الخطاب الوصي في التذكرة الحمدانية بين النصّية والمَقصِدِية

Abstract

ABSTRACT: This research aims to study the literary commandments in "Al-Tathkerah Al-Hamduniyya", as one of the arts of Arabic literature, according to textual, linguistic, and other pragmatic means, and to clarify its boundaries, explore its characteristics and advantages, and demonstrate its textuality and pragmatic purposes, and its influential function. This research also attempts to reveal the importance of this verbal genre and its specificity at the level of form on the one hand, and the level of internal structures (content) on the other hand The study points out what distinguishes the literature of commandment from other verbal genres in form and content. The first is its linguistic dimension and what it contains of a clear intensification of linguistic patterns of request and condition without others, while the second appears in the pragmatic dimension as a study of speech acts, as well as the purposeful dimension through the study of referential, contextual, and cultural connotations, and the purposes contained in literary commandment, such as the study of the context, the pragmatic dimension, and what it entails in terms of an influential, persuasive, and argumentative dimension. The study concludes after three chapters with several results, some of which are related to the formal level, and others to the content and pragmatic levels. The study indicates that the clarity of meanings, their connection to the situation and reality, the dominance of the requesting patterns, and the sincerity of emotion are among the most prominent characteristics of literary commandment The study also proves that what the researcher suggests to the researcher is objective disintegration—due to the multiplicity of topics in a single commandment—is nothing but one of the most important characteristics that the literary commandment enjoys, explaining that the objective connection is revealed by the mechanisms of transition from the part to the whole or from the specific to the general. With regard to the means of harmony, the study concludes that it is not certain that they are consistent in all literary genres within a single language, pointing to the commandment as a model whose absolute textual efficiency cannot be proven according to those tools. However, it—i.e., the literature of the commandment—is a discourse that does not suffer from a lack of harmony, and there is no better evidence of that than its wide acceptance up to our time. The study also proved that the common feature of the vast majority of commandments is that they are based on the compositional imperative style, except for a few commandments that were dominated by the indicative styles, and despite that, the indicative in them carried the connotation of a request in a way that does not bear doubt What the study concluded is that there is a difference between oral and written commandments, as written commandments are mostly characterized by strong thematic coherence, as are covenants, because they are mostly written, while oral commandments are mostly said spontaneously (improvised), or based on the intuition of the speaker. The study also proved that the feature of brevity in commandments in general, and in sentences of a single commandment in particular, is an important indicator that the testator relies - basically - on prior assumptions, which are common knowledge and grounds between him and the testator. The study indicated that the dominance of linguistic structures and styles over most of the commandments studied, such as the sentence, the request and its answer, the conditional style, the explanatory and causal sentences, and a set of logical links prove that the commandment speech has an argumentative dimension of excellence, the goal of which is to persuade and influence the recipient. The study also examined what could set a limit to the distinction between the commandment and similar verbal arts such as wisdom, proverbs, sermons, advice, and lectures, etc., and concluded that the speaker's feeling of the nearness of his end, or his evocation of death, or his feeling of the nearness of separation—whatever it may be—from his relatives, and the introduction of his will with what belongs to the material (and what precedes the text of thresholds indicating that it is a commandment, is what sets a limit to the distinction between the commandment and similar verbal arts What the study indicated is that the discourse of the commandment—in most cases—is based on the speaker's authority on one hand, and on emotion and sentiment on the other. This claim is justified by the fact that the commandments are full of explicit orders and prohibitions, and the conclusions and experiences that the speaker broadcasts of his concern to the addressee. The study addressed what the commandment has to offer from many connotations, cultural, social, and referential. The latter represents a purpose and an end in itself, since the commandment is a strong link between its two parties. This link is the testator's desire to maintain the continuity of relationships, values, and influence between him and the recipient (the testator) even after the rupture With regard to speech acts, the study has proven that there is a difference in the intensity of the performative acts, but the vast majority are characterized by intensity, as many commandments are crowded with explicit imperative verbs in the first degree, then their lightened forms: such as the present tense verb coupled with the imperative L (J), then the noun that represents the imperative verb, the infinitive that represents the imperative verb, in the second degree, with the forms of prohibition thirdly, and the request such as warning, prohibition, and prevention