صورةُ العاشقِ في الشِّعر بين صدرِ الإسلامِ والعصرِ الأمويِّ
Abstract
إنَّ الحديثَ عن صورةِ العاشقِ في الشِّعر العربيِّ ، يبيِّن لنا بوضوح مستوى العاطفة الَّتي احتوت كيان الشَّاعر، مع الحسبان نوعيَّة العاطفة.ففي صدر الإسلام جاءت الدَّعوة لضبطها، وتوجيهها باتجاه السُّموِّ بعيداً عن الحسيَّة، الَّتي كان يتغنى بها الشعراء، فلبست العاطفة حلَّةَ دِينيَّةَ جديدة عند معظم شعراء الدَّعوة، الَّذين أخلصوا لدينهم ، لكنَّ بعضهم اتَّخذ هذه الحلَّة عباءة إلى حين استطاع خلعها.أمَّا في العصر الأموي فقد أفلتت هذه العاطفة من عقالها، وتلوَّنت بلونين :لون العفَّة،وقد مثَّله كوكبة من المحبين شعراء الغزل العفيف، ولون الحسِّية ، وقد مثَّله تيَّارٌ من الشُّعراء الحسِّيين . ولم ينس البحث وظيفة الحكَّام في تغذيةِ هذه العاطفةِ ، وتأجيجِها. من هنا انقسمت صورة العاشق إلى نوعين أساسيين؛ هما: صورة العاشق العفيف، وصورة العاشق الحسِّيِّ.
Discussion about amorous image in Arabic poetry clearly shows us emotion level which involved poet being, taking into account the quality of emotion. In Islam's climax, the call comes, to calibrate, and to direct this emotion, far away from sensational which the poet used to celebrate before Islam. Therefore, emotion had a new religious dress, and, this dress became an original part of its composition, for several poets, who, were faithful for their religion, however, some others, used this dress, as cloak, until they can takeoff. But, this emotion in the Umayyad period, escaped from its node, and had two colors: virtues and saintliness, which were represented by a group of poets, lovers of innocent amorousness poetry, and, sensual color, represented by a current of sensual poets. The research does not forget the ruler's role in feeding, and stimulating this emotion. So, amorous image were divided in two major types, namely: the image of innocent amorous and the image of sensual amorous.
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