إرهاصات رسالة الغفران من ديوان سقط الزند لأبي العلاء المعري ( 363 ه-449 ه)‎

Abstract EN

Indications of Resalet El-Gofraan from Diwan Saquet El Zend by Abu Alaa Al-Maarri (363 AH - 449 AH)
Dr/ Mohammad Yassin Mohammad Elwany (Lecturer at the Department Of Literature and Criticism, Faculty of Arabic Language, Etay El-Baroud)
mohammedelwany.419@azhar.

edu.

eg
This research started from the point of view that the great literary works and monuments that had a profound impact on our Arab culture and the formation of other cultures it didn't happen all at once and it also didn't arise out of nowhere, rather, it was proceeded by vigorous attempts to represent awareness in the mind of the writer that made use of his previous attempts to be able to produce a mature, wonderful and splendid work that has an impact on all the literatures that will come after him.

This research tried to apply this possibility on Resalet El-Gofraan by Abu Alaa Al-Maarri (363 AH - 449 AH) because of its great impact on shaping our Arab culture and also shaping the culture of other nations as well, so the research set its sights on searching and excavating for the roots, starts and indications that were scattered in Diwan Saquet El Zend, which it is one of Abu Alaa Al-Maarri works as it is known, like the pieces of the mosaic that Al-Maarri was able to use after that and he was able to use it to draw a large interconnected painting which is Resalet El-Gofraan.

Accordingly, the problem of this research or this hypothesis that tries to reveal is the extent to which there are roots, starts, or beginnings of Resalet El-Gofraan in Diwan Saquet El Zend, was Alla's brain able to develop the first sparks that appeared in Diwan Saquet El Zend into an integrated work in El-Gofraan (that most of the fire is from small sparks)? Was El-Gofraan the greatest development and growth for these fleeting thoughts that were mentioned in Diwan Saquet El Zend? Did these thoughts were working and growing in the mind of Abu Alaa Al-Maarri since Saquet El Zend until it developed in this way in El-Gofraan? Do the writers develop themselves in this way and then return to their old ideas to make them more creative ideas once again that will appear in a new dress? Do the writers and creators must go back to their old notebooks and dig in it to revive its old thoughts that passed quickly without stopping there? Is this considered as a development or a refining? All these questions and others opened the way to reveal the relationship between two works by one writer, one of them is in the beginnings of his creativity and the other one is at the height of his creative life.

And at the end of the research, it became clear that he fact that the poet was able to develop his first ideas scattered in Diwan Saquet El Zend and was able to get advantage of it in making a mature integrated work (Resalet El-Gofraan) which has become an example to be emulated in fictional literary works in Arabic and other literatures.