Mukhtasar al-Ma'ani by al-Taftazani, Vol. 2 (مختصر المعاني) — Page 336

Line-by-line translation · المعاني

الْفَنُّ الثَّالِثُ، الْخَاتِمَةُ، اللَّفْظُ الشَّرِيفُ الْمَعْنَى السَّخِيفُ أَوْ عَلَى الْعَكْسِ، بَلْ يُصَاغَانِ صِيَاغَةً تُنَاسِبُ وَتُلَائِمُ، اللَّفْظُ وَالْمَعْنَى، وَأَصَحُّ مَعْنًى بِأَنْ يَسْلَمَ مِنَ التَّنَاقُضِ وَالِامْتِنَاعِ وَالِابْتِذَالِ وَمُخَالَفَةِ الْعُرْفِ وَنَحْوِ ذَلِكَ، الْمَعْنَى، إِيهَامُهُ، أَحَدُهَا الِابْتِدَاءُ؛ لِأَنَّهُ أَوَّلُ مَا يَقْرَعُ السَّمْعَ فَإِنْ كَانَ عَذْبًا يُصِيبُ حُسْنُ السَّبْكِ صَحِيحُ الْمَعْنَى، أَقْبَلَ السَّامِعُ عَلَى الْكَلَامِ فَوَعَى جَمِيعَهُ وَإِلَّا أَعْرَضَ عَنْهُ وَإِنْ كَانَ الْبَاقِي فِي غَايَةِ الْحُسْنِ، حِفْظُ السَّامِعِ، فَالِابْتِدَاءُ الْحَسَنُ فِي تَذْكَارِ الْأَحِبَّةِ وَالْمَنَازِلِ كَقَوْلِهِ: قِفَا نَبْكِ مِنْ ذِكْرَى حَبِيبٍ وَمَنْزِلِ بِسِقْطِ اللِّوَى بَيْنَ الدَّخُولِ فَحَوْمَلِ، اللَّفْظُ الشَّرِيفُ: أَيْ لِاشْتِمَالِهِ عَلَى الْمُحَسِّنَاتِ الْبَدِيعِيَّةِ، وَقَوْلُهُ: "الْمَعْنَى السَّخِيفُ" أَيْ الَّذِي لَا فَائِدَةَ فِيهِ لِلسَّامِعِ؛ لِعَدَمِ مُطَابَقَتِهِ لِلْحَالِ، أَوْ عَلَى الْعَكْسِ بِأَنْ يُكْتَسَى اللَّفْظُ السَّخِيفُ الْمَعْنَى الشَّرِيفَ، صِيَاغَةٌ تُنَاسِبُ بِأَنْ يَكُونَ كُلٌّ مِنَ اللَّفْظِ وَالْمَعْنَى شَرِيفًا وَشَرَفُ اللَّفْظِ بِاشْتِمَالِهِ عَلَى الْمُحَسِّنَاتِ وَشَرَفُ الْمَعْنَى مُطَابَقَتُهُ لِلْحَالِ، وَأَصَحُّ مَعْنًى أَيْ أَزْيَدُ فِي صِحَّةِ الْمَعْنَى، فَبِرِعَايَةِ الزِّيَادَةِ الْمَذْكُورَةِ كَانَ مِنْ هَذَا الْبَابِ وَإِلَّا فَصِحَّةُ الْمَعْنَى لَا بُدَّ مِنْهَا فِي كُلِّ شَيْءٍ، بِأَنْ يَسْلَمَ: أَيِ الْمَعْنَى مِنَ التَّنَاقُضِ أَيْ مِنْ إِيهَامِ التَّنَاقُضِ وَإِلَّا فَالْسلَامَةُ مِنَ التَّنَاقُضِ وَاجِبٌ لَا مُسْتَحْسَنٌ وَكَذَا يُقَالُ فِي مَا بَعْدَهَا، وَالِامْتِنَاعُ: أَيِ وَالسَّلَامَةُ مِنَ الِامْتِنَاعِ أَيِ الْبُطْلَانِ بِأَنْ يَكُونَ الْمَعْنَى بَاطِلًا وَهَذَا لَازِمٌ لِمَا قَبْلَهُ، وَالِابْتِذَالُ: أَيْ وَسَلَامَةُ الْمَعْنَى مِنَ الِابْتِذَالِ أَيِ الظُّهُورِ بِأَنْ يَكُونَ ذَلِكَ الْمَعْنَى لَهُ غَايَةُ الظُّهُورِ يَعْرِفُهُ كُلُّ وَاحِدٍ، وَمُخَالَفَةُ الْعُرْفِ أَيْ سَلَامَةُ الْمَعْنَى مِنْ مُخَالَفَةِ الْعُرْفِ؛ لِأَنَّ مُخَالَفَةَ الْعُرْفِ الْبَلِيغِيِّ كَالْغَرَابَةِ الْمُخِلَّةِ بِالْفَصَاحَةِ أَوْ هِيَ نَفْسُهَا، وَنَحْوُ ذَلِكَ كَالسَّلَامَةِ مِنْ عَدَمِ الْمُطَابَقَةِ لِمُقْتَضَى حَالِ الْمُخَاطَبِ، قِيلَ: وَفِيهِ شَيْءٌ؛ لِأَنَّ مِنْ عِلْمِ الْمَعَانِي، عَذْبًا الْأَوْلَى التَّعْبِيرُ بِأَفْعَلِ التَّفْضِيلِ؛ لِيُلَائِمَ مَا مَرَّ أَيْ فَإِنْ كَانَ أَعْذَبَ مِنْ غَيْرِهِ، هَذَا فِي تَذْكَارِ الْأَحِبَّةِ حَالٌ وَلَيْسَ بِخَبَرٍ؛ لِأَنَّ ابْتِدَاءَ الْحَسَنِ لَيْسَ خَاصًّا بِمَا ذُكِرَ، بَلْ يَكُونُ فِي الْغَزَلِ وَفِي وَصْفِ الْأَيَّامِ وَفِي اسْتِجْلَابِ الْمَوَدَّةِ وَفِي الْمَدْحِ وَغَيْرِ ذَلِكَ، قِفَا نَبْكِ إِلَخْ: هَذَا أَوَّلُ شِعْرٍ قَالَهُ امْرُؤُ الْقَيْسِ؛ لِأَنَّهُ رَاهَقَ وَلَمْ يَقُلْ شِعْرًا فَقَالَ أَبُوهُ: هَذَا لَيْسَ ابْنِي؛ إِذْ لَوْ كَانَ كَذَلِكَ لَقَالَ شِعْرًا، ثُمَّ قَالَ لِاثْنَيْنِ مِنْ خَاصَّتِهِ: خُذَاهُ وَاذْهَبَا بِهِ إِلَى مَكَانِ كَذَا فَاذْبَحَاهُ وَأْتِيَانِي بِدَمِهِ فَمَضَيَا بِهِ حَتَّى وَصَلَا الْمَحَلَّ الْمُعَيَّنَ فَشَرَعَا لِيَذْبَحَاهُ فَبَكَى وَقَالَ الْبَيْتَ إِلَى آخِرِ الْقَصِيدَةِ، فَرَجَعَا بِهِ إِلَى أَبِيهِ وَقَالَا هَذَا أَشْعَرُ مَنْ عَلَى وَجْهِ الْأَرْضِ، قَدْ وَقَفَ وَاسْتَوْقَفَ وَبَكَى وَاسْتَبْكَى، وَنَعَى الْحَبِيبَ وَالْمَنْزِلَ فِي نِصْفِ بَيْتٍ فَقَامَ إِلَيْهِ وَاعْتَنَقَهُ وَقَبَّلَهُ وَقَالَ أَنْتَ ابْنِي حَقًّا.

The third art, the conclusion: The noble expression and the trivial meaning, or vice versa, are rather composed in a manner that is suitable and appropriate, both the expression and the meaning. The most correct meaning is that which is free from contradiction, impossibility, banality, violation of convention, and the like. The meaning, its illusion, one of which is the beginning; because it is the first thing that strikes the ear, so if it is sweet, achieves good composition, and has a correct meaning, the listener turns to the speech and comprehends all of it, otherwise he turns away from it even if the rest is in the utmost beauty, the listener's retention. So, a good beginning in remembering loved ones and dwellings is like his saying: 'Stop, let us weep for the memory of a beloved and a dwelling, at the edge of the sands between al-Dakhul and Hawmal.' The noble expression: meaning its inclusion of rhetorical embellishments. And his saying 'the trivial meaning': meaning that which has no benefit for the listener due to its lack of correspondence to the situation, or vice versa, by clothing the trivial expression with the noble meaning. A composition that is suitable is that both the expression and the meaning are noble, and the nobility of the expression is its inclusion of embellishments, and the nobility of the meaning is its correspondence to the situation. And the most correct meaning: meaning the one that is greater in the correctness of the meaning, so by observing the mentioned increase, it was of this category, otherwise the correctness of the meaning is necessary in everything. By being free: meaning the meaning is free from contradiction, that is, from the illusion of contradiction, otherwise being free from contradiction is a duty, not just something commendable, and the same is said for what follows it. And impossibility: meaning being free from impossibility, that is, invalidity, by the meaning being invalid, and this is necessary for what precedes it. And banality: meaning the meaning's freedom from banality, that is, obviousness, by that meaning having the utmost obviousness that everyone knows. And violation of convention: meaning the meaning's freedom from violating convention; because violating rhetorical convention is like the strangeness that impairs eloquence, or it is that itself. And the like: such as being free from the lack of correspondence to the requirements of the listener's situation. It was said: there is something in this; because it is from the science of meanings. Sweet: it is better to express it with the superlative form to suit what has passed, meaning if it were sweeter than another. This, in remembering loved ones, is a state and not a predicate; because a good beginning is not specific to what was mentioned, but it occurs in love poetry, in describing days, in attracting affection, in praise, and other than that. 'Stop, let us weep, etc.': This is the first poetry Imru' al-Qays said; because he reached adolescence and had not said poetry, so his father said: 'This is not my son; for if he were, he would have said poetry.' Then he said to two of his confidants: 'Take him and go with him to such and such a place, slaughter him, and bring me his blood.' They went with him until they reached the designated place, and they began to slaughter him, so he wept and said the verse to the end of the poem. They returned with him to his father and said: 'This is the most poetic person on the face of the earth; he has stopped, asked others to stop, wept, and asked others to weep, and lamented the beloved and the dwelling in half a verse.' So he stood up to him, embraced him, kissed him, and said: 'You are truly my son.'

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Vocabulary · المفردات (34 verbs · 73 nouns)

• صَاغَ — to formulate
• نَاسَبَ — to suit
• لَاءَمَ — to befit
• فَنٌّ — art
• خَاتِمَةٌ — conclusion
• لَفْظٌ — word