﺘﺄﺜﻴﺭﹺﻫﺎ ﻓﻲ ﺒﻨﺎ ِﺀ ﺍﻟﻨ ّ‬
‫ﻑ ﺍﻷﺼﻭﺍ ﹸ‬
‫ﻭﺘﺨﺘﻠ ﹸ‬
‫ﺢ ﺍﻟﺘﻤﻴﻴﺯﻴّـ ِﺔ‬
‫ل ﻓﻲ ﺍﻟﻤﻼﻤ ﹺ‬
‫ﺏ ﻭﺴﻴﻁﺭﺘِﻪ‪ ،‬ﻭﺘﺘﻤ ﹼﺜ ُ‬
‫ل ﺩﺍﺨﻠﻴّـ ٍﺔ‪ ،‬ﺨﺎﺭﺠ ٍﺔ ﻋﻠﻰ ﺇﺭﺍﺩ ِﺓ ﺍﻟﻜﺎﺘ ﹺ‬
‫ل‪ :‬ﻋﻭﺍﻤ َ‬
‫ﺍﻟﻌﻭﺍﻤ ﹺ‬
‫ﻙ‪ ،‬ﻭﺍﻟﺘﱠﻜـﺭﺍﺭ‪...‬‬
‫ﻕ‪ ،‬ﻭﺍﻻﻨﻔﺠﺎ ﹺﺭ‪ ،‬ﻭﺍﻻﺤﺘـﻜﺎ ِ‬
‫ﺱ‪ ،‬ﻭﺍﻟﺘﻔﺨﻴ ﹺﻡ‪ ،‬ﻭﺍﻟﺘﺭﻗﻴ ِ‬
‫ﺕ‪ ،‬ﻜﺎﻟﺠﻬ ﹺﺭ‪ ،‬ﻭﺍﻟﻬﻤ ﹺ‬
‫ﻟﻸﺼﻭﺍ ِ‬

‫ﺕ ﻏﻴـ ﹺﺭ‬
‫ل ﻓـﻲ ﺍﻟﻔﻭﻨﻴﻤـﺎ ِ‬
‫ﺏ ﻭﺘﺤ ﹼﻜﻤِـﻪ‪ ،‬ﻭﺘﺘﻤﺜﹼـ ُ‬
‫ﺕ ﺴﻴﻁﺭ ِﺓ ﺍﻟﻜﺎﺘ ﹺ‬
‫ل ﺨﺎﺭﺠﻴّـ ٍﺔ‪ ،‬ﺘﻘ ُﻊ ﺘﺤ ﹶ‬
‫ﻭﻋﻭﺍﻤ َ‬
‫ﺕ‪ ،‬ﻭﺍﻟﻤﻘﺎﻁ ﹺﻊ ﺍﻟﺼﻭﺘ ّﻴ ِﺔ‪ ،‬ﻭﺘﻨﻅﻴﻤِﻬـﺎ‪ ،‬ﻭﺫﻟـﻙ‬
‫ﺹ‪ ،‬ﻭﺍﺨﺘﻴﺎ ﹺﺭ ﺍﻷﺼﻭﺍ ِ‬
‫ﺍﻟﺘﺭﻜﻴﺒ ّﻴـ ِﺔ ﺍﻟﻤﺴﺘﺨﺩﻤ ِﺔ ﻓـﻲ ﺍﻟﻨ ّ‬
‫ﷲ ﺘﻌﺎﻟﻰ‪.‬‬
‫ﻥﺍ ِ‬
‫ل‪ ،‬ﺒﻌﻭ ﹺ‬
‫ﻅ ﻭﺘﻨﻅﻴﻤِﻬﺎ‪ .‬ﻭﻫﺫﺍ ﻤﺎ ﺴﻴﺩﺭﺴُﻪ ﻫﺫﺍ ﺍﻟﻔﺼ ُ‬
‫ﺒﺎﺨﺘﻴﺎ ﹺﺭ ﺍﻷﻟﻔﺎ ِ‬

‫‪8‬‬
 ‫‪ .1‬ﺍﻟﻌﻭﺍﻤ ُل ﺍﻟﺩّﺍﺨﻠﻴّﺔ‬

‫ﻲ‪،‬‬
‫ﻲ‪ ،‬ﻴﺴﻤّﻰ ﺍﻟﻤﺨﺎﺭﺝ‪ ،‬ﻭﺍﻵﺨ ُﺭ ﺴﻤﻌ ﱞ‬
‫ﻕ ﻋﻠـﻰ ﺃﺴﺎﺴﻴﻥ‪ :‬ﺃﺤﺩُﻫﻤﺎ ﺤﺭﻜ ﱞ‬
‫ﻥ ﺍﻋﺘﻤﺎ َﺩ ﺍﻟﻜﻼ ﹺﻡ ﺍﻟﻤﻨﻁﻭ ِ‬
‫ﺇﱠ‬

‫ﻱ ﺼـﻔﺎﺘﹸﻪ‬
‫ﺕ ﻟﻐﻭ ﱟ‬ ‫ﺕ ﺍﻟﻤﻨﻁﻭﻗﺔ)‪(1‬؛ ﻓﻠﻜ ﱢ‬
‫ل ﺼﻭ ٍ‬ ‫ﻥ ﺍﻷﺼﻭﺍ ِ‬
‫ﻑ ﺒﻴ َ‬
‫ﺱ ﺍﻻﺨﺘﻼ ِ‬
‫ﻴﺴﻤّﻰ ﺍﻟﺼﻔﺎﺕ‪ ،‬ﻗﺩ ﻋ ّﺩ َﺩ ﺃﺴ َ‬
‫ﻥ ﺫﻟـﻙ‬
‫ﻥ ﺇﻟﻰ ﺤ ﱢﺩ ﺍﻟﺘﻁﺎﺒﻕ؛ ﻓﻠﻭ ﺃﻤﻜـ َ‬
‫ﻥ ﻤﺘﺸﺎﺒﻬﻴ ﹺ‬
‫ﻥ ﻭﺠـﻭ ُﺩ ﺼﻭﺘﻴ ﹺ‬
‫ﺍﻟﺘﻲ ﺘﻤﻴّـﺯُﻩ ﻤﻥ ﻏﻴﺭﹺﻩ‪ ،‬ﻭﻻ ﻴﻤﻜ ُ‬

‫ﺕ‬
‫ﻻ ﺒﺼﻔ ٍﺔ ﻭﺍﺤﺩ ٍﺓ ﻓﻘﻁ‪ .‬ﻫﺫﻩ ﺍﻟﺼـﻔﺎ ﹸ‬
‫ﻥﺇﹼ‬
‫ﻥ‪ ،‬ﻻ ﻴﺨﺘﻠﻔـﺎ ﹺ‬
‫ﻥ ﻴﻭﺠ ُﺩ ﺼﻭﺘـﺎ ﹺ‬
‫ﺕ ﺫﺍﺘﹶﻪ‪ ،‬ﻓﻲ ﺤﻴ ﹺ‬
‫ﻟﻜﺎﻨﺎ ﺍﻟﺼﻭ ﹶ‬

‫ﻑ‬
‫ﻥ ﻤـﺎ ﻴﻌـﺭ ﹸ‬
‫ﻕ ﺁﺨﺭ)‪ ،(3)(((2‬ﺘﻜـﻭّ ُ‬
‫ﻕ ﻤﻥ ﻤﻌﻨﻰ ﻤﻨﻁﻭ ٍ‬
‫ﻥ ﺃﻥْ ﺘﻤ ّﻴ َﺯ ﻤﻌﻨﻰ ﻤﻨﻁﻭ ٍ‬
‫ﺍﻟﺼﻭﺘﻴّ ﹸﺔ ﺍﻟﺘـﻲ ))ﻴﻤﻜ ُ‬
‫‪.(4)(Distinctive‬‬ ‫ﺢ ﺍﻟﺘﻤﻴﻴﺯ ّﻴ ِﺔ ﻟﻸﺼﻭﺍﺕ )‪Features‬‬
‫ﺒﺎﻟﻤﻼﻤ ﹺ‬

‫ﺏ ﻭﺍﺨﺘﻴـﺎﺭﹺﻩ‪،‬‬
‫ﻱ ﺫﺍﺘِﻪ‪ ،‬ﺍﻟﺨﺎﺭﺠ ِﺔ ﻋﻠﻰ ﺇﺭﺍﺩ ِﺓ ﺍﻟﻜﺎﺘـ ﹺ‬
‫ﺕ ﺍﻟﻠﹼﻐﻭ ﱢ‬
‫ﺢ ﺍﻟﻜﺎﻤﻨ ِﺔ ﻓﻲ ﺍﻟﺼﻭ ِ‬
‫ﻓﻲ ﻫﺫﻩ ﺍﻟﻤﻼﻤ ﹺ‬

‫ﺕ ﺃﻭ ﻀﻌﻔﹸﻪ‪ ،‬ﻭﻫﺫﻩ ﺍﻟﻤﻼﻤﺢ‪ ،‬ﻫﻲ‪:‬‬

‫ﻥ ﻗـﻭّ ﹸﺓ ﺍﻟﺼﻭ ِ‬
‫ﺘﻜﻤ ُ‬

‫‪ .1.1‬ﺍﻟﺠﻬ ُﺭ ﻭﺍﻟﻬﻤﺱ‬

‫ﺙ ﻋﻥ ﺍﻟﻜـﻼﻡ‪ ،‬ﺇﻟـﻰ‬
‫ﺽ ﺍﻟﺤﺩﻴ ِ‬
‫ﻉ ﺍﻟﻜﻠﻤ ِﺔ )ﺍﻟﺠﻬﺭ(‪ ،‬ﻓﻲ َﻤﻌْ ﹺﺭ ﹺ‬
‫ل ﻭﺍﺤ ٍﺩ ﻤﻨﹼﺎ‪ ،‬ﻋﻨ َﺩ ﺴﻤﺎ ﹺ‬
‫ﻥﻜﱢ‬
‫ﻴﺭﺘ ﱡﺩ ﺫﻫ ُ‬

‫ل‪ ،(5)((...‬ﻜﻤﺎ‬ ‫ﺕ ﻭﻭﻀﻭﺤِﻪ؛ ﻓﻴﻘﺎ ُ‬

‫ل‪ ...)) :‬ﺼﻭﺕﹲ ﺠَﻬﻴﺭٌ‪ ،‬ﻭﻜﻼﻡٌ ﺠَﻬﻴﺭٌ‪ ،‬ﻜﻼﻫﻤﺎ‪ :‬ﻋﺎﻟﻥٌ ﻋﺎ ﹴ‬ ‫ﻋﻠ ﱢﻭ ﺍﻟﺼﻭ ِ‬
‫ﻲ ﻤﻥ‬
‫ﻉ ﺍﻟﻜﻠﻤ ِﺔ )ﺍﻟﻬﻤﺱ(؛ ﻓﻬـﻭ ))ﺍﻟﺨﻔ ﱡ‬
‫ﺕ ﻭﻋﺩ ﹺﻡ ﻭﻀﻭﺤِـﻪ‪ ،‬ﻋﻨ َﺩ ﺴﻤـﺎ ﹺ‬
‫ﺽ ﺍﻟﺼﻭ ِ‬
‫ﻴﺭﺘ ﱡﺩ ﺇﻟـﻰ ﺍﻨﺨﻔﺎ ﹺ‬

‫ﺱ ﻨﻁﻘﹰـﺎ‬
‫ﻥ ﺍﻟﺠﻬ َﺭ ﺃﻗﻭﻯ ﻤﻥ ﺍﻟﻬﻤ ﹺ‬
‫ﺍﻟﺼﻭﺕ‪ .(6)((...‬ﻫﺫﺍ ﻤﺎ ﹸﺘﻤْﻠﻴﻪ ﻋﻠﻴﻨﺎ ﺍﻟﻔﻁـﺭ ﹸﺓ ﺍﻟﻠﹼﻐﻭﻴّـ ﹸﺔ ﺒﺨﺒﺭﺘِﻬﺎ‪ ،‬ﺃ ّ‬

‫ﻋﺎ‪.‬‬
‫ﻭﺴﻤﺎ ً‬

‫)‪(1‬‬
‫ﺤﺴﺎﻥ‪ ،‬ﺘﻤﺎﻡ‪ :‬ﺍﻟﻠﻐﺔ ﺍﻟﻌﺭﺒﻴﺔ ﻤﻌﻨﺎﻫﺎ ﻭﻤﺒﻨﺎﻫﺎ‪ .‬ﺍﻟﺩﺍﺭ ﺍﻟﺒﻴﻀﺎﺀ‪ :‬ﺩﺍﺭ ﺍﻟﺜﻘﺎﻓﺔ‪ .1994 .‬ﺹ‪.46‬‬
‫)‪(2‬‬
‫ﻭﻤﻥ ﺃﻤﺜﻠﺔ ﺫﻟﻙ ﺍﻟﻜﻠﻤﺘﺎﻥ‪ :‬ﺴﻭﺭﺓ‪ ،‬ﻭﺼﻭﺭﺓ؛ ﻓﺎﻟﺫﻱ ﻓﺭّﻕ ﺒﻴﻨﻬﻤﺎ ﻓﻲ ﺍﻟﻤﻌﻨﻰ‪ :‬ﺍﻟﺘﺭﻗﻴﻕ ﻓﻲ ﺍﻟﺴﻴﻥ‪ ،‬ﻭﺍﻟﺘﻔﺨﻴﻡ ﻓﻲ ﺍﻟﺼﺎﺩ‪.‬‬
‫)‪(3‬‬
‫ﺍﻟﻨﻭﺭﻱ‪ ،‬ﻤﺤﻤﺩ ﺠﻭﺍﺩ‪ :‬ﻋﻠﻡ ﺃﺼﻭﺍﺕ ﺍﻟﻌﺭﺒﻴﺔ‪ .‬ﻁ‪ .1‬ﻋﻤﺎﻥ‪ :‬ﻤﻨﺸﻭﺭﺍﺕ ﺠﺎﻤﻌﺔ ﺍﻟﻘﺩﺱ ﺍﻟﻤﻔﺘﻭﺤﺔ‪ .1999 .‬ﺹ‪.125‬‬
‫)‪(4‬‬
‫ل ﻟﻠﺘﺠﺯﺌﺔ ﺃﻭ ﺍﻟﺘﺤﻠﻴل‪ ،‬ﻓﻲ ﺤﻴﻥ ﺭﺃﻯ‬
‫ﺤﺩٌ ﻏﻴ ُﺭ ﻗﺎﺒ ﹴ‬
‫ل ﻤﻭ ّ‬
‫ﻱ؛ ﻓﺭﺃﻯ ﺒﻌﻀﻬﻡ ﺃﻨﹼـﻪ ﻜ ﱞ‬
‫ﺍﺨﺘﻠﻑ ﺍﻟﻠﹼﻐﻭﻴّﻭﻥ ﻓﻲ ﻁﺒﻴﻌﺔ ﺍﻟﺼﻭﺕ ﺍﻟﻠﹼﻐﻭ ّ‬
‫ﻱ‪.‬‬
‫ﺕ ﺒﻬﺎ‪ .‬ﺍﻨﻅﺭ‪ :‬ﻋﻤﺭ‪ ،‬ﺃﺤﻤﺩ ﻤﺨﺘﺎﺭ‪ :‬ﺩﺭﺍﺴﺔ ﺍﻟﺼﻭﺕ ﺍﻟﻠﹼﻐﻭ ّ‬
‫ﺃﻏﻠﺒﻬﻡ ﻨﻘﻴﺽ ﺫﻟﻙ‪ ،‬ﻜﺎﻟﻘﺎﺌﻠﻴﻥ ﺒﻨﻅﺭﻴّﺔ ﺍﻟﻤﻼﻤﺢ ﺍﻟﺘﻤﻴﻴﺯﻴّﺔ‪ ،‬ﺍﻟﺘﻲ ﺃﺨﺫ ﹸ‬
‫ﺍﻟﻘﺎﻫﺭﺓ‪ :‬ﻋﺎﻟﻡ ﺍﻟﻜﺘﺏ‪ .1997 .‬ﺹ‪.183‬‬
‫)‪(5‬‬
‫ﺍﺒﻥ ﻤﻨﻅﻭﺭ‪ ،‬ﺃﺒﻭ ﺍﻟﻔﻀل ﺠﻤﺎل ﺍﻟﺩﻴﻥ‪ :‬ﻟﺴﺎﻥ ﺍﻟﻌﺭﺏ‪ 18 .‬ﻤﺞ‪ .‬ﺍﻋﺘﻨﻰ ﺒﺘﺼﺤﻴﺤﻬﺎ ﺃﻤﻴﻥ ﻤﺤﻤّﺩ ﻋﺒﺩ ﺍﻟﻭﻫﺎﺏ‪ ،‬ﻭﻤﺤﻤّﺩ ﺍﻟﺼﺎﺩﻕ‬
‫ﻲ‪) .‬ﺩ‪ .‬ﺕ(‪ .‬ﺍﻟﻤﺎﺩّﺓ‪) :‬ﺝ‪ ،‬ﻫـ‪ ،‬ﺭ(‪.‬‬
‫ﻱ‪ .‬ﻁ‪ .3‬ﺒﻴﺭﻭﺕ‪ :‬ﺩﺍﺭ ﺇﺤﻴﺎﺀ ﺍﻟﺘﺭﺍﺙ ﺍﻟﻌﺭﺒ ّ‬
‫ﺍﻟﻌﺒﻴﺩ ّ‬
‫)‪(6‬‬
‫ﺍﻟﻤﺼﺩﺭ ﻨﻔﺴﻪ‪ .‬ﺍﻟﻤﺎﺩّﺓ‪) :‬ﻫـ‪ ،‬ﻡ‪ ،‬ﺱ(‪.‬‬
‫‪9‬‬
‫ﺽ‬
‫ﻙ ﺇﻟـﻰ ﺍﻟﻴﻘﻴﻥ‪ :‬ﻭﺭﻭ ُﺩ ﺍﻟﻜﻠﻤـ ِﺔ )ﺍﻟﺠﻬـ ﹺﺭ(‪ ،‬ﻭﺒﻌـ ﹺ‬
‫ﻭﻤﻤّﺎ ﻴﺅﻜﹼ ُﺩ ﺫﻟﻙ؛ ﻓﻴﺨﺭﺠُﻨﺎ ﻤﻥ ﺩﺍﺌﺭ ِﺓ ﺍﻟﺸ ﱢ‬
‫ﺕ ﺍﻟﻅﺎﻫـ ﹺﺭ ﺍﻟﻤُﻌﻠـﻥ‪ ،‬ﻜﻘﻭﻟِــﻪ‬
‫ﻥ ﺍﻟﻜﺭﻴﻡ‪ ،‬ﺍﻟﺫﻱ ﻻ ﻤﺭﺍ َﺀ ﻓﻴـﻪ‪ ،‬ﺒﻤﻌﻨﻰ ﺍﻟﺼﻭ ِ‬
‫ﺘﺼﺎﺭﻴﻔِﻬﺎ ﻓﻲ ﺍﻟﻘﺭﺁ ﹺ‬
‫ل‬
‫ﻲ ﻭﻻ ﺘﺠﻬـﺭﻭﺍ ﻟـﻪ ﺒـﺎﻟﻘﻭ ﹺ‬
‫ﺕ ﺍﻟﻨﺒ ﱢ‬
‫ﻕ ﺼﻭ ِ‬
‫ﻥ ﺁﻤﻨﻭﺍ ﻻ ﺘﺭﻓﻌﻭﺍ ﺃﺼﻭﺍﺘﹶﻜـﻡْ ﻓﻭ ﹶ‬
‫ﺘﻌﺎﻟﻰ‪ ﴿ :‬ﻴﺎ ﺃﻴﱡﻬﺎ ﺍﻟﺫﻴ َ‬
‫﴾)‪،(2‬‬ ‫ل ﻭﻴﻌﻠ ُﻡ ﻤﺎ ﺘﻜﺘﻤـﻭﻥ‬
‫ﻥ ﺍﻟﻘﻭ ﹺ‬
‫ﺽ‪ ،(1)﴾ ...‬ﻭﻗﻭﻟِـﻪ‪ ﴿ :‬ﺇﻨﹼـﻪ ﻴﻌﻠ ُﻡ ﺍﻟﺠﻬ َﺭ ﻤ َ‬
‫ﻜﺠﻬ ﹺﺭ ﺒﻌﻀِﻜـﻡ ﻟﺒﻌ ﹴ‬
‫ل‪ ،(3)﴾ ...‬ﻓﻔﻲ‬
‫ﻥ ﺍﻟﻘﻭ ﹺ‬
‫ﻥ ﺍﻟﺠﻬـ ﹺﺭ ﻤ َ‬
‫ﻙ ﺘﻀ ﱡﺭﻋًﺎ ﻭﺨﻴﻔ ﹰﺔ ﻭﺩﻭ َ‬
‫ﻙ ﻓـﻲ ﻨﻔﺴِـ َ‬
‫ﻭﻗﻭﻟِـﻪ‪ ﴿ :‬ﻭﺍﺫﻜـﺭْ ﺭﺒﱠـ َ‬
‫ﺕ ﺍﻟﺘـﻲ ﺍﻗﺘﺭﻨﺕ ﻓﻴﻬﺎ ﺍﻟﻜﻠﻤ ﹸﺔ )ﺍﻟﺠﻬ ُﺭ( ﺒﺎﻟﻜﻠﻤ ِﺔ )ﺍﻟﻘﻭل(‪ ،‬ﻟﻡ ﺘﻘﻡْ ﻤﻘﺎ َﻡ ﺍﻟﻜﻠﻤ ِﺔ ﺍﻷﻭﻟﻰ ﻜﻠﻤـﺔﹲ‬
‫ﻫﺫﻩ ﺍﻵﻴﺎ ِ‬
‫ﺢ ﻓﻲ ﺍﻟﺴﻤﻊ‪،‬‬
‫ﺕ ﺍﻟﻅﺎﻫ ﹺﺭ ﺍﻟﻭﺍﻀ ﹺ‬
‫ﻁ ﺍﻟﺠﻬ ﹺﺭ ﺒﺎﻟﺼﻭ ِ‬
‫ل ﻋﻠﻰ ﺍﺭﺘﺒﺎ ِ‬
‫ﻥ ﺍﻵﻴـﺔ؛ ﻤﻤّﺎ ﻴﺩ ﱡ‬
‫ﺏ ﻤﻀﻤﻭ َ‬
‫ﺃﺨﺭﻯ ﺘﻨﺎﺴ ُ‬
‫ل ﻋﻠﻰ ﻨﻘﻴﻀِـﻬﺎ ﻓـﻲ ﺍﻵﻴـ ِﺔ ﺍﻟﺜﺎﻨﻴــ ِﺔ ﻭﺍﻷﺨﻴــﺭﺓ‪:‬‬
‫ﻥ ﺍﻟﻜﻠﻤ ﹶﺔ ﻗﺩ ﻗﹸﻭﺒﹺﻠﺕ ﺒﻤﺎ ﻴﺩ ﱡ‬
‫ﺃﻀﻑﹾ ﺇﻟﻰ ﺫﻟﻙ ﺃ ّ‬
‫ﻥ‬
‫ﻥ ﺃﻥْ ﺘﹸﺩﺭﺠﺎ ﻓﻲ ﺨﺎﻨ ِﺔ ﺍﻟﻬﻤﺱ؛ ﻟﻴﻜﻭ َ‬
‫ﻥ ﻴﻤﻜ ُ‬
‫ﻥ ﺍﻟﺠﻤﻠﺘﺎ ﹺ‬
‫ﻙ ﻓﻲ ﻨﻔﺴِﻙ(‪ ،‬ﻭﻫﺎﺘﺎ ﹺ‬
‫)ﺘﻜﺘﻤﻭﻥ(‪ ،‬ﻭ)ﻭﺍﺫﻜﺭْ ﺭﺒﱠـ َ‬
‫ﺱ(‪ ،‬ﻓﻘـﺩ ﻭﺭﺩﺕ ﻓـﻲ ﻗﻭﻟِـﻪ ﺘﻌﺎﻟــﻰ‪:‬‬
‫ﺕ ﺍﻟﻅﺎﻫ ﹺﺭ ﺍﻟﻭﺍﻀﺢ‪ .‬ﺃﻤّﺎ ﺍﻟﻜﻠﻤ ﹸﺔ )ﺍﻟﻬﻤ ُ‬
‫ﺽ ﺍﻟﺼﻭ ِ‬
‫ﺒﺫﻟﻙ ﻨﻘﻴ َ‬
‫ﻤﻘﺘﺭﻨ ﹰﺔ ﺒـ)ﺨﺸﻌﺕ ﺍﻷﺼـﻭﺍﺕ(‪،‬‬ ‫﴾)‪،(4‬‬ ‫ﻻ ﻫﻤﺴًﺎ‬
‫ﻥ ﻓﻼ ﺘﺴﻤـ ُﻊ ﺇ ﹼ‬
‫ﺕ ﻟﻠﺭّﺤﻤـ ﹺ‬
‫ﺕ ﺍﻷﺼﻭﺍ ﹸ‬
‫﴿‪ ...‬ﻭﺨﺸﻌ ِ‬
‫ﺕ‬ ‫ل)‪ ،(5‬ﻋﻠﻰ ﺨﻔﻭ ِ‬
‫ﺕ ﺍﻟﺼﻭ ِ‬ ‫ل ﺒﺫﻟﻙ‪ ،‬ﻓﻴﻤﺎ ﺘﺩ ﱡ‬
‫ﻥ ﺃﻗﻭﻯ ﻤﻥ ﺍﻟﺠَﻬﻴﺭ‪ ،‬ﻟﺘﺩ ﱠ‬
‫ﺕ ﺨﺎﺸ ﹴﻊ ﺃﻥْ ﻴﻜﻭ َ‬
‫ﻥ ﻟﺼﻭ ٍ‬
‫ﻭﻻ ﻴﻤﻜ ُ‬
‫ﻭﻀﻌﻔِﻪ‪.‬‬

‫ﺕ ﻅﻬﻭﺭًﺍ ﻓـﻲ ﺍﻟﻨﻁﻕ‪ ،‬ﻭﻭﻀﻭﺤًﺎ ﻓـﻲ‬

‫ﺏ ﺍﻟﺼﻭ ﹶ‬
‫ﺴ ُ‬
‫ﻥ ﺍﻟﺠﻬ َﺭ ﻤﻠﻤـﺢٌ ﻴُﻜ ِ‬
‫ﺢ ﻟﻨﺎ ﻤﻤّﺎ ﺴﺒﻕ‪ ،‬ﺃ ّ‬
‫ﻴﺘﹼﻀ ُ‬
‫ﻻ ﻓـﻲ ﺍﻟﺴـﻤﻊ؛‬
‫ﺕ ﺨﻔـﺎ ًﺀ ﻓـﻲ ﺍﻟﻨﻁﻕ‪ ،‬ﻭﺨﻤـﻭ ﹰ‬
‫ﺏ ﺍﻟﺼﻭ ﹶ‬
‫ﺴ ُ‬
‫ﻑ ﺍﻟﻬﻤﺱ؛ ﻓﻬﻭ ﻤﻠﻤﺢٌ ﻴُﻜ ِ‬
‫ﺍﻟﺴﻤﻊ‪ ،‬ﺒﺨﻼ ِ‬
‫ل ﺍﻟﺠﻬ َﺭ ﺃﻗﻭﻯ ﻤﻥ ﺍﻟﻬﻤﺱ؟‪.‬‬
‫ﻙ ﺃﻗـﻭﻯ ﻤﻥ ﺍﻟﻬﻤﺱ‪ .‬ﻟﻜﻥْ‪ ،‬ﻤﺎ ﺍﻟـﺫﻱ ﻴﺠﻌ ُ‬
‫ﻥ ﺍﻟﺠﻬ ُﺭ ﺒﺫﻟ َ‬
‫ﻓﻴﻜﻭ ُ‬

‫ﻲ‪ ،‬ﻴﺼـﺩ ُﺭ ﻁﻭﺍﻋﻴــ ﹰﺔ‬

‫ﻱ‪ ،‬ﺒﺄﻨﱠـﻪ ))ﺃﺜـﺭٌ ﺴـﻤﻌ ﱞ‬
‫ﺕ ﺍﻟﻠﹼﻐﻭ ﱠ‬
‫ﻑ ﺍﻟﺩﻜﺘﻭ ُﺭ ﻜﻤـﺎل ﺒﺸﺭ ﺍﻟﺼﻭ ﹶ‬
‫ﻴﻌﺭّ ﹸ‬

‫ل ﻫـﺫﺍ ﺍﻷﺜـ َﺭ‬

‫ﻭﺍﺨﺘﻴﺎﺭًﺍ ﻋـﻥ ﺘﻠﻙ ﺍﻷﻋﻀﺎ ِﺀ ﺍﻟﻤﺴﻤّـﺎ ِﺓ‪ ،‬ﺘﺠـﺎﻭﺯًﺍ‪ ،‬ﺃﻋﻀﺎ َﺀ ﺍﻟﻨﻁـﻕ)‪ .(7)(((6‬ﻭﻴﻤﺜﹼـ ُ‬

‫)‪(1‬‬
‫ﺍﻟﺤﺠﺭﺍﺕ‪.2 :‬‬
‫)‪(2‬‬
‫ﺍﻷﻨﺒﻴﺎﺀ‪.110 :‬‬
‫)‪(3‬‬
‫ﺍﻷﻋﺭﺍﻑ‪.205 :‬‬
‫)‪(4‬‬
‫ﻁﻪ‪.108 :‬‬
‫)‪(5‬‬
‫ﻲ‪ .‬ﺍﻨﻅﺭ‪ :‬ﺍﺒﻥ ﻤﻨﻅﻭﺭ‪ ،‬ﺃﺒﻭ ﺍﻟﻔﻀل ﺠﻤﺎل ﺍﻟﺩﻴﻥ‪ :‬ﻟﺴﺎﻥ ﺍﻟﻌـﺭﺏ‪ .‬ﺍﻟﻤـﺎﺩّﺓ‪:‬‬
‫ﻟﻬﺫﻩ ﺍﻟﻜﻠﻤﺔ ﺃﻜﺜﺭ ﻤﻥ ﺘﻔﺴﻴﺭ‪ ،‬ﻤﻨﻬﺎ‪ :‬ﺍﻟﺼﻭﺕ ﺍﻟﺨﻔ ّ‬
‫)ﻫـ‪ ،‬ﻡ‪ ،‬ﺱ(‪.‬‬
‫)‪(6‬‬
‫ﺘﻌﺩّﺩﺕ ﺍﻵﺭﺍﺀ ﻓﻲ ﻫﺫﻩ ﺍﻟﺘﺴﻤﻴﺔ ﺒﻴﻥ ﻤﺅ ّﻴﺩٍ‪ ،‬ﻭﻤﻌﺎﺭﺽﹴ‪ ،‬ﻭﻤﺤﺎﻴـﺩ‪ .‬ﻭﻴﻌﻭﺩ ﺴﺒﺏ ﻤﻌﺎﺭﻀﺘﻬﺎ‪ ،‬ﺃﻭ ﺍﻟﻘﻭل ﺒﻤﺠﺎﺯﻴّﺘﻬﺎ‪ ،‬ﺇﻟﻰ ﻜﻭﻥ‬
‫ﺍﻟﻨﻁﻕ ﻭﻅﻴﻔ ﹰﺔ ﺜﺎﻨﻭ ّﻴ ﹰﺔ ﻟﻸﻋﻀﺎﺀ ﺍﻟﻤﺴﻤّﺎﺓ ﺃﻋﻀﺎﺀ ﺍﻟﻨﻁﻕ‪ ،‬ﻭﻟﻴﺱ ﺍﻟﻭﻅﻴﻔﺔ ﺍﻷﺴﺎﺴﻴّﺔ‪.‬‬
‫)‪(7‬‬
‫ﺒﺸﺭ‪ ،‬ﻜﻤﺎل‪ :‬ﻋﻠﻡ ﺍﻷﺼﻭﺍﺕ‪ .‬ﺍﻟﻘﺎﻫﺭﺓ‪ :‬ﺩﺍﺭ ﻏﺭﻴﺏ‪ .2000 .‬ﺹ‪.119‬‬
‫‪10‬‬
‫ﻥ ﺍﻟﺴﺎﻤﻊ‪ ،‬ﺒﻭﺼﻔِﻬﺎ ُﻤﻨﹾﺘﹶﺠ ﹰﺔ ﻋﻥ ﺤﺭﻜــ ِﺔ‬
‫ﻥ ﻓ ﹺﻡ ﺍﻟﻤﺘﻜﹼﻠ ﹺﻡ ﻭﺃﺫ ﹺ‬
‫ﺕ ﺍﻟﺼﻭﺘﻴّ ﹸﺔ ﺍﻟﻭﺍﻗﻌ ﹸﺔ ﺒﻴ َ‬
‫ﺕ ﻭﺍﻟﺫﺒﺫﺒﺎ ﹸ‬
‫ﺍﻟﻤﻭﺠﺎ ﹸ‬

‫ﻲ‪ ،‬ﻭﺒﻭﺼﻔِﻬﺎ ﺃﺜـﺭًﺍ ﻤﺒﺎﺸﺭًﺍ ﻤﻥ ﺁﺜﺎ ﹺﺭ ﻫﺫﻩ ﺍﻟﺤﺭﻜﺎﺕ)‪ .(1‬ﺇﺫﻥ‪ ،‬ﻓﺎﻟﺤﺭﻜ ﹸﺔ ﻫـﻲ‬
‫ﺃﻋﻀﺎ ِﺀ ﺍﻟﺠﻬﺎ ﹺﺯ ﺍﻟﻨﻁﻘـ ّ‬

‫ﺙ ﻓـﻲ‬
‫ﻥ ﺤﺭﻜ ٍﺔ ﺘﺤـﺩ ﹸ‬
‫ﻥ ﻗﺩْﺭُﻩ‪ ،‬ﺩﻭ َ‬
‫ﻱ‪ ،‬ﻤﻬﻤﺎ ﻜﺎ َ‬
‫ﺕ ﻟﻐﻭ ﱟ‬
‫ﻥ ﻭﺠﻭ ُﺩ ﺼﻭ ٍ‬
‫ﺏ ﻟﻬﺫﻩ ﺍﻟﻤﻭﺠﺎﺕ؛ ﻓﻼ ﻴﻤﻜ ُ‬
‫ﺍﻟﻤﺴﺒّ ُ‬
‫ﺕ ﻓﻲ ﺍﻟﻁﺒﻴﻌ ِﺔ ))‪ ...‬ﻋﻠﻰ ﺍﺨﺘﻼﻓِﻬﺎ‪،‬‬
‫ﺕ ﺍﻟﻁﺒﻴﻌﺔ‪ ،‬ﻭﺍﻷﺼﻭﺍ ﹸ‬
‫ﻲ‪ ،‬ﺒﻭﺼﻔِﻪ ﺠﺯﺀًﺍ ﻤﻥ ﺃﺼﻭﺍ ِ‬
‫ﺍﻟﺠﻬﺎ ﹺﺯ ﺍﻟﻨﻁﻘ ّ‬

‫ﺕ ﺍﻟﻤﺎﺩّﺓ‪.(2)((...‬‬
‫ﺴﻴْﻤﺎ ِ‬
‫ﺠَ‬
‫ﺴ َﺒﺒُﻬﺎ ﺍﻻﻫﺘﺯﺍ ُﺯ ﺃﻭ ﺍﻟﺫﺒﺫﺒـﺔ‪ ،‬ﺃﻱ ﺍﻟﺤﺭﻜ ﹸﺔ ﺍﻟﺴﺭﻴﻌ ﹸﺔ ﻟ ُ‬
‫َ‬

‫ﻑ‬
‫ﺕ ﺍﻟﻤﺠﻬﻭﺭﺓ )‪ ،(Voiced Sounds‬ﻭﺠﺩﻨــﺎﻫﺎ ﺘﺨـﺎﻟ ﹸ‬
‫ﻭﺇﺫﺍ ﻤـﺎ ﺘﻘﺼّﻴﻨﺎ ﺤﻘﻴﻘ ﹶﺔ ﺍﻷﺼـﻭﺍ ِ‬
‫ﺕ ﺍﻟﻠﹼﻐﻭ ّﻴ ﹶﺔ ﺍﻷﺨﺭﻯ‪ ،‬ﺒﺘﻔ ّﺭﺩِﻫﺎ ﺒﻤﻴﺯ ٍﺓ ﺘﺯﻴ ُﺩ ﻜﻤ ّﻴـ ﹶﺔ ﺃﻤﻭﺍﺠﹺﻬﺎ ﺍﻟﺼـﻭﺘﻴّﺔ‪ ،‬ﺃﻻ ﻭﻫـﻲ‪ :‬ﺍﻫﺘـﺯﺍ ُﺯ‬
‫ﺍﻷﺼﻭﺍ ﹶ‬

‫ﻋﺭﱢﻓــﺕ ﻫـﺫﻩ‬
‫ﺍﻟﻭﺘﺭﻴﻥ ﺍﻟﺼﻭﺘﻴّﻴﻥ )‪ (3)(Vocal Cords/ Bands‬ﻓـﻲ ﺃﺜﻨـﺎ ِﺀ ﺇﻨﺘﺎﺠﹺـﻬﺎ؛ ﻟـﺫﺍ ُ‬

‫ﺕ ﺍﻟﻤﺠﻬﻭ ُﺭ‪ :‬ﻫﻭ ﺍﻟـﺫﻱ ﻴﻬﺘـ ﱡﺯ ﻤﻌـﻪ‬

‫ﻓﺎﻟﺼﻭ ﹸ‬ ‫))‪...‬‬ ‫ﺕ ﺒﻬـﺫﻩ ﺍﻟﻤﻴﺯﺓ‪،‬‬
‫ﺕ ﻋﻨ َﺩ ﻋﻠﻤﺎ ِﺀ ﺍﻷﺼﻭﺍ ِ‬
‫ﺍﻷﺼﻭﺍ ﹸ‬

‫ﺍﻟﻭﺘﺭﺍﻥ ﺍﻟﺼﻭﺘﻴّﺎﻥ(()‪.(4‬‬

‫ﺝ )‪ (Egressive‬ﻤـﻥ ﺍﻟﺭﺌﺘﻴــﻥ)‪،(5‬‬
‫ﻥ ﺍﻫﺘﺯﺍ َﺯ ﺍﻟﻭﺘﺭﻴﻥ ﺍﻟﺼﻭﺘﻴّﻴﻥ‪ ،‬ﺒﻤﺭﻭ ﹺﺭ ﺍﻟﻬﻭﺍ ِﺀ ﺍﻟﻤﺴﺘﺨﺭ ﹺ‬
‫ﺇﱠ‬

‫ﻲ ﺍﻟﻤﺼـﺎﺤﺒ ِﺔ‬
‫ﺕ ﺍﻟﺠﻬﺎ ﹺﺯ ﺍﻟﻨﻁﻘ ﱢ‬
‫ﺝ ﻫﺫﻩ ﺍﻷﺼـﻭﺍﺕ‪ ،‬ﻴُﻀﻴﻑﹸ ﺤﺭﻜ ﹰﺔ ﺠﺩﻴﺩ ﹰﺓ ﺇﻟﻰ ﺤﺭﻜﺎ ِ‬
‫ﻓـﻲ ﺃﺜﻨﺎ ِﺀ ﺇﻨﺘﺎ ﹺ‬
‫ﺏ ﺯﻴـﺎﺩ ﹶﺓ‬
‫ﺝ ﺍﻟﺼﻭﺘﻴّﺔ‪ ،‬ﻭﺍﻟﺯﻴـﺎﺩ ﹸﺓ ﻓـﻲ ﺍﻟﺤﺭﻜ ِﺔ ﺘﺴﺘﻭﺠ ُ‬
‫ﺙ‪ ،‬ﺒﺩﻭﺭﹺﻫـﺎ‪ ،‬ﺍﻷﻤﻭﺍ َ‬
‫ﻹﻨﺘﺎﺠﹺﻬﺎ‪ ،‬ﻭﺍﻟﺘـﻲ ﹸﺘﺤْﺩ ﹸ‬

‫)‪(1‬‬
‫ﺒﺸﺭ‪ ،‬ﻜﻤﺎل‪ :‬ﻋﻠﻡ ﺍﻷﺼﻭﺍﺕ‪ .‬ﺹ‪.37‬‬
‫)‪(2‬‬
‫ﺍﻟﻤﻭﺴﻭﻋﺔ ﺍﻟﻌﻠﻤﻴّﺔ ﺍﻟﺸﺎﻤﻠﺔ‪ .‬ﻤﺠﻠﹼﺩ ﻭﺍﺤﺩ‪ .‬ﺇﻋﺩﺍﺩ ﺃﺤﻤﺩ ﺸﻔﻴﻕ ﺍﻟﺨﻁﻴﺏ‪ ،‬ﻭﻴﻭﺴﻑ ﺴﻠﻴﻤﺎﻥ ﺨﻴﺭ ﺍﷲ‪ .‬ﻁ‪ .1‬ﺒﻴـﺭﻭﺕ‪ :‬ﻤﻜﺘﺒـﺔ‬
‫ﻟﺒﻨﺎﻥ ﻨﺎﺸﺭﻭﻥ‪ .1998 .‬ﺹ‪.178‬‬
‫)‪(3‬‬
‫ﺍﻟﻭﺘﺭﺍﻥ ﺍﻟﺼﻭﺘﻴّﺎﻥ‪ :‬ﺸﻔﺘﺎﻥ ﺃﻭ ﺸﺭﻴﻁﺎﻥ ﻤﻥ ﺍﻟﻌﻀﻼﺕ‪ ،‬ﻴﻤﺘﺩّﺍﻥ ﺒﺎﻟﺤﻨﺠﺭﺓ ﻨﻔﺴﻬﺎ ﺃﻓﻘﻴ‪‬ﺎ‪ ،‬ﻤﻥ ﺍﻟﺨﻠﻑ ﺇﻟﻰ ﺍﻷﻤﺎﻡ‪ ،‬ﻭﻴﻠﺘﻘﻴﺎﻥ ﻋﻨﺩ‬
‫ﺫﻟﻙ ﺍﻟﺒﺭﻭﺯ ﺍﻟﺫﻱ ﻴﺴﻤّﻰ ﺘﻔﺎﺤﺔ ﺁﺩﻡ )‪ .(Adam's Apple‬ﻭﻴﻁﻠﻕ ﻋﻠﻰ ﺍﻟﻔﺭﺍﻍ ﺍﻟﻭﺍﻗﻊ ﺒﻴﻥ ﺍﻟﻭﺘﺭﻴﻥ ﺍﻟﺼﻭﺘﻴّﻴﻥ ﺍﺴـﻡ ﺍﻟﻤﺯﻤـﺎﺭ‬
‫)‪ ،(Glottis‬ﻭﻴﺒﻠﻎ ﻁﻭﻟﻪ ﺤﻭﺍﻟﻲ )‪ (16‬ﻤﻠﻡ‪ ،‬ﻭﻫﻭ ﻗﺎﺒل ﻟﻼﻨﻔﺘﺎﺡ ﺇﻟﻰ ﻤﺴﺎﻓﺔ )‪ (12‬ﻤﻠﻡ‪ .‬ﺍﻨﻅﺭ‪ :‬ﺍﻟﻨﻭﺭﻱ‪ ،‬ﻤﺤﻤـﺩ ﺠـﻭﺍﺩ‪ :‬ﻋﻠـﻡ‬
‫ﺃﺼﻭﺍﺕ ﺍﻟﻌﺭﺒﻴﺔ‪ .‬ﺹ‪.65‬‬
‫)‪(4‬‬
‫ﺃﻨﻴﺱ‪ ،‬ﺇﺒﺭﺍﻫﻴﻡ‪ :‬ﺍﻷﺼﻭﺍﺕ ﺍﻟﻠﻐﻭﻴّﺔ‪ .‬ﻁ‪ .4‬ﺍﻟﻘﺎﻫﺭﺓ‪ :‬ﻤﻜﺘﺒﺔ ﺍﻷﻨﺠﻠﻭ ﺍﻟﻤﺼﺭﻴّﺔ‪ .2007 .‬ﺹ‪.22‬‬
‫)‪(5‬‬
‫ﻱ )‪ (Pulmonic Mechanism Air Stream‬ﺍﻟﻤﻌﺘﻤﺩﺓ ﻋﻠﻰ ﺍﻟـﺭﺌﺘﻴﻥ‪ ،‬ﻭﺃﻋﻀـﺎﺀ ﺍﻟﺘـﻨﻔﹼﺱ‪،‬‬
‫ﺘﻌ ّﺩ ﺁﻟﻴّﺔ ﺘﻴّﺎﺭ ﺍﻟﻬﻭﺍﺀ ﺍﻟﺭﺌﻭ ّ‬
‫ﻱ ) ‪Glottal Air‬‬
‫ﺕ ﺜﻼﺙ ﺘﺴﺘﺨﺩﻡ ﻓﻲ ﺇﻨﺘﺎﺝ ﺍﻷﺼﻭﺍﺕ ﺍﻟﻜﻼﻤﻴّﺔ‪ ،‬ﻓﻬﻨﺎﻙ‪ ،‬ﺒﺎﻹﻀﺎﻓﺔ ﺇﻟﻴﻬﺎ‪ ،‬ﺁﻟﻴّﺔ ﺘﻴّﺎﺭ ﺍﻟﻬﻭﺍﺀ ﺍﻟﺤﻨﺠﺭ ّ‬
‫ﺇﺤﺩﻯ ﺁﻟﻴّﺎ ٍ‬
‫ﻥ ﺍﻵﻟﻴّﺔ ﺍﻷﻭﻟﻰ‪ ،‬ﺘﻌ ّﺩ ﺃﻫـ ّﻡ ﺁﻟﻴّـﺎﺕ‬
‫ﻱ )‪ .(Velaric/ Oral Air Stream‬ﻭﻟﻜ ّ‬
‫ﻲ ﺃﻭ ﺍﻟﻔﻤﻭ ّ‬
‫‪ ،(Stream‬ﻭﺁﻟﻴّﺔ ﺘﻴّﺎﺭ ﺍﻟﻬﻭﺍﺀ ﺍﻟﻁﺒﻘ ّ‬
‫ﻱ ﺨﺎﺼّﺔ‪ ،‬ﻋﻥ ﺇﺼﺩﺍﺭ ﺠﻤﻴﻊ ﺍﻷﺼﻭﺍﺕ ﺍﻟﺒﺸـﺭﻴّﺔ‪ ،‬ﻓـﻲ ﺍﻷﻋـ ّﻡ‬
‫ﺍﻟﻬﻭﺍﺀ ﻋﻠﻰ ﺍﻹﻁﻼﻕ؛ ﻟﻜﻭﻨﻬﺎ ﺍﻟﻤﺴﺌﻭﻟﺔ‪ ،‬ﺒﺘﻴّﺎﺭ ﻫﻭﺍﺌﻬﺎ ﺍﻟﺯﻓﻴﺭ ّ‬
‫ﺍﻷﻏﻠﺏ‪ ،‬ﺒﺎﺴﺘﺜﻨﺎﺀ ﺒﻌﺽ ﺍﻷﺼﻭﺍﺕ ﺍﻟﺨﺎﺼّﺔ‪ ،‬ﻓﻲ ﺒﻌﺽ ﺍﻟﻠﹼﻐﺎﺕ ﻭﺍﻟﻠﹼﻬﺠﺎﺕ ﻏﻴﺭ ﺍﻟﻌﺭﺒﻴّﺔ‪ .‬ﻭﻤﻥ ﻨﺎﺤﻴﺔ ﺃﺨﺭﻯ‪ ،‬ﻴﻌ ّﺩ ﺘﻴّﺎﺭ ﺍﻟﻬـﻭﺍﺀ‬
‫ﺍﻟﻁﺎﺭﺩ ﺃﻭ ﺍﻟﻤﺴﺘﺨﺭﺝ‪ ،‬ﺃﻱ ﺍﻟﻤﺩﻓﻭﻉ ﺇﻟﻰ ﺍﻟﺨﺎﺭﺝ‪ ،‬ﻭﻫﻭ ﺍﻟﺯﻓﻴﺭ‪ ،‬ﺍﻟﻁﺭﻴﻘﺔ ﺍﻟﻁﺒﻴﻌﻴّﺔ ﻓﻲ ﺍﻟﺘﻜﻠﹼﻡ‪ .‬ﺍﻨﻅﺭ‪ :‬ﺍﻟﻨﻭﺭﻱ‪ ،‬ﻤﺤﻤﺩ ﺠﻭﺍﺩ‪ :‬ﻋﻠﻡ‬
‫ﺃﺼﻭﺍﺕ ﺍﻟﻌﺭﺒﻴﺔ‪ .‬ﺹ‪.61 ،60‬‬
‫‪11‬‬
‫ﺡ‬
‫ﺏ ﺯﻴـﺎﺩ ﹰﺓ ﻓﻲ ﻗ ّﻭ ِﺓ ﺍﻟﻨﻁـﻕ‪ ،‬ﻭﺯﻴـﺎﺩ ﹰﺓ ﻓـﻲ ﺍﻟﻭﻀــﻭ ﹺ‬
‫ﺝ ﺘﺴﺘـﻭﺠ ُ‬
‫ﺍﻷﻤـﻭﺍﺝ‪ ،‬ﻭﺯﻴـﺎﺩ ﹸﺓ ﺍﻷﻤـﻭﺍ ﹺ‬

‫ﻥ‬
‫ﺕ ﺍﻟﺼﺎﺩ َﺭ ﻴﻜـﻭ ُ‬
‫ﻥ ﺍﻟﺼﻭ ﹶ‬
‫ﻥ ﺍﻟﺼﻭﺘﻴّﻴﻥ؛ ﻓﺈ ّ‬ ‫ﻲ‪ .‬ﺃﻤّـﺎ ))‪ ...‬ﺇﺫﺍ ﻤ ﱠﺭ ﺍﻟﻬﻭﺍ ُﺀ ﺒﺩﻭ ﹺ‬
‫ﻥ ﺫﺒﺫﺒ ِﺔ ﺍﻟﻭﺘﺭﻴ ﹺ‬ ‫ﺍﻟﺴﻤﻌـ ّ‬

‫ﺕ ﻤﻥ ﻗـﻭّﺓ؛‬
‫ﺴﺒُـﻪ ﺍﻟﺠﻬ ُﺭ ﺍﻷﺼﻭﺍ ﹶ‬
‫)‪ ،(Voiceless Sound‬ﻴﻔﺘﻘـ ُﺩ ﻤﺎ ﻴُﻜ ِ‬ ‫)‪(1‬‬
‫((‬ ‫ﺼﻭﺘﹰﺎ ﻤﻬﻤـﻭﺴًﺎ‪...‬‬
‫ﻻ‬
‫ﺱ ﻟﻠ ﹶﻨ ﹶﻔﺱﹺ ﻤﻌﻪ ﺫﺒﺫﺒـﺎﺕﹲ ﻤﻁﻠﻘﹰـﺎ؛ ﻭﺇ ﹼ‬
‫ﺱ ﻤﻌﻨﻰ ﻫﺫﺍ ﺃﻥْ ﻟﻴ َ‬
‫ﻟﻌﺩ ﹺﻡ ﺍﻫﺘـﺯﺍ ﹺﺯ ﺍﻟﻭﺘﺭﻴﻥ ﺍﻟﺼﻭﺘﻴّﻴﻥ‪)) .‬ﻭﻟﻴ َ‬

‫ﻥ ﻤﻌﻪ‪.(2)((...‬‬
‫ﻥ ﺍﻟﺼﻭﺘﻴّﻴ ﹺ‬
‫ﺕ ﺍﻟﻭﺘﺭﻴ ﹺ‬
‫ﺱ ﺍﻟﺼﻭﺕ‪ ،‬ﻫﻭ ﺼﻤ ﹸ‬
‫ﻥ ﺍﻟﻤﺭﺍ َﺩ ﺒﻬﻤ ﹺ‬
‫ﻟـﻡ ﺘﺩﺭﻜﹾﻪ ﺍﻷﺫﻥ‪ ،‬ﻭﻟﻜـ ّ‬

‫ﺢ‬
‫ل ﻤﻠﻤـ َ‬
‫ﺕ ﺍﻟﻤﺠﻬﻭﺭ‪ ،‬ﺍﻟـﺫﻱ ))‪ُ ...‬ﺃﺸﹾﺒ َﻊ ﺍﻻﻋﺘﻤﺎ ُﺩ ﻓﻲ ﻤﻭﻀﻌِﻪ‪ ،(3)((...‬ﻴﺤﻤ ُ‬
‫ﻥ ﺍﻟﺼﻭ ﹸ‬
‫ﺒﺫﻟﻙ ﻴﻜﻭ ُ‬
‫ﺢ ﻀﻌﻑ‪.‬‬
‫ل ﻤﻠﻤ َ‬
‫ﻑ ﺍﻻﻋﺘﻤﺎ ُﺩ ﻓﻲ ﻤﻭﻀﻌِﻪ‪ ،(4)((...‬ﻓﻴﺤﻤ ُ‬
‫ﻑ ﺍﻟﻤﻬﻤﻭﺱ‪ ،‬ﺍﻟـﺫﻱ ))‪ُ ...‬ﺃﻀْﻌ ﹶ‬
‫ﻗﻭّﺓ‪ ،‬ﺒﺨﻼ ِ‬

‫ﺕ)‪ (5‬ﺍﻟﻤﺠﻬﻭﺭ ﹸﺓ )‪ (Voiced Consonants‬ﻓـﻲ ﺍﻟﻠﹼﻐ ِﺔ ﺍﻟﻌﺭﺒﻴّـ ِﺔ‪ ،‬ﻓﻬـﻲ‪ :‬ﺍﻟﺒـﺎﺀ‪،‬‬

‫ﺃﻤّﺎ ﺍﻟﺼﻭﺍﻤ ﹸ‬

‫ﻭﺍﻟﺠﻴﻡ‪ ،‬ﻭﺍﻟﺩﺍل‪ ،‬ﻭﺍﻟﺫﺍل‪ ،‬ﻭﺍﻟﺭﺍﺀ‪ ،‬ﻭﺍﻟﺯﺍﻱ‪ ،‬ﻭﺍﻟﻀﺎﺩ‪ ،‬ﻭﺍﻟﻅﺎﺀ‪ ،‬ﻭﺍﻟﻌﻴﻥ‪ ،‬ﻭﺍﻟﻐﻴﻥ‪ ،‬ﻭﺍﻟـﻼﻡ‪ ،‬ﻭﺍﻟﻤـﻴﻡ‪،‬‬

‫ﻭﺍﻟﻨﻭﻥ‪ ،‬ﺒﺎﻹﻀﺎﻓ ِﺔ ﺇﻟـﻰ ﻨﺼﻔﻲ ﺍﻟﺤﺭﻜﺔ)‪ :(Semi Vowels) (6‬ﺍﻟﻭﺍﻭ ﻭﺍﻟﻴـﺎﺀ‪ .‬ﻭﺃﻤّـﺎ ﺍﻟﺼـﻭﺍﻤ ﹸ‬
‫ﺕ‬

‫)‪(1‬‬
‫ﻟﻴﻭﻨﺯ‪ ،‬ﺠﻭﻥ‪ :‬ﺍﻟﻠﻐﺔ ﻭﻋﻠﻡ ﺍﻟﻠﻐﺔ‪ .‬ﺘﺭﺠﻤﺔ ﻤﺼﻁﻔـﻰ ﺍﻟﺘﻭﻨﻲ ﻭﺘﻌﻠﻴﻘﻪ‪ .‬ﻁ‪ .1‬ﺍﻟﻘﺎﻫﺭﺓ‪ :‬ﺩﺍﺭ ﺍﻟﻨﻬﻀـﺔ ﺍﻟﻌﺭﺒﻴـﺔ‪/ 1 .1987 .‬‬
‫‪.99 ،98‬‬
‫)‪(2‬‬
‫ﺃﻨﻴﺱ‪ ،‬ﺇﺒﺭﺍﻫﻴﻡ‪ :‬ﺍﻷﺼﻭﺍﺕ ﺍﻟﻠﻐﻭﻴّﺔ‪ .‬ﺹ‪.23‬‬
‫)‪(3‬‬
‫ﺴﻴﺒﻭﻴﻪ‪ ،‬ﺃﺒﻭ ﺒﺸﺭ ﻋﻤﺭﻭ ﺒﻥ ﻋﺜﻤﺎﻥ‪ :‬ﻜﺘﺎﺏ ﺴﻴﺒﻭﻴﻪ‪ 5 .‬ﻤﺞ‪ .‬ﺘﺤﻘﻴﻕ ﻋﺒﺩ ﺍﻟﺴﻼﻡ ﻤﺤﻤّﺩ ﻫﺎﺭﻭﻥ ﻭﺸـﺭﺤﻪ‪ .‬ﻁ‪ .2‬ﺍﻟﻘـﺎﻫﺭﺓ‪:‬‬
‫ﻤﻜﺘﺒﺔ ﺍﻟﺨﺎﻨﺠﻲ‪.434 / 4 .1982 .‬‬
‫)‪(4‬‬
‫ﺍﻟﻤﺼﺩﺭ ﻨﻔﺴﻪ‪ .‬ﺍﻟﺼﻔﺤﺔ ﻨﻔﺴﻬﺎ‪.‬‬
‫)‪(5‬‬
‫ﺍﻟﺼﺎﻤﺕ‪ :‬ﻫﻭ ﺍﻟﺼﻭﺕ ﺍﻟﻤﺠﻬﻭﺭ ﺃﻭ ﺍﻟﻤﻬﻤﻭﺱ‪ ،‬ﺍﻟﺫﻱ ﻴﺤﺩﺙ ﻓﻲ ﻨﻁﻘﻪ ﺃﻥ ﻴُﻌﺘﺭﺽ ﻤﺠﺭﻯ ﺍﻟﻬـﻭﺍﺀ ﺍﻋﺘﺭﺍﻀًـﺎ ﻜـﺎﻤﻼﹰ‪ ،‬ﺃﻭ‬
‫ﺍﻋﺘﺭﺍﻀًﺎ ﺠﺯﺌﻴ‪‬ﺎ‪ ،‬ﻤﻥ ﺸﺄﻨﻪ ﺃﻥ ﻴﻤﻨﻊ ﺍﻟﻬﻭﺍﺀ ﻤﻥ ﺃﻥ ﻴﻨﻁﻠﻕ ﻤﻥ ﺍﻟﻔﻡ ﺩﻭﻥ ﺍﺤﺘﻜﺎﻙ )‪ (Friction‬ﻤﺴﻤﻭﻉ‪ .‬ﻭﻤﻥ ﺃﻤﺜﻠﺘﻪ ﻓﻲ ﺍﻟﻠﹼﻐـﺔ‬
‫ﺍﻟﻌﺭﺒﻴّﺔ‪ ،‬ﺍﻷﺼﻭﺍﺕ‪ :‬ﺍﻟﺒﺎﺀ‪ ،‬ﻭﺍﻟﺜﺎﺀ‪ ،‬ﻭﺍﻟﻔﺎﺀ‪ ....‬ﺍﻨﻅﺭ‪ :‬ﺍﻟﺴﻌﺭﺍﻥ‪ ،‬ﻤﺤﻤﻭﺩ‪ :‬ﻋﻠﻡ ﺍﻟﻠﹼﻐﺔ ﻤﻘﺩّﻤﺔ ﻟﻠﻘـﺎﺭﺉ ﺍﻟﻌﺭﺒـ ّ‬
‫ﻲ‪ .‬ﺒﻴـﺭﻭﺕ‪ :‬ﺩﺍﺭ‬
‫ﺍﻟﻨﻬﻀﺔ ﺍﻟﻌﺭﺒﻴّﺔ‪) .‬ﺩ‪ .‬ﺕ(‪ .‬ﺹ‪.149 ،148‬‬
‫)‪(6‬‬
‫ﻴﻘﺼﺩ ﺒﺄﻨﺼﺎﻑ ﺍﻟﺤﺭﻜﺎﺕ‪ ،‬ﺘﻠﻙ ﺍﻷﺼﻭﺍﺕ ﺍﻟﺘﻲ ﻴﻜﻭﻥ ﺍﻟﺘﻀﻴﻴﻕ )‪ ،(Narrowing‬ﺍﻟﺫﻱ ﻴﻭﺍﺠﻬﻪ ﺘﻴّﺎﺭ ﺍﻟﻬﻭﺍﺀ‪ ،‬ﻋﻨﺩ ﺇﻨﺘﺎﺠﻬـﺎ‪،‬‬
‫ل ﻤﻥ ﻨﺴﺒﺘﻪ ﻋﻨﺩ ﺇﻨﺘﺎﺝ ﺍﻟﺼﻭﺍﻤﺕ‪ ،‬ﻭﺃﻜﺜﺭ ﻤﻥ ﻨﺴـﺒﺘﻪ ﻋﻨـﺩ ﺇﻨﺘـﺎﺝ ﺍﻟﺤﺭﻜـﺎﺕ‬
‫ﻥ ﻨﺴﺒﺔ ﻫﺫﺍ ﺍﻟﺘﻀﻴﻴﻕ‪ ،‬ﺘﻜﻭﻥ ﺃﻗ ّ‬
‫ﻀﺌﻴﻼﹰ‪َ ،‬ﺒﻴْ َﺩ ﺃ ّ‬
‫)‪ .(Vowels‬ﻭﻓﻲ ﺍﻟﻌﺭﺒﻴّﺔ ﺼﻭﺘﺎﻥ ﻤﻥ ﻫﺫﺍ ﺍﻟﻨﻭﻉ‪ ،‬ﻫﻤﺎ‪ :‬ﺍﻟﻭﺍﻭ ﻭﺍﻟﻴﺎﺀ‪ ،‬ﻓﻲ ﻨﺤﻭ‪) :‬ﻭﻟﺩ(‪ ،‬ﻭ)ﻴﻠﺩ(‪ .‬ﺍﻨﻅﺭ‪ :‬ﺍﻟﻨﻭﺭﻱ‪ ،‬ﻤﺤﻤﺩ ﺠﻭﺍﺩ‪:‬‬
‫ﻋﻠﻡ ﺃﺼﻭﺍﺕ ﺍﻟﻌﺭﺒﻴﺔ‪ .‬ﺹ‪.132‬‬
‫ﺃﻤّﺎ ﺍﻟﺤﺭﻜﺎﺕ‪ ،‬ﺍﻟﺘﻲ ﺘﺘﻤﺜﹼل ﻓﻲ ﺍﻟﻌﺭﺒﻴّﺔ ﻓﻲ ﺍﻟﻔﺘﺤﺔ‪ ،‬ﻭﺍﻟﻜﺴﺭﺓ‪ ،‬ﻭﺍﻟﻀﻤّﺔ‪ ،‬ﻗﺼﺎﺭًﺍ ﻭﻁﻭﺍﻻﹰ‪ ،‬ﻓﻬﻲ ﺘﻠﻙ ﺍﻷﺼﻭﺍﺕ ﺍﻟﻤﺠﻬﻭﺭﺓ‪ ،‬ﺍﻟﺘـﻲ‬
‫ﻴﺤﺩﺙ ﻓﻲ ﺘﻜﻭﻴﻨﻬﺎ‪ ،‬ﺃﻥ ﻴﻨﺩﻓﻊ ﺍﻟﻬﻭﺍﺀ ﻓﻲ ﻤﺠﺭًﻯ ﻤﺴﺘﻤ ّﺭ ﺨﻼل ﺍﻟﺤﻠﻕ ﻭﺍﻟﻔﻡ‪ ،‬ﻭﺨﻼل ﺍﻷﻨﻑ ﻤﻌﻬﻤﺎ ﺃﺤﻴﺎﻨﹰﺎ‪ ،‬ﺩﻭﻥ ﺃﻥ ﻴﻜﻭﻥ ﻫﻨﺎﻙ‬
‫ﻋﺎﺌﻕ ﻴﻌﺘﺭﺽ ﻤﺠﺭﻯ ﺍﻟﻬﻭﺍﺀ ﺍﻋﺘﺭﺍﻀًﺎ ﺘﺎﻤ‪‬ﺎ‪ ،‬ﺃﻭ ﺘﻀﻴﻴﻕ ﻟﻤﺠﺭﻯ ﺍﻟﻬﻭﺍﺀ‪ ،‬ﻤﻥ ﺸﺄﻨﻪ ﺃﻥ ﻴﺤﺩﺙ ﺍﺤﺘﻜﺎﻜﹰـﺎ ﻤﺴـﻤﻭﻋًﺎ‪ .‬ﺍﻨﻅـﺭ‪:‬‬
‫ﻲ‪ .‬ﺹ‪.148‬‬
‫ﺍﻟﺴﻌﺭﺍﻥ‪ ،‬ﻤﺤﻤﻭﺩ‪ :‬ﻋﻠﻡ ﺍﻟﻠﹼﻐﺔ ﻤﻘ ّﺩﻤﺔ ﻟﻠﻘﺎﺭﺉ ﺍﻟﻌﺭﺒ ّ‬
‫‪12‬‬
‫ﺍﻟﻤﻬﻤﻭﺴ ﹸﺔ )‪ (Voiceless Consonants‬ﻓﻲ ﺍﻟﻠﹼﻐـ ِﺔ ﺍﻟﻌﺭﺒﻴّـ ِﺔ‪ ،‬ﻓﻬﻲ‪ :‬ﺍﻟﺘـﺎﺀ‪ ،‬ﻭﺍﻟﺜـﺎﺀ‪ ،‬ﻭﺍﻟﺤـﺎﺀ‪،‬‬

‫ﻭﺍﻟﺨﺎﺀ‪ ،‬ﻭﺍﻟﺴﻴﻥ‪ ،‬ﻭﺍﻟﺸﻴﻥ‪ ،‬ﻭﺍﻟﺼﺎﺩ‪ ،‬ﻭﺍﻟﻁﺎﺀ‪ ،‬ﻭﺍﻟﻔﺎﺀ‪ ،‬ﻭﺍﻟﻘﺎﻑ‪ ،‬ﻭﺍﻟﻜﺎﻑ‪ ،‬ﻭﺍﻟﻬﺎﺀ‪.‬‬

‫ﻑ ﺍﻨﻔﺭﺍﺠَﻬﻤـﺎ ﻓـﻲ‬
‫ﻥ ﻋﻠﻰ ﻨﺤ ﹴﻭ ﻴﺨﺎﻟ ﹸ‬
‫ﻥ ﺍﻟﺼﻭﺘﻴّﻴ ﹺ‬
‫ﻕ ﺍﻟﻭﺘﺭﻴ ﹺ‬ ‫ﻭﺃﻤّﺎ ﺍﻟﻬﻤﺯﺓ‪ ،‬ﻓﻬﻲ ))‪ ...‬ﺘﻨﻁ ﹸ‬
‫ﻕ ﺒﺎﻨﻁﺒﺎ ِ‬
‫ﻑ ﺍﻟﻬﻤـﺯ ِﺓ‬
‫ﻥ ﻭﺼـ ﹸ‬
‫ﻕ ﺒﺎﻟﻤﺠﻬﻭﺭ؛ ﻭﻟﺫﺍ ﻴﻤﻜ ُ‬
‫ﻑ ﺘﻭ ﹼﺘﺭَﻫﻤﺎ ﻓﻲ ﺤﺎﻟـ ِﺔ ﺍﻟﻨﻁ ِ‬
‫ﻕ ﺒﺎﻟﻤﻬﻤﻭﺱ‪ ،‬ﻭﻴﺨﺎﻟـ ﹸ‬
‫ﺍﻟﻨﻁ ِ‬

‫ﺱ ﻭﺍﻟﺠﻬـﺭ(()‪ ،(1‬ﻓﻬـﻲ ﺼـﺎﻤﺕﹲ‪)) ،‬ﻻ ﻫـﻭ‬

‫ﻤﻥ ﻫﺫﺍ ﺍﻟﺠﺎﻨﺏ‪ ،‬ﺒﺄﻨﹼﻬﺎ ﺼﻭﺕﹲ ﻤﺤﺎﻴﺩٌ ﻤﻥ ﻨﺎﺤﻴ ِﺔ ﺍﻟﻬﻤـ ﹺ‬

‫ﺒﺎﻟﻤﺠﻬﻭﺭ‪ ،‬ﻭﻻ ﺒﺎﻟﻤﻬﻤﻭﺱ(()‪.(2‬‬

‫‪ .2.1‬ﺍﻟﺘﻔﺨﻴ ُﻡ ﻭﺍﻟﺘﺭﻗﻴﻕ‬

‫ﺙ‬
‫ﻥ ﺍﻟﻤـﻭﺭﻭ ِ‬
‫ﻁ ﺼﺎﺤﺒُﻪ ﻋﻨ َﺩ ﻭﻀﻌِﻪ‪ ،‬ﺒـﻴ َ‬
‫ﻑ ﻟﻠﺘﻔﺨﻴﻡ‪ ،‬ﻭﻗﺩ ﺭﺒـ ﹶ‬
‫ﻑ ﺍﻟﻠﻁﻴ ﹸ‬
‫ﻙ ﺫﺍﻙ ﺍﻟﺘﻌﺭﻴ ﹸ‬
‫ﻴﺴﺘﻭ ِﻗ ﹸﻔ َ‬

‫ﺕ ﺍﻟﻠﻐﻭ ّﻴ ﹶﺔ‪ ،‬ﻤﻥ ﺠﻬ ٍﺔ ﺃﺨﺭﻯ‪ ،‬ﻓﻘـﺎل‪ ...)) :‬ﻫـﻭ‬

‫ل ﺍﻟﻜﻠﻤ ِﺔ‪ ،‬ﻤﻥ ﺠﻬﺔ‪ ،‬ﻭﺘﺫ ّﻭ ِﻗـﻪ ﺍﻷﺼﻭﺍ ﹶ‬
‫ﻲ ﻷﺼ ﹺ‬
‫ﺍﻟﺩﻻﻟ ﱢ‬
‫ﺊ‬
‫ل ﻋﻠﻰ ﺠﺴ ﹺﻡ ﺍﻟﺤﺭﻑ؛ ﻓﻴﻤﺘﻠـ ُ‬
‫ﻥ ﻴﺩﺨ ُ‬
‫ﻀ ﱡﺩ ﺍﻟﺘﺭﻗﻴـﻕ‪ .‬ﻭﺍﻟﺘﻔﺨﻴ ُﻡ ﻓـﻲ ﺍﻻﺼﻁـﻼﺡ‪ :‬ﻋﺒﺎﺭﺓﹲ ﻋﻥ ﺴﻤ ﹴ‬

‫ﺕ ﺍﻟـﺫﻱ‬
‫ﺢ ﻗ ّﻭ ٍﺓ ﻓـﻲ ﺍﻟﺼـﻭ ِ‬
‫ﻑ ﺍﻟﺘﺭﻗﻴﻕ‪ ،‬ﻤﻠﻤ ُ‬
‫ﻥ ﺍﻟﺘﻔﺨﻴ َﻡ‪ ،‬ﺒﺨﻼ ِ‬
‫ﻙ ﻤﻥ ﻜﻼﻤِﻪ‪ ،‬ﺃ ّ‬
‫ﺍﻟﻔ ُﻡ ﺒﺼﺩﺍﻩ(()‪ ،(3‬ﻓﺘﺩﺭ ُ‬

‫ﻥ‪ ،‬ﺍﻟﺘﻲ ﺠﻌﻠﺕ ﺍﻟﺘﻔﺨﻴ َﻡ ﺃﻗﻭﻯ ﻤﻥ ﺍﻟﺘﺭﻗﻴﻕ؟‪.‬‬

‫ﻥ ﺍﻟﻤﻠﻤﺤﻴ ﹺ‬
‫ﻴﺤﻤﻠﹸﻪ‪ .‬ﻓﻤﺎ ﺤﻘﻴﻘ ﹸﺔ ﻫﺫﻴ ﹺ‬

‫ﻉ ﻤﺅﺨﹼﺭ ِﺓ ﺍﻟﻠﹼﺴﺎﻥ‪،‬‬
‫ﻑ ﺍﻷﺼﻭﺍﺕ‪ ،‬ﺍﻟﻨﻅ َﺭ ))‪ ...‬ﺇﻟﻰ ﺍﺭﺘﻔﺎ ﹺ‬
‫ﺕ ﺍﻟﺘﻲ ﺘﻌﺘﻤ ُﺩ ﻓﻲ ﺘﺼﻨﻴ ِ‬
‫ﻥ ﻤﻥ ﺍﻟﺘﺼﻨﻴﻔﺎ ِ‬
‫ﺇّ‬

‫ﺨﻤًـﺎ( ﺃﻭ )ﻤﻁﺒﻘﹰـﺎ(‬
‫ﺕ )ﻤﻔ ﹼ‬
‫ﻕ ﺍﻟﺼﻭﺕ‪ ،‬ﻓﻔـﻲ ﺍﻟﺤﺎﻟ ِﺔ ﺍﻷﻭﻟﻰ ﻴﺴﻤّﻰ ﺍﻟﺼـﻭ ﹸ‬
‫ﺃﻭ ﺍﻨﺨﻔﺎﻀِﻬﺎ ﻋﻨـ َﺩ ﻨﻁ ِ‬

‫ﻑ‬
‫ﻥ ﺘﺠﺎ َﻩ ﺍﻟﻁﺒﻕ‪ ،‬ﻭﻫـﻭ ﺍﻟﺠﺯ ُﺀ ﺍﻟﺭﺨــ ُﻭ ﻤـﻥ ﺴـﻘ ِ‬
‫ﻉ ﻤﺅﺨﹼﺭ ِﺓ ﺍﻟﻠﹼﺴﺎ ﹺ‬
‫]‪[Velarized‬؛ ﻨﻅﺭًﺍ ﻻﺭﺘﻔﺎ ﹺ‬

‫)‪(1‬‬
‫ﺤﺠﺎﺯﻱ‪ ،‬ﻤﺤﻤﻭﺩ ﻓﻬﻤﻲ‪ :‬ﻤﺩﺨل ﺇﻟﻰ ﻋﻠﻡ ﺍﻟﻠﻐﺔ‪ .‬ﺍﻟﻘﺎﻫﺭﺓ‪ :‬ﺩﺍﺭ ﻗﺒﺎﺀ‪ .1997 .‬ﺹ‪.54‬‬
‫)‪(2‬‬
‫ﺃﻨﻴﺱ‪ ،‬ﺇﺒﺭﺍﻫﻴﻡ‪ :‬ﺍﻷﺼﻭﺍﺕ ﺍﻟﻠﻐﻭﻴّﺔ‪ .‬ﺹ‪ .87‬ﻭﻤﻥ ﺍﻟﺒﺎﺤﺜﻴﻥ َﻤﻥْ ﻋ ّﺩ ﻫﺫﺍ ﺍﻟﺼﻭﺕ ﻤﻬﻤﻭﺴًﺎ‪ ،‬ﻜﺎﻟﺩﻜﺘﻭﺭ ﺘﻤﺎﻡ ﺤﺴّـﺎﻥ‪ ،‬ﺍﻟـﺫﻱ‬
‫ﻻ ﺘﺎﻤ‪‬ﺎ‪ ،‬ﻭﺤﺒﺱ ﺍﻟﻬﻭﺍﺀ ﺨﻠﻔﻬﻤﺎ‪ ،‬ﺜ ّﻡ ﺇﻁﻼﻗﻪ ﺒﻔﺘﺤﻬﻤﺎ ﻓﺠﺄﺓ‪ .‬ﻭﺘﺄﺘﻲ ﺠﻬﺔ‬
‫ﻥ ﻨﻁﻕ ﺍﻟﻬﻤﺯﺓ‪ ،‬ﻴﺘ ّﻡ ﺒﺈﻗﻔﺎل ﺍﻟﻭﺘﺭﻴﻥ ﺍﻟﺼﻭﺘ ّﻴﻴﻥ ﺇﻗﻔﺎ ﹰ‬
‫ﻴﻘﻭل‪ :‬ﺇ ّ‬
‫ﻥ ﺇﻗﻔﺎل ﺍﻟﻭﺘﺭﻴﻥ ﺍﻟﺼﻭﺘﻴّﻴﻥ ﻤﻌﻪ‪ ،‬ﻻ ﻴﺴﻤﺢ ﺒﻭﺠﻭﺩ ﺍﻟﺠﻬﺭ ﻓﻲ ﺍﻟﻨﻁﻕ‪ .‬ﺍﻨﻅـﺭ‪ :‬ﺤﺴـﺎﻥ‪ ،‬ﺘﻤـﺎﻡ‪:‬‬
‫ﺍﻟﻬﻤﺱ ﻓﻲ ﻫﺫﺍ ﺍﻟﺼﻭﺕ‪ ،‬ﻤﻥ ﺃ ّ‬
‫ﻤﻨﺎﻫﺞ ﺍﻟﺒﺤﺙ ﻓﻲ ﺍﻟﻠﹼﻐﺔ‪ .‬ﺍﻟﻘﺎﻫﺭﺓ‪ :‬ﻤﻜﺘﺒﺔ ﺍﻷﻨﺠﻠﻭ ﺍﻟﻤﺼﺭﻴّﺔ‪ .1990 .‬ﺹ‪.97‬‬
‫)‪(3‬‬
‫ﺤﻤّﺎﺩ‪ ،‬ﻤﺤﻤّﺩ ﻨﻤﺭ‪ :‬ﺇﺘﺤﺎﻑ ﺍﻟﻌﺒﺎﺩ ﻓﻲ ﻤﻌﺭﻓـﺔ ﺍﻟﻨﻁﻕ ﺒﺎﻟﻀﺎﺩ‪ .‬ﻨﺎﺒﻠﺱ‪ 1323 .‬ﻫــ‪ .‬ﺹ‪ .16‬ﻭﺃﺼـل ﺍﻟﺘﻌﺭﻴـﻑ ﻻﺒـﻥ‬
‫ﺍﻟﻁﺤﺎﻥ‪ .‬ﺍﻨﻅﺭ‪ :‬ﺍﻟﺤﻤﺩ‪ ،‬ﻏﺎﻨﻡ ﻗﺩّﻭﺭﻱ‪ :‬ﺍﻟﺩﺭﺍﺴﺎﺕ ﺍﻟﺼﻭﺘﻴّﺔ ﻋﻨﺩ ﻋﻠﻤﺎﺀ ﺍﻟﺘﺠﻭﻴﺩ‪ .‬ﻁ‪ .2‬ﻋﻤّﺎﻥ‪ :‬ﺩﺍﺭ ﻋﻤﺎﺭ‪ .2007 .‬ﺹ‪.402‬‬
‫‪13‬‬
‫ﺕ )ﻤﺭ ﹼﻗﻘﹰـﺎ( ] ‪ ،(3)[ Palatalized‬ﺃﻭ )ﻏﻴـ َﺭ‬
‫ﻴﺴﻤّﻰ ﺍﻟﺼــﻭ ﹸ‬ ‫ﺍﻟﺜﺎﻨﻴـﺔ)‪،(2‬‬ ‫ﺍﻟﺤﻨﻙ)‪ ،(1‬ﻭﻓـﻲ ﺍﻟﺤﺎﻟ ِﺔ‬

‫ﻤﻁﺒﻕ( ] ‪.(4)(([ Nonvelarized‬‬

‫ﻥ ﻓـﻲ ﺍﺘﺠﺎ ِﻩ ﺍﻟﻁﺒﻕ )ﺍﻹﻁﺒﺎﻕ ‪ ،(5)(Velarization‬ﻓﻲ ﺤﺎﻟ ِﺔ ﺍﻟﺘﻔﺨﻴﻡ‪،‬‬

‫ﻉ ﻤﺅﺨﹼﺭ ِﺓ ﺍﻟﻠﹼﺴﺎ ﹺ‬
‫ﻥ ﺍﺭﺘﻔﺎ َ‬
‫ﺇّ‬
‫ﻼ ﺒﺫﻟﻙ ﻓﺠـﻭ ﹰﺓ‬
‫ﻥ ﻜﺎﻟﺘﻘﻌﻴﺭ‪ ،(6)((...‬ﻤﺸ ﹼﻜ ﹰ‬
‫ﺙ ﻓﻲ ﺍﻟﻠﺴﺎ ﹺ‬
‫ﻥ ﻓﻲ ﺍﻟﻔﻡ‪ ،‬ﻓـ))ﻴﺤﺩ ﹸ‬
‫ل ﻋﻠﻰ ﺘﻐﻴﻴ ﹺﺭ ﻫﻴﺌ ِﺔ ﺍﻟﻠﺴﺎ ﹺ‬
‫ﻴﻌﻤ ُ‬

‫ﻥ‬
‫ﺽ ﻤﺅﺨﹼﺭﺘِﻪ‪ ،‬ﻭﻤﻥ ﺸﺄ ﹺ‬
‫ﻥ ﺒﺎﻨﺨﻔﺎ ﹺ‬
‫ﻑ ﻫﻴﺌ ِﺔ ﺍﻟﻠﺴﺎ ﹺ‬
‫ﻫﻭﺍﺌ ّﻴ ﹰﺔ ﻓﻤﻭﻴّﺔ‪ ،‬ﺃﻜﺒ َﺭ ﻤﻨﻬﺎ ﻓﻲ ﺤﺎﻟـ ِﺔ ﺍﻟﺘﺭﻗﻴﻕ؛ ﻻﺨﺘﻼ ِ‬

‫ﻲ‪،‬‬
‫ﺕ ﺍﻟﺠﻬﺎ ﹺﺯ ﺍﻟﻨﻁﻘـ ّ‬
‫ﺝ ﺍﻟﺘﻲ ﺘﺤﺩﺜﹸﻬﺎ ﺤﺭﻜـﺎ ﹸ‬
‫ﻫﺫﻩ ﺍﻟﻔﺠﻭ ِﺓ ﺍﻟﻬﻭﺍﺌﻴّﺔ‪ ،‬ﺃﻥ ﺘﻌ ّﺯ َﺯ ﺒﺘﺭ ّﺩﺩِﻫﺎ‪ ،‬ﺘﺭ ّﺩ َﺩ ﺍﻷﻤـﻭﺍ ﹺ‬
‫ﻑ‬
‫ﺕ ﺍﻟﻤﺭﻗﹼﻕ؛ ﻻﺨﺘﻼ ِ‬
‫ﻕ ﺒﺎﻟﺼﻭ ِ‬
‫ﺕ ﺍﻟﻤﻔﺨﹼﻡ‪ ،‬ﺘﻌﺯﻴﺯًﺍ ﺃﻗﻭﻯ ﻤﻨﻪ ﻓﻲ ﺤﺎﻟ ِﺔ ﺍﻟﻨﻁ ِ‬
‫ﻕ ﺒﺎﻟﺼﻭ ِ‬
‫ﻓﻲ ﺤﺎﻟـ ِﺔ ﺍﻟﻨﻁ ِ‬

‫ﺕ ﺍﻟﻤﻭﺴـﻴﻘ ّﻴ ِﺔ ﺍﻟﻭﺘﺭﻴّــﺔ؛‬
‫ﺙ ﻓﻲ ﺍﻵﻻ ِ‬
‫ﺤﺠﻤِﻬﺎ ﺒﻴﻥ ﻜﺒ ﹴﺭ ﻭﺼﻐﺭ‪ ،‬ﻓﻲ ﺍﻟﺤﺎﻟﺘﻴﻥ‪ .‬ﻭﻫﺫﺍ ﻴﺸﺒ ُﻪ ﻤﺎ ﻴﺤﺩ ﹸ‬

‫ﺕ ﺍﻷﻭﺘﺎ ﹺﺭ ﺇﻟﻰ ﺠﺴ ﹺﻡ ﺍﻵﻟ ِﺔ ﺍﻷﺠﻭﻑ‪ ،‬ﺍﻟﺫﻱ ﻴﻌـﺯّ ُﺯ‬

‫ل ﺫﺒﺫﺒﺎ ﹸ‬ ‫ﻓـ))ـﻔﻲ ﺍﻟﻌﺩﻴ ِﺩ ﻤﻥ ﺍﻵﻻ ِ‬
‫ﺕ ﺍﻟﻭﺘﺭﻴّﺔ‪ ،‬ﺘﻨﺘﻘ ُ‬

‫ﺨﻤُﻬﺎ(()‪ ،(7‬ﻭﻤﻥ ﺍﻟﻭﺍﻀ ﹺ‬

‫ﺢ‪ ،‬ﺃﻨﹼـﻪ ﻜﻠﻤّﺎ ﺯﺍ َﺩ ﺤﺠ ُﻡ ﻫﺫﺍ ﺍﻟﺠﺴ ﹺﻡ ﺍﻷﺠﻭﻑ‪ ،‬ﺯﺍﺩ ﺍﻟـﻨﻐ ُﻡ‬ ‫ﺒﺭﻨﻴﻨِﻪ ﺍﻷﻨﻐﺎ َﻡ ﻭﻴﻀ ﹼ‬

‫ﻋﻠﻭ‪‬ﺍ ﻭﻀﺨﺎﻤﺔ‪.‬‬

‫)‪(1‬‬
‫ﻲ ﺭﺨـﻭ ﻴﺩﻋﻰ ﺍﻟﻁﺒﻕ‪ ،‬ﻜﻤﺎ ﺫﻜﺭ‪ .‬ﺍﻨﻅﺭ‪ :‬ﺸﺎﻫﻴﻥ‪ ،‬ﺘﻭﻓﻴـﻕ‬
‫ﻲ ﺼﻠﺏ ﻴﺩﻋﻰ ﺍﻟﻐﺎﺭ‪ ،‬ﻭﺨﻠﻔ ّ‬
‫ﺍﻟﺤﻨﻙ )ﺴﻘﻑ ﺍﻟﻔﻡ( ﻗﺴﻤـﺎﻥ‪ :‬ﺃﻤﺎﻤ ّ‬
‫ﻤﺤﻤّﺩ‪ :‬ﻋﻠﻡ ﺍﻟﻠﹼﻐﺔ ﺍﻟﻌﺎ ّﻡ‪ .‬ﻁ‪ .1‬ﺍﻟﻘﺎﻫﺭﺓ‪ :‬ﻤﻜﺘﺒﺔ ﻭﻫﺒﺔ‪ .1980 .‬ﺹ‪.102‬‬
‫)‪(2‬‬
‫ﻥ )ﺍﻟﺤﺎﻟﺘﻴﻥ( ﻻ ﺜﺎﻟﺜ ﹶﺔ ﻟﻬﻤﺎ‪.‬‬
‫ﻥ )ﺍﻟﺜﺎﻨﻴﺔ(؛ ﻷ ﱠ‬
‫ﻷﻭْﻟﻰ ﺍﺴﺘﺨﺩﺍﻡ ﺍﻟﻜﻠﻤﺔ )ﺍﻷﺨﺭﻯ( ﻤﻜﺎ َ‬
‫ﻤﻥ ﺍ َ‬
‫)‪(3‬‬
‫ﺠﺎﺀ ﻫﺫﺍ ﺍﻟﻤﺼﻁﻠﺢ ﻤﻥ ﺍﻟﻤﺼﻁﻠﺢ )‪ ،(Palatalization‬ﺃﻱ )ﺍﻟﺘﻐﻭﻴﺭ(؛ ﻭﺫﻟﻙ ﻻﺭﺘﻔﺎﻉ ﻤﻘﺩّﻡ ﺍﻟﻠﹼﺴﺎﻥ ﻓﻲ ﺍﺘﺠﺎﻩ ﺍﻟﻐﺎﺭ ) ‪Hard‬‬
‫ﺕ ﺍﺴـﺘﺨﺩﺍﻡ‬
‫‪ ،(Palate‬ﻋﻨﺩ ﺇﻨﺘﺎﺝ ﺍﻟﺼﺎﻤﺕ ﺍﻟﻤﺭﻗﹼﻕ‪ .‬ﺍﻨﻅﺭ‪ :‬ﺍﻟﻨﻭﺭﻱ‪ ،‬ﻤﺤﻤﺩ ﺠﻭﺍﺩ‪ :‬ﻋﻠﻡ ﺃﺼﻭﺍﺕ ﺍﻟﻌﺭﺒﻴﺔ‪ .‬ﺹ‪ .154‬ﻭﻗﺩ ﺁﺜـﺭ ﹸ‬
‫ﻫﺫﺍ ﺍﻟﻤﺼﻁﻠﺢ‪ ،‬ﻤﻘﺎﺒل )ﻤﺭﻗﹼﻕ( ﻓﻲ ﺍﻟﻌﺭﺒﻴّﺔ‪ ،‬ﻋﻠﻰ )‪ ،(Nonvelarized‬ﺒﺈﺸﺎﺭﺓ ﻤﻥ ﺃﺴﺘﺎﺫﻱ ﺍﻟﺩﻜﺘﻭﺭ ﻤﺤﻤّﺩ ﺠـﻭﺍﺩ ﺍﻟﻨـﻭﺭﻱ‪،‬‬
‫ﺤﻔﻅﻪ ﺍﷲ ﺘﻌﺎﻟﻰ‪.‬‬
‫)‪(4‬‬
‫ﻱ‪ .‬ﻁ‪ .1‬ﺍﻟﻘﺎﻫﺭﺓ‪ :‬ﻤﻜﺘﺒﺔ ﺍﻟﺨﺎﻨﺠﻲ‪ .1982 .‬ﺹ‪.37‬‬
‫ﻋﺒﺩ ﺍﻟﺘﻭّﺍﺏ‪ ،‬ﺭﻤﻀﺎﻥ‪ :‬ﺍﻟﻤﺩﺨل ﺇﻟﻰ ﻋﻠﻡ ﺍﻟﻠﹼﻐﺔ ﻭﻤﻨﺎﻫﺞ ﺍﻟﺒﺤﺙ ﺍﻟﻠﹼﻐﻭ ّ‬
‫)‪(5‬‬
‫ﻴﺤﺫﹼﺭ ﺍﻟﺩﻜﺘﻭﺭ ﺘﻤﺎﻡ ﺤﺴّﺎﻥ‪ ،‬ﻤﻥ ﺍﻟﺨﻠﻁ ﺒﻴﻥ ﻤﺎ ﻴﻌﺭﻑ ﺒﺎﻟﻁﺒﻘﻴّﺔ )‪ (Velar Articulation‬ﻭﺍﻹﻁﺒﺎﻕ‪ ،‬ﻤﻔ ّﺭﻗﹰﺎ ﺒﻴﻨﻬﻤﺎ ﺒﻘﻭﻟـﻪ‪:‬‬
‫))‪ ...‬ﻓﺎﻟﻁﺒﻘﻴّﺔ ﺍﺭﺘﻔﺎﻉ ﻤﺅﺨﹼﺭ ﺍﻟﻠﹼﺴﺎﻥ ﺤﺘﹼﻰ ﻴﺘﹼﺼل ﺒﺎﻟﻁﺒﻕ؛ ﻓﻴﺴ ّﺩ ﺍﻟﻤﺠﺭﻯ‪ ،‬ﺃﻭ ﻴﻀﻴّﻘﻪ ﺘﻀﻴﻴﻘﹰﺎ ﻴﺅﺩّﻱ ﺇﻟﻰ ﺍﺤﺘﻜﺎﻙ ﺍﻟﻬﻭﺍﺀ ﺒﻬﻤـﺎ‪،‬‬
‫ﻓﻲ ﻨﻘﻁﺔ ﺍﻟﺘﻘﺎﺌﻬﻤﺎ؛ ﻓﻬﻲ ﺇﺫﹰﺍ ﺤﺭﻜﺔ ﻋﻀﻭﻴّﺔ ﻤﻘﺼﻭﺩﺓ ﻟﺫﺍﺘﻬﺎ‪ ،‬ﻴﺒﻘﻰ ﻁﺭﻑ ﺍﻟﻠﹼﺴﺎﻥ ﻤﻌﻬﺎ ﻓﻲ ﻭﻀﻊ ﻤﺤﺎﻴﺩ‪ .‬ﺃﻤّﺎ ﺍﻹﻁﺒﺎﻕ‪ ،‬ﻓﺎﺭﺘﻔﺎﻉ‬
‫ﻤﺅﺨﹼﺭ ﺍﻟﻠﹼﺴﺎﻥ ﻓﻲ ﺍﺘﺠﺎﻩ ﺍﻟﻁﺒﻕ‪ ،‬ﺒﺤﻴﺙ ﻻ ﻴ ﹼﺘﺼل ﺒﻪ‪ ،‬ﻋﻠﻰ ﺤﻴﻥ ﻴﺠﺭﻱ ﺍﻟﻨﻁﻕ ﻓﻲ ﻤﺨﺭﺝ ﺁﺨﺭ ﻏﻴﺭ ﺍﻟﻁﺒﻕ‪ ،‬ﻴﻐﻠـﺏ ﺃﻥ ﻴﻜـﻭﻥ‬
‫ﻁﺭﻑ ﺍﻟﻠﹼﺴﺎﻥ‪ ،‬ﺃﺤﺩ ﺍﻷﻋﻀﺎﺀ ﺍﻟﻌﺎﻤﻠﺔ ﻓﻴﻪ‪ .((...‬ﺍﻨﻅﺭ‪ :‬ﺤﺴﺎﻥ‪ ،‬ﺘﻤﺎﻡ‪ :‬ﻤﻨﺎﻫﺞ ﺍﻟﺒﺤﺙ ﻓﻲ ﺍﻟﻠﹼﻐﺔ‪ .‬ﺹ‪.89‬‬
‫)‪(6‬‬
‫ﺍﺒﻥ ﺴﻴﻨﺎ‪ ،‬ﺃﺒﻭ ﻋﻠﻲ ﺍﻟﺤﺴﻴﻥ‪ :‬ﺭﺴﺎﻟﺔ ﺃﺴﺒﺎﺏ ﺤﺩﻭﺙ ﺍﻟﺤﺭﻭﻑ‪ .‬ﺘﺤﻘﻴﻕ ﻤﺤﻤﺩ ﺤﺴﺎﻥ ﺍﻟﻁﻴّﺎﻥ‪ ،‬ﻭﻴﺤﻴﻰ ﻤﻴـﺭ ﻋﻠـﻡ‪ .‬ﺩﻤﺸـﻕ‪:‬‬
‫ﻤﺠﻤﻊ ﺍﻟﻠﻐﺔ ﺍﻟﻌﺭﺒﻴﺔ‪) .‬ﺩ‪ .‬ﺕ(‪ .‬ﺹ‪.120‬‬
‫)‪(7‬‬
‫ﺍﻟﻤﻭﺴﻭﻋﺔ ﺍﻟﻌﻠﻤﻴّﺔ ﺍﻟﺸﺎﻤﻠﺔ‪ .‬ﺹ‪.186‬‬
‫‪14‬‬
‫ﻕ ﺒﺎﺭﺘﻔﺎﻋِـﻬﺎ‪ ،‬ﻓـﻲ ﺤﺎﻟــ ِﺔ ﺍﻟﺘﻔﺨـﻴﻡ‪،‬‬
‫ﻥ ﻤﻥ ﺍﻟﻁﺒ ِ‬
‫ﺏ ﻤﺅﺨﹼﺭ ِﺓ ﺍﻟﻠﺴﺎ ﹺ‬
‫ﻥ ﺍﻗﺘﺭﺍ َ‬
‫ﺃﻀﻑ ﺇﻟﻰ ﺫﻟﻙ‪ ،‬ﺃ ّ‬
‫ﻥ‬
‫ﺙ ﺸﻲ ٍﺀ ﻤﻥ ﺍﻟﺘﻀﻴﻴﻕ‪ ،‬ﻓـﻲ ﻤﺠﺭﻯ ﺍﻟﻬﻭﺍ ِﺀ‪ ،‬ﻓـﻲ ﺫﻟﻙ ﺍﻟﻤﻭﻀﻊ‪ ،‬ﻭﻤـﻥ ﺸــﺄ ﹺ‬
‫ل ﻋﻠﻰ ﺇﺤﺩﺍ ِ‬
‫ﻴﻌﻤ ُ‬
‫ل ﺍﻟﻤﻭﺠـ ِﺔ ﺍﻟﺼﻭﺘﻴّـ ِﺔ ﺍﻟﻤﺎ ّﺭ ِﺓ ﻤـﻥ ﻤﻭﻀﻌِـﻪ؛ ﻓﻴـﺯﺩﺍ ُﺩ ﺒـﺫﻟﻙ‬
‫ل ﻤﻥ ﻁﻭ ﹺ‬
‫ﻕ‪ ،‬ﺃﻥ ﻴﻘﹼﻠ َ‬
‫ﻫـﺫﺍ ﺍﻟﺘﻀﻴﻴ ِ‬
‫ﻲ(()‪.(1‬‬
‫ل ﺍﻟﻤﻭﺠـ ّ‬
‫ﺕ ﺍﻟﺘﺭ ّﺩ ِﺩ ﺍﻟﻌﺎﻟﻲ‪ ،‬ﻗﺼﻴﺭ ﹸﺓ ﺍﻟﻁﻭ ﹺ‬
‫ﺘـﺭ ّﺩﺩُﻫﺎ‪ ،‬ﻓﺎﻟﻤﻭﺠ ﹸﺔ ))‪ ...‬ﺫﺍ ﹸ‬

‫ﺢ ﺍﻟﺘﺭﻗﻴﻕ‪ ،‬ﺍﻟﺫﻱ ﻻ ﻴﺘـﻭﺍﻓ ُﺭ ﻟـﻪ ﻤـﺎ‬

‫ﺢ ﺍﻟﺘﻔﺨﻴ ﹺﻡ ﻓﻲ ﺍﻷﺼﻭﺍﺕ‪ ،‬ﺃﻗﻭﻯ ﻤﻥ ﻤﻠﻤ ﹺ‬
‫ﻥ ﻤﻠﻤ ُ‬
‫ﺒﺫﻟﻙ ﻴﻜﻭ ُ‬
‫ﻕ‬
‫ﻱ ﺴـﻴﺎ ٍ‬ ‫ﺕ ﺍﻟﻤﻔﺨﹼﻤ ﹸﺔ ﻓﻲ ﺍﻟﻠﹼﻐ ِﺔ ﺍﻟﻌﺭﺒﻴّﺔ‪ ،‬ﻓﻤﻨﻬﺎ ﻤﺎ ﹸﻓ ﱢ‬
‫ﺨ َﻡ ))ﺘﻔﺨﻴﻤًﺎ ﻜﻠﻴ‪‬ﺎ‪ ،‬ﻓﻲ ﺃ ﱢ‬ ‫ﻴﺘﻭﺍﻓ ُﺭ ﻟﻸﻭّل‪ .‬ﺃﻤّﺎ ﺍﻟﺼﻭﺍﻤ ﹸ‬
‫ﺘﻘ ُﻊ ﻓﻴﻪ‪ ،‬ﺃﻱ ﺒﻘﻁ ﹺﻊ ﺍﻟﻨﻅ ﹺﺭ ﻋﻤّﺎ ﻴﺴﺒﻘﹸﻬﺎ‪ ،‬ﺃﻭ ﻴﻠﺤﻘﹸﻬﺎ ﻤﻥ ﺃﺼﻭﺍﺕ‪ .‬ﻭﺍﻟﺘﻔﺨﻴ ُﻡ ﺒﺎﻟﻨﺴﺒ ِﺔ ﻟﻬﺫﻩ ﺍﻷﺼـﻭﺍﺕ‪،‬‬
‫ل ﻟﻬﺎ‬
‫ﺕ ﺍﻟﺼﺎﻤﺘﺔ‪ ،‬ﻭﺘﺸﻜﹼ ُ‬
‫ﻑ ﺤﻘﻴﻘﺘﹸﻬﺎ‪ ،‬ﻭﺘﻨﻤﺎ ُﺯ ﻤﻥ ﺴﺎﺌ ﹺﺭ ﺍﻷﺼﻭﺍ ِ‬
‫ﺠﺯﺀٌ ﻻ ﻴﺘﺠﺯُّﺃ ﻤﻥ ﺒﻨﻴﺘِﻬﺎ‪ ،‬ﻭﺒـﻪ ﺘﻌﺭ ﹸ‬
‫ﻜﻴﺎﻨﹰﺎ ﺨﺎﺼ‪‬ﺎ ﺒﻬﺎ‪ .‬ﻫﺫﻩ ﺍﻷﺼﻭﺍﺕ‪ ،‬ﻫﻲ‪ :‬ﺍﻟﺼﺎﺩ‪ ،‬ﻭﺍﻟﻀﺎﺩ‪ ،‬ﻭﺍﻟﻁﺎﺀ‪ ،‬ﻭﺍﻟﻅﺎﺀ(()‪ .(2‬ﻭﻤﻨﻬـﺎ ﻤــﺎ ﹸﻓﺨﱢـ َﻡ‬
‫ﺘﻔﺨﻴﻤًﺎ ﺠﺯﺌﻴ‪‬ﺎ‪)) ،‬ﻭﻫـﻲ ﺃﺼﻭﺍﺕﹲ ﻟﻬﺎ ﺤﺎﻻﺕﹲ ﻤﻥ ﺍﻟﺘﻔﺨﻴ ﹺﻡ ﻭﺍﻟﺘﺭﻗﻴـﻕ‪ .‬ﺃﻭ ‪ -‬ﻗـلْ ‪ :-‬ﺇ ّ‬
‫ﻥ ﺘﻔﺨﻴﻤَﻬـﺎ‬
‫ﺏ ﺃﻴﻀًﺎ‪ ،‬ﻤﺸﺭﻭﻁﹲ ﻓـﻲ‬
‫ﻕ ﺍﻟﺫﻱ ﺘﻘ ُﻊ ﻓﻴﻪ‪ ،‬ﻭﻫﺫﺍ ﺍﻻﻜﺘﺴﺎ ُ‬
‫ﺏ ﺘﻔﺨﻴﻤَﻬﺎ ﻤﻥ ﺍﻟﺴﻴﺎ ِ‬
‫ﻤﻜﺘﺴﺏٌ ﻤﺸﺭﻭﻁ‪ :‬ﺘﻜﺘﺴ ُ‬
‫ﺤﺩﻭ ٍﺩ ﺨﺎﺼّﺔ‪ .‬ﻫﺫﻩ ﺍﻷﺼﻭﺍﺕ‪ ،‬ﻫﻲ‪ :‬ﺍﻟﻘﺎﻑ‪ ،‬ﻭﺍﻟﻐﻴﻥ‪ ،‬ﻭﺍﻟﺨﺎﺀ(()‪ .(3‬ﻭﺃﻤّﺎ ﺍﻟﺼﻭﺍﻤ ﹸ‬
‫ﺕ ﺍﻟﻤﺭﻗﹼﻘﺔ‪ ،‬ﻓﻬﻲ ﺒﺎﻗﻲ‬
‫ﺕ ﺍﻟﻌﺭﺒﻴّﺔ‪.‬‬
‫ﺼﻭﺍﻤ ِ‬

‫‪ .3.1‬ﺍﻻﻨﻔﺠﺎﺭ‬

‫ﺕ‬
‫ﻥ ﺍﻷﺼـﻭﺍ ِ‬
‫ﻱ ﻗ ّﻭ ﹰﺓ ﻓـﻲ ﺫﺍﺘِﻪ؛ ﻓﻴﺘﻤ ّﻴ ُﺯ ﺒﻪ ﻅـﺎﻫﺭًﺍ ﺒـﻴ َ‬
‫ﺕ ﺍﻟﻠﻐﻭ ﱠ‬
‫ﺢ ﺍﻟﺼﻭ ﹶ‬
‫ﺢ ﺍﻟﺘﻲ ﺘﻤﻨ ُ‬
‫ﻤﻥ ﺍﻟﻤﻼﻤ ﹺ‬
‫ل ﻫﺫﺍ ﺍﻟﻤﻠﻤﺢ‪ ،‬ﺃﻻ ﻭﻫﻭ‬
‫ﻲ‪ ،‬ﺍﻟﺫﻱ ﻴﻭﺤﻲ ﺒﻤﺩﻯ ﺸ ّﺩ ِﺓ ﺤﺎﻤ ﹺ‬
‫ل ﻓﻲ ﺍﺴﻤِﻪ ﻤﺩﻟﻭﻟﹶﻪ ﺍﻟﻌﻠﻤ ﱠ‬
‫ﺍﻷﺨﺭﻯ‪ ،‬ﻤﻠﻤﺢٌ ﻴﺤﻤ ُ‬
‫ﺢ ﺍﻻﻨﻔﺠﺎﺭ‪.‬‬
‫ﻤﻠﻤ ُ‬

‫ﺝ ﻤـﻥ‬
‫ﺱ ﻤﺠـﺭﻯ ﺍﻟﻬـﻭﺍ ِﺀ ﺍﻟﺨـﺎﺭ ﹺ‬
‫ﺕ ﺍﻻﻨﻔﺠﺎﺭﻴّﺔ ] ‪ ،[ Plosives‬ﺒﺄﻥ ُﻴﺤْﺒ َ‬
‫ﻥ ﺍﻷﺼﻭﺍ ﹸ‬
‫))ﺘﺘﻜﻭّ ُ‬
‫ﻁ‬
‫ﺞ ﻋﻥ ﻫﺫﺍ ﺍﻟﺤﺒﺱ‪ ،‬ﺃﻭ ﺍﻟﻭﻗـﻑ‪ ،‬ﺃﻥ ُﻴﻀْﻐ ﹶ‬
‫ﺍﻟﺭﺌﺘﻴـﻥ‪ ،‬ﺤﺒﺴًﺎ ﺘﺎﻤ‪‬ﺎ ﻓﻲ ﻤﻭﻀـ ﹴﻊ ﻤﻥ ﺍﻟﻤﻭﺍﻀﻊ‪ ،‬ﻭﻴﻨﺘ ُ‬
‫ﻲ ﻓﺠﺄ ﹰﺓ‪ ،‬ﻓﻴﻨﺩﻓ ُﻊ ﺍﻟﻬﻭﺍ ُﺀ ﻤﺤﺩﺜﹰﺎ ﺼﻭﺘﹰﺎ ﺍﻨﻔﺠﺎﺭﻴ‪‬ﺎ(()‪.(4‬‬
‫ﺡ ﺍﻟﻤﺠﺭﻯ ﺍﻟﻬﻭﺍﺌ ﱢ‬
‫ﻕ ﺴﺭﺍ ُ‬
‫ﺍﻟﻬـﻭﺍﺀ‪ ،‬ﺜ ﱠﻡ ُﻴﻁﹾﻠ ﹸ‬

‫)‪(1‬‬
‫ﺍﻟﻤﻭﺴﻭﻋﺔ ﺍﻟﻌﻠﻤﻴّﺔ ﺍﻟﺸﺎﻤﻠﺔ‪ .‬ﺹ‪.180‬‬
‫)‪(2‬‬
‫ﺒﺸﺭ‪ ،‬ﻜﻤﺎل‪ :‬ﻋﻠﻡ ﺍﻷﺼﻭﺍﺕ‪ .‬ﺹ‪.396‬‬
‫)‪(3‬‬
‫ﺍﻟﻤﺭﺠﻊ ﻨﻔﺴﻪ‪ .‬ﺹ‪.400‬‬
‫)‪(4‬‬
‫ﻲ‪ .‬ﺹ‪.153‬‬
‫ﺍﻟﺴﻌﺭﺍﻥ‪ ،‬ﻤﺤﻤﻭﺩ‪ :‬ﻋﻠﻡ ﺍﻟﻠﹼﻐﺔ ﻤﻘﺩّﻤﺔ ﻟﻠﻘﺎﺭﺉ ﺍﻟﻌﺭﺒ ّ‬
‫‪15‬‬
‫ﻕ ﺍﻟﻬﻭﺍ ِﺀ ﺇﻁﻼﻗﹰﺎ ﻤﻔــﺎﺠﺌًﺎ‪ ،‬ﺒﻌـ َﺩ ﺤﺒﺴِـﻪ‬
‫ﻱ‪ ،‬ﺇﻟﻰ ﺇﻁﻼ ِ‬
‫ﺢ ﺍﻟﺘﻤﻴﻴﺯ ﱢ‬
‫ﺏ ﻗـ ّﻭ ِﺓ ﻫﺫﺍ ﺍﻟﻤﻠﻤ ﹺ‬
‫ﻭﻴﻌﻭ ُﺩ ﺴﺒ ُ‬

‫ﻁ‬
‫ل ﺍﻟﻀـﻐ ﹸ‬
‫ﺽ ﻋﻀ ﹴﻭ‪ ،‬ﺃﻭ ﺃﻜﺜ َﺭ ﻤﻥ ﺃﻋﻀﺎ ِﺀ ﺍﻟﻨﻁﻕ(()‪(1‬؛ ﻓﻴﻌﻤـ ُ‬
‫ل‪ ...‬ﺒﺎﻋﺘﺭﺍ ﹺ‬ ‫ﻭﻀﻐﻁِﻪ‪ ،‬ﺒـ))ﺘﻜﻭﻴ ﹺ‬
‫ﻥ ﻗﻔ ﹴ‬

‫ﺕ‬
‫ﺙ ))ﺘﻌﺘﻤ ُﺩ ﺠﻬـﺎﺭ ﹸﺓ ﺍﻟﺼـﻭ ِ‬
‫ﻋﻠﻰ ﺯﻴﺎﺩ ِﺓ ﻁﺎﻗ ِﺔ ﺍﻟﻬﻭﺍ ِﺀ ﺍﻟﻤﺤﺒﻭﺱ‪ ،‬ﻓﺘﺯﺩﺍ ُﺩ ﺒﺫﻟﻙ ﺸ ّﺩﺘﹸﻪ ﻭﺠﻬﺎﺭﺘﹸﻪ‪ ،‬ﺤﻴ ﹸ‬
‫ﻕ ﻫﺫﺍ ﺍﻟﻬﻭﺍﺀ‪،‬‬
‫ﻅ ﻓﺠﺎﺀ ﹸﺓ ﺇﻁﻼ ِ‬
‫ﺝ ﺍﻟﺼﻭﺘﻴّﺔ(()‪ .(2‬ﻭﺘﺤﺎﻓ ﹸ‬
‫ﻋﻠﻰ ﺍﻟﺸ ّﺩ ِﺓ )ﻜﻤ ّﻴ ِﺔ ﺍﻟﻁﺎﻗﺔ(‪ ،‬ﺍﻟﺘـﻲ ﺘﺤﻤﻠﹸﻬﺎ ﺍﻷﻤﻭﺍ ُ‬

‫ﻱ‪،‬‬
‫ل ﻋﺎﺩ ّ‬
‫ﻕ ﺍﻟﻬﻭﺍ ُﺀ ﺒﺸﻜ ﹴ‬
‫ﻋﻠﻰ ﻜﻤ ّﻴ ِﺔ ﻫﺫﻩ ﺍﻟﻁﺎﻗـ ِﺔ ﺍﻟﻤﻜﺘﺴﺒ ِﺔ ﻤﻥ ﺍﻟﻀﻐﻁ؛ ﻟﻤﺎ ﻓﻴﻬﺎ ﻤﻥ ﺴﺭﻋﺔ‪ ،‬ﻓﻠﻭ ﺃﻁﻠ ﹶ‬

‫ﺙ ﻟﻠﻤـﺎ ِﺀ ﻓـﻲ‬
‫ﻥ ﺍﻟﺴﺎﻤﻊ‪ .‬ﻭﻴﺸﺒ ُﻪ ﻫﺫﺍ ﻤﺎ ﻴﺤـﺩ ﹸ‬
‫ل ﻭﺼﻭﻟِﻪ ﺇﻟﻰ ﺃﺫ ﹺ‬
‫ﻟﺨﺴ َﺭ ﺠﺯﺀًﺍ ﻤﻥ ﻁﺎﻗﺘِﻪ ﻫـﺫﻩ‪ ،‬ﻗﺒ َ‬
‫ﻑ ﺤﺎﻟﺘِﻪ‪ ،‬ﻋﻨـ َﺩ‬
‫ﻕ ﻗﻭﻴ‪‬ﺎ ﺸﺩﻴﺩًﺍ‪ ،‬ﺒﺨﻼ ِ‬
‫ﻕ ﻓﺠﺄ ﹰﺓ‪ ،‬ﻻﻨﻁﻠ ﹶ‬
‫ﻀﻐِﻁ ﺍﻟﻤﺎ ُﺀ ﻓـﻲ ﺍﻷﻨﺒﻭﺏ‪ ،‬ﺜ ﱠﻡ ﺃﻁﻠ ﹶ‬
‫ﺍﻷﻨﺒﻭﺏ؛ ﻓﻠﻭ ُ‬

‫ﺘﺭﻜِﻪ ﺒﻠﻴﻥ‪.‬‬

‫ﺕ ﺍﻻﻨﻔﺠﺎﺭﻴّ ﹸﺔ ﻓﻲ ﺍﻟﻠﻐ ِﺔ ﺍﻟﻌﺭﺒﻴّﺔ‪ ،‬ﻫﻲ‪ :‬ﺍﻟﻬﻤﺯﺓ‪ ،‬ﻭﺍﻟﺒﺎﺀ‪ ،‬ﻭﺍﻟﺘﺎﺀ‪ ،‬ﻭﺍﻟـﺩﺍل‪ ،‬ﻭﺍﻟﻀـﺎﺩ‪،‬‬

‫ﻭﺍﻟﺼﻭﺍﻤ ﹸ‬

‫ﻭﺍﻟﻁﺎﺀ‪ ،‬ﻭﺍﻟﻘﺎﻑ‪ ،‬ﻭﺍﻟﻜﺎﻑ‪.‬‬

‫‪ .4.1‬ﺍﻻﺤﺘﻜﺎﻙ‬

‫ﺕ ﺃﻨﹼـﻙ‬
‫ل ﻓﹸﺘﺤﺘِﻬﺎ ﺍﻟﻤﻁﺎﻁﻴّـﺔ؛ ﻟﻼﺤﻅ ﹶ‬
‫ﺝ ﻫﻭﺍﺀَﻫﺎ ﻤﻥ ﺨﻼ ﹺ‬
‫ﺕ ﺘﺨﺭ ُ‬
‫ﺕ ﹸﻨﻔﹼﺎﺨ ﹰﺔ ﺒﺎﻟﻬﻭﺍﺀ‪ ،‬ﻭﺒﺩﺃ ﹶ‬
‫ﻟﻭ ﻤﻸ ﹶ‬
‫ﺕ ﺍﻟﻤُﻨﺘﹶﺞ‪ .‬ﻭﺤﻜﺎﻴـ ﹸﺔ ﻫـﺫﻩ‬
‫ﺏ ﺠﻭﺍﻨﺒﹺﻬﺎ ﺍﻟﻤﻁﺎﻁﻴّﺔ‪ ،‬ﻭﻋﻼ ﺍﻟﺼﻭ ﹸ‬
‫ﺕ ﻫﺫﻩ ﺍﻟﻔﹸﺘﺤ ﹶﺔ‪ ،‬ﺯﺍ َﺩ ﺘﺫﺒﺫ ُ‬
‫ﻜﻠﻤّﺎ ﻀﻴّـﻘ ﹶ‬

‫ﻲ )‪.(Fricative‬‬
‫ﺕ ﺍﻻﺤﺘﻜﺎﻜ ّ‬
‫ﺍﻟ ﹸﻨﻔﹼﺎﺨﺔ‪ ،‬ﻫﻲ ﺤﻜﺎﻴ ﹸﺔ ﺍﻻﺤﺘﻜﺎﻙ‪ ،‬ﻭﺍﻟﺼﻭ ِ‬

‫ﻕ ﺍﻟﻤﺠـﺭﻯ‪ ،‬ﺇﻟـﻰ‬
‫ﻕ ﺘﻀـﻴﻴ ِ‬
‫ﻋﻥ ﻁﺭﻴ ِ‬ ‫))‪...‬‬ ‫ﻲ‪،‬‬
‫ﻲ ﻓﻲ ﺍﻟﺠﻬـﺎ ﹺﺯ ﺍﻟﻨﻁﻘ ّ‬
‫ﺕ ﺍﻻﺤﺘﻜﺎﻜ ﱡ‬
‫ﺙ ﺍﻟﺼﻭ ﹸ‬
‫ﻴﺤﺩ ﹸ‬
‫ل‬
‫ﻕ‪ ،‬ﺒﺩﻭﺭﹺﻩ‪ ،‬ﻴﻌﻤ ُ‬
‫ﺢ ﺒﻤﺭﻭ ﹺﺭ ﺍﻟﻬﻭﺍﺀ‪ ،‬ﻭﻟﻜﻥ ﻤﻊ ﺍﺤﺘﻜﺎﻜِﻪ ﺒﺠﺎﻨﺒـﻲ ﺍﻟﻤﺠﺭﻯ‪ .(3)((...‬ﻭﺍﻟﺘﻀﻴﻴ ﹸ‬
‫ﺩﺭﺠ ٍﺔ ﺘﺴﻤ ُ‬

‫ل ﻤﻥ ﻁﻭﻟِﻬﺎ ﻤﻥ ﺠﻬﺔ‪ ،‬ﻭﺒﺯﻴﺎﺩ ِﺓ ﻜﻤ ّﻴ ِﺔ ﻁﺎﻗ ِﺔ ﺍﻟﻬﻭﺍ ِﺀ‬

‫ﺝ ﺍﻟﺼﻭﺘﻴّﺔ؛ ﻭﺫﻟﻙ ﺒﺎﻟﺘﻘﻠﻴ ﹺ‬
‫ﻋﻠﻰ ﺯﻴﺎﺩ ِﺓ ﺘﺭ ّﺩ ِﺩ ﺍﻷﻤﻭﺍ ﹺ‬

‫ﺢ‬
‫ﻥ ﻤﻠﻤـ ُ‬
‫ﻁ ﻭﺍﻗ ﹴﻊ ﻋﻠﻴﻪ‪ ،‬ﻤﻥ ﺠﻬ ٍﺔ ﺃﺨـﺭﻯ‪ .‬ﻭﺒﻬﺫﺍ ﻴﻜـﻭ ُ‬
‫ﺍﻟﺤﺭﻜ ّﻴ ِﺔ ﺍﻟﺫﻱ ﻴﺤﻤﻠﹸﻬﺎ‪ ،‬ﻟﻤﺎ ﻴﺤﺩﺜﹸﻪ ﻤﻥ ﻀﻐ ٍ‬

‫ﺕ ﺍﻟﺫﻱ ﻴﺤﻤﻠﹸﻪ‪.‬‬
‫ل ﺒﻪ ﺍﻟﺼﻭ ﹸ‬
‫ﺢ ﻗ ّﻭ ٍﺓ‪ ،‬ﻴﺤﻔ ُ‬
‫ﺕ ﺍﻟﻠﹼﻐﻭ ّﻴ ِﺔ ﻤﻠﻤ َ‬
‫ﻙ‪ ،‬ﻓـﻲ ﺍﻷﺼﻭﺍ ِ‬
‫ﺍﻻﺤﺘﻜﺎ ِ‬

‫)‪(1‬‬
‫ﻲ ﻓﻲ ﺍﻟﻠﹼﻐﺔ ﺍﻟﻌﺭﺒﻴّﺔ )ﻓﻭﻨﻭﻟﻭﺠﻴﺎ ﺍﻟﻌﺭﺒﻴّﺔ(‪ .‬ﺘﺭﺠﻤﺔ ﻴﺎﺴﺭ ﺍﻟﻤﻼﺡ‪ .‬ﻁ‪ .1‬ﺠﺩّﺓ‪ :‬ﺍﻟﻨﺎﺩﻱ‬
‫ﺍﻟﻌﺎﻨﻲ‪ ،‬ﺴﻠﻤﺎﻥ ﺤﺴﻥ‪ :‬ﺍﻟﺘﺸﻜﻴل ﺍﻟﺼﻭﺘ ّ‬
‫ﻲ‪ .1983 .‬ﺹ‪.52‬‬
‫ﻲ ﺍﻟﺜﻘﺎﻓ ّ‬
‫ﺍﻷﺩﺒ ّ‬
‫)‪(2‬‬
‫ﺍﻟﻤﻭﺴﻭﻋﺔ ﺍﻟﻌﻠﻤﻴّﺔ ﺍﻟﺸﺎﻤﻠﺔ‪ .‬ﺹ‪.181‬‬
‫)‪(3‬‬
‫ﺒﺎﻱ‪ ،‬ﻤﺎﺭﻴﻭ‪ :‬ﺃﺴﺱ ﻋﻠﻡ ﺍﻟﻠﹼﻐﺔ‪ .‬ﺘﺭﺠﻤﺔ ﺃﺤﻤﺩ ﻤﺨﺘﺎﺭ ﻋﻤﺭ ﻭﺘﻌﻠﻴﻘﻪ‪ .‬ﻁ‪ .8‬ﺍﻟﻘﺎﻫﺭﺓ‪ :‬ﻋﺎﻟﻡ ﺍﻟﻜﺘﺏ‪ .1998 .‬ﺹ‪78‬‬
‫‪16‬‬
‫ﺕ ﺍﻻﺤﺘﻜﺎﻜ ّﻴ ﹸﺔ ﻓﻲ ﺍﻟﻠﹼﻐ ِﺔ ﺍﻟﻌﺭﺒﻴّﺔ‪ ،‬ﻫﻲ‪ :‬ﺍﻟﺜﺎﺀ‪ ،‬ﻭﺍﻟﺤﺎﺀ‪ ،‬ﻭﺍﻟﺨـﺎﺀ‪ ،‬ﻭﺍﻟـﺫﺍل‪ ،‬ﻭﺍﻟـﺯﺍﻱ‪،‬‬
‫ﻭﺍﻟﺼﻭﺍﻤ ﹸ‬

‫ﻭﺍﻟﺴﻴﻥ‪ ،‬ﻭﺍﻟﺸﻴﻥ‪ ،‬ﻭﺍﻟﺼﺎﺩ‪ ،‬ﻭﺍﻟﻅﺎﺀ‪ ،‬ﻭﺍﻟﻌﻴﻥ‪ ،‬ﻭﺍﻟﻐﻴﻥ‪ ،‬ﻭﺍﻟﻔـﺎﺀ‪ ،‬ﻭﺍﻟﻬـﺎﺀ‪.‬‬

‫‪ .5.1‬ﺍﻟﺼﻔﻴﺭ‬

‫ﺕ ﺘﺠﺭﹺﺒـ ﹶﺔ ﺍﻟ ﹸﻨﻔﹼﺎﺨ ِﺔ ﺍﻟﺴﺎﺒﻘﺔ‪ ،‬ﺫﺒﺫﺒ ﹰﺔ ﻋﺎﻟﻴ ﹶﺔ ﺍﻟﻨﺴـﺒ ِﺔ ﻓـﻲ ﺠﻭﺍﻨﺒﹺﻬـﺎ‬

‫ﻅ‪ ،‬ﻟﻭ ﻜ ّﺭﺭْ ﹶ‬
‫ﻙ ﺴﺘﻼﺤ ﹸ‬
‫ﻻ ﺒ ﱠﺩ ﺃ ﹼﻨ َ‬

‫ﻙ ﺴﺘﺴـﻤ ُﻊ ﺫﺍﻙ ﺍﻟﺼـﻔﻴ َﺭ‬

‫ل ﺇﻟﻰ ﺩﺭﺠ ٍﺔ ﻋﺎﻟﻴ ٍﺔ ﻤﻥ ﺍﻟﺘﻀﻴﻴﻕ‪ ،‬ﻭﻻ ﺒــ ﱠﺩ ﺃﻨﹼـ َ‬
‫ﻥ ﺘﺼ ُ‬
‫ﺍﻟﻤﻁﺎﻁﻴّـﺔ‪ ،‬ﺤﻴ َ‬

‫ﺕ ﺍﻟﺼﻔﻴﺭ ّﻴ ِﺔ‬
‫ﻑ ﺒﺎﻷﺼﻭﺍ ِ‬
‫ﻥ ﺍﻟﺼﻔﻴ َﺭ ﺫﺍﺘﹶﻪ ﻓﻴﻤﺎ ﻴﻌﺭ ﹸ‬
‫ﺏ ﻟﻬﺫﻩ ﺍﻟﺫﺒﺫﺒﺔ‪ ،‬ﺍﻟـﺫﻱ ﻻ ﻴﺘﻌّﺩﻯ ﺃﻥ ﻴﻜﻭ َ‬
‫ﺍﻟﻤﺼﺎﺤ َ‬

‫ﻥ ﺒﻴﻨﹶﻬﻤﺎ ﻓـﺭﺍﻍﹲ‬
‫ﺙ ﻴﻜﻭ ُ‬
‫ل ﺍﻟﺜﻨﺎﻴـﺎ‪ ،‬ﺒﺤﻴ ﹸ‬
‫ﻥ ﺒﺄﺼﻭ ﹺ‬
‫ل ﺍﻟﻠﺴﺎ ﹺ‬
‫ل ﺃﻭّ ُ‬ ‫)‪ (Sibilants‬ﻓﻲ ﺍﻟﻠﹼﻐﺔ؛ ﻓـ))ﺤﻴ َ‬
‫ﻥ ﻴﺘﹼﺼ ُ‬

‫ﻑ ﻟﻤﺭﻭ ﹺﺭ ﺍﻟﻬﻭﺍﺀ‪ ،‬ﻨﺴﻤ ُﻊ ﺫﻟﻙ ﺍﻟﺼﻔﻴﺭ‪.(1)((...‬‬

‫ﺼﻐﻴﺭٌ ﺠﺩ‪‬ﺍ‪ ،‬ﻭﻟﻜﻨﹼﻪ ﻜﺎ ٍ‬

‫ﺕ ﺍﻟﺘﻲ ﺘﺤﺘﻀﻨﹸﻪ ﻗ ّﻭ ﹰﺓ ﻭﺤـﺩّﺓ‪،‬‬

‫ﺏ ﺍﻷﺼﻭﺍ ﹶ‬
‫ﺢ ﺍﻟﺫﻱ ﻴُﻜﺴ ُ‬
‫ﺇﺫﻥ‪ ،‬ﻓﺎﻟﺼﻔﻴ ُﺭ ﻭﻟﻴ ُﺩ ﺍﻻﺤﺘﻜﺎﻙ؛ ﻓﻬﺫﺍ ﺍﻟﻤﻠﻤ ُ‬
‫ﻱ‪.‬‬
‫ﺕ ﺍﻟﺼـﻔﻴﺭ ّ‬
‫ﻕ ﺃﺸـ ّﺩ‪ ،‬ﻴﻭﻟﹼ ُﺩ ﺘﺭ ّﺩﺩًﺍ ﺃﻋﻠﻰ‪ ،‬ﻤﺤﺩﺜﹰﺎ ﺍﻟﺼـﻭ ﹶ‬
‫ﻙ ﺫﺍﺘِﻬﺎ‪ ،‬ﻟﻜﻥ ﺒﺘﻀﻴﻴ ٍ‬
‫ﺙ ﺒﺂﻟ ّﻴ ِﺔ ﺍﻻﺤﺘﻜﺎ ِ‬
‫ﻴﺤﺩ ﹸ‬

‫ﺕ ﺍﻟﺼﻔﻴﺭﻴّﺔ‪ ،‬ﺁﻟ ّﻴ ﹶﺔ )ﺍﻟﺼﱠـﻔﹼﺎﺭﺓ(‪ ،‬ﺘﻠﻙ ﺍﻷﺩﺍ ِﺓ ﺍﻟﺒﺴﻴﻁﺔ‪ ،‬ﻓﻤﺒﺩُﺃ ﻋﻤﻠِﻬﺎ ﻴﻘﻭ ُﻡ ﻋﻠـﻰ‬
‫ﻭﺘﺸﺒ ُﻪ ﺁﻟﻴّ ﹸﺔ ﺍﻷﺼﻭﺍ ِ‬

‫ل ﻟﻜﺭ ٍﺓ ﺼﻐﻴﺭ ٍﺓ ﻓﻲ ﺩﺍﺨِﻠﻬﺎ‪ ،‬ﻤـﻥ ﺠﻬـ ٍﺔ‬ ‫ﻕ ﺤﺎ ﱟﺩ ﻟﻤﺠﺭﻯ ﺍﻟﻬﻭﺍ ِﺀ ﻓﻴﻬﺎ ﻤﻥ ﺠﻬـﺔ‪ ،‬ﻭﺘﺫﺒﺫ ﹴ‬
‫ﺏ ﻋﺎ ﹴ‬ ‫ﺘﻀﻴﻴ ٍ‬
‫ﺃﺨﺭﻯ‪.‬‬

‫ﺕ ﺍﻟﺼﻔﻴﺭﻴّ ﹸﺔ ﻓﻲ ﺍﻟﻠﹼﻐ ِﺔ ﺍﻟﻌﺭﺒﻴّـﺔ‪ ،‬ﻫـﻲ‪ :‬ﺍﻟﺴﻴﻥ‪ ،‬ﻭﺍﻟﺸﻴﻥ‪ ،‬ﻭﺍﻟﺯﺍﻱ‪ ،‬ﻭﺍﻟﺼـﺎﺩ‪.‬‬

‫ﻭﺍﻟﺼﻭﺍﻤ ﹸ‬

‫‪ .6.1‬ﺍﻟﺘﱠﻜﺭﺍﺭ‬

‫ﺢ ﺍﻟﺘﱠﻜـﺭﺍﺭ‪.‬‬
‫ﻱ ﻋﻨ َﺩ ﺘﻜﻭﻴﻨِـﻪ‪ ،‬ﻤﻠﻤــ ُ‬
‫ﺕ ﺍﻟﻠﹼﻐﻭ ﱢ‬
‫ﻱ‪ ،‬ﻟﻠﺼﻭ ِ‬
‫ل ﺍﻟﻌﻤﻭ َﺩ ﺍﻟﻔﻘﺭ ﱠ‬
‫ﺢ ﺍﻟﺘﻲ ﺘﺸﻜﹼ ُ‬
‫ﻤﻥ ﺍﻟﻤﻼﻤ ﹺ‬

‫ﻥ ﻭﺤﺎﻓ ِﺔ ﺍﻟﺤﻨﻙ‪ ،‬ﻤﻤّﺎ ﻴﻠﻲ ﺍﻟﺜﻨﺎﻴـﺎ‬

‫ﻑ ﺍﻟﻠﺴﺎ ﹺ‬
‫ﻥ ﺍﻟﺘﻘﺎ َﺀ ﻁﺭ ِ‬
‫ﻲ ﺍﻟﻤﺘﻔ ّﺭ ُﺩ ﺒﻪ‪ ،‬ﻫـﻭ ﺍﻟﺭّﺍﺀ؛ ﻷ ّ‬
‫ﻭﺼﻭﺘﹸﻪ ﺍﻟﻌﺭﺒ ﱡ‬

‫ﻙ ﻁﺭﻗﹰﺎ ﻟ ّﻴﻨﹰﺎ ﻴﺴﻴـﺭًﺍ‪ ،‬ﻤﺭّﺘﻴﻥ ﺃﻭ‬

‫ﻥ ﺤﺎﻓ ﹶﺔ ﺍﻟﺤﻨ ِ‬
‫ﻑ ﺍﻟﻠﺴﺎ ﹺ‬
‫ﻕ ﻁﺭ ﹸ‬
‫ﻕ ﺒﻬﺎ‪ ،‬ﻜﺄﻨﹼﻤﺎ ﻴﻁﺭ ﹸ‬
‫ﺍﻟﻌﻠﻴﺎ‪ ،‬ﻴﺘﻜﺭّ ُﺭ ﻓﻲ ﺍﻟﻨﻁ ِ‬
‫ﻥ ﺍﻟﺭّﺍ ُﺀ ﺍﻟﻌﺭﺒﻴّﺔ)‪.(2‬‬
‫ﺜﻼﺜﹰﺎ‪ ،‬ﻟﺘﺘﻜ ّﻭ َ‬

‫)‪(1‬‬
‫ﺃﻨﻴﺱ‪ ،‬ﺇﺒﺭﺍﻫﻴﻡ‪ :‬ﺍﻷﺼﻭﺍﺕ ﺍﻟﻠﻐﻭﻴّﺔ‪ .‬ﺹ‪.26‬‬
‫)‪(2‬‬
‫ﺍﻟﻤﺭﺠﻊ ﻨﻔﺴﻪ‪ .‬ﺹ‪.66‬‬
‫‪17‬‬
‫ﺝ ﻤـﻥ‬
‫ﺽ ﺍﻟﻬﻭﺍ ِﺀ ﺍﻟﺨـﺎﺭ ﹺ‬
‫ل ﺍﻋﺘﺭﺍ ﹺ‬
‫ﻼ ﻤﻥ ﺃﺸﻜﺎ ﹺ‬
‫ﻥ ﻭﺤﺎﻓـ ِﺔ ﺍﻟﺤﻨﻙ‪ ،‬ﺸﻜ ﹰ‬
‫ﻑ ﺍﻟﻠﺴﺎ ﹺ‬
‫ل ﺍﻟﺘﻘﺎ ُﺀ ﻁﺭ ِ‬
‫ﻭﻴﻤﺜﹼ ُ‬
‫ﺏ ﺍﻟﻬـﻭﺍ ِﺀ‬
‫ﻕ ﻭﺍﻨﻔﺘﺎﺡ‪ ،‬ﻋﻠﻰ ﺯﻴﺎﺩ ِﺓ ﺘﺫﺒﺫ ﹺ‬
‫ﻥ ﺍﻨﻐﻼ ٍ‬
‫ﺽ ﺒﺴﺭﻋﺘِﻪ‪ ،‬ﺒﻴ َ‬
‫ل ﺘﻜﺭﺍ ُﺭ ﻫﺫﺍ ﺍﻻﻋﺘﺭﺍ ﹺ‬
‫ﺍﻟﺭﺌﺘﻴﻥ‪ ،‬ﻭﻴﻌﻤ ُ‬
‫ﻥ ﺍﻟﺘﻜﺭﺍ ُﺭ ﻗـ ّﻭ ﹰﺓ ﻟﺤﺎﻤﻠِـﻪ‪،‬‬
‫ﺝ ﺍﻟﺼﻭﺘﻴّـﺔ‪ .‬ﻭﺒﻬـﺫﺍ ﻜﺎ َ‬
‫ﺍﻟﺨﺎﺭﺝ‪ ،‬ﻤﻤّﺎ ﻴﺅﺩّﻱ ﺇﻟﻰ ﺯﻴـﺎﺩ ِﺓ ﺘﺭ ّﺩ ِﺩ ﺍﻷﻤـﻭﺍ ﹺ‬
‫ﺙ‬
‫ﻥ‪ ،‬ﺤﺘﹼـﻰ ﻴﺤـﺩ ﹶ‬
‫ﺢ ﺍﻟﻠﹼﺴـﺎ ﹺ‬
‫ﺕ ﻓـﻲ ﺍﻹﻴﻘﺎﻋﺎﺕ؛ ﻭﺫﻟﻙ ﻟﺸ ّﺩ ِﺓ ﺍﻫﺘﺯﺍ ﹺﺯ ﺴﻁ ﹺ‬
‫ﻑ ﻋﻨﻬﺎ ))‪ ...‬ﺍﻟﺘﺭﻋﻴﺩﺍ ﹸ‬
‫ﺘﻜﺸ ﹸ‬
‫ﺱ ﻏﻴ ﹺﺭ ﻤﺤﺴﻭﺱ‪.(1)((...‬‬
‫ﺤﺒﺴًﺎ ﺒﻌ َﺩ ﺤﺒ ﹴ‬

‫ﻥ ﺫﺒﺫﺒ ﹸﺔ‬
‫ﻥ ﺘﻜﻭ ُ‬
‫ﻥ ﺍﻟﺭّﺍﺀ ﺍﻟﻤﻜﺭّﺭﺓ ] ‪ ،[ Trill/ Rolled‬ﺤﻴـ َ‬
‫ﻭﻟﻠﺭّﺍ ِﺀ ﻓﻲ ﻨﻁﻘِﻬﺎ ﺤﺎﻻﻥ؛ ))‪ ...‬ﻓﺘﻜﻭ ُ‬
‫ﻥ‬
‫ﻥ ﺭﺍﺀ ﻟﻤﺴﻴّﺔ ] ‪ ،[ Tapped/ Flapped‬ﺤﻴ َ‬
‫ل ﺇﺴﻜﺎﻨِﻬﺎ‪ ،‬ﻭﺘﻜﻭ ُ‬
‫ﻥ ﺃﻜﺜ َﺭ ﻤﻥ ﻤﺭّﺓ‪ ،‬ﻭﺫﻟﻙ ﻓﻲ ﺤﺎ ﹺ‬
‫ﺍﻟﻠﹼﺴﺎ ﹺ‬
‫ل ﺍﻟﺭّﺍ ِﺀ ﺍﻟﻤﺘﺤﺭّﻜﺔ(()‪.(2‬‬
‫ﻥ ﻤ ّﺭ ﹰﺓ ﻭﺍﺤﺩﺓ‪ ،‬ﻭﺫﻟﻙ ﻓﻲ ﺤﺎ ﹺ‬
‫ﺘﻜﻭ ُ‬

‫‪ .7.1‬ﺍﻟﺘﱠﺭﻜﻴﺏ‬

‫ﺕ ﺍﻟﻤُﻨـﺘﹶﺞ؛‬
‫ﺏ ﻗ ّﻭ ﹰﺓ ﻓﻲ ﺍﻟﺼـﻭ ِ‬
‫ﺕ ﻭﺍﺤﺩ‪ ،‬ﻤﻠﻤﺢٌ ﻴﺴﺘﻭﺠ ُ‬
‫ﻥ ﺼﻭ ٍ‬
‫ﻥ ﻟﺘﻜﻭﻴ ﹺ‬
‫ﻥ ﻟﻐﻭﻴّﻴ ﹺ‬
‫ﺝ ﺼﻭﺘﻴ ﹺ‬
‫ﻥ ﺍﻨﺩﻤﺎ َ‬
‫ﺇﱠ‬
‫ﺕ ﺍﻟﻤُﻨﺘﹶﺠﺔﹸ ﺒﻬﺫﻩ ﺍﻟﻁﺭﻴﻘـﺔ‪،‬‬
‫ﻑ ﺍﻷﺼﻭﺍ ﹸ‬
‫ﻥ ﻤﺨﺘﻠﻔﻴﻥ‪ .‬ﻭﺘﻌﺭ ﹸ‬
‫ﺢ ﺼﻭﺘﻴ ﹺ‬
‫ﻥ ﻤﻼﻤ ﹺ‬
‫ﺕ ﻴﺠﻤ ُﻊ ﺒﻴ َ‬
‫ﻥ ﻫﺫﺍ ﺍﻟﺼﻭ ِ‬
‫ﻟﻜﻭ ﹺ‬
‫ﺕ ﺍﻟﻤﺭﻜﹼﺒﺔ )‪.(Affricates‬‬
‫ﺒﺎﻷﺼﻭﺍ ِ‬

‫ﺠﻬﺎ‪ ،‬ﺃﻜﺜـ ُﺭ ﻤـﻥ‬

‫ﻙ ﻓﻲ ﺇﻨﺘﺎ ﹺ‬
‫ﺙ ﻴﺸﺘﺭ ُ‬
‫ﻲ‪ ،‬ﺤﻴ ﹸ‬
‫ﺱ ﻤﺨﺭﺠ ّ‬
‫ﻥ ﻋﻠﻰ ﺃﺴﺎ ﹴ‬
‫ﺕ ﻴﻜﻭ ُ‬
‫ﺏ ﻫﺫﻩ ﺍﻷﺼﻭﺍ ِ‬
‫ﻭﺘﺭﻜﻴ ُ‬
‫ﺕ‬
‫ﺞ ﺍﻷﺼﻭﺍ ﹶ‬
‫ل ﺍﻟﺘﻲ ﺘﻨﺘ ُ‬
‫ﺨﹺ‬‫ﻥ ﻁﺭﻴﻘ ِﺔ ﺍﻟﺘﺩ ﹼ‬
‫ل ﻓﻲ ﻤﺠﺭﻯ ﺘ ّﻴﺎ ﹺﺭ ﺍﻟﻬﻭﺍﺀ؛ ﻓﻬﻲ ﺃﺼﻭﺍﺕﹲ ﺘﺠﻤ ُﻊ ﺒﻴ َ‬
‫ﺨﹴ‬‫ﻁﺭﻴﻘ ِﺔ ﺘﺩ ﹼ‬
‫ل‬
‫ﺨﹺ‬‫ﻕ ﺍﻟﺘﺎ ﱡﻡ )‪ (Complete Closure‬ﻟﻤﺠﺭﻯ ﺍﻟﻬــﻭﺍﺀ‪ ،‬ﻭﻁﺭﻴﻘـ ِﺔ ﺍﻟﺘـﺩ ﹼ‬
‫ﺍﻻﻨﻔﺠﺎﺭ ّﻴ ﹶﺔ‪ ،‬ﻭﻫﻲ ﺍﻹﻏﻼ ﹸ‬
‫ﻕ ﺍﻟﻤﺠﺭﻯ )‪.(3)(Narrowing‬‬
‫ﺕ ﺍﻻﺤﺘﻜﺎﻜ ّﻴ ﹶﺔ‪ ،‬ﻭﻫﻲ ﺘﻀﻴﻴ ﹸ‬
‫ﺞ ﺍﻷﺼﻭﺍ ﹶ‬
‫ﺍﻟﺘـﻲ ﺘﻨﺘ ُ‬

‫ﻕ‬
‫ﺢ ﻓﻲ ﺍﻟﻠﹼﻐ ِﺔ ﺍﻟﻌﺭﺒﻴّﺔ)‪(5‬؛ ﻓﻬـﻲ ﺘﻨﻁـ ﹸ‬
‫ﺕ ﺍﻟﺫﻱ ﻴﺘﻔﺭّ ُﺩ ﺒﻬﺫﺍ ﺍﻟﻤﻠﻤ ﹺ‬
‫ﻭﺍﻟﺠﻴ ُﻡ ﺍﻟﻔﺼﻴﺤﺔ)‪ ،(4‬ﻫﻲ ﺍﻟﺼﺎﻤ ﹸ‬
‫ﺝ ﻤﻥ ﺍﻟـﺭﺌﺘﻴﻥ‪،‬‬
‫ل ﺒﻪ‪ ،‬ﺤﺎﺠﺯًﺍ ﻭﺭﺍﺀَﻩ ﺍﻟﻬﻭﺍ َﺀ ﺍﻟﺨﺎﺭ َ‬
‫ﻥ ﻓﻲ ﺍﺘﺠﺎ ِﻩ ﺍﻟﻐﺎﺭ‪ ،‬ﺤﺘﹼﻰ ﻴﺘﹼﺼ َ‬
‫ﻉ ﻤﻘ ّﺩ ﹺﻡ ﺍﻟﻠﹼﺴﺎ ﹺ‬
‫ﺒﺎﺭﺘﻔﺎ ﹺ‬

‫)‪(1‬‬
‫ﺍﺒﻥ ﺴﻴﻨﺎ‪ ،‬ﺃﺒﻭ ﻋﻠﻲ ﺍﻟﺤﺴﻴﻥ‪ :‬ﺭﺴﺎﻟﺔ ﺃﺴﺒﺎﺏ ﺤﺩﻭﺙ ﺍﻟﺤﺭﻭﻑ‪ .‬ﺹ‪.82‬‬
‫)‪(2‬‬
‫ﻲ ﻟﻠﺒﻨﻴﺔ ﺍﻟﻌﺭﺒﻴّﺔ‪ .‬ﺒﻴﺭﻭﺕ‪ :‬ﻤﺅﺴﺴﺔ ﺍﻟﺭﺴﺎﻟﺔ‪ .1980 .‬ﺹ‪.28 ،27‬‬
‫ﺸﺎﻫﻴﻥ‪ ،‬ﻋﺒﺩ ﺍﻟﺼﺒﻭﺭ‪ :‬ﺍﻟﻤﻨﻬﺞ ﺍﻟﺼﻭﺘ ّ‬
‫)‪(3‬‬
‫ﺍﻟﻨﻭﺭﻱ‪ ،‬ﻤﺤﻤﺩ ﺠﻭﺍﺩ‪ :‬ﻋﻠﻡ ﺃﺼﻭﺍﺕ ﺍﻟﻌﺭﺒﻴﺔ‪ .‬ﺹ‪.148‬‬
‫)‪(4‬‬
‫ﻟﺘﻔﺼﻴل ﺍﻟﻘﻭل ﻓﻲ ﺍﻟﺠﻴﻡ ﺍﻟﻌﺭﺒﻴّﺔ؛ ﺍﻨﻅﺭ‪ - :‬ﺃﻨﻴﺱ‪ ،‬ﺇﺒﺭﺍﻫﻴﻡ‪ :‬ﺍﻷﺼﻭﺍﺕ ﺍﻟﻠﻐﻭﻴّﺔ‪ .‬ﺹ‪.81 – 75‬‬
‫‪ -‬ﺍﻟﻨﻭﺭﻱ‪ ،‬ﻤﺤﻤﺩ ﺠﻭﺍﺩ‪ :‬ﻋﻠﻡ ﺃﺼﻭﺍﺕ ﺍﻟﻌﺭﺒﻴﺔ‪ .‬ﺹ‪.172 – 170‬‬
‫)‪(5‬‬
‫ﻤﻥ ﺍﻷﺼﻭﺍﺕ ﺍﻟﻤﺭﻜﹼﺒﺔ ﻓﻲ ﻏﻴﺭ ﺍﻟﻌﺭﺒﻴّﺔ‪ ،‬ﺍﻟﺼﻭﺕ )‪ (ch‬ﻓﻲ ﺍﻹﻨﺠﻠﻴﺯ ّﻴﺔ‪ ،‬ﺍﻟﺫﻱ ﻴﻨﻁﻕ‪) :‬ﺘﹾـﺵﹾ(‪ ،‬ﻭﺍﻟﺼﻭﺘﺎﻥ‪ (z) :‬ﻭ)‪ (pf‬ﻓﻲ‬
‫ﺍﻷﻟﻤﺎﻨﻴّﺔ‪ ،‬ﺍﻟﻠﹼﺫﺍﻥ ﻴﻨﻁﻘﺎﻥ‪) :‬ﺘﹾـﺱْ( ﻭ)ﺒْﻑﹾ( ﻋﻠﻰ ﺍﻟﺘﻭﺍﻟﻲ‪ .‬ﺍﻨﻅﺭ‪ :‬ﻋﺒﺩ ﺍﻟﺘﻭّﺍﺏ‪ ،‬ﺭﻤﻀﺎﻥ‪ :‬ﺍﻟﻤﺩﺨل ﺇﻟﻰ ﻋﻠﻡ ﺍﻟﻠﹼﻐﺔ ﻭﻤﻨﺎﻫﺞ ﺍﻟﺒﺤﺙ‬
‫ﻱ‪ .‬ﺹ‪.34‬‬
‫ﺍﻟﻠﹼﻐﻭ ّ‬
‫‪18‬‬
‫ﺕ‬
‫ﻕ ﺍﻷﺼـﻭﺍ ِ‬
‫ﺙ ﻓـﻲ ﻨﻁــ ِ‬
‫ﻥ‪ ،‬ﻻ ﻴﺘ ﱡﻡ ﻓﺠﺄ ﹰﺓ‪ ،‬ﻜﻤﺎ ﻴﺤﺩ ﹸ‬
‫ﻥ ﺍﻟﻤﺘﹼﺼﻠﻴ ﹺ‬
‫ﻥ ﺍﻟﻌﻀﻭﻴ ﹺ‬
‫ل ﻫﺫﻴ ﹺ‬
‫ﻥ ﺍﻨﻔﺼﺎ َ‬
‫ﻏﻴـ َﺭ ﺃ ﱠ‬
‫ﻥ‬
‫ﻙ ﺒﺎﻟﻌﻀﻭﻴ ﹺ‬
‫ﻥ‪ ،‬ﺒﻌ َﺩ ﺍﻻﻨﻔﺠﺎ ﹺﺭ‪ ،‬ﺃﻥ ﻴﺤﺘ ﱠ‬
‫ﺍﻻﻨﻔﺠﺎﺭﻴّـﺔ‪ ،‬ﻭﺇﻨﹼﻤﺎ ﻴﺘ ﱡﻡ ﺒﺒﻁ ٍﺀ؛ ﻓﻴﻌﻁﻲ ﺍﻟﻔﺭﺼ ﹶﺔ ﻟﻬﻭﺍ ِﺀ ﺍﻟﺭﺌﺘﻴ ﹺ‬
‫ﺍﻟﺸﺎﻤﻴّﺔ)‪.(1‬‬ ‫ﺕ ﺍﻟﺠﻴ ﹺﻡ‬
‫ﻥ‪ ،‬ﺍﺤﺘﻜﺎﻜﹰﺎ ﺸﺒﻴﻬًﺎ ﺒﻤﺎ ﻴﺴﻤ ُﻊ ﻤﻥ ﺼﻭ ِ‬
‫ﺍﻟﻤﺘﺒﺎﻋﺩﻴ ﹺ‬

‫ل ﻤﻨﻪ ﺼﻭﺕﹲ ﻗﺭﻴﺏٌ ﻤﻥ ﺍﻟﺩّﺍل)‪ ،(2‬ﻭﺍﻵﺨـ ُﺭ‬

‫ﺇﺫﻥ‪ ،‬ﻓﺎﻟﺠﻴ ُﻡ ﺍﻟﻔﺼﻴﺤ ﹸﺔ ﺼﻭﺕﹲ ﻤﺭﻜﹼﺏ‪ :‬ﺍﻟﺠﺯ ُﺀ ﺍﻷﻭّ ُ‬

‫ل ﻭﺠﻬﺭُﻫـﺎ ﻤـﻥ‬
‫ل ﻓﻴﻬﺎ ﺍﻨﻔﺠﺎﺭﻴّ ﹸﺔ ﺍﻟﺩّﺍ ﹺ‬
‫ﻥ ﻭﺤﺩ ﹰﺓ ﻭﺍﺤﺩ ﹰﺓ)‪ ،(3‬ﺘﺘﻤﺜﹼ ُ‬
‫ﺼﻭﺕﹲ ﻜﺎﻟﺠﻴ ﹺﻡ ﺍﻟﺸﺎﻤﻴّﺔ‪ ،‬ﻭﻟﻜﻨﹼﻬﻤﺎ ﻴﻜﻭّﻨﺎ ﹺ‬

‫ﻲ ‪ -‬ﻤﻥ ﺠﻬ ٍﺔ ﺃﺨـﺭﻯ‪)) ،‬ﻓﻜـﺄ ّ‬

‫ﻥ‬ ‫ﻥ ﺍﻻﺤﺘﻜﺎﻜ ّ‬
‫ﺕ ﺍﻟﺸﻴ ﹺ‬
‫ﺠﻬﺔ‪ ،‬ﻭﺍﺤﺘﻜﺎﻜﻴّ ﹸﺔ ﺍﻟﺠﻴ ﹺﻡ ﺍﻟﺸﺎﻤﻴّﺔ ‪ -‬ﻟﺘﺸﺭﻴﺒﹺﻬﺎ ﺼﻭ ﹶ‬
‫ﺱ‪ ،‬ﺜـ ّﻡ ُﺃﻁﻠﻘﺕ(()‪.(4‬‬
‫ﻥ ﺠﻴﻡٌ ﺍﺒ ﹸﺘﺩِﺌﺕﹾ ﺒﺤﺒ ﹴ‬
‫ﻥ ﺍﻟﺸﻴ َ‬
‫ﺍﻟﺠﻴ َﻡ ﺸﻴﻥٌ ﻟﻡ ﺘﹸﺤﺒﺱْ‪ ،‬ﻭﻜـﺄ ّ‬

‫‪ .8.1‬ﺍﻟﺠﺎﻨﺒﻴّﺔ )ﺍﻻﻨﺤﺭﺍﻑ(‬

‫ﻑ‬
‫ل ﻁﺭ ﹸ‬
‫ﻕ ﺒﻬﺫﺍ ﺍﻟﺼﺎﻤﺕ‪ ،‬ﻴﺘﹼﺼ ُ‬
‫ﺕ ﺍﻟﻼﹼﻡ‪ ،‬ﻓـ))ـﻌﻨ َﺩ ﺍﻟﻨﻁ ِ‬
‫ﻤﻠﻤﺢٌ ﻴﺘﻔﺭّ ُﺩ ﺒﻪ ﻓﻲ ﺍﻟﻠﹼﻐ ِﺔ ﺍﻟﻌﺭﺒ ّﻴ ِﺔ‪ ،‬ﺼﻭ ﹸ‬
‫ﻁ ﺍﻟﻔﻡ‪ ،‬ﺘﻤﻨ ُﻊ ﺘﻴّﺎ َﺭ ﺍﻟﻬﻭﺍ ِﺀ ﻤﻥ ﺍﻟﻤﺭﻭ ﹺﺭ‪،‬‬
‫ﺙ ﺘﻨﺸُﺄ ﻋﻘﺒﺔﹲ‪ ،‬ﻓﻲ ﻭﺴ ِ‬
‫ﻥ ﺍﻟﻌﻠﻴﺎ‪ ،‬ﺒﺤﻴ ﹸ‬
‫ﻑ ﺍﻷﺴﻨﺎ ﹺ‬
‫ﻥ ﺒﺎﻟﻠﹼﺜ ِﺔ ﺨﻠ ﹶ‬
‫ﺍﻟﻠﺴﺎ ﹺ‬

‫ﺏ ﻤﻥ ﺃﺤ ِﺩ ﺠﺎﻨﺒﻲ ﺍﻟﻔﻡ‪ ،‬ﺃﻭ ﻜﻠﻴﻬﻤﺎ‪ ،‬ﻭﻫﺫﺍ ﻫـﻭ ﻤﻌﻨـﻰ ﺍﻟﺠﺎﻨﺒﻴّـ ِﺔ‬

‫ﺢ ﻟﻠﻬﻭﺍ ِﺀ ﺒﺎﻻﻨﺴﻴﺎ ﹺ‬
‫ﻻ ﻤﻥ ﻤﻨﻔ ٍﺫ ﻴﺴﻤ ُ‬
‫ﺇﹼ‬

‫ﺍﻟﺼﺎﻤﺕ‪.(5)((...‬‬ ‫)‪ (Lateral‬ﻓﻲ ﻫﺫﺍ‬

‫ﺏ‬
‫ل ﺒﺎﺘﺨﺎﺫِﻩ ﻫﻴﺌﺘﹶﻪ ﺍﻟﺴﺎﺒﻘﺔ‪ ،‬ﻋﻠـﻰ ﺘﺴــﺭﻴ ﹺ‬
‫ﻥ ﻴﻌﻤ ُ‬
‫ﻥ ﺍﻟﻠﹼﺴﺎ َ‬
‫ﺢ‪ ،‬ﺇﻟﻰ ﺃ ﱠ‬
‫ﺏ ﻗ ّﻭ ِﺓ ﻫﺫﺍ ﺍﻟﻤﻠﻤ ﹺ‬
‫ﻭﻴﻌﻭ ُﺩ ﺴﺒ ُ‬

‫ﻲ‪.‬‬
‫ﺍﻟﻬﻭﺍ ِﺀ ﻏﺯﻴﺭًﺍ ﺴﺭﻴﻌًﺎ؛ ﻓﻴﺅﺩّﻱ ﺫﻟﻙ ﺇﻟﻰ ﺯﻴﺎﺩ ِﺓ ﺫﺒﺫﺒﺘِﻪ‪ ،‬ﺍﻟﺘﻲ ﺒﺎﺯﺩﻴﺎﺩِﻫﺎ ﻴﺯﺩﺍ ُﺩ ﺍﻟﺘﺭﺩّ ُﺩ ﺍﻟﻤﻭﺠ ّ‬

‫)‪(1‬‬
‫ﺤﺴﺎﻥ‪ ،‬ﺘﻤﺎﻡ‪ :‬ﻤﻨﺎﻫﺞ ﺍﻟﺒﺤﺙ ﻓﻲ ﺍﻟﻠﹼﻐﺔ‪ .‬ﺹ‪ .104 ،103‬ﻭﺍﻟﺠﻴﻡ ﺍﻟﺸﺎﻤﻴّﺔ‪ :‬ﺠﻴﻡ ﺘﻨﻁﻕ ﻓـﻲ ﻋﺎﻤﻴّﺔ ﺃﻫل ﺍﻟﺸﺎﻡ ﺨﺎﺼّﺔ‪ .‬ﻭﻫﻲ‬
‫ﻻ ﻤﻥ ﻨﺎﺤﻴﺔ ﺍﻟﺠﻬﺭ ﻭﺍﻟﻬﻤﺱ؛ ﻓﺎﻟﺸﻴﻥ ﺼﺎﻤﺕ‬
‫ﻲ ﻤﺠﻬﻭﺭ‪ ،‬ﻴُﺴﻤﻊ ﻓﻴﻪ ﺼﻭﺕ ﺍﻟﺸﻴﻥ؛ ﻟﻜﻭﻨﻬﻤﺎ ﻻ ﻴﺨﺘﻠﻔﺎﻥ ﺇ ﹼ‬
‫ﻱ ﺍﺤﺘﻜﺎﻜ ّ‬
‫ﺼﺎﻤﺕ ﻏﺎﺭ ّ‬
‫ﻲ ﻤﻬﻤﻭﺱ‪ .‬ﻭﻴﺭﻤﺯ ﺇﻟﻰ ﻫﺫﻩ ﺍﻟﺠﻴﻡ ﺼﻭﺘﻴ‪‬ﺎ ﺒﺎﻟﺭﻤﺯ‪.(j) :‬‬
‫ﻱ ﺍﺤﺘﻜﺎﻜ ّ‬
‫ﻏﺎﺭ ّ‬
‫)‪(2‬‬
‫ﻥ ﺍﻟﻤﺭﺤﻠﺔ ﺍﻷﻭﻟﻰ ﻤﻥ ﻨﻁﻕ ﺍﻟﺠﻴﻡ ﺍﻟﻔﺼﻴﺤﺔ‪ ،‬ﺘﺸﺒﻪ ﺍﻟﻤﺭﺤﻠﺔ ﺍﻷﻭﻟﻰ ﻤﻥ ﻨﻁﻕ ﺍﻟﺩﺍل؛ ﻓﺘﺘﻜﻭّﻥ ﺍﻟﺩﺍل ﺒﺄﻥ ﻴﻘﻑ ﺍﻟﻬﻭﺍﺀ‬
‫ﻭﺫﻟﻙ ﻷ ّ‬
‫ﺍﻟﺫﻱ ﻴﻨﺘﺠﻬﺎ ﻭﻗﻭﻓﹰﺎ ﺘﺎﻤ‪‬ﺎ‪ ،‬ﺨﻠﻑ ﻨﻘﻁﺔ ﺍﺘﹼﺼﺎل ﻁﺭﻑ ﺍﻟﻠﹼﺴﺎﻥ‪ ،‬ﺒﺄﺼﻭل ﺍﻟﺜﻨﺎﻴﺎ ﺍﻟﻌﻠﻴﺎ ﻭﻤﻘﺩّﻡ ﺍﻟﻠﹼﺜﺔ‪ ،‬ﺤﻴﺙ ﻴﻀﻐﻁ ﻤ ّﺩ ﹰﺓ ﻤﻥ ﺍﻟﺯﻤﻥ‪ ،‬ﺜ ّﻡ‬
‫ﻴﻨﻔﺼل ﺍﻟﻠﹼﺴﺎﻥ ﻓﺠﺄﺓﹰ‪ ،‬ﺘﺎﺭﻜﹰﺎ ﻨﻘﻁﺔ ﺍﻻﺘﹼﺼﺎل؛ ﻓﻴﺤﺩﺙ ﺼﻭﺕﹲ ﺍﻨﻔﺠﺎﺭﻱّ‪ ،‬ﻴﺘﺫﺒﺫﺏ ﻤﻌﻪ ﺍﻟﻭﺘﺭﺍﻥ ﺍﻟﺼﻭﺘﻴّﺎﻥ‪ .‬ﺍﻨﻅﺭ‪ :‬ﺒﺸﺭ‪ ،‬ﻜﻤـﺎل‪:‬‬
‫ﻋﻠﻡ ﺍﻷﺼﻭﺍﺕ‪ .‬ﺹ‪.250 ،249‬‬
‫)‪(3‬‬
‫ﺍﻟﻤﺭﺠﻊ ﻨﻔﺴﻪ‪ .‬ﺹ‪ .310‬ﻭﻤِﻥ ﺍﻟﻠﹼﻐﻭﻴّﻴﻥ َﻤﻥْ ﻴﺭﻯ ﻏﻴﺭ ﺫﻟﻙ؛ ﻓﻴﻘﻭل ﺍﻟﺩﻜﺘﻭﺭ ﺴﻠﻤﺎﻥ ﺍﻟﻌﺎﻨﻲ‪)) :‬ﺘﺘﺄﻟﹼﻑ ﺍﻟﺠﻴﻡ ﻤـﻥ ﺍﻟﻨﺎﺤﻴـﺔ‬
‫ﻼ‬
‫ﻲ ﻓﻲ ﺍﻟﻠﹼﻐﺔ ﺍﻟﻌﺭﺒﻴّﺔ‪ .‬ﺹ‪ .53‬ﻨﻘ ﹰ‬
‫ﺍﻟﺼﻭﺘﻴّﺔ ﻤﻥ ﺼﻭﺘﻴﻥ‪ ،‬ﻫﻤﺎ‪ :‬ﺍﻟﺩﺍل ﻭﺍﻟﺯﺍﻱ((‪ .‬ﺍﻨﻅﺭ‪ :‬ﺍﻟﻌﺎﻨﻲ‪ ،‬ﺴﻠﻤﺎﻥ ﺤﺴﻥ‪ :‬ﺍﻟﺘﺸﻜﻴل ﺍﻟﺼﻭﺘ ّ‬
‫ﻲ ﺍﻟﻤﺘﹼﺼـل‪ .A Note on Visible and Invisible Speech:‬ﻭﻗـﺎﺌﻊ‬
‫ﻋﻥ‪ :‬ﺘﺭﻭﺒﻲ‪ ،‬ﻫـ‪ .‬ﻡ‪ :‬ﺘﻘﺭﻴﺭ ﻋﻥ ﺍﻟﻜﻼﻡ ﺍﻟﻤﺭﺌــ ّ‬
‫ﻲ ﺍﻟﺜﺎﻤﻥ ﻟﻠﹼﻐﻭﻴّﻴﻥ‪ .‬ﺃﻭﺴﻠﻭ‪ :‬ﻁﺒﻊ ﺠﺎﻤﻌﺔ ﺃﻭﺴﻠﻭ‪ / 1958 .‬ﺹ‪.400‬‬
‫ﺍﻟﻤﺅﺘﻤﺭ ﺍﻟﺩﻭﻟ ّ‬
‫)‪(4‬‬
‫ﺍﺒﻥ ﺴﻴﻨﺎ‪ ،‬ﺃﺒﻭ ﻋﻠﻲ ﺍﻟﺤﺴﻴﻥ‪ :‬ﺭﺴﺎﻟﺔ ﺃﺴﺒﺎﺏ ﺤﺩﻭﺙ ﺍﻟﺤﺭﻭﻑ‪ .‬ﺹ‪.119‬‬
‫)‪(5‬‬
‫ﺍﻟﻨﻭﺭﻱ‪ ،‬ﻤﺤﻤﺩ ﺠﻭﺍﺩ‪ :‬ﻋﻠﻡ ﺃﺼﻭﺍﺕ ﺍﻟﻌﺭﺒﻴﺔ‪ .‬ﺹ‪.164‬‬
‫‪19‬‬
 ‫‪ .9.1‬ﺍﻷﻨﻔﻴّﺔ‬

‫ﺱ ﺍﻟﻬﻭﺍ ُﺀ ﺤﺒﺴًﺎ ﺘﺎﻤ‪‬ﺎ‪ ،‬ﻓـﻲ ﻤﻭﻀ ﹴﻊ ﻤﻥ ﺍﻟﻔـﻡ‪ ،‬ﻭﻟﻜـﻥ‬

‫ﺕ ))‪ ...‬ﺒﺄﻥْ ﻴﺤﺒ َ‬
‫ﺽ ﺍﻟﺼﻭﺍﻤ ِ‬
‫ﻥ ﺒﻌ ُ‬
‫ﺘﺘﻜﻭّ ُ‬

‫ﻕ ﺍﻷﻨـﻑ(()‪ ،(1‬ﻭﻫﺫﺍ ﻤـﺎ ﻴﻌـﺭ ﹸ‬

‫ﻑ‬ ‫ﻥ ﺍﻟﻬﻭﺍ ُﺀ ﻤﻥ ﺍﻟﻨﻔﺎ ِﺫ ﻋﻥ ﻁﺭﻴ ِ‬
‫ﻙ ﺍﻟﻠﻴّﻥ ]ﺍﻟﻁﺒﻕ[؛ ﻓﻴﺘﻤﻜﹼ ُ‬
‫ﺽ ﺍﻟﺤﻨ ُ‬
‫ﻴﺨﻔ ُ‬
‫ﻲ‪ ،‬ﻤﺤﺩﺜﹰﺎ ﻓﻲ‬
‫ﻑ ﺍﻷﻨﻔ ّ‬
‫ﺝ ﻤﻥ ﺍﻟﺭﺌﺘﻴﻥ‪ ،‬ﻴﻤ ﱡﺭ ﻓﻲ ﺍﻟﺘﺠﻭﻴ ِ‬
‫ﻥ ﺍﻟﻬـﻭﺍ َﺀ ﺍﻟﺨﺎﺭ َ‬
‫ﺒﺎﻷﻨﻔﻴّﺔ )‪ ...)) ،(Nasality‬ﺃ ﱠ‬

‫ﻑ ﺒﺎﻟﻐﻨﹼـﺔ‪ .‬ﻭﻓـﻲ ﺍﻟﻠﹼﻐــ ِﺔ‬

‫ﻉ ﻤﻥ ﺍﻟﺤﻔﻴﻑ‪ ،‬ﻤﺎ ﻴﻌـﺭ ﹸ‬
‫ﻤﺭﻭﺭﹺﻩ ﻨﻭﻋًﺎ ﻤﻥ ﺍﻟﺤﻔﻴﻑ‪ .(2)((...‬ﻭﻫﺫﺍ ﺍﻟﻨـﻭ ُ‬

‫ﻥ ﻭﺍﻟﻤﻴﻡ‪.‬‬
‫ﺍﻟﻌﺭﺒﻴّﺔ‪ ،‬ﺼﺎﻤﺘﺎﻥ ﻴﺘﻜﻭّﻨﺎﻥ ﺒﻬﺫﻩ ﺍﻟﻁﺭﻴﻘﺔ‪ ،‬ﻭﻫﻤﺎ‪ :‬ﺍﻟﻨﻭ ُ‬

‫ﻲ‪ ،‬ﺒﺎﺤﺘﻭﺍﺌِـﻪ‬
‫ﻑ ﺍﻷﻨﻔـ ّ‬
‫ﻥ ﻗﻭّ ﹸﺓ ﻫﺫﺍ ﺍﻟﻤﻠﻤﺢ؛ ﻓﺎﻟﺘﺠﻭﻴ ﹸ‬
‫ل ﻤﺠﺭﻯ ﺍﻟﻬﻭﺍ ِﺀ ﺇﻟﻰ ﺍﻷﻨﻑ‪ ،‬ﺘﻜﻤ ُ‬
‫ﻭﻓﻲ ﺘﺤ ّﻭ ﹺ‬

‫ﻑ ﺍﻟﺘﻲ ﻴﻤ ﱡﺭ ﻓﻴﻬﺎ ﺍﻟﻬﻭﺍ ُﺀ ﻗﺒﻠﹶـﻪ‪ ،‬ﻓـﻲ ﺃﺜﻨـﺎ ِﺀ‬

‫ﻕ ﻤﻥ ﺍﻟﺘﺠﺎﻭﻴ ِ‬
‫ﻥ ﺼﻐﻴﺭﻱ ﺍﻟﻤﺠﺭﻯ‪ ،‬ﺃﻀﻴ ﹸ‬
‫ﻋﻠﻰ ﻤﻨﺨﺭﻴ ﹺ‬

‫ﻕ‪ ،‬ﺒﺩﻭﺭﹺﻩ‪ ،‬ﻴﻌﻤ ُ‬

‫ل ﻋﻠـﻰ ﺯﻴــﺎﺩ ِﺓ ﺘــﺭ ّﺩ ِﺩ‬ ‫ﻲ )‪ .(Nasal Sound‬ﻭﺍﻟﺘﻀﻴﻴ ﹸ‬
‫ﺕ ﺍﻷﻨﻔـ ّ‬
‫ﺝ ﺍﻟﺼﻭ ِ‬
‫ﺇﻨﺘـﺎ ﹺ‬

‫ﺝ ﺍﻟﺼﻭﺘﻴّﺔ‪ ،‬ﻜﻤﺎ ﺴﻠﻑ)‪.(3‬‬

‫ﺍﻷﻤـﻭﺍ ِﹺ‬

‫ﺕ ﺁﺨـ َﺭ‪ ،‬ﻭﻫﻭ ﺍﻟﻐﻨﹼﺔ‪ ،‬ﺴﻭﺍﺀٌ ﺃﻜـﺎﻥ‬

‫ﺝ ﺒﺼﺤﺒ ِﺔ ﺼﻭ ٍ‬
‫ﻲ ﻴﺨﺭ ُ‬
‫ﺕ ﺍﻷﻨﻔ ﱠ‬
‫ﻥ ﺍﻟﺼﻭ ﹶ‬
‫ﺃﻀﻑ ﺇﻟﻰ ﺫﻟﻙ‪ ،‬ﺃ ّ‬

‫ﻲ‪ ،‬ﻓـﺎﺌﺽٌ‬
‫ﺕ ﺍﻷﻨﻔـ ﱢ‬
‫ﺕ ﺨﻔﻴﻔﹰﺎ ﻻ ﻴﺴﻤﻊ‪ ،‬ﺃﻡ ﻅﺎﻫﺭًﺍ ﻓﻲ ﺍﻟﺴﻤﻊ؛ ﻓﺎﻟﻐ ﹼﻨ ﹸﺔ ﺒﺎﻟﻨﺴﺒ ِﺔ ﺇﻟﻰ ﺍﻟﺼﻭ ِ‬
‫ﻫﺫﺍ ﺍﻟﺼﻭ ﹸ‬
‫ﻲ ﻤﺤﺒّـﺏ‪،(4)((...‬‬
‫ﺕ ))ﺘﺭ ّﺩ ٍﺩ ﻤﻭﺴـﻴﻘ ﱟ‬
‫ﻻ ﺃﻨﱠﻬﺎ ﺫﺍ ﹸ‬
‫ﻲ‪ ،‬ﺇ ﹼ‬
‫ﺕ ﺍﻻﺤﺘﻜﺎﻜ ّ‬
‫ﻲ‪ ،‬ﻜﺎﻟﺼﻔﻴ ﹺﺭ ﺒﺎﻟﻨﺴﺒ ِﺔ ﺇﻟﻰ ﺍﻟﺼﻭ ِ‬
‫ﺼﻭﺘ ﱞ‬

‫ل‬
‫ﺝ ﺍﻟﻐ ﹼﻨ ِﺔ‪ ،‬ﺃﻻ ﻭﻫﻭ ﺍﻷﻨـﻑ‪ ،‬ﻴﻤﺜﹼـ ُ‬
‫ﻴﻌﻭ ُﺩ ﺇﻟﻰ ﺍﻨﺘﻅﺎ ﹺﻡ ﺃﻤﻭﺍﺠﹺﻬﺎ ﺍﻟﺼﻭﺘ ّﻴ ِﺔ‪ ،‬ﻓـﻲ ﺃﺜﻨﺎ ِﺀ ﺨﺭﻭﺠﹺﻬﺎ؛ ﻓﻤﺨﺭ ُ‬

‫ل‬
‫ﺒﻤﻨﺨﺭﻴﻪ ﻤﺨﺭﺠًﺎ ﺃﺴﻁﻭﺍﻨﻴ‪‬ﺎ ﺜﻨﺎﺌﻴ‪‬ﺎ‪ ،‬ﺘﺸﺒ ُﻪ ﺁﻟ ّﻴـ ﹸﺔ ﻋﻤﻠِﻪ‪ ،‬ﺇﻟﻰ ﺤ ﱟﺩ ﻜﺒﻴ ﹴﺭ‪ ،‬ﺁﻟ ّﻴ ﹶﺔ )ﺍﻟﻨﺎﻱ(؛ ﻓﺎﻟﻬﻭﺍ ُﺀ ﻓﻲ ﺩﺍﺨ ﹺ‬
‫ﺏ ﺒﺒﺴﺎﻁ ٍﺔ ﻤﺼﺩﺭًﺍ ﺼﻭﺘﹰﺎ ﺭﺨﻴﻤًﺎ ﻨﻘﻴ‪‬ﺎ(()‪ .(5‬ﻟﺫﻟﻙ ﻜﺎﻨﺕ ﺍﻟﻐﻨﹼـ ﹸﺔ‪ ،‬ﻋﻨـ َﺩ‬
‫ﻫﺫﻩ ﺍﻵﻟـ ِﺔ ﺍﻟﻤﻭﺴﻴﻘﻴّﺔ‪)) ،‬ﻴﺘﺫﺒﺫ ُ‬

‫ﻲ ﻤﺘﻤﻴّﺯ‪.‬‬
‫ﺕ ﻫﺫﺍ ﺍﻟﻌﻠﻡ؛ ﻟﻤﺎ ﺘﻤﺘﻠﻜﹸﻪ ﻤﻥ ﻁﺎﺒ ﹴﻊ ﻤﻭﺴﻴﻘ ﱟ‬
‫ﻋﻠﻤﺎ ِﺀ ﺍﻟﺘﺠﻭﻴ ِﺩ‪ ،‬ﻤﻥ ﺃﻫـ ﱢﻡ ﻤﻘﻭّﻤﺎ ِ‬

‫)‪(1‬‬
‫ﻲ‪ .‬ﺹ‪.168‬‬
‫ﺍﻟﺴﻌﺭﺍﻥ‪ ،‬ﻤﺤﻤﻭﺩ‪ :‬ﻋﻠﻡ ﺍﻟﻠﹼﻐﺔ ﻤﻘﺩّﻤﺔ ﻟﻠﻘﺎﺭﺉ ﺍﻟﻌﺭﺒ ّ‬
‫)‪(2‬‬
‫ﻱ‪ .‬ﺹ‪ .49‬ﻭﻴﻨﺒﻐﻲ ﻋﺩﻡ ﺍﻟﺨﻠﻁ ﺒﻴﻥ ﻫﺫﺍ ﺍﻟﻤﺼـﻁﻠﺢ‪،‬‬
‫ﻋﺒﺩ ﺍﻟﺘﻭّﺍﺏ‪ ،‬ﺭﻤﻀﺎﻥ‪ :‬ﺍﻟﻤﺩﺨل ﺇﻟﻰ ﻋﻠﻡ ﺍﻟﻠﹼﻐﺔ ﻭﻤﻨﺎﻫﺞ ﺍﻟﺒﺤﺙ ﺍﻟﻠﹼﻐﻭ ّ‬
‫ﺍﻟﺫﻱ ﻴﻌﻨﻲ ﺘﺴﺭّﺏ ﺍﻟﻬﻭﺍﺀ ﻤﻥ ﻓﺘﺤﺘﻲ ﺍﻷﻨﻑ‪ ،‬ﺩﻭﻥ ﺍﻟﻔﻡ‪ ،‬ﻭﺍﻟﻤﺼﻁﻠﺢ )ﺍﻟﺘﺄﻨﻴﻑ‪ ،(Nasalization :‬ﺍﻟﺫﻱ ﻴﻌﻨﻲ ﺨﺭﻭﺝ ﺍﻟﻬـﻭﺍﺀ‬
‫ﻤﻥ ﺍﻷﻨﻑ‪ ،‬ﻤﻊ ﺍﺴﺘﻤﺭﺍﺭ ﺨﺭﻭﺠﻪ ﻤﻥ ﺍﻟﻔﻡ‪ .‬ﺍﻨﻅﺭ‪ :‬ﺍﻟﻨﻭﺭﻱ‪ ،‬ﻤﺤﻤﺩ ﺠﻭﺍﺩ‪ :‬ﻋﻠﻡ ﺃﺼﻭﺍﺕ ﺍﻟﻌﺭﺒﻴﺔ‪ .‬ﺹ‪.68‬‬
‫)‪(3‬‬
‫ﺍﻨﻅﺭ ﺹ‪ 16‬ﻤﻥ ﻫﺫﺍ ﺍﻟﺒﺤﺙ‪.‬‬
‫)‪(4‬‬
‫ﺃﻨﻴﺱ‪ ،‬ﺇﺒﺭﺍﻫﻴﻡ‪ :‬ﺍﻷﺼﻭﺍﺕ ﺍﻟﻠﻐﻭﻴّﺔ‪ .‬ﺹ‪.69‬‬
‫)‪(5‬‬
‫ﺍﻟﻤﻭﺴﻭﻋﺔ ﺍﻟﻌﻠﻤﻴّﺔ ﺍﻟﺸﺎﻤﻠﺔ‪ .‬ﺹ‪.186‬‬
‫‪20‬‬
 ‫ﺤﺭَﻜﻴّﺔ )‪(Vocalic‬‬
‫‪ .10.1‬ﺍﻟ َ‬

‫ﺢ ﻨﺎﻁﻘﹰﺎ ﺩﻭ ﹶﻨﻬﺎ‪ ،‬ﻓﻬـﻲ‬

‫ﻥ ﻟﻠﻔ ﹺﻡ ﺃﻥ ُﻴﻔﹾﺘ َ‬
‫ﻥ ﻫﻨﺎﻙ ﻜﻼﻡ؛ ﻓﻼ ﻴﻤﻜ ُ‬
‫ﺕ )‪ ،(Vowels‬ﻟﻤﺎ ﻜﺎ َ‬
‫ﻟﻭﻻ ﺍﻟﺤﺭﻜﺎ ﹸ‬

‫ﻙ ﺒﺸﺭٌ‪ ،‬ﻗﺎﺌﻤًﺎ ﺒﻨﺸﺎﻁﺎﺘِﻪ‪ .‬ﺇﺫﻥ‪ ،‬ﻓﺎﻟﺤﺭﻜ ﹸﺔ‬

‫ل ﺍﻟﻌﻅﻤ ّﻴ ِﺔ ﻓﻲ ﺍﻟﺠﺴﺩ‪ ،‬ﺍﻟﺘﻲ ﻟﻭﻻﻫﺎ‪ ،‬ﻟﻤﺎ ﺘﺤ ّﺭ َ‬
‫ﺒﻤﻜﺎﻨ ِﺔ ﺍﻟﻤﻔﺎﺼ ﹺ‬
‫ﻕ ﺒﻬﺎ‪.‬‬
‫ﺕ ﻤﻨﻅﹼﻤ ٍﺔ ﺩﺍﹼﻟ ٍﺔ‪ ،‬ﺘﻨﻁﻠ ﹸ‬
‫ﺱ ﺴﻭﻯ ﺼﻭﺍﻤ ﹶ‬
‫ﺃ ﱡﻡ ﺍﻟﻜﻼﻡ‪ ،‬ﺍﻟﺫﻱ ﻟﻴ َ‬

‫ﺢ‬
‫ﻥ ﺍﻷﺼﻭﺍﺕ‪ ،‬ﺇﻟﻰ ﻤﺎ ﺘﺘﻤﺘﹼ ُﻊ ﺒﻪ ﻤﻥ ﻤﻼﻤـ َ‬
‫ﺕ ﻫﺫﻩ ﺍﻟﻤﺭﺘﺒ ﹶﺔ ﺍﻟﻌﻠﻴـﺎ ﺒﻴ َ‬
‫ل ﺍﻟﺤﺭﻜﺎ ِ‬
‫ﺏ ﻨﻴ ﹺ‬
‫ﻭﻴﻌﻭ ُﺩ ﺴﺒ ُ‬

‫ﻕ؛‬
‫ﻱ ﻋـﺎﺌ ٍ‬
‫ﻕ ﺒﻬﺎ‪ ،‬ﺃ ﱡ‬
‫ﺽ ﺍﻟﻬﻭﺍ َﺀ ﻓﻲ ﺃﺜﻨـﺎ ِﺀ ﺍﻟﻨﻁ ِ‬
‫ﻕ ﻭﺍﻟﺴﻤﻊ‪ ،‬ﻓﻬﻲ ﺃﺼﻭﺍﺕﹲ ﻤﺠﻬﻭﺭﺓﹲ‪ ،‬ﻻ ﻴﻌﺘﺭ ُ‬
‫ﻓﻲ ﺍﻟﻨﻁ ِ‬

‫ﻥ ﺍﻟﺴـﺎﺒﻘﺘﻴﻥ‪،‬‬
‫ﺕ ﺍﻟﻠﹼﻐﻭ ّﻴ ِﺔ ﻓـﻲ ﺍﻟﺴـﻤﻊ‪ ،‬ﻨﺘﻴﺠـ ﹰﺔ ﻟﻠﺨﺎﺼّـﺘﻴ ﹺ‬
‫ﺢ ﺍﻷﺼﻭﺍ ِ‬
‫ﻓﻴﻤ ﱡﺭ ﺤﺭ‪‬ﺍ ﻁﻠﻴﻘﹰﺎ‪ .‬ﻭﻫﻲ ﺃﻭﻀ ُ‬

‫ﺹ‪ .‬ﻜﺫﻟﻙ ﺘﻌ ﱡﺩ ﺍﻟﺤﺭﻜﺎ ﹸ‬

‫ﺕ‪ ،‬ﻭﻅﻴﻔـﻴ‪‬ﺎ‪ ،‬ﻤﻘﻁﻌﻴّـ ﹰﺔ )‪ ،(Syllabic‬ﺒﻤﻌﻨـﻰ‬ ‫ﻭﺍﻟﻤﺘﺄﺨﹼـﺭ ﹶﺓ ﻤﻨﻬﻤﺎ ﺒﻭﺠ ٍﻪ ﺨﺎ ّ‬

‫ﺕ‬
‫ﻲ ﻭﻀﻭﺤًﺎ ﻓﻲ ﺍﻟﺴﻤﻊ‪ ،‬ﺃﻭ ﺃﻨﱠﻬﺎ ﺍﻟﻌﻨﺼ ُﺭ ﺍﻟـﺫﻱ ﻴﻘﻁـ ُﻊ ﻨﺒﻀـﺎ ِ‬
‫ﺕ ﺍﻟﻤﻘﻁ ﹺﻊ ﺍﻟﺼﻭﺘ ﱢ‬
‫ﺃﻨﱠﻬﺎ ﺃﺸ ﱡﺩ ﻤﻜﻭّﻨﺎ ِ‬

‫ﻕ ﺍﻟﻤﻘﻁﻊ)‪.(1‬‬
‫ﺍﻟ ﱠﻨ ﹶﻔﺱﹺ‪ ،‬ﻓﻲ ﻤﺴﻴﺭ ِﺓ ﻨﻁ ِ‬

‫ﺕ؛ ﻓﻘـﺩ ﺍﺤﺘـﻭﻯ ﻤـﺎ‬

‫ﺢ ﺍﻟﺤﺭﻜــﺎ ِ‬
‫ﻱ‪ ،‬ﻤﻠﻤﺤًﺎ ﺃﻭ ﺃﻜﺜ َﺭ ﻤﻥ ﻤﻼﻤـ ﹺ‬
‫ﺕ ﺍﻟﻠﹼﻐﻭ ﱡ‬
‫ﻭﺇﺫﺍ ﺍﺤﺘﻭﻯ ﺍﻟﺼﻭ ﹸ‬

‫ﻋ ﹶﻨﻴْﺘﹸﻪ ﺒﺎﻟﺤﺭﻜﻴّـﺔ‪ .‬ﻭﻤـﻥ ﺃﻤﺜﻠـ ِﺔ ﺫﻟـﻙ‪:‬‬

‫ﺕ ﺍﻟﻤﺘﻤﻴّﺯﺓ‪ ،‬ﻭﻫﺫﺍ ﻤـﺎ َ‬
‫ل ﻓﻴﻪ ﻨﺼﻴﺒًﺎ ﻤﻥ ﻗ ّﻭ ِﺓ ﺍﻟﺤﺭﻜﺎ ِ‬
‫ﻴﺠﻌ ُ‬
‫ﺡ ﻜﺒﻴـ ﹴﺭ ﺠـﺩ‪‬ﺍ‪ ،‬ﻴﻘ ّﺭﺒُﻬﻤـﺎ ﻤـﻥ ﺍﻟﺤﺭﻜـﺎﺕ‪،‬‬
‫ﻥ ﺒﺎﻨﻔﺘـﺎ ﹴ‬
‫ﻨﺼﻔﺎ ﺍﻟﺤﺭﻜ ِﺔ‪ :‬ﺍﻟﻴﺎﺀ ﻭﺍﻟﻭﺍﻭ؛ ﻓﻬﻤﺎ ))ﻴﻤﺘﺎﺯﺍ ﹺ‬

‫ﺕ ﺍﻟﻤﺎﺌﻌــ ِﺔ‬
‫ﻑ ﺒﺎﻷﺼــﻭﺍ ِ‬
‫ﺡ ﺘـﺎ ّﻡ(()‪ .(2‬ﻭﻤﻥ ﺃﻤﺜﻠــ ِﺔ ﺫﻟـﻙ ﺃﻴﻀًـﺎ‪ ،‬ﻤــﺎ ﻴﻌـﺭ ﹸ‬
‫ﺙ ﺍﻻﻨﻔﺘﺎ ُ‬
‫ﺤﻴ ﹸ‬

‫)‪ (Liquids‬ﺃﻭ ﺍﻟﺭﻨﹼﺎﻨﺔ )‪ ،(3)(Resonants‬ﻭﻫـﻲ‪ :‬ﺍﻟـﺭّﺍ ُﺀ‪ ،‬ﻭﺍﻟـﻼ ُﻡ‪ ،‬ﻭﺍﻟﻤـﻴ ُﻡ‪ ،‬ﻭﺍﻟﻨـﻭﻥ؛ ﻓﻬـﺫﻩ‬
‫ﻥ ﻤﻘﻁﻌﻴّـ ﹰﺔ‪ ،‬ﻭﻏﻴـ َﺭ ﻤﻘﻁﻌﻴّـ ٍﺔ )‪ (Non-syllabic‬ﻁﺒﻘﹰـﺎ ﻟﻠﺴـﻴﺎﻕ‪(4)((...‬؛‬
‫ﺕ ))ﻗـﺩ ﺘﻜـﻭ ُ‬
‫ﺍﻷﺼﻭﺍ ﹸ‬

‫)‪(1‬‬
‫ﺒﺸﺭ‪ ،‬ﻜﻤﺎل‪ :‬ﻋﻠﻡ ﺍﻷﺼﻭﺍﺕ‪ .‬ﺹ‪.219 -217‬‬
‫)‪(2‬‬
‫ﻲ ﻤﻥ ﺨﻼل ﻋﻠﻡ ﺍﻷﺼﻭﺍﺕ ﺍﻟﺤﺩﻴﺙ‪ .‬ﻁ‪ .3‬ﺘﻭﻨﺱ‪ :‬ﺍﻟﻤﻁﺒﻌﺔ ﺍﻟﻌﺭﺒﻴّـﺔ‪ .1992 .‬ﺹ‪.41‬‬
‫ﺍﻟﺒﻜﻭﺵ‪ ،‬ﺍﻟﻁﻴﺏ‪ :‬ﺍﻟﺘﺼﺭﻴﻑ ﺍﻟﻌﺭﺒ ّ‬
‫)‪(3‬‬
‫ﻱ ﻨﻭﻉ‪ .‬ﻭﻴﻌﻭﺩ ﺫﻟﻙ‬
‫ﻫﻲ ﺍﻷﺼﻭﺍﺕ ﺍﻟﺘﻲ ﻴﻤ ّﺭ ﻤﻌﻬﺎ ﺍﻟﻬﻭﺍﺀ ﻓﻲ ﻤﺠﺭﺍﻩ‪ ،‬ﻓﻲ ﺍﻟﻤﻤ ّﺭ ﺍﻟﺼﻭﺘﻲّ‪ ،‬ﺩﻭﻥ ﺍﺤﺘﻜﺎﻙ‪ ،‬ﺃﻭ ﺍﻨﺤﺒﺎﺱ ﻤﻥ ﺃ ّ‬
‫ﻥ ﻫﺫﺍ ﺍﻟﺘﻀـﻴﻴﻕ ﻏﻴـﺭ ﺫﻱ‬
‫ﻥ ﻤﺠﺭﻯ ﺍﻟﻬﻭﺍﺀ ﻓﻲ ﺍﻟﻔﻡ‪ ،‬ﻴﺘﺠﻨﹼﺏ ﻨﻘﻁﺔ ﺍﻟﺴ ّﺩ ﺃﻭ ﺍﻟﺘﻀﻴﻴﻕ‪ ،‬ﻜﻤﺎ ﻴﺤﺩﺙ ﻓﻲ ﻨﻁﻕ ﺍﻟﻼﻡ‪ ،‬ﺃﻭ ﻷ ّ‬
‫ﺇﻟﻰ ﺃ ّ‬
‫ﻥ ﺍﻟﻬﻭﺍﺀ ﻴﻤ ّﺭ ﻤﻥ ﺨﻼل ﺍﻷﻨﻑ‪ ،‬ﻜﻤﺎ ﻴﺤﺩﺙ ﻓﻲ ﻨﻁـﻕ ﺍﻟﻤـﻴﻡ ﻭﺍﻟﻨـﻭﻥ‪ .‬ﺍﻨﻅـﺭ‪:‬‬
‫ﺍﺴﺘﻘﺭﺍﺭ‪ ،‬ﻜﻤﺎ ﻴﺤﺩﺙ ﻓﻲ ﻨﻁﻕ ﺍﻟﺭﺍﺀ‪ ،‬ﺃﻭ ﻷ ّ‬
‫ﻲ ﺨﻠﻴل(‪ :‬ﻓﺼﻭل ﻓﻲ ﻋﻠـﻡ ﺍﻷﺼﻭﺍﺕ‪ .‬ﻁ‪ .1‬ﻨﺎﺒﻠﺱ‪ :‬ﻤﻁﺒﻌﺔ ﺍﻟﻨﺼﺭ ﺍﻟﺘﺠﺎﺭﻴّـﺔ‪.1991 .‬‬
‫)ﺍﻟﻨﻭﺭﻱ‪ ،‬ﻤﺤﻤﺩ ﺠﻭﺍﺩ(‪ ،‬ﻭ)ﺤﻤﺩ‪ ،‬ﻋﻠ ّ‬
‫ﺹ‪.228‬‬
‫)‪(4‬‬
‫ﺒﺸﺭ‪ ،‬ﻜﻤﺎل‪ :‬ﻋﻠﻡ ﺍﻷﺼﻭﺍﺕ‪ .‬ﺹ‪.219‬‬
‫‪21‬‬
‫ـ ّﻭ ِﺓ‬
‫ـﻲ ﻗـ‬
‫ل ﻓـ‬
‫ـﹺ‬‫ـ َﺩ ﺍﻟﻌﻠـ‬
‫ـﺎﻨﻲ‪ ،‬ﺒﻌـ‬
‫ـ َﺯ ﺍﻟﺜـ‬
‫ل ﺍﻟﻤﺭﻜـ‬
‫ـﱡ‬‫ـﻭﺍﻤﺕ[)‪ (1‬ﺘﺤﺘـ‬
‫ﻥ ]ﺍﻟﺼـ‬
‫ـﻭﺍﻜ َ‬
‫ــﺫﻩ ﺍﻟﺴـ‬
‫ﻥ ﻫـ‬
‫))ﻷ ّ‬

‫ﺇﺴﻤﺎﻋِﻬﺎ(()‪.(2‬‬

‫ﺕ ﺍﻟﺫﺍﺘ ّﻴ ﹶﺔ‪،‬‬
‫ﺕ ﺍﻟﻠﹼﻐﻭ ّﻴ ﹶﺔ ﻤﻥ ﺒﻌﻀِﻬﺎ‪ ،‬ﻭﺍﻟﺘﻲ ﺘﺤﺩّ ُﺩ ﻗـ ّﻭ ﹶﺓ ﺍﻟﺼﻭ ِ‬
‫ﺢ ﺍﻟﺘﻲ ﺘﻤﻴّ ُﺯ ﺍﻷﺼﻭﺍ ﹶ‬
‫ﺘﻠﻙ ﺃﻫ ﱡﻡ ﺍﻟﻤﻼﻤ ﹺ‬
‫ﺹ‬
‫ﻥ ﺍﻟﺤﻜ ُﻡ ﻋﻠﻰ ﺠﻭﺩ ِﺓ ﺍﻟﻨ ﱢ‬
‫ﻕ ﺘﻭﺍﻓﺭﹺﻫﺎ ﻓﻴﻪ‪ .‬ﻭﺒﻬﺎ ﻴﻤﻜ ُ‬
‫ﺕ ﺍﻷﺨﺭﻯ‪ ،‬ﻭﻓ ﹶ‬
‫ﺃﻭ ﻀﻌﻔﹶﻪ‪ ،‬ﺒﺎﻟﻨﺴﺒ ِﺔ ﺇﻟﻰ ﺍﻷﺼﻭﺍ ِ‬

‫ل‬
‫ﺹ ﻤﻥ ﺘﺄﺜﻴ ﹴﺭ‪ ،‬ﻴﻘ ُﻊ ﺒﻤﻀـﺎﻓﺭ ِﺓ ﻋﻭﺍﻤـ ﹺ‬
‫ل ﻤﺎ ﺘﺤﺩﺜﹸﻪ ﻓﻲ ﻫﺫﺍ ﺍﻟﻨ ﱢ‬
‫ل ﺘﺘ ّﺒﻌِﻬﺎ‪ ،‬ﻭﺘﺤﻠﻴ ﹺ‬
‫ﺍﻟﻤﺩﺭﻭﺱ‪ ،‬ﻤﻥ ﺨﻼ ﹺ‬

‫ﺍﻟﻘ ّﻭ ِﺓ ﺍﻟﺼﻭﺘ ّﻴ ِﺔ ﺍﻟﺨﺎﺭﺠﻴّﺔ‪.‬‬

‫‪ .2‬ﺍﻟﻌﻭﺍﻤ ُل ﺍﻟﺨﺎﺭﺠﻴّﺔ‬

‫ﺕ ﺍﻟﻤﻭﺴﻴﻘ ّﻴ ِﺔ ﺍﻟﻤﺘﻨﻭّﻋﺔ‪ ،‬ﺒﺄﻟﺤﺎﻨِﻬﺎ ﻭﺇﻴﻘﺎﻋﺎﺘِﻬﺎ ﺍﻟﻌﺫﺒﺔ‪ ،‬ﻓﻲ ﻗﺎﻋ ٍﺔ ﻤﻭﺴﻴﻘﻴّﺔ‪ ،‬ﻻ ﻴﻜﻔﻲ‬
‫ﻥ ﺘﻭﺍﻓ َﺭ ﺍﻵﻻ ِ‬
‫ﺇﱠ‬

‫ﺕ ﺒﻨﻐﻤﺎﺘِﻬـﺎ‬
‫ل ﺍﻟﺫﻱ ﻴﺸ ﱡﺩ ﺍﻟﻤﺴﺘﻤﻊ‪ ،‬ﺒل ﻻ ﺒـ ﱠﺩ ﻟﻬـﺫﻩ ﺍﻵﻻ ِ‬
‫ﻲ ﺍﻟﻤﺘﻜﺎﻤ ﹺ‬
‫ﻕ ﺍﻷﺩﺍ ِﺀ ﺍﻟﻤﻭﺴﻴﻘ ﱢ‬
‫ﻭﺤﺩَﻩ‪ ،‬ﻟﺘﺤﻘﻴ ِ‬
‫ﻅ ُﻡ‬
‫ﻲ )ﻤﺎﻴﺴﺘﺭﻭ( ﻤﺘﻤﻜﹼﻥ‪ ،‬ﻴﺘﻭﻟﹼﻰ ﺒﺈﻴﻤﺎﺀﺍﺘِﻪ ﻭﺇﺸﺎﺭﺍﺘِﻪ ﻗﻴﺎﺩ ﹶﺓ ﻋﺎﺯﻓﻴﻬـﺎ؛ ﻓﻴـﻨ ﹼ‬
‫ﻭﺃﻟﺤﺎﻨِﻬﺎ‪ ،‬ﻤﻥ ﻗﺎﺌ ٍﺩ ﻤﻭﺴﻴﻘ ﱟ‬

‫ﺏ ﺍﻟﻤﺴﺘﻤﻊ‪.‬‬ ‫ﻕ ﺍﻻﻟﺘﺌﺎ َﻡ ﻭﺍﻟﺘﻨﺎﻏ َﻡ ﺍﻟﻤﻁﻠﻭﺒﻴ ﹺ‬

‫ﻥ ﻟﺠﺫ ﹺ‬ ‫ﻉ‪ ،‬ﻴﺤﻘﹼ ﹸ‬
‫ﺒﺫﻟﻙ ﻋﻤﻠﹶﻬﺎ ﺒﺈﺒﺩﺍ ﹴ‬

‫ﺹ‪ ،‬ﻫـﻲ‬
‫ﺏ ﻭﺘﺤ ﹼﻜ ِﻤﻪ‪ ،‬ﻓﻲ ﺍﻟـﻨ ّ‬
‫ل ﺍﻟﻘ ّﻭ ِﺓ ﺍﻟﺼﻭﺘ ّﻴ ِﺔ ﺍﻟﺨﺎﺭﺠﻴّـﺔ‪ ،‬ﺍﻟﺘـﻲ ﺘﻘ ُﻊ ﺒﺎﺨﺘﻴﺎ ﹺﺭ ﺍﻟﻜﺎﺘ ﹺ‬
‫ﻭﻋﻭﺍﻤ ُ‬
‫ل ﻤﻨﻬﺎ ﻤﻌﺯﻭﻓـ ﹰﺔ ﻨﺼ ّﻴ ﹰﺔ ﻤﺘﻜﺎﻤﻠﺔ‪،‬‬
‫ﺫﺍﻙ ﺍﻟﻘﺎﺌ ُﺩ )ﺍﻟﻤﺎﻴﺴﺘﺭﻭ( ﺍﻟﺫﻱ ﻴﻨﻅﹼ ُﻡ ﺍﻟﺤﺭﻜ ﹶﺔ ﺍﻟﺼﻭﺘ ّﻴ ﹶﺔ ﻓﻴـﻪ؛ ﻓﻴﺠﻌ ُ‬

‫ل ﺍﻟﺩﺍﺨﻠﻴّـ ﹸﺔ ﺍﻟﺘـﻲ‬
‫ﺉ ﺒﺸﻐﻑ‪ .‬ﻓﺎﻟﻌﻭﺍﻤ ُ‬
‫ﺹ ﻓـﻲ ﻁﺎﻗ ٍﺔ ﺠﺫﹼﺍﺒـﺔ‪ ،‬ﻴﺘﻠ ﹼﻘﻔﹸﻬﺎ ﺍﻟﻤﺴﺘﻤ ُﻊ‪ ،‬ﺃﻭ ﺍﻟﻘﺎﺭ ُ‬
‫ﺝ ﺍﻟﻨ ﱠ‬
‫ﺘﹸﺨﹾ ﹺﺭ ُ‬

‫ﺹ‪ ،‬ﻻ ﺘﻜﻔﻲ ﻭﺤـﺩَﻫﺎ‪ ،‬ﻹﺠﺎﺩ ِﺓ ﻜﺘﺎﺒﺘِﻪ‪ ،‬ﺒـل ﻻ ﺒـ ﱠﺩ ﻤـﻥ‬

‫ﺕ ﺍﻟﻨ ّ‬
‫ﺕ ﺍﻟﻘ ّﻭ ِﺓ ﺍﻟﺫﺍﺘ ّﻴ ِﺔ ﻓﻲ ﺃﺼﻭﺍ ِ‬
‫ل ﺼﻔﺎ ِ‬
‫ﺘﻤﺜﹼ ُ‬
‫ل‬
‫ﻕ ﺍﻟﺘﻜﺎﻤـ ﹺ‬
‫ﻥ ﺍﺴﺘﺨﺩﺍﻤِﻬﺎ؛ ﻹﺒﺭﺍ ﹺﺯ ﺘﻠﻙ ﺍﻟﻘ ّﻭ ِﺓ ﺍﻟﺼﻭﺘ ّﻴ ِﺔ ﺍﻟﺫﺍﺘﻴّﺔ‪ ،‬ﻭﺘﺤﻘﻴ ِ‬
‫ل ﺍﻟﺨﺎﺭﺠ ّﻴ ِﺔ ﺒﺤﺴ ﹺ‬
‫ﻭﺠﻭ ِﺩ ﺍﻟﻌﻭﺍﻤ ﹺ‬

‫ل ﻓﻲ‪:‬‬
‫ل ﻫﺫﻩ ﺍﻟﻌﻭﺍﻤ ُ‬
‫ﻼ‪ .‬ﻭﺘﺘﻤﺜﹼ ُ‬
‫ﻼ ﻤﺘﻜﺎﻤـ ﹰ‬
‫ﺹ ﺒﺫﻟﻙ ﻜﺎﻤ ﹰ‬
‫ﺝ ﺍﻟﻨ ﱡ‬
‫ﻲ ﺍﻟﻤﻁﻠـﻭﺏ؛ ﻓﻴﺨﺭ ُ‬
‫ﺍﻟﺼﻭﺘ ﱢ‬

‫)‪(1‬‬
‫ﻥ ﻁﺒﻴﻌﺘﻪ ﺼﺎﻤﺘﺔ‪ ،‬ﺒﺨﻼﻑ ﻭﺼﻔﻪ ﺒﺄﻨﹼﻪ ﺤﺭﻜﺔ‪ .‬ﻭﻤﻥ ﺍﻷﻫﻤﻴّـﺔ ﺍﻟﻘﺼـﻭﻯ ﻤﻼﺤﻅـﺔ‬
‫ﻭﺼﻑ ﺍﻟﺼﻭﺕ ﺒﺄﻨﹼﻪ ﺼﺎﻤﺕ‪ ،‬ﻴﻌﻨﻲ ﺃ ّ‬
‫ﺍﺨﺘﻼﻑ ﻤﻌﻨﻰ )ﺍﻟﺼﺎﻤﺕ( ﺒﻬﺫﺍ ﺍﻟﻤﻔﻬﻭﻡ‪ ،‬ﻭﻤﻌﻨﻰ )ﺍﻟﺴﺎﻜﻥ( ﻋﻨﺩ ﺍﻟﻘﺩﻤﺎﺀ‪ ،‬ﺍﻟﺫﻱ ﺍﺴﺘﺨﺩﻤﻪ ﺒﻌﺽ ﺍﻟﻤﺤﺩﺜﻴﻥ‪ ،‬ﻤﺭﺍﺩﻓﹰـﺎ ﻟﻠﺼـﺎﻤﺕ؛‬
‫ﻓﺎﻟﻘﺩﻤﺎﺀ ﻴﻁﻠﻘﻭﻥ ﻭﺼﻑ )ﺍﻟﺴﺎﻜﻥ( ﻋﻠﻰ ﻤﺎ ﻟﻴﺱ ﺒﻤﺘﺤﺭّﻙ‪ ،‬ﺃﻱ ﻋﻠﻰ ﻤﺎ ﻟﻡ ﺘﻌﻘﺒﻪ ﺤﺭﻜﺔ؛ ﻓﻘﺩ ﺃﻁﻠﻘﻭﺍ ﺍﻟﻭﺼﻑ ﻋﻠـﻰ ﺍﻟﺼـﻭﺕ‪،‬‬
‫ﻲ ﻟﻠﺒﻨﻴﺔ ﺍﻟﻌﺭﺒﻴّﺔ‪ .‬ﺹ‪.26‬‬
‫ﺒﻨﺎﺀ ﻋﻠﻰ ﻤﺎ ﺒﻌﺩﻩ‪ ،‬ﻭﻟﻴﺱ ﺒﺎﻋﺘﺒﺎﺭ ﺫﺍﺘﻪ‪ .‬ﺍﻨﻅﺭ‪ :‬ﺸﺎﻫﻴﻥ‪ ،‬ﻋﺒﺩ ﺍﻟﺼﺒﻭﺭ‪ :‬ﺍﻟﻤﻨﻬﺞ ﺍﻟﺼﻭﺘ ّ‬
‫)‪(2‬‬
‫ﻱ‪ .‬ﺹ‪.294‬‬
‫ﻋﻤﺭ‪ ،‬ﺃﺤﻤﺩ ﻤﺨﺘﺎﺭ‪ :‬ﺩﺭﺍﺴﺔ ﺍﻟﺼﻭﺕ ﺍﻟﻠﹼﻐﻭ ّ‬
‫‪22‬‬
 ‫ﺹ‬
‫‪ .1.2‬ﺍﻟﻔﻭﻨﻴﻤﺎﺕ ﻏﻴﺭ ﺍﻟﺘﺭﻜﻴﺒ ّﻴ ِﺔ )‪ (Suprasegmental Phonemes‬ﺍﻟﻤﺴﺘﺨﺩﻤﺔ ﻓـﻲ ﺍﻟﻨ ّ‬

‫ﻍ‬
‫ﺏ ﻓﻴﻪ ﺩﻻﻻﺘِﻪ‪ ،‬ﻟﻴﺼﻭ ﹶ‬
‫ﺏ ﺍﻟﻜﺎﺘ ُ‬
‫ﺏ ﺍﻟـﺫﻱ ﻴﺼ ﱡ‬
‫ﺕ‪ ،‬ﺒﻤﺎ ﺘﺤﻭﻴ ِﻪ ﻤﻥ ﺃﺼﻭﺍﺕ‪ ،‬ﺍﻟﻘﺎﻟ َ‬
‫ﺕ ﺍﻟﻜﻠﻤﺎ ﹸ‬
‫ﺇﺫﺍ ﻜﺎﻨ ِ‬

‫ل ﺫﺍﻙ؛ ﻓﻬـﻲ‬
‫ﺏ ﻜـ ﱠ‬
‫ﺏ ﻓﻴﻪ ﺍﻟﻜﺎﺘ ُ‬
‫ﺏ ﺍﻟﺫﻱ ﻴﺼ ﱡ‬
‫ل ﺍﻟﻘﺎﻟ َ‬
‫ﺕ ﻏﻴ َﺭ ﺍﻟﺘﺭﻜﻴﺒﻴّﺔ‪ ،‬ﺘﻤﺜﹼ ُ‬
‫ﻥ ﺍﻟﻔﻭﻨﻴﻤﺎ ِ‬
‫ﺤِﻠﻲﱠ ﻨﺼﱢﻪ‪ ،‬ﻓﺈ ﱠ‬
‫ُ‬
‫ﺕ‬
‫ﺕ ﺍﻟﻜﻼﻤﻴّﺔ‪ ،‬ﺃﻭ ﻤﺠﻤﻭﻋﺎﺘِﻬﺎ)‪(1‬؛ ﺇﺫﻥ‪ ،‬ﻓﻠﻬﺫﻩ ﺍﻟﻔﻭﻨﻴﻤـﺎ ِ‬
‫ﺢ ﺼﻭﺘ ّﻴﺔﹲ ﺇﻀﺎﻓﻴّﺔ‪ ،‬ﺘﺅﺜﹼ ُﺭ ﻓـﻲ ﺍﻷﺼﻭﺍ ِ‬
‫ﻤﻼﻤ ُ‬

‫ﻕ ﻟـﻪ‬
‫ﺹ‪ ،‬ﺒﺼﻔﺘِﻬﺎ ﻤﺅ ﹼﺜﺭًﺍ ﺨﺎﺭﺠًﺎ ﻋﻠﻰ ﺍﻟﺘﺭﻜﻴﺏ‪ ،‬ﻴﻨﺴﺎ ﹸ‬
‫ﻲ ﻓـﻲ ﺍﻟﻨ ّ‬
‫ل ﺍﻟﺼﻭﺘ ﱢ‬
‫ﺩﻭﺭُﻫﺎ ﺍﻟﻤﻬ ﱡﻡ‪ ،‬ﻓﻲ ﺍﻟﺘﺸﻜﻴ ﹺ‬

‫ﻥ ﺍﺴﺘﺨﺩﺍ ﹺﻡ ﻫﺫﺍ ﺍﻟﻤﺅﺜﹼﺭ‪ .‬ﻭﻤـﻥ‬

‫ﻥ ﻴﻨﺸ ُﺩ ﺠﻭﺩ ﹶﺓ ﻨﺼﱢﻪ‪ ،‬ﻤﻥ ﺤﺴ ﹺ‬
‫ﺏ‪ ،‬ﺇﻥ ﻜﺎ َ‬
‫ﻲ‪ .‬ﻭﻻ ﺒ ﱠﺩ ﻟﻠﻜﺎﺘ ﹺ‬
‫ﺕ ﺍﻟﺩﺍﺨﻠ ّ‬
‫ﺍﻟﺼﻭ ﹸ‬
‫ﺏ ﺍﻟﺴﻴﻁﺭ ﹸﺓ ﻋﻠﻴﻬﺎ‪ ،‬ﻭﺍﻟﺘﺤﻜﹼـ ُﻡ ﺒﻬﺎ‪ ،‬ﻓﻭﻨﻴﻤﺎﻥ‪ :‬ﺍﻟﺘﻨﻐﻴ ُﻡ‬
‫ﺕ ﻏﻴ ﹺﺭ ﺍﻟﺘﺭﻜﻴﺒ ّﻴ ِﺔ‪ ،‬ﺍﻟﺘﻲ ﺒﻭﺴ ﹺﻊ ﺍﻟﻜﺎﺘ ﹺ‬
‫ﺃﻫ ﱢﻡ ﺍﻟﻔﻭﻨﻴﻤﺎ ِ‬
‫)‪.(2)(Juncture‬‬ ‫)‪ ،(Intonation‬ﻭﺍﻟ َﻤﻔﹾﺼِل‬

‫ﻥ‬
‫ﺕﺃﱠ‬
‫ﺕ ﺍﻟﻤﻨﺴﻭﻗ ِﺔ ﻓـﻲ ﻋﺒﺎﺭ ٍﺓ ﺘﺎﻤّـﺔ‪ ،‬ﻭﺃﺤﺴﺴـ ﹶ‬
‫ﻉ ﺍﻟﻜﻠﻤﺎ ِ‬
‫ﻲ ﺇﻟﻰ ﺇﻴﻘﺎ ﹺ‬
‫ﺕ‪ ...)) ،‬ﻟﺘﺼﻐ َ‬
‫ﺇﺫﺍ ﻤﺎ ﺍﻨﺘﺒﻬ ﹶ‬
‫ﺕ ﺍﻟﺤﺩﻴﺜ ﹸﺔ )ﺍﻟﺘﻨﻐﻴﻡ(‪ .‬ﻭﺠﻭﻫ ُﺭ ﺍﻟﺘﻨﻐـﻴ ﹺﻡ‬
‫ﺕ ﻋﻠـﻰ ﻤﺎ ﺘﺴﻤّﻴﻪ ﺍﻟﺼﻭﺘﻴّﺎ ﹸ‬
‫ﺘﻨﺎﻏﻤًﺎ ﺨﺎﺼ‪‬ﺎ ﻴﻨﺘﻅﻤُﻬﺎ‪ ،‬ﻓﻘﺩ ﻭﻗﻔ ﹶ‬
‫ﺞ‬
‫ﺕ ﻤﻌﻴّﻨﺔ‪ ،‬ﺘﻨﺠ ُﻡ ﻨﻔﺴﻴ‪‬ﺎ ﻋﻥ ﻋﺎﻁﻔ ٍﺔ ﻴﺤﺴﱡﻬﺎ‪ ،‬ﻭﻓﻜﺭﻴ‪‬ﺎ ﻋﻥ ﻤﻌﻨﹰﻰ ﻴﻌـﺘﻠ ُ‬
‫ﻲ ﺍﻟﻤﺘﻜﹼﻠ ُﻡ ﺍﻟﻌﺒﺎﺭ ﹶﺓ ﻨﻐﻤﺎ ٍ‬
‫ﺃﻥْ ﻴﻌﻁ َ‬
‫ﺕ‪ ،‬ﺍﻟﺘﻲ ﺘﺴﺭﻱ ﻓﻲ ﻭﺘﺭﻱ ﺍﻟﺤﻨﺠﺭﺓ‪ ،‬ﻓﻴﺯﻴ ُﺩ ﺍﻻﻫﺘـﺯﺍ ُﺯ‬
‫ﻓﻲ ﺫﻫﻨِﻪ‪ ،‬ﻭﻋﻀﻭﻴ‪‬ﺎ ﻋﻥ ﺘﻐ ّﻴ ﹴﺭ ﻓﻲ ﻋﺩ ِﺩ ﺍﻟﻬﺯّﺍ ِ‬
‫ﺍﻟﻜﻼﻡ(()‪.(3‬‬ ‫ﺽ ﺍﻟﺫﻱ ﻴﺘﻭﺠّ ُﻪ ﺇﻟﻴﻪ‬
‫ﻕ ﺍﻟﻐﺭ ﹺ‬
‫ﺹ‪ ،‬ﻭﻓ ﹶ‬
‫ﺃﻭ ﻴﻨﻘ ُ‬

‫ﺕ ﺍﻟﺘﺭﻜﻴﺒﻴّـﺔ ) ‪Segmental‬‬
‫ﺇﺫﻥ‪ ،‬ﻓﻠﻠﺘﻨﻐﻴ ﹺﻡ ﺩﻭﺭٌ ﻤﻬ ﱞﻡ‪ ،‬ﻓـﻲ ﺘﻌﺯﻴ ﹺﺯ ﺍﻟﻘ ّﻭ ِﺓ ﺍﻟﺼﻭﺘ ّﻴ ِﺔ ﻟﻠﻔﻭﻨﻴﻤـﺎ ِ‬
‫ﺙ‬
‫ﻥ ﺍﻟﺼﻭﺘﻴّﻴﻥ‪ ،‬ﻫﺫﻩ ﺍﻟﺫﺒﺫﺒ ﹸﺔ ﺍﻟﺘﻲ ﺘﺤﺩ ﹸ‬
‫‪(Phonemes‬؛ ))‪ ...‬ﻴﺭﺠ ُﻊ ﺇﻟﻰ ﺍﻟﺘﻐ ّﻴ ﹺﺭ ﻓﻲ ﻨﺴﺒ ِﺔ ﺫﺒﺫﺒ ِﺔ ﺍﻟﻭﺘﺭﻴ ﹺ‬
‫ﺕ ﺍﻟﺼﻭﺕ‬
‫ﻑ ﺩﺭﺠﺎ ِ‬
‫ﻥ ))ﻤﺅﺘﻠـ ﹸ‬ ‫ﻨﻐﻤ ﹰﺔ ﻤﻭﺴﻴﻘﻴّـ ﹰﺔ‪ ،(4)((...‬ﺘﻤﺜﹼـ ُ‬
‫ل ﻗـ ّﻭ ﹰﺓ ﺼﻭﺘ ّﻴ ﹰﺔ ﺇﻀﺎﻓﻴّـﺔ‪ ،‬ﻭﺒﻬـﺎ ﻴﻜﻭ ُ‬
‫ﺍﻟﻤﺯﺩﻭﺝ(()‪.(6‬‬ ‫]‪ ،(5)[Pitch‬ﻭﻤﺎ ﺘﻘﻭ ُﻡ ﺒﻪ ﻤﻥ ﺍﻟﺘﺭﻜﻴ ﹺ‬
‫ﺏ ﺍﻟﻤﻔﺭﺩ‪ ،‬ﺃﻭ‬

‫)‪(1‬‬
‫ﺒﺎﻱ‪ ،‬ﻤﺎﺭﻴﻭ‪ :‬ﺃﺴﺱ ﻋﻠﻡ ﺍﻟﻠﹼﻐﺔ‪ .‬ﺹ‪.92‬‬
‫)‪(2‬‬
‫ﻲ ﺨﻠﻴل(‪ :‬ﻓﺼـﻭل ﻓـﻲ‬
‫ﻟﺘﻔﺼﻴل ﺍﻟﻘﻭل ﻓﻲ ﺍﻟﻔﻭﻨﻴﻤﺎﺕ ﻏﻴﺭ ﺍﻟﺘﺭﻜﻴﺒﻴّﺔ ﺒﺄﻨﻭﺍﻋﻬﺎ؛ ﺍﻨﻅﺭ‪) :‬ﺍﻟﻨﻭﺭﻱ‪ ،‬ﻤﺤﻤﺩ ﺠﻭﺍﺩ(‪ ،‬ﻭ)ﺤﻤﺩ‪ ،‬ﻋﻠ ّ‬
‫ﻋﻠـﻡ ﺍﻷﺼﻭﺍﺕ‪ .‬ﺹ‪.214 - 180‬‬
‫)‪(3‬‬
‫ﻁﻠﻴﻤﺎﺕ‪ ،‬ﻏﺎﺯﻱ ﻤﺨﺘﺎﺭ‪ :‬ﻓﻲ ﻋﻠﻡ ﺍﻟﻠﹼﻐﺔ‪ .‬ﺹ‪.154‬‬
‫)‪(4‬‬
‫ﻲ‪ .‬ﺹ‪.192‬‬
‫ﺍﻟﺴﻌﺭﺍﻥ‪ ،‬ﻤﺤﻤﻭﺩ‪ :‬ﻋﻠﻡ ﺍﻟﻠﹼﻐﺔ ﻤﻘﺩّﻤﺔ ﻟﻠﻘﺎﺭﺉ ﺍﻟﻌﺭﺒ ّ‬
‫)‪(5‬‬
‫ﻴﻘﺼﺩ ﺒﺩﺭﺠﺔ ﺍﻟﺼﻭﺕ‪ ،‬ﻤﻘﺩﺍﺭ ﺍﺭﺘﻔﺎﻋﻪ ﺃﻭ ﺍﻨﺨﻔﺎﻀﻪ‪ ،‬ﻓﻲ ﺃﺜﻨﺎﺀ ﺍﻟﻨﻁﻕ‪ .‬ﺍﻨﻅﺭ‪:‬‬
‫‪Oxford Wordpower. Oxford University Press. 2005. p. 559.‬‬
‫)‪(6‬‬
‫ﻲ‪ .‬ﻁ‪ .1‬ﻋﻤـﺎﻥ‪ :‬ﺩﺍﺭ ﺼـﻔﺎﺀ‪.1997 .‬‬
‫ﻋﺒﺩ ﺍﻟﺠﻠﻴل‪ ،‬ﻋﺒﺩ ﺍﻟﻘﺎﺩﺭ‪ :‬ﺍﻟﺩﻻﻟﺔ ﺍﻟﺼﻭﺘﻴّﺔ ﻭﺍﻟﺼﺭﻓﻴّﺔ ﻓﻲ ﻟﻬﺠﺔ ﺍﻹﻗﻠـﻴﻡ ﺍﻟﺸـﻤﺎﻟ ّ‬
‫ﺹ‪.79‬‬
‫‪23‬‬
‫ﻲ؛‬
‫ﺙ ﻜﻼﻤـ ﱟ‬
‫ﺕ‪ ،‬ﺃﻭ ﻤﻘﺎﻁ َﻊ ﻓـﻲ ﺤـﺩ ٍ‬
‫ﻥ ﻜﻠﻤﺎ ٍ‬
‫ل‪ ...‬ﻓﻬﻭ ﻋﺒﺎﺭﺓﹲ ﻋﻥ ﺴﻜﺘ ٍﺔ ﺨﻔﻴﻔ ٍﺔ ﺒﻴ َ‬
‫ﺼُ‬‫))ﺃﻤّﺎ ﺍﻟ َﻤﻔﹾ ِ‬

‫ﻅ ﻤّﺎ‪ ،‬ﺃﻭ ﻤﻘﻁ ﹴﻊ ﻤّﺎ‪ ،‬ﻭﺒﺩﺍﻴ ِﺔ ﺁﺨﺭ(()‪ .(1‬ﻭﻤﻥ ﺸﺄ ﹺ‬

‫ﻥ ﻫـﺫﻩ ﺍﻟﺴـﻜﺘ ِﺔ‬ ‫ﻥ ﺍﻨﺘﻬﺎ ِﺀ ﻟﻔ ٍ‬
‫ﺒﻘﺼ ِﺩ ﺍﻟﺩﻻﻟـ ِﺔ ﻋﻠﻰ ﻤﻜﺎ ﹺ‬

‫ل ﺍﻹﺼﺒ ﹺﻊ ﻤـﻥ‬
‫ل ﺍﻨﺘﻘﺎ ﹺ‬
‫ﻅﻤَﻬﺎ؛ ﻤﺤﻘﹼﻘ ﹰﺔ ﺒﺫﻟﻙ ﻋﻤ َ‬
‫ﺹ‪ ،‬ﻭﺘﻨ ﹼ‬
‫ﻁ ﺍﻟﺤﺭﻜ ﹶﺔ ﺍﻟﺼﻭﺘ ّﻴ ﹶﺔ ﻓـﻲ ﺍﻟﻨ ﱢ‬
‫ﺍﻟﺨﻔﻴﻔ ِﺔ ﺃﻥْ ﺘﻀﺒ ﹶ‬
‫ﺕ ﺍﻟﺠﻤﻴﻠ ِﺔ‪ ،‬ﻤﻥ ﺠﻬـﺔ‪ ،‬ﻭﺘﻨﻅـﻴ ﹺﻡ ﻫـﺫﻩ‬
‫ﻻ ﺒﻤُﻘﻭّﻤﻴﻥ‪ :‬ﺍﻷﺼﻭﺍ ِ‬
‫ﻕﺇﹼ‬
‫ﻭﺘ ﹴﺭ ﺇﻟﻰ ﻭﺘﺭ‪ .‬ﻭﺍﻟﻤﻭﺴﻴﻘﻰ ﻻ ﺘﺘﺤﻘﹼ ﹸ‬

‫ﺕ‪ ،‬ﻤﻥ ﺠﻬ ٍﺔ ﺃﺨﺭﻯ‪.‬‬

‫ﺍﻷﺼﻭﺍ ِ‬

‫ﺕ‪ ،‬ﺃﻭ ﺭﻤﻭ ﹴﺯ‬

‫ﻕ ﻋﻼﻤﺎ ٍ‬
‫ﺹ‪ ،‬ﻋﻥ ﻁﺭﻴ ِ‬
‫ﺕ ﻏﻴ ﹺﺭ ﺍﻟﺘﺭﻜﻴﺒ ّﻴ ِﺔ ﻓـﻲ ﺍﻟﻨ ّ‬
‫ﻭﻋﺎﺩ ﹰﺓ‪ ،‬ﺘﺴﺘﺨﺩ ُﻡ ﻤﻌﻅ ُﻡ ﺍﻟﻔﻭﻨﻴﻤﺎ ِ‬
‫ﻥ‬
‫ﻑ ﻓﻲ ﺍﻟﻘﺭﺁ ﹺ‬
‫ﺕ ﺍﻟﻭﻗ ِ‬
‫ﻑ ﺒﻬﺎ‪ :‬ﻜﻌﻼﻤـ ِﺔ ﺍﻻﺴﺘﻔﻬﺎﻡ‪ ،‬ﻭﻋﻼﻤـ ِﺔ ﺍﻟﺘﻌﺠّﺏ‪ ،‬ﻭﺍﻟﻔﺎﺼﻠـﺔ؛ ﻭﻋﻼﻤـﺎ ِ‬
‫ﺘﻌـﺭ ﹸ‬

‫ﺱ ﺍﻟﺘﺭﻜﻴـﺏ)‪(2‬؛ ﻭﻏﻴـ ﹺﺭ ﺫﻟـﻙ‪.‬‬

‫ﻑ ﺒﺠﻨـﺎ ﹺ‬
‫ﺱ ﺍﻟﻤﻌﺭﻭ ِ‬
‫ﻲ‪ ،‬ﻜﺎﻟﺠﻨﺎ ﹺ‬
‫ﻥ ﺍﻟﺒﺩﻴﻌ ّ‬
‫ﺴﹺ‬
‫ﺍﻟﻜـﺭﻴﻡ؛ ﻭﺍﺴﺘﺨﺩﺍ ﹺﻡ ﺍﻟﻤﺤ ّ‬

‫ل‬
‫ﻥ ﺫﻟﻙ ﻓﻲ ﺍﻟﻔﺼ ﹺ‬
‫ﻕ ﺍﻟﺘﻌﺒﻴ ﹺﺭ ﻭﺍﻟﺩﻻﻟﺔ‪ ،‬ﻭﺴﻴﺘ ﱡﻡ ﺒﻴﺎ ُ‬
‫ﻉ ﻨﻁﺎ ِ‬
‫ﺕ ﻏﻴ ﹺﺭ ﺍﻟﺘﺭﻜﻴﺒﻴّـﺔ‪ ،‬ﺩﻭﺭُﻫﺎ ﻓﻲ ﺍﺘﹼﺴﺎ ﹺ‬
‫ﻭﻟﻠﻔﻭﻨﻴﻤﺎ ِ‬

‫ﺍﻟﺜﺎﻨﻲ‪ ،‬ﺇﻥ ﺸﺎ َﺀ ﺍ ُ‬
‫ﷲ ﺘﻌﺎﻟﻰ‪.‬‬

‫ﺹ‬
‫ﺏ ﺍﻟﻨ ّ‬
‫ﻲ ﻟﻜﺎﺘ ﹺ‬
‫‪ .2.2‬ﺍﻻﺨﺘﻴﺎﺭ ﺍﻟﺼﻭﺘ ّ‬

‫ﺕ ))ﺘﺠﺭﻱ‬
‫ﻥ ﻟﻭﺤﺘِـﻪ؛ ﻓﺎﻷﺼﻭﺍ ﹸ‬
‫ﺕ ﻨﺼﱢﻪ‪ ،‬ﺍﺨﺘﻴـﺎ َﺭ ﺍﻟ ّﺭﺴّﺎ ﹺﻡ ﺃﻟﻭﺍ َ‬
‫ﺏ ﺃﺼﻭﺍ ﹶ‬
‫ﻑ ﺍﺨﺘﻴﺎ ُﺭ ﺍﻟﻜﺎﺘ ﹺ‬
‫ﻻ ﻴﺨﺎﻟ ﹸ‬
‫ﺝ ﻓﻴﻬﺎ ﺃﺒﻌـﺎ ُﺩ‬ ‫ﻥ ﻤﻥ ﺍﻟﺒﺼﺭ(()‪ .(3‬ﻭﺍﻟ ّﺭﺴّﺎ ُﻡ ﻴﺨﺘـﺎ ُﺭ ﺘﻠﻙ ﺍﻷﻟﻭﺍ َ‬
‫ﻥ‪ ،‬ﺍﻟﺘﻲ ﺘﻤﺘﺯ ُ‬ ‫ﻤﻥ ﺍﻟﺴّﻤﻊ‪ ،‬ﻤﺠﺭﻯ ﺍﻷﻟﻭﺍ ﹺ‬
‫ﺽ ﻟﻠﺘﻌﺒﻴـ ﹺﺭ ﻋـﻥ ﺍﻟﻨﻘـﺎ ِﺀ ﻭﺍﻟﺼـﻔﺎﺀ‪،‬‬
‫ل ﻟﻭﺤﺘﹶﻪ ﻨﺎﻁﻘ ﹰﺔ ﺒﻤـﺎ ﻴﺭﻴﺩ‪ ،‬ﻓﻴﺨﺘﺎ ُﺭ ﺍﻷﺒﻴ َ‬
‫ﻲ؛ ﻓﻴﺠﻌ ُ‬
‫ل ﺍﻟﻔ ﹼﻨ ّ‬
‫ﺍﻟﻌﻤ ﹺ‬
‫ﻥ ﻭﺍﻟﻜﺂﺒـﺔ‪ ،...‬ﻤﺴـﺘﻭﺤﻴًﺎ‬
‫ﻱ ﻟﻠﺘﻌﺒﻴ ﹺﺭ ﻋﻥ ﺍﻟﺤـﺯ ﹺ‬
‫ﻭﺍﻷﺨﻀ َﺭ ﻟﻠﺘﻌﺒﻴ ﹺﺭ ﻋﻥ ﺍﻟﺤﻴـﺎ ِﺓ ﻭﺍﻟﺒﻘـﺎﺀ‪ ،‬ﻭﺍﻟﺭﻤﺎﺩ ﱠ‬
‫ﺏ ﻤـﺎ‬
‫ﻁ ﺒﺄﻏﻠـ ﹺ‬ ‫ل ﻋﻠﻴﻬﺎ ﺤﻭﻟﹶـﻪ‪ ،‬ﻭﻤـﺎ ﻓﹸﻁﺭﺕﹾ ﻋﻠﻴـﻪ ﻨﻔﺴُﻪ؛ ﻓﺎﻷﺒﻴ ُ‬
‫ﺽ ﻴﺭﺘﺒ ﹸ‬ ‫ﺕ ﻤﻤّﺎ ﻴﺩ ﱡ‬
‫ﻫـﺫﻩ ﺍﻟﺩﻻﻻ ِ‬
‫ﺏ‬
‫ﻱ ﺒﺄﻏﻠ ﹺ‬
‫ﺕ‪ ،‬ﺍﻟﺫﻱ ﻫﻭ ﻤﻥ ﺃﻫ ﱢﻡ ﻋﻨﺎﺼ ﹺﺭ ﺍﻟﺤﻴﺎ ِﺓ ﻭﺍﻟﺒﻘﺎﺀ‪ ،‬ﻭﺍﻟﺭﻤﺎﺩ ﱡ‬
‫ﻑ‪ ،‬ﻭﺍﻷﺨﻀ ُﺭ ﺒﺎﻟﻨﺒﺎ ِ‬
‫ﻲ ﻭﺼﺎ ٍ‬
‫ﻫـﻭ ﻨﻘ ﱞ‬
‫ﺏ ﺍﻻﻨﺘﺒﺎﻩ‪ ،‬ﺒﻤﺎ ﺘﺤﻤﻠﹸـﻪ‬
‫ﻥ ﻋﻠﻰ ﺠﺫ ﹺ‬
‫ﻥ ﻭﺍﻟﻜﺂﺒـﺔ‪ ،...‬ﻭﻴﺭﺍﻋﻲ ﻜﺫﻟﻙ ﻗﺩﺭ ﹶﺓ ﻫﺫﻩ ﺍﻷﻟﻭﺍ ﹺ‬
‫ﻤـﺎ ُﻴﺸﹾ ِﻌ ُﺭ ﺒﺎﻟﺤﺯ ﹺ‬
‫ﻤﻥ ﻗﻴ ﹴﻡ ﺠﻤﺎﻟ ّﻴ ٍﺔ‪ ،‬ﻭﻨﻔﺴ ّﻴ ٍﺔ‪ ،‬ﻭﺍﺠﺘﻤﺎﻋﻴّﺔ‪.‬‬

‫)‪(1‬‬
‫ﺒﺎﻱ‪ ،‬ﻤﺎﺭﻴﻭ‪ :‬ﺃﺴﺱ ﻋﻠﻡ ﺍﻟﻠﹼﻐﺔ‪ .‬ﺹ‪.95‬‬
‫)‪(2‬‬
‫ﻫﻭ ﺍﻟﺠﻨﺎﺱ ﺍﻟﺫﻱ ﻴﻜﻭﻥ ﺃﺤﺩ ﺭﻜﻨﻴﻪ ﻜﻠﻤ ﹰﺔ ﻭﺍﺤﺩﺓ‪ ،‬ﻭﺍﻵﺨﺭ ﻤﺭ ﹼﻜﺒًﺎ ﻤﻥ ﻜﻠﻤﺘﻴﻥ‪ .‬ﺍﻨﻅﺭ‪ :‬ﻋﺘﻴﻕ‪ ،‬ﻋﺒﺩ ﺍﻟﻌﺯﻴـﺯ‪ :‬ﻋﻠـﻡ ﺍﻟﺒـﺩﻴﻊ‪.‬‬
‫ﻅ ﻤﺎﻟﹶﻨﺎ؟!؛ ﻓﺎﻟﺘﺭﻜﻴﺏ ﺍﻷﻭّل )ﻤﺎ ﻟﹶﻨﺎ(‪ :‬ﺍﺴـﻡ‬
‫ﺒﻴﺭﻭﺕ‪ :‬ﺩﺍﺭ ﺍﻟﻨﻬﻀﺔ ﺍﻟﻌﺭﺒﻴّﺔ‪ .1985 .‬ﺹ‪ .202‬ﻭﻤﻥ ﺃﻤﺜﻠﺘﻪ ﻗﻭﻟﻨﺎ‪ :‬ﻤﺎ ﻟﹶﻨﺎ ﻻ ﻨﺤﻔ ﹸ‬
‫ﺍﺴﺘﻔﻬﺎﻡ‪ ،‬ﻭﺸﺒﻪ ﺠﻤﻠﺔ )ﺠﺎﺭ ﻭﻤﺠﺭﻭﺭ(‪ ،‬ﻭﺍﻟﺘﺭﻜﻴﺏ ﺍﻵﺨﺭ )ﻤﺎﻟﹶﻨﺎ(‪ :‬ﻤﻔﻌﻭل ﺒـﻪ )ﻤﺎل( ﻤﻀﺎﻓﹰﺎ ﺇﻟﻰ ﺍﻟﻀـﻤﻴﺭ ﺍﻟﻤﺘﹼﺼـل )ﻨـﺎ(‪.‬‬
‫ﻲ ﺍﻟﻤﻔﺼل؛ ﺨﺸﻴﺔ ﺍﻟﻠﺒﺱ‪.‬‬
‫ﻭﻴﺘﺤﻘﹼﻕ ﻓﻲ ﺍﻟﺘﺭﻜﻴﺏ ﺍﻷﻭّل‪ ،‬ﺍﻟﻔﻭﻨﻴﻡ ﻏﻴﺭ ﺍﻟﺘﺭﻜﻴﺒ ّ‬
‫)‪(3‬‬
‫ﺍﺒﻥ ﺴﻨﺎﻥ ﺍﻟﺨﻔﺎﺠﻲ‪ ،‬ﺃﺒﻭ ﻤﺤﻤّﺩ ﻋﺒﺩ ﺍﷲ ﺒﻥ ﻤﺤﻤّﺩ‪ :‬ﺴ ّﺭ ﺍﻟﻔﺼﺎﺤﺔ‪ .‬ﻁ‪ .1‬ﺒﻴﺭﻭﺕ‪ :‬ﺩﺍﺭ ﺍﻟﻜﺘﺏ ﺍﻟﻌﻠﻤﻴّﺔ‪ .1982 .‬ﺹ‪.64‬‬
‫‪24‬‬
‫ﺕ ﺒﻘ ّﻭﺘِﻬـﺎ ﺍﻻﻨﺘﺒـﺎﻩ‪،‬‬
‫ﺕ ﺍﻟﺘﻲ ﺘﻠﻔـ ﹸ‬
‫ﻥ ﺍﻟﻜﺎﺘﺏ؛ ﻓﻼ ﺒ ﱠﺩ ﻟﻪ ﺃﻥ ﻴﺨﺘﺎ َﺭ ﺘﻠﻙ ﺍﻷﺼﻭﺍ ﹶ‬
‫ﺕ ﺃﻟﻭﺍ ُ‬
‫ﻭﺍﻷﺼﻭﺍ ﹸ‬

‫ﻥ ﻤﻌﺎﻨﻴَـﻪ‪ ،‬ﻭﺘﺼـﺒﻐﹸﻪ‬
‫ﻥ ﻨﺼﱢﻪ‪ ،‬ﻭﺘﺸﺤ ُ‬
‫ﺏ ﻤﻀﻤﻭ َ‬
‫ﻭﺘﺴﺘﺤﻭ ﹸﺫ ﺒﻤﻼﻤﺤِﻬﺎ ﺍﻟﻤﻤﻴّﺯ ِﺓ ﻋﻠﻰ ﺍﻷﺫﻫﺎﻥ؛ ﻭﺘﻨﺎﺴ ُ‬

‫ﺏ ﺇﻴﺼﺎﻟﹶﻪ ﻋﻠـﻰ ﺃﺘـ ﱢﻡ ﺤــﺎل‪،‬‬

‫ل ﺒﺫﻟﻙ ﻜﻠﱢـﻪ‪ ،‬ﻤﺎ ﻴﺭﻴ ُﺩ ﺍﻟﻜﺎﺘ ُ‬
‫ﺒﺘﺂﻟﻔِﻬﺎ ﺒﺼﺒﻐ ٍﺔ ﺠﻤﺎﻟﻴّـ ٍﺔ ﺠﺫﹼﺍﺒﺔ؛ ﻓﺘﺤﻤ ُ‬
‫ﺕ ﺍﻟﺘـﻲ ﺘﺤﺘﻭﻴﻬـﺎ‪،‬‬
‫ﺹ‪ ،‬ﺒﺎﺨﺘﻴـﺎ ﹺﺭ ﺍﻟﻜﻠﻤـﺎ ِ‬ ‫ﻓﺎﺭﻀ ﹰﺔ ﺴﻴﺎﺩﺘﹶﻬﺎ ﻋﻠﻰ ﺍﻟﻤﺘﻠﻘﹼﻲ‪ .‬ﻭﻴﺘ ﱡﻡ ﺍﺨﺘﻴﺎ ُﺭ ﺃﺼﻭﺍ ِ‬
‫ﺕ ﺍﻟﻨ ﱢ‬

‫ﺕ ﻏﻴ ﹺﺭ ﺍﻟﺘﺭﻜﻴﺒﻴّــ ِﺔ ﻓـﻲ‬
‫ل ﻋﻠـﻰ ﺍﻟﻔﻭﻨﻴﻤـﺎ ِ‬
‫ﺕ ﺍﻟﺒﺩﻴﻌ ّﻴ ِﺔ‪ ،‬ﺍﻟﺘـﻲ ﺘﺩ ﱡ‬
‫ﺕ‪ ،‬ﻭﺍﻟﻤﺤﺴّﻨﺎ ِ‬
‫ﻭﺍﺨﺘﻴﺎ ﹺﺭ ﺍﻟﻌﻼﻤﺎ ِ‬

‫ﺹ‪.‬‬
‫ﺍﻟﻨ ّ‬

‫ﺹ‪:‬‬
‫ﺕ ﻓﻲ ﺍﻟﻨ ّ‬
‫‪ .3.2‬ﺘﻨﻅﻴﻡ ﺍﻷﺼﻭﺍ ِ‬

‫ﺹ ﻤﺘﻤ ّﻴ ﹴﺯ ﺒﺄﺼﻭﺍﺘِﻪ؛ ﻓﻼ ﺒ ﱠﺩ ﻟﻬـﺫﺍ‬

‫ﺕ ﺍﻟﻤﺘﻤﻴّﺯﺓ‪ ،‬ﻻ ﻴﻜﻔﻲ ﻭﺤـﺩَﻩ‪ ،‬ﻹﻨﺸﺎ ِﺀ ﻨ ﱟ‬
‫ﻥ ﺍﺨﺘﻴﺎ َﺭ ﺍﻷﺼﻭﺍ ِ‬
‫ﺇﱠ‬

‫ﺕ ﻭﺘﺭﺘﻴﺒُﻬﺎ‪ ،‬ﻋﻠﻰ ﺸﺎﻜﻠ ٍﺔ ﺘﺒﺭ ُﺯ ﻗﻴﻤﺘﹶﻬﺎ‪ ،‬ﺴﻭﺍﺀٌ ﺃﻜﺎ َ‬

‫ﻥ ﺫﻟﻙ ﻤـﻥ‬ ‫ﺍﻻﺨﺘﻴﺎ ﹺﺭ ﺃﻥ ﻴﺤﻜﻤَﻪ ﺘﻨﻅﻴ ُﻡ ﻫﺫﻩ ﺍﻷﺼﻭﺍ ِ‬

‫ﻑ‬
‫ﺕ ﻓـﻲ ﻫﺫﺍ‪ ،‬ﻻ ﺘﺨﺎﻟـ ﹸ‬
‫ل ﺍﻷﺼﻭﺍ ِ‬
‫ﻲ ﺍﻟﻌﻤﻴﻕ‪ .‬ﻭﺤﺎ ُ‬
‫ﺏ ﺍﻟﺩﻻﻟ ﱢ‬
‫ﻲ ﺍﻟﻼﹼﻓﺕ‪ ،‬ﺃﻡ ﻤﻥ ﺍﻟﺠﺎﻨ ﹺ‬
‫ﺏ ﺍﻹﻴﻘﺎﻋ ﱢ‬
‫ﺍﻟﺠﺎﻨ ﹺ‬

‫ﺹ‪)) ،‬ﻭﺍﻷﻟﻔﺎ ﹸ‬
‫ﻅ ﻻ ﺘﻔﻴ ُﺩ‬ ‫ﻥ ﺍﻟﻨ ّ‬
‫ﻥ ﻤﻭﺍﻓﻘﺘِﻬﺎ ﻤﻀﻤﻭ َ‬
‫ﻅ ﺍﻟﺘﻲ ﺘﹸﺨﺘـﺎ ُﺭ ﺒﺭﻭ ّﻴ ٍﺔ ﻭﻋﻨﺎﻴـﺔ؛ ﻟﻀﻤﺎ ﹺ‬
‫ل ﺍﻷﻟﻔـﺎ ِ‬
‫ﺤﺎ َ‬

‫ﻭﺍﻟﺘﺭﺘﻴﺏ(()‪.(1‬‬ ‫ﺏ‬
‫ﻥ ﻭﺠ ٍﻪ ﻤﻥ ﺍﻟﺘﺭﻜﻴ ﹺ‬
‫ﻑ ﻀﺭﺒًﺎ ﺨﺎﺼ‪‬ﺎ ﻤﻥ ﺍﻟﺘﺄﻟﻴﻑ‪ ،‬ﻭ ُﻴﻌْ َﻤ ُﺩ ﺒﻬﺎ ﺇﻟـﻰ ﻭﺠ ٍﻪ ﺩﻭ َ‬
‫ﺤﺘﹼﻰ ﺘﺅﹼﻟ ﹶ‬

‫ﺕ ﻤـﻥ‬
‫ﺕ ﻭﺍﻟﻨﻬﺎﻴـﺎ ِ‬
‫ﻅ ﺍﻟﺘﻲ ﺘﺤﻭﻴﻬﺎ‪ ،‬ﻤﺭ ﹼﻜﺯًﺍ ﻋﻠﻰ ﺍﻟﺒﺩﺍﻴﺎ ِ‬
‫ﺏ ﺃﺼﻭﺍﺘﹶﻪ‪ ،‬ﺒﺘﻨﻅﻴ ﹺﻡ ﺍﻷﻟﻔﺎ ِ‬
‫ﻭﻴﻨﻅﹼ ُﻡ ﺍﻟﻜﺎﺘ ُ‬

‫ﺏ ﺍﻟﺘﻲ ﺘﹸﻨﻅﹼ ُﻡ ﻓﻴﻬـﺎ‬

‫ﺹ ﺸﻌﺭًﺍ‪ ،‬ﻭﻏﻴ ﹺﺭ ﺫﻟﻙ ﻤﻥ ﺍﻟﻘﻭﺍﻟ ﹺ‬
‫ﻥ ﺍﻟﻨ ﱡ‬
‫ﺕ ﺍﻟﺸﻌ ﹺﺭ‪ ،‬ﺇﻥ ﻜﺎ َ‬
‫ﺕ‪ ،‬ﻭﺃﺒﻴﺎ ِ‬
‫ل‪ ،‬ﻭﺍﻟ ِﻔﻘﹾﺭﺍ ِ‬
‫ﺍﻟﺠﻤ ﹺ‬

‫ﻑ‬
‫ﺏ ﺃﻥ ﻴﻌـﺭ ﹶ‬
‫ﺹ ﻭﺍﻟﻤﺘﻠﻘﹼﻲ‪ .‬ﻜﺫﻟﻙ ﻻ ﺒ ﱠﺩ ﻟﻠﻜﺎﺘـ ﹺ‬
‫ﺍﻷﻓﻜﺎﺭ؛ ﻭﺫﻟﻙ ﻟﻤﺎ ﻟﻬﺫﻩ ﺍﻟﻤﻭﺍﻀ ﹺﻊ ﻤﻥ ﺍﻷﺜ ﹺﺭ ﻓﻲ ﺍﻟﻨ ﱢ‬
‫ل ﻋﻠﻴﻬـﺎ‪ ،‬ﻓﻲ ﻨﺼﱢـﻪ؛ ﻓﻤﻭﻀـﻌُﻬﺎ‬
‫ﺕ ﻏﻴ ﹺﺭ ﺍﻟﺘﺭﻜﻴﺒﻴّـ ِﺔ‪ ،‬ﺒﻤﺎ ﻴﺩ ﱡ‬
‫ﻉ ﺍﻟﻔﻭﻨﻴﻤﺎ ِ‬
‫ﺏ‪ ،‬ﻹﻴﺩﺍ ﹺ‬
‫ﺍﻟﻤﻭﻀ َﻊ ﺍﻟﻤﻨﺎﺴ َ‬

‫ل‬
‫ل ﺫﻟﻙ ﻓﻲ ﺍﻟﻔﺼ ﹺ‬
‫ﻥﻜﱢ‬
‫ﺹ‪ ،‬ﻟﻪ ﺍﻟﺩﻭ ُﺭ ﺍﻷﻜﺒ ُﺭ ﻓﻲ ﺇﻅﻬﺎ ﹺﺭ ﻗﻴﻤﺘِﻬﺎ ﺍﻟﺼﻭﺘ ّﻴ ِﺔ ﻭﺍﻟﺩﻻﻟﻴّﺔ‪ .‬ﻭﺴﻴﺘ ﱡﻡ ﺒﻴﺎ ُ‬
‫ﻤﻥ ﺍﻟﻨ ﱢ‬

‫ﷲ ﺘﻌﺎﻟﻰ‪.‬‬
‫ﺍﻟﺜﺎﻨﻲ‪ ،‬ﺇﻥ ﺸﺎ َﺀ ﺍ ُ‬

‫ﻥ ﺘﻨﻅـﻴ ﹺﻡ ﻫـﺫﻩ‬
‫ﺕ ﺍﻟﻤﺘﻤﻴّـﺯﺓ‪ ،‬ﻭﺤﺴـ ﹺ‬
‫ﺹ‪ :‬ﺒﺎﻷﺼـﻭﺍ ِ‬
‫ﻲ ﻓـﻲ ﺍﻟﻨ ﱢ‬
‫ل ﺍﻟﺼﻭﺘ ﱡ‬
‫ﻕ ﺍﻟﺘﻜﺎﻤ ُ‬
‫ﺒﺫﻟﻙ ﻴﺘﺤﻘﹼ ﹸ‬

‫ل‬
‫ﻲ ﺍﻟﻼﹼﻓـﺕ‪ ،‬ﺍﻟﻤﻔﻌـ َﻡ ﺒﺎﻟـﺩﻻﻻﺕ‪)) .‬ﻭﻫـﺫﺍ ﺍﻟﺠﻤــﺎ ُ‬
‫ل ﺍﻹﻴﻘﺎﻋ ﱠ‬
‫ﻙ ﺍﻟﺠﻤﺎ َ‬
‫ل ﺫﺍ َ‬ ‫ﺍﻷﺼﻭﺍﺕ‪ ،‬ﺤﻴ ﹸ‬
‫ﺙ ﺘﺸﻜﹼ ُ‬

‫)‪(1‬‬
‫ﻕ ﻋﻠﻴﻪ ﻤﺤﻤﻭﺩ ﻤﺤﻤّﺩ ﺸﺎﻜﺭ‪ .‬ﺠـﺩّﺓ‪ :‬ﺩﺍﺭ‬
‫ﺍﻟﺠﺭﺠﺎﻨﻲ‪ ،‬ﺃﺒﻭ ﺒﻜﺭ ﻋﺒﺩ ﺍﻟﻘﺎﻫﺭ ﺒﻥ ﻋﺒﺩ ﺍﻟﺭّﺤﻤﻥ‪ :‬ﺃﺴـﺭﺍﺭ ﺍﻟﺒﻼﻏـﺔ‪ .‬ﻗﺭﺃﻩ ﻭﻋﹼﻠ ﹶ‬
‫ﺍﻟﻤﺩﻨﻲ‪) .‬ﺩ‪ .‬ﺕ(‪ .‬ﺹ‪.4‬‬
‫‪25‬‬
‫ل ﺍﻟﻘﺭﺁﻥ‪ ،‬ﻭﻟﻡ‬
‫ﻥ ﺍﻟﻌﺭﺒﻴّـ ﹸﺔ ﺃﻴّـﺎ َﻡ ﻨﺯﻭ ﹺ‬
‫ﺴﺘﹾﻪ ﺍﻵﺫﺍ ُ‬
‫ل ﺸـﻲ ٍﺀ ﺃﺤ ﱠ‬
‫ﻲ‪ ،‬ﻫـﻭ ﺃﻭّ ُ‬
‫ﻲ‪ ،‬ﺃﻭ ﺍﻟﻨﻅﺎ ُﻡ ﺍﻟﺘﻭﻗﻴﻌ ّ‬
‫ﺍﻟﺼﻭﺘ ﱡ‬

‫ﺘﻜـﻥْ ﻋﻬﺩﺕﹾ ﻤﺜﻠﹶﻪ ﻓﻴﻤﺎ ﻋﺭﻓﺕﹾ ﻤﻥ ﻤﻨﺜﻭ ﹺﺭ ﺍﻟﻜﻼﻡ‪.(1)((...‬‬

‫‪ .4.2‬ﺍﻟﻤﻘﺎﻁﻊ ﺍﻟﺼﻭﺘ ّﻴـﺔ )‪:(Syllables‬‬

‫ﻥ‬
‫ﻥ ﺒـﻴ َ‬
‫ﻥ ﻤﻨﻬﺎ ﺍﻟﻜﻠﻤ ﹸﺔ ﺍﻟﻌﺭﺒﻴّﺔ‪ ،‬ﻓﺈ ﱠ‬
‫ﺕ‪ ...‬ﻫﻲ ﺍﻟﻌﻨﺎﺼ ُﺭ ﺍﻟﺒﺴﻴﻁ ﹸﺔ ﺍﻟﺘـﻲ ﺘﺘﻜﻭّ ُ‬
‫))ﺇﺫﺍ ﻜﺎﻨﺕ ﺍﻷﺼﻭﺍ ﹸ‬

‫ﺕ ﺍﻟﻤﻔﺭ ِﺩ‪ ،‬ﻭﺍﻟﻜﻠﻤ ِﺔ ﺍﻟﻤﺭﻜﹼﺒـ ِﺔ ﻤﻥ ﻋـ ّﺩ ِﺓ ﺃﺼــﻭﺍﺕ‪ ،‬ﻤﺭﺤﻠـ ﹰﺔ ﻭﺴﻴﻁــ ﹰﺔ‪ ،‬ﻫـﻲ ﻤﺭﺤﻠـ ﹸﺔ‬
‫ﺍﻟﺼﻭ ِ‬

‫ﻥ‬ ‫ﺍﻟﻤﻘﻁﻊ(()‪ .(2‬ﻭﻴﻌﺭّ ﹸ‬

‫ﻑ ﺍﻟﻤﻘﻁ ُﻊ ﺒﺄ ﹼﻨـﻪ‪)) :‬ﻜﻤ ّﻴﺔﹲ ﻤﻥ ﺍﻷﺼﻭﺍﺕ‪ ،‬ﺘﺤﺘﻭﻱ ﻋﻠﻰ ﺤﺭﻜ ٍﺔ ﻭﺍﺤـﺩﺓ‪ ،‬ﻭﻴﻤﻜـ ُ‬

‫ﻉ ﺍﻟﺩﺭﺍﺴﺔ‪ ،‬ﻓﻔﻲ ﺍﻟﻌﺭﺒ ّﻴـ ِﺔ ﺍﻟﻔﺼـﺤﻰ‬

‫ﻑ ﻋﻠﻴﻬﺎ‪ ،‬ﻤﻥ ﻭﺠﻬ ِﺔ ﻨﻅ ﹺﺭ ﺍﻟﹼﻠﻐـ ِﺔ ﻤﻭﻀﻭ ﹺ‬
‫ﺍﻻﺒﺘﺩﺍ ُﺀ ﺒﻬﺎ‪ ،‬ﻭﺍﻟﻭﻗﻭ ﹸ‬

‫ﺕ‬
‫ﺕ ﻤـﻥ ﺍﻷﺼـﻭﺍ ِ‬
‫ل ﻤﻘﻁ ﹴﻊ ﻓﻴﻬﺎ ﺒﺼـﻭ ٍ‬
‫ﻼ‪ ،‬ﻻ ﻴﺠﻭ ُﺯ ﺍﻻﺒﺘـﺩﺍ ُﺀ ﺒﺤﺭﻜـﺔ؛ ﻭﻟﺫﻟـﻙ ﻴﺒـﺩُﺃ ﻜـ ﱡ‬
‫ﻤﺜ ﹰ‬

‫ﻉ ﻤﻥ ﺍﻟﻤﻘﺎﻁﻊ‪ ،‬ﻭﻫﻲ‪:‬‬ ‫ﺍﻟﺼﺎﻤﺘﺔ(()‪ .(3‬ﻭﺘﺸﺘﻤ ُ‬

‫ل ﺍﻟﻠﹼﻐ ﹸﺔ ﺍﻟﻌﺭﺒﻴّ ﹸﺔ‪ ،‬ﻋﻠﻰ ﺴ ﹼﺘ ِﺔ ﺃﻨﻭﺍ ﹴ‬

‫ﺕ ﻤﺘﻠ ﱟﻭ ﺒﺤﺭﻜ ٍﺔ ﻗﺼﻴﺭﺓ )‪) (Short Vowel‬ﺹ ‪ +‬ﺡ()‪.(4‬‬

‫ﻑ ﻤﻥ ﺼﺎﻤ ٍ‬
‫‪ -‬ﺍﻟﻤﻘﻁ ُﻊ ﺍﻟﻘﺼﻴﺭ‪ :‬ﻴﺘﺄﻟﹼ ﹸ‬

‫ل ﺍﻟﻤﺎﻀـﻲ‪ :‬ﹶﻜ ﹶﺘﺏَ‪.(5)ka + ta + ba :‬‬

‫ﻭﻤﻥ ﺃﻤﺜﻠﺘِﻪ‪ ،‬ﺍﻟﻤﻘﺎﻁ ُﻊ ﺍﻟﺜﻼﺜ ﹸﺔ ﺍﻟﻤﺘﻭﺍﻟﻴـ ﹸﺔ ﻓﻲ ﺍﻟﻔﻌ ﹺ‬

‫)‪(7‬‬
‫(‬ ‫ﺕ ﻤﺘﻠ ﱟﻭ ﺒﺤﺭﻜ ٍﺔ ﻁﻭﻴﻠـﺔ )‪Long Vowel‬‬ ‫ﻁ ﺍﻟﻤﻔﺘﻭﺡ)‪ :(6‬ﻴﺘﺄﹼﻟ ﹸ‬
‫ﻑ ﻤﻥ ﺼﺎﻤ ٍ‬ ‫‪ -‬ﺍﻟﻤﻘﻁ ُﻊ ﺍﻟﻤﺘﻭﺴّ ﹸ‬
‫ل ﻤﻥ ﺍﻟﻜﻠﻤ ِﺔ‪ :‬ﻜﺎﺘِـﺏْ‪.kaa + tib :‬‬
‫)ﺹ ‪ +‬ﺡ ﺡ(‪ .‬ﻭﻤﻥ ﺃﻤﺜﻠﺘِﻪ‪ ،‬ﺍﻟﻤﻘﻁ ُﻊ ﺍﻷﻭّ ُ‬

‫ﻥ ﺒﻴﻨﹶﻬﻤـﺎ ﺤﺭﻜــ ﹰﺔ ﻗﺼـﻴﺭﺓ‬

‫ﻥ ﻴﺤﺼـﺭﺍ ﹺ‬
‫ﻑ ﻤﻥ ﺼﺎﻤﺘﻴ ﹺ‬
‫ﻁ ﺍﻟﻤﻐﻠـﻕ‪ :‬ﻴﺘﺄﻟﹼـ ﹸ‬
‫‪ -‬ﺍﻟﻤﻘﻁ ُﻊ ﺍﻟﻤﺘﻭﺴّ ﹸ‬

‫ﻑ ﻤﻨﻪ ﺃﺩﺍ ﹸﺓ ﺍﻻﺴﺘﻔﻬﺎﻡ‪َ :‬ﻤﻥْ‪.man :‬‬

‫)ﺹ ‪ +‬ﺡ ‪ +‬ﺹ(‪ .‬ﻭﻤﻥ ﺃﻤﺜﻠﺘِﻪ‪ ،‬ﻫﺫﺍ ﺍﻟﻤﻘﻁ ُﻊ ﺍﻟﺫﻱ ﺘﺘﺄﻟﹼ ﹸ‬

‫)‪(1‬‬
‫ﺍﻟﺯﺭﻗﺎﻨﻲ‪ ،‬ﻤﺤﻤﺩ ﻋﺒﺩ ﺍﻟﻌﻅﻴﻡ‪ :‬ﻤﻨﺎﻫل ﺍﻟﻌﺭﻓﺎﻥ ﻓﻲ ﻋﻠﻭﻡ ﺍﻟﻘﺭﺁﻥ‪ .‬ﺍﻟﻘﺎﻫﺭﺓ‪ :‬ﺍﻟﻤﻁﺒﻌﺔ ﺍﻟﻔﻨﻴﺔ‪) .‬ﺩ‪ .‬ﺕ(‪.310 / 2 .‬‬
‫)‪(2‬‬
‫ﻲ ﻟﻠﺒﻨﻴﺔ ﺍﻟﻌﺭﺒﻴّﺔ‪ .‬ﺹ‪.38‬‬
‫ﺸﺎﻫﻴﻥ‪ ،‬ﻋﺒﺩ ﺍﻟﺼﺒﻭﺭ‪ :‬ﺍﻟﻤﻨﻬﺞ ﺍﻟﺼﻭﺘ ّ‬
‫)‪(3‬‬
‫ﻱ‪ .‬ﺹ‪.101‬‬
‫ﻋﺒﺩ ﺍﻟﺘﻭّﺍﺏ‪ ،‬ﺭﻤﻀﺎﻥ‪ :‬ﺍﻟﻤﺩﺨل ﺇﻟﻰ ﻋﻠﻡ ﺍﻟﻠﹼﻐﺔ ﻭﻤﻨﺎﻫﺞ ﺍﻟﺒﺤﺙ ﺍﻟﻠﹼﻐﻭ ّ‬
‫)‪(4‬‬
‫ﺹ‪ :‬ﺼﺎﻤﺕ‪ ،‬ﺡ‪ :‬ﺤﺭﻜﺔ‪ .‬ﻭﻴﻘﺎﺒﻠﻬﻤﺎ ﻓﻲ ﺍﻹﻨﺠﻠﻴﺯﻴّﺔ‪. C: Consonant, V: Vowel:‬‬
‫)‪(5‬‬
‫ل ﻋﻠﻴﻪ‪.‬‬
‫ﺕ ﻟﻐﻭﻱﱟ‪ ،‬ﺭﻤﺯٌ ﻴﺩ ّ‬
‫ل ﺼﻭ ٍ‬
‫ﺘﻌﺭﻑ ﻫﺫﻩ ﺍﻟﻜﺘﺎﺒﺔ ﺒﺎﻟﻜﺘﺎﺒﺔ ﺍﻟﺼﻭﺘﻴّﺔ‪ ،‬ﺤﻴﺙ ﻟﻜ ّ‬
‫)‪(6‬‬
‫ﻴﻘﺼﺩ ﺒﺎﻟﻤﻘﻁﻊ ﺍﻟﻤﻔﺘﻭﺡ )‪ ،(Open‬ﺍﻟﻤﻘﻁﻊ ﺍﻟﺫﻱ ﻴﻨﺘﻬﻲ ﺒﺤﺭﻜـﺔ‪ .‬ﺃﻤّﺎ ﺍﻟـﺫﻱ ﻴﻨﺘﻬﻲ ﺒﺼﺎﻤﺕ‪ ،‬ﻓﻴﻌﺭﻑ ﺒـﺎﻟﻤﻘﻁﻊ ﺍﻟﻤﻐﻠـﻕ‬
‫)‪ .(Closed‬ﺍﻨﻅﺭ‪ :‬ﺍﻟﻨﻭﺭﻱ‪ ،‬ﻤﺤﻤﺩ ﺠﻭﺍﺩ‪ :‬ﻋﻠﻡ ﺃﺼﻭﺍﺕ ﺍﻟﻌﺭﺒﻴﺔ‪ .‬ﺹ‪.241‬‬
‫)‪ (7‬ﻴﻁﻠﻕ ﻫﺫﺍ ﺍﻟﻤﺼﻁﻠﺢ‪ ،‬ﻋﻠﻰ ﺍﻟﺤﺭﻜـﺔ ﺍﻟﺘﻲ ﻴﻤﺘ ّﺩ ﻓﻴﻬـﺎ ﺇﺨـﺭﺍﺝ ﺍﻟﻨﻔﺱ ﺍﻤﺘـﺩﺍﺩًﺍ‪ ،‬ﻴﺼـﻴﺭ ﻤﻌــﻪ ﻤـﺩﻯ ﺍﻟﻨﻁـﻕ ﺒﻬـﺎ‬
‫)‪ ،(Duration‬ﻤﺴﺎﻭﻴًﺎ ﻟﻤﺩﻯ ﺍﻟﻨﻁﻕ ﺒﺤﺭﻜﺘﻴﻥ ﺒﺴﻴﻁﺘﻴﻥ ﺃﻭ ﻗﺼﻴﺭﺘﻴﻥ‪ ،‬ﻭﻗﺩ ﻴﺘﻌﺩّﻯ ﺫﻟﻙ‪ .‬ﺍﻨﻅﺭ‪ :‬ﻜﺎﻨﺘﻴﻨﻭ‪ ،‬ﺠﺎﻥ‪ :‬ﺩﺭﻭﺱ ﻓﻲ ﻋﻠﻡ‬
‫ﺃﺼﻭﺍﺕ ﺍﻟﻌﺭﺒﻴّﺔ‪ .‬ﺘﺭﺠﻤﺔ ﺼﺎﻟﺢ ﺍﻟﻘﺭﻤﺎﺩﻱ‪ .‬ﺘﻭﻨﺱ‪ :‬ﻤﺭﻜﺯ ﺍﻟﺩﺭﺍﺴﺎﺕ ﻭﺍﻟﺒﺤﻭﺙ ﺍﻻﻗﺘﺼﺎﺩﻴّﺔ ﻭﺍﻻﺠﺘﻤﺎﻋﻴّﺔ‪ .1966 .‬ﺹ‪.145‬‬
‫‪26‬‬
‫ﻥ ﺒﻴ ﹶﻨﻬﻤـﺎ ﺤﺭﻜـ ﹰﺔ ﻁﻭﻴﻠــﺔ‬
‫ﻥ ﻴﺤﺼﺭﺍ ﹺ‬
‫ﻑ ﻤـﻥ ﺼﺎﻤﺘﻴـ ﹺ‬
‫ل ﺍﻟﻤﻐﻠـﻕ‪ :‬ﻴﺘﺄﻟﹼ ﹸ‬
‫‪ -‬ﺍﻟﻤﻘﻁ ُﻊ ﺍﻟﻁﻭﻴـ ُ‬

‫ﻕ ﺒﻬﺎ‬
‫ﻑ ﻤﻨﻪ ﺍﻟﻜﻠﻤ ﹸﺔ )ﻤﺎلْ(‪ ،‬ﻓﻲ ﺤﺎﻟ ِﺔ ﺍﻟﻨﻁ ِ‬
‫)ﺹ ‪ +‬ﺡ ﺡ ‪ +‬ﺹ(‪ .‬ﻭﻤﻥ ﺃﻤﺜﻠﺘِﻪ‪ ،‬ﻫﺫﺍ ﺍﻟﻤﻘﻁ ُﻊ ﺍﻟﺫﻱ ﺘﺘﺄﻟﹼ ﹸ‬

‫ﺴﺎﻜﻨﺔ‪.maal:‬‬

‫ﺕ ﻤﺘﻠـ ﱟﻭ ﺒﺤﺭﻜـ ٍﺔ ﻗﺼـﻴﺭﺓ‪ ،‬ﻤﺘﻠـ ّﻭ ٍﺓ‪،‬‬

‫ﻑ ﻤﻥ ﺼﺎﻤ ٍ‬
‫ﺝ ﺍﻹﻏﻼﻕ‪ :‬ﻴﺘﺄﻟﹼ ﹸ‬
‫ل ﺍﻟﻤﺯﺩﻭ ُ‬
‫‪ -‬ﺍﻟﻤﻘﻁ ُﻊ ﺍﻟﻁﻭﻴ ُ‬

‫ﺒﺩﻭﺭﹺﻫﺎ‪ ،‬ﺒﺼﺎﻤﺘﻴﻥ )ﺹ ‪ +‬ﺡ ‪ +‬ﺹ ‪ +‬ﺹ(‪ .‬ﻭﻤﻥ ﺃﻤﺜﻠﺘِﻪ‪ ،‬ﻫﺫﺍ ﺍﻟﻤﻘﻁ ُﻊ ﺍﻟﺫﻱ ﺘﺘﺄﻟﹼ ﹸ‬
‫ﻑ ﻤﻨـﻪ ﺍﻟﻜﻠﻤـ ﹸﺔ‬

‫ﻕ ﺒﻬﺎ ﺴﺎﻜﻨﺔ‪.bint:‬‬
‫) ﹺﺒﻨﹾﺕﹾ(‪ ،‬ﻓﻲ ﺤﺎﻟ ِﺔ ﺍﻟﻨﻁ ِ‬

‫ﺕ ﻤﺘﻠ ﱟﻭ ﺒﺤﺭﻜ ٍﺔ ﻁﻭﻴﻠـﺔ‪ ،‬ﻤﺘﻠـ ّﻭ ٍﺓ‪،‬‬

‫ﻑ ﻤﻥ ﺼﺎﻤ ٍ‬
‫ﺝ ﺍﻹﻏﻼﻕ‪ :‬ﻴﺘﺄﻟﹼ ﹸ‬
‫ل ﺍﻟﻤﺯﺩﻭ ُ‬
‫‪ -‬ﺍﻟﻤﻘﻁ ُﻊ ﺍﻟﺒﺎﻟ ﹸﻎ ﺍﻟﻁﻭ ﹺ‬

‫ﺒﺩﻭﺭﹺﻫﺎ‪ ،‬ﺒﺼﺎﻤﺘﻴﻥ )ﺹ ‪ +‬ﺡ ﺡ ‪ +‬ﺹ ‪ +‬ﺹ(‪ .‬ﻭﻤﻥ ﺃﻤﺜﻠﺘِﻪ‪ ،‬ﻫـﺫﺍ ﺍﻟﻤﻘﻁ ُﻊ ﺍﻟـﺫﻱ ﺘﺘـﺄﻟﹼ ﹸ‬
‫ﻑ ﻤﻨـﻪ‬

‫ﻕ ﺒﻬﺎ ﺴﺎﻜﻨﺔ‪.(1) aall :‬‬

‫ل(‪ ،‬ﻓﻲ ﺤﺎﻟ ِﺔ ﺍﻟﻨﻁ ِ‬
‫ﺍﻟﻜﻠﻤ ﹸﺔ )ﻀﺎ ّ‬

‫ﻥ ﻋﻤﻠﻴ‪‬ـﺎ ﻤـﻥ‬
‫ﻱ‪ ،‬ﻴﺘﻜﻭّ ُ‬
‫ﻕ ﺍﻟﻠﹼﻐﻭ ﱡ‬
‫ﻭﻟﻠﻤﻘﺎﻁ ﹺﻊ ﺩﻭﺭُﻫﺎ ﺍﻟﻌﻅﻴ ُﻡ ﻓـﻲ ﺍﻟﻌﻤﻠﻴّـ ِﺔ ﺍﻟﻜﻼﻤﻴّـﺔ؛ ﻓﺎﻟﻤﻨﻁﻭ ﹸ‬

‫ﺕ ﻭﺍﻟﺤﺭﻜﺎﺕ‪ .‬ﻜﺫﻟﻙ ﻴﻌ ﱡﺩ ﺍﻟﻤﻘﻁ ُﻊ‪ ،‬ﺍﻟﻭﺤﺩ ﹶﺓ ﺍﻷﺴﺎﺴـ ّﻴ ﹶﺔ‬

‫ﺱ ﻤﻥ ﺴﻠﺴﻠ ٍﺔ ﺨﻁ ّﻴ ٍﺔ ﻤﻥ ﺍﻟﺼﻭﺍﻤ ِ‬
‫ﻤﻘﺎﻁﻊ‪ ،‬ﻭﻟﻴ َ‬

‫ﻤﻔﹾﺼِل)‪.(2‬‬
‫ﻭﺍﻟ َ‬ ‫ﺕ ﻏﻴ ﹺﺭ ﺍﻟﺘﺭﻜﻴﺒﻴّﺔ‪ ،‬ﻜﺎﻟﺘﻨﻐﻴ ﹺﻡ‬
‫ﺍﻟﺘﻲ ﺘﺘﺄﺜﹼ ُﺭ ﺒﺎﻟﻔﻭﻨﻴﻤﺎ ِ‬

‫ﻥ ﺍﻟﻜﺜﺭ ﹶﺓ ﺍﻟﻐﺎﻟﺒـ ﹶﺔ‬

‫ﻉ ﺍﻟﺜﻼﺜ ﹸﺔ ﺍﻷﻭﻟﻰ‪ ،‬ﻤﻥ ﺍﻟﻤﻘﺎﻁ ﹺﻊ ﺍﻟﻌﺭﺒ ّﻴ ِﺔ‪ ،‬ﻫﻲ ﺍﻟﺸﺎﺌﻌﺔ‪ ،‬ﻭﻫﻲ ﺍﻟﺘﻲ ﺘﻜﻭّ ُ‬
‫))ﻭﺍﻷﻨﻭﺍ ُ‬

‫ل ﻤﻭﺴـﻴﻘ ّﻴ ﹰﺔ‬
‫ل ﻨﻁﻘﹰﺎ‪ ،‬ﻭﺃﺠﻤ َ‬
‫ﻥ ﺫﻟﻙ ﻴﻌﻭ ُﺩ‪ ،‬ﺇﻟﻰ ﻜﻭﻨِﻬﺎ ﺃﺴﻬ َ‬
‫ﻙ ﻓ ـﻲ ﺃ ّ‬
‫ﻲ(()‪(3‬؛ ﻭﻻ ﺸـ ﱠ‬
‫ﻤﻥ ﺍﻟﻜﻼ ﹺﻡ ﺍﻟﻌﺭﺒـ ّ‬

‫ﻥ ﻤﻥ ﺍﻟﻤﻘﻁ ﹺﻊ‬ ‫ﺏ‪ ،‬ﻗﺩ ﺒﻨﻭﺍ ﻋﻠﻴﻬﺎ ﺃﺸﻌﺎﺭَﻫﻡ؛ ))ﻓﺎﻟﺸﻌ ُﺭ ﺍﻟﻌﺭﺒ ﱡ‬

‫ﻲ‪ ...‬ﻴﺘﻜﻭّ ُ‬ ‫ﻥ ﺍﻟﻌﺭ َ‬
‫ﻤﻥ ﻏﻴﺭﹺﻫﺎ؛ ﻟﺫﻟﻙ ﻨﺠ ُﺩ ﺃ ﱠ‬
‫ﺍﻟﻘﺼﻴ ﹺﺭ‪ ،‬ﻭﺍﻟﻤﻘﻁ ﹺﻊ ﺍﻟﻤﺘﻭﺴّﻁ(()‪.(4‬‬

‫)‪(1‬‬
‫ﺍﻟﻨﻭﺭﻱ‪ ،‬ﻤﺤﻤﺩ ﺠﻭﺍﺩ‪ :‬ﻋﻠﻡ ﺃﺼﻭﺍﺕ ﺍﻟﻌﺭﺒﻴﺔ‪ .‬ﺹ‪.239 ،238‬‬
‫)‪(2‬‬
‫ﺍﻟﻤﺭﺠﻊ ﻨﻔﺴﻪ‪ .‬ﺹ‪.249‬‬
‫)‪(3‬‬
‫ﺃﻨﻴﺱ‪ ،‬ﺇﺒﺭﺍﻫﻴﻡ‪ :‬ﺍﻷﺼﻭﺍﺕ ﺍﻟﻠﻐﻭﻴّﺔ‪ .‬ﺹ‪.154‬‬
‫)‪(4‬‬
‫ﻲ؛ ﺍﻨﻅﺭ‪:‬‬
‫ﺃﻨﻴﺱ‪ ،‬ﺇﺒﺭﺍﻫﻴﻡ‪ :‬ﻤﻭﺴﻴﻘﻰ ﺍﻟﺸﻌﺭ‪ .‬ﺹ‪ .147‬ﻭﻟﺘﻔﺼﻴل ﺍﻟﻘﻭل ﻓﻲ ﺍﻟﻤﻘﻁﻊ ﺍﻟﺼﻭﺘ ّ‬
‫ﻱ‪ .‬ﺹ‪.310 - 279‬‬
‫‪ -‬ﻋﻤﺭ‪ ،‬ﺃﺤﻤﺩ ﻤﺨﺘﺎﺭ‪ :‬ﺩﺭﺍﺴﺔ ﺍﻟﺼﻭﺕ ﺍﻟﻠﹼﻐﻭ ّ‬
‫‪ -‬ﺤﺴﺎﻥ‪ ،‬ﺘﻤﺎﻡ‪ :‬ﻤﻨﺎﻫﺞ ﺍﻟﺒﺤﺙ ﻓﻲ ﺍﻟﻠﹼﻐﺔ‪ .‬ﺹ‪.146 - 138‬‬
‫‪27‬‬
‫ﻅ ﻤﺎ ﻤﻘﺎﻁﻌُﻪ ﺴﻬﻠﺔﹲ ﻓﻲ ﺍﻟﻨﻁﻕ‪ ،‬ﻤﺭﺍﻋﻴًﺎ ﺒﺫﻟﻙ‬
‫ﺏ ﺍﻟﺫﻱ ﻴﺘﻭﺨﹼﻰ ﺠﻭﺩ ﹶﺓ ﻨﺼﱢﻪ‪ ،‬ﻴﺨﺘﺎ ُﺭ ﻤﻥ ﺍﻟﻠﹼﻔ ِ‬
‫ﻭﺍﻟﻜﺎﺘ ُ‬

‫ﻻ‪ ،‬ﺇﻟﻰ ﺍﻟﺠﺯ ِﺀ ﺍﻟﺫﻱ ﺤﺭﻜﺘﹸﻪ ﺇﻟﻴﻪ ﺃﺴﻬل(()‪ ،(1‬ﻭﻴﻨﻅﹼ ُﻡ ﺃﻟﻔﺎﻅﹶﻪ‪ ،‬ﺘﻨﻅﻴﻤًـﺎ‬ ‫ﻥ ﺍﻟﺫﻱ ))ﻴﺘﺤﺭّ ُ‬
‫ﻙ ﺃ ّﻭ ﹰ‬ ‫ﻓﻁﺭ ﹶﺓ ﺍﻟﻠﹼﺴﺎ ﹺ‬

‫ﻥ ﺫﻟﻙ ﻓﻲ ﻨﺜ ﹴﺭ‪ ،‬ﺃﻡ‬

‫ﺙ ﻤﻨﻪ‪ ،‬ﻤﻭﺴﻴﻘﻴّ ﹸﺔ ﻫﺫﺍ ﺍﻟﺘﺂﻟﻑ‪ ،‬ﺴﻭﺍﺀٌ ﺃﻜﺎ َ‬
‫ل ﺍﻟﺫﻱ ﺘﻨﺒﻌ ﹸ‬
‫ﻑ ﻤﻘﺎﻁﻌِﻬﺎ‪ ،‬ﺒﺎﻟﺸﻜ ﹺ‬
‫ﺢ ﺒﺘﺂﻟ ِ‬
‫ﻴﺴﻤ ُ‬
‫ﻅ ﻭﺘﻨﻅﻴﻤِﻬـﺎ؛ ﻭﺫﻟـﻙ‬
‫ﺝ ﺇﻟﻰ ﺘﺤﺩﻴ ٍﺩ ﺃﻜﺒ َﺭ‪ ،‬ﻻﺨﺘﻴﺎ ﹺﺭ ﺍﻷﻟﻔﺎ ِ‬
‫ﻲ‪ ،‬ﻴﺤﺘﺎ ُ‬
‫ﻥ ﺍﻟﺸﻌ َﺭ ﺍﻟﻌﺭﺒ ﱠ‬
‫ﻓﻲ ﺸﻌـﺭ‪ ،‬ﻏﻴ َﺭ ﺃ ّ‬

‫ل ﺍﻟﻤﺤﺩّﺩ ِﺓ ﺍﻟﻤﻘﺎﻁﻊ‪.‬‬
‫ﻟﺒﻨﺎ ِﺀ ﺍﻟﺘﻔﺎﻋﻴ ﹺ‬

‫ل ﺘﺅﺜﹼــ ُﺭ‬
‫ل ﻓـﻲ ﺨﻼﻟِﻬـﺎ‪ ،‬ﻋﻭﺍﻤـ َ‬
‫ﺹ ﺘﺤﻤ ُ‬
‫ﻥ ﺍﻟﻨﺼﻭ َ‬
‫ل‪ ،‬ﺇﻟﻰ ﺃ ﱠ‬
‫ﺹ ﻓﻲ ﻨﻬﺎﻴـ ِﺔ ﻫﺫﺍ ﺍﻟﻔﺼ ﹺ‬
‫ﻨﺨﻠ ُ‬
‫ل ﻤﺎ ﻫﻭ‬
‫ﺇﻴﺠﺎﺒًﺎ‪ ،‬ﺃﻭ ﺴﻠﺒًﺎ ﻓﻲ ﺃﺼﻭﺍﺘِـﻬﺎ؛ ﻤﺅﺜﹼﺭ ﹰﺓ ﺒﺫﻟﻙ ﻓـﻲ ﺠﻭﺩ ِﺓ ﻫﺫﻩ ﺍﻟﻨﺼﻭﺹ‪ .‬ﻭﻤﻥ ﻫﺫﻩ ﺍﻟﻌﻭﺍﻤ ﹺ‬

‫ﺱ‪،‬‬
‫ﺹ‪ :‬ﻜـﺎﻟﺠﻬ ﹺﺭ‪ ،‬ﻭﺍﻟﻬﻤـ ﹺ‬
‫ﻑ ﻤﻨﻬﺎ ﺍﻟﻨ ّ‬
‫ﺕ ﺍﻟﺘﻲ ﻴﺘﺄﻟﹼـ ﹸ‬
‫ﺢ ﺍﻟﺘﻤﻴﻴﺯ ّﻴ ِﺔ ﻟﻸﺼـﻭﺍ ِ‬
‫ل ﻓﻲ ﺍﻟﻤﻼﻤ ﹺ‬
‫ﻲ‪ ،‬ﻴﺘﻤﺜﹼ ُ‬
‫ﺩﺍﺨﻠ ﱞ‬

‫ل ﻓـﻲ‬
‫ﻲ‪ ،‬ﻴﺘﻤﺜﹼ ُ‬
‫ﻙ‪ ،‬ﻭﺍﻟﺘﱠﻜـﺭﺍﺭ‪ ،...‬ﻭﻤﻨﻬﺎ ﻤﺎ ﻫﻭ ﺨﺎﺭﺠ ﱞ‬
‫ﻕ‪ ،‬ﻭﺍﻻﻨﻔﺠـﺎ ﹺﺭ‪ ،‬ﻭﺍﻻﺤﺘﻜﺎ ِ‬
‫ﻭﺍﻟﺘﻔﺨﻴ ﹺﻡ‪ ،‬ﻭﺍﻟﺘﺭﻗﻴ ِ‬

‫ﺕ‪ ،‬ﻭﺍﻟﻤﻘـﺎﻁ ﹺﻊ ﺍﻟﺼـﻭﺘ ّﻴ ِﺔ‪،‬‬

‫ﺹ‪ ،‬ﻭﺍﺨﺘﻴـﺎ ﹺﺭ ﺍﻷﺼـﻭﺍ ِ‬
‫ﺕ ﻏﻴ ﹺﺭ ﺍﻟﺘﺭﻜﻴﺒ ّﻴ ِﺔ ﺍﻟﻤﺴﺘﺨﺩﻤ ِﺔ ﻓـﻲ ﺍﻟﻨ ّ‬
‫ﺍﻟﻔﻭﻨﻴﻤﺎ ِ‬

‫ﺹ؟‪ .‬ﻫـﺫﺍ‬
‫ل ﻓﻲ ﺠﻭﺩ ِﺓ ﺍﻟﻨ ّ‬
‫ﻑ ﺘﺅﺜﹼ ُﺭ ﻫﺫﻩ ﺍﻟﻌﻭﺍﻤ ُ‬
‫ﻅ ﻭﺘﻨﻅﻴﻤِﻬﺎ‪ .‬ﻟﻜﻥ‪ ،‬ﻜﻴ ﹶ‬
‫ﻭﺘﻨﻅﻴﻤِﻬﺎ‪ ،‬ﻭﺫﻟﻙ ﺒﺎﺨﺘﻴﺎ ﹺﺭ ﺍﻷﻟﻔﺎ ِ‬

‫ﷲ ﺘﻌﺎﻟﻰ‪.‬‬
‫ﻥﺍ ِ‬
‫ل ﺍﻟﺜﺎﻨﻲ‪ ،‬ﺒﺈﺫ ﹺ‬
‫ﺏ ﻋﻨﻪ ﺍﻟﻔﺼ ُ‬
‫ﻤﺎ ﺴﻴﺠﻴ ُ‬

‫)‪(1‬‬
‫ﺍﻟﻔﺎﺭﺍﺒﻲ‪ ،‬ﺃﺒﻭ ﻨﺼﺭ ﻤﺤﻤّﺩ ﺒﻥ ﻤﺤﻤّﺩ‪ :‬ﻜﺘﺎﺏ ﺍﻟﺤﺭﻭﻑ‪ .‬ﺘﺤﻘﻴﻕ ﻤﺤﺴﻥ ﻤﻬــﺩﻱ‪ .‬ﻁ‪ .2‬ﺒﻴـﺭﻭﺕ‪ :‬ﺩﺍﺭ ﺍﻟﻤﺸـﺭﻕ‪.1990 .‬‬
‫ﺹ‪.136‬‬
‫‪28‬‬
 ‫ﺍﻟﻔﺼ ُل ﺍﻟﺜﹼﺎﻨﻲ‬

‫ﻥ‪ :‬ﺍﻟﺩﺍﺨﻠ ّﻴ ِﺔ‬

‫ﻑ ﺍﻟﺼﻭﺘﻴّﻴ ﹺ‬
‫ﺃﺜ ُﺭ ﻋﻭﺍﻤ ﹺل ﺍﻟﻘ ّﻭ ِﺓ ﻭﺍﻟﻀﻌ ِ‬
‫ﺹ‪ ،‬ﻭﺍﻟﻤﺘﻠﻘﹼﻲ‬
‫ﻭﺍﻟﺨﺎﺭﺠ ّﻴ ِﺔ‪ ،‬ﻓﻲ ﺠﻭﺩ ِﺓ ﺍﻟﻨ ﱢ‬

‫‪29‬‬
 ‫ﺍﻟﻔﺼ ُل ﺍﻟﺜﹼﺎﻨﻲ‬

‫ﻥ‪ :‬ﺍﻟﺩﺍﺨﻠ ّﻴ ِﺔ ﻭﺍﻟﺨﺎﺭﺠ ّﻴﺔِ‪،‬‬

‫ﻑ ﺍﻟﺼﻭﺘﻴّﻴ ﹺ‬
‫ﺃﺜ ُﺭ ﻋﻭﺍﻤ ﹺل ﺍﻟﻘ ّﻭ ِﺓ ﻭﺍﻟﻀﻌ ِ‬

‫ﻓﻲ ﺠﻭﺩ ِﺓ ﺍﻟﻨﺹﱢ‪ ،‬ﻭﺍﻟﻤﺘﻠﻘﹼﻲ‬

‫ﺕ ﻤﺘﺒﺎﻴﻨﺔ‪ ،‬ﺒﺎﺩﺌ ﹰﺔ ﺒﺼُـﻐﹾﺭﺍﻫﺎ‬

‫ﻥ ﻤﻥ ﺃﺼﻭﺍ ٍ‬
‫ﺕ ﺘﻌﺒﻴﺭ ّﻴـ ﹰﺔ‪ ،‬ﺘﺘﻜﻭّ ُ‬
‫ﺇﺫﺍ ﻜﺎﻨﺕ ﺍﻟﻠﹼﻐ ﹸﺔ ﺍﻟﻤﻨﻁﻭﻗ ﹸﺔ‪ ،‬ﻤﻨﻅﻭﻤﺎ ٍ‬

‫ﻥ ﻫﻨـﺎﻙ ﻟﻐـﺔ‪،‬‬
‫ﺕ‪ ،‬ﺍﻟـﺫﻱ ﻟﻭﻻﻩ‪ ،‬ﻟﻤﺎ ﻜـﺎ َ‬
‫ﻥ ﻫﺫﻩ ﺍﻷﺼﻭﺍ ِ‬
‫ﻥ ﺘﺒﺎﻴ َ‬
‫ﺹ؛ ﻓﺈ ﱠ‬
‫ﺍﻟﻜﻠﻤ ِﺔ‪ ،‬ﻭﻤﻨﺘﻬﻴ ﹰﺔ ﺒ ﹸﻜﺒْﺭﺍﻫﺎ ﺍﻟﻨ ّ‬

‫ﻥ ﻟﻬـﺫﻩ‬
‫ل ﺍﻟﺩﺍﺨﻠﻴّﺔ‪ ،‬ﺒﺘﺴﻤﻴ ِﺔ ﻫﺫﺍ ﺍﻟﺒﺤﺙ‪ .‬ﻭﻤـﺎ ﻜـﺎ َ‬
‫ﻑ ﻤﻼﻤﺤِﻬﺎ ﺍﻟﺘﻤﻴﻴﺯﻴّﺔ‪ ،‬ﺃﻭ ﺍﻟﻌﻭﺍﻤ ﹺ‬
‫ﺤﺎﺼلٌ ﺒﺎﺨﺘﻼ ِ‬

‫ﻥ ﺍﻻﺨﺘﻴﺎ ﹺﺭ ﺍﻟﻭﺍﻋﻲ‪ ،‬ﻭﺍﻟﺘﻨﻅـﻴﻡ؛ ))ﻓﺎﻟﻠﹼﻐـ ﹸﺔ ﺠﻬـﺎﺯٌ ﻤﻬﻨـﺩﺱٌ‬

‫ﻥ ﻟﻐ ﹰﺔ‪ ،‬ﺩﻭ َ‬
‫ﺕ ﺍﻟﻤﺘﺒﺎﻴﻨ ِﺔ‪ ،‬ﺃﻥ ﺘﻜ ّﻭ َ‬
‫ﺍﻷﺼﻭﺍ ِ‬

‫ل ﺍﻟﺨﺎﺭﺠﻴّﺔ‪.‬‬ ‫ﺒﺈﺘﻘﺎﻥ‪ ،(1)((...‬ﻭﻫﺫﺍ ﻤﺎ ﺴﻤّﺎﻩ ﺍﻟﺒﺤ ﹸ‬

‫ﺙ ﺍﻟﻌﻭﺍﻤ َ‬

‫ﺹ ﻤﻥ ﺠﻬﺔ‪،‬‬
‫ل‪ ،‬ﻓـﻲ ﺍﻟﻨ ﱢ‬
‫ﻥ ﻤﻥ ﺍﻟﻌﻭﺍﻤ ﹺ‬
‫ﻥ ﺍﻟﻨﻭﻋﺎ ﹺ‬
‫ﻙ ﻤﻘﺩﺍ َﺭ ﺍﻷﺜ ﹺﺭ‪ ،‬ﺍﻟﺫﻱ ﻴﺤﺩﺜﹸﻪ ﻫﺫﺍ ﹺ‬
‫ﻤﻥ ﺫﻟﻙ‪ ،‬ﻨﺩﺭ ُ‬
‫ﺏ ﺭﺌﻴﺴـﺔ‪،‬‬
‫ل؛ ﻟﺩﺭﺍﺴـ ِﺔ ﻫﺫﺍ ﺍﻷﺜ ﹺﺭ‪ ،‬ﻤﻥ ﺃﺭﺒﻌ ِﺔ ﺠﻭﺍﻨـ َ‬
‫ﻭﺍﻟﻤﺘﻠﻘﹼﻲ ﻤﻥ ﺠﻬ ٍﺔ ﺃﺨﺭﻯ‪ .‬ﻭﻴﺄﺘﻲ ﻫﺫﺍ ﺍﻟﻔﺼ ُ‬

‫ﻲ‪.‬‬ ‫ﻲ‪ ،‬ﻭﺍﻟﺠﺎﻨ ُ‬

‫ﺏ ﺍﻟﺩﻻﻟ ّ‬ ‫ﺏ ﺍﻟﻤﻭﺴﻴﻘ ﱡ‬
‫ﻲ‪ ،‬ﻭﺍﻟﺠﺎﻨ ُ‬
‫ﺏ ﺍﻟﺴﻤﻌ ﱡ‬
‫ﻲ‪ ،‬ﻭﺍﻟﺠﺎﻨ ُ‬
‫ﺏ ﺍﻟﻨﻁﻘ ﱡ‬
‫ﻭﻫﻲ‪ :‬ﺍﻟﺠﺎﻨ ُ‬

‫ﻲ‬
‫‪ .1‬ﺍﻷﺜ ُﺭ ﺍﻟﻨﻁﻘ ّ‬

‫ﻱ ﻤﻥ ﻏﻴﺭﹺﻩ‪ ،‬ﺇﻴﺠﺎﺒًﺎ‪ ،‬ﺃﻭ ﺴﻠﺒًﺎ‪ :‬ﺍﻟﺠﻬ ُﺩ‬

‫ﺕ ﺍﻟﻠﹼﻐﻭ ﱢ‬
‫ﻑ ﻋﻠﻴﻬﺎ‪ ،‬ﺘﻤﻴّ ُﺯ ﺍﻟﺼﻭ ِ‬
‫ل ﺍﻟﺘﻲ ﻴﺘﻭﻗﹼ ﹸ‬
‫ﻤﻥ ﺃﻫ ﱢﻡ ﺍﻟﻌﻭﺍﻤ ﹺ‬

‫ل ﺠﻬﺩًﺍ ﺒﺎﻷﻓﻀﻠﻴّﺔ‪ .‬ﻭﻴﺤـﺩّ ُﺩ ﻫـﺫﺍ‬

‫ﺕ ﺍﻷﻗ ﱡ‬
‫ﻲ ﻹﻨﺘﺎﺠﹺﻪ؛ ﻓﻌﺎﺩ ﹰﺓ‪ ،‬ﻴﺴﺘﺄﺜ ُﺭ ﺍﻟﺼﻭ ﹸ‬
‫ﺍﻟﺫﻱ ﻴﺒﺫﻟﹸﻪ ﺍﻟﺠﻬﺎ ُﺯ ﺍﻟﻨﻁﻘ ﱡ‬

‫ﻑ ﺫﻟـﻙ‪ ،‬ﻋﻠـﻰ ﻁﺒﻴﻌـ ِﺔ‬

‫ل ﻤﻨﻬﺎ؛ ﻓﻴﺘﻭﻗﹼ ﹸ‬
‫ﺢ ﺍﻟﺘﻤﻴﻴﺯ ّﻴ ﹸﺔ‪ ،‬ﺍﻟﺘﻲ ﻴﺘﺸﻜﹼ ُ‬
‫ﻱ‪ ،‬ﺍﻟﻤﻼﻤ ُ‬
‫ﺕ ﺍﻟﻠﹼﻐﻭ ّ‬
‫ل ﻓﻲ ﺍﻟﺼﻭ ِ‬
‫ﺍﻟﻌﺎﻤ َ‬

‫ﺢ ﺍﻟﻤﺘﻭﺍﻓﺭ ِﺓ ﻓﻲ ﺍﻟﺼﻭﺕ‪ ،‬ﻤﻥ ﻨﺎﺤﻴ ِﺔ ﺍﻟﺠﻬ ِﺩ ﺍﻟﻤﺒﺫﻭل‪.‬‬

‫ﺍﻟﻤﻼﻤ ﹺ‬

‫ﺱ ﻤـﻥ ﺠﻬـﺔ‪،‬‬
‫ﻑ ﻋﻠﻴﻬﺎ ﻤﻘﺩﺍ ُﺭ ﻫﺫﺍ ﺍﻟﺠﻬﺩ‪ ،‬ﻓﻬﻲ‪ :‬ﺍﻟﺠﻬ ُﺭ ﻭﺍﻟﻬﻤـ ُ‬
‫ﺢ‪ ،‬ﺍﻟﺘﻲ ﻴﺘﻭﻗﹼ ﹸ‬
‫ﺃﻤّﺎ ﺃﻫ ﱡﻡ ﺍﻟﻤﻼﻤ ﹺ‬

‫ﺹ ﺍﻟﺩﻜﺘﻭ ُﺭ ﻤﺤﻤﻭﺩ ﺍﻟﺴﻌﺭﺍﻥ‪ ،‬ﻋﻠﻰ‬

‫ﺱ‪ ،‬ﻓﻴﻨ ﱡ‬
‫ﻙ ﻤﻥ ﺠﻬ ٍﺔ ﺃﺨﺭﻯ‪ .‬ﺃﻤّﺎ ﺍﻟﺠﻬ ُﺭ ﻭﺍﻟﻬﻤ ُ‬
‫ﻭﺍﻻﻨﻔﺠﺎ ُﺭ ﻭﺍﻻﺤﺘﻜﺎ ُ‬
‫ﻕ‬
‫ﻱ‪ ،‬ﺃﻗﻭﻯ ﻤﻥ ﺍﻟﺫﻱ ﻴﺴﺘﺩﻋﻴﻪ ﻨﻁ ﹸ‬
‫ﺝ ﻋﺎﺩ ﹰﺓ ﺇﻟـﻰ ﺠﻬـ ٍﺩ ﻋﻀﻭ ﱟ‬
‫ﺕ ﺍﻟﻤﻬﻤﻭﺴﺔ‪ ،‬ﻴﺤﺘﺎ ُ‬
‫ﻕ ﺍﻟﺼﻭﺍﻤ ِ‬
‫ﻥ ﻨﻁ ﹶ‬
‫))ﺃ ﱠ‬

‫)‪(1‬‬
‫ﻜﻭﺭﺒﺎﻟﻴﺱ‪ ،‬ﻤﺎﻴﻜل‪ :‬ﻓﻲ ﻨﺸﺄﺓ ﺍﻟﻠﹼﻐﺔ‪ ،‬ﻤﻥ ﺇﺸـﺎﺭﺓ ﺍﻟﻴﺩ ﺇﻟﻰ ﻨﻁﻕ ﺍﻟﻔﻡ‪ .‬ﺘﺭﺠﻤﺔ ﻤﺤﻤﻭﺩ ﻤﺎﺠﺩ ﻋﻤـﺭ‪ .‬ﺍﻟﻜﻭﻴـﺕ‪ :‬ﺍﻟﻤﺠﻠـﺱ‬
‫ﻲ ﻟﻠﺜﻘﺎﻓﺔ ﻭﺍﻟﻔﻨﻭﻥ ﻭﺍﻵﺩﺍﺏ‪ .‬ﻤﺎﺭﺱ‪ .2006 ،‬ﺹ‪.15‬‬
‫ﺍﻟﻭﻁﻨ ّ‬
‫‪30‬‬
‫ﻑ ﺍﻟﻤﻬﻤﻭﺴ ﹶﺔ‪،‬‬
‫ﻥ ))ﺍﻷﺤﺭ ﹶ‬
‫ﺹ ﺍﻟﺩﻜﺘﻭ ُﺭ ﺇﺒﺭﺍﻫﻴﻡ ﺃﻨﻴﺱ ﺒﻘﻭﻟِﻪ‪ :‬ﺇ ﱠ‬
‫ﺕ ﺍﻟﻤﺠﻬﻭﺭﺓ(()‪ .(1‬ﻭﻋﻠﻰ ﺫﻟﻙ ﻴﻨ ﱡ‬
‫ﺍﻟﺼﻭﺍﻤ ِ‬

‫ﻑ‬
‫ﻕ ﺒﻬﺎ ﺇﻟﻰ ﻗﺩ ﹴﺭ ﺃﻜﺒ َﺭ ﻤﻥ ﻫﻭﺍ ِﺀ ﺍﻟﺭﺌﺘﻴﻥ‪ ،‬ﻤﻤّﺎ ﺘﺘﻁﹼﻠﺒُﻪ ﻨﻅﺎﺌﺭُﻫـﺎ ﺍﻟﻤﺠﻬـﻭﺭﺓ؛ ﻓـﺎﻷﺤﺭ ﹸ‬
‫ﺝ ﻟﻠﻨﻁ ِ‬
‫ﺘﺤﺘﺎ ُ‬

‫ﺱ ﺍﻟﻜــﻼ ﹺﻡ‬
‫ﻥ ﺨﻤ َ‬
‫ﻉ ﻓـﻲ ﺍﻟﻜـﻼﻡ؛ ﻷ ﱠ‬
‫ﻅ‪ ،‬ﻨﺭﺍﻫﺎ ﻗﻠﻴﻠ ﹶﺔ ﺍﻟﺸﻴﻭ ﹺ‬
‫ﻥ ﺍﻟﺤ ﱢ‬
‫ﺍﻟﻤﻬﻤﻭﺴ ﹸﺔ ﻤﺠﻬﺩﺓﹲ ﻟﻠﺘﻨﻔﹼﺱ‪ .‬ﻭﻟﺤﺴ ﹺ‬
‫ﻑ ﻤﻬﻤﻭﺴﺔ‪ ،‬ﻭﺒﺎﻗﻲ ﺍﻟﻜﻼ ﹺﻡ ﺃﺤﺭﻑﹲ ﻤﺠﻬـﻭﺭﺓ(()‪.(2‬‬
‫ﻥ ﻋـﺎﺩ ﹰﺓ ﻤﻥ ﺃﺤﺭ ٍ‬
‫ﻴﺘﻜﻭّ ُ‬

‫ﺕ ﺍﻟﺸـﺩﻴﺩ ﹶﺓ‬ ‫ﺹ ﺍﻟﺩﻜﺘﻭ ُﺭ ﺇﺒﺭﺍﻫﻴﻡ ﺃﻨﻴﺱ‪ ،‬ﻋﻠــﻰ ))ﺃ ﱠ‬

‫ﻥ ﺍﻷﺼـﻭﺍ ﹶ‬ ‫ﻙ‪ ،‬ﻓﻴﻨ ﱡ‬
‫ﻭﺃﻤّﺎ ﺍﻻﻨﻔﺠﺎ ُﺭ ﻭﺍﻻﺤﺘﻜﺎ ُ‬

‫ل ﻤﻥ ﻨﻅﺎﺌﺭﹺﻫﺎ ﺍﻟﺭّﺨﻭﺓ ]ﺍﻻﺤﺘﻜﺎﻜﻴّﺔ[(()‪.(3‬‬

‫ﻲ‪ ،‬ﺃﻗ ﱠ‬
‫ﺝ ﺇﻟﻰ ﺠﻬ ٍﺩ ﻋﻀﻠ ﱟ‬
‫]ﺍﻻﻨﻔﺠﺎﺭﻴّﺔ[‪ ،‬ﺘﺤﺘﺎ ُ‬

‫ﻕ ﻤﻥ ﻨﻅﺎﺌﺭﹺﻫﺎ‪ ،‬ﺍﻟﺘﻲ‬
‫ﻑ ﺃﻗﺼﻰ ﺍﻟﺤﻨﻙ‪ ،‬ﺃﺸ ﱡ‬
‫ﻥ ﺃﺤﺭ ﹶ‬
‫ﺕ ﺍﻟﻠﹼﻐﻭﻴّﺔ‪ ،‬ﺃ ﱠ‬
‫))ﻜﺫﻟﻙ‪ ،‬ﻤﻤّﺎ ﻴﻘ ّﺭﺭُﻩ ﻋﻠ ُﻡ ﺍﻷﺼﻭﺍ ِ‬

‫ﺝ ﺇﻟـﻰ‬
‫ﺕ ﺍﻟﻤﻔﺨﹼﻤ ﹶﺔ‪ ،‬ﺘﺤﺘـﺎ ُ‬ ‫ﻑ ﺇﺫﺍ ﻗﻭﺭﻨﺕ ﺒﺎﻟﺘﺎﺀ(()‪(4‬؛ ﻭﺃ ﱠ‬
‫ﻥ ﺍﻷﺼﻭﺍ ﹶ‬ ‫ﻑ ﺍﻟﻠﹼﺴﺎﻥ‪ ،‬ﻤﺜل‪ :‬ﺍﻟﻜﺎ ِ‬
‫ﻤﺨﺭﺠُﻬﺎ ﻁﺭ ﹸ‬

‫ﺝ ﺇﻟﻴﻪ ﻨﻅﺎﺌﺭُﻫﺎ ﻏﻴ ُﺭ ﺍﻟﻤﻔﺨﹼﻤﺔ)‪.(5‬‬

‫ﻲ ﺯﺍﺌـ ٍﺩ‪ ،‬ﻋﻠﻰ ﺍﻟﺠﻬ ِﺩ ﺍﻟﺫﻱ ﺘﺤﺘﺎ ُ‬
‫ﺠﻬ ٍﺩ ﻋﻀﻠ ﱟ‬

‫ل ﺍﻟﺩﻜﺘﻭ ُﺭ ﺴﻠﻤﺎﻥ ﺍﻟﻌﺎﻨﻲ‪ ،‬ﺃﻜﺒـ َﺭ ﻤـﻥ ﻁﺎﻗـ ِﺔ‬

‫ﺕ ﺍﻟﻔﻴﺯﻴﺎﺌ ّﻴ ﹸﺔ‪ ،‬ﻜﻤﺎ ﻴﻘﻭ ُ‬
‫ﻭﺇﺫﺍ ﻜﺎﻨﺕ ﻁﺎﻗ ﹸﺔ ﺍﻟﺤﺭﻜﺎ ِ‬

‫ﺝ ﺍﻟﺼـﻭﺍﻤﺕ؛‬
‫ل ﻹﻨﺘـﺎ ﹺ‬
‫ﺕ‪ ،‬ﺃﻜﺒ ُﺭ ﻤﻥ ﺍﻟﺠﻬ ِﺩ ﺍﻟﻤﺒﺫﻭ ﹺ‬
‫ﺝ ﺍﻟﺤﺭﻜﺎ ِ‬
‫ل ﻹﻨﺘﺎ ﹺ‬
‫ﻥ ﺍﻟﺠﻬ َﺩ ﺍﻟﻤﺒﺫﻭ َ‬
‫ﺍﻟﺼﻭﺍﻤﺕ)‪(6‬؛ ﻓﺈ ﱠ‬

‫ل ﻤﻥ ﺠﻬ ٍﺩ ﻹﻨﺘﺎﺠﹺﻪ‪.‬‬
‫ﺕ ﺍﻟﻔﻴﺯﻴﺎﺌ ّﻴ ﹸﺔ‪ ،‬ﺘﺄﺘﻲ ﻋﻠﻰ ﻗﺩْ ﹺﺭ ﻤﺎ ﻴﺒﺫ ُ‬
‫ﻓﻁﺎﻗ ﹸﺔ ﺍﻟﺼﻭ ِ‬

‫ﻥ ﻓﻲ ﻨﻁﻘِـﻪ‬
‫ﻥ ﺍﻹﻨﺴﺎ َ‬
‫ﻥ ﺃﺼﻭﺍﺘﹸﻪ؛ ﻤﺭﺍﻋﻴًﺎ ﺒﺫﻟﻙ ))ﺃ ّ‬
‫ﺹ ﺍﻟﺠﻴّ ُﺩ‪ ،‬ﻫﻭ ﺫﻟﻙ ﺍﻟﺫﻱ ﻻ ﺘﺠﻬ ُﺩ ﺍﻟﻠﹼﺴﺎ َ‬
‫ﻭﺍﻟﻨ ﱡ‬

‫ﺹ‪ ،‬ﻤﻥ ﻫـﺫﻩ‬

‫ﻕ ﺴﻼﺴ ﹸﺔ ﺍﻟﻨ ﱢ‬
‫ﻲ‪ .(7)((...‬ﻭﺘﺘﺤﻘﹼ ﹸ‬
‫ل ﺇﻟﻰ ﺍﻻﻗﺘﺼﺎ ِﺩ ﻓﻲ ﺍﻟﻤﺠﻬﻭ ِﺩ ﺍﻟﻌﻀﻠ ّ‬
‫ﺕ ﻟﻐﺘِﻪ‪ ،‬ﻴﻤﻴ ُ‬
‫ﻷﺼﻭﺍ ِ‬

‫ﺏ‪ ،‬ﻋﻠـﻰ ﻭﺠـ ٍﻪ‬

‫ﻕ ﻤﻥ ﺠﻬﺔ‪ ،‬ﻭﺘﻨﻅﻴﻤِﻬﺎ ﻓﻲ ﺍﻟﺘﺭﺍﻜﻴ ﹺ‬
‫ﻅ ﺍﻟﺴﻬﻠ ِﺔ ﺍﻟﻨﻁ ِ‬
‫ل ﺍﺨﺘﻴﺎ ﹺﺭ ﺍﻷﻟﻔﺎ ِ‬
‫ﺍﻟﻨﺎﺤﻴﺔ‪ ،‬ﻤﻥ ﺨﻼ ﹺ‬
‫ﻕ‪ ،‬ﻤﻥ ﺠﻬ ٍﺔ ﺃﺨﺭﻯ‪.‬‬
‫ﻅ ﻋﻠﻰ ﺴﻬﻭﻟ ِﺔ ﺍﻟﻨﻁ ِ‬
‫ﻴﺤﺎﻓ ﹸ‬

‫)‪(1‬‬
‫ﻲ‪ .‬ﺹ‪.152‬‬
‫ﺍﻟﺴﻌﺭﺍﻥ‪ ،‬ﻤﺤﻤﻭﺩ‪ :‬ﻋﻠﻡ ﺍﻟﻠﹼﻐﺔ ﻤﻘﺩّﻤﺔ ﻟﻠﻘﺎﺭﺉ ﺍﻟﻌﺭﺒ ّ‬
‫)‪(2‬‬
‫ﺃﻨﻴﺱ‪ ،‬ﺇﺒﺭﺍﻫﻴﻡ‪ :‬ﻤﻭﺴﻴﻘﻰ ﺍﻟﺸﻌﺭ‪ .‬ﺹ‪.30‬‬
‫)‪(3‬‬
‫ﺃﻨﻴﺱ‪ ،‬ﺇﺒﺭﺍﻫﻴﻡ‪ :‬ﻓﻲ ﺍﻟﻠﻬﺠـﺎﺕ ﺍﻟﻌﺭﺒﻴّـﺔ‪ .‬ﻁ‪ .3‬ﺍﻟﻘﺎﻫﺭﺓ‪ :‬ﻤﻜﺘﺒﺔ ﺍﻷﻨﺠﻠﻭ ﺍﻟﻤﺼﺭﻴّﺔ‪ .2003 .‬ﺹ‪.89‬‬
‫)‪(4‬‬
‫ﺃﻨﻴﺱ‪ ،‬ﺇﺒﺭﺍﻫﻴﻡ‪ :‬ﻤﻭﺴﻴﻘﻰ ﺍﻟﺸﻌﺭ‪ .‬ﺹ‪.30‬‬
‫)‪(5‬‬
‫ﺇﺴﺘﻴﺘﻴﺔ‪ ،‬ﺴﻤﻴﺭ ﺸﺭﻴﻑ‪ :‬ﺍﻷﺼﻭﺍﺕ ﺍﻟﻠﹼﻐﻭﻴّﺔ‪ :‬ﺭﺅﻴﺔ ﻋﻀﻭﻴّﺔ ﻭﻨﻁﻘﻴّﺔ ﻭﻓﻴﺯﻴﺎﺌﻴّﺔ‪ .‬ﻁ‪ .1‬ﻋﻤّﺎﻥ‪ :‬ﺩﺍﺭ ﻭﺍﺌل‪ .2003 .‬ﺹ‪.174‬‬
‫)‪(6‬‬
‫ﻲ ﻓﻲ ﺍﻟﻠﹼﻐﺔ ﺍﻟﻌﺭﺒﻴّﺔ‪ .‬ﺹ‪.50‬‬
‫ﺍﻟﻌﺎﻨﻲ‪ ،‬ﺴﻠﻤﺎﻥ ﺤﺴﻥ‪ :‬ﺍﻟﺘﺸﻜﻴل ﺍﻟﺼﻭﺘ ّ‬
‫)‪(7‬‬
‫ﺃﻨﻴﺱ‪ ،‬ﺇﺒﺭﺍﻫﻴﻡ‪ :‬ﺍﻷﺼﻭﺍﺕ ﺍﻟﻠﻐﻭﻴّﺔ‪ .‬ﺹ‪ .217‬ﻭﻫﺫﺍ ﻤﺎ ﻴﻌﺭﻑ ﻓﻲ ﻋﻠﻡ ﺍﻷﺼﻭﺍﺕ‪ ،‬ﺒﻨﻅﺭﻴّﺔ ﺍﻟﺴﻬﻭﻟﺔ‪.‬‬
‫‪31‬‬
‫ل ﺍﻟﺩﻜﺘﻭ ُﺭ ﺇﺒـﺭﺍﻫﻴﻡ ﺃﻨـﻴﺱ‪ ،‬ﺒﻌـ ّﺩ ِﺓ‬
‫ﻕ‪ ،‬ﻜﻤﺎ ﻴﻘﻭ ُ‬
‫ﻕ ﺒﺎﻟﻜﻠﻤـ ِﺔ ﺍﻟﻌﺭﺒ ّﻴـﺔ‪ ،‬ﻓﺘﺘﺤﻘﹼ ﹸ‬
‫ﺃﻤّﺎ ﺴﻬﻭﻟ ﹸﺔ ﺍﻟﻨﻁ ِ‬

‫ﻁ‪ ،‬ﻭﻫﻲ‪:‬‬
‫ﻀﻭﺍﺒ ﹶ‬

‫ﺕ‬
‫ﻑ‪ ،‬ﻭﺃﺼــﻭﺍ ﹸ‬
‫ﻕ‪ ،‬ﻭﺃﻫﻤﱡﻬـﺎ‪ :‬ﺍﻟﻬﻤـﺯ ﹸﺓ‪ ،‬ﻭﺍﻟﻘــﺎ ﹸ‬
‫ﺕ ﺍﻟﺼﻌﺒ ِﺔ ﺍﻟﻨﻁـ ِ‬
‫‪ -‬ﺨﻠﻭﱡﻫﺎ ﻤﻥ ﺍﻷﺼـﻭﺍ ِ‬
‫ﺕ ﻤـﻥ ﻫـﺫﻩ‬
‫ﻥ ﺃﻜﺜ َﺭ ﻤـﻥ ﺼـﻭ ٍ‬
‫ﺍﻹﻁﺒﺎﻕ‪ :‬ﺍﻟﻀﺎ ُﺩ‪ ،‬ﻭﺍﻟﻁﺎ ُﺀ‪ ،‬ﻭﺍﻟﻅﺎ ُﺀ‪ ،‬ﻭﺍﻟﺼﺎﺩ؛ ﻓﺎﻟﻜﻠﻤ ﹸﺔ ﺍﻟﺘﻲ ﺘﺘﻀﻤّ ُ‬

‫ﺍﻷﺼﻭﺍﺕ‪ ،‬ﻭﻟﻭ ﻟﻡ ﻴﺘﺠﺎﻭﺭﺍ‪ ،‬ﺘﻌ ﱡﺩ ﻤﻥ ﺍﻟﻜﻠﻤﺎ ِ‬

‫ﺕ ﺍﻟﻌﺴﺭ ِﺓ ﺍﻟﻨﻁﻕ‪.‬‬

‫ﺕ ﺍﻟﻤﺘﻘﺎﺭﺒ ِﺔ ﺍﻟﻤﺨﺭﺝ‪ ،‬ﺃﻭ‬

‫ﺕ‪ ،‬ﺍﻟﺫﻱ ﻴﻌﺯﻯ ﺴﺒﺒُﻪ‪ ،‬ﺇﻟﻰ ﺘﻼﻗﻲ ﺍﻷﺼﻭﺍ ِ‬
‫‪ -‬ﺨﻠﻭﱡﻫﺎ ﻤﻥ ﺘﻨﺎﻓ ﹺﺭ ﺍﻷﺼﻭﺍ ِ‬

‫ﺕ‪ :‬ﺍﻟﻼ ﹺﻡ‪ ،‬ﻭﺍﻟـﺭّﺍ ِﺀ‪،‬‬

‫ﻕ‪ :‬ﺍﻟﺤﺎ ِﺀ ﻭﺍﻟﻌﻴﻥ؛ ﻭﺍﻟﺘﻘﺎ ِﺀ ﺼﻭﺘﻴﻥ ﻤﻥ ﺍﻷﺼﻭﺍ ِ‬
‫ﺍﻟﺼﻔ ِﺔ ﻓﻴﻬﺎ‪ ،‬ﻜﺎﻟﺘﻘﺎ ِﺀ ﺼﻭﺘﻲ ﺍﻟﺤﻠ ِ‬

‫ﻥ ﻭﺍﻟﺯﺍﻱ؛ ﻭﻏﻴ ﹺﺭ ﺫﻟﻙ‪.‬‬

‫ﺕ ﺍﻟﺼﻔﻴﺭ‪ ،‬ﻜﺎﻟﺴﻴ ﹺ‬
‫ﻭﺍﻟﻨﻭﻥ؛ ﻭﺍﻟﺘﻘﺎ ِﺀ ﺼﻭﺘﻴﻥ ﻤﻥ ﺃﺼﻭﺍ ِ‬

‫ﻥ ﺃﻥ ﺘﻌ ﱠﺩ ﺒﻭﺠ ٍﻪ‬
‫ﺕ ﺍﻟﻜﺜﻴﺭ ِﺓ ﺍﻟﺤﺭﻭﻑ‪ ،‬ﻴﻤﻜ ُ‬
‫ﻥ ﺍﻟﻜﻠﻤ ﹸﺔ ﻜﺜﻴﺭ ﹶﺓ ﺍﻟﺤﺭﻭﻑ؛ ﻓﺠﻤﻴ ُﻊ ﺍﻟﻜﻠﻤﺎ ِ‬
‫‪ -‬ﺃﻥْ ﻻ ﺘﻜﻭ َ‬
‫ﺕ‬
‫ﺏ ﺠﻬﺩًﺍ ﻋﻀﻠﻴ‪‬ﺎ ﺃﻜﺒﺭ‪ .‬ﻭﺍﻟﻜﺜﺭ ﹸﺓ ﺍﻟﻐﺎﻟﺒ ﹸﺔ ﻤـﻥ ﻜﻠﻤـﺎ ِ‬
‫ﺕ ﺍﻟﺼﻌﺒ ِﺔ ﺍﻟﻨﻁﻕ؛ ﻷﻨﹼﻬﺎ ﺘﺘﻁﻠﹼ ُ‬
‫ﻋﺎ ّﻡ‪ ،‬ﻤﻥ ﺍﻟﻜﻠﻤﺎ ِ‬

‫ﺕ‪ ،‬ﻜﻠﹼﻤﺎ ﺯﺍﺩﺕ ﺤﺭﻭﻓﹸﻬﺎ ﻋﻠﻰ ﻫﺫﺍ‪،‬‬

‫ل ﻋﺩ ُﺩ ﺍﻟﻜﻠﻤﺎ ِ‬
‫ﺍﻟﻠﹼﻐ ِﺔ ﺍﻟﻌﺭﺒﻴّﺔ‪ ،‬ﻻ ﺘﻜﺎ ُﺩ ﺘﺯﻴ ُﺩ ﻋﻠﻰ ﺃﺭﺒﻌ ِﺔ ﺃﺤﺭﻑ‪ ،‬ﻭﻴﻘ ﱡ‬

‫ﻑ ﻓﻲ ﺍﻷﻓﻌﺎل‪ ،‬ﻭﺴﺒﻌ ٍﺔ ﻓﻲ ﺍﻷﺴﻤﺎﺀ‪.‬‬

‫ل ﺇﻟﻰ ﺴ ﹼﺘ ٍﺔ ﻤﻥ ﺍﻟﺤﺭﻭ ِ‬
‫ﺤﺘﹼﻰ ﺘﺼ َ‬

‫ﻥ‬
‫ﺏ ﺍﻟﺼﻌﻭﺒ ِﺔ ﻓﻲ ﺍﻟﻜﻠﻤ ِﺔ ﺍﻟﻌﺭﺒﻴّـﺔ‪ ،‬ﻭﻨﻌﻠـ ُﻡ ﺃ ﱠ‬
‫ﻁ ﺍﻟﺴﺎﺒﻘ ِﺔ‪ ،‬ﻨﺴﺘﻁﻴ ُﻊ ﺍﻟﺤﻜ َﻡ ﻋﻠﻰ ﻤﺭﺍﺘ ﹺ‬
‫ﻤﻥ ﺍﻟﻀﻭﺍﺒ ِ‬

‫ل‪ ،‬ﻭﺍﻟﺘﺎ ِﺀ‪،‬‬

‫ﻥ‪ ،‬ﻭﺍﻟﻤﻴ ﹺﻡ‪ ،‬ﻭﺍﻟﺩﺍ ﹺ‬
‫ﻑ ﺍﻵﺘﻴﺔ‪ :‬ﺍﻟﻼ ﹺﻡ‪ ،‬ﻭﺍﻟﻨﻭ ﹺ‬
‫ﺏ ﻤﻥ ﺍﻟﺤﺭﻭ ِ‬
‫ﺕ ﻨﻁﻘﹰﺎ‪ ،‬ﺘﻠﻙ ﺍﻟﺘﻲ ﺘﺘﺭﻜﹼ ُ‬
‫ل ﺍﻟﻜﻠﻤﺎ ِ‬
‫ﺃﺴﻬ َ‬

‫ﺍﻟﻁﻭﻴﻠﺔ)‪.(1‬‬ ‫ﺕ‬
‫ﻑ ﺍﻟﻤ ّﺩ‪ ،‬ﺃﻱ ﺍﻟﺤﺭﻜﺎ ِ‬
‫ﻭﺍﻟﺒﺎ ِﺀ‪ ،‬ﻭﺃﺤﺭ ِ‬

‫ﺕ‬
‫‪ ،(mus / ta‬ﺍﻟﻭﺍﺭﺩ ﹸﺓ ﻓﻲ ﺒﻴ ٍ‬ ‫ﻭﻤﻥ ﺃﻤﺜﻠ ِﺔ ﻤﺎ ﺴﺒﻕ‪ ،‬ﺍﻟﻜﻠﻤ ﹸﺔ ) ُﻤﺴْ ﹶﺘﺸﹾﺯﹺﺭﺍﺕﹲ‪/ zi / raa / tun :‬‬

‫ﺏ ﺍﻟﺒﻼﻏ ِﺔ‪ ،‬ﻭﻫﻭ‪:‬‬

‫ﺉ ﺍﻟﻘﻴﺱ‪ ،‬ﻜﺜ َﺭ ﺩﻭﺭﺍﻨﹸﻪ ﻓﻲ ﻜﺘ ﹺ‬
‫ﻻﻤﺭ ِ‬

‫ل)‪) (2‬ﺍﻟﻁﻭﻴل(‬
‫ل ﺍﻟﻤﺩﺍﺭﻯ ﻓﻲ ﻤُﺜﻨًّﻰ ﻭﻤﺭﺴ ﹺ‬
‫ﺘﻀ ﱡ‬ ‫ﻏﺩﺍﺌﺭُﻩ ﻤﺴﺘﺸﺯﺭﺍﺕﹲ ﺇﻟﻰ ﺍﻟﻌُـﻼ‬

‫)‪(1‬‬
‫ﺃﻨﻴﺱ‪ ،‬ﺇﺒﺭﺍﻫﻴﻡ‪ :‬ﻤﻭﺴﻴﻘﻰ ﺍﻟﺸﻌﺭ‪ .‬ﺹ‪.31-26‬‬
‫)‪(2‬‬
‫ﺤﺤَﻪ ﻤﺼﻁﻔﻰ ﻋﺒﺩ ﺍﻟﺸﹼﺎﻓﻲ‪ .‬ﺒﻴﺭﻭﺕ‪ :‬ﺩﺍﺭ ﺍﻟﻜﺘﺏ ﺍﻟﻌﻠﻤﻴّـﺔ‪) .‬ﺩ‪ .‬ﺕ(‪ .‬ﺹ‪.115‬‬
‫ﺍﻨﻅﺭ‪ :‬ﺍﻤﺭﺅ ﺍﻟﻘﻴﺱ‪ :‬ﺍﻟﺩﻴﻭﺍﻥ‪ .‬ﻀﺒﻁﹶﻪ ﻭﺼ ّ‬
‫ﺕ ﻤﻥ ﺍﻟﺼﻭﺭﺘﻴﻥ‪ ،‬ﺍﻟﺘﻲ ﺃﺜﺒﺘﻬﺎ ﺍﺒﻥ ﻤﻨﻅﻭﺭ‪ :‬ﻟﺴﺎﻥ ﺍﻟﻌﺭﺏ‪ .‬ﺍﻟﻤـﺎﺩّﺓ‪:‬‬
‫ﻭﻓﻴﻪ ﻭﺭﺩﺕ ﺍﻟﻜﻠﻤـﺔ )ﻤُﺜﻨًّﻰ( ﺒﺎﻟﺼﻭﺭﺓ )ﻤُﺜﻨﻲّ(‪ ،‬ﻭﻗﺩ ﺍﺨﺘﺭ ﹸ‬
‫ﻥ ﻭﺯﻥ ﺍﻟﺒﻴﺕ ﻴﺴﺘﻘﻴﻡ ﺒﻬـﺎ‪ ،‬ﻭﻴﻨﻜﺴﺭ ﺒﺎﻷﺨﺭﻯ‪ ،‬ﺍﻟﺘﻲ ﻴﻤﻜﻥ ﺃﻥ ﺘﻜﻭﻥ ﺨﺎﻁﺌﺔ ﺍﻟﺼﻴﻐﺔ‪ ،‬ﺇﻀﺎﻓ ﹰﺔ ﺇﻟﻰ ﺫﻟﻙ‪.‬‬
‫)ﺵ‪ ،‬ﺯ‪ ،‬ﺭ(؛ ﻷ ّ‬
‫‪32‬‬
 ‫ﻕ‪ ،‬ﺇﻟﻰ ﺤ ﱟﺩ ﻜﺒﻴﺭ؛ ﻭﻴﻌﻭ ُﺩ ﺫﻟﻙ ﺇﻟﻰ‪:‬‬
‫ﻓﻬﺫﻩ ﺍﻟﻜﻠﻤ ﹸﺔ ﺜﻘﻴﻠ ﹸﺔ ﺍﻟﻨﻁ ِ‬

‫ﺕ‬
‫ﻥ‪ ،‬ﻭﺍﻟﺯﺍﻱ‪ .‬ﻭﺍﻷﺼـﻭﺍ ﹸ‬
‫ﻥ‪ ،‬ﻭﺍﻟﺸﻴ ُ‬
‫ﺕ ﺍﺤﺘﻜﺎﻜ ّﻴ ٍﺔ ﺼﻔﻴﺭﻴّﺔ‪ ،‬ﻭﻫﻲ‪ :‬ﺍﻟﺴﻴ ُ‬
‫‪ -‬ﺍﺤﺘﻭﺍﺌِﻬﺎ ﺜﻼﺜ ﹶﺔ ﺃﺼﻭﺍ ٍ‬

‫ﺝ ﺇﻟﻰ ﺠﻬ ٍﺩ ﻜﺒﻴ ﹴﺭ ﻟﻨﻁﻘِﻬﺎ‪.‬‬

‫ﺍﻻﺤﺘﻜﺎﻜﻴّ ﹸﺔ ﺘﺤﺘﺎ ُ‬

‫ﺝ ﻭﺍﻟﺼﻔﺔ‪.‬‬
‫ﻥ ﻫﺫﻩ ﺍﻷﺼﻭﺍﺕ؛ ﻟﺘﻘﺎﺭﺒﹺﻬﺎ ﻓﻲ ﺍﻟﻤﺨﺭ ﹺ‬
‫‪ -‬ﺍﻟﺘﻨﺎﻓ ﹺﺭ ﺍﻟﻭﺍﻗ ﹺﻊ ﺒﻴ َ‬

‫ﻥ‪ ،‬ﻭﺍﻟﺘـﺎ ُﺀ ﺍﻟـﻭﺍﺭﺩ ﹸﺓ ﻤـﺭّﺘﻴﻥ‪.‬‬

‫ﻥ‪ ،‬ﻭﺍﻟﺸـﻴ ُ‬
‫ﺕ ﻤﻬﻤﻭﺴ ٍﺔ‪ ،‬ﻭﻫـﻲ‪ :‬ﺍﻟﺴﻴ ُ‬
‫‪ -‬ﺍﺤﺘﻭﺍﺌِﻬﺎ ﺃﺭﺒﻌ ﹶﺔ ﺃﺼﻭﺍ ٍ‬
‫ﺝ ﺇﻟﻰ ﺠﻬ ٍﺩ ﻜﺒﻴ ﹴﺭ ﻟﻨﻁﻘِﻬﺎ‪.‬‬
‫ﺕ ﺍﻟﻤﻬﻤﻭﺴ ﹸﺔ ﺘﺤﺘﺎ ُ‬
‫ﻭﺍﻷﺼﻭﺍ ﹸ‬

‫ل ﺍﻟﻜﻠﻤﺔ‪.‬‬
‫‪ -‬ﻁﻭ ﹺ‬

‫ل ﺍﻟﻤﺘﻨﺒّﻲ‪:‬‬
‫ﻭﻤﻥ ﺫﻟﻙ ﺃﻴﻀًﺎ‪ ،‬ﻗﻭ ُ‬

‫ل)‪) (1‬ﺍﻟﻁﻭﻴل(‬
‫ﻥ ﻗﻼﻗـ ُ‬
‫ﺱ ﻜﻠﹼﻬـ ﱠ‬
‫ل ﻋِﻴ ﹴ‬
‫ﻗﻼﻗـ َ‬ ‫ل ﺍﻟﺤﺸﺎ‬
‫ﺕ ﺒﺎﻟﻬ ﱢﻡ ﺍﻟﺫﻱ ﻗﻠﻘ َ‬
‫ﻓﻘﻠﻘـﻠ ﹸ‬

‫ل ﻓﻲ ﻤﻌﻅ ﹺﻡ ﻜﻠﻤﺎﺘِﻪ ﻤﻨﻔﺭﺩ ﹰﺓ‪ ،‬ﻴﻌﻭ ُﺩ ﺇﻟﻰ ﻤﺎ ﺘﺤﻭﻴﻪ ﻤـﻥ‬

‫ل ﺍﻟﻨﻁﻕ‪ ،‬ﻟﻤﺎ ﻨﺠ ُﺩ ﻤﻥ ﺜﻘ ﹴ‬
‫ﺕ ﺜﻘﻴ ُ‬
‫ﻓﻬﺫﺍ ﺍﻟﺒﻴ ﹸ‬
‫ﺕ‬
‫ﻕ ﺍﻟﻜﻠﻤـﺎ ِ‬
‫ل ﻓـﻲ ﻨﻁـ ِ‬
‫ﺕ ﺜﻘﻴﻠ ٍﺔ ﻤﺘﻜﺭّﺭﺓ‪ ،‬ﻜﺎﻟﻘﺎﻑ‪ ،‬ﻭﻤـﺎ ﻨﺠﺩُﻩ ﻤﻥ ﺠﻬـ ٍﺔ ﺃﺨﺭﻯ‪ ،‬ﻤﻥ ﺜﻘـ ﹴ‬
‫ﺃﺼﻭﺍ ٍ‬
‫ﻥ‪ ،‬ﺒﺘﻨﺎﻓ ﹺﺭ ﺍﻷﻟﻔﺎﻅ)‪.(2‬‬
‫ﻑ ﻋﻨ َﺩ ﺍﻟﺒﻼﻏﻴّﻴ َ‬
‫ﻤﺠﺘﻤﻌﺔ‪ ،‬ﻭﻫﻭ ﻤﺎ ﻴﻌﺭ ﹸ‬

‫ل‬
‫ﻑ ﻋﻠﻰ ﻋﻭﺍﻤ َ‬
‫ﺏ‪ ،‬ﻋﻠﻰ ﺼﻌﻭﺒ ِﺔ ﺃﻟﻔﺎﻅِﻪ‪ ،‬ﻭﺘﻨﺎﻓﺭﹺﻫﺎ‪ ،‬ﺘﺘﻭﻗﹼ ﹸ‬
‫ﻕ ﺒﺎﻟﺘﺭﻜﻴ ﹺ‬
‫ﻑ ﺼﻌﻭﺒ ﹸﺔ ﺍﻟﻨﻁ ِ‬
‫ﻭﻜﻤـﺎ ﺘﺘﻭﻗﹼ ﹸ‬
‫ﺕ ﻏﻴ ﹺﺭ ﺍﻟﺘﺭﻜﻴﺒ ّﻴ ِﺔ ﺩﻭﺭُﻫﺎ ﺍﻟﺒـﺎﺭ ُﺯ ﻓـﻲ‬
‫ﺃﺨﺭﻯ ﻤﺅﺜﹼﺭ ٍﺓ ﺇﻴﺠﺎﺒًﺎ‪ ،‬ﺃﻭ ﺴﻠﺒًﺎ‪ ،‬ﻓﻲ ﺍﻟﻌﻤﻠ ّﻴ ِﺔ ﺍﻟﻨﻁﻘﻴّﺔ؛ ﻓﻠﻠﻔﻭﻨﻴﻤﺎ ِ‬
‫ﻼ‪ ،‬ﺍﻟﺫﻱ ﻴﻘ ُﻊ ﻏﺎﻟﺒًﺎ ﻋﻠﻰ ﺃﻜﺜ َﺭ ﻤﻥ ﻜﻠﻤـﺔ‪،‬‬
‫ﻥ ﺍﻟﺘﻨﻐﻴ ﹺﻡ‪ ،‬ﻤﺜ ﹰ‬
‫ﺏ‪ ،‬ﺃﻭ ﺼﻌﻭﺒﺘِﻪ؛ ﻓﻤﻥ ﺸﺄ ﹺ‬
‫ﻕ ﺍﻟﺘﺭﻜﻴ ﹺ‬
‫ﺴﻬﻭﻟ ِﺔ ﻨﻁ ِ‬
‫ﻥ ﺍﻟﺼـﻭﺘﻴّﺎﻥ‪،‬‬
‫ﻕ ﺍﻟﺘﺭﻜﻴﺏ؛ ﻟﻜﻭﻨِﻪ ﺼﻭﺘﹰﺎ ﺇﻀﺎﻓﻴ‪‬ﺎ‪ ،‬ﻴﻬﺘ ﱡﺯ ﻤﻌﻪ ﺍﻟﻭﺘﺭﺍ ﹺ‬
‫ل ﻟﻨﻁ ِ‬
‫ﺃﻥ ﻴﺯﻴ َﺩ ﻤﻥ ﺍﻟﺠﻬ ِﺩ ﺍﻟﻤﺒﺫﻭ ﹺ‬
‫ﻥ‪ ،‬ﻤﻥ ﻫﺫﻩ ﺍﻟﻨﺎﺤﻴﺔ‪ ،‬ﺒﻨﺎ ًﺀ ﻋﻠﻰ ﻜﻴﻔ ّﻴ ِﺔ ﺍﺴﺘﺨﺩﺍ ِﻤﻪ‪ .‬ﻟﻨﻘـﺭﺃْ‬ ‫ﻜﻤﺎ ﻋﺭﻓﻨﺎ)‪ .(3‬ﻭﻴﺴﺘﺤﺴ ُ‬
‫ﻥ ﺍﻟﺘﻨﻐﻴ ُﻡ‪ ،‬ﺃﻭ ﻴﺴﺘﻬﺠ ُ‬
‫ﺹ ﺍﻵﺘﻲ‪:‬‬
‫ﺍﻟﻨ ﱠ‬

‫)‪(1‬‬
‫ﺏ ﻫﻭﺍﻤﺸﻪ ﻤﺼﻁﻔﻰ ﺴـﺒﻴﺘﻲ‪.‬‬
‫ﺍﻨﻅﺭ‪ :‬ﺍﻟﻤﺘﻨﺒّﻲ‪ ،‬ﺃﺒﻭ ﺍﻟﻁﻴّﺏ ﺃﺤﻤﺩ ﺒﻥ ﺍﻟﺤﺴﻴﻥ‪ :‬ﺍﻟﺩﻴﻭﺍﻥ‪ .‬ﺠﺯﺀﺍﻥ ﻓﻲ ﻤﺠﹼﻠ ٍﺩ ﻭﺍﺤﺩ‪ .‬ﺸﺭﺤَﻪ ﻭﻜﺘ َ‬
‫ﺒﻴﺭﻭﺕ‪ :‬ﺩﺍﺭ ﺍﻟﻜﺘﺏ ﺍﻟﻌﻠﻤﻴّﺔ‪) .‬ﺩ‪ .‬ﺕ(‪.78 / 1 .‬‬
‫)‪(2‬‬
‫ﻋﺘﻴﻕ‪ ،‬ﻋﺒﺩ ﺍﻟﻌﺯﻴﺯ‪ :‬ﻋﻠﻡ ﺍﻟﻤﻌﺎﻨﻲ‪ .‬ﺒﻴﺭﻭﺕ‪ :‬ﺩﺍﺭ ﺍﻟﻨﻬﻀﺔ ﺍﻟﻌﺭﺒﻴّﺔ‪) .‬ﺩ‪ .‬ﺕ(‪ .‬ﺹ‪.20‬‬
‫)‪(3‬‬
‫ﺍﻨﻅﺭ ﺹ‪ 23‬ﻤﻥ ﻫﺫﺍ ﺍﻟﺒﺤﺙ‪.‬‬
‫‪33‬‬
‫ﻕ ﺍﻟﺼﻨﻌ ِﺔ ﻓﻴﻬﺎ‪ ،‬ﻭﺘﺄ ّﻤلْ‬
‫ﷲ ﻤﺜﻠﹶﻬﺎ؟‪ .‬ﺍﻨﻅﺭْ ﺇﻟﻰ ﺩﻗﺎﺌ ِ‬
‫ﺕ ﺒﺎ ِ‬
‫ﻑ ﺘﺭﻯ ﺼﻨﻌﺘﹶﻬﺎ‪ ،‬ﻭﺸﻜﻠﹶﻬﺎ؟‪ .‬ﺃﺭﺃﻴ ﹶ‬
‫))‪ ...‬ﻜﻴ ﹶ‬

‫ﻕ ﺍﻟ ﹼﻨﺠّﺎ ﹺﺭ ﻓـﻲ ﺼﻨﻌ ِﺔ ﻫﺫﺍ ﺍﻟﺒﺎﺏ‪ .‬ﺍﺘﱠﺨﺫﹶﻩ ﻤِـﻥ‬

‫ﺤﺫﹾ ِ‬
‫ﺨﻁﱠ ﺒﺎﻟ ﹺﺒﺭْﻜﺎﺭ‪ .‬ﻭﺍﻨﻅﺭْ ﺇﻟﻰ ِ‬
‫ﻥ ﺘﻌﺭﻴﺠﹺﻬﺎ‪ ،‬ﻓﻜﺄﻨﹼﻤﺎ ﹸ‬
‫ﺤﺴ َ‬

‫ﻥ ﺃﻋﻠﻡ‪.(1)((...‬‬
‫ﻜﻡ؟ ﻗلْ‪ :‬ﻭﻤِﻥ ﺃﻴ َ‬

‫ﺏ ﻓـﻲ‬
‫ل ﺘﺭﻜﻴ ﹴ‬
‫ل ﺍﻟﺫﻱ ﺃﺤﺩﺜﹶﻪ ﺍﻟﺘﻨﻐﻴ ُﻡ ﻓـﻲ ﻗﺭﺍﺀﺘِﻪ؛ ﻓﻜ ﱡ‬
‫ﻅ ﺍﻟﺜﻘ َ‬
‫ﺹ‪ ،‬ﺃﻥ ﻴﻼﺤ ﹶ‬
‫ﺉ ﻫﺫﺍ ﺍﻟﻨ ﱢ‬
‫ﻻ ﺒ ﱠﺩ ﻟﻘﺎﺭ ِ‬

‫ﻥ ﻫﺫﺍ ﺍﻟﺘﺘﺎﺒ ﹺﻊ‪ ،‬ﺃﻥ‬

‫ل‪ ،‬ﺃﻭ ﺍﻟﺩﻫﺸ ِﺔ‪ ،‬ﺃﻭ ﺍﻷﻤﺭ‪ .‬ﻭﻤﻥ ﺸﺄ ﹺ‬
‫ل ﻋﻠﻰ ﺍﻟﺴﺅﺍ ﹺ‬
‫ﺹ‪ ،‬ﻗﺩ ﻭﻗ َﻊ ﻋﻠﻴـﻪ ﺍﻟﺘﻨﻐﻴ ُﻡ‪ ،‬ﻟﻴﺩ ﱠ‬
‫ﺍﻟﻨ ﱢ‬

‫ﺕ ﺫﻫﻨِﻪ‪.‬‬
‫ل ﻋﻠﻰ ﺘﺸﺘﻴ ِ‬
‫ﺉ ﺒﺜﻘﻠِﻪ‪ ،‬ﺍﻟﺫﻱ ﻗﺩ ﻴﻌﻤ ُ‬
‫ﻥ ﺍﻟﻘﺎﺭ ِ‬
‫ﻴﺠﻬ َﺩ ﻟﺴﺎ َ‬

‫ﻲ‪ ،‬ﺍﻟﻤﻘﺎﻁ ُﻊ ﺍﻟﺼﻭﺘﻴّﺔ؛ ﻟﻤﺎ ﻟﻬﺎ ﻤﻥ ﺩﻭ ﹴﺭ ﻓﻲ‬

‫ﻑ ﻋﻠﻴﻬﺎ ﺍﻟﺠﻬ ُﺩ ﺍﻟﻨﻁﻘـ ﱡ‬
‫ل ﺍﻟﺘﻲ ﻴﺘﻭﻗﹼ ﹸ‬
‫ﻭﻤﻥ ﺃﻫ ﱢﻡ ﺍﻟﻌﻭﺍﻤ ﹺ‬

‫ﻥ ﺍﻟﻤﻘﺎﻁ َﻊ ﺍﻟﺼـﻭﺘ ّﻴ ﹶﺔ‪،‬‬

‫ل ﻤﻨﻬﺎ ﺍﻟﻜﻼﻡ‪ ،‬ﻓﺈ ﱠ‬
‫ﺕ ﺍﻟﺨﺎﻤـ ﹶﺔ ﺍﻟﺘﻲ ﻴﺘﺸﻜﹼ ُ‬
‫ﺍﻟﻌﻤﻠ ّﻴ ِﺔ ﺍﻟﻜﻼﻤﻴّﺔ؛ ﻓﺈﺫﺍ ﻜﺎﻨﺕ ﺍﻷﺼﻭﺍ ﹸ‬

‫ﻥ‬
‫ﺕ‪ ،‬ﻴﺘﻜﻭّ ُ‬
‫ﻑ ﻓـﻲ ﺘﺠﻤّﻌﺎ ٍ‬
‫ﺕ ﺘﺄﺘﻠ ﹸ‬
‫ل ﺍﻟﺫﻱ ﺘﹸﺒﻨﻰ ﻋﻠﻴﻪ ﻫـﺫﻩ ﺍﻟﺨﺎﻤ ﹸﺔ‪ ،‬ﻟﺤﻤًﺎ ﻋﻠﻰ ﻋﻅـﻡ؛ ﻓﺎﻷﺼﻭﺍ ﹸ‬
‫ﺍﻟﻬﻴﻜ ُ‬

‫ﺕ ﺍﻟﺴـﺎﻜﻨﺔ‬ ‫ﺍﻟﻭﺍﺤ ُﺩ ﻤﻨﻬﺎ‪ ،‬ﻤﻥ ))ﺤﺭﻜ ٍﺔ ﻗﺼﻴﺭ ٍﺓ ﺃﻭ ﻁﻭﻴﻠﺔ‪ ،‬ﻤﻜﺘﻨﻔ ٍﺔ ﺒﺼﻭ ٍ‬

‫ﺕ ﺃﻭ ﺃﻜﺜ َﺭ‪ ،‬ﻤـﻥ ﺍﻷﺼـﻭﺍ ِ‬

‫ﻥ ﺍﻷﻟﻔـﺎﻅ‪ .‬ﻭﻤـﻥ‬
‫ل ﺍﻟﻤﻘﺎﻁ َﻊ ﺍﻟﺼﻭﺘ ّﻴ ﹶﺔ ﺫﺍﺘﹶﻬﺎ‪ ،‬ﺘﺘﻜﻭّ ُ‬ ‫]ﺍﻟﺼﺎﻤﺘﺔ[(()‪ ،(2‬ﻭﻤﻥ ﻫـﺫﻩ ﺍﻟﺘﺠﻤّﻌﺎ ِ‬
‫ﺕ‪ ،‬ﺍﻟﺘﻲ ﺘﻤﺜﹼ ُ‬

‫ﻲ‪.‬‬
‫ل ﻫﺫﺍ ﺍﻟﺩﻭ ﹺﺭ ﺍﻟﺫﻱ ﺘﻘﻭ ُﻡ ﺒﻪ ﺍﻟﻤﻘﺎﻁ ُﻊ‪ ،‬ﺘﺅﺜﹼ ُﺭ ﺇﻴﺠﺎﺒًﺎ‪ ،‬ﺃﻭ ﺴﻠﺒًﺎ ﻓﻲ ﺍﻟﺠﻬ ِﺩ ﺍﻟﻨﻁﻘ ّ‬
‫ﺨﻼ ﹺ‬

‫ﻲ ﻹﻨﺘﺎﺠﹺﻬﺎ‪ ،‬ﻤﺠﺭّﺩ ﹰﺓ ﻤﻥ ﻁﺒﻴﻌـ ِﺔ‬

‫ﻑ ﺍﻟﻤﻘﺎﻁ ُﻊ ﺍﻟﺼﻭﺘ ّﻴ ﹸﺔ‪ ،‬ﻓﻲ ﺍﻟﺠﻬ ِﺩ ﺍﻟﺫﻱ ﻴﺒﺫﻟﹸﻪ ﺍﻟﺠﻬﺎ ُﺯ ﺍﻟﻨﻁﻘ ﱡ‬
‫ﺘﺨﺘﻠ ﹸ‬
‫ﻥ ﺫﻟﻙ ﻴﺅﺜﹼ ُﺭ ﻓﻲ ﺭﻓ ﹺﻊ ﺠﻬ ِﺩ‬
‫ﺕ ﺍﻟﺘﻲ ﺘﺸﻐﻠﹸﻬﺎ‪ ،‬ﻭﺨﺎﺭﺠ ﹰﺔ ﻋﻠﻰ ﺘﺭﺘﻴﺒﹺﻬﺎ ﻓﻲ ﺍﻟﺴﻠﺴﻠ ِﺔ ﺍﻟﻜﻼﻤﻴّﺔ؛ ﻟﻜﻭ ﹺ‬
‫ﺍﻷﺼﻭﺍ ِ‬
‫ﻲ ﻤﻥ ﺠﻬﺔ‪ ،‬ﻭﻁﺒﻴﻌ ِﺔ ﻤﻜﻭّﻨﺎﺘِﻪ‪،‬‬
‫ل ﺍﻟﻤﻘﻁ ﹺﻊ ﺍﻟﺼﻭﺘ ﱢ‬
‫ﻑ ﻫﺫﺍ ﺍﻟﺠﻬ ُﺩ‪ ،‬ﻋﻠﻰ ﻁﻭ ﹺ‬
‫ﺍﻟﻤﻘﻁ ﹺﻊ‪ ،‬ﺃﻭ ﺨﻔﻀِﻪ‪ .‬ﻭﻴﺘﻭﻗﹼ ﹸ‬
‫ﻭﺘﺭﺘﻴﺒﹺﻬﺎ ﻓﻴﻪ‪ ،‬ﻤﻥ ﺠﻬ ٍﺔ ﺃﺨﺭﻯ‪.‬‬

‫ﺕ‬
‫ﻲ‪ ،‬ﺒﻨـﺎ ًﺀ ﻋﻠـﻰ ﺍﻟﻤﻌﻁﻴـﺎ ِ‬
‫ﺏ ﺍﻟﻤﻘﺎﻁ َﻊ ﺍﻟﺼﻭﺘ ّﻴـ ﹶﺔ‪ ،‬ﻤﻥ ﻨﺎﺤﻴـ ِﺔ ﺍﻟﺠﻬ ِﺩ ﺍﻟﻨﻁﻘ ّ‬
‫ﻭﻴﻤﻜﻨﹸﻨﺎ ﺃﻥ ﻨﺭ ﹼﺘ َ‬
‫ﺍﻵﺘﻴـﺔ‪:‬‬

‫ﺕ‪ ،‬ﻜﻤﺎ ﻋﺭﻓﻨﺎ)‪.(3‬‬

‫ﺝ ﺍﻟﺼﺎﻤ ِ‬
‫ل ﻹﻨﺘﺎ ﹺ‬
‫ﺝ ﺍﻟﺤﺭﻜ ِﺔ‪ ،‬ﺃﻜﺒ ُﺭ ﻤﻥ ﺍﻟﺠﻬ ِﺩ ﺍﻟﻤﺒﺫﻭ ﹺ‬
‫ل ﻹﻨﺘﺎ ﹺ‬
‫‪ -‬ﺍﻟﺠﻬ ُﺩ ﺍﻟﻤﺒﺫﻭ ُ‬

‫)‪(1‬‬
‫ﺒﺩﻴﻊ ﺍﻟﺯﻤﺎﻥ ﺍﻟﻬﻤﺫﺍﻨﻲ‪ ،‬ﺃﺒﻭ ﺍﻟﻔﻀل ﺃﺤﻤﺩ ﺒﻥ ﺍﻟﺤﺴﻴﻥ‪ :‬ﺍﻟﻤﻘﺎﻤﺎﺕ‪ .‬ﺸﺭﺤَﻬﺎ ﻤﺤﻤّﺩ ﻋﺒﺩﻩ‪ .‬ﻁ‪ .4‬ﺒﻴﺭﻭﺕ‪ :‬ﺩﺍﺭ ﺍﻟﻜﺘﺏ ﺍﻟﻌﻠﻤﻴّـﺔ‪.‬‬
‫‪ .2006‬ﺹ‪.126‬‬
‫)‪(2‬‬
‫ﺃﻨﻴﺱ‪ ،‬ﺇﺒﺭﺍﻫﻴﻡ‪ :‬ﻤﻭﺴﻴﻘﻰ ﺍﻟﺸﻌﺭ‪ .‬ﺹ‪.145‬‬
‫)‪(3‬‬
‫ﺍﻨﻅﺭ ﺹ‪ 31‬ﻤﻥ ﻫﺫﺍ ﺍﻟﺒﺤﺙ‪.‬‬
‫‪34‬‬
‫ﻥ‬
‫ﻕ‪ ،‬ﻤﻥ ﺍﻟﺤﺭﻜ ِﺔ ﺍﻟﻘﺼـﻴﺭﺓ؛ ﻟﻜﻭﻨِﻬـﺎ ﺒﻤﻜﺎﻨـ ِﺔ ﺤـﺭﻜﺘﻴ ﹺ‬
‫ﺏ ﻓﻲ ﺍﻟﻨﻁ ِ‬
‫‪ -‬ﺍﻟﺤﺭﻜ ﹸﺔ ﺍﻟﻁﻭﻴﻠ ﹸﺔ ﺃﺼﻌ ُ‬

‫ﻥ ﺤﺭﻜ ٍﺔ ﻗﺼﻴﺭ ٍﺓ‪ ،‬ﻭﺃﺨﺭﻯ ﻁﻭﻴﻠﺔ‪ ،‬ﻫﻭ ﺘﻘﺭﻴﺒًـﺎ‪ ،‬ﻤﻀـﺎﻋﻔ ﹸﺔ ﺍﻟﻘﺼـﻴﺭ ِﺓ ﺃﻭ‬ ‫ﻗﺼﻴﺭﺘﻴﻥ؛ ﻓـ))ﺍﻟﻔﺭ ﹸ‬
‫ﻕ ﺒﻴ َ‬

‫ﻥ ﻗﺼﻴﺭﺘﻴﻥ‪.‬‬
‫ﺏ‪ ،‬ﺤﺭﻜﺘﻴ ﹺ‬
‫ﺃﻜﺜﺭ(()‪ .(1‬ﻟﺫﺍ ﺴﻨﻌ ﱡﺩ ﺍﻟﺤﺭﻜ ﹶﺔ ﺍﻟﻁﻭﻴﻠ ﹶﺔ‪ ،‬ﻓﻲ ﺍﻟﺘﺭﺘﻴ ﹺ‬

‫ل ﺍﻟﻤﻘﻁ ﹺﻊ؛ ﺯﺍﺩﺕ ﺼﻌﻭﺒﺘﹸﻪ؛ ﻻﺤﺘﻭﺍ ِﺌﻪ ﺃﺼﻭﺍﺘﹰﺎ ﺃﻜﺜﺭ‪.‬‬

‫ﻲ‪ ،‬ﺃﻨﹼﻪ ﻜﻠﹼﻤﺎ ﺯﺍ َﺩ ﻁﻭ ُ‬
‫‪ -‬ﻤﻥ ﺍﻟﻁﺒﻴﻌ ﱢ‬

‫ﻲ‬
‫ﻲ ﺃﻭ ﺍﻟﺼـﻭﺘ ّ‬
‫ﻲ‪ ،‬ﺒـﺎﻟﻌﻨﻘﻭ ِﺩ ﺍﻟﻔـﻭﻨﻴﻤ ﱢ‬
‫ﺱ ﺍﻟﻤﻘﻁﻌ ﱢ‬
‫ﻥ ﺍﻟﺩﺭ ﹺ‬
‫ﻕ ﺒﻤﺎ ﻴُﻌﺭﻑﹸ ﻓﻲ ﻤﻴﺩﺍ ﹺ‬
‫‪ -‬ﺼﻌﻭﺒ ﹸﺔ ﺍﻟﻨﻁ ِ‬

‫ﺕ ﻓﻲ ﺒﺩﺍﻴ ِﺔ ﺍﻟﻤﻘﻁ ﹺﻊ‪ ،‬ﺃﻭ ﻨﻬﺎﻴ ِﺘﻪ(()‪ .(2‬ﻭﻤﻤّﺎ ﻴﺅﻜﹼـ ُﺩ‬ ‫)‪ ،(Sound Cluster‬ﻭﻫﻭ ))ﺍﺠﺘﻤﺎ ُ‬
‫ﻉ ﺃﻜﺜ َﺭ ﻤﻥ ﺼﺎﻤ ٍ‬

‫ﻥ ﺍﻟﻌﺭﺒﻴّـ ﹶﺔ ))ﺘﻜﺭ ُﻩ‪ ...‬ﺘﺘﺎﺒ َﻊ ﺍﻟﺼﻭﺍﻤﺕ(()‪(3‬؛ ﻓﻼ ﻴﺒﺩُﺃ ﺍﻟﻤﻘﻁ ُﻊ ﻓﻴﻬﺎ ﺒﺼـﺎﻤﺘﻴ ﹺ‬

‫ﻥ‪ ،‬ﻜﻤـﺎ ﻻ ﻴﺒـﺩُﺃ‬ ‫ﺫﻟﻙ‪ ،‬ﺃ ﱠ‬

‫ل ﺍﻹﻋﺭﺍﺏ)‪.(4‬‬
‫ﻑ‪ ،‬ﺃﻭ ﺇﻫﻤﺎ ﹺ‬
‫ﺕ ﻤﻌﻴّﻨﺔ‪ ،‬ﺃﻱ ﻋﻨ َﺩ ﺍﻟﻭﻗ ِ‬
‫ﻻ ﻓﻲ ﺴﻴﺎﻗﺎ ٍ‬
‫ﻥ‪ ،‬ﺇ ﹼ‬
‫ﺒﺤﺭﻜﺔ‪ ،‬ﻭﻻ ﻴﻨﺘﻬﻲ ﻜﺫﻟﻙ ﺒﺼﺎﻤﺘﻴ ﹺ‬

‫ﻕ ﺇﻟﻰ ﺍﻷﺼﻌﺏ‪ ،‬ﻋﻠﻰ ﺍﻟﻭﺠ ِﻪ ﺍﻵﺘـﻲ‪:‬‬

‫ل ﻓﻲ ﺍﻟﻨﻁ ِ‬
‫ﻥ‪ ،‬ﻤﻥ ﺍﻷﺴﻬـ ﹺ‬
‫ﺏ ﺍﻟﻤﻘﺎﻁ ﹺﻊ‪ ،‬ﻓﻴﻜﻭ ُ‬
‫ﺃﻤّﺎ ﺘﺭﺘﻴ ُ‬

‫ل ﻤﻘﺎﻁ ﹺﻊ ﺍﻟﻌﺭﺒﻴّﺔ؛ ﻟﻜﻭﻨِﻪ ﺃﻗﺼﺭَﻫﺎ‪.‬‬

‫‪ -‬ﺍﻟﻤﻘﻁ ُﻊ ﺍﻟﻘﺼﻴﺭ )ﺹ ‪ +‬ﺡ(‪ :‬ﺃﺴﻬ ُ‬

‫ﺕ ﺠﺩﻴ ٍﺩ ﺇﻟـﻰ‬
‫ﺞ ﻫﺫﺍ ﺍﻟﻤﻘﻁ ُﻊ‪ ،‬ﺒﺈﻀﺎﻓ ِﺔ ﺼﺎﻤ ٍ‬
‫ﻁ ﺍﻟﻤﻐﻠﻕ )ﺹ ‪ +‬ﺡ ‪ +‬ﺹ(‪ُ :‬ﻴﻨﹾ ﹶﺘ ُ‬
‫‪ -‬ﺍﻟﻤﻘﻁ ُﻊ ﺍﻟﻤﺘﻭﺴّ ﹸ‬

‫ﻕ ﻓﻲ ﺍﻟﻨﻁﻕ‪.‬‬ ‫ﻥ ﺒﺫﻟﻙ‪ ،‬ﺃﺼﻌ َ‬

‫ﺏ ﻤﻥ ﺍﻟﺴﺎﺒ ِ‬ ‫ﺍﻟﻤﻘﻁ ﹺﻊ ﺍﻟﺴﺎﺒﻕ؛ ﻓﻴﻜﻭ ُ‬

‫ﻥ‬
‫ل ﺤﺭﻜ ٍﺔ ﻗﺼﻴﺭ ٍﺓ‪ ،‬ﻤﻜـﺎ َ‬
‫ﺞ ﻫﺫﺍ ﺍﻟﻤﻘﻁ ُﻊ‪ ،‬ﺒﺈﺤﻼ ﹺ‬
‫ﻁ ﺍﻟﻤﻔﺘﻭﺡ )ﺹ ‪ +‬ﺡ ﺡ(‪ُ :‬ﻴﻨﹾ ﹶﺘ ُ‬
‫‪ -‬ﺍﻟﻤﻘﻁ ُﻊ ﺍﻟﻤﺘﻭﺴّ ﹸ‬

‫ﻕ ﻓﻲ ﺍﻟﻨﻁﻕ‪.‬‬
‫ﺏ ﻤﻥ ﺍﻟﺴﺎﺒ ِ‬
‫ﻥ ﺒﺫﻟﻙ‪ ،‬ﺃﺼﻌ َ‬
‫ﺕ ﺍﻷﺨﻴ ﹺﺭ‪ ،‬ﻓﻲ ﺍﻟﻤﻘﻁ ﹺﻊ ﺍﻟﺴﺎﺒﻕ؛ ﻓﻴﻜﻭ ُ‬
‫ﺍﻟﺼﺎﻤ ِ‬

‫ﺏ ﻤـﻥ ﺴـﺎﺒﻘِﻪ ﻓـﻲ‬

‫ﺝ ﺍﻹﻏﻼﻕ )ﺹ ‪ +‬ﺡ ‪ +‬ﺹ ‪ +‬ﺹ(‪ :‬ﺃﺼﻌ ُ‬
‫ل ﺍﻟﻤﺯﺩﻭ ُ‬
‫‪ -‬ﺍﻟﻤﻘﻁ ُﻊ ﺍﻟﻁﻭﻴ ُ‬
‫ل ﻤﻨﻪ ﻤﻥ ﺠﻬﺔ‪ ،‬ﻭﻻﺤﺘﻭﺍﺌِﻪ ﻋﻨﻘﻭﺩًﺍ ﻓﻭﻨﻴﻤﻴ‪‬ﺎ ﻓﻲ ﻨﻬﺎﻴﺘِﻪ‪ ،‬ﻤﻥ ﺠﻬـ ٍﺔ ﺃﺨﺭﻯ‪.‬‬
‫ﺍﻟﻨﻁﻕ؛ ﻟﻜﻭﻨِﻪ ﺃﻁﻭ َ‬

‫ل ﺤﺭﻜ ٍﺔ ﻗﺼـﻴﺭ ٍﺓ‪،‬‬

‫ﺞ ﻫﺫﺍ ﺍﻟﻤﻘﻁ ُﻊ‪ ،‬ﺒﺈﺤﻼ ﹺ‬
‫ل ﺍﻟﻤﻐﻠﻕ )ﺹ ‪ +‬ﺡ ﺡ ‪ +‬ﺹ(‪ُ :‬ﻴﻨﹾ ﹶﺘ ُ‬
‫‪ -‬ﺍﻟﻤﻘﻁ ُﻊ ﺍﻟﻁﻭﻴ ُ‬

‫ﻕ ﻓﻲ ﺍﻟﻨﻁﻕ‪.‬‬
‫ﺏ ﻤﻥ ﺍﻟﺴﺎﺒ ِ‬
‫ﻥ ﺒﺫﻟﻙ‪ ،‬ﺃﺼﻌ َ‬
‫ﺕ ﺍﻟﺜﺎﻨﻲ‪ ،‬ﻓﻲ ﺍﻟﻤﻘﻁ ﹺﻊ ﺍﻟﺴﺎﺒﻕ؛ ﻓﻴﻜﻭ ُ‬
‫ﻥ ﺍﻟﺼﺎﻤ ِ‬
‫ﻤﻜﺎ َ‬

‫)‪(1‬‬
‫ﻲ ﻓﻲ ﺍﻟﻠﹼﻐﺔ ﺍﻟﻌﺭﺒﻴّﺔ‪ .‬ﺹ‪.115‬‬
‫ﺍﻟﻌﺎﻨﻲ‪ ،‬ﺴﻠﻤﺎﻥ ﺤﺴﻥ‪ :‬ﺍﻟﺘﺸﻜﻴل ﺍﻟﺼﻭﺘ ّ‬
‫)‪(2‬‬
‫ﺍﻟﻨﻭﺭﻱ‪ ،‬ﻤﺤﻤﺩ ﺠﻭﺍﺩ‪ :‬ﻋﻠﻡ ﺃﺼﻭﺍﺕ ﺍﻟﻌﺭﺒﻴﺔ‪ .‬ﺹ‪.253‬‬
‫)‪(3‬‬
‫ﻲ ﻟﻠﺒﻨﻴﺔ ﺍﻟﻌﺭﺒﻴّﺔ‪ .‬ﺹ‪.42‬‬
‫ﺸﺎﻫﻴﻥ‪ ،‬ﻋﺒﺩ ﺍﻟﺼﺒﻭﺭ‪ :‬ﺍﻟﻤﻨﻬﺞ ﺍﻟﺼﻭﺘ ّ‬
‫)‪(4‬‬
‫ﺒﺸﺭ‪ ،‬ﻜﻤﺎل‪ :‬ﻋﻠﻡ ﺍﻷﺼﻭﺍﺕ‪ .‬ﺹ‪.509‬‬
‫‪35‬‬
‫ﺞ ﻫﺫﺍ ﺍﻟﻤﻘﻁـ ُﻊ‪،‬‬
‫ﺝ ﺍﻹﻏﻼﻕ )ﺹ ‪ +‬ﺡ ﺡ ‪ +‬ﺹ ‪ +‬ﺹ(‪ُ :‬ﻴﻨﹾ ﹶﺘ ُ‬
‫ل ﺍﻟﻤﺯﺩﻭ ُ‬
‫‪ -‬ﺍﻟﻤﻘﻁ ُﻊ ﺍﻟﺒﺎﻟ ﹸﻎ ﺍﻟﻁﻭ ﹺ‬

‫ﻕ ﻓﻲ ﺍﻟﻨﻁﻕ‪ .‬ﺃﻀـﻑ‬
‫ﺏ ﻤﻥ ﺍﻟﺴﺎﺒ ِ‬
‫ﻥ ﺒﺫﻟﻙ‪ ،‬ﺃﺼﻌ َ‬
‫ﺕ ﺠﺩﻴـ ٍﺩ ﺇﻟﻰ ﺍﻟﻤﻘﻁ ﹺﻊ ﺍﻟﺴﺎﺒﻕ؛ ﻓﻴﻜﻭ ُ‬
‫ﺒﺈﻀﺎﻓ ِﺔ ﺼﺎﻤ ٍ‬

‫ﺇﻟﻰ ﺫﻟﻙ‪ ،‬ﺍﺤﺘﻭﺍﺀَﻩ ﻋﻨﻘﻭﺩًﺍ ﻓﻭﻨﻴﻤﻴ‪‬ﺎ ﻓﻲ ﻨﻬﺎﻴﺘِﻪ‪.‬‬

‫ﺝ ﺍﻟﻤﻘﺎﻁ ﹺﻊ ﺍﻟﺼﻭﺘﻴّﺔ‪ ،‬ﺘﺅﺜﹼ ُﺭ ﻫﺫﻩ ﺍﻟﻤﻘـﺎﻁ ُﻊ ﻓـﻲ‬

‫ل ﺍﻟﻤﺘﻔﺎﻭﺕ‪ ،‬ﻹﻨﺘﺎ ﹺ‬
‫ل ﻫﺫﺍ ﺍﻟﺠﻬ ِﺩ ﺍﻟﻤﺒﺫﻭ ﹺ‬
‫ﻤﻥ ﺨﻼ ﹺ‬

‫ﻼ‪ ،‬ﻓﻲ ﻜﻠﻤـ ٍﺔ‬

‫ﻕ ﻤﺜ ﹰ‬
‫ل ﺍﻟﻤﻐﻠ ِ‬
‫ﺝ ﺇﻟﻴﻪ ﺍﻟﻜﻠﻤ ﹸﺔ ﺃﻭ ﺍﻟﺠﻤﻠﺔ؛ ﻓﻭﺠﻭ ُﺩ ﺍﻟﻤﻘﻁ ﹺﻊ ﺍﻟﻁﻭﻴ ﹺ‬
‫ﻲ‪ ،‬ﺍﻟﺫﻱ ﺘﺤﺘﺎ ُ‬
‫ﺍﻟﺠﻬ ِﺩ ﺍﻟﻨﻁﻘ ﱢ‬

‫ﻕ ﺍﻟﺠﻤﻠ ِﺔ ﺍﻟﺘﻲ ﺘﺤﻭﻴﻬـﺎ‪.‬‬

‫ﻕ ﻫﺫﻩ ﺍﻟﻜﻠﻤ ِﺔ‪ ،‬ﻭﻨﻁ ﹶ‬ ‫ﻥ‪ ،( aal / lii / na :‬ﻴﺜﻘ ُ‬
‫ل ﻨﻁ ﹶ‬ ‫ﻤﺜل‪) :‬ﻀﺎﻟﹼﻴ َ‬

‫ل ﺍﻟﺘﻨﻅﻴ ﹺﻡ ﺍﻟﺫﻱ ﻴﻌﺘﺭﻴﻬﺎ ﻓﻲ ﺍﻟﺘﺭﺍﻜﻴﺏ؛‬

‫ﻲ‪ ،‬ﻤﻥ ﺨﻼ ﹺ‬
‫ﻜﺫﻟﻙ‪ ،‬ﺘﺅﺜﹼ ُﺭ ﻫﺫﻩ ﺍﻟﻤﻘﺎﻁ ُﻊ ﻓﻲ ﺍﻟﺠﻬ ِﺩ ﺍﻟﻨﻁﻘـ ﱢ‬

‫ﺽ ﺫﻟـﻙ؛ ﻓﺘﺘـﺎﺒ ُﻊ‬

‫ﻥ ﻤﻨﻬﺎ ﻤﺎ ﻫﻭ ﻨﻘﻴ ُ‬
‫ﺏ ﺒﺎﻟﺴﻬﻭﻟﺔ‪ ،‬ﻭﺇ ﱠ‬
‫ﻥ ﻤﻥ ﺍﻟﻤﻘﺎﻁ ﹺﻊ‪ ،‬ﻤﺎ ﻴﺼﺒ ﹸﻎ ﺘﺠـﺎﻭﺭُﻩ ﺍﻟﺘﺭﻜﻴ َ‬
‫ﻓﺈ ﱠ‬

‫ﻕ ﺴﻼﺴ ﹰﺔ ﻨﻁﻘ ّﻴ ﹰﺔ ﻋﺫﺒ ﹰﺔ‪ ،‬ﻻ ﺘﺠـﺩُﻫﺎ ﻓـﻲ‬

‫ﻼ‪ ،‬ﻴﺤﻘﹼ ﹸ‬
‫ﺡ ﻤﺜ ﹰ‬
‫ﻁ ﺍﻟﻤﻔﺘﻭ ﹺ‬
‫ﺴِ‬
‫ﻕ ﻭﺍﻟﻤﺘﻭ ّ‬
‫ﻁ ﺍﻟﻤﻐﻠ ِ‬
‫ﺴِ‬
‫ﻥ‪ :‬ﺍﻟﻤﺘﻭ ّ‬
‫ﺍﻟﻤﻘﻁﻌﻴ ﹺ‬

‫ل‬
‫ﻕ ﺇﻟﻰ ﺤ ﱟﺩ ﻤﻼﺤﻅ‪ ،‬ﺍﻷﻤ ُﺭ ﺍﻟﺫﻱ ﺠﻌـ َ‬
‫ل ﺍﻟﻨﻁ ِ‬
‫ﺘﺘﺎﺒ ﹺﻊ ﺜﻼﺜ ِﺔ ﻤﻘﺎﻁ َﻊ ﻗﺼﻴﺭ ٍﺓ ﺃﻭ ﺃﻜﺜـﺭ؛ ﻓﻬﻭ ﺘﺘﺎﺒـﻊٌ ﺜﻘﻴ ُ‬

‫ﺕ ﻜﺜﻴﺭﺓ‪.‬‬
‫ﺹ ﻤﻨﻪ‪ ،‬ﻓﻲ ﺤﺎﻻ ٍ‬
‫ﺍﻟﻌﺭﺒ ّﻴ ﹶﺔ ﺘﺘﺨﻠﹼ ُ‬

‫ﺏ‪:‬‬
‫ل‪ ) :‬ﹶﻜﺘﹶـ َ‬
‫ﻼ ﻤﻜ ّﻭﻨﹰﺎ ﻤﻥ ﺜﻼﺜـ ِﺔ ﻤﻘﺎﻁ َﻊ ﻗﺼﻴﺭ ٍﺓ‪ ،‬ﻜﺎﻟﻔﻌ ﹺ‬
‫ﻥ ﺍﻟﻌﺭﺒﻴّـ ﹶﺔ ﺇﺫﺍ ﺃﺴﻨﺩﺕﹾ ﻓﻌ ﹰ‬
‫ﻭﻤﻥ ﺫﻟﻙ‪ ،‬ﺃ ﱠ‬
‫ل‪،‬‬
‫ﻥ‪ :‬ﺍﻟﺜﺎﻨﻲ ﻭﺍﻷﺨﻴ ُﺭ ﻓﻲ ﺍﻟﻔﻌـ ﹺ‬
‫ﻥ ﺍﻟﻘﺼﻴﺭﺍ ﹺ‬
‫ل ﺍﻟﻤﻘﻁﻌﺎ ﹺ‬ ‫‪ ،(ka / ta / ba‬ﺇﻟﻰ ﺍﻟﻀﻤﻴ ﹺﺭ )ﺃﻨﺎ( ﻤﺜ ﹰ‬
‫ﻼ؛ ﺘﺤ ّﻭ َ‬

‫ﻻ‬
‫ﺕ )‪ ،(ka / tab / tu‬ﺒﺩ ﹰ‬
‫ل‪ :‬ﹶﻜ ﹶﺘﺒْ ﹸ‬
‫ﻁ ﻤﻐﻠﻕ؛ ﻓﺭﺍﺭًﺍ ﻤﻥ ﺘﻭﺍﻟﻲ ﺍﻟﻤﻘﺎﻁ ﹺﻊ ﺍﻟﻘﺼﻴﺭﺓ؛ ﻓﻴﻘﺎ ُ‬
‫ﺴٍ‬
‫ﺇﻟﻰ ﻤﻘﻁ ﹴﻊ ﻤﺘﻭ ّ‬

‫ﺕ )‪.(ka / ta / ba / tu‬‬
‫ﻤﻥ‪ :‬ﹶﻜ ﹶﺘﺒَ ﹸ‬

‫ﻲ‬
‫ﻲ؛ ﻓﻘﺩ ﺒُﻨـ َ‬
‫ﻭﻤﻥ ﺨﻴ ﹺﺭ ﺍﻷﺩﹼﻟ ِﺔ ﻋﻠﻰ ﺘﺄﺜﻴ ﹺﺭ ﺍﻟﻤﻘﺎﻁ ﹺﻊ ﺍﻟﺼﻭﺘ ّﻴ ِﺔ ﺒﺠﻬﺩِﻫﺎ ﻭﺘﻨﻅﻴﻤِﻬﺎ‪ ،‬ﺍﻟﺸﻌ ُﺭ ﺍﻟﻌﺭﺒـ ﱡ‬

‫ﺡ؛ ﻟﺴﻬﻭﻟﺘِﻬﺎ‪ ،‬ﻭﻗﺩ ﹸﻨﻅﹼﻤـﺕ‬

‫ﻁ ﺍﻟﻤﻔﺘﻭ ﹺ‬
‫ﺴِ‬
‫ﻕ‪ ،‬ﻭﺍﻟﻤﺘﻭ ّ‬
‫ﻁ ﺍﻟﻤﻐﻠ ِ‬
‫ﺴِ‬
‫ﻫﺫﺍ ﺍﻟﺸﻌ ُﺭ ﻋﻠﻰ ﺍﻟﻤﻘﺎﻁ ﹺﻊ‪ :‬ﺍﻟﻘﺼﻴ ﹺﺭ‪ ،‬ﻭﺍﻟﻤﺘﻭ ّ‬

‫ﻲ‪ ،‬ﺃﻥ ﺘﺘﻭﺍﻟﻰ‬

‫ﻥ ﻓﻲ ﺍﻟﺸﻌ ﹺﺭ ﺍﻟﻌﺭﺒ ﱢ‬
‫ﻼ‪ ،‬ﻻ ﻴﻤﻜ ُ‬
‫ﺕ‪ ،‬ﻋﻠﻰ ﺍﻟﻭﺠ ِﻪ ﺍﻟﺫﻱ ﻴﺘﻤّ ُﻡ ﻫﺫﻩ ﺍﻟﺴﻬﻭﻟـﺔ؛ ﻓﻤﺜ ﹰ‬
‫ﻓﻲ ﺘﻔﻌﻴﻼ ٍ‬

‫ل ﻤﻥ ﺍﻷﺤـﻭﺍل‪ ،‬ﻭﻻ‬
‫ﻱ ﺒﺤ ﹴﺭ ﻤﻥ ﺍﻟﺒﺤﻭ ﹺﺭ‪ ،‬ﺒﺤﺎ ﹴ‬
‫ﻉ ﺍﻟﻘﺼﻴ ﹺﺭ‪ ،‬ﻓـﻲ ﺃ ﱢ‬
‫ﺃﻜﺜ ُﺭ ﻤﻥ ﺜﻼﺜـ ِﺔ ﻤﻘﺎﻁ َﻊ ﻤﻥ ﺍﻟﻨﻭ ﹺ‬

‫ﻉ‪ ،‬ﺇ ﹼ‬
‫ﻻ ﻓﻲ ﺍﻟﺘﻔﻌﻴﻠ ِﺔ ) ُﻤ ﹶﺘ ِﻌﹸﻠﻥْ(‪ ،‬ﺇﺤﺩﻯ ﺼـﻭ ﹺﺭ ﺍﻟﺘﻔﻌﻴﻠـ ِﺔ‬ ‫ﻴﺠﻭ ُﺯ ﻓﻴﻪ ﺘﻭﺍﻟﻲ ﺜﻼﺜـ ِﺔ ﻤﻘﺎﻁ َﻊ ﻤﻥ ﻫﺫﺍ ﺍﻟﻨﻭ ﹺ‬

‫) ُﻤﺴْ ﹶﺘﻔﹾ ِﻌﹸﻠﻥْ(‪ ،‬ﻭﻫﻲ ﺘﻔﻌﻴﻠﺔﹲ ﻗﻠﻴﻠ ﹸﺔ ﺍﻻﺴﺘﺨﺩﺍﻡ)‪(1‬؛ ﻟﻤﺎ ﺘﺤﺩﺜﹸﻪ ﺒﺘﻭﺍﻟﻲ ﻤﻘﺎﻁﻌِﻬﺎ ﺍﻟﺜﻼﺜـ ِﺔ ﺍﻟﻘﺼﻴﺭ ِﺓ‪ ،‬ﻤﻥ ﺜﻘ ﹴ‬
‫ل‬

‫)‪(1‬‬
‫ﻋﺒﺩ ﺍﻟﺘﻭّﺍﺏ‪ ،‬ﺭﻤﻀﺎﻥ‪ :‬ﻓﺼﻭل ﻓﻲ ﻓﻘﻪ ﺍﻟﻌﺭﺒﻴّﺔ‪ .‬ﻁ‪ .6‬ﺍﻟﻘﺎﻫﺭﺓ‪ :‬ﻤﻜﺘﺒﺔ ﺍﻟﺨﺎﻨﺠﻲ‪ .1999 .‬ﺹ‪.158‬‬
‫‪36‬‬
‫ﻉ ﻤﻥ ﺍﻟﻤﻘﺎﻁ ﹺﻊ‪ ،‬ﺃﺴﻬﻠﹸﻬﺎ ﻤﻨﻔﺭﺩًﺍ‪ .‬ﻭﻤﻥ ﺃﻤﺜﻠ ِﺔ ﻫـﺫﻩ‬
‫ﻥ ﻫﺫﺍ ﺍﻟﻨﻭ َ‬
‫ﻅ ﻓـﻲ ﺍﻟﻨﻁﻕ‪ ،‬ﻋﻠﻰ ﺍﻟﺭﻏ ﹺﻡ ﻤﻥ ﺃ ﱠ‬
‫ﻤﻼﺤ ٍ‬

‫ل ﺃﺤﻤﺩ ﺸﻭﻗﻲ‪:‬‬
‫‪ ،(fa / na / ha /‬ﻤﻥ ﻗﻭ ﹺ‬ ‫ﺏ‪ ) :‬ﹶﻓ ﹶﻨﻬَﻀَلْ‪al :‬‬
‫ﺍﻟﺘﻔﻌﻴﻠ ِﺔ‪ ،‬ﺍﻟﺘﺭﻜﻴ ُ‬

‫ﻑ ﺍﻷﺭﻓـ ﹺﻊ )ﺍﻟﺴﺭﻴﻊ(‬
‫ل‪ :‬ﻴﺎ ﺫﺍ ﺍﻟﺸﺭ ِ‬
‫ﻭﻗﺎ َ‬ ‫ل ﻭﺯﻴ ُﺭ ﺍﻟﻌُـﻼ‬
‫ﹶﻓ ﹶﻨﻬَﺽَ ﺍﻟﻔﻴ ُ‬

‫ﻉ‬
‫ﺙ ﺒﺎﻟﻀّﻔﺩ ﹺ‬
‫)‪(1‬‬
‫ﻕ ﺠﺎ ُﻩ ﺍﻟﻠﹼﻴ ِ‬
‫ﺇﻥْ ﻀﺎ ﹶ‬ ‫ﻋﺯﱢﻩ‬
‫ﻙ ﻭﻓﻲ ِ‬
‫ﻻ ﺨﻴ َﺭ ﻓﻲ ﺍﻟ َﻤﻠﹾ ِ‬

‫ﻲ ﻫﺫﺍ ﺍﻟﻌـﺩ ِﺩ‬

‫ل ﺍﻟﺸﻌ ﹺﺭ‪ ،‬ﺘﻭﺍﻟ َ‬
‫ﻥ‪ ،‬ﺃﺜﺭًﺍ ﻤﻥ ﺁﺜـﺎ ﹺﺭ ﻋﺩ ﹺﻡ ﺘﻘ ّﺒ ﹺ‬
‫ﻥ ﺍﻟﺒﻴﺘﻴ ﹺ‬
‫ﺱ‪ ،‬ﻓـﻲ ﻫﺫﻴ ﹺ‬
‫ﻥ ﻟﻨﺎ ﺃﻥ ﻨﻠﻤ َ‬
‫ﻭﻴﻤﻜ ُ‬

‫ﻙ‪:‬‬
‫ﻻ ﻤﻥ ) َﻤِﻠ ِ‬
‫ﻙ )‪ ،...(mal / ki‬ﺒﺩ ﹰ‬
‫ل ﺍﻟﺸﺎﻋ ﹺﺭ‪ :‬ﻻ ﺨﻴ َﺭ ﻓﻲ ﺍﻟ َﻤﻠﹾ ِ‬
‫ﻤﻥ ﺍﻟﻤﻘﺎﻁ ﹺﻊ ﺍﻟﻘﺼﻴﺭﺓ‪ ،‬ﺃﻻ ﻭﻫﻭ ﻗـﻭ ُ‬

‫ﻻ ﻤﻥ ﺘﺤﺭﻴﻜِﻬﺎ؛ ﻓـﺭﺍﺭًﺍ ﻤـﻥ‬

‫ﻥ ﻻ ﹺﻡ )ﻤﻠﻙ( ﺒﺩ ﹰ‬ ‫‪(ma / li / ki‬؛ ﻓـ))ﻴﻜﺜ ُﺭ ﻓـﻲ ﺍﻟﺸﻌ ﹺﺭ ﺍﻟﻌﺭﺒ ﱢ‬
‫ﻲ‪ ،‬ﺘﺴﻜﻴ ُ‬

‫ﺘﻭﺍﻟﻲ ﺜﻼﺜ ِﺔ ﻤﻘﺎﻁ َﻊ ﻗﺼﻴﺭﺓ(()‪.(2‬‬

‫ﻥ‪ ،‬ﻴﺘﻘ ّﺩﻤُﻬﻡ ﻓـﻲ ﺫﻟـﻙ‬

‫ﻕ ﻤﻥ ﻀﺭﻭﺭﺓ‪ ،‬ﺃﺩﺭﻜﹶﻪ ﺍﻟﻤﺘﻠﻘﹼﻭ َ‬
‫ﻙ ﺍﻟﺸﻌﺭﺍ ُﺀ ﻤﺎ ﻓﻲ ﺴﻼﺴ ِﺔ ﺍﻟﻨﻁ ِ‬
‫ﻭﻜﻤﺎ ﺃﺩﺭ َ‬
‫ل ﺍﻟﻤﺨﺎﺭﺝ؛ ﻓﻴُﻌﻠ ُﻡ ﺒـﺫﻟﻙ‪،‬‬
‫ﻥ ))ﻤﺘﻼﺤ َﻡ ﺍﻷﺠﺯﺍﺀ‪ ،‬ﺴﻬ َ‬
‫ﻥ ﺃﺠﻭ َﺩ ﺍﻟﺸﻌ ﹺﺭ‪ ،‬ﻤﺎ ﻜﺎ َ‬
‫ﺍﻟﻨﻘﹼﺎ ُﺩ‪ ،‬ﺍﻟﺫﻴﻥ ﻨﺼّﻭﺍ ﻋﻠﻰ ﺃ ﱠ‬

‫ﻥ‪ ،‬ﻜﻤﺎ ﻴﺠﺭﻱ ﻋﻠﻰ ﺍﻟﺩّﻫـﺎﻥ(()‪.(3‬‬

‫ﻙ ﺴﺒﻜﹰﺎ ﻭﺍﺤﺩًﺍ؛ ﻓﻬﻭ ﻴﺠﺭﻱ ﻋﻠﻰ ﺍﻟﻠﹼﺴﺎ ﹺ‬
‫ﻍ ﺇﻓﺭﺍﻏﹰﺎ ﺠ ّﻴﺩًﺍ‪ ،‬ﻭﺴُﺒ َ‬
‫ﺃﻨﹼﻪ ﺃﻓﺭ ﹶ‬

‫ﻲ‬
‫‪ .2‬ﺍﻷﺜ ُﺭ ﺍﻟﺴﻤﻌ ّ‬

‫ﻕ ﻭﺍﺤﺩ‪ ،‬ﻭﻫـﺫﻩ ﺍﻟﺤﺒّ ﹸﺔ‪،‬‬

‫ل‪ ،‬ﻻ ﺘﻨﻤﻭ ﺒﺸ ﱟ‬
‫ل ﺍﻟﻌﻤﻠﻴّ ﹸﺔ ﺍﻟﻨﻁﻘﻴّ ﹸﺔ‪ ،‬ﻭﺍﻟﻌﻤﻠ ّﻴ ﹶﺔ ﺍﻟﺴﻤﻌ ّﻴ ﹶﺔ‪ ،‬ﻓﻠﻘﺘﻲْ ﺤ ّﺒ ِﺔ ﻓﻭ ﹴ‬
‫ﺘﻤﺜﹼ ُ‬

‫ﻫﻲ ﺍﻟﻠﹼﻐ ﹸﺔ ﺫﺍﺘﹸﻬﺎ‪ ،‬ﺍﻟﺘﻲ ))ﺘﺴﺘﻠﺯ ُﻡ ﺍﺜﻨﻴ ﹺ‬

‫ﻥ ﻓﺄﻜﺜـ َﺭ‪ ،‬ﺤﺘﹼﻰ ﻋﻨﺩَﻤﺎ ﺘﺘﻜﻠﹼـ ُﻡ ﺇﻟﻰ ﻨﻔﺴِﻙ؛ ﻓﺄﻨـﺕ ﺘﺠـﺭّ ُﺩ ﻤـﻥ‬

‫ﺸﺨﺼِﻙ ﻓﺭﺩًﺍ ﻤﺘﻜﹼﻠﻤًﺎ‪ ،‬ﻭﺁﺨ َﺭ ﺴﺎﻤﻌًﺎ(()‪(4‬؛ ﻓﺎﻟﻠﹼﻐ ﹸﺔ ﺘﻘﻭ ُﻡ ﻋﻠﻰ ﺍﻟﺜﻨﺎﺌ ّﻴ ِﺔ‪ :‬ﺍﻟﻤﺘﻜﹼﻠ ﹺﻡ ﻭﺍﻟﺴـﺎﻤﻊ؛ ﻟـﺫﻟﻙ ﻜـﺎ َ‬
‫ﻥ‬

‫ﻕ ﺒﻪ ﺍﻟﻠﹼﻐ ﹸﺔ ﻫﺩﻓﹶﻬﺎ‬
‫ﻱ‪ ،‬ﺘﺤﻘﹼ ﹸ‬
‫ل ﺍﻟﻠﹼﻐﻭ ّ‬
‫ﺕ ﺍﻻﺘﹼﺼﺎ ﹺ‬
‫ﻲ )‪ ،(Sonority‬ﻀﺭﻭﺭ ﹰﺓ ﻤﻥ ﻀﺭﻭﺭﺍ ِ‬
‫ﺡ ﺍﻟﺴﻤﻌ ﱡ‬
‫ﺍﻟﻭﻀﻭ ُ‬

‫ﺹ ﺍﻟﺠﻴّﺩ‪.‬‬
‫ﺕ ﺍﻟﺠﻭﺩ ِﺓ ﺍﻟﺼﻭﺘ ّﻴ ِﺔ‪ ،‬ﺍﻟﺘﻲ ﻴﺘﻤﺘﹼ ُﻊ ﺒﻬﺎ ﺍﻟﻨ ﱡ‬
‫ﻱ‪ ،‬ﻭﺴﻤ ﹰﺔ ﻤﻥ ﺴﻤﺎ ِ‬
‫ﺍﻟﺘﺄﺜﻴﺭ ّ‬

‫)‪(1‬‬
‫ﺸﻭﻗﻲ‪ ،‬ﺃﺤﻤﺩ‪ :‬ﺍﻟﺸﻭﻗﻴّﺎﺕ‪ 4 .‬ﺝ ﻓﻲ ﻤﺠﻠﹼﺩﻴﻥ‪ .‬ﺒﻴﺭﻭﺕ‪ :‬ﺩﺍﺭ ﺍﻟﻜﺘﺏ ﺍﻟﻌﻠﻤﻴّﺔ‪) .‬ﺩ‪ .‬ﺕ(‪.118 / 4 .‬‬
‫)‪(2‬‬
‫ﻋﺒﺩ ﺍﻟﺘﻭّﺍﺏ‪ ،‬ﺭﻤﻀﺎﻥ‪ :‬ﻓﺼﻭل ﻓﻲ ﻓﻘﻪ ﺍﻟﻌﺭﺒﻴّﺔ‪ .‬ﺹ‪.159‬‬
‫)‪(3‬‬
‫ﺍﻟﺠﺎﺤﻅ‪ ،‬ﻋﻤﺭﻭ ﺒﻥ ﺒﺤﺭ‪ :‬ﺍﻟﺒﻴﺎﻥ ﻭﺍﻟﺘﺒﻴﻴﻥ‪ .‬ﺘﺤﻘﻴﻕ ﻋﺒﺩ ﺍﻟﺴﻼﻡ ﻫﺎﺭﻭﻥ‪ .‬ﺍﻟﻘﺎﻫﺭﺓ‪ :‬ﻤﻜﺘﺒﺔ ﺍﻟﺨﺎﻨﺠﻲ‪.67 / 1 .1975 .‬‬
‫)‪(4‬‬
‫ﺒﺎﻱ‪ ،‬ﻤﺎﺭﻴﻭ‪ :‬ﺃﺴﺱ ﻋﻠﻡ ﺍﻟﻠﹼﻐﺔ‪ .‬ﺹ‪.40‬‬
‫‪37‬‬
‫ﺕ ﺍﻟﻨﻔﺴـ ّﻴ ِﺔ‪ ،‬ﻭﺍﻻﺠﺘﻤﺎﻋﻴّـﺔ‪،‬‬
‫ﺕ ﻏﻴ ﹺﺭ ﺍﻟﻠﹼﻐﻭﻴّﺔ‪ ،‬ﻜـﺎﻟﻤﺅﺜﹼﺭﺍ ِ‬
‫ﺡ‪ ،‬ﺨﺎﺭﺠًﺎ ﻋﻠﻰ ﺍﻟﻤﺅﺜﹼﺭﺍ ِ‬
‫ﻭﻫﺫﺍ ﺍﻟﻭﻀﻭ ُ‬
‫ﺕ ﻏﻴ ﹺﺭ ﺍﻟﺘﺭﻜﻴﺒﻴّـﺔ‪،‬‬
‫ﺕ ﺍﻟﻠﹼﻐﻭ ّﻴ ِﺔ ﺍﻟﺘﺭﻜﻴﺒ ّﻴ ِﺔ‪ ،‬ﻭﺍﻟﻔﻭﻨﻴﻤﺎ ِ‬
‫ل ﻓﻲ ﻁﺒﻴﻌ ِﺔ ﺍﻷﺼﻭﺍ ِ‬
‫ل‪ ،‬ﺘﺘﻤﺜﹼ ُ‬
‫ل ﺒﻌ ّﺩ ِﺓ ﻋﻭﺍﻤ َ‬
‫ﻴﺘﺤﺼّ ُ‬
‫ﺕ ﻭﺍﻟﻤﻘﺎﻁﻊ‪.‬‬
‫ﻭﻁﺒﻴﻌ ِﺔ ﺍﻟﻤﻘﺎﻁ ﹺﻊ ﺍﻟﺼﻭﺘﻴّﺔ‪ ،‬ﻭﺍﻟﺘﻨﻅﻴ ﹺﻡ ﺍﻟﺫﻱ ﻴﺤﻜ ُﻡ ﻫﺫﻩ ﺍﻷﺼﻭﺍ ﹶ‬

‫ﻉ ﻭﺍﻨﺨﻔـﺎﺽ‪،‬‬
‫ﻥ ﺍﺭﺘﻔﺎ ﹴ‬
‫ﻑ ﻓـﻲ ﺩﺭﺠ ِﺔ ﻭﻀﻭﺤِﻬﺎ ﻓﻲ ﺍﻟﺴّﻤ ﹺﻊ‪ ،‬ﺒﻴ َ‬
‫ﺕ ﺍﻟﺘﺭﻜﻴﺒﻴّ ﹸﺔ‪ ،‬ﻓﺘﺨﺘﻠ ﹸ‬
‫ﺃﻤّﺎ ﺍﻷﺼﻭﺍ ﹸ‬
‫ل‬
‫ل ﺘﺴﻠﺴـ ﹺ‬
‫ﻱ‪ .‬ﻭﻴﻅﻬ ُﺭ ﺫﻟﻙ ﻤﻥ ﺨـﻼ ﹺ‬
‫ﺕ ﺍﻟﻠﹼﻐﻭ ّ‬
‫ل ﻤﻨﻬﺎ ﺍﻟﺼﻭ ﹸ‬
‫ﺢ ﺍﻟﺘﻤﻴﻴﺯ ّﻴ ِﺔ‪ ،‬ﺍﻟﺘﻲ ﻴﺘﺸﻜﹼ ُ‬
‫ﺒﻨﺎ ًﺀ ﻋﻠﻰ ﺍﻟﻤﻼﻤ ﹺ‬
‫ﺕ ﺍﻻﻨﻔﺠﺎﺭﻴّـ ﹸﺔ ﺍﻟﻤﻬﻤﻭﺴـﺔ‬
‫ل ﻭﻀﻭﺤًﺎ‪ ،‬ﺇﻟﻰ ﺍﻷﻭﻀﺢ‪ :‬ﺍﻟﺼـﻭﺍﻤ ﹸ‬
‫ﺕ ﺍﻟﻌﺭﺒ ّﻴ ِﺔ ﺍﻵﺘﻲ‪ ،‬ﻤﻥ ﺍﻷﻗ ﱢ‬
‫ﺍﻷﺼﻭﺍ ِ‬
‫ﺕ ﺍﻻﺤﺘﻜﺎﻜﻴّـ ﹸﺔ‬ ‫)‪ ،(Plosive Voiceless Consonants‬ﻜﺎﻟﺘﺎ ِﺀ‪ ،‬ﻭﺍﻟﻜﺎ ِ‬
‫ﻑ‪ ،‬ﻭﺍﻟﻘﺎﻑ‪...‬؛ ﻓﺎﻟﺼـﻭﺍﻤ ﹸ‬
‫ﻥ‪ ،‬ﻭﺍﻟﻔﺎﺀ‪...‬؛ ﻓﺎﻟﺼﻭﺍﻤ ﹸ‬
‫ﺕ ﺍﻻﻨﻔﺠﺎﺭﻴّ ﹸﺔ‬ ‫ﺍﻟﻤﻬﻤﻭﺴﺔ )‪ ،(Fricative Voiceless Consonants‬ﻜﺎﻟﺴﻴ ﹺ‬
‫ﺕ‬ ‫ﺍﻟﻤﺠﻬـﻭﺭﺓ )‪ ،(Plosive Voiced Consonants‬ﻜﺎﻟﺒـﺎ ِﺀ‪ ،‬ﻭﺍﻟـﺩﺍ ﹺ‬
‫ل‪ ،‬ﻭﺍﻟﻀـﺎﺩ‪...‬؛ ﻓﺎﻟﺼـﻭﺍﻤ ﹸ‬
‫ﻥ‪،‬‬
‫ل‪ ،‬ﻭﺍﻟﻅﺎ ِﺀ‪ ،‬ﻭﺍﻟﻐﻴ ﹺ‬ ‫ﺍﻻﺤﺘﻜﺎﻜﻴّ ﹸﺔ ﺍﻟﻤﺠﻬﻭﺭﺓ )‪ ،( Fricative Voiced Consonants‬ﻜﺎﻟﺯﺍ ﹺ‬
‫ﻱ‪ ،‬ﻭﺍﻟﺫﺍ ﹺ‬
‫ﻥ‪ ،‬ﻭﺍﻟﻼ ُﻡ‪ ،‬ﻭﺍﻟﺭّﺍﺀ‪.‬‬
‫ﺕ ﺍﻟﺭﻨﹼﺎﻨ ﹸﺔ )‪ :(Resonants‬ﺍﻟﻤﻴ ُﻡ‪ ،‬ﻭﺍﻟﻨﻭ ُ‬
‫ﻭﺍﻟﻌﻴﻥ‪...‬؛ ﻓﺎﻟﺼﻭﺍﻤ ﹸ‬

‫ﺕ‪،‬‬
‫ﺢ ﻤﻥ ﺍﻟﺼﻭﺍﻤ ِ‬
‫ﻭﻴﺄﺘﻲ ﺒﻌ َﺩ ﺫﻟﻙ‪ ،‬ﻨﺼﻔﺎ ﺍﻟﺤﺭﻜ ِﺔ )‪ :(Semi Vowels‬ﺍﻟﻭﺍﻭ ﻭﺍﻟﻴﺎﺀ؛ ﻓﻬﻤﺎ ﺃﻭﻀ ُ‬
‫ﺝ‪ ،‬ﻓـﻲ‬
‫ﺕ ﻓﻲ ﺍﻟﺴﻤﻊ‪ ،‬ﻭﻫﻲ ﻨﻔﺴُﻬﺎ ﺘﺘﺩﺭّ ُ‬ ‫ﺕ )‪ ،(Vowels‬ﺍﻟﺘـﻲ ﺘﻌ ﱡﺩ ﺃﻭﻀ َ‬
‫ﺢ ﺍﻷﺼﻭﺍ ِ‬ ‫ﻥ ﺍﻟﺤﺭﻜﺎ ِ‬
‫ﻭﺩﻭ َ‬
‫ﻱ ﺍﻵﺘﻲ‪ :‬ﺍﻟﻀﻤ ﹸﺔ ﺍﻟﻘﺼﻴﺭﺓ‪ ،‬ﻓﺎﻟﻜﺴـﺭ ﹸﺓ ﺍﻟﻘﺼـﻴﺭﺓ‪ ،‬ﻓﺎﻟﻔﺘﺤـ ﹸﺔ‬
‫ل ﺍﻟﺘﺼﺎﻋﺩ ﱢ‬
‫ﻲ‪ ،‬ﺒﺎﻟﺘﺴﻠﺴ ﹺ‬
‫ﺡ ﺍﻟﺴﻤﻌ ّ‬
‫ﺍﻟﻭﻀﻭ ﹺ‬
‫ﺍﻟﻘﺼﻴﺭﺓ‪ ،‬ﻓﺎﻟﻀﻤ ﹸﺔ ﺍﻟﻁﻭﻴﻠﺔ‪ ،‬ﻓﺎﻟﻜﺴﺭ ﹸﺓ ﺍﻟﻁﻭﻴﻠﺔ‪ ،‬ﻓﺎﻟﻔﺘﺤ ﹸﺔ ﺍﻟﻁﻭﻴﻠﺔ)‪.(1‬‬

‫ﺞ ﺃﺠﻬـﺯ ٍﺓ‪،‬‬
‫ﺹ ﻋﻠﻴﻪ ﻋﻠﻤﺎ ُﺀ ﺍﻷﺼﻭﺍﺕ‪ ،‬ﺒﻨﺎ ًﺀ ﻋﻠﻰ ﻨﺘـﺎﺌ ﹺ‬
‫ﺏ‪ ،‬ﺍﻟﺫﻱ ﻨ ﱠ‬
‫ﻅ ﺒﺎﺴﺘﻘﺭﺍ ِﺀ ﻫﺫﺍ ﺍﻟﺘﺭﺘﻴ ﹺ‬
‫ﻨﻼﺤ ﹸ‬
‫ل ﻓﻲ ﻤﻘـﺩﺍ ﹺﺭ‬
‫ل ﺍﻷﻭّ ُ‬ ‫ﻱ)‪ ،(2‬ﺃﻨﹼـﻪ ﻴﻘﻭ ُﻡ ﻋﻠﻰ ﻤﻌﻴﺎﺭﻴ ﹺ‬
‫ﻥ ﻤﻬﻤّﻴﻥ‪ :‬ﻴﺘﻤﺜﹼ ُ‬ ‫ﺕ ﺍﻟﻠﹼﻐﻭ ّ‬
‫ﻤﺨﺼﻭﺼ ٍﺔ ﺒﺩﺭﺍﺴ ِﺔ ﺍﻟﺼﻭ ِ‬

‫)‪(1‬‬
‫ﺍﻨﻅﺭ‪:‬‬
‫‪ -‬ﺃﻨﻴﺱ‪ ،‬ﺇﺒﺭﺍﻫﻴﻡ‪ :‬ﺍﻟﹼﻠﻐﺔ ﺒﻴﻥ ﺍﻟﻘﻭﻤﻴّﺔ ﻭﺍﻟﻌﺎﻟﻤﻴّﺔ‪ .‬ﺍﻟﻘﺎﻫﺭﺓ‪ :‬ﺩﺍﺭ ﺍﻟﻤﻌﺎﺭﻑ‪ .1970 .‬ﺹ‪.28‬‬
‫‪ -‬ﻫﻼل‪ ،‬ﻋﺒﺩ ﺍﻟﻐﻔﺎﺭ ﺤﺎﻤﺩ‪ :‬ﺃﺼﻭﺍﺕ ﺍﻟﻠﹼﻐﺔ ﺍﻟﻌﺭﺒﻴّﺔ‪ .‬ﻁ‪ .2‬ﺍﻟﻘﺎﻫـﺭﺓ‪ :‬ﻤﻁﺒﻌﺔ ﺍﻟﺠﺒﻼﻭﻱ‪ .1988 .‬ﺹ‪.240 ،239‬‬
‫‪ -‬ﻤﺼﻠﻭﺡ‪ ،‬ﺴﻌﺩ‪ :‬ﺩﺭﺍﺴﺔ ﺍﻟﺴﻤﻊ ﻭﺍﻟﻜﻼﻡ‪ .‬ﺍﻟﻘﺎﻫﺭﺓ‪ :‬ﻋﺎﻟﻡ ﺍﻟﻜﺘﺏ‪ .1980 .‬ﺹ‪.267 ،266‬‬
‫‪ -‬ﻋﻤﺭ‪ ،‬ﺃﺤﻤﺩ ﻤﺨﺘﺎﺭ‪ :‬ﺩﺭﺍﺴﺔ ﺍﻟﺼﻭﺕ ﺍﻟﻠﹼﻐﻭ ّ‬
‫ﻱ‪ .‬ﺹ‪.294 ،293‬‬
‫‪ -‬ﺍﻟﻨﻭﺭﻱ‪ ،‬ﻤﺤﻤﺩ ﺠﻭﺍﺩ‪ :‬ﻋﻠﻡ ﺃﺼﻭﺍﺕ ﺍﻟﻌﺭﺒﻴﺔ‪ .‬ﺹ‪.235‬‬
‫ﻲ‪ .‬ﺹ‪.237‬‬
‫ﻲ‪ :‬ﻨﻅﺭﺓ ﺠﺩﻴﺩﺓ ﻓﻲ ﻤﻭﺴﻴﻘﻰ ﺍﻟﺸﻌﺭ ﺍﻟﻌﺭﺒ ّ‬
‫‪ -‬ﻴﻭﻨﺱ‪ ،‬ﻋﻠ ّ‬
‫)‪(2‬‬
‫ﻤﻥ ﺃﻫ ّﻡ ﻫﺫﻩ ﺍﻷﺠﻬﺯﺓ‪ :‬ﺍﻷﻭﺴﻴﻠﺠﺭﺍﻑ )‪ ،(Oscillograph‬ﻭﺍﻟﺴﺒﻜﺘﺭﻭﺠﺭﺍﻑ )‪ .(Spectrograph‬ﺍﻨﻅﺭ‪:‬‬
‫‪ -‬ﺍﻟﻨﻭﺭﻱ‪ ،‬ﻤﺤﻤﺩ ﺠﻭﺍﺩ‪ :‬ﻋﻠﻡ ﺃﺼﻭﺍﺕ ﺍﻟﻌﺭﺒﻴﺔ‪ .‬ﺹ‪.10 ،9‬‬
‫ﻱ‪ .‬ﺹ‪.64 - 53‬‬
‫‪ -‬ﻋﻤﺭ‪ ،‬ﺃﺤﻤﺩ ﻤﺨﺘﺎﺭ‪ :‬ﺩﺭﺍﺴﺔ ﺍﻟﺼﻭﺕ ﺍﻟﻠﹼﻐﻭ ّ‬
‫‪38‬‬
‫ﻲ؛‬
‫ﺕ ﺍﻟﺴـﻤﻌ ّ‬
‫ﺡ ﺍﻟﺼـﻭ ِ‬
‫ﻱ؛ ﻓﻜﻠﹼﻤﺎ ﺯﺍﺩﺕ ﻫﺫﻩ ﺍﻟﻁﺎﻗ ﹸﺔ؛ ﺯﺍ َﺩ ﻭﻀـﻭ ُ‬
‫ﺕ ﺍﻟﻠﹼﻐﻭ ّ‬
‫ﺍﻟﻁﺎﻗ ِﺔ ﺍﻟﺘﻲ ﻴﺤﻤﻠﹸﻬﺎ ﺍﻟﺼﻭ ﹸ‬
‫ﺕ ﻭﻀﻭﺤًﺎ ﺃﻜﺜ َﺭ ﻤﻥ ﺍﻻﻨﻔﺠﺎﺭ؛ ﻓﻬﻭ ﻴﺸﺤﻨﹸﻪ ﺒﻁﺎﻗ ٍﺔ ﺃﻗـﻭﻯ؛‬
‫ﺏ ﺍﻟﺼﻭ ﹶ‬
‫ﻙ‪ ،‬ﻴﻜﺴ ُ‬
‫ﺢ ﺍﻻﺤﺘﻜﺎ ِ‬
‫ﻥ ﻤﻠﻤ َ‬
‫ﻓﻨﺠ ُﺩ ﺃ ّ‬
‫ﻥ‬
‫ﺕ ﻭﻀﻭﺤًﺎ‪ ،‬ﻻ ﻴﺘﻭﺍﻓ ُﺭ ﻓـﻲ ﺍﻟﻬﻤـﺱ؛ ﻟﻜـﻭ ﹺ‬
‫ﺏ ﺍﻟﺠﻬ ُﺭ ﺍﻟﺼﻭ ﹶ‬
‫ﺏ ﻓﻲ ﺍﻟﻨﻁﻕ‪ ،‬ﻜﻤﺎ ﻴﻜﺴ ُ‬
‫ﻟﻜﻭﻨِﻪ ﺃﺼﻌ َ‬
‫ﺱ‪ ،‬ﻓﻲ ﺤﻘﻴﻘﺘِﻪ‪ ،‬ﺍﻨﻌﺩﺍ َﻡ ﺍﻟﺠﻬﺭ‪.‬‬
‫ﺍﻟﻬﻤ ﹺ‬

‫ﻱ )‪ ،(Length‬ﺍﻟﺫﻱ ﻴﻘﺼ ُﺩ ﺒﻪ ))ﺍﻟﺯﻤﻥ‬

‫ﺕ ﺍﻟﻠﹼﻐـﻭ ّ‬ ‫ل ﻓـﻲ ﻁﻭ ﹺ‬
‫ل ﺍﻟﺼﻭ ِ‬ ‫ﺃﻤّﺎ ﺍﻟﻤﻌﻴﺎ ُﺭ ﺍﻵﺨ ُﺭ‪ ،‬ﻓﻴﺘﻤﺜﹼ ُ‬

‫ﻕ ﺒﻬﺫﺍ ﺍﻟﺼﻭﺕ ]‪ ،[Duration‬ﻤﻘ ّﺩﺭًﺍ ﻋﺎﺩ ﹰﺓ‪ ،‬ﺒﺠﺯ ٍﺀ ﻤﻥ ﺍﻟﺜﺎﻨﻴﺔ(()‪(1‬؛ ﻓﻜﻠﹼﻤﺎ ﺯﺍ َﺩ‬
‫ﺍﻟـﺫﻱ ﻴﺴﺘﻐﺭﻗﹸـﻪ ﺍﻟﻨﻁ ﹸ‬

‫ﺢ ﻤـﻥ‬
‫ﺕ ﺍﻟﻁﻭﻴــﻠ ﹶﺔ ﺃﻭﻀـ َ‬
‫ﻱ؛ ﺯﺍ َﺩ ﻭﻀﻭﺤُﻪ ﻓـﻲ ﺍﻟﺴﻤﻊ؛ ﻟﺫﺍ ﻨﺠ ُﺩ ﺍﻟﺤﺭﻜـﺎ ِ‬
‫ﺕ ﺍﻟﻠﹼﻐﻭ ﱢ‬
‫ل ﺍﻟﺼﻭ ِ‬
‫ﻁﻭ ُ‬

‫ﻥ ))ﻁﺎﻗــ ﹶﺔ ﺍﻟﺴـﻭﺍﻜ ﹺ‬
‫ﻥ‬ ‫ﺢ ﻤﻥ ﺍﻟﺼﻭﺍﻤﺕ؛ ﻷﻨﱠﻬﺎ ﺃﻁـﻭل‪ ،‬ﻭﻷ ﱠ‬
‫ﺕ ﺃﻭﻀ َ‬
‫ﺍﻟﻘﺼﻴﺭﺓ‪ ،‬ﻜﻤﺎ ﻨﺠ ُﺩ ﺍﻟﺤﺭﻜـﺎ ِ‬

‫ل ﻤﻥ ﻁﺎﻗ ِﺔ ﺍﻟﺤﺭﻜـﺎﺕ(()‪.(2‬‬
‫]ﺍﻟﺼﻭﺍﻤﺕ[ ﺍﻷﻜﻭﺴﺘﻴﻜﻴّـ ﹶﺔ ]ﺍﻟﻔﻴﺯﻴﺎﺌﻴّﺔ[ ﻋﺎﻤّﺔ‪ ،‬ﺃﻗ ﱡ‬

‫ل ﻤﺠﻤﻭﻋ ٍﺔ‬
‫ﺕ‪ ،‬ﻤﻀ ّﻤﻨﹰﺎ ﻜ ﱠ‬
‫ﺕ ﻓﻲ ﻤﺠﻤﻭﻋﺎ ٍ‬
‫ل ﺍﻟﺼﻭﺍﻤ ﹶ‬
‫ﺏ‪ ،‬ﻗـﺩ ﺴﻠﺴ َ‬
‫ﻥ ﻫﺫﺍ ﺍﻟﺘﺭﺘﻴ َ‬
‫ﻅ ﻜﺫﻟﻙ‪ ،‬ﺃ ﱠ‬
‫ﻭﻨﻼﺤ ﹸ‬
‫ل ﻤﺠﻤﻭﻋ ٍﺔ ﻓﻲ ﺍﻟﻁﺎﻗ ِﺔ ﻭﺍﻟﻁﻭل؛ ﻻﺸﺘﺭﺍﻜِﻬﺎ ﻓـﻲ‬
‫ﺕﻜﱢ‬
‫ﺏ ﻓﻲ ﺍﻟﻭﻀﻭﺡ؛ ﻓﺘﺘﺸﺎﺒ ُﻪ ﺼﻭﺍﻤ ﹸ‬
‫ﻤﻨﻬﺎ‪ ،‬ﻤﺎ ﺘﻘﺎﺭ َ‬

‫ﺕ‬
‫ﺢ ﺇﻟﻰ ﺤ ﱟﺩ ﻜﺒﻴﺭ‪ .‬ﻭﻫــﺫﻩ ﺍﻟﻤﺠﻤﻭﻋـﺎ ﹸ‬
‫ﺢ ﺍﻟﺘﻤﻴﻴﺯ ّﻴ ِﺔ ﺫﺍﺘِﻬﺎ‪ ،‬ﺃﻭ ﺘﺸﺎﺒﻬﹺﻬﺎ ﻓـﻲ ﻫـﺫﻩ ﺍﻟﻤﻼﻤـ ﹺ‬
‫ﺍﻟﻤﻼﻤ ﹺ‬

‫ﻱ‪ ،‬ﻫﻲ‪ :‬ﺍﻟﻤﺠﻤﻭﻋ ﹸﺔ ﺍﻻﻨﻔﺠﺎﺭﻴّ ﹸﺔ ﺍﻟﻤﻬﻤﻭﺴ ﹸﺔ )ﺍﻟﺘﺎ ُﺀ‪ ،‬ﻭﺍﻟﻁﺎ ُﺀ‪ ،‬ﻭﺍﻟﻘـﺎ ﹸ‬
‫ﻑ‪ ،‬ﻭﺍﻟﻜـﺎﻑ(‪،‬‬ ‫ﺒﺘﺭﺘﻴﺒﹺﻬﺎ ﺍﻟﺘﺼﺎﻋﺩ ﱢ‬
‫ﻥ‪ ،‬ﻭﺍﻟﺼـﺎ ُﺩ‪ ،‬ﻭﺍﻟﻔـﺎ ُﺀ‪،‬‬
‫ﻥ‪ ،‬ﻭﺍﻟﺸـﻴ ُ‬
‫ﻓﺎﻟﻤﺠﻤﻭﻋ ﹸﺔ ﺍﻻﺤﺘﻜﺎﻜﻴّ ﹸﺔ ﺍﻟﻤﻬﻤﻭﺴ ﹸﺔ )ﺍﻟﺜﺎ ُﺀ‪ ،‬ﻭﺍﻟﺤﺎ ُﺀ‪ ،‬ﻭﺍﻟﺨﺎ ُﺀ‪ ،‬ﻭﺍﻟﺴﻴ ُ‬

‫ل‪ ،‬ﻭﺍﻟﻀـﺎﺩ(‪ ،‬ﻓﺎﻟﻤﺠﻤﻭﻋـ ﹸﺔ ﺍﻻﺤﺘﻜﺎﻜﻴّـ ﹸﺔ‬

‫ﻭﺍﻟﻬﺎﺀ(‪ ،‬ﻓﺎﻟﻤﺠﻤﻭﻋ ﹸﺔ ﺍﻻﻨﻔﺠﺎﺭﻴّ ﹸﺔ ﺍﻟﻤﺠﻬﻭﺭ ﹸﺓ )ﺍﻟﺒﺎ ُﺀ‪ ،‬ﻭﺍﻟﺩﺍ ُ‬

‫ﻥ‪ ،‬ﻭﺍﻟﻐﻴﻥ(‪ ،‬ﻓﺎﻟﻤﺠﻤﻭﻋ ﹸﺔ ﺍﻟﺭﻨﹼﺎﻨ ﹸﺔ )ﺍﻟﺭﺍ ُﺀ‪ ،‬ﻭﺍﻟﻼ ُﻡ‪ ،‬ﻭﺍﻟﻤﻴ ُﻡ‪،‬‬
‫ﻱ‪ ،‬ﻭﺍﻟﻅﺎ ُﺀ‪ ،‬ﻭﺍﻟﻌﻴ ُ‬
‫ل‪ ،‬ﻭﺍﻟﺯﺍ ُ‬
‫ﺍﻟﻤﺠﻬﻭﺭ ﹸﺓ )ﺍﻟﺫﺍ ُ‬
‫ﻥ‪ :‬ﺍﻟﻬﻤـﺯ ﹶﺓ ﻭﺍﻟﺠـﻴ َﻡ؛ ﻹﺸـﻜﺎﻟِﻬﻤﺎ‬
‫ﺕ ﺘﻔﺘﻘـ ُﺩ ﺍﻟﺼـﺎﻤﺘﻴ ﹺ‬
‫ﻥ ﻫﺫﻩ ﺍﻟﻤﺠﻤﻭﻋﺎ ِ‬
‫ﻅ‪ ،‬ﺃ ﱠ‬
‫ﻭﺍﻟﻨﻭﻥ(‪ .‬ﻭﻤﻥ ﺍﻟﻤﻼﺤ ِ‬

‫ﻥ ﺍﻻﻨﻔﺠـﺎ ﹺﺭ‬
‫ل ﻤﺤﺎﻴﺩٌ ﻤﻥ ﻨﺎﺤﻴ ِﺔ ﺍﻟﺠﻬ ﹺﺭ ﻭﺍﻟﻬﻤﺱ‪ ،‬ﻭﺍﻵﺨـ ُﺭ ﻤﺭﻜﹼـﺏٌ‪ ،‬ﻴﺠﻤـ ُﻊ ﺒـﻴ َ‬
‫ﻲ؛ ﻓﺎﻷﻭّ ُ‬
‫ﺍﻟﻤﺨﺭﺠ ّ‬

‫ﻭﺍﻻﺤﺘﻜﺎﻙ‪ ،‬ﻜﻤﺎ ﻋﺭﻓﻨﺎ)‪.(3‬‬

‫)‪(1‬‬
‫ﻲ‬
‫ﺃﻨﻴﺱ‪ ،‬ﺇﺒﺭﺍﻫﻴﻡ‪ :‬ﺍﻷﺼﻭﺍﺕ ﺍﻟﻠﻐﻭﻴّﺔ‪ .‬ﺹ‪ .145‬ﻭﻟﺘﻔﺼﻴل ﺍﻟﻘﻭل ﻓﻲ ﺍﻟﻁﻭل؛ ﺍﻨﻅﺭ‪) :‬ﺍﻟﻨﻭﺭﻱ‪ ،‬ﻤﺤﻤﺩ ﺠﻭﺍﺩ(‪ ،‬ﻭ)ﺤﻤﺩ‪ ،‬ﻋﻠـ ّ‬
‫ﺨﻠﻴل(‪ :‬ﻓﺼﻭل ﻓﻲ ﻋﻠﻡ ﺍﻷﺼﻭﺍﺕ‪ .‬ﺹ‪.214 - 210‬‬
‫)‪(2‬‬
‫ﻲ ﻓﻲ ﺍﻟﹼﻠﻐﺔ ﺍﻟﻌﺭﺒﻴّﺔ‪ .‬ﺹ‪.50‬‬
‫ﺍﻟﻌﺎﻨﻲ‪ ،‬ﺴﻠﻤﺎﻥ ﺤﺴﻥ‪ :‬ﺍﻟﺘﺸﻜﻴل ﺍﻟﺼﻭﺘ ّ‬
‫)‪(3‬‬
‫ﺍﻨﻅﺭ ﺹ‪ 19 ،18 ،13‬ﻤﻥ ﻫﺫﺍ ﺍﻟﺒﺤﺙ‪.‬‬
‫‪39‬‬
‫ﻲ‪،‬‬
‫ﻥ‪ ،‬ﻓﻲ ﺍﻟﺘﺭﺘﻴﺏ‪ ،‬ﺇﺫﺍ ﻋﺭﻓﻨﺎ ﻤﻘـﺩﺍ َﺭ ﻁﺎﻗﺘِﻬﻤـﺎ ﺍﻟﻨﺴـﺒ ّ‬
‫ﻥ ﺍﻟﺼﺎﻤﺘﻴ ﹺ‬
‫ﻭﻴﻤﻜﻨﹸﻨﺎ ﺃﻥ ﻨﺤ ّﺩ َﺩ ﻤﻭﻗ َﻊ ﻫﺫﻴ ﹺ‬

‫ﺕ ﺍﻟﻌﺭﺒﻴّـ ِﺔ‬
‫ل ﺍﻟﺼـﻭﺍﻤ ِ‬
‫ﻥ ﺃﻁـﻭﺍ َ‬
‫ل ﺍﻵﺘﻲ ﻴﺒﻴّ ُ‬
‫ﺕ ﺍﻷﺨﺭﻯ‪ .‬ﻭﺍﻟﺠﺩﻭ ُ‬
‫ﻭﻁﻭﻟﻴﻬﻤـﺎ ﺒﺎﻟﻨﺴﺒ ِﺔ ﺇﻟﻰ ﺍﻟﺼﻭﺍﻤ ِ‬

‫ﺍﻟﻨﺴﺒﻴّﺔ‪ ،‬ﺃﻱ ﺃﺯﻤﻨ ﹶﺔ ﻨﻁﻘِﻬﺎ‪ ،‬ﺒﺎﻟﻤﻴﻠﻲ ﻤﻥ ﺍﻟﺜﺎﻨﻴـﺔ)‪ ،(1‬ﻜﻤﺎ ﺃﻓﺼﺤﺕﹾ ﺘﺠﺎ ﹺﺭ ُ‬

‫ﺏ ﺍﻟﺩﻜﺘﻭ ﹺﺭ ﺴـﻠﻤﺎﻥ ﺍﻟﻌـﺎﻨﻲ‬
‫ﻥ؛ ﻟﺘﻐ ّﻴ ﹺﺭ ﻁﻭﻟﻴﻬﻤﺎ‪ ،‬ﺒﺘﻐ ّﻴ ﹺﺭ ﻤﻭﻗﻌِﻬﻤﺎ ﻓﻲ ﺍﻟﻜﻠﻤـﺔ‪:‬‬
‫ﺕ ﺍﻟﻬﻤﺯ ﹶﺓ ﻭﺍﻟﻌﻴ َ‬
‫ﺍﻵﻟﻴّـﺔ‪ .‬ﻭﻗﺩ ﺍﺴﺘﺜﻨﻴ ﹸ‬

‫ﺕ ﺍﻟﻌﺭﺒ ّﻴ ِﺔ ﺍﻟﻨﺴﺒ ّﻴﺔ‪ ،‬ﺒﺎﻟﻤﻴﻠﻲ ﻤﻥ ﺍﻟﺜﺎﻨﻴﺔ‪ ،‬ﺒﺎﺴﺘﺜﻨﺎ ِﺀ ﺍﻟﻬﻤﺯ ِﺓ ﻭﺍﻟﻌﻴﻥ‬

‫ﺍﻟﺠﺩﻭل )‪ :(2‬ﺃﻁﻭﺍ ُل ﺍﻟﺼﻭﺍﻤ ِ‬

‫ﻁﻭﻟﻪ‬ ‫ﻁﻭﻟﻪ‬ ‫ﻁﻭﻟﻪ‬

‫ﺍﻟﺼﺎﻤﺕ‬

‫ﺍﻟﺼﺎﻤﺕ‬

‫ﺍﻟﺼﺎﻤﺕ‬

‫ﺍﻟﺼﺎﻤﺕ‬
‫ﻁﻭﻟﻪ ﺒـ)ﻡ‪/‬ﺙ(‬
‫ﺒـ)ﻡ‪/‬ﺙ(‬ ‫ﺒـ)ﻡ‪/‬ﺙ(‬ ‫ﺒـ)ﻡ‪/‬ﺙ(‬
‫‪40 - 30‬‬ ‫ﻕ‬ ‫‪170 - 100‬‬ ‫ﺹ‬ ‫‪100 - 80‬‬ ‫ﺩ‬ ‫‪110 - 60‬‬ ‫ﺏ‬
‫‪80 - 60‬‬ ‫ﻙ‬ ‫‪100 - 80‬‬ ‫ﺽ‬ ‫‪160 - 100‬‬ ‫ﺫ‬ ‫‪60 – 40‬‬ ‫ﺕ‬
‫‪120 - 80‬‬ ‫ل‬ ‫‪30 - 20‬‬ ‫ﻁ‬ ‫‪100 - 80‬‬ ‫ﺭ‬ ‫‪130 - 80‬‬ ‫ﺙ‬
‫‪90 - 70‬‬ ‫ﻡ‬ ‫‪160 - 100‬‬ ‫ﻅ‬ ‫‪160 - 100‬‬ ‫ﺯ‬ ‫‪180 - 120‬‬ ‫ﺝ‬
‫‪100 - 80‬‬ ‫ﻥ‬ ‫‪160 - 100‬‬ ‫ﻍ‬ ‫‪170 - 100‬‬ ‫ﺱ‬ ‫‪150 - 100‬‬ ‫ﺡ‬
‫‪160 - 100‬‬ ‫ﻫـ‬ ‫‪140 - 80‬‬ ‫ﻑ‬ ‫‪170 - 120‬‬ ‫ﺵ‬ ‫‪160 - 100‬‬ ‫ﺥ‬
‫ﻲ ﻓﻲ ﺍﻟﻠﹼﻐﺔ ﺍﻟﻌﺭﺒﻴّﺔ‪ .‬ﺹ‪.(94) ،(77 - 72) ،(58 - 51) :‬‬
‫ﺍﻨﻅﺭ ﻫﺫﻩ ﺍﻷﻁﻭﺍل‪ :‬ﺍﻟﻌﺎﻨﻲ‪ ،‬ﺴﻠﻤﺎﻥ ﺤﺴﻥ‪ :‬ﺍﻟﺘﺸﻜﻴل ﺍﻟﺼﻭﺘ ّ‬

‫ل‬
‫ل ﻁـﻭ ﹴ‬
‫ﻁ ﻜـ ﱢ‬
‫ﺴِ‬
‫ﺏ ﻤﺘﻭ ّ‬
‫ﺕ ﺇﻟﻰ ﺤﺴﺎ ﹺ‬
‫ﻥ ﻋﺩﺩﻴﻥ؛ ﻋﻤﺩ ﹸ‬
‫ل ﺍﻟﺴﺎﺒﻘ ِﺔ‪ ،‬ﺒﻴ َ‬
‫ل ﻤﻥ ﺍﻷﻁﻭﺍ ﹺ‬
‫ل ﻁﻭ ﹴ‬
‫ﺠﺢﹺ ﻜ ﱢ‬
‫ﻭﻟِ ﹶﺘﺭَ ﱡ‬

‫ل ﺍﻵﺘﻲ‪:‬‬
‫ﻤﻨﻬﺎ‪ ،‬ﻓﻲ ﺍﻟﺠﺩﻭ ﹺ‬

‫ﻲ‪ ،‬ﺒﺎﻟﻤﻴﻠﻲ ﻤﻥ ﺍﻟﺜﺎﻨﻴﺔ‪ ،‬ﺒﺎﺴﺘﺜﻨﺎ ِﺀ ﺍﻟﻬﻤﺯ ِﺓ ﻭﺍﻟﻌﻴﻥ‬

‫ﺕ ﺍﻟﻌﺭﺒ ّ‬
‫ﻁ ﻁﻭ ﹺل ﺍﻟﺼﺎﻤ ِ‬
‫ﺍﻟﺠﺩﻭل )‪ :(3‬ﻤﺘﻭﺴّ ﹸ‬

‫ﻤﺘﻭﺴّﻁ ﻁﻭﻟﻪ‬ ‫ﻤﺘﻭﺴّﻁ ﻁﻭﻟﻪ‬ ‫ﻤﺘﻭﺴّﻁ ﻁﻭﻟﻪ‬ ‫ﻤﺘﻭﺴّﻁ ﻁﻭﻟﻪ‬

‫ﺍﻟﺼﺎﻤﺕ‬

‫ﺍﻟﺼﺎﻤﺕ‬

‫ﺍﻟﺼﺎﻤﺕ‬

‫ﺍﻟﺼﺎﻤﺕ‬

‫ﺒـ)ﻡ‪/‬ﺙ(‬ ‫ﺒـ)ﻡ‪/‬ﺙ(‬ ‫ﺒـ)ﻡ‪/‬ﺙ(‬ ‫ﺒـ)ﻡ‪/‬ﺙ(‬

‫‪35‬‬ ‫ﻕ‬ ‫‪135‬‬ ‫ﺹ‬ ‫‪90‬‬ ‫ﺩ‬ ‫‪85‬‬ ‫ﺏ‬
‫‪70‬‬ ‫ﻙ‬ ‫‪90‬‬ ‫ﺽ‬ ‫‪130‬‬ ‫ﺫ‬ ‫‪50‬‬ ‫ﺕ‬
‫‪100‬‬ ‫ل‬ ‫‪25‬‬ ‫ﻁ‬ ‫‪90‬‬ ‫ﺭ‬ ‫‪105‬‬ ‫ﺙ‬
‫‪80‬‬ ‫ﻡ‬ ‫‪130‬‬ ‫ﻅ‬ ‫‪130‬‬ ‫ﺯ‬ ‫‪150‬‬ ‫ﺝ‬
‫‪90‬‬ ‫ﻥ‬ ‫‪130‬‬ ‫ﻍ‬ ‫‪135‬‬ ‫ﺱ‬ ‫‪125‬‬ ‫ﺡ‬
‫‪130‬‬ ‫ﻫـ‬ ‫‪110‬‬ ‫ﻑ‬ ‫‪145‬‬ ‫ﺵ‬ ‫‪130‬‬ ‫ﺥ‬

‫)‪(1‬‬
‫ﻤﻥ ﺍﻟﺜﺎﻨﻴﺔ‪.‬‬ ‫‪1‬‬ ‫ﺍﻟﻤﻴﻠﻲ ‪ ، 1 = Milli‬ﻭﺍﻟﻤﻴﻠﻲ ﻤﻥ ﺍﻟﺜﺎﻨﻴﺔ )ﻡ‪/‬ﺙ(‪:‬‬
‫‪1000‬‬ ‫‪1000‬‬
‫‪40‬‬
‫ﻁ‬
‫ﺕ ﺍﻟﻌﺭﺒﻴّﺔ؛ ﻓﻴﺒﻠـ ﹸﻎ ﻤﺘﻭﺴّـ ﹸ‬
‫ل ﺍﻟﺼﻭﺍﻤ ِ‬
‫ﻥ ﺍﻟﺠﻴ َﻡ ﺃﻁﻭ ُ‬
‫ﻲ؛ ﻨﺠ ُﺩ ﺃ ّ‬
‫ﻁ ﺍﻟﻁﻭﻟ ّ‬
‫ﺴﹶ‬
‫ﺇﺫﺍ ﻤﺎ ﺘﺘﺒّﻌﻨﺎ ﻫﺫﺍ ﺍﻟﻤﺘﻭ ّ‬

‫ﺕ ﺍﻟﻭﺍﻗﻌـ ِﺔ ﻓﻲ ﺁﺨـ ﹺﺭ ﺍﻟﻜﻠﻤــﺔ‪،‬‬

‫ﺽ ﺍﻟﺼﻭﺍﻤ ِ‬ ‫ل‪ ،‬ﺇ ﹼ‬
‫ﻻ ﺒﻌ ُ‬ ‫ﻁﻭﻟِﻬﺎ ‪ 150‬ﻡ‪/‬ﺙ‪ ،‬ﻭﻻ ﻴﺘﻌﺩّﻯ ﻫﺫﺍ ﺍﻟﻁـﻭ َ‬

‫ل ﺍﻟﻬﻤﺯ ِﺓ ﻓـﻲ ﺁﺨ ﹺﺭ ﺍﻟﻜﻠﻤ ِﺔ ‪ 200 – 180‬ﻡ‪/‬ﺙ)‪ ،(1‬ﺃﻱ ﻤــﺎ ﻤﺘﻭﺴّـﻁﹸﻪ‬

‫ﻥ؛ ﻓﻴﺒﻠ ﹸﻎ ﻁﻭ ُ‬
‫ﻜﺎﻟﻬﻤﺯ ِﺓ ﻭﺍﻟﻌﻴ ﹺ‬
‫ﺴﻁﹸﻪ ‪ 185‬ﻡ‪/‬ﺙ‪.‬‬
‫ﻥ ‪ 200 – 170‬ﻡ‪/‬ﺙ)‪ ،(2‬ﺃﻱ ﻤﺎ ﻤﺘﻭ ّ‬
‫ل ﺍﻟﻌﻴ ﹺ‬
‫‪ 190‬ﻡ‪/‬ﺙ‪ ،‬ﻭﻴﺒﻠ ﹸﻎ ﻁﻭ ُ‬

‫ﺕ ﺍﻟﻌﺭﺒﻴّـﺔ؛‬
‫ﺕ ﺍﻟﺼـﻭﺍﻤ ِ‬
‫ﺕ‪ ،‬ﻓﺈﻨﹼﻨﻲ ﺃﻋﺘﻘ ُﺩ ﺃﻨﹼﻬﺎ ﻜﺒﺭﻯ ﻁﺎﻗﺎ ِ‬
‫ﺃﻤّﺎ ﺍﻟﻁﺎﻗ ﹸﺔ ﺍﻟﺘﻲ ﻴﺤﻤﻠﹸﻬﺎ ﻫﺫﺍ ﺍﻟﺼﺎﻤ ﹸ‬

‫ﺏ ﻤـﻥ‬ ‫ﻟﻁﺒﻴﻌﺘِﻪ ﺍﻟﺘﺭﻜﻴﺒ ّﻴ ِﺔ‪ ،‬ﺍﻟﺘﻲ ﻴﺘﻔﺭّ ُﺩ ﺒﻬﺎ؛ ﻓﻬﻭ – ﻜﻤﺎ ﻋﺭﻓﻨﺎ)‪ - (3‬ﺤﺼﻴﻠ ﹸﺔ ﺼﺎﻤﺘﻴﻥ‪ :‬ﺼﺎﻤ ٍ‬
‫ﺕ ﻗﺭﻴـ ﹴ‬
‫ﺕ ﻭﺍﺤـﺩ‪،‬‬
‫ﻥ ﺼـﺎﻤ ٍ‬
‫ﻥ ﻭﺍﺤـﺩ؛ ﻟﺘﻜـﻭﻴ ﹺ‬
‫ﻥ ﻓﻲ ﺃﻭﺍ ﹴ‬
‫ﻕ ﺒﺼﺎﻤﺘﻴ ﹺ‬
‫ﺕ ﻜﺎﻟﺠﻴ ﹺﻡ ﺍﻟﺸﺎﻤﻴّﺔ‪ ،‬ﻭﺍﻟﻨﻁ ﹸ‬
‫ﺍﻟﺩّﺍل‪ ،‬ﻭﺼﺎﻤ ٍ‬

‫ﺕ ﻤﺘﻔ ّﺭ ٍﺩ ﺒﺫﺍﺘِﻪ‪.‬‬
‫ﻕ ﺼﺎﻤ ٍ‬
‫ﺏ ﻁﺎﻗ ﹰﺔ ﺃﻗﻭﻯ‪ ،‬ﻤﻥ ﻨﻁ ِ‬
‫ﻴﺴﺘﻭﺠ ُ‬

‫ﻲ‪ ،‬ﻫﺫﺍ ﺇﻥ ﻟـﻡ‬

‫ﺡ ﺍﻟﺴﻤﻌ ّ‬
‫ﺕ ﺍﻟﺭﻨﹼﺎﻨ ﹶﺔ ﺒﺎﻟﻭﻀﻭ ﹺ‬
‫ﻥ ﺍﻟﺠﻴ َﻡ‪ ،‬ﺘﺴﺎﻭﻱ ﺍﻟﺼﻭﺍﻤ ﹶ‬
‫ﺒﻨﺎ ًﺀ ﻋﻠﻰ ﻤﺎ ﺘﻘﺩّﻡ‪ ،‬ﺃﻋﺘﻘ ُﺩ ﺃ ّ‬

‫ﺕ ﺍﻟﻌﺭﺒ ّﻴـﺔ‪ ،‬ﺒﻁﺎﻗ ِﺘـﻬﺎ ﻭﻁﻭِﻟـﻬﺎ ﺍﻟﻤﺘﻤﻴّﺯﻴﻥ)‪.(4‬‬ ‫ﺘﻜﻥْ ﺃﻭﻀ َ‬

‫ﺢ ﺍﻟﺼﻭﺍﻤ ِ‬

‫ﺏ ﺍﻟﺩﻜﺘﻭ ﹺﺭ ﺴـﻠﻤﺎﻥ‬
‫ل‪ ،‬ﺇﻟﻰ ﺤ ﱟﺩ ﻜﺒﻴ ﹴﺭ‪ ،‬ﻜﻤﺎ ﺒﻴّﻨﺕ ﺘﺠﺎ ﹺﺭ ُ‬
‫ﻥ ﺒﺎﻟﻁﺎﻗ ِﺔ ﻭﺍﻟﻁﻭ ﹺ‬
‫ﺃﻤّﺎ ﺍﻟﻬﻤﺯ ﹸﺓ‪ ،‬ﻓﺘﺸﺎﺒ ُﻪ ﺍﻟﻌﻴ َ‬

‫ﻥ ﻟﺠﻬﺎ ﹺﺯ )ﺍﻟﺴﺒﻜﺘﺭﻭﺠﺭﺍﻑ ‪ ،(Spectrograph‬ﺍﻟـﺫﻱ‬

‫ل ﺼﻭﺭﺘﻴ ﹺ‬
‫ل ﺍﻵﺘﻲ‪ ،‬ﺍﻟﺫﻱ ﻴﻤﺜﹼ ُ‬
‫ﺍﻟﻌﺎﻨﻲ)‪ .(5‬ﻭﺍﻟﺸﻜ ُ‬
‫ل‪ ،‬ﻭﻤﻘﺩﺍ ﹺﺭ‬
‫ﻥ ﻓﻲ ﺍﻟﻁﻭ ﹺ‬
‫ﻥ ﺍﻟﺼﺎﻤﺘﻴ ﹺ‬
‫ﻥ ﻟﻨﺎ ﺸ ّﺩ ﹶﺓ ﺍﻟﺘﺸﺎﺒ ِﻪ ﺒﻴ َ‬
‫ﻥ ﻭﺍﻟﺸ ّﺩ ِﺓ ﻭﺍﻟﺘﺭﺩّﺩ‪ ،‬ﻴﺒ ّﻴ ُ‬
‫ﻥ ﺍﻟﺯﻤ ﹺ‬
‫ﻴﻅﻬ ُﺭ ﺍﻟﻌﻼﻗ ﹶﺔ ﺒﻴ َ‬

‫ل ﺍﺨﺘﺒـﺎ ﹺﺭ ﺍﻟﻜﻠﻤﺘـﻴﻥ‪) :‬ﺴَـﻤﺎﻉْ‪ ،(sa / maac :‬ﻭ)ﺴَـﻤﺎﺀْ‪sa / :‬‬

‫ﺍﻟﺸ ّﺩ ِﺓ ﻭﺍﻟﺘﺭﺩّﺩ )ﺍﻟﻁﺎﻗﺔ(‪ ،‬ﻤﻥ ﺨﻼ ﹺ‬

‫ﻥ ﺍﻟﻤﺴﺘﻬﺩﻓﻴﻥ‪:‬‬
‫ﻻ ﺒﺎﻟﺼﻭﺘﻴ ﹺ‬
‫ﻥ‪ ،‬ﺇ ﹼ‬
‫‪(maa‬؛ ﻓﻬﻤﺎ ﻻ ﺘﺨﺘﻠﻔﺎ ﹺ‬

‫)‪(1‬‬
‫ﻲ ﻓﻲ ﺍﻟﻠﹼﻐﺔ ﺍﻟﻌﺭﺒﻴّﺔ‪ .‬ﺹ‪.97‬‬
‫ﺍﻟﻌﺎﻨﻲ‪ ،‬ﺴﻠﻤﺎﻥ ﺤﺴﻥ‪ :‬ﺍﻟﺘﺸﻜﻴل ﺍﻟﺼﻭﺘ ّ‬
‫)‪(2‬‬
‫ﺍﻟﻤﺭﺠﻊ ﻨﻔﺴﻪ‪ .‬ﺹ‪.100‬‬
‫)‪(3‬‬
‫ﺍﻨﻅﺭ ﺹ‪ 19‬ﻤﻥ ﻫﺫﺍ ﺍﻟﺒﺤﺙ‪.‬‬
‫)‪(4‬‬
‫ل ﻭﻀﻭﺤًﺎ ﻤﻥ ﺍﻟﺼﻭﺍﻤﺕ ﺍﻟﺭﻨﹼﺎﻨﺔ‪ ،‬ﻭﺃﻭﻀﺢ‬
‫ﻥ ﺍﻟﺠﻴﻡ ﺍﻟﻔﺼﻴﺤﺔ‪ ،‬ﺃﻗ ّ‬
‫ﺹ ﻋﻠﻴﻪ ﺍﻟﺩﻜﺘﻭﺭ ﺇﺒﺭﺍﻫﻴﻡ ﺃﻨﻴﺱ‪ ،‬ﺃ ّ‬
‫ﺘﺨﺎﻟﻑ ﻫﺫﻩ ﺍﻟﻨﺘﻴﺠﺔ ﻤﺎ ﻨ ﱠ‬
‫ﻤﻥ ﺍﻟﺼﻭﺍﻤﺕ ﺍﻷﺨﺭﻯ‪ .‬ﺍﻨﻅﺭ‪ :‬ﺃﻨﻴﺱ‪ ،‬ﺇﺒﺭﺍﻫﻴﻡ‪ :‬ﺍﻟﻠﹼﻐﺔ ﺒﻴﻥ ﺍﻟﻘﻭﻤﻴّﺔ ﻭﺍﻟﻌﺎﻟﻤﻴّﺔ‪ .‬ﺹ‪.28‬‬
‫)‪ (5‬ﺍﻟﻌﺎﻨﻲ‪ ،‬ﺴﻠﻤﺎﻥ ﺤﺴﻥ‪ :‬ﺍﻟﺘﺸﻜﻴل ﺍﻟﺼﻭﺘ ّ‬
‫ﻲ ﻓﻲ ﺍﻟﻠﹼﻐﺔ ﺍﻟﻌﺭﺒﻴّﺔ‪ .‬ﺹ‪.111 - 95‬‬
‫‪41‬‬
 ‫ﻥ ﺘﺸﺎﺒ َﻪ ﻤﻌﺎﻟ ﹺﻡ ﺍﻟﻬﻤﺯ ِﺓ ﻭﺍﻟﻌﻴﻥ‬
‫)‪ :(2‬ﺼﻭﺭﺘﺎ ﺴﺒﻜﺘﺭﻭﺠﺭﺍﻑ‪ ،‬ﺘﻅﻬﺭﺍ ﹺ‬

‫ﻲ ﻓﻲ ﺍﻟﻠﹼﻐﺔ ﺍﻟﻌﺭﺒﻴّﺔ‪ .‬ﺹ‪.108‬‬

‫ﺍﻨﻅﺭ ﺍﻟﺸﻜل‪ :‬ﺍﻟﻌﺎﻨﻲ‪ ،‬ﺴﻠﻤﺎﻥ ﺤﺴﻥ‪ :‬ﺍﻟﺘﺸﻜﻴل ﺍﻟﺼﻭﺘ ّ‬

‫ﻥ ﺘﺸﺎﺒ َﻪ ﻤﻌﺎﻟ ﹺﻡ ﺍﻟﻬﻤﺯ ِﺓ ﻭﺍﻟﻌﻴﻥ‬

‫ﺍﻟﺸﻜل )‪ :(2‬ﺼﻭﺭﺘﺎ ﺴﺒﻜﺘﺭﻭﺠﺭﺍﻑ‪ ،‬ﺘﻅﻬﺭﺍ ﹺ‬

‫ﻥ‬
‫ﻥ ﺍﻟﻬﻤﺯ ِﺓ ﻭﺍﻟﻌﻴﻥ‪ ،‬ﺍﻟﺫﻱ ﺘﻅﻬﺭُﻩ ﺼﻭﺭﺘﺎ ﺍﻟﺴﺒﻜﺘﺭﻭﺠﺭﺍﻑ‪ ،‬ﺃﻋﺘﻘـ ُﺩ ﺃ ّ‬
‫ﻭﺒﻨﺎ ًﺀ ﻋﻠﻰ ﻫﺫﺍ ﺍﻟﺘﺸﺎﺒ ِﻪ ﺒﻴ َ‬

‫ﺏ ﺍﻟﺴﺎﺒﻕ‪ ،‬ﻓﻲ‬
‫ﻥ ﻤﻭﻗ ُﻊ ﺍﻟﻬﻤﺯ ِﺓ ﺒﺫﻟﻙ‪ ،‬ﻓﻲ ﺍﻟﺘﺭﺘﻴ ﹺ‬
‫ﺡ ﺍﻟﻬﻤﺯﺓ؛ ﻓﻴﻜﻭ ُ‬
‫ﻲ‪ ،‬ﻴﺸﺎﺒ ُﻪ ﻭﻀﻭ َ‬
‫ﻥ ﺍﻟﺴﻤﻌ ﱠ‬
‫ﺡ ﺍﻟﻌﻴ ﹺ‬
‫ﻭﻀﻭ َ‬

‫ﺍﻟﻤﺠﻤﻭﻋ ِﺔ ﺍﻟﺘﻲ ﺘﻘ ُﻊ ﻓﻴﻬﺎ ﺍﻟﻌﻴﻥ‪ ،‬ﺃﻱ ﺍﻟﻤﺠﻤﻭﻋ ِﺔ ﺍﻻﺤﺘﻜﺎﻜ ّﻴ ِﺔ ﺍﻟﻤﺠﻬﻭﺭﺓ‪.‬‬

‫ﺹ ﺍﻟﻔﻴﺯﻴﺎﺌﻴّﺔ‪ ،‬ﺒﻌ ُ‬
‫ﺽ ﺍﻟﻅـﻭﺍﻫ ﹺﺭ ﺍﻟﻠﹼﻐﻭﻴّـ ِﺔ‬ ‫ﻥ‪ ،‬ﻓﻲ ﺍﻟﺨﺼﺎﺌ ﹺ‬
‫ﻥ ﺍﻟﺼﺎﻤﺘﻴ ﹺ‬
‫ﻭﻤﻤّﺎ ﻴﺅﻜﹼ ُﺩ ﻟﻨﺎ ﺘﺸﺎﺒ َﻪ ﻫﺫﻴ ﹺ‬
‫ﺍﻟﺼﻭﺘﻴّﺔ‪ ،‬ﻜﻅﺎﻫـﺭ ِﺓ ﺍﻟﻌﻨﻌﻨ ِﺔ ﻓﻲ ﻟﻬﺠ ِﺔ ﺘﻤﻴـﻡ‪ ،‬ﻭﻫﻲ ﺇﺒﺩﺍﻟﹸﻬـﻡ ﻫﻤﺯ ﹶﺓ )ﺃﻥ( ﻋﻴﻨﹰﺎ‪ ،‬ﻜﻘﻭﻟِﻬـﻡ‪)) :‬ﻋَـﻥ‬

‫ﻑ ﺍﻟﻴﻬﻭﺩ ّﻴ ِﺔ ﺍﻟﻐﺭﺒ ّﻴ ِﺔ‬

‫ﻕ ﺍﻟﻁﻭﺍﺌ ِ‬
‫ﻻ ﻤﻥ ))ﺃَﻥ ﺘﻭﺴﻤﺕ(()‪ .(1‬ﻭﻤﻥ ﺫﻟﻙ ﻓـﻲ ﻏﻴ ﹺﺭ ﺍﻟﻌﺭﺒ ّﻴ ِﺔ‪ ،‬ﻨﻁ ﹸ‬
‫ﺘﻭﺴﻤﺕ((‪ ،‬ﺒﺩ ﹰ‬

‫ﻼ‪ ،‬ﺍﻟﻜﻠﻤ ﹶﺔ )עיר ‪ (ciir‬ﺍﻟﺘﻲ ﺘﻌﻨﻲ )ﻤﺩﻴﻨﺔ(‪ ،‬ﻋﻠـﻰ ﺍﻟﻭﺠـ ِﻪ‬ ‫ﻥ ﻫﻤﺯ ﹰﺓ‪ ،‬ﻓﻲ ﺍﻟﻌﺒﺭﻴّﺔ)‪(2‬؛ ﻓﻴﻨﻁﻘﻭ َ‬
‫ﻥ ﻤﺜ ﹰ‬ ‫ﺍﻟﻌﻴ َ‬
‫ل‬
‫ﺕ ﺍﻟﺴﺎﻤ ّﻴ ِﺔ ﺍﻟﻘﺩﻴﻤﺔ‪ ،‬ﺍﻟﺘﻲ ﺤﻠﹼﺕ ﺍﻟﻬﻤﺯ ﹸﺓ ﻓﻴﻬﺎ ﻤﺤ ﱠ‬
‫ل ﺍﻷﻜﺎﺩﻴّﺔ‪ ،‬ﺇﺤﺩﻯ ﺍﻟﻠﹼﻐﺎ ِ‬
‫(‪ .‬ﻭﺤﺎﻟﹸﻬﻡ ﺒﺫﻟﻙ ﺤﺎ ُ‬ ‫)‪iir‬‬

‫()‪.(3‬‬ ‫ﻕ ﻋﻠﻰ ﺍﻟﻭﺠ ِﻪ )‪aqrab‬‬

‫ﻼ‪ ،‬ﺘﹸﻨﻁ ﹸ‬
‫ﻋﻘﹾﺭَﺏ ‪ (caqrab‬ﻤﺜ ﹰ‬
‫ﺍﻟﻌﻴﻥ؛ ﻓﺎﻟﻜﻠﻤ ﹸﺔ ) َ‬

‫ﺕ ﻤﻥ ﻏﻴـﺭﹺﻩ‬
‫ﻲ‪ ،‬ﺃﺜﺭُﻩ ﺍﻟﺒﺎﺭ ُﺯ‪ ،‬ﻓﻲ ﺘﻤ ّﻴ ﹺﺯ ﺍﻟﺼﻭ ِ‬
‫ﺡ ﺍﻟﺴﻤﻌ ّ‬
‫ﺕ ﺍﻟﻠﹼﻐﻭ ّﻴ ِﺔ ﻓﻲ ﺍﻟﻭﻀﻭ ﹺ‬
‫ﻥ ﺍﻷﺼﻭﺍ ِ‬
‫ﻭﻟﺘﺒﺎﻴ ﹺ‬

‫ﺢ ﻓـﻲ ﺍﻟﺴـﻤ ﹺﻊ‬

‫ﺕ ﺍﻷﻭﻀـ ُ‬
‫ﺇﻴﺠﺎﺒًﺎ‪ ،‬ﺃﻭ ﺴﻠﺒًﺎ‪ ،‬ﻜﻤﺎ ﺘﻤﻠﻲ ﺍﻟﺨﺒﺭ ﹸﺓ ﺍﻟﻠﹼﻐﻭﻴّ ﹸﺔ ﻋﻠﻰ ﺃﻫﻠِﻬﺎ؛ ﻓﻴﺴﺘﺄﺜ ُﺭ ﺍﻟﺼـﻭ ﹸ‬

‫ﻲ‪ ،‬ﻓـﻲ‬
‫ﺕ ﺍﻟﻤﺘﻤﻴّﺯ ِﺓ ﺒﻭﻀﻭﺤِﻬﺎ ﺍﻟﺴـﻤﻌ ﱢ‬
‫ﻉ ﺍﻷﺼﻭﺍ ِ‬
‫ﺒﺎﻷﻓﻀﻠﻴّﺔ‪ ،‬ﻭﻴﻅﻬ ُﺭ ﺫﻟﻙ ﻓﻲ ﺍﻟﻌﺭﺒ ّﻴ ِﺔ‪ ،‬ﻤﻥ ﺸﻴـﻭ ﹺ‬

‫ﻥ‬
‫ﺕ ﺍﻟﺴﺎﻜﻨ ِﺔ ]ﺍﻟﺼﺎﻤﺘﺔ[ ﺸﻴﻭﻋًﺎ ﻓﻲ ﺍﻟﻠﹼﻐـ ِﺔ ﺍﻟﻌﺭﺒﻴّـﺔ؛ ﻷ ﱠ‬ ‫ﺍﻻﺴﺘﻌﻤﺎل؛ ﻓﻨﺠ ُﺩ ))ﺃ ﱠ‬
‫ﻥ ﺍﻟﻼ َﻡ‪ ،‬ﺃﻜﺜ ُﺭ ﺍﻷﺼﻭﺍ ِ‬

‫ﺕ ﺍﻟﺴﺎﻜﻨﺔ(()‪ ،(4‬ﻭﻜﺎﻟﻼ ﹺﻡ‪ ،‬ﺘﻌﻠـﻭ ﻨﺴـﺒ ﹸﺔ‬

‫ل َﺃﻟﹾﻑٍ ﻤﻥ ﺍﻷﺼﻭﺍ ِ‬
‫ﻨﺴﺒ ﹶﺔ ﺸﻴﻭﻋِﻬﺎ ﺤﻭﺍﹶﻟﻲْ )‪ (127‬ﻤ ّﺭﺓ‪ ،‬ﻓﻲ ﻜ ﱢ‬

‫)‪(1‬‬
‫ﻲ ﻋﺒﺩ ﺍﻟﻭﺍﺤﺩ‪ :‬ﻓﻘﻪ ﺍﻟﻠﹼﻐﺔ‪ .‬ﻁ‪ .3‬ﺍﻟﻘﺎﻫﺭﺓ‪ :‬ﻨﻬﻀﺔ ﻤﺼﺭ‪ .2004 .‬ﺹ‪.98‬‬
‫ﻭﺍﻓﻲ‪ ،‬ﻋﻠ ّ‬
‫)‪(2‬‬
‫ﻜﻤﺎل‪ ،‬ﺭﺒﺤﻲ‪ :‬ﺍﻟﻌﺒﺭﻴّﺔ ﻤﻥ ﻏﻴﺭ ﻤﻌﻠﹼﻡ‪ .‬ﻁ‪ .10‬ﺒﻴﺭﻭﺕ‪ :‬ﺩﺍﺭ ﺍﻟﻌﻠﻡ ﻟﻠﻤﻼﻴﻴﻥ‪ .1995 .‬ﺹ‪.6‬‬
‫)‪ (3‬ﻋﺒﺩ ﺍﻟﺘﻭّﺍﺏ‪ ،‬ﺭﻤﻀﺎﻥ‪ :‬ﺍﻟﻤﺩﺨل ﺇﻟﻰ ﻋﻠﻡ ﺍﻟﻠﹼﻐﺔ ﻭﻤﻨﺎﻫﺞ ﺍﻟﺒﺤﺙ ﺍﻟﻠﹼﻐﻭ ّ‬
‫ﻱ‪ .‬ﺹ‪.225‬‬
‫)‪(4‬‬
‫ﺃﻨﻴﺱ‪ ،‬ﺇﺒﺭﺍﻫﻴﻡ‪ :‬ﺍﻷﺼﻭﺍﺕ ﺍﻟﻠﻐﻭﻴّﺔ‪ .‬ﺹ‪.187‬‬
‫‪42‬‬
‫ﺕ ﺍﻟﻌﺭﺒﻴّﺔ‪ ،‬ﻭﺘﺅﻜﹼ ُﺩ ﻫﺫﺍ‬
‫ﺢ ﺍﻟﺼﻭﺍﻤ ِ‬
‫ﻥ‪ ،‬ﻭﺍﻟﻤﻴ ﹺﻡ‪ ،‬ﻭﺍﻟﺭّﺍﺀ؛ ﻓﻬﻲ ﺃﻭﻀ ُ‬
‫ﺕ ﺍﻟﺭﻨﹼﺎﻨﺔ‪ :‬ﺍﻟﻨﻭ ﹺ‬
‫ﻉ ﺒﺎﻗﻲ ﺍﻟﺼﻭﺍﻤ ِ‬
‫ﺸﻴﻭ ﹺ‬

‫ل‬
‫ل ‪ -‬ﺍﻟﻤﻌﺠ ﹺﺯ‪ ،‬ﺍﻟـﺫﻱ ﻴﻤﺜﹼـ ُ‬
‫ﷲ – ﻋ ﱠﺯ ﻭﺠ ّ‬
‫ﺏﺍ ِ‬
‫ﻥ ﺍﻟﻜﺭﻴﻡ‪ ،‬ﻜﺘﺎ ﹺ‬
‫ﺕ ﻓﻲ ﺍﻟﻘﺭﺁ ﹺ‬
‫ﺏ ﻫﺫﻩ ﺍﻷﺼﻭﺍ ِ‬
‫ﻉ‪ ،‬ﻨﺴ ُ‬
‫ﺍﻟﺸﻴﻭ َ‬

‫ﺏ‪ ،‬ﻋﻠﻰ ﺍﻟﻭﺠ ِﻪ ﺍﻵﺘﻲ‪:‬‬

‫ﺕ ﺇﻟﻰ ﻫﺫﻩ ﺍﻟﻨﺴ ﹺ‬
‫ﺼﻭﺭ ﹶﺓ ﺍﻟﻌﺭﺒ ّﻴ ِﺔ ﺍﻟﻤﺜﻠﻰ‪ ،‬ﻭﻗﺩْ ﺘﻭﺼّﻠ ﹸ‬

‫ل‬
‫ﻥ ﻭﺍﻟﻤﻴﻡ؛ ﻓﺘﺭ ُﺩ ﻜـ ﱞ‬
‫ﻥ ﺍﻟﻜﺭﻴ ﹺﻡ )‪ (38000‬ﻤ ّﺭ ٍﺓ ﺘﻘﺭﻴﺒًﺎ‪ ،‬ﻭﺘﻠﻴﻬﺎ ﻓﻲ ﺍﻟﻌﺩ ِﺩ ﺍﻟﻨﻭ ُ‬
‫ﺘﺭ ُﺩ ﺍﻟﻼ ُﻡ ﻓﻲ ﺍﻟﻘﺭﺁ ﹺ‬
‫ﻑ‬
‫ﻥ ﻋﺩ َﺩ ﺤـﺭﻭ ِ‬
‫ﻤﻨﻬﻤﺎ )‪ (27000‬ﻤ ّﺭ ٍﺓ ﺘﻘﺭﻴﺒًﺎ‪ .‬ﺃﻤّﺎ ﺍﻟﺭﺍ ُﺀ‪ ،‬ﻓﺘﺭ ُﺩ )‪ (12500‬ﻤ ّﺭ ٍﺓ ﺘﻘﺭﻴﺒًﺎ‪ .‬ﻭﺇﺫﺍ ﻋﻠﻤﻨﺎ ﺃ ّ‬
‫ل ﻤـﻥ‬ ‫ﻑ ﺘﻘﺭﻴﺒًﺎ)‪(1‬؛ ﺘﻜﻭ ُ‬
‫ﻥ ﻨﺴﺒ ﹸﺔ ﺍﻟﻼ ﹺﻡ )‪ (%12‬ﺘﻘﺭﻴﺒًﺎ‪ ،‬ﻭﻨﺴﺒـ ﹸﺔ ﻜـ ﱟ‬ ‫ﻥ ﺍﻟﻜﺭﻴ ﹺﻡ )‪ (323000‬ﺤﺭ ٍ‬
‫ﺍﻟﻘﺭﺁ ﹺ‬
‫ﻑ ﺒـﺫﻟﻙ‬
‫ل ﻫـﺫﻩ ﺍﻷﺤـﺭ ﹸ‬
‫ﻥ ﻭﺍﻟﻤﻴـﻡ )‪ (%8.4‬ﺘﻘﺭﻴﺒًﺎ‪ ،‬ﻭﻨﺴﺒـ ﹸﺔ ﺍﻟﺭﺍ ِﺀ )‪ (%4‬ﺘﻘﺭﻴﺒًـﺎ؛ ﻟﺘﺸـ ﹼﻜ َ‬
‫ﺍﻟﻨﻭ ﹺ‬
‫ﻥ‬
‫ل – ﻋ ﱠﺯ ﻗﻭﹸﻟﻪ ‪ ﴿ :-‬ﺇ ﱠ‬
‫ﷲ ﺍﻟﻌﻅﻴﻡ‪ ،‬ﺍﻟﻘﺎﺌ ﹺ‬
‫ﻥﺍ ِ‬
‫ﻥ ﺍﻟﻜﺭﻴﻡ‪ ،‬ﻓﺴﺒﺤﺎ َ‬ ‫)‪ (%32.8‬ﺘﻘﺭﻴﺒًﺎ)‪ ،(2‬ﻤﻥ ﺤﺭﻭ ِ‬
‫ﻑ ﺍﻟﻘﺭﺁ ﹺ‬
‫ﻙ ﻵﻴـ ﹰﺔ ﻟﻘـﻭ ﹴﻡ َﻴﺴْﻤَﻌـﻭﻥ ﴾)‪.(3‬‬
‫ﻓـﻲ ﺫﻟ َ‬

‫ﻥ‬
‫ﻲ؛ ﻓﻤﻥ ﺸﺄ ﹺ‬
‫ﺡ ﺍﻟﺴﻤﻌ ّ‬ ‫ﺕ ﻏﻴ ﹺﺭ ﺍﻟﺘﺭﻜﻴﺒ ّﻴ ِﺔ‪ ،‬ﻜﺎﻟﺘﻨﻐﻴ ﹺﻡ ﻭﺍﻟ َﻤﻔﹾﺼِل‪ ،‬ﺃﺜﺭُﻫﺎ ﺍﻟﺠﻠ ﱡ‬
‫ﻲ ﻓﻲ ﺍﻟﻭﻀﻭ ﹺ‬ ‫ﻭﻟﻠﻔﻭﻨﻴﻤﺎ ِ‬
‫ﺽ ﻓﻲ‬ ‫ﺏ ﺍﻟﺫﻱ ﻴﺸﻤﻠﹸﻪ؛ ﻓﻬﻭ ))ﻤﺭﺘﺒﻁﹲ ﺒﺎﻻﺭﺘﻔﺎ ﹺ‬
‫ﻉ ﻭﺍﻻﻨﺨﻔﺎ ﹺ‬ ‫ﺡ ﺍﻟﻜﻠﻤ ِﺔ‪ ،‬ﺃﻭ ﺍﻟﺘﺭﻜﻴ ﹺ‬
‫ﺍﻟﺘﻨﻐﻴ ﹺﻡ‪ ،‬ﺃﻥ ﻴﺯﻴ َﺩ ﻭﻀﻭ َ‬
‫ﻑ ﺍﻟﻭﻗ ﹺﻊ ﺍﻟﺴـﻤﻌ ّ‬
‫ﻲ(()‪.(4‬‬ ‫ﻥ ﺍﻟﺼﻭﺘﻴّﻴﻥ؛ ﻤﻤّﺎ ﻴﺅﺩّﻱ ﺇﻟﻰ ﺍﺨﺘﻼ ِ‬
‫ﻕ ﺍﻟﻜﻼ ﹺﻡ؛ ﻨﺘﻴﺠ ﹰﺔ ﻟﺩﺭﺠ ِﺔ ﺘﻭ ﹼﺘ ﹺﺭ ﺍﻟﻭﺘﺭﻴـ ﹺ‬
‫ﻨﻁ ِ‬
‫ﺕ ﺒﺒﻌﻀِـﻬﺎ ﻓـﻲ ﺍﻟﺘﺭﻜﻴـﺏ؛‬
‫ﺡ‪ ،‬ﺒﺘﻘﻠﻴـﻠِﻪ ﻤﻥ ﺘﺄ ﹼﺜ ﹺﺭ ﺍﻷﺼﻭﺍ ِ‬
‫ل‪ ،‬ﻓﻴﺴﻬ ُﻡ ﻓـﻲ ﻫﺫﺍ ﺍﻟﻭﻀﻭ ﹺ‬
‫ﺼُ‬‫ﺃﻤّﺎ ﺍﻟ َﻤﻔﹾ ِ‬
‫ﻥ‬
‫ل ﺒـﻴ َ‬
‫ل ﻤﻨﻬﺎ ﻭﻀﻭﺤَﻪ؛ ﺒﺼﻔﺘِﻪ ﺴﻜﺘ ﹰﺔ ﺨﻔﻴﻔ ﹰﺔ‪ ،‬ﺴﻭﺍﺀٌ ﺃﻜﺎﻨﺕ ﻅﺎﻫﺭ ﹰﺓ‪ ،‬ﺃﻡ ﺒﺎﻁﻨـﺔ‪ ،‬ﺘﻔﺼـ ُ‬
‫ﻅ ﻟﻜ ﱟ‬
‫ﻓﻴﺤﻔ ﹸ‬
‫ﻲ‬ ‫ﻥ ﺍﻟﻤﻘﺎﻁ ﹺﻊ ﺍﻟﺼﻭﺘ ّﻴ ِﺔ‪ ،‬ﻤﻥ ﻨﺎﺤﻴ ٍﺔ ﺃﺨﺭﻯ‪ ،‬ﻓــ))ــﺈ ﱠ‬
‫ﻥ ﺍﻟﺘﻘﺴـﻴ َﻡ ﺍﻟﻤﻘﻁﻌـ ﱠ‬ ‫ﺕ‪ ،‬ﻤﻥ ﻨﺎﺤﻴﺔ‪ ،‬ﻭﺒﻴ َ‬
‫ﺍﻟﻜﻠﻤﺎ ِ‬
‫ﺙ ﺇﻨﹼﻪ ﺘﻭﺠ ُﺩ ﻋﺎﺩ ﹰﺓ‪ ،‬ﻭﻗﻔـﺔﹲ ﻏﻴـ ُﺭ‬
‫ﻁ ﺍﺭﺘﺒﺎﻁﹰﺎ ﻭﺜﻴﻘﹰﺎ ﺒﺎﻟ َﻤﻔﹾﺼِـل‪ ،‬ﺤﻴ ﹸ‬
‫)‪ ،(Syllabic Division‬ﻟﻴﺭﺘﺒ ﹸ‬
‫ﻥ ﺍﻟﻤﻘﻁﻌﻴﻥ(()‪.(5‬‬
‫ﻤﺤﺴﻭﺴ ٍﺔ ﻏﺎﻟ ًﺒﺎ‪ ،‬ﺒﻴ َ‬

‫)‪(1‬‬
‫ﺘ ّﻡ ﻫﺫﺍ ﺍﻹﺤﺼﺎﺀ‪ ،‬ﺒﺒﺭﻨﺎﻤﺞ ﺍﻟﺤﺎﺴﻭﺏ )‪ .(Microsoft Word‬ﻭﻫﺫﻩ ﺍﻷﻋﺩﺍﺩ ﺘﻘﺭﻴﺒﻴّﺔ؛ ﻟﻜﻭﻥ ﻫﺫﺍ ﺍﻟﺒﺭﻨﺎﻤﺞ‪ ،‬ﻻ ﻴﻌﻁﻲ ﻨﺘﻴﺠ ﹰﺔ‬
‫ﺩﻗﻴﻘﺔ؛ ﻷﺴﺒﺎﺏ ﺒﺭﻤﺠﻴّﺔ؛ ﻓﻬﻭ ﻻ ﻴﻔﺭّﻕ ﺒﻴﻥ ﻤﺎ ﻴﻨﻁﻕ‪ ،‬ﻭﻤﺎ ﻻ ﻴﻨﻁﻕ‪ ،‬ﻜﺎﻟﻼﻡ ﺍﻟﺸﻤﺴﻴّﺔ‪ ،‬ﻭﻫﻭ ﻴﻌ ّﺩ ﺍﻟﺤﺭﻑ ﺍﻟﻤﺸﺩّﺩ ﺤﺭﻓﹰﺎ ﻭﺍﺤﺩًﺍ‪ ،‬ﻻ‬
‫ﺤﺭﻓﻴﻥ‪...‬‬
‫)‪(2‬‬
‫ﻥ ﺍﻟﻼﻡ ﺘﺭﺩ ﻓﻲ‬
‫ﺍﺴﺘﻁﺎﻉ ﺍﻟﺩﻜﺘﻭﺭ ﺇﺒﺭﺍﻫﻴﻡ ﺃﻨﻴﺱ‪ ،‬ﺃﻥ ﻴﺼل ﺇﻟﻰ ﻨﺴﺏ ﺘﻘﺭﻴﺒﻴّﺔ‪ ،‬ﻟﺸﻴﻭﻉ ﺍﻟﺤﺭﻭﻑ ﻓـﻲ ﺍﻟﻘﺭﺁﻥ ﺍﻟﻜﺭﻴﻡ‪ .‬ﻭﻤﻨﻬﺎ ﺃ ّ‬
‫ل ﺃﻟﻑ ﻤﻥ ﺍﻟﺤﺭﻭﻑ‪ (127) ،‬ﻤﺭّﺓ‪ ،‬ﻭﺍﻟﻤﻴﻡ )‪ (124‬ﻤﺭّﺓ‪ ،‬ﻭﺍﻟﻨﻭﻥ )‪ (112‬ﻤﺭّﺓ‪ ،‬ﻭﺍﻟﺭﺍﺀ )‪ (38‬ﻤﺭّﺓ‪ .‬ﺍﻨﻅﺭ‪ :‬ﺃﻨـﻴﺱ‪ ،‬ﺇﺒـﺭﺍﻫﻴﻡ‪:‬‬
‫ﻜّ‬
‫ل ﺃﻟـﻑ‪ ،(%12.7) :‬ﻭ)‪ ،(%12.4‬ﻭ)‪ ،(%11.2‬ﻭ)‪ ،(%3.8‬ﻋﻠـﻰ‬
‫ﻤﻭﺴﻴﻘﻰ ﺍﻟﺸﻌﺭ‪ .‬ﺹ‪ .34‬ﻭﻨﺴﺏ ﻫﺫﻩ ﺍﻷﺤﺭﻑ ﻓﻲ ﻜـ ّ‬
‫ﺕ ﺇﻟﻴﻬﺎ‪.(%32.8) :‬‬
‫ﺍﻟﺘﻭﺍﻟﻲ؛ ﺃﻱ ﻤﺎ ﻤﺠﻤﻭﻋﻪ )‪ .(%40.1‬ﻭﻤﻥ ﻫﺫﻩ ﺍﻟﻨﺴﺒﺔ ﺘﻘﺭﺏ‪ ،‬ﺇﻟﻰ ﺤ ﱟﺩ ﻤّﺎ‪ ،‬ﺍﻟﻨﺴﺒﺔ ﺍﻟﺘﻲ ﺘﻭﺼّﻠ ﹸ‬
‫)‪(3‬‬
‫ﺍﻟﻨﹼﺤل‪.65 :‬‬
‫)‪(4‬‬
‫ﺤﺠﺎﺯﻱ‪ ،‬ﻤﺤﻤﻭﺩ ﻓﻬﻤﻲ‪ :‬ﻤﺩﺨل ﺇﻟﻰ ﻋﻠﻡ ﺍﻟﻠﻐﺔ‪ .‬ﺹ‪.82‬‬
‫)‪(5‬‬
‫ﺒﺎﻱ‪ ،‬ﻤﺎﺭﻴﻭ‪ :‬ﺃﺴﺱ ﻋﻠﻡ ﺍﻟﻠﹼﻐﺔ‪ .‬ﺹ‪.96‬‬
‫‪43‬‬
‫ل ﻤـﺎ‬
‫ﻙ ﺫﻟﻙ‪ ،‬ﻤﻥ ﺨﻼ ﹺ‬
‫ﺕ ﺍﻨﺘﺒﺎ ِﻩ ﺍﻟﻤﺘﻠﻘﹼﻲ‪ .‬ﻭﻨﺴﺘﻁﻴ ُﻊ ﺃﻥ ﻨﺩﺭ َ‬
‫ﺕ ﻋﻠﻰ ﻟﻔ ِ‬
‫ل ﻫﺫﻩ ﺍﻟﻔﻭﻨﻴﻤﺎ ﹸ‬
‫ﻜﺫﻟﻙ‪ ،‬ﺘﻌﻤ ُ‬

‫ل ﻓﻴﻪ‪)) :‬ﻻ ﺘـﺩﺨﻠﻭ َ‬

‫ﻥ ﺍﻟﺠﻨﹼـ ﹶﺔ‬ ‫ﺙ ﺍﻟﻤﺼﻁﻔﻰ – ﻋﻠﻴﻪ ﺍﻟﺴﻼﻡ – ﺍﻟﺫﻱ ﻴﻘﻭ ُ‬
‫ل‪ ،‬ﻓﻲ ﺤﺩﻴ ِ‬
‫ﻴﺤ ﹼﻘﻘﹸﻪ ﺘﻨﻐﻴ ُﻡ ﺍﻟﺴﺅﺍ ﹺ‬

‫ﺤﺘﹼﻰ ﺘﺅﻤﻨﻭﺍ‪ ،‬ﻭﻻ ﺘﺅﻤﻨﻭﺍ ﺤﺘﹼﻰ ﺘﹶﺤﺎﺒّﻭﺍ‪َ ،‬ﺃﻭَﻻ ﺃﺩﱡﻟﻜﻡ ﻋﻠﻰ ﺸﻲ ٍﺀ ﺇﺫﺍ ﻓﻌﻠﺘﻤﻭﻩ ﺘﹶﺤﺎ َﺒﺒْﺘﻡ؟ ﺃﻓﺸـﻭﺍ ﺍﻟﺴـﻼ َﻡ‬
‫ل ﺒﻌ َﺩ ﺫﻟﻙ ﻓﺠـﺄ ﹰﺓ‪ ،‬ﺇﻟـﻰ‬
‫ل ﺍﻟﺨﺒﺭ ّﻴ ِﺔ‪ ،‬ﻟﻴﺘﺤ ّﻭ َ‬
‫ﺙ‪ ،‬ﺒﺎﻟﺠﻤ ﹺ‬
‫ﺒﻴﻨﹶﻜﻡ(()‪(1‬؛ ﻓﻴﺒﺩُﺃ – ﻋﻠﻴﻪ ﺍﻟﺴـﻼﻡ – ﻫﺫﺍ ﺍﻟﺤﺩﻴ ﹶ‬

‫ل ﻓـﻲ‬
‫ل َﻤﻔﹾﺼِـ ﹴ‬
‫ﻕ ﻜـ ﱡ‬
‫ﻲ‪ ،‬ﻭﻴﻌ ّﺯ َﺯ ﺍﻨﺘﺒﺎﻫَﻪ‪ .‬ﻜﺫﻟﻙ ﻴﺤﻘﹼ ﹸ‬
‫ﻥ ﻫﺫﺍ ﺃﻥ ﻴﺸ ﱠﺩ ﺍﻟﻤﺘﻠ ﹼﻘ َ‬
‫ل ﺒﺘﻨﻐﻴﻤِﻪ؛ ﻭﻤﻥ ﺸﺄ ﹺ‬
‫ﺍﻟﺴﺅﺍ ﹺ‬

‫ل ﺘﻬﻴﺌ ِﺔ ﺍﻟﻤﺘﻠﻘﹼﻲ‪ ،‬ﻟﻤﺎ ﺒﻌﺩَﻩ ﻤﻥ ﻜﻼﻡ‪.‬‬

‫ﻼ ﻤﻥ ﺃﺸﻜﺎ ﹺ‬
‫ﻑ‪ ،‬ﺸﻜ ﹰ‬
‫ﺙ ﺍﻟﺸﺭﻴ ِ‬
‫ﺍﻟﺤﺩﻴ ِ‬

‫ﻑ‬
‫ﻲ؛ ﻓﻬﻲ ﺘﺨﺘﻠ ﹸ‬ ‫ﺕ ﺍﻟﻠﹼﻐﻭﻴّﺔ‪ ،‬ﺩﻭﺭُﻫﺎ ﻓﻲ ﺍﻟﻭﻀﻭ ﹺ‬
‫ﺡ ﺍﻟﺴﻤﻌ ّ‬ ‫ﻭﻟﻠﻤﻘﺎﻁ ﹺﻊ ﺍﻟﺼﻭﺘ ّﻴ ِﺔ‪ ،‬ﺍﻟﺘﻲ ﺘﻨﺘﻅ ُﻡ ﺍﻷﺼﻭﺍ ﹶ‬

‫ﻥ‬
‫ل ﺍﻟﻤﻘﻁ ﹺﻊ‪ ،‬ﻓﻬﻭ ﺍﻟﺯﻤ ُ‬
‫ل ﺍﻟﻤﻘﻁ ﹺﻊ‪ ،‬ﻭﺍﻟﻁﺎﻗ ِﺔ ﺍﻟﺘﻲ ﻴﺤﻤﻠﹸﻬﺎ‪ .‬ﺃﻤّﺎ ﻁﻭ ُ‬
‫ﻓﻲ ﻤﻘﺩﺍ ﹺﺭ ﻭﻀﻭﺤِﻬﺎ‪ ،‬ﺒﻨﺎ ًﺀ ﻋﻠﻰ ﻁﻭ ﹺ‬

‫ﻑ ﻫــﺫﺍ‬
‫ﺡ ﺍﻟﻤﻘﻁﻊ‪ .‬ﻭﻴﺘﻭﻗﹼ ﹸ‬
‫ﻥ‪ ،‬ﻴﺯﺩﺍ ُﺩ ﻭﻀﻭ ُ‬
‫ﻕ ﺒﻬﺫﺍ ﺍﻟﻤﻘﻁﻊ‪ ،‬ﻭﺒﺎﺯﺩﻴﺎ ِﺩ ﻫﺫﺍ ﺍﻟﺯﻤ ﹺ‬
‫ﺍﻟﺫﻱ ﻴﺴﺘﻐﺭﻗﹸﻪ ﺍﻟﻨﻁ ﹸ‬

‫ﻑ‬ ‫ﺕ ﺍﻟﻤﻘﻁﻊ؛ ﻓﻜﻠﹼﻤﺎ ﺯﺍﺩﺕ ﻫﺫﻩ ﺍﻟﻤﻜﻭّﻨﺎ ﹸ‬

‫ﺕ؛ ﺯﺍ َﺩ ﺍﻟﺯﻤﻥ‪ ،‬ﻜﻤﺎ ﻴﺘﻭﻗﹼـ ﹸ‬ ‫ﻥ‪ ،‬ﺒﺩﻭﺭﹺﻩ‪ ،‬ﻋﻠﻰ ﻋﺩ ِﺩ ﻤﻜﻭّﻨﺎ ِ‬
‫ﺍﻟﺯﻤ ُ‬

‫ل ﻤـﻥ‬
‫ﺕ ﺍﻟﻁﻭﻴﻠـ ﹸﺔ ﺃﻁـﻭ ُ‬
‫ل ﻤﻥ ﺍﻟﺼﻭﺍﻤﺕ‪ ،‬ﻭﺍﻟﺤﺭﻜﺎ ﹸ‬
‫ﺕ ﺃﻁﻭ ُ‬
‫ﺕ؛ ﻓﺎﻟﺤﺭﻜﺎ ﹸ‬
‫ﻋﻠﻰ ﻁﺒﻴﻌ ِﺔ ﻫﺫﻩ ﺍﻟﻤﻜﻭّﻨﺎ ِ‬

‫ﻲ؛ ﻓﻜﻠﹼﻤﺎ ﺯﺍ َﺩ ﻫـﺫﺍ ﺍﻟﺠﻬـ ُﺩ؛‬

‫ﻕ ﺍﻟﻤﻘﻁ ﹺﻊ ﺍﻟﺼﻭﺘ ّ‬
‫ل ﻟﻨﻁ ِ‬
‫ﻁ ﺒﺎﻟﺠﻬ ِﺩ ﺍﻟﻤﺒﺫﻭ ﹺ‬
‫ﺍﻟﻘﺼﻴﺭﺓ‪ .‬ﻭﺃﻤّﺎ ﺍﻟﻁﺎﻗ ﹸﺔ‪ ،‬ﻓﺘﺭﺘﺒ ﹸ‬

‫ﺤﻪ‪.‬‬
‫ﺯﺍﺩﺕ ﻁﺎﻗ ﹸﺔ ﺍﻟﻤﻘﻁﻊ؛ ﻓﻴﺯﺩﺍ ُﺩ ﺒﺫﻟﻙ ﻭﻀﻭ ُ‬

‫ﻥ ﻫــﺫﺍ‬
‫ﻥ ﻟﻨـﺎ ﺃ ّ‬
‫ﻲ؛ ﺘﺒ ّﻴ َ‬
‫ﺡ ﺍﻟﺴﻤﻌ ّ‬
‫ﻕ ﺍﻟﻭﻀﻭ ﹺ‬
‫ﺏ ﺍﻟﻤﻘﺎﻁ َﻊ ﺍﻟﺼﻭﺘﻴّـ ﹶﺔ‪ ،‬ﻭﻓـ ﹶ‬
‫ﻭﺇﺫﺍ ﻤﺎ ﺃﺭﺩﻨﺎ ﺃﻥ ﻨﺭ ﹼﺘ َ‬

‫ﺱ‬
‫ﻥ ﻓـﻲ ﺍﻷﺴـ ﹺ‬
‫ﻙ ﺍﻟﺘﺭﺘﻴﺒﻴ ﹺ‬
‫ل‪ ،‬ﺍﻟﺫﻱ ﺃُﻭﺭ َﺩ ﺴﺎﺒﻘﹰﺎ)‪(2‬؛ ﻻﺸﺘﺭﺍ ِ‬
‫ﻕ ﺍﻟﺠﻬ ِﺩ ﺍﻟﻤﺒﺫﻭ ﹺ‬
‫ﺏ‪ ،‬ﺘﺭﺘﻴﺒُﻬﺎ ﺫﺍﺘﹸﻪ‪ ،‬ﻭﻓ ﹶ‬
‫ﺍﻟﺘﺭﺘﻴ َ‬
‫ﻲ‪ ،‬ﺘﺼﺎﻋﺩﻴ‪‬ﺎ‪ ،‬ﻋﻠﻰ ﺍﻟﻭﺠ ِﻪ ﺍﻵﺘﻲ‪:‬‬
‫ﺡ ﺍﻟﺴﻤﻌ ّ‬
‫ﻕ ﺍﻟﻭﻀﻭ ﹺ‬
‫ﻥ ﺘﺭﺘﻴﺒُﻬﺎ ﻭﻓ ﹶ‬
‫ﺫﺍﺘِﻬﺎ؛ ﻓﻴﻜﻭ ُ‬

‫ﻁ‬
‫ﺴﹸ‬
‫ﻁ ﺍﻟﻤﻐﻠﻕ )ﺹ ‪ +‬ﺡ ‪ +‬ﺹ(‪ ،‬ﻓﺎﻟﻤﻘﻁ ُﻊ ﺍﻟﻤﺘﻭ ّ‬
‫ﺍﻟﻤﻘﻁ ُﻊ ﺍﻟﻘﺼﻴﺭ )ﺹ ‪ +‬ﺡ(‪ ،‬ﻓﺎﻟﻤﻘﻁ ُﻊ ﺍﻟﻤﺘﻭﺴّ ﹸ‬

‫ﺝ ﺍﻹﻏﻼﻕ )ﺹ ‪ +‬ﺡ ‪ +‬ﺹ ‪ +‬ﺹ(‪ ،‬ﻓـﺎﻟﻤﻘﻁ ُﻊ‬

‫ل ﺍﻟﻤﺯﺩﻭ ُ‬
‫ﺍﻟﻤﻔﺘﻭﺡ )ﺹ ‪ +‬ﺡ ﺡ(‪ ،‬ﻓﺎﻟﻤﻘﻁ ُﻊ ﺍﻟﻁﻭﻴ ُ‬
‫ﺝ ﺍﻹﻏـﻼﻕ )ﺹ ‪ +‬ﺡ ﺡ ‪+‬‬
‫ل ﺍﻟﻤﺯﺩﻭ ُ‬
‫ل ﺍﻟﻤﻐﻠﻕ )ﺹ ‪ +‬ﺡ ﺡ ‪ +‬ﺹ(‪ ،‬ﻓﺎﻟﻤﻘﻁ ُﻊ ﺍﻟﺒﺎﻟ ﹸﻎ ﺍﻟﻁﻭ ﹺ‬
‫ﺍﻟﻁﻭﻴ ُ‬

‫ﺹ ‪ +‬ﺹ(‪.‬‬

‫)‪(1‬‬
‫ﺍﻨﻅﺭ‪ :‬ﺍﻟﻨﻭﻭﻱّ‪ ،‬ﻴﺤﻴﻰ ﺒﻥ ﺸﺭﻑ‪ :‬ﺸﺭﺡ ﺼﺤﻴﺢ ﻤﺴﻠﻡ‪ 18 .‬ﺝ‪ .‬ﻁ‪ .1‬ﺍﻟﻤﻁﺒﻌﺔ ﺍﻟﻤﺼﺭﻴّﺔ ﺒﺎﻷﺯﻫﺭ‪.35 / 2 .1929 .‬‬
‫)‪(2‬‬
‫ﺍﻨﻅﺭ ﺹ‪ 36 ،35‬ﻤﻥ ﻫﺫﺍ ﺍﻟﺒﺤﺙ‪.‬‬
‫‪44‬‬
‫ﺹ‬
‫ﺡ ﺍﻟﻨ ﱢ‬
‫ﺹ‪ ،‬ﻤـﺎ ﻴﻌﺯّ ُﺯ ﻭﻀﻭ َ‬
‫ﺕ ﻭﺍﻟﻤﻘﺎﻁ ﹺﻊ ﺍﻟﻭﺍﻀﺤ ِﺔ ﻓﻲ ﺍﻟﺴﻤ ﹺﻊ‪ ،‬ﻓـﻲ ﺍﻟﻨ ّ‬
‫ﻭﻓﻲ ﺘﻨﻅﻴ ﹺﻡ ﺍﻷﺼﻭﺍ ِ‬

‫ﻥ‬
‫ﺏ ﻭﻨﻬﺎﻴﺘِﻪ‪ ،‬ﺴﻭﺍﺀٌ ﺃﻜﺎ َ‬
‫ﺡ ﻤﻥ ﻏﻴﺭﹺﻫﺎ‪ ،‬ﻜﺒﺩﺍﻴ ِﺔ ﺍﻟﺘﺭﻜﻴ ﹺ‬
‫ﻥ ﺃﻭﻟﻰ ﺒﻬﺫﺍ ﺍﻟﻭﻀﻭ ﹺ‬
‫ﺹ ﻤﻭﺍﻁ ُ‬
‫ﻲ؛ ﻓﻔﻲ ﺍﻟﻨ ﱢ‬
‫ﺍﻟﺴﻤﻌ ّ‬

‫ﺕ‬
‫ل ﺍﻟﻤﺘﻠﻘﹼﻲ‪ ،‬ﻭﺍﻟﻨﻬﺎﻴـﺎ ﹸ‬
‫ل ﻤﺎ ﻴﻘﺎﺒ ُ‬
‫ﺕ ﺃﻭّ ُ‬
‫ﺹ ﺫﺍﺘﹶﻪ؛ ﻓﺎﻟﺒﺩﺍﻴﺎ ﹸ‬
‫ﺏ ﻜﻠﻤ ﹰﺔ‪ ،‬ﺃﻡ ﺠﻤﻠ ﹰﺔ‪ ،‬ﺃﻡ ﻓﻘﺭ ﹰﺓ‪ ،‬ﺃﻡ ﺍﻟﻨ ﱠ‬
‫ﻫﺫﺍ ﺍﻟﺘﺭﻜﻴ ُ‬
‫ﺹ ﺒﻤﻌﺎﻨﻴـﻪ ﺇﻟـﻰ‬
‫ل ﺍﻟـﻨ ﱢ‬
‫ﻥ ﻭﺼـﻭ ُ‬
‫ﺕ‪ُ ،‬ﻴﻀْ َﻤ ُ‬
‫ﺕ ﻭﺍﻟﻨﻬﺎﻴﺎ ِ‬
‫ﺡ ﺍﻟﺒﺩﺍﻴﺎ ِ‬
‫ﺁﺨ ُﺭ ﻤﺎ ﻴﺴﺘﻘ ﱡﺭ ﻓﻲ ﺫﻫﻨِﻪ‪ .‬ﻭﺒﻭﻀﻭ ﹺ‬

‫ﺍﻟﻤﺘﻠﻘﹼﻲ‪ ،‬ﻋﻠﻰ ﺃﺘ ﱢﻡ ﻭﺠﻪ‪.‬‬

‫ﺏ‪ ،‬ﺇﺫﺍ ﻤﺎ ﻋﺭﻓﻨـﺎ‪ ،‬ﻜﻤـﺎ‬

‫ﻥ ﻤﻥ ﺍﻟﺘﺭﻜﻴ ﹺ‬
‫ﻥ ﺍﻟﻤﻭﻀﻌﻴ ﹺ‬
‫ﺡ ﻫﺫﻴ ﹺ‬
‫ﻙ ﻀﺭﻭﺭ ﹶﺓ ﻭﻀﻭ ﹺ‬
‫ﻥ ﻟﻨﺎ ﺃﻥ ﻨﺩﺭ َ‬
‫ﻭﻴﻤﻜ ُ‬
‫ﻉ‪ ،‬ﺇﻟـﻰ‬
‫ﻥ ﺍﻟﺴﺎﻤ َﻊ‪ ،‬ﻴﻭﺠّ ُﻪ ﻗﺴﻁﹰﺎ ﻜﺒﻴﺭًﺍ ﻤﻥ ﺍﻨﺘﺒﺎﻫِﻪ‪ ،‬ﻓـﻲ ﺃﺜﻨﺎ ِﺀ ﺍﻟﺴﻤﺎ ﹺ‬
‫ﻲ ﻭﺍﻓﻲ‪)) ،‬ﺃ ﱠ‬
‫ﺹ ﺍﻟﺩﻜﺘﻭ ُﺭ ﻋﻠ ّ‬
‫ﻴﻨ ﱡ‬

‫ﻱ‬
‫ﻙ ﺍﻷﺼﻭﺍﺕ‪ .‬ﻭﻫﺫﺍ ﺍﻻﺘﺠﺎ ُﻩ‪ ،‬ﺍﻟﺫﻱ ﻻ ﻴﺴﺘﻁﻴ ُﻊ ﺃ ﱡ‬
‫ﺕ ﻭﺍﻟﻌﺒﺎﺭﺍﺕ‪ ،‬ﻭﻻ ﻴُﻌﻨﻰ ﻜﺜﻴﺭًﺍ ﺒﺈﺩﺭﺍ ِ‬
‫ل ﺍﻟﻜﻠﻤﺎ ِ‬
‫ﻤﺩﻟﻭ ﹺ‬

‫ﻙ‬
‫ﻲ ﻋﺭﻀ ﹰﺔ ﻟﻠﺯﻟل‪ .‬ﻓﻬﻭ ﺒﻤﺠـ ّﺭ ِﺩ ﺃﻥ ﻴـﺩﺭ َ‬
‫ل ﺇﺩﺭﺍﻜﹶﻪ ﺍﻟﺴﻤﻌ ﱠ‬
‫ﺴﺎﻤ ﹴﻊ ﺃﻥ ﻴﺘﺤ ّﺭ َﺭ ﻤﻨﻪ ﺘﻤﺎ َﻡ ﺍﻟﺘﺤﺭّﺭ‪ ،‬ﻴﺠﻌ ُ‬

‫ﻕ‬ ‫ﺽ ﺤﺭﻭﻓِﻬﺎ‪ ،‬ﻭﺒﻤﺠ ّﺭ ِﺩ ﺃﻥ ﻴﺩﺭ َ‬

‫ﻙ ﻤﻌﻨﻰ ﺍﻟﺠﻤﻠﺔ؛ ﻭﺫﻟﻙ ﻴﺘﺤﻘﹼـ ﹸ‬ ‫ﻉ ﺒﻌ ﹺ‬
‫ﻕ ﺒﺴﻤﺎ ﹺ‬
‫ﻤﻌﻨﻰ ﺍﻟﻜﻠﻤﺔ؛ ﻭﺫﻟﻙ ﻴﺘﺤﻘﹼ ﹸ‬

‫ﻼ‬
‫ﻉ ﺍﻟﺒﺎﻗﻲ؛ ﻓﻼ ﻴﺩﺭﻜﹸﻪ ﺇﺩﺭﺍﻜﹰﺎ ﺴﻤﻌﻴ‪‬ﺎ ﺼﺤﻴﺤًﺎ‪ .‬ﺘﻌ ّﻤﺩْ ﻤـﺜ ﹰ‬
‫ﻑ ﻋﻥ ﺴﻤﺎ ﹺ‬
‫ﺽ ﻜﻠﻤﺎ ِﺘﻬﺎ؛ ﻴﻨﺼﺭ ﹸ‬
‫ﻙ ﺒﻌ ﹺ‬
‫ﺒﺈﺩﺭﺍ ِ‬

‫ﺕ ﻓﻲ ﺠﻤﻠﺔ‪ ،‬ﻭﻨﺎﻗﺵ ﺍﻟﺴﺎﻤ َﻊ ﻓﻴﻤﺎ ﺴﻤﻌَﻪ؛ ﺘ َﺭ ﺃﻨﱠﻪ ﻟﻡ ﻴﺘﺒ ّﻴﻥْ ﻫﺫﺍ ﺍﻟﺘﺤﺭﻴـﻑ‪ .‬ﻗـلْ‬
‫ﺽ ﻜﻠﻤﺎ ٍ‬
‫ﻑ ﺒﻌ ﹺ‬
‫ﺘﺤﺭﻴ ﹶ‬

‫ﻑ ﺍﻟﺨﻁﺎﺏ‪ ،‬ﻭﻗلْ‬ ‫ﺕ"‪ ،‬ﻓﺈﻨﱠﻪ ﻴﺴﻤﻌُﻬﺎ "ﺇﺯﺍﻱ ﺼﺤﺘﻙ"‪ ،‬ﻭﻻ ﻴﺘﺒﻴّ ُ‬

‫ﻥ ﺤﺫﻓﹶﻙ ﻟﻜـﺎ ِ‬ ‫ﺤ ﹶ‬
‫ﻼ ﻟﺯﺍﺌﺭ‪" :‬ﺇ ﱠﺯﻱْ ﺼِ ﱢ‬
‫ﻤﺜ ﹰ‬

‫ﺏ ﻴﺴـﻤﻌُﻬﺎ "ﻤﺴـﻜﻴﻥ"‪ ،‬ﻭﻻ‬

‫ﻥ ﺍﻟﻤﺨﺎﻁ َ‬
‫ﺴ ﹺﺭ ﻋﻠﻰ ﺸﺨﺹ‪" :‬ﺒﺴﻜﻴﻥ ﺍﻟﺭﺍﺠل ﺩﻩ"‪ ،‬ﻓﺈ ﱠ‬
‫ﻼ ﻓﻲ ﺃﺜﻨﺎ ِﺀ ﺍﻟﺘﺤ ّ‬
‫ﻤﺜ ﹰ‬

‫ﺒﺎﻟﻤﻴﻡ(()‪.(1‬‬ ‫ل ﺍﻟﺒﺎ ِﺀ‬

‫ﻥ ﻻﺴﺘﺒﺩﺍ ﹺ‬
‫ﻴﻔﻁ ُ‬

‫ﺱ ﺇﻋﺠﺎﺯَﻩ‪ ،‬ﻤﻥ ﻨﺎﺤﻴﺔ‪،‬‬

‫ﺕ ﻭﺍﻟﻨﻬﺎﻴﺎﺕ‪ ،‬ﻤﺎ ﻴﻌﻜ ُ‬
‫ﺡ ﺍﻟﺒﺩﺍﻴﺎ ِ‬
‫ﻥ ﺍﻟﻜﺭﻴ ﹺﻡ‪ ،‬ﻤﻥ ﻭﻀﻭ ﹺ‬
‫ﻭﺇﻨﱠﻙ ﻟﺘﺠ ُﺩ ﻓﻲ ﺍﻟﻘﺭﺁ ﹺ‬

‫ﻥ ﺍﻟﻜﺭﻴ ﹺﻡ‪،‬‬
‫ﻼ‪ ،‬ﺘﺒﺩُﺃ ﻨﺴﺒﺔﹲ ﻋﺎﻟﻴﺔﹲ ﻤﻥ ﺴﻭ ﹺﺭ ﺍﻟﻘﺭﺁ ﹺ‬
‫ﺡ‪ ،‬ﻤﻥ ﻨﺎﺤﻴ ٍﺔ ﺃﺨﺭﻯ؛ ﻓﻤﺜ ﹰ‬
‫ﻭﻴﺅﻜﹼ ُﺩ ﻀﺭﻭﺭ ﹶﺓ ﻫﺫﺍ ﺍﻟﻭﻀﻭ ﹺ‬

‫ﻑ‬
‫ﺕ‪ :‬ﺍﻟﻬﻤﺯ ِﺓ‪ ،‬ﻭﻨﺼﻔﻲ ﺍﻟﺤﺭﻜ ِﺔ‪ :‬ﺍﻟﻭﺍﻭ ﻭﺍﻟﻴﺎﺀ؛ ﻓﺘﺒﺩُﺃ )‪ (41‬ﺴﻭﺭ ﹰﺓ ﺒﺎﻟﻬﻤﺯﺓ‪ ،‬ﻭ)‪ (17‬ﺒﻨﺼـ ِ‬
‫ﺒﺎﻷﺼﻭﺍ ِ‬
‫ﻑ ﺍﻟﺤﺭﻜ ِﺔ ﺍﻟﻴﺎﺀ؛ ﺃﻱ ﻤﺎ ﻤﺠﻤﻭﻋُﻪ )‪ ،(72‬ﻤﻥ )‪ (114‬ﺴـﻭﺭﺓ‪ .‬ﻜـﺫﻟﻙ‬
‫ﺍﻟﺤﺭﻜ ِﺔ ﺍﻟﻭﺍﻭ‪ ،‬ﻭ)‪ (14‬ﺒﻨﺼ ِ‬

‫ﻥ ﺍﻟﻜﺭﻴ ﹺﻡ‪ ،‬ﻓـﻲ ﻤﺘ ﹺ‬

‫ﻥ ﺍﻟﺴـﻭ ﹺﺭ ﻭﻨﻬﺎﻴﺎﺘِﻬـﺎ‪ .‬ﻭﺠﻤﻴـ ُﻊ ﻫـﺫﻩ‬ ‫ل ﺍﻟﻘﺭﺁ ﹺ‬
‫ﻥ ﻭﺍﻟﻤﻴﻡ‪ ،‬ﻤﻌﻅ َﻡ ﻓﻭﺍﺼ ﹺ‬
‫ل ﺍﻟﻨﻭ ُ‬
‫ﺘﺸﻜﹼ ُ‬

‫ﺕ ﺍﻟﻌﺭﺒ ّﻴ ِﺔ ﻓﻲ ﺍﻟﺴﻤﻊ‪.‬‬
‫ﺢ ﺍﻷﺼﻭﺍ ِ‬
‫ﺕ‪ ،‬ﻤﻥ ﺃﻭﻀ ﹺ‬
‫ﺍﻷﺼﻭﺍ ِ‬

‫)‪(1‬‬
‫ﻲ ﻋﺒﺩ ﺍﻟﻭﺍﺤﺩ‪ :‬ﻋﻠﻡ ﺍﻟﻠﹼﻐﺔ‪ .‬ﻁ‪ .9‬ﺍﻟﻘﺎﻫﺭﺓ‪ :‬ﻨﻬﻀﺔ ﻤﺼﺭ‪ .2004 .‬ﺹ‪.39‬‬
‫ﻭﺍﻓﻲ‪ ،‬ﻋﻠ ّ‬
‫‪45‬‬
‫ﺕ ﺴﻭﺭ ِﺓ ﺍﻟﻔﺎﺘﺤ ِﺔ ﺍﻟﺴﺒﻊ)‪(1‬؛ ﻟﻭﺠﺩﻨﺎ‬
‫ﻼ‪ ،‬ﺁﻴﺎ ِ‬
‫ﻥ ﺍﻟﻜﺭﻴ ﹺﻡ ﻨﻅﺭ ﹰﺓ ﺠﺯﺌﻴّﺔ؛ ﻓﺘﺘﺒّﻌﻨﺎ ﻤﺜ ﹰ‬
‫ﻭﻟﻭ ﻨﻅﺭﻨﺎ ﻓﻲ ﺍﻟﻘﺭﺁ ﹺ‬

‫ﺕ‪ :‬ﺒﺎﻟﺒﺎ ِﺀ‪ ،‬ﻭﺍﻟﻤﻴ ﹺﻡ‪ ،‬ﻭﺍﻟﺼﺎﺩ‪ ،‬ﻜﻤﺎ‬

‫ﺃﺭﺒﻌًﺎ ﻤﻨﻬﺎ ﺘﺒﺩُﺃ ﺒﺎﻟﻬﻤـﺯﺓ‪ ،‬ﺇﺫﺍ ﻭﻗﻔﻨـﺎ ﻋﻠﻰ ﺍﻟﻔﻭﺍﺼل‪ ،‬ﻭﺒﺎﻗﻲ ﺍﻵﻴﺎ ِ‬

‫ﺕ ﻫﺫﻩ ﺍﻟﺴﻭﺭ ِﺓ‪ ،‬ﻋﻨ َﺩ ﺍﻟﻭﻗﻑ‪،‬‬

‫ﻨﺠ ُﺩ ﺃﺭﺒﻌًﺎ ﻤﻨﻬﺎ ﺘﻨﺘﻬﻲ ﺒﺎﻟﻨﻭﻥ‪ ،‬ﻭﺍﻟﺒﺎﻗﻲ ﺒﺎﻟﻤﻴـﻡ‪ .‬ﻜﺫﻟﻙ ﺘﻨﺘﻬﻲ ﺠﻤﻴ ُﻊ ﺁﻴﺎ ِ‬
‫ﺢ ﺍﻟﻤﻘﺎﻁ ﹺﻊ ﺍﻟﻌﺭﺒ ّﻴ ِﺔ ﻓﻲ ﺍﻟﺴﻤﻊ‪.‬‬
‫ل ﺍﻟﻤﻐﻠﻕ )ﺹ ‪ +‬ﺡ ﺡ ‪ +‬ﺹ(‪ ،‬ﻭﻫﻭ ﻤﻥ ﺃﻭﻀ ﹺ‬
‫ﺒﺎﻟﻤﻘﻁ ﹺﻊ ﺍﻟﻁﻭﻴ ﹺ‬

‫ﻙ ﻤﺘﺫﻭّﻗﻭ ﺍﻟﻠﹼﻐ ِﺔ ﺫﻟﻙ‪ ،‬ﻭﻤﻨﻬﻡ ﺍﻟﺸﻌﺭﺍ ُﺀ؛ ﻓﻔﻲ ﺩﺭﺍﺴ ٍﺔ ﺇﺤﺼﺎﺌ ّﻴ ٍﺔ ﻟﻠﺤﺭﻭ ِ‬
‫ﻑ ﺍﻟﺘﻲ ﺘﺴـﺘﺨﺩ ُﻡ‬ ‫ﻭﻗﺩ ﺃﺩﺭ َ‬

‫ﻥ ﺍﻷﻋﺸﻰ‪ ،‬ﻗﺎ َﻡ ﺒﻬـﺎ ﺍﻟـﺩﻜﺘﻭ ُﺭ‬

‫ﺕ‪ ،‬ﻭﺩﻴﻭﺍ ﹺ‬
‫ﺕ‪ ،‬ﻭﺍﻷﺼﻤﻌﻴّﺎ ِ‬
‫ﺭﻭﻴ‪‬ﺎ‪ ،‬ﻓﻲ ﺍﻟﻘﺼﻴﺩ ِﺓ ﺍﻟﻌﺭﺒﻴّﺔ‪ ،‬ﻓﻲ ﺍﻟﻤﻔﻀّﻠﻴّﺎ ِ‬
‫ﺕ ﺍﻟﺘـﻲ ﺘﺴﺘﺨﺩ ُﻡ ﺭﻭﻴ‪‬ﺎ‪ ،‬ﻓـﻲ‬
‫ﺕ ﺍﻟﺭﻨﹼﺎﻨـ ﹶﺔ‪ ،‬ﻤﻥ ﺃﻜﺜ ﹺﺭ ﺍﻷﺼـﻭﺍ ِ‬
‫ﻥ ﺍﻷﺼـﻭﺍ ﹶ‬
‫ﻥﺃﱠ‬
‫ﻋﺎﺩل ﺃﺒﻭ ﻋﻤﺸﺔ‪ ،‬ﺘﺒ ّﻴ َ‬

‫ﺕ ﺍﻟﻌﺭﺒﻴّـﺔ‪ ،‬ﻓـﻲ ﻫـﺫﻩ‬

‫ﺕ ﺍﻟﺜﻼﺙ‪ ،‬ﺘﺘﻘ ّﺩﻤُﻬﺎ ﻓﻲ ﺫﻟﻙ ﺍﻟﻤﻴﻡ‪ ،‬ﻜﻤﺎ ﺘﺘﻘﺩّ ُﻡ ﺠﻤﻴ َﻊ ﺍﻷﺼﻭﺍ ِ‬
‫ﻫﺫﻩ ﺍﻟﻤﺠﻤﻭﻋﺎ ِ‬

‫ﺍﻟﻤﺠﻤﻭﻋﺎﺕ)‪.(2‬‬

‫ﺹ ﺍﻟﺫﻱ ﻴﻨﻘﺩُﻩ‪ ،‬ﻭﻤﻥ‬

‫ﻲ‪ ،‬ﻤﻌﻴﺎﺭًﺍ ﻟﻠﺤﻜ ﹺﻡ ﻋﻠﻰ ﺠﻭﺩ ِﺓ ﺍﻟﻨ ﱢ‬
‫ﺡ ﺍﻟﺴﻤﻌ ﱢ‬
‫ﻭﻤﻥ ﺍﻟﻨﻘﹼﺎ ِﺩ ﻤَﻥ ﺍﺘﹼﺨ ﹶﺫ ﻤﻥ ﺍﻟﻭﻀﻭ ﹺ‬

‫ﻼ‪ ،‬ﻋﻨ َﺩ ﺍﻟﺒﻴﺕ‪:‬‬

‫ﻑ ﻤﺜ ﹰ‬
‫ﻴﺘﻭﻗﹼ ﹸ‬ ‫)ﺃﺨﻲ()‪،(3‬‬ ‫ﻫـﺅﻻ ِﺀ ﺍﻟﻨﻘﹼﺎ ِﺩ‪ ،‬ﻤﺤﻤّﺩ ﻤﻨﺩﻭﺭ؛ ﻓﻔﻲ ﻨﻘﺩِﻩ ﻗﺼﻴﺩ ﹶﺓ ﻤﻴﺨﺎﺌﻴل ﻨﻌﻴﻤﺔ‬

‫ﺵ ﺃﺒﻁـﺎﻟِـﻪْ )ﻤﺠﺯﻭﺀ ﺍﻟﻭﺍﻓﺭ(‬

‫ﻭﻋﻅﹼـ َﻡ ﺒﻁـ ﹶ‬ ‫ﺱ ﺫﻜـ َﺭ ﻤَـﻥْ ﻤﺎﺘـﻭﺍ‬
‫ﻭﻗ ّﺩ َ‬

‫ﻑ ﺍﻟﻤﻁﺒﻘﺔ‪ :‬ﻅﺎﺀ ﺜ ﱠﻡ ﻁﺎﺀ ﻭﻁﺎﺀ‪ .‬ﺃﻋـﺩْ ﻫـﺫﻩ‬

‫ﻱ ﻗ ّﻭ ٍﺓ ﻓﻲ ﺘﺘﺎﺒ ﹺﻊ ﻫﺫﻩ ﺍﻟﺤﺭﻭ ِ‬
‫ل ﻓﻲ ﻋﺠﺯﹺﻩ‪)) :‬ﺃ ﱡ‬
‫ﻟﻴﻘﻭ َ‬
‫ﺍﻟﺠﻤﻠ ﹶﺔ ﻋﻠﻰ ﺴﻤﻌِﻙ‪ ،‬ﺜ ﱠﻡ ﺃﻨﺼﺕﹾ ﺇﻟﻰ ﻗ ّﻭﺘِﻬﺎ ﺍﻟﺘﻲ ﺘﻤﻸ ﻓﻤَﻙ‪ ،‬ﻜﻤﺎ ﺘﻤﻸ ﺍﻷﺫﻥ‪.(4)((...‬‬

‫ﻲ‬
‫‪ .3‬ﺍﻷﺜ ُﺭ ﺍﻟﻤﻭﺴﻴﻘ ّ‬

‫ﺹ‪ ،‬ﻤﺎ ﺇﻥْ ﺴﻤﻌﺘﹶﻪ‪ ،‬ﺃﻭ ﻗﺭﺃﺘﹶﻪ‪ ،‬ﺍﺴﺘﻭﻟﻰ ﻋﻠﻰ ﺤﻭﺍﺴﱢﻙ؛ ﺒﻤﺎ ﺘﺠﺩُﻩ ﻤﻥ ﺭﻭﻋ ٍﺔ ﻓـﻲ‬
‫ﻥ ﻤﻥ ﺍﻟﻨﺼﻭ ﹺ‬
‫ﺇﱠ‬
‫ﻥ ﺫﻟﻙ‪ .‬ﻭﻟﻌﻠﱠﻙ ﺘﺭ ﱡﺩ ﻫﺫﻩ ﺍﻟﺭّﻭﻋ ﹶﺔ‪ ،‬ﻓﻲ ﻜﺜﻴ ﹴﺭ ﻤـﻥ ﺍﻷﺤﻴــﺎ ﹺ‬
‫ﻥ‪ ،‬ﺇﻟـﻰ ﺘﻠـﻙ‬ ‫ﻟﻐﺘِﻪ‪ ،‬ﻭﻤﻨﻬﺎ ﻤﺎ ﻫـﻭ ﺩﻭ َ‬
‫ل ﻟﻭﺤ ٍﺔ ﺘﺭﺍﻫﺎ‪ ،‬ﺇﻟﻰ ﺃﻟﻭﺍﻨِﻬﺎ ﺍﻟﻤﺘﻨﺎﺴـﻘﺔ‪.‬‬
‫ﺹ‪ ،‬ﻜﻤﺎ ﺘﺭ ﱡﺩ ﺠﻤﺎ َ‬
‫ﺍﻟﻤﻭﺴﻴﻘﻰ ﺍﻟﻠﹼﻐﻭﻴّـ ِﺔ ﺍﻟﺘﻲ ﺘﺴﺘﺸﻔﱡﻬﺎ ﻤﻥ ﺍﻟﻨ ّ‬
‫ﺹ؟‪.‬‬
‫ﻑ ﻭﺭﺍ َﺀ ﻫﺫﻩ ﺍﻟﻤﻭﺴﻴﻘﻰ ﻓﻲ ﺍﻟﻨ ّ‬
‫ﻟﻜﻥ‪ ،‬ﻤﺎ ﺍﻟﺫﻱ ﻴﻘ ﹸ‬

‫)‪(1‬‬
‫ﺘﻌ ّﺩ ﺍﻟﺒﺴﻤﻠﺔ ﻓﻲ ﺴﻭﺭﺓ ﺍﻟﻔﺎﺘﺤﺔ ﺁﻴﺔ‪.‬‬
‫)‪(2‬‬
‫ﺍﻨﻅﺭ‪ :‬ﺃﺒﻭ ﻋﻤﺸﺔ‪ ،‬ﻋﺎﺩل‪ :‬ﺍﻟﻌﺭﻭﺽ ﻭﺍﻟﻘﺎﻓﻴﺔ‪ .‬ﻁ‪ .1‬ﻨﺎﺒﻠﺱ‪ :‬ﻤﻜﺘﺒﺔ ﺨﺎﻟﺩ ﺒﻥ ﺍﻟﻭﻟﻴﺩ‪ .1986 .‬ﺹ‪.181 - 179‬‬
‫)‪(3‬‬
‫ﺍﻨﻅﺭ ﺍﻟﻘﺼﻴﺩﺓ‪ :‬ﻨﻌﻴﻤﺔ‪ ،‬ﻤﻴﺨﺎﺌﻴل‪ :‬ﻫﻤﺱ ﺍﻟﺠﻔﻭﻥ‪ .‬ﻁ‪ .6‬ﺒﻴﺭﻭﺕ‪ :‬ﺩﺍﺭ ﻨﻭﻓل‪ .2004 .‬ﺹ‪.13 ،12‬‬
‫)‪(4‬‬
‫ﻤﻨﺩﻭﺭ‪ ،‬ﻤﺤﻤّﺩ‪ :‬ﻓﻲ ﺍﻟﻤﻴﺯﺍﻥ ﺍﻟﺠﺩﻴﺩ‪ .‬ﻁ‪ .1‬ﺍﻟﻘﺎﻫﺭﺓ‪ :‬ﻤﻁﺒﻌﺔ ﻟﺠﻨﺔ ﺍﻟﺘﺄﻟﻴﻑ ﻭﺍﻟﺘﺭﺠﻤﺔ ﻭﺍﻟﻨﺸﺭ‪ .1944 .‬ﺹ‪.49‬‬
‫‪46‬‬
‫ﺕ ﻏﻴ ﹺﺭ ﺍﻟﺘﺭﻜﻴﺒ ّﻴ ِﺔ‪،‬‬
‫ﺕ ﺍﻟﺘﺭﻜﻴﺒ ّﻴ ِﺔ‪ ،‬ﻭﺍﻟﻔﻭﻨﻴﻤﺎ ِ‬
‫ﺹ ﺍﻟﻠﹼﻐﻭﻴّ ﹸﺔ‪ ،‬ﻋﻠـﻰ ﻁﺒﻴﻌ ِﺔ ﺍﻷﺼﻭﺍ ِ‬
‫ﺘﻌﺘﻤ ُﺩ ﻤﻭﺴﻴﻘﻰ ﺍﻟﻨ ﱢ‬

‫ﺕ ﻭﺍﻟﻤﻘﺎﻁﻊ‪.‬‬
‫ل ﻤﻨﻬـﺎ‪ ،‬ﻭﻁﺒﻴﻌ ِﺔ ﺍﻟﻤﻘﺎﻁ ﹺﻊ ﺍﻟﺼﻭﺘﻴّـﺔ‪ ،‬ﻭﺍﻟﺘﻨﻅﻴ ﹺﻡ ﺍﻟﺫﻱ ﻴﺤﻜ ُﻡ ﻫﺫﻩ ﺍﻷﺼﻭﺍ ﹶ‬
‫ﺍﻟﺘـﻲ ﻴﺘﺸﻜﹼ ُ‬

‫ل ﻟﻪ ﺤﻀﻭﺭًﺍ ﺠﻤﺎﻟﻴ‪‬ـﺎ ﻓـﻲ‬

‫ل ﻤﻨﻬﺎ ﻤﺨﺯﻭﻨﹰﺎ ﻤﻭﺴﻴﻘﻴ‪‬ﺎ‪ ،‬ﻴﺠﻌ ُ‬
‫ل ﻜﱞ‬
‫ﺕ ﺍﻟﺘﺭﻜﻴﺒ ّﻴ ﹸﺔ‪ ،‬ﻓﻴﺤﻤ ُ‬
‫ﺃﻤّﺎ ﺍﻷﺼﻭﺍ ﹸ‬
‫ﺢ‬ ‫ل ﻤﻨﻬﺎ ﺍﻟﺼﻭﺕ؛ ﻓﻠﻜـ ﱢ‬
‫ل ﻤﻠﻤـ ﹴ‬ ‫ﺢ ﺍﻟﺘﻤﻴﻴﺯﻴّـ ِﺔ ﺍﻟﺘـﻲ ﻴﺘﺸﻜﹼ ُ‬
‫ﻥ ﻓﻲ ﺍﻟﻤﻼﻤ ﹺ‬
‫ل ﻫﺫﺍ ﺍﻟﻤﺨﺯﻭ ُ‬
‫ﺍﻟﻜﻼﻡ‪ ،‬ﻭﻴﺘﻤﺜﹼ ُ‬

‫ل ﻋﻠﻰ ﺘﻐﻴﻴ ﹺﺭ ﺫﺒﺫﺒ ِﺔ‬

‫ﻲ‪ ،‬ﺘﻌﻤ ُ‬
‫ﺕ ﻤﻌﻴّﻨ ٍﺔ ﻓﻲ ﺍﻟﺠﻬﺎ ﹺﺯ ﺍﻟﻨﻁﻘ ّ‬
‫ل ﺤﺭﻜﺎ ٍ‬
‫ﺹ؛ ﻟﺤﺩﻭﺜِﻪ ﺒﻔﻌ ﹺ‬
‫ﻲ ﺍﻟﺨﺎ ّ‬
‫ﻁﺎﺒﻌُﻪ ﺍﻟﻤﻭﺴﻴﻘ ﱡ‬

‫ﺕ ﺍﻟﻤﻭﺴﻴﻘﻴّﺔ؛ ﻓـ))ﻨﻭﻋﻴّ ﹸﺔ‬

‫ﺙ ﻓﻲ ﺍﻵﻻ ِ‬
‫ﻱ‪ .‬ﻭﻴﺸﺒ ُﻪ ﻫﺫﺍ ﻤﺎ ﻴﺤﺩ ﹸ‬
‫ﺕ ﺍﻟﻠﹼﻐﻭ ّ‬
‫ﻥ ﻤﻨﻪ ﺍﻟﺼﻭ ﹸ‬
‫ﺍﻟﻬﻭﺍ ِﺀ‪ ،‬ﺍﻟﺫﻱ ﻴﺘﻜﻭّ ُ‬
‫ﻱ‪،‬‬
‫ﺕ ﺍﻟﻠﹼﻐـﻭ ّ‬
‫ﺢ ﻓـﻲ ﺍﻟﺼـﻭ ِ‬
‫ﺕ ﺍﻵﻟ ِﺔ‪ ...‬ﻴﻌﺘﻤ ُﺩ ﻋﻠﻰ ﻜﻴﻔ ّﻴ ِﺔ ﺫﺒﺫﺒ ِﺔ ﺍﻟﻬﻭﺍﺀ(()‪ ،(1‬ﻭﺒﺘﺂﺯ ﹺﺭ ﻫﺫﻩ ﺍﻟﻤﻼﻤ ﹺ‬
‫ﺼﻭ ِ‬

‫ﺘﺘﺒﻠﻭ ُﺭ ﻤﻭﺴﻴﻘ ّﻴﺘﹸﻪ ﺍﻟﺘﻲ ﻴﺘﻤﻴّ ُﺯ ﺒﻬﺎ‪.‬‬

‫ل ﻤـﺎ ﺫﻜﺭﻨـﺎ‪ ،‬ﻤـﻥ‬

‫ل‪ ،‬ﺒﻘﻭﻟِﻪ‪ ...)) :‬ﻭﻷﺠ ﹺ‬
‫ﷲ – ﺇﻟﻰ ﺫﻟﻙ ﻤﻥ ﻗﺒ ُ‬
‫ﻥ ﺠﻨﹼﻲ – ﺭﺤﻤَﻪ ﺍ ُ‬
‫ﻭﻗﺩ ﺃﺸﺎ َﺭ ﺍﺒ ُ‬

‫ﻥ ﺃﺼﺩﺍﺌِﻬﺎ‪ ،‬ﻤﺎ ﺸ ّﺒ َﻪ‬

‫ﺏ ﺘﺒﺎﻴ ﹺ‬
‫ﻑ ﻤﻘﺎﻁﻌِﻬﺎ‪ ،‬ﺍﻟﺘﻲ ﻫﻲ ﺃﺴﺒﺎ ُ‬
‫ﻑ ﺍﻟﻤﻌﺠ ﹺﻡ ﺒﺎﺨﺘﻼ ِ‬
‫ﺱ ﻓﻲ ﺤﺭﻭ ِ‬
‫ﻑ ﺍﻷﺠﺭﺍ ﹺ‬
‫ﺍﺨﺘﻼ ِ‬

‫ﺕ‬
‫ﺱ ﺴﺎﺫﺠًﺎ‪ ،‬ﻜﻤﺎ ﻴﺠﺭﻱ ﺍﻟﺼـﻭ ﹸ‬
‫ﻼ ﺃﻤﻠ َ‬
‫ﺝ ﻓﻴﻪ ﻤﺴﺘﻁﻴ ﹰ‬
‫ﺕ ﻴﺨﺭ ُ‬
‫ﻥ ﺍﻟﺼﻭ ﹶ‬
‫ﻕ ﻭﺍﻟﻔ َﻡ ﺒﺎﻟﻨﺎﻱ؛ ﻓﺈ ﱠ‬
‫ﺒﻌﻀُﻬﻡ ﺍﻟﺤﻠ ﹶ‬

‫ﺡ ﺒـﻴﻥ‬
‫ﻕ ﺍﻟﻨﺎﻱ ﺍﻟﻤﻨﺴﻭﻗﺔ‪ ،‬ﻭﺭﺍﻭ َ‬
‫ﻼ ﺒﻐﻴ ﹺﺭ ﺼﻨﻌﺔ‪ ،‬ﻓﺈﺫﺍ ﻭﻀ َﻊ ﺍﻟﺯﺍﻤ ُﺭ ﺃﻨﺎﻤﻠﹶﻪ‪ ،‬ﻋﻠﻰ ﺨﺭﻭ ِ‬
‫ﻑ ﻏﻔ ﹰ‬
‫ﻓﻲ ﺍﻷﻟ ِ‬
‫ﺕ‬
‫ﺨﺭْﻕٍ ﻤﻨﻬﺎ ﺼﻭﺕﹲ ﻻ ﻴﺸﺒ ُﻪ ﺼﺎﺤﺒَﻪ؛ ﻓﻜﺫﻟﻙ ﺇﺫﺍ ﻗﹸﻁ َﻊ ﺍﻟﺼﻭ ﹸ‬
‫ل ﹶ‬
‫ﺕ‪ ،‬ﻭﺴُﻤ َﻊ ﻟﻜ ﱢ‬
‫ﻋﻤﻠﻪ؛ ﺍﺨﺘﻠﻔﺕ ﺍﻷﺼﻭﺍ ﹸ‬

‫ﺕ ﺍﻟﻤﺨﺘﻠﻔﺔ(()‪.(2‬‬
‫ﺕ ﻤﺨﺘﻠﻔﺔ؛ ﻜﺎﻥ ﺴﺒﺏ ﺍﺴﺘﻤﺎﻋِﻨﺎ ﻫﺫﻩ ﺍﻷﺼﻭﺍ ﹶ‬
‫ﻕ ﻭﺍﻟﻔﻡ‪ ،‬ﺒﺎﻋﺘﻤﺎ ٍﺩ ﻋﻠﻰ ﺠﻬﺎ ٍ‬
‫ﻓﻲ ﺍﻟﺤﻠ ِ‬

‫ﺢ‬
‫ﻥ ﻏﻴﺭﹺﻩ ﻤـﻥ ﺍﻟﻤﻼﻤـ ﹺ‬
‫ﻲ‪ ،‬ﺩﻭ َ‬
‫ﻱ‪ ،‬ﻁﺎﺒﻌَﻪ ﺍﻟﻤﻭﺴﻴﻘ ﱠ‬
‫ﺕ ﺍﻟﻠﹼﻐﻭ ﱢ‬
‫ﺽ ﻋﻠﻰ ﺍﻟﺼﻭ ِ‬
‫ﺢ ﻤﺎ ﻴﻔﺭ ُ‬
‫ﻭﻤﻥ ﺍﻟﻤﻼﻤ ﹺ‬
‫ﺢ ﻋﻠﻰ ﺇﻅﻬﺎ ﹺﺭ ﻤﻭﺴﻴﻘ ّﻴ ِﺔ ﺍﻟﺘﺭﻜﻴﺏ‪ ،‬ﻭﺃﻫـ ﱡﻡ‬
‫ﻥ ﺒﺫﻟﻙ‪ ،‬ﻤﻥ ﺃﻗﺩ ﹺﺭ ﺍﻟﻤﻼﻤ ﹺ‬
‫ل ﻫـﺫﺍ ﺍﻟﺼﻭﺕ؛ ﻟﺘﻜﻭ َ‬
‫ﺍﻟﺘﻲ ﺘﺸﻜﹼ ُ‬

‫ﺏ ﺍﻟﺠـﻴ ﹺﻡ‪ ،‬ﻭﺼـﻔﻴ ُﺭ‬

‫ﻥ ﻭﺍﻟﻤﻴ ﹺﻡ ﺒﻐ ﹼﻨﺘِﻬﺎ‪ ،‬ﻭﺘﺭﻜﻴ ُ‬
‫ﺢ‪ :‬ﺠﺎﻨﺒ ّﻴ ﹸﺔ ﺍﻟﻼ ﹺﻡ‪ ،‬ﻭﺘﻜﺭﺍ ُﺭ ﺍﻟﺭّﺍ ِﺀ‪ ،‬ﻭﺃﻨﻔﻴّ ﹸﺔ ﺍﻟﻨﻭ ﹺ‬
‫ﻫﺫﻩ ﺍﻟﻤﻼﻤ ﹺ‬

‫ﺢ‬
‫ﺝ ﺍﻟﺭّﻴ ﹺ‬
‫ل ﻁﺎﺒ َﻊ ﺍﻟﺘﻔﺸﹼﻲ‪ ،‬ﻭﻫﻭ ))ﻜﺜﺭ ﹸﺓ ﺍﻨﺘﺸﺎ ﹺﺭ ﺨﺭﻭ ﹺ‬
‫ﺕ ﺍﻟﺼﻔﻴﺭ ّﻴﺔ‪ ،‬ﺒﺎﺴﺘﺜﻨﺎ ِﺀ ﺍﻟﺸﻴﻥ؛ ﺍﻟﺘﻲ ﺘﺤﻤ ُ‬
‫ﺍﻟﺼﻭﺍﻤ ِ‬
‫ل ﺃﻜﺜ ُﺭ ﺩﺍﺭﺴﻲ‬
‫ﻕ ﺒﻬﺎ(()‪ .(3‬ﻭﻗـﺩ ))ﺃﻫﻤ َ‬
‫ﺝ ﻋﻨ َﺩ ﺍﻟﻨﻁ ِ‬
‫ﻥ ﻭﺍﻟﺤﻨﻙ‪ ،‬ﻭﺍﻨﺒﺴﺎﻁِﻪ ﻓﻲ ﺍﻟﺨﺭﻭ ﹺ‬
‫ﻥ ﺍﻟﻠﹼﺴﺎ ﹺ‬
‫]ﺍﻟﺯﻓﻴﺭ[ ﺒﻴ َ‬

‫)‪(1‬‬
‫ﺍﻟﻤﻭﺴﻭﻋﺔ ﺍﻟﻌﻠﻤﻴّﺔ ﺍﻟﺸﺎﻤﻠﺔ‪ .‬ﺹ‪.186‬‬
‫)‪(2‬‬
‫ﺍﺒﻥ ﺠﻨﹼﻲ‪ ،‬ﺃﺒﻭ ﺍﻟﻔﺘﺢ ﻋﺜﻤﺎﻥ‪ :‬ﺴ ّﺭ ﺼﻨﺎﻋﺔ ﺍﻹﻋﺭﺍﺏ‪ .‬ﺠﺯﺀﺍﻥ‪ .‬ﺘﺤﻘﻴﻕ ﺤﺴﻥ ﻫﻨﺩﺍﻭﻱ‪ .‬ﻁ‪ .2‬ﺩﻤﺸﻕ‪ :‬ﺩﺍﺭ ﺍﻟﻘﻠـﻡ‪/ 1 .1993 .‬‬
‫‪.9 ،8‬‬
‫)‪(3‬‬
‫ﺍﻟﻘﻴﺴﻲ‪ ،‬ﺃﺒﻭ ﻤﺤﻤّﺩ ﻤﻜﹼﻲ ﺒﻥ ﺃﺒﻲ ﻁﺎﻟﺏ‪ :‬ﺍﻟﺭّﻋﺎﻴﺔ ﻟﺘﺠﻭﻴﺩ ﺍﻟﻘﺭﺍﺀﺓ ﻭﺘﺤﻘﻴﻕ ﻟﻔﻅ ﺍﻟﺘﻼﻭﺓ‪ .‬ﺘﺤﻘﻴﻕ ﺃﺤﻤﺩ ﺤﺴﻥ ﻓﺭﺤـﺎﺕ‪ .‬ﻁ‪.3‬‬
‫ﻋﻤّﺎﻥ‪ :‬ﺩﺍﺭ ﻋﻤّﺎﺭ‪ .1996 .‬ﺹ‪.135‬‬
‫‪47‬‬
‫ﺕ ﺍﻟﻤﺤﺴّﻨ ِﺔ‪ ،‬ﺍﻟﺘـﻲ‬
‫ﺕ ﺍﻟﻌﺭﺒ ّﻴ ِﺔ ﻤﻥ ﺍﻟﻤﺤﺩﺜﻴﻥ‪ ،‬ﺫﻜ َﺭ ﻫﺫﻩ ﺍﻟﺼﻔﺔ‪ .‬ﻭﻫﻲ‪ ،‬ﻭﺇﻥ ﻜﺎﻨﺕ ﻤﻥ ﺍﻟﺼﻔﺎ ِ‬
‫ﺍﻷﺼﻭﺍ ِ‬

‫ﺕ ﺍﻟـﺫﻱ‬
‫ﺼ ٍﺔ ﺼﻭﺘ ّﻴ ٍﺔ ﻤﻌﻴّﻨ ٍﺔ‪ ،‬ﻓـﻲ ﺍﻟﺼـﻭ ِ‬
‫ﺢ ﺨﺎ ّ‬
‫ﺕ‪ ،‬ﺃﻜﺜ َﺭ ﻤﻥ ﺘﻭﻀﻴ ﹺ‬
‫ﻥ ﻟﻬﺎ ﻓﻲ ﺘﻤﻴﻴ ﹺﺯ ﺍﻷﺼﻭﺍ ِ‬
‫ﻻ ﺸﺄ َ‬

‫ﺕ ﻓﻲ ﺍﻟﺘﺭﻜﻴﺏ‪ ،‬ﻭﻓﻲ ﺘﻔﺴﻴ ﹺﺭ ﺍﻟﻅﻭﺍﻫ ﹺﺭ ﺍﻟﺼﻭﺘ ّﻴ ِﺔ‬

‫ﻙ ﺫﻟﻙ ﺍﻟﺼﻭ ِ‬
‫ﻑ ﺒﻬﺎ‪ ،‬ﻟﻬﺎ ﺃﻫﻤ ّﻴﺘﹸﻬﺎ ﻓﻲ ﺘﺘ ّﺒ ﹺﻊ ﺴﻠﻭ ِ‬
‫ﻴﻭﺼ ﹸ‬
‫ﻲ ﻓﻲ ﺍﻟﺘﺭﻜﻴﺏ‪.‬‬
‫ﺍﻟﺘﻲ ﺘﺨﺼﱡﻪ(()‪ ،(1‬ﻭﻤﻥ ﺫﻟﻙ‪ ،‬ﺃﺜﺭُﻩ ﺍﻟﻤﻭﺴﻴﻘ ﱡ‬

‫ﻥ‬
‫ﻑ ﻋﻠﻰ ﺍﻟـﺯﻤ ﹺ‬
‫ﻱ‪ ،‬ﻋﻠﻰ ﻁﺒﻴﻌ ِﺔ ﻤﻼﻤﺤِﻪ ﺍﻟﺘﻤﻴﻴﺯﻴّﺔ‪ ،‬ﺘﺘﻭﻗﹼ ﹸ‬
‫ﺕ ﺍﻟﻠﹼﻐﻭ ﱢ‬
‫ﻑ ﻤﻭﺴﻴﻘﻴّ ﹸﺔ ﺍﻟﺼﻭ ِ‬
‫ﻭﻜﻤﺎ ﺘﺘﻭﻗﹼ ﹸ‬

‫ﺕ‬
‫ﺴ ﹶﻨﺕﹾ ﻤﻭﺴﻴﻘ ّﻴ ﹸﺔ ﺍﻟﺼـﻭ ِ‬
‫ﺤُ‬
‫ﻥ ﺃﻭ ﺍﻟﻁﻭل؛ َ‬
‫ﻕ ﺒﻬﺫﺍ ﺍﻟﺼﻭﺕ؛ ﻓﻜﻠﹼﻤﺎ ﺯﺍ َﺩ ﻫﺫﺍ ﺍﻟﺯﻤ ُ‬
‫ﺍﻟﺫﻱ ﻴﺴﺘﻐﺭﻗﹸـﻪ ﺍﻟﻨﻁ ﹸ‬
‫ﻕ ﺃﻭ ﺍﻟﻤﺘﺭﻨﹼﻡ‪ ،‬ﻤﻥ ﻤﺘﹼﺴ ﹴﻊ ﻟﻤ ﱢﺩ ﺍﻟﺼﻭﺕ‪.‬‬
‫ﻱ؛ ﻟﻤﺎ ﻴﺠ ُﺩ ﻓﻴﻪ ﺍﻟﻨﺎﻁ ﹸ‬
‫ﺍﻟﻠﹼﻐﻭ ّ‬

‫ﻑ‪ ،‬ﺃﻭ‬
‫ل ﺤـﺭ ٍ‬
‫ل ﻓـﻲ ﺍﻟﻨﻁـﻕ؛ ))ﻓﻜـ ﱡ‬
‫ﻑ ﻫﺫﻩ ﺍﻟﻤﻭﺴﻴﻘ ّﻴ ﹸﺔ‪ ،‬ﻋﻠﻰ ﻤﻘﺩﺍ ﹺﺭ ﺍﻟﺠﻬ ِﺩ ﺍﻟﻤﺒﺫﻭ ﹺ‬
‫ﻜﺫﻟﻙ‪ ،‬ﺘﺘﻭﻗﹼ ﹸ‬

‫ﺏ ﺠﻬﺩًﺍ ﻋﻀﻠﻴ‪‬ﺎ ﺃﻜﺜﺭ؛ ﻨﺴﺘﻁﻴ ُﻊ ﺃﻥ ﻨﻌﺩﱠﻫﺎ ﺤﺭﻭﻓﹰﺎ ﺭﺩﻴﺌـ ﹶﺔ ﺍﻟﻤﻭﺴـﻴﻘﻰ‪،‬‬

‫ﻑ‪ ،‬ﺘﺘﻁﻠﹼ ُ‬
‫ﻤﺠﻤﻭﻋ ٍﺔ ﻤﻥ ﺍﻟﺤﺭﻭ ِ‬

‫ﺢ ﻓﻲ‬
‫ﺕ ﺍﻟﻭﺍﻀ ُ‬
‫ﻲ؛ ﻓﺎﻟﺼﻭ ﹸ‬
‫ﺕ ﺍﻟﺴﻤﻌ ّ‬
‫ﺡ ﺍﻟﺼﻭ ِ‬ ‫ﻥ‪ ،‬ﻭﻻ ﺘﺴﺘﺴﻴﻐﹸﻬﺎ(()‪ .(2‬ﻜﻤﺎ ﺘﺘﻭﻗﹼ ﹸ‬
‫ﻑ ﻋﻠﻰ ﻭﻀﻭ ﹺ‬ ‫ﺘﺄﺒﺎﻫﺎ ﺍﻵﺫﺍ ُ‬

‫ﺍﻟﺴﻤﻊ‪ ،‬ﺃﻜﺜ ُﺭ ﻤﻭﺴﻴﻘ ّﻴ ﹰﺔ ﻤﻥ ﻨﻘﻴﻀِﻪ؛ ﻟﻤﺎ ﻴﺘﻤﺘﹼ ُﻊ ﺒﻪ ﻤﻥ ﻁﺎﻗ ٍﺔ ﻤﻭﺠ ّﻴ ٍﺔ ﺃﻗﻭﻯ‪ ،‬ﺘﺅﺜﹼ ُﺭ ﺃﻜﺜ َﺭ ﻓـﻲ ﺍﻟﻤﺘﻠﻘﹼـﻲ؛‬

‫ﺏ ﺫﺒﺫﺒ ﹰﺔ ﻤﻤﺎﺜﻠ ﹰﺔ ﻓﻲ ﻁﺒﻠ ِﺔ ﺍﻷﺫﻥ(()‪.(3‬‬

‫ﻥ ﺍﻟﺨﺎﺭﺠﻴّﺔ‪ ،‬ﺘﺴﺒّ ُ‬ ‫ﻓـ))ﺍﻷﻤﻭﺍ ُ‬
‫ﺝ ﺍﻟﺼﻭﺘﻴّ ﹸﺔ ﺍﻟﻤﺘﺠ ّﻤﻌ ﹸﺔ ﻓﻲ ﺍﻷﺫ ﹺ‬

‫ﺏ‬
‫ﻥ ﺘﻁﻭﻴﻠِﻬﺎ‪ ،‬ﻋﻠﻰ ﻭﺠ ٍﻪ ﻴﻁﺭ ُ‬
‫ﻻ ﻟﻠﻐﻨـﺎﺀ؛ ﻹﻤﻜﺎ ﹺ‬
‫ﺕ ﻤﻭﺴﻴﻘﻴّـ ﹰﺔ‪ ،‬ﺃﻭ ﻗﺒﻭ ﹰ‬
‫ﺕ ﺃﻜﺜ ُﺭ ﺍﻷﺼﻭﺍ ِ‬
‫ﻭﺍﻟﺤﺭﻜﺎ ﹸ‬

‫ﻥ‪ ،‬ﻭﺍﻟـﻼ ُﻡ‪،‬‬

‫ﺕ ﺍﻟﺭﻨﹼﺎﻨﺔ‪ :‬ﺍﻟﻤﻴ ُﻡ‪ ،‬ﻭﺍﻟﻨـﻭ ُ‬
‫ﺕ ﻓﻴـﻪ‪ .‬ﻭﺘﻠﻴﻬﺎ ﺍﻷﺼﻭﺍ ﹸ‬
‫ﺢ ﺍﻷﺼﻭﺍ ِ‬
‫ﺍﻟﺴﻤﻊ)‪ ،(4‬ﻭﻟﻜﻭﻨِـﻬﺎ ﺃﻭﻀ َ‬

‫ﺢ‬
‫ل؛ ﻓﻬﻲ ﺃﻭﻀ ُ‬
‫ﻲ ﻋﺎ ﹴ‬
‫ﺡ ﺴﻤﻌ ﱟ‬
‫ﺢ ﻤﺘﻤﻴّﺯ ٍﺓ‪ ،‬ﻻ ﺘﺘﻭﺍﻓ ُﺭ ﻓﻲ ﻏﻴﺭﹺﻫﺎ‪ ،‬ﻭﻭﻀﻭ ﹴ‬
‫ﻭﺍﻟ ّﺭﺍﺀ؛ ﻟﻤﺎ ﺘﺘﻤﺘﹼ ُﻊ ﺒﻪ ﻤﻥ ﻤﻼﻤ َ‬
‫ﺕ ﺍﻟﻌﺭﺒﻴّﺔ‪.‬‬
‫ﺍﻟﺼﻭﺍﻤ ِ‬

‫ﻥ‬
‫ﺕ ﻤﻭﺴﻴﻘ ّﻴ ﹰﺔ‪ ،‬ﻨﺴﺒ ﹸﺔ ﻭﺭﻭﺩِﻫـﺎ ﻓـﻲ ﺍﻟﻘـﺭﺁ ﹺ‬
‫ﺕ ﺍﻟﺭﻨﹼﺎﻨ ﹶﺔ‪ ،‬ﺃﻜﺜ ُﺭ ﺍﻟﺼﻭﺍﻤـ ِ‬
‫ﻥ ﺍﻷﺼﻭﺍ ﹶ‬
‫ﻭﻤﻤّﺎ ﻴﺅﻜﹼ ُﺩ ﺃ ﱠ‬

‫ل ﺍﻟﺼﻭﺭ ﹶﺓ ﺍﻷﺴﻤﻰ ﻟﻠﻤﻭﺴﻴﻘﻰ ﺍﻟﻠﹼﻐﻭﻴّﺔ؛ ﻓﻬـﻲ ﺘﺸـﻜﹼ ُ‬

‫ل )‪ (% 32.8‬ﺘﻘﺭﻴﺒًـﺎ‪ ،‬ﻤـﻥ‬ ‫ﺍﻟﻜﺭﻴ ﹺﻡ‪ ،‬ﺍﻟﺫﻱ ﻴﻤﺜﹼ ُ‬

‫ﻥ‬ ‫ﺕ ﻤﻥ ﻗﺒل)‪ .(5‬ﻜﺫﻟﻙ ﻨﺠ ُﺩ ﺍﻵﻴﺎ ِ‬

‫ﺕ ﺍﻟﻘﺭﺁﻨ ّﻴ ﹶﺔ ))ﺃﻜﺜ َﺭ ﻤﺎ ﺘﻨﺘﻬـﻲ ﺒـﺎﻟﻨﻭ ﹺ‬ ‫ﻥ ﺍﻟﻜﺭﻴﻡ‪ ،‬ﻜﻤﺎ ﺒﻴّﻨ ﹸ‬
‫ﻑ ﺍﻟﻘﺭﺁ ﹺ‬
‫ﺤﺭﻭ ِ‬

‫)‪(1‬‬
‫ﺍﻟﺤﻤﺩ‪ ،‬ﻏﺎﻨﻡ ﻗﺩّﻭﺭﻱ‪ :‬ﺍﻟﺩﺭﺍﺴﺎﺕ ﺍﻟﺼﻭﺘﻴّﺔ ﻋﻨﺩ ﻋﻠﻤﺎﺀ ﺍﻟﺘﺠﻭﻴﺩ‪ .‬ﺹ‪.272‬‬
‫)‪(2‬‬
‫ﺃﻨﻴﺱ‪ ،‬ﺇﺒﺭﺍﻫﻴﻡ‪ :‬ﻤﻭﺴﻴﻘﻰ ﺍﻟﺸﻌﺭ‪ .‬ﺹ‪.26‬‬
‫)‪(3‬‬
‫ﺍﻟﻤﻭﺴﻭﻋﺔ ﺍﻟﻌﻠﻤﻴّﺔ ﺍﻟﺸﺎﻤﻠﺔ‪ .‬ﺹ‪.182‬‬
‫)‪(4‬‬
‫ﺒﺸﺭ‪ ،‬ﻜﻤﺎل‪ :‬ﻋﻠﻡ ﺍﻷﺼﻭﺍﺕ‪ .‬ﺹ‪.150‬‬
‫)‪(5‬‬
‫ﺍﻨﻅﺭ ﺹ‪ 43‬ﻤﻥ ﻫﺫﺍ ﺍﻟﺒﺤﺙ‪.‬‬
‫‪48‬‬
‫ﻲ ﻓـﻲ‬
‫ﻥ ﻓـﻲ ﺍﻟﻤﻭﺴﻴﻘﻰ ﻨﻔﺴِﻬﺎ‪ ،‬ﺃﻭ ﺒﺎﻟﻤ ّﺩ‪ ،‬ﻭﻫـﻭ ﻜـﺫﻟﻙ ﻁﺒﻴﻌـ ﱞ‬
‫ﻥ ﺍﻟﻁﺒﻴﻌﻴّﺎ ﹺ‬
‫ﻭﺍﻟﻤﻴﻡ‪ ،‬ﻭﻫﻤﺎ ﺍﻟﺤﺭﻓﺎ ﹺ‬

‫ﻲ ﻓـﻲ ﺍﻟﺴـﻭﺭ‪،‬‬
‫ل ﺍﻟﻤﻭﺴﻴﻘ ﱢ‬
‫ﻕ ﺍﻟﺘﻜﺎﻤ ﹺ‬
‫ﺕ ﻤﻥ ﺩﻭ ﹴﺭ‪ ،‬ﻓـﻲ ﺘﺤﻘﻴ ِ‬ ‫ﺍﻟﻘﺭﺁﻥ‪(1)((...‬؛ ﻭﺫﻟﻙ ﻟﻤﺎ ﻟﻨﻬﺎﻴـﺎ ِ‬
‫ﺕ ﺍﻵﻴﺎ ِ‬

‫ﻭﻤﺎ ﻟﻬﺎ ﻤﻥ ﺃﺜ ﹴﺭ ﻓﻲ ﺍﻟﻤﺘﻠﻘﹼﻲ‪.‬‬

‫ﺕ‬
‫ﻥ ﺍﻷﺼـﻭﺍ ﹶ‬
‫ﺱ ﺃﺴﻤﻰ ﺼﻭ ﹺﺭ ﺍﻻﻫﺘﻤﺎ ﹺﻡ ﺒﺎﻟﻤﻭﺴﻴﻘﻰ ﺍﻟﻠﹼﻐﻭﻴّﺔ‪ ،‬ﻨﺠ ُﺩ ﺃ ﱠ‬
‫ﻭﻓﻲ ﻋﻠ ﹺﻡ ﺍﻟﺘﺠﻭﻴ ِﺩ‪ ،‬ﺍﻟﺫﻱ ﻴﻌﻜ ُ‬

‫ﻥ ﺍﻟﺴـﺎﻜﻨ ِﺔ ﻭﺍﻟﺘﻨـﻭﻴﻥ‪:‬‬
‫ل ﺍﻟﻤﺤﺎﻭ َﺭ ﺍﻟﺭﺌﻴﺴ ﹶﺔ ﻟﻬﺫﺍ ﺍﻟﻌﻠﻡ؛ ﻓﺄﻫ ﱡﻡ ﺃﺤﻜﺎ ﹺﻡ ﺍﻟﺘﺠﻭﻴ ِﺩ‪ ،‬ﺃﺤﻜﺎ ُﻡ ﺍﻟﻨﻭ ﹺ‬
‫ﺍﻟﺴﺎﺒﻘ ﹶﺔ‪ ،‬ﺘﻤﺜﹼ ُ‬

‫ﺍﻹﻅﻬﺎ ُﺭ‪ ،‬ﻭﺍﻹﺨﻔﺎ ُﺀ‪ ،‬ﻭﺍﻹﻗﻼ ُ‬

‫ﺏ‪ ،‬ﻭﺍﻹﺩﻏﺎ ُﻡ ﺒﻨﻭﻋﻴﻪ‪ :‬ﺒﻐ ﹼﻨ ٍﺔ‪ ،‬ﻭﺒﻐﻴ ﹺﺭ ﻏﻨﹼﺔ؛ ﻭﺃﺤﻜﺎ ُﻡ ﺍﻟﻤﻴ ﹺﻡ ﺍﻟﺴﺎﻜﻨ ِﺔ‪ :‬ﺍﻹﺩﻏﺎ ُﻡ‬
‫ﻅ ﺍﻟﺠﻼﻟﺔ؛ ﻭﺘﻔﺨـﻴ ُﻡ‬
‫ﻱ؛ ﻭﺘﻔﺨﻴ ُﻡ ﺍﻟﻼ ﹺﻡ ﻭﺘﺭﻗﻴﻘﹸﻬﺎ ﻓﻲ ﻟﻔ ِ‬
‫ﻱ‪ ،‬ﻭﺍﻹﻅﻬﺎ ُﺭ ﺍﻟﺸﻔﻭ ّ‬
‫ﻱ‪ ،‬ﻭﺍﻹﺨﻔﺎ ُﺀ ﺍﻟﺸﻔﻭ ﱡ‬
‫ﺍﻟﺸﻔﻭ ﱡ‬

‫ﺍﻟﺭّﺍ ِﺀ ﻭﺘﺭﻗﻴﻘﹸﻬﺎ؛ ﻭﺃﺤﻜﺎ ُﻡ ﺍﻟﻤ ﱢﺩ ﺒﺄﻨﻭﺍﻋِﻪ‪.‬‬

‫ل ﺸﺄﻨﹰﺎ‪ ،‬ﻤﻤّﺎ ﺴﺒﻕ؛ ﻓﻴﻅﻬ ُﺭ ﺍﻟﺘﻨﻐﻴ ُﻡ‬

‫ﺱ ﺒﺄﻗ ﱠ‬
‫ل‪ ،‬ﺃﺜﺭٌ ﻟﻴ َ‬
‫ﺼﹺ‬‫ﺕ ﻏﻴ ﹺﺭ ﺍﻟﺘﺭﻜﻴﺒ ّﻴ ِﺔ‪ ،‬ﻜﺎﻟﺘﻨﻐﻴ ﹺﻡ ﻭﺍﻟ َﻤﻔﹾ ِ‬
‫ﻭﻟﻠﻔﻭﻨﻴﻤﺎ ِ‬

‫ﺕ‬
‫ﺕ ﺼﻭﺘ ّﻴ ٍﺔ(()‪ ،(2‬ﻓﻲ ﺃﺜﻨﺎ ِﺀ ﺍﻟﻜﻼﻡ‪ ،‬ﻭﻫﺫﻩ ﺍﻻﺭﺘﻔﺎﻋـﺎ ﹸ‬
‫ﺕ‪ ،‬ﺃﻭ ﺘﻨﻭﻴﻌﺎ ٍ‬
‫ﺕ ﻭﺍﻨﺨﻔﺎﻀﺎ ٍ‬
‫))ﻓﻲ ﺼﻭﺭ ِﺓ ﺍﺭﺘﻔﺎﻋﺎ ٍ‬

‫ﺙ‬ ‫ﺕ ﺘﺭﺠ ُﻊ ))‪ ...‬ﺇﻟﻰ ﺍﻟﺘﻐ ّﻴ ﹺﺭ ﻓﻲ ﻨﺴﺒ ِﺔ ﺫﺒﺫﺒ ِﺔ ﺍﻟﻭﺘﺭﻴ ﹺ‬

‫ﻥ ﺍﻟﺼﻭﺘﻴّﻴﻥ‪ ،‬ﻫﺫﻩ ﺍﻟﺫﺒﺫﺒ ﹸﺔ ﺍﻟﺘﻲ ﺘﺤـﺩ ﹸ‬ ‫ﻭﺍﻻﻨﺨﻔﺎﻀﺎ ﹸ‬

‫ﺕ ﺍﻟﺘﺭﻜﻴﺒﻴّﺔ‪ .‬ﻜـﺫﻟﻙ ﻴﻘـ ُﻊ‬

‫ﻨﻐﻤ ﹰﺔ ﻤﻭﺴﻴﻘ ّﻴ ﹰﺔ‪ ،(3)((...‬ﺘﺯﻴ ُﺩ ﻤﻥ ﺨﺼﻭﺒ ِﺔ ﺍﻟﻤﻭﺴﻴﻘﻰ‪ ،‬ﺍﻟﺘﻲ ﺘﺤﺩﺜﹸﻬﺎ ﺍﻷﺼﻭﺍ ﹸ‬
‫ﺕ ﺍﻟﻤﻭﺴﻴﻘ ّﻴ ِﺔ ﻓﻲ ﺍﻟﻜﻼﻡ؛ ﻓـ))ﺍﻟﻜـﻼ ُﻡ‪،‬‬
‫ﺙ ﺍﻟﺘﻐﻴﻴﺭﺍ ِ‬
‫ﺕ‪ ،‬ﺇﺤﺩﺍ ﹸ‬
‫ﺕ ﻭﺍﻻﻨﺨﻔﺎﻀﺎ ِ‬
‫ﻕ ﻫﺫﻩ ﺍﻻﺭﺘﻔﺎﻋﺎ ِ‬
‫ﻋﻠﻰ ﻋﺎﺘ ِ‬

‫ل ﻤﻥ ﺍﻷﺤـﻭﺍل(()‪.(4‬‬
‫ﻥ ﻨﻭﻋُﻪ‪ ،‬ﻻ ﻴُﻠﻘﻰ ﻋﻠﻰ ﻤﺴﺘﻭًﻯ ﻭﺍﺤﺩ‪ ،‬ﺒﺤﺎ ﹴ‬
‫ﻤﻬﻤﺎ ﻜﺎ َ‬

‫ﷲ‪،‬‬
‫ﺹ ﻋﻠﻴﻪ ﺍﻟﺩﻜﺘﻭ ُﺭ ﺇﺒﺭﺍﻫﻴﻡ ﺃﻨﻴﺱ‪ ،‬ﺭﺤﻤَﻪ ﺍ ُ‬
‫ﻑ ﻟﻨﺎ ﻋﻥ ﻗﻴﻤ ِﺔ ﺍﻟﺘﻨﻐﻴ ﹺﻡ ﺍﻟﻤﻭﺴﻴﻘ ّﻴ ِﺔ‪ ،‬ﻤﺎ ﻨ ﱠ‬
‫ﻭﻤﻤّﺎ ﻴﻜﺸ ﹸ‬
‫ﺹ ﻓﻲ ﺘﻭﺍﻟﻲ ﺍﻟﻤﻘﺎﻁ ﹺﻊ‪،‬‬
‫ﻥ ﺭﺌﻴﺴﻴﻥ‪ :‬ﺫﻟﻙ ﺍﻟﻨﻅﺎ ﹺﻡ ﺍﻟﺨﺎ ﱢ‬
‫ﻥ ﻤﻥ ﻋﻨﺼﺭﻴ ﹺ‬
‫ﻲ‪ ،‬ﺘﺘﻜﻭّ ُ‬
‫ﻥ ﻤﻭﺴﻴﻘﻰ ﺍﻟﺸﻌ ﹺﺭ ﺍﻟﻌﺭﺒ ﱢ‬
‫ﺃﱠ‬

‫ﺼ ِﺔ )‪ (Intonation‬ﻓـﻲ ﺇﻨﺸـﺎﺩِﻩ؛‬
‫ل ﻓﻲ ﺍﻟﺒﺤﻭ ﹺﺭ ﺍﻟﺸﻌﺭﻴّﺔ‪ ،‬ﻭﻤﺭﺍﻋﺎ ِﺓ ﺍﻟﻨﻐﻤ ِﺔ ﺍﻟﻤﻭﺴﻴﻘ ّﻴ ِﺔ ﺍﻟﺨﺎ ّ‬
‫ﺍﻟﻤﺘﻤ ﹼﺜ ﹺ‬

‫ﻥ ﺍﻹﻨﺸـﺎ ِﺩ‪ ،‬ﻤـﻥ‬

‫ﻥ ﺒﻬﺎ ﺍﻟﻨﻅﻡ‪ ،‬ﺒل ﻻ ﺒ ﱠﺩ ﻤﻌﻬﺎ ﺤﻴ َ‬
‫ﺏ ﺍﻟﻤﻘﺎﻁ ﹺﻊ ﺍﻟﺼﻔ ﹶﺔ ﺍﻟﻭﺤﻴﺩ ﹶﺓ‪ ،‬ﺍﻟﺘﻲ ﻴﺘﻜﻭّ ُ‬
‫ﺱ ﺘﺭﺘﻴ ُ‬
‫ﻓﻠﻴ َ‬
‫ﻤﺭﺍﻋﺎ ِﺓ ﻫﺫﻩ ﺍﻟﻨﻐﻤ ِﺔ ﺍﻟﻤﻭﺴﻴﻘ ّﻴ ِﺔ ﺍﻟﺨﺎﺼّﺔ)‪.(5‬‬

‫)‪(1‬‬
‫ﺍﻟﺭﺍﻓﻌﻲ‪ ،‬ﻤﺼﻁﻔﻰ ﺼﺎﺩﻕ‪ :‬ﺇﻋﺠﺎﺯ ﺍﻟﻘﺭﺁﻥ ﻭﺍﻟﺒﻼﻏﺔ ﺍﻟﻨﺒﻭﻴّﺔ‪ .‬ﺹ‪.150‬‬
‫)‪(2‬‬
‫ﺒﺸﺭ‪ ،‬ﻜﻤﺎل‪ :‬ﻋﻠﻡ ﺍﻷﺼﻭﺍﺕ‪ .‬ﺹ‪.533‬‬
‫)‪(3‬‬
‫ﻲ‪ .‬ﺹ‪.192‬‬
‫ﺍﻟﺴﻌﺭﺍﻥ‪ ،‬ﻤﺤﻤﻭﺩ‪ :‬ﻋﻠﻡ ﺍﻟﻠﹼﻐﺔ ﻤﻘﺩّﻤﺔ ﻟﻠﻘﺎﺭﺉ ﺍﻟﻌﺭﺒ ّ‬
‫)‪(4‬‬
‫ﺒﺸﺭ‪ ،‬ﻜﻤﺎل‪ :‬ﻋﻠﻡ ﺍﻷﺼﻭﺍﺕ‪ .‬ﺹ‪.533‬‬
‫)‪(5‬‬
‫ﺃﻨﻴﺱ‪ ،‬ﺇﺒﺭﺍﻫﻴﻡ‪ :‬ﻤﻭﺴﻴﻘﻰ ﺍﻟﺸﻌﺭ‪ .‬ﺹ‪.149‬‬
‫‪49‬‬
‫ﺹ ﺍﻟﺩﻜﺘﻭ ُﺭ ﺘﻭﻓﻴﻕ ﺸﺎﻫﻴﻥ‪ ،‬ﻋﻠﻰ ﻫﺫﻩ ﺍﻟﻘﻴﻤ ِﺔ ﺍﻟﻤﻭﺴﻴﻘ ّﻴ ِﺔ ﻟﻠﺘﻨﻐﻴﻡ‪ ،‬ﺒﻘﻭﻟِﻪ‪)) :‬ﻟـﻭ ﺃﺨـﺫﻨﺎ‬
‫ﻜﺫﻟﻙ‪ ،‬ﻴﻨ ﱡ‬

‫ﻁ ﺍﻟﺘﻨﻐﻴ ﹺﻡ‪ ،‬ﻋﻨ َﺩ ﻨﻁﻘِـﻪ‪ ،‬ﻭﻓـﻲ ﺃﺩﺍ ٍﺀ ﻤﺠﻴـ ٍﺩ‬

‫ﻨﺼ‪‬ﺎ ﻤﻤﺘﺎﺯًﺍ ﻤﻥ ﺍﻟﺸﻌ ﹺﺭ ﺃﻭ ﺍﻟﻨﺜﺭ‪ ،‬ﺜ ﱠﻡ ﻁﺒّﻘﻨﺎ ﻋﻠﻴﻪ ﻀﻭﺍﺒ ﹶ‬

‫ل ﺍﻟﻤﻌﻨﻰ(()‪.(1‬‬
‫ﺕ ﺒﺭﻭﻋ ِﺔ ﺍﻷﺩﺍ ِﺀ‪ ،‬ﻭﺠﻤﺎ ﹺ‬
‫ﻟﻺﻟﻘﺎﺀ؛ ﻷﺤﺴﺴ ﹶ‬

‫ﻥ ﻋﻠﻤﺎ َﺀ ﺍﻟﺘﺠﻭﻴ ِﺩ ﺍﻟﻘﺩﻤﺎﺀ‪ ،‬ﻗﺩ ﻋﺭﻓﻭﺍ ﺍﻟﺘﻨﻐﻴ َﻡ‪ ،‬ﻭﺃﺒﺭﺯﻭﺍ ﻗﻴﻤﺘﹶﻪ ﺍﻟﻤﻭﺴﻴﻘ ّﻴ ﹶﺔ‪،‬‬
‫ﻭﻤﻥ ﺍﻟﺠﺩﻴ ﹺﺭ ﺒﺎﻟﺫﻜﺭ‪ ،‬ﺃ ﱠ‬

‫ﻲ ﺒﺭﺠﺸﺘﺭﺍﺴﺭ‪ ،‬ﺍﻟﺫﻱ‬
‫ﻕ ﺍﻷﻟﻤﺎﻨ ﱢ‬
‫ﻱ ﺍﻟﻤﺴﺘﺸﺭ ِ‬
‫ﺽ ﺭﺃ َ‬
‫ﻥ ﺍﻟﻜﺭﻴـﻡ)‪(2‬؛ ﺍﻷﻤ ُﺭ ﺍﻟﺫﻱ ﻴﺩﺤ ُ‬
‫ﻭﺍﻟﺩﻻﻟ ّﻴ ﹶﺔ ﻓﻲ ﺍﻟﻘﺭﺁ ﹺ‬

‫ﺏ ﻅﺎﻫﺭ ﹶﺓ ﺍﻟﺘﻨﻐﻴ ﹺﻡ‪ ،‬ﺒﻘﻭﻟِﻪ‪ ...)) :‬ﻨﻭﺠّ ُﻪ ﻨﻅﺭَﻨﺎ ﺇﻟﻰ ﺍﻟﻠﹼﻐ ِﺔ ﺍﻟﻌﺭﺒﻴّـ ِﺔ ﺨﺎﺼّـﺔ‪،‬‬
‫ﺃﻨﻜ َﺭ ﻤﻌﺭﻓ ﹶﺔ ﺍﻟﻌﻠﻤﺎ ِﺀ ﺍﻟﻌﺭ ﹺ‬
‫ل‬
‫ﻥ ﺃﻫـ َ‬
‫ﻥ ﺍﻟﻘﺩﻤﺎﺀ‪ ،‬ﻟﻡ ﻴﺫﻜﺭﻭﺍ ﺍﻟﻨﻐﻤـﺔ‪ ،...‬ﻏﻴـ َﺭ ﺃ ﱠ‬
‫ﻥ ﻭﺍﻟﻤﻘﺭﺌﻴ َ‬
‫ﻥ ﺍﻟﻨﺤﻭﻴّﻴ َ‬
‫ل ﺍﻟﻌﺠﺏ‪ ،‬ﻤﻥ ﺃ ﱠ‬
‫ﺏﻜﱠ‬
‫ﺠ ُ‬
‫ﻓﻨﺘﻌ ّ‬

‫ﺹ ﻨﺴـﺘﻨ ُﺩ‬
‫ﺍﻷﺩﺍ ِﺀ ﻭﺍﻟﺘﺠﻭﻴ ِﺩ ﺨﺎﺼّﺔ‪ ،‬ﺭﻤﺯﻭﺍ ﺇﻟﻰ ﻤﺎ ﻴﺸﺒ ُﻪ ﺍﻟﻨﻐﻤﺔ‪ ،‬ﻭﻻ ﻴﻔﻴﺩُﻨﺎ ﻤﺎ ﻗﺎﻟﻭﻩ ﺸﻴﺌًﺎ؛ ﻓﻼ ﻨـ ﱠ‬

‫ل ﺍﻟﻌﺭﺒ ّﻴ ِﺔ ﺍﻟﻔﺼﻴﺤ ِﺔ ﻓﻲ ﻫﺫﺍ ﺍﻟﺸﺄﻥ؟(()‪.(4‬‬

‫ﻥ ﺤﺎ ُ‬
‫ﻑ ﻜﺎ َ‬
‫ﻋﻠﻴﻪ)‪ (3‬ﻓـﻲ ﺇﺠﺎﺒ ِﺔ ﻤﺴﺄﻟـﺔ‪ :‬ﻜﻴ ﹶ‬

‫ﺕ‪ ،‬ﺃﻭ‬
‫ﻥ ﺍﻟﻜﻠﻤـﺎ ِ‬
‫ل ﺍﻟﻤﻭﺴﻴﻘﻰ ﺍﻟﻠﹼﻐﻭ ّﻴ ِﺔ؛ ﺒﺼﻔﺘِﻪ ﺴﻜﺘ ﹰﺔ ﺨﻔﻴﻔ ﹰﺔ ﺒﻴ َ‬
‫ل ﻓـﻲ ﺘﺸﻜﻴ ﹺ‬
‫ﺼُ‬‫ﻜﺫﻟﻙ‪ ،‬ﻴﺴﻬ ُﻡ ﺍﻟ َﻤﻔﹾ ِ‬

‫ﻥ‬
‫ﻅﻤَﻬﺎ‪ ،‬ﻭﻤﻥ ﺫﻟﻙ‪ ،‬ﺃ ﱠ‬
‫ﺹ‪ ،‬ﻭﺘﻨ ﹼ‬
‫ﻁ ﺍﻟﺤﺭﻜ ﹶﺔ ﺍﻟﻤﻭﺴﻴﻘ ّﻴ ﹶﺔ ﻓـﻲ ﺍﻟﻨ ﱢ‬
‫ﻥ ﻫﺫﻩ ﺍﻟﺴﻜﺘ ِﺔ ﺃﻥْ ﺘﻀﺒ ﹶ‬
‫ﺍﻟﻤﻘﺎﻁﻊ؛ ﻓﻤﻥ ﺸﺄ ﹺ‬

‫ل ﺍﻟﺼﻭﺘﻴّﺔ‪ ،‬ﻭﻨﻌﻨﻲ ﺒﻬـﺎ‬

‫ل‪ ،‬ﺒﺎﻟﻔﻭﺍﺼ ﹺ‬
‫ﺕ ﺍﻟﺠﻤ ﹺ‬
‫ﻁ ﻨﻐﻤﺎﺘِﻪ ﻓﻲ ﻨﻬﺎﻴﺎ ِ‬
‫ﻙ ﺃﻨﻤﺎ ﹸ‬
‫ﺍﻟﺘﻨﻐﻴ َﻡ ))ﻴﺘﺤﺩّ ُﺩ ﺇﻁـﺎﺭُﻩ‪ ،‬ﻭﺘﺩﺭ ُ‬
‫ل ﺍﻟﻤﻭﺴـﻴﻘ ّﻴ ِﺔ ﻭﻏﻴﺭﹺﻫـﺎ‪،‬‬
‫ل ﻋﻠﻰ ﻗﻴﻤ ِﺔ ﺍﻟ َﻤﻔﹾﺼِـ ﹺ‬
‫ﺕ‪ ،‬ﻭﺍﻻﺴﺘﺭﺍﺤﺎﺕ(()‪ .(5‬ﻭﻤﻤّﺎ ﻴﺩ ﱡ‬
‫ﺕ‪ ،‬ﻭﺍﻟﺴﻜﺘﺎ ِ‬
‫ﺍﻟﻭﻗﻔـﺎ ِ‬

‫ﻑ ﺒﺄﻨﻭﺍﻋِﻪ‪.‬‬
‫ﺼ ٍﺔ‪ ،‬ﻓـﻲ ﻋﻠ ﹺﻡ ﺍﻟﺘﺠﻭﻴﺩ‪ ،‬ﺃﻻ ﻭﻫﻲ ﺃﺤﻜﺎ ُﻡ ﺍﻟﻭﻗ ِ‬
‫ﺍﺴﺘﺌﺜﺎﺭُﻩ ﺒﺄﺤﻜﺎ ﹴﻡ ﺨﺎ ّ‬

‫ﻥ ﻓـﻲ ﺍﻟﻤﻭﺴـﻴﻘﻰ‬
‫ﺹ‪ ،‬ﺃﺜﺭُﻫﺎ ﺍﻟﺒﻴّ ُ‬
‫ﻭﻟﻠﻤﻘﺎﻁ ﹺﻊ ﺍﻟﺼﻭﺘ ّﻴ ِﺔ‪ ،‬ﻜﻐﻴﺭﹺﻫﺎ ﻤﻥ ﺍﻟﻌﻨﺎﺼ ﹺﺭ ﺍﻟﺼﻭﺘ ّﻴ ِﺔ ﻓﻲ ﺍﻟﻨ ﱢ‬
‫ﺕ ﺍﻟﻠﹼﻐﻭﻴّـ ﹸﺔ؛ ﻤﺸـﻜﹼﻠ ﹰﺔ ﺒـﺫﻟﻙ ﺍﻟﻜـﻼﻡ‪.‬‬
‫ﻑ ﻓﻴﻪ ﺍﻷﺼﻭﺍ ﹸ‬
‫ﻲ‪ ،‬ﺍﻟﺫﻱ ﺘﺄﺘﻠ ﹸ‬
‫ل ﺍﻟﺘﻨﻅﻴﻤ ﱠ‬
‫ﺍﻟﻠﹼﻐﻭﻴّﺔ؛ ﺒﺼﻔﺘِﻬﺎ ﺍﻟﻬﻴﻜ َ‬

‫ﻥ ﺒـﻪ‬
‫ﻲ ﺍﻟﺫﻱ ﺘﺤﺩﺜﹸﻪ؛ ﻓﻤﻨﻬﺎ ﻤﺎ ﺘﺤﺴـ ُ‬
‫ﻑ ﻫﺫﻩ ﺍﻟﻤﻘﺎﻁ ُﻊ‪ ،‬ﺒﻨﺎ ًﺀ ﻋﻠﻰ ﻁﺒﻴﻌﺘِﻬﺎ‪ ،‬ﻓﻲ ﺍﻷﺜ ﹺﺭ ﺍﻟﻤﻭﺴﻴﻘ ﱢ‬
‫ﻭﺘﺨﺘﻠ ﹸ‬

‫ﻑ ﻋﺎﺌﻘﹰـﺎ‪،‬‬
‫ﺹ؛ ﻟﺴﻬﻭﻟ ِﺔ ﻨﻁﻘِﻪ ﺒﻤﺎ ﻴﺤﻭﻱ ﻤﻥ ﺃﺼﻭﺍﺕ‪ ،‬ﻭﻤﻨﻬـﺎ ﻤـﺎ ﻴﻘـ ﹸ‬
‫ﺍﻟﻤﻭﺴﻴﻘﻰ ﺍﻟﻠﹼﻐﻭﻴّ ﹸﺔ ﻓﻲ ﺍﻟﻨ ﱢ‬

‫)‪(1‬‬
‫ﺸﺎﻫﻴﻥ‪ ،‬ﺘﻭﻓﻴﻕ ﻤﺤﻤّﺩ‪ :‬ﻋﻠﻡ ﺍﻟﻠﹼﻐﺔ ﺍﻟﻌﺎ ّﻡ‪ .‬ﺹ‪.112‬‬
‫)‪(2‬‬
‫ﺍﻨﻅﺭ‪ :‬ﺍﻟﺤﻤﺩ‪ ،‬ﻏﺎﻨﻡ ﻗﺩّﻭﺭﻱ‪ :‬ﺍﻟﺩﺭﺍﺴﺎﺕ ﺍﻟﺼﻭﺘﻴّﺔ ﻋﻨﺩ ﻋﻠﻤﺎﺀ ﺍﻟﺘﺠﻭﻴﺩ‪ .‬ﺹ‪.480 - 478‬‬
‫)‪(3‬‬
‫ﺍﻟﺼﻭﺍﺏ‪ :‬ﻨﺴﺘﻨﺩ ﺇﻟﻴﻪ‪ .‬ﺍﻨﻅﺭ‪ :‬ﺃﻨﻴﺱ‪ ،‬ﺇﺒﺭﺍﻫﻴﻡ‪ ،‬ﻭﺁﺨﺭﻭﻥ‪ :‬ﺍﻟﻤﻌﺠﻡ ﺍﻟﻭﺴﻴﻁ‪ .‬ﺠﺯﺀﺍﻥ ﻓﻲ ﻤﺠﹼﻠ ٍﺩ ﻭﺍﺤﺩ‪ .‬ﻁ‪ .2‬ﺍﻟﻤـﺎﺩّﺓ‪) :‬ﺱ‪ ،‬ﻥ‪،‬‬
‫ﺩ(‪.‬‬
‫)‪(4‬‬
‫ﻱ ﻟﻠﹼﻐﺔ ﺍﻟﻌﺭﺒﻴّﺔ‪ .‬ﺃﺨﺭﺠﻪ ﻭﺼﺤّﺤﻪ ﻭﻋﻠﹼﻕ ﻋﻠﻴﻪ ﺭﻤﻀﺎﻥ ﻋﺒﺩ ﺍﻟﺘﻭّﺍﺏ‪ .‬ﻁ‪ .2‬ﺍﻟﻘـﺎﻫﺭﺓ‪ :‬ﻤﻜﺘﺒـﺔ‬
‫ﺒﺭﺠﺸﺘﺭﺍﺴﺭ‪ :‬ﺍﻟﺘﻁﻭّﺭ ﺍﻟﻨﺤﻭ ّ‬
‫ﺍﻟﺨﺎﻨﺠﻲ‪ .1994 .‬ﺹ‪.72‬‬
‫)‪(5‬‬
‫ﺒﺸﺭ‪ ،‬ﻜﻤﺎل‪ :‬ﻋﻠﻡ ﺍﻷﺼﻭﺍﺕ‪ .‬ﺹ‪.532‬‬
‫‪50‬‬
‫ﻥ ﺍﻟﻤﻘﺎﻁ َﻊ‪ :‬ﺍﻟﻘﺼﻴــ َﺭ‬
‫ﻥ ﺴﻼﺴﺘِﻬﺎ ﻭﺠﻤﺎﻟِﻬﺎ؛ ﻟﺼﻌﻭﺒ ِﺔ ﻨﻁﻘِﻪ ﺒﻤﺎ ﻴﺤﻭﻱ ﻤﻥ ﺃﺼﻭﺍﺕ؛ ﻟﺫﻟﻙ ﻨﺠ ُﺩ ﺃ ﱠ‬
‫ﺩﻭ َ‬

‫ﻁ ﺍﻟﻤﻔﺘــﻭﺡ )ﺹ ‪ +‬ﺡ ﺡ(‪،‬‬

‫ﻁ ﺍﻟﻤﻐﻠـﻕ )ﺹ ‪ +‬ﺡ ‪ +‬ﺹ(‪ ،‬ﻭﺍﻟﻤﺘﻭﺴّـ ﹶ‬
‫)ﺹ ‪ +‬ﺡ(‪ ،‬ﻭﺍﻟﻤﺘﻭﺴّـ ﹶ‬

‫ﻥ ﺍﻟﻌﺭﺒ ّﻴ ﹶﺔ ﻓﻀّﻠﺘﻬﺎ ﻓﻲ ﺍﻻﺴﺘﺨﺩﺍ ﹺﻡ‬

‫ﺃﻜﺜ ُﺭ ﺍﻟﻤﻘﺎﻁ ﹺﻊ ﻤﻭﺴﻴﻘ ّﻴ ﹰﺔ؛ ﻓﻬﻲ ﺃﺴﻬﻠﹸﻬﺎ ﻓﻲ ﺍﻟﻨﻁﻕ‪ .‬ﻭﻤﻤّﺎ ﻴﺅﻜﹼ ُﺩ ﺫﻟﻙ‪ ،‬ﺃ ﱠ‬
‫ﻥ ﻤﻭﺴﻴﻘﻰ‪.‬‬
‫ﺹ ﻻ ﻴﻘﻭ ُﻡ ﺩﻭ َ‬
‫ﺏ ﺃﺸﻌﺎﺭَﻫﻡ ﻋﻠﻴﻬﺎ‪ ،‬ﻭﺍﻟﺸﻌ ُﺭ ﻨ ﱞ‬
‫ﻋﻠﻰ ﻏﻴﺭﹺﻫﺎ‪ ،‬ﻜﻤﺎ ﺒﻨﻰ ﺍﻟﻌﺭ ُ‬

‫ﻻ‬
‫ﻥ ﻭﻗﻭﻋُﻬـﺎ ﺇ ﹼ‬
‫ل ﻟﻠﻤﻭﺴﻴﻘﻰ ﺍﻟﻠﹼﻐﻭ ّﻴ ِﺔ‪ ،‬ﺍﻟﺘﻲ ﻻ ﻴﻤﻜ ُ‬
‫ل ﺍﻟﻌﻨﺎﺼ ُﺭ ﺍﻟﺼﻭﺘﻴّ ﹸﺔ ﺍﻟﺴﺎﺒﻘ ﹸﺔ‪ ،‬ﺍﻟﻤﻘ ّﻭ َﻡ ﺍﻷ ّﻭ َ‬
‫ﺘﻤﺜﹼ ُ‬

‫ﻥ ﺫﻟﻙ ﻓﻲ‬
‫ﻲ‪ ،‬ﺴﻭﺍﺀٌ ﺃﻜﺎ َ‬
‫ﺒﻤﻘ ّﻭ ﹴﻡ ﺁﺨ َﺭ‪ ،‬ﺃﻻ ﻭﻫﻭ ﺘﻨﻅﻴ ُﻡ ﻫﺫﻩ ﺍﻟﻌﻨﺎﺼ ﹺﺭ‪ ،‬ﻋﻠﻰ ﻭﺠ ٍﻪ ﻴﺒﺭ ُﺯ ﺠﻤﺎﻟﹶﻬﺎ ﺍﻟﻤﻭﺴﻴﻘ ّ‬
‫ﻥ ﺘﻨﻅﻴ ﹴﻡ ﻴﺤﻜ ُﻡ ﺃﺼﻭﺍﺘﹶﻬﺎ؛ ﻟﺫﻟﻙ‬
‫ﻥ ﻨﻭﻋُﻬﺎ ‪ -‬ﻻ ﺘﻘ ُﻊ ﺩﻭ َ‬
‫ﺍﻟﻜﻠﻤ ِﺔ‪ ،‬ﺃﻡ ﻓﻲ ﺍﻟﺘﺭﻜﻴﺏ؛ ﻓﺎﻟﻤﻭﺴﻴﻘﻰ ‪ -‬ﻤﻬﻤﺎ ﻜﺎ َ‬

‫ﻑ ﺃﻭ ﺘﺘﻨـﺎﻓﺭ‪،‬‬
‫ﺙ ﺘـﺄﺘﻠ ﹸ‬
‫ل ﺍﻟﻨﻐ ﹺﻡ‪ ،‬ﻤـﻥ ﺤﻴـ ﹸ‬
‫ﺤﺙﹸ ﻓﻴﻪ ﻋﻥ ﺃﺼﻭ ﹺ‬
‫ﻑ ﻋﻠ ُﻡ ﺍﻟﻤﻭﺴﻴﻘﻰ‪ ،‬ﺒﺄ ﹼﻨـﻪ ))ﻋﻠﻡٌ ُﻴﺒْ َ‬
‫ﻋ ﱢﺭ ﹶ‬
‫ُ‬

‫ﻑ ﺍﻟﻠﹼﺤـﻥ(()‪.(1‬‬
‫ﻑ ﻴﺅﻟﹼ ﹸ‬
‫ل ﺍﻷﺯﻤﻨ ِﺔ ﺍﻟﻤﺘﺨﻠﹼﻠ ِﺔ ﺒﻴﻨﹶﻬﺎ؛ ﻟ ُﻴﻌْـﹶﻠﻡَ ﻜﻴ ﹶ‬
‫ﻭﺃﺤﻭﺍ ﹺ‬

‫ﻲ؛ ﻓﻬـﻭ ﻴﻘﻭ ُﻡ ﻋﻠﻰ‬

‫ﺹ ﺍﻟﺘـﻲ ﻴﻅﻬ ُﺭ ﻓﻴﻬﺎ‪ ،‬ﺃﺜ ُﺭ ﺍﻟﺘﻨﻅﻴ ﹺﻡ ﺒﺠﻼ ٍﺀ‪ ،‬ﺍﻟﺸﻌ ُﺭ ﺍﻟﻌﺭﺒ ﱡ‬
‫ﻭﻤﻥ ﺃﻜﺜ ﹺﺭ ﺍﻟﻨﺼﻭ ﹺ‬

‫ﺏ؛ ﻟﻤـﺎ‬
‫ل ﻤﻨﻬﺎ ﺍﻟﺒﺤﻭ ُﺭ ﺍﻟﺸﻌﺭﻴّﺔ‪ ،‬ﻭﻟﻭﻻ ﻫﺫﺍ ﺍﻟﺘﺭﺘﻴـ ُ‬
‫ﺕ‪ ،‬ﺘﺘﺸﻜﹼ ُ‬
‫ﺏ ﺍﻟﻤﻘﺎﻁ ﹺﻊ ﺍﻟﺼﻭﺘ ّﻴ ِﺔ ﻓﻲ ﺘﻔﻌﻴـﻼ ٍ‬
‫ﺘﺭﺘﻴ ﹺ‬

‫ﺹ ﻤﺘﻤ ّﻴﺯًﺍ ﺒﻤﻭﺴﻴﻘﺎﻩ‪.‬‬

‫ﻥ ﻫﺫﺍ ﺍﻟﻨ ﱡ‬
‫ﻜﺎ َ‬

‫ﺹ‪ ،‬ﻤﻥ ﺃﻜﺜ ﹺﺭ ﺠﻭﺍﻨﺒﹺﻪ ﺘﺄﺜﻴﺭًﺍ ﻓﻲ ﺍﻟﻤﺘﻠﻘﹼﻲ؛ ﻟﺫﻟﻙ ﻨﺠـﺩُﻩ ﻤـﻥ ﺃﻜﺜـ ﹺﺭ‬
‫ﻲ ﻓﻲ ﺍﻟﻨ ﱢ‬
‫ﺏ ﺍﻟﻤﻭﺴﻴﻘ ﱡ‬
‫ﻭﺍﻟﺠﺎﻨ ُ‬

‫ﺠ ﹺﺭﺸﹼـﻰ‪:‬‬
‫ﺏ ﺍﻟﻤﺘﻨﺒّﻲ‪ ،‬ﺍﺴﺘﺨﺩﺍﻤُﻪ ﺍﻟﻜﻠﻤ ﹶﺔ )ﺍﻟ ﹺ‬
‫ﺏ ﺘﻌ ّﺭﻀًﺎ ﻟﻠﻨﻘﺩ؛ ﻭﻤﻥ ﺫﻟﻙ‪ ،‬ﻤﺎ ﺃُﺨ ﹶﺫ ﻋﻠﻰ ﺃﺒﻲ ﺍﻟﻁ ّﻴ ﹺ‬
‫ﺍﻟﺠﻭﺍﻨ ﹺ‬

‫‪ ،(:i / ri / aa‬ﺃﻱ ﺍﻟ ﱠﻨﻔﹾﺱ‪ ،‬ﻓﻲ ﺒﻴﺘِﻪ‪:‬‬

‫ﺴﺏْ)‪) (2‬ﺍﻟﻤﺘﻘﺎﺭﺏ(‬
‫ﻑ ﺍﻟ ﹼﻨ َ‬
‫ﺠ ﹺﺭﺸﹼﻰ‪ ،‬ﺸﺭﻴ ﹸ‬
‫ﻜﺭﻴ ُﻡ ﺍﻟ ﹺ‬ ‫ﻙ ﺍﻻﺴْ ﹺﻡ‪ ،‬ﺃﻏـ ﱡﺭ ﺍﻟﹼﻠ ﹶﻘﺏْ‬
‫ﻤُﺒـﺎﺭ ُ‬

‫ﺠ ﹺﺭﺸﹼﻰ(‪ ،‬ﺘﺄﻟﻴﻔﹰﺎ ﻴﻜﺭﻫُـﻪ ﺍﻟﺴﻤﻊ‪ ،‬ﻭﻴﻨﺒﻭ ﻋﻨﻪ(()‪.(3‬‬

‫))ﻓﺈﻨﹼﻙ ﺘﺠ ُﺩ ﻓﻲ )ﺍﻟ ﹺ‬

‫ل ﺃﺤﻤﺩ ﺸﻭﻗﻲ‪:‬‬
‫ﻱ ﺍﻟﺩﻜﺘﻭ ﹺﺭ ﺇﺒﺭﺍﻫﻴﻡ ﺃﻨﻴﺱ‪ ،‬ﻓﻲ ﻗﻭ ﹺ‬
‫ﻭﻤﻥ ﺫﻟﻙ ﺃﻴﻀًﺎ‪ ،‬ﺭﺃ ُ‬

‫)‪(1‬‬
‫ﺃﻨﻴﺱ‪ ،‬ﺇﺒﺭﺍﻫﻴﻡ‪ ،‬ﻭﺁﺨﺭﻭﻥ‪ :‬ﺍﻟﻤﻌﺠﻡ ﺍﻟﻭﺴﻴﻁ‪ .‬ﺍﻟﻤﺎﺩّﺓ‪) :‬ﻡ‪ ،‬ﻭ‪ ،‬ﺱ‪ ،‬ﻱ‪ ،‬ﻕ‪ ،‬ﺍ(‪.‬‬
‫)‪(2‬‬
‫ﺍﻨﻅﺭ‪ :‬ﺩﻴﻭﺍﻥ ﺃﺒﻲ ﺍﻟﻁﻴّﺏ ﺍﻟﻤﺘﻨﺒّﻲ‪.198 / 2 .‬‬
‫)‪(3‬‬
‫ﺕ‪ :‬ﻤﺒـﺎﺭﻙ‬
‫ﺍﺒﻥ ﺴﻨﺎﻥ ﺍﻟﺨﻔﺎﺠﻲ‪ ،‬ﺃﺒﻭ ﻤﺤﻤّﺩ ﻋﺒﺩ ﺍﷲ ﺒﻥ ﻤﺤﻤّﺩ‪ :‬ﺴ ّﺭ ﺍﻟﻔﺼﺎﺤﺔ‪ .‬ﺹ‪ .66‬ﻭﻓﻲ ﻫـﺫﺍ ﺍﻟﻤﺼـﺩﺭ‪ ،‬ﻭﺭﺩ ﺍﻟﺒﻴـ ﹸ‬
‫ﺕ ﺇﻟﻴﻪ‪ .‬ﻭﻓﻲ ﻫﺫﺍ ﻜﺴﺭٌ ﻟﻭﺯﻥ ﺍﻟﺒﻴﺕ‪ ،‬ﻭﺍﻟﺼﻭﺍﺏ ﺃﻥ ﺘﻜﻭﻥ ﺍﻟﻜﻠﻤﺔ‬
‫ﺍﻹﺴﻡ‪ ،...‬ﺒﺈﺜﺒﺎﺕ ﻫﻤﺯﺓ ﻗﻁﻊ‪ ،‬ﻜﻤﺎ ﻭﺭﺩ ﻓﻲ ﺍﻟﺩﻴﻭﺍﻥ ﺍﻟﺫﻱ ﻋﺩ ﹸ‬
‫ﺕ؛ ﻟﻴﺴﺘﻘﻴﻡ ﻭﺯﻥ ﺍﻟﺒﻴﺕ؛ ﻷﻨﹼﻨﻲ ﺃﺴﺘﺒﻌﺩ ﺨﻁ ًﺄ ﺒﺴﻴﻁﹰﺎ ﻜﻬﺫﺍ‪ ،‬ﻋﻥ ﺸﺎﻋﺭ ﻜﺎﻟﻤﺘﻨﺒّﻲ‪.‬‬
‫)ﺍﻻﺴﻡ( ﺩﻭﻥ ﻫﻤﺯﺓ‪ ،‬ﻜﻤﺎ ﺃﺜﺒ ﱡ‬
‫‪51‬‬
 ‫ﻥ ﺍﻟﺜﻨـﺎ ُﺀ )ﺍﻟﺨﻔﻴﻑ(‬
‫ﻭﺍﻟﻐﻭﺍﻨـﻲ ﻴﻐـﺭﱡﻫـ ﱠ‬ ‫ﺨﺩﻋﻭﻫـﺎ ﺒﻘﻭﻟِﻬـﻡ‪ :‬ﺤﺴﻨـﺎ ُﺀ‬

‫ﻜﺜﺭﺕﹾ ﻓـﻲ ﻏﺭﺍﻤِﻬﺎ ﺍﻷﺴﻤﺎ ُﺀ؟‬ ‫ﻲ ﻟﻤّـﺎ‬

‫ﺕ ﺍﺴﻤ َ‬
‫ﺃﺘـﺭﺍﻫﺎ ﺘﻨﺎﺴـ ِ‬

‫ﻙ ﺒﻴﻨـﻲ ﻭﺒﻴﻨﹶﻬـﺎ ﺃﺸﻴـﺎ ُﺀ !‬

‫ﺘُ‬ ‫ل ﻋﻨﹼﻲ ﻜـﺄﻥْ ﻟﻡْ‬
‫ﺇﻥ ﺭﺃﺘﹾﻨﻲ ﺘﻤﻴ ُ‬

‫ﻓﻜـﻼﻡٌ‪ ،‬ﻓﻤﻭﻋـﺩٌ‪ ،‬ﻓﻠﻘـﺎ ُﺀ‬

‫)‪(1‬‬
‫ﻨـﻅﺭﺓﹲ‪ ،‬ﻓﺎﺒﺘﺴﺎﻤـﺔﹲ‪ ،‬ﻓﺴـﻼﻡٌ‬

‫ﻕ ﻤـﻥ‬
‫ل‪ ،‬ﺃﺸ ﱡ‬
‫ﺕ ﺍﻷ ّﻭ ﹺ‬
‫ل ﻤﻥ ﺍﻟﺒﻴ ِ‬
‫ﻥ ﺍﻟﺸﻁ َﺭ ﺍﻷ ّﻭ َ‬
‫ل ﺍﻟﺩﻜﺘﻭ ُﺭ ﺇﺒﺭﺍﻫﻴﻡ ﺃﻨﻴﺱ‪ ...)) :‬ﺇﻨﹼﻨﻲ ﺃﺸﻌ ُﺭ ﺃ ّ‬
‫ﻴﻘﻭ ُ‬

‫ﻑ‪،‬‬
‫ل ﻤﻨـﻪ ﻨﻁﻘﹰﺎ؛ ﻭﺫﻟﻙ ﻟﺘﻀ ّﻤﻨِﻪ ﻋﺩﺩًﺍ ﻤﻥ ﺍﻷﺤـﺭ ِ‬
‫ﻥ ﺍﻷﺸﻁ َﺭ ﺍﻷﺨﺭﻯ ﺃﺴﻬ ُ‬
‫ﺍﻷﺸﻁ ﹺﺭ ﺍﻷﺨﺭﻯ‪ ،‬ﺃﻭ ﺃ ّ‬
‫ﻥ‪ ،‬ﻭﺍﻟﻬﺎ ُﺀ‪ ،‬ﻭﺍﻟﻬﻤﺯﺓ‪ ،‬ﻭﻫـﺫﺍ‬
‫ﻑ ﺍﻟﺤﻠﻕ‪ :‬ﺍﻟﺨﺎ ُﺀ‪ ،‬ﻭﺍﻟﻌﻴ ُ‬
‫ﺏ ﺠﻬﺩًﺍ ﻋﻀﻠﻴ‪‬ﺎ ﺃﻜﺜﺭ؛ ﻓﻔﻴﻪ ﻤﻥ ﺤﺭﻭ ِ‬
‫ﺍﻟﺘﻲ ﺘﺘﻁﻠﹼ ُ‬

‫ﺢ‬
‫ﻻ ﻤﻥ )ﺨـﺩﻋﻭﻫﺎ(؛ ﻷﺼـﺒ َ‬
‫ل )ﻭﺼﻔﻭﻫﺎ(‪ ،‬ﺒﺩ ﹰ‬
‫ل ﻜﻠﻤ ﹰﺔ ﻤﺜ َ‬
‫ﻥ ﺍﻟﺸﺎﻋ َﺭ ﺍﺴﺘﻌﻤ َ‬
‫ﻥ ﻓﻴﻪ ﺍﻟﻘﺎﻑ‪ .‬ﻭﻟﻭ ﺃ ّ‬
‫ﺇﻟﻰ ﺃ ّ‬

‫ل ﺍﻟﺸﻁ َﺭ‪ :‬ﻓﺘﻨﻭﻫـﺎ ﺒﻘـﻭﻟِﻬﻡ‪ :‬ﺤﺴﻨــﺎ ُﺀ؛‬

‫ﻕ‪ ،‬ﺃﻭ ﻟﻭ ﺃﻨﹼﻪ ﺠﻌ َ‬
‫ل ﻭﺃﺭ ﹼ‬
‫ﺍﻟﺸﻁ ُﺭ ﻤﻥ ﺍﻟﻨﺎﺤﻴ ِﺔ ﺍﻟﻤﻭﺴﻴﻘ ّﻴ ِﺔ ﺃﺴﻬ َ‬
‫ﻑ ﻓﻴﻪ ﺍﻵﺭﺍﺀ؛ ﻭﻟـﺫﻟﻙ‬
‫ﻟﺯﺍﺩﺕﹾ ﺴﻬﻭﻟﺘﹸﻪ ﻭﺭ ﹼﻗﺘﹸﻪ‪ ،‬ﻭﺤﺴﻨﺕﹾ ﻤﻭﺴﻴﻘﺎﻩ ﺍﻟﻠﹼﻔﻅﻴّﺔ‪ .‬ﺃﻤّﺎ ﻤﻌﻨﺎﻩ ﺤﻴﻨﺌ ٍﺫ‪ ،‬ﻓﻘﺩ ﺘﺨﺘﻠ ﹸ‬

‫ﺽ ﻟﻪ‪ ،‬ﺒﺨﻴ ﹴﺭ ﺃﻭ ﺸ ّﺭ !(()‪.(2‬‬

‫ﻻ ﺃﻋﺭ ُ‬

‫ﻑ ﻤﺤﻤّﺩ ﻤﻨﺩﻭﺭ‪ ،‬ﻓﻲ ﻨﻘﺩِﻩ ﻗﺼﻴﺩ ﹶﺓ ﻤﻴﺨﺎﺌﻴل ﻨﻌﻴﻤﺔ‪ ،‬ﺍﻟﺴﺎﺒﻘ ﹶﺔ ﺍﻟـﺫﻜﺭ )ﺃﺨـﻲ(‪ ،‬ﻋﻨـ َﺩ‬
‫ﻜﺫﻟﻙ‪ ،‬ﺘﻭ ﹼﻗ ﹶ‬
‫ﺕ‪:‬‬
‫ﺍﻟﺒﻴ ِ‬

‫ﻥ ﻤـﺎ ﹶﺘﻤّـﺎ‬
‫ﻨﹶﺸـﺄ ُﻩ ﻨﺤـ ُ‬ ‫ﺃﺨـﻲ ! ﻗﺩْ ﺘﹶـ ﱠﻡ ﻤﺎ ﹶﻟﻭْ ﹶﻟﻡْ‬

‫ﻙ ﻤﺎ ﻓﻲ ﻗﻭﻟِﻪ‪ " :‬ﹶﺘ ﱠﻡ ﻤﺎ ﹶﻟﻭْ ﻟﹶـﻡْ " ] ‪[ tam/ma/maa/law/lam‬؛‬

‫ل ﻓﻲ ﺼﺩﺭﹺﻩ‪)) :‬ﻭﺩﻉْ ﻋﻨ َ‬
‫ﻟﻴﻘﻭ َ‬
‫ﻕ ﻓﻲ ﺍﻨﺴﺠﺎﻡ(()‪.(4‬‬
‫ﺕ‪ ،‬ﺼﻌﺒ ِﺔ ﺍﻟﻨﻁ ِ‬
‫ﻓﻬﺫﻩ ﺃﺭﺒﻌ ﹸﺔ ﺃﻭ ﺨﻤﺴ ﹸﺔ ﻤﻘﺎﻁ َﻊ)‪ (3‬ﻤﺘﻼﺤﻘ ٍﺔ‪ ،‬ﻤﻨﻔﺼﻠ ٍﺔ‪ ،‬ﻜﺜﻴﺭ ِﺓ ﺍﻟﻤﻴﻤﺎ ِ‬

‫)‪(1‬‬
‫ﺕ ﻤـﺎ ﺃﺜﺒﺘـﻪ‬
‫ﺍﻨﻅﺭ‪ :‬ﺸﻭﻗﻲ‪ ،‬ﺃﺤﻤﺩ‪ :‬ﺍﻟﺸﻭﻗﻴّﺎﺕ‪ .111 / 2 .‬ﻭﻓﻴﻪ ﻭﺭﺩ ﻓﻲ ﺍﻟﺒﻴﺕ ﺍﻟﺜﺎﻨﻲ )ﺘﻨﺎﺴﺏ( ﻤﻜﺎﻥ )ﺘﻨﺎﺴﺕ(‪ .‬ﻭﻗﺩ ﺃﺜﺒـ ﱡ‬
‫ﺍﻟﺩﻜﺘﻭﺭ ﺇﺒﺭﺍﻫﻴﻡ ﺃﻨﻴﺱ‪) :‬ﺘﻨﺎﺴﺕ(؛ ﻷﻨﹼﻪ ﺃﻜﺜﺭ ﻤﻼﺀﻤ ﹰﺔ ﻟﻠﻤﻀﻤﻭﻥ‪.‬‬
‫)‪(2‬‬
‫ﺃﻨﻴﺱ‪ ،‬ﺇﺒﺭﺍﻫﻴﻡ‪ :‬ﻤﻭﺴﻴﻘﻰ ﺍﻟﺸﻌﺭ‪ .‬ﺹ‪.37 ،36‬‬
‫)‪(3‬‬
‫ﻥ ﺍﻟﻌﺭﺒﻴّﺔ ﻻ ﺘﻔﺼل ﺒﻴﻥ ﺍﻟﻤﻀﺎﻑ ﻭﺍﻟﻤﻀﺎﻑ ﺇﻟﻴﻪ‪.‬‬
‫ﺍﻟﺼﻭﺍﺏ‪ :‬ﻓﻬﺫﻩ ﺃﺭﺒﻌ ﹸﺔ ﻤﻘﺎﻁ َﻊ ﺃﻭ ﺨﻤﺴﺔﹲ‪...‬؛ ﻷ ّ‬
‫)‪(4‬‬
‫ﻤﻨﺩﻭﺭ‪ ،‬ﻤﺤﻤّﺩ‪ :‬ﻓﻲ ﺍﻟﻤﻴﺯﺍﻥ ﺍﻟﺠﺩﻴﺩ‪ .‬ﺹ‪.52‬‬
‫‪52‬‬
‫ﺹ‬
‫ل ﻤـﻥ ﺍﻟـﻨ ﱢ‬
‫ﻲ‪ ،‬ﺃﺩﺍﺓﹲ ﻤﻭﺴﻴﻘ ّﻴﺔﹲ ﻭﺍﻓﻴﺔ(()‪ ،(1‬ﺘﺠﻌ ُ‬
‫ﻕ ﺍﻹﻨﺴﺎﻨ ﱠ‬
‫ﻥ ))ﺠﻬﺎ َﺯ ﺍﻟﻨﻁ ِ‬
‫ﻕ‪ ،‬ﺃ ﱠ‬
‫ﺢ ﻟﻨﺎ ﻤﻤّﺎ ﺴﺒ ﹶ‬
‫ﻴﺘﹼﻀ ُ‬

‫ﺕ‬ ‫ﻥ ﺍﺴﺘﺨﺩﺍ ُﻡ ﺃﺼﻭﺍﺘِﻬﺎ؛ ﻓـ))ﺍﻷﻟﺤﺎ ُ‬

‫ﻥ ﺍﻟﻜﺎﻤﻠ ﹸﺔ‪ ،‬ﺇﻨﹼﻤﺎ ﺘﻭﺠ ُﺩ ﺒﺎﻟﺘﺼﻭﻴ ِ‬ ‫ﺴَ‬
‫ﻗﻁﻌ ﹰﺔ ﻤﻭﺴﻴﻘ ّﻴ ﹰﺔ ﺠﺫﹼﺍﺒﺔ؛ ﺇﺫﺍ ﻤﺎ ُﺃﺤْ ِ‬

‫ﺹ ﺍﻟﺼﻭﺘ ّﻴ ِﺔ؛ ﺇﺫﺍ ﻤـﺎ ﺃُﺴـﻲ َﺀ‬

‫ﻥ ﺠﻭﺩ ِﺓ ﺍﻟﻨ ﱢ‬
‫ﻑ ﻫﺫﻩ ﺍﻷﺩﺍ ﹸﺓ ﺍﻟﻤﻭﺴﻴﻘﻴّ ﹸﺔ‪ ،‬ﻋﺎﺌﻘﹰﺎ ﺩﻭ َ‬
‫ﻲ(()‪ .(2‬ﻜﺫﻟﻙ ﺘﻘ ﹸ‬
‫ﺍﻹﻨﺴﺎﻨ ّ‬
‫ﻱ‪ ،‬ﻭﺍﻟﻨﻅـﺎ ﹺﻡ‬
‫ل ﺍﻟﻠﹼﻐـﻭ ﱢ‬
‫ﻥ ﺍﻟﺠﻤﺎ ﹺ‬
‫ﺹ ﻓـﻲ ﺍﻟﻤﺘﻠﻘﹼﻲ؛ ﻓﻤﻥ ﺸﺄ ﹺ‬
‫ل ﺒﺫﻟﻙ ﺘﺄﺜﻴ ُﺭ ﺍﻟﻨ ﱢ‬
‫ﺍﺴﺘﺨﺩﺍ ُﻡ ﺃﺼﻭﺍﺘِـﻬﺎ؛ ﻓﻴﻘ ﱡ‬

‫ﺇﻨﺴﺎﻥ)‪.(3‬‬ ‫ل‬
‫ل ﻓﻲ ﻜ ﱢ‬
‫ﻲ‪ ،‬ﺃﻥ ﻴﺴﺘﺭﻋﻴﺎ ﺍﻷﺴﻤﺎﻉ‪ ،‬ﻭﻴﺜﻴﺭﺍ ﺍﻻﻨﺘﺒـﺎ َﻩ‪ ،‬ﻭﻴﺤﺭّﻜﺎ ﺩﺍﻋﻴـ ﹶﺔ ﺍﻹﻗﺒﺎ ﹺ‬
‫ﺍﻟﺼﻭﺘ ﱢ‬

‫ﻲ‬
‫‪ .4‬ﺍﻷﺜ ُﺭ ﺍﻟﺩّﻻﻟ ّ‬

‫ﻱ‬
‫ﺕ ﺍﻟﻠﹼﻐﻭ ﱢ‬
‫ﻥ ﺍﻟﺼﻭ ِ‬
‫ﻥ‪ ،‬ﻗﺩﻴﻤًﺎ ﻭﺤﺩﻴﺜﹰﺎ‪ ،‬ﺘﻠﻙ ﺍﻟﻌﻼﻗ ﹶﺔ ﺍﻟﻘﺎﺌﻤ ﹶﺔ ﺒﻴ َ‬
‫ل ﺍﻟﻌﻠﻤﺎ َﺀ ﻭﺍﻟﺒﺎﺤﺜﻴ َ‬
‫ﻥ ﻤﻥ ﺃﻫ ﱢﻡ ﻤﺎ ﺸﻐ َ‬
‫ﺇﱠ‬

‫ﻥ ﺍﻷﻤ َﺭ‬
‫ﻻﺃﱠ‬
‫ﺞ ﻭﺍﻀﺤ ٍﺔ ﻴﻨﺄﻯ ﻋﻨﻬﺎ ﺍﻟﺠﺩل‪ ،‬ﺇ ﹼ‬
‫ﺍﻟﻤﻔﺭ ِﺩ‪ ،‬ﻭﺍﻟﺩﻻﻟﺔ‪ ،‬ﻟﻜﻨﹼﻬﻡ ﺇﻟﻰ ﺍﻟﻴﻭ ﹺﻡ ﻟﻡ ﻴﺘﻭﺼّﻠﻭﺍ‪ ،‬ﺇﻟﻰ ﻨﺘﺎﺌ َ‬

‫ﺏ ﻤﻥ ﻋﻠـ ﹺﻡ ﺍﻟﺩﻻﻟـ ِﺔ )‪ ،(Semantics‬ﻋﻠـﻰ‬

‫ل ﺒﺫﻭﺭًﺍ ﺼﺎﻟﺤـ ﹰﺔ‪ ،‬ﻟﻨﻤ ﱢﻭ ﻫﺫﺍ ﺍﻟﺠﺎﻨ ﹺ‬
‫ﻻ ﻴﺨﻠﻭ‪ ،‬ﻤﻤّﺎ ﻴﻤﺜﹼ ُ‬

‫ﻲ‪.‬‬
‫ﻀّ‬‫ﻭﺠـ ٍﻪ َﺭ ِ‬

‫ﺕ ﺍﻟﻠﹼﻐﻭ ّﻴـ ِﺔ ﻤﻨﻔﺭﺩ ﹰﺓ‪ ،‬ﺃﻤﺭٌ ﻤﻌ ﹼﻘﺩٌ ﺇﻟﻰ ﺤ ﱟﺩ ﻤّﺎ؛ ﻓﻬـﻲ‬

‫ﺕ ﺍﻷﺼﻭﺍ ِ‬
‫ﻥ ﺩﺭﺍﺴ ﹶﺔ ﺩﻻﻻ ِ‬
‫ﻭﻴﻌﻭ ُﺩ ﺫﻟﻙ‪ ،‬ﺇﻟﻰ ﺃ ﱠ‬

‫ﺕ ﺍﻟﻠﹼﻐﻭ ّﻴ ِﺔ ﺍﻟﻨﻔﺴ ّﻴ ِﺔ ﻭﺍﻻﺠﺘﻤﺎﻋﻴّﺔ‪.‬‬

‫ﻻ‪ ،‬ﻜﻨﺸﺄ ِﺓ ﺍﻟﻠﹼﻐ ِﺔ ﺍﻟﺒﺸﺭﻴّﺔ‪ ،‬ﻭﺍﻟﺩﺭﺍﺴﺎ ِ‬
‫ﺏ ﻟﻐﻭ ّﻴ ٍﺔ ﺃﻜﺜ َﺭ ﺇﺸﻜﺎ ﹰ‬
‫ﻁ ﺒﺠﻭﺍﻨ َ‬
‫ﺘﺭﺘﺒ ﹸ‬
‫ﺱ‬
‫))ﻟـﻴ َ‬ ‫)‪،(4)(Linguistics‬‬ ‫ﻉ ﻋﻠ ﹺﻡ ﺍﻟﻠﹼﻐﺔ‬
‫ل ﺃﻫ ﱠﻡ ﻓﺭﻭ ﹺ‬
‫ﻥ ﻋﻠ َﻡ ﺍﻟﺩﻻﻟ ِﺔ ﺫﺍﺘﹶﻪ‪ ،‬ﺍﻟﺫﻱ ﻴﻤﺜﹼ ُ‬
‫ﺃﻀﻑﹾ ﺇﻟﻰ ﺫﻟﻙ‪ ،‬ﺃ ﱠ‬

‫ﻥ ﺃﻥْ‬
‫ﻱ‪ ،‬ﺍﻟـﺫﻱ ﻴﻤﻜـ ُ‬
‫ﺱ ﺒﺫﻟﻙ ﺍﻟﻤﺴﺘﻭﻯ ﺍﻟﻠﹼﻐﻭ ﱢ‬
‫ل ﺍﻟﺘﻨﻅﻴ َﻡ ﻋﻠﻰ ﻨﺤ ﹴﻭ ﺠﻴّﺩ؛ ﺃﻱ ﺃﻨﹼﻪ ﻟﻴ َ‬
‫ﻓﺭﻋًﺎ ﻤﻨﻅﻭﺭًﺍ ﻴﻘﺒ ُ‬

‫ﻲ ]‪ (5)[Phonology‬ﻭﺍﻟﻨﺤـﻭ‪(6)((...‬؛‬
‫ﺕ ﺍﻟـﻭﻅﻴﻔ ﱢ‬
‫ﻑ ﻋﻠﻰ ﻨﺤ ﹴﻭ ﻭﺍﻀﺢ؛ ﻓﻴﻘﺎﺭﻥ ﺒﻌﻠ ﹺﻡ ﺍﻷﺼـﻭﺍ ِ‬
‫ﻴﻌ ّﺭ ﹶ‬
‫ل‬
‫ﺏ ﻋﻠﻰ ﺍﻟﻤﻁﺭ‪ ...‬ﻓﺎﻟﺩﻭﺍ ﱡ‬
‫ﻥ ﻋﻠﻰ ﺍﻟﻨﹼﺎﺭ‪ ،‬ﺃﻭ ﺍﻟﺴﺤﺎ ﹺ‬
‫ﻓـ))ﻟﻴﺴﺕﹾ ﺩﻻﻟ ﹸﺔ ﺍﻟﻜﻠﻤ ِﺔ ﻋﻠﻰ ﺍﻟﺸﻲ ِﺀ‪ ،‬ﻜﺩﻻﻟ ِﺔ ﺍﻟﺩّﺨﺎ ﹺ‬

‫)‪(1‬‬
‫ﺍﻟﻌﻘﹼﺎﺩ‪ ،‬ﻋﺒّﺎﺱ ﻤﺤﻤﻭﺩ‪ :‬ﺍﻟﻠﹼﻐﺔ ﺍﻟﺸﺎﻋﺭﺓ‪ .‬ﺍﻟﻘﺎﻫﺭﺓ‪ :‬ﻨﻬﻀﺔ ﻤﺼﺭ‪ .1995 .‬ﺹ‪.12‬‬
‫)‪(2‬‬
‫ﺍﻟﻔﺎﺭﺍﺒﻲ‪ ،‬ﺃﺒﻭ ﻨﺼﺭ ﻤﺤﻤّﺩ ﺒﻥ ﻤﺤﻤّﺩ‪ :‬ﻜﺘﺎﺏ ﺍﻟﻤﻭﺴﻴﻘﻰ ﺍﻟﻜﺒﻴﺭ‪ .‬ﺘﺤﻘﻴﻕ ﻏﻁﺎﺱ ﻋﺒﺩ ﺍﻟﻤﻠﻙ ﺨﺸﺒﺔ ﻭﺸﺭﺤﻪ‪ .‬ﺍﻟﻘﺎﻫــﺭﺓ‪ :‬ﺩﺍﺭ‬
‫ﻲ‪) .‬ﺩ‪ .‬ﺕ(‪ .‬ﺹ‪.68‬‬
‫ﺍﻟﻜﺎﺘﺏ ﺍﻟﻌﺭﺒ ّ‬
‫)‪(3‬‬
‫ﺍﻟﺯﺭﻗﺎﻨﻲ‪ ،‬ﻤﺤﻤﺩ ﻋﺒﺩ ﺍﻟﻌﻅﻴﻡ‪ :‬ﻤﻨﺎﻫل ﺍﻟﻌﺭﻓﺎﻥ ﻓﻲ ﻋﻠﻭﻡ ﺍﻟﻘﺭﺁﻥ‪.313 / 2 .‬‬
‫)‪(4‬‬
‫ﻲ‪ .‬ﺹ‪.261‬‬
‫ﺍﻟﺴﻌﺭﺍﻥ‪ ،‬ﻤﺤﻤﻭﺩ‪ :‬ﻋﻠﻡ ﺍﻟﻠﹼﻐﺔ ﻤﻘﺩّﻤﺔ ﻟﻠﻘﺎﺭﺉ ﺍﻟﻌﺭﺒ ّ‬
‫)‪(5‬‬
‫ﻲ )ﺍﻟﻔﻭﻨﻭﻟﻭﺠﻴﺎ(‪ ،‬ﺍﻷﺼﻭﺍﺕ ﺍﻟﻜﻼﻤﻴّﺔ ﻓﻲ ﻟﻐ ٍﺔ ﻤﻌﻴّﻨﺔ‪ ،‬ﻭﻭﻅﻴﻔﺘﻬﺎ ﻓﻲ ﺇﻁﺎﺭ ﻨﻅﺎﻡ ﺘﻠـﻙ ﺍﻟﻠﹼﻐـﺔ‬
‫ﻴﺩﺭﺱ ﻋﻠﻡ ﺍﻷﺼﻭﺍﺕ ﺍﻟﻭﻅﻴﻔ ّ‬
‫ﻲ‪ .‬ﺍﻨﻅﺭ‪:‬‬
‫ﺍﻟﺼﻭﺘ ّ‬
‫‪Hartmann, R.R.k., and Stork, R.C.: Dictionary of Language and Linguistics. London: Applied‬‬
‫‪Science Publishers, LTD. 1976. p. 173.‬‬
‫)‪ (6‬ﺒﺎﻟﻤﺭ‪ ،‬ﻓﺭﺍﻨﻙ‪ :‬ﻤﺩﺨل ﺇﻟﻰ ﻋﻠﻡ ﺍﻟﺩﻻﻟﺔ‪ .‬ﺘﺭﺠﻤﺔ ﺨﺎﻟﺩ ﻤﺤﻤﻭﺩ ﺠﻤﻌﺔ‪ .‬ﻁ‪ .1‬ﺍﻟﻜﻭﻴﺕ‪ :‬ﻤﻜﺘﺒﺔ ﺩﺍﺭ ﺍﻟﻌﺭﻭﺒﺔ‪ .1997 .‬ﺹ‪.268‬‬
‫‪53‬‬
‫ل ﺇﻟـﻰ‬
‫ﺽ ﺍﻹﺸﺎﺭﺓ‪ ،‬ﻭﺍﻟﺩﻻﻟ ﹸﺔ ﺍﻟﻠﹼﻐﻭ ّﻴ ﹸﺔ ﻤﺜﻘﻠﺔﹲ ﺒﺎﻟﻔﻜ ﹺﺭ‪ ،‬ﺍﻟـﺫﻱ ﻴﻨﻘﻠﹸـﻪ ﺍﻟﻘﺎﺌـ ُ‬
‫ﺍﻟﻁﺒﻴﻌ ّﻴ ﹸﺔ ﺘﻘﺘﺼ ُﺭ ﻋﻠﻰ ﻤﺤ ﹺ‬

‫ﻥ ﻋﻥ ﺍﻟﺸﻲﺀ‪.(1)((...‬‬
‫ﺍﻟﻤﺨﺎﻁﺒﻴ َ‬

‫ﻭﻻ ﺒ ﱠﺩ ﻟﻲ ﺃﻥ ﺃﺒﺩَﺃ‪ ،‬ﻓﻲ ﻫﺫﺍ ﺍﻟﻤﻘﺎ ﹺﻡ‪ ،‬ﺒـ))ﻤﺎ ﻻﺤﻅﹶﻪ ﻋﻠﻤﺎﺅُﻨﺎ‪ ،‬ﻤﻥ ﻤﻨﺎﺴـﺒ ِﺔ ﺤـﺭﻭ ِ‬
‫ﻑ ﺍﻟﻌﺭﺒﻴّـ ِﺔ‬
‫ل‬
‫ﻲ‪ ،‬ﻤﻥ ﺍﻟﻘﻴﻤ ِﺔ ﺍﻟﺘﻌﺒﻴﺭ ّﻴ ِﺔ ﺍﻟﻤﻭﺤﻴﺔ‪ ،‬ﺇﺫﹾ ﻟﻡ َﻴﻌْﻨِﻬﻡ ﻤـﻥ ﻜــ ﱢ‬
‫ﻑ ﺍﻟﻌﺭﺒ ﱢ‬
‫ﻟﻤﻌﺎﻨﻴﻬﺎ‪ ،‬ﻭﻤﺎ ﻟﻤﺤﻭﻩ ﻓﻲ ﺍﻟﺤﺭ ِ‬

‫ﻥ ﺍﻟﻜﻠﻤـ ﹶﺔ‬
‫ﻑ‪ ،‬ﺃﻨﹼﻪ ﻤﻌ ّﺒﺭٌ ﻋـﻥ ﻏـﺭﺽ‪ ،‬ﻭﺃ ﱠ‬
‫ﺕ ﻫﺫﺍ ﺍﻟﺤﺭ ِ‬
‫ﻑ ﺃﻨﹼﻪ ﺼﻭﺕ‪ ،‬ﻭﺇﻨﹼﻤﺎ ﻋﻨﺎﻫﻡ ﻤﻥ ﺼﻭ ِ‬
‫ﺤﺭ ٍ‬

‫ﻑ‬
‫ل ﺃﺠﺯﺍﺌِﻬﺎ‪ ،‬ﺇﻟﻰ ﻤﺠﻤﻭﻋ ٍﺔ ﻤـﻥ ﺍﻷﺤـﺭ ِ‬ ‫ﺍﻟﻌﺭﺒ ّﻴ ﹶﺔ‪ ،‬ﻤﺭﻜﹼﺒﺔﹲ ﻤﻥ ﻫﺫﻩ ﺍﻟﻤﺎ ّﺩ ِﺓ ﺍﻟﺼﻭﺘ ّﻴ ِﺔ‪ ،‬ﺍﻟﺘﻲ ﻴﻤﻜ ُ‬
‫ﻥﺤﱡ‬
‫ﺕ ﻤﻌﻴّﻥ‪.‬‬
‫ﺙ ﺼﻭ ٍ‬
‫ل ﺒﺈﺤﺩﺍ ِ‬
‫ﺹ؛ ﻤـﺎ ﺩﺍ َﻡ ﻴﺴﺘﻘ ﱡ‬
‫ﻥ ﻤﻌﻨﹰﻰ ﺨﺎ ّ‬
‫ل ﺒﺒﻴﺎ ﹺ‬
‫ﻑ ﻤﻨﻬﺎ ﻴﺴﺘﻘ ﱡ‬
‫ل ﺤﺭ ٍ‬
‫ل ﺍﻟﻤﻌﺒّﺭﺓ؛ ﻓﻜ ﱡ‬
‫ﺍﻟﺩﻭﺍ ﱢ‬

‫ﻑ ﺼﺩًﻯ ﻭﺇﻴﻘﺎﻉ(()‪.(2‬‬
‫ل ﺤﺭ ٍ‬
‫ﻥ ﻟﻜ ﱢ‬
‫ل ﻭﺇﺸﻌﺎﻉ؛ ﺇﺫ ﻜﺎ َ‬
‫ﻑ ﻟﻪ ﻅ ﱞ‬
‫ل ﺤﺭ ٍ‬
‫ﻭﻜ ﱡ‬

‫ﻥ‬
‫ﻥ ﺴﻴﻨﺎ – ﺭﺤﻤَﻬﻤﺎ ﺍﷲ ‪ .-‬ﺃﻤّﺎ ﺍﺒ ُ‬
‫ﻥ ﺠﻨﹼﻲ‪ ،‬ﻭﺍﺒ ُ‬
‫ﻭﻤﻥ ﺃﺒﺭ ﹺﺯ ﺍﻟﻌﻠﻤﺎ ِﺀ ﺍﻟﺫﻴﻥ ﺘﻨﺎﻭﻟﻭﺍ ﻫﺫﻩ ﺍﻟﻘﻀﻴّﺔ‪ ،‬ﺍﺒ ُ‬
‫ﺕ ﺍﻟﻤﻔﺭ ُﺩ‪ ،‬ﻓﻲ ﺩﻻﻟـ ِﺔ ﺍﻟﻜﻠﻤـﺔ؛‬
‫ﺠﻨﹼﻲ‪ ،‬ﻓﻘﺩ ﺍﻫﺘﺩﻯ ﺒﻌﻘﻠِﻪ ﺍﻟﻤﺘﻭ ﹼﻗ ِﺩ‪ ،‬ﺇﻟﻰ ﺫﻟﻙ ﺍﻷﺜ ﹺﺭ ﺍﻟﺫﻱ ﻴﺤﺩﺜﹸﻪ ﺍﻟﺼﻭ ﹸ‬
‫ﺙ ﺍﻟﻤُﻌ ﱠﺒ ﹺﺭ ﺒﻬـﺎ‬
‫ﺕ ]ﻫﻴﺌ ِﺔ[ ﺍﻷﺤﺩﺍ ِ‬
‫ﺴﻤْ ِ‬
‫ﻑ ﻋﻠـﻰ َ‬
‫ﺕ ﺍﻟﺤﺭﻭ ِ‬ ‫ﺏ ))ﻜﺜﻴﺭًﺍ ﻤّﺎ ﻴﺠﻌﻠﻭ َ‬
‫ﻥ ﺃﺼﻭﺍ ﹶ‬ ‫ﻥ ﺍﻟﻌﺭ َ‬
‫ل‪ :‬ﺇ ﱠ‬
‫ﻓﻴﻘﻭ ُ‬
‫ﻑ ﻤﺎ ﻨﺴﺘﺸﻌﺭُﻩ‪.‬‬
‫ﻋﻨﻬﺎ؛ ﻓﻴﻌﺩّﻟﻭﻨﹶﻬﺎ ﺒﻬﺎ‪ ،‬ﻭﻴﺤﺘﺫﻭﻨﹶﻬﺎ ﻋﻠﻴﻬﺎ‪ .‬ﻭﺫﻟﻙ ﺃﻜﺜ ُﺭ ﻤﻤّﺎ ﻨﻘ ّﺩﺭُﻩ‪ ،‬ﻭﺃﻀﻌﺎ ﹸ‬

‫ﻥ ﻨﺤﻭَﻫﻤـﺎ‬
‫ﺦ ﻭﺍﻟﻘﺜﹼﺎ ِﺀ‪ ،‬ﻭﻤﺎ ﻜﺎ َ‬
‫ﺏ؛ ﻜﺎﻟﺒﻁﹼﻴ ﹺ‬
‫ل ﺍﻟ ّﺭﻁﹾ ﹺ‬
‫ﺨﻀْ ُﻡ ﻷﻜ ﹺ‬
‫ﻤﻥ ﺫﻟﻙ ﻗﻭﻟﹸﻬﻡ‪ :‬ﺨﻀ َﻡ‪ ،‬ﻭﻗﻀ َﻡ‪ ،‬ﻓﺎﻟ ﹶ‬
‫ﺏ ﺍﻟﻴﺎﺒﺱ؛ ﻨﺤﻭ‪ :‬ﻗﻀﻤﺕ ﺍﻟﺩّﺍﺒّـ ﹸﺔ ﺸـﻌﻴﺭَﻫﺎ‪ ،‬ﻭﻨﺤـﻭ ﺫﻟـﻙ‪...‬‬
‫ﺼﻠﹾ ﹺ‬
‫ل ﺍﻟ ّﺭﻁﹾﺏ‪ ،‬ﻭﺍﻟ ﹶﻘﻀْ ُﻡ ﻟﻠ ﱡ‬
‫ﻤﻥ ﺍﻟﻤﺄﻜﻭ ﹺ‬
‫ﺕ ﻋﻠـﻰ‬
‫ﻉ ﺍﻷﺼـﻭﺍ ِ‬
‫ﻑ ﻟﺼﻼﺒﺘِﻬﺎ ﻟﻠﻴﺎﺒﺱ؛ ﺤﺫﻭًﺍ ﻟﻤﺴـﻤﻭ ﹺ‬
‫ﻓﺎﺨﺘﺎﺭﻭﺍ ﺍﻟﺨﺎ َﺀ ﻟﺭﺨﺎﻭﺘِﻬﺎ ﻟﻠ ّﺭﻁﹾﺏ‪ ،‬ﻭﺍﻟﻘﺎ ﹶ‬
‫ﺱ ﺍﻷﺤﺩﺍﺙ‪.‬‬
‫ﻤﺤﺴﻭ ﹺ‬

‫ﷲ – ﺴـﺒﺤﺎﻨﹶﻪ ‪:-‬‬
‫لﺍ ُ‬
‫ﺦ ﺃﻗﻭﻯ ﻤﻥ ﺍﻟ ﱠﻨﻀْﺢ؛ ﻗـﺎ َ‬
‫ﻭﻤﻥ ﺫﻟﻙ ﻗﻭﻟﹸﻬﻡ‪ :‬ﺍﻟ ﱠﻨﻀْﺢ ﻟﻠﻤﺎ ِﺀ ﻭﻨﺤﻭﻩ‪ ،‬ﻭﺍﻟ ﱠﻨﻀْ ﹸ‬
‫ﻓﺠﻌﻠﻭﺍ ﺍﻟﺤﺎ َﺀ ﻟﺭ ﹼﻗﺘِﻬﺎ ﻟﻠﻤـﺎ ِﺀ ﺍﻟﻀﻌﻴﻑ‪ ،‬ﻭﺍﻟﺨﺎ َﺀ ﻟﻐﻠﻅِﻬﺎ ﻟﻤﺎ ﻫﻭ ﺃﻗـﻭﻯ‬ ‫ﻨﻀّﺎﺨﺘﺎﻥ﴾)‪(3‬؛‬ ‫ﻥ‬
‫﴿ﻓﻴﻬﻤﺎ ﻋﻴﻨﺎ ﹺ‬
‫ﻤﻨﻪ‪.(4)((...‬‬

‫)‪(1‬‬
‫ﻱ ﻟﻸﺩﺏ )ﺒﺤﺙ ﻓﻲ ﻓﻠﺴﻔﺔ ﺍﻟﻠﹼﻐﺔ ﻭﺍﻻﺴﺘﻁﻴﻘﺎ(‪ .‬ﺍﻟﺭﻴﺎﺽ‪ :‬ﺩﺍﺭ ﺍﻟﻤﺭﻴﺦ‪ .1989 .‬ﺹ‪.67‬‬
‫ﻋﺒﺩ ﺍﻟﺒﺩﻴﻊ‪ ،‬ﻟﻁﻔﻲ‪ :‬ﺍﻟﺘﺭﻜﻴﺏ ﺍﻟﻠﹼﻐﻭ ّ‬
‫)‪(2‬‬
‫ﺍﻟﺼﺎﻟﺢ‪ ،‬ﺼﺒﺤﻲ‪ :‬ﺩﺭﺍﺴﺎﺕ ﻓﻲ ﻓﻘﻪ ﺍﻟﻠﹼﻐﺔ‪ .‬ﻁ‪ .16‬ﺒﻴﺭﻭﺕ‪ :‬ﺩﺍﺭ ﺍﻟﻌﻠﻡ ﻟﻠﻤﻼﻴﻴﻥ‪ .2004 .‬ﺹ‪.142‬‬
‫)‪(3‬‬
‫ﺍﻟﺭّﺤﻤﻥ‪.66 :‬‬
‫)‪ (4‬ﺍﺒﻥ ﺠﻨﹼﻲ‪ ،‬ﺃﺒﻭ ﺍﻟﻔﺘﺢ ﻋﺜﻤﺎﻥ‪ :‬ﺍﻟﺨﺼﺎﺌﺹ‪ 3 .‬ﻤﺞ‪ .‬ﺘﺤﻘﻴﻕ ﻋﺒﺩ ﺍﻟﺤﻤﻴﺩ ﻫﻨﺩﺍﻭﻱ‪ .‬ﻁ‪ .1‬ﺒﻴﺭﻭﺕ‪ :‬ﺩﺍﺭ ﺍﻟﻜﺘﺏ ﺍﻟﻌﻠﻤﻴّـﺔ‪.2001 .‬‬
‫‪.509/1‬‬
‫‪54‬‬
‫ﻑ‪ ،‬ﻗـﺩ‬
‫ﻥ ﻫﺫﻩ ﺍﻟﺤـﺭﻭ ﹶ‬
‫ﺙ ﺍﻟﺤﺭﻭﻑ(‪ ،‬ﻋﻠﻰ ﺃ ﱠ‬
‫ﺏ ﺤﺩﻭ ِ‬
‫ﺹ ﻓﻲ )ﺭﺴﺎﻟﺔ ﺃﺴﺒﺎ ﹺ‬
‫ﻥ ﺴﻴﻨﺎ‪ ،‬ﻓﻘﺩ ﻨ ﱠ‬
‫ﻭﺃﻤّﺎ ﺍﺒ ُ‬

‫ﻕ ﺍﻷﺠﺴﺎ ﹺﻡ‪ ،‬ﻭﻗﻠﻌِﻬـﺎ ﺩﻓﻌـ ﹰﺔ‬

‫ﻑ ﻗﺩ ﺘﹸﺴْ َﻤ ُﻊ‪ ،‬ﻤﻥ ﺸ ﱢ‬
‫ﻥ ﺍﻟﻘﺎ ﹶ‬
‫ﺕ ﻏﻴ ﹺﺭ ﻨﻁﻘﻴّﺔ‪ ،‬ﻭﻤﻥ ﺫﻟﻙ‪ :‬ﺃ ﱠ‬
‫ﺘﹸﺴْ َﻤ ُﻊ ﻤﻥ ﺤﺭﻜﺎ ٍ‬

‫ﻥ ﻤﻥ ﻨﻔـﻭ ِﺫ‬
‫ﺏ ﻤﺜﻠِﻪ؛ ﻭﺍﻟﺸﻴ َ‬
‫ﻁ ﺁﺨ َﺭ ﺼﻠ ﹴ‬
‫ﺏ ﻜﺒﻴﺭ‪ ،‬ﻋﻠﻰ ﺒﺴﻴ ٍ‬
‫ل ﺠﺴ ﹴﻡ ﺼﻠ ﹴ‬
‫ﻉﻜﱢ‬
‫ﻑ ﻤﻥ ﻭﻗﻭ ﹺ‬
‫ﻭﺍﺤﺩﺓ؛ ﻭﺍﻟﻜﺎ ﹶ‬
‫ﻕ‬
‫ﻥ‪ ،‬ﻤـﻊ ﻋــﺩ ﹺﻡ ﺍﻨﻁﺒـﺎ ِ‬
‫ﻕ ﺍﻟﻴﺩﻴ ﹺ‬
‫ل ﺃﺠﺴﺎ ﹴﻡ ﻴﺎﺒﺴ ٍﺔ‪ ،‬ﻨﻔﻭﺫﹰﺍ ﺒﻘﻭّﺓ؛ ﻭﺍﻟﻁﺎ َﺀ ﻤﻥ ﺘﺼﻔﻴ ِ‬
‫ﺕ ﻓﻲ ﺨﻠ ﹺ‬
‫ﺍﻟﺭّﻁﻭﺒﺎ ِ‬

‫ﻑ‬
‫ﺡ ﻤﻥ ﺨﺸﺏ‪ ،‬ﻤﻥ ﺸﺄﻨِﻪ ﺃﻥ ﻴﻬﺘ ّﺯ؛ ﻭﺍﻟﻔﺎ َﺀ ﻤـﻥ ﺤﻔﻴـ ِ‬
‫ﺝ ﻜﺭ ٍﺓ‪ ،‬ﻋﻠﻰ ﻟﻭ ﹴ‬
‫ﺍﻟﺭﺍﺤﺘﻴﻥ؛ ﻭﺍﻟﺭّﺍ َﺀ ﻤﻥ ﺘﺩﺤﺭ ﹺ‬

‫ﺍﻷﺸﺠﺎﺭ)‪.(1‬‬

‫ﺕ‬
‫ﻲ ﻟﻸﺼـﻭﺍ ِ‬
‫ﻲ‪ ،‬ﺒﻌﺩٌ ﺩﻻﻟ ﱞ‬
‫ﺏ ﺍﻟﻁﺒ ّ‬
‫ل ﻤﻨﻪ ﺍﻟﺠﺎﻨ َ‬
‫ﻑ ﺍﻷﻭّ ُ‬
‫ﻥ ﺍﻟﻬﺩ ﹸ‬
‫ﻥ ﺴﻴﻨﺎ ﻫﺫﺍ‪ ،‬ﺍﻟﺫﻱ ﻜﺎ َ‬
‫ﻭﻓﻲ ﻜﻼ ﹺﻡ ﺍﺒ ﹺ‬

‫ﺕ‬
‫ﺏ ﻤـﻥ ﺍﻟﻤﺤﺎﻜـﺎ ِﺓ ﺍﻟﺤﻘﻴﻘﻴّـ ِﺔ ﻟﻠﺼـﻭ ِ‬
‫ﻥ ﺍﻟﺠﺫﻭ ﹺﺭ ﺍﻟﺘﻲ ﺘﻘﺘﺭ ُ‬
‫ﻼ‪)) ،‬ﺘﻌﻴﻴ ُ‬
‫ﻥ ﻤﻥ ﺨﻼﻟِﻪ ﻤﺜ ﹰ‬
‫ﺍﻟﻠﹼﻐﻭﻴّﺔ؛ ﻓﻴﻤﻜ ُ‬

‫ﺕ ﺍﻟﻤﻴـﺎ ِﻩ‬
‫ﻲ‪ ،‬ﺍﻟﺫﻱ ﻴﻼﺯ ُﻡ ﻤﺩﻟﻭﻟﹶﻬﺎ‪ ،‬ﻓﻲ ﻟﻐﺘِﻨﺎ ﺍﻟﻌﺭﺒﻴّﺔ‪ ،‬ﻤﺜل ﺍﻟﺨﺭﻴ ﹺﺭ ﺍﻟﺫﻱ ﻫﻭ ﺤﻜﺎﻴـﺔﹲ ﻟﺼـﻭ ِ‬
‫ﺍﻟﻁﺒﻴﻌ ﱢ‬

‫ل‬
‫ﺕ ﺍﻟﻤﺎ ِﺀ ﺍﻟﺠﺎﺭﻱ‪ ،‬ﻭﻜﺫﻟﻙ ﻫﻲ ﺍﻟﺤـﺎ ُ‬ ‫ﺍﻟﻤﺘﺩﻓﹼﻘ ِﺔ ﻤﻥ ﻤﻨﺤﺩ ﹴﺭ‪ ،‬ﻤﻊ ﺘﻜﺭﻴ ﹺﺭ ﺍﻟﺭّﺍﺀ؛ ﻜﻲ ﻴﻜﻭ َ‬
‫ﻥ ﻤﺸﺎﺒﻬًﺎ ﻟﺼﻭ ِ‬

‫ﻕ ﺃﻭ ﺜﻘل [‪ ،‬ﻭﺍﻟﺸﺨﻴ ﹺﺭ‪ ،‬ﻭﺍﻟﻨﺤﻴﺏ(()‪.(2‬‬

‫ﻓﻲ ﺍﻟﻁﺤﻴ ﹺﺭ ] ﻋﻠ ّﻭ ﺍﻟ ﹶﻨ ﹶﻔﺱﹺ ﻟﻀﻴ ٍ‬

‫ﺹ ﺍﻟﺩﻜﺘﻭ ُﺭ ﺇﺒﺭﺍﻫﻴﻡ ﺃﻨﻴﺱ ﻋﻠﻰ‬

‫ﻥ ﻤﻥ ﻋﻠﻤﺎﺌِﻨﺎ ﻭﺒﺎﺤﺜﻴﻨﺎ؛ ﻓﻴﻨ ﱡ‬
‫ﺏ ﺍﻟﻘﺩﻤﺎ ِﺀ‪ ،‬ﺴﺎ َﺭ ﺍﻟﻤﺤﺩﺜﻭ َ‬
‫ﻭﻋﻠﻰ ﺩﺭ ﹺ‬
‫ل‬
‫ﺏ ﻏﻠﻅﺘﹶﻬﺎ‪ ،‬ﻭﺠﻔﺎ َﺀ ﻁﺒﻌِﻬـﺎ‪ ،‬ﻜﻤـﺎ ﺘﻤﻴـ ُ‬
‫ﺕ ﺍﻻﻨﻔﺠﺎﺭﻴّﺔ؛ ﻟﻜﻭﻨِﻬﺎ ﺘﻨﺎﺴ ُ‬
‫ل ﺇﻟﻰ ﺍﻷﺼﻭﺍ ِ‬
‫ﻥ ﺍﻟﺒﺩﺍﻭ ﹶﺓ‪ ،‬ﺘﻤﻴ ُ‬
‫ﺃﱠ‬

‫ﺏ ﺒﻴﺌﺘﹶﻬﺎ ﻭﻁﺒﻴﻌﺘﹶﻬﺎ)‪.(3‬‬
‫ﻥ‪ ،‬ﻤﺎ ﻴﻨﺎﺴ ُ‬
‫ﺕ ﺍﻻﺤﺘﻜﺎﻜﻴّﺔ؛ ﻓﻔﻴﻬﺎ ﻤﻥ ﺍﻟﺘﺅﺩ ِﺓ ﻭﺍﻟﻠﹼﻴ ﹺ‬
‫ﺍﻟﺤﻀﺎﺭ ﹸﺓ ﺇﻟﻰ ﺍﻷﺼﻭﺍ ِ‬

‫ﻱ‪ ،‬ﻗـﺩ‬
‫ﻱ‪ ،‬ﺍﻟﺫﻱ ﻴﺸﺎﺒ ُﻪ ﺼﻭﺘﹰﺎ ﺒﺸﺭﻴ‪‬ﺎ ﻏﻴ َﺭ ﻟﻐـﻭ ّ‬
‫ﺕ ﺍﻟﻠﹼﻐﻭ ﱠ‬
‫ﻥ ﺍﻟﺼﻭ ﹶ‬
‫ﻲ ﻴﻭﻨﺱ‪ ،‬ﺃ ﱠ‬
‫ﻭﻴﺭﻯ ﺍﻟﺩﻜﺘﻭ ُﺭ ﻋﻠ ّ‬
‫ﺱ‬
‫ﺕ ﺍﻟﺘﻨﻬّـ ِﺩ‪ ،‬ﻭﺍﻟﺘـﺄ ّﻭ ِﻩ‪ ،‬ﻭﺘـﻨ ﹼﻔ ﹺ‬
‫ﻥ‪ ،‬ﺇﻟﻰ ﺤ ﱟﺩ ﻤّﺎ‪ ،‬ﺃﺼﻭﺍ ﹶ‬
‫ﺏ ﺸﻴﺌًﺎ ﻤﻥ ﺩﻻﻟﺘِﻪ؛ ﻓﺎﻟﻬﺎ ُﺀ ﻭﺍﻟﺤﺎ ُﺀ ﻴﺸﺒﻬﺎ ﹺ‬
‫ﻴﻜﺘﺴ ُ‬

‫ﺕ ﺍﻻﻨﻔﻌﺎل؛ ﻭﺍﻟﻔﺎ ُﺀ ﺘﺸﺒ ُﻪ ﺍﻟﺯﻓـﺭ ﹶﺓ ﺍﻟﺘﻲ ﺘﻌﺒّ ُﺭ‬

‫ﺕ ﺍﻟﻁﻭﻴﻠ ﹸﺔ ﺘﺸﺒ ُﻪ ﺼﻴﺤﺎ ِ‬
‫ﺡ ﺒﻌ َﺩ ﺍﻟﺘﻌﺏ؛ ﻭﺍﻟﺤﺭﻜﺎ ﹸ‬
‫ﺍﻻﺭﺘﻴﺎ ﹺ‬

‫ﺏ‪ ،‬ﺃﻭ ﺍﻟﺤﺯﻥ)‪.(4‬‬

‫ﻋﻥ ﺍﻟﻀﺠ ﹺﺭ‪ ،‬ﺃﻭ ﺍﻟﻐﻀ ﹺ‬

‫)‪(1‬‬
‫ﺍﺒﻥ ﺴﻴﻨﺎ‪ ،‬ﺃﺒﻭ ﻋﻠﻲ ﺍﻟﺤﺴﻴﻥ‪ :‬ﺭﺴﺎﻟﺔ ﺃﺴﺒﺎﺏ ﺤﺩﻭﺙ ﺍﻟﺤﺭﻭﻑ‪ .‬ﺹ‪.97 - 93‬‬
‫)‪(2‬‬
‫ﺯﺭﻗﺔ‪ ،‬ﺃﺤﻤﺩ‪ :‬ﺃﺴﺭﺍﺭ ﺍﻟﺤﺭﻭﻑ‪ .‬ﻁ‪ .1‬ﺩﻤﺸﻕ‪ :‬ﺩﺍﺭ ﺍﻟﺤﺼﺎﺩ‪ .1993 .‬ﺹ‪.57‬‬
‫)‪(3‬‬
‫ﺃﻨﻴﺱ‪ ،‬ﺇﺒﺭﺍﻫﻴﻡ‪ :‬ﻓﻲ ﺍﻟﻠﻬﺠـﺎﺕ ﺍﻟﻌﺭﺒﻴّـﺔ‪ .‬ﺹ‪.89 ،88‬‬
‫)‪(4‬‬
‫ﻲ‪ .‬ﺹ‪.239‬‬
‫ﻲ‪ :‬ﻨﻅﺭﺓ ﺠﺩﻴﺩﺓ ﻓﻲ ﻤﻭﺴﻴﻘﻰ ﺍﻟﺸﻌﺭ ﺍﻟﻌﺭﺒ ّ‬
‫ﻴﻭﻨﺱ‪ ،‬ﻋﻠ ّ‬
‫‪55‬‬
‫ل ﺇﻟﻰ‬
‫ل‪ :‬ﺃﺒﺭ ُﺯ ﻤـﺎ ﻴﺼ ُ‬
‫ﻼ؛ ﻓﻴﻘﻭ ُ‬
‫ﺏ ﻟﻨﺎ ﻨﻌﻴﻡ ﻋﻠﻭﻴﺔ‪ ،‬ﻓﻲ ﺃﺜﻨﺎ ِﺀ ﺩﺭﺍﺴﺘِﻪ ﻫﺫﻩ ﺍﻟﻅﺎﻫﺭ ﹶﺓ‪ ،‬ﻤﺜ ﹰ‬
‫ﻭﻴﻀﺭ ُ‬

‫ل‬
‫ﺕ ﺍﻷﻭّ ُ‬
‫ﻥ‪ ،‬ﻫﻤﺎ‪) :‬ﻓﹾﻔﹾﻔﹾـﻑ( ﻭ)ﺭﺭﺭﺭﺭﺭ(‪ .‬ﺍﻟﺼـﻭ ﹸ‬
‫ﺕ )ﺍﻟﺭﻓﺭﻓﺔ(‪ ،‬ﻋﻨﺼﺭﺍ ﹺ‬
‫ﻥ‪ ،‬ﻤﻥ ﺃﺼﻭﺍ ِ‬
‫ﺴﻤ ﹺﻊ ﺍﻹﻨﺴﺎ ﹺ‬

‫ﻕ ﺍﻷﺠﻨﺤ ِﺔ‬
‫ل ﺼﻭﺭ ﹰﺓ‪ ،‬ﻟﺘﻜ ّﺭ ﹺﺭ ﺍﺼﻁﻔﺎ ِ‬
‫ﻙ ﺠﺴ ﹺﻡ ﺍﻟﻁﻴ ﹺﺭ ﺒﺎﻟﻬﻭﺍﺀ‪ ،‬ﻭﺍﻵﺨ ُﺭ ﻴﻨﻘ ُ‬
‫ﺕ ﺍﺤﺘﻜﺎ ِ‬
‫ل ﺼﻭﺭ ﹰﺓ‪ ،‬ﻟﺼﻭ ِ‬
‫ﻴﻨﻘ ُ‬
‫ﻥ‪،‬‬
‫ﻥ ﻋﻠﻰ ﺫﻴﻨﻙ ﺍﻟﻌﻨﺼـﺭﻴ ﹺ‬
‫ﻑ( ﻭ)ﻓﹶـ ّﺭ(‪ ،‬ﻴﺸﺘﻤﻼ ﹺ‬
‫ﻥ‪َ ) :‬ﺭ ﹼ‬
‫ﺒﺄﺠﺴـﺎ ﹺﻡ ﺍﻟﻁﻴﻭ ﹺﺭ ﻭﺍﻟﻬـﻭﺍ ِﺀ ﻤﻌًﺎ‪ .‬ﻭﺍﻟﻠﹼﻔﻅـﺎ ﹺ‬

‫ﺒﺼﻭﺭ ٍﺓ ﻤﺨﺘﺼﺭﺓ)‪.(1‬‬

‫ﺕ ﻴـﻭﺤﻲ‬
‫ﺽ ﺍﻷﺼـﻭﺍ ِ‬
‫ﻥ ﺒﻌ َ‬
‫ﺏ ﺃﺒﻌ َﺩ ﻤﻥ ﺫﻟﻙ؛ ﻓﺭﺃﻯ ﺤﺴـﻥ ﻋﺒّﺎﺱ‪ ،‬ﺃ ﱠ‬
‫ﻥ ﻤﻥ ﺫﻫ َ‬
‫ﻭﻤﻥ ﺍﻟﺒﺎﺤﺜﻴ َ‬
‫ﻭﺍﻟﺴﻤﻊ)‪.(2‬‬ ‫ﺱ ﺫﻭﻗﻴّﺔ‪ ،‬ﻭﻜﺫﻟﻙ ﺍﻟﺸ ﱡﻡ‪ ،‬ﻭﺍﻟﺒﺼ ُﺭ‪،‬‬
‫ﺱ ﻟﻤﺴﻴّﺔ‪ ،‬ﻭﺒﻌﻀَﻬﺎ ﺒﺄﺤﺎﺴﻴ َ‬
‫ﺒﺄﺤﺎﺴﻴ َ‬

‫ل‬
‫ﻱ ﺩﻻﻟ ﹰﺔ ﺫﺍﺘ ّﻴ ﹰﺔ‪ ،‬ﺘﻤﺜﹼ ُ‬
‫ﺕ ﻟﻐﻭ ﱟ‬
‫ل ﺼﻭ ٍ‬
‫ﺹ ﻟﻜ ﱢ‬
‫ﺕ ﺍﻟﻠﹼﻐﻭﻴّﺔ؛ ﻓﺎﺴﺘﺨﻠ َ‬
‫ﺴ َﻊ ﻓﻲ ﺩﻻﻟ ِﺔ ﺍﻷﺼﻭﺍ ِ‬
‫ﻭﻤﻨﻬﻡ ﻤﻥ ﺘﻭ ّ‬

‫ﷲ‬
‫ﺦ ﻋﺒ ُﺩ ﺍ ِ‬
‫ﺹ ﻋﻠﻴﻪ ﺍﻟﺸﻴ ﹸ‬
‫ﺍﻟﻭﺤﺩ ﹶﺓ ﺍﻟﺩﻻﻟ ّﻴ ﹶﺔ ﺍﻟﺼﻐﺭﻯ ﻓﻲ ﺍﻟﻜﻼﻡ؛ ﻤُﺘﺨﻁﱢﻴ ﹰﺔ ﺒﺫﻟﻙ ﺍﻟﻜﻠﻤﺔ‪ ،‬ﻭﻤﻥ ﺫﻟﻙ ﻤﺎ ﻨ ﱠ‬

‫ل‬
‫ل ﻋﻠﻰ ﺍﻟﺠﻭﻓ ّﻴ ِﺔ‪ ،‬ﻭﻤﺎ ﻫﻭ ﻭﻋﺎﺀٌ ﻟﻠﻤﻌﻨﻰ‪ ،‬ﻭﺘـﺩ ﱡ‬
‫ﻥ ﺍﻟﻬﻤﺯ ﹶﺓ ﺘﺩ ﱡ‬
‫ﻱ‪ ،‬ﺃ ﱠ‬
‫ﺍﻟﻌﻼﻴﻠﻲ‪ ،‬ﻓﻲ ﻗﻀ ّﻴ ِﺔ ﺍﻟﺘﻁ ّﻭ ﹺﺭ ﺍﻟﻠﹼﻐﻭ ﱢ‬

‫ﻍ ﺍﻟﻤﻌﻨﻰ ﻓﻲ ﺍﻟﺸﻲ ِﺀ‪ ،‬ﺒﻠﻭﻏﹰﺎ ﺘﺎﻤ‪‬ـﺎ؛ ﻭﺍﻟﺘـﺎ َﺀ ﻋﻠـﻰ‬ ‫ﻋﻠﻰ ﺍﻟﺼﻔ ِﺔ ﺘﺼﻴ ُﺭ ﻁﺒﻌًﺎ؛ ﻭﺍﻟﺒﺎ َﺀ ﺘﺩ ﱡ‬
‫ل ﻋﻠﻰ ﺒﻠﻭ ﹺ‬

‫ل ﻋﻠـﻰ ﺍﻟﺘﻔﺭّﺩ؛ ﻭﺍﻟﺭّﺍ َﺀ ﻋﻠﻰ ﺍﻟﻤﻠﻜـ ِﺔ‪،‬‬

‫ﻅﻡﹺ ﻤﻁﻠﻘﹰﺎ؛ ﻭﺍﻟﺫﺍ َ‬
‫ﺏ ﻓﻲ ﺍﻟﻁﺒﻴﻌﺔ؛ ﻭﺍﻟﺠﻴ َﻡ ﻋﻠـﻰ ﺍﻟﻌِ ﹶ‬
‫ﺍﻻﻀﻁﺭﺍ ﹺ‬
‫ﻥ‪ ،‬ﺃﻭ ﺍﻟﺨﻠـ ﱢﻭ ﻤﻁﻠﻘﹰـﺎ؛‬
‫ﻥ ﻋﻠﻰ ﺍﻟﺨﻠ ﱢﻭ ﺍﻟﺒﺎﻁ ﹺ‬
‫ﻥ ﻋﻠﻰ ﺍﻟﺘﻔﺸﹼﻲ ﺒﻐﻴ ﹺﺭ ﻨﻅﺎﻡ؛ ﻭﺍﻟﻌﻴ َ‬
‫ﻉ ﺍﻟﻭﺼﻑ؛ ﻭﺍﻟﺸﻴ َ‬
‫ﻭﺸﻴﻭ ﹺ‬

‫ﺍﻻﺠﺘﻤﺎﻉ‪.(3)...‬‬ ‫ل ﺍﻟﻤﻌﻨﻰ ﻓﻲ ﺍﻟﺸﻲﺀ؛ ﻭﺍﻟﻤﻴ َﻡ ﻋﻠﻰ‬

‫ﻥ ﻋﻠﻰ ﻜﻤﺎ ﹺ‬
‫ﻭﺍﻟﻐﻴ َ‬

‫ﻱ ﻁﺒﻴﻌ ّﻴﺔﹲ ﻓﻴـﻪ‪،‬‬

‫ﺕ ﺍﻟﻠﹼﻐﻭ ﱢ‬
‫ﻥ ﺩﻻﻟ ﹶﺔ ﺍﻟﺼﻭ ِ‬
‫ﻥ ﻜﺜﻴ ﹴﺭ ﻤﻥ ﺍﻟﻌﻠﻤﺎ ِﺀ ﻭﺍﻟﺒﺎﺤﺜﻴﻥ‪ ،‬ﺒﺄ ﱠ‬
‫ﻭﻋﻠﻰ ﺍﻟﺭﻏ ﹺﻡ ﻤﻥ ﺇﻴﻤﺎ ﹺ‬
‫ل ﺃﺨﺭﻯ‪ .‬ﻭﻤﻥ ﺃﺒﺭﺯﹺﻫﻡ ﺍﻟﺩﻜﺘﻭ ُﺭ ﺇﺒﺭﺍﻫﻴﻡ‬
‫ﺕ ﺇﻟﻰ ﻋﻭﺍﻤ َ‬
‫ﻥ ﺒﻌﻀَﻬﻡ ﻴﻨﻜ ُﺭ ﺫﻟﻙ‪ ،‬ﻭﻴﺭ ﱡﺩ ﺩﻻﻟ ﹶﺔ ﺍﻟﺼﻭ ِ‬
‫ﻨﺠ ُﺩ ﺃ ﱠ‬

‫ﻥ ﻫﻨﺎﻙ ﺭﺒﻁﹰﺎ ﻁﺒﻴﻌﻴ‪‬ـﺎ‬

‫ل ﻫﺫﻩ ﺍﻟﻅﺎﻫﺭ ِﺓ‪ ،‬ﺃ ﱠ‬
‫ﻥ ﻤﻥ ﺃﺠ ﹺ‬
‫ﻥ؛ ﻓﻴﺘﺼﻭّﺭﻭ َ‬
‫ﺽ ﺍﻟﻠﹼﻐﻭﻴّﻴ َ‬
‫ل‪)) :‬ﻴﻐﺎﻟﻲ ﺒﻌ ُ‬
‫ﺃﻨﻴﺱ؛ ﻓﻴﻘﻭ ُ‬

‫ﺕ‪ ،‬ﻤﺭﺠﻌُﻬـﺎ ﺇﻟـﻰ ﻤـﺎ‬

‫ﻥ ﺍﻟﻘﺩﺭ ﹶﺓ ﻋﻠﻰ ﺍﺴﺘﻴﺤﺎ ِﺀ ﺍﻟﺩﻻﻻ ِ‬
‫ﻅ ﻭﺩﻻﻻ ِﺘﻬﺎ‪ ،‬ﻭﻻ ﻴﺨﻁ ُﺭ ﺒﺒﺎﻟِﻬﻡ‪ ،‬ﺃ ﱠ‬
‫ﻥ ﺍﻷﻟﻔﺎ ِ‬
‫ﺒﻴ َ‬
‫ﻅ ﻭﺩﻻﻻﺘِـﻬﺎ ﺭﺒﻁﹰـﺎ ﻭﺜﻴﻘﹰـﺎ؛ ﻓﺎﻟﻌﻤﻠﻴّـ ﹸﺔ‬
‫ﻥ ﺘﻠﻙ ﺍﻷﻟﻔﺎ ِ‬
‫ﻅ ﻤﻌﻴّﻨﺔ‪ ،‬ﻭﻤﻥ ﺭﺒﻁِﻪ ﺒﻴ َ‬
‫ﻴﻜﺘﺴﺒُﻪ ﺍﻟﻤﺭ ُﺀ ﻤﻥ ﺃﻟﻔﺎ ٍ‬

‫)‪(1‬‬
‫ﻋﻠﻭﻴﺔ‪ ،‬ﻨﻌﻴﻡ‪ :‬ﺒﺤﻭﺙ ﻟﺴﺎﻨﻴّﺔ‪ ،‬ﺒﻴﻥ ﻨﺤﻭ ﺍﻟﻠﹼﺴﺎﻥ ﻭﻨﺤﻭ ﺍﻟﻔﻜﺭ‪ .‬ﻁ‪ .2‬ﺒﻴﺭﻭﺕ‪ :‬ﺍﻟﻤﺅﺴﺴﺔ ﺍﻟﺠﺎﻤﻌﻴّﺔ‪ .1986 .‬ﺹ‪.22 ،21‬‬
‫ﻲ ﻓﻲ ﺤﺭﻑ ﺍﻟﻨـﻭﻥ‪ .‬ﻤﺠﻠﹼـﺔ ﺍﻟﻤﻌﺭﻓـﺔ‪.‬‬
‫ﻼ ﻋﻥ‪ :‬ﻋﺒّﺎﺱ‪ ،‬ﺤﺴﻥ‪ :‬ﺍﻟﺼﻭﺕ ﺍﻟﻌﺭﺒ ّ‬
‫ﺯﺭﻗﺔ‪ ،‬ﺃﺤﻤﺩ‪ :‬ﺃﺴﺭﺍﺭ ﺍﻟﺤﺭﻭﻑ‪ .‬ﺹ‪ .67‬ﻨﻘ ﹰ‬ ‫)‪(2‬‬

‫ﺩﻤﺸﻕ‪ .‬ﺍﻟﻌﺩﺩ ‪.1981 / 237‬‬

‫)‪ (3‬ﺍﻟﻌﻼﻴﻠﻲ‪ ،‬ﻋﺒﺩ ﺍﷲ‪ :‬ﻤﻘﺩّﻤﺔ ﻟﺩﺭﺱ ﻟﻐﺔ ﺍﻟﻌﺭﺏ‪ ،‬ﻭﻜﻴﻑ ﻨﻀﻊ ﺍﻟﻤﻌﺠﻡ ﺍﻟﺠﺩﻴـﺩ‪ .‬ﺍﻟﻘـﺎﻫﺭﺓ‪ :‬ﺍﻟﻤﻁﺒﻌـﺔ ﺍﻟﻌﺼـﺭﻴّﺔ‪) .‬ﺩ‪ .‬ﺕ(‪.‬‬
‫ﺹ‪.211 ،210‬‬
‫‪56‬‬
‫ﻥ ﺴـﻴﻨﺎ‪ ،‬ﺍﻟـﺫﻱ‬
‫ل ﻓﻲ ﻜﻼ ﹺﻡ ﺍﺒـ ﹺ‬
‫ﻜﻠﱡﻬـﺎ ﻤﻜﺘﺴﺒﺔ‪ ،‬ﻻ ﺴﺤ َﺭ ﻓﻴﻬﺎ ﻭﻻ ﻏﻤﻭﺽ‪(1)((...‬؛ ﻟﺫﻟﻙ ﻨﺠﺩُﻩ ﻴﻘﻭ ُ‬

‫ﺙ ﻓﻲ‬
‫ﺕ‪ ،‬ﻭﺒﺤ ﹶ‬
‫ﺞ ﻅﺎﻫﺭ ﹶﺓ ﺍﻟﺼﻭ ِ‬ ‫ﺃﻭﺭﺩﺘﹸـﻪ ﻓﻲ ﻫﺫﺍ ﺍﻟﻤﺠﺎل‪ :‬ﺇﻨﱠﻪ ))ﺤﺩﻴ ﹸ‬
‫ﺙ ﻋﺎﻟ ﹴﻡ ﻤﻥ ﻋﻠﻤﺎ ِﺀ ﺍﻟﻁﺒﻴﻌ ِﺔ‪ ،‬ﻋﺎﻟ َ‬

‫ﺕ ﺍﻟﻤﻨﻁﻭﻗ ﹶﺔ‪ ،‬ﻭﻏﻴـ َﺭ ﺍﻟﻤﻨﻁﻭﻗـ ِﺔ‪،‬‬

‫ﻁ ﺍﻷﺼﻭﺍ ﹶ‬
‫ﺕ ﺍﻟﻠﹼﻐ ِﺔ ﻭﺤﺭﻭﻓِﻬﺎ؛ ﻓﺭﺒ ﹶ‬
‫ﺙ ﻓﻲ ﺃﺼﻭﺍ ِ‬
‫ﺨﻭﺍﺼﱢﻬﺎ‪ ،‬ﺜ ﱠﻡ ﺒﺤ ﹶ‬
‫ﺕ ﺍﻟﻁﺒﻴﻌ ِﺔ ﻓﻲ ﺒﻴﺌﺘِﻪ‪ ،‬ﻭﺃﺴﺎﺴُﻪ‬
‫ﺕ ﺍﻟﺘﻲ ﻋﺭﻓﹶﻬﺎ‪ ،‬ﻭﺃﺼﻭﺍ ِ‬
‫ﺭﺒﻁﹰﺎ ﺃﺴﺎﺴُـﻪ ﺘﺠﺎ ﹺﺭﺒُـﻪ ﺍﻟﺨﺎﺼّ ﹸﺔ‪ ،‬ﻓـﻲ ﺍﻟﻠﹼﻐﺎ ِ‬

‫ﻥ‬
‫ﻲ ﻓﻲ ﺍﺒ ﹺ‬ ‫ﺏ ﺍﻟﻨﻔﺴ ﱢ‬
‫ﻲ ﺍﻟﺴﻴﻜﻠﻭﺠ ﱢ‬ ‫ل ﻤﺎ ﻴﻨﺘﻤﻲ ﺇﻟﻰ ﺍﻟﺠﺎﻨ ﹺ‬
‫ﺏ‪ ،‬ﻭﻜ ﱡ‬
‫ﻲ‪ ،‬ﻭﺨﻴﺎﻟﹸﻪ ﺍﻟﺨﺼ ُ‬
‫ﺃﻴﻀًﺎ‪ ،‬ﻤﺯﺍﺠُﻪ ﺍﻟﺸﺨﺼ ﱡ‬

‫ﻥ ﺘﻔﺴﻴﺭًﺍ ﺫﺍﺘﻴ‪‬ﺎ‬
‫ﺢ ﺃﻥ ﻴﺅﺨ ﹶﺫ ﺤﻜﻤُﻪ ﻫﻨﺎ‪ ،‬ﻋﻠﻰ ﺃﻨﹼﻪ ﺤﻜﻡٌ ﻋﺎ ّﻡ؛ ﻷﻨﹼﻪ ﻻ ﻴﻌﺩﻭ ﺃﻥْ ﻴﻜﻭ َ‬
‫ﺴﻴﻨﺎ؛ ﻭﻟﺫﻟﻙ ﻻ ﻴﺼ ﱡ‬
‫ﻥ ﺴﻴﻨﺎ ﻨﻔﺴِﻪ(()‪.(2‬‬
‫ﺸﺨﺼﻴ‪‬ﺎ‪ ،‬ﻻﺒ ﹺ‬

‫ﺽ ﻋﻠﻤﺎ ِﺀ ﺍﻟﻐﺭﺏ‪ ،‬ﻜﻔﺭﺩﻴﻨﺎﻥ ﺩﻱ ﺴﻭﺴـﻭﺭ‪ ،‬ﻭﺠﻭﺯﻴـﻑ‬

‫ﻕ ﻤﺎ ﻗﺎﻟﹶﻪ ﺒﻌ ُ‬
‫ﻱ ﺃﻨﻴﺱ ﻫﺫﺍ‪ ،‬ﻴﻭﺍﻓ ﹸ‬
‫ﻭﺭﺃ ُ‬

‫ل‪ ،‬ﻋﻼﻗﺔﹲ ﺍﻋﺘﺒﺎﻁﻴّﺔ؛ ﺃﻱ ﺃﻨﹼﻬﺎ‬

‫ل ﻭﺍﻟﻤﺩﻟﻭ ﹺ‬
‫ﻥ ﺍﻟﺩﺍ ﱢ‬
‫ﻥ ﺍﻟﻌﻼﻗ ﹶﺔ ﺒﻴ َ‬
‫ﺹ ﻋﻠﻰ ﺃ ﱠ‬
‫ﻓﻨﺩﺭﻴﺱ‪ .‬ﺃﻤّﺎ ﺩﻱ ﺴﻭﺴﻭﺭ‪ ،‬ﻓﻴﻨ ﱡ‬

‫ﻥ‬ ‫ﻟﻴﺴﺕ ﻁﺒﻴﻌﻴّﺔ)‪ .(3‬ﻭﺃﻤّﺎ ﻓﻨﺩﺭﻴﺱ‪ ،‬ﻓﻴﺭﻯ ﺃﻨﱠﻪ ﻤﻥ ﺍﻟﺤﻤ ِ‬

‫ﻕ ﺃﻥ ﻨﺤﻜ َﻡ ﺒﻭﺠﻭ ِﺩ ﻋﻼﻗـ ٍﺔ ﻀـﺭﻭﺭ ّﻴ ٍﺔ‪ ،‬ﺒـﻴ َ‬

‫ﻅ‪ ،‬ﺃﻗﺩ ُﺭ ﻋﻠﻰ ﺍﻟﺘﻌﺒﻴ ﹺﺭ ﺒﺄﺼﻭﺍﺘِﻬﺎ ﻤﻥ ﻏﻴﺭﹺﻫﺎ)‪.(4‬‬

‫ﺽ ﺍﻷﻟﻔﺎ ِ‬
‫ﻥ ﺒﻌ َ‬
‫ﺕ ﺍﻟﻜﻠﻤ ِﺔ ﻭﺩﻻﻟﺘِﻬﺎ‪ ،‬ﻏﻴ َﺭ ﻤﻨﻜ ﹴﺭ ﺃ ﱠ‬
‫ﺃﺼﻭﺍ ِ‬

‫ﺏ‬
‫ﻥ ﺍﻟﻌــﺭ َ‬
‫ﷲ ‪ :-‬ﺇ ﱠ‬
‫ل ﺒﻥ ﺃﺤﻤﺩ – ﺭﺤﻤَـﻪ ﺍ ُ‬
‫ل ﺍﻟﺨﻠﻴ ﹺ‬
‫ﻱ ﻫﺅﻻ ِﺀ ﺍﻟﻌﻠﻤﺎ ِﺀ ﺍﻟﺜﻼﺜ ِﺔ ﻴﺸﺒـ ُﻪ ﻗـﻭ َ‬
‫ﻭﺭﺃ ُ‬
‫ل ﺒﻬـﺫﺍ‬
‫ﺱ ﺍﻟﺼﻭﺕ(()‪(5‬؛ ﻓﻘـﺩ ﺭ ﱠﺩ ﺍﻟﺨﻠﻴـ ُ‬
‫ﻥ ﻓـﻲ ﺠﺭ ﹺ‬
‫ﻥ ﺍﻟﺤﺭﻜـ ِﺔ‪ ،‬ﻤـﺎ ﻴﺘﻭﻫّﻤﻭ َ‬
‫ﺤﺴْ ﹺ‬
‫ﻥ ﻓﻲ ُ‬
‫))ﻴﺘﻭﻫّﻤﻭ َ‬

‫ل ﺍﻟﺩﻻﻟ ﹶﺔ ﺍﻟﺼﻭﺘ ّﻴ ﹶﺔ ﺇﻟﻰ ﺍﻟﺘﻭﻫّﻡ‪.‬‬

‫ﺍﻟﻘﻭ ﹺ‬

‫)‪(1‬‬
‫ﺃﻨﻴﺱ‪ ،‬ﺇﺒﺭﺍﻫﻴﻡ‪ :‬ﺩﻻﻟﺔ ﺍﻷﻟﻔﺎﻅ‪ .‬ﻁ‪ .7‬ﺍﻟﻘﺎﻫﺭﺓ‪ :‬ﻤﻜﺘﺒﺔ ﺍﻷﻨﺠﻠﻭ ﺍﻟﻤﺼﺭﻴّﺔ‪ .1993 .‬ﺹ‪.78‬‬
‫)‪(2‬‬
‫ﺃﻨﻴﺱ‪ ،‬ﺇﺒﺭﺍﻫﻴﻡ‪ :‬ﺍﻷﺼﻭﺍﺕ ﺍﻟﻠﻐﻭﻴّﺔ‪ .‬ﺹ‪.144 ،143‬‬
‫)‪(3‬‬
‫ﺍﻨﻅﺭ‪ :‬ﺩﻱ ﺴﻭﺴﻭﺭ‪ ،‬ﻓﺭﺩﻴﻨﺎﻥ‪ :‬ﻋﻠﻡ ﺍﻟﻠﹼﻐﺔ ﺍﻟﻌﺎ ّﻡ‪ .‬ﺘﺭﺠﻤﺔ ﻴﻭﺌﻴل ﻴﻭﺴﻑ ﻋﺯﻴﺯ‪ .‬ﺒﻐﺩﺍﺩ‪ :‬ﺩﺍﺭ ﺁﻓﺎﻕ ﻋﺭﺒﻴّـﺔ‪ .1985 .‬ﺹ‪– 84‬‬
‫‪.89‬‬
‫)‪(4‬‬
‫ﺍﻨﻅﺭ‪ :‬ﻓﻨﺩﺭﻴﺱ‪ ،‬ﺠﻭﺯﻴﻑ‪ :‬ﺍﻟﻠﹼﻐﺔ‪ .‬ﺘﻌﺭﻴﺏ ﻋﺒﺩ ﺍﻟﺤﻤﻴﺩ ﺍﻟﺩﻭﺍﺨﻠﻲ‪ ،‬ﻭﻤﺤﻤّﺩ ﺍﻟﻘﺼﺎﺹ‪ .‬ﺍﻟﻘﺎﻫﺭﺓ‪ :‬ﻤﻜﺘﺒﺔ ﺍﻷﻨﺠﻠـﻭ ﺍﻟﻤﺼـﺭﻴّﺔ‪.‬‬
‫‪ .1950‬ﺹ‪.237 - 235‬‬
‫)‪(5‬‬
‫ﺍﻟﻔﺭﺍﻫﻴﺩﻱ‪ ،‬ﺃﺒﻭ ﻋﺒﺩ ﺍﻟﺭّﺤﻤﻥ ﺍﻟﺨﻠﻴل ﺒﻥ ﺃﺤﻤﺩ‪ :‬ﻜﺘﺎﺏ ﺍﻟﻌﻴــﻥ‪ 8 .‬ﺝ‪ .‬ﺘﺤﻘﻴﻕ ﻤﻬﺩﻱ ﺍﻟﻤﺨﺯﻭﻤﻲ‪ ،‬ﻭﺇﺒﺭﺍﻫﻴﻡ ﺍﻟﺴﺎﻤﺭﺍﺌﻲ‪/ 1 .‬‬
‫ﻥ ﺍﻟﺨﻠﻴل ﺒﻥ ﺃﺤﻤـﺩ‪ ،‬ﻫـﻭ‬
‫ﻥ ﺍﻟﻌﻠﻤﺎﺀ ﻭﺍﻟﺒﺎﺤﺜﻴـﻥ‪ ،‬ﺍﺨﺘﻠﻔـﻭﺍ ﻓﻲ ﺼﺎﺤﺏ ﻫﺫﺍ ﺍﻟﻤﻌﺠﻡ؛ ﻓﻠﻴﺱ ﺜﺎﺒﺘﹰﺎ ﺃ ّ‬
‫‪ .55‬ﻭﻤﻥ ﺍﻟﺠﺩﻴﺭ ﺒﺎﻟﺫﻜﺭ‪ ،‬ﺃ ّ‬
‫ﻼ‪:‬‬
‫ﺼﺎﺤﺒﻪ‪ .‬ﺍﻨﻅﺭ ﻤﺜ ﹰ‬
‫‪ -‬ﺩﺍﻏﺭ‪ ،‬ﺸﺭﺒل‪ :‬ﺍﻟﺘﺤﻘﹼﻕ ﻤﻥ ﺘﺤﻘﻴﻕ ﻜﺘﺎﺏ ﺍﻟﻌﻴﻥ‪ ،‬ﻤﺠﻠﹼﺔ ﻤﺠﻤﻊ ﺍﻟﻠﹼﻐﺔ ﺍﻟﻌﺭﺒﻴّﺔ‪1994 .75 .‬ﻡ ‪.160 – 105 /‬‬
‫‪ -‬ﺍﻟﺠﺒﺎﻟﻲ‪ ،‬ﺤﻤﺩﻱ‪ :‬ﺁﺭﺍﺀ ﺍﻟﺨﻠﻴل ﺍﻟﻨﺤﻭﻴّﺔ ﻓﻲ ﻀﻭﺀ ﻜﺘﺎﺏ ﺍﻟﻌﻴﻥ‪ ،‬ﻤﺠﻠﹼﺔ ﺠﺎﻤﻌﺔ ﺍﻟﻨﺠﺎﺡ ﻟﻸﺒﺤﺎﺙ )ﺍﻟﻌﻠﻭﻡ ﺍﻹﻨﺴﺎﻨﻴّﺔ(‪ .1 .‬ﻤـﺞ‬
‫‪2004 .18‬ﻡ ‪.50 – 29 /‬‬
‫‪57‬‬
‫ل‬
‫ل‪)) :‬ﻨﻘـ َ‬
‫ﷲ ‪-‬؛ ﻓﻴﻘﻭ ُ‬
‫ﻭﻤﻥ ﻋﻠﻤﺎﺌِﻨﺎ ﺍﻟﻘﺩﻤﺎ ِﺀ ﺍﻟﺫﻴﻥ ﺃﺸﺎﺭﻭﺍ ﺇﻟﻰ ﻫﺫﻩ ﺍﻟﻘﻀ ّﻴ ِﺔ‪ ،‬ﺍﻟﺴﻴﻭﻁﻲ – ﺭﺤﻤَﻪ ﺍ ُ‬

‫ﻅ‬
‫ﻥ ﺍﻟﻠﹼﻔـ ِ‬
‫ﻥ ﺒـﻴ َ‬
‫ﺏ ﺇﻟـﻰ ﺃ ﱠ‬
‫ل ﺍﻟﻔﻘ ِﻪ‪ ،‬ﻋﻥ ﻋﺒّﺎﺩ ﺒﻥ ﺴﻠﻴﻤﺎﻥ ﺍﻟﺼﻴﻤﺭﻱ ﻤﻥ ﺍﻟﻤﻌﺘﺯﻟﺔ‪ ،‬ﺃﻨﱠﻪ ﺫﻫ َ‬
‫ل ﺃﺼﻭ ﹺ‬
‫ﺃﻫ ُ‬

‫ﻅ ﻟﻤﻌﺎﻨﻴﻬـﺎ؛‬
‫ﻑ ﻤﻨﺎﺴﺒ ﹶﺔ ﺍﻷﻟﻔﺎ ِ‬
‫ﺽ َﻤﻥْ ﻴﺭﻯ ﺭﺃﻴَﻪ ﻴﻘﻭل‪ :‬ﺇﻨﱠﻪ ﻴﻌﺭ ﹸ‬
‫ﻥ ﺒﻌ ُ‬
‫ﻭﻤﺩﻟﻭﻟِﻪ ﻤﻨﺎﺴﺒ ﹰﺔ ﻁﺒﻴﻌﻴّﺔ‪ ...‬ﻭﻜﺎ َ‬
‫ل ﻤﺎ ﻤُﺴﻤّﻰ )ﺍﺫﻏﺎﻍ(‪ ،‬ﻭﻫﻭ ﺒﺎﻟﻔﺎﺭﺴ ّﻴ ِﺔ )ﺍﻟﺤﺠﺭ(؛ ﻓﻘﺎل‪ :‬ﺃﺠ ُﺩ ﻓﻴﻪ ُﻴﺒْﺴًﺎ ﺸﺩﻴﺩًﺍ‪ ،‬ﻭﺃﺭﺍﻩ ﺍﻟﺤﺠﺭ‪.‬‬
‫ﺴﺌِ َ‬
‫ﻓُ‬

‫ل ﻟﻐـﺔ‪ ،‬ﻭﻟﻤـﺎ‬
‫ﻥ ﺇﻟﻰ ﻜ ﱢ‬
‫ل ﺇﻨﺴﺎ ﹴ‬
‫ﺕ ﻤﺎ ﻗﺎﻟﹶﻪ؛ ﻻﻫﺘﺩﻯ ﻜ ﱡ‬
‫ﻭﺃﻨﻜ َﺭ ﺍﻟﺠﻤﻬﻭ ُﺭ ﻫﺫﻩ ﺍﻟﻤﻘﺎﻟ ﹶﺔ‪ ،‬ﻭﻗﺎل‪ :‬ﻟﻭ ﺜﺒ ﹶ‬

‫ل ﺍﻟﻠﹼﻐ ِﺔ‬
‫ﺽ ﻭﺍﻷﺴﻭﺩ‪ ،...‬ﻭﺃﻤّﺎ ﺃﻫ ُ‬
‫ﻥ ﻟﻸﺒﻴ ﹺ‬
‫ﺠﻭْ ﹺ‬
‫ﺽ ﻭﺍﻟﻁﻬﺭ‪ ،‬ﻭﺍﻟ َ‬
‫ﻥ‪ ،‬ﻜﺎﻟﻘﺭْ ِﺀ ﻟﻠﺤﻴ ﹺ‬
‫ﻅ ﻟﻠﻀﺩّﻴ ﹺ‬
‫ﺢ ﻭﻀ ُﻊ ﺍﻟﻠﹼﻔ ِ‬
‫ﺼﱠ‬
‫ﻥ ﻤﺫﻫﺒﹺﻬﻡ‬
‫ﻕ ﺒﻴ َ‬
‫ﻥ ﺍﻟﻔﺭ ﹶ‬
‫ﻅ ﻭﺍﻟﻤﻌﺎﻨﻲ‪ ،‬ﻟﻜـ ﱠ‬
‫ﻥ ﺍﻷﻟﻔﺎ ِ‬
‫ﺕ ﺍﻟﻤﻨﺎﺴﺒ ِﺔ ﺒﻴ َ‬
‫ﻥ ﻋﻠﻰ ﺜﺒﻭ ِ‬
‫ﻭﺍﻟﻌﺭﺒﻴّﺔ‪ ،‬ﻓﻘﺩ ﻜﺎﺩﻭﺍ ﻴﻁﺒﻘﻭ َ‬

‫ﺏ ﻋﺒّﺎﺩ‪ ،‬ﺃ ﱠ‬
‫ﻥ ﻋﺒّﺎﺩًﺍ ﻴﺭﺍﻫﺎ ﺫﺍﺘ ّﻴ ﹰﺔ ﻤﻭﺠﺒﺔ‪ ،‬ﺒﺨﻼﻓِﻬﻡ(()‪.(1‬‬ ‫ﻭﻤﺫﻫ ﹺ‬

‫ﻱ‪ ،‬ﺒﺎﻋﺘﻘﺎﺩﻱ‪ ،‬ﺩﻻﻟﺔﹲ ﻤﻜﺘﺴﺒﺔﹲ‪ ،‬ﻜﺘﻠﻙ ﺍﻟﺘﻲ ﻴﻜﺘﺴﺒُﻬﺎ‪ ،‬ﻤﻥ‬

‫ﺕ ﺍﻟﻠﹼﻐﻭ ﱢ‬
‫ﻥ؛ ﻓﻠﻠﺼﻭ ِ‬
‫ﺃﻤّﺎ ﺃﻨﺎ‪ ،‬ﻓﺂﺨـ ﹸﺫ ﺒﺎﻟﺭﺃﻴﻴ ﹺ‬

‫ﺏ‪ ،‬ﻭﺍﻟﻜﺴـﺭ ِﺓ‬

‫ﻕ ﺍﻟﻜﻼﻡ‪ ،‬ﻤﺜل ))ﺩﻻﻟـ ِﺔ ﺍﻟﻀ ّﻤ ِﺔ ﻋﻠﻰ ﺍﻟﻤﺘﻜﹼﻠ ﹺﻡ‪ ،‬ﻭﺍﻟﻔﺘﺤ ِﺔ ﻋﻠﻰ ﺍﻟﻤﺨﺎﻁـ ﹺ‬
‫ﻤﻭﻗﻌِﻪ ﻓﻲ ﺴﻴﺎ ِ‬

‫ﺕ(()‪ ،(2‬ﻭﻟﻠﺼﻭ ِ‬
‫ﺕ ﻜﺫﻟﻙ‪ ،‬ﺩﻻﻟﺔﹲ ﻁﺒﻴﻌ ّﻴﺔﹲ‪ ،‬ﻴﺅ ﹼﻜﺩُﻫﺎ ﻤﺎ‬ ‫ﺕ‪ ،‬ﻜﺘﺒ ِ‬
‫ﺕ‪ ،‬ﻜﺘﺒ ﹶ‬
‫ﻋﻠﻰ ﺍﻟﻤﺨﺎﻁﺒ ِﺔ‪ ،‬ﻓﻲ ﺍﻟﻀﻤﺎﺌ ﹺﺭ‪ :‬ﻜﺘﺒ ﹸ‬

‫ل ﺍﻟﻌﻠﻤﺎ ِﺀ ﻭﺍﻟﺒﺎﺤﺜﻴﻥ‪.‬‬
‫ﺃﻭﺭﺩ ﹸﺘﻪ‪ ،‬ﻤﻥ ﺃﻗﻭﺍ ﹺ‬

‫ﻥ‬
‫ﻱ‪ ،‬ﺃﺜﺭًﺍ ﻓـﻲ ﺘﻜـﻭﻴ ﹺ‬
‫ﺕ ﺍﻟﻠﹼﻐﻭ ّ‬
‫ل ﻤﻨﻬﺎ ﺍﻟﺼﻭ ﹸ‬
‫ﺢ ﺍﻟﺘﻤﻴﻴﺯ ّﻴ ِﺔ ﺍﻟﺘﻲ ﻴﺘﺸﻜﹼ ُ‬
‫ﻥ ﻟﻠﻤﻼﻤ ﹺ‬
‫ﻅ ﻤﻤّﺎ ﺴﺒﻕ‪ ،‬ﺃ ﱠ‬
‫ﺤﹸ‬
‫ُﻴﻼ َ‬

‫ﺕ ﺍﻻﺤﺘﻜﺎﻜﻴّـ ﹸﺔ‬
‫ل ﻋﻠﻰ ﺍﻟﺸ ّﺩ ِﺓ ﻭﺍﻟﻐﻠﻅﺔ‪ ،‬ﻭﺍﻷﺼـﻭﺍ ﹸ‬
‫ﺕ ﺍﻻﻨﻔﺠﺎﺭﻴّ ﹸﺔ ﺘﺩ ﱡ‬
‫ﺩﻻﻟﺘِﻪ ﺍﻟﻁﺒﻴﻌ ّﻴ ِﺔ ﺍﻟﺫﺍﺘﻴّﺔ؛ ﻓﺎﻷﺼﻭﺍ ﹸ‬

‫ﺢ ﺍﻟﺘﻜﺭﺍ ﹺﺭ ﺍﻟﺫﻱ ﺘﺤﻤﻠﹸـﻪ‪،‬‬

‫ﻻ ﺒﻤﻠﻤ ﹺ‬ ‫ل ﻋﻠﻰ ﺍﻟﺘﺅﺩ ِﺓ ﻭﺍﻟﻠﹼﻴﻥ‪ .‬ﻜﺫﻟﻙ‪ ،‬ﻟﻡ ﺘﻜﻥ ﺍﻟﺭّﺍ ُﺀ‪ ،‬ﻟﺘﺩ ﱠ‬
‫ل ﻋﻠﻰ ﺍﻟﺘﻜﺭﺍ ﹺﺭ‪ ،‬ﺇ ﹼ‬ ‫ﺘﺩ ﱡ‬
‫ﺢ‬
‫ﻥ ﺍﻟﻤﻠﻤـ َ‬
‫ﺢ ﺍﻟﺘﻔﺸﹼﻲ ﺍﻟﺫﻱ ﺘﺤﻤﻠﹸﻪ‪...‬؛ ﻟﺫﻟﻙ ﺃﻋﺘﻘـ ُﺩ ﺃ ﱠ‬
‫ﻻ ﺒﻤﻠﻤ ﹺ‬
‫ل ﻋﻠﻰ ﺍﻻﻨﺘﺸﺎ ﹺﺭ‪ ،‬ﺇ ﹼ‬
‫ﻥ‪ ،‬ﻟﺘﺩ ﱠ‬
‫ﻭﻟﻡ ﺘﻜﻥ ﺍﻟﺸﻴ ُ‬

‫ﺕ‬
‫ﻥ ﺍﻟﺼﻭ ﹶ‬
‫ﻱ ﻓﻲ ﺍﻟﻜﻼﻡ‪ .‬ﻭﻤﻤّﺎ ﻴﺅﻴّ ُﺩ ﺫﻟﻙ‪ ،‬ﺃ ﱠ‬
‫ﺕ ﺍﻟﻠﹼﻐﻭ ﱢ‬
‫ل ﻭﺤﺩ ﹰﺓ ﺩﻻﻟ ّﻴ ﹰﺔ ﺃﺼﻐ َﺭ‪ ،‬ﻤﻥ ﺍﻟﺼﻭ ِ‬
‫ﻱ‪ ،‬ﻴﻤﺜﹼ ُ‬
‫ﺍﻟﺘﻤﻴﻴﺯ ﱠ‬

‫ﻕ‪ ،‬ﻤـﻥ‬
‫ﺢ ﻗﺩﺭ ﹰﺓ‪ ،‬ﻋﻠﻰ ﺘﻤﻴﻴ ﹺﺯ ﻤﻌﻨﻰ ﻤﻨﻁﻭ ٍ‬
‫ﻥ ﻟﻬﺫﻩ ﺍﻟﻤﻼﻤ ﹺ‬
‫ﺢ ﺍﻟﺘﻤﻴﻴﺯﻴّﺔ‪ ،‬ﻭﺃ ﱠ‬
‫ﻱ ﻨﻔﺴَﻪ‪ ،‬ﺘﺸ ﹼﻜﻠﹸﻪ ﺍﻟﻤﻼﻤ ُ‬
‫ﺍﻟﻠﹼﻐﻭ ﱠ‬
‫ل ﺍﻷﻭّل)‪.(3‬‬
‫ﻕ ﺁﺨﺭ‪ ،‬ﻜﻤﺎ ﹸﺫ ِﻜ َﺭ ﻓﻲ ﺒﺩﺍﻴ ِﺔ ﺍﻟﻔﺼ ﹺ‬
‫ﻤﻌﻨﻰ ﻤﻨﻁﻭ ٍ‬

‫)‪(1‬‬
‫ﺍﻟﺴﻴﻭﻁﻲ‪ ،‬ﻋﺒﺩ ﺍﻟﺭﺤﻤﻥ ﺠﻼل ﺍﻟﺩﻴﻥ‪ :‬ﺍﻟﻤﺯﻫﺭ ﻓﻲ ﻋﻠﻭﻡ ﺍﻟﻠﹼﻐﺔ ﻭﺃﻨﻭﺍﻋﻬﺎ‪ .‬ﻤﺠﻠﹼﺩﺍﻥ‪ .‬ﺸﺭﺤﻪ ﻤﺤﻤّﺩ ﺃﺤﻤﺩ ﺠـﺎﺩ ﺍﻟﻤﻭﻟﻰ ﺒـﻙ‬
‫ﻭﺁﺨﺭﻭﻥ‪ .‬ﻁ‪ .3‬ﺍﻟﻘﺎﻫـﺭﺓ‪ :‬ﻤﻜﺘﺒﺔ ﺩﺍﺭ ﺍﻟﺘﺭﺍﺙ‪) .‬ﺩ‪ .‬ﺕ(‪.47 / 1 .‬‬
‫)‪(2‬‬
‫ﻋﻤﺭ‪ ،‬ﺃﺤﻤﺩ ﻤﺨﺘﺎﺭ‪ :‬ﻋﻠﻡ ﺍﻟﺩﻻﻟﺔ‪ .‬ﻁ‪ .5‬ﺍﻟﻘﺎﻫﺭﺓ‪ :‬ﻋﺎﻟﻡ ﺍﻟﻜﺘﺏ‪ .1998 .‬ﺹ‪.34‬‬
‫)‪(3‬‬
‫ﺍﻨﻅﺭ ﺹ‪ 9‬ﻤﻥ ﻫﺫﺍ ﺍﻟﺒﺤﺙ‪.‬‬
‫‪58‬‬
‫ﻓﻲ ﺩﻻﻟ ِﺔ ﺍﻟﻜﻼﻡ؛ ﻓﻼ‬ ‫)‪(1‬‬
‫((‬ ‫ﻱ‬
‫ﺕ ﺃﺜ ﹴﺭ ﺜﺎﻨﻭ ﱟ‬
‫ﻥ ﻫﺫﻩ ﺍﻟﺩﻻﻟ ﹶﺔ ﺍﻟﺼﻭﺘﻴّـ ﹶﺔ ﺫﺍ ﹸ‬
‫ﻭﻻ ﺒ ﱠﺩ ﻟﻲ‪ ،‬ﺃﻥ ﺃﺸﻴ َﺭ ﺇﻟﻰ ))ﺃ ﱠ‬

‫ﺕ ﺍﻟﻠﹼﻐﻭ ّﻴ ِﺔ ﻓـﻲ ﺍﻟﻠﹼﻐـﺔ)‪.(2‬‬

‫ل ﻤﻥ ﺍﻷﺼﻭﺍ ِ‬
‫ﻅ‪ ،‬ﺇﻟﻰ ﻋﺩ ٍﺩ ﻗﻠﻴ ﹴ‬
‫ﻑ ﺍﻷﻟﻔﺎ ِ‬
‫ﻲ ﺃﻟﻭ ِ‬
‫ﻥ ﻟﻨﺎ ﺃﻥ ﻨﺭ ﱠﺩ ﻤﻌﺎﻨـ َ‬
‫ﻴﻤﻜ ُ‬

‫ل ﻟـﻪ ﻭﺠـﻭﺩًﺍ‬
‫ﺏ ﺃﻥ ﻴﺘﺭ ّﺩ َﺩ ﺒﺩﺭﺠ ٍﺔ‪ ،‬ﺘﺠﻌ ُ‬
‫ﻱ ﺇﻴﺤـﺎ ًﺀ ﺘﻌﺒﻴﺭﻴ‪‬ﺎ؛ ﻴﺠ ُ‬
‫ﺕ ﺍﻟﻠﹼﻐﻭ ﱡ‬
‫ﺏ ﺍﻟﺼﻭ ﹸ‬
‫ﻭﻟﻜﻲ ﻴﻜﺘﺴ َ‬
‫ل ﺍﻷﻤﺜﻠ ِﺔ ﺍﻟﻨﻘﺩ ّﻴ ِﺔ ﺍﻵﺘﻴﺔ‪:‬‬
‫ﺢ ﻫﺫﺍ ﻤﻥ ﺨﻼ ﹺ‬
‫ﺒﺎﺭﺯًﺍ ﻻﻓﺘﹰﺎ‪ ،‬ﻓﻲ ﺍﻟﻜﻼﻡ)‪ .(3‬ﻭﻴﺘﹼﻀ ُ‬

‫ل‬
‫ﻑ ﻓﻲ ﻗﻭﺍﻓﻴـﻪ‪ ،‬ﺃﻭ ﻓــﻲ ﺨـﻼ ﹺ‬
‫ﻕ‪ ،‬ﻴﻭﻅﹼ ﹸ‬
‫ﻥ ﺍﻟﺸﺎﻋـ َﺭ ﺍﻟﺤﺎﺫ ﹶ‬
‫ﻴﺭﻯ ﺍﻟﺩﻜﺘﻭ ُﺭ ﻤﺤﻤّﺩ ﺍﻟﻀﺎﻟﻊ‪ ،‬ﺃ ﱠ‬

‫ﺕ‬
‫ﻉ ﺍﻟﻘﺼﻴﺩ ِﺓ‪ ،‬ﻭﺼﻭﺭﺘِﻬﺎ ﺍﻟﻔ ﹼﻨﻴّﺔ؛ ﻓﻴﻌﻤـ ُﺩ ﺇﻟـﻰ ﺼـﻭ ٍ‬
‫ﻁ ﺒﻤﻭﻀﻭ ﹺ‬
‫ﺕ ﺍﻟﺘﻲ ﺘﺭﺘﺒ ﹸ‬
‫ﺽ ﺍﻷﺼﻭﺍ ِ‬
‫ﺃﺒﻴﺎﺘِﻪ‪ ،‬ﺒﻌ َ‬

‫ل ﻋﻠﻰ ﻜﺭﻜﺭ ِﺓ‬

‫ﻑ ﻤﺘﻜﺭّﺭ ﹰﺓ‪ ،‬ﺘﺩ ﱡ‬
‫ﻥ ﺍﻟﻜﺎ ﹶ‬
‫ﻴﻜ ّﺭﺭُﻩ‪ ،‬ﻤﺼﻭﺭ‪‬ﺍ ﺒﻪ ﺍﻟﻠﹼﻭﺤ ﹶﺔ ﻭﺍﻟﺤﺭﻜ ﹶﺔ ﺍﻟﻤﻁﻠﻭﺒﺘﻴﻥ‪ .‬ﻭﻤﻥ ﺫﻟﻙ‪ ،‬ﺃ ﱠ‬

‫ﺏ ﺍﻟﻤﺘﻨﺒّﻲ‪:‬‬ ‫ﺍﻟﻀﺤﻙ‪ ،‬ﻓﻲ ﻗﻭ ﹺ‬

‫ل ﺃﺒﻲ ﺍﻟﻁ ّﻴ ﹺ‬ ‫ِ‬

‫ﻭﻟﻜﻨﱠـﻪ ﻀﺤـﻙٌ ﻜﺎﻟﺒُﻜـﺎ)‪) (4‬ﺍﻟﻤﺘﻘﺎﺭﺏ(‬ ‫ﺕ‬

‫ﻭﻜﻡ ﺫﺍ ﺒﻤﺼ َﺭ ﻤﻥ ﺍﻟ ُﻤﻀْﺤِﻜﺎ ِ‬

‫ﻥ ﺍﻟﺴـﺎﻜﻨﺔِ‪ ،‬ﺍﻟﻤﺴـﺒﻭﻗ ِﺔ ﺒﺤﺭﻜـ ٍﺔ‬

‫ﻀﺎ‪ ،‬ﺍﺨﺘﻴﺎ ُﺭ ﺃﺒـﻲ ﺍﻟﻘﺎﺴ ﹺﻡ ﺍﻟﺸﺎ ّﺒﻲّ‪ ،‬ﻗﺎﻓﻴ ﹶﺔ ﺍﻟﻨـﻭ ﹺ‬
‫ﻭﻤﻥ ﺫﻟﻙ ﺃﻴ ً‬

‫ﻑ ﺍﻟﺤﺯﻴﻥ‪ ،‬ﻓﻲ ﻗﺼﻴﺩﺘِﻪ‬

‫ﻥ ﺍﻟﻤﻜﺘﻭﻡ‪ ،‬ﻭﻴﻌ ّﺒ َﺭ ﺒﻬـﺎ ﻋﻥ ﺍﻟﻤﻭﻗ ِ‬
‫ل ﺒﻬﺎ ﻋﻠﻰ ﺍﻷﻨﻴ ﹺ‬
‫ﻁﻭﻴﻠ ٍﺔ‪ :‬ﻴﺎﺀٍ‪ ،‬ﺃﻭ ﻭﺍﻭ؛ ﻟﻴﺩ ﱠ‬

‫)ﺍﻟﺫﻜﺭﻯ()‪ ،(5‬ﻭﻤﻨﻬﺎ ﻗﻭﻟﹸﻪ‪:‬‬

‫ﺏ ﺍﻷﻤﻴﻥْ )ﻤﺠﺯﻭﺀ ﺍﻟﻜﺎﻤل(‬

‫ﻓﻲ ﺩﻭﺤ ِﺔ ﺍﻟﺤ ﱢ‬ ‫ﺠﻲْ ﻁﺎﺌـ ﹴﺭ‬
‫ﻜﻨﹼﺎ ﻜﺯﻭ َ‬

‫ل ﻭﺍﻟﻐﺼﻭﻥْ‬
‫ﻥ ﺍﻟﺨﻤﺎﺌ ﹺ‬
‫ﺒﻴ َ‬ ‫ﻨﺘﻠﻭ ﺃﻨﺎﺸﻴ َﺩ ﺍﻟﻤﻨـﻰ‬

‫ﻲ ﺍﻟﻘﺎﻓﻴ ﹶﺔ ﻨﻔﺴَﻬﺎ‪ ،‬ﻓﻲ ﻗﺼﻴﺩﺘِﻪ )ﺍﻟﻤﺴﺎﺀ ﺍﻟﺤﺯﻴﻥ()‪ ،(6‬ﻭﻤﻨﻬﺎ ﻗﻭﻟﹸﻪ‪:‬‬

‫ﻭﻴﺴﺘﺨﺩ ُﻡ ﺍﻟﺸﺎ ّﺒ ﱡ‬

‫ﻭﻓﻲ ﻜﻔﱢﻪ ِﻤﻌْـ َﺯﻑﹲ ﻻ ﻴُﺒﻴﻥْ )ﺍﻟﻤﺘﻘﺎﺭﺏ(‬ ‫ﻥ‬

‫ل ﺍﻟﻭﺠﻭ َﺩ ﺍﻟﻤﺴﺎ ُﺀ ﺍﻟﺤﺯﻴ ُ‬
‫ﺃﻅ ﱠ‬

‫)‪(1‬‬
‫ﻲ‪ .‬ﺹ‪.239‬‬
‫ﻲ‪ :‬ﻨﻅﺭﺓ ﺠﺩﻴﺩﺓ ﻓﻲ ﻤﻭﺴﻴﻘﻰ ﺍﻟﺸﻌﺭ ﺍﻟﻌﺭﺒ ّ‬
‫ﻴﻭﻨﺱ‪ ،‬ﻋﻠ ّ‬
‫)‪(2‬‬
‫ﻲ‪ .1981 .‬ﺹ‪.20‬‬
‫ﻓﺭﻴﺤﺔ‪ ،‬ﺃﻨﻴﺱ‪ :‬ﻨﻅﺭﻴّﺎﺕ ﻓﻲ ﺍﻟﻠﹼﻐﺔ‪ .‬ﻁ‪ .2‬ﺒﻴﺭﻭﺕ‪ :‬ﺩﺍﺭ ﺍﻟﻜﺘﺎﺏ ﺍﻟﻠﹼﺒﻨﺎﻨ ّ‬
‫)‪(3‬‬
‫ﻲ‪ .‬ﺹ‪.239‬‬
‫ﻲ‪ :‬ﻨﻅﺭﺓ ﺠﺩﻴﺩﺓ ﻓﻲ ﻤﻭﺴﻴﻘﻰ ﺍﻟﺸﻌﺭ ﺍﻟﻌﺭﺒ ّ‬
‫ﻴﻭﻨﺱ‪ ،‬ﻋﻠ ّ‬
‫)‪(4‬‬
‫ﺍﻨﻅﺭ‪ :‬ﺩﻴﻭﺍﻥ ﺃﺒﻲ ﺍﻟﻁﻴّﺏ ﺍﻟﻤﺘﻨﺒّﻲ‪ .275 / 2 .‬ﻭﻓﻴﻪ ﻭﺭﺩ ﺍﻟﺒﻴﺕ‪ :‬ﻭﻤﺎﺫﺍ ﺒﻤﺼﺭ ﻤﻥ ﺍﻟﻤﻀﺤﻜﺎﺕ‪...‬‬
‫)‪(5‬‬
‫ﻲ‪ ،‬ﺃﺒﻭ ﺍﻟﻘﺎﺴﻡ‪ :‬ﺍﻟﺩﻴﻭﺍﻥ‪ .‬ﻗﺩّﻡ ﻟﻪ ﻭﺸﺭﺤﻪ ﺃﺤﻤﺩ ﺤﺴﻥ ﺒﺴﺞ ‪ .‬ﻁ‪ . 1‬ﺒﻴـﺭﻭﺕ‪ :‬ﺩﺍﺭ ﺍﻟﻜﺘـﺏ ﺍﻟﻌﻠﻤﻴّـﺔ ‪.‬‬
‫ﺍﻨﻅﺭ ﺍﻟﻘﺼﻴﺩﺓ‪ :‬ﺍﻟﺸﺎ ّﺒ ّ‬
‫‪ . 1995‬ﺹ‪. 150 ،149‬‬
‫)‪(6‬‬
‫ﺍﻨﻅﺭ ﺍﻟﻘﺼﻴﺩﺓ‪ :‬ﺍﻟﻤﺭﺠﻊ ﻨﻔﺴﻪ‪ .‬ﺹ‪.149 -147‬‬
‫‪59‬‬
 ‫ﺕ ﺍﻟﺴّﻨﻴﻥْ‬
‫ﺤﺴَﺭﺍ ﹸ‬
‫ﻁﺭْﻓِﻪ َ‬
‫ﻭﻓﻲ ﹶ‬ ‫ﻥ‬
‫ﺕ ﺍﻟﺸﺠﻭ ﹺ‬
‫ﻭﻓﻲ ﹶﺜﻐﹾﺭﹺﻩ َﺒﺴَﻤـﺎ ﹸ‬

‫ﻕ ﺍﻟﺨﺭﻴﻑِ‪ ،‬ﻓﻲ ﻗﺼـﻴﺩﺘِﻪ‬

‫ﻁ ﺃﻭﺭﺍ ِ‬
‫ﻑ ﺍﻟﺸﺠﺭﹺ‪ ،‬ﻭﺘﺴﺎﻗ ِ‬
‫ﺕ ﺍﻟﻔﺎﺀِ؛ ﻟﺘﺼﻭﻴ ﹺﺭ ﺤﻔﻴ ِ‬
‫ﻜﺫﻟﻙ ﻴﺴﺘﺨﺩ ُﻡ ﺼﻭ ﹶ‬

‫)ﺒﻘﺎﻴﺎ ﺍﻟﺨﺭﻴﻑ()‪ ،(1‬ﻜﻘﻭﻟِﻪ‪:‬‬

‫ﻱ ﺍﻟﻌَﺴﻭﻑﹾ )ﺍﻟﻤﺘﻘﺎﺭﺏ(‬
‫ﻟﻴﺎﻟﻲ ﺍﻟﺨﺭﻴﻑِ‪ ،‬ﺍﻟﻘﻭ ﱢ‬ ‫ﻥ ﺍﻟﺘـﻲ ﺠ ﱠﺭ َﺩﺘﹾﻬﺎ‬
‫ﻥ ﺍﻟﻐﺼﻭ ﹺ‬
‫ﻭﺒﻴ َ‬

‫ﺕ ﺍﻟﻜﻬﻭﻑﹾ‬ ‫ﺘﻤـﺎﺩﺕﹾ ﺒـﻪ ﹶ‬

‫ﻏﻔﹶـﻭﺍ ﹸ‬ ‫ﻭﻗﻔﺕﹸ‪ ،‬ﻭﺤﻭﻟﻲ ﻏﺩﻴﺭٌ‪ ،‬ﻤﻭﺍﺕﹲ‬

‫ﻓﻜ ﱠﻔﻨﹶﻬـﺎ ﺒﺎﻟﺼﻘﻴـ ﹺﻊ ﺍﻟﺨـﺭﻴﻑﹾ‬ ‫ﻀﺕﹾ ﻓﻲ ﺤﻔﺎﻓﻴ ِﻪ ﺘﻠ َ‬

‫ﻙ ﺍﻟﺯﻫﻭ ُﺭ‬ ‫ﹶﻗ َ‬

‫ﻭﻤـﻠﺒﺜﹸﻬـﺎ ﺒﺎﻟﻤﻘـﺎ ﹺﻡ ﺍﻟﻤﺨﻴـﻑﹾ‬ ‫ﺸﻘِﻴَﺕﹾ ﺒﺎﻟﺤﻴـﺎ ِﺓ‬

‫ﺴﻭﻯ ﺯﻫـﺭ ٍﺓ ﹶ‬

‫ﺏ ﺍﻟﺯﱠﻓﻴـﻑﹾ‬
‫ﻭﻴﺤﺯﻨﹸـﻬﺎ ﻓﻴـﻪ ﻨﺩ ُ‬ ‫ﻴﺭ ﱢﻭﻋُـﻬﺎ ﻓﻴﻪ ﻗﺼ ﹸ‬
‫ﻑ ﺍﻟﺭّﻋﻭ ِﺩ‬

‫ﻥ ﺍﻟﻌﺼﻔﻭ ﹺﺭ ﻭﺭﻭﺍﺤِـﻪ‪ ،‬ﻓــﻲ ﻗﺼﻴﺩﺘِــﻪ‬

‫ﺕ ﺍﻟﺭّﺍﺀِ؛ ﻟﺘﺼﻭﻴ ﹺﺭ ﻁﻴﺭﺍ ﹺ‬
‫ﻭﻴﺴﺘﺨﺩ ُﻡ ﺍﻟﺸﺎﻋـ ُﺭ ﺼﻭ ﹶ‬

‫)ﻤﻨﺎﺠﺎﺓ ﻋﺼﻔﻭﺭ()‪ ،(2‬ﻭﻤﻨﻬﺎ ﻗﻭﻟﹸـﻪ‪:‬‬

‫ﻼ ﺒﻐﺒﻁ ِﺔ ﻗﻠﺒﹺـﻪ ﺍﻟﻤﺴﺭﻭ ﹺﺭ )ﺍﻟﻜﺎﻤـل(‬

‫ﺜﻤـ ﹰ‬ ‫ﻴﺎ ﺃﻴﱡﻬﺎ ﺍﻟﺸﺎﺩﻱ ﺍﻟﻤﻐ ﱢﺭ ُﺩ ﻫﺎ ﻫﻨﺎ‬

‫ﻲ ﺍﻟﺭّﺒﻴ ﹺﻊ ﺍﻟﺴﺎﺤ ﹺﺭ ﺍﻟﻤﺴﺤﻭ ﹺﺭ‬

‫ﻭﺤ َ‬ ‫ﻥ ﺍﻟﺨﻤﺎﺌـلﹺ‪ ،‬ﺘﺎﻟﻴًﺎ‬
‫ﻼ ﺒﻴ َ‬
‫ﻤﺘﻨ ﱢﻘ ﹰ‬

‫ﻟﻜـﻥْ ﻤﻭﺩﱠ ﹸﺓ ﻁﺎﺌـ ﹴﺭ ﻤﺄﺴـﻭ ﹺﺭ‬ ‫ﻙ ﻤﻭ ﱠﺩﺓﹲ‬

‫ﻏ ﱢﺭﺩْ ‪ ،‬ﻓﻔﻲ ﻗﻠﺒﻲ ﺇﻟﻴ َ‬

‫ﻑ ﺍﻟﺩﻜﺘﻭ ُﺭ ﻤﺤﻤّﺩ ﺍﻟﻀﺎﻟﻊ‪ ،‬ﻋﻨ َﺩ ﻗﺼﻴﺩ ِﺓ ﺒﺩﺭ ﺍﻟﺴﻴّﺎﺏ )ﺃﻨﺸﻭﺩﺓ ﺍﻟﻤﻁﺭ()‪ ،(3‬ﻭﻗـﺩ ﺃﺨـ ﹶﺫ‬
‫ﻜﺫﻟﻙ ﺘﻭ ﹼﻗ ﹶ‬

‫ﻤﻨﻬﺎ ﻗﻭﹶﻟـﻪ‪:‬‬

‫ﻅﻤﺕﹾ ﻋﻠﻰ ﺍﻟﺘﻔﻌﻴﻠ ِﺔ‪ُ :‬ﻤﺴْ ﹶﺘﻔﹾ ِﻌﹸﻠﻥْ(‬

‫) ﹸﻨ ِ‬ ‫ﻤﻁﺭْ ‪...‬‬

‫)‪(1‬‬
‫ﻲ‪ .‬ﺹ‪.106 -104‬‬
‫ﺍﻨﻅﺭ ﺍﻟﻘﺼﻴﺩﺓ‪ :‬ﺩﻴﻭﺍﻥ ﺃﺒﻲ ﺍﻟﻘﺎﺴﻡ ﺍﻟﺸﺎ ّﺒ ّ‬
‫)‪(2‬‬
‫ﺍﻨﻅﺭ ﺍﻟﻘﺼﻴﺩﺓ‪ :‬ﺍﻟﻤﺭﺠﻊ ﻨﻔﺴﻪ‪ .‬ﺹ‪.85 - 83‬‬
‫)‪ (3‬ﺍﻨﻅﺭ ﺍﻟﻘﺼﻴﺩﺓ‪ :‬ﺍﻟﺴﻴّﺎﺏ‪ ،‬ﺒﺩﺭ ﺸﺎﻜﺭ‪ :‬ﺍﻟﺩﻴﻭﺍﻥ‪ .‬ﻤﺠﻠﹼﺩﺍﻥ‪ .‬ﺒﻴﺭﻭﺕ‪ :‬ﺩﺍﺭ ﺍﻟﻌﻭﺩﺓ ‪. 481 - 474 / 1 . 1997 .‬‬
‫‪60‬‬
 ‫ﻤﻁﺭْ ‪...‬‬

‫ﻤﻁﺭْ ‪...‬‬

‫ﻕ ﺠﻭﻉْ‬
‫ﻭﻓﻲ ﺍﻟﻌﺭﺍ ِ‬

‫ل ﻓﻴﻪ ﻤﻭﺴ ُﻡ ﺍﻟﺤﺼﺎﺩْ‬

‫ﻭﻴﻨﺜ ُﺭ ﺍﻟﻐﻼ َ‬

‫ﻥ ﻭﺍﻟﺠﺭﺍﺩْ‬
‫ﻟﺘﺸﺒ َﻊ ﺍﻟﻐﺭﺒﺎ ُ‬

‫ﻥ ﻭﺍﻟﺤﺠﺭْ‬
‫ﻥ ﺍﻟﺸﹼﻭﺍ َ‬
‫ﻭﺘﻁﺤ ُ‬

‫ﺭﺤًﻰ ﺘﺩﻭ ُﺭ ﻓﻲ ﺍﻟﺤﻘﻭلﹺ‪ ،‬ﺤﻭﻟﹶﻬﺎ ﺒﺸﺭْ‬

‫ﻤﻁﺭْ ‪...‬‬

‫ﻤﻁﺭْ ‪...‬‬

‫ﻤﻁﺭْ ‪...‬‬

‫ل ﻤﻥ ﺩﻤﻭﻉْ‬
‫ﻭﻜﻡ ﺫﺭﻓﻨﺎ ﻟﻴﻠ ﹶﺔ ﺍﻟﺭﺤﻴ ﹺ‬

‫ﻑ ﺃﻥ ﻨﻼﻡَ‪ ،‬ﺒﺎﻟﻤﻁﺭْ‬
‫ﺜ ﱠﻡ ﺍﻋﺘﹶﻠﻠﹾﻨﺎ‪ ،‬ﺨﻭ ﹶ‬

‫ﻤﻁﺭْ ‪...‬‬

‫ﻤﻁﺭْ ‪...‬‬

‫ﻭﻤﻨ ﹸﺫ ﺃﻥْ ﻜﻨﹼﺎ ﺼﻐﺎﺭًﺍ‪ ،‬ﻜﺎﻨﺕ ﺍﻟﺴﻤﺎﺀْ‬

‫ﺘﻐﻴ ُﻡ ﻓﻲ ﺍﻟﺸﺘﺎﺀْ‬

‫ل ﺍﻟﻤﻁﺭْ‬
‫ﻭﻴﻬﻁ ُ‬

‫‪61‬‬
 ‫ﺏ ﺍﻟﺜﹼﺭﻯ‪ ،‬ﻨﺠﻭﻉْ‬
‫ﻥ ﻴﻌﺸ ُ‬
‫ل ﻋﺎﻡﹴ‪ ،‬ﺤﻴ َ‬
‫ﻭﻜ ﱠ‬

‫ﺱ ﻓﻴﻪ ﺠﻭﻉْ‬
‫ﻕ ﻟﻴ َ‬
‫ﻤﺎ ﻤ ﱠﺭ ﻋﺎﻡٌ‪ ،‬ﻭﺍﻟﻌﺭﺍ ﹸ‬

‫ﻤﻁﺭْ ‪...‬‬

‫ﻤﻁﺭْ ‪...‬‬

‫ﻤﻁﺭْ ‪...‬‬

‫ﻁ‬
‫ل ﻓﻲ ﻫﺫﻩ ﺍﻟﻘﺼﻴﺩ ِﺓ‪ ،‬ﺍﻟﻜﻠﻤ ﹶﺔ )ﻤﻁﺭ(‪ ،‬ﻓﻲ ﺭﺴ ﹺﻡ ﺼﻭﺭ ِﺓ ﺘﺴﺎﻗ ِ‬
‫ﺏ ﻗﺩ ﺍﺴﺘﻐ ﱠ‬
‫ﻥ ﺍﻟﺴﻴّﺎ َ‬
‫ل ﺍﻟﺩﻜﺘﻭ ُﺭ‪ :‬ﺇ ﱠ‬
‫ﻴﻘﻭ ُ‬
‫ﺕ ﺍﻟﺭّﺍ ِﺀ ﻓﻴﻬﺎ؛ ﻓﻔـﻲ ﺃﺜﻨـﺎ ِﺀ ﻨﻁﻘِﻨـﺎ‬
‫ل ﺘﹶﻜﺭﺍﺭﹺﻫﺎ‪ ،‬ﻭﺘﹶﻜﺭﺍ ﹺﺭ ﺼﻭ ِ‬
‫ﺕ ﺍﻟﻤﻁ ﹺﺭ ﻭﺍﺼﻁﺩﺍﻤِﻬﺎ‪ ،‬ﻤﻥ ﺨﻼ ﹺ‬
‫ﻗﻁﺭﺍ ِ‬

‫ﺕ ﺍﻟﻤﻁﺭ)‪.(1‬‬
‫ﻥ ﻓﻲ ﺍﻟﻔﻡ‪ ،‬ﻨﺸﻌ ُﺭ ﺒﺘﺭ ّﺩ ِﺩ ﻗﻁﺭﺍ ِ‬
‫ﺕ ﺍﻟﹼﻠﺴﺎ ﹺ‬
‫ﻱ؛ ﻟﺘﺭ ّﺩ ِﺩ ﻀﺭﺒﺎ ِ‬
‫ﺕ ﺍﻟﺭّﺍ ِﺀ ﺍﻟﺘﺭﺩّﺩ ّ‬
‫ﺼﻭ ﹶ‬

‫ﻲ ﻓﻲ ﻨﻘﺩِﻫﻡ‪ ،‬ﺍﻟﺩﻜﺘﻭ ُﺭ ﻤﺤﻤّﺩ ﺍﻟﻨﻭﻴﻬﻲ؛‬

‫ﻲ ﺍﻟﺩﻻﻟ ﱠ‬
‫ﺏ ﺍﻟﺼﻭﺘ ﱠ‬
‫ﻭﻤﻥ ﺍﻟﻨﻘﹼـﺎ ِﺩ ﺍﻟﺫﻴﻥ ﺭﺍﻋﻭﺍ‪ ،‬ﻫﺫﺍ ﺍﻟﺠﺎﻨـ َ‬
‫ﻲ ﺍﻟﺤﺎﺩﺭﺓ)‪:(2‬‬
‫ل ﻓﻲ ﻤﻁﻠ ﹺﻊ ﻗﺼﻴﺩ ِﺓ ﺍﻟﺸﺎﻋ ﹺﺭ ﺍﻟﺠﺎﻫﻠ ﱢ‬
‫ﻓﻴﻘﻭ ُ‬

‫ﻕ ﻟﻡ َﻴﺭْﺒَـ ﹺﻊ)‪) (3‬ﺍﻟﻜﺎﻤل(‬

‫ﻏ ُﺩﻭﱠ ﻤُﻔﺎﺭ ٍ‬
‫ﻏ َﺩﺕﹾ ﹸ‬
‫ﻭﹶ‬ ‫ﺒَـﻜﺭﺕﹾ ﺴُﻤﻴﱠـﺔﹸ ﺒﻜـﺭ ﹰﺓ ﻓﺘﹶﻤ ﱠﺘ ﹺﻊ‬

‫ﻑ ﺘﺴـﺎﻋ ُﺩ ﺒﺠﺭﺴِـﻬﺎ‬
‫ﻥ‪ ،‬ﺍﻟﺘﻲ ﺘﺄﺘﻲ ﺭﻭﻴ‪‬ﺎ ﻟﻠﺸﻁﺭﻴﻥ‪ ،‬ﻭﻜﻴـ ﹶ‬
‫))‪ ...‬ﺜ ﱠﻡ ﻟﻨﻠﺘﻔﺕﹾ ﺇﻟﻰ ﺭﻭﻋ ِﺔ ﻫﺫﻩ ﺍﻟﻌﻴ ﹺ‬
‫ﻥ‬
‫ﻑ ﺘﺴـﺎﻋﺩُﻫﺎ ﺍﻟﻐﻴﻨـﺎ ﹺ‬
‫ﻉ‪ ،‬ﺍﻟﺫﻱ ﻴﺭﻴ ُﺩ ﺍﻟﺸﺎﻋ ُﺭ ﺇﺜﺎﺭﺘﹶﻪ‪ ،‬ﻭﻜﻴـ ﹶ‬
‫ﻉ ﻭﺍﻟﺠﺯ ﹺ‬
‫ﻕ ﺠ ﱢﻭ ﺍﻟﺭﻭ ﹺ‬
‫ﻲ‪ ،‬ﻋﻠﻰ ﺨﻠ ِ‬
‫ﺍﻟﺼﻭﺘ ﱢ‬

‫ﺹ ﺒﻬﻤﺎ ﺍﻟﻔ ُﻡ ﻓﻲ ﻤﺭﺍﺭ ِﺓ ﺍﻟﺸﻜﻭﻯ(()‪.(4‬‬

‫ﻏ ُﺩﻭﱠ "؛ ﻴﻐ ﱡ‬
‫ﻏ َﺩﺕﹾ ﹸ‬
‫ﻥ ﻓﻲ ﻗﻭﻟِﻪ‪ " :‬ﹶ‬
‫ﺍﻟﻤﺭﺩّﺩﺘﺎ ﹺ‬

‫ﻑ ﻤﺤﻤّﺩ ﻤﻨﺩﻭﺭ‪ ،‬ﻓـﻲ ﻨﻘﺩِﻩ ﻗﺼﻴﺩ ﹶﺓ ﻤﻴﺨﺎﺌﻴل ﻨﻌﻴﻤﺔ‪ ،‬ﺍﻟﺴﺎﺒﻘ ﹶﺔ ﺍﻟﺫﻜﺭ )ﺃﺨـﻲ(‪ ،‬ﻋﻨـ َﺩ‬
‫ﻜﺫﻟﻙ‪ ،‬ﺘﻭ ﹼﻗ ﹶ‬
‫ﺕ‪:‬‬
‫ﺍﻟﺒﻴـ ِ‬

‫)‪(1‬‬
‫ﺍﻟﻀﺎﻟﻊ‪ ،‬ﻤﺤﻤّﺩ ﺼﺎﻟﺢ‪ :‬ﺍﻷﺴﻠﻭﺒﻴّﺔ ﺍﻟﺼﻭﺘﻴّﺔ‪ .‬ﺹ‪.30 – 25‬‬
‫)‪(2‬‬
‫ﺍﻟﺤﺎﺩﺭﺓ‪ :‬ﻟﻘﺏ ﺍﻟﺸﺎﻋﺭ ﻗﻁﺒﺔ ﺒﻥ ﺃﻭﺱ ﺒﻥ ﻤﺤﺼﻥ ﺒﻥ ﺠﺭﻭل‪.‬‬
‫)‪ (3‬ﺍﻨﻅﺭ‪ :‬ﺍﻟﻀﺒّﻲ‪ ،‬ﺃﺒﻭ ﺍﻟﻌﺒّﺎﺱ ﺍﻟﻤﻔﻀل ﺒﻥ ﻤﺤﻤّﺩ‪ :‬ﺍﻟﻤﻔﻀﻠﻴّﺎﺕ‪ .‬ﺘﺤﻘﻴﻕ ﺃﺤﻤﺩ ﻤﺤﻤّﺩ ﺸﺎﻜﺭ‪ ،‬ﻭﻋﺒـﺩ ﺍﻟﺴـﻼﻡ ﻤﺤﻤّـﺩ ﻫـﺎﺭﻭﻥ‬
‫ﻭﺸﺭﺤﻬﻤﺎ‪ .‬ﻁ‪ .6‬ﺍﻟﻘﺎﻫﺭﺓ‪ :‬ﺩﺍﺭ ﺍﻟﻤﻌﺎﺭﻑ‪) .‬ﺩ‪ .‬ﺕ(‪ .‬ﺹ‪.43‬‬
‫)‪(4‬‬
‫ﺍﻟﻨﻭﻴﻬﻲ‪ ،‬ﻤﺤﻤّﺩ‪ :‬ﺍﻟﺸﻌﺭ ﺍﻟﺠﺎﻫﻠﻲّ‪ ،‬ﻤﻨﻬﺞ ﻓﻲ ﺩﺭﺍﺴﺘﻪ ﻭﺘﻘﻭﻴﻤﻪ‪ .‬ﺠﺯﺀﺍﻥ‪ .‬ﺍﻟﻘﺎﻫﺭﺓ‪ :‬ﺍﻟﺩﺍﺭ ﺍﻟﻘﻭﻤﻴّﺔ‪) .‬ﺩ‪ .‬ﺕ(‪.173 / 1 .‬‬
‫‪62‬‬
 ‫ﻼﻨِـﻪْ‬
‫ﻥ ﺨـ ﹼ‬
‫ﻙ ﻓـﻲ ﺃﺤﻀـﺎ ﹺ‬
‫ﻭﺃﻟﻘـﻰ ﺠﺴﻤَـﻪ ﺍﻟﻤﻨـﻬـﻭ َ‬

‫ﺕ ﺍﻟـﺜﻼﺙ‪:‬‬ ‫ل‪)) :‬ﻟﺴ ﹸ‬

‫ﺕ ﺃﺩﺭﻱ ﻤﺎ ﻤﺼﺩ ُﺭ ﺍﻟﺘﺄﺜﻴـ ﹺﺭ ﻓﻲ ﺍﻟﺒﻴﺕ‪ ،‬ﺃﻫـ َﻭ ﻓـﻲ ﻫــﺫﻩ ﺍﻟﻤــﺩّﺍ ِ‬ ‫ﻓﻘﺎ َ‬

‫)ﻤﻨﻬﻭﻙ(‪) ،‬ﺃﺤﻀﺎﻥ(‪) ،‬ﺨﻼﹼﻥ(‪ ،‬ﺍﻟﺘﻲ ﺘﻭﺤﻲ ﺒﺎﻟﺘﺄﺴّﻲ‪ ،‬ﻭﺍﻟﺭﺍﺤ ِﺔ‪ ،‬ﻭﺍﻟﺤﻨﺎﻥ‪.(1)((...‬‬

‫ﻱ‪ ،‬ﺒﺘﻜﺭﺍﺭﹺﻩ ﻓﻲ ﺍﻟﻜﻼﻡ‪ ،‬ﻜﻤﺎ ﺒﻴّﻨﺕ ﻟﻨـﺎ‬

‫ﺕ ﺍﻟﻠﹼﻐﻭ ﱡ‬
‫ﻱ‪ ،‬ﺍﻟﺫﻱ ﻴﻜﺘﺴﺒُﻪ ﺍﻟﺼﻭ ﹸ‬
‫ﻥ ﻫﺫﺍ ﺍﻹﻴﺤﺎ َﺀ ﺍﻟﺘﻌﺒﻴﺭ ﱠ‬
‫ﺇﱠ‬

‫ﺏ‬
‫ﻲ ﻴﻨﺎﺴـ ُ‬
‫ﺱ ﺼـﻭﺘ ﱟ‬
‫ﺕ‪ ،‬ﺍﻟﺘﻲ ﺘﺘﻤﺘﹼـ ُﻊ ﺒﺠـﺭ ﹴ‬
‫ﺍﻷﻤﺜﻠ ﹸﺔ ﺍﻟﺴﺎﺒﻘﺔ‪ ،‬ﻴﻜﺘﺴﺒُﻪ ﻜﺫﻟﻙ‪ ،‬ﺒﻭﺠﻭﺩِﻩ ﻓﻲ ﺘﻠﻙ ﺍﻟﻜﻠﻤﺎ ِ‬

‫ﺕ ﺩﻻﻟﻴّﺔ‪.‬‬
‫ﻕ ﻤﻥ ﺇﻴﺤﺎﺀﺍ ٍ‬
‫ﻤﻌﺎﻨﻴَﻬﺎ‪ ،‬ﻭﻴﺩﻋﻤُﻬﺎ ﺒﻤﺎ ﻴﺤﻘﹼ ﹸ‬

‫ﻅ ) َﺯﻗﹼﻭﻡ‪ ،(zaq/quum :‬ﻓﻲ ﻗﻭﻟِﻪ ﺘﻌﺎﻟﻰ‪﴿ :‬ﺜﹸـ ﱠﻡ‬

‫ل ﺍﻟﺩﻜﺘﻭ ﹺﺭ ﺘﻤﺎﻡ ﺤﺴّﺎﻥ‪ ،‬ﻓﻲ ﺍﻟﻠﹼﻔ ِ‬
‫ﻭﻤﻥ ﺫﻟﻙ‪ ،‬ﻗﻭ ُ‬
‫ﻥ‬
‫ﻅ ﻴـﻭﺤﻲ ﺒـﺄﻤﺭﻴ ﹺ‬
‫ﻥ ﻫﺫﺍ ﺍﻟﻠﹼﻔ ﹶ‬
‫ﺸﺠَﺭﹴ ِﻤﻥْ َﺯﻗﹼﻭﻡ﴾)‪ :(2‬ﺇ ﱠ‬ ‫ﻥ * ﻵﻜِﻠﻭ َ‬
‫ﻥ ِﻤﻥْ ﹶ‬ ‫ﻥ ﺍﻟ ُﻤ ﹶﻜﺫﱢﺒـﻭ َ‬
‫ﺇ ﱠﻨ ﹸﻜﻡْ ﺃﻴﱡﻬﺎ ﺍﻟﻀّﺎﻟﹼﻭ َ‬

‫ﻻ‬
‫ل ﺸـﻲ ٍﺀ‪ ،‬ﺇ ﹼ‬
‫ﻙ ﺍﻟﻤﺎ ّﺩ ِﺓ )ﺯ‪ ،‬ﻕ‪ ،‬ﻡ(‪ ،‬ﻭﺍﻟﻤﺎ ّﺩ ِﺓ )ﺱ‪ ،‬ﻕ‪ ،‬ﻡ(‪ ،‬ﻓﻲ ﻜـ ﱢ‬
‫ل ﻓﻲ ﺍﺸﺘﺭﺍ ِ‬
‫ل ﺍﻷﻭّ ُ‬
‫ﻥ‪ :‬ﻴﺘﻤ ﹼﺜ ُ‬
‫ﻜﺭﻴﻬﻴ ﹺ‬
‫ل ﺍﻷﻤـ ُﺭ‬
‫ﺙ ﺍﻟﺠﻬ ُﺭ ﻭﺍﻟﻬﻤﺱ‪ .‬ﻭﻤﻥ ﻫﻨﺎ ﻴﻭﺤﻲ ) َﺯﻗﹼﻭﻡ( ﺒﺎﻟﺴﻘﻡ‪ .‬ﻭﻴﺘﻤﺜﹼ ُ‬
‫ﻥ‪ ،‬ﻤﻥ ﺤﻴ ﹸ‬
‫ﻱ ﻭﺍﻟﺴﻴ ﹺ‬
‫ﻑ ﺍﻟﺯﺍ ﹺ‬
‫ﺍﺨﺘﻼ ﹶ‬

‫ل‬
‫ﺏ ﻤﺨﺭﺠُﻬﺎ ﻤﻥ ﺍﻟﺒﻠﻌﻭﻡ‪ ،‬ﻭﺍﻟﻤﻴ ﹺﻡ ﺍﻟﺘـﻲ ﻴﻘﺘﻀـﻲ ﻨﻁﻘﹸﻬـﺎ ﺇﻗﻔـﺎ َ‬
‫ﻑ‪ ،‬ﺍﻟﺘﻲ ﻴﻘﺭ ُ‬
‫ﺍﻵﺨ ُﺭ ﻓﻲ ﺘﻭﺍﻟﻲ ﺍﻟﻘﺎ ِ‬

‫ل‬
‫ﻥ ﺜﻤﺭ ﹶﺓ ﻫﺫﻩ ﺍﻟﺸﺠﺭ ِﺓ‪ ،‬ﺘﺴﺘﻌﺼﻲ ﻋﻠـﻰ ﺍﻟﺒﻠـﻊ‪ ،‬ﻭﻴﻁـﻭ ُ‬
‫ﻥ‪ ،‬ﻴﻭﺤﻲ ﺃ ﱠ‬
‫ﻥ ﺍﻟﺼﻭﺘﻴ ﹺ‬
‫ﺍﻟﺸﻔﺘﻴﻥ؛ ﻓﺘﻭﺍﻟﻲ ﻫﺫﻴ ﹺ‬
‫ﻑ‬
‫ﻑ ﻭﺍﻟﻤﻴﻡ‪ .‬ﻭﻴﻀﺎ ﹸ‬
‫ﻥ ﺍﻟﻘﺎ ِ‬
‫ل ﺍﻟﻭﺍ ﹺﻭ )ﺍﻟﻀﻤّﺔ ﺍﻟﻁﻭﻴﻠﺔ( ﺍﻟﺘﻲ ﺒﻴ َ‬
‫ﻑ‪ ،‬ﻭﻁﻭ ﹺ‬
‫ﺍﺴﺘﻌﺼﺎﺅُﻫﺎ ﺒﺈﻴﺤﺎ ِﺀ ﺘﺸﺩﻴ ِﺩ ﺍﻟﻘﺎ ِ‬

‫ﻥ ﻤﻥ ﺃﺤﺭﻓِﻬﺎ؛ ﻤﻤّﺎ ﻴﻌﺯّ ُﺯ ﻓﻜﺭ ﹶﺓ ﺇﺭﺍﺩ ِﺓ ﺍﻟﺒﻠـ ﹺﻊ‬

‫ﺇﻟﻰ ﺫﻟﻙ‪ ،‬ﻤﺸﺎﺭﻜ ﹸﺔ ﻫﺫﻩ ﺍﻟﻜﻠﻤ ِﺔ‪ ،‬ﺍﻟﻜﻠﻤ ﹶﺔ )ﻟﻘﻤﺔ( ﻓﻲ ﺤﺭﻓﻴ ﹺ‬

‫ﻕ( ﺍﻟﻁﺎﺌ ُﺭ‬

‫ﻥ ﻓﻲ‪) :‬ﺯ ﱠ‬
‫ﻥ ﺍﻟﻠﹼﺫﺍ ﹺ‬
‫ﻱ ﻭﺍﻟﻘﺎﻑ‪ ،‬ﻭﻫﻤﺎ ﺍﻟﺤﺭﻓﺎ ﹺ‬
‫ﻅ ﻋﻠﻰ ﺍﻟﺯﺍ ﹺ‬
‫ل ﺍﻟﻠﹼﻔ ِ‬
‫ﻑ ﺍﺸﺘﻤﺎ ُ‬
‫ﻤﻊ ﺍﻟﻤﺸﻘﹼﺔ‪ ،‬ﻜﻤﺎ ﻴﻀﺎ ﹸ‬
‫ﻓﺭﺨﹶﻪ‪ ،‬ﺃﻱ ﺃﻁﻌﻤَﻪ ﺒﻔﻤِﻪ)‪.(3‬‬

‫)‪(1‬‬
‫ﻤﻨﺩﻭﺭ‪ ،‬ﻤﺤﻤّﺩ‪ :‬ﻓﻲ ﺍﻟﻤﻴﺯﺍﻥ ﺍﻟﺠﺩﻴﺩ‪ .‬ﺹ‪.51 ،50‬‬
‫)‪ (2‬ﺍﻟﻭﺍﻗﻌﺔ‪.52 ،51 :‬‬
‫)‪(3‬‬
‫ﻻ؛ ﻓﻴﺩﺨﻠﻬﺎ ﻓﻲ ﻤﻌﺠﻡ ﺍﻟﻠﹼﻐﺔ؛ ﻓﻼ ﻭﺠـﻭﺩ ﻓـﻲ ﻤﻔـﺭﺩﺍﺕ ﺍﻟﻌﺭﺒﻴّـﺔ‬
‫ﻲ ﺍﻟﻜﻠﻤﺔ ﺍﻟﻤﻔﺭﺩﺓ ﻴﺭﺘﺠﻠﻬﺎ ﺍﺭﺘﺠﺎ ﹰ‬
‫ﺹ ﺍﻟﻘﺭﺁﻨ ّ‬
‫ﻗﺩ ﻴﺼﻭﻍ ﺍﻟﻨ ّ‬
‫ﻁﻠﹾﻌُﻬـﺎ‬
‫ل ﺍﻟﺠﺤـﻴ ﹺﻡ * ﹶ‬
‫ﺝ ﻓﻲ ﺃﺼ ﹺ‬
‫ﺍﻟﺠﺎﻫﻠﻴّﺔ‪ ،‬ﻭﻻ ﻓﻲ ﺼﺤﺭﺍﺀ ﺸﺒﻪ ﺍﻟﺠﺯﻴﺭﺓ‪ ،‬ﻟﺸﺠﺭﺓ ﺘﺴﻤّﻰ )ﺸﺠﺭﺓ ﺍﻟﺯﻗﹼﻭﻡ(‪ ﴿ .‬ﺇﻨﱠﻬﺎ ﺸﺠﺭﺓﹲ ﺘﺨﺭ ُ‬
‫ﺱ ﺍﻟﺸﹼﻴﺎﻁﻴﻥ ﴾ )ﺍﻟﺼّﺎﻓﹼﺎﺕ‪ ،(65 ،64 :‬ﻭﻟﻜﻥ ﺍﺴﻡ ﻫﺫﻩ ﺍﻟﺸﺠﺭﺓ‪ ،‬ﻴﺭﺩ ﻓﻲ ﺍﻟﻘﺭﺁﻥ ﺍﻟﻜﺭﻴﻡ ﺒﻭﺴﺎﻁﺔ ﺍﻻﺭﺘﺠﺎل؛ ﻟﻴﻜـﻭﻥ‬
‫ﻜﺄﻨﱠ ُﻪ ﺭﺅﻭ ُ‬
‫ﺸﺭًﺍ ﺃﺴﻠﻭﺒـﻴ‪‬ﺎ‪ ،‬ﻤﻌﻨﺎﻩ ﻤﻥ ﻗﺒﻴل ﺍﻟﻤﻌﺎﻨﻲ ﺍﻻﻨﻁﺒﺎﻋﻴّﺔ‪ ،‬ﺍﻟﺘﻲ ﺘﻨﺒﻨﻲ ﻋﻠﻰ ﺍﻟﺤﻜﺎﻴﺔ ﻭﺍﻹﻴﺤﺎﺀ‪ .‬ﺍﻨﻅﺭ‪ :‬ﺤﺴﺎﻥ‪ ،‬ﺘﻤـﺎﻡ‪ :‬ﺍﺠﺘﻬـﺎﺩﺍﺕ‬
‫ﻤﺅ ﹼ‬
‫ﻟﻐﻭﻴّﺔ‪ .‬ﻁ‪ .1‬ﺍﻟﻘﺎﻫﺭﺓ‪ :‬ﻋﺎﻟﻡ ﺍﻟﻜﺘﺏ‪ .2007 .‬ﺹ‪.266‬‬
‫‪63‬‬
‫ﻥ*ﻻ‬
‫ﻏﺴْـﻠﻴ ﹴ‬
‫ﻻ ﻤﻥ ِ‬
‫ﻏﺴْـﻠﻴﻥ‪ ،( is/liin :‬ﻓﻲ ﻗﻭﻟِﻪ ﺘﻌﺎﻟﻰ‪﴿ :‬ﻭﻻ ﻁﻌﺎﻡٌ ﺇ ﹼ‬
‫ﻅ)ِ‬
‫ل ﻓﻲ ﺍﻟﻠﹼﻔ ِ‬
‫ﻭﻴﻘﻭ ُ‬

‫ﻥ ﻫﺫﺍ ﺍﻟﻁﻌﺎ َﻡ )ﻏﺴﺎﻟﺔﹲ( ﻟﺸﻲ ٍﺀ ﺁﺨﺭ‪ ،‬ﻭﺃﻨﱠﻪ ﻏﻴ ُﺭ‬

‫ﻏﺴْـﻠﻴﻥ(‪ ،‬ﺃ ﱠ‬
‫ﻅ)ِ‬
‫ﻴﻭﺤﻲ ﺍﻟﻠﹼﻔ ﹸ‬ ‫ﺍﻟﺨﺎﻁﺌـﻭﻥ﴾)‪:(1‬‬ ‫ﻻ‬
‫ﻴﺄﻜﻠﹸﻪ ﺇ ﹼ‬

‫ﻥ ﻋﻨـ َﺩ ﺇﺭﺍﺩ ِﺓ‬

‫ﻥ ﺍﻟﻐﺭﻏﺭ ِﺓ‪ ،‬ﺍﻟﺘـﻲ ﺘﻜـﻭ ُ‬
‫ﻥ ﻤﻥ ﺍﻟﺘﺄﺨﹼـ ﹺﺭ ﻓﻲ ﻤﻜﺎ ﹺ‬
‫ﺝ ﺍﻟﻐﻴ ﹺ‬
‫ﺏ ﻤﺎ ﻓﻲ ﻤﺨﺭ ﹺ‬
‫ﻍ‪ ،‬ﺒﺴﺒ ﹺ‬
‫ﻤﺴﺘﺴﺎ ﹴ‬
‫ل ﺴﺎﻜﻨﹰﺎ‪ ،‬ﻋﻨـ َﺩ ﺇﺭﺍﺩ ِﺓ ﺍﻟﺘﻌﺒﻴ ﹺﺭ ﻋﻥ ﺍﻟﺘﻘﺯّﺯ)‪.(2‬‬
‫ﻥ ﻜﺫﻟﻙ‪ ،‬ﺼـﻭﺕﹲ ﻴﺴﺘﻌﻤ ُ‬
‫ﻑ ﺍﻟﺤﻠﻘـﻭﻡ‪ .‬ﻭﺍﻟﻐﻴ ُ‬
‫ﺘﻨﻅﻴ ِ‬

‫ﻲ‬
‫ل ﺸﺄﻨﹰﺎ ﻤﻤّﺎ ﺴﺒﻕ؛ ﻓﻠﻬﺎ ﺃﺜﺭُﻫﺎ ﺍﻟﺩﻻﻟ ﱡ‬
‫ل‪ ،‬ﺒﺄﻗ ﱠ‬
‫ﺼﹺ‬‫ﺕ ﻏﻴ ُﺭ ﺍﻟﺘﺭﻜﻴﺒ ّﻴ ِﺔ‪ ،‬ﻜﺎﻟﺘﻨﻐﻴ ﹺﻡ ﻭﺍﻟ َﻤﻔﹾ ِ‬
‫ﻭﻟﻴﺴﺕ ﺍﻟﻔﻭﻨﻴﻤﺎ ﹸ‬
‫ﺏ ﺍﻟﺫﻱ ﻴﻘ ُﻊ ﻋﻠﻴﻪ‪ ،‬ﺩﻻﻟ ﹰﺔ ﻤﻌﻴّﻨﺔ‪ ،‬ﻜﺎﻻﺴﺘﻔﻬﺎ ﹺﻡ‪،‬‬
‫ﺏ ﺍﻟﺘﺭﻜﻴ ﹺ‬
‫ل ﺍﻟﺘﻨﻐﻴ ُﻡ ﻋﻠﻰ ﺇﻜﺴﺎ ﹺ‬
‫ﺢ ﻓﻲ ﺍﻟﻜﻼﻡ؛ ﻓﻴﻌﻤ ُ‬
‫ﺍﻟﻭﺍﻀ ُ‬
‫ﺕ؛ ﻓﻘـﺩ ﺘﻌﻨﻲ ﺍﻻﺴـﺘﻔﻬﺎ َﻡ‪ ،‬ﺃﻭ‬
‫ﻥ ﺠﺌـ ﹶ‬
‫ﻼ ﻋﺒﺎﺭ ﹰﺓ ﻤﺜل‪ :‬ﺍﻵ َ‬
‫ﻭﺍﻷﻤ ﹺﺭ‪ ،‬ﻭﺍﻟﺘﻘﺭﻴ ﹺﺭ‪ ،‬ﻭﺍﻟﺘﻌﺠّﺏ‪...‬؛ ﻓﺘﺄ ّﻤلْ ﻤﺜ ﹰ‬
‫ﺏ‪ ،‬ﺃﻭ ﻋﺩ َﻡ ﺍﻟﺭﻀﺎ‪...‬؛ ﻭﺫﻟﻙ ﺒﻨﺎ ًﺀ ﻋﻠﻰ ﺍﻟﺘﻨﻐﻴ ﹺﻡ ﺍﻟﺫﻱ ﻴﺼﺎﺤﺒُﻬﺎ‪ .‬ﻜﺫﻟﻙ ﻴﻜﺸ ﹸ‬
‫ﻑ ﺍﻟﺘﻨﻐـﻴ ُﻡ‪ ،‬ﻋـﻥ‬ ‫ﺠ َ‬
‫ﺍﻟﺘﻌ ّ‬
‫ﺏ‪،‬‬
‫ﺕ ﺍﻟﻤﺘﻜﹼﻠ ﹺﻡ ﺍﻟﻨﻔﺴﻴّـ ِﺔ‪ ،‬ﻜﺎﻟﻐﻀ ﹺ‬
‫ﻥ ﺍﻷﻓﺭﺍﺩ‪ ،‬ﻭﺤﺎﻻ ِ‬
‫ل ﺒﻴ َ‬
‫ﺕ ﺍﻟﻨﻅ ﹺﺭ ﺍﻟﺸﺨﺼ ّﻴ ِﺔ‪ ،‬ﻓﻲ ﻋﻤﻠ ّﻴ ِﺔ ﺍﻻﺘﺼﺎ ﹺ‬
‫ﻭﺠﻬﺎ ِ‬
‫ﻑ ﺇﻟـﻰ ﻁﺒﻘـ ِﺔ ﺍﻟﻔـﺭ ِﺩ ﺍﻻﺠﺘﻤﺎﻋﻴّـ ِﺔ‬
‫ﺏ ﺩﻭﺭًﺍ ﻓـﻲ ﺍﻟﺘﻌـ ّﺭ ِ‬
‫ﻭﺍﻟﺴﺭﻭ ﹺﺭ‪ ،‬ﻭﺍﻟﺭﻀﺎ‪ ،‬ﻭﺍﻟﺘﻬﻜﹼﻡ‪ ،...‬ﻭﻴﻠﻌ ُ‬
‫ﺏ ﺍﻟﺘﻨﻐﻴ ُﻡ ﺩﻭﺭًﺍ ﻤﻬﻤ‪‬ﺎ ﻓﻲ ﺩﻻﻟ ِﺔ ﺍﻟﻜﻼﻡ؛ ))ﻓﻔﻲ ﺍﻟﻠﹼﻐ ِﺔ ﺍﻟﺼـﻴﻨ ّﻴ ِﺔ‬
‫ﺕ‪ ،‬ﻴﻠﻌ ُ‬ ‫ﻭﺍﻟﺜﻘﺎﻓﻴّـﺔ)‪ .(3‬ﻭﻓﻲ ﺒﻌ ﹺ‬
‫ﺽ ﺍﻟﻠﹼﻐﺎ ِ‬
‫ﻑ ﺍﻟﻨﻐﻤ ِﺔ ﻓﻲ ﺍﻟﻨﻁﻕ(()‪.(4‬‬
‫ﻻ ﺍﺨﺘﻼ ﹸ‬
‫ﻕ ﺒﻴﻨﹶﻬﺎ‪ ،‬ﺇ ﹼ‬
‫ﻥ ﻟﻠﻜﻠﻤ ِﺔ ﺍﻟﻭﺍﺤﺩ ِﺓ ﻋﺩّ ﹸﺓ ﺩﻻﻻﺕ‪ ،‬ﻻ ﻴﻔﺭّ ﹸ‬
‫ﻼ‪ ،‬ﻗﺩ ﻴﻜﻭ ُ‬
‫ﻤﺜ ﹰ‬

‫ل ﻋﻠﻰ ﺃﻨﹼﻬﻡ‪ ،‬ﻋﺭﻓﻭﺍ ﺩﻻﻟ ﹶﺔ ﺍﻟﺘﻨﻐﻴ ﹺﻡ ﻫـﺫﻩ‪ ،‬ﻜﻤﺎ ﻋﺭﻓﻨﺎﻫﺎ‪ ،‬ﻭﻤﻥ‬

‫ﺏ ﺃﻤﺜﻠﺘﹸﻬﻡ‪ ،‬ﺍﻟﺘﻲ ﺘﺩ ﱡ‬
‫ﻭﻟﻌﻠﻤﺎﺌِﻨﺎ ﺍﻟﻌﺭ ﹺ‬
‫ﺕ ﺒـ)ﻤﺎ(‪ ،‬ﻴﻌﻠـ ُﻡ‬
‫ﺕ(‪ ،‬ﻭﺒﺭﻓ ﹺﻊ ﺍﻟﺼـﻭ ِ‬ ‫ل ﺍﻟﺴﻤﺭﻗﻨﺩﻱ )ﺕ ‪ 780‬ﻫـ(‪)) :‬ﻤﺜﺎ ُ‬
‫ل ﺫﻟﻙ‪) :‬ﻤـﺎ ﻗﻠ ﹸ‬ ‫ﺫﻟﻙ ﻗﻭ ُ‬
‫ﻥ ﺒﻴﻥ‪ ،‬ﻴﻌﻠ ُﻡ ﺃﻨﹼﻬﺎ ﺍﺴﺘﻔﻬﺎﻤﻴّﺔ‪ .‬ﻭﻫﺫﻩ‬
‫ﺽ ﺍﻟﺼﻭﺕ‪ ،‬ﻴﻌﻠ ُﻡ ﺃﻨﹼﻬﺎ ﺨﺒﺭﻴّﺔ‪ ،‬ﻭﺇﺫﺍ ﺠﻌﻠﹶﻬﺎ ﺒﻴ َ‬
‫ﺃﻨﹼﻬﺎ ﻨﺎﻓﻴﺔ‪ ،‬ﻭﺇﺫﺍ ﺨﻔ َ‬
‫ﺍﻟﻌﺎﺩ ﹸﺓ ﺠﺎﺭﻴﺔﹲ ﻓﻲ ﺠﻤﻴ ﹺﻊ ﺍﻟﻜﻼﻡ‪ ،‬ﻭﻓﻲ ﺠﻤﻴ ﹺﻊ ﺍﻷﻟﺴﻥ(()‪.(5‬‬

‫ﺕ ﻓﻲ ﺍﻟﺴﻠﺴﻠ ِﺔ ﺍﻟﻜﻼﻤﻴّـﺔ؛‬
‫ل ﻓﻲ ﺒﻴﺎ ِﻨﻪ ﺤﺩﻭ َﺩ ﺍﻟﻜﻠﻤﺎ ِ‬
‫ل ﺍﻟﺩﻻﻟﻴّ ﹸﺔ ﻓﻲ ﺍﻟﻜﻼﻡ‪ ،‬ﻓﺘﺘﻤﺜﹼ ُ‬
‫ﺼﹺ‬‫ﺃﻤّﺎ ﻗﻴﻤ ﹸﺔ ﺍﻟ َﻤﻔﹾ ِ‬

‫ﺽ ﺍﻟﻅـﻭﺍﻫ ﹺﺭ‬
‫ﺱ ﻤﻌﺎﻨﻴﻬﺎ‪ .‬ﻭﻴﻅﻬ ُﺭ ﺫﻟﻙ ﺠﻠﻴ‪‬ﺎ ﻓـﻲ ﺒﻌـ ﹺ‬
‫ﺒﺼﻔﺘِﻪ ﺴﻜﺘ ﹰﺔ ﺨﻔﻴﻔ ﹰﺔ ﺒﻴﻨﹶﻬﺎ؛ ﻓﻴﻤﻨ ُﻊ ﺒﺫﻟﻙ ﺍﻟﺘﺒﺎ َ‬

‫)‪(1‬‬
‫ﺍﻟﺤﺎﻗﹼﺔ‪.37 ،36 :‬‬
‫)‪(2‬‬
‫ﻲ‪ .‬ﻁ‪ .1‬ﺍﻟﻘﺎﻫـﺭﺓ‪ :‬ﻋﺎﻟﻡ ﺍﻟﻜﺘـﺏ‪.1993 .‬‬
‫ﺹ ﺍﻟﻘﺭﺁﻨ ّ‬
‫ﺤﺴﺎﻥ‪ ،‬ﺘﻤﺎﻡ‪ :‬ﺍﻟﺒﻴﺎﻥ ﻓﻲ ﺭﻭﺍﺌﻊ ﺍﻟﻘﺭﺁﻥ‪ ،‬ﺩﺭﺍﺴﺔ ﻟﻐﻭﻴّﺔ ﻭﺃﺴﻠﻭﺒﻴّﺔ ﻟﻠﻨ ّ‬
‫ﺹ‪.294 ،293‬‬
‫)‪(3‬‬
‫ﺒﺸﺭ‪ ،‬ﻜﻤﺎل‪ :‬ﻋﻠﻡ ﺍﻷﺼﻭﺍﺕ‪ .‬ﺹ‪.540 ،539‬‬
‫)‪(4‬‬
‫ﺃﻨﻴﺱ‪ ،‬ﺇﺒﺭﺍﻫﻴﻡ‪ :‬ﺩﻻﻟﺔ ﺍﻷﻟﻔﺎﻅ‪ .‬ﺹ‪.47‬‬
‫)‪(5‬‬
‫ﻼ ﻋﻥ‪ :‬ﺍﻟﺴﻤﺭﻗﻨﺩﻱ‪ ،‬ﻤﺤﻤّﺩ ﺒﻥ ﻤﺤﻤﻭﺩ‬
‫ﺍﻨﻅﺭ‪ :‬ﺍﻟﺤﻤﺩ‪ ،‬ﻏﺎﻨﻡ ﻗﺩّﻭﺭﻱ‪ :‬ﺍﻟﺩﺭﺍﺴﺎﺕ ﺍﻟﺼﻭﺘﻴّﺔ ﻋﻨﺩ ﻋﻠﻤﺎﺀ ﺍﻟﺘﺠﻭﻴﺩ‪ .‬ﺹ‪ .479‬ﻨﻘ ﹰ‬
‫ﺒـﻥ ﻤﺤﻤّﺩ‪ :‬ﺭﻭﺡ ﺍﻟﻤﺭﻴﺩ ﻓﻲ ﺸﺭﺡ ﺍﻟﻌﻘﺩ ﺍﻟﻔﺭﻴﺩ ﻓﻲ ﻨﻅﻡ ﺍﻟﺘﺠﻭﻴﺩ‪ .‬ﻤﺨﻁﻭﻁ‪ .‬ﻤﻜﺘﺒﺔ ﺍﻷﻭﻗﺎﻑ ﺍﻟﻌﺎﻤّﺔ‪ ،‬ﺍﻟﻤﻭﺼل‪ .‬ﺍﻟﺭﻗﻡ ‪،22/2‬‬
‫ﻤﺨﻁﻭﻁﺎﺕ ﻤﺩﺭﺴﺔ ﺍﻟﺤﺠﻴﺎﺕ‪ .‬ﺍﻟﻭﺭﻗﺔ ‪ 139‬ﻅ‪.‬‬
‫‪64‬‬
‫ﻥ ﻴﻌﺘﻤ ُﺩ ﻋﻠـﻰ‬
‫ﻥ ﺍﻟﻜﺭﻴﻡ؛ ﻓﻜﻼ ﺍﻟﻤﺜﻠﻴ ﹺ‬
‫ﻑ ﻓﻲ ﺍﻟﻘﺭﺁ ﹺ‬
‫ﺕ ﺍﻟﺒﺩﻴﻌ ّﻴ ِﺔ‪ ،‬ﻭﺃﺤﻜﺎ ﹺﻡ ﺍﻟﻭﻗ ِ‬
‫ﺽ ﺍﻟﻤﺤﺴّﻨﺎ ِ‬
‫ﺍﻟﻠﹼﻐﻭﻴّﺔ‪ ،‬ﻜﺒﻌ ﹺ‬

‫ﺏ‪ ،‬ﺍﻟـﺫﻱ ﺫﻜﺭ ﹸﺘﻪ ﺴـﺎﺒﻘﹰﺎ)‪،(1‬‬

‫ﺱ ﺍﻟﺘﺭﻜﻴ ﹺ‬
‫ﺕ ﺍﻟﺒﺩﻴﻌ ّﻴ ِﺔ‪ ،‬ﺠﻨﺎ ُ‬
‫ل ﻓـﻲ ﻭﻅﻴﻔﺘِﻪ‪ .‬ﻭﻤﻥ ﺃﻤﺜﻠـ ِﺔ ﺍﻟﻤﺤﺴّﻨﺎ ِ‬
‫ﺼﹺ‬‫ﺍﻟ َﻤﻔﹾ ِ‬

‫ﻱ‪:‬‬
‫ل ﺃﺒﻲ ﺍﻟﻌﻼ ِﺀ ﺍﻟﻤﻌ ّﺭ ّ‬
‫ﻭﻤﻨﻪ ﻗﻭ ُ‬

‫ﺱ ﻋﻨﹼﻲ ﺒﻤُﻘِﻠ ﹺﻊ)‪) (2‬ﺍﻟﻁﻭﻴل(‬

‫ل ﻋﻨﻬﺎ‪ ،‬ﻟﻴ َ‬
‫َﻤﻨﹰﻰ ﺯ ﱠ‬ ‫ﻤَﻁﺎ‪ ،‬ﻴﺎ ﻤَﻁﺎﻴﺎ‪ ،‬ﻭﺠْ َﺩ ﹸﻜﻥﱠ ﻤﻨﺎﺯلٌ‬

‫ﻑ‬
‫ل )ﻤَﻁﺎ(‪ ،‬ﺒﻤﻌﻨﻰ )ﻤـ ﱠﺩ(‪ ،‬ﻭﺤـﺭ ِ‬
‫ﻥ ﺍﻟﻔﻌ ﹺ‬
‫ﺕ‪ ،‬ﺒﻴ َ‬
‫ﻓﻼ ﺒ ﱠﺩ ﻤﻥ ﺴﻜﺘ ٍﺔ ﻅﺎﻫﺭ ٍﺓ‪ ،‬ﻓـﻲ ﺒﺩﺍﻴ ِﺔ ﻫﺫﺍ ﺍﻟﺒﻴ ِ‬

‫ل‬ ‫ﺍﻟﻨﺩﺍ ِﺀ )ﻴﺎ(؛ ﻟﺘﺘﻤ ّﻴ َﺯ ﻫﺫﻩ ﺍﻟﻌﺒﺎﺭ ﹸﺓ )ﻤَﻁﺎ ﻴﺎ(‪ ،‬ﻤﻥ ﺍﻟﻜﻠﻤـ ِﺔ )ﻤَﻁﺎﻴﺎ(‪ :‬ﺠﻤ ﹺﻊ ﻤﻁﻴّﺔ‪ .‬ﻭﺇﺫﺍ ﻜﺎ َ‬
‫ﻥ ﺴ ﱡﺭ ﺠﻤـﺎ ﹺ‬

‫ﻥ ﻤـﻥ‬
‫ﻅ ﺍﻟﻤﺘﺠﺎﻨﺴﺔ(()‪(3‬؛ ﻓﺈ ﱠ‬
‫ﻥ ﺍﻷﻟﻔـﺎ ِ‬ ‫ﻥ ﻓـﻲ ))ﺇﺜـﺎﺭ ِﺓ ﺍﻻﻨﺘﺒـﺎ ِﻩ؛ ﻹﺩﺭﺍ ِ‬
‫ﻙ ﺍﻟﻤﻌﻨـﻰ ﺒﻴ َ‬ ‫ﺱ‪ ،‬ﻴﻜﻤ ُ‬
‫ﺍﻟﺠﻨﺎ ﹺ‬

‫ﻙ ﺍﻟﻤﻌﻨﻰ‪ ،‬ﻓﻲ ﻫـﺫﺍ‬

‫ل‪ ،‬ﺒﻤﺎ ﻴﺤ ﹼﻘﻘﹸﻪ ﻤﻥ ﺍﻨﺘﺒﺎ ٍﻩ ﺃﻜﺜ َﺭ؛ ﻹﺩﺭﺍ ِ‬
‫ل‪ ،‬ﺃﻥ ﻴﺯﻴ َﺩ ﻤﻥ ﻫﺫﺍ ﺍﻟﺠﻤـﺎ ﹺ‬
‫ﺼﹺ‬‫ﻥ ﺍﻟ َﻤﻔﹾ ِ‬
‫ﺸـﺄ ﹺ‬

‫ﻉ ﻤﻥ ﺍﻟﺠﻨﺎﺱ‪.‬‬
‫ﺍﻟﻨﻭ ﹺ‬

‫ﻑ ﺍﻟـﻼﺯ ﹺﻡ‪،‬‬
‫ﻑ ﻋﻨ َﺩ ﻋﻠﻤﺎ ِﺀ ﺍﻟﺘﺠﻭﻴ ِﺩ‪ ،‬ﺒـﺎﻟﻭﻗ ِ‬
‫ﻥ ﺍﻟﻜﺭﻴﻡ‪ ،‬ﻤﺎ ﻴﻌﺭ ﹸ‬
‫ﻑ ﻓﻲ ﺍﻟﻘﺭﺁ ﹺ‬
‫ﻭﻤﻥ ﺃﺒﺭ ﹺﺯ ﺃﻤﺜﻠ ِﺔ ﺍﻟﻭﻗ ِ‬

‫ﻥ ﻭﺍﻟ َﻤﻭْﺘﻰ َﻴﺒْ َﻌﺜﹸﻬﻡ ﺍ ُ‬

‫ﷲ ﹸﺜ ﱠﻡ‬ ‫ﻥ َﻴﺴْﻤَﻌﻭ َ‬ ‫ﻑ ﺍﻟﻤﻤﻨﻭﻉ‪ .‬ﻭﻤﻥ ﺍﻟﻼﺯ ﹺﻡ‪ ،‬ﻗﻭﻟﹸﻪ ﺘﻌﺎﻟﻰ‪﴿ :‬ﺇﻨﱠﻤﺎ َﻴﺴْﺘﹶﺠﻴ ُ‬
‫ﺏ ﺍﻟﱠﺫﻴ َ‬ ‫ﻭﺍﻟﻭﻗ ِ‬

‫ﻥ‬
‫ﻥ(‪ ،‬ﺜ ﱠﻡ ﻤﻭﺍﺼﻠ ِﺔ ﺍﻟﻘﺭﺍﺀﺓ؛ ﻜـﻲ ﻻ ﻴُﻅـﻥﱠ ﺃ ﱠ‬
‫ﺇﻟﻴﻪ ُﻴﺭْﺠَﻌﻭﻥ﴾)‪(4‬؛ ﻓﻼ ﺒ ﱠﺩ ﻤﻥ ﺴﻜﺘ ٍﺔ ﻋﻨ َﺩ ﺍﻟﻜﻠﻤ ِﺔ ) َﻴﺴْﻤَﻌﻭ َ‬
‫ﻑ‪ ،‬ﻓﻲ ﻋﺩﺍ ِﺩ ﻤَﻥ ﻴﺴﻤﻌﻭﻥ‪ .‬ﻭﻤﻥ‬
‫ﻥ(؛ ﻓﻴﻜﻭﻥ ﺍﻟﻤﻭﺘﻰ ﺒﻬﺫﺍ ﺍﻟﻌﻁ ِ‬
‫ﺍﻟﻜﻠﻤ ﹶﺔ )ﺍﻟ َﻤﻭْﺘﻰ(‪ ،‬ﻤﻌﻁﻭﻓﺔﹲ ﻋﻠﻰ )ﺍﻟﱠﺫﻴ َ‬

‫ﻋﹶﻠﻴْـ ِﻪ‬
‫ﺕ ﺒَﻠﻰ َﻭﻋْ ًﺩﺍ َ‬
‫ﷲ َﻤﻥْ ﻴَﻤﻭ ﹸ‬
‫ﺙﺍ ُ‬
‫ﺠﻬْ َﺩ َﺃﻴْﻤﺎﻨِﻬﹺﻡْ ﻻ َﻴﺒْ َﻌ ﹸ‬
‫ﷲ َ‬
‫ﻉ‪ ،‬ﻗﻭﻟﹸﻪ ﺘﻌﺎﻟﻰ‪﴿ :‬ﻭََﺃﻗﹾﺴَﻤﻭﺍ ﹺﺒﺎ ِ‬
‫ﻑ ﺍﻟﻤﻤﻨﻭ ﹺ‬
‫ﺍﻟﻭﻗ ِ‬

‫ﺕ ﻋﻨـ َﺩ ﺍﻟﻜﻠﻤـ ِﺔ‬

‫ﺏ ﺍﻟﺴﻜﻭ ﹶ‬ ‫ﺱ ﻻ َﻴﻌْﻠﹶﻤﻭﻥ﴾)‪(5‬؛ ﻓﻼ ﺒ ﱠﺩ ﻟﻘﺎﺭ ِ‬
‫ﺉ ﻫﺫﻩ ﺍﻵﻴ ِﺔ‪ ،‬ﺃﻥ ﻴﺘﺠ ﹼﻨ َ‬ ‫ﻥ َﺃﻜﹾ ﹶﺜﺭَ ﺍﻟ ﹼﻨﺎ ﹺ‬
‫ﺤ ًَّﻘﺎ ﻭﻟﻜ ﱠ‬
‫ل‬
‫ﺕ(‪ ،‬ﻗـﻭ ُ‬
‫ﷲ َﻤﻥْ ﻴَﻤـﻭ ﹸ‬
‫ﺙﺍ ُ‬
‫ﻥ ﺍﻟﺠﻤﻠ ﹶﺔ )ﻻ َﻴﺒْ َﻌ ﹸ‬
‫ﻥ ﺘﻭﻗﹼﻑ؛ ﻷ ﱠ‬
‫ل ﺍﻟﻘﺭﺍﺀ ﹶﺓ ﺩﻭ َ‬
‫)َﺃﻴْﻤﺎﻨِﻬﹺﻡْ(؛ ﺃﻱ ﻋﻠﻴﻪ ﺃﻥ ﻴﻭﺍﺼ َ‬

‫ﺙ ﻤَﻥ ﻴﻤﻭﺕ‪،‬‬
‫ﷲ ﺘﻌﺎﻟﻰ‪ ،‬ﻻ ﻴﺒﻌ ﹸ‬
‫ﻥﺍ َ‬
‫ﻥﺃﱠ‬
‫ﺉ ﻋﻨ َﺩ )َﺃﻴْﻤﺎﻨِﻬﹺﻡْ(؛ ﻓﻘﺩ ﻴُﻅ ﱡ‬
‫ﺕ ﺍﻟﻘﺎﺭ ُ‬
‫ﻤﻥ ﺃﻨﻜ َﺭ ﺍﻟﺒﻌﺙ‪ .‬ﺃ ّﻤﺎ ﺇﺫﺍ ﺴﻜ ﹶ‬

‫ﻤﺴﺘﻘﻼ ﻋﻤّﺎ ﻗﺒﻠﹶﻪ‪.‬‬

‫ًّ‬ ‫ﻲ ﻤﺎ ﺒﻌﺩَﻩ ﻤﻌﻨﹰﻰ‪،‬‬
‫ل‪ ،‬ﺃﻥ ﻴﻌﻁ َ‬
‫ﺼﹺ‬‫ﺕ ﺃﻭ ﺍﻟ َﻤﻔﹾ ِ‬
‫ﻥ ﻫﺫﺍ ﺍﻟﺴﻜﻭ ِ‬
‫ﻥ ﻤﻥ ﺸﺄ ﹺ‬
‫ﺴﺒﺤﺎﻨﹶﻪ؛ ﻷ ّ‬

‫)‪(1‬‬
‫ﺍﻨﻅﺭ ﺹ‪ 24‬ﻤﻥ ﻫﺫﺍ ﺍﻟﺒﺤﺙ‪.‬‬
‫)‪ (2‬ﺍﻨﻅﺭ‪ :‬ﺍﻟﻤﻌ ّﺭﻱّ‪ ،‬ﺃﺒﻭ ﺍﻟﻌﻼﺀ ﺃﺤﻤﺩ ﺒﻥ ﻋﺒﺩ ﺍﷲ‪ :‬ﺴﻘﻁ ﺍﻟﺯّﻨﺩ‪ .‬ﺸﺭﺤَﻪ ﺃﺤﻤﺩ ﺸﻤﺱ ﺍﻟﺩﻴﻥ‪ .‬ﻁ‪ .1‬ﺒﻴﺭﻭﺕ‪ :‬ﺩﺍﺭ ﺍﻟﻜﺘﺏ ﺍﻟﻌﻠﻤﻴّـﺔ‪.‬‬
‫‪ .1990‬ﺹ‪.286‬‬
‫)‪(3‬‬
‫ﺍﻟﻬﻭﺍﺭﻱ‪ ،‬ﻤﺴﻌﺩ‪ :‬ﻗﺎﻤﻭﺱ ﻗﻭﺍﻋﺩ ﺍﻟﺒﻼﻏﺔ ﻭﺃﺼﻭل ﺍﻟﻨﻘﺩ ﻭﺍﻟﺘﺫﻭّﻕ‪ .‬ﺍﻟﻤﻨﺼﻭﺭﺓ‪ :‬ﻤﻜﺘﺒﺔ ﺍﻹﻴﻤﺎﻥ‪) .‬ﺩ‪ .‬ﺕ(‪ .‬ﺹ‪.129‬‬
‫)‪(4‬‬
‫ﺍﻷﻨﻌﺎﻡ‪.36 :‬‬
‫)‪(5‬‬
‫ﺍﻟﻨﺤل‪.38 :‬‬
‫‪65‬‬
‫ﻥ‬
‫ﻥ ﻤﻥ ﻤﻘﺎﻁ َﻊ ﻤﺘﺘﺎﺒﻌـﺔ‪ ،‬ﻭﻜﺎ َ‬
‫ﺹ ﺍﻟﺩﻜﺘﻭ ُﺭ ﻤﺤﻤﻭﺩ ﻨﺤﻠﺔ ‪ -‬ﺘﺘﻜﻭّ ُ‬
‫ﺕ ‪ -‬ﻜﻤﺎ ﻴﻨ ﱡ‬
‫ﻭﻟﻤّﺎ ﻜﺎﻨﺕ ﺍﻟﻜﻠﻤﺎ ﹸ‬

‫ﺕ‪ ،‬ﻭﺘﻭﺍﻟﻴــﻬﺎ ﻋﻠـﻰ‬

‫ﺏ ﻫﺫﻩ ﺍﻟﻤﻘﺎﻁ ﹺﻊ ﻓـﻲ ﺍﻟﻜﻠﻤﺎ ِ‬
‫ﻥ ﺘﺭﺘﻴ ُ‬
‫ل ﻤﻘﻁ ﹴﻊ ﺴﻤﺎﺘﹸﻪ ﺍﻟﺼﻭﺘ ّﻴ ﹸﺔ ﺍﻟﻤﺘﻤﻴّﺯﺓ‪ ،‬ﻜﺎ َ‬
‫ﻟﻜ ﱢ‬

‫ﺏ ﻭﺍﻷﻓﻜﺎ َﺭ ﺍﻟﺘﻲ ﺘﻌﺒّـ ُﺭ‬

‫ﻉ ﻤﻥ ﺍﻟﻤﻭﺴﻴﻘﻰ ﺍﻟﺩﺍﺨﻠ ّﻴ ِﺔ‪ ،‬ﺘﺘﻨﺎﺴ ُ‬
‫ﺙ ﺃﻨﻭﺍ ﹴ‬
‫ﻕ ﻤﻌﻴّﻥ‪ ،‬ﺫﺍ ﺃﺜـ ﹴﺭ ﻜﺒﻴ ﹴﺭ ﻓﻲ ﺇﺤﺩﺍ ِ‬
‫ﻨﺴ ٍ‬
‫ل ﻤﻥ ﺍﻟﺫﻱ ﺘﺴﺘﻐﺭﻗﹸﻪ ﺍﻟﻤﻘﺎﻁ ُﻊ‬
‫ﻕ ﺍﻟﻤﻘﺎﻁ ُﻊ ﺍﻟﻤﻐﻠﻘ ﹸﺔ ﻓﻲ ﻨﻁﻘِﻬﺎ‪ ،‬ﺯﻤﻨﹰﺎ ﺃﻗ ﱠ‬
‫ﻼ‪ ،‬ﺘﺴﺘﻐﺭ ﹸ‬
‫ﻋﻨﻬﺎ ﻭﺘﺼ ّﻭﺭُﻫﺎ؛ ﻓﻤﺜ ﹰ‬

‫ﺏ ﻟﻭﻨﹰﺎ ﻤﻥ ﺍﻟﺘﻌﺒﻴـ ﹺﺭ‪ ،‬ﻻ ﺘﺅﺩّﻴـﻪ ﺍﻟﻤﻘـﺎﻁ ُﻊ‬

‫ﻥ ﺍﺴﺘﺨﺩﺍ ُﻡ ﺍﻟﻤﻘﺎﻁ ﹺﻊ ﺍﻟﻤﻐﻠﻘ ِﺔ‪ ،‬ﻴﻨﺎﺴ ُ‬
‫ﺍﻟﻤﻔﺘﻭﺤﺔ‪ ،‬ﻭﻤﻥ ﻫﻨﺎ ﻜﺎ َ‬

‫ﺱ ﺼﺤﻴﺢ‪.‬‬
‫ﺍﻟﻤﻔﺘﻭﺤﺔ‪ ،‬ﻭﺍﻟﻌﻜ ُ‬

‫ﺏ‬
‫ﻕ ﺘﻌﺒﻴ ﹴﺭ‪ ،‬ﻋـﻥ ﻤﻌﻨـﻰ ﺍﻟﻌﻘـﺎ ﹺ‬
‫ﻼ‪ ،‬ﻴﻌﺒّ ُﺭ ﺒﺎﻟﻤﻘﺎﻁـ ﹺﻊ ﺍﻟﻤﻐﻠﻘـ ِﺔ ﺃﺼﺩ ﹶ‬
‫ﻥ ﺍﻟﻜﺭﻴ ُﻡ ﻤﺜ ﹰ‬
‫ﻓﻬﺎ ﻫﻭ ﺍﻟﻘﺭﺁ ُ‬

‫ﺏ‬
‫ﷲ ﻭﻓﻀﻠﹶﻪ‪ ،‬ﻓﻲ ﻗﻭﻟِﻪ ﺘﻌﺎﻟﻰ‪ ﴿ :‬ﹶﻓﺼَـ ﱠ‬
‫ﻥ ﻨﻌﻤ ﹶﺔ ﺍ ِ‬ ‫ﻥ ﺍﻟﻜﺎﻓﺭﻴـ َ‬
‫ﻥ‪ ،‬ﺍﻟﺠﺎﺤﺩﻴ َ‬ ‫ل ﺒﺎﻟﻅﺎﻟﻤﻴ َ‬
‫ﺍﻟﺼﺎﺭ ﹺﻡ‪ ،‬ﺍﻟﺫﻱ ﻴﻨﺯ ُ‬

‫ﻋَﺫﺍﺏﹴ﴾)‪:(1‬‬ ‫ﻁ‬
‫ﻙ ﺴَﻭْ ﹶ‬
‫ﻋﹶﻠﻴْ ﹺﻬﻡْ َﺭﺒﱡـ َ‬
‫َ‬

‫ﺏ‪.(bin :‬‬
‫ﺴﻭْ‪ ) - (saw :‬ﹴ‬
‫ﺼﺏْ‪) - ( ab :‬ﹶﻟﻲْ‪ِ ) - (lay :‬ﻫﻡْ‪َ ) - (him :‬ﺭﺏْ‪َ ) - (rab :‬‬
‫) َ‬

‫ﻕ ﻓـﻲ ﻨﻭﻋِﻬﺎ ﺍﻟﻤﺘﻭﺴّﻁ )ﺹ ﺡ ﺹ(‪ ،‬ﺘﺒﺭ ُﺯ ﻟﻨﺎ ﺒﺘﺭﺘﻴﺒﹺﻬﺎ‪،‬‬

‫ﻓﺘﻜﺎ ُﺩ ﻫﺫﻩ ﺍﻟﻤﻘﺎﻁ ُﻊ ﺍﻟﻤﻐﻠﻘ ﹸﺔ‪ ،‬ﺍﻟﺘﻲ ﺘﺘﹼﻔ ﹸ‬

‫ل‪ ،‬ﻭﺘﻜﺭﺍﺭ‪.‬‬
‫ﻑ‪ ،‬ﻭﺘﻭﺍ ﹴ‬
‫ﺏ ﺍﻨﺼﺒﺎﺒًﺎ‪ ،‬ﻓﻲ ﺸ ّﺩ ٍﺓ‪ ،‬ﻭﻋﻨ ٍ‬
‫ﺏ ﻋﻠﻴﻬﻡ ﺍﻟﻌﺫﺍ ُ‬
‫ﻑ ﻴﻨﺼ ﱡ‬
‫ﻜﻴ ﹶ‬

‫ﻥ ﺍﻟﻜﺭﻴ ُﻡ‪ ،‬ﺒﻬﺫﻩ ﺍﻟﻤﻘﺎﻁ ﹺﻊ ﺍﻟﻤﺘﻭﺴّﻁ ِﺔ ﺍﻟﻤﻐﻠﻘ ِﺔ‪ ،‬ﻋﻥ ﺍﻟﺤﺯ ﹺﻡ ﺍﻟﻘﺎﻁ ﹺﻊ‪،‬‬
‫ﻑ ﻋ ّﺒ َﺭ ﺍﻟﻘﺭﺁ ُ‬
‫ﻭﺍﻨﻅﺭْ ﺃﻴﻀًﺎ‪ ،‬ﻜﻴ ﹶ‬

‫ﻭﺍﻟﺠ ﱢﺩ ﺍﻟﻔﺎﺼ ﹺل‪ ،‬ﺍﻟﺫﻱ ﻻ ﻤﺠﺎ َل ﻓﻴﻪ ﻟﺘﻬﺎﻭ ﹴﻥ‪ ،‬ﻭﻻ ﺘﺠﻭّﺯ‪ ،‬ﻓﻲ ﻗﻭﻟِﻪ ﺘﻌﺎﻟﻰ‪ِ﴿ :‬ﺇﻨﱠ ُﻪ ﹶﻟﻘﹶـﻭْلٌ ﹶﻓﺼْــلٌ *‬
‫ﻭَﻤـﺎ ُﻫ َﻭ ﺒﹺﺎﻟﹾﻬَـﺯْلﹺ﴾)‪:(2‬‬

‫)ِﺇﻥْ‪ ) - ( in :‬ﹶﻗﻭْ‪) - (qaw :‬لٌ‪) - (lun :‬ﻓﹶـﺹْ‪) - (fa :‬لٌ‪) - (lun :‬ﺒﹺﺎﻟﹾــ‪- (bil :‬‬
‫) َﻫﺯْ‪.(haz :‬‬

‫ﻑ ﺍﻟﺠ ﱢﺩ ﻭﺍﻟﻔﺼل‪ ،‬ﻭﻫﻲ ﺨﻴ ُﺭ ﺘﻌﺒﻴ ﹴﺭ ﻋﻨﻪ‪ .‬ﻭﻗﺩ ﻟﺠَﺄ ﺍﻟﺘﻌﺒﻴ ُﺭ‬

‫ﻓﻬﺫﻩ ﺍﻟﻤﻘﺎﻁ ُﻊ ﺤﺎ ّﺩﺓﹲ ﺤﺎﺴﻤﺔﹲ‪ ،‬ﻓﻲ ﻤﻭﻗ ِ‬

‫ﻁ ﻫﺫﻩ ﺍﻟﻤﻘﺎﻁ ﹺﻊ ﺍﻟﻤﻐﻠﻘ ِﺔ‪ ،‬ﻴﻌﺒّ ُﺭ ﺒﺤﺭﻜﺘِﻪ‬

‫ﺡ )ﺹ ﺡ ﺡ(‪ ،‬ﻭﺴ ﹶ‬
‫ﻁ ﻤﻔﺘﻭ ﹴ‬
‫ﺴٍ‬
‫ﻲ‪ ،‬ﺇﻟﻰ ﺍﺴﺘﺨﺩﺍ ﹺﻡ ﻤﻘﻁ ﹴﻊ ﻤﺘﻭ ّ‬
‫ﺍﻟﻘﺭﺁﻨ ﱡ‬

‫ل ﻟﻠﻬﺯل‪ ،‬ﺃﻻ ﻭﻫﻭ )ﻤﺎ‪.(maa :‬‬

‫ﻲ ﺍﻟﻌﺎ ﱢﻡ ﺍﻟﺸﺎﻤ ﹺ‬ ‫ﺍﻟﻁﻭﻴﻠ ِﺔ‪ ،‬ﻋﻥ ﻤﻭﻗ ِ‬
‫ﻑ ﺍﻟﻨﻔ ﹺ‬

‫)‪(1‬‬
‫ﺍﻟﻔﺠﺭ‪.13 :‬‬
‫)‪(2‬‬
‫ﺍﻟﻁﺎﺭﻕ‪.14 ،13 :‬‬
‫‪66‬‬
‫ﻭﻤﻥ ﺃﻤﺜﻠ ِﺔ ﺍﻟﺘﻌﺒﻴ ﹺﺭ ﺒﺎﻟﻤﻘﺎﻁ ﹺﻊ ﺍﻟﻤﻔﺘﻭﺤ ِﺔ‪ ،‬ﻤﺎ ﻨﺠﺩُﻩ ﻓﻲ ﻗﻭﻟِﻪ ﺘﻌـﺎﻟﻰ‪َ ...﴿ :‬ﻴﻭْ َﻤﺌِــ ٍﺫ َﻴ ﹶﺘ ﹶﺫﻜﱠــ ُﺭ‬

‫ﻓﺘﺘـﻭﺍﻟﻰ ﺍﻟﻤﻘـﺎﻁ ُﻊ ﺍﻟﻤﺘﻭﺴّـﻁ ﹸﺔ‬ ‫ِﻟﺤَﻴـﺎﺘﻲ﴾)‪(1‬؛‬ ‫ﺕ‬

‫ل ﻴـﺎ ﹶﻟﻴْﺘﹶﻨﻲ ﹶﻗﺩﱠﻤْ ﹸ‬
‫ﻴَﻘﻭ ُ‬ ‫ﺍ ِﻹﻨﹾﺴﺎ ُﻥ َﻭَﺃﻨﹼﻰ ﹶﻟ ُﻪ ﺍﻟ ﱢﺫﻜﹾﺭﻯ *‬
‫ﷲ ﺘﻌﺎﻟﻰ‪:‬‬
‫ﺏﺍ ِ‬
‫ﻁ ﻓﻲ ﺠﻨ ﹺ‬
‫ﺡ ﺍﻟﻨﺎﺩ ﹺﻡ ﺍﻵﺴـﻲ‪ ،‬ﻋﻠﻰ ﻤﺎ ﻓ ّﺭ ﹶ‬
‫ﺍﻟﻤﻔﺘﻭﺤ ﹸﺔ‪ ،‬ﻭﻜﺄﻨﱠﻬﺎ ﺒﺤﺭﻜﺎﺘِﻬﺎ ﺍﻟﻁﻭﻴﻠ ِﺔ‪ ،‬ﻨﻭ ُ‬

‫)ﺴﺎ‪) - (saa :‬ﻨﻰ‪) - (naa :‬ﺭﻯ‪) - (raa :‬ﻗﻭ‪) - (quu :‬ﻴﺎ‪) - (yaa :‬ﻨﻲ‪) - (nii :‬ﻴﺎ‪:‬‬

‫‪) - (yaa‬ﺘﻲ‪.(tii :‬‬

‫ﻥ ﺍﻟﻤـ ﱠﺩ‪ ،‬ﻓـﻲ ﺍﻟﻤﻘﺎﻁ ﹺﻊ‪) :‬ﻴﺎ ‪ /‬ﻨﻲ ‪ /‬ﻴﺎ ‪ /‬ﺘﻲ(؛‬

‫ﺡ ﺍﻟﻔﺘﺤ ﹸﺔ ﻭﺍﻟﻜﺴﺭ ﹸﺓ ﺍﻟﻁﻭﻴﻠﺘﺎ ﹺ‬
‫ﻑ ﺘﺘﺭﺍﻭ ُ‬
‫ﻭﺍﻨﻅﺭْ ﻜﻴ ﹶ‬

‫ﺙ ﺃﻥ ﻴﺘﺭﺍﺨـﻰ‬
‫ﺕ ﺍﻟﻤﺘﺤﺴّـﺭ‪ ،‬ﺜـ ﱠﻡ ﻻ ﻴﻠﺒـ ﹸ‬
‫ﻉ ﻭﺍﻟﻨﺩ ﹺﻡ‪ ،‬ﺍﻟﺘـﻲ ﻴﺭﺘﻔ ُﻊ ﻓﻴﻬﺎ ﺍﻟﺼﻭ ﹸ‬
‫ﻟﺘﺼﻭّﺭﺍ ﺤﺎﻟ ﹶﺔ ﺍﻟﺠﺯ ﹺ‬
‫ﻭﻴﻨﺤﺩﺭ؛ ﻟﻴﻌﻭ َﺩ ﻓﻴﺭﺘﻔ َﻊ ﻤﻤﺘﺩ‪‬ﺍ ﺇﻟﻰ ﺍﻷﻋﻠﻰ‪ ،‬ﻭﻴﺘﺭﺍﺨﻰ ﻤﻨﺨﻔﻀًﺎ ﺇﻟﻰ ﺍﻷﺴﻔل‪.‬‬

‫ﺉ‬
‫ﻥ ﺁﺨـ َﺭ ﻤـﻥ ﺍﻟﺘﻌﺒﻴـ ﹺﺭ ﺍﻟﻬـﺎﺩ ِ‬
‫ﻭﺭﺒّﻤﺎ ﺍﺴﺘﻌﻤﻠﺕ ﻫﺫﻩ ﺍﻟﻤﻘﺎﻁ ُﻊ ﺍﻟﻤﺘﻭﺴّﻁ ﹸﺔ ﺍﻟﻤﻔﺘﻭﺤ ﹸﺔ‪ ،‬ﻓـﻲ ﻟﻭ ﹴ‬

‫ﺱ‪ ،‬ﻭﺘﺘﺭﻨﹼ ُﻡ ﺒـﻪ‪ .‬ﻭﻤﻥ ﺫﻟﻙ ﻗﻭﻟﹸﻪ ﺘﻌﺎﻟﻰ‪﴿ :‬ﻭُﺠﻭﻩٌ َﻴﻭْ َﻤﺌِـ ٍﺫ ﻨﺎ ِﻋﻤَـﺔﹲ *‬
‫ﺏ ﻟﻪ ﺍﻟﻨﻔ ُ‬
‫ﺢ‪ ،‬ﺍﻟﺫﻱ ﺘﻁﺭ ُ‬
‫ﺍﻟﻤﺭﻴ ﹺ‬

‫ﻓﻴﻬـﺎ ﺴُـ ُﺭﺭٌ‬ ‫ﻀ َﻴﺔﹲ * ﻓﻲ َﺠﱠﻨ ٍﺔ ﻋﺎِﻟ َﻴ ٍﺔ * ﻻ ﹶﺘﺴْ َﻤ ُﻊ ﻓﻴﻬﺎ ﻻ ِﻏ َﻴ ﹰﺔ * ﻓﻴﻬﺎ ﻋَـﻴْﻥٌ ﺠﺎ ﹺﺭﻴَـﺔﹲ *‬
‫ﺴﻌْ ِﻴﻬﺎ ﺭﺍ ِ‬
‫ِﻟ َ‬

‫ﻤﺒْﺜﻭﺜﹶﺔ﴾)‪:(2‬‬
‫َ‬ ‫ﻲ‬
‫َﻭﺯَﺭﺍ ﹺﺒ ﱡ‬ ‫َﻤﺭْﻓﻭ َﻋﺔﹲ * َﻭَﺃﻜﹾﻭﺍﺏٌ َﻤﻭْﻀﻭ َﻋﺔﹲ * ﻭَﻨﹶﻤﺎﺭﹺ ﹸﻕ َﻤﺼْـﻔﻭ ﹶﻓﺔﹲ *‬

‫)ﺠﻭ‪) - (:uu :‬ﻨﺎ‪) - (naa :‬ﻫﺎ‪) - (haa :‬ﺭﺍ‪) - (raa :‬ﻓﻲ‪) - (fii :‬ﻋﺎ‪) - (caa :‬ﻻ‪:‬‬
‫‪) - (laa‬ﻓﻲ‪) - (fii :‬ﻫﺎ‪) - (haa :‬ﻻ‪) - (laa :‬ﻓﻲ‪) - (fii :‬ﻫـﺎ‪) - (haa :‬ﺠـﺎ‪- (:aa :‬‬

‫)ﻓﻲ‪) - (fii :‬ﻫﺎ‪) - (haa :‬ﻓﻭ‪) - (fuu :‬ﻭﺍ‪) - (waa :‬ﻀﻭ‪) - ( uu :‬ﻤﺎ‪) - (maa :‬ﻓـﻭ‪:‬‬

‫‪) - (fuu‬ﺭﺍ‪) - (raa :‬ﺜﻭ‪.(θuu :‬‬

‫ﺉ‪ ،‬ﻭﻤﺎ ﻓﻴﻪ ﻤﻥ‬

‫ﻓﻬﺫﻩ ﺍﻟﻤﻘﺎﻁ ُﻊ ﺍﻟﻤﻔﺘﻭﺤ ﹸﺔ‪ ،‬ﺒﺤﺭﻜﺎﺘِﻬﺎ ﺍﻟﻁﻭﻴﻠ ِﺔ ﺍﻟﻤﻤﺘﺩّﺓ‪ ،‬ﺘﻌﺒّ ُﺭ ﻋﻥ ﻫﺫﺍ ﺍﻟﻨﻌﻴ ﹺﻡ ﺍﻟﻬﺎﺩ ِ‬

‫ل ﺍﻟﻤﺘﻌ ِﺔ ﻭﺍﻟﺭﺍﺤ ِﺔ ﺍﻟﻤﺘﻌﺩّﺩﺓ‪.‬‬

‫ﻭﺴﺎﺌ ﹺ‬

‫)‪(1‬‬
‫ﺍﻟﻔﺠﺭ‪.24 ،23 :‬‬
‫)‪ (2‬ﺍﻟﻐﺎﺸﻴﺔ‪.16 - 8 :‬‬
‫‪67‬‬
‫ﻉ ﺍﻟﻌﺎﻁﻔ ِﺔ‪ ،‬ﻭﺘﻤ ّﻭﺠﹺﻬـﺎ‬
‫ﺏ‪ ،‬ﻓﻲ ﺍﺨﺘﻴﺎﺭﹺﻩ ﺍﻟﻤﻘﺎﻁ َﻊ ﺍﻟﻤﻨﺎﺴﺒ ﹶﺔ ﻟﻨﻭ ﹺ‬
‫ﻕ ﺍﻟﻜﺎﺘ ﹺ‬
‫ﻥ ﺘﻭﻓﻴ ﹸ‬
‫ﺒﻨﺎ ًﺀ ﻋﻠﻰ ﺫﻟﻙ‪ ،‬ﻴﻜﻭ ُ‬

‫ل ﺇﻟﻴﻪ ﺒﺨﺒﺭﺘِﻪ ﺍﻟﻔ ﹼﻨﻴّـ ِﺔ‪ ،‬ﻭﺤﺴّـﻪ‬

‫ﻉ ﺍﻟﻌﺎﻁﻔﺔ‪ ،‬ﻭﻫﻭ ﺘﻭﻓﻴﻕﹲ ﻴﺼ ُ‬
‫ﻋﻨﺩَﻩ‪ ،‬ﻭﺘﻐ ّﻴ ﹺﺭ ﻫﺫﻩ ﺍﻟﻤﻘﺎﻁ ﹺﻊ ﻤﻊ ﺘﻐ ّﻴ ﹺﺭ ﻨﻭ ﹺ‬

‫ﻲ)‪.(1‬‬
‫ﺍﻟﺒﻴﺎﻨ ّ‬

‫ﺕ ﻏﻴ ﹺﺭ‬
‫ﺕ ﺍﻟﻠﹼﻐﻭ ّﻴ ِﺔ ﺍﻟﺘﺭﻜﻴﺒ ّﻴ ِﺔ‪ ،‬ﻭﺍﻟﻔﻭﻨﻴﻤﺎ ِ‬
‫ﻥ ﻓﻲ ﺍﻟﻌﻨﺎﺼ ﹺﺭ ﺍﻟﺼﻭﺘ ّﻴ ِﺔ‪ :‬ﺍﻷﺼﻭﺍ ِ‬
‫ﺢ ﻟﻨﺎ ﻤﻤّﺎ ﺴﺒﻕ‪ ،‬ﺃ ﱠ‬
‫ﻴﺘﹼﻀ ُ‬

‫ﺹ؛ ﺇﺫﺍ ﻤـﺎ‬

‫ﻥ ﺍﻟﻨ ﱢ‬
‫ﺍﻟﺘﺭﻜﻴﺒ ّﻴ ِﺔ‪ ،‬ﻭﺍﻟﻤﻘﺎﻁ ﹺﻊ ﺍﻟﺼﻭﺘ ّﻴ ِﺔ‪ ،‬ﻁﺎﻗ ﹰﺔ ﺘﻌﺒﻴﺭ ّﻴ ﹰﺔ ﺫﺍﺘﻴّـ ﹰﺔ‪ ،‬ﻤﻥ ﺸﺄﻨِﻬﺎ ﺃﻥ ﺘﺩﻋ َﻡ ﻤﻀﻤﻭ َ‬

‫ﺏ ﺍﺴﺘﻐﻼﻟﹶﻬﺎ؛ ﻭﺫﻟﻙ ﺒﺎﻻﺨﺘﻴﺎ ﹺﺭ ﻭﺍﻟﺘﻨﻅﻴ ﹺﻡ ﺍﻟﻤﻨﺎﺴﺒﻴﻥ‪.‬‬

‫ﻥ ﺍﻟﻜﺎﺘ ُ‬
‫ﺃﺤﺴ َ‬

‫ﻥ‪ ،‬ﻓـﻲ‬
‫ﻑ ﺍﻟﺼﻭﺘﻴّﻴ ﹺ‬
‫ل ﺍﻟﻘ ّﻭ ِﺓ ﻭﺍﻟﻀﻌ ِ‬
‫ل‪ ،‬ﻋﻠﻰ ﺁﺜﺎ ﹺﺭ ﻋﻭﺍﻤ ﹺ‬
‫ﻑ ﻓﻲ ﻫﺫﺍ ﺍﻟﻔﺼ ﹺ‬
‫ﻭﻻ ﺒ ﱠﺩ ﻟﻲ‪ ،‬ﺒﻌ َﺩ ﺍﻟﻭﻗﻭ ِ‬

‫ﻕ‪،‬‬
‫ل‪ ،‬ﻜﺼﻌﻭﺒ ِﺔ ﺍﻟﻨﻁـ ِ‬
‫ﺕ ﻫﺫﻩ ﺍﻟﻌﻭﺍﻤ ﹺ‬
‫ﺏ ﺴﻠﺒﻴّﺎ ِ‬
‫ﺏ ﺍﻟﻜﺎﺘ ُ‬
‫ﻥ ﺫﻟﻙ ﻻ ﻴﻌﻨﻲ‪ ،‬ﺃﻥ ﻴﺘﺠ ﹼﻨ َ‬
‫ﺹ‪ ،‬ﺃﻥ ﺃﺸﻴ َﺭ ﺇﻟﻰ ﺃ ﱠ‬
‫ﺍﻟﻨ ّ‬

‫ﻼ‪)) ،‬ﻟﻴﺴﺕﹾ ﻤﻁﻠﻭﺒ ﹰﺔ ﺩﺍﺌﻤًﺎ‪ ،‬ﻭﻓﻲ ﻜ ﱢ‬

‫ل ﺍﻷﺤـﻭﺍل‪،‬‬ ‫ﻲ؛ ﻓﺼﻔ ﹸﺔ ﺍﻟﺴﻼﺴ ِﺔ ﺃﻭ ﺍﻟﺨ ﹼﻔ ِﺔ ﻤﺜ ﹰ‬
‫ﺡ ﺍﻟﺴﻤﻌ ّ‬
‫ﻭﻗﹼﻠ ِﺔ ﺍﻟﻭﻀﻭ ﹺ‬

‫ﻥ‪ ،‬ﻭﻨﺨﺘﺎ ُﺭ ﻤﺭﺍﺩﻓﹰﺎ ﺼﻌﺒًﺎ‬

‫ﺽ ﺍﻷﺤﻴﺎ ﹺ‬
‫ل ﻓﻲ ﺒﻌ ﹺ‬
‫ﻅ ﺍﻟﺴﻬ َ‬
‫ﻙ ﺍﻟﻠﻔ ﹶ‬
‫ﻜﻤﺎ ﻗﺩ ﻴُﻔﻬ ُﻡ ﻤﻥ ﺁﺭﺍ ِﺀ ﺒﻌﻀِﻬﻡ؛ ﻓﻘﺩ ﻨﺘـﺭ ُ‬

‫ل‬
‫ﻙ )ﺃﺴﻰ(؛ ﻭﻨﺴـﺘﻌﻤ ُ‬
‫ل )ﺤﺯﻥ(‪ ،‬ﻭﻨﺘﺭ ُ‬
‫ﻥ ﺫﻟﻙ ﻓـﻲ ﺍﻟﺸﻌ ﹺﺭ‪ ،‬ﺃﻡ ﻓﻲ ﺍﻟﻨﺜﺭ؛ ﻓﻘـﺩ ﻨﺴﺘﻌﻤ ُ‬
‫ﻟﻪ‪ ،‬ﺴﻭﺍﺀٌ ﺃﻜﺎ َ‬

‫ﻻ ﻤـﻥ )ﻤﻠـﻭّﺙ(؛‬
‫ﺏ(؛ ﻭ)ﻤﻠﻁﹼـﺦ( ﺒـﺩ ﹰ‬
‫ﻻ ﻤﻥ )ﺤ ّ‬ ‫ﻙ )ﻜﺭﻴـﻪ(؛ ﻭﻨﻘﻭ ُ‬
‫ل )ﻋﺸﻕ(‪ ،‬ﺒﺩ ﹰ‬ ‫)ﺒﻐﻴﺽ(‪ ،‬ﻭﻨﺘﺭ ُ‬
‫ﻑ ﺇﻟﻴﻪ ﻤـﺎ ﻴﺠﻌﻠﹸـﻪ‬
‫ل‪ ،‬ﻓﻨﻀﻴ ﹸ‬
‫ﻅ ﺍﻟﺴﻬ ﹺ‬
‫ﻻ ﻤﻥ )ﺃﺴﺩ(‪ .‬ﺒل ﻗﺩ ﻨﻌﻤ ُﺩ‪ ،‬ﻓﻲ ﺍﻟﻌﺎ ّﻤّﻴ ِﺔ‪ ،‬ﺇﻟﻰ ﺍﻟﻠﹼﻔ ِ‬
‫ﻭ)ﻏﻀﻨﻔﺭ( ﺒﺩ ﹰ‬

‫ﺏ؛‬
‫ﻥ ﺃﻨﺴ َ‬
‫ﻥ ﺃﻨﺴﺏ‪ ،‬ﻭﻴﻜﻭ ُ‬
‫ﺏ؛ ﺇﻥ ﻜﺎ َ‬
‫ل ﺇﻟﻰ ﺍﻷﺼﻌ ﹺ‬
‫ﻻ ﻤﻥ )ﻗﻠﺏ(‪ .‬ﺇﻨﹼﻨﺎ ﻨﻤﻴ ُ‬
‫ل )ﺸﻘﻠﺏ( ﺒﺩ ﹰ‬
‫ل ﻨﻁﻘﹰﺎ؛ ﻓﺘﻘﻭ ُ‬
‫ﺃﺜﻘ َ‬

‫ﻥ ﺃﻗﻭﻯ ﺘﻌﺒﻴﺭًﺍ(()‪.(2‬‬
‫ﻋﻨﺩﻤﺎ ﻴﻜﻭ ُ‬

‫ل ﻫـﺫﻩ‬
‫ﻑ ﻴﺴـﺘﻐ ﱡ‬
‫ﻑ ﻜﻴـ ﹶ‬
‫ﺏ‪ ،‬ﺇﻥ ﺍﺒﺘﻐﻰ ﻨﺼ‪‬ﺎ ﻤﺘﻤ ّﻴﺯًﺍ‪ ،‬ﺨﺎﻟﻴًﺎ ﻤﻤّﺎ ﻴﺸﻴﻨﹸﻪ‪ ،‬ﺃﻥ ﻴﻌﺭ ﹶ‬
‫ﻟﻜﻥ ﻋﻠﻰ ﺍﻟﻜﺎﺘ ﹺ‬

‫ﺹ‪ ،‬ﻤﺭﺍﻋﻴًﺎ ﺘﻨﺎﺴﺒَﻬﺎ ﻭﺘﻜﺎﻤﻠﹶﻬﺎ؛ ﻓﺘﺨﺩ ُﻡ ﺒـﺫﻟﻙ‬

‫ﺏ ﻤﻥ ﺍﻟﻨ ّ‬
‫ﺍﻟﻌﻭﺍﻤل؛ ﻭﺫﻟﻙ ﺒﻭﻀﻌِﻬﺎ ﻓﻲ ﺍﻟﻤﻭﻀ ﹺﻊ ﺍﻟﻤﻨﺎﺴ ﹺ‬

‫ﻼ‪ ،‬ﻗﺼﻴﺩ ﹶﺓ ﺇﻴﻠﻴّﺎ ﺃﺒﻲ ﻤﺎﻀﻲ )ﺍﻟﻁﻴﻥ()‪(3‬؛ ﻷﺩﺭﻜﻨﺎ ﻤﺎ ﺃﺩﺭﻜﹶـﻪ‪ ،‬ﺃﻭ‬

‫ﻨﺼﱠﻪ ﻋﻠﻰ ﺃﺘ ﱢﻡ ﻭﺠـﻪ؛ ﻓﻠﻭ ﻗﺭﺃﻨﺎ ﻤﺜ ﹰ‬
‫ﻑ ﻋﻠﻰ ﻫـﺫﻩ‬
‫ﻥ ﻭﻗ ﹶ‬
‫ﺽ ﻫﺫﻩ ﺍﻟﻌﻭﺍﻤل‪ ،‬ﺤﻴ َ‬
‫ل ﺒﻌ ﹺ‬
‫ﺽ ﻤﺎ ﺃﺩﺭﻜﹶﻪ ﺍﻟﺩﻜﺘﻭ ُﺭ ﻁﻪ ﺤﺴﻴﻥ‪ ،‬ﻤﻥ ﺴﻭ ِﺀ ﺍﺴﺘﻐﻼ ﹺ‬
‫ﺒﻌ َ‬

‫ﻥ‬
‫ل‪ ...)) :‬ﻓﻘﺼﻴﺩ ﹸﺓ )ﺍﻟﻁﻴﻥ( ﺍﻟﺘﻲ ﻜﻨﹼﺎ ﻨﺜﻨﻲ‪ ،‬ﻤﻨ ﹸﺫ ﺤﻴﻥ‪ ،‬ﻋﻠـﻰ ﻤﻌﺎﻨﻴﻬـﺎ‪ ،‬ﻭﺤﺴـ ﹺ‬
‫ﺍﻟﻘﺼﻴﺩ ِﺓ ﻨﺎﻗﺩًﺍ؛ ﻓﻴﻘﻭ ُ‬

‫)‪(1‬‬
‫ﻨﺤﻠﺔ‪ ،‬ﻤﺤﻤﻭﺩ ﺃﺤﻤﺩ‪ :‬ﻟﻐﺔ ﺍﻟﻘﺭﺁﻥ ﺍﻟﻜﺭﻴﻡ ﻓﻲ ﺠﺯﺀ ﻋ ّﻡ‪ .‬ﺒﻴﺭﻭﺕ‪ :‬ﺩﺍﺭ ﺍﻟﻨﻬﻀﺔ ﺍﻟﻌﺭﺒﻴّﺔ‪ .1981 .‬ﺹ‪.361 – 357‬‬
‫)‪(2‬‬
‫ﻲ‪ .‬ﺹ‪.237‬‬
‫ﻲ‪ :‬ﻨﻅﺭﺓ ﺠﺩﻴﺩﺓ ﻓﻲ ﻤﻭﺴﻴﻘﻰ ﺍﻟﺸﻌﺭ ﺍﻟﻌﺭﺒ ّ‬
‫ﻴﻭﻨﺱ‪ ،‬ﻋﻠ ّ‬
‫)‪ (3‬ﺍﻨﻅﺭ ﺍﻟﻘﺼﻴﺩﺓ‪ :‬ﺃﺒﻭ ﻤﺎﻀﻲ‪ ،‬ﺇﻴﻠﻴّﺎ‪ :‬ﺍﻟﺩﻴﻭﺍﻥ‪ .‬ﺒﻴﺭﻭﺕ‪ :‬ﺩﺍﺭ ﺍﻟﻌﻭﺩﺓ‪ .1996 .‬ﺹ‪.320 - 316‬‬
‫‪68‬‬
‫ﻥ‬
‫ل ﻋﻨﻭﺍﻨﹶﻬﺎ ﻜـﺎ َ‬
‫ﻲ ﻗﺎﻓﻴ ﹰﺔ‪ ،‬ﻭﺃﻨﺒﺎﻩ ﻋﻥ ﺍﻟﺴﻤ ﹺﻊ ﻭﺍﻟﺫﻭﻕ‪ ،‬ﻭﻟﻌ ﱠ‬
‫ﺘﺼﻭﻴﺭﹺﻫﺎ ﻟﻠﻤﺴﺎﻭﺍﺓ‪ ،‬ﻤﻥ ﺃﺭﺩﺃ ﺍﻟﺸﻌ ﹺﺭ ﺍﻟﻌﺭﺒ ﱢ‬

‫ﺝ ﺇﻟﻰ ﺸـﻲ ٍﺀ ﻤﻥ ﺍﻟﺫﻭﻕ‪ .‬ﻭﻟﻜـﻥ ﺍﻨﻅﺭْ ﺇﻟﻰ ﻤﻁﻠـ ﹺﻊ ﺍﻟﻘﺼﻴـﺩﺓ‪:‬‬

‫ﻴﺤﺘﺎ ُ‬

‫ل ﺘﻴﻬًﺎ ﻭﻋﺭﺒَـﺩْ ]ﺍﻟﺨﻔﻴﻑ[‬

‫ﻥ ﺴﺎﻋ ﹰﺔ‪ ،‬ﺃﻨﱠـﻪ ﻁﻴـــــﻥٌ ﺤﻘﻴﺭٌ؛ ﻓﺼﺎ َ‬
‫ﻲ ﺍﻟﻁﻴ ُ‬
‫ﻨﺴ َ‬

‫ل ﺜﻘﻴلٌ‪ ،‬ﻴﻨﻘﻁـ ُﻊ‬ ‫ل ﺍﻟﺴﺎﻜﻨ ﹶﺔ‪ ،‬ﻗﺎﻓﻴـ ﹰﺔ ﻟﻬﺫﻩ ﺍﻟﻘﺼﻴﺩﺓ‪ ،‬ﻭﺴﻜﻭ ُ‬

‫ﻥ ﺍﻟﺩّﺍ ﹺ‬ ‫ﻓﻬﻭ‪ ،‬ﻜﻤﺎ ﺘﺭﻯ‪ ،‬ﻗﺩ ﺍﺨﺘﺎ َﺭ ﺍﻟﺩّﺍ َ‬

‫ﻕ ﺒﻪ ﺍﻟﺴﺎﻤ ُﻊ ﻀﻴﻘﹰﺎ ﺸـﺩﻴﺩًﺍ‪ .‬ﻭﻟﻜـﻥ‬

‫ل ﻭﺘﻜ ّﺭ َﺭ ﻓـﻲ ﻗﺼﻴﺩ ٍﺓ ﻏﻴ ﹺﺭ ﻗﺼﻴﺭﺓ؛ ﻀﺎ ﹶ‬
‫ﻋﻨﺩَﻩ ﺍﻟﱠﻨﻔﹶﺱ؛ ﻓﺈﺫﺍ ﻁﺎ َ‬

‫ﻑ ﺴـﻜﻭﻨﹰﺎ ﺇﻟـﻰ‬
‫ﻑ ﻴﻀـﻴ ﹸ‬
‫ﻻ ﺃﺨﺭﻯ‪ .‬ﻓﺎﻨﻅﺭْ ﺇﻟﻴـﻪ ﻜﻴـ ﹶ‬
‫ﻲ ﺃﺜﻘﺎ ﹰ‬
‫ل ﺍﻟﻁﺒﻴﻌ ﱢ‬
‫ﻑ ﺇﻟﻰ ﻫﺫﺍ ﺍﻟﺜﻘ ﹺ‬
‫ﺍﻟﺸﺎﻋﺭ ﻴﻀﻴ ﹸ‬

‫ﻉ ﹶﻨ ﹶﻔﺱﹴ‪ ،‬ﻓﻲ ﻫﺫﺍ ﺍﻟﺒﻴﺕ‪:‬‬

‫ﻉ ﹶﻨ ﹶﻔﺱﹴ ﺇﻟﻰ ﺍﻨﻘﻁﺎ ﹺ‬
‫ﺴﻜﻭﻥ‪ ،‬ﻭﺍﻨﻘﻁﺎ َ‬

‫ﻙ ُﻤﻤْﺘﹶـﺩْ‬
‫ﻭﺭﺅًﻯ‪ ،‬ﻭﺍﻟﻅـﻼ ُﻡ ﻓﻭﻗﹶـ َ‬ ‫ﻥ‬
‫ﻙ ﻓـﻲ ﻋﺎﻟـ ﹺﻡ ﺍﻟﻨﹼﻬـﺎ ﹺﺭ ﺃﻤـﺎ ﹴ‬
‫ﻟ َ‬

‫ﺕ‬ ‫ل ﺍﻟﻤﺩﻏﻤ ﹸﺔ ] ُﻤﻤْﺘﹶـ ّﺩْ‪ [ mum/tadd :‬ﻻ ﺘﹸﻁﺎﻕ‪ ،‬ﻭﺃﻨ ﹶ‬

‫ﺕ ﺇﻥْ ﻗﺒﻠﹾﺘﹶﻬﺎ ﻋﻠﻰ ﺇﺩﻏﺎﻤِﻬﺎ؛ ﻜﹼﻠﻔﹾـ ﹶ‬ ‫ﻓﻬﺫﻩ ﺍﻟﺩّﺍ ُ‬
‫ﺕ ﺍﻟﻠﹼﻐ ﹶﺔ ﺇﻓﺴﺎﺩًﺍ ﺒﻐﻴﻀًـﺎ‪ .‬ﻭﺍﻨﻅـﺭْ‬
‫ﺕ ﺍﻹﺩﻏﺎ َﻡ ] ‪[ mum/tad‬؛ ﺃﻓﺴﺩْ ﹶ‬
‫ﺕ ﺇﻥْ ﺨ ﹼﻔﻔﹾ ﹶ‬
‫ﻼ‪ ،‬ﻭﺃﻨ ﹶ‬
‫ﻙ ﺠﻬﺩًﺍ ﺜﻘﻴ ﹰ‬
‫ﺴ َ‬
‫ﻨﻔ َ‬

‫ﺕ ﺃﻴﻀًﺎ‪:‬‬
‫ﺇﻟﻰ ﻫﺫﺍ ﺍﻟﺒﻴ ِ‬

‫ﺼﺩْ‬
‫ﻓﻠﻤﺎﺫﺍ‪ ،‬ﻴﺎ ﺼﺎﺤﺒﻲ‪ ،‬ﺍﻟﺘﻴ ُﻪ ﻭﺍﻟ ﱠ‬ ‫ﺕ ﻤﺜﻠﻲ ﻤﻥ ﺍﻟﺜﹼﺭﻯ ﻭﺇﻟﻴـﻪ‬
‫ﺃﻨـ ﹶ‬

‫ﻼ ﺇﻟﻰ ﺜﻘﻠِﻬﺎ‪.‬‬
‫ﺼ ّﺩْ( ] ‪ [ add‬ﻫﻨﺎ ﻜـ)ﻤﻤﺘﺩ( ﻫﻨﺎﻙ‪ ،‬ﻭﻟﻜﻥ ﻗﺼﺭ ﺍﻟﻜﻠﻤـ ِﺔ ﻫﻨﺎ‪ ،‬ﻴﺯﻴﺩُﻫﺎ ﺜﻘ ﹰ‬
‫ﻓـ)ﺍﻟ ﱠ‬

‫ﻭﺍﻨﻅﺭْ ﺇﻟﻰ ﻫﺫﺍ ﺍﻟﺒﻴﺕ‪:‬‬

‫ﺡ ﻓﻴـﻪ‪ ،‬ﻭﺒﺎﻟﻜـﺩْ‬
‫ﻗـﺩْ ﺒﻨﺘﹾﻪ ﺒﺎﻟﻜﺩ ﹺ‬ ‫ل ﻤﻠـﻜﹰﺎ ﻜﺒﻴــﺭًﺍ‬
‫ﻭﺃﺭﻯ ﻟﻠﻨﹼﻤـﺎ ﹺ‬

‫ﺏ‬
‫ﻥ ﺭﻁﺎﻨ ﹰﺔ ﺃﻋﺠﻤﻴّﺔ؟!‪ .‬ﺃﺤ ﱡ‬ ‫ﺕ ] ﺒﹺﺎﻟﹾ ﹶﻜﺩْ‪ ،[ bil/kad :‬ﺘﻭﺸ ُ‬
‫ﻙ ﺃﻥ ﺘﻜﻭ َ‬ ‫ﻥ ﻗﺎﻓﻴ ﹶﺔ ﻫﺫﺍ ﺍﻟﺒﻴ ِ‬
‫ﺕ ﺘﺭﻯ ﺃ ﱠ‬
‫ﺃﻟﺴ ﹶ‬

‫ﺏ ﺍﻟﻘﺎﻓﻴـ ﹶﺔ ﻤﺘﺎﻨـ ﹰﺔ‪،‬‬

‫ﻑ ﺍﻟﺘـﻲ ﺘﻜﺴـ ُ‬
‫ل ﻤﻥ ﺍﻟﺤـﺭﻭ ِ‬
‫ﻥ ﻤﻥ ﺍﻟﺸﻌﺭﺍ ِﺀ ﻫﺫﺍ ﺍﻟﻤﻌﻨﻰ؛ ﻓﺎﻟﺩّﺍ ُ‬
‫ﺃﻥ ﻴﺘﺩ ّﺒ َﺭ ﺍﻟﺸﺒّﺎ ُ‬

‫ﻼ‪ ،‬ﻻ‬
‫ﻼ ﺜﻘﻴ ﹰ‬
‫ﺕ ﺍﻟﺜﻼﺙ؛ ﻓﺈﺫﺍ ﺴﻜﻨﺕﹾ؛ ﻤﻨﺤﺕ ﺍﻟﻘﺎﻓﻴ ﹶﺔ ﺜﻘ ﹰ‬
‫ﻻ؛ ﺇﺫﺍ ﺘﺤﺭّﻜﺕ ﺒﺈﺤﺩﻯ ﺍﻟﺤﺭﻜﺎ ِ‬
‫ﻭﺭﺼﺎﻨ ﹰﺔ‪ ،‬ﻭﺠﻤﺎ ﹰ‬
‫ﻥ ﺇﻟﻴﻪ ﺍﻟﺫﻭﻕ‪.(1)((...‬‬
‫ﻴﻘﺒﻠﹸﻪ ﺍﻟﺴﻤﻊ‪ ،‬ﻭﻻ ﻴﻁﻤﺌ ﱡ‬

‫)‪(1‬‬
‫ﺤﺴﻴﻥ‪ ،‬ﻁﻪ‪ :‬ﺤﺩﻴﺙ ﺍﻷﺭﺒﻌﺎﺀ‪ 3 .‬ﺝ‪ .‬ﻁ‪ .14‬ﺍﻟﻘﺎﻫـﺭﺓ‪ :‬ﺩﺍﺭ ﺍﻟﻤﻌﺎﺭﻑ‪) .‬ﺩ‪ .‬ﺕ(‪.199 / 3 .‬‬
‫‪69‬‬
‫ﻥ‬
‫ل ﻓﻲ ﻗﻭﻟِـﻪ‪ ...)) :‬ﺃﻤّـﺎ ﺍﻟﺒﻼﻏﻴّـﻭ َ‬
‫ﻭﻟﻠﺩﻜﺘﻭ ﹺﺭ ﻤﺤﻤّﺩ ﺍﻟﻨﻭﻴﻬﻲ‪ ،‬ﻓﻲ ﻫﺫﺍ ﺍﻟﻤﻘﺎ ﹺﻡ‪ ،‬ﺭﺃﻱٌ ﻗ ّﻴﻡٌ‪ ،‬ﻴﺘﻤﺜﹼ ُ‬

‫ﻥ‬
‫ﻑ‪ ،‬ﻴﻨﺒﻐﻲ ﺃﻥ ﺘﻜﻭ َ‬
‫ﺝ ﺍﻟﺤﺭﻭ ِ‬
‫ﻥ ﻤﺨﺎﺭ َ‬
‫ل‪ ،‬ﻋﻠﻰ ﻗﻭﻟِﻬﻡ‪ :‬ﺇ ﱠ‬
‫ﻭﺍﻟﻨﻘﹼﺎ ُﺩ‪ ،‬ﻓﻠﻡ ﻴﻜﺩْ ﻴﺯﻴ ُﺩ ﺍﻟﺘﻔﺎﺘﹸﻬﻡ‪ ،‬ﻓﻲ ﻫﺫﺍ ﺍﻟﻤﺠﺎ ﹺ‬

‫ﺕ ﺍﻟﺘﻲ ﺭﺃﻭﺍ‬
‫ﻁ ﺍﻟﻔﺼﺎﺤ ِﺔ‪ ،‬ﻋﺩ َﻡ ﺘﻨﺎﻓ ﹺﺭ ﺍﻟﺤﺭﻭﻑ‪ ،‬ﻭﻋﻠﻰ ﺇﻋﺠﺎﺒﹺﻬﻡ ﺒﺎﻷﺒﻴﺎ ِ‬
‫)ﻓﺼﻴﺤﺔ(‪ ،‬ﻭﺠﻌﻠﻭﺍ ﺃﺤ َﺩ ﺸﺭﻭ ِ‬
‫ل ﺍﻟﺩﻗﻴﻕ‪،‬‬
‫ﺕ ﻋﺎ ّﻤ ٍﺔ ﻤﺎﺌﻌ ٍﺔ‪ ،‬ﺘﺨﻠﻭ ﻤﻥ ﺍﻟﺘﺤﻠﻴ ﹺ‬
‫ﺏ‪ ،‬ﺒﻌﺒﺎﺭﺍ ٍ‬
‫ﻥ ﻋﻥ ﻫﺫﺍ ﺍﻹﻋﺠﺎ ﹺ‬
‫ﻕ ﺍﻟﻔﺼﺎﺤ ِﺔ ﻓﻴﻬﺎ‪ ،‬ﻤﻌﺒّﺭﻴ َ‬
‫ﺘﺤ ﹼﻘ ﹶ‬

‫ﺕ ﺍﻟﺘـﻲ ﺭﺃﻭﺍ ﺨﻠﻭﱠﻫﺎ ﻤﻥ ﺍﻟﻔﺼﺎﺤـﺔ‪ .‬ﻭﺤﺘﹼﻰ ﻓﻲ ﻤﻘﻴﺎﺴِﻬﻡ ﺍﻟﺫﻱ ﻭﻀﻌﻭﻩ ﻟﻠﻔﺼﺎﺤﺔ‪،‬‬

‫ﻭﺫﻤﱢـﻬﻡ ﻟﻸﺒﻴﺎ ِ‬

‫ﻥ ﺍﻟﻤﻌﻨـﻰ ﻭﺍﻟﻌﺎﻁﻔـ ﹶﺔ‪ ،‬ﻗـﺩ‬

‫ﻭﻫﻭ ﻋﺩ ُﻡ ﺘﻨﺎﻓ ﹺﺭ ﺍﻟﺤﺭﻭﻑ‪ ،‬ﻗﺩ ﺨﺎﻨﹶﻬﻡ ﺍﻟﺘﻭﻓﻴﻕ؛ ﻷﻨﱠﻬﻡ ﻟﻡ ﻴﻨﺘﺒﻬﻭﺍ ﺇﻟـﻰ ﺃ ﱠ‬
‫ﻑ ﺸـﻌ َﺭ‬
‫ﺱ‪ ،‬ﻴﺼـ ﹸ‬
‫ﺉ ﺍﻟﻘـﻴ ﹺ‬
‫ﺕ ﺍﻤﺭ ِ‬
‫ﻼ ﺇﻟﻰ ﺒﻴ ِ‬
‫ﻥ ﻫﺫﺍ ﺍﻟﺘﻨﺎﻓﺭ‪ ،‬ﻭﻴﺠﻌﻼﻨِﻪ ﺃﻤﺭًﺍ ﻻﺯﻤًﺎ‪ .‬ﺍﻨﻅﺭْ ﻤﺜ ﹰ‬
‫ﻴﻘﺘﻀﻴﺎ ﹺ‬

‫ﺢ ﺍﻟﺘﻨﺎﻓـﺭ‪:‬‬
‫ﻥ ﺒﻪ ﻋﻠﻰ ﻗﺒ ﹺ‬
‫ﻤﺤﺒﻭﺒ ِﺘﻪ‪ ،‬ﻭﻫﻡ ﻴﺴﺘﺸﻬﺩﻭ َ‬

‫ل)‪] (1‬ﺍﻟﻁﻭﻴل[‬
‫ﺹ ﻓﻲ ﻤُﺜﻨًّﻰ ﻭﻤﺭﺴ ﹺ‬
‫ل ﺍﻟﻌﻘﺎ ُ‬
‫ﺘﻀ ﱡ‬ ‫ﻏﺩﺍﺌﺭُﻩ ﻤﺴﺘﺸﺯﺭﺍﺕﹲ ﺇﻟﻰ ﺍﻟﻌُـﻼ‬

‫ﻑ‪،‬‬
‫ﻥ ﺍﻟﺤـﺭﻭ ِ‬
‫‪ ،[mus / ta‬ﺘﻨﺎﻓﺭًﺍ ﺒﻴ َ‬ ‫ﻥ ﻓﻲ ﻗﻭﻟِﻪ‪ُ ) :‬ﻤﺴْ ﹶﺘﺸﹾﺯﹺﺭﺍﺕﹲ( ]‪/ zi / raa / tun‬‬
‫ﻙﺃﱠ‬
‫ﻻﺸﱠ‬

‫ﻥ ﻫﺫﺍ ﺍﻟﺘﻨﺎﻓ َﺭ‪ ،‬ﻻﺯﻡٌ ﻟﺯﻭﻤًﺎ ﻓ ﹼﻨﻴ‪‬ـﺎ‬

‫ﻼ ﻤﻥ ﺍﻟﺘﻔﻜﻴ ﹺﺭ‪ ،‬ﻴﻬﺩﻴﻨﺎ ﺇﻟﻰ ﺃ ﱠ‬
‫ﻥ ﻗﻠﻴ ﹰ‬
‫ل ﺍﻟﻜﻠﻤ ﹶﺔ ﺜﻘﻴﻠ ﹰﺔ ﻓﻲ ﺍﻟﻨﻁﻕ‪ .‬ﻭﻟﻜ ّ‬
‫ﻴﺠﻌ ُ‬

‫ﺕ ﺍﻟﻜﺜﻴﺭ ِﺓ ﺍﻟﻜﺜﻴﻔ ِﺔ‬

‫ﻕ ﻋﻠـﻰ ﺍﻟﺼﻭﺭ ِﺓ ﺍﻟﺘﻲ ﻴﺭﻴ ُﺩ ﺍﻟﺸﺎﻋ ُﺭ ﺃﻥ ﻴﺭﺴﻤَﻬﺎ‪ ،‬ﻟﻬﺫﻩ ﺍﻟﺨﺼﻼ ِ‬
‫ﻤﺅ ﹼﻜﺩًﺍ؛ ﻷﻨﱠﻪ ﻴﻨﻁﺒ ﹸ‬
‫ﻑ ﺘﺤﺘﹶﻬـﺎ‪،‬‬
‫ﺏ ﺒﺎﻗﻲ ﺍﻟﺸﻌ ﹺﺭ ﺍﻟﻜﺜﻴ ِ‬
‫ﺱ ﻤﺤﺒﻭﺒﺘِﻪ‪ ،‬ﻭﺘﺭﺘﻔ ُﻊ ﺇﻟﻰ ﺃﻋﻠﻰ‪ ،‬ﻭﻴﻐﻴ ُ‬
‫ﺍﻟﺜﻘﻴﻠ ِﺔ‪ ،‬ﺍﻟﺘﻲ ﺘﺘﺯﺍﺤ ُﻡ ﻋﻠﻰ ﺭﺃ ﹺ‬

‫ﻕ ﻫﻨﺎ ﻭﻫﻨﺎﻙ‪ .‬ﺼﻭﺭﺓﹲ ﻏﻨ ّﻴﺔﹲ ﺭﺍﺌﻌﺔﹲ‪ ،‬ﺤﺎﺸﺩﺓﹲ ﺯﺍﺨﺭﺓﹲ‬

‫ل ﺍﻨﻁﻠ ﹶ‬
‫ل ﻋﻠﻰ ﺍﻨﺘﻅﺎﻤِﻪ‪ ،‬ﻭﻏﻴ ﹺﺭ ﻤﻔﺘﻭ ﹴ‬
‫لﻅﱠ‬
‫ﻤﻥ ﻤﻔﺘﻭ ﹴ‬

‫ﻑ ﺃﻨﱠﻬﺎ ﺘﻘﺘﻀﻲ ﻫﺫﺍ ﺍﻟﺘﻨﺎﻓﺭ‪،‬‬

‫ﻤﺯﺩﺤﻤﺔ‪ ،‬ﺇﺫﺍ ﺃﺠﺩﻨﺎ ﺘﺼ ّﻭﺭَﻫﺎ‪ ،‬ﻭﺍﺴﺘﻤﻌﻨﺎ ﺇﻟﻰ )ﻤﺴﺘﺸﺯﺭﺍﺕ(؛ ﺃﺩﺭﻜﻨﺎ ﻜﻴ ﹶ‬
‫ﻕ ﺒﻪ‪ .‬ﻫﻭ ﺤﻘًّﺎ ﺘﻨﺎﻓﺭ‪ ،‬ﻭﻟﻜﻥ ﻤﺎ ﺃﻗﻭﻯ ﺍﻨﺴـﺠﺎﻤَﻪ ﻤـﻊ‬
‫ﻭﺒﺩﺃﻨﺎ ﻨﺴﺘﺤﻠﻴﻪ‪ ،‬ﻭﻨﺘﻠﺫﹼ ﹸﺫ ﺒﺘﻌ ﹼﺜ ﹺﺭ ﻟﺴﺎ ِﻨﻨﺎ ﻓﻲ ﺍﻟﻨﻁ ِ‬

‫ﺍﻟﺼﻭﺭ ِﺓ ﺍﻟﻤﺭﺴﻭﻤﺔ‪.(2)((...‬‬

‫ﻱ‪ ،‬ﺍﻟﺫﻱ ﻴﻘﺼـ ُﺩ ﺒـﻪ‪،‬‬

‫ﺹ‪ ،‬ﺒﺤﺴﱢﻪ ﺍﻟﻠﹼﻐﻭ ﱢ‬
‫ﻥ ﺍﻟﺠﻭﺩ ِﺓ‪ ،‬ﺃﻭ ﺍﻟﺭﺩﺍﺀ ِﺓ ﻓﻲ ﺍﻟﻨ ﱢ‬
‫ﻙ ﻤﻭﺍﻁ َ‬
‫ﻭﻟﻠﻤﺘﻠﻘﹼﻲ ﺃﻥ ﻴﺩﺭ َ‬
‫ﻥ‬
‫ﻥ ﺒﻠﻐ ٍﺔ ﻤّﺎ‪ ،‬ﺘﻬﺩﻴﻬﻡ ﺇﻟﻰ ﺨﺼﺎﺌﺼِﻬﺎ ﺍﻟﺫﺍﺘﻴّﺔ‪ ،‬ﻭﻁﺎﻗﺎ ِﺘﻬﺎ ﺍﻟﺘﻌﺒﻴﺭﻴّﺔ؛ ﻓﻴﺴﺘﻐﻠﹼﻭ َ‬
‫ﻥ ﻟﺩﻯ ﺍﻟﻤﺘﻜﻠﹼﻤﻴ َ‬
‫ﻤَﹶﻠ ﹶﻜﺔﹲ ﺘﺘﻜﻭّ ُ‬

‫)‪(1‬‬
‫ل‪ :‬ﺘﻐﻴﺏ ﻭﺘﺘﻴﻪ ﺒﻌﻀﻬﺎ ﻓـﻲ ﺒﻌﺽ‪ ،‬ﻤﻥ ﻜﺜﺎﻓﺔ ﺸﻌﺭﻫﺎ‪ .‬ﺍﻟﻌﻘﺎﺹ‪ :‬ﺍﻟﺨﺼل‬
‫ﻏﺩﺍﺌﺭﻩ‪ :‬ﺨﺼﻠﻪ‪ .‬ﻤﺴﺘﺸﺯﺭﺍﺕ‪ :‬ﻤﺭﺘﻔﻌـﺎﺕ‪ .‬ﺘﻀ ّ‬
‫ﺕ ﺇﻟﻰ ﻫﺫﺍ ﺍﻟﺒﻴـﺕ‪،‬‬
‫ﺍﻟﻤﺠﻤﻭﻋﺔ‪ ،‬ﺃﻭ ﺍﻟﺸﻌﺭ ﺍﻟﻤﻔﺘﻭل ﺘﺤﺕ ﺍﻟﺨﺼل‪ .‬ﻤُﺜﻨﹼﻰ‪ :‬ﻓﺘل ﺒﻌﻀﻪ ﻓﻲ ﺒﻌﺽ‪ .‬ﻤﺭﺴل‪ :‬ﻏﻴﺭ ﻤﻔﺘﻭل‪ .‬ﻭﻗﺩ ﺃﺸﺭ ﹸ‬
‫ﺕ ﺇﻟﻴﻪ‪:‬‬
‫ﺕ ﻋﻠﻴﻪ ﻓﻲ ﺹ‪ .33 ،32‬ﻭﻗﺩ ﻭﺭﺩ ﻓﻲ ﺍﻟﺩﻴﻭﺍﻥ ﺍﻟﺫﻱ ﻋﺩ ﹸ‬
‫ﻭﻋﻠﹼﻘ ﹸ‬
‫ل‪.‬‬
‫ل ﺍﻟﻤﺩﺍﺭﻯ ﻓﻲ ﻤُﺜﻨًّﻰ ﻭﻤﺭﺴ ﹺ‬
‫‪ ...‬ﺘﻀ ﱡ‬
‫)‪(2‬‬
‫ﺍﻟﻨﻭﻴﻬﻲ‪ ،‬ﻤﺤﻤّﺩ‪ :‬ﺍﻟﺸﻌﺭ ﺍﻟﺠﺎﻫﻠﻲّ‪ ،‬ﻤﻨﻬﺞ ﻓﻲ ﺩﺭﺍﺴﺘﻪ ﻭﺘﻘﻭﻴﻤﻪ‪.45 ،44 / 1 .‬‬
‫‪70‬‬
‫ﻥ ﻫﺫﻩ ﺍﻟﻁﺎﻗﺎﺕ؛ ﻟﻴﺠﻲ َﺀ ﺍﻟﻜﻼ ُﻡ ﻤﻁﺎﺒﻘﹰـﺎ ﺃﻏﺭﺍﻀَـﻬﻡ‪ ،‬ﻭﻤﻌﺒّـﺭًﺍ ﻋـﻥ‬
‫ﺹ‪ ،‬ﻭﻴﺴﺘﺜﻤﺭﻭ َ‬
‫ﺘﻠﻙ ﺍﻟﺨﺼﺎﺌ َ‬

‫ﻱ ﺍﻟﺴـﻠﻴ ﹺﻡ ﻤﻘـﻭّﻤﻴﻥ‪ :‬ﺍﻟﻤﻌﺭﻓـ ﹶﺔ‬

‫ﺱ ﺍﻟﻠﹼﻐﻭ ﱢ‬
‫ﻥ ﻟﻠﺤ ﱢ‬
‫ﻥ ﺯﻴـﺎﺩ ٍﺓ ﺃﻭ ﻨﻘﺼﺎﻥ‪ .‬ﻭﻴﻌﻨﻲ ﺫﻟﻙ‪ ،‬ﺃ ﱠ‬
‫ﻤﻘﺎﺼﺩِﻫﻡ‪ ،‬ﺩﻭ َ‬

‫ﺱ ﺍﻟﻤﺘﻜﹼﻠ ﹺﻡ‪،‬‬
‫ﻱ ﺍﻟﺴﻠﻴ َﻡ‪ ،‬ﺍﻟﺫﻱ ﻴﺘﺭﺒّﻰ ﻓﻲ ﻨﻔ ﹺ‬
‫ﻕ ﺍﻟﻠﹼﻐﻭ ﱠ‬
‫ﻥ ﻤﻥ ﺩﺭﺍﺴ ِﺔ ﻋﻠﻭ ﹺﻡ ﺍﻟﻠﹼﻐﺔ‪ ،‬ﻭﺍﻟﺫﻭ ﹶ‬
‫ﺍﻟﻠﹼﻐﻭ ّﻴ ﹶﺔ‪ ،‬ﺍﻟﺘﻲ ﺘﺘﻜﻭّ ُ‬
‫ﺒﺎﻟﺨﺒﺭ ِﺓ ﺍﻟﻠﹼﻐﻭﻴّﺔ)‪.(1‬‬

‫ل ﺍﻟﻘـ ّﻭ ِﺓ‬
‫ﺹ‪ ،‬ﺘﺘﺄﺜﹼ ُﺭ ﺇﻴﺠﺎﺒًﺎ‪ ،‬ﺃﻭ ﺴـﻠﺒًﺎ‪ ،‬ﺒﻌﻭﺍﻤـ ﹺ‬
‫ﻥ ﺠﻭﺩ ﹶﺓ ﺍﻟﻨ ﱢ‬
‫ل‪ ،‬ﺇﻟﻰ ﺃ ﱠ‬
‫ﺹ ﻓﻲ ﻨﻬﺎﻴ ِﺔ ﻫﺫﺍ ﺍﻟﻔﺼ ﹺ‬
‫ﻨﺨﻠ ُ‬

‫ﺢ ﺃﺼـﻭﺍ ِﺘﻪ ﺍﻟﺘﻤﻴﻴﺯﻴّﺔ‪ ،‬ﻭﺍﻟﺨﺎﺭﺠ ّﻴ ِﺔ ﺍﻟﻤﺘﻤﺜﹼﻠ ِﺔ‪ ،‬ﻓﻲ‬

‫ﻥ‪ :‬ﺍﻟﺩﺍﺨﻠ ّﻴ ِﺔ ﺍﻟﻤﺘﻤﺜﹼﻠ ِﺔ ﻓـﻲ ﻤﻼﻤ ﹺ‬
‫ﻑ ﺍﻟﺼﻭﺘﻴّﻴ ﹺ‬
‫ﻭﺍﻟﻀﻌ ِ‬
‫ﺕ ﻏﻴ ﹺﺭ ﺍﻟﺘﺭﻜﻴﺒ ّﻴ ِﺔ ﺍﻟﻤﺴﺘﺨﺩﻤ ِﺔ ﻓﻴـﻪ‪ ،‬ﻭﻓـﻲ ﺍﺨﺘﻴﺎ ﹺﺭ ﺃﺼﻭﺍﺘِﻪ‪ ،‬ﻭﻤﻘﺎﻁﻌِﻪ ﺍﻟﺼـﻭﺘ ّﻴ ِﺔ‪ ،‬ﻭﻜﻴﻔﻴّـ ِﺔ‬
‫ﺍﻟﻔﻭﻨﻴﻤﺎ ِ‬

‫ﺏ‬ ‫ل‪ ،‬ﻓﻲ ﺃﺭﺒﻌ ِﺔ ﺠﻭﺍﻨ َ‬

‫ﺏ ﺭﺌﻴﺴﺔ‪ ،‬ﻭﻫـﻲ‪ :‬ﺍﻟﺠﺎﻨـ ُ‬ ‫ﺘﻨﻅﻴﻤِﻬﺎ‪ .‬ﻭﻴﻅﻬ ُﺭ ﻫﺫﺍ ﺍﻷﺜ ُﺭ ﺍﻟﺫﻱ ﺘﺤﺩﺜﹸﻪ ﻫﺫﻩ ﺍﻟﻌﻭﺍﻤ ُ‬

‫ل‪ ،‬ﺃﻥ‬
‫ﻥ ﻫـﺫﻩ ﺍﻟﻌﻭﺍﻤـ ﹺ‬
‫ﻲ؛ ﻓﻤﻥ ﺸﺄ ﹺ‬
‫ﺏ ﺍﻟﺩﻻﻟ ّ‬
‫ﻲ‪ ،‬ﻭﺍﻟﺠﺎﻨ ُ‬
‫ﺏ ﺍﻟﻤﻭﺴﻴﻘ ﱡ‬
‫ﻲ‪ ،‬ﻭﺍﻟﺠﺎﻨ ُ‬
‫ﺏ ﺍﻟﺴﻤﻌ ﱡ‬
‫ﻲ‪ ،‬ﻭﺍﻟﺠﺎﻨ ُ‬
‫ﺍﻟﻨﻁﻘ ﱡ‬

‫ﻕ‪ ،‬ﺃﻭ ﺼﻌﺒًﺎ ﻭﻋﺭًﺍ؛ ﻭﺃﻥ ﺘﺠﻌﻠﹶﻪ ﻭﺍﻀﺤًﺎ ﻓﻲ ﺍﻟﺴـﻤ ﹺﻊ‪ ،‬ﺃﻭ ﻏﻴـ َﺭ‬
‫ﻼ ﺴﻠﺴًﺎ ﻓﻲ ﺍﻟﻨﻁ ِ‬
‫ﺹ ﺴﻬ ﹰ‬
‫ل ﺍﻟﻨ ﱠ‬
‫ﺘﺠﻌ َ‬

‫ﻭﺍﻀﺢ؛ ﻜﺫﻟﻙ ﻤﻥ ﺸﺄﻨِﻬﺎ‪ ،‬ﺃﻥ ﺘﺼ ّﻴ َﺭ ﻤﻭﺴﻴﻘﺎﻩ ﺍﻟﻠﹼﻐﻭ ّﻴ ﹶﺔ ﺠﻤﻴﻠ ﹰﺔ‪ ،‬ﺃﻭ ﺭﺩﻴﺌﺔ؛ ﻭﺃﻥ ﺘﺩﻋ َﻡ ﺩﻻﻻﺘِـﻪ‪ ،‬ﺒﻤـﺎ‬

‫ﺕ ﺫﺍﺘ ّﻴ ٍﺔ ﻜﺎﻤﻨﺔ‪.‬‬
‫ﺘﺤﻤﻠﹸﻪ ﻤﻥ ﺩﻻﻻ ٍ‬

‫ل‪ ،‬ﻭﺫﻟـﻙ‬
‫ل ﻫـﺫﻩ ﺍﻟﻌﻭﺍﻤـ ﹺ‬
‫ﻥ ﺍﺴـﺘﻐﻼ َ‬
‫ﺏ ﺍﻟﺫﻱ ﻴﺭﻴـ ُﺩ ﻨﺼ‪‬ﺎ ﻤﺘﻤ ّﻴﺯًﺍ‪ ،‬ﺃﻥ ﻴﺤﺴ َ‬
‫ﻟﺫﻟﻙ‪ ،‬ﻋﻠﻰ ﺍﻟﻜﺎﺘ ﹺ‬

‫ﻕ ﺘﻨﺎﻏﻤَﻬﺎ ﻭﺘﻜﺎﻤﻠﹶﻬﺎ؛ ﻓﺘﺭﻓـ ُﻊ ﺒﺫﻟﻙ ﻤﻥ ﺠﻭﺩ ِﺓ ﻨﺼﱢﻪ‪ ،‬ﻤﺅﺜﹼﺭ ﹰﺓ‬

‫ﺒﺘﻭﺯﻴﻌِﻬﺎ ﻓﻲ ﻨﺼﱢﻪ ﺘﻭﺯﻴﻌًﺎ ﻤﻨﺎﺴﺒًﺎ‪ ،‬ﻴﺤﻘﹼ ﹸ‬

‫ﺏ ﺃﻥ ﺘﺅﺜﹼﺭ‪.‬‬
‫ﻱ‪ ،‬ﻜﻤﺎ ﻴﺭﻴ ُﺩ ﻟﻬﺎ ﺍﻟﻜﺎﺘ ُ‬ ‫ﻓﻲ ﺍﻟﻤﺘﻠﻘﹼﻲ‪ ،‬ﻤﻥ ﺨﻼ ﹺ‬
‫ل ﺤﺴﱢﻪ ﺍﻟﻠﹼﻐﻭ ﱢ‬

‫)‪ (1‬ﺍﻟﻌﺯﺍﻭﻱ‪ ،‬ﻨﻌﻤﺔ ﺭﺤﻴﻡ‪ :‬ﻓﺼﻭل ﻓﻲ ﺍﻟﻠﹼﻐﺔ ﻭﺍﻟﻨﻘﺩ‪ .‬ﻁ‪ .1‬ﺒﻐﺩﺍﺩ‪ :‬ﺍﻟﻤﻜﺘﺒﺔ ﺍﻟﻌﺼﺭﻴّﺔ‪ .2004 .‬ﺹ‪.68‬‬
‫‪71‬‬
 ‫ﺍﻟﻔﺼ ُل ﺍﻟﺜﺎﻟﺙ‬

‫ﺩﺭﺍﺴـﺔﹲ ﺘﻁﺒﻴﻘـﻴّﺔ‬

‫ﻥ ﺍﻟﻜﺭﻴـ ﹺﻡ ﺼﻭﺘﻴ‪‬ﺎ‪:‬‬
‫ﺽ ﻗﺼﺎ ﹺﺭ ﺴﻭ ﹺﺭ ﺍﻟﻘـﺭﺁ ﹺ‬
‫ﺘﺤﻠﻴـ ُل ﺒﻌ ﹺ‬
‫ﺹ‪ ،‬ﻭﺍﻟﻨﹼﺎﺱ‪.‬‬
‫ﺵ‪ ،‬ﻭﺍﻟﻜﻭﺜ ﹺﺭ‪ ،‬ﻭﺍﻹﺨﻼ ﹺ‬
‫ﺍﻟﺘﹼﻜﺎﺜـ ﹺﺭ‪ ،‬ﻭﺍﻟﻌﺼ ﹺﺭ‪ ،‬ﻭﺍﻟﻔﻴ ﹺل‪ ،‬ﻭﻗﺭﻴ ﹴ‬

‫‪72‬‬
 ‫ﺍﻟﻔﺼ ُل ﺍﻟﺜﺎﻟﺙ‬

‫ﻥ ﺍﻟﻜﺭﻴـ ﹺﻡ ﺼﻭﺘﻴ‪‬ﺎ‬
‫ﺽ ﻗﺼﺎ ﹺﺭ ﺴﻭ ﹺﺭ ﺍﻟﻘـﺭﺁ ﹺ‬
‫ﺩﺭﺍﺴـﺔﹲ ﺘﻁﺒﻴﻘـﻴّﺔ‪ :‬ﺘﺤﻠﻴـ ُل ﺒﻌ ﹺ‬

‫ﻻ ﺒ ﱠﺩ ﻟﻲ؛ ﻹﺒﺭﺍ ﹺﺯ ﻗﻴﻤ ِﺔ ﺩﺭﺍﺴﺘﻲ ﺍﻟﻨﻅﺭ ّﻴ ِﺔ ﺍﻟﺴﺎﺒﻘﺔ‪ ،‬ﻤﻥ ﺘﻘﺩﻴ ﹺﻡ ﻫﺫﻩ ﺍﻟﺩﺭﺍﺴـ ِﺔ ﺍﻟﺘﻁﺒﻴﻘﻴّـ ِﺔ‪ ،‬ﺍﻟﺘـﻲ‬

‫ﻥ ﺍﻟﻜﺭﻴ ﹺﻡ ﺼﻭﺘﻴ‪‬ﺎ‪ ،‬ﺃﻻ ﻭﻫﻲ‪ :‬ﺍﻟﺘﹼﻜﺎﺜ ُﺭ‪ ،‬ﻭﺍﻟﻌﺼ ُﺭ‪،‬‬

‫ل ﺴﺒ ﹴﻊ ﻤﻥ ﻗﺼﺎ ﹺﺭ ﺴﻭ ﹺﺭ ﺍﻟﻘﺭﺁ ﹺ‬
‫ﺕ ﻓﻴﻬﺎ‪ ،‬ﺇﻟﻰ ﺘﺤﻠﻴ ﹺ‬
‫ﻋﻤﺩ ﹸ‬
‫ﻥ‬
‫ل ﻤﻥ ﺍﻟﻘـﺭﺁ ﹺ‬
‫ﺹ ﺍﻟﺘﺤﻠﻴ ﹺ‬
‫ﺏ ﺍﺨﺘﻴﺎﺭﻱ ﻨﺼﻭ َ‬
‫ﺹ‪ ،‬ﻭﺍﻟ ﹼﻨـﺎﺱ‪ .‬ﻭﺴﺒ ُ‬
‫ل‪ ،‬ﻭﻗﺭﻴﺵﹲ‪ ،‬ﻭﺍﻟﻜﻭﺜ ُﺭ‪ ،‬ﻭﺍﻹﺨﻼ ُ‬
‫ﻭﺍﻟﻔﻴ ُ‬

‫ﻥ ﺃﻥ‬
‫ﻱ ﻓﻲ ﻤﻜﺎﻨِﻪ‪ ،‬ﺍﻟﺫﻱ ﻻ ﻴﻤﻜ ُ‬
‫ﺕ ﻟﻐﻭ ﱟ‬
‫ل ﺼﻭ ٍ‬
‫ﺏ ﺍﻟﻌﻅﻴ َﻡ‪ ،‬ﻗﺩ ﻭﻀ َﻊ ﻜ ﱠ‬
‫ﻥ ﻫﺫﺍ ﺍﻟﻜﺘﺎ َ‬
‫ﺍﻟﻜﺭﻴ ﹺﻡ‪ ،‬ﻋﺎﺌﺩٌ ﺇﻟﻰ ﺃ ﱠ‬

‫ﻥ‬
‫ل ﻤﻥْ ﺒـﻴ ﹺ‬
‫ﻲ‪ ،‬ﺍﻟﺫﻱ ﴿ﻻ ﻴﺄﺘﻴ ِﻪ ﺍﻟﺒﺎﻁ ُ‬
‫ﺏ ﺍﻟﻤﺜﺎﻟ ﱢ‬
‫ل ﺒﻨﻅﺎ ﹺﻡ ﻫﺫﺍ ﺍﻟﻜﺘﺎ ﹺ‬
‫ﻥ ﺃﻥ ﻴﺨ ﱠ‬
‫ﺕ ﺁﺨ َﺭ‪ ،‬ﺩﻭ َ‬
‫ﻱ ﺼـﻭ ٍ‬
‫ﺤﻠﱠﻪ ﺃ ﱡ‬
‫َﻴ ِ‬

‫ﻥ ﺍﻟﻜـﺭﻴ ﹺﻡ‪،‬‬
‫ﺹ ﺍﻟﻘﺭﺁ ﹺ‬
‫ل ﻨﺼﻭ ﹺ‬
‫ﻥ ﺘﺤﻠﻴ َ‬
‫ل‪ ،‬ﺴﺒﺤﺎﻨﹶﻪ‪ .‬ﻭﺫﻟﻙ ﻴﻌﻨﻲ‪ ،‬ﺃ ﱠ‬
‫ﻜﻤﺎ ﻗﺎ َ‬ ‫﴾)‪،(1‬‬ ‫َﻴ َﺩﻴْ ِﻪ ﻭﻻ ﻤﻥْ ﺨﻠﻔِـ ِﻪ‪...‬‬

‫ﺏ‬
‫ﻲ ﺍﻷﻓﻀل‪ ،‬ﺇﺫﺍ ﻤﺎ ﺃﺭﺩﻨـﺎ ﺃﻥ ﻨﻜﺘـ َ‬
‫ﺝ ﺍﻟﺼﻭﺘ ﱢ‬
‫ﻴﻘ ّﺭﺒُﻨﺎ ﺩﻭﻤًﺎ‪ ،‬ﻤﻥ ﺍﻟﻨﺎﺤﻴ ِﺔ ﺍﻟﺼﻭﺘ ّﻴ ِﺔ‪ ،‬ﺇﻟﻰ ﺫﻟﻙ ﺍﻷﻨﻤﻭﺫ ﹺ‬

‫ﺹ ﺍﻟﻤﺘﻤﻴّﺯ‪.‬‬
‫ﺍﻟﻨ ﱠ‬

‫ﻲ ﺠﻤﻴـ َﻊ ﻋﻨﺎﺼـﺭﹺﻩ ﺍﻟﺼـﻭﺘ ّﻴ ِﺔ‪:‬‬

‫ﻼ ﺼﻭﺘﻴ‪‬ﺎ‪ ،‬ﺃﻥ ﻨﺤﺼ َ‬
‫ﻥ‪ ،‬ﺘﺤﻠﻴ ﹰ‬
‫ﺹ ﻤﻌ ّﻴ ﹴ‬
‫لﻨ ﱟ‬
‫ﻭﻻ ﺒ ﱠﺩ ﻟﻨﺎ‪ ،‬ﻋﻨ َﺩ ﺘﺤﻠﻴ ﹺ‬

‫ﻥ ﻤـﻥ‬ ‫ﺕ ﺍﻟﺘﺭﻜﻴﺒ ّﻴ ِﺔ‪ ،‬ﻭﻏﻴ ﹺﺭ ﺍﻟﺘﺭﻜﻴﺒ ّﻴ ِﺔ‪ ،‬ﻭﺍﻟﻤﻘﺎﻁ ﹺﻊ ﺍﻟﺼﻭﺘ ّﻴ ِﺔ‪ ،‬ﻤﺘﺘﺒّﻌﻴ َ‬
‫ﻥ ﻫﺫﻩ ﺍﻟﻌﻨﺎﺼـ َﺭ‪ ،‬ﻤﺒﻴّﻨـﻴ َ‬ ‫ﺍﻟﻔﻭﻨﻴﻤﺎ ِ‬

‫ﺹ‪ ،‬ﺍﻟﺘﻲ ﻤﻥ ﺸﺄﻨِﻬﺎ ﺃﻥ ﺘﺯﻴﻨﹶﻪ‪ ،‬ﺃﻭ ﺘﺸﻴﻨﹶﻪ؛‬

‫ﻥ‪ ،‬ﻓـﻲ ﻫﺫﺍ ﺍﻟﻨ ﱢ‬
‫ﻑ ﺍﻟﺼﻭﺘﻴّﻴ ﹺ‬
‫ل ﺍﻟﻘ ّﻭ ِﺓ ﻭﺍﻟﻀﻌ ِ‬
‫ﺨﻼﻟِﻬﺎ‪ ،‬ﻋﻭﺍﻤ َ‬
‫ﻲ‪ ،‬ﻭﺍﻟﻤﻭﺴﻴﻘﻰ‬
‫ﺡ ﺍﻟﺴﻤﻌ ﱢ‬
‫ﻲ‪ ،‬ﻭﺍﻟﻭﻀﻭ ﹺ‬
‫ﺒﻤﺎ ﺘﺤﺩﺜﹸﻪ ﻤﻥ ﺃﺜ ﹴﺭ ﻓﻴﻪ‪ ،‬ﻨﻜﺸ ﹸﻔﻪ ﺒﺩﺭﺍﺴ ِﺔ ﺘﺄﺜﻴﺭﹺﻫﺎ ﻓﻲ ﺍﻟﺠﻬ ِﺩ ﺍﻟﻨﻁﻘ ﱢ‬

‫ﺹ ﻓﻲ ﻤﺘﻠﻘﹼﻴﻪ‪.‬‬
‫ﻥ ﺃﺜ َﺭ ﺍﻟﻨ ﱢ‬
‫ﻥ ﻟﻨﺎ ﺃﻥ ﻨﺘﺒ ّﻴ َ‬
‫ل ﺩﺭﺍﺴ ِﺔ ﻫﺫﺍ ﺍﻟﺘﺄﺜﻴﺭ‪ ،‬ﻴﻤﻜ ُ‬
‫ﺍﻟﻠﹼﻐﻭ ّﻴ ِﺔ‪ ،‬ﻭﺍﻟﺩﻻﻟﺔ‪ .‬ﻭﻤﻥ ﺨﻼ ﹺ‬

‫ﺏ‪،‬‬
‫ﺕ ﻤﺎ ﻴﻜﺘـ ُ‬
‫ﺱ ﻤﻨﻁﻭﻗﹰﺎ‪ ،‬ﻻ ﻤﻜﺘﻭﺒًﺎ؛ ﻓﻤﻥ ﺍﻷﺼﻭﺍ ِ‬
‫ﺹ ﺼﻭﺘﻴ‪‬ﺎ‪ ،‬ﺃﻥ ﻴُﺩﺭ َ‬
‫ل ﺍﻟﻨ ﱢ‬
‫ﻭﻴُﺭﺍﻋﻰ ﻋﻨ َﺩ ﺘﺤﻠﻴ ﹺ‬
‫ﺏ‪،‬‬
‫ﻅ‪ ،‬ﻭﻻ ﻴﻜﺘـ ُ‬
‫ﺕ ﻤﺎ ﻴﻠﻔ ﹸ‬
‫ل‪ ،‬ﻏﻴ َﺭ ﻤﺒﺩﻭ ٍﺀ ﺒﻬﺎ‪ ،‬ﻭَﻭﺍ ﹺﻭ )ﻋﻤﺭﻭ(؛ ﻭﻤﻥ ﺍﻷﺼﻭﺍ ِ‬
‫ﻅ‪ ،‬ﻜﻬﻤﺯ ِﺓ ﺍﻟﻭﺼ ﹺ‬
‫ﻭﻻ ﻴﻠﻔ ﹸ‬

‫ﺏ‬
‫ﺕ ﻤﺎ ﻴﻘﻠـ ُ‬
‫ﺽ ﺃﺴﻤﺎ ِﺀ ﺍﻹﺸﺎﺭﺓ‪ ،‬ﻤﺜل‪ :‬ﻫﺫﺍ‪ ،‬ﻭﻫﺅﻻﺀ‪ ،‬ﻭﺫﻟﻙ؛ ﻭﻤﻥ ﺍﻷﺼﻭﺍ ِ‬
‫ﻜﺎﻟﻔﺘﺤ ِﺔ ﺍﻟﻁﻭﻴﻠ ِﺔ ﻓﻲ ﺒﻌ ﹺ‬

‫ل‬
‫ل‪ ،‬ﻓﻲ ﺍﻻﺴ ﹺﻡ ﺍﻟﺫﻱ ﺘـﺩﺨ ُ‬
‫ﺕ ﺍﻷ ّﻭ ﹺ‬
‫ﺱ ﺍﻟﺼﻭ ِ‬
‫ﺏ ﺼﻭﺘﹰﺎ ﻤﻥ ﺠﻨ ﹺ‬
‫ﺼﻭﺘﹰﺎ ﺁﺨ َﺭ‪ ،‬ﻜﺎﻟﻼ ﹺﻡ ﺍﻟﺸﻤﺴ ّﻴ ِﺔ‪ ،‬ﺍﻟﺘﻲ ﺘﻘﻠ ُ‬

‫ﻥ ﻨﻭﻨﹰـﺎ‬
‫ﻥ ﺍﻟﻜﻠﻤ ِﺔ؛ ﻤﺸﻜﹼﻠﺘﻴ ﹺ‬
‫ﺏ ﻨﻭﻨﹰﺎ ﻓﻲ ﺍﻟﻜﻠﻤ ِﺔ )ﺍﻟﻨﹼﻬ ﹺﺭ(‪ ،‬ﻭﺘﺩﻏ ُﻡ ﻓﻲ ﻨﻭ ﹺ‬
‫ﻼ‪ ،‬ﺘﻘﻠ ُ‬
‫ﻋﻠﻴﻪ‪ ،‬ﻭﺘﺩﻏ ُﻡ ﻓﻴﻪ؛ ﻓﻬﻲ ﻤﺜ ﹰ‬

‫ﺕ ﺍﻟﻤﺸﺩّﺩ ِﺓ‪ ،‬ﺘﺭ ﱡﺩ ﺇﻟﻰ ﺃﺼـﻠِﻬﺎ ﻓـﻲ ﺍﻟﺘﺤﻠﻴـل؛ ﻓﻬــﻲ‬

‫ل ﺍﻷﺼﻭﺍ ِ‬ ‫ﻤﺸﺩّﺩﺓ‪ .‬ﻭﻫﺫﻩ ﺍﻟﻨﻭ ُ‬
‫ﻥ ﺍﻟﻤﺸﺩّﺩﺓ‪ ،‬ﻜﻜ ﱢ‬

‫)‪ (1‬ﻓﺼّﻠﺕ‪.42 :‬‬

‫‪73‬‬
‫ﻥ‪ ،‬ﻓـﻲ ﺤﻘﻴﻘﺘِـﻪ‪ ،‬ﻨـﻭﻥٌ ﺴـﺎﻜﻨﺔﹲ‬
‫ﻥ ﺍﻟﺘﻨـﻭﻴ َ‬
‫ﻥ‪ :‬ﺴﺎﻜﻥٌ ﻭﻤﺘﺤﺭّﻙ‪ .‬ﻜﺫﻟﻙ‪ ،‬ﻻ ﺒـ ﱠﺩ ﺃﻥ ﻨﺘﺫ ﹼﻜ َﺭ‪ ،‬ﺃ ﱠ‬
‫ﺼﻭﺘﺎ ﹺ‬

‫ﻋﺎﺭﻀﺔ)‪.(1‬‬

‫ﺕ ﻏﻴ َﺭ ﺍﻟﺘﺭﻜﻴﺒ ّﻴ ِﺔ‪ ،‬ﺍﻟﺘﻲ ﺘﻅﻬ ُﺭ ﻓﻲ ﺍﻟﻠﹼﻐـ ِﺔ ﺍﻟﻤﻨﻁﻭﻗـ ِﺔ‪ ،‬ﻜـﺎﻟﺘﻨﻐﻴ ﹺﻡ‬

‫ﻥ ﺍﻟﻔﻭﻨﻴﻤﺎ ِ‬
‫ﺃﻀﻑﹾ ﺇﻟﻰ ﺫﻟﻙ‪ ،‬ﺃ ﱠ‬
‫ﺕ ﺍﻟﺘﺭﻜﻴﺒﻴّﺔ‪ ،‬ﺒﺎﺴﺘﺜﻨﺎ ِﺀ ﻤـﺎ ﻴﺴـﺘﺨﺩ ُﻡ ﻤـﻥ‬
‫ﻭﺍﻟ َﻤﻔﹾﺼِل‪ ،‬ﻻ ﻴﻤ ﹼﺜﻠﹸﻬﺎ ﺭﻤﺯٌ ﻓﻲ ﺍﻟﻠﹼﻐ ِﺔ ﺍﻟﻤﻜﺘﻭﺒ ِﺔ‪ ،‬ﻜﺎﻟﻔﻭﻨﻴﻤﺎ ِ‬

‫ﺏ‪،‬‬
‫ﺏ‪ ،‬ﻭﻗﺩ ﻻ ﺘﻜﺘﺏ‪ ،‬ﻜﻌﻼﻤ ِﺔ ﺍﻻﺴـﺘﻔﻬﺎ ﹺﻡ‪ ،‬ﻭﻋﻼﻤـ ِﺔ ﺍﻟﺘﻌﺠّـ ﹺ‬
‫ﺕ؛ ﻟﻠﺩﻻﻟ ِﺔ ﻋﻠﻰ ﺒﻌﻀِﻬﺎ‪ ،‬ﻗﺩ ﺘﻜﺘ ُ‬
‫ﻋﻼﻤﺎ ٍ‬

‫ﻕ ﺍﻟﻜﻼﻡ‪.‬‬
‫ﻙ ﻭﺠﻭﺩَﻫﺎ ﻤﻥ ﺴﻴﺎ ِ‬
‫ﺕ‪ ،‬ﺍﻟﺘﻲ ﻴﺩﺭ ُ‬
‫ل ﺃﻥ ﻴﻨﺘﺒ َﻪ ﻟﻬﺫﻩ ﺍﻟﻔﻭﻨﻴﻤﺎ ِ‬
‫ﻭﺍﻟﻔﺎﺼﻠﺔ؛ ﻟﺫﻟﻙ ﻋﻠﻰ ﺍﻟﻤﺤﹼﻠ ﹺ‬

‫ﺹ ﺼﻭﺘﻴ‪‬ﺎ‪ .‬ﻭﺒﻜﻠﻤـ ٍﺔ ﺃﺨـﺭﻯ‪ ،‬ﻻ ﺒـ ﱠﺩ‬

‫ل ﺍﻟﻨ ﱢ‬
‫ل ﺫﻟﻙ‪ ،‬ﻭﻤﺎ ﻤﺎﺜﻠﹶﻪ‪ ،‬ﻻ ﺒ ﱠﺩ ﻤﻥ ﻤﺭﺍﻋﺎﺘِﻪ ﻋﻨ َﺩ ﺘﺤﻠﻴ ﹺ‬
‫ﻜﱡ‬

‫ﻥ ﺘﻘـﻭ ُﻡ‬
‫ﻥ ﺍﻟﻠـﺫﻴ ﹺ‬
‫ﻲ ﻓﻲ ﺘﺤﻠﻴﻠِﻪ ﺍﻟﻜﺘﺎﺒ ﹶﺔ ﺍﻟﺼﻭﺘﻴّـ ﹶﺔ‪ ،‬ﺍﻟﺘﻲ ﺘﻘﻭ ُﻡ ﻋﻠﻰ ﺍﻟﻤﺒـﺩﺃﻴ ﹺ‬
‫ﺹ‪ ،‬ﺃﻥ ﻴﺭﺍﻋ َ‬
‫ل ﺍﻟﻨ ﱢ‬
‫ﻟﻤﺤﹼﻠ ﹺ‬

‫ﻅ ﻻ ﻴﻜﺘﺏ‪.‬‬ ‫ﻅ ﻴﻜﺘ ُ‬
‫ﺏ ﻜﻤﺎ ﻴﻠﻔﻅ‪ ،‬ﻭﻤﺎ ﻻ ﻴﻠﻔ ﹸ‬ ‫ﻋﻠﻴﻬﻤﺎ ﺍﻟﻜﺘﺎﺒ ﹸﺔ ﺍﻟﻌﺭﻭﻀﻴّﺔ‪ ،‬ﻭﻫﻤﺎ‪ :‬ﻤﺎ ﻴﻠﻔ ﹸ‬

‫‪ .1‬ﺘﺤﻠﻴ ُل ﺴﻭﺭ ِﺓ ﺍﻟﺘﱠﻜﺎﺜﹸﺭ‬

‫ﻥ ﺍﻟ ّﺭﺤﻴﻡ‬
‫ﷲ ﺍﻟ ّﺭﺤﻤ ﹺ‬
‫ﺒﺴ ﹺﻡ ﺍ ِ‬

‫ﷲ ﺍﻟﻌﻅﻴﻡ‬
‫ﻕﺍ ُ‬
‫ﺼﺩ ﹶ‬

‫ﺍﻟﺴﻭﺭ ﹸﺓ ﺒﺎﻟﻜﺘﺎﺒ ِﺔ ﺍﻟﺼﻭﺘ ّﻴ ِﺔ‪ ،‬ﻤﻊ ﺘﺤﺩﻴ ِﺩ ﻤﻘﺎﻁﻌِﻬﺎ)‪:(2‬‬

‫‪al / haa / ku / mut / ta / kaa / θur‬‬ ‫‪X‬‬ ‫‪at / taa / zur / tu / mul / ma /‬‬

‫)‪(1‬‬
‫ﻋﺘﻴﻕ‪ ،‬ﻋﺒﺩ ﺍﻟﻌﺯﻴﺯ‪ :‬ﻋﻠﻡ ﺍﻟﻌﺭﻭﺽ ﻭﺍﻟﻘﺎﻓﻴﺔ‪ .‬ﺒﻴﺭﻭﺕ‪ :‬ﺩﺍﺭ ﺍﻟﻨﻬﻀﺔ ﺍﻟﻌﺭﺒﻴّﺔ‪ .1987 .‬ﺹ‪.16 – 14‬‬
‫)‪(2‬‬
‫ل ﺁﻴﺔ؛ ﺍﺘﹼﺒﺎﻋًـﺎ ﻟﺴـﻨﹼﺔ ﺭﺴـﻭﻟﻨﺎ‬
‫ﻑ ﺍﻷﺨﻴ َﺭ ﻓـﻲ ﻜ ّ‬
‫ﻑ ﻋﻠﻰ ﺭﺅﻭﺱ ﺍﻵﻴﺎﺕ‪ ،‬ﻤُﺴ ﹼﻜﻨﹰﺎ ﺍﻟﺤﺭ ﹶ‬
‫ﺕ ﻓﻲ ﺍﻟﻜﺘﺎﺒﺔ ﺍﻟﺼﻭﺘﻴّﺔ ﺍﻟﻭﻗﻭ ﹶ‬
‫ﺭﺍﻋﻴ ﹸ‬
‫ﻥ ﺍﻟﻨﺒﻲّ‪ ،‬ﺼﻠﹼﻰ ﺍﷲ ﻋﻠﻴﻪ‪ ،‬ﻜﺎﻥ ﺇﺫﺍ ﻗﺭﺃ‪ ،‬ﻗﻁﻊ ﻗﺭﺍﺀﺘﻪ ﺁﻴـ ﹰﺔ ﺁﻴـﺔ‪.‬‬
‫ﺍﻟﻜﺭﻴﻡ – ﻋﻠﻴﻪ ﺍﻟﺼﻼﺓ ﻭﺍﻟﺴﻼﻡ ‪-‬؛ ﻓﻘﺩ ﺠﺎﺀ ﻓﻲ ﺍﻟﺤﺩﻴﺙ‪)) :‬ﺃ ﱠ‬
‫ﻴﻘﻭل‪ :‬ﺒﺴﻡ ﺍﷲ ﺍﻟ ّﺭﺤﻤﻥ ﺍﻟ ّﺭﺤﻴﻡ‪ ،‬ﺜ ّﻡ ﻴﻘﻑ‪ ،‬ﺜ ّﻡ ﻴﻘﻭل‪ :‬ﺍﻟﺤﻤﺩ ﷲ ﺭ ّ‬
‫ﺏ ﺍﻟﻌﺎﻟﻤﻴﻥ‪ ،‬ﺜ ّﻡ ﻴﻘﻑ‪ ،‬ﺜ ّﻡ ﻴﻘﻭل‪ :‬ﺍﻟﺭّﺤﻤﻥ ﺍﻟﺭّﺤﻴﻡ‪ ،‬ﻤﺎﻟـﻙ ﻴـﻭﻡ‬
‫ﺍﻟﺩﻴﻥ((‪ .‬ﺍﻨﻅﺭ‪ :‬ﺍﻷﻨﺒﺎﺭﻱ‪ ،‬ﺃﺒﻭ ﺒﻜﺭ ﻤﺤﻤّﺩ ﺒﻥ ﺍﻟﻘﺎﺴﻡ ﺒﻥ ﺒﺸﹼﺎﺭ‪ :‬ﺇﻴﻀﺎﺡ ﺍﻟﻭﻗﻑ ﻭﺍﻻﺒﺘﺩﺍﺀ ﻓﻲ ﻜﺘﺎﺏ ﺍﷲ ﻋ ّﺯ ﻭﺠـ ّل‪ .‬ﺠـﺯﺀﺍﻥ‪.‬‬
‫ﺘﺤﻘﻴﻕ ﻤﺤﻴﻲ ﺍﻟﺩﻴﻥ ﻋﺒﺩ ﺍﻟﺭﺤﻤﻥ ﺭﻤﻀﺎﻥ‪ .‬ﺩﻤﺸﻕ‪ :‬ﻤﺠﻤﻊ ﺍﻟﻠﻐﺔ ﺍﻟﻌﺭﺒﻴﺔ‪.258 / 1 .1971 .‬‬
‫‪74‬‬
‫‪qaa / bir‬‬ ‫‪Y kal / laa / saw / fa / tac / la / muun Z‬‬ ‫‪θum / ma / kal / laa /‬‬

‫‪saw / fa / tac / la / muun‬‬ ‫‪[ kal / laa / law / tac / la / muu / na / cil / mal /‬‬
‫‪ya / qiin‬‬ ‫\‬ ‫‪la / ta / ra / wun / nal / :a /‬‬ ‫‪iim ] θum / ma / la / ta / ra /‬‬
‫‪wun / na / haa / cay / nal / ya / qiin ^ θum / ma / la / tus /‬‬ ‫‪a / lun / na /‬‬

‫‪yaw / ma /‬‬ ‫‪i / in / ca / nin / na / ciim _.‬‬

‫ل‪ ،‬ﻴﻤ ﱡﺩ‬

‫ﺸﺭَﻑٍ)‪ (1‬ﻋﺎ ﹴ‬
‫ﺕ ﻨﺫﻴ ﹴﺭ‪ ،‬ﻗﺎﺌ ﹴﻡ ﻋﻠﻰ ﹶ‬
‫ﺏ ﻋﻤﻴﻕ‪ ،‬ﻭﻜﺄﻨﱠﻬﺎ ﺼﻭ ﹸ‬
‫ل ﺭﻫﻴ ﹴ‬
‫ﻉ ﺠﻠﻴ ﹴ‬
‫ﺕ ﺇﻴﻘﺎ ﹴ‬
‫ﻫﺫﻩ ﺍﻟﺴﻭﺭ ﹸﺓ ﺫﺍ ﹸ‬
‫ﻥ‪ ،‬ﺃﺸـﺭﻓﻭﺍ ﻋﻠـﻰ ﺍﻟﻬﺎﻭﻴـ ِﺔ‪،‬‬
‫ﻥ ﺴـﺎﺩﺭﻴ َ‬
‫ﻥ ﻤﺨﻤﻭﺭﻴ َ‬
‫ﺼﻭﺘﹶـﻪ‪ ،‬ﻭﻴﺩﻭّﻱ ﺒﻨﺒﺭﺘِﻪ‪ ،‬ﺼﺎﺌﺤًﺎ ﺒﻨـ ّﻭ ﹴﻡ ﻏﺎﻓﻠﻴ َ‬

‫ﻭﻋﻴﻭﻨﹸﻬﻡ ﻤﻐﻤﻀﺔ‪ ،‬ﻭﺤﺴﱡﻬﻡ ﻤﺴﺤﻭﺭ‪ ،‬ﻓﻬﻭ ﻴﻤ ﱡﺩ ﺼﻭﺘﹶـﻪ ﺇﻟﻰ ﺃﺒﻌ ِﺩ ﻤﺎ ﻴﺒﻠﻎ‪ ،‬ﻭﻜﺄﻨﱠﻪ ﻴﻘـﻭل‪:‬‬

‫ﺽ ﺍﻟﺤﻴﺎﺓ‪،‬‬
‫ل‪ ،‬ﻭﺍﻷﻭﻻ ِﺩ‪ ،‬ﻭﺃﻋﺭﺍ ﹺ‬
‫ﻥ ﺒﺎﻷﻤﻭﺍ ﹺ‬
‫ﻥ ﺍﻟﻤﺘﻜﺎﺜﺭﻭ َ‬
‫ﻥ ﺍﻟﻤﺨﻤﻭﺭﻭﻥ‪ .‬ﺃﻴّﻬﺎ ﺍﻟﻼﹼﻫﻭ َ‬
‫ﺃﻴّﻬﺎ ﺍﻟﺴﺎﺩﺭﻭ َ‬

‫ﻥ ﻓﻴـﻪ‬
‫ﻥ ﻤـﺎ ﺘﺘﻜـﺎﺜﺭﻭ َ‬
‫ﻥ ﺒﻤﺎ ﺃﻨﺘﻡ ﻓﻴﻪ ﻋﻤّﺎ ﻴﻠﻴﻪ‪ .‬ﺃﻴّﻬـﺎ ﺍﻟﺘـﺎﺭﻜﻭ َ‬
‫ﻭﺃﻨﺘﻡ ﻤﻔﺎﺭﻗﻭﻥ‪ .‬ﺃﻴّﻬﺎ ﺍﻟﻤﺨﺩﻭﻋﻭ َ‬

‫ﻭﺘﺘﻔﺎﺨﺭﻭﻥ‪ ،‬ﺇﻟﻰ ﺤﻔﺭ ٍﺓ ﻀﻴّﻘ ٍﺔ‪ ،‬ﻻ ﺘﻜﺎﺜ َﺭ ﻓﻴﻬﺎ‪ ،‬ﻭﻻ ﺘﻔﺎﺨﺭ‪ .‬ﺍﺴـﺘﻴﻘﻅﻭﺍ ﻭﺍﻨﻅـﺭﻭﺍ؛ ﻓﻘـﺩ ﴿َﺃﻟﹾﻬـﺎ ﹸﻜ ُﻡ‬

‫ﺍﻟﹾﻤَﻘﺎﺒﹺﺭ﴾)‪.(2‬‬ ‫ﺤﺘﹼﻰ ُﺯﺭْﺘﹸ ُﻡ‬

‫َ‬ ‫ﺍﻟﺘﱠﻜﺎﹸﺜـﺭ *‬

‫ﷲ ﺜﺭﺍﻩ – ﺘﻔﺴﻴ َﺭ ﻫﺫﻩ ﺍﻟﺴﻭﺭﺓ‪ ،‬ﻤﺸﻴﺭًﺍ ﺇﻟﻰ ﻤﺎ ﻓﻴﻬﺎ ﻤﻥ ﻤﻭﺴـﻴﻘﻰ‬

‫ﺏﺍ ُ‬
‫ﻫﻜﺫﺍ ﺒﺩَﺃ ﺴﻴّﺩ ﻗﻁﺏ – ﻁ ّﻴ َ‬

‫ﻟﻐﻭ ّﻴ ٍﺔ‪ ،‬ﺘﻭﺤﻲ ﺒﺩﻻﻻﺘِﻬﺎ ﺍﻟﻌﻅﻴﻤﺔ‪ ،‬ﺒل ﻤﺘﹼﺨﺫﹰﺍ ﻤﻥ ﻫﺫﻩ ﺍﻟﻤﻭﺴﻴﻘﻰ ﻤﺤﻭﺭًﺍ ﺘﻔﺴﻴﺭﻴ‪‬ﺎ‪ ،‬ﺇﻟﻰ ﻨﻬﺎﻴ ِﺔ ﺍﻟﺴﻭﺭﺓ‪.‬‬

‫ﻥ ﻋﻥ ﻤﻘﻭّﻤﺎ ِﺘﻬﺎ ﺍﻟﻤﻌﺠﺯ ِﺓ‪ ،‬ﺍﻟﺘﻲ ﺠﻌﻠﺘﻬﺎ ﻤﻭﻀـ َﻊ‬

‫ﻓﺩﻋْﻨﺎ ﻨﺴﺘﺸﻌﺭْ ﻫﺫﻩ ﺍﻟﻤﻭﺴﻴﻘﻰ ﺍﻟﻤﻭﺤﻴ ﹶﺔ‪ ،‬ﻜﺎﺸﻔﻴ َ‬

‫ﺴ ﹺﺭ ﺍﻟﺠﻠﻴل‪.‬‬
‫ﺍﻫﺘﻤﺎ ﹴﻡ‪ ،‬ﻋﻨ َﺩ ﻫﺫﺍ ﺍﻟﻤُﻔ ﱢ‬

‫ﺤﺘﹼﻰ ُﺯﺭْﺘﹸ ُﻡ ﺍﻟﹾﻤَﻘﺎﺒﹺﺭ﴾‪:‬‬

‫َ‬ ‫ﺍﻗﺭﺃْ ﻫﺎﺘﻴ ﹺﻥ ﺍﻵﻴﺘﻴ ﹺﻥ ﺍﻟﻠﹼﺘﻴ ﹺﻥ ﺘﺒﺩُﺃ ﺒﻬﻤﺎ ﺍﻟﺴﻭﺭﺓ‪َ﴿ :‬ﺃﻟﹾﻬﺎﻜﹸ ُﻡ ﺍﻟﺘﱠﻜﺎﹸﺜـﺭ *‬

‫* ‪al / haa / ku / mut / ta / kaa / θur‬‬ ‫‪at / taa / zur / tu / mul / ma /‬‬

‫‪qaa / bir.‬‬

‫)‪(1‬‬
‫ﺸﺭَﻑ ﻤﻥ ﻜﺫﺍ‪ُ :‬ﻤﺸﹾ ﹺﺭﻑﹲ ﻋﻠﻴﻪ‪ ،‬ﻭﻤﻘـﺎﺭﺏ ﻟـﻪ‪ .‬ﺍﻨﻅـﺭ‪:‬‬
‫ﺸﺭَﻑ‪ :‬ﺍﻟﻤﻭﻀﻊ ﺍﻟﻌﺎﻟﻲ ﻴُﺸﺭﻑ ﻋﻠﻰ ﻤﺎ ﺤﻭﻟـﻪ‪ .‬ﻴﻘﺎل‪ :‬ﻫﻭ ﻋﻠﻰ ﹶ‬
‫ﺍﻟ ﱠ‬
‫ﺃﻨﻴﺱ‪ ،‬ﺇﺒﺭﺍﻫﻴﻡ‪ ،‬ﻭﺁﺨﺭﻭﻥ‪ :‬ﺍﻟﻤﻌﺠﻡ ﺍﻟﻭﺴﻴﻁ‪ .‬ﺍﻟﻤﺎﺩّﺓ‪) :‬ﺵ‪ ،‬ﺭ‪ ،‬ﻑ(‪.‬‬
‫)‪(2‬‬
‫ﻗﻁﺏ‪ ،‬ﺴﻴّﺩ‪ :‬ﻓﻲ ﻅﻼل ﺍﻟﻘﺭﺁﻥ‪ 6 .‬ﻤﺞ‪ .‬ﻁ‪ .25‬ﺍﻟﻘﺎﻫﺭﺓ‪ :‬ﺩﺍﺭ ﺍﻟﺸﺭﻭﻕ‪.3962 / 6 .1996 .‬‬
‫‪75‬‬
‫ﺞ‬
‫ﻑ ﺒﺎﻟﻬﻤﺯﺓ‪ ،‬ﺍﻟﺫﻱ ُﻴﻨﹾ ﹶﺘ ُ‬
‫ل ﺍﻟﻤﻌﺭﻭ ِ‬
‫ﻱ ﺍﻟﺜﻘﻴ ﹺ‬
‫ﻻ ﺒ ﱠﺩ ﺃﻨﱠﻙ ﺴﺘﺸﻌ ُﺭ‪ ،‬ﻓﻲ ﺒﺩﺍﻴﺘِﻬﻤﺎ‪ ،‬ﺒﻬﺫﺍ ﺍﻻﻨﻔﺠﺎ ﹺﺭ ﺍﻟﺤﻨﺠﺭ ﱢ‬

‫ﻥ ﺒﺼﻭﺭ ٍﺓ ﻤﺤﻜﻤﺔ‪ ،‬ﺜ ﱠﻡ ﺍﻨﻔﺘﺎﺤِﻬﻤﺎ ﺒﺼﻭﺭ ٍﺓ ﺨﺎﻁﻔﺔ)‪.(1‬‬

‫ﻥ ﺍﻟﺼﻭﺘﻴّﻴ ﹺ‬
‫ﻕ ﺍﻟﻭﺘﺭﻴ ﹺ‬
‫ﺒﺎﻨﻐﻼ ِ‬

‫ﺊ ﺠﻬـﺎﺯَﻙ‬
‫ﺝ ﺍﻟﺼـﻭﺘ ّﻴ ِﺔ‪ ،‬ﻴﻬﻴّـ ُ‬ ‫ﻱ‪ ،‬ﻭﺨﺭﻭﺠﹺﻪ ﻤﻥ ﺃ ّﻭ ﹺ‬
‫ل ﺍﻟﻤﺨﺎﺭ ﹺ‬ ‫ﺕ‪ ،‬ﺒﺎﻨﻔﺠﺎﺭﹺﻩ ﺍﻟﻘﻭ ﱢ‬
‫ﻥ ﻫﺫﺍ ﺍﻟﺼﺎﻤ ﹶ‬
‫ﺇﱠ‬
‫ﻲ ﺍﻟﻌـﺎﻟﻲ‪،‬‬
‫ﺊ ﺍﻟﺴﺎﻤ َﻊ‪ ،‬ﺒﻔﺠﺎﺀﺘِﻪ ﺍﻟﺨﺎﻁﻔ ِﺔ‪ ،‬ﻭﻭﻀﻭﺤِﻪ ﺍﻟﺴﻤﻌ ﱢ‬
‫ﻲ ﻟﻠﻘﺭﺍﺀﺓ‪ ،‬ﻭﺫﻫﻨﹶﻙ ﻟﻠﺘﹼﻔﻜﹼﺭ‪ ،‬ﻜﻤﺎ ﻴﻬﻴّ ُ‬
‫ﺍﻟﻨﻁﻘ ﱠ‬

‫ﻉ ﺍﻟﺴﻭﺭ ِﺓ ﻭﺘﺩ ّﺒﺭﹺﻫﺎ‪.‬‬

‫ﻟﺴﻤﺎ ﹺ‬

‫ﻥ‬
‫ﺊ ﺍﻹﻨﺴـﺎ َ‬
‫ﺕ ﺍﻟـﺫﻱ ﻴﻬﻴّـ ُ‬
‫ﺕ‪ ،‬ﺒﺎﻋﺘﻘﺎﺩﻱ‪ ،‬ﺍﻟﺼـﻭ ﹶ‬
‫ﻥ ﻫﺫﺍ ﺍﻟﺼﺎﻤ ِ‬
‫ل ﻋﻠﻰ ﺫﻟﻙ‪ ،‬ﺒﻜﻭ ﹺ‬
‫ﻭﻟﻲ ﺃﻥ ﺃﺩﹼﻟ َ‬

‫ﻥ ﻤﻐﻠﻘﹰﺎ ﻋﻨ َﺩ‬
‫ﻲ ﺍﻟﺫﻱ ﻴﻜﻭ ُ‬
‫ﻥ ﺍﻟﻤﺠﺭﻯ ﺍﻟﺘﻨﻔﹼﺴ ﱠ‬
‫ﺝ ﻤﻨﻪ؛ ﻷ ﱠ‬
‫ﺕ ﻴﺨﺭ ُ‬
‫ل ﺼـﻭ ٍ‬
‫ﺕ ﻋﻨ َﺩ ﻭﻻﺩﺘِﻪ؛ ﻓﻬﻭ ﺃﻭّ ُ‬
‫ﻟﻠﺘﺼﻭﻴ ِ‬

‫ﻙ‬
‫ﻥ ﺍﻻﺤﺘﻜـﺎ ِ‬
‫ﻙ؛ ﻟﻜﻭ ﹺ‬
‫ﺢ ﺒﺎﺤﺘﻜﺎ ٍ‬
‫ﺊ ﻓﻲ ﺍﻟﺤﻨﺠﺭﺓ‪ ،‬ﻓﻼ ﻴﻨﻔﺘ ُ‬
‫ﻻ ﺒﺎﻨﻔﺠﺎ ﹴﺭ ﻤﻔﺎﺠ ٍ‬
‫ﺢﺇﹼ‬
‫ﻥ ﺃﻥ ﻴﻨﻔﺘ َ‬
‫ﺍﻟﻭﻻﺩﺓ‪ ،‬ﻻ ﻴﻤﻜ ُ‬

‫ﺕ‬
‫ﻥ ﺼـﻭ ٍ‬
‫ﺢ ﻫـﺫﻩ‪ ،‬ﺃﻥ ﺘﻘـ َﻊ ﺩﻭ َ‬
‫ﻥ ﻟﻌﻤﻠﻴّـ ِﺔ ﺍﻟﻔـﺘ ﹺ‬
‫ﻕ ﻻ ﻴﻘﻭﻯ ﻋﻠﻰ ﺍﻟﻔﺘﺢ‪ ،‬ﻭﻻ ﻴﻤﻜ ُ‬
‫ﺘﻀﻴﻴﻘﹰﺎ‪ ،‬ﻭﺍﻟﺘﻀﻴﻴ ﹸ‬

‫ﻻ ﺍﻟﻬﻤﺯﺓ؛ ﻟﻜﻭﻨِﻬﺎ ﺍﻟﺼـﻭ ﹶ‬

‫ﺕ‬ ‫ﻥﺇﹼ‬
‫ﻥ ﺃﻥ ﻴﻜﻭ َ‬
‫ﺕ ﻻ ﻴﻤﻜ ُ‬
‫ل ﺤﺭﻜ ٍﺔ ﻓﻲ ﺍﻟﻁﺒﻴﻌﺔ‪ ،‬ﻭﻫﺫﺍ ﺍﻟﺼﻭ ﹸ‬
‫ﻴﺼﺎﺤﺒُﻬﺎ‪ ،‬ﻜﻜ ﱢ‬

‫ﻱ‪.‬‬
‫ﻱ ﺍﻟﺤﻨﺠﺭ ّ‬
‫ﺍﻟﻤﺘﻔ ّﺭ َﺩ ﺒﻭﺼﻔِﻪ‪ ،‬ﺒﺎﻻﻨﻔﺠﺎﺭ ﱢ‬

‫ﻲ‬
‫ﺕ‪ ،‬ﻓﻲ ﺒﺩﺍﻴ ِﺔ ﻫﺫﻩ ﺍﻟﺴـﻭﺭ ِﺓ‪ ،‬ﺃﻥ ﻴـﻭﺤ َ‬
‫ﺊ ﺍﻟﻼﻓ ِ‬
‫ﻱ ﺍﻟﻤﻔﺎﺠ ِ‬
‫ﺕ‪ ،‬ﺒﺎﻨﻔﺠﺎﺭﹺﻩ ﺍﻟﻘﻭ ﱢ‬
‫ﻉ ﻫﺫﺍ ﺍﻟﺼﺎﻤ ِ‬
‫ﻭﻟﻭﻗﻭ ﹺ‬
‫ﻥ ﻤﻌﻪ‪،‬‬
‫ﻥ ﻴﻘﻌﺎ ﹺ‬
‫ﻥ ﺍﻟﻠﹼﺫﺍ ﹺ‬
‫ﻥ ﺍﻟﺼﻭﺘﺎ ﹺ‬
‫ﺒﻌﻅ ﹺﻡ ﻤﺎ ﺒﻌﺩَﻩ ﻤﻥ ﺃﻤ ﹴﺭ‪ ،‬ﻻ ﺒ ﱠﺩ ﻤﻥ ﺍﻟﺘﻨ ّﺒ ِﻪ ﻋﻠﻴﻪ‪ .‬ﻭﻴﺩﻋﻤُﻪ ﻓﻲ ﺫﻟﻙ‪ ،‬ﻫﺫﺍ ﹺ‬

‫ﺕ‬
‫ﺢ ﺍﻷﺼـﻭﺍ ِ‬
‫(؛ ﻓﻬﻤﺎ ﻤﻥ ﺃﻭﻀـ ﹺ‬ ‫ﻲ ﺫﺍﺘِﻪ‪ :‬ﺍﻟﻔﺘﺤ ﹸﺔ ﺍﻟﻘﺼﻴﺭ ﹸﺓ‪ ،‬ﻭﺍﻟﻼﻡ‪َ) :‬ﺃﻟﹾـ‪al :‬‬
‫ﻓﻲ ﺍﻟﻤﻘﻁ ﹺﻊ ﺍﻟﺼﻭﺘ ﱢ‬

‫ﻕ‪ ،‬ﺍﻟﺫﻱ ﻻ ﻴﻤﺘ ﱡﺩ ﻤﻌﻪ‬

‫ﻁ ﺍﻟﻤﻐﻠ ِ‬
‫ﺴِ‬
‫ﻉ ﺍﻟﻤﺘﻭ ّ‬
‫ﻥ ﻫﺫﺍ ﺍﻟﻤﻘﻁ َﻊ ﻤﻥ ﺍﻟﻨﻭ ﹺ‬
‫ﺍﻟﻠﹼﻐﻭ ّﻴ ِﺔ ﻓﻲ ﺍﻟﺴﻤﻊ‪ .‬ﺃﻀﻑﹾ ﺇﻟﻰ ﺫﻟﻙ‪ ،‬ﺃ ﱠ‬
‫ﻥ ﻫﺫﺍ ﺃﻥ ﻴﺩﻋ َﻡ ﻓﺠﺎﺀ ﹶﺓ ﺍﻟﻬﻤﺯ ِﺓ‪ ،‬ﻭﻤﺎ ﺘﺤ ﹼﻘﻘﹸﻪ ﻫﺫﻩ ﺍﻟﻔﺠﺎﺀ ﹸﺓ ﻤﻥ ﺇﻴﺤﺎﺀ‪.‬‬
‫ﺍﻟ ﱠﻨﻔﹶﺱ‪ .‬ﻭﻤﻥ ﺸﺄ ﹺ‬

‫ﻥ‪ ،‬ﻭﺍﺴﺘﻤﻊْ ﻟﻬﺫﻩ ﺍﻟﻤﻘﺎﻁ ﹺﻊ ﺍﻟﻤﺘﻭﺴّﻁ ِﺔ ﺍﻟﻤﻔﺘﻭﺤ ِﺔ ﺨﺎﺼّﺔ‪:‬‬

‫ﻥ ﺍﻟﺴﺎﺒﻘﺘﻴ ﹺ‬
‫ﺃﻋﺩْ ﻗﺭﺍﺀ ﹶﺓ ﺍﻵﻴﺘﻴ ﹺ‬

‫)ﻫﺎ‪) - (haa :‬ﻜﺎ‪) - (kaa :‬ﻗﺎ‪.(qaa :‬‬

‫ﻥ ﻨﻁﻘِﻬﺎ‪ ،‬ﻗﻴﺎﺴًﺎ ﺒﺸـﺒﻴﻬﺘِﻬﺎ ﺍﻟﻤﻐﻠﻘـ ِﺔ‪،‬‬

‫ل ﺯﻤ ُ‬
‫ﺇﻨﱠﻙ ﻟﺘﺠ ُﺩ ﻓـﻲ ﻫـﺫﻩ ﺍﻟﻤﻘﺎﻁ ﹺﻊ ﺍﻟﻘﻭﻴّـ ِﺔ‪ ،‬ﺍﻟﺘﻲ ﻴﻁﻭ ُ‬

‫ﺕ ﺍﻟﻬﺎ ِﺀ‪ ،‬ﺍﻟﺫﻱ ﻴـﻭﺤﻲ‬

‫ل ﻭﻗﻬﻘﻬﺘِﻪ؛ ﻓﺘﺠ ُﺩ ﺼﻭ ﹶ‬
‫ﻙ ﺍﻟﻼﻫﻲ ﺍﻟﻐﺎﻓ ﹺ‬
‫ﻭﺍﻟﻤﻘﺎﻁ ﹺﻊ ﺍﻟﻘﺼﻴﺭ ِﺓ‪ ،‬ﻤﺎ ﺘﺠﺩُﻩ ﻓﻲ ﻀﺤ ِ‬

‫)‪(1‬‬
‫ﻲ ﻟﻠﺒﻨﻴﺔ ﺍﻟﻌﺭﺒﻴّﺔ‪ .‬ﺹ‪.28‬‬
‫ﺸﺎﻫﻴﻥ‪ ،‬ﻋﺒﺩ ﺍﻟﺼﺒﻭﺭ‪ :‬ﺍﻟﻤﻨﻬﺞ ﺍﻟﺼﻭﺘ ّ‬
‫‪76‬‬
‫ﻥ‬
‫ﻑ‪ ،‬ﺍﻟﻠﹼـﺫﻴ ﹺ‬
‫ﻑ ﻭﺍﻟﻘﺎ ﹶ‬
‫ﻥ‪ :‬ﺍﻟﻜـﺎ ﹶ‬
‫ﺱ‪ ،‬ﺒﺤﺒﻭ ﹺﺭ ﺍﻟﻠﹼﻬ ﹺﻭ ﺍﻟﻀﺎﺤـﻙ؛ ﻭﺘﺠ ُﺩ ﺍﻟﺼﻭﺘﻴـ ﹺ‬
‫ﺒﺎﺤﺘﻜﺎﻜِﻪ ﺍﻟﺭﺨ ﹺﻭ ﺍﻟﻤﻬﻤﻭ ﹺ‬

‫ﻥ‬
‫ﻥ ﺍﻟﻤﻭﻀـﻌﻴ ﹺ‬
‫ﻥ ﺒﺎﻨﻔﺠﺎﺭﹺﻫﻤﺎ ﺍﻟﺸﺩﻴ ِﺩ‪ ،‬ﺍﻟﺫﻱ ﻴـﺘ ﱡﻡ ﻓـﻲ ﻫـﺫﻴ ﹺ‬
‫ﻥ ﺒﻬﻤﺴِﻬﻤﺎ ﺇﻴﺤﺎ َﺀ ﺍﻟﻬﺎﺀ‪ ،‬ﻭﻴﻭﺤﻴﺎ ﹺ‬
‫ﻴﺩﻋﻤﺎ ﹺ‬

‫ﺒﺠﻔﺎ ِﺀ ﻁﺒ ﹺﻊ ﺍﻟﻠﹼﻬ ﹺﻭ ﻭﻗﺴﻭﺘِﻪ‪ ،‬ﻭﺒﻌﺩِﻩ ﻋـﻥ‬ ‫)‪،(1)(Uvula‬‬ ‫ﻕ ﻭﺍﻟﻠﹼﻬﺎﺓ‬

‫ﻲ‪ :‬ﺍﻟﻁﺒ ِ‬
‫ﻥ‪ ،‬ﻓﻲ ﺍﻟﺠﻬﺎ ﹺﺯ ﺍﻟﻨﻁﻘ ﱢ‬
‫ﺍﻟﺒﻌﻴﺩﻴ ﹺ‬
‫ﻕ ﻭﺍﻟﺼﻭﺍﺏ‪.‬‬
‫ﺍﻟﺤ ﱢ‬

‫ﻻ ﺤﻜﺎﻴـ ﹸﺔ‬
‫ﺱ ﻓﻴﻪ ﻓﻲ ﺍﻟﻌﺭﺒ ّﻴ ِﺔ‪ ،‬ﺇ ﹼ‬
‫ﻑ ﻭﺍﻟﻬﺎ ِﺀ‪ ،‬ﻟﻴ َ‬
‫ﻥ ﻤﻥ ﺍﻟﻘﺎ ِ‬
‫ل )ﻗـﻪ(‪ ،‬ﺍﻟﺫﻱ ﻴﺘﻜﻭّ ُ‬
‫ﻥ ﺍﻷﺼ َ‬
‫ﻭﺤﺴﺒُﻙ ﺃ ﱠ‬

‫ﺍﻟﻀﺤﻙ)‪.(2‬‬ ‫ﺏ ﻓﻲ‬
‫ﺍﻟﻘﻬﻘﻬ ِﺔ‪ ،‬ﺍﻟﺘﻲ ﺘﻌﻨﻲ‪ :‬ﺍﻹﻏﺭﺍ َ‬

‫ﺝ ﻤﻥ ﻤﻭﻀـ ﹺﻊ‬
‫ﺕ ﺍﻟﻭﺤﻴ ُﺩ ﺍﻟﺫﻱ ﻴﺨﺭ ُ‬
‫ﻑ‪ ،‬ﻫﻲ ﺍﻟﺼﻭ ﹸ‬
‫ﻥ ﺍﻟﻘﺎ ﹶ‬
‫ﻥ ﺘﻌﻠ ُﻡ ﺃ ﱠ‬
‫ل ﺍﻟﻌﺠﺏ‪ ،‬ﺤﻴ َ‬
‫ﺏﻜﱠ‬
‫ﻭﺇﻨﱠﻙ ﻟﺘﻌﺠ ُ‬

‫ﻅ )ﹶﻟﻬْﻭ(‪.‬‬
‫ل‪) :‬ل‪ ،‬ﻫـ‪ ،‬ﻭ(‪ ،‬ﺍﻟﺫﻱ ُﺃﺨِ ﹶﺫ ﻤﻨﻪ ﺍﻟﻠﹼﻔ ﹸ‬
‫ﻥ ﺍﺴ َﻡ ﻫﺫﺍ ﺍﻟﻤﻭﻀ ﹺﻊ‪ ،‬ﻗﺩ ُﺃﺨِ ﹶﺫ ﻤﻥ ﺍﻷﺼ ﹺ‬
‫ﺍﻟﻠﹼﻬﺎﺓ‪ ،‬ﻭﺃ ﱠ‬

‫ﺢ ﺍﻟﻔﺘﺤ ﹸﺔ ﺍﻟﻁﻭﻴﻠ ﹸﺔ‪ ،‬ﺍﻟﺘﻲ ﺘﻌ ﱡﺩ ﺃﻜﺜ َﺭ ﺍﻷﺼﻭﺍ ِ‬

‫ﺕ ﺍﻟﻠﹼﻐﻭﻴّـ ِﺔ ﺍﻤﺘـﺩﺍﺩًﺍ ﻓـﻲ‬ ‫ﻑ ﺘﺴﻤ ُ‬
‫ﻭﺍﻨﻅﺭْ ﻜﺫﻟﻙ‪ ،‬ﻜﻴ ﹶ‬
‫ﻕ ﺍﻟﻼﻫﻲ ﻓـﻲ‬
‫ﻕ‪) :‬ﻫﺎ ‪ /‬ﻜﺎ ‪ /‬ﻗﺎ(‪ ،‬ﻤﺼﻭّﺭ ﹰﺓ ﺒﺫﻟﻙ ﺍﺴﺘﻐﺭﺍ ﹶ‬
‫ﺕ ﺍﻟﺜﻼﺜ ِﺔ ﺒﺎﻻﻨﻁﻼ ِ‬
‫ﻟﻬﺫﻩ ﺍﻟﺼﻭﺍﻤ ِ‬ ‫ﻕ)‪،(3‬‬
‫ﺍﻟﻨﻁ ِ‬

‫ﻀﺤﻜِﻪ‪ ،‬ﻋﻠﻰ ﺃﺘ ﱢﻡ ﻭﺠﻪ‪.‬‬

‫ﻕ‬
‫ﻥ ﻓﻲ ﻨﻁـ ِ‬
‫ﻥ ﺍﻟﻔ َﻡ ﻴﻜﻭ ُ‬
‫ﻉ ﺍﻟﻔ ﹺﻡ‪ ،‬ﺇﻟﻰ ﺃﻜﺒ ﹺﺭ ﺤ ﱟﺩ ﻤﻤﻜﻥ‪ ،‬ﻓﺈ ﱠ‬
‫ﺏ ﺍﺘﹼﺴﺎ َ‬
‫ﻕ‪ ،‬ﻴﺘﻁﻠﹼ ُ‬
‫ﻥ ﻫﺫﺍ ﺍﻻﺴﺘﻐﺭﺍ ﹸ‬
‫ﻭﺇﺫﺍ ﻜﺎ َ‬
‫ﺕ ﺍﻟﻠﹼﻐﻭ ّﻴ ِﺔ‪ ،‬ﻓﻲ ﺃﻭﺴ ﹺﻊ ﺤﺎﻻﺘِﻪ ﺍﻟﻨﻁﻘﻴّﺔ)‪.(4‬‬
‫ﻥ ﻏﻴﺭﹺﻫﺎ ﻤﻥ ﺍﻷﺼﻭﺍ ِ‬
‫ﺍﻟﻔﺘﺤ ِﺔ‪ ،‬ﺩﻭ َ‬

‫ﻥ‬
‫ﻕ ﻋﻤ َﺭ ﺍﻟﻼﻫﻴ َ‬
‫ل ﻫﺫﺍ ﺍﻟﻠﹼﻬ ﹺﻭ ﺍﻟﺫﻱ ﻴﺴﺘﻐﺭ ﹸ‬
‫ﻲ ﻜﺫﻟﻙ‪ ،‬ﺒﻁﻭ ﹺ‬
‫ﻭﻟﻠﻤﻘﺎﻁ ﹺﻊ ﺍﻟﻤﺘﻭﺴّﻁ ِﺔ ﺍﻟﻤﻔﺘﻭﺤ ِﺔ ﺃﻥ ﺘﻭﺤ َ‬

‫ﺡ‬
‫ﺤﺘﹼﻰ ُﺯﺭْﺘﹸ ُﻡ ﺍﻟﹾﻤَﻘﺎﺒﹺﺭ﴾؛ ﻓﺈﻨﱠﻙ ﻟﺘﺴﺘﺸﻌ ُﺭ ﺃﻴّﺎ َﻡ ﻫﺫﺍ ﺍﻟﻌﻤ ﹺﺭ ﻤﻤﺘـ ّﺩ ﹰﺓ‪ ،‬ﺒﺎﻨﻔﺘـﺎ ﹺ‬
‫َ‬ ‫ﻜﻠﱠﻪ‪َ﴿ :‬ﺃﻟﹾﻬﺎﻜﹸ ُﻡ ﺍﻟﺘﱠﻜﺎﹸﺜـﺭ *‬
‫ﹶﻨ ﹶﻔﺴِﻙ ﻭﺍﻤﺘﺩﺍﺩِﻩ ﻤﻊ ﻫﺫﻩ ﺍﻟﻤﻘﺎﻁ ﹺﻊ‪ ،‬ﺒﻔﺘﺤﺎﺘِﻬﺎ ﺍﻟﻁﻭﻴﻠﺔ‪:‬‬

‫)ﻫﺎ‪) - (haa :‬ﻜﺎ‪) - (kaa :‬ﺘﻰ‪) - (taa :‬ﻗﺎ‪.(qaa :‬‬

‫)‪(1‬‬
‫ﻱ‪ .‬ﺹ‪ .31‬ﻭﺍﻟﻠﹼﻬﺎﺓ‪ :‬ﻗﻁﻌﺔ ﻟﺤﻤﻴّـﺔ ﺼـﻐﻴﺭﺓ ﻤﺭﻨـﺔ‪،‬‬
‫ﻋﺒﺩ ﺍﻟﺘﻭّﺍﺏ‪ ،‬ﺭﻤﻀﺎﻥ‪ :‬ﺍﻟﻤﺩﺨل ﺇﻟﻰ ﻋﻠﻡ ﺍﻟﻠﹼﻐﺔ ﻭﻤﻨﺎﻫﺞ ﺍﻟﺒﺤﺙ ﺍﻟﻠﹼﻐﻭ ّ‬
‫ﺘﺸﺭﻑ ﻋﻠﻰ ﺍﻟﺤﻠﻕ ﻓﻲ ﺃﻗﺼﻰ ﺍﻟﻔﻡ‪ ،‬ﻭﺘﺘﺩﻟﹼﻰ ﻤﻥ ﺴﻘﻑ ﺍﻟﻁﺒﻕ‪ .‬ﺍﻨﻅﺭ‪ :‬ﺍﻟﻨﻭﺭﻱ‪ ،‬ﻤﺤﻤﺩ ﺠﻭﺍﺩ‪ :‬ﻋﻠﻡ ﺃﺼﻭﺍﺕ ﺍﻟﻌﺭﺒﻴﺔ‪ .‬ﺹ‪.70‬‬
‫)‪(2‬‬
‫ﺍﺒﻥ ﻓﺎﺭﺱ‪ ،‬ﺃﺒﻭ ﺍﻟﺤﺴﻴﻥ ﺃﺤﻤﺩ‪ :‬ﻤﻌﺠﻡ ﻤﻘﺎﻴﻴﺱ ﺍﻟﻠﹼﻐﺔ‪ 6 .‬ﺝ‪ .‬ﺘﺤﻘﻴـﻕ ﻋﺒﺩ ﺍﻟﺴﻼﻡ ﻤﺤﻤّﺩ ﻫﺎﺭﻭﻥ‪ .‬ﻁ‪ .2‬ﺩﺍﺭ ﺍﻟﻔﻜﺭ‪.1979 .‬‬
‫ﺍﻟﻤﺎﺩّﺓ‪) :‬ﻕ‪ ،‬ﻫـ(‪.‬‬
‫)‪ (3‬ﺒﺸﺭ‪ ،‬ﻜﻤﺎل‪ :‬ﻋﻠﻡ ﺍﻷﺼﻭﺍﺕ‪ .‬ﺹ‪.217‬‬
‫)‪(4‬‬
‫‪Arwid Johannson, M.A: Phonetics of The New High German Language. Manchester:‬‬
‫‪Palmer, Howe & CO., 1906. p. 54.‬‬
‫‪77‬‬
‫ﻥ ﺒﺴﻼﺴــ ٍﺔ‬
‫ﻥ ﺍﻵﻴﺘﻴــ ﹺ‬
‫ﻥ ﻴُﻨﻬﻲ ﻟﺴﺎﻨﹸﻙ ﻗﺭﺍﺀ ﹶﺓ ﻫﺎﺘﻴ ﹺ‬
‫ﻥ ﻤﺎ ﺘﺴﺘﻘﺼ ُﺭ ﻫﺫﺍ ﺍﻟﻌﻤ َﺭ‪ ،‬ﺤﻴ َ‬
‫ﻟﻜﻨﱠﻙ ﺴﺭﻋﺎ َ‬

‫ل ﺍﻟﻤﻘﺎﻁ ﹺﻊ ﺍﻟﻌﺭﺒ ّﻴ ِﺔ ﻓﻲ ﺍﻟﻨﻁﻕ؛ ﻓﻔﻴﻬﻤﺎ )‪ (4‬ﻤﻘﺎﻁ َﻊ ﻗﺼﻴﺭﺓ‪،‬‬

‫ﻭﺨ ﹼﻔ ٍﺔ‪ ،‬ﺘﻌﻭ ُﺩ ﺇﻟﻰ ﻤﻘﺎﻁﻌِﻬﻤﺎ ﺍﻟﺘﻲ ﺘﻌ ﱡﺩ ﺃﺴﻬ َ‬

‫ﻭ)‪ (7‬ﻤﻘﺎﻁ َﻊ ﻤﺘﻭﺴّﻁ ٍﺔ ﻤﻐﻠﻘـﺔ‪ ،‬ﻭ)‪ (4‬ﻤﻘﺎﻁ َﻊ ﻤﺘﻭﺴّﻁ ٍﺔ ﻤﻔﺘﻭﺤﺔ‪ .‬ﻭﺘﻌﻭ ُﺩ ﻫﺫﻩ ﺍﻟﺴﻼﺴ ﹸﺔ ﻜﺫﻟﻙ‪ ،‬ﺇﻟـﻰ‬
‫ﺱ ﺍﻟﺫﻱ ﺘﻨﺘﻅ ُﻡ ﻓﻴﻪ ﻫﺫﻩ ﺍﻟﻤﻘﺎﻁﻊ‪.‬‬
‫ﺏ ﺍﻟﺴﻠ ﹺ‬
‫ﺍﻟﺘﺭﺘﻴ ﹺ‬

‫ﺏ ﻓﻲ ﺍﻟﻁﺒﻴﻌـﺔ)‪ ،(1‬ﻓـﺈ ﱠ‬
‫ﻥ‬ ‫ل ﻋﻠـﻰ ﺍﻻﻀﻁﺭﺍ ﹺ‬
‫ﺦ ﺍﻟﻌﻼﻴﻠـﻲ‪ ،‬ﺘﺩ ﱡ‬
‫ﺹ ﺍﻟﺸﻴ ﹸ‬
‫ﻭﺇﺫﺍ ﻜﺎﻨﺕ ﺍﻟﺘﺎ ُﺀ‪ ،‬ﻜﻤﺎ ﻴﻨ ﱡ‬

‫ل ﺍﻟﺜﻨﺎﻴﺎ ﺍﻟﻌﻠﻴﺎ‪ ،‬ﺜـ ﱠﻡ‬

‫ﻥ‪ ،‬ﻭﺃﺼﻭ ﹺ‬
‫ﻑ ﺍﻟﻠﹼﺴﺎ ﹺ‬
‫ﻥ ﺒﺎﻟﺘﻘـﺎ ِﺀ ﻁﺭ ِ‬
‫ﺱ‪ ،‬ﺍﻟﺫﻱ ﻴﺘﻜﻭّ ُ‬
‫ﻱ ﺍﻟﻤﻬﻤﻭ َ‬
‫ﺕ ﺍﻻﻨﻔﺠﺎﺭ ﱠ‬
‫ﻫﺫﺍ ﺍﻟﺼﻭ ﹶ‬
‫ﺱ ﺒﺫﻟﻙ‪ ،‬ﻤﺎ ﻴﺠﺩُﻩ ﺍﻟﻼﻫﻲ ﻓﻲ ﻟﻬـﻭﹺﻩ‪،‬‬
‫ﻥ )‪ (5‬ﻤﺭّﺍﺕ؛ ﻟﻴﻌﻜ َ‬
‫ﻥ ﺍﻵﻴﺘﻴ ﹺ‬
‫ﺍﻨﻔﺼﺎﻟِﻬﻤﺎ ﻓﺠﺄ ﹰﺓ)‪ ،(2‬ﻴﺭ ُﺩ ﻓـﻲ ﻫﺎﺘﻴ ﹺ‬

‫ل ﻭﺘﺨﺒّﻁ‪.‬‬
‫ﻤﻥ ﺘﻭ ﹼﺘ ﹴﺭ ﻭﻀﻼ ﹴ‬

‫ل ﻤﻌﻬـﺎ‬
‫ﺕ ﺍﻟﻤﺩﻏﻤ ِﺔ‪ ،‬ﺍﻟﺘﻲ ﻴﻁـﻭ ُ‬
‫ﻉ‪ ،‬ﻓﻲ ﻫﺫﻩ ﺍﻟﺘﺎﺀﺍ ِ‬
‫ل ﻭﺍﻟﻀﻴﺎ ﹺ‬
‫ﻲ ﺸ ّﺩ ﹶﺓ ﻫﺫﺍ ﺍﻟﻀﻼ ﹺ‬
‫ﻭﻟﻙ ﺃﻥ ﺘﺴﺘﻭﺤ َ‬

‫ل ﺍﻟﺜﻨﺎﻴﺎ ﺍﻟﻌﻠﻴﺎ‪ ،‬ﻤﻌ ّﺯﺯًﺍ ﺒﺫﻟﻙ ﺍﻨﻔﺠﺎ َﺭ ﻫﺫﺍ ﺍﻟﺼﻭﺕ‪:‬‬

‫ﻥ‪ ،‬ﻭﺃﺼﻭ ﹺ‬
‫ﻑ ﺍﻟﻠﹼﺴﺎ ﹺ‬
‫ﺍﻟﺘﻘﺎ ُﺀ ﻁﺭ ِ‬

‫(‪.‬‬ ‫ﺤﺘﹼﻰ‪at / taa :‬‬

‫)ـ ُﻡ ﺍﻟ ﱠﺘـ‪َ ) – (mut / ta :‬‬

‫ﻥ ﺍﻟﻜﺭﻴﻡ‪،‬‬
‫ﺕ ﺍﻟﺘﻲ ﺘﻨﺘﻬﻲ ﺒﻬﺎ‪ ،‬ﻓﻲ ﺍﻟﻘﺭﺁ ﹺ‬
‫ﻥ ﻤﻌﻅ َﻡ ﺍﻵﻴﺎ ِ‬
‫ﻭﻤﻤّﺎ ﻴﺅﻜﹼ ُﺩ ﺩﻻﻟ ﹶﺔ ﺍﻟﺘﺎ ِﺀ ﻋﻠﻰ ﺍﻻﻀﻁﺭﺍﺏ‪ ،‬ﺃ ﱠ‬
‫ل‬
‫ﺕ ﺍﻟﺘﻲ ﺘﺒﺩُﺃ ﺒﻬﺎ ﺴﻭﺭ ﹸﺓ ﺍﻻﻨﻔﻁﺎﺭ؛ ﻓﻬﻲ ﺘﺼـﻭّ ُﺭ ﻤـﺎ ﻴﺤـ ﱡ‬
‫ل ﻓﻲ ﻤﻀﻤﻭﻨِﻬﺎ ﻫﺫﻩ ﺍﻟﺩﻻﻟﺔ‪ ،‬ﻜﺎﻵﻴﺎ ِ‬
‫ﺘﺤﻤ ُ‬

‫ﺠ َﺭﺕﹾ )‪(3‬‬
‫ﺏ ﺍﻨ ﹶﺘ ﹶﺜﺭَﺕﹾ )‪ (2‬ﻭﺇﺫﺍ ﺍﻟﺒﺤﺎ ُﺭ ﹸﻓ ﱢ‬
‫ﻁﺭَﺕﹾ )‪ (1‬ﻭﺇﺫﺍ ﺍﻟﻜﻭﺍﻜ ُ‬
‫ﻥ ﻴﻭ َﻡ ﺍﻟﻘﻴﺎﻤﺔ‪﴿ :‬ﺇﺫﺍ ﺍﻟﺴّﻤﺎ ُﺀ ﺍﻨ ﹶﻔ ﹶ‬
‫ﺒﺎﻟﻜﻭ ﹺ‬

‫ﻥ‬
‫ﻙ‪ ،‬ﺍﻀﻁﺭﺍﺏٌ ﻋﻅﻴﻡ‪ .‬ﺃﻀﻑﹾ ﺇﻟﻰ ﺫﻟـﻙ‪ ،‬ﺃ ﱠ‬
‫ﻥﺸﱟ‬
‫ل‪ ،‬ﺩﻭ َ‬
‫ﻭﺇﺫﺍ ﺍﻟﻘﺒﻭ ُﺭ ُﺒﻌْ ِﺜ َﺭﺕﹾ )‪ ،﴾(4‬ﻭﻓﻲ ﻫﺫﻩ ﺍﻷﻫﻭﺍ ﹺ‬
‫ﻁ ﺒﺎﻟﺘﺄﺘﺄ ِﺓ ﻭﺍﻟﺘﻤﺘﻤﺔ‪.‬‬
‫ﻕ ﺍﻻﻀﻁﺭﺍﺒﻴّﺔ؛ ﻓﻬﻭ ﻴﺭﺘﺒ ﹸ‬
‫ﺏ ﺍﻟﻨﻁ ِ‬
‫ﻁ ﺒﻌﻴﻭ ﹺ‬
‫ﺕ ﺍﻟﺘﻲ ﺘﺭﺘﺒ ﹸ‬
‫ﺕ‪ ،‬ﻤﻥ ﺍﻷﺼﻭﺍ ِ‬
‫ﻫﺫﺍ ﺍﻟﺼﻭ ﹶ‬

‫ﺃﻤّﺎ ﺍﻷﻭﻟﻰ‪ ،‬ﻓﻬﻲ ﺘﹶﻜﺭﺍ ُﺭ ﺍﻟﺘﺎ ِﺀ ﻋﻨـ َﺩ ﺍﻟﻜﻼﻡ‪ ،‬ﻭﺃﻤّﺎ ﺍﻷﺨﺭﻯ‪ ،‬ﻓﻬﻲ ﺭ ﱡﺩ ﺍﻟﻜﻼ ﹺﻡ ﺇﻟﻰ ﺍﻟﺘﺎ ِﺀ ﻭﺍﻟﻤﻴﻡ)‪.(3‬‬

‫ل ﻤﻨﻬﻤﺎ‪:‬‬
‫ﺕ ﺍﻟﺭّﺍ ِﺀ ﻓﻲ ﻨﻬﺎﻴ ِﺔ ﻜ ﱟ‬
‫ﻥ ﻤﺴﺘﻤﻌًﺎ ﻫﺫﻩ ﺍﻟﻤﺭّﺓ‪ ،‬ﻟﺼﻭ ِ‬
‫ﺃﻋﺩْ ﻗﺭﺍﺀ ﹶﺓ ﺍﻵﻴﺘﻴ ﹺ‬

‫) ﹶﺘﻜﺎ ﹸﺜـﺭْ‪.(ta / kaa / θur :‬‬

‫)‪(1‬‬
‫ﺍﻟﻌﻼﻴﻠﻲ‪ ،‬ﻋﺒﺩ ﺍﷲ‪ :‬ﻤﻘﺩّﻤﺔ ﻟﺩﺭﺱ ﻟﻐﺔ ﺍﻟﻌﺭﺏ‪ .‬ﺹ‪.210‬‬
‫)‪(2‬‬
‫ﻲ‪ .‬ﺹ‪.155 ،154‬‬
‫ﺍﻟﺴﻌﺭﺍﻥ‪ ،‬ﻤﺤﻤﻭﺩ‪ :‬ﻋﻠﻡ ﺍﻟﹼﻠﻐﺔ ﻤﻘﺩّﻤﺔ ﻟﻠﻘﺎﺭﺉ ﺍﻟﻌﺭﺒ ّ‬
‫)‪(3‬‬
‫ﺼﺎﻟﺢ‪ ،‬ﻓﺨﺭﻱ ﻤﺤﻤّﺩ‪ :‬ﺍﻟﻠﹼﻐﺔ ﺍﻟﻌﺭﺒﻴّﺔ ﺃﺩﺍ ًﺀ ﻭﻨﻁﻘﹰﺎ ﻭﺇﻤﻼ ًﺀ ﻭﻜﺘﺎﺒﺔ‪ .‬ﻁ‪ .2‬ﺩﺍﺭ ﺍﻟﻭﻓﺎﺀ‪) .‬ﺩ‪ .‬ﺕ(‪ .‬ﺹ‪.97‬‬
‫‪78‬‬
 ‫)ﻤَﻘﺎ ﹺﺒﺭْ‪.(ma / qaa / bir :‬‬

‫ل ﺼﻭﺘﹶــﻬﺎ ﺘﻜﺭﺍﺭﻴ‪‬ـﺎ)‪،(1‬‬
‫ﻥ ﺒﺎﻟﻭﻗـﻑ‪ ،‬ﻴﺠﻌ ُ‬
‫ﻥ ﺍﻵﻴﺘﻴ ﹺ‬
‫ل ﻤﻥ ﻫﺎﺘﻴ ﹺ‬
‫ﻥ ﺍﻟﺭّﺍ ِﺀ ﻓـﻲ ﻨﻬﺎﻴ ِﺔ ﻜ ﱟ‬
‫ﻥ ﺘﺴﻜﻴ َ‬
‫ﺇﱠ‬

‫ﺢ‬
‫ﻥ ﻫـﺫﺍ ﺍﻟﻤﻠﻤـ ﹺ‬
‫ﺨ ﹺﺭ ﺍﻟﻠﹼﺜ ِﺔ ﺘﻜﺭﺍﺭًﺍ ﺴﺭﻴﻌًﺎ(()‪ .(2‬ﻭﻤﻥ ﺸﺄ ﹺ‬
‫ﻥ‪ ،‬ﻋﻠﻰ ﻤﺅ ﹼ‬ ‫ﻴﺼﺩ ُﺭ ))ﺒﺘﻜﺭﺍ ﹺﺭ ﻀﺭﺒـﺎ ِ‬
‫ﺕ ﺍﻟﻠﹼﺴﺎ ﹺ‬
‫ﻕ ﻓﻜـﺭ ﹶﺓ ﺍﻟﺘﻜـﺎﺜ ﹺﺭ‬
‫ﻥ‪ ،‬ﺇﻀﺎﻓ ﹰﺔ ﺇﻟﻰ ﺭﺍ ِﺀ ) ُﺯﺭْﺘﹸـﻡ(‪ ،‬ﺃﻥ ﻴﻭﺍﻓـ ﹶ‬
‫ﻥ ﺍﻟﺭّﺍﺀﺍ ﹺ‬
‫ﻱ‪ ،‬ﺍﻟﺫﻱ ﺘﺘﻤﺘﹼ ُﻊ ﺒﻪ ﻫﺎﺘﺎ ﹺ‬
‫ﺍﻟﺘﻤﻴﻴﺯ ﱢ‬

‫ﻥ ﺍﻵﻴﺘﻴﻥ‪.‬‬
‫ل ﺩﻻﻟ ﹶﺔ ﺍﻟﺘﺘﺎﺒ ﹺﻊ ﻭﺍﻻﺴﺘﻤﺭﺍ ﹺﺭ‪ ،‬ﻓﻲ ﻫﺎﺘﻴ ﹺ‬
‫ل‪ ،‬ﺍﻟﺘﻲ ﺘﺤﻤ ُ‬
‫ﻭﺍﻟﺘﻨﺎﺴ ﹺ‬

‫ﻥ ﺠﻨﹼـﻲ –‬
‫ﺹ ﺍﺒ ُ‬
‫ل – ﻜﻤﺎ ﻴﻨ ﱡ‬
‫ﻭﻴﺩﻋﻤُﻪ ﻓﻲ ﺫﻟﻙ‪ ،‬ﻫﺫﻩ ﺍﻟﺜﺎ ُﺀ ﻓﻲ ﺍﻟﻤﻘﻁ ﹺﻊ‪ ) :‬ﹸﺜـﺭْ‪ ،(θur :‬ﺍﻟﺘﻲ ﺘﺩ ﱡ‬

‫ﺕ‬
‫ﺞ ﻫـﺫﺍ ﺍﻟﺼـﻭ ﹶ‬ ‫ﺙ)‪ .(3‬ﻭﻟﻙ ﺃﻥ ﺘﺴﺘﺸﻌ َﺭ ﻫﺫﺍ ﺍﻹﻴﺤﺎ َﺀ‪ ،‬ﻓﻲ ﺨـﺭﻭ ﹺ‬
‫ﺝ ﺍﻟﻬـﻭﺍ ِﺀ ﺍﻟـﺫﻱ ﻴﻨـﺘ ُ‬ ‫ﻋﻠﻰ ﺍﻟﺒ ﹼ‬

‫ﻑ ﺍﻟﺜﻨﺎﻴﺎ ﺍﻟﻌﻠﻴـﺎ)‪.(4‬‬
‫ﻥ‪ ،‬ﻭﺃﻁﺭﺍ ِ‬
‫ﻑ ﺍﻟﹼﻠﺴﺎ ﹺ‬
‫ﻥ ﻁﺭ ِ‬
‫ﻲ‪ ،‬ﻗﻭﻴ‪‬ﺎ ﻤﺘﺘﺎﺒﻌًﺎ ﻤﺴﺘﻤﺭ‪‬ﺍ‪ ،‬ﻤﻥ ﺒﻴ ﹺ‬
‫ﺍﻻﺤﺘﻜﺎﻜـ ﱠ‬

‫ﻥ‬
‫ﻲ )‪ (Vocalic System‬ﻟﻬـﺎﺘﻴ ﹺ‬
‫ﻭﻟﻭ ﻨﻅﺭﻨﺎ – ﻤﻊ ﻤﺭﺍﻋﺎ ِﺓ ﺍﻟﻭﺼل ‪ -‬ﻓﻲ ﺍﻟﻨﻅـﺎ ﹺﻡ ﺍﻟﺤﺭﻜـ ﱢ‬
‫ﺤﺘﹼﻰ ُﺯﺭْﺘﹸ ُﻡ ﺍﻟﹾﻤَﻘﺎ ﹺﺒ َﺭ﴾‪:‬‬
‫َ‬ ‫ﺏ ﻓﺭﻴﺩ‪َ﴿ :‬ﺃﻟﹾﻬﺎﻜﹸ ُﻡ ﺍﻟﺘﱠﻜﺎﹸﺜـ ُﺭ *‬
‫ﻕ ﻋﺠﻴ ﹴ‬
‫ﻥ؛ ﻟﻭﺠﺩﻨﺎﻩ ﺫﺍ ﻨﺴ ٍ‬
‫ﺍﻵﻴﺘﻴ ﹺ‬

‫‪a - a - a - u - u - a - a - a - u - u - a - a - a - u - u - u - a - a - a - i - a.‬‬

‫ﺕ ﻗﺼـﻴﺭﺓ‪،‬‬
‫ﺙ ﻓﺘﺤـﺎ ٍ‬
‫ﻥ ﻗﺼـﻴﺭﺘﺎﻥ‪ ،‬ﻓـﺜﻼ ﹸ‬
‫ﺕ ﻗﺼﻴﺭ ٍﺓ)‪ ،(5‬ﺘﻠﻴﻬﺎ ﻀﻤّﺘﺎ ﹺ‬
‫ﺙ ﻓﺘﺤﺎ ٍ‬
‫ﻥ ﺒﺜﻼ ِ‬
‫ﻓﺘﺒﺩُﺃ ﺍﻵﻴﺘﺎ ﹺ‬

‫ﺕ ﻗﺼﻴﺭﺓ‪ ،‬ﻓﻜﺴﺭﺓﹲ‬
‫ﺙ ﻓﺘﺤﺎ ٍ‬
‫ﺕ ﻗﺼﻴﺭﺓ‪ ،‬ﻓﺜﻼ ﹸ‬
‫ﺙ ﻀﻤّﺎ ٍ‬
‫ﺕ ﻗﺼﻴﺭﺓ‪ ،‬ﻓﺜﻼ ﹸ‬
‫ﺙ ﻓﺘﺤﺎ ٍ‬
‫ﻥ ﻗﺼﻴﺭﺘﺎﻥ‪ ،‬ﻓﺜﻼ ﹸ‬
‫ﻓﻀﻤّﺘﺎ ﹺ‬
‫ﻗﺼﻴﺭﺓ‪ ،‬ﻓﻔﺘﺤﺔﹲ ﻗﺼﻴﺭﺓ‪.‬‬

‫ﻲ ﺒﻤﻘـﺎﺩﻴ َﺭ‬
‫ﺡ ﺍﻟﺴﻤﻌ ﱠ‬
‫ﺕ ﺍﻟﻭﻀﻭ َ‬
‫ﺏ ﺒﻪ ﺍﻟﺤﺭﻜﺎ ﹸ‬
‫ﻅ َﻡ‪ ،‬ﺍﻟﺫﻱ ﺘﺘﻨﺎﻭ ُ‬
‫ﻥ ﻫﺫﺍ ﺍﻟﺘﻭﺯﻴـ َﻊ ﺍﻟﻤﻨ ﹼ‬
‫ﻙ ﻓﻲ ﺃ ﱠ‬
‫ﻻﺸﱠ‬

‫ﻥ ﻭﺍﻟﻘﻠﻭﺏ‪.‬‬
‫ﻲ ﻋﻠﻰ ﺍﻵﺫﺍ ﹺ‬
‫ﻼ‪ ،‬ﻤﻥ ﺸﺄﻨِﻪ ﺃﻥ ﻴﺴﺘﻭﻟ َ‬
‫ﻕ ﺘﻨـﺎﻏﻤًﺎ ﻤﺘﻜﺎﻤ ﹰ‬
‫ﻤﺘﺠﺎﻨﺴﺔ‪ ،‬ﻴﺤﻘﹼ ﹸ‬

‫)‪(1‬‬
‫ﺸﺩّﺩﺕ‪ .‬ﺍﻨﻅﺭ‪ :‬ﺍﻟﻨﻭﺭﻱ‪ ،‬ﻤﺤﻤﺩ ﺠﻭﺍﺩ‪ :‬ﻋﻠﻡ ﺃﺼﻭﺍﺕ ﺍﻟﻌﺭﺒﻴﺔ‪ .‬ﺹ‪.146‬‬
‫ﻻ ﺇﺫﺍ ﺴﻜﻨﺕ‪ ،‬ﺃﻭ ﹸ‬
‫ﻻ ﻴﻜﻭﻥ ﺼﻭﺕ ﺍﻟﺭّﺍﺀ ﺘﻜﺭﺍﺭﻴ‪‬ﺎ‪ ،‬ﺇ ﹼ‬
‫)‪(2‬‬
‫ﺒﺸﺭ‪ ،‬ﻜﻤﺎل‪ :‬ﻋﻠﻡ ﺍﻷﺼﻭﺍﺕ‪ .‬ﺹ‪.345‬‬
‫)‪(3‬‬
‫ﺍﺒﻥ ﺠﻨﹼﻲ‪ ،‬ﺃﺒﻭ ﺍﻟﻔﺘﺢ ﻋﺜﻤﺎﻥ‪ :‬ﺍﻟﺨﺼﺎﺌﺹ‪.512 / 1 .‬‬
‫)‪(4‬‬
‫ﺃﻨﻴﺱ‪ ،‬ﺇﺒﺭﺍﻫﻴﻡ‪ :‬ﺍﻷﺼﻭﺍﺕ ﺍﻟﻠﻐﻭﻴّﺔ‪ .‬ﺹ‪.48‬‬
‫)‪(5‬‬
‫ﺍﻟﺤﺭﻜﺔ ﺍﻟﻁﻭﻴﻠﺔ ﺘﺴﺎﻭﻱ ﺤﺭﻜﺘﻴﻥ ﻗﺼﻴﺭﺘﻴﻥ‪ .‬ﺍﻨﻅﺭ ﺹ‪ 35 ،26‬ﻤﻥ ﻫﺫﺍ ﺍﻟﺒﺤﺙ‪.‬‬
‫‪79‬‬
‫ﻥ ﺒﺎﻟﺤﺭﻜـ ِﺔ ﺍﻟﻭﺍﺴـﻌ ِﺔ‬
‫ﻥ ﺘﺒـﺩﺃﺍ ﹺ‬
‫ﺏ ﻤﻥ ﺫﻟﻙ؛ ﻓﺎﻵﻴﺘـﺎ ﹺ‬
‫ﻭﻟﻙ ﺃﻥ ﺘﺠ َﺩ ﻓﻲ ﻫﺫﺍ ﺍﻟﻨﻅﺎ ﹺﻡ‪ ،‬ﻤﺎ ﻫﻭ ﺃﻋﺠ ُ‬

‫ﻥ ﺒﻬـﺫﺍ‬
‫ﻓﺎﻟﻭﺍﺴﻌ ِﺔ‪ ،‬ﻓﺎﻟﻀﻴّﻘﺔ‪ ،...‬ﻤﻭﺍﻓﻘﺘﻴ ﹺ‬ ‫‪،(1)(Close‬‬ ‫)‪ ،(Open Vowel‬ﻓﺎﻟﺤﺭﻜ ِﺔ ﺍﻟﻀﻴّﻘ ِﺔ )‪Vowel‬‬

‫ل‬
‫ﻥ‪ ،‬ﺍﻟﺫﻱ ﻴﺒﺩُﺃ ﺒﺤﻴﺎ ٍﺓ ﻭﺍﺴﻌ ٍﺔ ﻁﻠﻴﻘ ٍﺔ‪ ،‬ﻋﻠﻰ ﻭﺠ ِﻪ ﻫﺫﻩ ﺍﻷﺭﺽ‪ ،‬ﺜ ﱠﻡ ﻴﻨﺘﻘـ ُ‬
‫ل ﺍﻹﻨﺴﺎ ﹺ‬
‫ﻲ ﺤﺎ َ‬
‫ﺡ ﺍﻟﺤﺭﻜ ﱢ‬
‫ﺍﻟﺘﺭﺍﻭ ﹺ‬
‫ﺕ ﺍﻷﺭﺽ‪ ،‬ﺜ ﱠﻡ ﺇﻟﻰ ﺍﻟﺤﻴﺎ ِﺓ ﺍﻵﺨﺭﺓ‪.‬‬
‫ﻕ ﺍﻟﻘﺒﻭ ﹺﺭ ﺘﺤ ﹶ‬
‫ﺒﻌﺩَﻫﺎ‪ ،‬ﺇﻟﻰ ﻀﻴ ِ‬

‫ﻥ‬
‫ﷲ‪ ،‬ﺴﺒﺤﺎﻨﹶﻪ‪ ،‬ﺩﻭ َ‬
‫ل ) ُﺯﺭْﺘﹸﻡ(‪ ،‬ﺍﻟﺫﻱ ﺍﺨﺘـﺎﺭَﻩ ﺍ ُ‬
‫ﻭﻟﻲ ﺃﻥ ﺃﺅ ﹼﻜ َﺩ ﺫﻟﻙ‪ ،‬ﺒﻤﺎ ﺃﺠﺩُﻩ ﻤﻥ ﺩﻻﻟ ٍﺔ‪ ،‬ﻓﻲ ﺍﻟﻔﻌ ﹺ‬

‫ﺕ‪ ،‬ﻜـ)ﻤﺘﱡﻡ(‪ ،‬ﻭ)ﻫﻠﻜﺘﹸﻡ()‪(2‬؛ ﻓﻬﺫﺍ ﺍﻟﻔﻌ ُ‬

‫ل – ﺒﺎﻋﺘﻘﺎﺩﻱ – ﻴﺸﻴ ُﺭ ﻓـﻲ ﻫـﺫﻩ‬ ‫ل ﺍﻟﻤﻌﺒّﺭ ِﺓ ﻋﻥ ﺍﻟﻤﻭ ِ‬
‫ﺍﻷﻓﻌـﺎ ﹺ‬
‫ﻥ ﻓﻲ‬
‫ﻭﺍﻟﺤﻴﺎ ِﺓ ﺍﻵﺨﺭﺓ؛ ﻷ ﱠ‬ ‫ﺍﻟﺒﺭﺯﺨ ّﻴ ِﺔ)‪،(3‬‬ ‫ﺙ‪ :‬ﺍﻟﺤﻴﺎ ِﺓ ﺍﻟﺩﻨﻴﺎ‪ ،‬ﻭﺍﻟﺤﻴﺎ ِﺓ‬
‫ﻥ ﺍﻟﺜـﻼ ِ‬
‫ل ﺍﻹﻨﺴﺎ ﹺ‬
‫ﺍﻟﺴﻭﺭ ِﺓ‪ ،‬ﺇﻟﻰ ﻤﺭﺍﺤ ﹺ‬

‫ﻻ‬
‫ﺱ ﻓﻴـﻪ ﺇ ﹼ‬
‫ﻙ(‪ ،‬ﺍﻟﺫﻱ ﻟﻴ َ‬
‫ﺕ(‪ ،‬ﺃﻭ )ﻫﻠ َ‬
‫ل )ﻤﺎ ﹶ‬
‫ﻑ ﺍﻟﻔﻌ ﹺ‬
‫ﺍﻟﺯﻴﺎﺭ ِﺓ‪ ،‬ﻜﻤﺎ ﻴﺴﺘﻘ ﱡﺭ ﻓﻲ ﺃﺫﻫﺎﻨِﻨﺎ‪ ،‬ﺫﻫﺎﺒًﺎ ﻭﺇﻴﺎﺒًﺎ‪ ،‬ﺒﺨﻼ ِ‬

‫ﻥ ﻋﻴﺴـﻰ‬
‫ﻥ ﺍﻟﻜﺭﻴ ﹺﻡ‪ ،‬ﻋﻠﻰ ﻟﺴﺎ ﹺ‬
‫ﺹ ﻤﺎ ﺠﺎ َﺀ ﻓﻲ ﺍﻟﻘﺭﺁ ﹺ‬
‫ل – ﺒﻜﻠﻤـ ٍﺔ ﺃﺨﺭﻯ – ﻴﻠﺨﹼ ُ‬
‫ﻥ ﻫﺫﺍ ﺍﻟﻔﻌ َ‬
‫ﺍﻟﺫﻫﺎﺏ‪ .‬ﺇ ﱠ‬

‫ﺤ ‪‬ﻴﺎ﴾)‪.(4‬‬
‫َ‬ ‫ﺙ‬
‫ﺕ َﻭ َﻴﻭْ َﻡ ُﺃﺒْ َﻌ ﹸ‬
‫ﻲ َﻴﻭْ َﻡ ُﻭِﻟﺩْﺕﹸ َﻭ َﻴﻭْ َﻡ ﺃَﻤﻭ ﹸ‬ ‫– ﻋﻠﻴﻪ ﺍﻟﺴـﻼﻡ ‪﴿ :-‬ﻭَﺍﻟﺴﱠﻼ ُﻡ َ‬
‫ﻋﹶﻠ ﱠ‬

‫ل‪ ،‬ﺨﺎﺼّـﺔ‪ُ ...﴿ :‬ﺯﺭْﺘﹸـ ُﻡ ﺍﻟﹾﻤَﻘـﺎ ﹺﺒ َﺭ﴾‪:‬‬

‫ﺕ ﻫﺫﻩ ﺍﻟﺠﻤﻠ ِﺔ‪ ،‬ﺍﻟﺘﻲ ﺘﺤﺘﻭﻱ ﻫﺫﺍ ﺍﻟﻔﻌ َ‬
‫ﻭﺍﻨﻅﺭْ ﻓﻲ ﺤﺭﻜﺎ ِ‬

‫ﺙ‬
‫ﺕ ﺍﻟـﺜﻼ ﹶ‬
‫ﺕ ﺍﻟﻀﻴّﻘ ﹶﺔ ﻓﻴﻬﺎ‪ :‬ﺍﻟﻀـﻤّﺎ ِ‬
‫ﻥ ﺍﻟﺤﺭﻜﺎ ِ‬
‫)‪(zur / tu / mul / ma / qaa / bi / ra‬؛ ﻟﺘﺠ َﺩ ﺃ ﱠ‬
‫ﻕ ﺍﻟﻘﺒﻭ ﹺﺭ‪ ،‬ﻋﻠﻰ ﺃﺘـ ﱢﻡ‬
‫ﻕ ﺍﻟﻔ ﹺﻡ‪ ،‬ﻋﻨ َﺩ ﻨﻁﻘِﻬﺎ‪ ،‬ﻀﻴ ﹶ‬
‫ﺕ ﺍﻟﻭﺍﺴﻌﺔ؛ ﻟﺘﺼ ّﻭ َﺭ ﺒﻀﻴ ِ‬
‫ﺙ ﺍﻟﻔﺘﺤﺎ ِ‬
‫ﻕ ﺜﻼ ﹶ‬
‫ﻭﺍﻟﻜﺴﺭﺓ‪ ،‬ﺘﻔﻭ ﹸ‬

‫ﺤﺎل‪.‬‬

‫ل ﻤــﺎ‬
‫ﻥ‪ ،‬ﺒﻬـﻭ ﹺ‬
‫ﺏ ﺍﻟﻼﻫﻴـ َ‬
‫ﻉ ﻗﻠـﻭ ﹺ‬
‫ل ﺴﻴّﺩ ﻗﻁﺏ‪ ،‬ﺇﻟﻰ ﻗﺭ ﹺ‬
‫ل ﺍﻟﺴﻭﺭ ﹸﺓ ﺒﻌ َﺩ ﺫﻟﻙ‪ ،‬ﻜﻤـﺎ ﻴﻘﻭ ُ‬
‫ﻭﺘﻨﺘﻘ ُ‬
‫ﻑ ﹶﺘﻌْﻠﹶﻤﻭﻥ ﴾‪:‬‬
‫ﻼ ﺴَﻭْ ﹶ‬
‫ﻕ ﺭﺯﻴﻥ‪ ﴿ :‬ﹶﻜ ﹼ‬
‫ﻉ ﻋﻤﻴ ٍ‬
‫ﻴﻨﺘﻅﺭُﻫﻡ ﻫﻨﺎﻙ‪ ،‬ﺒﻌ َﺩ ﺯﻴﺎﺭ ِﺓ ﺍﻟﻤﻘﺎﺒ ﹺﺭ‪ ،‬ﻓﻲ ﺇﻴﻘﺎ ﹴ‬

‫)‪(1‬‬
‫ﻴﻘﺼﺩ ﺒﺎﻟﺤﺭﻜﺔ ﺍﻟﻀﻴّﻘﺔ‪ ،‬ﺍﻟﺘﻲ ﺘﻤﺜﹼﻠﻬﺎ ﻓﻲ ﺍﻟﻌﺭﺒﻴّﺔ ﺍﻟﻜﺴﺭﺓ ﻭﺍﻟﻀﻤّﺔ‪ ،‬ﺘﻠﻙ ﺍﻟﺘﻲ ﻴﺘ ّﻡ ﺇﻨﺘﺎﺠﻬﺎ‪ ،‬ﻋﻨﺩﻤﺎ ﻴﻜﻭﻥ ﺍﻻﻨﻔﺘﺎﺡ ﻓـﻲ ﺍﻟﻔـﻡ‬
‫ﻀ ّﻴﻘﹰﺎ‪ ،‬ﻭﺍﻟﻠﹼﺴﺎﻥ ﻤﺭﻓﻭﻋًﺎ ﻨﺤﻭ ﺍﻟﺠﺯﺀ ﺍﻷﻤﺎﻤﻲّ‪ ،‬ﺃﻭ ﺍﻟﺠﺯﺀ ﺍﻟﺨﻠﻔﻲّ‪ ،‬ﻤﻥ ﺴﻘﻑ ﺍﻟﺤﻨﻙ ﺍﻷﻋﻠﻰ ﺒﻘﺴﻤﻴﻪ‪ :‬ﺍﻟﻐﺎﺭ ﻭﺍﻟﻁﺒﻕ‪ .‬ﺃﻤّﺎ ﺍﻟﺤﺭﻜﺔ‬
‫ﺍﻟﻭﺍﺴﻌﺔ‪ ،‬ﺍﻟﺘﻲ ﺘﻤﺜﹼﻠﻬﺎ ﻓﻲ ﺍﻟﻌﺭﺒﻴّﺔ ﺍﻟﻔﺘﺤﺔ‪ ،‬ﻓﺘﻠﻙ ﺍﻟﺘﻲ ﻴﺘ ّﻡ ﺇﻨﺘﺎﺠﻬﺎ‪ ،‬ﻋﻨﺩﻤﺎ ﻴﻜﻭﻥ ﺍﻻﻨﻔﺘﺎﺡ ﻓﻲ ﺍﻟﻔﻡ ﻭﺍﺴﻌًﺎ‪ ،‬ﻭﺍﻟﻠﹼﺴﺎﻥ ﻓـﻲ ﻭﻀـﻊ‬
‫ﻤﻨﺨﻔﺽ ﻓﻴـﻪ‪ ،‬ﻭﺫﻟﻙ ﺒﺎﻟﻨﺴﺒﺔ ﺇﻟﻰ ﺴﻘﻑ ﺍﻟﺤﻨﻙ ﺍﻷﻋﻠﻰ ﺒﻘﺴﻤﻴﻪ ﺍﻟﺴﺎﺒﻘﻴﻥ‪ .‬ﺍﻨﻅﺭ‪ :‬ﺍﻟﻨﻭﺭﻱ‪ ،‬ﻤﺤﻤﺩ ﺠﻭﺍﺩ‪ :‬ﻋﻠﻡ ﺃﺼﻭﺍﺕ ﺍﻟﻌﺭﺒﻴﺔ‪.‬‬
‫ﺹ‪.192‬‬
‫)‪(2‬‬
‫ﺤﺘﹼﻰ ُﺯﺭْﺘﹸ ُﻡ ﺍﻟﹾﻤَﻘﺎﺒﹺﺭ ﴾‪ :‬ﺤﺘﹼﻰ ﺃﺩﺭﻜﻜﻡ ﺍﻟﻤﻭﺕ‪ .‬ﺍﻨﻅﺭ‪ :‬ﺍﻟ ّﺯﺠّﺎﺝ‪ ،‬ﺃﺒﻭ ﺇﺴﺤﺎﻕ ﺇﺒﺭﺍﻫﻴﻡ ﺒﻥ ﺍﻟﺴّﺭﻱ‪ :‬ﻤﻌـﺎﻨﻲ‬
‫ﺍﻟﻤﻘﺼﻭﺩ ﺒﺎﻵﻴﺔ‪َ ﴿ :‬‬
‫ﺍﻟﻘﺭﺁﻥ ﻭﺇﻋﺭﺍﺒﻪ‪ 5 .‬ﺝ‪ .‬ﺸﺭﺡ ﻋﺒﺩ ﺍﻟﺠﻠﻴل ﻋﺒﺩﻩ ﺸﻠﺒﻲ ﻭﺘﺤﻘﻴﻘﻪ‪ .‬ﻁ‪ .1‬ﺒﻴﺭﻭﺕ‪ :‬ﻋﺎﻟﻡ ﺍﻟﻜﺘﺏ‪.357 / 5 .1988 .‬‬
‫)‪(3‬‬
‫ﻴﻘﺼﺩ ﺒﺎﻟﺤﻴﺎﺓ ﺍﻟﺒﺭﺯﺨﻴّﺔ‪)) ،‬ﻤﺎ ﺒﻴﻥ ﺍﻟﺩﻨﻴﺎ ﻭﺍﻵﺨﺭﺓ ﻗﺒل ﺍﻟﺤﺸﺭ‪ ،‬ﻤﻥ ﻭﻗﺕ ﺍﻟﻤﻭﺕ ﺇﻟﻰ ﺍﻟﺒﻌـﺙ؛ ﻓﻤـﻥ ﻤـﺎﺕ؛ ﻓﻘـﺩ ﺩﺨـل‬
‫ﺍﻟﺒﺭﺯﺥ((‪ .‬ﺍﻨﻅﺭ‪ :‬ﺍﺒﻥ ﻤﻨﻅﻭﺭ‪ ،‬ﺃﺒﻭ ﺍﻟﻔﻀل ﺠﻤﺎل ﺍﻟﺩﻴﻥ‪ :‬ﻟﺴﺎﻥ ﺍﻟﻌﺭﺏ‪ .‬ﺍﻟﻤﺎﺩّﺓ‪) :‬ﺏ‪ ،‬ﺭ‪ ،‬ﺯ‪ ،‬ﺥ(‪.‬‬
‫)‪(4‬‬
‫ﻤﺭﻴﻡ‪.33 :‬‬
‫‪80‬‬
 ‫‪kal / laa / saw / fa / tac / la / muun.‬‬

‫ﻑ ﹶﺘﻌْﻠﹶﻤﻭﻥ ﴾‪:‬‬
‫ﻼ ﺴَﻭْ ﹶ‬
‫ﺏ ﺍﻟﺭﺼﻴﻥ‪ ﴿ :‬ﹸﺜﻡﱠ ﹶﻜ ﹼ‬
‫ﻉ ﺒﺄﻟﻔﺎﻅِﻪ‪ ،‬ﻭﺠﺭﺴِﻪ ﺍﻟﺭﻫﻴ ﹺ‬
‫ﻭﻴُﻜ ّﺭ ُﺭ ﻫﺫﺍ ﺍﻹﻴﻘﺎ ُ‬

‫‪θum / ma / kal / laa / saw / fa / tac / la / muun.‬‬

‫ﻥ ﺤﻘﻴﻘﺘﹶـﻪ‬
‫ل‪ ،‬ﻻ ﻴﺘﺒﻴّﻨـﻭ َ‬
‫ﺜ ﱠﻡ ﻴﺯﻴ ُﺩ ﻫﺫﺍ ﺍﻟﺘﻭﻜﻴ ُﺩ ﻋﻤﻘﹰﺎ ﻭﺭﻫﺒ ﹰﺔ‪ ،‬ﻭﺘﻠﻭﻴﺤًﺎ ﺒﻤﺎ ﻭﺭﺍﺀَﻩ ﻤﻥ ﺃﻤ ﹴﺭ ﺜﻘﻴـ ﹴ‬

‫﴾)‪:(1‬‬ ‫ﻋﻠﹾـ َﻡ ﺍﻟﹾﻴَﻘﻴﻥ‬

‫ﻥ ِ‬
‫ﻼ ﹶﻟﻭْ ﹶﺘﻌْﻠﹶﻤﻭ َ‬
‫ﺍﻟﻬﺎﺌﻠ ﹶﺔ‪ ،‬ﻓﻲ ﻏﻤﺭ ِﺓ ﺍﻟﺨﻤﺎ ﹺﺭ ﻭﺍﻻﺴﺘﻜﺜﺎﺭ‪ ﴿ :‬ﹶﻜ ﹼ‬

‫‪kal / laa / law / tac / la / muu / na / cil / mal / ya / qiin.‬‬

‫ﻥ‪ ،‬ﻓـﻲ‬
‫ﻕ ﺭﺯﻴ ﹴ‬
‫ﻉ ﻋﻤﻴ ٍ‬
‫ﻑ ﻤﺎ ﺍﺴﺘﺸﻌﺭَﻩ ﻤﻥ ﺇﻴﻘﺎ ﹴ‬
‫ﺴ ﹺﺭ ﺍﻟﺠﻠﻴل؛ ﻟﻨﻜﺘﺸ ﹶ‬
‫ﺴﺭْ ﻤﻌﻲ ﻋﻠﻰ ﺨﻁﻰ ﻫﺫﺍ ﺍﻟﻤُﻔ ﱢ‬
‫ِ‬

‫ﻥ‬
‫ﻥ ﺍﻷﻤ َﺭ ﺍﻟﺫﻱ ﻴﻨﺒﻐـﻲ ﺃﻥ ﻴﻜـﻭ َ‬
‫ﻉ ﻭﺘﻨﺒﻴﻪ‪ ،‬ﻋﻠﻰ ﺃ ﱠ‬
‫ل ﺒﻤﺎ ﺘﺤﻤﻠﹸﻪ ﻤﻥ ﺭﺩ ﹴ‬
‫ﺙ‪ ،‬ﺍﻟﺘﻲ ﺘﺩ ﱡ‬
‫ﺕ ﺍﻟﺜﻼ ِ‬
‫ﻫﺫﻩ ﺍﻵﻴﺎ ِ‬

‫ﺱ ﺍﻟﺘﻜﺎﺜﺭ)‪.(2‬‬
‫ﻥ ﺒﻨﺒﻴﱢﻪ‪ ،‬ﻋﻠﻴﻪ ﺍﻟﺴﻼﻡ‪ ،‬ﻭﻟﻴ َ‬
‫ﷲ‪ ،‬ﻭﺍﻹﻴﻤﺎ ُ‬
‫ﻥ ﺒﺘﻜﺎﺜﺭﹺﻫﻡ ﻭﺃﻤﻭﺍﻟِﻬﻡ‪ ،‬ﻫﻭ ﻁﺎﻋ ﹸﺔ ﺍ ِ‬
‫ﻋﻠﻴﻪ ﺍﻟﻼﻫﻭ َ‬

‫ﻥ ﺍﻵﻴـ ﹸﺔ‬
‫ﺏ ﻓﺭﻴـﺩ؛ ﻓﺘﺘﻜـﻭّ ُ‬
‫ﺕ ﻤﻥ )‪ (27‬ﻤﻘﻁﻌًﺎ ﺼﻭﺘﻴ‪‬ﺎ‪ ،‬ﻤﻭﺯّﻋ ٍﺔ ﻋﻠﻴﻬﺎ ﺒﺘﻨﺎﺴ ﹴ‬
‫ﻥ ﻫﺫﻩ ﺍﻵﻴﺎ ﹸ‬
‫ﺘﺘﻜﻭّ ُ‬

‫ﺍﻷﻭﻟﻰ ﻤﻥ )‪ (7‬ﻤﻘﺎﻁﻊ‪ ،‬ﻭﺍﻟﺜﺎﻨﻴ ﹸﺔ ﻤﻥ )‪ (9‬ﻤﻘﺎﻁـﻊ؛ ﺃﻱ ﺒﺯﻴـﺎﺩ ِﺓ ﺍﺜﻨـﻴﻥ‪ ،‬ﻭﺍﻷﺨﻴـﺭ ﹸﺓ ﻤـﻥ )‪(11‬‬

‫ﺙ‪ ،‬ﻤـﺎ ﻴﻌـﺭ ﹸ‬

‫ﻑ‬ ‫ﺕ ﺍﻟﺜﻼ ِ‬
‫ﻕ ﻓﻲ ﻫﺫﻩ ﺍﻵﻴﺎ ِ‬
‫ﻥ ﻋﻠﻰ ﺍﻟﺜﺎﻨﻴﺔ‪ .‬ﻭﺒﻜﻠﻤ ٍﺔ ﺃﺨﺭﻯ‪ ،‬ﻴﺘﺤﻘﹼ ﹸ‬
‫ﻤﻘﻁﻌًﺎ؛ ﺃﻱ ﺒﺯﻴﺎﺩ ِﺓ ﺍﺜﻨﻴ ﹺ‬

‫ل‬
‫ل ﻓﺄﻁﻭل‪ ،‬ﻓﻲ ﺘﺴﻠﺴـ ﹴ‬
‫ﻲ‪ ،‬ﻭﻫﻭ ﺍﻟ َﺒﺩْ ُﺀ ﺒﺠﻤﻠ ٍﺔ ﻗﺼﻴﺭ ٍﺓ‪ ،‬ﻭﺇﺘﺒﺎﻋُﻬﺎ ﺠﻤﻠ ﹰﺔ ﺃﻁﻭ َ‬
‫ﻲ ﺃﻭ ﺍﻟﻘﻭﻟ ﱢ‬
‫ﺒﺎﻟﺘﹼﺼﺎﻋ ِﺩ ﺍﻟﻨﹼﻐﻤ ﱢ‬

‫ﺒﻌﻀًﺎ)‪.(3‬‬ ‫ﻤﺘﺼﺎﻋ ٍﺩ‪ ،‬ﻴﺸ ﱡﺩ ﺒﻌﻀُﻪ‬

‫ﺕ ﻜﺫﻟﻙ‪ ،‬ﻓﻲ ﻨﻭﻋ ّﻴ ِﺔ ﺍﻟﻤﻘﺎﻁﻊ؛ ﻓﻴﺭ ُﺩ ﺍﻟﻤﻘﻁ ُﻊ ﺍﻟﻘﺼﻴ ُﺭ )ﺹ ﺡ(‪ ،‬ﻓـﻲ ﺍﻵﻴـ ِﺔ‬
‫ﺏ ﻫﺫﻩ ﺍﻵﻴﺎ ﹸ‬
‫ﻭﺘﺘﻨﺎﺴ ُ‬
‫ﻁ‬
‫ﻥ‪ :‬ﺍﻟﺜﺎﻨﻴـ ِﺔ ﻭﺍﻷﺨﻴﺭ ِﺓ‪ (3) ،‬ﻤﺭّﺍﺕ؛ ﻭﻴـﺭ ُﺩ ﺍﻟﻤﻘﻁـ ُﻊ ﺍﻟﻤﺘﻭﺴّـ ﹸ‬
‫ل ﻤﻥ ﺍﻵﻴﺘﻴ ﹺ‬
‫ﺍﻷﻭﻟﻰ ﻤﺭّﺘﻴﻥ‪ ،‬ﻭﻓﻲ ﻜ ﱟ‬

‫ﻕ )ﺹ ﺡ ﺹ(‪ ،‬ﻓﻲ ﺍﻵﻴ ِﺔ ﺍﻷﻭﻟﻰ )‪ (3‬ﻤﺭّﺍﺕ‪ ،‬ﻭﻓﻲ ﺍﻟﺜﺎﻨﻴ ِﺔ )‪ (4‬ﻤﺭّﺍﺕ‪ ،‬ﻭﻓـﻲ ﺍﻷﺨﻴـﺭ ِﺓ )‪(5‬‬
‫ﺍﻟﻤﻐﻠ ﹸ‬

‫)‪(1‬‬
‫ﻗﻁﺏ‪ ،‬ﺴﻴّﺩ‪ :‬ﻓﻲ ﻅﻼل ﺍﻟﻘﺭﺁﻥ‪.3962 / 6 .‬‬
‫)‪ (2‬ﺍﻟ ّﺯﺠّﺎﺝ‪ ،‬ﺃﺒﻭ ﺇﺴﺤﺎﻕ ﺇﺒﺭﺍﻫﻴﻡ ﺒﻥ ﺍﻟﺴّﺭﻱ‪ :‬ﻤﻌﺎﻨﻲ ﺍﻟﻘﺭﺁﻥ ﻭﺇﻋﺭﺍﺒﻪ‪.357 / 5 .‬‬
‫)‪(3‬‬
‫ﺍﻨﻅﺭ‪:‬‬
‫‪ -‬ﻨﺤﻠﺔ‪ ،‬ﻤﺤﻤﻭﺩ ﺃﺤﻤﺩ‪ :‬ﻟﻐﺔ ﺍﻟﻘﺭﺁﻥ ﺍﻟﻜﺭﻴﻡ ﻓﻲ ﺠﺯﺀ ﻋ ّﻡ‪ .‬ﺹ‪.367‬‬
‫‪ -‬ﺍﻟﻀﺎﻟﻊ‪ ،‬ﻤﺤﻤّﺩ ﺼﺎﻟﺢ‪ :‬ﺍﻷﺴﻠﻭﺒﻴّﺔ ﺍﻟﺼﻭﺘﻴّﺔ‪ .‬ﺹ‪.123‬‬
‫‪81‬‬
‫ﻥ‪:‬‬
‫ل ﻤـﻥ ﺍﻵﻴﺘـﻴ ﹺ‬
‫ﻱ‪ ،‬ﻓﻲ ﻜ ﱟ‬
‫ﺡ )ﺹ ﺡ ﺡ(‪ ،‬ﻭﻫﻭ ﻤﻘﻁﻊٌ ﻗﻭ ﱞ‬
‫ﻁ ﺍﻟﻤﻔﺘـﻭ ُ‬
‫ﻤﺭّﺍﺕ؛ ﻭﻴﺭ ُﺩ ﺍﻟﻤﻘﻁ ُﻊ ﺍﻟﻤﺘﻭﺴّ ﹸ‬

‫ل ﺍﻟﻤﻐﻠـﻕ )ﺹ ﺡ ﺡ ﺹ(‪،‬‬
‫ﺍﻷﻭﻟﻰ ﻭﺍﻟﺜﺎﻨﻴ ِﺔ ﻤ ّﺭ ﹰﺓ ﻭﺍﺤﺩﺓ‪ ،‬ﻭﻓﻲ ﺍﻷﺨﻴﺭ ِﺓ ﻤﺭّﺘﻴﻥ؛ ﻭﻴﺭ ُﺩ ﺍﻟﻤﻘﻁ ُﻊ ﺍﻟﻁﻭﻴ ُ‬

‫ﺕ ﻤ ّﺭ ﹰﺓ ﻭﺍﺤﺩﺓ‪.‬‬
‫ل ﻤﻥ ﻫﺫﻩ ﺍﻵﻴﺎ ِ‬
‫ﻱ ﺃﻴﻀًﺎ‪ ،‬ﻓﻲ ﻜ ﱟ‬
‫ﻭﻫﻭ ﻤﻘﻁﻊٌ ﻗﻭ ﱞ‬

‫ﺕ‪ ،‬ﻤﻭﺴﻴﻘﻰ ﻤﺘﹼﺯﻨ ﹰﺔ‬ ‫ﺏ ﺍﻟﻤﺘﻨﺎﺴﻕ‪ ،‬ﺃﻥ ﻴﺤ ﹼﻘ ﹶ‬

‫ﻕ ﻓﻲ ﻫﺫﻩ ﺍﻵﻴﺎ ِ‬ ‫ﻲ ﺍﻟﻤﺘﻨﺎﺴ ﹺ‬
‫ﻥ ﻫﺫﺍ ﺍﻟﻨﻅﺎ ﹺﻡ ﺍﻟﻤﻘﻁﻌ ﱢ‬
‫ﻭﻤﻥ ﺸﺄ ﹺ‬

‫ﺨﺎﺼّﺔ‪ ،‬ﻤﻥ ﺸﺄﻨِﻬﺎ ﺃﻥ ﺘﺜﻴ َﺭ ﻓﻴﻨﺎ ﺍﻨﺘﺒﺎﻫًﺎ ﻋﺠﻴﺒًﺎ‪ ،‬ﻜﺫﻟﻙ ﺍﻟﺫﻱ ﻴﺜﻴﺭُﻩ ﻋﻘﺩٌ ﻤﻨﻅﻭﻡٌ‪ ،‬ﺘﺘﹼﺨ ﹸﺫ ﺍﻟﺨـﺭﺯ ﹸﺓ ﻤـﻥ‬

‫ﺨﺎﺼ‪‬ﺎ)‪.(1‬‬ ‫ﻼ ﺨﺎﺼ‪‬ﺎ‪ ،‬ﻭﺤﺠﻤًﺎ ﺨﺎﺼ‪‬ﺎ‪ ،‬ﻭﻟﻭﻨﹰﺎ‬

‫ﺨﺭﺯﺍﺘِﻪ ﻓﻲ ﻤﻭﻀ ﹴﻊ ﻤّﺎ‪ ،‬ﺸﻜ ﹰ‬

‫ﺕ‬
‫ل ﺍﻟﺩﻜﺘﻭ ُﺭ ﺇﺒﺭﺍﻫﻴﻡ ﺃﻨﻴﺱ‪ ،‬ﺘﺘ ﱡﻡ ﻋﻠـﻰ ﻗـﺩ ﹺﺭ ﺍﻷﺼـﻭﺍ ِ‬
‫ﻭﺇﺫﺍ ﻜﺎﻨﺕ ﻤﻭﺴﻴﻘﻰ ﺍﻟﺸﻌ ﹺﺭ‪ ،‬ﻜﻤـﺎ ﻴﻘﻭ ُ‬

‫ﻕ ﻗﻴﻤـ ﹰﺔ‬
‫ل ﺍﻟﺩﻜﺘﻭ ُﺭ ﻤﺤﻤّﺩ ﺍﻟﻨﻭﻴﻬﻲ‪ ،‬ﻴﺤﻘﹼـ ﹸ‬
‫ﻑ‪ ،‬ﻜﻤـﺎ ﻴﻘﻭ ُ‬
‫ﺕ ﻓﻲ ﺤﺭ ٍ‬
‫ﻙ ﺍﻟﻜﻠﻤﺎ ِ‬
‫ﻥ ﺍﺸﺘﺭﺍ ُ‬
‫ﻭﻜﺎ َ‬ ‫ﺍﻟﻤﻜﺭّﺭﺓ)‪،(2‬‬

‫ل ﺍﻷﻋﻠﻰ ‪ -‬ﻓﻲ‬
‫ﷲ ﺍﻟﻤﺜ ُ‬
‫ل–ﻭ ِ‬
‫ﻓﻤﺎﺫﺍ ﺘﻘﻭ ُ‬ ‫ﻱ)‪(3‬؛‬
‫ﺍﻟﺸﻌﺭ ّ‬ ‫ﻥ‬
‫ﻁ ﺍﻷﺩﺍ ِﺀ ﺒﺎﻟﻤﻀﻤﻭ ﹺ‬
‫ﺘﻨﻐﻴﻤ ّﻴ ﹰﺔ ﺠﻠﻴﻠ ﹰﺔ‪ ،‬ﺘﺯﻴ ُﺩ ﻤﻥ ﺭﺒ ِ‬

‫ﻥ ﺫﻟﻙ‪ ،‬ﻴﺒﻠﻐﹸﻬﺎ ﻤﺒﻠﻐﹰﺎ ﻤﻭﺴﻴﻘﻴ‪‬ﺎ‬

‫ﻙ ﻓﻲ ﺃ ﱠ‬
‫ﺕ‪ ،‬ﺍﻟﺘـﻲ ﻴﻜﺎ ُﺩ ﺍﻟﺘﻜﺭﺍ ُﺭ ﻴﺠﻌﻠﹸﻬﺎ ﺁﻴـ ﹰﺔ ﻭﺍﺤﺩﺓ؟!‪ .‬ﻻ ﺸ ﱠ‬
‫ﻫﺫﻩ ﺍﻵﻴﺎ ِ‬

‫ﻥ ﺸﺩ‪‬ﺍ ﻻ ﻴُﻘﺎﻭَﻡ‪.‬‬
‫ﻥ ﺇﻟﻴﻪ‪ ،‬ﻭﺍﻷﺫﻫﺎ َ‬
‫ﻻ ﻴُﻁﺎﻭَل‪ ،‬ﻴﺸ ﱡﺩ ﺍﻵﺫﺍ َ‬

‫ﻥ ﺇﻴﺤﺎ ٍﺀ ﺘﺤﻤﻠﹸﻪ؛ ﻓﺈﺫﺍ ﻜـﺎ َ‬

‫ﻥ‬ ‫ﺕ ﺍﻻﻨﺘﺒﺎ َﻩ ﺩﻭ َ‬
‫ﺕ‪ ،‬ﺍﻟﺘﻲ ﺘﺸ ﱡﻊ ﺇﺸﻌﺎﻋًﺎ‪ ،‬ﻟﺘﻠﻔ ﹶ‬
‫ﻭﻟﻡ ﺘﻜﻥْ ﻤﻭﺴﻴﻘﻰ ﻫﺫﻩ ﺍﻵﻴﺎ ِ‬
‫ﻥ ﹶﻨ ﹶﻔﺴَﻙ ﻓﻲ ﻫﺫﻩ‬
‫ﻑ ﻭﺍﻟﺭﻫﺒﺔ‪ ،‬ﻓﺈ ﱠ‬
‫ﻥ ﻭﺍﺤ ٍﺩ‪ ،‬ﻨﺘﻴﺠ ﹰﺔ ﻁﺒﻴﻌ ّﻴ ﹰﺔ ﻟﻠﺸﻌﻭ ﹺﺭ ﺒﺎﻟﺨﻭ ِ‬
‫ﺘﻘﻁﹼ ُﻊ ﺍﻟ ﱠﻨ ﹶﻔﺱﹺ ﻭﺇﺴﺭﺍﻋُﻪ ﻓﻲ ﺃﻭﺍ ﹴ‬

‫ﻕ )‪ (12‬ﻤﻘﻁﻌًـﺎ‬
‫ﺕ‪ ،‬ﺍﻟﺘﻲ ﺘﺜﻴ ُﺭ ﻫﺫﺍ ﺍﻟﺸﻌﻭ َﺭ‪ ،‬ﺒﻤﺎ ﺘﺤﻤﻠﹸﻪ ﻤﻥ ﺘﻨﺒﻴ ٍﻪ ﻭﻭﻋﻴﺩ‪ ،‬ﻟﹶﻴﻨﻘﻁـ ُﻊ ﻤـﻊ ﻨﻁـ ِ‬
‫ﺍﻵﻴﺎ ِ‬

‫ﻉ ﺍﻷﻗﺼ ﹺﺭ ﺯﻤﻨﹰﺎ ﻓﻲ‬

‫ﻕ )‪ (8‬ﻤﻘﺎﻁﻊ‪ ،‬ﻤﻥ ﺍﻟﻨﻭ ﹺ‬
‫ﻉ ﻤﻊ ﻨﻁ ِ‬
‫ﻁﺎ ﻤﻐﻠﻘﹰﺎ‪ ،‬ﻤﻥ )‪ (27‬ﻤﻘﻁﻌًﺎ ﻓﻴﻬﺎ‪ ،‬ﻭﻴﺴﺭ ُ‬
‫ﺴﹰ‬
‫ﻤﺘﻭ ّ‬
‫ﻉ ﺍﻟﻘﺼﻴﺭ‪.‬‬
‫ﺍﻟﻨﻁﻕ‪ ،‬ﺃﻻ ﻭﻫﻭ ﺍﻟﻨﻭ ُ‬

‫ﻲ ﻜـﺫﻟﻙ‪،‬‬
‫ﺕ‪ ،‬ﺃﻥ ﺘـﻭﺤ َ‬
‫ﻭﻟﻠﻤﻘﺎﻁ ﹺﻊ ﺍﻟﻤﺘﻭﺴّﻁ ِﺔ ﺍﻟﻤﻐﻠﻘ ِﺔ‪ ،‬ﺍﻟﺘﻲ ﻫﻲ ﺃﻜﺜ ُﺭ ﺍﻟﻤﻘﺎﻁ ﹺﻊ ﻓـﻲ ﻫﺫﻩ ﺍﻵﻴﺎ ِ‬

‫ﻑ ﻭﻤﻨﻊ‪،‬‬
‫ﻉ ﺯﺠﺭٌ ﻭﻜ ﱞ‬
‫ﻼ(‪ ،‬ﺍﻟﺘـﻲ ﺘﺘﻜ ّﺭ ُﺭ )‪ (3‬ﻤﺭّﺍﺕ؛ ﻓﻔـﻲ ﺍﻟﺭﺩ ﹺ‬
‫ﻉ ﺍﻟﺘﻲ ﺘﺤﻤﻠﹸﻬﺎ ﺍﻷﺩﺍ ﹸﺓ )ﻜ ﹼ‬
‫ﺒﺩﻻﻟ ِﺔ ﺍﻟﺭﺩ ﹺ‬

‫ﻉ ﻤﻥ ﺍﻟﻤﻘﺎﻁ ﹺﻊ‪ ،‬ﺇﻴﻘﺎﻑﹲ ﻟﻠ ﱠﻨ ﹶﻔﺱﹺ‪ ،‬ﻭﻤﻨﻊٌ ﻤﻥ ﺍﻻﻤﺘﺩﺍﺩ‪.‬‬

‫ﻕ ﻫﺫﺍ ﺍﻟﻨﻭ ﹺ‬
‫ﻭﻓﻲ ﻨﻁ ِ‬

‫)‪(1‬‬
‫ﺃﻨﻴﺱ‪ ،‬ﺇﺒﺭﺍﻫﻴﻡ‪ :‬ﻤﻭﺴﻴﻘﻰ ﺍﻟﺸﻌﺭ‪ .‬ﺹ‪.11‬‬
‫)‪(2‬‬
‫ﺍﻟﻤﺭﺠﻊ ﻨﻔﺴﻪ‪ .‬ﺹ‪.244‬‬
‫)‪ (3‬ﺍﻟﻨﻭﻴﻬﻲ‪ ،‬ﻤﺤﻤّﺩ‪ :‬ﺍﻟﺸﻌﺭ ﺍﻟﺠﺎﻫﻠﻲّ‪ ،‬ﻤﻨﻬﺞ ﻓﻲ ﺩﺭﺍﺴﺘﻪ ﻭﺘﻘﻭﻴﻤﻪ‪.65 / 1 .‬‬
‫‪82‬‬
‫ل‬
‫ﻥ ﺍﻟﻤﻘﻁـ ُﻊ ﺍﻟﻁﻭﻴـ ُ‬
‫ﻑ ﺍﻷﺨﻴ ُﺭ؛ ﻓﻴﺘﻜﻭّ ُ‬
‫ﻥ ﺍﻟﺤﺭ ﹸ‬
‫ﺕ ﺍﻟﺜﻼﺙ‪ ،‬ﻴﺴﻜ ُ‬
‫ﺱ ﻫﺫﻩ ﺍﻵﻴﺎ ِ‬
‫ﻑ ﻋﻠﻰ ﺭﺅﻭ ﹺ‬
‫ﻭﺒﺎﻟﻭﻗ ِ‬

‫ﻅ ﻓـﻲ ﺍﻟﻨﻁﻕ‪ ،‬ﻤﻥ ﺸﺄ ِﻨﻪ ﺃﻥ ﻴﺯﻴ َﺩ ﺒﺼﻔﺘﻴﻪ‬

‫ل ﻤﻼﺤ ٍ‬
‫ل‪ ،‬ﻭﺜﻘ ﹴ‬
‫ﻲ ﻋﺎ ﹴ‬
‫ﺡ ﺴﻤﻌ ﱟ‬
‫ﺍﻟﻤﻐﻠﻕ‪ ،‬ﻭﻫﻭ ﻤﻘﻁﻊٌ ﺫﻭ ﻭﻀﻭ ﹴ‬

‫ﻑ ﻭﺍﻟﺭﻫﺒ ِﺔ‪ ،‬ﺍﻟﺫﻱ ﺘﺜﻴﺭُﻩ ﻫﺫﻩ ﺍﻵﻴـﺎﺕ‪:‬‬

‫ﻥ‪ ،‬ﺸﻌﻭ َﺭ ﺍﻟﺨﻭ ِ‬
‫ﻫﺎﺘﻴ ﹺ‬

‫)ﻤﻭﻥْ‪) - (muun :‬ﻤﻭﻥْ‪) - (muun :‬ﻗﻴﻥْ‪.(qiin :‬‬

‫ﻭﺤﺴﺒُﻙ ﻤﺎ ﻴُﻭﻗﻌُﻪ ﺍﻟﺘﻜﺭﺍ ُﺭ ﻓﻲ ﺭُﻭﻋِﻙ ﻤﻥ ﺩﻻﻟﺔ؛ ﻓﻬﻭ‪ ،‬ﻓـﻲ ﺤﻘﻴﻘﺘِﻪ‪ ،‬ﺇﻟﺤﺎﺡٌ ﻋﻠﻰ ﺠﻬ ٍﺔ ﻤﻬﻤّـ ٍﺔ‬

‫ﻁ ﻀﻭ ٍﺀ ﻋﻠﻰ ﻨﻘﻁ ٍﺔ ﺤﺴّﺎﺴﺔ)‪(1‬؛ ﻓﺘﺄﺘﻲ ﺍﻵﻴ ﹸﺔ ﺍﻷﻭﻟـﻰ ﻤﻥ ﻫﺫﻩ ﺍﻵﻴـﺎ ِ‬

‫ﺕ‪ ،‬ﺯﺍﺠـﺭ ﹰﺓ‬ ‫ﻓﻲ ﺍﻟﻌﺒﺎﺭﺓ‪ ،‬ﻭﺘﺴﻠﻴ ﹸ‬

‫ل ﺒﻤﺎ ﻻ ﻴﻨﻔ ُﻊ‪ ،‬ﻭﻻ‬

‫ﺱ‪ ،‬ﻭﺍﻨﺯﺠﺭﻭﺍ ﻋﻥ ﺍﻻﺸﺘﻐﺎ ﹺ‬
‫ﻑ ﹶﺘﻌْﻠﹶﻤﻭﻥ﴾‪ :‬ﺃﻱ ﺍﺭﺘﺩﻋﻭﺍ ﺃﻴّﻬﺎ ﺍﻟﻨﺎ ُ‬
‫ﻼ ﺴَﻭْ ﹶ‬
‫ﻤﻬﺩّﺩﺓ‪ ﴿ :‬ﹶﻜ ﹼ‬

‫ﺏ ﺍﷲ‪ ،‬ﻭﺍﻨﺸﻐﺎﻟِﻜﻡ ﺒﺎﻟﻔﺎﻨﻲ ﻋﻥ ﺍﻟﺒﺎﻗﻲ‪.‬‬

‫ﻥ ﻋﺎﻗﺒ ﹶﺔ ﺠﻬﻠِﻜﻡ‪ ،‬ﻭﺘﻔﺭﻴﻁِﻜﻡ ﻓـﻲ ﺠﻨ ﹺ‬
‫ﻑ ﺘﻌﻠﻤﻭ َ‬
‫ﻴﻔﻴﺩ؛ ﻓﺴﻭ ﹶ‬

‫ﻑ ﹶﺘﻌْﻠﹶﻤﻭﻥ ﴾‪ ،‬ﻭﻋﻴﺩًﺍ ﺇﺜ َﺭ ﻭﻋﻴــﺩ‪ ،‬ﺯﻴـﺎﺩ ﹰﺓ ﻓـﻲ ﺍﻟﺯﺠـ ﹺﺭ‬

‫ﻼ ﺴَﻭْ ﹶ‬
‫ﻭﺘﺄﺘﻲ ﺍﻵﻴ ﹸﺔ ﺍﻟﺜﺎﻨﻴ ﹸﺔ‪ ﴿ :‬ﹸﺜﻡﱠ ﹶﻜ ﹼ‬
‫ل ﺒﻜﻡ ﺍﻟﻤﻭﺕ‪ ،‬ﻭﻋﺎﻴﻨﺘﻡ ﺃﻫﻭﺍﻟﹶـﻪ‬
‫ﻥ ﻋﺎﻗﺒـ ﹶﺔ ﺘﻜﺎﺜﺭﹺﻜﻡ ﻭﺘﻔﺎﺨـﺭﹺﻜﻡ‪ ،‬ﺇﺫﺍ ﻨﺯ َ‬
‫ﻑ ﺘﻌﻠﻤﻭ َ‬
‫ﻭﺍﻟﺘﻬﺩﻴﺩ‪ :‬ﺃﻱ ﺴﻭ ﹶ‬

‫ﻭﺸﺩﺍﺌﺩَﻩ‪.‬‬

‫ﻋﻠﹾـ َﻡ ﺍﻟﹾﻴَﻘﻴﻥ﴾‪ ،‬ﺘﺄﻜﻴﺩًﺍ ﺇﺜ َﺭ ﺘﺄﻜﻴﺩ‪ ،‬ﻟﻠﺯﺠ ﹺﺭ ﻭﺍﻟﺘﻬﺩﻴﺩ‪ :‬ﺃﻱ‬

‫ﻥ ِ‬
‫ﻼ ﹶﻟﻭْ ﹶﺘﻌْﻠﹶﻤﻭ َ‬
‫ﻭﺘﺄﺘﻲ ﺍﻵﻴ ﹸﺔ ﺍﻷﺨﻴﺭ ﹸﺓ‪ ﴿ :‬ﹶﻜ ﹼ‬
‫ﻙ ﻓﻴـﻪ ﻭﻻ ﺍﻤﺘﺭﺍﺀ؛ ﻟﻤﺎ ﺃﻟﻬﺎﻜﻡ ﺍﻟﺘﻜﺎﺜ ُﺭ‬
‫ﻲ‪ ،‬ﺍﻟﺫﻱ ﻻ ﺸ ﱠ‬
‫ﺍﺭﺘﺩﻋﻭﺍ ﻭﺍﻨﺯﺠﺭﻭﺍ؛ ﻓﻠﻭ ﻋﻠﻤﺘﻡ ﺍﻟﻌﻠـ َﻡ ﺍﻟﺤﻘﻴﻘ ﱠ‬

‫ﻭﺸﺩﺍﺌﺩِﻫـﺎ)‪.(2‬‬ ‫ل ﺍﻵﺨﺭ ِﺓ‬

‫ﷲ ﺘﻌﺎﻟﻰ‪ ،‬ﻭﻟﻤﺎ ﺨﹸﺩﻋﺘﻡ ﺒﻨﻌﻴ ﹺﻡ ﺍﻟﺩﻨﻴﺎ‪ ،‬ﻋﻥ ﺃﻫﻭﺍ ﹺ‬
‫ﺒﺎﻟﺩﻨﻴﺎ ﻋﻥ ﻁﺎﻋـ ِﺔ ﺍ ِ‬

‫ﻥ‬
‫ﻑ ﻭﺍﻟﺭﻫﺒـﺔ؛ ﻟـﺘﻔﻁ َ‬
‫ﺙ ﻓﻴﻙ ﺍﻟﺨﻭ ﹶ‬
‫ﻙ ﻟﻬﺫﺍ ﺍﻷﻤ ﹺﺭ ﺍﻟﺠﻠل‪ ،‬ﺍﻟﺫﻱ ﻴﺒﻌ ﹸ‬
‫ﻑ ﺍﻹﺩﺭﺍ َ‬
‫ﺇﺫﻥ‪ ،‬ﻓﺎﻟﺘﻜﺭﺍ ُﺭ ﻴﻜﺜﹼ ﹸ‬

‫ﻙ‪ ،‬ﺍﻟـﺫﻱ‬
‫ﻑ ﺍﻟﻤﺭﺘﺒـ َ‬
‫ﻑ ﻫﺫﺍ ﺍﻟﺸﻌﻭ َﺭ ﺍﻟﺨـﺎﺌ ﹶ‬
‫ﻟﻨﻔﺴِﻙ؛ ﻓﺘﻨﻘﺫﹶﻫﺎ ﻤﻤّﺎ ﻫﻲ ﻓﻴﻪ ﻤﻥ ﻏﻔﻠ ٍﺔ ﻤﻬﻠﻜﺔ‪ ،‬ﻜﻤﺎ ﻴﻜﺜﹼ ﹸ‬

‫ﻥ ﻫـﺫﺍ ﺍﻟﺘﺼـﺎﻋ ِﺩ ﺒﺘﺴﻠﺴـﻠِﻪ‬

‫ﻲ‪ ،‬ﻓﻲ ﻫﺫﻩ ﺍﻵﻴﺎﺕ؛ ﻓﻤﻥ ﺸـﺄ ﹺ‬
‫ﻴﺘﺼﺎﻋ ُﺩ ﺃﻴﻀًﺎ‪ ،‬ﻤﻊ ﻫﺫﺍ ﺍﻟﺘﺼﺎﻋ ِﺩ ﺍﻟﻨﻐﻤ ﱢ‬

‫ل ﺇﺤﺴﺎﺴَﻙ ﻤﻥ ﺩﺭﺠ ٍﺔ‪ ،‬ﺇﻟﻰ ﺩﺭﺠ ٍﺔ ﺃﻋﻠﻰ ﻓﺄﻋﻠﻰ‪ ،‬ﻭﻜﺄﻨﱠـﻪ ﻴﺼـﻭّ ُﺭ ﻓﻴـﻙ ﺘـﻨ ﹼﻔ َ‬
‫ﺱ‬ ‫ﻁ‪ ،‬ﺃﻥ ﻴﻨﻘ َ‬
‫ﺍﻟﻤﺘﺭﺍﺒ ِ‬

‫ﺍﻟﺼﻌﺩﺍﺀ‪ ،‬ﺃﻤﺎ َﻡ ﻫﺫﺍ ﺍﻟﺘﻬﺩﻴ ِﺩ ﻭﺍﻟﻭﻋﻴﺩ‪.‬‬

‫)‪ (1‬ﺍﻟﻤﻼﺌﻜﺔ‪ ،‬ﻨﺎﺯﻙ‪ :‬ﻗﻀﺎﻴﺎ ﺍﻟﺸﻌﺭ ﺍﻟﻤﻌﺎﺼﺭ‪ .‬ﻁ‪ .11‬ﺒﻴﺭﻭﺕ‪ :‬ﺩﺍﺭ ﺍﻟﻌﻠﻡ ﻟﻠﻤﻼﻴﻴﻥ‪ .2000 .‬ﺹ‪.276‬‬
‫)‪ (2‬ﺍﻟﺼﺎﺒﻭﻨﻲ‪ ،‬ﻤﺤﻤّﺩ ﻋﻠ ّ‬
‫ﻲ‪ :‬ﺼﻔﻭﺓ ﺍﻟﺘﻔﺎﺴﻴﺭ‪ 3 .‬ﻤﺞ‪ .‬ﻁ‪ .4‬ﺒﻴﺭﻭﺕ‪ :‬ﺩﺍﺭ ﺍﻟﻘﺭﺁﻥ ﺍﻟﻜﺭﻴﻡ‪.598 / 3 .1981 .‬‬
‫‪83‬‬
‫ﻑ ﻴﻁﹼﺭ ُﺩ ﻭﺍﺴـﻌًﺎ ﺒﺎﻟﻔﺘﺤـ ِﺔ‪،‬‬
‫ﻲ‪ ،‬ﺍﻟﺫﻱ ﺘﺴﻴ ُﺭ ﻭﻓﻘﹶﻪ ﻫﺫﻩ ﺍﻵﻴﺎﺕ‪ ،‬ﻜﻴ ﹶ‬
‫ﻁ ﺍﻟﺤﺭﻜ ﱢ‬
‫ﻭﺍﻨﻅﺭْ ﻓﻲ ﻫﺫﺍ ﺍﻟﺨ ﱢ‬

‫ﻕ ﻓﺠﺄ ﹰﺓ ﺒﺎﻟﻀ ّﻤ ِﺔ ﺃﻭ ﺍﻟﻜﺴﺭﺓ‪:‬‬

‫ﻟﻴﻀﻴ ﹶ‬

‫‪a - aa - a - a - a - a - uu / u - a - a - aa - a - a - a - a - uu / a - aa - a - a -‬‬

‫‪a - uu - a - i - a - a - ii.‬‬

‫ﻕ ﺒﺎﻟﻀ ّﻤ ِﺔ ﺃﻭ‬
‫ﻕ ﺍﻟﻨﻁ ِ‬
‫ﺕ ﺍﻟﻤﺘﺘﺎﺒﻌ ِﺔ‪ ،‬ﺇﻟﻰ ﻀﻴ ِ‬
‫ﻕ ﺍﻟﻔﺘﺤﺎ ِ‬
‫ل ﺍﻟﻔ ﹺﻡ ﻤﻥ ﺍﺘﹼﺴﺎﻋِﻪ ﺍﻟﻤﻁﹼﺭ ِﺩ‪ ،‬ﺒﻨﻁ ِ‬
‫ﻥ ﻓﻲ ﺍﻨﺘﻘﺎ ﹺ‬
‫ﺇﱠ‬

‫ل ﻓﺠﺄ ﹰﺓ‪ ،‬ﻤﻥ ﺍﻟﺤﻴـﺎ ِﺓ ﺍﻟـﺩﻨﻴﺎ‬

‫ل ﺍﻟﻼﻫﻲ ﺍﻟﻐﺎﻓ ﹺ‬
‫ل ﺍﻟﺘﻬﺩﻴ ِﺩ ﻭﺍﻟﻭﻋﻴ ِﺩ‪ ،‬ﺍﻨﺘﻘﺎ َ‬
‫ﺍﻟﻜﺴﺭ ِﺓ ﻓﺠﺄ ﹰﺓ‪ ،‬ﻤﺎ ﻴﺼﻭّ ُﺭ‪ ،‬ﻓﻲ ﻅ ﱢ‬

‫ﻲ‪ ،‬ﺍﻟـﺫﻱ‬
‫ﻕ ﻫﺫﺍ ﺍﻟﻨﻅﺎ ﹺﻡ ﺍﻟﺤﺭﻜـ ﱢ‬
‫ﻕ ﻓﻲ ﺍﻵﺨﺭ ِﺓ ﻭﻋﺫﺍﺏ‪ .‬ﺇﻨﱠﻨﻲ ﻷﺴﺘﺤﻀ ُﺭ ﻋﻨ َﺩ ﻨﻁ ِ‬
‫ﺍﻟﻭﺍﺴﻌ ِﺔ‪ ،‬ﺇﻟﻰ ﻀﻴ ٍ‬

‫ل ‪ ...﴿ :-‬ﻓﹶﺎﻨﹾﻬﺎ َﺭ‬

‫ﺕ ﺨﺎﺼّﺔ‪ ،‬ﺒﻌ َﺩ ﺍﻁﹼﺭﺍ ِﺩ ﺍﺘﹼﺴﺎﻋِﻪ‪ ،‬ﻗﻭﻟﹶﻪ ‪ -‬ﻋ ﱠﺯ ﻭﺠ ﱠ‬
‫ﺕ ﺍﻵﻴﺎ ِ‬
‫ﻴﻔﺎﺠﺌُﻙ ﺒﻀﻴﻘِﻪ‪ ،‬ﻓﻲ ﻨﻬﺎﻴﺎ ِ‬

‫ﺨﻴْـﺭٌ َﺃﻡْ ﻤَـﻥْ‬

‫ﻥ ﹶ‬
‫ﷲ ﻭ ﹺﺭﻀْﻭﺍ ﹴ‬ ‫ﺠ َﻬﻨﱠﻡ‪ ،﴾...‬ﻤﻥ ﻗﻭﻟِﻪ‪َ﴿ :‬ﺃ ﹶﻓ َﻤﻥْ َﺃ ﱠ‬
‫ﺴﺱَ ُﺒﻨﹾﻴﺎ ﹶﻨ ُﻪ ﻋﻠﻰ ﹶﺘﻘﹾﻭﻯ ﻤﻥ ﺍ ِ‬ ‫ﹺﺒ ِﻪ ﻓﻲ ﻨﺎ ﹺﺭ َ‬

‫ﷲ ﻻ َﻴﻬْــﺩﻱ ﺍﻟﻘﹶـﻭْ َﻡ‬

‫ﺠﻬَـ ﱠﻨ َﻡ ﻭﺍ ُ‬
‫ﻑ ﻫﺎ ﹴﺭ ﻓﹶﺎﻨﹾﻬــﺎ َﺭ ﺒﹺـ ِﻪ ﻓـﻲ ﻨــﺎ ﹺﺭ َ‬
‫ﺠ ُﺭ ٍ‬
‫ﺴﺱَ ُﺒﻨﹾﻴﺎ ﹶﻨ ُﻪ ﻋﻠﻰ ﺸﹶﻔﺎ ُ‬
‫َﺃ ﱠ‬

‫ﺍﻟﻅﹼﺎﻟﻤﻴـﻥ﴾)‪.(1‬‬

‫ﻉ ﻤﻌ ّﺒ ﹴﺭ‪ ،‬ﻴﺭﺴ ُﻡ‬

‫ﻲ‪ ،‬ﻓـﻲ ﺇﻴﻘﺎ ﹴ‬
‫ل‪ ،‬ﺇﻟﻰ ﺇﻗﺭﺍ ﹺﺭ ﻤﺎ ﻴﻭﺤﻲ ﺒﻪ ﻫﺫﺍ ﺍﻟﻨﻅﺎ ُﻡ ﺍﻟﺤﺭﻜ ﱡ‬
‫ﻭﻫﺎ ﻫﻲ ﺍﻟﺴﻭﺭ ﹸﺓ ﺘﻨﺘﻘ ُ‬
‫ﻥ ﺍﻟﹾﻴَﻘﻴﻥ﴾‪:‬‬
‫ﻋﻴْ َ‬
‫ﻥ ﺍﻟﹾﺠَﺤﻴﻡ * ﹸﺜﻡﱠ ﹶﻟ ﹶﺘﺭَ ُﻭ ﱠﻨﻬﺎ َ‬
‫ﻟﻙ ﺍﻟﻤﺸﻬ َﺩ‪ ،‬ﻜﺄﻨﱠﻙ ﺘﺭﺍﻩ‪﴿ :‬ﹶﻟ ﹶﺘﺭَ ُﻭ ﱠ‬

‫‪la / ta / ra / wun / nal / :a /‬‬ ‫‪iim * θum / ma / la / ta / ra / wun / na /‬‬

‫‪haa / cay / nal / ya / qiin.‬‬

‫ﺕ ﻤﻨﻪ ﻟﺴﺎﻨﹸﻙ؛ ﻴﻌﻭ ُﺩ ﺇﻟﻰ ﺘﻭﺍﻟﻲ ﻫـﺫﻩ ﺍﻟﻤﻘـﺎﻁ ﹺﻊ‬

‫ﻲ‪ ،‬ﻻ ﻴﻜﺎ ُﺩ ﻴﻔﻠ ﹸ‬
‫ل ﻨﻁﻘ ﱟ‬
‫ﻥ ﺒﺜﻘ ﹴ‬
‫ﻥ ﺍﻵﻴﺘﺎ ﹺ‬
‫ﻓﺘﻔﺎﺠﺌُﻙ ﻫﺎﺘﺎ ﹺ‬

‫ﻋﺭﻓﻨﺎ)‪:(2‬‬ ‫ﻕ‪ ،‬ﻜﻤﺎ‬

‫ل ﺍﻟﻨﻁ ﹶ‬
‫ﻉ‪ ،‬ﻴﺜﻘ ُ‬
‫ﺍﻟﻘﺼﻴﺭ ِﺓ ﻓﻴﻬﻤﺎ؛ ﻓﺘﻭﺍﻟﻲ ﺜﻼﺜ ِﺔ ﻤﻘﺎﻁ َﻊ ﺃﻭ ﺃﻜﺜ َﺭ‪ ،‬ﻤﻥ ﻫﺫﺍ ﺍﻟﻨﻭ ﹺ‬

‫ﺕ‪َ ) - (ta :‬ﺭ‪.(ra :‬‬

‫ل‪ ) - (la :‬ﹶ‬
‫)َ‬

‫ﺕ‪َ ) - (ta :‬ﺭ‪.(ra :‬‬

‫ل‪ ) - (la :‬ﹶ‬
‫) َﻡ‪َ ) - (ma :‬‬

‫)‪(1‬‬
‫ﺍﻟﺘﻭﺒﺔ‪.109 :‬‬
‫)‪(2‬‬
‫ﺍﻨﻅﺭ ﺹ‪ 37 ،36‬ﻤﻥ ﻫﺫﺍ ﺍﻟﺒﺤﺙ‪.‬‬
‫‪84‬‬
‫ل‬
‫ﻥ ﺍﻟﻤﻘﻁ ُﻊ ﺍﻟﻁﻭﻴـ ُ‬
‫ﺕ ﺍﻷﺨﻴ ُﺭ؛ ﻓﻴﺘﻜﻭّ ُ‬
‫ﻥ ﺍﻟﺼﻭ ﹸ‬
‫ﻥ‪ ،‬ﻴﺴﻜ ُ‬
‫ﻥ ﺍﻵﻴﺘﻴ ﹺ‬
‫ل ﻤﻥ ﻫﺎﺘﻴ ﹺ‬
‫ﻑ ﻋﻠﻰ ﻨﻬﺎﻴ ِﺔ ﻜ ﱟ‬
‫ﻭﺒﺎﻟﻭﻗ ِ‬

‫ﺏ ﺍﻟﻤﻘﺎﻁ ﹺﻊ ﺍﻟﺼﻭﺘ ّﻴ ِﺔ ﻓﻲ ﺍﻟﻨﻁﻕ‪:‬‬

‫ﻕ‪ ،‬ﺍﻟﺫﻱ ﻴﻌ ﱡﺩ ﻤﻥ ﺃﺼﻌ ﹺ‬
‫ﺍﻟﻤﻐﻠ ﹸ‬

‫( ‪) -‬ﻗﻴﻥْ‪.( qiin :‬‬ ‫)ﺤﻴﻡْ‪iim :‬‬

‫ﺕ ﺍﻟﻤﺭﻜﹼﺒ ِﺔ ﺃﻭ ﺍﻟﻤﺯﺩﻭﺠ ِﺔ )‪ ،(1)(Diphthongs‬ﻓــﻲ ﺍﻟﻤﻘـﺎﻁ ﹺﻊ‪:‬‬

‫ل ﺍﻟﺤﺭﻜﺎ ِ‬
‫ﺃﻀﻑﹾ ﺇﻟﻰ ﺫﻟﻙ‪ ،‬ﺜﻘ َ‬

‫ﻕ‪ ،‬ﺇﻟﻰ ﺤ ﱟﺩ ﻜﺒﻴ ﹴﺭ؛ ﻟﻜﻭﻨِﻬﺎ ﺘﺘﺎﺒﻌًـﺎ ﻤﺒﺎﺸـﺭًﺍ‬

‫ﺕ ﺼﻌﺒ ﹸﺔ ﺍﻟﻨﻁ ِ‬
‫)‪(wun / wun / cay / ya‬؛ ﻓﻬﺫﻩ ﺍﻟﺤﺭﻜﺎ ﹸ‬

‫ﺕ ﻭﺍﺤﺩ)‪.(2‬‬
‫ﻕ ﺼﻭ ٍ‬
‫ﻻ ﻟﻨﻁ ِ‬
‫ﻥ‪ ،‬ﻻ ﻴﻜﻔﻲ ﺇ ﹼ‬
‫ﻥ ﻓﻲ ﺯﻤ ﹴ‬
‫ﻟﺼﻭﺘﻲْ ﺤﺭﻜﺔ‪ ،‬ﻓﻲ ﻤﻘﻁ ﹴﻊ ﻭﺍﺤﺩ‪ ،‬ﻴﻨﻁﻘﺎ ﹺ‬

‫ل ﻫﺫﺍ‬
‫ﻑ ﻭﺸ ّﺩﺘِﻪ‪ ،‬ﻭﻴﺼﻭّ ُﺭ ﻟﻙ ﻋﻅ َﻡ ﺍﻟﻤﺸﻬ ِﺩ‪ ،‬ﻭﺜﻘ َ‬
‫ل‪ ،‬ﻴﻀﻌُﻙ ﻓﻲ ﺭﻫﺒ ِﺔ ﺍﻟﻤﻭﻗ ِ‬
‫ل ﻜﻬﺫﺍ ﺍﻟﺜﻘ ﹺ‬
‫ﻱ ﺜﻘ ﹴ‬
‫ﻓﺄ ﱡ‬

‫ل ﺠﻼﻟﹸﻪ – ﻴﻘﺴ ُﻡ ﻭﻴﺅﻜﹼ ُﺩ‪ ،‬ﺃﻨﱠﻨﺎ ﺴﻨﺸﺎﻫ ُﺩ ﺍﻟﺠﺤﻴ َﻡ ﻋﻴﺎﻨﹰﺎ ﻭﻴﻘﻴﻨﹰﺎ)‪.(3‬‬

‫ﷲ–ﺠﱠ‬
‫ﺍﻷﻤ ﹺﺭ ﻋﻠﻰ ﺍﻟ ﱠﻨﻔﹾﺱ؛ ﻓﺎ ُ‬

‫ﻥ ﺍﻵﻴﺘﻴﻥ؛ ﻭﻓﻲ ﻫﺫﻩ‬

‫ﻱ ﺇﻴﺤﺎ ٍﺀ ﻓﻲ ﺍﺯﺩﺤﺎ ﹺﻡ )‪ (10‬ﻤﻘﺎﻁ َﻊ ﻗﺼﻴﺭ ٍﺓ‪ ،‬ﻤﻥ )‪ (19‬ﻤﻘﻁﻌًﺎ‪ ،‬ﻓﻲ ﻫﺎﺘﻴ ﹺ‬
‫ﻭﺃ ﱡ‬
‫ﺕ ﺍﻟﻤﺯﺩﻭﺠ ِﺔ ﺍﻷﺭﺒ ﹺﻊ‪ ،‬ﺍﻟﺘﻲ ﻴﺘﺯﺍﺤ ُﻡ ﻓﻲ ﺇﻨﺘﺎﺠﹺﻬﺎ ﺼـﻭﺘﺎ ﺤﺭﻜـﺔ؛ ﻭﻓـﻲ ﺘـﺯﺍﺤ ﹺﻡ ﺍﻻﻨﻔﺠـﺎ ﹺﺭ‬
‫ﺍﻟﺤﺭﻜﺎ ِ‬

‫ﺏ‪ :‬ﺍﻟﺠﻴ ﹺﻡ‪ ،‬ﻓﻲ ﺍﻟﻤﻘﻁ ﹺﻊ‪) :‬ﺠَـ‪(:a :‬؛ ﻭﻓﻲ ﺘﺯﺍﺤـ ﹺﻡ‬
‫ﺕ ﺍﻟﻤﺭ ﹼﻜ ﹺ‬
‫ﻕ ﻫﺫﺍ ﺍﻟﺼﺎﻤ ِ‬
‫ﻙ‪ ،‬ﻓﻲ ﺃﺜﻨﺎ ِﺀ ﻨﻁ ِ‬
‫ﻭﺍﻻﺤﺘﻜﺎ ِ‬

‫ﺏ ﺍﻟﻤﻜ ّﺭ ﹺﺭ‪) :‬ﹶﻟ ﹶﺘـ َﺭ ُﻭ ﱠ‬

‫ﻥ‪ :(la / ta / ra / wun / na :‬ﺍﻟــﻼ ﹺﻡ‪ ،‬ﻭﺍﻟﺘـﺎ ِﺀ‪ ،‬ﻭﺍﻟـﺭّﺍ ِﺀ‪،‬‬ ‫ﺕ ﺍﻟﺘﺭﻜﻴ ﹺ‬
‫ﺼﻭﺍﻤ ِ‬
‫ﻱ)‪.(4‬‬
‫ﺍﻟﻠﹼﺜﻭ ّ‬ ‫ﺝ‬
‫ﺕ ﺸﺭﻜﺔﹲ‪ ،‬ﻓﻲ ﺍﻟﻤﺨﺭ ﹺ‬
‫ﻥ ﻫﺫﻩ ﺍﻟﺼﻭﺍﻤ ِ‬
‫ﻥ ﺍﻟﻤﻜﺭّﺭﺓ؛ ﻓﺒﻴ َ‬
‫ﻭﺍﻟﻨﻭ ﹺ‬

‫)‪(1‬‬
‫ﻴﻘﺼﺩ ﺒﺎﻟﺤﺭﻜﺔ ﺍﻟﻤﺯﺩﻭﺠﺔ ﺃﻭ ﺍﻟﻤﺭﻜﹼﺒﺔ‪ ،‬ﺘﻠﻙ ﺍﻟﺤﺭﻜﺔ ﺍﻟﺘﻲ ﺘﻘﻊ ﻓﻲ ﻤﻘﻁﻊ ﻭﺍﺤﺩ‪ ،‬ﻭﺍﻟﺘﻲ ﻴﺘﻐﻴّﺭ ﻨﻭﻋﻬﺎ ﻓﻲ ﺃﺜﻨﺎﺀ ﺇﻨﺘﺎﺠﻬﺎ؛ ﻓﻔـﻲ‬
‫ﺃﺜﻨﺎﺀ ﺇﻨﺘﺎﺝ ﻫﺫﺍ ﺍﻟﻨﻭﻉ ﻤﻥ ﺍﻟﺤﺭﻜﺎﺕ‪ ،‬ﻴﻨﺘﻘل ﺍﻟﻠﹼﺴﺎﻥ ﻤﻥ ﻤﻭﻀﻊ ﺍﻟﻨﻁﻕ ﺒﺤﺭﻜﺔ‪ ،‬ﺇﻟﻰ ﻤﻭﻀﻊ ﺍﻟﻨﻁﻕ ﺒﺤﺭﻜﺔ ﺃﺨﺭﻯ‪ ،‬ﺒﺎﺴـﺘﻤﺭﺍﺭ‬
‫ﺩﻭﻥ ﺘﻭﻗﹼﻑ‪ .‬ﻭﺒﻜﻠﻤﺔ ﺃﺨﺭﻯ‪ ،‬ﻫﻲ ﺼﻭﺕ ﻴﺘﻜﻭّﻥ ﻤﻥ ﺤﺭﻜﺘﻴﻥ ﺒﺴﻴﻁﺘﻴﻥ‪ ،‬ﺃﻭ ﻤﻥ ﺤﺭﻜﺔ ﺒﺴﻴﻁﺔ ﻭﻨﺼﻑ ﺤﺭﻜﺔ‪ ،‬ﻤﺘﺘـﺎﻟﻴﻴﻥ ﻓـﻲ‬
‫ﻤﻘﻁﻊ ﻭﺍﺤﺩ‪ .‬ﺍﻨﻅﺭ‪ :‬ﺍﻟﻨﻭﺭﻱ‪ ،‬ﻤﺤﻤﺩ ﺠﻭﺍﺩ‪ :‬ﻋﻠﻡ ﺃﺼﻭﺍﺕ ﺍﻟﻌﺭﺒﻴﺔ‪ .‬ﺹ‪ .213‬ﻭﺍﻟﺘﻌﺭﻴﻑ ﺍﻟﻤﺅﺨﹼﺭ ﻤﻨﻘﻭل ﻋﻥ‪ :‬ﺍﻟﺨﻭﻟﻲ‪ ،‬ﻤﺤﻤّـﺩ‬
‫ﻱ‪ .‬ﻁ‪ .1‬ﺒﻴﺭﻭﺕ‪ :‬ﻤﻜﺘﺒﺔ ﻟﺒﻨﺎﻥ‪ .1982 .‬ﺹ‪ .75‬ﻭﻴﻘﺼﺩ ﺒﺎﻟﺤﺭﻜﺔ ﺍﻟﺒﺴﻴﻁﺔ )‪،(Monophthong‬‬
‫ﻲ‪ :‬ﻤﻌﺠﻡ ﻋﻠﻡ ﺍﻟﻠﹼﻐﺔ ﺍﻟﻨﻅﺭ ّ‬
‫ﻋﻠ ّ‬
‫ﺍﻟﺘﻲ ﺘﻤﺜﹼﻠﻬﺎ ﻓﻲ ﺍﻟﻌﺭﺒﻴّﺔ‪ ،‬ﺍﻟﺤﺭﻜﺎﺕ ﺍﻟﻘﺼﻴﺭﺓ ﻭﺍﻟﻁﻭﻴﻠﺔ ﺒﺄﻨﻭﺍﻋﻬﺎ‪ ،‬ﺘﻠﻙ ﺍﻟﺤﺭﻜﺔ ﺍﻟﺘﻲ ﺘﻠﺯﻡ ﻤﻭﻗﻌًﺎ ﻭﺍﺤﺩًﺍ‪ ،‬ﻻ ﺘﻐﻴّـﺭﻩ‪ ،‬ﻓـﻲ ﺃﺜﻨـﺎﺀ‬
‫ﻱ‪ .‬ﺹ‪.139‬‬
‫ﻨﻁﻘﻬﺎ‪ .‬ﺍﻨﻅﺭ‪ :‬ﻋﻤﺭ‪ ،‬ﺃﺤﻤﺩ ﻤﺨﺘﺎﺭ‪ :‬ﺩﺭﺍﺴﺔ ﺍﻟﺼﻭﺕ ﺍﻟﻠﹼﻐﻭ ّ‬
‫)‪(2‬‬
‫ﺒﺎﻱ‪ ،‬ﻤﺎﺭﻴﻭ‪ :‬ﺃﺴﺱ ﻋﻠﻡ ﺍﻟﻠﹼﻐﺔ‪ .‬ﺹ‪.80‬‬
‫)‪(3‬‬
‫ﻥ(‪ ،‬ﻫﻲ ﺍﻟﻼﻡ ﺍﻟﻤﺸﻌﺭﺓ‬
‫ﻥ ﺍﻟﻼﻡ ﻓﻲ )ﹶﻟ ﹶﺘﺭَ ُﻭ ﱠ‬
‫ﻲ‪ :‬ﺼﻔﻭﺓ ﺍﻟﺘﻔﺎﺴﻴﺭ‪ .599 / 3 .‬ﻭﻻ ﺒـ ّﺩ ﻟﻲ ﺃﻥ ﺃﺸﻴﺭ‪ ،‬ﺇﻟﻰ ﺃ ّ‬
‫ﺍﻟﺼﺎﺒﻭﻨﻲ‪ ،‬ﻤﺤﻤّﺩ ﻋﻠ ّ‬
‫ﺒﺎﻟﻘﺴﻡ‪ ،‬ﻭﻟﻴﺴﺕ ﺍﻟﻼﻡ ﺍﻟﻭﺍﻗﻌﺔ ﻓﻲ ﺠﻭﺍﺏ )ﻟﻭ( ﺍﻟﺘﻲ ﺘﺴﺒﻘﻬﺎ؛ ﻓﺠﻭﺍﺏ )ﻟﻭ( ﻤﺤﺫﻭﻑ ﻟﻠﺘﻬﻭﻴل‪ .‬ﺍﻨﻅﺭ‪ :‬ﺍﻟﻤﺭﺠﻊ ﻨﻔﺴﻪ‪.598 / 3 .‬‬
‫)‪(4‬‬
‫ﻱ‪ .‬ﺹ‪.31‬‬
‫ﺍﻨﻅﺭ‪ :‬ﻋﺒﺩ ﺍﻟﺘﻭّﺍﺏ‪ ،‬ﺭﻤﻀﺎﻥ‪ :‬ﺍﻟﻤﺩﺨل ﺇﻟﻰ ﻋﻠﻡ ﺍﻟﻠﹼﻐﺔ ﻭﻤﻨﺎﻫﺞ ﺍﻟﺒﺤﺙ ﺍﻟﻠﹼﻐﻭ ّ‬
‫‪85‬‬
‫ﻥ‬
‫ل‪ ،‬ﻀﻐﻁﹰﺎ ﻨﻔﺴﻴ‪‬ﺎ‪ ،‬ﻭﺍﺸﺘﺒﺎﻜﹰــﺎ ﺫﻫﻨﻴ‪‬ـﺎ‪ ،‬ﻴﺼـﻴﺒﺎ ﹺ‬
‫ﻲ ﺍﻟﺜﻘﻴ ﹺ‬
‫ﺇﻨﱠﻨﻲ ﻷﺴﺘﺸﻌ ُﺭ ﻓﻲ ﻫﺫﺍ ﺍﻟﺘﺯﺍﺤ ﹺﻡ ﺍﻟﻨﻁﻘ ﱢ‬

‫ل ﻤﺎ ﻴﺤﻤﻠﹸﻪ ﻤـﻥ ﺇﻨـﺫﺍ ﹴﺭ‬

‫ﻲ‪ ،‬ﺃﻤﺎ َﻡ ﻫﺫﺍ ﺍﻟﻨﺒِﺄ ﺍﻟﻌﻅﻴ ﹺﻡ‪ :‬ﺭﺅﻴ ِﺔ ﺍﻟﺠﺤﻴﻡ‪ .‬ﻭﺇﻨﱠﻨﻲ ﻷﺴﺘﺸﻌ ُﺭ ﻓﻴﻪ‪ ،‬ﻓﻲ ﻅ ﱢ‬
‫ﺍﻟﻤﺘﻠ ﹼﻘ َ‬

‫ﷲ ﺸـﺩﻴﺩ﴾)‪،(1‬‬
‫ﺏﺍ ِ‬
‫ﻥ ﻋـﺫﺍ َ‬
‫ﺱ ﻴﻭ َﻡ ﺍﻟﺤﺸ ﹺﺭ ﺴﻜﺎﺭﻯ‪ ...﴿ ،‬ﻭﻤﺎ ُﻫﻡْ ﹺﺒﺴُﻜﺎﺭﻯ ﻭﻟﻜـ ﱠ‬
‫ﻭﻭﻋﻴﺩ‪ ،‬ﺘﺯﺍﺤ َﻡ ﺍﻟﻨﺎ ﹺ‬
‫ﺸ ﱞﺭ ﻤَﻜﺎﻨﹰـﺎ‬
‫ﻙ ﹶ‬
‫ﺠ َﻬﱠﻨ َﻡ ﺃﻭﻟﺌ َ‬
‫ﻥ ﻋﻠﻰ ﻭُﺠﻭ ِﻫ ﹺﻬﻡْ ﺇﻟﻰ َ‬
‫ﺸﺭﻭ َ‬
‫ﻥ ُﻴﺤْ ﹶ‬
‫ل‪﴿ :-‬ﺍﻟﱠﺫﻴ َ‬
‫ﻭﻜﺄﻨﱠﻨﻲ ﺃﻗﺭُﺃ ﻓﻴﻪ ﻗﻭﻟﹶﻪ –ﻋ ﱠﺯ ﻭﺠ ﱠ‬

‫ﺱ‬
‫ﺠﻨﱠـ ِﺔ ﻭﺍﻟﻨﹼـﺎ ﹺ‬
‫ﺠ َﻬﱠﻨ َﻡ ﻤـﻥ ﺍﻟﹾ ﹺ‬
‫ﻥ َ‬
‫ﻙ ﻷﻤْﻸ ﱠ‬
‫ﻭﻗﻭﻟﹶﻪ –ﺴﺒﺤﺎﻨﹶﻪ‪َ ...﴿ :-‬ﻭ ﹶﺘ ﱠﻤﺕﹾ ﹶﻜﻠِﻤَ ﹸﺔ َﺭ ﱢﺒ َ‬ ‫ﻼ﴾)‪،(2‬‬
‫ﺴَﺒﻴ ﹰ‬ ‫ل‬
‫ﻀﱡ‬‫ﻭﺃ َ‬

‫ﺃﺠْﻤَﻌﻴﻥ﴾)‪.(3‬‬

‫ﻥ ﺍﻵﻴﺘﻴﻥ‪ ،‬ﺒل ﻓﻲ ﺍﻟﺴﻭﺭ ِﺓ ﻜﻠﱢﻬﺎ‪ ،‬ﺒﻬـﺫﺍ‬

‫ﻑ ﻴﺘﻔﺭّ ُﺩ‪ ،‬ﻓﻲ ﻫﺎﺘﻴ ﹺ‬
‫ﻅ‪) :‬ﺍﻟﺠﺤﻴﻡ(‪ ،‬ﻜﻴ ﹶ‬
‫ﻭﺍﻨﻅﺭْ ﻓﻲ ﻫﺫﺍ ﺍﻟﻠﹼﻔ ِ‬

‫ﺕ ﺍﻟﻌﺭﺒﻴّــ ِﺔ ﻨﻁﻘﹰـﺎ‪،‬‬
‫ﺏ ﺍﻟﺼﻭﺍﻤ ِ‬
‫ﺕ ﻤﻥ ﻗﺒـل‪ ،‬ﺃﺼﻌ ُ‬
‫ﺏ‪ :‬ﺍﻟﺠﻴ ﹺﻡ‪ ،‬ﺍﻟﺫﻱ ﻫﻭ‪ ،‬ﻜﻤﺎ ﺫﻜﺭ ﹸ‬
‫ﺕ ﺍﻟﻤﺭ ﹼﻜ ﹺ‬
‫ﺍﻟﺼﺎﻤ ِ‬

‫ﺕ ﺒﺅﺭ ﹶﺓ ﺍﻫﺘﻤـﺎ ﹴﻡ‪ ،‬ﺘﺭﻜﹼـ ُﺯ‬

‫ل ﻤﻥ ﻫﺫﺍ ﺍﻟﺼﺎﻤ ِ‬
‫ﻥ ﺫﻟﻙ‪ ،‬ﻴﺠﻌ ُ‬
‫ﻙ ﻓﻲ ﺃ ﱠ‬
‫ﻻﺸﱠ‬ ‫ﺍﻟﺴﻤﻊ)‪.(4‬‬ ‫ﻭﻤﻥ ﺃﻭﻀﺤِﻬﺎ ﻓـﻲ‬

‫ﻙ‬
‫ﻅ‪ ،‬ﻭﻤﺎ ﻴﺤﻤﻠﹸﻪ ﻤﻥ ﺩﻻﻟ ٍﺔ‪ ،‬ﺘﻘﺸﻌ ﱡﺭ ﻟﻬﺎ ﺍﻷﺒﺩﺍﻥ‪ ،‬ﺯﻴﺎﺩ ﹰﺓ ﻓﻲ ﺍﻹﻨﺫﺍ ﹺﺭ ﻭﺍﻟﺘﻨﺒﻴﻪ‪ .‬ﻭﻻ ﺸـ ﱠ‬
‫ﺍﻻﻨﺘﺒﺎ َﻩ ﻟﻬﺫﺍ ﺍﻟﻠﹼﻔ ِ‬

‫ﺕ‪ ،‬ﺒﺼﻌﻭﺒ ِﺔ ﻨﻁﻘِﻪ ﺍﻟﻤﺘﻤﻴّﺯﺓ‪ ،‬ﻴﻭﺤﻲ ﺒﻌﻅ ﹺﻡ ﺍﻟﺠﺤﻴ ﹺﻡ‪ ،‬ﻭﺸ ّﺩ ِﺓ ﻋﺫﺍﺒﹺﻬﺎ‪ ،‬ﻜﺈﻴﺤﺎﺌِﻪ ﺒﺫﻟﻙ‪ ،‬ﻤﻥ‬
‫ﻥ ﻫﺫﺍ ﺍﻟﺼﺎﻤ ﹶ‬
‫ﺃﱠ‬

‫ل ﺩﻻﻟﺘِﻪ ﺍﻟﺫﺍﺘﻴّﺔ؛ ﻓﻬﻭ ))ﻴﺩ ﱡ‬

‫ل ﻋﻠﻰ ﺍﻟﻌﻅ ﹺﻡ ﻤﻁﻠﻘﹰﺎ(()‪.(5‬‬ ‫ﺨﻼ ﹺ‬

‫ﻥ‪ ،‬ﻤﻥ ﺩﻻﻟـ ٍﺔ ﻓـﻲ ﺍﻟـﺫﻫﻥ؛ ﻓﺈﻨﱠـﻪ‬

‫ﻥ ﺍﻵﻴﺘﻴ ﹺ‬
‫ﻭﺤﺴﺒُﻙ ﻤﺎ ﻴﺜﻴﺭُﻩ ﺘﻨﻐﻴ ُﻡ ﺍﻟﻘﺴ ﹺﻡ‪ ،‬ﺍﻟﺫﻱ ﻴﻘ ُﻊ ﻋﻠﻰ ﻫﺎﺘﻴ ﹺ‬

‫ﻲ‪ :‬ﺍﻟﺘﻨﻐﻴ ﹺﻡ‪ ،‬ﻓﻲ ﺠﺯ ٍﺀ‬

‫ﻕ ﻫﺫﺍ ﺍﻟﻔﻭﻨﻴ ﹺﻡ ﻏﻴ ﹺﺭ ﺍﻟﺘﺭﻜﻴﺒ ﱢ‬
‫ﻥ؛ ﻓﺘﺤﻘﻴ ﹸ‬
‫ﻥ ﻤﻥ ﻤﻌﺎ ﹴ‬
‫ﻟﻴُﺸﻌﺭُﻙ ﺒﺨﻁﻭﺭ ِﺓ ﻤﺎ ﺘﺤﻤﻠﹸﻪ ﺍﻵﻴﺘﺎ ﹺ‬

‫ل‬
‫ﷲ–ﺠﱠ‬
‫ﻥﺍ ُ‬
‫ﻑ ﺇﺫﺍ ﻜﺎ َ‬
‫ﻓﻜﻴ ﹶ‬ ‫ﺒﻪ)‪،(6‬‬ ‫ل‬
‫ل ﻋﻠﻰ ﺃﻫ ّﻤّﻴ ِﺔ ﻫﺫﺍ ﺍﻟﺠﺯ ِﺀ‪ ،‬ﻭﻋﻨﺎﻴ ِﺔ ﺍﻟﻘﺎﺌ ﹺ‬
‫ﻥ ﻏﻴﺭﹺﻩ‪ ،‬ﻴﺩ ﱡ‬
‫ﻤﻥ ﺍﻟﻜﻼ ﹺﻡ‪ ،‬ﺩﻭ َ‬
‫ﻥ ﺍﻟﺘﻨﻐﻴ ُﻡ ﺘﻨﻐﻴ َﻡ ﻗﺴﻡ؟!‪.‬‬
‫ﺸﺄﻨﹸﻪ – ﻫﻭ ﺍﻟﻘﺎﺌل‪ ،‬ﻭﻜﺎ َ‬

‫ﻥ ﻓﻲ ﻨﻔﺴِﻙ‪ ،‬ﻭﺃﻥ ﻴﺯﻴـ َﺩ ﻋﻠﻰ ﺘﺄﻜﻴـﺩِﻫﻤﺎ‬

‫ﻲ ﺍﻵﻴﺘﻴ ﹺ‬
‫ﻕ ﻤﻌﺎﻨ َ‬
‫ﻥ ﻫﺫﺍ ﺍﻟﺘﻨﻐﻴ ﹺﻡ ﻜﺫﻟﻙ‪ ،‬ﺃﻥ ﻴﻌ ّﻤ ﹶ‬
‫ﻭﻤﻥ ﺸﺄ ﹺ‬

‫ﻥ‪ ،‬ﻓـﻲ‬
‫ﻥ ﺍﻟﺼﻭﺘﻴّﻴ ﹺ‬
‫ﻲ ﻤﺘﻤ ّﻴ ﹴﺯ ﻓﻲ ﺃﺫﻨِﻙ؛ ﻓﻬﻭ ﺍﻫﺘﺯﺍﺯٌ ﻤﺘﻐ ّﻴﺭٌ ﻟﻠﻭﺘﺭﻴ ﹺ‬
‫ﺘﺄﻜﻴﺩًﺍ‪ ،‬ﺒﻤﺎ ﻴﺤ ﹼﻘﻘﹸﻪ ﻤﻥ ﻭﻗ ﹴﻊ ﻤﻭﺴﻴﻘ ﱟ‬

‫)‪(1‬‬
‫ﺞ‪.2 :‬‬
‫ﺍﻟﺤ ّ‬
‫)‪(2‬‬
‫ﺍﻟﻔﺭﻗﺎﻥ‪.34 :‬‬
‫)‪(3‬‬
‫ﻫﻭﺩ‪.119 :‬‬
‫)‪(4‬‬
‫ﺍﻨﻅﺭ ﺹ‪ 41‬ﻤﻥ ﻫﺫﺍ ﺍﻟﺒﺤﺙ‪.‬‬
‫)‪(5‬‬
‫ﺍﻟﻌﻼﻴﻠﻲ‪ ،‬ﻋﺒﺩ ﺍﷲ‪ :‬ﻤﻘ ّﺩﻤﺔ ﻟﺩﺭﺱ ﻟﻐﺔ ﺍﻟﻌﺭﺏ‪ .‬ﺹ‪.210‬‬
‫)‪(6‬‬
‫ﻱ ﻟﻠﹼﻐﺔ ﺍﻟﻌﺭﺒﻴّﺔ‪ .‬ﺹ‪.71‬‬
‫ﺒﺭﺠﺸﺘﺭﺍﺴﺭ‪ :‬ﺍﻟﺘﻁﻭّﺭ ﺍﻟﻨﺤﻭ ّ‬
‫‪86‬‬
‫ﻥ ﻤﻥ‬
‫ﻭﻴﺩﻋﻤُﻪ ﻓـﻲ ﺫﻟﻙ‪ ،‬ﻤﺎ ﻓﻲ ﺍﻵﻴﺘﻴ ﹺ‬ ‫ﺍﻟﻜﻼﻡ)‪.(2‬‬ ‫ﺽ‪ ،‬ﻓﻲ ﺃﺜﻨﺎ ِﺀ‬
‫ﺕ ﺒﻪ ﻭﻴﻨﺨﻔ ُ‬
‫ﻴﺭﺘﻔ ُﻊ ﺍﻟﺼﻭ ﹸ‬ ‫ﺍﻟﺤﻨﺠﺭﺓ)‪،(1‬‬

‫ﺍﻟﻬﻭل)‪.(3‬‬ ‫ﻥ ﺸ ّﺩ ِﺓ‬
‫ﻥ(؛ ﻟﺒﻴﺎ ﹺ‬
‫ل )ﹶﻟ ﹶﺘـ َﺭ ُﻭ ﱠ‬
‫ﺏ‪ ،‬ﺒﺘﻜﺭﺍ ﹺﺭ ﺍﻟﻔﻌ ﹺ‬
‫ﺇﻁﻨﺎ ﹴ‬

‫ل ﻴﺘﻨﺒّـﻪ‪ ،‬ﻭﺍﻟﺴـﺎﺩ َﺭ‬

‫ﻉ ﺍﻟﻤﺨﻤﻭ َﺭ ﻴﻔﻴﻕ‪ ،‬ﻭﺍﻟﻐﺎﻓ َ‬
‫ﻉ ﺍﻷﺨﻴ ﹺﺭ‪ ،‬ﺍﻟﺫﻱ ﻴﺩ ُ‬
‫ﺒﻌ َﺩ ﺫﻟﻙ‪ ،‬ﺘﹸﻠﻘﻲ ﺍﻟﺴﻭﺭ ﹸﺓ ﺒﺎﻹﻴﻘﺎ ﹺ‬
‫ﺍﻟﻨﱠﻌﻴـﻡ ﴾)‪:(4‬‬ ‫ﻥ‬
‫ﻋﹺ‬
‫ﻥ َﻴﻭْ َﻤ ِﺌ ٍﺫ َ‬
‫ﻑ‪ ،‬ﻤﻤّﺎ ﻓﻲ ﻴﺩﻴﻪ ﻤﻥ ﻨﻌﻴﻡ‪ ﴿ :‬ﹸﺜﻡﱠ ﹶﻟ ﹸﺘﺴَْﺄﹸﻟـ ﱠ‬
‫ﺵ ﻭﻴﺭﺘﺠ ﹸ‬
‫ﻴﺘﻠﻔﹼﺕ‪ ،‬ﻭﺍﻟﻨﺎﻋ َﻡ ﻴﺭﺘﻌ ﹸ‬

‫‪θum / ma / la / tus /‬‬ ‫‪a / lun / na / yaw / ma /‬‬ ‫‪i / in / ca / nin / na /‬‬

‫‪ciim.‬‬

‫ﻥ ﺍﻟﺫﻱ ﻴﺤـﺩّ ُﺩ‬

‫ل ﺍﻟﻤﻴﺯﺍ ﹺ‬
‫ل ﺍﻷﺨﻴ ﹺﺭ ﻭﺭﻋﺸﺘِﻪ‪ ،‬ﺴﺅﺍ ﹺ‬
‫ﻉ‪ ،‬ﻤﺎ ﻴُﺸﻌﺭُﻙ ﺒﺭﻫﺒ ِﺔ ﺍﻟﺴﺅﺍ ﹺ‬
‫ﻥ ﻓﻲ ﻫﺫﺍ ﺍﻹﻴﻘﺎ ﹺ‬
‫ﻓﺈ ﱠ‬

‫ﻕ ﻓﻲ ﻫﺫﻩ ﺍﻵﻴ ِﺔ ﺘﻨﻐﻴ ُﻡ ﺍﻟﻘﺴ ﹺﻡ‪ ،‬ﺍﻟﺫﻱ‬

‫ﺍﻟﻤﺼﻴﺭ؛ ﻓﺈﻤّﺎ ﺇﻟﻰ ﺠ ﹼﻨ ٍﺔ‪ ،‬ﻭﺇﻤّﺎ ﺇﻟﻰ ﺴﻌﻴﺭ ‪ -‬ﻭﺍﻟﻌﻴﺎ ﹸﺫ ﺒﺎﷲ ‪-‬؛ ﻓﻴﺘﺤﻘﹼ ﹸ‬

‫ﻲ‪،‬‬
‫ﻲ ﻤﻘﻁﻌ ﱞ‬
‫ﻲ ﺼﺎﻤﺘ ﱞ‬
‫ﻕ ﻓﻴﻬﺎ‪ ،‬ﺜﻘلٌ ﻨﻁﻘ ﱞ‬
‫ﻕ ﺍﻟﻤُﺅﻜﱢﺩ‪ ،‬ﻜﻤﺎ ﻴﺘﺤﻘﹼ ﹸ‬
‫ﻴﺸ ﱡﺩ ﻗﺒﻀﺘﹶﻪ ﻋﻠﻰ ﻤﺸﺎﻋﺭﹺﻙ‪ ،‬ﺒﺠﺭﺴِﻪ ﺍﻟﻌﻤﻴ ِ‬
‫ل ﻭﻋـﻼ ‪،-‬‬
‫ل–ﺠﱠ‬
‫ل ﺃﻤﺎ َﻡ ﺍﻟﺴﺎﺌ ﹺ‬
‫ﻙ ﺍﻟﻤﺴﺅﻭ ﹺ‬
‫ل ﻋﻠﻰ ﺍﻟ ﱠﻨﻔﹾﺱ‪ ،‬ﻭﺍﺭﺘﺒﺎ َ‬
‫ل ﻫﺫﺍ ﺍﻟﺴﺅﺍ ﹺ‬
‫ﻤﻥ ﺸﺄﻨِﻪ ﺃﻥ ﻴﺼ ّﻭ َﺭ ﺜﻘ َ‬

‫ﺕ‪ ،‬ﻤﻥ )‪ (20‬ﺼـﺎﻤﺘﹰﺎ‬

‫ﻕ ﺍﻵﻴ ِﺔ )‪ (10‬ﺼﻭﺍﻤ ﹶ‬
‫ﻑ ﻭﺸ ّﺩﺘِﻪ؛ ﻓﺘﺘﺯﺍﺤ ُﻡ ﻓﻲ ﻨﻁ ِ‬
‫ل ﺍﻟﻤﻭﻗ ِ‬
‫ﻭﺃﻥ ﻴﻀﻌَﻙ ﻓﻲ ﻫﻭ ﹺ‬

‫ﻥ ﺍﻟـﻭﺍﺭﺩ ﹸﺓ )‪ (6‬ﻤـﺭّﺍﺕ‪،‬‬
‫ﻱ)‪ ،(5‬ﻭﻫﻲ‪ :‬ﺍﻟﻼ ُﻡ ﺍﻟﻭﺍﺭﺩ ﹸﺓ ﻤﺭّﺘﻴﻥ‪ ،‬ﻭﺍﻟﻨﻭ ُ‬
‫ﺝ ﺍﻟﻠﹼﺜﻭ ّ‬
‫ﻙ ﻓﻲ ﺍﻟﻤﺨﺭ ﹺ‬
‫ﻓﻴـﻬﺎ‪ ،‬ﺘﺸﺘﺭ ُ‬
‫ﺏ ﻤﻘﻁﻌِﻬـﺎ‬
‫ﻭﺍﻟﺘﺎ ُﺀ‪ ،‬ﻭﺍﻟﺴﻴﻥ‪ ،‬ﻜﻤﺎ ﺘﺘﺯﺍﺤ ُﻡ )‪ (8‬ﻤﻘﺎﻁ َﻊ ﻗﺼﻴﺭ ٍﺓ‪ ،‬ﻤﻥ )‪ (15‬ﻤﻘﻁﻌًﺎ ﻓﻲ ﺍﻵﻴﺔ‪ ،‬ﺇﻟﻰ ﺠﺎﻨ ﹺ‬

‫ل‪) :‬ﻋﻴـﻡْ‪.(ciim :‬‬

‫ﻕ ﺍﻟﺜﻘﻴ ﹺ‬
‫ل ﺍﻟﻤﻐﻠ ِ‬
‫ﺍﻟﻁﻭﻴ ﹺ‬

‫ﻑ ﻤـﻊ ﻨﻁﻘِـﻪ‬
‫ﻕ‪ ،‬ﺍﻟﺫﻱ ﻴﺘﻭ ﹼﻗ ﹸ‬
‫ﻁ ﺍﻟﻤﻐﻠ ِ‬
‫ﺴِ‬
‫ﻉ ﺍﻟﻤﺘﻭ ّ‬
‫ﻭﻴﺭ ُﺩ ﻓﻲ ﻫﺫﻩ ﺍﻵﻴ ِﺔ ﻜﺫﻟﻙ‪ (6) ،‬ﻤﻘﺎﻁ َﻊ ﻤﻥ ﺍﻟﻨﻭ ﹺ‬
‫ﺙ ﺍﻵﻴـ ِﺔ ﻋﻥ ﺍﻟﺤﺴـﺎﺏ‪ ،‬ﺘـﻭﺤﻲ ﺒﻘﻭﻟِــﻪ‬
‫ل ﺤﺩﻴ ِ‬
‫ﺍﻟ ﱠﻨﻔﹶﺱ؛ ﻓﻼ ﻴﻤﺘ ّﺩ‪ ،‬ﻭﻜﺄﻨﱠﻬﺎ ﺒﻬﺫﻩ ﺍﻟﻤﻴﺯ ِﺓ‪ ،‬ﻓـﻲ ﻅ ﱢ‬

‫ﺘﻌﺎﻟﻰ‪َ ﴿ :‬ﻭﻗِﻔﻭ ُﻫﻡْ ِﺇ ﱠﻨ ُﻬﻡْ َﻤﺴْﺌﻭﻟﻭﻥ ﴾)‪.(6‬‬

‫)‪(1‬‬
‫ﻁﻠﻴﻤﺎﺕ‪ ،‬ﻏﺎﺯﻱ ﻤﺨﺘﺎﺭ‪ :‬ﻓﻲ ﻋﻠﻡ ﺍﻟﻠﹼﻐﺔ‪ .‬ﺹ‪.154‬‬
‫)‪(2‬‬
‫ﺤﺴﺎﻥ‪ ،‬ﺘﻤﺎﻡ‪ :‬ﻤﻨﺎﻫﺞ ﺍﻟﺒﺤﺙ ﻓﻲ ﺍﻟﻠﹼﻐﺔ‪ .‬ﺹ‪.164‬‬
‫)‪(3‬‬
‫ﻲ‪ :‬ﺼﻔﻭﺓ ﺍﻟﺘﻔﺎﺴﻴﺭ‪.599 / 3 .‬‬
‫ﺍﻟﺼﺎﺒﻭﻨﻲ‪ ،‬ﻤﺤﻤّﺩ ﻋﻠ ّ‬
‫)‪ (4‬ﻗﻁﺏ‪ ،‬ﺴﻴّﺩ‪ :‬ﻓﻲ ﻅﻼل ﺍﻟﻘﺭﺁﻥ‪.3963 / 6 .‬‬
‫)‪(5‬‬
‫ﺍﻨﻅﺭ‪ :‬ﺍﻟﻨﻭﺭﻱ‪ ،‬ﻤﺤﻤﺩ ﺠﻭﺍﺩ‪ :‬ﻋﻠﻡ ﺃﺼﻭﺍﺕ ﺍﻟﻌﺭﺒﻴﺔ‪ .‬ﺹ‪.149‬‬
‫)‪(6‬‬
‫ﺍﻟﺼّﺎﻓﺎﺕ‪.24 :‬‬
‫‪87‬‬
‫ﺏ‪ ،‬ﻓﻲ ﻫﺫﺍ‬
‫ل ﺍﻟﻌﻅﻴ ﹺﻡ‪ ،‬ﻴﻭ َﻡ ﺍﻟﺤﺴﺎ ﹺ‬
‫ﻙ ﺒﺠﻭﺍﺒﹺﻪ‪ ،‬ﺃﻤﺎ َﻡ ﻫﺫﺍ ﺍﻟﺴﺅﺍ ﹺ‬
‫ﻥ ﺍﻟﻤﺭﺘﺒ ِ‬
‫ﻭﻟﻙ ﺃﻥ ﺘﺭﻯ ﺼﻭﺭ ﹶﺓ ﺍﻟﻠﹼﺴﺎ ﹺ‬

‫ﻕ‪،‬‬
‫ﻲ ﺒﺎﻟﻔﺘﺤ ِﺔ‪ ،‬ﻭﺘـﺎﺭ ﹰﺓ‪ ،‬ﻴﻀﻴ ﹸ‬
‫ﻲ ﻏﻴ ﹺﺭ ﺍﻟﺜﺎﺒﺕ؛ ﻓﻬﻭ ﺘﺎﺭ ﹰﺓ‪ ،‬ﻴﺘﹼﺴ ُﻊ‪ ،‬ﻭﻴﺭﺘﻔ ُﻊ ﻭﻀﻭﺤُﻪ ﺍﻟﺴﻤﻌ ﱡ‬
‫ﻁ ﺍﻟﺤﺭﻜ ﱢ‬
‫ﺍﻟﺨ ﱢ‬

‫ﺽ ﻭﻀﻭﺤُﻪ ﺒﺎﻟﻀ ّﻤ ِﺔ ﺃﻭ ﺍﻟﻜﺴﺭ ِﺓ‪ ،‬ﻤﺴﺘﻤﺭ‪‬ﺍ ﻓﻲ ﺍﻵﻴ ِﺔ ﻜﻠﱢﻬﺎ‪ ،‬ﻋﻠﻰ ﻫﺫﻩ ﺍﻟﺤﺎل‪:‬‬
‫ﻭﻴﻨﺨﻔ ُ‬

‫‪u - a - a - u - a - u - a - a - a - i - i - a - i - a - ii.‬‬

‫ﺝ ﺇﻟـﻰ‬
‫ﻲ‪ ،‬ﺘﺤﺘـﺎ ُ‬
‫ل ﺠﺯﺀًﺍ ﻤﻥ ﺍﻟﻤﻘﻁ ﹺﻊ ﺍﻟﺼﻭﺘ ﱢ‬
‫ﻭﺇﺫﺍ ﻜﺎﻨﺕ ﺍﻟﺤﺭﻜ ﹸﺔ ﺍﻟﻤﺭﻜﹼﺒ ﹸﺔ ﺍﻟﻤﺯﺩﻭﺠ ﹸﺔ‪ ،‬ﺍﻟﺘﻲ ﺘﺸﻐ ُ‬

‫ل ﻓﻲ ﻫﺫﻩ ﺍﻟﺤﺭﻜ ِﺔ ﺍﻟﻤﺭﻜﹼﺒ ِﺔ ﺍﻟﺜﻼﺜ ّﻴ ِﺔ )‪:(1)(Striphthong‬‬

‫ﻲ ﻜﺒﻴـ ﹴﺭ ﻹﻨﺘﺎﺠﹺﻬـﺎ‪ ،‬ﻓﻤﺎﺫﺍ ﺘﻘﻭ ُ‬
‫ﺠﻬ ٍﺩ ﻋﻀﻠ ﱟ‬

‫‪(yaw / ma /‬؟!‪ .‬ﻻ‬ ‫ﺏ‪َ ) :‬ﻴـﻭْ َﻤ ِﺌـ ٍﺫ‪i / in :‬‬

‫ﻼ‪ ،‬ﻓـﻲ ﺍﻟﺘﺭﻜﻴ ﹺ‬
‫ل ﻤﻘﻁﻌًﺎ ﻜﺎﻤ ﹰ‬
‫)‪ ،(yaw‬ﺍﻟﺘـﻲ ﺘﺸﻐ ُ‬

‫ل‪ ،‬ﻓـﻲ‬
‫ﻥ ﺃﻥ ﻴﺒﺫ َ‬
‫ﻱ ﺠﻬ ٍﺩ ﻴﻤﻜ ُ‬
‫ﻕﺃ ﱠ‬
‫ﻑ ﻹﻨﺘﺎﺠﹺﻬﺎ‪ ،‬ﻴﻔﻭ ﹸ‬
‫ﺝ ﺇﻟﻰ ﺠﻬ ٍﺩ ﻤﻀﺎﻋ ٍ‬
‫ﻥ ﻫﺫﻩ ﺍﻟﺤﺭﻜ ﹶﺔ‪ ،‬ﺘﺤﺘﺎ ُ‬
‫ﻙ ﻓﻲ ﺃ ﱠ‬
‫ﺸﱠ‬

‫ﺕ ﺃﺨﺭﻯ؛ ﻓﺈﻀﺎﻓ ﹰﺔ ﺇﻟﻰ ﻫﺫﺍ ﺍﻟﺠﻬـ ِﺩ‬

‫ﻁ ﺍﻟﻤﻐﻠﻕ‪ ،‬ﺒﺄﺼﻭﺍ ٍ‬
‫ﺴِ‬
‫ﻕ ﺍﻟﻤﻘﻁ ﹺﻊ ﺫﺍﺘِﻪ‪ :‬ﺍﻟﻤﺘﻭ ّ‬
‫ﻲ‪ ،‬ﻟﻨﻁ ِ‬
‫ﺍﻟﻭﻀ ﹺﻊ ﺍﻟﻁﺒﻴﻌ ﱢ‬

‫ﺏ ﺍﻟﻌﺎﻟ ﹺﻡ )‪ (E.Meyer‬ﺍﻵﻟﻴّﺔ‪ ،‬ﺍﻟﺤﺭﻜﺎ ِ‬

‫ﺕ ﺍﻟﺒﺴﻴﻁ ﹶﺔ‬ ‫ﺕ ﺍﻟﻤﺭﻜﹼﺒ ﹸﺔ‪ ،‬ﻜﻤﺎ ﺒﻴّﻨﺕ ﺘﺠﺎﺭ ُ‬
‫ﻕ ﺍﻟﺤﺭﻜﺎ ﹸ‬
‫ﺍﻟﻤﺘﻤﻴّﺯ‪ ،‬ﺘﻔﻭ ﹸ‬

‫ﻻ )‪.(2)(Length‬‬
‫ﻁﻭ ﹰ‬

‫ﻥ ﺘﺘﻤﺘﹼ ُﻊ ﺒﻬﻤﺎ ﻫﺫﻩ ﺍﻟﺤﺭﻜ ﹸﺔ‪ ،‬ﺃﻥ ﻴﻭﺤﻴﺎ‪ ،‬ﺒﻤﺎ ﻴﺤﺩﺜﺎﻨِـﻪ‬

‫ل‪ ،‬ﺍﻟﻠﹼﺫﻴ ﹺ‬
‫ﻥ ﻫﺫﺍ ﺍﻟﺠﻬ ِﺩ‪ ،‬ﻭﻫﺫﺍ ﺍﻟﻁﻭ ﹺ‬
‫ﻭﻤﻥ ﺸﺄ ﹺ‬
‫ﺏ ) َﻴﻭْ َﻤ ِﺌ ٍﺫ(‪ ،‬ﺃﻻ ﻭﻫﻭ ﻴﻭ ُﻡ ﺍﻟﺤﺴـﺎﺏ‪.‬‬
‫ل ﺫﻟﻙ ﺍﻟﻴﻭ ﹺﻡ ﺍﻟﺫﻱ ﻴﺸﻴ ُﺭ ﺇﻟﻴﻪ ﺍﻟﺘﺭﻜﻴ ُ‬
‫ﻥ‪ ،‬ﺒﻬﻭ ﹺ‬
‫ل ﻋﻠﻰ ﺍﻟﻠﹼﺴﺎ ﹺ‬
‫ﻤﻥ ﺜﻘ ﹴ‬

‫ل‪ ،‬ﺃﻥ ﻴﻜﺜﹼﻔﺎ ﺍﻨﺘﺒﺎﻫَـﻙ ﻟﻬـﺫﺍ‬

‫ﻲ ﻋﺎ ﹴ‬
‫ﺡ ﺴﻤﻌ ﱟ‬
‫ﻭﻤﻥ ﺸﺄﻨِﻬﻤﺎ ﻜﺫﻟﻙ‪ ،‬ﺇﻀﺎﻓ ﹰﺔ ﺇﻟﻰ ﻤﺎ ﻓﻲ ﺍﻟﺤﺭﻜ ِﺔ ﻤﻥ ﻭﻀﻭ ﹴ‬

‫ل ﺃﻥ ﺘﹸﺤﺎﺴَﺏ‪ ،‬ﻭﻜﺄﻨﱠﻬﻤـﺎ‬
‫ﻑ ﻤﻊ ﻨﻔﺴِﻙ؛ ﻓﺘﺤﺎﺴﺒَﻬﺎ ﻗﺒ َ‬
‫ﺏ‪ ،‬ﻭﻤﺎ ﻴﺤﻤﻠﹸﻪ ﻤﻥ ﺩﻻﻟ ٍﺔ ﻋﻅﻴﻤﺔ؛ ﻟﻌﻠﱠﻙ ﺘﻘ ﹸ‬
‫ﺍﻟﺘﺭﻜﻴ ﹺ‬
‫ﺸﻴْﺌًﺎ ﻭَﻻ ُﻴﻘﹾ َﺒلُ ِﻤﻨﹾﻬـﺎ ﻋَـﺩْلٌ ﻭَﻻ‬
‫ﻋﻥْ ﹶﻨﻔﹾﺱﹴ ﹶ‬
‫ﻴُﻁﻠﻌﺎﻨِﻙ ﻋﻠﻰ ﻗﻭﻟِﻪ ﺘﻌﺎﻟﻰ‪َ ﴿ :‬ﻭﺍﺘﱠﻘﻭﺍ َﻴﻭْ ًﻤﺎ ﻻ ﹶﺘﺠْﺯﻱ ﹶﻨﻔﹾﺱٌ َ‬

‫ﻴُﻨﺼَﺭﻭﻥ﴾)‪.(3‬‬ ‫ﻋﺔﹲ ﻭَﻻ ُﻫﻡْ‬

‫ﺘﹶﻨ ﹶﻔﻌُﻬﺎ ﺸﹶﻔﺎ َ‬

‫ﻲ‪:‬‬
‫ﺝ ﺍﻟﺠﻬﺎ ﹺﺯ ﺍﻟﻨﻁﻘـ ﱢ‬
‫ل ﻤﺨﺎﺭ ﹺ‬
‫ﺕ ﺍﻟﻬﻤﺯ ِﺓ‪ ،‬ﺍﻟﺫﻱ ﻴُﻨﺘﺠُﻪ ﺃﻭّ ُ‬
‫ﻭﻜﻤﺎ ﺭﺍﻋﺕﹾ ﻫﺫﻩ ﺍﻟﺴﻭﺭ ﹸﺓ ﺃﻥ ﺘﺒﺩَﺃ ﺒﺼﻭ ِ‬

‫ﺝ ﻫــﺫﺍ ﺍﻟﺠﻬـﺎ ﹺﺯ‪:‬‬

‫ﺕ ﺍﻟﻤﻴ ﹺﻡ‪ ،‬ﺍﻟﺫﻱ ﻴُﻨﺘﺠُﻪ ﺁﺨـ ُﺭ ﻤﺨـﺎﺭ ﹺ‬
‫ﻲ ﺒﺼﻭ ِ‬
‫ﺍﻟﺤﻨﺠﺭﺓ‪ ،‬ﻫﺎ ﻫﻲ ﺘﹸﺭﺍﻋﻲ ﺃﻥ ﺘﻨﺘﻬ َ‬

‫)‪(1‬‬
‫ﺘﻘﺴﻡ ﺍﻟﺤﺭﻜﺎﺕ ﺍﻟﻤﺭﻜﹼﺒﺔ ﻋﻠﻰ‪ :‬ﺜﻨﺎﺌﻴّﺔ ﺃﻭ ﻤﺯﺩﻭﺠﺔ‪ ،‬ﻭﻫـﻲ ﺍﻟﺘﻲ ﺘﺘﻜﻭّﻥ ﻤﻥ ﻋﻨﺼﺭﻴﻥ‪ ،‬ﺃﻱ ﺼﻭﺘﻲ ﺤﺭﻜﺔ؛ ﻭﺜﻼﺜﻴّﺔ‪ ،‬ﻭﻫـﻲ‬
‫ﺍﻟﺘﻲ ﺘﺘﻜﻭّﻥ ﻤﻥ ﺜﻼﺜﺔ ﻋﻨﺎﺼﺭ‪ .‬ﺍﻨﻅﺭ‪:‬‬
‫‪Malmberg, Bertil: Phonetics. New York: Dover Publications, Inc., 1963. p. 39.‬‬
‫)‪ (2‬ﺍﻟﻤﺭﺠﻊ ﻨﻔﺴﻪ‪ .‬ﺹ‪.75‬‬
‫)‪(3‬‬
‫ﺍﻟﺒﻘﺭﺓ‪.123 :‬‬
‫‪88‬‬
‫ﺝ‬
‫ل ﺍﻟﻤﺨـﺎﺭ ﹺ‬
‫ﻥ ﺃ ّﻭ ﹺ‬
‫ﻕ ﻫﺫﺍ ﺍﻟﺼﻭﺕ)‪(1‬؛ ﻓﻘﺩ ﺤُﺼﺭﺕ ﺍﻟﺴﻭﺭ ﹸﺓ ﺒـﻴ َ‬
‫ﻥ ﻓﻲ ﺃﺜﻨﺎ ِﺀ ﻨﻁ ِ‬
‫ﻥ ﺘﻨﻁﺒﻘﺎ ﹺ‬
‫ﻥ‪ ،‬ﺍﻟﻠﹼﺘﺎ ﹺ‬
‫ﺍﻟﺸﻔﺘﺎ ﹺ‬

‫ﺵ ﻓﻴﻪ‪ ،‬ﻭﻻ ﺠـﺩﺍل‪،‬‬

‫ﻲ؛ ﻓﻼ ﻨﻘﺎ ﹶ‬
‫ل ﺸﺄﻨﹸﻪ ‪ُ -‬ﺒﺩَِﺃ ﻭﺃُﻨ ﹺﻬ َ‬
‫ﻥ ﻫﺫﺍ ﺍﻟﻜﻼ َﻡ – ﺠ ﱠ‬
‫ﻲ‪ ،‬ﺒﺎﻋﺘﻘﺎﺩﻱ‪ ،‬ﺃ ﱠ‬
‫ﻭﺁﺨﺭﹺﻫﺎ؛ ﻟﺘﻭﺤ َ‬

‫ﻭﻜﺄﻨﱠﻬﺎ ﺘﹸﻘ ﹺﺭﺌُﻨﺎ ﺒﺫﻟﻙ ﻗﻭﻟﹶﻪ ﺘﻌﺎﻟﻰ‪ِ ﴿ :‬ﺇﻨﱠ ُﻪ ﹶﻟﻘﹶـﻭْلٌ ﹶﻓﺼْـل ﴾)‪.(2‬‬

‫ل‬
‫ﻥ‪ ،‬ﻨﻨﻅﺭْ ﻓﻲ ﻫﺫﻩ ﺍﻟﺴﻭﺭ ِﺓ‪ ،‬ﺒﻌ َﺩ ﻫﺫﻩ ﺍﻟﻨﻅﺭ ِﺓ ﺍﻟﺼﻭﺘ ّﻴ ِﺔ ﺍﻟﺠﺯﺌ ّﻴ ِﺔ‪ ،‬ﻨﻅﺭ ﹰﺓ ﺸﺎﻤﻠ ﹰﺔ‪ ،‬ﻤﻥ ﺨﻼ ﹺ‬
‫ﺩﻋْﻨﺎ ﺍﻵ َ‬

‫ﻥ ﻋﻨﺎﺼﺭَﻫﺎ ﺍﻟﺼﻭﺘﻴّﺔ‪:‬‬
‫ل‪ ،‬ﺍﻟﺫﻱ ﻴﺒﻴّ ُ‬
‫ﻫﺫﺍ ﺍﻟﺠﺩﻭ ﹺ‬

‫ﺍﻟﺠﺩﻭل )‪ :(4‬ﺍﻟﻌﻨﺎﺼ ُﺭ ﺍﻟﺼﻭﺘﻴّ ﹸﺔ ﻟﺴﻭﺭ ِﺓ ﺍﻟﺘﹼﻜﺎﺜﺭ‬

‫ﺍﻟﻤﻘﺎﻁﻊ‬ ‫ﻨﺼﻔﺎ ﺍﻟﺤﺭﻜﺔ‬ ‫ﺍﻟﺤﺭﻜـﺎﺕ‬ ‫ﺍﻟﺼﻭﺍﻤـﺕ‬

‫ﻋﺩﺩﻩ‬ ‫ﺍﻟﻤﻘﻁﻊ‬ ‫ﻋﺩﺩﻩ‬ ‫ﻨﺼﻑ‬ ‫ﻋﺩﺩﻩ ﺍﻟﺤﺭﻜﺔ ﻋﺩﺩﻫﺎ‬ ‫ﺍﻟﺼﺎﻤﺕ‬ ‫ﻋﺩﺩﻩ‬ ‫ﺍﻟﺼﺎﻤﺕ‬
‫ﺍﻟﺤﺭﻜﺔ‬
‫‪30‬‬ ‫ﺹﺡ‬ ‫‪6‬‬ ‫ﺍﻟﻭﺍﻭ‬ ‫‪8‬‬ ‫‪aa‬‬ ‫‪3‬‬ ‫ﺱ‬ ‫‪3‬‬ ‫ﺀ‬
‫‪9‬‬ ‫ﺹﺡﺡ‬ ‫‪4‬‬ ‫ﺍﻟﻴﺎﺀ‬ ‫‪3‬‬ ‫‪uu‬‬ ‫‪7‬‬ ‫ﻉ‬ ‫‪1‬‬ ‫ﺏ‬
‫‪31‬‬ ‫ﺹﺡﺹ‬ ‫ﺍﻟﻤﺠﻤﻭﻉ‪10 :‬‬ ‫‪4‬‬ ‫‪ii‬‬ ‫‪2‬‬ ‫ﻑ‬ ‫‪11‬‬ ‫ﺕ‬
‫‪6‬‬ ‫ﺹﺡﺡﺹ‬ ‫ﺍﻟﻤﺠﻤﻭﻉ‪15 :‬‬ ‫‪3‬‬ ‫ﻕ‬ ‫‪4‬‬ ‫ﺙ‬
‫ﺍﻟﻤﺠﻤﻭﻉ‪76 :‬‬ ‫‪5‬‬ ‫ﻙ‬ ‫‪1‬‬ ‫ﺝ‬
‫‪43‬‬ ‫‪a‬‬ ‫‪20‬‬ ‫ل‬ ‫‪2‬‬ ‫ﺡ‬
‫‪13‬‬ ‫‪u‬‬ ‫‪16‬‬ ‫ﻡ‬ ‫‪1‬‬ ‫ﺫ‬
‫‪5‬‬ ‫‪i‬‬ ‫‪16‬‬ ‫ﻥ‬ ‫‪5‬‬ ‫ﺭ‬
‫ﺍﻟﻤﺠﻤﻭﻉ‪61 :‬‬ ‫‪2‬‬ ‫ﻫـ‬ ‫‪1‬‬ ‫ﺯ‬
‫ﻤﺠﻤﻭﻉ‬ ‫ﺍﻟﻤﺠﻤﻭﻉ‪103 :‬‬
‫ﺍﻟﺤﺭﻜﺎﺕ‪76 :‬‬
‫ﻤﺠﻤﻭﻉ ﺍﻷﺼﻭﺍﺕ ﺍﻟﻠﹼﻐﻭﻴّﺔ‪189 :‬‬

‫ل؛ ﻟﻌﻠـ ﱢﻭ ﻨﺴـﺒ ِﺔ‬

‫ﻲ ﻋـﺎ ﹴ‬
‫ﺡ ﺴـﻤﻌ ﱟ‬
‫ﺕ ﻭﻀﻭ ﹴ‬
‫ﻥ ﻫﺫﻩ ﺍﻟﺴﻭﺭ ﹶﺓ ﺫﺍ ﹸ‬
‫ل‪ ،‬ﺃ ﱠ‬
‫ل ﻫﺫﺍ ﺍﻟﺠﺩﻭ ﹺ‬
‫ﻥ ﻟﻨﺎ ﻤﻥ ﺨﻼ ﹺ‬
‫ﻴﺘﺒ ّﻴ ُ‬

‫ﻥ‪،‬‬
‫ﺕ ﺍﻟﺭﻨﹼﺎﻨ ِﺔ‪ :‬ﺍﻟﻼ ﹺﻡ‪ ،‬ﻭﺍﻟﺭّﺍ ِﺀ‪ ،‬ﻭﺍﻟﻤـﻴ ﹺﻡ‪ ،‬ﻭﺍﻟﻨـﻭ ﹺ‬
‫ﺡ ﻓﻴﻬﺎ؛ ﻓﻔﻴﻬﺎ ﻤﻥ ﺍﻟﺼﻭﺍﻤ ِ‬
‫ﺕ ﺍﻟﻌﺎﻟﻴ ِﺔ ﺍﻟﻭﻀﻭ ﹺ‬
‫ﺍﻷﺼﻭﺍ ِ‬
‫ﺏ )‪ (61‬ﺤﺭﻜ ﹰﺔ ﻗﺼﻴﺭﺓ؛ ﻭﻓﻴﻬـﺎ‬
‫ﺕ ﺍﻟﻁﻭﻴﻠ ِﺔ )‪ (15‬ﺤﺭﻜﺔ‪ ،‬ﺇﻟﻰ ﺠﺎﻨ ﹺ‬
‫)‪ (57‬ﺼﺎﻤﺘﹰﺎ؛ ﻭﻓﻴﻬﺎ ﻤﻥ ﺍﻟﺤﺭﻜﺎ ِ‬

‫)‪(1‬‬
‫ﻲ‪ .‬ﺹ‪.168‬‬
‫ﺍﻟﺴﻌﺭﺍﻥ‪ ،‬ﻤﺤﻤﻭﺩ‪ :‬ﻋﻠﻡ ﺍﻟﻠﹼﻐﺔ ﻤﻘﺩّﻤﺔ ﻟﻠﻘﺎﺭﺉ ﺍﻟﻌﺭﺒ ّ‬
‫)‪ (2‬ﺍﻟﻁﺎﺭﻕ‪.13 :‬‬
‫‪89‬‬
‫ﻉ ﻫﺫﺍ ﻜﻠﱢﻪ‪ (143) :‬ﺼﻭﺘﹰﺎ‪ ،‬ﻤﻥ )‪ (189‬ﻓﻲ‬
‫ﻴﺭ ُﺩ ﻨﺼﻔﺎ ﺍﻟﺤﺭﻜ ِﺔ‪ :‬ﺍﻟﻭﺍ ُﻭ ﻭﺍﻟﻴﺎ ُﺀ‪ (10) ،‬ﻤﺭّﺍﺕ‪ .‬ﻭﻤﺠﻤﻭ ُ‬

‫ﺙ ﺍﻷﺨﻴـﺭ ِﺓ‪ ،‬ﻤـﻥ‬

‫ﺕ ﺍﻟـﺜﻼ ِ‬
‫ﺍﻟﺴﻭﺭﺓ‪ .‬ﻭﺯﺩْ ﻋﻠﻰ ﺫﻟﻙ‪ ،‬ﻤﺎ ﻴﻀﻴﻔﹸﻪ ﺘﻨﻐﻴ ُﻡ ﺍﻟﻘﺴ ﹺﻡ‪ ،‬ﺍﻟﺫﻱ ﻴﻘ ُﻊ ﻋﻠﻰ ﺍﻵﻴﺎ ِ‬

‫ﻥ ﺍﻟﺼﻭﺘﻴّﻴﻥ‪.‬‬
‫ﻭﻀﻭﺡ؛ ﻟﻜﻭﻨِﻪ ﺍﻫﺘﺯﺍﺯًﺍ ﻓﻲ ﺍﻟﻭﺘﺭﻴ ﹺ‬

‫ﻁ‬‫ﺕ ﺴﻼﺴ ٍﺔ ﻨﻁﻘ ّﻴ ٍﺔ؛ ﺘﻌﻭ ُﺩ ﺇﻟﻰ ﻤﻘﺎﻁﻌِﻬﺎ‪ :‬ﺍﻟﻘﺼﻴ ﹺﺭ‪ ،‬ﻭﺍﻟﻤﺘﻭ ّ‬
‫ﺴِ‬ ‫ﻥ ﻫﺫﻩ ﺍﻟﺴﻭﺭ ﹶﺓ ﺫﺍ ﹸ‬
‫ﻥ ﻟﻨﺎ ﻜﺫﻟﻙ‪ ،‬ﺃ ﱠ‬
‫ﻭﻴﺘﺒ ّﻴ ُ‬

‫ﻉ ﻫـﺫﻩ ﺍﻟﻤﻘـﺎﻁ ﹺﻊ‬

‫ل ﺍﻟﻤﻘﺎﻁ ﹺﻊ ﺍﻟﻌﺭﺒ ّﻴ ِﺔ ﻨﻁﻘﹰﺎ؛ ﻓﻴﺒﻠ ﹸﻎ ﻤﺠﻤﻭ ُ‬
‫ﺡ‪ ،‬ﺍﻟﺘﻲ ﺘﻌ ﱡﺩ ﺃﺴﻬ َ‬
‫ﻁ ﺍﻟﻤﻔﺘﻭ ﹺ‬
‫ﺴِ‬
‫ﻕ‪ ،‬ﻭﺍﻟﻤﺘﻭ ّ‬
‫ﺍﻟﻤﻐﻠ ِ‬

‫ﺱ ﺍﻟـﺫﻱ‬
‫ﺏ ﺍﻟﺴـﻠ ﹺ‬
‫ﻥ‪ ،‬ﻤﻥ )‪ (76‬ﻤﻘﻁﻌًﺎ ﻓﻲ ﺍﻟﺴﻭﺭﺓ‪ .‬ﻭﺘﻌﻭ ُﺩ ﻫﺫﻩ ﺍﻟﺴﻼﺴ ﹸﺔ ﻜﺫﻟﻙ‪ ،‬ﺇﻟﻰ ﺍﻟﺘﺭﺘﻴـ ﹺ‬
‫ﺍﻟﺴﺒﻌﻴ َ‬
‫ﺕ‬
‫ﺕ ﻨﻁﻘﹰﺎ‪ ،‬ﻤﻥ )‪ (103‬ﺼﻭﺍﻤ ﹶ‬
‫ل ﺍﻟﺼﻭﺍﻤ ِ‬
‫ﻴﻨﺘﻅ ُﻡ ﻫﺫﻩ ﺍﻟﻤﻘﺎﻁﻊ‪ ،‬ﻜﻤﺎ ﺘﻌﻭ ُﺩ ﺇﻟﻰ )‪ (52‬ﺼﺎﻤﺘﹰﺎ‪ ،‬ﻤﻥ ﺃﺴﻬ ﹺ‬

‫ﻥ ﺒﺸـﻲ ٍﺀ ﻤـﻥ ﺍﻟﺜﻘـل؛‬

‫ﻥ ﻫﺫﻩ ﺍﻟﺴﻼﺴ ﹶﺔ ﺘـﺯﺩﺍ ُ‬
‫ﻻﺃﱠ‬
‫ﻓﻲ ﺍﻟﺴﻭﺭﺓ‪ ،‬ﺃﻻ ﻭﻫﻲ‪ :‬ﺍﻟﻼ ُﻡ‪ ،‬ﻭﺍﻟﻤﻴ ُﻡ‪ ،‬ﻭﺍﻟﻨﻭﻥ‪ ،‬ﺇ ﹼ‬

‫ل ﻴﻌﻭ ُﺩ ﺇﻟﻰ ﺘﺘﺎﺒ ﹺﻊ ﺍﻟﻤﻘﺎﻁ ﹺﻊ ﺍﻟﻘﺼـﻴﺭ ِﺓ‪ ،‬ﻓـﻲ‬

‫ﺕ‪ .‬ﻭﻫﺫﺍ ﺍﻟﺜـﻘ ُ‬
‫ﺽ ﺇﻴﺤﺎﺌ ّﻴ ٍﺔ ﺘﺨﺩ ُﻡ ﺍﻟﻤﻌﻨﻰ‪ ،‬ﻜﻤﺎ ﺒﻴّﻨ ﹸ‬
‫ﻷﻏﺭﺍ ﹴ‬

‫ﺱ ﺍﻵﻴﺎﺕ‪.‬‬
‫ﻑ ﻋﻠﻰ ﺭﺅﻭ ﹺ‬ ‫ﺽ ﺍﻟﻤﻭﺍﻀﻊ‪ ،‬ﻭﺇﻟﻰ ﺍﻟﻤﻘﺎﻁ ﹺﻊ ﺍﻟﻁﻭﻴﻠ ِﺔ ﺍﻟﻤﻐﻠﻘ ِﺔ ﺍﻟﺴﺘﹼﺔ‪ ،‬ﺍﻟﺘﻲ ﺘﺘﻜﻭّ ُ‬
‫ﻥ ﺒﺎﻟﻭﻗ ِ‬ ‫ﺒﻌ ﹺ‬

‫ﺕ ﺍﻨﺘﺒﺎ ٍﻩ ﻤﺘﻤ ّﻴﺯًﺍ ﻋﻨ َﺩ ﺍﻟﻤﺘﻠﻘﹼﻲ؛ ﻟﻜﻭﻨِﻬﻤـﺎ‬

‫ﺡ‪ ،‬ﻭﻫﺫﻩ ﺍﻟﺴﻼﺴ ِﺔ‪ ،‬ﺃﻥ ﻴﺤﻘﹼﻘﺎ ﻟﻔ ﹶ‬
‫ﻥ ﻫﺫﺍ ﺍﻟﻭﻀﻭ ﹺ‬
‫ﻭﻤﻥ ﺸﺄ ﹺ‬

‫ﻥ ﺒﺫﻟﻙ ﻤﺎ ﺘﺤﻤﻠﹸﻪ ﺍﻟﺴﻭﺭ ﹸﺓ‪ ،‬ﻤـﻥ‬

‫ﻥ‪ ،‬ﻤﻥ ﻋﻨﺎﺼ ﹺﺭ ﺍﻟﻤﻭﺴﻴﻘﻰ ﺍﻟﻠﹼﻐﻭ ّﻴ ِﺔ ﺍﻟﺠﺫﹼﺍﺒﺔ‪ ،‬ﻤﻭﺍﻓﻘﻴ ﹺ‬
‫ﻥ ﺭﺌﻴﺴﻴ ﹺ‬
‫ﻋﻨﺼﺭﻴ ﹺ‬
‫ﻥ ﻓـﻲ ﺫﻟـﻙ ﻵﻴــﺎ ٍ‬
‫ﺕ ﻟﻘــﻭ ﹴﻡ‬ ‫ﷲ ﺍﻟﻘﺎﺌل‪ ...﴿ :‬ﺇ ﱠ‬
‫ﻥﺍ ِ‬
‫ﻥ ﺍﻹﻨﺫﺍ ﹺﺭ ﻭﺍﻟﺘﺫﻜﻴ ﹺﺭ ﻭﺍﻟﻭﻋﻅ؛ ﻓﺴﺒﺤﺎ َ‬
‫ﻤﻀﻤﻭ ﹺ‬

‫ﻥ ﻟِﻠ ﱢﺫﻜﹾ ﹺﺭ ﹶﻓﻬَـلْ ِﻤﻥْ ُﻤ ﱠﺩﻜِﺭ﴾)‪.(2‬‬

‫ﺴﺭْﻨﺎ ﺍﻟﹾ ﹸﻘﺭْﺁ َ‬ ‫َﻴﺴْﻤَﻌـﻭﻥ﴾)‪ ،(1‬ﻭﺍﻟﻘﺎﺌ ﹺ‬
‫ل – ﻋ ﱠﺯ ﻗﻭﻟﹸﻪ ‪﴿ :-‬ﻭَﹶﻟ ﹶﻘﺩْ َﻴ ﱠ‬

‫ﻑ ﺴﻤﻌَﻙ ﻟﺤﺭﻜﺎﺘِﻬـﺎ ﺍﻟﻁﻭﻴﻠـ ِﺔ‬

‫ﻲ‪ ،‬ﺃﻥ ﺘﺭﻫ ﹶ‬
‫ل ﻤﻭﺴﻴﻘ ﱟ‬
‫ﻙ ﻤﺎ ﻓﻲ ﺍﻟﺴﻭﺭ ِﺓ‪ ،‬ﻤﻥ ﺠﻤﺎ ﹴ‬
‫ﻭﺤﺴﺒُﻙ ﻹﺩﺭﺍ ِ‬
‫ﺕ‬
‫ﺕ ﺍﻟﻁﻭﻴﻠ ﹸﺔ ﺃﻜﺜــ ُﺭ ﺍﻷﺼـﻭﺍ ِ‬
‫ﺱ ﻋﺸﺭﺓ‪ ،‬ﻭﺼﻭﺍﻤﺘِﻬﺎ ﺍﻟﺭﻨﹼﺎﻨ ِﺔ ﺍﻟـﺴﺒﻌ ِﺔ ﻭﺍﻟﺨﻤﺴﻴﻥ؛ ﻓﺎﻟﺤﺭﻜﺎ ﹸ‬
‫ﺍﻟﺨﻤ َ‬

‫ﺱ‬
‫ﺕ ﺠُـﺭﻭ ﹴ‬
‫ﺕ ﺍﻟﺭﻨﹼﺎﻨ ﹸﺔ ﺫﺍ ﹸ‬
‫ﺤﻬﺎ ﻓﻲ ﺍﻟﺴﻤﻊ‪ ،‬ﻜﻤﺎ ﻋﺭﻓﻨﺎ)‪ .(3‬ﻭﺍﻟﺼﻭﺍﻤ ﹸ‬
‫ﻤﻭﺴﻴﻘ ّﻴ ﹰﺔ؛ ﻟﻜﻭﻨِﻬﺎ ﻁﹸﻭﻻﻫﺎ‪ ،‬ﻭﺃﻭﻀ َ‬

‫ﺕ ﻓﻲ ﺍﻟﺴـﻭﺭ ِﺓ‪ ،‬ﺼـﻭﺕﹲ‬

‫ﻤﺘﻤﻴّﺯ ٍﺓ‪ ،‬ﻻ ﺘﺘﻭﺍﻓ ُﺭ ﻓﻲ ﻏﻴﺭﹺﻫﺎ ﻤﻥ ﺍﻷﺼﻭﺍﺕ؛ ﻓﻠﻠﺭﺍ ِﺀ ﺍﻟﺘﻲ ﺘﺭ ُﺩ )‪ (5‬ﻤﺭّﺍ ٍ‬
‫ﻼ ﻓﻲ ﺍﻷﺫﻥ؛ ﻭﻟﻼ ﹺﻡ ﺍﻟﺘﻲ ﺘﺭ ُﺩ )‪ (20‬ﻤ ّﺭ ﹰﺓ‪ ،‬ﺼـﻭﺕﹲ‬
‫ﺙ ﻭﻗﻌًﺎ ﻤﻤﺎﺜ ﹰ‬
‫ﻱ ﺫﻭ ﺫﺒﺫﺒ ٍﺔ ﻗﻭ ّﻴ ٍﺔ ﺜﻘﻴﻠ ٍﺔ‪ ،‬ﺘﺤﺩ ﹸ‬
‫ﺘﻜﺭﺍﺭ ﱞ‬

‫ﺕ ﺍﻟﻐﻨﹼـﺔ‪،‬‬
‫ﺝ ﺼـﻭ ﹸ‬
‫ﻥ )‪ (32‬ﻤ ّﺭ ﹰﺓ‪ ،‬ﻴﺨﺭ ُ‬ ‫ﻥ ﻭﺍﻟﻤﻴ ﹺﻡ ﺍﻟﻠﹼﺘﻴ ﹺ‬
‫ﻥ ﺘﺭﺩﺍ ﹺ‬ ‫ﻲ ﺫﻭ ﺫﺒﺫﺒ ٍﺔ ﻋﺫﺒ ٍﺔ ﺨﻔﻴﻔﺔ؛ ﻭﻤﻊ ﺍﻟﻨﻭ ﹺ‬
‫ﺠﺎﻨﺒ ﱞ‬

‫)‪(1‬‬
‫ﻴﻭﻨﺱ‪.67 :‬‬
‫)‪(2‬‬
‫ﺍﻟﻘﻤﺭ‪.22 :‬‬
‫)‪(3‬‬
‫ﺍﻨﻅﺭ ﺹ‪ 48‬ﻤﻥ ﻫﺫﺍ ﺍﻟﺒﺤﺙ‪.‬‬
‫‪90‬‬
‫ﻲ ﻤﺤﺒّﺏ‪ .(2)((...‬ﺃﻀـﻑﹾ ﺇﻟـﻰ‬
‫ﻟﻤﺎ ﻓﻴﻬﺎ ﻤﻥ ))ﺘﺭ ّﺩ ٍﺩ ﻤﻭﺴﻴﻘ ﱟ‬ ‫ﻑ(()‪(1‬؛‬
‫ﺍﻟﺤﺭ ِ‬ ‫ﺕ ﻗـ ّﻭ ِﺓ‬
‫ﻭ))ﺍﻟﻐﻨﹼ ﹸﺔ ﻤﻥ ﻋﻼﻤـﺎ ِ‬

‫ﺕ‬
‫ﺕ ﺍﻻﺴﺘﻤﺭﺍﺭﻴّﺔ )‪ ،(Continuants‬ﻭﻫـﻲ ﺍﻷﺼـﻭﺍ ﹸ‬
‫ﺕ‪ ،‬ﺘﻌ ﱡﺩ ﻤﻥ ﺍﻷﺼﻭﺍ ِ‬
‫ﻥ ﻫﺫﻩ ﺍﻟﺼﻭﺍﻤ ﹶ‬
‫ﺫﻟﻙ‪ ،‬ﺃ ﱠ‬

‫ﺕ ﻓﻲ ﺍﻟﺴﻤﻊ‪.‬‬ ‫ﻥ ﻟﻠﻤﺘﻜﹼﻠ ﹺﻡ ﺇﻁﺎﻟﺘﹸﻬﺎ)‪ ،(3‬ﻜﻤﺎ ﺘﻌ ﱡﺩ ﺃﻭﻀ َ‬

‫ﺢ ﺍﻟﺼﻭﺍﻤ ِ‬ ‫ﺍﻟﺘﻲ ﻴﻤﻜ ُ‬

‫ﻥ‬
‫ﺕ‪ ،‬ﺒﺎﺴﺘﺜﻨﺎ ِﺀ ﺍﻟﻼ ﹺﻡ‪ ،‬ﻗﺩ ﺍﺨﺘﻴﺭﺕ؛ ﻟﺘﻜـﻭ َ‬
‫ﻥ ﻫﺫﻩ ﺍﻟﺼﻭﺍﻤ ﹶ‬
‫ﺢ ﺍﻟﺘﻤﻴﻴﺯ ّﻴ ِﺔ ﺍﻟﻔﺭﻴﺩ ِﺓ؛ ﻨﺠ ُﺩ ﺃ ﱠ‬
‫ﻭﻟﻬﺫﻩ ﺍﻟﻤﻼﻤ ﹺ‬

‫ﺱ‪ ،‬ﻓﻲ ﺍﻟﺴﻭﺭ ِﺓ‪ ،‬ﺃﻻ ﻭﻫﻭ ﻤﻭﻗ ُﻊ ﺍﻟﻔﺎﺼﻠﺔ)‪(4‬؛ ﻓﺎﻟﻔﺎﺼﻠ ﹸﺔ ﺘﺄﺘﻲ ﻓﻲ ﻨﻬﺎﻴ ِﺔ ﺍﻵﻴـ ِﺔ؛‬
‫ﻓﻲ ﻫﺫﺍ ﺍﻟﻤﻭﻗ ﹺﻊ ﺍﻟﺤﺴّﺎ ﹺ‬

‫ﺱ ﺃﻨﱠﻬـﺎ ﺘﺯﻴـ ُﺩ‬

‫ﻕ ﺍﻟﺴﻠﻴﻡ؛ ﻷﻨﱠﻨﺎ ﻤﻬﻤﺎ ﻴﻜﻥْ ﻤﻥ ﺸﻲ ٍﺀ‪ ،‬ﻨﺤ ﱡ‬
‫ﺹ ﺠﺎﻨﺒًﺎ ﺠﻤﺎﻟﻴ‪‬ﺎ‪ ،‬ﻻ ﻴﺨﻁﺌُﻪ ﺍﻟﺫﻭ ﹸ‬
‫ﻕ ﻟﻠﻨ ﱢ‬
‫ﻟﺘﺤ ﹼﻘ ﹶ‬
‫ﻑ ﻭﺍﻻﺒﺘﺩﺍﺀ‪ ،‬ﻭﺘﻀﺎﻓ ُﺭ‬
‫ﺕ ﺃﺩﺍﺌ ّﻴ ٍﺔ‪ ،‬ﺘﻌ ﱡﺩ ﻤﻌﺎﻟ َﻡ ﻟﻠﻭﻗ ِ‬
‫ﺹ ﻗﻴﻤ ﹰﺔ ﺼﻭﺘ ّﻴ ﹰﺔ ﻤﻨﺘﻅﻤﺔ‪ ،‬ﺘﻘﺴّ ُﻡ ﺴﻴﺎﻗﹶﻪ ﻋﻠﻰ ﻭﺤﺩﺍ ٍ‬
‫ﺍﻟﻨ ﱠ‬

‫ل‬
‫ﷲ ﺍﻟﻤﺜـ ُ‬
‫ﻲ‪ ،‬ﻻ ﻴﺒﻌ ُﺩ ﻜﺜﻴـﺭًﺍ ﻋﻤّـﺎ ﻨﺤﺴﱡـﻪ – ﻭ ِ‬
‫ﻤﺎ ﻓﻴﻪ ﻤﻥ ﺇﻴﻘﺎﻉ؛ ﻓﻴﻨﺸُﺄ ﻤﻥ ﺘﻀﺎﻓﺭﹺﻫﻤﺎ ﺃﺜﺭٌ ﺠﻤﺎﻟ ﱞ‬

‫ل ﻗﻴـ ٍﺩ‪ ،‬ﻤﻤّـﺎ ﺘﻔﺭﻀُـﻪ‬

‫ﻥ ﻫﺫﺍ ﺍﻷﺜ َﺭ‪ ،‬ﻴﻤﺘﺎ ُﺯ ﺒﺎﻟﺤ ّﺭ ّﻴ ِﺔ ﻤﻥ ﻜ ﱢ‬
‫ﻥ ﺍﻟﺸﻌ ﹺﺭ ﻭﻗﺎﻓﻴﺘِﻪ‪ ،‬ﻭﻟﻜ ﱠ‬
‫ﺍﻷﻋﻠﻰ – ﻤﻥ ﻭﺯ ﹺ‬

‫ﺍﻟﺸﻌﺭ)‪.(5‬‬ ‫ﻥ ﻭﺍﻟﻘﺎﻓﻴ ِﺔ‪ ،‬ﻓﻲ‬

‫ﺍﻟﺼﻨﻌ ﹸﺔ ﻋﻠﻰ ﺍﻟﻭﺯ ﹺ‬

‫ل ﻓﻴﻬـﺎ‪ ،‬ﻗﺼـ ُﺭ ﺁﻴﺎﺘِﻬـﺎ؛‬

‫ﻕ ﺍﻟﻔﻭﺍﺼ ﹺ‬
‫ﺏ ﺘﻭﺍﻓ ِ‬
‫ﻻ‪ ،‬ﺇﻟﻰ ﺠﺎﻨ ﹺ‬
‫ﻭﻤﻤّﺎ ﻴﺯﻴ ُﺩ ﻤﻭﺴﻴﻘﻰ ﻫﺫﻩ ﺍﻟﺴﻭﺭ ِﺓ ﺠﻤﺎ ﹰ‬

‫ﻲ‪ ،‬ﻋﻥ ﻜﻴﻔ ّﻴ ِﺔ ﺸﻌﻭ ﹺﺭ ﺍﻟﻤﺭ ِﺀ ﺒﻨﻐ ﹺﻡ ﺍﻟﻜﻼﻡ؛ ﻓﻴﻘﻭﻟﻭﻥ‪:‬‬

‫ﺱ ﺍﻟﻤﻭﺴﻴﻘ ﱢ‬
‫ﻓـ))ﻴﺤ ّﺩﺜﹸـﻨﺎ ﻤَﻥ ﻜﺘﺒﻭﺍ ﻓﻲ ﻋﻠـ ﹺﻡ ﺍﻟﻨﻔ ﹺ‬
‫ﺕ‬
‫ﺕ ﺍﻟﻘﺼـﺎﺭ‪ ،‬ﺃﻭ ﺍﻟﻌﺒـﺎﺭﺍ ِ‬
‫ل ﻜﺘﻠـ ٍﺔ ﻤﻥ ﻋ ّﺩ ِﺓ ﻤﻘﺎﻁ َﻊ‪ ،‬ﺘﺸـﺒ ُﻪ ﺍﻟﻔﻘـﺭﺍ ِ‬
‫ﻼ ﻏﺭﺯﻴ‪‬ﺎ‪ ،‬ﻓﻲ ﻜ ﱢ‬
‫ﻥ ﻫﻨﺎﻙ ﻤﻴ ﹰ‬
‫ﺇﱠ‬

‫ﻥ‪،‬‬
‫ﻥ ﻤﻘﻁﻌًﺎ ﺼﻭﺘﻴ‪‬ﺎ‪ ،‬ﺘﺴﻤﻌُﻬﺎ ﺍﻷﺫ ُ‬
‫ﺍﻟﺼﻐﻴﺭﺓ‪ .‬ﻓﻘﺩ ﻨﺴﻤ ُﻊ ﻓﻲ ﻋﺸ ﹴﺭ ﻤﻥ ﺍﻟﺜﻭﺍﻨﻲ‪ ،‬ﻤـﺎ ﻴﻜﺎ ُﺩ ﻴﺒﻠ ﹸﻎ ﺨﻤﺴﻴ َ‬

‫ل ﺍﻟﺼﻭﺘ ّﻴ ِﺔ ﻤﻘـﺎﻁ ُﻊ‬

‫ل ﺃﻭ ﺘﻘﺼﺭ‪ ،‬ﻓﺈﺫﺍ ﺘﺭﺩّﺩﺕﹾ ﻓﻲ ﺃﻭﺍﺨ ﹺﺭ ﻫﺫﻩ ﺍﻟﻜﺘ ﹺ‬
‫ﻼ ﻤﻥ ﺍﻟﻤﻘﺎﻁ ﹺﻊ‪ ،‬ﺘﻁﻭ ُ‬
‫ﻓﺘﻠﺘﻘﻁﹸﻬﺎ ﻜﺘ ﹰ‬
‫ﺙ ﻫﺫﺍ ﻓﻴﻨﺎ ﺍﻟﺭّﻀـﺎ‪،‬‬
‫ﻥ ﺴﻤﺎﻋِﻬﺎ‪ ،‬ﻭﺒﻌ ﹶ‬
‫ﺒﻌﻴﻨِﻬﺎ؛ ﺸﻌﺭﻨﺎ ﺒﺴﻬﻭﻟ ِﺔ ﺘﺭﺩﻴﺩِﻫﺎ‪ ،‬ﻭﺃﺤﺴﺴﻨﺎ ﺒﻐﺒﻁ ٍﺔ ﻭﺴﺭﻭ ﹴﺭ ﺤﻴ َ‬

‫ﺇﻟﻴﻬﺎ(()‪.(6‬‬ ‫ﻥ‬
‫ﻭﺍﻻﻁﻤﺌﻨﺎ َ‬

‫)‪(1‬‬
‫ﺍﻟﻘﻴﺴﻲ‪ ،‬ﺃﺒﻭ ﻤﺤﻤّﺩ ﻤﻜﹼﻲ ﺒﻥ ﺃﺒﻲ ﻁﺎﻟﺏ‪ :‬ﺍﻟﺭّﻋﺎﻴﺔ ﻟﺘﺠﻭﻴﺩ ﺍﻟﻘﺭﺍﺀﺓ ﻭﺘﺤﻘﻴﻕ ﻟﻔﻅ ﺍﻟﺘﻼﻭﺓ‪ .‬ﺹ‪.131‬‬
‫)‪(2‬‬
‫ﺃﻨﻴﺱ‪ ،‬ﺇﺒﺭﺍﻫﻴﻡ‪ :‬ﺍﻷﺼﻭﺍﺕ ﺍﻟﻠﻐﻭﻴّﺔ‪ .‬ﺹ‪.69‬‬
‫)‪(3‬‬
‫ﻱ‪ .‬ﺹ‪.126‬‬
‫ﻋﻤﺭ‪ ،‬ﺃﺤﻤﺩ ﻤﺨﺘﺎﺭ‪ :‬ﺩﺭﺍﺴﺔ ﺍﻟﺼﻭﺕ ﺍﻟﻠﹼﻐﻭ ّ‬
‫)‪(4‬‬
‫ل ﻜﺘـﺎﺏ ﺍﷲ‪ ،‬ﻭﻤﻔﺭﺩﻫـﺎ‪:‬‬
‫ﻴﻘﺼﺩ ﺒﺎﻟﻔﻭﺍﺼل ﺍﻟﻘﺭﺁﻨﻴّﺔ‪ ،‬ﺃﻭﺍﺨـﺭ ﺍﻵﻴﺎﺕ ﻓﻲ ﻜﺘﺎﺏ ﺍﷲ‪ ،‬ﻭﻫﻲ ﺒﻤﻨﺯﻟـﺔ ﺍﻟﻘﻭﺍﻓﻲ ﻤﻥ ﺍﻟﺸﻌﺭ‪ ،‬ﺠ ّ‬
‫ﻓﺎﺼﻠﺔ‪ .‬ﺍﻨﻅﺭ‪ :‬ﺍﺒﻥ ﻤﻨﻅﻭﺭ‪ ،‬ﺃﺒﻭ ﺍﻟﻔﻀل ﺠﻤﺎل ﺍﻟﺩﻴﻥ‪ :‬ﻟﺴﺎﻥ ﺍﻟﻌﺭﺏ‪ .‬ﺍﻟﻤﺎﺩّﺓ‪) :‬ﻑ‪ ،‬ﺹ‪ ،‬ل(‪.‬‬
‫)‪(5‬‬
‫ﺤﺴﺎﻥ‪ ،‬ﺘﻤﺎﻡ‪ :‬ﺍﻟﺒﻴﺎﻥ ﻓﻲ ﺭﻭﺍﺌﻊ ﺍﻟﻘﺭﺁﻥ‪ .‬ﺹ‪.279‬‬
‫)‪ (6‬ﺃﻨﻴﺱ‪ ،‬ﺇﺒﺭﺍﻫﻴﻡ‪ :‬ﻤﻭﺴﻴﻘﻰ ﺍﻟﺸﻌﺭ‪ .‬ﺹ‪.9‬‬
‫‪91‬‬
‫ﺕ ﺍﻟﺘﻲ ﺘﻘ ُﻊ ﻓﻲ ﻫﺫﺍ‬
‫ﻲ‪ ،‬ﻟﻸﺼﻭﺍ ِ‬
‫ﺝ ﻤﺨﺭﺠ ﱟ‬
‫ﺏ ﻤﻭﺴﻴﻘﻰ ﻫﺫﻩ ﺍﻟﺴﻭﺭ ِﺓ‪ ،‬ﻤﺎ ﻨﺠﺩُﻩ ﻤﻥ ﺘﺩ ّﺭ ﹴ‬
‫ﻭﻤﻥ ﻋﺠﻴ ﹺ‬
‫ﺕ ﻓﻴﻬـﺎ؛ ﻓﺘﺒـﺩُﺃ‬
‫ﺕ ﺍﻵﻴﺎ ِ‬
‫ﻥ ﺍﻟﺴﺎﻤﻊ‪ ،‬ﺃﻻ ﻭﻫﻭ ﺒﺩﺍﻴﺎ ﹸ‬
‫ل ﻤﺎ ﻴﻘ ُﻊ ﻓﻲ ﺃﺫ ﹺ‬
‫ﺱ ﺃﻴﻀًﺎ؛ ﻟﻜﻭﻨِﻪ ﺃ ّﻭ َ‬
‫ﺍﻟﻤﻭﻀ ﹺﻊ ﺍﻟﺤﺴّﺎ ﹺ‬
‫ﺕ‬
‫ﻲ‪ ،‬ﻓﺎﻟﺜﺎﻟﺜـ ﹸﺔ ﺒﺼـﻭ ِ‬
‫ﺕ ﺍﻟﺤﺎ ِﺀ ﺍﻟﺤﻠﻘ ّ‬
‫ﻱ‪ ،‬ﺘﺘﻠـﻭﻫﺎ ﺍﻟﺜﺎﻨﻴ ﹸﺔ ﺒﺼﻭ ِ‬
‫ﺕ ﺍﻟﻬﻤﺯ ِﺓ ﺍﻟﺤﻨﺠﺭ ّ‬
‫ﺍﻵﻴ ﹸﺔ ﺍﻷﻭﻟﻰ ﺒﺼﻭ ِ‬
‫ﻲ‪.‬‬
‫ﺕ ﺍﻟﺜﺎ ِﺀ ﺍﻷﺴﻨﺎﻨ ّ‬
‫ﻲ‪ ،‬ﻓﺎﻟﺭﺍﺒﻌ ﹸﺔ ﺒﺼﻭ ِ‬
‫ﻑ ﺍﻟﻁﺒﻘ ّ‬
‫ﺍﻟﻜﺎ ِ‬

‫ﻑ‬
‫ﺕ ﺍﻟﻜـﺎ ِ‬
‫ﺕ ﺍﻷﺭﺒ ﹺﻊ ﺍﻷﺨﻴﺭﺓ؛ ﻓﺘﺒﺩُﺃ ﺍﻵﻴــ ﹸﺔ ﺍﻟﺨﺎﻤﺴـ ﹸﺔ ﺒﺼـﻭ ِ‬
‫ﻭﻴﺘﻜﺭّ ُﺭ ﺍﻷﻤ ُﺭ ﻨﻔﺴُﻪ‪ ،‬ﻓﻲ ﺍﻵﻴﺎ ِ‬
‫ﻲ)‪.(1‬‬
‫ﺕ ﺍﻟﺜﺎ ِﺀ ﺍﻷﺴﻨﺎﻨـ ّ‬
‫ﻱ‪ ،‬ﻓﺎﻟﺴﺎﺒﻌ ﹸﺔ ﻭﺍﻷﺨﻴﺭ ﹸﺓ ﺒﺼﻭ ِ‬
‫ﺕ ﺍﻟﻼ ﹺﻡ ﺍﻟﻠﹼﺜﻭ ّ‬
‫ﻲ‪ ،‬ﺘﺘﻠـﻭﻫﺎ ﺍﻟﺴﺎﺩﺴ ﹸﺔ ﺒﺼﻭ ِ‬
‫ﺍﻟﻁﺒﻘ ّ‬

‫ﻲ‪ ،‬ﻴﺯﻴ ُﺩ ﻤﻥ ﻋﺫﻭﺒـ ِﺔ ﻤﻭﺴﻴﻘﻰ ﺍﻟﺴﻭﺭ ِﺓ ﻭﺠﻤﺎﻟِﻬـﺎ‪ ،‬ﺒﻤـﺎ‬

‫ﺝ ﺍﻟﻤﺨﺭﺠ ﱠ‬
‫ﻥ ﻫﺫﺍ ﺍﻟﺘﺩ ّﺭ َ‬
‫ﻙ ﻓﻲ ﺃ ﱠ‬
‫ﻭﻻ ﺸ ﱠ‬
‫ل‬
‫ﷲ ﺍﻟﻤﺜـ ُ‬
‫ﻲ؛ ﻓﻬـﻭ ﻴﺸـﺒ ُﻪ – ﻭ ِ‬
‫ﻥ ﺁﻴﺎﺘِﻬﺎ‪ ،‬ﻴﺩﻋ ُﻡ ﻤﺎ ﻓﻴﻬﺎ ﻤﻥ ﺘﺼﺎﻋ ٍﺩ ﻨﻐﻤـ ّ‬
‫ﻅ ﹴﻡ ﺒﻴ َ‬
‫ﻴﺤﺩﺜﹸﻪ ﻤﻥ ﺘﻨﺎﻏ ﹴﻡ ﻤﻨ ﹼ‬
‫ﻲ‪ ،‬ﻭﻫﻭ ))ﻤﺘﻭﺍﻟﻴ ﹸﺔ ﺃﻨﻐﺎ ﹴﻡ‪ ،‬ﺘﺘﺯﺍﻴ ُﺩ ﺘﺭﺩّﺩﺍﺘﹸﻬـﺎ‬
‫ﺍﻷﻋﻠﻰ – ﻤﺎ ﻴُﻌﺭﻑﹸ‪ ،‬ﻓﻲ ﻋﻠ ﹺﻡ ﺍﻟﻤﻭﺴﻴﻘﻰ‪ ،‬ﺒﺎﻟﺴﹼﻠ ﹺﻡ ﺍﻟﻤﻭﺴﻴﻘ ّ‬
‫ﻋﺫﺏ(()‪.(2‬‬ ‫ﻲ‬
‫ﻕ ﻁﺒﻴﻌ ﱟ‬
‫ﺘﺩﺭﻴﺠﻴ‪‬ﺎ‪ ،‬ﺒﻨﺴ ٍ‬

‫ﻙ‪ ،‬ﻤﻥ ﻁﺎﺒ ﹺﻊ ﺍﻟﻐ ﹼﻨ ِﺔ ﻓﻲ ﺍﻟﻤﻴ ﹺﻡ ﻭﺍﻟﻨـﻭﻥ‪،‬‬

‫ﻲ ﺍﻟﻌﺎ ﱡﻡ ﻟﻬﺫﻩ ﺍﻟﺴﻭﺭﺓ‪ ،‬ﻓﺘﺘﹼﺨﺫﹸﻩ‪ ،‬ﺒﻼ ﺸ ﱟ‬
‫ﺃﻤّﺎ ﺍﻟﻁﺎﺒ ُﻊ ﺍﻟﻤﻭﺴﻴﻘ ﱡ‬
‫ﺕ‬
‫ﻥ ﺼـﻭﺍﻤ ِ‬
‫ﻥ ﻤﻌًﺎ‪ ،‬ﺍﻟﻨﺴﺒ ﹶﺔ ﺍﻟﻌﻠﻴﺎ ﺒﻴ َ‬
‫ﻥ ﺘﻤﻠﻜﺎ ﹺ‬
‫ﻲ ﺍﻟﻤﻤﺘ ﱢﺩ ﻓﻲ ﺍﻟﻔﺘﺤﺔ؛ ﻓﺎﻟﻤﻴ ُﻡ ﻭﺍﻟﻨﻭ ُ‬
‫ﻉ ﺍﻟﻨﻁﻘ ﱢ‬
‫ﻭﻁﺎﺒ ﹺﻊ ﺍﻻﺘﹼﺴﺎ ﹺ‬
‫‪،‬‬ ‫ﺕ‬
‫ﻥ ﺍﻟﺤﺭﻜﺎ ِ‬
‫ﺏ ﺒﻴ َ‬
‫ﻙ ﺍﻟﻔﺘﺤ ﹸﺔ ﻋﻠﻴﺎ ﺍﻟﻨﺴ ﹺ‬
‫ﺍﻟﺴﻭﺭﺓ‪ ،‬ﺒﻭﺭﻭﺩِﻫﻤﺎ )‪ (32‬ﻤ ّﺭ ﹰﺓ‪ ،‬ﻤﻥ )‪ (103‬ﺼﻭﺍﻤﺕ‪ ،‬ﻜﻤﺎ ﺘﻤﻠ ُ‬
‫ﺒﻭﺭﻭﺩِﻫﺎ ﻁﻭﻴﻠ ﹰﺔ ﻭﻗﺼﻴﺭ ﹰﺓ )‪ (51‬ﻤ ّﺭ ﹰﺓ‪ ،‬ﻤﻥ )‪ (76‬ﺤﺭﻜ ﹰﺔ ﻓﻲ ﺍﻟﺴﻭﺭﺓ‪.‬‬

‫ﻕ ﻤﺎ ﺘﺤﻤﻠﹸﻪ ﺍﻟﺴﻭﺭ ﹸﺓ ﻤـﻥ ﻤﻀـﻤﻭﻥ؛ ﻓـﺈﺫﺍ ﻜﺎﻨـﺕ‬

‫ﻻ ﻟﻴﻭﺍﻓ ﹶ‬
‫ﻲ‪ ،‬ﺇ ﹼ‬
‫ﻭﻟﻡ ﻴﻜﻥْ ﻫﺫﺍ ﺍﻟﻁﺎﺒ ُﻊ ﺍﻟﻤﻭﺴﻴﻘ ﱡ‬
‫ﻭﺍﻟﻀﺨﺎﻤﺔ)‪،(3‬‬ ‫ل ﻋﻠﻰ ﺍﻟﻜﺒ ﹺﺭ‬
‫ﺍﻟﻔﺘﺤـ ﹸﺔ‪ ،‬ﻜﻤﺎ ﺃﻜﹼـ َﺩ ﺍﻟﻌﺎﻟ ُﻡ )ﻓﻭﻨﺎﺠﻲ ‪ (Fonagy‬ﺒﻘﻭﺍﺌﻤِﻪ ﺍﻹﺤﺼﺎﺌ ّﻴ ِﺔ‪ ،‬ﺘﺩ ﱡ‬
‫ل ﺃﻤ ﹴﺭ ﺨﻁﻴ ﹴﺭ ﻋﻅﻴ ﹴﻡ‪ ،‬ﻜﻤﺎ ﺭﺃﻴﻨﺎ‪.‬‬
‫ﺏ ﻋﻠﻴﻬﺎ ﺍﻟﻔﺘﺤ ﹸﺔ‪ ،‬ﻴﺩﻭ ُﺭ ﺤﻭ َ‬
‫ﻥ ﻫﺫﻩ ﺍﻟﺴﻭﺭ ِﺓ‪ ،‬ﺍﻟﺘﻲ ﺘﻐﻠ ُ‬
‫ﻥ ﻤﻀﻤﻭ َ‬
‫ﻓﺈ ﱠ‬

‫ﺕ‬
‫ل ﺒﺤﺜِﻪ ﻓﻲ ﺍﻟﺼﻭ ِ‬
‫ل ﺍﻟﺩﻜﺘﻭ ُﺭ ﻤﺤﻤّﺩ ﻓﺭﻴـﺩ ﻋﺒﺩ ﺍﷲ‪ ،‬ﻤﻥ ﺨﻼ ﹺ‬
‫ﺼَ‬‫ﺃﻤّﺎ ﻏﻨﹼ ﹸﺔ ﺍﻟﻤﻴ ﹺﻡ ﻭﺍﻟﻨﻭﻥ‪ ،‬ﻓﻘﺩ ﺘﻭ ّ‬

‫ل ﻋﻠﻰ ﺍﻻﻟﺘﺯﺍ ﹺﻡ‪ ،‬ﻭﻤﻜﺎﺒﺩ ِﺓ ﺍﻷﻤﺭ(()‪ ،(4‬ﻭﻫﺫﺍ‬

‫ﻥ ﺍﻟﻜﺭﻴﻡ‪ ،‬ﺇﻟﻰ ﺃﻨﱠﻬﺎ ))ﺼﻭﺕﹲ ﺩﺍ ﱞ‬
‫ﻱ ﻭﺩﻻﻻﺘِﻪ‪ ،‬ﻓﻲ ﺍﻟﻘﺭﺁ ﹺ‬
‫ﺍﻟﻠﹼﻐﻭ ﱢ‬

‫)‪(1‬‬
‫ﻲ ﺨﻠﻴل(‪ :‬ﻓﺼـﻭل ﻓـﻲ ﻋﻠــﻡ ﺍﻷﺼـﻭﺍﺕ‪.‬‬
‫ﺍﻨﻅﺭ ﺘﺩﺭّﺝ ﻫﺫﻩ ﺍﻷﺼﻭﺍﺕ ﺒﻤﺨﺎﺭﺠﻬﺎ‪) :‬ﺍﻟﻨﻭﺭﻱ‪ ،‬ﻤﺤﻤﺩ ﺠﻭﺍﺩ(‪ ،‬ﻭ)ﺤﻤﺩ‪ ،‬ﻋﻠ ّ‬
‫ﺹ‪.225‬‬
‫)‪(2‬‬
‫ﺍﻟﻤﻭﺴﻭﻋﺔ ﺍﻟﻌﻠﻤﻴّﺔ ﺍﻟﺸﺎﻤﻠﺔ‪ .‬ﺹ‪.187‬‬
‫)‪(3‬‬
‫ﻤﻔﺘﺎﺡ‪ ،‬ﻤﺤﻤّﺩ‪ :‬ﻓﻲ ﺴﻴﻤﻴﺎﺀ ﺍﻟﺸﻌﺭ ﺍﻟﻘﺩﻴﻡ‪ .‬ﺍﻟﺩﺍﺭ ﺍﻟﺒﻴﻀﺎﺀ‪ :‬ﺩﺍﺭ ﺍﻟﺜﻘﺎﻓﺔ‪ .1989 .‬ﺹ‪.74‬‬
‫)‪(4‬‬
‫ﻱ ﻭﺩﻻﻻﺘﻪ ﻓﻲ ﺍﻟﻘﺭﺁﻥ ﺍﻟﻜﺭﻴﻡ‪ .‬ﻁ‪ .1‬ﺒﻴﺭﻭﺕ‪ :‬ﺩﺍﺭ ﺍﻟﻬﻼل ﻭﻤﻜﺘﺒﺘﻬﺎ‪ .2008 .‬ﺹ‪.139‬‬
‫ﻋﺒﺩ ﺍﷲ‪ ،‬ﻤﺤﻤّﺩ ﻓﺭﻴﺩ‪ :‬ﺍﻟﺼﻭﺕ ﺍﻟﻠﹼﻐﻭ ّ‬
‫‪92‬‬
‫ﻥ ﺴﻨﺭﻯ ﺠﻬ ﹼﻨ َﻡ ﻴﻭ َﻡ‬
‫ﻙ‪ ،‬ﻴﻭﺍﺌ ُﻡ ﻤﺎ ﺠﺎ َﺀ ﻓﻲ ﺍﻟﺴﻭﺭ ِﺓ‪ ،‬ﻤﻥ ﻤﻌﺎﻨﻲ ﺍﻹﻟﺯﺍ ﹺﻡ ﺍﻟﻤُﺅﻜﱠﺩﺓ؛ ﻓﻨﺤ ُ‬
‫ﺍﻹﻴﺤـﺎ ُﺀ‪ ،‬ﺒﻼ ﺸ ﱟ‬

‫ﻥ‪،‬‬
‫ﷲ – ﺴـﺒﺤﺎﻨﹶﻪ – ﻤُﻠـﺯَﻤﻴ َ‬
‫ﻑ ﺃﻤـﺎ َﻡ ﺍ ِ‬
‫ﻑ ﻭﻫﻭﹶﻟـﻪ؛ ﻭﺴﻨﻘ ﹸ‬
‫ﻥ ﺸ ّﺩ ﹶﺓ ﻫﺫﺍ ﺍﻟﻤﻭﻗ ِ‬
‫ﻥ‪ ،‬ﻤﻜﺎﺒﺩﻴ َ‬
‫ﺍﻟﻘﻴﺎﻤ ِﺔ ﻤُﻠﺯَﻤﻴ َ‬

‫ﺙ ﻻ ﻓﺭﺍ َﺭ‪ ،‬ﻭﻻ ﻨﺠﺎﺓ‪.‬‬

‫ل‪ ،‬ﺤﻴ ﹸ‬
‫ل ﺍﻟﺤﺴﺎﺏ؛ ﻭﺴﻴﻌﻠ ُﻡ ﺍﻟﻼﻫﻲ ﻋﺎﻗﺒ ﹶﺔ ﻟﻬﻭﹺﻩ ﺍﻟﻐﺎﻓ ﹺ‬
‫ﻥ ﻫﻭ َ‬
‫ﻤﻜﺎﺒﺩﻴ َ‬

‫ﻕ‬
‫ﻥ ﻤﺅ ﹼﻜﺩًﺍ؛ ﻓﻬـﻲ ﺘﹸﻠﺤـ ﹸ‬
‫ﻥ ﺍﻷﻏ ﱢ‬
‫ﺕ ﺍﻟﻨﻭ ﹺ‬ ‫ﻭﻤﻤّﺎ ﻴﺅﻜﹼ ُﺩ ﺩﻻﻟ ﹶﺔ ﺍﻟﻐ ﹼﻨ ِﺔ ﻫﺫﻩ‪ ،‬ﺃ ﱠ‬
‫ﻥ ﺍﻟﻌﺭﺒ ّﻴ ﹶﺔ ﺘﺘﹼﺨ ﹸﺫ ﻤﻥ ﺼﻭ ِ‬

‫ﻥ‪ ،‬ﺃﻭ‪ :‬ﻟﺘﻜﺘـﺒﻥْ‪.‬‬

‫ﻉ ﻨﻭﻨﹰﺎ ﻤﺸﺩّﺩ ﹰﺓ ﺜﻘﻴﻠ ﹰﺔ‪ ،‬ﺃﻭ ﺴﺎﻜﻨ ﹰﺔ ﺨﻔﻴﻔ ﹰﺔ؛ ﻟﺘﺄﻜﻴﺩِﻩ‪ ،‬ﻜﻘﻭﻟِﻨﺎ ﺁﻤﺭﻴﻥ‪ :‬ﻟﺘﻜﺘﺒ ﱠ‬
‫ل ﺍﻟﻤﻀﺎﺭ ﹺ‬
‫ﺒﺎﻟﻔﻌ ﹺ‬

‫ﺕ ﺒﻐ ﹼﻨﺘِﻪ‪ ،‬ﻤﻜ ّﻭﻥٌ ﺭﺌﻴﺱٌ‬

‫ﻥ ﻫﺫﺍ ﺍﻟﺼﻭ ﹶ‬
‫ﻥ ﻓﻲ ﺘﺄﻜﻴ ِﺩ ﺍﻷﻤ ﹺﺭ ﺇﻟﺯﺍﻤًﺎ ﻟﻠﻤﺄﻤﻭﺭ‪ .‬ﺃﻀﻑﹾ ﺇﻟﻰ ﺫﻟﻙ‪ ،‬ﺃ ﱠ‬
‫ﻙﺃﱠ‬
‫ﻭﻻ ﺸ ﱠ‬
‫ﻥ(‪.‬‬
‫ﻑ ﺍﻟﺘﻭﻜﻴ ِﺩ )ﺇ ّ‬
‫ﻓﻲ ﺤﺭ ِ‬

‫ﻭﻟﻠﻤﻘﺎﻁ ﹺﻊ ﺍﻟﻤﺘﻭﺴّﻁ ِﺔ ﺍﻟﻤﻐﻠﻘ ِﺔ‪ ،‬ﺍﻟﺘﻲ ﻫﻲ ﺃﻜﺜ ُﺭ ﺍﻟﻤﻘﺎﻁ ﹺﻊ ﻭﺭﻭﺩًﺍ ﻓﻲ ﻫﺫﻩ ﺍﻟﺴﻭﺭ ِﺓ‪ ،‬ﺒﺒﻠﻭﻏِﻬﺎ ﺍﻟﻭﺍﺤ َﺩ‬

‫ﻉ ﺍﻟ ﱠﻨ ﹶﻔﺱﹺ ﻤﻊ ﻫﺫﻩ ﺍﻟﻤﻘـﺎﻁ ﹺﻊ‪،‬‬

‫ﻥ ﻤﻘﻁﻌًﺎ‪ ،‬ﺃﻥ ﺘﺩﻋ َﻡ ﺩﻻﻟ ﹶﺔ ﺍﻹﻟﺯﺍ ﹺﻡ ﻫﺫﻩ؛ ﻓﺎﻨﻘﻁﺎ ُ‬
‫ﻥ‪ ،‬ﻤﻥ ﺴ ﹼﺘ ٍﺔ ﻭﺴﺒﻌﻴ َ‬
‫ﻭﺍﻟﺜﻼﺜﻴ َ‬

‫ﻓﻲ ﺃﺜﻨﺎ ِﺀ ﺍﻟﻜﻼﻡ‪ ،‬ﻗﺎﺩﺭٌ ﻋﻠﻰ ﺍﻹﻴﺤﺎ ِﺀ ﺒﺎﻟﻭﺠﻭﺏ‪.‬‬

‫ﺏ‬
‫ﺙ ﺇﻴﺠـﺎ َ‬
‫ل ﺍﻟـﺫﻱ ))ﻴـﻭﺭ ﹸ‬
‫ل ﺍﻷﻤ ﹺﺭ ﻓﻲ ﺍﻟﻌﺭﺒﻴّﺔ؛ ﻓﻬﺫﺍ ﺍﻟﻔﻌـ ُ‬
‫ل ﻓﻌ ﹺ‬
‫ﻭﻟﻲ ﺃﻥ ﺃﺅ ﹼﻜ َﺩ ﺫﻟﻙ‪ ،‬ﻤﻥ ﺨﻼ ﹺ‬

‫ﻥ‬
‫ﻥ ﺍﻟﻨﻭﻋﻴــ ﹺ‬
‫ﻥ‪ ،‬ﺩﻭ َ‬
‫ل ﻋــﺎ ﱟﻡ – ﻋﻠـﻰ ﺍﻟﺴﻜــﻭ ﹺ‬
‫ﻲ – ﺒﺸﻜ ﹴ‬
‫ﺏ ﻤﻨـﻪ(()‪ ،(1‬ﻤﺒﻨ ﱞ‬
‫ﻥ‪ ،‬ﻋﻠﻰ ﺍﻟﻤﻁﻠﻭ ﹺ‬
‫ﺍﻹﺘﻴﺎ ﹺ‬
‫ﺕ‪ ،‬ﻜﻬـﺫﺍ‬
‫ﻥ ﻗﻁﻊٌ ﻟﻠ ﱠﻨ ﹶﻔﺱﹺ؛ ﻟﻜﻭﻨِﻪ ﺍﻨﺘﻬــﺎ ًﺀ ﺒﺼـﺎﻤ ٍ‬
‫ﻉ ﻭﺍﻟﻤﺎﻀﻲ‪ ،‬ﻭﻓـﻲ ﺍﻟﺘﺴﻜﻴ ﹺ‬
‫ﻥ‪ :‬ﺍﻟﻤﻀﺎﺭ ﹺ‬
‫ﺍﻵﺨﺭﻴ ﹺ‬

‫ﻉ ﻤﻥ ﺍﻟﻤﻘﺎﻁـﻊ‪.‬‬
‫ﺍﻟﻨـﻭ ﹺ‬

‫ﻥ‬
‫ﻲ ﺍﻟﺫﻱ ﺘﺤﺩﺜﹸﻪ ﺍﻟﻤﻘﺎﻁ ُﻊ ﺍﻟﻁﻭﻴﻠ ﹸﺔ ﺍﻟﻤﻐﻠﻘ ﹸﺔ ﺍﻟﺴﺘﹼﺔ‪ ،‬ﻭﺍﻟﻤﻘـﺎﻁ ُﻊ ﺍﻟﻘﺼـﻴﺭ ﹸﺓ ﺍﻟﺜﻼﺜـﻭ َ‬
‫ل ﺍﻟﻨﻁﻘ ﱢ‬
‫ﻭﻟﻠﺜﻘ ﹺ‬
‫ﺉ‬
‫ﻕ ﻟﻬﺫﻩ ﺍﻟﺴﻭﺭ ِﺓ ﺘﺄﺜﻴﺭَﻫﺎ ﺍﻷﻫ ﱠﻡ ﻓﻲ ﺍﻟﻤﺘﻠﻘﹼﻲ؛ ﻓﻘﺎﺭ ُ‬
‫ﺽ ﺍﻟﻤﻭﺍﻀﻊ‪ ،‬ﺃﻥ ﻴﺤ ﹼﻘ ﹶ‬
‫ﺒﺘﺘﺎﺒﻌِﻬﺎ ﻭﺍﺯﺩﺤﺎﻤِﻬﺎ‪ ،‬ﻓﻲ ﺒﻌ ﹺ‬

‫ﺏ ﻫﺫﻩ‬
‫ل ﻤﺎ ﻋﻠﻰ ﻋﺎﺘﻘِﻪ ﻤﻥ ﺃﻋﻘﺎ ﹺ‬
‫ل ﺇﻴﻘﺎﻋﺎﺘِﻬﺎ‪ ،‬ﺒﺜﻘ ﹺ‬
‫ل ﺴﻴّﺩ ﻗﻁﺏ‪ ،‬ﻴﺸﻌ ُﺭ ﻤﻥ ﺨﻼ ﹺ‬
‫ﻫﺫﻩ ﺍﻟﺴﻭﺭ ِﺓ‪ ،‬ﻜﻤﺎ ﻴﻘﻭ ُ‬

‫ﻭﺍﻟﺼﻐﻴﺭﺓ)‪.(2‬‬ ‫ﺏ ﻨﻔﺴَﻪ ﻋﻠﻰ ﺍﻟﻜﺒﻴﺭ ِﺓ‬

‫ﺍﻟﺤﻴـﺎ ِﺓ‪ ،‬ﺍﻟﺘـﻲ ﻴﺤﻴﺎﻫﺎ ﻋﻠﻰ ﺍﻷﺭﺽ؛ ﻓﻴُﻨﺸﺊُ ﻴﺤﺎﺴ ُ‬

‫ل‬
‫ل ﻤﺎ ﺃﻨﻬﻰ ﺒـﻪ ﻫﺫﺍ ﺍﻟﻤﻔﺴّـ ُﺭ ﺍﻟﺠﻠﻴـ ُ‬
‫ﻻ ﺃﻥ ﺃﻗﻭ َ‬
‫ل ﺍﻟﻴﺴﻴ ﹺﺭ‪ ،‬ﺇ ﹼ‬
‫ﻭﺃﺨﻴﺭًﺍ‪ ،‬ﻻ ﻴﺴﻌُﻨﻲ ﺒﻌ َﺩ ﻫﺫﺍ ﺍﻟﺘﺤﻠﻴ ﹺ‬

‫ﺱ ﻤـﺎ ﺘﹸﻠﻘـﻲ ﺒﻤﻌﻨﺎﻫـﺎ‬

‫ﺘﻔﺴﻴ َﺭ ﻫﺫﻩ ﺍﻟﺴﻭﺭﺓ‪)) :‬ﺇﻨﱠﻬﺎ ﺴﻭﺭﺓﹲ ﺘﻌﺒّ ُﺭ ﺒﺫﺍﺘِﻬﺎ ﻋﻥ ﺫﺍﺘِﻬﺎ‪ ،‬ﻭﺘﹸﻠﻘﻲ ﻓـﻲ ﺍﻟﺤـ ﱢ‬

‫)‪(1‬‬
‫ﺍﻟﺴﻜﺎﻜﻲ‪ ،‬ﺃﺒﻭ ﻴﻌﻘﻭﺏ ﻴﻭﺴﻑ‪ :‬ﻤﻔﺘﺎﺡ ﺍﻟﻌﻠﻭﻡ‪ .‬ﻀﺒﻁﹶﻪ ﻭﻜﺘﺏ ﻫﻭﺍﻤﺸﻪ ﻭﻋﻠﹼﻕ ﻋﻠﻴﻪ ﻨﻌﻴﻡ ﺯﺭﺯﻭﺭ‪ .‬ﻁ‪ .2‬ﺒﻴﺭﻭﺕ‪ :‬ﺩﺍﺭ ﺍﻟﻜﺘﺏ‬
‫ﺍﻟﻌﻠﻤﻴّﺔ‪ .1987 .‬ﺹ‪.318‬‬
‫)‪(2‬‬
‫ﻗﻁﺏ‪ ،‬ﺴﻴّﺩ‪ :‬ﻓﻲ ﻅﻼل ﺍﻟﻘﺭﺁﻥ‪.3963 / 6 .‬‬
‫‪93‬‬
‫ﻑ ﺍﻟﺤﻴﺎ ِﺓ ﺍﻟﺩﻨﻴﺎ‪ ،‬ﻭﺼﻐﺎﺌ ﹺﺭ ﺍﻫﺘﻤﺎﻤﺎﺘِﻬﺎ‬
‫ﻻ ﺒﻬ ﱢﻡ ﺍﻵﺨـﺭ ِﺓ‪ ،‬ﻋﻥ ﺴﻔﺴﺎ ِ‬
‫ﻼ ﻤﺸﻐﻭ ﹰ‬
‫ﺏ ﻤﺜﻘ ﹰ‬
‫ﻉ ﺍﻟﻘﻠ َ‬
‫ﻭﺇﻴﻘﺎﻋِﻬﺎ‪ ،‬ﻭﺘﺩ ُ‬

‫ﺍﻟﻔﺎﺭﻏﻭﻥ(()‪.(1‬‬ ‫ﺵ ﻟﻬﺎ‬
‫ﺍﻟﺘﻲ ﻴﻬ ﱡ‬

‫‪ .2‬ﺘﺤﻠﻴ ُل ﺴﻭﺭ ِﺓ ﺍﻟﻌﺼﺭ‬

‫ﻥ ﺍﻟ ّﺭﺤﻴﻡ‬
‫ﷲ ﺍﻟ ّﺭﺤﻤ ﹺ‬
‫ﺒﺴ ﹺﻡ ﺍ ِ‬

‫ﷲ ﺍﻟﻌﻅﻴﻡ‬
‫ﻕﺍ ُ‬
‫ﺼﺩ ﹶ‬

‫ﺍﻟﺴﻭﺭ ﹸﺓ ﺒﺎﻟﻜﺘﺎﺒ ِﺔ ﺍﻟﺼﻭﺘ ّﻴ ِﺔ‪ ،‬ﻤﻊ ﺘﺤﺩﻴ ِﺩ ﻤﻘﺎﻁﻌِﻬﺎ‪:‬‬

‫‪wal / ca r X‬‬ ‫‪in / nal /‬‬ ‫‪in / saa / na / la / fii / xusr Y‬‬ ‫‪il / lal / la /‬‬

‫‪ii / na /‬‬ ‫‪aa / ma / nuu / wa / ca / mi / lu‬‬ ‫‪/‬‬ ‫‪aa / li / aa / ti / wa / ta /‬‬

‫‪waa / aw / bil / aq / qi / wa / ta / waa / aw / bi / abr Z.‬‬

‫ل‬
‫ل‪ ،‬ﺍﻟﺫﻱ ﻻ ﺒ ﱠﺩ ﻟﻠﺒﺸﺭ ّﻴ ِﺔ ﺃﻥ ﺘﻌﻤـ َ‬
‫ﺙ ﺁﻴﺎﺕ‪ ،‬ﻟﻜﻨﱠﻬﺎ ﺘﻭﺠ ُﺯ ﺍﻟﺩﺴﺘﻭ َﺭ ﺍﻷﻤﺜ َ‬
‫ﺴﻭﺭﺓﹲ ﻗﺼﻴﺭﺓﹲ‪ ،‬ﻓﻲ ﺜﻼ ِ‬

‫ﻕ ﺴﻌﺎﺩﺘﹸﻬﺎ ﻓﻲ ﺍﻟﺩﻨﻴﺎ ﻭﺍﻵﺨﺭﺓ‪ .‬ﺩﺴﺘﻭﺭٌ ﻋﻅﻴﻡٌ ﻻ ﻴﻁﺎﻭﻟﹸﻪ ﺩﺴﺘﻭﺭ‪ ،‬ﻤﻬّﺩﺕﹾ ﻟﻪ ﺍﻟﺴﻭﺭ ﹸﺓ ﺒﻬـﺫﺍ‬
‫ﺒﻪ؛ ﻟﺘﺘﺤ ﹼﻘ ﹶ‬

‫ﻕ ﺒﻌﻅﻤﺘِﻪ‪ ،‬ﻭﻋﻅﻤ ِﺔ ﻤــﺎ ﻭﻗـ َﻊ ﻤـﻥ ﺃﺠﻠِـﻪ‪:‬‬

‫ل ﻋﻨﺎﺼﺭُﻩ ﺍﻟﺼﻭﺘﻴّ ﹸﺔ؛ ﻟﺘﻠﻴ ﹶ‬
‫ﺍﻟﻘﺴ ﹺﻡ ﺍﻟﻌﻅﻴ ﹺﻡ‪ ،‬ﺍﻟﺫﻱ ﺘﺘﻜﺎﻤ ُ‬

‫﴿ﻭَﺍﻟﹾ َﻌﺼْﺭ﴾‪:‬‬

‫‪wal / ca r.‬‬

‫ﻥ‬
‫ﻥ‪ ،‬ﻭﺍﻟﺼـﺎﻤﺘﻴ ﹺ‬
‫ﻑ ﺍﻟﺤﺭﻜـ ِﺔ‪ :‬ﺍﻟـﻭﺍ ﹺﻭ‪ ،‬ﻭﺍﻟﻌـﻴ ﹺ‬
‫ﻥ‪ ،‬ﻭﻨﺼ ِ‬
‫ﺕ ﻫﺫﺍ ﺍﻟﻘﺴﻡ‪ :‬ﺍﻟﻔﺘﺤﺘﻴ ﹺ‬
‫ﻓﺎﻨﻅﺭْ ﻓﻲ ﺃﺼﻭﺍ ِ‬
‫ل‪ ،‬ﻤﻥ ﺸﺄﻨِﻪ ﺃﻥ ﻴُﺸﻌﺭَﻙ ﺒﻤﺎ ﻴﺤﻤﻠﹸﻪ ﻫﺫﺍ ﺍﻟﻘﺴ ُﻡ‬
‫ﻲ ﻋﺎ ﹴ‬
‫ﺡ ﺴﻤﻌ ﱟ‬
‫ﺕ ﻭﻀﻭ ﹴ‬
‫ﻥ‪ :‬ﺍﻟﻼ ﹺﻡ ﻭﺍﻟﺭﺍﺀ؛ ﺘﺠﺩْﻫﺎ ﺫﺍ ﹶ‬
‫ﺍﻟﺭﻨﹼﺎﻨﻴ ﹺ‬

‫ﺕ ﻓﻲ ﺍﻟﻭﻀﻭﺡ‪ ،‬ﻟﻜﻨﱠﻬﺎ ﺘﻀﺨﹼ ُﻡ ﺸﻌﻭﺭَﻙ ﻫﺫﺍ ﺒﻤﻠﻤﺤِﻬﺎ‬

‫ﻥ ﻫﺫﻩ ﺍﻷﺼﻭﺍ ِ‬
‫ﻤﻥ ﻋﻅﻤﺔ‪ .‬ﺃﻤّﺎ ﺍﻟﺼﺎ ُﺩ‪ ،‬ﻓﻬﻲ ﺩﻭ َ‬

‫)‪ (1‬ﻗﻁﺏ‪ ،‬ﺴﻴّﺩ‪ :‬ﻓﻲ ﻅﻼل ﺍﻟﻘﺭﺁﻥ‪.3963 / 6 .‬‬

‫‪94‬‬
‫ﺙ‪ ،‬ﺃﻭ ﻓﻲ ﺍﻟﻭﺼﻑ‪ ،‬ﺃﻻ ﻭﻫﻭ‬
‫ﻉ ﺍﻟﺤﺩ ِ‬
‫ﺏ ﺇﻟﻴﻪ‪ ،‬ﺇﻴﺤﺎ ًﺀ ﺒﺎﻟﻤﺒﺎﻟﻐ ِﺔ ﻓـﻲ ﺇﻴﻘﺎ ﹺ‬
‫ﻥ ﺃﻥ ﻨﻨﺴ َ‬
‫ﻱ‪ ،‬ﺍﻟﺫﻱ ﻴﻤﻜ ُ‬
‫ﺍﻟﺘﻤﻴﻴﺯ ﱢ‬

‫ﺍﻟﺘﻔﺨﻴﻡ)‪.(1‬‬

‫ﻕ‪َ ) :‬ﻭلْ‪،(wal :‬‬

‫ﻁ ﺍﻟﻤﻐﻠـ ِ‬
‫ﻥ ﻤﻨﻬﻤـﺎ ﺍﻵﻴـﺔ‪ :‬ﺍﻟﻤﺘﻭﺴّـ ِ‬
‫ﻥ ﺘﺘﻜﻭّ ُ‬
‫ﻥ ﺍﻟﻠﹼﺫﻴ ﹺ‬
‫ﻥ ﺍﻟﻤﻘﻁﻌﻴ ﹺ‬
‫ﻭﺍﻨﻅﺭْ ﻓﻲ ﻫﺫﻴ ﹺ‬
‫ﻥ ﻤﺎ ﻓﻲ ﺍﻟﻘﺴ ﹺﻡ ﻤـﻥ‬
‫ﻑ ﻴﻌﻜﺴﺎ ﹺ‬
‫ﻋﺼْﺭْ‪ ،(ca r :‬ﻜﻴ ﹶ‬
‫ﺝ ﺍﻹﻏﻼﻕ )ﺹ ﺡ ﺹ ﺹ(‪َ ) :‬‬
‫ل ﺍﻟﻤﺯﺩﻭ ﹺ‬
‫ﻭﺍﻟﻁﻭﻴ ﹺ‬

‫ﻙ ﻭﺠﺩﺍل‪.‬‬
‫لﺸﱟ‬
‫ﻕ ﻫﺫﺍ ﺍﻟﻘﺴ ﹺﻡ ﺍﻟﻌﻅﻴ ﹺﻡ‪ ،‬ﺍﻟﺫﻱ ﻴﻘﻁ ُﻊ ﻜ ﱠ‬
‫ﺘﺄﻜﻴﺩ‪ ،‬ﺒﻘﻁﻌِﻬﻤﺎ ﺃﻨﻔﺎﺴَﻙ‪ ،‬ﻓﻲ ﺃﺜﻨﺎ ِﺀ ﻨﻁ ِ‬

‫ﺱ ﻫﺫﻩ ﺍﻵﻴ ِﺔ‪ ،‬ﺜﻘلٌ ﻋﻅـﻴﻡٌ‬

‫ﻑ ﻋﻠﻰ ﺭﺃ ﹺ‬
‫ﻥ ﺒﺎﻟﻭﻗ ِ‬
‫ﺝ ﺍﻹﻏﻼﻕ‪ ،‬ﺍﻟﺫﻱ ﻴﺘﻜﻭّ ُ‬
‫ل ﺍﻟﻤﺯﺩﻭ ﹺ‬
‫ﻭﻟﻠﻤﻘﻁ ﹺﻊ ﺍﻟﻁﻭﻴ ﹺ‬

‫ﻲ )‪ (Cluster‬ﻓﻲ ﺁﺨﺭﹺﻩ‪.‬‬
‫ﻋﻠﻰ ﺍﻟﻠﹼﺴﺎﻥ؛ ﻴﻌﻭ ُﺩ ﺇﻟﻰ ﻁﻭﻟِﻪ‪ ،‬ﻭﻋﻨﻘﻭﺩِﻩ ﺍﻟﻔﻭﻨﻴﻤ ﱢ‬

‫ل‬
‫ﺹ ﻤﻨﻪ‪ ،‬ﺒـﺈﺤﻼ ﹺ‬
‫ﻕ ﻫﺫﺍ ﺍﻟﻤﻘﻁﻊ‪ ،‬ﺃﻨﹼﻨﺎ ﻓﻲ ﺍﻟﻌﺎ ّﻤّﻴ ِﺔ‪ ،‬ﻨﻌﻤ ُﺩ ﺇﻟﻰ ﺍﻟﺘﺨﹼﻠ ﹺ‬
‫ل ﻋﻠﻰ ﺼﻌﻭﺒ ِﺔ ﻨﻁ ِ‬
‫ﻭﻤﻤّﺎ ﻴﺩ ﱡ‬

‫ﻁ ﺍﻟﻤﻐﻠـﻕ‪ ،‬ﻜﻘﻭﻟِﻨﺎ‪ ) :‬ﹶﻨﻬﹺـﺭْ‪na / :‬‬

‫ﺴﹸ‬
‫ل ﻤﻜﺎﻨﹶﻪ‪ ،‬ﻭﻫﻤﺎ‪ :‬ﺍﻟﻤﻘﻁ ُﻊ ﺍﻟﻘﺼﻴ ُﺭ‪ ،‬ﻭﺍﻟﻤﻘﻁ ُﻊ ﺍﻟﻤﺘﻭ ّ‬
‫ﻥ ﺃﺴﻬ َ‬
‫ﻤﻘﻁﻌﻴ ﹺ‬
‫ﻻ ﻤﻥ‪ ) :‬ﹶﻨﻬْﺭْ‪ ،(nahr :‬ﻭ)ﺸﹶـﻤْﺱْ‪:‬‬
‫ﺼﺒﹺـﺢْ‪ ،( u / bi :‬ﺒـﺩ ﹰ‬
‫ﺸﻤِـﺱْ‪ ،( a / mis :‬ﻭ) ُ‬
‫‪ ،(hir‬ﻭ) ﹶ‬

‫ﺼﺒْﺢْ‪.( ub :‬‬
‫‪ ،( ams‬ﻭ) ُ‬

‫ﺕ‬
‫ﺢ ﺍﻻﺤﺘﻜﺎﻙ‪ :‬ﺍﻟﺼﺎ ُﺩ ﻭﺍﻟﻌﻴﻥ؛ ﻭﺍﻟﺼﺎﻤ ﹸ‬
‫ﻥ ﺒﻤﻠﻤ ﹺ‬
‫ﻥ ﺍﻟﺜﻘﻴﻼ ﹺ‬
‫ل ﻓﻲ ﺍﻵﻴ ِﺔ‪ ،‬ﺍﻟﺼﺎﻤﺘﺎ ﹺ‬
‫ﻭﻴﺯﻴ ُﺩ ﻤﻥ ﻫﺫﺍ ﺍﻟﺜﻘ ﹺ‬
‫ﻕ‪َ ) :‬ﻭ‪.(wa :‬‬
‫ﺢ ﺍﻟﺘﻜﺭﺍﺭ‪ :‬ﺍﻟﺭّﺍﺀ؛ ﻭﺍﻟﺤﺭﻜ ﹸﺔ ﺍﻟﻤﺯﺩﻭﺠ ﹸﺔ ﺍﻟﺼﻌﺒ ﹸﺔ ﺍﻟﻨﻁ ِ‬
‫ل ﺒﻤﻠﻤ ﹺ‬
‫ﺍﻟﺜﻘﻴ ُ‬

‫ﻕ ﻤـﺎ ﻴﺜﻴـﺭُﻩ ﻓﻴﻨـﺎ ﻤـﻥ‬

‫ل ﺍﻟﺸﺩﻴ ِﺩ ﺃﻥ ﻴﻭﺍﺌ َﻡ ﻭﻗ َﻊ ﻫﺫﺍ ﺍﻟﻘﺴ ﹺﻡ ﻋﻠﻰ ﺍﻟﻨﻔﺱ‪ ،‬ﻭﺃﻥ ﻴﻌ ّﻤ ﹶ‬
‫ﻭﻟﻬﺫﺍ ﺍﻟﺜﻘ ﹺ‬
‫ﻕ ﻭﻗﻭﻋَﻪ؛ ﻓﺘﺠﺩُﻨﺎ‬
‫ﻻ ﻟﺸﻲ ٍﺀ ﻋﻅﻴ ﹴﻡ‪ ،‬ﻴﺴﺘﺤ ﱡ‬
‫ﻥ ﺍﻟﻘﺴ َﻡ ﻻ ﻴﻘ ُﻊ ﺇ ﹼ‬ ‫ﻥ ﻨﻌﺭ ﹸ‬
‫ﻑ ﺒﺨﺒﺭﺘِﻨﺎ ﺍﻟﻠﹼﻐﻭ ّﻴ ِﺔ‪ ،‬ﺃ ﱠ‬ ‫ﺃﺤﺎﺴﻴﺱ؛ ﻓﻨﺤ ُ‬
‫ﻨﻨﺘﻅ ُﺭ ﻤﺎ ﺒﻌﺩَﻩ ﺒﺭﻫﺒ ٍﺔ‪ ،‬ﺃﻭ ﺒﺭﻏﺒﺔ‪.‬‬

‫ﻲ‪ :‬ﺍﻟﺘﻨﻐﻴ ُﻡ‪ ،‬ﺍﻟﻭﺍﻗ ُﻊ ﻋﻠﻰ ﻫﺫﻩ‬

‫ﻭﻟﻬﺫﻩ ﺍﻟﺭﻫﺒ ِﺔ ﺃﻭ ﺍﻟﺭﻏﺒ ِﺔ ﺃﻥ ﺘﺯﺩﺍ َﺩ‪ ،‬ﺒﻤﺎ ﻴﺤﺩﺜﹸﻪ ﺍﻟﻔﻭﻨﻴ ُﻡ ﻏﻴ ُﺭ ﺍﻟﺘﺭﻜﻴﺒ ﱢ‬
‫ﺕ ﻭﺍﻨﺨﻔﺎﻀِﻬﺎ‪ ،‬ﻓﻲ ﺃﺜﻨـﺎ ِﺀ ﺍﻟﻨﻁـ ِ‬
‫ﻕ‪ ،‬ﻜﻤـﺎ‬ ‫ﻉ ﺩﺭﺠ ِﺔ ﺍﻟﺼﻭ ِ‬
‫ﻲ‪ ،‬ﻴﻌﻭ ُﺩ ﺇﻟﻰ ﺍﺭﺘﻔﺎ ﹺ‬
‫ﻥ ﺇﻴﻘﺎﻋ ﱟ‬
‫ﺍﻵﻴ ِﺔ‪ ،‬ﻤﻥ ﺘﻠﻭﻴ ﹴ‬
‫ﻲ ﻟﻬـﺫﻩ‬
‫ﺡ ﺍﻟﺴﻤﻌ ﱢ‬
‫ﻥ‪ ،‬ﻤﻥ ﺯﻴﺎﺩ ٍﺓ ﻓﻲ ﺍﻟﻭﻀﻭ ﹺ‬
‫ﻥ ﺍﻟﺼﻭﺘﻴّﻴ ﹺ‬
‫ﺇﻀﺎﻓ ﹰﺔ ﺇﻟﻰ ﻤﺎ ﻴﺤ ﹼﻘﻘﹸﻪ ﺒﺎﻫﺘﺯﺍ ﹺﺯ ﺍﻟﻭﺘﺭﻴ ﹺ‬ ‫ﻋﺭﻓﻨﺎ)‪،(2‬‬

‫ﺍﻵﻴﺔ‪.‬‬

‫)‪(1‬‬
‫ﺤﺴﺎﻥ‪ ،‬ﺘﻤﺎﻡ‪ :‬ﺍﻟﺒﻴﺎﻥ ﻓﻲ ﺭﻭﺍﺌﻊ ﺍﻟﻘﺭﺁﻥ‪ .‬ﺹ‪.293‬‬
‫)‪(2‬‬
‫ﺍﻨﻅﺭ ﺹ‪ 87 ،86‬ﻤﻥ ﻫﺫﺍ ﺍﻟﺒﺤﺙ‪.‬‬
‫‪95‬‬
‫ﺱ ﺍﻟﻤﺘﻠﻘﹼﻲ‪،‬‬
‫ﻥ ﺍﻟﺭﻏﺒ ِﺔ‪ ،‬ﻓﻲ ﻨﻔ ﹺ‬
‫ﺕ ﺍﻟﺭﻫﺒ ِﺔ ﺩﻭ َ‬
‫ﺏ ﺍﻟﻘﺴ ﹺﻡ‪ ،‬ﻓﻲ ﺍﻵﻴ ِﺔ ﺍﻟﺜﺎﻨﻴﺔ؛ ﻹﺜﺒﺎ ِ‬
‫ﺒﻌ َﺩ ﺫﻟﻙ‪ ،‬ﻴﺄﺘﻲ ﺠﻭﺍ ُ‬

‫ﺨﺴْﺭ ﴾‪:‬‬
‫ﻥ ﻟﹶﻔﻲ ﹸ‬
‫ﻹﻨﹾﺴﺎ َ‬
‫ﻥﺍِ‬
‫ﻑ ﺍﻹﻴﺤﺎﺀﺍﺕ‪ِ ﴿ :‬ﺇ ﱠ‬
‫ﺏ ﻤﺘﺂﻟ ِ‬
‫ﻉ ﺭﻫﻴ ﹴ‬
‫ﻓﻲ ﺇﻴﻘﺎ ﹴ‬

‫‪in / nal /‬‬ ‫‪in / saa / na / la / fii / xusr.‬‬

‫ﺕ ﺍﻟﻬﻤـﺯ ِﺓ‬
‫ﻓﻬﺫﻩ ﺍﻵﻴ ﹸﺔ ﺘﻨ ّﺒﻬُﻙ ﻤﻥ ﺒﺩﺍﻴﺘِﻬﺎ‪ ،‬ﻋﻠﻰ ﻋﻅ ﹺﻡ ﺍﻷﻤ ﹺﺭ ﺍﻟﺫﻱ ﺘﺤﻤﻠﹸـﻪ ﻭﺨﻁـﺭﹺﻩ‪ ،‬ﺒﺼـﻭ ِ‬

‫ﻥ ﺨﺎﺴﺭٌ ﺨﺴﺎﺭ ﹰﺓ ﺩﺍﺌﻤـ ﹰﺔ‪،‬‬

‫ﻥ ﺍﻹﻨﺴﺎ َ‬
‫ﺹ ﻋﻠﻰ ﺃ ﱠ‬
‫ﻑ‪ ،‬ﺍﻟﺸﺩﻴ ِﺩ ﺍﻟﻭﻗ ﹺﻊ ﻓﻲ ﺍﻷﺫﻥ؛ ﻓﻬﻲ ﺘﻨ ﱡ‬
‫ﻱ ﺍﻟﺨﺎﻁ ِ‬
‫ﺍﻻﻨﻔﺠﺎﺭ ﱢ‬

‫ﻥ ﺍﻵﻴ ﹶﺔ ﻗﺩ ﻋﺒّﺭﺕﹾ ﻋﻨﻬﺎ‬

‫ﻥ ﺫﻟﻙ ﻓﻲ ﺩﻨﻴﺎﻩ‪ ،‬ﺃﻡ ﻓﻲ ﺁﺨﺭﺘِﻪ‪ .‬ﻭﻴﺩﻟﱡﻙ ﻋﻠﻰ ﺩﻭﺍ ﹺﻡ ﻫﺫﻩ ﺍﻟﺨﺴﺎﺭ ِﺓ‪ ،‬ﺃ ﱠ‬
‫ﺴﻭﺍﺀٌ ﺃﻜﺎ َ‬

‫ﻥ ﻜﺎﻷﻓﻌﺎل‪.‬‬
‫ﻁ ﺒﺯﻤ ﹴ‬ ‫ﺒﺎﻟﻤﺼﺩ ﹺﺭ‪ ) :‬ﹸ‬
‫ﺨﺴْﺭ(‪ ،‬ﻭﺍﻟﻤﺼﺩ ُﺭ ﻻ ﻴﺭﺘﺒ ﹸ‬

‫ﻥ‪) :‬ﺴﺎ‪ / saa :‬ﻓــﻲ‪:‬‬

‫ﻥ ﺍﻟﻤﻔﺘﻭﺤﻴ ﹺ‬
‫ﻥ ﺍﻟﻤﺘﻭﺴّﻁﻴ ﹺ‬
‫ﻥ ﺍﻟﻤﻘﻁﻌﻴ ﹺ‬
‫ﻭﺇﻨﱠﻙ ﻟﺘﺴﺘﺸﻌ ُﺭ ﻫﺫﺍ ﺍﻟﺩﻭﺍ َﻡ‪ ،‬ﻓﻲ ﻫﺫﻴ ﹺ‬

‫ل‪ ،‬ﻤﻥ ﺍﻟﺫﻱ ﻴﺴـﺘﻐﺭﻗﹸﻪ‬

‫ﻕ ﻨﻁﻘﹸﻪ ﺒﺤﺭﻜﺘِـﻪ ﺍﻟﻁﻭﻴﻠ ِﺔ ﺯﻤﻨﹰﺎ ﺃﻁﻭ َ‬
‫ﻉ ﻤﻥ ﺍﻟﻤﻘﺎﻁ ﹺﻊ‪ ،‬ﻴﺴﺘﻐﺭ ﹸ‬
‫‪(fii‬؛ ﻓﻬﺫﺍ ﺍﻟﻨﻭ ُ‬
‫ﻁ ﺍﻟﻤﻐﻠﻕ‪.‬‬
‫ﺍﻟﻤﻘﻁ ُﻊ ﺍﻟﻘﺼﻴ ُﺭ‪ ،‬ﻭﺍﻟﻤﻘﻁ ُﻊ ﺍﻟﻤﺘﻭﺴّ ﹸ‬

‫ﻥ‪ ،‬ﺃﻥ ﻴـﺩﻋﻤﺎ ﺇﻴﺤـﺎ َﺀ‬

‫ﻥ ﺍﻟﻭﺍﺭ ِﺩ ﻓﻴﻬﺎ ﻤﺭّﺘﻴ ﹺ‬
‫ﻥ‪ :‬ﺍﻟﺭّﺍ ِﺀ ﺍﻟﻭﺍﻗ ﹺﻊ ﻓﻲ ﻓﺎﺼﻠ ِﺔ ﺍﻵﻴـ ِﺔ‪ ،‬ﻭﺍﻟﺴﻴ ﹺ‬
‫ﻭﻟﻠﺼﺎﻤﺘﻴ ﹺ‬

‫ل ﻋﻠﻰ ﺍﻟﺴﻌ ِﺔ‬

‫ﻉ ﺍﻟﻭﺼﻑ‪ ،‬ﻭﺍﻵﺨـ ُﺭ ﻴﺩ ﱡ‬
‫ل ﻋﻠﻰ ﺸﻴﻭ ﹺ‬
‫ﻱ‪ ،‬ﻴﺩ ﱡ‬
‫ﺕ ﺘﻜﺭﺍﺭ ﱟ‬
‫ل ﺫﻭ ﺼﻭ ٍ‬
‫ﻥ ﺍﻟﻤﻘﻁﻌﻴﻥ؛ ﻓﺎﻷﻭّ ُ‬
‫ﻫﺫﻴ ﹺ‬
‫ﻭﺍﻟﺒﺴﻁ ِﺔ‪ ،‬ﻤﻥ ﻏﻴ ﹺﺭ ﺘﺨﺼﻴﺹ)‪.(1‬‬

‫ﺕ ﻫﺫﻩ ﺍﻵﻴ ِﺔ ﺍﻟﺜﻼﺜ ﹶﺔ ﻋﺸـ َﺭ‪ ،‬ﺒﺎﺴـﺘﺜﻨﺎ ِﺀ ﺍﻟﻬﻤـﺯ ِﺓ ﺍﻟـﻭﺍﺭﺩ ِﺓ‬

‫ﻥ ﺠﻤﻴ َﻊ ﺼﻭﺍﻤ ِ‬
‫ﺃﻀﻑﹾ ﺇﻟﻰ ﺫﻟﻙ‪ ،‬ﺃ ﱠ‬

‫ﻱ‪ ،‬ﺍﻟﺫﻱ ﻴﻤﺘ ﱡﺩ ﻤﻌـﻪ ﺍﻟﱠﻨﻔﹶﺱ‪ ،‬ﻭﻓـﻲ ﻫﺫﺍ ﻤﺎ ﻴﺩﻋ ُﻡ ﺩﻻﻟ ﹶﺔ ﺍﻟﺩﻭﺍ ﹺﻡ ﺃﻴﻀًﺎ‪.‬‬
‫ﻉ ﺍﻻﺴﺘﻤﺭﺍﺭ ﱢ‬
‫ﻥ‪ ،‬ﻤﻥ ﺍﻟﻨﻭ ﹺ‬
‫ﻤﺭّﺘﻴ ﹺ‬

‫ﺕ ﺍﻟﺜﻼﺜﺔ‪ :‬ﺍﻟﻘﺴ ﹺﻡ‪،‬‬

‫ل‪ ،‬ﺒﻭﺠﻭ ِﺩ ﻫﺫﻩ ﺍﻟﻤﺅﻜﹼﺩﺍ ِ‬
‫ل ﻟﻠﺘﺄﻭﻴ ﹺ‬
‫ﻭﻫﺫﻩ ﺍﻟﺨﺴﺎﺭ ﹸﺓ ﻤﺅﻜﹼﺩﺓﹲ‪ ،‬ﻻ ﻤﺭﺍ َﺀ ﻓﻴﻬﺎ؛ ﻓﻼ ﻤﺠﺎ َ‬

‫ﻥ ﺘﺄﻜﻴـﺩُﻫﻤﺎ‬
‫ﻥ‪ ،‬ﺃﻥ ﻴﻜﻭ َ‬
‫ﻥ ﺍﻷﺨﻴﺭﻴ ﹺ‬
‫ﻥ ﺍﻟﺤﺭﻓﻴ ﹺ‬
‫ﻥ(‪ ،‬ﻭﻻ ﹺﻡ ﺍﻻﺒﺘﺩﺍ ِﺀ ﺍﻟﻤﺯﺤﻠﻘﺔ‪ .‬ﻭﻤﻥ ﺸﺄ ﹺ‬
‫ﻑ ﺍﻟﺘﻭﻜﻴ ِﺩ )ﺇ ﱠ‬
‫ﻭﺤﺭ ِ‬

‫ﻤﻌًﺎ‪)) ،‬ﺒﻤﻨﺯﻟ ِﺔ ﺘﻜﺭﺍ ﹺﺭ ﺍﻟﺠﻤﻠ ِﺔ ﺜﻼ ﹶ‬

‫ﺙ ﻤﺭّﺍﺕ(()‪ .(2‬ﻭﻴﻌﻭ ُﺩ ﺫﻟﻙ‪ ،‬ﺒﺎﻋﺘﻘﺎﺩﻱ‪ ،‬ﺇﻟﻰ ﻤﺎ ﺘﺘﻤﺘﹼ ُﻊ ﺒﻪ ﺼـﻭﺍﻤﺘﹸﻬﻤﺎ‪:‬‬
‫ﺕ ﻓﻲ‬
‫ﺢ ﺍﻷﺼﻭﺍ ِ‬
‫ﺕ ﻤﻥ ﺃﻭﻀ ﹺ‬
‫ﻥ‪ ،‬ﻭﺍﻟﻼ ُﻡ‪ ،‬ﻤﻥ ﻭﻗ ﹴﻊ ﺸﺩﻴ ِﺩ ﺍﻷﺜ ﹺﺭ ﻓﻲ ﺍﻷﺫﻥ؛ ﻓﻬﺫﻩ ﺍﻟﺼﻭﺍﻤ ﹸ‬
‫ﺍﻟﻬﻤﺯ ﹸﺓ‪ ،‬ﻭﺍﻟﻨﻭ ُ‬

‫ﺍﻟﺴﻤﻊ‪.‬‬

‫)‪(1‬‬
‫ﺍﻟﻌﻼﻴﻠﻲ‪ ،‬ﻋﺒﺩ ﺍﷲ‪ :‬ﻤﻘﺩّﻤﺔ ﻟﺩﺭﺱ ﻟﻐﺔ ﺍﻟﻌﺭﺏ‪ .‬ﺹ‪.210‬‬
‫)‪(2‬‬
‫ﻋﺘﻴﻕ‪ ،‬ﻋﺒﺩ ﺍﻟﻌﺯﻴﺯ‪ :‬ﻋﻠﻡ ﺍﻟﻤﻌﺎﻨﻲ‪ .‬ﺹ‪.55‬‬
‫‪96‬‬
‫ﺏ‪ ،‬ﻤﺎ ﻴﺩﻋﻤُﻪ ﻤـﻥ ﻋﻨﺎﺼـ ﹺﺭ ﻫـﺫﻩ ﺍﻵﻴـ ِﺔ‬
‫ﺏ ﺍﻟﺭﻋ َ‬
‫ﻭﻟﻬﺫﺍ ﺍﻟﺘﺄﻜﻴ ِﺩ ﺍﻟﺸﺩﻴ ِﺩ‪ ،‬ﺍﻟﺫﻱ ﻴُﻠﻘﻲ ﻓﻲ ﺍﻟﻘﻠﻭ ﹺ‬

‫ﻕ‪ ،‬ﺍﻟﺫﻱ ﻴﺒﻠ ﹸﻎ ﺍﻟﺜﻼﺜـ ﹶﺔ‪ ،‬ﻤﻥ ﺜﻤﺎﻨﻴ ِﺔ‬

‫ﻁ ﺍﻟﻤﻐﻠ ﹸ‬
‫ﺏ ﻋﻠﻰ ﺍﻵﻴ ِﺔ‪ ،‬ﻫﻭ ﺍﻟﻤﻘﻁ ُﻊ ﺍﻟﻤﺘﻭﺴّ ﹸ‬
‫ﺍﻟﺼﻭﺘﻴّﺔ؛ ﻓﺎﻟﻤﻘﻁ ُﻊ ﺍﻟﻐﺎﻟ ُ‬

‫ﺽ ﺍﻟﺘﺄﻜﻴـ ِﺩ‪،‬‬
‫ﺱ‪ ،‬ﺃﻥ ﻴﻌ ّﺒ َﺭ‪ ،‬ﻓـﻲ ﻤﻌـﺭ ﹺ‬
‫ﻥ ﻫﺫﺍ ﺍﻟﻤﻘﻁ ﹺﻊ‪ ،‬ﺍﻟﺫﻱ ﻴﻨﻘﻁ ُﻊ ﻤﻌﻪ ﺍﻟﻨﱠ ﹶﻔ ُ‬
‫ﻤﻘﺎﻁ َﻊ ﻓﻴﻬﺎ‪ .‬ﻭﻤﻥ ﺸﺄ ﹺ‬
‫ﻥ‪ ،‬ﻭﻻ ﺘﺠﻭّﺯ(()‪.(1‬‬
‫ل ﻓﻴـﻪ ﻟﺘﻬﺎﻭ ﹴ‬
‫ل‪ ،‬ﺍﻟﺫﻱ ﻻ ﻤﺠﺎ َ‬
‫))ﻋﻥ ﺍﻟﺤﺯ ﹺﻡ ﺍﻟﻘﺎﻁ ﹺﻊ‪ ،‬ﻭﺍﻟﺠ ﱢﺩ ﺍﻟﻔﺎﺼ ﹺ‬

‫ﺕ‪ ،‬ﻤﻥ )‪ (13‬ﺼﺎﻤ ﹰﺘﺎ‪،‬‬

‫ﺕ ﻫﺫﻩ ﺍﻵﻴ ِﺔ‪ ،‬ﺒﻭﺭﻭﺩِﻫﺎ )‪ (4‬ﻤﺭّﺍ ٍ‬
‫ﻥ ﺍﻟﻐﺎﻟﺒ ﹸﺔ ﻋﻠﻰ ﺼﻭﺍﻤ ِ‬
‫ل ﺍﻟﻨﻭ ُ‬
‫ﻜﺫﻟﻙ‪ ،‬ﺘﻌﻤ ُ‬

‫ﺏ‪ ،‬ﻜﻤـﺎ‬
‫ل ﻋﻠﻰ ﺍﻹﻟﺯﺍ ﹺﻡ ﻭﺍﻟﻭﺠﻭ ﹺ‬
‫ﺕ ﻴﺩ ﱡ‬
‫ﺕ ﺍﻟﻐ ﹼﻨ ِﺔ ﺍﻟﺫﻱ ﺘﺤﻤﻠﹸﻪ؛ ﻓﻬﺫﺍ ﺍﻟﺼﻭ ﹸ‬
‫ﻋﻠﻰ ﺩﻋ ﹺﻡ ﻫﺫﺍ ﺍﻟﺘﺄﻜﻴ ِﺩ‪ ،‬ﺒﺼﻭ ِ‬
‫ﻋﺭﻓﻨﺎ)‪.(2‬‬

‫ل ﺒـﺎﻷﻨﻑ‪،‬‬
‫ﻁ ﺍﻟﻌـ ّﺯ ﹶﺓ ﻭﺍﻟـﺫ ﱠ‬
‫ﻥ ﺇﻴﺤﺎ ًﺀ ﺁﺨﺭ؛ ﻓﺈﺫﺍ ﻜﺎﻨﺕ ﺍﻟﻌﺭﺒ ّﻴ ﹸﺔ ﺘﺭﺒ ﹸ‬
‫ﺱ ﻓﻲ ﻫﺫﻩ ﺍﻟﻨﻭ ﹺ‬
‫ﻭﻟﻨﺎ ﺃﻥ ﻨﻠﻤ َ‬

‫ل‬
‫ﻥ‪ ،‬ﺃﻥ ﺘﹸﺸﻌﺭَﻙ‪ ،‬ﻓـﻲ ﻅـ ﱢ‬
‫ﻥ ﻫﺫﻩ ﺍﻟﻨﻭ ﹺ‬
‫ﻥ ﻤﻥ ﺸﺄ ﹺ‬
‫ل(()‪(3‬؛ ﻓﺈ ﱠ‬
‫ﻏ َﻡ ﺃﻨﻔﹸﻪ‪ :‬ﹶﺫ ّ‬ ‫ﻜﻘﻭﻟِﻨﺎ‪)) :‬ﺸﻤ ﹶ‬
‫ﺦ ﺒﺄﻨﻔِﻪ‪ :‬ﺘﻜﺒﱠﺭ‪ .‬ﻭ َﺭ ِ‬

‫ﻥ‬
‫ﻥ‪ ،‬ﻋﻨ َﺩ ﺨﺴﺎﺭﺘِﻪ؛ ﻟﻜﻭﻨِﻬﺎ ﺼـﻭﺘﹰﺎ ﻻ ﻴﻜـﻭ ُ‬
‫ل ﻭﻫﻭﺍ ﹴ‬
‫ﻥ ﻤﻥ ﺫ ﱟ‬
‫ﺙ ﻋﻥ ﺍﻟﺨﺴﺎﺭ ِﺓ‪ ،‬ﺒﻤﺎ ﻴﺠﺩُﻩ ﺍﻹﻨﺴﺎ ُ‬
‫ﺍﻟﺤﺩﻴ ِ‬

‫ﻥ ﺍﻷﻨﻑ؛ ))ﻷﻨﱠﻙ ﻟﻭ ﺃﻤﺴﻜ ﹶ‬

‫ﺕ ﺒﺄﻨﻔِﻙ؛ ﻟﻡ َﻴﺠْ ﹺﺭ ﻤﻌـﻪ ﺍﻟﺼﻭﺕ(()‪ .(4‬ﻭﻤﻤّﺎ ﻴﺅﻜﹼ ُﺩ ﻫﺫﺍ ﺍﻹﻴﺤﺎﺀ‪ ،‬ﻤﺎ ﻓـﻲ‬ ‫ﺩﻭ َ‬

‫ل‪ ،‬ﻓﻲ ﻜﺜﻴ ﹴﺭ ﻤﻥ ﺍﻷﺤﻴﺎﻥ‪.‬‬

‫ﻥ ﻤﻥ ﺩﻻﻟ ِﺔ ﺍﻹﻟﺯﺍﻡ؛ ﻓﻔﻲ ﺍﻹﻟﺯﺍ ﹺﻡ ﺫ ﱞ‬
‫ﻏ ﹼﻨ ِﺔ ﺍﻟﻨﻭ ﹺ‬

‫ل ﻋﻠـﻰ‬
‫ﻭﺇﺫﺍ ﻜﺎﻨﺕ ﺍﻟﻜﺴﺭ ﹸﺓ‪ ،‬ﻜﻤﺎ ﺃﻜﹼـ َﺩ ﺍﻟﻌﺎﻟ ُﻡ )ﻓﻭﻨﺎﺠﻲ ‪ (Fonagy‬ﺒﻠﻭﺍﺌﺤِﻪ ﺍﻹﺤﺼـﺎﺌ ّﻴ ِﺔ‪ ،‬ﺘـﺩ ﱡ‬

‫ﻥ ﺒـﺩﻻﻟﺘﻴﻬﻤﺎ‪ ،‬ﺃﻥ‬
‫ﻥ ﺍﻟﺤﺭﻜﺘﻴ ﹺ‬
‫ﻥ ﻫﺎﺘﻴ ﹺ‬
‫ﻥ ﻤﻥ ﺸﺄ ﹺ‬
‫ﻥ ﻭﺍﻟﻘﻭّﺓ)‪(5‬؛ ﻓﺈ ﱠ‬
‫ﺍﻟﺼﻐ ﹺﺭ ﻭﺍﻟﻠﻁﻑ‪ ،‬ﻭﺍﻟﻀﻤّ ﹸﺔ ﻋﻠـﻰ ﺍﻟﺤﺯ ﹺ‬

‫ﺕ ﻫﺫﻩ ﺍﻵﻴﺔ؛ ﻓﻤﺠﻤﻭﻋُﻬﻤﺎ )‪ ،(4‬ﻤﻥ )‪(8‬‬

‫ﻑ ﺤﺭﻜﺎ ِ‬
‫ﻥ ﻨﺼ ﹶ‬
‫ل؛ ﻟﻜﻭﻨِﻬﻤﺎ ﺘﺸﻜﹼﻼ ﹺ‬
‫ﻥ ﺒﺎﻟﺫ ّ‬
‫ﺘﺩﻋﻤﺎ ﺇﻴﺤـﺎ َﺀ ﺍﻟﻨﻭ ﹺ‬
‫ﺕ ﻓﻴﻬﺎ‪.‬‬
‫ﺤﺭﻜﺎ ٍ‬

‫ل‬
‫ﻕ ﻫﺫﺍ ﺍﻟﻤﻘﻁ ﹺﻊ ﺍﻟﻁﻭﻴ ﹺ‬
‫ﻥ ﺘﻘ ُﻊ‪ ،‬ﺃﺜﺭٌ ﺸﺩﻴ ُﺩ ﺍﻟﻭﻗ ﹺﻊ ﻋﻠﻰ ﺍﻟﻨﻔﺱ‪ ،‬ﺘﺴﺘﺸﻌﺭُﻩ ﻓﻲ ﻨﻁ ِ‬
‫ﻭﻟﻬﺫﻩ ﺍﻟﺨﺴﺎﺭ ِﺓ ﺤﻴ َ‬

‫ﺕ‬ ‫ﺨﺴْﺭْ‪ ،(xusr :‬ﺍﻟﺫﻱ ﻴُﺜﻘلُ ﻟﺴﺎﻨﹶﻙ ﺒﻁﻭﻟِﻪ‪ ،‬ﻭﻋﻨﻘﻭﺩِﻩ ﺍﻟﻔﻭﻨﻴﻤ ﱢ‬

‫ﻲ؛ ﺇﺫﺍ ﻤـﺎ ﻭﻗﻔـ ﹶ‬ ‫ﺝ ﺍﻹﻏﻼﻕ‪ ) :‬ﹸ‬
‫ﺍﻟﻤﺯﺩﻭ ﹺ‬

‫ﻋﻠﻰ ﻨﻬﺎﻴ ِﺔ ﻫﺫﻩ ﺍﻵﻴﺔ‪.‬‬

‫)‪(1‬‬
‫ﻨﺤﻠﺔ‪ ،‬ﻤﺤﻤﻭﺩ ﺃﺤﻤﺩ‪ :‬ﻟﻐﺔ ﺍﻟﻘﺭﺁﻥ ﺍﻟﻜﺭﻴﻡ ﻓﻲ ﺠﺯﺀ ﻋ ّﻡ‪ .‬ﺹ‪.361‬‬
‫)‪(2‬‬
‫ﺍﻨﻅﺭ ﺹ‪ 92‬ﻤﻥ ﻫﺫﺍ ﺍﻟﺒﺤﺙ‪.‬‬
‫)‪(3‬‬
‫ﺃﻨﻴﺱ‪ ،‬ﺇﺒﺭﺍﻫﻴﻡ‪ ،‬ﻭﺁﺨﺭﻭﻥ‪ :‬ﺍﻟﻤﻌﺠﻡ ﺍﻟﻭﺴﻴﻁ‪ .‬ﺍﻟﻤﺎﺩّﺓ‪) :‬ﺃ‪ ،‬ﻥ‪ ،‬ﻑ(‪.‬‬
‫)‪(4‬‬
‫ﺴﻴﺒﻭﻴﻪ‪ ،‬ﺃﺒﻭ ﺒﺸﺭ ﻋﻤﺭﻭ ﺒﻥ ﻋﺜﻤﺎﻥ‪ :‬ﻜﺘﺎﺏ ﺴﻴﺒﻭﻴﻪ‪.435 / 4 .‬‬
‫)‪ (5‬ﻤﻔﺘﺎﺡ‪ ،‬ﻤﺤﻤّﺩ‪ :‬ﻓﻲ ﺴﻴﻤﻴﺎﺀ ﺍﻟﺸﻌﺭ ﺍﻟﻘﺩﻴﻡ‪ .‬ﺹ‪.74‬‬
‫‪97‬‬
‫ﺱ ﺍﻟﻤﺘﻠﻘﹼﻲ‪ ،‬ﺒﻤﺎ ﻴﺠﺩُﻩ ﻓﻴﻬﺎ ﻤﻥ ﺨﺴـﺎﺭ ٍﺓ‬
‫ﻉ‪ ،‬ﻓﻲ ﻨﻔ ﹺ‬
‫ﻑ ﻭﺍﻟﻔﺯ ﹺ‬
‫ﺇﺫﻥ‪ ،‬ﻓﻬﺫﻩ ﺍﻵﻴ ﹸﺔ ﺘﺜﻴ ُﺭ ﺠﻭ‪‬ﺍ ﻤﻥ ﺍﻟﺨﻭ ِ‬
‫ﺕ ﻭﺍﻹﻴﺤﺎﺀﺍﺕ‪.‬‬
‫ل‪ ،‬ﻤﻊ ﺍﺯﺩﺤﺎ ﹺﻡ ﺍﻟﻤﺅﻜﹼﺩﺍ ِ‬
‫ﺵ ﻓﻴﻬﺎ‪ ،‬ﻭﻻ ﺠﺩﺍ َ‬
‫ﻤُﺘﺤﺘﱢﻤ ٍﺔ‪ ،‬ﻻ ﻨﻘﺎ ﹶ‬

‫ﻥ ﻓﻴﻬﺎ ﺍﻟﻨﺠﺎ ﹸﺓ ﻟﻤَﻥ ﺃﺭﺍﺩَﻫﺎ؛ ﻓﺘﺠﻲ ُﺀ‬

‫ﻥ ﺁﻴـ ﹰﺔ ﺃﺨﺭﻯ‪ ،‬ﺘﻜﻭ ُ‬
‫ﷲ ﻭﺭﺤﻤﺘﹶﻪ‪ ،‬ﺴﺒﺤﺎﻨﹶﻪ‪ ،‬ﻴﻘﺘﻀﻴﺎ ﹺ‬
‫لﺍ ِ‬
‫ﻥ ﻋﺩ َ‬
‫ﻟﻜ ّ‬
‫ﻥ‬
‫ﺕ‪ ،‬ﺍﻟﻤﺘﻭﺍﺼـﻴ َ‬
‫ﻥ ﺍﻟﺼّﺎﻟﺤﺎ ِ‬
‫ﻥ ﺍﻟﻌﺎﻤﻠﻴ َ‬
‫ﻥ ﺍﻟﻌﻅﻴ ﹺﻡ‪ ،‬ﺍﻟﻤﺅﻤﻨﻴ َ‬
‫ﺍﻵﻴـ ﹸﺔ ﺍﻷﺨﻴـﺭ ﹸﺓ‪ ،‬ﻤﺴﺘﺜﻨﻴ ﹰﺔ ﻤﻥ ﻫﺫﺍ ﺍﻟﺨﺴﺭﺍ ﹺ‬
‫ﻕ َﻭﺘﹶﻭﺍﺼَــﻭْﺍ‬
‫ﺕ َﻭﺘﹶﻭﺍﺼَــﻭْﺍ ﺒﹺﺎﻟﹾﺤَــ ﱢ‬
‫ﻋﻤِﻠـﻭﺍ ﺍﻟﺼّـﺎﻟِﺤﺎ ِ‬
‫ﻥ ﺁﻤَﻨـﻭﺍ َﻭ َ‬
‫ﻻ ﺍﻟﱠﺫﻴ َ‬
‫ﻕ ﻭﺍﻟﺼﺒﺭ‪ِ﴿ :‬ﺇ ﹼ‬
‫ﺒﺎﻟﺤ ﱢ‬
‫ﺼﺒْـﺭ﴾‪:‬‬
‫ﺒﹺﺎﻟ ﱠ‬

‫‪il / lal / la /‬‬ ‫‪ii / na /‬‬ ‫‪aa / ma / nuu / wa / ca / mi / lu‬‬ ‫‪/‬‬ ‫‪aa / li /‬‬
‫‪aa / ti / wa / ta / waa /‬‬ ‫‪aw / bil / aq / qi / wa / ta / waa /‬‬ ‫‪aw / bi‬‬ ‫‪/‬‬
‫‪abr.‬‬

‫ﺏ‬
‫(‪ ،‬ﺍﻟﺘﻲ ﻴﻌﺩﱡﻫﺎ ﺍﻟﻌﻠﻤـﺎ ُﺀ ﺃ ﱠﻡ ﺒـﺎ ﹺ‬ ‫ﻻ‪il / laa :‬‬
‫ﻭﻗﺩ ﺠﺎ َﺀ ﻫﺫﺍ ﺍﻻﺴﺘﺜﻨﺎ ُﺀ‪ ،‬ﻜﻤﺎ ﺘﺭﻯ‪ ،‬ﺒﺎﻷﺩﺍ ِﺓ )ِﺇ ﹼ‬
‫ﻻ(‪ ،‬ﻨﺤـﻭ‪ :‬ﺠﺎﺀَﻨﻲ ﺍﻟﻘﻭ ُﻡ‬
‫ل ﺒﻤﻌﻨﻰ )ﺇ ﹼ‬
‫ﺽ ﻤﻥ ﻜ ﱟ‬ ‫ﺏ‪ ،‬ﺒﺄﻨﱠﻪ ))ﺇﺨﺭﺍ ُ‬
‫ﺝ ﺒﻌ ﹴ‬ ‫ﻥ ﻫﺫﺍ ﺍﻟﺒﺎ َ‬
‫ﺍﻻﺴﺘﺜﻨﺎﺀ؛ ﻓﻬﻡ ﻴﻌﺭّﻓﻭ َ‬
‫ﻻ ﺯﻴﺩًﺍ(()‪.(1‬‬
‫ﺇﹼ‬

‫ﻭﻫﺫﻩ ﺍﻷﺩﺍ ﹸﺓ ﺃﻫلٌ ﻟﺫﻟﻙ؛ ﻓﺩﻻﻟ ﹸﺔ ﺍﻻﺴﺘﺜﻨﺎ ِﺀ ﻓﻴﻬﺎ‪ ،‬ﺒﺎﻋﺘﻘﺎﺩﻱ‪ ،‬ﺃﻗﻭﻯ ﻤـﺎ ﻴﻤﻜﻥ؛ ﻟﻜﻭﻨِﻬﺎ ﻤﻥ ﺠﻬـ ٍﺔ‪،‬‬
‫ﻥ‪:‬‬
‫ﻥ‪ ،‬ﻭﺍﻟﺤﺭﻜﺘﻴ ﹺ‬
‫ﻲ ﻤﺘﻤ ّﻴ ﹴﺯ؛ ﻴﻌﻭ ُﺩ ﺇﻟﻰ ﺃﺼﻭﺍﺘِﻬﺎ ﺍﻟﻌﺎﻟﻴ ِﺔ ﺍﻟﻭﻀﻭﺡ‪ :‬ﺍﻟﻬﻤﺯ ِﺓ‪ ،‬ﻭﺍﻟﻼﻤﻴ ﹺ‬
‫ﺡ ﺴﻤﻌ ﱟ‬
‫ﺘﺘﻤﺘﹼ ُﻊ ﺒﻭﻀﻭ ﹴ‬
‫ﺏ‬
‫ﺕ ﺍﻟﻼ ﹺﻡ ﺍﻟﻐﺎﻟـ ﹺ‬
‫ﺏ ﻫﺫﻩ ﺍﻷﺩﺍ ﹸﺓ ﻤﻥ ﺼﻭ ِ‬
‫ﺍﻟﻜﺴﺭ ِﺓ ﺍﻟﻘﺼﻴﺭ ِﺓ‪ ،‬ﻭﺍﻟﻔﺘﺤ ِﺔ ﺍﻟﻁﻭﻴﻠﺔ‪ .‬ﻭﻤﻥ ﺠﻬ ٍﺔ ﺃﺨﺭﻯ‪ ،‬ﺘﻜﺘﺴ ُ‬
‫ﻕ‪ ،‬ﻤﻊ ﻫـﺫﺍ‬
‫ﻥ ﻓﻲ ﺃﺜﻨﺎ ِﺀ ﺍﻟﻨﻁ ِ‬ ‫ﻲ‪ ،‬ﺍﻟﺫﻱ ﻴﻭﺤﻲ ﺒﺩﻻﻟ ِﺔ ﺍﻻﺴﺘﺜﻨﺎﺀ؛ ﻓﺎﻨﺤﺭﺍ ﹸ‬
‫ﻑ ﺍﻟﻠﹼﺴﺎ ﹺ‬ ‫ﻋﻠﻴﻬﺎ ﻁﺎﺒﻌَﻪ ﺍﻟﻤﻭﺴﻴﻘ ﱠ‬
‫ﺕ ﻭﺤﺩَﻩ)‪ ،(2‬ﺨﺭﻭﺝٌ ﻋﻠﻰ ﻭﻀﻌِﻪ ﺍﻟﻤﺴﺘﻘﻴ ﹺﻡ‪ ،‬ﺍﻟﺫﻱ ﻴﺘﹼﺨﺫﹸﻩ ﻤـﻊ ﺠﻤﻴـ ﹺﻊ ﺍﻷﺼـﻭﺍ ِ‬
‫ﺕ ﺍﻷﺨـﺭﻯ‪،‬‬ ‫ﺍﻟﺼﻭ ِ‬
‫ﺝ ﺍﻟﻤﺴﺘﺜﻨﻰ ﻤﻥ ﺤﻜ ﹺﻡ ﺍﻟﻤﺴﺘﺜﻨﻰ ﻤﻨﻪ‪.‬‬
‫ﻜﺨﺭﻭ ﹺ‬

‫ﺱ‬
‫ﺙ ﻓﻲ ﺍﻟﻨﻔ ﹺ‬
‫ﻕ ﺍﻟﻨﺠﺎﺓ‪ ،‬ﺘﺒﻌ ﹸ‬
‫ﻥ ﻫﺫﻩ ﺍﻷﺩﺍ ﹶﺓ‪ ،‬ﻓﻲ ﺒﺩﺍﻴ ِﺔ ﻫﺫﻩ ﺍﻵﻴ ِﺔ‪ ،‬ﺍﻟﺘﻲ ﺘﺭﺴ ُﻡ ﻁﺭﻴ ﹶ‬
‫ﻟﺫﻟﻙ؛ ﺃﻨﺎ ﺃﻋﺘﻘ ُﺩ ﺃ ﱠ‬
‫ﺕ ﺍﻻﺴﺘﺜﻨﺎ ِﺀ‪ ،‬ﻜـ)ﻏﻴـﺭ(‪،‬‬
‫ﺍﻁﻤﺌﻨﺎﻨﹰﺎ‪ ،‬ﺒﻌ َﺩ ﺇﻗﺭﺍ ﹺﺭ ﺍﻟﺨﺴﺎﺭ ِﺓ ﻓﻲ ﺍﻵﻴ ِﺔ ﺍﻟﺴﺎﺒﻘ ِﺔ‪ ،‬ﺃﻜﺜ َﺭ ﻤﻥ ﻏﻴﺭﹺﻫﺎ ﻤﻥ ﺃﺩﻭﺍ ِ‬
‫ﻭ)ﺴﻭﻯ(‪.‬‬

‫)‪ (1‬ﺍﻷﻨﺒﺎﺭﻱ‪ ،‬ﻋﺒﺩ ﺍﻟﺭّﺤﻤﻥ ﺒﻥ ﻤﺤﻤّﺩ ﺒﻥ ﻋﺒﻴﺩ ﺍﷲ‪ :‬ﺃﺴﺭﺍﺭ ﺍﻟﻌﺭﺒﻴّﺔ‪ .‬ﺘﺤﻘﻴﻕ ﻤﺤﻤّﺩ ﺤﺴﻴﻥ ﺸـﻤﺱ ﺍﻟـﺩﻴﻥ‪ .‬ﻁ‪ .1‬ﺒﻴـﺭﻭﺕ‪ :‬ﺩﺍﺭ‬
‫ﺍﻟﻜﺘﺏ ﺍﻟﻌﻠﻤﻴّﺔ‪ .1997 .‬ﺹ‪.115‬‬
‫)‪(2‬‬
‫ﺴﻴﺒﻭﻴﻪ‪ ،‬ﺃﺒﻭ ﺒﺸﺭ ﻋﻤﺭﻭ ﺒﻥ ﻋﺜﻤﺎﻥ‪ :‬ﻜﺘﺎﺏ ﺴﻴﺒﻭﻴﻪ‪.435 / 4 .‬‬
‫‪98‬‬
‫ﻻ ﺍﻟﱠــ‪:‬‬
‫ﻻ( ﻤﺒﺎﺸـﺭ ﹰﺓ‪ِ) :‬ﺇ ﹼ‬
‫ﻥ‪ ،‬ﺒﻌـ َﺩ )ﺇ ﹼ‬
‫ﻥ ﺃﺨـﺭﻴﻴ ﹺ‬
‫ﻭﻴﺯﺩﺍ ُﺩ ﻫﺫﺍ ﺍﻻﺴﺘﺜﻨﺎ ُﺀ ﻋﻤﻘﹰﺎ‪ ،‬ﺒﺈﻀـﺎﻓ ِﺔ ﻻﻤـﻴ ﹺ‬

‫ﻥ ﺍﺴـﺘﺜﻨﺘﻬﻡ ﺍﻵﻴـ ﹸﺔ‪،‬‬

‫ﻥ‪ ،‬ﻭﺘﻜﺭﻴﻡٌ ﻟﻬـﺅﻻ ِﺀ ﺍﻟـﺫﻴ َ‬
‫(‪ .‬ﻭﻓﻲ ﺫﻟﻙ‪ ،‬ﺒﺎﻋﺘﻘﺎﺩﻱ‪ ،‬ﺭﻓﻊٌ ﻟﻠﺸﺄ ﹺ‬ ‫‪il / lal / la‬‬

‫ﻕ ﻭﺍﻟﺼﺒﺭ‪.‬‬
‫ﻥ ﺒﺎﻟﺤ ﱢ‬
‫ﺕ‪ ،‬ﺍﻟﻤﺘﻭﺍﺼﻴ َ‬
‫ﻥ ﺍﻟﺼّﺎﻟﺤﺎ ِ‬
‫ﻥ ﺍﻟﻌﺎﻤﻠﻴ َ‬
‫ﺍﻟﻤﺅﻤﻨﻴ َ‬

‫ﺕ ﺍﻵﻴ ِﺔ ﺍﻟﺴﺎﺒﻘﺔ؛ ﻭﺠﺩﻨﺎ ﻤﺎ ﻴﺩﻋ ُﻡ ﻫﺫﺍ ﺍﻹﻴﺤـﺎﺀ؛‬

‫ﺕ ﻫﺫﻩ ﺍﻵﻴ ِﺔ‪ ،‬ﻭﺤﺭﻜﺎ ِ‬
‫ﻥ ﺤﺭﻜﺎ ِ‬
‫ﻭﺇﺫﺍ ﻤﺎ ﻗﺎﺭﻨﹼﺎ ﺒﻴ َ‬

‫ﻥ ﺒﺩﻻﻟﺘﻴﻬﻤﺎ ﻤﺎ ﺘﻘﺭﱡﻩ ﻤﻥ ﺨﺴﺎﺭ ٍﺓ‪ ،‬ﻜﻤﺎ‬

‫ﺕ ﺍﻵﻴ ِﺔ ﺍﻟﺴﺎﺒﻘ ِﺔ‪ ،‬ﻤﻭﺍﻓﻘﺘﻴ ﹺ‬
‫ﻑ ﺤﺭﻜﺎ ِ‬
‫ل ﺍﻟﻀﻤّ ﹸﺔ ﻭﺍﻟﻜﺴﺭ ﹸﺓ ﻨﺼ ﹶ‬
‫ﻓﺘﺸﻜﹼ ُ‬

‫ﺏ ﻋﻠﻴﻬﺎ ﺍﻟﻔﺘﺤ ﹸﺔ‪ ،‬ﺒﻭﺭﻭﺩِﻫﺎ )‪ (19‬ﻤ ّﺭ ﹰﺓ‪ ،‬ﻤﻥ )‪ (29‬ﺤﺭﻜﺔ‪ ،‬ﻭﻟﻬﺫﻩ ﺍﻟﺤﺭﻜـ ِﺔ‬
‫ﺭﺃﻴﻨﺎ‪ .‬ﺃﻤّﺎ ﻫﺫﻩ ﺍﻵﻴ ﹸﺔ‪ ،‬ﻓﺘﻐﻠ ُ‬
‫ﺇﻴﺤﺎﺀٌ ﺒﺎﻟﻜﺒ ﹺﺭ ﻭﺍﻟﻀﺨﺎﻤ ِﺔ‪ ،‬ﻜﻤﺎ ﻋﺭﻓﻨﺎ)‪ ،(1‬ﻤﻥ ﺸﺄﻨِﻪ ﺃﻥ ﻴﺩﻋ َﻡ ﺩﻻﻟ ﹶﺔ ﺍﻟﺘﻜﺭﻴﻡ‪.‬‬

‫ﺕ‪ ،‬ﻭﻀ ّﻤﺔﹲ‪ ،‬ﻭﻜﺴﺭﺓ‪ ،‬ﻤﻥ ﺸﺄ ِﻨﻬﺎ‬

‫ﺱ ﻓﺘﺤﺎ ٍ‬
‫ﻥ‪ ،‬ﺴﺒﻊٌ ﻁﻭﺍلٌ‪ :‬ﺨﻤ ُ‬
‫ﺕ ﺍﻵﻴ ِﺔ ﺍﻟﺘﺴ ﹺﻊ ﻭﺍﻟﻌﺸﺭﻴ َ‬
‫ﻥ ﺤﺭﻜﺎ ِ‬
‫ﻭﺒﻴ َ‬

‫ﻁ‬
‫ﺕ ﻋﻠﻰ ﻤﺎ ﺠﺎﺀﺕﹾ ﺒﻪ ﺍﻵﻴ ﹸﺔ ﻤﻥ ﺸـﺭﻭ ِ‬
‫ﻲ ﻜﺒﻴﺭ‪ ،‬ﺒﻌﺴ ﹺﺭ ﺍﻟﺜﺒﺎ ِ‬
‫ﺝ ﺇﻟﻴﻪ ﻤﻥ ﺠﻬ ٍﺩ ﻨﻁﻘ ﱟ‬
‫ﻲ ﺒﻤﺎ ﺘﺤﺘﺎ ُ‬
‫ﺃﻥ ﺘﻭﺤ َ‬

‫ﻕ ﻭﺍﻟﻌﺩل‪ ،‬ﻤﻥ ﺃﻋﺴ ﹺﺭ ﻤﺎ ﻴﻭﺍﺠ ُﻪ ﺍﻟﻔﺭﺩ‬

‫ﺢ‪ ،‬ﻭﺤﺭﺍﺴ ِﺔ ﺍﻟﺤ ﱢ‬
‫ل ﺍﻟﺼﺎﻟ ﹺ‬ ‫ﺍﻟﻔﻼﺡ‪)) ،‬ﻓﺎﻟﻘﻴﺎ ُﻡ ﻋﻠﻰ ﺍﻹﻴﻤﺎ ﹺ‬
‫ﻥ‪ ،‬ﻭﺍﻟﻌﻤ ﹺ‬

‫ﻭﺍﻟﺠﻤﺎﻋﺔ(()‪.(2‬‬

‫ل ﻋﻠـﻰ‬
‫ﺕ ﺍﻟﻤﺯﺩﻭﺠ ِﺔ ﻓﻲ ﻫﺫﻩ ﺍﻵﻴ ِﺔ‪ ،‬ﺃﻥ ﺘﺴﻬ َﻡ ﻓﻲ ﻫﺫﺍ ﺍﻹﻴﺤﺎ ِﺀ؛ ﺒﻤﺎ ﺘﺤﺩﺜﹸﻪ ﻤـﻥ ﺜﻘـ ﹴ‬
‫ﻭﻟﻠﺤﺭﻜﺎ ِ‬
‫ﺙ ﻤـﺭّﺍﺕ‪ ،‬ﻭ)ﻭﺍ‪،(waa :‬‬
‫ﺕ‪ ،‬ﻓﻲ ﺍﻟﻤﻘـﺎﻁ ﹺﻊ‪َ ) :‬ﻭ‪ (wa :‬ﺍﻟـﻭﺍﺭ ِﺩ ﺜـﻼ ﹶ‬
‫ﺍﻟﻠﹼﺴﺎﻥ؛ ﺒﻭﺭﻭﺩِﻫﺎ ﺴﺒ َﻊ ﻤﺭّﺍ ٍ‬

‫ل ﻤﻨﻬﻤﺎ ﻤﺭّﺘﻴﻥ‪.‬‬
‫ﻥ ﻴﺭ ُﺩ ﻜ ﱞ‬
‫ﺼﻭْﺍ‪ ،( aw :‬ﺍﻟﻠﹼﺫﻴ ﹺ‬
‫ﻭ) َ‬

‫ل‬
‫ﺕ ﺍﻟﻤﺯﺩﻭﺠـﺔ‪ ،‬ﻴـﺩﻋ ُﻡ ﺩﻻﻟـ ﹶﺔ ﺍﻟﻔﻌـ ﹺ‬
‫ل ﻤﻥ ﻫﺫﻩ ﺍﻟﺤﺭﻜـﺎ ِ‬
‫ﺝﻜﱟ‬
‫ﻙ ﺼﻭﺘﻲ ﺤﺭﻜ ٍﺔ؛ ﻹﻨﺘﺎ ﹺ‬
‫ﻭﺍﺸﺘﺭﺍ ُ‬
‫ﻥ‬
‫ﻋﻠﻰ ))ﺍﻟﻤﺸﺎﺭﻜ ِﺔ ﺒﻴـ َ‬ ‫)ﺘﻔﺎﻋﻰ()‪،(3‬‬ ‫ل(‪ ،‬ﺃﻭ‬
‫ﻥ ﻫﺫﺍ ﺍﻟﻔﻌل‪) :‬ﺘﻔﺎﻋ َ‬
‫ل ﻭﺯ ُ‬
‫)ﺘﹶﻭﺍﺼﻰ( ﻤﻥ )ﺘﹶﻭﺍﺼَـﻭْﺍ(؛ ﻓﻴﺩ ﱡ‬

‫ﻕ ﻭﺍﻟﺨﻴـ ﹺﺭ‪،‬‬
‫ﺽ ﺒﺎﻟﺤ ﱢ‬
‫ﻥ ﻭﺍﻟﻤﺸﺎﺭﻜ ِﺔ؛ ﻟﻠﻨﻬﻭ ﹺ‬
‫ﻥ ﻓﺄﻜﺜﺭ(()‪ ،(4‬ﻤﺒ ّﻴﻨﹰﺎ ﻓـﻲ ﻫﺫﻩ ﺍﻵﻴـ ِﺔ‪ ،‬ﻀﺭﻭﺭ ﹶﺓ ﺍﻟﺘﻌﺎﻭ ﹺ‬
‫ﺍﺜﻨﻴ ﹺ‬

‫ﻥ ﺠﻬﺩًﺍ ﻭﺼﺒﺭًﺍ ﻋﻅﻴﻤﻴﻥ‪.‬‬

‫ﻥ ﻴﺘﻁﻠﹼﺒﺎ ﹺ‬
‫ﺍﻟﻠﹼﺫﻴ ﹺ‬

‫)‪(1‬‬
‫ﺍﻨﻅﺭ ﺹ‪ 92‬ﻤﻥ ﻫﺫﺍ ﺍﻟﺒﺤﺙ‪.‬‬
‫)‪ (2‬ﻗﻁﺏ‪ ،‬ﺴﻴّﺩ‪ :‬ﻓﻲ ﻅﻼل ﺍﻟﻘﺭﺁﻥ‪.3968 / 6 .‬‬
‫)‪(3‬‬
‫ﺠﺎﺀ ﺍﻟﻭﺯﻥ ﺍﻷﻭّل‪ ،‬ﻭﻓﻕ ﻤﺫﻫﺏ ﺍﻟﺼﺭﻓﻴّﻴﻥ ﻓﻲ ﺯﻨﺔ ﺍﻟﻜﻠﻤﺎﺕ‪ .‬ﺃﻤّﺎ ﺍﻵﺨﺭ‪ ،‬ﻓﻬﻭ ﻭﻓﻕ ﻤﺫﻫـﺏ ﺍﻟﺼﻭﺘﻴّﻴﻥ ﺍﻟﻤﺤـﺩﺜﻴﻥ‪ .‬ﻭﻤـﻥ‬
‫ﺨﻴﺭ ﺍﻟﻜﺘﺏ ﺍﻟﺘﻲ ﺩﺭﺴﺕ ﺍﻟﻤﻴﺯﺍﻥ ﺍﻟﺼﺭﻓﻲّ‪ ،‬ﻭﻓﻕ ﻋﻠﻡ ﺍﻷﺼﻭﺍﺕ ﺍﻟﺤﺩﻴـﺙ‪ ،‬ﻜﺘﺎﺏ ﺍﻟﺩﻜﺘﻭﺭ ﻋﺒﺩ ﺍﻟﺼـﺒﻭﺭ ﺸـﺎﻫﻴﻥ‪ :‬ﺍﻟﻤـﻨﻬﺞ‬
‫ﻲ ﻟﻠﺒﻨﻴﺔ ﺍﻟﻌﺭﺒﻴّﺔ‪.‬‬
‫ﺍﻟﺼﻭﺘ ّ‬
‫)‪(4‬‬
‫ﻲ‪ .‬ﺒﻴﺭﻭﺕ‪ :‬ﺩﺍﺭ ﺍﻟﻨﻬﻀﺔ ﺍﻟﻌﺭﺒﻴّﺔ‪ .1984 .‬ﺹ‪.38‬‬
‫ﺍﻟﺭّﺍﺠﺤﻲ‪ ،‬ﻋﺒﺩﻩ‪ :‬ﺍﻟﺘﻁﺒﻴﻕ ﺍﻟﺼﺭﻓ ّ‬
‫‪99‬‬
‫ﺃﻤّﺎ ﻤﻘﺎﻁ ُﻊ ﻫﺫﻩ ﺍﻵﻴ ِﺔ‪ ،‬ﻓﻬﻲ )‪ (29‬ﻤﻘﻁﻌًﺎ‪ ،‬ﻤﻨﻬﺎ )‪ (7‬ﻤﻘﺎﻁ َﻊ ﻤﺘﻭﺴّﻁ ٍﺔ ﻤﻔﺘﻭﺤﺔ‪ ،‬ﻤﻥ ﺸـﺄﻨِﻬﺎ ﺃﻥ‬

‫ل ﺇﻴﻤﺎﻨِﻪ ﻭﻋﻤﻠِـﻪ‬
‫ﻥ‪ ،‬ﻓﻲ ﺴﺒﻴ ﹺ‬
‫ﻥ ﺍﻟﺫﻱ ﻴﺴﺘﻭﺠﺒُﻪ ﺼﺒ ُﺭ ﺍﻟﻤﺅﻤ ﹺ‬
‫ل ﺍﻟﺯﻤ ﹺ‬
‫ﻲ‪ ،‬ﻁﻭ َ‬
‫ل ﺯﻤﻨِﻬﺎ ﺍﻟﻨﻁﻘ ﱢ‬
‫ﺱ ﺒﻁﻭ ﹺ‬
‫ﺘﻌﻜ َ‬

‫ﺍﻟﺼﺎﻟﺢ‪.‬‬

‫ﻉ ﺍﻟ ﱠﻨ ﹶﻔﺱﹺ ﻤﻌﻬﺎ‪ ،‬ﻭﻋﺩ ﹺﻡ ﺍﻤﺘﺩﺍﺩِﻩ‪،‬‬

‫ﺱ‪ ،‬ﺒﺎﻨﻘﻁﺎ ﹺ‬
‫ﻭﻤﻨﻬﺎ )‪ (8‬ﻤﻘﺎﻁ َﻊ ﻤﺘﻭﺴّﻁ ٍﺔ ﻤﻐﻠﻘﺔ‪ ،‬ﻤﻥ ﺸﺄﻨِﻬﺎ ﺃﻥ ﺘﻌﻜ َ‬

‫ﻕ ﻭﺍﻟﺨﻴﺭ‪.‬‬
‫ﻥ ﻋﻠﻰ ﺍﻟﺤ ﱢ‬
‫ﺕ ﺍﻟﻤﺅﻤﻨﻴ َ‬
‫ﺜﺒﺎ ﹶ‬

‫ﻲ ﻓـﻲ ﺍﻟﻤﻭﺍﻀـ ﹺﻊ‪:‬‬

‫ﻼ ﻨﻁﻘﻴ‪‬ﺎ‪ ،‬ﺒﺘﺘﺎﺒﻌِﻬﺎ ﺍﻟﺜﻼﺜ ﱢ‬
‫ﺙ ﺘﺴﻌﺔﹲ ﻤﻨﻬﺎ ﺜﻘ ﹰ‬
‫ﻭﻤﻨﻬﺎ )‪ (13‬ﻤﻘﻁﻌًﺎ ﻗﺼﻴﺭًﺍ‪ ،‬ﺘﺤﺩ ﹸ‬

‫ﻥ ﻫﺫﺍ‬
‫ﻕ ﻭَ ﹶﺘـ‪ ،(qi / wa / ta :‬ﻭﻤﻥ ﺸﺄ ﹺ‬
‫ﺕ ﻭَ ﹶﺘـ‪ ،(ti / wa / ta :‬ﻭ) ِ‬
‫ﻋ ِﻤـ‪ ،(wa / ca / mi :‬ﻭ) ِ‬
‫) َﻭ َ‬

‫ﻕ ﻋﺴـﻴﺭٌ‪،‬‬ ‫ل ﻫﺫﻩ ﺍﻷﻤﺎﻨ ِﺔ ﺍﻟﺘﻲ ﺤﻤﻠﹶﻬـﺎ ﺍﻹﻨﺴـﺎﻥ؛ ))ﻓـﺎﻟﻨﻬﻭ ُ‬

‫ﺽ ﺒـﺎﻟﺤ ﱢ‬ ‫ﺱ ﺜﻘ َ‬
‫ﻲ‪ ،‬ﺃﻥ ﻴﻌﻜ َ‬
‫ل ﺍﻟﻨﻁﻘ ﱢ‬
‫ﺍﻟﺜﻘ ﹺ‬

‫ﻥ ﺍﻟﻁﻐﺎ ِﺓ‪،‬‬
‫ﺕ ﺍﻟﺒﻴﺌ ِﺔ‪ ،‬ﻭﻁﻐﻴﺎ ُ‬
‫ﻕ ﺍﻟﻤﺼﻠﺤ ِﺔ‪ ،‬ﻭﺘﺼﻭّﺭﺍ ﹸ‬
‫ﺱ‪ ،‬ﻭﻤﻨﻁ ﹸ‬
‫ﻕ ﻜﺜﻴﺭﺓ‪ :‬ﻫﻭﻯ ﺍﻟﻨﻔ ﹺ‬
‫ﺕ ﻋﻥ ﺍﻟﺤ ﱢ‬
‫ﻭﺍﻟﻤﻌﻭّﻗﺎ ﹸ‬

‫ﺍﻟﺠﺎﺌﺭﻴﻥ‪.(1)((...‬‬ ‫ﻭﻅﻠ ُﻡ ﺍﻟﻅﻠﻤ ِﺔ‪ ،‬ﻭﺠﻭ ُﺭ‬

‫ﺼﺒْﺭْ‪ ،( abr :‬ﺃﻥ ﻴﺴﻬ َﻡ ﻓـﻲ ﻫﺫﺍ ﺍﻹﻴﺤﺎﺀ؛ ﺒﻤﺎ ﻴﺤﺩﺜﹸﻪ‬

‫ﺝ ﺍﻹﻏﻼﻕ‪َ ) :‬‬
‫ل ﺍﻟﻤﺯﺩﻭ ﹺ‬
‫ﻭﻟﻠﻤﻘﻁ ﹺﻊ ﺍﻟﻁﻭﻴ ﹺ‬

‫ل ﺸﺩﻴ ٍﺩ ﻋﻠﻰ ﺍﻟﻠﹼﺴﺎﻥ‪ ،‬ﻓﻲ ﻨﻬﺎﻴ ِﺔ ﻫﺫﻩ ﺍﻵﻴﺔ‪.‬‬

‫ﻤﻥ ﺜﻘ ﹴ‬

‫ﻥ‬
‫ل‪ ،‬ﺍﻟﺫﻱ ﻴﺒـﻴّ ُ‬
‫ل ﻫﺫﺍ ﺍﻟﺠﺩﻭ ﹺ‬
‫ﻥ‪ ،‬ﻨﻨﻅﺭْ ﻓﻲ ﻫﺫﻩ ﺍﻟﺴﻭﺭ ِﺓ‪ ،‬ﻨﻅﺭ ﹰﺓ ﺼﻭﺘ ّﻴ ﹰﺔ ﺸﺎﻤﻠ ﹰﺔ‪ ،‬ﻤﻥ ﺨﻼ ﹺ‬
‫ﺩﻋْﻨﺎ ﺍﻵ َ‬

‫ﻋﻨﺎﺼﺭَﻫﺎ ﺍﻟﺼﻭﺘﻴّﺔ‪:‬‬

‫)‪ (1‬ﻗﻁﺏ‪ ،‬ﺴﻴّﺩ‪ :‬ﻓﻲ ﻅﻼل ﺍﻟﻘﺭﺁﻥ‪.3968 / 6 .‬‬

‫‪100‬‬
 ‫ﺍﻟﺠﺩﻭل )‪ :(5‬ﺍﻟﻌﻨﺎﺼ ُﺭ ﺍﻟﺼﻭﺘﻴّ ﹸﺔ ﻟﺴﻭﺭ ِﺓ ﺍﻟﻌﺼﺭ‬

‫ﺍﻟﻤﻘﺎﻁﻊ‬ ‫ﻨﺼﻔﺎ ﺍﻟﺤﺭﻜﺔ‬ ‫ﺍﻟﺤﺭﻜـﺎﺕ‬ ‫ﺍﻟﺼﻭﺍﻤـﺕ‬

‫ﻋﺩﺩﻩ‬ ‫ﺍﻟﻤﻘﻁﻊ‬ ‫ﻋﺩﺩﻩ‬ ‫ﻨﺼﻑ‬ ‫ﻋﺩﺩﻩ ﺍﻟﺤﺭﻜﺔ ﻋﺩﺩﻫﺎ‬ ‫ﺍﻟﺼﺎﻤﺕ‬ ‫ﻋﺩﺩﻩ‬ ‫ﺍﻟﺼﺎﻤﺕ‬
‫ﺍﻟﺤﺭﻜﺔ‬
‫‪15‬‬ ‫ﺹﺡ‬ ‫‪8‬‬ ‫ﺍﻟﻭﺍﻭ‬ ‫‪6‬‬ ‫‪aa‬‬ ‫‪7‬‬ ‫ﺹ‬ ‫‪4‬‬ ‫ﺀ‬
‫‪9‬‬ ‫ﺹﺡﺡ‬ ‫‪1‬‬ ‫‪uu‬‬ ‫‪2‬‬ ‫ﻉ‬ ‫‪3‬‬ ‫ﺏ‬
‫‪12‬‬ ‫ﺹﺡﺹ‬ ‫‪2‬‬ ‫‪ii‬‬ ‫‪1‬‬ ‫ﻑ‬ ‫‪3‬‬ ‫ﺕ‬
‫‪3‬‬ ‫ﺹﺡﺹﺹ‬ ‫ﺍﻟﻤﺠﻤﻭﻉ‪9 :‬‬ ‫‪2‬‬ ‫ﻕ‬ ‫‪2‬‬ ‫ﺡ‬
‫ﺍﻟﻤﺠﻤﻭﻉ‪39 :‬‬ ‫‪10‬‬ ‫ل‬ ‫‪1‬‬ ‫ﺥ‬
‫‪19‬‬ ‫‪a‬‬ ‫‪2‬‬ ‫ﻡ‬ ‫‪1‬‬ ‫ﺫ‬
‫‪2‬‬ ‫‪u‬‬ ‫‪6‬‬ ‫ﻥ‬ ‫‪3‬‬ ‫ﺭ‬
‫‪9‬‬ ‫‪i‬‬ ‫‪2‬‬ ‫ﺱ‬
‫ﺍﻟﻤﺠﻤﻭﻉ‪30 :‬‬ ‫ﺍﻟﻤﺠﻤﻭﻉ‪49 :‬‬
‫ﻤﺠﻤﻭﻉ‬
‫ﺍﻟﺤﺭﻜﺎﺕ‪39 :‬‬
‫ﻤﺠﻤﻭﻉ ﺍﻷﺼﻭﺍﺕ ﺍﻟﻠﹼﻐﻭﻴّﺔ‪96 :‬‬

‫ﻥ ﺍﺨﺘﺭﺍﻗﹰـﺎ؛‬
‫ﻕ ﺍﻵﺫﺍ َ‬
‫ﻻ ﻟﺘﺨﺘﺭ ﹶ‬
‫ﻥ ﻫﺫﻩ ﺍﻟﺴﻭﺭ ﹶﺓ ﺒﻤﻌﺎﻨﻴﻬﺎ ﺍﻟﻌﻅﻴﻤﺔ‪ ،‬ﻟﻡ ﺘﻜﻥْ ﺇ ﹼ‬
‫ل‪ ،‬ﺃ ﱠ‬
‫ﻥ ﻟﻨﺎ ﻫﺫﺍ ﺍﻟﺠﺩﻭ ُ‬
‫ﻴﺒ ّﻴ ُ‬
‫ﺕ ﻫــﺫﻩ ﺍﻟﺴـﻭﺭ ِﺓ‪ ،‬ﻤـﻥ‬
‫ﻓﻤﻌﻅ ُﻡ ﺃﺼﻭﺍ ِ‬ ‫ل‪(1)﴾...‬؛‬
‫ﺴﹺ‬‫ﺍﻟ ﱡﺭ ُ‬ ‫ﺠﺔﹲ َﺒﻌْ َﺩ‬
‫ﺤﱠ‬
‫ﷲ ُ‬
‫ﺱ ﻋﻠﻰ ﺍ ِ‬
‫ﻥ ﻟﻠﻨﹼﺎ ﹺ‬
‫ﻼ ﻴﻜﻭ َ‬
‫﴿‪ِ ...‬ﻟ َﺌ ﹼ‬

‫ﻥ )‪ (6‬ﻤﺭّﺍﺕ‪ ،‬ﻭﺍﻟﻬﻤـﺯ ﹸﺓ‬

‫ﺕ ﺍﻟﻠﹼﻐﻭ ّﻴ ِﺔ ﻓﻲ ﺍﻟﺴﻤﻊ؛ ﻓﺘﺭ ُﺩ ﻓﻴﻬﺎ ﺍﻟﻼ ُﻡ )‪ (10‬ﻤﺭّﺍﺕ‪ ،‬ﻭﺍﻟﻨﻭ ُ‬
‫ﺢ ﺍﻷﺼﻭﺍ ِ‬
‫ﺃﻭﻀ ﹺ‬

‫ﺕ ﻁﻭﻴﻠـﺔ‪،‬‬
‫ﻥ ﻤﺭّﺘﻴﻥ؛ ﻭﻓﻴﻬﺎ ﺘﺭ ُﺩ )‪ (9‬ﺤﺭﻜـﺎ ٍ‬
‫ل ﻤﻥ ﺍﻟﻤﻴ ﹺﻡ ﻭﺍﻟﻌﻴ ﹺ‬
‫)‪ (4‬ﻤﺭّﺍﺕ‪ ،‬ﻭﺍﻟﺭّﺍ ُﺀ )‪ (3‬ﻤﺭّﺍﺕ‪ ،‬ﻭﻜ ﱞ‬

‫ﻑ ﺍﻟﺤﺭﻜ ِﺔ‪ :‬ﺍﻟﻭﺍ ُﻭ )‪ (8‬ﻤﺭّﺍﺕ‪ .‬ﻭﻤﺠﻤﻭ ُ‬

‫ﻉ ﻫﺫﺍ ﻜﻠﱢـﻪ‪:‬‬ ‫ﺏ )‪ (30‬ﺤﺭﻜ ﹰﺔ ﻗﺼﻴﺭﺓ؛ ﻜﻤﺎ ﻴﺭ ُﺩ ﻨﺼ ﹸ‬
‫ﺇﻟﻰ ﺠﺎﻨ ﹺ‬

‫)‪ (74‬ﺼﻭﺘﹰﺎ‪ ،‬ﻤﻥ )‪ (96‬ﺼﻭﺘﹰﺎ ﻓﻲ ﺍﻟﺴﻭﺭﺓ‪.‬‬

‫ﻼ؛ ﻓﻤﻘﺎﻁﻌُﻬـﺎ‬
‫ﻜﺫﻟﻙ‪ ،‬ﻟﻡ ﺘﻜﻥْ ﻫﺫﻩ ﺍﻟﺴﻭﺭ ﹸﺓ‪ ،‬ﻟﻴﺘﻠﻌﺜ َﻡ ﻓﻲ ﻗﺭﺍﺀﺘِﻬﺎ ﺍﻟﻠﹼﺴﺎﻥ؛ ﻓﺘﹸﺘـﺭﻙ ﺘﻌﺒًـﺎ ﺃﻭ ﻤﻠـ ﹰ‬
‫ﻥ‪ ،‬ﻤـﻥ )‪(39‬‬
‫ﺡ‪ ،‬ﺍﻟﺘﻲ ﺘﺒﻠ ﹸﻎ ﺍﻟﺴ ﹼﺘ ﹶﺔ ﻭﺍﻟﺜﻼﺜﻴ َ‬
‫ﻁ ﺍﻟﻤﻔﺘﻭ ُ‬
‫ﺴﹸ‬
‫ﻕ‪ ،‬ﻭﺍﻟﻤﺘﻭ ّ‬
‫ﻁ ﺍﻟﻤﻐﻠ ﹸ‬
‫ﺴﹸ‬
‫ﺍﻟﺼﻭﺘﻴّ ﹸﺔ‪ :‬ﺍﻟﻘﺼﻴ ُﺭ‪ ،‬ﻭﺍﻟﻤﺘﻭ ّ‬

‫ﻥ ﺍﻟﺴﻭﺭ ﹶﺓ ﻻ ﺘﺨﻠﻭ ﻤﻥ ﺍﻟﺜﻘل؛ ﻓ ﹶﺜ ﱠﻡ ﺜﻘـلٌ ﺘﺤﺩﺜﹸـﻪ ﺜﻼﺜـ ﹸﺔ‬

‫ﻻﺃﱠ‬ ‫ﻤﻘﻁﻌًﺎ‪ ،‬ﺃﺴﻬ ُ‬
‫ل ﺍﻟﻤﻘﺎﻁ ﹺﻊ ﺍﻟﻌﺭﺒ ّﻴ ِﺔ ﻨﻁﻘﹰﺎ‪ ،‬ﺇ ﹼ‬

‫)‪ (1‬ﺍﻟﻨﺴﺎﺀ‪.165 :‬‬

‫‪101‬‬
‫ﺽ ﺍﻟﻤﻭﺍﻀ ﹺﻊ؛ ﻟﺩﻋ ﹺﻡ ﺍﻟﻤﻌﻨﻰ‪،‬‬
‫ﺍﻟﻤﻘﺎﻁ ﹺﻊ ﺍﻟﻁﻭﻴﻠ ِﺔ ﺍﻟﻤﺯﺩﻭﺠ ِﺔ ﺍﻹﻏﻼﻕ‪ ،‬ﻭﺘﺘﺎﺒ ُﻊ ﺍﻟﻤﻘﺎﻁ ﹺﻊ ﺍﻟﻘﺼﻴﺭ ِﺓ‪ ،‬ﻓﻲ ﺒﻌ ﹺ‬

‫ﻜﻤﺎ ﺭﺃﻴﻨﺎ‪.‬‬

‫ﻕ ﻫﺫﻩ ﺍﻟﺴﻼﺴﺔ؛‬
‫ﻕ‪ ،‬ﺩﻭﺭُﻫﺎ ﻓﻲ ﺘﺤﻘﻴ ِ‬
‫ﺕ ﺍﻻﺤﺘﻜﺎﻜ ّﻴ ِﺔ‪ ،‬ﺍﻟﺘﻲ ﺘﻌ ﱡﺩ ﺃﺼﻭﺍﺘﹰﺎ ﺼﻌﺒ ﹶﺔ ﺍﻟﻨﻁ ِ‬
‫ﻭﻟﻘﹼﻠ ِﺔ ﺍﻟﺼﻭﺍﻤ ِ‬
‫ﻥ‪،‬‬
‫ﺕ‪ ،‬ﻭﺤـﺎﺀﻴ ﹺ‬
‫ﺱ ﻓﻲ ﺍﻟﺴﻭﺭ ِﺓ ﺴﻭﻯ )‪ (16‬ﺼﺎﻤﺘﹰﺎ ﺍﺤﺘﻜﺎﻜﻴ‪‬ﺎ‪ ،‬ﻤـﻥ )‪ (49‬ﺼـﺎﻤﺘﹰﺎ‪ (7) :‬ﺼـﺎﺩﺍ ٍ‬
‫ﻓﻠﻴ َ‬

‫ﺕ ﺍﻟﻤﺘﻨـﺎﻓﺭ ِﺓ‬ ‫ﻥ‪ ،‬ﻭﺨﺎ ٍﺀ‪ ،‬ﻭﺫﺍ ﹴ‬

‫ل‪ ،‬ﻭﻓﺎﺀ‪ .‬ﺃﻀﻑﹾ ﺇﻟﻰ ﺫﻟﻙ‪ ،‬ﺨﻠ ﱠﻭ ﺍﻟﺴـﻭﺭ ِﺓ ﻤـﻥ ﺍﻟﻜﻠﻤـﺎ ِ‬ ‫ﻥ‪ ،‬ﻭﻋﻴﻨﻴ ﹺ‬
‫ﻭﺴﻴﻨﻴ ﹺ‬

‫ل ﺍﻟﻤﺘﻨﺎﻓﺭ ِﺓ ﺍﻷﻟﻔﺎﻅ‪.‬‬
‫ﺍﻷﺼﻭﺍﺕ‪ ،‬ﻭﺍﻟﺠﻤ ﹺ‬

‫ﺡ‪ ،‬ﻭﻫﺫﻩ ﺍﻟﺴﻼﺴ ﹸﺔ ﺍﻟﻤُﺯﻴﱠﻨﺔﹸ ﺒﺸﻲ ٍﺀ ﻤﻥ ﺍﻟﺜﻘـل‪ ،‬ﻤـﻥ ﻭﻗـ ﹴﻊ‬

‫ﻭﺇﻀﺎﻓ ﹰﺔ ﺇﻟﻰ ﻤﺎ ﻴﺤ ﹼﻘﻘﹸﻪ ﻫﺫﺍ ﺍﻟﻭﻀﻭ ُ‬

‫ﻕ‬
‫ﻲ‪ ،‬ﺍﻟﺫﻱ ﻴﺤﻘﹼـ ﹸ‬
‫ﻲ ﻤﺘﻤ ّﻴ ﹴﺯ ﻻﻓﺕ‪ ،‬ﺘﺭﺘـﻔ ُﺩ ﺍﻟﺴﻭﺭ ﹸﺓ ﻤﻭﺴﻴﻘﺎﻫﺎ ﺍﻟﺠﺫﹼﺍﺒ ﹶﺔ‪ ،‬ﻤﻥ ﻫﺫﺍ ﺍﻟﺘﻭﺯﻴ ﹺﻊ ﺍﻟﺼﻭﺘ ﱢ‬
‫ﻤﻭﺴﻴﻘ ﱟ‬

‫ل ﺁﻴ ٍﺔ ﻤﻨﻬﺎ‪ ،‬ﺘﻨﺘﻬﻲ ﻜﻤﺎ ﺘﺒﺩُﺃ‪،‬‬

‫ﺕﻜﱠ‬
‫ﺕ ﻫﺫﻩ ﺍﻟﺴﻭﺭ ِﺓ؛ ﻟﻭﺠﺩ ﹶ‬ ‫ﻲ ﺍﻷﻤﺜل؛ ﻓﻠﻭ ﺘﺄﻤّﻠ ﹶ‬
‫ﺕ ﺁﻴﺎ ِ‬ ‫ل ﺍﻟﻤﻭﺴﻴﻘ ﱠ‬
‫ﻟﻬﺎ ﺍﻟﺘﻜﺎﻤ َ‬

‫ﻑ ﺍﻟﺤﺭﻜـ ِﺔ ﺍﻟـﻭﺍﻭ‪ ،‬ﻭﺍﻟﺜﺎﻨﻴـ ﹸﺔ‬

‫ﺕ ﻓﻲ ﺍﻟﺴﻤﻊ؛ ﻓﺎﻵﻴ ﹸﺔ ﺍﻷﻭﻟﻰ ﺘﺒﺩُﺃ ﺒﻨﺼ ِ‬
‫ﺢ ﺍﻷﺼﻭﺍ ِ‬
‫ﺕ ﻤﻥ ﺃﻭﻀ ﹺ‬
‫ﺒﺼﻭ ٍ‬

‫ﻑ‪ ،‬ﺒﺎﻟﺭّﺍﺀ‪.‬‬
‫ﻭﺍﻷﺨﻴﺭ ﹸﺓ ﺒﺎﻟﻬﻤﺯ ِﺓ‪ ،‬ﻭﺠﻤﻴﻌُﻬﺎ ﺘﻨﺘﻬﻲ‪ ،‬ﻋﻨ َﺩ ﺍﻟﻭﻗ ِ‬

‫ﺕ ﺍﻟﻁﻭﻴﻠـ ﹶﺔ ﺍﻟﺘﺴـﻊ‪،‬‬
‫ﻥ‪ ،‬ﻭﺍﻟﺤﺭﻜـﺎ ِ‬
‫ﺕ ﺍﻟﺭﻨﹼﺎﻨ ﹶﺔ‪ ،‬ﺍﻟﺘﻲ ﺘﺒﻠ ﹸﻎ ﺍﻟﻭﺍﺤ َﺩ ﻭﺍﻟﻌﺸﺭﻴ َ‬
‫ﻜﺫﻟﻙ‪ ،‬ﺘﺠ ُﺩ ﺍﻟﺼﻭﺍﻤ ﹶ‬
‫ﻕ ﺘﻭﺍﺯﻨﹰﺎ ﻤﻭﺴﻴﻘﻴ‪‬ﺎ ﻤﺘﻤ ّﻴﺯًﺍ ﻓﻴﻬﺎ‪.‬‬
‫ﺕ ﻫﺫﻩ ﺍﻟﺴﻭﺭﺓ‪ ،‬ﻭﻓﻲ ﺫﻟﻙ ﻤﺎ ﻴﺤﻘﹼ ﹸ‬
‫ﺠلﱢ ﻜﻠﻤﺎ ِ‬
‫ﻤﻭﺯّﻋ ﹰﺔ ﻋﻠﻰ ُ‬

‫ﻥ ﺘﺴﻌ ﹶﺔ ﻤﻭﺍﻀ َﻊ ﻤﻭﺯّﻋ ٍﺔ‪ ،‬ﻓﻲ ﻫﺫﻩ ﺍﻟﺴﻭﺭ ِﺓ ﺍﻟﻘﺼﻴﺭﺓ‪،‬‬

‫ﻥ ﻴﺸﻐﻼ ﹺ‬
‫ﻥ ﻭﺍﻟﺼﺎ ِﺩ‪ ،‬ﺍﻟﻠﺫﻴ ﹺ‬
‫ﻥ‪ :‬ﺍﻟﺴﻴ ﹺ‬
‫ﻭﻟﻠﺼﺎﻤﺘﻴ ﹺ‬

‫ﻱ ﺍﻟﻔﺭﻴﺩ‪ ،‬ﺃﻻ ﻭﻫـﻭ‬

‫ل ﻓﻲ ﺼﺒﻐِﻬﻤﺎ ﻤﻭﺴﻴﻘﻰ ﺍﻟﺴﻭﺭ ِﺓ‪ ،‬ﺒﻤﻠﻤﺤِﻬﻤﺎ ﺍﻟﺘﻤﻴﻴﺯ ﱢ‬
‫ﻲ ﺍﻟﺫﻱ ﻴﺘﻤﺜﹼ ُ‬
‫ﺃﺜﺭُﻫﻤﺎ ﺍﻟﻤﻭﺴﻴﻘ ﱡ‬
‫ﻥ ﺍﻟﺴﻭﺭ ِﺓ ﺍﻟﻌﺎ ّﻡ‪ ،‬ﺃﻻ ﻭﻫﻭ ﺍﻹﻨﺫﺍﺭ‪ .‬ﻭﻤﻤّﺎ‬
‫ل ﻫﺫﻩ ﺍﻟﻤﻭﺴﻴﻘﻰ‪ ،‬ﻤﻭﺍﻓﻘ ﹰﺔ ﻤﻀﻤﻭ َ‬
‫ﺍﻟﺼﻔﻴﺭ‪ .‬ﻭﻓﻲ ﺫﻟﻙ ﻤﺎ ﻴﺠﻌ ُ‬

‫ﺕ ﺍﻟﺼﻔﻴ َﺭ ﻨﺫﻴﺭًﺍ‪ ،‬ﻴﻨ ّﺒﻬُﻬﻡ ﻋﻨ َﺩ ﺍﻟﺨﻁﺭ‪ ،‬ﻜﻤـﺎ ﺍﺘﹼﺨـﺫﻭﺍ‬

‫ﺱ ﻗﺩ ﺍﺘﹼﺨﺫﻭﺍ ﻤﻥ ﺍﻷﺼﻭﺍ ِ‬
‫ﻥ ﺍﻟﻨﺎ َ‬
‫ﻴﺅﻜﹼ ُﺩ ﺫﻟﻙ‪ ،‬ﺃ ﱠ‬

‫ﻕ ﺸﺩﻴ ٍﺩ ﻓﻲ ﻤﺠﺭﻯ ﺃﺼﻭﺍﺘِﻪ‪،‬‬

‫ﺝ ﺘﻀﻴﻴ ٍ‬
‫ﻥ ﻻﻓﺘﺔ؛ ﻟﻜﻭﻨِﻪ ﻨﺘﺎ َ‬
‫ﺍﻷﺤﻤ َﺭ ﻤﻥ ﺍﻷﻟﻭﺍﻥ؛ ﻓﻠﻠﺼﻔﻴ ﹺﺭ ﺤ ّﺩﺓﹲ ﻓﻲ ﺍﻵﺫﺍ ﹺ‬

‫ﻓﻲ ﺃﺜﻨﺎ ِﺀ ﻨﻁﻘِﻬﺎ‪.‬‬

‫ﻕ‬
‫ﻻ ﻓﻲ ﺍﻟﺘﺭﻗﻴ ِ‬
‫ﻥﺇﹼ‬
‫ﻲ ﻤﻬﻤﻭﺱ‪ ،‬ﻻ ﻴﺨﺘﻠﻔﺎ ﹺ‬
‫ﻱ ﺍﺤﺘﻜﺎﻜ ﱞ‬
‫ﻲ ﻟﺜﻭ ﱞ‬
‫ﻥ ﻭﺍﻟﺼﺎ ُﺩ‪ ،‬ﻜﻼﻫﻤﺎ ﺼﺎﻤﺕﹲ ﺃﺴﻨﺎﻨ ﱞ‬
‫ﻭﺍﻟﺴﻴ ُ‬

‫ﻑ‬
‫ﺏ ﻫﺫﻩ ﺍﻟﺴﻭﺭ ِﺓ‪ ،‬ﺃﻨﱠﻬـﺎ ﺤﺼـﺭﺕ ﺍﻟﻀـﻌﻴ ﹶ‬
‫ﻭﻤﻥ ﻋﺠﻴ ﹺ‬ ‫ﻤﻔﺨﹼﻡ)‪.(1‬‬ ‫ل ﻤﺭ ﹼﻗﻕﹲ‪ ،‬ﻭﺍﻵﺨ ُﺭ‬
‫ﻭﺍﻟﺘﻔﺨﻴﻡ؛ ﻓﺎﻷﻭّ ُ‬

‫)‪(1‬‬
‫ﻲ‪ .‬ﺹ‪.175‬‬
‫ﺍﻟﺴﻌﺭﺍﻥ‪ ،‬ﻤﺤﻤﻭﺩ‪ :‬ﻋﻠﻡ ﺍﻟﻠﹼﻐﺔ ﻤﻘﺩّﻤﺔ ﻟﻠﻘﺎﺭﺉ ﺍﻟﻌﺭﺒ ّ‬
‫‪102‬‬
‫ﻑ ﻭﺍﻟـﻭﻫﻥ‪،‬‬
‫ل ﺩﻻﻟ ﹶﺔ ﺍﻟﺨﺴﺎﺭ ِﺓ ﻭﺍﻟﻀـﻌ ِ‬
‫ﻥ؛ ﻟﺘﺭﻗﻴﻘِﻪ‪ ،‬ﻓﻲ ﺍﻵﻴ ِﺔ ﺍﻟﺜﺎﻨﻴـ ِﺔ‪ ،‬ﺍﻟﺘﻲ ﺘﺤﻤ ُ‬
‫ﻤﻨﻬﻤﺎ‪ ،‬ﻭﻫﻭ ﺍﻟﺴﻴ ُ‬

‫ل ﺩﻻﻟ ﹶﺔ ﺍﻟﻌﻅﻤﺔ‪ ،‬ﻭﺍﻷﺨﻴـﺭ ِﺓ ﺍﻟﺘـﻲ‬

‫ﻥ‪ :‬ﺍﻷﻭﻟﻰ ﺍﻟﺘﻲ ﺘﺤﻤ ُ‬
‫ﻱ ﺒﺘﻔﺨﻴﻤِﻪ‪ :‬ﺍﻟﺼﺎﺩ‪ ،‬ﻓﻲ ﺍﻵﻴﺘﻴ ﹺ‬
‫ﻭﺠﻌﻠﺕ ﺍﻟﻘﻭ ﱠ‬

‫ﺡ ﻭﻋﻅ ﹺﻡ ﺍﻟﺸﺄﻥ؛ ﻓﺘﺄ ّﻤلْ !‪.‬‬

‫ل ﺩﻻﻟ ﹶﺔ ﺍﻟﻔﻼ ﹺ‬
‫ﺘﺤﻤ ُ‬

‫ﻥ‬
‫ﺱ‪ ،‬ﻓﻲ ﻫﺫﻩ ﺍﻟﺴﻭﺭ ِﺓ‪ ،‬ﺃﻥ ﺘﺩﻋ َﻡ ﻤـﺎ ﺘﻌﻜﺴُـﻪ ﺍﻟﺴـﻴ ُ‬
‫ل ﻤﻭﻗ َﻊ ﺍﻟﻔﺎﺼﻠ ِﺔ ﺍﻟﺤﺴّﺎ َ‬
‫ﻭﻟﻠﺭّﺍ ِﺀ ﺍﻟﺘﻲ ﺘﺸﻐ ُ‬

‫ل ﻭﺍﻟﺨﻁﺭ)‪(1‬؛ ﺒﺘﻜﺭﺍﺭﹺﻫﺎ ﺍﻟﺫﻱ‬

‫ل ﻤﻌﺎﻨﻲ ﺍﻟﻬﻭ ﹺ‬
‫ل ﻜـ ﱠ‬
‫ﻭﺍﻟﺼﺎ ُﺩ ﻤﻥ ﺇﻨـﺫﺍ ﹴﺭ ﻭﺘﺭﻫﻴﺏ؛ ﻓﺎﻟﺭّﺍ ُﺀ ﺍﻟﺴﺎﻜﻨ ﹸﺔ ﺘﺤﻤ ُ‬

‫ﻕ‬ ‫ﺞ ))ﻋﻥ ﺘﺘﺎﺒ ﹺﻊ ﻁﺭﻗﺎﺘِﻬﺎ ﻋﻠﻰ ﺍﻟﻠﹼﺜ ِﺔ‪ ،‬ﺘﺘﺎﺒﻌًﺎ ﺴﺭﻴﻌًﺎ‪ ،‬ﻜﺄﻨﱠﻪ ﺃﺠﺭﺍ ُ‬
‫ﺱ ﺍﻹﻨﺫﺍ ﹺﺭ ﺍﻟﻤﺘﻜـﺭّﺭ ﹸﺓ‪ ،‬ﺍﻟﺘـﻲ ﺘـﺩ ﱡ‬ ‫ﻴُﻨ ﹶﺘ ُ‬
‫ﺍﻟﻘﻠﻭﺏ(()‪.(2‬‬ ‫ل‬
‫ﻉ‪ ،‬ﻭﺘﺯﻟﺯ ُ‬
‫ﺍﻷﺴﻤﺎ َ‬

‫ﻲ‪ ،‬ﺘﺘﺯﺍﻴـ ُﺩ ﻤﻌـﻪ‬

‫ﻕ ﺘﺼﺎﻋﺩٌ ﻨﻐﻤـ ﱞ‬
‫ل ﻓﺄﻁﻭل‪ ،‬ﻴﺘﺤﻘﹼ ﹸ‬
‫ل ﺍﻟﺴﻭﺭ ِﺓ ﻤﻥ ﺁﻴ ٍﺔ ﻗﺼﻴﺭ ٍﺓ‪ ،‬ﺇﻟﻰ ﺃﻁﻭ َ‬
‫ﻭﺒﺎﻨﺘﻘﺎ ﹺ‬

‫ﻥ‪ ،‬ﻭﺍﻟﺼﺎ ُﺩ‪ ،‬ﻭﺍﻟﺭﺍ ُﺀ‪ ،‬ﻓﻲ ﺍﻟﻨﻔﺱ‪.‬‬

‫ﻑ ﻭﺍﻟﺭﻫﺒ ِﺔ‪ ،‬ﺍﻟﺘﻲ ﺘﺒﻌﺜﹸﻬﺎ ﺍﻟﺴﻴ ُ‬
‫ﻤﺸﺎﻋ ُﺭ ﺍﻟﺨﻭ ِ‬

‫ﻭﻟﻠﻤﻘﺎﻁ ﹺﻊ ﺍﻟﻤﺘﻭﺴّﻁ ِﺔ ﺍﻟﻤﻐﻠﻘ ِﺔ‪ ،‬ﺍﻟﺘﻲ ﺘﻜﺜ ُﺭ ﻓﻲ ﻫﺫﻩ ﺍﻟﺴﻭﺭ ِﺓ‪ ،‬ﺒﻭﺭﻭﺩِﻫﺎ )‪ (12‬ﻤـ ّﺭ ﹰﺓ‪ ،‬ﻤـﻥ )‪(39‬‬

‫ﻉ ﺍﻟ ﱠﻨ ﹶﻔﺱﹺ ﻤﻌﻬﺎ‪ ،‬ﻤﺎ ﺘﺤﻤﻠﹸﻪ ﺍﻟﺴﻭﺭ ﹸﺓ ﻤﻥ ﺩﻻﻟ ِﺔ ﺍﻟﺤﺴﻡ؛ ﻓﻬﺫﻩ ﺍﻟﺴﻭﺭ ﹸﺓ‪ ،‬ﻜﻤـﺎ‬
‫ﺱ‪ ،‬ﺒﺎﻨﻘﻁـﺎ ﹺ‬
‫ﻤﻘﻁ ًﻌﺎ‪ ،‬ﺃﻥ ﺘﻌﻜ َ‬

‫ل‬
‫ﻥ‪ ،‬ﻭﺍﻟﻌﻤـ ﹺ‬
‫ﻕ ﺍﻹﻴﻤـﺎ ﹺ‬
‫ﻕ ﺍﻟﻨﺠﺎ ِﺓ‪ ،‬ﺍﻟﺘﻲ ﻻ ﺘﺘﻌﺩّﺩ‪ ،‬ﻭﻫﻲ ﻁﺭﻴ ﹸ‬
‫ل ﺴﻴّﺩ ﻗﻁﺏ‪ ،‬ﺤﺎﺴﻤﺔﹲ ﻓﻲ ﺘﺤﺩﻴ ِﺩ ﻁﺭﻴ ِ‬
‫ﻴﻘﻭ ُ‬
‫ﻭﺍﻟﺼﺒﺭ)‪.(3‬‬ ‫ﻕ‬
‫ﺢ‪ ،‬ﻭﺍﻟﺘﻭﺍﺼﻲ ﺒﺎﻟﺤ ﱢ‬
‫ﺍﻟﺼﺎﻟ ﹺ‬

‫ﻭﺇﺫﺍ ﻜﺎﻨﺕ ﻭﺍ ُﻭ ﺍﻟﻘﺴ ﹺﻡ‪ ،‬ﻜﻤﺎ ﺘﺭﻯ ﻋﺎﺌﺸﺔ ﻋﺒﺩ ﺍﻟﺭّﺤﻤﻥ )ﺒﻨﺕ ﺍﻟﺸﺎﻁﺊ(‪ ،‬ﻗﺩ ﻭﻗﻌﺕﹾ ﻓﻲ ﺒﺩﺍﻴ ِﺔ ﻫﺫﻩ‬

‫ﻥ‪ ،‬ﺍﻟـﺫﻱ ﻴﻌﺼـﺭُﻩ‬

‫ﻥ ﺒـﺎﻟﺯﻤ ﹺ‬
‫ﻥ ﻏﻴﺭﹺﻫﺎ ﻤﻥ ﺍﻟﻤﻭﺍﻀﻊ؛ ﻹﺜﺎﺭ ِﺓ ﺍﻻﻨﺘﺒﺎ ِﻩ‪ ،‬ﻻﺒﺘﻼ ِﺀ ﺍﻹﻨﺴـﺎ ﹺ‬
‫ﺍﻟﺴﻭﺭ ِﺓ‪ ،‬ﺩﻭ َ‬
‫ﻥ‬ ‫ﻥ ﺍﻟﺨﺴ ُﺭ ﺃﻭ ﺍﻟﻨﺠﺎﺓ)‪(4‬؛ ﻓﺈ ﱠ‬
‫ﻥ ﻤﻥ ﺸـﺄ ﹺ‬ ‫ﻁ ﻭﺍﻟﻤﻌﺎﻨﺎ ِﺓ‪ ،‬ﻜﺎﺸﻔﹰﺎ ﻋﻥ ﺨﻴﺭﹺﻩ ﺃﻭ ﺸﺭﱢﻩ؛ ﻓﻴﻜﻭ ُ‬
‫ﻭﻴﺼﻬﺭُﻩ ﺒﺎﻟﻀﻐ ِ‬

‫ﻲ‪ ،‬ﻭﺍﻤﺘﺩﺍ ِﺩ‬

‫ل ﺯﻤﻨِﻪ ﺍﻟﻨﻁﻘ ﱢ‬
‫ﺱ ﺒﻁﻭ ﹺ‬
‫ﺕ‪ ،‬ﺃﻥ ﻴﻌﻜ َ‬
‫ﺡ‪ ،‬ﺍﻟﻭﺍﺭ ِﺩ ﻓﻲ ﺍﻟﺴﻭﺭ ِﺓ )‪ (9‬ﻤﺭّﺍ ٍ‬
‫ﻁ ﺍﻟﻤﻔﺘﻭ ﹺ‬
‫ﺴِ‬
‫ﺍﻟﻤﻘﻁ ﹺﻊ ﺍﻟﻤﺘﻭ ّ‬

‫ﻲ ﺒﻪ ﺍﻹﻨﺴﺎﻥ‪.‬‬
‫ﻥ ﺍﻟﺫﻱ ﺍﺒﺘﻠ َ‬
‫ل ﻫﺫﺍ ﺍﻟﺯﻤ ﹺ‬
‫ﺤﺭﻜﺘِﻪ ﺍﻟﻁﻭﻴﻠ ِﺔ‪ ،‬ﻁﻭ َ‬

‫)‪(1‬‬
‫ﻲ ﺍﻟﺤﺩﻴﺙ‪ .1999 .‬ﺹ‪.52‬‬
‫ﻲ‪ :‬ﻓﻭﺍﺼل ﺍﻵﻴﺎﺕ ﺍﻟﻘﺭﺁﻨﻴّﺔ‪ .‬ﻁ‪ .1‬ﺍﻹﺴﻜﻨﺩﺭﻴّﺔ‪ :‬ﺍﻟﻤﻜﺘﺏ ﺍﻟﺠﺎﻤﻌ ّ‬
‫ﺍﻟﻤﺭﺴﻲ‪ ،‬ﻜﻤﺎل ﺍﻟﺩﻴﻥ ﻋﺒﺩ ﺍﻟﻐﻨ ّ‬
‫)‪(2‬‬
‫ﻲ‪ .‬ﻁ‪ .1‬ﻋﻤّﺎﻥ‪ :‬ﺩﺍﺭ ﺍﻟﺸﺭﻭﻕ‪ .2000 .‬ﺹ‪ .33‬ﻭﺍﻟﻜﻼﻡ ﻟﻤﺤﻤّﺩ ﺍﻷﻤﻴﻥ‬
‫ﺍﻟﺴﻌﺎﻓﻴﻥ‪ ،‬ﺇﺒﺭﺍﻫﻴﻡ‪ ،‬ﻭﺁﺨﺭﻭﻥ‪ :‬ﺃﺴﺎﻟﻴﺏ ﺍﻟﺘﻌﺒﻴﺭ ﺍﻷﺩﺒ ّ‬
‫ﺍﻟﺨﻀﺭﻱ‪.‬‬
‫)‪(3‬‬
‫ﻗﻁﺏ‪ ،‬ﺴﻴّﺩ‪ :‬ﻓﻲ ﻅﻼل ﺍﻟﻘﺭﺁﻥ‪.3972 / 6 .‬‬
‫)‪ (4‬ﺒﻨﺕ ﺍﻟﺸﺎﻁﺊ‪ ،‬ﻋﺎﺌﺸﺔ ﻋﺒﺩ ﺍﻟﺭﺤﻤﻥ‪ :‬ﺍﻹﻋﺠﺎﺯ ﺍﻟﺒﻴﺎﻨ ّ‬
‫ﻲ ﻟﻠﻘﺭﺁﻥ‪ ،‬ﻭﻤﺴﺎﺌل ﺍﺒﻥ ﺍﻷﺯﺭﻕ‪ .‬ﻁ‪ .3‬ﺍﻟﻘﺎﻫـﺭﺓ‪ :‬ﺩﺍﺭ ﺍﻟﻤﻌـﺎﺭﻑ‪) .‬ﺩ‪.‬‬
‫ﺕ(‪ .‬ﺹ‪.251‬‬
‫‪103‬‬
 ‫‪ .3‬ﺘﺤﻠﻴ ُل ﺴﻭﺭ ِﺓ ﺍﻟﻔﻴل‬

‫ﻥ ﺍﻟ ّﺭﺤﻴﻡ‬
‫ﷲ ﺍﻟ ّﺭﺤﻤ ﹺ‬
‫ﺒﺴ ﹺﻡ ﺍ ِ‬

‫ﷲ ﺍﻟﻌﻅﻴﻡ‬
‫ﻕﺍ ُ‬
‫ﺼﺩ ﹶ‬

‫ﺍﻟﺴﻭﺭ ﹸﺓ ﺒﺎﻟﻜﺘﺎﺒ ِﺔ ﺍﻟﺼﻭﺘ ّﻴ ِﺔ‪ ،‬ﻤﻊ ﺘﺤﺩﻴ ِﺩ ﻤﻘﺎﻁﻌِﻬﺎ‪:‬‬

‫‪a / lam / ta / ra / kay / fa / fa / ca / la / rab / bu / ka / bi /‬‬ ‫‪a /‬‬ ‫‪aa /‬‬

‫‪bil / fiil‬‬ ‫‪X‬‬ ‫‪a / lam / ya: / cal / kay / da / hum / fii / ta‬‬ ‫‪/ liil‬‬ ‫‪Y wa /‬‬
‫‪ar / sa / la / ca / lay / him / ay / ran /‬‬ ‫‪a / baa / biil Z tar / mii / him /‬‬
‫‪bi /‬‬ ‫‪i / :aa / ra / tin / min / si: / :iil‬‬ ‫‪[ fa /:a / ca / la / hum / ka /‬‬
‫‪ca / fin / ma‬‬ ‫‪/ kuul \.‬‬

‫ل – ﺃﻥ ﺘﺨﹸﻠ َﺩ‪ ،‬ﺒﺨﻠﻭ ِﺩ‬

‫ﷲ ‪ -‬ﻋ ﱠﺯ ﻭﺠ ﱠ‬
‫ل‪ ،‬ﺍﻟﺘﻲ ﺸـﺎ َﺀ ﻟﻬﺎ ﺍ ُ‬
‫ﺏ ﺍﻟﻔﻴـ ﹺ‬
‫ﺼ ﹶﺔ ﺃﺼﺤﺎ ﹺ‬
‫لﻗ ّ‬
‫ﻻ ﺃﺤ َﺩ ﻤﻨﹼﺎ‪ ،‬ﻴﺠﻬ ُ‬
‫ﻕ ﻫﺅﻻ ِﺀ ﺍﻟﻘﻭ ﹺﻡ‪،‬‬
‫ﻙ ﻁﺭﻴ ﹶ‬
‫ﻥ‪ ،‬ﻋﺒﺭ ﹰﺓ ﻭﺇﻨﺫﺍﺭًﺍ‪ ،‬ﻟ َﻤﻥْ ﺃﺭﺍ َﺩ ﺃﻥ ﻴﺴﻠ َ‬
‫ﻥ ﻭﻤﻜﺎ ﹴ‬
‫ل ﺯﻤﺎ ﹴ‬
‫ﻥ ﻓـﻲ ﻜ ﱢ‬
‫ﻫﺫﺍ ﺍﻟﻘﺭﺁﻥ؛ ﻟﺘﻜﻭ َ‬

‫ﻥ ﻫﻤّﻭﺍ ﺒﻬﺩ ﹺﻡ ﺒﻴﺘِﻪ ﺍﻟﺤﺭﺍﻡ‪ ،‬ﺒﻘﻴـﺎﺩ ِﺓ ﺤـﺎﻜ ﹺﻡ‬

‫ﷲ‪ ،‬ﺴﺒﺤﺎ ﹶﻨـﻪ‪ ،‬ﺤﻴ َ‬
‫ﻥ ﺤﺎﻭﻟﻭﺍ ﺍﻻﻋﺘﺩﺍ َﺀ ﻋﻠﻰ ﺤﺭﻤـ ِﺔ ﺍ ِ‬
‫ﺍﻟﺫﻴ َ‬

‫ﻓﻘﺩ ﺒﻨـﻰ )ﺃﺒﺭﻫـ ﹸﺔ(‬ ‫ﺍﻟﺤﺒﺸﺔ)‪(1‬؛‬ ‫ﻥ ﻟﺤﻜ ﹺﻡ‬

‫ﻲ )ﺃﺒﺭﻫﺔ(‪ ،‬ﻓﻲ ﺍﻟﻔﺘﺭ ِﺓ ﺍﻟﺘـﻲ ﺨﻀﻌﺕ ﻓﻴﻬﺎ ﺍﻟﻴﻤ ُ‬
‫ﻥ ﺍﻟﺤﺒﺸ ﱢ‬
‫ﺍﻟﻴﻤ ﹺ‬

‫ﻲ ]ﻟﻘـﺏ ﻤﻠـﻙ‬ ‫ﻫﺫﺍ‪)) ،‬ﻜﻨﻴﺴ ﹰﺔ ﻟﻡ ُﻴ َﺭ ﻤﺜﻠﹸﻬﺎ ﻓـﻲ ﺯﻤﺎ ِﻨﻬﺎ‪ ،‬ﺒﺸﻲ ٍﺀ ﻤﻥ ﺍﻷﺭﺽ‪ ،‬ﺜ ﱠﻡ ﻜﺘ َ‬
‫ﺏ ﺇﻟﻰ ﺍﻟﻨﺠﺎﺸـ ﱢ‬

‫ﺕ ﺒ ُﻤﻨﹾ ﹶﺘﻪٍ ﺤﺘﹼـﻰ‬

‫ﻥ ﻗﺒﻠﹶﻙ‪ ،‬ﻭﻟﺴ ﹸ‬
‫ﻙ ﻜﺎ َ‬
‫ﻥ ﻤﺜﻠﹸﻬﺎ‪ ،‬ﻟﻤﻠ ٍ‬
‫ﺕ ﻟﻙ ﺃﻴّﻬﺎ ﺍﻟﻤﻠﻙ‪ ،‬ﻜﻨﻴﺴ ﹰﺔ ﻟﻡ ﻴُﺒ َ‬
‫ﺍﻟﺤﺒﺸﺔ[‪ :‬ﺇﻨﹼﻲ ﻗـﺩ ﺒﻨﻴ ﹸ‬

‫ﻅﺭْ‬
‫ﺏ ﻴﺤﺠّﻭﻨﹶﻬﺎ؛ ﴿‪ ...‬ﻓﹶﺎﻨﹾ ﹸ‬ ‫ﺞ ﺍﻟﻌﺭﺏ(()‪(2‬؛ ﻓﻤﺸﻰ ﻭﺠﻴﺸﹶﻪ ﻟﻬﺩ ﹺﻡ ﺍﻟﻜﻌﺒ ِﺔ‪ ،‬ﺍﻟﺘﻲ ﻜﺎ َ‬
‫ﻥ ﺍﻟﻌﺭ ُ‬ ‫ﻑ ﺇﻟﻴﻬﺎ ﺤ ﱠ‬
‫ﺃﺼﺭ ﹶ‬

‫)‪(1‬‬
‫ﻗﻁﺏ‪ ،‬ﺴﻴّﺩ‪ :‬ﻓﻲ ﻅﻼل ﺍﻟﻘﺭﺁﻥ‪.3974 / 6 .‬‬
‫)‪(2‬‬
‫ﺍﺒﻥ ﻫﺸﺎﻡ‪ ،‬ﺃﺒﻭ ﻤﺤﻤّﺩ ﻋﺒﺩ ﺍﻟﻤﻠﻙ‪ :‬ﺍﻟﺴﻴﺭﺓ ﺍﻟﻨﺒﻭﻴّﺔ‪ .‬ﺠﺯﺀﺍﻥ ﻓﻲ ﻤﺠﹼﻠ ٍﺩ ﻭﺍﺤﺩ‪ .‬ﻋﻠﹼﻕ ﻋﻠﻴﻬﺎ ﻭﺨﺭّﺝ ﺃﺤﺎﺩﻴﺜﻬﺎ ﻋﻤﺭ ﻋﺒﺩ ﺍﻟﺴـﻼﻡ‬
‫ﻼ ﻋﻥ ﺍﺒﻥ ﺇﺴﺤﺎﻕ‪.‬‬
‫ﻲ‪ .35 / 1 .2004 .‬ﻨﻘ ﹰ‬
‫ﺘﺩﻤﺭﻱ‪ .‬ﻁ‪ .1‬ﺒﻴﺭﻭﺕ‪ :‬ﺩﺍﺭ ﺍﻟﻜﺘﺎﺏ ﺍﻟﻌﺭﺒ ّ‬
‫‪104‬‬
 ‫ﻥ ﻋﺎ ِﻗ َﺒ ﹸﺔ ﺍﻟﻅﹼﺎﻟِﻤﻴﻥ﴾)‪.(1‬‬
‫ﻑ ﻜﺎ َ‬
‫ﹶﻜﻴْ ﹶ‬

‫ﺕ ﻤﻌﻲ ﻨﻅﺎﻤَﻬـﺎ‬
‫ﻥ ﻓﻲ ﻫﺫﻩ ﺍﻟﺴﻭﺭ ِﺓ‪ ،‬ﺇﺫﺍ ﺘﺄﻤّﻠ ﹶ‬
‫ﻱ ﺍﻟﻌﻴ ﹺ‬
‫ﺏ ﺍﻹﻟﻬ ّﻴ ﹶﺔ‪ ،‬ﺭﺃ َ‬
‫ﻼ‪ ،‬ﻫﺫﻩ ﺍﻟﺤﺭ َ‬
‫ﺇﻨﱠﻙ ﺴﺘﺭﻯ ﻓﻌ ﹰ‬

‫ﺙ ﺒﺩ ﹼﻗ ٍﺔ ﻤﺘﻨﺎﻫﻴﺔ‪.‬‬
‫ﻲ‪ ،‬ﺍﻟﺫﻱ ﻴﺭﺴ ُﻡ ﻟﻙ ﺍﻷﺤﺩﺍ ﹶ‬
‫ﺍﻟﺼﻭﺘ ﱠ‬

‫ﻙ ﺒﹺَﺄﺼْﺤﺎﺏﹺ ﺍﻟﹾﻔﻴل﴾‪:‬‬
‫ل َﺭ ﱡﺒ َ‬
‫ﻑ ﹶﻓﻌَ َ‬
‫ﺍﻨﻅﺭْ ﻓﻲ ﺒﺩﺍﻴ ِﺔ ﻫﺫﻩ ﺍﻟﺴﻭﺭﺓ‪َ﴿ :‬ﺃﹶﻟﻡْ ﹶﺘﺭَ ﹶﻜﻴْ ﹶ‬

‫‪a / lam / ta / ra / kay / fa / fa / ca / la / rab / bu / ka / bi /‬‬ ‫‪a /‬‬ ‫‪aa /‬‬

‫‪bil / fiil.‬‬

‫ﻱ‬
‫ﺕ ﺍﻻﻨﻔﺠـﺎﺭ ﱡ‬
‫ﻥ‪ ،‬ﻤﻥ ﻫﺫﻩ ﺍﻟﺴﻭﺭ ِﺓ‪ ،‬ﻜﻤﺎ ﺘﺭﻯ‪ ،‬ﻫﻭ ﻫـﺫﺍ ﺍﻟﺼـﻭ ﹸ‬
‫ﺕ ﻴﻘ ُﻊ ﻓﻲ ﺍﻷﺫ ﹺ‬
‫ل ﺼﻭ ٍ‬
‫ﻥ ﺃ ّﻭ َ‬
‫ﺇﱠ‬

‫ل ﻤﻜﹼﻲ ﺒﻥ ﺃﺒﻲ ﻁﺎﻟﺏ‬

‫ﻲ(‪ .‬ﻭﻓﻲ ﻫﺫﺍ ﻴﻘﻭ ُ‬
‫ﻑ ﺍﻟﺠﺭﺴ ّ‬
‫ﻕ ﻋﻠﻴﻬﺎ ﺍﻟﻘﺩﻤﺎ ُﺀ )ﺍﻟﺤﺭ ﹶ‬
‫ﺊ‪ :‬ﺍﻟﻬﻤﺯ ﹸﺓ‪ ،‬ﺍﻟﺘﻲ ﺃﻁﻠ ﹶ‬
‫ﺍﻟﻤﻔﺎﺠ ُ‬

‫ﻕ ﺒﻬـﺎ؛ ﻭﻟـﺫﻟﻙ ﺍﺴـ ﹸﺘﺜﹾﻘِﻠﺕﹾ ﻓـﻲ‬

‫ﺕ ﻴﻌﻠﻭ ﺒﻬﺎ‪ ،‬ﻋﻨ َﺩ ﺍﻟﻨﻁ ِ‬
‫ﻥ ﺍﻟﺼﻭ ﹶ‬ ‫– ﺭﺤﻤَﻪ ﺍﷲ ‪ُ )) :-‬‬
‫ﺴﻤﱢﻴﺕﹾ ﺒﺫﻟﻙ؛ ﻷ ﱠ‬
‫ﺕ ﺒﻪ ﻋﻨ َﺩ ﺍﻟﻨﻁـﻕ‪.‬‬
‫ﻲ‪ ،‬ﺃﻱ ﺍﻟﻤُﺼ ﱠﻭ ﹸ‬
‫ﻑ ﺍﻟﺼﻭﺘ ﱡ‬
‫ﺱ ﻓـﻲ ﺍﻟﻠﹼﻐ ِﺔ‪ :‬ﺍﻟﺼﻭﺕ)‪(2‬؛ ﻓﻜﺄﻨﱠﻪ ﺍﻟﺤﺭ ﹸ‬
‫ﺠﺭْ ُ‬
‫ﺍﻟﻜﻼﻡ‪ ...‬ﻭﺍﻟ َ‬

‫ﺫﻟﻙ‪.(3)((...‬‬ ‫ﻥ ﺍﻟﻬﻤﺯ ﹶﺓ ﻟﻬﺎ ﻤﺯ ّﻴﺔﹲ ﺯﺍﺌﺩﺓﹲ ﻓﻲ‬

‫ﻕ ﺒﻬﺎ‪ ،‬ﻟﻜ ﱠ‬
‫ﺕ ﺒﻬﺎ‪ ،‬ﻋﻨ َﺩ ﺍﻟﻨﻁ ِ‬
‫ﺼﻭﱠ ﹸ‬
‫ﻑ ُﻴ َ‬
‫ل ﺍﻟﺤﺭﻭ ِ‬
‫ﻭﻜ ﱡ‬

‫ﺏ‬
‫ﺡ‪ ،‬ﺒﺈﺜﺎﺭ ٍﺓ ﺴﻤﻌ ّﻴ ٍﺔ‪ ،‬ﺘﺴـﺘﻭﺠ ُ‬
‫ﺕ ﺍﻟﻤﺘﻤ ّﻴ ﹺﺯ ﺍﻟﻭﻀﻭ ﹺ‬
‫ﺇﺫﻥ‪ ،‬ﻓﻬﺫﻩ ﺍﻟﺴﻭﺭ ﹸﺓ ﺘﻔﺎﺠﺌُﻙ‪ ،‬ﺒﺎﺩﺌ ﹰﺔ ﺒﻬﺫﺍ ﺍﻟﺼﺎﻤ ِ‬
‫ﻥ ﺍﻟﺴـﻭﺭ ِﺓ ﺍﻟﻌﻅﻴ ُﻡ‪ ،‬ﺍﻟـﺫﻱ ﺘﺴﺘﺸﻌـ ُﺭ ﻋﻅﻤﺘﹶﻪ‪ ،‬ﻓـﻲ‬
‫ﺘﻨﺸﻴﻁﹰﺎ ﺫﻫﻨﻴ‪‬ﺎ‪ ،‬ﻭﺘﻴ ﹼﻘﻅﹰﺎ ﻓﻜﺭﻴ‪‬ﺎ‪ ،‬ﻴﺘﻁﹼﻠﺒُﻪ ﻤﻀﻤﻭ ُ‬

‫ﺕ ﻋﻠﻰ ﺍﻟﻠﹼﺴﺎﻥ‪.‬‬
‫ل ﻫﺫﺍ ﺍﻟﺼﺎﻤ ِ‬
‫ﺜﻘ ﹺ‬

‫ﺕ ﻋﻠﻰ ﺘﻬﻴﺌ ِﺔ ﺍﻟﻤﺘﻠﻘﹼﻲ‪ ،‬ﺴﻭﺍﺀٌ ﺃﻜﺎﻨﺕﹾ ﺴـﻤﻌ ّﻴ ﹰﺔ‪ ،‬ﺃﻡ ﻨﻁﻘﻴّـ ﹰﺔ‪ ،‬ﺃﻡ‬
‫ﻭﻤﻤّﺎ ﻴﺅﻜﹼ ُﺩ ﻟﻨﺎ‪ ،‬ﻗﺩﺭ ﹶﺓ ﻫﺫﺍ ﺍﻟﺼﺎﻤ ِ‬

‫ﻥ ﺍﻟﻜﺭﻴ ﹺﻡ‪ ،‬ﺘﺒﺩُﺃ ﺒﻬﺫﺍ ﺍﻟﺼﺎﻤـﺕ‪.‬‬

‫ﻥ ﺴﻭﺭ ﹰﺓ‪ ،‬ﻤﻥ ﻤﺌ ٍﺔ ﻭﺃﺭﺒ َﻊ ﻋﺸﺭ ﹶﺓ‪ ،‬ﻓﻲ ﺍﻟﻘﺭﺁ ﹺ‬
‫ﻥ ﻭﺍﺤﺩ ﹰﺓ ﻭﺃﺭﺒﻌﻴ َ‬
‫ﺫﻫﻨﻴّﺔ‪ ،‬ﺃ ﱠ‬

‫ل ﻭﻓﺘﺤﺘﹶﻪ ﺍﻟﻘﺼﻴﺭ ﹶﺓ‪ ،‬ﻓﻲ ﻤﻘﻁﻌِﻬﻤﺎ‬

‫ﺕ ﺩﻭﺭُﻩ ﺍﻷﻜﺒ ُﺭ‪ ،‬ﻓﻲ ﺒﺩﺍﻴ ِﺔ ﻫﺫﻩ ﺍﻟﺴﻭﺭ ِﺓ؛ ﻓﻬﻭ ﻴﻤﺜﹼ ُ‬
‫ﻭﻟﻬﺫﺍ ﺍﻟﺼﺎﻤ ِ‬

‫ﺕ ﻋﻠﻰ ﺍﻟﺘﻬﻴﺌ ِﺔ‪ ،‬ﺩﻋﻤًـﺎ‬

‫ﻥ ﻓـﻲ ﻗﺩﺭ ِﺓ ﻫﺫﺍ ﺍﻟﺼﺎﻤ ِ‬
‫ﻙﺃﱠ‬
‫(‪ .‬ﻭﻻ ﺸ ﱠ‬ ‫ﻑ ﺍﻻﺴﺘﻔﻬﺎ ﹺﻡ‪َ) :‬ﺃ‪a :‬‬
‫ﺍﻟﻘﺼﻴ ﹺﺭ‪ ،‬ﺤﺭ ﹶ‬
‫ﺙ‬
‫ﺙ‪ ،‬ﻭﺍﻟﺘﻨﺒﻴ ِﻪ ﻋﻠﻰ ﺩﻻﻟﺘِﻪ ﺍﻟﻌﻅﻴﻤﺔ؛ ﻓﺎﻟﺤـﺎﺩ ﹸ‬
‫ﺏ ﻤﻥ ﺍﻟﺤﺎﺩ ِ‬
‫ﻟﻤﺭﺍ ِﺩ ﻫﺫﺍ ﺍﻻﺴﺘﻔﻬﺎ ﹺﻡ‪ ،‬ﺍﻟﺫﻱ ﻗﺩ ﻭﻗ َﻊ ﻟﻠﺘﻌﺠﻴ ﹺ‬

‫)‪(1‬‬
‫ﻴﻭﻨﺱ‪.39 :‬‬
‫)‪(2‬‬
‫ﺍﻨﻅﺭ‪ :‬ﺃﻨﻴﺱ‪ ،‬ﺇﺒﺭﺍﻫﻴﻡ‪ ،‬ﻭﺁﺨﺭﻭﻥ‪ :‬ﺍﻟﻤﻌﺠﻡ ﺍﻟﻭﺴﻴﻁ‪ .‬ﺍﻟﻤﺎﺩّﺓ‪) :‬ﺝ‪ ،‬ﺭ‪ ،‬ﺱ(‪.‬‬
‫)‪ (3‬ﺍﻟﻘﻴﺴﻲ‪ ،‬ﺃﺒﻭ ﻤﺤﻤّﺩ ﻤﻜﹼﻲ ﺒﻥ ﺃﺒﻲ ﻁﺎﻟﺏ‪ :‬ﺍﻟﺭّﻋﺎﻴﺔ ﻟﺘﺠﻭﻴﺩ ﺍﻟﻘﺭﺍﺀﺓ ﻭﺘﺤﻘﻴﻕ ﻟﻔﻅ ﺍﻟﺘﻼﻭﺓ‪ .‬ﺹ‪.133‬‬
‫‪105‬‬
‫ﺙ ﻜﺫﺍ‬
‫ﻥ‪ :‬ﺤﺩ ﹶ‬
‫ﺏ‪ ،‬ﻭﻤﺸﻬﻭﺭًﺍ ﻋﻨﺩَﻫﻡ؛ ﺤﺘﹼﻰ ﺇﻨﹼﻬـﻡ ﺠﻌﻠﻭﻩ ﻤﺒﺩَﺃ ﺘﺎﺭﻴﺦ‪ ،‬ﻓﻜﺎﻨﻭﺍ ﻴﻘﻭﻟﻭ َ‬
‫ﻥ ﻤﻌﺭﻭﻓﹰﺎ ﻟﻠﻌﺭ ﹺ‬
‫ﻜﺎ َ‬

‫ﷲ ﻋﻠﻴﻪ‬
‫ﷲ – ﺼﻠﹼﻰ ﺍ ُ‬
‫لﺍ ِ‬
‫ﻥ ﻤﻭﻟ َﺩ ﺭﺴﻭ ﹺ‬
‫ل ﺒﻌﺎﻤﻴﻥ‪ ،...‬ﻭﺍﻟﻤﺸﻬﻭ ُﺭ ﺃ ﱠ‬
‫ل ﻋﺎ ﹺﻡ ﺍﻟﻔﻴ ﹺ‬
‫ﺙ ﻜﺫﺍ ﻗﺒ َ‬
‫ﻋﺎ َﻡ ﺍﻟﻔﻴل‪ ،‬ﻭﺤﺩ ﹶ‬

‫ﺕ ﺍﻹﻟﻬ ّﻴ ِﺔ ﺍﻟﻤﻘﺩّﺭﺓ !‪ .‬ﺇﺫﻥ ﻓﻠﻡ ﺘﻜـﻥ‬

‫ل ﺫﻟﻙ ﻤﻥ ﺒﺩﺍﺌ ﹺﻊ ﺍﻟﻤﻭﺍﻓﻘﺎ ِ‬
‫ل ﺫﺍﺘِﻪ‪ ،‬ﻭﻟﻌ ﱠ‬
‫ﻥ ﻓﻲ ﻋﺎ ﹺﻡ ﺍﻟﻔﻴ ﹺ‬
‫ﻭﺴﻠﹼﻡ – ﻜﺎ َ‬
‫ﺼ ٍﺔ ﻴﺠﻬﻠﻭﻨﹶﻬﺎ‪ ،‬ﻭﺇﻨﹼﻤﺎ ﻜﺎﻨﺕﹾ ﺘﺫﻜﻴﺭًﺍ ﺒﺄﻤ ﹴﺭ ﻴﻌﺭﻓﻭﻨﹶﻪ‪ ،‬ﺍﻟﻤﻘﺼﻭ ُﺩ ﺒﻪ ﻤﺎ ﻭﺭﺍ َﺀ ﻫـﺫﺍ‬
‫ﺍﻟﺴﻭﺭ ﹸﺓ‪ ،‬ﻟﻺﺨﺒﺎ ﹺﺭ ﺒﻘ ّ‬

‫ﺍﻟﺘﺫﻜﻴﺭ)‪.(1‬‬

‫ﺏ ﻭﺍﻟﺘﻨﺒﻴﻪ؛ ﻟﻤﺎ ﻴﺤﺩﺜﹸﻪ ﻓﻲ ﻫﺫﻩ ﺍﻵﻴ ِﺔ‬

‫ﻕ ﻫﺫﺍ ﺍﻟﺘﻌﺠﻴ ﹺ‬
‫ﻭﻟﺘﻨﻐﻴ ﹺﻡ ﻫﺫﺍ ﺍﻻﺴﺘﻔﻬﺎ ﹺﻡ ﺩﻭﺭُﻩ ﺍﻷﻫ ﱡﻡ‪ ،‬ﻓﻲ ﺘﺤﻘﻴ ِ‬
‫ل؛‬
‫ﻲ ﻋـﺎ ﹴ‬
‫ﺡ ﺴـﻤﻌ ﱟ‬
‫ﺕ ﻭﺍﻨﺨﻔﺎﻀِﻬﺎ‪ ،‬ﻭﻭﻀـﻭ ﹴ‬
‫ﻉ ﺩﺭﺠ ِﺔ ﺍﻟﺼﻭ ِ‬
‫ﻲ؛ ﺒﺎﺭﺘﻔﺎ ﹺ‬
‫ﻥ ﺇﻴﻘﺎﻋ ﱟ‬
‫ﺍﻟﻭﺍﻗ ﹺﻊ ﻋﻠﻴﻬﺎ‪ ،‬ﻤﻥ ﺘﻠﻭﻴ ﹴ‬

‫ﻥ ﺍﻟﺼﻭﺘﻴّﻴﻥ‪.‬‬
‫ﺒﺎﻫﺘﺯﺍ ﹺﺯ ﺍﻟﻭﺘﺭﻴ ﹺ‬

‫ﻥ ﺘﺭ ّﺩﺩِﻩ‪ ،‬ﻤﻊ ﺘﺸـﻜﻴﻠِﻪ‬

‫ﻕ ﺒﻴ َ‬
‫ﻲ‪ ،‬ﺒﻤﻼﺤﻅ ِﺔ ﺍﻟﻔﺭ ِ‬
‫ﻙ ﻗ ّﻭ ﹶﺓ ﺘﺄﺜﻴ ﹺﺭ ﻫﺫﺍ ﺍﻟﻔﻭﻨﻴ ﹺﻡ ﻏﻴ ﹺﺭ ﺍﻟﺘﺭﻜﻴﺒ ّ‬
‫ﻭﻟﻨﺎ ﺃﻥ ﻨﺩﺭ َ‬

‫ل‬
‫ﻲ‪ ،‬ﻓﻲ ﺍﻟﺠﻤﻠ ِﺔ ﺍﻻﺴﺘﻔﻬﺎﻤﻴّﺔ‪ ،‬ﻤـﻥ ﺨـﻼ ﹺ‬
‫ل ﺍﻟﻤﻭﺠ ﱢ‬
‫ﻲ‪ ،‬ﻓﻲ ﺍﻟﺠﻤﻠ ِﺔ ﺍﻟﺨﺒﺭﻴّﺔ‪ ،‬ﻭﺘﺭ ّﺩﺩِﻩ ﻤﻊ ﺍﻟﺘﺸﻜﻴ ﹺ‬
‫ﺍﻟﻤﻭﺠ ﱢ‬

‫ﻥ‪ :‬ﺨﺒﺭ ّﻴ ٍﺔ ﻭﺍﺴﺘﻔﻬﺎﻤ ّﻴ ٍﺔ‪ ،‬ﻤـﻥ‬ ‫ﻲ ﺍﻵﺘﻲ‪ ،‬ﺍﻟﺫﻱ ﻴﻤﺜﹼ ُ‬

‫ل ﻨﺘﻴﺠ ﹶﺔ ﺘﺠﺭﺒـ ٍﺔ‪ ،‬ﺃُﺠﺭﻴﺕﹾ ﻋﻠﻰ ﺠﻤﻠﺘﻴ ﹺ‬ ‫ﺍﻟﺭﺴ ﹺﻡ ﺍﻵﻟـ ﱢ‬

‫ل )‪ ،(a‬ﻭ) ‪Does she / he‬‬

‫ﺍﻟﻠﹼﻐ ِﺔ ﺍﻹﻨﺠﻠﻴﺯﻴّﺔ‪ ،‬ﻭﻫﻤﺎ‪ ،(She / He runs) :‬ﺍﻟﺘـﻲ ﻴﻤ ﹼﺜﻠﹸﻬـﺎ ﺍﻟﺸـﻜ ُ‬
‫ل )‪:(b‬‬
‫?‪ ،(jump‬ﺍﻟﺘﻲ ﻴﻤ ﹼﺜﻠﹸﻬﺎ ﺍﻟﺸﻜ ُ‬

‫)‪ (1‬ﻗﻁﺏ‪ ،‬ﺴﻴّﺩ‪ :‬ﻓﻲ ﻅﻼل ﺍﻟﻘﺭﺁﻥ‪.3979 / 6 .‬‬

‫‪106‬‬
 ‫ﻥ ﺠﻤﻠ ٍﺔ ﺨﺒﺭ ّﻴﺔٍ‪ ،‬ﻭﺠﻤﻠ ٍﺔ ﺍﺴﺘﻔﻬﺎﻤﻴّﺔ‬
‫ﻕ ﻓﻲ ﺍﻟﺘﻨﻐﻴﻡﹺ‪ ،‬ﺒﻴ َ‬
‫ﺍﻟﺸﻜل )‪ :(3‬ﺍﻟﻔﺭ ﹸ‬

‫ﺍﻨﻅﺭ ﺍﻟﺸﻜل ‪:‬‬

‫‪Gussenhoven , Carlos : The Phonology of Tone and Intonation . Cambridge University Press‬‬
‫‪. p. 54 .‬‬

‫ﻲ‬
‫ﻥ ﻨﻁﻘـ ﱟ‬
‫ﻥ ﺍﻟﺘﻨﻐﻴ َﻡ ﻓـﻲ ﺍﻟﺠﻤﻠ ِﺔ ﺍﻻﺴﺘﻔﻬﺎﻤﻴّـ ِﺔ‪ ،‬ﺫﻭ ﺘﺭ ّﺩ ٍﺩ ﺃﻋﻠـﻰ‪ ،‬ﻭﺯﻤـ ﹴ‬
‫ﻅ‪ ،‬ﺃ ﱠ‬
‫ﻻ ﺒ ﱠﺩ ﺃﻨﱠﻙ ﺘﻼﺤ ﹸ‬

‫ﻙ‪ ،‬ﺇﺜـﺎﺭﺓﹲ ﺴـﻤﻌ ّﻴﺔﹲ ﻜﺒﻴـﺭﺓﹲ‪،‬‬

‫ﻲ ﺃﻜﺜﻑ‪ ،‬ﻤﻥ ﺍﻟﺠﻤﻠ ِﺔ ﺍﻟﺨﺒﺭﻴّﺔ‪ .‬ﻭﻓﻲ ﻫﺫﺍ‪ ،‬ﺒﻼ ﺸـ ﱟ‬
‫ﺃﻁﻭل‪ ،‬ﻭﺘﺘﺎﺒ ﹴﻊ ﻤﻭﺠ ﱟ‬

‫ﺏ ﺍﻨﺘﺒﺎﻫًﺎ ﻋﺠﻴﺒًﺎ ﻤﻥ ﺍﻟﺴﺎﻤﻊ‪.‬‬

‫ﺘﺴﺘﻭﺠ ُ‬

‫ل‪ ،‬ﻫﻭ ﺍﻟﺭﻴﺸـ ﹸﺔ ﺍﻟﺘـﻲ‬

‫ﻥ ﻫﺫﺍ ﺍﻟﻔﻌ َ‬
‫ل ) ﹶﺘﺭَ‪(ta / ra :‬؛ ﻭﺠﺩﻨﺎ ﺃ ﱠ‬
‫ﻭﺇﺫﺍ ﻤﺎ ﻭﻗﻔﻨﺎ ﺒﻌ َﺩ ﺫﻟﻙ‪ ،‬ﻋﻠﻰ ﺍﻟﻔﻌ ﹺ‬

‫ل ﻤﻥ ﻏﻴﺭﹺﻩ؛ ﻻﺭﺘﺒﺎﻁِﻪ ﺒـﺎﻟﻌﻴﻥ؛‬

‫ﺏ ﺍﻹﻟﻬ ّﻴ ِﺔ ﻓﻲ ﺍﻟﺫﻫﻥ؛ ﻓﻬﻭ ﺃﻜﺜ ُﺭ ﺇﺜﺎﺭ ﹰﺓ ﻟﻠﺨﻴﺎ ﹺ‬
‫ﺙ ﻫﺫﻩ ﺍﻟﺤﺭ ﹺ‬
‫ﺘﺭﺴ ُﻡ ﺃﺤﺩﺍ ﹶ‬

‫ﻥ ﺇﻟﻴﻪ‪.‬‬
‫ﻥ ﻤﻤّﺎ ﺘﻨﻘﻠﹸﻪ ﺍﻟﻌﻴ ُ‬
‫ل ﻓﻲ ﺍﻟﺫﻫ ﹺ‬
‫ل ﺴﻭﻯ ﺼﻭ ﹴﺭ ﻤﺭﻜﹼﺒ ٍﺔ‪ ،‬ﺘﺘﺸﻜﹼ ُ‬
‫ﺱ ﺍﻟﺨﻴﺎ ُ‬
‫ﻓﻠﻴ َ‬

‫ل ﻤﺎ ﻴﺴﺘﻁﻴ ُﻊ ﺭﺴـﻤَﻪ ﻤـﻥ‬

‫ﻉ‪ ،‬ﻴﺘﻨﺎﻭ ُ‬ ‫ﻥ ﻤﻀﻁﺭﺒًﺎ‪ ،‬ﻤﺴﺘﻤﺭ‪‬ﺍ ﺩﻭ َ‬
‫ﻥ ﺍﻨﻘﻁﺎ ﹴ‬ ‫ﻥ ﺨﻴﺎﻟﹶﻙ‪ ،‬ﺴﻴﻜﻭ ُ‬
‫ﻭﻻ ﺒ ﱠﺩ ﺃ ﱠ‬

‫ﺉ ﻓﻲ َﻤﻌْ ﹺﺭﻀِـﻬﺎ‪.‬‬
‫ل ﻫﺎﺩ ٍ‬
‫ل ﻟﺨﻴﺎ ﹴ‬
‫ل ﺤﺭﺒًﺎ ﻏﻴ َﺭ ﻋﺎﺩﻴّﺔ‪ ،‬ﺤﺭﺒًﺎ ﺇﻟﻬ ّﻴ ﹰﺔ ﺸﺩﻴﺩﺓ‪ ،‬ﻻ ﻤﺠﺎ َ‬
‫ﺘﻔﺎﺼﻴل؛ ﻷﻨﱠﻙ ﺘﺘﺨﻴّ ُ‬

‫ﺏ ﻓﻲ ﺍﻟﻁﺒﻴﻌـﺔ‪،‬‬
‫ل ﻋﻠﻰ ﺍﻻﻀﻁﺭﺍ ﹺ‬
‫ل ) ﹶﺘﺭَ( ﻤﻥ ﺩﻻﻟﺔ؛ ﻓﺎﻟﺘﺎ ُﺀ ﺘﺩ ﱡ‬
‫ﺕ ﺍﻟﻔﻌ ﹺ‬
‫ﻕ ﻤﺎ ﺘﺤﻤﻠﹸﻪ ﺃﺼﻭﺍ ﹸ‬
‫ﻭﻫﺫﺍ ﻴﻁﺎﺒ ﹸ‬
‫ﻥ ﻋﻠﻰ ﺍﻟﻜﺒ ﹺﺭ ﻭﺍﻟﻀﺨﺎﻤ ِﺔ‪ ،‬ﻜﻤﺎ ﻋﺭﻓﻨﺎ‪.‬‬
‫ﻑ ﻭﺍﻟﺘﻜﺭﺍ ﹺﺭ‪ ،‬ﻭﺍﻟﻔﺘﺤﺘﺎ ﹺ‬
‫ﻉ ﺍﻟﻭﺼ ِ‬
‫ﻭﺍﻟﺭّﺍ ُﺀ ﻋﻠﻰ ﺸﻴﻭ ﹺ‬

‫ﻙ ﺒﹺَﺄﺼْﺤﺎﺏﹺ ﺍﻟﹾﻔﻴل﴾ ﺨﺎﺼّﺔ‪.‬‬

‫ل َﺭﱡﺒ َ‬
‫ﻑ ﹶﻓﻌَ َ‬
‫ﺍﻗﺭﺃ ﺍﻵﻴ ﹶﺔ ﺍﻷﻭﻟﻰ ﻤ ّﺭ ﹰﺓ ﺃﺨﺭﻯ‪ ،‬ﻤﻜ ّﺭﺭًﺍ ﺍﻟﺠﻤﻠ ﹶﺔ‪ ...﴿ :‬ﹶﻜﻴْ ﹶ‬

‫ل ﻋﻠﻴﻬﻡ‪ ،‬ﻓﻲ‬
‫ل ﺸﺄﻨﹸﻪ – ﺒﻬﺅﻻ ِﺀ ﺍﻟﻘﻭﻡ‪ ،‬ﻭﺸ ّﺩ ﹶﺓ ﻋﺫﺍ ﹺﺒﻪ ﺍﻟﺫﻱ ﺤ ﱠ‬
‫ﷲ–ﺠﱠ‬
‫لﺍ ِ‬
‫ﻻ ﺒ ﱠﺩ ﺃﻨﱠﻙ ﺴﺘﺴﺘﺸﻌ ُﺭ ﻋﻅ َﻡ ﻓﻌ ﹺ‬

‫‪107‬‬
‫ل‪:‬‬
‫ﻑ ﹶﻓﻌَـ َ‬
‫ﻥ‪ ) :‬ـ ﹶ‬
‫ﻲ ﺍﻟﺸـﺩﻴ ِﺩ‪ ،‬ﺍﻟﺫﻱ ﻴﺤﺩﺜﹸﻪ ﺘﺘﺎﺒ ُﻊ ﺍﻟﻤﻘﺎﻁ ﹺﻊ ﺍﻟﻘﺼﻴﺭ ِﺓ‪ ،‬ﻓـﻲ ﺍﻟﻤﻭﻀﻌﻴ ﹺ‬
‫ل ﺍﻟﻨﻁﻘ ﱢ‬
‫ﻫﺫﺍ ﺍﻟﺜﻘ ﹺ‬

‫ﻙ ﺒﹺـ‪.(bu / ka / bi :‬‬
‫‪ ،(fa / fa / ca / la‬ﻭ) ُﺒ َ‬

‫(‪ ،‬ﺍﻟﺫﻱ ﺘﺼـﻭّ ُﺭ ﺒـﻪ‬ ‫‪a /‬‬ ‫ل‪aa / bil / fii / li :‬‬
‫ﻑ‪َ) :‬ﺃﺼْﺤﺎﺏﹺ ﺍﻟﹾﻔﻴ ﹺ‬
‫ﺜ ﱠﻡ ﺘﺄ ّﻤلْ ﻫﺫﺍ ﺍﻟﻭﺼ ﹶ‬
‫ﻱ ﺸـﺩﻴﺩٌ ﻜﺎﻨﻔﺠـﺎ ﹺﺭ‬
‫ﷲ‪ ،‬ﺴﺒﺤﺎﻨﹶﻪ‪ ،‬ﺘﺼﻭﻴﺭًﺍ ﺒﺩﻴﻌًﺎ؛ ﻓﻬﻭ ﻗﻭ ﱞ‬
‫ﺵ ﺍﻟﻤﺠﺭ َﻡ‪ ،‬ﺍﻟﺫﻱ ﺃﻫﻠﻜﹶﻪ ﺍ ُ‬
‫ﺍﻟﺴﻭﺭ ﹸﺓ ﻫﺫﺍ ﺍﻟﺠﻴ ﹶ‬

‫ﻥ‪ :‬ﺍﻟﻔﺘﺤ ِﺔ‬

‫ﻥ ﺍﻟﻁﻭﻴﻠﺘﻴ ﹺ‬
‫ﻸ ﻓﻤَﻙ‪ ،‬ﻭﺠﺭّﺍﺭٌ ﻤﻤﺘ ﱞﺩ ﻜﺎﻟﺤﺭﻜﺘﻴ ﹺ‬
‫ﺍﻟﺒﺎ ِﺀ ﻭﺍﻟﻬﻤﺯﺓ‪ ،‬ﻭﻀﺨﻡٌ ﻜﺘﻔﺨﻴ ﹺﻡ ﺍﻟﺼﺎ ِﺩ ﺍﻟﺘـﻲ ﺘﻤ ُ‬

‫ﻭﺍﻟﻜﺴﺭﺓ‪.‬‬

‫ﻅ‬
‫ﻑ‪ ،‬ﻗﺩ ﺠـﺎ َﺀ ﻤﺠـﺭﻭﺭًﺍ؛ ﺇﺫﹾ ﺠُـ ﱠﺭ ﺍﻟﻠﹼﻔـ ﹸ‬
‫ﻥ ﻫﺫﺍ ﺍﻟﻭﺼ ﹶ‬
‫ﻥ ﺘﺠ ُﺩ ﺃ ﱠ‬
‫ﺏ‪ ،‬ﺤﻴ َ‬
‫ل ﺍﻟﻌﺠ ﹺ‬
‫ﺏﻜﱠ‬
‫ﻭﺇﻨﱠﻙ ﻟﺘﻌﺠ ُ‬

‫ﺏ‬
‫ﻅ )ﺍﻟﻔﻴل( ﺒﺎﻹﻀﺎﻓﺔ؛ ﻓﻬﺫﺍ ﺍﻟﺠـ ﱡﺭ‪ ،‬ﻜﻤـﺎ ﺘـﺭﻯ‪ ،‬ﻴﻐﻠﹼـ ُ‬
‫ﺠﺭﱠ ﺍﻟﻠﹼﻔ ﹸ‬
‫ﻑ ﺍﻟﺠ ﱢﺭ‪ :‬ﺍﻟﺒﺎﺀ‪ ،‬ﻭ ُ‬
‫)ﺃﺼﺤﺎﺏ( ﺒﺤﺭ ِ‬

‫ﺏ ﻫـﺫﻩ ﺍﻟﺤﺭﻜـ ِﺔ‪،‬‬ ‫ﻥ ﺍﻟﻔﺘﺤ ِﺔ‪ ،‬ﻋﻠﻰ ﻫﺫﺍ ﺍﻟﻭﺼﻑ؛ ﻓ ﹶﺜ ﱠﻡ )‪ (3‬ﻜﺴﺭﺍ ٍ‬

‫ﺕ‪ ،‬ﻭﻓﺘﺤﺘﺎﻥ‪ .‬ﻭﻓﻲ ﺘﻐﻠﻴ ﹺ‬ ‫ﺍﻟﻜﺴﺭ ﹶﺓ‪ ،‬ﺩﻭ َ‬

‫ﺵ ﺍﻟﻅﺎﻟﻡ‪.‬‬
‫ﷲ‪ ،‬ﺴﺒﺤﺎﻨﹶﻪ‪ ،‬ﻟﻬﺫﺍ ﺍﻟﺠﻴ ﹺ‬
‫لﺍ ِ‬
‫ﻕ ﺇﺫﻻ َ‬ ‫ﺍﻟﺘﻲ ))ﺘﺩ ﱡ‬
‫ل ﻋﻠﻰ ﺍﻟﺼﻐﺭ(()‪ ،(1‬ﻤﺎ ﻴﻭﺍﻓ ﹸ‬

‫ﻭﻤ ّﺭ ﹰﺓ ﺃﺨﺭﻯ‪ ،‬ﺘﻔﺎﺠﺌُﻨﺎ ﺍﻟﻬﻤﺯ ﹸﺓ‪ ،‬ﻓﻲ ﺒﺩﺍﻴ ِﺔ ﺍﻵﻴ ِﺔ ﺍﻟﺜﺎﻨﻴﺔ‪ ،‬ﻤﺤﻘﹼﻘ ﹰﺔ ﻤﺎ ﺘﺤ ﹼﻘﻘﹸﻪ‪ ،‬ﻓــﻲ ﺒﺩﺍﻴـ ِﺔ ﺍﻵﻴـ ِﺔ‬

‫ﺍﻷﻭﻟﻰ‪ ،‬ﻤﻥ ﺘﻨﺒﻴ ٍﻪ ﻭﺍﺴﺘﻔﻬﺎﻡ‪َ﴿ :‬ﺃﹶﻟﻡْ َﻴﺠْ َﻌلْ ﹶﻜﻴْـ َﺩ ُﻫﻡْ ﻓﻲ ﹶﺘﻀْﻠﻴل﴾‪:‬‬

‫‪a / lam / ya: / cal / kay / da / hum / fii / ta / liil.‬‬

‫ﷲ‪ ،‬ﺴﺒﺤﺎﻨﹶﻪ‪،‬‬
‫ﻕ ﺒﻭﻗ ﹺﻊ ﺘﻨﻐﻴﻤِﻪ ﺍﻟﻤُﺅ ﱢﻜ ِﺩ‪ ،‬ﺸﻌﻭﺭَﻙ ﺒﻌﻅﻤ ِﺔ ﻗﺩﺭ ِﺓ ﺍ ِ‬
‫ﻱ‪ ،‬ﻴﻌﻤّ ﹸ‬
‫ﻥ ﺍﻻﺴﺘﻔﻬﺎ َﻡ ﻫﻨﺎ ﺘﻘﺭﻴﺭ ﱞ‬
‫ﻻﺃﱠ‬
‫ﺇﹼ‬

‫ل ﻜﻴﺩَﻫﻡ‪ ،‬ﺤﺘﹼﻰ ﻟﻡ ﻴﺼﻠﻭﺍ ﺇﻟـﻰ ﺍﻟﺒﻴﺕ‪ ،‬ﻭﺇﻟـﻰ‬

‫ﻥ ﺃﺭﺍﺩﻭﺍ ﻫﺩ َﻡ ﺒﻴﺘِـﻪ‪ ،‬ﻭ))ﻀﹼﻠ َ‬
‫ﻙ ﻫﺅﻻ ِﺀ ﺍﻟﺫﻴـ َ‬
‫ﺍﻟﺫﻱ ﺃﻫﻠ َ‬

‫ﻤﺎ ﺃﺭﺍﺩﻭﻩ ﺒﻜﻴﺩِﻫﻡ(()‪.(2‬‬

‫ﻁ‬
‫ﺏ ﻋﻠﻴﻬـﺎ ﺍﻟﻤﻘﻁـ ُﻊ ﺍﻟﻤﺘﻭﺴّـ ﹸ‬
‫ﻕ ﺩﻻﻟـ ﹶﺔ ﺍﻻﺴﺘﻔﻬﺎ ﹺﻡ ﻫﺫﻩ؛ ﻓﻴﻐﻠـ ُ‬
‫ﻭﻟﻬﺫﻩ ﺍﻵﻴ ِﺔ ﻤﻘﺎﻁﻌُﻬﺎ ﺍﻟﺘﻲ ﺘﻭﺍﻓ ﹸ‬

‫ﺕ‪ ،‬ﻤﻥ )‪ (10‬ﻤﻘﺎﻁﻊ‪ .‬ﻭﻫﺫﺍ ﺍﻟﻤﻘﻁ ُﻊ‪ ،‬ﻜﻤﺎ ﻋﺭﻓﻨﺎ‪ ،‬ﻤﻘﻁﻊٌ ﻤُﺅﻜﱢـﺩٌ ﺤﺎﺴـﻡٌ؛‬
‫ﺍﻟﻤﻐﻠﻕ‪ ،‬ﺒﻭﺭﻭﺩِﻩ )‪ (6‬ﻤﺭّﺍ ٍ‬
‫ﻉ ﺍﻟ ﱠﻨ ﹶﻔﺱﹺ ﻤﻌﻪ‪ ،‬ﻓﻲ ﺃﺜﻨﺎ ِﺀ ﺍﻟﻨﻁﻕ‪.‬‬
‫ﻻﻨﻘﻁﺎ ﹺ‬

‫)‪ (1‬ﺍﻟﻀﺎﻟﻊ‪ ،‬ﻤﺤﻤّﺩ ﺼﺎﻟﺢ‪ :‬ﺍﻷﺴﻠﻭﺒﻴّﺔ ﺍﻟﺼﻭﺘﻴّﺔ‪ .‬ﺹ‪.24‬‬

‫)‪(2‬‬
‫ﻲ ﺒﻥ ﺃﺤﻤﺩ ﺍﻟﻭﺍﺤﺩﻱ‪ :‬ﺍﻟﻭﺴﻴﻁ ﻓﻲ ﺘﻔﺴﻴﺭ ﺍﻟﻘﺭﺁﻥ ﺍﻟﻤﺠﻴـﺩ‪ 4 .‬ﺝ‪ .‬ﺘﺤﻘﻴــﻕ ﻋـﺎﺩل ﺃﺤﻤـﺩ‬
‫ﺍﻟﻨﻴﺴﺎﺒﻭﺭﻱ‪ ،‬ﺃﺒﻭ ﺍﻟﺤﺴﻥ ﻋﻠ ّ‬
‫ﻋﺒﺩ ﺍﻟﻤﻭﺠﻭﺩ ﻭﺁﺨﺭﻴﻥ‪ .‬ﻁ‪ .1‬ﺒﻴﺭﻭﺕ‪ :‬ﺩﺍﺭ ﺍﻟﻜﺘﺏ ﺍﻟﻌﻠﻤﻴّﺔ‪.554 / 4 .1994 .‬‬
‫‪108‬‬
‫ﺕ‪ ،‬ﻤﻭﺍﻓﻘـ ﹰﺔ‬
‫ﺕ‪ ،‬ﻤﻥ )‪ (10‬ﺤﺭﻜﺎ ٍ‬
‫ﺢ‪ ،‬ﺒﻭﺭﻭﺩِﻫﺎ )‪ (7‬ﻤﺭّﺍ ٍ‬
‫ﺏ ﻋﻠﻰ ﻫﺫﻩ ﺍﻵﻴ ِﺔ ﺤﺭﻜ ﹸﺔ ﺍﻟﻔﺘ ﹺ‬
‫ﻜﺫﻟﻙ‪ ،‬ﺘﻐﻠ ُ‬

‫ل ﺸﺄﻨﹸﻪ‪.‬‬
‫ﷲ‪ ،‬ﺠ ﱠ‬
‫ﺒﺩﻻﻟﺘِﻬﺎ ﻋﻠﻰ ﺍﻟﻜﺒ ﹺﺭ ﻭﺍﻟﻀﺨﺎﻤ ِﺔ‪ ،‬ﻤﺎ ﺘﺤﻤﻠﹸﻪ ﺍﻵﻴ ﹸﺔ ﻤﻥ ﺘﻌﻅﻴ ﹴﻡ ﻟﻘﺩﺭ ِﺓ ﺍ ِ‬

‫ﷲ‪ ،‬ﺴـﺒﺤﺎﻨﹶﻪ‪ ،‬ﻜﻴـ َﺩ ﻫـﺅﻻ ِﺀ ﺍﻟﻘـﻭ ﹺﻡ‬

‫لﺍ ُ‬
‫ﻑ ﻀﹼﻠ َ‬
‫ﻙ ﻜﻴ ﹶ‬
‫ﻥ‪ :‬ﺍﻟﺜﺎﻟﺜ ﹸﺔ ﻭﺍﻟﺭﺍﺒﻌ ﹸﺔ؛ ﻟﺘﹸﺨﺒﺭﺍ َ‬
‫ﻭﺘﺠﻲ ُﺀ ﺍﻵﻴﺘﺎ ﹺ‬
‫ﻁﻴْﺭًﺍ ﺃَﺒﺎﺒﻴل * ﹶﺘﺭْﻤﻴ ﹺﻬﻡْ ﹺﺒﺤِﺠﺎ َﺭ ٍﺓ ِﻤﻥْ ِ‬
‫ﺴﺠّﻴل﴾‪:‬‬ ‫ﻋﹶﻠﻴْ ﹺﻬﻡْ ﹶ‬
‫ل َ‬
‫ﺍﻟﻤﻔﺴﺩﻴﻥ‪﴿ :‬ﻭََﺃﺭْﺴَ َ‬

‫‪wa /‬‬ ‫‪ar / sa / la / ca / lay / him / ay / ran /‬‬ ‫‪a / baa / biil * tar / mii /‬‬

‫‪him / bi /‬‬ ‫‪i / :aa / ra / tin / min / si: / :iil.‬‬

‫ﻥ ﻤ ّﺭ ﹰﺓ ﺃﺨﺭﻯ؛ ﻟﺘﺴﺘﺸﻌ َﺭ ﻓﻴﻬﻤﺎ ﺤﺭﻜ ﹰﺔ ﺼﻭﺘ ّﻴ ﹰﺔ‪ ،‬ﺘﻭﺍﺯﻱ ﺤﺭﻜ ﹶﺔ ﻫﺫﻩ ﺍﻟﻁﻴـ ﹺﺭ‪ ،‬ﻭﻫـﻲ‬
‫ﺍﻗﺭﺃ ﺍﻵﻴﺘﻴ ﹺ‬

‫ﻥ )‪ (23‬ﻤﻘﻁﻌًﺎ‪ ،‬ﻤﻨﻬﺎ )‪ (8‬ﻤﻘـﺎﻁ َﻊ ﻗﺼـﻴﺭ ٍﺓ‪،‬‬

‫ﻥ ﺍﻵﻴﺘﻴ ﹺ‬
‫ﷲ ﺒﺤﺠﺎﺭﺘِﻬﺎ ﺍﻟﻘﺎﺘﻠﺔ؛ ﻓﻔﻲ ﻫﺎﺘﻴ ﹺ‬
‫ﺘﺭﻤﻲ ﺃﻋﺩﺍ َﺀ ﺍ ِ‬

‫ﻋـ‪ ،(sa / la / ca :‬ﻭ) ﹺﺒ ِ‬

‫ﺤ ـ‪:‬‬ ‫ل َ‬
‫ﻥ‪) :‬ﺴَ َ‬
‫ل ﻤﻨﻬﺎ‪ ،‬ﻭﺘﺘﺎﺒ ﹺﻊ ﺒﻌﻀِﻬﺎ ﻓﻲ ﺍﻟﻤﻭﻀﻌﻴ ﹺ‬
‫ﻕﻜﱟ‬
‫ﺘﻭﺤﻲ ﺒﺴﺭﻋ ِﺔ ﻨﻁ ِ‬
‫ﺱ ﻫﺅﻻ ِﺀ ﺍﻟﻁﻐﺎﺓ‪ ،‬ﻤﻭﺍﻓﻘ ﹰﺔ ﺒﺫﻟﻙ ﺩﻻﻟ ﹶﺔ ﺼﻔ ِﺔ ﻫﺫﻩ ﺍﻟﻁﻴـ ﹺﺭ‪:‬‬
‫ﻕ ﺭﺅﻭ ﹺ‬
‫‪ ،(bi /‬ﺒﺘﺘﺎﺒ ﹺﻊ ﻫﺫﻩ ﺍﻟﻁﻴ ﹺﺭ‪ ،‬ﻓﻭ ﹶ‬ ‫‪i‬‬

‫)ﺃَﺒﺎﺒﻴل(‪ ،‬ﺍﻟﺘﻲ ﺘﻌﻨﻲ‪)) :‬ﺃﻗﺎﻁﻴﻊ ﻴﺘﺒ ُﻊ ﺒﻌﻀُﻬﺎ ﺒﻌﻀًﺎ‪ ،‬ﻜﺎﻹﺒ ﹺ‬

‫ل ﺍﻟﻤﺅﺒّﻠﺔ(()‪ ،(1‬ﻜﻤﺎ ﺘـﻭﺤﻲ ﺒﺘﺘـﺎﺒ ﹺﻊ ﻫـﺫﻩ‬

‫ﺍﻟﺤﺠﺎﺭ ِﺓ ﺍﻟﻘﺎﺘﻠ ِﺔ‪ ،‬ﻋﻠﻰ ﺃﺠﺴﺎ ِﺩ ﺍﻟﻜﻔﺭ ِﺓ ﺍﻟﻔﺠﺭﺓ‪.‬‬

‫ﻥ‪ (10) ،‬ﻤﻘﺎﻁ َﻊ ﻤﺘﻭﺴّﻁ ٍﺔ ﻤﻐﻠﻘ ٍﺔ‪ ،‬ﻤﻥ ﺸﺄﻨِﻬﺎ ﺃﻥ ﺘﹸﺸﻌﺭَﻙ‪،‬‬

‫ﻭﻤﻥ ﻫﺫﻩ ﺍﻟﻤﻘﺎﻁ ﹺﻊ ﺍﻟﺜﻼﺜـ ِﺔ ﻭﺍﻟﻌﺸﺭﻴ َ‬

‫ﻥ ﺍﻟﺤﺠ ُﺭ ﻤﻨﻬﺎ‪ ،‬ﻴﻘـ ُﻊ‬

‫ﺕ ﻫﺫﻩ ﺍﻟﺤﺠﺎﺭ ِﺓ‪ ،‬ﺍﻟﺘـﻲ ﻜﺎ َ‬
‫ل ﻤﻨﻬﺎ‪ ،‬ﺒﺸ ّﺩ ِﺓ ﻀﺭﺒﺎ ِ‬
‫ﻕﻜﱟ‬
‫ﻜﻠﹼﻤﺎ ﺍﻨﻘﻁ َﻊ ﹶﻨ ﹶﻔﺴُﻙ ﻤﻊ ﻨﻁ ِ‬

‫ﺩﺒﺭﹺﻩ)‪.(2‬‬ ‫ﺝ ﻤﻥ‬
‫ل‪ ،‬ﻓﻴﺨﺭ ُ‬
‫ﺱ ﺍﻟﺭﺠ ﹺ‬
‫ﻋﻠﻰ ﺭﺃ ﹺ‬

‫ﻲ‪ ،‬ﻭﺍﻤﺘــﺩﺍ ِﺩ‬

‫ﻭﻤﻥ ﻫﺫﻩ ﺍﻟﻤﻘﺎﻁ ﹺﻊ‪ (3) ،‬ﻤﻘﺎﻁـ َﻊ ﻤﺘﻭﺴّﻁ ٍﺔ ﻤﻔﺘﻭﺤـ ٍﺔ‪ ،‬ﺘﻭﺤﻲ ﺒﻁﻭﻟِـﻬﺎ ﺍﻟﻨﻁﻘـ ﱢ‬

‫ﺏ ﺍﻹﻟﻬﻴّﺔ‪.‬‬
‫ﺤﺭﻜﺎﺘِﻬﺎ ﺍﻟﻁﻭﻴﻠ ِﺔ‪ ،‬ﺒﺎﻤﺘﺩﺍ ِﺩ ﻫﺫﻩ ﺍﻟﻁﻴ ﹺﺭ‪ ،‬ﻓﻲ ﺴﻤﺎ ِﺀ ﻫﺫﻩ ﺍﻟﺤﺭ ﹺ‬

‫ﻁﻴْــ‪،( ay :‬‬
‫ﺙ‪ ،‬ﺍﻟﻭﺍﺭﺩ ِﺓ ﻓﻲ ﺍﻟﻤﻘﺎﻁ ﹺﻊ‪َ ) :‬ﻭ‪ / wa :‬ﹶﻟﻴْـ‪ / lay :‬ﹶ‬
‫ﺕ ﺍﻟﻤﺯﺩﻭﺠ ِﺔ ﺍﻟﺜﻼ ِ‬
‫ﻭﻟﻠﺤﺭﻜﺎ ِ‬
‫ل ﻤﻨﻬﺎ‪ ،‬ﻜﻤﺎ ﻋﺭﻓﻨﺎ‪.‬‬
‫ﻕﻜﱟ‬
‫ﻥ ﺍﻵﻴﺘﻴﻥ؛ ﻟﺘﺘﺎﺒ ﹺﻊ ﺼﻭﺘﻲ ﺤﺭﻜﺔ‪ ،‬ﻓﻲ ﻨﻁ ِ‬
‫ﺃﻥ ﺘﺩﻋ َﻡ ﺇﻴﺤﺎ َﺀ ﺍﻟﺘﺘﺎﺒ ﹺﻊ‪ ،‬ﻓﻲ ﻫﺎﺘﻴ ﹺ‬

‫)‪(1‬‬
‫ﻲ ﺒﻥ ﺃﺤﻤﺩ ﺍﻟﻭﺍﺤﺩﻱ‪ :‬ﺍﻟﻭﺴﻴﻁ ﻓﻲ ﺘﻔﺴﻴﺭ ﺍﻟﻘﺭﺁﻥ ﺍﻟﻤﺠﻴﺩ‪.554 / 4 .‬‬
‫ﺍﻟﻨﻴﺴﺎﺒﻭﺭﻱ‪ ،‬ﺃﺒﻭ ﺍﻟﺤﺴﻥ ﻋﻠ ّ‬
‫)‪(2‬‬
‫ﺍﻟ ّﺯﺠّﺎﺝ‪ ،‬ﺃﺒﻭ ﺇﺴﺤﺎﻕ ﺇﺒﺭﺍﻫﻴﻡ ﺒﻥ ﺍﻟﺴّﺭﻱ‪ :‬ﻤﻌﺎﻨﻲ ﺍﻟﻘﺭﺁﻥ ﻭﺇﻋﺭﺍﺒﻪ‪.363 / 5 .‬‬
‫‪109‬‬
‫ﺕ‪،‬‬
‫ﻥ‪ ،‬ﺒﻭﺭﻭﺩِﻩ )‪ (4‬ﻤـﺭّﺍ ٍ‬
‫ﻥ ﺍﻵﻴﺘﻴ ﹺ‬
‫ﺕ ﺍﻟﺭﺍ ِﺀ ﻓﻲ ﻫﺎﺘﻴ ﹺ‬
‫ﻭﻤﻤّﺎ ﻴﺩﻋ ُﻡ ﻫﺫﺍ ﺍﻹﻴﺤـﺎ َﺀ ﻜﺫﻟﻙ‪ ،‬ﺒﺭﻭ ُﺯ ﺼﻭ ِ‬

‫ﺕ‪ ،‬ﺃﻥ ﻴُﺸﻌﺭَﻙ ﺒﺘﺘﺎﺒ ﹺﻊ ﺍﻟﻁﻴ ﹺﺭ ﻭﺍﻟﺤﺠﺎﺭ ِﺓ‪)) ،‬ﻋﻨﺩَﻤﺎ‬

‫ﻥ ﻫﺫﺍ ﺍﻟﺼﻭ ِ‬
‫ﺕ ﻓﻲ ﺍﻟﺴﻭﺭﺓ؛ ﻓﻤﻥ ﺸـﺄ ﹺ‬
‫ﻤﻥ )‪ (6‬ﻤﺭّﺍ ٍ‬

‫ﻥ ﺍﻟﻠﹼﺜ ﹶﺔ ﻓـﻲ ﺨﻔﹼﺔ‪ ،‬ﻭﺘﻁﺭﻗﹸﻬﺎ ﻋ ّﺩ ﹶﺓ ﻁﺭﻗﺎﺕ‪ ،(1)((...‬ﻓﻲ ﺃﺜﻨﺎ ِﺀ ﻨﻁﻘِﻪ‪.‬‬

‫ﺱ ﻤﻘﺩّﻤ ﹸﺔ ﺍﻟﻠﹼﺴﺎ ﹺ‬
‫ﺘﻼﻤ ُ‬

‫ل ﺍﻷﻋﻠﻰ‪ ،‬ﻤﺎ ﻭﺠﺩَﻩ ﺍﻟـﺩﻜﺘﻭ ُﺭ ﻤﺤﻤّـﺩ‬

‫ﷲ ﺍﻟﻤﺜ ُ‬
‫ﺕ ﺍﻷﺭﺒ ﹺﻊ‪ ،‬ﻭ ِ‬
‫ﻭﻟﻨﺎ ﺃﻥ ﻨﺠ َﺩ ﻜﺫﻟﻙ‪ ،‬ﻓﻲ ﻫﺫﻩ ﺍﻟﺭﺍﺀﺍ ِ‬

‫ﺕ ﺍﻟﻤﺘﻨﺒّﻲ‪:‬‬
‫ﻼ ﻟﺒﻴ ِ‬
‫ﻼ‪)) :‬ﺍﺴﺘﻤﻊْ ﻤﺜ ﹰ‬
‫ﺕ ﻟﻠﻤﺘﻨﺒّﻲ‪ ،‬ﻗﺎﺌ ﹰ‬
‫ﺕ‪ ،‬ﻓﻲ ﺒﻴ ٍ‬
‫ﺍﻟﻨﻭﻴﻬﻲ‪ ،‬ﻓﻲ ﺃﺭﺒ ﹺﻊ ﺭﺍﺀﺍ ٍ‬

‫ﺱ؛ َﺭﻭّﻯ ﺭﻤﺤَﻪ ﻏﻴ َﺭ ﺭﺍﺤ ﹺﻡ)‪] (2‬ﺍﻟﻁﻭﻴل[‬

‫ﻭﺒﺎﻟﻨﹼﺎ ﹺ‬ ‫ﻑ ﺍﻷﻴّـﺎ َﻡ ﻤﻌﺭﻓﺘﻲ ﺒﻬـﺎ‬
‫ﻭ َﻤﻥْ ﻋﺭ ﹶ‬

‫ﻥ ﻟﺤﺎ ﹼﻓ ِﺔ ﺍﻟﺤﻨﻙ‪ ...‬ﻗﺩ ﺠﺎ َﺀ ﻓـﻲ ﻗﻭﻟِـﻪ‪:‬‬

‫ﻑ ﺍﻟﻠﹼﺴﺎ ﹺ‬
‫ﻉ ﻁﺭ ِ‬
‫ﻑ ﺍﻟﺭّﺍ ِﺀ ﺍﻟﺫﻱ ﻴﺘﻜﺭّ ُﺭ ﻓﻲ ﻨﻁﻘِﻪ‪ ،‬ﻗﺭ ُ‬
‫ﻓﺤﺭ ﹸ‬

‫ﺕ‪ :‬ﺍﻷﻭﻟﻰ ﻭﺍﻟﺜﺎﻨﻴـ ِﺔ ﻭﺍﻟﺭﺍﺒﻌـﺔ‪ ،‬ﻭﻤـ ّﺭ ﹰﺓ‬

‫ل ﺍﻟﻜﻠﻤﺎ ِ‬
‫ﺕ‪ ،‬ﻓﻲ ﺃﻭﺍﺌ ﹺ‬
‫ﺙ ﻤﺭّﺍ ٍ‬
‫" َﺭﻭّﻯ ﺭﻤﺤَﻪ ﻏﻴ َﺭ ﺭﺍﺤ ﹺﻡ " ﺜﻼ ﹶ‬

‫ﺕ ﺇﻟﻴﻪ‪ ،‬ﻓﻲ ﻤﻭﺍﻀﻌِﻪ ﺍﻟﺘﻲ ﺘﺭ ّﺩ َﺩ ﻓﻴﻬﺎ؛ ﻭﺠﺩﺘﹶﻪ‬

‫ﺕ ﺍﻹﻨﺼﺎ ﹶ‬
‫ﺭﺍﺒﻌ ﹰﺔ ﻓﻲ ﺁﺨ ﹺﺭ ﺍﻟﻜﻠﻤ ِﺔ ﺍﻟﺜﺎﻟﺜﺔ‪ ...‬ﺇﻨﱠﻙ ﺇﺫﺍ ﺃﺠﺩ ﹶ‬
‫ﺢ‪ ،‬ﺍﻟﺫﻱ ﻴﺭﻴ ُﺩ ﺍﻟﺸﺎﻋ ُﺭ ﺃﻥ ﻴﻐﺭﺴَﻪ ﺒﻘﺴﻭ ٍﺓ ﻓﻲ ﺠﺴ ﹺﻡ ﻋـﺩﻭﱢﻩ‪ ،‬ﺤﺘﹼـﻰ‬
‫ﻕ ﻋﻠﻰ ﻭﺨﺯ ِﺓ ﺍﻟﺭﻤ ﹺ‬
‫ﻱ ﺍﻻﻨﻁﺒﺎ ِ‬
‫ﻗﻭ ﱠ‬

‫ل ﺭﺍ ٍﺀ‪ ،‬ﻤﻥ‬
‫ﻥ ﺍﻟﺸﺎﻋ َﺭ ﻤﻊ ﻜـ ﱢ‬
‫ل ﺭﺍﺀ‪ ،‬ﻭﻜﺄ ﱠ‬
‫ﺡ ﻤﻊ ﻜ ﱢ‬
‫ﻻ ﻓﻲ ﺍﻟﺠﺭ ﹺ‬
‫ﺢ‪ ،‬ﻴﺯﺩﺍ ُﺩ ﺇﻴﻐﺎ ﹰ‬
‫ﻥ ﻫﺫﺍ ﺍﻟﺭﻤ َ‬
‫ﻟﻴﺨﻴّل ﺇﻟﻴﻨﺎ ﺃ ﱠ‬

‫ﺢ ﺩﻓﻌ ﹰﺔ ﺠﺩﻴﺩ ﹰﺓ ﻓﻲ ﺍﻟﻠﹼﺤ ﹺﻡ ﺍﻟﺩﺍﻤﻲ‪.(3)((...‬‬

‫ﺕ ﺍﻷﺭﺒ ﹺﻊ‪ ،‬ﻴﺩﻓ ُﻊ ﺍﻟﺭﻤ َ‬
‫ﺍﻟﺭﺍﺀﺍ ِ‬

‫ﺏ‬
‫ل ﺍﻟﺤﺠــﺎﺭ ِﺓ ﺒﺄﺼـﺤﺎ ﹺ‬
‫ﻱ‪ ،‬ﺸ ّﺩ ﹶﺓ ﻓﻌ ﹺ‬
‫ﺕ ﺍﻷﺭﺒ ُﻊ‪ ،‬ﺘﺼﻭّ ُﺭ ﻟﻨﺎ ﺒﺼﻭﺘِﻬﺎ ﺍﻟﺘﻜﺭﺍﺭ ﱢ‬
‫ﺇﺫﻥ‪ ،‬ﻓﻬﺫﻩ ﺍﻟﺭﺍﺀﺍ ﹸ‬

‫ﻕ ﺍﻷﺠﺴﺎ َﺩ ﺍﺨﺘﺭﺍﻗﹰﺎ‪.‬‬
‫ﺍﻟﻔﻴل؛ ﻓﻘﺩ ﻜﺎﻨﺕ‪ ،‬ﻜﻤﺎ ﹸﺫ ِﻜ َﺭ‪ ،‬ﺘﺨﺘﺭ ﹸ‬

‫ل ﺤﺭﻜﺘِﻬﺎ ﺍﻟﺠﺎﻨﺒ ّﻴ ِﺔ ﻓﻲ ﺍﻟﻔﻡ‪،‬‬

‫ﻲ ﻤﻥ ﺨﻼ ﹺ‬
‫ﻥ )‪ (4‬ﻤﺭّﺍﺕ؛ ﻟﺘﻭﺤ َ‬
‫ﻥ ﺍﻵﻴﺘﻴ ﹺ‬
‫ﻭﻜﺎﻟﺭّﺍ ِﺀ‪ ،‬ﺘﺭ ُﺩ ﺍﻟﻼ ُﻡ ﻓﻲ ﻫﺎﺘﻴ ﹺ‬

‫ﻕ‬
‫ﺏ ﺍﻟﻔﻴل؛ ﻓﻌﻨ َﺩ ﻨﻁ ِ‬
‫ﺏ ﺃﺼﺤﺎ ﹺ‬
‫ﺏ‪ ،‬ﻓﻲ ﻗﻠﻭ ﹺ‬
‫ﺕ ﺍﻟﻁﻴ ﹺﺭ‪ ،‬ﻤﻥ ﺸﺄﻨِﻬﺎ ﺃﻥ ﺘﺯﻴ َﺩ ﺍﻟﺭﻋ َ‬
‫ﺒﺼﻔ ٍﺔ ﺃﺨﺭﻯ ﻤﻥ ﺼﻔﺎ ِ‬

‫ﻼ ﻁﺭﻓﹸﻪ ))ﺒﺄﺼﻭ ﹺ‬
‫ل‬ ‫ﻥ‪ ،‬ﻤﺘﹼﺼ ﹰ‬
‫ﺏ ﺍﻟﻔ ﹺﻡ ﺍﻷﻴﻤ ﹺ‬
‫ﻥ ﺇﻟﻰ ﺠﺎﻨ ﹺ‬
‫ﻑ ﺍﻟﻠﹼﺴﺎ ُ‬
‫ﺕ ﺍﻟﻤﺘﻔ ّﺭ ِﺩ ﺒﻬﺫﻩ ﺍﻟﺤﺭﻜﺔ‪ ،‬ﻴﻨﺤﺭ ﹸ‬
‫ﻫﺫﺍ ﺍﻟﺼﺎﻤ ِ‬

‫ﺏ ﻤﻥ ﺠﺎﻨﺒﻴـﻪ(()‪ .(4‬ﻭﻫـﺫﻩ‬
‫ﻁ ﺍﻟﻔﻡ؛ ﻓﻴﺘﺴﺭّ ُ‬
‫ﻥ ﺍﻟﻬﻭﺍ ِﺀ ﻭﻤﺭﻭﺭﹺﻩ ﻤﻥ ﻭﺴ ِ‬
‫ﺍﻟﺜﻨﺎﻴﺎ ﺍﻟﻌﻠﻴﺎ؛ ﻭﺒﺫﻟﻙ ﻴُﺤﺎلُ ﺒﻴـ َ‬

‫ﺝ – ﺭﺤﻤَﻪ ﺍﷲ ‪ ،-‬ﻓﻲ ﺼـﻔ ِﺔ ﻫـﺫﻩ ﺍﻟﻁﻴـ ﹺﺭ‪) :‬ﺃَﺒﺎﺒﻴـل(‪:‬‬

‫ل ﺍﻟ ّﺯﺠّﺎ ﹺ‬
‫ﻕ ﻤﺎ ﺠﺎ َﺀ ﻓﻲ ﻗﻭ ﹺ‬
‫ﺍﻟﺠﺎﻨﺒﻴّـ ﹸﺔ ﺘﻭﺍﻓ ﹸ‬

‫)‪(1‬‬
‫ﺯﺭﻗﺔ‪ ،‬ﺃﺤﻤﺩ‪ :‬ﺃﺴﺭﺍﺭ ﺍﻟﺤﺭﻭﻑ‪ .‬ﺹ‪.83‬‬
‫)‪(2‬‬
‫ﺍﻨﻅﺭ‪ :‬ﺩﻴﻭﺍﻥ ﺃﺒﻲ ﺍﻟﻁﻴّﺏ ﺍﻟﻤﺘﻨﺒّﻲ‪.255 / 1 .‬‬
‫)‪(3‬‬
‫ﺍﻟﻨﻭﻴﻬﻲ‪ ،‬ﻤﺤﻤّﺩ‪ :‬ﺍﻟﺸﻌﺭ ﺍﻟﺠﺎﻫﻠﻲّ‪ ،‬ﻤﻨﻬﺞ ﻓﻲ ﺩﺭﺍﺴﺘﻪ ﻭﺘﻘﻭﻴﻤﻪ‪.66 / 1 .‬‬
‫)‪(4‬‬
‫ﺃﻨﻴﺱ‪ ،‬ﺇﺒﺭﺍﻫﻴﻡ‪ :‬ﺍﻷﺼﻭﺍﺕ ﺍﻟﻠﻐﻭﻴّﺔ‪ .‬ﺹ‪.64‬‬
‫‪110‬‬
‫ﷲ ﻋﻠﻴﻬﻡ ﻫﺫﺍ ﺍﻟﻁﻴ َﺭ‪ ،‬ﺒﻬﺫﻩ ﺍﻟﺤﺠﺎﺭ ِﺓ ﻤﻥ‬
‫لﺍ ُ‬
‫))ﺠﻤﺎﻋﺎﺕ ﻤﻥ ﻫﻬﻨﺎ‪ ،‬ﻭﺠﻤﺎﻋﺎﺕ ﻤﻥ ﻫﻬﻨﺎ‪ ،‬ﻭﺍﻟﻤﻌﻨﻰ‪ :‬ﺃﺭﺴ َ‬

‫ل ﺠﺎﻨﺏ(()‪.(1‬‬
‫ﻜﱢ‬

‫ﻉ ﻫﺫﻩ ﺍﻟﻁﻴـﻭ ﹺﺭ‪ ،‬ﻤـﻥ‬

‫ﻕ ﺍﺠﺘﻤﺎ َ‬
‫ﻥ )‪ (4‬ﻤﺭّﺍﺕ؛ ﻟﺘﻭﺍﻓ ﹶ‬
‫ﻥ ﺍﻵﻴﺘﻴ ﹺ‬
‫ﻭﻜﺎﻟﺭّﺍ ِﺀ ﻭﺍﻟﻼ ﹺﻡ‪ ،‬ﺘﺭ ُﺩ ﺍﻟﻤﻴ ُﻡ ﻓﻲ ﻫﺎﺘﻴ ﹺ‬
‫ﻤﻥ ﺠﻬ ٍﺔ ﺃﺨﺭﻯ‪.‬‬ ‫ﻉ)‪،(2‬‬
‫ﺍﻻﺠﺘﻤﺎ ﹺ‬ ‫ﻥ‪ ،‬ﻓﻲ ﺃﺜﻨﺎ ِﺀ ﻨﻁﻘِﻬﺎ‪ ،‬ﻤﻥ ﺠﻬﺔ‪ ،‬ﻭﺩﻻﻟﺘِﻬﺎ ﻋﻠﻰ‬
‫ﻕ ﺍﻟﺸﻔﺘﻴ ﹺ‬
‫ل ﺍﻨﻁﺒﺎ ِ‬
‫ﺨﻼ ﹺ‬

‫ﻥ ﻤﻊ ﺍﻟﻤﻴ ﹺﻡ‪ ،‬ﺇﺤﻜﺎ َﻡ ﻫﺫﻩ ﺍﻟﻁﻴ ﹺﺭ ﻗﺒﻀـﺘﹶﻬﺎ‪ ،‬ﻋﻠـﻰ‬

‫ﻕ ﺍﻟﺸﻔﺘﻴ ﹺ‬
‫ﻭﻟﻙ ﺃﻥ ﺘﺴﺘﺸﻌ َﺭ ﻜﺫﻟﻙ‪ ،‬ﻓـﻲ ﺍﻨﻁﺒﺎ ِ‬

‫ﻕ‪،‬‬
‫ﻥ ﻫـﺫﺍ ﺍﻻﻨﻁﺒـﺎ ِ‬
‫ل ﺯﻤ ُ‬
‫ﺏ ﻟﻠﻬﻭﺍ ِﺀ ﻤﻌﻪ‪ .‬ﻭﻴﻁﻭ ُ‬
‫ﻕ ﺘﺎ ﱞﻡ‪ ،‬ﻻ ﺘﺴ ّﺭ َ‬
‫ﷲ – ﺴﺒﺤﺎﻨﹶﻪ ‪-‬؛ ﻓﻬﺫﺍ ﺍﻻﻨﻁﺒﺎ ﹸ‬
‫ﺃﻋﺩﺍ ِﺀ ﺍ ِ‬

‫ﻥ ﺍﻟﺘﻨﻭﻴ ﹺ‬
‫ﻥ ﺍﻟﺫﻱ ﻫـﻭ ﻨﻭﻥٌ ﺴﺎﻜﻨﺔ‪،‬‬ ‫ﺕ ﺤﻜ َﻡ ﺍﻟﺘﺠﻭﻴ ِﺩ‪ :‬ﺍﻹﺩﻏﺎ َﻡ‪ ،‬ﺒﻴ َ‬
‫ﺯﺍﺌﺩًﺍ ﻤﻌﻪ ﺸﻌﻭﺭَﻙ ﻫﺫﺍ؛ ﺇﺫﺍ ﻤﺎ ﺤﻘﹼﻘ ﹶ‬

‫‪(bi /‬؛ ﻓﻬـﺫﺍ‬ ‫ﻭﺍﻟﻤﻴ ﹺﻡ ﺍﻟﻤﺘﺤﺭّﻜ ِﺔ)‪ ،(3‬ﻓﻲ ﺍﻟﺘﺭﻜﻴ ﹺ‬

‫ﺏ‪ ) :‬ﹺﺒﺤِﺠـﺎ َﺭ ٍﺓ ﻤِـﻥْ‪i / :aa / ra / tin / min :‬‬

‫ﻕ‬
‫ل ﺍﻨﻁﺒـﺎ ﹸ‬
‫ﻥ ﻤﻴﻤًﺎ ﺴﺎﻜﻨ ﹰﺔ‪ ،‬ﺘﺩﻏ ُﻡ ﻓﻲ ﺍﻟﻤﺘﺤﺭّﻜ ِﺔ؛ ﻟﺘﺼﻴﺭﺍ ﻤﻴﻤًـﺎ ﻤﺸـﺩّﺩ ﹰﺓ‪ ،‬ﻴﻁـﻭ ُ‬
‫ﺏ ﺍﻟﺘﻨﻭﻴ َ‬
‫ﺍﻹﺩﻏﺎ ُﻡ ﻴﻘﻠ ُ‬

‫‪.(bi /‬‬ ‫ﻥ ﻤﻌﻬﺎ‪ ) :‬ﹺﺒﺤِﺠﺎ َﺭ ِﺘ ﱢﻤﻥْ‪i / :aa / ra / tim / min :‬‬

‫ﺍﻟﺸﻔﺘﻴ ﹺ‬

‫ﻥ ) ‪(3‬‬
‫ﻥ ﺍﻵﻴﺘـﻴ ﹺ‬
‫ﻥ‪ ،‬ﺍﻟﺘﻲ ﺘﺭ ُﺩ ﻓــﻲ ﻫـﺎﺘﻴ ﹺ‬
‫ﺏ ﻏﻨﹼـ ِﺔ ﺍﻟﻨﻭ ﹺ‬
‫ﺕ ﺍﻷﺭﺒ ﹺﻊ‪ ،‬ﺇﻟﻰ ﺠﺎﻨ ﹺ‬
‫ﻭﻟﻐ ﹼﻨ ِﺔ ﻫﺫﻩ ﺍﻟﻤﻴﻤﺎ ِ‬

‫ﻲ ﺒـﺫﻟﻙ؛‬
‫ﻥ ﺍﻟﻐﻨﹼـ ِﺔ ﺃﻥ ﺘـﻭﺤ َ‬
‫ل ﻭﻫﻭﺍﻥ؛ ﻓﻤﻥ ﺸـﺄ ﹺ‬
‫ل ﻤﻥ ﺫ ﱟ‬
‫ﺏ ﺍﻟﻔﻴ ﹺ‬
‫ﻲ ﺒﻤﺎ ﻟﻘﻴَﻪ ﺃﺼﺤﺎ ُ‬
‫ﻤ ّﺭﺍﺕ‪ ،‬ﺃﻥ ﺘﻭﺤ َ‬
‫ﻑ‪ ،‬ﻜﻤﺎ ﹸﺫ ِﻜﺭ)‪.(4‬‬
‫ﻻﺭﺘﺒﺎﻁِﻬﺎ ﺒﺎﻷﻨ ِ‬

‫ﻥ‪ ،‬ﺍﻁﹼﺭﺍ ُﺩ ﺤﺭﻜ ِﺔ‬

‫ﻥ ﺍﻵﻴﺘﻴ ﹺ‬
‫ل‪ ،‬ﻓﻲ ﻫﺎﺘﻴ ﹺ‬
‫ﺏ ﺍﻟﻔﻴ ﹺ‬
‫ﻭﻤﻤّﺎ ﻴﺩﻋ ُﻡ ﺇﻴﺤﺎ َﺀ ﺍﻟﻤﻴ ﹺﻡ‪ ،‬ﺒﺈﺤﻜﺎ ﹺﻡ ﺍﻟﻘﺒﻀ ِﺔ ﻋﻠﻰ ﺃﺼﺤﺎ ﹺ‬

‫ﺕ‪ ،‬ﻤﻥ )‪ (11‬ﺤﺭﻜ ﹰﺔ‪ ،‬ﻓﻲ ﺍﻵﻴ ِﺔ ﺍﻟﺘﻲ ﺠـﺎ َﺀ ﻓﻴﻬـﺎ ﺭﻤـﻴُﻬﻡ ﺒﺎﻟﺤﺠـﺎﺭﺓ‪:‬‬
‫ﺍﻟﻜﺴ ﹺﺭ‪ ،‬ﺒﻭﺭﻭﺩِﻫﺎ )‪ (8‬ﻤﺭّﺍ ٍ‬
‫ﻥ‪ ،‬ﻓﻲ ﺃﺜﻨﺎ ِﺀ ﺍﻟﻨﻁﻕ)‪ ،(5‬ﻜﺎﻨﻁﺒـﺎ ِ‬
‫ﻕ‬ ‫ﻕ ﻤﻌﻬﺎ ﺍﻟﻔﻜﹼﺎ ﹺ‬
‫ﺴﺠّﻴل﴾؛ ﻓﺎﻟﻜﺴﺭ ﹸﺓ ﺤﺭﻜﺔﹲ ﻴﻨﻁﺒ ﹸ‬
‫﴿ ﹶﺘﺭْﻤﻴ ﹺﻬﻡْ ﹺﺒﺤِﺠﺎ َﺭ ٍﺓ ِﻤﻥْ ِ‬

‫ﻥ ﻤﻊ ﺍﻟﻤﻴﻡ‪.‬‬
‫ﺍﻟﺸﻔﺘﻴ ﹺ‬

‫)‪(1‬‬
‫ﺍﻟ ّﺯﺠّﺎﺝ‪ ،‬ﺃﺒﻭ ﺇﺴﺤﺎﻕ ﺇﺒﺭﺍﻫﻴﻡ ﺒﻥ ﺍﻟﺴّﺭﻱ‪ :‬ﻤﻌﺎﻨﻲ ﺍﻟﻘﺭﺁﻥ ﻭﺇﻋﺭﺍﺒﻪ‪.363 / 5 .‬‬
‫)‪(2‬‬
‫ﺍﻟﻌﻼﻴﻠﻲ‪ ،‬ﻋﺒﺩ ﺍﷲ‪ :‬ﻤﻘﺩّﻤﺔ ﻟﺩﺭﺱ ﻟﻐﺔ ﺍﻟﻌﺭﺏ‪ .‬ﺹ‪.211‬‬
‫)‪(3‬‬
‫ﻓﻲ ﻋﻠﻡ ﺍﻟﺘﺠﻭﻴﺩ‪ ،‬ﺘﺩﻏﻡ ﺍﻟﻨﻭﻥ ﺍﻟﺴﺎﻜﻨﺔ ﻭﺍﻟﺘﻨﻭﻴﻥ‪ ،‬ﻓﻲ ﺍﻟﺤﺭﻭﻑ ﺍﻟﺘﻲ ﺘﺠﻤﻌﻬﺎ ﺍﻟﻜﻠﻤﺔ‪) :‬ﻴﺭﻤﻠﻭﻥ(؛ ﺇﺫﺍ ﺠﺎﺀﺕ ﺒﻌﺩﻫﻤﺎ‪ .‬ﻭﻴﺸﺘﺭﻁ‬
‫ﺃﻥ ﻴﻜﻭﻥ ﺍﻟﺤﺭﻑ ﺍﻟﻤﺩﻏﻡ ﻓﻲ ﻜﻠﻤﺔ‪ ،‬ﻭﺍﻟﻤﺩﻏﻡ ﻓﻴﻪ ﻓﻲ ﻜﻠﻤﺔ ﺃﺨﺭﻯ‪ .‬ﺍﻨﻅﺭ‪ :‬ﺍﻟﻘﻀﺎﺓ‪ ،‬ﻤﺤﻤّﺩ ﻋﺼﺎﻡ ﻤﻔﻠﺢ‪ :‬ﺍﻟﻭﺍﻀﺢ ﻓـﻲ ﺃﺤﻜـﺎﻡ‬
‫ﺍﻟﺘﺠﻭﻴﺩ‪ .‬ﺍﻷﺭﺩﻥ‪ :‬ﺩﺍﺭ ﺍﻟﻨﻔﺎﺌﺱ‪) .‬ﺩ‪ .‬ﺕ(‪ .‬ﺹ‪.70‬‬
‫)‪(4‬‬
‫ﺍﻨﻅﺭ ﺹ‪ 97‬ﻤﻥ ﻫﺫﺍ ﺍﻟﺒﺤﺙ‪.‬‬
‫)‪ (5‬ﻟﻴﻭﻨﺯ‪ ،‬ﺠﻭﻥ‪ :‬ﺍﻟﻠﻐﺔ ﻭﻋﻠﻡ ﺍﻟﻠﻐﺔ‪.109 / 1 .‬‬
‫‪111‬‬
‫ﻁﻴْـ ًﺭﺍ ﺃَﺒﺎﺒﻴـل﴾‪،‬‬
‫ﻋﹶﻠﻴْ ﹺﻬﻡْ ﹶ‬
‫ل َ‬
‫ﺢ ﻤﻁﹼﺭﺩ ﹰﺓ ﻓﻲ ﺍﻵﻴ ِﺔ ﺍﻷﺨﺭﻯ‪﴿ :‬ﻭََﺃﺭْﺴَ َ‬
‫ل‪ ،‬ﺘﺠ ُﺩ ﺤﺭﻜ ﹶﺔ ﺍﻟﻔﺘ ﹺ‬
‫ﻭﻓﻲ ﺍﻟﻤﻘﺎﺒ ﹺ‬
‫ﺕ‪ ،‬ﻤﻥ )‪ (12‬ﺤﺭﻜﺔ‪ .‬ﻭﻓﻲ ﻫﺫﺍ ﻤﺎ ﻴُﺸـﻌﺭُﻙ‪ ،‬ﺒﺤ ّﺭﻴّـ ِﺔ ﺤﺭﻜـ ِﺔ ﻫـﺫﻩ ﺍﻟﻁﻴـ ﹺﺭ‬
‫ﺒﻭﺭﻭﺩِﻫﺎ )‪ (10‬ﻤﺭّﺍ ٍ‬
‫ﺢ ﻤﻌﻬﺎ ﺍﻟﻔ ُﻡ ﺒﺎﺘﹼﺴﺎﻉ‪.‬‬
‫ل ﺘﻘﻴﻴ ِﺩ ﺍﻷﻋﺩﺍﺀ؛ ﻓﺎﻟﻔﺘﺤ ﹸﺔ ﺤﺭﻜﺔﹲ ﻴﻨﻔﺘ ُ‬
‫ﻭﺍﻨﻁﻼﻗِﻬﺎ‪ ،‬ﻤﻘﺎﺒ َ‬

‫ﺱ ﺼﻔﺎﺘِﻬﺎ؛ ﻓﺘﺠ ُﺩ ﺼﻭ ﹶ‬
‫ﺕ‬ ‫ﻭﻟﻠﺤﺠﺎﺭ ِﺓ ﺍﻟﺘﻲ ﺘﺤﻤﻠﹸﻬﺎ ﻫﺫﻩ ﺍﻟﻁﻴﻭ ُﺭ‪ ،‬ﻨﺼﻴﺒُﻬﺎ ﻤﻥ ﺍﻷﺼﻭﺍ ِ‬
‫ﺕ ﺍﻟﺘﻲ ﺘﻌﻜ ُ‬
‫ﺏ‪) :‬ﺤِﺠﺎ َﺭ ٍﺓ ِﻤﻥْ ﺴِـﺠّﻴل‪i / :aa / ra / tin / min / :‬‬
‫ﺕ‪ ،‬ﻓﻲ ﺍﻟﺘﺭﻜﻴ ﹺ‬
‫ﺍﻟﺠﻴ ﹺﻡ‪ ،‬ﺒﻭﺭﻭﺩِﻩ )‪ (3‬ﻤﺭّﺍ ٍ‬
‫ﻥ‪ ،‬ﻋﻨ َﺩ ﻨﻁﻘِﻪ‪ ،‬ﻭﺜﻘﻠِـﻪ‬
‫ل ﺜﻘﻠِﻪ ﻋﻠﻰ ﺍﻟﻠﹼﺴﺎ ﹺ‬
‫ﺱ ﻗ ّﻭ ﹶﺓ ﻫﺫﻩ ﺍﻟﺤﺠﺎﺭ ِﺓ ﻭﺸ ّﺩﺘﹶﻬﺎ‪ ،‬ﻤﻥ ﺨﻼ ﹺ‬
‫‪ ،(si: / :iil‬ﻴﻌﻜ ُ‬
‫ﻙ؛ ﻓﻬﻭ ﻴﺒﺩُﺃ ﻋﻨـ َﺩ‬
‫ﻥ ﺍﻻﻨﻔﺠﺎ ﹺﺭ ﻭﺍﻻﺤﺘﻜﺎ ِ‬
‫ﻥ‪ ،‬ﻋﻨ َﺩ ﺴﻤﺎﻋِﻪ؛ ﻟﻜﻭﻨِﻪ ﺼﻭﺘﹰﺎ ﻤﺭ ﹼﻜﺒًﺎ؛ ﺃﻱ‪ :‬ﻴﺠﻤ ُﻊ ﺒﻴ َ‬
‫ﻓﻲ ﺍﻷﺫ ﹺ‬
‫ﻨﻁﻘِﻪ ﺍﻨﻔﺠﺎﺭﻴ‪‬ﺎ‪ ،‬ﻭﻴﻨﺘﻬﻲ ﺍﺤﺘﻜﺎﻜﻴ‪‬ﺎ)‪.(1‬‬

‫ﺴﺠّﻴل(‪ ،‬ﺍﻟﺘﻲ ﻭُﺼﻔﺕﹾ ﺒﻬﺎ ﻫـﺫﻩ ﺍﻟﺤﺠـﺎﺭﺓ‪،‬‬

‫ﻥ ﺍﻟﻜﻠﻤ ﹶﺔ ) ِ‬
‫ﻥ ﺘﻌﻠ ُﻡ ﺃ ﱠ‬
‫ﺏ ﺃﻜﺜﺭ‪ ،‬ﺤﻴ َ‬
‫ﻭﻻ ﺒ ﱠﺩ ﺃﻨﱠﻙ ﺴﺘﻌﺠ ُ‬
‫ﻥ َﻤﻥْ ﺫﻜـ َﺭ‪ ،‬ﺃﻨﹼﻬـﺎ‬
‫ﻥ ﻤﻥ ﺍﻟﻤﻔﺴّﺭﻴ َ‬
‫ﻥ ﻫﺸﺎﻡ‪ :‬ﺇ ﱠ‬
‫ل ﺍﺒ ُ‬
‫ﺕ ﺍﻟﺠﻴ ﹺﻡ‪ ،‬ﺍﻟﺫﻱ ﺘﺤﺘﻭﻴﻪ ﻤﺸ ّﺩﺩًﺍ‪ ،‬ﻓﻴﻘﻭ ُ‬
‫ﻤﺭﻜﹼﺒﺔﹲ ﻜﺼﻭ ِ‬
‫ﻥ‬
‫ل‪ ،‬ﺃﻱ ﺍﻟﻁﻴﻥ؛ ﻟﻴﻜﻭ َ‬
‫ﺠّ‬‫ﺴﻨﹾﺞ‪ ،‬ﺃﻱ ﺍﻟﺤﺠﺭ‪ ،‬ﻭ ﹺ‬
‫ﺏ ﻜﻠﻤ ﹰﺔ ﻭﺍﺤﺩﺓ‪ ،‬ﻭﻫﻤﺎ‪َ :‬‬
‫ﻥ ﺒﺎﻟﻔﺎﺭﺴﻴّﺔ‪ ،‬ﺠﻌﻠﺘﹾﻬﻤﺎ ﺍﻟﻌﺭ ُ‬
‫ﻜﻠﻤﺘﺎ ﹺ‬
‫ﻥ ﺍﻟﺠﻨﺴﻴﻥ‪ :‬ﺍﻟﺤﺠ ﹺﺭ ﻭﺍﻟﻁﻴﻥ)‪.(2‬‬
‫ﻤﻌﻨﻰ ﺍﻟﻜﻠﻤـ ِﺔ ﺒﺫﻟﻙ‪ :‬ﺍﻟﺤﺠﺎﺭﺓ ﻤﻥ ﻫﺫﻴ ﹺ‬

‫ﺏ‬
‫ل ﻤﻨﻬـﺎ‪ ،‬ﺘﻨﺎﺴـ ُ‬
‫ﻥ ﺩﻻﻟـ ﹶﺔ ﺍﻟﺠـﺯ ِﺀ ﺍﻷ ّﻭ ﹺ‬
‫ﺏ ﺃﻤ ﹺﺭ ﻫﺫﻩ ﺍﻟﻜﻠﻤ ِﺔ ﺍﻟﺘﻲ ﺘﺤﺘﻭﻱ ﺠﻴﻤﻴﻥ‪ ،‬ﺃ ﱠ‬
‫ﻭﻤﻥ ﻋﺠﻴ ﹺ‬
‫ﺏ ﺍﻟﻤﺭﺤﻠ ﹶﺔ ﺍﻷﺨﺭﻯ ﻤﻥ ﻋﻤﻠﻴّـ ِﺔ‬
‫ﻕ ﺍﻟﺠﻴﻡ‪ ،‬ﻭﺩﻻﻟ ﹶﺔ ﺠﺯﺌِﻬﺎ ﺍﻵﺨ ﹺﺭ‪ ،‬ﺘﻨﺎﺴ ُ‬
‫ﺍﻟﻤﺭﺤﻠ ﹶﺔ ﺍﻷﻭﻟﻰ ﻤﻥ ﻋﻤﻠ ّﻴ ِﺔ ﻨﻁ ِ‬
‫ﺏ ﻤﺎ ﻓﻴﻪ ﻤﻥ‬
‫ﻥ ﺘﻨﺎﺴ ُ‬
‫ﺏ ﻤﺎ ﻓﻴﻪ ﻤﻥ ﺍﻻﻨﻔﺠﺎﺭ‪ ،‬ﻭﺭﺨﺎﻭ ﹸﺓ ﺍﻟﻁﻴ ﹺ‬
‫ﻕ ﻫﺫﺍ ﺍﻟﺼﻭﺕ؛ ﻓﺼﻼﺒ ﹸﺔ ﺍﻟﺤﺠ ﹺﺭ ﺘﻨﺎﺴ ُ‬
‫ﻨﻁ ِ‬
‫ﺢ ﺍﻵﺭﺍ ِﺀ ﺍﻟﺘﻲ ﻗﻴﻠﺕ ﻓﻲ ﺩﻻﻟﺘِﻬﺎ)‪.(3‬‬ ‫ﺍﻻﺤﺘﻜﺎﻙ‪ .‬ﻟﺫﻟﻙ ﺃﻋﺘﻘ ُﺩ ﺃ ﱠ‬
‫ﻥ ﺩﻻﻟ ﹶﺔ ﻫﺫﻩ ﺍﻟﻜﻠﻤ ِﺔ ﺍﻟﺘﻲ ﺃﺜﺒ ﱡﺘﻬﺎ‪ ،‬ﺃﺭﺠ ُ‬

‫ﺹ ﺍﻟﺤﺠـﺎﺭ ﹶﺓ‪:‬‬
‫ﺏ ﺍﻟﺫﻱ ﻴﺨ ﱡ‬
‫ﺕ ﺍﻟﻭﺍﺭﺩ ِﺓ‪ ،‬ﻓﻲ ﻫﺫﺍ ﺍﻟﺘﺭﻜﻴ ﹺ‬
‫ﻥ ﻋﺩ َﺩ ﺍﻟﺠﻴﻤﺎ ِ‬
‫ﺕ ﺍﻻﻨﺘﺒﺎ َﻩ ﻜﺫﻟﻙ‪ ،‬ﺃ ﱠ‬
‫ﻭﻤﻤّﺎ ﻴﻠﻔ ﹸ‬
‫ﻥ ))ﻤﻊ ﻜـ ﱢ‬
‫ل ﻁـﺎﺌ ﹴﺭ‪ ...‬ﺜﻼﺜـ ﹸﺔ‬ ‫ل ﻁﺎﺌﺭ؛ ﻓﻘﺩ ﻜﺎ َ‬
‫ﺴﺠّﻴل(‪ ،‬ﻴﺴـﺎﻭﻱ ﻋﺩ َﺩ ﺍﻟﺤﺠﺎﺭ ِﺓ ﻤﻊ ﻜ ﱢ‬
‫)ﺤِﺠﺎ َﺭ ٍﺓ ِﻤﻥْ ِ‬
‫ﺏ ﻤـﻨﻬﻡ‬
‫ﺹ ﻭﺍﻟﻌﺩﺱ‪ ،‬ﻻ ﺘﺼﻴ ُ‬
‫ل ﺍﻟﺤ ّﻤ ﹺ‬
‫ﻥ ﻓﻲ ﺭﺠﻠﻴﻪ‪ ،‬ﺃﻤﺜﺎ ُ‬
‫ﺃﺤﺠﺎ ﹴﺭ ﻴﺤﻤﻠﹸﻬﺎ‪ :‬ﺤﺠﺭٌ ﻓﻲ ﻤﻨﻘﺎﺭﹺﻩ‪ ،‬ﻭﺤﺠﺭﺍ ﹺ‬
‫ﻫﻠﻙ(()‪.(4‬‬ ‫ﻻ‬
‫ﺃﺤﺩًﺍ ﺇ ﹼ‬

‫)‪(1‬‬
‫ﺍﻟﻨﻭﺭﻱ‪ ،‬ﻤﺤﻤﺩ ﺠﻭﺍﺩ‪ :‬ﻋﻠﻡ ﺃﺼﻭﺍﺕ ﺍﻟﻌﺭﺒﻴﺔ‪ .‬ﺹ‪.157‬‬
‫)‪(2‬‬
‫ﺍﺒﻥ ﻫﺸﺎﻡ‪ ،‬ﺃﺒﻭ ﻤﺤﻤّﺩ ﻋﺒﺩ ﺍﻟﻤﻠﻙ‪ :‬ﺍﻟﺴﻴﺭﺓ ﺍﻟﻨﺒﻭﻴّﺔ‪.42 / 1 .‬‬
‫)‪(3‬‬
‫ﺍﻨﻅﺭ ﺍﻵﺭﺍﺀ ﺍﻷﺨﺭﻯ ﺤﻭل ﻫﺫﻩ ﺍﻟﻜﻠﻤﺔ‪ :‬ﺍﺒﻥ ﻤﻨﻅﻭﺭ‪ ،‬ﺃﺒﻭ ﺍﻟﻔﻀل ﺠﻤﺎل ﺍﻟﺩﻴﻥ‪ :‬ﻟﺴﺎﻥ ﺍﻟﻌﺭﺏ‪ .‬ﺍﻟﻤﺎﺩّﺓ‪) :‬ﺱ‪ ،‬ﺝ‪ ،‬ل(‪.‬‬
‫)‪(4‬‬
‫ﻼ ﻋﻥ ﺍﺒﻥ ﺇﺴﺤﺎﻕ‪ .‬ﻭﺍﻨﻅﺭ ﻜﺫﻟﻙ‪ :‬ﺍﻟﻨﻴﺴﺎﺒﻭﺭﻱ‪ ،‬ﺃﺒﻭ ﺍﻟﺤﺴﻥ‬
‫ﺍﺒﻥ ﻫﺸﺎﻡ‪ ،‬ﺃﺒﻭ ﻤﺤﻤّﺩ ﻋﺒﺩ ﺍﻟﻤﻠﻙ‪ :‬ﺍﻟﺴﻴﺭﺓ ﺍﻟﻨﺒﻭﻴّﺔ‪ .41 / 1 .‬ﻨﻘ ﹰ‬
‫ﻲ ﺒﻥ ﺃﺤﻤﺩ ﺍﻟﻭﺍﺤﺩﻱ‪ :‬ﺍﻟﻭﺴﻴﻁ ﻓﻲ ﺘﻔﺴﻴﺭ ﺍﻟﻘﺭﺁﻥ ﺍﻟﻤﺠﻴﺩ‪.554 / 4 .‬‬
‫ﻋﻠ ّ‬
‫‪112‬‬
‫ﺏ‬
‫ﻥ ﻤﻥ ﺸﺄﻨِﻬﺎ‪ ،‬ﻏﺎﻟﺒ ﹰﺔ ﻋﻠﻰ ﻫـﺫﺍ ﺍﻟﺘﺭﻜﻴـ ﹺ‬
‫ل ﻋﻠﻰ ﺍﻟﺼﻐ ﹺﺭ‪ ،‬ﻜﻤﺎ ﻋﺭﻓﻨﺎ؛ ﻓﺈ ﱠ‬
‫ﻭﺇﺫﺍ ﻜﺎﻨﺕ ﺍﻟﻜﺴﺭ ﹸﺓ ﺘﺩ ﱡ‬

‫ﺢ ﻫﺫﻩ ﺍﻟﺭﻭﺍﻴ ﹶﺔ ﺍﻟﺘـﻲ‬

‫ﺠَ‬
‫ﺕ ﻓﻴﻪ‪ ،‬ﺃﻥ ﺘﺭ ّ‬
‫ﺕ‪ ،‬ﻤﻥ )‪ (7‬ﺤﺭﻜﺎ ٍ‬
‫ﺹ ﺍﻟﺤﺠﺎﺭ ﹶﺓ؛ ﺒﻭﺭﻭﺩِﻫﺎ )‪ (5‬ﻤـﺭّﺍ ٍ‬
‫ﺍﻟﺫﻱ ﻴﺨ ﱡ‬

‫ﺕ‪ ،‬ﻓـﻲ‬
‫ﻑ ﻓﻴـﻪ ﺍﻟﺭﻭﺍﻴـﺎ ﹸ‬
‫ﺕ ﺍﻟﺫﻱ ﺘﺨﺘﻠ ﹸ‬
‫ﺹ ﻭﺍﻟﻌﺩﺱ‪ ،‬ﻓﻲ ﺍﻟﻭﻗ ِ‬
‫ل ﺍﻟﺤ ّﻤ ﹺ‬
‫ﻥ ﻫﺫﻩ ﺍﻟﺤﺠﺎﺭ ﹶﺓ ﺃﻤﺜﺎ ُ‬
‫ﺃﺜﺒﺘﱡﻬﺎ‪ :‬ﺃ ﱠ‬
‫ﷲ ﺘﻌﺎﻟﻰ ﺃﻋﻠﻡ‪.‬‬
‫ﻭﺍ ُ‬ ‫ﺤﺠﻤِﻬﺎ)‪.(1‬‬

‫ﺒﻌ َﺩ ﺫﻟﻙ‪ ،‬ﺘﺠﻲ ُﺀ ﺍﻵﻴ ﹸﺔ ﺍﻷﺨﻴﺭ ﹸﺓ‪ ﴿ :‬ﹶﻓﺠَﻌَﹶﻠ ُﻬﻡْ ﹶﻜﻌَﺼْﻑٍ َﻤﺄْﻜـﻭل﴾‪ ،‬ﺒﺎﺩﺌ ﹰﺔ ﺒﺎﻟﻔﺎ ِﺀ‪ ،‬ﺍﻟﺘﻲ ﺘﹸﻌ ﱡﺩ ﺼـﻭﺘﹰﺎ‬

‫ﺕ ﻟﻨﻬﺎﻴ ِﺔ ﺍﻟﺴﻭﺭﺓ‪:‬‬
‫ﺊ ﺍﻟﺴﺎﻤ َﻊ ﺒﻬﺩﻭ ِﺀ ﻫﺫﺍ ﺍﻟﺼﻭ ِ‬
‫ﺡ ﻓﻲ ﺍﻟﺴﻤﻊ؛ ﻟﺘﻬ ّﻴ َ‬
‫ل ﺍﻟﻭﻀﻭ ﹺ‬
‫ﻗﻠﻴ َ‬

‫‪fa /:a / ca / la / hum / ka / ca / fin / ma‬‬ ‫‪/ kuul.‬‬

‫ل‬
‫ﻥ ﻫﺫﻩ ﺍﻵﻴﺔ؛ ﻓﻤﻥ ﺸـﺄﻨِﻬﺎ ﺃﻥ ﺘـﺩ ﱠ‬
‫ﻭﻟﻬﺫﻩ ﺍﻟﻔﺎ ِﺀ ﺍﻟﺒﺎﺩﺌ ِﺔ ﻜﺫﻟﻙ‪ ،‬ﺃﻥ ﺘﻼﺌ َﻡ ﺒﺩﻻﻟﺘِﻬﺎ ﺍﻟﺫﺍﺘ ّﻴ ِﺔ ﻤﻀﻤﻭ َ‬

‫ﺏ‬
‫ﻑ ﺍﻷﺸﺠﺎﺭ)‪ ،(3‬ﻭﻓـﻲ ﻫﺫﺍ ﻤــﺎ ﻴﻨﺎﺴـ ُ‬
‫ﻭﺃﻥ ﺘﺴﻤ َﻊ ﻤﻥ ﺤﻔﻴـ ِ‬ ‫ﻭﻨﺤﻭﻫﻤﺎ)‪،(2‬‬ ‫ﻑ‬
‫ﻥ ﻭﺍﻟﻀﻌ ِ‬
‫ﻋﻠﻰ ﺍﻟﻭﻫ ﹺ‬
‫ﻕ‬
‫ﷲ ﺘﻌﺎﻟﻰ‪)) ،‬ﻜـﻭﺭ ِ‬
‫ﺤﻘﹼـ ﹶﺔ ﺒﻅﻠﻤِﻬﻡ؛ ﻓﻘﺩ ﺠﻌﻠﹶﻬﻡ ﺍ ُ‬
‫ل ﺍﻟﻤُﺴﺘ َ‬
‫ﺏ ﺍﻟﻔﻴ ﹺ‬
‫ل ﻨﻬﺎﻴ ﹶﺔ ﺃﺼﺤﺎ ﹺ‬
‫ﻫﺫﺍ ﺍﻟﺘﺸﺒﻴ َﻪ‪ ،‬ﺍﻟﺫﻱ ﻴﻤﺜﹼ ُ‬

‫ﻭﺃُﻜـل(()‪.(4‬‬ ‫ﻉ ﺍﻟﺫﻱ ﺠُـ ﱠﺯ‬

‫ﺍﻟﺯّﺭ ﹺ‬

‫ﻕ ﻫﺫﻩ ﺍﻟﻤﻘﺎﻁ ﹺﻊ ﺍﻟﻘﺼﻴﺭ ِﺓ‬

‫ل ﻟﺴﺎﻨِﻙ ﺍﻟﺸﺩﻴ ِﺩ‪ ،‬ﻋﻨ َﺩ ﻨﻁ ِ‬
‫ﻙ‪ ،‬ﻓﻲ ﺜﻘ ﹺ‬
‫ﻭﺇﻨﱠﻙ ﻟﺘﺴﺘﺸﻌ ُﺭ ﺸ ّﺩ ﹶﺓ ﻭﻁ ِﺀ ﻫﺫﺍ ﺍﻟﻬﻼ ِ‬
‫ﺍﻷﺭﺒﻌ ِﺔ ﺍﻟﻤﺘﺘﺎﺒﻌ ِﺔ‪ ،‬ﻓﻲ ﺒﺩﺍﻴ ِﺔ ﻫﺫﻩ ﺍﻵﻴﺔ‪) :‬ﻓﹶـ‪ / fa :‬ﺠَــ‪ / :a :‬ﻋَــ‪ / ca:‬ﻟﹶــ‪ ،(la :‬ﻜﻤـﺎ‬

‫ﻑ َﻤﺄْﻜــﻭل‪ka / ca / fin / :‬‬

‫ﺏ‪ ) :‬ﹶﻜ َﻌﺼْـ ٍ‬
‫ﻥ‪ ،‬ﻓﻲ ﺍﻟﺘﺭﻜﻴـ ﹺ‬
‫ﻕ ﺍﻟﺸﻔﺘﻴ ﹺ‬
‫ل ﺍﻨﻁﺒﺎ ِ‬
‫ﺘﺴﺘﺸﻌﺭُﻫﺎ ﻓﻲ ﻁﻭ ﹺ‬

‫ﻥ ﻤﻴﻤًﺎ ﺴﺎﻜﻨ ﹰﺔ‪ ،‬ﺘﺩﻏ ُﻡ ﻓﻲ ﺍﻟﻤﺘﺤﺭّﻜ ِﺔ؛ ﻟﺘﺼـﻴﺭﺍ‬

‫ﺏ ﺍﻟﺘﻨﻭﻴ َ‬
‫‪ ،(ma‬ﻤﻊ ﻫﺫﺍ ﺍﻹﺩﻏﺎ ﹺﻡ‪ ،‬ﺍﻟﺫﻱ ﻴﻘﻠ ُ‬ ‫‪/ kuul‬‬
‫‪ka / ca‬‬ ‫‪/ fim / ma‬‬ ‫ﻕ ﺍﻟﺸﻔﺘﻴﻥ‪ ) :‬ﹶﻜ َﻌﺼْـ ِﻔ ﱠﻤـﺄْﻜــﻭل‪/ :‬‬
‫ل ﻤﻌﻬﺎ ﺍﻨﻁﺒﺎ ﹸ‬
‫ﻤﻴﻤًﺎ ﻤﺸﺩّﺩ ﹰﺓ‪ ،‬ﻴﻁﻭ ُ‬

‫‪.(kuul‬‬

‫ﻥ‬
‫ل ﺍﻵﺘﻲ‪ ،‬ﺍﻟـﺫﻱ ﻴﺒـﻴّ ُ‬
‫ل ﺍﻟﺠﺩﻭ ﹺ‬
‫ﻭﺇﺫﺍ ﻤﺎ ﻨﻅﺭﻨﺎ ﻓﻲ ﻫﺫﻩ ﺍﻟﺴﻭﺭ ِﺓ‪ ،‬ﻨﻅﺭ ﹰﺓ ﺼﻭﺘ ّﻴ ﹰﺔ ﺸﺎﻤﻠﺔ‪ ،‬ﻤﻥ ﺨﻼ ﹺ‬
‫ﻥ ﻋﻅﻴﻤـﺔ؛‬
‫ﻥ ﺒﻤﻭﺴﻴﻘﻰ ﻟﻐﻭ ّﻴ ٍﺔ ﺠﺫﹼﺍﺒ ٍﺔ‪ ،‬ﻤﻭﺤﻴ ٍﺔ ﺒﻤﺎ ﺘﺤﻤﻠﹸﻪ ﻤﻥ ﻤﻌﺎ ﹴ‬
‫ﻋﻨﺎﺼﺭَﻫﺎ ﺍﻟﺼﻭﺘﻴّﺔ؛ ﻭﺠﺩﻨﺎﻫﺎ ﺘﺯﺩﺍ ُ‬

‫)‪(1‬‬
‫ﻗﻁﺏ‪ ،‬ﺴﻴّﺩ‪ :‬ﻓﻲ ﻅﻼل ﺍﻟﻘﺭﺁﻥ‪.3974 / 6 .‬‬
‫)‪(2‬‬
‫ﺍﻨﻅﺭ‪ :‬ﺍﺒﻥ ﺠﻨﹼﻲ‪ ،‬ﺃﺒﻭ ﺍﻟﻔﺘﺢ ﻋﺜﻤﺎﻥ‪ :‬ﺍﻟﺨﺼﺎﺌﺹ‪.516 – 514 / 1 .‬‬
‫)‪(3‬‬
‫ﺍﺒﻥ ﺴﻴﻨﺎ‪ ،‬ﺃﺒﻭ ﻋﻠﻲ ﺍﻟﺤﺴﻴﻥ‪ :‬ﺭﺴﺎﻟﺔ ﺃﺴﺒﺎﺏ ﺤﺩﻭﺙ ﺍﻟﺤﺭﻭﻑ‪ .‬ﺹ‪.97‬‬
‫)‪ (4‬ﺍﻟ ّﺯﺠّﺎﺝ‪ ،‬ﺃﺒﻭ ﺇﺴﺤﺎﻕ ﺇﺒﺭﺍﻫﻴﻡ ﺒﻥ ﺍﻟﺴّﺭﻱ‪ :‬ﻤﻌﺎﻨﻲ ﺍﻟﻘﺭﺁﻥ ﻭﺇﻋﺭﺍﺒﻪ‪.364 / 5 .‬‬
‫‪113‬‬
‫ﺡ ﻓﻴﻬـﺎ؛ ﻓﻔﻴﻬـﺎ )‪(10‬‬
‫ﺕ ﺍﻟﻌﺎﻟﻴ ِﺔ ﺍﻟﻭﻀـﻭ ﹺ‬
‫ل؛ ﻴﻌﻭ ُﺩ ﺇﻟﻰ ﻏﻠﺒ ِﺔ ﺍﻷﺼﻭﺍ ِ‬
‫ﻲ ﻋﺎ ﹴ‬
‫ﺡ ﺴﻤﻌ ﱟ‬
‫ﺕ ﻭﻀﻭ ﹴ‬
‫ﻓﻬﻲ ﺫﺍ ﹸ‬
‫ﺏ )‪ (50‬ﺤﺭﻜ ﹰﺔ ﻗﺼﻴﺭﺓ؛ ﻭﻓﻴﻬﺎ ﺘﺭ ُﺩ ﺍﻟﻼ ُﻡ )‪ (14‬ﻤ ّﺭ ﹰﺓ‪ ،‬ﻭﺍﻟﻤﻴ ُﻡ )‪ (9‬ﻤـﺭّﺍﺕ‪،‬‬
‫ﺕ ﻁﻭﻴﻠ ٍﺔ‪ ،‬ﺇﻟﻰ ﺠﺎﻨ ﹺ‬
‫ﺤﺭﻜﺎ ٍ‬
‫ﻥ‬ ‫ل ﻤﻥ ﺍﻟﺭّﺍ ِﺀ ﻭﺍﻟﻬﻤﺯ ِﺓ )‪ (6‬ﻤ ّﺭﺍﺕ‪ ،‬ﻭﻜ ﱞ‬
‫ل ﻤﻥ ﺍﻟﺠﻴ ﹺﻡ ﻭﺍﻟﻌﻴ ﹺ‬ ‫ﻥ )‪ (4‬ﻤﺭّﺍﺕ‪ ،‬ﻭﺍﻟﺒﺎ ُﺀ )‪ (7‬ﻤﺭّﺍﺕ‪ ،‬ﻭﻜ ﱞ‬
‫ﻭﺍﻟﻨﻭ ُ‬
‫ﻉ ﻫﺫﺍ ﻜﻠﱢﻪ‪ (122) :‬ﺼﻭﺘﹰﺎ‪،‬‬
‫)‪ (5‬ﻤﺭّﺍﺕ؛ ﻜﻤﺎ ﻴﺭ ُﺩ ﻨﺼﻔﺎ ﺍﻟﺤﺭﻜ ِﺔ‪ :‬ﺍﻟﻭﺍ ُﻭ ﻭﺍﻟﻴﺎ ُﺀ‪ (6) ،‬ﻤﺭّﺍﺕ‪ .‬ﻭﻤﺠﻤﻭ ُ‬
‫ﻑ ﻫﺫﻩ ﺍﻟﺴـﻭﺭﺓ‪ ،‬ﺃﻻ‬
‫ﻲ ﺍﻟﻌﺎﻟﻲ‪ ،‬ﻴﻭﺍﺌ ُﻡ ﻫﺩ ﹶ‬
‫ﺡ ﺍﻟﺴﻤﻌ ﱠ‬
‫ﻥ ﻫﺫﺍ ﺍﻟﻭﻀﻭ َ‬
‫ﻙﺃﱠ‬
‫ﻤﻥ )‪ (150‬ﻓﻲ ﺍﻟﺴﻭﺭﺓ‪ .‬ﻭﻻ ﺸ ﱠ‬
‫ﻅ ﻭﺍﻹﻨﺫﺍﺭ‪.‬‬
‫ﻭﻫﻭ ﺍﻟﺘﺫﻜﻴ ُﺭ ﻭﺍﻟﻭﻋ ﹸ‬

‫ﺍﻟﺠﺩﻭل )‪ :(6‬ﺍﻟﻌﻨﺎﺼ ُﺭ ﺍﻟﺼﻭﺘﻴّ ﹸﺔ ﻟﺴﻭﺭ ِﺓ ﺍﻟﻔﻴل‬

‫ﺍﻟﻤﻘﺎﻁﻊ‬ ‫ﻨﺼﻔﺎ ﺍﻟﺤﺭﻜﺔ‬ ‫ﺍﻟﺤﺭﻜـﺎﺕ‬ ‫ﺍﻟﺼﻭﺍﻤـﺕ‬

‫ﻋﺩﺩﻩ‬ ‫ﺍﻟﻤﻘﻁﻊ‬ ‫ﻋﺩﺩﻩ‬ ‫ﻨﺼﻑ‬ ‫ﻋﺩﺩﻩ ﺍﻟﺤﺭﻜﺔ ﻋﺩﺩﻫﺎ‬ ‫ﺍﻟﺼﺎﻤﺕ‬ ‫ﻋﺩﺩﻩ‬ ‫ﺍﻟﺼﺎﻤﺕ‬
‫ﺍﻟﺤﺭﻜﺔ‬
‫‪25‬‬ ‫ﺹﺡ‬ ‫‪1‬‬ ‫ﺍﻟﻭﺍﻭ‬ ‫‪3‬‬ ‫‪aa‬‬ ‫‪1‬‬ ‫ﺽ‬ ‫‪6‬‬ ‫ﺀ‬
‫‪5‬‬ ‫ﺹﺡﺡ‬ ‫‪5‬‬ ‫ﺍﻟﻴﺎﺀ‬ ‫‪1‬‬ ‫‪uu‬‬ ‫‪1‬‬ ‫ﻁ‬ ‫‪7‬‬ ‫ﺏ‬
‫‪25‬‬ ‫ﺹﺡﺹ‬ ‫ﺍﻟﻤﺠﻤﻭﻉ‪6 :‬‬ ‫‪6‬‬ ‫‪ii‬‬ ‫‪5‬‬ ‫ﻉ‬ ‫‪4‬‬ ‫ﺕ‬
‫‪5‬‬ ‫ﺹﺡﺡﺹ‬ ‫ﺍﻟﻤﺠﻤﻭﻉ‪10 :‬‬ ‫‪6‬‬ ‫ﻑ‬ ‫‪5‬‬ ‫ﺝ‬
‫ﺍﻟﻤﺠﻤﻭﻉ‪60 :‬‬ ‫‪5‬‬ ‫ﻙ‬ ‫‪2‬‬ ‫ﺡ‬
‫‪37‬‬ ‫‪a‬‬ ‫‪14‬‬ ‫ل‬ ‫‪1‬‬ ‫ﺩ‬
‫‪3‬‬ ‫‪u‬‬ ‫‪9‬‬ ‫ﻡ‬ ‫‪6‬‬ ‫ﺭ‬
‫‪10‬‬ ‫‪i‬‬ ‫‪4‬‬ ‫ﻥ‬ ‫‪2‬‬ ‫ﺱ‬
‫ﺍﻟﻤﺠﻤﻭﻉ‪50 :‬‬ ‫‪4‬‬ ‫ﻫـ‬ ‫‪2‬‬ ‫ﺹ‬
‫ﻤﺠﻤﻭﻉ‬ ‫ﺍﻟﻤﺠﻤﻭﻉ‪84 :‬‬
‫ﺍﻟﺤﺭﻜﺎﺕ‪60 :‬‬
‫ﻤﺠﻤﻭﻉ ﺍﻷﺼﻭﺍﺕ ﺍﻟﻠﹼﻐﻭﻴّﺔ‪150 :‬‬
‫ﻕ‪،‬‬
‫ﻁ ﺍﻟﻤﻐﻠـ ِ‬
‫ﺴِ‬
‫ﻭﻟﻬﺫﻩ ﺍﻟﺴﻭﺭ ِﺓ ﺴﻼﺴﺔﹲ ﻨﻁﻘ ّﻴﺔﹲ‪ ،‬ﺘﺴﺘﻤﺩﱡﻫﺎ ﻤﻥ ﻤﻘﺎﻁﻌِﻬﺎ ﺍﻟﺼﻭﺘ ّﻴ ِﺔ‪ :‬ﺍﻟﻘﺼﻴ ﹺﺭ‪ ،‬ﻭﺍﻟﻤﺘﻭ ّ‬
‫ﻉ ﻫﺫﻩ ﺍﻟﻤﻘﺎﻁ ﹺﻊ ﺍﻟﺨﻤﺴـ ﹶﺔ‬
‫ل ﺍﻟﻤﻘﺎﻁ ﹺﻊ ﺍﻟﻌﺭﺒ ّﻴ ِﺔ ﻨﻁﻘﹰﺎ؛ ﻓﻴﺒﻠ ﹸﻎ ﻤﺠﻤﻭ ُ‬
‫ل ﺃﺴﻬ َ‬
‫ﺡ‪ ،‬ﺍﻟﺘﻲ ﺘﻤﺜﹼ ُ‬
‫ﻁ ﺍﻟﻤﻔﺘﻭ ﹺ‬
‫ﺴِ‬‫ﻭﺍﻟﻤﺘﻭ ّ‬
‫ل‪ ،‬ﺍﻟـﺫﻱ‬
‫ﻥ ﻫﺫﻩ ﺍﻟﺴﻼﺴ ﹶﺔ‪ ،‬ﻴﻤﺎﺯﺠُﻬﺎ ﺸﻲﺀٌ ﻤﻥ ﺍﻟﺜﻘ ﹺ‬
‫ﻻﺃﱠ‬
‫ﻥ‪ ،‬ﻤﻥ )‪ (60‬ﻤﻘﻁﻌًﺎ ﻓـﻲ ﺍﻟﺴﻭﺭﺓ‪ ،‬ﺇ ﹼ‬
‫ﻭﺍﻟﺨﻤﺴﻴ َ‬
‫ل‪،‬‬
‫ﻥ ﻫـﺫﺍ ﺍﻟﺜﻘـ ﹺ‬
‫ﺽ ﺍﻟﻤﻭﺍﻀ ﹺﻊ‪ ،‬ﻜﻤـﺎ ﺭﺃﻴﻨﺎ‪ .‬ﻭﻤﻥ ﺸـﺄ ﹺ‬
‫ﻴﻌﻭ ُﺩ ﺇﻟﻰ ﺘﺘﺎﺒ ﹺﻊ ﺍﻟﻤﻘﺎﻁ ﹺﻊ ﺍﻟﻘﺼﻴﺭ ِﺓ‪ ،‬ﻓـﻲ ﺒﻌ ﹺ‬

‫‪114‬‬
‫ﻕ ﺘﺄ ّﻤﻠﹶﻪ‬
‫ﺽ ﺍﻟﺘﺄﻨﹼـﻲ ﻭﺍﻟﺭﻭﻴّـﺔ؛ ﻓﻴﻌﻤّ ﹸ‬
‫ﺉ ﺒﻌ َ‬
‫ﺇﻀﺎﻓ ﹰﺔ ﺇﻟﻰ ﺇﻴﺤﺎﺀﺍﺘِﻪ ﺍﻟﺘﻲ ﺫﻜﺭ ﹸﺘﻬﺎ‪ ،‬ﺃﻥ ﻴﻭﺠـ َﺩ ﻋﻨ َﺩ ﺍﻟﻘﺎﺭ ِ‬
‫ﻓﻲ ﻤﻌﺎﻨﻲ ﻫﺫﻩ ﺍﻟﺴﻭﺭ ِﺓ ﺍﻟﻌﻅﻴﻤﺔ‪.‬‬

‫ﻉ ﺍﻟﻜﻼ ﹺﻡ‪ ،‬ﻴﺘ ﱡﻡ ﺒﺘﻘﺴﻴ ﹺﻡ ﻤﻨﻁﻭﻗﺎﺘِﻪ‪ ،‬ﻋﻠﻰ ﺃﺠﺯﺍ ٍﺀ ﻤﺘﺴﺎﻭﻴ ٍﺔ ﺘﻘﺭﻴﺒًﺎ‪ ،‬ﻭﻤﺘﻤﺎﺜﻠ ٍﺔ ﻓﻲ ﺍﻨﺘﻅﺎ ﹴﻡ‬
‫ﻥ ﺇﻴﻘﺎ ُ‬
‫ﻭﺇﺫﺍ ﻜﺎ َ‬

‫ﻱ ﺍﻷﻗـﺩﺍ ﹺﺭ‬
‫ﺱ‪ ،‬ﺘﻭﺯﻴﻌًﺎ ﻤﺘﺴـﺎﻭ َ‬ ‫ﻲ)‪ ،(1‬ﻓﺈ ﱠ‬
‫ﻥ ﻤﻘﺎﻁ َﻊ ﻫﺫﻩ ﺍﻟﺴﻭﺭ ِﺓ ﺍﻟﺴﺘﹼﻴﻥ‪ ،‬ﻤﻭﺯّﻋﺔﹲ ﻋﻠﻰ ﺁﻴﺎﺘِﻬﺎ ﺍﻟﺨﻤ ﹺ‬ ‫ﺯﻤﻨ ّ‬

‫ﻥ ﺍﻵﻴ ﹸﺔ ﺍﻷﻭﻟﻰ ﻤﻥ )‪ (17‬ﻤﻘﻁﻌًﺎ‪ ،‬ﻭﺍﻟﺜﺎﻟﺜ ﹸﺔ ﻤﻥ )‪ (12‬ﻤﻘﻁﻌًـﺎ‪ ،‬ﻭﺍﻟﺭﺍﺒﻌـ ﹸﺔ ﻤـﻥ )‪(11‬‬

‫ﺘﻘﺭﻴﺒًﺎ؛ ﻓﺘﺘﻜﻭّ ُ‬
‫ل ﻤﻥ ﺍﻟﺜﺎﻨﻴ ِﺔ ﻭﺍﻷﺨﻴﺭ ِﺓ‪ ،‬ﻤﻥ )‪ (10‬ﻤﻘﺎﻁﻊ‪.‬‬
‫ﻤﻘﻁﻌًﺎ‪ ،‬ﻭﻜ ﱞ‬

‫ل ﻤﻥ ﺍﻟﺭّﺍ ِﺀ ﻭﺍﻟﻬﻤﺯ ِﺓ‬

‫ﺕ ﻫﺫﻩ ﺍﻟﺴﻭﺭ ِﺓ ﺒﺎﻟﻌﺩﺩ؛ ﻓﺘﺭ ُﺩ ﻜ ﱞ‬
‫ﻕ ﺒﺘﺴﺎﻭﻱ ﻤﻌﻅ ﹺﻡ ﺼﻭﺍﻤ ِ‬
‫ل‪ ،‬ﻓﻴﺘﺤ ﹼﻘ ﹸ‬
‫ﺃﻤّﺎ ﺍﻟﺘﻤﺎﺜ ُ‬

‫ل ﻤﻥ ﺍﻟﺘـﺎ ِﺀ ﻭﺍﻟﻬـﺎ ِﺀ )‪(4‬‬

‫ﻑ )‪ (5‬ﻤﺭّﺍﺕ‪ ،‬ﻭﻜ ﱞ‬
‫ﻥ ﻭﺍﻟﻜـﺎ ِ‬
‫ل ﻤﻥ ﺍﻟﺠﻴـ ﹺﻡ ﻭﺍﻟﻌﻴ ﹺ‬
‫ﻭﺍﻟﻔﺎ ِﺀ )‪ (6‬ﻤﺭّﺍﺕ‪ ،‬ﻭﻜ ﱞ‬
‫ل ﻭﺍﻟﻀﺎ ِﺩ ﻭﺍﻟﻁﺎ ِﺀ ﻤ ّﺭ ﹰﺓ ﻭﺍﺤﺩﺓ‪ .‬ﺃﻀﻑﹾ‬
‫ل ﻤﻥ ﺍﻟﺩﺍ ﹺ‬
‫ﻥ ﻭﺍﻟﺼﺎ ِﺩ ﻤﺭّﺘﻴﻥ‪ ،‬ﻭﻜ ﱞ‬
‫ل ﻤﻥ ﺍﻟﺤﺎ ِﺀ ﻭﺍﻟﺴﻴ ﹺ‬
‫ﻤﺭّﺍﺕ‪ ،‬ﻭﻜ ﱞ‬

‫ﺕ ﺍﻟﻼ ﹺﻡ ﻤﺴـﺒﻭﻗﹰﺎ ﺒﺤﺭﻜـ ٍﺔ‬

‫ﻑ ﻋﻠﻰ ﻓﻭﺍﺼﻠِﻬﺎ‪ ،‬ﺒﺼﻭ ِ‬
‫ﻥ ﺍﻟﻭﻗ ِ‬
‫ﺕ ﺍﻟﺴﻭﺭ ِﺓ‪ ،‬ﺤﻴ َ‬
‫ﺇﻟﻰ ﺫﻟﻙ‪ ،‬ﺍﻨﺘﻬﺎ َﺀ ﺠﻤﻴ ﹺﻊ ﺁﻴﺎ ِ‬

‫ﻁﻭﻴﻠﺔ‪.‬‬

‫ﺱ‪ ،‬ﺃﻥ ﻴﺯﻴـﺩﺍ‬

‫ﻥ ﻓﻲ ﻤﻭﻗ ﹺﻊ ﺍﻟﻔﺎﺼﻠ ِﺔ ﺍﻟﺤﺴّـﺎ ﹺ‬
‫ﻥ‪ :‬ﺍﻟﻼ ﹺﻡ ﻭﺍﻟﺤﺭﻜ ِﺔ ﺍﻟﻁﻭﻴﻠ ِﺔ‪ ،‬ﺍﻟﻭﺍﻗﻌﻴ ﹺ‬
‫ﻥ ﺍﻟﺼﻭﺘﻴ ﹺ‬
‫ﻭﻟﻬﺫﻴ ﹺ‬

‫ﺘﺸﺩﱡﻙ ﺴـﺎﻤﻌًﺎ‪،‬‬ ‫ﻨﻐ ﹴﻡ)‪،(2‬‬ ‫ﺕ‬

‫ﻅ ﺫﺒﺫﺒ ﹰﺔ ﻨﺎﻋﻤ ﹰﺔ ﺫﺍ ﹶ‬
‫ﻥ ﺍﻟﻼ ﹺﻡ ﺃﻥ ﺘﺤﻔ ﹶ‬
‫ﻻ؛ ﻓﻤﻥ ﺸﺄ ﹺ‬
‫ﻤﻭﺴﻴﻘﻰ ﺍﻟﺴﻭﺭ ِﺓ ﺭﻭﻨﻘﹰﺎ ﻭﺠﻤﺎ ﹰ‬

‫ﺕ ﻓﻴﻬﺎ ﺍﻟﺼﻭﺕ(()‪ .(3‬ﺃﻤّﺎ ﺍﻟﺤﺭﻜـ ﹸﺔ‬ ‫ﺏ ﻤﺨﺭﺠﹺﻬﺎ‪)) ،‬ﻭﺇﻥ ﺸﺌ ﹶ‬

‫ﺕ‪ ،‬ﻤﺩﺩ ﹶ‬ ‫ﻥ ﻋﻨﺎﺀ؛ ﻟﻘﺭ ﹺ‬
‫ﻭﺃﻥ ﺘﻨﻁﻘﹶﻬﺎ ﻗﺎﺭﺌًﺎ ﺩﻭ َ‬

‫ﺏ ﺍﻷﺫﻥ‪.‬‬
‫ﺕ ﻤﻭﺴﻴﻘ ّﻴ ﹰﺔ؛ ﻟﻘﺒﻭﻟِﻬﺎ ﺍﻟﻤ ﱠﺩ‪ ،‬ﻋﻠﻰ ﻭﺠ ٍﻪ ﻴﻁﺭ ُ‬
‫ﺍﻟﻁﻭﻴﻠ ﹸﺔ‪ ،‬ﻓﻬﻲ – ﻜﻤﺎ ﻋﺭﻓﻨﺎ ‪ -‬ﺃﻜﺜ ُﺭ ﺍﻷﺼﻭﺍ ِ‬

‫ل ﺍﻵﻴﺎﺕ‪ ،‬ﺒﺎﺴﺘﺜﻨﺎ ِﺀ ﻓﺎﺼـﻠ ِﺔ‬

‫ﺕ‪ ،‬ﻫﻲ ﺍﻟﻜﺴﺭ ﹸﺓ ﺍﻟﻁﻭﻴﻠ ﹸﺔ‪ ،‬ﻓﻲ ﺠﻤﻴ ﹺﻊ ﻓﻭﺍﺼ ﹺ‬
‫ﻭﻫﺫﻩ ﺍﻟﺤﺭﻜ ﹸﺔ‪ ،‬ﻜﻤﺎ ﺭﺃﻴ ﹶ‬

‫ﻥ ﻓﻲ ﻫـﺫﻩ ﺍﻟﻤﺨﺎﻟﻔـ ِﺔ‪،‬‬

‫ﻙﺃﱠ‬
‫ﻻ ﻤﻥ ﻫﺫﻩ ﺍﻟﻜﺴﺭﺓ‪ .‬ﻭﻻ ﺸ ﱠ‬
‫ﺍﻵﻴ ِﺔ ﺍﻷﺨﻴﺭﺓ؛ ﻓﻬﻲ ﺘﺤﺘﻭﻱ ﻀ ّﻤ ﹰﺔ ﻁﻭﻴﻠ ﹰﺔ‪ ،‬ﺒﺩ ﹰ‬
‫ل‬
‫ل‪ ﴿ :‬ﹶﻓﺠَﻌَﹶﻠ ُﻬﻡْ ﹶﻜﻌَﺼْﻑٍ َﻤﺄْﻜـﻭل﴾‪ ،‬ﺍﻟﺘﻲ ﻫﻲ ﻋﺎﻗﺒ ﹸﺔ ﻜـ ﱢ‬
‫ﺏ ﺍﻟﻔﻴ ﹺ‬
‫ﺕ ﺍﻻﻨﺘﺒﺎ ِﻩ‪ ،‬ﻟﻌﺎﻗﺒ ِﺔ ﺃﺼﺤﺎ ﹺ‬
‫ﺯﻴﺎﺩ ﹰﺓ ﻓﻲ ﻟﻔ ِ‬

‫َﻤﻥ ﺴﺎ َﺭ ﻋﻠﻰ ﺨﻁﺎﻫﻡ‪.‬‬

‫)‪(1‬‬
‫ﻼ ﻋﻥ‪:‬‬
‫ﺍﻟﻀﺎﻟﻊ‪ ،‬ﻤﺤﻤّﺩ ﺼﺎﻟﺢ‪ :‬ﺍﻷﺴﻠﻭﺒﻴّﺔ ﺍﻟﺼﻭﺘﻴّﺔ‪ .‬ﺹ‪ .140‬ﻨﻘ ﹰ‬
‫‪Laver, J: Principles of Phonetics. Cambridge University Press. 1994. p. 157.‬‬
‫)‪(2‬‬
‫ﻋﻠﻭﻴﺔ‪ ،‬ﻨﻌﻴﻡ‪ :‬ﺒﺤﻭﺙ ﻟﺴﺎﻨﻴّﺔ‪ ،‬ﺒﻴﻥ ﻨﺤﻭ ﺍﻟﻠﹼﺴﺎﻥ ﻭﻨﺤﻭ ﺍﻟﻔﻜﺭ‪ .‬ﺹ‪.23‬‬
‫)‪ (3‬ﺴﻴﺒﻭﻴﻪ‪ ،‬ﺃﺒﻭ ﺒﺸﺭ ﻋﻤﺭﻭ ﺒﻥ ﻋﺜﻤﺎﻥ‪ :‬ﻜﺘﺎﺏ ﺴﻴﺒﻭﻴﻪ‪.435 / 4 .‬‬
‫‪115‬‬
‫ﺢ ﺍﻟﺠﻬﺭ؛ ﻓﺈﻀﺎﻓ ﹰﺔ ﺇﻟﻰ ﺠﻬ ﹺﺭ ﺤﺭﻜﺎﺘِﻬـﺎ‬
‫ل ﻓﻲ ﻤﻠﻤ ﹺ‬
‫ﻲ ﺍﻟﻌﺎ ﱡﻡ‪ ،‬ﺍﻟﻤﺘﻤ ﹼﺜ ُ‬
‫ﻭﻟﻬﺫﻩ ﺍﻟﺴﻭﺭ ِﺓ ﻁﺎﺒﻌُﻬﺎ ﺍﻟﻤﻭﺴﻴﻘ ﱡ‬

‫ﻥ )‪ (6‬ﻤﺭّﺍﺕ‪ ،‬ﹶﺜ ﱠﻡ )‪ (52‬ﺼﺎﻤﺘﹰﺎ ﻤﺠﻬـﻭﺭًﺍ‪،‬‬

‫ﺍﻟﺴﺘﹼﻴﻥ‪ ،‬ﻭﺠﻬـ ﹺﺭ ﻨﺼﻔﻲ ﺍﻟﺤﺭﻜ ِﺔ‪ :‬ﺍﻟﻭﺍ ﹺﻭ ﻭﺍﻟﻴﺎ ِﺀ‪ ،‬ﺍﻟﻭﺍﺭﺩﻴ ﹺ‬

‫ﻥ‪،‬‬
‫ﻥ‪ ،‬ﻭﺍﻟﺭّﺍ ِﺀ‪ ،‬ﻭﺍﻟﺒﺎ ِﺀ‪ ،‬ﻭﺍﻟﺠﻴ ﹺﻡ‪ ،‬ﻭﺍﻟﻌﻴ ﹺ‬
‫ل ﻓﻲ‪ :‬ﺍﻟﻼ ﹺﻡ‪ ،‬ﻭﺍﻟﻤﻴ ﹺﻡ‪ ،‬ﻭﺍﻟﻨﻭ ﹺ‬
‫ﻤﻥ )‪ (84‬ﺼﺎﻤﺘﹰﺎ ﻓﻲ ﺍﻟﺴﻭﺭﺓ‪ ،‬ﺘﺘﻤﺜﹼ ُ‬
‫ﻭﺍﻟﻀﺎ ِﺩ‪ ،‬ﻭﺍﻟﺩﺍل‪.‬‬

‫ﺏ ﺍﻹﻟﻬ ّﻴ ِﺔ ﺍﻟﺘﻲ ﺘﻀﻤّﻨﺘﹾﻬﺎ‬

‫ﺱ ﺸ ّﺩ ﹶﺓ ﻫﺫﻩ ﺍﻟﺤﺭ ﹺ‬
‫ﻲ ﺍﻟﻤﺠﻬﻭ ﹺﺭ‪ ،‬ﺃﻥ ﻴﻌﻜ َ‬
‫ﻥ ﻫﺫﺍ ﺍﻟﻁﺎﺒ ﹺﻊ ﺍﻟﻤﻭﺴﻴﻘ ﱢ‬
‫ﻭﻤﻥ ﺸﺄ ﹺ‬

‫ﻥ ﺒـﺎﻫﺘﺯﺍ ﹺﺯ‬
‫ﻱ‪ ،‬ﻴﺘﻜـﻭّ ُ‬
‫ﺢ ﺍﻟﺠﻬـ ﹺﺭ ﺩﻭ ﱞ‬
‫ﺍﻟﺴﻭﺭ ﹸﺓ‪ ،‬ﻭﺴﺭﻋ ﹶﺔ ﺘﻘﻠﹼﺒﺎﺘِﻬﺎ‪ ،‬ﻭﺤﺭﻜﺎﺘِﻬﺎ ﺍﻟﺨﺎﻁﻔ ِﺔ ﺍﻟﻤﺭﻋﺒﺔ؛ ﻓﻠﻤﻠﻤ ﹺ‬
‫ﻑ‬
‫ﻕ ﺘﻔﹼﺎﺤـ ِﺔ ﺁﺩﻡ‪ ،‬ﺃﻭ ﺃﺼﺎﺒﻌَـﻨﺎ ﻓﻲ ﺁﺫﺍﻨِﻨﺎ‪ ،‬ﺃﻭ ﺍﻟﻜ ﱠ‬
‫ﻥ ﻨﻀ ُﻊ ﺍﻹﺼﺒ َﻊ ﻓﻭ ﹶ‬
‫ﻥ‪ ،‬ﻨﺤﺴﱡﻪ ﺤﻴ َ‬
‫ﻥ ﺍﻟﺼﻭﺘﻴّﻴ ﹺ‬
‫ﺍﻟﻭﺘﺭﻴ ﹺ‬

‫ﻤﺠﻬﻭﺭ)‪.(1‬‬ ‫ﺕ‬
‫ﻕ ﺒﺼﻭ ٍ‬
‫ﻕ ﺍﻟﺠﺒﻬ ِﺔ‪ ،‬ﻓﻲ ﺃﺜﻨﺎ ِﺀ ﺍﻟﻨﻁ ِ‬
‫ﻓﻭ ﹶ‬

‫ل ﺴﺭﻋ ِﺔ ﺍﻟﻬﻭﺍ ِﺀ ﻓـﻲ‬

‫ﺢ ﺍﻟﻬﻤﺱ؛ ﻓﻤﻌ ّﺩ ُ‬
‫ﻕ ﺴﺭﻋ ﹶﺔ ﻨﻘﻴﻀِﻪ‪ :‬ﻤﻠﻤ ﹺ‬
‫ﺢ ﺍﻟﺠﻬ ﹺﺭ ﺴﺭﻋﺔﹲ ﻨﻁﻘ ّﻴﺔﹲ‪ ،‬ﺘﻔﻭ ﹸ‬
‫ﻭﻟﻤﻠﻤ ﹺ‬

‫ﺕ‬
‫ﺝ ﺍﻷﺼﻭﺍ ِ‬
‫ل ﺴﺭﻋ ِﺔ ﺍﻟﻬﻭﺍ ِﺀ‪ ،‬ﻋﻨ َﺩ ﺇﻨﺘﺎ ﹺ‬
‫ﺕ ﺍﻟﻤﺠﻬﻭﺭ ِﺓ‪ ،‬ﻤﻥ ‪ 700 – 200‬ﺴﻡ‪ / 3‬ﺜﺎﻨﻴﺔ‪ ،‬ﻭﻤﻌﺩّ ُ‬
‫ﺍﻷﺼﻭﺍ ِ‬

‫ﺍﻟﻤﻬﻤﻭﺴ ِﺔ‪ ،‬ﺍﻟﺘﻲ ﻻ ﺘﺘﺒﻌُﻬﺎ ﺩﻓﻘﺔﹲ ﻫﻭﺍﺌ ّﻴﺔﹲ‪ ،‬ﻤﻥ ‪ 300 – 200‬ﺴﻡ‪ / 3‬ﺜﺎﻨﻴﺔ)‪.(2‬‬

‫ﺱ ﺸـ ّﺩ ِﺓ‬
‫ﻕ ﻭﺍﻟﺴﻤﻊ؛ ﻤﺴﻬﻤ ﹰﺔ ﻓﻲ ﻋﻜـ ﹺ‬
‫ﺕ ﺍﻟﺜﻘﻴﻠ ﹸﺔ ﻓﻲ ﺍﻟﻨﻁ ِ‬
‫ﻜﺫﻟﻙ‪ ،‬ﺘﻜﺜ ُﺭ ﻓﻲ ﻫﺫﻩ ﺍﻟﺴﻭﺭ ِﺓ‪ ،‬ﺍﻷﺼﻭﺍ ﹸ‬
‫ﺕ‬
‫ﺕ‪ ،‬ﻭ)‪ (10‬ﺤﺭﻜـﺎ ٍ‬
‫ﺕ‪ ،‬ﻭ)‪ (6‬ﺭﺍﺀﺍ ٍ‬
‫ﺕ‪ ،‬ﻭ)‪ (6‬ﻫﻤـﺯﺍ ٍ‬
‫ﺏ ﺍﻹﻟﻬ ّﻴ ِﺔ ﺍﻟﻁﺎﺤﻨﺔ؛ ﻓ ﹶﺜ ﱠﻡ )‪ (5‬ﺠﻴﻤﺎ ٍ‬
‫ﻫﺫﻩ ﺍﻟﺤﺭ ﹺ‬

‫ﺕ ﻤﺯﺩﻭﺠﺔ‪.‬‬
‫ﺏ )‪ (6‬ﺤﺭﻜﺎ ٍ‬
‫ﻁﻭﻴﻠﺔ‪ ،‬ﺇﻟﻰ ﺠﺎﻨ ﹺ‬

‫ﺕ‪ ،‬ﻓﻲ ﻫﺫﻩ ﺍﻟﺴﻭﺭ ِﺓ‪ ،‬ﺩﻭﺭُﻩ ﻓﻲ ﺩﻋ ﹺﻡ ﺍﻟﻤﻌﻨـﻰ؛ ﻓﺒــﻪ‬

‫ﺢ ﺍﻟﺘﻔﺨﻴ ﹺﻡ ﺍﻟﺫﻱ ﺘﺤﻤﻠﹸﻪ )‪ (4‬ﺼﻭﺍﻤ ﹶ‬
‫ﻭﻟﻤﻠﻤ ﹺ‬
‫ﺏ ﺍﻟﻔﻴل‪ .‬ﻭﺒﻪ‬
‫ﷲ ﺘﻌﺎﻟﻰ‪ ،‬ﻋﻠﻰ ﺃﺼﺤﺎ ﹺ‬
‫ﺘﻭﺤﻲ ﺍﻟﻁﺎ ُﺀ ﻓﻲ ﺍﻟﻜﻠﻤ ِﺔ )ﻁﻴﺭًﺍ(‪ ،‬ﺒﻘ ّﻭ ِﺓ ﻫﺫﻩ ﺍﻟﻁﻴ ﹺﺭ ﺍﻟﺘﻲ ﺃﺭﺴﻠﹶﻬﺎ ﺍ ُ‬

‫ﷲ ﺘﻌﺎﻟــﻰ‪،‬‬
‫ﺵ ﺍﻟﺫﻱ ﺩ ّﻤﺭَﻩ ﺍ ُ‬
‫ﺕ‪ ،‬ﺒﻀﺨﺎﻤ ِﺔ ﻫﺫﺍ ﺍﻟﺠﻴ ﹺ‬
‫ﺘﻭﺤﻲ ﺍﻟﺼﺎ ُﺩ ﻓﻲ ﺍﻟﻜﻠﻤـ ِﺔ )ﺃﺼﺤﺎﺏ(‪ ،‬ﻜﻤﺎ ﺫﻜﺭ ﹸ‬

‫ﻼ ﻋﻅﻴﻤًﺎ‪ ،‬ﺘﺴﺘﺸﻌ ُﺭ ﻋﻅﻤﺘﹶﻪ ﻓﻲ ﺘﻔﺨﻴ ﹺﻡ ﺼﺎ ِﺩ )ﻋﺼﻑ(‪ ،‬ﻭﻀﺎ ِﺩ )ﺘﻀﻠﻴل(‪.‬‬

‫ﺘﺩﻤﻴﺭًﺍ ﺸﺎﻤـ ﹰ‬

‫ل ﺍﻟﻤﻐﻠـﻕ‬
‫ﺕ ﻫﺫﻩ ﺍﻟﺴﻭﺭ ِﺓ‪ ،‬ﺍﻟﻤﻘﻁ ُﻊ ﺍﻟﻁﻭﻴ ُ‬
‫ل ﺁﻴ ٍﺔ ﻤﻥ ﺁﻴـﺎ ِ‬
‫ﺱﻜﱢ‬
‫ﻑ ﻋﻠﻰ ﺭﺃ ﹺ‬
‫ﻥ ﺒﺎﻟﻭﻗ ِ‬
‫ﻭﺃﺨﻴﺭًﺍ‪ ،‬ﻴﺘﻜ ّﻭ ُ‬

‫ل‪ ،‬ﻤﻥ ﺸﺄﻨِﻪ ﺃﻥ ﻴﻭﺍﺌ َﻡ ﺒﺜﻘﻠِﻪ‬

‫ﻲ ﻋﺎ ﹴ‬
‫ﺡ ﺴﻤﻌ ﱟ‬
‫ﻲ ﺸﺩﻴ ٍﺩ‪ ،‬ﻭﻭﻀﻭ ﹴ‬
‫ل ﻨﻁﻘ ﱟ‬
‫)ﺹ ﺡ ﺡ ﺹ(‪ ،‬ﻭﻫﻭ ﻤﻘﻁﻊٌ ﺫﻭ ﺜﻘ ﹴ‬

‫)‪(1‬‬
‫ﺃﻨﻴﺱ‪ ،‬ﺇﺒﺭﺍﻫﻴﻡ‪ :‬ﺍﻷﺼﻭﺍﺕ ﺍﻟﻠﻐﻭﻴّﺔ‪ .‬ﺹ‪.23 ،22‬‬
‫)‪ (2‬ﺇﺴﺘﻴﺘﻴﺔ‪ ،‬ﺴﻤﻴﺭ ﺸﺭﻴﻑ‪ :‬ﺍﻷﺼﻭﺍﺕ ﺍﻟﻠﹼﻐﻭﻴّﺔ‪ :‬ﺭﺅﻴﺔ ﻋﻀﻭﻴّﺔ ﻭﻨﻁﻘﻴّﺔ ﻭﻓﻴﺯﻴﺎﺌﻴّﺔ‪ .‬ﺹ‪.173‬‬
‫‪116‬‬
‫ﻲ ﺒﻁﻭﻟِـﻪ‪ ،‬ﺒﺎﻟﻀـﺨﺎﻤ ِﺔ ﻭﺍﻻﻤﺘـﺩﺍ ِﺩ‬
‫ﺏ ﺍﻹﻟﻬ ّﻴ ِﺔ‪ ،‬ﻭﺸ ّﺩ ﹶﺓ ﻓﻌﻠِﻬﺎ‪ ،‬ﻭﺃﻥ ﻴﻭﺤ َ‬
‫ل ﻫﺫﻩ ﺍﻟﺤﺭ ﹺ‬
‫ﻭﻭﻀﻭﺤِﻪ‪ ،‬ﻫﻭ َ‬

‫ﻭﺍﻟﻌﻅﻤﺔ‪:‬‬

‫)ﻓﻴلْ‪) – (fiil :‬ﻟﻴلْ‪) – (liil :‬ﺒﻴلْ‪) – (biil :‬ﺠﻴلْ‪) – (:iil :‬ﻜﻭلْ‪.(kuul :‬‬

‫‪ .4‬ﺘﺤﻠﻴ ُل ﺴﻭﺭ ِﺓ ﻗﺭﻴﺵ‬

‫ﻥ ﺍﻟ ّﺭﺤﻴﻡ‬
‫ﷲ ﺍﻟ ّﺭﺤﻤ ﹺ‬
‫ﺒﺴ ﹺﻡ ﺍ ِ‬

‫ﷲ ﺍﻟﻌﻅﻴﻡ‬
‫ﻕﺍ ُ‬
‫ﺼﺩ ﹶ‬

‫ﺍﻟﺴﻭﺭ ﹸﺓ ﺒﺎﻟﻜﺘﺎﺒ ِﺔ ﺍﻟﺼﻭﺘ ّﻴ ِﺔ‪ ،‬ﻤﻊ ﺘﺤﺩﻴ ِﺩ ﻤﻘﺎﻁﻌِﻬﺎ‪:‬‬

‫‪li /‬‬ ‫‪ii / laa / fi / qu / ray‬‬ ‫‪X‬‬ ‫‪ii / laa / fi / him / ri‬‬ ‫‪/ la / ta‬‬ ‫‪/‬‬ ‫‪i/‬‬

‫‪taa /‬‬ ‫‪i / wa /‬‬ ‫‪ayf‬‬ ‫‪Y‬‬ ‫‪fal / yac / bu / duu / rab / ba / haa /‬‬ ‫‪al /‬‬

‫‪bayt Z‬‬ ‫‪al / la /‬‬ ‫‪ii /‬‬ ‫‪a / ca / ma / hum / min / :uu / cin / wa /‬‬ ‫‪aa /‬‬

‫‪ma / na / hum / min / xawf [.‬‬

‫ﻥ ﻻ ﻴﻘﻭ ُﻡ ﺩﻭﻨﹶﻬﻤﺎ ﻤﺠﺘﻤـﻊ‪،‬‬

‫ﻥ‪ ،‬ﺍﻟﻠﺘﻴ ﹺ‬
‫ﻥ ﺍﻟﻌﻅﻴﻤﺘﻴ ﹺ‬
‫ﻥ ﺍﻟﻨﻌﻤﺘﻴ ﹺ‬
‫ﺠﺎﺀﺕﹾ ﻫﺫﻩ ﺍﻟﺴﻭﺭ ﹸﺓ؛ ﻟﺘﺫ ﹼﻜ َﺭ ﻗﺭﻴﺸﹰﺎ ﺒﻬﺎﺘﻴ ﹺ‬

‫ﻥ‪ ،‬ﻗﺩ َﺃﻟِـﻔﻭﻫﻤﺎ؛ ﻓـ))ﻜﺎﻨﻭﺍ‬

‫ﻥ ﻋﻅﻴﻤﺘﻴ ﹺ‬
‫ﻥ ﺘﺠﺎﺭﻴّﺘﻴ ﹺ‬
‫ﷲ ﺘﻌﺎﻟﻰ‪ ،‬ﺭﺤﻠﺘﻴ ﹺ‬
‫ﻭﻫﻤﺎ‪ :‬ﺍﻟﻐﺫﺍ ُﺀ ﻭﺍﻷﻤﻥ؛ ﻓﻘﺩ ﺭﺯﻗﹶﻬﻡ ﺍ ُ‬

‫ﻥ ﺍﻟﻁﻌﺎﻡ[‪ ،‬ﻭﻜﺎﻨﻭﺍ ﻓـﻲ‬

‫ﻥ؛ ﻓﻴﻤﺘﺎﺭﻭﻥ ]ﻴﺠﻤﻌﻭ َ‬
‫ﻑ ﺇﻟﻰ ﺍﻟﻴﻤ ﹺ‬
‫ﻥ ﻓﻲ ﺍﻟﺸﺘﺎ ِﺀ ﺇﻟﻰ ﺍﻟﺸﺎﻡ‪ ،‬ﻭﻓﻲ ﺍﻟﺼﻴ ِ‬
‫ﻴﺭﺤﻠﻭ َ‬

‫ﻥ‬
‫ﺽ ﻟﻬﻡ ﻋﺎﺭﺽٌ‪ ،‬ﻗﺎﻟﻭﺍ‪ :‬ﻨﺤ ُ‬
‫ﻥ ﻭﻴُﺴﻠﺒﻭﻥ[‪ ،‬ﻭﻜﺎﻨﻭﺍ ﺇﺫﺍ ﻋﺭ َ‬
‫ﺱ ﻴﺘﺨﻁﹼﻔﻭﻥ ]ﻴُﻘﺘﻠﻭ َ‬
‫ﻥ‪ ،‬ﻭﺍﻟﻨﺎ ُ‬
‫ﻥ ﺁﻤﻨﻴ َ‬
‫ﺍﻟﺭﺤﻠﺘﻴ ﹺ‬

‫ﺽ ﻟﻬﻡ(()‪.(1‬‬
‫ل ﺤﺭ ﹺﻡ ﺍﷲ؛ ﻓﻼ ﻴﺘﻌﺭّ ُ‬
‫ﺃﻫ ُ‬

‫)‪(1‬‬
‫ﺍﻟ ّﺯﺠّﺎﺝ‪ ،‬ﺃﺒﻭ ﺇﺴﺤﺎﻕ ﺇﺒﺭﺍﻫﻴﻡ ﺒﻥ ﺍﻟﺴّﺭﻱ‪ :‬ﻤﻌﺎﻨﻲ ﺍﻟﻘﺭﺁﻥ ﻭﺇﻋﺭﺍﺒﻪ‪.366 ،365 / 5 .‬‬
‫‪117‬‬
‫ﺱ ﻤﻌﺎﻨﻴَﻬﺎ ﻫﺫﻩ ﻋﻠﻰ ﺃﺘ ﱢﻡ ﻭﺠـﻪ؛ ﻓﻠﻭ ﻨﻅﺭﻨـﺎ ﻓـﻲ‬
‫ﻲ‪ ،‬ﺍﻟﺫﻱ ﻴﻌﻜ ُ‬
‫ﻭﻟﻬﺫﻩ ﺍﻟﺴﻭﺭ ِﺓ ﻨﻅﺎﻤُﻬﺎ ﺍﻟﺼﻭﺘ ﱡ‬

‫ﻥ‪ ،‬ﻭﺍﻟﻔـﺎ ِﺀ‪ ،‬ﻭﺍﻟﺘـﺎﺀ‪:‬‬

‫ﺕ‪ :‬ﺍﻟﺸﻴ ﹺ‬
‫ﻑ ﻋﻠﻰ ﺭﺅﻭﺴِﻬﺎ‪ ،‬ﺒﺎﻟﺼﻭﺍﻤ ِ‬
‫ﺁﻴﺎﺘِﻬﺎ ﺍﻷﺭﺒﻊ؛ ﻟﻭﺠﺩﻨﺎﻫﺎ ﺘﻨﺘﻬﻲ‪ ،‬ﻋﻨ َﺩ ﺍﻟﻭﻗ ِ‬

‫ﺨـﻭْﻑﹾ‪.(xawf :‬‬
‫ﺼﻴْﻑﹾ‪َ ) – ( ayf :‬ﺒﻴْﺕﹾ‪ ) – (bayt :‬ﹶ‬
‫‪َ ) – (ray‬‬ ‫) َﺭﻴْﺵﹾ‪:‬‬

‫ﺱ ﻫﻨﺎﻙ ﺴـﻭﻯ‬
‫ﻥ ﺍﻟﻜﺭﻴـﻡ؛ ﻓﻠﻴ َ‬
‫ﻥ‪ ،‬ﻓﺘﻜﺎ ُﺩ ﺍﻵﻴ ﹸﺔ ﺍﻷﻭﻟﻰ ﺘﺘﻔﺭّ ُﺩ ﺒﺎﻻﻨﺘﻬﺎ ِﺀ ﺒﻬﺎ‪ ،‬ﻓـﻲ ﺍﻟﻘﺭﺁ ﹺ‬
‫ﺃﻤّﺎ ﺍﻟﺸﻴ ُ‬

‫ﻥ ﺍﻟﻤﻨﻔـﻭﺵ﴾)‪ .(1‬ﻭﺃﻤّـﺎ‬
‫ل ﻜﺎﻟ ِﻌﻬْ ﹺ‬
‫ﻥ ﺍﻟﺠﺒﺎ ُ‬
‫ﺁﻴ ٍﺔ ﻭﺍﺤﺩ ٍﺓ ﺃﺨﺭﻯ ﺘﻨﺘﻬﻲ ﺒﻬﺎ‪ ،‬ﺃﻻ ﻭﻫﻲ ﻗﻭﻟﹸﻪ ﺘﻌﺎﻟﻰ‪﴿ :‬ﻭﺘﻜﻭ ُ‬

‫ﺱ ﻫﻨﺎﻙ ﺴﻭﻯ ﺁﻴ ٍﺔ ﻭﺍﺤﺩ ٍﺓ‬

‫ﻥ ﺒﺎﻻﻨﺘﻬﺎ ِﺀ ﺒﻬﺎ ﺃﻴﻀًﺎ؛ ﻓﻠﻴ َ‬
‫ﻥ‪ :‬ﺍﻟﺜﺎﻨﻴـ ﹸﺔ ﻭﺍﻷﺨﻴﺭ ﹸﺓ‪ ،‬ﺘﺘﻔﺭّﺩﺍ ﹺ‬
‫ﺍﻟﻔﺎ ُﺀ‪ ،‬ﻓﺘﻜﺎ ُﺩ ﺍﻵﻴﺘﺎ ﹺ‬

‫ل‬
‫ﻥ ﺍﻟﻜﺭﻴ ﹺﻡ‪ ،‬ﺘﻨﺘﻬﻲ ﺒﻬﺫﺍ ﺍﻟﺼﺎﻤﺕ‪ ،‬ﺃﻻ ﻭﻫﻲ ﻗﻭﻟﹸﻪ ﺘﻌﺎﻟﻰ‪﴿ :‬ﺇ ﱠﻨﻜﹸـﻡْ ﻟﹶﻔــﻲ ﻗــﻭ ﹴ‬
‫ﺃﺨﺭﻯ‪ ،‬ﻓﻲ ﺍﻟﻘﺭﺁ ﹺ‬

‫ﺱ ﻫﻨﺎﻙ ﺴـﻭﻯ )‪(34‬‬

‫ﻥ ﺍﻟﻜﺭﻴﻡ؛ ﻓﻠﻴ َ‬ ‫ُﻤﺨﹾ ﹶﺘﻠِﻑ﴾)‪ .(2‬ﻭﺃﻤّﺎ ﺍﻟﺘـﺎ ُﺀ‪ ،‬ﻓﻤﻥ ﺍﻟﻨﺎﺩ ﹺﺭ ﺃﻥ ﺘﻨﺘﻬﻲ ﺒﻬﺎ ﺁﻴﺎ ﹸ‬
‫ﺕ ﺍﻟﻘﺭﺁ ﹺ‬

‫ل ﻤـﻥ ﺍﻟﺴـﻭ ﹺﺭ‪:‬‬

‫ﺕ ﻓـﻲ ﻜـ ﱟ‬
‫ﻥ ﺘﻨﺘﻬﻲ ﺒﻬﺎ‪ (14) :‬ﺁﻴ ﹰﺔ ﻓﻲ ﺴﻭﺭ ِﺓ ﺍﻟﺘﻜﻭﻴﺭ‪ ،‬ﻭ)‪ (5‬ﺁﻴﺎ ٍ‬
‫ﺁﻴ ﹰﺔ‪ ،‬ﻓـﻲ ﺍﻟﻘﺭﺁ ﹺ‬

‫ﺕ ﻓﻲ ﺴﻭﺭ ِﺓ ﺍﻟﻐﺎﺸﻴﺔ‪ ،‬ﻭﺁﻴ ِﺔ ﻫﺫﻩ ﺍﻟﺴﻭﺭﺓ‪.‬‬

‫ﺕ‪ ،‬ﻭﺍﻻﻨﻔﻁﺎ ﹺﺭ‪ ،‬ﻭﺍﻻﻨﺸﻘـﺎﻕ‪ ،‬ﻭ)‪ (4‬ﺁﻴﺎ ٍ‬
‫ﺍﻟﻤﺭﺴﻼ ِ‬

‫ﺕ ﻓﻲ ﺍﻟﺴﻤﻊ‪ ،‬ﻭﺼﻌﻭﺒﺘِﻬﺎ ﻓﻲ ﺍﻟﻨﻁـﻕ؛‬

‫ﺡ ﻫﺫﻩ ﺍﻟﺼﻭﺍﻤ ِ‬
‫ﻭﻴﻌﻭ ُﺩ ﺫﻟﻙ‪ ،‬ﺒﺎﻋﺘﻘﺎﺩﻱ‪ ،‬ﺇﻟﻰ ﻗﻠﹼـ ِﺔ ﻭﻀﻭ ﹺ‬

‫ﻥ ﺇﻟـﻰ ﺠﻬـ ٍﺩ‬

‫ﻥ ﻴﺤﺘﺎﺠﺎ ﹺ‬
‫ﻙ ﻭﺍﻟﻬﻤﺱ‪ ،‬ﻭﻫﻤﺎ ﻤﻠﻤﺤﺎ ﹺ‬
‫ﻥ‪ :‬ﺍﻻﺤﺘﻜﺎ َ‬
‫ﻥ ﺍﻟﻤﻠﻤﺤﻴ ﹺ‬
‫ﻥ ﻴﺤﻤﻼ ﹺ‬
‫ﻥ ﻭﺍﻟﻔﺎ ُﺀ ﺼﺎﻤﺘﺎ ﹺ‬
‫ﻓﺎﻟﺸﻴ ُ‬
‫ﺢ ﺍﻟﻬﻤﺱ‪ .‬ﻟﻜﻥ‪ ،‬ﻟﻤـﺎﺫﺍ ﺠﻤﻌـﺕﹾ ﻫـﺫﻩ‬
‫ل ﻤﻨﻬﻤﺎ ﻤﻠﻤ َ‬
‫ﻲ ﻜﺒﻴ ﹴﺭ‪ ،‬ﻓﻲ ﺃﺜﻨﺎ ِﺀ ﺍﻟﻨﻁﻕ‪ .‬ﺃﻤّﺎ ﺍﻟﺘﺎ ُﺀ‪ ،‬ﻓﺘﺤﻤ ُ‬
‫ﻋﻀﻠ ﱟ‬

‫ﺕ ﺍﻟﺜﻼﺜ ﹶﺔ ﻓﻲ ﻓﻭﺍﺼﻠِﻬﺎ‪ ،‬ﺍﻟﺘﻲ ﻫﻲ ﺃﻜﺜ ُﺭ‬

‫ﻥ ﺍﻟﻜﺭﻴ ﹺﻡ‪ ،‬ﻫﺫﻩ ﺍﻟﺼﻭﺍﻤ ﹶ‬
‫ﻥ ﻏﻴﺭﹺﻫﺎ ﻤﻥ ﺴﻭ ﹺﺭ ﺍﻟﻘﺭﺁ ﹺ‬
‫ﺍﻟﺴﻭﺭ ﹸﺓ‪ ،‬ﺩﻭ َ‬

‫ﺍﻟﻤﻭﺍﻀ ﹺﻊ ﺇﻅﻬﺎﺭًﺍ ﻟﻠﻤﻭﺴﻴﻘﻰ ﺍﻟﻠﹼﻐﻭﻴّﺔ؟!‪.‬‬

‫ل ﺍﻟﻌﺭﺒ ّﻴ ﹶﺔ ﺍﻟﺒﺩﻭ ّﻴ ﹶﺔ‪ ،‬ﻗﺩ ﻤﺎﻟﺕﹾ ﻓــﻲ ﻨﻁﻘِﻬـﺎ ﺇﻟـﻰ‬

‫ﻥ ﺍﻟﻘﺒﺎﺌ َ‬
‫ﺹ ﺍﻟﺩﻜﺘﻭ ُﺭ ﺇﺒﺭﺍﻫﻴﻡ ﺃﻨﻴﺱ‪ ،‬ﻋﻠﻰ ﺃ ﱠ‬
‫ﻴﻨ ﱡ‬

‫ﻑ ﻋﻥ ﺍﻟﺒﺩ ﹺﻭ ﻤﻥ ﻏﻠﻅـ ٍﺔ ﻓـﻲ‬

‫ﻕ ﺒﺸ ّﺩﺘِﻬﺎ‪ ،‬ﻭﺴﺭﻋ ِﺔ ﻨﻁﻘِﻬﺎ‪ ،‬ﻤﺎ ﻋُﺭ ﹶ‬
‫ﺕ ﺍﻻﻨﻔﺠﺎﺭ ّﻴ ِﺔ‪ ،‬ﺍﻟﺘﻲ ﺘﻭﺍﻓ ﹸ‬
‫ﺍﻷﺼﻭﺍ ِ‬

‫ﺕ ﺍﻻﺤﺘﻜﺎﻜ ّﻴ ِﺔ‪ ،‬ﺍﻟﺘﻲ ﺘﻼﺌ ُﻡ‬

‫ﻥ ﺍﻟﻤﺘﺤﻀّﺭ ِﺓ‪ ،‬ﻗﺩ ﻤﺎﻟﻭﺍ ﺇﻟﻰ ﺍﻷﺼﻭﺍ ِ‬
‫ل ﺍﻟﻤﺩ ﹺ‬
‫ﻥ ﺃﻫ َ‬
‫ﺍﻟﻁﺒ ﹺﻊ‪ ،‬ﻭﺴﺭﻋ ِﺔ ﺍﻷﺩﺍﺀ‪ ،‬ﻭﺃ ﱠ‬

‫ﺒﻴﺌﺘﹶﻬﻡ ﻭﻁﺒﻴﻌﺘﹶﻬﻡ؛ ﻟﻤﺎ ﻓﻴﻬﺎ ﻤﻥ ﺍﻟﺘﺅﺩ ِﺓ ﻭﺍﻟﻠﹼﻴﻥ)‪.(3‬‬

‫ﻥ ﻭﺍﻟﻔـﺎ ِﺀ‪ ،‬ﺃﻥ ﻴﻌﻜﺴﺎ ﻤﺎ ﻜﺎﻨﺕ ﺘﺘﻤﺘﹼ ُﻊ ﺒﻪ ﻗـﺭﻴﺵﹲ‬

‫ﻥ‪ :‬ﺍﻟﺸﻴ ﹺ‬
‫ﻥ ﺍﻻﺤﺘﻜﺎﻜﻴّﻴ ﹺ‬
‫ﻥ ﺍﻟﺼﺎﻤﺘﻴ ﹺ‬
‫ﺇﺫﻥ‪ ،‬ﻓﻤﻥ ﺸﺄ ﹺ‬

‫)‪(1‬‬
‫ﺍﻟﻘﺎﺭﻋﺔ‪.5 :‬‬
‫)‪ (2‬ﺍﻟﺫﹼﺍﺭﻴﺎﺕ‪.8 :‬‬
‫)‪(3‬‬
‫ﺃﻨﻴﺱ‪ ،‬ﺇﺒﺭﺍﻫﻴﻡ‪ :‬ﻓﻲ ﺍﻟﻠﻬﺠـﺎﺕ ﺍﻟﻌﺭﺒﻴّـﺔ‪ .‬ﺹ‪.89 ،88‬‬
‫‪118‬‬
‫ﻤﻥ ﺭﻏ ِﺩ ﺍﻟﻌﻴﺵ؛ ﻓﻘﺩ ﻭﻓﹼﺭﺕﹾ ﻟﻬﻡ ﺘﺠﺎﺭﺘﹸـﻬﻡ ﻭﺃﻤﻨﹸﻬﻡ‪ ،‬ﻓـﻲ ﻤﺩﻴﻨﺘِﻬﻡ ﺍﻟﻤﺘﺤﻀّﺭ ِﺓ‪ :‬ﻤﻜﹼـ ﹶﺔ ﺍﻟﻤﻜﺭّﻤـﺔ‪،‬‬

‫ﺕ ﺍﻻﺤﺘﻜﺎﻜﻴّﺔ‪.‬‬
‫ل ﺇﻟﻰ ﺍﻷﺼﻭﺍ ِ‬
‫ﺭﺨﺎ ًﺀ ﻭﺭﻓﺎﻫ ﹰﺔ‪ ،‬ﺘﻌﻜﺴُﻬﻤﺎ ﻟﻬﺠﺘﹸﻬﻡ ﺍﻟﺘﻲ ﺘﻤﻴ ُ‬

‫ﻉ‬
‫ﻥ ﻜﺫﻟﻙ‪ ،‬ﺃﻥ ﻴﻌﻜﺴﺎ ﻤﺎ ﺘﺤﻤﻠﹸﻪ ﺍﻟﺴﻭﺭ ﹸﺓ ﻤﻥ ﺩﻻﻟ ِﺔ ﺍﻹﻴﻼﻑ؛ ﻓﻬﻤـﺎ ﻤـﻥ ﺍﻟﻨـﻭ ﹺ‬
‫ﻥ ﺍﻟﺼﺎﻤﺘﻴ ﹺ‬
‫ﻭﻟﻬﺫﻴ ﹺ‬
‫ﻥ‪ ،‬ﺍﻟﺫﻱ ﻴﺴﺘﻭﺠﺒُﻪ ﺍﻋﺘﻴﺎ ُﺩ ﻗﺭﻴ ﹴ‬
‫ﺵ ﺭﺤﻠﺘﹶﻬﻡ‪.‬‬ ‫ﺱ‪ ،‬ﻤﻭﺍﻓﻘﹰﺎ ﺍﻤﺘﺩﺍ َﺩ ﺍﻟﺯﻤ ﹺ‬
‫ﻱ‪ ،‬ﺍﻟﺫﻱ ﻴﻤﺘ ﱡﺩ ﻤﻌـﻪ ﺍﻟﻨﱠ ﹶﻔ ُ‬
‫ﺍﻻﺴﺘﻤﺭﺍﺭ ﱢ‬

‫ﺏ ﻫﺫﺍ ﺍﻟﹾ َﺒﻴْـﺕ﴾‪ ،‬ﻓﻬـﻲ ﺼـﺎﻤﺕﹲ‬

‫ﺃﻤّﺎ ﺍﻟﺘﺎ ُﺀ‪ ،‬ﺍﻟﺘﻲ ﺘﺘﻔﺭّ ُﺩ ﺒﻬﺎ ﻓﺎﺼﻠ ﹸﺔ ﺍﻵﻴ ِﺔ ﺍﻟﺜﺎﻟﺜﺔ‪ ﴿ :‬ﹶﻓﻠﹾ َﻴﻌْﺒُﺩﻭﺍ َﺭ ﱠ‬

‫ﺕ‬
‫ل ﺇﻟﻰ ﺼﻭ ٍ‬
‫ﺕ ﻋﺭﻀ ﹰﺔ‪ ،‬ﻟﻠﺘﺤ ّﻭ ﹺ‬
‫ﻱ ﻤﻬﻤـﻭﺱ‪ ،‬ﻴﻌ ﱡﺩ – ﺇﺫﺍ ﻟﻡ ﻴﻨﺘﺒﻪ ﺍﻟﻨﺎﻁﻕ ‪ -‬ﻤﻥ ﺃﻜﺜ ﹺﺭ ﺍﻷﺼﻭﺍ ِ‬
‫ﺍﻨﻔﺠﺎﺭ ﱞ‬

‫ﻲ)‪ .(1‬ﻭﻓﻲ ﻫﺫﺍ ﻤﺎ ﻴﻭﺍﻓ ﹸ‬

‫ﻕ ﺃﻤ َﺭ ﻫﺫﻩ ﺍﻵﻴ ِﺔ ﻗﺭﻴﺸﹰﺎ‪،‬‬ ‫ﺁﺨﺭ؛ ﺇﺫﺍ ﻤﺎ ﻭﻗ َﻊ ﻓﻲ ﻨﻬﺎﻴ ِﺔ ﺍﻟﻜﻠﻤ ِﺔ‪ ،‬ﺃﻭ ﺍﻟﻤﻘﻁ ﹺﻊ ﺍﻟﺼﻭﺘ ّ‬

‫ﺕ‪،‬‬
‫ﺕ ﻋﻠﻰ ﻫﺫﻩ ﺍﻟﻌﺒﺎﺩﺓ‪ .‬ﻭﻫـﺫﺍ ﺍﻟﺜﺒـﺎ ﹸ‬
‫ﷲ‪ ،‬ﺇﻟﻰ ﻋﺒﺎﺩﺘِﻪ – ﺴﺒﺤﺎﻨﹶﻪ ‪ ،-‬ﻭﺍﻟﺜﺒﺎ ِ‬
‫ل ﻤﻥ ﻋﺒﺎﺩ ِﺓ ﻏﻴ ﹺﺭ ﺍ ِ‬
‫ﺒﺎﻟﺘﺤ ّﻭ ﹺ‬

‫ﻱ‪.‬‬
‫ﻉ ﻏﻴ ﹺﺭ ﺍﻻﺴﺘﻤﺭﺍﺭ ّ‬
‫ﺕ‪ ،‬ﺍﻟﺫﻱ ﻴﻌ ﱡﺩ ﻤﻥ ﺍﻟﻨﻭ ﹺ‬
‫ﻉ ﹶﻨ ﹶﻔﺴِﻙ ﻤﻊ ﻫﺫﺍ ﺍﻟﺼﺎﻤ ِ‬
‫ﻴﻭﺤﻲ ﺒﻪ ﺍﻨﻘﻁﺎ ُ‬

‫ل ﻋﻨﺼﺭٌ ﺁﺨﺭ‪ ،‬ﺃﻻ ﻭﻫﻭ ﺍﻟﺤﺭﻜ ﹸﺔ ﺍﻟﻤﺯﺩﻭﺠ ﹸﺔ‪ ،‬ﺍﻟﺘـﻲ‬

‫ل‪ ،‬ﻜﻤﺎ ﺘﺭﻯ‪ ،‬ﻴﺩﺨ ُ‬
‫ﻥ ﻫﺫﻩ ﺍﻟﻔﻭﺍﺼ ﹺ‬
‫ﻭﻓﻲ ﺘﻜﻭﻴ ﹺ‬

‫ﻑ ﺍﻟﺤﺭﻜ ِﺔ ﺍﻟﻭﺍﻭ‪ .(aw) :‬ﻭﻤـﻥ‬

‫ﻑ ﺍﻟﺤﺭﻜ ِﺔ ﺍﻟﻴﺎﺀ‪ ،(ay) :‬ﺃﻭ ﻨﺼ ِ‬
‫ﻥ ﻤﻥ ﺍﻟﻔﺘﺤ ِﺔ ﺍﻟﻘﺼﻴﺭ ِﺓ‪ ،‬ﻭﻨﺼ ِ‬
‫ﺘﺘﻜﻭّ ُ‬

‫ﺵ ﺸﻌﺒﺘﻴﻥ‪ :‬ﺇﻟﻰ ﺍﻟﺸﺎ ﹺﻡ ﻓﻲ ﺍﻟﺸﺘﺎﺀ‪ ،‬ﻭﺇﻟﻰ‬

‫ﺏ ﺭﺤﻠ ِﺔ ﻗﺭﻴ ﹴ‬
‫ﻥ ﻫﺫﻩ ﺍﻟﺤﺭﻜ ِﺔ‪ ،‬ﺃﻥ ﺘﻭﺍﺌ َﻡ ﺒﺎﺯﺩﻭﺍﺠ ّﻴﺘِﻬﺎ‪ ،‬ﺘﺸ ّﻌ َ‬
‫ﺸﺄ ﹺ‬
‫ﻥ ﻓﻲ ﺍﻟﺼﻴﻑ‪.‬‬
‫ﺍﻟﻴﻤ ﹺ‬

‫ل ﺍﻵﺘـﻲ‪ ،‬ﺼﻭﺍﻤ ﹶ‬
‫ﺕ ﻫﺫﻩ ﺍﻟﺴﻭﺭ ِﺓ ﺍﻻﺤﺘﻜﺎﻜ ّﻴ ﹶﺔ‪ :‬ﺍﻟﻔﺎ َﺀ‪ ،‬ﻭﺍﻟﻬـﺎ َﺀ‪،‬‬ ‫ل ﺍﻟﺠﺩﻭ ﹺ‬
‫ﻥ ﻨﺤﺼﻲ‪ ،‬ﻤﻥ ﺨﻼ ﹺ‬
‫ﻭﺤﻴ َ‬

‫ل‪ ،‬ﻭﺍﻟﺤﺎ َﺀ‪ ،‬ﻭﺍﻟﺨـﺎ َﺀ‪ ،‬ﻭﺍﻟﺼﺎﺩ‪ ،‬ﻨﺠﺩُﻫﺎ )‪ (21‬ﺼﺎﻤﺘﹰﺎ‪ ،‬ﻤﻥ )‪ (60‬ﺼﺎﻤﺘﹰﺎ ﻓـﻲ‬
‫ﻥ‪ ،‬ﻭﺍﻟﺫﺍ َ‬
‫ﻥ‪ ،‬ﻭﺍﻟﺸﻴ َ‬
‫ﻭﺍﻟﻌﻴ َ‬
‫ﻥ ﻫـﺫﺍ‬
‫ﺕ ﻫﺫﻩ ﺍﻟﺴﻭﺭ ِﺓ ﻭﺴﻼﺴﺘﹶﻬﺎ؛ ﻷ ﱠ‬
‫ﺱ ﺴﻬﻭﻟ ﹶﺔ ﻜﻠﻤﺎ ِ‬
‫ﺍﻟﺴﻭﺭﺓ‪ .‬ﻭﻫﺫﻩ ﺍﻟﻨﺴﺒ ﹸﺔ‪ ،‬ﻜﻤﺎ ﺘـﺭﻯ‪ ،‬ﻗﻠﻴﻠﺔﹲ‪ ،‬ﺘﻌﻜ ُ‬

‫ﻥ‬
‫ﻕ ﻤﻀـﻤﻭ َ‬
‫ﺏ ﺠﻬﺩًﺍ ﻨﻁﻘﻴ‪‬ﺎ ﻜﺒﻴﺭًﺍ‪ .‬ﻭﻫﺫﻩ ﺍﻟﺴـﻬﻭﻟ ﹸﺔ‪ ،‬ﺒـﺩﻭﺭﹺﻫﺎ‪ ،‬ﺘﻭﺍﻓـ ﹸ‬
‫ﺕ‪ ،‬ﻴﺘﻁﻠﹼ ُ‬
‫ﻉ ﻤﻥ ﺍﻟﺼﻭﺍﻤ ِ‬
‫ﺍﻟﻨﻭ َ‬

‫ﺕ ﺍﻟﺴﻠﺴـ ﹸﺔ‬ ‫ﺵ ﺭﻏﻴﺩ؛ ﻓـ))ﺘـﺩ ﱡ‬

‫ل ﺍﻟﻜﻠﻤـﺎ ﹸ‬ ‫ل ﻤـﺎ ﺘﺘﻤﺘﹼ ُﻊ ﺒـﻪ ﻗﺭﻴﺵﹲ ﻤﻥ ﻋﻴ ﹴ‬
‫ﺍﻟﺴﻭﺭ ِﺓ‪ ،‬ﺍﻟﺫﻱ ﻴﺩﻭ ُﺭ ﺤﻭ َ‬

‫ﻋﻠﻰ‪ ...‬ﺍﻟﻨﻌﻭﻤ ِﺔ ﻭﺍﻟﻤﺭﺡ(()‪.(2‬‬

‫)‪(1‬‬
‫‪Shockey, Linda: Sound Patterns of Spoken English. USA: Blackwell Publishing. 2003. p.‬‬
‫‪36.‬‬
‫)‪ (2‬ﺍﻟﻀﺎﻟﻊ‪ ،‬ﻤﺤﻤّﺩ ﺼﺎﻟﺢ‪ :‬ﺍﻷﺴﻠﻭﺒﻴّﺔ ﺍﻟﺼﻭﺘﻴّﺔ‪ .‬ﺹ‪.25‬‬
‫‪119‬‬
 ‫ﺍﻟﺠﺩﻭل )‪ :(7‬ﺍﻟﻌﻨﺎﺼ ُﺭ ﺍﻟﺼﻭﺘﻴّ ﹸﺔ ﻟﺴﻭﺭ ِﺓ ﻗﺭﻴﺵ‬

‫ﺍﻟﻤﻘﺎﻁﻊ‬ ‫ﻨﺼﻔﺎ ﺍﻟﺤﺭﻜﺔ‬ ‫ﺍﻟﺤﺭﻜـﺎﺕ‬ ‫ﺍﻟﺼﻭﺍﻤـﺕ‬

‫ﻋﺩﺩﻩ‬ ‫ﺍﻟﻤﻘﻁﻊ‬ ‫ﻋﺩﺩﻩ‬ ‫ﻨﺼﻑ‬ ‫ﻋﺩﺩﻩ ﺍﻟﺤﺭﻜﺔ ﻋﺩﺩﻫﺎ‬ ‫ﺍﻟﺼﺎﻤﺕ‬ ‫ﻋﺩﺩﻩ‬ ‫ﺍﻟﺼﺎﻤﺕ‬
‫ﺍﻟﺤﺭﻜﺔ‬
‫‪15‬‬ ‫ﺹﺡ‬ ‫‪3‬‬ ‫ﺍﻟﻭﺍﻭ‬ ‫‪5‬‬ ‫‪aa‬‬ ‫‪2‬‬ ‫ﺹ‬ ‫‪6‬‬ ‫ﺀ‬
‫‪10‬‬ ‫ﺹﺡﺡ‬ ‫‪4‬‬ ‫ﺍﻟﻴﺎﺀ‬ ‫‪2‬‬ ‫‪uu‬‬ ‫‪1‬‬ ‫ﻁ‬ ‫‪4‬‬ ‫ﺏ‬
‫‪15‬‬ ‫ﺹﺡﺹ‬ ‫ﺍﻟﻤﺠﻤﻭﻉ‪7 :‬‬ ‫‪3‬‬ ‫‪ii‬‬ ‫‪3‬‬ ‫ﻉ‬ ‫‪3‬‬ ‫ﺕ‬
‫‪4‬‬ ‫ﺹﺡﺹﺹ‬ ‫ﺍﻟﻤﺠﻤﻭﻉ‪10 :‬‬ ‫‪5‬‬ ‫ﻑ‬ ‫‪1‬‬ ‫ﺝ‬
‫ﺍﻟﻤﺠﻤﻭﻉ‪44 :‬‬ ‫‪1‬‬ ‫ﻕ‬ ‫‪1‬‬ ‫ﺡ‬
‫‪20‬‬ ‫‪a‬‬ ‫‪8‬‬ ‫ل‬ ‫‪1‬‬ ‫ﺥ‬
‫‪4‬‬ ‫‪u‬‬ ‫‪7‬‬ ‫ﻡ‬ ‫‪1‬‬ ‫ﺩ‬
‫‪10‬‬ ‫‪i‬‬ ‫‪4‬‬ ‫ﻥ‬ ‫‪2‬‬ ‫ﺫ‬
‫ﺍﻟﻤﺠﻤﻭﻉ‪34 :‬‬ ‫‪4‬‬ ‫ﻫـ‬ ‫‪3‬‬ ‫ﺭ‬
‫ﻤﺠﻤﻭﻉ‬ ‫‪3‬‬ ‫ﺵ‬
‫ﺍﻟﺤﺭﻜﺎﺕ‪44 :‬‬ ‫ﺍﻟﻤﺠﻤﻭﻉ‪60 :‬‬
‫ﻤﺠﻤﻭﻉ ﺍﻷﺼﻭﺍﺕ ﺍﻟﻠﹼﻐﻭﻴّﺔ‪111 :‬‬

‫ﻕ ﺍﻟﻭﺍﺭ ِﺩ )‪ (15‬ﻤ ّﺭ ﹰﺓ‬

‫ﻁ ﺍﻟﻤﻐﻠـ ِ‬
‫ﺴِ‬
‫ﻭﻟﻤﻘﺎﻁ ﹺﻊ ﻫـﺫﻩ ﺍﻟﺴﻭﺭ ِﺓ‪ :‬ﺍﻟﻘﺼﻴ ﹺﺭ ﺍﻟﻭﺍﺭ ِﺩ )‪ (15‬ﻤـ ّﺭ ﹰﺓ‪ ،‬ﻭﺍﻟﻤﺘﻭ ّ‬

‫ﺡ ﺍﻟﻭﺍﺭ ِﺩ )‪ (10‬ﻤﺭّﺍﺕ‪ ،‬ﺩﻭﺭُﻫﺎ ﺍﻟﻤﻬ ﱡﻡ ﻓﻲ ﻫﺫﺍ ﺍﻹﻴﺤﺎﺀ؛ ﻹﺴـﻬﺎﻤِﻬﺎ ﻓــﻲ‬

‫ﻁ ﺍﻟﻤﻔﺘﻭ ﹺ‬
‫ﺴِ‬
‫ﺃﻴﻀًﺎ‪ ،‬ﻭﺍﻟﻤﺘﻭ ّ‬

‫ﺱ‪ ،‬ﻴﺴـﺘﻤ ﱡﺩ‬

‫ﺏ ﺴـﻠ ﹴ‬
‫ل ﺍﻟﻤﻘﺎﻁ ﹺﻊ ﺍﻟﻌﺭﺒ ّﻴ ِﺔ ﻨﻁﻘﹰﺎ‪ ،‬ﺘﻨﺘﻅ ُﻡ ﻓـﻲ ﺘﺭﺘﻴ ﹴ‬
‫ﻕ ﺴﻼﺴـ ِﺔ ﺍﻟﻜﻠﻤﺎﺕ؛ ﻓﻬﻲ ﺃﺴﻬ ُ‬
‫ﺘﺤﻘﻴ ِ‬
‫ﺡ‪ ،‬ﺒﻭﺭﻭﺩِﻫﻤﺎ ﻤﻌًﺎ )‪ (25‬ﻤ ّﺭ ﹰﺓ‪،‬‬
‫ﻁ ﺍﻟﻤﻔﺘﻭ ﹺ‬
‫ﺴِ‬
‫ﻕ‪ ،‬ﻭﺍﻟﻤﺘﻭ ّ‬
‫ﻁ ﺍﻟﻤﻐﻠـ ِ‬
‫ﺴِ‬
‫ﻥ‪ :‬ﺍﻟﻤﺘﻭ ّ‬
‫ﺴﻼﺴﺘﹶﻪ ﻤﻥ ﻏﻠﺒـ ِﺔ ﺍﻟﻤﻘﻁﻌﻴ ﹺ‬

‫ﻥ‪ ،‬ﻨﺴﻕﹲ ﺭﻗﻴﻕﹲ ﻋﺫﺏٌ‪ ،‬ﻴﺯﻴ ُﺩ ﻤﻥ ﻋﺫﻭﺒﺘِﻪ‪ ،‬ﻓﻲ ﻫﺫﻩ ﺍﻟﺴـﻭﺭ ِﺓ‪،‬‬
‫ﻥ ﺍﻟﻤﻘﻁﻌﻴ ﹺ‬
‫ﻤﻥ )‪ (44‬ﻤﻘﻁﻌًﺎ؛ ﻓﻠﺘﺘﺎﺒ ﹺﻊ ﻫﺫﻴ ﹺ‬

‫ﻥ ﺒﻬﺎ‪.‬‬
‫ل ﺍﻟﻠﹼﺴﺎ ُ‬
‫ﻋﺩ ُﻡ ﻭﺠﻭ ِﺩ ﺜﻼﺜ ِﺔ ﻤﻘﺎﻁ َﻊ ﻗﺼﻴﺭ ٍﺓ ﻤﺘﺘﺎﺒﻌ ٍﺔ‪ ،‬ﻴﺜﻘ ُ‬

‫ل ﺤﺭﻜﺎﺘِﻬﺎ ﺍﻟﻁﻭﻴﻠﺔ؛‬
‫ﺵ‪ ،‬ﻤﻥ ﺨﻼ ﹺ‬
‫ﻲ ﺒﺭﻏ ِﺩ ﺍﻟﻌﻴـ ﹺ‬
‫ﻭﻟﻠﻤﻘﺎﻁ ﹺﻊ ﺍﻟﻤﺘﻭﺴّﻁ ِﺔ ﺍﻟﻤﻔﺘﻭﺤ ِﺔ ﺨﺎﺼّﺔ‪ ،‬ﺃﻥ ﺘﻭﺤ َ‬

‫ل ﺍﻟﻤﺘﻌـ ِﺔ‬
‫ﺉ‪ ،‬ﺘﺘﻌﺩّ ُﺩ ﻓﻴﻪ ﻭﺴـﺎﺌ ُ‬
‫ل ﺍﻟﺩﻜﺘﻭ ُﺭ ﻤﺤﻤﻭﺩ ﻨﺤﻠﺔ‪ ،‬ﺃﻥ ﺘﻌ ّﺒ َﺭ ﻋﻥ ﻨﻌﻴ ﹴﻡ ﻫﺎﺩ ٍ‬
‫ﻓﻤﻥ ﺸﺄﻨِﻬﺎ‪ ،‬ﻜﻤﺎ ﻴﻘﻭ ُ‬

‫ﻑ ﻭﺍﻻﻋﺘﻴﺎﺩ‪.‬‬
‫ﻭﻤﻥ ﺸﺄﻨِﻬﺎ ﻜﺫﻟﻙ‪ ،‬ﺃﻥ ﺘﻭﺍﺌـ َﻡ ﺒﺎﻤﺘﺩﺍ ِﺩ ﺤﺭﻜﺎﺘِﻬﺎ‪ ،‬ﺩﻻﻟ ﹶﺔ ﺍﻹﻴﻼ ِ‬ ‫ﻭﺍﻟﺭﺍﺤﺔ)‪.(1‬‬

‫)‪(1‬‬
‫ﻨﺤﻠﺔ‪ ،‬ﻤﺤﻤﻭﺩ ﺃﺤﻤﺩ‪ :‬ﻟﻐﺔ ﺍﻟﻘﺭﺁﻥ ﺍﻟﻜﺭﻴﻡ ﻓﻲ ﺠﺯﺀ ﻋ ّﻡ‪ .‬ﺹ‪.360‬‬
‫‪120‬‬
‫ﺵ ﺃﻥ‬
‫ﻥ ﺇﻟﻰ ﺍﻟﻌﻘﻭل؛ ﻓﻼ ﺒ ﱠﺩ ﻟﻘـﺭﻴ ﹴ‬
‫ﻕ ﺍﻵﺫﺍ َ‬
‫ﻲ ﺍﻟﻌﺎﻟﻲ‪ ،‬ﺍﻟﺫﻱ ﻴﺨﺘﺭ ﹸ‬
‫ﻭﻟﻬﺫﻩ ﺍﻟﺴﻭﺭ ِﺓ ﻭﻀﻭﺤُﻬﺎ ﺍﻟﺴﻤﻌ ﱡ‬

‫ﺏ‬ ‫ﺘﺴﻤ َﻊ ﺒﺠﻼ ٍﺀ ﻫﺫﺍ ﺍﻟﺘﺫﻜﻴ َﺭ ))ﺒﻬﺫﻩ ﺍﻟﻤﻨﻥ؛ ﻟﻴﺴﺘﺤﻴﻭﺍ ﻤﻤّﺎ ﻫﻡ ﻓﻴﻪ ﻤﻥ ﻋﺒﺎﺩ ِﺓ ﻏﻴ ﹺﺭ ﺍ ِ‬
‫ﷲ ﻤﻌـﻪ‪ ،‬ﻭﻫـﻭ ﺭ ﱡ‬

‫ﻥ‬
‫ﻥ‪ ،‬ﻭﻴﻌـﻭﺩﻭ َ‬
‫ﻥ ﺒﺎﺴـﻤِﻪ ﻤـﺭﻋﻴّﻴ َ‬
‫ﻥ ﻁﺎﻋﻤﻴـﻥ‪ ،‬ﻭﻴﺴﻴﺭﻭ َ‬
‫ﻥ ﻓﻲ ﺠﻭﺍﺭﹺﻩ ﺁﻤﻨﻴ َ‬
‫ﺕ ﺍﻟﺫﻱ ﻴﻌﻴﺸﻭ َ‬
‫ﻫﺫﺍ ﺍﻟﺒﻴ ِ‬
‫ﺕ‬
‫ﻲ )‪ (90‬ﺼﻭﺘﹰﺎ‪ ،‬ﻤﻥ )‪ (111‬ﻓﻲ ﺍﻟﺴﻭﺭﺓ؛ ﻓﺠﻤﻴ ُﻊ ﺃﺼـﻭﺍ ِ‬
‫ﺡ ﺍﻟﺴﻤﻌ ﱢ‬
‫ل ﺒﻬﺫﺍ ﺍﻟﻭﻀﻭ ﹺ‬
‫ﻭﻴﺘﻜﻔﹼ ُ‬ ‫ﺴﺎﻟﻤﻴﻥ(()‪.(1‬‬

‫ﻥ‪،‬‬
‫ل ﻓﻲ‪ :‬ﺍﻟﺘﺎ ِﺀ‪ ،‬ﻭﺍﻟﺤﺎ ِﺀ‪ ،‬ﻭﺍﻟﺨﺎ ِﺀ‪ ،‬ﻭﺍﻟﺸـﻴ ﹺ‬
‫ﻫﺫﻩ ﺍﻟﺴﻭﺭ ِﺓ ﻋﺎﻟﻴ ﹸﺔ ﺍﻟﻭﻀﻭﺡ‪ ،‬ﺒﺎﺴﺘﺜﻨﺎ ِﺀ )‪ (21‬ﺼﺎﻤﺘﹰﺎ‪ ،‬ﺘﺘﻤﺜﹼ ُ‬

‫ﻑ‪ ،‬ﻭﺍﻟﻬﺎﺀ‪.‬‬
‫ﻭﺍﻟﺼﺎ ِﺩ‪ ،‬ﻭﺍﻟﻁﺎ ِﺀ‪ ،‬ﻭﺍﻟﻔﺎ ِﺀ‪ ،‬ﻭﺍﻟﻘﺎ ِ‬

‫ﺕ ﺍﻟﺭﻨﹼﺎﻨ ﹶﺔ‪ :‬ﺍﻟﻼ َﻡ‪ ،‬ﻭﺍﻟﻤﻴ َﻡ‪ ،‬ﻭﺍﻟﻨـﻭ َ‬

‫ﻥ‪،‬‬ ‫ﺕ ﻫﺫﻩ ﺍﻟﺴﻭﺭ ِﺓ ﻤ ّﺭ ﹰﺓ ﺃﺨﺭﻯ؛ ﺘﺠﺩ ﺍﻟﺼﻭﺍﻤ ﹶ‬
‫ﺍﻨﻅﺭْ ﻓﻲ ﺼﻭﺍﻤ ِ‬

‫ﻕ‬
‫ﻋـﻬﺎ ﺍﻟﺘﺴﻌ ﹶﺔ ﻋﺸـﺭ‪ ،‬ﺴﻬﻠ ﹸﺔ ﺍﻟﻨﻁـ ِ‬
‫ﺕ ﺍﻟﺜﻼﺜـ ﹸﺔ‪ ،‬ﺍﻟﺘـﻲ ﻴﺒﻠ ﹸﻎ ﻤﺠﻤﻭ ُ‬
‫ﺃﻜﺜﺭَﻫﺎ ﻭﺭﻭﺩًﺍ؛ ﻓﻬﺫﻩ ﺍﻟﺼﻭﺍﻤ ﹸ‬

‫ﻑ ﺍﻟﺫﻻﻗـﺔ(‪:‬‬
‫ل ﺍﻟﻘﺩﻤـﺎ َﺀ‪ ،‬ﻴﻌﺩّﻭﻨﹶﻬﺎ ﻤﻤّﺎ ﺃﻁﻠﻘﻭﺍ ﻋﻠﻴﻪ )ﺤﺭﻭ ﹶ‬
‫ﺏ ﻤﺨﺎﺭﺠﹺﻬﺎ‪ ،‬ﺍﻷﻤ ﹺﺭ ﺍﻟﺫﻱ ﺠﻌ َ‬
‫ﺴﻠﺴﺔﹲ؛ ﻟﻘﺭ ﹺ‬

‫ﺱ ﺩﻻﻟ ﹶﺔ ﺍﻟﺘﻨ ّﻌ ﹺﻡ ﻭﺍﻟﺭﺨﺎﺀ‪.‬‬

‫ﻭﻓـﻲ ﻫﺫﻩ ﺍﻟﺴﻼﺴ ِﺔ‪ ،‬ﻤﺎ ﻴﻌﻜ ُ‬ ‫ﺍﻟﻠﹼﺴﺎﻥ)‪.(2‬‬ ‫ﻑ‬
‫ﺝ ﻤﻥ ﻁﺭ ِ‬
‫ﺃﻱ ﺍﻟﺘﻲ ﺘﺨﺭ ُ‬

‫ﺢ؛‬
‫ﺕ ﻭﺭﻭﺩًﺍ‪ ،‬ﻓﻲ ﻫﺫﻩ ﺍﻟﺴﻭﺭ ِﺓ‪ ،‬ﺤﺭﻜ ﹸﺔ ﺍﻟﻔـﺘ ﹺ‬
‫ﺕ ﺩﻭﺭُﻫﺎ ﻓﻲ ﻫﺫﺍ ﺍﻹﻴﺤﺎﺀ؛ ﻓﺄﻜﺜ ُﺭ ﺍﻟﺤﺭﻜﺎ ِ‬
‫ﻭﻟﻠﺤﺭﻜﺎ ِ‬

‫ﺵ‬
‫ﻕ‪ ،‬ﺴـﻌ ﹶﺔ ﺍﻟﻌـﻴ ﹺ‬
‫ﺱ ﺒﺎﺘﹼﺴـﺎﻋِﻬﺎ ﻓـﻲ ﺍﻟﻨﻁـ ِ‬
‫ﻓ ﹶﺜ ﱠﻡ )‪ (25‬ﻓﺘﺤ ﹰﺔ‪ ،‬ﻤﻥ )‪ (44‬ﺤﺭﻜﺔ‪ ،‬ﻤﻥ ﺸﺄﻨِﻬﺎ ﺃﻥ ﺘﻌﻜ َ‬
‫ﻭﺍﻨﺒﺴﺎﻁﹶﻪ‪.‬‬

‫ﻕ‬
‫ﻜﺫﻟﻙ‪ ،‬ﺘﻜﺜ ُﺭ ﻓﻲ ﻫﺫﻩ ﺍﻟﺴﻭﺭ ِﺓ ﺤﺭﻜ ﹸﺔ ﺍﻟﻜﺴ ﹺﺭ‪ ،‬ﺒﻭﺭﻭﺩِﻫﺎ )‪ (13‬ﻤ ّﺭ ﹰﺓ‪ ،‬ﻤﻥ )‪ (44‬ﺤﺭﻜﺔ؛ ﻟﺘﻭﺍﻓـ ﹶ‬

‫ﻑ‪ ،‬ﻜﻤﺎ ﻋﺭﻓﻨﺎ)‪.(3‬‬

‫ﺍﻟﺭﻓﺎﻫ ﹶﺔ ﻭﺍﻟﺭﺨﺎ َﺀ‪ ،‬ﺒﺩﻻﻟﺘِﻬﺎ ﻋﻠﻰ ﺍﻟﻠﹼﻁ ِ‬

‫‪ (ri‬ﻓﻲ ﺍﻵﻴ ِﺔ‬ ‫ﺕ ﻤﻌﻲ‪ ،‬ﺒﻌ َﺩ ﻫﺫﻩ ﺍﻟﻨﻅﺭ ِﺓ ﺍﻟﺼﻭﺘ ّﻴ ِﺔ ﺍﻟﺸﺎﻤﻠﺔ‪ ،‬ﺍﻟﻜﻠﻤ ﹶﺔ )ﺭﹺﺤْﹶﻠ ﹶﺔ‪/ la / ta :‬‬
‫ﻭﺇﺫﺍ ﺘﺄﻤّﻠ ﹶ‬

‫ﺕ‬
‫ل ﺼـﻭ ِ‬
‫ﻉ‪ ،‬ﻤﻌﻨﻰ ﺍﻻﻋﺘﻴﺎ ِﺩ ﻭﺍﻹﻴـﻼﻑ‪ .‬ﻭﻤﻥ ﺨﻼ ﹺ‬
‫ﻕ ﺒﺩﻻﻟ ِﺔ ﺭﺍﺌِﻬﺎ ﻋﻠﻰ ﺍﻟﺸﻴﻭ ﹺ‬
‫ﺍﻟﺜﺎﻨﻴﺔ؛ ﻭﺠﺩﺘﹶﻬﺎ ﺘﻭﺍﻓ ﹸ‬

‫ﻥ ﻗﺭﻴﺸﹰﺎ‪ ،‬ﻜﺎﻨﺕ ﺘﺠ ُﺩ ﻓﻲ ﻫﺫﻩ ﺍﻟﺭﺤﻠ ِﺔ ﺍﻟﻤﺘﻌ ﹶﺔ‪ ،‬ﻜﻤﺎ‬

‫ﻥ ﻟﻙ ﺃ ﱠ‬
‫ﺤﺎﺌِﻬﺎ‪ ،‬ﺍﻟﺫﻱ ﺘﺘﻔﺭّ ُﺩ ﺒﻪ ﻓﻲ ﻫﺫﻩ ﺍﻟﺴﻭﺭﺓ‪ ،‬ﻴﺘﺒﻴّ ُ‬

‫ﻭﻴـﺩﻋ ُﻡ ﺩﻻﻟﺘﹶﻬـﺎ‬ ‫ﻭﺍﻻﻨﺒﺴﺎﻁ)‪.(4‬‬ ‫ل ﻋﻠﻰ ﺍﻟﺭﺍﺤ ِﺔ‬

‫ﻥ ﺍﻟﺤﺎ ِﺀ ﺃﻥ ﺘﺩ ﱠ‬
‫ﻜﺎﻨﺕ ﺘﺠﺩُﻫﺎ ﻓﻲ ﻋﻭﺍﺌـﺩِﻫﺎ؛ ﻓﻤﻥ ﺸﺄ ﹺ‬

‫)‪(1‬‬
‫ﻗﻁﺏ‪ ،‬ﺴﻴّﺩ‪ :‬ﻓﻲ ﻅﻼل ﺍﻟﻘﺭﺁﻥ‪.3983 / 6 .‬‬
‫)‪(2‬‬
‫ﻼ‪ :‬ﺍﺒﻥ ﺠﻨﹼﻲ‪ ،‬ﺃﺒﻭ ﺍﻟﻔﺘﺢ ﻋﺜﻤﺎﻥ‪ :‬ﺴ ّﺭ ﺼﻨﺎﻋﺔ ﺍﻹﻋﺭﺍﺏ‪.64 / 1 .‬‬
‫ﺍﻨﻅﺭ ﻤﺜ ﹰ‬
‫)‪(3‬‬
‫ﺍﻨﻅﺭ ﺹ‪ 97‬ﻤﻥ ﻫﺫﺍ ﺍﻟﺒﺤﺙ‪.‬‬
‫)‪(4‬‬
‫ﻲ‪ .‬ﺹ‪.239‬‬
‫ﻲ‪ :‬ﻨﻅﺭﺓ ﺠﺩﻴﺩﺓ ﻓﻲ ﻤﻭﺴﻴﻘﻰ ﺍﻟﺸﻌﺭ ﺍﻟﻌﺭﺒ ّ‬
‫ﻴﻭﻨﺱ‪ ،‬ﻋﻠ ّ‬
‫‪121‬‬
‫ﺱ‪ ،‬ﻤﻥ ﺠﻬـﺔ‪،‬‬
‫ل ﻋﻠﻰ ﺍﻟﻠﹼﻁﻑ؛ ﻟﻤﺎ ﻓﻴﻪ ﻤﻥ ﻫﻤ ﹴ‬
‫ﺕ ﺍﻟﺘﺎ ِﺀ‪ ،‬ﺍﻟﺫﻱ ﻤﻥ ﺸﺄﻨِﻪ ﺃﻥ ﻴﺩ ﱠ‬
‫ﻓـﻲ ﻫﺫﻩ ﺍﻟﻜﻠﻤ ِﺔ ﺼﻭ ﹸ‬

‫ﺏ ﻫﺫﻩ ﺍﻟﺭﺤﻠ ِﺔ‬

‫ﻕ ﺘﺸ ّﻌ َ‬
‫ﺙ ﺍﻟﺘﻲ ﻴﺤﻤﻠﹸﻬﺎ ﻓﻲ ﻫﺫﻩ ﺍﻟﻜﻠﻤ ِﺔ‪ ،‬ﻤﻥ ﺠﻬ ٍﺔ ﺃﺨﺭﻯ‪ .‬ﺃﻤّﺎ ﺍﻟﻼ ُﻡ‪ ،‬ﻓﺘﻭﺍﻓ ﹸ‬
‫ﻭﻟﺩﻻﻟ ِﺔ ﺍﻟﺘﺄﻨﻴ ِ‬

‫ﺕ‪ ...)) ،‬ﻴﻤ ﱡﺭ ﺍﻟﻬﻭﺍ ُﺀ ﺒﻐﺯﺍﺭ ٍﺓ‪ ،‬ﻤـﻥ ﺠـﺎﻨﺒﻲ‬

‫ﻕ ﻫﺫﺍ ﺍﻟﺼﻭ ِ‬
‫ﺸﻌﺒﺘﻴﻥ‪ :‬ﺇﻟﻰ ﺍﻟﺸﺎ ﹺﻡ ﻭﺍﻟﻴﻤﻥ؛ ﻓﻔﻲ ﺃﺜﻨﺎ ِﺀ ﻨﻁ ِ‬
‫ﺠﻪ‪.‬‬
‫ﻥ ﻟﺨﺭﻭ ﹺ‬
‫ﻤﺘﹼﺨﺫﹰﺍ ﺒﺫﻟﻙ ﻁﺭﻴﻘﻴ ﹺ‬ ‫ﺍﻟﻠﹼﺴﺎﻥ(()‪،(1‬‬

‫ﻥ ﻗﺭﻴﺸﹰﺎ‪ ،‬ﻜﺎﻨﺕ ﺘﺠ ُﺩ ﻓﻲ ﻫﺫﻩ ﺍﻟﺭﺤﻠ ِﺔ ﺍﻟﻤﺘﻌﺔ‪ ،‬ﺃﻨﹼﻨﺎ ﻓـﻲ ﻫﺫﻩ ﺍﻷﻴّـﺎ ﹺﻡ‪ ،‬ﻨﺴﺘﺨﺩ ُﻡ ﻫﺫﻩ‬
‫ﻭﻤﻤّﺎ ﻴﺅﻜﹼ ُﺩ ﺃ ﱠ‬

‫ﺕ ﺍﻟﺘـﻲ‬
‫ﻥ ﻏﻴﺭﹺﻫﺎ ﻤﻥ ﺍﻟﻜﻠﻤـﺎ ِ‬
‫ل ﺍﻟﻤﺘﻌ ﹸﺔ ﺃﺒﺭ َﺯ ﺃﻫﺩﺍﻓِـﻬﺎ‪ ،‬ﺩﻭ َ‬
‫ﺽ ﺍﻟﺴﻴﺎﺤـ ِﺔ‪ ،‬ﺍﻟﺘﻲ ﺘﻤﺜﹼ ُ‬
‫ﺍﻟﻜﻠﻤ ﹶﺔ ﻓﻲ ﻤﻌﺭ ﹺ‬
‫ل ﺍﻟﻤﻌﻨﻰ ﺫﺍﺘﹶﻪ‪ ،‬ﻜـ)ﺴﻔﺭ(‪ ،‬ﻭ)ﺭﺤﻴل(‪.‬‬
‫ﺘﺤﻤ ُ‬

‫ﻭﺍﻨﻅﺭْ ﻜﺫﻟﻙ‪ ،‬ﻓﻲ ﻫﺫﺍ ﺍﻷﻤ ﹺﺭ‪) :‬ﻟ َﻴﻌْﺒُﺩﻭﺍ(‪ ،‬ﺍﻟﺫﻱ ﺘﺒﺩُﺃ ﺒﻪ ﺍﻵﻴـ ﹸﺔ ﺍﻟﺜﺎﻟﺜـﺔ‪ ﴿ :‬ﹶﻓﻠﹾ َﻴﻌْﺒُـﺩﻭﺍ َﺭ ﱠ‬
‫ﺏ ﻫـﺫﺍ‬

‫ﺍﻟﹾ َﺒﻴْﺕ﴾‪:‬‬

‫‪fal / yac / bu / duu / rab / ba / haa /‬‬ ‫‪al / bayt.‬‬

‫ل ﺍﻟﻤﺤﻭ َﺭ‪ ،‬ﺍﻟﺫﻱ ﺘﺩﻭ ُﺭ ﺤﻭﻟﹶﻪ ﻫﺫﻩ ﺍﻟﺴﻭﺭ ﹸﺓ ﺍﻟﻜﺭﻴﻤﺔ‪ ،‬ﺃﻻ ﻭﻫﻭ ﺍﻟـﺩﻋﻭ ﹸﺓ ﺇﻟـﻰ‬
‫ﻥ ﻫﺫﺍ ﺍﻷﻤ َﺭ ﻴﻤﺜﹼ ُ‬
‫ﺇﱠ‬

‫ﺢ ﻤﻭﺍﻀ ﹺﻊ ﺍﻟﺴﻭﺭ ِﺓ ﻓﻲ ﺍﻟﺴﻤﻊ؛ ﻟﻠﺘﻨﻐﻴ ﹺﻡ ﺍﻟﺫﻱ ﻴﻜﺴـﻭﻩ‪ ،‬ﻤـﻥ‬

‫ﷲ ﺘﻌﺎﻟﻰ ﻭﺤﺩَﻩ‪ .‬ﻟﺫﻟﻙ ﺘﺠﺩُﻩ ﺃﻭﻀ َ‬
‫ﻋﺒﺎﺩ ِﺓ ﺍ ِ‬
‫ﺡ ﺃﺼﻭﺍﺘِﻪ‪ ،‬ﻤﻥ ﺠﻬ ٍﺔ ﺃﺨﺭﻯ‪.‬‬
‫ﺠﻬﺔ‪ ،‬ﻭﻟﻌﻠ ﱢﻭ ﻭﻀﻭ ﹺ‬

‫ﻍ ﺍﻟﻤﻌﻨﻰ ﻓــﻲ ﺍﻟﺸـﻲ ِﺀ‪،‬‬

‫ل ﻋﻠﻰ ﺒﻠـﻭ ﹺ‬
‫ﺕ ﺍﻟﺒﺎ ِﺀ‪ ،‬ﺍﻟﺫﻱ ))ﻴﺩ ﱡ‬
‫ل ﻫﺫﻩ ﺍﻵﻴ ﹶﺔ‪ ،‬ﺘﺠ ُﺩ ﺼﻭ ﹶ‬
‫ﻥ ﺘﺘﺄﻤّ ُ‬
‫ﻭﺤﻴ َ‬
‫ل ﻫـﺫﻩ‬
‫ﻕ ﺒـﺫﻟﻙ ﻜﻤـﺎ َ‬
‫ﺕ ﺍﻟﺴﻭﺭ ِﺓ ﺍﻷﺨﺭﻯ‪ ،‬ﺃﺭﺒ َﻊ ﻤﺭّﺍﺕ؛ ﻟﻴﻭﺍﻓ ﹶ‬ ‫ﺒﻠﻭﻏﹰﺎ ﺘﺎﻤ‪‬ﺎ(()‪ ،(2‬ﻭﺍﺭﺩًﺍ ﻓﻴﻬﺎ‪ ،‬ﺩﻭ َ‬
‫ﻥ ﺁﻴﺎ ِ‬
‫ﺵ ﻭﻀﻼﻟِﻬﻡ‪.‬‬
‫ﻙ ﻗﺭﻴ ﹴ‬
‫ﺍﻟﻌﺒﺎﺩ ِﺓ‪ ،‬ﺍﻟﺘﻲ ﺘﺘﻨ ّﺯ ُﻩ ﻋﻥ ﺸﺭ ِ‬

‫ﻉ ﻭَﺁ َﻤ ﹶﻨﻬُــﻡْ ﻤِــﻥْ‬

‫ﻭﺇﺫﺍ ﻤﺎ ﺍﻨﺘﻘﻠﻨﺎ ﺃﺨﻴﺭًﺍ‪ ،‬ﺇﻟﻰ ﺍﻵﻴ ِﺔ ﺍﻷﺨﻴﺭ ِﺓ‪﴿ :‬ﺍﱠﻟـﺫﻱ َﺃﻁﹾﻌَﻤَ ُﻬﻡْ ِﻤـﻥْ ﺠـﻭ ﹴ‬
‫ﺕ‪ ،‬ﻤﻥ ﺴﺒ ﹴﻊ ﻓﻲ ﺍﻟﺴﻭﺭ ِﺓ ﻜﻠﱢـﻬﺎ‪:‬‬
‫ﺕ ﻤﻴﻤﺎ ٍ‬
‫ﻥﺴ ﱠ‬
‫ﺨـﻭْﻑ﴾؛ ﺃﻟﻔﻴﻨﺎﻫﺎ ﺘﺤﺘﻀ ُ‬
‫ﹶ‬

‫‪al / la /‬‬ ‫‪ii /‬‬ ‫‪a / ca / ma / hum / min / :uu / cin / wa /‬‬ ‫‪aa / ma /‬‬
‫‪na / hum / min / xawf.‬‬

‫)‪ (1‬ﺍﻟﺒﻜﻭﺵ‪ ،‬ﺍﻟﻁﻴﺏ‪ :‬ﺍﻟﺘﺼﺭﻴﻑ ﺍﻟﻌﺭﺒ ّ‬

‫ﻲ ﻤﻥ ﺨﻼل ﻋﻠﻡ ﺍﻷﺼﻭﺍﺕ ﺍﻟﺤﺩﻴﺙ‪ .‬ﺹ‪.41‬‬
‫)‪(2‬‬
‫ﺍﻟﻌﻼﻴﻠﻲ‪ ،‬ﻋﺒﺩ ﺍﷲ‪ :‬ﻤﻘﺩّﻤﺔ ﻟﺩﺭﺱ ﻟﻐﺔ ﺍﻟﻌﺭﺏ‪ .‬ﺹ‪.210‬‬
‫‪122‬‬
‫ﺕ ﺍﻟﻤـﻴ ﹺﻡ – ﻜﻤـﺎ‬
‫ﻕ ﺩﻻﻟ ﹶﺔ ﻫﺫﻩ ﺍﻵﻴ ِﺔ ﺍﻟﻜﺭﻴﻤﺔ؛ ﻓﺼﻭ ﹸ‬
‫ﻲ‪ ،‬ﺃﻥ ﻴﻭﺍﻓ ﹶ‬
‫ﻥ ﻫﺫﺍ ﺍﻻﺯﺩﺤﺎ ﹺﻡ ﺍﻟﻤﻴﻤ ﱢ‬
‫ﻭﻤﻥ ﺸﺄ ﹺ‬

‫ﻥ ﻓـﻲ‬
‫ﺕ ﺍﻷﻤـ ﹺ‬
‫ل ﻤﻘ ّﻭﻤًﺎ ﺒﺎﺭﺯًﺍ ﻤﻥ ﻤﻘﻭّﻤـﺎ ِ‬
‫ﻉ‪ ،‬ﺒﺩﻭﺭﹺﻩ‪ ،‬ﻴﻤﺜﹼ ُ‬
‫ل ﻋﻠﻰ ﺍﻻﺠﺘﻤﺎﻉ‪ ،‬ﻭﺍﻻﺠﺘﻤﺎ ُ‬
‫ﻋﺭﻓﻨﺎ – ﻴﺩ ﱡ‬

‫ﻥ ﻓﻴﻪ‬
‫ﺕ ﺍﻟﺫﻱ ﻜﺎ َ‬
‫ﷲ ﺍﻟﺤﺭﺍﻡ‪ ،‬ﻓﻲ ﺍﻟﻭﻗ ِ‬
‫ﺕﺍ ِ‬
‫ﺍﻟﻤﺠﺘﻤﻊ‪ ،‬ﻭﻟﻡ ﺘﻜﻥْ ﻗﺭﻴﺵﹲ ﻟﺘﺠﺘﻤ َﻊ ﻓﻲ ﻤ ﹼﻜ ﹶﺔ ﺍﻟﻤﻜﺭّﻤﺔ‪ ،‬ﻟﻭﻻ ﺒﻴ ﹸ‬
‫ﻥ ﻓﻲ ﻗﺒﺎﺌل‪.‬‬
‫ﺏ‪ ،‬ﻤﺘﻔﺭّﻗﻴ َ‬
‫ﻜﺜﻴﺭٌ ﻤﻥ ﺍﻟﻌﺭ ﹺ‬

‫ﺕ‬
‫ﺕ ﻜﺫﻟﻙ‪ ،‬ﺍﺭﺘﺒﺎﻁﹸﻪ ﺒﺎﻟﻁﻌـﺎ ﹺﻡ ﻭﺍﻹﻁﻌـﺎﻡ؛ ﻓﻬـﻭ ﻴُﺴﻤ ُﻊ ﻤـﻥ ﺍﻟﺭﻀـﻴ ﹺﻊ‪ ،‬ﻭﻗـ ﹶ‬
‫ﻭﻟﻬﺫﺍ ﺍﻟﺼﻭ ِ‬

‫ل ﺍﻟﻠﹼﻐﺎﺕ)‪.(1‬‬
‫ﺕ‪ ،‬ﻓﻲ ﻜ ﱢ‬
‫ﻥ ﺍﻻﺴ ُﻡ )ﺃ ّﻡ( ﻫﺫﺍ ﺍﻟﺼﻭ ﹶ‬
‫ﻀ ﱢﻤ َ‬
‫ﺭﻀﺎﻋﺘِﻪ‪) :‬ﻤﻡ ﻤﻡ ﻤﻡ(؛ ﻭﻟﺫﺍ ُ‬

‫ﺕ ﺍﻟﺘﻲ ﻴﺴﺘﺨﺩﻤُﻬﺎ ﺍﻟﺭﻀﻴ ُﻊ ﻓﻲ ﺍﻟﺭﻀﺎﻋﺔ‪ ،‬ﻫـﻲ ﻨﻔﺴُـﻬﺎ ﺍﻟﺘـﻲ‬

‫ﻥ ﺍﻟﻌﻀﻼ ِ‬
‫ﻭﻴﻌﻭ ُﺩ ﺫﻟﻙ‪ ،‬ﺇﻟﻰ ﺃ ﱠ‬

‫ﺕ ﺍﻷﻭﻟﻰ ﺍﻟﺘﻲ ﻴﻨﻁﻘﹸﻬـﺎ ﺍﻟﻁﻔـل‪،‬‬

‫ﺕ ﺍﻟﺸﻔﻭ ّﻴـ ِﺔ‪ ،‬ﺍﻟﺘﻲ ﺘﻌ ﱡﺩ ﻤﻥ ﺍﻷﺼﻭﺍ ِ‬
‫ﻕ ﺍﻷﺼـﻭﺍ ِ‬
‫ﻴﺴﺘﺨﺩﻤُﻬﺎ ﻓﻲ ﻨﻁ ِ‬

‫ﺕ ﺍﻟﻤﻴﻡ)‪.(2‬‬
‫ﺕ ﺼﻭ ﹸ‬
‫ﻭﻤﻥ ﻫﺫﻩ ﺍﻷﺼﻭﺍ ِ‬

‫ل ﺍﻟﻁﻌﺎ ﹺﻡ‪ ،‬ﻓﻲ ﺍﻟﻌﺭﺒ ّﻴ ِﺔ‪ ،‬ﺘﻨﺘﻬﻲ ﺒﻬـﺫﺍ ﺍﻟﺼـﻭﺕ‪،‬‬

‫ل ﻋﻠﻰ ﺘﻨﺎﻭ ﹺ‬
‫ل ﺍﻟﺘﻲ ﺘﺩ ﱡ‬
‫ﻜﺫﻟﻙ‪ ،‬ﺘﺠ ُﺩ ﻤﻌﻅ َﻡ ﺍﻷﻓﻌﺎ ﹺ‬

‫ﺨﻀَﻡَ(‪ ،‬ﻭ) ﹶﻗﻀَﻡَ(‪ ،‬ﻭ) ﹶﻗﺭَﻡَ(‪.‬‬

‫ﻁﻌِﻡَ(‪ ،‬ﻭ)ﹶﻟﻘِﻡَ(‪ ،‬ﻭ) ﹶ‬
‫ﻤﺜل‪ ) :‬ﹶ‬

‫ﺕ ﻨﻔﺴَﻙ‬
‫ﺕ ﺃﻥ ﺘﻌ ّﺒ َﺭ ﻋﻥ ﺭﻏﺒﺘِﻙ‪ ،‬ﻓﻲ ﻁﻌﺎ ﹴﻡ ﻴﺜﻴ ُﺭ ﺸﻬ ّﻴﺘﹶـﻙ‪ ،‬ﻭﺠﺩ ﹶ‬
‫ﺃﻀﻑﹾ ﺇﻟﻰ ﺫﻟﻙ‪ ،‬ﺃﻨﱠﻙ ﺇﺫﺍ ﺃﺭﺩ ﹶ‬
‫ﻥ ﻏﻴﺭﹺﻩ ﻤﻥ ﺍﻷﺼﻭﺍﺕ‪) :‬ﻤﻤﻤﻤﻡ(‪.‬‬
‫ﺕ ﺍﻟﻤﻴ ﹺﻡ‪ ،‬ﺩﻭ َ‬
‫ﺘﻤ ﱡﺩ ﺼﻭ ﹶ‬

‫ﻥ‪ ،‬ﻓـﻲ ﺘﻔﺨـﻴ ﹺﻡ‬

‫ﻕ ﻭﺍﻷﻤـ ﹺ‬
‫ﻭﺇﻨﱠﻙ ﻟﺘﺴﺘﺸﻌ ُﺭ ﻋﻅﻤ ﹶﺔ ﻫﺫﻩ ﺍﻟﻨﻌﻤ ِﺔ‪ ،‬ﺍﻟﺘﻲ ﻨﻌﻤﺕﹾ ﺒﻬـﺎ ﻗﺭﻴﺵﹲ‪ :‬ﺍﻟﺭﺯ ِ‬

‫ﻕ ﺸﻔﺘﻴﻙ‪ ،‬ﻤـﻊ ﺍﻟﻤـﻴ ﹺﻡ ﺍﻟﻤﺸـﺩّﺩ ِﺓ‪ ،‬ﺍﻟﺘـﻲ‬

‫ل ﺍﻨﻁﺒﺎ ِ‬
‫ل‪َ) :‬ﺃﻁﹾﻌَﻤَ ُﻬﻡْ(‪ ،‬ﻭﻓﻲ ﻁـﻭ ﹺ‬
‫ﺕ ﺍﻟﻁﺎ ِﺀ‪ ،‬ﻓﻲ ﺍﻟﻔﻌ ﹺ‬
‫ﺼﻭ ِ‬

‫ﻱ)‪ ،(3‬ﻓـﻲ ﺍﻟﺘﺭﻜﻴﺒﻴ ﹺ‬

‫ﻥ‪َ) :‬ﺃﻁﹾﻌَﻤَ ُﻬﻡْ ﻤِــﻥْ(‪ ،‬ﻭ)ﺁ َﻤ ﹶﻨﻬُــﻡْ‬ ‫ﻕ ﺤﻜ ﹺﻡ ﺍﻟﺘﺠﻭﻴ ِﺩ‪ :‬ﺍﻹﺩﻏﺎ ﹺﻡ ﺍﻟﺸﻔﻭ ﱢ‬
‫ﻥ ﺒﺘﺤﻘﻴ ِ‬
‫ﺘﺘﻜﻭّ ُ‬

‫ِﻤـﻥْ(‪ ،‬ﻋﻠﻰ ﺍﻟﻭﺠ ِﻪ‪َ) :‬ﺃﻁﹾﻌَﻤَ ُﻬ ﱢﻤـﻥْ(‪ ،‬ﻭ)ﺁ َﻤ ﹶﻨ ُﻬـ ﱢﻤـﻥْ(‪.‬‬

‫)‪(1‬‬
‫ﺠﺒﺭ‪ ،‬ﻴﺤﻴﻰ ﻋﺒﺩ ﺍﻟﺭﺅﻭﻑ‪ :‬ﻤﺤﺎﻀﺭﺓ )ﻤﻭﻀﻭﻉ ﻓﻲ ﻋﻠﻡ ﺍﻟﺩﻻﻟﺔ(‪ .‬ﺠﺎﻤﻌﺔ ﺍﻟﻨﺠﺎﺡ ﺍﻟﻭﻁﻨﻴّﺔ ﺒﻔﻠﺴﻁﻴﻥ‪ 2008 / 10 / 27 .‬ﻡ‪،‬‬
‫‪ 5-2‬ﻤﺴﺎ ًﺀ‪.‬‬
‫)‪(2‬‬
‫ﺃﻨﻴﺱ‪ ،‬ﺇﺒﺭﺍﻫﻴﻡ‪ :‬ﺍﻷﺼﻭﺍﺕ ﺍﻟﻠﻐﻭﻴّﺔ‪ .‬ﺹ‪.200‬‬
‫)‪(3‬‬
‫ﻴﻘﻊ ﻫﺫﺍ ﺍﻹﺩﻏﺎﻡ‪ ،‬ﺒﻭﻗﻭﻉ ﻤﻴﻡ ﻤﺘﺤﺭّﻜﺔ‪ ،‬ﺒﻌﺩ ﺍﻟﻤﻴﻡ ﺍﻟﺴﺎﻜﻨﺔ‪ .‬ﺍﻨﻅﺭ‪ :‬ﺍﻟﻘﻀﺎﺓ‪ ،‬ﻤﺤﻤّﺩ ﻋﺼﺎﻡ ﻤﻔﻠﺢ‪ :‬ﺍﻟﻭﺍﻀﺢ ﻓﻲ ﺃﺤﻜﺎﻡ ﺍﻟﺘﺠﻭﻴﺩ‪.‬‬
‫ﺹ‪.79‬‬
‫‪123‬‬
‫ﻭﺘﺴﺘﺸﻌ ُﺭ ﻜﺫﻟﻙ ﺭﺨﺎﺀَﻫﻡ ﻭﺭﻓﺎﻫﺘﹶﻬﻡ‪ ،‬ﻓﻲ ﻫﺫﻩ ﺍﻟﹼﻠ ﹼﺫ ِﺓ ﺍﻟﻤﻭﺴﻴﻘ ّﻴ ِﺔ‪ ،‬ﺍﻟﺘﻲ ﺘﺤﺴﱡﻬﺎ ﻓﻲ ﺘﻜـﺭﺍ ﹺﺭ ﻫـﺫﻩ‬

‫ﺍﻟﻤﻘﺎﻁ ﹺﻊ ﺍﻟﺜﻼﺜـ ِﺔ ﻓﻲ ﺍﻵﻴﺔ‪ ) :‬ﻤَـ ‪ُ / ma :‬ﻫﻡْ ‪ِ / hum :‬ﻤﻥْ ‪( min :‬؛ ﻓـ))ﻟﻸﺫ ﹺ‬
‫ﻥ ﻟـ ﹼﺫﺓﹲ ﺒﺘﻜـﺭﺍ ﹺﺭ‬

‫ﺍﻟﺼﺩﻯ(()‪.(1‬‬ ‫ﺕ‪ ،‬ﺘﺸﺒ ُﻪ ﺍﻟﻠﹼـ ﹼﺫ ﹶﺓ ﺍﻟﺘﻲ ﻨﺤﺴﱡﻬﺎ ﻓﻲ ﺭﺠ ﹺﻊ‬

‫ﺍﻷﺼﻭﺍ ِ‬

‫ﻉ‪ ،(min / :uu / cin :‬ﻤﺎ ﻴﺤﻤﻠﹸﻪ‬

‫ﺏ‪ِ ) :‬ﻤـﻥْ ﺠـﻭ ﹴ‬
‫ﺕ ﺍﻟﺘﺭﻜﻴ ﹺ‬
‫ﺱ ﻟﻙ ﺃﺼﻭﺍ ﹸ‬
‫ل‪ ،‬ﺘﻌﻜ ُ‬
‫ﻭﻓﻲ ﺍﻟﻤﻘﺎﺒ ﹺ‬

‫ﻉ‬
‫ﻥ‪ ،‬ﻭﺍﻟﻀﻤّ ﹸﺔ ﺍﻟﻁﻭﻴﻠ ﹸﺔ‪ ،‬ﻤـﻥ ﺍﻟﻨـﻭ ﹺ‬
‫ﻥ ﺍﻟﻘﺼﻴﺭﺘﺎ ﹺ‬
‫ﺙ‪ :‬ﺍﻟﻜﺴﺭﺘﺎ ﹺ‬
‫ﻤﻥ ﺩﻻﻟ ٍﺔ‪ ،‬ﻋﻠﻰ ﺃﺘ ﱢﻡ ﻭﺠﻪ؛ ﻓﺤﺭﻜﺎﺘﹸﻪ ﺍﻟﺜﻼ ﹸ‬

‫ﷲ‪ ،‬ﺴـﺒﺤﺎﻨﹶﻪ‪،‬‬
‫ﺵ ﺍﻟﺸﺩﻴ ِﺩ‪ ،‬ﺍﻟﺫﻱ ﺃﻨﻘـ ﹶﺫ ﺍ ُ‬
‫ﻕ ﺍﻟﻌﻴ ﹺ‬
‫ﻕ‪ ،‬ﻤﺎ ﻴﻭﺤﻲ ﺒﻀﻴ ِ‬
‫ﻕ ﻓﻲ ﺍﻟﻨﻁﻕ‪ ،‬ﻭﻓﻲ ﻫﺫﺍ ﺍﻟﻀﻴ ِ‬
‫ﺍﻟﻀ ّﻴ ِ‬
‫ﻏﻴْﺭﹺ ﺫﻱ ﺯﺭﻉ‪.(2)﴾...‬‬
‫ﻉ ﻓﻴﻪ‪ ...﴿ :‬ﺒﹺﻭﺍ ٍﺩ ﹶ‬
‫ﷲ ﺘﻌﺎﻟﻰ‪ ،‬ﺒﻠﺩٌ ﻻ ﺯﺭ َ‬
‫ﻗﺭﻴﺸﹰﺎ ﻤﻨﻪ؛ ﻓﻤﻜﹼ ﹸﺔ‪ ،‬ﻜﻤﺎ ﻭﺼﻔﹶﻬﺎ ﺍ ُ‬

‫ﻲ ﺒﻤﺎ ﻴﺠﺩُﻩ ﺍﻟﺠﺎﺌ ُﻊ ﻤﻥ ﺃﻟﻡ‪،‬‬

‫ﻕ ﺸﺩﻴﺩٌ‪ ،‬ﻤﻥ ﺸﺄﻨِﻪ ﺃﻥ ﻴﻭﺤ َ‬
‫ﺏ‪ :‬ﺍﻟﺠﻴ ﹺﻡ‪ ،‬ﺜﻘلٌ ﻓﻲ ﺍﻟﻨﻁ ِ‬
‫ﺕ ﺍﻟﻤﺭ ﹼﻜ ﹺ‬
‫ﻭﻟﻠﺼﻭ ِ‬

‫ﻲ ﺒﻤﺭﺍﺭ ِﺓ ﺍﻟﺠﻭﻉ؛ ﻓﻬﻭ‪ ،‬ﻜﻤﺎ ﻴﺭﻯ ﺍﻟﺩﻜﺘﻭ ُﺭ ﻤﺤﻤّﺩ ﺍﻟﻨـﻭﻴﻬﻲ‪ ،‬ﺃﻗـﻭﻯ‬

‫ﻥ ﺍﻟﺤﻠﻘ ﱡ‬
‫ﺕ ﺍﻟﻌﻴ ﹺ‬
‫ﻜﻤﺎ ﻴﻭﺤﻲ ﺼﻭ ﹸ‬

‫ﻥ‪ ،‬ﺘﻤﺘ ﱡﺩ ﺍﻟﻀﻤّ ﹸﺔ ﺍﻟﻁﻭﻴﻠ ﹸﺔ‪ ،‬ﻤﻭﺤﻴ ﹰﺔ ﺒﻬـﺫﺍ‬

‫ﻥ ﺍﻟﺼﻭﺘﻴ ﹺ‬ ‫ﻼ ﻟﻠﻁﻌ ﹺﻡ ﺍﻟﻤ ّﺭ)‪ .(3‬ﻭﺒﻴ َ‬
‫ﻥ ﻫﺫﻴ ﹺ‬ ‫ﺕ ﺍﻟﻌﺭﺒ ّﻴ ِﺔ ﺘﻤﺜﻴ ﹰ‬
‫ﺍﻷﺼﻭﺍ ِ‬

‫ﻥ ﻤﻥ ﺍﻟﻁﻌﺎﻡ‪.‬‬
‫ﻕ‪ ،‬ﺒﺨﻭﺍ ِﺀ ﺍﻟﺒﻁ ﹺ‬
‫ﺽ ﻟﻪ ﻋﺎﺌﻕﹲ‪ ،‬ﻓﻲ ﺃﺜﻨﺎ ِﺀ ﺍﻟﻨﻁ ِ‬
‫ﺍﻻﻤﺘﺩﺍ ِﺩ ﺍﻟﺫﻱ ﻻ ﻴﻌﺭ ُ‬

‫ﺕ ﺍﻷﺭﺒ ُﻊ‪ ،‬ﺍﻟﺘـﻲ ﺘﺘﻔﺭّ ُﺩ ﺒﻬﺎ ﻫﺫﻩ ﺍﻵﻴـ ﹸﺔ‬

‫ﺏ‪ ،‬ﺘﻭﺤﻲ ﺒﻬـﺎ ﺍﻟﻨﻭﻨﺎ ﹸ‬
‫ﻥ ﺍﻟﻌﺭ ﹺ‬
‫ﺵ ﻤﻜﺎﻨﺔﹲ ﺭﻓﻴﻌﺔﹲ ﺒﻴ َ‬
‫ﻭﻟﻘﺭﻴ ﹴ‬
‫ل ﻋﻠﻰ ﺍﻟﻌ ّﺯ ِﺓ؛ ﻻﺭﺘﺒﺎﻁِﻪ ﺒﺎﻷﻨ ِ‬
‫ﻑ‪ ،‬ﻜﻤﺎ ﹸﺫﻜِﺭ‪.‬‬ ‫ﻥ ﺃﻥ ﻴﺩ ﱠ‬
‫ﺕ ﺍﻟﻨﻭ ﹺ‬
‫ﻥ ﺼﻭ ِ‬
‫ﻓﻲ ﺍﻟﺴﻭﺭﺓ؛ ﻓﻤﻥ ﺸﺄ ﹺ‬

‫‪ .5‬ﺘﺤﻠﻴ ُل ﺴﻭﺭ ِﺓ ﺍﻟﻜﻭﺜﺭ‬

‫ﻥ ﺍﻟ ّﺭﺤﻴﻡ‬
‫ﷲ ﺍﻟ ّﺭﺤﻤ ﹺ‬
‫ﺒﺴ ﹺﻡ ﺍ ِ‬

‫ﷲ ﺍﻟﻌﻅﻴﻡ‬
‫ﻕﺍ ُ‬
‫ﺼﺩ ﹶ‬

‫)‪(1‬‬
‫ﻲ‪ .‬ﺹ‪ .34‬ﻭﺍﻟﻜﻼﻡ ﻟﻤﺤﻤّﺩ ﺍﻷﻤﻴﻥ ﺍﻟﺨﻀﺭﻱ‪.‬‬
‫ﺍﻟﺴﻌﺎﻓﻴﻥ‪ ،‬ﺇﺒﺭﺍﻫﻴﻡ‪ ،‬ﻭﺁﺨﺭﻭﻥ‪ :‬ﺃﺴﺎﻟﻴﺏ ﺍﻟﺘﻌﺒﻴﺭ ﺍﻷﺩﺒ ّ‬
‫)‪(2‬‬
‫ﺇﺒﺭﺍﻫﻴﻡ‪.37 :‬‬
‫)‪(3‬‬
‫ﺍﻟﻨﻭﻴﻬﻲ‪ ،‬ﻤﺤﻤّﺩ‪ :‬ﺍﻟﺸﻌﺭ ﺍﻟﺠﺎﻫﻠﻲّ‪ ،‬ﻤﻨﻬﺞ ﻓﻲ ﺩﺭﺍﺴﺘﻪ ﻭﺘﻘﻭﻴﻤﻪ‪.95 / 1 .‬‬
‫‪124‬‬
 ‫ﺍﻟﺴﻭﺭ ﹸﺓ ﺒﺎﻟﻜﺘﺎﺒ ِﺔ ﺍﻟﺼﻭﺘ ّﻴ ِﺔ‪ ،‬ﻤﻊ ﺘﺤﺩﻴ ِﺩ ﻤﻘﺎﻁﻌِﻬﺎ‪:‬‬

‫‪in / naa /‬‬ ‫‪ac / ay / naa / kal / kaw / θar‬‬ ‫‪X fa /‬‬ ‫‪al / li / li / rab /‬‬

‫‪bi / ka / wan / ar Y‬‬ ‫‪in / na / aa / ni /‬‬ ‫‪a / ka / hu / wal /‬‬ ‫‪ab / tar Z.‬‬

‫ﷲ ﻋﻠﻴﻪ ﻭﺴـﻠﹼﻡ – ﻜﺴـﻭﺭ ِﺓ ﺍﻟﻀـﺤﻰ‪ ،‬ﻭﺴـﻭﺭ ِﺓ‬

‫ﷲ ‪ -‬ﺼﻠﹼﻰ ﺍ ُ‬
‫لﺍ ِ‬
‫))ﻫﺫﻩ ﺍﻟﺴﻭﺭ ﹸﺓ ﺨﺎﻟﺼﺔﹲ ﻟﺭﺴﻭ ﹺ‬

‫ﻕ ﺍﻟﺸﻜﺭ(()‪.(1‬‬
‫ﺠﻬُﻪ ﺇﻟﻰ ﻁﺭﻴ ِ‬
‫ﺍﻟﺸﺭﺡ‪ .‬ﻴﺴ ّﺭﻱ ﻋﻨﻪ ﺭﺒﱡﻪ ﻓﻴﻬﺎ‪ ،‬ﻭﻴﻌﺩُﻩ ﺒﺎﻟﺨﻴﺭ‪ ،‬ﻭﻴﻭﻋ ُﺩ ﺃﻋﺩﺍﺀَﻩ ﺒﺎﻟﺒﺘﺭ‪ ،‬ﻭﻴﻭ ّ‬

‫ﻥ ﻴُﺒﺩﺃُ ﺒﻘﺭﺍﺀ ِﺓ ﻫـﺫﻩ ﺍﻟﺴـﻭﺭ ِﺓ‪،‬‬

‫ﺠ ﹴﺯ ﻴﻭﺍﻓﻘﹸﻬﺎ؛ ﻓﺤﻴ َ‬
‫ﻲ ُﻤﻌْ ﹺ‬
‫ﺏ ﺼﻭﺘ ﱟ‬
‫ﻭﻗﺩ ﺠﺎﺀﺕ ﻫﺫﻩ ﺍﻟﻤﻌﺎﻨﻲ‪ ،‬ﻓﻲ ﻗﺎﻟ ﹴ‬

‫ﺝ ﻓﺘﺤ ﹸﺔ ﺍﻟﻤﺯﻤـﺎ ﹺﺭ‬

‫ﺢ ﺒﻤﺭﻭ ﹺﺭ ﺍﻟﻬﻭﺍ ِﺀ ﺇﻟﻰ ﺍﻟﺤﻠﻕ‪ ،‬ﺜ ﱠﻡ ﺘﻨﻔﺭ ُ‬
‫ﻕ ﻓﺘﺤ ﹸﺔ ﺍﻟﻤﺯﻤﺎ ﹺﺭ ﺍﻨﻁﺒﺎﻗﹰﺎ ﺘﺎﻤ‪‬ﺎ؛ ﻓﻼ ُﻴﺴْﻤ ُ‬
‫))ﺘﻨﻁﺒ ﹸ‬

‫ﻱ‪ ،(2)((...‬ﺃﻻ ﻭﻫﻭ ﺍﻟﻬﻤﺯﺓ؛ ﻓﺎﻟﺴﻭﺭ ﹸﺓ ﺘﺒﺩُﺃ ﺒﻬﺫﺍ ﺍﻟﺼﻭ ِ‬

‫ﺕ‪ ،‬ﺍﻟـﺫﻱ ﻴﻘﻁـ ُﻊ‬ ‫ﻓﺠﺄ ﹰﺓ؛ ﻓ ُﻴﺴْﻤ ُﻊ ﺼﻭﺕﹲ ﺍﻨﻔﺠﺎﺭ ﱞ‬

‫ﻥ‪ ،‬ﺘﺘﹼﺨ ﹸﺫ ﻏ ﹼﻨﺘﹸﻬﻤـﺎ‬

‫ﻥ ﻤﺩﻏﻤﺘﺎ ﹺ‬
‫ل ﻓﻜﺭ ٍﺓ ﻓﻲ ﺭﺃﺴِﻙ؛ ﻓﺘﺠ ُﺩ ﻨﻔﺴَﻙ ﻤﻨﺼﺘﹰﺎ‪ ،‬ﺘﺸﺩﱡﻙ ﺒﻌ َﺩ ﺫﻟﻙ ﻨﻭﻨﺎ ﹺ‬
‫ﺒﻔﺠﺎﺀﺘِﻪ ﻜ ﱠ‬
‫(‪.‬‬ ‫ﻻ ﺘﻤﺘ ﱡﺩ ﻓﻴﻪ‪ِ) :‬ﺇ ﹼﻨـﺎ‪in / naa :‬‬
‫ﺍﻟﻤُﺩﻭّﻴﺔﹸ ﺍﻟﺭﻨﹼﺎﻨ ﹸﺔ‪ ،‬ﻤﻥ ﺍﻟﻔﺘﺤ ِﺔ ﺍﻟﻁﻭﻴﻠ ِﺔ ﻤﺠﺎ ﹰ‬

‫ﺕ ﺘﺴﺘﺸﻌ ُﺭ‬
‫ﺏ‪ِ) :‬ﺇﹼﻨﺎ( ﻤﻥ ﺍﻟﻤﻌﺎﻨﻲ؛ ﻓﺄﻨ ﹶ‬
‫ﻕ ﻤﺎ ﻴﺤﻤﻠﹸﻪ ﺍﻟﺘﺭﻜﻴ ُ‬
‫ﺏ‪ ،‬ﺃﻥ ﻴﻭﺍﻓ ﹶ‬
‫ﻲ ﺍﻟﺠﺫﹼﺍ ﹺ‬
‫ﻭﻟﻬﺫﺍ ﺍﻟﻭﻗ ﹺﻊ ﺍﻟﺼﻭﺘ ﱢ‬

‫ل ﻋﻠﻴﻪ ﻀﻤﻴ ُﺭ ﺍﻟﺠﻤ ﹺﻊ )ﻨﺎ( ﻤﻥ ﻋﻅﻤﺔ؛ ﻓﻘﺩ ﺠﺎ َﺀ ﻫﺫﺍ ﺍﻟﻀﻤﻴ ُﺭ‬

‫ﻥ( ﻤﻥ ﺍﻟﺘﺄﻜﻴﺩ‪ ،‬ﻭﻤﺎ ﻴﺩ ﱡ‬
‫ﻓﻴﻪ ﻤﺎ ﺘﺤﺩﺜﹸﻪ )ﺇ ﱠ‬
‫ﺕ ﺍﻹﻟﻬ ّﻴ ِﺔ ﻟﻠﺘﻌﻅﻴﻡ)‪.(3‬‬
‫ﺍﻟﺫﻱ ﻴﻌﻭ ُﺩ ﻋﻠﻰ ﺍﻟﺫﺍ ِ‬

‫ﻕ ﻫﺫﺍ ﺍﻟﺘﻌﻅﻴ ﹺﻡ‪ ،‬ﺍﻟﺫﻱ ﻻ ﻴﺤﺩﱡﻩ ﺤ ّﺩ‪ ،‬ﻓﻲ ﻫﺫﻩ ﺍﻟﻔﺘﺤـ ِﺔ ﺍﻟﺘـﻲ ﻴﻨﺘﻬـﻲ ﺒﻬـﺎ‬
‫ﻜﺫﻟﻙ ﺘﺴﺘﺸﻌ ُﺭ ﺇﻁﻼ ﹶ‬
‫ﻥ ﺃﻥ ﻴﻌﻭﻗﹶﻪ ﻋﺎﺌﻕﹲ‪ ،‬ﻓﻲ ﺃﺜﻨﺎ ِﺀ‬
‫ﻥ ﺍﻟﻬﻭﺍ ِﺀ ﻴﻤ ﱡﺭ ﻤﻥ ﺍﻟﻔ ﹺﻡ ﺤﺭ‪‬ﺍ ﻁﻠﻴﻘﹰﺎ‪ ،‬ﺩﻭ َ‬
‫ﺍﻟﺘﺭﻜﻴﺏ؛ ﻟﻁﻭﻟِﻬﺎ ﻤﻥ ﺠﻬﺔ‪ ،‬ﻭﻟﻜﻭ ﹺ‬
‫ﺏ ﺍﻷﻭﻓـﻰ‪ ،‬ﻤـﻥ ﻫـﺫﻩ‬
‫ﻥ ﺍﻟﻔﺘﺤ ﹶﺔ ﻟﻬﺎ ﺍﻟﻨﺼﻴ ُ‬
‫ﺕ‪ ،‬ﻤﻥ ﺠﻬ ٍﺔ ﺃﺨﺭﻯ‪ .‬ﺃﻀﻑﹾ ﺇﻟﻰ ﺫﻟﻙ‪ ،‬ﺃ ﱠ‬
‫ﻕ ﺒﺎﻟﺤﺭﻜﺎ ِ‬
‫ﺍﻟﻨﻁ ِ‬
‫ﺍﻟﺤ ّﺭﻴّﺔ)‪.(4‬‬

‫ﺏ‪ِ) :‬ﺇ ﹼﻨﺎ(‪ ،‬ﺍﻟﺫﻱ ﺒﺩﺃﺕﹾ ﺒﻪ ﺍﻟﺴـﻭﺭ ﹸﺓ‪ ،‬ﺃﻥ ﻴﺸـﻌﺭَﻙ ﺒﺄﺼـﻭﺍﺘِﻪ‪ ،‬ﻭﺩﻻﻻﺘِـﻪ‬
‫ﻥ ﻫﺫﺍ ﺍﻟﺘﺭﻜﻴ ﹺ‬
‫ﻭﻤﻥ ﺸﺄ ﹺ‬

‫ﻥ ﺍﻟﻜـﻭﺜ َﺭ ﻨﻬـﺭٌ ﻓـﻲ‬

‫ﻙ ﺍﻟﹾ ﹶﻜﻭْ ﹶﺜﺭ﴾؛ ﻓﻘﺩ ))ﺠﺎ َﺀ ﻓﻲ ﺍﻟﺘﻔﺴﻴ ﹺﺭ‪ ،‬ﺃ ﱠ‬
‫ﻁﻴْﻨﺎ َ‬
‫ﺍﻟﻌﻅﻴﻤ ِﺔ‪ ،‬ﺒﻌﻅ ﹺﻡ ﻤﺎ ﺒﻌﺩَﻩ‪َ ...﴿ :‬ﺃﻋْ ﹶ‬

‫)‪(1‬‬
‫ﻗﻁﺏ‪ ،‬ﺴﻴّﺩ‪ :‬ﻓﻲ ﻅﻼل ﺍﻟﻘﺭﺁﻥ‪.3987 / 6 .‬‬
‫)‪(2‬‬
‫ﺃﻨﻴﺱ‪ ،‬ﺇﺒﺭﺍﻫﻴﻡ‪ :‬ﺍﻷﺼﻭﺍﺕ ﺍﻟﻠﻐﻭﻴّﺔ‪ .‬ﺹ‪.87‬‬
‫)‪(3‬‬
‫ﻲ‪ :‬ﺼﻔﻭﺓ ﺍﻟﺘﻔﺎﺴﻴﺭ‪.612 / 3 .‬‬
‫ﺍﻟﺼﺎﺒﻭﻨﻲ‪ ،‬ﻤﺤﻤّﺩ ﻋﻠ ّ‬
‫)‪(4‬‬
‫ﺒﺸﺭ‪ ،‬ﻜﻤﺎل‪ :‬ﻋﻠﻡ ﺍﻷﺼﻭﺍﺕ‪ .‬ﺹ‪.217‬‬
‫‪125‬‬
‫ﺏ ﺍﻟ ّﺩ ّﺭ‪ ،‬ﻤﺠﻭﻑ‪ .‬ﻭﺠﺎ َﺀ ﻓـﻲ ﺍﻟﺘﻔﺴـﻴ ﹺﺭ‬
‫ﻥ‪ ،‬ﻭﺃﺤﻠﻰ ﻤﻥ ﺍﻟﻌﺴل‪ ،‬ﺤﺎﻓﱠﺘﺎﻩ ﻗﺒﺎ ُ‬
‫ﺍﻟﺠ ﹼﻨ ِﺔ‪ ،‬ﺃﺸ ﱡﺩ ﺒﻴﺎﻀًﺎ ﻤﻥ ﺍﻟﻠﹼﺒ ﹺ‬

‫ل ﺍﻟﻠﹼﻐﺔ‪ :‬ﺍﻟﻜﻭﺜ ُﺭ )ﻓﻭﻋل( ﻤﻥ ﺍﻟﻜﺜﺭﺓ‪ ،‬ﻭﻤﻌﻨـﺎﻩ‪ :‬ﺍﻟﺨﻴـ ُﺭ‬

‫ل ﺃﻫ ُ‬
‫ﻥ ﺍﻟﻜﻭﺜ َﺭ ﺍﻹﺴﻼ ُﻡ ﻭﺍﻟﻨﺒﻭّﺓ‪ .‬ﻭﻗﺎ َ‬
‫ﺃﻴﻀًﺎ‪ ،‬ﺃ ﱠ‬

‫ﻲ‪ ،‬ﻋﻠﻴﻪ ﺍﻟﺴﻼﻡ(()‪.(1‬‬

‫ﺍﻟﻜﺜﻴﺭ‪ .‬ﻭﺠﻤﻴ ُﻊ ﻤﺎ ﺠﺎ َﺀ ﻓﻲ ﺘﻔﺴﻴ ﹺﺭ ﻫﺫﺍ‪ ،‬ﻗﺩ ﺃُﻋﻁﻴﻪ ﺍﻟﻨﺒ ﱡ‬

‫ﻙ ﺍﻟﹾ ﹶﻜﻭْ ﹶﺜﺭ﴾‪ ،‬ﻤﺎ ﻴﻭﺍﺌ ُﻡ ﻜﺜـﺭ ﹶﺓ ﻫـﺫﺍ ﺍﻟﺨﻴـ ﹺﺭ‬

‫ﻁﻴْﻨﺎ َ‬
‫ﺕ ﻫﺫﻩ ﺍﻟﺠﻤﻠ ِﺔ‪َ ...﴿ :‬ﺃﻋْ ﹶ‬
‫ﻭﺇﻨﱠﻙ ﻟﺘﺠ ُﺩ ﻓﻲ ﺃﺼﻭﺍ ِ‬

‫ﻑ ﺍﻟﻨﻅ ﹺﺭ ﻋﻥ ﻜﹸﻨﻬﹺﻪ‪:‬‬
‫ﻭﺩﻭﺍﻤَﻪ ﻭﻋﻅﻤﺘﹶﻪ‪ ،‬ﺒﺼﺭ ِ‬

‫‪ac / ay / naa / kal / kaw / θar.‬‬

‫ﺙ ﻭﺍﻟ َﺒﺴْـﻁ)‪ ،(2‬ﻭﻓـﻲ ﺍﻟـﺭﺍ ِﺀ‬

‫ﻸ ﻓﻤَﻙ‪ ،‬ﻭﻓﻲ ﺍﻟﺜﺎ ِﺀ ﺇﻴﺤﺎ ًﺀ ﺒﺎﻟﺒ ﱢ‬
‫ﺕ ﺍﻟﻁﺎ ِﺀ ﺘﻔﺨﻴﻤًﺎ ﻴﻤ ُ‬
‫ﻓﺘﺠ ُﺩ ﻓﻲ ﺼﻭ ِ‬

‫ﺢ‪ ،‬ﺍﻟﺘﻲ ﺘﺤﻤﻠﹸﻬﺎ ﻫـﺫﻩ‬

‫ﺘﻜﺭﺍﺭًﺍ؛ ﺇﺫﺍ ﻤﺎ ﺴﻜﻨﺕﹾ ﺒﺎﻟﻭﻗﻑ‪ ،‬ﻭﺩﻻﻟ ﹰﺔ ﻋﻠﻰ ﺍﻟﺸﻴﻭﻉ‪ ،‬ﻜﻤﺎ ﺘﺠ ُﺩ ﻓﻲ ﺤﺭﻜ ِﺔ ﺍﻟﻔﺘ ﹺ‬

‫ﺃﻀﻑﹾ ﺇﻟـﻰ‬ ‫ﻤﺨﺭﺠًﺎ)‪.(3‬‬ ‫ﺕ ﺍﻟﻠﹼﻐﻭ ّﻴ ِﺔ‬

‫ﻥ ﺍﻟﻜﺴﺭ ِﺓ ﻭﺍﻟﻀ ّﻤ ِﺔ‪ ،‬ﺍﺘﹼﺴﺎﻋًﺎ ﻨﻁﻘﻴ‪‬ﺎ؛ ﻓﻬﻲ ﺃﻭﺴ ُﻊ ﺍﻷﺼﻭﺍ ِ‬
‫ﺍﻟﺠﻤﻠ ﹸﺔ‪ ،‬ﺩﻭ َ‬
‫ﻁﻴْـ‪:‬‬
‫ﻥ‪ ) :‬ﹶ‬
‫ﻥ‪ ،‬ﻓﻲ ﺍﻟﻤﻘﻁﻌﻴ ﹺ‬
‫ﻥ ﺍﻟﻤﺯﺩﻭﺠﺘﻴ ﹺ‬
‫ﻥ ﺍﻟﺤﺭﻜﺘﻴ ﹺ‬
‫ل ﻤﻥ ﻫﺎﺘﻴ ﹺ‬
‫ﻕﻜﱟ‬
‫ﺫﻟﻙ‪ ،‬ﺘﺘﺎﺒ َﻊ ﺼﻭﺘﻲ ﺤﺭﻜﺔ‪ ،‬ﻓﻲ ﻨﻁ ِ‬

‫‪ ،( ay‬ﻭ) ﹶﻜﻭْ‪.(kaw :‬‬

‫ﷲ ﻋﻠﻴﻪ ﻭﺴﻠﹼﻡ – ﺇﻟﻰ‬

‫ل ‪ -‬ﺼﻠﹼﻰ ﺍ ُ‬
‫ﺠ َﻪ ﺍﻟﺭﺴﻭ ُ‬
‫ﺽ ﺍﻟﻜﺜﺭﺓ‪ُ ...‬ﻭ ﱢ‬
‫))ﺒﻌ َﺩ ﺘﻭﻜﻴ ِﺩ ﻫﺫﺍ ﺍﻟﻌﻁﺎ ِﺀ ﺍﻟﻜﺜﻴ ﹺﺭ ﺍﻟﻔﺎﺌ ﹺ‬
‫‪،‬‬ ‫ﷲ ﻓﻲ ﺍﻟﻌﺒﺎﺩ ِﺓ‪ ،‬ﻭﻓـﻲ ﺍﻻﺘﹼﺠﺎﻩ‪ ...‬ﻓﻲ ﺍﻟﺼـﻼ ِﺓ‬
‫ﺹ ﻭﺍﻟﺘﺠ ّﺭ ِﺩ ِ‬
‫ﻕ ﺍﻹﺨﻼ ﹺ‬
‫ل‪ ،‬ﺤ ﱢ‬
‫ﺸﻜ ﹺﺭ ﺍﻟﻨﻌﻤ ِﺔ ﺒﺤﻘﱢﻬﺎ ﺍﻷ ّﻭ ﹺ‬

‫ﻙ ﺍﻟﻤﺸـﺭﻜﻴﻥ‪،‬‬
‫ﻻ ﺇﻟـﻰ ﺸـﺭ ِ‬
‫ﻕ ﺒـﺎ ﹰ‬
‫ﺤﺭْ ﴾‪ ،‬ﻏﻴ َﺭ ﻤﻠ ٍ‬
‫ﻙ ﻭَﺍﻨﹾ َ‬
‫ل ِﻟ َﺭ ﱢﺒ َ‬
‫ﺼﱢ‬‫ﻙ ﺨﺎﻟﺼًﺎ ﷲ‪ ﴿ :‬ﹶﻓ َ‬
‫ﺢ ﺍﻟﻨﺴ ِ‬
‫ﻭﻓﻲ ﺫﺒ ﹺ‬

‫ﷲ ﻋﻠﻰ ﺫﺒﺎﺌﺤِﻬﻡ(()‪.(4‬‬
‫ﻙ ﻟﻬﻡ ﻓﻲ ﻋﺒﺎﺩﺘِﻬﻡ‪ ،‬ﺃﻭ ﻓﻲ ﺫﻜ ﹺﺭ ﻏﻴ ﹺﺭ ﺍﺴ ﹺﻡ ﺍ ِ‬
‫ﻭﻏﻴ َﺭ ﻤﺸﺎﺭ ٍ‬

‫ﻥ‪:‬‬
‫ﻁﺭًﺍ ﺒﺘﻨﻐﻴ ﹺﻡ ﺍﻷﻤـ ﹺﺭ‪ ،‬ﺍﻟﺫﻱ ﻴﻘ ُﻊ ﻋﻠﻰ ﺍﻟﻔﻌﻠﻴ ﹺ‬
‫ﺤﺭْ﴾‪ ،‬ﻤُﺅ ﱠ‬
‫ﻙ ﻭَﺍﻨﹾ َ‬
‫ل ِﻟ َﺭ ﱢﺒ َ‬
‫ﺼﱢ‬‫ﻭﻗﺩ ﺠﺎ َﺀ ﻫﺫﺍ ﺍﻟﺘﻭﺠﻴ ُﻪ‪ ﴿ :‬ﹶﻓ َ‬

‫ﻥ‬
‫ل ﺒـﻪ ﺍﻟﺠﻤﻠ ﹸﺔ ﻓﻲ ﺍﻟﺴﻴﺎﻕ(()‪ ،(5‬ﻤﻥ ﺸﺄﻨِﻪ ﺃﻥ ﻴﻜﻭ َ‬
‫ﻲ ﺍﻟﺫﻱ ﺘﹸﻘﺎ ُ‬
‫ﺤﺭْ(‪ .‬ﻭﻫﺫﺍ ))ﺍﻹﻁﺎ ُﺭ ﺍﻟﺼﻭﺘ ﱡ‬
‫ل( ﻭ)ﺍﻨ َ‬
‫ﺼﱢ‬‫) َ‬

‫ل‪ ،‬ﻤﻥ ﺠﻬﺔ‪ ،‬ﻭﻟﻤﺎ‬

‫ﻲ ﻋﺎ ﹴ‬
‫ﺡ ﺴﻤﻌ ﱟ‬
‫ﺕ ﻫﺫﻩ ﺍﻵﻴـﺔ؛ ﻟﻤﺎ ﻴﺤ ﹼﻘﻘﹸﻪ ﻟﻬﺎ ﻤﻥ ﻭﻀﻭ ﹴ‬
‫ﻥ‪ ،‬ﺘﺤ ﹶ‬
‫ﻥ ﺃﺤﻤﺭﻴ ﹺ‬
‫ﺒﻤﻜﺎﻨ ِﺔ ﺨﻁﹼﻴ ﹺ‬

‫)‪ (1‬ﺍﻟ ّﺯﺠّﺎﺝ‪ ،‬ﺃﺒﻭ ﺇﺴﺤﺎﻕ ﺇﺒﺭﺍﻫﻴﻡ ﺒﻥ ﺍﻟﺴّﺭﻱ‪ :‬ﻤﻌﺎﻨﻲ ﺍﻟﻘﺭﺁﻥ ﻭﺇﻋﺭﺍﺒﻪ‪.369 / 5 .‬‬
‫)‪(2‬‬
‫ﺍﺒﻥ ﺠﻨﹼﻲ‪ ،‬ﺃﺒﻭ ﺍﻟﻔﺘﺢ ﻋﺜﻤﺎﻥ‪ :‬ﺍﻟﺨﺼﺎﺌﺹ‪.512 / 1 .‬‬
‫)‪(3‬‬
‫ﺴﻴﺒﻭﻴﻪ‪ ،‬ﺃﺒﻭ ﺒﺸﺭ ﻋﻤﺭﻭ ﺒﻥ ﻋﺜﻤﺎﻥ‪ :‬ﻜﺘﺎﺏ ﺴﻴﺒﻭﻴﻪ‪.436 / 4 .‬‬
‫)‪(4‬‬
‫ﻗﻁﺏ‪ ،‬ﺴﻴّﺩ‪ :‬ﻓﻲ ﻅﻼل ﺍﻟﻘﺭﺁﻥ‪.3988 / 6 .‬‬
‫)‪ (5‬ﺤﺴﺎﻥ‪ ،‬ﺘﻤﺎﻡ‪ :‬ﺍﻟﻠﻐﺔ ﺍﻟﻌﺭﺒﻴﺔ ﻤﻌﻨﺎﻫﺎ ﻭﻤﺒﻨﺎﻫﺎ‪ .‬ﺹ‪.226‬‬
‫‪126‬‬
‫ل‬
‫ﺏ‪ ،‬ﻤﻥ ﺠﻬ ٍﺔ ﺃﺨﺭﻯ‪ .‬ﻭﻓﻲ ﻫﺫﺍ ﻤﺎ ﻴﻭﺍﺌ ُﻡ ﻤﻜﺎﻨ ﹶﺔ ﻫﺫﺍ ﺍﻟﺘﻭﺠﻴـ ِﻪ‪ ،‬ﺍﻟـﺫﻱ ﻴﻤﺜﹼـ ُ‬
‫ﻴﺤﻤﻠﹸﻪ ﻤﻥ ﺩﻻﻟ ِﺔ ﺍﻟﻭﺠﻭ ﹺ‬

‫ل ﺍﻟﺼﻼ ِﺓ‪ ،‬ﻭﺃﺘ ﱡﻡ ﺍﻟﺘﺴﻠﻴﻡ‪.‬‬

‫ﻤﺤﻭ َﺭ ﺍﻟﺭﺴﺎﻟ ِﺔ ﺍﻟﻤﺤﻤّﺩﻴّﺔ‪ ،‬ﻋﻠﻰ ﺼﺎﺤﺒﹺﻬﺎ ﺃﻓﻀ ُ‬

‫ل – ﻋﻠﻴﻪ ﺍﻟﺴﻼﻡ – ﺒﺎﻟﺒﺘﺭ‪ ،‬ﻭﻫﻭ‬

‫ﺽ ﺍﻟﺭﺴﻭ ﹺ‬
‫ﷲ – ﺴﺒﺤﺎﻨﹶـﻪ – ﻤﺒﻐ َ‬
‫ﻭﻓﻲ ﺍﻵﻴ ِﺔ ﺍﻷﺨﻴﺭ ِﺓ‪ ،‬ﻴﺘﻭﻋّ ُﺩ ﺍ ُ‬
‫ل ﻟﻪ‪ :‬ﺇﻨﹼﻲ ﻷﺸﻨﺅُﻙ ]ﻷﺒﻐﻀُﻙ[‪،‬‬
‫ﷲ ﻋﻠﻴﻪ ﻭﺴﻠﹼﻡ – ﻓﻴﻘﻭ ُ‬
‫ﻲ – ﺼﻠﹼﻰ ﺍ ُ‬
‫ﻥ ﻴﻤ ﱡﺭ ﺒﺎﻟﻨﺒ ﱢ‬
‫ﻥ ﻭﺍﺌل‪ .‬ﻜﺎ َ‬
‫ﺹﺒُ‬
‫))ﺍﻟﻌﺎ ُ‬

‫ﻷﺒْﺘﹶـﺭ﴾‪)) ،(1)((...‬ﻓﺠـﺎﺌﺯٌ ﺃﻥ‬

‫ﻥ ﺸﺎﻨِ َﺌﻙَ ُﻫ َﻭ ﺍ َ‬
‫ل ‪ِ﴿ :-‬ﺇ ﱠ‬
‫ﷲ – ﻋ ﱠﺯ ﻭﺠ ﱠ‬
‫لﺍ ُ‬
‫ﻭﺇﻨﱠﻙ ﻷﺒﺘ ُﺭ ﻤﻥ ﺍﻟﺭﺠﺎل؛ ﻓﺄﻨﺯ َ‬

‫ل‬
‫ل ﺨﻴـﺭ‪ .‬ﻭﺍﻟﺒﺘـ ُﺭ‪ :‬ﺍﺴﺘﺌﺼـﺎ ُ‬
‫ﻥ ﻫـﻭ ﺍﻟﻤﻨﻘﻁ َﻊ ﻋﻨﻪ ﻜ ﱡ‬
‫ﻥ ﻫﻭ ﺍﻟﻤﻨﻘﻁ َﻊ ﺍﻟﻌﻘﺏ‪ ،‬ﻭﺠﺎﺌـﺯٌ ﺃﻥ ﻴﻜﻭ َ‬
‫ﻴﻜﻭ َ‬
‫ﺍﻟﻘﻁﻊ(()‪.(2‬‬

‫ﻲ‪ ،‬ﻴﺼﻭّ ُﺭ ﻟﻙ ﺸ ّﺩ ﹶﺓ‬

‫ل ﻤﻭﺴﻴﻘ ﱟ‬
‫‪ ،( aa / ni /‬ﻤﻥ ﺜﻘ ﹴ‬ ‫ﺊ‪a :‬‬
‫ﻭﻟﻌﻠﱠﻙ ﺘﺠ ُﺩ ﻤﺎ ﺃﺠﺩُﻩ‪ ،‬ﻓﻲ ﺍﻟﻜﻠﻤ ِﺔ )ﺸﺎﻨِ َ‬

‫ل‪ ،‬ﻤﻥ ﺠﻬ ٍﺔ ﺃﺨﺭﻯ‪.‬‬

‫ل ‪ -‬ﻋﻠﻴﻪ ﺍﻟﺴﻼﻡ ‪ -‬ﻤﻥ ﺠﻬﺔ‪ ،‬ﻭﻴﺯﻴ ُﺩ ﻜﺭﻫَﻙ ﻫﺫﺍ ﺍﻟﺭﺠ َ‬
‫ل ﺍﻟﺭﺴﻭ َ‬
‫ﺽ ﻫﺫﺍ ﺍﻟﺭﺠ ﹺ‬
‫ﺒﻐ ﹺ‬

‫ﺝ ﺇﻟﻰ ﺠﻬـ ٍﺩ‬

‫ﺕ ﻫﺫﻩ ﺍﻟﻜﻠﻤ ِﺔ‪ ،‬ﺒﺎﺴﺘﺜﻨﺎ ِﺀ ﺍﻟﻨﻭﻥ‪ ،‬ﺘﺤﺘﺎ ُ‬
‫ﻥ ﺠﻤﻴ َﻊ ﺃﺼﻭﺍ ِ‬
‫ﻲ‪ ،‬ﺇﻟﻰ ﺃ ﱠ‬
‫ل ﺍﻟﻤﻭﺴﻴﻘ ﱡ‬
‫ﻭﻴﻌﻭ ُﺩ ﻫﺫﺍ ﺍﻟﺜﻘ ُ‬

‫ل‬
‫ﻥ ﺃﺜﻘـ َ‬
‫ﻼ‪ ،‬ﻴﻜـﻭ ُ‬ ‫ﺕ ﻓﻲ ﺍﻟﻜﻠﻤﺔ؛ ﻓﺼﻭ ﹸ‬
‫ﺕ ﺍﻟﻬﻤﺯ ِﺓ ﻤﺜ ﹰ‬ ‫ﺏ ﻫﺫﻩ ﺍﻷﺼﻭﺍ ِ‬
‫ﻜﺒﻴ ﹴﺭ ﻟﻨﻁﻘِﻬﺎ‪ ،‬ﻜﻤﺎ ﻴﻌﻭ ُﺩ ﺇﻟﻰ ﺘﺭﺘﻴ ﹺ‬

‫ﻥ‬
‫ﺕ ))‪ ...‬ﻻ ﻴﻜﻭ ُ‬
‫ﻥ ﻫﺫﺍ ﺍﻟﺼﻭ ﹶ‬
‫ﻁ ﺍﻟﻜﻠﻤ ِﺔ ﺃﻭ ﺁﺨﺭﹺﻫﺎ‪ .‬ﻭﻤﻤّﺎ ﻴﺅﻜﹼ ُﺩ ﺫﻟﻙ‪ ،‬ﺃ ﱠ‬
‫ﻥ ﻓﻲ ﻭﺴ ِ‬
‫ﻥ‪ ،‬ﺇﺫﺍ ﻜﺎ َ‬
‫ﻋﻠﻰ ﺍﻟﻠﹼﺴﺎ ﹺ‬
‫ﻻ ﺍﺒﺘﺩﺍ ًﺀ(()‪ ،(3‬ﺒﺎﺴﺘﺜﻨﺎ ِﺀ ﺍﻟﻌﺭﺒﻴّﺔ‪.‬‬
‫ﺕﺇﹼ‬
‫ﻓﻲ ﺸﻲ ٍﺀ ﻤﻥ ﺍﻟﻠﹼﻐﺎ ِ‬

‫ﺕ ﺠﻤﻴ َﻊ ﺼﻭﺍﻤﺘِﻬﺎ‪ ،‬ﺒﺎﺴﺘﺜﻨﺎ ِﺀ ﺍﻟﺭّﺍﺀ‪،‬‬

‫(؛ ﻟﻭﺠﺩ ﹶ‬ ‫ـﺭ‪ab / tar :‬‬
‫ﺕ ﻜﺫﻟﻙ‪ ،‬ﺍﻟﻜﻠﻤـ ﹶﺔ )َﺃﺒْﺘ َ‬
‫ﻭﻟﻭ ﺘﺄﻤّﻠ ﹶ‬

‫ﻉ ﺍﻟ ﱠﻨ ﹶﻔﺱﹺ ﻫﺫﺍ‪ ،‬ﻤـﺎ‬

‫ﻱ ﻓﻴﻪ(()‪ .(4‬ﻭﻓﻲ ﺍﻨﻘﻁﺎ ﹺ‬ ‫ﻱ‪)) ،‬ﺍﻟﺫﻱ ﻴﻤﻨ ُﻊ ﺍﻟﺼﻭ ﹶ‬
‫ﺕ ﺃﻥ ﻴﺠﺭ َ‬ ‫ﻉ ﻏﻴ ﹺﺭ ﺍﻻﺴﺘﻤﺭﺍﺭ ﱢ‬
‫ﻤﻥ ﺍﻟﻨﻭ ﹺ‬
‫ﺏ ﻟﻪ‪َ ...‬ﻤﻥْ‬
‫ل ﺍﻟﻘﻁﻊ؛ ﻓـ))ﺍﻷﺒﺘ ُﺭ‪َ ...:‬ﻤﻥْ ﻻ ﻋﻘ َ‬
‫ل ﺍﺴﺘﺌﺼﺎ ﹺ‬
‫ﻕ ﺩﻻﻟ ﹶﺔ ﻫﺫﻩ ﺍﻟﻜﻠﻤـ ِﺔ‪ ،‬ﺍﻟﺘﻲ ﺘﺩﻭ ُﺭ ﺤﻭ َ‬
‫ﻴﻭﺍﻓ ﹸ‬

‫ﺹ‬
‫ﻭﻓﻲ ﻫﺫﻩ ﺍﻟﻤﻌﺎﻨﻲ‪ ،‬ﻤﺎ ﻴﺼﻭّ ُﺭ ﻟﻨﺎ ﺸ ّﺩ ﹶﺓ ﺍﻟﺠﺯﺍ ِﺀ ﺍﻟﺫﻱ ﻻﻗﺎﻩ ﺍﻟﻌـﺎ ُ‬ ‫ﺍﻟﺫﻟﻴل(()‪.(5‬‬ ‫ﻻ ﺨﻴ َﺭ ﻓﻴﻪ‪ ...‬ﺍﻟﺤﻘﻴ ُﺭ‬

‫ﻥ ﻭﺍﺌل‪ ،‬ﻟﻌﻨﹶﻪ ﺍﷲ‪.‬‬

‫ﺒُ‬

‫)‪(1‬‬
‫ﻲ ﺒﻥ ﺃﺤﻤﺩ ﺍﻟﻭﺍﺤﺩﻱ‪ :‬ﺍﻟﻭﺴﻴﻁ ﻓﻲ ﺘﻔﺴﻴﺭ ﺍﻟﻘﺭﺁﻥ ﺍﻟﻤﺠﻴﺩ‪.563 / 4 .‬‬
‫ﺍﻟﻨﻴﺴﺎﺒﻭﺭﻱ‪ ،‬ﺃﺒﻭ ﺍﻟﺤﺴﻥ ﻋﻠ ّ‬
‫)‪(2‬‬
‫ﺍﻟ ّﺯﺠّﺎﺝ‪ ،‬ﺃﺒﻭ ﺇﺴﺤﺎﻕ ﺇﺒﺭﺍﻫﻴﻡ ﺒﻥ ﺍﻟﺴّﺭﻱ‪ :‬ﻤﻌﺎﻨﻲ ﺍﻟﻘﺭﺁﻥ ﻭﺇﻋﺭﺍﺒﻪ‪.370 / 5 .‬‬
‫)‪(3‬‬
‫ﻲ ﻓﻲ ﻓﻘﻪ ﺍﻟﻠﹼﻐﺔ ﺍﻟﻌﺭﺒﻴّﺔ ﻭﻤﺴﺎﺌﻠﻬﺎ ﻭﺴﻨﻥ ﺍﻟﻌﺭﺏ ﻓﻲ ﻜﻼﻤﻬﺎ‪ .‬ﻋﻠﹼﻕ ﻋﻠﻴﻪ ﻭﻭﻀـﻊ‬
‫ﺍﺒﻥ ﻓﺎﺭﺱ‪ ،‬ﺃﺒﻭ ﺍﻟﺤﺴﻴﻥ ﺃﺤﻤﺩ‪ :‬ﺍﻟﺼﺎﺤﺒ ّ‬
‫ﺤﻭﺍﺸﻴﻪ ﺃﺤﻤﺩ ﺤﺴﻥ ﺒﺴﺞ‪ .‬ﻁ‪ .1‬ﺒﻴﺭﻭﺕ‪ :‬ﺩﺍﺭ ﺍﻟﻜﺘﺏ ﺍﻟﻌﻠﻤﻴّﺔ‪ .1997 .‬ﺹ‪.63‬‬
‫)‪(4‬‬
‫ﺴﻴﺒﻭﻴﻪ‪ ،‬ﺃﺒﻭ ﺒﺸﺭ ﻋﻤﺭﻭ ﺒﻥ ﻋﺜﻤﺎﻥ‪ :‬ﻜﺘﺎﺏ ﺴﻴﺒﻭﻴﻪ‪.434 / 4 .‬‬
‫)‪ (5‬ﺃﻨﻴﺱ‪ ،‬ﺇﺒﺭﺍﻫﻴﻡ‪ ،‬ﻭﺁﺨﺭﻭﻥ‪ :‬ﺍﻟﻤﻌﺠﻡ ﺍﻟﻭﺴﻴﻁ‪ .‬ﺍﻟﻤﺎﺩّﺓ‪) :‬ﺏ‪ ،‬ﺕ‪ ،‬ﺭ(‪.‬‬
‫‪127‬‬
‫ﺡ‬
‫ﺕ ﻭﻀـﻭ ﹴ‬
‫ل ﺍﻵﺘﻲ؛ ﻭﺠﺩﻨﺎﻫﺎ ﺫﺍ ﹶ‬
‫ل ﺍﻟﺠﺩﻭ ﹺ‬
‫ﻭﺇﺫﺍ ﻨﻅﺭﻨﺎ ﻓﻲ ﻫﺫﻩ ﺍﻟﺴﻭﺭ ِﺓ ﻨﻅﺭ ﹰﺓ ﺸﺎﻤﻠـ ﹰﺔ‪ ،‬ﻤﻥ ﺨﻼ ﹺ‬

‫ﺡ ﻓﻲ ﺍﻟﺴﻤﻊ؛ ﻓﺈﻀﺎﻓ ﹰﺔ ﺇﻟـﻰ )‪ (27‬ﺤﺭﻜـ ﹰﺔ‪،‬‬

‫ﺕ ﺍﻟﺸﺩﻴﺩ ِﺓ ﺍﻟﻭﻀﻭ ﹺ‬
‫ل‪ ،‬ﻴﻌﻭ ُﺩ ﺇﻟﻰ ﻏﻠﺒ ِﺔ ﺍﻷﺼﻭﺍ ِ‬
‫ﻲ ﻋﺎ ﹴ‬
‫ﺴﻤﻌ ﱟ‬

‫ﻥ )‪ (7‬ﻤﺭّﺍﺕ‪ ،‬ﻭﺍﻟـﺭّﺍ ُﺀ )‪ (4‬ﻤـﺭّﺍﺕ‪،‬‬

‫ﻴﺭ ُﺩ ﻓﻴﻬﺎ ﻨﺼﻔﺎ ﺍﻟﺤﺭﻜ ِﺔ‪ :‬ﺍﻟﻭﺍ ُﻭ ﻭﺍﻟﻴﺎ ُﺀ‪ (4) ،‬ﻤﺭّﺍﺕ‪ ،‬ﻭﺘﺭ ُﺩ ﺍﻟﻨﻭ ُ‬
‫ﻉ )‪ (53‬ﺼﻭﺘﹰﺎ‪ ،‬ﻤـﻥ )‪(68‬‬
‫ﻥ ﺍﻟﻤﺠﻤﻭ ُ‬
‫ﻥ ﻤ ّﺭ ﹰﺓ ﻭﺍﺤﺩﺓ؛ ﻟﻴﻜﻭ َ‬
‫ل ﻤﻥ ﺍﻟﻼ ﹺﻡ ﻭﺍﻟﻬﻤﺯ ِﺓ )‪ (5‬ﻤﺭّﺍﺕ‪ ،‬ﻭﺍﻟﻌﻴ ُ‬
‫ﻭﻜ ﱞ‬

‫ﻲ ﺍﻟﻌﺎﻟـﻲ‪ ،‬ﺒﺩﻭﺭﹺﻩ‪ ،‬ﻋﻨﺼﺭًﺍ ﻤﻬﻤ‪‬ﺎ‪ ،‬ﻤﻥ ﺍﻟﻌﻨﺎﺼـ ﹺﺭ ﺍﻟﺘـﻲ‬

‫ﺡ ﺍﻟﺴﻤﻌ ﱡ‬
‫ل ﻫﺫﺍ ﺍﻟﻭﻀﻭ ُ‬
‫ﻓﻲ ﺍﻟﺴﻭﺭﺓ‪ .‬ﻭﻴﻤﺜﹼ ُ‬

‫ﻕ ﻤﻭﺴﻴﻘﻰ ﻟﻐﻭ ّﻴ ﹰﺔ ﻤﺘﻤﻴّﺯ ﹰﺓ‪ ،‬ﻓﻲ ﻫﺫﻩ ﺍﻟﺴﻭﺭﺓ‪.‬‬

‫ﺘﺤﻘﹼ ﹸ‬

‫ﺍﻟﺠﺩﻭل )‪ :(8‬ﺍﻟﻌﻨﺎﺼ ُﺭ ﺍﻟﺼﻭﺘﻴّ ﹸﺔ ﻟﺴﻭﺭ ِﺓ ﺍﻟﻜﻭﺜﺭ‬

‫ﺍﻟﻤﻘﺎﻁﻊ‬ ‫ﻨﺼﻔﺎ ﺍﻟﺤﺭﻜﺔ‬ ‫ﺍﻟﺤﺭﻜـﺎﺕ‬ ‫ﺍﻟﺼﻭﺍﻤـﺕ‬

‫ﻋﺩﺩﻩ‬ ‫ﺍﻟﻤﻘﻁﻊ‬ ‫ﻋﺩﺩﻩ‬ ‫ﻨﺼﻑ‬ ‫ﻋﺩﺩﻩ ﺍﻟﺤﺭﻜﺔ ﻋﺩﺩﻫﺎ‬ ‫ﺍﻟﺼﺎﻤﺕ‬ ‫ﻋﺩﺩﻩ‬ ‫ﺍﻟﺼﺎﻤﺕ‬
‫ﺍﻟﺤﺭﻜﺔ‬
‫‪10‬‬ ‫ﺹﺡ‬ ‫‪3‬‬ ‫ﺍﻟﻭﺍﻭ‬ ‫‪3‬‬ ‫‪aa‬‬ ‫‪1‬‬ ‫ﻁ‬ ‫‪5‬‬ ‫ﺀ‬
‫‪3‬‬ ‫ﺹﺡﺡ‬ ‫‪1‬‬ ‫ﺍﻟﻴﺎﺀ‬ ‫‪17‬‬ ‫‪a‬‬ ‫‪1‬‬ ‫ﻉ‬ ‫‪3‬‬ ‫ﺏ‬
‫‪14‬‬ ‫ﺹﺡﺹ‬ ‫ﺍﻟﻤﺠﻤﻭﻉ‪4 :‬‬ ‫‪1‬‬ ‫‪u‬‬ ‫‪1‬‬ ‫ﻑ‬ ‫‪1‬‬ ‫ﺕ‬
‫ﺍﻟﻤﺠﻤﻭﻉ‪27 :‬‬ ‫‪6‬‬ ‫‪i‬‬ ‫‪4‬‬ ‫ﻙ‬ ‫‪1‬‬ ‫ﺙ‬
‫ﺍﻟﻤﺠﻤﻭﻉ‪27 :‬‬ ‫‪5‬‬ ‫ل‬ ‫‪1‬‬ ‫ﺡ‬
‫‪7‬‬ ‫ﻥ‬ ‫‪4‬‬ ‫ﺭ‬
‫‪1‬‬ ‫ﻫـ‬ ‫‪1‬‬ ‫ﺵ‬
‫‪1‬‬ ‫ﺹ‬
‫ﺍﻟﻤﺠﻤﻭﻉ‪37 :‬‬
‫ﻤﺠﻤﻭﻉ ﺍﻷﺼﻭﺍﺕ ﺍﻟﻠﹼﻐﻭﻴّﺔ‪68 :‬‬

‫ﻥ ﺁﻴﺎﺘِﻬـﺎ‬
‫ﺏ ﺒـﻴ َ‬
‫ﻭﻤﻥ ﻫﺫﻩ ﺍﻟﻌﻨﺎﺼ ﹺﺭ ﺍﻟﺘﻲ ﺘﻤﻴّ ُﺯ ﻤﻭﺴﻴﻘﻰ ﻫﺫﻩ ﺍﻟﺴﻭﺭ ِﺓ‪ ،‬ﻫﺫﺍ ﺍﻟﺘﺴـﺎﻭﻱ ﻭﺍﻟﺘﻘـﺎﺭ ُ‬

‫ﺕ ﻭﺍﻟﻤﻘﺎﻁ ﹺﻊ ﺍﻟﺼﻭﺘﻴّﺔ؛ ﻓﺘﺤﺘﻭﻱ ﺍﻵﻴ ﹸﺔ ﺍﻷﻭﻟـﻰ ﻋﻠـﻰ )‪ (12‬ﺼـﺎﻤﺘﹰﺎ‪ ،‬ﻭ)‪(8‬‬

‫ﺙ‪ ،‬ﺒﻌﺩ ِﺩ ﺍﻟﺼﻭﺍﻤ ِ‬
‫ﺍﻟﺜﻼ ِ‬
‫ﻤﻘﺎﻁﻊ؛ ﻭﺍﻟﺜﺎﻨﻴ ﹸﺔ ﻋﻠﻰ )‪ (12‬ﺼﺎﻤﺘﹰﺎ‪ ،‬ﻭ)‪ (9‬ﻤﻘﺎﻁﻊ؛ ﻭﺍﻷﺨﻴﺭ ﹸﺓ ﻋﻠﻰ )‪ (13‬ﺼﺎﻤﺘﹰﺎ‪ ،‬ﻭ)‪ (10‬ﻤﻘـﺎﻁﻊ‪.‬‬

‫ﻅﻤُﻪ‪.‬‬
‫ﻉ ﺍﻟﺴﻭﺭ ِﺓ ﻭﻴﻨ ﹼ‬ ‫ﻭﻓﻲ ﻫﺫﺍ ﻤﺎ ﻴﻀﺒ ﹸ‬
‫ﻁ ﺇﻴﻘﺎ َ‬

‫‪128‬‬
‫ﻲ ﺍﻟﺫﻱ ﻴﻭﺍﺌ ُﻡ ﻤﻀﻤﻭﻨﹶﻬﺎ؛ ﻓﺈﻨﱠـﻙ ﻟﺘﺴﺘﺸـﻌ ُﺭ‬
‫ﺙ‪ ،‬ﺇﻴﻘﺎﻋُﻬﺎ ﺍﻟﻤﻘﻁﻌ ﱡ‬
‫ﺕ ﺍﻟﺜﻼ ِ‬
‫ل ﺁﻴ ٍﺔ ﻤﻥ ﻫﺫﻩ ﺍﻵﻴﺎ ِ‬
‫ﻭﻟﻜ ﱢ‬

‫ﻕ ﻟﺴﺎﻨِﻙ ﺴﻠﺴًﺎ‪ ،‬ﺒﺘﺘﺎﺒ ﹺﻊ ﺍﻟﻤﻘﺎﻁـ ﹺﻊ ﺍﻟﻤﺘﻭﺴّﻁــ ِﺔ ﺍﻟﻤﻐﻠﻘــ ِﺔ‪،‬‬

‫ﺽ ﺍﻟﻨﻌﻤ ِﺔ ﻭﺩﻭﺍﻤَﻬﺎ‪ ،‬ﻓـﻲ ﺍﻨﻁـﻼ ِ‬
‫ﻓﻴ َ‬

‫ﺏ‪ ،‬ﻓﻲ ﺍﻵﻴ ِﺔ ﺍﻷﻭﻟﻰ‪:‬‬

‫ﻕ ﻋﺫ ﹴ‬
‫ﻭﺍﻟﻤﺘﻭﺴّﻁ ِﺔ ﺍﻟﻤﻔﺘﻭﺤ ِﺔ‪ ،‬ﻓﻲ ﻨﺴ ٍ‬

‫‪in / naa /‬‬ ‫‪ac / ay / naa / kal / kaw / θar.‬‬

‫ﻲ‪ ،‬ﺍﻟﺫﻱ ﻴﺤﺩﺜﹸــﻪ ﺘﺘـﺎﺒ ُﻊ ﺃﺭﺒﻌـ ِﺔ‬

‫ﻉ ﺍﻟﺨﻴ ﹺﺭ‪ ،‬ﻓﻲ ﻫﺫﺍ ﺍﻟﺘﻭ ﹼﺘ ﹺﺭ ﺍﻟﻨﻁﻘ ﱢ‬
‫ل‪ ،‬ﻴُﺴﺘﺸ َﻌ ُﺭ ﺍﻨﻘﻁﺎ ُ‬
‫ﻭﻓﻲ ﺍﻟﻤﻘﺎﺒ ﹺ‬

‫ﺏ ﺍﻵﻴ ِﺔ ﺍﻷﺨﻴﺭﺓ‪ ...﴿ :‬ﺸﺎﻨِ َﺌﻙَ ُﻫ َﻭ ﺍﻟﹾـ‪:﴾...‬‬

‫ﺍﻟﻤﻘﺎﻁ ﹺﻊ ﺍﻟﻘﺼﻴﺭ ِﺓ‪ ،‬ﻓﻲ ﺘﺭﻜﻴ ﹺ‬

‫‪aa / ni /‬‬ ‫‪a / ka / hu / wal.‬‬

‫ﻥ )ﺍﻟﻜﻭﺜﺭ(‪،‬‬
‫ﻥ ﺍﻵﻴﺘﻴﻥ‪ ،‬ﺃﻻ ﻭﻫﻭ ﺍﻟﻤﻁﺎﺒﻘ ﹸﺔ ﺒﻴ َ‬
‫ﻲ‪ ،‬ﻓﻲ ﻫﺎﺘﻴ ﹺ‬
‫ﻭﻓﻲ ﺫﻟﻙ ﻤﺎ ﻴﺩﻋ ُﻡ ﻫﺫﺍ ﺍﻟﻤﻅﻬ َﺭ ﺍﻟﺒﻼﻏ ﱠ‬

‫ﺨﻴـﺭ)‪.(1‬‬ ‫ل‬
‫ﺍﻟﺘﻲ ﺘﻌﻨﻲ ﺍﻟﺨﻴ َﺭ ﺍﻟﻜﺜﻴﺭ‪ ،‬ﻭ)ﺍﻷﺒﺘﺭ( ﺍﻟﺘﻲ ﺘﻌﻨﻲ ﺍﻟﻤﻨﻘﻁ َﻊ ﻋﻥ ﻜ ﱢ‬

‫ﺙ ﻤﻘﺎﻁﻌُﻬﺎ ﺍﻟﻘﺼﻴﺭ ﹸﺓ ﺍﻟﻤﻭﺯّﻋ ﹸﺔ ﻓﻴﻬﺎ‪ ،‬ﺸﻴﺌًﺎ ﻤﻥ‬

‫ﺤﺭْ ﴾‪ ،‬ﻓﺘﺤﺩ ﹸ‬
‫ﻙ ﻭَﺍﻨﹾ َ‬
‫ل ِﻟ َﺭ ﱢﺒ َ‬
‫ﺼﱢ‬‫ﺃﻤّﺎ ﺍﻵﻴ ﹸﺔ ﺍﻟﺜﺎﻨﻴ ﹸﺔ‪ ﴿ :‬ﹶﻓ َ‬

‫ﻕ ﻤﻊ ﻗﺩﺴ ّﻴ ِﺔ ﺍﻟﻌﺒﺎﺩ ِﺓ‪ ،‬ﻭﻤﻜﺎﻨﺘِﻬﺎ ﺍﻟﻌﻠﻴﺎ‪:‬‬

‫ل ﻗﺭﺍﺀﺘﹶﻬﺎ ﻤﺘﺄﻨﹼﻴ ﹰﺔ‪ ،‬ﺘﺄ ﹼﻨﻴًﺎ ﻴﺘﹼﻔ ﹸ‬
‫ل‪ ،‬ﻴﺠﻌ ُ‬
‫ﺍﻟﺜﻘ ﹺ‬

‫‪fa / al / li / li / rab / bi / ka / wan /‬‬ ‫‪ar.‬‬

‫ﻥ ﻤﺘﻤﻴّﺯﺘﻴﻥ‪ ،‬ﺃﻻ ﻭﻫﻤﺎ‪ :‬ﺘﻜﺭﺍﺭﻴّ ﹸﺔ ﺍﻟﺭّﺍ ِﺀ ﺍﻟﺘﻲ‬

‫ﻥ ﺼﻭﺘﻴّﺘﻴ ﹺ‬
‫ﻭﺘﺼﻁﺒ ﹸﻎ ﻤﻭﺴﻴﻘﻰ ﻫﺫﻩ ﺍﻟﺴﻭﺭ ِﺓ‪ ،‬ﺒﺼﺒﻐﺘﻴ ﹺ‬

‫ل ﺍﻟﺤﺭﻜ ﹶﺔ ﺍﻟﻐﺎﻟﺒ ﹶﺔ ﻓﻲ ﺍﻟﺴﻭﺭﺓ‪ ،‬ﺒﻭﺭﻭﺩِﻫـﺎ )‪(20‬‬

‫ﺝ ﺍﻟﻔﺘﺤ ِﺔ‪ ،‬ﺍﻟﺘﻲ ﺘﻤﺜﹼ ُ‬
‫ﻉ ﻤﺨﺭ ﹺ‬
‫ﺘﻨﺘﻬﻲ ﺒﻬﺎ ﺍﻵﻴﺎﺕ‪ ،‬ﻭﺍﺘﹼﺴﺎ ُ‬

‫ﻥ ))ﺍﻟﺩﻋﻭ ﹶﺓ‬
‫ﻥ‪ ،‬ﺃﻥ ﺘﻌﻜﺴﺎ ﻤﺎ ﺘﻭﺤﻴﻪ ﻫﺫﻩ ﺍﻟﺴﻭﺭ ﹸﺓ‪ ،‬ﺃ ﱠ‬
‫ﻥ ﺍﻟﺼﺒﻐﺘﻴ ﹺ‬
‫ﻥ ﻫﺎﺘﻴ ﹺ‬
‫ﻤ ّﺭ ﹰﺓ‪ ،‬ﻤﻥ )‪ (27‬ﺤﺭﻜﺔ‪ .‬ﻭﻤﻥ ﺸﺄ ﹺ‬
‫ﻑ‪ ،‬ﻭﻫـﻲ‬
‫ﻥ ﺼﺎﺤﺒُﻬﺎ ﺃﺒﺘـﺭ‪ ،‬ﻭﻜﻴـ ﹶ‬
‫ﻥ ﺒﺘﺭﺍﺀ‪ ،‬ﻭﻻ ﺃﻥ ﻴﻜﻭ َ‬
‫ﻥ ﺃﻥ ﺘﻜﻭ َ‬
‫ﻕ ﻭﺍﻟﺨﻴﺭ‪ ،‬ﻻ ﻴﻤﻜ ُ‬
‫ﷲ ﻭﺍﻟﺤ ﱢ‬
‫ﺇﻟﻰ ﺍ ِ‬

‫ل ﻭﺍﻟﺸ ﱡﺭ‪ ،‬ﻭﻴﺒﺘ ُﺭ ﺃﻫﻠﹸﻪ‪ ،‬ﻤﻬﻤﺎ ﺒـﺩﺍ‬

‫ﻲ ﺍﻟﺨﺎﻟﺩ؟‪ .‬ﺇﻨﹼﻤﺎ ﻴﺒﺘ ُﺭ ﺍﻟﻜﻔ ُﺭ ﻭﺍﻟﺒﺎﻁ ُ‬
‫ﻲ ﺍﻟﺒﺎﻗﻲ ﺍﻷﺯﻟ ﱢ‬
‫ﷲ ﺍﻟﺤ ﱢ‬
‫ﻤﻭﺼﻭﻟﺔﹲ ﺒﺎ ِ‬

‫ل‪ ،‬ﻤﻤﺘ ﱡﺩ ﺍﻟﺠﺫﻭﺭ(()‪.(2‬‬

‫ل ﺍﻷﺠ ﹺ‬
‫ﻓﻲ ﻟﺤﻅ ٍﺔ ﻤﻥ ﺍﻟﻠﺤﻅﺎﺕ‪ ،‬ﺃﻨﱠﻪ ﻁﻭﻴ ُ‬

‫)‪(1‬‬
‫ﻲ‪ :‬ﺼﻔﻭﺓ ﺍﻟﺘﻔﺎﺴﻴﺭ‪.612 / 3 .‬‬
‫ﺍﻟﺼﺎﺒﻭﻨﻲ‪ ،‬ﻤﺤﻤّﺩ ﻋﻠ ّ‬
‫)‪ (2‬ﻗﻁﺏ‪ ،‬ﺴﻴّﺩ‪ :‬ﻓﻲ ﻅﻼل ﺍﻟﻘﺭﺁﻥ‪.3989 / 6 .‬‬
‫‪129‬‬
 ‫‪ .6‬ﺘﺤﻠﻴ ُل ﺴﻭﺭ ِﺓ ﺍﻹﺨﻼﺹ‬

‫ﻥ ﺍﻟ ّﺭﺤﻴﻡ‬
‫ﷲ ﺍﻟ ّﺭﺤﻤ ﹺ‬
‫ﺒﺴ ﹺﻡ ﺍ ِ‬

‫ﷲ ﺍﻟﻌﻅﻴﻡ‬
‫ﻕﺍ ُ‬
‫ﺼﺩ ﹶ‬

‫ﺍﻟﺴﻭﺭ ﹸﺓ ﺒﺎﻟﻜﺘﺎﺒ ِﺔ ﺍﻟﺼﻭﺘ ّﻴ ِﺔ‪ ،‬ﻤﻊ ﺘﺤﺩﻴ ِﺩ ﻤﻘﺎﻁﻌِﻬﺎ‪:‬‬

‫‪qul / hu / wal / laa / hu /‬‬ ‫‪a/‬‬ ‫‪ad X‬‬ ‫‪al / laa / hu‬‬ ‫‪/‬‬ ‫‪a / mad‬‬ ‫‪Y‬‬
‫‪lam / ya / lid / wa / lam / yuu / lad Z wa / lam / ya / kun / la / hu / ku / fu /‬‬

‫‪wan /‬‬ ‫‪a/‬‬ ‫‪ad [.‬‬

‫ﻥ؛‬
‫ل ﺍﻟﺸـﻔﺘﻴ ﹺ‬
‫ل‪ ،‬ﻭﻫـﻭ ﻤﻘﻔـ ُ‬
‫ﺽ ﺍﻟﺠﻤـ ﹺ‬
‫ﻕ ﺒﻌ ﹺ‬
‫ل ﻨﻁ ﹶ‬
‫ﻥ‪ ،‬ﺃﻥ ﻴﺤﺎﻭ َ‬
‫ﺕ ﺇﻟﻰ ﺃﺤ ِﺩ ﺍﻟﻤﺘﻜﻠﹼﻤﻴ َ‬
‫))‪ ...‬ﻟﻭ ﻁﻠﺒ ﹶ‬

‫ﻅ ﺍﻟﺠﻤﻠ ِﺔ‬
‫ﻥ ﺃﻥ ﺘﺴﻤ َﻊ ﺃﻟﻔﺎ ﹶ‬
‫ﻲ ﻟﻠﺠﻤﻠ ِﺔ ﺍﻟﻤﺭﺍﺩ ِﺓ‪ ،‬ﺩﻭ َ‬
‫ل ﺍﻟﺘﻨﻐﻴﻤ ﱠ‬
‫ﺕ ﻓﻲ ﻫﺫﻩ ﺍﻟﺤﺎﻟ ِﺔ‪ ،‬ﺃﻥ ﺘﺴﺘﻤ َﻊ ﺍﻟﻬﻴﻜ َ‬
‫ﻻﺴﺘﻁﻌ ﹶ‬
‫ل ﻤﺎ ﺇﺫﺍ ﻜﺎﻨﺕ ﺍﻟﺠﻤﻠ ﹸﺔ ﺍﻟﻤﺭﺍﺩ ﹸﺓ ﺍﻟﺘﻲ ﻟﻡ ﺘﺴـﻤﻊْ‬
‫ﻥ ﻓﻲ ﻤﻘﺩﻭﺭﹺﻙ ﻓﻲ ﻫﺫﻩ ﺍﻟﺤﺎﻟ ِﺔ‪ ،‬ﺃﻥ ﺘﻘﻭ َ‬
‫ﻨﻔﺴَﻬﺎ‪ ،‬ﻭﺴﻴﻜﻭ ُ‬

‫ﻕ‬
‫ﻥ ﺴـﻴﺎ ﹶ‬
‫ﻥ ﺤﺎﺠ ٍﺔ ﺇﻟﻰ ﺘﻔﻜﻴ ﹴﺭ ﺃﻭ ﺍﺴـﺘﻨﺘﺎﺝ؛ ﻷ ﱠ‬
‫ل ﺫﻟﻙ ﺩﻭ َ‬
‫ﺃﻟﻔﺎﻅﹶﻬﺎ‪ ،‬ﺍﺴﺘﻔﻬﺎﻤًﺎ‪ ،‬ﺃﻭ ﺇﺜﺒﺎﺘﹰﺎ‪ ،‬ﺃﻭ ﺘﺄﻜﻴﺩًﺍ‪ .‬ﺘﻔﻌ ُ‬

‫ﻁ ﺍﻟﻤﺤ ّﺩ ِﺩ‪ ،‬ﻤﺎ ﻟﻠﻜﻠﻤـ ِﺔ ﻓـﻲ ﺩﻻﻟﺘِﻬـﺎ ﻋﻠـﻰ‬

‫ﻲ ﺍﻟﻤﺸﺭﻭ ِ‬
‫ل ﺠﻤﻠ ٍﺔ‪ ،‬ﻟﻪ ﻤﻥ ﺍﻟﻁﺎﺒ ﹺﻊ ﺍﻟﻌﺭﻓ ﱢ‬
‫ﺕ ﻓﻲ ﻜ ﱢ‬
‫ﺍﻟﻨﻐﻤﺎ ِ‬
‫ﻤﻌﻨﺎﻫﺎ‪.(1)((...‬‬

‫ل‬
‫ﺕ ﻏﻴـ ﹺﺭ ﺍﻟﺘﺭﻜﻴﺒﻴّـ ِﺔ‪ ،‬ﻗﺒـ َ‬
‫ﺕ ﺍﻟﻔﻭﻨﻴﻤـﺎ ِ‬
‫ﻥ ﺒﻔﻬ ِﹺﻡ ﺩﻻﻻ ِ‬
‫ل ﻴﺒﺩﺅﻭ َ‬
‫ﻥ ﺍﻷﻁﻔﺎ َ‬
‫ﻅ ﻜﺫﻟﻙ‪ ،‬ﺃ ﱠ‬
‫ﻭﻟﻌﻠﱠﻙ ﺘﻼﺤ ﹸ‬

‫ﻥ‪ ،‬ﺃﻭ‬
‫ﺡ‪ ،‬ﺃﻭ ﺤـﺯ ﹴ‬
‫ﻥ ﺘﺨﺎﻁﺒُﻬﻡ‪ ،‬ﻤﻌﺒّـﺭ ﹰﺓ ﻋـﻥ ﻓـﺭ ﹴ‬
‫ﻼ‪ ،‬ﻨﻐﻤ ﹶﺔ ﺤﺩﻴﺜِﻙ‪ ،‬ﺤﻴ َ‬
‫ﻥ ﻤﺜ ﹰ‬
‫ﺍﻟﺘﺭﻜﻴﺒﻴّﺔ؛ ﻓﻬﻡ ﻴﻔﻬﻤﻭ َ‬
‫ﺙ ﺫﺍﺘِـﻪ‪.‬‬
‫ﻥ ﻋﻠﻰ ﻓﻬ ﹺﻡ ﺍﻟﺤﺩﻴ ِ‬
‫ﻥ ﻓﻴﻪ‪ ،‬ﻗﺎﺩﺭﻴ َ‬
‫ﺕ ﺍﻟﺫﻱ ﻻ ﻴﻜﻭﻨﻭ َ‬
‫ﻏﻀﺏ‪ ،...‬ﻓﻲ ﺍﻟﻭﻗ ِ‬

‫ل‬
‫ﻲ ﺍﻟﻤﺘﻤ ّﻴ َﺯ‪ ،‬ﺍﻟﺫﻱ ﻴﺤﺩﺜﹸـﻪ ﺘﻨﻐـﻴ ُﻡ ﻓﻌـ ﹺ‬
‫ﻲ ﺍﻟﺩﻻﻟ ﱠ‬ ‫ﻥ‪ ،‬ﻤﺎ ﻴﻌﻜ ُ‬
‫ﺱ ﺍﻷﺜ َﺭ ﺍﻟﺼﻭﺘ ﱠ‬ ‫ﻥ ﺍﻷﻤﺭﻴ ﹺ‬
‫ﻥ ﻓﻲ ﻫﺫﻴ ﹺ‬
‫ﺇﱠ‬

‫ﻲ‪ ،‬ﻤﺎ ﻴﺤﻤﻠﹸـﻪ ﺍﻷﻤـ ُﺭ ﻤـﻥ‬

‫ﻕ ﺒﺘﻠﻭﻴﻨِﻪ ﺍﻹﻴﻘﺎﻋ ﱢ‬
‫ﺍﻷﻤ ﹺﺭ‪ ) :‬ﹸﻗلْ‪ ،(qul :‬ﻓﻲ ﺒﺩﺍﻴ ِﺔ ﻫﺫﻩ ﺍﻟﺴﻭﺭﺓ؛ ﻓﻬﻭ ﻴﻌ ّﻤ ﹸ‬

‫)‪(1‬‬
‫ﺤﺴﺎﻥ‪ ،‬ﺘﻤﺎﻡ‪ :‬ﺍﻟﻠﻐﺔ ﺍﻟﻌﺭﺒﻴﺔ ﻤﻌﻨﺎﻫﺎ ﻭﻤﺒﻨﺎﻫﺎ‪ .‬ﺹ‪.226‬‬
‫‪130‬‬
‫ﺏ ﻭﺇﻟﺯﺍﻡ‪ ،‬ﻤُﺸﻌﺭًﺍ ﺒﻌﻅ ﹺﻡ ﻫﺫﺍ ﺍﻷﻤ ﹺﺭ‪ ،‬ﻭﻋﻅ ﹺﻡ ﻤﺎ ﻭﻗ َﻊ ﻤﻥ ﺃﺠﻠِﻪ‪ .‬ﺃﻀﻑﹾ ﺇﻟﻰ ﺫﻟﻙ‪ ،‬ﻤﺎ ﻴﺤ ﹼﻘﻘﹸﻪ ﻫـﺫﺍ‬
‫ﻭﺠﻭ ﹴ‬

‫ﺕ‪ ،‬ﻓﻲ ﺒﺩﺍﻴ ِﺔ ﺍﻟﺴﻭﺭﺓ‪.‬‬

‫ﻲ ﻻﻓ ٍ‬
‫ﺡ ﺴﻤﻌ ﱟ‬
‫ﺍﻟﺘﻨﻐﻴ ُﻡ ﻤﻥ ﻭﻀﻭ ﹴ‬

‫ﺉ‪ ،‬ﺤﺴﻤًﺎ ﻻ ﻴﺒﻠﻐﹸﻪ ﺤﺴﻡ؛ ﻓﻬﻭ‪ ،‬ﺇﻀﺎﻓ ﹰﺔ ﺇﻟﻰ ﺍﻹﻟﺯﺍ ﹺﻡ ﺍﻟﺫﻱ ﻴﺤﻤﻠﹸﻪ‪،‬‬
‫ل ﺍﻟﺒﺎﺩ ِ‬
‫ﻭﺇﻨﱠﻙ ﻟﺘﺠ ُﺩ ﻓﻲ ﻫﺫﺍ ﺍﻟﻔﻌ ﹺ‬
‫ﻕ‪ ،‬ﺍﻟﺫﻱ ﻻ ﻴﻤﺘ ﱡﺩ ﻤﻌﻪ ﺍﻟﺼﻭﺕ‪ .‬ﻭﻓـﻲ‬
‫ﻁ ﺍﻟﻤﻐﻠ ِ‬
‫ﺴِ‬ ‫ﻲ ﻭﺍﺤ ٍﺩ‪ ،‬ﻤﻥ ﺍﻟﻨﻭ ﹺ‬
‫ﻉ ﺍﻟﻤﺘﻭ ّ‬ ‫ﻤﺤﺼﻭﺭٌ ﻓﻲ ﻤﻘﻁ ﹴﻊ ﺼﻭﺘ ﱟ‬
‫ل ﻭﻋﻼ – ﺍﻟﻭﺍﺤ ِﺩ ﺍﻷﺤـﺩ‪،‬‬
‫ﷲ–ﺠﱠ‬ ‫ﻥ ﻫﺫﻩ ﺍﻟﺴﻭﺭ ِﺓ‪ ،‬ﺍﻟﺘﻲ ))ﺘﺤﺩّﺜﺕﹾ ﻋﻥ ﺼﻔﺎ ِ‬
‫ﺕﺍ ِ‬ ‫ﻫﺫﺍ ﻤﺎ ﻴﻭﺍﺌ ُﻡ ﻤﻀﻤﻭ َ‬
‫ﺕ‬
‫ل ﻤﺎ ﺴـﻭﺍﻩ‪ ،‬ﺍﻟﻤﺘﻨـ ّﺯ ِﻩ ﻋـﻥ ﺼـﻔﺎ ِ‬
‫ﻲ ﻋﻥ ﻜ ﱢ‬
‫ﺕ ﺍﻟﻜﻤﺎل‪ ،‬ﺍﻟﻤﻘﺼﻭ ِﺩ ﻋﻠﻰ ﺍﻟﺩﻭﺍﻡ‪ ،‬ﺍﻟﻐﻨ ﱢ‬
‫ﺍﻟﺠﺎﻤ ﹺﻊ ﻟﺼﻔﺎ ِ‬
‫ﻥ‬
‫ﻥ ﺍﻟﺫﻴ َ‬
‫ﻥ ﺒﺎﻟﺘﺜﻠﻴﺙ‪ ،‬ﻭﻋﻠﻰ ﺍﻟﻤﺸﺭﻜﻴ َ‬
‫ﺍﻟﻨﻘﺹ‪ ،‬ﻭﻋﻥ ﺍﻟﻤﺠﺎﻨﺴ ِﺔ ﻭﺍﻟﻤﻤﺎﺜﻠﺔ‪ ،‬ﻭﺭ ّﺩﺕﹾ ﻋﻠﻰ ﺍﻟﻨﺼﺎﺭﻯ ﺍﻟﻘﺎﺌﻠﻴ َ‬
‫ﻭﺍﻟﺒﻨﻴﻥ(()‪.(1‬‬ ‫ﷲ ﺍﻟﺫﹼﺭ ّﻴ ﹶﺔ‬
‫ﺠﻌﻠﻭﺍ ِ‬

‫ﻥ‪ ،‬ﺃﻭ‬
‫ل ﻋﻠﻰ ﻤﻌﻨﻰ ﺍﻟﺸـﺄ ﹺ‬
‫ﻥ‪ ،‬ﺍﻟﺫﻱ ))ﻴﺩ ﱡ‬
‫ﷲ َﺃﺤَﺩ‪ ،﴾...‬ﻓﻴﺒﺩُﺃ ﺒﻀﻤﻴ ﹺﺭ ﺍﻟﺸﺄ ﹺ‬
‫ل‪ُ ...﴿ :‬ﻫ َﻭ ﺍ ُ‬
‫ﺃﻤّﺎ ﺍﻟﻤَﻘﻭ ُ‬
‫ﻅ ﺍﻟﺠﻼﻟﺔ؛ ﻓﻠـﻭ ﻟـﻡ‬
‫ﻕ ﺘﻔﺨﻴ ُﻡ ﺍﻟﻼ ﹺﻡ ﻓﻲ ﻟﻔ ِ‬
‫ﻭﺒﺎﻟﻔﺘﺤ ِﺔ ﺍﻟﺘﻲ ﻴﻨﺘﻬﻲ ﺒﻬﺎ ﻫﺫﺍ ﺍﻟﻀﻤﻴ ُﺭ‪ ،‬ﻴﺘﺤﻘﹼ ﹸ‬ ‫ﺍﻷﻤﺭ‪.(2)((...‬‬

‫ﻕ ﻫـﺫﻩ ﺍﻟـﻼ ُﻡ‪ ،‬ﻭﻻ‬

‫ﷲ َﺃﺤَﺩ‪ .‬ﻭﻓﻲ ﻫﺫﻩ ﺍﻟﺤﺎﻟ ِﺔ ﺘﹸﺭﻗﹼـ ﹸ‬
‫لﺍ ُ‬
‫ﻴﻜﻥْ ﻫﺫﺍ ﺍﻟﻀﻤﻴ ُﺭ ﻤﻭﺠﻭﺩًﺍ؛ ﻟﻜﺎﻨﺕ ﺍﻵﻴـ ﹸﺔ‪ :‬ﹸﻗ ﹺ‬
‫ﻥ ﻴﺴﺒﻘﹸﻬﺎ‬
‫ﻻ ﺇﺫﺍ ﻜﺎ َ‬
‫ﻅ ﺍﻟﻼ ﹺﻡ ﻓﻲ ﺍﺴـ ﹺﻡ ﺍﻟﺠﻼﻟﺔ‪ ،‬ﺇ ﹼ‬
‫ﻥ ﺠﻤﻬﻭ َﺭ ﺍﻟﻘﺭّﺍ ِﺀ‪ ،‬ﻗﺩ ﺃﺠﻤﻌـﻭﺍ ﻋﻠﻰ ﺘﻐﻠﻴ ِ‬
‫ﺘﹸﻔﺨﹼﻡ؛ ﻟـ))ﺃ ﱠ‬
‫ﻜﺴﺭﺓ(()‪(3‬؛ ﺃﻱ ﺃﻨﱠﻬﺎ ))ﺘﹸﻔﺨﹼ ُﻡ ﺇﺫﺍ ﻭﻗﻌﺕﹾ ﺒﻌ َﺩ ﻀ ّﻤ ٍﺔ ﺃﻭ ﻓﺘﺤﺔ‪ ،‬ﻭﺘﹸﺭﻗﹼـ ﹸ‬
‫ﻕ ﺇﺫﺍ ﺴُﺒﻘﺕﹾ ﺒﻜﺴﺭﺓ(()‪ .(4‬ﻭﺒﻬﺫﻩ ﺍﻟﻼ ﹺﻡ‬
‫ﺽ ﻤﺸﺘﻘﹼﺎﺘِﻪ)‪(5‬؛ ﻟﻴﺘﹼﻔـ ﹶ‬
‫ﻕ ﺒﻬـﺫﺍ ﻤـﻊ‬ ‫ﻅ ﺍﻟﺠﻼﻟ ِﺔ )ﺍﷲ(‪ ،‬ﻭﺒﻌ ُ‬
‫ﺍﻟﻤﻔﺨﹼﻤ ِﺔ‪ ،‬ﻴﺘﻔﺭّ ُﺩ ﻓﻲ ﺍﻟﻌﺭﺒ ّﻴ ِﺔ ﺍﻟﻔﺼﻴﺤ ِﺔ‪ ،‬ﻟﻔ ﹸ‬
‫ﷲ‪ ،‬ﺴﺒﺤﺎﻨﹶﻪ‪.‬‬
‫ﻭﺤﺩﺍﻨ ّﻴ ِﺔ ﺍ ِ‬

‫ل ﻋﺒـ ُﺩ‬
‫ﻲ‪ ،‬ﻓﻘﺎ َ‬
‫ﻼ ﻏﻴ َﺭ ﺼﻭﺘ ّ‬
‫ﷲ ﺘﻌﺎﻟﻰ‪ ،‬ﺘﻌﻠﻴ ﹰ‬
‫ﺽ ﻋﻠﻤﺎ ِﺀ ﺍﻟﺘﺠﻭﻴ ِﺩ‪ ،‬ﻟﺘﻔﺨﻴ ﹺﻡ ﺍﻟﻼ ﹺﻡ ﻓﻲ ﺍﺴ ﹺﻡ ﺍ ِ‬
‫))ﻭﻗ ّﺩ َﻡ ﺒﻌ ُ‬
‫ﷲ – ﺘﻌـﺎﻟﻰ ﺫﻜـﺭُﻩ – ﻤـﺎ‬
‫ﺏ ﺍﻟﻘﺭﻁﺒﻲ ]ﺕ ‪ 462‬ﻫـ[‪ " :‬ﻭﺍﻟﻭﺠ ُﻪ ﻓﻲ ﺘﻔﺨﻴ ﹺﻡ ﺍﻟﻼ ﹺﻡ ﻓﻲ ﺍﺴ ﹺﻡ ﺍ ِ‬
‫ﺍﻟﻭﻫﺎ ﹺ‬
‫ﻻ ﺃﻥ ﻴﻤﻨ َﻊ ﻤﻨﻪ ﻤﺎﻨﻊ "(()‪.(6‬‬
‫ل ﻤﻥ ﺍﻟﺘﻨﺒﻴ ِﻪ ﻋﻠﻰ ﻓﺨﺎﻤ ِﺔ ﺍﻟﻤﺴﻤّﻰ ﺒﻪ ﻭﺠﻼﻟِﻪ‪ ،‬ﻭﺫﻟﻙ ﺃﺼلٌ ﻓﻴﻪ‪ ،‬ﺇ ﹼ‬
‫ﻴﺤﺎﻭ ُ‬

‫)‪(1‬‬
‫ﻲ‪ :‬ﺼﻔﻭﺓ ﺍﻟﺘﻔﺎﺴﻴﺭ‪.620 / 3 .‬‬
‫ﺍﻟﺼﺎﺒﻭﻨﻲ‪ ،‬ﻤﺤﻤّﺩ ﻋﻠ ّ‬
‫)‪(2‬‬
‫ﻱ‪ .‬ﺒﻴﺭﻭﺕ‪ :‬ﺩﺍﺭ ﺍﻟﻨﻬﻀﺔ ﺍﻟﻌﺭﺒﻴّﺔ‪ .1983 .‬ﺹ‪.41‬‬
‫ﺍﻟﺭّﺍﺠﺤﻲ‪ ،‬ﻋﺒﺩﻩ‪ :‬ﺍﻟﺘﻁﺒﻴﻕ ﺍﻟﻨﺤﻭ ّ‬
‫)‪(3‬‬
‫ﺃﻨﻴﺱ‪ ،‬ﺇﺒﺭﺍﻫﻴﻡ‪ :‬ﺍﻷﺼﻭﺍﺕ ﺍﻟﻠﻐﻭﻴّﺔ‪ .‬ﺹ‪.64‬‬
‫)‪(4‬‬
‫ﺍﻟﺤﻤﺩ‪ ،‬ﻏﺎﻨﻡ ﻗﺩّﻭﺭﻱ‪ :‬ﺍﻟﺩﺭﺍﺴﺎﺕ ﺍﻟﺼﻭﺘﻴّﺔ ﻋﻨﺩ ﻋﻠﻤﺎﺀ ﺍﻟﺘﺠﻭﻴﺩ‪ .‬ﺹ‪.411‬‬
‫ﻼ ﻋﻥ‪ :‬ﻓﻴﺭﺠﺴﻭﻥ‪ ،‬ﺘﺸﺎﺭﻟﺯ‪ .‬ﺃ‪ :‬ﺍﻟﻼﻡ ﺍﻟﻤﻔﺨﹼﻤﺔ ﻓـﻲ‬
‫ﻲ ﻓﻲ ﺍﻟﻠﹼﻐﺔ ﺍﻟﻌﺭﺒﻴّﺔ‪ .‬ﺹ‪ .78‬ﻨﻘ ﹰ‬
‫ﺍﻟﻌﺎﻨﻲ‪ ،‬ﺴﻠﻤﺎﻥ ﺤﺴﻥ‪ :‬ﺍﻟﺘﺸﻜﻴل ﺍﻟﺼﻭﺘ ّ‬ ‫)‪(5‬‬

‫ﺍﻟﻌﺭﺒﻴّﺔ‪ ،The Emphatic "L" in Arabic :‬ﻤﺠﻠﹼﺔ ﺍﻟﻠﹼﻐﺔ )‪ .3 .(Language‬ﻤﺞ ‪1956 .32‬ﻡ ‪.452 – 446 /‬‬
‫)‪(6‬‬
‫ﺹ ﺍﻟﻘﺭﻁﺒﻲ ﻨﻘلٌ ﻋـﻥ‪ :‬ﺍﻟﻘــﺭﻁﺒﻲ‪ ،‬ﺃﺒـﻭ‬
‫ﺍﻟﺤﻤﺩ‪ ،‬ﻏﺎﻨﻡ ﻗﺩّﻭﺭﻱ‪ :‬ﺍﻟﺩﺭﺍﺴﺎﺕ ﺍﻟﺼﻭﺘﻴّﺔ ﻋﻨﺩ ﻋﻠﻤﺎﺀ ﺍﻟﺘﺠﻭﻴﺩ‪ .‬ﺹ‪ .411‬ﻭﻨ ّ‬
‫ﺍﻟﻘﺎﺴﻡ ﻋﺒﺩ ﺍﻟﻭﻫﺎﺏ ﺒﻥ ﻤﺤﻤّﺩ ﺒﻥ ﻋﺒﺩ ﺍﻟﻭﻫﺎﺏ‪ :‬ﺍﻟﻤﻭﻀﺢ ﻓﻲ ﺍﻟﺘﺠﻭﻴﺩ‪ .‬ﻤﺨﻁﻭﻁ‪ .‬ﻤﻜﺘﺒﺔ ﺍﻷﻭﻗﺎﻑ‪ ،‬ﺍﻟﻤﻭﺼل‪ .‬ﺍﻟـﺭﻗﻡ ‪،22 / 2‬‬
‫ﻤﺨﻁﻭﻁﺎﺕ ﻤﺩﺭﺴﺔ ﺍﻟﺤﺠﻴﺎﺕ‪ .‬ﺍﻟﻭﺭﻗﺔ ‪ 164‬ﻅ‪ .‬ﻁﺒﻊ ﻓﻲ ﺩﺍﺭ ﻋﻤﺎﺭ‪ -‬ﺍﻷﺭﺩﻥ‪ ،‬ﺘﺤﻘﻴﻕ ﻏﺎﻨﻡ ﻗﺩّﻭﺭﻱ ﺍﻟﺤﻤﺩ‪.‬‬
‫‪131‬‬
‫ﻅ ﺍﻟﺠﻼﻟـ ِﺔ )ﺍﷲ‪:‬‬
‫ﻲ ﻟﻁﻴـﻑﹲ‪ ،‬ﻓـﻲ ﻟﻔـ ِ‬
‫ﻲ ﺩﻻﻟـ ﱞ‬
‫ﻥ ﻓﹸﻭﺭَﻙ)‪ – (1‬ﺭﺤﻤَﻪ ﺍﷲ – ﺭﺃﻱٌ ﺼـﻭﺘ ﱞ‬
‫ﻭﻻﺒ ﹺ‬

‫ﻑ ]ﺍﻟﻬﻤﺯﺓ[ ﻓﻲ ﺃ ّﻭﻟِﻪ‪ :‬ﺃﻨﱠﻬـﺎ‬

‫ﻥ ﻗﻴّﻡ ﺍﻟﺠﻭﺯ ّﻴـﺔ ﺒﻘﻭﻟِﻪ‪)) :‬ﺍﻟﺤﻜﻤ ﹸﺔ ﻓﻲ ﻭﺠﻭ ِﺩ ﺍﻷﻟ ِ‬
‫(‪ ،‬ﻨﻘﻠﹶﻪ ﺍﺒ ُ‬ ‫‪al / laah‬‬

‫ﷲ‪،‬‬
‫ل ﺍﻟﻤﻌﺭﻓ ِﺔ ﺇﻟﻴــﻪ ]ﺇﻟـﻰ ﺍ ِ‬
‫ﺏ ﺍﻟﺫﻱ ﻫـﻭ ﻤﺤ ﱡ‬
‫ﺕ‪ ،‬ﻗﺭﻴﺒًﺎ ﻤﻥ ﺍﻟﻘﻠـ ﹺ‬
‫ﺝ ﺍﻟﺼـﻭ ِ‬
‫ﻤﻥ ﺃﻗﺼﻰ ﻤﺨـﺎﺭ ﹺ‬
‫ﺃﻴﻀًﺎ‪.(2)((...‬‬ ‫ﺴﺒﺤﺎﻨﹶﻪ[‪ ،‬ﺜ ﱠﻡ ﺍﻟﻬﺎﺀ ﻓﻲ ﺁﺨﺭﹺﻩ‪ ،‬ﻤﺨﺭﺠﻬﺎ ﻤﻥ ﻫﻨﺎﻙ‬

‫ﻥ ﻫﺫﻩ ﺍﻟﺴﻭﺭ ِﺓ ﺇﺸﻌﺎﻋًﺎ؛ ﻓـﻬﻲ ))ﺇﺜﺒـﺎﺕﹲ ﻭﺘﻘﺭﻴـﺭٌ ﻟﻌﻘﻴــﺩ ِﺓ‬

‫ﻭﻓـﻲ ﺫﻟﻙ ﻜﻠﱢﻪ‪ ،‬ﻤﺎ ﻴﺯﻴ ُﺩ ﻤﻀﻤﻭ َ‬

‫ﻲ ﻤـﺎ‬
‫ﺕ ﺍﻟﻜﻤﺎل‪ ،‬ﻭﻨﻔ َ‬
‫ﻕ ﺒﺠﻼﻟِﻪ ]ﺴﺒﺤﺎﻨﹶﻪ[ ﻤﻥ ﺼﻔﺎ ِ‬ ‫ﺍﻟﺘﻭﺤﻴ ِﺩ ﺍﻹﺴﻼﻤﻴّﺔ(()‪(3‬؛ ))ﻓﺘﻀﻤّﻨﺕ‪ ...‬ﺇﺜﺒﺎ ﹶ‬
‫ﺕ ﻤﺎ ﻴﻠﻴ ﹸ‬
‫ﻭﻨﻅﻴﺭًﺍ‪.(4)((...‬‬ ‫ﻼ‪ ،‬ﻭﻓﺭﻋًﺎ‪،‬‬
‫ﻙ ﺃﺼ ﹰ‬
‫ﻕ ﺒﻪ ﻤﻥ ﺍﻟﺸﺭﻴ ِ‬
‫ﻻ ﻴﻠﻴ ﹸ‬

‫ﻅ‬
‫ل ﻟﻔ ِ‬
‫ﻥ ﺍﻟﻜﺭﻴـ ﹺﻡ‪ ،‬ﻤﺫﻫﺒًﺎ ﺨﺎﺼ‪‬ﺎ ﻓﻲ ﻨﻘ ﹺ‬
‫ﺏ ﻤﺤﻤّﺩ ﻤﺭﻤﺩﻭﻙ ﺒﻜﺜﺎل‪ ،‬ﻓـﻲ ﺘﻔﺴﻴﺭﹺﻩ ﻟﻠﻘﺭﺁ ﹺ‬
‫ﻭﻗـﺩ ﺫﻫ َ‬

‫ﻅ ﺍﻟﺠﻼﻟ ِﺔ ﻋﺎﺩ ﹰﺓ ﺒﻬﺎ‪ ،‬ﻻ‬

‫ﻥ ﺍﻟﻜﻠﻤ ﹶﺔ )‪ ،(God‬ﺍﻟﺘﻲ ُﻴﺘﹶﺭﺠ ُﻡ ﻟﻔ ﹸ‬
‫ﻅﺃﱠ‬
‫ﺍﻟﺠﻼﻟ ِﺔ )ﺍﷲ( ﺇﻟﻰ ﺍﻹﻨﺠﻠﻴﺯﻴّﺔ؛ ﻓﻘﺩ ﻻﺤ ﹶ‬

‫ﻲ؛ ﻓﻬـﻲ ﻓـﻲ‬

‫ﺉ ﺍﻟﻌﺭﺒـ ّ‬
‫ﻥ ﺍﻟﻘـﺎﺭ ِ‬
‫ﻅ ﺍﻟﺠﻼﻟ ِﺔ ﻓﻲ ﺫﻫ ﹺ‬
‫ﻱ‪ ،‬ﻤﺎ ﻴﺜﻴﺭُﻩ ﻟﻔ ﹸ‬
‫ﺉ ﺍﻹﻨﺠﻠﻴﺯ ﱢ‬
‫ﻥ ﺍﻟﻘﺎﺭ ِ‬
‫ﺘﺜﻴ ُﺭ ﻓﻲ ﺫﻫ ﹺ‬

‫ﻙ‬
‫ﺙ ﺒـ)‪ ،(Goddess‬ﻭﺘﹸﺠﻤ ُﻊ ﻋﻠﻰ )‪ .(Gods‬ﺃﻤّﺎ ﺍﻟﻜﻠﻤ ﹸﺔ )ﺍﷲ(‪ ،‬ﻭﻫﻭ ﻭﺍﺤﺩٌ ﻻ ﺸﺭﻴ َ‬
‫ﺍﻹﻨﺠﻠﻴﺯ ّﻴ ِﺔ ﺘﹸﺅﻨﹼ ﹸ‬

‫ﺱ ﻟﻬﺎ ﻤﺜﻨًّﻰ‪ ،‬ﻭﻻ ﺠﻤﻊٌ‪ ،‬ﻭﻻ ﻤﺅﻨﹼﺙ‪ .‬ﺇﺫﻥ ﻓﺎﻟﺘﺼﻭّ ُﺭ ﺍﻟﺫﻱ ﺘﺸﻴ ُﺭ ﺇﻟﻴﻪ ﺍﻟﻜﻠﻤـ ﹸﺔ )ﺍﷲ(‪،‬‬
‫ﻟﻪ‪ ،‬ﺴﺒﺤﺎﻨﹶﻪ‪ ،‬ﻓﻠﻴ َ‬
‫ﺘﺼ ّﻭﺭٌ ﻴﻘﻀﻲ ﻋﻠﻰ ﺍﻟﺸﺭﻙ‪ .‬ﺃﻤّﺎ ﺍﻟﻜﻠﻤ ﹸﺔ )‪ ،(God‬ﻓﻠﻴﺴﺕﹾ ﻜﺫﻟﻙ‪ .‬ﻭﻟﻡ ﻴﺠﺩْ ﺒﻜﺜﺎل ﻓـﻲ ﺍﻹﻨﺠﻠﻴﺯﻴّـ ِﺔ‪،‬‬

‫ﻅ ﺒﺎﻟﻜﻠﻤ ِﺔ )ﺍﷲ( ﻓﻲ ﺍﻹﻨﺠﻠﻴﺯ ّﻴ ِﺔ ﻋﻠﻰ ﺤﺎﻟِﻬﺎ‪.(5)(Allah) :‬‬

‫ل ﺍﻟﻜﻠﻤ ﹶﺔ )ﺍﷲ( ﻓﻲ ﺍﻟﻌﺭﺒﻴّﺔ؛ ﻓﺎﺤﺘﻔ ﹶ‬
‫ﻜﻠﻤ ﹰﺔ ﺘﻘﺎﺒ ُ‬

‫ل ﻭﺍﺤ ٍﺩ ﻤﻨﻬﻤﺎ ﻤﻥ ﺍﺴـﺘﺩﻋﺎ ِﺀ‬

‫ﻥﻜﱠ‬
‫ﻅ ﻭﺍﻟﻤﺩﻟﻭل‪ :‬ﻋﻼﻗﺔﹲ ﺘﻤﻜﹼ ُ‬ ‫ﻥ ﺍﻟﻤﻌﻨﻰ ))ﻋﻼﻗﺔﹲ ﻤﺘﺒﺎﺩﻟﺔﹲ ﺒﻴ َ‬
‫ﻥ ﺍﻟﻠﻔ ِ‬ ‫ﻭﻷ ﱠ‬
‫ﻅ‬
‫ﺏ ﻤﺎ ﻴﻌﻜﺴُﻪ ﻟﻔـ ﹸ‬
‫ﺕ ﺍﻟﻼ ﹺﻡ ﻓـﻲ ﻫﺫﻩ ﺍﻟﺴﻭﺭ ِﺓ‪ ،‬ﺃﻥ ﻴﻜﺘﺴ َ‬
‫ﻥ ﺼﻭ ِ‬
‫ﻥ ﻤﻥ ﺸﺄ ﹺ‬
‫ل‪ :‬ﺇ ﱠ‬
‫ﺍﻵﺨﺭ(()‪ ،(6‬ﻴﻤﻜﻨﹸﻨﻲ ﺍﻟﻘﻭ ُ‬

‫)‪(1‬‬
‫ﻱ ﺍﻟﻭﺍﻋﻅ ﺍﻷﺼﺒﻬﺎﻨﻲّ‪ ،‬ﺼﺎﺤﺏ ﺍﻟﺘﺼـﺎﻨﻴﻑ‪ .‬ﺕ‬
‫ﻲ ﺍﻷﺩﻴﺏ ﺍﻟﻨﺤﻭ ّ‬
‫ﻫﻭ ﺃﺒﻭ ﺒﻜﺭ ﻤﺤﻤّﺩ ﺒﻥ ﺍﻟﺤﺴﻥ ﺒﻥ ﻓﹸﻭﺭَﻙ‪ ،‬ﺍﻟﻤﺘﻜﻠﹼﻡ ﺍﻷﺼﻭﻟ ّ‬
‫‪ 406‬ﻫـ‪ .‬ﺍﻨﻅﺭ‪ :‬ﺍﺒﻥ ﺨﻠﹼﻜﺎﻥ‪ ،‬ﺃﺒﻭ ﺍﻟﻌﺒّﺎﺱ ﺸﻤﺱ ﺍﻟﺩﻴﻥ ﺃﺤﻤﺩ ﺒﻥ ﻤﺤﻤّﺩ‪ :‬ﻭﻓﻴﺎﺕ ﺍﻷﻋﻴﺎﻥ ﻭﺃﻨﺒﺎﺀ ﺃﺒﻨﺎﺀ ﺍﻟﺯﻤﺎﻥ‪ 8 .‬ﻤﺞ‪ .‬ﺘﺤﻘﻴـﻕ‬
‫ﺇﺤﺴﺎﻥ ﻋﺒّﺎﺱ‪ .‬ﺒﻴﺭﻭﺕ‪ :‬ﺩﺍﺭ ﺼﺎﺩﺭ‪) .‬ﺩ‪ .‬ﺕ(‪.272 / 4 .‬‬
‫)‪(2‬‬
‫ﻲ ﺒﻥ ﻤﺤﻤّﺩ ﺍﻟﻌﻤﺭﺍﻥ‪ .‬ﺩﺍﺭ ﻋﺎﻟﻡ ﺍﻟﻔﻭﺍﺌﺩ‪.‬‬
‫ﺍﺒﻥ ﻗﻴّﻡ ﺍﻟﺠﻭﺯﻴّﺔ‪ ،‬ﺃﺒﻭ ﻋﺒﺩ ﺍﷲ ﻤﺤﻤّﺩ ﺒﻥ ﺃﺒﻲ ﺒﻜﺭ‪ :‬ﺒﺩﺍﺌﻊ ﺍﻟﻔﻭﺍﺌﺩ‪ 5 .‬ﻤﺞ‪ .‬ﺘﺤﻘﻴﻕ ﻋﻠ ّ‬
‫)ﺩ‪ .‬ﺕ(‪.316 / 1 .‬‬
‫)‪(3‬‬
‫ﻗﻁﺏ‪ ،‬ﺴﻴّﺩ‪ :‬ﻓﻲ ﻅﻼل ﺍﻟﻘﺭﺁﻥ‪.4005 / 6 .‬‬
‫)‪(4‬‬
‫ﺍﺒﻥ ﻗﻴّﻡ ﺍﻟﺠﻭﺯﻴّﺔ‪ ،‬ﺃﺒﻭ ﻋﺒﺩ ﺍﷲ ﻤﺤﻤّﺩ ﺒﻥ ﺃﺒﻲ ﺒﻜﺭ‪ :‬ﺒﺩﺍﺌﻊ ﺍﻟﻔﻭﺍﺌﺩ‪.244 / 1 .‬‬
‫ﻼ ﻋﻥ‪:‬‬‫ﻲ‪ .‬ﺹ‪ .270‬ﻨﻘ ﹰ‬ ‫)‪ (5‬ﺍﻟﺴﻌﺭﺍﻥ‪ ،‬ﻤﺤﻤﻭﺩ‪ :‬ﻋﻠﻡ ﺍﻟﻠﹼﻐﺔ ﻤﻘﺩّﻤﺔ ﻟﻠﻘﺎﺭﺉ ﺍﻟﻌﺭﺒ ّ‬
‫‪Pickthall, Mohammed Marmaduke: The Meaning of The Glorious Koran: An Explanatory‬‬
‫‪Translation Published as a Mentor Book. New York. 1953. p. 31.‬‬
‫)‪ (6‬ﺃﻭﻟﻤﺎﻥ‪ ،‬ﺴﺘﻴﻔﻥ‪ :‬ﺩﻭﺭ ﺍﻟﻜﻠﻤﺔ ﻓـﻲ ﺍﻟﻠﹼﻐﺔ‪ .‬ﺘﺭﺠﻤﺔ ﻜﻤﺎل ﺒﺸﺭ‪ .‬ﻤﻜﺘﺒﺔ ﺍﻟﺸﺒﺎﺏ‪) .‬ﺩ‪ .‬ﺕ(‪ .‬ﺹ‪.65‬‬
‫‪132‬‬
‫ﻅ ﺍﻟﺠﻼﻟ ِﺔ‪ ،‬ﻤﻥ‬
‫ﺕ ﻓﻲ ﻟﻔ ِ‬
‫ل ﺃﻅﻬ َﺭ ﺍﻷﺼﻭﺍ ِ‬
‫ﺍﻟﺠﻼﻟ ِﺔ )ﺍﷲ(‪ ،‬ﻤﻥ ﺘﺼ ّﻭ ﹴﺭ ﻴﻘﻀﻲ ﻋﻠﻰ ﺍﻟﺸﺭﻙ؛ ﻟﻜﻭﻨِﻪ ﻴﻤﺜﹼ ُ‬

‫ل ﺍﻵﺘﻲ ‪ (11) -‬ﻤ ّﺭ ﹰﺓ‪ ،‬ﻤﻥ )‪ (37‬ﺼﺎﻤﺘﹰﺎ ﻓﻲ ﺍﻟﺴـﻭﺭﺓ‪ ،‬ﻤـﻥ‬

‫ﻥ ﻟﻨﺎ ﺍﻟﺠﺩﻭ ُ‬
‫ﺠﻬﺔ‪ ،‬ﻭﻟﺘﹶﻜﺭﺍﺭﹺﻩ – ﻜﻤﺎ ﻴﺒﻴّ ُ‬

‫ﺠﻬ ٍﺔ ﺃﺨﺭﻯ‪.‬‬

‫ﺍﻟﺠﺩﻭل )‪ :(9‬ﺍﻟﻌﻨﺎﺼ ُﺭ ﺍﻟﺼﻭﺘﻴّ ﹸﺔ ﻟﺴﻭﺭ ِﺓ ﺍﻹﺨﻼﺹ‬

‫ﺍﻟﻤﻘﺎﻁﻊ‬ ‫ﻨﺼﻔﺎ ﺍﻟﺤﺭﻜﺔ‬ ‫ﺍﻟﺤﺭﻜـﺎﺕ‬ ‫ﺍﻟﺼﻭﺍﻤـﺕ‬

‫ﻋﺩﺩﻩ‬ ‫ﺍﻟﻤﻘﻁﻊ‬ ‫ﻋﺩﺩﻩ‬ ‫ﻨﺼﻑ‬ ‫ﻋﺩﺩﻩ ﺍﻟﺤﺭﻜﺔ ﻋﺩﺩﻫﺎ‬ ‫ﺍﻟﺼﺎﻤﺕ‬ ‫ﻋﺩﺩﻩ‬ ‫ﺍﻟﺼﺎﻤﺕ‬
‫ﺍﻟﺤﺭﻜﺔ‬
‫‪13‬‬ ‫ﺹﺡ‬ ‫‪4‬‬ ‫ﺍﻟﻭﺍﻭ‬ ‫‪2‬‬ ‫‪aa‬‬ ‫‪2‬‬ ‫ﻙ‬ ‫‪3‬‬ ‫ﺀ‬
‫‪3‬‬ ‫ﺹﺡﺡ‬ ‫‪3‬‬ ‫ﺍﻟﻴﺎﺀ‬ ‫‪1‬‬ ‫‪uu‬‬ ‫‪11‬‬ ‫ل‬ ‫‪2‬‬ ‫ﺡ‬
‫‪14‬‬ ‫ﺹﺡﺹ‬ ‫ﺍﻟﻤﺠﻤﻭﻉ‪7 :‬‬ ‫ﺍﻟﻤﺠﻤﻭﻉ‪3 :‬‬ ‫‪4‬‬ ‫ﻡ‬ ‫‪5‬‬ ‫ﺩ‬
‫ﺍﻟﻤﺠﻤﻭﻉ‪30 :‬‬ ‫‪2‬‬ ‫ﻥ‬ ‫‪2‬‬ ‫ﺹ‬
‫‪18‬‬ ‫‪a‬‬ ‫‪4‬‬ ‫ﻫـ‬ ‫‪1‬‬ ‫ﻑ‬
‫‪8‬‬ ‫‪u‬‬ ‫‪1‬‬ ‫ﻕ‬
‫‪1‬‬ ‫‪i‬‬ ‫ﺍﻟﻤﺠﻤﻭﻉ‪37 :‬‬
‫ﺍﻟﻤﺠﻤﻭﻉ‪27 :‬‬
‫ﻤﺠﻤﻭﻉ‬
‫ﺍﻟﺤﺭﻜﺎﺕ‪30 :‬‬
‫ﻤﺠﻤﻭﻉ ﺍﻷﺼﻭﺍﺕ ﺍﻟﻠﹼﻐﻭﻴّﺔ‪74 :‬‬
‫ﻥ ﺍﻟﻌﺭﺒﻴّــ ﹶﺔ‬
‫ﺏ ﻫﺫﻩ ﺍﻟﺩﻻﻟـ ِﺔ‪ ،‬ﻓـﻲ ﻫﺫﻩ ﺍﻟﺴﻭﺭﺓ‪ ،‬ﺃ ﱠ‬
‫ﺕ ﺍﻟﻼ ﹺﻡ ﻋﻠﻰ ﺍﻜﺘﺴﺎ ﹺ‬
‫ﻭﻤﻤّﺎ ﻴﺅﻜﹼ ُﺩ ﻗﺩﺭ ﹶﺓ ﺼﻭ ِ‬
‫ﺩﺍﻻ ﻋﻠـﻰ ﺍﻟﺘﺨﺼﻴﺹ‪)) ،‬ﻜﻘﻭﻟِﻙ‪ :‬ﺍﻟﺤﻤـ ُﺩ ﷲ‪ .‬ﻓﻬﺫﻩ ﻻﻡٌ ﻤﺨﺘ ّ‬
‫ﺼﺔﹲ ﻓـﻲ ﺍﻟﺤﻘﻴﻘـ ِﺔ ﺒﺎﷲ‪ .‬ﻭﻤﺜﻠﹸﻬﺎ‬ ‫ﺠﻌﻠﺘﻪ ًّ‬
‫ﻗﻭﻟﹸﻪ ﺘﻌﺎﻟﻰ‪ ...﴿ :‬ﻭﺍﻷﻤ ُﺭ ﻴﻭﻤﺌ ٍﺫ ﷲ ﴾)‪.(2)(((1‬‬

‫ﻅ ﺍﻟﺠﻼﻟــ ِﺔ ﺤﺎﻀـﺭًﺍ‬
‫ﻲ ﻟﻔ ﹶ‬
‫ﻉ‪ ،‬ﻓـﻲ ﻫﺫﻩ ﺍﻟﺴﻭﺭ ِﺓ‪ ،‬ﺃﻥ ﻴُﺒﻘ َ‬
‫ﺕ ﺒﺘﹶﻜﺭﺍﺭﹺﻩ ﺍﻟﻤﻭ ّﺯ ﹺ‬
‫ﺇﺫﻥ‪ ،‬ﻓﻠﻬﺫﺍ ﺍﻟﺼﻭ ِ‬
‫ل ﺍﻟﺘﻭﻜﻴ ِﺩ‬
‫ﻼ ﻤﻥ ﺃﺸﻜﺎ ﹺ‬
‫ﻥ ﺍﻟﻤﺘﻠﻘﹼﻲ‪ ،‬ﻤﻥ ﺒﺩﺍﻴـ ِﺔ ﺍﻟﺴﻭﺭ ِﺓ ﺇﻟﻰ ﻨﻬﺎﻴﺘِﻬـﺎ‪ ،‬ﻤﺤﺩﺜﹰﺎ ﺒﺫﻟﻙ ﺸﻜ ﹰ‬
‫ﺒﺩﻻﻟﺘِﻪ‪ ،‬ﻓﻲ ﺫﻫ ﹺ‬
‫ﻲ ﻟﻤﻀﻤﻭﻨِﻬﺎ‪.‬‬
‫ﺍﻟﺼﻭﺘ ﱢ‬

‫)‪(1‬‬
‫ﺍﻻﻨﻔﻁﺎﺭ‪.19 :‬‬
‫)‪(2‬‬
‫ﺍﻟﺜﻌﺎﻟﺒﻲ‪ ،‬ﺃﺒﻭ ﻤﻨﺼﻭﺭ ﻋﺒﺩ ﺍﻟﻤﻠﻙ‪ :‬ﻓﻘﻪ ﺍﻟﻠﹼﻐﺔ ﻭﺴ ّﺭ ﺍﻟﻌﺭﺒﻴّﺔ‪ .‬ﺘﺤﻘﻴﻕ ﺤﻤﺩﻭ ﻁﻤّﺎﺱ‪ .‬ﻁ‪ .1‬ﺒﻴـﺭﻭﺕ‪ :‬ﺩﺍﺭ ﺍﻟﻤﻌﺭﻓـﺔ‪.2004 .‬‬
‫ﺹ‪.394‬‬
‫‪133‬‬
‫ﷲ‪ ،‬ﺴﺒﺤﺎﻨﹶـﻪ‪ ،‬ﺒـﻪ ﻨﻔﺴَﻪ؛ ﻟﻭﺠﺩﻨﺎﻩ‬
‫ﻑﺍ ُ‬
‫ﻅ )َﺃﺤَﺩ(‪ ،‬ﺍﻟﺫﻱ ﻭﺼ ﹶ‬
‫ﻭﻟـﻭ ﺘﻘﺼّﻴﻨﺎ ﺒﻌ َﺩ ﺫﻟﻙ‪ ،‬ﺤﻘﻴﻘ ﹶﺔ ﺍﻟﻠﻔ ِ‬

‫ﻑ ﺇﻟﻰ ﻤﻌﻨﻰ )ﻭﺍﺤﺩ(‪ ،‬ﺃﻥ ﻻ ﺸﻲ َﺀ ﻏﻴﺭَﻩ ﻤﻌﻪ ]ﺴﺒﺤﺎﻨﹶﻪ[‪ ،‬ﻭﺃﻥ‬

‫ﻅ )ﻭﺍﺤﺩ(؛ ﻷﻨﱠﻪ ﻴﻀﻴ ﹸ‬
‫ﻕ ﻤﻥ ﻟﻔ ِ‬
‫))‪ ...‬ﺃﺩ ﱠ‬

‫ﻷﺤَﺩ ّﻴ ِﺔ؛ ﻓﻼ ﻴﺸﺭﻜﹸﻪ ﻓﻴﻬﺎ ﻏﻴﺭُﻩ؛ ﻭﻟﻬﺫﺍ ﻻ‬

‫ﺹ ﺒﺎ َ‬
‫ل ﻭﻋﻼ – ﻭﺤﺩَﻩ ﻴﺨﺘ ﱡ‬
‫ﷲ–ﺠﱠ‬
‫ﺱ ﻜﻤﺜﻠِﻪ ﺸﻲﺀ(()‪(1‬؛ ﻓﺎ ُ‬
‫ﻟﻴ َ‬
‫ﷲ ﺘﻌﺎﻟﻰ؛ ﻓﻼ ﻴُﻘﺎلُ‪ :‬ﺭﺠلٌ ﺃﺤﺩٌ‪ ،‬ﻭﻻ ﺩﺭﻫﻡٌ ﺃﺤﺩٌ‪ ،‬ﻭﻨﺤﻭ ﺫﻟﻙ)‪.(2‬‬
‫ﻅ ﻏﻴ ُﺭ ﺍ ِ‬
‫ﺕ ﺒﻬﺫﺍ ﺍﻟﻠﻔ ِ‬
‫ﻴُﻨﻌ ﹸ‬

‫ﷲ‬ ‫ﺕ ﺍﻷﺨﺭﻯ ﺩﻻﻻﺘِﻬﺎ‪ ،‬ﻓﻲ ﻫﺫﻩ ﺍﻟﺴﻭﺭﺓ؛ ﻓـ))ﻤﻌﻨﻰ ﺃ ﱠ‬

‫ﻥﺍ َ‬ ‫ﺕ‪ ،‬ﺘﺭﺘـﻔ ُﺩ ﺍﻟﺼﻔﺎ ﹸ‬
‫ﻭﻤﻥ ﺩﻻﻟ ِﺔ ﻫﺫﺍ ﺍﻟﻨﻌ ِ‬

‫ﺕ؛‬
‫ﻥ ﻴﺫﻜ ُﺭ ﻫﺫﻩ ﺍﻟﺘﻔﺭﻴﻌـﺎ ِ‬
‫ﻥ ﺍﻟﻘﺭﺁ َ‬
‫ﺃﺤﺩ‪ :‬ﺃﻨﱠﻪ ﺍﻟﺼﻤﺩ‪ ،‬ﻭﺃﻨﱠﻪ ﻟﻡ ﻴﻠﺩْ ﻭﻟﻡ ﻴُﻭﻟﺩْ‪ ،‬ﻭﻟﻡ ﻴﻜﻥْ ﻟﻪ ﻜﻔﻭًﺍ ﺃﺤﺩ‪ ،‬ﻭﻟﻜ ﱠ‬
‫ﻟﺯﻴﺎﺩ ِﺓ ﺍﻟﺘﻘﺭﻴ ﹺﺭ ﻭﺍﻹﻴﻀﺎﺡ(()‪)) .(3‬ﻭﺘﻔﺴﻴ ُﺭ )ﺍﻟﺼﻤﺩ(‪ :‬ﺍﻟﺴﻴّ ُﺩ ﺍﻟﺫﻱ ﻴﻨﺘﻬﻲ ﺇﻟﻴﻪ ﺍﻟﺴﱡﺅﺩﺩ‪ ...‬ﻭﻗﻴل‪ :‬ﺍﻟﺼﻤ ُﺩ‪:‬‬

‫ل ﻋﻠـﻰ‬
‫ﻕ ﺍﻷﺸﻴﺎ َﺀ ﻜﻠﱠﻬﺎ‪ ،‬ﻻ ﻴﺴﺘﻐﻨﻲ ﻋﻨﻪ ﺸـﻲﺀ‪ .‬ﻭﻜﻠﱡﻬـﺎ ﺘـﺩ ﱡ‬
‫ل ﺸﻲﺀ‪ ،‬ﻭﺍﻟﺫﻱ ﺨﻠ ﹶ‬
‫ﺼ َﻤ َﺩ ﻟﻪ ﻜ ﱡ‬
‫ﺍﻟﺫﻱ َ‬

‫ﻭﺤﺩﺍﻨ ّﻴﺘِﻪ‪.(4)((...‬‬

‫ل ﺍﻟﺘـﻲ ﺘﻨﺘﻬﻲ ﺒﻬـﺎ‬

‫ﻕ ﺍﻟﺩّﺍ ُ‬
‫ل ﺸﺄﻨﹸﻪ‪ ،‬ﺘﺘﹼﻔ ﹸ‬
‫ﷲ‪ ،‬ﺠ ﱠ‬
‫ل‪ ،‬ﺍﻟﺫﻱ ﻤﺎ ﺒﻌﺩَﻩ ﻗﻭلٌ ﻓﻲ ﺍ ِ‬
‫ل ﺍﻟﻔﺼ ﹺ‬
‫ﻭﻤﻊ ﻫﺫﺍ ﺍﻟﻘﻭ ﹺ‬

‫ﺕ‬
‫ﺱ؛ ﻓﻼ ﻴﻤﺘ ّﺩ‪ ،‬ﺘﻭﺍﺌ ُﻡ ﺜﺒـﺎ ﹶ‬
‫ﻱ‪ ،‬ﻴﻨﻘﻁ ُﻊ ﻤﻌﻪ ﺍﻟﻨﱠ ﹶﻔ ُ‬
‫ﺕ ﻫﺫﻩ ﺍﻟﺴﻭﺭﺓ؛ ﻓﻬﻲ ﺒﺼﻔﺘِﻬﺎ ﺼﻭﺘﹰﺎ ﻏﻴ َﺭ ﺍﺴﺘﻤﺭﺍﺭ ﱟ‬
‫ﺁﻴﺎ ﹸ‬

‫ﷲ‪ ،‬ﺴﺒﺤﺎﻨﹶﻪ‪ ،‬ﻭﻻ ﺸﺒﻴ َﻪ‪ ،‬ﻭﻻ ﻭﺍﻟ َﺩ‪ ،‬ﻭﻻ ﻭﻟﺩ‪ .‬ﻭﻓﻲ ﺫﻟﻙ ﻴﺩﻋﻤُﻬﺎ ﺍﻟﻤﻘﻁـ ُﻊ‬
‫ﻙ ِ‬
‫ﻫﺫﻩ ﺍﻟﺤﻘﻴﻘﺔ‪ :‬ﺃﻥ ﻻ ﺸﺭﻴ َ‬
‫ﺏ ﻋﻠﻰ ﻫﺫﻩ ﺍﻟﺴـﻭﺭ ِﺓ‪ ،‬ﺒـﻭﺭﻭﺩِﻩ )‪(14‬‬
‫ﺱ ﺃﻴﻀًﺎ؛ ﻓﻬـﻭ ﻴﻐﻠ ُ‬
‫ﻕ‪ ،‬ﺍﻟﺫﻱ ﻴﻨﻘﻁ ُﻊ ﻤﻌﻪ ﺍﻟﻨﱠ ﹶﻔ ُ‬
‫ﻁ ﺍﻟﻤﻐﻠ ﹸ‬
‫ﺍﻟﻤﺘﻭﺴّ ﹸ‬

‫ﻤ ّﺭ ﹰﺓ‪ ،‬ﻤﻥ )‪ (30‬ﻤﻘﻁﻌًﺎ‪.‬‬

‫ﻁﺕﹾ ﻤـﻥ ﻤﻭﺍﻀـﻌِﻬﺎ‬ ‫ﺕ ﺍﻟﺘﻲ ))‪ُ ...‬‬

‫ﻀ ِﻐ ﹶ‬ ‫ل ﻗ ّﻭ ﹰﺓ ﺒﺎﻟﻭﻗﻑ؛ ﻓﻬـﻲ ﻤﻥ ﺍﻷﺼﻭﺍ ِ‬
‫ﻭﺘﺯﺩﺍ ُﺩ ﻫـﺫﻩ ﺍﻟﺩّﺍ ُ‬
‫ﻑ‬
‫ﻥ ﻋﻥ ﻤﻭﻀﻌِﻪ‪ ،‬ﻭﻫـﻲ ﺤـﺭﻭ ﹸ‬
‫ﺼ َﻭﻴْﺕﹲ‪ ،‬ﻭﻨﹶﺒﺎ ﺍﻟﻠﹼﺴﺎ ُ‬
‫ﺝ ﻤﻌﻬﺎ ﻤﻥ ﺍﻟﻔ ﹺﻡ ُ‬
‫ﺕ ﺨﺭ َ‬
‫]ﺍﻻﻨﻔﺠﺎﺭﻴّﺔ[؛ ﻓﺈﺫﺍ ﻭﻗﻔ ﹶ‬

‫ﺼ َﻭﻴْﺕ؛ ﻟﺸ ّﺩ ِﺓ‬
‫ﻻ ﻤﻊ ﺍﻟ ُ‬
‫ﻑﺇﹼ‬
‫ل‪ ،‬ﻭﺍﻟﺒﺎﺀ‪ ...‬ﻓﻼ ﺘﺴﺘﻁﻴ ُﻊ ﺃﻥ ﺘﻘ ﹶ‬
‫ﻑ‪ ،‬ﻭﺍﻟﺠﻴ ُﻡ‪ ،‬ﻭﺍﻟﻁﺎ ُﺀ‪ ،‬ﻭﺍﻟﺩّﺍ ُ‬
‫ﺍﻟﻘﻠﻘﻠﺔ‪ ...:‬ﺍﻟﻘﺎ ﹸ‬

‫ل‪ ،‬ﺒﻤﺎ ﻴﺤﺩﺜﹸﻪ ﻤﻥ ﻫ ّﺯ ٍﺓ ﺼﻭﺘﻴّــ ٍﺔ‪ ،‬ﺃﻥ‬

‫ﻥ ﻫﺫﺍ ﺍﻟﺘﻌﺯﻴ ﹺﺯ ﻻﻨﻔﺠﺎﺭ ّﻴ ِﺔ ﺍﻟﺩّﺍ ﹺ‬
‫ﻭﻤﻥ ﺸﺄ ﹺ‬ ‫ﺍﻟﺤﺭﻑ‪.(5)((...‬‬ ‫ﻁ‬
‫ﻀﻐ ِ‬

‫)‪(1‬‬
‫ﻗﻁﺏ‪ ،‬ﺴﻴّﺩ‪ :‬ﻓﻲ ﻅﻼل ﺍﻟﻘﺭﺁﻥ‪.4002 / 6 .‬‬
‫)‪(2‬‬
‫ﺃﻨﻴﺱ‪ ،‬ﺇﺒﺭﺍﻫﻴﻡ‪ ،‬ﻭﺁﺨﺭﻭﻥ‪ :‬ﺍﻟﻤﻌﺠﻡ ﺍﻟﻭﺴﻴﻁ‪ .‬ﺍﻟﻤﺎﺩّﺓ‪) :‬ﻭ‪ ،‬ﺡ‪ ،‬ﺩ(‪.‬‬
‫)‪(3‬‬
‫ﻗﻁﺏ‪ ،‬ﺴﻴّﺩ‪ :‬ﻓﻲ ﻅﻼل ﺍﻟﻘﺭﺁﻥ‪.4004 / 6 .‬‬
‫)‪(4‬‬
‫ﺍﻟ ّﺯﺠّﺎﺝ‪ ،‬ﺃﺒﻭ ﺇﺴﺤﺎﻕ ﺇﺒﺭﺍﻫﻴﻡ ﺒﻥ ﺍﻟﺴّﺭﻱ‪ :‬ﻤﻌﺎﻨﻲ ﺍﻟﻘﺭﺁﻥ ﻭﺇﻋﺭﺍﺒﻪ‪.378 ،377 / 5 .‬‬
‫)‪(5‬‬
‫ﺴﻴﺒﻭﻴﻪ‪ ،‬ﺃﺒﻭ ﺒﺸﺭ ﻋﻤﺭﻭ ﺒﻥ ﻋﺜﻤﺎﻥ‪ :‬ﻜﺘﺎﺏ ﺴﻴﺒﻭﻴﻪ‪.174 / 4 .‬‬
‫‪134‬‬
‫ﻁ ﺃﻴّـ ﹶﺔ‬
‫ل ﻭﻋﻼ – ﺒﻪ ﻨﻔﺴَﻪ‪ ،‬ﻓﻲ ﻫﺫﻩ ﺍﻟﺴﻭﺭﺓ‪ ،‬ﻭﺃﻥ ﻴُﺴﻘ ﹶ‬
‫ﷲ–ﺠﱠ‬
‫ﻑﺍ ُ‬
‫ﻥ ﻋﻠﻰ ﻤـﺎ ﻭﺼ ﹶ‬
‫ﻴﺯﻴ َﺩ ﺘﻨﺒﻴ َﻪ ﺍﻟﺫﻫ ﹺ‬

‫ﺏ ﺍﻟﺫﻫﻥ‪ ،‬ﻫﻭ ﻤﻨﻬﺎ ﺒﺭﺍﺀٌ‪ ،‬ﺴﺒﺤﺎﻨﹶﻪ‪.‬‬

‫ﻓﻜﺭ ٍﺓ ﻗﺩ ﺘﺸﻭ ُ‬

‫ل‪ ،‬ﻋﻨﺎﺼـﺭُﻫﺎ‬
‫ﻲ ﺩﺍ ّ‬
‫ﺏ ﻤﺎ ﺘﺤﺩﺜﹸﻪ ﻻﻤﺎﺘﹸﻬﺎ ﻭﺩﺍﻻﺘﹸﻬﺎ‪ ،‬ﻤﻥ ﺘـﺄﺜﻴ ﹴﺭ ﻤﻭﺴـﻴﻘ ﱟ‬
‫ﻭﻟﻬﺫﻩ ﺍﻟﺴﻭﺭ ِﺓ‪ ،‬ﺇﻟﻰ ﺠﺎﻨ ﹺ‬
‫ل‪ ،‬ﻗِﻭﺍﻤُﻪ )‪ (57‬ﺼـﻭﺘﹰﺎ‪ ،‬ﻤـﻥ ﺃﻭﻀـ ﹺ‬
‫ﺢ‬ ‫ﻲ ﻋﺎ ﹴ‬
‫ﺡ ﺴﻤﻌ ﱟ‬ ‫ﺍﻟﻤﻭﺴﻴﻘﻴّ ﹸﺔ ﺍﻟﻤﺅﺜﹼﺭ ﹸﺓ ﺍﻷﺨﺭﻯ؛ ﻓﻬﻲ ﺫﺍ ﹸ‬
‫ﺕ ﻭﻀﻭ ﹴ‬

‫ﺕ ﻓﻲ ﺍﻟﺴﻤﻊ‪ ،‬ﻤﻥ )‪ (74‬ﺼﻭﺘﹰﺎ ﻓﻲ ﺍﻟﺴﻭﺭﺓ؛ ﻓﺈﻀﺎﻓ ﹰﺔ ﺇﻟﻰ )‪ (30‬ﺤﺭﻜ ﹰﺔ‪ ،‬ﻭ)‪ (11‬ﻻﻤًﺎ‪ ،‬ﻴـﺭ ُﺩ‬
‫ﺍﻷﺼﻭﺍ ِ‬

‫ﻥ ﻤﺭّﺘﻴﻥ‪.‬‬
‫ﻨﺼﻔﺎ ﺍﻟﺤﺭﻜ ِﺔ‪ :‬ﺍﻟﻭﺍ ُﻭ ﻭﺍﻟﻴﺎ ُﺀ‪ (7) ،‬ﻤﺭّﺍﺕ‪ ،‬ﻭﺍﻟﻤﻴ ُﻡ )‪ (4‬ﻤﺭّﺍﺕ‪ ،‬ﻭﺍﻟﻬﻤﺯ ﹸﺓ )‪ (3‬ﻤﺭّﺍﺕ‪ ،‬ﻭﺍﻟﻨﻭ ُ‬

‫ل ﻋﻨ َﺩ ﺘﺭﺘﻴﻠِﻬﺎ‪ ،‬ﺃﻥ ))‪...‬ﺘﺭﻯ‬

‫ﻥ ﻫﺫﻩ ﺍﻟﺠﻤ ﹺ‬
‫ل ﺍﻟﻘﺼﺎﺭ‪ .‬ﻭﻤﻥ ﺸﺄ ﹺ‬
‫ﺕ ﺍﻟﺠﻤ ﹺ‬
‫ﻭﻟﻠﺴﻭﺭ ِﺓ ﺁﻴﺎﺘﹸﻬﺎ ﺍﻟﻘﺼﺎ ُﺭ‪ ،‬ﺫﺍ ﹸ‬

‫ﺡ‪ ،‬ﻤـﺎ ﻻ‬
‫ﺢ ﺃﺫﻨﹶﻙ ﻤﻥ ﺍﻟﻤﺘﻌ ِﺔ‪ ،‬ﻭﻨﻔﺴَﻙ ﻤﻥ ﺍﻻﺭﺘﻴـﺎ ﹺ‬
‫ﺏ ﺇﻟﻴﻬﺎ ﺍﻨﺘﺒﺎﻫَﻙ‪ ،‬ﻭﺘﻤﻨ ُ‬
‫ﺼ ﹰﺔ‪ ،‬ﺘﺠﺘﺫ ُ‬
‫ﻟﻬﺎ ﺠﺎﺫﺒ ّﻴ ﹰﺔ ﺨﺎ ّ‬

‫ل ﺍﻟﺴﺭﻴ ﹺﻊ‪ ،‬ﺍﻟﺫﻱ ﻴﻌﻭ ُﺩ‪ ،‬ﺒﺩﻭﺭﹺﻩ‪،‬‬

‫ﻉ ﻫﺫﻩ ﺍﻟﺠﻤ ﹺ‬
‫ﻭﻴﻌﻭ ُﺩ ﺫﻟﻙ ﺇﻟﻰ ﺇﻴﻘﺎ ﹺ‬ ‫ﻭﺍﻟﻐﻨﺎﺀ(()‪.(1‬‬ ‫ﺽ ﺍﻟﺸﻌ ﹺﺭ‬
‫ﺘﺠﺩُﻩ ﻓـﻲ ﺒﻌ ﹺ‬

‫ﺕ ﻫﺫﻩ ﺍﻟﺴـﻭﺭ ِﺓ ﻨﻔﺴِـﻬﺎ‪ ،‬ﺍﻟﺘـﻲ‬

‫ﺇﻟﻰ ﻗﹼﻠ ِﺔ ﺍﻟﻤﻘﺎﻁ ﹺﻊ ﺍﻟﺼﻭﺘ ّﻴ ِﺔ ﻓﻲ ﺍﻟﺠﻤﻠ ِﺔ ﺍﻟﻘﺼﻴﺭﺓ؛ ﻓﻠﻭ ﻨﻅﺭﻨﺎ ﻓﻲ ﺁﻴﺎ ِ‬

‫ﻥ ﻤﻥ )‪ (7‬ﻤﻘﺎﻁﻊ‪ ،‬ﻭﺍﻟﺜﺎﻨﻴـ ﹶﺔ‬

‫ﻥ‪ :‬ﺍﻷﻭﻟﻰ ﻭﺍﻟﺜﺎﻟﺜ ِﺔ‪ ،‬ﺘﺘﻜﻭّ ُ‬
‫ﻜﻼ ﻤﻥ ﺍﻵﻴﺘﻴ ﹺ‬
‫ﻥ ًّ‬
‫ﺘﺤﻭﻱ ﻫﺫﻩ ﺍﻟﺠﻤل؛ ﻟﻭﺠﺩﻨﺎ ﺃ ﱠ‬

‫ﻤﻥ )‪ (5‬ﻤﻘﺎﻁﻊ‪ ،‬ﻭﺍﻷﺨﻴﺭ ﹶﺓ ﻤﻥ )‪ (11‬ﻤﻘﻁﻌًﺎ‪.‬‬

‫ﻉ ﺍﻟﺴﺭﻴ ُﻊ ﻜﺫﻟﻙ‪ ،‬ﻓﻲ ﻫﺫﻩ ﺍﻟﺴﻭﺭ ِﺓ‪ ،‬ﺇﻟﻰ ﻜﺜﺭ ِﺓ ﺍﻟﻤﻘﺎﻁ ﹺﻊ ﺍﻟﻘﺼﻴﺭ ِﺓ‪ ،‬ﺍﻟﺘـﻲ ﻫـﻲ‬
‫ﻭﻴﻌﻭ ُﺩ ﻫﺫﺍ ﺍﻹﻴﻘﺎ ُ‬

‫ﺃﻗﺼ ُﺭ ﺍﻟﻤﻘﺎﻁ ﹺﻊ ﺯﻤﻨﹰﺎ ﻓﻲ ﺍﻟﻨﻁﻕ؛ ﻓ ﹶﺜ ﱠﻡ )‪ (13‬ﻤﻘﻁﻌًﺎ ﻗﺼﻴﺭًﺍ‪ ،‬ﻤﻥ )‪ (30‬ﻤﻘﻁﻌًﺎ‪.‬‬

‫ﻁ‬
‫ﻕ‪ ،‬ﻭﺍﻟﻤﺘﻭﺴّـ ِ‬
‫ﻁ ﺍﻟﻤﻐﻠـ ِ‬
‫ﺴِ‬
‫ﻭﻟﻬﺫﻩ ﺍﻟﺴﻭﺭ ِﺓ ﺴﻼﺴﺔﹲ ﻨﻁﻘ ّﻴﺔﹲ؛ ﺘﻌﻭ ُﺩ ﺇﻟﻰ ﻤﻘﺎﻁﻌِﻬﺎ‪ :‬ﺍﻟﻘﺼﻴ ﹺﺭ‪ ،‬ﻭﺍﻟﻤﺘﻭ ّ‬
‫ﻕ ﻓـﻲ‬
‫ﺕ ﺍﻟﺼﻌﺒ ِﺔ ﺍﻟﻨﻁ ِ‬
‫ل ﺍﻟﻤﻘﺎﻁ ﹺﻊ ﺍﻟﻌﺭﺒ ّﻴ ِﺔ ﻨﻁﻘﹰﺎ‪ ،‬ﻜﻤﺎ ﺘﻌﻭ ُﺩ ﺇﻟﻰ ﻗﹼﻠ ِﺔ ﺍﻟﺼﻭﺍﻤ ِ‬
‫ل ﺃﺴﻬ َ‬
‫ﺡ‪ ،‬ﺍﻟﺘﻲ ﺘﻤﺜﹼ ُ‬
‫ﺍﻟﻤﻔﺘﻭ ﹺ‬

‫ﺱ‪ ،‬ﻴﺤﻤﻠﹸﻬﻤـﺎ‬
‫ﻙ ﻭﺍﻟﻬﻤـ ُ‬
‫ﻕ‪ :‬ﺍﻻﺤﺘﻜﺎ ُ‬
‫ﻥ ﺠﻬﺩًﺍ ﻋﻀﻠﻴ‪‬ﺎ ﻜﺒﻴﺭًﺍ ﻋﻨ َﺩ ﺍﻟﻨﻁ ِ‬
‫ﻥ ﻴﺘﻁﻠﹼﺒﺎ ﹺ‬
‫ﻥ ﺍﻟﻠﹼﺫﺍ ﹺ‬
‫ﺍﻟﺴﻭﺭﺓ؛ ﻓﺎﻟﻤﻠﻤﺤﺎ ﹺ‬

‫ﺱ‬
‫ل ﺍﻟﻬﻤـ َ‬
‫ﻥ‪ ،‬ﻭﻓـﺎﺀٌ ﻭﺍﺤﺩﺓ‪ .‬ﻭﺘﺤﻤـ ُ‬
‫ﻥ‪ ،‬ﻭﺼﺎﺩﺍ ﹺ‬
‫ﺕ‪ ،‬ﻭﺤﺎﺀﺍ ﹺ‬
‫ﻤﻌًﺎ ﻓﻲ ﺍﻟﺴﻭﺭ ِﺓ )‪ (9‬ﺼﻭﺍﻤﺕ‪ (4) :‬ﻫﺎﺀﺍ ٍ‬

‫ﻥ‪ (12) :‬ﺼﺎﻤﺘﹰﺎ‪،‬‬

‫ﻥ ﺍﻟﻨﻭﻋﻴ ﹺ‬ ‫ﻥ‪ ،‬ﻭﻗـﺎﻑﹲ ﻭﺍﺤﺩﺓ‪ .‬ﻭﻤﺠﻤﻭ ُ‬
‫ﻉ ﻫﺫﻴ ﹺ‬ ‫ﻙ )‪ (3‬ﺼﻭﺍﻤﺕ‪ :‬ﻜﺎﻓـﺎ ﹺ‬
‫ﻥ ﺍﻻﺤﺘﻜـﺎ ِ‬
‫ﺩﻭ َ‬

‫ل ﻨﺴﺒ ﹰﺔ ﻗﻠﻴﻠ ﹰﺔ‪ ،‬ﻜﻤﺎ ﺘﺭﻯ‪.‬‬

‫ﻤﻥ )‪ (37‬ﺼﺎﻤﺘﹰﺎ‪ ،‬ﻴﺸﻜﹼ ُ‬

‫)‪(1‬‬
‫ﺤﺴﺎﻥ‪ ،‬ﺘﻤﺎﻡ‪ :‬ﺍﻟﺒﻴﺎﻥ ﻓﻲ ﺭﻭﺍﺌﻊ ﺍﻟﻘﺭﺁﻥ‪ .‬ﺹ‪.270‬‬
‫‪135‬‬
‫ل؛ ﻴﻌﻭ ُﺩ ﺇﻟﻰ ﺘﺘﺎﺒ ﹺﻊ ﺃﺭﺒﻌ ِﺔ ﻤﻘﺎﻁ َﻊ ﻗﺼـﻴﺭ ٍﺓ‪ ،‬ﻓـﻲ‬
‫ﻥ ﻫﺫﻩ ﺍﻟﺴﻼﺴ ﹶﺔ‪ ،‬ﻴﻤﺎﺯﺠُﻬﺎ ﺸﻲﺀٌ ﻤﻥ ﺍﻟﺜﻘ ﹺ‬
‫ﻻﺃﱠ‬
‫ﺇﹼ‬

‫ﺕ ﻫـﺫﻩ‬
‫ﻲ‪ ،‬ﺃﻥ ﻴﻭﺍﺌ َﻡ ﺇﺜﺒـﺎ ﹶ‬
‫ل ﺍﻟﻨﻁﻘ ﱢ‬
‫ﻥ ﻫﺫﺍ ﺍﻟﺜﻘ ﹺ‬
‫ﺍﻟﻤﻭﻀﻊ‪ ) :‬ﹶﻟ ُﻪ ﹸﻜﻔﹸـ ‪ .( la / hu / ku / fu :‬ﻭﻤﻥ ﺸﺄ ﹺ‬

‫ﺱ ﺍﻟﻤﺘﻠﻘﹼﻲ ﻭﻗﻠ ﹺﺒﻪ‪.‬‬

‫ﺦ ﻤﻀﻤﻭﻨِﻬﺎ‪ ،‬ﻓﻲ ﻨﻔ ﹺ‬
‫ﺍﻟﺴﻭﺭ ِﺓ ﻟﻠﻌﻘﻴﺩ ِﺓ ﺍﻟﺼﺤﻴﺤﺔ‪ ،‬ﻭﺃﻥ ﻴﺴﻬ َﻡ ﻓﻲ ﺘﺭﺴﻴ ﹺ‬

‫ﺕ ﻫﺫﻩ ﺍﻟﺴﻭﺭ ِﺓ‪ ،‬ﻭﺭﻭ ُﺩ ﺤﺭﻜ ِﺔ ﺍﻟﻀـ ﱢﻡ )‪ (9‬ﻤـﺭّﺍ ٍ‬

‫ﺕ‪ ،‬ﻤـﻥ )‪(30‬‬ ‫ﺕ ﺍﻻﻨﺘﺒﺎ َﻩ ﻓﻲ ﺃﺼﻭﺍ ِ‬
‫ﻭﻤﻤّﺎ ﻴﻠﻔ ﹸ‬

‫ﻲ‪ .‬ﻭﻫﺫﺍ ﻴﻌﻭ ُﺩ – ﺒﺎﻋﺘﻘﺎﺩﻱ – ﺇﻟﻰ ﻤﺎ ﺘﺤﻤﻠﹸﻪ ﻫﺫﻩ ﺍﻟﺤﺭﻜ ﹸﺔ ﻤـﻥ‬

‫ﺤﺭﻜ ﹰﺔ‪ ،‬ﻋﻠﻰ ﺍﻟﺭﻏ ﹺﻡ ﻤﻥ ﻀﻴﻘِﻬﺎ ﺍﻟﻨﻁﻘ ّ‬

‫ﺕ ﺍﻟﻀـ ّﻤ ِﺔ‪،‬‬
‫ﷲ – ﺴﺒﺤﺎﻨﹶﻪ ‪ ،-‬ﺍﻟﺘﻲ ﺘﺘﻨﺯّ ُﻩ ﻋﻥ ﺍﻟﻨﻘﺹ؛ ﻓﻤﻥ ﺩﻻﻻ ِ‬
‫ﺕﺍ ِ‬
‫ﻕ ﻋﻅﻤ ﹶﺔ ﺼﻔﺎ ِ‬
‫ﺩﻻﻟ ٍﺔ ﺫﺍﺘ ّﻴ ٍﺔ‪ ،‬ﺘﻭﺍﻓ ﹸ‬
‫ﻜﻤﺎ ﻴﺭﻯ ﺍﻟﻌﺎﻟ ُﻡ )ﻓﻭﻨﺎﺠﻲ(‪ ،‬ﺍﻟﻜﺒ ُﺭ ﻭﺍﻟﻘﻭّﺓ)‪.(1‬‬

‫ﺕ‪ ،‬ﺍﻟﺘـﻲ ﻗـﺩ ﺘﻭﺤﻲ ﻤﻼﻤﺤُﻬـﺎ ﺍﻟﺘﻤﻴﻴﺯﻴّـ ﹸﺔ‪ ،‬ﺒﻔﻜــﺭ ِﺓ‬

‫ﺏ ﺍﻟﺼﻭﺍﻤ ِ‬
‫ﺕ ﺍﻻﻨﺘﺒﺎ َﻩ ﻏﻴـﺎ ُ‬
‫ﻜﺫﻟﻙ‪ ،‬ﻴﻠﻔ ﹸ‬

‫ﺱ ﻫﻨﺎﻙ ﺭﺍﺀٌ ﺘﻜﺭﺍﺭﻴّﺔ‪ ،‬ﻭﻻ ﺸﻴﻥٌ ﻤﺘﻔﺸﹼﻴﺔ‪ ،‬ﻭﻻ ﺜـﺎﺀٌ‬

‫ﺽ ﻭﺤﺩﺍﻨ ّﻴﺘﹶﻪ – ﺴﺒﺤﺎﻨﹶﻪ ‪-‬؛ ﻓﻠﻴ َ‬
‫ﺍﻟﺘﻌ ّﺩ ِﺩ ﺍﻟﺘﻲ ﺘﻨﺎﻗ ُ‬

‫ﺙ؛ ﻓﺘﺄ ّﻤلْ !‪.‬‬

‫ل ﻋﻠﻰ ﺍﻟﺒ ﹼ‬
‫ﺘﺩ ﱡ‬

‫‪ .7‬ﺘﺤﻠﻴ ُل ﺴﻭﺭ ِﺓ ﺍﻟﻨﹼﺎﺱ‬

‫ﻥ ﺍﻟ ّﺭﺤﻴﻡ‬
‫ﷲ ﺍﻟ ّﺭﺤﻤ ﹺ‬
‫ﺒﺴ ﹺﻡ ﺍ ِ‬

‫ﷲ ﺍﻟﻌﻅﻴﻡ‬
‫ﻕﺍ ُ‬
‫ﺼﺩ ﹶ‬

‫ﺍﻟﺴﻭﺭ ﹸﺓ ﺒﺎﻟﻜﺘﺎﺒ ِﺔ ﺍﻟﺼﻭﺘ ّﻴ ِﺔ‪ ،‬ﻤﻊ ﺘﺤﺩﻴ ِﺩ ﻤﻘﺎﻁﻌِﻬﺎ‪:‬‬

‫‪qul /‬‬ ‫‪a / cuu / u / bi / rab / bin / naas‬‬ ‫‪X ma / li / kin / naas Y‬‬ ‫‪i/‬‬

‫‪laa / hin / naas‬‬ ‫‪Z min /‬‬ ‫[ ‪ar / ril / was / waa / sil / xan / naas‬‬ ‫‪al / la /‬‬

‫‪ii / yu / was / wi / su / fii / u / duu / rin / naas \ mi / nal /:in / na / ti /‬‬

‫‪wan / naas ].‬‬

‫)‪ (1‬ﻤﻔﺘﺎﺡ‪ ،‬ﻤﺤﻤّﺩ‪ :‬ﻓﻲ ﺴﻴﻤﻴﺎﺀ ﺍﻟﺸﻌﺭ ﺍﻟﻘﺩﻴﻡ‪ .‬ﺹ‪.74‬‬

‫‪136‬‬
‫ﷲ – ﺴﺒﺤﺎﻨﹶﻪ – ﻓﻲ ﻫﺫﻩ ﺍﻟﺴﻭﺭ ِﺓ‪ ،‬ﺭﺴﻭﻟﹶﻪ – ﻋﻠﻴﻪ ﺍﻟﺴﻼ ُﻡ – ﻭُﺃ ّﻤﺘﹶﻪ‪ ،‬ﺇﻟـﻰ ﺍﻟﻌﻴـﺎ ِﺫ ﺒـﻪ‪،‬‬
‫ﻴﻭﺠّ ُﻪ ﺍ ُ‬

‫ل‬
‫ﻲ ﺍﻟﺩﺒﻴﺏ‪ ،‬ﻻ ﻗِﺒَ َ‬
‫ﻙ‪ ،‬ﻭﺍﻹﻟ ِﻪ‪ ،‬ﻤﻥ ﺸ ﱟﺭ ﺨﻔ ﱢ‬
‫ﺏ‪ ،‬ﻭﺍﻟﻤﻠ ِ‬
‫ﻭﺍﻻﻟﺘﺠﺎ ِﺀ ﺇﻟﻴﻪ‪ ،‬ﻤﻊ ﺍﺴﺘﺤﻀﺎ ﹺﺭ ﻤﻌﺎﻨﻲ ﺼﻔﺎﺘِﻪ‪ :‬ﺍﻟ ﱠﺭ ﱢ‬

‫ﺙ ﻻ ﻴﺸﻌﺭﻭﻥ‪ ،‬ﻭﻴﺄﺘﻴﻬﻡ ﻤﻥ ﺤﻴـ ﹸ‬

‫ﺙ‬ ‫ﻙ ﺍﻹﻟﻪ؛ ﻓﻬﻭ ﻴﺄﺨﺫﹸﻫﻡ ﻤﻥ ﺤﻴ ﹸ‬
‫ﺏ ﺍﻟﻤﻠ ِ‬
‫ﻥ ﻤﻥ ﺍﻟ ﱠﺭ ﱢ‬
‫ﻻ ﺒﻌﻭ ﹴ‬
‫ﻟﻬﻡ ﺒﺩﻓﻌِﻪ‪ ،‬ﺇ ﹼ‬
‫ﺠ ﱠﻨ ِﺔ ﻭﺍﻟﻨﺎﺱ)‪.(1‬‬
‫ﺱ‪ ،‬ﻤﻥ ﺍﻟ ﹺ‬
‫ﺱ ﺍﻟﺨﻨﹼﺎ ﹺ‬
‫ﻻ ﻴﺤﺘﺴﺒﻭﻥ‪ ،‬ﺃﻻ ﻭﻫﻭ ﺸ ﱡﺭ ﺍﻟﻭﺴﻭﺍ ﹺ‬

‫ﻻ ﻟﺘﺭﺴـ َﻡ ﻟـﻙ‬
‫ﺕ ﻫﺫﻩ ﺍﻟﺴﻭﺭ ِﺓ‪ ،‬ﻭﻫﻲ ﺘﻨﺒّ ُﻪ ﻋﻠﻰ ﻫﺫﺍ ﺍﻷﻤ ﹺﺭ ﺍﻟﺨﻁﻴ ﹺﺭ ﺍﻟﻤُﻬﻠﻙ‪ ،‬ﺇ ﹼ‬
‫ﻭﻟﻡ ﺘﻜﻥْ ﺼﻭﺘﻴّﺎ ﹸ‬

‫ل ﻭﺠﻪ؛ ﻓﻤﻥ ﺒﺩﺍﻴـ ِﺔ ﺍﻟﺴﻭﺭ ِﺓ ﻴُﻠﻔﺕﹸ ﺴﻤﻌُﻙ ﺒﻘﻁﻌـ ٍﺔ‬

‫ﺼﻭﺭ ﹶﺓ ﻫﺫﺍ ﺍﻟﺨﻁ ﹺﺭ؛ ﻓﺘﺭﺍﻩ ﺤﻴ‪‬ﺎ ﺒﻤﻌﺎﻟﻤِﻪ ﻋﻠﻰ ﺃﻜﻤ ﹺ‬
‫ﻥ ﺴﻴﻨﺎ – ﺭﺤﻤَﻪ‬
‫ل ﺍﺒ َ‬
‫ﻑ ﺠﺭﺴُﻬﺎ ﺍﻟﺫﻱ ﺃﻭﺼ َ‬
‫ل ﺍﻷﻤ ﹺﺭ‪ ) :‬ﹸﻗلْ‪(qul :‬؛ ﻓﻠﻠﻘﺎ ِ‬
‫ل ﻓﻲ ﻓﻌ ﹺ‬
‫ﻤﻭﺴﻴﻘ ّﻴ ٍﺔ ﻗﻭ ّﻴ ٍﺔ‪ ،‬ﺘﺘﻤﺜﹼ ُ‬

‫ﺱ‬
‫ل ﻋﻠﻰ ﺠﺎﺫﺒ ّﻴ ِﺔ ﻫﺫﺍ ﺍﻟﺠﺭ ﹺ‬
‫ﻭﻓﻲ ﻫﺫﺍ ﻤﺎ ﻴﺩ ﱡ‬ ‫ﻭﻗﻠﻌِﻬﺎ)‪،(2‬‬ ‫ﻕ ﺍﻷﺠﺴﺎ ﹺﻡ‬
‫ل‪ :‬ﺇﻨﹼﻬﺎ ﺘﹸﺴﻤ ُﻊ ﻤﻥ ﺸ ﱢ‬
‫ﺍﷲ – ﺇﻟﻰ ﺍﻟﻘﻭ ﹺ‬

‫ﺕ ﺍﻟﻠﹼﻐﻭﻴّـ ِﺔ ﻓـﻲ‬
‫ﺢ ﺍﻷﺼﻭﺍ ِ‬
‫ﻱ ﻤﻥ ﺍﻷﺫﻥ؛ ﻓﻬﻭ ﻤﻥ ﺃﻭﻀ ﹺ‬
‫ﻥ ﺍﻟﻼ ﹺﻡ ﺘﻤ ﹼﻜﻨﹸﻪ ﺍﻟﻘﻭ ﱡ‬
‫ﺕ ﺍﻟﺭﻨﹼﺎ ﹺ‬
‫ﻭﺘﻤ ّﻴﺯﹺﻩ‪ .‬ﻭﻟﻠﺼﺎﻤ ِ‬

‫ﻥ‬
‫ﻲ؛ ﻻﻫﺘـﺯﺍ ﹺﺯ ﺍﻟﻭﺘــﺭﻴ ﹺ‬
‫ﺍﻟﺴﻤﻊ‪ .‬ﻭﺤﺴﺒُﻙ ﺍﻟﺘﻨﻐﻴ ُﻡ ﺍﻟﺫﻱ ﻴﻜﺴﻭ ﻫﺫﺍ ﺍﻟﻔﻌل؛ ﻓﻬﻭ ﻴﺯﻴ ُﺩ ﻭﻀﻭﺤَﻪ ﺍﻟﺴﻤﻌ ﱠ‬

‫ﻙ‬ ‫ﻥ ﺍﻟﺘﻨﻐﻴ َﻡ ))ﻋﻨﺼﺭٌ ﻤﻜﻤلٌ ﻟﻠﻤﻨﻁﻭ ِ‬

‫ﻕ‪ ،‬ﻻ ﻴﻨﻔـ ﱡ‬ ‫ﻥ ﻤﻊ ﺍﻟﺘﻨﻐﻴ ﹺﻡ ﻋﻨ َﺩ ﺍﻟﻨﻁﻕ‪ .‬ﺃﻀﻑﹾ ﺇﻟﻰ ﺫﻟﻙ‪ ،‬ﺃ ﱠ‬
‫ﺍﻟﺼﻭﺘﻴّﻴ ﹺ‬

‫ﺕ‬
‫ﺕ ﻤﻘﺎﻤـﺎ ِ‬
‫ﺏ‪ ،‬ﻭﻨﻭﻋﻴّـﺎ ِ‬
‫ﺕ ﺍﻟﺘﺭﺍﻜﻴـ ﹺ‬
‫ﺤﺘِﻪ‪ ،‬ﻭﻭﻓﺎﺌِﻪ ﺒﺎﻟﻤﻌﻨﻰ ﺍﻟﻤﻘﺼﻭﺩ‪ ،‬ﻭﻓﻘﹰﺎ ﻟﻨﻭﻋﻴّﺎ ِ‬
‫ﻋﻨﻪ‪ ،‬ﻭﺃﻤﺎﺭ ﹸﺓ ﺼ ّ‬

‫ﺍﻟﻜﻼﻡ(()‪.(3‬‬

‫ﺹ ﺍﻟﺼﻔ ﹶﺔ‬
‫ﻕ ﺍﻟﻨ ﱡ‬
‫ﺕ ﻋﻠﻰ ﻫﺫﺍ ﺍﻟﺨﻁ ﹺﺭ ﺍﻟﻌﻅﻴ ﹺﻡ‪ ،‬ﺒﻌ َﺩ ﻫﺫﻩ ﺍﻟﺒﺩﺍﻴ ِﺔ ﺍﻟﻼﻓﺘﺔ؛ ﻓـ))ﻗﺩْ ﺃﻁﻠ ﹶ‬
‫ﻭﺘﻁﹼﺭ ُﺩ ﺍﻟﻤﻨﺒّﻬﺎ ﹸ‬

‫ﺱ ﻓﻲ ﺼُﺩﻭ ﹺﺭ ﺍﻟ ﹼﻨـﺎﺱ﴾‪ ،‬ﺜ ﱠﻡ ﺤـ ّﺩ َﺩ‬

‫ﺨ ﹼﻨـﺎﺱ﴾‪ ،‬ﻭﺤ ّﺩ َﺩ ﻋﻤﻠﹶﻪ‪﴿ :‬ﺍﻟﱠﺫﻱ ُﻴ َﻭﺴْ ﹺﻭ ُ‬
‫ﺱ ﺍﻟﹾ ﹶ‬
‫ﻻ‪ ...﴿ :‬ﺍﻟﹾ َﻭﺴْﻭﺍ ﹺ‬
‫ﺃ ّﻭ ﹰ‬
‫ﺕ‪ ،‬ﻭﺍﻻﻨﺘﺒﺎﻩ؛ ﻟﺘﹶﺒـ ﱡﻴﻥﹺ‬
‫ﺱ ﺍﻟﻴﻘﻅ ﹶﺔ‪ ،‬ﻭﺍﻟﺘﻠ ﹼﻔ ﹶ‬
‫ﺏ ﻴﺜﻴ ُﺭ ﻓﻲ ﺍﻟﺤ ﱢ‬
‫ﺠ ﱠﻨ ِﺔ ﻭَﺍﻟ ﹼﻨـﺎﺱ﴾‪ .‬ﻭﻫﺫﺍ ﺍﻟﺘﺭﺘﻴ ُ‬
‫ﻥ ﺍﻟﹾ ﹺ‬
‫ﻤﺎﻫ ّﻴﺘﹶﻪ‪ِ ﴿ :‬ﻤ َ‬

‫ﻕ ﺒﻬﺎ‬
‫ﻙ ﻁﺭﻴﻘ ِﺔ ﻓﻌﻠِﻪ ﺍﻟﺘﻲ ﻴﺘﺤﻘﹼ ﹸ‬
‫ل ﺍﻟﻜﻼﻡ‪ ،‬ﻭﻹﺩﺭﺍ ِ‬
‫ﻕ ﺼﻔﺘِﻪ ﻓﻲ ﺃ ّﻭ ﹺ‬
‫ﺱ ﺍﻟﺨﻨﹼﺎﺱ‪ ،‬ﺒﻌ َﺩ ﺇﻁﻼ ِ‬
‫ﺤﻘﻴﻘ ِﺔ ﺍﻟﻭﺴﻭﺍ ﹺ‬

‫ﻤﺭﺍﻗﺒﺘِﻪ(()‪.(4‬‬ ‫ﺸﺭﱡﻩ‪ ،‬ﺘﺄ ّﻫﺒًﺎ ﻟﺩﻓﻌِﻪ ﺃﻭ‬

‫ﻥ ﺍﻟﺫﻱ ﻴﺭ ُﺩ‬
‫ﺕ ﺍﻟﺴﻴ ﹺ‬
‫ﷲ ﺨﻴﺭًﺍ‪ ،‬ﺇﻟﻰ ﺼﻭ ِ‬
‫ﻥ‪ ،‬ﻟِﻨﻨﺼﺕﹾ ﻤ َﻊ ﺍﻟﺩﻜﺘﻭ ﹺﺭ ﻤﺤﻤﻭﺩ ﺃﺤﻤﺩ ﻨﺤﻠﺔ‪ ،‬ﺠﺯﺍﻩ ﺍ ُ‬
‫ﻭﺍﻵ َ‬

‫ﺕ‪ ،‬ﻤﻥ )‪ (60‬ﺼﺎﻤﺘﹰﺎ ﻓﻲ ﻫﺫﻩ ﺍﻟﺴـﻭﺭ ِﺓ‪ ،‬ﻤـﻥ ﺠﻬـﺔ‪،‬‬

‫ل ﺍﻵﺘﻲ ‪ (10) -‬ﻤﺭّﺍ ٍ‬
‫ﻥ ﻟﻨﺎ ﺍﻟﺠﺩﻭ ُ‬
‫‪ -‬ﻜﻤﺎ ﻴﺒﻴّ ُ‬

‫)‪(1‬‬
‫ﻗﻁﺏ‪ ،‬ﺴﻴّﺩ‪ :‬ﻓﻲ ﻅﻼل ﺍﻟﻘﺭﺁﻥ‪.4010 / 6 .‬‬
‫)‪(2‬‬
‫ﺍﺒﻥ ﺴﻴﻨﺎ‪ ،‬ﺃﺒﻭ ﻋﻠﻲ ﺍﻟﺤﺴﻴﻥ‪ :‬ﺭﺴﺎﻟﺔ ﺃﺴﺒﺎﺏ ﺤﺩﻭﺙ ﺍﻟﺤﺭﻭﻑ‪ .‬ﺹ‪.93‬‬
‫)‪(3‬‬
‫ﺒﺸﺭ‪ ،‬ﻜﻤﺎل‪ :‬ﻋﻠﻡ ﺍﻷﺼﻭﺍﺕ‪ .‬ﺹ‪.547‬‬
‫)‪(4‬‬
‫ﻗﻁﺏ‪ ،‬ﺴﻴّﺩ‪ :‬ﻓﻲ ﻅﻼل ﺍﻟﻘﺭﺁﻥ‪.4010 / 6 .‬‬
‫‪137‬‬
‫ﻑ‬
‫ﻲ ﻟﺤـﺭ ِ‬
‫ﺱ ﺍﻟﺼـﻭﺘ ﱢ‬
‫ل ﺍﻟﺩﻜﺘﻭﺭ‪)) :‬ﺃﻨﺼﺕﹾ ﻤﻌﻲ ﺇﻟﻰ ﺍﻟﺠﺭ ﹺ‬
‫ﺕ‪ ،‬ﻤﻥ ﺠﻬ ٍﺔ ﺃﺨﺭﻯ‪ .‬ﻴﻘﻭ ُ‬
‫ﻭﺘﻨﺘﻬﻲ ﺒﻪ ﺍﻵﻴﺎ ﹸ‬

‫ﺼ ٍﺔ ﺇﻟﻰ ﻗﻭﻟِﻪ ﺘﻌﺎﻟــﻰ‪:‬‬

‫ﻥ‪ ،‬ﺍﻟﺫﻱ ﻴﺘﻜﺭّ ُﺭ ﻓﻲ ﻫﺫﻩ ﺍﻟﺴﻭﺭ ِﺓ ﺍﻟﻜﺭﻴﻤﺔ‪ ...‬ﻭﺃﺭﻫﻑﹾ ﺴﻤﻌَﻙ ﺒﺼﻔ ٍﺔ ﺨﺎ ّ‬
‫ﺍﻟﺴﻴ ﹺ‬
‫ﺨ ﹼﻨـﺎﺱ * ﺍﻟﱠﺫﻱ ُﻴ َﻭﺴْـ ﹺﻭ ُ‬
‫ﺱ ﻓـﻲ ﺼُﺩﻭ ﹺﺭ ﺍﻟ ﹼﻨـﺎﺱ﴾‪:‬‬ ‫ﺱ ﺍﻟﹾ ﹶ‬
‫ﺸ ﱢﺭ ﺍﻟﹾ َﻭﺴْﻭﺍ ﹺ‬
‫﴿ ِﻤﻥْ ﹶ‬

‫* ‪[ min / ar / ril / was / waa / sil / xan / naas‬‬ ‫‪al / la / ii / yu / was /‬‬
‫] ‪wi / su / fii / u / duu / rin / naas‬‬

‫ﻲ‪ ،‬ﻻ‬
‫ﻱ)‪ (1‬ﺍﺤﺘﻜـﺎﻜ ﱞ‬
‫ﻥ ﺍﻟﺫﻱ ﺘﻜ ّﺭ َﺭ ﻓﻲ ﻫﺫﻩ ﺍﻟﺴﻭﺭ ِﺓ‪ ،‬ﺼﻭﺕﹲ ﺼﺎﻤـﺕﹲ ﻤﻬﻤﻭﺱٌ ﻟﺜﻭ ﱞ‬
‫ﻑ ﺍﻟﺴﻴ ﹺ‬
‫ﻓﺤﺭ ﹸ‬
‫ﻲ‬
‫ﻥ ﻟـﻪ‪ ،‬ﺃﻥ ﺘﻠﺘﻘـ َ‬
‫ﻕ ﻜﺜﻴـﺭﻴ َ‬
‫ﺙ ﻓﻲ ﻨﻁ ِ‬
‫ﺡ ﺍﻟﻔﻡ‪ ،‬ﺒلْ ﺇﻨﱠﻪ ﻟﻴﺤﺩ ﹸ‬
‫ﻕ ﺒﻪ ﻭﻫﻭ ﻤﻔﺘﻭ ُ‬
‫ﻥ ﺃﻥ ﻴﻨﻁ ﹶ‬
‫ﻴﺴﺘﻁﻴ ُﻊ ﺍﻹﻨﺴﺎ ُ‬
‫ﺼ ٍﺔ؛ ﻹﺒﺭﺍ ﹺﺯ ﻫﺫﻩ ﺍﻟﻭﺴﻭﺴـ ِﺔ‬
‫ﺕ ﺒﺼﻔ ٍﺔ ﺨﺎ ّ‬
‫ﻥ ﺍﻟﻌﻠﻴﺎ)‪ .(2‬ﻭﻗـﺩ ﺍﺨﺘﻴ َﺭ ﻫﺫﺍ ﺍﻟﺼﻭ ﹸ‬
‫ﻥ ﺍﻟﺴﻔﻠﻰ ﺒﺎﻷﺴﻨﺎ ﹺ‬
‫ﺍﻷﺴﻨﺎ ُ‬
‫ﻥ ﻟـﻪ ﺒـﺫﻟﻙ‬
‫ﻥ؛ ﻟﻴـﺯ ّﻴ َ‬
‫ﻉ ﺍﻹﻨﺴﺎ ﹺ‬
‫ﻥ ﻓﻲ ﺭﻭ ﹺ‬
‫ل ﺍﻟﺠﺭﺍﺌ ﹺﻡ ﻭﺍﻟﻤﻜﺎﺌﺩ‪ ،‬ﻭﻤﺎ ﻴﻠﻘﻴﻪ ﺍﻟﺸﻴﻁﺎ ُ‬
‫ﺕ ﺒﻬﺎ ﺃﻫ ُ‬
‫ﺍﻟﺘﻲ ﻴﺨﺎﻓ ﹸ‬
‫ﺱ‬
‫ﺱ ﻋﻠﻰ ﺘﺼـﻭﻴ ﹺﺭ ﺤﺎﻟـ ِﺔ ﺍﻟﻬﻤـ ﹺ‬
‫ﻲ ﺍﻟﻬﺎﻤ ﹺ‬
‫ﻲ ﺍﻻﺤﺘﻜﺎﻜ ﱢ‬
‫ل ﺒﺠﺭﺴِﻪ ﺍﻟﺼﻭﺘ ﱢ‬
‫ﺏ ﺍﻟﻤﻌﺎﺼﻲ‪ ،‬ﻭﻫﻭ ﺃﺩ ﱡ‬
‫ﺍﺭﺘﻜﺎ َ‬
‫ﺕ ﺍﻷﺨﺭﻯ ﺍﻟﺘﻲ ﺘﻘﺎﺭﺒﺕﹾ ﻤﻌﻪ ﻤﺨﺭﺠًﺎ‪ ،‬ﻤﻨﻬـﺎ ﺤـﺭ ﹸ‬
‫ﻑ‬ ‫ﺽ ﺍﻷﺼﻭﺍ ِ‬
‫ﻲ‪ ،‬ﻭﻗﺩ ﺃﻋﺎﻨﺘﹾﻪ ﻋﻠﻰ ﺫﻟﻙ ﺒﻌ ُ‬
‫ﺍﻟﺨﻔ ّ‬
‫ﺕ ﺍﻟﺴـﻴﻥ‪ ،‬ﻭﻴﺯﻴـ ُﺩ ﻋﻠﻴـﻪ‬
‫ل ﺨﺼﺎﺌﺼِﻪ ﺍﻟﺼﻭﺘ ّﻴ ِﺔ ﻤـﻊ ﺼـﻭ ِ‬
‫ﻙ ﻓﻲ ﻜ ﱢ‬
‫ﻕ‪ ،‬ﺍﻟﺫﻱ ﻴﺸﺘﺭ ُ‬
‫ﺍﻟﺼﺎ ِﺩ ﺍﻟﻤﻁﺒ ﹸ‬
‫ﺕ ﺍﻟﻔﺎﺀ‪،‬‬
‫ﻙ ﻤﻌﻪ ﺃﻴﻀًﺎ ﺼﻭ ﹸ‬
‫ﺕ ﺍﻟﻤﺘﺘﺎﻟﻴﺔ‪ .‬ﻭﻴﺸﺘﺭ ُ‬ ‫ﺍﻹﻁﺒﺎﻕ)‪ ،(3‬ﻭﻫﻭ ﻴﻌﻁﻲ ﺠﺭﺴًﺎ ﺃﻋﻠﻰ ﻭﺴ ﹶ‬
‫ﻁ ﻫﺫﻩ ﺍﻟﺴﻴﻨﺎ ِ‬
‫ﻙ ﻓﻲ ﺼـﻔﺘﻲ‬ ‫ﻲ)‪ .(4‬ﻓﻬﺫﻩ ﺍﻷﺼﻭﺍ ﹸ‬
‫ﺕ ﺍﻟﺜﻼﺜ ﹸﺔ ﺘﺸﺘﺭ ُ‬ ‫ﻲ ﺍﺤﺘﻜﺎﻜ ّ‬
‫ﻱ ﺴ ﹼﻨ ﱞ‬
‫ﻭﻫﻭ ﺼﻭﺕﹲ ﺼﺎﻤﺕﹲ ﻤﻬﻤﻭﺱٌ ﺸﻔﻭ ﱞ‬
‫ل‬
‫ﻥ ﺤﺎ َ‬
‫ﻥ ﻋﻨ َﺩ ﺍﻟﻠﹼﺜـ ِﺔ ﺃﻭ ﺍﻷﺴﻨﺎﻥ‪ ،‬ﻭﻓﻲ ﻭﻀ ﹺﻊ ﺍﻟﺸﻔﺘﻴ ﹺ‬
‫ﺏ ﻓﻲ ﻭﻀ ﹺﻊ ﺍﻟﻠﹼﺴﺎ ﹺ‬
‫ﺱ ﻭﺍﻻﺤﺘﻜـﺎﻙ‪ ،‬ﻭﺘﺘﻘﺎﺭ ُ‬
‫ﺍﻟﻬﻤ ﹺ‬
‫ﺕ ﺍﻟﻭﺍﻭ – ﻭﻫـﻭ ﺼﻭﺕﹲ‬
‫ﺕ ﺍﻟﺘﻲ ﺸﺎﺭﻜﺕﹾ ﻓﻲ ﺇﺒﺭﺍ ﹺﺯ ﻫﺫﻩ )ﺍﻟﻭﺴﻭﺴ ِﺔ( ﺼﻭ ﹸ‬
‫ﻕ ﺒﻬﺎ‪ .‬ﻭﻤﻥ ﺍﻷﺼﻭﺍ ِ‬
‫ﺍﻟﻨﻁ ِ‬
‫ﺕ ﺍﻟﻤﺘﻭﺍﻟﻴ ِﺔ‪،‬‬
‫ﻥ ﺍﻟﺴﻴﻨﺎ ِ‬ ‫ﻲ)‪ (5‬ﻗﺼ ّ‬
‫ﻲ)‪ – (6‬ﺍﻟﺫﻱ ﻴﺘﺭﺩّ ُﺩ ﺒﻴ َ‬ ‫ﻱ ﺤﻨﻜ ﱞ‬
‫ﻑ ﺤﺭﻜﺔ[ ﻤﺠﻬﻭﺭٌ ﺸﻔﻭ ﱞ‬
‫ﺕ ]ﻨﺼ ﹸ‬
‫ﺸﺒ ُﻪ ﺼﺎﺌ ٍ‬

‫)‪(1‬‬
‫ﻋﻨﺩ ﺇﻨﺘﺎﺝ ﺍﻟﺴﻴﻥ‪ ،‬ﺘﺭﺘﻔﻊ ﻤﻘﺩّﻤﺔ ﺍﻟﻠﹼﺴﺎﻥ ﻓﻲ ﺍﺘﹼﺠﺎﻩ ﺍﻟﻠﹼﺜﺔ ﺍﻟﻌﻠﻴـﺎ‪ ،‬ﻤﻊ ﻭﺠﻭﺩ ﻤﻨﻔﺫ ﻀﻴّﻕ‪ ،‬ﻴﺘﺴﺭّﺏ ﻤﻨـﻪ ﺘﻴّﺎﺭ ﺍﻟﻬﻭﺍﺀ‪ .‬ﺍﻨﻅـﺭ‪:‬‬
‫ﺍﻟﻨﻭﺭﻱ‪ ،‬ﻤﺤﻤﺩ ﺠﻭﺍﺩ‪ :‬ﻋﻠﻡ ﺃﺼﻭﺍﺕ ﺍﻟﻌﺭﺒﻴﺔ‪ .‬ﺹ‪.161‬‬
‫)‪(2‬‬
‫ﻥ ﺍﻟﺴـﻔﻠﻰ‬
‫ﻲ‪ .‬ﺹ‪ .175‬ﻭﺍﻟﺼﻭﺍﺏ ﺃﻥ ﻨﻘﻭل‪ :‬ﺘﻠﺘﻘﻲ ﺍﻷﺴﻨﺎ ُ‬
‫ﻤﻨﻘﻭل ﻋﻥ‪ :‬ﺍﻟﺴﻌﺭﺍﻥ‪ ،‬ﻤﺤﻤﻭﺩ‪ :‬ﻋﻠﻡ ﺍﻟﻠﹼﻐﺔ ﻤﻘﺩّﻤﺔ ﻟﻠﻘﺎﺭﺉ ﺍﻟﻌﺭﺒ ّ‬
‫ﻥ ﺍﻟﻌﻠﻴﺎ‪ .‬ﺍﻨﻅﺭ‪ :‬ﺃﻨﻴﺱ‪ ،‬ﺇﺒﺭﺍﻫﻴﻡ‪ ،‬ﻭﺁﺨﺭﻭﻥ‪ :‬ﺍﻟﻤﻌﺠﻡ ﺍﻟﻭﺴﻴﻁ‪ .‬ﺍﻟﻤﺎﺩّﺓ‪) :‬ل‪ ،‬ﻕ‪،‬‬
‫ﻥ ﺍﻟﺴﻔﻠﻰ ﺍﻷﺴﻨﺎ َ‬
‫ﻥ ﺍﻟﻌﻠﻴﺎ‪ ،‬ﺃﻭ‪ :‬ﺘﻠﺘﻘﻲ ﺍﻷﺴﻨﺎ ُ‬
‫ﻭﺍﻷﺴﻨﺎ ُ‬
‫ﻱ(‪.‬‬
‫)‪(3‬‬
‫ﻲ‪ .‬ﺹ‪.175‬‬
‫ﻤﻨﻘﻭل ﻋﻥ‪ :‬ﺍﻟﺴﻌﺭﺍﻥ‪ ،‬ﻤﺤﻤﻭﺩ‪ :‬ﻋﻠﻡ ﺍﻟﻠﹼﻐﺔ ﻤﻘﺩّﻤﺔ ﻟﻠﻘﺎﺭﺉ ﺍﻟﻌﺭﺒ ّ‬
‫)‪(4‬‬
‫ﻤﻨﻘﻭل ﻋﻥ‪ :‬ﺍﻟﻤﺭﺠﻊ ﻨﻔﺴﻪ‪ .‬ﺹ‪.173‬‬
‫)‪(5‬‬
‫ﻋﻨﺩ ﺇﻨﺘﺎﺝ ﻨﺼﻑ ﺍﻟﺤﺭﻜﺔ‪ :‬ﺍﻟﻭﺍﻭ‪ ،‬ﺘﺭﺘﻔﻊ ﻤﺅﺨﹼﺭﺓ ﺍﻟﻠﹼﺴﺎﻥ ﻓﻲ ﺍﺘﹼﺠﺎﻩ ﺍﻟﻁﺒﻕ )ﺍﻟﺠﺯﺀ ﺍﻟﺭﺨﻭ ﻤﻥ ﺍﻟﺤﻨﻙ(‪ ،‬ﺒﺸﻜل ﻴﺴﻤﺢ ﺒﻤـﺭﻭﺭ‬
‫ﺍﻟﻬﻭﺍﺀ‪ ،‬ﺩﻭﻥ ﺇﺤﺩﺍﺙ ﺍﺤﺘﻜﺎﻙ ﻤﺴﻤﻭﻉ‪ .‬ﺍﻨﻅﺭ‪ :‬ﺍﻟﻨﻭﺭﻱ‪ ،‬ﻤﺤﻤﺩ ﺠﻭﺍﺩ‪ :‬ﻋﻠﻡ ﺃﺼﻭﺍﺕ ﺍﻟﻌﺭﺒﻴﺔ‪ .‬ﺹ‪.165‬‬
‫)‪(6‬‬
‫ﻲ‪ .‬ﺹ‪.180‬‬
‫ﻤﻨﻘﻭل ﻋﻥ‪ :‬ﺍﻟﺴﻌﺭﺍﻥ‪ ،‬ﻤﺤﻤﻭﺩ‪ :‬ﻋﻠﻡ ﺍﻟﻠﹼﻐﺔ ﻤﻘﺩّﻤﺔ ﻟﻠﻘﺎﺭﺉ ﺍﻟﻌﺭﺒ ّ‬
‫‪138‬‬
‫ﺱ ﻋﻠـﻰ‬
‫ﺽ ﺍﻟﻬﺎﻤ ﹺ‬
‫ﻑ ﺍﻟﺘﺤﺭﻴ ﹺ‬
‫ﺕ ﺃﺜ ﹴﺭ ﻜﺒﻴ ﹴﺭ ﻓﻲ ﺘﺼﻭﻴ ﹺﺭ ﻤﻭﻗ ِ‬
‫ﻥ ﺫﺍ ﹶ‬
‫ﺕ ﻤﺘﺘﺎﺒﻌﺔ‪ ،‬ﺘﻜﻭ ُ‬
‫ﻥ ﻀﻤّﺎ ٍ‬
‫ﺒﻀ ﱢﻡ ﺍﻟﺸﻔﺘﻴ ﹺ‬
‫ﺏ ﺍﻵﺜﺎﻡ(()‪.(1‬‬
‫ﺍﺭﺘﻜﺎ ﹺ‬

‫ﺍﻟﺠﺩﻭل )‪ :(10‬ﺍﻟﻌﻨﺎﺼ ُﺭ ﺍﻟﺼﻭﺘ ّﻴ ﹸﺔ ﻟﺴﻭﺭ ِﺓ ﺍﻟﻨﹼﺎﺱ‬

‫ﺍﻟﻤﻘﺎﻁﻊ‬ ‫ﻨﺼﻔﺎ ﺍﻟﺤﺭﻜﺔ‬ ‫ﺍﻟﺤﺭﻜـﺎﺕ‬ ‫ﺍﻟﺼﻭﺍﻤـﺕ‬

‫ﻋﺩﺩﻩ‬ ‫ﺍﻟﻤﻘﻁﻊ‬ ‫ﻋﺩﺩﻩ‬ ‫ﻨﺼﻑ‬ ‫ﻋﺩﺩﻩ ﺍﻟﺤﺭﻜﺔ ﻋﺩﺩﻫﺎ‬ ‫ﺍﻟﺼﺎﻤﺕ‬ ‫ﻋﺩﺩﻩ‬ ‫ﺍﻟﺼﺎﻤﺕ‬
‫ﺍﻟﺤﺭﻜﺔ‬
‫‪14‬‬ ‫ﺹﺡ‬ ‫‪5‬‬ ‫ﺍﻟﻭﺍﻭ‬ ‫‪8‬‬ ‫‪aa‬‬ ‫‪1‬‬ ‫ﺹ‬ ‫‪3‬‬ ‫ﺀ‬
‫‪6‬‬ ‫ﺹﺡﺡ‬ ‫‪1‬‬ ‫ﺍﻟﻴﺎﺀ‬ ‫‪2‬‬ ‫‪uu‬‬ ‫‪1‬‬ ‫ﻉ‬ ‫‪3‬‬ ‫ﺏ‬
‫‪17‬‬ ‫ﺹﺡﺹ‬ ‫ﺍﻟﻤﺠﻤﻭﻉ‪6 :‬‬ ‫‪2‬‬ ‫‪ii‬‬ ‫‪1‬‬ ‫ﻑ‬ ‫‪1‬‬ ‫ﺕ‬
‫‪6‬‬ ‫ﺹﺡﺡﺹ‬ ‫ﺍﻟﻤﺠﻤﻭﻉ‪12 :‬‬ ‫‪1‬‬ ‫ﻕ‬ ‫‪1‬‬ ‫ﺝ‬
‫ﺍﻟﻤﺠﻤﻭﻉ‪43 :‬‬ ‫‪1‬‬ ‫ﻙ‬ ‫‪1‬‬ ‫ﺥ‬
‫‪12‬‬ ‫‪a‬‬ ‫‪8‬‬ ‫ل‬ ‫‪1‬‬ ‫ﺩ‬
‫‪5‬‬ ‫‪u‬‬ ‫‪3‬‬ ‫ﻡ‬ ‫‪2‬‬ ‫ﺫ‬
‫‪14‬‬ ‫‪i‬‬ ‫‪16‬‬ ‫ﻥ‬ ‫‪4‬‬ ‫ﺭ‬
‫ﺍﻟﻤﺠﻤﻭﻉ‪31 :‬‬ ‫‪1‬‬ ‫ﻫـ‬ ‫‪10‬‬ ‫ﺱ‬
‫ﻤﺠﻤﻭﻉ‬ ‫‪1‬‬ ‫ﺵ‬
‫ﺍﻟﺤﺭﻜﺎﺕ‪43 :‬‬ ‫ﺍﻟﻤﺠﻤﻭﻉ‪60 :‬‬
‫ﻤﺠﻤﻭﻉ ﺍﻷﺼﻭﺍﺕ ﺍﻟﻠﹼﻐﻭﻴّﺔ‪109 :‬‬

‫ﻥ ﺍﻟﻜﻠﻤ ﹶﺔ )ﻭﺴﻭﺴـﺔ( ﻨﻔﺴَـﻬﺎ‪،‬‬

‫ﺏ ﺇﻟﻴﻪ ﺍﻟﺩﻜﺘﻭ ُﺭ ﻤﺤﻤﻭﺩ ﻨﺤﻠﺔ ﻓﻲ ﻫﺫﺍ ﺍﻟﻤﻘﺎﻡ‪ ،‬ﺃ ﱠ‬
‫ﻭﻤﻤّﺎ ﻴﺅﻜﹼ ُﺩ ﻤﺎ ﺫﻫ َ‬

‫ﻑ ﺍﻟﺤﺭﻜـ ِﺔ‬
‫ﺕ ﻓـﻲ ﻫﺫﻩ ﺍﻟﺴﻭﺭﺓ‪ ،‬ﻭﻨﺼـ ِ‬
‫ﻥ‪ ،‬ﺍﻟﺘﻲ ﺘﺭ ُﺩ – ﻜﻤﺎ ﹸﺫﻜِـﺭ – )‪ (10‬ﻤﺭّﺍ ٍ‬
‫ﻥ ﻤﻥ ﺍﻟﺴﻴ ﹺ‬
‫ﺘﺘﻜﻭّ ُ‬

‫ﺱ – ﺭﺤﻤَﻪ ﺍﷲ ‪ -‬ﻫـﺫﻩ ﺍﻟﻜﻠﻤـﺔ‪،‬‬

‫ﻥ ﻓﺎﺭ ﹴ‬
‫ﻥ ﺭ ﱠﺩ ﺍﺒ ُ‬
‫ﻥ ﺍﻟﺼﻭﺘﻴ ﹺ‬
‫ﺍﻟﻭﺍﻭ‪ ،‬ﺍﻟﺫﻱ ﻴﺭ ُﺩ )‪ (5‬ﻤﺭّﺍﺕ‪ .‬ﻭﺇﻟﻰ ﻫﺫﻴ ﹺ‬
‫ﺤﻠﹾـﻲ‪:‬‬
‫ﺕ ﺍﻟ َ‬
‫ﺕ ﻏﻴ ﹺﺭ ﺭﻓﻴﻊ ]ﺠﻬﻴﺭ[‪ .‬ﻴُﻘﺎلُ ﻟﺼـﻭ ِ‬
‫ل ﻋﻠﻰ ﺼﻭ ٍ‬
‫ﻓﻴﻘﻭل‪))) :‬ﻭﺱ( ﺍﻟﻭﺍ ُﻭ ﻭﺍﻟﺴﻴﻥ‪ :‬ﻜﻠﻤﺔﹲ ﺘﺩ ﱡ‬

‫ﻥ ﺁﺩ َﻡ َﻭﺴْﻭﺍﺱ(()‪.(2‬‬
‫ﻥ ﺍﺒ َ‬
‫ﺱ ﺍﻟﺼﺎﺌ ِﺩ َﻭﺴْﻭﺍﺱ‪ .‬ﻭﺇﻏﻭﺍ ُﺀ ﺍﻟﺸﻴﻁﺎ ﹺ‬
‫َﻭﺴْﻭﺍﺱ‪ .‬ﻭﻫﻤ ُ‬

‫)‪ (1‬ﻨﺤﻠﺔ‪ ،‬ﻤﺤﻤﻭﺩ ﺃﺤﻤﺩ‪ :‬ﻟﻐﺔ ﺍﻟﻘﺭﺁﻥ ﺍﻟﻜﺭﻴﻡ ﻓﻲ ﺠﺯﺀ ﻋ ّﻡ‪ .‬ﺹ‪.348 ،347‬‬
‫)‪ (2‬ﺍﺒﻥ ﻓﺎﺭﺱ‪ ،‬ﺃﺒﻭ ﺍﻟﺤﺴﻴﻥ ﺃﺤﻤﺩ‪ :‬ﻤﻌﺠﻡ ﻤﻘﺎﻴﻴﺱ ﺍﻟﻠﹼﻐﺔ‪ .‬ﺍﻟﻤﺎﺩّﺓ‪) :‬ﻭ‪ ،‬ﺱ(‪.‬‬
‫‪139‬‬
‫ﺕ ﺃﻨﻔﺎﺴِﻬﻡ؛ ﻓﺠﻌﻠﻭﻫﺎ‬
‫ﺱ ﻓﻲ ﺃﺼﻭﺍ ِ‬
‫ﺕ ﺍﻟﺘﻲ ﻻﺤﻅﹶﻬﺎ ﺍﻟﻨﺎ ُ‬
‫ﻥ ﻤﻥ ﺍﻷﺼﻭﺍ ِ‬
‫ﻥ ﺍﻟﺴﻴ َ‬
‫ﺃﻀﻑﹾ ﺇﻟﻰ ﺫﻟﻙ‪ ،‬ﺃ ﱠ‬

‫ﺱ(‪ ،‬ﻭ)ﻨﺎﺱ()‪ .(1‬ﻭﺍﻟﻭﺴﻭﺴـ ﹸﺔ ﺼـﻭﺕﹲ‬

‫ﺱ‪ ،‬ﻜـ)ﻨﻔﺱ(‪ ،‬ﻭ)ﺤ ّ‬
‫ﻅ ﺍﻟﻤﺭﺘﺒﻁ ِﺔ ﺒﻬﺫﻩ ﺍﻷﻨﻔﺎ ﹺ‬
‫ﺽ ﺍﻷﻟﻔﺎ ِ‬
‫ﻓﻲ ﺒﻌ ﹺ‬

‫ﺴ ِﻤ َﻊ ﻤﻌﻪ ﺍﻟ ﱠﻨﻔﹶﺱ‪.‬‬
‫ﺱ‪ُ ،‬‬
‫ل ﺍﻟﻨﺎ ﹺ‬
‫ﻥ ﻤﻥ ﻋﻤ ﹺ‬
‫ﻗﺭﻴﺏٌ ﻤﻥ ﺍﻟﻨﻔﹾﺱ؛ ﻓﺈﺫﺍ ﻜﺎ َ‬

‫ﺕ‬
‫ﺱ ﻁﺒﻴﻌ ﹶﺔ ﺍﻟﻭﺴﻭﺴ ِﺔ ﺍﻟﻤﺘﻤﺜﹼﻠ ﹶﺔ ﻓﻲ ﺍﻟﺨﻔﻭ ِ‬
‫ﺱ‪ ،‬ﺘﻌﻜ ُ‬
‫ﻙ ﻭﺍﻟﻬﻤ ﹺ‬
‫ﻥ ﺒﻤﻠﻤﺤﻴﻬﺎ‪ :‬ﺍﻻﺤﺘﻜﺎ ِ‬
‫ﻭﺇﺫﺍ ﻜﺎﻨﺕ ﺍﻟﺴﻴ ُ‬

‫ﺕ ﺍﻻﺤﺘﻜﺎﻜ ّﻴ ِﺔ ﺍﻟﻤﻬﻤﻭﺴ ِﺔ ﺍﻷﺨﺭﻯ ﻓﻲ ﺍﻟﺴﻭﺭ ِﺓ‪ ،‬ﺃﻥ ﺘـﺩﻋ َﻡ ﺇﻴﺤﺎﺀَﻫـﺎ‬

‫ﻥ ﺍﻟﺼﻭﺍﻤ ِ‬
‫ﻥ ﻤﻥ ﺸﺄ ﹺ‬
‫ﻭﺍﻟﺨﻔﻴﺔ‪ ،‬ﻓﺈ ﱠ‬

‫ﻥ ﺫﻜﺭَﻫﻤﺎ ﺍﻟﺩﻜﺘﻭ ُﺭ ﻤﺤﻤﻭﺩ ﻨﺤﻠﺔ‪ ،‬ﻭﻗـﺩْ‬

‫ﻥ‪ :‬ﺍﻟﺼﺎ ِﺩ ﻭﺍﻟﻔﺎ ِﺀ ﺍﻟﻠﺫﻴ ﹺ‬
‫ﻥ ﺍﻟﻤﻠﻤﺤﻴﻥ؛ ﻓﺈﻀﺎﻓ ﹰﺔ ﺇﻟﻰ ﺍﻟﺼﺎﻤﺘﻴ ﹺ‬
‫ﺒﻬﺫﻴ ﹺ‬
‫ﺕ ﻴﺭ ُﺩ‬
‫ل ﻤﻥ ﻫﺫﻩ ﺍﻟﺼﻭﺍﻤ ِ‬
‫ل ﻤﻨﻬﻤﺎ ﻓﻲ ﺍﻟﺴﻭﺭ ِﺓ ﻤ ّﺭ ﹰﺓ ﻭﺍﺤﺩﺓ‪ ،‬ﺜﹶـ ﱠﻡ ﺍﻟﻬﺎ ُﺀ‪ ،‬ﻭﺍﻟﺨﺎ ُﺀ‪ ،‬ﻭﺍﻟﺸﻴﻥ‪ .‬ﻭﻜ ﱞ‬
‫ﻭﺭ َﺩ ﻜ ﱞ‬

‫ﻤ ّﺭ ﹰﺓ ﻭﺍﺤﺩ ﹰﺓ ﺃﻴﻀًﺎ‪.‬‬

‫ﺱ ﻁﺒﻴﻌ ِﺔ ﺍﻟﻭﺴﻭﺴﺔ‪ ،‬ﻤﺎ ﻋﺭﻓﻨﺎﻩ‬

‫ﺕ ﺍﻻﺤﺘﻜﺎﻜ ّﻴ ِﺔ ﺍﻟﻤﻬﻤﻭﺴ ِﺔ ﻋﻠﻰ ﻋﻜ ﹺ‬
‫ﻭﻤﻤّﺎ ﻴﺅﻜﹼ ُﺩ ﻗﺩﺭ ﹶﺓ ﻫﺫﻩ ﺍﻟﺼﻭﺍﻤ ِ‬

‫ﻑ‬
‫ﺱ – ﺒﺎﻋﺘﻘـﺎﺩﻱ ‪ -‬ﻋﻠـﻰ ﺍﻟﻠﹼﻁـ ِ‬
‫ل ﺍﻟﻬﻤـ ُ‬
‫ل ﻋﻠﻰ ﺍﻟﺘﺅﺩ ِﺓ ﻭﺍﻟﻠﻴﻥ‪ ،‬ﻜﻤـﺎ ﻴﺩ ﱡ‬
‫ﻙ ﻴﺩ ﱡ‬
‫ﻥ ﺍﻻﺤﺘﻜﺎ َ‬
‫ﺴﺎﺒﻘﹰﺎ‪ ،‬ﺃ ﱠ‬

‫ﺕ ﻭﺍﻟﺨﻔﻴﺔ‪.‬‬
‫ﻕ ﻤﻊ ﺍﻟﺨﻔﻭ ِ‬
‫ﻭﺍﻟﺭﻗﹼﺔ‪ ،‬ﻭﻓﻲ ﻫﺫﺍ ﻤﺎ ﻴﺘﹼﻔ ﹸ‬

‫ﻭﻟﺤﺭﻜ ِﺔ ﺍﻟﻜﺴ ﹺﺭ ﺍﻟﺘﻲ ﺘﻜﺜ ُﺭ ﻓﻲ ﻫﺫﻩ ﺍﻟﺴﻭﺭ ِﺓ‪ ،‬ﺒﻭﺭﻭﺩِﻫﺎ )‪ (16‬ﻤ ّﺭ ﹰﺓ‪ ،‬ﻤﻥ )‪ (43‬ﺤﺭﻜ ﹰﺔ‪ ،‬ﺃﻥ ﺘﺩﻋ َﻡ‬
‫ل‪ ،‬ﻜﻤﺎ ﻋﺭﻓﻨﺎ‪ ،‬ﻋﻠﻰ ﺍﻟﻠﹼﻁﻑ‪.‬‬
‫ﺕ ﻭﺍﻟﺨﻔﻴﺔ؛ ﻓﻬﻲ ﺘﺩ ﱡ‬
‫ﻜﺫﻟﻙ ﺇﻴﺤﺎ َﺀ ﺍﻟﺨﻔﻭ ِ‬

‫ﺕ ﺍﻻﺤﺘﻜﺎﻜ ّﻴ ِﺔ ﺍﻟﻤﻬﻤﻭﺴ ِﺔ ﺍﻟﺨﻤﺴ ﹶﺔ ﻋﺸ َﺭ‪ ،‬ﺇﻟﻰ ﺠﺎﻨ ﹺ‬

‫ﺏ ﺇﻴﺤﺎﺌِﻬﺎ ﺍﻟﺴﺎﺒﻕ‪ ،‬ﺃﻥ ﺘﹸﺸﻌﺭَﻙ ﺒﻤـﺎ‬ ‫ﻭﻟﻠﺼﻭﺍﻤ ِ‬

‫ﻥ‬ ‫ﻥ ﻭﺃﻤﺎﻥ؛ ))ﻓﺈ ﱠ‬

‫ﻥ ﻫﻨﺎﻙ ﺘﻨﺎﺴﺒًﺎ ﻤﻭﺴﻴﻘﻴ‪‬ﺎ ﻓﻨﹼـﻴ‪‬ﺎ ﺒـﻴ َ‬ ‫ﷲ – ﺴﺒﺤﺎﻨﹶﻪ –‪ ،‬ﻤﻥ ﺭﺍﺤ ٍﺔ ﻭﺍﻁﻤﺌﻨﺎ ﹴ‬
‫ﻴﺤ ﹼﻘﻘﹸﻪ ﺍﻟﻌﻴﺎ ﹸﺫ ﺒﺎ ِ‬
‫ﺡ ﻟﻪ ﺍﻷﺫﻥ‪.‬‬
‫ﻕ ﺍﺌﺘـﻼﻓﹰﺎ ﺇﻴﻘﺎﻋﻴ‪‬ﺎ‪ ،‬ﺘﺭﺘﺎ ُ‬
‫ﻤﻥ ﺸﺄﻨِﻪ ﺃﻥ ﻴﺤ ﹼﻘ ﹶ‬ ‫ﺍﻟﻤﺘﻘﺎﺭﺒﺔ‪،(2)((...‬‬ ‫ﻑ‬
‫ﺍﻟﺤﺭﻭ ِ‬

‫ﺱ‪ ،‬ﻫﺫﻩ ﺍﻟﺘﻲ ﺘﺠﺩُﻫﺎ ﻓﻲ ﺍﻤﺘﺩﺍ ِﺩ ﹶﻨ ﹶﻔﺴِﻙ‪ ،‬ﻤﻊ )‪ (12‬ﺤﺭﻜ ﹰﺔ ﻁﻭﻴﻠ ﹰﺔ ﻓﻲ ﻫـﺫﻩ‬
‫ﻭﺃﻴّـ ﹸﺔ ﺭﺍﺤ ٍﺔ ﻓﻲ ﺍﻟﻨﻔﹾ ﹺ‬

‫ﺕ‪ ،‬ﻤﻥ )‪ (60‬ﺼﺎﻤﺘﹰﺎ‪ ،‬ﺇﻟـﻰ‬

‫ﺕ‪ ،‬ﻭ)‪ (3‬ﻤﻴﻤـﺎ ٍ‬
‫ﻕ )‪ (16‬ﻨﻭﻨﹰﺎ‪ ،‬ﻭ)‪ (8‬ﻻﻤـﺎ ٍ‬
‫ﺍﻟﺴﻭﺭﺓ‪ ،‬ﻭﻓﻲ ﺴﻬﻭﻟـ ِﺔ ﻨﻁ ِ‬

‫ﻥ ﻭﺘﻌ ﹼﺜﺭﹺﻩ ﻓﻲ ﺃﺜﻨـﺎ ِﺀ ﺍﻟﻘـﺭﺍﺀﺓ؛‬

‫ﻥ ﺍﻟﻠﹼﺴﺎ ﹺ‬
‫ل ﺒﻴ َ‬
‫ﺱ‪ ،‬ﻴﺤﻭ ُ‬
‫ﻲ ﺴﻠ ﹴ‬ ‫ﺏ ﻤﺎ ﻴﻨﺘﻅ ُﻡ ﺍﻟﺴﻭﺭ ﹶﺓ ﻤﻥ ﺘﺭﺘﻴ ﹴ‬
‫ﺏ ﻤﻘﻁﻌ ﱟ‬ ‫ﺠﺎﻨ ﹺ‬

‫ﻥ ﻤﻘﺎﻁ َﻊ ﻫﺫﻩ ﺍﻟﺴﻭﺭ ِﺓ‪ :‬ﺍﻟﻘﺼﻴ َﺭ‪،‬‬

‫ﺱ ﻫﻨﺎﻙ ﺘﺘﺎﺒﻊٌ ﻟﺜﻼﺜ ِﺔ ﻤﻘﺎﻁ َﻊ ﻗﺼﻴﺭ ٍﺓ ﺃﻭ ﺃﻜﺜﺭ‪ .‬ﺃﻀﻑﹾ ﺇﻟﻰ ﺫﻟﻙ‪ ،‬ﺃ ﱠ‬
‫ﻓﻠﻴ َ‬

‫)‪(1‬‬
‫ﻲ‪ .1992 .‬ﺹ‪.51‬‬
‫ﻲ ﺍﻟﻌﺭﺒ ّ‬
‫ﻋﻠﻭﻴﺔ‪ ،‬ﻨﻌﻴﻡ‪ :‬ﹶﻨﺤْ ُﻭ ﺍﻟﺼﻭﺕ ﻭ ﹶﻨﺤْ ُﻭ ﺍﻟﻤﻌﻨﻰ‪ .‬ﻁ‪ .1‬ﺒﻴﺭﻭﺕ‪ :‬ﺍﻟﻤﺭﻜﺯ ﺍﻟﺜﻘﺎﻓ ّ‬
‫)‪ (2‬ﺍﻟﻌﻘﹼﺎﺩ‪ ،‬ﻋﺒّﺎﺱ ﻤﺤﻤﻭﺩ‪ :‬ﺍﻟﻠﹼﻐﺔ ﺍﻟﺸﺎﻋﺭﺓ‪ .‬ﺹ‪.10‬‬
‫‪140‬‬
‫ﻥ‪ ،‬ﻤﻥ )‪ (43‬ﻤﻘﻁﻌًـﺎ‪،‬‬
‫ﺡ‪ ،‬ﺍﻟﺘﻲ ﻴﺒﻠ ﹸﻎ ﻤﺠﻤﻭﻋُﻬﺎ ﺍﻟﺴﺒﻌ ﹶﺔ ﻭﺍﻟﺜﻼﺜﻴ َ‬
‫ﻁ ﺍﻟﻤﻔﺘﻭ َ‬
‫ﺴﹶ‬
‫ﻕ‪ ،‬ﻭﺍﻟﻤﺘﻭ ّ‬
‫ﻁ ﺍﻟﻤﻐﻠ ﹶ‬
‫ﺴﹶ‬
‫ﻭﺍﻟﻤﺘﻭ ّ‬

‫ل ﺍﻟﻤﻘﺎﻁ ﹺﻊ ﺍﻟﻌﺭﺒ ّﻴ ِﺔ ﻨﻁﻘﹰﺎ‪.‬‬

‫ل ﺃﺴﻬ َ‬
‫ﺘﻤﺜﹼ ُ‬

‫ﺕ ﺘﻜ ّﺭﺭًﺍ‪ ،‬ﻓﻲ ﻫﺫﻩ ﺍﻟﺴﻭﺭ ِﺓ‬

‫ل ﺃﻜﺜ َﺭ ﺍﻟﺼﻭﺍﻤ ِ‬
‫ﻥ ﺍﻟﺘـﻲ ﺘﻤﺜﹼ ُ‬
‫ﺡ‪ ،‬ﻓﻲ ﺍﻟﻨﻭ ﹺ‬
‫ﻭﺤﺴﺒُﻙ ﻤﺎ ﺘﺠﺩُﻩ ﻤﻥ ﺍﺭﺘﻴﺎ ﹴ‬
‫ﻥ‬
‫ﻥ ﺤﺭﻑﹲ ﻨﻭّﺍﺡٌ‪ ،‬ﻴﺘﻀﻤّ ُ‬
‫ﻥ ﺍﻟﻨـﻭ َ‬
‫ﺱﺃﱠ‬ ‫ﺍﻟﺘﻲ ﺘﺼﻁﺒ ﹸﻎ ﺒﻐ ﹼﻨﺘِﻬﺎ‪ ،‬ﻜﻤﺎ ﺘﺼﻁﺒ ﹸﻎ ﺒﺼﻔﻴ ﹺﺭ ﺍﻟﺴﻴﻥ؛ ﻓـ))ﻨﺤ ُ‬
‫ﻥ ﻨﺤ ﱡ‬

‫ﻥ‪ ،‬ﻗﺩ ﺍﻜﺘﺴﺒﺕﹾ ﺼـﻔﺘﹶﻬﺎ‬

‫ﻥ ﻤﺎ ّﺩ ﹶﺓ ﺍﻟﺭﻨﻴ ﹺ‬
‫ﺏﺃﱠ‬
‫ﺸﺤﻨ ﹰﺔ ﻗﻭ ّﻴ ﹰﺔ ﻤﻥ ﺍﻟﻨﻐ ﹺﻡ ﺍﻟﻤﺸ ﱢﻊ ﻜﻴﻔﻤﺎ ﺍﺴﺘﻌﻤﻠﻨـﺎﻩ‪ .‬ﻭﻤﻥ ﺍﻟﻌﺠﻴ ﹺ‬

‫ﻨﻔﺴِـﻪ(()‪.(1‬‬ ‫ﻑ‬
‫ﻤﻥ ﻫﺫﺍ ﺍﻟﺤﺭ ِ‬

‫ﺙ ﺍﻟﺭﺍﺤـ ِﺔ‬
‫ل ﻫﺫﻩ ﺍﻟﺴﻭﺭ ِﺓ‪ ،‬ﺃﻥ ﻴﺴﻬ َﻡ ﻜﺫﻟﻙ ﻓﻲ ﺒﻌـ ِ‬
‫ﻅ )ﻨﺎﺱ( ﺒﺄﺼﻭﺍﺘِﻪ‪ ،‬ﻓﻲ ﻓﻭﺍﺼ ﹺ‬
‫ﻭﻟﺘﻜﺭﺍ ﹺﺭ ﺍﻟﻠﹼﻔ ِ‬

‫ﺍﻟﺼﺩﻯ)‪.(2‬‬ ‫ﺕ‪ ،‬ﺘﺸﺒ ُﻪ ﻟ ﹼﺫ ﹶﺓ ﺭﺠ ﹺﻊ‬

‫ﻥ – ﻜﻤﺎ ﻋﺭﻓﻨﺎ ‪ -‬ﻟ ﹼﺫﺓﹲ ﺒﺘﻜﺭﺍ ﹺﺭ ﺍﻷﺼﻭﺍ ِ‬
‫ﻭﺍﻻﻁﻤﺌﻨﺎﻥ؛ ﻓﻠﻸﺫ ﹺ‬

‫ل ﻤﺤﻤّﺩ ﻤﻨﺩﻭﺭ‪ ،‬ﺫﺍ ﻤﻭﺴﻴﻘﻰ ﻫﺎﺩﺌ ٍﺔ ﻤﻁﹼﺭﺩ ٍﺓ‪ ،‬ﺘـﺄﺘﻲ‬

‫ﻱ )ﺍﻟﻬﺯﺝ(‪ ،‬ﻜﻤﺎ ﻴﻘﻭ ُ‬
‫ﻥ ﺍﻟﺒﺤ ُﺭ ﺍﻟﺸﻌﺭ ﱡ‬
‫ﻭﺇﺫﺍ ﻜﺎ َ‬
‫ﻑ‬
‫ل ﺍﻷﻋﻠﻰ ‪ -‬ﺃﻥ ﻨﺼـ ﹶ‬
‫ﷲ ﺍﻟﻤﺜ ُ‬
‫ﻥ ﻟﻨـﺎ – ﻭ ِ‬
‫ﻓﺈﻨﱠﻪ ﻴﻤﻜ ُ‬ ‫ﻓﻴـﻪ)‪(3‬؛‬ ‫ﻤﻥ ﻏﻠﺒ ِﺔ ﺍﻟﻤﻘﺎﻁ ﹺﻊ ﺍﻟﻌﺭﻭﻀ ّﻴ ِﺔ ﺍﻟﻁﻭﻴﻠ ِﺔ‬

‫ﺕ‬
‫ل ﻓﻲ ﻋﻠ ﹺﻡ ﺍﻷﺼﻭﺍ ِ‬
‫ﻤﻭﺴﻴﻘﻰ ﻫﺫﻩ ﺍﻟﺴﻭﺭ ِﺓ ﺒﺎﻟﻬﺎﺩﺌ ِﺔ ﺍﻟﻤﻁﹼﺭﺩﺓ؛ ﻟﻐﻠﺒ ِﺔ ﺍﻟﻤﻘﺎﻁ ﹺﻊ ﺍﻟﻁﻭﻴﻠ ِﺔ ﻓﻴﻬﺎ‪ ،‬ﺍﻟﺘﻲ ﺘﻘﺎﺒ ُ‬

‫ﻥ )‪(23‬‬
‫ﻥ ﺍﻟﻨـﻭﻋﻴ ﹺ‬
‫ﺍﻟﻤﻘﺎﻁ َﻊ ﺍﻟﻤﺘﻭﺴّﻁ ﹶﺔ ﺍﻟﻤﻐﻠﻘ ﹶﺔ‪ ،‬ﻭﺍﻟﻤﺘﻭﺴّﻁ ﹶﺔ ﺍﻟﻤﻔﺘﻭﺤﺔ؛ ﻓﺘﺤﺘﻭﻱ ﺍﻟﺴﻭﺭ ﹸﺓ ﻤـﻥ ﻫـﺫﻴ ﹺ‬
‫ﻑ ﺍﻟﻌﻴـﺎ ِﺫ ﺍﻟـﺫﻱ‬
‫ﻕ ﻤﻊ ﻤﻭﻗ ِ‬
‫ﻥ ﻫﺫﺍ ﺍﻟﻬﺩﻭ ِﺀ ﺍﻟﻤﻁﹼﺭ ِﺩ‪ ،‬ﺃﻥ ﻴﺘﹼﻔ ﹶ‬
‫ﻤﻘﻁﻌًﺎ‪ ،‬ﻤﻥ )‪ (43‬ﻤﻘﻁﻌًﺎ ﻓﻴﻬﺎ‪ .‬ﻭﻤﻥ ﺸﺄ ﹺ‬

‫ﺘﺩﻋﻭ ﺇﻟﻴﻪ ﺍﻟﺴﻭﺭﺓ‪.‬‬

‫ل‪ ،‬ﻴﻭﺍﺌ ُﻡ ﻤﺎ ﺘﺤﻤﻠﹸﻪ ﻤﻥ ﺘﺤـﺫﻴ ﹴﺭ‪ ،‬ﻤـﻥ ﺸـ ﱢﺭ‬

‫ﻲ ﻋﺎ ﹴ‬
‫ﻭﺃﺨﻴﺭًﺍ‪ ،‬ﻟﻬﺫﻩ ﺍﻟﺴﻭﺭ ِﺓ ﺍﻟﻌﻅﻴﻤ ِﺔ ﻭﻀﻭﺡٌ ﺴﻤﻌ ﱞ‬
‫ﺕ ﻓـﻲ ﺍﻟﺴـﻤﻊ‪ ،‬ﻤـﻥ‬
‫ﺢ ﺍﻷﺼﻭﺍ ِ‬
‫ﺡ )‪ (87‬ﺼﻭﺘﹰﺎ‪ ،‬ﻤﻥ ﺃﻭﻀ ﹺ‬
‫ﺱ ﺍﻟﺨﻨﹼﺎﺱ‪ .‬ﻭﻗِﻭﺍ ُﻡ ﻫﺫﺍ ﺍﻟﻭﻀﻭ ﹺ‬
‫ﺍﻟﻭﺴﻭﺍ ﹺ‬

‫ﺕ‪ ،‬ﻭ)‪(3‬‬
‫ﺕ ﻓﻲ ﺍﻟﺴﻭﺭﺓ؛ ﻓﺈﻀﺎﻓ ﹰﺔ ﺇﻟـﻰ )‪ (43‬ﺤﺭﻜـ ﹰﺔ‪ ،‬ﻭ)‪ (16‬ﻨﻭﻨﹰـﺎ‪ ،‬ﻭ)‪ (8‬ﻻﻤـﺎ ٍ‬
‫)‪ (109‬ﺃﺼﻭﺍ ٍ‬

‫ﺕ‪ ،‬ﻴﺭ ُﺩ ﻨﺼﻔﺎ ﺍﻟﺤﺭﻜ ِﺔ‪ :‬ﺍﻟﻭﺍ ُﻭ ﻭﺍﻟﻴﺎ ُﺀ‪ (6) ،‬ﻤﺭّﺍﺕ‪ ،‬ﻭﺍﻟﺭﺍ ُﺀ )‪ (4‬ﻤﺭّﺍﺕ‪ ،‬ﻭﺍﻟﻬﻤﺯ ﹸﺓ )‪ (3‬ﻤﺭّﺍﺕ‪،‬‬
‫ﻤﻴﻤـﺎ ٍ‬

‫ﻥ ﻤ ّﺭ ﹰﺓ ﻭﺍﺤﺩﺓ‪.‬‬
‫ل ﻤﻥ ﺍﻟﺠﻴ ﹺﻡ ﻭﺍﻟﻌﻴ ﹺ‬
‫ل ﻤﺭّﺘﻴﻥ‪ ،‬ﻭﻜ ﱞ‬
‫ﻭﺍﻟﺫﺍ ُ‬

‫)‪(1‬‬
‫ﺸﻭﺸﺔ‪ ،‬ﻓﺎﺭﻭﻕ‪ :‬ﻟﻐﺘـﻨﺎ ﺍﻟﺠﻤﻴﻠﺔ‪ .‬ﺍﻟﻬﻴﺌﺔ ﺍﻟﻤﺼﺭﻴّﺔ ﺍﻟﻌﺎﻤّﺔ ﻟﻠﻜﺘﺎﺏ‪ .1999 .‬ﺹ‪.77‬‬
‫)‪(2‬‬
‫ﺍﻨﻅﺭ ﺹ‪ 124‬ﻤﻥ ﻫﺫﺍ ﺍﻟﺒﺤﺙ‪.‬‬
‫)‪ (3‬ﻓﻬﻭ ﻴﺘﻜﻭّﻥ ﻤﻥ ﺍﻟﺘﻔﻌﻴﻠﺔ )ﻤﻔﺎﻋﻴﻠﻥْ( ﻤﻜﺭّﺭﺓﹰ‪ ،‬ﻭﻫـﻲ‪ ،‬ﺒﺩﻭﺭﻫﺎ‪ ،‬ﺘﺘﻜﻭّﻥ ﻤﻥ ﻤﻘﻁﻊ ﻭﺍﺤﺩ ﻗﺼﻴﺭ‪ ،‬ﻭﺜﻼﺜﺔ ﻤﻘﺎﻁﻊ ﻁﻭﻴﻠﺔ ﺒﻌـﺩﻩ؛‬
‫ﻓﻭﺯﻨﻪ‪) :‬ﻤﻔﺎﻋﻴﻠﻥْ ﻤﻔﺎﻋﻴﻠﻥْ ﻤﻔﺎﻋﻴﻠﻥْ ﻤﻔﺎﻋﻴﻠﻥْ ‪ u /‬ـ ـ ـ ‪ u‬ـ ـ ـ ‪ u‬ـ ـ ـ ‪ u‬ـ ـ ـ(‪ .‬ﺍﻨﻅﺭ‪ :‬ﻤﻨﺩﻭﺭ‪ ،‬ﻤﺤﻤّﺩ‪ :‬ﻓـﻲ‬
‫ﺍﻟﻤﻴﺯﺍﻥ ﺍﻟﺠﺩﻴﺩ‪ .‬ﺹ‪.62‬‬
‫‪141‬‬
‫ﻲ ﺴـﺎ ﹴﻡ‪ ،‬ﻻ‬
‫ﺝ ﺼـﻭﺘ ﱟ‬
‫ﻙ ﻓﻲ ﺃﻨﻤـﻭﺫ ﹴ‬
‫ل ﻫﺫﻩ ﺍﻟﺴﻭ ﹺﺭ ﺍﻟﺴﺒ ﹺﻊ ﺼﻭﺘﻴ‪‬ﺎ‪ ،‬ﺃﻨﱠﻬﺎ ﺘﺸﺘﺭ ُ‬
‫ﺢ ﻟﻨﺎ ﺒﻌ َﺩ ﺘﺤﻠﻴ ﹺ‬
‫ﻴﺘﹼﻀ ُ‬

‫ل ﺫﻜﺭُﻩ – ﺍﻟﺫﻱ ))ﺘ ﱠﻡ ﻟﻪ ﺍﻟﺘﻤﺎ ُﻡ ﻜﻠﱡﻪ‪ ،‬ﻭﺼـﺎ َﺭ ﺇﻋﺠـﺎﺯُﻩ‬

‫ﷲ–ﺠﱠ‬
‫ﺏﺍ ِ‬
‫ﻴﻁﺎﻭﻟﹸﻪ ﺃﻨﻤﻭﺫﺝ‪ ،‬ﻤﻤﺜﹼﻠ ﹰﺔ ﺒﺫﻟﻙ ﻜﺘﺎ َ‬

‫ﺕ ﺴﻼﺴــ ٍﺔ ﻨﻁﻘﻴّــ ٍﺔ ﺘﺴـﺘﻬﻭﻱ‬

‫ﺇﻋﺠـﺎﺯًﺍ ﻟﻠﻔﻁﺭ ِﺓ ﺍﻟﻠﹼﻐﻭﻴّـ ِﺔ ﻓـﻲ ﻨﻔﺴِﻬﺎ‪(1)((...‬؛ ﻓﻬﺫﻩ ﺍﻟﺴﻭ ُﺭ ﺫﺍ ﹸ‬
‫ﺏ‬
‫ﺢ ﻻ ﺘﺘﻁﻠﹼـ ُ‬
‫ﻕ ﻓﻴﻬﺎ‪ ،‬ﺍﻟﺘﻲ ﺘﺘﻤﺘﹼ ُﻊ ﺒﻤﻼﻤـ َ‬
‫ﺕ ﺍﻟﻠﹼﻐﻭ ّﻴ ِﺔ ﺍﻟﺴﻬﻠ ِﺔ ﺍﻟﻨﻁ ِ‬
‫ﺍﻷﻟﺴﻨﺔ‪ ،‬ﺘﻜﺘﺴﺒُﻬﺎ ﻤﻥ ﻭﻓﺭ ِﺓ ﺍﻷﺼﻭﺍ ِ‬

‫ﺠﻬﺩًﺍ ﻋﻀﻠﻴ‪‬ﺎ ﻜﺒﻴﺭًﺍ ﻓﻲ ﺍﻟﻨﻁﻕ‪ ،‬ﻜﺎﻻﻨﻔﺠﺎ ﹺﺭ‪ ،‬ﻭﺍﻟﺠﻬ ﹺﺭ‪ ،‬ﻭﺍﻟﺠﺎﻨﺒ ّﻴ ِﺔ‪ ،‬ﻭﺍﻷﻨﻔﻴّﺔ‪ ،‬ﻜﻤﺎ ﺘﻜﺘﺴﺒُﻬﺎ ﻤﻥ ﻤﻘﺎﻁﻌِﻬﺎ‬

‫ل ﺍﻟﻤﻘﺎﻁ ﹺﻊ ﺍﻟﻌﺭﺒ ّﻴ ِﺔ ﻨﻁﻘﹰﺎ‪،‬‬

‫ل ﺃﺴﻬ َ‬
‫ﺡ‪ ،‬ﺍﻟﺘﻲ ﺘﻤﺜﹼ ُ‬
‫ﻁ ﺍﻟﻤﻔﺘﻭ ﹺ‬
‫ﺴِ‬
‫ﻕ‪ ،‬ﻭﺍﻟﻤﺘﻭ ّ‬
‫ﻁ ﺍﻟﻤﻐﻠ ِ‬
‫ﺴِ‬
‫ﺍﻟﺼﻭﺘ ّﻴ ِﺔ‪ :‬ﺍﻟﻘﺼﻴ ﹺﺭ‪ ،‬ﻭﺍﻟﻤﺘﻭ ّ‬
‫ﺏ ﻻ ﻴﺘﻠﻌﺜ ُﻡ ﻤﻌﻪ ﺍﻟﻠﹼﺴﺎﻥ‪ ،‬ﻤﻥ ﺠﻬ ٍﺔ ﺃﺨﺭﻯ‪.‬‬
‫ﻤﻥ ﺠﻬﺔ‪ ،‬ﻭﺘﻨﺘﻅ ُﻡ ﻓﻲ ﺘﺭﺘﻴ ﹴ‬

‫ﺕ ﺍﻟﻠﹼﻐﻭﻴّـ ِﺔ‬
‫ﻲ ﺍﻟﻌﺎﻟـﻲ ﺍﻟﻤﺘﻤﻴّﺯ‪ ،‬ﺍﻟﺫﻱ ﺘﻜﺘﺴﺒُﻪ ﻤﻥ ﻭﻓﺭ ِﺓ ﺍﻷﺼﻭﺍ ِ‬
‫ﻭﻟﻬﺫﻩ ﺍﻟﺴﻭ ﹺﺭ ﻭﻀﻭﺤُﻬﺎ ﺍﻟﺴﻤﻌ ﱡ‬

‫ﺕ ﺍﻟﻁﻭﻴﻠـ ِﺔ‬
‫ﺢ ﻗﻭﻴّـ ِﺔ ﺍﻟﻭﻗـ ﹺﻊ ﻓـﻲ ﺍﻷﺫﻥ‪ ،‬ﻜﺎﻟﺤﺭﻜـﺎ ِ‬
‫ﺡ ﻓﻴـﻬﺎ‪ ،‬ﺍﻟﺘـﻲ ﺘﺘﻤﺘﹼ ُﻊ ﺒﻤﻼﻤ َ‬
‫ﺍﻟﻌﺎﻟﻴ ِﺔ ﺍﻟﻭﻀﻭ ﹺ‬

‫ﺕ ﺍﻟﺭﻨﹼﺎﻨـ ِﺔ ﺒﺠﺎﻨﺒ ّﻴ ِﺔ ﺍﻟﻼ ﹺﻡ‪ ،‬ﻭﺘﹶﻜﺭﺍ ﹺﺭ ﺍﻟﺭّﺍ ِﺀ‪ ،‬ﻭﺃﻨﻔ ّﻴ ِﺔ ﺍﻟﻨﻭ ﹺ‬

‫ﻥ ﻭﺍﻟﻤﻴـﻡ‪.‬‬ ‫ﻲ‪ ،‬ﻭﺍﻟﺼﻭﺍﻤ ِ‬
‫ﺒﺎﻤﺘﺩﺍﺩِﻫـﺎ ﺍﻟﻨﻁﻘ ّ‬

‫ﺏ ﻫﺫﻩ ﺍﻟﺴﻭ ُﺭ ﻤﻭﺴﻴﻘﻰ ﻟﻐﻭ ّﻴ ﹰﺔ ﻻﻓﺘ ﹰﺔ‬

‫ﻲ‪ ،‬ﺘﻜﺘﺴ ُ‬
‫ﺡ ﺍﻟﺴﻤﻌ ﱢ‬
‫ﻭﻤﻥ ﻫﺫﻩ ﺍﻟﺴﻼﺴ ِﺔ ﺍﻟﻨﻁﻘ ّﻴ ِﺔ‪ ،‬ﻭﻫﺫﺍ ﺍﻟﻭﻀﻭ ﹺ‬

‫ﺏ‬
‫ﺏ ﺒﺘﺭﺘﻴ ﹺ‬
‫ﺱ ﻓﻴﻬﺎ‪ ،‬ﻭﻤﺎ ﻴﻨﺘﻅﻤُﻬﺎ ﻤﻥ ﺘﺭﺘﻴ ﹴ‬
‫ﺕ ﺍﻟﻠﹼﻐﻭ ّﻴ ِﺔ ﺍﻟﻤﺘﻤﻴّﺯ ِﺓ ﺍﻟﺠﺭ ﹺ‬
‫ﺏ ﻜﺜﺭ ِﺓ ﺍﻷﺼﻭﺍ ِ‬
‫ﺠﺫﹼﺍﺒﺔ‪ ،‬ﺇﻟﻰ ﺠﺎﻨ ﹺ‬
‫ﻑ‬
‫ﺕ ﺘﺸﻌ ُﺭ ﺒﻠ ﹼﺫ ٍﺓ ﺠﺩﻴﺩ ٍﺓ ﻓﻲ ﺭﺼـ ِ‬
‫ﺱ ﻓﻲ ﻜﻼﻤِﻬﻡ؛ ﻓﺄﻨ ﹶ‬
‫ﺏ‪ ،‬ﻭﻨﻅﺎ ﹴﻡ ﺘﻌﺎﻁﺎﻩ ﺍﻟﻨﺎ ُ‬
‫ل ﺘﺭﺘﻴ ﹴ‬
‫ﺕ‪ ،‬ﺩﻭﻨﹶﻪ ﻜ ﱡ‬
‫ﺍﻟﻜﻠﻤﺎ ِ‬

‫ﺠﻬـﺎ‬
‫ﻥ ﺘﺴﺘﻤ ُﻊ ﺇﻟﻴﻬﺎ ﺨﺎﺭﺠـ ﹰﺔ ﻤـﻥ ﻤﺨﺎﺭ ﹺ‬
‫ﺕ ﻭﺍﻵﻴﺎﺕ‪ ،‬ﺤﻴ َ‬
‫ﺏ ﻓﻲ ﺍﻟﻜﻠﻤﺎ ِ‬
‫ﺕ‪ ،‬ﺠﻨﺒًﺎ ﺇﻟﻰ ﺠﻨ ﹴ‬
‫ﻫﺫﻩ ﺍﻷﺼﻭﺍ ِ‬

‫ﺱ‪ ،‬ﻭﺫﺍﻙ ﻴﺠﻬﺭ)‪(2‬؛ ﻭﻫﺫﺍ‬

‫ﺍﻟﺼﺤﻴﺤﺔ‪ ،‬ﻓﻬﺫﺍ ﻴﻨﻘ ُﺭ‪ ،‬ﻭﺫﺍﻙ ﻴﺼﻔﺭ؛ ﻭﻫﺫﺍ ﻴﺨﻔﻰ‪ ،‬ﻭﺫﺍﻙ ﻴﻅﻬﺭ؛ ﻭﻫﺫﺍ ﻴﻬﻤ ُ‬
‫ﻥ‪ ،‬ﻭﺫﺍﻙ ﻴﻨﺤﺭﻑ‪...‬‬
‫ﻴﻐ ﱡ‬

‫ﻻ ﺼﻭﺭٌ ﺘﺎ ّﻤﺔﹲ ﻟﻸﺒﻌﺎ ِﺩ ﺍﻟﺘﻲ ﺘﻨﺘﻬـﻲ‬

‫ﺕ ﻫﺫﻩ ﺍﻟﺴﻭﺭ‪ ،‬ﻓﻤﺎ ﻫﻲ ))ﺇ ﹼ‬
‫ل ﺍﻟﺘﻲ ﺘﻨﺘﻬﻲ ﺒﻬﺎ ﺁﻴﺎ ﹸ‬
‫ﺃﻤّﺎ ﺍﻟﻔﻭﺍﺼ ُ‬

‫ﺕ‪،‬‬
‫ﻉ ﺍﻟﺼـﻭ ِ‬
‫ﺕ ﺍﺘﹼﻔﺎﻗﹰﺎ ﻋﺠﻴﺒًﺎ‪ ،‬ﻴﻼﺌ ُﻡ ﻨـﻭ َ‬
‫ل ﺍﻟﻤﻭﺴﻴﻘﻰ‪ ،‬ﻭﻫﻲ ﻤﺘﹼﻔﻘﺔﹲ ﻤﻊ ﺁﻴﺎﺘِﻬﺎ ﻓﻲ ﻗﺭﺍ ﹺﺭ ﺍﻟﺼﻭ ِ‬
‫ﺒﻬﺎ ﺠﻤ ُ‬
‫ﺏ ﻤﺫﻫﺏ(()‪.(3‬‬
‫ﺱ ﻭﺭﺍﺀَﻩ ﻓﻲ ﺍﻟﻌﺠ ﹺ‬
‫ﻭﺍﻟﻭﺠ َﻪ ﺍﻟﺫﻱ ﻴُﺴﺎﻕﹸ ﻋﻠﻴﻪ‪ ،‬ﺒﻤﺎ ﻟﻴ َ‬

‫)‪(1‬‬
‫ﺍﻟﺭﺍﻓﻌﻲ‪ ،‬ﻤﺼﻁﻔﻰ ﺼﺎﺩﻕ‪ :‬ﺇﻋﺠﺎﺯ ﺍﻟﻘﺭﺁﻥ ﻭﺍﻟﺒﻼﻏﺔ ﺍﻟﻨﺒﻭﻴّﺔ‪ .‬ﺹ‪.35‬‬
‫)‪(2‬‬
‫ﺍﻟﺯﺭﻗﺎﻨﻲ‪ ،‬ﻤﺤﻤﺩ ﻋﺒﺩ ﺍﻟﻌﻅﻴﻡ‪ :‬ﻤﻨﺎﻫل ﺍﻟﻌﺭﻓﺎﻥ ﻓﻲ ﻋﻠﻭﻡ ﺍﻟﻘﺭﺁﻥ‪.312 / 2 .‬‬
‫)‪(3‬‬
‫ﺍﻟﺭﺍﻓﻌﻲ‪ ،‬ﻤﺼﻁﻔﻰ ﺼﺎﺩﻕ‪ :‬ﺇﻋﺠﺎﺯ ﺍﻟﻘﺭﺁﻥ ﻭﺍﻟﺒﻼﻏﺔ ﺍﻟﻨﺒﻭﻴّﺔ‪ .‬ﺹ‪.150‬‬
‫‪142‬‬
‫ﺏ‬
‫ﻥ ﻋﻠﻰ ﺤﺴـﺎ ﹺ‬
‫ل ﺫﻟﻙ ﺍﻷﺜ ﹺﺭ ﺍﻟﺫﻱ ﺘﺤﺩﺜﹸﻪ ﺍﻟﻌﻨﺎﺼ ُﺭ ﺍﻟﺼﻭﺘﻴّ ﹸﺔ ﻓﻲ ﻫﺫﻩ ﺍﻟﺴﻭ ﹺﺭ‪ ،‬ﻟﻴﻜﻭ َ‬
‫ﻭﻟﻡ ﻴﻜﻥْ ﻜ ﱡ‬

‫ﻑ ﺘﺴﻌﻰ ﻫﺫﻩ ﺍﻟﻌﻨﺎﺼ ُﺭ ﺒﻤﺎ ﺘﺘﺭﻜﹸـﻪ ﻤـﻥ‬

‫ﻲ‪ ،‬ﻜﻴ ﹶ‬
‫ل ﺍﻟﺼﻭﺘ ﱢ‬
‫ل ﻫﺫﺍ ﺍﻟﺘﺤﻠﻴ ﹺ‬
‫ﻥ ﻟﻨﺎ ﻤﻥ ﺨﻼ ﹺ‬
‫ﺍﻟﻤﻌﻨﻰ؛ ﻓﻘﺩ ﺘﺒ ّﻴ َ‬

‫ﺕ ﻏﻴـ َﺭ‬
‫ﺕ ﺍﻟﻠﹼﻐﻭ ّﻴ ﹶﺔ ﺍﻟﺘﺭﻜﻴﺒﻴّـ ﹶﺔ‪ ،‬ﻭﺍﻟﻔﻭﻨﻴﻤـﺎ ِ‬
‫ل ﺴﻭﺭﺓ؛ ﻓﺘﺠ ُﺩ ﺍﻷﺼﻭﺍ ﹶ‬
‫ﻥ ﻓﻲ ﻜ ﱢ‬
‫ﺃﺜ ﹴﺭ‪ ،‬ﺇﻟﻰ ﺨﺩﻤ ِﺔ ﺍﻟﻤﻀﻤﻭ ﹺ‬
‫ل ﺩﻋـ ﹺﻡ ﺍﻟﻤﻌﻨـﻰ؛ ﻭﺘﺠـ ُﺩ‬
‫ﺍﻟﺘﺭﻜﻴﺒ ّﻴ ِﺔ‪ ،‬ﺘﺴﺨﹼ ُﺭ ﺠﺭﻭﺴَﻬﺎ ﺍﻟﻤﻭﺤﻴـ ﹶﺔ‪ ،‬ﻭﺩﻻﻻﺘِـﻬﺎ ﺍﻟﺫﺍﺘﻴّـ ﹶﺔ‪ ،‬ﻓـﻲ ﺴﺒﻴ ﹺ‬

‫ﺏ‬
‫ﻕ ﻋﻠﻰ ﺍﻟﻬﻴﺌ ِﺔ ﺍﻟﺘﻲ ﺘﻭﺍﺌ ُﻡ ﺍﻟﻤﻌﻨﻰ ﺍﻟﻤﺭﺍ َﺩ ﻭﺘﺩﻋﻤُﻪ‪ ،‬ﻜﻤﺎ ﺘﺠ ُﺩ ﻫﺫﺍ ﺍﻟﻤﻌﻨﻰ ﻴﻨﺼ ﱡ‬
‫ﺍﻟﻤﻘﺎﻁ َﻊ ﺍﻟﺼﻭﺘ ّﻴ ﹶﺔ ﺘﺘﹼﺴ ﹸ‬

‫ﻓﻲ ﺍﻟﻤﻘﺎﻁ ﹺﻊ ﺍﻟﺘﻲ ﺘﻭﺍﺌﻤُﻪ ﺒﻁﺒﻴﻌﺘِﻬﺎ‪ .‬ﺇﺫﻥْ ﻓـ))ﺍﻟﻤﻌﻨﻰ ﻫﻭ ﺍﻟﺴﻴّ ُﺩ ﻓﻲ ﺍﻟﺘﻌﺒﻴ ﹺﺭ ﺍﻟﻘﺭﺁﻨ ﱢ‬
‫ﻲ(()‪ ،(1‬ﺘﺨﺩﻤُﻪ ﺠﻤﻴ ُﻊ‬
‫ﻋﻨﺎﺼ ﹺﺭ ﻫﺫﺍ ﺍﻟﺘﻌﺒﻴ ﹺﺭ ﺍﻟﺼﻭﺘ ّﻴ ِﺔ‪ ،‬ﺒﻤﺎ ﺘﺤ ﹼﻘﻘﹸﻪ ﻤﻥ ﺁﺜﺎ ﹴﺭ ﺴﺎﻤﻴﺔ‪ .‬ﻭﻗﺩ ﺃﺸﺎ َﺭ ﺇﻟﻰ ﺫﻟﻙ ﺍﻟﺒﺎﻗﻼﻨﻲ – ﺭﺤﻤَـﻪ‬

‫ﻕ ﺍﻟﻤﻐﺯﻯ ﻤﻨﻪ ﻋﺒﺎﺭﺘﹶـﻪ ﺇﻟـﻰ‬

‫ﻥ ﺍﻟﻜﺭﻴ َﻡ ))ﻴﺒﺎﺩ ُﺭ ﻤﻌﻨﺎﻩ ﻟﻔﻅﹶﻪ ﺇﻟﻰ ﺍﻟﻘﻠﺏ‪ ،‬ﻭﻴﺴﺎﺒ ﹸ‬
‫ﻥ ﺍﻟﻘﺭﺁ َ‬
‫ﷲ – ﺒﻘﻭﻟِﻪ‪ :‬ﺇ ﱠ‬
‫ﺍ ُ‬

‫ﺍﻟﻨﻔﺱ(()‪.(2‬‬

‫ل ﻫـﺫﺍ‬
‫ﺕ ﻫﺫﻩ ﺍﻟﺴﻭ َﺭ ﺤﻘﱠﻬﺎ ﻤﻥ ﻫﺫﺍ ﺍﻟﺘﺤﻠﻴل‪ ،‬ﻟﻜﻨﱠﻨﻲ ﻤـﻥ ﺨـﻼ ﹺ‬
‫ﺕ ﺃﺩّﻋﻲ ﺃﻨﱠﻨﻲ ﻭﻓﹼﻴ ﹸ‬
‫ﻭﺃﺨﻴﺭًﺍ‪ ،‬ﻟﺴ ﹸ‬

‫ﺏ‬
‫ل‪ ،‬ﺍﻟﺫﻱ ﻻ ﺒ ﱠﺩ ﻟﻠﻜﺎﺘ ﹺ‬
‫ﻲ ﺍﻷﻤﺜ ﹺ‬
‫ﺝ ﺍﻟﺼﻭﺘ ﱢ‬
‫ﺕ ﺇﻟﻰ ﺍﻷﻨﻤﻭﺫ ﹺ‬
‫ﺍﻟﺠﻬ ِﺩ ﺍﻟﻴﺴﻴ ﹺﺭ ﺍﻟﺫﻱ ﺒﺫﻟ ﹸﺘﻪ‪ ،‬ﺒﻌﻭﻨِﻪ ﺘﻌﺎﻟﻰ‪ ،‬ﺘﻭﺼّﻠ ﹸ‬

‫ﺹ ﺍﻟﻤﺘﻤ ّﻴ َﺯ ﺍﻟﺠﻭﺩﺓ‪.‬‬
‫ﺃﻥ ﻴﺘﹼﺨﺫﹶﻩ ﻤﻌﻴﺎﺭًﺍ‪ ،‬ﺇﺫﺍ ﻤﺎ ﺃﺭﺍ َﺩ ﺍﻟﻨ ﱠ‬

‫)‪(1‬‬
‫ﻲ‪ .‬ﻁ‪ .1‬ﺩﺍﺭ ﺍﻟﻔﻜﺭ‪ .2009 .‬ﺹ‪.163‬‬
‫ﺍﻟﺴﺎﻤﺭﺍﺌﻲ‪ ،‬ﻓﺎﻀل ﺼﺎﻟﺢ‪ :‬ﻤﻥ ﺃﺴﺭﺍﺭ ﺍﻟﺒﻴﺎﻥ ﺍﻟﻘﺭﺁﻨ ّ‬
‫)‪ (2‬ﺍﻟﺒﺎﻗﻼﻨﻲ‪ ،‬ﺃﺒﻭ ﺒﻜﺭ ﻤﺤﻤّﺩ ﺒﻥ ﺍﻟﻁﻴّﺏ‪ :‬ﺇﻋﺠـﺎﺯ ﺍﻟﻘﺭﺁﻥ‪ .‬ﺘﺤﻘﻴﻕ ﺍﻟﺴﻴّﺩ ﺃﺤﻤـﺩ ﺼﻘﺭ‪ .‬ﺍﻟﻘﺎﻫـﺭﺓ‪ :‬ﺩﺍﺭ ﺍﻟﻤﻌـﺎﺭﻑ‪) .‬ﺩ‪ .‬ﺕ(‪.‬‬
‫ﺹ‪.69‬‬
‫‪143‬‬
 ‫ﺍﻟﺨﺎﺘﻤـﺔ‬

‫ﺕ‬
‫ﺕ‪ ،‬ﻗﻴﻤـ ﹶﺔ ﺍﻟﻌﻨﺎﺼـ ﹺﺭ ﺍﻟﺼـﻭﺘ ّﻴ ِﺔ‪ :‬ﺍﻟﻔﻭﻨﻴﻤـﺎ ِ‬
‫ﺙ‪ ،‬ﺒﺎﻻﻋﺘﻤﺎ ِﺩ ﻋﻠﻰ ﻋﻠ ﹺﻡ ﺍﻷﺼﻭﺍ ِ‬
‫ﺃﺒﺭ َﺯ ﻫﺫﺍ ﺍﻟﺒﺤ ﹸ‬

‫ﻲ ﺍﻟﻤـﺅ ﹼﺜ ﹺﺭ ﻓـﻲ‬
‫ﺹ ﺍﻟﻔ ﹼﻨ ﱢ‬
‫ل ﺍﻟﻨ ﱢ‬
‫ﺕ ﻏﻴ ﹺﺭ ﺍﻟﺘﺭﻜﻴﺒ ّﻴ ِﺔ‪ ،‬ﻭﺍﻟﻤﻘﺎﻁ ﹺﻊ ﺍﻟﺼﻭﺘ ّﻴ ِﺔ‪ ،‬ﻓﻲ ﺘﺸﻜﻴ ﹺ‬
‫ﺍﻟﺘﺭﻜﻴﺒ ّﻴ ِﺔ‪ ،‬ﻭﺍﻟﻔﻭﻨﻴﻤﺎ ِ‬
‫ﻕ‬
‫ﻲ‪ ،‬ﻋﻨ َﺩ ﺩﺭﺍﺴﺘِﻪ ﻭﻨﻘﺩِﻩ‪ .‬ﻭﻗﺩ ﺘﺤﻘﹼـ ﹶ‬
‫ﺹ‪ ،‬ﻭﺍﺴﺘﺒﺎﻨ ِﺔ ﻤﺴﺘﻭﺍﻩ ﺍﻟﻔ ﹼﻨ ﱢ‬
‫ﻕ ﻓﻬ ﹺﻡ ﻫﺫﺍ ﺍﻟﻨ ﱢ‬
‫ﻤﺘﻠﻘﹼﻴﻪ‪ ،‬ﻭﻗﻴﻤﺘﹶﻬﺎ ﻓﻲ ﺘﻌﻤﻴ ِ‬

‫ﺏ‬
‫ﺹ‪ ،‬ﺃﻻ ﻭﻫـﻲ‪ :‬ﺍﻟﺠﺎﻨـ ُ‬
‫ﺏ ﺭﺌﻴﺴ ٍﺔ ﻟﻠﻨ ّ‬
‫ل ﺩﺭﺍﺴ ِﺔ ﺃﺜ ﹺﺭ ﻫﺫﻩ ﺍﻟﻌﻨﺎﺼ ﹺﺭ‪ ،‬ﻓﻲ ﺃﺭﺒﻌ ِﺔ ﺠﻭﺍﻨ َ‬
‫ﺫﻟﻙ‪ ،‬ﻤﻥ ﺨﻼ ﹺ‬

‫ﻲ‪.‬‬
‫ﺏ ﺍﻟﺩﻻﻟ ّ‬
‫ﻲ‪ ،‬ﻭﺍﻟﺠﺎﻨ ُ‬
‫ﺏ ﺍﻟﻤﻭﺴﻴﻘ ﱡ‬
‫ﻲ‪ ،‬ﻭﺍﻟﺠﺎﻨ ُ‬
‫ﺏ ﺍﻟﺴﻤﻌ ﱡ‬
‫ﻲ‪ ،‬ﻭﺍﻟﺠﺎﻨ ُ‬
‫ﺍﻟﻨﻁﻘ ﱡ‬

‫ﺏ ﺍﻷﺭﺒﻌ ِﺔ‪ ،‬ﺇﻴﺠﺎﺒًﺎ ﺃﻭ ﺴـﻠﺒًﺎ‪ ،‬ﻤـﻥ‬

‫ﻥ ﺃﻨﱠﻬﺎ ﺘﺅﺜﹼ ُﺭ ﻓﻲ ﻫﺫﻩ ﺍﻟﺠﻭﺍﻨ ﹺ‬
‫ﺕ ﺍﻟﺘﺭﻜﻴﺒ ّﻴ ﹸﺔ‪ ،‬ﻓﻘﺩ ﺘﺒ ّﻴ َ‬
‫ﺃﻤّﺎ ﺍﻟﻔﻭﻨﻴﻤﺎ ﹸ‬

‫ﻙ‪،‬‬
‫ﺱ‪ ،‬ﻭﺍﻻﻨﻔﺠـﺎ ﹺﺭ‪ ،‬ﻭﺍﻻﺤﺘــﻜﺎ ِ‬
‫ل ﻤﻨﻬﺎ‪ ،‬ﻜـﺎﻟﺠﻬ ﹺﺭ‪ ،‬ﻭﺍﻟﻬﻤـ ﹺ‬
‫ﺢ ﺍﻟﺘﻤﻴﻴﺯ ّﻴ ِﺔ ﺍﻟﺘـﻲ ﺘﺘﺸﻜﹼ ُ‬
‫ل ﺍﻟﻤﻼﻤ ﹺ‬
‫ﺨﻼ ﹺ‬

‫ﺕ ﻓـﻲ ﺍﻟﺠﻬـ ِﺩ‬

‫ﻑ ﻫﺫﻩ ﺍﻟﻔﻭﻨﻴﻤﺎ ِ‬ ‫ﻭﺍﻟﺘﱠﻜـﺭﺍ ﹺﺭ‪ ،‬ﻭﺍﻷﻨﻔ ّﻴ ِﺔ‪ ،‬ﻭﺍﻟﺠﺎﻨﺒﻴّﺔ‪...‬؛ ﻓﺈﻟﻰ ﻫﺫﻩ ﺍﻟﻤﻼﻤ ﹺ‬
‫ﺢ‪ ،‬ﻴﻌﻭ ُﺩ ﺍﺨﺘﻼ ﹸ‬

‫ﻲ‪.‬‬
‫ﺱ ﺍﻟﻤﻭﺴﻴﻘ ّ‬
‫ﻲ‪ ،‬ﻭﻓﻲ ﻁﺒﻴﻌ ِﺔ ﺍﻟﺠﺭ ﹺ‬
‫ل ﻟﻨﻁﻘِﻬﺎ‪ ،‬ﻭﻓـﻲ ﻭﻀﻭﺤِﻬﺎ ﺍﻟﺴﻤﻌ ﱢ‬
‫ﺍﻟﻤﺒﺫﻭ ﹺ‬

‫ﻙ ﻭﺍﻟﻬﻤﺱ‪ ،‬ﻭﻤﻨﻬـﺎ‬
‫ﻕ‪ ،‬ﻜﺎﻻﺤﺘـﻜﺎ ِ‬
‫ﺕ ﺼﻌﺒًﺎ ﻓﻲ ﺍﻟﻨﻁ ِ‬
‫ل ﺍﻟﺼﻭ ﹶ‬
‫ﻥ‪ ،‬ﻤﺎ ﻴﺠﻌ ُ‬
‫ﺢ‪ ،‬ﻜﻤﺎ ﺘﺒ ّﻴ َ‬
‫ﻓﻤﻥ ﺍﻟﻤﻼﻤ ﹺ‬

‫ﺕ ﻭﻀﻭﺤًﺎ ﻋﺎﻟﻴًﺎ ﻓﻲ ﺍﻟﺴﻤ ﹺﻊ‪،‬‬

‫ﺏ ﺍﻟﺼﻭ ﹶ‬
‫ﺢ ﻤﺎ ﻴُﻜﺴ ُ‬
‫ﺽ ﺫﻟﻙ‪ ،‬ﻜﺎﻷﻨﻔ ّﻴ ِﺔ ﻭﺍﻟﺠﺎﻨﺒﻴّﺔ‪ .‬ﻭﻤﻥ ﺍﻟﻤﻼﻤ ﹺ‬
‫ﻤﺎ ﻫﻭ ﻨﻘﻴ ُ‬
‫ﺕ‬
‫ﺏ ﺍﻟﺼـﻭ ﹶ‬
‫ﺢ ﻤﺎ ﻴُﻜﺴ ُ‬
‫ﺱ ﻭﺍﻟﺘﺭﻗﻴﻕ‪ .‬ﻭﻤﻥ ﺍﻟﻤﻼﻤ ﹺ‬
‫ﺽ‪ ،‬ﻜﺎﻟﻬﻤ ﹺ‬
‫ﻜﺎﻟﺠﻬ ﹺﺭ ﻭﺍﻟﺘﱠﻜـﺭﺍﺭ‪ ،‬ﻭﻤﻨﻬﺎ ﻤﺎ ﻫﻭ ﺍﻟﻨﻘﻴ ُ‬

‫ﺠﺭﺴًﺎ ﻤﻭﺴﻴﻘﻴ‪‬ﺎ ﻤﺘﻤ ّﻴﺯًﺍ‪ ،‬ﻜﺎﻟﺘﱠﻜـﺭﺍ ﹺﺭ ﻭﺍﻷﻨﻔﻴّﺔ‪.‬‬

‫ﺹ‪ ،‬ﺴـﻭﺍﺀٌ‬
‫ﻥ ﺍﻟﻨ ّ‬
‫ﺕ ﻓﻲ ﺍﻹﻴﺤـﺎ ِﺀ‪ ،‬ﺍﻟﺫﻱ ﻴﺩﻋ ُﻡ ﻤﻀﻤﻭ َ‬
‫ﺢ‪ ،‬ﺘﻌﺘﻤ ُﺩ ﻫﺫﻩ ﺍﻟﻔﻭﻨﻴﻤﺎ ﹸ‬
‫ﻭﻋﻠﻰ ﻫﺫﻩ ﺍﻟﻤﻼﻤ ﹺ‬
‫ﺏ‬
‫ﺕ ﺍﻟﺘﻲ ﺘﺤﻤﻠﹸﻪ‪ ،‬ﺃﻡ ﺒﺎﻜﺘﺴﺎ ﹺ‬
‫ﺽ ﺍﻷﺼﻭﺍ ِ‬
‫ﻥ‪ ،‬ﺒﺘﻜﺭﺍ ﹺﺭ ﺒﻌ ﹺ‬
‫ﻕ ﺍﻟﻤﻀﻤﻭ َ‬
‫ﻥ ﻴﻭﺍﻓ ﹸ‬
‫ﺢ ﻤﻌ ّﻴ ﹴ‬
‫ﻥ ﺫﻟﻙ ﺒﺘﻜﺭﺍ ﹺﺭ ﻤﻠﻤ ﹴ‬
‫ﺃﻜﺎ َ‬

‫ﺢ‬
‫ﻉ ﻤـﻥ ﻤﻠﻤـ ﹺ‬
‫ﺏ ﺍﻟﺭﺍ ِﺀ ﺩﻻﻟـ ﹶﺔ ﺍﻟﺸـﻴﻭ ﹺ‬
‫ﺕ ﺩﻻﻻﺘِﻬﺎ ﺍﻟﺫﺍﺘ ّﻴ ﹶﺔ ﻤﻥ ﻫﺫﻩ ﺍﻟﻤﻼﻤﺢ‪ ،‬ﻜﺎﻜﺘﺴﺎ ﹺ‬
‫ﺽ ﺍﻷﺼﻭﺍ ِ‬
‫ﺒﻌ ﹺ‬

‫ﺍﻟﺘﻜﺭﺍﺭ‪.‬‬

‫ﺹ ﺍﻟﺼـﻭﺘﻴّﺔ؛‬
‫ﻥ ﻟﻬﺎ ﺃﺜﺭًﺍ ﻭﺍﻀﺤًﺎ‪ ،‬ﻓﻲ ﺠﻭﺩ ِﺓ ﺍﻟـﻨ ﱢ‬
‫ﻥﺃﱠ‬
‫ﺕ ﻏﻴ ُﺭ ﺍﻟﺘﺭﻜﻴﺒ ّﻴ ِﺔ‪ ،‬ﻓﻘﺩ ﺘﺒ ّﻴ َ‬
‫ﻭﺃﻤّﺎ ﺍﻟﻔﻭﻨﻴﻤﺎ ﹸ‬

‫ﺕ؛ ﻟﻜﻭﻨِـﻪ ﺍﻫﺘـﺯﺍﺯًﺍ‬

‫ﻲ ﺍﻟﻼﻓـ ِ‬
‫ﻥ ﺍﻹﻴﻘﺎﻋ ﱢ‬
‫ﻲ‪ ،‬ﻭﺍﻟﺘﻠﻭﻴ ﹺ‬
‫ﺡ ﺍﻟﺴﻤﻌ ﱢ‬
‫ﻼ‪ ،‬ﻋﻠﻰ ﺯﻴﺎﺩ ِﺓ ﺍﻟﻭﻀﻭ ﹺ‬
‫ل ﺍﻟﺘﻨﻐﻴ ُﻡ ﻤﺜ ﹰ‬
‫ﻓﻴﻌﻤ ُ‬

‫ﺕ ﺫﺍﺘﻴّـ ٍﺔ‪،‬‬
‫ﻥ‪ ،‬ﺒﻤﺎ ﻴﺤﻤﻠﹸﻪ ﻤـﻥ ﺩﻻﻻ ٍ‬
‫ل ﻋﻠﻰ ﺇﺜﺭﺍ ِﺀ ﺍﻟﻤﻀﻤﻭ ﹺ‬
‫ﻥ ﺍﻟﺼﻭﺘﻴّﻴﻥ‪ ،‬ﻜﻤﺎ ﻴﻌﻤ ُ‬
‫ﻤﺘﻐ ّﻴﺭًﺍ ﻓﻲ ﺍﻟﻭﺘﺭﻴ ﹺ‬
‫ﻜﺎﻻﺴﺘﻔﻬﺎ ﹺﻡ ﻭﺍﻟﺘﻌﺠّﺏ‪.‬‬

‫‪144‬‬
‫ﺹ ﺍﻟﺼﻭﺘ ّﻴ ِﺔ‪ ،‬ﺇﻴﺠﺎﺒًﺎ ﺃﻭ ﺴـﻠﺒًﺎ‪ ،‬ﻤـﻥ‬
‫ﻥ ﺃﻨﱠﻬﺎ ﺘﺅﺜﹼ ُﺭ ﻓﻲ ﺠﻭﺩ ِﺓ ﺍﻟﻨ ﱢ‬
‫ﻭﺃﻤّﺎ ﺍﻟﻤﻘﺎﻁ ُﻊ ﺍﻟﺼﻭﺘﻴّ ﹸﺔ‪ ،‬ﻓﻘﺩ ﺘﺒ ّﻴ َ‬

‫ﻑ ﻫﺫﻩ ﺍﻟﻤﻘﺎﻁ ُﻊ ﻓـﻲ ﺠﻬـﺩِﻫﺎ‬

‫ل ﻁﺒﻴﻌﺘِﻬﺎ‪ ،‬ﻤﻥ ﻨﺎﺤﻴﺔ‪ ،‬ﻭﻫﻴﺌ ِﺔ ﺘﺭﺘﻴﺒﹺﻬﺎ‪ ،‬ﻤﻥ ﻨﺎﺤﻴ ٍﺔ ﺃﺨﺭﻯ؛ ﻓﺘﺨﺘﻠ ﹸ‬
‫ﺨﻼ ﹺ‬

‫ﺡ ﻓـﻲ‬
‫ﻲ‪ ،‬ﻭﻁﺒﻴﻌﺘِﻬﺎ ﺍﻟﻤﻭﺴﻴﻘ ّﻴ ِﺔ ﻭﺍﻹﻴﺤﺎﺌﻴّﺔ؛ ﻓﻤﻨﻬﺎ ﻤﺎ ﻫﻭ ﺸﺩﻴ ُﺩ ﺍﻟﻭﻀـﻭ ﹺ‬
‫ﻲ‪ ،‬ﻭﻭﻀﻭﺤِﻬﺎ ﺍﻟﺴﻤﻌ ﱢ‬
‫ﺍﻟﻨﻁﻘ ﱢ‬
‫ل‬
‫ل ﺍﻟﻤﻐﻠﻕ )ﺹ ﺡ ﺡ ﺹ(‪ ،‬ﻭﻤﻨﻬﺎ ﻤـﺎ ﻫـﻭ ﻗﻠﻴـ ُ‬
‫ل ﻋﻠﻰ ﺍﻟﻠﹼﺴﺎﻥ‪ ،‬ﻜﺎﻟﻤﻘﻁ ﹺﻊ ﺍﻟﻁﻭﻴ ﹺ‬
‫ﻥ‪ ،‬ﺸﺩﻴ ُﺩ ﺍﻟﺜﻘ ﹺ‬
‫ﺍﻷﺫ ﹺ‬

‫ﻲ ﺒﻁﺒﻴﻌﺘِـﻪ‪ ،‬ﻜـﺎﻟﻤﻘﻁ ﹺﻊ‬

‫ﻕ‪ ،‬ﻜﺎﻟﻤﻘﻁ ﹺﻊ ﺍﻟﻘﺼﻴﺭ )ﺹ ﺡ(‪ .‬ﻭﻤﻨﻬﺎ ﻤﺎ ﻫﻭ ﻤﻭﺴﻴﻘ ﱞ‬
‫ل ﺍﻟﻨﻁ ِ‬
‫ﺡ‪ ،‬ﺴﻬ ُ‬
‫ﺍﻟﻭﻀﻭ ﹺ‬

‫ﺏ ﻟﻭﻨﹰـﺎ‬
‫ﻁ ﺍﻟﻤﻔﺘﻭﺡ )ﺹ ﺡ ﺡ(‪ .‬ﻭﻤﻨﻬﺎ ﻤﺎ ﻴﻨﺎﺴـ ُ‬
‫ﺴِ‬
‫ﻁ ﺍﻟﻤﻐﻠﻕ )ﺹ ﺡ ﺹ(‪ ،‬ﻭﺍﻟﻤﻘﻁ ﹺﻊ ﺍﻟﻤﺘﻭ ّ‬
‫ﺴِ‬‫ﺍﻟﻤﺘﻭ ّ‬
‫ﻤﻌ ّﻴﻨﹰﺎ ﻤﻥ ﺍﻟﺘﻌﺒﻴ ﹺﺭ‪ ،‬ﺃﻜﺜ َﺭ ﻤﻥ ﻏﻴﺭﹺﻩ‪.‬‬

‫ﺏ‪،‬‬
‫ﻲ ﻋـﺫ ﹴ‬
‫ﻕ ﻤﻭﺴﻴﻘ ﱟ‬
‫ﻕ ﺘﺘﺎﺒﻌُﻪ ﺴﻼﺴ ﹰﺔ ﻨﻁﻘ ّﻴ ﹰﺔ‪ ،‬ﻓﻲ ﻨﺴ ٍ‬
‫ﻭﻜﺫﻟﻙ ﻫﻴﺌ ﹸﺔ ﺍﻟﺘﺭﺘﻴﺏ؛ ﻓﻤﻥ ﺍﻟﻤﻘﺎﻁ ﹺﻊ ﻤﺎ ﻴﺤﻘﹼ ﹸ‬

‫ﻼ‪،‬‬
‫ﻁ ﺍﻟﻤﻔﺘﻭﺡ‪ ،‬ﺍﻟﺫﻱ ﻴـﻭﺤﻲ ﻤـﺜ ﹰ‬
‫ﺴِ‬
‫ﻕ‪ ،‬ﻭﺍﻟﻤﺘﻭ ّ‬
‫ﻁ ﺍﻟﻤﻐﻠ ِ‬
‫ﺴِ‬
‫ﻥ‪ :‬ﺍﻟﻤﺘﻭ ّ‬
‫ﻼ ﺇﻴﺤﺎ ًﺀ ﻤﻌ ّﻴﻨﹰﺎ‪ ،‬ﻜﺘﺘﺎﺒ ﹺﻊ ﺍﻟﻤﻘﻁﻌﻴ ﹺ‬
‫ﺤﺎﻤ ﹰ‬

‫ﻼ‪ ،‬ﻜﺘﺘـﺎﺒ ﹺﻊ‬

‫ﻕ ﻤﺜ ﹰ‬
‫ﻼ ﻨﻁﻘﻴ‪‬ﺎ‪ ،‬ﻤﻭﺤﻴًﺎ ﺒﺎﻟﺸ ّﺩ ِﺓ ﻭﺍﻟﻀﻴ ِ‬
‫ﻕ ﺘﺘﺎﺒﻌُﻪ ﺜﻘ ﹰ‬
‫ﺒﺎﻟﻨﻌﻭﻤ ِﺔ ﻭﺍﻟﺭﺨﺎﺀ‪ .‬ﻭﻤﻥ ﺍﻟﻤﻘﺎﻁ ﹺﻊ ﻤﺎ ﻴﺤﻘﹼ ﹸ‬

‫ﺜﻼﺜ ِﺔ ﻤﻘﺎﻁ َﻊ ﻗﺼﻴﺭ ٍﺓ ﺃﻭ ﺃﻜﺜﺭ‪.‬‬

‫ﺽ ﻗﺼـﺎ ﹺﺭ‬
‫ل ﺒﻌـ ﹺ‬
‫ﺙ ﻓﻲ ﻓﺼﻠِﻪ ﺍﻷﺨﻴ ﹺﺭ‪ ،‬ﺒﺘﺤﻠﻴ ﹺ‬
‫ل ﺍﻟﺩﺭﺍﺴ ِﺔ ﺍﻟﺘﻁﺒﻴﻘ ّﻴ ِﺔ‪ ،‬ﺍﻟﺘﻲ ﻗ ّﺩﻤَﻬﺎ ﺍﻟﺒﺤ ﹸ‬
‫ﻭﻤﻥ ﺨﻼ ﹺ‬
‫ﻥ ﻫﻨﺎﻙ ﺃﻨﻤﻭﺫﺠًﺎ ﺼـﻭﺘﻴ‪‬ﺎ‪ ،‬ﻻ‬
‫ﻥﺃﱠ‬
‫ل‪ ،‬ﻭﺍﻟﻨﹼﺎﺱ‪ ،‬ﺘﺒ ّﻴ َ‬
‫ﻥ ﺍﻟﻜﺭﻴ ﹺﻡ ﺼﻭﺘﻴ‪‬ﺎ‪ ،‬ﻜﺴﻭﺭ ِﺓ ﺍﻟﻌﺼ ﹺﺭ‪ ،‬ﻭﺍﻟﻔﻴ ﹺ‬
‫ﺴﻭ ﹺﺭ ﺍﻟﻘﺭﺁ ﹺ‬

‫ﻲ‬
‫ﺝ ﺍﻟﺼـﻭﺘ ﱡ‬
‫ﺹ ﺍﻟﻤﺘﻤ ّﻴ َﺯ ﺍﻟﺠـﻭﺩﺓ‪ ،‬ﺃﻻ ﻭﻫـﻭ ﺍﻷﻨﻤـﻭﺫ ُ‬
‫ﺏ ﺃﻥ ﻴﺘﹼﺨﺫﹶﻩ ﻤﻌﻴﺎﺭًﺍ‪ ،‬ﺇﺫﺍ ﻤﺎ ﺃﺭﺍ َﺩ ﺍﻟﻨ ﱠ‬
‫ﺒ ﱠﺩ ﻟﻠﻜﺎﺘ ﹺ‬

‫ﻲ‪ ،‬ﺍﻟﺫﻱ ﻴﺘﹼﺨ ﹸﺫ ﻤﻥ ﺍﻟﺩﻻﻟ ِﺔ ﻤﺤﻭﺭًﺍ‪ ،‬ﺘﺘﻀﺎﻓ ُﺭ ﺠﻤﻴ ُﻊ ﺍﻟﻌﻨﺎﺼـ ﹺﺭ ﺍﻟﺼـﻭﺘ ّﻴ ِﺔ ﻟﺨﺩﻤﺘِـﻪ‪ ،‬ﺒﺴﻼﺴـ ٍﺔ‬
‫ﺍﻟﻘﺭﺁﻨ ﱡ‬
‫ﻕ‬
‫ﺕ ﺘﺘﹼﻔـ ﹸ‬
‫ل ﻤﺘﻤﻴّﺯ‪ ،‬ﻭﻤﻭﺴﻴﻘﻰ ﻟﻐﻭ ّﻴ ٍﺔ ﺠﺫﹼﺍﺒﺔ‪ ،‬ﻭﺇﻴﺤﺎﺀﺍ ٍ‬
‫ﻲ ﻋﺎ ﹴ‬
‫ﺡ ﺴﻤﻌ ﱟ‬
‫ﻨﻁﻘﻴّـ ٍﺔ ﺘﺴﺘﻬﻭﻱ ﺍﻟﻘﺎﺭﺉ‪ ،‬ﻭﻭﻀﻭ ﹴ‬

‫ﺍﺘﹼﻔﺎﻗﹰﺎ ﻋﺠﻴﺒًﺎ ﻤﻊ ﻫﺫﺍ ﺍﻟﻤﺤﻭﺭ‪.‬‬

‫ﺙ ‪ -‬ﻓﻲ ﺤﺩﻭ ِﺩ ﺍﻁﹼﻼﻋﻲ ‪ -‬ﺍﺠﺘﻬﺎﺩﺍﺘﹸﻪ ﻭﺁﺭﺍﺅُﻩ ﺍﻟﺠﺩﻴﺩ ﹸﺓ‪ ،‬ﺍﻟﺘـﻲ ﻴﺜـﺭﻯ ﺒﻬـﺎ ﻋﻠـ ُﻡ‬
‫ﻭﻟﻬﺫﺍ ﺍﻟﺒﺤ ِ‬
‫ﺕ ﻭﺍﻵﺭﺍ ِﺀ‪ ،‬ﺃﻨﱠـﻪ ﺒـ ّﺭ َﺭ‬
‫ﺹ ﺨﺎﺼّﺔ‪ .‬ﻭﺃﻫـ ﱡﻡ ﻫﺫﻩ ﺍﻻﺠﺘﻬﺎﺩﺍ ِ‬
‫ﻲ ﻟﻠﻨ ﱢ‬
‫ل ﺍﻟﺼﻭﺘ ﱡ‬
‫ﺕ ﻋﺎﻤّﺔ‪ ،‬ﻭﺍﻟﺘﺤﻠﻴ ُ‬
‫ﺍﻷﺼﻭﺍ ِ‬

‫ﻥ‪ :‬ﺍﻟﻬﻤـﺯ ِﺓ ﻭﺍﻟﺠﻴــ ﹺﻡ‪،‬‬

‫ﻱ ﺃﻭ ﻀﻌﻔﹶﻪ‪ ،‬ﻤﻥ ﺍﻟﻨﺎﺤﻴ ِﺔ ﺍﻟﻌﻠﻤﻴّـﺔ؛ ﻭﺤ ّﺩ َﺩ ﺭﺘﺒ ﹶﺔ ﺍﻟﺼﻭﺘﻴ ﹺ‬
‫ﺢ ﺍﻟﺘﻤﻴﻴﺯ ﱢ‬
‫ﻗ ّﻭ ﹶﺓ ﺍﻟﻤﻠﻤ ﹺ‬

‫ل‬
‫ﻕ ﺍﻟﺠﻬـ ِﺩ ﺍﻟﻤﺒـﺫﻭ ﹺ‬
‫ﻕ ﻫﺫﺍ ﺍﻟﻭﻀﻭﺡ‪ ،‬ﻭﻭﻓ ﹶ‬
‫ﺏ ﺍﻟﻤﻘﺎﻁ َﻊ ﺍﻟﺼﻭﺘﻴّـ ﹶﺔ ﻭﻓ ﹶ‬
‫ﻲ؛ ﻭﺭ ﹼﺘ َ‬
‫ﺡ ﺍﻟﺴﻤﻌ ّ‬
‫ﻓـﻲ ﺍﻟﻭﻀﻭ ﹺ‬

‫ﻹﻨﺘﺎﺠﹺﻬـﺎ‪.‬‬

‫‪145‬‬
‫ﻁﻴًـﺎ ﺒـﺫﻟﻙ‬
‫ﻱ ﺍﻟﻭﺤﺩ ﹶﺓ ﺍﻟﺩﻻﻟ ّﻴ ﹶﺔ ﺍﻟﺼﻐﺭﻯ‪ ،‬ﻓﻲ ﺍﻟﻜـﻼﻡ‪ ،‬ﻤُﺘﺨ ﱢ‬
‫ﺢ ﺍﻟﺘﻤﻴﻴﺯ ﱠ‬
‫ﺙ ﺍﻟﻤﻠﻤ َ‬
‫ﻭﻗﺩ ﻋ ﱠﺩ ﻫﺫﺍ ﺍﻟﺒﺤ ﹸ‬

‫ﻥ‪ ،‬ﺒﻤﻨﺯﻟ ِﺔ ﺍﻟﻤﺎ ّﺩ ِﺓ ﺍﻟﻭﺭﺍﺜ ّﻴ ِﺔ ﻋﻨـ َﺩ‬

‫ﺕ‪ ،‬ﻜﻤﺎ ﺘﺒ ّﻴ َ‬
‫ﺢ ﺍﻟﺘﻤﻴﻴﺯﻴّ ﹸﺔ ﻓﻲ ﻜﺜﻴ ﹴﺭ ﻤﻥ ﺍﻟﻜﻠﻤﺎ ِ‬
‫ﻱ؛ ﻓﺎﻟﻤﻼﻤ ُ‬
‫ﺕ ﺍﻟﻠﹼﻐﻭ ّ‬
‫ﺍﻟﺼﻭ ﹶ‬

‫ﻥ ﺼﻔﺎﺘِﻪ ﺍﻟﻭﺭﺍﺜﻴّـﺔ‪.‬‬
‫ﺏ ﺍﻟﻤﺎﺩّ ﹸﺓ ﺍﻟﻭﺭﺍﺜﻴّ ﹸﺔ ﺍﻹﻨﺴﺎ َ‬
‫ﺴ ُ‬
‫ﻲ‪ ،‬ﻜﻤﺎ ﺘﹸﻜ ِ‬
‫ﺏ ﺍﻟﻜﻠﻤ ﹶﺔ ﻁﺎﺒﻌَﻬﺎ ﺍﻟﺩﻻﻟـ ﱠ‬
‫ﺴ ُ‬
‫ﺍﻹﻨﺴﺎﻥ‪ ،‬ﺘﹸﻜ ِ‬

‫ﻲ‪ ،‬ﺍﻟﺘﻲ ﺘﻨـﺄﻯ ﻋـﻥ ﺘﺤﻜﹼـ ﹺﻡ‬

‫ل ﺍﻟﺼﻭﺘ ﱢ‬
‫ﺙ ﺇﻟﻰ ﺍﻟﻬﻴﻜﻠ ّﻴ ِﺔ ﺍﻟﺸﺎﻤﻠـ ِﺔ ﻟﻠﺘﺤﻠﻴ ﹺ‬
‫ل ﻫﺫﺍ ﺍﻟﺒﺤ ﹸ‬‫ﻜﺫﻟﻙ‪ ،‬ﺘﻭ ّ‬
‫ﺼَ‬

‫ﻑ ﻋﻥ ﺠـﻭﺩ ِﺓ‬
‫ل ﺇﻟﻰ ﺃﺭﺒﻌ ِﺔ ﺃﺭﻜﺎﻥ‪ ،‬ﻤﻥ ﺸﺄﻨِﻬﺎ ﺃﻥ ﺘﻜﺸ ﹶ‬
‫ﻲ؛ ﻓﻼ ﺒ ﱠﺩ ﺃﻥ ﻴﺴﺘﻨ َﺩ ﻫﺫﺍ ﺍﻟﺘﺤﻠﻴ ُ‬
‫ﻕ ﺍﻟﺸﺨﺼ ّ‬
‫ﺍﻟﺫﻭ ِ‬

‫ﻲ‪ ،‬ﻭﺍﻟﻤﻭﺴـﻴﻘﻰ‬
‫ﺡ ﺍﻟﺴـﻤﻌ ﱡ‬
‫ﻲ‪ ،‬ﻭﺍﻟﻭﻀـﻭ ُ‬
‫ﺹ ﺍﻟﺼﻭﺘ ّﻴ ِﺔ ﺒﺩ ﹼﻗ ٍﺔ ﻭﻤﻭﻀﻭﻋﻴّﺔ‪ ،‬ﺃﻻ ﻭﻫﻲ‪ :‬ﺍﻟﺠﻬ ُﺩ ﺍﻟﻨﻁﻘ ﱡ‬
‫ﺍﻟﻨ ﱢ‬
‫ﺍﻟﻠﹼﻐﻭ ّﻴ ﹸﺔ‪ ،‬ﻭﺍﻟﺩﻻﻟ ﹸﺔ ﺍﻟﺼﻭﺘﻴّﺔ‪.‬‬

‫ﺡ ﻋﻠ ﹴﻡ ﺠﺩﻴ ِﺩ ﺍﻟﻌﻬﺩ‪ ،‬ﻴﺤﺘﺎ ُ‬

‫ﺝ ﻤﻨﹼﺎ ﺇﻟﻰ‬ ‫ﺙ ﺍﻟﻤﺘﻭﺍﻀ ُﻊ ﹶﻟ ﹺﺒﻨﹶـ ﹰﺔ ﺠﺩﻴﺩ ﹰﺓ‪ ،‬ﻓﻲ ﺼﺭ ﹺ‬
‫ل ﻫﺫﺍ ﺍﻟﺒﺤ ﹸ‬
‫ﻭﺃﺨﻴﺭًﺍ‪ ،‬ﻴﻤﺜﹼ ُ‬

‫ﻲ‪ ،‬ﺃﻭ ﺍﻷﺴـﻠﻭﺒﻴّ ﹸﺔ ﺍﻟﺼـﻭﺘﻴّﺔ‬

‫ل ﺍﻟﺼـﻭﺘ ّ‬
‫ﻱ ﺒﺄﺭﻜﺎ ِﻨـﻪ‪ ،‬ﺃﻻ ﻭﻫﻭ ﻋﻠ ُﻡ ﺍﻟﺠﻤـﺎ ﹺ‬
‫ﺠﻬﻭ ٍﺩ ﻤﻀﺎﻋﻔ ٍﺔ؛ ﻟﻴﺴﺘﻭ َ‬

‫)‪.(Phonostylistics‬‬

‫ل ﺨﺎﻟﺼًﺎ ﻟﻭﺠﻬﹺﻪ ﺍﻟﻜﺭﻴﻡ‪ ﴿ ،‬ﻭﺴﻼﻡٌ ﻋﻠﻰ ﺍﻟ ُﻤﺭْﺴَﻠﻴﻥ * ﻭﺍﻟﺤﻤـ ُﺩ‬

‫ﻥ ﻫﺫﺍ ﺍﻟﻌﻤ ُ‬
‫ل‪ ،‬ﺃﻥ ﻴﻜﻭ َ‬
‫ﷲ ﺃﺴﺄ ُ‬
‫ﻭﺍ َ‬

‫﴾)‪.(1‬‬ ‫ﺏ ﺍﻟﻌﺎﻟﹶﻤﻴـﻥ‬
‫ﷲﺭ ﱢ‬
‫ِ‬

‫)‪(1‬‬
‫ﺍﻟﺼّﺎﻓﺎﺕ‪.182 ،181 :‬‬
‫‪146‬‬
 ‫ﻗﺎﺌﻤﺔ ﺍﻟﻤﺼﺎﺩﺭ ﻭﺍﻟﻤﺭﺍﺠﻊ‬

‫ﺃ‪ .‬ﻤﺼﺎﺩﺭ‬

‫ﺍﻟﻘﺭﺁﻥ ﺍﻟﻜﺭﻴﻡ‬

‫ﺤﺤَﻪ ﻤﺼﻁﻔﻰ ﻋﺒﺩ ﺍﻟﺸﹼﺎﻓﻲ‪ .‬ﺒﻴﺭﻭﺕ‪ :‬ﺩﺍﺭ ﺍﻟﻜﺘﺏ ﺍﻟﻌﻠﻤﻴّـﺔ‪) .‬ﺩ‪.‬‬

‫ﺍﻤﺭﺅ ﺍﻟﻘﻴﺱ‪ :‬ﺍﻟﺩﻴﻭﺍﻥ‪ .‬ﻀﺒﻁﹶﻪ ﻭﺼ ّ‬

‫ﺕ(‪.‬‬

‫ﺍﻷﻨﺒﺎﺭﻱ‪ ،‬ﺃﺒﻭ ﺒﻜﺭ ﻤﺤﻤّﺩ ﺒﻥ ﺍﻟﻘﺎﺴﻡ ﺒﻥ ﺒﺸﹼﺎﺭ‪ :‬ﺇﻴﻀﺎﺡ ﺍﻟﻭﻗﻑ ﻭﺍﻻﺒﺘﺩﺍﺀ ﻓﻲ ﻜﺘﺎﺏ ﺍﷲ ﻋ ّﺯ ﻭﺠـ ّل‪.‬‬

‫ﺠﺯﺀﺍﻥ‪ .‬ﺘﺤﻘﻴﻕ ﻤﺤﻴﻲ ﺍﻟﺩﻴﻥ ﻋﺒﺩ ﺍﻟﺭﺤﻤﻥ ﺭﻤﻀﺎﻥ‪ .‬ﺩﻤﺸﻕ‪ :‬ﻤﺠﻤﻊ ﺍﻟﻠﻐﺔ ﺍﻟﻌﺭﺒﻴﺔ‪.1971 .‬‬

‫ﺍﻷﻨﺒﺎﺭﻱ‪ ،‬ﻋﺒﺩ ﺍﻟﺭّﺤﻤﻥ ﺒﻥ ﻤﺤﻤّﺩ ﺒﻥ ﻋﺒﻴﺩ ﺍﷲ‪ :‬ﺃﺴﺭﺍﺭ ﺍﻟﻌﺭﺒﻴّﺔ‪ .‬ﺘﺤﻘﻴﻕ ﻤﺤﻤّﺩ ﺤﺴﻴﻥ ﺸﻤﺱ ﺍﻟﺩﻴﻥ‪.‬‬

‫ﻁ‪ .1‬ﺒﻴﺭﻭﺕ‪ :‬ﺩﺍﺭ ﺍﻟﻜﺘﺏ ﺍﻟﻌﻠﻤﻴّﺔ‪.1997 .‬‬

‫ﺍﻟﺒﺎﻗﻼﻨﻲ‪ ،‬ﺃﺒﻭ ﺒﻜﺭ ﻤﺤﻤّﺩ ﺒﻥ ﺍﻟﻁﻴّﺏ‪ :‬ﺇﻋﺠـﺎﺯ ﺍﻟﻘـﺭﺁﻥ‪ .‬ﺘﺤﻘﻴﻕ ﺍﻟﺴﻴّﺩ ﺃﺤﻤﺩ ﺼﻘﺭ‪ .‬ﺍﻟﻘﺎﻫـﺭﺓ‪ :‬ﺩﺍﺭ‬

‫ﺍﻟﻤﻌﺎﺭﻑ‪) .‬ﺩ‪ .‬ﺕ(‪.‬‬

‫ﺒﺩﻴﻊ ﺍﻟﺯﻤﺎﻥ ﺍﻟﻬﻤﺫﺍﻨﻲ‪ ،‬ﺃﺒﻭ ﺍﻟﻔﻀل ﺃﺤﻤﺩ ﺒﻥ ﺍﻟﺤﺴﻴﻥ‪ :‬ﺍﻟﻤﻘﺎﻤـﺎﺕ‪ .‬ﺸـﺭﺤَﻬﺎ ﻤﺤﻤّـﺩ ﻋﺒـﺩﻩ‪ .‬ﻁ‪.4‬‬

‫ﺒﻴﺭﻭﺕ‪ :‬ﺩﺍﺭ ﺍﻟﻜﺘﺏ ﺍﻟﻌﻠﻤﻴّﺔ‪.2006 .‬‬

‫ﺍﻟﺜﻌﺎﻟﺒﻲ‪ ،‬ﺃﺒﻭ ﻤﻨﺼﻭﺭ ﻋﺒﺩ ﺍﻟﻤﻠﻙ‪ :‬ﻓﻘـﻪ ﺍﻟﻠﹼﻐﺔ ﻭﺴ ّﺭ ﺍﻟﻌﺭﺒﻴّﺔ‪ .‬ﺘﺤﻘﻴﻕ ﺤﻤﺩﻭ ﻁﻤّﺎﺱ‪ .‬ﻁ‪ .1‬ﺒﻴﺭﻭﺕ‪:‬‬

‫ﺩﺍﺭ ﺍﻟﻤﻌﺭﻓﺔ‪.2004 .‬‬

‫ﺍﻟﺠﺎﺤﻅ‪ ،‬ﻋﻤﺭﻭ ﺒﻥ ﺒﺤﺭ‪ :‬ﺍﻟﺒﻴـﺎﻥ ﻭﺍﻟﺘﺒﻴﻴﻥ‪ .‬ﺘﺤﻘﻴﻕ ﻋﺒﺩ ﺍﻟﺴﻼﻡ ﻫﺎﺭﻭﻥ‪ .‬ﺍﻟﻘﺎﻫﺭﺓ‪ :‬ﻤﻜﺘﺒﺔ ﺍﻟﺨﺎﻨﺠﻲ‪.‬‬

‫‪.1975‬‬

‫ﻕ ﻋﻠﻴـﻪ ﻤﺤﻤـﻭﺩ‬
‫ﺍﻟﺠﺭﺠﺎﻨﻲ‪ ،‬ﺃﺒﻭ ﺒﻜﺭ ﻋﺒﺩ ﺍﻟﻘﺎﻫﺭ ﺒﻥ ﻋﺒﺩ ﺍﻟﺭّﺤﻤﻥ‪ :‬ﺃﺴـﺭﺍﺭ ﺍﻟﺒﻼﻏـﺔ‪ .‬ﻗﺭﺃﻩ ﻭﻋﹼﻠ ﹶ‬

‫ﻤﺤﻤّﺩ ﺸﺎﻜﺭ‪ .‬ﺠﺩّﺓ‪ :‬ﺩﺍﺭ ﺍﻟﻤﺩﻨﻲ‪) .‬ﺩ‪ .‬ﺕ(‪.‬‬

‫‪147‬‬
‫ﺍﺒﻥ ﺠﻨﹼﻲ‪ ،‬ﺃﺒﻭ ﺍﻟﻔﺘﺢ ﻋﺜﻤﺎﻥ‪ :‬ﺍﻟﺨﺼﺎﺌﺹ‪ 3 .‬ﻤﺞ‪ .‬ﺘﺤﻘﻴﻕ ﻋﺒﺩ ﺍﻟﺤﻤﻴـﺩ ﻫﻨـﺩﺍﻭﻱ‪ .‬ﻁ‪ .1‬ﺒﻴـﺭﻭﺕ‪:‬‬

‫ﺩﺍﺭ ﺍﻟﻜﺘـﺏ ﺍﻟﻌﻠﻤﻴّﺔ‪.2001 .‬‬

‫ﺴ ّﺭ ﺼﻨﺎﻋـﺔ ﺍﻹﻋﺭﺍﺏ‪ .‬ﺠﺯﺀﺍﻥ‪ .‬ﺘﺤﻘﻴﻕ ﺤﺴـﻥ ﻫﻨـﺩﺍﻭﻱ‪ .‬ﻁ‪ .2‬ﺩﻤﺸـﻕ‪ :‬ﺩﺍﺭ ﺍﻟﻘﻠـﻡ‪.‬‬

‫‪.1993‬‬

‫ﺍﺒﻥ ﺨﻠﹼﻜﺎﻥ‪ ،‬ﺃﺒﻭ ﺍﻟﻌﺒّﺎﺱ ﺸﻤﺱ ﺍﻟﺩﻴﻥ ﺃﺤﻤﺩ ﺒﻥ ﻤﺤﻤّﺩ‪ :‬ﻭﻓﻴﺎﺕ ﺍﻷﻋﻴﺎﻥ ﻭﺃﻨﺒﺎﺀ ﺃﺒﻨﺎﺀ ﺍﻟﺯﻤﺎﻥ‪ 8 .‬ﻤﺞ‪.‬‬

‫ﺘﺤﻘﻴﻕ ﺇﺤﺴﺎﻥ ﻋﺒّﺎﺱ‪ .‬ﺒﻴﺭﻭﺕ‪ :‬ﺩﺍﺭ ﺼﺎﺩﺭ‪) .‬ﺩ‪ .‬ﺕ(‪.‬‬

‫ﺍﻟ ّﺯﺠّﺎﺝ‪ ،‬ﺃﺒﻭ ﺇﺴﺤﺎﻕ ﺇﺒﺭﺍﻫﻴﻡ ﺒﻥ ﺍﻟﺴّﺭﻱ‪ :‬ﻤﻌﺎﻨﻲ ﺍﻟﻘـﺭﺁﻥ ﻭﺇﻋﺭﺍﺒﻪ‪ 5 .‬ﺝ‪ .‬ﺸﺭﺡ ﻋﺒﺩ ﺍﻟﺠﻠﻴل ﻋﺒﺩﻩ‬

‫ﺸﻠﺒﻲ ﻭﺘﺤﻘﻴﻘﻪ‪ .‬ﻁ‪ .1‬ﺒﻴﺭﻭﺕ‪ :‬ﻋﺎﻟﻡ ﺍﻟﻜﺘﺏ‪.1988 .‬‬

‫ﺍﻟﺴﻜﺎﻜﻲ‪ ،‬ﺃﺒﻭ ﻴﻌﻘﻭﺏ ﻴﻭﺴﻑ‪ :‬ﻤﻔﺘﺎﺡ ﺍﻟﻌﻠـﻭﻡ‪ .‬ﻀﺒﻁﹶﻪ ﻭﻜﺘﺏ ﻫﻭﺍﻤﺸﻪ ﻭﻋﻠﹼﻕ ﻋﻠﻴﻪ ﻨﻌـﻴﻡ ﺯﺭﺯﻭﺭ‪.‬‬

‫ﻁ‪ .2‬ﺒﻴﺭﻭﺕ‪ :‬ﺩﺍﺭ ﺍﻟﻜﺘﺏ ﺍﻟﻌﻠﻤﻴّﺔ‪.1987 .‬‬

‫ﺍﺒﻥ ﺴﻨﺎﻥ ﺍﻟﺨﻔﺎﺠﻲ‪ ،‬ﺃﺒﻭ ﻤﺤﻤّﺩ ﻋﺒﺩ ﺍﷲ ﺒﻥ ﻤﺤﻤّﺩ‪ :‬ﺴ ّﺭ ﺍﻟﻔﺼﺎﺤــﺔ‪ .‬ﻁ‪ .1‬ﺒﻴـﺭﻭﺕ‪ :‬ﺩﺍﺭ ﺍﻟﻜﺘـﺏ‬

‫ﺍﻟﻌﻠﻤﻴّﺔ‪.1982 .‬‬

‫ﺴﻴﺒﻭﻴﻪ‪ ،‬ﺃﺒﻭ ﺒﺸﺭ ﻋﻤﺭﻭ ﺒﻥ ﻋﺜﻤﺎﻥ‪ :‬ﻜﺘـﺎﺏ ﺴﻴﺒﻭﻴﻪ‪ 5 .‬ﻤﺞ‪ .‬ﺘﺤﻘﻴﻕ ﻋﺒﺩ ﺍﻟﺴﻼﻡ ﻤﺤﻤّـﺩ ﻫـﺎﺭﻭﻥ‬

‫ﻭﺸﺭﺤﻪ‪ .‬ﻁ‪ .2‬ﺍﻟﻘﺎﻫﺭﺓ‪ :‬ﻤﻜﺘﺒﺔ ﺍﻟﺨﺎﻨﺠﻲ‪.1982 .‬‬

‫ﺍﺒﻥ ﺴﻴﻨﺎ‪ ،‬ﺃﺒﻭ ﻋﻠﻲ ﺍﻟﺤﺴﻴﻥ‪ :‬ﺭﺴﺎﻟـﺔ ﺃﺴﺒﺎﺏ ﺤﺩﻭﺙ ﺍﻟﺤﺭﻭﻑ‪ .‬ﺘﺤﻘﻴﻕ ﻤﺤﻤـﺩ ﺤﺴـﺎﻥ ﺍﻟﻁﻴّـﺎﻥ‪،‬‬

‫ﻭﻴﺤﻴﻰ ﻤﻴﺭ ﻋﻠﻡ‪ .‬ﺩﻤﺸﻕ‪ :‬ﻤﺠﻤﻊ ﺍﻟﻠﻐﺔ ﺍﻟﻌﺭﺒﻴﺔ‪) .‬ﺩ‪ .‬ﺕ(‪.‬‬

‫ﺍﻟﺴﻴﻭﻁﻲ‪ ،‬ﻋﺒﺩ ﺍﻟﺭﺤﻤﻥ ﺠﻼل ﺍﻟﺩﻴﻥ‪ :‬ﺍﻟﻤﺯﻫﺭ ﻓﻲ ﻋﻠﻭﻡ ﺍﻟﻠﹼﻐﺔ ﻭﺃﻨﻭﺍﻋﻬﺎ‪ .‬ﻤﺠﻠﹼﺩﺍﻥ‪ .‬ﺸﺭﺤﻪ ﻤﺤﻤّـﺩ‬

‫ﺃﺤﻤﺩ ﺠـﺎﺩ ﺍﻟﻤﻭﻟﻰ ﺒﻙ ﻭﺁﺨﺭﻭﻥ‪ .‬ﻁ‪ .3‬ﺍﻟﻘﺎﻫـﺭﺓ‪ :‬ﻤﻜﺘﺒﺔ ﺩﺍﺭ ﺍﻟﺘﺭﺍﺙ‪) .‬ﺩ‪ .‬ﺕ(‪.‬‬

‫ﺍﻟﻀﺒّﻲ‪ ،‬ﺃﺒﻭ ﺍﻟﻌﺒّﺎﺱ ﺍﻟﻤﻔﻀل ﺒﻥ ﻤﺤﻤّﺩ‪ :‬ﺍﻟﻤﻔﻀﻠﻴّﺎﺕ‪ .‬ﺘﺤﻘﻴﻕ ﺃﺤﻤﺩ ﻤﺤﻤّﺩ ﺸـﺎﻜﺭ‪ ،‬ﻭﻋﺒـﺩ ﺍﻟﺴـﻼﻡ‬

‫ﻤﺤﻤّﺩ ﻫﺎﺭﻭﻥ ﻭﺸﺭﺤﻬﻤﺎ‪ .‬ﻁ‪ .6‬ﺍﻟﻘﺎﻫﺭﺓ‪ :‬ﺩﺍﺭ ﺍﻟﻤﻌﺎﺭﻑ‪) .‬ﺩ‪ .‬ﺕ(‪.‬‬

‫‪148‬‬
‫ﺍﻟﻔﺎﺭﺍﺒﻲ‪ ،‬ﺃﺒﻭ ﻨﺼﺭ ﻤﺤﻤّﺩ ﺒﻥ ﻤﺤﻤّﺩ‪ :‬ﻜﺘﺎﺏ ﺍﻟﺤﺭﻭﻑ‪ .‬ﺘﺤﻘﻴﻕ ﻤﺤﺴﻥ ﻤﻬـﺩﻱ‪ .‬ﻁ‪ .2‬ﺒﻴـﺭﻭﺕ‪ :‬ﺩﺍﺭ‬

‫ﺍﻟﻤﺸﺭﻕ‪.1990 .‬‬

‫ﻜﺘﺎﺏ ﺍﻟﻤﻭﺴﻴﻘـﻰ ﺍﻟﻜﺒﻴﺭ‪ .‬ﺘﺤﻘﻴـﻕ ﻏﻁﺎﺱ ﻋﺒﺩ ﺍﻟﻤﻠﻙ ﺨﺸﺒﺔ ﻭﺸﺭﺤـﻪ‪ .‬ﺍﻟﻘﺎﻫـﺭﺓ‪ :‬ﺩﺍﺭ‬
‫ﻲ‪) .‬ﺩ‪ .‬ﺕ(‪.‬‬
‫ﺍﻟﻜﺎﺘﺏ ﺍﻟﻌﺭﺒ ّ‬

‫ﻲ ﻓـﻲ ﻓﻘﻪ ﺍﻟﻠﹼﻐﺔ ﺍﻟﻌﺭﺒﻴّﺔ ﻭﻤﺴﺎﺌﻠﻬﺎ ﻭﺴﻨﻥ ﺍﻟﻌﺭﺏ ﻓــﻲ‬

‫ﺍﺒﻥ ﻓﺎﺭﺱ‪ ،‬ﺃﺒﻭ ﺍﻟﺤﺴﻴﻥ ﺃﺤﻤﺩ‪ :‬ﺍﻟﺼﺎﺤﺒ ّ‬
‫ﻜﻼﻤﻬﺎ‪ .‬ﻋﻠﹼﻕ ﻋﻠﻴـﻪ ﻭﻭﻀﻊ ﺤﻭﺍﺸﻴﻪ ﺃﺤﻤﺩ ﺤﺴﻥ ﺒﺴﺞ‪ .‬ﻁ‪ .1‬ﺒﻴﺭﻭﺕ‪ :‬ﺩﺍﺭ ﺍﻟﻜﺘﺏ ﺍﻟﻌﻠﻤﻴّـﺔ‪.‬‬
‫‪.1997‬‬

‫ﻤﻌﺠﻡ ﻤﻘﺎﻴﻴﺱ ﺍﻟﻠﹼﻐـﺔ‪ 6 .‬ﺝ‪ .‬ﺘﺤﻘﻴـﻕ ﻋﺒـﺩ ﺍﻟﺴــﻼﻡ ﻤﺤﻤّـﺩ ﻫــﺎﺭﻭﻥ‪ .‬ﻁ‪ .2‬ﺩﺍﺭ‬
‫ﺍﻟﻔﻜﺭ‪.1979 .‬‬

‫ﺍﻟﻔﺭﺍﻫﻴﺩﻱ‪ ،‬ﺃﺒﻭ ﻋﺒﺩ ﺍﻟﺭّﺤﻤﻥ ﺍﻟﺨﻠﻴل ﺒﻥ ﺃﺤﻤﺩ‪ :‬ﻜﺘﺎﺏ ﺍﻟﻌﻴﻥ‪ 8 .‬ﺝ‪ .‬ﺘﺤﻘﻴـﻕ ﻤﻬـﺩﻱ ﺍﻟﻤﺨﺯﻭﻤـﻲ‪،‬‬
‫ﻭﺇﺒﺭﺍﻫﻴﻡ ﺍﻟﺴﺎﻤﺭﺍﺌﻲ‪.‬‬

‫ﺍﻟﻘﻴﺴﻲ‪ ،‬ﻤﻜﹼﻲ ﺒﻥ ﺃﺒﻲ ﻁﺎﻟﺏ‪ :‬ﺍﻟﺭّﻋﺎﻴﺔ ﻟﺘﺠﻭﻴﺩ ﺍﻟﻘﺭﺍﺀﺓ ﻭﺘﺤﻘﻴﻕ ﻟﻔﻅ ﺍﻟﺘﻼﻭﺓ‪ .‬ﺘﺤﻘﻴﻕ ﺃﺤﻤﺩ ﺤﺴـﻥ‬
‫ﻓﺭﺤﺎﺕ‪ .‬ﻁ‪ .3‬ﻋﻤّﺎﻥ‪ :‬ﺩﺍﺭ ﻋﻤّﺎﺭ‪.1996 .‬‬

‫ﻲ ﺒـﻥ ﻤﺤﻤّـﺩ‬
‫ﺍﺒﻥ ﻗﻴّﻡ ﺍﻟﺠﻭﺯﻴّﺔ‪ ،‬ﺃﺒﻭ ﻋﺒﺩ ﺍﷲ ﻤﺤ ّﻤﺩ ﺒﻥ ﺃﺒﻲ ﺒﻜﺭ‪ :‬ﺒﺩﺍﺌﻊ ﺍﻟﻔﻭﺍﺌﺩ‪ 5 .‬ﻤﺞ‪ .‬ﺘﺤﻘﻴﻕ ﻋﻠ ّ‬
‫ﺍﻟﻌﻤﺭﺍﻥ‪ .‬ﺩﺍﺭ ﻋﺎﻟﻡ ﺍﻟﻔﻭﺍﺌﺩ‪) .‬ﺩ‪ .‬ﺕ(‪.‬‬

‫ﺏ ﻫﻭﺍﻤﺸـﻪ‬
‫ﺍﻟﻤﺘﻨﺒّﻲ‪ ،‬ﺃﺒﻭ ﺍﻟﻁﻴّﺏ ﺃﺤﻤﺩ ﺒﻥ ﺍﻟﺤﺴﻴﻥ‪ :‬ﺍﻟﺩﻴﻭﺍﻥ‪ .‬ﺠﺯﺀﺍﻥ ﻓﻲ ﻤﺠﹼﻠ ٍﺩ ﻭﺍﺤﺩ‪ .‬ﺸﺭﺤَﻪ ﻭﻜﺘ َ‬
‫ﻤﺼﻁﻔﻰ ﺴﺒﻴﺘﻲ‪ .‬ﺒﻴﺭﻭﺕ‪ :‬ﺩﺍﺭ ﺍﻟﻜﺘﺏ ﺍﻟﻌﻠﻤﻴّﺔ‪) .‬ﺩ‪ .‬ﺕ(‪.‬‬

‫ﻱ‪ ،‬ﺃﺒﻭ ﺍﻟﻌﻼﺀ ﺃﺤﻤﺩ ﺒﻥ ﻋﺒﺩ ﺍﷲ‪ :‬ﺴﻘﻁ ﺍﻟﺯّﻨـﺩ‪ .‬ﺸﺭﺤَﻪ ﺃﺤﻤﺩ ﺸﻤﺱ ﺍﻟﺩﻴﻥ‪ .‬ﻁ‪ .1‬ﺒﻴﺭﻭﺕ‪ :‬ﺩﺍﺭ‬
‫ﺍﻟﻤﻌ ّﺭ ّ‬
‫ﺍﻟﻜﺘﺏ ﺍﻟﻌﻠﻤﻴّﺔ‪.1990 .‬‬

‫ﺍﺒﻥ ﻤﻨﻅﻭﺭ‪ ،‬ﺃﺒﻭ ﺍﻟﻔﻀل ﺠﻤﺎل ﺍﻟﺩﻴﻥ‪ :‬ﻟﺴﺎﻥ ﺍﻟﻌـﺭﺏ‪ 18 .‬ﻤﺞ‪ .‬ﺍﻋﺘﻨﻰ ﺒﺘﺼﺤﻴﺤﻬﺎ ﺃﻤﻴﻥ ﻤﺤﻤّﺩ ﻋﺒﺩ‬
‫ﻲ‪) .‬ﺩ‪ .‬ﺕ(‪.‬‬
‫ﻱ‪ .‬ﻁ‪ .3‬ﺒﻴﺭﻭﺕ‪ :‬ﺩﺍﺭ ﺇﺤﻴﺎﺀ ﺍﻟﺘﺭﺍﺙ ﺍﻟﻌﺭﺒ ّ‬
‫ﺍﻟﻭﻫﺎﺏ‪ ،‬ﻭﻤﺤﻤّﺩ ﺍﻟﺼﺎﺩﻕ ﺍﻟﻌﺒﻴﺩ ّ‬

‫‪149‬‬
‫ﻱ‪ ،‬ﻴﺤﻴﻰ ﺒﻥ ﺸﺭﻑ‪ :‬ﺸﺭﺡ ﺼﺤﻴﺢ ﻤﺴﻠﻡ‪ 18 .‬ﺝ‪ .‬ﻁ‪ .1‬ﺍﻟﻤﻁﺒﻌﺔ ﺍﻟﻤﺼﺭﻴّﺔ ﺒﺎﻷﺯﻫﺭ‪.1929 .‬‬
‫ﺍﻟﻨﻭﻭ ّ‬

‫ﻲ ﺒﻥ ﺃﺤﻤﺩ ﺍﻟﻭﺍﺤﺩﻱ‪ :‬ﺍﻟﻭﺴﻴﻁ ﻓﻲ ﺘﻔﺴـﻴﺭ ﺍﻟﻘـﺭﺁﻥ ﺍﻟﻤﺠﻴـﺩ‪ 4 .‬ﺝ‪.‬‬

‫ﺍﻟﻨﻴﺴﺎﺒﻭﺭﻱ‪ ،‬ﺃﺒﻭ ﺍﻟﺤﺴﻥ ﻋﻠ ّ‬

‫ﺘﺤﻘﻴـﻕ ﻋﺎﺩل ﺃﺤﻤﺩ ﻋﺒﺩ ﺍﻟﻤﻭﺠﻭﺩ ﻭﺁﺨﺭﻴﻥ‪ .‬ﻁ‪ .1‬ﺒﻴﺭﻭﺕ‪ :‬ﺩﺍﺭ ﺍﻟﻜﺘﺏ ﺍﻟﻌﻠﻤﻴّﺔ‪.1994 .‬‬

‫ﺍﺒﻥ ﻫﺸﺎﻡ‪ ،‬ﺃﺒﻭ ﻤﺤﻤّﺩ ﻋﺒﺩ ﺍﻟﻤﻠﻙ‪ :‬ﺍﻟﺴﻴﺭﺓ ﺍﻟﻨﺒﻭﻴّﺔ‪ .‬ﺠﺯﺀﺍﻥ ﻓﻲ ﻤﺠﹼﻠ ٍﺩ ﻭﺍﺤﺩ‪ .‬ﻋﻠﹼﻕ ﻋﻠﻴﻬـﺎ ﻭﺨـﺭّﺝ‬

‫ﻲ‪.2004 .‬‬
‫ﺃﺤﺎﺩﻴﺜﻬﺎ ﻋﻤﺭ ﻋﺒﺩ ﺍﻟﺴﻼﻡ ﺘﺩﻤﺭﻱ‪ .‬ﻁ‪ .1‬ﺒﻴﺭﻭﺕ‪ :‬ﺩﺍﺭ ﺍﻟﻜﺘﺎﺏ ﺍﻟﻌﺭﺒ ّ‬

‫ﺏ‪ .‬ﻤﺭﺍﺠﻊ ﺒﺎﻟﻌﺭﺒﻴّﺔ‬

‫ﺇﺴﺘﻴﺘﻴﺔ‪ ،‬ﺴﻤﻴﺭ ﺸﺭﻴﻑ‪ :‬ﺍﻷﺼـﻭﺍﺕ ﺍﻟﻠﹼﻐﻭﻴّﺔ‪ :‬ﺭﺅﻴﺔ ﻋﻀﻭﻴّﺔ ﻭﻨﻁﻘﻴّﺔ ﻭﻓﻴﺯﻴﺎﺌﻴّـﺔ‪ .‬ﻁ‪ .1‬ﻋﻤّﺎﻥ‪ :‬ﺩﺍﺭ‬

‫ﻭﺍﺌل‪.2003 .‬‬

‫ﺃﻨﻴﺱ‪ ،‬ﺇﺒﺭﺍﻫﻴﻡ‪ :‬ﺍﻷﺼﻭﺍﺕ ﺍﻟﻠﻐﻭﻴّﺔ‪ .‬ﻁ‪ .4‬ﺍﻟﻘﺎﻫﺭﺓ‪ :‬ﻤﻜﺘﺒﺔ ﺍﻷﻨﺠﻠﻭ ﺍﻟﻤﺼﺭﻴّﺔ‪.2007 .‬‬

‫ﺩﻻﻟﺔ ﺍﻷﻟﻔﺎﻅ‪ .‬ﻁ‪ .7‬ﺍﻟﻘﺎﻫﺭﺓ‪ :‬ﻤﻜﺘﺒﺔ ﺍﻷﻨﺠﻠﻭ ﺍﻟﻤﺼﺭﻴّﺔ‪.1993 .‬‬

‫ﻓﻲ ﺍﻟﻠﻬﺠـﺎﺕ ﺍﻟﻌﺭﺒﻴّـﺔ‪ .‬ﻁ‪ .3‬ﺍﻟﻘﺎﻫﺭﺓ‪ :‬ﻤﻜﺘﺒﺔ ﺍﻷﻨﺠﻠﻭ ﺍﻟﻤﺼﺭﻴّﺔ‪.2003 .‬‬

‫ﺍﻟﻠﹼﻐـﺔ ﺒﻴﻥ ﺍﻟﻘﻭﻤﻴّـﺔ ﻭﺍﻟﻌﺎﻟﻤﻴّـﺔ‪ .‬ﺍﻟﻘﺎﻫﺭﺓ‪ :‬ﺩﺍﺭ ﺍﻟﻤﻌﺎﺭﻑ‪.1970 .‬‬

‫ﻤﻭﺴﻴﻘﻰ ﺍﻟﺸﻌﺭ‪ .‬ﻁ‪ .2‬ﺍﻟﻘﺎﻫﺭﺓ‪ :‬ﻤﻜﺘﺒﺔ ﺍﻷﻨﺠﻠﻭ ﺍﻟﻤﺼﺭﻴّﺔ‪.1952 .‬‬

‫ﺃﻨﻴﺱ‪ ،‬ﺇﺒﺭﺍﻫﻴﻡ‪ ،‬ﻭﺁﺨﺭﻭﻥ‪ :‬ﺍﻟﻤﻌﺠﻡ ﺍﻟﻭﺴﻴﻁ‪ .‬ﺠﺯﺀﺍﻥ ﻓﻲ ﻤﺠﹼﻠ ٍﺩ ﻭﺍﺤﺩ‪ .‬ﻁ‪.2‬‬

‫ﺃﻭﻟﻤﺎﻥ‪ ،‬ﺴﺘﻴﻔﻥ‪ :‬ﺩﻭﺭ ﺍﻟﻜﻠﻤـﺔ ﻓـﻲ ﺍﻟﻠﹼﻐـﺔ‪ .‬ﺘﺭﺠﻤﺔ ﻜﻤﺎل ﺒﺸﺭ‪ .‬ﻤﻜﺘﺒﺔ ﺍﻟﺸﺒﺎﺏ‪) .‬ﺩ‪ .‬ﺕ(‪.‬‬

‫ﺒﺎﻟﻤﺭ‪ ،‬ﻓﺭﺍﻨﻙ‪ :‬ﻤﺩﺨل ﺇﻟﻰ ﻋﻠﻡ ﺍﻟﺩﻻﻟﺔ‪ .‬ﺘﺭﺠﻤﺔ ﺨﺎﻟﺩ ﻤﺤﻤﻭﺩ ﺠﻤﻌـﺔ‪ .‬ﻁ‪ .1‬ﺍﻟﻜﻭﻴـﺕ‪ :‬ﻤﻜﺘﺒـﺔ ﺩﺍﺭ‬

‫ﺍﻟﻌﺭﻭﺒﺔ‪.1997 .‬‬

‫ﺒﺎﻱ‪ ،‬ﻤﺎﺭﻴﻭ‪ :‬ﺃﺴﺱ ﻋﻠﻡ ﺍﻟﻠﹼﻐﺔ‪ .‬ﺘﺭﺠﻤﺔ ﺃﺤﻤﺩ ﻤﺨﺘﺎﺭ ﻋﻤﺭ ﻭﺘﻌﻠﻴﻘﻪ‪ .‬ﻁ‪ .8‬ﺍﻟﻘﺎﻫﺭﺓ‪ :‬ﻋـﺎﻟﻡ ﺍﻟﻜﺘـﺏ‪.‬‬

‫‪.1998‬‬
‫‪150‬‬
‫ﻱ ﻟﻠﹼﻐﺔ ﺍﻟﻌﺭﺒﻴّـﺔ‪ .‬ﺃﺨﺭﺠﻪ ﻭﺼﺤّﺤﻪ ﻭﻋﻠﹼﻕ ﻋﻠﻴﻪ ﺭﻤﻀﺎﻥ ﻋﺒﺩ ﺍﻟﺘﻭّﺍﺏ‪.‬‬
‫ﺒﺭﺠﺸﺘﺭﺍﺴﺭ‪ :‬ﺍﻟﺘﻁﻭّﺭ ﺍﻟﻨﺤﻭ ّ‬

‫ﻁ‪ .2‬ﺍﻟﻘﺎﻫﺭﺓ‪ :‬ﻤﻜﺘﺒﺔ ﺍﻟﺨﺎﻨﺠﻲ‪.1994 .‬‬

‫ﺒﺸﺭ‪ ،‬ﻜﻤﺎل‪ :‬ﻋﻠﻡ ﺍﻷﺼﻭﺍﺕ‪ .‬ﺍﻟﻘﺎﻫﺭﺓ‪ :‬ﺩﺍﺭ ﻏﺭﻴﺏ‪.2000 .‬‬

‫ﻲ ﻤﻥ ﺨـﻼل ﻋﻠﻡ ﺍﻷﺼﻭﺍﺕ ﺍﻟﺤﺩﻴﺙ‪ .‬ﻁ‪ .3‬ﺘﻭﻨﺱ‪ :‬ﺍﻟﻤﻁﺒﻌـﺔ‬

‫ﺍﻟﺒﻜﻭﺵ‪ ،‬ﺍﻟﻁﻴﺏ‪ :‬ﺍﻟﺘﺼﺭﻴﻑ ﺍﻟﻌﺭﺒـ ّ‬

‫ﺍﻟﻌﺭﺒﻴّـﺔ‪.1992 .‬‬

‫ﻲ ﻟﻠﻘـﺭﺁﻥ‪ ،‬ﻭﻤﺴـﺎﺌل ﺍﺒـﻥ ﺍﻷﺯﺭﻕ‪ .‬ﻁ‪.3‬‬

‫ﺒﻨﺕ ﺍﻟﺸﺎﻁﺊ‪ ،‬ﻋﺎﺌﺸﺔ ﻋﺒﺩ ﺍﻟﺭﺤﻤﻥ‪ :‬ﺍﻹﻋﺠـﺎﺯ ﺍﻟﺒﻴـﺎﻨ ّ‬

‫ﺍﻟﻘﺎﻫـﺭﺓ‪ :‬ﺩﺍﺭ ﺍﻟﻤﻌﺎﺭﻑ‪) .‬ﺩ‪ .‬ﺕ(‪.‬‬

‫ﻱ‪.1994 .‬‬
‫ﺒﻴﻴﺭﺠﻴﺭﻭ‪ :‬ﺍﻷﺴﻠﻭﺒﻴّـﺔ‪ .‬ﺘﺭﺠﻤﺔ ﻤﻨﺫﺭ ﻋﻴﺎﺸﻲ‪ .‬ﻁ‪ .2‬ﺤﻠﺏ‪ :‬ﻤﺭﻜﺯ ﺍﻹﻨﻤﺎﺀ ﺍﻟﺤﻀﺎﺭ ّ‬

‫ﺤﺠﺎﺯﻱ‪ ،‬ﻤﺤﻤﻭﺩ ﻓﻬﻤﻲ‪ :‬ﻤﺩﺨل ﺇﻟﻰ ﻋﻠﻡ ﺍﻟﻠﻐﺔ‪ .‬ﺍﻟﻘﺎﻫﺭﺓ‪ :‬ﺩﺍﺭ ﻗﺒﺎﺀ‪.1997 .‬‬

‫ﺤﺴﺎﻥ‪ ،‬ﺘﻤﺎﻡ‪ :‬ﺍﺠﺘﻬﺎﺩﺍﺕ ﻟﻐﻭﻴّﺔ‪ .‬ﻁ‪ .1‬ﺍﻟﻘﺎﻫﺭﺓ‪ :‬ﻋﺎﻟﻡ ﺍﻟﻜﺘﺏ‪.2007 .‬‬

‫ﻲ‪ .‬ﻁ‪ .1‬ﺍﻟﻘـﺎﻫﺭﺓ‪:‬‬

‫ﺹ ﺍﻟﻘﺭﺁﻨـ ّ‬
‫ﺍﻟﺒﻴﺎﻥ ﻓﻲ ﺭﻭﺍﺌﻊ ﺍﻟﻘﺭﺁﻥ‪ ،‬ﺩﺭﺍﺴﺔ ﻟﻐﻭﻴّﺔ ﻭﺃﺴﻠﻭﺒﻴّـﺔ ﻟﻠﻨ ّ‬

‫ﻋﺎﻟﻡ ﺍﻟﻜﺘﺏ‪.1993 .‬‬

‫ﺍﻟﻠﹼﻐﺔ ﺍﻟﻌﺭﺒﻴّﺔ ﻤﻌﻨﺎﻫﺎ ﻭﻤﺒﻨﺎﻫﺎ‪ .‬ﺍﻟﺩﺍﺭ ﺍﻟﺒﻴﻀﺎﺀ‪ :‬ﺩﺍﺭ ﺍﻟﺜﻘﺎﻓﺔ‪.1994 .‬‬

‫ﻤﻨﺎﻫﺞ ﺍﻟﺒﺤﺙ ﻓﻲ ﺍﻟﻠﹼﻐﺔ‪ .‬ﺍﻟﻘﺎﻫﺭﺓ‪ :‬ﻤﻜﺘﺒﺔ ﺍﻷﻨﺠﻠﻭ ﺍﻟﻤﺼﺭﻴّﺔ‪.1990 .‬‬

‫ﺤﺴﻴﻥ‪ ،‬ﻁﻪ‪ :‬ﺤﺩﻴﺙ ﺍﻷﺭﺒﻌﺎﺀ‪ 3 .‬ﺝ‪ .‬ﻁ‪ .14‬ﺍﻟﻘﺎﻫـﺭﺓ‪ :‬ﺩﺍﺭ ﺍﻟﻤﻌﺎﺭﻑ‪) .‬ﺩ‪ .‬ﺕ(‪.‬‬

‫ﺍﻟﺤﻤﺩ‪ ،‬ﻏﺎﻨﻡ ﻗﺩّﻭﺭﻱ‪ :‬ﺍﻟﺩﺭﺍﺴﺎﺕ ﺍﻟﺼﻭﺘﻴّـﺔ ﻋﻨﺩ ﻋﻠﻤﺎﺀ ﺍﻟﺘﺠﻭﻴﺩ‪ .‬ﻁ‪ .2‬ﻋﻤّﺎﻥ‪ :‬ﺩﺍﺭ ﻋﻤﺎﺭ‪.2007 .‬‬

‫ﺤﻤّﺎﺩ‪ ،‬ﻤﺤﻤّﺩ ﻨﻤﺭ‪ :‬ﺇﺘﺤﺎﻑ ﺍﻟﻌﺒﺎﺩ ﻓﻲ ﻤﻌﺭﻓﺔ ﺍﻟﻨﻁﻕ ﺒﺎﻟﻀﺎﺩ‪ .‬ﻨﺎﺒﻠﺱ‪ 1323 .‬ﻫـ‪.‬‬

‫ﺩﻱ ﺴﻭﺴﻭﺭ‪ ،‬ﻓﺭﺩﻴﻨﺎﻥ‪ :‬ﻋﻠﻡ ﺍﻟﻠﹼﻐﺔ ﺍﻟﻌﺎ ّﻡ‪ .‬ﺘﺭﺠﻤﺔ ﻴﻭﺌﻴل ﻴﻭﺴﻑ ﻋﺯﻴﺯ‪ .‬ﺒﻐﺩﺍﺩ‪ :‬ﺩﺍﺭ ﺁﻓـﺎﻕ ﻋﺭﺒﻴّـﺔ‪.‬‬

‫‪.1985‬‬
‫‪151‬‬
 ‫ﻲ‪ .‬ﺒﻴﺭﻭﺕ‪ :‬ﺩﺍﺭ ﺍﻟﻨﻬﻀﺔ ﺍﻟﻌﺭﺒﻴّﺔ‪.1984 .‬‬
‫ﺍﻟﺭّﺍﺠﺤﻲ‪ ،‬ﻋﺒﺩﻩ‪ :‬ﺍﻟﺘﻁﺒﻴﻕ ﺍﻟﺼﺭﻓ ّ‬

‫ﻱ‪ .‬ﺒﻴﺭﻭﺕ‪ :‬ﺩﺍﺭ ﺍﻟﻨﻬﻀﺔ ﺍﻟﻌﺭﺒﻴّﺔ‪.1983 .‬‬

‫ﺍﻟﺘﻁﺒﻴﻕ ﺍﻟﻨﺤﻭ ّ‬

‫ﻲ‪.‬‬
‫ﺍﻟﺭﺍﻓﻌﻲ‪ ،‬ﻤﺼﻁﻔﻰ ﺼﺎﺩﻕ‪ :‬ﺇﻋﺠﺎﺯ ﺍﻟﻘﺭﺁﻥ ﻭﺍﻟﺒﻼﻏﺔ ﺍﻟﻨﺒﻭﻴّـﺔ‪ .‬ﺒﻴـﺭﻭﺕ‪ :‬ﺩﺍﺭ ﺍﻟﻜﺘـﺎﺏ ﺍﻟﻌﺭﺒـ ّ‬

‫‪.2005‬‬

‫ﺍﻟﺯﺭﻗﺎﻨﻲ‪ ،‬ﻤﺤﻤﺩ ﻋﺒﺩ ﺍﻟﻌﻅﻴﻡ‪ :‬ﻤﻨﺎﻫل ﺍﻟﻌﺭﻓﺎﻥ ﻓﻲ ﻋﻠﻭﻡ ﺍﻟﻘﺭﺁﻥ‪ .‬ﺍﻟﻘﺎﻫﺭﺓ‪ :‬ﺍﻟﻤﻁﺒﻌﺔ ﺍﻟﻔﻨﻴﺔ‪) .‬ﺩ‪ .‬ﺕ(‪.‬‬

‫ﺯﺭﻗﺔ‪ ،‬ﺃﺤﻤﺩ‪ :‬ﺃﺴﺭﺍﺭ ﺍﻟﺤﺭﻭﻑ‪ .‬ﻁ‪ .1‬ﺩﻤﺸﻕ‪ :‬ﺩﺍﺭ ﺍﻟﺤﺼﺎﺩ‪.1993 .‬‬

‫ﻲ‪ .‬ﻁ‪ .1‬ﺩﺍﺭ ﺍﻟﻔﻜﺭ‪.2009 .‬‬

‫ﺍﻟﺴﺎﻤﺭﺍﺌﻲ‪ ،‬ﻓﺎﻀل ﺼﺎﻟﺢ‪ :‬ﻤﻥ ﺃﺴﺭﺍﺭ ﺍﻟﺒﻴﺎﻥ ﺍﻟﻘﺭﺁﻨ ّ‬

‫ﻲ‪ .‬ﻁ‪ .1‬ﻋﻤّﺎﻥ‪ :‬ﺩﺍﺭ ﺍﻟﺸﺭﻭﻕ‪.2000 .‬‬

‫ﺍﻟﺴﻌﺎﻓﻴﻥ‪ ،‬ﺇﺒﺭﺍﻫﻴﻡ‪ ،‬ﻭﺁﺨـﺭﻭﻥ‪ :‬ﺃﺴﺎﻟﻴﺏ ﺍﻟﺘﻌﺒﻴﺭ ﺍﻷﺩﺒ ّ‬

‫ﻲ‪ .‬ﺒﻴﺭﻭﺕ‪ :‬ﺩﺍﺭ ﺍﻟﻨﻬﻀﺔ ﺍﻟﻌﺭﺒﻴّﺔ‪) .‬ﺩ‪ .‬ﺕ(‪.‬‬

‫ﺍﻟﺴﻌﺭﺍﻥ‪ ،‬ﻤﺤﻤﻭﺩ‪ :‬ﻋﻠﻡ ﺍﻟﻠﹼﻐﺔ ﻤﻘﺩّﻤﺔ ﻟﻠﻘﺎﺭﺉ ﺍﻟﻌﺭﺒ ّ‬

‫ﺍﻟﺴﻴّﺎﺏ‪ ،‬ﺒﺩﺭ ﺸﺎﻜﺭ‪ :‬ﺍﻟﺩﻴﻭﺍﻥ‪ .‬ﻤﺠﻠﹼﺩﺍﻥ‪ .‬ﺒﻴﺭﻭﺕ‪ :‬ﺩﺍﺭ ﺍﻟﻌﻭﺩﺓ‪.1997 .‬‬

‫ﻲ‪ ،‬ﺃﺒﻭ ﺍﻟﻘﺎﺴﻡ‪ :‬ﺍﻟﺩﻴﻭﺍﻥ‪ .‬ﻗﺩّﻡ ﻟﻪ ﻭﺸﺭﺤﻪ ﺃﺤﻤﺩ ﺤﺴﻥ ﺒﺴﺞ‪ .‬ﻁ‪ .1‬ﺒﻴﺭﻭﺕ‪ :‬ﺩﺍﺭ ﺍﻟﻜﺘﺏ ﺍﻟﻌﻠﻤﻴّﺔ‪.‬‬
‫ﺍﻟﺸﺎ ّﺒ ّ‬

‫‪.1995‬‬

‫ﺸﺎﻫﻴﻥ‪ ،‬ﺘﻭﻓﻴﻕ ﻤﺤﻤّﺩ‪ :‬ﻋﻠﻡ ﺍﻟﻠﹼﻐﺔ ﺍﻟﻌﺎ ّﻡ‪ .‬ﻁ‪ .1‬ﺍﻟﻘﺎﻫﺭﺓ‪ :‬ﻤﻜﺘﺒﺔ ﻭﻫﺒﺔ‪.1980 .‬‬

‫ﻲ ﻟﻠﺒﻨﻴﺔ ﺍﻟﻌﺭﺒﻴّﺔ‪ .‬ﺒﻴﺭﻭﺕ‪ :‬ﻤﺅﺴﺴﺔ ﺍﻟﺭﺴﺎﻟﺔ‪.1980 .‬‬

‫ﺸﺎﻫﻴﻥ‪ ،‬ﻋﺒﺩ ﺍﻟﺼﺒﻭﺭ‪ :‬ﺍﻟﻤﻨﻬﺞ ﺍﻟﺼﻭﺘ ّ‬

‫ﺸﻭﺸﺔ‪ ،‬ﻓﺎﺭﻭﻕ‪ :‬ﻟﻐﺘـﻨﺎ ﺍﻟﺠﻤﻴﻠﺔ‪ .‬ﺍﻟﻬﻴﺌﺔ ﺍﻟﻤﺼﺭﻴّﺔ ﺍﻟﻌﺎﻤّﺔ ﻟﻠﻜﺘﺎﺏ‪.1999 .‬‬

‫ﺸﻭﻗﻲ‪ ،‬ﺃﺤﻤﺩ‪ :‬ﺍﻟﺸﻭﻗﻴّـﺎﺕ‪ 4 .‬ﺝ ﻓﻲ ﻤﺠﻠﹼﺩﻴﻥ‪ .‬ﺒﻴﺭﻭﺕ‪ :‬ﺩﺍﺭ ﺍﻟﻜﺘﺏ ﺍﻟﻌﻠﻤﻴّﺔ‪) .‬ﺩ‪ .‬ﺕ(‪.‬‬

‫ﻲ‪ :‬ﺼﻔـﻭﺓ ﺍﻟﺘﻔﺎﺴﻴﺭ‪ 3 .‬ﻤﺞ‪ .‬ﻁ‪ .4‬ﺒﻴﺭﻭﺕ‪ :‬ﺩﺍﺭ ﺍﻟﻘﺭﺁﻥ ﺍﻟﻜﺭﻴﻡ‪.1981 .‬‬
‫ﺍﻟﺼﺎﺒﻭﻨﻲ‪ ،‬ﻤﺤﻤّﺩ ﻋﻠ ّ‬

‫ﺍﻟﺼﺎﻟﺢ‪ ،‬ﺼﺒﺤﻲ‪ :‬ﺩﺭﺍﺴﺎﺕ ﻓﻲ ﻓﻘﻪ ﺍﻟﻠﹼﻐﺔ‪ .‬ﻁ‪ .16‬ﺒﻴﺭﻭﺕ‪ :‬ﺩﺍﺭ ﺍﻟﻌﻠﻡ ﻟﻠﻤﻼﻴﻴﻥ‪.2004 .‬‬
‫‪152‬‬
 ‫ﺼﺎﻟﺢ‪ ،‬ﻓﺨﺭﻱ ﻤﺤﻤّﺩ‪ :‬ﺍﻟﻠﹼﻐﺔ ﺍﻟﻌﺭﺒﻴّﺔ ﺃﺩﺍ ًﺀ ﻭﻨﻁﻘﹰﺎ ﻭﺇﻤﻼ ًﺀ ﻭﻜﺘﺎﺒ ﹰﺔ‪ .‬ﻁ‪ .2‬ﺩﺍﺭ ﺍﻟﻭﻓﺎﺀ‪) .‬ﺩ‪ .‬ﺕ(‪.‬‬

‫ﺍﻟﻀﺎﻟﻊ‪ ،‬ﻤﺤﻤّﺩ ﺼﺎﻟﺢ‪ :‬ﺍﻷﺴﻠﻭﺒﻴّﺔ ﺍﻟﺼﻭﺘﻴّﺔ‪ .‬ﺍﻟﻘﺎﻫﺭﺓ‪ :‬ﺩﺍﺭ ﻏﺭﻴﺏ‪.2002 .‬‬

‫ﻁﻠﻴﻤﺎﺕ‪ ،‬ﻏﺎﺯﻱ ﻤﺨﺘﺎﺭ‪ :‬ﻓﻲ ﻋﻠﻡ ﺍﻟﻠﹼﻐﺔ‪ .‬ﻁ‪ .2‬ﺩﻤﺸﻕ‪ :‬ﺩﺍﺭ ﻁﻼﺱ‪.2000 .‬‬

‫ﻲ ﻓﻲ ﺍﻟﻠﹼﻐﺔ ﺍﻟﻌﺭﺒﻴّﺔ )ﻓﻭﻨﻭﻟﻭﺠﻴﺎ ﺍﻟﻌﺭﺒﻴّﺔ(‪ .‬ﺘﺭﺠﻤـﺔ ﻴﺎﺴـﺭ‬

‫ﺍﻟﻌﺎﻨﻲ‪ ،‬ﺴﻠﻤﺎﻥ ﺤﺴﻥ‪ :‬ﺍﻟﺘﺸﻜﻴل ﺍﻟﺼﻭﺘ ّ‬

‫ﻲ‪.1983 .‬‬
‫ﻲ ﺍﻟﺜﻘﺎﻓ ّ‬
‫ﺍﻟﻤﻼﺡ‪ .‬ﻁ‪ .1‬ﺠﺩّﺓ‪ :‬ﺍﻟﻨﺎﺩﻱ ﺍﻷﺩﺒ ّ‬

‫ﻱ ﻟﻸﺩﺏ )ﺒﺤﺙ ﻓﻲ ﻓﻠﺴﻔﺔ ﺍﻟﻠﹼﻐﺔ ﻭﺍﻻﺴـﺘﻁﻴﻘﺎ(‪ .‬ﺍﻟﺭﻴـﺎﺽ‪ :‬ﺩﺍﺭ‬

‫ﻋﺒﺩ ﺍﻟﺒﺩﻴﻊ‪ ،‬ﻟﻁﻔﻲ‪ :‬ﺍﻟﺘﺭﻜﻴﺏ ﺍﻟﻠﹼﻐﻭ ّ‬

‫ﺍﻟﻤﺭﻴﺦ‪.1989 .‬‬

‫ﻋﺒﺩ ﺍﻟﺘﻭّﺍﺏ‪ ،‬ﺭﻤﻀﺎﻥ‪ :‬ﻓﺼﻭل ﻓﻲ ﻓﻘﻪ ﺍﻟﻌﺭﺒﻴّﺔ‪ .‬ﻁ‪ .6‬ﺍﻟﻘﺎﻫﺭﺓ‪ :‬ﻤﻜﺘﺒﺔ ﺍﻟﺨﺎﻨﺠﻲ‪.1999 .‬‬

‫ﻱ‪ .‬ﻁ‪ .1‬ﺍﻟﻘﺎﻫﺭﺓ‪ :‬ﻤﻜﺘﺒﺔ ﺍﻟﺨﺎﻨﺠﻲ‪.1982 .‬‬

‫ﺍﻟﻤﺩﺨل ﺇﻟﻰ ﻋﻠﻡ ﺍﻟﻠﹼﻐﺔ ﻭﻤﻨﺎﻫﺞ ﺍﻟﺒﺤﺙ ﺍﻟﻠﹼﻐﻭ ّ‬

‫ﻲ‪ .‬ﻁ‪ .1‬ﻋﻤـﺎﻥ‪:‬‬

‫ﻋﺒﺩ ﺍﻟﺠﻠﻴل‪ ،‬ﻋﺒﺩ ﺍﻟﻘﺎﺩﺭ‪ :‬ﺍﻟﺩﻻﻟﺔ ﺍﻟﺼﻭﺘﻴّﺔ ﻭﺍﻟﺼﺭﻓﻴّﺔ ﻓـﻲ ﻟﻬﺠﺔ ﺍﻹﻗﻠﻴﻡ ﺍﻟﺸﻤﺎﻟ ّ‬

‫ﺩﺍﺭ ﺼﻔﺎﺀ‪.1997 .‬‬

‫ﻱ ﻭﺩﻻﻻﺘﻪ ﻓﻲ ﺍﻟﻘﺭﺁﻥ ﺍﻟﻜـﺭﻴﻡ‪ .‬ﻁ‪ .1‬ﺒﻴـﺭﻭﺕ‪ :‬ﺩﺍﺭ ﺍﻟﻬـﻼل‬

‫ﻋﺒﺩ ﺍﷲ‪ ،‬ﻤﺤﻤّﺩ ﻓﺭﻴﺩ‪ :‬ﺍﻟﺼﻭﺕ ﺍﻟﻠﹼﻐﻭ ّ‬

‫ﻭﻤﻜﺘﺒﺘﻬﺎ‪.2008 .‬‬

‫ﻋﺘﻴﻕ‪ ،‬ﻋﺒﺩ ﺍﻟﻌﺯﻴﺯ‪ :‬ﻋﻠﻡ ﺍﻟﺒﺩﻴﻊ‪ .‬ﺒﻴﺭﻭﺕ‪ :‬ﺩﺍﺭ ﺍﻟﻨﻬﻀﺔ ﺍﻟﻌﺭﺒﻴّﺔ‪.1985 .‬‬

‫ﻋﻠﻡ ﺍﻟﻌﺭﻭﺽ ﻭﺍﻟﻘﺎﻓﻴﺔ‪ .‬ﺒﻴﺭﻭﺕ‪ :‬ﺩﺍﺭ ﺍﻟﻨﻬﻀﺔ ﺍﻟﻌﺭﺒﻴّﺔ‪.1987 .‬‬

‫ﻋﻠﻡ ﺍﻟﻤﻌﺎﻨﻲ‪ .‬ﺒﻴﺭﻭﺕ‪ :‬ﺩﺍﺭ ﺍﻟﻨﻬﻀﺔ ﺍﻟﻌﺭﺒﻴّﺔ‪) .‬ﺩ‪ .‬ﺕ(‪.‬‬

‫ﺍﻟﻌﺯﺍﻭﻱ‪ ،‬ﻨﻌﻤﺔ ﺭﺤﻴﻡ‪ :‬ﻓﺼﻭل ﻓـﻲ ﺍﻟﻠﹼﻐﺔ ﻭﺍﻟﻨﻘﺩ‪ .‬ﻁ‪ .1‬ﺒﻐﺩﺍﺩ‪ :‬ﺍﻟﻤﻜﺘﺒﺔ ﺍﻟﻌﺼﺭﻴّﺔ‪.2004 .‬‬

‫ﺍﻟﻌﻘﹼﺎﺩ‪ ،‬ﻋﺒّﺎﺱ ﻤﺤﻤﻭﺩ‪ :‬ﺍﻟﻠﹼﻐﺔ ﺍﻟﺸﺎﻋﺭﺓ‪ .‬ﺍﻟﻘﺎﻫﺭﺓ‪ :‬ﻨﻬﻀﺔ ﻤﺼﺭ‪.1995 .‬‬

‫‪153‬‬
‫ﺍﻟﻌﻼﻴﻠﻲ‪ ،‬ﻋﺒﺩ ﺍﷲ‪ :‬ﻤﻘﺩّﻤﺔ ﻟﺩﺭﺱ ﻟﻐـﺔ ﺍﻟﻌﺭﺏ‪ ،‬ﻭﻜﻴﻑ ﻨﻀﻊ ﺍﻟﻤﻌﺠﻡ ﺍﻟﺠﺩﻴﺩ‪ .‬ﺍﻟﻘـﺎﻫﺭﺓ‪ :‬ﺍﻟﻤﻁﺒﻌـﺔ‬

‫ﺍﻟﻌﺼﺭﻴّﺔ‪) .‬ﺩ‪ .‬ﺕ(‪.‬‬

‫ﻋﻠﻭﻴﺔ‪ ،‬ﻨﻌﻴﻡ‪ :‬ﺒﺤﻭﺙ ﻟﺴﺎﻨﻴّـﺔ ﺒﻴﻥ ﻨﺤﻭ ﺍﻟﻠﹼﺴﺎﻥ ﻭﻨﺤﻭ ﺍﻟﻔﻜﺭ‪ .‬ﻁ‪ .2‬ﺒﻴﺭﻭﺕ‪ :‬ﺍﻟﻤﺅﺴﺴﺔ ﺍﻟﺠﺎﻤﻌﻴّـﺔ‪.‬‬

‫‪.1986‬‬

‫ﻲ‪.1992 .‬‬
‫ﻲ ﺍﻟﻌﺭﺒ ّ‬
‫ﹶﻨﺤْ ُﻭ ﺍﻟﺼﻭﺕ ﻭ ﹶﻨﺤْ ُﻭ ﺍﻟﻤﻌﻨﻰ‪ .‬ﻁ‪ .1‬ﺒﻴﺭﻭﺕ‪ :‬ﺍﻟﻤﺭﻜﺯ ﺍﻟﺜﻘﺎﻓ ّ‬

‫ﻱ ﻋﻨﺩ ﺍﻟﻌﺭﺏ‪ .‬ﻁ‪ .6‬ﺍﻟﻘﺎﻫﺭﺓ‪ :‬ﻋﺎﻟﻡ ﺍﻟﻜﺘﺏ‪.1988 .‬‬

‫ﻋﻤﺭ‪ ،‬ﺃﺤﻤﺩ ﻤﺨﺘﺎﺭ‪ :‬ﺍﻟﺒﺤﺙ ﺍﻟﻠﹼﻐﻭ ّ‬

‫ﻱ‪ .‬ﺍﻟﻘﺎﻫﺭﺓ‪ :‬ﻋﺎﻟﻡ ﺍﻟﻜﺘﺏ‪.1997 .‬‬

‫ﺩﺭﺍﺴﺔ ﺍﻟﺼﻭﺕ ﺍﻟﻠﹼﻐﻭ ّ‬

‫ﻋﻠﻡ ﺍﻟﺩﻻﻟﺔ‪ .‬ﻁ‪ .5‬ﺍﻟﻘﺎﻫﺭﺓ‪ :‬ﻋﺎﻟﻡ ﺍﻟﻜﺘﺏ‪.1998 .‬‬

‫ﺃﺒﻭ ﻋﻤﺸﺔ‪ ،‬ﻋﺎﺩل‪ :‬ﺍﻟﻌﺭﻭﺽ ﻭﺍﻟﻘﺎﻓﻴـﺔ‪ .‬ﻁ‪ .1‬ﻨﺎﺒﻠﺱ‪ :‬ﻤﻜﺘﺒﺔ ﺨﺎﻟﺩ ﺒﻥ ﺍﻟﻭﻟﻴﺩ‪.1986 .‬‬

‫ﻲ‪.1981 .‬‬
‫ﻓﺭﻴﺤﺔ‪ ،‬ﺃﻨﻴﺱ‪ :‬ﻨﻅﺭﻴّﺎﺕ ﻓﻲ ﺍﻟﻠﹼﻐﺔ‪ .‬ﻁ‪ .2‬ﺒﻴﺭﻭﺕ‪ :‬ﺩﺍﺭ ﺍﻟﻜﺘﺎﺏ ﺍﻟﻠﹼﺒﻨﺎﻨ ّ‬

‫ﻓﻨﺩﺭﻴﺱ‪ ،‬ﺠﻭﺯﻴﻑ‪ :‬ﺍﻟﻠﹼﻐـﺔ‪ .‬ﺘﻌﺭﻴﺏ ﻋﺒﺩ ﺍﻟﺤﻤﻴﺩ ﺍﻟﺩﻭﺍﺨﻠﻲ‪ ،‬ﻭﻤﺤﻤّﺩ ﺍﻟﻘﺼﺎﺹ‪ .‬ﺍﻟﻘـﺎﻫﺭﺓ‪ :‬ﻤﻜﺘﺒـﺔ‬

‫ﺍﻷﻨﺠﻠﻭ ﺍﻟﻤﺼﺭﻴّﺔ‪.1950 .‬‬

‫ﺍﻟﻘﻀﺎﺓ‪ ،‬ﻤﺤﻤّﺩ ﻋﺼﺎﻡ ﻤﻔﻠﺢ‪ :‬ﺍﻟﻭﺍﻀﺢ ﻓﻲ ﺃﺤﻜﺎﻡ ﺍﻟﺘﺠﻭﻴﺩ‪ .‬ﺍﻷﺭﺩﻥ‪ :‬ﺩﺍﺭ ﺍﻟﻨﻔﺎﺌﺱ‪) .‬ﺩ‪ .‬ﺕ(‪.‬‬

‫ﻗﻁﺏ‪ ،‬ﺴﻴّﺩ‪ :‬ﻓﻲ ﻅﻼل ﺍﻟﻘﺭﺁﻥ‪ 6 .‬ﻤﺞ‪ .‬ﻁ‪ .25‬ﺍﻟﻘﺎﻫﺭﺓ‪ :‬ﺩﺍﺭ ﺍﻟﺸﺭﻭﻕ‪.1996 .‬‬

‫ﻜﺎﻨﺘﻴﻨﻭ‪ ،‬ﺠﺎﻥ‪ :‬ﺩﺭﻭﺱ ﻓﻲ ﻋﻠﻡ ﺃﺼﻭﺍﺕ ﺍﻟﻌﺭﺒﻴّﺔ‪ .‬ﺘﺭﺠﻤـﺔ ﺼـﺎﻟﺢ ﺍﻟﻘﺭﻤـﺎﺩﻱ‪ .‬ﺘـﻭﻨﺱ‪ :‬ﻤﺭﻜـﺯ‬

‫ﺍﻟﺩﺭﺍﺴﺎﺕ ﻭﺍﻟﺒﺤﻭﺙ ﺍﻻﻗﺘﺼﺎﺩﻴّﺔ ﻭﺍﻻﺠﺘﻤﺎﻋﻴّﺔ‪.1966 .‬‬

‫ﻜﻤﺎل‪ ،‬ﺭﺒﺤﻲ‪ :‬ﺍﻟﻌﺒﺭﻴّـﺔ ﻤﻥ ﻏﻴﺭ ﻤﻌﻠﹼﻡ‪ .‬ﻁ‪ .10‬ﺒﻴﺭﻭﺕ‪ :‬ﺩﺍﺭ ﺍﻟﻌﻠﻡ ﻟﻠﻤﻼﻴﻴﻥ‪.1995 .‬‬

‫ﻜﻭﺭﺒﺎﻟﻴﺱ‪ ،‬ﻤﺎﻴﻜل‪ :‬ﻓﻲ ﻨﺸﺄﺓ ﺍﻟﻠﹼﻐـﺔ‪ ،‬ﻤﻥ ﺇﺸـﺎﺭﺓ ﺍﻟﻴﺩ ﺇﻟﻰ ﻨﻁﻕ ﺍﻟﻔﻡ‪ .‬ﺘﺭﺠﻤـﺔ ﻤﺤﻤـﻭﺩ ﻤﺎﺠـﺩ‬

‫ﻲ ﻟﻠﺜﻘﺎﻓﺔ ﻭﺍﻟﻔﻨﻭﻥ ﻭﺍﻵﺩﺍﺏ‪ .‬ﻤﺎﺭﺱ‪.2006 ،‬‬

‫ﻋﻤـﺭ‪ .‬ﺍﻟﻜﻭﻴﺕ‪ :‬ﺍﻟﻤﺠﻠﺱ ﺍﻟﻭﻁﻨ ّ‬
‫‪154‬‬
‫ﻟﻴﻭﻨﺯ‪ ،‬ﺠﻭﻥ‪ :‬ﺍﻟﻠﻐـﺔ ﻭﻋﻠـﻡ ﺍﻟﻠﻐــﺔ‪ .‬ﺘﺭﺠﻤﺔ ﻤﺼﻁﻔـﻰ ﺍﻟﺘﻭﻨﻲ ﻭﺘﻌﻠﻴﻘـﻪ‪ .‬ﻁ‪ .1‬ﺍﻟﻘـﺎﻫﺭﺓ‪ :‬ﺩﺍﺭ‬

‫ﺍﻟﻨﻬﻀﺔ ﺍﻟﻌﺭﺒﻴﺔ‪.1987 .‬‬

‫ﺃﺒﻭ ﻤﺎﻀﻲ‪ ،‬ﺇﻴﻠﻴّﺎ‪ :‬ﺍﻟﺩﻴﻭﺍﻥ‪ .‬ﺒﻴﺭﻭﺕ‪ :‬ﺩﺍﺭ ﺍﻟﻌﻭﺩﺓ‪.1996 .‬‬

‫ﻲ‬
‫ﻲ‪ :‬ﻓﻭﺍﺼل ﺍﻵﻴﺎﺕ ﺍﻟﻘﺭﺁﻨﻴّﺔ‪ .‬ﻁ‪ .1‬ﺍﻹﺴﻜﻨﺩﺭﻴّﺔ‪ :‬ﺍﻟﻤﻜﺘـﺏ ﺍﻟﺠـﺎﻤﻌ ّ‬
‫ﺍﻟﻤﺭﺴﻲ‪ ،‬ﻜﻤﺎل ﺍﻟﺩﻴﻥ ﻋﺒﺩ ﺍﻟﻐﻨ ّ‬

‫ﺍﻟﺤﺩﻴﺙ‪.1999 .‬‬

‫ﻤﺼﻠﻭﺡ‪ ،‬ﺴﻌﺩ‪ :‬ﺩﺭﺍﺴـﺔ ﺍﻟﺴﻤﻊ ﻭﺍﻟﻜـﻼﻡ‪ .‬ﺍﻟﻘﺎﻫـﺭﺓ‪ :‬ﻋﺎﻟـﻡ ﺍﻟﻜﺘﺏ‪.1980 .‬‬

‫ﻤﻔﺘﺎﺡ‪ ،‬ﻤﺤﻤّﺩ‪ :‬ﻓﻲ ﺴﻴﻤﻴﺎﺀ ﺍﻟﺸﻌﺭ ﺍﻟﻘﺩﻴﻡ‪ .‬ﺍﻟﺩﺍﺭ ﺍﻟﺒﻴﻀﺎﺀ‪ :‬ﺩﺍﺭ ﺍﻟﺜﻘﺎﻓﺔ‪.1989 .‬‬

‫ﺍﻟﻤﻼﺌﻜﺔ‪ ،‬ﻨﺎﺯﻙ‪ :‬ﻗﻀﺎﻴﺎ ﺍﻟﺸﻌﺭ ﺍﻟﻤﻌﺎﺼﺭ‪ .‬ﻁ‪ .11‬ﺒﻴﺭﻭﺕ‪ :‬ﺩﺍﺭ ﺍﻟﻌﻠﻡ ﻟﻠﻤﻼﻴﻴﻥ‪.2000 .‬‬

‫ﻤﻨﺩﻭﺭ‪ ،‬ﻤﺤﻤّﺩ‪ :‬ﻓﻲ ﺍﻟﻤﻴﺯﺍﻥ ﺍﻟﺠﺩﻴﺩ‪ .‬ﻁ‪ .1‬ﺍﻟﻘﺎﻫﺭﺓ‪ :‬ﻤﻁﺒﻌﺔ ﻟﺠﻨـﺔ ﺍﻟﺘـﺄﻟﻴﻑ ﻭﺍﻟﺘﺭﺠﻤـﺔ ﻭﺍﻟﻨﺸـﺭ‪.‬‬

‫‪.1944‬‬

‫ﻨﺤﻠﺔ‪ ،‬ﻤﺤﻤﻭﺩ ﺃﺤﻤﺩ‪ :‬ﻟﻐـﺔ ﺍﻟﻘﺭﺁﻥ ﺍﻟﻜﺭﻴـﻡ ﻓﻲ ﺠﺯﺀ ﻋ ّﻡ‪ .‬ﺒﻴﺭﻭﺕ‪ :‬ﺩﺍﺭ ﺍﻟﻨﻬﻀﺔ ﺍﻟﻌﺭﺒﻴّﺔ‪.1981 .‬‬

‫ﻨﻌﻴﻤﺔ‪ ،‬ﻤﻴﺨﺎﺌﻴل‪ :‬ﻫﻤﺱ ﺍﻟﺠﻔﻭﻥ‪ .‬ﻁ‪ .6‬ﺒﻴﺭﻭﺕ‪ :‬ﺩﺍﺭ ﻨﻭﻓل‪.2004 .‬‬

‫ﺍﻟﻨﻭﺭﻱ‪ ،‬ﻤﺤﻤﺩ ﺠﻭﺍﺩ‪ :‬ﻋﻠﻡ ﺃﺼﻭﺍﺕ ﺍﻟﻌﺭﺒﻴّﺔ‪ .‬ﻁ‪ .1‬ﻋﻤﺎﻥ‪ :‬ﻤﻨﺸﻭﺭﺍﺕ ﺠﺎﻤﻌﺔ ﺍﻟﻘـﺩﺱ ﺍﻟﻤﻔﺘﻭﺤـﺔ‪.‬‬

‫‪.1999‬‬

‫ﻲ ﺨﻠﻴل‪ :‬ﻓﺼﻭل ﻓﻲ ﻋﻠـﻡ ﺍﻷﺼـﻭﺍﺕ‪ .‬ﻁ‪ .1‬ﻨـﺎﺒﻠﺱ‪ :‬ﻤﻁﺒﻌـﺔ‬

‫ﺍﻟﻨﻭﺭﻱ‪ ،‬ﻤﺤﻤﺩ ﺠﻭﺍﺩ‪ ،‬ﻭﺤﻤﺩ‪ ،‬ﻋﻠ ّ‬

‫ﺍﻟﻨﺼﺭ ﺍﻟﺘﺠﺎﺭﻴّﺔ‪.1991 .‬‬

‫ﻲ‪ ،‬ﻤﻨﻬﺞ ﻓﻲ ﺩﺭﺍﺴﺘﻪ ﻭﺘﻘﻭﻴﻤﻪ‪ .‬ﺠﺯﺀﺍﻥ‪ .‬ﺍﻟﻘﺎﻫﺭﺓ‪ :‬ﺍﻟﺩﺍﺭ ﺍﻟﻘﻭﻤﻴّـﺔ‪.‬‬

‫ﺍﻟﻨﻭﻴﻬﻲ‪ ،‬ﻤﺤﻤّﺩ‪ :‬ﺍﻟﺸﻌﺭ ﺍﻟﺠﺎﻫﻠ ّ‬

‫)ﺩ‪ .‬ﺕ(‪.‬‬

‫ﻫﻼل‪ ،‬ﻋﺒﺩ ﺍﻟﻐﻔـﺎﺭ ﺤﺎﻤﺩ‪ :‬ﺃﺼﻭﺍﺕ ﺍﻟﻠﹼﻐـﺔ ﺍﻟﻌﺭﺒﻴّﺔ‪ .‬ﻁ‪ .2‬ﺍﻟﻘﺎﻫـﺭﺓ‪ :‬ﻤﻁﺒﻌﺔ ﺍﻟﺠﺒﻼﻭﻱ‪.1988 .‬‬

‫‪155‬‬
.‫ )ﺩ‬.‫ ﻤﻜﺘﺒﺔ ﺍﻹﻴﻤﺎﻥ‬:‫ ﺍﻟﻤﻨﺼﻭﺭﺓ‬.‫ ﻗﺎﻤﻭﺱ ﻗﻭﺍﻋﺩ ﺍﻟﺒﻼﻏﺔ ﻭﺃﺼﻭل ﺍﻟﻨﻘﺩ ﻭﺍﻟﺘﺫﻭّﻕ‬:‫ ﻤﺴﻌﺩ‬،‫ﺍﻟﻬﻭﺍﺭﻱ‬

.(‫ﺕ‬

.2004 .‫ ﻨﻬﻀﺔ ﻤﺼﺭ‬:‫ ﺍﻟﻘﺎﻫﺭﺓ‬.9‫ ﻁ‬.‫ ﻋﻠﻡ ﺍﻟﻠﹼﻐﺔ‬:‫ﻲ ﻋﺒﺩ ﺍﻟﻭﺍﺤﺩ‬

ّ ‫ ﻋﻠ‬،‫ﻭﺍﻓﻲ‬

.2004 .‫ ﻨﻬﻀﺔ ﻤﺼﺭ‬:‫ ﺍﻟﻘﺎﻫﺭﺓ‬.3‫ ﻁ‬.‫ﻓﻘﻪ ﺍﻟﻠﹼﻐﺔ‬

.1993 .‫ ﺍﻟﻬﻴﺌﺔ ﺍﻟﻤﺼﺭﻴّﺔ ﺍﻟﻌﺎﻤّﺔ ﻟﻠﻜﺘﺎﺏ‬.‫ﻲ‬

ّ ‫ ﻨﻅﺭﺓ ﺠﺩﻴﺩﺓ ﻓـﻲ ﻤﻭﺴﻴﻘﻰ ﺍﻟﺸﻌﺭ ﺍﻟﻌﺭﺒ‬:‫ﻲ‬
ّ ‫ ﻋﻠ‬،‫ﻴﻭﻨﺱ‬

‫ ﻤﺭﺍﺠﻊ ﺒﺎﻹﻨﺠﻠﻴﺯﻴّﺔ‬.‫ﺕ‬

Arwid Johannson, M.A: Phonetics of The New High German Language.

Manchester: Palmer, Howe & CO., 1906.

Gussenhoven, Carlos: The Phonology of Tone and Intonation.

Cambridge University Press.

Hartmann, R.R.k., and Stork, R.C.: Dictionary of Language and

Linguistics. London: Applied Science Publishers, LTD. 1976.

Malmberg, Bertil: Phonetics. New York: Dover Publications, Inc., 1963.

Oxford Wordpower. Oxford University Press. 2005.

Shockey, Linda: Sound Patterns of Spoken English. USA: Blackwell

Publishing. 2003.

‫ ﺩﻭﺭﻴّﺎﺕ‬.‫ﺙ‬

‫ ﻤﺠﻠﹼﺔ ﺠﺎﻤﻌـﺔ ﺍﻟﻨﺠـﺎﺡ ﻟﻸﺒﺤـﺎﺙ‬،‫ ﺁﺭﺍﺀ ﺍﻟﺨﻠﻴل ﺍﻟﻨﺤﻭﻴّﺔ ﻓﻲ ﻀﻭﺀ ﻜﺘﺎﺏ ﺍﻟﻌﻴﻥ‬:‫ ﺤﻤﺩﻱ‬،‫ﺍﻟﺠﺒﺎﻟﻲ‬
.50 – 29 / ‫ﻡ‬2004 .18 ‫ ﻤﺞ‬.1 .(‫)ﺍﻟﻌﻠﻭﻡ ﺍﻹﻨﺴﺎﻨﻴّﺔ‬

156
‫ﺩﺍﻏﺭ‪ ،‬ﺸﺭﺒل‪ :‬ﺍﻟﺘﺤﻘﹼﻕ ﻤﻥ ﺘﺤﻘﻴﻕ ﻜﺘﺎﺏ ﺍﻟﻌﻴﻥ‪ ،‬ﻤﺠﻠﹼـﺔ ﻤﺠﻤﻊ ﺍﻟﻠﹼﻐﺔ ﺍﻟﻌﺭﺒﻴّــﺔ‪1994 .75 .‬ﻡ ‪/‬‬

‫‪.160 – 105‬‬

‫ﺝ‪ .‬ﻤﻭﺴﻭﻋﺎﺕ‬

‫ﺍﻟﻤﻭﺴﻭﻋﺔ ﺍﻟﻌﻠﻤﻴّـﺔ ﺍﻟﺸﺎﻤﻠﺔ‪ .‬ﻤﺠﻠﹼﺩ ﻭﺍﺤﺩ‪ .‬ﺇﻋﺩﺍﺩ ﺃﺤﻤﺩ ﺸﻔﻴﻕ ﺍﻟﺨﻁﻴﺏ‪ ،‬ﻭﻴﻭﺴﻑ ﺴﻠﻴﻤﺎﻥ ﺨﻴﺭ ﺍﷲ‪.‬‬

‫ﻁ‪ .1‬ﺒﻴﺭﻭﺕ‪ :‬ﻤﻜﺘﺒﺔ ﻟﺒﻨﺎﻥ ﻨﺎﺸﺭﻭﻥ‪.1998 .‬‬

‫ﺡ‪ .‬ﻤﺤﺎﻀﺭﺍﺕ‬

‫ﺠﺒﺭ‪ ،‬ﻴﺤﻴﻰ ﻋﺒﺩ ﺍﻟﺭﺅﻭﻑ‪ :‬ﻤﺤﺎﻀﺭﺓ )ﻤﻭﻀﻭﻉ ﻓﻲ ﻋﻠﻡ ﺍﻟﺩﻻﻟﺔ(‪ .‬ﺠﺎﻤﻌﺔ ﺍﻟﻨﺠﺎﺡ ﺍﻟﻭﻁﻨﻴّﺔ ﺒﻔﻠﺴﻁﻴﻥ‪.‬‬

‫‪ 2008 / 10 / 27‬ﻡ‪ 5-2 ،‬ﻤﺴﺎ ًﺀ‪.‬‬

‫‪157‬‬
 ‫ﺍﻟﻤﺼﻁﻠﺤﺎﺕ‬

(‫)ﺃ‬

Glottal Air Stream ‫ﻱ‬

ّ ‫ﺁﻟﻴّﺔ ﺘﻴّﺎﺭ ﺍﻟﻬﻭﺍﺀ ﺍﻟﺤﻨﺠﺭ‬

Pulmonic Mechanism Air Stream ‫ﻱ‬

ّ ‫ﺁﻟﻴّﺔ ﺘﻴّﺎﺭ ﺍﻟﻬﻭﺍﺀ ﺍﻟﺭﺌﻭ‬

Velaric/ Oral Air Stream ‫ﻱ‬

ّ ‫ﻲ ﺃﻭ ﺍﻟﻔﻤﻭ‬
ّ ‫ﺁﻟﻴّﺔ ﺘﻴّﺎﺭ ﺍﻟﻬﻭﺍﺀ ﺍﻟﻁﺒﻘ‬

Friction ‫ﺍﺤﺘﻜﺎﻙ‬

Fricative ‫ﻲ‬
ّ ‫ﺍﺤﺘﻜﺎﻜ‬

Continuant ‫ﻱ‬
ّ ‫ﺍﺴﺘﻤﺭﺍﺭ‬

Phonostylistics ‫ﻲ‬
ّ ‫ ﻋﻠﻡ ﺍﻟﺠﻤﺎل ﺍﻟﺼﻭﺘ‬/ ‫ﺍﻷﺴﻠﻭﺒﻴّﺔ ﺍﻟﺼﻭﺘﻴّﺔ‬

Velarization ‫ﺇﻁﺒﺎﻕ‬

Complete Closure ‫ﺇﻏﻼﻕ ﺘﺎ ّﻡ‬

Plosive ‫ﻱ‬
ّ ‫ﺍﻨﻔﺠﺎﺭ‬

Nasal ‫ﻲ‬
ّ ‫ﺃﻨﻔ‬

Nasality ‫ﺃﻨﻔﻴّﺔ‬

Oscillograph (‫ﺍﻷﻭﺴﻴﻠﺠﺭﺍﻑ )ﺭﺍﺴﻡ ﺍﻟﺫﺒﺫﺒﺎﺕ‬

(‫)ﺕ‬

Nasalization ‫ﺘﺄﻨﻴﻑ‬

Narrowing ‫ﺘﻀﻴﻴﻕ‬

Palatalization ‫ﺘﻐﻭﻴﺭ‬

Adam's Apple ‫ﺘ ﹼﻔﺎﺤﺔ ﺁﺩﻡ‬

Syllabic Division ‫ﻲ‬

ّ ‫ﺘﻘﺴﻴﻡ ﻤﻘﻁﻌ‬

Trill/ Rolled ‫ﻱ‬

ّ ‫ﺘﻜﺭﺍﺭ‬

Intonation ‫ﺘﻨﻐﻴﻡ‬
158
 ‫)ﺝ(‬

‫‪Lateral‬‬ ‫ﻲ‬
‫ﺠﺎﻨﺒ ّ‬
‫)ﺡ(‬

‫‪Vowel‬‬ ‫ﺤﺭﻜﺔ‬

‫‪Monophthong‬‬ ‫ﺤﺭﻜﺔ ﺒﺴﻴﻁﺔ‬

‫‪Close Vowel‬‬ ‫ﺤﺭﻜﺔ ﻀﻴّﻘﺔ‬

‫‪Long Vowel‬‬ ‫ﺤﺭﻜﺔ ﻁﻭﻴﻠﺔ‬

‫‪Short Vowel‬‬ ‫ﺤﺭﻜﺔ ﻗﺼﻴﺭﺓ‬

‫‪Diphthong‬‬ ‫ﺤﺭﻜﺔ ﻤﺭﻜﹼﺒﺔ ﺃﻭ ﻤﺯﺩﻭﺠﺔ‬

‫‪Striphthong‬‬ ‫ﺤﺭﻜﺔ ﻤﺭﻜﹼﺒﺔ ﺜﻼﺜﻴّﺔ‬

‫‪Open Vowel‬‬ ‫ﺤﺭﻜﺔ ﻭﺍﺴﻌﺔ‬

‫‪Vocalic‬‬ ‫ﻲ‬
‫ﺤﺭﻜ ّ‬
‫)ﺩ(‬

‫‪Pitch‬‬ ‫ﺩﺭﺠﺔ ﺍﻟﺼﻭﺕ‬

‫)ﺭ(‬

‫‪Resonant‬‬ ‫ﺭﻨﹼﺎﻥ‬
‫)ﺱ(‬

‫‪Spectrograph‬‬ ‫ﺍﻟﺴﺒﻜﺘﺭﻭﺠﺭﺍﻑ )ﺠﻬﺎﺯ ﺭﺴﻡ ﺍﻷﻁﻴﺎﻑ(‬

‫)ﺹ(‬

‫‪Consonant‬‬ ‫ﺼﺎﻤﺕ‬

‫‪Sibilant‬‬ ‫ﻱ‬
‫ﺼﻔﻴﺭ ّ‬

‫‪Sound‬‬ ‫ﺼﻭﺕ‬

‫‪159‬‬
 ‫)ﻁ(‬

‫‪Velar Articulation‬‬ ‫ﻁﺒﻘﻴّﺔ‬

‫‪Length‬‬ ‫ﻁﻭل‬
‫)ﻉ(‬

‫‪Stylistics‬‬ ‫ﻋﻠﻡ ﺍﻷﺴﻠﻭﺏ‬

‫‪Phonetics‬‬ ‫ﻋﻠﻡ ﺍﻷﺼﻭﺍﺕ‬

‫‪Semantics‬‬ ‫ﻋﻠﻡ ﺍﻟﺩﻻﻟﺔ‬

‫‪Linguistics‬‬ ‫ﻋﻠﻡ ﺍﻟﻠﹼﻐﺔ ‪ /‬ﺍﻟﻠﹼﺴﺎﻨﻴّﺎﺕ‬

‫‪Sound Cluster‬‬ ‫ﻲ‬

‫ﻲ ﺃﻭ ﺼﻭﺘ ّ‬
‫ﻋﻨﻘﻭﺩ ﻓﻭﻨﻴﻤ ّ‬
‫)ﻍ(‬

‫‪Hard Palate‬‬ ‫ﺍﻟﻐﺎﺭ‬

‫‪Nonvelarized‬‬ ‫ﻏﻴﺭ ﻤﻁﺒﻕ‬

‫‪Non-syllabic‬‬ ‫ﻲ‬
‫ﻏﻴﺭ ﻤﻘﻁﻌ ّ‬
‫)ﻑ(‬

‫‪Glottis‬‬ ‫ﻓﺘﺤﺔ ﺍﻟﻤﺯﻤﺎﺭ‬

‫‪Phonology‬‬ ‫ﻲ‬
‫ﺍﻟﻔﻭﻨﻭﻟﻭﺠﻴﺎ ‪ /‬ﻋﻠﻡ ﺍﻷﺼﻭﺍﺕ ﺍﻟﻭﻅﻴﻔ ّ‬

‫‪Phoneme‬‬ ‫ﺍﻟﻔﻭﻨﻴﻡ )ﻭﺤﺩﺓ ﺼﻭﺘﻴّﺔ ﻤُﻤﻴﱢﺯﺓ(‬

‫‪Segmental Phoneme‬‬ ‫ﻲ‬

‫ﻓﻭﻨﻴﻡ ﺘﺭﻜﻴﺒ ّ‬

‫‪Suprasegmental Phoneme‬‬ ‫ﻲ‬

‫ﻓﻭﻨﻴﻡ ﻏﻴﺭ ﺘﺭﻜﻴﺒ ّ‬
‫)ل(‬

‫‪Tapped/ Flapped‬‬ ‫ﻲ‬

‫ﻟﻤﺴ ّ‬

‫‪Uvula‬‬ ‫ﺍﻟﻠﹼﻬﺎﺓ‬

‫‪160‬‬
 (‫)ﻡ‬

Liquid ‫ﻤﺎﺌﻊ‬

Voiced ‫ﻤﺠﻬﻭﺭ‬

Duration ‫ُﻤﺩّﺓ‬

Palatalized ‫ﻤﺭﻗﹼﻕ‬

Affricate ‫ﻤﺭﻜﹼﺏ‬

Egressive (‫ﻤﺴﺘﺨﺭﺝ )ﺘﻴّﺎﺭ ﺍﻟﻬﻭﺍﺀ‬

Velarized ‫ ﻤﻁﺒﻕ‬/ ‫ﻤﻔﺨﹼﻡ‬

Juncture ‫َﻤﻔﹾﺼِل‬

Syllable ‫ﻤﻘﻁﻊ‬

Syllable Closed ‫ﻤﻘﻁﻊ ﻤﻐﻠﻕ‬

Open Syllable ‫ﻤﻘﻁﻊ ﻤﻔﺘﻭﺡ‬

Syllabic ‫ﻲ‬
ّ ‫ﻤﻘﻁﻌ‬

Distinctive Features ‫ﻤﻼﻤﺢ ﺘﻤﻴﻴﺯﻴّﺔ‬

Voiceless ‫ﻤﻬﻤﻭﺱ‬

Milli ( ) ‫ﺍﻟﻤﻴﻠﻲ‬
(‫)ﻥ‬

Semi Vowel ‫ﻨﺼﻑ ﺤﺭﻜﺔ‬

Vocalic System ‫ﻲ‬

ّ ‫ﻨﻅﺎﻡ ﺤﺭﻜ‬
(‫)ﻭ‬

Vocal Cords/ Bands ‫ﺍﻟﻭﺘﺭﺍﻥ ﺍﻟﺼﻭﺘﻴّﺎﻥ‬

Sonority ‫ﻲ‬
ّ ‫ﻭﻀﻭﺡ ﺴﻤﻌ‬

161
An-Najah National University
Faculty of Graduate Studies

Sound Analysis of Text: Some Short

Suras in the Qura'n as a Casestudy

By
Mahdi Inad Ahmad Qabaha

Supervised by
Professor Mohammad Jawad Al-Nuri

This Thesis is Submitted in Partial Fulfillment of the Requirements for

the Degree of Master of Arabic Language & Literature, Faculty of
Graduate Studies, An-Najah National University, Nablus, Palestine.
2011
 Sound Analysis of Text: Some Short Suras in the Qura'n as a
Casestudy
By
Mahdi Inad Ahmad Qabaha
Supervised by
Professor Mohammad Jawad Al-Nuri
Abstract

This technical text carries phonetic factors which impact negatively or

positively on the text style, and its performance. All these factors emerge

from the distinctive features of sounds such as ; voiced, voiceless,

velarized, palatalized and rolled sounds. In addition to suprasegmental

phonemes and organized syllables, that it comprises.

And also these factors emerge from the vocal choice of the writer, and

accurate disposal which has the full control on this choice.

This research derives its roots from phonetics ; to study vocal factors

and reveals that vocal pattern which enhances the performable and stylistic

quality, through studying the influence of these factors in four fundamental

text domains: vocal, auditory, musical, and semantic ; by projecting

applicable study, and analysing some short Suras of the Holy Qura'n

phoneticly such as ; Al-Asr, Ikhlas and An-Nas.