Page 49 - DILMUN NO 19

‫ﺍﻟﺘﺎﺭﻳﺦ ﺍﻟﺜﻘﺎﻑ ﻭﺍﻷﺩﺑﻲ‪ 4‬ﺍﻟﺒﺤﺮﻳﻦ‪ 2‬ﺍﻟﻌﺼﺮ ﺍﻟﺠﺎﻫﻠﻲ‬

‫ﺛﺎﻟﺜﺎ‪ ،‬ﻛﺜﺮﺓ ﺪﺗﺍﻭﻢﻬﻟ ﻟﻷﻟﻔﺎﻅ ﺍﻟﻔﺎﺭﻴﺳﺔ ﺍﻟﻤﻌﺮﺑﺔﻷﻥ ﺍﻟﺘﺄﺮﻴﺛ ﺍﻟﻔﺎﺭﺳﻲ ﻍ ﺷﻌﺮﺍﺀ ﺍﻟﺒﺤﺮﻳﻦ&‬
‫ﺍﺮﺼﻌﻟ ﺍﻟﺠﺎﻲﻠﻫ ﺎﻛﻥﻮﻗﺎﻳ ‪ ،‬ﻭﺖﻌﻀﺧ ﺍﻟﺒﺤﺮﻳﻦ ‪ 2‬ﻓﺘﺮﺍﺕ ﻛﺜﻴﺮﺓ ‪ 2‬ﺍﻟﻌﺼﺮ ﺍﻟﺠﺎﻫﻠﻲ ﻟﻠﺤﻜﻢ‬
‫ﺍﻟﻔﺎﺭﻲﺳ ‪ ،‬ﻛﻤﺎ ﺎﻛﻥ ﻟﻠﺘﺒﺎﺩﻝ ﺍﻟﺘﺠﺎﺭﻱ ‪ ،‬ﻭﺍﻷﻮﺳﺍﻕ ﺍﻟﻤﻨﺘﺸﺮﺓ ﺍﻟﺘﻲ ﻛﺎﻥ ﻳﺆﻣﻬﺎ ﻭﻳﺘﺎﺟﺮ ﻓﻴﻬﺎ ﺎﺠﺗﺭ ﻓﺮﺱ‬
‫ﻭﺮﻋﺏ ﺃﺮﺛ ﺮﻴﺒﻛﻍ ﺗﻐﻠﻐﻞ ﺍﻷﺮﺛ ﺍﻟﻔﺎﺭﻲﺳ ‪ 2‬ﻟﻐﺔ ﺷﻌﺮﺍﺀ ﺍﻟﺒﺤﺮﻳﻦ ‪ .‬ﻭﻣﻦ ﺷﻌﺮﺍﺀ ﺍﻟﺒﺤﺮﻳﻦ ﺍﻟﺬﻳﻦ‬
‫ﺗﻜﺜﺮ ‪ 2‬ﺷﻌﺮﻫﻢ ﺍﻷﺎﻔﻟﻅ ﺍﻟﻔﺎﺭﺳﻴﺔ ﺍﻟﻤﻌﺮﺑﺔ ﺍﻟﺤﺎﺭﺙ ﺑﻦ ﺣﻠﺰﺓ ‪ ،‬ﻭﺍﻷﻰﺸﻋ ‪ ،‬ﻭﺍﻟﻤﺜﻘﺐ ﺍﻟﻌﺒﺪﻱ ‪،‬‬

‫ﻭﺍﺲﻤﻠﺘﻤﻟ ﺍﻲﻌﺒﻀﻟ ‪ ،‬ﻭﺍﺰﻤﻤﻟﻕ ﺍﻟﻌﺒﺪﻱ ‪،‬ﻭﺰﻳﺪﻳ ﺑﻦ ﺍﻟﺨﺬﺍﻕ ‪ ،‬ﻭﺍﻻﺲﻨﺧ ﺑﻦ ﺷﻬﺎﺏ‪-‬‬

‫ﺭﺍﺑﻌﺎ‪ :‬ﻮﻬﻇﺭ ﺃﻟﻔﺎﻅ ﺍﺳﺘﺨﺪﻣﻬﺎ ﺷﻌﺮﺍﺀ ﺍﻟﺒﺤﺮﻳﻦ ﺃﻖﻠﻃ ﻋﻠﻴﻬﺎ ﻋﻠﻤﺎﺀ ﺍﻟﻠﻐﺔ ﺃﻟﻔﺎﻇﺎ ﺑﺤﺮﻳﻨﻴﺔ ﻟﻢ‬
‫ﺗﺴﺠﻠﻬﺎ ﺍﻟﻤﻌﺎﺟﻢ ﺍﻟﻠﻐﻮﻳﺔ ‪ .‬ﻷﻥ ﺎﻤﻠﻋﺀﺍﻟﻠﻐﺔ ﻋﻨﺪﻣﺎ ﻗﺎﻣﻮﺍ ﺑﺠﻤﻊ ﺍﻟﻠﻐﺔ ﺍﺗﺠﻬﻮﺍ ﺇﻟﻰ ﺍﻟﺒﺎﺩﻳﺔ ﻭﻢﻟ ﻳﺘﺠﻬﻮﺍ‬

‫ﺇﻰﻟ ﺍﻟﺒﺤﺮﻳﻦ ﺎﺠﻤﻟﻭﺭ ﺃﻫﻠﻬﺎ ﻟﻠﻔﺮﺱ‬

‫ﺃﺎﻣ ﺍﻟﺘﻌﺒﻴﺮ ﻓﻴﻤﺘﺎﺯ ﺃﺳﻠﻮﺏ ﺷﻌﺮﺍﺀ ﺍﻟﺒﺤﺮﻳﻦ ﺑﺎﻟﺴﻬﻮﻟﺔ ‪ ،‬ﻭﺍﻟﺒﻌﺪ ﻋﻦ ﺍﻟﻐﺮﺍﺑﺔ ‪ ،‬ﻭﺻﻌﻮﺑﺔ ﺍﻷﻟﻔﺎﻅ‪،‬‬
‫ﻓﺎﺧﺘﺎﺭ ﺷﻌﺮﺍﺀ ﺍﻟﺒﺤﺮﻳﻦ ﺍﻷﻟﻔﺎﻅ ﺍﻟﺮﻗﻴﻘﺔ ‪ ،‬ﻭﺍﻟﻜﻠﻤﺎﺕ ﺍﻟﺮﺷﻴﻘﺔ ﺍﻟﺨﻔﻴﻔﺔ ‪ ،‬ﻭﺻﻔﻮﺍ ﺷﻌﺮﻫﻢ ﻣﻦ‬
‫ﺍﻟﺸﻮﺍﺋﺐ ‪ ،‬ﻭﺍﻷﺎﻔﻟﻅ ﺍﻟﺼﻌﺒﺔ ﺍﻟﻤﻬﺠﻮﺭﺓ ﻭﺍﺳﺘﺸﻬﺪﺕ ﺍﻟﺪﺭﺍﺳﺔ ﻋﻠﻰ ﺳﻬﻮﻟﺔ ﺃﺳﻠﻮﺏ ﺷﻌﺮﺍﺀ ﺍﻟﺒﺤﺮﻳﻦ‬
‫ﺑﻘﺼﺎﺋﺪ ﻟﻠﻤﺜﻘﺐ ﺍﻟﻌﺒﺪﻱ ‪ ،‬ﻭﺍﻞﺨﻨﻤﻟ ﺍﻟﻴﺸﻜﺮﻱ ‪ ،‬ﻭﻋﻤﺮﻭ ﺑﻦ ﻗﻤﻴﺌﺔ ‪ ،‬ﻭﺍﻟﻤﺘﻠﻤﺲ ‪ ،‬ﻭﻳﺰﻳﺪ ﺑﻦ ﺧﺬﺍﻕ‬
‫ﺍﻟﺸﻨﻰ ﺍﻟﻌﺒﺪﻱ ‪ ،‬ﻭﻭﻗﻔﺖ ﺍﻟﺪﺭﺍﺳﺔ ﻋﻨﺪ ﺍﻟﺒﻨﺎﺀ ﺍﻟﻤﻮﺳﻴﻘﻲ ﻟﻘﺼﺎﺋﺪ ﺷﻌﺮﺍﺀ ﺍﻟﺒﺤﺮﻳﻦ ﻍ ﺍﻟﻌﺼﺮ‬
‫ﺍﻟﺠﺎﻫﻠﻲ ﻭﺖﻠﺠﺳ ﺍﻧﺘﺸﺎﺭ ﺍﻟﺒﺤﻮﺭ ﺍﻟﺨﻔﻴﻔﺔ ﻋﻨﺪ ﻫﺆﻻﺀ ﺍﻟﺸﻌﺮﺍﺀ ﻭﻣﺜﻠﺖ ﺑﺎﻷﻋﺸﻰ ﻓﻘﺪ ﻛﺎﻥ ﻳﻤﻴﻞ‬
‫ﺇﻟﻰ ﺍﻷﻭﺯﺍﻥ ﺍﻟﻘﺼﻴﺮﺓ ﻭﺍﻟﻤﺠﺰﻭﺀ ﺓ ﻍ ﺎﻃﻔﺋﺔ ﻣﻦ ﻗﺼﺎﺋﺪﻩ ﻣﻤﺎ ﺃﺿﻔﻰ ﻋﻠﻰ ﺷﻌﺮﻩ ﺎﻃﺎﻌﺑ ﻣﻮﺳﻴﻘﻴﺎ‬
‫ﻟﻔﺖ ﺃﻧﻈﺎﺭ ﺍﻟﺮﻭﺍﺓ ﺍﻟﻘﺪﻣﺎﺀ ﻓﺄ‪،‬ﻘﻠﻃﺍ ﻋﻠﻴﻪ ﺻﻨﺎﺟﺔ ﺍﻟﻌﺮﺏ ﺍﻋﺘﺮﺍﻓﺎ ﻣﻨﻬﻢ ﺑﻬﺬﻩ ﺍﻟﻄﺎﻗﺔ ﺍﻟﻤﻮﺳﻴﻘﻴﺔ‬

‫ﺍﻟﻀﺨﻤﺔ ﺍﻟﺘﻲ ﻛﺎﻥ ﻳﻤﺘﺎﺯ ﺎﻬﺑ‪٠‬‬

‫ﻭﻗﺪ ﺃﻛﺜﺮ ﺷﻌﺮﺍﺀ ﻫﺬﻩ ﺍﻟﻤﺪﺭﺳﺔ ﻣﻦ ﺑﺤﺮ ﺍﻟﺮﻣﻞ ﻛﻤﺎ ﻋﻨﺪ ﺃﺑﻲ ﺩﺅﺍﺩ ﺍﻹﻳﺎﺩﻱ‪ ،‬ﻭﺮﻃﻓﺔ ﺑﻦ ﺍﻟﻌﺒﺪ ‪،‬‬
‫ﻭﺍﻟﻤﺜﻘﺐ ﺍﻟﻌﺒﺪﻱ ‪ ،‬ﻭﺍﻷﻋﺸﻰ‪ :‬ﻭﻳﻌﻠﻞ ﺑﻌﺾ ﺍﻟﻤﺴﺘﺸﺮﻗﻴﻦ ﺍﻧﺘﺸﺎﺭ ﻫﺬﺍ ﺍﻟﺒﺤﺮ ﻋﻨﺪ ﻫﺆﻻﺀ ﺍﻟﺸﻌﺮﺍﺀ‬