الفهرس 
الفصل الأول التضمين بين التراث والتناصيوجد فقط 14 صفحة متاحة للعرض العام
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المستخلص
المُلَخَّص
عنوان هذه الدراسة هو: ”بلاغة التضمين في شعر البارودي”جاء اختيار موضوع ”التضمين” لكونه مصطلحًا عربيًا قديمًا وجامعًا لكثير من المعاني والدلالات. ولأننا في عصر يزخر بالمعرفة؛ وهي الطريق الأمثل إلى النهضة، جاء اختيار شاعر النهضة محمود سامي البارودي (1839م: 1904م) للبحث في شعره عن ”التضمين”. يتميز شعر البارودي بالقوة البنائية لمعارضته شعراء الجاهلية وما بعدها من عصور مع إدخال روح عصره وقضايا بلاده وتعبيره عن ذاته وبيئته.
لم يحظ التضمين في بدايات العصر الحديث بالاهتمام والتداول مثلما حظى التناص الغربي الذي انتشر وذاعت شهرته في الساحات الأدبية والنقدية. كانت جوليا كريستيفا (ولدت: 1941م) Julia Kristiva الناقدة البلغارية الأصل قد طرحت مصطلح ”التناص” عام 1966م، وقد أخذت فكرة اللغة الحوارية من أستاذها الروسي ميخائيل باختين (1928م). وطورتها إلى مفهوم التناص. ويتضح الترابط بين التضمين والتناص، والتناص الغربي أصله تضمين عربي اختلف شكله ودلالته باختلاف الحضارة والثقافة وسرعة التطور ومنهج الحياة. والأديب العربي القديم قد تنبه إلى ظاهرة تداخل النصوص. ”فالاقتباس” يمثل شكلاً تناصيًا، وكذلك ”التلميح” و ”الأثر”. وبالرغم من شهرة مصطلح التناص في السنوات الأخيرة إلا أنه بات لا يفي بما يطمح إليه الكاتب أو المتلقي، لذلك ظهر جيل من النقاد الغربيين نظر إلى التناص بحيادية تحمل في طياتها شكل التحفُّظ المُقَنَّع، لعدم وجود البديل لهذه النظرية في ذلك الوقت. وظهرت دعاوى تنادي بالعودة إلى المنابع. إلى التضمين.
يحظى شعر البارودي بالتنوع في التضمين الذي أثرى ديوانه فزاده قوة وأصالة وتميُّز. وقد أثَّر بتضميناته المتنوعة في الارتقاء والنهوض بالشعر العربي بعد فترة جمود رافقته خمسة قرون. وأضاف البارودي إلى أغراض الشعر العربي المعروفة إبداعًا جديدًا لم يكن معروفًا في تلك الآونة، وهو الشعر السياسي والوطني؛ الذي حثَّ فيه الناس على الثورة ومكافحة الفساد المتفشى في أجهزة الدولة والمجتمع. ودعا البارودي الشعب المصري من خلال شعره إلى تلبية نداء الوطن في الدفاع عن الأرض والهوية وتطهير البلاد من المستعمر الذي سلب البلاد القوة والعزة والكرامة. استنفر الهمم ليسترجع ثروات الوطن المنهوبة، وإرادته المسلوبة من قِبَل المستعمر والحاكم الطاغي المستبد.
كتب البارودي في شعره عن معالم مصرية عريقة وعظيمة، فذكر نهر النيل والقناطر وروضة المقياس، وروضة المنْيَّل وحدائق حلوان والأهرامات وأبا الهول، كما ذَكَرَ رموزًا وطنية مصرية. وافتخر بمصريته وبانتمائه لآل البيت؛ رضوان الله عليهم جميعًا. تباهى البارودي بتاريخ بلاده الفرعوني وحضارتها الشامخة، ودعا إلى بناء مصر الحديثة لينعم الجميع بالحرية والرخاء.
تطبق الدراسة المنهج التاريخي حيث تتبعت نشأة المصطلح ”التضمين” ومراحل تطوره، كما طُبِّقَ المنهج الوصفي التحليلي في بيان أنواع التضمين من خلال الأبيات الشعرية المختارة وشرحها والتعليق عليها.
تنقسم الدراسة إلى خمسة فصول:
• الفصل الأول: ”التضمين بين التراث والتناص”.
يتناول هذا الفصل التضمين بالتعريف لغويًا واصطلاحيًا ويتميز بالعرض التاريخي المتسلسل لمراحل نشأة المصطلح وتطوره يبدأ بالقديم وينتهي بالحديث. وينتقل إلى تعريف التناص ونشأته ووظيفته وآراء النقاد والأدباء في كل من التضمين والتناص ونقاط التماس والفرق بين المصطلحين.
• الفصل الثاني: ”الاقتباس من القرآن الكريم والحديث النبوي الشريف.”
استعرض الفصل الثاني أبياتًا من شعر البارودي تضمنت أجزاء من الآيات القرآنية لفظًا أو معنى وقُسِّم التضمين إلى حسن ومقبول ومذموم. والتضمين الحسن هو ما يتلاءم معناه ولفظه مع جلال المعنى للآية الكريمة.
الفصل الثالث: ”تضمين الحكم والأعلام والأساطير في شعر البارودي”.
يوضح هذا الفصل نوعًا آخر من أنواع التضمين وهو تضمين الحِكَم والأعلام والأساطير – فقصائد البارودي في الزهد ركيزتها الحكمة وكذلك قصائد الرثاء والفخر والمدح.
وقسَّم البحث تضمين الأعلام قسمين:
القسم الأول: أسماء الأشخاص والقبائل وتشمل الملائكة والأنبياء والملوك والأمراء والعلماء والمفكرين وأصحاب الفنون والبطولات.
القسم الثاني: أسماء الأماكن وتشمل البلدان والمواقع والغزوات.
الفصل الرابع: ”تضمين الشعر العربي القديم.”
قسَّم الفصل الرابع تضمين فنون التراث العربي عند البارودي عدة أقسام؛ تتمثل في: تضمين مطلع القصيدة العربية وأجزاء منها، وتضمين أسماء المحبوبات، وتضمين ألفاظ عربية قديمة.
وقد تأثر البارودي في تضمينه لاسم ”ليلى” بشعر عمرو بن كلثوم، والحارث بن حلزة البشكري، وامرئ القيس، وقيس بن الملوَّح.
الفصل الخامس: ”التضمين العروضي والصوتي في شعر البارودي.”
عرَّف الفصل الخامس التضمين العروضي والصوتي، كما رَصَدَ البحث اقتران فن ”التفويف” بالتضمين العروضي الذي يُعَدُّ من المظاهر المميزة لشعر البارودي في العصر الحديث.
ويرى البحث أن استخدام الشاعر للتضمين العروضي يُلبي دافعًا نفسيًا وضرورة فنية مُلِحَة. فمن خلاله ينطلق الشاعر في تحرر كامل من قيود وحواجز وضعها القدماء تحت مسمى القواعد والأصول. أما التضمين الصوتي ويعني محاكاة اللفظ للأصوات المسموعة فقد ظهر بشكل نادر في شعر البارودي.
وبعرض نماذج من التضمين الصوتي تكون قد اكتملت فنون التضمين البلاغي في شعر البارودي، ساعد على ظهور هذه الأنواع غزارة إنتاجه الشعري، وتعدد أغراضه. فقد كانت لجهود البارودي وإلمامه بالثقافات المختلفة وشخصيته القيادية القوية الأثر الكبير في تغيير شكل القصيدة العربية التي عانت الضعف والشتات عصورًا زمنية طويلة.
إنَّ تضمينات البارودي لنفحات من التراث أثَّرت تأثيرًا إيجابيًا في الارتقاء بالشعر العربي؛ فقد أمدت المعاصرين بالقدرة على مجاراة القدماء إضافة إلى الابتكار والتجديد وإظهار الموهبة وروح العصر.
Summary of the thesis
Connotation rhetoric
In al- Baroudy’s poetry
This title has been selected as an ancient Arabic term including many meaning and indications. As we live in an age rich in knowledge; which is the ideal chance to get development, the choice has come upon the evolution poet Mahmoud Samy Al- Baroudy (1839- 1904G.) to study connotation in his poetry, that is distinguished by its powerful structure, its similarity to that of the pre- Islamic pagan age and its followers, and expressing the spirit of his age, the issues of his country, his entity and his environment.
At the beginning of this modern century, connotation gained no interest nor dealing as intertextuality gained in fame and reputation in western world in the 19th century, in the arena of literature and criticism, Julia Cristiva (b. 1941 G), the Bulgaric laid the idiom of intertextuality in 1966, taking the dramatic dialogue from her Russian professor Mikhael Bakhtin (b. 1928); she developed it to take the concept ofintertextuality. The connection of connotation withintertextuality is clear, as the origin of the western intertextuality is the Arabic connotation, though they differ in shape and indication according to the difference in culture and civilization and the quick development in the methods of social and economic life.
The ancient Arabic man of letters took in mind the phenomenon of text middling. Quotation, allusion and trace were forms of intertextuality. Though the idiom of intertextuality grew famous in the last years, it failed to satisfy both the writer and the reader. Therefore, a fair generation of western critics appeared and looked with justice atintertextuality in precaution, to find that there is no substitute to this theory at the time. Requests were raized to return to the origin; which is connotation.
In his poetry, Al- Baroudy set a variety of connotations that enriched his anthology with power, originality and excellency. With his various connotations, he developed Arabic poetry after a period of five centuries of depression.
He added the political and the native poetry, which urges people to rebel against corruption widespread in the native authorities and society.
Through his poetry, Al- Baroudy asks the Egyptian people to answer the call of the native land and defend it and clear it from colonizers who looted its power, honour and dignity.
He mentioned great ancient Egyptian signs, such as the River Nile, Al Kanater Al- Khayriya, Rowdat Al- Mikyas, Rowdat Al- Neele, Helwan Gardens, the pyramids and the sphinx. He also mentioned Egyptian native symbols. He was proud of his Egyptian nationality, his relationship to the Profét family (peace be upon them) and his country’s great pharaonic civilization.
The study falls into five chapters, which present the selected verses of various kinds of connotation.
The first kind of connotation deals with the Holy Qur’an and the honourable prophetic speeches, entitled ”quotation”, which is divided into: good, accepted and dispraised.
The good quotation compromises in word and meaning with the holy meaning of the holy verse. In this respect, Al- Baroudy says in monasticism in quick metre:
10- O, people fear your god apprehend his torment in the day of
judgement.
11- while you are sitting death is standing driks you with glass and stone.
12- take care of spirits negligence and notice the spoiled bones.
This quotation comes from the Holy verse: ”Oman king fear/ your guardian lord/ who created you/ from a single person/ created out of it/ his mate and from them twain/ scattered (like seeds)/ countless men and women/ fear Allah through whom/ ye demand your mutual (rights)/ and be needful of the wombs/ that bore you) for Allah/ ever watches over you. (An- Nisa’a: 1)
Sentences are short and successive void of affectation, complex and repetition.
• The accepted connotation deals only with the meaning of the Holy verse. He says in the simple metre:
8- I grew angry with my family as they still urge me to take another beloved.
9- Saying: she will drive away your sadness as you are always sad
I said: O, never will I take any alternative.
10- God never created two heartsin one body.
The quotation refers Fairley to the holy verse:
(Allah has not made/ for any man two hearts/ in his breast)- (Al- Ahzeb:4)
• The dispraised quotation is rarely found in Al- Baroudy’s poetry. He said congratulated khidaiwy abbass for his thronging feast on May 17th 1900:
1- is it a sun’s light driving a way the right or a feast ray of the crown wide spread.
2- Are those stars or cavaliers at a combat, Boasting in a parade as a stormy sea?
3- Of each sword glows sparks as frightening as fire.
This quotation refers to the holy verses:
(By the mount of revelation/ by the book inscribed/ by the parchment un folded/ by the much- frequented house/ by the conopy raise high/ and by the Ocean filled with swell/ verily, the chastisement of the lord, will indeed come to pass. (Al- Tur: 1-7)
In his connotation, the poet is not successful in using the idiom (the ocean filled with swell)- 3, as it is dealing with God’s torment and scenes of fear and terror of the Day of Judgement, that do not suit the scene of happiness of the feast of thronging Khidewy Abbass on Egypt. God’s power of creating the world, driving the harsh wind and storming the seas does not correspond with prouzing the Khidewy.
The second kind of connotation deals with proverbs, proper names and myths.
In his poems, Al- Baroudy treated monasticism as wisdom, elegy, pride and praise. He says:
1- Slow down, do not quick in doing anything loss falls on the quick.
2- The strict serves his will in all cases the ignorant is either squanderer or miser.
The connotation is related to the popular saying: ”quickness is leisure”. Ahmed Taimour says an eloquent proverb: ”Because of speed, its follower falls in confusion or forgetting what he was going to do, his work is delayed and his time is lost.
In their proverbs, Arabs say:
”speed may endow slowness”. (Al- Meadany) and:
”speed may cause slowness”, (Al- Ekd Al- Fareed)
Connotation of the proper names passes through two ways:
The first includes: angels, prophets, kings, princes, scientist, literary men, artists and heroes. The second includes the names of places, such as countries, fields of battles and antiquities.
Al Baroudy, congratulating Khedewy Ismael for governing Egypt, says:
3- A new cleared off hearts rust leaving no opportunity for their urgent beating.
4- Cleaned all blemishes as Joseph’s shirt when the fore runner presented it to Jacob.
5- May Egypt and its people be happy for peace approached after despair.
Connotation came from the names of the prophets: Joseph and his father Jacob, (peace be upon them) which are repeated many times in Al- Baroudy’s anthology.
In connotating foreign names, he describes Bordinia’s Grove in Sarandeep. Isle, as follows:
5- Light retreats, shadow advances birds are happy, weather is fine.
6- If Bahzad saw these scenes he would have been perplexed and grew mad.
Connotation came in Bahzad, a Persian character known as Kamal Al Deen Bahzad (1440- 1522G), the most famous Islamic painter artist and calligraphist. His images are vital and finely coloured.
In connotating myth in his poetry, he says describing the pyramid:
30- If days retrieve Hurmus talent they will be sad by the Agés crises.
31- Obreeze of the dawn greet for me that tower, looking over the river.
Humarus and the pyramids refer to the ancient culture and civilization that distinguish Al- Baroudy with his broad mind and his knowledge of history and the news of nations. He is capable of that through his perfect knowledge of many European and persian languages, in addition to his mother tongue. i.e Arabic.
The third part in this study sets Al- Baroudy’s connotation into many forms; the ancient Arabic poem prelude names of the beloved, and other old Arabic words. He says:
(long)
1- O, pigeon of the grove thytwin is present your branch is fine why do you weep?
2- you are left safe and happy but my heart is hurt by love.
In his book: ”Al- Baroudy is the Van guard in Modern poetry”, Shawky Dhaif sees that Al- Baroudy quoted this line from Abu Yehya Al- Hazaly, while it is found in Al- Eqd Al- Fareed related to Auf ibn Molhim at the item”: they say of the pigeon”.
To the Arabs, all sorts of pigeon such as Al- Dopsi, quomry and Al- warshan ….. etc. are related to this bird they weep, sing, coo, rumble and chant.
• In his connotation of the beloved, Al- Baroudy chose ”layla to set in many lines. Her name perhaps, has a special indication as it is related to: the nighty sadness, or fine breezes at lovely nights at Helwan. He says:
1- How can I great layla’s house while chanting house is void of sirens?
2- Let the house beloved by its lovers and get into a tavern to drink with a moon – like servant.
In his connotation of Layla’s name, he is affected by Amr ibn Kolthoum, Al- Hareth ibn Hilliza Al- Yashkory, Imri’a Al- Qais and Qais ibn Al- Molawwah.
• Al- Baroudy connotated an old Arabic word in his reply to prince Shakeeb Arsalan. He said:
18- A waiting his dawn, it appears as a white mark (shadoukah) in a black
horse forehead.
This line recalls the line of Alkomait ibn Zayed El Asady.
I gave ancestral claim as decoration and gained a white mark
(Shadoukhah) on a horse’s limbs.
Al- Baroudy used the old Arabic word ”shadoukhah” as Al Komait did. This good connotation bestowed magnificence upon the meaning, corresponding to the aim of the poem.
The fourth part of connotation in Al- Baroudy’s poems included both the prosody and the vocal connotations.
This study could compare prosody connotation with parallel structure (Al Taf weef) that is a distingwished feature in Al- Baroudy poetry in the modern age. While the sentence may be completed in two lines or more, in the prosody connotation, it is completed in the parallel structure in one.
This feature is noticed in rhetoric opposition, collection, separation, divirsion and contradiction.
In the part of prosody connotation parallel structure is mentioned in Al- Baroudy’s poem, composed after he resigned from the Ministry of Military, dispraising many ministers:
(simple)
29- Harsh, detestable, falling, sullen villain, sordid, dull and retreating.
In this line parallel structure (Taf weef) occurs in successive words, bearing the character of the dispraised, that leads the reader to dislike him and his work and his followers.
The single words are parallel and quick in rhythm, as a result of the poet’s current thinking.
This study shows that the function of the prosody connotation appeals to psychological motives and artistic necessity, through which the poet freely passes away from Petters and shackles set by the ancestors as rules and origins.
The vocal connotation, that shows the similarity of the pronounced word to the heard voice or sound is rarely found in Al- Baroudy’s poetry.
He said after resigning the ministry of military dispraising some ministers.
(simple)
9- If I were deceived by my clemency, no wonder My sword appears to be cutting (Sam Sam)
The pronunciation of cutting (Sam Sam) indicates the power and sound of cutting.
Presenting forms of the vocal connotation, comes at the end of the rhetoric connotation of Al- Baroudy’s poetry, whose abundance helped in creating many kinds and functions. His keen knowledge of different cultures and his distinguished personality, have their powerful trace in changing the form of the Arabic modern poem, which suffered ages of weakness and dispersion.
Al- Baroudy’s connotation of the fragrant and Arabic heritage, has clearly affected the rise up of the modern Arabic poetry; as it supplies the modern poets with the ability of following their ancestors, as well as inventing and renewing to display the talent and the modern age spirit.