Bait El Shair_48

‫ﺑﻌﺾ اﻟﻜﻼم‬

‫ﺟﻤﻌﻴﺔ اﻟﺸﻌﺮ ﺳﺮاب‬ ‫ﰲ ﻋﺎمل اﻟﺸﻌﺮ‪ ،‬ﻫﻨﺎ ﻣﺴﺎﺑﻘﺔ‪ ،‬وﻫﻨﺎك اﺣﺘﻔﺎل‪ ،‬وﰲ ﻣﻜﺎن ﺑﻌﻴﺪ ﻣﻬﺮﺟﺎن‪ ،‬وﰲ‬ ‫ﻣﺴﺎﺣﺔ أﺧﺮى ﺗﻘﺎم أﻣﺴﻴﺎت رﺑﻴﻌﻴﺔ وﺛﺎﻧﻴﺔ ﺧﺮﻳﻔﻴﺔ‪ .‬ﺛﻢ ﻧﺠﺪ ﻣﻬﺮﺟﺎﻧﺎ ﻟﻠﱰاث‬ ‫ﻫﻨﺎ وآﺧﺮ ﻳﺠﺎرﻳﻪ ﰲ ﻣﻜﺎن ﻣﺎ‪ ،‬وأﻛرثﻫﺎ ﻳﺤﻴﻴﻬﺎ أدﺑﺎء وﻣﻬﺘﻤﻮن ﺑﺎﻟﱰاث وﺷﻌﺮاء‬ ‫ﺳﻌﻮدﻳﻮن‪ ،‬أﻻ ﻳﺤﻖ ﻟﻨﺎ أن ﻧﻌﺘﺐ؟‬ ‫ﻛﻞ ﻫﺬا وأﻛرث ﺑﻼ ﻏﻄﺎء ﺷﻌﺒﻲ ﺧﻠﻴﺠﻲ ﻳﻜﻮن ﻧﻮاة ﳌﻨﻈﻮﻣﺔ ﺷﻌﺮﻳﺔ واﺣﺪة‪،‬‬ ‫ﺗﻬﺘﻢ ﺑﺎﳌﻮروث وﺗﺪﻋﻤﻪ وﺗﺤﻘﻖ ﻟﻪ اﻻﻧﺘﺸﺎر اﻟﺤﺼﻴﻒ واﻟﺮواج اﳌﺤﱰم‪.‬‬ ‫وﻣﻊ أﻧﻪ ﻳﺘﻢ اﻻﺣﺘﻔﺎء ﺑﺸﻌﺮﻧﺎ اﻟﺸﻌﺒﻲ ﻣﻦ ﻗﺒﻞ أﻋﲆ اﻟﻨﺨﺐ واﻟﻘﻴﺎدات ﰲ‬ ‫دوﻟﻨﺎ‪ ،‬إﻻ أﻧﻨﺎ ﻻ ﻧﺠﺪ اﻫﺘامﻣﺎ داﺧﻠﻴﺎ ﻣﺆﺳﺴﻴﺎ ﻣﻨﻈام‪ ..‬ﻻ ﻧﺠﺪ ﻣﻜﺎﻧﺎً ﻟﻨﺎ‬ ‫ﻛﻤﻬﺘﻤني ﺑﺎﻟﱰاث واﻟﺸﻌﺮ ﰲ اﳌﻤﻠﻜﺔ اﻟﻌﺮﺑﻴﺔ اﻟﺴﻌﻮدﻳﺔ‪ ،‬وﻻ ﻧﻌرث ﻋﲆ ﻣﻘﺮ‬ ‫ﻳﺸﻜﻞ ﻣﻨﻈﻮﻣﺔ ﻋﻤﻞ‪ ،‬ﻳﺨﻄﻂ ﻓﻴﻪ‪ ،‬وﻳﺪرس وﻳﺤﻔﺰ اﻟﺸﻌﺮاء‪ ،‬وﻳﺤﺎﻓﻆ ﻋﲆ‬ ‫اﻟﻨﻮﻋﻴﺔ وﻟﻴﺲ اﻟﻜﻢ‪.‬‬ ‫ورﻏﻢ ذﻟﻚ‪ ،‬ﻧﺠﺪ ﻋﺰوﻓﺎً ﻋﲆ ﻣﺨﺘﻠﻒ اﻷﺻﻌﺪة‪ ،‬ﻣﻊ أﻧﻨﺎ ﻣﺠﺘﻤﻊ ﺷﻌﺮ ﻳﺘﻨﻔﺲ‬ ‫اﻟﺸﻌﺮ‪ ،‬وﻟﻜﻦ ﻻ ﺑﺮاﻣﺞ ﺗﻠﻔﺰﻳﻮﻧﻴﺔ ﻣﻤﻴﺰة ﻟﻠﺸﻌﺮ اﻟﺸﻌﺒﻲ ﰲ اﻟﺘﻠﻔﺰﻳﻮن‬ ‫اﻟﺤﻜﻮﻣﻲ‪ ،‬وﻻ ﻣﺴﺎﺑﻘﺎت‪ ،‬وﻻ ﺟﻤﻌﻴﺔ ﻟﻠﺸﻌﺮ أﻳﻀﺎً‪ ،‬وﻫﻨﺎك ﻓﺮوع ﻟﺠﻤﻌﻴﺎت‬ ‫اﻟﺜﻘﺎﻓﺔ واﻟﻔﻨﻮن ﰲ اﳌﻤﻠﻜﺔ‪ ،‬ﺗﻘﻴﻢ ﰲ ﻣﻘﺮاﺗﻬﺎ ﻗﺒﻞ ﻧﻬﺎﻳﺔ ﻛﻞ ﺳﻨﺔ ﻣﻴﻼدﻳﺔ وﻋﲆ‬ ‫اﺳﺘﺤﻴﺎء أﻣﺴﻴﺔ أو أﻣﺴﻴﺘني‪ ،‬وﻻ ﻧﺠﺪ أي اﻫﺘامم ﻣﻦ ﻏﺎﻟﺒﻴﺔ اﻟﻨﺎس ﻓﻴﻬﺎ‪ ،‬وﻛﺄﻧﻬﺎ‬ ‫ﻣﻔﺮوﺿﺔ ﻋﻠﻴﻬﻢ؟‬ ‫ﺳﻤﻌﻨﺎ ﻗﺒﻞ ﺳﻨني ﻃﻮال‪ ،‬ﻋﻦ ﺟﻤﻌﻴﺔ ﺗﻨﻈﻴﻢ اﻟﺸﻌﺮ اﻟﺸﻌﺒﻲ‪ ،‬ﻟﻜﻦ مل ﻧﺴﻤﻊ‬ ‫ﻗﺮاراً رﺳﻤﻴﺎً ﺑﺬﻟﻚ‪ ،‬ومل ﻧﺮ أي ﻧﺘﺎج واﺿﺢ ﻟﻬﺎ‪ ،‬وﻛﺄﻧﻬﺎ وﺋﺪت ﰲ ﻣﻬﺪﻫﺎ؟‬ ‫ﻓﻬﻞ ﻧﻘﻮل إﻧﻨﺎ ﻣﺠﺘﻤﻊ ﺷﻌﺮي ﺑﺪايئ؟‬ ‫أم أﻧﻨﺎ ﻣﺠﺘﻤﻊ ُﻳﻘ ﱢﺪر اﻟﺸﻌﺮ ﻓﻴﻪ وﻻة اﻷﻣﺮ وﻳﻨﻜﺮه اﳌﺴﺆوﻟﻮن؟‬ ‫ﺧﺘﺎﻣﺎ ‪ ..‬أرى ﺑﺮﻳﻖ أﻣﻞ ﻟﺠﻤﻌﻴﺔ ﻟﻠﺸﻌﺮ اﻟﺨﻠﻴﺠﻲ‪ ،‬وﻣﺆﺳﺴﺔ دراﺳﺎت وﺑﺤﻮث‪،‬‬ ‫ﻓﺎن مل ﻳﻜﻦ‪ ،‬ﻓﺎﻋﺘﻘﺪ واﻟﻌﻠﻢ ﻋﻨﺪ اﻟﻠﻪ أﻧﻪ ﻟﻦ ﻳﻜﻮن ‪.‬‬ ‫ورمبﺎ ﻧﻘﻮل إن ﺟﻤﻌﻴﺔ ﻣﺘﺨﺼﺼﺔ ﻟﻠﺸﻌﺮ ﻫﻲ ﴎاب!‬

‫زﺑﻦ ﺑﻦ ﻋﻤﻴﺮ‬

‫‪@zabin2011‬‬ ‫اﻟﺸﻌﺮ ‪ /‬اﻟﻌﺪد ‪4488‬‬ ‫ﺑﻴﺖ ﻌﺮ‬ ‫‪ 98‬ﺑ ﺖ‬ ‫ﻴﺖ‬ ‫‪98‬‬

‫اﻧﻔﻮﺷﻌﺮ‬

‫ﺷﺎﻋﺮ اﻟﺮﺑﺎﺑﺔ‬

‫أﺣﻤﺪ ﺑﻦ ﻋﻠﻲ ﺑﻦ اﻟﻜﻨﺪي ﺑﻦ ﻋﻠﻲ ﺑﻦ ﺳﺎﻟﻢ‬ ‫ﺑﻦ ﻋﺒﺪ ا ﺑﻮ ﻣﻠﺤﺎ اﻟﻤﺮر‬

‫وﻓﺎﺗﻪ‬

‫آﺛﺎره‬

‫اﻟﻤﻴﻼد‬

‫ﻋﺎىن ﰲ أواﺧﺮ أﻳﺎم ﺣﻴﺎﺗﻪ ﻣﻦ‬ ‫ﻣﺮض ﻋﻀﺎل أ ّمل ﺑﻪ وﻛﺎن ذﻟﻚ‬ ٍ ‫ وﻗﴣ‬.‫ﻣﻨﺬ ﺑﺪاﻳﺔ اﻟﺜامﻧﻴﻨﻴﺎت‬ ‫إﱃ رﺣﻤﺔ اﻟﺒﺎري ﺳﺒﺤﺎﻧﻪ‬ 1985 ‫وﺗﻌﺎﱃ ﰲ أواﺧﺮ ﻋﺎم‬ .‫ﰲ ﻣﺴﺘﺸﻔﻰ ﻣﺪﻳﻨﺔ زاﻳﺪ‬

‫ﺻﺪر ﻟﻪ دﻳﻮان ﺑﺎﺳﻢ »دﻳﻮان‬ ‫اﻟﻜﻨﺪي« ﻣﻦ ﻧﺎدي ﺗﺮاث‬ ‫ ﻛام‬.‫م‬1998 ‫اﻹﻣﺎرات ﻋﺎم‬ ‫ﺻﺪر ﻟﻪ دﻳﻮان آﺧﺮ ﺑﺎﺳﻤﻪ‬ ‫ﻋﻦ أﻛﺎدميﻴﺔ اﻟﺸﻌﺮ ﰲ ﻫﻴﺌﺔ‬ .‫أﺑﻮﻇﺒﻲ ﻟﻠﺜﻘﺎﻓﺔ واﻟﱰاث‬

‫م‬1940 ‫وﻟﺪ اﻟﻜﻨﺪي ﻋﺎم‬ ‫ ﻟﻌﺪم وﺟﻮد ﻗﻴﺪ‬،ً‫ﺗﻘﺮﻳﺒﺎ‬ ‫ ﰲ‬،‫ﻟﻠﻤﻮاﻟﻴﺪ ﰲ ﺗﻠﻚ اﻟﻔﱰة‬ ‫ﻣﺤﴬ »ﻋ ّﺘﺎب« مبﻨﻄﻘﺔ ﻟﻴﻮا‬ .‫ﺑﺎﳌﻨﻄﻘﺔ اﻟﻐﺮﺑﻴﺔ ﻣﻦ أﺑﻮﻇﺒﻲ‬

‫أﺑﻴﺎت ﺧﺎﻟﺪه ﻟﻪ‬ ¬4zCCCCCC+ ¢CCCCCCH ÔCCCCCCCC»* vfCCCCgCCCC CCCC8 ¬4zCCCCCC- fCCCCCCH lCCCCCCCCCCI*K CCCCCCgCCCCCC0&* zCCC CCC+ ¨CCC CCC< ÌCCCCC CCCCC8&* CCCCªCCCCFK ¬4zCCCCC CCCCC8 · 4fCCCCCCCCCCI CCCCCCgCCCCCC0K ¿fCCCCC= fCCCCCCCM ÔCCCCCCCCC»* vfCCCCCgCCCCC CCCCC8 ¿fCCCCCCCCCCCCH%* CCCCCCCCCCCCFK «CCCCCC-fCCCCCCªCCCCCC0 ¿*§CCCCCC0* CCCCG v|CCCCC CCCCC7&* CCCCªCCCCFK ¬|CCCCqCCCCM fCCCCCCCC¯ CCCCCCCC CCCCCCCC<&* ¸K ¦|CCCM§CCCU» KzCCCCCC+^ *KU TzCCCCC CCCCC7 ¢CCCCCMK ¥CCCCªT CCCC¹* «CCCC¡CCCCnCCCCI CCC¤CCCªCCC CCC< ¿ ¦ÔCCC= *§U CCCCCCG TzCCCCCC+ CCCCJfCCCCH CCC CCCªCCCG ¥CCªT C ¡CCG* ] 2fCCCCCCC1^ fCCCM *§CCC CCC CCC U1*K

97 2016 ‫ﺳﺒﺘﻤﺒﺮ‬-‫أﻏﺴﻄﺲ‬

ª ¹* *3 fM | G* ªtF fM ¦4 TzCCCF CCC7* «CT C CC< ·fCC CC CCG* §T CCC/ M§: lEK P ¢H Õ G* -| UI fH ¦ÌCC T CwCCC-U * hCCCMzCCCI CCC¡T CCCH ¸K ¸ ªÊ +§gÁ 6f¡G* § - F ¦|qJ*K TI|/fJ ÔCC= i§ 8

«CCC-*2fCCC CCC6 zCCªCC CC6 fCCCCM ¬zCCCªT CCC CCC6 «CCC¡CCCªCCCM*~CCC¼* 2§CCCCCCCC»* zCCCCªT CCCC CCCC6 «CCC-¸fCCCtCCC+ CCCCCCCCCCD4U *K «CCCC¡CCCC<*4 «CCC¡CCCªCCCJ4U CCCCgT CCCC0 · «CCCCC¡CCCCCH*2 «CCC-*2fCCC< CCCªCCCF CC¤CC CC- lCCCCCI* «¡ª< |CC CCI · ~CCCMfCCC/ lCCCCCI*K

‫ﻣﻮروث ﻋﺎﻟﻤﻲ‬ ‫‪baytelshear‬‬

‫ﻣﻬﺮﺟﺎﻧﺎت ﺻﺎﺧﺒﺔ‬ ‫رﻏﻢ ﻣﺎ ﻗﺪ ﻳﺒﺪو ﻋﻠﻴﻪ اﻷﻳﺴﻠﻨﺪﻳﻮن ﻣﻦ‬ ‫ﻫﺪوء وﻋﺰﻟﺔ ﻋﻦ ﺑﻘﻴﺔ اﻟﺸﻌﻮب ﻋﲆ ﻗﻤﺔ‬ ‫اﻟﻌﺎمل‪ ،‬ﺗﺰﺧﺮ اﳌﻮروﺛﺎت اﻷﻳﺴﻠﻨﺪﻳﺔ ﺑﺎﻟﻌﺪﻳﺪ‬ ‫ﻣﻦ اﳌﻬﺮﺟﺎﻧﺎت اﻟﻔﺮﻳﺪة اﻟﺘﻲ ﺗﺘﺤﺪ ﻣﻊ‬ ‫ﻋﻘﻴﺪﺗﻬﻢ وﻃﺒﻴﻌﺘﻬﻢ اﻟﻘﺎﺳﻴﺔ اﻟﺘﻲ ﻳﻌﺘﺰون‬ ‫ﺑﻬﺎ‪ .‬ﻳﺤﺘﻔﻞ اﻷﻳﺴﻠﻨﺪﻳﻮن مبﻬﺮﺟﺎن »اﻟﺒﻮﻓني«‬ ‫اﻟﺬي ﻳﺮﻣﺰ إﱃ ﻃﺎﺋﺮ اﻟﺒﻮﻓني اﻟﺬي ﻳﺴﺘﻮﻃﻦ‬ ‫ﻧﺼﻒ اﻟﻜﺮة اﻟﺸامﱄ‪ ،‬وﻳﻌﻮد اﻻﺣﺘﻔﺎل ﺑﻪ‬ ‫ﻣﻨﺬ ﻗﺮون‪ ،‬ﺣﻴﺚ ﻳﺘﺤﻮل ﻛﻞ ﳾء ﰲ اﻟﺤﻴﺎة‬ ‫إﱃ أﺷﻜﺎل ﻫﺬا اﻟﻄﺎﺋﺮ‪ ،‬وميﺘﺪ اﻻﺣﺘﻔﺎل‬ ‫ﻷﺳﺒﻮع ﻣﺎ ﺑني ‪ 26‬ﻣﺎﻳﻮ إﱃ ‪ 4‬ﻳﻮﻧﻴﻮ‪ ،‬ﺣﻴﺚ ﻳﻌﺪ‬ ‫ﻣﻮﺳﻢ ﻫﺠﺮة ﻫﺬا اﻟﻄﺎﺋﺮ واﻧﺘﺸﺎر أﴎاﺑﻪ ﰲ‬ ‫ﻋﺪد ﻣﻦ اﻟﺴﻮاﺣﻞ واﻟﺠﺰر اﻟﻘﺮﻳﺒﺔ‪ ،‬وﻳﻌﺘﻘﺪ‬ ‫اﻟﺴﻜﺎن ﻣﻨﺬ اﻟﻘﺪم ﺑﻘﺪوم ﻃﺎﺋﺮ اﻟﺒﻮﻓني‬ ‫ﺟﺎﻟﺒﺎً ﻣﻌﻪ اﻟﺨري ﰲ ﺿﻮء اﻟﻨﻬﺎر ﺑﺪاﻳﺔ ﻓﺼﻞ‬ ‫اﻟﺼﻴﻒ‪ .‬وﻳﺘﺨﻠﻠﻪ اﻟﻌﺪﻳﺪ ﻣﻦ اﻟﻔﻌﺎﻟﻴﺎت اﻟﺘﻲ‬ ‫ﺗﻐﻄﻲ ﻛﻞ ﻣﻨﺎﺣﻲ اﻟﺤﻴﺎة ﺑﺪءاً ﻣﻦ اﳌﺄﻛﻮﻻت‬ ‫واﳌﺨﺒﻮزات اﻟﺘﻲ ﻳﺘﻢ إﻋﺪادﻫﺎ ﻋﲆ ﺷﻜﻞ‬ ‫اﻟﻄﺎﺋﺮ اﻟﻠﻄﻴﻒ ذي اﳌﻨﻘﺎر اﻟﺴﻤﻴﻚ اﳌﻠﻮن‪،‬‬ ‫وﺗﻨﺘﴩ ﺧﻼل اﳌﻬﺮﺟﺎن اﻷﻟﻌﺎب وﻓﻌﺎﻟﻴﺎت‬ ‫اﻟﻨﺤﺖ وﺣﻠﻘﺎت ﴎد اﻟﺤﻜﺎﻳﺎت اﻟﺸﻌﺒﻴﺔ‬ ‫ﻋﻦ اﻟﻄﺎﺋﺮ‪ ،‬واﻷﺟﻤﻞ أن اﻻﺣﺘﻔﺎﻻت ﺗﺸﻤﻞ‬ ‫اﻟﺼﻐﺎر واﻟﻜﺒﺎر‪.‬‬ ‫ﰲ اﺣﺘﻔﺎﻻت ﺗﺠﺪ ﻃﺒﻴﻌﺔ اﻷﻳﺴﻠﻨﺪﻳني‬ ‫ﻛﺸﻌﻮب متﺰج ﺑني اﻟﺠﻠﻴﺪ واﻟﻨﺎر‪ ،‬ﻳﻘﺎم ﻛﻞ‬ ‫ﻋﺎم اﳌﻬﺮﺟﺎن اﳌﻮﺳﻴﻘﻲ »ﻳﺴﺘامن« اﻟﺬي‬ ‫ﻳﻘﺎم ﻋﲆ اﻟﺠﺰﻳﺮة اﻟﱪﻛﺎﻧﻴﺔ ﻳﺴﺘامن ﻹﺣﻴﺎء‬ ‫اﻟﺬﻛﺮى اﻟـ ‪ 1000‬ﻻﺳﺘﻴﻄﺎن اﻹﻧﺴﺎن ﺗﻠﻚ‬ ‫اﻟﺠﺰﻳﺮة اﻟﺨﻄﺮة ﻷول ﻣﺮة‪ ،‬ﻓﺘﻠﻚ اﻻﺣﺘﻔﺎﻻت‬ ‫اﻟﺘﻲ ﺑﺪأت أواﺧﺮ اﻟﻘﺮن اﻟﺘﺎﺳﻊ ﻋﴩ ﺗﻌﱪ‬ ‫‪ 96‬ﺑﻴﺖ اﻟﺸﻌﺮ ‪ /‬اﻟﻌﺪد ‪48‬‬

‫ﻋﻦ اﻧﺘﺼﺎر اﻷﻳﺴﻠﻨﺪﻳني وﻫﺰميﺘﻬﻢ اﻟﻄﺒﻴﻌﺔ‬ ‫واﻟﺴﻜﻦ داﺧﻞ ﺗﻠﻚ اﻟﺠﺰﻳﺮة‪ ،‬وﺧﻼل‬ ‫اﳌﻬﺮﺟﺎن ﺗﻘﺎم اﻟﺤﻔﻼت اﳌﻮﺳﻴﻘﻴﺔ اﻟﺼﺎﺧﺒﺔ‬ ‫ﻋﲆ ﺣﺎﻓﺔ أﺣﺪ اﻟﱪاﻛني اﻟﻬﺎﺋﻠﺔ اﻟﺘﻲ ﻳﻜﺴﻮﻫﺎ‬ ‫اﻟﺠﻠﻴﺪ‪ ،‬ﻟﻴﺄيت اﻟﻈﻼم وﺗﺒﺪأ اﻷﻧﻮار اﻟﺼﻔﺮاء‬ ‫واﻟﺤﻤﺮاء اﳌﺒﻬﺮة ﰲ اﻟﻌﻤﻞ ﺑﻄﻮل ﺣﺎﻓﺔ أﻛﱪ‬ ‫ﺑﺮﻛﺎن ﰲ اﻟﺠﺰﻳﺮة‪ ،‬ﻟﺘﻌﱪ ﻋﻦ اﻟﺤﻤﻢ اﻟﱪﻛﺎﻧﻴﺔ‬ ‫اﻟﺘﻲ ﻛﺎﻧﺖ ﺗﺘﺪﻓﻖ ﰲ اﳌﺎﴈ ﻣﻦ داﺧﻞ ﻫﺬا‬ ‫اﻟﱪﻛﺎن اﻟﺒﺎﻟﻎ اﻟﻀﺨﺎﻣﺔ‪.‬‬ ‫ﻳﻌﺪ ﻣﻬﺮﺟﺎن »‪ «Jónsmessa‬اﻟﺬي ﻳﺘﻢ‬ ‫اﻻﺣﺘﻔﺎل ﺑﻪ ﰲ ﻣﻨﺘﺼﻒ اﻟﺼﻴﻒ‪ ،‬اﻟﻴﻮم‬ ‫اﻷﻃﻮل اﻟﻴﻮم ﺧﻼل اﻟﺴﻨﺔ‪ ،‬ﺣﻴﺚ ميﺜﻞ ﻟﺪى‬ ‫اﻷﻳﺴﻠﻨﺪﻳني اﻟﻌﺪﻳﺪ ﻣﻦ اﻷﻓﻜﺎر واﳌﻌﺘﻘﺪات‬ ‫ﺑﺄن ﻗﻮة اﻟﻄﺒﻴﻌﺔ اﻟﺨﻔﻴﺔ ﺗﺘﺠﲆ ﰲ ذﻟﻚ‬ ‫اﻟﻴﻮم‪ ،‬وﻳﻌﺘﻘﺪ اﻟﻜﺜريون ﺑﺄن اﻷﺑﻘﺎر ﰲ ذﻟﻚ‬ ‫اﻟﻴﻮم متﺘﻠﻚ اﻟﻘﺪرة ﻋﲆ اﻟﻜﻼم‪ ،‬وأن ﻛﺎﺋﻨﺎت‬ ‫ﻛﻠﺐ اﻟﺒﺤﺮ ﺗﺘﺤﻮل إﱃ أﺷﻜﺎل آدﻣﻴﺔ‪ ،‬وﻳﻘﻮم‬ ‫اﳌﺤﺘﻔﻠﻮن ﰲ ﺗﻠﻚ اﻟﻠﻴﻠﺔ ﺑﺈﴐام اﻟﻨﺎر ﰲ ﻛﺘﻞ‬ ‫ﺧﺸﺒﻴﺔ ﺿﺨﻤﺔ ﻃﻮال اﻟﻠﻴﻞ وﻳﻠﺘﻒ ﺳﻜﺎن‬ ‫اﻟﺒﻠﺪات واﻟﻘﺮى ﺣﻮﻟﻬﺎ ﻟﺤامﻳﺘﻬﻢ ﻣﻦ ﻗﻮى‬ ‫اﻟﴩ واﻧﺘﻬﺎء اﻟﻴﻮم وﻋﻮدة ﻛﻞ ﳾء إﱃ‬ ‫ﻃﺒﻴﻌﺘﻪ‪.‬‬ ‫وﺑﺴﺒﺐ ﻃﺒﻴﻌﺔ أﻳﺴﻠﻨﺪا اﻟﺒﺤﺮﻳﺔ‪ ،‬ﻳﺘﻢ ﻛﻞ‬ ‫ﻋﺎم وﰲ اﻷول ﻣﻦ ﻳﻮﻧﻴﻮ ﺑﺎﻻﺣﺘﻔﺎل مبﻬﺮﺟﺎن‬ ‫»‪ «Sjómannadagur‬أو اﻟﺒﺤﺎرة‪ ،‬ﺣﻴﺚ‬ ‫ﺗﺒﺪأ ﻣﺴﺎﺑﻘﺎت اﻟﺒﺤﺎرة اﻟﱰﻓﻴﻬﻴﺔ ﻻﺳﺘﻌﺮاض‬ ‫ﻗﺪراﺗﻬﻢ وﺷﺠﺎﻋﺘﻬﻢ ﻋﲆ ﺧﻮض اﳌﻐﺎﻣﺮات‬ ‫اﻟﺒﺤﺮﻳﺔ‪ ،‬ﻛام ﻳﺸﺎرك اﻟﺴﻜﺎن واﻟﺸﺒﺎب ﰲ‬ ‫ﺧﻮض ﺗﻠﻚ اﳌﺴﺎﺑﻘﺎت اﻟﺸﻴﻘﺔ ﻋﲆ ﻛﺎﻓﺔ‬ ‫ﺳﻮاﺣﻞ وﻣﺮاﻓﺊ أﻳﺴﻠﻨﺪا‪.‬‬ ‫مل ميﻨﻊ اﳌﻨﺎخ اﻟﺒﺎرد اﻷﻳﺴﻠﻨﺪﻳني ﻣﻦ أن‬

‫ﻳﻜﻮن ﻟﻬﻢ زي ﺗﻘﻠﻴﺪي ذي ذوق رﻓﻴﻊ‬ ‫ﻳﺘﺨﻠﻠﻪ اﻟﻌﺪﻳﺪ ﻣﻦ اﻷمنﺎط اﻟﻔﻨﻴﺔ اﻟﺘﻲ ﺗﻈﻬﺮ‬ ‫ﺟﻠﻴﺔ ﰲ اﻟﻌﺪﻳﺪ ﻣﻦ اﳌﻨﺎﺳﺒﺎت‪ ،‬وﻳﻄﻠﻖ‬ ‫ﻋﲆ اﻟﺰي اﻟﺮﺳﻤﻲ واﻟﺘﻘﻠﻴﺪي اﻷﻳﺴﻠﻨﺪي‬ ‫‪ Þjóðbúningurinn‬اﻟﺬي ﻳﺮﺗﺪﻳﻪ ﻛﻞ‬ ‫ﻣﻦ اﻟﺮﺟﺎل واﻟﻨﺴﺎء واﻷﻃﻔﺎل ﻣﻊ اﺧﺘﻼف‬ ‫أمنﺎﻃﻪ وأﻟﻮاﻧﻪ‪ .‬وﻳﺘﻀﻤﻦ زي اﻟﺴﻴﺪات ﻣﻨﻪ‬ ‫ﰲ أواﺋﻞ ﻋﻬﺪه ﺑﺎﻟﻘﺮن اﻟﺴﺎﺑﻊ ﻋﴩ ﻗﺒﻌﺎت‬ ‫ﻣﻄﺮزة ﻣﺘﺼﻠﺔ ﺑﻘﻄﻌﺔ ﻗامﺷﻴﺔ ﻣﺰﺧﺮﻓﺔ‬ ‫متﺘﺪ إﱃ اﻷﺳﻔﻞ ﻋﲆ ﺷﻜﻞ ﺣﺰﻣﺔ ﺧﻴﻮط‬ ‫ﻣﻦ اﻟﺤﺮﻳﺮ أو اﻷﻟﻴﺎف ﻣﺜﻞ ذﻳﻞ اﻟﺤﺼﺎن‪،‬‬ ‫وﻳﺘﺄﻟﻒ اﻟﺮداء ﻣﻦ ﺟﻠﺒﺎب ﻃﻮﻳﻞ ﻻ ﺗﻮﺟﺪ‬ ‫اﻟﻜﺜري ﻣﻦ اﻟﺘﻔﺎﺻﻴﻞ ﰲ ﻫﻴﺌﺘﻪ‪ .‬أﻣﺎ زي‬ ‫‪ Peysuföt‬ﻫﻮ اﻷﻛرث ﺷﻌﺒﻴﺔ واﻧﺘﺸﺎراً إﱃ‬ ‫اﻵن‪ ،‬وﺑﺪأ ﺑﺎﻻﻧﺘﺸﺎر ﺧﻼل اﻟﻘﺮن اﻟﺜﺎﻣﻦ‬ ‫ﻋﴩ‪ ،‬وﻳﺘﺄﻟﻒ ﻣﻦ رداء أﺳﻮد ﻣﻦ اﻟﺼﻮف‬ ‫وﺗﻨﻮرة ﻃﻮﻳﻠﺔ وﺳﱰة ﻣﻄﺮزة ﻣﻘﺴﻮﻣﺔ إﱃ‬ ‫ﻧﺼﻔني وﺗﺘﺤﺪ ﺑﻮاﺳﻄﺔ ﺑﻌﺾ اﻟﺨﻴﻮط‬ ‫اﳌﻄﺮزة‪ ،‬ﺑﺎﻹﺿﺎﻓﺔ إﱃ ﻗﺒﻌﺔ ﺗﺘﺼﻞ ﺑﺤﺰﻣﺔ‬ ‫ﺧﻴﻮط ﻋﲆ ﺷﻜﻞ ذﻳﻞ اﻟﺤﺼﺎن أﻳﻀﺎً‪ .‬ميﺜﻞ‬ ‫رداء »‪ «skautbúningur‬أرﻗﻰ اﳌﻼﺑﺲ‬ ‫اﻟﺘﻘﻠﻴﺪﻳﺔ اﻷﻳﺴﻠﻨﺪﻳﺔ‪ ،‬وﻛﺎن ﻗﺪميﺎً ميﺜﻞ‬ ‫ﻣﻼﺑﺲ اﻟﻄﺒﻘﺔ اﻷرﺳﺘﻘﺮاﻃﻴﺔ واﻟﺤﺎﻛﻤﺔ‬ ‫ﳌﺎ ﻟﻪ ﻣﻦ ﺟامل وﻫﻴﺒﺔ‪ ،‬ﺣﻴﺚ ﻳﺘﻜﻮن ﻣﻦ‬ ‫رداء أﺳﻮد ﻣﻦ ﺧﺎﻣﺎت ﻏﺎﻳﺔ ﰲ اﻟﺠامل وﻳﺘﻢ‬ ‫ﺗﻄﺮﻳﺰﻫﺎ أﺣﻴﺎﻧﺎً ﺑﻮاﺳﻄﺔ اﻟﺠﻮاﻫﺮ واﻟﺬﻫﺐ‪،‬‬ ‫ﰲ ﻣﺎ ﺗﻌﻠﻮ اﻟﺮأس ﻗﺒﻌﺎت ﻋﺎﻟﻴﺔ وﻓﺨﻤﺔ ﻟﻬﺎ‬ ‫إﻃﻼﻟﺔ ﺳﺎﺣﺮة ﺗﻀﻴﻒ اﻟﺸﻤﻮخ ﻋﲆ ﻣﻦ‬ ‫ﻳﺮﺗﺪﻳﻬﺎ ﺑﺨﺎﺻﺔ ﻟﻮ ﺗﻢ ﺗﺜﺒﻴﺘﻬﺎ ﺑﻮاﺳﻄﺔ ﺗﺎج‬ ‫ﻳﺰﻳﻦ رأس اﳌﺮأة‪ .‬ﺗﺮﺗﺪي اﻟﻨﺴﺎء ذﻟﻚ اﻟﺮداء‬ ‫ﺧﻼل اﻟﺤﻔﻼت اﻟﻌﺎﻣﺔ واﻟﻮﻃﻨﻴﺔ ﺣﺘﻰ اﻵن‪.‬‬

‫اﻟﻘﺮاءة ﻧﺎﻓﺬة ﻟﻘﻄﻊ رﺗﺎﺑﺔ اﻟﻠﻴﻞ‬ ‫اﻟﻄﻮﻳﻞ‬ ‫متﺜﻞ اﻟﻘﺮاءة أﻓﻀﻞ وﺳﻴﻠﺔ ﺗﺘﻴﺢ ﻟﻸﻳﺴﻠﻨﺪﻳني‬ ‫ﻗﻄﻊ رﺗﺎﺑﺔ ﻟﻴﺎﱄ اﻟﺸﺘﺎء اﻟﻄﻮﻳﻠﺔ واﻟﻌﺎﺻﻔﺔ‪،‬‬ ‫وﻫﻲ أول ﻣﺎ ميﻴﺰ اﻷﻳﺴﻠﻨﺪﻳني ﻋﻦ ﻏريﻫﻢ‬ ‫ﻣﻦ اﻟﺸﻌﻮب‪ ،‬وﻳﺸري اﳌﺆرﺧﻮن أﻧﻬﺎ ﻧﺘﺎج‬ ‫ازدﻫﺎر ﻓﻦ اﻟﺤﻜﺎﻳﺎت واﻟﻘﺼﺺ اﻟﺨﻴﺎﻟﻴﺔ‬ ‫ﻣﻨﺬ آﻻف اﻟﺴﻨني‪ ،‬وﺣﺘﻰ اﻵن ﻻ ﻳﻮﺟﺪ‬ ‫ﻣﻮاﻃﻦ أﻳﺴﻠﻨﺪي ﻻ ﻳﻘﺮأ‪ ،‬ﻛام ﺗﻮﱄ اﻷﴎة‬ ‫واﳌﺪارس وﺣﺘﻰ اﻟﺤﻜﻮﻣﺎت أﻫﻤﻴﺔ ﻗﺼﻮى‬ ‫ﻟﻠﻘﺮاءة واﻟﻜﺘﺎﺑﺔ واﻟﺘﺄﻟﻴﻒ‪ ،‬ﺣﻴﺚ ﻳﺤﺼﻞ‬ ‫اﳌﺆﻟﻔﻮن ﰲ أﻳﺴﻠﻨﺪا ﻋﲆ ﻣﻨﺤﺔ ﺗﻔﺮغ ﻣﻦ‬ ‫اﻟﺪوﻟﺔ‪ .‬وﻳﺴﺎﻋﺪ ﺷﻐﻒ اﳌﻮاﻃﻨني ﺑﺎﻟﻘﺮاءة‬ ‫ﻋﲆ ﺗﺸﺠﻴﻊ اﻟﻘﺎرئ ﻋﲆ اﻟﺘﺤﻮل ﺑﴪﻋﺔ إﱃ‬

‫ﻣﺆﻟﻒ ﰲ أﺣﻴﺎن ﻛﺜرية‪.‬‬ ‫ﻛام إن اﻟﻘﺮاءة ورواﻳﺔ اﻟﺤﻜﺎﻳﺎت وﺗﺪوﻳﻨﻬﺎ‬ ‫ﰲ اﻟﻌﺎﺻﻤﺔ رﻳﻜﻴﻔﻴﻚ واﳌﺪن واﻷرﻳﺎف ﻋﲆ‬ ‫ﺣﺪ ﺳﻮاء‪ ،‬ﻟﻪ ارﺗﺒﺎط ﺑﺘﻘﺎﻟﻴﺪ اﳌﻮاﻃﻨني اﻟﺬﻳﻦ‬ ‫ﻳﻔﻬﻤﻮن ﻟﻐﺘﻬﻢ اﻷم اﻟﻌﺎﺋﺪة إﱃ أﻛرث ﻣﻦ ‪1100‬‬ ‫ﻋﺎم‪ ،‬وﻳﺤﻔﻈﻮن اﻟﻘﺼﺺ اﻟﻘﺪميﺔ واﻟﺘﺎرﻳﺦ‬ ‫واﻟﻮﺛﺎﺋﻖ اﻟﺮﺳﻤﻴﺔ‪ .‬ﻛام أن ﻛﻞ اﻷﻳﺴﻠﻨﺪﻳني‬ ‫ﻗﺮاء أو رواة ﻟﻠﺤﻜﺎﻳﺎت أو ﻳﺠﻤﻌﻮن ذﻟﻚ‬ ‫ﻣﻌﺎ‪ ،‬وﻟﻴﺲ ﺑﻴﻨﻬﻢ أﻣﻴﻮن‪.‬‬ ‫رؤوس اﻟﻤﺎﺷﻴﺔ ﻃﻌﺎم ﻣﻔﻀﻞ‬ ‫ﻋﲆ ﻋﻜﺲ ﻃﺒﻴﻌﺘﻬﻢ اﻟﺒﺤﺮﻳﺔ ﻳﻬﻮى‬ ‫اﻷﻳﺴﻠﻨﺪﻳﻮن ﺗﻨﺎول اﻟﻠﺤﻮم واﻟﺨﴬاوات أﻛرث‬ ‫ﻣﻦ اﳌﺄﻛﻮﻻت اﻟﺒﺤﺮﻳﺔ‪ ،‬وﺗﻨﺘﴩ أﻧﺸﻄﺔ ﺷﻮاء‬

‫اﻟﻠﺤﻮم ﰲ ﻛﻞ اﳌﻨﺎﺳﺒﺎت وﰲ ﺟﻤﻴﻊ اﻷوﻗﺎت‪،‬‬ ‫وﻳﻌﺪ » ‪ «Þorramatur‬ﻫﻮ اﻟﻄﺒﻖ اﳌﻔﻀﻞ‬ ‫واﻟﻮﻃﻨﻲ ﻟﻸﻳﺴﻠﻨﺪﻳني‪ ،‬وﻳﺘﺄﻟﻒ ﻣﻦ أﻧﻮاع‬ ‫ﻣﺨﺘﻠﻔﺔ ﻣﻦ اﻷﻃﻌﻤﺔ ﻳﺄيت ﻋﲆ رأﺳﻬﺎ رؤوس‬ ‫اﳌﺎﺷﻴﺔ اﳌﻜﺘﻤﻠﺔ‪ ،‬وﻟﺤﻮم اﻟﺨﺮوف اﳌﺨﻠﻠﺔ‪،‬‬ ‫واﻟﻠﺤﻮم اﳌﻘﺪدة واﳌﺪﺧﻨﺔ‪ ،‬وﺣﺘﻰ ﻣﺮىب‬ ‫ﻟﺤﻮم اﳌﺎﺷﻴﺔ وﻧﻘﺎﻧﻖ ﻛﺒﺪ اﳌﺎﺷﻴﺔ‪ ،‬وﻏريﻫﺎ‬ ‫ﻣﻦ اﳌﺄﻛﻮﻻت اﻟﻐﺮﻳﺒﺔ‪ .‬ﻳﻌﺪ أﻳﻀﺎً ﻃﺒﻖ‬ ‫»‪ «Hákarl‬ﻣﻔﻀ ًﻼ ﻟﺪى اﻟﻜﺜريﻳﻦ‪ ،‬وﻳﺘﻜﻮن‬ ‫ﻣﻦ ﻋﺪة أﻧﻮاع ﻣﻦ ﻟﺤﻮم أﺳامك اﻟﻘﺮش‬ ‫اﻟﻄﺎزﺟﺔ واﳌﻘﺪدة واﳌﺨﻠﻠﺔ واﳌﺪﺧﻨﺔ‪ ،‬وﻳﺘﻢ‬ ‫ﺗﻨﺎوﻟﻪ ﺧﻼل ﺷﻬﺮي ﻳﻨﺎﻳﺮ وﻓﱪاﻳﺮ ﳌﺴﺎﻋﺪﺗﻬﻢ‬ ‫ﻋﲆ اﻻﺣﺘﻔﺎظ ﺑﺤﺮارة أﺟﺴﺎدﻫﻢ ﰲ ﻟﻴﺎﱄ‬ ‫اﻟﺸﺘﺎء ﻗﺎرﺳﺔ اﻟﱪودة‪.‬‬ ‫أﻏﺴﻄﺲ‪-‬ﺳﺒﺘﻤﺒﺮ ‪95 2016‬‬

‫ﻣﻮروث ﻋﺎﻟﻤﻲ‬ ‫‪baytelshear‬‬

‫اﻷوروﺑﻴﺔ‪ .‬وﺗﺼﻒ ﻣﻼﺣﻢ ﻋﻦ ﻣﻐﺎﻣﺮات‬ ‫وﻗﻌﺖ ﻗﺒﻞ وﺑﻌﺪ ﺳﻨﺔ ‪ 1000‬ﻣﻴﻼدﻳﺔ ﺣﻴﺎة‬ ‫اﻷﻳﺴﻠﻨﺪﻳني‪ ،‬ورﻏﻢ أن ﻫﺬه اﳌﻼﺣﻢ ﺗﺘﺤﺪث‬ ‫ﻋﻦ ﺑﻄﻮﻻت اﻟﺮﺟﺎل ﻓﺈﻧﻬﺎ ﺗﺤيك أﻳﻀﺎ أن‬ ‫اﻟﻨﺴﺎء ﻟﻌنب دورا ﻣﻬام ﺧﺎﺻﺔ ﰲ رﺣﻼت‬ ‫”ﻟﻴﻒ أرﻳﻜﺴﻮن“ اﻟﺬي ﻳﻮﺻﻒ ﺑﺄﻧﻪ أول‬ ‫أورويب ﻳﺼﻞ إﱃ ﻗﺎرة أﻣﺮﻳﻜﺎ اﻟﺸامﻟﻴﺔ‪.‬‬ ‫ﺗﻌﺮف ﻫﺬه اﻟﺮواﻳﺎت ﺑﺎﺳﻢ ﻣﻼﺣﻢ ”ﻓﻨﻼﻧﺪ“‪.‬‬ ‫وﺧﻼل أﺣﺪاث ﺗﻠﻚ اﳌﻠﺤﻤﺔ ﻳﺘﻐﻠﺐ ﺷﻘﻴﻖ‬ ‫ﻟﻴﻒ وزوﺟﺘﻪ ﺟﻮدرﻳﺪ ﻋﲆ أﻣﻮاج اﻷﻃﻠﴘ‬ ‫اﻟﺬي ﻳﻌﱪوﻧﻪ ﰲ ﻗﺎرب ﻃﻮﻟﻪ ‪ 22‬ﻣﱰا‬ ‫وﻳﺘﺒﻌﻮﻧﻪ إﱃ ﻣﻜﺎن أﻃﻠﻖ ﻋﻠﻴﻪ ﻓﻴام ﺑﻌﺪ‬ ‫ﻣﻘﺎﻃﻌﺔ ”ﻧﻴﻮﻓﻮﻧﺪﻻﻧﺪ“ اﻟﺤﺎﻟﻴﺔ ﰲ ﻛﻨﺪا‪.‬‬ ‫ﺗﺠﺪر اﻹﺷﺎرة ﻫﻨﺎ إﱃ ﻣﻜﺎﻧﺔ اﳌﺮأة اﳌﺮﻣﻮﻗﺔ‬ ‫داﺧﻞ اﳌﺠﺘﻤﻊ اﻷﻳﺴﻠﻨﺪي ﻣﻨﺬ اﻟﻘﺪم‪،‬‬ ‫ﺣﻴﺚ ﻛﺎﻧﺖ ﺗﺘﻤﺘﻊ ﺑﻘﻮة ﻛﺒرية ﺗﻀﺎﻫﻲ‬ ‫اﻟﺮﺟﺎل ﺑﺴﺒﺐ ﻇﺮوف اﻟﻄﺒﻴﻌﺔ واﳌﻌﻴﺸﺔ‬ ‫اﻟﻘﺎﺳﻴﺔ اﻟﺘﻲ ﺗﺘﻄﻠﺐ ﻣﻨﻬﺎ ﻓﻌﻞ اﻟﻜﺜري ﻣﻦ‬ ‫اﻷﺷﻴﺎء‪ ،‬ﻓﺒﺠﺎﻧﺐ ﻛﻮﻧﻬﺎ اﺑﻨﺔ وزوﺟﺔ ﺗﺤﻈﻰ‬ ‫ﺑﺼﻼﺣﻴﺎت ﻛﺒرية‪ ،‬ﻛﺎن ﻳﱪز دور اﳌﺮأة‬ ‫ﺑﺨﺎﺻﺔ ﺣﻴﻨام ﺗﻜﻮن أرﻣﻠﺔ‪ ،‬ﻓﺘﺘﻤﺘﻊ ﺑﻨﻔﻮذ‬ ‫ﻗﻮي وﻛﺜرياً ﻣﺎ ﻛﺎﻧﺖ ﺗﺘﻮﱃ إدارة ﻣﻤﺘﻠﻜﺎت‬ ‫زوﺟﻬﺎ وﺗﴫﻳﻒ ﺷﺆون اﳌﺰارع وﻏريﻫﺎ‪.‬‬

‫ﻋﴩ ووﻟﺪت أول ﻃﻔﻞ أورويب ﻫﻨﺎك‪.‬‬ ‫ﻓﺎﳌﺮأﺗﺎن ﻫﻨﺎ ﺿﻤﻦ ﺣﻔﻨﺔ ﻣﻦ ﺑﻄﻼت‬ ‫أﺳﻄﻮرﻳﺎت ﰲ ﻣﻼﺣﻢ اﻟﻔﺎﻳﻜﻨﺞ ﺑﺄﻳﺴﻠﻨﺪا‬ ‫اﻟﺘﻲ ﻳﻘﻮل ﺑﺎﺣﺜﻮن إﻧﻬﺎ ﺗﺮﻗﻰ إﱃ اﻹﻟﻴﺎذة‬ ‫ﻟﻬﻮﻣريوس وﻣﴪﺣﻴﺎت ﺷﻜﺴﺒري‪ .‬وﺑﺸﻜﻞ‬ ‫ﻋﻤﲇ ﺗﻨﺘﴩ ﻣﻬﺮﺟﺎﻧﺎت ﺗﺠﺴﺪ وﺗﻌﻴﺪ متﺜﻴﻞ‬ ‫ﻗﺼﺺ اﳌﻌﺎرك اﻟﻘﺪميﺔ ﻟﺸﻌﻮب اﻟﻔﺎﻳﻜﻨﺞ‪،‬‬ ‫ﺣﻴﺚ ﺗﻘﺎم ﰲ اﻟﻌﺪﻳﺪ ﻣﻦ اﻟﻘﺮى ﻓﻌﺎﻟﻴﺎت‬ ‫ﻳﺮﺗﺪي ﺧﻼﻟﻬﺎ اﻟﺮﺟﺎل ﻣﻼﺑﺲ ﺣﺮﺑﻴﺔ‬ ‫ﺗﻘﻠﻴﺪﻳﺔ ﺗﺤﺎيك ﺟﻨﻮد اﻟﻔﺎﻳﻜﻨﺞ وﻳﺘﺒﺎرون‬ ‫ﰲ ﻣﻬﺎرﺗﻬﻢ ﰲ اﺳﺘﺨﺪام اﻷﺳﻠﺤﺔ واﳌﺒﺎرزة‬ ‫ﺑﺎﻟﺴﻴﻮف واﻟﺪروع واﺳﺘﻌﺮاض اﻟﻘﻮة‬ ‫اﻟﺠﺴامﻧﻴﺔ اﻟﺘﻲ ورﺛﻬﺎ اﻷﻳﺴﻠﻨﺪﻳﻮن ﻋﻦ‬ ‫ﺷﻌﻮب اﻟﻔﺎﻳﻜﻨﺞ‪ .‬ﻓﻀ ًﻼ ﻋﻦ ذﻟﻚ اﺳﺘﻨﺴﺦ‬ ‫اﻷﻳﺴﻠﻨﺪﻳﻮن ﺣﻴﺎة ﺷﻌﻮب اﻟﻔﺎﻳﻜﻨﺞ اﻟﻘﺪميﺔ‬ ‫داﺧﻞ ﻗﺮﻳﺔ » ‪ «Eiríksstaði‬اﻟﺘﻲ ﺗﻢ ﺑﻨﺎؤﻫﺎ‬ ‫ﻋﲆ ﻃﺮاز اﻟﻔﺎﻳﻜﻨﺞ اﻟﺘﻘﻠﻴﺪي ﺑﻜﻞ ﺗﻔﺎﺻﻴﻠﻬﺎ‬ ‫ﺑﺪءاً ﻣﻦ اﳌﻨﺎزل اﳌﺤﻔﻮرة داﺧﻞ اﻟﺘﻼل‬ ‫وﻣﻼﺑﺲ اﻟﻔﺮو اﻟﻄﺒﻴﻌﻲ واﻷدوات اﻟﺨﺸﺒﻴﺔ‬ ‫اﻟﻐﻠﻴﻈﺔ واﻷﺣﺬﻳﺔ اﻟﺠﻠﺪﻳﺔ اﻟﻄﻮﻳﻠﺔ وﻏريﻫﺎ‪،‬‬ ‫وأﺻﺒﺤﺖ اﻟﻘﺮﻳﺔ ﻣﻘﺼﺪاً ﺳﻴﺎﺣﻴﺎً ﳌﻦ ﻳﺮﻳﺪ‬ ‫ﻣﻌﺎﻳﺸﺔ ﺣﻴﺎة ﺗﻠﻚ اﻟﺤﻀﺎرة ﰲ اﻟﻮاﻗﻊ‬ ‫واﻻﺳﺘﻤﺘﺎع ﺑﻜﻞ ﻋﻨﺎﴏﻫﺎ‪.‬‬ ‫ﺗﻌﺪ اﳌﻼﺣﻢ اﻷﻳﺴﻠﻨﺪﻳﺔ أول ﻧرث أورويب‬ ‫ﻳﻜﺘﺐ ﺑﻠﻐﺔ وﻃﻨﻴﺔ وﻳﻌﺘﻘﺪ ﺑﺎﺣﺜﻮن أن اﻷﺷﺒﺎح واﻵﻟﻒ‪ 44‬ﻣﻌﺘﻘﺪات راﺳﺨﺔ‬ ‫ﻣﻼﺣﻢ اﻟﻔﺎﻳﻜﻨﺞ ﻣﻬﺪت اﻟﻄﺮﻳﻖ ﻟﻠﺮواﻳﺔ ﻋﲆ اﻟﺮﻏﻢ ﻣﻦ اﻟﺜﻘﺎﻓﺔ اﻟﺮاﻗﻴﺔ واﻟﺘﻌﻠﻴﻢ‬ ‫‪ 94‬ﺑﻴﺖ اﻟﺸﻌﺮ ‪ /‬اﻟﻌﺪد ‪48‬‬

‫اﳌﻨﺘﴩ ﰲ أﻳﺴﻠﻨﺪا‪ ،‬إﻻ أن ﺷﻌﺒﻬﺎ وﺑﺎﻟﻜﺎﻣﻞ‬ ‫ﻻزاﻟﻮا ﻳﺆﻣﻨﻮن ﺑﺎﻟﻌﺪﻳﺪ ﻣﻦ اﻟﺨﺮاﻓﺎت‬ ‫واﻷﺷﺒﺎح وﻣﺨﻠﻮﻗﺎت اﻵﻟﻒ اﻷﺳﻄﻮرﻳﺔ‬ ‫اﻟﺸﻌﺒﻴﺔ‪ ،‬ﺑﻞ وﺗﺘﺪاﺧﻞ ﰲ اﻟﻔﻨﻮن اﻟﺸﻌﺒﻴﺔ‬ ‫واﻟﻔﻠﻜﻠﻮرﻳﺔ وﻳﺘﻢ ﺗﺪرﻳﺴﻬﺎ ﰲ أﻋﺮق‬ ‫اﳌﻌﺎﻫﺪ واﻟﺠﺎﻣﻌﺎت اﻷﻳﺴﻠﻨﺪﻳﺔ‪ ،‬وﺗﺘﺪاول‬ ‫ﺣﻜﺎﻳﺎﺗﻬﺎ اﻷﺟﻴﺎل ﺣﺘﻰ وﻗﺘﻨﺎ ﻫﺬا وﺗﺒﺚ‬ ‫اﻟﺮﻋﺐ ﰲ ﻗﻠﻮب ﻛﻞ ﻣﻦ ﻳﺴﻤﻌﻬﺎ ﻷول‬ ‫ﻣﺮة‪ ،‬ﻓﺒﺴﺒﺐ ﻃﺒﻴﻌﺔ اﻟﻈﻼم اﻟﺪاﻣﺲ اﻟﺬي‬ ‫ﻳﺨﻴﻢ ﻋﲆ اﻟﺒﻼد ﻟﺸﻬﻮر ﺧﻼل ﻓﺼﻞ اﻟﺸﺘﺎء‬ ‫ﺗﺘﻔﺎﻋﻞ ﻗﻮى ﺗﻠﻚ اﻟﺤﻜﺎﻳﺎت اﳌﺮﻋﺒﺔ ﻣﻊ‬ ‫اﻷﺟﻮاء اﻟﻘﺎمتﺔ ﻟﻴﺨﺮج ﻣﻦ ﺟﻌﺒﺘﻬﺎ أﺣﺪاث‬ ‫ورواﻳﺎت ﻣﻔﺰﻋﺔ ﺗﺘﻌﻠﻖ ﺑﺎﻟﻜﻬﻮف واﻟﻘﻼع‬ ‫اﻟﻨﺎﺋﻴﺔ وﻗﻤﻢ اﻟﺠﺒﺎل اﻟﺠﻠﻴﺪﻳﺔ اﳌﻨﻌﺰﻟﺔ‬ ‫وﻣﻐﺎﻣﺮات اﻟﺼﻴﺎدﻳﻦ اﳌﺤﻔﻮﻓﺔ ﺑﺎﳌﺨﺎﻃﺮ‬ ‫ﻋﲆ أﻃﺮاف اﻟﻌﺎمل‪ .‬رمبﺎ ﻧﻨﺒﻬﺮ ﺣﻴﻨام ﻧﺴﻤﻊ‬ ‫أن ﺑﻌﺾ اﻟﻘﺮى اﻟﻨﺎﺋﻴﺔ ﺗﻌﺮض ﺑﺮاﻣﺞ‬ ‫ﺟﻮﻻت »ﻣﺨﻠﻮﻗﺎت آﻟﻒ« اﻷﺳﻄﻮرﻳﺔ‪،‬‬ ‫ﻣﺜﻞ ﻗﺮﻳﺔ » ‪ «Hafnarfjörður‬اﻟﺘﻲ‬ ‫ﺗﺴﻤﺢ ﺑﻌﻤﻞ ﺟﻮﻻت ﰲ أﻣﺎﻛﻦ ﺑﺮﻛﺎﻧﻴﺔ‬ ‫وﺻﺨﺮﻳﺔ ﻳﻌﺘﻘﺪ ﻗﺪميﺎً أﻧﻬﺎ ﻛﺎﻧﺖ وﻻ زاﻟﺖ‬ ‫ﻣﻮﻃﻨﺎً ﻟﺘﻠﻚ اﻟﻜﺎﺋﻨﺎت‪ ،‬ﻛام متﻨﺢ ﻣﺪرﺳﺔ‬ ‫»‪ «Álfaskóli‬ﰲ اﻟﻌﺎﺻﻤﺔ ﺷﻬﺎدة »ﺗﺠﺮﺑﺔ‬ ‫اﻵﻟﻒ« اﻟﺘﻲ ﺗﺘﻌﻠﻖ ﺑﺪراﺳﺎت ﺣﻮل ﺗﻠﻚ‬ ‫اﳌﺨﻠﻮﻗﺎت وأﺷﻜﺎﻟﻬﺎ وأمنﺎﻃﻬﺎ وﻛﺄﻧﻬﺎ‬ ‫ﻣﺨﻠﻮﻗﺎت ﻣﻮﺟﻮدة ﺑﺎﻟﻔﻌﻞ‪.‬‬

‫متﺜﻞ اﳌﻮروﺛﺎت اﻷﻳﺴﻠﻨﺪﻳﺔ ﻧﺘﺎﺟﺎً ﻟﺤﻴﺎة أ ّﻣﺔ‬ ‫ﺻﻐرية ﺗﻌﻴﺶ ﻋﲆ ﺟﺰﻳﺮة ﻧﺎﺋﻴﺔ ﺷامل اﳌﺤﻴﻂ‬ ‫ﺗﺸﻊ روﺣﺎً وﺳﻌﺎدة وإﺑﺪاﻋﺎً‪ .‬ﻓﺈﱃ‬ ‫اﻷﻃﻠﴘ ّ‬ ‫ﺟﻮار اﻷدب واﻟﻘﺮاءة واﻟﺤﻜﺎﻳﺎت اﻷﺳﻄﻮرﻳﺔ‬ ‫وأﻧﻮاع ﻣﺘﻌﺪدة ﻣﻦ اﻟﻔﻨﻮن‪ ،‬ﺗﺘﺤﺪث اﻟﺜﻘﺎﻓﺔ‬ ‫ﻫﻨﺎك ﻟﺘﻨﻄﻖ ﺑﺄﺣﺮف ﻣﻦ ﻧﻮر ﻗﺼﺺ ﺷﻌﺐ‬ ‫ﻣﺤﺎريب اﻟﻔﺎﻳﻜﻨﺞ اﻟﺬي ﻳﻌﺎﻳﺶ اﻟﱪودة اﻟﻘﺎرﺳﺔ‬ ‫وﻳﺘﺤﻤﻞ ﻟﻬﻴﺐ ﺣﻤﻢ اﻟﱪاﻛني اﻟﻨﺸﻄﺔ ﻟﺸﻬﻮر‬ ‫ﻣﺘﻌﺎﻗﺒﺔ ﻣﻦ اﻟﻨﻬﺎر وﻣﺜﻠﻬﺎ ﻣﻦ اﻟﻠﻴﻞ وﺳﻂ‬ ‫اﺣﺘﻔﺎﻻت ﺻﺎﺧﺒﺔ ﺗﻌﻜﺲ درﺟﺔ ﺗﺤﺪي ﻫﺬا‬ ‫اﻟﺸﻌﺐ ﻟﻄﺒﻴﻌﺔ اﻟﻜﻮن ﻧﻔﺴﻬﺎ‪ .‬وﺑﺴﺒﺐ ﻋﺰﻟﺘﻬﺎ‬ ‫اﻟﺸﺪﻳﺪة ﻛﺎﻧﺖ أﻳﺴﻠﻨﺪا آﺧﺮ ﻣﻜﺎن ﻳﺴﺘﻮﻃﻨﻪ‬ ‫اﻟﺒﴩ ﰲ أوروﺑﺎ‪ ،‬وﻻ زاﻟﺖ ﺣﺘﻰ اﻵن ﻣﻦ أﻗﻞ‬ ‫اﻟﺪول ﰲ ﻋﺪد اﻟﺴﻜﺎن‪ ،‬وﻋﲆ اﻟﺮﻏﻢ ﻣﻦ ذﻟﻚ‬ ‫مل ميﻨﻊ اﻷﻳﺴﻠﻨﺪﻳني ﻣﻦ اﻟﺘﻔﺮد مبﻮروﺛﺎت ﻏﻨﻴﺔ‬ ‫وراﻗﻴﺔ مبﺨﺘﻠﻒ اﻟﺜﻘﺎﻓﺎت واﻟﻔﻨﻮن واﳌﻌﺘﻘﺪات‬ ‫اﻟﺘﻲ ﺗﻌﻮد إﱃ آﻻف اﻟﺴﻨني واﻟﺘﻲ ﺗﻀﻔﻲ ﻋﻠﻴﻬﺎ‬ ‫اﻟﻄﺒﻴﻌﺔ ﻋﺪة ﺻﺒﻐﺎت‪ ،‬ﻓﺘﺠﻤﻠﻬﺎ ﰲ ﻋﻴﻮﻧﻨﺎ‬

‫ﺗﺎرة‪ ،‬وﺗﻠﻘﻲ اﻟﺮﻋﺐ ﰲ ﻗﻠﻮﺑﻨﺎ ﻣﻨﻬﺎ ﺗﺎرة أﺧﺮى‪.‬‬ ‫ﺗﺤﻤﻞ أﻳﺴﻠﻨﺪا اﻟﻌﺪﻳﺪ ﻣﻦ اﳌﺘﻨﺎﻗﻀﺎت اﻟﺘﻲ‬ ‫ﻗﺎدت ﺷﻌﺒﻬﺎ إﱃ اﻟﺘﻨﻮع اﻟﺸﺪﻳﺪ‪ ،‬ﺣﻴﺚ ﺗﻘﻊ‬ ‫آﻳﺴﻠﻨﺪا ﻋﲆ اﻟﺪاﺋﺮة اﻟﻘﻄﺒﻴﺔ اﻟﺸامﻟﻴﺔ ﰲ‬ ‫ﻣﻮاﺟﻬﺔ اﺛﻨﺘني ﻣﻦ اﻟﺼﻔﺎﺋﺢ اﻟﻘﺎرﻳﺔ‪ ،‬وﺗﺮﺑﺘﻬﺎ‬ ‫وﺣﺴﺎﺳﺔ ﻟﻠﺰﻻزل‪ ،‬ومثﺔ ﺛﻼﺛﻮن ﺑﺮﻛﺎﻧﺎً‬ ‫ﺑﺮﻛﺎﻧﻴﺔ ّ‬ ‫ﻧﺸﻄﺎً واﻟﻌﺪﻳﺪ ﻣﻦ اﻟﻴﻨﺎﺑﻴﻊ اﻟﺴﺎﺧﻨﺔ اﻟﺘﻲ‬ ‫ﺗﻔﻴﺾ مبﻴﺎه ﺗﻐﲇ‪ ،‬ﺑﺠﺎﻧﺐ اﻟﻌﻮاﺻﻒ اﻟﺜﻠﺠﻴﺔ‬ ‫اﳌﺴﺘﻤﺮة واﺳﺘﻤﺮار اﻟﻨﻬﺎر ﻟﻌﺪة ﺷﻬﻮر واﻟﻠﻴﻞ‬ ‫ﻣﺜﻠﻪ ﺧﻼل اﻟﻌﺎم ﺑﺴﺒﺐ ﻣﻮﻗﻊ اﻟﺒﻼد اﳌﻤﻴﺰ‬ ‫ﻋﲆ ﻗﻤﺔ اﻟﻌﺎم‪.‬‬ ‫ﺗﺮاث اﻟﺤﻜﺎﻳﺎت وأﺳﺎﻃﻴﺮ اﻟﻔﺎﻳﻜﻨﺞ‬ ‫ﻗﺼﺺ ﻻ ﺗﻨﺘﻬﻲ‬ ‫أﻫﻢ ﻣﺎ ميﻴﺰ اﻟﺸﻌﺐ اﻷﻳﺴﻠﻨﺪي ﻫﻮ ﻋﺸﻘﻪ‬ ‫ووﻟﻌﻪ ﺑﺎﻟﺤﻜﺎﻳﺎت اﻷﺳﻄﻮرﻳﺔ واﳌﻠﺤﻤﻴﺔ‬ ‫اﻟﺘﻲ ﺗﻌﻜﺲ ﻣﺪى ﺑﺄﺳﻪ وﻗﻮﺗﻪ ﰲ ﻣﻮاﺟﻬﺔ‬ ‫اﻟﻄﺒﻴﻌﺔ اﻟﺼﻌﺒﺔ ﻫﻨﺎك‪ ،‬ومتﺜﻞ رواﻳﺔ‬

‫اﻟﺤﻜﺎﻳﺎت روح اﻟﺜﻘﺎﻓﺔ اﻷﻳﺴﻠﻨﺪﻳﺔ‪ ،‬وﺗﻌﻜﺲ‬ ‫ﻧﻮﻋﺎً ﻣﻦ اﻟﻨﺰﻋﺔ اﻟﻔﻠﺴﻔﻴﺔ ﻟﻠﺴﻜﺎن اﳌﺘﺄﻣﻠني‬ ‫ﰲ ﺣﻴﺎﺗﻬﻢ وﰲ اﻟﻄﺒﻴﻌﺔ اﻟﱪﻛﺎﻧﻴﺔ اﻟﻘﺎﺣﻠﺔ‬ ‫ﻟﺒﻼدﻫﻢ‪ ،‬وﺗﻌﻜﺲ اﻟﺤﻜﺎﻳﺎت اﻷﻳﺴﻠﻨﺪﻳﺔ‬ ‫اﻋﺘﻘﺎد اﻷﻳﺴﻠﻨﺪﻳني اﻟﺮاﺳﺦ ﰲ اﻟﺠﻦ واﻷﻗﺰام‬ ‫واﻟﻜﺎﺋﻨﺎت ﻏري اﳌﺮﺋﻴﺔ ﺑﺎﻹﺿﺎﻓﺔ إﱃ اﻟﻘﺼﺺ‬ ‫اﻟﺒﻮﻟﻴﺴﻴﺔ اﻟﺘﻲ ﻳﺸﺘﻬﺮ ﺑﻬﺎ ﻫﺬا اﻟﺒﻠﺪ‪ ،‬واﻟﺘﻲ‬ ‫ﻳﻌﺮض اﻟﻜﺜري ﻣﻦ اﻟﺠﺮاﺋﻢ اﻟﺘﻲ متﺲ ﻛﺎﻓﺔ‬ ‫ﻃﺒﻘﺎت اﳌﺠﺘﻤﻊ‪.‬‬ ‫ﺷﻜﻠﺖ ﺑﻌﺾ اﻟﺤﻜﺎﻳﺎت واﻟﻘﺼﺺ اﻟﺸﻌﺒﻴﺔ‬ ‫اﻷﺳﻄﻮرﻳﺔ وﻋﻲ ووﺟﺪان اﻷﻳﺴﻠﻨﺪﻳني‪ ،‬وﻋﲆ‬ ‫رأس ﺗﻠﻚ اﻟﺤﻜﺎﻳﺎت ﻗﺼﺔ اﻧﺘﻘﺎم »ﺑﺮوﻛﺎ‬ ‫أوﺑﻮر«‪ ،‬إﺣﺪى ﺑﻄﻼت اﻟﻔﺎﻳﻜﻨﺞ ﺑﺄﻳﺴﻠﻨﺪا‪،‬‬ ‫ﻣﻦ زوﺟﻬﺎ اﻟﺨﺎﺋﻦ ﺑﻄﻌﻨﺔ ﺑﺎﻟﺴﻴﻒ ﻗﺒﻞ‬ ‫ﻋﴩة ﻗﺮون‪ ،‬وﺗﺤﺪت ﺗﻘﺎﻟﻴﺪ ذﻟﻚ اﻟﻌﴫ‬ ‫ﺑﺎرﺗﺪاء ﴎوال وﺳﺎﻋﺪت اﻣﺮأة ﻓﻨﻠﻨﺪﻳﺔ‬ ‫أﺧﺮى ﰲ ﻗﻴﺎدة ﺑﻌﺜﺔ اﻟﻔﺎﻳﻜﻨﺞ اﻟﺜﺎﻟﺜﺔ إﱃ‬ ‫أﻣﺮﻳﻜﺎ اﻟﺸامﻟﻴﺔ ﰲ ﺑﺪاﻳﺔ اﻟﻘﺮن اﻟﺤﺎدي‬ ‫أﻏﺴﻄﺲ‪-‬ﺳﺒﺘﻤﺒﺮ ‪93 2016‬‬

‫ﻣﻮروث ﻋﺎﻟﻤﻲ‬ ‫‪baytelshear‬‬

‫ﺑﻠﺪ اﻟﺠﻠﻴﺪ واﻟﻨﺎر وأﺳﺎﻃﻴﺮ ﻣﺤﺎرﺑﻲ اﻟﻔﺎﻳﻜﻨﺞ‬

‫اﻟﻤﻮروﺛﺎت ا ﻳﺴﻠﻨﺪﻳﺔ‪..‬‬ ‫ﺑﺮاﻛﻴﻦ ﺗﻘﺬف ﺣﻤﻤ ًﺎ ﺛﻘﺎﻓﻴﺔ ﻣﻦ ﻗﻤﺔ اﻟﻌﺎﻟﻢ‬ ‫ﻣﺤﻤﺪ دروﻳﺶ‬

‫ﻋﻠﻰ ﻗﻤﺔ اﻟﻌﺎﻟﻢ ﺣﻴﺚ ﻳﺘﻼﺷﻰ ﻛﻞ ﺷﻲء وﺳﻂ اﻟﻀﺒﺎب اﻟﺴﺎﺣﺮ وﺗﺒﺮز اﻟﻄﺒﻴﻌﺔ وﺟﻬﻬﺎ اﻵﺧﺮ وﺗﺘﻐﻴﺮ اﻟﺤﻘﺎﺋﻖ اﻟﻜﻮﻧﻴﺔ ﻟﺤﻘﺎﺋﻖ‬ ‫اﺳﺘﺜﻨﺎﺋﻴﺔ ﺗﺒﺮز اﻟﻤﻮروﺛﺎت اﻷﻳﺴﻠﻨﺪﻳﺔ ﻓﻲ ﻗﺎﻟﺐ ﻟﻴﺲ ﻟﻪ ﻣﺜﻴﻞ ﺗﻤﺘﺰج ﻓﻴﻪ اﻷﺻﺎﻟﺔ ﺑﺎﻟﻌﺰﻟﺔ وﺗﺮﺗﺒﻂ ﻓﻴﻪ أﺳﺎﻃﻴﺮ ﻣﺤﺎرﺑﻲ اﻟﻔﺎﻳﻜﻨﺞ‬ ‫اﻟﻤﺨﻴﻔﺔ ﺑﻈﻼم اﻟﻠﻴﻞ اﻟﻤﻤﺘﺪ ﻣﻦ ﺧﻼل ﺷﻌﺐ ﻳﻬﻮى اﻟﺤﻴﺎة وﻳﺘﺤﺪى ﻏﻀﺐ اﻟﻄﺒﻴﻌﺔ ﻓﻲ أﺣﻠﻚ ﻇﺮوﻓﻬﺎ اﻟﻘﺎﺳﻴﺔ‪ ،‬ﻓﻔﻲ ﺑﻠﺪ اﻟﺠﻠﻴﺪ‬ ‫واﻟﻨﺎر اﻟﺘﻲ ﺗﻜﺴﻮﻫﺎ اﻟﺜﻠﻮج اﻟﺒﺎردة وﺗﻜﻮﻳﻬﺎ ﺛﻮرات اﻟﺒﺮاﻛﻴﻦ اﻟﻬﺎﺋﻠﺔ‪ ،‬ﻳﻌﺎﻧﻖ أﻫﻠﻬﺎ اﻟﺸﻤﺲ واﻟﻨﻮر ﻟﺸﻬﻮر وﻳﺘﺄﻣﻠﻮن ﻧﺠﻮم ﺳﻤﺎﺋﻬﺎ‬ ‫وﺷﻔﻘﻬﺎ اﻟﻘﻄﺒﻲ اﻟﺒﺪﻳﻊ أﺛﻨﺎء ﻟﻴﻠﻬﺎ اﻟﺪاﻣﺲ اﻟﺬي ﻻ ﻧﻬﺎﻳﺔ ﻟﻪ ﻋﻠﻰ ﻗﻤﺔ اﻟﻌﺎﻟﻢ اﻟﻘﻄﺒﻴﺔ‪ ،‬ﺣﻴﺚ ﺗﺘﻘﻠﺐ اﻟﻔﺼﻮل وﻣﻌﻬﺎ اﻟﻤﻼﻣﺢ‬ ‫ً‬ ‫ﻣﻜﻮﻧﺔ‬ ‫واﻷﻓﻜﺎر اﻟﺘﻲ ﺗﺒﺮز ﻟﻨﺎ ﺛﻘﺎﻓﺔ وﺗﻘﺎﻟﻴﺪ ﻣﻔﻌﻤﺔ ﺑﺎﻟﺤﻴﻮﻳﺔ ﺗﺆﺟﺠﻬﺎ اﻟﻤﻬﺮﺟﺎﻧﺎت اﻟﺼﺎﺧﺒﺔ ﻓﻲ اﻟﻨﻬﺎر وﺗﺮﻋﺐ أﺳﺎﻃﻴﺮﻫﺎ ﺳﻜﺎن اﻟﻠﻴﻞ‪،‬‬ ‫ﻣﻮروﺛﺎت ﺧﻴﺎﻟﻴﺔ ﺗﻨﺒﻊ ﻣﻦ ﺣﺐ اﻻﻧﻌﺰال واﻟﺘﻔﺮد وﻳﺜﺮي ﺧﻴﺎﻟﻬﺎ ﺣﺒﻬﺎ اﻟﺸﺪﻳﺪ ﻟﻠﻘﺮاءة اﻟﺘﻲ ﺗﻨﻔﺠﺮ ﻣﻦ ﺟﻮﻓﻬﺎ اﻟﺤﻤﻢ اﻟﺜﻘﺎﻓﻴﺔ وﺗﻀﻲء ﻣﺎ‬ ‫أﺳﻔﻠﻬﺎ ﺑﻨﻮرﻫﺎ وﺗﻨﺸﺮ ﻋﺒﻖ اﻟﺤﻜﺎﻳﺎت واﻟﺮواﻳﺎت ﻣﻊ رﻣﺎدﻫﺎ ﻟﻴﺤﻤﻠﻪ اﻟﺮﻳﺢ وﻳﺴﺘﻨﺸﻘﻪ ﻛﻞ ﻣﺤﺐ ﻟﻨﻮر اﻟﻌﻠﻢ واﻷدب ﻓﻲ اﻟﻌﺎﻟﻢ‪g‬‬

‫‪ 92‬ﺑﻴﺖ اﻟﺸﻌﺮ ‪ /‬اﻟﻌﺪد ‪48‬‬

‫رﺣﻼﺗﻪ اﻷوﻟﻰ‬ ‫ﺑﺪأ ﺗﺸﺎرﻟﺰ أوﱃ رﺣﻼﺗﻪ إﱃ اﻟرنوﻳﺞ‪ ،‬ﺣﻴﺚ‬ ‫درس ﺣﻘﻮل اﻟﺜﻠﺞ ﰲ ﺳﺘﺔ أﺷﻬﺮ‪ ،‬ﻟﻴﻌﻮد‬ ‫ﺑﻌﺪﻫﺎ إﱃ ﺟﺎﻣﻌﺔ ﻛﺎﻣﱪدج وﻳﺘﺤﺼﻞ‬ ‫ﻋﲆ ﺑﻜﺎﻟﻮرﻳﻮس ﺟﻴﻮﻟﻮﺟﻴﺎ‪ .‬ﺑﻌﺪ ذﻟﻚ‬ ‫اﻟﺘﻔﺖ ﻟﺪراﺳﺔ اﻟﺜﻘﺎﻓﺔ اﻟﺒﺪاﺋﻴﺔ ﻟﻠﺸﻌﻮب‪،‬‬ ‫واﺳﺘﻮﱃ ﻋﻠﻴﻪ ﺣﺐ دراﺳﺔ أوﻟﻴﺎت اﻟﺤﻀﺎرة‬ ‫اﻷوروﺑﻴﺔ‪ ،‬ﻓﺴﺎﻓﺮ ﰲ رﺣﻠﺔ ﻃﻮﻳﻠﺔ إﱃ ﻫﻮﻟﻨﺪا‬ ‫ﺛﻢ ﺑﻠﺠﻴﻜﺎ ﺛﻢ ﺟﻨﻮب ﻓﺮﻧﺴﺎ وإﻳﻄﺎﻟﻴﺎ‪ ،‬ﺛﻢ‬ ‫ﺻﻘﻠﻴﺔ واﳌﻐﺮب وﻋﺎد إﱃ إﺳﺒﺎﻧﻴﺎ ﺛﻢ اﻟﻴﻮﻧﺎن‬ ‫ﻣﺮوراً ﺑﺈﻳﻄﺎﻟﻴﺎ ﻣﺮة أﺧﺮى‪ ،‬ﺣﻴﺚ ﻛﺘﺐ‬ ‫ﻋﻦ ﺑﺮﻛﺎن ﻓﻴﺰوف اﻟﺸﻬري ﺑﻌﺪﻣﺎ ﺻﻌﺪ إﱃ‬ ‫ﻓﻮﻫﺘﻪ‪.‬‬ ‫ﻣﻊ وﻟﻌﻪ ﺑﺎﻟﺜﻘﺎﻓﺎت اﻷوﱃ‪ ،‬ﻛﺎن ﻻ ﺑ ّﺪ ﻟﺪويت‬ ‫اﻟﺴﻔﺮ إﱃ اﻟﺠﺰﻳﺮة اﻟﻌﺮﺑﻴﺔ‪ ،‬ﻓﺴﺎﻓﺮ إﱃ اﻟﺸﺎم‬ ‫وﻓﻠﺴﻄني‪ ،‬ﺛﻢ ﻗﻄﻊ ﺷﺒﻪ ﺟﺰﻳﺮة ﺳﻴﻨﺎء ﻋﲆ‬ ‫اﻟﺠﻤﻞ ﺑﺎﺗﺠﺎه ﻣﴫ‪ ،‬ﺛﻢ ﻋﺎد إﱃ ﻣﻌﺎن وﺑﱰا‬ ‫ُوأﻏﺮم ﺑﺎﻟﺤﻀﺎرة اﻟﻨﺒﻄﻴﺔ‪ .‬وﺣﻴﻨام ﺳﻤﻊ‬ ‫ﻋﻦ ﻣﺪاﺋﻦ ﺻﺎﻟﺢ‪ ،‬ﻗﺮر اﻟﺮﻛﻮب إﻟﻴﻬﺎ ﺧﺎﺻﺔ‬ ‫وأﻧﻬﺎ ﺗﻘﻊ ﻋﲆ ﻃﺮﻳﻖ ﺣﺠﺎج اﻷردن ﺑﺎﺗﺠﺎه‬ ‫اﻟﺤﺠﺎز‪ ،‬ﳌﺸﺎﻫﺪة اﻟﻨﻘﻮش اﻟﻨﺒﻄﻴﺔ ﻓﻴﻬﺎ‬ ‫ودراﺳﺘﻬﺎ‪ ،‬إﻻ أن اﻟﺴﻠﻄﺎت اﻟﱰﻛﻴﺔ رﻓﻀﺖ‬ ‫ﻃﻠﺒﻪ‪ ،‬ﻓام ﻛﺎن ﻣﻦ دويت إﻻ أن ذﻫﺐ إﱃ‬ ‫دﻣﺸﻖ ﻣﺘﺨﺬا اﺳﻢ »ﺧﻠﻴﻞ« وﺗﻌﻠﻢ اﻟﻌﺮﺑﻴﺔ‬ ‫ﻟﻴﻌﻮد ﺑﻌﺪ ﻋﺎ ٍم وﻳﺮﻛﺐ إﱃ اﻟﺤﺠﺎز ﻣﻊ رﻛﺐ‬ ‫اﻟﺸﺎم واﻧﻔﺼﻞ ﻋﻨﻪ ﰲ ﻣﺪاﺋﻦ ﺻﺎﻟﺢ ﻣﺘﻔﺮﻏﺎً‬ ‫ﻟﺪراﺳﺘﻪ‪.‬‬ ‫ﺣﻞ ﻟﻐﺰ اﻟﻠﻐﺔ اﻟﻨﺒﻄﻴﺔ‬ ‫ﻛﺎﻧﺖ زﻳﺎرﺗﻪ اﻷوﱃ ﻟﺸﺒﻪ اﻟﺠﺰﻳﺮة اﻟﻌﺮﺑﻴﺔ‬ ‫ﻋﺎم ‪ 1876‬رﻏﻢ ﺗﺤﺬﻳﺮات ﻣﻦ ﻫﻢ ﺣﻮﻟﻪ ﻣﻤﻦ‬ ‫ﻫﻮﻟﻮا ﻋﻠﻴﻪ وﺣﺸﺔ اﳌﻜﺎن وأﺧﻄﺎر اﻟﻄﺮﻳﻖ‪،‬‬ ‫ورﻏﻢ ﻓﻘﺮه اﳌﺪﻗﻊ وﻋﺪم وﺟﻮد ﻣﻤﻮل ﻟﺘﻠﻚ‬ ‫اﻟﺮﺣﻠﺔ ﺑﻌﺪﻣﺎ رﻓﻀﺖ اﻟﺮد ﻋﲆ ﺧﻄﺎﺑﺎﺗﻪ‬ ‫ﺟﻬﺎت رﺳﻤﻴﺔ ﻋﺪة‪ ،‬إﻻ أﻧﻪ ﻗﺎم ﺑﻬﺎ ﺑﻜﻞ‬ ‫ﻋﺰميﺔ وإﴏار ﺑﻌﺪﻣﺎ ﻗﴣ ﻋﺎﻣﺎً ﻛﺎﻣﻼ ﻳﺘﻌﻠﻢ‬ ‫ﻣﻦ اﻟﻌﺮﺑﻴﺔ ﻣﺎ ّ‬ ‫ميﻜﻨﻪ ﻣﻦ إﻛامل رﺣﻠﺘﻪ‪.‬‬ ‫ﺿﻢ ‪ 6000‬ﺣﺎج وأﻛرث ﻣﻦ أﻟﻒ‬ ‫وﰲ رﻛﺐ ّ‬ ‫ﺟﻤﻞ‪ ،‬ﺳﺎر ﻣﻌﻬﻢ دويت ﻋﲆ ﺣامر ﺻﻐري‬ ‫ﻳﺪل ﻋﲆ ﺗﻮاﺿﻊ ﻣﺴﺘﻮاه اﳌﺎﱄ‪ ،‬ﻣﻨﺘﺤ ًﻼ ﺻﻔﺔ‬ ‫ﻃﺒﻴﺐ ﺣﺘﻰ وﺻﻞ ﻣﺪاﺋﻦ ﺻﺎﻟﺢ ﺑﻌﺪ ‪26‬‬ ‫ﻳﻮﻣﺎً ﰲ ﻏﺎﻳﺔ اﻟﺼﻌﻮﺑﺔ‪.‬‬

‫ذﻫﺐ إﻟﻰ دﻣﺸﻖ ﻣﺘﺨﺬا‬ ‫اﺳﻢ "ﺧﻠﻴﻞ" وﺗﻌﻠﻢ اﻟﻌﺮﺑﻴﺔ‬ ‫ﻋﺎم وﻳﺮﻛﺐ إﻟﻰ‬ ‫ﻟﻴﻌﻮد ﺑﻌﺪ ٍ‬ ‫اﻟﺤﺠﺎز ﻣﻊ رﻛﺐ اﻟﺸﺎم‬ ‫ﺑﻌﺪ ﻣﺪاﺋﻦ ﺻﺎﻟﺢ أﻛﻤﻞ‬ ‫دوﺗﻲ رﺣﻠﺘﻪ إﻟﻰ ﺣﺎﺋﻞ وﺧﻴﺒﺮ‬ ‫واﻟﻘﺼﻴﻢ ﻓﻲ رﺣﻠﺔ اﻣﺘﺪت‬ ‫واﺣﺪاً وﻋﺸﺮﻳﻦ ﺷﻬﺮاً‬ ‫ﺑﺪأ ﺑﻜﺘﺎﺑﻪ اﻟﺸﻬﻴﺮ "أﺳﻔﺎر‬ ‫ﻓﻲ اﻟﺠﺰﻳﺮة اﻟﻌﺮﺑﻴﺔ" ﺑﻌﺪ ﺳﺘﺔ‬ ‫ﺷﻬﻮر ﻣﻦ ﻋﻮدﺗﻪ‪ ،‬ﻟﻴﻨﻬﻴﻪ ﺑﻌﺪ‬ ‫ﺧﻤﺴﺔ أﻋﻮام ‪1884‬‬ ‫وﻓﻮر وﺻﻮﻟﻪ ﻧﻘﻞ اﻟﻨﻘﻮش اﻟﺜﻤﻮدﻳﺔ‬ ‫واﻟﻨﺒﻄﻴﺔ ﻋﲆ أوراﻗﻪ ﻣﺤﻠ ًﻼ ودارﺳﺎً‪ ،‬ﻓﻘﺪ ﻋرث‬ ‫دويت ﻋﲆ ﻧﻘﻮش ﻧﺒﻄﻴﺔ ﻋﻈﻴﻤﺔ ﰲ ﻣﺪاﺋﻦ‬ ‫واﻟﻌﻼ‪ ،‬ﺷامل ﻏﺮيب اﳌﻤﻠﻜﺔ اﻟﻌﺮﺑﻴﺔ‬ ‫ﺻﺎﻟﺢ ُ‬ ‫اﻟﺴﻌﻮدﻳﺔ ﺣﺎﻟﻴﺎً‪.‬‬ ‫واﻟﻠﻐﺔ اﻟﻨﺒﻄﻴﺔ ﻫﻲ ﻟﻬﺠﺔ ﻣﻦ اﻟﻠﻬﺠﺎت‬ ‫اﻟﻌﺮﺑﻴﺔ ﺗﺄﺛﺮت ﺑﺎﻟﻠﻐﺔ اﻵراﻣﻴﺔ‪ ،‬وﻗﺪ ﺗﺮﻛﻮا‬ ‫ﻧﻘﻮﺷﺎً و ّﺛﻘﻮا ﺗﺎرﻳﺨﻬﻢ وﺗﺎرﻳﺦ ﻣﻤﻠﻜﺘﻬﻢ ﻣﻦ‬ ‫ﺧﻼﻟﻬﺎ‪ ،‬إﻻ أﻧﻬﺎ ﻟﻸﺳﻒ وﺻﻠﺖ ﻣﺒﺘﻮرة أو‬

‫ﻧﺎﻗﺼﺔ ﺑﺎﺳﺘﺜﻨﺎء أﺳامء اﳌﻠﻮك‪ ،‬وﻣﻊ ﺟﻤﻊ‬ ‫دويت ﻟﺘﻠﻚ اﻟﻮﺛﺎﺋﻖ‪ ،‬ﻛﺎﻧﺖ أول ﻧﻘﻮش ﻧﺒﻄﻴﺔ‬ ‫ﺗﺼﻞ أوروﺑﺎ ﻟﻬﺎ ﻛامدة ﻳﺘﻨﺎوﻟﻬﺎ اﻟﺒﺎﺣﺜﻮن‪،‬‬ ‫وﻛﺎن دويت أﻳﻀﺎً أول ﻣﻦ اﻛﺘﺸﻒ »اﻟﺤﺠﺮ«‬ ‫ﻋﺎﺻﻤﺔ اﳌﻤﻠﻜﺔ اﻟﻨﺒﻄﻴﺔ وﺳﻮﻗﻬﺎ وﻣﺪﻳﻨﺔ‬ ‫اﻷﻣﻮات‪.‬‬ ‫وﰲ ﻋﺎم ‪ 1884‬ﻧﴩ دويت ﰱ ﺑﺎرﻳﺲ مبﻌﻬﺪ‬ ‫اﻟﻨﻘﻮش ﻣﺠﻠﺪاً ﺑﻌﻨﻮان وﺛﺎﺋﻖ ﻣﻦ اﻟﴩق‬ ‫ﺿﻤﻨﻬﺎ ﺗﻠﻚ اﻟﻨﻘﻮش وﻫﻲ ﺣﻮاﱄ‬ ‫اﻷوﺳﻂ ّ‬ ‫ﺧﻤﺴني رﻗ ً‬ ‫ام‪ ،‬ﻛﺎﻧﺖ أول ﻣﺎ ﻳﻨﴩ ﻣﻨﻬﺎ ﰲ‬ ‫أوروﺑﺎ‪.‬‬ ‫ﺑﻌﺪ ﻣﺪاﺋﻦ ﺻﺎﻟﺢ أﻛﻤﻞ دويت رﺣﻠﺘﻪ إﱃ‬ ‫ﺣﺎﺋﻞ وﺧﻴﱪ واﻟﻘﺼﻴﻢ ﰲ رﺣﻠﺔ اﻣﺘﺪت‬ ‫واﺣﺪاً وﻋﴩﻳﻦ ﺷﻬﺮاً‪ ،‬ﺧﱪ ﺧﻼﻟﻬﺎ دويت‬ ‫اﻟﻜﺜري ﻣﻦ اﳌﺨﺎﻃﺮ‪ ،‬ﺣﻴﺚ ُﻃﻠﺐ رأﺳﻪ أﻛرث‬ ‫ﻣﻦ ﻣﺮة ﺑﺤﺠﺔ أﻧﻪ ﺳﺎﺣﺮ وﻟﺪﻳﻪ ﻧﻘﻮش‬ ‫وﻃﻼﺳﻢ ﻳﺤﻤﻠﻬﺎ‪ ،‬ﺧﺎﺻﺔ وأﻧﻪ ﻇﻞ ﻣﻨﺘﺤ ًﻼ‬ ‫ﳌﻬﻨﺔ اﻟﻄﺒﻴﺐ‪.‬‬ ‫ﻋﻮدﺗﻪ إﻟﻰ اﻟﺒﻼد‬ ‫ﺑﻌﺪ ﻋﺎﻣني ﺷﺎﻗني‪ ،‬ﻋﺎد دويت إﱃ إﻧﺠﻠﱰا ﰲ‬ ‫ﻧﻮﻓﻤﱪ ‪ 1878‬وﺑﺼﻌﻮﺑﺔ ﺑﺎﻟﻐﺔ وﺟﺪ ﻧﺎﴍاً‬ ‫ﻷﺑﺤﺎﺛﻪ اﻟﺘﻲ ﻋﺪﻫﺎ اﻟﻜﺜري ﻣﻦ دور اﻟﻨﴩ‬ ‫ﺑﺄﻧﻬﺎ ردﻳﺌﺔ اﻟﺸﻜﻞ واﳌﻀﻤﻮن‪.‬‬ ‫ﺛﻢ ﺑﺪأ ﺑﻜﺘﺎﺑﻪ اﻟﺸﻬري »أﺳﻔﺎر ﰲ اﻟﺠﺰﻳﺮة‬ ‫اﻟﻌﺮﺑﻴﺔ« ﺑﻌﺪ ﺳﺘﺔ ﺷﻬﻮر ﻣﻦ ﻋﻮدﺗﻪ‪،‬‬ ‫ﻟﻴﻨﻬﻴﻪ ﺑﻌﺪ ﺧﻤﺴﺔ أﻋﻮام ‪ .1884‬واﺳﺘﻄﺎع‬ ‫أن ﻳﻨﴩه ﺑﻌﺪ ﻣﻨﺎﻛﺎﻓﺎت ﻣﻊ اﻟﻨﺎﴍﻳﻦ‬ ‫مبﺴﺎﻋﺪة ”وﻟﻴﺎم راﻳﺖ“ اﳌﺘﺨﺼﺺ اﻷﺷﻬﺮ‬ ‫ﰲ اﻟﺪراﺳﺎت اﻟﻌﺮﺑﻴﺔ آﻧﺬاك‪ ،‬إﻻ أن اﻟﻜﺘﺎب‬ ‫ﻓﺸﻞ ﻓﺸ ًﻼ ذرﻳﻌﺎً وﺧﴪ اﻟﻨﺎﴍ ﻣﻦ وراﺋﻪ‬ ‫أﻛرث ﻣﻦ ‪ 300‬ﺑﺎوﻧﺪ وﻫﻲ ﺛﺮوة آﻧﺬاك‪.‬‬ ‫ﺑﻌﺪ ﻋﺎﻣني ﻣﻦ ﻧﴩ ﻛﺘﺎﺑﻪ ﺗﺰوج دويت ﻣﻦ‬ ‫»ﻛﺎروﻟني ﻣﺎك ﻣﻮردو« ﻋﺎم ‪ 1886‬وأﻧﺠﺒﺎ‬ ‫اﺑﻨﺘني‪ ،‬ﺛﻢ ﻧﴩ ﰲ اﻟﻌﺎم ‪ 1906‬دﻳﻮان ﺷﻌﺮ‬ ‫وﻃﻨﻲ ﺿﺨﻢ اﺳﻤﻪ ”اﻟﻔﺠﺮ ﰱ ﺑﺮﻳﻄﺎﻧﻴﺎ“‪،‬‬ ‫وﻣﻊ إﴏار دويت أﻋﺎد ﻧﴩ ﻛﺘﺎب ”أﺳﻔﺎر‬ ‫ﰱ اﻟﺠﺰﻳﺮة اﻟﻌﺮﺑﻴﺔ“ ﺳﻨﺔ ‪ 1908‬ﻋﲆ ﺷﻜﻞ‬ ‫ﻣﻠﺨﺺ‪ ،‬وﻟﻜﻦ ﻫﺬه اﳌﺮة ﻧﺠﺢ ﻧﺠﺎﺣﺎً ﺑﺎﻫﺮاً‪.‬‬ ‫وﺗﺘﺎﻟﺖ ﺑﻌﺪ ﻫﺬا ﻧﺠﺎﺣﺎﺗﻪ وﻇﻞ ﻳﻨﴩ اﻟﺸﻌﺮ‬ ‫ﺣﺘﻰ وﻓﺎﺗﻪ ﻋﻦ اﺛﻨني ومثﺎﻧني ﻋﺎﻣﺎً‪ 20 .‬ﻳﻨﺎﻳﺮ‬ ‫‪.1926‬‬ ‫أﻏﺴﻄﺲ‪-‬ﺳﺒﺘﻤﺒﺮ ‪91 2016‬‬

‫ﻣﻦ اﻟﻐﺮب‬ ‫‪baytelshear‬‬

‫ﺗﺴﻠﻞ ﻟﻠﺤﺞ ﻣﺘﺨﻔﻴﺎ ﺑﺎﺳﻢ »ﺧﻠﻴﻞ« وﻣﻬﻨﺔ اﻟﻄﺐ‬

‫دوﺗﻲ‪ ..‬اﻟﻨﺒﻄﻲ ا ﻧﺠﻠﻴﺰي!‬ ‫ﻫﺎﻧﻲ ﻧﺪﻳﻢ‬

‫»ﺧﻠﻴﻞ« اﻟﺬي ﺗﺨﻔﻰ وذﻫﺐ ﻣﺘﺴﻠ ًﻼ ﻓﻲ رﺣﻠﺔ ﻟﻠﺤﺞ ﺑﻌﺪﻣﺎ ﻣﻨﻌﺘﻪ اﻟﺴﻠﻄﺎت اﻟﺘﺮﻛﻴﺔ‬ ‫آﻧﺬاك‪ ،‬ﻟﻢ ﻳﻜﻦ إﻻ ﺗﺸﺎرﻟﺰ ﻣﻮﻧﺘﺎﺟﻮ دوﺗﻲ‪ ،‬اﻹﻧﺠﻠﻴﺰي‪Charles Montagu Doughty‬‬ ‫اﻟﺸﻐﻮف ﺑﺎﻟﺠﺰﻳﺮة اﻟﻌﺮﺑﻴﺔ واﻟﻤﺼ ّﺮ ﻋﻠﻰ اﻛﺘﺸﺎﻓﻬﺎ واﻟﻜﺘﺎﺑﺔ ﻋﻨﻬﺎ واﻟﺬي ﻗﺪم‬ ‫ﻷوروﺑﺎ ﻓﻴﻤﺎ ﺑﻌﺪ ﻛﺸﻮﻓﺎت ﻫﺎﻣﺔ ﻣﻦ ﺧﻼل رﺣﻠﺔ ﻣﺜﻴﺮة اﻣﺘﺪت ﻋﺎﻣﻴﻦ ﻃﻮﻳﻠﻴﻦ‪g‬‬ ‫وﻟﺪ اﻟﺸﺎﻋﺮ واﻟﺮﺣﺎﻟﺔ دوﺗﻲ ﻓﻲ ﻣﻘﺎﻃﻌﺔ ﺳﻔﻮﻟﻚ ﺑﺈﻧﺠﻠﺘﺮا ‪ 19‬أﻏﺴﻄﺲ ‪ ،1843‬ﻣﺎت‬ ‫واﻟﺪاه وﻫﻮ ﻟﻢ ﻳﺒﻠﻎ اﻟﺴﺎدﺳﺔ ﺑﻌﺪ‪ ،‬وﺗﺮﺑﻰ ﻣﻊ أﺧﻴﻪ ﻓﻲ ﻛﻨﻒ ﻋﻤﻪ ﺣﻴﺚ وﻟﺪ ﻣﻌ ّﺘﻞ‬ ‫ﻣﺎﺳﺔ ﻟﻠﺮﻋﺎﻳﺔ‪g‬‬ ‫اﻟﺠﺴﻢ وﺑﺤﺎﺟﺔ ّ‬ ‫ﺑﺪأ ﺷﻐﻔﻪ ﺑﺎﻟﺴﻔﺮ ﻣﺒﻜﺮ ًا ﻣﻦ ﺧﻼل ﻗﺮاءاﺗﻪ‪ ،‬اﻷﻣﺮ اﻟﺬي ﺟﻌﻠﻪ ﻳﻘﺪم ﻋﻠﻰ اﻟﻜﻠﻴﺔ‬ ‫اﻟﺒﺤﺮﻳﺔ‪ ،‬إﻻ أﻧﻪ رﻓﺾ ﻷﺳﺒﺎب ﺻﺤﻴﺔ ﻣﻤﺎ اﺿﻄﺮه إﻟﻰ دراﺳﺔ اﻟﺠﻴﻮﻟﻮﺟﻴﺎ ﻟﻤﻌﺮﻓﺔ‬ ‫ﻃﺒﻴﻌﺔ اﻷرض اﻟﺘﻲ ﻳﻌﺸﻖ‪g‬‬ ‫‪ 90‬ﺑﻴﺖ اﻟﺸﻌﺮ ‪ /‬اﻟﻌﺪد ‪48‬‬

‫ﺣﻠﻮ اﻟﻤﻌﺎﻧﻲ‬ ‫ﻓﺎﻫﻢ اﻟﺸﻤﻴﻠﻲ‬ @ zayed771

@@ @ @ @ @ @ @ @ @FHO2 M @@ @ @ @ @ @ @ @Jx@@ @ @ @ @ @ @ @ P= f@@ @ @ @ @ @ @ @ @ @ @ FQ H ¤@@ @ @ @ @ @ @ @g@ @ @ @ @ @ @ @ FQ HN b@@ @ @ @ @ @ @J ¤@@ @ @ EHOv@ @ @ @ R @ @ @ @EN @@ @ @ @N @ @ @ @ P @@ @ @ @¹ · I¡@ @ @ @ @ @ @ @ @ D* x@@ @ @ @p@R @ @ @ @+N N N @@ @ @F¡@@ @ @~@@O @ @6 ¤@@ @ @ @ Q @ @ @ @ @ @ @ @ DP b@@ @ @ @E · I¡@@ @ @ @ @ @ @ @ @ @ @D* d@Q @ @ @ @ @ @ @ @ @ DP ¤@@ @ E¡@@ @ O @ @ @ ~@@R @ 6H ¢@@ @ @ @ @ Q @ @ @ Db@@ @ + ¤@@ @ @ Ex@@ @ @ - b@@ @ @ @ @ @ @ @ @ @ @ @ RG4&*H @@ @ @ FN ¡@@ @ @ £O @ @ @ @<H @@ @ @gN @ @ @ p@ @ @ £@ @ @ P: @@ @ @ JN b@@ @ @ ~@@N @ @ {@ @ @ @0 @ N @ @ @ @Q @ @ @ ~@@N @ @ 7 ¤@@ @ @ @ E¡@@ @ @ @ O @ @ @ @ @0(R *H b@@ @ @ @ N @ @ @ @ @GN ¯ @@ @ @ @£Q @ @ @ @ N @ @ @ @ <N PR x@ @ @ @ @ @ @ @R @ @ @ @ @ @ JN R @ @ @Jb@@ @ @ @ @ @ < @@ @ @ @ @ PE 4Qv@ @ @ @ @ @ @ @ @ @ « @ N P @ @ @ @~@ @ @ @ z@ @ @ @ ER 4N H @@ @ F¡@@ @ @ @ @; @ ¤@@ @ @E¡@@ @ @~@@O @ @{@ @ @ JR H rM 4P b@@ @ @ @ @ @ ~@ @ @ @ @ @ 6 ¥2*¡@@ @ @ @ @ @ @ @ @ @ @AO ¢@@ @ @ ~@ @ @ @z@ @ @ @E*H @@ @ @ @ @F¡@@ @ @ @ @ CO 4R @@ @ @ @ @ J¡@@ @ @ @ @ P0 ¯ ¤@@ @ @ c@ @ @ @ @ @ @ @BN ¡@@ @ @ @ @ O @ @ @ @ @ R @ @ @ @ @ EN ¤@@ @ @ E¡@@ @ @ ~@@ O@ @ {@ @ @ @ ¹ N · M b@@ @ @ @ @ @ @ @ @ @ @< 4v@@ @ @ @ @ @ @ @ @ @ @ @ @BH @@ @ @ @ @ @ @ @ @ @ @+*5 @@ @ @F¡@@ @ @c@ @ @ E* @@ @ @ @ @ J¡@@ @ @ @ @ P0 ¯ @M @ @ @ @ Jx@@ @ @ @ ~@@ @P @ @ 7 @@ @ @ @ @ D b@@ @ @ @ @ E ¤@@ @ @ @ @E¡@@ @ @ @ @JO 4R v@@ @ £@ @ @ m@ @ @ < ¡@@ @ @ @ @ @ OG rx@@ @ @ @ @ @ @ @ ÂH rx@@ @ @ @~@ @ @ @ z@ @ @ @ JP @@ @ @ @ FN ¡@@ @ @ @ EO @@ @ @ @ @ D É@@ @ @ @ @ A ¤@@ @ @ c@ @ @ @ @ @ @ @BN ¢@@ @ @ @ @ @ @< Mv@@ @ @ @ @ @ @ @ @ @ @ @ 0&R * ¤@@ @ @ E¡@@ @ @ O @ @ @ @~@@R @ @ 6 Ãv@@ @ @ @ @ @ @ < ¡@@ @ @ @ @ G Mk@@ @ @ @ £@ @ @ @ @j@ @ @ @ @ P= Mk@@ @ @ @ @ @ @ @ @ P= @@ @ @ @ @F¡@@ @ @ @ @<O HR b@@ @ @ @ @£@ @ @ @ @ P0 @@ @ @ @ @E ¤@@ @ @ @ @ @ @ @ @ @ @ @ PE Mv@@ @ @ @ @ @ @ @ @ @ @ 0&*H ¤@@ @ E¡@@ @ @ @ @ @ @ @E xM @ @ @ @ @ @ :b@@ @ @ @ @ @1 ¤@@ @ @ Q @ @ @ @~@ @ @ @z@ @ @ @J @@ @ @ @A¡@@ @ @ @~@ @ @ @ 7 @@ @ @ @ FN ¡@@ @ @ @ D ¯ Ix@@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ JP ¢@@ @ @ @ @g@ @ @ @ @ P @ @ @ @ @ D* ¡@@ @ @ @ @ @ @ @ @ @ <O ¤@@ @ @E¡@@ @ @BO b@@ @ @ @ J @@ @ @ @ @-xP @ @ @ @ @ ~@@ @R @ @ @6HN ¥x@@ @ @ @ @ @ @ @ @-N Ì@@ @ @ @ @ @Q @ @ @ @ @ D*H @@ @ @F¡@@ @ @ @ @ @ p@R @ @ @JN @@ @ @ @ @ @ @ @ @GN · Mx@@ @ @ @ @ @ @ @ @ P= @@ @ @ £@ @ @ @£@ @ @ @p@R @ @ @ JN ¤@@ @ @E¡@@ @ @~@@Q @ @z@ @ @ D* @@ @ @£@ @ @ @ @ @ < @@ @ @ @ @ @9xQ @ @ @ @ @ @ <N °H ·b@@ @ @ @ @ @ @= @@ @ @ @ @FHx@@ @ @ @ @ @R @ @ @ @ @JN É@@ @ @ @ @ @ @ @ @ @ @ @N ´*H Áb@@ @ @ @ @ @ @ @ @ @ @ @ @ @ N ´* ¡@@ @ @ @ @ @ R @ @ @ @ @ @ P0 R ¤@@ @E¡@@ @ @ @ @ @ E d@@ @ @ @~@ @ @ @ z@ @ @ @ P @ @ @ @ D*H x@@ @ @ @ @ @ @ @ @ @ @EH Ä@@ @ @ @ @ @ @º @@ @ @FN ¡@@ @ @ O @ @ @ ; v@@ @ @ @~@@ N@ @ @7 *HRv@ @ @ @ @ @ @ @ @ @ @ @ @ / ¤@ N @ @ @ @ @ @ @ @ JN @@ @ @ @ @ @ @ R @ @ @ @ JP ¤@@ @ @ EHv@@ @ @ £@ @ @ @ P/ @@ @M @ @ @ @ 64b@@ @ @ @ @ @ A @@ @ @ @ z@ @ @ @ @ PE¡@@ @ @ @ O @ @ @ @ @JP Ã M 4 89 2016 ‫ﺳﺒﺘﻤﺒﺮ‬-‫أﻏﺴﻄﺲ‬

‫ﻣﺎﺳﺎت‬ baytelshear

‫اﻟﺜﺎر‬ (‫ﻏﺎﻳﻪ اﻟﻈﺎﻫﺮي )ﻓﺨﺮ ﺑﻼدي‬ @F5r_bladi

@@ @ @<b@@ @ @~@ @ @ 6 4b@@ @ @ @ @ @ j@ @ @ @ @ @ @D* ib@@ @ @ @ @ c@ @ @ @ @ @J b@@ @ @ @ @ @F2¡Q @ @ @ @ @ @ @ @ @ @ @ @ - b@@ @ @ @ @ @ E b@@ @ @ @ Q @ @ @ @ @E5 ¥2b@@ @ @ @ @ @ @ @ @ @ @ + @@ @ @ @ @ @ @E w@@ @ @ @ @ @ @1b@@ @ @ @ @ @ @F b@@ @ @ @ @ @ @F4b@@ @ @ @ @ @ @. @@ @ @ @ @ @ @<*43 @@ @ @ @ @ D x@@ @ ~@ @ @z@ @ @ @ @ @F @@ @ @ @ @ @ @ @ @ @ E&°* @@ @ @ z@ @ @ @Â @@ @ @ @ @ E b@@ @ @ @ Q @ @ @ @ ­ ¡@@ @ @ @ @ @ @ D @@ @ @ @ @ -b@@ @ @ @ @ £@ @ @ @ @ @ @ @ @ @ @ @ E&* @@ @ @ @ @ @ @ @ p@ @ @ @ J b@@ @ @ @ @ @ @ E @@ @ @ <b@@ @ @ :H Kb@ @ @ @ @ @ @ @ @ ~@ @ @ 6 @@ @ @ @ @:¡@@ @ @ @ @D* b@@ @ @ @ @ @ @J2b@@ @ @ @ @ @ @J ¡@@ @ @ @ @D b@@ @ @ Q @ @ @ @:H f@@ @ @ @ Ev@@ @ @ @ 1 ¯ 4b@@ @ @ @ @ @ @ @ @ @ @ @ @ @ <&°* @@ @ @ @|@ @ @ @ 1x@@ @ @ @FN @@ @ @ @<b@@ @ @ @ @ @ @ @ BH d@Q @ @ @ @ @ @ @ @ @ 0 @@ @ @ @ @ @ @< *v@@ @ @ @ @ @ @ @ @ @ @ @ @ @ F b@@ @ @ @ @ @ @ @ @ Q @ @ @ @ @C b@@ @ @ Q @ @ @ 1 ¡@@ @ @ @ @ @ @ J v@@ @ @ @ @ B b@@ @ @ @ @ E v@@ @ @ @ @ @ @ @ @ @ @ D* Í@@ @ @~@ @ @ |@ @ @ @ @ @ º @@ @ <b@@ @ @ @ @/ I¡@@ @ @ @~@ @ @ @ z@ @ @ @ J b@@ @ @ @ @ @ @ @ Q @ @ @ @ E v@@ @ @ @ @ @ @ @ @ @0*H 2x@@ @ @ @ @ @ @ @A b@@ @ @ Q @ @ @ < *v@@ @ @ @ @ @ @ @ £@ @ @ @ @ @ @ @ ´*H t@@ @ @ @ @ J4b@@ @ @ @ @ g@ @ @ @ @ @D* v@@ @ @ @ @ ~@ @ @ @ @ @{@ @ @ @ @ @F&*H @@ @ @ @ @ <b@@ @ @ @ @ +4H *¡@@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ 1&*H v@@ @ @ @ @ @ @ @ @ @ 0*H b@@ @ @ @ @ @ ~@ @ @ {@ @ @ £@ @ @ / b@@ @ @ @ Q @ @ @ @ Â ¯ °(*H y@@ @ @ @ @ @ @ @ @ @ @ @ @D* n@@ @ @ @ £@ @ @ @ @ @ @ @ @ @1 ¯ @@ @ @ <b@@ @ @ m@ @ @ @~@ @ @ @7H y@@ @ @ @ @ @ @ @ @0 Hv@@ @ @ @ @ @ @ @ @ @ @ @ @ @D Qv@ @ @ @ @ @ @ @ @ @ @ @ g@ @ @ @ @ @ F* b@@ @ @ Q @ @ @ @ @ @ @ @C b@@ @ @ @ @ @ @ @ @ @ @ @ @ JQ H b@@ @ @ @ @ @ @ @ @0É@@ @ @ @ ~@ @ @ @ @6 Í@@ @ @ @ @ @ @ @ @ @ @Eb@@ @ @ @ @ 0 @@ @ @ @<b@@ @ @ @~@ @ @ @ z@ @ @ @ -Q b@@ @ @ @+ @@ @ @ @ @ @ Q @ @ @ @ @ @ C *v@@ @ @ @ @ @ @ @ £@ @ @ @ @ @ @ @ @´* ¤@@ @ @ @ @ @ @ @ @ @ ¿ b@@ @ @ Q @ @ @ j@ @ @ g@ @ @ F* N 2b@@ @ @ @ @ @ @ @ @~@ @ @ @ @7 °*H x@@ @ @ ~@ @ @ @|@ @ @ @F b@@ @ @ @ @ @J

48 ‫ اﻟﻌﺪد‬/ ‫ ﺑﻴﺖ اﻟﺸﻌﺮ‬88

‫اﻟﺒﺪوي اﻟﻔﻠﻜﻠﻮري اﻟﻌﺮﻳﻖ وﻛﻴﻒ أﻧﱠﻬﺎ ﺗﻌﺪ‬ ‫ﻣﺤﻮراً ﻣﻬ ًام ﻟﺘﺠﻤﻴﻊ ﻣﺎ ﺗﻘﺪﻣﻪ اﻟﻮاﺣﺔ ﻣﻦ‬ ‫ﺧرياﺗﻬﺎ وﻛﻴﻒ ﺗﺮث اﳌﺮأة ﻣﻦ أﻣﻬﺎ وﺟﺪﺗﻬﺎ‬ ‫أﺳﺎﻟﻴﺐ اﻻﺳﺘﻐﻼل اﻷﻣﺜﻞ ﻟﻬﺬه اﻟﺨريات‬ ‫وﻛﻴﻒ ميﻜﻦ ﺣﻔﻈﻬﺎ ﻟﻼﺳﺘﻔﺎدة ﻣﻨﻬﺎ ﺑﻌﺪ‬ ‫ﻣﻮﺳﻢ ﺟﻨﻲ اﻟﺮﻃﺐ‪ .‬ﻛام ﺳﻴﺠﺪ ﺗﻼﺣﻢ‬ ‫اﻷﴎة اﻟﺒﺪوﻳﺔ ورﻋﺎﻳﺘﻬﺎ ﺿﻤﻦ ﻧﻄﺎق اﻟﻘﺒﻴﻠﺔ‪،‬‬ ‫وﻛﻴﻒ أن اﻟﺴﻮق ﻫﻮ ﻣﻬﺮﺟﺎن ﻣﺤﲇ داﺋﻢ‬ ‫ﺗﻠﺘﻘﻲ ﻓﻴﻪ اﻟﺨﱪات و ﻳﻌﺎد ﰲ دﻛﺎﻛﻴﻨﻪ إﻧﺘﺎج‬ ‫اﻟﱰاث ﻋﱪ اﻷﺟﻴﺎل‪.‬‬ ‫اﻟﺼﻮرة اﻟﻤﺜﻠﻰ ﻟﻠﻌﺎدات واﻟﺘﻘﺎﻟﻴﺪ‬ ‫ﻟﻘﺪ ﺑﺎت اﳌﻬﺮﺟﺎن ﻳﻌﺘﱪ ﻣﻨﺼﺔ ﺗﻌﻨﻰ ﺑﺈﺣﻴﺎء‬ ‫اﻟﱰاث وإﻋﻄﺎء اﻟﺼﻮرة اﳌﺜﲆ ﻟﻠﻌﺎدات‬ ‫واﻟﺘﻘﺎﻟﻴﺪ اﻟﺘﻲ ﻳﺘﻤﻴﺰ ﺑﻬﺎ أﺑﻨﺎء اﻹﻣﺎرات‪ ،‬إﱃ‬ ‫ﺟﺎﻧﺐ ﺗﺴﻮﻳﻖ ﻣﻨﺘﺠﺎت ﻣﺰارع اﻟﻨﺨﻴﻞ ﻣﻦ‬ ‫اﻟﺮﻃﺐ ﺑﺄﻧﻮاﻋﻬﺎ اﳌﺨﺘﻠﻔﺔ وﺗﺸﺠﻴﻌﻬﻢ ﻋﲆ‬ ‫اﻟﺘﻮﺳﻊ ﺑﺰراﻋﺔ اﻷﺻﻨﺎف اﻟﺠﻴﺪة ﻣﻦ اﻟﺘﻤﻮر‪،‬‬ ‫وزﻳﺎدة اﻟﻌﺎﺋﺪ اﻻﻗﺘﺼﺎدي ﻟﻸﴎ ﻣﻦ إﻧﺘﺎج‬ ‫وﺗﺴﻮﻳﻖ اﻟﺮﻃﺐ‪ ،‬ﻓﻀ ًﻼ ﻋﻦ ﻓﺘﺢ اﻟﻔﺮﺻﺔ‬ ‫أﻣﺎم اﻟﺠﻤﻬﻮر ﻟﻠﺘﻌﺮف ﻋﲆ اﻟﺰراﻋﺔ ﰲ‬ ‫اﻟﺪوﻟﺔ واﻟﺘﻲ ﺑﺎﺗﺖ ﺗﺸﻤﻞ أﻧﻮاع ﻣﻦ اﻟﻔﺎﻛﻬﺔ‬ ‫واﻟﺨﴬوات‪.‬‬ ‫اﻟﺒﻴﺌﺔ اﻟﺒﺤﺮﻳﺔ ﺣﺎﺿﺮة ﻓﻲ اﻟﺼﺤﺮاء‬ ‫ﻟﻘﺪ ﺳﻠﻂ ﻣﻬﺮﺟﺎن ﻟﻴﻮا ﻟﻠﺮﻃﺐ ﻣﻦ ﺧﻼل‬ ‫ﻣﻨﺼﺎﺗﻪ اﳌﺘﻨﻮﻋﺔ اﻟﻀﻮء ﻋﲆ اﻟﻌﺪﻳﺪ ﻣﻦ‬

‫اﳌﻬﻦ اﻹﻣﺎراﺗﻴﺔ اﻟﺘﻲ ﺗﺤيك ﺗﺎرﻳﺦ اﻷﺟﺪاد‬ ‫واﻵﺑﺎء‪ ،‬وﺗﺮوي ﺣﻜﺎﻳﺔ ﻋﺸﻖ ﺑني اﻷرض‬ ‫واﻟﺒﺤﺮ ﻣﻤﺰوﺟﺔ ﺑﻌﺒﻖ اﻟﺘﺎرﻳﺦ اﻷﺻﻴﻞ‪ ،‬ﺣﻴﺚ‬ ‫ﺗﻮﺳﻂ ﺳﺎﺣﺎت اﳌﻬﺮﺟﺎن ﺟﻨﺎح »اﻟﻨﻮﺧﺬة‬ ‫ﺟﻤﻌﺔ اﻟﺮﻣﻴﺜﻲ« واﻟﺬي ﻗﺪم ﻟﻠﺰاﺋﺮ ﺻﻮرة‬ ‫ﻣﴩﻗﺔ ﻷﻫﻢ اﳌﻬﻦ اﻟﺒﺤﺮﻳﺔ اﻟﱰاﺛﻴﺔ واﻟﺤﺮف‬ ‫اﳌﺮﺗﺒﻄﺔ ﺑﻬﺎ‪ ،‬واﻟﺘﻲ ﻛﺎن ميﺎرﺳﻬﺎ اﻷﺟﺪاد‬ ‫واﻵﺑﺎء ﰲ اﳌﺎﴈ‪.‬‬ ‫واﺳﺘﻘﻄﺐ ﺟﻨﺎح اﻟﺤﺮف اﻟﺒﺤﺮﻳﺔ ﰲ‬ ‫اﳌﻬﺮﺟﺎن أﻋﺪاداً ﻛﺒرية ﻣﻦ اﻟﺰوار اﻟﺸﻐﻮﻓني‬ ‫ﺑﺎﻟﺘﻌﺮف ﻋﲆ ﻛﻨﻮز اﳌﻮروث اﻹﻣﺎرايت‪ ،‬ﺣﻴﺚ‬ ‫ﺷﻜﻞ اﻟﱰاث اﻟﺒﺤﺮي اﳌﻼﺣﻲ ﺟﺰءاً أﺻﻴ ًﻼ‬ ‫ﻣﻦ اﻟﱰاث اﻟﺸﻌﺒﻲ ﰲ اﻟﺪوﻟﺔ‪ ،‬ﻛﻮﻧﻪ ﻳﺮﺗﺒﻂ‬ ‫ﺑﺸﻜﻞٍ وﺛﻴﻖ ﺑﻔﱰة ﻣﺎ ﻗﺒﻞ اﻟﻨﻔﻂ‪ ،‬وﻟﻘﺪ‬ ‫ﻣﺎرس اﻹﻣﺎراﺗﻴﻮن ﻣﻨﺬ اﻟﻘﺪم ﻣﻬﻦ اﻟﺒﺤﺮ‬ ‫‪ ،‬واﻟﺘﻲ ﺗﻀﻤﻨﺖ اﻟﻜﺜري ﻣﻦ اﻷﻋامل ﻛﺒﻨﺎء‬ ‫اﻟﺴﻔﻦ ﺑﻄﺮق ﻋﻠﻤﻴﺔ ﻣﺪروﺳﺔ‪ ،‬واﻟﺼﻴﺪ‬ ‫واﻟﻐﻮص وﺗﺠﺎرة اﻟﻠﺆﻟﺆ‪.‬‬ ‫وﺿﻢ اﻟﺠﻨﺎح ﺑﻌﺾ اﻷدوات اﻟﺘﻲ ﻛﺎن‬ ‫ﻳﺴﺘﺨﺪﻣﻬﺎ أﻫﻞ اﻟﺒﺤﺮ وﻗﺪاﻣﻰ اﻟﻨﻮاﺧﺬة‪،‬‬ ‫ﺣﻴﺚ ﻫﻨﺎك اﻟﺘﻴني‪ ،‬اﻟﺬي ﻳﻜﻮن ﻋﲆ‬ ‫ﺷﻜﻞ ﺷﺒﻜﺔ ﻣﻌﻠﻘﺔ ﰲ رﻗﺒﺔ اﻟﻐﻮاص ﻳﻀﻊ‬ ‫ﻓﻴﻬﺎ اﳌﺤﺎر ﺣﺘﻰ ﻳﺨﺮج ﻣﻦ اﳌﺎء‪ ،‬واﳌﻔﺮﻗﺔ‬ ‫اﳌﺴﺘﺨﺪﻣﺔ ﰲ ﻓﻠﻖ اﳌﺤﺎر‪ ،‬إﱃ ﺟﺎﻧﺐ أدوات‬ ‫اﻟﺼﻴﺪ وﺗﺠﺎرة اﻟﻠﺆﻟﺆ وﺑﻨﺎء اﻟﻘﻮارب وﻣﻌﺪات‬ ‫اﻟﻐﻮص ومنﺎذج ﻋﻦ اﻟﺴﻔﻦ‪ ،‬وﺿﻢ ﻛﺬﻟﻚ‬ ‫اﻟﻌﺪﻳﺪ ﻣﻦ منﺎذج اﻟﺴﻔﻦ اﻟﺘﻘﻠﻴﺪﻳﺔ وﻏريﻫﺎ‬

‫اﻟﻜﺜري ﻣﻦ اﻷﻋامل اﻟﺠﺎذﺑﺔ واﻟﺘﻲ ﺗﺮوي‬ ‫ﺣﻜﺎﻳﺔ اﻟﺒﺤﺮ وأﴎاره‪.‬‬ ‫»رﻛﻦ اﻟﻤﻄﺎﻋﻢ« اﺳﺘﻘﺒﻞ اﻷﻫﺎﻟﻲ‬ ‫وﺳﻂ أﺟﻮاء ﻣﻦ اﻟﺘﺮاث‬ ‫ﻗﺪم ﻣﻬﺮﺟﺎن ﻟﻴﻮا ﻟﻠﺮﻃﺐ ﺻﻮراً ﻣﴩﻗﺔ‬ ‫ﻟﻠﱰاث ﻣﻦ ﻛﻞ رﻛﻦ ﻣﻦ أرﻛﺎﻧﻪ‪ ،‬ﺣﻴﺚ ﺑﺎت‬ ‫»رﻛﻦ اﳌﻄﺎﻋﻢ« ﺑﺤﻠﺘﻪ اﻟﺠﺪﻳﺪة ﻧﻘﻄﺔ‬ ‫ﺟﺎذﺑﺔ ﻷﻫﺎﱄ اﳌﻨﻄﻘﺔ وزوار اﳌﻬﺮﺟﺎن‪ ،‬ﺣﻴﺚ‬ ‫ﺿﻢ ﻣﺠﻠﺴﺎً ﺗﺮاﺛﻴﺎً ﻳﻘﺪم ﻣﻦ ﺧﻼﻟﻪ ﻣﺠﻤﻮﻋﺔ‬ ‫اﻟﺘﻤﻮر واﻟﻘﻬﻮة اﻟﻌﺮﺑﻴﺔ‪ ،‬واﺳﺘﻌﺮض ﰲ‬ ‫ﺟﻨﺒﺎﺗﻪ أﻫﻢ ﻣﻜﻮﻧﺎت اﳌﻄﺒﺦ اﻹﻣﺎرايت‪.‬‬ ‫أﻏﺴﻄﺲ‪-‬ﺳﺒﺘﻤﺒﺮ ‪87 2016‬‬

‫ﻣﻬﺮﺟﺎﻧﺎت‬ ‫‪baytelshear‬‬

‫اﻟﻌﻼﻗﺔ اﻟﺤﻤﻴﺪة ﺑني اﻟﻄﻔﻞ واﳌﴪح‪ ،‬ﻣﻦ‬ ‫ﺧﻼل اﳌﻤﺜﻠني‪ ،‬اﻟﺬﻳﻦ ﻳﺘﺤﺮﻛﻮن ﻋﲆ اﳌﴪح‬ ‫ﻣﻦ دون ﺧﻮف وﻛﺄﻧﻬﻢ ﻳﻠﻌﺒﻮن‪ ،‬وﻫﻨﺎ ﺗﻨﺸﺄ‬ ‫ﻋﻼﻗﺔ ﺳﻮﻳﺔ ﺑني اﻟﻄﻔﻞ وﺧﺸﺒﺔ اﳌﴪح‪،‬‬ ‫واﻟﺬي ﻳﺸﻜﻞ ﻓﻨﺎً راﻗﻴﺎً‪ ،‬ﻛام أن اﻟﻠﺠﻨﺔ‬ ‫اﳌﻨﻈﻤﺔ وﻣﻦ ﺧﻼل ﺑﺮاﻣﺞ ﺗﺴﻌﻰ إﱃ ﻟﻌﺐ‬ ‫دور أﺳﺎﳼ وﻣﻬﻢ ﰲ ﺗﻨﻤﻴﺔ ﻋﻘﻞ اﻟﻄﻔﻞ‬ ‫ورﺑﻄﻪ مبﺎﴈ اﻷﺟﺪاد وﺗﺮاﺛﻬﻢ ﻣﻦ ﺧﻼل‬ ‫اﻟﺤﺪﻳﺚ ﺑﻠﻐﺘﻬﻢ‪ ،‬وإﺑﻼغ اﻟﺠﻴﻞ اﻟﻨﺎﺷﺊ‬ ‫ﺑﺈﻧﺠﺎزات أﺟﺪادﻫﻢ وآﺑﺎءﻫﻢ وﻣﺎ ﺣﻘﻘﻮه‬ ‫ﻣﻦ ﺑﻄﻮﻻت وﻏريﻫﺎ اﻟﻜﺜري ﻣﻦ اﻷﻣﻮر اﻟﺘﻲ‬ ‫ﺗﻌﺰز اﻟﻬﻮﻳﺔ اﻟﻮﻃﻨﻴﺔ وﺗﻐﺮس ﺣﺐ اﻟﻮﻃﻦ ﰲ‬ ‫ﻧﻔﻮس اﻷﺟﻴﺎل اﻟﺠﺪﻳﺪة‪.‬‬ ‫وأﺿﺎﻓﺖ أن اﻟﻮرﺷﺎت اﻟﱰاﺛﻴﺔ اﻟﺨﺎﺻﺔ‬ ‫ﺑﺎﻷﻃﻔﺎل ﺗﻌﺪ ﻟﻮﻧﺎً ﻣﻦ أﻟﻮان اﻟﺤﻴﺎة اﻹﻣﺎراﺗﻴﺔ‬ ‫اﻟﻘﺪميﺔ‪ ،‬ﻟﺬا وإميﺎﻧﺎً ﻣﻦ اﻟﻠﺠﻨﺔ اﳌﻨﻈﻤﺔ‬ ‫ﻟﻠﻤﻬﺮﺟﺎن ﺗﻢ إﻗﺎﻣﺔ ﺛﻼث ورﺷﺎت ﻓﻨﻴﺔ‬ ‫ﻟﻸﻃﻔﺎل‪ ،‬ﺿﻤﻦ ﻓﻌﺎﻟﻴﺎت ﻗﺮﻳﺔ اﻟﻄﻔﻞ اﻟﺘﻲ‬ ‫ﺗﺸﻬﺪ إﻗﺒﺎﻻً ﻣﺘﻤﻴﺰاً ﻣﻦ ﻗﺒﻞ أﻃﻔﺎل اﳌﻨﻄﻘﺔ‬ ‫اﻟﻐﺮﺑﻴﺔ وزوار اﳌﻬﺮﺟﺎن وأﻫﺎﻟﻴﻬﻢ اﻟﺬﻳﻦ أﺗﻮا‬ ‫ﻟﻼﺳﺘﻤﺘﺎع ﰲ ﻫﺬا اﻟﻌﺎمل اﻟﺘﺜﻘﻴﻔﻲ اﻟﺘﻌﺮﻳﻔﻲ‬ ‫اﳌﺘﻤﻴﺰ‪.‬‬ ‫ﺗﺮاث ﻏﻨﻲ ﺑﺎﻟﺤﺮف اﻟﻴﺪوﻳﺔ‬ ‫ﻟﻘﺪ ﺟﺴﺪ اﻟﺴﻮق اﻟﺸﻌﺒﻲ ﰲ ﻣﻬﺮﺟﺎن ﻟﻴﻮا‬ ‫ﻟﻠﺮﻃﺐ ‪ 2016‬اﻟﱰاث اﳌﺤﲇ اﻟﻐﻨﻲ ﺑﺎﻟﺤﺮف‬ ‫اﻟﻴﺪوﻳﺔ اﳌﺤﻠﻴﺔ اﳌﺮﺗﺒﻄﺔ ﺑﺎﻟﻨﺨﻴﻞ واﻟﺘﻤﻮر‬ ‫أﻣﺎم اﻟﺴﺎﺋﺤني اﳌﻬﺘﻤني ﺑﺤﻀﻮر اﳌﻬﺮﺟﺎن‬ ‫واﻟﺬﻳﻦ وﺟﺪوا أﻣﺎﻣﻬﻢ منﻮذﺟﺎً ﻟﻠﻮاﺣﺔ اﻟﻐﻨﺎء‬ ‫اﻟﺘﻲ ﺗﺘﺰﻳﻦ ﺑﺴﻌﻒ اﻟﻨﺨﻴﻞ اﻟﺬي متﺖ‬ ‫ﺣﻴﺎﻛﺘﻪ ﺑﺤﺮﻓﻴﺔ ﻋﺎﻟﻴﺔ وﻛﻞ ﻣﺎ ﻳﺮﺗﺒﻂ ﺑﺤﻴﺎة‬ ‫اﻷﴎة اﻟﺒﺪوﻳﺔ اﻟﺒﺴﻴﻄﺔ ﻣﻦ ﺳﺪو وﺣﻴﺎﻛﺔ‪.‬‬ ‫واﺣﺘﻮى اﻟﺴﻮق ﻋﲆ ﻋﺪ ٍد ﻣﻦ اﳌﺠﺎﻟﺲ‪ ،‬ﺗﻢ‬ ‫ﺗﻮزﻳﻌﻬﺎ ﻋﲆ اﻟﺤﺮﻓﻴﺎت ﻟﻴﻌﺮﺿﻦ ﻓﻴﻬﺎ ﺣﺮﻓﻬﻦ‬ ‫اﻟﻴﺪوﻳﺔ أﻣﺎم اﻟﺰاﺋﺮﻳﻦ‪ ،‬ﺣﻴﺚ روﻋﺔ اﳌﻨﺘﺠﺎت‬ ‫اﻟﱰاﺛﻴﺔ اﳌﺼﻨﻮﻋﺔ ﻣﻦ ﻗﺒﻞ ﻣﺠﻤﻮﻋﺔ ﻣﻦ‬ ‫اﻷﻣﻬﺎت أﻣﺎم اﻟﺰوار ﻣﺒﺎﴍة‪ ،‬ﻛام أن وﺟﻮد‬ ‫اﳌﺠﺎﻟﺲ داﺧﻞ اﻟﺴﻮق ﺑﻔﺴﺢ اﳌﺠﺎل أﻣﺎﻣﻬﻦ‬ ‫ﻟﺘﻌﻠﻴﻢ اﳌﻬﺎرات اﻟﻴﺪوﻳﺔ ﻟﻠﺠﻴﻞ اﻟﺠﺪﻳﺪ‬ ‫ﺣﻴﺚ ﺗﺴﺘﻘﺒﻞ ﻫﺬه اﳌﺒﺎدرات اﻟﻌﴩات‬ ‫ﻟﺘﻌﻠﻢ ﻫﺬه اﻟﺼﻨﺎﻋﺎت اﳌﺤﻠﻴﺔ اﻟﱰاﺛﻴﺔ اﻟﺘﻲ‬ ‫ﺗﻨﻘﻠﻬﺎ اﻟﻮاﻟﺪة ﻟﻸﺑﻨﺎء ﻛام ﻳﺰﻳﺪ ﻣﻦ ﺧﱪة‬ ‫‪ 86‬ﺑﻴﺖ اﻟﺸﻌﺮ ‪ /‬اﻟﻌﺪد ‪48‬‬

‫أﺻﺤﺎب اﻟﺼﻨﺎﻋﺎت اﻟﺘﻘﻠﻴﺪﻳﺔ واﻟﻘﺎمئني‬ ‫ﻋﻠﻴﻬﺎ أﻧﻔﺴﻬﻢ ﻣﻦ ﺧﻼل اﻟﺘﻌﺮف إﱃ أذواق‬ ‫اﻟﺠﻤﻬﻮر واﻟﺰوار ﻣﻦ اﳌﻮاﻃﻨني واﳌﻘﻴﻤني‬ ‫واﻟﺴﻴﺎح‪.‬‬ ‫وﻳﻌﺪ اﻟﺴﻮق اﻟﺸﻌﺒﻲ ﻧﻘﻄﺔ ﺟﺎذﺑﺔ‬ ‫ﻷﺑﻨﺎء اﻹﻣﺎرات واﳌﻘﻴﻤني ﻓﻴﻪ إﱃ ﺟﺎﻧﺐ‬ ‫ﻋﺪد ﻛﺒري ﻣﻦ اﻟﺴﻴﺎح‪ ،‬ﻓﺎﻟﺴﺎﺋﺢ اﻟﺬي‬ ‫ﻳﺰور ﻟﻴﻮا وﻣﻬﺮﺟﺎﻧﻬﺎ ﻻﺑ ّﺪ وأﻧﻪ ﻳﺮﺳﻢ ﺻﻮرة‬ ‫اﻟﻮاﺣﺔ اﻟﻐﻨﺎء ﰲ ﻣﺨﻴﻠﺘﻪ ﻗﺒﻞ اﻟﻮﺻﻮل‪ ،‬وﻻ‬ ‫ﺷﻚ أﻧﱠﻪ ﺳﻴﺰﻳﻦ ﺗﻠﻚ اﻟﺼﻮرة مبﺎ ﻳﻨﺘﻈﺮ أن‬ ‫ﻳﺮاه ﻣﻦ ﺣﻴﺎﻛﺔ ﻟﺴﻌﻒ اﻟﻨﺨﻞ‪ ،‬وﻣﻨﺘﺠﺎت‬ ‫ﻣﺸﺘﻘﺔ ﻣﻦ ﺳﻌﻔﻬﺎ‪ ،‬وﻣﻦ ﺣﻠﻮى اﻟﺘﻤﺮ وﻣﻌﻬﺎ‬ ‫ﻛﻞ ﻣﺎ ﻳﺮﺗﺒﻂ ﺑﺤﻴﺎة اﻷﴎة اﻟﺒﺪوﻳﺔ اﻟﺒﺴﻴﻄﺔ‬ ‫ﻣﻦ ﺳﺪو وﺣﻴﺎﻛﺔ‪.‬‬ ‫وﻳﻼﺣﻆ اﻟﺰاﺋﺮ ﻟﺤﻈﺔ دﺧﻮﻟﻪ اﻟﺴﻮق أن‬ ‫ﻛﻞ ﻣﺎ ﻫﻮ ﻣﻌﺮوض ﰲ اﻟﺴﻮق ﻣﺨﺘﺺ‬ ‫ﺑﺎﻟﺼﻨﺎﻋﺎت اﳌﺴﺘﻮﺣﺎة ﻣﻦ اﻟﱰاث واﻟﺒﻴﺌﺔ‬

‫اﻟﻘﺪميﺔ إﱃ ﺟﺎﻧﺐ ﺳﻼل اﻟﺮﻃﺐ اﻟﻴﺪوﻳﺔ‬ ‫واﻟﺮﺳﻢ ﻋﲆ اﻟﺸﻴﻞ واﻟﺤﻨﺎء وﻏريﻫام ﻣﻦ‬ ‫اﳌﺸﻐﻮﻻت اﻟﻴﺪوﻳﺔ‪ ،‬واﳌﺄﻛﻮﻻت اﻹﻣﺎراﺗﻴﺔ‪،‬‬ ‫وﻛﻞ ﻫﺬا ﻳﺄيت ﺿﻤﻦ اﺳﱰاﺗﻴﺠﻴﺔ ﻟﺠﻨﺔ إدارة‬ ‫اﳌﻬﺮﺟﺎﻧﺎت واﻟﱪاﻣﺞ اﻟﺜﻘﺎﻓﻴﺔ واﻟﱰاﺛﻴﺔ‬ ‫وﺟﻬﻮدﻫﺎ ﰲ ﺣﻔﻆ اﻟﱰاث اﳌﻌﻨﻮي ﻹﻣﺎرة‬ ‫أﺑﻮﻇﺒﻲ ودوﻟﺔ اﻹﻣﺎرات‪ ،‬وﺗﻄﻮﻳﺮه ﻣﻦ ﺧﻼل‬ ‫دﻣﺠﻪ ﰲ اﻟﺤﻴﺎة اﻟﻴﻮﻣﻴﺔ ﻟﻠﻤﺠﺘﻤﻊ‪ ،‬وﺿامن‬ ‫أنّ اﻟﱰاث اﻟﺜﻘﺎﰲ اﻟﻐﻨﻲ ﻟﻠﻤﻨﻄﻘﺔ ﺳﻴﻈﻞ ﺣﻴﺎً‬ ‫ﻣﺘﻮاﺻ ًﻼ ﰲ اﳌﺴﺘﻘﺒﻞ وﻟﻦ ﻳﺘﻌﺮض ﻟﻠﻨﺴﻴﺎن‪،‬‬ ‫ﻹميﺎﻧﻬﻢ ﺑﺄﻧﻪ ﻣﻦ اﻟﺴﻬﻞ ﺟﺪاً أن ﺗﻀﻴﻊ ﺛﻘﺎﻓﺔ‬ ‫ﻣﺎ ﰲ ّ‬ ‫ﻇﻞ رﻳﺎح اﻟﺘﻐﻴري اﻟﴪﻳﻊ إذا مل ﻳﺘﻢ‬ ‫اﻻﻫﺘامم ﺑﻬﺎ‪ ،‬وإذا مل ﻳﻜﻮﻧﻮا واﻋني ﺑﻘﻴﻤﻬﺎ‪،‬‬ ‫ﻟﺬا أﺧﺬت اﻟﻠﺠﻨﺔ ﻋﲆ ﻋﺎﺗﻘﻬﺎ اﻟﺤﻔﺎظ ﻋﲆ‬ ‫ﻫﺬا اﻟﱰاث‪.‬‬ ‫ﻛام ﻳﺮى زاﺋﺮ اﻟﺴﻮق اﻟﺸﻌﺒﻲ ﰲ اﳌﻬﺮﺟﺎن‬ ‫اﻟﺪور اﻟﺤﻴﻮي اﻟﺬي ﺗﻠﻌﺒﻪ اﳌﺮأة ﰲ اﻻﻗﺘﺼﺎد‬

‫ﻣﻨﺼﺔ ﺗﺤﻔﻴﺰﻳﺔ إﺣﻴﺎء ﻟﻠﺘﺮاث‬

‫واﺳﺘﻄﺎع اﳌﻬﺮﺟﺎن أن ﻳﺤﻘﻖ رؤﻳﺔ اﻟﻘﺎمئني‬ ‫ﻋﻠﻴﻪ ﰲ ﺟﻌﻠﻪ ﻣﺼﺪر ﺟﺬب ﻟﻠﺰوار وﻣﻨﺼﺔ‬ ‫ﺗﺤﻔﻴﺰ اﻗﺘﺼﺎدي وﺻﻨﺎﻋﻲ وإﺣﻴﺎء ﻟﻠﱰاث‬ ‫وﺗﻘﺎﻟﻴﺪه اﻟﻌﺮﻳﻘﺔ ﻣﻦ ﺧﻼل اﻷﻧﺸﻄﺔ‬ ‫واﻟﱪاﻣﺞ اﻟﻌﺪﻳﺪة وﻣﻦ ﺑﻴﻨﻬﺎ ﻣﺠﻤﻮﻋﺔ‬ ‫ﻣﺘﻤﻴﺰة ﻣﻦ اﻟﺠﻮاﺋﺰ وﺳﻂ ﺣﻀﻮر آﻻف‬ ‫اﻟﺰوار‪.‬‬ ‫ﻛام وﺷﻬﺪت اﻟﺪورة اﻟﺜﺎﻧﻴﺔ ﻋﴩة ﻣﻦ‬ ‫ﻣﻬﺮﺟﺎن ﻟﻴﻮا ﻟﻠﺮﻃﺐ ﻣﺌﺎت اﳌﺸﺎرﻛﺎت‬ ‫مبﺴﺎﺑﻘﺎﺗﻬﺎ اﳌﺘﻨﻮﻋﺔ ﺳﻮاء ﰲ اﻟﺮﻃﺐ ﻓﺌﺎت‬ ‫اﻟﺪﺑﺎس واﻟﺨﻼص واﻟﺨﻨﻴﺰي وﺑﻮﻣﻌﺎن‬ ‫واﻟﻔﺮض واﻟﻨﺨﺒﺔ أو ﰲ ﻣﺴﺎﺑﻘﺔ أﺟﻤﻞ‬ ‫ﻣﺠﺴﻢ ﺗﺮايث وﻣﺴﺎﺑﻘﺔ اﳌﺎﻧﺠﻮ واﻟﻠﻴﻤﻮن‬ ‫وﻣﺴﺎﺑﻘﺔ اﳌﺰرﻋﺔ اﻟﻨﻤﻮذﺟﻴﺔ وﻣﺴﺎﺑﻘﺔ‬ ‫ﺳﻠﺔ ﻓﻮاﻛﻪ اﻟﺪار وﻣﺴﺎﺑﻘﺔ أﻃﻮل ﻧﺨﻠﺔ ﰲ‬ ‫ﻣﺤﺎﴐ ﻟﻴﻮا‪ ،‬وﻫﻮ ﻣﺎ ﻳﻌﻜﺲ اﻫﺘامم أﻫﻞ‬ ‫اﻹﻣﺎرات ﺑﺎﳌﻬﺮﺟﺎن اﻟﺬي اﺗﻀﺢ ﻣﻦ ﺟﻮدة‬ ‫اﳌﺸﺎرﻛﺎت ﰲ ﻣﺴﺎﺑﻘﺎت اﻟﺮﻃﺐ‪.‬‬ ‫وﻛﻌﺎدﺗﻬﺎ ﺣﺮﺻﺖ اﻟﻠﺠﻨﺔ اﳌﻨﻈﻤﺔ‬ ‫ﻟﻠﻤﻬﺮﺟﺎن ﻋﲆ ﺗﻘﺪﻳﻢ ﻛﻞ ﻣﺎ ﻫﻮ ﺟﺪﻳﺪ‬ ‫ﰲ ﻋﺎمل اﻟﱰاث‪ ،‬ﺣﻴﺚ اﺳﺘﺤﺪﺛﺖ ﻋﲆ‬ ‫ﻫﺎﻣﺶ اﻟﺴﻮق اﻟﺸﻌﺒﻲ ﻫﺬا اﻟﻌﺎم ﻣﺴﺎﺑﻘﺔ‬ ‫اﻟﺤﻔﺎظ ﻋﲆ اﻟﱰاث ﻛام ﻧﺠﺢ اﳌﻬﺮﺟﺎن‬ ‫ﰲ ﺗﺤﻘﻴﻖ ﺟﻤﻠﺔ ﻣﻦ اﻷﻫﺪاف اﻟﺴﺎﻣﻴﺔ‬ ‫ﻣﻦ ﺿﻤﻨﻬﺎ ﺗﺸﺠﻴﻊ اﻷﺟﻴﺎل اﻟﺠﺪﻳﺪة ﻋﲆ‬ ‫اﻟﺘﻌﺮف ﻋﲆ اﻟﺘﺎرﻳﺦ واﻟﱰاث ﻋﱪ اﻟﺤﻔﺎظ‬ ‫ﻋﻠﻴﻪ واﻻﺣﺘﻔﺎء ﺑﻪ‪ ،‬واﳌﻬﺮﺟﺎن ﻗ ّﺪم إﺿﺎﻓﺔ‬ ‫ﻟﺬﻟﻚ‪ ،‬ﻋﺪداً ﻣﻦ اﻟﻔﻌﺎﻟﻴﺎت اﻟﺘﻲ ﻳﻨﻔﺮد‬ ‫ﺑﻬﺎ ‪ ،‬ﻛام متﻜﻦ ﺟﻤﻴﻊ زوار اﳌﻬﺮﺟﺎن ﻣﻦ‬ ‫ﺗﺬوق أﻧﻮاع اﻟﺮﻃﺐ اﳌﺨﺘﻠﻔﺔ اﳌﻌﺮوﺿﺔ‬ ‫ﻓﻴﻪ واﻻﺳﺘﻤﺘﺎع ﺑﺬﻟﻚ‪ ،‬وذﻟﻚ ﺳﻌﻴﺎً ﻣﻦ‬ ‫ﻟﺠﻨﺔ إدارة اﳌﻬﺮﺟﺎﻧﺎت واﻟﱪاﻣﺞ اﻟﺜﻘﺎﻓﻴﺔ ﰲ‬ ‫أﺑﻮﻇﺒﻲ ﻧﺤﻮ ﺗﻜﺮﻳﺲ ﺛﻘﺎﻓﺔ اﻟﻨﺨﻴﻞ واﻟﺮﻃﺐ‬ ‫ﰲ أذﻫﺎن ﻣﺨﺘﻠﻒ اﻷﺟﻴﺎل ﺑﺎﻟﺪوﻟﺔ‪.‬‬ ‫اﻟﺘﺮﻓﻴﻪ واﻟﺘﻌﻠﻴﻢ ﻓﻲ ﺧﻴﻤﺔ اﻷﻃﻔﺎل‬ ‫إنّ اﳌﺘﺎﺑﻊ ﻟﻔﻌﺎﻟﻴﺎت ﻗﺮﻳﺔ اﻟﻄﻔﻞ ﰲ ﻣﻬﺮﺟﺎن‬ ‫ﻟﻴﻮا ﻟﻠﺮﻃﺐ ‪ 2016‬ﻻ ميﻜﻨﻪ إ ّﻻ اﻟﺘﻮﻗﻒ ﻋﲆ‬

‫»اﻟﺨﻴﺎﻃﺔ واﻟﺼﺒﻎ« مبﺸﺎرﻛﺔ ﻣﺠﻤﻮﻋﺔ ﻣﻦ‬ ‫ﺳﻴﺪات اﳌﻨﻄﻘﺔ اﻟﻐﺮﺑﻴﺔ‪ ،‬واﻟﻠﻮايت ﻳﻘﻤﻦ‬ ‫ﺑﺨﻴﺎﻃﺔ أﺛﻮاب )ﻛﻨﺪورة( ﻣﻦ اﻷﻗﻤﺸﺔ‬ ‫اﻟﺒﻴﻀﺎء وﻣﻦ ﺛﻢ ﺻﺒﻎ اﻟﻜﻨﺪورة ﺑﻠﻮن‬ ‫ﺗﺤﺪده اﻟﻠﺠﻨﺔ اﳌﻨﻈﻤﺔ‪ ،‬وﻳﻜﻮن اﻹﻧﺘﺎج ﻣﻦ‬ ‫ﺧﻼل اﻟﻄﺮق اﻟﺘﻘﻠﻴﺪﻳﺔ ﰲ اﻟﺨﻴﺎﻃﺔ واﻟﺼﺒﻎ‬ ‫ﻣﻊ اﺳﺘﻌامل ﻣﻮاد ﻃﺒﻴﻌﻴﺔ ﰲ اﻟﺼﺒﻎ‪.‬‬ ‫وﺗﻌﺪ »اﻟﺨﻴﺎﻃﺔ واﻟﺼﺒﻎ« ﻣﻦ اﳌﻬﻦ اﻟﻘﺪميﺔ‬ ‫اﻟﺘﻲ ﻛﺎﻧﺖ ﺗﺸﻬﺪﻫﺎ دوﻟﺔ اﻹﻣﺎرات‪ ،‬ﺣﻴﺚ‬

‫ﻛﺎﻧﻮا ﰲ اﳌﺎﴈ ﻳﻘﻮﻣﻮن ﺑﺘﺼﻨﻴﻊ اﳌﻼﺑﺲ‬ ‫اﻟﺘﻲ ﺗﺘﻨﺎﺳﺐ ﻣﻊ اﻟﺜﻘﺎﻓﺔ اﻹﻣﺎراﺗﻴﺔ‪،‬‬ ‫ﻣﻨﺬ ﻟﺤﻈﺔ دﺧﻮﻟﻚ اﳌﻬﺮﺟﺎن ﺗﺸﻌﺮ أﻧﻚ‬ ‫أﻣﺎم اﻷﺟﺪاد واﻵﺑﺎء وﻛﻞ ﻣﺎ ﺗﻢ ﺗﻮارﺛﻪ ﻋﱪ‬ ‫اﻟﻮﻗﺖ ﻣﻦ ﻋﺎدات وﺗﻘﺎﻟﻴﺪ وﻣﺼﻨﻮﻋﺎت‬ ‫وﻣﺸﻐﻮﻻت ﻳﺪوﻳﺔ وﺣﺮﻓﻴﺔ‪ ،‬وﻣﺎ ﻛﺎن‬ ‫ﻫﺬا اﻟﻨﺠﺎح ﻟﻴﺘﺤﻘﻖ ﻟﻮﻻ دﻋﻢ ورﻋﺎﻳﺔ‬ ‫اﻟﻘﻴﺎدة اﻟﺮﺷﻴﺪة واﻟﺤﻜﻴﻤﺔ ﻟﻔﻌﺎﻟﻴﺎت ﻫﺬا‬ ‫اﳌﻬﺮﺟﺎن ﻣﻨﺬ اﻟﻔﻜﺮة اﻷوﱃ ﻟﻪ‪.‬‬

‫أﻫﻤﻴﺔ اﻟﱪاﻣﺞ واﻷﻧﺸﻄﺔ اﻟﺘﻲ ﻗﺪﻣﺘﻬﺎ‪ ،‬ﺣﻴﺚ‬ ‫أﻧّﻬﺎ مل ﺗﻌﻤﻞ ﻋﲆ اﻟﱰﻓﻴﻪ ﻋﻦ اﻷﻃﻔﺎل ﻓﻘﻂ‬ ‫ﺑﻞ ﺑﺎﺗﺖ مبﺜﺎﺑﺔ ﻣﺮﺷﺪ ﺗﻮﻋﻮي وﺗﺜﻘﻴﻔﻲ‬ ‫ﻟﻜﺎﻓﺔ اﻟﻔﺌﺎت اﻟﻌﻤﺮﻳﺔ‪ ،‬ﺗﺴﺘﻌﻴﺪ ﻣﻦ ﺧﻼﻟﻪ‬ ‫اﳌﺎﴈ اﻟﺠﻤﻴﻞ وﺗﻔﺘﺨﺮ ﺑﺈﻧﺠﺎزات اﻟﺤﺎﴐ‬ ‫اﳌﴩق‪ ،‬ﺣﺘﻰ ميﻜﻨﻨﺎ اﻟﻘﻮل أﻧﻬﺎ ﻋﺎمل ﻣﻦ‬ ‫اﻟﺘﺜﻘﻴﻒ ﺑﻘﺎﻟﺐ ﻣﻤﺘﻊ وﺑﺴﻴﻂ‪.‬‬ ‫ﻛام ﻗﺪم اﻹﻋﻼﻣﻲ ﺳﻌﻴﺪ اﳌﻌﻤﺮي اﻟﻔﻌﺎﻟﻴﺎت‬ ‫اﻟﱰاﺛﻴﺔ اﻟﺘﻲ ﻧﻈﻤﺘﻬﺎ ﻟﺠﻨﺔ إدارة اﳌﻬﺮﺟﺎﻧﺎت‬ ‫واﻟﱪاﻣﺞ اﻟﺜﻘﺎﻓﻴﺔ واﻟﱰاﺛﻴﺔ ﰲ أﺑﻮﻇﺒﻲ ﻋﲆ‬ ‫ﻣﴪح اﻟﻄﻔﻞ ﰲ ﻣﻬﺮﺟﺎن ﻟﻴﻮا ﻟﻠﺮﻃﺐ‪،‬‬ ‫وﺑﺎﻟﺘﻌﺎون ﻣﻊ ﻋﺪد ﻣﻦ اﻟﺠﻬﺎت اﻟﺮاﻋﻴﺔ‬ ‫واﻟﺪاﻋﻤﺔ‪ ،‬ﺣﻴﺚ ﻧﻘﻞ اﻷﻃﻔﺎل وذوﻳﻬﻢ إﱃ‬ ‫ﻋﺎمل ﻣﻦ اﻟﻔﺮح واﳌﺮح اﳌﻤﺰوﺟني ﺑﺎﻟﱰاث‬ ‫واﻟﻌﺎدات واﻟﺘﻘﺎﻟﻴﺪ‪.‬‬ ‫وأﻛﺪ اﳌﻌﻤﺮي أن ﻟﻘﺎءه ﻣﻊ اﻷﻃﻔﺎل واﻟﺸﺒﺎب‬

‫وأﻫﺎﻟﻴﻬﻢ وﺳﻂ أﺟﻮاء ﺗﺮاﺛﻴﺔ ﻳﺠﻌﻠﻨﻲ أﺑﺪع ﰲ‬ ‫اﻟﻄﺮح اﻟﺬي أﻗﺪﻣﻪ ﻋﲆ ﻣﻨﺼﺔ ﻗﺮﻳﺔ اﻟﻄﻔﻞ‪،‬‬ ‫ﻣﺸرياً إﱃ ﺣﺠﻢ اﻟﺘﻔﺎﻋﻞ اﻟﺬي ﺷﻬﺪﺗﻪ ﻗﺮﻳﺔ‬ ‫اﻟﻄﻔﻞ ﻳﻮﻣﻴﺎً ﻃﻴﻠﺔ أﻳﺎم اﳌﻬﺮﺟﺎن‪ ،‬ﺣﻴﺚ‬ ‫اﺳﺘﻘﻄﺒﺖ اﻟﻔﻌﺎﻟﻴﺎت واﻷﻧﺸﻄﺔ اﻟﺘﻲ ﺗﻘﻴﻤﻬﺎ‬ ‫اﻟﻘﺮﻳﺔ ﻛﺎﻓﺔ اﻟﻔﺌﺎت واﻟﻌامر ﻣﻦ ﻧﺴﺎء ورﺟﺎل‬ ‫وأﻃﻔﺎل وﺷﺒﺎب‪.‬‬ ‫ﻣﻦ ﺟﺎﻧﺒﻬﺎ‪ ،‬ﻗﺎﻟﺖ ﻟﻴﲆ اﻟﻘﺒﻴﴘ ﻣﺪﻳﺮة ﻓﻌﺎﻟﻴﺎت‬ ‫ﺧﻴﻤﺔ اﻟﻄﻔﻞ ﰲ ﻣﻬﺮﺟﺎن ﻟﻴﻮا ﻟﻠﺮﻃﺐ إنّ‬ ‫أﻫﻤﻴﺔ ﻫﺬه اﻟﻔﻌﺎﻟﻴﺎت ﺗﻜﻤﻦ ﰲ أﻧﻬﺎ رﺳﺎﻟﺔ‬ ‫ﺗﻮﻋﻮﻳﺔ ﺑﺄﻫﻤﻴﺔ اﻻرﺗﻘﺎء ﺑﺬاﺋﻘﺔ اﻟﻄﻔﻞ‬ ‫وﺗﺮﺳﻴﺦ أﺳﺲ اﳌﴪح ﻟﺪﻳﻪ وﻏﺮس ﻗﻴﻤﺔ‬ ‫اﻟﻌﻤﻞ اﻟﺠامﻋﻲ ﰲ ﻧﻔﺴﻪ‪ ،‬وﻋﲆ اﻟﻌﺪﻳﺪ ﻣﻦ‬ ‫اﻟﺠﻮاﻧﺐ اﻷﺧﺮى‪ ،‬أﻫﻤﻬﺎ ﻛﻴﻔﻴﺔ اﻻﺳﺘﻔﺎدة‬ ‫ﻣﻦ اﻟﻮﻗﺖ‪.‬‬ ‫وأﺷﺎرت إﱃ أنّ ﻣﺜﻞ ﻫﺬه اﳌﻬﺮﺟﺎﻧﺎت ﺗﺨﻠﻖ‬ ‫أﻏﺴﻄﺲ‪-‬ﺳﺒﺘﻤﺒﺮ ‪85 2016‬‬

‫ﻣﻬﺮﺟﺎﻧﺎت‬ ‫‪baytelshear‬‬

‫وﺿﻌﻬﺎ ﻟﻠﻤﺴﺎﺑﻘﺎت اﻟﱰاﺛﻴﺔ‪ ،‬ﻣﺎ اﻧﻌﻜﺲ ﻋﲆ‬ ‫ﻣﺴﺘﻮى اﻹﻗﺒﺎل اﳌﺘﺰاﻳﺪ ﻣﻦ اﻟﺰوار ﻟﻼﺳﺘﻤﺘﺎع‬ ‫ﺑﺎﻟﻔﻌﺎﻟﻴﺎت اﻟﱰاﺛﻴﺔ‪ ،‬ﻣﻮﺿﺤﺎً أن اﻟﻠﺠﻨﺔ‬ ‫اﻟﻌﻠﻴﺎ اﳌﻨﻈﻤﺔ ﻟﻠﻤﻬﺮﺟﺎن ذﻟﻠﺖ ﺟﻤﻴﻊ‬ ‫اﻟﻌﻘﺒﺎت اﻟﺘﻲ ميﻜﻦ أن ﺗﺼﺎدف ﻋﺸﺎق‬ ‫اﻟﻨﺨﻴﻞ واﳌﻬﺘﻤني ﺑﺎﻟﺰراﻋﺔ‪ ،‬وﺳﻌﺖ ﺟﺎﻫﺪة‬ ‫ﻟﺘﻠﺒﻲ اﳌﺴﺎﺑﻘﺎت واﻟﻔﻌﺎﻟﻴﺎت اﳌﻘﺪﻣﺔ ﻛﺎﻓﺔ‬ ‫اﺣﺘﻴﺎﺟﺎت وﻣﺘﻄﻠﺒﺎت اﻟﺠﻤﻬﻮر واﻷﻫﺎﱄ‬ ‫ﻣﻤﻦ ﻳﺤﺮﺻﻮن ﻋﲆ اﻟﺘﻤﺴﻚ ﺑﺎﻟﱰاث‬ ‫واﻟﻌﺎدات واﻟﺘﻘﺎﻟﻴﺪ‪.‬‬ ‫ﺗﺤﻮل‬ ‫إﱃ‬ ‫اﳌﺰروﻋﻲ‬ ‫وأﺷﺎر‬ ‫ﻣﻬﺮﺟﺎن ﻟﻴﻮا ﻟﻠﺮﻃﺐ إﱃ ﻛﺮﻧﻔﺎل اﺟﺘامﻋﻲ‬ ‫ﻳﻬﺘﻢ ﺑﺎﻷﴎة واﻟﻄﻔﻞ ﺑﺸﻜﻞ رﺋﻴﴘ إﱃ‬ ‫ﺟﺎﻧﺐ اﻫﺘامﻣﻪ ﺑﺎﻟﺜﻘﺎﻓﺔ واﻟﱰاث واﻟﻨﺨﻴﻞ‬ ‫وﻣﻨﺘﺠﺎﺗﻪ ﻣﻦ رﻃﺐ ومتﺮ‪ ،‬ﺣﻴﺚ ﺣﻘﻘﺖ‬ ‫اﻟﱪاﻣﺞ اﻟﺜﻘﺎﻓﻴﺔ واﳌﺴﺎﺑﻘﺎت اﻟﱰﻓﻴﻬﻴﺔ‬ ‫ﺿﻤﻦ ﻓﻌﺎﻟﻴﺎت اﳌﻬﺮﺟﺎن ﻧﺠﺎﺣﺎً ﻛﺒرياً ﺳﺎﻫﻢ‬ ‫ﰲ ﺟﺬب اﻵﻻف ﻣﻦ اﻷﻃﻔﺎل واﻟﻌﺎﺋﻼت‬ ‫إﱃ ﻣﻮﻗﻊ اﻟﺤﺪث ﰲ ﻣﺪﻳﻨﺔ ﻟﻴﻮا اﻟﻮاﻗﻌﺔ‬ ‫ﻋﲆ ﺑﻮاﺑﺔ ﺻﺤﺮاء اﻟﺮﺑﻊ اﻟﺨﺎﱄ ﰲ اﳌﻨﻄﻘﺔ‬ ‫اﻟﻐﺮﺑﻴﺔ‪.‬‬ ‫اﻟﻔﻨﻮن اﻟﺸﻌﺒﻴﺔ ﺗﻤﺎﻳﻠﺖ ﻋﻠﻰ أﻏﺼﺎن‬ ‫اﻟﻨﺨﻴﻞ‬ ‫واﻟﻼﻓﺖ ﰲ ﻛﻞ دورة‪ ،‬ﺣﺮص اﻟﻔﺮق اﻟﺸﻌﺒﻴﺔ‬ ‫ﻋﲆ اﻟﺘﻮاﺟﺪ ﻛﺎﻓﺔ أﻳﺎم اﳌﻬﺮﺟﺎن ﻟﺘﻘﺪﻳﻢ أروع‬ ‫اﻟﻌﺮوض‪ ،‬ﺣﻴﺚ زﻳﻨﺖ ﻓﺮق اﻟﻌﻴﺎﻟﺔ واﻟﻴﻮﻟﺔ‬ ‫ﻣﻬﺮﺟﺎن ﻟﻴﻮا ﻟﻠﺮﻃﺐ‪ ،‬ﻣﻦ ﺧﻼل اﻟﴬب‬ ‫ﻋﲆ اﻟﻄﺒﻮل واﻟﺪﻓﻮف وآﻟﺔ »اﻟﻄﻮس«‪،‬‬ ‫اﻟﺘﻲ ﺟﺬﺑﺖ اﻷﻫﺎﱄ واﻟﺰوار ﻟﻼﺳﺘﻤﺘﺎع ﺑﻬﺬه‬ ‫اﻟﻠﻮﺣﺎت اﻟﱰاﺛﻴﺔ اﻟﺒﻬﻴﺔ‪ ،‬ﺣﻴﺚ أﺧﺬ اﻟﺒﻌﺾ‬ ‫ﻳﻘﻠﺪ ﺣﺮﻛﺎت »اﻟﻌﻴﺎﻟﺔ« ﺣﺘﻰ ﻳﺘﻘﻨﻬﺎ‪ ،‬واﻵﺧﺮ‬ ‫ﻳﺘامﻳﻞ ﻣﺮدداً اﻟﻜﻠامت اﻟﻐﻨﺎﺋﻴﺔ اﳌﻨﺘﻘﺎة ﻣﻦ‬ ‫ﺻﻤﻴﻢ اﻟﻬﻮﻳﺔ اﻟﻮﻃﻨﻴﺔ واﻟﱰاﺛﻴﺔ‪.‬‬ ‫وﻗﺎل أﻋﻀﺎء ﻓﺮﻗﺔ اﻟﻌﻴﺎﻟﺔ اﳌﺸﺎرﻛﺔ إن‬ ‫اﻟﻔﻨﻮن اﻟﺸﻌﺒﻴﺔ ﳌﺠﺘﻤﻊ اﻹﻣﺎرات ﻛﺜرية‬ ‫وﺗﺤﻤﻞ ﻣﻌﺎين ﻛﺒرية‪ ،‬ﺣﻴﺚ إن اﺳﺘﻌﺮاض‬ ‫اﻟﻌﻴﺎﻟﺔ ﺗﻠﻘﻰ إﻗﺒﺎﻻً ﻣﻠﺤﻮﻇﺎً ﰲ اﻟﻌﺪﻳﺪ‬ ‫ﻣﻦ اﳌﻨﺎﺳﺒﺎت‪ ،‬وﺗﻌﺘﱪ ﻣﻦ أوﺳﻊ ﻣﻼﻣﺢ‬ ‫اﻟﻔﻠﻜﻠﻮر اﻹﻣﺎرايت اﻧﺘﺸﺎراً‪ ،‬وﺗﺘﻔﺮع اﻟﻌﻴﺎﻟﺔ‬ ‫إﱃ ‪ 3‬ﻣﺠﻤﻮﻋﺎت ﺗﻘﻮم ﻛﻞ ﻣﻨﻬﺎ ﺑﺪور أﺳﺎﳼ‬ ‫‪ 84‬ﺑﻴﺖ اﻟﺸﻌﺮ ‪ /‬اﻟﻌﺪد ‪48‬‬

‫ﻻﺳﺘﻜامل اﳌﺸﻬﺪ اﻟﻔﻨﻲ اﻟﻌﺎم‪ ،‬وﻫﻨﺎك اﻟﻔﺮق‬ ‫اﳌﺤﱰﻓﺔ اﻟﺘﻲ ﺗﻘﻮم ﺑﺎﻟﴬب ﻋﲆ اﻟﻄﺒﻮل‬ ‫ﻣﺨﺘﻠﻔﺔ اﻷﺷﻜﺎل واﻟﺪﻓﻮف‪ ،‬وﻛﺬﻟﻚ ﻋﲆ آﻟﺔ‬ ‫»اﻟﻄﻮس« اﳌﺼﻨﻮﻋﺔ ﻣﻦ اﻟﻨﺤﺎس وﻣﻬﻤﺘﻬﺎ‬ ‫ﺗﻘﺪﻳﻢ اﻟﻠﺤﻦ واﻹﻳﻘﺎع اﻟﺤامﳼ اﳌﻨﺎﺳﺐ‬ ‫ﻟﻠﻨﺺ اﻷﻗﺮب إﱃ اﻟﺸﻌﺮ اﻟﻨﺒﻄﻲ‪.‬‬ ‫وأﺷﺎروا إﱃ أن واﺟﻬﺔ اﻟﻔﺮﻗﺔ ﻫﻮ رﺟﻞ‬ ‫ﻣﺴﻦ ﺑﺎﻟﻌﺎدة‪ ،‬ﺑﺤﻴﺚ ﻳﻘﻮد اﻟﻔﺮﻗﺔ ﻣﻦ‬ ‫ﺧﻼل أداﺋﻪ اﳌﺨﺘﻠﻒ‪ ،‬وﻫﻮ ﻳﻠﻒ ﺣﻮل رﻗﺒﺘﻪ‬ ‫ﻃﺒﻠﺔ أﺳﻄﻮاﻧﻴﺔ اﻟﺸﻜﻞ ذات وﺟﻬني ﺗﺴﻤﻰ‬ ‫»ﻛﺎﴎ« ﻳﺪق ﻋﻠﻴﻬﺎ ﺑﻘﻮة يك ﻳﺨﺮج ﻣﻨﻬﺎ‬ ‫اﻹﻳﻘﺎع ﺑﺄﻋﲆ ﺻﻮت ﻳﺼﻞ ﺻﺪاه إﱃ ﻋﴩات‬ ‫اﻷﻣﺘﺎر‪.‬‬ ‫وأﺿﺎﻓﻮا أن اﻟﻔﺮﻗﺔ اﻟﺜﺎﻧﻴﺔ ﻫﻲ ﻏﺎﻟﺒﺎً ﻣﻦ‬ ‫اﻟﺤﻀﻮر ودورﻫﺎ اﻟﻄﻮاف ﺑني اﻟﻔﺮﻗﺘني‬ ‫اﻷﺧﺮﻳني‪ ،‬ﻓﺮﻗﺔ اﻟﻌﺰف وﻓﺮﻗﺔ اﻹﻧﺸﺎد‬

‫واﻟﺮﻗﺺ‪ ،‬ﺣﻴﺚ ﻳﻄﻮف أﻓﺮادﻫﺎ ﺑني‬ ‫اﻟﻔﺮﻗﺘني ﺑﺨﻴﻼء وﻛﱪﻳﺎء ﻣﻤﺴﻜني ﺑﺎﻟﺒﻨﺎدق‬ ‫أواﳌﺴﺪﺳﺎت أو ﺣﺘﻰ ﻳﻠﻮﺣﻮن ﺑﺎﻟﺴﻴﻮف‪.‬‬ ‫وأﻛﺪوا أن ﻫﺬه اﻟﻔﻨﻮن وﺑﺤﺴﺐ اﳌﺘﺪاول‬ ‫ﺗﻌﱪ ﻋﻦ رﻣﺰ اﻟﺸﺠﺎﻋﺔ واﻹﻗﺪام ﳌﺎ متﺜﻠﻪ‬ ‫ﻋﱪ ﺧﻄﻮاﺗﻬﺎ اﻟﻘﺎمئﺔ ﻋﲆ ﺣﺮﻛﺔ اﻟﺴﻴﻮف‬ ‫واﻟﺒﻨﺎدق واﺳﺘﻌﺮاض اﳌﻬﺎرات اﻟﺠﺴﺪﻳﺔ‬ ‫ﻟﻜﻞ ﻣﻦ ﻳﺆدﻳﻬﺎ ﻣﻦ أﻋﻀﺎء اﻟﻔﺮﻗﺔ‪ ،‬وأﻛرث ﻣﻦ‬ ‫ذﻟﻚ‪ ،‬ﻓﻬﻲ ﺗﻌﺒري ﻻﻓﺖ ﻋﻦ ﺻﻔﺎت اﻟﺸﺠﺎﻋﺔ‬ ‫واﻟﺸﻬﺎﻣﺔ اﳌﺘﻤﺜﻠﺔ مبﻼﻣﺢ اﻟﻔﺮح واﻟﻔﺨﺮ‬ ‫اﳌﺮﺳﻮﻣﺔ ﻋﲆ أوﺟﻪ اﳌﺸﺎرﻛني ﻓﻴﻬﺎ‪.‬‬ ‫ﺗﺸﺠﻴﻊ اﻷﺟﻴﺎل اﻟﺠﺪﻳﺪة ﻋﻠﻰ اﻟﺘﻌﺮف‬ ‫ﻋﻠﻰ اﻟﺘﺎرﻳﺦ واﻟﺘﺮاث‬ ‫ﻟﻘﺪ أﺑﺪع اﳌﻬﺮﺟﺎن ﰲ اﻟﻔﻜﺮة واﻟﺘﻨﻈﻴﻢ‬ ‫واﻟﺘﻨﻔﻴﺬ ﻣﻦ ﺧﻼل اﻟﺪﻋﻢ اﻟﻼﻣﺤﺪود ﳌﺴرية‬

‫ﻣﺤﻤﺪ ﺑﻦ زاﻳﺪ آل ﻧﻬﻴﺎن‪ ،‬وﱄ ﻋﻬﺪ أﺑﻮﻇﺒﻲ‬ ‫ﻧﺎﺋﺐ اﻟﻘﺎﺋﺪ اﻷﻋﲆ ﻟﻠﻘﻮات اﳌﺴﻠﺤﺔ‪.‬‬ ‫ﻟﺬﻟﻚ ﻛﻠﻪ أﺗﺖ ﻫﺬه اﻟﺪورة ﻣﻦ اﳌﻬﺮﺟﺎن‬ ‫ﻣﻠﻴﺌﺔ ﺑﺎﳌﻨﺎﻓﺴﺔ اﻟﺘﻲ ﺗﺸﺠﻊ ﻋﲆ اﻻرﺗﻘﺎء‬ ‫ﺑﺰراﻋﺔ اﻟﻨﺨﻴﻞ ﻣﻊ اﻻﺣﺘﻔﺎظ مبﻜﻮﻧﺎﺗﻪ‬ ‫اﻟﻄﺒﻴﻌﻴﺔ واﻟﺼﺤﻴﺔ‪ .‬وﻗﺪ اﺧﺘﺘﻤﺖ اﻟﺸﻬﺮ‬ ‫اﳌﺎﴈ ﻓﻌﺎﻟﻴﺎت اﻟﺪورة اﻟﺜﺎﻧﻴﺔ ﻋﴩة ﻣﻦ‬ ‫اﳌﻬﺮﺟﺎن اﻟﺘﻲ أﻗﻴﻤﺖ ﺗﺤﺖ رﻋﺎﻳﺔ ﺳﻤﻮ‬ ‫اﻟﺸﻴﺦ ﻣﻨﺼﻮر ﺑﻦ زاﻳﺪ آل ﻧﻬﻴﺎن ﻧﺎﺋﺐ‬ ‫رﺋﻴﺲ ﻣﺠﻠﺲ اﻟﻮزراء وزﻳﺮ ﺷﺆون اﻟﺮﺋﺎﺳﺔ‪،‬‬ ‫وﺳﻂ ﺣﻀﻮر ﺟامﻫريي ﻛﺒري ﻣﻦ ﻣﺨﺘﻠﻒ‬ ‫اﻟﺠﻨﺴﻴﺎت أىت ﻟﻼﺳﺘﻤﺘﺎع ﺑﻔﻌﺎﻟﻴﺎت اﳌﻬﺮﺟﺎن‬ ‫اﻟﺬي ﻧﺠﺢ ﰲ أن ﻳﺮﺳﻢ ﻟﻪ ﻣﻜﺎﻧﺔ ﻛﺒرية ﻋﲆ‬ ‫اﻟﺨﺮﻳﻄﺔ اﻟﺴﻴﺎﺣﻴﺔ ﻹﻣﺎرة أﺑﻮﻇﺒﻲ‪ ،‬وﻳﺤﻘﻖ‬ ‫ﻣﻜﺎﻧﺔ ﻛﺒرية ﰲ ﻧﻔﻮس ﻣﺰارﻋﻲ اﻟﻨﺨﻴﻞ‬ ‫واﳌﻬﺘﻤني ﺑﻬﺎ‪.‬‬ ‫إﻗﺒﺎل ﻛﺜﻴﻒ ﻟﻌﺸﺎق اﻟﺘﺮاث واﻟﻨﺨﻴﻞ‬ ‫أﻋﻼم وﻟﻮﺣﺎت ﺗﺮﺣﻴﺒﻴﺔ ﺑﺎﻟﺰوار رﻛﺰت ﻋﲆ‬ ‫أﻫﻤﻴﺔ اﻟﱰاث ودوره ﰲ ﺣامﻳﺔ اﳌﺴﺘﻘﺒﻞ‬ ‫وﺗﻄﻮره وﺗﻘﺪﻣﻪ‪ ،‬ﻛام وأﻛﺪ زوار أن اﳌﻬﺮﺟﺎن‬ ‫ﻳﺸﻜﻞ ﺗﺠﻤﻌﺎً ﺷﻌﺒﻴﺎً ﻓﺮﻳﺪاً وﻣﻮﺳ ًام ﻳﺠﺘﻤﻊ‬ ‫ﻣﻦ ﺧﻼﻟﻪ اﳌﻮاﻃﻨﻮن وﻳﺘﺒﺎدﻟﻮن وﻳﻨ ّﻤﻮن‬ ‫اﻟﻌﻼﻗﺎت اﻻﺟﺘامﻋﻴﺔ ﻓﻴام ﺑﻴﻨﻬﻢ‪ ،‬وﻳﺘﻌﺮﻓﻮن‬ ‫ﻋﲆ ﻛﻞ ﻣﺎ ﻫﻮ ﺟﺪﻳﺪ ﰲ ﻋﺎمل زراﻋﺔ اﻟﻨﺨﻴﻞ‬ ‫وﺣامﻳﺔ ﻣﻮاﺳﻢ اﻟﺮﻃﺐ واﻟﻔﻮاﻛﻪ اﳌﺤﻠﻴﺔ‪.‬‬ ‫وﻗﺪ ﺷﻬﺪ اﻟﻴﻮم اﻟﻌﺎﴍ ﻣﻦ‬ ‫ﻣﻬﺮﺟﺎن ﻟﻴﻮا ﻟﻠﺮﻃﺐ إﻗﺒﺎﻻً ﻛﺒرياً ﻣﻦ ﻗﺒﻞ‬ ‫آﻻف اﻟﺰوار ﻣﻦ ﻋﺸﺎق اﻟﱰاث واﻟﻨﺨﻴﻞ‬ ‫وﻣﺰاﻳﻨﺎت اﻟﺮﻃﺐ واﳌﻬﺘﻤني ﺑﺎﻟﺰراﻋﺔ‪ ،‬إﱃ‬ ‫ﺟﺎﻧﺐ اﻟﺘﺴﻮق واﻻﺳﺘﻤﺘﺎع ﺑﺎﻟﻔﻌﺎﻟﻴﺎت‬ ‫اﳌﺼﺎﺣﺒﺔ ﻟﻠﻤﻬﺮﺟﺎن اﻟﺘﻲ ﺗﺘﻀﻤﻦ اﻟﻜﺜري ﻣﻦ‬ ‫اﻷﻧﺸﻄﺔ واﳌﺴﺎﺑﻘﺎت واﻟﱪاﻣﺞ اﻟﺸﻴﻘﺔ‪.‬‬ ‫وﺷﺎرك اﻟﺤﻀﻮر ﰲ اﻟﻌﺪﻳﺪ ﻣﻦ اﻟﻔﻘﺮات‬ ‫وﺳﻂ أﺟﻮاء ﻣﻦ اﻟﺒﻬﺠﺔ‪ ،‬اﻟﺘﻲ ﻋﻤﺖ أرﺟﺎء‬ ‫اﳌﻜﺎن‪ ،‬وﻋﺎش اﻷﻃﻔﺎل ﻟﺤﻈﺎت ﻣﻦ اﳌﺮح‬ ‫رﺳﻤﺖ اﻟﺒﺴﻤﺔ ﻋﲆ وﺟﻮﻫﻬﻢ‪ ،‬وﻫﻢ ﻳﻠﻌﺒﻮن‬ ‫ﰲ ﻗﺮﻳﺔ اﻟﻄﻔﻞ‪ ،‬وميﺴﻜﻮن ﺑﺎﻷﻗﻼم اﳌﻠﻮﻧﺔ‬ ‫ﻟﻴﻌﻴﺪوا ﺗﻠﻮﻳﻦ اﻟﺮﺳﻮﻣﺎت اﻷﺑﻴﺾ واﻷﺳﻮد‪،‬‬ ‫أو رﺳﻢ ﻣﺎ ﺗﺮاه ﻋﻴﻨﺎه ﰲ اﻟﺒﻴﺌﺔ اﳌﺤﻴﻄﺔ‪.‬‬ ‫وأﻛﺪ ﻣﺪﻳﺮ اﳌﻬﺮﺟﺎن ﻋﺒﻴﺪ اﳌﺰروﻋﻲ‪ ،‬أن‬ ‫اﳌﻬﺮﺟﺎن ﻧﺠﺢ ﰲ ﺗﺤﻘﻴﻖ اﻷﻫﺪاف اﻟﺘﻲ‬ ‫أﻏﺴﻄﺲ‪-‬ﺳﺒﺘﻤﺒﺮ ‪83 2016‬‬

‫ﻣﻬﺮﺟﺎﻧﺎت‬ ‫‪baytelshear‬‬

‫ﻟﻮﺣﺎت ﺗﺮاﺛﻴﺔ ﺗﺤﻜﻲ ﻟﻐﺔ ا)ﺟﺪاد ﻓﻲ‬

‫ﻣﻬﺮﺟﺎن ﻟﻴﻮا ﻟﻠﺮﻃﺐ ‪2016‬‬

‫دارﻳﻦ ﻗﺼﻴﺮ‬

‫ﻳﺮوي ﻣﻬﺮﺟﺎن ﻟﻴﻮا ﻟﻠﺮﻃﺐ ﻋﺎﻣﺎً ﺑﻌﺪ ﻋﺎم‬ ‫ﺣﻜﺎﻳﺎت اﻟﱰاث وﻳﺮﺳﻢ أﺑﻬﻰ اﻟﺼﻮر ﻟﻴﺒﻬﺮ‬ ‫ﺑﻬﺎ اﻟﻘﺎدم إﱃ اﳌﻬﺮﺟﺎن‪ ،‬ﺣﻴﺚ ﺗﻔﻮح ﰲ‬ ‫أروﻗﺔ ﺧﻴﻤﻪ روح اﻟﱰاث اﻹﻣﺎرايت اﻷﺻﻴﻞ‬ ‫وﺗﻨﺘﴩ ﺛﻘﺎﻓﺘﻪ اﳌﺘﻮارﺛﺔ ﻋﻦ اﻵﺑﺎء واﻷﺟﺪاد‬ ‫ﻟﻴﻨﻬﻞ ﻣﻨﻬﺎ ﻛﻞ ﻣﻦ ميﺮ ﻣﻦ ﻫﻨﺎك‪ّ .‬‬ ‫وﻟﻌﻞ‬ ‫ﻣﻬﺮﺟﺎن ﻟﻴﻮا ﻟﻠﺮﻃﺐ ميﺜﻞ ﻣﺤﻮراً أﺳﺎﺳﻴﺎً ﰲ‬ ‫اﺳﱰاﺗﻴﺠﻴﺔ ﺻﻮن اﻟﱰاث وﻣﺪرﺳﺔ ﰲ اﻟﺤﻔﺎظ‬ ‫ﻋﲆ اﻟﻬﻮﻳﺔ اﻟﻮﻃﻨﻴﺔ‪ ،‬ﻣﻦ ﺧﻼل اﻻﺣﺘﻔﺎء‬ ‫‪ 82‬ﺑﻴﺖ اﻟﺸﻌﺮ ‪ /‬اﻟﻌﺪد ‪48‬‬

‫ﺑﺤﺪث ﻋﺮﻳﻖ اﻟﺼﻠﺔ ﺑﺎﻟﱰاث اﻹﻣﺎرايت‬ ‫اﻷﺻﻴﻞ‪ ،‬وﺗﻜﺜﻴﻔﻪ ﺛﻘﺎﻓﻴﺎً ﰲ أذﻫﺎن اﻟﺠﻤﻴﻊ‬ ‫ﺑﻬﺎ وﻧﴩه ﺳﻴﺎﺣﻴﺎً‪ ،‬ﻟﻨﺤﻘﻖ ﻟﻪ ﻣﺎ ﻳﺴﺘﺤﻘﻪ‬ ‫ﻣﻦ ﺟﺬب ﻋﺎﳌﻲ‪.‬‬ ‫ﻗﺪميﺎً ﻛﺎن اﻷﺟﺪاد ﻳﺮون ﰲ ﻫﺬا اﻟﺤﺪث‬ ‫ﺑﺪاﻳﺔ ﳌﻮﺳﻢ ﺟﺪﻳﺪ ﻣﻦ اﻟﺨري اﻟﻮﻓري‪ ،‬وﺗﻨﻈﻢ‬ ‫ﻟﺠﻨﺔ إدارة اﳌﻬﺮﺟﺎﻧﺎت واﻟﱪاﻣﺞ اﻟﺜﻘﺎﻓﻴﺔ‬ ‫ﰲ أﺑﻮﻇﺒﻲ ﻫﺬا اﻟﺤﺪث ﰲ ﻇﻞ اﺳﱰاﺗﻴﺠﻴﺔ‬ ‫ﺑﺎﻟﻐﺔ اﻟﻮﺿﻮح‪ ،‬وﻋﱪ رؤﻳﺔ ﺷﺎﻣﻠﺔ ﻟﻠﺤﻔﺎظ‬ ‫ﻋﲆ ﺗﺮاث إﻣﺎرة أﺑﻮﻇﺒﻲ ﻣﺎدﻳﺎً وﻣﻌﻨﻮﻳﺎً‪،‬‬

‫وﺑﺨﺎﺻﺔ اﻟﻨﺨﻴﻞ واﻟﺮﻃﺐ ﳌﺎ ميﺜﻼﻧﻪ ﻣﻦ‬ ‫دﻋﺎﻣﺔ أﺳﺎﺳﻴﺔ ﻣﻦ دﻋﺎﻣﺎت اﻟﱰاث اﳌﺤﲇ‬ ‫اﻟﻌﺮﻳﻖ‪ ،‬ﺑﻞ ﳌﺎ ميﺜﻼﻧﻪ ﻣﻦ ﺗﺠﺴﻴﺪ ﻟﻠﺬاﻛﺮة‬ ‫اﻹﻧﺴﺎﻧﻴﺔ ﳌﺠﺘﻤﻊ اﻹﻣﺎرات‪ ،‬واﺳﺘﻤﺮاراً‬ ‫ﻟﻠﻤﺴرية اﻟﻜﱪى اﻟﺘﻲ ﺑﺪأﻫﺎ اﳌﻐﻔﻮر ﻟﻪ ﺑﺈذن‬ ‫اﻟﻠﻪ ﺗﻌﺎﱃ‪ ،‬اﻟﺸﻴﺦ زاﻳﺪ ﺑﻦ ﺳﻠﻄﺎن آل ﻧﻬﻴﺎن‪،‬‬ ‫ﻃﻴﺐ اﻟﻠﻪ ﺛﺮاه‪ ،‬ﻣﺆﺳﺲ ﻧﻬﻀﺔ اﻟﺪوﻟﺔ‬ ‫اﻟﺰراﻋﻴﺔ‪ ،‬وﺗﻨﻔﻴﺬاً ﻟﺘﻮﺟﻴﻬﺎت ﺻﺎﺣﺐ اﻟﺴﻤﻮ‬ ‫اﻟﺸﻴﺦ ﺧﻠﻴﻔﺔ ﺑﻦ زاﻳﺪ آل ﻧﻬﻴﺎن رﺋﻴﺲ‬ ‫اﻟﺪوﻟﺔ‪ ،‬ﺣﻔﻈﻪ اﻟﻠﻪ‪ ،‬وﺻﺎﺣﺐ اﻟﺴﻤﻮ اﻟﺸﻴﺦ‬

‫ﺟﻤﺮ اﻟﻮﻟﻪ‬ ‫ﻇﺎﻫﺮ اﻟﻜﺘﺒﻲ‬ @dhaheralketbi

¤@@ @ @D&b@ @~@ @z@ @J @@ @ £@ @ @ @ @ @D* @@ @ @ ½ H ¤@@ @ @ ~@ @ @ @6*4 h@@ @ @ @ @ @ A4 4b@@ @ @ @ @ A&* h@@ @ <b@@ @ ;H v@@ @Jx@@ @~@ @ 7 @@ @ Db@@ @ + @@ @£@ @ A @@ @ @ 7H ¤@@ @ @< I42 b@@ @ @ @ E @@ @ @ @ @ @ @ F&* f@@ @ @cQ @ @ @ ~@ @ @ 6 @@ @ @ @E¡Q @ @ @ @ Db@@ @ @ @E 4b@@ @ F @@ @ g@ ~@ {@ - ¥4v@@ @ ~@ @ @8 @@ @~@ @ 6H @@ @ D¡@@ @ D* x@@ @ @/ ¤@@ Q @ @C ¢@@ @ @ @ @ Db@@ J ¥v@@ @ @ @ @0H @@ @ 6b@@ @ @ @ @D* f@@ @ @ @ @/ ¯ 4b@@ @g@ @ ¹ b@@ @ @Bx@@ @ @A d@@ c@ @~@ @6 @@M @ @ 6*¡@@ @ @ 0 f@@ ~@ @z@ @ @ @1 ÁÄ@@ @s@ @ - Í@@ @ @ @ @ @ @D* @@ @ @ @ @D @@ @ g@ @ @ @ @ @~@ @ @7 ¡@@ @ @ @ @ @ @ @B&* 4*HQ 5 @@ @ g@ @ @/ @@ @ @ @E b@@ @ £@ @ @D @@ @ A¡@@ @ £@ @ @: ¥w@@ @ @ @ @ G Á3b@@ @+ Iv@@ ~@ @8 @@ @D @@ -¡@@ ~@ @8H x@@ @ @ @ < @@ @ ~@ @ @7&*H 4b@@ @cQ @ @ ~@ @ 8 @@ z@ @ @ @ @ @D* @@ @ @ @ / ib@@ @ @ @ @ @ @ @ BH&°* v@@ @ @ @ @ @<&*H ¤@@ @ @ / ¢@@ @ @ @ g@ @ Gb@@ @EN ° b@@ @ @ @ @ F&*H @@ @ c@ @ @ B&* ¤@@ 0b@@ c@ @~@ @8 4b@@ @ m@ @ @~@ @ @7&* f@@ @ @ @ : d@@ @ @<*v@@ @ @- · @@ g@ @ @ @~@ @z@ @F @@ @ @E ¤@@ @ @ @ @´* @@ @ ~@ @ @7b@@ @ @ @ @D* d@@ @ @ @ @B 4¡@@ @ @ @ @~@ @ @7 ¤@@ @ @~@ @ @ 6*¡@@ @ @ 4b@@ @ @ @ ~@ @ 7&* @@ @ @ @ @/&*H @@ -¡@@ £@ @+ d@@ @~@@Q @9¡@@ @J q@@ @c@ @ ~@ @ 8&*H ¤@@ @ @ @ @ @ J @@ @ @ @ B¡@@ @ @ @ A ¤@@ @ @ @ @ @ @ @ @ J Ì@@ @ @ @ @ @ @ @ @ D r¡@@ @ @ @ c@ @ @ @ @J 4b@@ @ Ey@@ @ E É@@ @ @ ¹ b@@ @ J *¡@@ @ @ @ @~@ @ @ @ @ 7&°* b@@ @ @ ²&b@ @ @ +

81 2016 ‫ﺳﺒﺘﻤﺒﺮ‬-‫أﻏﺴﻄﺲ‬

‫ﻣﺎﺳﺎت‬ baytelshear

‫ﻋﺎم ﻋﻠﻰ اﻟﻐﻴﺒﺔ‬ ‫زﻫﺮه اﻟﻤﺎزﻣﻲ‬ @z_albalosh

@@ @ @ @ @D* ¢@@ @ @ @ @ @ < M b@@ @ @ @ @ @ @ @ @ <H @@ @ c@ @ @ £@ @ @ @ @ @ D* ¢@@ @ @ @ @ @ < M b@@ @ @ @ @ @ @ @< @@ @ £@ @ @F*x@@ @ - @@ @ @ E¡@@ @ @ @ @ @ G @@ @ @ @ @E y@@ @ @ @ @ @ @ @ J d@@ @ @ @ @ @ @ @ @ @ @ D*H 2H rM H4 b@@ @ @ @ @ @ @ @ @ @ @£@ @ @ @+ ¤@@ @ @ @ @ @ @ @ @ @ @D* d@@ @ @ @ @ Jb@@ @ @ @ @ @ @ @ @ @ @D* @@ @ @£@ @ @ Db@@ @ @ @ @ @ ´* @@ @ @ @j@ @ @ @ E *x@@ @ @ @ @ @ @ @ @ @ @ @C3 ¢@@ @ @ @ @ @ @ @ < ¢@@ @ @ @ @ @ c@ @ @ + µ&b@ @ @ @ @ @ @ @- ·b@@ @ @ @ @ @£@ @ @ @ @ @ @ @ @ @ @ @ D* ¯ Í@M @ @ @ @ @m@ @ @ @ @ ~@ @ @ @ @ 6 °*H @@ @£@ @ @ @ D* @@ @ @ @ @E ¤@@ @ @ @ @ @ ~@ @ @ {@ @ @ JH @@ @ @c@ @ @ £@ @ @ +b@@ @ @¹ v@@ @ @ @Bb@@ @ @ @A @@ @~@ @ z@ @ c@ @ - ¡@@ @ @ @ @ @D ¤@@ @ @ @ @ @ @ @ Ab@@ @ @ @1 rx@@ @ @ @ @ @ @ @ @ @ J ¡@@ @ @ @ @ @ @ @ @~@ @ @ @ @7H @@ @£@ @ G* °H ¤@@ @ <¡@@ @ @ @ @~@ @ @9 ¯ @@ @ @ @ ~@ @ z@ @ J y@@ @ @ @ @ @ @ @ ²*H @@ @ @ @ @ @ - ¯x@@ @ @ @ @ @ @ @ @ @ @ 0H @@ @ @ @ z@ @ @ @ @/b@@ @ @ @ @ @ @ @ @D* N @ @ @ @ @ @ @ @ @ E °* @@ @£@ @ g@ @ @ @ - @@ @ @ @£@ @ @ @ A °H h@@ @ @ @ @+b@@ @ @ @ @. b@@ @ @ @ @ @ @ @ @ @ @ @ D* °*H @@ @ @g@ @ @ £@ @ @ -H ¥Ì@@ @ @ @ @ @ @ @ @~@ @ @ @ @9 ¯ b@@ @ @ @ @ GÉ@@ @ @ @ @ = ¤@@ @ @ @ @ @ @ @ @ @ @ E&* Ã5b@@ @ @ @ @ @ E @@ @ @ @ @0Hx@@ @ @ @ @/ ¤@@ @ @ @ @ @ @ @ D* @@ @ @£@ @ @ g@ @ @ £@ @ @ D* b@@ @ @ @ @ @ @ @F*H @@ @ @ @ @ @ @;&* @@ @ @ £@ @ @ @ ~@ @ @ @ }@ @ @ @ D*H i*v@@ @ @ @ @~@ @ @ @ @ {@ @ @ @ @ D* ,y@@ @ @ @ @ @ @ 0 ¯ @@ £@ @ @ @~@ @z@ @- x@@ @ @ @ @ @ F I¡@@ @ @ @~@ @ @ @ 6 ¥v@@ @ @ @ @ @ @ @ < °H Á¡@@ @ @ @ @ @ C @@ @ @ @ @ <* H e4 b@@ @ @ @ @ J @@ @ @ @ @ 6H2x@@ @ @ @ @ @ @ @ @ @ @D* f@@ @ @ @ @ @ @/ ¯ @@ @ £@ @ @ @ @ @ @ @ @- ex@@ @ @ @ @ @ @ @ @ @ @ @ @D H b@@ @ @ @ @ @ @ @ @ @ @ @ @ @ @m@ @ @ @J Ñ* @@ @ @~@ @ @ {@ @ @ @ @ @ -H ¢@@ @ @ @ @ @ @ @ @ @ @ @ - @@ @ @ ~@ @ @ @z@ @ @ @ @ @ @ @F N @ @ @ @ @ @ @ @ @ E M @@ @ @ @ @ @ @ @ @ C Ãv@@ @ @ @ E* ·b@@ @ @ @ @ @ @ 0H b@@ @ @ @ @ @ D @@ @ @ @ @ @ @0x@@ @ @ D* @@ @ @~@ @ @ {@ @ @ @ @ @ -*H @@ @ @ @~@ @ @ @ 6¡@@ @ @ @-*H Ä@@ @ @ @~@ @ @ @ |@ @ @ @ D* Ì@@ @ @ @ @ @= Iy@@ @ @ @ @ @ @ @< ·b@@ @ @ @ @ @ @ @E @@ @£@ @ @ @ D* @@ @ @ @ @ @ @ +*H x@@ @ @ @ @ @ E @@ @ @ @ E b@@ @ @ @ G*x@@ @ @ @ . ¢@@ @ @ @ ~@ @ z@ @ J

48 ‫ اﻟﻌﺪد‬/ ‫ ﺑﻴﺖ اﻟﺸﻌﺮ‬80

‫ﻧﻘﻄﺘﺎن‬ ‫ﺳﻠﻄﺔ اﻟﺼﻮرة وأﺛﺮﻫﺎ ﻋﻠﻴﻨﺎ‬ ‫اﻟﺼﻮرة‪ ،‬ﻫﺬه اﻟﻠﻐﺔ اﻟﻜﻮﻧﻴﺔ اﻟﺘﻲ ﻳﺘﺸﺎرك ﻓﻴﻬﺎ ﺟﻤﻴﻊ ﻣﻦ ﻫﻢ ﻋﲆ اﻣﺘﺪاد‬ ‫اﻟﺒﺴﻴﻄﺔ‪ .‬إﻧﻬﺎ اﻟﻠﻐﺔ اﻟﻮﺣﻴﺪة اﻟﺘﻲ ﺗﺘﻴﺢ ﻟﻚ ﻓﻬام وﺗﻔﺎﻋﻼ ور ّد ﻓﻌﻞ ﻣﺸﱰﻛﺎً ﻣﻊ‬ ‫آﻻف اﻟﺒﴩ‪ ،‬ﺧﺼﻮﺻﺎ وأﻧﻨﺎ ﻧﻌﻴﺶ ﻋﴫ اﻟﻔﻮرﻳﺔ واﻟﴪﻋﺔ واﻻﻧﺘﺸﺎر‪ ،‬ﻣام ﻳﺴﻤﺢ‬ ‫ﻟﻨﺎ ﺑﺈﺑﺪاء ردود أﻓﻌﺎل ﻣﺨﺘﻠﻔﺔ وﻣﺒﺎﴍة‪.‬‬ ‫ﻧﺤﻦ ﻧﻌﻴﺶ ﺣﺎﻟﺔ ﻣﻦ ﻓﻮﴇ اﳌﺸﺎﻫﺪ ﻳﻔﺮﺿﻬﺎ ﻋﻠﻴﻨﺎ ﻫﺬا اﻟﺘﻮاﺻﻞ واﻻﺗﺼﺎل‬ ‫اﻟﺪاﺋﻢ ﻣﻊ ﻣﺨﺘﻠﻒ اﻷﺣﺪاث‪ ،‬ﻣﺮﻓﻘﺔ مبﺎ ﻳﻨﻄﻮي ﻋﻠﻴﻪ وﻋﻴﻨﺎ ﻣﻦ اﻋﺘﻘﺎدات‬ ‫وﻣﺒﺎدئ وﻗﻨﺎﻋﺎت ﺗﺘﻢ ﺗﺮﺟﻤﺘﻬﺎ ﻓﻌﻠﻴﺎ ﻋﱪ ﻫﺬه اﻟﻠﻐﺔ اﻟﺒﴫﻳﺔ اﻟﺴﻤﻌﻴﺔ ”اﻟﺴﻄﻮة‬ ‫اﻟﺮﻣﺰﻳﺔ” ﻛام أﻃﻠﻖ ﻋﻠﻴﻬﺎ اﳌﻔﻜﺮ اﻟﻔﺮﻧﴘ ﺑﻴري ﺑﺎﺑﺎن‪ .‬وﻫﺬه اﻟﺴﻄﻮة اﻟﺘﻲ ﻻ ﻓﻜﺎك‬ ‫ﻣﻨﻬﺎ‪ ،‬ﻫﻲ اﻻﻣﺘﺪاد اﻟﻔﻌﲇ ﻟﻜﻞ ﻣﺎ ﻳﺤﻤﻠﻪ ﻫﺬا اﻟﻌﺎمل ﻣﻦ ﺟامل وﺑﺸﺎﻋﺔ وﻓﻜﺮ‬ ‫اﻟﺸﺤﻲ‬ ‫ﺸﺤﻲ‬ ‫ﺻﻔﻴﺔﺔ اﻟﺸ‬ ‫ﺻﻔﻔﻴ‬ ‫وﺟﻬﻞ واﺑﺪاع وﻫﺪم‪ .‬وﰲ اﳌﻘﺎﺑﻞ ﻫﻲ اﻟﺘﺠﺴﻴﺪ ﻟﻠﻤﺘﺨﻴﻞ اﻟﺬي ﻳﺮاد ﺗﺸﻜﻴﻠﻪ ﰲ‬ ‫وﻋﻲ اﳌﺸﺎﻫﺪ‪.‬‬ ‫وﻫﻨﺎك أﺳﺌﻠﺔ ﺷﺪﻳﺪة اﻷﻫﻤﻴﺔ ﺣﻮل ﻣﺎﻫﻴﺔ ﻫﺬا اﳌﺘﺨﻴﻞ واﳌﺮاد ﻣﻨﻪ ﺧﺼﻮﺻﺎ إذا ﻣﺎ ﺗﻮﻗﻔﻨﺎ ﻋﻨﺪ ﻛﻢ اﻟﻌﻨﻒ اﻟﺬي‬ ‫ﺗﺤﻤﻠﻪ اﳌﺸﺎﻫﺪ واﻟﺼﻮر اﻟﺘﻲ ﻳﺘﻢ ﺑﺜﻬﺎ ﻋﲆ ﻣﺪار اﻟﺴﺎﻋﺔ ﻣﻦ ﻛﻞ ﻣﻜﺎن ﰲ اﻟﻌﺎمل‪ ،‬ﻧﺎﻫﻴﻚ ﻋام متﺘﺎز ﺑﻪ ﻫﺬه اﻟﻠﻐﺔ اﻟﺒﴫﻳﺔ‪،‬‬ ‫ﻓﺎﳌﺸﺎﻫﺪة واﻟﻔﻮرﻳﺔ واﻟﺒﺚ اﳌﻜﺜﻒ ﻫﻲ ﺧﺼﺎﺋﺺ أﺿﻔﺖ ﺑﻌﺪاً ﻛﻮﻧﻴﺎ ﻋﲆ ﻫﺬه اﳌﻮاد‪ ،‬واﻷﺛﺮ اﻟﺬي ﺗﺤﺪﺛﻪ ﰲ اﻟﻮﻋﻲ اﻟﺠﻤﻌﻲ‬ ‫ﻟﻠﺒﴩﻳﺔ‪.‬‬ ‫إذن ﻣﺎ ﻫﻲ اﻟﻔﻜﺮة ﻓﻌﻼ ﻣﻦ وراء ﻫﺬا اﻟﻔﻴﺾ ﻣﻦ ﺟﺮاﺋﻢ اﻟﻌﻨﻒ واﻟﻘﺘﻞ واﻹﺑﺎدة اﳌﺼﻮرة »دون أن ﻧﺴﻘﻂ ﻣﻦ اﻟﺤﺴﺒﺎن‬ ‫ﺗﻠﻚ اﳌﺸﺎﻫﺪ اﳌﻌﺎد ﺗﺼﺪﻳﺮﻫﺎ ﻋﱪ اﻷﻓﻼم« ﻫﻞ ﻫﻮ اﻟﺘﻮﺛﻴﻖ أم اﻟﺘﺴﻮﻳﻖ؟ وإذا ﻛﺎن اﻟﻌﻨﻒ ﻛام ﻳﻔﴪ ﻓﺮوﻳﺪ ﻧﺰﻋﺔ ﻃﺒﻴﻌﻴﺔ‬ ‫ﰲ اﻹﻧﺴﺎن‪ ،‬ﻓﻬﻞ ﺗﺴﻮﻳﻘﻪ ﻫﻮ اﻟﻨﺰﻋﺔ اﻟﻔﻀﻮﻟﻴﺔ أم اﻟﺘﺪﻣريﻳﺔ ﻓﻴﻨﺎ؟‬ ‫ﻳﺮى اﳌﻔﻜﺮ اﻟﻔﺮﻧﴘ رﻳﺠﻴﺲ دوﺑﺮي أن اﻟﺼﻮرة ﺳﻠﻄﺔ ﻓﻌﻠﻴﺔ متﺎرس اﻟﻔﻌﻞ‪ ،‬وﺗﺤﺚ ﻋﲆ رد اﻟﻔﻌﻞ؟ وﺗﺸري اﻟﺪراﺳﺎت إﱃ‬ ‫ﻣﺪى ارﺗﺒﺎط ﻣﺎ ﺗﻘﻮﻟﻪ اﻟﺼﻮرة ﺑﺎﻟﻘﻠﻖ واﻻﺿﻄﺮاب اﻟﺬي ﻳﺼﻴﺐ اﻟﺒﴩ« ﺧﺎﺻﺔ اﻷﻃﻔﺎل واﳌﺮاﻫﻘني »وﺑﺎﻟﺘﺎﱄ ﻣﺎ ﺗﺤﺮض ﻋﻠﻴﻪ‬ ‫ﻣﻦ ﻣامرﺳﺎت ﺗﺪﻣريﻳﺔ وﻋﻨﻴﻔﺔ‪ .‬ورمبﺎ ﻣﻦ أﻛرث ﻣﺎ ﻳﻠﻔﺖ اﻻﻧﺘﺒﺎه ﻫﻮ اﻻﺳﺘﺨﺪاﻣﺎت ﻏري اﳌﺴﺆوﻟﺔ ﻟﻬﺬه اﻟﺴﻠﻄﺔ ‪-‬اﻟﺠامﻋﻴﺔ‬ ‫و اﻟﻔﺮدﻳﺔ‪ -‬واﻟﺘﻲ ﺗﺘﺠﺎوز اﳌﻨﻄﻖ ﻋﻨﺪ اﻟﺒﻌﺾ ﻣﻤﻦ ﻳﺴﺎرﻋﻮن إﱃ ﻧﴩ ﻣﻘﺎﻃﻊ ﻓﻴﺪﻳﻮ ﺗﻮﺛﻖ ﻟﺤﻈﺎت ارﺗﻜﺎب ﺟﺮميﺔ ﻣﺎ أو‬ ‫اﻻﻋﺘﺪاء ﻋﲆ ﺣﻴﺎة اﻵﺧﺮﻳﻦ أو ﺑﺒﺴﺎﻃﺔ ﺳﻠﺐ اﻟﺤﻴﺎة ﻣﻨﻬﻢ‪ ،‬وﻻ ﻳﺮﺗﺒﻂ اﳌﻮﺿﻮع ﺑﺎﻟﺠامﻋﺎت اﳌﺘﻄﺮﻓﺔ وﺣﺴﺐ‪ ،‬ﺑﻞ ﻳﺘﻌﺪاﻫﻢ‬ ‫إﱃ ﻣامرﺳﺎت ﻓﺮدﻳﺔ ﻣﻐﺮﻗﺔ ﰲ اﻟﻘﺴﻮة واﻟﺸﺬوذ ﻛﺘﻠﻚ اﳌﻘﺎﻃﻊ اﳌﻨﺸﻮرة ﻟﺠﺮاﺋﻢ اﻟﻘﺘﻞ أو اﻟﺘﻌﺬﻳﺐ أو اﻻﻏﺘﺼﺎب اﻟﺘﻲ ميﺎرﺳﻬﺎ‬ ‫أﻓﺮاد ﰲ ﻣﺠﺘﻤﻌﺎت ﻣﺨﺘﻠﻔﺔ‪ ،‬وﻻ ﻳﺘﻮرﻋﻮن ﻋﻦ رﻓﻌﻬﺎ ﻋﲆ ﺻﻔﺤﺎت »اﻟﻔﻴﺲ ﺑﻮك« اﻟﺨﺎﺻﺔ ﺑﻬﻢ‪.‬‬ ‫ﻧﺤﻦ إذن ﻧﺘﻮرط ﰲ اﻟﺼﻮرة ﺻﻨﺎﻋﺔ وﻧﴩا وﺗﺄﺛريا‪ ،‬وﻧﺘامدى ﺣﺪ اﻹﻏﺮاق ﰲ ﻣامرﺳﺔ ﺗﻐﺬﻳﺔ اﻟﺨﻴﺎل اﻟﺒﴩي مبﺸﺎﻋﺮ ﻣﺨﺘﻠﻔﺔ‬ ‫ﺗﻜﺎد ﺗﺒﺪو‪ -‬ﻟﺸﺪة اﻟﺘﻜﺮار‪ -‬ﻣﺘﺒﻠﺪة ﻟﻠﻮﻫﻠﺔ اﻷوﱃ‪ .‬إﻻ أﻧﻨﺎ ﺣﻘﻴﻘﺔ ورمبﺎ دون ﻗﺼﺪ ﰲ ﺑﻌﺾ اﻷﺣﻴﺎن‪ ،‬ﻧﺸﻜﻞ وﻋﻴﺎ ﺟﺪﻳﺪا ﻟﻬﺬا‬ ‫اﻟﻌﺎمل‪ ،‬ﺣني ﻧﺮيب اﳌﺨﻴﻠﺔ ﻋﲆ أن ﻻ ﺗﺴﺘﻔﺰ ﻣﻦ ﻗﺒﻞ ﻫﺬا اﻟﻜﻢ اﻟﻬﺎﺋﻞ ﻣﻦ اﻟﻌﻨﻒ اﻟﺬي ﻧﺼﺪره ﻳﻮﻣﻴﺎ ﻋﱪ اﻟﺘﻠﻔﺎز واﻟﺸﺒﻜﺔ‪،‬‬ ‫وﺑﺎﻟﺘﺎﱄ ﻧﺮيب أﺟﻴﺎﻻ ﺟﺪﻳﺪة ﻗﺪ ﻻ ﺗﺴﺘﻨﻜﺮ اﳌامرﺳﺎت اﻟﻼإﻧﺴﺎﻧﻴﺔ ﰲ اﳌﺴﺘﻘﺒﻞ‪ ،‬وﻻ ﺗﱰدد ﰲ ارﺗﻜﺎﺑﻪ ‪.‬‬

‫‪@safiaalshehi‬‬ ‫أﻏﺴﻄﺲ‪-‬ﺳﺒﺘﻤﺒﺮ ‪20016‬‬ ‫ﺳﺒﺒﺘﻤﺒﺮ‬‫ﺴﻄﺲ ﺳ‬ ‫أﻏﺴ‬ ‫ﻏﺴ‬ ‫‪79 2016‬‬

‫اﻟﺠﺎﻫﻠﻲ‬ ‫‪baytelshear‬‬ ‫‪zCCkCCÁ fCCC CCCªCCCD4 ¬2fCCCCC¡CCCCCG* · £*|CCCC CCCCE‬‬ ‫ﰲ اﻟﺨﻤﺴني ﻣﻦ ﻋﻤﺮﻫﺎ أو ﺗﻌﺪﺗﻬﺎ ﺑﻘﻠﻴﻞ‪ ،‬ﻓﺒﻌﺪ ان اﻧﺘﴩ اﻹﺳﻼم ﰲ‬ ‫‪Ô‬‬ ‫'‪CCwCCkCCH 22‬‬ ‫§‬ ‫‪CCCCC CCCCC6 fCCC‬‬ ‫‪C‬‬ ‫‪<|CCC‬‬ ‫· *¼‪CD zCCCCqCCCC‬‬ ‫‪S‬‬ ‫اﻟﺠﺰﻳﺮة ﻗﺪﻣﺖ وﻗﻮﻣﻬﺎ ﺑﻨﻲ ﺳﻠﻴﻢ ﻋﲆ اﻟﻨﺒﻲ ﻣﺤﻤﺪ ﻟﻴﻌﻠﻨﻮا اﺳﻼﻣﻬﻢ‬ ‫ﺑني ﻳﺪﻳﻪ‪ ،‬اﺳﻠﻤﺖ وﺣﺴﻦ اﺳﻼﻣﻬﺎ‪.‬‬ ‫وﻗﺼﺔ ﻫﻼك ﻣﻌﺎوﻳﺔ وﺻﺨﺮ ﰲ اﻟﺠﺎﻫﻠﻴﺔ ﻗﺼﺔ ﻣﺜرية ﺣﻘﺎ‪ ،‬ﻛﺎن‬ ‫ﺻﺨﺮ أﺧﺎﻫﺎ ﻏري اﻟﺸﻘﻴﻖ ﻣﻦ أﺑﻴﻬﺎ‪ ،‬ﻗﺪ ﻫﻠﻚ أوﻻ ﰲ ﻗﺼﺔ أﻓﺮدت ﻟﻬﺎ اﻧﺘﻘﻠﺖ اﻟﺨﻨﺴﺎء ﻣﻦ ﻋﺎمل اﻟﺠﺎﻫﻠﻴﺔ إﱃ رﺣﺎب اﻹﺳﻼم ﻓﻮدﻋﺖ اﻟﻜﺜري‬ ‫اﳌﺼﺎدر اﻟﺘﺎرﻳﺨﻴﺔ ﺻﻔﺤﺎت ﻛﺜرية‪ ،‬ﻗﺘﻞ ﻋﲆ ﻳﺪ ﻫﺎﺷﻢ ﺑﻦ ﺣﺮﻣﻠﺔ ﺳﻴﺪ ﻣﻦ اﻟﻌﺎدات اﻟﺠﺎﻫﻠﻴﺔ ﻟﻜﻨﻬﺎ مل ﺗﻨﺲ أﺑﺪا اﻟﺒﻜﺎء ﻋﲆ اﻟﺴﺎدات ﻛام‬ ‫ﺑﻨﻲ ﻣﺮة ﺑﻌﺪ ﺧﻼف ﺑﻴﻨﻬام ﻗﻴﻞ ﺑﺴﺒﺐ إﻋﺠﺎب ﻣﻌﺎوﻳﺔ ﺑﺄﺳامء اﳌﺮﻳﺔ ﻗﺎﻟﺖ ﰲ ﺣﻮارﻫﺎ ﻣﻊ اﻟﻔﺎروق ﻋﻤﺮ‪ ،‬ﻓﻘﺪ ﻻﻣﻬﺎ ﻋﻤﺮ رﴈ اﻟﻠﻪ ﻋﻨﻪ‬ ‫اﻟﺘﻲ ﻛﺎﻧﺖ ﻋﻨﺪ ﻫﺎﺷﻢ‪ ،‬وﻗﺮر ﻣﻌﺎوﻳﺔ ﻏﺰو دﻳﺎر ﺑﻨﻲ ﻣﺮة واﻧﺸﻖ ﻋﻨﻪ ﻗﺎﺋﻼ‪ :‬إن اﻟﺬي ﺗﻔﻌﻠني ﻟﻴﺲ ﻣﻦ ﺻﻨﻊ اﻹﺳﻼم وإن اﻟﺬﻳﻦ ﺗﺒﻜني ﻫﻠﻜﻮا‬ ‫رﻓﺎﻗﻪ ومل ﻳﺘﺒﻖ ﺳﻮى اﻟﻘﻠﻴﻞ ﻣﻨﻬﻢ ودارت ﺑني اﻟﻔﺮﻳﻘني ﻣﻌﺮﻛﺔ ﻗﺘﻞ ﰲ اﻟﺠﺎﻫﻠﻴﺔ‪ .‬ﻓﻘﺎﻟﺖ‪ :‬اﺳﻤﻊ ﻣﻨﻲ ﻳﺎ أﻣري اﳌﺆﻣﻨني ﻣﺎ أﻗﻮل ﰲ ﻋﺬﻟﻚ‬ ‫ﻓﻴﻬﺎ ﻣﻌﺎوﻳﺔ‪ ،‬أﺻﺎب ﻣﻘﺘﻞ ﻣﻌﺎوﻳﺔ ﺻﺨﺮا وأﺧﺘﻪ اﻟﺨﻨﺴﺎء ﰲ ﻣﻘﺘﻞ إﻳﺎي وﻟﻮﻣﻚ ﱄ‪ ،‬ﻓﺄﻧﺸﺪﺗﻪ ﻣﻦ ﺷﻌﺮﻫﺎ ﻓﺘﻌﺠﺐ ﻣﻦ ﺑﻼﻏﺘﻬﺎ وﻗﺎل‪:‬‬ ‫وراﺣﺖ ﺗﺤﺮض ﺑﻨﻲ ﺳﻠﻴﻢ ﻋﲆ اﻟﺜﺄر ﳌﻌﺎوﻳﺔ‪:‬‬ ‫»دﻋﻮﻫﺎ ﻓﺈﻧﻬﺎ ﻻ ﺗﺰال ﺣﺰﻳﻨﺔ أﺑﺪا«‪.‬‬

‫ *&¸ *&‪*|CCCHfCCC<K fCC CCªCC CC CC6 «CCC¡CCC< fCCC CCC CCC+‬‬ ‫ ‪*zCCJfCC CC7 £5*§CCCCCCJ fCCªCC CC< ¢CCCH £fCCCCF ¢CCCCHK‬‬ ‫‪ G *KzCCCC CCCC84&* zCCCE £fCCCªCCC+3 «CC¡CC+ £&fCCCCC+‬‬ ‫*(‪*2KfCCC CCC- ¸ £&fCCCCCC+ CCkCCªCCEÑCC- fCCCCH *3‬‬

‫أﻣﺎ ﻫﻼك ﺻﺨﺮ ﻓﻘﺪ ﻛﺎن ﰲ اﻟﻌﺎم اﻟﺘﺎﱄ ﻋﻨﺪﻣﺎ ﺧﺮج ﻳﻄﻠﺐ ﺛﺄر‬ ‫أﺧﻴﻪ ﻓﻐﺰا ﺑﻨﻲ ﻣﺮة وﻗﺘﻞ ﻣﻨﻬﻢ ﻋﺪدا ﻛﺒريا‪ ،‬ﻣﻨﻬﻢ درﻳﺪ أﺧﻮ ﻫﺎﺷﻢ‪،‬‬ ‫ﻟﻜﻨﻪ أﺻﻴﺐ ﺻﺨﺮ ﺑﻄﻌﻨﺔ ﰲ ﺟﻨﺒﻪ ﻛﺎﻧﺖ اﻟﻘﺎﺗﻠﺔ‪ ،‬ﻓﻘﺪ ﻋﺎىن ﻣﻨﻬﺎ‬ ‫ﺷﻬﻮرا ﺗﺠﺮع ﻓﻴﻬﺎ ﻣﺮارة اﻟﻌﺬاب ﺣﺘﻰ ﻟﻘﻲ ﺣﺘﻔﻪ‪.‬‬

‫ﺷﻌﺮ اﻟﺨﻨﺴﺎء‪Z‬‬ ‫ﻟﻠﺨﻨﺴﺎء ﺷﻌﺮ ﰲ ﻏري اﻟﺮﺛﺎء‪ ،‬وﻟﻜﻦ ﻧﻘﺎد اﻟﺸﻌﺮ اﻟﻘﺪاﻣﻰ مل ﻳﻌﱰﻓﻮا‬ ‫إﻻ ﺑﺎﻟﺨﻨﺴﺎء اﻟﺮاﺛﻴﺔ‪ ،‬ﺧﺎﺻﺔ وأن ﺷﻌﺮ اﻟﺮﺛﺎء ﻋﻨﺪ اﻟﺨﻨﺴﺎء ﻳﻌﺪ ﻣﻦ‬ ‫أﺟﻤﻞ ﰲ ﺷﻌﺮ اﻟﺮﺛﺎء اﻟﻌﺮيب‪ ،‬ﻷﻧﻪ ﻧﺒﻊ ﻣﻦ ﺗﺠﺮﺑﺔ إﻧﺴﺎﻧﻴﺔ ذاﺗﻴﺔ وﻣﻦ‬ ‫ﻗﻠﺐ ﻣﻔﺠﻮع وﻋﺎﻃﻔﺔ ﺣﺎرة ﻻ ﺗﻌﺮف اﻟﺘﻜﻠﻒ‪.‬‬ ‫ﻟﻜﻦ اﻟﻜﺜري ﻣﻦ اﻟﺸﻌﺮاء اﻟﻜﺒﺎر ﰲ اﻟﺠﺎﻫﻠﻴﺔ واﻹﺳﻼم أﺛﻨﻮا ﻋﲆ‬ ‫ﺷﺎﻋﺮﻳﺔ اﻟﺨﻨﺴﺎء‪ ،‬وروي أﻧﻬﺎ ﻛﺎﻧﺖ ﺗﺮوي ﺷﻌﺮﻫﺎ ﰲ ﺳﻮق ﻋﻜﺎظ‬ ‫وﺳﻤﻌﻬﺎ اﻟﻨﺎﺑﻐﺔ اﻟﺬﺑﻴﺎين ﻓﻘﺎل‪ » :‬ﻟﻮﻻ أن اﺑﺎ ﺑﺼري )ﻳﻘﺼﺪ اﻷﻋﴙ(‬ ‫أﻧﺸﺪين ﻗﺒﻠﻚ‪ ،‬ﻟﻘﻠﺖ إﻧﻚ أﺷﻌﺮ اﻟﻨﺎس«‪ ،‬ﻛام روي ان اﻟﺸﺎﻋﺮ ﺟﺮﻳﺮ‬ ‫ﺳﺌﻞ ﻣﺮة‪ :‬ﻣﻦ أﺷﻌﺮ اﻟﻨﺎس؟ ﻓﻘﺎل‪ :‬أﻧﺎ ﻟﻮﻻ اﻟﺨﻨﺴﺎء‪ .‬ﻓﻘﻴﻞ ﻟﻪ‪ :‬ﻓﺒﻢ‬ ‫ﻓﻀﻠﺘﻚ؟ ﻓﻘﺎل‪ :‬ﺑﻘﻮﻟﻬﺎ‪:‬‬

‫ﻛﺎن ﻣﻘﺘﻞ ﺻﺨﺮ ﻣﺆﳌﺎ ﻋﲆ اﻟﺨﻨﺴﺎء‪ ،‬ﻟﻜﻨﻪ ﰲ ﻧﻔﺲ اﻟﻮﻗﺖ أﻋﻠﻦ‬ ‫ﻋﻦ وﻻدة ﺷﺎﻋﺮة ﺳﺠﻠﺖ اﺳﻤﻬﺎ ﰲ دﻳﻮان اﻟﺸﻌﺮ اﻟﻌﺮيب مبﺮاﺛﻴﻬﺎ اﻟﺘﻲ‬ ‫ﺗﻘﻄﺮ دﻣﻌﺎ ودﻣﺎ‪ ،‬ﻋﺎﺷﺖ اﻟﺨﻨﺴﺎء ﺑﻌﺪ ﺻﺨﺮ ﺛﻼﺛني ﻋﺎﻣﺎ مل متﻞ‬ ‫‪ hCC‬‬ ‫‪O CqCC‬‬ ‫ﺧﻼﻟﻬﺎ ﻣﻦ اﻟﺤﺰن ﻋﻠﻴﻪ وأﺑﺖ أن ﺗﺨﻠﻊ ﺛﻮب اﻟﺤﺪاد‪ ،‬وﻇﻠﺖ ﻟﺴﻨﻮات *(‪Q C<Q ¥CCCG ¨CC¡CC CCMQ fCCCCHK Q£fCCCCCH T~CCCCCG* T£‬‬ ‫ *‪ CCR C6*|V CCCG* CQ C CC8'§C kCC CC6*K fN CCgCCI3 fCC¡CCG ¨CC CC+‬‬ ‫ﻃﻮﻳﻠﺔ ﺗﺒﻜﻴﻪ وﺗﺮﺛﻴﻪ مبﺮ ٍ‬ ‫اث ﺗﻨﺎﻗﻠﺘﻬﺎ اﻷﺟﻴﺎل ﺟﻴﻼ ﺑﻌﺪ ﺟﻴﻞ‪ ،‬وﻣﻦ‬ ‫‪ fCC CC¤CCDÑCCkCC1* S §CCCC: · ¢CC‬‬ ‫*‪S CMzCCCMzCCC¹* V£‬‬ ‫أﺷﻬﺮ اﳌﺮايث اﻟﺘﻲ ﻗﺎﻟﺘﻬﺎ ﰲ ﺻﺨﺮ ﺗﻠﻚ اﻷﺑﻴﺎت اﻟﺘﻲ ﺗﻌﺪ ﻣﻦ رواﺋﻊ‬ ‫‪ CR C6fCC¡T C G* RzCC CCR CC CCM ¢CC‬‬ ‫¸ ‪U C S CCCGK S£*zCCC CCRC CCC U CCCMQ‬‬ ‫اﻟﺮﺛﺎء اﻟﻌﺮيب‪:‬‬ ‫‪ 4R *§V CCCCCC< ÕCC‬‬ ‫‪C CCCGfCCC+ U &* C‬‬ ‫‪S CªCC¡CCªCC CC+ L{CCCCCE‬‬ ‫‪S‬‬ ‫*&‪ 4* VzCCCCCG* fCC¤C CCJ* ¢CCCH UlCCC CCC1U3* UlCCCCCD43 ‬وﻛام ﺷﻐﻠﺖ اﻟﻨﺎس ﰲ اﻟﺠﺎﻫﻠﻴﺔ ﺷﻐﻠﺖ اﳌﺤﺪﺛني أﻳﻀﺎ ﻓﺘﻨﺎول اﻟﻜﺜري‬ ‫‪U‬‬ ‫‪Q‬‬ ‫‪R‬‬ ‫‪V U‬‬ ‫ﻣﻦ اﻟﻨﻘﺎد ﺷﻌﺮﻫﺎ ﺑﺎﻟﻨﻘﺪ واﻟﺘﺤﻠﻴﻞ‪ ،‬وﻟﻌﻞ اﻟﻜﺎﺗﺒﺔ ﺑﻨﺖ اﻟﺸﺎﻃﺊ ﻛﺎﻧﺖ‬ ‫‪Q C1Q *3(* ¦R *|CCCCF{CCCCG «CC¡CCªCC< T£&fCCCCCCF‬‬ ‫‪ Um|CCC‬‬ ‫‪Q C CCC‬‬ ‫‪ 4R *4zCCCCH ¢CCC‬ﻣﺤﻘﺔ ﻋﻨﺪﻣﺎ وﺻﻔﺖ اﻟﺨﻨﺴﺎء اﻟﺸﺎﻋﺮة ﺑﻘﻮﻟﻬﺎ‪» :‬ﻟﻌﻠﻪ اﻟﻈﻞ اﻟﻜﺎيب‬ ‫‪S CM VzCCCC»* ¨CC Q CC< CR CªCC CC CCM CO C CCªCCD‬‬ ‫اﻟﺬي ﻳﻠﻘﻲ ﻋﲆ ﺻﻮرة اﻟﺨﻨﺴﺎء‪ ،‬ﻻ ﻛام ﻛﺎﻧﺖ ﰲ اﻟﻮاﻗﻊ وﺣﻘﻴﻘﺔ اﻷﻣﺮ‪،‬‬ ‫‪ Ul¤GK UzCCCEQK LÌ‬‬ ‫‪ « g‬‬‫‪P‬‬ ‫‪Q C CCG* «CCJ |w G‬‬ ‫‪R¥CCCCCCCIK2‬‬ ‫‪4‬‬ ‫‪fCC‬‬ ‫‪C‬‬ ‫‪kCC‬‬ ‫‪C‬‬ ‫‪ CC‬‬ ‫‪C‬‬ ‫&‪6‬‬ ‫*‬ ‫ ‬ ‫‪i‬‬ ‫‪ÎCCCCCC‬‬ ‫‪C‬‬ ‫ *‪G‬‬ ‫‪C‬‬ ‫‪MzCC‬‬ ‫‪C‬‬ ‫ ‪/‬‬ ‫‪¢CCC‬‬ ‫‪C‬‬ ‫ ‪H‬‬ ‫‪K‬‬ ‫‪SzCC‬‬ ‫‪U‬‬ ‫‪Q‬‬ ‫‪S W‬‬ ‫‪ R‬وﻟﻜﻦ ﻛام أراد رواة أدﺑﻨﺎ وﻣﺆرﺧﻮه أن ﻳﺮﺳﻤﻮﻫﺎ«‪.‬‬ ‫‪W C CC¡CC- fCC CCD CO C6fCC¡T C 1 «CC CCgCC‬‬‫‪ Um|CC CC< fCCCHQ C‬‬ ‫‪Q‬‬ ‫‪4‬‬ ‫‪fCCC‬‬ ‫‪C‬‬ ‫‪kCCC‬‬ ‫‪C‬‬ ‫ ‬ ‫‪U‬‬ ‫‪CCC‬‬ ‫‪C‬‬ ‫‪H‬‬ ‫ ‬ ‫‪«CCCCCC‬‬ ‫‪C‬‬ ‫‪JK O‬‬ ‫‪Õ‬‬ ‫‪CCCCCCC‬‬ ‫‪C‬‬ ‫‪I‬‬ ‫‪4‬‬ ‫ ‬ ‫‪C‬‬ ‫‪ª‬‬ ‫‪CCC‬‬ ‫‪C‬‬ ‫ ‬ ‫‪CCC‬‬ ‫‪C‬‬ ‫‪< fCC‬‬ ‫‪C‬‬ ‫‪¤CC‬‬ ‫‪CG‬‬ ‫‪S‬‬ ‫‪S¥CCC‬‬ ‫‪Q‬‬ ‫‪R‬‬ ‫‪U‬‬ ‫‪Q‬‬ ‫اﻟﺮﺣﻴﻞ‪Z‬‬ ‫‪V CCCC0K |CP CwCC CC8 ¨CC Q C < CO C6fCC¡CC1 «CC CCgCC‬‬‫‪ f‬‬ ‫‪¤‬‬ ‫ ‪G‬‬ ‫‪Q‬‬ ‫ﻳﻜﺘﻨﻒ اﻟﻐﻤﻮض ﺗﺎرﻳﺦ وﻻدة اﻟﺨﻨﺴﺎء ﻳﻜﺘﻨﻒ اﻟﻐﻤﻮض أﻳﻀﺎ اﻟﻌﺎم‬ ‫‪4R *|CC CC9 |CC‬‬ ‫‪Q CJ VzCCCG* V£* |CC‬‬ ‫*(‪R CJ VzCCCG* fCCC¤Q CCC+*4 U3‬‬ ‫‪ V‬اﻟﺬي رﺣﻠﺖ ﻓﻴﻪ‪ ،‬واﻷرﺟﺢ إﻧﻬﺎ ﻣﺎﺗﺖ ﰲ ﺳﻦ اﻟﺴﺒﻌني ﻛام ﻳﻘﻮل‬ ‫‪Q‬‬ ‫‪ Ì‬‬ ‫¸ ‪U CH VzCCCC+‬‬ ‫‪O C < fCC¤Q C D|CC CC8 · P jCCkCCªCCH ¢CCC‬‬ ‫ ‪ 4R *§CCCCCC:*KQ §CCCC0‬أﻏﻠﺐ اﻟﺮواة‪ ،‬ﻣﺎﺗﺖ ﺑﻌﺪ أن ﻓﻘﺪت اﻷب واﻟﺰوج واﻷﺧﻮﻳﻦ واﻷﺑﻨﺎء‪،‬‬ ‫‪O‬‬ ‫‪S¥CCD|CC CC8 · |CCCCJ‬‬ ‫‪R VzCCCCG*KQ‬‬

‫ومل ﻳﺘﺒﻖ ﺑﺠﺎﻧﺒﻬﺎ ﺳﻮى اﺑﻨﺘﻬﺎ ﻋﻤﺮة اﻟﺘﻲ ﺷﻬﺪت رﺣﻴﻠﻬﺎ‪ ،‬رﺣﻠﺖ وﻫﻲ‬ ‫اﺳﻼﻣﻬﺎ‪Z‬‬ ‫ﻣﺴﻠﻤﺔ وﺗﻌﺪ ﻣﻦ اﻟﺼﺤﺎﺑﻴﺎت‪ ،‬ﻟﻘﺪ أﺳﻜﺖ اﳌﻮت أﺧريا ﺻﻮت ﺳﻴﺪة‬ ‫أﺳﻠﻤﺖ اﻟﺨﻨﺴﺎء ﰲ اﻟﻌﺎم اﻟﺜﺎﻣﻦ ﺑﻌﺪ اﻟﻬﺠﺮة ﻋﲆ اﻷرﺟﺢ‪ ،‬ﻛﺎﻧﺖ اﻟﺒﻜﺎء اﻷوﱃ‪.‬‬

‫ﺪد ‪4488‬‬ ‫ﻌﺪد‬ ‫اﻟﻌﺪد‬ ‫اﻟﺸﻌﺮ ‪ /‬ﻟﻌ‬ ‫ﻟﻌ‬ ‫ﺸﻌﺮ‬ ‫ﺑﻴﺖ اﻟﻟﺸ‬ ‫‪ 7788‬ﺑﻴﺖ‬

‫زواﺟﻬﺎ‪Z‬‬ ‫ﺗﻌﺪ ﺣﻜﺎﻳﺔ درﻳﺪ ﺑﻦ اﻟﺼﻤﺔ واﻟﺨﻨﺴﺎء ﻣﺜرية ﺣﻘﺎ‪ ،‬ﻛﺎن درﻳﺪا‬ ‫اﻟﻔﺎرس اﻟﺼﻨﺪﻳﺪ واﻟﺸﺎﻋﺮ اﻟﻔﺤﻞ ﺳﻴﺪ ﺑﻨﻲ ﺟﺸﻢ وﻓﺎرﺳﻬﻢ وﻗﺎﺋﺪﻫﻢ‬ ‫اﳌﻈﻔﺮ‪ ،‬وروي أﻧﻪ ﻏﺰا ﻧﺤﻮ ﻣﺎﺋﺔ ﻏﺰوة ﻓام ﻋﺮف اﻟﻬﺰميﺔ ﻗﻂ‪ ،‬ﰲ‬ ‫إﺣﺪى رﺣﻼﺗﻪ ﰲ ﺑﺎدﻳﺔ اﻟﺤﺠﺎز‪ ،‬اﻧﻄﻠﻖ درﻳﺪ ﰲ رﻳﺎﺿﺔ ﻗﺼرية‪،‬‬ ‫ﻓﺎﺳﺘﻮﻗﻔﻪ ﻣﺸﻬﺪ ﻓﺘﺎة ﺟﻤﻴﻠﺔ اﳌﻼﻣﺢ ﻣﻤﺸﻮﻗﺔ اﻟﻘﻮام‪ ،‬روي أﻧﻪ رآﻫﺎ‬ ‫ﺗﻐﺘﺴﻞ ﺑﻌﺪ أن ﺧﻠﻌﺖ ﻣﻼﺑﺴﻬﺎ دون أن ﺗﺮاه‪ ،‬ﺳﺄل ﻋﻨﻬﺎ درﻳﺪ وﻋﺮف‬ ‫أﻧﻬﺎ متﺎﴐ ﺑﻨﺖ ﻋﻤﺮو ﺷﻘﻴﻘﺔ ﺻﺪﻳﻘﻪ ﻣﻌﺎوﻳﺔ‪ ،‬ﻳﻮﻣﻬﺎ ردد درﻳﺪ‪:‬‬

‫وﺗﺮوي ﺑﻌﺾ اﳌﺼﺎدر اﻟﺘﺎرﻳﺨﻴﺔ أن اﻟﺨﻨﺴﺎء ﺗﺰوﺟﺖ ﺛﻼث‬ ‫ﻣﺮات‪ ،‬ﻟﻜﻦ ﻏﺎﻟﺒﻴﺔ اﳌﺼﺎدر اﻟﺘﻲ ﺗﺆرخ ﻟﺴريﺗﻬﺎ ﺗﺸري إﱃ زﻳﺠﺘني‬ ‫ﻓﻘﻂ ‪ ،‬اﻷوﱃ ﻛﺎﻧﺖ ﺑﻌﺪ أن رﻓﻀﺖ اﻟﺨﻨﺴﺎء درﻳﺪا ﻓﺘﻘﺪم ﻟﺨﻄﺒﺘﻬﺎ‬ ‫أﺣﺪ أﺑﻨﺎء ﻋﻤﻮﻣﺘﻬﺎ وﻫﻮ رواﺣﺔ ﺑﻦ ﻋﺒﺪ اﻟﻌﺰي اﻟﺴﻠﻤﻲ‪ ،‬ﻓﺘﺰوﺟﺘﻪ‬ ‫وأﻧﺠﺒﺖ ﻟﻪ ﻋﺒﺪ اﻟﻠﻪ وﻳﻜﻨﻰ )أﺑﺎ ﺷﺠﺮة( ﺣﻴﺚ أﺳﻠﻢ ﺛﻢ ذاع ﺻﻴﺘﻪ‬ ‫ﰲ ﺣﺮوب اﻟﺮدة ﺣﻴﺚ أرﺗﺪ ﻣﻊ اﳌﺮﺗﺪﻳﻦ‪.‬‬ ‫وﺗﻨﻄﻮي ﻫﺬه اﻟﺰﻳﺠﺔ اﻷوﱃ ﻟﻠﺨﻨﺴﺎء ﻋﲆ إﺷﻜﺎﻟﻴﺘني‪ :‬اﻷوﱃ أن‬ ‫‪Q R CªW CCCC0Q‬‬ ‫‪ ¨CCgS C tCU C CCQ 8 *§CCCCC R CCCCC+Q 4U *K |CCC CCC9fCCCµ *§CCC‬‬ ‫ﺷﻌﺮﻫﺎ ﻳﺨﻠﻮ ﻣﻦ اﻟﺤﺪﻳﺚ ﻋﻦ ﻫﺬه اﻟﺘﺠﺮﺑﺔ اﻟﺘﻲ ﺗﻌﺘﱪ ﻋﻼﻣﺔ ﻓﺎرﻗﺔ‬ ‫‪U CCCCDQ §CCCCER KR V£S(fCCCCCCCD *§CCCC R CCCC SEK‬‬ ‫‪ ¨CCgS C CUC CC0 Q CCCCR‬ﰲ ﺣﻴﺎة أي أﻧﺜﻰ‪ ،‬واﻹﺷﻜﺎﻟﻴﺔ اﻟﺜﺎﻧﻴﺔ ﺗﺘﻌﻠﻖ ﺑﻨﻬﺎﻳﺔ ﻫﺬ اﻟﺰواج‪ ،‬ﻓﺒﻌﺾ‬ ‫‪ CC‬‬ ‫*&‪U C R CCC+S 2R *'§CCCCCQ R CCCCCG* Q fCCCCCJ zCCCD CCCR C6fCCCC¡T CCCC1R Q‬‬ ‫اﻟﻜﺘﺎﺑﺎت ﺗﺸري إﱃ ﻣﻮت ﻋﺒﺪ اﻟﻌﺰى ﻋﻨﻬﺎ‪ ،‬وﻛﺘﺎﺑﺎت أﺧﺮى ﺗﺮﺟﺢ أن‬ ‫‪O CgU CCCCC- R¥CCCCCCC+Q fCCCCCCC CCCCCCC8Q&*K‬‬ ‫‪R Q¢CCCCCCCCCHS CCCC‬‬ ‫ *‪hCCCCCCCº‬‬ ‫‪ X‬ﻧﻬﺎﻳﺔ اﻟﺰواج ﻛﺎﻧﺖ ﺑﺘﻄﻠﻴﻘﻬﺎ‪.‬‬ ‫‪ ¥CC+ RlCCC CCC S CCC CCC6 ¸K RlCCCCCCCCCCCCMQ&*4 U£S(* fCCCCH‬‬ ‫‪U Q‬‬ ‫‪Q‬‬ ‫‪U‬‬ ‫‪iS |CCCCC‬‬ ‫‪P C¡R CCCCCCMU Q&* $¨CCCC‬‬ ‫‪R CCCCC‬‬ ‫‪Q CIS fCCCCCJ S §CCCCªQ CCCCUGfCCCCFQ‬‬ ‫ ‪U C/‬‬ ‫‪X CgQ CCCCCCkQ CCCCCCHR‬‬ ‫‪R¥CCCC¡R CCCC CCCS C6fCCCCÁ K‬‬ ‫‪Q Q RzCCCCCCCgU CCCCCCC-Q ¸N {CCCCC‬‬ ‫‪Q‬‬ ‫‪U‬‬ ‫‪hCC‬‬ ‫‪C‬‬ ‫ ‬ ‫‪CC‬‬ ‫‪C‬‬ ‫¡‬ ‫‪CC‬‬ ‫‪C‬‬ ‫ *‪G‬‬ ‫ ‬ ‫‪CCC‬‬ ‫‪C‬‬ ‫‪ CCC‬‬ ‫‪C‬‬ ‫*‪9‬‬ ‫§‬ ‫‪CCC‬‬ ‫‪C‬‬ ‫‪H‬‬ ‫ ‬ ‫‪$fCCCQ‬‬ ‫¡‬ ‫ *‪CCC¤CCCG‬‬ ‫‪ CC‬‬ ‫‪C‬‬ ‫‪ CC‬‬ ‫‪C‬‬ ‫‪ CC‬‬ ‫‪C‬‬ ‫‪M‬‬ ‫‪W‬‬ ‫‪S‬‬ ‫‪Q‬‬ ‫‪Q‬‬ ‫‪Q Q Q‬‬ ‫‪R‬‬ ‫‪S‬‬ ‫‪ S¥CCCC+S $fCCC‬‬ ‫‪Q CkQ CCCCHR‬‬ ‫‪Q C CCCQ C CCCCIQ N*|CCCC CCCST C CCCCtCCC‬‬ ‫‪Q C¡CCCC¤S CCCCG* uCCC‬‬ ‫‪Q CM|CCC‬‬ ‫‪hCC CC CC‬‬ ‫‪ Q CCG* SjCCCC CCC‬‬ ‫‪S Q CCCG* uCC‬‬ ‫‪Q C CCC9‬‬ ‫‪S‬‬ ‫‪Q C+S ÔCCCgCCC‬‬ ‫‪ *3S(* CCCR C6fCCCC¡CCCC1R «CCCC¡T CCCC<Q CC‬‬ ‫ ‪R C¤R CCCªCCC CCC CCQ C CCCDQ‬‬ ‫‪Q‬‬ ‫‪Q‬‬ ‫‪Q‬‬ ‫‪Q CH hCC‬‬ ‫‪T‬‬ ‫‪«CCgCC CC1 fCC‬‬ ‫‪C‬‬ ‫‪ CC‬‬ ‫‪C‬‬ ‫»‬ ‫ *‬ ‫ ‬ ‫‪CC‬‬ ‫‪C‬‬ ‫‪ªCC‬‬ ‫‪C‬‬ ‫‪ CC‬‬ ‫‪C‬‬ ‫‪¹‬‬ ‫ *‬ ‫‪ CC‬‬ ‫‪C‬‬ ‫‪ CC‬‬ ‫‪C‬‬ ‫<‬ ‫‪Q‬‬ ‫‪Q‬‬ ‫‪R‬‬

‫أﻣﺎ اﻟﺰواج اﻟﺜﺎين ﰲ ﺣﻴﺎة اﻟﺨﻨﺴﺎء ﻓﻜﺎن ﻣﻦ أﺣﺪ أﺑﻨﺎء اﻟﻌﻢ أﻳﻀﺎ‪،‬‬ ‫وﻫﻮ ﻣﺮداس ﺑﻦ أيب ﻋﺎﻣﺮ اﻟﺴﻠﻤﻲ اﻟﺬي ﻛﺎن ﺷﺎﻋﺮا ﻣﻌﺮوﻓﺎ واﺷﺘﻬﺮ‬ ‫ﺑﻜﺮﻣﻪ‪ ،‬ﻓﻮﻟﺪت ﻟﻪ أرﺑﻌﺔ ﻣﻦ اﻟﺬﻛﻮر‪ ،‬واﺑﻨﺔ واﺣﺪة ﺗﺪﻋﻰ »ﻋﻤﺮة«‬ ‫وﻛﺎﻧﺖ ﺷﺎﻋﺮة ﻣﺜﻞ أﻣﻬﺎ اﻟﺨﻨﺴﺎء‪ ،‬وﻗﺪ اﺳﺘﺸﻬﺪ أﺑﻨﺎؤﻫﺎ اﻷرﺑﻌﺔ ﰲ‬ ‫ﻣﻌﺮﻛﺔ اﻟﻘﺎدﺳﻴﺔ‪ ،‬وﻟﻜﻦ اﻟﻐﺮﻳﺐ أﻧﻪ مل ﻳﻌرث ﻋﲆ ﺑﻴﺖ واﺣﺪ ﻟﻠﺨﻨﺴﺎء‬ ‫ﰲ رﺛﺎء أﺑﻨﺎﺋﻬﺎ اﻷرﺑﻌﺔ‪ ،‬وﻫﻮ ﻣﺎ ﺟﻌﻞ ﺑﻌﺾ اﻟﻨﻘﺎد ﻳﺘﺸﻜﻜﻮن ﰲ‬ ‫وﺟﻮد أﺑﻨﺎء ﻟﻬﺎ‪ ،‬أو أﻧﻬﻢ مل ﻳﺴﺘﺸﻬﺪوا ﰲ اﳌﻌﺮﻛﺔ‪ ،‬وﻳﺆﻛﺪ ﻫﺆﻻء ﻋﲆ‬ ‫ﻛﺎن ﻗﺪ ﺗﻘﺪم ﻟﺨﻄﺒﺔ اﻟﺨﻨﺴﺎء أﻧﺎس ﻛﺜريون ورﻓﻀﺘﻬﻢ‪ ،‬ﻓﻬﻞ ﺗﺮﻓﺾ‬ ‫أن مثﺔ اﻟﺘﺒﺎﺳﺎً ﺣﺪث ﺣﻴﺚ إن اﻟﺸﻬﺪاء اﻷرﺑﻌﺔ ﻟﺨﻨﺴﺎء أﺧﺮى ﻏري‬ ‫ﻫﺬا اﻟﻔﺎرس اﳌﻐﻮار وﺳﻴﺪ ﺑﻦ ﺟﺸﻢ‪ ،‬ﻟﻘﺪ ﺗﻘﺪم درﻳﺪ ﻟﺨﻄﺒﺘﻬﺎ‪ ،‬وﻗﺎل‬ ‫ﺷﺎﻋﺮﺗﻨﺎ‪ ،‬وﻗﺪ ﺧﻠﺪت اﻟﺨﻨﺴﺎء زوﺟﻬﺎ ﻣﺮداس ﰲ ﻣﺮﺛﻴﺔ ﻣﻌﺮوﻓﺔ ﺗﻌﺘﱪ‬ ‫ﻷﺑﻴﻬﺎ‪ :‬ﻟﻘﺪ ﺟﺌﺖ أﺧﻄﺐ اﺑﻨﺘﻚ‪ ،‬ورد اﻷب ﺑﺄن ﻟﺘامﴐ ﰲ ﻧﻔﺴﻬﺎ‬ ‫ﻣﻦ أﺟﻤﻞ ﻣﺮاﺛﻴﻬﺎ ﺗﻘﻮل ﻓﻴﻬﺎ‪:‬‬ ‫ﻣﺎ ﻟﻴﺲ ﻟﻐريﻫﺎ‪ ،‬واﺳﺘﺄذن اﻷب ﻟﺴﺆاﻟﻬﺎ‪ ،‬وﻟﻜﻨﻬﺎ اﺑﺖ ورددت ﺑﻦ‬ ‫‪ fN C CC CSC6fCCF CCCC‬‬ ‫‪Q C Q CCCCC;Q&* 4Q zCCCCgQ CCCCG* RlCCCCCCCCCMQ&*4Q fCCCCHT‬‬ ‫اﻟﺼﻤﺔ‪ ،‬ﻗﺎﻟﺖ ﻷﺑﻴﻬﺎ‪» :‬ﻳﺎ أﺑﺖ أﺗﺮاين ﺗﺎرﻛﺔ ﺑﻨﻲ ﻋﻤﻲ ﻣﺜﻞ ﻋﻮاﱄ‬ ‫*&‪O C CCCCQ C7 V£4Q Q‬‬ ‫‪ ¥CCC R CCCS)*§CCC CCC6‬‬ ‫‪Q KQ R¥CCCR¡CCC CCC+Q 3*§CCCC‬‬ ‫‪ ¨CCC-Q&* zCCCCEQ KQ ÕCC‬‬ ‫‪R CI|CC‬‬ ‫اﻟﺮﻣﺎح وﻧﺎﻛﺤﺔ ﺷﻴﺦ ﺑﻨﻲ ﺟﺸﻢ ﻫﺎﻣﺔ اﻟﻴﻮم أو ﻏﺪ؟« وأﻧﺸﺪت أﺑﻴﺎت ‪Q CG* «CC¡CC CCMR fCCCCHKQ fN C ¡CCªCCI4Q‬‬ ‫‪Q‬‬ ‫‪Q‬‬ ‫‪R‬‬ ‫ﺟﺎرﺣﺔ ﰲ ﺣﻖ درﻳﺪ‪:‬‬ ‫‪¥CC R C HS fCC0 SjCCCMV |CC‬‬ ‫‪C‬‬ ‫ ‬ ‫‪CC‬‬ ‫‪C‬‬ ‫ *‪G‬‬ ‫§‬ ‫‪CC‬‬ ‫‪C‬‬ ‫‪tCC‬‬ ‫‪C‬‬ ‫‪I‬‬ ‫‪ ¢CC‬‬ ‫‪C‬‬ ‫‪H‬‬ ‫ ‬ ‫‪ CCC‬‬ ‫‪C‬‬ ‫‬‫‪§CCC‬‬ ‫‪C‬‬ ‫¯‬ ‫‪S‬‬ ‫‪S‬‬ ‫‪QS‬‬ ‫‪S‬‬ ‫‪Q‬‬ ‫*‪zCCCCCCM42 ¨CCCC CCCC< lCCC CCCgCCCJ «CCC¡CCCgCCC CCCwCCC-‬‬ ‫‪4zCCCC+ &* zCCCCªCCCC CCCC6 m2|CCCCCCCCCC: zCCCCCCCCEK‬‬ ‫‪«CCCFÌCCC0 «CCC¡CCCtCCC CCC¡CCCM Ù* 3fCCCCC CCCCCH‬‬ ‫‪|CC CC+ ¢CCCC+ CC CC CC/ ¢CCCCH ¦§CCCCCCC+&* fCCCC CCCCM‬‬ ‫‪fCCCMzCCCJ CCC CCC CCC/ · lCCCCªCCCC CCCC CCCCH&* §CCCCCCCGK‬‬ ‫ ‪|CCC CCCDK‬‬ ‫‪ CCCCP C CCCCCI2 · lCCCªCCC CCC CCCH&* zCCC CCCG‬‬ ‫‪S‬‬

‫ﻛﺎن درﻳﺪ ﻗﺪ ﺳﻤﻊ رد اﻟﺨﻨﺴﺎء واﻧﴫف ﺷﺎﻋﺮا مبﺮارة ﻓﻬﺎج ﻏﻀﺒﺎ‬ ‫ﻣﻦ وﺻﻔﻬﺎ ﻟﻪ ﺑﺎﻟﺤﱪيك وﻫﻮ اﻟﺬي ﻳﺸﺒﻪ ﺟﺴﺪه اﻟﻘﺮﻃﺎس )ﺳﻤني ﻣﻦ‬ ‫أﻋﲆ رﻓﻴﻊ ﻣﻦ أﺳﻔﻞ( وﻗﺎل ﺷﻌﺮا‪:‬‬

‫ < ¨ *‪ ¥ R -S fE CS C6fCC¡CCG‬‬ ‫‪Q fN C CC6*2|CCHS 4Q fCC1 zCC Q CGQ‬‬ ‫‪¥CCCC R CCCC)S ÑCCCC0Q KQ R¥CCCC-R fCCCC¡T CCCCFQ ¦R 2Q fCCCCCCCCC< §CCCCCCCGQ KQ‬‬ ‫‪ R¥CCGR fCC¡CCMQ P$fCCC CCC CCS C7 ¢CCCCHS CCCC QJ ¸Q&* Q¢CCCC CCCCER KQ‬‬ ‫‪¥CC R C )S fCCI §Q CCCC RJ ¢CCCHQ $fC‬‬ ‫‪C‬‬ ‫‪ C‬‬ ‫‪C‬‬ ‫‪ C‬‬ ‫‪C‬‬ ‫‪ C‬‬ ‫‪CG* Q CCC¡S CCCHR zCCCCCEQ KQ‬‬ ‫‪S‬‬ ‫‪Q‬‬ ‫ ‪ R¥ R 0‬‬ ‫ <‪S CS C6fCC¡CCG* ¨CC CC‬‬ ‫‪Q fN C CC6*2|CCHS CQ C CCV CCDQ KQ‬‬ ‫‪Q‬‬ ‫‪¥CC R C S<fCCD §Q CCC¤CCCDQ R¥CCCC V CCCC QJ CCCC‬‬ ‫‪[ C QJ W CCCCCFR £&*KQ‬‬

‫ﻣﻌﺎوﻳﺔ وﺻﺨﺮ‪Z‬‬ ‫ﻟﻌﺐ اﻷﺧﻮان ﻣﻌﺎوﻳﺔ وﺻﺨﺮ دورا ﺑﺎرزا ﰲ ﺣﻴﺎة اﻟﺨﻨﺴﺎء‪ ،‬وﻗﺪ‬ ‫وﺻﻔﺘﻬام ﺑﻘﻮﻟﻬﺎ‪» :‬ﻛﺎن ﺻﺨﺮ ﺟﻨﺔ اﻟﺰﻣﺎن اﻷﻏﱪ وزﻋﺎف اﻟﺨﻤﻴﺲ‬ ‫اﻷﺣﻤﺮ‪ ،‬وﻛﺎن ﻣﻌﺎوﻳﺔ اﻟﻘﺎﺋﻞ اﻟﻔﺎﻋﻞ‪ ،‬ﻓﻘﻴﻞ ﻟﻬﺎ‪ :‬ﻓﺄﻳﻬام ﻛﺎن أﺳﻨﻰ‬ ‫وأﻓﺨﺮ‪ ،‬ﻗﺎل‪ :‬أﻣﺎ ﺻﺨﺮ ﻓﺤﺮ اﻟﺸﺘﺎء وأﻣﺎ ﻣﻌﺎوﻳﺔ ﻓﱪد اﻟﻬﻮاء‪ ،‬ﻗﻴﻞ ﻟﻬﺎ‬ ‫ﻓﺄﻳﻬام أوﺟﻊ وأﻓﺠﻊ‪ ،‬ﻗﺎﻟﺖ‪ :‬أﻣﺎ ﺻﺨﺮ ﻓﺠﻤﺠﺮ اﻟﻜﺒﺪ وأﻣﺎ ﻣﻌﺎوﻳﺔ‬ ‫ﻓﺴﻘﺎم اﻟﺠﺴﺪ« وأﻧﺸﺪت ﻓﻴﻬام ﺷﻌﺮا‪:‬‬

‫‪ K|CC CC< %* jCCCC¡CCCC+* fCCCCM Ù* fCCCCCCCEK‬‬ ‫‪«CCCCC CC CC CCIK ¿fCCCCCnCCCCCH&* £fCCCªCCCkCCC CCCG* ¢CCCCCH‬‬ ‫‪ «CC CCnCCH CC‬‬ ‫‪S CtCCC CCC¡CCCM ¸K LzCCCC CCCC- ÑCCCCCD‬‬ ‫*(‪ CS C CCCCCCCCtCC¡CC+ lCCE|CCCCCCCCCCC: jCC CCªCCG fCCCCCCCH *3‬‬ ‫‪ ÔCCCgCCCF xCCCCªCCCC CCCC7 «CCCCCCC¡CCCCCCCI&* CCCCCCC<~CCCCCCC-K‬‬ ‫*&‪,zCCCÅ hCCCGfCCCwCCC¼* *|CCCC CCCCÁ £*zCCCCCC CCCCCC6‬‬ ‫‪ CCC‬‬ ‫‪C‬‬ ‫‪ CCC‬‬ ‫‪C‬‬ ‫&‪H‬‬ ‫*‬ ‫‪ ¢CCCCC‬‬ ‫‪C‬‬ ‫*‪+‬‬ ‫&‪ É‬‬ ‫*‬ ‫‪ fCCC‬‬ ‫‪C‬‬ ‫‪¤CCC‬‬ ‫‪C-ÌCCC‬‬ ‫‪S‬‬ ‫‪T C1 CCCCCCJK‬‬ ‫‪ |CCC‬‬ ‫‪S CÇ&¸* i§CC CC CC CCG* ¢CCCH~CCCG* · £*|CCCtCCC+‬‬ ‫ﻤﺒﺮ‬ ‫ﺴﻄﺲ‪-‬ﺳﺒﺒﺘﻤﺒ‬ ‫أﻏﻏﺴ‬ ‫أﻏﺴﻄﺲ‪-‬ﺳﺒﺘﻤﺒﺮ ‪777 2016‬‬

‫اﻟﺠﺎﻫﻠﻲ‬ ‫‪baytelshear‬‬

‫اﻟﺨﻨﺴﺎء‪..‬‬ ‫ﺳﻴﺪة اﻟﺒﻜﺎء ا)وﻟﻰ‬ ‫ﻣﺤﻤﺪ أﻧﻮر‬

‫ﻛﺎن اﻟﺮﺛﺎء أﺣﺪ أﻫﻢ أﻏﺮاض اﻟﺸﻌﺮ اﻟﺠﺎﻫﻠﻲ‪ ،‬وﻗﻠﻤﺎ ﻧﺠﺪ‬ ‫ﺷﺎﻋﺮا ﺟﺎﻫﻠﻴﺎ ﻟﻢ ﻳﻨﻈﻢ ﻓﻴﻪ‪ ،‬واﻟﺮﺛﺎء ﻫﻮ ﻣﺪح اﻟﻤﻴﺖ وذﻛﺮ‬ ‫ﻣﺤﺎﺳﻨﻪ وﻓﻀﺎﺋﻠﻪ واﻟﺒﻜﺎء ﻋﻠﻴﻪ‪ ،‬وﻟﺬا ﻳﺘﺼﻒ ﺷﻌﺮ اﻟﺮﺛﺎء‬ ‫ﺑﺎﻟﻌﺎﻃﻔﺔ اﻟﺠﻴﺎﺷﺔ‪ ،‬وﻳﻘﺪم ﺻﻮرة ﺻﺎدﻗﺔ ﻟﻌﻤﻖ اﻟﻌﻼﻗﺎت‬ ‫اﻹﻧﺴﺎﻧﻴﺔ واﻻﺟﺘﻤﺎﻋﻴﺔ‪ ،‬وﻋﻨﺪﻣﺎ ﻳﺬﻛﺮ اﻟﺮﺛﺎء ﻳﺘﺒﺎدر إﻟﻰ‬ ‫اﻟﺬﻫﻦ ﻣﺒﺎﺷﺮة اﺳﻢ اﻟﺸﺎﻋﺮة »اﻟﺨﻨﺴﺎء« ﻓﻬﻲ ﺳﻴﺪة‬ ‫اﻟﺮﺛﺎء اﻷوﻟﻰ ﻓﻲ دﻳﻮان اﻟﺸﺎﻋﺮ اﻟﻌﺮﺑﻲ‪ ،‬ﻋﺎﺷﺖ »اﻟﺨﻨﺴﺎء«‬ ‫ﻓﻲ اﻟﺠﺎﻫﻠﻴﺔ ﻏﺎﻟﺒﻴﺔ ﻋﻤﺮﻫﺎ وأدرﻛﺖ اﻹﺳﻼم ﻓﻲ ﻃﻼﺋﻊ‬ ‫ﺷﻴﺨﻮﺧﺘﻬﺎ وﻗﺪﻣﺖ ﻋﻠﻰ اﻟﻨﺒﻲ ﻣﺤﻤﺪ ﻣﻊ ﻗﻮﻣﻬﺎ ﺑﻨﻲ ﺳﻠﻴﻢ‬ ‫وأﺳﻠﻤﺖ وﺣﺴﻦ إﺳﻼﻣﻬﺎ‪g‬‬ ‫رﻏﻢ أن اﻟﺨﻨﺴﺎء أدرﻛﺖ اﻹﺳﻼم ﻓﻲ ﻧﻬﺎﻳﺔ ﺣﻴﺎﺗﻬﺎ‬ ‫واﺳﻠﻤﺖ إﻻ أن ﻧﻘﺎد اﻟﺸﻌﺮ اﻟﻘﺪاﻣﻰ ﻳﻨﺴﺒﻮﻧﻬﺎ ﺷﻌﺮﻳﺎ‬ ‫وﻓﻨﻴﺎ إﻟﻰ اﻟﺸﻌﺮ اﻟﺠﺎﻫﻠﻲ‪ ،‬ﻓﺎﻟﻌﺼﺮ اﻟﺠﺎﻫﻠﻲ ﺷﻬﺪ أﻏﻠﺐ‬ ‫ﺣﻴﺎﺗﻬﺎ اﻟﻔﻨﻴﺔ‪ ،‬وﻟﺬا ﻳﻌﺘﺒﺮﻫﺎ اﺑﻦ ﻗﺘﻴﺒﺔ » ﺟﺎﻫﻠﻴﺔ ﻛﺎﻧﺖ ﺗﻘﻮل‬ ‫اﻟﺸﻌﺮ ﻓﻲ زﻣﻦ اﻟﻨﺎﺑﻐﺔ اﻟﺬﺑﻴﺎﻧﻲ«‪g‬‬

‫ﻧﺸﺄة اﻟﺨﻨﺴﺎء‪Z‬‬ ‫ﻫﻲ متﺎﴐ ﺑﻨﺖ ﻋﻤﺮو ﺑﻦ اﻟﺤﺎرث ﺑﻦ اﻟﴩﻳﺪ اﻟﺴﻠﻤﻴﺔ‪ ،‬ﺗﻨﺘﻤﻲ إﱃ‬ ‫ﻗﺒﻴﻠﺔ ﺑﻨﻲ ﺳﻠﻴﻢ‪ ،‬وﻫﻲ اﻟﻘﺒﻴﻠﺔ اﻟﺘﻲ روي ﻋﻦ اﻟﻨﺒﻲ ﻣﺤﻤﺪ اﻋﺘﺰازه‬ ‫ﺑﺎﻻﻧﺘﺴﺎب ﻟﻬﺎ‪» :‬أﻧﺎ اﺑﻦ اﻟﻔﻮاﻃﻢ ﻣﻦ ﻗﺮﻳﺶ‪ ،‬واﻟﻌﻮاﺗﻚ ﻣﻦ ﺳﻠﻴﻢ‪،‬‬ ‫وﰲ ﺳﻠﻴﻢ ﴍف ﻛﺜري«‪ ،‬ﺗﻜﻨﻰ أم ﻋﻤﺮو‪ ،‬وأﻣﺎ ﻟﻘﺐ اﻟﺨﻨﺴﺎء اﻟﺬي‬ ‫اﺷﺘﻬﺮت ﺑﻪ ﻓﻬﻮ ﻣﺄﺧﻮذ ﻣﻦ اﻟﺨﻨﺲ وﻣﻌﻨﺎه ﺗﺄﺧﺮ اﻷﻧﻒ ﻋﻦ اﻟﻮﺟﻪ‬ ‫ﻣﻊ ارﺗﻔﺎع ﰲ اﻷرﻧﺒﺔ‪ ،‬وﻣﻦ ﻣﻌﺎين اﻟﺨﻨﺴﺎء أﻳﻀﺎ اﻟﻈﺒﻴﺔ‪ ،‬ﻛام روت‬ ‫اﳌﺼﺎدر اﻟﺘﺎرﻳﺨﻴﺔ أن اﻟﺨﻨﺴﺎء ﻛﺎﻧﺖ ﺗﺘﻤﺘﻊ ﺑﺠامل ﻓﺎﺗﻦ‪.‬‬ ‫‪ 76‬ﺑﻴﺖ اﻟﺸﻌﺮ ‪ /‬اﻟﻌﺪد ‪48‬‬

‫وﻻ ﺗﺬﻛﺮ ﻟﻨﺎ اﳌﺼﺎدر اﻟﺘﻲ روت ﺳريﺗﻬﺎ ﺗﺎرﻳﺨﺎ ﻣﺤﺪدا ﻟﻮﻻدﺗﻬﺎ ﻛﻐﺎﻟﺒﻴﺔ‬ ‫ﺷﻌﺮاء اﻟﻌﴫ اﻟﺠﺎﻫﲇ‪ ،‬واﺷﻬﺮ اﻟﺘﻮارﻳﺦ اﻟﺘﻲ ﺗﺤﺪد ﺗﺎرﻳﺦ ﻣﻮﻟﺪﻫﺎ‬ ‫ﻋﺎم ‪ 575‬م‪ ،‬ﻧﺸﺄت وﻋﺎﺷﺖ ﰲ ﺑﻴﺖ ﻣﻦ أﻛﱪ ﺑﻴﻮت ﺑﻨﻲ ﺳﻠﻴﻢ وﻫﻮ‬ ‫ﺑﻴﺖ ﻋﻤﺮو ﺑﻦ اﻟﺤﺎرث اﻟﴩﻳﺪة‪ ،‬ﻛﺎﻧﺖ اﻟﺨﻨﺴﺎء اﻻﺑﻨﺔ اﻟﻮﺣﻴﺪة ﰲ‬ ‫أﴎﺗﻬﺎ‪ ،‬وﻧﺸﺄت وﺳﻂ رﻋﺎﻳﺔ أﴎﺗﻬﺎ وﺧﺎﺻﺔ أﺧﻮﻳﻬﺎ ﺻﺨﺮ وﻣﻌﺎوﻳﺔ‪،‬‬ ‫ﻓﻜﺎﻧﺖ ﺻﺎﺣﺒﺔ ﺷﺨﺼﻴﺔ ﻗﻮﻳﺔ ﻣﻌﺘﺪة ﺑﻨﻔﺴﻬﺎ ﺗﺘﻤﺘﻊ ﺑﺤﺮﻳﺔ اﻟﺮأي‪،‬‬ ‫وﰲ ﻫﺬه اﻷﺟﻮاء اﻟﺪاﻓﺌﺔ ﺗﻔﺘﺤﺖ ﻣﻮﻫﺒﺘﻬﺎ اﻟﺸﻌﺮﻳﺔ‪.‬‬

‫ﻋﻼﻣﺔ اﺳﺘﻔﻬﺎم‬ ‫ﻣﻮزه اﻟﻜﺘﺒﻲ‬ (‫)ﺑﻨﺖ اﻟﺪار‬

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‫ﻣﺎﺳﺎت‬ baytelshear

‫ﻃﺒﻊ اﻟﻨﺒﻴﻞ‬ ‫أﺣﻤﺪ اﻟﺰرﻋﻮﻧﻲ‬ @lazarooni

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Z‫ﻣﻦ ﺷﻌﺮ اﻟﺮﺻﺎﻓﻲ اﻟﺒﻠﻨﺴﻲ‬ S¥k ¤G ¨CC CC+Q&* R¥CC¤CC/K ¨CCkCC CCG* R£§CC CC8 4* QzCCC U CCCHS KQ [zCCC0 ¨CC CC< 4P fCCCC/ R U5|CCCCCC X CG*K ¬zC C M ¿fCCH VzCCkCCH&*K Rl ¡E U $f GfD R ¬4f¡M2 G*K «CC CCJ42 f¤ ÅK R R¥CCCCCVIQ&* ¸(* S ¢CS C CCU CC R C GfCCF CC P C¤Q CCC U CCC¤Q CCCHR KQ Q Q S¥CC)S fCC¡CC.U &* ¢CC U C< Q R §CC¡CCG* «X¡nkG* hC Q C C CCQ 6 ¦R WzCCC1 hC Q CgV C ³ UzCCCEK R fCC¡CCM ¨CCtCQ C CC9Q&* V 4R 2R 4§CCCCG* RlCC CC CCD fN CCCE|CC S¥CC)S fCC¯ CCC7 Q C<Q S¥CCCCkCCCCHfCCCCE SmfCCCCCCCCCF|CCCCCCCCC0 LQ&*4 *ÌCCCC S£fCCCCCCgCCCCCCG* hCCC R CªCCCC CCCS C CCCCEQ U Q kQ CCCC<fCCCCD ¥CC+ CCCªCCC CCC CCC¡CCCG* CFK QzCCCCCC¤S CCCCCC/ CCCCCC Q R *4Q zCCCCCCCCCCCE fCCCCCC CCCCCCD fCCCC¤CCCC¡CCCC CCCC CCCCtCCCCªCCCCG

Z‫ﺻﺪق اﻟﺮﺛﺎء‬ ‫ وﻗﺪ أىب أﻳﻀﺎ‬،‫وﻛام ﺑﺮع ﰲ اﳌﺪح ﺑﺮع اﻟﺮﺻﺎﰲ اﻟﺒﻠﻨﴘ ﰲ ﺷﻌﺮ اﻟﺮﺛﺎء‬ ‫ وﻟﺬا ﻳﻐﻠﺐ ﻋﲆ ﻣﺮاﺛﻴﻪ اﻟﻐﺮض‬،‫أن ﻳﺘﻜﺴﺐ ﻣﻦ ﺷﻌﺮه ﰲ ﻫﺬا اﻟﻔﻦ‬ ،‫اﻟﺨﺎص ﺣﻴﺚ ﻟﻪ ﻗﺼﺎﺋﺪ ﻋﺪﻳﺪة ﰲ رﺛﺎء اﻷﺻﺪﻗﺎء واﻷﻓﺮاد واﻟﺸﻌﺮاء‬ ‫ وﻣﻦ اﺷﻬﺮ ﻗﺼﺎﺋﺪه ﰲ‬،‫وﻟﺬا ﻓﻘﺪ ﻣﻴﺰ رﺛﺎءه ﺻﺪق اﻟﻌﺎﻃﻔﺔ اﻟﺠﻴﺎﺷﺔ‬ ‫اﻟﺮﺛﺎء ﺗﻠﻚ اﻟﻘﺼﻴﺪة اﻟﺘﻲ رىث ﻓﻴﻬﺎ ﺻﺪﻳﻘﻪ ﻋﺒﺪ اﻟﻠﻪ واﻟﺘﻲ اﻋﺘﱪﻫﺎ‬ :‫اﻟﻜﺜري ﻣﻦ اﻟﻨﻘﺎد ﻣﻦ ﻋﻴﻮن اﻟﺸﻌﺮ اﻷﻧﺪﻟﴘ‬ fCCC+fCCC CCCQ 8 CCC¤U CCC CCV C CCCG* £(*S Sm§CCCCCCCC¼* «CCCCCC V CH4 Q fCCC+fCCC CCC8&* «CCCCCCC U CHQ KQ P HU 4 ¨CCC CCC< R¢CCCCCHS zCCCCCM ¢CCCCCCCC ¢CC U C CCCGK ÑCCC CCC CCCkV CCCHR CCQ C CCCªCCC CCCG* QlCCCCC¡CCCCCFK V CG ÕCCCCC0 Q |V CCCCC CCCCC CCCCCfCCC+fCCC: QÕCCCCCCCC0K {CCCCCC V CF ¬4fCCCCC CCCCCkCCCCCI* «CCCC¡S CCCCgQ CCCCªCCCC CCCC7K §CCCC P CM CCCCCC Q Q C¤CCCC Q CCCCG ¨CCC+&fCCCM |CCCCC R CJzCCCCCCG*K N ,|V CCCCCCCCF zCCC R Q&* Q ¸S(* «CCgCC CCE S£*ÔCCCCCCCCI ¢CCCCH hCCCCCC W CCCCCC7 Q CªCCCC CCCC< X C CCCCCG CCC fCCC+fCCC¤CCC CCC7 P jCCCCªCCCCDfCCCCE CCCC V CF CCC CCCgCCCE RlCCCCCCCCC<2K zCCCCCCEK |CC CC CC6 CCCCC P fCCCCCC+%* CCCCCC. fN CCCC¡CCCCªCCCC0 ifCCCCCCCCC C= ¢CCCCC U C CCCCCCGK Q

Z‫اﻟﻐﺰل اﻟﺮﻗﻴﻖ‬ ‫ ومتﻴﺰ ﺷﻌﺮ اﻟﺮﺻﺎﰲ ﰲ‬،‫ﻛام ﺧﺎض اﻟﺮﺻﺎﰲ اﻟﺒﻠﻨﴘ ﻏامر ﻓﻦ اﻟﻐﺰل‬ ‫ وﻛام ﻛﺎن ﻳﺘﺼﻒ ﺑﺎﻟﺼﺪق ﰲ اﳌﺪح واﻟﺮﺛﺎء‬،‫اﻟﻐﺰل ﺑﺸﺎﻋﺮﻳﺔ ﻣﺘﺄﺻﻠﺔ‬ ‫ وﻫﻮ ﻋﲆ ﻋﻜﺲ اﻟﺸﻌﺮاء‬،‫ﻓﺈن ﺷﻌﺮه اﻟﻐﺰﱄ متﻴﺰه ﻏﻴﻤﺔ ﻣﻦ اﻟﺼﺪق‬ ‫ وﰲ ﻣﻘﻄﻮﻋﺎﺗﻪ اﻟﻐﺰﻟﻴﺔ‬،‫اﻵﺧﺮﻳﻦ ﻻ ﻳﺬﻛﺮ اﺳﻢ ﻣﺤﺒﻮﺑﺘﻪ ﰲ أﺷﻌﺎره‬ .‫ميﺰج اﻟﺮﺻﺎﰲ ﺑني وﺻﻒ اﻟﻄﺒﻴﻌﺔ ووﺻﻒ اﳌﺤﺒﻮﺑﺔ‬ Z‫ وﻣﻦ اﳌﻘﻄﻮﻋﺎت اﻟﺸﻬرية وﻓﺎﺗﻪ‬،‫وﻳﺘﺴﻢ ﻏﺰﻟﻪ ﺑﺎﻟﺮﻗﺔ واﻟﻌﺎﻃﻔﺔ اﻟﺠﻴﺎﺷﺔ‬ ‫ﻟﻠﺮﺻﺎﰲ ﰲ اﻟﻐﺰل ﺗﻠﻚ اﻷﺑﻴﺎت اﻟﺘﻲ ﻳﺘﺤﺪث ﻓﻴﻬﺎ ﻋﻦ وداع اﳌﺤﺒﻮﺑﺔ ﺗﻜﺎد ﺗﺠﻤﻊ اﳌﺼﺎدر اﻟﺘﻲ ﺗﺆرخ ﻟﺴرية اﻟﺮﺻﺎﰲ اﻟﺒﻠﻨﴘ اﻧﻪ ﻣﺎت ﺷﺎﺑﺎ‬ :‫ﰲ ﻟﻴﻠﺔ ﺷﺪﻳﺪة اﻟﺴﻮاد‬ 36 ‫ ﻩ أي مل ﻳﻌﺶ ﺳﻮى‬572 ‫ وﻛﺎن ذﻟﻚ ﻋﲆ اﻷرﺟﺢ ﻋﺎم‬،‫ﰲ ﻣﺎﻟﻘﺔ‬ ‫ وروي أن ﻣﺠﻤﻮﻋﺔ ﻣﻦ أﺻﺤﺎﺑﻪ وﻗﻔﻮا‬،‫ وﻣﺎت ﻋﺎزﺑﺎ مل ﻳﺘﺰوج‬،‫ﻋﺎﻣﺎ‬ fCC¤CCkR C Q CtCU CDQ CCCS C94U Q&¸fCCCC+ UlCCCFQ SzCCC CCQ C6 jCC CCªCCG · ‫ﻋﲆ ﻗﱪه وﻛﺎن ﺑﻴﻨﻬﻢ اﻟﺸﺎﻋﺮ ايب اﻟﺤﻜﻢ ﺑﻦ اﻟﴩﻳﻒ اﻟﺬي رﺛﺎه‬ :‫ ﺑﺄﺑﻴﺎت ﻳﻘﻮل ﻓﻴﻬﺎ‬uCCS CªCCC+fCCC CCC CCC¼* 2R fCCCCCCCCEK R 45&* §W CCCCCCCC¹*K

R ÉX Q&* 4R zCCCgCCCG* L4Q 2Q U CCCCC QJ CCªCC CCG* fCCCC¤CCCCMW Q&* R V U1 C k CCCCC C * & ¢CCC C H C + S CCªCCqCC CC CCG* C CCC C H Q£fCCC WlCCCC S¥CCCCC S S fCC CC CCD fCCCC S C¡CCCCC CCCCCG* ¢CCCCCH «CCC¡CCCkCCC¡CCC CCCH&* CCCM2§U CCCkV CCCG* Q jCCC<fCCC CCC6 |CC Q C Q CCCC/Q R CqCCC CCCG* hCCC UlCCCCHfCCCCEK ¢CC P C CCC CCC CCC+ fCCCCCJ2Q |CCCCC+ UmzCCCC CCCC< Q V R S §CCCCCHR 2R ¢CCCCS H N * |CCC C CCC C 0 * &

CC C CC C G* CC CCR CCU ¡CC-Q U

¦R zCCCCCCM CCCCCC CCCCCC9*K fCCCCC CIÑCCCCCCFK R¥CCCCCCkCCCCCC<2K O N v§C C C C C C H §CC C CC C CC C G*

§C C C C C C C C + f C C C C C 0 ¨C C C C < S S |w G* ¥CC+ f¡MzG ¨t 9&* ¢CCH ÌCCE « 6 S f¤kEQ |U DR QzCC U C +Q fN I ª Gf+ RlCCgU C S: fCCH S 4zCCC CCCG*K jCCCJfCCCgCCC¡CCCG* ¥CCC¡CCCH fCCC¡CCCG £fCCCCCCFK vK KQ §CCC CHR U{CCCCHQ ÕCCC+ fCCCH CR C CCªCC CCG*K RzCCCCCCCà Q P U S ¥CCG§CC0 lCCgCC¡CCG* «CC¡CCnCC¡CCM £~CCCH hCC)*§CC CC8 |CCJ~CCG*K 5 zCCCE 4§CCC¡CCCG* ¥CCªCCD |CC CC CCgCCªCCD fCCqCCº*K jCCDfCC CC8|CCG* ÌCCCE fCCCCCM&* CCªCC CCH ‫وﰲ أﺑﻴﺎت ﻏﺰﻟﻴﺔ أﺧﺮى ﺗﺴﻴﻄﺮ ﻋﻠﻴﻬﺎ اﻷوﺻﺎف اﻟﺤﺴﻴﺔ ﻳﺼﻮر إﺣﺪى‬ ‫ ﻟﻜﻦ اﻟﻠﻘﺎء ﺑﺎﳌﺤﺒﻮﺑﺔ ﴎﻋﺎن‬،‫ﻣﻐﺎﻣﺮاﺗﻪ اﻟﻌﺎﻃﻔﻴﺔ ﺗﺤﺖ ﺟﻨﺢ اﻟﻠﻴﻞ‬ ÐCC¡CCG*K CC CC¡CCG*K |CC CCG* ¿fCCC CCC¼* «CCkCC CC7K ¦|CCCCF3 £fCCCCCF ¬{CCCCCCG* ·fCCCC CCCC8|CCCCG* «CCC CCC+ :‫ﻣﺎ ﻳﻨﺘﻬﻲ ﻣﻊ ﻗﺪوم ﺿﻴﺎء اﻟﻔﺠﺮ ﻣﻌﻠﻨﺎ ﻧﻬﺎﻳﺔ اﳌﻐﺎﻣﺮة‬ |CC CC CCI jCCCCCCCCIK* CCCCCF · ¥CCCCC+ hCCCªCCC CCCM ¦ÌCC CC+ *§CCCCCHfCCCCCE&* ifCCCCCgCCCCC0&¸* £§CCCªCCC< UlCCCCCCCCCGV KQ KQ fCCCCCMÐCCCC Q C:Q W CG* Q CCCC Q CCCC U CCCCHQ UlCCCCCCEQ |CCCCC |CCCCF{CCCCG*K CCC CCC6&fCCCkCCCG* ¸* CCCC¤CCCCGfCCCCH4 S §CCCCCE§CCCCCG* uCCCCCCCCM4 CCC Q W C CCCC CCCC- fCCCCCCCMV ÐCCCCCCCG*K jCCªCC³ Ù* zCCCCgCCCC< fCCCCCCCC+* CCCCªCCCC CCCC< U Q R¥CCCCCkU CCCCC.Q 4Q KU Q&* ¨CCCC/Q WzCCCCG* ¢CCCH uCC R QlCCCCC³ P C¡U CCC/ |CC CC CCº* fCC¡CC CC CCqCCM ¨CCCkCCC0 jCCCCC/K|CCCCCH N S §CCCC CCCCwCCCC¼* S¥CCC CCC CCCªCCC CCCE · fCCCC CCCCgCCCC<

73 2016 ‫ﺳﺒﺘﻤﺒﺮ‬-‫أﻏﺴﻄﺲ‬

‫أﻧﺪﻟﺴ‪VVVVVVV‬ﻴﺎت‬ ‫‪baytelshear‬‬

‫ﻛﺎن ﻳﺘﺠﻮل ﰲ ﺣﺪاﺋﻘﻬﺎ ﻣﻊ أﺻﺪﻗﺎﺋﻪ ﺑﻌﺪﻣﺎ ﺗﺎب ﻋﻦ اﻟﻠﻬﻮ واﻟﴩب‪،‬‬ ‫وأﻧﻪ أﻋﻠﻦ زﻫﺪه ﰲ اﳌﻠﺬات وﻋﺪم اﻟﱰدد ﻋﲆ ﺑﻼط اﳌﻠﻮك واﻷﻣﺮاء‬ ‫وراح ﻳﺘﻜﺴﺐ ﻣﻦ ﺣﺮﻓﺘﻪ اﻟﺮﻓﺎء راﻓﻀﺎ أن ﻳﺘﻜﺴﺐ ﻣﻦ ﺷﻌﺮه ﻛام‬ ‫ﻳﻘﻮل‪:‬‬ ‫<‪ j 1 |CC CC CC CCG* «CC CC CC-4* ¸ «CCC¡CCCI(* ¨CC CC‬‬ ‫‪*ÌCC CCG* «CC04fCC CC CCH *|CC CC CC1 mÔCC CC8 §CCCGK‬‬ ‫ ‪fgGf/ l G £&* | Gf+ j 9 ¨CC CCF‬‬ ‫*(¿‪*|CCC CCC9 fCCCCC CCCCCD*4 ¸K fCCC CCC CCCI ¥CCCCC+ T‬‬ ‫ ‪R C CCCM‬‬ ‫‪,N zCCªCC CC CCE QlCCC CCCD4 §CCCG CCCO C6fCCCCI&* §CC‬‬ ‫ ‪*|CCCHU &* fCC¤CC+ S£fCCCH~CCCG* · fN C CCkU C 0‬‬ ‫¸&‪Q QlCCCCCF42‬‬

‫ﺷﻌﺮه‪Z‬‬ ‫رﻏﻢ ﺣﻴﺎﺗﻪ اﻟﻘﺼرية ﺗﺮك اﻟﺮﺻﺎﰲ اﻟﺒﻠﻨﴘ ﺷﻌﺮا ﻣﺘﻤﻴﺰا أﺷﺎد ﺑﻪ اﻟﻜﺜري‬ ‫ﻣﻦ اﻟﻨﻘﺎد‪ ،‬وﻳﺒﺪو أن ﻧﺸﺄﺗﻪ ﰲ اﻟﺮﺻﺎﻓﺔ اﳌﻔﻌﻤﺔ ﺑﺎﻟﺠامل ﻗﺪ ﺳﺎﻋﺪﺗﻪ‬ ‫ﻋﲆ ﺗﻔﺘﺢ ﺧﻴﺎﻟﻪ اﻟﺸﻌﺮي ﻣﻨﺬ اﻟﺼﻐﺮ‪ ،‬ﻓﻘﺪ روي أﻧﻪ ﻛﺎن ﻣﺤﺒﺎ‬ ‫ﻟﻠﺸﻌﺮ ﻣﻨﺬ ﻧﻌﻮﻣﺔ أﻇﻔﺎره وﻛﺎن ﻳﺪاوم ﻋﲆ ﻃﻠﺐ اﻟﻌﻠﻢ وﺧﺎﺻﺔ‬ ‫اﻷدب‪ ،‬وﻗﺪ ﺗﻌﺎﻣﻞ اﳌﻌﺎﴏون ﻟﻪ ﻣﻊ ﺷﻌﺮه ﺑﺈﻋﺠﺎب وأﺷﺎدوا ﺑﻪ‬ ‫وﻗﺪ وﺻﻔﻮه ﺑﺸﺎﻋﺮ ﻋﴫه ووﺻﻔﻮا ﺷﻌﺮه ﺑﺎﻟﺮﻗﺔ واﻟﺴﻼﺳﺔ وﺑﺮاﻋﺔ‬ ‫اﻟﺘﺸﺒﻴﻬﺎت‪ ،‬وأﻧﻪ ﻣﻦ ﻣﺠﻴﺪي ﻋﴫه ﻻﺳﻴام ﰲ اﳌﻘﺎﻃﻴﻊ‪ ،‬وﻗﺪ ﺷﺒﻬﻪ‬ ‫اﻟﺒﻌﺺ ﺑﺄﻧﻪ اﺑﻦ اﻟﺮوﻣﻲ اﻷﻧﺪﻟﴘ ﳌﺎ ﻳﺤﺘﻮي ﺷﻌﺮه ﻣﻦ ﺗﻮﻟﻴﺪ ﺻﻮر‬ ‫ﺟﺪﻳﺪة ﻏري ﻣﺄﻟﻮﻓﺔ‪.‬‬ ‫وﻣام ﻳﺪل ﻋﲆ ﻧﺒﻮﻏﻪ اﻟﺸﻌﺮي أن أول ﻇﻬﻮر ﺷﻌﺮي ﻟﻪ ﺟﺎء وﻫﻮ مل‬ ‫ﻳﻜﻤﻞ اﻟﻌﴩﻳﻦ ﻛام ﺗﻘﻮل ﺳريﺗﻪ‪ ،‬ﻓﻘﺪ روي أن ﻋﺒﺪ اﳌﺆﻣﻦ ﻣﺆﺳﺲ‬ ‫دول اﳌﻮﺣﺪﻳﻦ ﺑﻌﺪ أن اﺟﺘﺎز اﻷﻧﺪﻟﺲ ﻧﺰل ﰲ ﺟﺒﻞ اﻟﻔﺘﺢ‪ ،‬ووﻓﺪ‬ ‫اﻟﺸﻌﺮاء إﻟﻴﻪ‪ ،‬وﻛﺎن ﻣﻦ ﺑﻴﻨﻬﻢ اﻟﺮﺻﺎﰲ اﻟﺬي أﻋﻠﻦ ﻋﻦ ﻧﻔﺴﻪ ﺑﻈﻬﻮره‬ ‫اﻟﺸﻌﺮي اﻻول ﺑﺎﻟﻘﺼﻴﺪة اﻟﺘﻲ أﻧﺸﺪﻫﺎ ﰲ ﻣﺪح ﻋﺒﺪ اﳌﺆﻣﻦ وﻳﻘﻮل‬ ‫اﻷﺧﻼﻗﻴﺔ اﻟﻄﻴﺒﺔ ﻟﻠﻤﻤﺪوح ﻛﺎﻟﺸﺠﺎﻋﺔ واﻟﻜﺮم واﻟﻮرع‪ ،‬وميﺘﻠﺊ ﺷﻌﺮه‬ ‫ﻓﻴﻬﺎ‪:‬‬ ‫ﺑﺎﻟﺼﻮر اﻟﻮاﻗﻌﻴﺔ ﻟﻠﻤﻤﺪوح وﻳﺼﻮرﻫﻢ ﻛام ﻫﻢ ﰲ اﻟﻮاﻗﻊ ﺑﻌني اﻟﺸﺎﻋﺮ‬ ‫ ‪4§ G* hCCIfCC/ ¢CCH LzCC¤CCG* 4fCCI lc/ §CCG‬‬ ‫‪ 4§CCI ¢CCCCHK CC CC< ¢CCCH lCCcCC CC7 fCCCH lCC CC CCgCCE‬اﳌﺒﺪع ﻣﻦ دون ﺗﻄﺮف ﰲ اﳌﺒﺎﻟﻐﺔ‪ ،‬وﻟﻘﺪ ﻧﺎﻟﺖ ﺻﻮره إﻋﺠﺎب ﻋﺒﺪ‬ ‫‪fCCC¤CCCkR CCC+Q *Q'K3R U CCCCDQ |CCC‬‬ ‫‪ST CF ¢CCCH‬‬ ‫‪Q CJ5 CCC‬‬ ‫‪U C-R ½ $*|CCCC‬‬ ‫اﳌﺆﻣﻦ واﻣﺮاء اﻟﺒﻼط ﺣﻴﺚ وﺻﻒ ﺑﺄﻧﻪ ﺷﺎﻋﺮ اﻟﺨﻼﻓﺔ‪.‬‬ ‫‪N‬‬ ‫‪4‬‬ ‫‪K|CC‬‬ ‫‪C‬‬ ‫‪ CC‬‬ ‫‪C‬‬ ‫¼‬ ‫ ‬ ‫‪hCCgCC CC CC‬‬‫‪ ½K‬‬ ‫ ‬ ‫‪4‬‬ ‫‪fCC‬‬ ‫‪C‬‬ ‫‪ CC‬‬ ‫‪C‬‬ ‫‪ CC‬‬ ‫‪C‬‬ ‫‪G‬‬ ‫ ‬ ‫‪ÑCC‬‬ ‫‪C‬‬ ‫‪ªCC‬‬ ‫‪C‬‬ ‫‪G‬‬ ‫ ‬ ‫‪P‬‬ ‫‪U‬‬ ‫‪ S‬ﻟﻘﺪ اﻧﻄﻠﻖ اﻟﺮﺻﺎﰲ ﰲ ﻣﺪﺣﻪ ﺑﺪﻋﻢ اﻟﺪوﻟﺔ اﻟﺠﺪﻳﺪة دوﻟﺔ اﳌﻮﺣﺪﻳﻦ‬ ‫‪K&* ,§CCgCC¡CCG* 4§CCCCI ¢CCCH vzCCC CCCG* jCCªCC CC CCªCCD‬‬ ‫‪ 4K~CCCCCG* jCC CC CC; §CCC CCC± jCCCM*zCCC¤CCCG* 4§CCCCCI‬ﻟﻜﻦ ﺑﻌﺪ ان اﺳﺘﻘﺮت اﻟﺪوﻟﺔ اﺑﺘﻌﺪ واﻧﴫف ﻋﻦ اﳌﺪﻳﺢ‪ ،‬وﻳﺒﺪو أن‬ ‫ﺷﺨﺼﻴﺘﻪ أﺑﺖ ﻋﻠﻴﻪ أن ﻳﻀﻊ ﺷﻌﺮه ﳌﻦ ﻳﺪﻓﻊ أﻛرث‪ ،‬ﻣﻜﺘﻔﻴﺎ وراﺿﻴﺎ‬ ‫واﻟﺮﺻﺎﰲ اﻟﺒﻠﻨﴘ ﻣﻘﻞ ﰲ ﺷﻌﺮه رمبﺎ ﺑﺴﺒﺐ ﺣﻴﺎﺗﻪ اﻟﻘﺼرية‪ ،‬وﻗﺪ ﺑﻘﻮت ﻳﻮﻣﻪ ﻣﻦ ﻣﻬﻨﺔ اﻟﺮﻓﺎء اﻟﺘﻲ ورﺛﻬﺎ ﻋﻦ أﺑﻴﻪ‪.‬‬ ‫ﺗﻨﻮﻋﺖ ﻗﺼﺎﺋﺪه ﺑني اﳌﺪح واﻟﺮﺛﺎء ووﺻﻒ اﻟﻄﺒﻴﻌﺔ واﻟﻐﺰل‪ ،‬ﻟﻜﻦ وﻣﻦ أﺷﻬﺮ أﺑﻴﺎت اﻟﺮﺻﺎﰲ ﰲ اﳌﺪﻳﺢ ﺗﻠﻚ اﻷﺑﻴﺎت اﻟﺘﻲ ﻗﺎﻟﻬﺎ ﰲ ﻛﺮم‬ ‫أﻏﻠﺐ ﺷﻌﺮه ﻛﺎن ﰲ اﻟﺤﻨني إﱃ وﻃﻨﻪ ﺑﻠﻨﺴﻴﺔ‪ ،‬وﰲ ﺷﻌﺮه ﻳﺘﻤﻴﺰ أيب ﻋﺒﺪ اﻟﻠﻪ ﺑﻦ ﻋﺒﺪ اﳌﻠﻚ وﻳﺪه اﳌﻌﻄﺎء‪:‬‬

‫اﻟﺮﺻﺎﰲ ﺑﺄﻧﻪ ﻳﺤﺴﻦ »ﺧﻠﻖ ﺟﻮ ﻋﺎم« ميﻴﺰ اﻟﻘﺼﻴﺪة ﻣﻦ أوﻟﻬﺎ إﱃ‬ ‫ﻧﻬﺎﻳﺘﻬﺎ ﻛام ﻳﻘﻮل إﺣﺴﺎن ﻋﺒﺎس‪.‬‬ ‫ﻟﻢ ﻳﺘﻜﺴﺐ ﻣﻦ ﻣﺪﺣﻪ‪Z‬‬ ‫وﺳﺒﻖ اﻹﺷﺎرة إﱃ ان اﻟﺮﺻﺎﰲ مل ﻳﺘﻜﺴﺐ ﻣﻦ ﺷﻌﺮه ﰲ اﳌﺪﻳﺢ‪ ،‬وﻟﺬا‬ ‫ﻧﻠﻤﺢ ﰲ أﻣﺪاﺣﻪ ﺻﺪق اﻟﺪاﻓﻊ‪ ،‬ودامئﺎ ﻳﺮﻛﺰ ﰲ ﻣﺪﺣﻪ ﻋﲆ اﻟﻘﻴﻢ‬

‫‪ 72‬ﺑﻴﺖ اﻟﺸﻌﺮ ‪ /‬اﻟﻌﺪد ‪48‬‬

‫*&‪ *zCCE§CCkCCH N*|CCCCC:fCCCCC1K CR C CCªCC CC- N*zCCCCCCCCM‬‬ ‫‪N‬‬ ‫‪LzCC¡V C G* CS C CC< ¨CC CC< fC CC CCgCCE UlCCgCC- fCC¤CC<2‬‬ ‫‪O‬‬ ‫ ‪ 4fCCC:‬‬ ‫‪ CCC CCC‬‬ ‫ ‪Q C U CCCIS‬‬ ‫‪Q IQ %* $fC‬‬ ‫‪R C CC CCªCCgCCG* RzCCCªCCCG* CC‬‬ ‫ ‪L QzCCCC RJ fCC¤CCSH4fCC CCH ¨CC CC< S$fCCCCF{CCCCG* 4Q fCCCCCI‬‬ ‫‪ fCC¤Q C IS fCC CCH CC6fCC CCkCCG* ÉfCCC‬‬ ‫‪CªCCCC<&* $fCC‬‬ ‫‪R‬‬ ‫ ‪R C CCC CCCI‬‬ ‫‪N‬‬ ‫‪R‬‬ ‫‪*zCC CC7|CCH fCCCCªCCCCGK fCCC¤CCCG mzCCCCCCC/K zCCCCE §CCCCG‬‬

‫اﻟﺮﺻﺎﻓﻲ اﻟﺒﻠﻨﺴﻲ‪..‬‬ ‫اﻟﺸﺎﻋﺮ اﻟﻤﺘﻌﻔﻒ اﻟﺬي رﺣﻞ ﺷﺎﺑ ًﺎ‬ ‫ﻣﺤﻤﺪ أﻧﻮر‬

‫ﻳﻌﺪ اﻟﺮﺻﺎﻓﻲ اﻟﺒﻠﻨﺴﻲ أﺣﺪ أﻋﻼم اﻟﺸﻌﺮ اﻷﻧﺪﻟﺴﻲ‪ ،‬اﺷﺘﻬﺮ ﺑﺸﻌﺮ اﻟﺤﻨﻴﻦ إﻟﻰ اﻟﻮﻃﻦ واﻟﻤﺪح واﻟﺮﺛﺎء ﻟﻜﻨﻪ‬ ‫ﻛﺎن ﻣﻦ اﻟﺸﻌﺮاء اﻟﻤﺘﻌﻔﻔﻴﻦ اﻟﺬﻳﻦ ﻟﻢ ﻳﺘﺨﺬوا ﻣﻦ ﻗﻮل اﻟﺸﻌﺮ وﺳﻴﻠﺔ ﻟﻠﺘﻜﺴﺐ‪ ،‬وﻛﺎن ﻳﺮﻗﻊ ﺛﻴﺎﺑﻪ ﺗﺮﻓﻌﺎ‬ ‫ﻋﻦ اﻟﺘﻜﺴﺐ ﺑﺸﻌﺮه‪ ،‬وﻟﺬا وﺻﻔﻪ اﻟﻨﻘﺎد ﺑﺎﻟﺼﺪق ﻓﻲ ﻣﺪﺣﻪ ورﺛﺎﺋﻪ‪ ،‬ﻟﻢ ﻳﻌﻤﺮ ﻃﻮﻳﻼ ورﺣﻞ ﺷﺎﺑﺎ ﻣﻦ دون أن‬ ‫ﻳﻜﻤﻞ اﻟﺴﺎدﺳﺔ واﻟﺜﻼﺛﻴﻦ‪ ،‬ورﻏﻢ ﺣﻴﺎﺗﻪ اﻟﻘﺼﻴﺮة ﻓﻘﺪ ﺗﺮك ﺷﻌﺮا رﻗﻴﻘﺎ وﺻﺎدﻗﺎ اﺷﺎد ﺑﻪ اﻟﻨﻘﺎد‪ ،‬وﻟﻠﺮﺻﺎﻓﻲ‬ ‫دﻳﻮان ﻣﻄﺒﻮع ﻣﻦ ﺗﺤﻘﻴﻖ د‪ g‬إﺣﺴﺎن ﻋﺒﺎس‪ ،‬ﻛﻤﺎ ﻛﺎن ﻣﺤﻂ اﻫﺘﻤﺎم اﻟﻜﺜﻴﺮ ﻣﻦ اﻟﺒﺎﺣﺜﻴﻦ اﻟﻤﻌﺎﺻﺮﻳﻦ اﻟﺬﻳﻦ‬ ‫اﺗﺨﺬوا ﺷﻌﺮه ﻣﻮﺿﻮﻋﺎ ﻟﻠﻜﺜﻴﺮ ﻣﻦ اﻟﺮﺳﺎﺋﻞ اﻷﻛﺎدﻳﻤﻴﺔ ﻓﻲ اﻟﺠﺎﻣﻌﺎت اﻟﻌﺮﺑﻴﺔ‪g‬‬

‫ُﺑ َﻠ ْﻨﺴِ ﻴﺔ أو ﻓﺎﻟﻨﺴﻴﺎ ﻛام ﻳﻄﻠﻖ ﻋﻠﻴﻬﺎ ﺣﺎﻟﻴﺎ ﻣﺪﻳﻨﺔ ﺷﻬرية وﺟﻤﻴﻠﺔ‬ ‫ﰲ اﻷﻧﺪﻟﺲ‪ ،‬أﺳﺴﻬﺎ اﻟﺮوﻣﺎن ﻋﺎم ‪ 139‬ﻗﺒﻞ اﳌﻴﻼد‪ ،‬وﻓﺘﺤﻬﺎ ﻃﺎرق‬ ‫ﺑﻦ زﻳﺎد ﻋﺎم ‪ 96‬ﻫـ ‪ - 714‬م‪ ،‬وأرﳻ ﻓﻴﻬﺎ ﻗﻮاﻋﺪ اﻟﺤﻜﻢ اﻹﺳﻼﻣﻲ‪،‬‬ ‫وﺗﺄﺳﺴﺖ ﻓﻴﻬﺎ ﻣﻤﻠﻜﺔ إﺳﻼﻣﻴﺔ ﻋﺎم ‪401‬ﻫـ ‪ 1010 -‬م ﻋﲆ ﻳﺪ اﺛﻨني‬ ‫ﻣﻦ ﻣﻮاﱄ اﳌﻨﺼﻮر ﺑﻦ ﻋﺎﻣﺮ‪ ،‬ومل ﻳﻠﺒﺚ أن ﺗﻮﰲ أﺣﺪﻫام‪ ،‬ﻓﺄﺑﻌﺪ أﻫﻠﻬﺎ‬ ‫اﻵﺧﺮ ﻋﻦ اﳌﺪﻳﻨﺔ‪ ،‬وﺻﺎرت ﺑﻠﻨﺴﻴﺔ ﺧﺎﺿﻌﺔ ﻟﺤﻜﻢ ﺣﺎﻛﻢ ﺑﺮﺷﻠﻮﻧﺔ‬ ‫إﱃ أن اﺳﱰدﻫﺎ ﻋﺒﺪ اﻟﻌﺰﻳﺰ ﺑﻦ ﻋﺒﺪ اﻟﺮﺣﻤﻦ ﺣﻔﻴﺪ اﳌﻨﺼﻮر ﺑﻦ‬ ‫ﻋﺎﻣﺮ‪ ،‬ووﻗﻌﺖ ﺑﻠﻨﺴﻴﺔ ﰲ اﻟﻘﺮون اﻟﺘﺎﻟﻴﺔ ﺗﺤﺖ ﺳﻴﻄﺮة ﺣﻜﺎم ﻣﻠﻮك‬ ‫اﻟﻄﻮاﺋﻒ‪ ،‬ﺛﻢ اﳌﺮاﺑﻄني‪ ،‬ﺛﻢ اﳌﻮﺣﺪﻳﻦ‪ ،‬إﱃ أن اﺳﱰدﻫﺎ اﻟﻔﺮﻧﺠﺔ ﻋﺎم‬ ‫‪ 1238‬م ﺑﻌﺪ اﺳﱰداد ﻗﺮﻃﺒﺔ ﺑﺴﻨﺘني‪.‬‬ ‫وﻗﺪ وﺻﻔﻬﺎ اﻟﺸﺎﻋﺮ اﻷﻧﺪﻟﴘ اﺑﻦ اﻟﺰﻗﺎق اﻟﺒﻠﻨﴘ‪:‬‬

‫ﻓﻴﻬﺎ اﻟﺸﻌﺮاء واﻷدﺑﺎء‪ ،‬ورﻏﻢ ﻫﺬه اﻟﺒﻴﺌﺔ اﻟﺴﺎﺣﺮة إﻻ أن اﻟﺮﺻﺎﰲ‬ ‫اﻟﺒﻠﻨﴘ رﺣﻞ ﻋﻨﻬﺎ ﺑﺮﻓﻘﺔ اﺑﻴﻪ إﱃ ﻏﺮﻧﺎﻃﺔ وﻣﻨﻬﺎ إﱃ ﻣﺎﻟﻘﺔ ﻛام ﺗﺸري‬ ‫أﻏﻠﺐ اﳌﺼﺎدر اﻟﺘﻲ ﺗﺆرخ ﻟﺴريﺗﻪ‪ ،‬وﻟﻜﻦ د‪ .‬إﺣﺴﺎن ﻋﺒﺎس ﰲ ﻣﻘﺪﻣﺔ‬ ‫ﺗﺤﻘﻴﻘﻪ ﻟﺪﻳﻮاﻧﻪ ﻳﺨﺘﻠﻒ ﻣﻊ ﻫﺬا اﻟﺮأي وﻳﺮى اﻟﻌﻜﺲ‪ ،‬أي أن رﺣﻴﻞ‬ ‫اﻟﺮﺻﺎﰲ اﻟﺒﻠﻨﴘ ﻛﺎن أوﻻ إﱃ ﻣﺎﻟﻘﺔ ﺛﻢ اﻧﺘﻘﻞ إﱃ ﻏﺮﻧﺎﻃﺔ‪.‬‬ ‫وﺑﻐﺾ اﻟﻨﻈﺮ ﻋﻦ اﻟﺠﺪل ﺣﻮل اﳌﺤﻄﺔ اﻷوﱃ اﻟﺘﻲ اﻧﺘﻘﻞ إﻟﻴﻬﺎ‬ ‫اﻟﺮﺻﺎﰲ اﻟﺒﻠﻨﴘ‪ ،‬ﻓﻼ ﻳﻌﺮف ﺳﺒﺒﺎ ﻟﻠﺮﺣﻴﻞ‪ ،‬وﻗﺪ ﻳﻜﻮن ﺳﺒﺐ ذﻟﻚ‬ ‫ﺳﻌﻲ اﻷب وراء اﻟﺮزق‪ ،‬وﻗﺪ ﻳﻜﻮن ﺑﺴﺒﺐ اﻻﺿﻄﺮاﺑﺎت اﻟﺴﻴﺎﺳﻴﺔ‬ ‫اﻟﺘﻲ ﻛﺎﻧﺖ ﺳﺎﺋﺪة ﰲ ﺑﻠﻨﺴﻴﺔ‪ ،‬ﻟﻜﻦ رﻏﻢ اﻟﺮﺣﻴﻞ مل ﻳﻨﺲ ذﻛﺮﻳﺎت‬ ‫اﻟﻄﻔﻮﻟﺔ ﰲ رﺻﺎﻓﺔ ﺑﻠﻨﺴﻴﺔ‪ ،‬وﻗﺪ ذﻛﺮ اﻟﺸﺎﻋﺮ واﳌﺆرخ اﻻﻧﺪﻟﴘ اﺑﻦ‬ ‫اﻵﺑﺎر ﺑﺄن اﻟﺮﺻﺎﰲ اﻟﺒﻠﻨﴘ‪ »:‬ﺧﺮج ﻣﻦ وﻃﻨﻪ ﺻﻐريا ﻓﻜﺎن ﻳﻜرث اﻟﺤﻨني‬ ‫إﻟﻴﻪ وﻳﻘﴫ أﻛرث ﻣﻦ ﻣﻨﻈﻮﻣﺔ ﻋﻠﻴﻪ« وﻣﻦ أﺑﻴﺎﺗﻪ اﻟﺘﻲ ﻳﺘﺸﻮق ﻓﻴﻬﺎ‬ ‫إﱃ ﺑﻠﻨﺴﻴﺔ‪:‬‬

‫ﻣﻮﻟﺪه وﻧﺸﺄﺗﻪ‪Z‬‬ ‫وﻟﺪ ﺷﺎﻋﺮﻧﺎ اﺑﻮ ﻋﺒﺪ اﻟﻠﻪ ﻣﺤﻤﺪ ﺑﻦ ﻏﺎﻟﺐ اﻟﺮﻓﺎء اﻟﺮﺻﺎﰲ اﻟﺒﻠﻨﴘ‬ ‫ﺧﻼل ﻋﴫ دوﻟﺔ اﳌﻮﺣﺪﻳﻦ‪ ،‬ﰲ ﺑﻠﺪة ﻓﺎﺗﻨﺔ اﻟﺠامل ﺿﻤﻦ ﺑﻠﻨﺴﻴﺔ‬ ‫ﺗﺴﻤﻲ اﻟ ُﺮ َﺻﺎﻓﺔ‪ ،‬وﺟﻤﻊ ﰲ اﺳﻤﻪ ﺑني اﻟﺮﺻﺎﻓﺔ وﺑﻠﻨﺴﻴﺔ‪ ،‬وأﻣﺎ ﻟﻘﺐ‬ ‫اﻟﺮﻓﺎء ﰲ اﺳﻤﻪ ﻓﺠﺎء ﻷن » اﻟﺮﻓﺎء« أي اﻟﺬي ﻳﺮﻓﺄ اﻟﺜﻴﺎب ﻣﻬﻨﺘﻪ‬ ‫وﻣﻬﻨﺔ اﺑﻴﻪ‪ ،‬ﻛﻨﻴﺘﻪ ايب ﻋﺒﺪ اﻟﻠﻪ‪ ،‬وﻟﺪ وﻋﺎش ورﺣﻞ ﰲ اﻟﻘﺮن اﻟﺴﺎدس‬ ‫اﻟﻬﺠﺮي‪ ،‬وﻻ ﻳﻮﺟﺪ ﺗﺎرﻳﺦ ﻣﺤﺪد ﻟﻠﺴﻨﺔ اﻟﺘﻲ وﻟﺪ ﻓﻴﻬﺎ‪ ،‬وﻳﻀﻊ رواة‬ ‫ﺳريﺗﻪ ﺗﺎرﻳﺨﺎ ﻋﲆ وﺟﻪ اﻟﺘﻘﺮﻳﺐ وﻫﻮ ﺳﻨﺔ ‪ 536‬ﻩ‪.‬‬ ‫ﻧﺸﺄ اﻟﺮﺻﺎﰲ اﻟﺒﻠﻨﴘ ﰲ ﺗﻠﻚ اﻟﺒﻠﺪة اﻟﺮاﺋﻌﺔ اﻟﺠامل واﻟﺘﻲ ﺗﻐﻨﻰ‬

‫ﺷﺨﺼﻴﺘﻪ وأﺧﻼﻗﻪ‪Z‬‬ ‫ﺗﺸﻴﺪ اﳌﺼﺎدر اﻟﺘﻲ ﺗﺘﻨﺎول ﺳرية اﻟﺮﺻﺎﰲ اﻟﺒﻠﻨﴘ ﺑﺄﺧﻼﻗﻪ ورﺟﺎﺣﺔ‬ ‫ﻋﻘﻠﻪ وﺗﻮاﺿﻌﻪ ﻓﻬﻮ‪» :‬أﻋﻘﻞ اﻟﻨﺎس وﻣﺎ ﺳﻤﻊ ﻟﻪ أﺣﺪ ﻣﻦ ﺟرياﻧﻪ‬ ‫ﻛﻠﻤﺔ ﻗﺎﻟﻬﺎ ﰲ أﺣﺪ« وﻗﻴﻞ أﻳﻀﺎ ‪»:‬ﻛﺎن ﻣﻦ أﺣﺴﻦ اﻟﻨﺎس ﺧُ ﻠﻘﺎ وﺧَ ﻠﻘﺎ«‬ ‫وﻣﺪﺣﺘﻪ ﻣﺼﺎدر أﺧﺮي ﺑﺄﻧﻪ‪» :‬ﻛﺎن ﻋﻔﻴﻔﺎ وﻗﻮرا ذا ﺳﻤﺖ وﻋﻘﻞ«‬ ‫وﻗﻴﻞ أﻳﻀﺎ ﺑﺄﻧﻪ ﻛﺎن»ﻛﺎﺗﺒﺎ ﺑﻠﻴﻐﺎ وﻗﻮرا ﻣﺘﻔﻘﻬﺎ«‪.‬‬ ‫وﻳﺒﺪو أن ﻫﺬه اﻷوﺻﺎف ﻛﺎﻧﺖ ﰲ آﺧﺮ ﺣﻴﺎﺗﻪ اﻟﻘﺼرية‪ ،‬ﺣﻴﺚ ﺗﺸري‬ ‫ﺑﻌﺾ اﻟﺮواﻳﺎت إﱃ أن اﻟﺮﺻﺎﰲ اﻟﺒﻠﻨﴘ أﻗﻠﻊ ﰲ آﺧﺮ ﺣﻴﺎﺗﻪ ﻋﻦ ﺣﻴﺎة‬ ‫اﻟﻠﻬﻮ ﰲ ﻣﺎﻟﻘﺔ‪ ،‬وودﻋﻬﺎ إﱃ اﻟﺘﻤﺘﻊ مبﻈﺎﻫﺮ اﻟﻄﺒﻴﻌﺔ ﰲ ﻏﺮﻧﺎﻃﺔ اﻟﺘﻲ‬

‫‪Q C QT CCCCCCCD *3(* jCC‬‬ ‫‪fCC¤CCªCCD m|CCCCCC‬‬ ‫‪O CªCCC CCC CCC¡CCC CCC+‬‬ ‫‪ 2ÑCCCCgCCCCG* ¨CCCCCC¡Q CCCCCC CCCCCU C6&* fCCCCC¤CCCCC-fCCCCCM%* ·K‬‬ ‫‪fCC¤CCªCC CC< fCCC¤CCC¡CCCH ¬zCCCCJfCCCC CCCC7 CCCCC CCCCC<*K‬‬ ‫‪ f¤+ «CCkCCHzCCM§CCE lCC CC CCM4 «CCCkCCCG* ¬2ÑCCCCC+‬‬ ‫‪Q‬‬ ‫‪2fCCCC‬‬ ‫‪C‬‬ ‫ ‪+‬‬ ‫‪ÕCCCC‬‬ ‫‪C‬‬ ‫‪ CCCC‬‬ ‫‪C‬‬ ‫‪ CCCC‬‬ ‫‪C‬‬ ‫‪G fCCCC‬‬ ‫‪C‬‬ ‫‪¤CCCC‬‬ ‫‪C‬‬ ‫‪G‬‬ ‫‪fCCCC‬‬ ‫‪C‬‬ ‫‪ CCCC‬‬ ‫‪C/ £&QT fCCCCCCCCCCCCCCC+‬‬ ‫‪S‬‬ ‫‪*|CCCCFK fCCCC¤CCCC-4*|CCCCE «CCCCC¡CCCCC-K%*K fCCCwCCCM|CCCD‬‬ ‫‪¢C‬‬ ‫‪C‬‬ ‫‪ C‬‬ ‫‪C CC0 sfCCCCCCgCCCCCCM2 fCCCCCC¡CCCCCC+T 4 fCCCCJfCCCC CCCC CCCCF‬‬ ‫‪fg G* CCCCCCCMX 4 · CC CCªCC CCG* ÕCCCG e2fCCCgCCCH‬‬ ‫‪2*KK |CCCCCtCCCCC+ ¢CCCCCCCH £fCCCCC CCCCC CCCCC< ¥CCCCCCCG‬‬ ‫*&‪*|CCCF3 *zCCCCC+&* fCC¤CCG ¨CC CC CCI&* £&* Ù* ¨CCCC+‬‬

‫أﻏﺴﻄﺲ‪-‬ﺳﺒﺘﻤﺒﺮ ‪71 2016‬‬

‫أﻧﺪﻟﺴ‪VVVVVVV‬ﻴﺎت‬ ‫‪baytelshear‬‬

‫‪ 70‬ﺑﻴﺖ اﻟﺸﻌﺮ ‪ /‬اﻟﻌﺪد ‪48‬‬

‫ﻳﺎرب رﺿﻮاﻧﻚ‬ ‫ﻧﻮف اﻟﻌﻀﻴﺎﻧﻲ‬ @naya565

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b@@ @ @ @ @ @ @c@ @~@ @8b@@ @ @E b@@ @ @ @ @-x@@ @ = @@ @ @6b@@ @ @ @ @ @ D* È@@ @ @ @ @ C* ¡@@ @ @ @ @ J 69 2016 ‫ﺳﺒﺘﻤﺒﺮ‬-‫أﻏﺴﻄﺲ‬

‫ﻣﺎﺳﺎت‬ baytelshear

‫اﻟﺰﻓﺮة‬ ‫ﻣﺤﻤﺪ ﺑﻦ ﺳﻌﻴﻮاد‬

x@@ @ @ Ay@@ @ @ Db@@ @ @ J ¤@@ @ g@ @ @ @ @ @£@ @ @~@ @ @9 @@ @ @ @ @< ¥x@@ @ @ @ @ @ @ @ @ @ @- ° ¥4*H @@ @ @ Jb@@ @ @ ~@ @ @ @ {@ @ @ @ 0 ¯ @@ @ @ c@ @ @ £@ @ @ @ @ @ D ¢@@ @ @ @ @ @ @ @ @1 x@@ @ ~@ @ @z@ @ @²b@@ @ + ¥¡@@ @ @~@ @ @ {@ @ @ @ @ @ - ¤@@ @ @<¡@@ @ @ @ @ @ ~@ @ @ 9 ¤@@ @ @ @ @ @ @1 ¥4*w@@ @ @ @ @ @ @ @ @ <* @@ @ @ @ @ @E rb@@ @ @ @ @ @-x@@ @ @ @ @ @J v@@ @ @ @ @ @ @ @ @ @ @ @ D* 2¡@@ @ @ @ @ @ @ @C x@@ @ @ @ ~@ @ 6 ¤@@ @ @ @ @+*w@@ @ @ @ @< @@ @ @ @ @E @@ @ @g@ @ @ +x@@ @ @~@ @ @ 7 @@ M@ @ @ @6b@@ @ @ @ @C ¥4*x@@ @ @ @ @ @ ~@ @ @ @ @ @ @6* b@@ @ @ @ @ £@ @ @ @ @ @C ¯ w@@ @ @ @ @ @ Jw@@ @ @ @ @ @ D Mx@@ @ @ @ @ @ @ @ @E x@@ @ @ @ @ @ 0 ¯ x@@ @ @ @ @ @ @ C*w@@ @ @ @ @ @ @ D* @@ @ @ @ g@ @ @ @ @ E4 b@@ @ @ @ @ E @@ @ @ @ @ C ¥4b@@ @ @ @ @ @Cw@@ @ @ @ @ @- 5Ä@@ @ @ @ @ @ @ @ @ @ @ @J ¤@@ @ @ @ @ @ @£@ @ @ @ @ @ @ @0 @@ @ @ @ @ @c@ @ @ @ @ @ B* x@@ @ @ @ @A @@ @ @ @ @G b@@ @ @ @ @E b@@ @ @ @ @ @ : @@ @ @Eb@@ @ @£@ @ @ ~@ @ @ 8 Mh@@ @ @ @ @ @ @ @ BH ¥4b@@ @ @ @ @ @ ~@ @ @ 6* *4H ¥v@@ @ @ @£@ @ @ @ < @@ @ @m@ @ @ ~@ @ @ z@ @ @ F* @@ @ @ £@ @ @ A x@@ @ @ @ @ @ / ·b@@ @ @ @ @ @ @ @ @ @<2 x@@ @ @ @ @ @ @ @ @ @C3 ¥w@@ @ @ @ @ @ @ @ @ @D* @@ @ @ @ @ @ @ @ 1 ¥4b@@ @ @ @ @ F 2b@@ @ @ @ @ @ @ @ @ @ @ @ + ¯H @@ @ @ +x@@ @ @ @ @ @ @+ ¢@@ @ p@ @ @~@ @ @|@ @ @ x@@ @ @ @ @ @ @ @ @ D* ¡@@ @ @ @ @ ~@ @ @ @ @ @64 b@@ @ @ @ @ J ¤@@ @ @ @ @ @ @ +4 @@ @ @ £@ @ @ @ @ @ c@ @ @ J ¥4b@@ @ @ @ @ @ @ @ @ @-H* @@ @ @ @ @ @E y@@ @ @ @ @ @ @ @ @ @ + @@ @ @ @ @ @ @£@ @ @ @< h@@ @ @ @ @ @ @ @ ² ,x@@ @ @ @ @A @@ @ @ @ @C ¤@@ @ @ @ @ @ Ab@@ @ @ 1 y@@ @ @ @ @ @ @ @ J Í@@ @ @ @p@ @ @ @ @ @ @ @ D*H ¥4*¡@@ @ @ @ ~@ @ @ @ @6* @@ @ @ @ C ¡@@ @ @ ~@ @ @ @{@ @ @ @D* Iv@@ @ @ @ @ @ @ - b@@ @ @ @ E @@ @ @ @ C ,x@@ @ @ @ ~@ @ z@ @ Db@@ @A ¤@@ @ @ @g@ @ @ @ 0*4 @@ @ @ @ E y@@ @ @ @ g@ @ @ @ <* ¤@@ @ @ E¡@@ @ @ F ¥4b@@ @ @ @p@ @ @ @ ~@ @ @ @ 6* b@@ @ @ @ @ @ @ @/4 ¯ ¥2b@@ @ @ @ @ @ @ @ @~@ @ @ @ @6 Ã*2 x@@ @ @ m@ @ @ @G ,4*x@@ @ @ @ @ @ @ @ @ @ @ @ @ @E ·b@@ @ @ @ @ @ @ @ @ 0 @@ @ @ @ @ @ @E x@@ @ @ @ @ @ @ @ @ @ @ E%* ¥4b@@ @ @ @ @ @ @~@ @ @ @7* b@@ @ @ @ J*Ä@@ @ @ @ @ @ @ @ @DH v@@ @ @ @ @ @ @ @ + v@@ @ @ @ @ @ /H · x@@ @ @ @ @ C3 È@Q @ @ @ @ @ @ @ @ @ - ° ¤@@ @ @ ~@ @ @ @6¡@@ @ @ m@ @ @ @G b@@ @ @ @ @ J @@ @ @ z@ @ @ @ + ¥4*¡@@ @ @ @ @ @ @ @ @ @ @ @ @ @=&* ¤@@ @ @ @ @ @ @-x@@ @ @ @ @ @ @A5 x@@ @ @ @m@ @ @ @ @ @ @ @ - ¯¡@@ @ @ @ @ @ @ @ @ 1 48 ‫ اﻟﻌﺪد‬/ ‫ ﺑﻴﺖ اﻟﺸﻌﺮ‬68

‫ﺑﻌﻴﺪ ًا ﻋﻦ اﻹﻋﻼم ‬

‫ﻫﻞ ﻟﺪﻳﻚ ﻣﺤﺎوﻻت ﰲ اﻟﻜﺘﺎﺑﺔ واﻟﻨﴩ؟‬ ‫ﻳﺪﻓﻌﻨﻲ ﻟﻠﺘﻔﺎؤل أﻛرث‪ .‬واﻻﻫﺘامم مبﺴرييت‪.‬‬ ‫ً‬ ‫ودامئﺎ أﺳﻌﻰ ﻟﻸﻓﻀﻞ‪.‬‬ ‫أﺳﻌﻰ دامئﺎ ﻟﻜﺘﺎﺑﺔ ﻳﻮﻣﻴﺎيت وﺑﻌﺾ اﻷﺧﺒﺎر‬ ‫واﳌﻮﺿﻮﻋﺎت ﺣﻮل ﻟﻌﺒﺔ اﻟﺸﻄﺮﻧﺞ‪.‬‬ ‫ﻣﻦ ﻫﻲ اﻟﺸﺨﺼﻴﺔ اﻟﺘﻲ ﺗﻠﻬﻤﻚ‪ ،‬وﺗﺪﻓﻌﻚ‬ ‫ﻣﺎ ﻫﻲ ﻣﺸﺎرﻳﻌﻚ ﻟﻸﻳﺎم اﳌﻘﺒﻠﺔ؟‬ ‫ﻟﻠﻨﺠﺎح؟‬ ‫ً‬ ‫إﻧﻬﺎ أﻣﻲ ﺗﺎج رأﳼ‪ ،‬اﻟﺘﻲ ﺗﺮاﻓﻘﻨﻲ دامئﺎ ﰲ ﻛﻞ أﻫﻢ ﻣﺸﺎرﻳﻌﻲ اﳌﻘﺒﻠﺔ ﻫﻲ ﻓﻜﺮة اﻟﱪﻧﺎﻣﺞ‬ ‫اﳌﻨﺎﺳﺒﺎت‪ ،‬ﻛام أين ﻻ أﺳﺘﻄﻴﻊ أن أﺳﺘﻐﻨﻲ اﻟﺬي أﺗﺤﺪث ﻋﻨﻪ‪ ،‬ﻋﲆ أن ﻳﺮى اﻟﻨﻮر ﰲ‬ ‫ﻋﻦ وﺟﻮدﻫﺎ ﺑﺠﺎﻧﺒﻲ وﺣﻮﱄ أﺛﻨﺎء ﻋﻤﲇ أﻳﻀﺎً أﻗﺮب ﻓﺮﺻﺔ‪ ،‬ﻛام أين أﺣﴬ ﻟﻨﻴﻞ درﺟﺔ‬ ‫ﻷﻧﻬﺎ ﻣﺼﺪر ﻗﻮيت ‪.‬‬ ‫اﻟﺪﻛﺘﻮراه‪.‬‬

‫اﺧﺘﺎرك اﻻﺗﺤﺎد اﻟﺪوﱄ ﻟﻠﺸﻄﺮﻧﺞ ﻣﻦ ﺑني‬ ‫‪ 170‬ﻣﺮﺷﺤﺔ ﺣﻮل اﻟﻌﺎمل ﻟﻌﻀﻮﻳﺔ اﻟﻠﺠﻨﺔ‬ ‫اﻹﻋﻼﻣﻴﺔ‪ ،‬ﻓﻬﻞ ﻟﻚ أن ﺗﺤﺪﺛﻴﻨﺎ ﻋﻦ ﻫﺬه‬ ‫اﻟﺘﺠﺮﺑﺔ؟‬ ‫اﻧﺘﺴﺒﺖ ﻟﻌﻀﻮﻳﺔ ﺷﻄﺮﻧﺞ اﻹﻣﺎرات ﻗﺒﻞ‬ ‫ﻋﺎﻣني‪ ،‬وﺗﻢ ﺗﺮﺷﻴﺤﻲ ﻣﻦ ﻗﺒﻞ اﻷﻋﻀﺎء‬ ‫ﻟﻌﻀﻮﻳﺔ اﻟﻠﺠﻨﺔ اﻹﻋﻼﻣﻴﺔ ﻻﺗﺤﺎد‬ ‫اﻟﺸﻄﺮﻧﺞ‪ ،‬وﺧﻼل ﺗﻠﻚ اﻟﻔﱰة ﻗﻤﺖ ﺑﺄﻋامل‬ ‫ﻛﺜرية وﻛﺜﻴﻔﺔ ﻟﻨﴩ ﺛﻘﺎﻓﺔ ﻫﺬه اﻟﻠﻌﺒﺔ‪.‬‬ ‫ِ‬ ‫ﺣﺼﻠﺖ ﻋﲆ ﺟﺎﺋﺰة اﻟﺘﻤﻴﺰ واﻹﺑﺪاع‬ ‫وﻛﺎن ﺗﻔﻮﻗﻲ ﰲ إدارة اﻟﻠﺠﻨﺔ أﺣﺪ أﺳﺒﺎب‬ ‫اﺧﺘﻴﺎري ﻷﻛﻮن ﻋﻀﻮة ﰲ اﻻﺗﺤﺎد اﻟﺪوﱄ اﻹﻋﻼﻣﻲ‪ ،‬ﻛام ﺗﻢ اﺧﺘﻴﺎرك ﰲ إﺣﺪى‬ ‫اﻟﺴﻨﻮات ﻛﺄﺟﻤﻞ ﻣﺬﻳﻌﺔ‪ ،‬ﻣﺎذا ﻳﻌﻨﻲ ﻟﻚ‬ ‫ﻟﻠﺸﻄﺮﻧﺞ‪.‬‬ ‫ﻣﺜﻞ ﻫﺬه اﻟﺠﻮاﺋﺰ واﻟﺘﻜﺮميﺎت؟‬ ‫ﰲ ﺣﻴﺎﺗﻚ اﻟﻴﻮﻣﻴﺔ ﻫﻞ ﺗﻠﻌﺒني اﻟﺸﻄﺮﻧﺞ‪ ،‬ﺗﻌﻨﻲ ﱄ اﻟﻜﺜري‪ ،‬وﻫﻲ إﺿﺎﻓﺔ ﳌﺴرية ﺣﻴﺎيت‬ ‫اﳌﻬﻨﻴﺔ‪ ،‬ﻓﻘﺪ ﻛﻨﺖ ﻣﻨﺬ اﻟﺼﻐﺮ أﻋﺸﻖ‬ ‫وﻣﺎ اﳌﺘﻌﺔ اﻟﺘﻲ ﺗﺠﺪﻳﻨﻬﺎ ﻓﻴﻪ؟‬ ‫أﻣﺎرس ﻟﻌﺒﺔ اﻟﺸﻄﺮﻧﺞ وأﺳﺘﻤﺘﻊ دامئﺎً‪ ،‬ﻟﻜﻦ اﻟﺘﻤﻴﺰ واﻹﺑﺪاع‪ ،‬وﻫﺬه اﻟﺠﻮاﺋﺰ ﻣﺎ ﻫﻲ‬ ‫مل ﻳﺼﻞ اﻷﻣﺮ يب ﻟﺤﺪ اﻻﺣﱰاف‪ .‬أﻋﺸﻖ ﻫﺬه إﻻ اﻧﻌﻜﺎس ﻟﺠﺪﻳﺘﻲ وﻣﺜﺎﺑﺮيت‪ ،‬ﻟﺬﻟﻚ‬ ‫اﻟﻠﻌﺒﺔ ﻷﻧﻬﺎ ﺗﻨﺸﻂ اﻟﺬﻫﻦ‪ ،‬وﺗﺴﻬﻞ اﻟﺤﻔﻆ ﻓﺈن ﻣﺜﻞ ﻫﺬه اﻹﻧﺠﺎزات واﻷﻟﻘﺎب‬ ‫وﺗﴪع ﻣﻦ اﻟﻔﻬﻢ ﻷﻧﻬﺎ رﻳﺎﺿﺔ ﺗﻔﻜري‪ .‬وﻟﺬﻟﻚ ﺗﺒﻘﻰ دامئﺎً ﻣﻌﻲ‪.‬‬ ‫ﺳﻤﻴﺖ رﻳﺎﺿﺔ اﻷذﻛﻴﺎء‪ ،‬وﻟﻬﺬا أﺟﺪ اﳌﺘﻌﺔ‬ ‫ﰲ ﻣﺘﺎﺑﻌﺔ اﻟﺒﻄﻮﻻت وﺧﺎﺻﺔ اﻟﺪوﻟﻴﺔ ﻣﻨﻬﺎ‪،‬‬ ‫اﻟﺘﻲ ﻳﺸﺎرك ﻓﻴﻬﺎ ﻣﻨﺘﺨﺒﻨﺎ اﻟﻮﻃﻨﻲ‪ ،‬وﺗﻐﻤﺮين‬ ‫اﻟﺴﻌﺎدة اﻟﺘﻲ ﻻ ﺗﻮﺻﻒ ﻋﻨﺪ ﺗﺤﻘﻴﻖ اﻟﻨﺘﺎﺋﺞ‬ ‫اﳌﴩﻓﺔ ﻟﺮﻓﻊ ﻋﻠﻢ اﻹﻣﺎرات ﰲ اﳌﺤﺎﻓﻞ‬ ‫اﻟﺪوﻟﻴﺔ‪.‬‬ ‫اﻟﻜﺜري ﻣﻦ اﻹﻋﻼﻣﻴﺎت ﻳﺘﺠﻬﻦ إﱃ اﻟﺘﻤﺜﻴﻞ‪،‬‬ ‫ﻓﻬﻞ ميﻜﻦ أن ﺗﺨﻮﴈ ﺗﺠﺮﺑﺔ اﻟﺘﻤﺜﻴﻞ؟‬ ‫اﻟﺤﻘﻴﻘﺔ أﻧﺎ أﻣﻴﻞ ﻟﻠﺘﻘﺪﻳﻢ واﻹﻋﻼم وﻟﻴﺲ‬ ‫ﱄ ﻣﻴﻮل ﰲ اﻟﺘﻤﺜﻴﻞ‪ ،‬وﻗﺪﻣﺖ ﱄ اﻟﻜﺜري ﻣﻦ‬ ‫اﻟﻌﺮوض ﻟﻠﺘﻤﺜﻴﻞ‪ ،‬ﻟﻜﻨﻲ اﻋﺘﺬرت ﻋﻨﻬﺎ‪.‬‬ ‫ﻣﺘﻤﻨﻴﺔ أن أﺣﻘﻖ ﻧﺠﺎﺣﺎت أﻛرث ﰲ اﺧﺘﺼﺎﴆ‬ ‫اﻟﺤﺎﱄ ‪.‬‬ ‫ﻫﻞ ﻟﺪﻳﻚ ﻣﺜﻞ أﻋﲆ ﻣﻦ اﳌﺬﻳﻌﺎت أو‬ ‫اﳌﺬﻳﻌني؟‬ ‫ﻫﻨﺎك إﻋﻼﻣﻴﺎت إﻣﺎراﺗﻴﺎت متﻴﺰن ﺣﻘﺎ‪،‬‬ ‫وﻓﺮﺿﻦ ﺣﻀﻮرا ﻻﻓﺘﺎ‪ ،‬وأﻧﺎ ﺷﺨﺼﻴﺎ أﺛﻖ‬ ‫ﺑﻘﺪرايت وﻣﺎ وﺻﻠﺖ إﻟﻴﻪ ﺣﺘﻰ ﻫﺬه اﻟﻠﺤﻈﺔ‬

‫أﻏﺴﻄﺲ‪-‬ﺳﺒﺘﻤﺒﺮ ‪67 2016‬‬

‫ﺧﺎرج اﻟﻨﺺ‬ ‫‪baytelshear‬‬

‫اﺷﺘﻐﻞ ﻋﻠﻰ ﺑﺮﻧﺎﻣﺞ ﺟﺪﻳﺪ‬ ‫وﻣﺨﺘﻠﻒ‪ ،‬ﺳﻴﻜﻮن ﻣﻔﺎﺟﺄة‬ ‫ﻟﻠﺠﻤﻬﻮر‬ ‫اﺧﺘﺎروﻧﻲ ﻣﻦ ﺑﻴﻦ ‪170‬‬ ‫ﻣﺮﺷﺤﺔ ﻟﺮﺋﺎﺳﺔ اﻟﻠﺠﻨﺔ‬ ‫اﻹﻋﻼﻣﻴﺔ ﻻﺗﺤﺎد اﻟﺸﻄﺮﻧﺞ‬ ‫أﻋﺸﻖ ﻟﻌﺒﺔ اﻟﺸﻄﺮﻧﺞ ﻷﻧﻬﺎ‬ ‫رﻳﺎﺿﺔ اﻷذﻛﻴﺎء اﻟﺘﻲ ﺗﻨﺸﻂ‬ ‫اﻟﺬﻫﻦ‬ ‫ﻫﻮ اﻟﻌﻤﻞ ﺑﺮوح اﻟﻔﺮﻳﻖ واﻟﻴﺪ اﻟﻮاﺣﺪة‪.‬‬ ‫ﺑﺮﻧﺎﻣﺞ ﻣﺜﻞ »ﺻﺒﺎح اﻟﺪار« ﺷﺎرك ﻓﻴﻪ‬ ‫اﻟﻌﺪﻳﺪ ﻣﻦ اﳌﺬﻳﻌني‪ ،‬ﻛﻴﻒ ﺗﻨﻈﺮﻳﻦ إﱃ‬ ‫اﻟﺘﺠﺮﺑﺔ اﻟﺠامﻋﻴﺔ ﰲ اﻟﱪﻧﺎﻣﺞ؟‬ ‫اﻟﺘﺠﺮﺑﺔ اﻟﺠامﻋﻴﺔ ﻟﻬﺎ إﻳﺠﺎﺑﻴﺎت ﻛﺜرية‪،‬‬ ‫ﻟﻜﻨﻬﺎ ﻗﺪ ﻻ ﺗﺮوق ﻟﻠﺒﻌﺾ‪ .‬ﺑﺎﻟﻨﺴﺒﺔ ﱄ‪،‬‬ ‫دامئﺎً ﻣﺎ أﺗﻮﺟﻪ إﱃ اﻹﻳﺠﺎﺑﻴﺎت وﻻ أﻟﺘﻔﺖ‬ ‫ﻷي ﳾء آﺧﺮ ﺳﻮى اﻟﱰﻛﻴﺰ ﰲ اﻟﻌﻤﻞ‪ .‬ﻟﻜﻦ‬ ‫ﺣﺎﻟﻴﺎ ﻻ أﺗﻮﻗﻊ أن أﻋﻮد إﱃ ﺗﻘﺪﻳﻢ اﻟﱪاﻣﺞ‬ ‫اﻟﺠامﻋﻴﺔ وﻗﺪ اﻋﺘﺬرت ﻋﻨﻬﺎ‪.‬‬ ‫ﻣﺎ اﻟﱪﻧﺎﻣﺞ اﻟﺬي ﺗﻌﻤﻠني ﻋﻠﻴﻪ اﻵن؟‬ ‫ﺣﺎﻟﻴﺎً أﺷﺘﻐﻞ ﻣﻊ ﻓﺮﻳﻖ ﻋﻤﻞ‪ ،‬ﻋﲆ ﻓﻜﺮة‬ ‫ﺑﺮﻧﺎﻣﺞ ﺟﺪﻳﺪ وﻣﻤﻴﺰ واﻷﻫﻢ أﻧﻪ ﻣﺨﺘﻠﻒ‬ ‫متﺎﻣﺎً ﻋﻦ ﻣﺎ ﺗﻌﻮد ﻋﻠﻴﻪ اﻟﺠﻤﻬﻮر‪ ،‬وﻫﻮ‬ ‫ﻣﻔﺎﺟﺎة ﺳﺄﻃﻠﻌﻜﻢ ﻋﻠﻴﻬﺎ ﻻﺣﻘﺎً‪.‬‬ ‫ﻣﺎ اﻟﱪﻧﺎﻣﺞ اﻟﺬي ﺗﺤﻠﻤني ﺑﺘﻘﺪميﻪ‬ ‫ﻣﺴﺘﻘﺒ ًﻼ وﺗﺸﻌﺮﻳﻦ ﺑﺄﻧﻪ ميﺜﻠﻚ؟‬ ‫اﻟﱪﻧﺎﻣﺞ اﻟﺬي ﻳﻜﻮن ﻓﻴﻪ ﺗﻮاﺻﻞ ﻣﺒﺎﴍ ﻣﻊ‬ ‫اﻟﺠﻤﻬﻮر‪ ،‬مبﻌﻨﻰ أن ﻳﻜﻮن ﻋﲆ ﻣﴪح ﻛﺒري‬ ‫ﻣﲇء ﺑﺎﻟﺤﻀﻮر وﻋﲆ ﻣﺴﺘﻮى راقٍ ﺟﺪاً‪،‬‬ ‫ﻣﺜﻞ ﻫﺬه اﻟﱪﻧﺎﻣﺞ ﻟﻪ ﻣﻘﺎم رﻓﻴﻊ ﰲ اﻟﻮﺳﻂ‬ ‫اﳌﺠﺘﻤﻌﻲ اﻹﻣﺎرايت واﻟﻌﺮيب‪ ،‬وﻫﻮ اﻷﻗﺮب‬ ‫ﻟﻠﻤﺸﺎﻫﺪ ‪.‬‬ ‫‪ 66‬ﺑﻴﺖ اﻟﺸﻌﺮ ‪ /‬اﻟﻌﺪد ‪48‬‬

‫ﻧﺎﻟﺖ ﻟﻘﺐ أﺟﻤﻞ ﻣﺬﻳﻌﺔ ﻗﺒﻞ ﺳﻨﻮات‬

‫رﺣﺎب ﻋﺒﺪا*‪ :‬ﺧﻄﻮاﺗﻲ واﺛﻘﺔ‬ ‫ﺣﻮار ﺑﺸﺮى ﻋﺒﺪا ‪:‬‬

‫ﺗﺘﻔﺮد رﺣﺎب ﻋﺒﺪا ﺑﺄﻧﻬﺎ ﻛﺎﻧﺖ أﺻﻐﺮ ﻣﺬﻳﻌﺔ إﻣﺎراﺗﻴﺔ ﻋﻨﺪﻣﺎ ﺑﺪأت ﻓﻲ ﺗﻘﺪﻳﻢ اﻟﺒﺮاﻣﺞ‪ ،‬وﻛﺎﻧﺖ‬ ‫ﺣﻴﻨﻬﺎ ﺑﻌﻤﺮ ‪ 19‬ﻋﺎﻣ ًﺎ‪ g‬درﺳﺖ ﺑﻘﺴﻢ اﻹﻋﻼم ﻓﻲ ﻛﻠﻴﺔ اﻟﺘﻘﻨﻴﺔ اﻟﻌﻠﻴﺎ ﻓﻲ أﺑﻮﻇﺒﻲ‪ ،‬ﻟﺘﺼﺒﺢ ﻣﻦ‬ ‫ﺟﺪﻳﺪ‪ ،‬وﺑﻌﺪ ﺳﻨﻮات ﻣﻦ اﻟﺨﺒﺮة ﻓﻲ ﻣﺠﺎل ﺗﻘﺪﻳﻢ اﻟﺒﺮاﻣﺞ‪ ،‬أول وأﺻﻐﺮ إﻋﻼﻣﻴﺔ ﺗﺸﻐﻞ ﻣﻨﺼﺐ‬ ‫رﺋﺎﺳﺔ اﻟﻠﺠﻨﺔ اﻹﻋﻼﻣﻴﺔ ﻻﺗﺤﺎد اﻹﻣﺎرات ﻟﻠﺸﻄﺮﻧﺞ‪ ،‬وأول إﻣﺎراﺗﻴﺔ وﻋﺮﺑﻴﺔ ﺗﺸﻐﻞ ﻣﻨﺼﺐ ﻋﻀﻮ‬ ‫اﻟﻠﺠﻨﺔ اﻹﻋﻼﻣﻴﺔ ﻟﻼﺗﺤﺎد اﻟﺪوﻟﻲ ﻟﻠﺸﻄﺮﻧﺞ‪ ،‬وﻫﻮ ﻣﺎ ﻋﺰز ﻗﺪرﺗﻬﺎ ﻋﻠﻰ اﻟﺘﻤﻴﺰ اﻟﺬي ﺣﻘﻘﺘﻪ ﺑﻔﻀﻞ‬ ‫ﺳﻌﻴﻬﺎ ﻋﻠﻰ ﺗﻄﻮﻳﺮ ﻣﻬﺎرﺗﻬﺎ‪g‬‬ ‫»ﺑﻴﺖ اﻟﺸﻌﺮ« ﺣﺎورت رﺣﺎب ﻋﺒﺪا اﻟﺘﻲ ﻛﺸﻔﺖ ﻋﻦ اﻟﺘﻔﺎﺻﻴﻞ اﻟﺘﻲ ﺗﻘﻒ وراء ﻧﺠﺎﺣﻬﺎ‪ ،‬ﻛﻤﺎ‬ ‫ﺗﺤﺪﺛﺖ ﻋﻦ ﻣﺸﺎرﻳﻌﻬﺎ اﻟﻤﺴﺘﻘﺒﻴﻠﺔ اﻟﺘﻲ ﺗﺰﻳﺪ ﻣﻦ ﺗﻤﺮﺳﻬﺎ وﺗﻔﺮدﻫﺎ ﻓﻲ اﻟﻤﺠﺎل اﻹﻋﻼﻣﻲ‪g‬‬

‫ﺗﻤﻴﺰي وﺻﻐﺮ ﺳﻨﻲ‬ ‫ﻓﻲ اﻟﻤﺠﺎل اﻹﻋﻼﻣﻲ‬ ‫ﻣﻨﺤﺎﻧﻲ داﻓﻌﺎً ﻣﻀﺎﻋﻔﺎً‬ ‫ﻟﻠﻌﻄﺎء‬ ‫اﻟﺸﻬﺮة ﻧﺠﺎح ﻳﺤﺼﻞ‬ ‫ﻋﻠﻴﻬﺎ اﻟﻤﺘﻤﻴﺰ وﺿﺮﻳﺒﺘﻬﺎ‬ ‫ﻛﺜﺮة اﻟﺤﺎﺳﺪﻳﻦ‬

‫ﻛﻴﻒ اﻧﻌﻜﺴﺖ ﺗﺠﺮﺑﺔ أﻧﻚ ﻛﻨﺖ أﺻﻐﺮ‬ ‫إﻋﻼﻣﻴﺔ ﻋﲆ ﻣﺴريﺗﻚ ﻓﻴام ﺑﻌﺪ؟‬ ‫اﻟﺘﻤﻴﺰ‪ ،‬دامئﺎ ﻣﺎ ﺗﻜﻮن ﻟﻪ ﺑﺼﻤﺔ ﻻ ﺗﻨﴗ‬ ‫ﰲ ﺣﻴﺎة اﻟﺸﺨﺺ‪ ،‬وﺻﻐﺮ ﺳﻨﻲ ﰲ اﳌﺠﺎل‬ ‫اﻹﻋﻼﻣﻲ ومتﻴﺰي ﻣﻨﺤﺎين داﻓﻌﺎً ﻣﻀﺎﻋﻔﺎً‬ ‫ﻟﻠﻌﻄﺎء‪ ،‬واﳌﺤﺎﻓﻈﺔ ﻋﲆ اﻟﺘﻤﻴﺰ ﰲ أوﺟﻪ‬ ‫ﻣﺨﺘﻠﻔﺔ‪ ،‬وﻟﻘﺒﻲ ﻛﺄﺻﻐﺮ إﻋﻼﻣﻴﺔ ﻛﺎن وﻣﺎزال‬ ‫ﻗﺮﻳﺒﺎً ﻣﻨﻲ‪ ،‬وﻟﻐﺎﻳﺔ ﻫﺬا اﻟﻴﻮم ﻣﺮﺗﺒﻂ ﺑﺎﺳﻤﻲ‬ ‫وﻋﺎﻟﻖ ﺑﺬﻫﻦ ﻣﻦ ﻳﺘﺎﺑﻌﻨﻲ‪.‬‬

‫وﺟﻮه اﻟﺸﻬﺮة ‬

‫أن ﺗﻨﻌﻜﺲ ﰲ داﺧﻞ اﳌﺆﺳﺴﺔ ﺑني اﻟﺰﻣﻼء‪،‬‬ ‫وﻣﻤﻜﻦ ان ﻳﻜﻮن اﻧﻌﻜﺎﺳﻬﺎ ﺧﺎرﺟﻴﺎ أﻣﺎم‬ ‫اﳌﺘﺎﺑﻌني وﺟﻤﻬﻮر اﻟﺸﺎﺷﺎت‪ .‬ﻛﻞ إﻧﺴﺎن‬ ‫ﻣﻌﻄﺎء وﻳﻌﻤﻞ ﺑﺠﺪ واﺟﺘﻬﺎد ﺳﻴﻌﺮف‬ ‫ﻃﺮﻳﻘﻪ إﱃ اﻟﺸﻬﺮة‪ ،‬واﻟﺸﺨﺺ اﳌﺠﺘﻬﺪ ﰲ‬ ‫ﻣﺆﺳﺴﺘﻪ ﻣﺸﻬﻮر ﺑﺎﺟﺘﻬﺎده‪ ،‬وﻟﺪﻳﻨﺎ ﰲ اﻹﻋﻼم‬ ‫اﳌﺠﺘﻬﺪون واﳌﻤﻴﺰون ﻣﻦ ﻣﻘﺪﻣﻲ اﻟﱪاﻣﺞ‬ ‫اﳌﺸﻬﻮرﻳﻦ ﺳﻮاء ﻋﲆ ﻧﻄﺎق اﳌﺆﺳﺴﺔ أو‬ ‫ﺧﺎرﺟﻬﺎ‪.‬‬ ‫أرى »أن ﻟﻜﻞ ﻣﺠﺘﻬﺪ ﻧﺼﻴﺐ« ﻣﻦ اﻟﺸﻬﺮة‬ ‫وﺑﺎﻟﺘﺄﻛﻴﺪ‪ ،‬ﻟﻠﺸﻬﺮة ﴐﻳﺒﺔ ﻷن اﻟﺸﻬﺮة ﻻ‬ ‫ﻳﻨﺎﻟﻬﺎ إﻻ اﳌﻤﻴﺰ‪ ،‬واﻟﺘﻤﻴﺰ أﺣﺪ أﺑﻮاب اﻟﻨﺠﺎح‬ ‫وﴐﻳﺒﺘﻪ ﺗﺘﻤﺜﻞ ﰲ ﺗﻮاﺟﺪ اﻟﺤﺎﺳﺪﻳﻦ وﻣﻦ‬ ‫ﺛﻢ اﻷﻋﺪاء‪ ،‬وأﻧﺎ ﻣﻦ ﻃﺒﻴﻌﺘﻲ أﺣﺐ ﺣﺐ‬ ‫اﻟﻨﺎس ﱄ‪ ،‬وﺣني أﻟﺘﻘﻲ ﺑﻬﻢ أﺷﻌﺮ ﺑﺎﻟﺴﻌﺎدة‬ ‫ﺣني واﻻﻋﺘﺰاز ﺑﻜﻮين ﻣﺤﺒﻮﺑﺔ ﻟﺪى ﺟﻤﻬﻮري‬ ‫واﳌﻌﺠﺒني مبﺎ أﻗﺪﻣﻪ‪.‬‬

‫ِ‬ ‫اﺷﺘﻐﻠﺖ ﻋﻠﻴﻬﺎ يك ﺗﺤﻘﻘﻲ‬ ‫ﻣﺎ اﻷﻣﻮر اﻟﺘﻲ‬ ‫اﻟﻨﺠﺎح ﰲ ﻋﻤﻠﻚ؟‬ ‫ﻋﺪة أﻣﻮر‪ ،‬وأﻫﻤﻬﺎ أن ﻻ أﻟﺘﻔﺖ »ﻟﻠﻘﻴﻞ‬ ‫واﻟﻘﺎل« ﺧﺎﺻﺔ ﰲ ﻫﺬا اﳌﺠﺎل‪ ،‬اﻟﺬي أﻋﺘﱪه‬ ‫ﻣﺼﺪراً ﻟﺤﺪﻳﺚ دﺳﻢ ﻟﺒﻌﺾ اﻷﺷﺨﺎص‪ .‬أﻧﺎ‬ ‫ﻻ أﻟﺘﻔﺖ إﻻ ﻷﺻﺤﺎب اﻟﻌﻘﻮل اﻟﻨرية‪ ،‬ودامئﺎً‬ ‫ﻣﺎ أﺗﻘﺒﻞ اﻟﻨﺼﻴﺤﺔ ﻟﺘﻄﻮﻳﺮ ﻣﻬﺎرايت إن ﻛﺎﻧﺖ‬ ‫ﻣﻘﻨﻌﺔ وﺗﻨﺎﺳﺒﻨﻲ‪ ،‬ﻓﻤﻬام ﻛﺎﻧﺖ ﺧﱪاﺗﻨﺎ ﻓﺄﻧﺎ ﺗﻨﻮع ‬ ‫ِ‬ ‫ﻣﻘﺘﻨﻌﺔ أﻧﻨﻲ دامئﺎً ﺻﻐرية وﻣﺼﻐﻴﺔ ﻟﻠﻨﺼﻴﺤﺔ‬ ‫ﻗﺪﻣﺖ اﻟﻌﺪﻳﺪ ﻣﻦ اﻟﱪاﻣﺞ ﻣﺜﻞ »ﴍق‬ ‫واﻻﻧﺘﻘﺎد اﻟﺒﻨﺎء‪ ،‬ﺧﺎﺻﺔ أن اﻟﺘﻌﻠﻢ ﻟﻴﺲ ﻟﻪ ﻏﺮب« و»ﻣﻦ اﻟﺨﺎﻃﺮ« و»ﺻﺒﺎح اﻟﺪار«‬ ‫ﺣﺪود‪ ،‬ﻓﻨﺤﻦ دامئﺎً ﻧﺘﻌﻠﻢ ‪.‬‬ ‫ﻛﻴﻒ اﻧﻌﻜﺲ اﻟﺘﻨﻮع ﰲ ﻫﺬه اﻟﱪاﻣﺞ ﻋﲆ‬ ‫ﺗﺠﺮﺑﺘﻚ؟‬ ‫ً‬ ‫ِ‬ ‫ﺣﻘﻘﺖ ﻋﱪ ﻣﺴريﺗﻚ اﻟﻜﺜري ﻣﻦ اﻟﺸﻬﺮة‪ ،‬أﻧﺎ ﺷﺨﺼﻴﺎ أﻋﺸﻖ اﳌﺒﺎدرة واﻟﺘﻌﺎون‪،‬‬ ‫ﻓام اﻟﺬي ﺗﻌﻨﻴﻪ ﻟﻚ اﻟﺸﻬﺮة‪ ،‬وﻫﻞ ﻟﻠﺸﻬﺮة وﻣﻘﺘﻨﻌﺔ أن ﻛﻞ ﻋﻤﻞ ﻧﺎﺟﺢ وراءه ﻓﺮﻳﻖ‬ ‫ﻋﻤﻞ ﻗﻮي وﻣﺘﻌﺎون و»اﻟﺤﻤﺪ ﻟﻠﻪ« ﻛﻞ‬ ‫ﴐﻳﺒﺔ ﻛام ﻳﻘﻮﻟﻮن؟‬ ‫اﻟﺸﻬﺮة ﰲ ﻧﻈﺮي ﻟﻴﺲ ﻟﻬﺎ ﺣﺪود‪ ،‬وﻣﻤﻜﻦ اﻟﱪاﻣﺞ اﻟﺘﻲ ﻗﺪﻣﺘﻬﺎ ﻧﺎﺟﺤﺔ وﺳﺒﺐ ﻧﺠﺎﺣﻬﺎ‬ ‫أﻏﺴﻄﺲ‪-‬ﺳﺒﺘﻤﺒﺮ ‪65 2016‬‬

‫ﺧﺎرج اﻟﻨﺺ‬ ‫‪baytelshear‬‬

‫ﺗﺼﻮﻳﺮ‪ :‬اﺳﺘﺪﻳﻮ زﻋﺒﻴﻞ‬ ‫أزﻳﺎء‪The_Robes :‬‬ ‫ﺗﴪﻳﺤﺔ‪pacc e luce_abudhabi :‬‬

‫‪ 64‬ﺑﻴﺖ اﻟﺸﻌﺮ ‪ /‬اﻟﻌﺪد ‪48‬‬

‫أردت أن أﻓﺘﺘﺢ ﻣﻄﻌ ًام ﻳﻜﻮن ﻓﺮﻳﺪاً ﻣﻦ‬ ‫ﻧﻮﻋﻪ‪ ،‬ﻳﻌﻤﻞ ﺑﻄﺮﻳﻘﺔ ﺣﺪﻳﺜﺔ وﻣﺒﺘﻜﺮة«‪.‬‬ ‫وﺑﺎﻟﻔﻌﻞ ﺗﺤﻘﻖ ﺣﻠﻢ ﻋﲇ ﺑﺄن ﺗﻢ ﺗﻜﻠﻴﻔﻪ‬ ‫ﺑﺈﻃﻼق ﻣﻄﻌﻢ إﻣﺎرايت ﻓﺨﻢ ﰲ ﻗﴫ اﻹﻣﺎرات‬ ‫وﻋﻦ ﻣﻄﻌﻢ ﻣﺰﻻي ﻳﻘﻮل ‪» :‬ﺣﺎوﻟﺖ ﰲ ﻫﺬا‬ ‫اﳌﻄﻌﻢ أن أﻗﺪم أﺳﺎﺳﻴﺎت اﳌﻄﻌﻢ اﻹﻣﺎرايت‪،‬‬ ‫ﻣﺜﻞ اﻟﻔﺮن واﻷدوات اﻷﺻﻠﻴﺔ ﻟﺘﻘﺪﻳﻢ اﻟﻄﻌﺎم‬ ‫اﻹﻣﺎرايت ﻟﻜﻦ ﺑﺸﻜﻞ ﺟﺪﻳﺪ‪ ،‬ﻓﺎﳌﻄﺎﻋﻢ‬ ‫اﻹﻣﺎراﺗﻴﺔ اﳌﻌﺮوﻓﺔ ﺗﻘﻮم ﺑﻄﻬﻲ اﻟﻮﺟﺒﺎت‬ ‫ﺑﺄوﻋﻴﺔ ﺿﺨﻤﺔ‪ ،‬ﺛﻢ ﺗﻘﺪم ﺑﻨﺎء ﻋﲆ اﻟﻄﻠﺒﺎت‪،‬‬ ‫ﰲ ﻣﻄﻌﻢ ﻣﺰﻻي اﻷﻣﺮ ﻣﺨﺘﻠﻒ‪ ،‬ﻓﻨﺤﻦ ﰲ‬ ‫ﻣﺰﻻي ﻻ ﻧﺠﻬﺰ اﻟﻄﻌﺎم ﻗﺒﻞ ﻃﻠﺒﺎت اﻟﺰﺑﺎﺋﻦ‪ ،‬ﻣﺎ‬ ‫ﻧﺠﻬﺰه ﻫﻮ اﳌﻮاد اﻷوﻟﻴﺔ واﻟﺼﻠﺼﺎت واﻟﻠﺤﻢ‬ ‫اﳌﺴﻠﻮق‪ ،‬ﻳﺄيت اﻟﻄﻠﺐ ﻣﻦ اﻟﺰﺑﻮن ﻓﻨﻘﻮم‬ ‫ﺑﻄﻬﻴﻪ ﺑﺸﻜﻞ ﺧﺎص ﻟﺼﺎﺣﺐ اﻟﻄﻠﺐ«‪.‬‬ ‫مل ﻳﻘﺘﴫ ﻋﻤﻞ ﻋﲇ ﻋﲆ اﻷﻃﺒﺎق اﻹﻣﺎراﺗﻴﺔ‬ ‫اﳌﻌﺮوﻓﺔ‪ ،‬ﺑﻞ ﺑﺎدر إﱃ اﻹﺑﺪاع ﰲ ﺗﻘﺪﻳﻢ‬ ‫أﻃﺒﺎق ﺟﺪﻳﺪة ﻣﻤﻴﺰة‪ ،‬ﻣﻨﻬﺎ ﻣﺎ أﻓﺼﺢ ﻋﻦ‬ ‫ﴎه ﻟﻠﻐري‪ ،‬وﻣﻨﻬﺎ ﻣﺎ أﺑﻘﺎه ﴎاً ﺧﺎﺻﺎً ﻳﻨﺎﻓﺲ‬ ‫ﻓﻴﻪ ﻛﺒﺎر اﻟﻄﻬﺎة ﺧﻼل اﳌﻨﺎﻓﺴﺎت اﻟﻜﱪى‪،‬‬ ‫وﻫﻨﺎ ﻳﻘﻮل ﻋﲇ‪» :‬ﻃﺒﻖ ﺑﺮج ﺧﻠﻴﻔﺔ ﻫﻮ‬ ‫ﻃﺒﻘﻲ اﻟﺨﺎص‪ ،‬وﻫﻮ وﺻﻠﺔ ﻟﺤﻢ ﻣﻊ اﻟﺰﻋﻔﺮان‬ ‫واﻟﺰﺑﻴﺐ واﻟﺒﺼﻞ وزﻳﺖ اﻟﺰﻳﺘﻮن‪ ،‬أزﻟﺖ‬ ‫اﻟﻠﺤﻢ ﻋﻦ اﻟﻌﻈﻢ‪ ،‬وﺑﻴﻀﺖ اﻟﻌﻈﻤﺔ ﺑﻄﺮﻳﻘﺔ‬ ‫ﻣﺒﺘﻜﺮة‪ ،‬ووﺿﻌﺘﻪ ﻋﲆ ﻧﺎر ﻫﺎدﺋﺔ‪ ،‬ﻋﻨﺪﻣﺎ‬ ‫ﻧﻀﺞ اﻟﻄﺒﻖ ﻛﺎن اﻟﻠﺤﻢ ﰲ أﺳﻔﻞ اﻟﺼﺤﻦ‪،‬‬ ‫ﺑﻴﻨام وﻗﻔﺖ اﻟﻌﻈﻤﺔ ﺗﻠﻤﻊ ﰲ وﺳﻄﻪ‪،‬‬ ‫ﻓﻜﺎﻧﺖ أﺷﺒﻪ ﺑﱪج ﺧﻠﻴﻔﺔ‪ ،‬ﺣﻘﻘﺖ ﻣﻦ ﺧﻼﻟﻪ‬

‫ﻟﻢ ﻳﻘﺘﺼﺮ ﻋﻤﻞ ﻋﻠﻲ ﻋﻠﻰ‬ ‫اﻷﻃﺒﺎق اﻹﻣﺎراﺗﻴﺔ اﻟﻤﻌﺮوﻓﺔ‪،‬‬ ‫ﺑﻞ ﺑﺎدر إﻟﻰ اﻹﺑﺪاع ﻓﻲ ﺗﻘﺪﻳﻢ‬ ‫أﻃﺒﺎق ﺟﺪﻳﺪة ﻣﻤﻴﺰة‬ ‫ﻛﺎن اﻟﻄﺒﺦ ﻫﻮاﻳﺔ ﻋﻠﻲ ﺑﻦ‬ ‫اﺑﺪواه ﻣﻨﺬ اﻟﺼﻐﺮ‪ ،‬ﻓﻜﺎن ﻳﺤﺐ‬ ‫دﺧﻮل اﻟﻤﻄﺒﺦ واﻟﺘﻔﻨﻦ ﻓﻲ‬ ‫ﺗﺤﻀﻴﺮ اﻟﻄﻌﺎم‬ ‫إﻧﺠﺎزات ﻣﻤﻴﺰة‪ ،‬ﻛام اﺑﺘﻜﺮت ﻃﺒﻘﺎً أﺳﻤﻴﺘﻪ‬ ‫»ﻃﺒﻖ اﻟﺸﻴﻮخ« وﻫﻮ ﻣﺼﻨﻮع ﻣﻦ اﻟﺮوﺑﻴﺎن‬ ‫واﻟﺼﻨﻮﺑﺮ واﻟﺰﺑﻴﺐ‪ ،‬ﻣﻊ وﺻﻔﺔ ﺧﺎﺻﺔ يب‪ ،‬ﻛام‬ ‫ﻳﻘﺪم ﻣﻄﻌﻢ ﻣﺰﻻي ﻃﺒﻖ »ﻫﺎﻣﻮر ﻣﻔﺮوك«‪.‬‬ ‫وﻳﻘﺪم اﻟﻬﺎﻣﻮر ﻋﺎدة ﺑﺸﻜﻞ »ﻣﻜﺒﻮس‬ ‫ﻫﺎﻣﻮر«‪ ،‬ﻟﻜﻨﻲ ﰲ ﻫﺬا اﻟﻄﺒﻖ أﻗﺪﻣﻪ ﺑﺸﻜﻞ‬ ‫ﻏري ﻣﺄﻟﻮف‪ ،‬ﺣﻴﺚ ﻃﻬﻮت اﻟﻬﺎﻣﻮر ﻣﻊ ﺣﻠﻴﺐ‬ ‫اﻟﺠﻤﻞ‪ ،‬وأﺿﻔﺖ ﻟﻪ ﺟﺒﻨﺔ ﺑﺎرﻣﻴﺰان واﻟﺰﻋﱰ‬ ‫واﻟﻨﻌﻨﻊ واﻟﺒﻘﺪوﻧﺲ‪ ،‬وﻳﻌﺘﱪ ﻫﺬا اﻟﻄﺒﻖ‬ ‫ﻣﻦ اﳌﻘﺒﻼت‪ ،‬ومل ﺗﻜﻦ اﳌﻘﺒﻼت ﻣﻮﺟﻮدة ﰲ‬ ‫اﳌﻄﺒﺦ اﻹﻣﺎرايت«‪.‬‬ ‫وﻳﺸري ﻋﲇ ﺑﻦ اﺑﺪواه إﱃ أن ﺑﻌﺾ اﻟﻄﻬﺎة‬ ‫اﻹﻣﺎراﺗﻴني مل ﻳﺪرﻛﻮا ﺑﻌﺪ ﻣﻌﻨﻰ ﻛﻠﻤﺔ ﺗﻄﻮﻳﺮ‪،‬‬ ‫ﻓﺎﻟﺘﻄﻮﻳﺮ ﻳﻌﻨﻲ إدﺧﺎل اﻟﺘﻌﺪﻳﻼت ﻋﲆ‬

‫اﳌﻄﺒﺦ ﻣﻦ روح اﻟﺒﻴﺌﺔ اﻹﻣﺎراﺗﻴﺔ‪ ،‬ﻓﺎﻹﺿﺎﻓﺎت‬ ‫ﻳﺠﺐ أن ﺗﺤﺎﻓﻆ ﻋﲆ أﺻﺎﻟﺔ اﻟﻄﺒﻖ‪ ،‬ﻓﻔﻲ‬ ‫أﺣﺪ اﳌﻌﺎرض وﺟﺪت ﻣﻦ ﺻﻨﻊ »ﺗﺎراﻣﻴﺴﻮ«‬ ‫ﻋﲆ اﻟﻄﺮﻳﻘﺔ اﻹﻣﺎراﺗﻴﺔ ﻣﻦ ﺧﻼل اﺿﺎﻓﺔ‬ ‫اﻟﺰﻋﻔﺮان‪ ،‬وﻫﻨﺎك ﻣﻦ ادﻋﻰ أﻧﻪ ﻳﻄﻬﻮ‬ ‫اﻷﻃﺒﺎق اﻹﻣﺎراﺗﻴﺔ ﻋﲆ اﻟﻄﺮﻳﻘﺔ اﻹﻳﻄﺎﻟﻴﺔ ﻣﻦ‬ ‫ﺧﻼل إﺿﺎﻓﺔ ﺑﻌﺾ اﻟﻨﻜﻬﺎت اﻹﻳﻄﺎﻟﻴﺔ‪ ،‬وﻫﺬه‬ ‫ﻛﻠﻬﺎ ﺗﺠﺎرب ﻓﺎﺷﻠﺔ‪ ،‬ﻓﻠﻴﺲ ﻫﻨﺎك ﺗﺮاﻣﻴﺴﻮ‬ ‫إﻣﺎرايت‪ ،‬وﻟﻴﺲ ﻫﻨﺎك ﻣﻨﺪي إﻳﻄﺎﱄ‪ ،‬ﻫﻨﺎك‬ ‫ﻃﺒﻖ إﻣﺎرايت أﺻﻴﻞ ﻣﺤﺴﻦ ﺑﺈﺿﺎﻓﺔ ﻣﻜﻮﻧﺎت‬ ‫ﻣﻦ اﻟﺒﻴﺌﺔ اﳌﺤﻠﻴﺔ‪.‬‬ ‫وﻳﻀﻴﻒ ﻋﲇ ﺑﺎﻟﻘﻮل‪» :‬ﻟﻮ ﻧﻈﺮت ﺣﻮﻟﻚ‪،‬‬ ‫ﻓﻠﻦ ﺗﺠﺪ ﻛﻮادر إﻣﺎراﺗﻴﺔ ﻛﺎﻓﻴﺔ ﻟﻠﻤﻨﺎﻓﺴﺔ‪.‬‬ ‫ﻃﻬﺎة اﳌﻄﺒﺦ اﻹﻣﺎرايت ﻣﻮﺟﻮدون‪ ،‬ﻟﻜﻨﻬﻢ‬ ‫ﻻ ﻳﺘﻤﺘﻌﻮن ﺑﻔﻜﺮ اﻟﺘﻄﻮﻳﺮ واﻟﺘﺤﺪﻳﺚ‪ ،‬ﻋﲆ‬ ‫ﻋﻜﺲ اﳌﻄﺎﺑﺦ اﻟﻌﺎﳌﻴﺔ اﻷﺧﺮى اﻟﺘﻲ ﻋﻤﻠﺖ‬ ‫ﻋﲆ ﺗﻄﻮﻳﺮ ﻧﻔﺴﻬﺎ ﻋﱪ اﻟﺰﻣﻦ‪ .‬ﻟﻘﺪ ارﺗﻜﺰت‬ ‫ﰲ ﻋﻤﲇ ﻋﲆ ﻋﺪم وﺟﻮد ﻣﻨﺎﻓﺲ ﺣﻘﻴﻘﻲ‪،‬‬ ‫وﺗﻘﺪﻳﻢ ﻛﻞ ﻣﺎ ﻫﻮ ﻣﺒﺘﻜﺮ‪ ،‬ﳌﺰج اﻷﺻﺎﻟﺔ‬ ‫اﻹﻣﺎراﺗﻴﺔ ﺑﺎﻹﺗﻜﻴﺖ اﻟﻌﺎﳌﻲ«‪.‬‬ ‫وﻳﺸري ﻋﲇ إﱃ أن ﺗﻄﻮﻳﺮ اﳌﻄﺒﺦ اﻹﻣﺎرايت‬ ‫ﻳﻌﺘﻤﺪ ﻋﲆ اﻟﺘﺤﺮر ﻣﻦ ﻣﺼﻄﻠﺤﺎت اﻟﻌﻴﺐ‬ ‫واﻟﺤﻴﺎء‪ ،‬وﻳﻀﻴﻒ ﺑﺎﻟﻘﻮل‪» :‬ﻻ ﺣﻴﺎء ﰲ اﻟﻌﻤﻞ‬ ‫ﻣﺎ دام أﻧﻪ ﴍﻳﻒ‪ ،‬ﻓﺎﻷﻧﺒﻴﺎء أﻧﻔﺴﻬﻢ ﻋﻤﻠﻮا‬ ‫ﰲ اﻟﺤﺪادة واﻟﻨﺠﺎرة ورﻋﻲ اﻷﻏﻨﺎم‪ ،‬وﻗﺪ‬ ‫اﺟﺘﻤﻌﺖ ﺑﺄﺷﺨﺎص ﻛرث ﻳﺤﺒﻮن دﺧﻮل ﻫﺬا‬ ‫اﳌﺠﺎل ﻟﻜﻨﻬﻢ ﻳﺨﺎﻓﻮن ﻣﻦ اﻟﻨﻈﺮة اﳌﺠﺘﻤﻌﻴﺔ‬ ‫اﻟﺘﻲ ﺗﻀﻊ اﻟﻄﺎﻫﻲ ﰲ ﻣﺮﺗﺒﺔ أﻗﻞ‪.‬‬ ‫أﻏﺴﻄﺲ‪-‬ﺳﺒﺘﻤﺒﺮ ‪63 2016‬‬

‫ﻣﺒﺪﻋﻮن‬ ‫‪baytelshear‬‬

‫اﺧﺘﺎرَ أن ﻳﻘﻴﻢ ﻓﻲ ﻋﺎﻟﻢ اﻟﻄﻬﻲ واﻟﻤﺬاﻗﺎت اﻟﺮاﺋﻌﺔ‬

‫ﻃﻮرت ا)ﻃﺒﺎق ا‪A‬ﻣﺎراﺗﻴﺔ وﺣﺎﻓﻈﺖ‬ ‫ﻋﻠﻲ ﺑﻦ اﺑﺪواه‪ّ :‬‬ ‫ﻋﻠﻰ أﺻﺎﻟﺘﻬﺎ‬

‫ﻣﺼﻄﻔﻰ أﺣﻤﺪ‬

‫ﻛﺜﻴﺮ ًا ﻣﺎ ﻧﻌﺮف ﻫﺪﻓﻨﺎ ﻓﻲ اﻟﻤﺴﺘﻘﺒﻞ‪ ،‬وﻛﺜﻴﺮ ًا ﻣﺎ ﻧﺪرك ﻣﺎ ﻫﻮ اﻟﻌﻤﻞ اﻟﺬي ﻧﻄﻤﺢ‬ ‫ﻟﻤﻤﺎرﺳﺘﻪ‪ ،‬وﻛﺜﻴﺮ ًا أﻳﻀ ًﺎ ﻣﺎ ﺗﻨﻘﺼﻨﺎ اﻟﺠﺮأة اﻟﻼزﻣﺔ ﻟﻠﺒﺪاﻳﺔ ﻓﻲ ﻫﺬا اﻟﻌﻤﻞ‪ ،‬ﻓﻨﺒﻘﻰ رﻫﻦ‬ ‫ﻋﻤﻞ ﻻ ﻧﺤﺒﻪ‪ ،‬وﺣﻠﻢ ﻧﺨﺎف أن ﻧﻔﺼﺢ ﻋﻨﻪ وﻧﺒﺪأ ﺑﺘﻨﻔﻴﺬه‪ g،‬ﻟﻜﻦ ﺑﻄﻞ ﻗﺼﺘﻨﺎ اﻟﻴﻮم‪،‬‬ ‫اﻣﺘﻠﻚ ﻣﻦ اﻟﺸﺠﺎﻋﺔ واﻟﺮﻏﺒﺔ ﻣﺎ دﻓﻌﻪ ﻟﺘﺮك وﻇﻴﻔﺘﻪ واﻟﺘﻮﺟﻪ إﻟﻰ ﻋﺎﻟﻢ اﻟﻄﻬﻲ‬ ‫واﻟﻤﺬاﻗﺎت اﻟﺮاﺋﻌﺔ‪ ،‬ﻓﻜﺎن اﻟﻨﺠﺎح ﺣﻠﻴﻔﻪ‪ ،‬إﻧﻪ ﻋﻠﻲ ﺑﻦ أﺑﺪواه اﻟﺸﻴﻒ اﻟﺘﻨﻔﻴﺬي ﻓﻲ‬ ‫ﻣﻄﻌﻢ ﻣﺰﻻي ﻓﻲ ﻗﺼﺮ اﻹﻣﺎرات ﻓﻲ أﺑﻮﻇﺒﻲ‪ ،‬ﻣﺠﻠﺔ ﺑﻴﺖ اﻟﺸﻌﺮ اﻟﺘﻘﺖ اﻟﺸﻴﻒ ﻋﻠﻲ‬ ‫وﻣﻌﻪ ﻛﺎن ﻫﺬا اﻟﺤﻮار ‬ ‫‪ 62‬ﺑﻴﺖ اﻟﺸﻌﺮ ‪ /‬اﻟﻌﺪد ‪48‬‬

‫ﻛﺎن اﻟﻄﺒﺦ ﻫﻮاﻳﺔ ﻋﲇ ﺑﻦ اﺑﺪواه ﻣﻨﺬ اﻟﺼﻐﺮ‪،‬‬ ‫ﻓﻜﺎن ﻳﺤﺐ دﺧﻮل اﳌﻄﺒﺦ واﻟﺘﻔﻨﻦ ﰲ ﺗﺤﻀري‬ ‫اﻟﻄﻌﺎم‪ ،‬ﻳﻘﻮل اﻟﺸﻴﻒ ﻋﲇ‪» :‬راﻓﻘﺘﻨﻲ ﻫﺬه‬ ‫اﻟﻬﻮاﻳﺔ ﻃﻴﻠﺔ ﻣﺴرييت‪ ،‬ﻓﺒﺎﻟﺮﻏﻢ ﻣﻦ ﻋﻤﲇ‬ ‫ﰲ اﻟﺴﻠﻚ اﻟﻌﺴﻜﺮي إﻻ أن ﺷﻐﻔﻲ ﺑﺎﻟﻄﻬﻲ‬ ‫وﺗﺤﻀري اﻟﻄﻌﺎم مل ﻳﻔﺎرﻗﻨﻲ‪ ،‬ﺗﻨﻘﻠﺖ ﺑني‬ ‫ﻋﺪد ﻣﻦ اﳌﻬﻦ‪ ،‬ﻟﻜﻨﻲ مل أﺟﺪ ﻧﻔﴘ ﰲ أي‬ ‫ﻣﻨﻬﺎ‪ ،‬ﺣﻴﻨﻬﺎ أﻳﻘﻨﺖ أن اﻟﻄﺒﺦ ﻫﻮ ﻣﺎ ﻳﺠﺐ‬ ‫أن أﻋﻤﻞ ﻓﻴﻪ‪ ،‬وﺑﺎﻟﻔﻌﻞ اﺳﺘﺜﻤﺮت ﻣﻄﻌ ًام‬ ‫ﰲ ﻣﻨﻄﻘﺔ ﺣﺘﺎ‪ ،‬وﺣﻮﻟﺘﻪ ﻣﻦ ﻣﻄﻌﻢ ﺷﻌﺒﻲ‬ ‫إﱃ ﻣﻄﻌﻢ ﴍﻗﻲ‪ ،‬ورﺣﺖ أﺗﻌﻠﻢ ﻣﻦ اﻟﻄﻬﺎة‬ ‫ﻛﻴﻔﻴﺔ ﺗﺤﻀري اﻟﻄﻌﺎم وﺗﺮﺗﻴﺐ اﳌﻄﺒﺦ‪،‬‬ ‫ﺳﺎﻓﺮت ﺑﻌﺪﻫﺎ إﱃ أوروﺑﺎ وﺧﻀﻌﺖ ﻟﺘﺪرﻳﺐ‬ ‫ﰲ ﻣﺠﺎل اﻟﻄﻬﻲ‪ ،‬وﻋﻨﺪﻣﺎ ﻋﺪت ﻋﻤﻠﺖ ﰲ‬ ‫ﴍﻛﺔ ﺟﻤريا ﺿﻤﻦ أﺑﺮاج اﻻﺗﺤﺎد‪ ،‬واﺳﺘﻤﺮرت‬ ‫ﰲ ﺣﻀﻮر ورش ودروس ﺗﻌﻠﻴﻢ اﻟﻄﺒﺦ أرﺑﻊ‬ ‫ﺳﻨﻮات ﺑﻌﺪﻫﺎ«‪.‬‬ ‫ﺗﻘﺒﻞ اﻷﻫﻞ ﻟﻠﻔﻜﺮة ﺳﺎﻋﺪ ﻋﲇ ﻋﲆ‬ ‫اﻻﺳﺘﻤﺮار ﰲ ﻫﺬه اﻟﺨﻄﻮة ﺑﺎﻟﺮﻏﻢ ﻣﻦ‬ ‫رﻓﺾ ﺑﻌﺾ اﻷﺻﺪﻗﺎء‪ .‬ﻳﻘﻮل ﻋﲇ‪» :‬ﻟﻘﺪ‬ ‫ﺗﻘﺒﻞ أﻫﲇ اﻟﻔﻜﺮة‪ ،‬إﻻ أن ﺑﻌﺾ اﻷﺻﺪﻗﺎء مل‬ ‫ﻳﻘﺘﻨﻌﻮا ﺑﺎﻟﺨﻄﻮة اﻟﺘﻲ أﻗﺪﻣﺖ ﻋﻠﻴﻬﺎ‪ ،‬ﻓﺒﺎﺗﻮا‬ ‫ﻳﻌﺮﺿﻮن ﻋ ّ‬ ‫ﲇ أﻋامﻻً ﻣﺨﺘﻠﻔﺔ ﻇﺎﻧني أين‬ ‫أﺑﺤﺚ ﻋﻦ ﻋﻤﻞ‪ ،‬دون أن ﻳﺪرﻛﻮا أن ﻋﻤﲇ‬ ‫ﰲ ﻣﺠﺎل اﻟﻄﺒﺦ ﺟﺎء ﻋﻦ ﺣﺐ واﻗﺘﻨﺎع«‪.‬‬ ‫ﻛﺎن اﳌﻄﺒﺦ اﻹﻣﺎرايت ﺑﻜﻞ ﻣﺤﺘﻮﻳﺎﺗﻪ‬ ‫وﻣﻜﻮﻧﺎﺗﻪ ﻳﺠﺮي ﰲ ﻋﺮوق ﻋﲇ ﺑﻦ اﺑﺪواه‬ ‫ﻣﻨﺬ اﻟﺼﻐﺮ‪ ،‬ﻓﺄراد ﺗﻌﻠﻢ ﻓﻨﻮن ﺟﺪﻳﺪة ﻣﻦ‬ ‫اﻟﻄﻬﻲ ﻳﻘﻮل ﻋﲇ‪» :‬ﻣﺎ أردت ﺗﻌﻠﻤﻪ ﻫﻮ‬ ‫ﻓﻨﻮن اﻟﻄﺒﺦ اﻹﻳﻄﺎﱄ ﺑﺸﻜﻞ ﺧﺎص واﻟﻌﺎﳌﻲ‬ ‫ﺑﺸﻜﻞ ﻋﺎم‪ ،‬وﻛﺎن ﻃﻤﻮﺣﻲ أن اﻓﺘﺢ ﻣﻄﻌ ًام‬ ‫إﻣﺎراﺗﻴﺎً ﺑﺘﻘﻨﻴﺎت وأﺳﻠﻮب اﳌﻄﺎﻋﻢ اﻟﻌﺎﳌﻴﺔ‪،‬‬ ‫مل أرد ﻟﻠﻤﻄﻌﻢ أن ﻳﻜﻮن ﻋﺒﺎرة ﻋﻦ ﻗﺪور‬ ‫ﺿﺨﻤﺔ‪ ،‬ﻳﻐﺮف ﻣﻨﻬﺎ اﻟﻄﻌﺎم مبﻼﻋﻖ ﻛﺒرية‪،‬‬

‫ﻳﺎﺣﻆ ﻟﻨﺪن ﺑﻚ‬ ‫أﺣﻤﺪ ﺧﻠﻴﻔﺔ ﻣﺘﺮف‬ @mfn000d11

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‫ﺳﺠﻮن اﻟﻈﻞ‬ ‫ﻗﻤﺮ دﺑﻲ‬ @ Gomar_dubai

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‫ﻋﻠﻲ اﻟﻤﺴﻌﻮدي‪ l‬ﺟﻔﻮة ﺑﻴﻦ‬ ‫اﻟﺸﺒﺎب وﻟﻐﺘﻬﻢ ﻳﺠﺐ ﺣﻠﻬﺎ‬ ‫ﺳﺎﻟﻢ اﻟﺮﻣﻴﻀﻲ‪ l‬اﻟﻔﻜﺮة ﺑﺪأت‬ ‫ﻓﻲ ﺗﻮﻳﺘﺮ ﺛﻢ ﺗﺤﻮﻟﺖ إﻟﻰ واﻗﻊ‬ ‫ﺣﻤﻮد اﻟﻌﻨﺰي‪ l‬اﻟﻌﺘﺒﺎت‬ ‫اﻟﺨﻤﺲ‪ qq‬ﺟﻬﺪ ﻣﻤﻴﺰ ﻟﻠﺘﻌﺮف‬ ‫ﻋﻠﻰ اﻟﺒﺤﻮر اﻟﺸﻌﺮﻳﺔ‬

‫وﻫﻮ ﺿﻴﻒ اﻟﴩف أ‪.‬ﻋﲇ اﳌﺴﻌﻮدي اﻟﺬي‬ ‫ﻃﺎﳌﺎ أﺛﺮى اﻟﺪورة مبﺪاﺧﻼﺗﻪ وﺗﻌﻘﻴﺒﺎﺗﻪ‪ ،‬ﻛام‬ ‫متﻴﺰت مبﺸﺎرﻛﺔ ﻋﺪد ﻣﻦ ﺷﻌﺮاء اﻟﻔﺼﺤﻰ‬ ‫اﳌﺒﺪﻋني وﺷﻌﺮاء اﻟﻨﺒﻂ ﺳﻮاء ﺑﺎﳌﺤﺎورة‬ ‫أو اﻟﻨﻈﻢ‪ ،‬وﻗﺪ ﴍﻓﻨﺎ أﻳﻀﺎً ﺑﺤﻀﻮر اﻟﺪورة‬ ‫ﺷﺎﻋﺮ اﻟﻔﺼﺤﻰ ﺣﻤﻮد اﻟﻌﻨﺰي وﻫﻮ أﺣﺪ‬ ‫ﺷﻌﺮاء اﻟﻔﺼﺤﻰ اﻟﺬﻳﻦ ﻟﻬﻢ ﻋﺪة أﺑﻴﺎت ﰲ‬ ‫ﺷﻮاﻫﺪ اﻟﻜﺘﺎب )اﻟﻌﺘﺒﺎت اﻟﺨﻤﺲ(‪ .‬وﻛﺬﻟﻚ‬ ‫ﺷﺎﻋﺮ اﳌﺤﺎورة اﳌﻬﺘﻢ ﺑﻌﻠﻢ اﻟﻌﺮوض اﻟﺸﺎﻋﺮ‬ ‫ﻳﻌﻘﻮب اﻟﻌﺒﻴﺪﱄ‪.‬‬ ‫وﻛﺎﻧﺖ ﻓﻜﺮة اﻟﺪورة ﻧﺎﺗﺠﺔ ﻋﻦ ﻃﻠﺐ ﺑﻌﺾ‬ ‫اﻻﺻﺪﻗﺎء ﻣﻨﻲ إﻗﺎﻣﺘﻬﺎ ﻓﺄﺟﺮﻳﺖ اﺳﺘﻔﺘﺎء‬ ‫ﺑﺘﻮﻳﱰ ﻣﺪﺗﻪ ‪ 24‬ﺳﺎﻋﺔ ﺷﺎرك ﻓﻴﻪ ‪200‬‬ ‫ﻣﻐﺮد أﻛرث ﻣﻦ ‪ %60‬ﻣﻨﻬﻢ ﻃﻠﺒﻮا إﻗﺎﻣﺘﻬﺎ‪،‬‬ ‫ﻓﺘﻤﺖ اﻻﺳﺘﺠﺎﺑﺔ ﻟﻄﻠﺒﻬﻢ وﻗﺪ ﴍﺣﺖ‬ ‫ﺧﻼﻟﻬﺎ ﻣﻘﺪﻣﺎت ﻋﻦ اﻟﺸﻌﺮ واﻟﺸﻌﺮ اﳌﺤيك‪،‬‬ ‫وﻧﺸﺄﺗﻪ‪ ،‬ﺛﻢ ﺧﺼﺎﺋﺺ ﻋﻠﻢ اﻟﻌﺮوض وﻃﺮﻳﻘﺔ‬ ‫اﻟﺘﻠﺤني وأﺳﺒﺎب اﺳﺘﻌﺼﺎﺋﻬﺎ ﻋﲆ ﻣﺤﺒﻲ ﺷﻌﺮ‬ ‫اﻟﻨﺒﻂ‪ ،‬ﺛﻢ ﺧﻼﺻﺔ ﻓﻜﺮة »اﻟﻌﺘﺒﺎت اﻟﺨﻤﺲ«‬ ‫وﺗﻔﻜﻴﻜﻬﺎ ﻟﻠﺸﻌﺮ ﻋﲆ أﻧﻪ ﻣﺎدة ﺻﻮﺗﻴﺔ‬ ‫ﺗﺤﺘﻮي أرﺑﻊ وﺣﺪات ﺻﻮﺗﻴﺔ ﻓﻘﻂ‪ ،‬ﻻ ﺗﺨﺮج‬ ‫ﻋﻨﻬﺎ‪ ،‬وأن اﺛﻨﺘني ﻣﻨﻬﺎ ﻓﻘﻂ ﻣﻮﺟﻮدﺗﺎن‬ ‫ﺑﺎﻟﺸﻌﺮ اﳌﺤيك وﻫام )ﻧﻌﻢ‪ ،‬ﻻ( ﺛﻢ ﴍﺣﻨﺎ‬ ‫وﻃﺒﻘﻨﺎ ﺟﻤﻴﻌﺎً ﻋﲆ ﻋﺪد ﻣﻦ اﻟﺒﺤﻮر‬ ‫وﻫﻲ‪:‬‬ ‫اﳌﺴﺤﻮب‬ ‫اﻟﺸﻴﺒﺎين‬ ‫اﻟﺼﺨﺮي‬

‫اﻟﻬﺠﻴﻨﻲ اﻟﻄﻮﻳﻞ‬ ‫اﻟﻬﺠﻴﻨﻲ اﻟﻘﺼري‬ ‫اﳌﻨﻜﻮس‬ ‫اﻟﻬﻼﱄ اﻟﻄﻮﻳﻞ‬ ‫اﻟﻬﻼﱄ اﻟﻘﺼري‬ ‫وﻣﻦ ﺟﺎﻧﺐ آﺧﺮ ﻗﺎل أﺣﺪ اﳌﺸﺎرﻛني اﻟﺸﺎﻋﺮ‬ ‫ﻳﻌﻘﻮب اﻟﻌﺒﻴﺪﱄ‪ :‬ﻣﻦ ﺧﻼل ﻣﺸﺎرﻛﺘﻲ ﰲ‬ ‫ورﺷﺔ اﻟﻌﺘﺒﺎت اﺳﺘﻔﺪﻧﺎ ﻣﻦ ﻃﺮﻳﻘﺔ اﻟﺘﻠﺤني‬ ‫اﳌﻌﺮوﻓﺔ ﻋﻨﺪ ﺷﻌﺮاء اﻟﻨﺒﻂ‪ ،‬وﻃﺮﻳﻘﺔ ﻋﻠﻢ‬ ‫اﻟﻌﺮوض ﺑﻌﻴﺪاً ﻋﻦ ﻣﺼﻄﻠﺤﺎت اﻟﻌﺮوض‬ ‫اﻟﺘﻲ ﻗﺪ ﻳﻮاﺟﻪ اﳌﺒﺘﺪئ ﻣﻦ ﺧﻼﻟﻬﺎ ﺑﻌﺾ‬ ‫اﻟﺼﻌﻮﺑﺎت ﰲ اﻟﺘﻌﻠﻴﻢ‪ ،‬وﻻﺣﻈﻨﺎ اﻟﴩح‬ ‫اﳌﺒﺴﻂ ﺑﻄﺮﻳﻘﺔ ﺳﻬﻠﺔ وﻣﺪﺧﻞ ﺟﻤﻴﻞ‬ ‫إﱃ اﻟﺒﺤﻮر‪ ،‬ﺣﻴﺚ ﺗﻜﻠﻢ ﻓﻴﻬﺎ ﻋﻦ اﻟﻮﺣﺪة‬ ‫اﻟﺼﻮﺗﻴﺔ واﳌﻘﻄﻊ اﻟﺼﻮيت‪ ،‬ﺛﻢ دﺧﻞ ﰲ‬ ‫ﺗﻘﻄﻴﻊ اﻻﺑﻴﺎت ﻋﲆ ﻃﺮﻳﻘﺔ ﻧﻌﻢ وﻻ‪،‬‬ ‫واﺳﺘﻄﺎع ﻣﻦ ﺧﻼل ﻫﺬه اﻟﻄﺮﻳﻘﺔ اﻟﴩح‬

‫ﻟﻠﻄﻠﺒﺔ ﺑﻌﻴﺪاً ﻋﻦ اﻟﺘﻔﻌﻴﻼت واﳌﺼﻄﻠﺤﺎت‬ ‫اﻟﻌﺮوﺿﻴﺔ اﻟﻜﺜرية‪.‬‬ ‫وﻗﺎل اﻟﺸﺎﻋﺮ ﺣﻤﻮد ﺟﺎﺳﻢ اﻟﻌﻨﺰي وﻫﻮ ﻣﻦ‬ ‫ﺷﻌﺮاء اﻟﻔﺼﺤﻰ‪ :‬ﺣﴬت وﻟﻠﻪ اﻟﺤﻤﺪ ورﺷﺔ‬ ‫اﻟﻌﺘﺒﺎت اﻟﺨﻤﺲ ﻟﻠﻤﺒﺪع ﺳﺎمل ﺑﻦ ﺳﺎﻳﺮ‬ ‫اﻟﺮﻣﻴﴤ‪ .‬ﻛﺎﻧﺖ ورﺷﺔ راﺋﻌﺔ ﻟﻠﺘﻌﺮف ﻋﲆ‬ ‫اﻷوزان اﻟﺸﻌﺮﻳﺔ ﰲ اﻟﻨﺒﻄﻲ‪ .‬وﻗﺪ اﺳﺘﻔﺪت‬ ‫ﻣﻨﻬﺎ ﻛﺜريا ﻛﻮن اﻟﺸﺎﻋﺮ ﺳﺎمل اﻟﺮﻣﻴﴤ‬ ‫ﻋﺮﺿﻬﺎ ﺑﻄﺮﻳﻘﺔ ﺳﻬﻠﺔ وﻣﻴﴪة ﻛام ﰲ ﻛﺘﺎﺑﻪ‪.‬‬ ‫واﻟﺠﺪﻳﺮ ﺑﺎﻟﺬﻛﺮ أﻧﻨﺎ مل ﻧﻜﺘﺐ ﺣﺮﻓﺎً واﺣﺪاً‬ ‫ﰲ اﻟﻮرﺷﺔ وإمنﺎ ﻛﺎﻧﺖ ﻛﻞ اﻟﺘامرﻳﻦ ﺳامﻋﻴﺔ‬ ‫وﻛﺬﻟﻚ اﻷوزان وﻣﺤﺎوﻟﺔ ﻣﻌﺮﻓﺔ اﻟﻄﺮق ﻣﻦ‬ ‫ﺧﻼل اﻟﺴﻤﻊ واﻟﻠﺤﻦ‪.‬‬ ‫ﻫﺬه اﻟﻄﺮﻳﻘﺔ اﻟﺘﻲ ﴍﺣﻬﺎ ﻣﺆﻟﻒ ﻛﺘﺎب‬ ‫اﻟﻌﺘﺒﺎت ﻣﻦ أﻓﻀﻞ اﻟﻮﺳﺎﺋﻞ ﳌﻌﺮﻓﺔ اﻟﻮزن‪.‬‬ ‫وﻗﺪ أورد ﱄ ﻣﺆﻟﻒ اﻟﻜﺘﺎب ﻋﺪة أﺑﻴﺎت‬ ‫ﺷﻌﺮﻳﺔ ﰲ ﻛﺘﺎﺑﻪ‪.‬‬ ‫أﻏﺴﻄﺲ‪-‬ﺳﺒﺘﻤﺒﺮ ‪59 2016‬‬

‫ﺗﻐﻄﻴﺔ‬ ‫‪baytelshear‬‬

‫دﻋﻮة ﻟﺘﺪرﻳﺲ اﻟﻌﺮوض ﻓﻲ ﻣﻨﺎﻫﺞ اﻟﺘﻌﻠﻴﻢ‬

‫ورﺷﺔ ﻟﻠﺘﺪرﻳﺐ ﻋﻠﻰ ﺑﺤﻮر اﻟﺸﻌﺮ اﻟﻨﺒﻄﻲ‬ ‫اﻟﻜﻮﻳﺖ – ﻓﻬﺪ اﻟﺨﻼوي‬

‫دﻋﺎ اﻟﻜﺎﺗﺐ واﻟﻨﺎﻗﺪ ﻋﲇ اﳌﺴﻌﻮدي إﱃ ﻣﺰﻳﺪ‬ ‫ﻣﻦ اﻻﻫﺘامم ﺑﺎﻟﻠﻐﺔ اﻟﻌﺮﺑﻴﺔ ﻋﻤﻮﻣﺎ وﻋﻠﻢ‬ ‫ﻋﺮوض اﻟﺸﻌﺮ اﻟﻌﺮيب ﺧﺼﻮﺻﺎً‪ ،‬اﻟﺬي ﻳﻌﺪ‬ ‫ﻣﺪﺧﻼ ﻣﻬام ﳌﺤﺒﺔ اﻟﻠﻐﺔ اﻟﻌﺮﺑﻴﺔ وﻓﻬﻤﻬﺎ‬ ‫وﻛﺸﻒ ﺟامﻟﻴﺎﺗﻬﺎ وأﴎارﻫﺎ ﻣﺸﺪداً ﻋﲆ‬ ‫ﴐورة ﺗﺪرﻳﺲ ﻋﻠﻢ اﻟﻌﺮوض ﺿﻤﻦ ﻣﻨﺎﻫﺞ‬ ‫اﻟﺘﻌﻠﻴﻢ ﰲ وزارة اﻟﱰﺑﻴﺔ ﺧﻼل اﳌﺮاﺣﻞ‬ ‫اﻟﺘﻌﻠﻴﻤﻴﺔ اﳌﺨﺘﻠﻔﺔ‪ ،‬ﻣﺆﻛﺪا ﻋﲆ وﺟﻮد ﻓﺠﻮة‬ ‫ﻛﺒرية ﺑني اﻟﺸﺒﺎب اﻟﻌﺮيب وﻟﻐﺘﻬﻢ‪ ،‬ﺣﻴﺚ‬ ‫أﺻﺒﺤﻮا ﻏﺮﺑﺎء ﻋﻨﻬﺎ وﻫﻲ ﻏﺮﻳﺒﺔ ﻋﻨﻬﻢ‪..‬‬ ‫واﺷﺎد اﳌﺴﻌﻮدي ﺑﺎﻟﻮرﺷﺔ اﻟﺘﺪرﻳﺒﻴﺔ اﻟﺘﻲ‬ ‫ﻛﺎن ﺿﻴﻒ اﻟﴩف ﻓﻴﻬﺎ‪ ،‬وأﻗﻴﻤﺖ ﰲ راﺑﻄﺔ‬ ‫اﻻدﺑﺎء مبﺒﺎدرة ﻣﻦ اﻟﺸﺎﻋﺮ ﺳﺎمل اﻟﺮﻣﻴﴤ‪،‬‬ ‫ﻣﺜﻤﻨﺎ اﻟﺪور اﻻﻳﺠﺎيب اﻟﺬي ﻗﺎم ﺑﻪ اﻟﺮﻣﻴﴤ‪،‬‬ ‫وﺑﺎﻻﻳﺠﺎﺑﻴﺔ اﻟﻜﺒرية اﻟﺘﻲ ﻇﻬﺮ ﻋﻠﻴﻬﺎ‬ ‫اﳌﺸﺎرﻛﻮن اﻟﺸﺒﺎب ﻣﻦ اﻟﺠﻨﺴني‪ .‬وﻗﺎل‬ ‫اﻧﻬﺎ ﻛﺎﻧﺖ أﻣﺴﻴﺔ راﺋﻌﺔ ﻣﻔﻴﺪة ﻟﻠﺠﻤﻴﻊ‪،‬‬ ‫ﻣﺘﻤﻨﻴﺎً ﻣﻦ اﻟﺸﺎﻋﺮ اﻟﺮﻣﻴﴤ ان ﻳﺴﺘﻤﺮ ﰲ‬ ‫ﻫﺬا اﻟﻄﺮﻳﻖ اﳌﻔﻴﺪ واﳌﻤﻴﺰ ﻟﺴﺪ اﻟﻨﻘﺺ ﰲ‬ ‫‪ 58‬ﺑﻴﺖ اﻟﺸﻌﺮ ‪ /‬اﻟﻌﺪد ‪48‬‬

‫ﻫﺬا اﳌﺠﺎل وﻻﺳﺘﻜامل ﻣﺸﻮاره اﻟﺘﻌﻠﻴﻤﻲ‬ ‫اﻟﺬي ﺑﺪأه ﺑﺈﺻﺪار ﻛﺘﺎﺑﻪ )اﻟﻌﺘﺒﺎت اﻟﺨﻤﺲ(‬ ‫اﻟﺬي ﺗﻨﺎول ﻓﻴﻪ ﻃﺮﻗﺎ ﺟﺪﻳﺪة ﰲ ﴍح ﻋﻠﻢ‬ ‫اﻟﻌﺮوض وﻃﻮارﻳﻖ اﻟﺸﻌﺮ اﻟﻨﺒﻄﻲ‪.‬‬ ‫وﻗﺪ ﺷﺎرك ﰲ اﻟﻮرﺷﺔ اﻟﺘﻲ اﺧﺘﺼﺖ ﺑﺘﻌﻠﻴﻢ‬ ‫ﺑﺤﻮر اﻟﺸﻌﺮ واﻟﺘﺪرب ﻋﻠﻴﻬﺎ ﻋﺪد ﻣﻦ‬ ‫اﻟﺸﺒﺎب واﻟﺸﺎﺑﺎت ﻣﻦ اﻷﻗﻼم اﻟﻮاﻋﺪة‪.‬‬ ‫وﻗﺎل اﻟﺸﺎﻋﺮ ﺳﺎمل اﻟﺮﻣﻴﴤ‪ :‬أﺣﻤﺪ اﻟﻠﻪ‬ ‫ﺗﻌﺎﱃ وأﺷﻜﺮه ﻋﲆ ﺗﻮﻓﻴﻘﻪ ﻟﻨﺎ ﰲ إﻗﺎﻣﺔ‬ ‫ﻫﺬه اﻟﺪورة اﻟﺘﻲ اﻣﺘﺪت ﺛﻼث ﺳﺎﻋﺎت‬ ‫ﺗﻘﺮﻳﺒﺎ ﰲ أوزان وﻃﻮارﻳﻖ اﻟﺸﻌﺮ اﻟﻨﺒﻄﻲ‬ ‫ﻋﲆ ﻧﻈﺎم اﻟﻌﺘﺒﺎت اﻟﺨﻤﺲ‪ ،‬وﻫﻮ اﻟﻜﺘﺎب‬ ‫اﻟﺬي أﻟﻔﺘﻪ اﻟﻌﺎم اﳌﺎﴈ ‪ ،2015‬وﻫﻲ ﺧﺎﻣﺲ‬ ‫دورة أﻗﻴﻤﻬﺎ ﰲ اﻷوزان ﺑﺸﻜﻞ ﻋﺎم واﻷوﱃ‬ ‫ﺑﺎﻷوزان اﻟﻨﺒﻄﻴﺔ وﺣﺪﻫﺎ إذ أﻗﻤﺖ دورة‬ ‫ﻣامﺛﻠﺔ ﻟﻜﻦ ﺑﺄوزان اﻟﺸﻌﺮ اﻟﻔﺼﻴﺢ ﰲ ﻛﻞ‬ ‫ﻣﻦ ﺟﺎﻣﻌﺔ اﻟﻜﻮﻳﺖ وﺟﺎﻣﻌﺔ اﻟﺒﺎﺣﺔ ﰲ‬ ‫اﳌﻤﻠﻜﺔ اﻟﻌﺮﺑﻴﺔ اﻟﺴﻌﻮدﻳﺔ‪.‬‬ ‫ومتﻴﺰت ﻫﺬه اﻟﺪورة ﻋﻦ ﻏريﻫﺎ ﺑﻮﺟﻮد‬ ‫ﻗﺎﻣﺔ ﻧﻘﺪﻳﺔ ﻋﺮﻳﻘﺔ ﰲ ﻣﺠﺎل اﻟﺸﻌﺮ اﳌﺤيك‬

‫ﻳﻌﺘﻤﺪ اﻟﺠﻤﺮي ﻋﻠﻰ‬ ‫اﻟﻨﺪاء ﻟﻴﺲ ﻓﻲ اﻟﻮﺻﻮل إﻟﻰ‬ ‫ﺟﻮﻫﺮ ﻗﺼﻴﺪﺗﻪ وﺣﺴﺐ‪ ،‬وإﻧﻤﺎ‬ ‫ﻟﻬﺪم اﻟﻤﺴﺎﻓﺔ ﺑﻴﻦ اﻟﺸﺎﻋﺮ‬ ‫واﻟﻤﻨﺎدى ﻓﻲ ﻗﺼﻴﺪﺗﻪ‪q‬‬ ‫ﻳﺨﺮج اﻟﻨﺪاء ﻓﻲ ﻗﺼﻴﺪة‬ ‫اﻟﻜﻨﺪي ﻣﻦ ﺳﻴﺎﻗﻪ اﻟﻤﺄﻟﻮف‬ ‫ﻟﻴﺼﺒﺢ ﻓﻲ ﺳﻴﺎق اﻟﺪﻋﺎء‬ ‫واﻟﺮﺟﺎء‪ ،‬وﻓﻲ اﻟﻮﻗﺖ ذاﺗﻪ ﻳﻔﺘﺢ‬ ‫اﻟﺒﺎب ﻋﻠﻰ ﺣﺎﻟﺔ اﻟﺘﺸﻜﻲ‪q‬‬ ‫ﺗﺘﻌﺪد ﻗﺪرة اﻟﻨﺪاء وأﻧﻤﺎط‬ ‫ﺣﻀﻮره ﻟﻠﺤﺪ اﻟﺬي ﺗﻈﻬﺮ ﻓﻲ‬ ‫اﻟﻐﺰل‪ ،‬واﻟﻌﺘﺐ‪ ،‬واﻟﺘﺸﻜﻲ‪،‬‬ ‫واﻟﺮﺛﺎء‪ ،‬وﻏﻴﺮﻫﺎ ﻣﻦ أﻏﺮاض‬ ‫اﻟﺸﻌﺮ‪q‬‬ ‫إﱃ ﺟﺎﻧﺐ ذﻟﻚ ﻳﺤﻴﻞ اﻟﺸﺎﻋﺮ ﺑﺎﻻﺳﺘﻨﺎد إﱃ اﻟﻨﺪاء اﳌﺘﻠﻘﻲ إﱃ ﺗﻮﺻﻴﻒ‬ ‫ﺟامﱄ واﺳﺘﻌﺎرة ﺑﴫﻳﺔ ﺣني ﻳﻨﺎدي اﻟﻄري‪ ،‬ﻓﺎﻟﺤﺒﻴﺒﺔ ﰲ ﻗﺼﻴﺪﺗﻪ‬ ‫ﺗﺘﺤﻮل إﱃ ﻃﺎﺋﺮ ﻣﺒﺘﻌﺪ ﻳﺮﺗﺠﻲ اﻟﺸﺎﻋﺮ ﻗﺮﺑﻪ‪ ،‬وﻳﺮﺗﺠﻲ أن ﻳﺤﻂ ﰲ‬ ‫ﺑﻼده‪ ،‬ﻟﻴﻜﻮن ﻗﺮﻳﺒﺎً مبﺎ ﻳﻜﻔﻲ ﻟﻴﺴﻤﻊ ﺷﻜﻮاه‪.‬‬ ‫ﻳﻔﺘﺢ ذﻟﻚ اﻟﺘﻮﻇﻴﻒ ﻷﺳﻠﻮب اﻟﻨﺪاء اﻟﺒﺎب ﻋﲆ أﺣﺪ أﺷﻜﺎل اﻟﺘﻌﺎﺑري‬ ‫اﻟﻠﻐﻮﻳﺔ اﳌﻌﺮوﻓﺔ ﰲ اﻟﻌﺮﺑﻴﺔ‪ ،‬ﻓﺎﻟﻨﺪاء ﻇﻬﺮ ﺑﺘﺠﻠﻴﺎت ﻋﺪﻳﺪة ﻣﻨﻬﺎ ﰲ‬ ‫ﺳﻴﺎق اﻟﺪﻋﺎء واﻟﺘﴬع إﱃ اﻟﻠﻪ ﺗﻌﺎﱃ‪ ،‬ﻓﻔﻴﻪ ﺗﺘﻤﻈﻬﺮ أﺷﻜﺎل اﻟﺮﺟﺎء‬ ‫وﻃﻠﺐ اﻟﻌﻮن‪ ،‬واﳌﻐﻔﺮة‪ ،‬وﻏريﻫﺎ ﻣﻦ أمنﺎط اﻟﺮﺟﺎء‪ ،‬ﻓﻴﻜﺘﺐ اﻟﺸﺎﻋﺮ‬ ‫أﺣﻤﺪ ﺑﻦ ﻋﲇ اﻟﻜﻨﺪي ﰲ ﻗﺼﻴﺪة ﻏﺰﻟﻴﺔ ﻫﺬا اﻷﺳﻠﻮب ﺑﻘﻮﻟﻪ‪:‬‬

‫ﻳﻜﺘﺐ ﻓﻴﻬﺎ اﻟﺸﺎﻋﺮ ﻗﺼﻴﺪﺗﻪ‪ ،‬ﻓﻴﺘﺤﻮل ﻫﻢ اﻟﺤﺐ‪ ،‬وﺗﻌﺒﻪ‪ ،‬وﻣﻌﺎﻧﺎﺗﻪ‬ ‫إﱃ ﺣﺎﻟﺔ ﺷﺎﻋﺮﻳﺔ ﺟامﻟﻴﺔ ﻗﺎﺑﻠﺔ ﻟﻠﺘﻮﺻﻴﻒ ﺑﻼﻏﻴﺎً‪ ،‬وﰲ اﻟﻮﻗﺖ ﻧﻔﺴﻪ‬ ‫ﻣﻜﺘﻮﺑﺔ ﰲ ﺳﻴﺎق اﻟﺪﻋﺎء‪ ،‬واﻟﻄﻠﺐ ﻣﻦ اﻟﻠﻪ ﻋﺰ وﺟﻞ‪.‬‬ ‫ﻟﻴﺲ ذﻟﻚ وﺣﺪه ﻣﺎ ﻳﺘﻤﻈﻬﺮ ﺑﻪ أﺳﻠﻮب اﻟﻨﺪاء ﰲ اﻟﻘﺼﻴﺪة اﻟﺸﻌﺒﻴﺔ‬ ‫اﳌﺤﻠﻴﺔ‪ ،‬ﻓﻬﻮ ﻳﺘﺠﺎوز اﻟﺘﺸيك‪ ،‬واﻟﻐﺰل‪ ،‬واﻟﺮﺛﺎء‪ ،‬وﻏريﻫﺎ ﻟﻴﺼﻞ إﱃ‬ ‫اﳌﺪح‪ ،‬ﻓﺎﺗﺤﺎً اﻟﺒﺎب ﻟﻴﻜﻮن واﺣﺪاً ﻣﻦ أﻛرث اﻷﺳﺎﻟﻴﺐ اﻟﺸﻌﺮﻳﺔ ﻃﻮاﻋﻴﺔ‬ ‫ﰲ اﻟﻘﺼﻴﺪة ﺳﻮاء اﻟﺸﻌﺒﻴﺔ أو اﻟﻔﺼﻴﺤﺔ‪ ،‬ﻓام ﻳﻜﺘﺒﻪ اﻟﺸﺎﻋﺮ ﻣﺤني‬ ‫اﻟﺸﺎﻣﴘ ﰲ ﻗﺼﻴﺪة ﻳﻔﺨﺮ ﺑﻬﺎ ﺑﻘﺒﻴﻠﺔ ﻧﻌﻴﻢ‪ ،‬ﻳﻌﺪ ﺷﺎﻫﺪاً ﻋﲆ ﻃﻮاﻋﻴﺔ‬ ‫اﻟﻨﺪاء وﻣﺮوﻧﺔ ﺣﻀﻮره‪ ،‬إذ ﻳﻘﻮل‪:‬‬

‫‪ £fCC CC CCI¸ mfCCCªCCC CCC1 ½fCCCCC< fCCCCM Ù* fCCCCM‬‬ ‫*‪ fCCkCC0 ¢CCCCH ¬|CCCDfCCC CCCG* CCC CCC8 xCCªCC CC7 fCCCCM ɧCC CC CC CCM fCCCCH CCCC6fCCCC¡CCCCG*K ½fCCCCC< lCCCCCI‬‬ ‫‪£fCCE|CC= CCCF «CCqCC¡CCH fCCCM s|CCC CCCG* CC¡CCH‬‬ ‫‪fCCkCCtCC¡CCH ¨CCC CCC< m4*2 CCC CCC¡CCCG* CCCCCCJ*K‬‬ ‫‪ɧCC‬‬ ‫‪C‬‬ ‫‪ CC‬‬ ‫‪C‬‬ ‫‪M $«CCC‬‬ ‫‪C‬‬ ‫‪ CCC‬‬ ‫‪C‬‬ ‫‪7 CCCC‬‬ ‫‪C‬‬ ‫‪F 4zCCC‬‬ ‫‪C CCCCH ¥CCCCCkCCCCCI*K‬‬ ‫‪ ÉfCCCCCº(* ¦fCCC CCC CCC< |CC CC CCF ¢CCCCH fCCCCCE fCCCCH‬‬ ‫‪£fC‬‬ ‫*(‪C CC CC CCI ¥CCªCCD *zCCCC+ ¥CCCGfCCC0 ¢CCC¼ |CCC CCCI‬‬ ‫‪ fk0 ¢CCCH CC CC CC CCG* CCC0 ¥CCCG lCCgCCM §CCCG‬‬ ‫<‪ ÉKzCCCE|CCCM ¿ CCC6fCCC¡CCCG* fCCC¡CCCH CCCMfCCC‬‬ ‫‪£fCCªCC<fCC+ CCªCC CCG* ¬|CC CC CC- §CCCCÅ ¨CC<|CCM‬‬ ‫ﻳﻌﻴﺪ اﻟﺸﺎﻣﴘ اﺳﺘﺨﺪام اﻟﻨﺪاء ﰲ اﺧﺘﺼﺎر اﳌﺴﺎﻓﺔ وﺑني اﺳﺘﻬﻼل‬ ‫‪ɧCC CC CC CC CCM ÑCCCC¼* ¸ ¥CC¡CCªCCIK «CC CCwCCMK‬‬

‫اﻟﺸﺎﻋﺮ‪ ،‬وﻣﻮﺿﻮع اﻟﻘﺼﻴﺪة‪ ،‬ﻓﺎﳌﻨﺎدى ﰲ اﻟﺸﻄﺮ اﻷول ﳌﺴﺘﻬﻞ‬ ‫اﻟﻘﺼﻴﺪة ﻫﻮ ﻣﻮﺿﻮﻋﻬﺎ وﺑﺎﺑﻬﺎ اﻟﻮاﺳﻊ ﻟﺴﻴﻞ ﻣﻦ اﳌﺪح واﻟﺜﻨﺎء اﻟﻘﺎﺋﻢ‬ ‫ﻳﺨﺮج اﻟﻨﺪاء ﰲ ﻗﺼﻴﺪة اﻟﻜﻨﺪي ﻣﻦ ﺳﻴﺎﻗﻪ اﳌﺄﻟﻮف ﻟﻴﺼﺒﺢ ﰲ ﺳﻴﺎق‬ ‫ﻋﲆ اﻹﺷﺎرة‪ ،‬واﻟﺘﻨﻮﻳﻪ‪ ،‬واﻟﺘﻠﻤﻴﺢ‪ ،‬واﻟﺘﻜﺮار وﻏريﻫﺎ ﻣﻦ أﺳﺎﻟﻴﺐ ﺗﺪوﻳﺮ‬ ‫اﻟﺪﻋﺎء واﻟﺮﺟﺎء‪ ،‬وﰲ اﻟﻮﻗﺖ ذاﺗﻪ ﻳﻔﺘﺢ اﻟﺒﺎب ﻋﲆ ﺣﺎﻟﺔ اﻟﺘﺸيك اﻟﺘﻲ‬ ‫اﻟﺒﻴﺖ اﻟﺸﻌﺮي‪.‬‬

‫أﻏﺴﻄﺲ‪-‬ﺳﺒﺘﻤﺒﺮ ‪57 2016‬‬

‫ﻧﻘ‪VVVVVV‬ﺪ‬ ‫‪baytelshear‬‬

‫اﻟﻨﺪاء ﻫﻮ اﻟﺪرب اﻟﺬي ﻳﺨﺘﴫ اﳌﺴﺎﻓﺔ ﺑني اﻟﺸﺎﻋﺮ وﻣﻮﺿﻮع‬ ‫اﻟﺘﺸيك وﻓﺘﺢ اﻟﻬﻤﻮم‪ ،‬ورﺳﻢ ﺻﻮرة ﻣﻌﺎﻧﺎﺗﻬﺎ‪ ،‬ﻓﻴﻘﻮل‪:‬‬ ‫ﻗﺼﻴﺪﺗﻪ‪ ،‬ﻓﻔﻲ اﻟﻮﻗﺖ اﻟﺬي ﻳﻜﺘﺐ ﻓﻴﻪ اﳌﺰروﻋﻲ ﻫﻤﻪ وﺷﻜﻮاه‪،‬‬ ‫‪ ¥CC CCªCC¡CCH CCCCCMÑCCCCC»* §CCCCCCM «CCCCkCCCCIK fCCCCCM‬‬ ‫ﻳﻜﺘﺐ ﻓﻴﻪ اﻟﺸﺎﻋﺮ ﺳﺎمل اﻟﺠﻤﺮي ﻏﺰﻟﻴﺔ ﺑﺎذﺧﺔ ﺑﺎﻟﺼﻮر اﻟﺸﻌﺮﻳﺔ‪،‬‬ ‫‪ 4fCC CC8 ¥CCC+ CCCJ fCCC CCC CCCº*K ÔCC¤CC CC6 lCCCMfCCC+‬ﻳﻘﻮل ﻓﻴﻬﺎ‪:‬‬

‫‪¥CCÊzCCH lCCCIfCCC+ hCCC CCC CCCG* · jCCC CCC< ¢CCCCH‬‬ ‫‪ 4f 8K ¬ÔCC CCG ¬|CC/fCCH ¿ L|CC/ «CC CCG*K‬‬ ‫‪ rCCM§CC/§CC- CCCCG *§CCC¤CCC CCCD «CCC CCCM ÔCCCC: fCCCCM‬‬ ‫‪¥¡ª¡F uCCªCC+ £fCCCF ¬ÔCC CCG ¬|CCC/ §CCJ §CCG‬‬ ‫*‪ «CC CC0 Ù* CCCC CCCC0 ¸ «CCCC¡CCCCkCCCCE|CCCCG‬‬ ‫‪ 4fCC CC6 ¢CCCCHK fCCC/ ¢CCCH zCC¡CC< ¦zCC CC6 ÕCCgCCMK‬‬ ‫‪ rCCªCC¤CCqCC¤CCkCCG*K CCCCG§CCCCH CCC CCC CCC+ ÔCCCC:fCCCCM‬‬ ‫‪ ¥ ª + §CCJfCCH CC7ÑCCgCC+ |CC CC CC CCG* CC9fCCJ‬‬ ‫‪ «CC CC CCH |CCCC CCCC CCCC< fCCCCCªCCCCC+ «CCCCC¡CCCCC-|CCCCCF3‬‬ ‫‪ 4fCCªCC1K i43 «CC CCº* ¢CCH ¨CC CC¡CC-* lCC CCEK‬‬ ‫‪rª G*K |CCJzCCG* p2fCC0 ¢CCH g 0 CC7K‬‬ ‫ *&‪ ¥ ª 6 CC CC CCIK «CCgCC CCE ¨CC CC< s|CCCCCCD‬‬ ‫‪ « k H £~CCCC0 CCC+§CCCG i|CCCC: «CC CC CC‬‬‫‪4*2 ¥CCCgCCCG§CCCG *§CCCCF|CCCC0 ¿ hCCCF§CCCF ¢CCCCH‬‬ ‫‪rCCM§CC CC CC- ¬2*§CCCCCCCD* §CCC CCC7 *§CCC¤CCCG* fCCCCE‬‬ ‫*‪«CC CC CC CC- «CCCC¡CCCC=*K «CCC¡CCCD ¨CCC CCC CCC< «CCCC CCCCG‬‬

‫ﺗﺘﺠﲆ ﻗﺪرة اﻟﻨﺪاء ﰲ ﻗﺼﻴﺪة اﳌﺰروﻋﻲ ﻋﲆ ﻓﺘﺢ ﻣﺰاج اﻟﻘﺼﻴﺪة‬ ‫ﻋﲆ ﺳﻠﺴﻠﺔ ﻣﻦ اﻟﺘﻮﺻﻴﻔﺎت اﳌﺘﻼﺣﻘﺔ اﻟﺘﻲ ﺗﻈﻞ ﺗﺘﻼﺣﻖ ﻟﺘﺸﺨﻴﺺ‬ ‫اﳌﻨﺎدى اﻟﺬي ﻳﻈﻬﺮ ﰲ ﻗﺼﻴﺪة اﳌﺰروﻋﻲ ﰲ »وﻧﺘﻲ« وﻫﻲ ﺻﻮت أﳌﻪ‬ ‫وﺗﺸﻜﻴﻪ‪ ،‬إذ ﻛﻞ اﻷﺑﻴﺎت اﻟﺘﻲ ﺗﺮد ﺑﻌﺪ اﻟﺒﻴﺖ اﻷول ﻫﻲ ﺣﺎﻟﺔ ﻣﻦ‬ ‫اﻟﺘﻔﺴري واﻟﴩح ﺑﺎﻟﺘﻌﺒري اﻟﺸﻌﺮي اﻟﺠامﱄ ﻟﻔﻜﺮة اﻟﻮﻧﺔ وأﳌﻬﺎ‪.‬‬ ‫ﺗﺘﻌﺪد ﻗﺪرة اﻟﻨﺪاء وأمنﺎط ﺣﻀﻮره ﻟﻠﺤﺪ اﻟﺬي ﺗﻈﻬﺮ ﰲ اﻟﻐﺰل‪،‬‬ ‫واﻟﻌﺘﺐ‪ ،‬واﻟﺘﺸيك‪ ،‬واﻟﺮﺛﺎء‪ ،‬وﻏريﻫﺎ ﻣﻦ أﻏﺮاض اﻟﺸﻌﺮ‪ ،‬ﻓﻴﻜﺎد أﺳﻠﻮب‬

‫‪ 56‬ﺑﻴﺖ اﻟﺸﻌﺮ ‪ /‬اﻟﻌﺪد ‪48‬‬

‫ﻳﻌﺘﻤﺪ اﻟﺠﻤﺮي ﻋﲆ اﻟﻨﺪاء ﻟﻴﺲ ﰲ اﻟﻮﺻﻮل إﱃ ﺟﻮﻫﺮ ﻗﺼﻴﺪﺗﻪ‬ ‫وﺣﺴﺐ‪ ،‬وإمنﺎ ﻟﻬﺪم اﳌﺴﺎﻓﺔ ﺑني اﻟﺸﺎﻋﺮ واﳌﻨﺎدى ﰲ ﻗﺼﻴﺪﺗﻪ‪ ،‬ﻓﺎﻟﻨﺪاء‬ ‫ﰲ اﻟﻠﻐﺔ ﻳﺸري إﱃ اﻟﻘﺮب ﺑﻘﺪر ﻣﺎ ﻳﺸري إﱃ اﻟﺒﻌﺪ‪ ،‬ﻓﺄن ﻳﻨﺎدي اﻟﺸﺎﻋﺮ‬ ‫ﻓﺬﻟﻚ أن اﳌﻨﺎدى ﻋﲆ ﻣﻘﺮﺑﺔ ﻣﻦ ﺳﻤﻌﻪ‪ ،‬ﺣﺘﻰ وﻟﻮ روﺣﻴﺎً‪ ،‬ﻓﻴﺘﺤﻮل‬ ‫اﻟﻨﺪاء ﰲ ﻣﺴﺘﻬﻞ ﻗﺼﻴﺪة اﻟﺠﻤﺮي إﱃ أﺣﺪ أﺷﻜﺎل اﻟﺘﻌﺒري ﻋﲆ ﺣﺎﻟﺔ‬ ‫اﻟﻔﻘﺪ واﻟﻐﻴﺎب واﻟﺒﻌﺪ اﻟﺘﻲ ﻳﺮﺗﺠﻲ اﻟﺸﺎﻋﺮ اﻟﺘﺨﻠﺺ ﻣﻨﻪ‪.‬‬

‫اﻟﻨﺪاء ﻓﻲ اﻟﺸﻌﺮ اﻟﺸﻌﺒﻲ ا‪A‬ﻣﺎراﺗﻲ‬

‫اﺧﺘﺼﺎر اﻟﻤﺴﺎﻓﺎت ﻓﻲ ﺣﺮﻓﻴﻦ! )ﻳﺎ(‬ ‫ﻣﺤﻤﺪ أﺑﻮ ﻋﺮب‬

‫ﻛﺮﺳﺖ اﻟﻘﺼﻴﺪة اﻟﺸﻌﺒﻴﺔ اﻹﻣﺎراﺗﻴﺔ ﻃﻮال ﻣﺴﻴﺮﺗﻬﺎ اﻟﺘﺎرﻳﺨﻴﺔ‬ ‫ﻣﻨﺬ اﻟﻤﺎﺟﺪي ﺑﻦ ﻇﺎﻫﺮ ﺣﺘﻰ اﻟﻴﻮم‪ ،‬ﺳﻠﺴﻠﺔ ﻣﻦ اﻷﺳﺎﻟﻴﺐ‬ ‫اﻟﺸﻌﺮﻳﺔ اﻟﺘﻲ ﺑﺎﺗﺖ ﺗﻌﺪ اﻟﻴﻮم ﻗﻮاﻟﺐ ﺷﻌﺮﻳﺔ ﻣﺘﻮارﺛﺔ‪ ،‬ﻳﻮﻇﻔﻬﺎ‬ ‫اﻟﺸﻌﺮاء ﻓﻲ ﺑﻨﺎء ﻧﺼﻮﺻﻬﻢ‪ ،‬ﻓﻼ ﻳﻤﻜﻦ اﻟﻤﺮور ﻋﻠﻰ ﻣﺪوﻧﺔ‬ ‫اﻟﺸﻌﺮ اﻟﺸﻌﺒﻲ اﻟﻤﺤﻠﻲ ﻣﻦ دون اﻟﻮﻗﻮف ﻋﻨﺪ ﻗﺎﺋﻤﺔ واﺿﺤﺔ‬ ‫ﻣﻦ اﻷﻧﻤﺎط واﻷﺳﺎﻟﻴﺐ اﻟﻼﻓﺘﺔ اﻟﺘﻲ ﻳﻠﺠﺄ إﻟﻴﻬﺎ اﻟﺸﺎﻋﺮ ﻓﻲ‬ ‫ﻛﺘﺎﺑﺔ ﻗﺼﻴﺪﺗﻪ‪ ،‬ﻛﺄن ﻳﻔﺘﺘﺢ اﻟﺸﺎﻋﺮ ﻗﺼﻴﺪﺗﻪ‪ ،‬ﺑﺄﺳﻠﻮب اﻟﺤﻮار‪،‬‬ ‫ﻓﻴﻜﺘﺐ ﻳﻘﻮل ﻓﻼن اﻟﻔﻼﻧﻲ‪ ،‬وﻫﻮ ﻳﺸﻴﺮ إﻟﻰ ذاﺗﻪ‪ ،‬أو ﻳﺒﺪأ‬ ‫ﻗﺼﻴﺪﺗﻪ ﺑﺎﻟﺒﺴﻤﻠﺔ واﻟﺼﻼة ﻋﻠﻰ اﻟﻨﺒﻲ‪ ،‬أو ﻏﻴﺮﻫﺎ ﻣﻦ اﻷﺳﺎﻟﻴﺐ‬ ‫اﻟﻤﺄﻟﻮﻓﺔ‪g‬‬ ‫ﺗﻨﻜﺸﻒ ﻫﺬه اﻷﺳﺎﻟﻴﺐ ﺑﺎﳌﻘﺎرﻧﺔ ﺑني منﺎذج ﻣﻦ اﻟﺸﻌﺮ اﻟﺸﻌﺒﻲ‬ ‫اﻟﻘﺪﻳﻢ وﻣﺎ ﻳﻘﺎﺑﻠﻪ ﻣﻦ اﻟﺸﻌﺮ اﻟﺤﺪﻳﺚ‪ ،‬ﻓﺎﻟﻘﻮاﻟﺐ اﻟﺸﻌﺮﻳﺔ واﻷﺳﺎﻟﻴﺐ‬ ‫ﺗﻜﺎد ﺗﻜﻮن ذاﺗﻬﺎ‪ ،‬ﻣﻊ ﺗﻐري واﺿﺢ ﰲ اﻟﻠﻐﺔ اﳌﺴﺘﺨﺪﻣﺔ‪ ،‬واﳌﻮﺿﻮﻋﺎت‬ ‫اﳌﻄﺮوﺣﺔ‪ ،‬إﺿﺎﻓﺔ إﱃ اﻷﻃﺮ اﻟﺬﻫﻨﻴﺔ واﻻﺟﺘامﻋﻴﺔ اﻟﺘﻲ ﺗﻈﻬﺮ ﻣﻼﻣﺤﻬﺎ‬ ‫ﰲ اﻟﻨﺺ اﻟﺸﻌﺮي اﻟﺸﻌﺒﻲ‪ ،‬ﻓﺤﺘﻰ اﻟﻴﻮم ﻳﻔﺘﺘﺢ اﻟﺸﻌﺮاء ﻗﺼﺎﺋﺪﻫﻢ‬ ‫ﺑﺄﺳﻠﻮب اﻟﺤﻮار‪ ،‬أو ﺑﺎﻟﺒﺴﻤﻠﺔ‪ ،‬أو اﻟﺼﻼة ﻋﲆ اﻟﻨﺒﻲ‪ ،‬أو اﻹﺷﺎرة إﱃ‬ ‫اﻟﺰﻣﻦ ﻛﺄن ﻳﻘﻮل‪ :‬اﻟﺒﺎرﺣﺔ ‪ ،..‬أو اﻟﻠﻴﻠﺔ ‪ ،‬او ﻏريﻫﺎ ﻣﻦ اﻟﻈﺮوف اﻟﺰﻣﻨﻴﺔ‪.‬‬ ‫واﺣﺪة ﻣﻦ اﻷﺳﺎﻟﻴﺐ اﻟﻼﻓﺘﺔ اﻟﺘﻲ ﻛﺮﺳﺘﻬﺎ اﻟﻘﺼﻴﺪة اﻟﺸﻌﺒﻴﺔ اﻹﻣﺎراﺗﻴﺔ‬ ‫ﻣﺎ ﻳﻌﺮف ﺑﺄﺳﻠﻮب اﻟﻨﺪاء‪ ،‬اﳌﺘﻤﺜﻠﺔ ﰲ اﺳﺘﺨﺪام )ﻳﺎ( اﻟﻨﺪاء ﰲ ﻣﺴﺘﻬﻞ‬ ‫اﻟﻘﺼﻴﺪة‪ ،‬ﻟﺘﻜﻮن ﻣﻔﺘﺎﺣﺎً ﳌﻮﺿﻮع اﻟﻘﺼﻴﺪة‪ ،‬وﺑﺎﺑﺎً ﻟﺪﺧﻮل ﻋﻮاﳌﻬﺎ‪،‬‬ ‫ﻓﺎﻟﻜﺜري ﻣﻦ اﻟﻘﺼﺎﺋﺪ اﻟﺮاﺳﺨﺔ ﰲ اﻟﺸﻌﺒﻲ اﻹﻣﺎرايت ﺗﺒﺪأ ﺑـ )ﻳﺎ(‪ ،‬ﻛام ﻳﻘﻮل‬ ‫اﻟﺸﺎﻋﺮ ﺧﻤﻴﺲ اﳌﺰروﻋﻲ »ﻳﺎ وﻧﺘﻲ«‪ ،‬وﻳﻜﺘﺐ اﻟﺸﺎﻋﺮ ﺳﺎمل اﻟﺠﻤﺮي »ﻳﺎ‬ ‫ﻃري«‪ ،‬وﻳﻜﺘﺐ أﺣﻤﺪ ﺑﻦ ﻋﲇ اﻟﻜﻨﺪي »ﻳﺎ اﻟﻠﻪ«‪ ،‬وﻏريﻫﺎ ﻣﻦ اﻟﺸﻮاﻫﺪ‬ ‫اﳌﻌﺮوﻓﺔ‪.‬‬ ‫ميﻜﻦ ﻗﺮاءة ﻫﺬا اﻷﺳﻠﻮب اﻟﺸﻌﺮي داﺧﻞ ﻣﺸﻬﺪ اﻟﻘﺼﻴﺪة اﻟﺸﻌﺒﻴﺔ‬ ‫اﳌﺤﲇ ﰲ ﻣﺴﺎرات ﻋﺪﻳﺪة ميﻜﻦ أن ﺗﻜﺸﻒ اﳌﺴﺎﺣﺎت اﻟﺘﻲ ﻳﻔﺘﺤﻬﺎ‬ ‫اﻷﺳﻠﻮب اﻟﺸﻌﺮي اﻟﻮاﺣﺪ‪ ،‬ﻓﺎﻟﻨﺪاء ﰲ اﻟﻘﺼﻴﺪة اﳌﺤﻠﻴﺔ ﺗﻨﻮﻋﺖ أﻏﺮاﺿﻪ‪،‬‬ ‫ووﻇﺎﺋﻔﻪ‪ ،‬ﻟﻠﺤﺪ اﻟﺬي مل ﻳﻌﺪ ﻣﻨﻪ ﻏري ﻳﺎء اﻟﻨﺪاء‪ ،‬وﻣﺎ دون ذﻟﻚ ﻫﻮ ﻣﺰاج‬ ‫ﺟﺪﻳﺪ ﺗﻔﺮﺿﻪ رؤﻳﺔ اﻟﺸﺎﻋﺮ‪ ،‬وﻣﻮﺿﻮع ﻗﺼﻴﺪﺗﻪ‪.‬‬ ‫ﻳﻈﻬﺮ ﻫﺬا ﺑﺎﻟﺘﻮﻗﻒ ﻋﻨﺪ اﻟﻨامذج اﻟﺸﻌﺮﻳﺔ اﻟﺤﺎﴐة ﰲ اﳌﺸﻬﺪ اﻟﺸﻌﺮي‬ ‫اﻟﺸﻌﺒﻲ‪ ،‬إذ ﻳﻠﺠﺄ اﻟﺸﺎﻋﺮ ﺧﻤﻴﺲ اﳌﺰروﻋﻲ إﱃ أﺳﻠﻮب اﻟﻨﺪاء‪ ،‬ﻟﻄﺮح‬ ‫ﻗﺼﻴﺪة ﰲ اﻟﺘﺸيك ﻟﻠﺸﺎﻋﺮ ﺳﺎمل ﺑﻦ ﺳﻤﺒﻮر اﳌﻨﺼﻮري‪ ،‬ﻓﺘﺸﻜﻞ ﻳﺎء اﻟﻨﺪاء‬ ‫ﰲ ﻣﺴﺘﻬﻞ اﻟﻘﺼﻴﺪة ﻣﻨﻔﺬاً ﺟامﻟﻴﺎً ﺳﻬ ًﻼ ﻟﻠﻮﺻﻮل إﱃ أﻗﴡ درﺟﺎت‬ ‫أﻏﺴﻄﺲ‪-‬ﺳﺒﺘﻤﺒﺮ ‪55 2016‬‬

‫ﺪ‬VVVVVV‫ﻧﻘ‬ baytelshear

48 ‫ اﻟﻌﺪد‬/ ‫ ﺑﻴﺖ اﻟﺸﻌﺮ‬54

‫ﻋﻴﺎل زاﻳﺪ‬ ‫اﺑﺮاﻫﻴﻢ اﻟﺸﺎﻣﻲ‬ @sh3r_ib

4*w@@ @ @ @ @ @ F* @@ @ @+b@@ @ @~@ @ @ 6 É@@ @ @ @ @+ h@@ @ @ @ @ @ B2 Mf@ @ @ @ <b@@ @ @ ~@ @ @ @ 6 b@@ @ @ @ @J v@@ @ @Jb@@ @ @BH Md@@ @ @ @ @ @ ~@ @ @ 7 Í@@ @ @ @ @ @+H @@ @ {@ @ @£@ @ @/ Í@@ @ @ @ + b@@ @ @ @ E 4*v@@ @ @ @ @D* @@ @ @ @ p@ @ J @@ @ @ @ @EH 4*v@@ @ @ @ @ @ @ @D* d@@ @ p@ @ @F b@@ @ @ @ @0 v@@ @Jb@@ @~@ @ |@ @ @ @ Db@@ @+ d@@ @ g@ @ @ @ @ @ @ @ @ JH É@@ @ @ @ @ @ C ¡@@ @ @ @ G b@@ @ @ @ E 4b@@ @ @c@ @ @ D* @@ @ @ @ @ @ @+* d@@ @ @ @ @ @ ~@ @ @ {@ @ @ D*H b@@ @ @ @ F¡@@ @ @ @ +* v@@ @ @ @ @ @ @ J*5 v@@ @ @ @ J*5 b@@ @ @ £@ @ @ @<b@@ @ @ + i*¡@@ @ @ @ @ @ @ @ @ @ @ @ D* h@@ @ @ +b@@ @ @ 1 °H 4b@@ @ @~@ @8 b@@ @ @F2b@@ @ @< @@ @ @E 2¡@@ @ @/¡@@ @ @E @@ @ @:¡@@ @ @D* d@@ @ @0 v@@ @ @J*v@@ @ @~@ @ @ {@ @ @ D*H x@@ @ @ @ @ @ @ @ @ D* b@@ @ @ @ @ @ @ J* @@ @ @c@ @ @ B @@ @ @ @ @ @EH 4b@@ @ ~@ @ @8 b@@ @ @ @ @ @ @D¡@@ @ @ 0 ¥w@@ @ @ @ @ @ @ @ D* @@ @ @ @ @C b@@ @ @ @ @ @ @ @ @ @F2*5 b@@ @ @ @ @E v@@ @ @ @J*¡@@ @ @ @< i4b@@ @ @ @ @ @ @ ~@ @ @ @ @ @ @ @8 Í@@ @ @ @ @ @ @ @ J ¢@@ @ @ @ @ @ @ @ AH °* 4b@@ @ @ ±* eHb@@ @ @ @ @ / @@ @ @ . 4b@@ @ @ @ @ ±* lb@@ @ @ @ g@ @ ~@ @ 6* ¡@@ @ @ @ J v@@ @ @Jb@@ @ @C¡@@ @ @D* @@ @£@ @ £@ @ £@ @ @ @ < ·* É@@ @ @ @ @ @ @ @ @D* *w@@ @ @ @ @ @G 4*x@@ @ @ @~@ @ @ @ 8*H M y@@ @ @ @ @ @ @< v@@ @ @ @Db@@ @ @ @+ v@@ @ @ @ @ @ @ @ @ D* b@@ @ @ Q @ @ @ ~@ @ @ 8 v@@ @ @JÉ@@ @ @ @ @ @ Db@@ @ @+ @@ @ @ @ @ Ey@@ @ @ @ @ D* v@@ @ @ @ @ @ @ @ s@ @ @ @ J M @@ @ @ @ @ @ @ @ @ A 4b@@ @ @ @ @ @ @ @ @B°* @@ @ @ @ @ C ¯ @@ @ @ @ @ @ @ @ @E°* Ãv@@ @ @ @ @ @ @J Ñ* v@@ @ @Jb@@ @ @BH Md@@ @ @ @ @ @ ~@ @ @ 7 4*v@@ @ @ @ @ @ @ @ @ D* @@ @ @ @ @p@ @ @J Ñ*H

53 2016 ‫ﺳﺒﺘﻤﺒﺮ‬-‫أﻏﺴﻄﺲ‬

‫ﻣﺎﺳﺎت‬ baytelshear

‫ﻋﻴﺪك ﻣﺒﺎرك‬ ‫ﻣﺤﻤﺪ ﺑﻦ ﻃﺮﻳﺶ‬ @MohmdBin6Reesh

4b@@ @ ~@ @ @z@ @ @E 2v@@ @ @ @ @ @ 0 H @@ @ @ @ @ @ @ @0 ¶* ¢@@ @ @ @ @ @ ~@ @ @ 6* Ì@@: b@@ @ @ J Ì@@ @ @ 1 @@ @ @ @ @ @ « i4v@@ @ @ @ @ @B b@@ @ @ E * H 4N b@@ @ @ @ @ @ @ @ @E H 2b@@ @ @ @ @ @ < b@@ @ @£@ @ @ Fv@@ @ @D* w@@ @ @ 1b@@ @ @ - ° Ì@@ 1 h@@ @N @ @ c@ @ B* b@@ @ @ @ F* *3* H Ì@@ @ @ @ P1 ixN @ @ @ @ @ @ @+2&* *3* 4b@@ @~@ @ {@ @ g@ @ ~@ @ z@ @ E @@ @ @ @ @ @ @ @ @ D*H @@ @ @ @ @ @ £@ @ @ D2 @@ @c@ @ @ @ B Ì@@~@ |@ £@ @ @+ Ì@@ @ ~@ @ @|@ @ @J @@ @ @ D Ñ* @@ @ cR @ @ @g@ @ @C ¤@@ @ @ @ @ @ @D*H N 4b@@ @ @ @£@ @ @ @ 1 H x@ @ @ @ @ @ @ F f@@ @ @ @ @ @ /H Æ@@ @ @ @ @ 0* b@@ @ @ @ F* x@@ @ JÄ@@ @ - ¥&* @@ @ ~@ @ @|@ @ @0 ¤@@ @ @ @ @ @ D b@@ @ @ @ @E b@@ @ @ @ @ @ C ¡@@ @ @ @ @D 4b@@ s@ @g@ @~@ @6* H ¢@@ @ @ @ g@ @ +* ¤@@ @ @ @ D* *w@@ @ @ @G d@@ @ @ @ @ @ D* H Ì@@ @ c@ @ @ CR v@@ @ @ @ @ @ @+ @@ @ @ @E H @@ @ @ @ @c@ @ @B @@ @ @ @E Ì@@ @ c@ @ @ C 4b@@ @ @ @ @ @ @ @ @ @ + @@ @ @ @g@ @ @ @ J¡@@ @ @ @C @@ @ @ @ @ @ @ @F* ¡@@ @ @ @ @ @D H ¢@@ @ @ @g@ @ @ @ 0 Ì@@ @ @ @ @D* ¢@@ @ @ @ < H @@ £@ @ @ @ < ¤@@ @ @~@ @{@ @J b@@ @ @E i¡@@ @ @ @ Â 4b@@ @ @ @ @ @. H ¥4b@@ @ @ @ @ @ @ . d@@ @ @£@ @ @ G b@@ @ @ @ E @@ @ @ @ @Db@@ @ ~@ @ @z@ @ @D* x@@ @ Jy@@ @ D* µb@@ @ ~@ @ @z@ @ @ @ @ @+ Á° H d@@ @ £@ @ @ @ C Nh@@ @ @ @ @ @ @F* ° 4*v@@ @ @ @ @ - v@@ @~@ @ |@ @ B* N H2 @@ @g@ @ 0x@@ @/ *3* Ì@@ ~@ @|@ @ @ @- v@@ @ @ @ @ < É@@ @ @ @+ ¤@@ @ @ @ @ E 4v@@ @ @ @ @ + °* H 4b@@ @ @c@ @ @ g@ @ @ <* 24 H @@ @ @ @ @ @ 0 w@@ @ @ @ 1 H rx@@ @ @ @ @ @ @ /* Ì@@ ~@ @9 ° rHx@@ @ @ @ / @@ @ 0Hx@@ @ / ¡@@ @ @ A i25 * H 4b@@ @ @ @ c@ @ @ @ @- @@ @ @ @ +b@@ @ @ @ g@ @ @ @ @C ¯ yQ @ @ @ @ @ @ @ @ @ @ @ @ @ @E ¤@@ @ @ @ @ @ @ @ @ @ @D* x@@ @ Jv@@ @ @ @ @- H @@ @ @c@ @ @ ¹ ¤@@ @c@ @ @ @ @ @ @ @ @A @@ @ @ @ D yQ @ @ @ @ @ @ @ @F 4N b@@ @ @ ~@ @ @ @{@ @ @ @- b@@ @ @ @ E H ¢@@ @~@ @ |@ @ p@ @ @ @ - b@@ @ @ @ E Mf@ @ @ @ c@ @ @ @ ¹ Ì@@ + ¯ x@@ @ @~@ @ @ 6 b@@ @ @ @ @ Q @ @ @~@ @ @6 H* b@@ @ @ @ @ @ = H Æ@@ @ @~@ @ @ 6 4*x@@ @ @ @ @ B @@ @ @ @ @ /*4 H @@ @ @ @ @ /4* ¡@@ @ @ @ @ B* h@@ @ £@ @ / b@@ @ @ E x@@ @ @ J3b@@ @ @ @ @ @ @E 4HQ 2* °H 4w@@ @ @ @ @ g@ @ @ @ @ @<* ° H 4b@@ @ @ @ @ +* H v@@ @ @ @Jb@@ @ @ @<* h@@ @ £@ @ @c@ @ @0 @@ @ @ @ @ @ A b@@ @ @ @ @ F* Ì@@ @ «* H @@ @ £@ @ ~@ @ }@ @ -* ° H ¤@@ @ @ @ @E n@@ @ <y@@ @ @ @ @- ° 4b@@ @ c@ @ E xM @ @ @ @ @ @~@ @ @7 d@@ @ @ @ < 4b@@ @ @ c@ @ @ @E v@@ @ @£@ @ @ < Ìs+ Áb@@ @E ¡@@ D Ì@@s@ + Rh@@ @ F* H b@@ @< @@ C H 48 ‫ اﻟﻌﺪد‬/ ‫ ﺑﻴﺖ اﻟﺸﻌﺮ‬52

‫ﻋﲆ اﻷرض ﻳﺤﻴﻄﻮن ﺑﺎﳌﻐﻨﻲ اﻟﺬي ﻳﻀﻊ إﺣﺪى راﺣﺘﻴﻪ ﻋﲆ ﺧﺪه‬ ‫وﻳﻘﻔﻞ ﻋﻴﻨﻴﻪ أﺛﻨﺎء اﻟﻐﻨﺎء‪ ،‬وﻗﺪ ﻳﺸﺎرك ﻏﻨﺎء اﻟﻮﻧﺔ ﺑﺪوي آﺧﺮ ﻳﺘﻠﻘﻒ‬ ‫ﻣﻨﻪ ﺷﻌﺮ وﻧﻐﻢ اﻟﻐﻨﺎء ﰲ آﺧﺮ ﺑﻴﺖ اﻟﺸﻌﺮ وﻳﻌﻴﺪ ﻏﻨﺎءه ﻣﺜﻠام ﻏﻨﺎه‬ ‫ﺻﺎﺣﺒﻪ‪.‬‬ ‫وﻣﻦ ﻟﺤﻦ اﻟﻮﻧﺔ‪:‬‬

‫اﻷﻣﺜﺎل ﺣﻜام ﺗﺒﻘﻰ ﻋﺎﻟﻘﺔ ﰲ اﻟﺬﻫﻦ‪ ،‬وﺗﺴﻬﻢ ﺑﺸﻜﻞ ﻛﺒري ﰲ إﻳﺠﺎد‬ ‫ﻳﻌﺮﻓﻬﺎ‬ ‫رؤﻳﺔ ﺻﺎﺋﺒﺔ ﺗﻌﻤﻞ ﻋﲆ ﺣﻞ ﻛﺜري ﻣﻦ اﻷﻣﻮر‪ ،‬واﻟﺤﻜﻤﺔ ﻛام ّ‬ ‫أرﺳﻄﻮ ﻫﻲ‪ » :‬رأس اﻟﻌﻠﻮم واﻷدب واﻟﻔﻦ‪ ،‬ﻫﻲ ﺗﻠﻘﻴﺢ اﻷﻓﻬﺎم وﻧﺘﺎﺋﺞ‬ ‫اﻷذﻫﺎن«‪ .‬وﰲ ﻛﺜري ﻣﻦ اﻷﺣﻴﺎن ﻻ ﺗﺮﺗﺒﻂ اﻟﺤﻜﻤﺔ ﺑﺴﻠﻮك ﻗﺎﺋﻠﻬﺎ‪،‬‬ ‫واﳌﺜﻞ ﻳﻘﻮل »ﺧﺬ اﻟﺤﻜﻤﺔ ﻣﻦ أﻓﻮاه اﳌﺠﺎﻧني« وﻳﺮوى ﻋﻦ ﻋﲇ ﺑﻦ‬ ‫‪ ¬2fCCCCCCCC¡CCCCCCCCG* CCCCCªCCCCCCCC CC CCCCC¡CCCCCCCCG* hCC‬‬ ‫أيب ﻃﺎﻟﺐ ﻛﺮم اﻟﻠﻪ وﺟﻬﻪ ﻗﻮﻟﻪ »إن اﻟﺤﻜﻤﺔ ﻫﻲ ﺿﺎﻟﺔ اﳌﺆﻣﻦ‪T CCCCCCCCCJ ،‬‬ ‫‪ ¬2*25K‬‬ ‫ ‬ ‫ﻓﺨﺬوا اﻟﺤﻜﻤﺔ وﻟﻮ ﻣﻦ أﻫﻞ اﻟﻨﻔﺎق«‪.‬‬

‫ ‪2§CCCCCCCCCCCwCCCCCCCCCCC+ ¬2*'§CCCCCCCCCCCCCCCCCCCCCCCD |CCCCCCCCCCCCCCCCCFT 3‬‬ ‫‪ ¬2fCCCCCCCCCCCCCC CC CCCCCCCC/&* ¢CCCCCCCCCCCMzCCCCCCCCG CCCCCCCCCCCM4‬‬ ‫‪P‬‬ ‫اﻟﻤﻌﺘﻘﺪ اﻟﺸﻌﺒﻲ واﻟﻘﺼﻴﺪة‪Z‬‬ ‫‪ ¬2*2K‬‬ ‫ ‬ ‫اﳌﻌﺘﻘﺪات اﻟﺸﻌﺒﻴﺔ ﻫﻲ إﺣﺪى ﻣﻔﺮدات اﻟﱰاث‪ ،‬وﺗﺘﻌﻠﻖ مبﺎ ﻳﺆﻣﻦ ﺑﻪ‬ ‫ ‪2§CCCCCCCCCCC CCCCCCCG*K fCCCCCCCgCCCCCCC CCC CCCCCCCG* |CCCCCCCCCCCCCC-‬‬

‫اﻟﺒﻌﺾ ﻣﻦ ﻣﺜﻞ وﺟﻮد اﻟﺠﻦ وﺗﺄﺛريه ﻋﲆ اﻹﻧﺴﺎن‪ ،‬واﻹميﺎن ﺑﺎﻷوﻟﻴﺎء‬ ‫وزﻳﺎرة اﻟﻘﺒﻮر واﻟﺘﱪك ﺑﻬﺎ‪ ،‬واﻹميﺎن ﺑﺒﻌﺾ اﻟﺤﻴﻮاﻧﺎت ﻣﺜ ًﻼ وﺑﺄﻧﻬﺎ‬ ‫ﺗﺠﻠﺐ اﻟﺨري أو اﻟﴩ‪ ،‬وﻫﻲ ﻧﺘﺎج ﺗﻮارث ﻋﻘﺪي دﻳﻨﻲ‪ ،‬وﻫﻲ ﺿﻤﻦ‬ ‫اﳌﺄﺛﻮر اﻟﺸﻌﺒﻲ ﻛام ﻳﻌﺮﻓﻬﺎ اﻟﺪﻛﺘﻮر أﺣﻤﺪ ﻣﺮﳼ ﻣﻦ ﺟﺎﻣﻌﺔ اﻟﻘﺎﻫﺮة‬ ‫»ﻣﻔﻬﻮم اﳌﺄﺛﻮر اﻟﺸﻌﺒﻲ ﺑﺎﻋﺘﺒﺎره اﻟﻔﻨﻮن واﳌﻌﺎرف واﳌﻌﺘﻘﺪات‬ ‫وأمنﺎط اﻟﺴﻠﻮك اﻟﺠﻤﻌﻴﺔ اﻟﺘﻲ ﺗﻌﱪ ﺑﻬﺎ اﻟﺠامﻋﺔ أو اﻟﺸﻌﺐ ﻋﻦ‬ ‫ﻧﻔﺴﻪ‪ ،‬ﺳﻮاء اﺳﺘﺨﺪﻣﺖ اﻟﻜﻠﻤﺔ أو اﻟﺤﺮﻛﺔ أو اﻹﺷﺎرة أو اﻟﻨﻐﻤﺔ أو‬ ‫اﻟﺨﻂ أو اﻟﻠﻮن أو ﺗﺸﻜﻴﻞ اﳌﺎدة أو آﻟﺔ ﺑﺴﻴﻄﺔ«‪ .‬وﻟﺴﺖ ﰲ ﻣﻌﺮض‬ ‫اﻟﺤﺪﻳﺚ ﻋﻦ ﺧﻄﻮرة ﺑﻌﺾ اﳌﻌﺘﻘﺪات ﺑﻘﺪر ﻣﺎ ﻫﻮ ﺗﻮﺛﻴﻖ ﻟﻈﻮاﻫﺮ‬ ‫وﻣامرﺳﺎت اﻋﺘﺎد اﻟﻨﺎس ﻋﻠﻴﻬﺎ‪ ،‬ﻓﺒﻌﻀﻬﺎ ﻣﻊ اﻟﻮﻋﻲ واﻹدراك ﺑﺪأت‬ ‫ﺗﺘﻼﳽ‪ ،‬ﻟﻜﻦ اﻟﺒﺎﺣﺚ ﰲ اﻟﻐﺎﻟﺐ ﻻ ﻳﺘﻄﺮق إﻟﻴﻬﺎ إﻻ ﻣﻦ ﺑﺎب اﻟﺘﻮﺛﻴﻖ‪،‬‬ ‫واﻟﻘﺮآن اﻟﻜﺮﻳﻢ ﺧري دﻟﻴﻞ ﻋﲆ ﻋﻤﻠﻴﺔ اﻟﺘﻮﺛﻴﻖ ﻟﺒﻌﺾ اﳌﻌﺘﻘﺪات‬ ‫ﻛﻌﺒﺎدة اﻷﺻﻨﺎم وارﺗﺒﺎط أو إميﺎن اﻟﻨﺎس ﺑﻬﺎ ﻗﺒﻞ اﻹﺳﻼم‪ ،‬وذﻟﻚ ﰲ‬ ‫ﻗﻮﻟﻪ ﺗﻌﺎﱃ ﰲ ﻣﻌﺮض رد اﻟﻜﻔﺎر ﰲ اﳌﺤﺎﺟﺠﺔ ﻋﻦ ﻣﻌﺘﻘﺪاﺗﻬﻢ‪» :‬إﻧﺎ‬ ‫وﺟﺪﻧﺎ آﺑﺎءﻧﺎ ﻋﲆ أﻣﺔ ٍ وإﻧﺎ ﻋﲆ آﺛﺎرﻫﻢ ﻣﻘﺘﺪون« ﺻﺪق اﻟﻠﻪ اﻟﻌﻈﻴﻢ‪،‬‬ ‫وإذا اﺳﺘﺨﺪم ﺑﺸﻜﻞ ﻳﺘﻨﺎﺳﻖ ﻣﻊ اﻟﻨﺺ واﻟﻔﻜﺮة ﻓﺮمبﺎ ﻳﻀﻴﻒ ﻟﻪ‬ ‫اﻟﺠامل وميﻨﺤﻪ روﻧﻘﺎً آﺧﺮ‪.‬‬

‫ﺧﺼﻮﺻﻴﺔ اﻟﺒﺤﻮر اﻟﺸﻌﺒﻴﺔ‪Z‬‬ ‫متﺘﺎز ﺑﻌﺾ اﳌﻨﺎﻃﻖ ﰲ ﺑﻌﺾ اﻟﺪول ﺑﺒﻌﺾ اﻟﺒﺤﻮر اﻟﺸﻌﺒﻴﺔ اﻟﺘﻲ‬ ‫ﻳﺘﻄﺮق إﻟﻴﻬﺎ اﻟﺸﻌﺮاء‪ ،‬وﻳﺴﺘﺨﺪﻣﻮﻧﻬﺎ ﻛﺜرياً ﻟﺘﺼﺒﺢ ﺳﻤﺔ واﺿﺤﺔ‬ ‫وﻣﻴﺰة ﻻﻓﺘﺔ ﰲ أﺷﻌﺎرﻫﻢ‪ .‬ﻓﻔﻲ دوﻟﺔ اﻹﻣﺎرات اﻟﻌﺮﺑﻴﺔ اﳌﺘﺤﺪة ﻳﻜرث‬ ‫اﺳﺘﺨﺪام ﺑﺤﺮ اﻟﻮﻧﺔ واﻟﺘﻐﺮود واﻟﻄﺎرق‪ ،‬وﻟﻜرثة اﺳﺘﺨﺪاﻣﻬﺎ ﻋﻨﺪ‬ ‫اﻟﺸﻌﺮاء اﻷواﺋﻞ‪ ،‬ﻓﻘﺪ أﺻﺒﺤﺖ ﻣﻦ وﺟﻬﺔ ﻧﻈﺮ اﻟﻜﺜريﻳﻦ إرﺛﺎً ﻳﺠﺐ‬ ‫اﳌﺤﺎﻓﻈﺔ ﻋﻠﻴﻪ‪ ،‬واﻟﻄﺮق ﻋﲆ ﻫﺬه اﻟﺒﺤﻮر ﻟﺪى اﻟﺸﺎﻋﺮ اﻹﻣﺎرايت‬ ‫اﻟﺸﺎب ﻣﻊ اﻟﺘﺠﺪﻳﺪ ﻓﻴﻬﺎ ﻳﻌﺘﱪ إﺿﺎﻓﺔ ﳌﺴريﺗﻪ اﻟﺸﻌﺮﻳﺔ‪ ،‬وميﻨﺤﻬﺎ‬ ‫وﻫﺞ اﻟﺘﺠﺪﻳﺪ وأﺻﺎﻟﺔ اﻟﻮﺟﻮد‪ ،‬وﻣﻦ ﻫﺬه اﻟﺒﺤﻮر » اﻟﺘﻐﺮودة« وﻫﻮ‬ ‫أﺣﺪ اﻟﻔﻨﻮن واﻷﻟﺤﺎن اﻟﺸﻌﺒﻴﺔ اﻟﺘﻲ ﺗﻘﺎل ﰲ اﻟﻐﺎﻟﺐ ﻋﲆ ﻇﻬﻮر اﻹﺑﻞ‬ ‫وﺗﺘﻤﻴﺰ ﺑﻬﺎ دوﻟﺔ اﻹﻣﺎرات اﻟﻌﺮﺑﻴﺔ اﳌﺘﺤﺪة وﺳﻠﻄﻨﺔ ﻋامن‪.‬‬ ‫وﻛﺬﻟﻚ ﻫﻨﺎك اﻟﻮﻧﺔ‪ ،‬وﻫﻲ ﻛام ﺗﻌﺮف ﻋﲆ أﻧﻬﺎ ﻏﻨﺎء اﻟﺬﻛﺮﻳﺎت‪ ،‬ﻳﺆدﻳﻪ‬ ‫ﻣﻐﻦ ﻣﻨﻔﺮد ﺑﺪوي ﻳﺴﲇ ﻧﻔﺴﻪ وﻳﻄﺮد ﻋﻨﻪ اﻟﻨﻮم‪ ،‬وﻫﻮ ﻋﲆ ﻇﻬﺮ‬ ‫ﻧﺎﻗﺘﻪ ﰲ رﺣﻠﺔ ﻟﻴﻞ ﻃﻮﻳﻠﺔ‪ .‬وﻳﺆدى ﻏﻨﺎء اﻟﻮﻧﺔ اﻵن واﻟﺒﺪو ﺟﻠﻮس‬

‫إذن ﻓﺎﻟﱰاث ﻛﻠﻐﺔ ﻣﺪﻳﻨﺔ ﻳﻔﺪ إﻟﻴﻬﺎ ﻛﻞ ﻣﻦ أزﻋﺠﻪ ﺿﺠﻴﺞ اﻟﺘﺠﺪﻳﺪ‪،‬‬ ‫اﻟﺬي ﻳﺪﺧﻞ اﻟﻜﻠﻤﺔ إﱃ أﻧﻔﺎق ﻣﻈﻠﻤﺔ ﻣﻦ اﻟﺮﻣﺰ‪ ،‬وﻫﻮ اﻟﻔﻴﺘﺎﻣني اﻟﺬي‬ ‫ﻳﺴﺘﻤﺪ ﻣﻨﻪ اﻟﺸﺎﻋﺮ ﻗﻮﺗﻪ‪ ،‬ﻟﻴﺜﺒﺖ ﻟﻶﺧﺮﻳﻦ أﻧﻪ ﻗﺎدم ﻣﻦ وﻃﻦ ﻟﻪ‬ ‫اﻣﺘﺪاد وﺟﺬور ﺑﻌﻴﺪة ﰲ اﻟﺰﻣﻦ‪ ،‬وﺑﺪوﻧﻪ ﻓﺈن اﻟﺸﺎﻋﺮ رمبﺎ ﻻ ﻳﺴﺘﻄﻴﻊ‬ ‫أن ﻳﺜﺒﺖ ﻟﺸﻌﺮه ﺣﻀﺎرة وأﺻﺎﻟﺔ‪ ،‬ﻓﻠﻴﺲ اﻟﺘﺠﺪﻳﺪ ﰲ اﻻﻧﺴﻼخ اﻟﻜﲇ‬ ‫ﻋﻦ اﻟﻘﺪﻳﻢ‪ ،‬ﺑﻞ ﰲ إﺿﻔﺎء روح اﻟﻌﴫ ﺑﻠﻤﺴﺎت ﺑﺪﻳﻌﺔ ﻋﲆ أﻟﻖ‬ ‫وﺟامل وأﺻﺎﻟﺔ اﳌﺎﴈ اﻟﺠﻤﻴﻞ‪.‬‬

‫ﻟﻴﺲ اﻟﺘﺠﺪﻳﺪ ﻓﻲ اﻻﻧﺴﻼخ اﻟﻜﻠﻲ ﻋﻦ اﻟﻘﺪﻳﻢ‪،‬‬ ‫ﺑﻞ ﻓﻲ إﺿﻔﺎء روح اﻟﻌﺼﺮ ﺑﻠﻤﺴﺎت ﺑﺪﻳﻌﺔ ﻋﻠﻰ‬ ‫أﻟﻖ وﺟﻤﺎل وأﺻﺎﻟﺔ اﻟﻤﺎﺿﻲ اﻟﺠﻤﻴﻞ‬ ‫أﻏﺴﻄﺲ‪-‬ﺳﺒﺘﻤﺒﺮ ‪51 2016‬‬

‫اﻟﻤﻔﺮدة اﻟﺸﻌﺒﻴﺔ‬ ‫‪baytelshear‬‬

‫ﻣﻦ ﻣﻔﺮداﺗﻪ اﻟﻤﺜﻞ واﻟﻤﻌﺘﻘﺪ اﻟﺸﻌﺒﻴﺎن‬

‫اﻟﺘﺮاث‪..‬‬

‫»ﻓﻴﺘﺎﻣﻴﻦ«‬ ‫اﻟﻘﺼﻴﺪة اﻟﺸﻌﺒﻴﺔ‬ ‫ﻣﺤﻤﺪ ﻋﺒﺪا اﻟﺒﺮﻳﻜﻲ‬

‫ﻣﺎ ﻣﻦ ﺷﻚ ﰲ أن ﻟﻠﻤﻔﺮدة دوراً ﻛﺒرياً ﰲ اﻻرﺗﻘﺎء ﺑﺎﻟﻘﺼﻴﺪة‪ ،‬ﻓﺎﳌﻔﺮدة‬ ‫ﻫﻲ ﻟﺴﺎن اﳌﻌﺎين واﻷﻓﻜﺎر واﳌﻀﺎﻣني‪ ،‬وﻛﻠام ﻛﺎن ﻣﺨﺰون اﻟﺸﺎﻋﺮ‬ ‫ﻛﺒرياً ذا ﻗﻴﻤﺔ ﻓﻨﻴﺔ وﻣﻌﺮﻓﻴﺔ ﻛﻠام أﻋﻄﻰ ﻟﻠﻨﺺ ﻗﻴﻤﺔ ﻣﻀﺎﻓﺔ‪ ،‬ﻟﻜﻦ‬ ‫ﻟﻐﺔ اﻟﻨﺺ اﻟﺠﻤﻴﻠﺔ ﻻ ﺗﻜﻔﻲ ﻷن ﺗﺠﻌﻞ ﻣﺠﻤﻞ اﻟﻨﺺ ﻏﻨﻴﺎً ﺛﺮﻳﺎً‪،‬‬ ‫ﻓﺎﻟﺸﺎﻋﺮ اﻟﺬي ﻳﺴﻌﻰ إﱃ أن ﻳﻘﺪم ﻧﺼﺎً ﻣﺆﺛﺮاً ﻳﻄﻤﺢ ﻣﻦ ﺧﻼﻟﻪ إﱃ‬ ‫ﻣﻼﻣﺴﺔ ﻋﺎﻃﻔﺔ وأﺣﺎﺳﻴﺲ اﻟﺒﴩ أو إﱃ اﻟﺨﻠﻮد ﰲ ذاﻛﺮة اﻟﻨﺎس‪،‬‬ ‫ﻫﻮ ﻣﻦ ﻳﻮﻇﻒ ﺛﻘﺎﻓﺎﺗﻪ وﻗﺮاءاﺗﻪ اﳌﺨﺘﻠﻔﺔ ﰲ ﻧﺼﻪ‪ ،‬وﻳﺴﺘﻌني ﺑﺎﻟﻜﺜري‬ ‫ﻣﻦ اﻟﺸﻮاﻫﺪ ﻟﻴﻌﻄﻲ ﻣﻠﻤﺤﺎً ﻋﻦ اﻟﻔﻜﺮة أو ﻳﺒﻌﺚ روﺣﺎً ﰲ أﺑﻴﺎﺗﻪ‪،‬‬ ‫أو ﻳﺸﻌﻞ ﻓﺎﻧﻮﺳﺎً أو ﺷﻤﻌﺔ ﺗﴤء ﻟﻠﻤﺘﻠﻘﻲ درﺑﻪ‪ ،‬واﻟﺸﻌﺮ إن ﻛﺎن‬ ‫مبﻌﺰل ﻋﻦ اﻟﻔﻜﺮ اﻟﻌﻤﻴﻖ اﻟﺬي ﻳﻘﺪم اﻟﺠﺪﻳﺪ ﻟﻠﻘﺎرئ أو ﻏﺎﺑﺖ ﻋﻨﻪ‬ ‫ﻫﺬه اﻟﺠامﻟﻴﺎت ﻳﺒﻘﻰ ﺷﻌﺮاً ﻓﻘرياً ﺿﻌﻴﻔﺎً ﺧﺎﻟﻴﺎً ﻣﻦ اﻟﺪﻫﺸﺔ واﻟﺸﺠﻦ‬ ‫ورمبﺎ ردﻳﺌﺎً وﻻ ﻳﻜﺘﺐ ﻟﻪ اﻟﺨﻠﻮد‪ ،‬وﻛام ﻳﻘﻮل اﻟﺸﺎﻋﺮ دﻋﺒﻞ اﻟﺨﺰاﻋﻲ‪:‬‬ ‫‪¥CC CCJ&* CCgCCE ¢CCCH |CC CC CC CCG* $¬24 m§CCCCÊ‬‬ ‫‪¥CC R C )fCCE mfCCCCH £(*K ¨CC CCgCCM ¦R RzCCCCCCCTCCCCªCCC/K‬‬

‫وميﺎﺛﻠﻪ ﻗﻮل اﻟﺸﺎﻋﺮ ﻋﺒﺪاﻟﻠﻪ اﻟﺮﺷﻮد ‪:‬‬ ‫‪vK4 fCC¤CC+fCCH ¥CCkCCCCCTCCCªCCH zCCMfCC CC CC CCG* CC CC CC+‬‬ ‫‪«CU C CC CC+ |CCCF{CCCM fCCCH «CCC0 fCC¤CCgCCkCCF «CCC CCCG*K‬‬ ‫‪v§I z¤< ¢CCH jCP T Cª0 zMf G* +K‬‬ ‫‪«CC0 fCCC‬‬ ‫‪CJ|CCCCF3K lCCCCCTCCCªCCH fCC¤CCgCCkCCF «CCC CCCG*K‬‬ ‫‪U‬‬ ‫‪ 50‬ﺑﻴﺖ اﻟﺸﻌﺮ ‪ /‬اﻟﻌﺪد ‪48‬‬

‫وﻣﻦ ﺿﻤﻦ ﺟامﻟﻴﺎت اﻟﻘﺼﻴﺪة اﻟﺸﻌﺒﻴﺔ اﻟﺘﻲ ﺗﻌﻄﻲ اﻟﻨﺺ وﻫﺠﺎً‬ ‫ومتﻨﺤﻪ أﺛﺮاً وﺧﻠﻮداً ﻧﺬﻛﺮ اﳌﺜﻞ اﻟﺸﻌﺒﻲ‪ ،‬ﻓﻬﻮ ﻳﻌﻄﻴﻬﺎ ﻗﻮة وﻣﺮﺟﻌﻴﺔ‬ ‫ﺗﺮﺗﺒﻂ ﺑﺜﻘﺎﻓﺔ وﻋﺎدات وﻣامرﺳﺎت اﻟﺸﻌﻮب‪ ،‬وﻫﻮ ﻳﺘﺸﻈﻰ ﻣﻦ‬ ‫اﳌﻔﺮدة أﻳﻀﺎً‪ ،‬وﺣﻀﻮره ﰲ اﻟﻘﺼﻴﺪة اﻟﺸﻌﺒﻴﺔ ﻟﻪ أﺛﺮ ﻛﺒري ﰲ إﺛﺒﺎت‬ ‫ﻫﻮﻳﺔ اﻟﻘﺼﻴﺪة‪ ،‬ﺧﺼﻮﺻﺎً إذا ﻛﺎن ﻫﺬا اﳌﺜﻞ ﻣﻦ اﻟﺒﻴﺌﺔ اﻟﺘﻲ ﻳﻌﻴﺸﻬﺎ‬ ‫اﻟﺸﺎﻋﺮ‪ .‬ﻳﻘﻮل اﻟﺪﻛﺘﻮر ﻋﺒﺪاﻟﻨﺎﴏ ﻛﻌﺪان وﻫﻮ أﺳﺘﺎذ ورﺋﻴﺲ‬ ‫ﻗﺴﻢ ﺗﺎرﻳﺦ اﻟﻄﺐ ‪ -‬ﺟﺎﻣﻌﺔ ﺣﻠﺐ ﰲ ﺗﻌﺮﻳﻔﻪ ﻟﻠﻤﺜﻞ ﺿﻤﻦ ﺑﺤﺚ‬ ‫ﻋﻦ اﻷﻣﺜﺎل اﻟﺸﻌﺒﻴﺔ اﳌﺘﻌﻠﻘﺔ ﺑﺎﻟﻄﺐ واﻟﺼﺤﺔ ﻧﴩه ﻋﱪ اﻟﺸﺒﻜﺔ‬ ‫اﻟﻌﻨﻜﺒﻮﺗﻴﺔ‪» :‬ﻳﻌﺘﱪ اﳌﺜﻞ اﻟﺸﻌﺒﻲ ﻣﻦ أﻛرث ﻓﺮوع اﻟﺜﻘﺎﻓﺔ اﻟﺸﻌﺒﻴﺔ‬ ‫اﻛﺘﻨﺎزاً وﺛﺮاء‪ ،‬وﰲ ﻣﻌﻈﻢ اﻟﺤﺎﻻت ﻳﺠﺴﺪ اﳌﺜﻞ اﻟﺸﻌﺒﻲ ﺗﻌﺒريا ﻋﻦ‬ ‫ﻧﺘﺎج ﺗﺠﺮﺑﺔ ﺷﻌﺒﻴﺔ ﻃﻮﻳﻠﺔ ﺗﺨﻠﺺ إﱃ ﻋﱪة وﺣﻜﻤﺔ‪ ،‬وﺗﺆﺳﺲ ﻋﲆ‬ ‫ﻫﺬه اﻟﺨﱪة ﻧﺼﻴﺤ ّﺔ ﻋﲆ ﺳﻠﻮك ﻣﻌني‪ .‬وﻣﺠﻤﻮﻋﺔ اﻷﻣﺜﺎل اﻟﺸﻌﺒ ّﻴﺔ‪،‬‬ ‫ﻋﲆ ﺗﻨﺎﻓﺮ ﺑﻌﻀﻬﺎ ﰲ ﻛﺜري ﻣﻦ اﻟﺤﺎﻻت‪ ،‬ﺗﻜ ّﻮن ﻣﻼﻣﺢ ﻓﻜﺮ ﺷﻌﺒﻲ‬ ‫ﺧﺎﺻﺔ‪ .‬ﻓﻬﻲ إذن ﺟﺰء ﻣﻬﻢ ﻣﻦ ﻣﻼﻣﺢ اﻟﺸﻌﺐ‬ ‫ذي ﺳامت وﻣﻌﺎﻳري ّ‬ ‫وﻗﺴامﺗﻪ وأﺳﻠﻮب ﻋﻴﺸﻪ وﻣﻌﺘﻘﺪه وﻣﻌﺎﻳريه اﻷﺧﻼﻗﻴﺔ‪«.‬‬ ‫واﻷﻣﺜﺎل ﰲ اﻟﻐﺎﻟﺐ أﻗﻮال ﻣﺄﺛﻮرة‪ ،‬وﻣﻦ ﺧﻼل ﺗﻠﻚ اﻷﻗﻮال ﻳﻠﻤﺲ‬ ‫اﳌﺘﻠﻘﻲ ﺗﻘﺎرﺑﺎً ﺑﻴﻨﻪ وﺑني اﻟﻨﺺ‪ ،‬وﻳﺼﻞ إﻟﻴﻪ اﳌﻀﻤﻮن ﺑﻄﺮﻳﻘﺔ ﺳﻬﻠﺔ‬ ‫وﺳﻠﺴﺔ‪ ،‬ﻓﻬﻮ ﻳﺨﺘﴫ ﻟﻪ ﰲ اﻟﻐﺎﻟﺐ ﻣﺎ ﻳﻮد اﻟﺸﺎﻋﺮ إﻳﺼﺎﻟﻪ ﻣﻦ‬ ‫ﻣﻌﻨﻰ ﻋﺎم ﻟﻠﻔﻜﺮة‪ ،‬وﻣﻦ ﺧﻼل اﻟﺘﺠﺮﺑﺔ اﻟﻄﻮﻳﻠﺔ ﻳﻨﺘﺞ ﻋﻦ اﻟﻜﺜري ﻣﻦ‬

‫ﻓﻲ اﻟﺸﻌﺮ‬

‫ﺧﻴﻂ اﻟﺸﻌﺮ"" ﺑﻴﻦ ّ‬ ‫ﻋﻤﺎن وأﺑﻮﻇﺒﻲ‬ ‫ﻣﻨﺬ ﺧﻤﺲ ﺳﻨﻮات ﻣﻀﺖ‪ ،‬مل أﻋﺪ إﱃ اﻟﻌﺎﺻﻤﺔ اﻷردﻧﻴﺔ ّ‬ ‫ﻋامن‪ ،‬ﻣﺴﻘﻂ‬ ‫رأس اﻟﻔﻜﺮة‪ ،‬أرض اﻟﺤﻠﻢ‪ ،‬ﺑﻴﺖ اﻟﺬاﻛﺮة‪ ،‬وﻗﺒﻞ ﻛﻞ ذﻟﻚ‪ ..‬راﺋﺤﺔ اﻟﺤﻴﺎة‬ ‫اﻟﺘﻲ ﻛﻨﺖ أﻋﻴﺸﻬﺎ ﻣﻤﺘﻠﺌﺎً ﺑﻜﻞ ﻣﺎ ﻳﺤﻴﻂ يب ﻣﻦ ﺗﻔﺎﺻﻴﻞ‪.‬‬ ‫ﻣﺮت‪ ،‬ﻣﻦ دون ﻋﻮديت إﻟﻴﻬﺎ‪ ،‬آﺧﺮﻫﺎ ﻛﺎﻧﺖ دﻋﻮة‬ ‫ﻣﻨﺎﺳﺒﺎت ﻛﺜرية ّ‬ ‫ﻟﻠﻤﺸﺎرﻛﺔ ﰲ أﻣﺴﻴﺎت ﻣﻬﺮﺟﺎن ﺟﺮش‪ ،‬وﻫﺬه اﳌﺮة‪ ،‬ﻟﺒﻴﺖ اﻟﺪﻋﻮة ﻓﻌﺪت‬ ‫إﱃ ّ‬ ‫ﻋامن ﻣﺤﻤ ًﻼ ﺑﺎﻟﺸﻌﺮ واﻟﺸﻮق ودﻫﺸﺔ اﻟﻠﻘﺎء ‪..‬‬ ‫ﻋﺎم ‪ ،2010‬أﺗﻴﺖ إﱃ اﻹﻣﺎرات‪ ،‬ﻣﺘ ّﻮﺟﺎً ﺑﺂﻣﺎل ﻓﺘﻰ‪ ،‬ﻛﺎن ﻋﺎﺷﻘﺎً ﻳﺠﺮ‬ ‫ﺣﻘﻮل اﻟﻜﻼم أﻣﺎﻣﻪ‪ ،‬وﻳﺤﻤﻞ ﰲ ﻗﻠﺒﻪ زﻫﺮة ّ‬ ‫ﻋامﻧﻴﺔ ﻻ ﺗﺬﺑﻞ‪ ،‬وﻻ ﺗﺄﺑﻪ‬ ‫ﻟﺘﻘ ّﻠﺐ اﻟﻔﺼﻮل‪.‬‬ ‫ﺧﻤﺲ ﺳﻨﻮات‪ ،‬اﻧﻘﻀﺖ‪ ،‬ﴎﻳﻌﺎ‪ ،‬دون أن أﺗﻠﻤﺲ ﺛﻘﻠﻬﺎ‪ ،‬رمبﺎ ﻷن ﰲ‬ ‫أﺑﻮﻇﺒﻲ‪ ،‬اﻟﻜﺜري ﻣﻦ اﻟﺒﻬﺠﺔ‪ ،‬واﳌﺴﺎﺣﺎت اﻟﻮاﺳﻌﺔ اﻟﺘﻲ ﻻ ﺗﻌﺮف اﻟﻀﻴﻖ‪،‬‬ ‫وﻻ ﺗﱰك اﻟﻔﺮﺻﺔ ﻟﻠﺘﺬﻛﺮ أو اﻻﺷﺘﻴﺎق‪ .‬ﻫﻨﺎ ﺣﻴﺚ اﻟﻔﺮﺻﺔ ﻣﺘﺎﺣﺔ ﻟﻠﺒﻨﺎء‪،‬‬ ‫ﻻ اﻟﻬﺪم اﻟﺬي أﺻﻴﺒﺖ ﺑﻪ أوﻃﺎﻧﻨﺎ ﻓﺄﺛﻘﻠﺘﻬﺎ ﻓﻮﴇ اﻟﺨﺮاب‪.‬‬ ‫ﻣﻦ ﻋامن إﱃ أﺑﻮﻇﺒﻲ‪ ،‬ﻳﻨﺤﴫ اﻟﺰﻣﻦ ﰲ دﻗﻴﻘﺔ واﺣﺪة ﻓﻘﻂ‪ ،‬أو رمبﺎ‬ ‫ﰲ اﻟﺘﻔﺎﺗﺔ أو ﻧﻈﺮة إﱃ ﺟﻤﻴﻊ اﻟﺠﻬﺎت اﻟﺘﻲ ﻻ أرى ﻓﻴﻬﺎ ﺳﻮى ﻫﺎﺗني‬ ‫اﳌﺪﻳﻨﺘني‪ .‬ﺣﻴﺚ أرﺳﻢ ﺻﻮريت ﻣﻦ ﺟﺪﻳﺪ ﻋﲆ رﻣﻠﻬام‪ ،‬وأرﻓﻊ وﺟﻬﻲ‬ ‫أﻋﲆ‪ ،‬إﱃ أن أمتﻜﻦ ﻣﻦ اﻟﺘﻘﺎط ﻗﺼﻴﺪة ﺗﺤﻤﻠﻬﺎ ﺳﺎرﻳﺔ اﻟﺼﺤﺮاء‪.‬‬ ‫ﺑني ّ‬ ‫ﻋامن وأﺑﻮﻇﺒﻲ‪ ..‬ﺧﻴﻂ رﻓﻴﻊ ﺟﺪاً‪ ،‬ﻻ ﻳﻜﺎد ُﻳﺮى‪ .‬وﺑني ﻫﺎﺗني‬ ‫اﻟﻌﺎﺻﻤﺘني‪ ،‬أﻗﻒ ﻛﺸﺠﺮة ﺳﻮر ﻋﺎﻟﻴﺔ‪ ،‬ﺗﻄﻞ ﻋﲆ ﻣﺎ ﺗﺮﻳﺪ ُه‪ ،‬ﻣﻦ ﻓﺮﺣﺔ‬ ‫ودﻫﺸﺔ وﻗﺼﺎﺋﺪ‪ ،‬ﻷﻋ ّﻤﺮ اﳌﺰﻳﺪ ﻣﻦ اﻟﺴﻨﻮات‪ ،‬وأﻣﻸﻫﺎ ﺑﺎﻟﻜﻼم واﻟﺸﻌﺮ‪..‬‬

‫أﺑﻮﺑﻜﺮ‬ ‫ﻋﺒﺪا‪ y‬أ ﻜ‬ ‫ا‪y‬‬

‫‪@abdabubaker1‬‬ ‫أﻏﺴﻄﺲ‪-‬ﺳﺒﺘﻤﺒﺮ ‪20016‬‬ ‫ﺳﺒﺘﻤﺒﺮ‬‫ﺴﻄﺲ ﺳ‬ ‫أﻏﺴ‬ ‫ﻏﺴ‬ ‫‪49 2016‬‬ ‫‪49‬‬

‫راﺋﺤﺔ اﻟﺸﻌﺮ‬ ‫‪baytelshear‬‬

‫اﻟﺒﻨﻔﺴﺞ ﻫﻮ زﻫﺮ اﻟﻤﺘﺄﻣﻠﻴﻦ واﻟﺤﺎﻟﻤﻴﻦ ﺑﺎﻟﺤﻴﺎة‬ ‫ﻛﺎﻟﺸﻌﺮاء ﺗﻤﺎﻣﺎ وَﻫﻢ ﻳﻜﺘﺒﻮن اﻟﺠﻤﺎل ﺑﺄﺻﺎﺑﻌﻬﻢ‬ ‫اﻟﻌﺸﺮ‬ ‫أَﺑﺪع ﺷﻌﺮاؤﻧﺎ ﻓﻲ اﻹﻣﺎرات واﻟﺨﻠﻴﺞ اﻟﻌﺮﺑﻲ‬ ‫ﺑﺎﺳﺘﺨﺪام زﻫﺮة اﻟﺒﻨﻔﺴﺞ ﻓﻲ ﻗﺼﺎﺋﺪِﻫﻢ اﻟﺘﻲ ﺣَ ﻠّﻘﺖ‬ ‫ﻓﻲ ﻓﻀﺎ ِء اﻟﻄﺒﻴﻌﺔ ورﻣﺰ ّﻳﺔ اﻟﺰﻫﺮة ِﺑﻠﻮﻧِﻬﺎ وَﻋﻄﺮﻫﺎ‬ ‫وَﻣﻌﻨﺎﻫﺎ‬

‫‪uª M L§CCEfCCH fCC¤CC CC CCº CC6§CC CC CC CCG* 4§CCCCI‬‬ ‫‪ ¥CC¡CCM5 CC CC CC+ CCCCJ§CCCCG* m¸fCCC CCCkCCC0* CC CC CC+‬‬ ‫‪uCCCM4fCCCgCCCkCCCG*K L§CCCCC¡CCCCCG*K rCC CC CC CC¡CCgCCG* lCCC¡CCC+‬‬ ‫‪ ¥CC¡CCªCCwCC. CCCCCCCC/*§CCCCCCCC¼*K CCCCCC/*§CCCCCC¼* lCCC¡CCC+‬‬ ‫· ‪uCCCCM|CCCC±K ¥CCCCG{CCCCH L§CCCC CCCC CCCC7 fCCC¤CCC CCC CCCgCCCI‬‬ ‫‪¥CCC¡CCCªCCC¤CCC-K ¦*|CCCCCCCCCC. · fCCCC¤CCCC¡CCCCH5 «CCCCCHzCCCCC-‬‬

‫ﺑﻨﺖ ﻣﺰﻧﺮ ٌة ﺑﺰﻫﺮ اﻟﺒﻨﻔﺴﺞ‪َ ،‬وﻫﻲ ﻛام‬ ‫ﺗَﺒﺪو ﺗﺮﻛﻴﺒﺔ ﺑﻨﺖ اﻟﺒﻨﻔﺴﺞ ُﻫﻨﺎ َوﻛﺄﻧّﻬﺎ ٌ‬ ‫وﺻﻔﻬﺎ اﻟﺸﺎﻋﺮ ﺑﻨﺖ اﻟﻨﻮى واﻟﺘﺒﺎرﻳﺢ وﺑﻨﺖ اﳌﻮاﺟﻊ‪ .‬أﺑﻴﺎت ﺷﺎﻋﺮﻧﺎ ﻫﻨﺎ ﺗﺒﺪو‬ ‫أﻳﻀﺎً ﻣﺜﻘﻠﺔ ﺑﺎﻷﺣﺰان‪ ،‬وﻟﻘﺪ ّ‬ ‫وﻇﻒ رﻣﺰ ّﻳﺔ اﻟﺒﻨﻔﺴﺞ ُﻫﻨﺎ ﻟﻠﺪﻻﻟﺔ ﻋﲆ اﻟﺤﺰن‬ ‫وﻟﻴﺲ اﻟﻔﺮح واﻷﻣﻞ‪ّ ،‬رمبﺎ ﻷنّ اﻟﺒﻨﻔﺴﺞ ﻳﺴﺘﺨﺪم ﻟﻠﺠﻨﺎﺋﺰ واﻟﻘﺒﻮر ﰲ أﻏﻠﺐ‬ ‫ﻌﱪ ﻋﻦ أوﺟﺎﻋ ِﻪ وﺟﺮﺣ ِﻪ اﳌﻔﺘﻮح‪،‬‬ ‫اﻷﺣﻴﺎن‪ .‬اﺧﺘﺎر ﺷﺎﻋﺮﻧﺎ ﻫﺬه اﻟﺮﻣﺰ َﻳﺔ ﻟ ُﻴ ّ‬ ‫ﻓﺎﺳﺘﺨﺪم ‪ :‬اﳌﻮاﺟﻊ ‪ ،‬اﻟﺸﻮق ‪ ،‬اﺑﺘﻬﺎﻻت ‪ ،‬ﺗﻨﺰف ﺟﺮح‪ ،‬اﻟﻮﻫﻢ‪ ،‬اﻟﺸﻜﻮى‪ ،‬ﻣﺬﻟﻪ‪،‬‬ ‫ﺛﻢ ﺟﺎء إﱃ اﻟﺒﻨﻔﺴﺞ ﻟﺘﻜﻤﻞ اﳌﺼﻄﻠﺤﺎت اﳌﺬﻛﻮرة ﺑﻌﻀﻬﺎ اﻟﺒﻌﺾ ﰲ ﻣﻌﻨﻰ‬ ‫ّ‬ ‫واﺣ ٍﺪ َﻳ ﱡ‬ ‫ﺪل ﻋﲆ أنّ اﻟﺒﻨﻔﺴﺞ اﻟﺠﻤﻴﻞ اﺳﺘﺨﺪﻣ ُﻪ اﻟﺸﺎﻋﺮ ﻟﺤﺎﻟﺔ اﻟﺤﺪاد اﻟﻨﻔﴘ‬ ‫اﻟﺬي ﻳﻌﻴﺸ ُﻪ‪ّ ،‬رمبﺎ ﻟيك ُﻳﻨﻘﺬ اﺣﺒﺎﻃ ُﻪ واﻧﻜﺴﺎر ُه ﺑﺎﻟﺒﻨﻔﺴﺞ ﻟﻌ ّﻠ ُﻪ ﻳﺴﺘﻄﻴﻊ ﺗﻐﻴري‬ ‫ﺣﺎﻟﺔ اﻟﺴﻮاد ﺑﺤﺎﻟ ٍﺔ أﺧﺮى ﻫﻲ اﻷﻗﺮب إﱃ اﻟﺘﻔﺎؤل اﻟﻨﺴﺒﻲ‪ ،‬ﺣﺘﻰ ﻋﻨﺪﻣﺎ ُﻳﻮﺿﻊ‬ ‫اﻟﺒﻨﻔﺴﺞ ﻋﲆ اﻟﻘﺒﻮر ﻋﺎﻣ ًﺔ ﻓﺈ ّﻧ ُﻪ ﻳﻮﺿﻊ ﻟيك ُﻳﺨﻔﻒ ﻋﻦ اﳌﺤﺒﻄني ﺣﺎﻟﺔ اﻻﺣﺒﺎط‬ ‫وﻳﻨﺘﺸﻠﻬﻢ ﻣﻦ اﻟﻴﺄس إﱃ اﻟﺤﺐ اﳌﻔﻘﻮد‪ ،‬ﻛﺈﻋﺎدة ﺗﺮﻣﻴﻢ اﻟﺬات اﳌﻨﻜﴪة‪.‬‬ ‫واﻟﺒﻨﻔﺴﺞ ﻫﻮ زﻫﺮ اﳌﺘﺄﻣﻠني واﻟﺤﺎﳌني ﺑﺎﻟﺤﻴﺎة ﻛﺎﻟﺸﻌﺮاء متﺎﻣﺎ َوﻫﻢ ﻳﻜﺘﺒﻮن‬ ‫اﻟﺠامل ﺑﺄﺻﺎﺑﻌﻬﻢ اﻟﻌﴩ‪ ،‬ﻓﺎﻷﻣﻞ اﳌﻨﺸﻮد ﰲ اﻟﻘﺼﻴﺪة ﻫﻮ اﻷﻣﻞ اﳌﻨﺸﻮد ﰲ‬ ‫اﻟﺰﻫﺮة َوﻋﻄﺮﻫﺎ اﻟﺬي ميﻸ اﻟﻘﻠﻮب واﻟﻨﻔﻮس‪ ..‬زﻫﺮة اﻟﺒﻨﻔﺴﺞ ﰲ ﻳ ِﺪ ﻣﻦ ﻳﻌﻴﺶ‬ ‫اﻟﺤﻠﻢ واﻟﺤﺐ ﻣﻌﺎً ﻛﻘﻠﻢ اﻟﺸﺎﻋﺮ اﻟﺬي ﻻ ﻳﺴﻘﻂ ﻣﻨ ُﻪ أﺑﺪا‪.‬‬ ‫‪ 48‬ﺑﻴﺖ اﻟﺸﻌﺮ ‪ /‬اﻟﻌﺪد ‪48‬‬

‫‪Õ G* ¢H $fª 7&* vf: ÕG $fª 7&¸* lF|0 Õ Gf+‬‬ ‫*&‪fM*zJ ¬ÔCC= fCC¤CCkCCMzCCJ&*K l + «CC CCG* ¢CCH ÐCCCF‬‬ ‫ ‪Õ¡.* jGftD l/|1 ¨k0 «-z0K ¢H lg‬‬‫‪fM*|¼* · « gG CCE*§CCG* ¢< G§ M « +‬‬ ‫‪Õ: f¤¤/K x H ,4§CC CC8 «CC CCE*K M zCC0*K‬‬ ‫<¡‪fMfg G* · | ¼* Ô - CCF | tI&* f¤‬‬ ‫‪Õ0fM4 ¢H r ¡+ «HÑ0&* ,4§ 8 M z0*KK‬‬ ‫‪fM*~H fJfMf 1 « w-K CCC94&¸* ¨ < | µ‬‬ ‫*(‪]¢MK ¢H^ fM*| G* 7 «qM ¸K £z¼* 7 · fH‬‬ ‫ *&‪] ¢CCMK ¢CCH^ F ¢H | G* ÉfCC/ | G «CC/‬‬ ‫‪ÕªIfq¼* § < · xª 7 j 0 £fª0&* «¡ª M‬‬ ‫‪fCCM*|CC+ fCC¤CC¡CCH kw- fCCCH CCnCCH fCCCM*|CCC+ fCCªCC³‬‬

‫ُﻳﺒﺪع ﺷﺎﻋﺮﻧﺎ ﺑﺄﺳﺌﻠﺘ ِﻪ اﻟ ّﺘﺄﻣﻠ ّﻴﺔ وأﺣﻼﻣ ِﻪ اﳌﺰﻫﺮة ﺑﺎﻟﻨﻔﺴﺞ واﻟﺮﻳﺎﺣني‪َ ،‬وﻳﻜﻤﻞ‬ ‫اﳌﻌﻨﻰ ﰲ ﻫﺬه اﻷﺑﻴﺎت ﺣني ﻳﻘﻔﺰ ﻣﻦ ﺳﺆال اﻟﻨﻔﺲ إﱃ ﺟﻮاب اﻟﺤﻠﻢ واﻟﺰﻫﺮة‬ ‫ﺣﺘﻰ ﺳﺆال اﻟﺸﻌﺮ واﻟﺤﻜﻤﺔ ‪ُ ،‬ﻳﺼ ّﻮر ﰲ ﻗﺼﻴﺪﺗ ِﻪ ﻫﺬه اﻟﺜﻼﺛ ّﻴﺔ اﻟﺠﻤﻴﻠﺔ ﺣﻴﺚ‬ ‫ﻳﱰﻛﻨﺎ ﻧﻜﺘﺸﻒ‪» :‬ﺑﺄن إﺣﺴﺎس اﻟﺸﺎﻋﺮ ﺑﺎﻷﺷﻴﺎء ﻟﻴﺲ ﻛﺈﺣﺴﺎﺳﻨﺎ اﻟﻌﺎدي«‪،‬‬ ‫َوزﻫﺮة اﻟﺒﻨﻔﺴﺞ ﺗﻠﻚ اﻟﺠﻤﻴﻠﺔ اﻟﺒﺪﻳﻌﺔ ﻣﺘﻌﺪدة اﳌﻌﺎين ﻳﺮى ﻓﻴﻬﺎ اﻟﺸﺎﻋﺮ ُﻫﻨﺎ‬ ‫ﻛام ﻳﺒﺪو ﺻﻮرة راﺋﻌﺔ ﻷﺣﻼﻣ ِﻪ اﳌﺰﻧﺮة ﺑﺎﻟﺰﻫﺮ واﳌﻄﺮ واﻷرض‪.‬‬ ‫ﻌﺎع اﻟﺸﻤﺲ‪َ ،‬ﻳ ﱡ‬ ‫ﻄﻞ ﻋﻠﻴﻨﺎ‬ ‫اﳌﺸﻊ َﻛﺸُ ِ‬ ‫واﺳﺘﻜامﻻً ﳌﻌﻨﻰ اﻟﺒﻨﻔﺴﺞ َوﻟﻮﻧ ُﻪ اﻟﺮوﺣﻲ ﱢ‬ ‫اﻟﺸﺎﻋﺮ اﻟﺴﻌﻮدي ﻧﺎﻳﻒ ﺻﻘﺮ مبﻘﻄﻊ ﻣﻦ ﻗﺼﻴﺪﺗ ِﻪ ﺑﻌﻨﻮان »اﻷﻟﻮان« ﻳﻘﻮل‬ ‫ﻓﻴﻬﺎ‪:‬‬ ‫*¼‪ ¤g‬‬ ‫‪ CC CCHfCC CCG*K CCtCC CCG*K ¿fª G 2§CCC CCC6&¸*K‬‬ ‫‪T‬‬ ‫‪¦Ô:f 6&*K ¦4fCC CC CC6&*K |tgG*K f G 45¸*K‬‬ ‫&‪ J2‬‬ ‫‪T ¸* ¦4f/K 2fªt GK 2fH| G zH4&¸*K‬‬ ‫‪¦ÔDf0&* r<K £f t GK 9§ G £f1zG‬‬ ‫‪T‬‬ ‫‪¶ f -|+ | 8&¸*K |Df¡G* | 0&¸* Õ+K‬‬ ‫(‪¦Ô - | 0‬‬ ‫‪T * ¸ | ¹* ¸*K GfD ¥Gf F‬‬ ‫‪ ªG*K f G - 4~G*K | º* s~H ¢HK‬‬ ‫‪T‬‬ ‫‪¦Ô 6f -K |CCJ~CCG* jCCCCM%*K r ¡gG* CCM2fCC¡CCE‬‬ ‫&<‪ CCkCC‬‬ ‫‪*K 2|CCC‬‬ ‫‪T‬‬ ‫‪T C+ ¸*K ¥CCC-&*|CCC/ ¢CCH £§CC CCG* *3(*K‬‬ ‫< ¨ *‪¦|M4f 6&* mf ª 9 s|D fH £(* Ñ G* « G‬‬ ‫‪T‬‬ ‫‪ M fCCH £*§CCCCG&¸* uCC CC9K&fC+ ¬4*zCCCM «CC CCG* «CC¡T CJ‬‬ ‫‪¦Ô 7fg G ªgG* ¥Gfg/ z¤M ¢H ¦z tM‬‬

‫ُﻫﻨﺎ َﺻ ّﻮر ﺷﺎﻋﺮﻧﺎ َو ّ‬ ‫ﺗﺠﲆ ﰲ وﺻﻔ ِﻪ ﻟﻸﻟﻮان َوﻗﻨﺎدﻳﻞ اﻟﺒﻨﻔﺴﺞ‪َ ،‬وﻫﻲ ﺗﴤ ُء آﻳﺔ‬ ‫اﻟﺰﻫﺮ وﺗﻔﺎﺳريه ﻛام ﻗﺎل ﻟﻨﺎ‪ ،‬ﻛام ﺟﺎءت ﻋﺒﺎرﺗﻪ اﻟﺸﻌﺮﻳﺔ ﺣﻮل اﻟﺒﻨﻔﺴﺞ اﳌﺘﻔ ّﺘﺢ‬ ‫ﻛﺎﻟﻘﻨﺎدﻳﻞ ﻣﻦ ﻧﻮ ِر ﻋﲆ ﻧﻮ ِر ﺑﺤﺴﺐ وﺻﻔﻪِ‪ .‬أﺣﺴﻦ ﺷﺎﻋﺮﻧﺎ وﺻﻒ اﻟﺒﻨﻔﺴﺞ‬ ‫ُﻫﻨﺎ َوأﺣﺴﻦ ﺗﺮﻛﻴﺒﺘﻪ اﻟﺸﻌﺮﻳﺔ ﺑـ » ﻗﻨﺎدﻳﻞ اﻟﺒﻨﻔﺴﺞ « ﻷﻧّﻬﺎ أﺟﻤﻞ ﺗﻌﺒري ﻟﻠﺰﻫﺮة‬ ‫ﺣني متﴘ ﺷﻤﻌﺔ أو ﻗﻨﺪﻳﻼ ُﻳﴤء َﻋﺘﻤ ِﺔ اﳌﻜﺎن ﻋﻨﺪﻣﺎ ُﻳ ﱡ‬ ‫ﺤﻞ اﻟﻈﻼم‪.‬‬ ‫ﺤﺐ اﻟﺒﻨﻔﺴﺞ‬ ‫َﻳﺄﺗﻴﻨﺎ اﻟﺸﺎﻋﺮ اﻟﺴﻌﻮدي ﻫﺎدي آل زﻟﻴﻖ ﺑﻘﺼﻴﺪ ٍة ﻣﻔﻌﻤ ٍﺔ ِﺑ ّ‬ ‫وﺷﻮق اﻟﺒﻨﻔﺴﺞ ﻟﻠﻤﺸﺎﻋﺮ‪ُ ،‬ﻣﺸ ّﺒﻬﺎً اﻟﺰﻫﺮة ﺑﺎﻟﺒﻨﺖ ﻛام ﺟﺎء اﻟﻌﻨﻮان اﻟﺪال ﻋﲆ‬ ‫ﻓﻜﺮة اﻟﻘﺼﻴﺪة » ﺑﻨﺖ اﻟﺒﻨﻔﺴﺞ«‪ُ ،‬‬ ‫ﻳﻘﻮل ﻓﻴﻬﺎ ‪:‬‬ ‫‪uª -K §CC CC CCG* ~CC¡CC- |CC<fCC CC CCH lCC CC9fCCJ‬‬ ‫<‪ ¥CC¡CCªCC CCMK ¦fCCC CCC CCCE · lCCC+fCCC. v|CCCCC/ ¢CCCC‬‬ ‫أﻏﺴﻄﺲ‪-‬ﺳﺒﺘﻤﺒﺮ ‪47 2016‬‬

‫راﺋﺤﺔ اﻟﺸﻌﺮ‬ ‫‪baytelshear‬‬

‫اﻟﺒﻨﻔﺴﺞ‬

‫ﻓﻲ اﻟﻘﺼﻴﺪة اﻟﺸﻌﺒﻴﺔ‬

‫ﻗﻨﺎدﻳﻞ ﺷﻌﺮﻳﺔ ﻣﺘﻮﻫﺠﺔ‬

‫ﺑﺎﺳﻞ ﻋﺒﺪاﻟﻌﺎل‬

‫زَﻫﺮة اﻟﺒﻨﻔﺴﺞ ﺣﺴﻨﺎ ِء اﻟﺰﻫﻮر‪َ ،‬وﺳﺎﺣﺮة اﻟﻄﺒﻴﻌﺔ‪َ ،‬وﺟﺎذﺑﺔ اﻟﻘﺼﻴﺪة ﺑﻠﻮﻧِﻬﺎ‬ ‫اﳌﺘﻮﻫ ِﺞ‪َ ،‬وﻋﻄ ِﺮﻫﺎ اﻟﻔ ّﻮاح ﰲ أرﺟﺎ ِء ﺑﻼدﻧﺎ اﻟﻌﺮﺑﻴﺔ اﻟﺘﻲ َﻳﺰﻫﺮ ﻓﻴﻬﺎ اﻟﺒﻨﻔﺴﺞ‬ ‫ّ‬ ‫َ‬ ‫ّ‬ ‫ﻗﻠﻮب ﺷﻌﺮاﺋﻬﺎ‪.‬‬ ‫ﺮ‬ ‫ﺛ‬ ‫ﺪ‬ ‫ﻳ‬ ‫ام‬ ‫ﻛ‬ ‫ﺪﺛﺮﻫﺎ‬ ‫َو ُﻳ‬ ‫ﺑﺎﻟﺠاملِ‬ ‫َ‬ ‫ِ‬ ‫ُ‬ ‫ﺷﻜﻞ ور ٌ‬ ‫ﻟَﻮنٌ َو ٌ‬ ‫اﺋﺤﺔ ﺗ ُ‬ ‫روح اﻟﻠﻐﺔ اﻟﻨﺎﺑﻀﺔ ﺑﺎﻟﺤﻴﺎة‬ ‫َﻌﺸﺶ ﰲ اﻟﻘﺼﺎﺋﺪ َﻛﺄﻧّﻬﺎ ُ‬ ‫اﻟﺸﻌﺮي ‪.‬‬ ‫واﻟ ّﺘﺠﺪد‬ ‫ﱢ‬ ‫أَﺑﺪع ﺷﻌﺮاؤﻧﺎ ﰲ اﻹﻣﺎرات واﻟﺨﻠﻴﺞ اﻟﻌﺮيب ﺑﺎﺳﺘﺨﺪام زﻫﺮة اﻟﺒﻨﻔﺴﺞ ﰲ‬ ‫ﻗﺼﺎﺋﺪِﻫﻢ اﻟﺘﻲ َﺣ ّﻠﻘﺖ ﰲ ﻓﻀﺎ ِء اﻟﻄﺒﻴﻌﺔ ورﻣﺰ ّﻳﺔ اﻟﺰﻫﺮة ِﺑﻠﻮﻧِﻬﺎ َوﻋﻄﺮﻫﺎ‬ ‫َوﻣﻌﻨﺎﻫﺎ‪ ،‬ﻋِﻨﺪ اﻟﺸﺎﻋﺮ اﻹﻣﺎرايت ﻋﲇ ﺑﻦ ﺳﺎمل اﻟﻜﻌﺒﻲ ﻗﺼﻴﺪة‪» :‬ﻋﻄﺮ‬ ‫اﻟﻔﻮاﻛﻪ« ذﻛﺮ ﻓﻴﻬﺎ اﻟﺒﻨﻔﺴﺞ ﻟﻠﺘﻌﺒري ﻋﻦ ﻋِﻄﺮ ِه اﻟﻔ ّﻮاح َوﺟامﻟ ّﻴﺘ ِﻪ اﻟﻔﺮﻳﺪة‬ ‫ﺑني اﻟﺰﻫﻮر ‪ ،‬ﻳﻘﻮل ‪:‬‬ ‫‪ §CC CC0 fCC¤CCG ¥CCCF*§CCC CCCG* ¢CCCH §CCCCI CCCF ¢CCCH‬‬ ‫‪fCC¤CCG~CC= ¥CCtCC CCI CCCCF ¢CCCCH lCC CC CC CCwCCkCC CC6*K‬‬ ‫<‪ §CC CC CCCCF lCCCCCCC1K2 ¥CCCCF*§CCCC CCCCG* |CCC CCC‬‬ ‫‪fCC¤CC CC CCkCC0K *§CCCCC¤CCCCCG* CCCC CCCC7 ¢CCCCCH CCCC0fCCCCM‬‬ ‫‪ §CC CC CCH 2§CCCC CCCCG*K £fCCCCgCCCCG* fCCC CCC CCC6* fCC¤CCªCCD‬‬ ‫‪fCC¤CC CCnCCH fCCCJfCCC CCC<K ÕCCCkCCCG* L§CCCkCCC CCC6* fCC¤CCªCCD‬‬ ‫‪ §CCC: fCCCJ|CCC CCCnCCC+ fCCC¤CCCI§CCCG ¢CCCCCH ¥CCCCCGK*|CCCCCD‬‬ ‫‪fCC¤CC CC CC8K ¢CCC CCC CCC= *4zCCCCCCCCCCG* ¨CCC CCC< m24‬‬ ‫‪ §CCD ¢CCCH *4K¸fCCCCCC+ CC CC; hCC¡CC CCG* ¢CC CC CC=K‬‬ ‫‪ fCC¤CCG~CC< rCC CC CC CC¡CCgCCG* |CCCCC< fCCJ|CC CC CC1 ¢CCCCH‬‬ ‫<‪ §CC CC CCG* ¢CCCHfCCCF m~CCC CCC0 ¥CCCF*§CCC CCCG* |CC CC‬‬ ‫‪ fCC¤CC CC CCF |CCCC CCCC0¸* £§CCC CCCGfCCC+ 2|CCCC CCCCG* ÕCCCCG‬‬

‫ﻣﻌﻨﻰ اﻟﺮاﺋﺤﺔ واﻟﻔﺎﻛﻬﺔ ﻃﻐﻰ ﻋﲆ ﻫﺬه اﻷﺑﻴﺎت اﻟﺘﻲ أﺿﺎءت ﺑﺪﻻﻟﺘِﻬﺎ ﻋﲆ‬ ‫اﻟﻌﻄﺮ ﺑﻜﻞ أﻧﻮاﻋﻪِ‪ ،‬وﻣِﻦ اﻟﻌﻮد إﱃ اﻟﺒﻨﻔﺴﺞ ﻧَﺴﺞ ﺷﺎﻋﺮﻧﺎ أﺑﻴﺎﺗ ِﻪ اﻟﺸﻌﺮ ّﻳﺔ‬ ‫اﻟﻔ ّﻮاﺣﺔ مبﻌﻨﺎﻫﺎ ‪َ ،‬وﻫﺬا َﻳ ﱡ‬ ‫ﴪ‬ ‫ﺪل ﻋﲆ أنّ ﺷﺎﻋﺮﻧﺎ َﻋﺎﺷﻖ ﻟﻠﻄﺒﻴﻌﺔ َوﻋﺎمل ﺑ ﱢ‬ ‫ﺟامﻟﻬﺎ َوﻓﻮاﺋِﺪﻫﺎ اﻟﻌﻈﻴﻤﺔ ﻟﻺﻧﺴﺎن ‪ .‬ﰲ ﻫﺬا اﻟﺒﻴﺖ ﻛام ﻗﺎل‪» :‬وﻏﺼﻦ‬ ‫رﺳﻢ‬ ‫اﻟﻌﻨﺐ ﻇﻠﻞ ﺑﺎﻻوراق ﻣﻦ ﻓﻮق‪ /‬ﻣﻦ ﺧﴫﻫﺎ ﻋﺮق اﻟﺒﻨﻔﺴﺞ ﻋﺰﻟﻬﺎ« َ‬ ‫ﺧﴫ ﻛﺄﻧّﻬﺎ‬ ‫ﻟﻮﺣ ًﺔ ﺷﻌﺮ ّﻳﺔ ﻓﻨ ّﻴﺔ راﻗﻴﺔ ﻟﻬﺬه اﻟﺰﻫﺮة اﻟﺘﻲ ﺗَﺨ ّﻴﻠﻬﺎ ﺷﺎﻋﺮﻧﺎ‪»:‬ﻟﻬﺎ ٌ‬ ‫اﻣﺮأة ﺟﻤﻴﻠﺔ ﺗﻘﻒ أﻣﺎﻣ ُﻪ واﻟﻌﻨﺐ ّ‬ ‫ﻳﺘﺪﱃ ﻓﻮﻗﻬﺎ«‪َ .‬ﻣﺎ أﺟﻤﻠﻬﺎ ﻣﻦ ﺻﻮر ٍة‬ ‫ﺑﺪﻳﻌ ٍﺔ ﻟﻠﺒﻨﻔﺴﺞ اﻟﺬي أﻣﴗ ﻛﺎﻟﺤﺴﻨﺎ ِء أﻣﺎم ُﻋﻴﻮنِ اﻟﺸﺎﻋﺮ‪.‬‬ ‫أ ّﻣﺎ ﻋﻨﺪ اﻟﺸﺎﻋﺮ اﻟﺴﻌﻮدي ﻋﻴﻀﺔ اﻟﺴﻔﻴﺎين ﻗﺼﻴﺪة ﺑﻌﻨﻮان »روﺗني واﺣﺪ«‬ ‫ﺗﻠﻤﻊ ﻫﺬه اﻷﺑﻴﺎت َوﺗﺤ ّﻠﻖ ﺑﻌﻴﺪاً ﺑﺎﻹﺿﺎءة ﻋﲆ زﻫﺮة اﻟﺒﻨﻔﺴﺞ اﻟﺘﻲ ﺗﺮﻣﺰ‬ ‫ُﻫﻨﺎ إﱃ ﻣﻌﺎنٍ ﻋﺪﻳﺪ ٍة ﺣﻴﺚ ﺗﺄيت ﻛﺄﻧّﻬﺎ أﺟﻤﻞ اﻷﺣﻼم ﻣﻤﺰوﺟﺔ ﺑﺎﻟﺮﻳﺎﺣني‬ ‫ﺑﻨﻔﺴﺠﻲ اﻟﺮؤى‪ ،‬ﻳﻘﻮل ﰲ ﻣﻄﻠﻊ ﻗﺼﻴﺪﺗ ِﻪ ‪:‬‬ ‫ﺣﻠﻢ ُﻣﺰﻫِ ٌﺮ‬ ‫ﻛﺄﻧّﻬﺎ ٌ‬ ‫ﱢ‬ ‫‪ 46‬ﺑﻴﺖ اﻟﺸﻌﺮ ‪ /‬اﻟﻌﺪد ‪48‬‬

‫ﻟﻴﺘﻚ وﺣﻴﺪ‬ ‫ﻣﺤﻤﺪ ﻋﺒﺪا ﻧﻮراﻟﺪﻳﻦ‬ @khaligalb

b@@ @ @ @JH ¡@@ @ @ @ @ @ @ @ JR v@@ @ @ @0 b@@ @ @ @E H v@@ @ @£@ @ @ 0H @@ @g@ @ £@ @ D 4¡@@ @~@ @ }@ @ 0 @ R @ @ @ @ @ @ «*H @@ @ @ @ @²* @@ @j@ @ E @@ @ @ @£@ @ @ @ /%*H *Qv@ @ @ @ @ @ g@ @ @ J ¤@@ @ @ @ Q @ @ @ @ C @@ @ @ @ @ @JH @@ @ @ @ Q @ @ @ @ C @@ @ @ @ @ ~@ @ @ @ @ @9%*H 4¡@@ @ j@ E Q @ @ @ @C b@@ @ @ @ @D* b@@ @~@ @ }@ @ 0* @@ @ E @@ @ @ @ @B*H b@@ @ @ AH @@ @ m@ @ @ J4 ¢@@ @ @ @ < x@@ @ @ @ ~@ @ z@ @ D* b@@ @ @ @ F* x@@ @ @ @ @ <* 4¡@@ @ ~@ }@ E d@@ @ @ @ @D* @@ @ @ @1*2 ¤@@ @ @ @ D* b@@ @ @ F* x@@ @ @ @ @<*H b@@ @ @EH @@ @ @£@ @: ¢@@ @ @ @ < ,24¡@@ @ @ @ @ @ D* b@@ @ @ @F* x@@ @ @ @ @ @<*H 4¡@@ @c@ @ <H ib@@ @Ab@@ @~@ @ z@ @ E f@@ @ @ @ @ @ @ @ D* b@@ @ @ @ F* x@@ @ @ @ @ @ <*H b@@ @ @£@ @ @ F2 @@ @ £@ @ @Db@@ @ @ @ @E x@@ @ @ @ @ @ @J ¥w@@ @ @ @ @ @ @ D* @@ @ @ @ @ JH 4¡@@ @ j@ @ @< @ R @ @-É@@ @£@ @ p@ @ g@ @ ~@ @ z@ @ E @@ @ @ @E · @Q @ @ @ @ @ @ @ @ JH b@@ @ @ Jx@@ @ @ :H @@ @ @ @ @ @ @ @ 0H4H @@ @ @ @ @ @ @E2 ¤@ Q @ @ @ @ @ @ @ @ 1*2 ¯ 4¡@@ @ @ @ @E @@ @ @ @ E b@@ @ @ @ @ F*H @@ @ @ £@ @ < ¥x@@ @ @;b@@ @ @F ¯H b@@ @ ~@ @ |@ @ F*H ¥b@@ @ @ @ @ @ @ @J*H5 ¯ @@ @ @A¡@@ @ @~@ @ @ 7&* · @@ @ @ C 4¡@@ @ F @@ @ @ @ @ @ @ @ @ @ @ -*H @@ @ @ @ @ @ @²* @@ @ j@ @ @ E Ì@@ @ ~@ @ @ |@ @ @ -H b@@ @ @ E @@ @ ~@ @ @8H ¯ ¡@@ @ ~@ @ {@ @ D* Ì@@ @ @= h@@ @ @ @ F b@@ @ @E 4¡@@ @ @ @ @~@ @ @7H ib@@ @ @ @ @£@ @ @ @ @ +&* Ì@@ @ @ @= ¤@@ @ @ @ @ E b@@ @ @ @ @ F °H b@@ @~@ @ z@ @ @ @ + Q @ @ @ @ @ @ C ¤@@ @ c@ @ @0b@@ @ ~@ @ @8 @@ @ @ Q @ @ @ @E h@@ @ c@ @ @ @ @ @4¡@@ @ Cw@@ @ E h@@ @ p@ @ @c@ @ @~@ @ @8&* b@@ @ @ ~@ @ @ z@ @ @ F&* *3* h@@ @ @ @ @ @F*H *¡@@ @ @ @ @ @/4 @@ @ @£@ @ @ Db@@ @ @ @ @ @ ´* @@ @ @ @ C ¢@@ @ ~@ @ @z@ @ @< @@ @ @ @ @ @ @ /4* 4Hv@@ @ @Db@@ @ @ + eHw@@ @ @ @ @ @ @ -H @@ @ @ @ ~@ @ {@ @ D* @@ @ j@ @ @E d@@ @~@ @ {@ @ *¡@@ @ @ @ @ @ @E ib@@ @ @ @ @ @ @ @ @² @@ @ @ @ @ C ¥4Q 3&* b@@ @ @ @ @ @ @ @ @F*H 4¡@ 4 @ @ @ @ @G2H b@@ @ @ @ @ @ J* @@ @ {@ @ @0¡@@ @ g@ @ @~@ @ @6*H `@@ @ @ @ @ @ @ @ - ° b@@ £@ @ @ @D Ì@@ @ @ = I¡@@ @ @ @ @ @ @D* ¯ ¤@@ @ @Bb@@ @ @+ 2b@@ @ @ @ < b@@ @ @ E 4Hv@@ @ @ @ @E x@@ @ @ @ @ @ @ @D* Æ@@ @ @ @ @A2 ¯ ¥w@@ @ @ @ @ @ D* Ì@@ @ @ @ @=H 2016 0 6 ‫ﺳﺒﺘﻤﺒﺮ‬-‫أﻏﺴﻄﺲ‬ ‫ﺳﺒﺘﻤﺒﺮ‬ ‫ﺳﺒﺘ‬ ‫ﺴﻄﺲ ﺒ‬ 445 20

‫ﻣﺎﺳﺎت‬ baytelshear

‫ﺑﻌﺾ اﻟﻨﺎس‬ ‫ﻣﺤﻤﺪ ﺑﻦ ﻗﺬﻟﻪ‬ @ Mbngthlah

@@ @<b@@ @ @ @ g@ @ F* @@ @ £@ @ @Ab@@ @ E @@ @ @6b@@ @ @ @ @ @ D* @@ @}@ @ @ @ + h@@ @ @ @ ~@ @ 7 È@@ @ @ @ @ @ @ @ -H rb@@ @ @ @ @ @ @ : @@ @ @ @ @ D h@@ @ @ c@ @ @ @ Q @ @ @ @~@ @ @ @8 b@@ @ @ @ @ E @@ @ @ @ @ C @@ @ <b@@ @ m@ @ ~@ @ 7 v@@ @ @ @ @ @ @ @ <b@@ @ @ @ E ¡@@ @ @ @ @ @ @ E ·b@@ @ @ @ @ @ @ @ @ @ @ @ D È@@ @ @ s@ @ @ @- @@ @ @ @ @ @ @ @ £@ @ @ @ J*x@@ @ @ @~@ @ @ @ 7 ¯ @@ @ @ @ @ @ @ @ @ @ @ EQ 2 @@ @ @ @ @ @ C @@ @ <b@@ @ :H @M @ @ @ @ @~@ @ @6 · b@@ @ @ @ @ B @@ @g@ @ p@ @ ~@ @ |@ @ F *H x@@ @ @.Q &b@ @ @ - b@@ @ @ E ¤@@ @ @ @ £@ @ A v@@ @ ~@ @ @ |@ @ @ D* q@@ @£@ @ p@ @ ~@ @ |@ @ Db@@ @+H @@ @ <b@@ @ @ @ @B Á42b@@ @ @ @ @ @ @c@ @ @ @ @ @ @ J ¤@@ @ @ @~@ @ @ @ 6b@@ @ @ @J @M @ @ @ @ @ @Jb@@ @ @ @ @ @1 È@@ @ @ @ - ¤@@ @ @~@ @ @ 9b@@ @ @ @ @ @ D* ¢@@ @ @ @ @ @ < ¥2¡@@ @ @ @ @ @ @ @ ¸ @@ @ @ @ @ CH @@ @<b@@ @£@ @ ; ¤@@ @ @ @ @ @ @ @ Q @ @ @0 @@ @ @ 6b@@ @ @ £@ @ @ @D* h@@ @ @ @ @c@ @ @B *H È@@ @ @c@ @- ¤@@ @ @<¡@@ @ @~@ @ @ 9¡@@ @ @E @@ @ @ @ @ @²* h@@ @ £@ @ @ @ @ @+ *H @@ @ @ <b@@ @ @ ~@ @ @ @ 7(°* b@@ @ @ @ @ Q @ @ @ @ @ F H2 @@ @ @ @ @E ¤@@ @ @ @ @ @ g@ @ @ 0* È@@ @ @ @ @ @ @´* d@@ @ @ @ £@ @ @ @ @Db@@ @ @ @ ~@ @ @ @ @6&°* h@@ @ c@ @ @ @ @ @ @ @ @ E @@ @ @ @ @ @ @ <H @@ @ @ <b@@ @ @ £@ @ @ @g@ @ @ @D*H ¤@@ @ @ c@ @ @ @ @ @ @ @B i*x@@ @ @ @ @ @ @ @ @ @ 0 *H %* È@@ @ @ @ C 2Hy@@ @ @ @ @ @ @ Db@@ @ @ @ @ @ @ + Á2*5 ¤@@ @ @ @ @ g@ @ @ @ @ @BH @@ @ @ @ @ @ C @@ @<b@@ @ @ @ E ¤@@ @ @ @ @ @ £@ @ @ J*x@@ @ @~@ @ @ 7 @@ @ @ @ E @@ @g@ @ £@ @ @ @ ~@ @ 6 @@ @ @ @ C È@@ @ @ @ J ¤@@ @ @ @ @ @ @D* Ì@@ @ j@ @ @ @ @ @ D* @@ @g@ @ p@ @ ~@ @ |@ @ F @@ @ @ @ @ CH @@ @<b@@ @ @ @ g@ @ ~@ @ 6b@@ @+ ¥v@@ @ @ @ @ @ @ @ < @@ @ £@ @ @j@ @ @ @ @ @g@ @ @D* @@ @ @ @ @g@ @ @J x@@ @ @ @.Q v@@ @ @ @- ¤@@ @ @ @ @ @E*v@@ @ @ @ @ @B @@ @ @ @ @ @B @@ @ @ @ @ @-x@@ @ @ @ @ @B5 *H @@ @ <b@@ @ @ @ g@ @ ~@ @ 6* @@ @ @£@ @ @ Db@@ @ @s@ @ @ ´* ¯ ·b@@ @ @ @ @ @ E Ì@@ @ @ @ @= x@@ @ @ @ .Q &b@ @ @ @ J @@ @ @ @ @ @ @ @ @ 1 ¢@@ @ @ @ @ @ @< @@ @ @ @ @Db@@ @ @ @ @³* v@@ @ @ @ @ @ @ @ 0H

48 ‫ اﻟﻌﺪد‬/ ‫ ﺑﻴﺖ اﻟﺸﻌﺮ‬44

‫وﻳﺴﱰﺟﻌﻮن ﻣﺎ ﺷﺎﻫﺪوه ﺧﻼل ﻧﺼﻒ‬ ‫رﺣﻠﺘﻬﻢ اﻷول‪ ،‬وﻫﺬا ﻣﺎ ﻓﻌﻠﻨﺎه‪ ،‬إذ ﴍح ﻟﻨﺎ‬ ‫اﻟﻘﺎمئﻮن ﻗﺼﺔ ﻫﺬا اﳌﻜﺎن اﻟﺮاﺋﻊ اﻟﺬي ﻧﺸﺄ‬ ‫ﻧﺘﻴﺠﺔ ﺧﻄﺄ ﻏري ﻣﻘﺼﻮد‪.‬‬ ‫اﻟﻨﺸﺄة‬ ‫ﻛﺜرياً ﻣﺎ ﺗﺆدي اﻷﺧﻄﺎء اﻟﺒﴩﻳﺔ إﱃ ﻛﻮارث‬ ‫وﻣﺼﺎﺋﺐ ﺟﻤﺔ‪ ،‬ﻳﺬﻫﺐ ﺿﺤﻴﺘﻬﺎ اﻵﻻف‬ ‫وﺗﺘﺪﻣﺮ ﻧﺘﻴﺠﺘﻬﺎ اﻟﺒﻨﻴﺔ اﻟﺘﺤﺘﻴﺔ‪ ،‬ﻟﻜﻨﻨﺎ اﻟﻴﻮم‬ ‫أﻣﺎم ﺧﻄﺄ ﻣﻦ ﻧﻮع ﻣﺨﺘﻠﻒ‪ ،‬ﺧﻄﺄ أدى ﻟﺒﺚ‬ ‫اﻟﺤﻴﺎة ﰲ ﻗﻠﺐ اﻟﺮﻣﺎل‪ ،‬ﻟﺘﻐﺪو اﻟﺼﺤﺮاء‬ ‫ﺟﻨﺔ ﻏﻨﺎء‪ ،‬وﺗﻈﻬﺮ ﻟﻠﻮﺟﻮد واﺣﺪة ﻣﻦ أﻫﻢ‬ ‫ﻣﺤﻤﻴﺎت اﳌﻨﺎﻃﻖ اﻟﺮﻃﺒﺔ ﰲ اﻟﻌﺎمل‪.‬‬ ‫ﻓﻘﺪ أدى ﺗﴪب اﳌﻴﺎه ﻣﻦ إﺣﺪى ﻣﺤﻄﺎت‬ ‫ﺗﺤﻠﻴﺔ اﳌﻴﺎه ﰲ ﻣﻨﻄﻘﺔ اﻟﻮﺛﺒﺔ إﱃ ﺗﻜﻮﻳﻦ‬ ‫ﺑﺮك ﺻﻐرية‪ ،‬اﺳﺘﻘﻄﺒﺖ اﻟﻄﻴﻮر اﳌﻬﺎﺟﺮة‬ ‫واﳌﺴﺘﻮﻃﻨﺔ‪ ،‬ﻣﻊ ﻣﺮور اﻷﻳﺎم منﺖ اﻟﻨﺒﺎﺗﺎت‬ ‫ﰲ اﳌﻨﻄﻘﺔ وﺗﻜﺎﺛﺮت ﻓﻴﻬﺎ اﻟﻜﺎﺋﻨﺎت مبﺨﺘﻠﻒ‬ ‫أﺷﻜﺎﻟﻬﺎ‪ ،‬وﰲ اﻟﻌﺎم ‪ 1998‬ﺗﻢ اﻹﻋﻼن ﻋﻦ‬ ‫اﻋﺘﺒﺎر ﻣﺤﻤﻴﺔ اﻟﻮﺛﺒﺔ ﻟﻸراﴈ اﻟﺮﻃﺒﺔ ﻣﺤﻤﻴﺔ‬ ‫ﻃﺒﻴﻌﻴﺔ‪ ،‬وذﻟﻚ ﺗﻨﻔﻴﺬاً ﻟﺮؤﻳﺔ ﻣﺆﺳﺲ اﻟﺪوﻟﺔ‬ ‫اﳌﻐﻔﻮر ﻟﻪ ﺑﺈذن اﻟﻠﻪ اﻟﺸﻴﺦ زاﻳﺪ ﺑﻦ ﺳﻠﻄﺎن‬ ‫آل ﻧﻬﻴﺎن )رﺣﻤﻪ اﻟﻠﻪ(‪ ،‬ﻟﻜﻮﻧﻬﺎ ﻣﻮﺋ ًﻼ ﻣﻨﺎﺳﺒﺎً‬ ‫ﻟﻠﻄﻴﻮر اﳌﻬﺎﺟﺮة‪ ،‬وﻣﻨﻄﻘﺔ ﻟﺘﻜﺎﺛﺮ اﻟﻔﻼﻣﻨﻐﻮ‬ ‫اﻟﻜﺒري‪ ،‬وﻣﻨﺬ ﻋﺎم ‪ 2011‬ﺗﺘﻜﺎﺛﺮ ﻃﻴﻮر اﻟﻔﻨﺘري‬ ‫”اﻟﻔﻼﻣﻨﻐﻮ“ ﺑﺎﻧﺘﻈﺎم ﰲ ﻣﺤﻤﻴﺔ اﻟﻮﺛﺒﺔ‪،‬‬ ‫ﻟﺘﺼﺒﺢ ﺑﺬﻟﻚ اﳌﻮﻗﻊ اﻟﻮﺣﻴﺪ ﰲ دوﻟﺔ اﻹﻣﺎرات‬ ‫اﻟﻌﺮﺑﻴﺔ اﳌﺘﺤﺪة‪ ،‬وﰲ ﻣﻨﻄﻘﺔ اﻟﺨﻠﻴﺞ اﻟﻌﺮيب‬ ‫اﻟﺘﻲ ﺗﺘﻜﺎﺛﺮ ﻓﻴﻬﺎ ﻃﻴﻮر اﻟﻔﻨﺘري ﺑﺎﻧﺘﻈﺎم‪ ،‬وﰲ‬ ‫اﻟﻌﺎم ‪ ،2013‬ﺗﻢ اﻻﻋﱰاف مبﺤﻤﻴﺔ اﻟﻮﺛﺒﺔ‬ ‫ﻟﻸراﴈ اﻟﺮﻃﺒﺔ ﻛﺄﺣﺪ ﻣﻮاﻗﻊ راﻣﺴﺎر‪ ،‬ﻟﺘﺼﺒﺢ‬ ‫ﺿﻤﻦ ﻗﺎمئﺔ ﺗﻀﻢ ‪ 2000‬ﻣﻮﻗﻊ ﻟﻸراﴈ‬ ‫اﻟﺮﻃﺒﺔ اﳌﻌﱰف ﺑﻬﺎ ﻋﺎﳌﻴﺎً‪ ،‬وﻛﺄول ﻣﻮﻗﻊ ﰲ‬ ‫إﻣﺎرة أﺑﻮﻇﺒﻲ ﻳﻨﻀﻢ إﱃ ﻣﻮاﻗﻊ راﻣﺴﺎر‪.‬‬ ‫وﺗﻌﺘﱪ اﳌﺤﻤﻴﺔ ﻣﻼذاً ﻷﻛرث ﻣﻦ ‪ 200‬ﻧﻮع‬ ‫ﻣﻦ اﻟﻄﻴﻮر اﳌﻬﺎﺟﺮة‪ ،‬وﻣﻮﻃﻨﺎً ﻟﻠﻌﺪﻳﺪ ﻣﻦ‬ ‫اﻷﻧﻮاع ﺣﻴﺚ ﺗﻢ رﺻﺪ ‪ 11‬ﻧﻮﻋﺎ ﻣﻦ اﻟﺜﺪﻳﻴﺎت‬ ‫اﻟﺼﻐرية‪ ،‬و‪ 10‬أﻧﻮاع ﻣﻦ اﻟﺰواﺣﻒ وأﻛرث ﻣﻦ‬ ‫‪ 35‬ﻧﻮﻋﺎ ﻣﻦ اﻟﻨﺒﺎﺗﺎت‪ ،‬وﻟﻬﺬا ﻓﺈن ﻣﺤﻤﻴﺔ‬ ‫اﻟﻮﺛﺒﺔ ﻟﻸراﴈ اﻟﺮﻃﺒﺔ ﺗﻌﺪ ﻣﻨﻄﻘﺔ ﻣﻬﻤﺔ‬ ‫ﻟﻠﺤﻔﺎظ ﻋﲆ اﻟﺘﻨﻮع اﻟﺒﻴﻮﻟﻮﺟﻲ ﰲ إﻣﺎرة‬ ‫أﺑﻮﻇﺒﻲ‪.‬‬

‫ﺗﺨﺘﻠﻒ زﻳﺎرة اﻟﻤﺤﻤﻴﺎت‬ ‫اﻟﻄﺒﻴﻌﻴﺔ ﻋﻦ ﻏﻴﺮﻫﺎ ﻣﻦ‬ ‫اﻟﺰﻳﺎرات‪ ،‬ﻓﻬﻲ ﻟﻴﺴﺖ ﻣﺘﻨﺰﻫﺎً‬ ‫ﻋﺎﺋﻠﻴﺎً‪ ،‬أو ﺣﺪﻳﻘﺔ ﺣﻴﻮاﻧﺎت‬ ‫ﻃﺒﻴﻌﻴﺔ‪ ،‬ﺑﻞ ﻫﻲ ﻣﻨﻄﻘﺔ‬ ‫ﻋﺬراء‬ ‫ﺑﻴﻦ ﻏﺎﺑﺎت اﻟﻘﺼﺐ‬ ‫ﻏﺎدرﻧﺎ اﳌﻨﺼﺔ ﺑﻌﺪ اﺳﱰاﺣﺔ ﻗﺼرية ﰲ اﻟﻄﺮﻳﻖ‬ ‫اﳌﺆدي إﱃ أﺟﻤﺔ ﻣﻦ ﺷﺠريات اﻟﻘﺼﺐ‪ ،‬اﻟﺘﻲ‬ ‫ﺗﺤﺪ اﻟﻄﺮﻳﻖ ﻣﻦ ﺟﺎﻧﺒﻴﻪ‪ ،‬ﺣﻴﺚ ﺗﺘﺴﻠﻞ‬ ‫ﻧﺴامت ﻋﻠﻴﻠﺔ ﻣﻦ ﺑني اﻟﺸﺠريات‪ ،‬أﻋﺎدت‬ ‫اﻟﻨﺸﺎط واﻟﺤﻴﻮﻳﺔ ﻷﺟﺴﺎدﻧﺎ‪ ،‬وﺗﺘﻢ اﻟﻌﻨﺎﻳﺔ‬ ‫ﺑﺸﺠريات اﻟﻘﺼﺐ ﺑﺤﻴﺚ ﺗﻠﺘﻘﻲ ﻣﻊ ﺑﻌﻀﻬﺎ‬ ‫وﺗﻜﻮن أﺷﺒﻪ ﺑﺎﻟﻨﻔﻖ‪ ،‬ﻣﺎ ﻳﺆﻣﻦ اﻟﺮاﺣﺔ ﻟﻠﺰوار‬ ‫أﺛﻨﺎء اﳌﺮور ﻣﻦ ﺧﻼﻟﻬﺎ‪ ،‬وﺗﺸﻜﻞ ﻫﺬه اﻷﺟﻤﺔ‬ ‫ﻣﻮﻃﻨﺎً ﻣﻼمئﺎً ﻟﻌﺪد ﻛﺒري ﻣﻦ اﻟﺤﻴﻮاﻧﺎت‬ ‫واﻟﻄﻴﻮر‪.‬‬ ‫ﺧﺘﺎﻣﻬﺎ ﻋﻦ ﻗﺮب‬ ‫ﺗﺒﻌﻨﺎ اﳌﻤﺮ إﱃ اﻟﻨﻬﺎﻳﺔ ﺣﻴﺚ وﺻﻠﻨﺎ إﱃ ﻛﻮخ‬ ‫ﺧﺸﺒﻲ ﺟﻤﻴﻞ‪ ،‬ﻳﺘﻮﺳﻂ ﺳﻮراً ﻃﻮﻳ ًﻼ ﻣﻦ‬ ‫اﻟﺨﻴﺰران‪ ،‬وﻛﺄﻧﻪ ﺣﺼﻦ ﻗﺪﻳﻢ ﻳﺤﻤﻲ أﺣﺪ‬ ‫اﻟﻜﻨﻮز‪ ،‬دﺧﻠﻨﺎ اﻟﻜﻮخ ﻋﲆ ﺷﻜﻞ ﺟامﻋﺎت‬ ‫ﺻﻐرية‪ ،‬ﺟﻠﺴﻨﺎ ﻋﲆ ﻣﻘﺎﻋﺪ ﺧﺸﺒﻴﺔ ووﺟﻮﻫﻨﺎ‬ ‫ﻧﺤﻮ اﻟﻨﻮاﻓﺬ اﳌﻐﻠﻘﺔ‪ ،‬أﻏﻠﻖ ﻣﻀﻴﻔﻨﺎ اﻟﺒﺎب‬ ‫وﻃﻠﺐ ﻣﻨﺎ ﻓﺘﺢ اﻟﻨﻮاﻓﺬ ﺑﻬﺪوء‪ ،‬ﺣﻴﺚ ﻓﺎﺟﺄﻧﺎ‬

‫اﳌﺸﻬﺪ‪ ،‬ﻣﺌﺎت ﻣﻦ ﻃﻴﻮر اﻟﻔﻼﻣﻨﻐﻮ ﻻ ﺗﺒﻌﺪ‬ ‫ﻋﻨﺎ ﺳﻮى أﻣﺘﺎر ﻗﻠﻴﻠﺔ‪ ،‬ﻛﺎن اﳌﺸﻬﺪ آﴎاً ﺑﻜﻞ‬ ‫ﻣﺎ ﺗﺤﺘﻮﻳﻪ اﻟﻜﻠﻤﺔ ﻣﻦ ﻣﻌﻨﻰ‪ ،‬اﺳﺘﻄﻌﻨﺎ متﻴﻴﺰ‬ ‫اﻟﻄﻴﻮر اﻟﺒﺎﻟﻐﺔ ذات اﻟﻠﻮن اﻷﺑﻴﺾ اﳌﻮﺷﺢ‬ ‫ﺑﺎﻟﻮردي‪ ،‬ﻣﻦ اﻟﻄﻴﻮر اﻟﻔﺘﻴﺔ ذات اﻟﻠﻮن‬ ‫اﻟﺮﻣﺎدي‪ ،‬واﻟﺘﻲ ﺗﺒﻠﻎ ﻣﻦ اﻟﻌﻤﺮ ﺷﻬﻮراً ﻗﻠﻴﻠﺔ‪،‬‬ ‫إذ ﺗﺘﻜﺎﺛﺮ ﻃﻴﻮر اﻟﻔﻨﺘري ﰲ ﻓﺼﻞ اﻟﺼﻴﻒ‪،‬‬ ‫ﺣﻴﺚ ﺗﺒﻨﻲ أﻋﺸﺎﺷﻬﺎ ﻋﲆ ﺷﻜﻞ أﻛﻮام‬ ‫ﻃﻴﻨﻴﺔ‪ ،‬وﺑني ﻃﻴﻮر اﻟﻔﻨﺘري اﺳﺘﻄﻌﻨﺎ ﻣﺸﺎﻫﺪة‬ ‫ﻃﻴﻮر اﻷوز وأم ﺣﻴﺶ وﻏريﻫﺎ‪.‬‬ ‫ﻛﻴﻒ أزور اﻟﻤﺤﻤﻴﺔ‬ ‫ﻳﺘﻌني ﻋﲆ اﻟﺮاﻏﺒني ﰲ زﻳﺎرة واﺳﺘﻜﺸﺎف‬ ‫اﳌﺤﻤﻴﺎت اﻟﻄﺒﻴﻌﻴﺔ اﻟﺘﻲ ﺗﺤﺘﻀﻨﻬﺎ أﺑﻮﻇﺒﻲ‬ ‫اﻟﺘﻘﺪم ﺑﻄﻠﺐ ﺗﺴﺠﻴﻞ ﻣﺴﺒﻖ ﻗﺒﻞ ﻣﻮﻋﺪ‬ ‫اﻟﺰﻳﺎرة‪ ،‬ﻋﱪ اﳌﻮﻗﻊ اﻹﻟﻜﱰوين ﻟﻬﻴﺌﺔ اﻟﺒﻴﺌﺔ –‬ ‫أﺑﻮﻇﺒﻲ ‪ .www.ead.ae‬ﺣﻴﺚ ﺗﻠﺘﺰم اﻟﻬﻴﺌﺔ‬ ‫ﺑﺎﻟﺴامح ﺑﺪﺧﻮل اﻟﺰوار اﻟﻠﺬﻳﻦ ﺗﻢ ﺗﺴﺠﻴﻠﻬﻢ‬ ‫ﻣﺴﺒﻘﺎً‪ ،‬وذﻟﻚ ﻟﺤامﻳﺔ اﳌﻮاﺋﻞ اﻟﻄﺒﻴﻌﻴﺔ‬ ‫ﻟﻠﺤﻴﻮاﻧﺎت واﻟﻨﺒﺎﺗﺎت‪ .‬وﺳﻴﻘﻮم ﻓﺮﻳﻖ ﺣامﻳﺔ‬ ‫اﻟﺒﻴﺌﺔ اﻟﱪي ﰲ اﻟﻬﻴﺌﺔ ﺑﺎﻟﺘﻮاﺻﻞ ﻣﻊ ﻣﻘﺪم‬ ‫اﻟﻄﻠﺐ ﻟﺘﺰوﻳﺪه ﺑﺮﻗﻢ اﻟﺤﺠﺰ وﻋﺪد اﻟﺰوار‬ ‫اﻟﺬي ميﻜﻦ اﺳﺘﻴﻌﺎﺑﻬﻢ ﰲ اﻟﺰﻳﺎرة اﻟﺘﻲ‬ ‫ﺗﺴﺘﻤﺮ ﻟﻴﻮم واﺣﺪ‪ ،‬وﺳﻴﻌﻄﻰ اﻟﺰاﺋﺮ ﺣﺮﻳﺔ‬ ‫اﻟﺘﺠﻮل ﰲ اﳌﺤﻤﻴﺔ ﺿﻤﻦ اﳌﻤﺮات اﳌﺨﺼﺼﺔ‬ ‫ﻟﻬﺬا اﻟﻐﺮض‪ ،‬ﻛام ﺳﻴﺰود ﺑﻜﻞ اﻹرﺷﺎدات‬ ‫اﻟﺘﻲ ﺗﻀﻤﻦ ﻟﻠﺰوار اﳌﺘﻌﺔ واﻟﻔﺎﺋﺪة‪ ،‬وﺗﻀﻤﻦ‬ ‫ﰲ ﻧﻔﺲ اﻟﻮﻗﺖ ﺣامﻳﺔ اﻟﺒﻴﺌﺔ اﻟﻔﻄﺮﻳﺔ ﰲ‬ ‫اﳌﺤﻤﻴﺔ‪.‬‬ ‫أﻏﺴﻄﺲ‪-‬ﺳﺒﺘﻤﺒﺮ ‪43 2016‬‬

‫ﻋﻄﺮ اﻟﻤﻜﺎن‬ ‫‪baytelshear‬‬

‫ﻣﻦ ﺧﻼﻟﻪ اﻟﺰوار مبﻨﻄﻘﺔ اﻟﻀﺐ‪ ،‬وﻣﻊ ﻧﻬﺎﻳﺔ‬ ‫ﻣﻤﺮ اﳌﴚ ﺳﻴﺠﺪ اﻟﺰوار ﻣﻨﺼﺔ ﳌﺮاﻗﺒﺔ ﻃﻴﻮر‬ ‫اﻟﻔﻨﺘري »اﻟﻔﻼﻣﻨﻐﻮ« ﻋﻦ ﻗﺮب‪.‬‬ ‫وﻣﻦ اﳌﺮﺗﻘﺐ إﺟﺮاء اﳌﺰﻳﺪ ﻣﻦ اﻟﺘﻄﻮﻳﺮات‬ ‫اﻟﺘﻲ ﺗﻌﺰز ﺗﺠﺮﺑﺔ اﻟﺤﻴﺎة اﻟﻔﻄﺮﻳﺔ ﻟﻠﺰوار‬ ‫ﰲ ﻣﺤﻤﻴﺔ اﻟﻮﺛﺒﺔ ﻟﻸراﴈ اﻟﺮﻃﺒﺔ‪ ،‬ﺣﻴﺚ‬ ‫ﺳﺘﺸﻤﻞ ﻣﻨﺼﺔ إﺿﺎﻓﻴﺔ ﳌﺮاﻗﺒﺔ اﻟﻄﻴﻮر‬ ‫ﺑﺎﻟﻘﺮب ﻣﻦ ﻣﻨﺎﺑﻊ اﳌﻴﺎه‪ ،‬وزﻳﺎدة ﻃﻮل‬ ‫ﻣﺴﺎرات اﳌﴚ اﳌﺠﻬﺰة ﻟﻠﺮاﻏﺒني ﰲ اﻛﺘﺸﺎف‬ ‫اﳌﺤﻤﻴﺔ ﺑﺄﻧﻔﺴﻬﻢ‪ ،‬وﻛﺬﻟﻚ ﺗﺠﻬﻴﺰ اﳌﺤﻤﻴﺔ‬ ‫مبﻤﺮات ﻣﺨﺼﺼﺔ ﻻﺳﺘﻘﺒﺎل اﻟﺰوار ذوي‬ ‫اﻻﺣﺘﻴﺎﺟﺎت اﻟﺨﺎﺻﺔ‪ ،‬ﻫﺬا إﱃ ﺟﺎﻧﺐ‬ ‫ﺗﻘﺪﻳﻢ ﻧﺒﺬات ﺗﻌﻠﻴﻤﻴﺔ وﺗﻌﺮﻳﻔﻴﺔ ﺑﺎﻟﻨﺒﺎﺗﺎت‬ ‫واﻟﺤﻴﻮاﻧﺎت اﳌﻮﺟﻮدة ﰲ أﺑﻮﻇﺒﻲ‪.‬‬ ‫ﻗﺮرﻧﺎ اﻟﺴري ﰲ اﳌﻤﴙ اﻟﻄﻮﻳﻞ‪ ،‬ﻣﺴﺘﻔﻴﺪﻳﻦ‬ ‫ﻣﻦ اﻟﺠﻮ اﻟﺮاﺋﻊ واﻟﻨﺴامت اﻟﻌﻠﻴﻠﺔ‪ ،‬ﻣﺘﺨﺬﻳﻦ‬

‫‪ 42‬ﺑﻴﺖ اﻟﺸﻌﺮ ‪ /‬اﻟﻌﺪد ‪48‬‬

‫ﻛﺎﻓﺔ اﻟﺘﺪاﺑري اﻟﻮﻗﺎﺋﻴﺔ اﻟﻼزﻣﺔ‪ ،‬ﻛﻠﺒﺲ‬ ‫اﻟﻘﺒﻌﺎت واﻟﺜﻴﺎب اﻟﺮﻳﺎﺿﻴﺔ اﳌﺮﻳﺤﺔ‪ ،‬وﺣﻤﻞ‬ ‫ﻗﺎرورة ﻣﻦ اﳌﺎء‪.‬‬ ‫ﻳﺒﻠﻎ ﻋﺮض اﳌﻤﴙ ﻣﱰﻳﻦ ﺗﻘﺮﻳﺒﺎً‪ ،‬ﻳﺘﻤﻮج‬ ‫ﺑني اﻟﻬﻀﺎب اﻟﺮﻣﻠﻴﺔ‪ ،‬ﺗﺤﻴﻂ ﺑﻪ اﻟﺸﺠريات‬ ‫واﻟﻨﺒﺎﺗﺎت اﻟﺼﺤﺮاوﻳﺔ‪ ،‬وﻳﺤﻈﺮ ﻋﲆ اﻟﺰاﺋﺮ‬ ‫ﻣﻐﺎدرة اﳌﻤﺮ‪ ،‬ﻓﻜﻞ ﺧﻄﻮة ﻳﺨﻄﻮﻫﺎ ﺧﺎرﺟﻪ‪،‬‬ ‫ﻗﺪ ﺗﺘﺴﺒﺐ مبﻮت ﺣﻴﻮان ﻣﺎ‪ ،‬أو ﺗﺪﻣري ﻋﺶ‬ ‫أو وﻛﺮ‪.‬‬ ‫أﻣﻀﻴﻨﺎ ﻧﺼﻒ اﻟﻄﺮﻳﻖ ﻧﻨﻈﺮ ميﻴﻨﺎ وﻳﺴﺎرا‪،‬‬ ‫ﺑﺎﺣﺜني ﻋﻦ ﺣﻴﻮان ﻳﺨﺘﺒﺊ ﺧﻠﻒ ﺻﺨﺮة ﻣﺎ‪،‬‬ ‫أو ﻃﺎﺋﺮ ﻳﺮﻗﺪ ﰲ ﻋﺸﻪ ﻋﲆ ﻏﺼﻦ ﺷﺠﺮة‪،‬‬ ‫مل ﻳﺤﺎﻟﻔﻨﺎ اﻟﺤﻆ ﰲ زﻳﺎرﺗﻨﺎ ﻫﺬه ﻧﺘﻴﺠﺔ‬ ‫ﻋﺪدﻧﺎ اﻟﻜﺒري‪ ،‬ﻟﻜﻦ ﻗﺪ ﻳﺤﺎﻟﻒ اﻟﺤﻆ ﻏريﻧﺎ‬ ‫ﻣﻦ زوار اﳌﺤﻤﻴﺔ‪ ،‬وﻳﺘﻤﻜﻨﻮا ﻣﻦ ﻣﺸﺎﻫﺪة‬ ‫اﻷﻧﻮاع واﻟﻜﺎﺋﻨﺎت اﻟﺘﻲ ﺗﺤﺘﻀﻨﻬﺎ اﳌﺤﻤﻴﺔ‬

‫ﻣﺜﻞ »دﺑﻮر اﻟﻮﻗﻮاق«‪ ،‬اﻟﺬي اﻛﺘﺸﻔﻪ‬ ‫اﻟﺨﱪاء ﺑﺎﻟﻬﻴﺌﺔ ﻣﺆﺧﺮاً ﺧﻼل ﻋﻤﻠﻴﺎت‬ ‫اﳌﺴﺢ واﳌﺮاﻗﺒﺔ اﳌﺴﺘﻤﺮة‪ ،‬ﻟﻴﻨﻀﻢ ﺑﺬﻟﻚ إﱃ‬ ‫ﻗﺎمئﺔ ﺗﺤﻮي ﻣﺌﺎت اﻟﻼﻓﻘﺎرﻳﺎت اﳌﻨﺘﴩة ﰲ‬ ‫اﳌﺤﻤﻴﺔ‪ ،‬واﻟﺬي ﻳﻌﻜﺲ ﺑﺪوره ﺛﺮاء اﻟﺘﻨﻮع‬ ‫اﻟﺒﻴﻮﻟﻮﺟﻲ‪ ،‬اﻟﺬي ﺗﺰﺧﺮ ﺑﻪ اﻹﻣﺎرة‪ .‬ﻫﺬا إﱃ‬ ‫ﺟﺎﻧﺐ ﻣﺠﻤﻮﻋﺔ ﻣﺘﻨﻮﻋﺔ ﻣﻦ اﻷﻧﻮاع ﻣﺜﻞ‬ ‫اﻟﻌﻘﺎب اﳌﺮﻗﻂ اﻟﻜﺒري‪ ،‬واﻷراك‪ ،‬واﻟﺜﻌﻠﺐ‬ ‫اﻷﺣﻤﺮ‪ ،‬واﻟﻀﺐ‪ ،‬واﻟﻮرل‪ ،‬واﻷرﻧﺐ اﻟﺠﺒﲇ‪،‬‬ ‫واﻟﻴﻌﺴﻮب اﻟﺒﻨﻔﺴﺠﻲ‪ ،‬واﻟﻔﺄر اﻟﱪي واﻟﻘﻨﻔﺬ‬ ‫اﻷﺛﻴﻮيب‪ ،‬ﺑﺎﻹﺿﺎﻓﺔ إﱃ ﻋﺪد ﻛﺒري ﻣﻦ اﻟﻄﻴﻮر‪.‬‬ ‫ﻣﻨﺘﺼﻒ اﻟﻄﺮﻳﻖ وﺧﻄﺄ ﻏﻴﺮ ﻣﻘﺼﻮد‬ ‫ﺑﻬﺪف ﺗﺄﻣني اﻟﺮاﺣﺔ ﻟﻠﺰوار ﺑﻨﻴﺖ ﻣﻨﺼﺔ‬ ‫ﻟﻼﺳﱰاﺣﺔ ﰲ ﻣﻨﺘﺼﻒ اﻟﻄﺮﻳﻖ‪ ،‬ﻳﺴﺘﻈﻞ‬ ‫ﺑﻬﺎ اﻟﺰوار وﻳﺄﺧﺬون ﻗﺴﻄﺎً ﻣﻦ اﻟﺮاﺣﺔ‪،‬‬

‫أدى ﺗﺴﺮب اﻟﻤﻴﺎه‬ ‫ﻣﻦ إﺣﺪى ﻣﺤﻄﺎت ﺗﺤﻠﻴﺔ اﻟﻤﻴﺎه‬ ‫ﻓﻲ ﻣﻨﻄﻘﺔ اﻟﻮﺛﺒﺔ إﻟﻰ ﺗﻜﻮﻳﻦ‬ ‫ﺑﺮك ﺻﻐﻴﺮة‪ ،‬اﺳﺘﻘﻄﺒﺖ اﻟﻄﻴﻮر‬ ‫اﻟﻤﻬﺎﺟﺮة واﻟﻤﺴﺘﻮﻃﻨﺔ‬ ‫ﺑﻬﺪف ﺗﺄﻣﻴﻦ اﻟﺮاﺣﺔ ﻟﻠﺰوار ﺑﻨﻴﺖ‬ ‫ﻣﻨﺼﺔ ﻟﻼﺳﺘﺮاﺣﺔ ﻓﻲ ﻣﻨﺘﺼﻒ‬ ‫اﻟﻄﺮﻳﻖ‪ ،‬ﻳﺴﺘﻈﻞ ﺑﻬﺎ اﻟﺰوار‬ ‫وﻳﺄﺧﺬون ﻗﺴﻄﺎً ﻣﻦ اﻟﺮاﺣﺔ‬ ‫اﻟﻮﺻﻮل إﻟﻰ اﻟﻤﺤﻤﻴﺔ‬ ‫ﻻﺳﺘﻘﺒﺎل اﻟﺠﻤﻬﻮر‪ ،‬ﺿﻤﻦ ﺑﺮﻧﺎﻣﺠﻬﺎ ﻻﺳﺘﻘﺒﺎل‬ ‫رﻛﺒﻨﺎ اﻟﺴﻴﺎرة ﻣﻊ ﴍوق اﻟﺸﻤﺲ‪ ،‬واﺗﺠﻬﻨﺎ ﻋﺸﺎق اﻟﻄﺒﻴﻌﺔ‪ ،‬ﰲ ﻋﺪد ﻣﻦ اﳌﺤﻤﻴﺎت‬ ‫إﱃ ﻣﺤﻤﻴﺔ اﻟﻮﺛﺒﺔ ﺳﺎﻟﻜني ﻃﺮﻳﻖ أﺑﻮﻇﺒﻲ‪ -‬اﻟﻄﺒﻴﻌﻴﺔ ﰲ أﺑﻮﻇﺒﻲ‪.‬‬ ‫اﻟﻌني‪ ،‬ﻏﺎدرﻧﺎ اﻟﻄﺮﻳﻖ اﻟﺮﺋﻴﴘ ﻋﻨﺪ ﻣﺨﺮج‬ ‫اﻟﻮﺛﺒﺔ‪ ،‬وﺗﺒﻌﻨﺎ اﻟﻠﻮﺣﺎت اﻹرﺷﺎدﻳﺔ اﻟﺨﺎﺻﺔ ﻧﻈﺮة ﻋﺎﻣﺔ‬ ‫مبﺤﻤﻴﺔ اﻟﻮﺛﺒﺔ‪ ،‬وﻣﺎ ﻫﻲ إﻻ دﻗﺎﺋﻖ ﺣﺘﻰ ﺗﺨﺘﻠﻒ زﻳﺎرة اﳌﺤﻤﻴﺎت اﻟﻄﺒﻴﻌﻴﺔ ﻋﻦ ﻏريﻫﺎ‬ ‫ﻻﺣﺖ ﻟﻨﺎ أﴎاب اﻟﻔﻼﻣﻴﻨﻐﻮ‪ ،‬اﻟﺘﻲ ﺑﺪت ﻣﻦ ﻣﻦ اﻟﺰﻳﺎرات‪ ،‬ﻓﻬﻲ ﻟﻴﺴﺖ ﻣﺘﻨﺰﻫﺎً ﻋﺎﺋﻠﻴﺎً‪ ،‬أو‬ ‫ﺑﻌﻴﺪ ﻛﻮﺳﺎدة ﻗﻄﻨﻴﺔ ﺗﻄﻔﻮ ﻋﲆ ﺳﻄﺢ اﳌﺎء‪ ،‬ﺣﺪﻳﻘﺔ ﺣﻴﻮاﻧﺎت ﻃﺒﻴﻌﻴﺔ‪ ،‬ﺑﻞ ﻫﻲ ﻣﻨﻄﻘﺔ‬ ‫دﺧﻠﻨﺎ اﳌﺤﻤﻴﺔ ووﺻﻠﻨﺎ إﱃ اﻟﺒﺎب اﻟﺮﺋﻴﴘ‪ ،‬ﻋﺬراء‪ ،‬ﻻ أﺳﻮار ﻓﻴﻬﺎ ﺗﻔﺼﻞ ﺑني اﻟﺰوار‬ ‫واﻟﺤﻴﻮاﻧﺎت‪ ،‬ﻟﺬا ﻳﺘﻮﺟﺐ ﻋﲆ اﻟﺰوار ﻣﻌﺮﻓﺔ‬ ‫ﺣﻴﺚ اﺳﺘﻘﺒﻠﻨﺎ اﻟﻘﺎمئﻮن ﻋﲆ اﳌﺤﻤﻴﺔ‪.‬‬ ‫وﻛﺎﻧﺖ اﳌﺤﻤﻴﺔ ﻗﺪ ﺑﺪأت ﺑﺎﺳﺘﻘﺒﺎل اﻟﺰوار ﻃﺒﻴﻌﺔ ﻫﺬه اﻟﺰﻳﺎرة‪ ،‬وﻫﺬه ﻣﻬﻤﺔ اﻟﻘﺎمئني‬ ‫ﺑﻌﺪ أن اﻧﺘﻬﺖ ﻫﻴﺌﺔ اﻟﺒﻴﺌﺔ – أﺑﻮﻇﺒﻲ ﻣﻦ ﻋﲆ اﳌﺤﻤﻴﺔ اﻟﺬﻳﻦ ﻻ ﻳﺒﺨﻠﻮن ﻋﲆ اﻟﺰوار‬ ‫ﺗﻨﻔﻴﺬ اﳌﺮﺣﻠﺔ اﻷوﱃ ﻣﻦ ﺗﺄﻫﻴﻞ اﻟﺒﻨﻴﺔ ﺑﻜﻞ اﳌﻌﻠﻮﻣﺎت اﻟﻼزﻣﺔ ﻟﻀامن ﺳﻼﻣﺘﻬﻢ‬ ‫اﻟﺘﺤﺘﻴﺔ ﺿﻤﻦ ﻣﺤﻤﻴﺔ اﻟﻮﺛﺒﺔ ﻟﻸراﴈ اﻟﺮﻃﺒﺔ وﺳﻼﻣﺔ ﻛﺎﺋﻨﺎت اﳌﺤﻤﻴﺔ ﺑﻜﺎﻓﺔ أﺷﻜﺎﻟﻬﺎ‪.‬‬

‫ﺗﻨﺎوﻟﻨﺎ اﻟﺸﺎي واﻟﻘﻬﻮة ﰲ اﻻﺳﱰاﺣﺔ اﻟﺮﺋﻴﺴﻴﺔ‪،‬‬ ‫وﺷﺎﻫﺪﻧﺎ ﻓﻴﻠ ًام ﻗﺼرياً ﻋﻦ اﳌﺤﻤﻴﺔ واﻟﺤﻴﺎة‬ ‫اﻟﻔﻄﺮﻳﺔ ﻓﻴﻬﺎ‪ ،‬واﺳﺘﻤﺘﻌﻨﺎ مبﺸﺎﻫﺪة اﻟﻄﻴﻮر‬ ‫ﻋﱪ ﻣﻨﺼﺎت اﳌﺮاﻗﺒﺔ‪.‬‬ ‫وﻫﻨﺎ ﻗﺎم اﻻﺧﺘﺼﺎﺻﻴﻮن ﺑﺈﻋﻄﺎﺋﻨﺎ ﻓﻜﺮة‬ ‫ﺷﺎﻣﻠﺔ ﻋﻦ اﻟﺮﺣﻠﺔ اﻟﺘﻲ ﺗﻨﺘﻈﺮﻧﺎ وﺗﻨﺘﻈﺮ‬ ‫ﻛﻞ زوار اﳌﺤﻤﻴﺔ‪ ،‬ﻓﺨﻼل اﻟﺰﻳﺎرة ﺳﻴﺘﻤﻜﻦ‬ ‫اﻟﺰوار ﻣﻦ اﻟﺴري ﻋﱪ ﻣﺴﺎرات اﳌﴚ‬ ‫اﳌﺤﺪدة‪ ،‬داﺧﻞ اﳌﺤﻤﻴﺔ‪ ،‬ﻟﻠﺘﻌﺮف ﻋﻦ ﻗﺮب‬ ‫ﻋﲆ اﻟﺴامت واﻟﻨﻈﻢ اﻟﺒﻴﺌﻴﺔ اﻟﺘﻲ متﻴﺰ ﻫﺬه‬ ‫اﳌﺤﻤﻴﺔ وأﻧﻮاع اﻟﺤﻴﻮاﻧﺎت واﻟﻨﺒﺎﺗﺎت اﻟﺘﻲ‬ ‫ﺗﺄوﻳﻬﺎ اﳌﺤﻤﻴﺔ‪.‬‬ ‫وﻗﺪ ﺗﻢ ﺗﺼﻤﻴﻢ ﻣﺴﺎرﻳﻦ ﻟﻠﺰوار‪ ،‬ﻣﺴﺎر ﻃﻮﻳﻞ‬ ‫ميﺮ مبﻨﺎﻃﻖ ﺗﻮاﺟﺪ اﻟﻄﻴﻮر‪ ،‬وﻣﺴﺎر ﻗﺼري ميﺮ‬ ‫أﻏﺴﻄﺲ‪-‬ﺳﺒﺘﻤﺒﺮ ‪41 2016‬‬

‫ﻋﻄﺮ اﻟﻤﻜﺎن‬ ‫‪baytelshear‬‬

‫ﻣﻔﺘﻮﺣﺔ أﻣﺎم اﻟﺰوار‬

‫»ﻣﺤﻤﻴﺔ اﻟﻮﺛﺒﺔ«‬

‫أروع اﻟﻤﺨﻠﻮﻗﺎت ﻋﻠﻰ ﺑﻌﺪ ﺧﻄﻮة‬ ‫ﻣﺼﻄﻔﻰ أﺣﻤﺪ‬

‫ﻛﺜﻴﺮ ًا ﻣﺎ اﺳﺘﻮﻗﻔﺖ أﺳﺮاب ﻃﺎﺋﺮ اﻟﻔﻼﻣﻨﻐﻮ‬ ‫اﻟﻤﺴﺎﻓﺮﻳﻦ ﻋﺒﺮ ﻣﻨﻄﻘﺔ اﻟﻮﺛﺒﺔ ﻓﻲ أﺑﻮﻇﺒﻲ‪،‬‬ ‫وﻛﺜﻴﺮ ًا ﻣﺎ أوﻗﻒ اﻟﻨﺎس ﺳﻴﺎراﺗﻬﻢ إﻟﻰ ﺟﺎﻧﺐ‬ ‫اﻟﻄﺮﻳﻖ ﻟﻴﺘﻤﺘﻌﻮا ﺑﺮؤﻳﺔ ﻫﺬه اﻟﻄﻴﻮر اﻟﺠﻤﻴﻠﺔ‬ ‫وﻫﻲ ﺗﻄﻴﺮ ﻓﻲ أﺳﺮاب ﺿﺨﻤﺔ‪ ،‬ﺣﺎﺟﺒﺔ ﻧﻮر‬ ‫اﻟﺸﻤﺲ‪ ،‬ﺑﻘﻴﺖ اﻟﻤﺘﻌﺔ ﻣﺤﺪودة‪ ،‬ﻧﻈﺮ ًا‬ ‫ﻟﺒﻌﺪ اﻟﻄﺮﻳﻖ ﻋﻦ أراﺿﻲ اﻟﻤﺤﻤﻴﺔ‪ ،‬ﻟﻜﻦ وﻣﻊ‬ ‫ﻓﺘﺢ اﻟﻤﺤﻤﻴﺔ أﺑﻮاﺑﻬﺎ أﻣﺎم اﻟﺰوار‪ ،‬ﺳﻴﻜﻮن‬ ‫ﺑﺈﻣﻜﺎن اﻟﺠﻤﻴﻊ اﻟﺘﻌﺮف ﻋﻠﻰ ﻋﺎﻟﻢ ﻣﺤﻤﻴﺔ‬ ‫اﻟﻮﺛﺒﺔ اﻟﺮاﺋﻊ ﻋﻦ ﻗﺮب‪ ،‬ﺣﻴﺚ ﺗﻀﺞ ﻫﺬه‬ ‫اﻟﻤﻨﻄﻘﺔ اﻟﺼﻐﻴﺮة ﺑﺎﻟﺤﻴﺎة‪ ،‬وﺗﺸﻜﻞ ﻣﻮﻃﻨ ًﺎ‬ ‫ﻟﻤﺌﺎت اﻟﺤﻴﻮاﻧﺎت اﻟﻐﺮﻳﺒﺔ واﻟﻨﺎدرة‪g‬‬

‫‪ 40‬ﺑﻴﺖ اﻟﺸﻌﺮ ‪ /‬اﻟﻌﺪد ‪48‬‬

Jbp´* @@£@~@{@ @D* @@ @ @94&°* x@@~@}@º b@@ J @@ Jb@@ s@ - @@ @ @£@ @< H2 ¤@@ @ @ @ Db@@ @+ Hx@@ @ @ @ @ @@ @ JÉ@@ @ ´* ib@@ @ @£@ @ @ Eb@@ @ @0 @@ @c@ @ @ @ @ @ + ¤@@ @ @ @ @ @ D* @@ J*5 @@m@ @ D* q@@c@ ~@ |@ J b@@ E ¶(* x@@ @ ~@ 6*H @@Jb@@0 @@ m@ @ @ @D* @@ @E ¤@@ @ @ @ - x@@ @Cw@@ @D @@JÉ@@±* ib@@£@ ~@ 8b@@< @@ E x@@ @ ; d@P @£@ ~@ 7 @@ Jb@@ c@ @²* @@ c@ @~@ @7 Ì@@ @ @ @ D* ¡@@ @ @ @ J b@@ @ @C @@ @ J*v@@ @ ±* @@ @ @C h@@ £@ @~@ @}@ @B b@@ @ @ @ @F&* @@ £@ @ @ @< @@ Jb@@ ~@ @z@ @J b@@ @ @ @E Mf@ @ @ £@ @ @ F @@ @ @ @D ¢@@ @ @ @ @+ ¶(* @@ @ @ J°v@@ @ @ D* ¡@@ @ @ @ @£Q @ @ @~@ @ @9 ° @@ @ @ @ @ @ £@ @ D2 @@ @ J*¡@@ @ BH @@ @£@ @ D @@ @£@ @ 0¡@@ @Jb@@ @E È@@ @ C @@ @ E @@ Jb@@ c@ @ @ @ D* Í@@ @c@ @ £@ @ : @@ @ @ <¡@@ @ @ +4 ¢@@ @ @ @ @ @ @@ Jb@@ 0H @M @ {@ @c@ @C Í@@ @ + @@ @ E q@@ @ @ +3 b@@ @Eb@@ @J @@ JÉ@@ = b@@ @Jb@@ @c@ @ ~@ @ |@ @ D* ib@@ @~@ @ }@ @ = @@ £@ @ @ @ < @@ Jb@@ g@ @ @ @D* ib@@ @ @¸v@@ @ @E @@ @ Q @ @ @ @ C b@@ @ E b@@ @ @J @@ @ Jb@@ @ +v@@ @ D* Í@@ @ Dv@@ @ @ @ E @@ @ @/¡@@ @ @+ ¤@@ @ @ Q @ @ @ 1 @@ JÉ@@ ~@ @z@ @D* d@@ @ B ¡@@ @ @ A b@@ c@ @ @ @= 4¡@@ p@ @ @ @ + @@ Jb@@ 0 @@ z@ £@ <b@@ @ ~@ 6 f@@ m@ @ @ @´* f@@ @<b@@ @ @Q @ @B @@ J*v@@ + ¢@@ @ @ @ @+&* b@@ @ E v@@ @ J2¡@@ @ + ¤@@ @ @g@ @£@ @Db@@ J @@Jb@@ @ ²* 4b@@ @c@ @ C @@ @E v@@ @ @ 0*H h@@ £@ @c@ @D*H @@ Jb@@ j@ E ¤@@ @ @ @ 1 @@ £@ @~@ @8¡@@ - @@ @ @E @@ £@ @ @ @< @@Jb@@~@ |@ ³* ¯*H @@ @ A ¡@@ Gb@@ E @@ @ @ @ @D*H

39 2016 ‫ﺳﺒﺘﻤﺒﺮ‬-‫أﻏﺴﻄﺲ‬

b@@ @ ~@ }@ E @@ @ @C ¢@@ @ @ @ < v@@ @ Jb@@ @ < b@@ @ @J Ñb@@ @ @ J b@@ @ £@ ~@ z@ F b@@ @E @@ g@ @ @ @04H Ãx@@ @ @ @ D* h@@ @ @ F&* *H*v@@ @ @ @ @E @@ @ @£@ @< Q @@ @ @ @ @D @@ @ @§ @@ @ @ @ @ *¡@@ @ @+ @@ @ @< @@ @ E e¡@@ @ @ @ J&* @@ j@ @E o¡@@ @ @ @ D&* b@@ ~@ @z@ @ @ @+&* h@@ @ @ Bb@@ E @@ @ C Md@@ £@ @ c@ @ 0 ¢@@ @ @ < b@@ @Jx@@ @ @ @ + ¤@@ @ @ @ @ @ -x@@ @ @CQ 3 @@ g@ @£@ @~@ @z@ @F ¶(* b@@ J*¡@@ ~@ @6 x@@ @ @ @ C3&* b@@ @E @@ @C ¤@@c@ @ B b@@ g@ @ @ @J b@@ Bx@@ A Í@@ @ @~@ @6 f@@ @ c@ ~@ 6 ¤@@ c@ @£@ @c@ @0*H ° b@@~@ {@ » @@ m@ @ @ @D* @@ @ g@ J ¤@@ c@ @£@ @c@ @0*H ° b@@E @@ E @@ +x@@ D* ¤@@ @ ~@ z@ J ¤@@c@ £@ c@ 0*H ° b@@ @ @ + @@ m@ @ @ @D* d@@ <x@@ J ¤@@ c@ @£@ @c@ @0*H ° b@@ ~@@Q |@ @ @ @ - M ¡@@ @ @ @ @ @B @@ @ @ C ¤@@ @ c@ @ @£@ @ @c@ @ @0*H ° b@@ @ Â @@ @ ~@ z@ D* @@ @Av@@ @- ¤@@ c@ @£@ @c@ @0*H ° b@@ Jb@@ m@ @~@ @6 Mib@@ @ @ @ £@ @ @ @ @A*H ¤@@ @c@ @ £@ @ c@ @ 0*H ° b@@ @ g@ E @@ @ @ @ @ @ @D H2 ¤@@ @c@ @ £@ @ c@ @ 0*H ° °H3H °H3 Í@@ @ @ + ¤@@ @ c@ @ @£@ @ @c@ @ @0*H ° b@@ @ BÉ@@ @ ´* ¡@@ @ @ @ J rb@@ @ @ @ : ¤@@ @c@ @ £@ @ c@ @ 0*H ° b@@~@ {@ @ - I¡@@ @ @~@ @7 Ì@@ @ : ¤@@ c@ @£@ @c@ @0*H ° *x@@ m@ @G ¡@@ @ @: b@@ @J v@@ @ @ J2H Í@@ @A4b@@ @< b@@ @J *3 @@E *3 @@9¡@@ @D* ¤@@ +&* ¡@@ 1&* iw@@ 1&* b@@ @ @ @ J*( @@ @ @ @ C Mv@@ @ @ @ @ @ 0*H @@ @ @£@ @j@ @E ¥v@@ @ @ @ @< b@@ @JÉ@@ @0 b@@ @ @ JÉ@@ @ @ ²*H @@ @ @ @ @ DH5 Hy@@ @ @ @ @ @ D*

‫ﻗﺼﺔ ﻗﺼﻴﺪة‬ ‫‪baytelshear‬‬

‫»اﻟﺰول زوﻟﻪ واﻟﺤﻼﻳﺎ ﺣﻼﻳﺎه‪..‬‬ ‫واﻟﻔﻌﻞ ﻣﺎﻫﻮ ﻓﻌﻞ واﻓﻲ اﻟﺨﺼﺎﻳﻞ«‬ ‫ﻋﻠﻲ اﻟﻤﺴﻌﻮدي‬

‫ﺑﻴﺖ ﺷﻬري ﻳﱰدد ﻋﲆ أﻟﺴﻨﺔ اﻟﻨﺎس‪..‬‬ ‫وﻛﺜريون ﻻﻳﻌﺮﻓﻮن ﻗﺎﺋﻞ اﻟﺒﻴﺖ أو ﻗﺼﺘﻪ‪،‬‬ ‫ﻫﻮ ﺑﻴﺖ ﻟﺰوﺟﺔ اﻟﺸﻴﺦ ودﻳﺪ ﺑﻦ ﻋﺮوج‬ ‫ﻣﻦ ﺷﻴﻮخ ﻗﺒﻴﻠﺔ ﺑﻨﻲ ﻻم‪ ،‬اﳌﺴﺘﻮﻃﻨﺔ‬ ‫ﰲ ﻧﺠﺪ وﻫﻲ ﻛﺜرية اﻟﻌﺪد‪ ،‬وﺗﻔﺮﻋﺖ‬ ‫ﻣﻨﻬﺎ ﻋﺪة ﻗﺒﺎﺋﻞ ﻣﻌﺮوﻓﻪ ﰲ اﻟﺠﺰﻳﺮة‬ ‫اﻟﻌﺮﺑﻴﺔ‪ .‬وﻧﺰح ﺟﺰء ﻣﻨﻬﺎ إﱃ اﻟﻌﺮاق‪.‬‬ ‫أﻣﺎ اﻟﺸﻴﺦ ودﻳﺪ ﺑﻦ ﻋﺮوج ﻓﻘﺪ أﺷﺘﻬﺮ‬ ‫ﺑﺎﻟﻘﻮة واﻟﺸﺠﺎﻋﺔ وﻛرثة اﳌﻐﺎزي ﺣﺘﻰ أن‬ ‫ذﻟﻮﻟﻪ اﻷﺻﻴﻠﺔ أﺻﺎﺑﻬﺎ اﻟﻬﺰال ﻟﻜرثة ﻏﺰواﺗﻪ‪.‬‬

‫‪ 38‬ﺑﻴﺖ اﻟﺸﻌﺮ ‪ /‬اﻟﻌﺪد ‪48‬‬

‫وﰲ ﻳﻮم ﺟﺎء اﻟﺨﱪ إﱃ اﻟﺰوﺟﺔ مبﻘﺘﻞ‬ ‫زوﺟﻬﺎ ودﻳﺪ ﰲ إﺣﺪى اﳌﻌﺎرك ﻣﻊ ﻗﺒﻴﻠﺔ‬ ‫ﺷﻤﺮن ﻓﺤﺰﻧﺖ ﺣﺰﻧﺎ ﺷﺪﻳﺪا وﺑﻌﺪ ﻣﻮﺗﻪ‪،‬‬ ‫ﺗﻘﺪم أﺧﻮه )ﻟﺰام( ﻟﻠﺰواج ﻣﻦ اﳌﺮأة اﻟﺘﻲ‬ ‫ﻛﺎﻧﺖ زوﺟﺔ أﺧﻴﻪ‪ ،‬وﺗﻢ اﻷﻣﺮ‪ ،‬إﻻ أن‬ ‫اﻟﻔﺮق ﺑني اﻟﺮﺟﻠني ﻛﺒري‪ ،‬ﻓﻠﺰام مل ﻳﻈﻬﺮ‬ ‫ﻟﻪ ﻓﻌﻞ‪ ،‬وﻗﺪ اﻛﺘﻔﻰ ﰲ ﺣﻴﺎة أﺧﻴﻪ أن‬ ‫ﻳﻘﻮم ﺑﻠﻮازم اﻟﺒﻴﺖ إذا ﻣﺎ ﻏﺎب ﻟﻠﻐﺰو‪.‬‬ ‫وﻗﺪ زاد ﻛﺪر اﻟﺰوﺟﺔ ﻋﻨﺪﻣﺎ رأت اﻟﺬﻟﻮل‬ ‫وﻗﺪ ﺳﻤﻨﺖ‪ ،‬وﻛرث ﺷﺤﻤﻬﺎ‪ ،‬وﰲ إﺣﺪى‬ ‫اﳌﺮات ﻋﺎد اﻟﺮاﻋﻲ ﺑﻌﺪ ﻏﻴﺒﺔ ﻃﻮﻳﻠﺔ‬

‫ﻣﻊ اﻹﺑﻞ‪ ،‬ﻓﺈذا ﺑﺎﻟﺬﻟﻮل )ﺗﻬﺪر( وﻛﺄﻧﻬﺎ‬ ‫ﺟﻤﻞ‪ .‬ﻓﻘﺎل زوﺟﻬﺎ‪ :‬اﻋﻘﲇ اﻟﺬﻟﻮل ﻋﻦ‬ ‫اﻹﺑﻞ ‪ ..‬ﻓﻠام ﻋﺎدت ﻗﺎﻟﺖ‪ :‬ذﻟﻚ ﺟﻤﻞ‬ ‫وﻟﻴﺴﺖ اﻟﺬﻟﻮل‪ .‬ﻓﻘﺎل ﺑﻞ ﻫﻲ اﻟﺬﻟﻮل !‬ ‫ﻫﻨﺎ ﺗﺬﻛﺮت زوﺟﻬﺎ اﻟﺸﻴﺦ ودﻳﺪ وﻏﺰواﺗﻪ‪،‬‬ ‫وذﻛﺮت ﻣﺤﺎﺳﻨﻪ اﻟﺘﻲ ﺗﻔﺘﺨﺮ ﺑﻬﺎ ﻛﺄي‬ ‫اﻣﺮأة ﺑﺪوﻳﺔ‪ ،‬وﻓﻜﺮت ﺑﺤﻴﺎﺗﻬﺎ ﻣﻊ أﺧﻴﻪ –‬ ‫زوﺟﻬﺎ اﻟﺤﺎﱄ – وﻳﻘﺎل إن »ﻟﺰام« ﳌﺎ ﺳﻤﻊ‬ ‫اﻟﻘﺼﻴﺪة راﺟﻊ ﻧﻔﺴﻪ وﺗﻐري ﺣﺎﻟﻪ‪ ،‬وأﺧﺬ‬ ‫ذﻟﻮل أﺧﻴﻪ اﻟﺘﻲ ﺳﻤﻨﺖ ﺑﺴﺒﺐ ﻃﻮل‬ ‫اﻟﺮاﺣﺔ وارﺗﺤﻞ ﻟﻠﻤﻐﺎزي وﺣﺴﻦ ﻓﻌﻠﻪ‪.‬‬

‫أﻏﺮاﺿﻪ اﻟﺸﻌﺮﻳﺔ ‬ ‫ﻫﻮ ﺷﺎﻋﺮ ﻣﻦ اﻟﺠﻴﻞ اﳌﺆﺳﺲ ﳌﺴرية اﻷدب ﰲ اﻟﻜﻮﻳﺖ‪ ،‬ﺷﺎﻋﺮ‬ ‫ﻣﺘﻤﻴﺰ ﻛﺎﻧﺖ ﻟﻪ ﻣﻜﺎﻧﺔ ﻣﺮﻣﻮﻗﺔ وﻣﻨﺰﻟﺔ رﻓﻴﻌﺔ ﺑني اﻻوﺳﺎط اﻟﻔﻜﺮﻳﺔ‬ ‫واﻟﺜﻘﺎﻓﻴﺔ ﰲ اﳌﻨﻄﻘﺔ‪ ،‬ﻛﺎن دﻳﻮاﻧﻪ ﻋﺎﻣﺮاً ﺑﺎﻟﺮواد اﳌﺤﺒني ﻷدﺑﻪ اﻷﺻﻴﻞ‬ ‫وﻟﺸﺨﺼﻪ اﻟﻜﺮﻳﻢ‪.‬‬ ‫ﺗﻨﻮﻋﺖ أﻏﺮاﺿﻪ اﻟﺸﻌﺮﻳﺔ ﰲ ﻗﺼﺎﺋﺪ ﺑني ﻗﻀﺎﻳﺎ اﻟﺪﻳﻦ واﻟﻮﻃﻦ‬ ‫واﳌﺠﺘﻤﻊ واﻻﺧﻼق واﻟﻜﺮم واﻟﻮﻓﺎء‪ ،‬وﺗﻔﻨﻦ ﰲ ﻛﺘﺎﺑﺔ ﴐوب اﻟﺸﻌﺮ‬ ‫اﻟﻌﺮيب ﺑﻨﻮﻋﻴﺔ اﻟﻨﺒﻄﻲ واﻟﻔﺼﻴﺢ ﺣﻴﺚ ﺗﻨﺎول ﰲ ﺷﻌﺮه ﻛﺎﻓﺔ ﻧﻮاﺣﻲ‬ ‫اﻟﺤﻴﺎة وﺷﺆوﻧﻬﺎ اﳌﺨﺘﻠﻔﺔ‪.‬‬

‫ﻣﻤﺎﻗﻴﻞ ﻋﻨﻪ ‬ ‫ﻛﺘﺐ ﻋﻨﻪ اﻟﺸﺎﻋﺮ ﻧﺼﺎر اﻟﺨﻤﺴﺎن ﺑﻌﺪ رﺣﻴﻠﻪ اﻟﺬي واﻓﻖ ﻳﻮم‬ ‫اﻟﺨﻤﻴﺲ ‪ 27‬رﺑﻴﻊ اﻵﺧﺮ ‪1427‬ﻫـ اﳌﻮاﻓﻖ ‪ 25‬ﻣﺎﻳﻮ ‪2006‬م‪:‬‬ ‫ﺑﺮﺣﻴﻞ ﺷﻴﺨﻨﺎ اﻟﻜﺒري وﺷﺎﻋﺮﻧﺎ اﳌﻔﻀﻞ اﻟﺸﻴﺦ ﻋﺒﺪاﻟﻌﺰﻳﺰ اﻟﺴﻌﻮد‬ ‫اﻟﺼﺒﺎح‪ ،‬ﻓﻘﺪت اﻟﺤﺮﻛﺔ اﻟﺜﻘﺎﻓﻴﺔ واﻷدﺑﻴﺔ اﻟﻜﻮﻳﺘﻴﺔ ﺷﺎﻋﺮا ﻣﺘﻤﻜﻨﺎ‬ ‫وﻣﺘﺤﺪﺛﺎ ﻟﺒﻘﺎ وإﻧﺴﺎﻧﺎ ﻣﺘﻮاﺿﻌﺎ ﻟﻪ ﺑﺎع ﻃﻮﻳﻞ ﰲ ﻣﺠﺎل اﻻدب‬ ‫واﻟﺜﻘﺎﻓﺔ‪ ،‬واﻟﺤﻘﻴﻘﺔ اﻟﺘﻲ ﻳﺠﺐ ان ﺗﻘﺎل ﻓﻘﺼﺎﺋﺪه اﻟﺠﻤﻴﻠﺔ اﳌﻌﱪة‬ ‫ﻗﺪ اﺗﺤﻔﺘﻨﺎ واﺳﻌﺪﺗﻨﺎ ﻟﻌﻘﻮد ﻋﺪﻳﺪة ﻣﻦ اﻟﺰﻣﻦ‪ ،‬وذﻟﻚ ﻻﺣﺘﻮاﺋﻬﺎ‬ ‫ﻋﲆ اﻷﻓﻜﺎر اﻟﺮاﺋﻌﺔ واﻟﺮؤى اﻟﺒﻌﻴﺪة ذات اﳌﻌﺎين اﻟﺤﻜﻴﻤﺔ واﻟﺒﻠﻴﻐﺔ‪.‬‬ ‫واﻳﻀﺎ ﻟﻔﻘﻴﺪﻧﺎ اﻟﻜﺒري ﺣﻜﻢ وأﻣﺜﺎل ﻣﺘﻨﻮﻋﺔ‪ ،‬ﺑﺎﻻﺿﺎﻓﺔ اﱃ أن‬ ‫اﻟﺮاﺣﻞ ﻛﺎن ﻳﻬﺘﻢ اﻫﺘامﻣﺎ ﻛﺒريا ﺑﺎﻟﻜﻮﻳﺖ ومبﺴﺘﻘﺒﻞ اﳌﻨﻄﻘﺔ‬ ‫وﺑﺎﻟﺸﺒﺎب واﻟﺸﺎﺑﺎت‪ ،‬ﺣﻴﺚ ﻛﺎن ﻳﻮﺟﻬﻬﻢ وﻳﻨﺼﺤﻬﻢ ﰲ أﺷﻌﺎره‬ ‫اﳌﺘﻤﻴﺰة وﰲ ﻛﻠامﺗﻪ اﳌﻀﻴﺌﺔ‪ ،‬ومل ﻳﻜﻦ ﻳﺒﺨﻞ ﻋﲆ ﻛﻞ ﺳﺎﺋﻞ ﺑﺄﻳﺔ‬ ‫ﻣﺸﻮرة ﰲ ﻣﺨﺘﻠﻒ ﻣﺠﺎﻻت اﻟﺤﻴﺎة وﺧﺎﺻﺔ ﻣﺠﺎل اﻻدب واﻟﺸﻌﺮ‬ ‫واﻟﺜﻘﺎﻓﺔ اﻟﻌﺎﻣﺔ‪،‬‬ ‫وﻳﻘﻮل ﻋﻨﻪ اﻟﻜﺎﺗﺐ ذﻋﺎر اﻟﺮﺷﻴﺪي‪:‬‬ ‫ﺷﻌﺮ اﻷدﻳﺐ اﻟﺮاﺣﻞ اﻟﺸﻴﺦ ﻋﺒﺪاﻟﻌﺰﻳﺰ اﻟﺴﻌﻮد اﻟﺼﺒﺎح ﻋﺮف ﺑﺄﻧﻪ‬ ‫أﻗﺮب إﱃ اﻟﺤﻜﻤﺔ ﻣﻨﻪ اﱃ أي ﳾء آﺧﺮ‪ ،‬ﻳﻄﺮق اﻷﻣﺜﺎل وﻳﺒﺘﺪﻋﻬﺎ‬ ‫وﻳﻨﻘﻞ ﺻﻮرة ﺣﻴﺔ ﻋﻦ واﻗﻌﻪ ﻣﻦ ﻣﻨﻄﻠﻖ ﺗﺠﺎرﺑﻪ اﻟﺸﺨﺼﻴﺔ‪ ،‬واﻟﺘﻲ‬ ‫ﻧﻘﻠﻬﺎ ﻋﱪ ﻗﺼﺎﺋﺪ ﻳﺘﻨﺎﻗﻠﻬﺎ اﻷﺟﻴﺎل ﰲ ﻣﺨﺘﻠﻒ أﻗﻄﺎر اﻟﺨﻠﻴﺞ اﻟﻌﺮيب‬ ‫ﺑﺎﻋﺘﺒﺎره واﺣﺪا ﻣﻦ أﺑﺮز ﺷﻌﺮاء اﳌﻨﻄﻘﺔ ﰲ ﻫﺬا اﳌﺠﺎل اﻟﺬي ﻳﻨﺪر‬ ‫ﻃﺮﻗﻪ‪.‬‬

‫ﻣﻦ ﻗﺼﺎﺋﺪه اﻟﺠﻤﻴﻠﺔ اﻟﺠﺰﻟﺔ ﻓﻲ اﻟﺤﻜﻤﺔ‪Z‬‬ ‫‪4fg1¸* £3¸* lÀK rªq G* 2*5‬‬ ‫<‪|Mf 8 £§CCG§CC CCM fCCCHK ÔCC CC CCM fCCH ¢CC‬‬ ‫‪4fCC± CCªCC+ «CC CCº* £§CC CCªCCgCCM CCP C6fCCCI‬‬ ‫‪|CCMfCC+ T CCCCF CC¤CCE§CC CC CC+ £§CCCCC/KT |CCCCCMK‬‬ ‫‪4fª<K ªMf H ¥CCGfCCH «CC CCº* 4fCC CC8‬‬ ‫‪|Mf G* uCCM|CCM ¸K CC CCªCC14 «CP C CC7‬‬ ‫‪4f 8 fCCH 4f 8 §CCGK « wM fCCH u G*K‬‬ ‫‪T‬‬ ‫‪|Mf¡¼* CC6K|CC+ «CC CCG* fCC CC CC CCG* CCnCCH‬‬ ‫‪4f¡G* zCCE§CCM ¥ <fD §CCG fCC CC»* ¸*K‬‬ ‫ ¨ ‪|Mfq G* 2fCCCH4 ¨ - f F‬‬‫‪4*§ ¯ ¥CCG ¨ H fCC¡CCH zCCC‬‬ ‫‪P C0*K T CCCFK‬‬ ‫‪|Mf 6 ¢CCCMK ¾* ¬4zCCCCM ¸K «CC CC CCÊ‬‬ ‫‪4*|CC CC6¸*K ¥CCG§CC CCI L|CC CCM fCCH T CCFfCCH‬‬ ‫‪|Mfk G* 4KzCC CC CCGfCC+ f¤ª < « I‬‬ ‫‪4fª1¸* 6f¡G* ¢H ¦2fk M |CCCH&¸*K‬‬ ‫*&‪|Mf gG*K jt/*|G* § G* CCJ‬‬ ‫‪4*|CC CC7¸* ¦§CCGT §CC- ¥ g0 l kD* *3*K‬‬ ‫· <‪|CCMfCC=K CC CC¡CCH ÕCCC+ fCCCH CC¤CCD|CC‬‬ ‫‪4fktM CC CC CCG* fCC¤CCIK2 4P §CCCCCH&* ¬|CCC±‬‬ ‫=‪|Mf M ¥CC¡T C D2fCC CC8 ¢CCH ¨CC CC< fN CgCC CC CC‬‬ ‫‪4f¡M* uM|G* ¦ Tz 9 £(* *| G* «CC<*4‬‬ ‫‪|CCMfCCwCCM* K~CCCCG ¬|CCCC=2 ¦|CCtCC¡CCM fCCCH‬‬ ‫‪4*zCCCCE¸* TÑCCCC<K v|CCqCCM fCCH TzCCC CCC7&*K‬‬ ‫‪|CCM*|CC CC CCG* ÕCCgCCªCC CCG dCC CC CCM «CC‬‬ ‫‪P C CCC7‬‬ ‫*(‪4*zCCCC=K KT zCCCCC< CCCG |CCMfCC CC CC- CCCCCI‬‬ ‫‪|Mf gG* § + t+3 ¨ < ¬4zCC‬‬‫‪4fF f¤G j 6fª G*K j 6fª 6 *§CCGfCCE‬‬ ‫‪|CCMfCC0 £§CCCG§CCC CCCM fCCCH · fCCCCCI&* Ù*K‬‬ ‫‪4f¤¡M = ¨ < ¥ 6f 6 *§¡+ | E‬‬ ‫‪P‬‬ ‫*‪|Mf »f+ ¥g0f 8 |CC CCT CC+K ÌCC CC8‬‬ ‫‪4*zCC¡CCM uCCM|CCG* 5¸ ¥CCtCCM4 hCC‬‬ ‫‪T CJ §CCG‬‬ ‫‪|CCM*KzCCG* 4KzCCC- «=fgG* ¨ < 5¸K‬‬ ‫‪4f: §CCG §CCD fCCHK « G* tM fN k0‬‬ ‫‪|CCCMfCCC:K «CCC CCC7fCCCH fCCC CCC CCCG fCCCCCI2T |CCCCCH‬‬

‫أﻏﺴﻄﺲ‪-‬ﺳﺒﺘﻤﺒﺮ ‪37 2016‬‬

‫أﺳﺎﻃﻴﻦ اﻟﺸﻌﺮ‬ ‫‪baytelshear‬‬

‫ﻣﻦ ﻓﺤﻮل ا;دب‪ ..‬وﺟﻮاﻫﺮ اﻟﺤﻜﻤﺔ‬

‫ﻋﺒﺪاﻟﻌﺰﻳﺰ ﺳﻌﻮد اﻟﺼﺒﺎح‪ ..‬اﻟﺮﺣﻠﺔ اﻟﻬﺎدﺋﺔ‬ ‫واﻟﺸﻌﺮ ا)ﺻﻴﻞ‬

‫ﻋﻠﻲ اﻟﻤﺴﻌﻮدي‬

‫ﻳﻘﻮل اﻟﺸﺎﻋﺮ اﻟﻜﺒري اﻟﺸﻴﺦ ﻋﺒﺪاﻟﻌﺰﻳﺰ اﻟﺴﻌﻮد اﻟﺼﺒﺎح‪:‬‬ ‫*‪ifCC CC7 fCCCH hCC CC CCG* ¢CC CCGK ifCC CC7 CCC6*|CCCG‬‬ ‫‪¥CC+fCCgCC CC7 · ¥CCCCkCCCCH5 K* ¨CCC CCC< ¦§CCCCCC‬‬‫<‪ifCC CC CC0K zCC< ¦{CCC1&fCCCI fCCH ¨CCkCC CCG* |CC CC‬‬ ‫ ‪¥CC+ fCCC¡CCCGfCCCH fCCC¤CCC CCCEK ÕCCC¡CCC CCC CCCG* ÐCCCCCF‬‬ ‫‪ifCCCgCCC0¸* ÕCCCC+ jCC‬‬ ‫*‪P C<fCCC CCC6 ¥CCC CCCF |CCC CCC CCCG‬‬ ‫ ‪¥CC+fCC. |CC CC CC CCG 2fCCCC< fCCCH lCC CC CC CCI* *3*K‬‬ ‫‪ifCCªCCJ |CCC CCC CCCG* ¿fCCCkCCC+ ÔCC CC CC- CCCGfCCC+‬‬ ‫ *‪¥CC+fCC¤CC- ¸ L§CCC¤CCCG* i42 ¨CC CC< i|CCC CCC9‬‬

‫اﻟﺴﺒﻌﻴﻨﻴﺎت‪ ،‬وﺣﻞ ﺿﻴﻔﺎً ﻋﲆ اﻟﺸﻴﺦ ﻋﺒﺪاﻟﻠﻪ ﻣﺒﺎرك اﻟﺼﺒﺎح‪ ..‬وﻣﺎدار‬ ‫ﰲ ﺗﻠﻚ اﳌﺠﺎﻟﺲ ﻣﻦ أﺣﺎدﻳﺚ ﺷﻌﺮﻳﺔ‪ ،‬وﻗﺪ ﺟﻤﻌﺖ اﻟﺸﺎﻋﺮﻳﻦ ﺳﺠﺎﻳﺎ‬ ‫ﻛﺮميﺔ ﻣﺸﱰﻛﺔ وﻣﻨﻬﺎ ﺣﺐ اﻟﺸﻌﺮ واﳌﻘﻨﺎص‪.‬‬ ‫وﻟﺪ اﻟﺸﻴﺦ ﻋﺒﺪاﻟﻌﺰﻳﺰ ﺳﻌﻮد اﻟﺼﺒﺎح ﰲ اﻟﻜﻮﻳﺖ ﻋﺎم ‪1919‬م ﻣﻦ‬ ‫اﺑﻮﻳﻦ ﻓﺎﺿﻠني وﻣﻦ اﴎة ﺣﺎﻛﻤﺔ ﻛﺮميﺔ‪ ،‬ﻓﺄﺑﻮه ﻫﻮ اﳌﺮﺣﻮم اﻟﺸﻴﺦ‬ ‫ﺳﻌﻮد ﻧﺠﻞ اﳌﺮﺣﻮم اﻟﺸﻴﺦ ﻣﺤﻤﺪ ﺑﻦ ﺻﺒﺎح ﺑﻦ ﺟﺎﺑﺮ اﻟﺼﺒﺎح ﺣﺎﻛﻢ‬ ‫اﻟﻜﻮﻳﺖ اﻟﺴﺎدس )‪ ،(1896 - 1892‬واﻣﻪ ﻫﻲ اﻟﺸﻴﺨﺔ ﻣﺮﻳﻢ ﻛﺮميﺔ‬ ‫اﳌﺮﺣﻮم اﻟﺸﻴﺦ ﻣﺒﺎرك ﺑﻦ ﺻﺒﺎح ﺑﻦ ﺟﺎﺑﺮ اﻟﺼﺒﺎح )ﻣﺒﺎرك اﻟﻜﺒري(‬ ‫ﺣﺎﻛﻢ اﻟﻜﻮﻳﺖ اﻟﺴﺎﺑﻊ )‪.(1915 - 1896‬‬ ‫ﺗﺰوج اﻟﺸﻴﺦ ﻋﺒﺪاﻟﻌﺰﻳﺰ ﻣﻦ اﻟﺸﻴﺨﺔ ﻏﻨﻴﻤﺔ ﻛﺮميﺔ اﳌﺮﺣﻮم اﻟﺸﻴﺦ‬ ‫ﻋﺒﺪاﻟﻠﻪ اﻟﺠﺎﺑﺮ اﻟﺼﺒﺎح ﻓﺄﻧﺠﺒﺖ ﻟﻪ ﺛﻼﺛﺔ أﺑﻨﺎء وﺛﻼث ﺑﻨﺎت وﻫﻢ‪:‬‬ ‫اﻟﺸﻴﻮخ ﺳﺎمل وﺳﻬﻴﻞ وﺳﻠامن‪ ،‬واﻟﺸﻴﺨﺎت ﺳﻠﻮى وﺳﻬﺎم وﺳﻤﺮ‪.‬‬

‫ﻛﻨﺖ ﰲ ﺿﻴﺎﻓﺔ اﻟﺸﺎﻋﺮ اﻟﻜﻮﻳﺘﻲ اﳌﺨﴬم ﻣﺴﻠﻢ اﻟﺒﺤريي‪ ،‬وﻫﻮ‬ ‫ﻳﺘﺤﺪث ﻋﻦ ﳾء ﻣﻦ ذﻛﺮﻳﺎﺗﻪ اﻷدﺑﻴﺔ ﺣﺘﻰ ﻋﺮج اﱃ اﻟﺤﺪﻳﺚ ﻋﻦ‬ ‫ﺷﺎﻋﺮ ﻣﻦ ﻓﺤﻮل ﺷﻌﺮاء اﻟﺠﺰﻳﺮة اﻟﻌﺮﺑﻴﺔ مل ﻳﺄﺧﺬ ﺷﻌﺮه وﺣﻀﻮره‬ ‫اﻻديب ﺣﻈﻪ اﳌﻨﺎﺳﺐ ﻣﻦ اﻻﻫﺘامم اﻻﻋﻼﻣﻲ‪ ،‬ﻷﻧﻪ مل ﻳﻬﺘﻢ ﺑﻬﺬا ﻣﻦ أﺑﻴﺎﺗﻪ اﻟﺴﺎﺋﺮه‪:‬‬ ‫اﻟﺠﺎﻧﺐ ﻛﺜريا‪ .‬ﻛﺎن اﻟﺒﺤريي ﻳﺤﺪﺛﻨﻲ ﻋﻦ‬ ‫‪ *K5* gG*K fCCC/4 fCC/|CCG* +‬‬ ‫‪ ¥CC CC6fCCgCCG ¥CC+fCC CC CC- CC¤CCgCC CC=* £fCCCCCF §CCCCG‬‬ ‫اﻻدﻳﺐ واﻟﺸﺎﻋﺮ اﻟﻜﻮﻳﺘﻲ اﳌﺨﴬم اﻟﺸﻴﺦ ﻋﺒﺪاﻟﻌﺰﻳﺰ اﻟﺴﻌﻮد‬ ‫اﳌﺤﻤﺪ اﻟﺼﺒﺎح وﻳﺤيك ﺑﻌﺾ اﻟﺤﻜﺎﻳﺎت اﻟﺘﻲ ﺟﻤﻌﺘﻪ ﻣﻊ اﻷﻣري *‪ ÑCCCC0 CCCªCCC+*|CCC CCC CCC CCCG ¥CCCCM*|CCCC+ zCCCCC0‬‬ ‫‪¥ 6f0 ¬fCCCC¼* ¨CC CC CC8¸ ¥CC CCgCC CC+ zCCCC0*K‬‬ ‫اﻟﺸﺎﻋﺮ ﻣﺤﻤﺪ اﻻﺣﻤﺪ اﻟﺴﺪﻳﺮي‪ ..‬ﻋﻨﺪﻣﺎ زار اﻟﻜﻮﻳﺖ أواﺧﺮ‬ ‫‪ 36‬ﺑﻴﺖ اﻟﺸﻌﺮ ‪ /‬اﻟﻌﺪد ‪48‬‬

‫ﺳﻜﺔ اﻟﺘﺎﻳﻬﻴﻦ‬ ‫ﻧﺎﺻﺮ اﻟﺸﻔﻴﺮي‬ @nasseralshaferi

rb@@ @A @@ @z@ @ £@ @ /*¡@@ @ @ @ D* x@@ @ @ @ / ¢@@ @ @ @ < @@ c@ @£@ @: v@@ @ @/¡@@ @ @D* Í@@ @ 1 @@ @ @p@ @ @ J4 @@ @ z@ @ @+ ¥Hb@@ @ @ m@ @ @ @ + ¡@@ @ @ G b@@ @ @ E * ¡@@ @ @ D r*Æ@@ ~@ @6* b@@ E @@ Ey@@ D* Hx@@ ~@ @ 8 @@ E d@@Jb@@~@ 7 x@@ @ @ @ @D*H Í@@ @ ~@ 6 @@ @E¡@@ @J b@@ @~@ @ 7 b@@ @ E h@@ @ @g@ @F* b@@ m@ @ @ @ D* @@ c@ ~@ 6 r*x@@ @ @ @ ±* e¡@@ @ @c@ @ @ G @@ @ @ E x@@ @ Jb@@ @ @ @ @- ¥x@@ @ @ @ @ @ A ib@@ @ @ @ @ @ @+H Í@@ @ @ @ @Jb@@ @ g@ @ @D* f@@ @ @ @ @~@ @ @6 ¤@@ @ @ @ @ @ @ @ @ @ @=&* ¡@@ @ @ @ @ @ J Áx@@ @ @ @ @ @ @ @­H rb@@ @ @ @ @ ±* d@@ @ Jx@@ @ @ @ @ @ @ @D f@@ @ @ @ @ A ¡@@ @ @ ~@ @ @ {@ @ @ D* @@ @ @ @ @64*¡@@ @ @ @ @F Í@@ @ @²* ¤@@ @:¡@@ @~@ @ 7 b@@ @ £@ @ D* e*Æ@@ @ @ @ @ @ =°* ¤@@ @:b@@ @~@ @ 7 @@ @ E rb@@ @ @ @ @C f@@ @ @ @ @ @ £@ @ @ @ @ @ ²* @@ @ @ @ @ @ D Hx@@ @ @ ~@ @ @ @ {@ @ @ @ E @@ @ @ @ @ @ @ @ ²* Í@@ @A2 @@ @ 0x@@ @ / @@ @ @C @@ {@ @c@ @ @ @- 2b@@ @ @ @/ b@@ @ @ @ @ C ¡@@ @ @D rb@@ @ @ :H Áb@@ @ @ @ @ @ @ E°* 4*v@@ @ @ @ @ @ / ¢@@ @ @ @ @< ¤@@ @ @ @ @0 h@@ @ @ @ @ @ < Í@@ @ @ ~@ @ z@ @ D* @@ @ @-È@@ @ @ @ @ @ + ¤@@ @ @ @ @ @ @D* ¤@@ @ g@ @ @s@ @ @+ @@ @ @ @ E Ñ* rb@@ c@ ~@ |@ D* ¡@@ @£@ @ 1 @@ @ E @@ @ @ @ @/&* 4¡@@ @ @ @ @D* f@@ @ @~@ @7 @@ @ E @@ @Jy@@ @²* ¡@@ @ £@ @ @ < ¯ *x@@ @ @ @ @ B @@ @£@ @ @ @ D* @@ @ @ @ m@ @ J b@@ @ @ E rb@@ @ J4 f@@ @ @ Jv@@ 0 ¯ ¥Hb@@ @ @ /x@@ @ @ D* h@@ @ @ @ <45 ¥x@@ @ @ @ .H Í@@- @@ @ £@ @ @ @ @ @D* x@@ @ @ @ ­ °H h@@ @c@ @ @ @ - b@@ @ @ E q@@ @ @ @Jx@@ @ @ @D*H r° @@ @}@ @ E¡@@ @D* b@@ @ E @@ @ C x@@ @ @ @ @F*H @@ @m@ @ @ @ D* x@@ @Eb@@ @~@ @ 6* Í@@ c@ @- b@@ @ @ @ E ¤@@ @ g@ @ @ @ @ @£@ @ @=H r¡@@ @ @ @ @ @ @ - ¥Ì@@ @ @ @ @ @= Hx@@ @ @ @ @ @ @ + r*x@@ @ @ @ @Db@@ @ + ¤@@ @g@ @ +b@@ @p@ @ ~@ @ 6 2¡@@ @ @ @ @© Ñ* ¢@@ @ @ @ @< ¢@@ @ g@ @ @E @@ Jy@@ - ¥x@@ @ @ @ @ < b@@ @ @ @ @ @ J*H @@ @ @ @ @ E°* É@@ @ @ @ - ¤@@ @ @ @ @~@ @ @6*H r*Æ@@ @~@ @ 6* v@@ £@ ~@ |@ @ D* v@@ @ @+ @@ @ E x@@ @ @~@ @{@ @D* d@@ @-b@@ @C ¡@@ @ D Í@@ c@ ±b@@ A h@@ @ @ @ ~@ @ 6H Áy@@ @ @ 0 i*¡@@ @ @ @ @ @ 1 h@@ @ @~@ @7 b@@ @ @E rb@@ @ g@ @ @´* rb@@ @ @ g@ @ @ @E ° ¤@@ @ @ @ @ @ D* @@ @ @ E · d@@ @ @ G e4 b@@ @ @ J Í@@ m@ ~@ z@ D* r*x@@ @ @~@ @ @ 6 @@ @ @ @ @ @ JH ¤@@ @ @£@ @< @@ @ @+ x@@ @ @ @ - b@@ @ @E r*x@@ @ ~@ @ @{@ @ @F(b@ @ @+ ¤@@ g@ @ @ @£@ @~@ @9 v@@ @ @ @ + b@@ @ @ @ @ ²* Ì@@ @ @ @ @E b@@ @ @ J Í@@ m@ @ @ @ D* @@ @ @ @´ @@ @ j@ @ @E @@ @ Fb@@ @ @ @ @. @@ @~@ @ z@ @ c@ @ - q@@ @c@ @ ~@ @ |@ @ + 35 2016 ‫ﺳﺒﺘﻤﺒﺮ‬-‫أﻏﺴﻄﺲ‬

‫ﻣﺎﺳﺎت‬ baytelshear

‫أﻋﺘﺮف‬ ‫ﺣﻤﺪان اﻟﻤﺤﺮﻣﻲ‬ @HamdanAlmoharmi

@@c@ B @@ @ @E @@ @ Ax@@ @ @ @ @-(* ¤@@ @ @ @ @D* iv@@ @ @ @<b@@ @ @ @E b@@ @ @ @ @F&* x@@ @ @ @ @ -N @@ @ @ @ @ Eb@@ @ @ @ @ J&*H @@ @ @ {@ @ @ J4 @@ @ @ @ £@ @ @ @ ~@ @ 6 ¤@@ @ @ @ @ @ D* @@c@ / ¤@@ @ @ @ g@ @ EH ¥¡@@ @ @ @ B ¤@@ @c@ @ @ @ B (* @@ @ @ @ ~@ @ |@ @ -&* x@@ @ @ @½&* Ix@@ @ @ @ @C3 q@@ @ @~@ @6 ¢@@ @ @ @ @ @F2&* ¢@@ @ @ @ < b@@ @ @ @ @ @F&*H @@ c@ @²* b@@ @ @Bx@@ @ @AH ¤@@ @ @c@ @ @ @ @ @ B @@ @ s@ @ @ Q @ @ @D* @@ @ j@ @ E xN @ @ @ P1 @@ @ @ @ @£@ @ @: ÁxQ @ @ @ @ @ E (*H ÁyQ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @-(* @@ @c@ @ ~@O@ @z@ @ D* @@ @ @ C @@ @g@ @ c@ @ ¹ ¯ b@@ @ @ @ @ @ F&* h@@ @ @ @ £Q @ @ ~@ @ 9 x@@ @ : x@@ @ @ @ @ @ 1%* ¤@@ @ g@ @ @£@ @ @F2 @@ @ @ < @@ @ @ + h@@ @ @ @ @ @ @ @BH @@ @ @ c@ @ @ @Bb@@ @ @ EH ¥2*¡@@ @ @ A Ì@@ @ @ @ = @@ @ @ < h@@ @ @ @ @Jb@@ @ 0 x@@ @ <N b@@ @ E @@ @/x@@ @~@ @ 6 Ì@@ @ @ @ D @@ @ £@ @ @~@ @ @8&* x@@ @ @ @ @ @ @.&*H @@ @+3 @@ c@ @ @ @< @@ @ @E ¤@@ @ c@ @ @ @ @ @ + @@ @ z@ @ 0&* h@@ @ Jv@@ @ + x@@ @ @ -P @@ @ @ @ @~@ @ @8H ¢@@ @ @ @ @< h@@ @ @ @ @ @ @D*5° ¤@@ @ @ @ £@ @ < ¡@@ @ @ D @@c@ B @@ @ @ < È@@ @ @ @ @ @ @ C&* @@ @ @ c@ @ @ @ 0&*H @@ @ @ D ob@@ @ @ g@ @ @ @ 0&* Æ@@ @ @ <&* @@ @ @ FHv@@ @ @ + I¡@@ @ @~@ @ @ 6&* b@@ @ E b@@ @ @ @ F&* @@ @ @ @ @ /4(*

48 ‫ اﻟﻌﺪد‬/ ‫ ﺑﻴﺖ اﻟﺸﻌﺮ‬34

‫ﻳﺒﺪأ اﻟﺸﺎﻋﺮ ﺑﻔﺘﺢ ﺣﻮار ﻣﻊ اﻟﻤﺮض‪ ،‬ﻛﺄن‬ ‫ﻫﺬا اﻟﺤﻮار ﻧﻮع ﻣﻦ أﻧﻮاع ﻣﺒﺎﺣﺜﺎت اﻟﺴﻼم‬ ‫ﻳﺴﺘﻐﺮب اﻟﻤﺮض ﻣﻦ أﺳﻠﻮب اﻟﺸﺎﻋﺮ وﺗﺤﺎﻣﻠﻪ‬ ‫ﻋﻠﻴﻪ ﺑﺎﻟﺮﻏﻢ ﻣﻦ أﻧﻪ ﻣﻦ ذوي اﻟﻌﻠﻢ واﻟﻤﻌﺮﻓﺔ‬ ‫ﻳ ّﺘﺠﻪ اﻟﺸﺎﻋﺮ ﻟﺪﺣﺾ ﺑﺎﻗﻲ اﻻدﻋﺎءات واﻟﻤﻘﺎرﻧﺎت‬ ‫وﻳﻘﻮل إن اﻷﻣﺮاض اﻷﺧﺮى ﻛﺎﻟﺤﺼﺒﺔ ﻻ ﺗﺴﺘﻤﺮ‬ ‫ﻃﻮﻳ ًﻼ‪ ،‬وﻛﺎﻟﺤﻤﺠﺔ ﻻ ﺗﺰﻋﺞ ﻛﺜﻴﺮاً‬ ‫رد اﻟﺸﺎﻋﺮ اﻟﺬي ﻳﺆﻛﺪ ﻋﲆ أن ﻣﻘﻮﻟﺔ اﳌﺮض ادﻋﺎء ﻛﺎذب ﻣﻦ ﺷﺨﺺ إذ أن ﻣﻮاﺿﻴﻌﻬﺎ ﺗﻼﻣﺲ اﻟﺠﻤﻴﻊ ﻓﺮداً ﻓﺮداً‪ ،‬ﻣﺨﺘﻠﻔﺔ ﺑﺬﻟﻚ ﻋﻦ‬ ‫اﳌﺪرﺳﺔ اﻟﺘﻘﻠﻴﺪﻳﺔ اﻟﺘﻲ ﻋﺮﻓﺖ ﺑﺠامﻫريﻳﺘﻬﺎ وﻣﻼﻣﺴﺔ اﻟﺠﻤﻴﻊ‪ ،‬وﻫﺬا‬ ‫ﻣﻠﻌﻮن ‪-‬اﳌﺮض‪ -‬ﻛام ﻗﺎل » اﺗﺤيك ﺑﺎﻟﻜﺬب ﻳﺎ ﻫﺬا اﻟﻠﻌني«‪.‬‬ ‫ﻣﻦ ﺛﻢ ﻳ ّﺘﺠﻪ اﻟﺸﺎﻋﺮ ﻟﺪﺣﺾ ﺑﺎﻗﻲ اﻻدﻋﺎءات واﳌﻘﺎرﻧﺎت وﻳﻘﻮل إن ﻣﺎ ﺳﻨﺠﺪه ﰲ اﻷﺑﻴﺎت اﻟﻼﺣﻘﺔ‪:‬‬ ‫اﻷﻣﺮاض اﻷﺧﺮى ﻛﺎﻟﺤﺼﺒﺔ ﻻ ﺗﺴﺘﻤﺮ ﻃﻮﻳ ًﻼ‪ ،‬وﻛﺎﻟﺤﻤﺠﺔ ﻻ ﺗﺰﻋﺞ ﻛﺜرياً‪4*|CCC CCCGfCCC+ CC CC CCD £fCCC CCCqCCC< · lCC CC CC7 .‬‬ ‫‪ÕCCªCCFfCC+ ¥CCCC CCCCJ&* lCCCªCCC T CCC1 CCC CCC: CCCCC‬‬ ‫‪U CF‬‬ ‫ﺑﻴﻨام أﻧﺖ أﻳﻬﺎ اﻟﺴﻌﺎل اﻟﺪﻳيك ﻳﺒﺪو أﻧﻚ ﺳﺘﺒﻘﻰ ﺳﻨﻴﻨﺎً وﻟﻦ ﺗﻨﻘﻄﻊ‬ ‫‪4*~CCC< ¥CCkCCªCC CC CC6&* «CCCCC+2U · ¢CC CC CC0 ¢CCCC+K‬‬ ‫ﻋ ّﻨﺎ‪ ،‬ﻟﺬا وﺟﺐ ﻣﺤﺎرﺑﺘﻚ ودﻓﻌﻚ ﻋﻦ اﻟﻨﺎس ﻹﻧﻘﺎذﻫﻢ‪ .‬واﻟﺤﺮب ﻫﻨﺎ‬ ‫‪ÕCC¡CC CC9 KT ¸ ¥CCC CCCH ¿ ¥CC CC CC: ¢CCCCCMK‬‬ ‫ﺗﺒﺪأ ﺑﺎﻟﺪﻋﺎء‪ ،‬وﻫﺬا ﻳﺨﱪﻧﺎ ﻋﻦ وﺳﺎﺋﻞ ﻣﻌﺎﻟﺠﺔ اﳌﺮض ﰲ ﺗﻠﻚ اﻷزﻣﺎن‪4*|CCCCCCCC+¸* £fCCCC CCCC7 *3 ÙfCCCCCC+ CCCC CCCC»* ،‬‬ ‫ﻓﺠﻠﻬﺎ ﻛﺎﻧﺖ ﻣﻌﻨﻮﻳﺔ ﻛﻘﺮاءة اﻟﻘﺮآن اﻟﻜﺮﻳﻢ واﻟﺪﻋﺎء ﻛام ﺳﻨﻼﺣﻆ‬ ‫‪ÕCC CC CC0 P CCCC CCCC: ¥CCCCE5|CCCCM «CCCCCCC+T 4 CCC CCCM‬‬ ‫ﻣﻦ ﺗﺎﱄ اﻷﺑﻴﺎت‪:‬‬ ‫‪4fCCnCC CCG* ¥CCwCCªCC CC7K ¥CC CCªCC CCDU CC CC CC CC‬‬‫‪ 4fCCnCC CC+ CCCªCCCH|CCCM CCCªCCCD Ù* hCC CC CC+‬‬ ‫‪ÕCC¤CCkCC CC CCH 5%fCCCCCCCCC-K CCC/|CCC< CC CC CC¡CCM‬‬ ‫*&‪4fCCCHzCCC+ CCC+ T{CCC CCCM £* Ù* ¨CC CC CC< K‬‬ ‫‪¢CCM§CC< ¨CCC CCC CCC- ¸K CCC CCC6fCCC+ CCC CCC-|CCCM‬‬ ‫‪4*{CCCC<¸fCCCC+ CCCGfCCCgCCC- §CCCCG zCCCªCCC CCCM fCCCCH‬‬ ‫‪ÕCC CC CC CC CC¼fCC+ P CCCCHfCCCC< CCC0|CCC/ lCCCCCCI*K‬‬

‫اﻟﺪﻋﺎء وﺳﻴﻠﺔ ﻣﺜﲆ ﻟﺪﻓﻊ اﻟﺒﻼء‪ ،‬وﻳﺒﺪأ ﻫﻨﺎ اﻟﺸﺎﻋﺮ ﺑﺘﺄﻛﻴﺪ ذﻟﻚ ﻋﻤﻠﻴﺎً‪،‬‬ ‫وﻫﻮ ﻳﺨﺎﻃﺐ رﺑﻪ ﻃﺎﻟﺒﺎً اﻗﺘﻼع اﳌﺮض ﻣﻦ ﺟﺬوره ورﻣﻴﻪ ﺑﺎﻟﻌرثات‪،‬‬ ‫ﻛﻨﺎﻳﺔ ﻋﻦ إﺷﻐﺎﻟﻪ ﺑﺄﻣﻮر أﺧﺮى ﺗﻌﺬﺑﻪ وﻻ ﻳﻠﻘﻰ ﻣﻦ ﻳﻌﻴﻨﻪ ﻋﻠﻴﻬﺎ‪،‬‬ ‫ﺣﻴﺚ إﻧﻪ ﺗﺮك ﻋﲆ اﳌﺴﻠﻤني أﺛﺮا ﺑﺎﻟﻐﺎ وﻟﻦ ﺗﻔﻴﺪه ﺣﻴﻨﺌﺬ أﻋﺬاره‬ ‫واﻋﺘﺬاره ﻋام ﺑﺪر ﻣﻨﻪ‪.‬‬ ‫واﻟﺸﺎﻋﺮ ﺑﻬﺬا اﻷﺳﻠﻮب اﻟﺒﺴﻴﻂ اﳌﺒﺎﴍ‪ ،‬ﻳﻄﺮح ﻣﻔﺎﻫﻴﻢ ﻛﺜرية ﰲ‬ ‫اﻟﻘﺼﻴﺪة ﻋﻦ اﳌﻌﺘﻘﺪات اﻟﺴﺎﺋﺪة واﻟﺸﺨﺼﻴﺔ اﻟﺘﻲ ﻳﺆﻣﻦ ﺑﻬﺎ‪ ،‬ﻛﻌﺪم‬ ‫ﺻﺪور اﳌﺮض ﻣﻦ اﻟﺮب‪ ،‬وﻣﺴﺄﻟﺔ اﻟﺠﱪ واﻻﺧﺘﻴﺎر وﻣﻮﺿﻮع اﻟﺪﻋﺎء‬ ‫ﻟﺮﻓﻊ اﻟﺒﻼء‪ ،‬وﻏريﻫﺎ ﻣﻦ اﻷﻣﻮر اﻟﺘﻲ ﳌﺴﻨﺎﻫﺎ ﰲ اﻟﺴﻴﺎق‪ ،‬وإن مل‬ ‫ﻳﴩ إﻟﻴﻬﺎ اﻟﺸﺎﻋﺮ ﻟﺴﺒﺐ ﻣﻬﻢ ﻫﻮ ﺗﺴﻮﻳﻖ ﻗﺼﻴﺪﺗﻪ ﺑني ﻋﺎﻣﺔ اﻟﻨﺎس‬ ‫وﺟﻌﻠﻬﺎ ﻣﺎدة ﻣﺘﺪاوﻟﺔ ﺑﻴﻨﻬﻢ وإﺧﺮاج اﳌﺪرﺳﺔ اﻟﺸﻌﻮرﻳﺔ ﻣﻦ ﻃﺮح‬ ‫اﻷﻓﻜﺎر اﻟﺬاﺗﻴﺔ اﻟﺨﺎﺻﺔ ﻓﻘﻂ‪ ،‬وﺑﻴﺎن وﺳﻊ ﻫﺬه اﳌﺪرﺳﺔ واﺟﺘامﻋﻴﺘﻬﺎ‪،‬‬

‫‪ÕCCC¼fCCC CCC6 ÔCCCC‬‬ ‫‪T C CCCCC0 §CCCCCC+ ¢CCCCCCH CCC¤CCC CCC CCCM‬‬ ‫‪4fCCC/ CCCCF jCCC CCC CCC/K CC CC CC CCM «CCC CCC< CCCC‬‬ ‫‪U C.‬‬ ‫‪ÕCCgCCF*|CCG* 4fCC CC CC0 fCCCM CCCCE*§CCCC<* ¢CCCH‬‬ ‫‪4fCC CC6 4fCCCCCC/ zCCCCß ¢CCCCH CCCCF ÔCCC‬‬ ‫‪T C CCCC0§CCCC+‬‬ ‫‪ÕCCC¡CCCH'§CCC¼* lCCªCC CC+ CCCCE*§CCCC<fCCCC+ lCCCCCCI*K‬‬ ‫‪4*|CCCCC+¸* ÔCCC1 ¨CC CC< Ù* ¨CCC T CCC CCC8K *3‬‬ ‫*&‪ÕCCC CCC CCC6|CCC¼* CCCkCCC1 4fCCCCkCCCCwCCCC¼* zCCCCC CCCCC0‬‬

‫ﰲ ﻫﺬه اﻷﺑﻴﺎت ﻳﺴﺘﺸﻬﺪ اﻟﺸﺎﻋﺮ ﺑﺄﺷﺨﺎص ﻋﺎدﻳني ﰲ ﻣﺠﺘﻤﻌﻪ‪،‬‬ ‫وﻳﺆﻛﺪ ﻋﲆ ﻣﻨﻄﻖ اﻗﱰاب اﳌﺪرﺳﺔ اﻟﺸﻌﻮرﻳﺔ ﻣﻦ ﻛﻞ ﺟﻤﻴﻊ أﺑﻨﺎء‬ ‫اﳌﺠﺘﻤﻊ وﺗﻌﺎﻃﻴﻬﺎ ﻣﻊ ﻗﻀﺎﻳﺎﻫﻢ ﺑﺴﻬﻮﻟﺔ وﻳﴪ‪ ،‬وﻫﺬا ﺗﺄﻛﻴﺪ أﻳﻀﺎ‬ ‫ﻋﲆ اﻟﺸﻌﻮر اﳌﺸﱰك اﻟﻌﺎم ﺑني اﻷﻓﺮاد‪ ،‬ﺑﻌﻴﺪا ﻋﻦ اﳌﻮاﺿﻴﻊ اﻟﺨﺎﺻﺔ‬ ‫اﳌﺘﻜﺮرة ﺑﻴﻨﻨﺎ‪ .‬ﻓﻔﻲ اﻷﺑﻴﺎت اﻷﺧرية ﻣﻦ ﻫﺬه اﻟﻘﺼﻴﺪة ﻳﺄيت ﻋﲇ ﺑﻦ‬ ‫ﻗﻨﱪ ﺑﺄﺳامء ﻣﻨﻮﻋﺔ ﻣﻦ اﻟﻨﺎس ﻛﺤﺴﻦ وﻓﻄﻴﻤﺔ وﻋﲇ وﻳﺴﺘﻌﺮض‬ ‫ﺣﺎﻻﺗﻬﻢ ﻣﻊ ﻫﺬا اﻟﻮﺑﺎء اﻟﺬي ﻫﺪد اﻟﺠﻤﻴﻊ‪ ،‬وإﻳﺮاد ﻫﺬه اﻷﺳامء ﻫﻮ‬ ‫إﻳﺮاد أﻣﺜﻠﺔ ﺣ ّﻴﺔ ﻣﻦ اﳌﺠﺘﻤﻊ ﳌﻼﻣﺴﺔ اﻟﻮاﻗﻊ‪ ،‬واﻟﻨﺰول إﱃ ﻣﺴﺘﻮى‬ ‫ﻫﻤﻮم اﻟﺸﺎرع اﻟﻌﺎم واﻻﻗﱰاب ﻣﻨﻪ‪ ،‬وﻛﺸﻒ اﻟﺘﻔﺎﺻﻴﻞ اﻟﺪﻗﻴﻘﺔ ﻓﻴﻪ‪،‬‬ ‫وﻫﺬا ﻳﻌﺪ ﻛﺸﻔﺎً ﻷﴎار ﰲ ذﻟﻚ اﻟﺰﻣﻦ‪ ،‬وﻟﻜﻦ أﺻﺒﺤﻨﺎ ﻧﺮى ﻫﺬه‬ ‫اﻷﴎار أﺧﺒﺎراً ﻣﻦ ذﻟﻚ اﻟﺰﻣﻦ ﻧﻘﻠﻬﺎ إﻟﻴﻨﺎ اﻟﺸﻌﺮاء وﻣﻨﻬﻢ ﺷﺎﻋﺮ ﻫﺬه‬ ‫اﻟﻘﺼﻴﺪة ﻋﲇ ﺑﻦ ﻗﻨﱪ‪.‬‬ ‫أﻏﺴﻄﺲ‪-‬ﺳﺒﺘﻤﺒﺮ ‪33 2016‬‬

‫أﺳﺮار ﻓﻲ أﺷﻌﺎر‬ ‫‪baytelshear‬‬ ‫‪4fCC CCD¸* CCªCCF |CC CC¡CCG* §CC CC7 ÔCC CC0 §CC‬‬ ‫‪C+‬‬ ‫ويك ﻳﻀﻤﻦ ﻋﺪم وﺟﻮد أﻧﺎس آﺧﺮﻳﻦ ﻳﺼﻴﺒﻬﻢ‪ ،‬ﻓﺠﻞ اﻟﻨﺎس ﻫﻨﺎ ﻗﺪ‬ ‫‪T‬‬ ‫‪ÕC‬‬ ‫‪C‬‬ ‫‪ºfC‬‬ ‫‪C‬‬ ‫‪ C‬‬ ‫‪C‬‬ ‫‪ C‬‬ ‫‪C‬‬ ‫‪kC‬‬ ‫‪C‬‬ ‫‪H i§CCCCC‬‬ ‫‪C‬‬ ‫‪J fCCCCCCCC‬‬ ‫‪C‬‬ ‫‪M‬‬ ‫‪K fCCCC‬‬ ‫‪C‬‬ ‫‪¡CCCC‬‬ ‫‪C‬‬ ‫‪H*2‬‬ ‫‪T‬‬ ‫أﺻﺎﺑﺘﻬﻢ ﻋﺪوى »اﻟﺴﻌﺎل اﻟﺪﻳيك« وﻫﺬا ﻣﺎ ﻳﺆﻛﺪ اﺳﺘﻨﺘﺎﺟﻨﺎ ﰲ اﻟﻔﻘﺮة‬ ‫*‪4fCCCCCH2 CCC CCC CCCM fCCCCCCCCCCI4*2 ¢CCCCCH ¢CCCC CCCCkCCCCG‬‬ ‫اﻟﺴﺎﺑﻘﺔ‪ ،‬ﻟﻨﻜﻤﻞ اﻵن ﻫﺬا اﳌﺤﻮر وﻧﺴﺘﻤﻊ إﱃ اﻟﺮد اﻵيت ﻣﻦ اﳌﺮض‬ ‫‪ÕCCªCC=fCC: ¿ |CCCC CCCC CCCCG*K L4fCCC CCC CCC¡CCC CCCG‬‬ ‫ﻋﲆ اﻟﺸﺎﻋﺮ ﻋﲇ ﺑﻦ ﻗﻨﱪ‪:‬‬ ‫‪4fCCC CCC CCCG* hCCCC CCCCG fCCCC¡CCCC+ hCCC CCC CCC- Ë*2‬‬ ‫‪P‬‬ ‫‪ÕCC CC CC9*|CCG* fCCCC CCCC:&¸* ¸* |CCC CCC- fCCCH‬‬ ‫‪4fCCCgCCCÅ5 zCCCC CCCCI* CCCªCCC CCC CCCM fCCCCCH £fCCCCCCF‬‬ ‫‪ÕCC+K zCC‬‬ ‫· *‪P C¡CCC/ CCCG §T CCC CCC6 CCC0*§CCC CCC CCCG‬‬

‫‪4fCC CCD¸* lCC CC CC9 «CC CC< fCCM CC+ CCC7K fCCCE‬‬ ‫‪ÕCCD4fCC CCG* fCCC/|CCCG* zCCCªCCC0* fCCCCCI%*K‬‬ ‫‪4fCC¤CCqCC+U §CCC CCC6|CCCH 4§CCCCHfCCCCH fCCCCCCI&* lCCCªCCC/‬‬ ‫‪ÕCC¡CC. ¥CCCCG fCCCCH ¿ i|CCCCCCCG* «CCC¡CCC T CCC CCC6|CCCH‬‬ ‫‪4fCCC CCC CCCGfCCC+ CCCFfCCC CCCG «CCC CCCgCCCE ¬4zCCCCCCCC¹‬‬ ‫‪ÕCC CC CC6|CC¼* £§CCC CCC/|CCC- *§CCCCC-4zCCCCCE fCCCCH‬‬ ‫‪4*|CCC CCC9* ¥CCCªT CCCD fCCCH ÕCC CC CC CC¼* fCCCCCI&* ¸(*K‬‬ ‫=‪ÕCCCCI§CCCCG* mÐCCCCCCCCCCFK ¿fCCC CCC CCC CCC+ ÔCCCCC‬‬ ‫‪T‬‬

‫وﻣﻦ اﳌﺤﻮر اﻟﺜﺎﻟﺚ ﰲ اﻟﻘﺼﻴﺪة ﻳﺒﺪأ اﻟﺸﺎﻋﺮ ﺑﻔﺘﺢ ﺣﻮار ﻣﻊ‬ ‫اﳌﺮض‪ ،‬ﻛﺄن ﻫﺬا اﻟﺤﻮار ﻧﻮع ﻣﻦ أﻧﻮاع ﻣﺒﺎﺣﺜﺎت اﻟﺴﻼم‪ ،‬ﻟﻴﻘﻮل ﻟﻪ‬ ‫إن ﻣﻮﺿﻮع اﻟﺘﺼﺎﻟﺢ ﻏري ﻣﺠ ٍﺪ وﻳﺠﺐ إﻳﺠﺎد ﻣﺨﺮج ﻟﻬﺬه اﻷزﻣﺔ‪.‬‬ ‫ﻳﺼﺐ ﻏﻀﺒﻪ ﻋﲆ اﳌﺮض وﻳﻄﺮده ﻣﻦ‬ ‫وﻧﻼﺣﻆ ﻛﻴﻒ أن اﻟﺸﺎﻋﺮ ّ‬ ‫ﻣﺴري أىت ﻣﻦ ﻋﻨﺪ اﻟﺮب اﻟﻮاﺣﺪ اﻷﺣﺪ‪،‬‬ ‫ﻣﺨري ﺑﻞ ّ‬ ‫داره ﻟيك ﻳﺒﺘﻌﺪ ﻋﻨﻬﻢ وﻳﺨﺘﺎر ﻟﻪ ﺳﺎﺣﻞ »زﻧﺠﺒﺎر«‪ ،‬وﻫﻮ أﺑﻌﺪ ﻣﻜﺎن ﻳﻘﻮل اﳌﺮض إﻧﻪ ﻏري ّ‬ ‫ﻳﺴﺘﻄﻴﻊ اﻟﺸﺎﻋﺮ إرﺳﺎﻟﻪ إﻟﻴﻪ يك ﻳﻀﻤﻦ ﻋﺪم رﺟﻮﻋﻪ ﻣﺮة أﺧﺮى‪ ،‬ﻛام ﺟﺎء ﻗﺒﻠﻪ ﻣﺮض اﻟﺠﺪري‪ .‬وﻳﺴﺘﻐﺮب اﳌﺮض ﻣﻦ أﺳﻠﻮب اﻟﺸﺎﻋﺮ‬ ‫وﺗﺤﺎﻣﻠﻪ ﻋﻠﻴﻪ ﺑﺎﻟﺮﻏﻢ ﻣﻦ أﻧﻪ ﻣﻦ ذوي اﻟﻌﻠﻢ واﳌﻌﺮﻓﺔ‪ ،‬ﻟﺬا ﻧﺠﺪ‬ ‫ﻣﺮض »اﻟﺴﻌﺎل اﻟﺪﻳيك« ﻳﻔﺘﺢ ﻣﻘﺎرﻧﺔ ﺑﻴﻨﻪ وﺑني اﻟﺠﺪري وﻳﻘﻮل إﻧﻪ‬ ‫ﻣﺮض ﻟﻴﺲ ﺑﻪ ﴐر ﺳﻮى ﺗﺄﺛريه ﻋﲆ اﻟﺤﺒﺎل اﻟﺼﻮﺗﻴﺔ‪ ،‬وﻫﻮ ﴐر‬ ‫ﻻ ﻳﻜﺎد ﻳﺬﻛﺮ ﺑﺎﻟﻨﺴﺒﺔ ﻷﴐار اﻟﺠﺪري‪ ،‬ودﺧﻮل اﻟﺠﺪري ﰲ اﻟﺴﻴﺎق‬ ‫ﻫﻨﺎ أﺳﻠﻮب ذيك ﺟﺪا ﻣﻦ اﻟﺸﺎﻋﺮ ﻹﻳﺮاد ﺣﻮادث ﻣﻬﻤﺔ ﻣﺘﻌ ّﻠﻘﺔ‬ ‫ﺑﺎﳌﻮﺿﻮع‪ ،‬وﺑﻴﺎن ﻣﺪى ﺗﺄﺛﺮ اﳌﺠﺘﻤﻊ ﺑﺎﻷوﺑﺌﺔ اﳌﺘﺘﺎﻟﻴﺔ وﻛﺸﻒ ﺑﻌﺾ‬ ‫اﻷﴎار أو اﻷﺧﺒﺎر اﳌﻬﻤﺔ ﻋﻦ أﺣﻮال اﳌﺠﺘﻤﻊ ﰲ ذﻟﻚ اﻟﺰﻣﻦ‪ ،‬اﻟﺬي‬ ‫ﻛﺎﻧﺖ اﻟﻘﺼﻴﺪة ﻓﻴﻪ ﻣﻦ أﻫﻢ اﻟﻮﺳﺎﺋﻞ اﻹﻋﻼﻣﻴﺔ ﻟﻌﺪم ﺗﻮﻓﺮ اﻟﺠﺮاﺋﺪ‬ ‫واﻟﺼﺤﻒ ﰲ اﻹﻣﺎرات أو وﺟﻮد اﻹذاﻋﺎت واﻟﺘﻠﻔﺰﻳﻮﻧﺎت‪:‬‬

‫*‪4*zCCCCkCCCCE* K3 [¬§CCCCCCCE ÙfCCCCCC+ CCC CCC¡CCCG‬‬ ‫‪ÕCCkCCHfCC CC CCG* ¢CC CC CCG* fCCCM ¥CCkCCIfCCD ¸*K‬‬ ‫*‪4*|CCCH* ¢CCCH CCCG CCCF CC CCªCC¤CCG* fCCCM «CCgCC¤CC-‬‬ ‫*‪ÕCC CC CCG* *{CCCCCJ fCCCCM i{CCC CCCGfCCC+ «CCCC CCCC³‬‬ ‫‪4*~CCCC CCCCI* fCCC¤CCCªCCCD P, [zCCCCCCCCCH ¥CCCCCG ¬4zCCCCCCC¹‬‬ ‫‪ÕCCC CCC+4¸ CCC T CCC CCCM jCCC<fCCC CCC6 CCC CCC CCC¡CCCM‬‬ ‫‪4fªk1f+ fCC¡CCªCC± ¥CCgCC CC CCº* *zCCC/ ¢CCCHK‬‬ ‫<‪ÕCC0 zCCC CCC+ «CC¤CC¡CC- CCCC. CCCCCCC+4*K |CC CC CC‬‬ ‫‪4fCCgCC1¸* ª k+ ¥CCqCC CCº* zCC CC CCI*K‬‬ ‫‪ÕCCC¡CCCH'§CCC¼* ToCCC CCC- CC CCnCCH «CCC CCC³* fCCCCH‬‬ ‫‪4fCC CC< CC CC CC CC7 Ë*2‬‬ ‫‪ ¥CCCkCCCIfCCCD ¸(*K‬‬ ‫‪P‬‬ ‫;‪ÕCC¡CC CC6 , VzCCCCCCCCH CCC CCC CCC¡CCC- fCCCCCH ¥CCCªCCCT¡CCC‬‬

‫ﰲ ﻫﺬه اﻷﺑﻴﺎت ﻳﻜﻤﻞ اﻟﺸﺎﻋﺮ اﻟﺤﻮار ﰲ رده ﻋﲆ ﻣﺮض اﻟﺴﻌﺎل‬ ‫اﻟﺪﻳيك‪ ،‬ورد ادﻋﺎءات ﺑﺮاءﺗﻪ‪ ،‬ﺑﺪءاً ﻣﻦ رﻓﺾ ﻣﺒﺪأ ﺗﺴﻴريه ﻹﺻﺎﺑﺔ‬ ‫اﻟﻨﺎس‪ ،‬ﻓﺎﻟﺮب اﻟﺮﺣﻴﻢ ﻣﺘﻨﺰ ٍه ﻋﻦ إﻳﻘﺎع اﻟﴬر ﻋﲆ ﻣﻦ ميﺜّﻠﻮن اﻟﱪاءة‬ ‫ﰲ اﳌﺠﺘﻤﻊ ﻛﺎﻷﻃﻔﺎل‪ ،‬وإمنﺎ اﻷرواح اﻟﴩﻳﺮة ﻫﻲ اﻟﺴﺒﺐ‪ ،‬إذ إﻧﻬﺎ‬ ‫ﺗﺤﺐ أن ﺗﺸﻤﺖ ﺑﺒﻨﻲ اﻟﺒﴩ‪ ،‬وﺗﻀﻌﻒ إميﺎﻧﻬﺎ ﺑﺎﻟﺮب اﻟﺮﺣﻤﻦ‬ ‫اﻟﺮﺣﻴﻢ‪ .‬وﻫﺬا اﳌﻌﻨﻰ وإن مل َﻳﺮد ﺑﺸﻜﻞ ﻣﺒﺎﴍ‪ ،‬إﻻ أﻧﻪ ُﻳﺴﺘﺸﻒ ﻣﻦ‬ ‫‪ 332‬ﺑﻴﺖ اﻟﺸﻌﺮ ‪ /‬اﻟﻌﺪد ‪48‬‬

‫ﻣﺤﻤﺪ ﻧﻮر اﻟﺪﻳﻦ‬

‫*&‪ 4*|CCCCC CCCCC6¸* TÑCCCCCCC< 2§CCCgCCC CCC¼* hCCCC CCCC:‬‬ ‫‪ÕCC CC)fCC CC CC CCG CCC CCCkCCC CCC CCCM Ë*2 «CCCCCC0‬‬ ‫‪ 4*{CCCCCCCC<¸*K |CCC CCC CCCkCCCG*K CC CNC CCwCCkCCGfCC+‬‬ ‫‪ÕCCCC¼fCCCC CCCCG* ¥CCCCCCCCCCCG(* fCCCCCCCM CCCCC¡T CCCCCgCCCCCGfCCCCC:‬‬ ‫‪ 4fCC CC CCº* *{CCCCJ ¢CCCH fCCCC CCCC:&¸* CC0|CC‬‬‫‪¢CCCMzCCCHfCCC1 CCCCCJfCCCCC<2 ¿ ÔCCC‬‬ ‫‪T C CCCC0 §CCCCC+‬‬

‫اﻟﺸﺎﻋﺮ ﻋﲇ ﺑﻦ ﻗﻨﱪ ﻣﻦ أﻫﻢ ﺷﻌﺮاء اﳌﺪرﺳﺔ اﻟﺸﻌﻮرﻳﺔ أو‬ ‫اﻟﺮوﻣﺎﻧﺴﻴﺔ ﰲ اﻹﻣﺎرات‪ .‬وﰲ ﻗﺼﻴﺪﺗﻪ ﻫﺬه ﻧﺠﺪ اﻟﺒﺪاﻳﺔ ﺑﺎﻟﺪﻋﺎء‪،‬‬ ‫وﻫﺬا ﻣﺎ درج ﻋﻠﻴﻪ ﺷﻌﺮاء اﳌﺪرﺳﺔ اﻟﺘﻘﻠﻴﺪﻳﺔ‪ ،‬وﻛﺜريا ﻣﺎ اﺳﺘﺨﺪم‬ ‫اﻟﺸﺎﻋﺮ ﻫﺬه اﻟﺒﺪاﻳﺎت اﻟﺘﻘﻠﻴﺪﻳﺔ ﺑﺎﻟﺮﻏﻢ ﻣﻦ ﺑﺮوز ﻇﻮاﻫﺮ ﻏري‬ ‫ﺗﻘﻠﻴﺪﻳﺔ ﻛﺜرية ﰲ ﺷﻌﺮه _ أي ﻇﻮاﻫﺮ اﳌﺪرﺳﺔ اﻟﺮوﻣﺎﻧﺴﻴﺔ _ وﻗﺪ‬ ‫ﺣﻠﻞ ورﺻﺪ اﻟﺒﺎﺣﺚ‪ /‬ﺳﻠﻄﺎن اﻟﻌﻤﻴﻤﻲ ﰲ ﻛﺘﺎﺑﻪ »ﻋﲇ ﺑﻦ ﻗﻨﱪ ﺣﻴﺎﺗﻪ‬ ‫وﺷﻌﺮه« ﻫﺬه اﻟﺒﺪاﻳﺎت واﻟﻨﻬﺎﻳﺎت‪ ،‬وﻫﺬا ﻳﺆﻛﺪ ﻋﲆ رﺳﻮخ اﻟﻘﺼﻴﺪة‬ ‫اﻟﺘﻘﻠﻴﺪﻳﺔ ﰲ وﺟﺪان ﻋﲇ ﺑﻦ ﻗﻨﱪ ﺟﻨﺒﺎً إﱃ ﺟﻨﺐ ﻣﻊ ﻧﺰﻋﺘﻪ اﻟﺘﻄﻮﻳﺮﻳﺔ‬ ‫اﻟﺘﻲ ﺳﻨﻼﺣﻆ ﺟﺰءا ﻣﻨﻬﺎ ﰲ ﻫﺬه اﻟﻘﺼﻴﺪة وﻫﻮ ﻳﺘﺤ ّﺪث ﻓﻴﻬﺎ ﻋﻦ‬ ‫»ﺑﻮﺣﻤري« أي اﻟﺴﻌﺎل اﻟﺪﻳيك اﻟﺬي أﺻﺎب واﻧﺘﴩ ﰲ ﻗﻮﻣﻪ‬ ‫ﻣﺮض‬ ‫ّ‬ ‫ﺑﺸﻜﻞ ﻛﺒري‪:‬‬ ‫*¸&‪4fCCCªCCC0 *§CCCCCCCTµ CCC¤CCCqCCCMK ¢CCCCCH CCCCCCCCCJ‬‬ ‫‪ÕCCCªCCC<*K Ë*2 CCCªCCC CCCG* *{CCCCCCJ §CCCCCC:‬‬ ‫‪ 4fCCgCC CCG* ¨CCkCC0 *§CCgCCªT CC CC7 CCJzCC¤CCM ¢CCCH‬‬ ‫‪ÕCC CCMfCC1 Ë*2 CC CCªCC¤CCG* *3 L3K ¢CCCH‬‬ ‫· *‪4fCCCI CCC CCC6K ¥CCCC¡T CCCCFK ¿fCCCCC/ 4zCCC CCC CCCG‬‬ ‫‪¢CCCCMzCCCCM%* ¦zCCCCªCCCC CCCCMfCCCC+K v|CCCCCC/ i§CCCCCCJ‬‬ ‫*=‪4fCC CC CC CCG* É*ÔCCCCC/ 2¸K* ɧCC CC CC CC‬‬ ‫‪ ÕCCCM5§CCCkCCCH CCCCCCJK |CCC¤CCC CCC7* pÑCCCCCC. ¢CCCCH‬‬

‫ﰲ ﻫﺬا اﳌﺤﻮر ﻳ ّﺘﺠﻪ اﻟﺸﺎﻋﺮ إﱃ وﺻﻒ اﻟﺤﺎﻟﺔ اﻟﻌﺎﻣﺔ‪ ،‬وﺗﺄﺛري اﻷزﻣﺔ‬ ‫ﻣﻦ زاوﻳﺔ ﻧﻈﺮ أﻛرث اﺗﺴﺎﻋﺎً‪ ،‬ﻓﻴﺘﺤ ّﺪث ﻋﻦ ﻋﺎﺋﻠﺘﻪ وﻫﻮ ﻳﻘﺼﺪ اﻟﻌﺎﺋﻠﺔ‬ ‫ﰲ اﳌﺠﺘﻤﻊ ﺑﺸﻜﻞ ﻋﺎم‪ ،‬وﻛﻴﻒ أﺻﺒﺢ ﻟﻴﻠﻬﻢ ﻧﻬﺎراً ﻣﻦ اﻟﺤرية وﻋﺪم‬ ‫اﻟﻨﻮم ﰲ اﻟﺒﻴﺖ اﻷول‪ .‬ﺛﻢ ﻳﺘﻮﺟﻪ إﱃ وﺻﻒ ﺣﺎﻟﺔ اﻟﻜﺒﺎر وﻛﻴﻒ ﺑﺎﻧﺖ‬ ‫ﻋﻼﻣﺎت اﻟﺸﻴﺐ ﻓﻴﻬﻢ ﺑﺴﺒﺐ اﳌﺮض ﰲ اﻟﺒﻴﺖ اﻟﺜﺎين‪ .‬وﻫﻲ أﻳﻀﺎ ﻧﻈﺮة‬ ‫ﻋﺎﻣﺔ إﱃ ﺣﺎل أﻏﻠﺐ اﻟﻜﺒﺎر اﳌﺼﺎﺑني ﺑﺎﳌﺮض اﻟﺬي ﻳﺼﻔﻪ ﰲ اﻟﺒﻴﺖ‬ ‫اﻟﺜﺎﻟﺚ ﺑﺎﻟﻮﺳﻢ ﰲ اﻟﺼﺪر‪ ،‬اﻟﺬي ﻟﻴﺲ ﺑﺎﻟﺠﺮح اﻟﺬي ﻳﻔﻴﺪ ﻣﻌﻪ اﳌﻌﻘﻢ‬ ‫»آﻳﺪﻳﻦ« اﳌﻌﺮوف ﰲ ﺗﻠﻚ اﻟﻔﱰة‪ .‬وﺑﻌﺪ ذﻟﻚ ﻳ ّﺘﺠﻪ اﻟﺸﺎﻋﺮ ﻧﺤﻮ ﺑﺎﻗﻲ‬ ‫اﻟﺼﻐﺎر ﰲ داﺋﺮة اﳌﺠﺘﻤﻊ وﻳﺨﺘﺎر ﻣﻨﻬﻢ اﻷﻗﺮب إﻟﻴﻪ‪ ،‬وﻫﻢ أﺑﻨﺎء ﺟرياﻧﻪ‬ ‫ﻟﻴﺤﺮك اﻟﺼﻮرة ﺑﺪءا ﻣﻦ داﺧﻞ ﻣﻨﺰﻟﻪ ﺣﺘﻰ اﻟﺨﺎرج‪ ،‬يك ﻳﺮﺳﻢ‬ ‫اﻟﺼﻐﺎر‪ّ ،‬‬ ‫ﻟﺘﺘﺤﺮك ﻣﺸﺎﻋﺮﻧﺎ ﺑﺎﺳﺘﺤﻀﺎرﻧﺎ ﻫﺬه اﻟﺤﺎﻟﺔ‬ ‫ﰲ ﻣﺨﻴﻠﺘﻨﺎ ﺻﻮرة اﳌﺠﺘﻤﻊ‪ّ ،‬‬ ‫اﻟﻌﺎﻣﺔ‪ ،‬ﺑﺎﻟﺮﻏﻢ ﻣﻦ أن اﻟﺴﻴﺎق ﻳﺪور ﺣﻮل ﻋﺎﺋﻠﺔ واﺣﺪة ﻣﺼﺎﺑﺔ ﺑﻬﺬا‬ ‫اﳌﺮض‪ ،‬وﻫﺬا ﻟﻴﺲ ﴎاً ﻣﻦ أﴎار اﻟﻘﺼﻴﺪة اﻟﺘﻲ ﻳﺼﻌﺐ اﻟﺘﺄﻛﺪ ﻣﻨﻬﺎ‪،‬‬ ‫وﻟﻜﻦ ﻫﺬا ﻣﺎ ﺳﻴﺴﺘﻨﺘﺠﻪ اﳌﺘﻠﻘﻲ ﻣﻦ ﺗﻄﻮر اﻟﺴﻴﺎق ﰲ اﻟﻘﺼﻴﺪة‬ ‫وﺗﻄﻮر داﺋﺮة ﺷﺨﻮص اﻟﻘﺼﻴﺪة‪.‬‬ ‫أﻏﺴﻄﺲ‪-‬ﺳﺒﺘﻤﺒﺮ ‪31 2016‬‬

‫أﺳﺮار ﻓﻲ أﺷﻌﺎر‬ ‫‪baytelshear‬‬

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‫ر اﻟﻤﺮ‬ ‫ض‬ ‫وﻳ‬ ‫ﺨ‬ ‫ﺎ‬ ‫ﻃﺒﻪ ‪:‬‬

‫»‬ ‫ﻛ‬ ‫ْ‬ ‫ﻢ‬ ‫ﻃ‬ ‫ﻔ‬ ‫ﻞ‬ ‫ّ‬ ‫ﺧ‬ ‫ﻠ‬ ‫ﻴ‬ ‫ﺖ‬ ‫أ‬ ‫ﻫ‬ ‫ﻠ‬ ‫ﻪ‬ ‫ﺑ‬ ‫ﺎﻛﻴﻴﻦ«‬

‫‪ 30‬ﺑﻴﺖ اﻟﺸﻌﺮ ‪ /‬اﻟﻌﺪد ‪48‬‬

‫ﻛﺎن ﺳﻴﺆدي ﻧﺘﺎﺋﺞ ﺟﻴﺪة‪ .‬وﻗﺎل ﻟﻮﻻ دﻋﻢ‬ ‫اﳌﻠﻚ ﻋﺒﺪ اﻟﻠﻪ ﳌﺎ متﻜﻦ اﻟﻔﺮﻳﻖ ﻣﻦ ﺗﺤﻘﻴﻖ‬ ‫اﻟﺒﻄﻮﻟﺔ ذﻟﻚ اﻟﻮﻗﺖ وأﻧﺎ ﻗﻤﺖ ﺑﺈﻫﺪاﺋﻬﻢ‬ ‫ﺣﺼﺎﻧﺎً‪.‬‬ ‫وﻳﺬﻛﺮ اﻷﻣري أﻧﻪ ﻳﻮﻣﺎ ﻣﺎ وﰲ ﻟﻔﺘﺔ ﻛﺮميﺔ‬ ‫وﺟﻤﻴﻠﺔ اﺗﺼﻞ ﺑﻬﻢ ﺻﺎﺣﺐ اﻟﺴﻤﻮ اﳌﻠيك‬ ‫اﻷﻣري ﻣﺘﻌﺐ ﺑﻦ ﻋﺒﺪاﻟﻠﻪ ﺑﻦ ﻋﺒﺪاﻟﻌﺰﻳﺰ‬ ‫وزﻳﺮ اﻟﺤﺮس اﻟﻮﻃﻨﻲ‪ ،‬وﻗﺎل إن ﻟﺪﻳﻪ رﺳﺎﻟﺔ‬ ‫ﻣﻦ اﳌﻠﻚ ﻋﺒﺪاﻟﻠﻪ وﻗﺪﻣﻬﺎ ﻣﺸﻜﻮرا‪ ،‬وﻛﺎﻧﺖ‬ ‫ﻋﺒﺎرة ﻋﻦ اﻗﱰاح ﰲ ذاك اﻟﻮﻗﺖ ﻣﻦ اﳌﻠﻚ‬ ‫اﻹﻧﺴﺎن ﻋﺒﺪاﻟﻠﻪ ﻟﻔﻜﺮة ﻛﺄس اﻟﻮﻓﺎء ﳌﺤﻤﺪ‬ ‫ﺑﻦ ﺳﻌﻮد‪ ،‬وﻫﺬه ﻟﻔﺘﺔ وﻣﻜﺮﻣﺔ ﻣﻨﻪ ﻷﺧﻴﻪ‬ ‫وﺻﺪﻳﻘﻪ ﻣﺤﻤﺪ ﺑﻦ ﺳﻌﻮد‪.‬‬ ‫وﻳﻘﻮل اﻷﻣري أﻧﻪ ﺣﻴﻨﻬﺎ ﻏﻤﺮﺗﻬﻢ اﻟﺴﻌﺎدة‬ ‫ﺑﻬﺬا اﻟﻮﻓﺎء واﳌﻮﻗﻒ اﻟﻨﺒﻴﻞ اﻷﺧﻮي واﻷﺑﻮي‬ ‫ﻣﻦ اﳌﻠﻚ ﻟﻮاﻟﺪه‪.‬‬ ‫وﰲ اﻟﻌﻮدة إﱃ ﻗﻴﻤﺔ اﻟﱰاث وﻣﻜﺎﻧﺘﻪ ﻳﺮى‬ ‫اﻷﻣري أن اﻟﺬي ﻟﻴﺲ ﻟﻪ ﻣﺎض ﻟﻦ ﻳﻜﻮن ﻟﻪ‬ ‫ﺣﺎﴐ‪ ،‬وﻳﻘﻮل‪» :‬اﻧﺎ أﺷﺠﻊ اﻟﻌﻠﻢ واﻟﺘﻌﻠﻢ‬ ‫وأﻳﻀﺎ‪ ،‬ارﺗﺒﻂ مبﻮرويث‪ ،‬ﻓﺎﻷﻣﺔ اﻹﺳﻼﻣﻴﺔ‬ ‫ﻫﻲ أﺳﺎس اﻟﺤﻀﺎرات اﻟﺤﺎﻟﻴﺔ‪ ،‬وﻳﻜﻔﻴﻨﺎ‬ ‫أن اﻟﺪﻳﺎﻧﺎت اﻟﺜﻼث اﻟﺴاموﻳﺔ ﺧﺮﺟﺖ ﻣﻦ‬ ‫اﻟﴩق اﻷوﺳﻂ‪ ،‬ﻣﻦ ﻣﻨﻄﻘﺘﻨﺎ ﺑﺎﻟﺘﺤﺪﻳﺪ‪،‬‬ ‫ﻓﺎﻟﻠﻪ ﴍﻓﻨﺎ ﺑﻬﺬه اﻟﺤﻀﺎرات واﻟﺪﻳﺎﻧﺎت‬ ‫وﻫﻲ أﺳﺎس اﻟﺘﻨﻮﻳﺮ‪.‬‬ ‫وﻳﻀﻴﻒ »اﻟﺨﻴﻞ أﺣﺒﻬﺎ وواﺟﺐ ﻋﻠﻴﻨﺎ أن‬ ‫ﻧﺪﻋﻤﻬﺎ‪ ،‬ﻓﻤﺜﻼ اﻟﺤﺼﺎن اﻟﻌﺮيب ﻟﻴﺲ ﻟﻪ‬ ‫ﻋﻼﻗﺔ ﺑﺄوروﺑﺎ‪ ،‬وﻣﻊ ذﻟﻚ ﻧﺮى ﻣﻬﺮﺟﺎﻧﺎت‬ ‫ﻛﺜرية وﻛﺒرية ﻟﻬﺬا اﻟﺤﺼﺎن‪ ،‬وﻛﺎﻧﺖ اﻟﻔﻜﺮة‬ ‫ﰲ اﻟﻘﺮن اﻟﺴﺎﺑﻊ أو اﻟﺜﺎﻣﻦ ﻋﴩ أن ﻫﻨﺎك‬

‫ﺣﺼﺎﻧني أﺧﺬا ﻣﻦ اﻟﺠﺰﻳﺮة اﻟﻌﺮﺑﻴﺔ‪ .‬وﻛﻼﻫام‬ ‫ﻋﲆ ﻣﺎ ذﻛﺮ ُأﺧﺬا ﻣﻦ ﺧﻴﻞ ﻋﻨﺰة وﺑﺪأت ﻣﻦ‬ ‫ﺧﻼﻟﻬام ﻋﻤﻠﻴﺎت اﻟﺘﻬﺠني )اﻟﻌﺮيب اﻷورويب(‪.‬‬ ‫أﻣﺎ ﻋﻦ اﻟﻄري واﻟﺼﻴﺪ ﺑﺎﻟﺼﻘﻮر ﻓﻴﺬﻛﺮ ﺳﻤﻮه‬ ‫أﻧﻪ ﻛﺎن ﻳﻬﺘﻢ ﺑﻬﺬا اﻟﺠﺎﻧﺐ ﻛﺜريا‪ ،‬وﻳﺴﺘﻤﺘﻊ‬ ‫ﺑﺬﻟﻚ‪ ،‬وﻳﻘﻮل‪» :‬ﻛﻨﺎ ﻧﺴﺘﻐﻞ اﻹﺟﺎزات ﺣﺘﻰ‬ ‫ﻟﻮ ﻛﺎﻧﺖ أرﺑﻌﻪ أو ﺧﻤﺲ أﻳﺎم ﻟﻨﻘﴤ وﻗﺘﺎ‬ ‫ﻣﻊ ﻫﺬه اﻟﻬﻮاﻳﺔ‪ ،‬وﻟﻜﻦ ﻣﻊ ﺑﻌﺪ أﻣﺎﻛﻦ‬ ‫اﳌﻘﻨﺎص واﻧﻘﺮاﺿﻪ وﻛرثة أﻋامﻟﻨﺎ اﻟﺤﻜﻮﻣﻴﺔ‬ ‫وﺧﺪﻣﺔ اﻟﻮﻃﻦ أﺻﺒﺤﺖ ﻣﻘ ًﻼ ﺟﺪاً‪.‬‬ ‫وﻟﻺﺑﻞ ﰲ ﻧﻔﺲ اﻷﻣري اﻟﺪﻛﺘﻮر ﺗﺮيك ﺑﻦ ﻣﺤﻤﺪ‬ ‫ﻣﺤﺒﺔ ﻛﺒرية‪ ،‬ﻳﻘﻮل ﻋﻦ اﻹﺑﻞ ‪ :‬ﻣﻜﺎﻧﺘﻬﺎ ﻛﺒرية‬ ‫ﻫﻲ واﻟﺨﻴﻞ‪ ،‬وﻗﺪ ﻗﺎل اﳌﺘﻨﺒﻲ‪:‬‬ ‫ﺳﺎﺑﺢ‬ ‫أﻋﺰ ﻣﻜﺎن ﰲ اﻟﺪﻧﺎ ﴎج ٍ‬ ‫وﺧري ﺟﻠﻴﺲ ﰲ اﻟﺰﻣﺎن ﻛﺘﺎب‬ ‫وﻻ ﻧﻨﴗ أن ﻟﻺﺑﻞ دوراً ﻛﺒرياً ﰲ دورﻧﺎ‬ ‫اﻟﺤﻀﺎري ﰲ اﻟﻔﺘﻮﺣﺎت اﻹﺳﻼﻣﻴﺔ وﻛﺬﻟﻚ‬ ‫اﻟﻐﺬاء واﻟﺘﻨﻘﻞ‪ .‬ﻓﻜﻠﻬﺎ مل ِ‬ ‫ﺗﺄت إﻻ ﻋﲆ ﻇﻬﺮ‬ ‫ﺣﺼﺎن وﻧﺎﻗﺔ‪.‬‬ ‫واﺳﺘﻐﺮب ﺳﻤ ّﻮﻩ اﻟﺤﻤﻠﺔ ﻋﲆ اﻹﺑﻞ‪ ،‬ﻟﻜﻨﻪ‬ ‫أﻛﺪ أن ﻣﻦ اﻟﻮاﺟﺐ إﺻﻼح اﻟﻈﻮاﻫﺮ اﻟﺴﻠﺒﻴﺔ‬ ‫ﰲ ﺑﻌﺾ اﳌﺰاﻳﻨﺎت‪ ،‬وﻋﻠﻴﻨﺎ ان ﻧﻌﺎﻟﺞ اﻟﺴﻠﺒﻴﺔ‬ ‫وﻧﺸﺠﻊ اﻹﻳﺠﺎﺑﻴﺔ ‪.‬‬ ‫ﻣﺸريا ﺳﻤﻮه إﱃ أن ﻟﻜﻞ ﻫﻮاﻳﺔ ورﻳﺎﺿﺔ‬ ‫ﺟامﻫريﻫﺎ‪ ،‬وﻳﻘﻮل‪» :‬أﻟﻴﺲ ﻫﻨﺎك ﺟﻤﻬﻮر‬ ‫ﻟﻜﺮة اﻟﻘﺪم وﻣﺸﺠﻌﻮن‪ ،‬اذن ﻳﺠﺐ اﺣﱰام‬ ‫ﺟﻤﻬﻮر اﻹﺑﻞ وﻣﺤﺒﻴﻬﺎ وﻳﺠﺐ اﻟﺤﻔﺎظ ﻋﲆ‬ ‫اﻹﺑﻞ ﻷﻧﻬﺎ ﻣﻮروث وﺛﺮوة ﺣﻴﻮاﻧﻴﺔ ﻛﺒرية‪،‬‬ ‫وإذا ﻛﺎﻧﺖ اﻹﺑﻞ ﻧﺎﻗﻠﺔ ﻷﺣﺪ اﻷﻣﺮاض‪ ،‬ﻓﺈن‬ ‫اﻻﻧﺴﺎن أﻳﻀﺎ ﻳﻨﻘﻞ اﳌﺮض‪ ،‬وﻛﺬﻟﻚ اﻟﺬﺑﺎب‬

‫اﻻﻧﺴﺎن ﻳﻨﻘﻞ اﻟﻤﺮض‬ ‫ﻣﺜﻞ اﻻﺑﻞ ﻓﻬﻞ ﻧﺒﻴﺪه ؟ ‬ ‫ﺗﻌﻠﻤﺖ ﻣﻦ واﻟﺪي اﻟﺪﻗﺔ و ﻛﺄس‬ ‫اﻟﻮﻓﺎء ﻛﺎن ﻟﻔﺘﺔ ﻛﺮﻳﻤﺔ‬ ‫أﻧﺎ ﻣﻊ اﻟﻤﺤﺎﻓﻈﺔ ﻋﻠﻰ اﻟﺘﺮاث‪ ،‬وﻣﻊ‬ ‫ﺗﻨﻈﻴﻢ اﻟﻤﻬﺮﺟﺎﻧﺎت اﻟﺨﺎﺻﺔ ﺑﺎﻹﺑﻞ‬ ‫ﺑﻄﺮﻳﻘﺔ ﺳﻠﻴﻤﻪ وﻋﺎدﻟﺔ‬

‫ﻧﺒﻴﺪ اﻹﻹﻧ ﺎن‬ ‫إذن ﻧ ﺪ‬ ‫ﻓﻜﻴﻒ إذذن‬ ‫وﻏريﻫﺎ‪ .‬ﻓﻜ ﻒ‬ ‫واﻟﺒﻌﻮض ﻏ ﻫﺎ‬ ‫اﻟ ض‬ ‫اﻹﻧﺴﺎن‬ ‫ﻷﻧﻪ ﻧﺎﻗﻞ ﻟﻠﻤﺮض؟‬ ‫وﻳﻀﻴﻒ ﺳﻤﻮه‪» :‬أﻧﺎ ﻣﻊ اﻟﺤﺮص ﻋﲆ‬ ‫ﻣﻌﺎﻟﺠﺔ اﻟﺴﻠﺒﻴﺎت‪ ،‬ﻛام أﻧﻨﻲ ﻣﻊ اﳌﺤﺎﻓﻈﺔ‬ ‫ﻋﲆ اﻟﱰاث‪ ،‬وﺑﺼﻔﺘﻲ اﻟﺸﺨﺼﻴﺔ أﻗﻮل إين ﻣﻊ‬ ‫ﺗﻨﻈﻴﻢ اﳌﻬﺮﺟﺎﻧﺎت اﻟﺨﺎﺻﺔ ﺑﺎﻹﺑﻞ ﺑﻄﺮﻳﻘﺔ‬ ‫ﺳﻠﻴﻤﻪ وﻋﺎدﻟﺔ‪ ،‬وﻣﻊ إﻋﻄﺎء ﻛﻞ ذي ﺣﻖ‬ ‫ﺣﻘﻪ وﻧﴩ ﻫﺬا اﻟﱰاث وﺗﻄﻮﻳﺮه وﺗﺸﺠﻴﻌﻪ‪.‬‬ ‫وﻣﺎ ﻧﺮاه ﻫﻮ ﻣﻬﺎﺟﻤﺔ ﻟﻠﱰاث وﻣﺼﺎدر اﻟﺮزق‬ ‫ﻟﴩﻳﺤﺔ ﻛﺒرية ﻣﻦ اﳌﺠﺘﻤﻊ‪ ،‬ﻓﺎﻟﻨﻘﺪ أﻣﺮ‬ ‫ﻣﴩوع وﻟﻜﻦ ﻫﻞ ﻫﻮ ﻧﻘﺪ أﻣﺮ ﺟﻮﻫﺮي أو‬ ‫ﻫﻮ ﻧﻘﺪ ﺣﺎﺳﺪ وﺗﺠﺮﻳﺢ؟«‪.‬‬ ‫وﻳﻮرد ﺳﻤﻮه ﺣﺎدﺛﺔ وﻳﻘﻮل‪» :‬ذات ﻳﻮم‬ ‫ﻃﻠﺐ ﻣﻨﻲ أﺣﺪ اﻹﺧﻮة ﻓﺤﻼ‪ ،‬وﻗﻠﺖ ﻟﻪ‬ ‫»اﺑﺮك ﺳﺎﻋﻪ واﻧﺘﺞ ﻋﲆ ﺧﺬا اﻟﻔﺤﻞ« وأﺗﺎين‬ ‫وﻗﺎل واﻟﻠﻪ إين ﺳﺪدت دﻳﻨﻲ واﺷﱰﻳﺖ ﺑﻴﺘﺎ‬ ‫وﺗﻐريت ﺣﺎﻟﺘﻲ ﺑﻔﻀﻞ ﻣﻦ اﻟﻠﻪ ﺛﻢ ﻣﻨﻚ ﻋﱪ‬ ‫ﻫﺪﻳﺘﻚ‪ .‬ﻓﻜﻞ ﻫﺬا ﻛﺎن ﺗﺤﻘﻖ ﱄ ﻣﻦ اﻻﺑﻞ«‪.‬‬ ‫وﻳﺘﺎﺑﻊ ﺳﻤﻮه‪» :‬ﻛﺎن ﻫﺬا أﻣﺮا ﻣﻔﺮﺣﺎ ﱄ ﺟﺪا‬ ‫ﻓﻘﺪ ﻧﻔﻌﺖ أﺧﺎ ﺑﴚء ﺑﺴﻴﻂ‪ .‬ﻓام ﺑﺎﻟﻚ إن‬ ‫ازدﻫﺮت ﻫﺬه اﻟﻬﻮاﻳﺔ واﻧﺘﴩت‪ .‬وﻫﺎ ﻧﺤﻦ‬ ‫أﺑﻨﺎء اﻷﴎة اﻟﺤﺎﻛﻤﺔ أو ﻣﻦ اﳌﻘﺘﺪرﻳﻦ ﻧﻘﻮم‬ ‫ﺑﺪﻋﻢ اﳌﺒﺘﺪﺋني ﺑﺎﻟﻔﺤﻮل وإﺑﻞ اﻹﻧﺘﺎج وﻫﻢ‬ ‫ﻳﺴﺘﻔﻴﺪون وﻧﺤﻦ ﻛﺬﻟﻚ‪ ،‬وﻫﺬا واﺟﺐ ﻋﻠﻴﻨﺎ‬ ‫ﺗﺠﺎه إﺧﻮﺗﻨﺎ وﻟﻴﺲ ﻣﻨﺔ‪ .‬وﻣﺎ ذﻛﺮﺗﻪ ﻟﻴﺲ‬ ‫ﻟﻠﺘﻔﺎﺧﺮ وﻟﻜﻨﻪ ﻣﺜﺎل ﺑﺴﻴﻂ ﻷﺑني ﻟﻚ ﻗﻴﻤﺔ‬ ‫اﻹﺑﻞ‪ .‬وﻻﺣﻆ ان داﺋﺮة اﻻﺳﺘﺜامر اﻻﻗﺘﺼﺎدﻳﺔ‬ ‫ﻟﻺﺑﻞ ﻫﻲ ﻣﻦ ﻣﻮاﻃﻦ ﳌﻮاﻃﻦ ﻻ ﺗﺨﺮج ﺧﺎرج‬ ‫ﻫﺬه اﳌﻨﻈﻮﻣﺔ أﺑﺪا‪ ..‬إذن ﻫﻲ ﻣﻬﻤﺔ ﺟﺪا«‪.‬‬ ‫وﻗﺪ ﻋﺮف ﻋﻦ ﺳﻤﻮه اﻧﻪ أﺻﺒﺢ ﻣﻦ أﺷﻬﺮ‬ ‫ﻣﻼك اﻹﺑﻞ اﻟﻮﺿﺢ واﻟﺸﻌﻞ وﻫﻨﺎك ﻣﻦ ﻫﻢ‬ ‫أﻗﺪم ﻣﻨﺎ ﰲ ﻫﺬا اﻟﺒﺎع وأﻋﻠﻦ ﺳﻤﻮه اﳌﻨﺎﻓﺴﺔ‬ ‫ﻣﻊ إﺧﻮاﻧﻪ وأﺑﻨﺎء ﻋﻤﻪ ﻣﻦ اﻻﴎة‪.‬‬ ‫أﻏﺴﻄﺲ‪-‬ﺳﺒﺘﻤﺒﺮ ‪29 2016‬‬

‫دﻋﻮة ﻋﻠﻰ اﻟﻌﺸﺎء‬ ‫‪baytelshear‬‬

‫ا)ﻣﻴﺮ اﻟﺪﻛﺘﻮر ﺗﺮﻛﻲ ﺑﻦ ﻣﺤﻤﺪ ﻓﻲ ﺣﺪﻳﺚ ﺳﻤﺮ ﻟﺒﻴﺖ اﻟﺸﻌﺮ ‪:‬‬

‫ﻳﺠﺐ أن ﻧﺤﺎﻓﻆ ﻋﻠﻰ اﻟﻤﻮروث واﻟﺨﻴﻞ وا‪A‬ﺑﻞ واﻟﻤﻘﻨﺎص ﺟﺰء ﻣﻦ ﻫﻮﻳﺘﻨﺎ‬ ‫ﺣﺎوره‪ :‬زﺑﻦ ﺑﻦ ﻋﻤﻴﺮ‬

‫ﺻﺎﺣﺐ ﺣﻀﻮر ﻣﻤﻴﺰ وﺣﺪﻳﺚ ﺷﻴﻖ وﺗﻮاﺿﻊ ﺟﻢ‪ ،‬ﻳﺄﺳﺮك ﺑﻜﺜﺮة ﻣﻌﻠﻮﻣﺎﺗﻪ وﺷﻔﺎﻓﻴﺘﻪ وﻣﺤﺒﺘﻪ‬ ‫ﻟﻠﻌﻠﻢ واﻟﺘﻄﻮر‪ ،‬وأﻳﻀﺎ ﻋﺸﻘﻪ ﻟﻠﻤﻮروث‪ g‬إﻧﻪ اﻷﻣﻴﺮ اﻟﺪﻛﺘﻮر ﺗﺮﻛﻲ ﺑﻦ ﻣﺤﻤﺪ ﺑﻦ ﺳﻌﻮد اﻟﻜﺒﻴﺮ‪،‬‬ ‫ﻣﺴﺘﺸﺎر ﺧﺎدم اﻟﺤﺮﻣﻴﻦ اﻟﺸﺮﻳﻔﻴﻦ اﻟﻤﻠﻚ ﺳﻠﻤﺎن ﺑﻦ ﻋﺒﺪاﻟﻌﺰﻳﺰ‪g‬‬ ‫رﺟﻞ دﺑﻠﻮﻣﺎﺳﻲ ﻣﺤﻨﻚ ﺟﻤﻊ اﻟﻌﻠﻢ واﻷﺻﺎﻟﺔ واﻟﺪﺑﻠﻮﻣﺎﺳﻴﺔ ﻓﻜﺎن ﻣﺰﻳﺠﺎ ﻣﻤﻴﺰا زاده ﺑﻌﺪ ﺗﺮﺑﻴﺔ‬ ‫واﻟﺪه ﺣﻨﻜﺔ ودﻫﺎء‪g‬‬ ‫ً‬ ‫رﺟﻞ ﻻ ﻳﺤﺐ اﻟﻀﻮء ﻛﺜﻴﺮا‪ ،‬وﻫﻮ ﻋﺎﺷﻖ ﻟﻠﺘﺮاث وﻣﺘ ّﻴﻢّﻢ ﺑﺎﻟﻤﻮروث‪ ،‬وداﻋﻢ ﻟﻌﺠﻠﺔ اﻟﻌﻠﻢ واﻟﺘﻄﻮر‪g‬‬ ‫ﻓﻲ ﺣﺪﻳﺚ ﻣﻌﻪ ﻟ¦ »ﺑﻴﺖ اﻟﺸﻌﺮ« أﺷﺎر ﺳﻤﻮه إﻟﻰ أن ﺗﺮاث ﻛﻞ أﻣﺔ ﻫﻮ ﻧﺒﺮاس ﻟﻬﺎ‪ ،‬وﻳﺠﺐ‬ ‫اﻟﻤﺤﺎﻓﻈﺔ ﻋﻠﻴﻪ‪ ،‬وﻟﻴﺲ اﺣﺘﻘﺎره ﺑﺸﻘﻴﻪ اﻟﻤﺎدي واﻟﻤﻌﻨﻮي‪ g‬ﻣﺆﻛﺪ ًا أن اﻟﻤﺤﺎﻓﻈﺔ ﻋﻠﻰ اﻟﺘﺮاث‬ ‫ﻫﻲ ﺟﺰء ﻣﻦ اﻟﻤﺤﺎﻓﻈﺔ ﻋﻠﻰ اﻟﻬﻮﻳﺔ‪g‬‬

‫‪ 28‬ﺑﻴﺖ اﻟﺸﻌﺮ ‪ /‬اﻟﻌﺪد ‪48‬‬

‫ﻛام أﺷﺎر ﰲ ﺣﺪﻳﺚ اﻟﺬﻛﺮﻳﺎت أن واﻟﺪه‬ ‫ﺻﺎﺣﺐ اﻟﺴﻤﻮ اﻷﻣري ﻣﺤﻤﺪ ﺑﻦ ﺳﻌﻮد‬ ‫اﻟﻜﺒري وﻫﻮ ﻣﻦ رﺟﺎل اﻟﺠﺰﻳﺮة اﻟﻌﺮﺑﻴﺔ ﻛﺎن‬ ‫ﺣﺎزﻣﺎ دوﻣﺎ مبﺎ ﻳﺘﻌﻠﻖ ﺑﺎﻟﺪﻳﻦ واﻟﺮﺟﻮﻟﺔ‬ ‫واﻟﱰاث‪ .‬ومل ﻳﻜﻦ ﻣﻦ اﳌﺘﺴﺎﻫﻠني ﻓﻴﻬﺎ‪ ،‬وﻫﻮ‬ ‫ﻣﻦ اﻟﺪﻫﺎة واﻟﻔﺮﺳﺎن وأﺻﺤﺎب اﻟﻔﺮاﺳﺔ‬ ‫واﻟﻜﺮم‪ .‬ﻳﺆﻣﻦ ﺑﺄﻧﻪ ﻟﻴﺲ ﻫﻨﺎك ﻣﻦ أﻣﺔ‬ ‫اﻟﺘﺤﴬ ﻻ ﻳﺘﻨﺎﰱ‬ ‫ﻣﻦ دون ﻣﻮروث‪ ،‬وأن‬ ‫ّ‬ ‫ﻣﻊ اﻟﻌﺎدات واﻟﺘﻘﺎﻟﻴﺪ‪ .‬و ﻛﺎن رﺣﻤﻪ اﻟﻠﻪ‬ ‫داﻋام ﻟﻠﻄري واﻹﺑﻞ واﻟﺨﻴﻞ واﻟﺰراﻋﺔ وﻛﺎن‬ ‫ﺻﺎﺣﺐ ﻣﻮاﻋﻴﺪ دﻗﻴﻘﺔ ﺟﺪا‪ ،‬وﻗﺪ ﺗﻌﻠﻢ ﻣﻨﻪ‬ ‫ﺣﺐ اﻟﱰاث واﻟﺤﻀﺎرة واﳌﻮروث‪.‬‬ ‫وﻧ ّﻮﻩ اﻷﻣري ﺗﺮيك ﺑﺄن واﻟﺪه ﺷﺠﻊ اﻟﺨﻴﻞ‬ ‫واﻟﻬﺠﻦ ودﻋﻤﻬام ﺣﺘﻰ وﻓﺎﺗﻪ رﺣﻤﻪ اﻟﻠﻪ‪،‬‬ ‫ﻣﺒ ّﻴﻨﺎ أن أﻛرث أﺑﻨﺎء أﴎة آل ﺳﻌﻮد ﻳﻬﺘﻤﻮن‬ ‫ﺑﺎﻟﱰاث وﻳﺪﻋﻤﻮﻧﻪ‪.‬‬ ‫ﻋﻨﺪﻫﺎ أﴍت ﻟﻪ ﻋﻦ اﻟﻔﺮوﺳﻴﺔ ﻗﺎل‪:‬‬ ‫»اﻟﻔﺮوﺳﻴﺔ أﺣﺒﻬﺎ وﻟﻜﻦ اﻷخ ﺳﻠﻄﺎن ﻟﻪ‬ ‫اﻟﺪور ﰲ اﻟﺤﻔﺎظ ﻋﲆ اﻟﺨﻴﻞ وزاد ﻣﻦ‬ ‫ﻓﻌﺎﻟﻴﺘﻪ وﻣﺸﺎرﻛﺎﺗﻨﺎ‪ ،‬وﻫﻮ ﻣﻦ ﺗﻮﱃ ﻫﺬا‬ ‫اﻟﺠﺎﻧﺐ‪ ،‬وﻟﻜﻨﻪ ﻣﺸﻜﻮرا ﺳﺠﻠﻬﺎ ﺑﺎﺳﻤﻨﺎ‪.‬‬ ‫وأﻧﺎ ﻣﺘﺎﺑﻊ وﻣﺸﺎرك ﰲ رﻳﺎﺿﺔ اﻟﻘﻔﺰ‬ ‫واﻫﺘﻤﻤﺖ ﺑﺎﻟﻘﻔﺰ واﻟﺨﻴﻮل ﻟﺤﺒﻲ ﻟﻬﺎ‪ ،‬ﻋﻠام‬ ‫ﺑﺄن اﳌﻠﻚ ﻫﻮ اﻟﺪاﻋﻢ اﻷﺳﺎﳼ ﻟﻠﻔﺮوﺳﻴﺔ‬ ‫ﰲ اﻟﺴﻌﻮدﻳﺔ‪ ،‬وﻛﺬﻟﻚ ﻟﻌﺸﻘﻲ ﻟﻠﻘﻔﺰ‪ ،‬ﻓﻘﺪ‬ ‫أﻫﺪﻳﺖ اﻟﺤﺼﺎن ﺳﻠﻄﺎن ﻟﻠﺠﻨﺔ اﻷوﳌﺒﻴﺔ‬ ‫اﻟﻠﻔﺮوﺳﻴﺔ ﻣﻦ ﺧﻼل إﻫﺪايئ ﺣﺼﺎين ﻟﺴﻴﺪي‬ ‫ﺧﺎدم اﻟﺤﺮﻣني اﻟﴩﻳﻔني ﺣﻔﻈﻪ اﻟﻠﻪ واﻟﺬي‬ ‫ﺣﻮﻟﻪ ﻟﻠﺠﻨﺔ وﺣﻘﻖ اﻟﻔﻮز ﻣﺸريا إﱃ أن‬ ‫ﻫﺬا اﻟﺤﺼﺎن ﻛﺎن ﻋﻠﻴﻪ ﻣﺒﺎﻟﻎ ﻋﺎﻟﻴﺔ وﻟﻜﻦ‬ ‫اﻹﻫﺪاء أﻓﻀﻞ ﻣﻦ اﻟﻜﺴﺐ اﳌﺎدي وﻫﻲ أﺑﺮ‬ ‫ﻣﻦ اﳌﻨﺎﻓﻊ اﳌﺎدﻳﺔ«‪.‬‬ ‫وﻓﺮﺣﺘﻲ ﺣﻴﻨﻬﺎ ﻛﺎﻧﺖ ﺑﺴﺒﺐ ﻓﻮز اﳌﻨﺘﺨﺐ‪،‬‬ ‫وأﻳﻀﺎ ﻷﻧﻪ ﻋﲆ ﻇﻬﺮ اﻟﺤﺼﺎن اﻟﺬي ﺗﴩﻓﺖ‬ ‫ﺑﺈﻫﺪاﺋﻪ‪ ،‬وﺗﻮﻗﻌﺖ أن اﳌﻨﺘﺨﺐ اﻟﺴﻌﻮدي‬ ‫ﻟﻠﻔﺮوﺳﻴﺔ ﰲ أوﳌﺒﻴﺎد اﻟﻘﻔﺰ ﺑﺎﻟﺤﻮاﺟﺰ‬

‫ﺻﺪى‬°‫ﻋﻄﻨﻲ ﺻﻮت و‬ ‫ﺳﻴﻒ اﻟﻤﻨﺼﻮري‬ @bu_salem

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27 2016 ‫ﺳﺒﺘﻤﺒﺮ‬-‫أﻏﺴﻄﺲ‬

‫ﻣﺎﺳﺎت‬ baytelshear

‫اﻧﺖ وﻳﻨﻚ ؟‬ ‫ﻣﺴﺎﻋﺪ اﻟﺮﺷﻴﺪي‬ @Msa3dAlrshedi

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48 ‫ اﻟﻌﺪد‬/ ‫ ﺑﻴﺖ اﻟﺸﻌﺮ‬26

‫ﻣﺬﻛﺮات ﻃﺎﻟﺐ ﺣﻠﻢ‬

‫ﻋﻠﻰ ﻣﺸﺎرف اﻟﺘﺄﺟﻴﻞ""‬

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‫ﻛﺎﻧﺖ اﻟﺴﻨﺔ اﻟﺪراﺳﻴﺔ اﻷﺧرية ﻣﻤﻠﺔ وﺛﻘﻴﻠﺔ‪ ..‬ﻣﺜﻞ ﻛﻞ اﻟﻨﻬﺎﻳﺎت اﳌﺘﻌﺒﺔ‪..‬‬ ‫ﺗﺤﺘﺎج إﱃ ﻣﻦ ﻳﻮاﺳﻴﻚ ﻓﻴﻬﺎ وﻳﺤﻤﺴﻚ‪ ،‬وﻳﺸﺠﻌﻚ‪ ،‬وﻳﺰﻳﻦ ﻟﻚ مثﺮة ﺗﻌﺐ اﻟﻌﻠﻢ‪.‬‬ ‫ﰲ ﻫﺬه اﳌﺮﺣﻠﺔ ﻳﻌﻴﺶ اﻟﻄﺎﻟﺐ ﺗﺤﻮﻻ ﰲ ﺑﺪﻧﻪ وﰲ ﺗﻔﻜريه واﻫﺘامﻣﻪ‪ ،‬ﻣﺤﺎوﻻ‬ ‫اﻟﺘﺨﻠﺺ ﻣﻦ ﻓﱰة اﻻﺗﻜﺎل ﻋﲆ اﻵﺧﺮﻳﻦ واﻟﺴﻌﻲ اﱃ اﺳﺘﻘﻼﻟﻴﺘﻪ‪ ..‬واﻹﺣﺴﺎس ﺑﻜﻴﺎﻧﻪ‪.‬‬ ‫ﻛﻨﺖ أﻋﺎﻟﺞ ﺳﺄﻣﻲ ﺑﻬﺬا اﻟﺒﻴﺖ أردده‪ ،‬وأﻧﻘﺸﻪ ﰲ ﻣﻘﺪﻣﺎت دﻓﺎﺗﺮي‪:‬‬ ‫» أﻋﻠﻞ اﻟﻨﻔﺲ ﺑﺎﻵﻣﺎل أرﻗﺒﻬﺎ‪..‬ﻣﺎ أﺿﻴﻖ اﻟﻌﻴﺶ ﻟﻮﻻ ﻓﺴﺤﺔ اﻷﻣﻞ«‬ ‫أﺷﻌﺮ ﺑﺎﻻﻣﺘﻨﺎن اﻟﺸﺪﻳﺪ ﻟﻘﺎﺋﻠﻪ‪ ..‬ﻛﺎن ﻫﻮ اﻟﻮﺻﻔﺔ اﻟﻌﻼﺟﻴﺔ اﻟﺠﻤﻴﻠﺔ واﳌﻨﺎﺳﺒﺔ ﻟﺮوﺣﻲ‪.‬‬ ‫أﻛﺘﺒﻪ ﺑﺎﻷزرق ﻣﺮة وﺑﺎﻷﺣﻤﺮ ﻣﺮة‪ ..‬أزﺧﺮﻓﻪ وأزﻳﻨﻪ‪.‬‬ ‫اﻟﻤﺴﻌﻮدي‬ ‫ﻋﻠﻲ اﻟﻟﻤﺴﻌﻮدي‬ ‫ﻋﻠ‬ ‫ﻓﻔﻲ ﻫﺬا اﻟﻈﻼم اﳌﺤﻴﻂ‪ ..‬ﻳﺄﺗﻴﻚ ﻧﻮر اﻟﻴﻘني ﺑﺎﻟﻠﻪ واﻻﺗﻜﺎل ﻋﻠﻴﻪ وﺣﺴﻦ اﻟﻈﻦ ﺑﻪ‪..‬‬ ‫وﰲ ﻇﻞ اﻟﺮﺗﺎﺑﺔ وﻏﻴﺎب اﻷﺻﺤﺎب مل ﻳﺴﺘﻤﺮ اﻫﺘامﻣﻲ ﺑﺎﻟﺪراﺳﺔ ﻛام ﻳﺠﺐ‪.‬‬ ‫ﰲ ﻫﺬه اﻟﺴﻨﺔ ﺗﴪب أﺻﺤﺎيب‪ ..‬ﻣﻨﻬﻢ ﻣﻦ ﺗﺮك اﻟﺪراﺳﺔ إﱃ اﻟﻮﻇﻴﻔﺔ‪ ،‬وﻣﻨﻬﻢ ﻣﻦ ﺳﺎﻓﺮ إﱃ ﺑﻼد أﺧﺮى‪ ،‬وﻣﻨﻬﻢ ﻣﻦ ﺣ ّﻮل‬ ‫إﱃ اﻟﻔﱰة اﳌﺴﺎﺋﻴﺔ‪ ..‬ﻓﺄﺻﺒﺤﺖ ﻏﺮﻳﺒﺎ ﺑني ﻃﻠﺒﺔ ﻻ أﻋﺮﻓﻬﻢ وﻻ أﺷﻌﺮ ﻣﻌﻬﻢ مبﻴﺎﻧﺔ أو ﺳﻘﻮط اﻟﻜﻠﻔﺔ‪ ..‬اﻷﺻﺤﺎب ﻣﻬﻤﻮن ﰲ‬ ‫اﻟﺪراﺳﺔ‪ ،‬واﻟﺒﻴﺌﺔ اﳌﻠﻴﺌﺔ ﺑﺎﻷﻗﺮان اﳌﻨﺎﺳﺒني واﻷﺻﺤﺎب اﳌﺤﺒني ﻣﺸﺠﻌﺔ ﻋﲆ اﻹﻧﺠﺎز‪..‬‬ ‫أﻣﺎ اﻟﻐﺮﺑﺔ ﻓﺘﺴﺒﺐ ذﺑﻮﻻ روﺣﻴﺎ‪ ..‬ﻣﻸين وﺳﻴﻄﺮ ﻋ ﱠ‬ ‫ﲇ‪.‬‬ ‫ﻟﻜﻦ ﻋﻨﺪﻣﺎ اﻗﱰﺑﺖ اﻻﻣﺘﺤﺎﻧﺎت اﻟﻨﻬﺎﺋﻴﺔ »ﺷﺪدت اﳌﺌﺰر« وأﻋﺪدت ﻟﻨﻔﴘ ﺑﺮﻧﺎﻣﺠﺎ ﰲ اﳌﺬاﻛﺮة‪ ،‬ﻛﺜري ﻣﻦ اﻟﺪروس اﻟﺘﻲ‬ ‫ﻓﺎﺗﺘﻨﻲ ﻗﺮأﺗﻬﺎ ﻣﺮات ﺣﺘﻰ ﻓﻬﻤﺘﻬﺎ ﺑﻨﻔﴘ ﻣﻦ دون ﻣﺴﺎﻋﺪة أﺣﺪ‪ .‬ﻛﺎﻧﺖ اﳌﺸﻜﻠﺔ اﻟﺘﻲ ﺗﻮاﺟﻬﻨﻲ ﻫﻲ ﻃﻠﺐ ﺑﻌﺾ أﺻﺪﻗﺎيئ‬ ‫أن »أﻏﺸﺸﻬﻢ« ﻓﻌﻨﺪﻫﻢ اﻟﺮﻓﺾ ﻫﻮ ﻧﻮع ﻣﻦ ﻗﻠﺔ اﻟﺸﻬﺎﻣﺔ وﻋﺪم اﻟﺮﺟﻮﻟﺔ‪ .‬وأﻧﺎ ﰲ ﺣﻴﺎيت مل أﻋﺘﺪ ﻋﲆ اﻟﻐﺶ‪ ..‬إﺿﺎﻓﺔ إﱃ‬ ‫أن ﻣﻦ ﺗﻐﺸﺸﻪ ﻳﺸﻐﻠﻚ ﰲ وﺳﻮﺳﺘﻪ وﻫﻤﺴﺎﺗﻪ وﻧﻈﺮاﺗﻪ واﻧﺘﻈﺎره وأﻧﺖ ﰲ ﺣﺎﺟﺔ ﺗﺮﻛﻴﺰ وﻣﺮاﺟﻌﺔ‪..‬‬ ‫اﳌﺤﺰن أن ﺑﻌﺾ اﳌﺪرﺳني ﻳﺄيت إﱃ ﺑﻌﺾ اﻟﻄﻠﺒﺔ وﻳﻐﺸﺸﻪ ﻣﺘﺠﺎوزا اﻷﻣﺎﻧﺔ اﳌﻜﻠﻒ ﺑﻬﺎ‪ ..‬وﻣﺮﺳﺨﺎ ﻓﻜﺮة أﺣﻘﻴﺔ اﻟﻄﺎﻟﺐ‬ ‫ﺑﺎﻟﻐﺶ!‬ ‫وﻣﻦ اﻷﺷﻴﺎء اﻟﺘﻲ أﺣﺰﻧﺘﻨﻲ أﻧﻨﻲ اﺳﺘﺠﺒﺖ ﻣﻀﻄﺮا ﻟﻬﺬه اﳌﻮﺟﺔ‪..‬‬ ‫اﻧﺘﻬﺖ اﻟﺜﺎﻧﻮﻳﺔ اﻟﻌﺎﻣﺔ‪..‬وﻇﻬﺮت اﻟﻨﺘﺎﺋﺞ‪ ،‬ﻛﻨﺖ ﻣﻦ أواﺋﻞ ﻃﻠﺒﺔ اﳌﺪرﺳﺔ‪ ،‬ومل أﻛﻦ ﺳﻌﻴﺪا ﺑﺎﻟﺘﺨﺮج‪ ..‬ﻷﻧﻨﻲ ﺳﺄﺿﻄﺮ إﱃ‬ ‫اﻟﻌﻤﻞ ﺑﺪﻻ ﻣﻦ ﺗﺤﻘﻴﻖ ﻃﻤﻮﺣﻲ ﰲ إﻛامل ﻣﺴرية اﻟﻌﻠﻢ‪..‬‬ ‫ﺗﻮزع اﻷﺻﺤﺎب ﻣﺎﺑني اﻟﻮﻇﻴﻔﺔ واﻻﻟﺘﺤﺎق ﺑﺎﻟﺠﺎﻣﻌﺔ‪ ..‬وأﺣﺪ أﺟﻤﻞ اﻷﺻﺤﺎب ﻣﻦ ﻓﻠﺴﻄني رﺣﻞ ﰲ ﺑﻌﺜﺔ إﱃ اﻟﻌﺮاق ﰲ دورة‬ ‫ﻗﺒﻄﺎن ﺑﺤﺮي وﺑﻘﻴﺖ أﺑﺤﺚ ﻋﻦ ﺟﺎﻣﻌﺔ ﺗﻘﺒﻠﻨﻲ ﻓﻠﻢ أﺟﺪ ﺳﻮى دورة ﻓﻨﻴﺔ ﺑﺎﺋﺴﺔ ﰲ اﻟﺘﻌﻠﻴﻢ اﻟﺘﻄﺒﻴﻘﻲ ‪ ..‬وﺣﺘﻰ ﻫﺬه مل‬ ‫أﺟﺪ ﻓﻴﻬﺎ اﺳﻤﻲ ﻣﻦ ﺑني اﳌﻘﺒﻮﻟني‪ ،‬ﻓﺄﻳﻘﻨﺖ أن اﻟﻌﻤﻞ ﻫﻮ اﻟﺤﻞ‪ ،‬ﻓﺎﻟﺘﺤﻘﺖ ﺑﺎﻟﺼﺤﺎﻓﺔ‬ ‫وﻛﺄن اﻟﻠﻪ ﺳﺒﺤﺎﻧﻪ أراد ﱄ أن ﻳﻌﻮﺿﻨﻲ ﻋام ﻓﻘﺪﺗﻪ‪ ،‬ﻓﺄﺻﺒﺤﺖ ﻣﺴﺆوﻻ ﻋﻦ ﺗﻐﻄﻴﺔ ﺟﺎﻧﺐ اﻟﺘﻌﻠﻴﻢ اﻟﻌﺎﱄ وﺷﺆون اﻟﺠﺎﻣﻌﺔ‪.‬‬ ‫ﻓﴫت أﻗﴤ ﻳﻮﻣﻲ ﺑني أروﻗﺔ اﻟﺠﺎﻣﻌﺔ‪ ..‬أﻃﺎﻟﻊ ﻣﻜﺎين اﳌﻔﻘﻮد ﺑﻴﻨﻬﻢ‪ ..‬وﻋﻘﺪت ﻋﻼﻗﺎت ﺟﻴﺪة ﻣﻊ ﻋﺪد ﻛﺒري ﻣﻦ أﻋﻀﺎء‬ ‫ﻫﻴﺌﺔ اﻟﺘﺪرﻳﺲ واﻷﻛﺎدميﻴني‪ ،‬واﻟﻘﻴﺎدات اﻟﻄﻼﺑﻴﺔ وﻧﺎﻗﺸﺖ ﻫﻤﻮﻣﻬﻢ وﺣﴬت اﻧﺘﺨﺎﺑﺎﺗﻬﻢ وذﻟﻚ اﻟﴫاع اﻟﺘﻘﻠﻴﺪي ﺑني‬ ‫ﺟﻨﺎﺣني ﻣﻬﻤني ﻫام‪ :‬اﻻﺋﺘﻼﻓﻴﺔ ﻣﻤﺜﻞ اﻹﺧﻮان‪ ،‬واﻟﻮﺳﻂ اﻟﺪميﻘﺮاﻃﻲ ﻣﻤﺜﻞ اﻟﻠﻴﱪاﻟﻴني‪.‬‬ ‫وﺑﻌﺪ ﺳﻨﻮات ﻃﻮﻳﻠﺔ ﻣﻦ اﻟﻌﻤﻞ اﻣﺘﺪت ‪ 14‬ﻋﺎﻣﺎ ﻻﺣﺖ ﻓﺮﺻﺔ ﻟﻠﺪراﺳﺔ اﻟﺠﺎﻣﻌﻴﺔ ﺑﻌﺪ اﻓﺘﺘﺎح اﻟﺠﺎﻣﻌﺔ اﳌﻔﺘﻮﺣﺔ ﰲ اﻟﻜﻮﻳﺖ‬ ‫ﻋﺎم ‪ 2002‬ﻓﺎﻟﺘﺤﻘﺖ ﺑﺘﺨﺼﺺ آداب اﻟﻠﻐﺔ اﻹﻧﺠﻠﻴﺰﻳﺔ‪.‬‬

‫‪@allmasoudi‬‬ ‫ﺳﺒﺘﻤﺒﺮ‬‫ﺴﻄﺲ ﺳ‬ ‫أﻏﺴ‬ ‫ﻏﺴ‬ ‫أﻏﺴﻄﺲ‪-‬ﺳﺒﺘﻤﺒﺮ ‪25 2016‬‬

‫اﺳﺘﻄﻼع‬ ‫‪baytelshear‬‬ ‫اﻹﺣﺴﺎس ﺑﺎﻟﻤﺴﺆوﻟﻴﺔ‬ ‫ﻳﻘﻮل اﻟﺸﺎﻋﺮ ﺻﺎﻟﺢ ﻣﺼﻠﺢ اﻟﺤﺮيب‪:‬‬ ‫إن اﻟﻌﻤﻠﻴﺔ ﻫﻨﺎ ﻧﺴﺒﻴﺔ‪ ،‬وﺗﻌﻮد‬ ‫ﳌﺪى ﻗﻮة اﻟﺸﺎﻋﺮﻳﺔ ومتﻜﻦ اﻟﺸﺎﻋﺮ‬ ‫ﻣﻦ أدواﺗﻪ اﻟﺸﻌﺮﻳﺔ وﺧﱪﺗﻪ‬ ‫اﻟﻌﺮﻳﻀﺔ‪ .‬ﻓـﺎﻟﺸﻌﺮ رﺳﺎﻟﺔ وﻗﻀﻴﺔ‬ ‫ﰲ آن واﺣﺪ‪ .‬واﻟﺸﺎﻋﺮ ﺣﻴﻨام ﻳﻜﺘﺐ‬ ‫ﻗﺼﻴﺪﺗﻪ إمنﺎ ﻳﺘﺤﺪث ﺑﻠﺴﺎﻧﻪ‬ ‫وﻟﺴﺎن اﻵﺧﺮﻳﻦ ﻣام ﻳﻮﺛﻖ اﻟﻌﻼﻗﺔ ﺑني اﻟﺸﺎﻋﺮ واﳌﺘﻠﻘﻲ‪ .‬وﻫﻨﺎ ﻧﻠﻤﺲ‬ ‫ﻟﻠﻘﺼﻴﺪة ﺣﻀﻮرﻫﺎ اﳌﺆﺛﺮ ﰲ ﻣﻮﺿﻮﻋﻬﺎ اﻟﺬي ﺗﺤﻤﻠﻪ ﻛﻤﻮﺿﻮع ذايت‬

‫ﻳﺘﻠﻤﺲ اﳌﺸﺎﻋﺮ واﻷﺣﺎﺳﻴﺲ‪ ،‬وﺑﺎﻟﺘﺎﱄ ﻳﻜﻮن ﻟﻪ وﻗﻌﻪ اﳌﺆﺛﺮ ﰲ اﻟﻨﻔﺲ‪.‬‬ ‫إن اﻟﻘﻀﺎﻳﺎ اﻟﻌﺎﻣﺔ ﺳﻮاء ﻋﲆ ﻣﺴﺘﻮى اﻟﻔﺮد أو اﳌﺠﺘﻤﻊ أو ﺣﺘﻰ‬ ‫اﻟﻘﻀﺎﻳﺎ اﻟﻘﻮﻣﻴﺔ‪ ..‬ﻳﺠﺐ أن ﺗﻜﻮن ﺣﺎﴐة وﺗﻌﺘﱪ ﻣﻦ ﻣﺴﺆوﻟﻴﺎت‬ ‫اﻟﺸﺎﻋﺮ‪ ،‬اﻟﺬي ﻳﺠﺐ أن ﻳﻜﻮن ﻣﻮاﻛﺒﺎ ﻟﻸﺣﺪاث وﻣﺘﺘﺒﻌﺎ ﻟﻠﻘﻀﻴﺔ‪ .‬وان‬ ‫ﻛﺎﻧﺖ ﻫﻨﺎ ﻟﻴﺴﺖ إﻟﺰاﻣﻴﺔ ﺑﻘﺪر ﻣﺎﻫﻲ إﺣﺴﺎس ﺑﺎﳌﺴﺆوﻟﻴﺔ ﺣﻴﺚ‬ ‫اﻟﺸﺎﻋﺮ اﺑﻦ ﺑﻴﺌﺘﻪ ﻳﺆﺛﺮ وﻳﺘﺄﺛﺮ مبﺎ ﺣﻮﻟﻪ‪ ،‬وﻋﻠﻴﻪ أن ﻳﻜﻮن اﻟﺤﺎﴐ‬ ‫ﰲ ﻗﻠﺐ اﻟﺤﺪث واﻟﻠﺴﺎن اﻟﻨﺎﻃﻖ ﺑﻪ‪ .‬وﻫﺬه ﺣﺘ ًام ﺗﻌﻮد ﻟﺸﺎﻋﺮﻳﺔ‬ ‫اﻟﺸﺎﻋﺮ ومتﻜﻨﻪ ﻣﻦ أدواﺗﻪ اﻟﺸﻌﺮﻳﺔ‪ .‬أﻣﺎ ﻣﻮﺿﻮع اﻻﻫﺘامم واﳌﻔﺎﺿﻠﺔ‬ ‫واﻟﻨﺠﺎح ﻓﻬﻲ ﺗﻌﻮد ﻛام أﺳﻠﻔﺖ ﻟﻠﺸﺎﻋﺮ وﻗﻮﺗﻪ اﻟﺸﻌﺮﻳﺔ وإﺣﺴﺎﺳﻪ‬ ‫ﺑﺎﳌﺴﺆوﻟﻴﺔ اﳌﻠﻘﺎة ﻋﲆ ﻋﺎﺗﻘﻪ‪ .‬واﻟﺸﻌﺮ ﺷﻌﺮ ﰲ ﻛﻞ ﺣﺎﻻﺗﻪ ﻻ ﻳﺘﺠﺰأ‪.‬‬ ‫ﻣﺮآة اﻟﺸﻌﻮب‬ ‫ﻳﺮى اﻟﺸﺎﻋﺮ أﴍف ﻋﺰﻣﻲ أن اﻟﺸﻌﺮ‬ ‫ﻣﺮآة اﻟﺸﻌﻮب‪ ،‬وﻻﺑﺪ ﻟﻠﺸﺎﻋﺮ أن ﻳﻜﻮن‬ ‫ﻋني اﳌﺘﻠﻘﻲ‪ ،‬ﻳﺮﺻﺪ ﺳﻠﺒﻴﺎت واﻳﺠﺎﺑﻴﺎت‬ ‫ﻣﺠﺘﻤﻌﻪ ووﻃﻨﻪ ﻣﻦ ﺧﻼل ﺷﻌﺮه ﺳﻮاء‬ ‫ﻛﺎن ذاﺗﻴﺎ أو ﻋﺎﻣﺎ‪ .‬وﻳﺮى أﻳﻀﺎ أن ﻣﺎ‬ ‫ﻳﺤﺴﻪ اﻟﺸﺎﻋﺮ وﻳﻌﺎﻧﻴﻪ ﰲ ﺑﻴﺌﺘﻪ اﻟﺼﻐرية‬ ‫وﻣﺠﺘﻤﻌﻪ ﻣﺎ ﻫﻮ إﻻ ﻧﺘﺎج ﻗﻀﺎﻳﺎ ﻋﺎﻣﻪ‬ ‫ﻛﺒرية ﳌﺠﺘﻤﻌﻪ اﻟﻜﺒري‪.‬‬

‫ﺗﻨﻮع اﻟﺬاﺋﻘﺔ واﻟﺠﻤﻬﻮر‬ ‫اﻟﺸﺎﻋﺮ ﻣﺤﻤﺪ ﺳﻼم ﻳﻘﻮل‪» :‬إن اﻫﺘامم‬ ‫اﻟﺸﻌﺮاء ﺑﻘﻀﺎﻳﺎﻫﻢ اﻟﺬاﺗﻴﺔ ﻻ ﺗﻨﻔﺼﻞ‬ ‫ﻋﻦ اﻻﻫﺘامم ﺑﺎﻟﻮاﻗﻊ اﻟﻌﺎم‪ ،‬مبﻌﻨﻰ‬ ‫أن ﺗﺠﺮﺑﺘﻚ اﻟﺬاﺗﻴﺔ ﻛﺸﺎﻋﺮ ﺗﺘﻌﺮض‬ ‫ﻟﻀﻐﻮط ﺣﻴﺎﺗﻴﺔ‪ ،‬ﻻ ﺗﻨﻔﺼﻞ ﻋﻦ ﻛﻮﻧﻚ‬ ‫ﺷﺎﻋﺮاً‪ .‬واﻟﺸﻌﺮ ﰲ اﻟﻨﻬﺎﻳﺔ ﺗﺠﺮﺑﺔ‬ ‫إﻧﺴﺎﻧﻴﺔ ﻣﺤﻤﻠﺔ ﺑﻜﻞ اﺧﺘﻼﺟﺎت اﻟﻨﻔﺲ اﻟﺒﴩﻳﺔ‪.‬‬ ‫اﺧﺘﻼف اﳌﺘﻠﻘﻲ ﻳﻔﺮض ﻋﲆ اﻟﺸﺎﻋﺮ اﺧﺘﻴﺎر ﻧﻮع اﻟﻘﺼﺎﺋﺪ‪ ،‬مبﻌﻨﻰ أن‬ ‫‪ 24‬ﺑﻴﺖ اﻟﺸﻌﺮ ‪ /‬اﻟﻌﺪد ‪48‬‬

‫ﺟﻤﻬﻮر اﳌﻬﺮﺟﺎﻧﺎت واﻷﻣﺴﻴﺎت اﻟﺸﻌﺮﻳﺔ ﻳﺨﺘﻠﻒ ﻋﻦ ﺟﻤﻬﻮر ﻧﻮادي‬ ‫اﻷدب‪ ،‬وﻟﻜﻞ ﻣﻨﻬﻢ ﻧﻮﻋﻴﺔ ﻣﻌﻴﻨﺔ ﻣﻦ اﻟﺸﻌﺮ ﻳﻨﺎﺳﺐ ذوﻗﻪ اﻟﻌﺎم‪.‬‬ ‫اﻟﻜﺜري ﻣﻦ اﻟﺸﻌﺮاء ﻧﺠﺤﻮا ﰲ ﺗﻀﻤني ﻗﺼﻴﺪﺗﻬﻢ اﻟﺬاﺗﻴﺔ ﻫﻤﻮم‬ ‫وﻣﻌﺎﻧﺎة اﳌﺠﺘﻤﻊ‪ ،‬ﺑﻞ وﺟﻌﻠﻮا ﻣﻦ ﻗﺼﻴﺪﺗﻬﻢ اﻟﺬاﺗﻴﺔ ﻫام ﻋﺎﻣﺎ‪،‬‬ ‫وأﻏﻠﺐ اﻟﺸﻌﺮاء ﻳﻌﻠﻤﻮن متﺎﻣﺎ أن اﻟﻬﻢ اﻟﺬايت ﻫﻮ ﰲ اﻟﺤﻘﻴﻘﺔ ﻫﻢ‬ ‫ﻣﺸﱰك‪ .‬وﰱ اﻟﻨﻬﺎﻳﺔ أﺣﺐ أن أوﺿﺢ أن اﻟﺸﻌﺮاء ﻫﻢ ﻣﱰﺟﻤﻮ اﻟﻨﻔﺲ‬ ‫اﻟﺒﴩﻳﺔ ﻓﻤﻨﻬﻢ ﻣﻦ ﻳﻘﻮم ﺑﱰﺟﻤﺔ ﺑﺴﻴﻄﺔ ﺗﻨﺎﺳﺐ اﻟﻌﺎﻣﺔ وﻣﺤﺪودي‬ ‫اﻟﺜﻘﺎﻓﺔ‪ ،‬وﻣﻨﻬﻢ ﻣﻦ ﻳﻠﺠﺄ إﱃ اﻟﱰﺟﻤﺔ اﳌﻌﻘﺪة اﻟﺘﻲ ﺗﺨﺎﻃﺐ ﺟﻤﻬﻮرا‬ ‫ﺑﻌﻴﻨﻪ وﻫﻮ ﺟﻤﻬﻮر اﳌﺜﻘﻔني واﳌﺒﺪﻋني واﻟﻨﺨﺒﺔ«‪.‬‬

‫اﻟﺮوح ﻻ اﻟﻌﻘﻞ‬ ‫ﺗﻘﻮل اﻟﺸﺎﻋﺮة اﻟﻌﻬﻮد راﺷﺪ‪ :‬إن اﻟﺸﺎﻋﺮ‬ ‫ﻧﺎﻗﻞ ﻟﻺﻟﻬﺎم‪ ،‬وﻣﺎ اﻹﻟﻬﺎم إﻻ ﻧﻌﻤﺔ رﺑﺎﻧﻴﺔ‪،‬‬ ‫وﻛﻞ ﻣﺎ دون ذﻟﻚ ﻣﺠﺮد ﺻﻒ ﻛﻼم ﻣﻮزون‬ ‫ﻣﻘﻔﻰ‪ ،‬وﻟﻴﺲ ﻟﻠﺸﺎﻋﺮ ﺣﻮل وﻻ ﻗﻮة مبﺎ‬ ‫ﺳﻮف ﻳﻨﻘﻠﻪ ﻟﻨﺎ!‬ ‫اﻟﺮوح ﻫﻲ ﻣﻦ ﺗﺴﺘﻘﺒﻞ اﻹﻟﻬﺎم وﻳﻨﺒﻐﻲ‬ ‫أن ﻧﻜﺘﺐ ﻣﻦ اﻟﺮوح ﻟﻠﺮوح‪ ،‬ﺣﻴﻨﻬﺎ ﺳﺘﻘﺮأﻧﺎ‬ ‫اﻷرواح ﺑﻜﻞ ﺷﻔﺎﻓﻴﺔ وﺣﺐ‪ ،‬ومبﺠﺮد ﺗﺪﺧﻞ‬ ‫اﻟﻌﻘﻞ ﰲ ﺑﺪاﻳﺔ ﻛﺘﺎﺑﺔ اﻟﻘﺼﻴﺪة‪ ،‬ﺳﺘﺘﻼﳽ‬ ‫ﻣﻈﺎﻫﺮ اﻟﺤﻴﺎة ﻓﻴﻬﺎ ﻓﺘﺒﻬﺖ ﺗﺪرﻳﺠﻴﺎً‪ ،‬وإذا‬

‫اﺳﺘﻤﺮ إﻗﺼﺎء اﻟﺮوح ﻓﻴﻬﺎ واﻻﻋﺘامد ﻋﲆ‬ ‫اﻟﻘﺪرة اﻟﻌﻘﻠﻴﺔ ﺳﺘﻨﻄﻔﺊ ومتﻮت !‬ ‫اﻻﺳﺘﻌﺎﻧﺔ ﺑﺎﻟﻘﺪرات اﻟﻌﻘﻠﻴﺔ ﺗﻜﻮن ﺑﻌﺪ‬ ‫اﻻﺳﺘﻘﺒﺎل اﻟﻜﺎﻣﻞ ﻟﻺﻟﻬﺎم وﻛﺘﺎﺑﺔ اﻟﻘﺼﻴﺪة‪،‬‬ ‫ﻓﺎﻟﱰﺗﻴﺐ واﻟﺘﻬﺬﻳﺐ واﻟﺘﻨﻘﻴﺢ ﻣﺮﺣﻠﺔ ﻣﻬﻤﺔ‬ ‫ﻣﻦ ﻣﺮاﺣﻞ اﻟﻜﺘﺎﺑﺔ‪ ،‬وﺑﻬﺎ ﻳﺘﻤﻴﺰ اﻟﺸﻌﺮاء ﻋﻦ‬ ‫ﺑﻌﻀﻬﻢ اﻟﺒﻌﺾ‪ ،‬ﻻ ﻧﻨﴗ ان اﻟﻌﻘﻞ ﻛﺬﻟﻚ‬ ‫ﻫﻮ ﻧﻌﻤﺔ رﺑﺎﻧﻴﺔ وﻣﻦ اﻟﺠﻤﻴﻞ اﻻﺳﺘﻌﺎﻧﺔ ﺑﻪ‬ ‫وﻟﻜﻦ ﺑﺎﻟﻮﻗﺖ اﳌﻨﺎﺳﺐ‪.‬‬ ‫ﺷﺨﺼﻴﺎً ﻻ اﺣﺒﺬ اﻟﺘﺨﻄﻴﻂ ﻟﻜﺘﺎﺑﺔ اﻟﻘﺼﻴﺪة‬ ‫ﺑﺎﻻﺧﺘﻴﺎر اﳌﺴﺒﻖ ﳌﻮﺿﻮﻋﻬﺎ أو ﺣﺘﻰ ﻗﻮاﻓﻴﻬﺎ‪،‬‬

‫وإن ﺻﺪﻗﻨﺎ ﻣﻊ أرواﺣﻨﺎ ﺳﺘﺘﻜﻮن اﻟﻔﻜﺮة‬ ‫ﻣﻦ اﻟﻌﺪم وﺗﻜﺘﺒﻨﺎ‪ ،‬ﻫﺬا إن أردﻧﺎ أن ﻧﺤﻴﺎ‬ ‫ﻛﺸﻌﺮاء ﺣﻴﺎة ﻃﻴﺒﺔ وﺻﺤﻴﺔ‪ ،‬ﻧﻔﻴﺪ وﻧﺴﺘﻔﻴﺪ‪.‬‬ ‫وﺑﺎﻟﻐﺎﻟﺐ ﻻ ﻳﺒﺪأ إﻟﻬﺎم اﻟﺸﺎﻋﺮ ﺑﻜﺘﺎﺑﺘﻪ‬ ‫ﰲ ﺷﻜﻞ ﻗﺼﺎﺋﺪ ذاﺗﻴﺔ إﻻ ﺑﻌﺪ ﻣﺮور أﻛرث‬ ‫ﻣﻦ ‪ 7‬ﺳﻨﻮات ﻋﲆ أﻗﻞ ﺗﻘﺪﻳﺮ‪ ،‬وأﻧﺼﺢ‬ ‫اﻟﺸﻌﺮاء واﻟﺸﺎﻋﺮات ﺑﺎﻟﺤﺮﻳﺔ اﳌﻄﻠﻘﺔ ﺑﻜﺘﺎﺑﺔ‬ ‫إﻟﻬﺎﻣﻬﻢ ﺣﺘﻰ وان مل ﻳﻘﺘﻨﻌﻮا ﺑﻨﴩه‪ ،‬اﻷﻫﻢ‬ ‫أن ﻳﺴﺘﻘﺒﻠﻮه وﻳﻜﺘﺒﻮه ﻛام ﻫﻮ ﺑﻼ رﺗﻮش‪،‬‬ ‫ﻓﻔﻴﻪ ﺷﻔﺎء وراﺣﺔ ﻋﲆ اﳌﺴﺘﻮى اﻟﻨﻔﴘ‬ ‫واﻟﺠﺴﺪي‪.‬‬

‫اﻹﺑﺪاع ﻫﻮ اﻟﺤﻜﻢ‬ ‫ﺑﺎﳌﻘﺎﺑﻞ ﻳﻘﻮل اﻟﺸﺎﻋﺮ ﺣﻤﺪ ﺑﻦ ﻋﲇ‬ ‫اﻟﻨﻌامين‪ :‬إن اﻟﺸﻌﺮ اﻟﺬايت واﻟﺸﻌﺮ ﰲ‬ ‫اﻟﻘﻀﺎﻳﺎ اﻟﻌﺎﻣﺔ ﻟﻴﺴﺎ ﺑﻌﻴﺪﻳﻦ ﻋﻦ ﺑﻌﻀﻬام‬ ‫اﻟﺒﻌﺾ‪ ،‬ﻣﻦ ﺣﻴﺚ اﻟﺘﺄﺛري اﻟﺤﴘ واﻟﻮﺟﺪاين‬ ‫ﻣﻊ اﻟﻘﻀﺎﻳﺎ اﻻﺟﺘامﻋﻴﺔ أو اﻟﻌﺎﻣﺔ‪ ،‬ﻷن‬ ‫اﻟﺸﺎﻋﺮ واﳌﺘﻠﻘﻲ ﻫام ﻛﻮﺟﻬني ﰲ ﻋﻤﻠﺔ‬ ‫واﺣﺪة‪ .‬ذاك اﳌﱰﺟﻢ وذاك اﳌﺴﺘﻤﻊ‬ ‫واﳌﺴﺘﻤﺘﻊ‪ ،‬وﻟﻜﻦ ﻟﻸﺳﻒ اﻟﺸﺪﻳﺪ‪ ،‬اﻟﻜﺜري‬ ‫ﻣﻦ اﻟﺸﻌﺮاء مل ميﻨﺤﻮا ﻟﻠﻘﻀﺎﻳﺎ اﻟﻌﺎﻣﺔ ﻣﺴﺎﺣﺔ ﻛﺎﻓﻴﺔ ﻟﻠﺘﻌﺒري ﻋام‬ ‫ﻳﻮاﺟﻬﻪ اﳌﺠﺘﻤﻊ اﻟﻌﺮيب واﻟﺨﻠﻴﺠﻲ‪ .‬ﺑﻴﻨام اﻫﺘﻢ اﻟﻜﺜري اﻟﺸﻌﺮاء‬ ‫ﺑﺎﻟﻘﻀﺎﻳﺎ اﻟﺬاﺗﻴﺔ‪ .‬أﻣﺎ ﻣﻦ اﻫﺘﻢ ﺑﺎﻟﻘﻀﺎﻳﺎ اﻟﻌﺎﻣﺔ ﻓﻠﻢ ﻳﺪﻗﻖ ﰲ ﺗﻔﺎﺻﻴﻠﻬﺎ‬ ‫وإﻳﺼﺎﻟﻬﺎ ﻟﻠﻤﺘﻠﻘﻲ ﺑﺎﻟﺸﻜﻞ اﳌﺮﻏﻮب ﰲ ﺗﻄﺒﻴﻘﻪ‪.‬‬ ‫وﻣﻦ ﻧﺎﺣﻴﺔ اﻟﺘﺄﺛري أرى أن اﻹﺑﺪاع ﻫﻮ اﳌﺴﻴﻄﺮ دامئﺎ ﻻ ﺷﻜﻞ وﻧﻮع‬ ‫اﻟﻘﺼﻴﺪة‪ ،‬وﻫﻮ اﻷرﺟﺢ ﰲ ﺷﺪ اﻧﺘﺒﺎه اﳌﺘﻠﻘﻲ ﻟﻠﻤﻮاﺿﻴﻊ اﳌﺨﺘﻠﻔﺔ ﺑني‬ ‫اﻟﺬايت واﻟﻌﺎم‪.‬‬ ‫اﻟﺬاﺗﻲ واﻟﻌﺎم واﺣﺪ‬ ‫ﺗﻘﻮل اﻟﺸﺎﻋﺮة ﻧﻴﻔني أﺣﻤﺪ ﺟﺎﺑﺮ‪ :‬إن‬ ‫اﻟﻘﻀﺎﻳﺎ اﻟﻌﺎﻣﺔ واﻟﻘﻀﺎﻳﺎ اﻟﺬاﺗﻴﺔ ﻗﺪ‬ ‫ﺗﺘﺸﺎﺑﻚ ﰲ ﺑﻌﺾ ﺧﻄﻮﻃﻬﺎ‪ ،‬وﻫﻨﺎك‬ ‫ﺧﻴﻂ رﻓﻴﻊ ﺑﻴﻨﻬام‪ ،‬وﻗﺪ ﻳﺘﺪاﺧﻞ اﻟﻬﻢ‬ ‫اﻟﻌﺎم ﻣﻊ اﻟﺨﺎص‪.‬‬ ‫ﻓﺎﻟﻘﻀﻴﺔ اﻟﻌﺎﻣﺔ ﻫﻲ ﻗﻀﻴﺔ ﺗﺸﻐﻞ‬ ‫ﺑﺎل اﻟﻌﻤﻮم ﻣﻦ اﳌﺠﺘﻤﻊ اﻟﻮاﺣﺪ‪ ،‬اﻷﻣﺮ‬ ‫اﻟﺬي ﻻ ﻳﻘﻠﻞ ﻣﻦ ﻛﻮﻧﻬﺎ ﺑﺸﻜﻞ أو ﺑﺂﺧﺮ ﺧﺎﺻﺔ‪ ،‬وإﻻ ﳌﺎ أﺛﺎرت‬ ‫ﺣﻔﻴﻈﺔ اﻟﺸﺎﻋﺮ ﻟﻴﺨﻄﻬﺎ ﻋﲆ اﻷوراق‪ .‬أﻣﺎ اﻟﻘﻀﺎﻳﺎ اﻟﺨﺎﺻﺔ ﻓﻘﺪ‬ ‫متﺲ ﻗﻄﺎﻋﺎ ﻋﺮﻳﻀﺎ ﻣﻦ اﳌﺘﻠﻘني ﻓﺘﺼﺒﺢ ﻗﻀﻴﺔ ﻋﺎﻣﺔ ﺑﺮﻏﻢ ﻛﻮﻧﻬﺎ‬

‫ﰲ اﻷﺳﺎس ﺧﺎﺻﺔ ﺑﺎﻟﺸﺎﻋﺮ ذاﺗﻪ‪ .‬ﻫﻨﺎ ﺗﺼﺒﺢ ﻟﻬﺎ ﺻﻔﺔ اﻟﻌﻤﻮم‬ ‫وﺗﺤﻈﻰ ﺑﺎﺳﺘﻘﺒﺎل ﺟﻴﺪ ﻟﻬﺎ ﻣﻦ ﻗﺒﻞ اﳌﺘﻠﻘني‪ ،‬اﻷﻣﺮ اﻟﺬي ﻳﺴﻬﻢ‬ ‫ﺑﺎﻧﺘﺸﺎرﻫﺎ‪.‬‬ ‫اﻟﺸﻌﺮاء اﻟﺸﻌﺒﻴﻮن )ﻛام ﻳﻄﻠﻖ ﻋﻠﻴﻬﻢ اﻟﺒﻌﺾ( ﻛﺎﻧﻮا اﻷﻗﺮب ﻣﻦ‬ ‫اﻟﻬﻢ اﻟﻌﺎم ﺑﺒﺴﺎﻃﺔ اﻟﺘﻌﺒري ﻋﻨﻪ َﻛ َﻬ ٍﻢ ﺧﺎص‪.‬‬ ‫اﻟﺘﺠﺮﺑﺔ اﻟﺸﻌﺮﻳﺔ اﻟﺤﻘﻴﻘﻴﺔ – وﻻ اﺗﺤﺪث ﻫﻨﺎ ﻋﻦ ادﻋﺎءات أو‬ ‫اﺣﱰاف ﺻﺐ اﻟﻜﻠامت ﰲ ﻗﺎﻟﺐ ﻣﻮزون أو اﻟﺘامدي ﰲ اﻟﻘﺼﻴﺪة‬ ‫اﻟﻌﺎﻣﻴﺔ ﺑﺸﻜﻞ ﻧرثي ﻣﻔﺮغ ﻣﻦ اﳌﻌﻨﻰ – ﻫﻲ ﰲ ﺣﺪ ذاﺗﻬﺎ ﻧﺘﺎج‬ ‫ﺗﺠﺮﺑﺔ ﺷﺨﺼﻴﺔ‪ .‬اﻷﻣﺮ اﻟﺬي ﻗﺪ ﻳﺠﻌﻞ ﻣﻨﻬﺎ ﺣﺎﻟﺔ ﻓﺮدﻳﺔ ﻻ ﺗﺘﻘﺎﻃﻊ‬ ‫ﺧﻄﻮﻃﻬﺎ إﻻ ﻣﻊ ﻗﻠﺔ ﻣﺤﻴﻄﺔ‪ .‬إﻻ أن ﺑﺮاﻋﺔ اﻟﺸﺎﻋﺮ ﰲ إﻳﺼﺎل‬ ‫ﺻﺪق ﻣﺸﺎﻋﺮه ﻗﺪ ﺗﻌﱪ ﺑﻘﺼﻴﺪﺗﻪ ﻣﻦ اﻟﺬاﺗﻴﺔ إﱃ اﻟﻌﻤﻮم‪.‬‬ ‫أﻏﺴﻄﺲ‪-‬ﺳﺒﺘﻤﺒﺮ ‪23 2016‬‬

‫اﺳﺘﻄﻼع‬ ‫‪baytelshear‬‬

‫ﺣﻠﻘﺔ وﺻﻞ‬ ‫ﺗﻘﻮل اﻟﺸﺎﻋﺮة وﻻء زﻳﺪان‪» :‬اﻟﺸﻌﺮ اﻟﺸﻌﺒﻲ‬ ‫ﰲ ﺑﻼد اﻟﺸﺎم ﻳﻌ ّﺪ ﻣﻨﱪا راﺋﻌﺎ ﳌﻨﺎﻗﺸﺔ ﻣﻌﻈﻢ‬ ‫اﻟﻘﻀﺎﻳﺎ اﻻﺟﺘامﻋﻴﺔ واﻟﻌﺎﻣﺔ‪ .‬اﻣﺎ ﻣﻦ ﺧﻼل‬ ‫ﻣﺘﺎﺑﻌﺘﻲ ﻟﻠﺸﻌﺮ اﻟﻨﺒﻄﻲ ﰲ اﻷردن ودول‬ ‫اﻟﺨﻠﻴﺞ ﻓﻮﺟﺪت أن اﻟﺸﻌﺮ ﰲ ﺗﻠﻚ اﳌﻨﺎﻃﻖ‬ ‫ﻟﺪﻳﻪ ﺳﺤﺮ ﺧﺎص ﻟﺠﺬب أذن اﳌﺘﻠﻘﻲ ﺗﻔﻮق‬ ‫ﺑﺎﻗﻲ أمنﺎط اﻟﺸﻌﺮ اﻷﺧﺮى‪ ،‬وﻫﻮ ﻳﻌﺘﱪ ﻓﻨﺎ‬ ‫ﺛﺮﻳﺎ ﺟﺪا وﻣﻤﻜﻨﺎ ﳌﻨﺎﻗﺸﺔ اﻟﻘﻀﺎﻳﺎ اﻟﺬاﺗﻴﺔ‬ ‫واﻟﻌﺎﻣﺔ واﻻﺟﺘامﻋﻴﺔ‪ ،‬وﻫﻮ اﻷﻛرث ﺗﻄﺮﻗﺎ‬ ‫ﻷدب اﻟﺤﻜﻤﺔ ﺑﺄﺳﻠﻮب ﺟﻤﻴﻞ ﻣﺆﺛﺮ ﻟﻠﻤﺘﻠﻘﻲ‬ ‫ﻏري ﻣﻨﻔﺮ‪.‬‬ ‫أﻣﺎ اﻟﺸﻌﺮ اﻟﺸﻌﺒﻲ ﰲ ﻣﴫ واﻟﺴﻮدان ﻓﻠﻪ‬ ‫ﻣﻨﱪ ﺟامﻫريي ﺿﺨﻢ ﻋﲆ ﺣﺪ ﻋﻠﻤﻲ ﰲ‬ ‫ﻣﻌﺎﻟﺠﺔ اﻟﻘﻀﺎﻳﺎ اﻟﻌﺎﻣﺔ‪ ،‬وﺣﺘﻰ اﻟﻘﻮﻣﻴﺔ‪.‬‬ ‫ﻛام أن اﻟﺸﻌﺮ اﻟﺸﻌﺒﻲ اﻟﻌﺮاﻗﻲ اﻟﺬي أﻋﺸﻘﻪ‬ ‫ﺟﺪا ﻳﻄﻐﻰ ﻋﻠﻴﻪ اﻟﻄﺎﺑﻊ اﻟﺤﺰﻳﻦ‪ ،‬وﻓﻴﻪ ﻣﻦ‬ ‫ﻣﻌﺎﻟﺠﺔ اﻟﻘﻀﺎﻳﺎ اﻟﻔﺮدﻳﺔ واﻟﻘﻮﻣﻴﺔ اﻟﴚء‬ ‫اﻟﻜﺜري‪.‬‬ ‫ﻋﻤﻮﻣﺎ أرى أن اﻟﺸﻌﺮ اﻟﺸﻌﺒﻲ ﻛﺎن اﻷﻗﺮب‬ ‫ﻟﻠﻨﺎس واﻷﻗﺪر ﻋﲆ اﻟﺘﻌﺒري ﺑﻠﻐﺘﻪ اﻟﺒﺴﻴﻄﺔ‪،‬‬ ‫وﻗﺪ ﺗﻔﻮق ﻋﲆ اﻷﺳﻠﻮب اﻟﺨﻄﺎيب واﳌﻘﺎﱄ‪،‬‬ ‫ﻟﺬا ﻛﺎن اﻷﻗﺪر ﻋﲆ ﻃﺮح اﻟﻘﻀﺎﻳﺎ اﻟﻌﺎﻣﺔ‬ ‫واﻟﺬاﺗﻴﺔ ﻋﲆ ﺣﺪ ﺳﻮاء‪ .‬وﰲ ﻧﻬﺎﻳﺔ اﻷﻣﺮ‬ ‫‪ 22‬ﺑﻴﺖ اﻟﺸﻌﺮ ‪ /‬اﻟﻌﺪد ‪48‬‬

‫ﻳﻌﻮد ذﻟﻚ إﱃ اﻟﺸﺎﻋﺮ ﻧﻔﺴﻪ‪ ،‬اﻟﺬي ﻗﺪ‬ ‫ﻳﻄﺮح ﻗﻀﻴﺘﻪ ﰲ اﻟﺒﺪاﻳﺔ‪ ،‬ﺛﻢ ﻳﻄﺮح ﻗﻀﺎﻳﺎ‬ ‫اﳌﺠﺘﻤﻊ‪ .‬ﻏري إن اﻟﺸﺎﻋﺮ واﻟﻨﺎﺛﺮ ﻫﻮ اﻟﺸﺨﺺ‬ ‫اﻟﺤﺎمل واﺳﻊ اﻟﺨﻴﺎل‪ ،‬وﻛﺜريا ﻣﺎ ﻳﻜﻮن أﺑﻌﺪ‬ ‫ﻋﻦ اﻟﻮاﻗﻊ‪ ،‬ﻟﺬا ﻫﻮ اﻷﻗﺪر ﻋﲆ رﺳﻢ اﻟﺤﻴﺎة‬ ‫اﳌﺜﺎﻟﻴﺔ واﳌﺪﻳﻨﺔ اﻟﻔﺎﺿﻠﺔ واﻷﺟﻤﻞ‪ .‬اﻟﺸﺎﻋﺮ‬ ‫ﻫﻮ اﻟﻘﺎدر ﻋﲆ رؤﻳﺔ اﻟﺤﺮﻳﺔ واﻟﺠامل‪ ،‬ﻫﻮ‬ ‫ﻣﻦ ﻳﺨﻄﻂ ﻟﻸﻓﻀﻞ وﻳﺴﻌﻰ ﻟﻪ ﻣﻦ ﺧﻼل‬ ‫ﺗﺄﺛريه ﻋﲆ اﻟﻨﺎس وﻋﲆ ﻧﻔﺴﻪ وﻗﺪ ﻳﻜﺘﺐ‬ ‫ﻣﺎﻻ ﻳﻔﻌﻞ أﻣﻼ ﰲ أن ﻳﻔﻌﻞ ﻓﻬﻮ ﻣﻦ ﻳﻬﺬب‬ ‫ﻧﻔﺴﻪ ﻣﻦ ﺧﻼل ﻛﺘﺎﺑﺎﺗﻪ ﻗﺒﻞ أن ﻳﻘﺼﺪ‬ ‫اﳌﺘﻠﻘﻲ‪.‬‬ ‫وأﻇﻦ أن اﻟﻘﻀﺎﻳﺎ اﻟﻌﺎﻣﺔ ﻟﻬﺎ ﺗﺄﺛري أﻛﱪ‪ ،‬ﻷﻧﻬﺎ‬ ‫ﺗﻼﻣﺲ ﺷﻐﺎف ﻗﻠﺐ ﴍﻳﺤﺔ أوﺳﻊ‪ .‬ﻟﻜﻦ ﰲ‬ ‫ﻧﻬﺎﻳﺔ اﳌﻄﺎف‪ ،‬ﻧﺮى أن اﻟﻘﻀﺎﻳﺎ اﻟﻌﺎﻣﺔ ﻫﻲ‬

‫اﳌﺴﺒﺒﺔ ﻷﻏﻠﺐ اﻟﻘﻀﺎﻳﺎ اﻟﺬاﺗﻴﺔ‪ .‬ﻓﺎﻟﺤﺮوب‬ ‫واﻟﴫاﻋﺎت واﻟﻜﻮارث اﻹﻧﺴﺎﻧﻴﺔ واﻷوﺿﺎع‬ ‫اﻻﻗﺘﺼﺎدﻳﺔ ﻫﻲ ﻣﻦ ﺗﺨﻠﻖ أﻟﻒ ﻗﻀﻴﺔ ذاﺗﻴﺔ‪،‬‬ ‫وأﻧﺎ ﻣﻊ ﻣﻦ ﻳﻜﺘﺐ ﺑﺎﻟﺪاﺋﺮة اﻷﻛﱪ ﺛﻢ اﻷﺻﻐﺮ‬ ‫ﻓﺎﻷﺻﻐﺮ أو ﻳﻄﺮح ﻗﻀﻴﺘﻪ وﺗﺄﺛريﻫﺎ وأﺛﺮﻫﺎ‬ ‫ﻋﲆ اﻟﻘﻀﻴﺔ اﻟﻌﺎﻣﺔ‪.‬‬ ‫ﺣﺘام ﻫﻨﺎك ﺻﻠﺔ وأﺣﻴﺎﻧﺎ ﻗﺪ ﺗﻜﻮن ﻗﻀﻴﺔ‬ ‫اﻟﺸﺎﻋﺮ اﻟﺬاﺗﻴﺔ ﻫﻲ ﻗﻀﻴﺔ رأي ﻋﺎم ﻟﻮ اﻧﻬﺎ‬ ‫ﻃﺮﺣﺖ ﺑﻐري ﻗﺎﻟﺒﻬﺎ اﻟﻔﻨﻲ‪ .‬وﻣﻦ ﻧﺠﺢ ﰲ ذﻟﻚ‬ ‫متﻴﺰ واﺷﺘﻬﺮ‪ ،‬ﻓﻤﺜﻼ اﳌﺘﻨﺒﻲ‪ ،‬أﺻﺒﺢ ﻣﻔﺨﺮة‬ ‫اﻷدب اﻟﻌﺮيب‪ ،‬ﻷﻧﻪ متﻴﺰ ﺑﺬﻟﻚ ﰲ اﻟﻘﺼﻴﺪة‬ ‫اﻟﻮاﺣﺪة‪ ،‬ﺣﻴﺚ ﻳﻄﺮح ﻓﻴﻬﺎ أﻛرث ﻣﻦ ﻗﻀﻴﺔ‪..‬‬ ‫ﻓﻴﻌﺘﺰ ﺑﻌﺮوﺑﺘﻪ‪ ،‬وﻳﻔﺘﺨﺮ ﺑﻨﻔﺴﻪ وﻳﺒﺠﻠﻬﺎ‪،‬‬ ‫وميﺪح اﻷﻣري‪ ،‬وﻳﻄﻠﻖ اﻟﺤﻜﻢ واﳌﻮاﻋﻆ‪،‬‬ ‫وﻣﻦ ﻣﺪﺣﻪ ﻟﻸﻣري ﻫﻮ ﻳﺆﺛﺮ ﻋﲆ أﻓﻌﺎل اﻷﻣري‬ ‫ﺑﺸﻜﻞ ﻏري ﻣﺒﺎﴍ‪ ،‬وﺑﺎﻟﺘﺎﱄ ﻋﲆ اﳌﺠﺘﻤﻊ‪.‬‬ ‫وﺣﺴﺐ ﻣﺎ ﻗﻴﻞ ﱄ ﻣﻦ ﺷﺎﻋﺮ ﻳﺤﱰف اﳌﺪح ﰲ‬ ‫ﻓﻠﺴﻄني‪ ،‬وﻗﺎدر ﻋﲆ اﻹﺻﻼح ﺑني اﳌﺘﻨﺎزﻋني‬ ‫ﺑني اﻟﻌﺸﺎﺋﺮ واﻟﻘﺒﺎﺋﻞ ﺑﺄﺳﻠﻮﺑﻪ اﻟﺸﻌﺮي‪،‬‬ ‫»إن ﻣﺪﺣﺖ أﺣﺪا مبﺎ ﻟﻴﺲ ﻓﻴﻪ ﺻﺎر ﻓﻴﻪ‪،‬‬ ‫وإن ﻣﺪﺣﺘﻪ مبﺎ ﻓﻴﻪ اﺳﺘﺰاد«‪ .‬ﻟﺬا ﻫﻨﺎك ﻣﻦ‬ ‫ﺷﻌﺮاء اﻟﻌﴫ اﻟﺤﺎﱄ ﻣﻦ ﻧﺠﺢ ﺑﻄﺮح اﻟﻘﻀﺎﻳﺎ‬ ‫اﻟﺨﺎﺻﺔ واﻟﻌﺎﻣﺔ‪ ،‬وﻣﻦ اﻧﺘﻘﻞ ﻣﻦ واﺣﺪة‬ ‫ﻷﺧﺮى واﻟﻌﻜﺲ«‪.‬‬

‫ﻣﻮاﻛﺒﺔ اﻷﺣﺪاث‬ ‫ﻳﻘﻮل اﻟﺸﺎﻋﺮ ﻋﺒﺪاﻟﻠﻪ ﺑﻦ ﻓﻬﻢ‪:‬‬ ‫ُﻋﺮف اﻟﺸﻌﺮ اﻟﻨﺒﻄﻲ وﺷﻌﺮاؤه‬ ‫مبﻮاﻛﺒﺘﻬﻢ ﻟﻸﺣﺪاث اﻟﺘﻲ ﺗﺪور‬ ‫ﻣﻦ ﺣﻮﻟﻬﻢ ﰲ ﺣ ّﻠﻬﻢ وﺗﺮﺣﺎﻟﻬﻢ‪،‬‬ ‫وﺑﺘﻨ ّﻮع اﻟﻄﺮح ﻛام ﺑﺘﻨ ّﻮع أﻏﺮاض‬ ‫اﻟﺸﻌﺮ‪ ،‬وﻗﺪ اﻧﻘﺴﻢ ﻫﺬا اﻟﺸﻌﺮ‬ ‫إﱃ‪ :‬ذايت وﻋﺎم ‪ .‬ﻟﻜﻦ اﻟﻘﺼﻴﺪة اﻷﺻﻴﻠﺔ ﺑﻐﺾ اﻟﻨﻈﺮ ﻋﻦ اﻟﻐﺮض‬ ‫اﻟﺬي ﺳﺎﻗﻬﺎ إﻟﻴﻨﺎ‪ ،‬ﻳﺠﺐ أن ﺗﻼﻣﺲ إﺣﺴﺎس ﺷﺎﻋﺮﻫﺎ‪ ،‬ﻗﺒﻞ أن ﺗﻘﺬف‬ ‫ﺑﺮأﺳﻬﺎ ﻧﺤﻮ اﳌﺘﻠﻘﻲ‪ ،‬ﻟﺘﺴﺘﺠﺪي ﻣﺸﺎﻋﺮه أو ﺑﺼﻮرة أﻟﻄﻒ ﻗﺒﻞ أن‬ ‫ﺗﻐﺎزل اﻟﺠﺎﻧﺐ اﻟﺮﻫﻒ ﺑﺪاﺧﻠﻪ‪..‬وﻗ ّﻠام ﻧﺠﺪ ﻣﺜﻞ ﻫﺬه اﻟﻘﺼﻴﺪة ﰲ‬ ‫زﻣﻦ اﳌﻮاﻗﻊ اﻟﻌﻨﻜﺒﻮﺗﻴﺔ‪.‬‬ ‫وﺣﺰنٍ ﻋﲆ واﻗﻊ ﺳﺎﺣﺔ اﻟﺸﻌﺮ‬ ‫ﳻ ُ‬ ‫أﻗﻮﻟﻬﺎ وﺑﻜﻞ ﻣﺎ ﺗﻠﺒﺴ ُﻪ ﺣﺮوﰲ ﻣﻦ أ ً‬ ‫اﻟﻨﺒﻄﻲ اﳌﻌﺎﴏ‪.‬‬

‫ﻣﻨﻬﻢ‪ .‬واﺗّﺠﺎه اﻟﺒﻌﺾ ﻧﺤﻮ اﻟﻬﻢ اﻟﺬايت ميﴚ ﻋﲆ ﺧُ ﻄﻰ )اﳌﻮﺿﻪ‬ ‫ﻋﺎوزه ﻛﺪه(‪ .‬وإذا مل ﺗﺨﺼﺺ ﻫﻴﺌﺔ رﻗﺎﺑﻴﺔ ُﻋﻠﻴﺎ ﺗﺠﻤﻊ ﻓﺤﻮل اﻟﺸﻌﺮ‬ ‫اﻟﻨﺒﻄﻲ ﻟيك ﺗﴩف ﻋﲆ ﻧﺘﺎج اﻟﺸﻌﺮاء‪ ،‬ﻋﱪ ﻣﻮاﻗﻊ رﺳﻤﻴﺔ وﻏري رﺳﻤﻴﺔ‬ ‫ﻛﺎﻟﺘﻲ ﺗﺰﺧﺮ ﺑﻬﺎ اﻟﻄﺮﻗﺎت اﻹﻟﻜﱰوﻧﻴﺔ ﻓﺎﻗﺮأ ﻋﲆ ﻫﺬا اﻟﱰاث اﳌﺨﻤﲇ‬ ‫اﻟﺴﻼم‪.‬‬ ‫ﻗﺪ ﺗﻜﻮن اﻟﻘﻀﺎﻳﺎ اﻟﺬاﺗﻴﺔ ذات ﺗﺄﺛري ﻛﺒري ﰲ ﻧﻔﻮس اﻟﻜﺜريﻳﻦ ﻣﻦ‬ ‫اﻟﻨﺎس‪ ،‬وﻟﻜﻨﻬﺎ ﺗﺮاوح ﰲ ﻣﻜﺎﻧﻬﺎ ﰲ ﻛﺜري ﻣﻦ اﻷﺣﻴﺎن‪ ،‬وﻻ ﺗﺘﺠﺎوز‬ ‫ﻌني ﻣﻦ اﻷﺷﺨﺎص اﳌﺘﻠﻘّني‪،‬‬ ‫ﺣﺪودﻫﺎ اﻟﻀﻴﻘﺔ ﻣﺤﺼﻮر ٌة ﰲ ﻋﺪد ُﻣ ّ‬ ‫اﻟﺬﻳﻦ ﻻ ميﻜﻦ ﺗﺠﺎوزﻫﻢ ﻣﻘﺎرﻧﺔ ﺑﺎﻟﻘﻀﺎﻳﺎ اﻟﻌﺎﻣﺔ واﻟﺘﻲ أﺟﺰم ﺑﺄن‬ ‫ﺻﺪاﻫﺎ ﻳﺘﺠﺎوز ﺟﻤﻴﻊ اﻟﺤﺪود‪.‬‬ ‫ﻟﻜﻦ ﻋﻤﻮﻣﺎ‪ ،‬ﻻ ُﻳﻨﻜﺮ اﺟﺘﻬﺎد اﻟﺒﻌﺾ ﻣﻦ ﺷﻌﺮاء اﻟﻨﺒﻂ ﰲ ﺳﺎﺣﺘﻨﺎ‬ ‫ﻟﻠﻮﺻﻮل إﱃ ﻣﻨﻄﻘﺔ اﻟﺘﻮاﻓﻖ ﺑني اﻟﺤﺎﻟﺘني اﻟﺬاﺗﻴﺔ واﻟﻌﺎﻣﺔ‪ ،‬وﺳﻌﻴﻬﻢ‬ ‫اﻟﺪؤوب ﻹﻳﺼﺎل اﻟﻜﻠﻤﺔ اﻟﺤﻖ‪.‬‬ ‫رﺣﻢ اﻟﻠﻪ ﺷﺎﻋﺮاً اﺣﱰم ﻗﻠﻤﻪ و أﻟﺒﺴﻪ ﻟﺒﺎس اﻟﻮﻗﺎر ‪..‬‬

‫<‪£*§¡< f¤G fH hMfq< ¥0f G* hMfq‬‬ ‫‪¿fº* f¡ + M *K3&¸* ¬2T |CC- K‬‬

‫*‪ f I*K +fI h E ɧª< ,| I · | G‬‬ ‫‪T‬‬ ‫(‪2§/§G* ª 8f - ¢< «T F l EK EK *3‬‬ ‫*‬ ‫‪ fª»* 1 Îk IK ¥ ª º* f/K* ¢H hk I‬‬ ‫‪ 2§D £K2 4*§ G 4*§ G* 6f I* /ÎIK‬‬

‫أﻏﻠﺐ ﺷﻌﺮاء اﻟﻨﺒﻂ ﺑﻌﻴﺪون ﻋﻦ اﻟﻬﻢ اﻹﻧﺴﺎين واﻹﺳﻼﻣﻲ واﻟﻘﻮﻣﻲ‬ ‫واﻟﻮﻃﻨﻲ واﻻﺟﺘامﻋﻲ‪ .‬ﺑﻌﻴﺪون ﻋﻦ اﻟﻬﻢ اﻟﻌﺎم‪ ،‬إﻻ ﻣﻦ رﺣﻢ اﻟﻠﻪ‬ ‫ﺳﺆال وﺟﻮاب‬ ‫أﻣﺎ اﻟﺸﺎﻋﺮة ﻓﻄﻴﻢ اﻟﺤﺮز ﻓﱰى أن‬ ‫اﳌﺴﺎﻗني ﻣﺨﺘﻠﻔﺎن متﺎﻣﺎً‪ ،‬ﻛﻞ واﺣﺪ ﻣﻨﻬام‬ ‫ﺷﻖ ﻃﺮﻳﻘﻪ ﻧﺤﻮ اﺗﺠﺎ ٍه ﻣﺨﺘﻠﻒ‪ .‬اﻟﻘﻀﺎﻳﺎ‬ ‫اﻟﺬاﺗﻴﺔ ﺗﺒﻘﻰ ذاﺗﻴﺔ‪ ،‬ﻳﺘﻜﻠﻢ اﻟﺸﺎﻋﺮ ﻋﻨﻬﺎ‬ ‫وﻳﻮﻇِ ﻒ ﻛﻠامﺗﻪ ﻋﲆ ﺣﺴﺐ ﺗﺠﺎرﺑﻪ و‬ ‫ﻣﻮﺿﻮع ﻗﺼﻴﺪﺗﻪ اﻟﺬي ُﻳﻌﱪ ﻋﻦ ﺗﺠﺮﺑﺔ‬ ‫ﻣﻌﻴﻨﺔ أو ﻣﻮﻗﻒ ﻣﻌني و إﻟﺦ‪..‬‬ ‫أﻣﺎ اﻟﺸﻌﺮ اﻟﻌﺎم واﻟﺬي ﻏﺎﻟﺒﺎً ﻣﺎ ﻳﺘﺤﺪث‬ ‫ﻋﻦ أﻣﻮر ﻣﻌﻴﻨﺔ ﻣﺜﻞ ﺷﺆون اﳌﺠﺘﻤﻊ‪،‬‬ ‫اﻟﺪوﻟﺔ‪ ،‬ﻗﻀﻴﺔ ﺳﻴﺎﺳﻴﺔ و إﻟﺦ‪ ..‬ﻫﻨﺎ اﻟﺸﺎﻋﺮ‬ ‫ﻳﺴﻌﻰ إﱃ ﺗﻮﺻﻴﻞ ﻓﻜﺮة أو رأي أو ﻗﺼﻴﺪة‬ ‫ُمتﺜﱢﻞ ﺳﺆاﻟﻪ اﻟﺬي ﻳﺮﻳﺪ اﻟﺸﺎﻋﺮ إﺟﺎﺑﺘﻪ‪.‬‬ ‫اﻟﺸﻌﺮاء اﻟﺸﻌﺒﻴﻮن ﰲ اﻟﺰﻣﻦ اﻟﻘﺪﻳﻢ ﻛﺎﻧﻮا‬ ‫ﻳﺴﺘﺨﺪﻣﻮن ﻗﺼﺎﺋﺪﻫﻢ ﰲ ﺣﻞ ﻗﻀﺎﻳﺎ‬ ‫ﻣﻌﻴﻨﺔ و أﻳﻀﺎً ﻛﺎﻧﺖ ﻗﺼﺎﺋﺪﻫﻢ ﺗﺤﻮي‬ ‫أﻫﺪاﻓﺎ أو ﻣﻄﺎﻟﺐ و ﻓﻌ ًﻼ ﻳﻨﺎﻟﻮن ﻣﺎ ﻛﺎﻧﻮا‬ ‫ﻳﻄﻠﺒﻮﻧﻪ ﻣﻦ ﺧﻼل ﻗﺼﺎﺋﺪﻫﻢ‪.‬‬ ‫ﰲ اﻟﻮﻗﺖ ﻧﻔﺴﻪ‪ ،‬ﻣﻦ ﺧﻼل دراﺳﺎيت‬ ‫و ﺑﺤﺜﻲ اﳌﺴﺘﻤﺮ ﻋﻦ اﻟﺸﻌﺮ اﻟﺸﻌﺒﻲ‬ ‫واﻟﺸﻌﺮاء اﻟﻘﺪاﻣﻰ وﺟﺪت اﻟﻜﺜري ﻣﻦ‬

‫اﻟﻘﺼﺎﺋﺪ اﻟﺬاﺗﻴﺔ اﻟﺘﻲ ﺗﺘﻜﻠﻢ ﻋﻦ ﺣﻴﺎة‬ ‫اﻟﺸﺎﻋﺮ و ﻣﺎ ميﺮ ﺑﻪ و أﻣﻮر ﺷﺨﺼﻴﺔ‬ ‫ﻓﺮوع‬ ‫أﺧﺮى‪ .‬ﻟﺬﻟﻚ اﻟﺸﻌﺮ اﻟﺸﻌﺒﻲ ﻟﻪ‬ ‫ٍ‬ ‫ﻋﺪة و ﻟﻠﺸﺎﻋﺮ ﻧﻔﺴﻪ أﻛرث ﻣﻦ اﺗﺠﺎه‪.‬‬ ‫ﰲ اﻟﺰﻣﻦ اﻟﺤﺎﱄ أﻳﻀﺎً ﻧﺮى اﻟﺒﻌﺾ ﻣﻦ‬ ‫اﻟﺸﻌﺮاء اﻟﺸﻌﺒﻴني ﻳﻜﺘﺒﻮن ﰲ ﺣﻞ ﻗﻀﺎﻳﺎ‬ ‫ﻣﻌﻴﻨﺔ و أﻳﻀﺎً ُﻳﺮ ﱢﻓﻬﻮن ﻋام ﰲ أﻧﻔﺴﻬﻢ‬ ‫ﻣﻦ ﺧﻼل ﺗﻮﺟﻬﻬﻢ إﱃ اﻟﺸﻌﺮ اﻟﺬايت‪.‬‬ ‫وﻟﻜﻦ ﻧﺮى ﺑﻜﻞ وﺿﻮح أن اﻟﻘﺴﻤني ﻻ‬ ‫ﻳﺘﺨﺎﻟﻄﺎن وﻻ ﻳﺘﺠﺎﻧﺴﺎن ﺣﻴﺚ ﻧﻼﺣﻆ‬ ‫أن ﺑﻌﺾ اﻟﺸﻌﺮاء ﻣﺘﺨﺼﺼﻮن ﰲ اﻟﺸﻌﺮ‬ ‫اﻟﻌﺎم و ﻗﻠﻴﻼ ﻣﺎ ﻳﻜﺘﺒﻮن اﻟﺸﻌﺮ اﻟﺬايت‬ ‫واﻟﻌﻜﺲ ﺻﺤﻴﺢ‪.‬‬

‫اﻟﺬاﺗﻲ اﻷﻗﺮب إﻟﻰ اﻟﺠﻤﺎﻫﻴﺮ‬ ‫ﻳﻘﻮل اﻟﺸﺎﻋﺮ ﺣﻤﻮد ﺟﻠﻮي رﺋﻴﺲ ﺗﺤﺮﻳﺮ‬ ‫ﻣﺠﻠﺔ ﻗﻄﻮف‪» :‬ﻻ ﺷﻚ أن ﻫﺬا اﻻﺳﺘﻄﻼع‬ ‫ﻳﺘﻨﺎول ﻗﻀﻴﺔ ﺣﺴﺎﺳﺔ ﺟﺪاً‪ ،‬وﻣﻦ اﻟﺸﻌﺮاء ﰲ‬ ‫ﻫﺬا اﳌﺠﺎل ﻣﻦ ﺧﺪم ﻗﻀﺎﻳﺎه اﻟﺬاﺗﻴﺔ وﻫﻢ‬ ‫اﻷﻏﻠﺒﻴﺔ‪ ،‬ﺧﺎﺻﺔ أن ﺟامﻫري اﻟﺸﻌﺮ ﺑﺸﻜﻞ‬ ‫ﻋﺎم متﻴﻞ إﱃ ﻣﺎ ﻳﺨﺺ اﻟﺸﺎﻋﺮ ﰲ ﺷﺘﻰ‬ ‫اﳌﺠﺎﻻت‪ ،‬وﻫﺬا ﻣﺎ ﻳﻘﺮب اﻟﺸﺎﻋﺮ أﻛرث ﻣﻦ‬ ‫ﺟﻤﻬﻮره ﺑﻌﻜﺲ اﻟﻘﻀﺎﻳﺎ اﻟﻌﺎﻣﺔ‪ ،‬ﻓﺎﻟﺠﻤﻬﻮر‬ ‫ﻻ ﻳﻌريﻫﺎ أي اﻫﺘامم‪ .‬وﻟﻜﻦ ﻫﻨﺎك ﻣﺠﻤﻮﻋﺔ‬ ‫اﺳﺘﻄﺎﻋﺖ أن ﺗﻮاﻓﻖ ﺑني اﻟﻘﻀﺎﻳﺎ اﻟﻌﺎﻣﺔ‬ ‫واﻟﺬاﺗﻴﺔ وﻫﻢ ﻗﻠﺔ‪ ،‬وﻗﺪ و ّﺛﻘﻮا ﻫﺬا اﻟﴚء‬ ‫ﰲ ﺗﺠﺮﺑﺘﻬﻢ اﻟﺸﻌﺮﻳﺔ«‪.‬‬

‫أﻏﺴﻄﺲ‪-‬ﺳﺒﺘﻤﺒﺮ ‪21 2016‬‬

‫اﺳﺘﻄﻼع‬ ‫‪baytelshear‬‬

‫ﺑﻴﻦ اﻟﺬاﺗﻲ واﻟﻌﺎم‪..‬‬

‫ﻣﺎذا ﻳﻜﺘﺐ اﻟﺸﻌﺮاء‬ ‫وﻟﻤﻦ ﻳﺼﻔﻖ اﻟﺠﻤﻬﻮر؟!‬

‫ﻣﺤﻤﺪ ﻋﺒﺪاﻟﺴﻤﻴﻊ‬

‫ﻻﺑﺪ أن ﻧﻌﻲ متﺎﻣﺎ أن ذاﺗﻴﺔ اﻟﺸﺎﻋﺮ ﻻ ﺗﻨﻔﺼﻞ‬ ‫ﻋﻦ ﻣﺠﺘﻤﻌﻪ ووﻃﻨﻪ وﻗﻀﺎﻳﺎه اﻟﻌﺎﻣﺔ‪ ،‬ﻓﻤﻦ‬ ‫اﻟﺸﻌﺮاء ﻣﻦ ﻳﺘﺤﺪث ﺑﺸﻌﺮه ﻋﻦ ﻗﻀﺎﻳﺎه‬ ‫اﻟﺬاﺗﻴﺔ اﻟﺘﻲ ﻫﻲ وﻟﻴﺪة اﻟﻘﻀﺎﻳﺎ اﻟﻌﺎﻣﺔ‬ ‫ﻟﻮﻃﻨﻪ‪ ،‬وﻣﻨﻬﻢ ﻣﻦ ﻳﺘﺤﺪث ﻣﺒﺎﴍة ﻋﻦ‬ ‫ﻗﻀﺎﻳﺎ اﻟﻮﻃﻦ وﻏﺮس ﻗﻴﻤﺔ اﻻﻧﺘامء وﺣﺐ‬ ‫اﻟﻮﻃﻦ ﻣﻦ ﺧﻼل أﺷﻌﺎره اﻟﺘﻲ ﺗﻌﻴﺶ ﰲ‬ ‫وﺟﺪان اﳌﺘﻠﻘﻲ‪ ،‬وﻣﻨﻬﻢ ﻣﻦ ﻳﺘﻐﺰل ﰲ‬ ‫ﻣﺤﺒﻮﺑﺘﻪ ﻣﻌﺘﱪا أن اﻟﺤﺒﻴﺒﺔ ﻫﻲ اﻟﻮﻃﻦ‬ ‫واﻻﻧﺘامء ﻟﻠﺤﺒﻴﺒﺔ وﺣﺒﻬﺎ ﻫﻮ ﻧﻔﺲ اﻻﻧﺘامء‬ ‫ﻟﻠﻮﻃﻦ وﺣﺒﻪ‪.‬‬ ‫إن اﻟﻘﺼﻴﺪة ﺗﻌﺒري ﻋﻦ رؤﻳﺔ اﻟﺸﺎﻋﺮ اﻟﺬاﺗﻴﺔ‬ ‫ﻻﻧﻔﻌﺎل أو ﺗﺠﺮﺑﺔ إﻧﺴﺎﻧﻴﺔ ‪ ،‬وﺑﻬﺬا اﻟﺘﻌﺒري‬ ‫اﻟﻔﻨﻲ ﻳﺨﺎﻃﺐ اﻟﺸﺎﻋﺮ اﳌﺘﻠﻘﻲ ﺧﻄﺎﺑﺎ ﻣﺆﺛﺮا‬ ‫ﻳﺠﻌﻠﻪ ﴍﻳﻜﺎ ﻓﺎﻋﻼ ﰲ ﺗﺬوق اﻟﻘﺼﻴﺪة أو‬ ‫اﻟﻌﻤﻞ اﻟﻔﻨﻲ و اﻻﻧﻔﻌﺎل ﺑﻪ‪ ،‬و ﺗﻌﺪ اﻟﻘﺼﻴﺪة‬ ‫اﳌﺴﺘﻮﻓﺎة ﻟﻬﺬه اﳌﻮاﺻﻔﺎت ﰲ اﻟﻌﺮف‬ ‫اﻟﻨﻘﺪي ﻣﻦ اﻟﺸﻌﺮ اﻟﺬايت ﺣﻴﺚ ﻳﺘﻤﻴﺰ اﻟﺸﻌﺮ‬ ‫اﻟﺬايت ﺑﻮﺟﻮد ﻋﻼﻗﺔ ﻣﺒﺎﴍة ﺑني أﻃﺮاف ﺛﻼﺛﺔ‬ ‫‪ 20‬ﺑﻴﺖ اﻟﺸﻌﺮ ‪ /‬اﻟﻌﺪد ‪48‬‬

‫)اﻟﺘﺠﺮﺑﺔ اﻹﻧﺴﺎﻧﻴﺔ‪ ،‬اﻟﺮؤﻳﺔ اﻟﺬاﺗﻴﺔ ﻟﻠﺸﺎﻋﺮ‪،‬‬ ‫اﳌﺘﻠﻘﻲ(‪ .‬إن اﻟﺸﺎﻋﺮ ﰲ اﻟﺸﻌﺮ اﻟﺬايت ﻳﻘﻮم‬ ‫ﺑﺪور اﻟﻮﺳﻴﻂ اﳌﻌﱪ ﻋﻦ ذاﺗﻪ‪ ،‬و ﻫﻮ ﻳﻮاﺟﻪ‬ ‫اﳌﺘﻠﻘﻲ ﻣﺒﺎﴍة ﴍﻳﻄﺔ أن ﻳﻜﻮن ﻫﻨﺎك‬ ‫ﺗﻮاﻓﻖ ﺑﻴﻨﻬام‪.‬‬ ‫اﺳﺘﻄﺎع اﻟﺸﻌﺮ اﻟﺸﻌﺒﻲ رﺻﺪ اﻟﻘﻀﺎﻳﺎ اﻟﻌﺎﻣﺔ‬ ‫ﰲ ﻣﺨﺘﻠﻒ اﻟﺪول‪ ،‬وﺳﻬﻮﻟﺔ ﺗﻮﺻﻴﻞ ﻣﺨﺘﻠﻒ‬ ‫اﻟﻘﻀﺎﻳﺎ ﻣﻦ ﺧﻼل ﺑﺴﺎﻃﺔ اﻟﻠﻐﺔ واﳌﻔﺮدة‬ ‫واﳌﺒﺎﴍة واﻹﺣﺴﺎس اﻟﺤﻘﻴﻘﻲ ﺑﺎﻟﻘﻀﺎﻳﺎ‬ ‫وﺑﺎﻟﻮﻃﻦ‪.‬‬ ‫وﻻ ﻧﻨﴗ أن اﻟﺸﻌﺮ ﰲ اﻟﻘﻀﺎﻳﺎ اﻟﻌﺎﻣﺔ ﻻﺑﺪ أن‬ ‫ﻳﺘﻮﻓﺮ ﻓﻴﻪ إدراك ﻟﻠﻘﻀﻴﺔ اﻟﺘﻲ ﺷﻐﻠﺖ اﻟﺮأي‬ ‫اﻟﻌﺎم‪ ،‬وأﻃﺮاف ﻫﺬه اﻟﻘﻀﻴﺔ‪ ،‬وأﺛﺮﻫﺎ ﻋﲆ‬ ‫اﳌﺠﺘﻤﻊ واﻟﻨﺎس‪ ،‬وﻻ ﺑﺪ ﻣﻦ ﻧﺠﺎح اﻟﺸﺎﻋﺮ‬ ‫ﰲ رﺻﺪ ﻣﺨﺘﻠﻒ اﻟﻘﻀﺎﻳﺎ اﻟﻌﺎﻣﺔ ﰲ ﺷﻌﺮه‬ ‫ﺑﺎﻹﺿﺎﻓﺔ إﱃ متﻴﺰه ﰲ اﻟﺸﻌﺮ اﻟﺬايت‪ ،‬وﻫﺬا‬ ‫ﻳﺘﻮﻗﻒ ﻋﲆ ﻣﻮﻫﺒﺘﻪ وﻗﺪرﺗﻪ ﻋﲆ اﻟﺘﻌﺒري‬ ‫ﻋﻦ ﺗﺠﺮﺑﺘﻪ ﻣﻦ ﺧﻼل ﻣﺸﺎﻋﺮه واﻣﺘﻼﻛﻪ‬ ‫ﻟﻠﻐﺔ واﳌﻔﺮدات واﺳﺘﺨﺪام اﻷﺳﺎﻟﻴﺐ اﳌﻌﱪة‪،‬‬ ‫و ﻗﺪرﺗﻪ ﻋﲆ اﺳﺘﺜامر ﻓﻨﻮن اﻟﺒﻼﻏﺔ ﻟﻠﺘﺄﺛري‬ ‫ﰲ اﳌﺘﻠﻘﻲ ‪.‬‬

‫وﻗﺪ اﻫﺘﻢ ﻣﻌﻈﻢ اﻟﺸﻌﺮاء اﻟﺸﻌﺒﻴني ﺑﺎﻟﻘﻀﺎﻳﺎ‬ ‫اﻟﻌﺎﻣﺔ واﻷزﻣﺎت اﻟﺘﻲ متﺮ ﺑﻬﺎ أوﻃﺎﻧﻬﻢ ﻋﱪ‬ ‫ﻣﺨﺘﻠﻒ اﻟﻌﺼﻮر‪ ،‬ﺻﺎﺣﺐ ذﻟﻚ اﻟﺼﻮت‬ ‫اﻟﺤامﳼ اﻟﺬى ﻳﺤﺮك وﺟﺪان اﻟﺸﻌﻮب‬ ‫وﻳﺴﻬﻢ ﰲ ﺗﻨﻤﻴﺔ اﻹﺣﺴﺎس ﺑﺘﻠﻚ اﻟﻘﻀﺎﻳﺎ‬ ‫واﻷزﻣﺎت‪ ،‬وﻟﻨﺎ أن ﻧﻌﺮف أن اﻟﺜﻮرات اﻟﻌﺮﺑﻴﺔ‬ ‫ﻗﺎﻣﺖ ﻋﲆ أﻛﺘﺎف اﻟﺸﻌﺮ وﺧﺎﺻﺔ اﻟﺸﻌﺒﻲ‪،‬‬ ‫ﻓﻜﺜري ﻣﻦ اﻟﺸﻌﺮاء ﻛﺎن ﻳﺮﺻﺪ اﻟﻘﻀﺎﻳﺎ اﻟﻌﺎﻣﺔ‬ ‫ﻷوﻃﺎﻧﻬﻢ ﻣﺜﻞ اﻟﻔﺴﺎد وﻏﻴﺎب اﻟﻌﺪاﻟﺔ‬ ‫اﻻﺟﺘامﻋﻴﺔ وﻛﺒﺖ اﻟﺤﺮﻳﺎت ﰲ أﺷﻌﺎرﻫﻢ‪،‬‬ ‫اﻷﻣﺮ اﻟﺬى ﺗﺸﺒﻌﺖ ﺑﻪ اﻟﺸﻌﻮب ﻓﻔﺠﺮت‬ ‫ﺛﻮراﺗﻬﺎ‪.‬‬ ‫وﻋﲆ ﻣﺮ اﻟﻌﺼﻮر ﻻﺑﺪ أن ﻧﺸﻬﺪ ﻟﻠﺸﻌﺮ‬ ‫اﻟﺸﻌﺒﻲ ﻋﲆ ﻗﺪرﺗﻪ ﰲ اﻟﻮﺻﻮل ﻟﻠﻤﺘﻠﻘﻲ‬ ‫واﻟﺘﺄﺛري ﻓﻴﻪ‪ ،‬ﺳﻮاء ﺗﺤﺪث اﻟﺸﺎﻋﺮ ﻣﻦ ﺧﻼﻟﻪ‬ ‫ﻋﻦ ذاﺗﻴﺘﻪ أو ﻋﻦ ﻗﻀﺎﻳﺎ ﻋﺎﻣﺔ‪ ،‬وﻗﺪ ﺗﺤﻘﻖ‬ ‫ذﻟﻚ ﺑﺸﻜﻞ أﺳﺎس ﻋﱪ اﺳﺘﺨﺪاﻣﻪ ﻟﻐﺔ‬ ‫اﳌﺘﻠﻘﻲ‪ ،‬مبﻔﺮدات ﻳﻌﻴﻬﺎ وﻳﻔﻬﻤﻬﺎ ﺑﺴﻬﻮﻟﻪ‪.‬‬ ‫وﻣﻦ ﺧﻼل ﻫﺬا اﻻﺳﺘﻄﻼع ﻧﻘﻒ ﻋﻨﺪ آراء‬ ‫اﻟﺸﻌﺮاء ﺣﻮل ﻫﺬا اﻟﻔﻬﻢ ﻟﻠﺸﻌﺮ ﺑﺬاﺗﻴﺘﻪ‬ ‫وﻋﻤﻮﻣﻴﺘﻪ‪.‬‬

‫ﻳﺎﺳﻌﻴﺪ ﻟﻚ ﺑﺎﻟﻌﻮﻧﻲ‬ ‫رد ﺳﻤﻮ اﻟﺸﻴﺦ ﺳﻠﻄﺎن ﺑﻦ زاﻳﺪ آل ﻧﻬﻴﺎن ﻣﻤﺜﻞ ﺻﺎﺣﺐ اﻟﺴﻤﻮ رﺋﻴﺲ اﻟﺪوﻟﺔ‬

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19 2016 ‫ﺳﺒﺘﻤﺒﺮ‬-‫أﻏﺴﻄﺲ‬

‫ﺣﻮار اﻟﻌﺪد‬ baytelshear

‫ﻳﺎﺳﻠﻄﺎن ﺟﺮﺣﻮﻧﻲ‬ ‫ﻣﺸﺎﻛﺎة اﻟﺸﺎﻋﺮ ﺳﻌﻴﺪ ﺑﻦ ﻣﺼﻠﺢ ﻟﺴﻤﻮ اﻟﺸﻴﺦ ﺳﻠﻄﺎن ﺑﻦ‬ ‫زاﻳﺪ آل ﻧﻬﻴﺎن ﻣﻤﺜﻞ ﺻﺎﺣﺐ اﻟﺴﻤﻮ رﺋﻴﺲ اﻟﺪوﻟﺔ‬

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48 ‫ اﻟﻌﺪد‬/ ‫ ﺑﻴﺖ اﻟﺸﻌﺮ‬18

‫وﻣﻨﺤﻬﻢ اﳌﻜﺎﻧﺔ اﻟﺘﻲ ﻳﺴﺘﺤﻘﻮﻧﻬﺎ‪ .‬واﻷﻣﺮ‬ ‫ﻣﺘﺸﺎﺑﻪ وﻣﺘﺸﺎﺑﻚ ﺑﺎﻟﻨﺴﺒﺔ ﻟﺪى اﻟﺸﻌﺮاء‬ ‫اﻟﺬﻳﻦ اﺳﺘﻌﺎﻧﻮا ﺑﺎﻟﺸﻌﺮ ﻟﺘﻜﺮﻳﺲ ﺣﺐ‬ ‫اﻟﻮﻃﻦ واﻟﻮﻻء ﻟﻘﺎدﺗﻪ وﺣﻜﺎﻣﻪ‪ .‬وﻣﺎ ﻳﺠﺪر‬ ‫اﻹﺷﺎرة إﻟﻴﻪ أن ﺣﻜﺎﻣﻨﺎ ﺷﻌﺮاء ﻣﺒﺪﻋﻮن‬ ‫أﻳﻀﺎ‪.‬‬ ‫أﻣﺎ ﺑﺨﺼﻮص ﻋﻼﻗﺔ اﻟﻘﺒﻴﻠﺔ ﺑﺎﻟﺸﻌﺮ‪ ،‬ﻓﻴﻤﻜﻨﻨﺎ‬ ‫اﻟﻌﻮدة إﱃ اﻟﺘﺎرﻳﺦ واﻟﻌﺼﻮر اﻟﺘﻲ ﻛﺎﻧﺖ‬ ‫اﻟﻌﺮب ﻓﻴﻬﺎ ﺗﺤﺘﻔﻲ مبﻴﻼد ﺷﺎﻋﺮ‪ ،‬وﻛﺬﻟﻚ‬ ‫ﺗﻔﻌﻞ اﻟﻘﺒﺎﺋﻞ ﺣﺘﻰ ﻳﻮﻣﻨﺎ ﻫﺬا‪ ،‬ﻧﻈﺮا ﻟﻘﻴﻤﺔ‬ ‫اﻟﺸﻌﺮ وﻣﻜﺎﻧﺔ اﻟﺸﺎﻋﺮ ﰲ ﻣﺠﺘﻤﻌﺎﺗﻨﺎ‪.‬‬ ‫ﻋﻼﻗﺘﻚ ﺑﺎﻹﻋﻼم واﻟﺼﺤﺎﻓﺔ اﻟﺸﻌﺮﻳﺔ ؟‬ ‫ﺑﴫاﺣﺔ أﻧﺎ ﺑﻌﻴﺪ ﻋﻦ اﻟﺼﺤﺎﻓﺔ اﻟﺸﻌﺮﻳﺔ‪،‬‬ ‫ﻓﺄﻧﺎ ﻻ أﻗﺮأ وﻻ أﻛﺘﺐ‪ .‬ﻟﻜﻦ ﻋﲆ اﻹﻋﻼم اﻟﻴﻮم‬ ‫أن ﻳﻘﻒ إﱃ ﺟﺎﻧﺐ اﻟﺸﻌﺮاء وأن ﻳﺄﺧﺬ ﺑﻴﺪ‬ ‫اﻟﺸﺒﺎب ﻣﻨﻬﻢ‪ .‬ﻷﻧﻬﻢ اﻟﻴﻮم ﺑﺄﻣﺲ اﻟﺤﺎﺟﺔ‬ ‫إﱃ ذﻟﻚ‪ .‬واﻹﻋﻼم ﻋﺎﻣﻞ ﻣﻬﻢ ﰲ وﺻﻮل ﻛﻞ‬ ‫ﺷﺎﻋﺮ إﱃ اﻟﺠﻤﻬﻮر وﺗﻮاﺟﺪه ﰲ اﻟﺴﺎﺣﺔ‪.‬‬ ‫ﻣﺎ رأﻳﻚ ﺑﺎﻟﱪاﻣﺞ واﳌﺴﺎﺑﻘﺎت اﻟﺸﻌﺮﻳﺔ؟‬ ‫أﻧﺎ ﻣﻊ ﻛﻞ وﺳﻴﻠﺔ ميﻜﻦ ﻣﻦ ﺧﻼﻟﻬﺎ ﺧﺪﻣﺔ‬ ‫اﻟﺸﻌﺮ واﻟﺸﻌﺮاء‪ .‬وﻛﻞ ﺑﺮﻧﺎﻣﺞ ﺷﻌﺮي ﺟﺪﻳﺪ‬ ‫ﻳﺨﺪم اﻟﺸﻌﺮاء وﻳﻀﻴﻒ ﻟﻬﻢ ﺑﻼ ﺷﻚ‪.‬‬ ‫ﻛﻴﻒ ميﻜﻦ ﺻﻘﻞ اﳌﻮﻫﺒﺔ اﻟﺸﻌﺮﻳﺔ‬ ‫ﺑﺮأﻳﻚ ؟‬ ‫ﺑﺎﻻﺣﺘﻜﺎك ﺑﺎﻟﺸﻌﺮاء‪ ،‬واﻻﺳﺘﻤﺮارﻳﺔ ﺑﺎﻟﻜﺘﺎﺑﺔ‪،‬‬ ‫واﻹﺧﻼص ﻟﻠﺸﻌﺮ‪.‬‬ ‫ﻫﻞ ﻫﻨﺎك ﺣﺎﻟﺔ أو وﻗﺖ ﻣﺤﺪد ﻟﻜﺘﺎﺑﺔ‬ ‫ﻗﺼﻴﺪﺗﻚ ؟‬ ‫أﻧﺎ أﻛﺘﺐ اﻟﺸﻌﺮ ﻋﻨﺪﻣﺎ أﻛﻮن ﻣﺮﺗﺎح اﻟﺒﺎل‪،‬‬ ‫ﺑﻌﻴﺪاً ﻋﻦ أﺷﻐﺎل اﻟﺪﻧﻴﺎ‪ .‬ﻓﺎﻟﺸﻌﺮ ﺑﺤﺎﺟﺔ إﱃ‬ ‫ﻣﺴﺎﺣﺔ ﺣﺮة وﻣﺘﺴﻌﺔ ﻣﻦ أﺟﻞ اﻟﻜﺘﺎﺑﺔ‪.‬‬ ‫ﻣﺎذا ﻋﻦ ﻣﻨﺎﺳﺒﺔ ﻛﺘﺎﺑﺔ اﻟﻘﺼﻴﺪة أو‬ ‫داﻓﻌﻬﺎ ﺑﺸﻜﻞ أوﺿﺢ؟‬ ‫أﻧﺎ أﻗﻮل ﻋﺒﺎرة واﺣﺪة‪ ..‬ﻟﻮﻻ اﳌﺮأة ﻣﺎ ﻛﺎن‬ ‫آدم ﺷﺎﻋﺮاً‪.‬‬ ‫أﻏﺴﻄﺲ‪-‬ﺳﺒﺘﻤﺒﺮ ‪17 2016‬‬

‫ﺣﻮار اﻟﻌﺪد‬ ‫‪baytelshear‬‬

‫ﻓﻠﺪﻳﻬﻢ ﻗﺪرات ﺟﻴﺪة‪ ،‬وﻟﻜﻦ ﺗﺨﺘﻠﻒ‬ ‫اﳌﻬﺎرات ﰲ اﻟﻮﺻﻮل إﱃ اﻟﻨﺎس واﻟﺬاﺋﻘﺔ‬ ‫ﺑﺸﻜﻞ ﻋﺎم‪ .‬وﻫﺬا ﻣﺎ ﻋﻠﻴﻬﻢ اﻻﻧﺘﺒﺎه إﻟﻴﻪ‪.‬‬ ‫مبﺎذا ﺗﺨﺘﻠﻒ اﻟﻘﺼﻴﺪة اﻹﻣﺎراﺗﻴﺔ ﻋﻦ‬ ‫ﻏريﻫﺎ ﺑﺮأﻳﻚ؟‬ ‫ﺗﺨﺘﻠﻒ ﺑﺄﻧﻬﺎ ﺗﺘﻤﻴﺰ ﻋﻦ ﺳﻮاﻫﺎ مبﻔﺮداﺗﻬﺎ‬ ‫اﳌﺤﻠﻴﺔ اﻟﺨﺎﺻﺔ ﺑﺎﻟﺒﻴﺌﺔ اﻹﻣﺎراﺗﻴﺔ‪ .‬وﻗﺪ‬ ‫ﻧﺠﺤﺖ ﻫﺬه اﻟﻘﺼﻴﺪة ﺑﻔﺮض ﺣﻀﻮرﻫﺎ‬ ‫وأﻟﻘﻬﺎ ﻋﲆ ﺟﻤﻬﻮر اﻟﺸﻌﺮ اﻟﺸﻌﺒﻲ ﰲ‬ ‫ﻣﻨﻄﻘﺔ اﻟﺨﻠﻴﺞ واﻟﻌﺎمل اﻟﻌﺮيب‪ .‬وﻛﺎن ﻟﻬﺎ‬ ‫ﺣﻀﻮر ﻛﺒري ﰲ ﺟﻤﻴﻊ اﳌﻨﺎﺳﺒﺎت‪ .‬وأﺳﻬﻤﺖ‬ ‫ﰲ اﻟﺤﻔﺎظ ﻋﲆ ﻫﻮﻳﺘﻨﺎ وﺗﺮاﺛﻨﺎ‪ .‬ﻛام إن‬ ‫ﻫﻨﺎك ﺑﺤﻮرا )أوزاﻧﺎ( ﺧﺎﺻﺔ ﻓﻘﻂ ﺑﺎﻟﻘﺼﻴﺪة‬ ‫اﻹﻣﺎراﺗﻴﺔ ﻛﺎﻟﻮﻧﺔ واﻟﺮدح وﻏريﻫام‪.‬‬ ‫ﻫﻞ ﻫﺬه اﻟﺒﺤﻮر ﻣﻄﺮوﻗﺔ اﻟﻴﻮم ﺑﻜرثة ؟‬ ‫ﻫﻨﺎك ﻣﻦ ﻳﻜﺘﺐ ﻋﲆ ﻫﺬه اﻟﺒﺤﻮر ﺧﺼﻮﺻﺎ‬ ‫ﻛﺒﺎر اﻟﺴﻦ ﻣﻦ اﻟﺸﻌﺮاء‪ .‬وﻫﻲ ﺑﺤﻮر ﺗﺤﺎﻓﻆ‬ ‫ﻋﲆ ﺑﺼﻤﺔ اﻟﺸﻌﺮ اﻹﻣﺎرايت وﺧﺼﻮﺻﻴﺘﻪ‪.‬‬ ‫وﻋﻠﻴﻨﺎ أن ﻧﺴﺘﻤﺮ ﰲ اﻟﻜﺘﺎﺑﺔ ﻋﻠﻴﻬﺎ وﺑﺎﻷﺧﺺ‬ ‫ﺟﻴﻞ اﻟﺸﻌﺮاء اﻟﺸﺒﺎب‪.‬‬

‫ﻛﻞ اﻷﻋﻤﺎل أﺟﺪﻫﺎ ﻗﺮﻳﺒﺔ ﻣﻨﻲ‪ ،‬ﻷﻧﻬﺎ ﻛﺘﺒﺖ ﺑﺼﺪق وإﺧﻼص ﻟﻔﻜﺮة‬ ‫اﻟﺸﻌﺮ‪ q‬وﻟﻮﻻ ذﻟﻚ ﻟﻤﺎ ﻧﺠﺤﺖ وﻟﻤﺎ وﺻﻠﺖ إﻟﻰ ﻧﻔﻮس وﺑﻴﻮت اﻟﻨﺎس‬

‫ﻫﻨﺎك ﺷﻌﺮاء ﺷﺒﺎب ﻳﻜﺘﺒﻮن ﺑﺸﻜﻞ ﺟﻴﺪ وﻣﻘﻨﻊ وﻣﻠﻔﺖ أﻳﻀﺎ‪q‬‬ ‫وأﻧﺎ ﻣﺘﻔﺎﺋﻞ ﺑﻬﻢ‪ q‬ﻓﻠﺪﻳﻬﻢ ﻗﺪرات ﺟﻴﺪة‪ ،‬وﻟﻜﻦ ﺗﺨﺘﻠﻒ اﻟﻤﻬﺎرات‬ ‫ﻓﻲ اﻟﻮﺻﻮل إﻟﻰ اﻟﻨﺎس واﻟﺬاﺋﻘﺔ‬ ‫أﻛﺘﺐ اﻟﺸﻌﺮ ﻋﻨﺪﻣﺎ أﻛﻮن ﻣﺮﺗﺎح اﻟﺒﺎل‪ ،‬ﺑﻌﻴﺪا ﻋﻦ أﺷﻐﺎل اﻟﺪﻧﻴﺎ‪q‬‬ ‫ﻓﺎﻟﺸﻌﺮ ﺑﺤﺎﺟﺔ إﻟﻰ ﻣﺴﺎﺣﺔ ﺣﺮة وﻣﺘﺴﻌﺔ ﻣﻦ أﺟﻞ اﻟﻜﺘﺎﺑﺔ‬ ‫‪ 16‬ﺑﻴﺖ اﻟﺸﻌﺮ ‪ /‬اﻟﻌﺪد ‪48‬‬

‫ﺗﺤﺪﺛﻨﺎ ﻋﻦ ﻗﺼﺎﺋﺪك اﻟﺘﻲ أﺻﺒﺤﺖ‬ ‫أﻏﻨﻴﺎت ﻣﺸﻬﻮرة ﺟﺪا‪ ..‬ﺑﺮأﻳﻚ ﻣﺎ ﻫﻲ‬ ‫ﻣﻮاﺻﻔﺎت اﻟﻘﺼﺎﺋﺪ اﳌﻐ ّﻨﺎة ؟‬ ‫ﻳﺠﺐ أوﻻ أن ﺗﻜﻮن ﺳﻠﺴﺔ وذات أﺑﻴﺎت‬ ‫وأوزان ﻗﺼرية‪ ،‬ﻷﻧﻬﺎ إذا ﻛﺘﺒﺖ ﻋﲆ ﺑﺤﻮر‬ ‫ﻃﻮﻳﻠﺔ ﺗﺼﺒﺢ ﺛﻘﻴﻠﺔ ﻋﲆ اﻟﻐﻨﺎء‪ .‬ﻛام ﻳﺠﺐ‬ ‫ﻋﲆ ﻣﻌﺎﻧﻴﻬﺎ أن ﺗﻜﻮن ﺳﻬﻠﺔ وﻋﻤﻴﻘﺔ ﰲ‬ ‫اﻟﻮﻗﺖ ذاﺗﻪ وﻫﺬا ﻣﺎ ﻳﻄﻠﻖ ﻋﻠﻴﻪ »اﻟﺴﻬﻞ‬ ‫اﳌﻤﺘﻨﻊ«‪ .‬وﻗﺒﻞ ﻫﺬا ﻋﻠﻴﻬﺎ ان ﺗﻜﻮن ﻗﺮﻳﺒﺔ‬ ‫ﻣﻦ أﺣﺴﺎس اﻟﻨﺎس وﻣﺸﺎﻋﺮﻫﻢ وأن ﺗﺤﱰم‬ ‫ذاﺋﻘﺘﻬﻢ‪.‬‬ ‫ﻣﺎ ﻫﻲ ﻧﻈﺮﺗﻚ ﳌﻜﺎﻧﺔ اﻟﺸﻌﺮ ﻋﻨﺪ اﻟﺤ ّﻜﺎم‬ ‫ﺛﻢ ﻋﻼﻗﺘﻪ ﺑﺎﻟﻘﺒﻴﻠﺔ ؟‬ ‫ﻛﻠﻨﺎ ﻧﻌﺮف أن اﻟﺸﻌﺮ ارﺗﺒﻂ ﺑﺎﻹﻧﺴﺎن اﻟﻌﺮيب‬ ‫وﺑﺎﻟﺒﺪو ﻋﲆ وﺟﻪ اﻟﺨﺼﻮص‪ .‬وﻻ ﻧﻨﴗ أن‬ ‫اﻟﺸﻌﺮ رﺳﺎﻟﺔ‪ .‬ﰲ اﻹﻣﺎرات اﻟﺸﻌﺮ ﻟﻪ ﻗﻴﻤﺔ‬ ‫ﺧﺎﺻﺔ ﻋﻨﺪ ﺣ ّﻜﺎﻣﻨﺎ‪ ،‬وﻳﺤﻈﻰ ﺑﺪﻋﻢ ﻛﺒري‪،‬‬ ‫ﻧﻠﻤﺴﻪ ﰲ اﺣﺘﻔﺎء اﻟﺤﻜﺎم ﺑﺎﻟﺸﻌﺮ واﻟﺸﻌﺮاء‬

‫ﺑﺪاﻳﺔ‪ ،‬ﺣﺪﺛﻨﻲ ﻋﻦ اﻟﺠﺪﻳﺪ اﻟﺬي ﺗﺴﻌﻰ‬ ‫إﱃ ﺗﻘﺪميﻪ ؟‬ ‫أﺳﻌﻰ ﰲ اﻷﻳﺎم اﻟﻘﺎدﻣﺔ إﱃ اﻟﻜﺘﺎﺑﺔ ﻣﻦ‬ ‫ﺟﺪﻳﺪ ﰲ ﻏﺮض اﻟﻐﺰل‪ ،‬ﻓﺸﻤﺲ اﻟﺸﻌﺮ ﻓﻴﻪ‬ ‫ﻻ ﺗﻐﻴﺐ‪ .‬وﰲ اﻷﻳﺎم اﻷﺧرية ﻛﺘﺒﺖ ﻗﺼﻴﺪة‬ ‫ﻣﺸﺎﻛﺎة أﻫﺪﻳﺘﻬﺎ ﻟﺴﻤﻮ اﻟﺸﻴﺦ ﺳﻠﻄﺎن ﺑﻦ‬ ‫زاﻳﺪ آل ﻧﻬﻴﺎن ﻣﻤﺜﻞ ﺻﺎﺣﺐ اﻟﺴﻤﻮ رﺋﻴﺲ‬ ‫اﻟﺪوﻟﺔ‪ .‬ﺑﻌﺪﻣﺎ ﻃﻠﺐ ﻣﻨﻲ ﺳﻤﻮه ﻣﻮاﺻﻠﺔ‬ ‫اﻟﻜﺘﺎﺑﺔ ﰲ اﻟﻐﺰل ﻣﺜﻠام ﻛﻨﺖ ﰲ اﻟﺴﺎﺑﻖ‪،‬‬ ‫ﺣﻴﺚ ﻛﻨﺖ أﻛﺘﺐ اﻟﻐﺰل ﺑﻐﺰارة‪ ،‬وﻗﺪ ﴍﻓﻨﻲ‬ ‫ﺳﻤﻮه ﺑﺎﻟﺮد ﻋﻠﻴﻬﺎ ﺑﻘﺼﻴﺪة ﺟﻤﻴﻠﺔ وذات‬ ‫ﻗﻴﻤﺔ ﻛﺒرية‪.‬‬ ‫ﻟﻜﻦ ﳌﺎذا مل ﺗﻌﺪ ﺗﻜﺘﺐ اﻟﻐﺰل ﻛام ﰲ‬ ‫اﻟﺴﺎﺑﻖ؟‬ ‫رمبﺎ ﺑﺴﺒﺐ ﻧﺼﻴﺤﺔ ﻣﻦ ﺣﻮﱄ ﻣﻦ اﻟﻨﺎس‪،‬‬ ‫اﻟﺬﻳﻦ أﺷﺎروا ﻋ ّ‬ ‫ﲇ ﺑﺎﻟﺘﻘﻠﻴﻞ ﻣﻦ ﻛﺘﺎﺑﺔ اﻟﻐﺰل‬ ‫ﻧﻈﺮا ﻟﺘﻘﺪم اﻟﺴﻦ‪.‬‬ ‫ﻟﻜﻦ أﻋﺠﺒﻨﻲ ﻛﺜريا رد ﺳﻤﻮ اﻟﺸﻴﺦ ﺳﻠﻄﺎن‬ ‫ﺑﻦ زاﻳﺪ اﻟﺬي ﻗﺎل إن ﻣﻦ واﺟﺒﻲ ﻛﺸﺎﻋﺮ‬ ‫ﻣﺠﻴﺪ ﰲ ﻛﺘﺎﺑﺔ اﻟﻐﺰل أن أﺳﺘﻤﺮ ﻣﻦ دون‬ ‫ﺗﻮﻗﻒ ﺑﴫف اﻟﻨﻈﺮ ﻋﻦ أي ﺳﺒﺐ ﻷن‬ ‫اﻟﺴﺎﺣﺔ اﻟﺸﻌﺮﻳﺔ ﺑﺤﺎﺟﺔ اﻟﻴﻮم إﱃ وﺟﻮد‬ ‫ﻫﺬا اﻟﻨﻮع ﻣﻦ اﻟﺸﻌﺮ وإﱃ ﻣﻦ ﻳﺒﺪع ﻓﻴﻪ‬ ‫وﻳﺘﻤﻜﻦ ﻣﻨﻪ‪ .‬ﻛام ﻗﺎل إن ﻫﻨﺎك ﺟﻤﻬﻮرا‬ ‫ﻳﻨﺘﻈﺮ وﻻ ميﻜﻦ ﻟﻠﺸﺎﻋﺮ أن ﻳﺨﺬل اﻟﺠﻤﻬﻮر‬ ‫ﻷي ﺳﺒﺐ ﻛﺎن‪ .‬وﻫﺬا ﺑﺎﻟﻔﻌﻞ ﻣﺎ ﻓﻌﻠﺘﻪ‪.‬‬ ‫ﻛﻴﻒ ﺗﻔﺎﻋﻠﺖ ﻣﻊ ﻗﺼﻴﺪة ﺳﻤﻮه ﺣني‬ ‫وﺻﻠﺘﻚ ؟‬ ‫ﺷﻌﺮت ﺑﻔﺨﺮ ﻛﺒري‪ ،‬وأﻧﺎ أﻗﺮأ ﻗﺼﻴﺪة مبﻨﺘﻬﻰ‬ ‫اﻟﺮوﻋﺔ‪ ،‬ﻛﺘﺒﻬﺎ ﺷﺎﻋﺮ ﻣﺒﺪع مبﻘﺎم ﺳﻤﻮه‪.‬‬ ‫ﴍف ﱄ ﺑﺤﻖ أن ﻳﺮد ﻋﲆ ﻗﺼﻴﺪيت ﺳﻤﻮ‬ ‫اﻟﺸﻴﺦ ﺳﻠﻄﺎن ﺑﻦ زاﻳﺪ‪ .‬وﻫﺬا ﺑﺤﺪ ذاﺗﻪ رﻓﻊ‬ ‫ﻣﻦ رﺻﻴﺪ ﺗﺠﺮﺑﺘﻲ اﻟﺸﻌﺮﻳﺔ وﻣﺴرييت ﻛﻠﻬﺎ‪.‬‬

‫ﻛﺘﺒﺖ ﻗﺼﻴﺪة ﻣﺸﺎﻛﺎة أﻫﺪﻳﺘﻬﺎ ﻟﺴﻤﻮ اﻟﺸﻴﺦ ﺳﻠﻄﺎن ﺑﻦ زاﻳﺪ‬ ‫آل ﻧﻬﻴﺎن‪ ،‬ﺑﻌﺪﻣﺎ ﻃﻠﺐ ﻣﻨﻲ ﺳﻤﻮه ﻣﻮاﺻﻠﺔ اﻟﻜﺘﺎﺑﺔ ﻓﻲ اﻟﻐﺰل‬ ‫أﻋﺠﺒﻨﻲ ﻛﺜﻴﺮا رد ﺳﻤﻮ اﻟﺸﻴﺦ ﺳﻠﻄﺎن ﺑﻦ زاﻳﺪ‬ ‫اﻟﺬي ﻗﺎل إن ﻣﻦ واﺟﺒﻲ ﻛﺸﺎﻋﺮ ﻣﺠﻴﺪ ﻓﻲ ﻛﺘﺎﺑﺔ اﻟﻐﺰل أن أﺳﺘﻤﺮ‬ ‫ﺑﺼﺮف اﻟﻨﻈﺮ ﻋﻦ أي ﺳﺒﺐ‪ ،‬ﻷﻧﻨﺎ ﺑﺤﺎﺟﺔ إﻟﻰ وﺟﻮد ﻫﺬا اﻟﻨﻮع‬ ‫ﻣﻦ اﻟﺸﻌﺮ وإﻟﻰ ﻣﻦ ﻳﺒﺪع ﻓﻴﻪ وﻳﺘﻤﻜﻦ ﻣﻨﻪ‬ ‫ﻏ ّﻨﻰ ﻟﻚ اﻟﻜﺜري ﻣﻦ اﳌﻄﺮﺑني‪ ،‬ﻣﺎ ﻫﻲ‬ ‫أﻗﺮب اﻷﻋامل إﻟﻴﻚ؟‬ ‫ﻛﻞ أﻋامﱄ أﺟﺪﻫﺎ ﻗﺮﻳﺒﺔ ﻣﻨﻲ‪ ،‬ﻷﻧﻬﺎ ﻛﺘﺒﺖ‬ ‫ﺑﺼﺪق وإﺧﻼص ﻟﻔﻜﺮة اﻟﺸﻌﺮ‪ .‬وﻟﻮﻻ ذﻟﻚ ﳌﺎ‬ ‫ﻧﺠﺤﺖ وﳌﺎ وﺻﻠﺖ ﻛﺬﻟﻚ إﱃ ﻧﻔﻮس وﺑﻴﻮت‬ ‫اﻟﻨﺎس‪ .‬ﻓﺎﻟﺬي ﻻ ﻳﺨﺮج ﻣﻦ اﻹﺣﺴﺎس ﻻ‬ ‫ميﻜﻦ أن ﻳﺼﻞ إﺣﺴﺎس اﻵﺧﺮﻳﻦ وﻳﻼﻣﺴﻪ‪.‬‬

‫اﻟﺤﻮاس« اﻟﺘﻲ ﻏﻨﺎﻫﺎ ﻣﻴﺤﺪ ﺣﻤﺪ‪ .‬وأﻏﻨﻴﺔ‬ ‫»ﺳ ّﻠﻢ ﺳﻼم اﻟﻠﻪ« ﻏﻨﺎﻫﺎ ﻣﺤﻤﺪ ﻋﺒﺪه‪ .‬وأﻏﻨﻴﺔ‬ ‫»اﻟﻮﻗﺖ ﻳﺎ ﻣﺤﺒﻮب« ﻏﻨﺎﻫﺎ راﺷﺪ اﳌﺎﺟﺪ‪.‬‬ ‫وﻛام ﻗﻠﺖ ﻟﻚ ﻫﻨﺎك أﻏﻨﻴﺎت ﻛﺜرية وﺻﻠﺖ‬ ‫وﻧﺠﺤﺖ‪ .‬وﰲ اﻟﻨﻬﺎﻳﺔ أﻧﺎ ﻻ أﻛﺘﺐ ﻟيك ﻳﻐﻨﻲ‬ ‫أﺣﺪﻫﻢ ﻗﺼﺎﺋﺪي‪ .‬ﺑﻞ ﻷﻋﱪ ﻋﻦ إﺣﺴﺎﳼ‬ ‫وﺷﻌﻮري ﻣﻦ ﺧﻼل اﻟﺸﻌﺮ‪.‬‬

‫ﻣﺎذا ﺗﻜﺘﺐ إﱃ ﺟﺎﻧﺐ ﺷﻌﺮ اﻟﻐﺰل؟‬ ‫أﻛﺘﺐ ﰲ أﻏﺮاض اﻟﺸﻌﺮ ﻛﺎﻓﺔ ﻛﺎﻟﻮﻃﻨﻴﺎت أي أﻏﻨﻴﺔ ﺗﻌﺘﻘﺪ أﻧﻬﺎ ﺣﻘﻘﺖ ﺷﻬﺮة واﺳﻌﺔ ﻣﺎ رأﻳﻚ ﺑﻘﺼﺎﺋﺪ اﻟﺸﻌﺮاء اﻟﺸﺒﺎب ﺧﺼﻮﺻﺎ‬ ‫اﻟﻘﺼﺎﺋﺪ اﳌﻐ ّﻨﺎة ﻣﻨﻬﺎ ؟‬ ‫واﻻﺟﺘامﻋﻴﺎت واﻟﺤﻜﻤﺔ واﻟﻨﺼﻴﺤﺔ‪ .‬ﻛام أﻛرث ﻣﻦ ﻏريﻫﺎ؟‬ ‫أﻛﺘﺐ ﻛﺜريا ﰲ وﺻﻒ اﻟﻬﺠﻦ واﻟﺨﻴﻞ ﻫﻨﺎك أﻏﻨﻴﺎت ﻛﺜرية اﺷﺘﻬﺮت وﻻﻗﺖ ﺻﺪى ﻫﻨﺎك ﺷﻌﺮاء ﺷﺒﺎب ﻳﻜﺘﺒﻮن ﺑﺸﻜﻞ ﺟﻴﺪ‬ ‫واﺳﻌﺎ ﻣﻦ ﻗﺒﻞ اﻟﺠﻤﻬﻮر‪ .‬أذﻛﺮ ﻣﻨﻬﺎ »ﺧﻤﺲ وﻣﻘﻨﻊ وﻣﻠﻔﺖ أﻳﻀﺎ‪ .‬وأﻧﺎ ﻣﺘﻔﺎﺋﻞ ﺑﻬﻢ‪.‬‬ ‫واﻟﺼﻘﺎرة وﻫﻲ أﺣﺐ اﻟﻜﺘﺎﺑﺎت إ ﱠﱄ‪.‬‬ ‫أﻏﺴﻄﺲ‪-‬ﺳﺒﺘﻤﺒﺮ ‪15 2016‬‬

‫ﺣﻮار اﻟﻌﺪد‬ ‫‪baytelshear‬‬

‫ﻳﻜﺘﺐ ﻓﻲ اﻟﻮﻃﻨﻴﺎت واﻻﺟﺘﻤﺎﻋﻴﺎت وﻓﻲ وﺻﻒ اﻟﻬﺠﻦ واﻟﺨﻴﻞ واﻟﺼﻘﺎرة‬

‫ﺳﻌﻴﺪ ﺑﻦ ﻣﺼﻠﺢ‪ :‬ﻟﻮﻻ اﻟﻤﺮأة ﻟﻤﺎ ﺻﺎر آدم ﺷﺎﻋﺮاً !‬ ‫ﺣﺎوره‪ :‬ﻋﺒﺪا أﺑﻮﺑﻜﺮ‬

‫ﻳﻌﺪ ﺳﻌﻴﺪ ﺑﻦ ﻣﺼﻠﺢ اﻷﺣﺒﺎﺑﻲ واﺣﺪ ًا ﻣﻦ ﻛﺒﺎر ﺷﻌﺮاء اﻟﺨﻠﻴﺞ‪ ،‬اﻟﺬﻳﻦ ﺗﺠﺎوزوا ﺣﺪود‬ ‫أوﻃﺎﻧﻬﻢ ﻟﻴﺼﻠﻮا إﻟﻰ ﺟﻤﻴﻊ اﻟﻨﺎس ﻓﻲ ﻣﻌﻈﻢ دول اﻟﻌﺎﻟﻢ اﻟﻌﺮﺑﻲ‪ g‬ﻛﻴﻒ ﻻ‪ ،‬وﻫﻨﺎك‬ ‫ﻣﺌﺎت اﻵﻻف ﺑﻞ اﻟﻤﻼﻳﻴﻦ اﻟﺬﻳﻦ ﻳﺮددون ﻗﺼﺎﺋﺪه ﺑﻌﺪﻣﺎ ﻏﻨﺎﻫﺎ ﻛﺒﺎر ﻣﻄﺮﺑﻲ اﻟﺨﻠﻴﺞ‪g‬‬ ‫وﻟﻌﻞ )ﻗﺼﻴﺪة ‪ /‬أﻏﻨﻴﺔ( ﺧﻤﺲ اﻟﺤﻮاس واﺣﺪة ﻣﻦ ﻋﺸﺮات اﻷﻏﺎﻧﻲ اﻟﺘﻲ ﺗﺸﻴﺮ إﻟﻰ‬ ‫ﺗﻠﻚ اﻟﺸﻬﺮة وﻣﺤﺒﺔ ﺟﻤﻬﻮر اﻟﻔﻦ واﻟﺸﻌﺮ ﻟﺴﻌﻴﺪ ﺑﻦ ﻣﺼﻠﺢ‪g‬‬ ‫اﺷﺘﻬﺮ ﺑﻘﺼﺎﺋﺪ اﻟﻐﺰل‪ ،‬وﺗﺮك ﺑﺼﻤﺔ ﻛﺒﻴﺮة ﻓﻲ اﻟﻤﺸﻬﺪ اﻟﺸﻌﺮي‪ ،‬وأﺻﺒﺢ ﻧﺠﻤﺎ‬ ‫ﺷﻌﺮﻳﺎ ﺳﺎﻃﻌﺎ ﻓﻲ ﺳﻤﺎء اﻟﺸﻌﺮ‪g‬‬ ‫ﻻ ﻳﻜﺘﺐ ﻟﻜﻲ ﻳﻐﻨﻲ أﺣﺪﻫﻢ ﻗﺼﺎﺋﺪه‪ ،‬ﺑﻞ ﻟﻴﻌﺒّﺮ ﻋﻦ إﺣﺴﺎﺳﻪ وﺷﻌﻮره ﻣﻦ ﺧﻼل‬ ‫اﻟﺸﻌﺮ‪gg‬‬ ‫ﻳﺪﻋﻮ اﻟﺸﻌﺮاء اﻟﺸﺒﺎب إﻟﻰ اﻟﻜﺘﺎﺑﺔ ﻋﻠﻰ اﻟﺒﺤﻮر اﻹﻣﺎراﺗﻴﺔ اﻟﺨﺎﺻﺔ ﻛﺎﻟﻮ ّﻧﺔ‬ ‫واﻟﺮدح‪ gg‬ﺣﻔﺎﻇﺎ ﻋﻠﻰ اﻟﺨﺼﻮﺻﻴﺔ واﻟﺒﺼﻤﺔ‪ g‬وﻳﺮى أن ﻋﻠﻰ اﻹﻋﻼم أن‬ ‫ﻳﻜﻮن ﻗﺮﻳﺒﺎ ﻣﻦ اﻟﺸﻌﺮاء وأن ﻳﺘﺎﺑﻊ ﺟﺪﻳﺪﻫﻢ وأﻋﻤﺎﻟﻬﻢ أو ًﻻ‬ ‫ﺑﺄول‪gg‬‬ ‫ﺑﻴﺖ اﻟﺸﻌﺮ اﻟﺘﻘﺖ اﻟﺸﺎﻋﺮ اﻟﻜﺒﻴﺮ ﺳﻌﻴﺪ ﺑﻦ ﻣﺼﻠﺢ‬ ‫اﻷﺣﺒﺎﺑﻲ وﻛﺎن ﻫﺬا اﻟﺤﻮار‪gg‬‬

‫ﺪد ‪48‬‬ ‫اﻟﻌﺪد‬ ‫ﻟﻌﺪ‬ ‫اﻟﺸﻌﺮ ‪ /‬اﻟﻌ‬ ‫ﺑﻴﺖ اﻟﺸﻌﻌﺮ‬ ‫‪ 1144‬ﺑﻴﻴﺖ‬ ‫ﺖ‬

‫إﻋﺎدة ﻫﻴﻜﻠﺔ اﻟﻤﺠﺎل اﻟﺠﻮي ﻟﻠﺪوﻟﺔ‬ ‫ﻛﺸﻒ اﳌﺪﻳﺮ اﻟﻌﺎم اﳌﺴﺎﻋﺪ ﻟﻘﻄﺎع ﺧﺪﻣﺎت اﳌﻼﺣﺔ اﻟﺠﻮﻳﺔ ﰲ‬ ‫اﻟﻬﻴﺌﺔ اﻟﻌﺎﻣﺔ ﻟﻠﻄريان اﳌﺪين‪ ،‬أﺣﻤﺪ إﺑﺮاﻫﻴﻢ اﻟﺠﻼف‪ ،‬أن اﻟﻬﻴﺌﺔ‬ ‫ﺑﺪأت ﰲ ﺗﻨﻔﻴﺬ اﳌﴩوع اﻟﻮﻃﻨﻲ ﻹﻋﺎدة ﻫﻴﻜﻠﺔ اﳌﺠﺎل اﻟﺠﻮي‬ ‫ﻟﺪوﻟﺔ اﻹﻣﺎرات‪ .‬وأﺿﺎف ﰲ ﺗﴫﻳﺤﺎت ﺻﺤﺎﻓﻴﺔ أﻣﺲ‪ ،‬أن اﳌﴩوع‬ ‫اﻟﺬي ﺳﻴﺘﻢ اﻻﻧﺘﻬﺎء ﻣﻨﻪ ﻗﺒﻞ ﻧﻬﺎﻳﺔ اﻟﻌﺎم ‪ ،2017‬ﺳﻴﻌﻤﻞ ﻋﲆ زﻳﺎدة‬ ‫اﳌﺮوﻧﺔ ﰲ اﳌﺠﺎل اﻟﺠﻮي‪ ،‬وﺗﻘﻠﻴﻞ اﻟﺘﺄﺧريات اﻟﺨﺎﺻﺔ ﺑﺎﻟﻄﺎﺋﺮات‪،‬‬ ‫وﺗﻮﺳﻌﺔ ﻣﺴﺎرات اﻹﻗﻼع واﻟﻬﺒﻮط‪ ،‬وإﺿﻔﺎء ﻣﺰﻳﺪ ﻣﻦ اﻟﺴﻼﺳﺔ‬

‫ﻋﲆ اﻟﺤﺮﻛﺔ اﻟﺠﻮﻳﺔ‪ .‬وأﻛﺪ أن اﳌﴩوع ﻳﺮﻓﻊ اﻟﻄﺎﻗﺔ اﻻﺳﺘﻴﻌﺎﺑﻴﺔ‬ ‫ﻟﻠﻤﺠﺎل اﻟﺠﻮي ﻟﻠﺪوﻟﺔ ﺑﻨﺴﺒﺔ ﺗﺮاوح ﺑني ‪ 25‬و‪ ،%30‬وﻳﺘﻮاﻛﺐ ﻣﻊ‬ ‫ﻣﴩوﻋﺎت ﺗﺤﺴني ﻣﻮازﻳﺔ‪ ،‬ﺧﺼﻮﺻﺎً ﺑﺰﻳﺎدة ﻛﻔﺎءات اﳌﻄﺎرات‪،‬‬ ‫ﺑﻬﺪف زﻳﺎدة اﻟﻄﺎﻗﺔ اﻻﺳﺘﻴﻌﺎﺑﻴﺔ‪ ،‬وﻣﻮاﻛﺒﺔ اﻟﻨﻤﻮ اﳌﺴﺘﻤﺮ ﰲ‬ ‫اﻟﺤﺮﻛﺔ اﻟﺠﻮﻳﺔ‪ .‬وﻛﺸﻒ أن دول ﻣﺠﻠﺲ اﻟﺘﻌﺎون اﻟﺨﻠﻴﺠﻲ‪ ،‬ﺑﺪأت‬ ‫ﰲ دراﺳﺔ ﻣﺸﱰﻛﺔ ﻟﻠﻤﺠﺎل اﻟﺠﻮي ﻟﺪول اﳌﺠﻠﺲ‪ ،‬ﻟﺰﻳﺎدة ﻛﻔﺎءة‬ ‫اﻟﻌﻤﻠﻴﺎت اﻟﺠﻮﻳﺔ ﰲ ﻧﻄﺎق دول اﳌﺠﻠﺲ‪.‬‬

‫ﻣﻮاﻃﻨﺔ ﺗﺒﺘﻜﺮ ﺳﺠﺎدة ﺻﻼة ذﻛﻴﺔ‬ ‫اﺑﺘﻜﺮت ﻣﺪرﺑﺔ ﻟﻐﺔ اﻹﺷﺎرة ﰲ ﻣﺮﻛﺰ رأس اﻟﺨﻴﻤﺔ‬ ‫ﻟﻠﻤﻌﺎﻗني‪ ،‬ﺳﺠﺎدة ذﻛﻴﺔ ﻟﻠﺼﻼة ﺗﻌﻠﻴﻤﻴﺔ‪ ،‬ﻳﺴﺘﻔﻴﺪ‬ ‫ﻣﻨﻬﺎ اﳌﺼﺎﺑﻮن ﺑﺎﻟﺼﻢ وﻓﻘﺪان اﻟﺒﴫ‪ ،‬ﻓﻀ ًﻼ ﻋﻦ‬ ‫اﳌﺴﻨني‪ ،‬اﻟﺬﻳﻦ ﻳﻌﺎﻧﻮن ﻣﻦ ﺻﻌﻮﺑﺔ ﰲ ﺗﺬﻛﺮ ﻋﺪد‬ ‫اﻟﺮﻛﻌﺎت اﻟﺘﻲ أدوﻫﺎ‪ .‬وذﻛﺮت ﻣﻮزة أن اﻟﺴﺠﺎدة‬ ‫اﻟﺬﻛﻴﺔ ﺗﺘﻜﻮن ﻣﻦ ﺧﻤﺲ ﺳﺠﺎدات ﻣﺨﺘﻠﻔﺔ اﻷﻟﻮان‬ ‫ﻳﺴﺘﺨﺪﻣﻬﺎ اﳌﺴﺘﻬﺪﻓﻮن ﺑﺤﺴﺐ ﺗﻮﻗﻴﺘﺎﺗﻬﺎ‪ ،‬ﺣﻴﺚ‬ ‫إن ﻫﻨﺎك ﻟﻮﻧﺎً ﻟﻜﻞ وﻗﺖ ﻟﻠﺼﻼة‪ .‬وﺗﺘﻤﻴﺰ ﺑﺄن ﻟﻬﺎ‬ ‫إﺿﺎءات ﻣﺨﺘﻠﻔﺔ‪ ،‬وﻣﻨﺒﻬﺎت ﺻﻮﺗﻴﺔ‪ ،‬ﺑﺎﻹﺿﺎﻓﺔ إﱃ‬ ‫رميﻮت ﻛﻨﱰول ﻟﻠﺘﺤﻜﻢ ﻓﻴﻬﺎ‪ ،‬وﺗﻮﺿﻴﺢ ﺧﻄﻮات‬ ‫وﻃﺮﻳﻘﺔ اﻟﺼﻼة ﻟﻠﻤﺒﺘﺪﺋني‪ ،‬واﻟﺘﻲ ﻳﺴﺘﻄﻴﻊ اﳌﻌﻠﻤﻮن‬ ‫ﰲ ﻣﺮاﻛﺰ اﳌﻌﺎﻗني اﺳﺘﺨﺪاﻣﻬﺎ ﻟﺘﻌﻠﻴﻢ وﺗﻮﺟﻴﻪ ﻃﻠﺒﺘﻬﻢ‬ ‫ﺑﺸﻜﻞ ﺳﻬﻞ وﺑﺴﻴﻂ‪ ،‬ﻛام ﺗﺘﻜﻮن اﻟﺴﺠﺎدة ﻣﻦ ﻃﺒﻘﺔ‬ ‫إﺳﻔﻨﺠﻴﺔ وﺟﻠﺪ ﻣﻄﺒﻮع ﻋﻠﻴﻪ ﻃﺮﻳﻘﺔ ﺣﺮﻛﺎت اﻟﺼﻼة‪،‬‬ ‫وﻣﺮاﺣﻞ ﺗﻌﻠﻴﻤﻬﺎ‪ .‬وأﺷﺎرت إﱃ أن اﻟﺴﺠﺎدة اﻟﺬﻛﻴﺔ‬ ‫ﺳﺎﻋﺪت اﻟﻜﺜري ﻣﻦ اﻟﻄﻠﺒﺔ ﻋﲆ إﺗﻘﺎن ﻋﺒﺎداﺗﻬﻢ‬ ‫ﺑﺸﻜﻞ ﺟﻴﺪ‪ ،‬ﻛام أن ﻫﻨﺎك إﻗﺒﺎﻻً ﻋﻠﻴﻬﺎ ﻟﻼﺳﺘﻔﺎدة‬ ‫ﻣﻨﻬﺎ‪ ،‬ﺧﺎﺻﺔ ﺑﻌﺪ اﺷﱰاﻛﻬﺎ ﰲ أﻛرث ﻣﻦ ﻣﻌﺮض اﺑﺘﻜﺎري‬ ‫ﻣﺘﻨﻮع ﺑﺎﻹﻣﺎرات‪ ،‬ﻣﺎ ﺳﺎﻋﺪ ﻋﲆ اﻧﺘﺸﺎرﻫﺎ‪.‬‬

‫ﺑﻠﺪﻳﺔ أﺑﻮﻇﺒﻲ‬ ‫ﺗﻨﻔﺬ اﻟﻤﺮﺣﻠﺔ اﻷوﻟﻰ ﻣﻦ ﺗﻄﻮﻳﺮ »ﺷﺎرع اﻟﺸﻴﺦ زاﻳﺪ«‬ ‫ﺑﺪأت ﺑﻠﺪﻳﺔ ﻣﺪﻳﻨﺔ أﺑﻮﻇﺒﻲ ﺗﻨﻔﻴﺬ ﻣﴩوع ﻳﺴﺘﻬﺪف اﺳﺘﻜامل ﺗﻄﻮﻳﺮ ﺷﺎرع‬ ‫اﻟﺸﻴﺦ زاﻳﺪ ﰲ أﺑﻮﻇﺒﻲ ﺑﻬﺪف رﻓﻊ ﻣﺴﺘﻮى اﻟﺘﺪﻓﻖ اﳌﺮوري‪ ،‬وﺗﺤﻘﻴﻖ أﻋﲆ‬ ‫ﻣﺴﺘﻮﻳﺎت اﻟﺴﻼﻣﺔ ﳌﺮﺗﺎدي اﻟﺸﺎرع مبﺎ ﻳﺘامﳽ ﻣﻊ اﳌﻌﺎﻳري اﻟﻌﺎﳌﻴﺔ اﳌﺘﻌﻠﻘﺔ‬ ‫ﺑﺨﺪﻣﺎت اﻟﻄﺮق وﻫﻨﺪﺳﺔ اﳌﺮور‪ ،‬وﺗﺒﻠﻎ ﺗﻜﻠﻔﺔ اﳌﺮﺣﻠﺔ اﻷوﱃ ﻟﻠﻤﴩوع أﻛرث‬ ‫ﻣﻦ ‪ 54‬ﻣﻠﻴﻮن درﻫﻢ‪ ،‬ﺑﻴﻨام ﺗﺒﻠﻎ ﺗﻜﻠﻔﺔ اﳌﺮﺣﻠﺘني اﻟﺜﺎﻧﻴﺔ واﻟﺜﺎﻟﺜﺔ ﻣﻦ اﳌﴩوع‬ ‫أﻛرث ﻣﻦ ‪ 315‬ﻣﻠﻴﻮن درﻫﻢ‪ .‬وﻛﺸﻒ اﳌﻬﻨﺪس ﻣﺎﺟﺪ اﻟﻜﺜريي اﳌﺪﻳﺮ اﻟﺘﻨﻔﻴﺬي‬ ‫ﻟﻘﻄﺎع اﻟﺒﻨﻴﺔ اﻟﺘﺤﺘﻴﺔ واﻷﺻﻮل اﻟﺒﻠﺪﻳﺔ ﰲ ﺑﻠﺪﻳﺔ ﻣﺪﻳﻨﺔ أﺑﻮﻇﺒﻲ أن ﻣﴩوع‬ ‫اﺳﺘﻜامل ﺗﻄﻮﻳﺮ ﺷﺎرع اﻟﺸﻴﺦ زاﻳﺪ ﺑﻦ ﺳﻠﻄﺎن ﻳﺘﻀﻤﻦ اﻟﻨﻄﺎق اﻟﺠﻐﺮاﰲ‬ ‫اﳌﻤﺘﺪ ﻣﻦ ﺗﻘﺎﻃﻊ اﻟﻔﻼح ﺣﺘﻰ ﺗﻘﺎﻃﻊ ﻗﴫ اﻟﺒﺤﺮ‪.‬‬ ‫أﻏﺴﻄﺲ‪-‬ﺳﺒﺘﻤﺒﺮ ‪13 2016‬‬

‫اﻷﺧﺒﺎر‬ ‫‪baytelshear‬‬

‫ﻃﻴﺮان اﻹﻣﺎرات اﻷﻛﺒﺮ إﻗﻠﻴﻤﻴ ًﺎ ﻓﻲ اﻹﻳﺮادات‬ ‫ﺗﻘﺪﻣﺖ ﻃريان اﻹﻣﺎرات إﱃ اﳌﺮﻛﺰ اﻟﺴﺎﺑﻊ‬ ‫ﻋﺎﳌﻴﺎً ﻣﻦ ﺣﻴﺚ ﻋﺎﺋﺪات ﻣﺠﻤﻮﻋﺎت اﻟﻄريان‬ ‫ﰲ اﻟﻌﺎم اﳌﺎﴈ‪ ،‬ﻣﺴﺠﻠﺔ إﻳﺮادات ﺑﻠﻐﺖ ‪25.2‬‬ ‫ﻣﻠﻴﺎر دوﻻر )‪ 92.4‬ﻣﻠﻴﺎر درﻫﻢ( ﻣﻘﺎرﻧﺔ ﻣﻊ‬ ‫اﳌﺮﻛﺰ اﻟﺜﺎﻣﻦ اﻟﺬي ﺣﻘﻘﺘﻪ ﰲ اﻟﻌﺎم ‪.2014‬‬ ‫وﻫﻲ ﺑﺬﻟﻚ أﻛﱪ ﻧﺎﻗﻠﺔ إﻗﻠﻴﻤﻴﺔ ﰲ اﳌﻨﻄﻘﺔ‬ ‫ﻣﻦ ﺣﻴﺚ اﻹﻳﺮادات‪.‬‬ ‫وﺗﻌﺪ ﻃريان اﻹﻣﺎرات اﻟﻨﺎﻗﻠﺔ اﻟﻮﺣﻴﺪة ﰲ‬

‫ﻣﻨﻄﻘﺔ اﻟﴩق اﻷوﺳﻂ وﺷامل أﻓﺮﻳﻘﻴﺎ اﻟﺘﻲ‬ ‫ﺗﺪﺧﻞ ﻧﺎدي اﻟﻌﴩة اﻟﻜﺒﺎر ﰲ اﻟﻌﺎﺋﺪات‪ ،‬ﻛام‬ ‫أﻧﻬﺎ اﻟﺮاﺑﻌﺔ ﻋﲆ ﻣﺴﺘﻮى اﻟﻌﺎمل ﻣﻦ ﺣﻴﺚ‬ ‫اﻷرﺑﺎح‪.‬‬ ‫وﺑﻠﻐﺖ اﻷرﺑﺎح اﻟﺼﺎﻓﻴﺔ ﻟﻠﻨﺎﻗﻠﺔ اﻟﻮﻃﻨﻴﺔ ﰲ‬ ‫اﻟﻌﺎم اﳌﺎﴈ ‪ 2.2‬ﻣﻠﻴﺎر دوﻻر وﻫﻲ اﻷﻋﲆ ﰲ‬ ‫ﺗﺎرﻳﺦ اﻟﴩﻛﺔ ﻣﻘﺎرﻧﺔ ﻣﻊ ‪ 1.4‬ﻣﻠﻴﺎر ﰲ اﻟﻌﺎم‬ ‫‪.2014‬‬

‫وأﺷﺎر ﺗﻘﺮﻳﺮ ﳌﻮﻗﻊ »ﻓﻼﻳﺖ ﻏﻠﻮﺑﺎل« أﻧﻪ‬ ‫ورﻏﻢ اﺷﺘﺪاد ﺣﺪة اﳌﻨﺎﻓﺴﺔ ﰲ ﻣﻨﻄﻘﺔ‬ ‫اﻟﺨﻠﻴﺞ إﻻ أن ديب مل ﺗﺤﴫ ﻧﻔﺴﻬﺎ ﰲ‬ ‫اﳌﻨﻄﻘﺔ وﺑﺎﺗﺖ اﻟﻴﻮم ﻣﺮﻛﺰا ﻋﺎﳌﻴﺎ ﻟﻠﻄريان‬ ‫ﺗﻨﺎﻓﺲ ﻛﱪى اﻟﴩﻛﺎت اﻟﻌﺎﳌﻴﺔ‪.‬‬ ‫وﻳﻘﻮل ﺗﻘﺮﻳﺮ ﻓﻼﻳﺖ ﻏﻠﻮﺑﺎل ان ﺗﺮاﺟﻊ‬ ‫اﻟﺘﻜﺎﻟﻴﻒ ﺑﻔﻌﻞ أﺳﻌﺎر اﻟﻨﻔﻂ ﺳﺎﻫﻢ ﰲ‬ ‫ﺗﺤﻘﻴﻖ ﺗﻠﻚ اﻟﻌﺎﺋﺪات اﻟﻘﻴﺎﺳﻴﺔ‪.‬‬

‫اﻟﺒﻨﻚ اﻟﺪوﻟﻲ‪ T‬دﺑﻲ ﻧﻤﻮذج ﻳُﻮﺛﻖ ﻟﺘﻄﻮر اﻟﻤﺪن اﻟﺘﻨﺎﻓﺴﻴﺔ ﻓﻲ اﻟﻌﺎﻟﻢ‬ ‫أﻛﺪ اﻟﺒﻨﻚ اﻟﺪوﱄ أن ﺗﺠﺮﺑﺔ ديب ﰲ ﺗﻄﻮﻳﺮ‬ ‫ﻗﺪراﺗﻬﺎ اﻟﺘﻨﺎﻓﺴﻴﺔ واﻻﻗﺘﺼﺎدﻳﺔ واﻟﻨﺠﺎﺣﺎت‬ ‫اﻟﺘﻲ ﺣﻘﻘﺘﻬﺎ ﰲ ﻫﺬا اﳌﺠﺎل ميﻜﻦ أن ﺗﺸﻜﻞ‬ ‫منﻮذﺟﺎً ﻳﺤﺘﺬى ﺑﻪ ﻣﻦ ﻗﺒﻞ اﳌﺪن اﳌﺨﺘﻠﻔﺔ‬ ‫ﺣﻮل اﻟﻌﺎمل اﻟﺴﺎﻋﻴﺔ ﻟﺘﻨﻤﻴﺔ اﻗﺘﺼﺎدﻫﺎ‬ ‫وﺗﺤﺴني ﻗﺪراﺗﻬﺎ اﻟﺘﻨﺎﻓﺴﻴﺔ‪ .‬وﻗﺎل اﻟﺒﻨﻚ ﰲ‬ ‫ﺗﻘﺮﻳﺮ ﺣﺪﻳﺚ ﻟﻪ إن ﺗﻮﺛﻴﻖ ﻧﺠﺎﺣﺎت ﻣﺪن‬ ‫ﻣﺜﻞ ديب وﻧﻴﻮﻳﻮرك وﻟﻨﺪن وﺳﻨﻐﺎﻓﻮرة ميﻜﻦ‬ ‫أن ﻳﺴﺎﻋﺪ ﰲ ﺻﻴﺎﻏﺔ ﻣﻌﺎﻳري ﻷﻓﻀﻞ اﳌامرﺳﺎت‬ ‫ﰲ ﺗﻌﺰﻳﺰ اﻟﻘﺪرات اﻟﺘﻨﺎﻓﺴﻴﺔ ﻟﻠﻤﺪن وﺗﻨﻤﻴﺔ‬ ‫اﻗﺘﺼﺎداﺗﻬﺎ‪ ،‬ﻟﻼﺳﺘﻔﺎدة ﻣﻦ ﻫﺬه اﻟﺘﺠﺎرب‪.‬‬ ‫وأوﺿﺢ اﻟﺘﻘﺮﻳﺮ‪ ،‬اﻟﺬي ﺣﻤﻞ ﻋﻨﻮان »اﳌﺪن‬ ‫اﻟﺘﻨﺎﻓﺴﻴﺔ ﻣﻦ أﺟﻞ اﻟﻮﻇﺎﺋﻒ واﻟﻨﻤﻮ‪ :‬ﻣﺎذا‬ ‫وﻣﻦ وﻛﻴﻒ؟«‪ ،‬أﻧﻪ ﰲ ﺣني ﻻ ﺗﺘﻮﻓﺮ وﺻﻔﺔ‬ ‫ﺧﺎﺻﺔ واﺣﺪة ﻷن ﺗﺼﺒﺢ اﳌﺪﻳﻨﺔ ذات ﻗﺪرة‬ ‫ﺗﻨﺎﻓﺴﻴﺔ‪ ،‬ﺗﱪز أمنﺎط ﺷﺎﺋﻌﺔ ﻟﻸداء اﻻﻗﺘﺼﺎدي‬ ‫اﳌﺮﺗﻔﻊ‪ ،‬وﻫﺬه اﻟﺴامت مبﻘﺪورﻫﺎ أن ﺗﺮﺷﺪ‬ ‫اﳌﺪن اﻷﺧﺮى اﻟﺘﻲ ﰲ ﺳﺒﻴﻠﻬﺎ ﻟﺘﺨﻄﻴﻂ وﺗﻨﻔﻴﺬ‬ ‫اﺳﱰاﺗﻴﺠﻴﺎﺗﻬﺎ اﻟﺨﺎﺻﺔ ﻟﻠﺘﻨﻤﻴﺔ اﻻﻗﺘﺼﺎدﻳﺔ‪.‬‬ ‫‪ 12‬ﺑﻴﺖ اﻟﺸﻌﺮ ‪ /‬اﻟﻌﺪد ‪48‬‬

‫ ‪ .y 3 l i Gc6‬ﻳﺸﻬﺪ أﻓﺮاح اﻟﻤﻨﺎﻫﻴﻞ ﻓﻲ اﻟﻮﺛﺒﺔ‬ ‫ﺣﴬ ﺳﻤﻮ اﻟﺸﻴﺦ ﺳﻠﻄﺎن ﺑﻦ زاﻳﺪ آل ﻧﻬﻴﺎن‬ ‫ﻣﻤﺜﻞ ﺻﺎﺣﺐ اﻟﺴﻤﻮ رﺋﻴﺲ اﻟﺪوﻟﺔ اﻟﺤﻔﻞ‬ ‫اﻟﺬي أﻗﺎﻣﻪ اﻟﺴﻴﺪ ﺻﻔﻴﺎن ﺑﻦ ﻋﻴﻀﺔ اﳌﻨﻬﺎﱄ‬ ‫ﺑﻘﺎﻋﺔ اﻷﻓﺮاح ﰲ ﻣﺪﻳﻨﺔ اﻟﻮﺛﺒﺔ ﰲ أﺑﻮﻇﺒﻲ‬ ‫مبﻨﺎﺳﺒﺔ زﻓﺎف ﻧﺠﻠﻪ »ﺳﺎمل« إﱃ ﻛﺮميﺔ ﻃﻨﺎف‬ ‫ﺑﻦ ﻃﻨﺎف اﳌﻨﻬﺎﱄ‪.‬‬ ‫وﻗﺪم ﺳﻤﻮ اﻟﺸﻴﺦ ﺳﻠﻄﺎن ﺑﻦ زاﻳﺪ آل‬ ‫ﻧﻬﻴﺎن اﻟﺘﻬﺎين ﻟﻮاﻟﺪ اﻟﻌﺮﻳﺲ وإﺧﻮاﻧﻪ ﻣﺴﻠﻢ‬ ‫وﻋﻴﻀﺔ وﺳﻌﻴﺪ وﻃﺎﻳﻊ وﻓﻴﺼﻞ أﺑﻨﺎء ﺻﻔﻴﺎن‬ ‫اﳌﻨﻬﺎﱄ وأﻗﺮﺑﺎﺋﻬﻢ‪ ،‬وﺷﺎرك ﺳﻤﻮه ﰲ ﺗﻠﻘﻲ‬ ‫ﺟﺎﻧﺐ ﻣﻦ اﻟﺘﻬﺎين ﻣﻦ اﻟﺤﺎﴐﻳﻦ‪.‬‬ ‫وﺣﴬ اﻟﺤﻔﻞ اﻟﺬي أﺣﻴﺘﻪ ﻓﺮق اﻟﻔﻨﻮن‬ ‫اﻟﺸﻌﺒﻴﺔ واﻟﺨﻠﻴﺠﻴﺔ وﻗﺪﻣﺖ ﻓﻴﻪ اﻷﻫﺎزﻳﺞ‬ ‫واﻟﺮﻗﺼﺎت اﻟﺸﻌﺒﻴﺔ ﻋﺪد ﻛﺒري ﻣﻦ أﻫﺎﱄ‬ ‫اﻟﻌﺮوﺳني وأﺑﻨﺎء ﻗﺒﻴﻠﺔ اﳌﻨﻬﺎﱄ وﻏريﻫﻢ ﻣﻦ‬ ‫اﳌﻮاﻃﻨني واﳌﻘﻴﻤني ‪.‬‬

‫وأﻋﺮب أﻫﻞ اﻟﻌﺮوﺳني واﻟﺤﻀﻮر ﻋﻦ ﺑﺎﻟﻎ ﻟﺴﻤﻮه ﺣﺮﺻﻪ ﻋﲆ اﻻﻟﺘﻘﺎء واﻟﺘﻮاﺻﻞ ﻣﻊ‬ ‫ﺷﻜﺮﻫﻢ وﺗﻘﺪﻳﺮﻫﻢ ﻟﺴﻤﻮ اﻟﺸﻴﺦ ﺳﻠﻄﺎن ﺑﻦ أﺑﻨﺎﺋﻪ وإﺧﻮاﻧﻪ ﻣﻦ اﳌﻮاﻃﻨني‪ ،‬داﻋني ﻟﻪ‬ ‫زاﻳﺪ آل ﻧﻬﻴﺎن ﻋﲆ زﻳﺎرﺗﻪ اﻟﻜﺮميﺔ ﻣﻘﺪرﻳﻦ ﺑﺪوام اﻟﺼﺤﺔ وﻃﻮل اﻟﻌﻤﺮ‪.‬‬

‫‪ XX‬وﻳﻌﺰي ﺑﻮﻓﺎة ﻏﺮﻳﺒﺔ ﺧﻠﻔﺎن اﻟﻌﻤﻴﻤﻲ ﻓﻲ اﻟﻌﻴﻦ‬ ‫ﻛام ﻗﺪم ﺳﻤﻮ اﻟﺸﻴﺦ ﺳﻠﻄﺎن ﺑﻦ زاﻳﺪ آل‬ ‫ﻧﻬﻴﺎن ﻣﻤﺜﻞ ﺻﺎﺣﺐ اﻟﺴﻤﻮ رﺋﻴﺲ اﻟﺪوﻟﺔ‬ ‫واﺟﺐ اﻟﻌﺰاء ﰲ وﻓﺎة اﳌﻐﻔﻮر ﻟﻬﺎ ﻏﺮﻳﺒﺔ‬ ‫ﺧﻠﻔﺎن ﺳﻴﻒ اﻟﻌﻤﻴﻤﻲ واﻟﺪة ﺳﻴﻒ ﻋﺘﻴﻖ‬ ‫ﺳﻴﻒ اﻟﻔﻼﳼ‪ ،‬وذﻟﻚ ﺧﻼل اﻟﺰﻳﺎرة اﻟﺘﻲ‬

‫ﻗﺎم ﺑﻬﺎ ﺳﻤﻮه إﱃ ﻣﻨﺰل اﻟﻔﻘﻴﺪة ﰲ ﻣﻨﻄﻘﺔ‬ ‫اﻟﻘﻄﺎرة ﰲ ﻣﺪﻳﻨﺔ اﻟﻌني ﺑﺎﳌﻨﻄﻘﺔ اﻟﴩﻗﻴﺔ‪.‬‬ ‫واﻟﺘﻘﻰ ﺳﻤﻮه ﺧﻼل اﻟﺰﻳﺎرة ﻋﺪداً ﻣﻦ أﻫﻠﻬﺎ‬ ‫وذوﻳﻬﺎ وأﻋﺮب ﻋﻦ ﺻﺎدق اﻟﻌﺰاء واﳌﻮاﺳﺎة‬ ‫ﰲ ﻣﺼﺎﺑﻬﻢ اﻟﺠﻠﻞ ﺳﺎﺋﻼ اﻟﻠﻪ اﻟﻌﲇ اﻟﻘﺪﻳﺮ‬

‫أن ﻳﺘﻐﻤﺪ اﻟﻔﻘﻴﺪة ﺑﻮاﺳﻊ رﺣﻤﺘﻪ وأن ﻳﻠﻬﻢ‬ ‫أﻫﻠﻬﺎ اﻟﺼﱪ واﻟﺴﻠﻮان‪ .‬وﻋﱪ ذوو اﻟﻔﻘﻴﺪة‬ ‫ﻋﻦ ﺧﺎﻟﺺ ﺷﻜﺮﻫﻢ ﻟﺴﻤﻮه ﻟﺼﺪق ﻣﺸﺎﻋﺮه‬ ‫وﺣﺮﺻﻪ ﻋﲆ ﻣﻮاﺳﺎﺗﻬﻢ ﰲ ﻣﺼﺎﺑﻬﻢ داﻋني‬ ‫اﻟﻠﻪ ﻟﺴﻤﻮه ﺑﻄﻮل اﻟﻌﻤﺮ وﻣﻮﻓﻮر اﻟﺼﺤﺔ‪.‬‬

‫أﻏﺴﻄﺲ‪-‬ﺳﺒﺘﻤﺒﺮ ‪11 2016‬‬

‫اﻷﺧﺒﺎر‬ ‫‪baytelshear‬‬

‫*‪ Wzc‬ﻳﻮ ّﺟﻪ ﺑﻤﺴﺎﻋﺪات ﻋﺎﺟﻠﺔ ﻟﻠﻤﺘﻀﺮرﻳﻦ ﻣﻦ ﻓﻴﻀﺎﻧﺎت اﻟﺴﻮدان‬ ‫ﺑﺘﻮﺟﻴﻬﺎت ﺻﺎﺣﺐ اﻟﺴﻤﻮ اﻟﺸﻴﺦ ﺧﻠﻴﻔﺔ ﺑﻦ زاﻳﺪ‬ ‫آل ﻧﻬﻴﺎن‪ ،‬رﺋﻴﺲ اﻟﺪوﻟﺔ‪ ،‬ﺣﻔﻈﻪ اﻟﻠﻪ‪ ،‬وﻣﺘﺎﺑﻌﺔ‬ ‫ﺻﺎﺣﺐ اﻟﺴﻤﻮ اﻟﺸﻴﺦ ﻣﺤﻤﺪ ﺑﻦ زاﻳﺪ آل ﻧﻬﻴﺎن‪،‬‬ ‫وﱄ ﻋﻬﺪ أﺑﻮﻇﺒﻲ‪ ،‬ﻧﺎﺋﺐ اﻟﻘﺎﺋﺪ اﻷﻋﲆ ﻟﻠﻘﻮات‬ ‫اﳌﺴﻠﺤﺔ‪ ،‬ﻗﺪﻣﺖ ﻣﺆﺳﺴﺔ ﺧﻠﻴﻔﺔ ﺑﻦ زاﻳﺪ آل‬ ‫ﻧﻬﻴﺎن ﻟﻸﻋامل اﻹﻧﺴﺎﻧﻴﺔ‪ ،‬ﻣﺴﺎﻋﺪات ﻋﺎﺟﻠﺔ‬ ‫ﻟﻠﺸﻌﺐ اﻟﺴﻮداين اﻟﺸﻘﻴﻖ‪ .‬ﺗﺄيت ﻫﺬه اﳌﺴﺎﻋﺪات‬ ‫اﻟﻌﺎﺟﻠﺔ ﻣﻦ ﻣﺆﺳﺴﺔ ﺧﻠﻴﻔﺔ اﻹﻧﺴﺎﻧﻴﺔ‪ ،‬وﺷﻤﻠﺖ‬ ‫ﻣﻮاد ﻏﺬاﺋﻴﺔ وﺧﻴﺎﻣﺎً وﻣﺒﻴﺪات ﺣﴩﻳﺔ‪ ،‬ﰲ ﺿﻮء‬ ‫اﻟﻔﻴﻀﺎﻧﺎت واﻟﺴﻴﻮل اﻟﺘﻲ ﺗﻌﺮض ﻟﻬﺎ اﻟﺴﻮدان‪،‬‬ ‫وﺧﻠﻔﺖ أﴐاراً ﺟﺴﻴﻤ ًﺔ‪ ،‬ﻧﻈﺮاً ﻻﺳﺘﻤﺮار ﻫﻄﻮل‬ ‫اﻷﻣﻄﺎر‪ .‬وﻗﺎل ﻣﺼﺪر ﻣﺴﺆول ﰲ اﳌﺆﺳﺴﺔ‪ :‬إن‬ ‫ﻫﺬه اﳌﺴﺎﻋﺪات اﻟﺘﻲ ﺗﺄيت ﺗﻨﻔﻴﺬاً ﻟﺘﻮﺟﻴﻬﺎت‬ ‫اﻟﻘﻴﺎدة اﻟﺮﺷﻴﺪة‪ ،‬ﺗﻬﺪف ﻟﻠﺘﺨﻔﻴﻒ ﻣﻦ ﻣﻌﺎﻧﺎة‬ ‫اﻟﺸﻌﺐ اﻟﺴﻮداين اﻟﺸﻘﻴﻖ‪ ،‬وﺧﺎﺻﺔ اﳌﺘﴬرﻳﻦ ﻣﻦ‬ ‫أﺛﺮ اﻟﺴﻴﻮل واﻟﻔﻴﻀﺎﻧﺎت اﻟﺘﻲ اﺟﺘﺎﺣﺖ ﻋﺪداً ﻣﻦ‬ ‫وﻻﻳﺎت اﻟﺴﻮدان‪.‬‬

‫‪ ę.y 3 l .g'f‬ﻣﺎﺿﻮن ﻓﻲ ﻣﺪ ﻳﺪ اﻟﻌﻮن إﻟﻰ اﻟﺸﻌﻮب اﻟﻤﺤﺘﺎﺟﺔ‬ ‫أﻛﺪ ﺻﺎﺣﺐ اﻟﺴﻤﻮ اﻟﺸﻴﺦ ﻣﺤﻤﺪ ﺑﻦ زاﻳﺪ آل ﻧﻬﻴﺎن‪ ،‬وﱄ‬ ‫ﻋﻬﺪ أﺑﻮﻇﺒﻲ ﻧﺎﺋﺐ اﻟﻘﺎﺋﺪ اﻷﻋﲆ ﻟﻠﻘﻮات اﳌﺴﻠﺤﺔ‪ ،‬أن دوﻟﺔ‬ ‫اﻹﻣﺎرات اﻟﻌﺮﺑﻴﺔ اﳌﺘﺤﺪة اﺳﺘﻠﻬﻤﺖ ﻣﻦ اﳌﻐﻔﻮر ﻟﻪ ﺑﺈذن‬ ‫اﻟﻠﻪ ﺗﻌﺎﱃ اﻟﺸﻴﺦ زاﻳﺪ ﺑﻦ ﺳﻠﻄﺎن آل ﻧﻬﻴﺎن‪ ،‬ﻃﻴﺐ اﻟﻠﻪ‬ ‫ورﺳﺨﺖ ﺑﻘﻴﺎدة ﺻﺎﺣﺐ اﻟﺴﻤﻮ‬ ‫ﺛﺮاه‪ ،‬رؤﻳﺘﻬﺎ ﰲ اﻟﻌﻄﺎء‪ّ ،‬‬ ‫اﻟﺸﻴﺦ ﺧﻠﻴﻔﺔ ﺑﻦ زاﻳﺪ آل ﻧﻬﻴﺎن‪ ،‬رﺋﻴﺲ اﻟﺪوﻟﺔ‪ ،‬ﺣﻔﻈﻪ‬ ‫اﻟﻠﻪ‪ ،‬ﻣﻨﻬﺠﻬﺎ ﰲ ﺗﻘﺪﻳﻢ اﻟﻌﻮن‪ .‬وأﺿﺎف ﺳﻤﻮه‪ ،‬ﰲ ﺗﺪوﻳﻦ‬ ‫ﻋﱪ اﻟﺤﺴﺎب اﻟﺮﺳﻤﻲ ﻷﺧﺒﺎر ﺳﻤﻮه ﰲ ﻣﻮﻗﻊ اﻟﺘﻮاﺻﻞ‬ ‫اﻻﺟﺘامﻋﻲ »ﺗﻮﻳﱰ«‪ ،‬مبﻨﺎﺳﺒﺔ اﻟﻴﻮم اﻟﻌﺎﳌﻲ ﻟﻠﻌﻤﻞ اﻹﻧﺴﺎين‪،‬‬ ‫أن دوﻟﺔ اﻹﻣﺎرات اﻟﻌﺮﺑﻴﺔ اﳌﺘﺤﺪة ﻣﺎﺿﻴﺔ ﰲ ﻣﺴرية اﻟﻌﻤﻞ‬ ‫اﻹﻧﺴﺎين وﻣﺪ ﻳﺪ اﻟﻌﻮن إﱃ اﻟﺸﻌﻮب اﳌﺤﺘﺎﺟﺔ دون متﻴﻴﺰ‪.‬‬ ‫وأﺿﺎف ﺳﻤﻮه أن ﻣﺎ ﻳﻌﺎﻧﻴﻪ اﻷﺑﺮﻳﺎء ﻣﻦ ﺟﺮاء اﻟﺤﺮوب‬ ‫وﻣﻦ وﻃﺄة اﻟﺠﻮع ﻳﺤﺘﻢ اﻟﻌﻤﻞ ﻣﻌﺎً ﻋﲆ ﻣﻮاﺟﻬﺔ ﻫﺬه‬ ‫اﻟﺘﺤﺪﻳﺎت‪ ،‬ووﺿﻊ اﻟﺤﻠﻮل ﻹﻧﻬﺎء اﳌﻌﺎﻧﺎة‪ .‬واﺧﺘﺘﻢ ﺳﻤﻮه‬ ‫اﻟﺘﺪوﻳﻦ ﺑﺎﻟﺘﺄﻛﻴﺪ أﻧﻪ‪ ،‬إﱃ ﺟﺎﻧﺐ دوﻟﺔ اﻹﻣﺎرات‪ ،‬ﺗﺴﻌﻰ‬ ‫اﻟﻌﺪﻳﺪ ﻣﻦ اﻟﺪول واﳌﺆﺳﺴﺎت اﻷﻣﻤﻴﺔ إﱃ ﺑﻠﻮرة اﻷﻫﺪاف‬ ‫اﻟﻨﺒﻴﻠﺔ ﻟﻠﻌﻤﻞ اﻹﻧﺴﺎين‪.‬‬ ‫‪ 10‬ﺑﻴﺖ اﻟﺸﻌﺮ ‪ /‬اﻟﻌﺪد ‪48‬‬

‫ﻣﺠﻠﺔ ﺷﻬﺮﻳﺔ ﺷﺎﻣﻠﺔ‬ ‫ﺗﺼﺪر ﻋﻦ ﻣﺮﻛﺰ ﺳﻠﻄﺎن ﺑﻦ زاﻳﺪ ﻟﻠﺜﻘﺎﻓﺔ واﻹﻋﻼم‬

‫اﻟﻌﺪد ‪ - 48‬أﻏﺴﻄﺲ ‪ /‬ﺳﺒﺘﻤﺒﺮ ‪2016‬‬

‫رﺋﻴﺲ اﻟﺘﺤﺮﻳﺮ‬

‫ﻣﻨﺼﻮر ﺳﻌﻴﺪ اﻟﻤﻨﺼﻮري‬ ‫اﻹﺷﺮاف اﻟﻌﺎم‬

‫زﺑﻦ ﺑﻦ ﻋﻤﻴﺮ‬ ‫‪@zabin2011‬‬

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‫ﻣﺴﺘﺸﺎر اﻟﺘﺤﺮﻳﺮ‬

‫ﻋﻠﻲ اﻟﻤﺴﻌﻮدي‬

‫»اﻟﺰول زوﻟﻪ واﻟﺤﻼﻳﺎ ﺣﻼﻳﺎه‪ XX‬واﻟﻔﻌﻞ ﻣﺎﻫﻮ ﻓﻌﻞ واﻓﻲ اﻟﺨﺼﺎﻳﻞ«‬ ‫»ﻣﺤﻤﻴﺔ اﻟﻮﺛﺒﺔ« أروع اﻟﻤﺨﻠﻮﻗﺎت ﻋﻠﻰ ﺑﻌﺪ ﺧﻄﻮة‬ ‫اﻟﺒﻨﻔﺴﺞ ﻓﻲ اﻟﻘﺼﻴﺪة اﻟﺸﻌﺒﻴﺔ ‪XX‬ﻗﻨﺎدﻳﻞ ﺷﻌﺮﻳﺔ ﻣﺘﻮﻫﺠﺔ‬ ‫ﺧﻴﻂ اﻟﺸﻌﺮ‪ XX‬ﺑﻴﻦ ﻋﻤّﺎن وأﺑﻮﻇﺒﻲ‬ ‫اﻟﻨﺪاء ﻓﻲ اﻟﺸﻌﺮ اﻟﺸﻌﺒﻲ اﻹﻣﺎراﺗﻲ‬ ‫ﻋﻠﻲ ﺑﻦ اﺑﺪواه‪ T‬ﻃ ّﻮرت اﻷﻃﺒﺎق اﻹﻣﺎراﺗﻴﺔ وﺣﺎﻓﻈﺖ ﻋﻠﻰ أﺻﺎﻟﺘﻬﺎ‬ ‫اﻟﺮﺻﺎﻓﻲ اﻟﺒﻠﻨﺴﻲ‪ XX‬اﻟﺸﺎﻋﺮ اﻟﻤﺘﻌﻔﻒ اﻟﺬي رﺣﻞ ﺷﺎﺑ ًﺎ‬ ‫اﻟﺨﻨﺴﺎء‪ XX‬ﺳﻴﺪة اﻟﺤﺰن واﻟﺒﻜﺎء‬ ‫ﻟﻮﺣﺎت ﺗﺮاﺛﻴﺔ ﺗﺤﻜﻲ ﻟﻐﺔ اﻷﺟﺪاد ﻓﻲ ﻣﻬﺮﺟﺎن ﻟﻴﻮا ﻟﻠﺮﻃﺐ ‪pqrs‬‬ ‫اﻟﻤﻮروﺛﺎت اﻷﻳﺴﻠﻨﺪﻳﺔ‪ XX‬ﺑﺮاﻛﻴﻦ ﺗﻘﺬف ﺣﻤﻤ ًﺎ ﺛﻘﺎﻓﻴﺔ ﻣﻦ ﻗﻤﺔ اﻟﻌﺎﻟﻢ‬ ‫ﺟﻤﻌﻴﺔ اﻟﺸﻌﺮ ﺳﺮاب‬

‫‪@allmasoudi‬‬ ‫ﻣﺪﻳﺮ اﻟﺘﺤﺮﻳﺮ‬

‫ﻋﺒﺪا أﺑﻮﺑﻜﺮ‬ ‫‪@abdabubaker1‬‬ ‫اﻹﺧﺮاج اﻟﻔﻨﻲ & ﺳﻜﺮﺗﺎرﻳﺔ اﻟﺘﺤﺮﻳﺮ‬

‫ﺳﻌﺎد ﺣﺴﻨﺔ‬ ‫‪@HasnaSuad‬‬ ‫اﻟﺘﺼﻮﻳﺮ‬ ‫ﺟﻌﺒﻞ ﻋﺒﺪا ‬ ‫ﻃﺎرق اﻟﺒﻮرﻳﻨﻲ‬

‫ﻣﺴﺆول اﻟﺘﻮزﻳﻊ‬ ‫أﺣﻤﺪ ﻋﺒﺎس‬

‫ﺳﻌﺮ اﻟﻨﺴﺨﺔ‬

‫‪marketing@cmc.ae‬‬

‫اﻹﻣﺎرات اﻟﻌﺮﺑﻴﺔ اﻟﻤﺘﺤﺪة ‪ 10‬دراﻫﻢ اﻟﻤﻤﻠﻜﺔ اﻟﻌﺮﺑﻴﺔ اﻟﺴﻌﻮدﻳﺔ ‪ 10‬رﻳﺎﻻت اﻟﻜﻮﻳﺖ دﻳﻨﺎر واﺣﺪ‬ ‫‪ -‬ﺳﻠﻄﻨﺔ ﻋﻤﺎن ‪ 800‬ﺑﻴﺴﺔ ﻗﻄﺮ ‪ 10‬رﻳﺎﻻت ﻣﻤﻠﻜﺔ اﻟﺒﺤﺮﻳﻦ دﻳﻨﺎر واﺣﺪ‪g‬‬

‫ﻋﻨﻮان اﻟﻤﺠﻠﺔ ‬ ‫اﻹﻣﺎرات اﻟﻌﺮﺑﻴﺔ اﻟﻤﺘﺤﺪة‪ -‬أﺑﻮﻇﺒﻲ‬

‫اﻻﺷﺘﺮاﻛﺎت‬ ‫ﻟﻼﺷﺘﺮاك ﺑﺎﻟﺒﺮﻳﺪ داﺧﻞ اﻟﺪوﻟﺔ ‪ 90‬درﻫﻢ اﺷﺘﺮاك ‪ VIP‬داﺧﻞ اﻟﺪوﻟﺔ ‪ 120‬درﻫﻢ ﺳﻨﻮﻳ ًﺎ‬ ‫اﻟﻤﻤﻠﻜﺔ اﻟﻌﺮﺑﻴﺔ اﻟﺴﻌﻮدﻳﺔ ‪ 300‬درﻫﻢ ﺳﻨﻮﻳ ًﺎ ﺑﺎﻗﻲ اﻟﺪول ‪ 130‬دوﻻر أﻣﺮﻳﻜﻲ ﺳﻨﻮﻳ ًﺎ‬

‫ﻫﺎﺗﻒ ‪009712-6666130‬‬ ‫ﻓﺎﻛﺲ ‪009712-6663088‬‬ ‫ص‪g‬ب ‪ 6420‬أﺑﻮﻇﺒﻲ إ‪g‬ع‪g‬م‬

‫‪baitshir@cmc.ae‬‬ ‫أﻏﺴﻄﺲ‪-‬ﺳﺒﺘﻤﺒﺮ ‪9 2016‬‬

‫ﻣﺤﺘﻮﻳﺎت‬ ‫‪baytelshear‬‬

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‫ﻋﺒﺪاﻟﻌﺰﻳﺰ ﺳﻌﻮد اﻟﺼﺒﺎح‪ ..‬اﻟﺮﺣﻠﺔ‬ ‫اﻟﻬﺎدﺋﺔ واﻟﺸﻌﺮ ا)ﺻﻴﻞ‬

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‫ﻣﺴﺎﻋﺪ اﻟﺮﺷﻴﺪي‪ T‬اﻧﺖ وﻳﻨﻚ ؟‬

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‫‪27‬‬ ‫ﻛﺘﺎب اﻟﻌﺪد‬

‫ﺑﻴﺖ اﻟﺸﻌﺮ ‪ /‬اﻟﻌﺪد ‪48‬‬

‫اﻧﻔﻮﺷﻌﺮ ‪ XX‬أﺣﻤﺪ ﺑﻦ ﻋﻠﻲ اﻟﻜﻨﺪي‬

‫‪45‬‬ ‫ﺷﻌﺮاء اﻟﻌﺪد‬

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‫ﻋﻠﻲ اﻟﻤﺴﻌﻮدي‬ ‫زﺑﻦ ﺑﻦ ﻋﻤﻴﺮ‬ ‫ﻋﺒﺪا أﺑﻮﺑﻜﺮ‬ ‫ﻣﺤﻤﺪ اﻟﺒﺮﻳﻜﻲ‬ ‫ﺻﻔﻴﺔ اﻟﺸﺤﻲ‬ ‫ﻣﺤﻤﺪ أﻧﻮر‬

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‫ورﺷﺔ ﻟﻠﺘﺪرﻳﺐ ﻋﻠﻰ ﺑﺤﻮر اﻟﺸﻌﺮ اﻟﻨﺒﻄﻲ‬

‫ﻣﺴﺎﻋﺪ اﻟﺮﺷﻴﺪي‬ ‫ﺳﻴﻒ اﻟﻤﻨﺼﻮري‬ ‫ﺣﻤﺪان اﻟﻤﺤﺮﻣﻲ‬ ‫ﻧﺎﺻﺮ اﻟﺸﻔﻴﺮي‬ ‫ﻣﺤﻤﺪ ﺑﻦ ﻗﺬﻟﻪ‬ ‫ﻣﺤﻤﺪ ﻋﺒﺪا ﻧﻮراﻟﺪﻳﻦ‬

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‫ﺻﻔﻴﺔ اﻟﺸﺤﻲ ﺗﻨﻀﻢ ﻟﻜﺘﺎب ﺑﻴﺖ اﻟﺸﻌﺮ‬

‫‪52‬‬ ‫ﻣﺤﻤﺪ ﺑﻦ ﻃﺮﻳﺶ‬ ‫اﺑﺮاﻫﻴﻢ اﻟﺸﺎﻣﻲ‬ ‫ﻗﻤﺮ دﺑﻲ‬ ‫أﺣﻤﺪ ﺧﻠﻴﻔﺔ ﻣﺘﺮف‬ ‫ﻣﺤﻤﺪ ﺑﻦ ﺳﻌﻴﻮاد‬ ‫ﻧﻮف اﻟﻌﻀﻴﺎﻧﻲ‬

‫‪60‬‬ ‫أﺣﻤﺪ اﻟﺰرﻋﻮﻧﻲ‬ ‫ﻣﻮزه اﻟﻜﺘﺒﻲ )ﺑﻨﺖ اﻟﺪار(‬ ‫زﻫﺮه اﻟﻤﺎزﻣﻲ‬ ‫ﻇﺎﻫﺮ اﻟﻜﺘﺒﻲ‬ ‫ﻏﺎﻳﻪ اﻟﻈﺎﻫﺮي‬ ‫ﻓﺎﻫﻢ اﻟﺸﻤﻴﻠﻲ‬

‫ﻣﻦ أﻗﻮال ﺳﻤﻮ اﻟﺸﻴﺦ‬

‫ﺳﻠﻄﺎن ﺑﻦ زاﻳﺪ آل ﻧﻬﻴﺎن‬ ‫اﻟﺸﻌﺮ ﻓﻦ أﺻﻴﻞ وﻣﺮﺗﺒﻂ ﺑﻨﺎ‪ ،‬ﻳﺤﻀﺮ ﻓﻲ ﺟﻤﻴﻊ ﻣﻨﺎﺳﺒﺎﺗﻨﺎ اﻟﻮﻃﻨﻴﺔ‪،‬‬ ‫وﻻ ﻳﻐﻴﺐ ﻋﻦ ﻣﻬﺮﺟﺎﻧﺎﺗﻨﺎ اﻟﺘﺮاﺛﻴﺔ واﻟﺜﻘﺎﻓﻴﺔ ﺑﻤﺨﺘﻠﻒ اﻫﺘﻤﺎﻣﺎﺗﻬﺎ‬ ‫واﺧﺘﺼﺎﺻﺎﺗﻬﺎ‪g‬‬ ‫أﻏﺴﻄﺲ‪-‬ﺳﺒﺘﻤﺒﺮ ‪7 2016‬‬

‫ذﻫﺐ اﻟﻜﻼم‬ ‫‪baytelshear‬‬

‫‪6‬‬

‫ﺑﻴﺖ اﻟﺸﻌﺮ ‪ /‬اﻟﻌﺪد ‪48‬‬

‫اﻟﻤﻼﺣﻪ ﻓﻴﻚ ﻣﻨﺸﺮﺣﻪ‬ 2b@@ @ @ £@ @ @ @0* É@@ @ @ @+ Á¡@@ @ @ £@ @ @ @< 4&* 2b@@ @ @ @ @ B4 xQ @ @ @ @ @ @ @ 0 b@@ @ @Gx@@ @ @ @ @ @ F @@ @ @ @E 2*4 @@ @ £@ @ @Db@@ @ E Ì@@ @ @ @ @ = e¡@@ @ @ ~@ @ @ @8 2b@@ @ ~@ |@ £@ + ¤@@ @ @ @ D* v@@£@ ~@ |@ J ¡@@ @ @GH 2b@@ @ @ @ /* @@ @ E ¤@@ c@ @ @ @B ¤@@ @ @g@ @~@ @{@ @JH 2É@@ @+ @@ @< v@@ @ @ @ +&* @@£@ @ g@ ~@ 6* b@@ @E 2b@@ @ @ @ @D* @@ @ @E È@@ @ @ @ @ @C&*H @@ £@ @ Ab@@ ~@ @ 9 2b@@ @ ~@ @ z@ @ Db@@ @ + 2¡@@ @ @ @ @ @ @ @E · h@@ @ @ @ @ F* 2b@@ @ @ @ @F* @@ @ @< 5b@@ @ @ @ @< ¢@@ @ ~@ @ {@ @ ²*H 2b@@ @ @ @ @ @ @J5 4¡@@ @ @~@ @ @ |@ @ @ g@ @ @ -b@@ @ @E ¡@@ @ @ @ @ @ @A 2b@@ @ @ @ @ @ @ @ @ @ +&* f@@ @ @ @ @ @ ² @@ @ @ @ @ @ «b@@ @ @ E 2*H4 2*5 @@ @ c@ @ @~@ @ @{@ @ @< h@@ @ @ c@ @ @ F 2b@@ @ @ @ @ @ @ @ F* ·b@@ @ @ @ @ @ @ @ <H b@@ @ @ @:¡@@ @ @ @Db@@ @ @ @+

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‫اﻟﺸﻴﺦ زاﻳﺪ ﺑﻦ ﺳﻠﻄﺎن آل ﻧﻬﻴﺎن‬ - ‫ﻃﻴﺐ اﻟﻠﻪ ﺛﺮاه‬-

2016 016 ‫ﺳﺒﺘﻤﺒﺮ‬-‫أﻏﺴﻄﺲ‬ ‫ﺒﺘﺘﻤﻤﻤﺒﺮ‬ ‫أﻏﺴﻄﺲ ﺒﺘ‬ ‫أﻏﺴﻄ‬ 5 20

‫ﺣﻜﻴﻢ اﻟﻌﺮب‬ ‫‪baytelshear‬‬

‫‪4‬‬

‫ﺑﻴﺖ اﻟﺸﻌﺮ ‪ /‬اﻟﻌﺪد ‪48‬‬

‫ﺻﻮت اﻟﺼﻮرة‬ ‫‪baytelshear‬‬

‫ﻣﺮﻳﺖ ﺑﻴﺖ ﻟﻠﻤﺤﺒﻴﻦ ﻣﻘﻔﻮل‬ ‫وﺟﺎﺑﺘﻨﻲ اﻟﻘﺪرة ﻋﻠﻰ ﺣﺪ ﺑﺎﺑﻪ‬ ‫وﻧﺸﺪت ﺟﻴﺮاﻧﻪ ﻋﺴﻰ اﻟﺒﻴﺖ ﻣﻨﺰول‬ ‫ﻗﺎﻟﻮا ﺣﺒﻴﺒﻚ راح ﻻ واﺳﻔﺎ ﺑﻪ‬ ‫ﺳﻠﻴﻤﺎن ﺑﻦ ﺣﺎذور‬ ‫أﻏﺴﻄﺲ‪-‬ﺳﺒﺘﻤﺒﺮ ‪3 2016‬‬

тАл╪з;я╗Гя╗ия║О╪и я║Чя║Ья║Тя║ЦтАм тАл╪з;я╗Ля╗дя║к╪й я║Чя║оя║Чя╗Фя╗КтАм тАл╪з;╪п╪и я╗Ыя╗дя║О я╗│я╗ия║Тя╗Ря╗▓тАк..тАмтАм

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