التناص الديني في شعر مانع سعيد العتيبة: مدخل تحليلي = Religious Intertextuality in Mani’ Sai’ied Al-‘Utaybah’s poem: an analytical approach = Ciri intertekstual agama dalam puisi Mani’ Sai’ied Al-‘Utaybah: satu pendekatan analitikal

Abstract

يعتبر التناص في اللغة هو في الواقع تطور لفن الاقتباس، والرمز الذي نادى به البلاغيون العرب منذ عصر سحيق، ولكن جاء علماء اللغة في العصر الحديث بهذ المصطلح الذي يدل على المفاعلة، وهو بهذا مصطلح حديث لظاهرة قديمة، أدرك بعض جوانبها النقد العربي القديم،ولقد ورد الكثير من المصطلحات في تراثنا النقدي لها علاقة ما بمصطلح التناص،وهذه دراسة عن الشاعر مانع سعيد العتيبي، توصلت إلى تميّز الشاعر بلأسلوب عربي فصيح ومتين، محافظاً على أساليب اللغة العربية الأصيلة وجمال الصورة الأدبية، حيث جاء تصويره ممتعاً وطريفاً، وأهم ما يميّز أسلوب هذا الشاعر تمكنه من استخدام التناص الديني، الذي جاء في شعره عفو الخاطر، ولكن في صورة بلاغية رفيعة المستوى، تعكس تمكنه من أدواته التصويرية والتعبيرية الذي امتزج فيها الشكل بالمضمون واللفظ بالمعنى Intertextuality in language is a development of the technique of adaptation and symbol that was promoted by the Arab scholars of rhetoric since long ago. But modern linguists had proposed this term that semantically signifies a participative meaning for a feature that had been established long ago that was partially brought up through traditional Arab literary critique. This is evident through the many examples of terms in Arab literary critique tradition that bear relations to the meanings of some terms of adaptation such as plagiarism and insertion and others, in addition to the books on the evaluations of poems that had strong indication to intertextuality. This article tries to take on a fresh perspective on the poem of Mani’ Sa’ied Al-‘Utaybah by focusing on the technique of intertextuality. It discusses the concept of intertextuality and its roots in the traditional Arabic literature as a precursor to the study of religious textuality from both of its aspects in the Holy Quran and Prophetic Tradition. Following a descriptive and analytical methods, the study concludes that the style of the poet is a traditional and firmly rooted Arabic that preserves the authentic Arabic styles, its literary and aesthetic forms that had entrenched an enjoyable and unique character in its disposition. The literary, stylistic and rhetorical features were spontaneous without feign and artificiality. The symbols in his poem was expressive and transparent of his emotions towards his country and the Arab nation, rich with eloquent and creative mixtures that reflect his ability in using the tools for portrayal and expression that fuse the mixture between form and content on hand, and meaning with words on the other