Riddles and Puzzels at Thurrumma

Year 2022, Volume: 22 Issue: 55, 205 - 224, 26.12.2022

Ahmad Shaikh Husayn

https://doi.org/10.32330/nusha.1059641

Abstract

The formula of the puzzle is often very short, or of medium length, and it has many purposes, including testing and putting the arrogant person in confuse, or it has a social purpose that is entertainment.
There is no doubt that the art of riddles is old among the Arabs -whether prose or poetry - and some scholars have touched upon it in research, but they did not do it enough, as these studies were few when compared to the study of other literary purposes, especially with the poet Thurrumma, who was literary product in this. In this type of poetry, this prompted me to do this study about him.
There is no doubt that this poetic art is old and known to the Arabs since the pre-Islamic era, therefor there are many narrations and poems that demonstrate their handling wıth this art, puzzle sometimes was a reason for marriage, for example; As it is known in the story of Shen and Tabqa, and it could be a reason for the safety of some of them from the danger of what threatened their lives, anyway most of this art was told in their conversations and entertainment meeting, and “it is true that the later people were fascinated by these arts, as they wrote them down and studied them carefully, but the first Arabs - the masters of eloquence, masters and the genius of Arabic language - represented it in every situation, and under every name, until it reached later to linguists, who revealed from it what was hidden, simplifying and explaining what was obliterated, or disappeared.
This research seeks to study the art of riddles with the Umayyad poet Thurrumma, despite the large number of scholars who have dealt with this art – whether in the pastor at this days - but no one has studied it in detail with this poet, and perhaps the reason for this is that Thurrumma was famous for the art of description and flirting more than any other color, which prompted many scholars to focus on these two aspects of his poetry, as he wrote too much little of this color of poetry, I chose to do this study aiming to shed light on the riddles and puzzles that he came up with in his poetry, but because of their abundance; It was limited to one poem by him that is filled with these riddles.
The research contains three sections, the first topic dealt with the definition of the puzzle in terms of language and terminology, so I looked for in many dictionaries, then I noticed that some critics who studied this type of poetic arts had called it several names, but we adopted the name (puzzle or riddle), because these two names are the most famous for this color. As for the second topic, I presented the poetic colors that the poet dealt with (flirting, description, praise, satire, and pride) in a brief manner, because it is not the focus of our research, and the third topic came to deal with riddles and puzzles but this time in a detailed manner.
Then, in this study, I concluded that the poet Thurrumma, although he did not have much of this poetic color, yet he used to prove in every line that he was a poet with a great talent that was not inferior to the great one of the Umayyad poets .
Although the poet Thurrumma was famous for describing and flirting; However, he excelled in the art of riddles and puzzles, this indicates that he is one of the heroes of the Umayyad poets, although he was not famous for this type of poetic arts, he was able in one poem to create a plentiful amount of riddles, which came in a variety of ways that the listener would not control a certain rhythm that connects them, so they came in different types and forms. One time you see him coming up with a riddle about fire but soon he moves to a completely different riddle from what preceded it, to talk, for example, about bread, and then without realizing he takes you to another riddle completely different from what preceded it, for example, he may talk about the river, or the egg, the village of ants, the night, the bird, science, or even about small insects.
This research is nothing but a slice that was cut from his poetry, and it may serve as the spark that helps to motivate researchers to deal with riddles and puzzels of Thurrumma.

Keywords

Thurrumma, riddles, puzzels, poetry, art.

الألغاز والأحاجي عند ذي الرُّمَّة

Abstract

يسعى هذا البحث إلى دراسة أحد أنواع الفنون الشعرية عند الشاعر الأمويِّ ذي الرُّمَّة، وهو فن الأحاجي والألغاز، فعلى الرغم من كثرة الدارسين الذين تناولوا هذا الفن- قديماً وحديثاً - إلَّا أنَّ أحداً لم يدرسه بشكل مفصَّل عند ذي الرُّمَّة، وربما يعود السبب في ذلك إلى أنَّ هذا الشاعر إنما اشتُهر بفنَّي الوصف والغزل أكثر من أي لون آخر، الأمر الذي دفع الكثير من الدارسين إلى أن يركزوا على هذين الجانبين من شعره، فقد كان مُقِلَّاً بهذا اللون من الشعر، لذلك فقد آثرت أن أقوم بهذه الدراسة، علِّي أسلِّط الضوء على هذا اللون عنده، موقد تتبعت خلال هذا البحث الألغاز والأحاجي التي أتى عليها في شعره، ولمَّا رأيت كثرتها؛ فقد اقتصرت على قصيدة واحدة لديه تضجُّ بهذه الألغاز.
يحتوي البحث على ثلاثة مباحث، تناول المبحثُ الأولُ تعريف اللغز من حيث اللغة والاصطلاح، فعرضت ذلك على بعض اللغوين كما ورد في المعاجم، وعلى بعض النُّقاد الذين درسوا هذا النوع من الفنون الشعريَّة، أمَّا المبحث الثاني فعرَّجت من خلاله على الألوان الشعرية التي تناولها الشاعر من (غزل، وصف، مديح، هجاء، وفخر) بشكل خاطف ومُقتَضَب، وجاء المبحث الثالث ليتناول الأحاجي والألغاز بشكل مفصَّل.
ثم توصلت في هذه الدراسة إلى أنَّ الشاعر ذا الرُّمَّة ؛على الرغم من أنَّه لم يكن مكثراً من هذا اللون الشعري إلا أنَّه كان يثبت في كل بيت أنَّه شاعرٌ فحل لايقلُّ شأناً عن فحول الشعراء الأمويين.

Keywords

ذو الرُّمَّة, الأحاجي, الألغاز, الشعر, فن, Thurrumma, riddles, puzzels, poetry, art.

ZÜ’R-RUMME’DE BİLMECE VE BULMACALAR

Abstract

Bu çalışma, şiir türlerinden biri olan bilmece şiiri, Emevî şairlerinden Zü’r-Rumme bağlamında incelemeyi hedeflemektedir. Bilmece ve bulmaca sanatı olarak da isimlendirilen bu sanat, her ne kadar eski ve yeni araştırmacıların çalışmalarına konu oldu ise de Zü’r-Rumme bağlamının ihmal edildiği gözlemlendi. Bu ihmalin sebebi, söz konusu şairin diğer türlere nazaran betimleme ve gazel türü eserlerde daha çok öne çıkması gösterilebilir. Öte yandan diğer araştırmacıların şairin bulmaca şiirleri bağlamına az değinmeleri, Zü’r-Rumme’nin bu türden eserlerinin azlığı şeklinde yorumlanabilir.
Bu çalışmamızda şairin bu türü ele alış metodu incelenecektir. Şiirlerine baktığımızda yoğun bir şekilde bu sanatın işlendiği görülmektedir.
Bu yüzden söz konusu sanatın çokça işlendiği bir kasidesi inceleme konusu yapılmıştır.
Çalışmamız üç kısımdan meydana gelmektedir. Birinci kısımda “el-luğz” (bilmece) ifadesi sözlük ve terim anlamı muhtelif sözlük ve eleştirmenlerin yaptığı çalışmalar göz önünde bulundurularak izah edilmeye çalışıldı. İkinci bölümde şairin medih, hiciv, gazel, betimleme türü şiirlerinden seçmelerle söz konusu şairin edebi yönünün portresi çizilmeye çalışıldı.
Üçüncü bölümde bilmece ve bulmaca şiir türü hakkında etraflıca bilgi verilmeye çalışıldı. Çalışmanın sonunda ise varılan sonuçlar ifade kısaca ifade edildi.
Sonuç itibari ile her ne kadar şairin bu türden eserleri az olsa da kaleme aldığı şiirleri incelendiğinde Emevî döneminin yetkin ( fahl) şairlerinden biri olduğu kanaatine varılmıştır.

Keywords

Zü’r-Rumme, Bilmece, Bulmaca, Şiir, Sanat, Thurrumma, riddles, puzzels, poetry, art.

References

• Ebû’l-Ferec, E. (1993). El-Eğânî. Thk. (Abdulkerîm İbrahim el-Azbâvî). Kâhire: el-Heyetu’l-Mısriyye el-Âmmetu li’l-kitâb.
• El-Bağdâdî, A.(1418/1997). Hızânetu’l-edeb ve Lubbu lubâbi lisâni’l-arab. thk. (Abdusselâm Hârun). Mektebetu’l-Hancî. 4t.
• El-Bekrî, E. (1964). Semtu’l-âlî fî şerh-i emâli’l-Kâlî. thk. (Abdulazîz el-Meymenî), Kâhire: Matbaat-u lecneti’t-te’lîf ve’t-tercumetu ve’n-neşr.
• El-Cumahî, İ. (1952). Tabakâtu fuhûlu’ş-şuarâ’. thk. (Mahmud Muhammed Şâkir) Kâhire: Dâru’l-meârif.
• El-Hamevî, İ. ( 2004). Hizânetu’l-edeb ve Gâyetu’l-ereb. Şerh. (İsâm Şe’aytu). Beyrut: Dâru’l-hilâl ve Dâru’l-Bihâr.
• El-Harîrî, C. ( 1988). Elgâzu’l-harîrî ve ehâcîhi fî makâmâtihî. ta’lîk. (Muhammed İbrahim Selim). Kâhire: Mektebet-u İbn Sînâ.
• El-Kayrevânî, İ. (1963). El-Umde fî sınâati’ş-şi’ri ve nakdihi, thk. (Muhammed Muhyiddîn Abdulhamîd). Kahire: Matbaatu’s-seâde.
• Er-Râfiî, M. (1974). Târîh-u âdâbi’l-arab. Beyrut: Dâru’l-kitâbi’l-arabî. 2t.
• Eş-Şeyh, A. ( 1988). Kutub’l-Elgâzî ve’l-Ehâcî’l-Lugaviyye ve alâkatuhâ bi ebvâbi’n-nahvi’l-muhtelifeti. Mısrâte: Ed-Dâru’l-cemâhiriyyeti li’n-neşri ve’t-tevzî’. 2t.
• Hâcî Halîfe, M. (1982). Keşfu’zunûn an esâmi’l-kutubi ve’l-funûn. Dimeşk: Dâru’l-felekr.
• Halîf, Y. (1970). Zur’r-rumme şâiru’l-hubbu ve’s-Sahrâ’. Kâhire: Dâru’l-meârif.
• İbn Cinnî. A. (2001) El-Hasâis fî’l-Arabiyye. thk. (Abdulhamîd el-Hendâvî). Beyrut: Dâru’l-kutubu’l-ilmiyye.
• İbn Fâris, E. ( 1399/ 1979). Mekâyîsu’l-Luga. thk. (Abdusselam Harûn). Dimeşk: Dâru’l-Fikr.
• İbn Hallîkân. A. (1398/1078). Vefeyâtu’l-A’yân ve Enbâu ebnâu’z-zemân. thk. (İhsân Abbâs). Beyrut: Dâr-u Sâdır.
• İbn Ma’sûm el-Medenî, A. (1969) Envâru’r-rabî’ fî envâi’i-Bedî’. thk. (Şâkir Hâdî Şâkir). Matbaatu’n-nu’mân, 1t.
• İbn Manzûr. M. (1418/ 1997) Lisânu’l-Arab. thk. (Abdusselâm Hârûn). Mektebetu’l-Hâncî. 4t.
• İbn Selâm, E. (1980). El-Emsâl. thk. (Abdulmecîd Katamiş). Dimeşk: Dâru’l-me’mûn li’t-turâs. 1t.
• İbn Seyyide, E. (1978) El-Muhassas. Beyrut: Dâru’l-fikr.
• İbn’u-esîr, D. (1962). El-Meselu’s-sâir fî edebi’l-kâtibi ve’ş-şâir. thk. (Ahmed el-Hûnî, Bedvî Tabâne). Matbaatu’r-risâle. 1t.
• Kemâl, A. (1402 h) El-Ehâcî ve’l-elgâzu’l-edebiyye. Matbûât-u nâdi’t-tâifi’l-edebî.2t.
• Lecnetun min udebâi’l-ektâri’l-arabiyye. Funûnu’l-edebi’l-arabî el-Fennu’l-Gınâî el-vasf, Kâhire: Dâru’l-meârif, 3t.
• Zur’rumme. (1993). Dîvânu zir’rimme. thk. (Abdulkuddûs ebû Sâlih). Beyrut: Muessetu’l-îmân li’n-neşri ve’t-tebâa. 3t.