تمثيلُ المعنى في نماذج من شعر يحيى بن حكم الغَزَال

Abstract

الملخّص

تُعَدُّ قضية اللفظ والمعنى إحدى القضايا النّقديّة المهمّة في النّقد العربي القديم، إذ شغلت بال النّقاد زمنًا طويلًا، فمنهم من رأى أنّ المزيّة في الكلام عائدة إلى اللفظ، ومنهم من رأى أنّ المزيّة عائدة إلى المعنى، ومنهم من وجد أنّهما وجهان لعملة واحدة لا تنفصم عُراهما.

وقد تفرّعت عن هذه القضيّة فنون بلاغية كثيرة، إذ لا يخلو فنّ بلاغي من النّظر إلى لفظه أو معناه أو لفظه ومعناه معًا، ومن أهم هذه الفنون فن تمثيل المعنى.

وتمثيل المعنى يعني أن يُمثّل الأديب المعنى الذي يجول في خاطره في أقرب صورة محسوسة ليُوصِل المعنى إلى ذهن المتلقي ويجعله محسوسًا واقعيًّا أمامه، فيؤثّر فيه أبلغَ تأثير، ويبلغه الرسالة أشدَّ إبلاغ.

ويسعى هذا البحث إلى عرض نماذج من شعر الشاعر الأندلسي يحيى بن حكم الغَزَال (156 - 250 هـ = 773 - 864 م)، تضمّنت هذا الفنّ من خلال أخذ نماذج من شعره، وقد اشتهر شعره بالنقد الاجتماعي  وامتاز بالنقد الاجتماعي الساخر، فاجتمع في شعره حسّ الدّعابة، وجمال التصوير، واللمحات الدّالة، واللُمَع الذّكية. وفي شعره مقطوعات وقصائد في الهجاء والغزل والمديح والوصف، لا يخلو أغلبها من النقد الاجتماعي الممزوج بالسّخرية تارة، والدّعابة تارة أخرى. ([i]).، وقد قسَّمنا هذه النماذج إلى نموذج النقد الاجتماعي، والنموذج الديني، والنموذج العاطفي، ونموذج الفلسفة الحياتية، ونموذج العلوم العقلية.  بعد مقدمة تتحدث عن قضية اللفظ والمعنى، ثم الانتقال إلى الحديث عن التمثيل لغة واصطلاحًا، والتفريق بين التمثيل والتشبيه والمَثَل، ثم عرض نبذة موجزة عن حياة الشاعر، والانتقال إلى نماذج من شعره ورد فيها فنّ التمثيل، والتعليق عليها وبيان غاية التمثيل في كلّ منها، واختتام البحث بأبرز النتائج التي سعى البحث إلى إبرازها، من مثل: غاية التمثيل، وافتراقه عن التشبيه في التأوّل والخصوص

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([i])- يُنظر: ابن دحية الكلبي (ت 633هـ): المطرب من أشعار أهل المغرب، تحقيق: إبراهيم الأبياري، وحامد عبد المجيد، وأحمد أحمد بدوي، راجعه: الدكتور طه حسين، دار العلم للجميع للطباعة والنشر والتوزيع، بيروت – لبنان، 1374 هـ - 1955م، ص133-150. وأبو الحسن المغربي (ت 685هـ): المغرب في حلى المغرب، تحقيق: شوقي ضيف، دار المعارف- القاهرة، ط3، 1955م، 2/57-58. وديوان يحيى بن حكم الغزال: جمع وشرح وتحقيق: محمد رضوان الداية، دار الفكر المعاصر، بيروت- لبنان، دار الفكر، دمشق- سورية، ط1، 1993م، مقدمة المحقق ص6-24. والأعلام، 8/143.

Keywords

• الشعر، تمثيلُ المعنى، يحيى بن حكم الغَزَال

Imagery in the Poems of Yahia bin Hakam al-Ghazal

Abstract

Abstract

Word and meaning have occupied the minds of critics for a long time as one of the important topics of criticism in classical Arabic literature. Some critics have argued that the supremacy of the word belongs to the word, while others say that the meaning belongs to the meaning, and the other part argues that the meaning is two sides of a coin and that it is impossible to distinguish them from each other.

Many eloquence arts have been derived from this subject. Therefore, the art of eloquence either refer to the letter or meaning of the word or refer to both. One of the most important of these arts is the art of imagery.

Imagery, in other words, is to convey the meaning to the mind of the recipient by likening it to a concrete image that expresses the meaning in the author's mind most closely, on the other hand it is concretization through association. Thus, the message is transmitted in the most effective and clear way.

In the introduction to this work, the subject of words and meaning is discussed. Afterwards, An example of the poems of andalusian poet Yahia bin Hakam al-Ghazal, which includes the art of imagery, has been tried to be given. In addition, the dictionary and term meanings of imagery were explained. In these works, information is given about the poet's biography. In the following chapter, the poet's examples of poetry including the art of imagery were emphasized and they were interpreted, and the reasons were tried to be explained. In the conclusion section of the study, the purpose of imagery, in general and in particular, the aspects separated from the presentation and the results reached in different contexts due to the frequency of use are specified.

Key words: Poems, Rhetoric, Imaging, Yahia bin Hakam al-Ghazal.

 

Structured Abstract

The word and meaning has occupied the minds of critics for a long time as one of the major criticism issues in classical Arabic literature criticism. Some critics argue that the superiority of the word belongs to word, while others say that word and meaning are two sides of a coin and it is not possible to distinguish between them.

Discussions about word and meaning have not been outdated. In both classical and modern times, critics have addressed this issue as a research problem. One of the most important critics on this subject was al-Jahız.

It is not possible here to explain all views of critics within details. However, ʻAbd al-Qâdir al-Jurjânî (D. 474 A.H) in his famous work “Dalailu al-I'jaz” clearly separates the word and meaning from each other by taking the side of the meaning before the words against those who take the side of word and in brief, he evaluates the words as the servants of meanings. This idea, also known as the theory of verse, is also based on one of the most important proofs that the Qur'an is a miracle.

Many rhetorical arts derive from this research subject. Because the rhetorical arts either have to look at the word or meaning of the word or both. One of the most important of these arts is the art of imagination. Imagination literally means assimilation and creation. On the other hand, imagination in the sense of the term is not much different from the dictionary meaning and it is considered as also assimilation or creation. Imagination as a term refers to using of a poet a word indicating another meaning to point to a meaning. Thus, this word and other meaning together awaken the meaning that the poet wants to refer.

Imagining, in other words, is to convey the meaning to the mind of the recipient and to concretize it through a connotation in a sense, by assimilating the concrete image that most closely expresses the meaning of the literary mind. Thus, the message is transmitted in the most effective and most terse way.

In the introductory chapter of this research, the subject of word and meaning is discussed; followed by this, it is tried to give examples from the poems of the poet Yahia bin Hakam al-Ghazal which includes the art of imagination. In addition to this, the dictionary and term meanings of imagination were explained, and then the differences between imagination, assimilation and proverbs were examined together with the information was given about the biography of the poet. In the following sections, examples of poetry including the art of imagination of the poet are emphasized, tried to be interpreted and the reasons are tried to be explained. In the conclusion part of the study, the aim of the imagination in general and in particular, the aspects separated from the assimilation and the frequency of its use in terms of the differences reached from the issue are stated. The views of the critics about the differences between these terms are also explained. ʻAbd al-Qâhir  al-Jurjânî stated that the imagination constitutes one of the rhetorical aspects of the Qur'an, therefore the meaning of the Qur'an requires examination and interpretation, and the method of assimilation is completely rational. The difference between imagination and assimilation is hidden not only in the fact that imagination is an assimilation, but also in the fact that it is a special type of assimilation.  Therefore, every imagination is an assimilation, but not every assimilation is imagination.

One of the differences between imagination and assimilation is related to the frequency of use. The use of imagination becomes idiom if it is common, otherwise it remains an imagery by analogy.

In the study, critics' views about the effect of imagination on the recipient are also included. In this rhetorical discourse, Issa al-‘Akoub examined the work of al-Jurjani's Asrar al-Balagha by compiling the most important effects of imagination and stated that man tended to receive emotional information. He stated that through imagination, he could have a strong, firm and beautiful effect on the receiver, and that all of this comes about in the imagination. In addition to these determinations, brief biography of the poet and the period in which he lived were given. Besides, the important issues of rethorics and eloquence in the Diwan of the poet are mentioned.

When the poet's Diwan is examined, the phenomenon of imagination in his poems is evident: In our study, some examples related to this were examined and interpreted; the purposes of imagination in the examples given are explained.

In the conclusion part of the study, the results are stated of which the most important as the following:

The problem of word and meaning is an important research problem. Many critics and writers have evaluated this problem as two sides of a coin, and many of the literary arts and imagery have arisen from this.

Yahia bin Hakam al-Ghazal is a social critic who gives the utmost importance to the problems of the society in which he lives. For this reason, he tried to make his poetry easy to understand. al-Ghazal utilized the advantage of imagination in many parts of his poems. Therefore, the purpose of his imagery in our study was examined on the examples from the poetry of al-Ghazal.

Imagination is one of the types of assimilation, critics advocated different views on assimilation and imagination. Some critics have stated that both assimilation and imagination are the same, while others have considered imagination as an unrealistic rationalization. On the other hand, al-Jurjânî thought that imagination is an unrealistic rationalization at the level of words and phrases and that imagination is more descriptive at the level of phrases.

While assimilation has a more general concept, imagination has a more specific concept that requires interpretation. Every imagination is an assimilation, but every assimilation is not an imagination. One of the differences between imagery and assimilation is related to the prevalence of use. The frequent use of imagination may make it idiom if it is common, otherwise it remains an imagery by analogy. In this context, an understanding of imagination is found in Yahia bin Hakam al-Ghazal's poem. In al-Ghazal's poems, we see that imagination is made for different purposes. The most important of these purposes are: attention, warning, acceptance, etc. according to the context mentioned. 

Keywords

• Imaging,Poems,Yahia bin Hakam al-Ghazal,rhetoric

YAHYA b. HAKEM el-GAZÂL’IN ŞİİRLERİNDE İMGELEM

Abstract

Lafız ve anlam Klasik Arap Edebiyatı eleştirisinde önemli eleştiri konularından biri olarak uzun bir süre eleştirmenlerin zihnini meşgul etmiştir. Bazı eleştirmenler sözdeki üstünlüğün lafza ait olduğunu bazıları da anlama ait olduğunu söylerken diğer bir kısım da lafız ve anlamın bir madalyonun iki yüzü olduğunu ve bunları birbirinden ayırmanın mümkün olmadığı görüşünü savunmuşlardır.

Bu konudan birçok belagat sanatları türemiştir. Zira belagi sanatlar ya sözün lafzına veya manasına ya da her ikisine birden bakmak durumundadır. Bu sanatların en önemlilerinden biri de imgeleme sanatıdır.

İmgelemek başka bir deyişle edebiyatçının aklında gezen anlamı en yakın biçimde ifade eden somut bir imgeye benzeterek anlamı alıcının zihnine ulaştırması ve bir anlamda çağrışım yoluyla somutlaştırmasıdır. Böylece mesaj en etkili ve en veciz biçimde iletilmiş olur.

Bu çalışmanın giriş bölümünde lafız ve anlam konusunun ele alınmış; ardından, Endülüs şairi Yahya b. Hakem el-Gazâl’in imgeleme sanatını içeren şiirlerinden örnek verilmeye çalışılmıştır. Buna ek olarak imgelemin sözlük ve terim anlamlarının izahı yapılmış daha sonra imgeleme, teşbih ve mesel arasındaki farklar irdelenerek, şairin öz geçmişi hakkında bilgi verilmiştir. İlerleyen kısımda, şairin imgeleme sanatını içeren şiir örnekleri üzerinde durularak, bunlar yorumlanmış ve sebepleri açıklanmaya çalışılmıştır. Çalışmanın sonuç bölümünde, imgelemin amacı, genelde ve özelde teşbihten ayrılan yönleri ile kullanım sıklığı bakımından meselden farkı bağlamında ulaşılan sonuçlar belirtilmiştir.

Keywords

• Şiir,İmgelem,Yahya b. Hakem el-Gazâl,belegat

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