مقامات الظاهر أبي الحسن: دراسة بيانية

الباحث

معن وعدالله قاسم آل بديع

المشرف

عمار إسماعيل أحمد الحديدي

الجامعة

جامعة الموصل

الكلية / القسم

كلية الآداب / اللغة العربية

الشهادة

ماجستير

السنة

2024

لغة الرسالة

عربي

الكلمات المفتاحية

المقامات ; الظاهر أبو الحسن ; علم البيان ; النثر الفني

A ‌ After completing the analytical study of the eloquence of thestatement in the Maqamat of Al-Zahir Abi Al-Hassan, the research reached the following results: * * The art of the residency is a purely Arab art of platforms, stripes and origins, which arose and developed for asocial and cultural cognitive need, and for this we find its construction based on rhetorical methods, especially the rhetorical ones; to highlight the text in its most beautiful form first, and secondly to enrich its texts with a flow of second meanings (meanings of meanings) as Al-Jurjani called them, which are achieved - in the least words and evidence - the arts of the statement in the minds and minds, as well as a hidden goal that lies in a range of them is political criticism lined with social and economic criticism, and this in turn needs a literary writer who is well-placed with rhetoric, religious and historical topics, as well as Dubai and Al-Tharathi, so he did not take it with his hands, which is called by our professor Al-Zahir Abu Al-Hassan in his positions (in word and deed), which was full of rhetoric arts, religious and historical themes, as well as Dubai and Al-Tharathi, so he did not show the way that the art which is called for this art, or that he forgets about. * *The research presented the science of Al-Bayan in a journey of development from the lexical linguistic meaning of the meaning of disclosure, manifestation, age and eloquence among Al-Jahiz and his peers in the third and fourth centuries of migration, through equating his concept with a concept synonymous with the term rhetoric, that is, the expression of poetry and prose , and then to equating it with the science of Arabic rhetoric (meanings and exquisite), and placing under his wing the arts of (metaphor, metaphor, metaphor and metaphor), which are concerned with stating the meaning in different ways, which are achieved in the mental connotation (the connotation of inclusion) and(the connotation of commitment), andallow the process of semantic transformation to transfer the mind from the operative to the reasonable (the concept), which is related to the science of meanings in an inevitable relationship, a public and private relationship,or singular and synthesis, as the second party (the statement) does not exist except in the presence of the first party (the meanings). * *In the simile chapter:  The analogy in the Maqamat al-Zahir Abu al-Hasan was a prominent and multiple feature of three main types of it: 1- The singular analogy came in five types: The eloquent analogy (72 witnesses), which comes without a tool or a likeness and was varied: such as the one of origin of the subject and the news, in which (the suspect) came as a source, and what (the suspect) was in the form of (I do) B ‌ and this type of analogy needs accuracy of understanding and has been used by the writer in critical matters of society and politicians . Certainly (7 Uand AHD), which comes without an analogy tool with the rest of its limbs and different from the eloquence with the presence of the similarity. The overall sender (74 witnesses) in which his limbs mention only the similarity in him is hidden, and this type of analogy is the most common in the book to depict the situation he wants in a simple way. The detailed summary (16 witnesses), which is detailed by mentioning all its parties without exception. In addition to (two witnesses) of the analogy from which the suspect is omitted, it is a rarely used analogy, in which the suspect was omitted, not mentioned, but estimated in the same recipient. 2-The multiple analogy came in three types: The plural analogy (25 witnesses) in which the suspect is multiple without the suspect , then the superior analogy (7witnesses) whose limbs are paired with each other is similar with a similar, then the previous composition is repeated twice and more, then the twisted analogy (one witness) in which the two or three suspects and then the multiple suspects come separately, and this type came in second place after the singular , and the poet collected more than one analogy to intensify the images, especially in the political critical shrines. 3-The compound analogy (one witness), which is extracted from multiple two or more things, comes from combined compound images of the two images of the suspect and the suspect , then the analogy (9 witnesses), which needs to be interpreted in front of the recipient, as the compound of the suspect and the suspect compound comes in addition to the composition of the image of the similarity with them, and finally the implicit analogy (4 witnesses), which is not clear to the eye, but is detected and sensed through the structure of the text to contain its composition on orbital evidence and logical evidence, which is not the usual analogy contexts, as it is hidden in an implicit image that the savvy reader knows and glimpses from the general context of the text.  The analysis revealed the ability of this art in depicting the feelings, feelings and psychological conditions portrayed by the writer in his Maqamat for his accurate knowledge of people's natures and perceptions .  From the study of the simile, the local environment surrounding the writer was the main source of his simile images, so he chose from them what suited the topics he presented.  The writer used the art of simile - in all its colors - as one of the most important linguistic tools to support his arguments and proofs in proving the validity of the principles and the value base that he advocates in his shrines of all kinds;social, religious, historical ... Proceeding from symbolic and realistic virtual realities at the same time . * *Then the metaphor came as a prominent feature and interspersed with most of the denominators, the most prominent of which was the metaphor in ‌ (102) examples, through which Al-Zahir drew vivid images charged with mental movement and imagination based on deleting the borrowed one and keeping something of his necessities to denote him, and to give more meanings to the humble real meanings, and to gauge the abstract meanings that he wants to disclose by transforming speaking and moving bodies and bodies to give more exaggeration and illusion to these meanings and imagined images - approximation and analogy - to the recipient's mind to consolidate theses of his concepts in the denominators of the doors of decoration and distortion, such as saying : "Hajarinians of their children are starving from the whips of hunger" and injecting through them images of meanings that would not have been achieved by traditional methods, by claiming that the borrowed from him is the same as borrowed or part of him, and achieving exaggerated images in a superior way, and achieving images other than the simile and simulation, but it is clearly related to his saying: (Lilied). It was followed by the declarative metaphor in (19) examples, with clear and obvious metaphors based on the substitution of the metaphor for the metaphor and its perfection of exaggeration and similitude, in which it built many of its metaphors on structures used by the Arabs in their likes, poems, and sayings, such as the metaphor of the falsehood, the raven of black hair, the light of the gift, and other metaphors that enriched the text with the beauty of the pronunciation and clarified the meanings, making it clear that the eyes see it with a nice description after it was hidden in the minds. Then the charade was completed, including the types of metaphor in (12) examples, and it came in the form of walking proverbs such as(the belt crossed the two sides, and the daysturned to you ), using its images to serve the text and enrich it by limiting the meanings and beautiful buildings, as well as the aphorisms such as(The guardianship is sweet to breastfeed once a thousand), in addition to quoting a verse from the Holy Quran in saying: (Until Allah hurls the truth against falsehood). * *As for the metaphorical chapter with original motives in the language of Al-Dad, its linguistic and mental structures were closely related to what is going on in the minds and souls of images, meanings and emotions that embodied the metaphorical verbal foundations in the language of the metaphor, so it came in the shrines of Al-Zahir in a lesser way than the rest of the arts of the statement, as the metaphor sent to the examples of shrines formed (38) examples distributed among eleven relationships, the first of which was the metaphor with the partial relationship, then the rest of the types came close in attendance, such as the metaphor with the total relationship, the relationship of what comes to it, the neighboring and restricted relationship, then the public, private, local, temporal, absolute, and finally caus and causality. As for mental jazz, it came with five examples, two examples of the effective relationship, two examples of the causal relationship, and one example D ‌ of the temporal relationship. Although it is less than the arts of manifestation used in the shrines of the cathedral, it came to form distinctive signs that are permissible in the expression of meanings and ideas that would have taken place if they had been built on the truth, and it lost much of its brilliance and synthetic beauty in addition to the density of its ideas and meanings, with its expansion of meanings, such as its saying from the sender: (and the dominance of decent heads), and its saying: (and righteousness is a believer in her Lord, and she was devoted to her wedding), and it is mental to say: (and the Sunnis have insisted on it), as well as performing the function of exaggeration in meanings and presenting them with prominent images, and confirming them and fixing them in the souls of the recipients. * * It became clear from the search for the metaphor, first of all, that this is a precise art with a work behind the lines, as well as the possibility of evoking the real meaning of the ecclesiastical structure, that is, the presence of the real meaning comes first and then reaches through it the desired metaphorical meaning next, as it "leaves the statement to mention what it takes to move [the destination] from the aforementioned to the abandoned," so the meaning of it is not hidden, which hardly hints at reflection and scrutiny, nor the apparent clarity of the explicitly mentioned, as the metaphor is not a pure fact nor a pure metaphor, but rather it is in a place that connects the truth and the metaphor with the possibility of carrying them and evoking their images, and the intention may reach near and far according to the links and supplies between them ande. Most of the nicknames of the Maqamat al-Zahir, most notably, represented a reflection of his culture and religious stripes (the Book and the Sunnah), along with the linguistic heritage of the language of the opponent, and the environment of the city in which he grew up and lived , as we see him taking the compositions from them sometimes, and formulating his own compositions at other times, so the nicknames were varied between the words of verses and prophetic hadiths, or walking proverbs, wisdom and aphorisms , and he used them in service of the texts of the Maqamat in support and lush. It came in a variety of ways from its two main types: (the euphemism for the described) by(102) examples, and (the euphemism for the adjective) by (97) examples, and the absence of its occurrence of the type (the euphemism for proportion), and it varied in terms of its topics between colorful and sexual euphemisms, and about people, and what it is ugly to mention, and about death, sadness, fear, humiliation, poverty, destitution, etc., so the euphemism had a clear impact and a clear role in fulfilling multiple meanings with reductive words and suggestive structures and giving it the characteristic of brevity in it and perceiving (meanings of meanings) or second meanings by its metaphor. E ‌ Finally, (Maqamat al-Zahir Abi al-Hasan) texts in Kerr were not touched by the pens of researchers before this study, and it is for creation to address them in prose and literary stylistic studies, as they are full of arts and literary colors as well as linguistics, and perhaps our study of them from the graphic side will be a good opening and a useful gateway to address them from other aspects in the meeting of days .

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