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Adab
مناسبة القصيدة

هذه القصيدة جعلها القرشي ثالثة بين المعلقات فصارت ثمانيا بدلا من أن تكون سبعا كما هي عند سائر الرواة، على أنها تعد أولى جمهرات العرب. أما ابن عبد ربه فقد أسقطها من كتابه العقد، وكذلك فعل الزوزني في شرحه للمعلقات السبع.

معلقات النابغة الذبياني (البسيط)

عوجوا فحَيُّوا لِنُعْمٍ دِمْنَةَ الدارِ، ماذا تُحَيَّوْنَ مِنْ نُؤْيٍ وَأحْجارِ؟

أقْوَى وَأقْفَرَ مِنْ نُعْمٍ، وَغَيَّرَهُ هُوجُ الرِّياحِ بِهَابيْ التُّرْبِ مَوَّارِ

وَقَفْتُ فيها، سَراةُ اليَوْمِ، أَسْأَلُها عَنْ آلِ نُعْمٍ، أَمُونًا، عَبْرَ أَسْفَارٍ

فَاسْتَعْجَمَتْ دَارُ نُعْمٍ مَا تُكَلِّمُنَا، وَالدَّارُ لَوْ كَلَّمَتْنَا ذَاتُ أَخْبَارِ

فَمَا وَجَدْتُ بِهَا شَيْئًا أَلُوذُ به، إلا الثُّمَامَ وإلا مَوْقِدَ النارِ

وَقَدْ أَرانِي وَنُعْمًا لاهِيَيْنِ بها، والدَّهْرُ والعَيْشُ لمَ ْيَهْمُمْ بِإِمْرارِ

أَيَّامَ تُخْبِرُني نُعْمٌ وَأُخْبِرُها ما أَكْتُمُ الناسَ مِنْ حاجي وأسْرارِي

لَوْلا حَبَائِلُ مِن نُعْمٍ عَلِقْتُ بها لأقْصَرَ القَلْبُ عنها أَيَّ إقْصارِ

فإنْ أفاقَ لَقَدْ طالَتْ عَمايَتُهُ، وَالمرء يخلق طورا بعد أطوار

نبئت نعما على الهجران عاتبة، سقيا ورعيا لذاك العاتب الزاري

رأيت نعما وأصحابي على عجل، والعيس للبنين قد شدت بأكوار

فريع قلبي، وكانت نظرة عرضت حينا، وتوفيق أقدار لأقدار

بيضاء كالشمس وافت يوم أسعدها لم تؤذ أهلا ولم تفحش على جار

تلوث بعد افتضال البرد مئزرها لوثا على مثل دعص الرملة الهاري

والطيب يزداد طيبا أن يكون بها في جيد واضحة الخدين معطار

تسقي الضجيع، إذا استسقى، بذي أشر، عذب المذاقة، بعد النوم، مخمار

كأن مشمولة صرفا بريقتها من بعد رقدتها، أو شهد مشتار

أقول والنجم قد مالت أواخره إلى المغيب: تثبت نظرة حار

ألمحة من سنا برق رأى بصري، أم وجه نعم بدا لي، أم سنا نار

بل وجه نعم بدا، والليل معتكر، فلاح من بين أثواب وأستار

أسلوب / لغة الشعر

عبر الشاعر عن أفكاره بأسلوب سهل بعيد عن التعقيد وغريب اللغة، وهو في سهولته يشبه أساليب العصر الذي نعيش فيه بل يزيد عليها في ذلك. وهي جزلت الألفاظ وقوية المعاني، وحسبها أن تكون معلقة النابغة الذي اشتهار من بين شعراء الجاهلية بإعتذار والوصفية .

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