Bayt alshier 60 oct 2017 r

‫ﻣﺠﻠﺔ ﺷﻬﺮﻳﺔ ﺷﺎﻣﻠﺔ‬

‫ﺗﺼﺪر ﻋﻦ ﻣﺮﻛﺰ ﺳﻠﻄﺎن ﺑﻦ زاﻳﺪ‬ @baytelshear

Insta

@bait_alshe3r

baitshir@sbzc.ae

‫أﻛﺘﻮﺑﺮ ‪93 2017 /‬‬

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‫ﺑﻴﺖ اﻟﺸﻌﺮ ‪ /‬اﻟﻌﺪد ‪56‬‬

‫ﻣﺬﻛﺮات ﻃﺎﻟﺐ ﺣﻠﻢ‬ ‫ﻛﺸﻜﻮل وﻃﻔﻞ وﻃﺎﺋﺮة ورﻗﻴﺔ‬

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‫ﰲ »زﻣﻦ اﻟﻄﻴﺒني«‪ ..‬زﻣﻦ ﻃﻔﻮﻟﺘﻨﺎ اﻟﺬي ﻻﻧﺘﺤﻤﻞ ﻓﻴﻪ اﻟﺠﻠﻮس ﻟﺤﻈﺎت‪ ،‬زﻣﻦ ﻣﺎ اﺟﺘﺎﺣﺘﻪ‬ ‫ﺗﻜﻨﻮﻟﻮﺟﻴﺎ ﻫﺎﺗﻒ ﺗﺤﺒﺲ اﻟﻄﻔﻞ ﰲ ﻣﻜﺎﻧﻪ ﺳﺎﻋﺎت وﺳﺎﻋﺎت‪ ..‬وﺑﻴﻨام ﻧﺠﺪ أرﺟﻞ اﻷﻃﻔﺎل‬ ‫ﻫﺬه اﻷﻳﺎم ﻧﺎﻋﻤﺔ ﻛﺄوراق اﳌﻨﺎدﻳﻞ ﻛﺎﻧﺖ أرﺟﻠﻨﺎ ﰲ ذﻟﻚ اﻟﺰﻣﻦ أﺷﺒﻪ ﺑﺎﻷﺧﺸﺎب اﳌﺴﺘﻌﻤﻠﺔ‪،‬‬ ‫ﺣﺘﻰ ﻧﻄﺄ اﳌﺴامر ﺛﻢ ﻧﺘﻮﻗﻒ ﻧﺨﻠﻌﻪ وﻧﴬب ﻣﻜﺎﻧﻪ ﻋﺪة ﴐﺑﺎت ﻟﻴﺘﻮﻗﻒ ﻧﺰﻳﻒ اﻟﺪم‪ ،‬ﺛﻢ‬ ‫ﻧﻜﻤﻞ ﺟﺮﻳﻨﺎ ﻛﺄن ﺷﻴﺌﺎً مل ﻳﻜﻦ‪ ..‬وﻟﻮ ﻓﻌﻞ ذﻟﻚ ﻃﻔﻞ اﻟﻴﻮم ﻟﻘﺎﻣﺖ ﻗﻴﺎﻣﺔ اﻟﺒﻴﺖ وﻷﺳﻌﻔﻮه‬ ‫إﱃ اﻟﻄﺒﻴﺐ وﺑﻘﻲ ﰲ اﻟﻀامد ﻋﺪة أﻳﺎم!‬ ‫ﰲ ﺗﻠﻚ اﻷﻳﺎم ﻛﺎن اﻟﻜﺸﻜﻮل وأوراﻗﻪ ﺗﺄﺧﺬ أﻫﻤﻴﺔ ﰲ اﳌﺪرﺳﺔ وﺧﺎرج اﳌﺪرﺳﺔ‪ ..‬ﻓﺒﺎﻹﺿﺎﻓﺔ‬ ‫إﱃ ﻛﺘﺎﺑﺔ اﻟﺪروس واﻟﻮاﺟﺒﺎت ‪ ..‬ﻧﺘﻤﺘﻊ ﺑﺼﻔﺤﺎت ﻣﻨﻪ ﺑﺎﻟﺘﺪرب ﻋﲆ اﻟﺮﺳﻢ واﻟﺨﻂ‪ ..‬ﻧﻜﺘﺐ‬ ‫اﻟﻜﻠﻤﺔ ﻋﴩات اﳌﺮات ﻣﻦ دون وﻋﻲ ﻧﻘﻠﺪ أﻧﻮاع اﻟﺨﻄﻮط‪ ..‬ﺣﺘﻰ ﺗﺼﺒﺢ ﻟﻜﻞ ﻣﻨﺎ ﻛﻠﻤﺔ‬ ‫أﺛرية ﻳﻜرث ﻣﻦ ﻛﺘﺎﺑﺘﻬﺎ‪ ،‬ﻓﻬﻨﺎك ﻣﻦ ﻳﻜﺮر ﻛﺘﺎﺑﺔ اﺳﻤﻪ‪ ،‬وﻫﻨﺎك ﻣﻦ ﻳﺘﻔﻨﻦ ﰲ ﻛﺘﺎﺑﺔ اﻟﺒﺴﻤﻠﺔ‪..‬‬ ‫أﻣﺎ أﻧﺎ ﻓﻼ أدري ﻣﺎ ﴎ ﻛﻠﻤﺔ »ﺟﻴﺪ ﺟﺪاً«‪ ..‬اﻟﺘﻲ أﻣﻸ ﺑﻬﺎ ﺻﻔﺤﺎت دﻓﺎﺗﺮي‪ ،‬ﺧﺎﺻﺔ ﺗﻠﻚ‬ ‫اﻟﺪﻓﺎﺗﺮ اﻟﺘﻲ ﺧﺮﺟﺖ ﻋﻦ اﻟﺨﺪﻣﺔ‪..‬‬ ‫وﱄ ﻫﻮاﻳﺔ ﺳﺎرت ﻣﻌﻲ ﰲ ﻣﺮاﺣﻞ اﻟﻌﻤﺮ اﻟﺪراﳼ‪ ،‬ﻫﻲ ﺗﺤﻮﻳﻞ ورق اﻟﻜﺸﻜﻮل إﱃ ﻃﺎﺋﺮات‬ ‫ورﻗﻴﺔ‪ ..‬ﻛﻨﺖ أﺗﻔﻨﻦ ﰲ ذﻟﻚ وأﻏﻮص ﰲ اﳌﺘﻌﺔ ﺣﺘﻰ آﺧﺮﻫﺎ‪ ..‬ورﻗﺘﺎن ﻣﺘﺠﺎورﺗﺎن ﻣﺮﺗﺒﻄﺘﺎن‬ ‫ﻣﻦ ﻣﻨﺘﺼﻒ اﻟﻜﺸﻜﻮل أﻓﺘﺢ ﻓﻴﻬام ﻣﻦ اﻷﻋﲆ إﱃ اﻷﺳﻔﻞ ﻓﺘﺤﺎت ﺗﺸﺒﻪ اﻟﻌﻤﻮد اﻟﻔﻘﺮي‪..‬‬ ‫ﺛﻢ أﻧﻈﻢ ﰲ ﺗﻠﻚ اﻟﻔﺘﺤﺎت ﻗﻄﻌﺔ ﺧﺸﺐ ّ‬ ‫أرق ﻣﻦ ﻗﻠﻢ اﻟﺮﺻﺎص وأﻃﻮل ﻣﻨﻪ ﻟﺘﻤﺜﻞ ﺟﺴﻢ‬ ‫اﻟﻄﺎﺋﺮة‪ ،‬ﺛﻢ ﻗﻄﻌﺔ ﺧﺸﺐ أﺧﺮى ﺗﻌﱰﺿﻪ ﻟﺘﻜﻮن مبﺜﺎﺑﺔ اﻷﺟﻨﺤﺔ ‪ ..‬أرﺑﻂ ﰲ آﺧﺮ اﻟﺠﺴﻢ‬ ‫ﻗﻄﻌﺔ ﻗامش رﻗﻴﻘﺔ ﻃﻮﻳﻠﺔ ﻟﺘﻤﺜﻞ ذﻳﻞ اﻟﻄﺎﺋﺮة‪ ....‬وﰲ رأس اﻟﺠﺴﻢ أرﺑﻂ ﺧﻴﻂ اﻟﺘﺤﻜﻢ‬ ‫اﻟﻄﻮﻳﻞ واﻟﺬي أﺳﺘﻬﻠﻚ ﻓﻴﻪ ﺑﻜﺮة ﻛﺎﻣﻠﺔ ﻣﻦ ﻋﺪة ﺧﻴﺎﻃﺔ واﻟﺪيت‪.‬‬ ‫وﻳﺒﺪأ اﻟﺴﻔﺮ إﱃ اﻟﻌﺎمل اﻟﺠﻤﻴﻞ‬ ‫أﺟﻌﻞ ﻇﻬﺮي ﻟﺠﻬﺔ ﻣﻬﺐ اﻟﻬﻮاء‪ ..‬وأرﺳﻞ ﻃﺎﺋﺮيت ﻗﻠﻴ ًﻼ‪ ..‬ﻗﻠﻴ ًﻼ إﱃ اﻟﺴامء ﻟﱰﺗﻔﻊ ﺑﻬﺪوء‬ ‫وﺣﺬر‪ ..‬وﺗﺮﺗﻔﻊ ﻣﻌﻬﺎ ﻛﻞ أﺣﻼﻣﻲ وﻣﺸﺎﻋﺮ ﺳﻌﺎدة أﻋﻈﻢ ﻣﻦ ﺳﻌﺎدة ﻣﺴﺎﻓﺮ إﱃ أﺟﻤﻞ‬ ‫ﻣﺼﺎﻳﻒ اﻟﻜﺮة اﻷرﺿﻴﺔ‪..‬‬ ‫أﻣﴤ ذﻟﻚ اﻟﻴﻮم ﺧﺎرج اﻟﻌﺎمل ﺧﺎرج اﻟﻮاﻗﻊ‪ ..‬أﻧﺎ وﻃﺎﺋﺮيت واﻟﺴامء واﻟﻐﻴﻢ‪ ..‬ﺣﺘﻰ ﺗﺼﻞ‬ ‫إﱃ ارﺗﻔﺎع ﻳﺸﺎﻫﺪه أﺻﺤﺎيب وﻋﺎدة ﻳﻘﺒﻞ »ﻣﺤﺴﻦ« راﻛﻀﺎً ﺑﺪﻣﻪ اﻟﺜﻘﻴﻞ‪ ،‬ﻳﺒﺎﻏﺘﻨﻲ ﻓﻴﺠﺮ‬ ‫اﻟﺨﻴﻂ ﺑﻘﻮة ﻣﻦ ﻳﺪي!‬ ‫ﻓﱰﺗﺒﻚ اﻟﻄﺎﺋﺮة اﻟﺼﻐرية وﺗﺮﺗﺠﻒ ﻣﺜﻞ ﻃﻔﻞ ﴏﺧﻮا ﰲ وﺟﻬﻪ ﻓﺠﺄة‪ ،‬ﺛﻢ ﺗﻨﺤﺪر ﴎﻳﻌﺎً‬ ‫وﺗﻬﻮي ﻟﻴﻠﺘﻒ ﺧﻴﻄﻬﺎ ﺑﺸﺠﺮة أو ﺗﺼﻄﺪم ﺑﻄﺮف أﺣﺪ اﻟﺒﻴﻮت وﺗﺘﺤﻄﻢ ﰲ ﻣﻨﻈﺮ ﺗﺮﺗﺴﻢ‬ ‫ﻣﺄﺳﺎﺗﻪ ﻋﲆ ﻣﻼﻣﺤﻲ!‬ ‫‪60‬‬ ‫اﻟﻌﺪد ‪60‬‬ ‫اﻟﺸﻌﻌﺮ ‪ /‬ااﻟﻟﻌﻌﺪد‬ ‫‪ 92‬ﺑ ﺖ‬ ‫ﻴﺖ‬ ‫ﺑﻴﺖ ِ‬

‫ﻋﻠﻲ اﻟﻤﺴﻌﻮدي‬

‫‪@allmasoudi‬‬

‫اﻧﻔﻮﺷﻌﺮ‬

‫ﻋﻠﻲ ﺑﻦ رﺣﻤﺔ ﺑﻦ ﺳﺎﻟﻢ اﻟﺸﺎﻣﺴﻲ‬ ‫ﺷﺎﻋﺮ اﻟﺤﺪاﺛﺔ واﻟﺘﺠﺪﻳﺪ ﻓﻲ اﻟﺸﻌﺮ اﻟﻨﺒﻄﻲ ا ﻣﺎراﺗﻲ‪ ،‬وﻟﺪ وﺗﺮﻋﺮع‬ ‫ﻓﻲ اﻟﺴﺎﺣﻞ اﻟﻘﺮﻳﺐ ﻣﻦ اﻟﺒﺤﺮ‪ ،‬ﻟﻜﻨﻪ ﺗﺮﻛﻪ إﻟﻰ ﻣﺮاﺑﻊ اﻟﺒﺎدﻳﺔ وأﻫﻠﻬﺎ‪،‬‬ ‫ﻓﻌﺎش ﺑﻴﻦ اﻟﺒﺪو وﻻزﻣﻬﻢ‪ ،‬وأﻧﺸﺪ ﻓﻴﻬﻢ وﻓﻲ ﻣﻨﺎﻃﻘﻬﻢ‬ ‫اﻟﺒﺮﻳﺔ أﻓﻀﻞ ا<ﺷﻌﺎر وأﻋﺬﺑﻬﺎ‪.‬‬

‫ﻣﻦ أﺑﻴﺎﺗﻪ اﻟﻤﺸﻬﻮرة‬ ‫‪ CCCMfCCC0|CCCG* TzCCCC CCCC7*K ÌCCCCCG* hCCCCCC‬‬ ‫*&‪T C0‬‬ ‫‪¬2*§CCgCCG* · CCMfCC CC9 hCC CCE 4KT 2U *K‬‬ ‫‪ Mf 6 CCCHzCCCG*K «CCkCC CCªCC1 zCCªT C CC7*K‬‬ ‫‪¬2*§CCºfCC+ |CCCCEU5*K m§ + v§CCCCIU *K‬‬

‫أﻛﺘﻮﺑﺮ ‪91 2017 /‬‬

‫وﻟﺪ اﻟﺸﺎﻋﺮ ﻋﻠﻲ ﺑﻦ رﺣﻤﺔ ﺑﻦ ﺳﺎﻟﻢ اﻟﺸﺎﻣﺴﻲ ﻋﺎم‬ ‫‪ 1920‬ﻣﻴﻼدﻳﺔ ﺗﻘﺮﻳﺒ ًﺎ أو أواﺧﺮ اﻟﻌﺸﺮﻳﻨﻴﺎت اﻟﻤﺎﺿﻴﺔ‪،‬‬ ‫ﻓﻲ ﻗﺮﻳﺔ اﻟﺤﻤﺮﻳﺔ ﺑﺎﻟﺸﺎرﻗﺔ‪.‬‬

‫ﺻﺪر ﻟﻪ دﻳﻮان ﺷﻌﺮي ﻓﻲ ﺑﺪاﻳﺔ اﻟﺜﻤﺎﻧﻴﻨﻴﺎت اﻟﻤﺎﺿﻴﺔ ﻳﺤﻮي ﻋﺪداً‬ ‫ﻣﺘﻮاﺿﻌ ًﺎ ﻣﻦ ﻗﺼﺎﺋﺪه اﻟﻤﺨﺘﻠﻔﺔ ا<ﻏﺮاض‪ ،‬وﻟﻪ دﻳﻮان ﺻﻐﻴﺮ ﺑﺎﺳﻢ‬ ‫»ﻏﻨﺎﺗﻲ«‪ .‬أﻣﺎ اﻟﺪﻳﻮان اﻟﺠﺎﻣﻊ ﻟﻜﻞ أﻋﻤﺎﻟﻪ ﻓﻘﺪ ﺻﺪر ﻋﺎم ‪ 2010‬ﺑﻌﻨﻮان‬ ‫»ﻧﺴﻴﻢ اﻟﺨﻠﻴﺞ« ﻋﻦ ﻧﺎدي ﺗﺮاث ا ﻣﺎرات‪.‬‬

‫ﻛﺘﺐ ﻓﻲ ﻣﺨﺘﻠﻒ أﻏﺮاض اﻟﺸﻌﺮ‪ ،‬اﻟﻐﺰل‪ ،‬اﻟﻤﺪح‪،‬‬ ‫اﻻﺟﺘﻤﺎﻋﻴﺎت وﻧﻘﺪ اﻟﻈﻮاﻫﺮ اﻻﺟﺘﻤﺎﻋﻴﺔ ﻛﻤﺎ ﻛﺘﺐ‬ ‫ﻓﻲ اﻟﺸﻜﺎوى واﻟﺮدﻳّﺎت‪.‬‬

‫أﺳﻠﻮﺑﻪ‬ ‫اﻟﺸﻌﺮي‬

‫آﺛﺎره‬ ‫اﻟﺸﻌﺮﻳﺔ‬

‫ﺑﻤﺮض أﻗﻌﺪه‬ ‫أﺻﻴﺐ ﻓﻲ أواﺧﺮ أﻳﺎم ﺣﻴﺎﺗﻪ‬ ‫ٍ‬ ‫ﻃﺮﻳﺤ ًﺎ ﻓﻲ اﻟﻤﺴﺘﺸﻔﻰ‪ ،‬وﺗﻮﻓﻰ ﻋﻠﻰ إﺛﺮه‪،‬‬ ‫وﻛﺎن ذﻟﻚ أواﺋﻞ ﺷﻬﺮ ﻓﺒﺮاﻳﺮ ﻋﺎم ‪.2006‬‬

‫اﻟﺸﻌﺮ ‪ /‬اﻟﻌﺪد ‪60‬‬ ‫‪ 90‬ﺑﻴﺖ ِ‬

‫دواوﻳﻨﻪ‬ ‫اﻟﺸﻌﺮﻳﺔ‬

‫أﻏﺮاﺿﻪ‬ ‫اﻟﺸﻌﺮﻳﺔ‬

‫ﻳﺘﻤﻴﺰ ﺷﻌﺮ اﺑﻦ رﺣﻤﺔ ﺑﺴﻬﻮﻟﺔ ا<ﻟﻔﺎظ وﺟﺰاﻟﺘﻬﺎ ﻓﻲ اﻟﻮﻗﺖ ﻧﻔﺴﻪ وﻫﻮ‬ ‫ﻣﺎ ﻳﺴﻤﻰ ﺑﺎﻟﺴﻬﻞ اﻟﻤﻤﺘﻨﻊ‪ ،‬ﻓﺘﺄﺗﻲ ﻣﻔﺮدات ﻗﺼﺎﺋﺪه ﻋﻔﻮﻳﺔ ﺑﺴﻴﻄﺔ‬ ‫وﻣﺴﺘﺨﺪﻣﺔ ﻓﻲ اﻟﺤﻴﺎة اﻟﻌﺎﻣﺔ‪.‬‬

‫ ﻣﻦ ﺿﻤﻦ اﻟﻤﺆﺳﺴﻴﻦ ﻟﺒﺮﻧﺎﻣﺞ )ﻓﻲ أﺣﻀﺎن اﻟﺒﺎدﻳﺔ(‪.‬‬‫ ﺷﺎرك ﻓﻲ ﺗﺄﺳﻴﺲ ﻣﺠﻠﺲ ﺷﻌﺮاء اﻟﻘﺒﺎﺋﻞ اﻟﺘﻠﻔﺰﻳﻮﻧﻲ‪.‬‬‫ أﻋﺪ ﺑﺮﻧﺎﻣﺞ ﺷﻌﺮاء اﻟﺒﺎدﻳﺔ ﻓﻲ إذاﻋﺔ دﺑﻲ‪.‬‬‫ ﻛﺎن ﻋﻀﻮاً ﻓﻲ ﻟﺠﻨﺔ ﻛﺘﺎﺑﺔ اﻟﺸﻌﺮ اﻟﻨﺒﻄﻲ وﺟﻤﻌﻪ اﻟﺘﻲ أﻧﺸﺄﺗﻬﺎ‬‫وزارة ا ﻋﻼم واﻟﺜﻘﺎﻓﺔ ﻓﻲ اﻟﺜﻤﺎﻧﻴﻨﻴﺎت اﻟﻤﺎﺿﻴﺔ‪.‬‬

‫ﻣﻴﻼده‬ ‫وﻧﺸﺄﺗﻪ‬

‫وﻓﺎﺗﻪ‬

‫ﺑﺼﻤ ﺎت‬ ‫ﻻ واﻫـــﻨـــﻲ ﻳـــﺎ ﻃــﻴــﺮ ﻣــﻨــﻬــﻮ ﻣــﻌــﻚ ﺣـــــﺎم‬ ‫واﻻ اﻧـــــﺖ ﺗــﻨــﻘــﻞ ﻟــﻲ ﺣــﻤــﺎﻳــﺾ ﻋﻠﻮﻣﻲ‬ ‫ﺻــــﺎرت ﺳــﻮاﻟــﻔــﻨــﺎ ﻣــﻌــﻪ ﻣــﺜــﻞ اﻻﺣـــــﻼم‬ ‫ﻣــﺎﻟـــــﻲ ﺟـــــــﺪا ﻳـــﺎﻛـــﻮد ﻋـــﺪ اﻟــﻨــﺠــﻮﻣــﻲ‬

‫راﻛﺎن ﺑﻦ ﺣﺜﻠﻴﻦ‬

‫أﻗﺒﻠﺖ‬ ‫ـﻦ اﻟﺪﻧﻴﺎ وإن ﻫــﻲ‬ ‫ْ‬ ‫ﻓــﻼ ﺗــﺄﻣـ ِ‬ ‫ﻋﻠﻴﻚ ﻓــﻤــﺎ زاﻟـــﺖ ﺗــﺨــﻮ ُن وﺗــﻐــﺪر ُ !‬ ‫ﺷـــﺎرق‬ ‫ﻻح‬ ‫ٌ‬ ‫وﻣـــﺎ َ‬ ‫ٌ‬ ‫ﻧــﺠــﻢ ﻻ وﻻ ذرّ‬ ‫َ‬ ‫ﻋﻤﺮك ﻳﻘﺼﺮُ !‬ ‫ﺣﺒﻞ‬ ‫ﻋﻠﻰ اﻟﺨﻠﻖ إِﻻ ُ‬

‫ﺗﻤﺎم‬ ‫أﺑﻮ ّ‬ ‫وﺣﺪي أﻏ ّﻨﻴﻚ ﺗﺤﺖ اﻟ ّﻠﻴﻞ ﻣﺤﺘﻤﻼ‬ ‫ﺟﻮع اﻟﻐﺮام و أﺷﻮاق اﻟﻬﻮى زادي‬ ‫ﻫﻨﺎ أﻧﺎﺟﻴﻚ ‪،‬و ا<ﻃﻴﺎف ﺗﺪﻓﻌﻨﻲ‬ ‫ﻓﻲ ﻋﺎﻟﻢ اﻟﺤﺐ ﻣﻦ وا ٍد إﻟﻰ وادي‬

‫اﻟﺒﺮدوﻧﻲ‬

‫ﻳﺎﺟﻤﺎﻋﻪ وان ﻧﻮﻳﺘﻮا ﻋﻠﻰ اﻧﻜﻢ راﺣﻠﻴﻦ‬ ‫ﻏﻤﻀﻮﻧﻲ ﻋﻦ ﻣﻈﺎﻫﻴﺮﻛﻢ ﻻﺷﻮﻓﻬﺎ‬ ‫رﺑﻊ ﻧﺎزﻟﻴﻦ‬ ‫ّ‬ ‫ﺿﻮ ٍ‬ ‫ﻛﻦ ﻓﻲ ﺻﺪري ﺳﻨﺎ ّ‬ ‫وﻟــﻌــﻮﻫــﺎ ﺑــﺎﻟــﺨــﻼ واﻟــﻬــﺒــﻮب ﺗﻠﻮﻓﻬﺎ‬

‫اﻟﻤﺮﻳﺔ‬ ‫ﺑﺨﻮت ّ‬

‫أﻛﺘﻮﺑﺮ ‪89 2017 /‬‬

‫ﻣﻦ ﻋﻴﻮن اﻟﺸﻌﺮ‬ ‫ِﺣ ْﻠﻮ اﻟﺴﺠﺎﻳﺎ‬ ¤@@ @ £@ © b@@ @ @E @@ @ EÉ@@ @ < @@ @ @ @ 7H ¥42* °H ¤@@ @ @£@ @<H ¤@@ @ @ @ @ @+42 @@ @ @ < 5¡@@ @ @ s@O @ @ @ - ix@@ @ @ ~@ @ @ @8H

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‫أﺣﻤﺪ ﺑﻦ ﻋﻠﻲ اﻟﻜﻨﺪي‬

60 ‫ اﻟﻌﺪد‬/ ‫اﻟﺸﻌﺮ‬ ِ ‫ ﺑﻴﺖ‬88

‫اﻷورويب‪ ،‬ﺣﻴﺚ ﻳﺘﻢ ﺗﻨﻈﻴﻢ ﺣﻔﻼت اﻟﺮﻗﺺ‬ ‫داﺧﻞ ﻗﺎﻋﺎت ﺷﺒﻴﻬﺔ ﻟﺤﻔﻼت اﻷوﺑﺮا ﰲ‬ ‫ﻛﱪى اﳌﺪن اﻷوروﺑﻴﺔ‪ .‬وﻋﲆ اﻟﺮﻏﻢ ﻣﻦ ﻋﺪم‬ ‫اﻧﺨﺮاط ﻣﻌﻈﻢ ﻃﻮاﺋﻒ اﻟﺴﻜﺎن ﰲ ﻫﺬا‬ ‫اﻟﻨﻮع ﻣﻦ اﳌﻮﺳﻴﻘﻰ‪ ،‬إﻻ أن اﻟﻨﺸﻴﺪ اﻟﻮﻃﻨﻲ‬ ‫ﻟﺒﻮرﺗﻮرﻳﻜﻮ ﺗﻢ ﺗﻠﺤﻴﻨﻪ وأداؤه وﻓﻘﺎً ﻟﻘﻮاﻋﺪه‬ ‫اﻟﺘﻲ ﻳﺮاﻫﺎ اﻟﻜﺜريون أﻛرث ﺗﺤﴬاً‪.‬‬ ‫ﻣﻊ ﺑﺪاﻳﺔ اﻟﻘﺮن اﻟﻌﴩﻳﻦ‪ ،‬ﺗﻄﻮرت ﻣﻮﺳﻴﻘﻰ‬ ‫»اﻟﺒﻠﻴﻨﺎ« )‪ (Plena‬ﻋﲆ ﻳﺪ اﳌﻬﺎﺟﺮﻳﻦ اﻷﻓﺎرﻗﺔ‬ ‫ﰲ ﺑﻮرﺗﻮرﻳﻜﻮ واﻣﺘﺰﺟﺖ ﰲ اﻟﺜﻘﺎﻓﺔ ﻫﻨﺎك‬ ‫وأﺻﺒﺤﺖ رﻣﺰاً ﻟﻠﺼﺨﺐ واﻟﺮﻗﺼﺎت اﻟﺠﻨﻮﻧﻴﺔ‬ ‫اﳌامﺛﻠﺔ إﱃ ﺣﺪ ﻛﺒري إﻳﻘﺎﻋﺎت رﻗﺼﺎت‬ ‫اﻟﻘﺒﺎﺋﻞ اﻷﻓﺮﻳﻘﻴﺔ ﻋﲆ ﻗﺮع اﻟﻄﺒﻮل‪ ،‬وﻟﻜﻦ‬ ‫ﺑﻠﻤﺴﺔ ﻻﺗﻴﻨﻴﺔ ﻣﻤﻴﺰة‪.‬‬ ‫ميﺜﻞ ﻣﻬﺮﺟﺎن )‪Fiesta Nacional de‬‬ ‫‪ (la Danza‬اﻻﺣﺘﻔﺎل اﻟﻮﻃﻨﻲ اﻷول ﰲ‬ ‫ﺑﻮﺗﻮرﻳﻜﻮ‪ ،‬ﺣﻴﺚ ﺗﻨﻄﻠﻖ اﻟﻔﻌﺎﻟﻴﺎت ﰲ ﺷﻬﺮ‬ ‫ﻣﺎﻳﻮ ﻣﻦ ﻛﻞ ﻋﺎم‪ ،‬وﺗﻘﻮم ﻣﺪارس اﻟﺮﻗﺺ‬ ‫واﳌﻮﺳﻴﻘﻰ ﺑﺘﻨﻈﻴﻢ اﳌﻮاﻛﺐ اﳌﺨﺘﻠﻔﺔ اﻟﺘﻲ‬ ‫ﻳﺒﺪع ﺧﻼﻟﻬﺎ اﳌﺸﺎرﻛﻮن ﰲ ﻓﻨﻮن اﻟﺮﻗﺺ‬ ‫واﻟﻌﺰف ﰲ اﻟﺸﻮارع واﻟﻘﺎﻋﺎت اﻻﺣﺘﻔﺎﻟﻴﺔ‪.‬‬ ‫وﻳﺘﺎﺑﻊ اﳌﻬﺮﺟﺎن ﻛﻞ ﻋﺎم ﻣﺌﺎت اﻵﻻف ﻣﻦ‬ ‫اﻟﺴﻜﺎن واﻟﺴﻴﺎح ﻣﻦ ﺟﻤﻴﻊ أﻧﺤﺎء اﻟﻌﺎمل‪.‬ﻛام‬ ‫ﺗﺸﺎرك ﻓﻴﻪ ﻓﻨﻮن ﻻﺗﻴﻨﻴﺔ ﻣﻦ دول ﻣﺠﺎورة‪.‬‬ ‫وﺗﻌﱪ اﻟﻔﻨﻮن ﻋﻦ ﺣﻴﺎة ﺳﻜﺎن ﺑﻮرﺗﻮرﻳﻜﻮ‬ ‫اﻟﻴﻮﻣﻴﺔ وﺗﺘﺠﺴﺪ ﻓﻴﻬﺎ ﻛﺎﻓﺔ ﻓﻨﻮن اﳌﻮﺳﻴﻘﻰ‬ ‫ﰲ ﻋﻤﺮ اﻟﻔﺘﻴﺎت ﰲ ﺑﻮرﺗﻮرﻳﻜﻮ‪ ،‬ﻓﻬﻮ ﺗﻘﻠﻴﺪ‬ ‫واﻟﺮﻗﺺ اﻟﻮﻃﻨﻴﺔ‪.‬‬ ‫ﻗﺪﻳﻢ ﻳﻌﻮد إﱃ ﻗﺮون ﻟﻠﺴﻜﺎن اﻷﺻﻠﻴني‪ ،‬وﻳﺘﻢ‬ ‫اﻻﺣﺘﻔﺎل ﺑﻪ ﺧﻼل ﺣﻔﻼت ﻣﺠﻤﻌﺔ مبﻨﺎﺳﺒﺔ‬ ‫ﻋﺎدات ﻣﻤﻴﺰة‬ ‫متﺘﻠﺊ ﺑﻮرﺗﻮرﻳﻜﻮ ﺑﺎﻟﻌﺎدات واﻟﺘﻘﺎﻟﻴﺪ اﻟﺘﻲ إمتﺎم اﻟﻔﺘﻴﺎت ‪ 15‬ﻋﺎﻣﺎً داﺧﻞ اﻟﺒﻠﺪات واﻟﻘﺮى‪.‬‬ ‫ﺗﺘﻔﺮد ﺑﻬﺎ ﺑني ﺳﻜﺎن اﻟﻌﺎمل‪ ،‬وﻟﻌﻞ أﻫﻢ ﺗﻠﻚ واﻻﺣﺘﻔﺎل ﻫﻮ ﻋﻼﻣﺔ ﻓﺎرﻗﺔ ﰲ ﻋﻤﺮ ﻛﻞ ﻓﺘﺎة‬ ‫اﻟﻌﺎدات ﰲ ﺣﻔﻼت اﻟﺰﻓﺎف‪ ،‬ﺣﻴﺚ ﻻﺑﺪ وأن ﰲ اﻧﺘﻘﺎﻟﻬﺎ ﻣﻦ ﻣﺮﺣﻠﺔ اﻟﻄﻔﻮﻟﺔ إﱃ اﻟﻨﻀﻮج‬ ‫ﺗﺘﺰﻳﻦ اﻟﻌﺮوس ﺑﺪﻣﻴﺔ ﻋﲆ ﻫﻴﺌﺔ ﻋﺮوس‪ .‬واﻟﺸﺒﺎب‪ .‬ﻓﺒﻌﺪ ﻫﺬا اﻻﺣﺘﻔﺎل ﻳﺘﻢ ﺗﻬﻴﺌﺔ‬ ‫ﻛﺎﻧﺖ ﺗﺼﻤﻢ اﻟﺪﻣﻴﺔ ﰲ اﳌﺎﴈ ﺑﻮاﺳﻄﺔ اﻟﻔﺘﺎة يك ﺗﺼﺒﺢ اﻣﺮأة وﺗﻌﺮف ﻣﺴﺆوﻟﻴﺎﺗﻬﺎ‬ ‫ﺻﺪﻳﻘﺎت وأﻗﺮﺑﺎء اﻟﻌﺮوس‪ ،‬ﻋﲆ أن ﺗﺘﻜﻮن وﺣﻴﺎﺗﻬﺎ اﳌﺴﺘﻘﺒﻠﻴﺔ‪ ،‬وﺗﻘﻮم اﻷﻣﻬﺎت ﺑﺒﺪء‬ ‫اﻟﺪﻣﻴﺔ ﻣﻦ ﺑﻘﺎﻳﺎ ﻓﺴﺘﺎن اﻟﺰﻓﺎف وﺗﻜﻮن ﺗﻌﻠﻴﻤﻬﻦ اﻟﻄﺒﺦ واﻟﺘﻨﻈﻴﻒ وﻣﺴﺆوﻟﻴﺔ اﳌﻨﺰل‬ ‫ﻣﻌﻠﻘﺔ ﻋﲆ ﻓﺴﺘﺎن اﻟﻌﺮوس ﻗﺒﻴﻞ اﻧﺘﻬﺎء اﺳﺘﻌﺪاداً ﻟﻠﺰواج وﺗﻜﻮﻳﻦ اﻷﴎة‪ .‬ﻋﺎدة ﻳﻜﻮن‬ ‫ﺣﻔﻞ اﻟﺰﻓﺎف‪ ،‬وﺗﻈﻞ ﺑﺼﺤﺒﺔ اﻟﻌﺮوﺳني ﳌﺪة اﻻﺣﺘﻔﺎل ﺻﺎﺧﺒﺎً ﺧﻼل اﻻﺣﺘﻔﺎل وﺗﺘﺠﻤﻊ ﻓﻴﻪ‬ ‫ﻋﺎم ﻋﲆ اﻷﻗﻞ اﻋﺘﻘﺎداً ﺑﺄﻧﻬﺎ ﺗﻈﻞ ﻋﻨﻮان اﻟﻔﺘﻴﺎت واﻟﻌﺎﺋﻼت ﰲ ﺣﻔﻞ أﺷﺒﻪ ﺑﺤﻔﻼت‬ ‫اﻟﺒﻬﺠﺔ ﻟﻠﻌﺮس ومتﻨﺢ اﻟﻌﺮوﺳني اﻟﺴﻌﺎدة اﻟﺰﻓﺎف‪ ،‬ﺣﻴﺚ ﺗﺘﺰﻳﻦ اﻟﻔﺘﻴﺎت وﺗﺼﺒﺤﻦ‬ ‫ﰲ أﺑﻬﻰ ُﺣﻠﺔ‪.‬وﻳﻘﻤﻦ ﺑﺘﻘﻄﻴﻊ اﻟﻜﻴﻚ اﻟﺬي‬ ‫اﻷﺑﺪﻳﺔ‪.‬‬ ‫ﻳﻌﺪ اﺣﺘﻔﺎل »‪ «Quinceañeros‬مبﺜﺎﺑﺔ ﻧﻘﻠﺔ ﻳﺘﻜﻮن ﻣﻦ ﻋﺪة ﻃﺒﻘﺎت‪.‬‬

‫اﻟﻄﻌﺎم ﻧﻜﻬﺔ اﻟﺤﻴﺎة‬ ‫ﻳﺘﻔﺮد ﺳﻜﺎن ﺑﻮرﺗﻮرﻳﻜﻮ ﺑﺎﻟﻌﺪﻳﺪ ﻣﻦ اﻷﻃﻌﻤﺔ اﻟﻐﺮﻳﺒﺔ اﻟﺘﻲ ﻳﺮاﻫﺎ ﺑﻌﻀﻬﻢ ﻣﺨﻴﻔﺔ ﻧﻮﻋﺎً ﻣﺎ‪.‬‬ ‫وﻳﻌﺪ ﺣﺴﺎء )‪ (Gandinga‬اﻟﺬي ﻳﺘﻜﻮن ﻣﻦ ﺧﻠﻴﻂ ﻣﻦ أﺣﺸﺎء اﻟﺤﻴﻮاﻧﺎت ﻛﺎﻟﻘﻠﺐ واﻟﻜﺒﺪ‬ ‫واﻟﻜﲆ واﻟﺮﺋﺔ أﻫﻢ ﺗﻠﻚ اﻷﻃﻌﻤﺔ ﻋﲆ اﻹﻃﻼق‪ .‬ﻓﻬﺬا اﻟﺤﺴﺎء اﻟﺜﻘﻴﻞ ﻳﻀﺎف إﻟﻴﻪ ﻛﻢ ﻫﺎﺋﻞ‬ ‫ﻣﻦ اﻟﺒﻬﺎرات يك ﺗﻌﻄﻴﻪ ﻣﺬاﻗﺎً ﻣﺘﻤﻴﺰاً ﻻ ميﻜﻦ ﻣﻘﺎوﻣﺘﻪ‪ .‬وﻳﺘﻨﺎوﻟﻪ اﻟﻨﺎس ﻫﻨﺎك ﻃﻴﻠﺔ اﻟﻮﻗﺖ‬ ‫وﺧﺎﺻﺔ ﻋﲆ اﻟﻌﺸﺎء ﳌﺎ ﻟﻪ ﻣﻦ ﻓﺎﺋﺪة ﻛﺒرية ﰲ إﻣﺪاد اﻟﺠﺴﻢ ﺑﺎﻟﱪوﺗﻴﻨﺎت‪ .‬ﻓﻔﻲ ﺑﻮرﺗﻮرﻳﻜﻮ‬ ‫ﻳﻌﺪ ﺗﻨﺎول ﻫﺬا اﻟﺤﺴﺎء رﻣﺰاً ﻟﻠﺼﺤﺔ ودوام اﻟﻌﻤﺮ‪.‬‬ ‫ﻛﺬﻟﻚ ﻳﻌﺪ ﻃﺒﻖ )‪ (Mondongo‬ﻟﻪ ﻧﻜﻬﺘﻪ اﳌﻤﻴﺰة ﻷﻧﻪ ﻳﺘﻜﻮن ﻣﻦ ﻟﺤﻢ اﻷﻣﻌﺎء اﻟﺬي‬ ‫ﻳﻀﺎف إﻟﻴﻪ ﺻﻠﺼﺔ اﻟﻄامﻃﻢ واﻟﻠﻴﻤﻮن وﺑﻌﺾ ﻗﻄﻊ اﻟﺨﴬاوات اﻟﺼﻐرية ﻣﺜﻞ اﻟﻘﻠﻘﺎس‬ ‫وﻓﺎﻛﻬﺔ اﳌﻮز وﺑﻌﺾ اﻟﺒﻬﺎرات‪ .‬وﻳﻘﺪم اﻟﻄﺒﻖ ﰲ ﻣﻌﻈﻢ ﻣﻄﺎﻋﻢ ﺑﻮرﺗﻮرﻳﻜﻮ وﻳﺴﺄل ﻋﻨﻪ‬ ‫اﻟﺴﺎﺋﺤﻮن اﻟﺬﻳﻦ ﻳﻌﺘﱪون ﺗﻨﺎوﻟﻪ ﻣﻐﺎﻣﺮة ﻻ ميﻜﻦ ﻣﻘﺎوﻣﺘﻬﺎ‪.‬‬ ‫ﻳﺒﺪو أن ﻗﺼﺔ اﻟﻠﺤﻮم ﻻ ﺗﻨﺘﻬﻲ ﰲ اﳌﻄﺒﺦ اﻟﺒﻮرﺗﻮرﻳيك‪ ،‬ﺣﻴﺚ أﺑﺪع اﻟﻄﻬﺎة ﻫﻨﺎك ﰲ ﺗﻄﻮﻳﺮ‬ ‫ﺳﺎﻧﺪوﻳﺘﺶ )‪ (Tripleta‬اﻟﺬي ﻳﺘﻜﻮن ﻋﺎدة ﻣﻦ ‪ 3‬أﻧﻮاع ﻣﻦ اﻟﻠﺤﻮم‪ .‬ﻓﻴﻤﻜﻨﻚ ﺑﺴﻬﻮﻟﺔ ﺧﻠﻂ‬ ‫ﻟﺤﻮم اﻟﺒﻘﺮ ﻣﻊ اﻟﻀﺄن ﻣﻊ ﻟﺤﻮم اﻟﺪواﺟﻦ واﻟﺤﻮم اﳌﺪﺧﻨﺔ اﳌﻤﺰوﺟﺔ ﺑﺎﻟﺘﻮاﺑﻞ واﻟﺠنب‬ ‫ﰲ ﺳﺎﻧﺪوﻳﺘﺶ واﺣﺪ ﻟﺘﻌﻴﺶ ﺗﺠﺮﺑﺔ ﻣﺬاق ﻟﻦ ﺗﺘﻜﺮر إﻻ ﻋﲆ ﻋﺮﺑﺎت ﻃﻌﺎم اﻟﺸﻮارع ﰲ‬ ‫ﺑﻮرﺗﻮرﻳﻜﻮ‪.‬‬

‫ﻳﻌﺘﻘﺪ أﻳﻀﺎً ﺳﻜﺎن ﺑﻮرﺗﻮرﻳﻜﻮ ﰲ اﻟﺤﺴﺪ‪ ،‬وﻟﺬا‬ ‫اﺑﺘﻜﺮوا إﺳﻮار »‪ «Azabache‬اﻟﺬي ﻳﺘﻜﻮن‬ ‫ﻣﻦ إﺳﻮار ﻳﺤﻤﻞ ﺑﻌﺾ اﻟﻜﺮات اﳌﻠﻮﻧﺔ‪ ،‬واﻟﺘﻲ‬ ‫ُﻳﻌﺘﻘﺪ أﻧﻬﺎ ﺗﺒﻌﺪ اﻟﴩ ﻋﻦ ﺣﺎﻣﻠﻬﺎ‪ .‬وﻋﺎدة‬ ‫ﻣﺎ ﻳﻘﻮم اﻷﻫﻞ ﺑﺈﻫﺪاﺋﻬﺎ ﻟﻸﻃﻔﺎل ﺣﺪﻳﺜﻲ‬ ‫اﻟﻮﻻدة‪ ،‬وﺗﻜﻮن ذﻫﺒﻴﺔ أو ﻓﻀﻴﺔ وﺗﺤﺘﻮي‬ ‫ﻋﲆ ﻛﺮات ﺣﻤﺮاء وﺳﻮداء ﻟﺤامﻳﺘﻬﻢ ﻣﻦ‬ ‫اﻟﺤﺴﺪ وإﺑﻌﺎد اﻟﴩ ﻋﻨﻬﻢ‪ .‬ﻳﱪع اﻟﺴﻜﺎن‬ ‫أﻳﻀﺎً ﰲ اﻷﻣﺜﺎل اﻟﺸﻌﺒﻴﺔ وﺗﺘﻨﺎﻗﻠﻬﺎ اﻷﺟﻴﺎل‪،‬‬ ‫وﺗﻌﺪ ﻫﻲ ﻋﻨﻮان ﻛﺎﻓﺔ اﳌﻮاﻗﻒ اﻟﺤﻴﺎﺗﻴﺔ‪،‬‬ ‫وﻟﻌﻞ أﺷﻬﺮﻫﺎ ﻫﻲ »ﺣﻴﻨام ُﻳﻨﺰل ﻛﻮﻟﻮﻣﺒﻮس‬ ‫ذراﻋﻪ« ﰲ إﺷﺎرة إﱃ اﺳﺘﺤﺎﻟﺔ اﻟﻘﻴﺎم ﺑﴚء ﻣﺎ‬ ‫أو ﺣﺪوث ﳾء ﻣﺎ‪ .‬واﳌﺜﻞ اﻷﺷﻬﺮ ﻫﻮ إﺷﺎرة‬ ‫إﱃ متﺜﺎل اﳌﺴﺘﻜﺸﻒ ﻛﺮﻳﺴﺘﻮﻓﺮ ﻛﻮﻟﻮﻣﺒﻮس‬ ‫اﻟﺸﻬري ﰲ أﺣﺪ اﳌﻴﺎدﻳﻦ اﻟﻌﺎﻣﺔ ﻫﻨﺎك‪ ،‬ﺣﻴﺚ‬ ‫ﻳﻘﻒ راﻓﻌﺎً ذراﻋﻪ‪.‬‬ ‫أﻛﺘﻮﺑﺮ ‪87 2017 /‬‬

‫ﻣﻮروﺛ ﺎت‬ ‫‪baytelshear‬‬

‫ﰲ ﺑﻮرﺗﻮرﻳﻜﻮ ﺣﺘﻰ اﻵن‪ .‬وﺑﺎﻟﻄﺒﻊ ُﺳﻤﻴﺖ‬ ‫أرﻗﻰ أﻧﻮاع اﳌﻮﺳﻴﻘﻰ ﺑﺎﺳﻢ اﻟﻘﺮﻳﺔ ﻷﻧﻬﺎ‬ ‫ﺧﺮﺟﺖ ﻣﻨﻬﺎ أول ﻣﺮة‪ ،‬وﻳﻘﻮم اﻟﺴﻜﺎن ﻛﻞ‬ ‫ﻋﺎم ﺑﺎﻻﻧﻄﻼق ﰲ ﻣﻮاﻛﺐ ﻟﻠﺮﻗﺺ ﺑﺎﳌﻼﺑﺲ‬ ‫اﻟﺘﻘﻠﻴﺪﻳﺔ ﻋﲆ إﻳﻘﺎﻋﺎت آﻻت »اﻟﻜﻮاﺗﺮو«‬ ‫اﻟﻮﺗﺮﻳﺔ اﻟﻘﺪميﺔ داﺧﻞ ﺑﻮرﺗﻮرﻳﻜﻮ وﰲ‬ ‫اﻟﻮﻻﻳﺎت اﳌﺘﺤﺪة اﻷﻣﺮﻳﻜﻴﺔ‪ .‬أﺻﺒﺤﺖ‬ ‫ﻣﻮﺳﻴﻘﻰ اﻟﺠﻴﺒﺎرو أﻳﻘﻮﻧﺔ وﻫﻮﻳﺔ ﻟﺒﻮرﺗﻮرﻳﻜﻮ‬ ‫ﻋﲆ ﻣﺮ اﻟﻘﺮون‪.‬‬ ‫ﰲ ﺑﺪاﻳﺔ اﻟﻘﺮن اﻟﺜﺎﻣﻦ ﻋﴩ وﰲ ﺑﻠﺪة ﺑﻮﻧﴘ‬ ‫ﺟﻨﻮيب ﺑﻮرﺗﻮرﻳﻜﻮ‪ ،‬ﻇﻬﺮت ﻣﻮﺳﻴﻘﻰ اﻟﺪاﻧﺰا‬ ‫)‪ (Danza‬إﺳﺒﺎﻧﻴﺔ اﻷﺻﻞ‪ ،‬ﻟﺘﺼﺒﺢ أول ﻟﻮن‬ ‫ﻣﻦ اﳌﻮﺳﻴﻘﻰ اﻻرﺳﺘﻘﺮاﻃﻴﺔ اﻟﺘﻲ ﺗﺘﻤﻴﺰ‬ ‫ﺑﺎﻹﻳﻘﺎﻋﺎت اﻟﺒﻄﻴﺌﺔ ﻋﲆ ﻋﻜﺲ ﻛﺎﻓﺔ اﻟﻔﻨﻮن‬ ‫ﰲ ﺑﻮرﺗﻮرﻳﻜﻮ‪ .‬وﻳﺸﺎرك ﰲ اﻟﻌﺰف واﻟﺮﻗﺺ‬ ‫ﻃﺒﻘﺔ اﻟﻨﺒﻼء وﻣﺤﺒﻮ اﻟﻨﻤﻂ اﻟﻜﻼﺳﻴيك‬ ‫اﻟﺸﻌﺮ ‪ /‬اﻟﻌﺪد ‪60‬‬ ‫‪ 86‬ﺑﻴﺖ ِ‬

‫ﻃﺒﻮل اﻟﺠﻮﻳﺮو‪ ،‬وﻧﻠﻤﺢ أﻃﻴﺎف اﻷﻟﻮان‬ ‫اﻟﻼﺗﻴﻨﻴﺔ ﻛﻌﻨﻮان ﻟﻠﻤﻬﺮﺟﺎﻧﺎت اﻟﺸﻌﺒﻴﺔ‬ ‫وﻣﻈﺎﻫﺮ اﻟﺤﻴﺎة اﳌﺮﺣﺔ ﰲ اﳌﻼﺑﺲ واﻟﺴﻴﺎرات‬ ‫ﻟﺘﻌﱪ ﻋﻦ منﻂ اﻟﺤﻴﺎة اﻟﻐﺮيب ﻟﻠﻌﻴﺶ ﻋﲆ ﺗﻠﻚ‬ ‫اﻟﺠﺰﻳﺮة اﳌﺘﻔﺮدة ﰲ ﻛﻞ ﳾء‪.‬‬ ‫أﻳﻨام ﺗﺴري ﰲ ﺑﻮرﺗﻮرﻳﻜﻮ‪ ،‬ﻻ ميﻜﻦ أن ﺗﺸﻌﺮ‬ ‫ﺑﺎﳌﻠﻞ‪ ،‬ﻓﻬﻨﺎك اﻟﺤﻴﺎة ﰲ أﺑﺴﻂ ﺻﻮرﻫﺎ ﺑﻌﺪ‬ ‫أن أﺻﺒﺤﺖ رﻣﺰاً ﻟﻠﺮاﺣﺔ واﻻﻧﺴﺠﺎم واﻻﺑﺘﻌﺎد‬ ‫ﻋﻦ ﻣﺸﻜﻼت اﻟﻌﺎمل اﻟﺘﻲ ﻻ ﻧﻬﺎﻳﺔ ﻟﻬﺎ‪ ،‬ﺣﻴﺚ‬ ‫ﻳﻌﻤﻞ اﻟﻄﻘﺲ اﻟﺒﺪﻳﻊ واﻟﺴﻜﺎن اﻟﺒﺴﻄﺎء‬ ‫ﻋﲆ ﺗﻠﻮﻳﻦ اﻟﺤﻴﺎة ﺑﻌﻨﺎﴏﻫﻢ اﻟﺜﻘﺎﻓﻴﺔ ذات‬ ‫اﻟﺪﻻﻻت اﻟﻌﻤﻴﻘﺔ اﻟﺘﻲ ﺗﻨﻢ ﻋﻦ ﺣﺐ اﻟﺤﻴﺎة‬ ‫واﻟﺠﻨﻮن اﻟﺬي ﻳﻠﻤﺲ روح اﻟﻄﻔﻮﻟﺔ داﺧﻞ‬ ‫اﻟﺒﴩ‪ ،‬ﻓام ﺑني اﳌﺄﻛﻮﻻت اﻟﺘﻲ ﻻ ﺗﺨﻠﻮ ﻣﻦ‬ ‫اﻟﻔﻮاﻛﻪ ورﻗﺺ اﻟﺒﻮﻣﺒﺎ ﻋﲆ اﻟﻄﺮﻗﺎت وإﺟﺎدة‬ ‫ﺧﻄﻮات رﻗﺼﺔ اﻟﺴﺎﻟﺴﺎ اﻟﺨﻄﺮة ﻳﺄيت اﳌﺮح‬ ‫ﻟﻴﺒﻬﺞ اﳌﻬﺮﺟﺎﻧﺎت اﻟﺸﻌﺒﻴﺔ داﺧﻞ اﻟﺸﻮارع‬ ‫واﻷزﻗﺔ اﻟﻘﺪميﺔ وﺗﺠﺪ ﻧﻔﺴﻚ وﺳﻂ ﺷﻌﺐ‬ ‫ﻳﻀﻊ ﺛﻘﺎﻓﺔ اﳌﺮح ﻋﲆ رأس أوﻟﻮﻳﺎﺗﻪ ﻣﺒﺘﻌﺪاً‬ ‫ﻋﻦ أي ﳾء ﻳﻌﻜﺮ ﺻﻔﻮ ﻣﻮروﺛﺎﺗﻪ اﻟﺘﻲ ﺗﻨﻈﺮ‬ ‫إﱃ اﻟﺤﻴﺎة ﻣﻦ ﺧﻼل ﻧﻈﺎرات ﻣﻠﻮﻧﺔ‪.‬‬ ‫ﺗﻌﺪ ﻣامرﺳﺔ اﻟﺮﻗﺼﺎت ﻣﺜﻞ اﳌﺎء واﻟﻬﻮاء‬ ‫ﰲ ﺑﻮرﺗﻮرﻳﻜﻮ‪ ،‬وﻟﻌﻞ رﻗﺼﺔ »اﻟﺒﻮﻣﺒﺎ« أﻫﻢ‬ ‫ﻣﺎ ﻗﺪﻣﺘﻪ اﻟﺜﻘﺎﻓﺔ اﻟﺒﻮرﺗﻮرﻳﻜﻴﺔ إﱃ اﻟﻌﺎمل‪،‬‬ ‫ﻓﻬﻲ ﻣﺰﻳﺞ ﻣﻦ ﺛﻼث ﺛﻘﺎﻓﺎت ﻣﻤﺘﺰﺟﺔ ﻫﻲ‬ ‫اﻷﻓﺮﻳﻘﻴﺔ واﻹﺳﺒﺎﻧﻴﺔ وﺛﻘﺎﻓﺔ اﻟﺘﺎﻳﻨﻮ ﻟﻠﺴﻜﺎن‬ ‫اﻷﺻﻠﻴني‪ ،‬ﻟﺬا ﻓﺈن إﻳﻘﺎﻋﺎﺗﻬﺎ ﻣﻤﻴﺰة ميﺎرﺳﻬﺎ‬ ‫اﻟﺮاﻗﺼﻮن ﻋﲆ ﻗﺮع ﻃﺒﻮل »اﻟﺠﻮﻳﺮو«‪.‬‬

‫متﺜﻞ اﻟﺒﻮﻣﺒﺎ ﻋﻼﻗﺔ إﺑﺪاﻋﻴﺔ ﺑني اﻟﺮاﻗﺼني‬ ‫واﻟﻌﺎزﻓني واﳌﻐﻨني‪ ،‬ﻓﻼ ﻳﺘﻢ ﻣامرﺳﺘﻬﺎ إﱃ‬ ‫ﺑﺘﻠﻚ اﻟﻌﻨﺎﴏ ﻣﺠﺘﻤﻌﺔ‪ .‬ﻳﻮﺻﻒ اﳌﻮﺳﻴﻘﻴﻮن‬ ‫اﻟﺒﻮﻣﺒﺎ ﺑﺎﻟﺘﺤﺪي اﻟﻜﺒري‪ ،‬ﺣﻴﺚ ﻳﻘﻮم‬ ‫اﻟﺮاﻗﺼﻮن ﺑﺴﻠﺴﻠﺔ ﻣﻦ اﻹميﺎءات ﻳﻘﻮم ﻋﲆ‬ ‫أﺛﺮﻫﺎ اﻟﻌﺎزف اﻟﺮﺋﻴﺲ مبﻮاﻛﺒﺘﻪ ﺑﺎﻟﻘﺮع ﻋﲆ‬ ‫ﻃﺒﻮل »اﻟﺠﻮﻳﺮو« ﺑﺈﻳﻘﺎﻋﺎت ﻣﺘﺰاﻣﻨﺔ‪ .‬ﻓﻌﲆ‬ ‫ﻋﻜﺲ اﻟﺮﻗﺼﺎت اﻷﺧﺮى‪ ،‬ﺗﻨﻔﺮد اﻟﺒﻮﻣﺒﺎ ﺑﺄن‬ ‫اﻟﻌﺎزف ﻫﻮ ﻣﻦ ﻳﺤﺎول ﻣﺘﺎﺑﻌﺔ اﻟﺮاﻗﺺ‬ ‫وﻟﻴﺲ اﻟﻌﻜﺲ‪ .‬وﻳﺠﺐ ﻋﲆ اﻟﺮاﻗﺺ ﺑﺪوره‬ ‫أن ﻳﺘﻤﺘﻊ مبﻈﻬﺮ ﺟﺴﺪي راﺋﻊ‪ ،‬وﻋﺎدة ﻣﺎ‬ ‫ﻳﺴﺘﻤﺮ اﻟﺘﺤﺪي إﱃ أن ﻳﺘﻮﻗﻒ أﺣﺪﻫام‪،‬‬ ‫اﻟﺮاﻗﺺ أو اﻟﻌﺎزف‪ ،‬وﻳﻜﻮن ﺣﻴﻨﻬﺎ اﳌﺴﺘﻤﺮ‬ ‫ﺑﺤﻴﻮﻳﺘﻪ ﻧﻔﺴﻬﺎ ﻫﻮ اﻟﻔﺎﺋﺰ ﺑﺸﻜﻞ ﻣﻌﻨﻮي‪.‬‬ ‫ﻋﲆ اﻟﺠﺎﻧﺐ اﻵﺧﺮ ﻳﺸﺎرك ﻣﻐﻨﻴﺎً أو ﺛﻼﺛﺔ ﻋﲆ‬ ‫اﻷﻛرث ﺧﻼل اﻟﺘﺤﺪي ﻹﺛﺎرة اﻟﺤامﺳﺔ‪ ،‬وﺗﺘﺄﻟﻒ‬ ‫أﻏﻨﻴﺎت اﻟﺒﻮﻣﺒﺎ ﻣﻦ ﻛﻠامت ﻋﺎﻣﻴﺔ ﺗﺠﺴﺪ‬ ‫اﻟﺤﻴﺎة اﻟﻴﻮﻣﻴﺔ ﻟﺴﻜﺎن ﺑﻮرﺗﻮرﻳﻜﻮ وﺗﺼﻒ‬ ‫ﺣﻴﺎﺗﻬﻢ ﺑﺸﻜﻞ ﺗﻔﺼﻴﲇ ﰲ إﻳﻘﺎﻋﺎت وأﻟﺤﺎن‬ ‫ﺷﻌﺒﻴﺔ ﺗﻨﺎل إﻋﺠﺎب اﻟﺠﻤﻴﻊ‪.‬‬ ‫ﻋﲆ اﻟﺮﻏﻢ ﻣﻦ اﻧﺘﺸﺎرﻫﺎ اﻟﻜﺒري ﰲ ﺟﻤﻴﻊ‬ ‫أﻧﺤﺎء اﻟﻌﺎمل‪ ،‬أﺳﻬﻤﺖ ﺑﻮرﺗﻮرﻳﻜﻮ ﰲ ﺗﻄﻮﻳﺮ‬ ‫إﻳﻘﺎﻋﺎت رﻗﺼﺔ اﻟﺴﺎﻟﺴﺎ اﻟﺸﻬرية‪ ،‬ﺣﻴﺚ إن‬ ‫اﻹﻳﻘﺎﻋﺎت اﳌﻮﺳﻴﻘﻴﺔ ﻫﻲ ﻣﻜﻮﻧﻬﺎ اﻷﺳﺎﳼ ﻣﻊ‬ ‫ﻇﻬﻮرﻫﺎ ﰲ ﺑﺪاﻳﺔ اﻟﻘﺮن اﻟﻌﴩﻳﻦ‪ .‬وﺗﺘﺄﻟﻒ‬ ‫اﻟﺮﻗﺼﺔ ﻣﻦ إﻳﻘﺎﻋﺎت ﻓﺮﻳﺪة‪ ،‬ﻳﻨﻄﻮي أﻏﻠﺒﻬﺎ‬ ‫ﻋﲆ ﺗﺤﺮﻳﻚ اﻟﺮاﻗﺼني أوزاﻧﻬﻢ ﺑﺄﺧﺬ ﺧﻄﻮات‬ ‫ﻣﻌﻴﻨﺔ‪ ،‬ﻓﻴام ﻳﺒﻘﻰ اﻟﺠﺰء اﻟﻌﻠﻮي ﻣﻦ اﻟﺠﺴﺪ‬

‫ﰲ ﺣﺎﻟﺔ ﺳﻜﻮن وﻏري ﻣﺘﺄﺛﺮ ﺑﺤﺮﻛﺔ اﻟﺴﺎﻗني ﺛﻢ‬ ‫ﻳﺒﺪأ ﺑﺘﺤﺮﻳﻚ اﻟﻜﺘﻔني واﻟﺬراﻋني‪ ،‬وﰲ وﺿﻊ‬ ‫اﻟﺮﻗﺺ اﻟﺜﻨﺎيئ‪ ،‬ميﺴﻚ اﻟﺮاﻗﺺ ﺑﺈﺣﺪى اﻟﻴﺪﻳﻦ‬ ‫ﻟﻠﺮاﻗﺼﺔ وﺗﺒﺪأ إﻳﻘﺎﻋﺎت أﺧﺮى ﺑﻮﺿﻊ اﻟﻴﺪﻳﻦ‬ ‫ﺧﻠﻒ اﻟﻈﻬﺮ أو ﻋﲆ اﻟﺠﺎﻧﺐ أﺛﻨﺎء اﻟﺪوراﻧﺎت‬ ‫اﻟﺘﻲ ﺗﺘﻢ ﰲ ﺗﻮازن ﺑﺪﻳﻊ وﻣﺜري‪ .‬ﺗﺆدى اﻟﺴﺎﻟﺴﺎ‬ ‫ﰲ ﻣﺨﺘﻠﻒ اﻻﺣﺘﻔﺎﻻت اﻟﺮﺳﻤﻴﺔ واﳌﺴﺎرح‬ ‫واﻟﺤﻔﻼت وأﺻﺒﺤﺖ رﻣﺰاً ﻟﺜﻘﺎﻓﺔ ﺑﻮرﺗﻮرﻳﻜﻮ‪.‬‬ ‫ﻫﻨﺎك أﻳﻀﺎً اﻟﻌﺪﻳﺪ ﻣﻦ أﻧﻮاع اﳌﻮﺳﻴﻘﻰ‬ ‫واﻟﺮﻗﺼﺎت اﳌﻮﻟﻮدة ﻣﻦ رﺣﻢ اﳌﺎﻣﺒﻮ‪ ،‬وﻣﻨﻬﺎ‬ ‫»اﻟﺮوﻣﺒﺎ« اﻟﺘﻲ ﺑﺪأت ﰲ اﻟﻘﺮن اﻟﺘﺎﺳﻊ ﻋﴩ‬ ‫وﺗﺤﺘﻮي ﻋﲆ ﻛﻢ ﻫﺎﺋﻞ ﻣﻦ اﻹﻳﻘﺎﻋﺎت ﻏري‬ ‫اﳌﺤﺪودة‪ ،‬وﻋﺎدة ﻣﺎ ﺗﺆدى ﰲ ﺑﻮرﺗﻮرﻳﻜﻮ‬ ‫ﺑﻮاﺳﻄﺔ اﻟﺴﻜﺎن ﻣﻦ ذوي اﻷﺻﻮل اﻷﻓﺮﻳﻘﻴﺔ‪.‬‬ ‫متﺜﻞ اﳌﻮﺳﻴﻘﻰ ﻫﻲ اﳌﺤﺮك ﻟﻠﺮﻗﺼﺎت ﰲ‬ ‫ﺑﻮرﺗﻮرﻳﻜﻮ‪ ،‬ﻓﻬام ﻣﺘﻼزﻣﺎن ﰲ ﻛﺎﻓﺔ اﳌﻨﺎﺳﺒﺎت‪.‬‬ ‫ﻫﻨﺎك اﳌﻮﺳﻴﻘﻰ اﻟﻔﻠﻜﻠﻮرﻳﺔ اﻟﺘﻲ ﺗﻌﻮد إﱃ‬ ‫اﻟﺴﻜﺎن اﻷﺻﻠﻴني‪ ،‬ﻓﻬﻲ ﻗﺎﻋﺪة ﻟﻜﺎﻓﺔ اﻟﻔﻨﻮن‬ ‫واﻵﻻت اﳌﻮﺳﻴﻘﻴﺔ ﰲ ﺑﻮرﺗﻮرﻳﻜﻮ‪ .‬ﺗﻌﺪ‬ ‫ﻣﻮﺳﻴﻘﻰ »اﻟﺠﻴﺒﺎرو« )‪ ( Jíbaro‬ﺧري ﻣﺜﺎل‬ ‫ﻋﲆ ذﻟﻚ‪ .‬ﻓﺎﻟﺠﻴﺒﺎرو ﻫﻲ ﰲ اﻷﺻﻞ ﻗﺮﻳﺔ‬ ‫ﺗﻘﻊ أﺳﻔﻞ ﺟﺒﻞ‪ ،‬وﻛﺎﻧﺖ متﺜﻞ ﻗﻤﺔ اﻟﺘﺤﴬ‬ ‫ﰲ اﻟﻀﻴﺎﻓﺔ وﺗﻘﺪﻳﻢ ﻓﻨﻮن اﻟﻐﻨﺎء واﻟﺮﻗﺺ‬ ‫وﺗﺼﻤﻴﻢ اﳌﻼﺑﺲ اﻟﻔﺮﻳﺪة وﻣﻈﺎﻫﺮ اﻟﺤﻴﺎة‬ ‫اﳌﺒﻬﺠﺔ‪ ،‬وﻛﺎن أي ﺷﺨﺺ ﺳﻮاء ﻣﻦ ﻣﻮاﻃﻨﻲ‬ ‫اﻟﺒﻠﺪ أو اﳌﻬﺎﺟﺮﻳﻦ ﻳﺘﻤﻨﻰ اﻟﻌﻴﺶ ﺑﺪاﺧﻠﻬﺎ‪.‬‬ ‫وﺗﻄﻮرت ﻣﻌﻈﻢ اﻟﻔﻨﻮن ﻫﻨﺎك ﻣﻨﺬ اﻟﻘﺮن‬ ‫اﻟﺴﺎﺑﻊ واﻟﺜﺎﻣﻦ ﻋﴩ وأﺻﺒﺢ ﻳﻌﱪ ﻋﻦ اﻟﻬﻮﻳﺔ‬ ‫أﻛﺘﻮﺑﺮ ‪85 2017 /‬‬

‫ﻣﻮروﺛ ﺎت‬ ‫‪baytelshear‬‬

‫ﺗﻌﻴﺶ ﺻﺨﺐ اﻟﻤﻬﺮﺟﺎﻧﺎت وﺗﺘﻔﺎﺧﺮ ﺑﺎ<ﻣﺜﺎل اﻟﺸﻌﺒﻴﺔ‬

‫ﻣﻮروﺛﺎت ﺑﻮرﺗﻮرﻳﻜﻮ ‪..‬ﺗﺮﻗﺺ اﻟﺒﻮﻣﺒﺎ ﻋﻠﻰ أﻧﻐﺎم اﻟﺠﻮﻳﺮو‬ ‫ﻣﺤﻤﺪ دروﻳﺶ‬

‫ﻟﻘﺒﻬﺎ اﻟﻜﺜريون ﺑﺠﺰﻳﺮة اﻟﺒﻬﺠﺔ ﳌﺎ ﺗﻨﻌﻢ ﺑﻪ ﻣﻦ‬ ‫ﻣﻮروﺛﺎت وﺛﻘﺎﻓﺎت ﻣﻐﻠﻔﺔ ﺑﻔﻨﻮن اﳌﻮﺳﻴﻘﻰ‬ ‫واﻟﺮﻗﺺ اﳌﻨﺘﴩة ﰲ ﺟﻤﻴﻊ أرﺟﺎء اﻟﺒﻼد‪ ،‬ﻓﻼ‬ ‫ﺗﻘﺘﴫ ﻣﻮروﺛﺎت ﺑﻮرﺗﻮرﻳﻜﻮ ﻋﲆ اﻟﺜﻘﺎﻓﺔ‬ ‫اﻷوروﺑﻴﺔ أو اﻹﺳﺒﺎﻧﻴﺔ ﻓﺤﺴﺐ‪ ،‬ﺑﻞ ﻫﻲ ﻧﺘﺎج‬ ‫ﺗﺂﻟﻒ وﺗﻌﺎﻳﺶ اﻟﻌﺪﻳﺪ ﻣﻦ ﺛﻘﺎﻓﺎت اﻟﺸﻌﻮب‬ ‫اﻟﺸﻌﺮ ‪ /‬اﻟﻌﺪد ‪60‬‬ ‫‪ 84‬ﺑﻴﺖ ِ‬

‫اﻷﺻﻠﻴﺔ واﻷﻓﺎرﻗﺔ واﻵﺳﻴﻮﻳني‪ ،‬ﻓﺎﻟﺠﻤﻴﻊ ﻻ‬ ‫زال ميﺎرس ﻛﺎﻓﺔ اﻟﻄﻘﻮس واﻟﻌﺎدات اﻟﻘﺪميﺔ‬ ‫اﻟﺘﻲ اﻧﺼﻬﺮت ﰲ ﺑﻮﺗﻘﺔ ﺑﻮرﺗﻮرﻳﻜﻮ ﻟﺘﻜﻮن‬ ‫ﻣﻮروﺛﺎت ﻓﺮﻳﺪة ﺗﺘﺒﺎﻫﻰ مبﺎ ﻗﺪﻣﺘﻪ أﻣﺎم اﻟﻌﺎمل‬ ‫ﻋﲆ اﻟﺮﻏﻢ ﻣﻦ ﻣﺴﺎﺣﺘﻬﺎ اﻟﻀﺌﻴﻠﺔ ﰲ ﻣﻨﻄﻘﺔ‬ ‫اﻟﻜﺎرﻳﺒﻲ‪ .‬ﻓﺎﻟﻔﻨﻮن ﰲ ﺑﻮرﺗﻮرﻳﻜﻮ ﻟﻬﺎ ﻣﺬاﻗﻬﺎ‬ ‫وﻧﻜﻬﺘﻬﺎ اﻟﻔﺮﻳﺪة اﳌﻤﻴﺰة ﰲ ﺟﻤﻴﻊ أرﺟﺎء‬ ‫اﻟﻌﺎمل‪ ،‬ﻛام أﻧﻬﺎ ﻣﻌﺮوﻓﺔ ﺑﺠامل اﻟﻌﺎدات اﻟﺘﻲ‬

‫ﺗﱰاوح ﺑني ﺷﻌﻮب »اﻟﺘﺎﻳﻨﻮ« اﻟﻘﺪميﺔ وﻣﺎ أىت‬ ‫ﺑﻪ اﳌﻬﺎﺟﺮون ﺧﻼل اﻟﻘﺮون اﳌﺎﺿﻴﺔ‪ ،‬ﻟﺘﺼﺒﺢ‬ ‫اﻟﺠﺰﻳﺮة ﻋﻨﻮاﻧﺎً ﻟﻠﺒﻬﺠﺔ واﻟﺘﻌﺎﻳﺶ وﻣﺼﺪراً ﻻ‬ ‫ﻳﻨﻀﺐ ﻣﻦ ﻓﻨﻮن اﻟﺮﻗﺺ واﳌﻮﺳﻴﻘﻰ‪ .‬ﺑﺮزت‬ ‫ﻣﻼﻣﺢ ﻣﻮروﺛﺎت ﺑﻮرﺗﻮرﻳﻜﻮ اﻟﺘﻲ ﺗﺰﺧﺮ ﺑﻜﻞ‬ ‫ﻋﻨﺎﴏ اﻟﺤﻴﺎة اﳌﺮﺣﺔ ﻋﱪ اﻷﺟﻴﺎل‪ ،‬ﻓﻨﺴﺘﻄﻴﻊ‬ ‫أن ﻧﺮى اﳌﻼﻣﺢ اﻹﻓﺮﻳﻘﻴﺔ ﰲ رﻗﺼﺎت اﻟﺒﻮﻣﺒﺎ‬ ‫اﻟﺘﻲ ﻳﺘامﻳﻞ ﺧﻼﻟﻬﺎ اﻟﺮاﻗﺼﻮن ﻋﲆ إﻳﻘﺎﻋﺎت‬

‫ﺧﺬﻧﻲ دوا‬ ‫ﻋﻠﻲ اﻟﺨﺰﻳﻤﻲ اﻟﺸﻤﺮي‬ @nabadatgalb

83 2017 / ‫أﻛﺘﻮﺑﺮ‬

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‫ﻣﺎﺳﺎت‬ baytelshear t

‫ﺑﻴﻨﻨﺎ أرﺑﻌﺔ‬ ‫ﺧﺎﻟﺪ اﻟﺸﻌﻴﺒﻲ‬

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60 ‫ اﻟﻌﺪد‬/ ‫اﻟﺸﻌﺮ‬ ِ ‫ ﺑﻴﺖ‬82

‫واﻟﺒﺤﻮث اﻟﺘﺎﺑﻊ ﻟﻠﻨﺎدي اﻫﺘامﻣﺎً ﺧﺎﺻﺎً ﻣﻦ‬ ‫زوار اﳌﻌﺮض وﻋﲆ وﺟﻪ اﻟﺨﺼﻮص ﻋﺮﺿﻪ‬ ‫ﳌﺠﻤﻮﻋﺔ ﻣﻦ اﳌﻘﺘﻨﻴﺎت اﻟﺨﺎﺻﺔ ﺑﺎﳌﻐﻔﻮر‬ ‫ﻟﻪ اﻟﺸﻴﺦ زاﻳﺪ ﺑﻦ ﺳﻠﻄﺎن آل ﻧﻬﻴﺎن‪ ،‬ﻣﻨﻬﺎ‬ ‫اﻟﻜﺎﻣريا اﻟﻔﻮﺗﻮﻏﺮاﻓﻴﺔ اﻟﺨﺎﺻﺔ ﺑﻪ واﻟﻜﺎﻣريا‬ ‫اﻟﺴﻴﻨامﺋﻴﺔ ‪ -‬ﺻﻨﺎﻋﺔ ﺳﻮﻳﴪﻳﺔ ‪ -‬واﻟﺘﻲ‬ ‫ﻛﺎن ﻳﻠﺘﻘﻂ ﺑﻬﺎ ﺻﻮراً ﻣﺘﻨﻮﻋﺔ ﻟﻠﺮﻳﺎﺿﺎت‬ ‫واﻟﺴﺒﺎﻗﺎت اﻟﱰاﺛﻴﺔ‪ ،‬إﱃ ﺟﺎﻧﺐ ﻋﺮض‬ ‫ﻣﺠﻤﻮﻋﺔ ﻛﺒرية ﻣﻦ اﻟﺼﻮر اﻟﻨﺎدرة ﻟﻠﻤﻐﻔﻮر‬ ‫ﻟﻪ اﻟﺸﻴﺦ زاﻳﺪ‪ ،‬اﻟﺘﻲ ﺗﺴﻠﻂ اﻟﻀﻮء ﻋﲆ‬ ‫رﺣﻼت اﻟﻘﻨﺺ‪.‬‬ ‫واﺳﺘﻘﻄﺐ اﻟﺠﻨﺎح ‪ -‬ﻣﻦ ﺧﻼل أﻛرث ﻣﻦ ‪20‬‬ ‫ﻓﻌﺎﻟﻴﺔ ﺗﺮاﺛﻴﺔ وﺛﻘﺎﻓﻴﺔ وﻓﻨﻴﺔ وﻋﺮوض ﺣﻴﺔ‬ ‫ ﻧﺤﻮ ‪ 15‬أﻟﻒ زاﺋﺮ‪ ،-‬اﻫﺘﻤﻮا مبﺤﺘﻮﻳﺎت رﻛﻦ‬‫ﻣﺮﻛﺰ زاﻳﺪ ﻟﻠﺪراﺳﺎت واﻟﺒﺤﻮث ﻣﻦ اﻟﻜﺘﺐ‬ ‫اﻟﱰاﺛﻴﺔ واﻟﺘﺎرﻳﺨﻴﺔ واﻟﺪواوﻳﻦ اﻟﺸﻌﺮﻳﺔ‬ ‫اﻟﺘﻲ زادت ﻋﻦ ‪ 130‬ﻋﻨﻮاﻧﺎً‪ ،‬واﳌﺠﻼت اﻟﺘﻲ‬ ‫ﻳﺼﺪرﻫﺎ ﻣﺮﻛﺰ ﺳﻠﻄﺎن ﺑﻦ زاﻳﺪ‪.‬‬

‫أﻛﺘﻮﺑﺮ ‪81 2017 /‬‬

‫ﻓﻌﺎﻟﻴ ﺎت‬ ‫‪baytelshear‬‬

‫ﺟﻨﺎح ﻣﺸﺘﺮك‬ ‫ﺷﻬﺪ اﻟﺠﻨﺎح اﳌﺸﱰك ﻟﻨﺎدي ﺗﺮاث اﻹﻣﺎرات‬ ‫وﻣﺮﻛﺰ ﺳﻠﻄﺎن ﺑﻦ زاﻳﺪ اﻟﺬي ﻳﻘﺎم ﺗﻨﻔﻴﺬاً‬ ‫ﻟﺘﻮﺟﻴﻬﺎت ﺳﻤﻮ اﻟﺸﻴﺦ ﺳﻠﻄﺎن ﺑﻦ زاﻳﺪ آل‬ ‫ﻧﻬﻴﺎن‪ ،‬ﻣﻤﺜﻞ ﺻﺎﺣﺐ اﻟﺴﻤﻮ رﺋﻴﺲ اﻟﺪوﻟﺔ‬ ‫رﺋﻴﺲ ﻧﺎدي ﺗﺮاث اﻹﻣﺎرات‪ ،‬إﻗﺒﺎﻻً ﺟامﻫريﻳﺎً‬ ‫وﺗﻔﺎﻋ ًﻼ ﻛﺒرياً ﻣﻦ ﻣﺨﺘﻠﻒ زوار اﳌﻌﺮض‪،‬‬ ‫ﺣﻴﺚ ﺣﻈﻲ ﺑﺘﻔﻘﺪ ﻋﺪد ﻣﻦ اﻟﺸﻴﻮخ‪ ،‬ﻛام‬ ‫أ ﱠﻣﻪ ﻋﺪد ﻣﻦ اﳌﺴﺆوﻟني‪ ،‬وﻣﺌﺎت اﻟﺰوار‬ ‫واﳌﻬﺘﻤني اﻟﻌﺮب واﻷﺟﺎﻧﺐ‪ ،‬واﻹﻋﻼﻣﻴني‬

‫اﻟﺸﻌﺮ ‪ /‬اﻟﻌﺪد ‪60‬‬ ‫‪ 80‬ﺑﻴﺖ ِ‬

‫واﳌﺜﻘﻔني‪ ،‬ﻓﺎﻛﺘﻈﺖ أرﻛﺎﻧﻪ اﻟرثﻳﺔ مبﺨﺘﻠﻒ‬ ‫اﳌﻔﺮدات اﻟﱰاﺛﻴﺔ وﻣﺌﺎت اﻟﺰاﺋﺮﻳﻦ اﻟﺬﻳﻦ أﺗﻴﺢ‬ ‫ﻟﻬﻢ أن ﻳﻘﻔﻮا ﺑﺸﻜﻞ ﺣﻲ ﻋﲆ ﻛﺜري ﻣﻦ ﻫﺬه‬ ‫اﳌﻔﺮدات‪ ،‬اﺑﺘﺪاء ﻣﻦ اﻟﺼﻨﺎﻋﺎت اﻟﻴﺪوﻳﺔ اﻟﺘﻲ‬ ‫ﺗُﺸﻐﻞ ﺣﻴﺔ أﻣﺎﻣﻬﻢ‪ ،‬ﻣﺮورا ﺑﺄﺳﺎﺳﻴﺎت ﺣﻴﺎة‬ ‫ﻛﻞ ﻣﻦ أﻫﻞ اﻟﱪ وأﻫﻞ اﻟﺒﺤﺮ‪ ،‬ومبﻌﺎرض‬ ‫اﻟﺼﻮر واﻟﻔﻌﺎﻟﻴﺎت اﻟﺒﻴﺌﻴﺔ اﻟﺘﻔﺎﻋﻠﻴﺔ‪ ،‬واﻧﺘﻬﺎء‬ ‫ﺑﺄرﻛﺎن اﳌﻄﺒﻮﻋﺎت اﻟﺜﻘﺎﻓﻴﺔ واﻟﻨﻮﻋﻴﺔ ﳌﺮﻛﺰ‬ ‫ﺳﻠﻄﺎن ﺑﻦ زاﻳﺪ‪ ،‬واﳌﻄﺒﻮﻋﺎت اﻟﱰاﺛﻴﺔ اﻟﺘﻲ‬ ‫ﻳﺤﺮص ﻣﺮﻛﺰ زاﻳﺪ ﻟﻠﺪراﺳﺎت واﻟﺒﺤﻮث ﰲ‬

‫اﻟﻨﺎدي ﻋﲆ ﻣﻮاﺻﻠﺔ إﺻﺪارﻫﺎ‪ ،‬وﺗُﱪز دور‬ ‫اﻟﻨﺎدي اﻟﻜﺒري ﰲ اﻟﻨﻬﻮض ﺑﺼﻨﺎﻋﺔ اﻟﻨﴩ‬ ‫واﳌﻌﺮﻓﺔ ﰲ اﻟﺪوﻟﺔ وإﺛﺮاء اﳌﻜﺘﺒﺔ اﻟﻌﺮﺑﻴﺔ‬ ‫ﺑﺎﻹﺻﺪارات اﻟﺠﺎدة اﺳﺘﺠﺎﺑﺔ ﻟﺘﻮﺟﻴﻬﺎت‬ ‫ﺳﻤﻮ اﻟﺸﻴﺦ ﺳﻠﻄﺎن ﺑﻦ زاﻳﺪ آل ﻧﻬﻴﺎن‬ ‫ﻣﻤﺜﻞ ﺻﺎﺣﺐ اﻟﺴﻤﻮ رﺋﻴﺲ اﻟﺪوﻟﺔ ﰲ إﺑﺮاز‬ ‫اﻟﺪور اﻟﺜﻘﺎﰲ ﻟﻨﺎدي ﺗﺮاث اﻹﻣﺎرات ﺑﺸﻜﻞ‬ ‫ﻋﺎم ودوره اﻟﱰايث ﺑﺸﻜﻞ ﺧﺎص‪ ،‬وﺟﻬﻮده‬ ‫اﳌﺘﻤﻴﺰة ﰲ دﻋﻢ اﻟﺜﻘﺎﻓﺔ ورﻓﺪﻫﺎ ﺑﺎﻟﻌﺪﻳﺪ ﻣﻦ‬ ‫اﻹﺻﺪارات‪ .‬وﻟﻘﻲ رﻛﻦ ﻣﺮﻛﺰ زاﻳﺪ ﻟﻠﺪراﺳﺎت‬

‫وﻳﺤﺎﻓﻆ ﻋﻠﻴﻪ وﻳﻄﻮره ﻟﻴﻮاﻛﺐ ﻣﻌﺎﻳري‬ ‫اﻻﺳﺘﺪاﻣﺔ اﻟﺤﺪﻳﺜﺔ‪ ،‬وﻳﻌﺪ ﻋﺎﻣﻞ ﺟﺬب و‬ ‫وﺟﻬﺔ أﺳﺎﺳﻴﺔ ﻟﻌﺸﺎق اﻟﺼﻴﺪ ﺑﺎﻟﺼﻘﻮر‪،‬‬ ‫ﺑﻬﺪف ﺗﻌﺰﻳﺰ اﳌﻮروث اﻟﺘﺎرﻳﺨﻲ واﻟﻮﻋﻲ‬ ‫ﺑﺎﻟﺼﻘﺎرة وﺻﻮن اﻟﺒﻴﺌﺔ واﻟﱰاث‪.‬‬ ‫اﻟﺠﺪارﻳﺔ‬ ‫»ﺟﺪارﻳﺔ اﻟﺼﻴﺪ واﻟﻔﺮوﺳﻴﺔ« ﻟﻐﺔ ﺟامﻟﻴﺔ‬ ‫ﺑﴫﻳﺔ ﺣﺴﻴﺔ ﻣﻠﻤﻮﺳﺔ‪ ،‬ﺗﺮﺟﻤﺘﻬﺎ ﳌﺴﺎت‬ ‫ﻓﻨﻴﺔ ﺑﺄﻳﺎدي اﻟﻌﺪﻳﺪ ﻣﻦ زوار اﳌﻌﺮض اﻟﺪوﱄ‬ ‫ﻟﻠﺼﻴﺪ واﻟﻔﺮوﺳﻴﺔ ‪ ،2017‬وذﻟﻚ ﺑﺘﻨﻈﻴﻢ ﻣﻦ‬ ‫ﻟﺠﻨﺔ إدارة اﳌﻬﺮﺟﺎﻧﺎت واﻟﱪاﻣﺞ اﻟﺜﻘﺎﻓﻴﺔ‬ ‫واﻟﱰاﺛﻴﺔ ﰲ أﺑﻮﻇﺒﻲ‪ ،‬ﺣﻴﺚ أﻃﻠﻘﺖ اﻟﻠﺠﻨﺔ‬ ‫ﻫﺬه اﳌﺒﺎدرة ﻣﻦ ﻣﻨﻄﻠﻖ أن اﻟﻔﻦ ﻳﺘﻜﺎﻣﻞ ﻣﻊ‬ ‫ﺑﻘﻴﺔ اﻟﻔﻨﻮن ﻣﻦ ﻧﺎﺣﻴﺔ ﺣﻤﻠﻪ ﻟﺮﺳﺎﻟﺔ إﻧﺴﺎﻧﻴﺔ‬ ‫ﻋﻈﻴﻤﺔ‪ ،‬إﺿﺎﻓ ًﺔ إﱃ ﺗﺠﺴﻴﺪ اﻻﻧﺘامء واﻟﻮﻻء‬ ‫ﻟﻠﻮﻃﻦ واﻟﺤﺐ اﻟﱰايث اﻹﻣﺎرايت اﻟﺬي ﻳﻌﻴﺸﻪ‬ ‫أﺑﻨﺎء اﻟﻮﻃﻦ‪ ،‬ﻣﻦ ﺧﻼل ﺗﻌﺒريﻫﻢ ﻋﻦ ذﻟﻚ‬ ‫ﰲ أﻋامل ﻓﻨﻴﺔ ﻣﺘﻤﻴﺰة وراﻗﻴﺔ ﻋﱪ ”ﺟﺪارﻳﺔ‬ ‫اﻟﺼﻴﺪ واﻟﻔﺮوﺳﻴﺔ“‪ .‬وﺟﻤﻌﺖ اﻟﺠﺪارﻳﺔ ﻣﺎ‬ ‫ﺑني ﺟامل اﻟﺸﻜﻞ واﳌﻀﻤﻮن‪ ،‬وﻋﻜﺴﺖ‬ ‫وﻫﺞ اﻟﱰاث اﻹﻣﺎرايت‪ ،‬ﻣﻦ ﺧﻼل ﻣﺎ ﻗﺪﻣﺘﻪ‬ ‫ﻣﻦ ﺻﻮرة ﻣﺒﺘﻜﺮة ﻋﻦ اﻟﱰاث اﻹﻣﺎرايت‪ ،‬وﻣﺎ‬

‫ﺗﻢ ﻋﺮﺿﻪ ﻣﻦ ﻋﻨﺎﴏ اﻟﺼﻴﺪ ﻣﺜﻞ اﻟﺼﻘﻮر‬ ‫واﻟﺤﺒﺎرى واﻟﺴﻠﻮﻗﻲ واﻟﺨﻴﻮل‪ ،‬وذﻟﻚ ﻣﻦ‬ ‫ﺧﻼل اﻟﺮﺳﻢ اﻟﺤﺮ ﺑﺘﻘﻨﻴﺔ ”اﻟﺠﺮاﻓﻴﺘﻲ“‬ ‫)ﻓﻦ اﻟﺘﻌﺒري اﻟﺤﺮ ﻛام ﻳﻄﻠﻖ ﻋﻠﻴﻪ( وأﺣﺪ‬ ‫اﻟﻔﻨﻮن اﻟﺤﺪﻳﺜﺔ واﳌﻌﺎﴏة اﻟﺘﻲ ﺗﺴﺘﻬﻮي‬ ‫اﻟﺸﺒﺎب ﻫﺬه اﻷﻳﺎم‪ ،‬ﳌﺎ ميﺘﻠﻜﻪ ﻣﻦ ﻋﻨﺎﴏ‬ ‫ﻓﻨﻴﺔ ﻗﻴﻤﺔ‪ .‬إذ ﻳﻘﻮم اﻟﺰوار ﺑﺮﺳﻢ ﻣﺎ ﻳﺠﻮل‬ ‫ﰲ ﺧﺎﻃﺮﻫﻢ ﺑﺸﻜﻞ ﺗﻠﻘﺎيئ و اﻟﺘﻌﺒري ﻋﻦ‬ ‫أﻓﻜﺎرﻫﻢ وأﺳﻠﻮﺑﻬﻢ ﺣﻮل ﺣﺐ اﻟﻮﻃﻦ‬ ‫واﻟﱰاث اﻹﻣﺎرايت‪ .‬ورﺻﺪت اﻟﺠﺪارﻳﺔ اﻟﻌﺪﻳﺪ‬

‫ﻣﻦ اﻟﺰوار اﻟﺬﻳﻦ ﺑﺎدروا ﺑﺮﺳﻢ ﻣﺎ ﺗﺠﻮد ﺑﻪ‬ ‫أﻳﺪﻳﻬﻢ‪ ،‬وأﺑﺪوا إﻋﺠﺎﺑﻬﻢ ﺑﺎﳌﺒﺎدرة اﻟﻄﻴﺒﺔ‬ ‫اﻟﺘﻲ ﻗﺪﻣﺘﻬﺎ اﻟﻠﺠﻨﺔ ﺿﻤﻦ ﻓﻌﺎﻟﻴﺎت اﳌﻌﺮض‬ ‫اﻟﺪوﱄ ﻟﻠﺼﻴﺪ واﻟﻔﺮوﺳﻴﺔ ‪ .2017‬وﺑﺬﻟﻚ ﺗﻜﻮن‬ ‫”ﺟﺪارﻳﺔ اﻟﺼﻴﺪ واﻟﻔﺮوﺳﻴﺔ“ ﻗﺪ ﻋﻜﺴﺖ‬ ‫واﻗﻊ اﻟﺤﺮﻛﺔ اﻟﻔﻨﻴﺔ واﻟﺜﻘﺎﻓﻴﺔ ﻟﺪى زوار‬ ‫ﻓﻌﺎﻟﻴﺎت اﳌﻌﺮض اﻟﺪوﱄ ﻟﻠﺼﻴﺪ واﻟﻔﺮوﺳﻴﺔ‪،‬‬ ‫ورﺳﺨﺖ ﻗﻴﻢ اﻟﱰاث واﻟﺜﻘﺎﻓﺔ اﻹﻣﺎراﺗﻴﺔ‪،‬‬ ‫ﻓﻀ ًﻼ ﻋﻦ ﺗﻨﻤﻴﺘﻬﺎ روح اﻻﻧﺘامء واﻟﻮﻻء ﻟﺪى‬ ‫أﺑﻨﺎء اﻟﻮﻃﻦ‪.‬‬

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‫ﻓﻌﺎﻟﻴ ﺎت‬ ‫‪baytelshear‬‬

‫واﳌﺄﻛﻮﻻت اﻟﺸﻌﺒﻴﺔ وﻛﺮم اﻟﻀﻴﺎﻓﺔ‪.‬‬ ‫ﻓﻌﺎﻟﻴﺎت ﻟﻜﻞ أﻓﺮاد اﻷﺳﺮة‬ ‫ومل ﺗﻘﺘﴫ ﻓﻌﺎﻟﻴﺎت اﳌﻌﺮض ﻋﲆ ﻋﺮض‬ ‫أﺣﺪث وأﻓﻀﻞ ﺗﻘﻨﻴﺎت اﻟﺼﻴﺪ واﻟﺘﺨﻴﻴﻢ‬ ‫واﻟﺮﺣﻼت واﻟﻔﺮوﺳﻴﺔ‪ ،‬ﺑﻞ ﺗﻌﺪت ذﻟﻚ ﻟﺘﺸﻤﻞ‬ ‫ﺑﺮﻧﺎﻣﺠﺎً ﻏﻨﻴﺎً ﻣﻦ اﻟﻔﻌﺎﻟﻴﺎت اﻻﺟﺘامﻋﻴﺔ‬ ‫اﻟﺨﺎﺻﺔ ﺑﻌﺎﳌﻲ اﻟﺼﻴﺪ واﻟﻔﺮوﺳﻴﺔ‪ ،‬ﺣﻴﺚ‬ ‫ﻛﺎﻧﺖ اﻟﻔﻌﺎﻟﻴﺎت اﻟﺘﻲ ﺗﱪز أﻫﻤﻴﺔ اﻟﺼﻴﺪ‬ ‫اﳌﺴﺘﺪام‪ ،‬وﺗﻌﺪد ﻣﺎ ﻫﻲ اﻻﺧﻼﻗﻴﺎت اﻟﺘﻲ‬ ‫ﻳﺠﺐ أن ﻳﺘﺤﲆ ﺑﻬﺎ اﻟﺼﻴﺎد‪ ،‬ﻣﺜﻞ اﻻﺑﺘﻌﺎد ﻋﻦ‬ ‫اﻟﺼﻴﺪ اﻟﺠﺎﺋﺮ‪ ،‬واﻟﺘﺤﺮي ﻋﻦ اﻷﻧﻮاع اﳌﻬﺪدة‬ ‫ﺑﺎﻻﻧﻘﺮاض واﻻﻣﺘﻨﺎع ﻋﻦ ﺻﻴﺪﻫﺎ‪ ،‬واﻻﻟﺘﺰام‬ ‫مبﻮاﺳﻢ اﻟﺼﻴﺪ‪ ،‬وﺗﻮﻗﻒ ﻧﺸﺎط اﻟﺼﻴﺪ ﰲ‬ ‫ﻣﻮاﺳﻢ اﻟﺘﻔﺮﻳﺦ واﻟﺘﻜﺎﺛﺮ‪.‬‬ ‫ﻛام ﺷﻬﺪ اﳌﻌﺮض إﻗﺎﻣﺔ اﻟﻌﺪﻳﺪ ﻣﻦ ﻓﻌﺎﻟﻴﺎت‬ ‫اﻟﻔﺮوﺳﻴﺔ‪ ،‬ﻣﺜﻞ دروس رﻛﻮب اﻟﺨﻴﻞ‬ ‫ﻟﻠﺼﻐﺎر‪ ،‬ودروس اﻟﺘﻌﺎﻣﻞ ﻣﻊ اﻟﺨﻴﻞ ﻟﻠﻜﺒﺎر‪،‬‬ ‫ﻫﺬا ﺑﺎﻹﺿﺎﻓﺔ إﱃ ﻋﺮوض اﻟﻜﻼب مبﺨﺘﻠﻒ‬ ‫أﻧﻮاﻋﻬﺎ‪.‬‬

‫ﻓﺮوﻋﻬﺎ‪ ،‬إﱃ ﺟﺎﻧﺐ ﺗﻔﻌﻴﻞ اﻟﺤﺮاك اﻟﺜﻘﺎﰲ‪،‬‬ ‫ﻣﻦ ﺧﻼل اﻟﺘﺤﻔﻴﺰ ﻋﲆ اﻟﻘﺮاءة واﻟﻔﻜﺮ‬ ‫اﻷديب ﳌﺨﺘﻠﻒ أﻓﺮاد اﳌﺠﺘﻤﻊ اﻹﻣﺎرايت ﻣﻦ‬ ‫ﻣﻨﻄﻠﻖ اﻹميﺎن ﺑﺄنّ اﻟﻘﺮاءة ﻫﻲ ﻣﻔﺘﺎح‬ ‫ُرﻗﻲ اﳌﺠﺘﻤﻌﺎت وﺗﻘﺪم اﻹﻧﺴﺎن واﻟﺒﻨﻴﺎن‬ ‫واﻟﺘﺤﴬ‪ ،‬ﻓﺎﻟﻘﺮاءة ﺗﻔﺘﺢ آﻓﺎق اﳌﻌﺎرف‬ ‫ﱡ‬ ‫واﻻﺑﺘﻜﺎر‪ ،‬وﺗﺼﻞ إﱃ ﺗﺠﺎرب اﻵﺧﺮﻳﻦ‪ ،‬ﻣام‬ ‫‪ 20‬إﺻﺪار ًا ﻷﻛﺎدﻳﻤﻴﺔ اﻟﺸﻌﺮ ﺗﺜﺮي‬ ‫ﻳﻌﻨﻲ اﻻﻧﻔﺘﺎح ﻋﲆ ﺛﻘﺎﻓﺎت اﻟﻌﺎمل واﻟﺘﻌﺮف‬ ‫اﻟﻤﻌﺮض‬ ‫ﻋﻠﻴﻬﺎ ﻋﻦ ﻛﺜﺐ ﻣﻦ ﺧﻼل ﻧﺘﺎﺟﻬﺎ اﻷديب‬ ‫وﺿﻤﻦ ﻓﻌﺎﻟﻴﺎت اﳌﻌﺮض اﻟﺪوﱄ ﻟﻠﺼﻴﺪ واﻟﻔﻜﺮي واﻟﻌﻠﻤﻲ ‪.‬‬ ‫واﻟﻔﺮوﺳﻴﺔ ﻟﻬﺬا اﻟﻌﺎم‪ ،‬وﺗﺤﺪﻳﺪاً ﰲ ﺟﻨﺎح‬ ‫اﻟﺜﻘﺎﻓﻴﺔ‬ ‫ﻟﺠﻨﺔ إدارة اﳌﻬﺮﺟﺎﻧﺎت واﻟﱪاﻣﺞ‬ ‫ﻣﺸﺎرﻛﺔ ﻣﻤﻴﺰة ﻟﺠﻨﺎح ﻟﺠﻨﺔ إدارة‬ ‫واﻟﱰاﺛﻴﺔ ﰲ أﺑﻮﻇﺒﻲ‪ ،‬ﺷﺎرﻛﺖ أﻛﺎدميﻴﺔ اﻟﺸﻌﺮ اﻟﻤﻬﺮﺟﺎﻧﺎت واﻟﺒﺮاﻣﺞ اﻟﺜﻘﺎﻓﻴﺔ واﻟﺘﺮاﺛﻴﺔ‬ ‫ﻣﻦ ﺧﻼل ﻋﺮض ﺑﻌﺾ ﻣﻦ إﺻﺪاراﺗﻬﺎ ﻣﻦ وﰲ ﻫﺬه اﻟﺪورة اﺟﺮت ﻟﺠﻨﺔ إدارة‬ ‫اﻟﻜﺘﺐ اﻟﺸﻌﺮﻳﺔ واﳌﺠﻼت اﻟﺜﻘﺎﻓﻴﺔ اﻟﱰاﺛﻴﺔ اﳌﻬﺮﺟﺎﻧﺎت واﻟﱪاﻣﺞ اﻟﺜﻘﺎﻓﻴﺔ واﻟﱰاﺛﻴﺔ ﰲ‬ ‫اﻹﻣﺎراﺗﻴﺔ‪ ،‬وذﻟﻚ ﺑﻬﺪف ﺗﺸﺠﻴﻊ اﻟﻘﺮاءة أﺑﻮﻇﺒﻲ ﺗﻄﻮﻳﺮاً ﺟﺬرﻳﺎً ﻟﺠﻨﺎﺣﻬﺎ‪ ،‬إذ ﺗﻀﻤﻦ‬ ‫وﺗﻌﺰﻳﺰ ﻗﻴﻢ اﳌﻌﺮﻓﺔ‪ ،‬وﻣﻦ ﻣﻨﻄﻠﻖ أن ﻧﻬﻀﺔ اﻟﺠﻨﺎح ﻣﻨﺼﺎت ﺗﻔﺎﻋﻠﻴﺔ ﺟﺪﻳﺪة ﺳﺎﻋﺪت‬ ‫ﻋﲆ ﺗﻘﺪﻳﻢ ﻋﻨﺎﴏ اﻟﱰاث اﻹﻣﺎرايت ﺑﺸﻜﻞ‬ ‫أي ﺣﻀﺎرة ﺗﻘﻮم ﻋﲆ اﻟﻜﺘﺎب واﳌﻌﺮﻓﺔ‪.‬‬ ‫ومتﺜﻠﺖ ﻣﺸﺎرﻛﺔ أﻛﺎدميﻴﺔ اﻟﺸﻌﺮ ﰲ ﻋﺮض ﻣﺘﻄ ّﻮر‪ ،‬وﺑﺮاﻣﺞ ﻣﺘﻨﻮﻋﺔ ﺗﻌﺰز ﻗﻴﻢ اﻻﻋﺘﺰاز‬ ‫ﻣﺎ ﻳﻘﺎرب ‪ 20‬إﺻﺪاراً ﻣﻦ إﺻﺪاراﺗﻬﺎ اﻟﺘﻲ ﺑﺎﻟﺘﺎرﻳﺦ واﻷﺻﺎﻟﺔ اﻹﻣﺎراﺗﻴﺔ‪ ،‬ﺧﺎﺻﺔ وأنّ‬ ‫ﺗﺸﻤﻞ ﻣﺠﺎﻻت اﻟﺸﻌﺮ واﻷدب واﻟﺒﺤﻮث ﺟﻤﻴﻊ أﻧﺸﻄﺔ اﻟﻠﺠﻨﺔ ﺗﺨﺪم اﻻﺳﱰاﺗﻴﺠﻴﺔ‬ ‫واﻟﺪراﺳﺎت اﻟﻨﻘﺪﻳﺔ واﻟﺘﺤﻠﻴﻠﻴﺔ ﰲ ﻣﺠﺎل اﻟﺜﻘﺎﻓﻴﺔ ﻹﻣﺎرة أﺑﻮﻇﺒﻲ ودوﻟﺔ اﻹﻣﺎرات‬ ‫اﻟﻌﺮﺑﻴﺔ اﳌﺘﺤﺪة‪ ،‬وﺗﺴﻬﻢ ﰲ اﻟﺤﻔﺎظ ﻋﲆ‬ ‫اﻟﺼﻴﺪ واﻟﻔﺮوﺳﻴﺔ‪.‬‬ ‫وﻛﺎن اﻟﻬﺪف إﺑﺮاز دور اﻟﻠﺠﻨﺔ اﻟﺮاﺋﺪ ﰲ اﳌﻮروث اﻟﺜﻘﺎﰲ‪ ،‬وإﻳﺼﺎل اﻟﺮﺳﺎﻟﺔ اﻟﺤﻀﺎرﻳﺔ‬ ‫اﳌﺸﻬﺪ اﻟﺜﻘﺎﰲ واﻟﱰايث‪ ،‬وﺗﻌ ّﺰﻳﺰ ﻣﻔﺎﻫﻴﻢ واﻹﻧﺴﺎﻧﻴﺔ ﻟﻺﻣﺎرات ﳌﺨﺘﻠﻒ ﺛﻘﺎﻓﺎت‬ ‫اﻟﺤﻔﺎظ ﻋﲆ اﻟﱰاث‪ ،‬واﻟﺤﺮص ﻋﲆ ﺗﻌﻤﻴﻖ وﺷﻌﻮب اﻟﻌﺎمل‪.‬‬ ‫اﻟﻔﻜﺮ ودﻋﻢ اﻟﺜﻘﺎﻓﺔ ﺑﻜﻞ أمنﺎﻃﻬﺎ وﻣﺨﺘﻠﻒ وﻫﺪف ﺟﻨﺎح اﻟﻠﺠﻨﺔ ﰲ ﻣﻌﺮض اﻟﺼﻴﺪ إﱃ‬ ‫اﻟﺸﻌﺮ ‪ /‬اﻟﻌﺪد ‪60‬‬ ‫‪ 78‬ﺑﻴﺖ ِ‬

‫ﺗﻘﺪﻳﻢ ﺻﻮر ﺣ ّﻴﺔ ﺣﻮل ﻓﻌﺎﻟﻴﺎت اﻟﻠﺠﻨﺔ اﻟﺘﻲ‬ ‫ﺗﺴﺘﻌﺮﺿﻬﺎ ﻣﻦ ﺧﻼل ﻣﻨﺼﺔ ﻋﺮﺿﻬﺎ‪ ،‬وﺗﺴﻠﻂ‬ ‫اﻟﻀﻮء ﻋﲆ أﺑﺮز ﻣﺒﺎدرات اﻟﻠﺠﻨﺔ وﺑﺮاﻣﺠﻬﺎ‬ ‫اﻟﺜﻘﺎﻓﻴﺔ واﻟﱰاﺛﻴﺔ‪ ،‬ﻛﻤﻬﺮﺟﺎن اﻟﻈﻔﺮة اﻟﺬي‬ ‫ﺳﻴﻄﻠﻖ دورﺗﻪ اﻟﺠﺪﻳﺪة ﰲ دﻳﺴﻤﱪ اﳌﻘﺒﻞ‪،‬‬ ‫واﻟﺬي ﻳﺮﺗﻜﺰ ﻋﲆ اﻟﺮوح اﻟﺒﺪوﻳﺔ اﻷﺻﻴﻠﺔ ﰲ‬ ‫اﻹﻣﺎرات‪ ،‬وﻳﻬﺪف إﱃ ﺣامﻳﺔ اﻟﱰاث اﻟﺒﻴﺌﻲ‬ ‫واﻟﺘﺎرﻳﺨﻲ‪ ،‬ﻓﻀ ًﻼ ﻋﻦ ﺗﻌﺰﻳﺰ اﻟﺮواﺑﻂ ﺑني‬ ‫اﳌﺎﴈ واﻟﺤﺎﴐ ﳌﻮاﻃﻨﻲ دوﻟﺔ اﻹﻣﺎرات‪.‬‬ ‫ﻛام ﺳﻠﻂ اﻟﺠﻨﺎح اﻟﻀﻮء ﻋﲆ ﻣﺤﻤﻴﺔ اﳌﺮزوم‬ ‫ﻟﻠﺼﻴﺪ ﰲ ﻣﻨﻄﻘﺔ اﻟﻈﻔﺮة‪ .‬وﻫﻮ اﳌﴩوع‬ ‫اﳌﺘﻤﻴﺰ اﻟﺬي ﻳﻈﻬﺮ اﻟﱰاث اﻹﻣﺎرايت اﻷﺻﻴﻞ‬

‫ﺗﺤﺘﻔﻲ ﺑﺘﻌﺰﻳﺰ اﻟﻬﻮﻳﺔ اﻟﻮﻃﻨﻴﺔ‪ ،‬ومبﺴرية‬ ‫اﻟﺘﻤ ّﻴﺰ واﻷﺻﺎﻟﺔ وﺻﻮن اﻟﱰاث واﻟﺤﻔﺎظ ﻋﲆ‬ ‫اﻟﺒﻴﺌﺔ‪ ،‬واﻟﺘﻲ ُﻳﻌﺘﱪ اﳌﻌﺮض اﻟﺪوﱄ ﻟﻠﺼﻴﺪ‬ ‫واﻟﻔﺮوﺳﻴﺔ ﺑﺄﺑﻮﻇﺒﻲ أﺣﺪ أﻫﻢ رﻛﺎﺋﺰﻫﺎ‪.‬‬ ‫وﺷﻬﺪ ﻗﻄﺎع اﻟﻔﺮوﺳﻴﺔ ﰲ اﳌﻌﺮض ﺗﻄﻮراً ﻛﺒرياً‬ ‫ﰲ ﻛﻞ ﻋﺎم‪ ،‬وذﻟﻚ ﺑﻔﻀﻞ دﻋﻢ ﻣﻬﺮﺟﺎن ﺳﻤﻮ‬ ‫اﻟﺸﻴﺦ ﻣﻨﺼﻮر ﺑﻦ زاﻳﺪ آل ﻧﻬﻴﺎن ﻟﻠﺨﻴﻮل‬ ‫اﻟﻌﺮﺑﻴﺔ اﻷﺻﻴﻠﺔ‪ ،‬واﻟﺬي أﺻﺒﺢ ﺣﺪﺛﺎً ﺳﻨﻮﻳﺎ‬ ‫دوﻟﻴﺎً ﺗﱰﻗﺒﻪ ﻛﱪى ﻣﻀﺎﻣري اﻟﺨﻴﻞ ﰲ اﻟﻌﺎمل‪،‬‬ ‫وﻣﻦ أﺑﺮز ﻧﺠﺎﺣﺎت اﳌﻌﺮض اﻟﱰوﻳﺞ ﻟﺠﻬﻮد‬ ‫دوﻟﺔ اﻹﻣﺎرات ﰲ اﻟﺼﻴﺪ ا ُﳌﺴﺘﺪام واﻟﺤﻔﺎظ‬ ‫ﻋﲆ اﻟﺼﻘﻮر اﻟﱪﻳﺔ ﻣﻦ ﺧﻼل ﺑﺮﻧﺎﻣﺞ اﻟﺸﻴﺦ‬ ‫زاﻳﺪ ﻹﻃﻼق اﻟﺼﻘﻮر اﻟﺬي ﻧﺠﺢ ﺣﺘﻰ اﻟﻴﻮم‬ ‫ﰲ إﻃﻼق ﻣﺎ ﻳﺰﻳﺪ ﻋﲆ ‪ 1800‬ﺻﻘﺮ ﻣﻦ ﻧﻮﻋﻲ‬ ‫اﻟﺤﺮ واﻟﺸﺎﻫني‪ ،‬ﺑﻔﻀﻞ ُﻣﺸﺎرﻛﺔ اﻟﺼﻘﺎرﻳﻦ‬

‫ﰲ اﻟﱪﻧﺎﻣﺞ واﺳﺘﺨﺪاﻣﻬﻢ ﻟﻠﺼﻘﻮر اﳌﻜﺎﺛﺮة ﰲ‬ ‫اﻷﴎ‪ ،‬وﺗﺸﺠﻴﻊ اﳌﺰارع ﻋﲆ إﻧﺘﺎج اﻟﺼﻘﻮر‬ ‫اﳌﻬﺠﻨﺔ‪.‬‬ ‫وﺗﺎﺑﻊ اﳌﻌﺮض اﻟﺪوﱄ ﻟﻠﺼﻴﺪ واﻟﻔﺮوﺳﻴﺔ‬ ‫ﺗﻄﻮره اﳌﺘﻮاﺻﻞ‪ ،‬ﺣﻴﺚ ﻛﺎﻧﺖ اﻟﺪورة‬ ‫اﻟﺠﺪﻳﺪة اﻷﻛﱪ واﻷﻛرث مت ّﻴﺰاً ﰲ ﺗﺎرﻳﺦ اﳌﻌﺮض‬ ‫مبﺴﺎﺣﺔ ‪ 43‬أﻟﻒ ﻣﱰ ﻣﺮﺑﻊ‪ ،‬ﻣﻊ ﻣﺸﺎرﻛﺔ ﻣﺎ‬ ‫ﻳﺰﻳﺪ ﻋﲆ ‪ 650‬ﴍﻛﺔ ﻣﻦ ‪ 40‬دوﻟﺔ‪ ،‬وﺗﻮﻗﻌﺎت‬ ‫ﺑﺎﺳﺘﻘﻄﺎب أﻛرث ﻣﻦ ‪ 100‬أﻟﻒ زاﺋﺮ ﻋﲆ ﻣﺪى‬ ‫ﺧﻤﺴﺔ أﻳﺎم‪ ،‬ﻣﻦ ﺧﻼل ﻓﻌﺎﻟﻴﺎت وأﻧﺸﻄﺔ‬ ‫ﻣﻤﻴﺰة‪ ،‬ﻣﺸريا إﱃ أن اﻟﺪورة اﻟﺠﺪﻳﺪة ﺗﺘﻤ ّﻴﺰ‬ ‫ﺑﺘﻮاﺟﺪ ‪ 163‬ﴍﻛﺔ إﻣﺎراﺗﻴﺔ ُﻣﻘﺎﺑﻞ ‪ 126‬ﴍﻛﺔ‬ ‫ﰲ اﻟﺪورة اﳌﺎﺿﻴﺔ ‪ ،2016‬إﺿﺎﻓﺔ ﳌﺸﺎرﻛﺔ ‪68‬‬ ‫ﻋﺎرﺿﺎ ًﺟﺪﻳﺪا ﻫﺬا اﻟﻌﺎم ﻣﻦ ﻣﺨﺘﻠﻒ أﻧﺤﺎء‬ ‫اﻟﻌﺎمل‪.‬‬

‫ﻛام ﺷﻬﺪت ﻫﺬه اﻟﺪورة إﻋﺎدة ﺗﻮزﻳﻊ‬ ‫ﻗﻄﺎﻋﺎت اﳌﻌﺮض مبﺎ ﻳﻀﻤﻦ ﺗﺴﻬﻴﻞ ﺟﻮﻟﺔ‬ ‫اﻟﺰوار وﺗﻨﺸﻴﻂ ﻣﺒﻴﻌﺎت اﻟﻌﺎرﺿني‪ ،‬ﺑﺤﻴﺚ‬ ‫ﺗﺴﺘﻘﻄﺐ اﳌﻬﺘﻤني ﰲ ﻛﻞ ﻣﺠﺎل ﻛﺎﻟﺼﻘﺎرة‬ ‫واﻟﻔﺮوﺳﻴﺔ وأﺳﻠﺤﺔ اﻟﺼﻴﺪ واﻟﺼﻴﺪ اﻟﺒﺤﺮي‬ ‫ورﺣﻼت اﻟﺴﻔﺎري‪ ،‬ﺣﻴﺚ ﺗﻨﻘﺴﻢ أﺟﻨﺤﺔ‬ ‫اﳌﻌﺮض إﱃ ﻣﻨﺎﻃﻖ ﺗﺘﻴﺢ ﻟﻠﺰاﺋﺮﻳﻦ أن‬ ‫ﻳﺸﻬﺪوا اﻟﱰاث اﻟﺜﻘﺎﰲ مبﺨﺘﻠﻒ ﺟﻮاﻧﺒﻪ‬ ‫ﻳﺘﻌﺮﻓﻮا ﻋﲆ ﻣﻬﺎرات اﻟﺼﻴﺪ و ُﻣﻌ ّﺪاﺗﻪ‬ ‫وأن ّ‬ ‫واﻟﺮﻳﺎﺿﺎت اﻟﺒﺤﺮﻳﺔ واﻟﺨﺎرﺟﻴﺔ ورﻳﺎﺿﺔ‬ ‫اﻟﻔﺮوﺳﻴﺔ‪ ،‬وذﻟﻚ ﻋﲆ ﻧﺤﻮ ﻳﻮﺟﻪ اﻟﺰاﺋﺮ ﰲ‬ ‫ﺗﺠﺮﺑﺔ ﺗﺜﻘﻴﻔﻴﺔ ﻣﻠﻬﻤﺔ وﻣﺆﺛﺮة‪ ،‬ﺑﺎﻹﺿﺎﻓﺔ‬ ‫ﻟﺘﻄﻮﻳﺮ اﳌﺠﺎﻟﺲ اﻟﺸﻌﺒﻴﺔ ﰲ ﻣﺨﺘﻠﻒ أرﺟﺎء‬ ‫اﳌﻌﺮض‪ ،‬وﺟﻌﻠﻬﺎ أﻛرث ﻣﻼءﻣﺔ ﻟﻠﺰوار‪ ،‬ﺑﻬﺪف‬ ‫ﺗﻌﺮﻳﻔﻬﻢ ﺑﺎﻟﺼﻨﺎﻋﺎت اﻹﻣﺎراﺗﻴﺔ اﻟﺘﻘﻠﻴﺪﻳﺔ‬ ‫أﻛﺘﻮﺑﺮ ‪77 2017 /‬‬

‫ﻓﻌﺎﻟﻴ ﺎت‬ ‫‪baytelshear‬‬

‫ﺷﻬﺪ ﻫﺬا اﻟﻌﺎم ﻣﺸﺎرﻛﺔ ‪ 68‬ﻋﺎرﺿ ًﺎ ﺟﺪﻳﺪاً ﻣﻦ ﻣﺨﺘﻠﻒ أﻧﺤﺎء اﻟﻌﺎﻟﻢ‬

‫ﻣﻌﺮض اﻟﺼﻴﺪ واﻟﻔﺮوﺳﻴﺔ‬ ‫ﺧﺒﺮة اﻟﻤﺎﺿﻲ وﺗﻘﻨﻴﺎت اﻟﺤﺎﺿﺮ‬ ‫ﻣﺼﻄﻔﻰ اﻟﺠﻨﺪي‬

‫مل ﻳﻜﻦ اﻟﺼﻴﺪ ﰲ دوﻟﺔ اﻹﻣﺎرات اﻟﻌﺮﺑﻴﺔ‬ ‫اﳌﺘﺤﺪة ﻳﻮﻣﺎً ﻧﺸﺎﻃﺎً ﺛﺎﻧﻮﻳﺎً‪ ،‬ﺑﻞ ﻛﺎن إرﺛﺎً ﻏﺎﻟﻴﺎً‬ ‫ﻳﻔﺘﺨﺮ ﺑﻪ ﻛﻞ إﻣﺎرايت‪ ،‬ﻓﻬﻮ إرث ﻳﺤﻤﻞ ﰲ‬ ‫ﻃﻴﺎﺗﻪ ﻛﻞ ﻣﻌﺎين اﻟﺸﺠﺎﻋﺔ واﻟﻜﺮم‪ ،‬واﻟﺘﻌﺎﻳﺶ‬ ‫ﻣﻊ اﻟﻄﺒﻴﻌﺔ اﻷم‪ ،‬إرث ﻳﻈﻬﺮ ارﺗﺒﺎط اﻹﻣﺎرايت‬ ‫ﺑﺒﻴﺌﺘﻪ‪ ،‬وﺗﻌﻠﻘﻪ ﺑﻬﺎ‪.‬‬ ‫ﻣﻦ ﻫﻨﺎ‪ ،‬ﺗﺄيت إﻗﺎﻣﺔ اﳌﻌﺮض اﻟﺪوﱄ‬ ‫ﻟﻠﺼﻴﺪ واﻟﻔﺮوﺳﻴﺔ‪ ،‬ﺣﻴﺚ ﺷﻬﺪت اﻟﻌﺎﺻﻤﺔ‬ ‫اﻹﻣﺎراﺗﻴﺔ ﻣﻨﺬ أﻳﺎم ﻗﻠﻴﻠﺔ ﻓﻌﺎﻟﻴﺎت دورﺗﻪ‬ ‫اﻟﺨﺎﻣﺴﺔ ﻋﴩة‪ ،‬ﺗﺤﺖ رﻋﺎﻳﺔ ﺳﻤﻮ اﻟﺸﻴﺦ‬ ‫ﺣﻤﺪان ﺑﻦ زاﻳﺪ آل ﻧﻬﻴﺎن ﻣﻤﺜﻞ اﻟﺤﺎﻛﻢ ﰲ‬ ‫ﻣﻨﻄﻘﺔ اﻟﻈﻔﺮة رﺋﻴﺲ ﻧﺎدي ﺻﻘﺎري اﻹﻣﺎرات‪،‬‬ ‫وﺑﺘﻨﻈﻴﻢ ﻣﻦ ﻧﺎدي ﺻﻘﺎري اﻹﻣﺎرات ودﻋﻢ‬ ‫ﻟﺠﻨﺔ إدارة اﳌﻬﺮﺟﺎﻧﺎت واﻟﱪاﻣﺞ اﻟﺜﻘﺎﻓﻴﺔ‬ ‫واﻟﱰاﺛﻴﺔ ﺑﺄﺑﻮﻇﺒﻲ وﻫﻴﺌﺔ اﻟﺒﻴﺌﺔ – أﺑﻮﻇﺒﻲ‪،‬‬ ‫وﺑﺮﻋﺎﻳﺔ ﻛﺬﻟﻚ ﻣﻦ ﻣﻬﺮﺟﺎن ﺳﻤﻮ اﻟﺸﻴﺦ‬ ‫ﻣﻨﺼﻮر ﺑﻦ زاﻳﺪ آل ﻧﻬﻴﺎن اﻟﻌﺎﳌﻲ ﻟﻠﺨﻴﻮل‬ ‫اﻟﻌﺮﺑﻴﺔ اﻷﺻﻴﻠﺔ وﻣﺠﻠﺲ أﺑﻮﻇﺒﻲ اﻟﺮﻳﺎﴈ‪،‬‬ ‫واﻟﴩﻳﻚ اﻹﻋﻼﻣﻲ ﻗﻨﺎة ﺑﻴﻨﻮﻧﺔ‪.‬‬ ‫وﻣﺰﺟﺖ اﻟﺪورة اﻟﺠﺪﻳﺪة ﻣﻦ اﳌﻌﺮض ﰲ‬ ‫ﻓﻌﺎﻟﻴﺎﺗﻬﺎ اﻟﻜﺜرية واﳌﺘﻨﻮﻋﺔ‪ ،‬ﺑني اﻟﻨﻜﻬﺔ‬ ‫اﻟﱰاﺛﻴﺔ وآﺧﺮ ﻣﺎ ﺗﻮﺻﻠﺖ إﻟﻴﻪ اﻟﺤﻠﻮل‬ ‫اﻟﺘﻜﻨﻮﻟﻮﺟﻴﺔ ﰲ ﻋﺎمل اﻟﺼﻴﺪ واﻟﻔﺮوﺳﻴﺔ‬ ‫وﺻﻮن اﻟﺘﻮازن اﻟﺒﻴﺌﻲ اﻟﻌﺎﳌﻲ‪ ،‬ﻛام أن ﻫﺬه‬ ‫اﻟﺪورة ﺟﺎءت ﺑﺎﻟﺘﺰاﻣﻦ ﻣﻊ اﻻﺳﺘﻌﺪادات‬ ‫ﻟﻼﺣﺘﻔﺎء ﺑﻌﺎم زاﻳﺪ ﻋﺎم ‪ ،2018‬وﻓﻘﺎً ﻟﻘﺮار‬ ‫ﺻﺎﺣﺐ اﻟﺴﻤﻮ اﻟﺸﻴﺦ ﺧﻠﻴﻔﺔ ﺑﻦ زاﻳﺪ آل‬ ‫ﻧﻬﻴﺎن‪ ،‬رﺋﻴﺲ اﻟﺪوﻟﺔ ﺣﻔﻈﻪ اﻟﻠﻪ‪ ،‬ﺣﻴﺚ‬ ‫ُﻳﺼﺎدف اﻟﻌﺎم اﻟﻘﺎدم ‪ 2018‬اﻟﺬﻛﺮى اﳌﺌﻮﻳﺔ‬ ‫ﳌﻮﻟﺪ اﳌﻐﻔﻮر ﻟﻪ ﺑﺈذن اﻟﻠﻪ اﻟﺸﻴﺦ زاﻳﺪ ﺑﻦ‬ ‫ﺳﻠﻄﺎن آل ﻧﻬﻴﺎن‪ ،‬ﻟﻴﻜﻮن ﻣﻨﺎﺳﺒﺔ ﻣﻬﻤﺔ‬ ‫اﻟﺸﻌﺮ ‪ /‬اﻟﻌﺪد ‪60‬‬ ‫‪ 76‬ﺑﻴﺖ ِ‬

‫اﻟﺠﻔﺎ واﻟﻬﺠﺮ‬ ِ ‫ ذﻳﺎب اﻟﻌﻮﻧﻲ‬+‫ﻋﺒﺪا‬ @a13ony

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75 2017 / ‫أﻛﺘﻮﺑﺮ‬

‫ﻣﺎﺳﺎت‬ baytelshear t

‫وﻃﻦ ﻋﻤﺮي‬ ‫ﻓﻮاز ﺧﺎﻟﺪ اﻟﻐﺎﻧﻢ‬ @Eng_fawaz_k

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60 ‫ اﻟﻌﺪد‬/ ‫اﻟﺸﻌﺮ‬ ِ ‫ ﺑﻴﺖ‬74

‫اﻟﻤﻨﺠﺰ واﻵﺛﺎر‬ ‫ﺑﻠﻎ ﻋﺪد ﻣﺆﻟﻔﺎت ﻛﺮاﺗﺸﻮﻓﺴيك أرﺑﻌﻤﺌﺔ‬ ‫ومثﺎﻧﻴﺔ وﺧﻤﺴني ﻣﻌﻈﻤﻬﺎ ﻋﻦ اﻵداب‬ ‫اﻟﻌﺮﺑﻴﺔ‪ ،‬ﰲ اﻟﺒﺤﺚ واﻟﱰﺟﻤﺔ واﻟﴩح واﻟﻨﻘﺪ‬ ‫واﻟﺘﺼﻨﻴﻒ واﻟﺘﻔﺴري‪ ،‬إﻻ أن أﻫﻢ ﻣﺎ ﻗﺎم ﺑﻪ‬ ‫ﻫﻮ اﻟﺘﺤﻘﻴﻖ وﺗﺼﺤﻴﺢ ﻣﻌﻠﻮﻣﺎت وﻛﺘﺐ‬ ‫اﳌﺴﺘﴩﻗني ﻣﻤﻦ ﺳﺒﻘﻮه‪.‬‬ ‫وﻋﻨﻲ ﻛﺮاﺗﺸﻜﻮﻓﺴيك‪ ،‬ﺑﺎﻟﺸﻌﺮ اﻟﻌﺮيب أميﺎ‬ ‫ﻋﻨﺎﻳﺔ ﻓﻜﺘﺐ أﺑﺤﺎﺛﺎً ﰲ ﻏﺎﻳﺔ اﻷﻫﻤﻴﺔ ﺣﻮل اﺑﻦ‬ ‫اﳌﻌﺘﺰ واﳌﺘﻨﺒﻲ وأيب اﻟﻌﻼء اﳌﻌﺮي واﻟﻮأواء‬ ‫اﻟﺪﻣﺸﻘﻲ‪ ،‬ﻛام أﻧﻪ ﻛﺎن ﻣﻦ أواﺋﻞ اﻟﺒﺎﺣﺜني‬ ‫ﰲ اﻷدب اﻟﻌﺮيب اﻟﺤﺪﻳﺚ‪ ،‬ﺣﻴﺚ ﻗﺪم ﻓﻴﻪ‬ ‫دراﺳﺎت ﻗﻴﻤﺔ ﻋﻦ ﻃﻪ ﺣﺴني‪ ،‬ﻣﺤﻤﻮد‬ ‫ﺗﻴﻤﻮر‪ ،‬ﺗﻮﻓﻴﻖ اﻟﺤﻜﻴﻢ‪ ،‬ﻣﻴﺨﺎﺋﻴﻞ ﻧﻌﻴﻤﺔ‬ ‫واﻟﺸﺎﻋﺮ ﻣﺤﻤﺪ ﻣﻬﺪي اﻟﺠﻮاﻫﺮي‪ .‬وﻗﺪ‬ ‫أﺻﺪرت ﻟﻪ أﻛﺎدميﻴﺔ اﻟﻌﻠﻮم اﻟﺴﻮﭬﻴﺘﻴﺔ ﺳﺘﺔ‬ ‫ﻣﺠﻠﺪات ﺗﻀﻢ ﻣﺠﻤﻮع ﻣﺎ ﻛﺘﺒﻪ اﳌﺴﺘﻌﺮب‬ ‫ﻛﺮاﺗﺸﻜﻮﻓﺴيك ﰲ ﻣﺨﺘﻠﻒ اﳌﺠﺎﻻت اﻷدﺑﻴﺔ‬ ‫واﻟﻔﻜﺮﻳﺔ‪.‬‬ ‫واﺣﺘﻠﺖ ﻣﺮاﺟﻌﺔ اﳌﺨﻄﻮﻃﺎت اﻟﻌﺮﺑﻴﺔ اﳌﺮﻛﺰ‬ ‫اﻷول ﻟﺪى ﻛﺮاﺗﺸﻜﻮﻓﺴيك‪ .‬وﻳﻌﺘﱪ ﻛﺘﺎﺑﻪ‬ ‫»دراﺳﺔ اﳌﺨﻄﻮﻃﺎت اﻟﻌﺮﺑﻴﺔ« اﻟﺼﺎدر ﰲ‬ ‫ﻋﺎم ‪ 1949‬واﻟﺬي ﺗﺮﺟﻢ اﱃ ﻋﺪة ﻟﻐﺎت أﺟﻨﺒﻴﺔ‬ ‫ﻣﻦ أﻫﻢ أﻋامﻟﻪ وﻗﺪ ﻣﻨﺢ ﻋﻠﻴﻪ ﺟﺎﺋﺰة اﻟﺪوﻟﺔ‬ ‫اﻟﺴﻮﻓﻴﺘﻴﺔ ﰲ ﻋﺎم ‪.1951‬‬ ‫وﻟﻜﻦ ﻳﻈﻞ ﻋﻤﻠﻪ اﳌﺒﻬﺮ اﻷول ﺗﺮﺟﻤﺔ ﻣﻌﺎين‬ ‫اﻟﻘﺮآن‪ ،‬وذﻟﻚ ﺑﻌﺪ أن ﻛﺎن ﻗﺪ ﺻﺪرت أول‬ ‫ﺗﺮﺟﻤﺔ ﻟﻬﺎ ﺑﺎﻟﺮوﺳﻴﺔ وﻛﺎﻧﺖ ﰲ ﻏﺎﻳﺔ اﻟﺮداءة‪،‬‬ ‫ﺣﻴﺚ متﺖ ﺗﺮﺟﻤﺘﻪ ﻋﻦ اﻟﻔﺮﻧﺴﻴﺔ ﺑﺄﻣﺮ ﻣﻦ‬ ‫اﻟﻘﻴﴫ اﻟﺮوﳼ ﺑﻄﺮس اﻷﻛﱪ‪ ،‬ﻋﻠ ًام ﺑﺄن‬ ‫اﳌﺼﺤﻒ اﻟﴩﻳﻒ ﻛﺎن ﻗﺪ ﻃﺒﻊ ﺧﻤﺲ‬ ‫ﻣﺮات ﺑﺎﻟﻠﻐﺔ اﻟﻌﺮﺑﻴﺔ ﺑﺄﻣﺮ ﻣﻦ اﻻﻣﱪاﻃﻮرة‬ ‫ﻛﺎﺗﺮﻳﻨﺎ اﻟﺜﺎﻧﻴﺔ‪ .‬إﻻ أن اﻟﱰاﺟﻢ اﻟﺴﺎﺑﻘﺔ‬ ‫ﻛﺎﻧﺖ ذات ﻃﺎﺑﻊ »ﺗﻨﻮﻳﺮي« ﻣﻦ دون ﻗﻴﻤﺔ‬ ‫ﻋﻠﻤﻴﺔ ﺗﺬﻛﺮ‪ ،‬ﻷن ﻛﺎﻓﺔ اﳌﱰﺟﻤني مل ﻳﻜﻮﻧﻮا‬ ‫ﻣﻦ ذوي اﻻﺧﺘﺼﺎص‪ ،‬ﻟﻜﻨﻬﺎ ﻣﺎرﺳﺖ دوراً‬ ‫ﻣﻬام ﰲ ﺗﻌﺮﻳﻒ اﻟﻘﺎرئ اﻟﺮوﳼ ﺑﺎﻻﺳﻼم‬ ‫ﻋﲆ ﺣﻘﻴﻘﺘﻪ‪ .‬إﱃ أن ﺟﺎء ﻛﺮاﺗﺸﻜﻮﻓﺴيك‬ ‫اﻟﺬي ﺧﻠﺺ اﻟﱰاﺟﻢ ﻣﻦ اﻟﻨﻮاﻗﺺ واﻟﻌﺒﺎرات‬ ‫اﻟﻐﺎﻣﻀﺔ واﳌﻨﺴﻴﺔ ﻣام ﻛﺎن ﻳﺤﻮل ﻣﻦ دون‬ ‫ﻓﻬﻢ ﻣﻌﺎين اﻟﻘﺮآن ﺑﺪﻗﺔ‪ ،‬وﻋﻜﻒ ﻧﻔﺴﻪ ﻋﲆ‬ ‫إﻋﺪاد ﺗﺮﺟﻤﺔ ﻋﻠﻤﻴﺔ ﺟﺪﻳﺪة ﳌﻌﺎين اﻟﻘﺮآن‬

‫اﻟﻨﺸﺎﺷﻴﺒﻲ واﻷب ﻟﻮﻳﺲ ﺷﻴﺨﻮ‪ .‬ﺣﻴﺚ ُﻋ ّني‬ ‫ﺑﻌﺪ ﻋﻮدﺗﻪ ﻣﺪﻳﺮاً ﳌﻜﺘﺒﺔ اﻟﻠﻐﺎت اﻟﴩﻗﻴﺔ ﰲ‬ ‫ﺟﺎﻣﻌﺔ ﺳﺎن ﺑﻄﺮﺳﺒﻮرغ ﺛﻢ ﻣﺪرﺳﺎً ﻟﻠﻌﺮﺑﻴﺔ‬ ‫ﺛﻢ ﻣﻌﻠ ًام َ‬ ‫أول ﻟﻠﺪراﺳﺎت اﻟﻌﺮﺑﻴﺔ ﻓﻴﻬﺎ‪.‬‬ ‫اﺗﺒﻊ ﻣﻨﻬﺠﺎً ﻣﺨﺘﻠﻔﺎً متﺎﻣﺎً ﻋﻦ ﻣﻨﺎﻫﺞ‬ ‫اﳌﺴﺘﴩﻗني اﻻوروﺑﻴني‪ ،‬واﻋﺘﻤﺪ ﻟﺤﺪ ﻛﺒري‬ ‫ﻋﲆ اﳌﺼﺎدر اﻟﻌﺮﺑﻴﺔ اﻷﺻﻠﻴﺔ وزار ﻟﻬﺬا‬ ‫اﻟﻐﺮض ﻟﺒﻨﺎن وﺳﻮرﻳﺎ وﻣﴫ واﻟﺘﻘﻰ ﻋﻠامء‬ ‫اﻟﻠﻐﺔ ورﺟﺎل اﻟﺜﻘﺎﻓﺔ اﻟﻌﺮب‪ ،‬وارﺗﺒﻂ ﺑﻌﻼﻗﺎت‬ ‫ﺻﺪاﻗﺔ ﻣﻊ اﻟﻌﺪﻳﺪ ﻣﻨﻬﻢ وأﺣﺪﻫﻢ أﻣني‬ ‫اﻟﺮﻳﺤﺎين‪ ،‬وﻧﴩت أﻋامﻟﻪ ﺑﺎﻟﻠﻐﺔ اﻟﻌﺮﺑﻴﺔ ﻣﻨﻬﺎ‬ ‫ﻛﺘﺎﺑﻪ ﺣﻮل اﳌﺨﻄﻮﻃﺎت اﻟﻌﺮﺑﻴﺔ‪ ،‬ﻛام ﻧﴩ‬ ‫ﺗﺤﺖ رﻋﺎﻳﺔ ﺟﺎﻣﻌﺔ اﻟﺪول اﻟﻌﺮﺑﻴﺔ ﻛﺘﺎﺑﻪ‬ ‫ﺣﻮل ﺗﺎرﻳﺦ اﳌﺮاﺟﻊ اﻟﺠﻐﺮاﻓﻴﺔ ﻋﻨﺪ اﻟﻌﺮب‪.‬‬

‫ُﻨﻲ ﻛﺮاﺗﺸﻜﻮﻓﺴﻜﻲ‪ ،‬ﺑﺎﻟﺸﻌﺮ‬ ‫ﻋ َ‬ ‫اﻟﻌﺮﺑﻲ أﻳﻤﺎ ﻋﻨﺎﻳﺔ ﻓﻜﺘﺐ أﺑﺤﺎﺛﺎً ﻓﻲ‬ ‫ﻏﺎﻳﺔ اﻷﻫﻤﻴﺔ ﺣﻮل اﺑﻦ اﻟﻤﻌﺘﺰ‬ ‫واﻟﻤﺘﻨﺒﻲ وأﺑﻲ اﻟﻌﻼء‬ ‫إن أﻫﻤﻴﺔ ﻛﺮاﺗﺸﻜﻮﭬﺴﻜﻲ‬ ‫ﻻ ﺗﻜﻤﻦ ﻓﻲ ﻛﻤﻴﺔ ﻣﻨﺠﺰه ﺑﻞ‬ ‫ﻓﻲ ﻧﻮﻋﻴﺘﻪ‪ ،‬وﻃﺮﻳﻘﺔ ﺑﺤﺜﻪ اﻟﻤﻨﻬﺠﻴﺔ‬ ‫وﺗﻮﰲ ﻗﺒﻞ إﻧﺠﺎزﻫﺎ ﻛﺎﻣﻠﺔ‪ ،‬إﻻ أﻧﻬﺎ ﻧﴩت‬ ‫ﺑﻌﺪ وﻓﺎﺗﻪ‪ ،‬وأﺻﺤﺒﺖ اﳌﺮﺟﻊ اﻷول ﻟﻠﺒﺎﺣﺜني‬ ‫واﳌﻌﻨﻴني ﺣﻴﺚ ﻋﺪوﻫﺎ اﻟﱰﺟﻤﺔ اﻷﻛرث دﻗﺔ‬ ‫ﻣﻦ ﺟﻤﻴﻊ اﻟﱰاﺟﻢ اﻟﺼﺎدرة ﺑﺎﻟﺮوﺳﻴﺔ‪.‬‬ ‫ﻧﺤﻮ اﻟﺸﺮق‬ ‫ﰲ اﻟﻌﺎم ‪ ،1907‬أوﻓﺪﺗﻪ ﺟﺎﻣﻌﺔ ﺳﺎن ﺑﻄﺮﺳﺒﻮرغ‬ ‫إﱃ اﳌﴩق اﻟﻌﺮيب‪ ،‬وذﻟﻚ ﻟﺘﻌ ّﻠﻢ اﻟﻠﻬﺠﺎت‬ ‫اﻟﻌﺮﺑﻴﺔ اﳌﺤﻜﻴﺔ اﻟ ّﺪارﺟﺔ وﺗﻌﺮف اﻵداب‬ ‫واﻟﻌﺎدات‪ ،‬واﻟﻠﻘﺎء ﻣﻊ ﻋﻠامء اﻟﻌﺮﺑﻴﺔ‪ ،‬ﻓﺄﻣﴣ‬ ‫ﺳﻨﺘني ﺑني ﺳﻮرﻳﺎ وﻟﺒﻨﺎن وﻓﻠﺴﻄني وﻣﴫ‪،‬‬ ‫وﺗﺮدد ﻋﲆ اﻟﻜﻠﻴﺔ اﻟﻴﺴﻮﻋﻴﺔ ﰲ ﺑريوت‪،‬‬ ‫واﻟﺠﺎﻣﻊ اﻷزﻫﺮ واﻟﺠﺎﻣﻌﺔ اﳌﴫﻳﺔ‪ ،‬واﳌﻜﺘﺒﺔ‬ ‫اﻟﺨﺪﻳﻮﻳﺔ ﰲ اﻟﻘﺎﻫﺮة‪ ،‬واﳌﻜﺘﺒﺔ اﻟﻈﺎﻫﺮﻳﺔ ﰲ‬ ‫دﻣﺸﻖ‪ ،‬واﳌﻜﺘﺒﺔ اﻟﺨﺎﻟﺪﻳﺔ ﰲ اﻟﻘﺪس‪ ،‬وﻣﻜﺘﺒﺔ‬ ‫اﳌﻮارﻧﺔ ﰲ ﺣﻠﺐ‪ ،‬وﺗﻌﺮف إﱃ ﺟﺮﺟﻲ زﻳﺪان‬ ‫وأﺣﻤﺪ زيك وﺧﻠﻴﻞ اﻟﺴﻜﺎﻛﻴﻨﻲ وإﺳﻌﺎف‬

‫اﻟﺴﺠﻦ واﻟﺘﻬﻤﺔ اﻟﻘﺒﻴﺤﺔ‬ ‫ﻻ ﺑﺪ ﻟﻨﺎ أن ﻧﺬﻛﺮ أن ﻛﺮاﺗﺸﻜﻮﻓﺴيك ﻋﺎىن ﻣﻦ‬ ‫اﻟﺤﻜﻢ اﻟﺮوﳼ اﻟﻘﻤﻌﻲ واﻷوﺿﺎع اﳌﻀﻄﺮﺑﺔ‬ ‫ﰲ اﻟﺒﻼد ﺑﻌﺪ ﺛﻮرة اﻛﺘﻮﺑﺮ ﻋﺎم ‪ .1917‬ﺣﻴﺚ‬ ‫اﺗﻬﻢ ﺑﺄﻧﻪ ﺟﺎﺳﻮس ﻟﺤﺴﺎب ﻓﻨﻠﻨﺪا واﻋﺘﻘﻞ‬ ‫ﻣﻊ زوﺟﺘﻪ ﰲ ‪ 20‬ﻳﻮﻟﻴﻮ‪/‬متﻮز ﻋﺎم ‪ 1922‬ﺣني‬ ‫ﻛﺎن ﻳﺤﺘﻔﻞ ﺑﺬﻛﺮى ﻣﺮور ‪ 10‬أﻋﻮام ﻋﲆ زواﺟﻪ‬ ‫وذﻟﻚ ﺑﺴﺒﺐ وﺟﻮد ﺻﻠﺔ ﻟﺰوﺟﺘﻪ ﻣﻊ ﻋﺎﺋﻠﺔ‬ ‫ﻓﻨﻠﻨﺪﻳﺔ ﻛﺎﻧﺖ ﺗﺰودﻫﻢ ﺑﺎﳌﻮاد اﻟﻐﺬاﺋﻴﺔ‪،‬‬ ‫وﺗﺪﺧﻠﺖ إدارة أﻛﺎدميﻴﺔ اﻟﻌﻠﻮم اﻟﺮوﺳﻴﺔ ﻟﺪى‬ ‫اﳌﺴﺆوﻟني ﻣﻦ أﺟﻞ إﻃﻼق ﴎاﺣﻪ وﻟﻜﻦ مل‬ ‫ﻳﻄﻠﻖ ﴎاﺣﻪ‪ ،‬ﺑﻞ ﺳﻤﺢ ﻟﻪ ﻓﻘﻂ ﺑﺎﻻﺳﺘﻔﺎدة‬ ‫ﻣﻦ ﻛﺘﺐ اﳌﺘﺤﻒ اﻵﺳﻴﻮي ﻷﻛﺎدميﻴﺔ اﻟﻌﻠﻮم‪.‬‬ ‫اﺳﺘﻔﺎد ﻛﺮاﺗﺸﻜﻮﻓﺴيك ﻣﻦ ﻓﱰة ﺳﺠﻨﻪ وﻗﺮأ‬ ‫اﻟﻜﺜري ﻣﻦ اﻟﻜﺘﺐ ﺣﻮل اﻟﺘﺄرﻳﺦ اﻟﻌﺮيب واﻹﺳﻼم‬ ‫ودرس اﻟﻨﺤﻮ اﻟﻌﺮيب واﻟﻠﻬﺠﺔ اﳌﴫﻳﺔ وﻛﺘﺐ‬ ‫ﻋﺪة ﻣﻘﺎﻻت وﻣﻼﺣﻈﺎت‪ .‬وﻗﺪ أمثﺮ ﺗﺪﺧﻞ‬ ‫أﻛﺎدميﻴﺔ اﻟﻌﻠﻮم اﻟﺮوﺳﻴﺔ ﰲ ﻧﻬﺎﻳﺔ اﳌﻄﺎف‪،‬‬ ‫ﺣﻴﺚ ﺻﺪر ﻗﺮار ﺑﻨﻔﻲ ﻛﺮاﺗﺸﻜﻮﻓﺴيك‬ ‫وزوﺟﺘﻪ إﱃ ﺧﺎرج اﻟﺒﻼد أو إﱃ ﻣﻘﺎﻃﻌﺔ ﭬﻴﺎﺗﻜﺎ‬ ‫اﻟﻨﺎﺋﻴﺔ‪ .‬إﱃ أن ﺗﺪﺧﻞ ﰲ اﻟﻘﻀﻴﺔ ﻣﻴﺨﺎﺋﻴﻞ‬ ‫ﺳﻮﻛﻮﻟﻮڤ اﻟﻌﺎمل اﳌﺨﺘﺺ ﺑﺎﻟﺪراﺳﺎت اﻟﻌﱪﻳﺔ‬ ‫وﺻﺪﻳﻖ ﻛﺮاﺗﺸﻜﻮﻓﺴيك واﺳﺘﻄﺎع اﻗﻨﺎع‬ ‫اﻟﺴﻠﻄﺎت ﺑﱪاءة ﻛﺮاﺗﺸﻜﻮﻓﺴيك ﻣﻦ اﻟﺘﻬﻤﺔ‬ ‫اﳌﻮﺟﻬﺔ اﻟﻴﻪ‪ ،‬ﻓﺄﺧﲇ ﺳﺒﻴﻞ ﻛﺮاﺗﺸﻜﻮﻓﺴيك ﰲ‬ ‫‪ 12‬ﻳﻨﺎﻳﺮ ﻋﺎم ‪ 1923‬وﻋﺎد اﱃ ﻣﻜﺎن ﻋﻤﻠﻪ ﰲ‬ ‫ﻛﻠﻴﺔ اﻻﺳﺘﴩاق‪.‬‬ ‫أﻛﺘﻮﺑﺮ ‪73 2017 /‬‬

‫ﻣﻦ اﻟﻐﺮب‬ ‫‪baytelshear‬‬

‫ﺗﺮﺟﻢ اﻟﻘﺮآن اﻟﻜﺮﻳﻢ ﻟﻠﺮوﺳﻴﺔ ﺗﺮﺟﻤﺔ دﻗﻴﻘﺔ‬

‫ﻛﺮاﺗﺸﻜﻮﻓﺴﻜﻲ‪..‬‬ ‫ﻋﺮاب اﻻﺳﺘﻌﺮاب اﻟﺮوﺳﻲ‬ ‫ّ‬ ‫ﻫﺎﻧﻲ ﻧﺪﻳﻢ‬

‫إن أردﻧﺎ أن ﻧﺬﻛﺮ ﻣﺴﺘﺸﺮﻗ ًﺎ روﺳﻴ ًﺎ واﺣﺪ ًا ﻓﻼ ﺷﻚ أﻧﻪ ﺳﻴﻜﻮن إﻏﻨﺎﻃﻴﻮس ﻳﻮﻟﻴﺎﻧﻮﭬﻴﺘﺶ ﻛﺮاﺗﺸﻜﻮﻓﺴﻜﻲ ﻣﺆﺳﺲ ﻣﺪرﺳﺔ‬ ‫اﻻﺳﺘﻌﺮاب اﻟﺮوﺳﻴﺔ‪ ،‬وواﺿﻊ ﻣﻨﺎﻫﺞ دراﺳﺔ ﺗﺎرﻳﺦ وآداب اﻟﻌﺮب ﻓﻲ ﻣﺨﺘﻠﻒ أرﺟﺎء اﻻﻣﺒﺮاﻃﻮرﻳﺔ اﻟﺮوﺳﻴﺔ‪ P‬اﻟﻌﺎﻟﻢ اﻟﻤﺘﻔﺮد واﻟﻤﺘﺒﺤﺮ ﻓﻲ‬ ‫ﻋﻠﻮم اﻟﻠﻐﺔ اﻟﻌﺮﺑﻴﺔ ودﻗﺎﺋﻘﻬﺎ‪P‬‬ ‫إن أﻫﻤﻴﺔ ﻛﺮاﺗﺸﻜﻮﭬﺴﻜﻲ ﻻ ﺗﻜﻤﻦ ﻓﻲ ﻛﻤﻴﺔ ﻣﻨﺠﺰه ﺑﻞ ﻓﻲ ﻧﻮﻋﻴﺘﻪ‪ ،‬وﻃﺮﻳﻘﺔ ﺑﺤﺜﻪ اﻟﻤﻨﻬﺠﻴﺔ‪ ،‬وﻫﻮ ﻣﺎ أﻧﻘﺬ ﻣﻌﺎﻧﻲ اﻟﻘﺮآن ﻣﻦ ﺗﺮﺟﻤﺔ‬ ‫روﺳﻴﺔ ﻛﺎﻧﺖ ﻓﻲ ﻣﻨﺘﻬﻰ اﻟﺮداءة‪ ،‬ﻓﺘﺮﺟﻢ اﻟﻘﺮآن اﻟﻜﺮﻳﻢ ﻟﻠﺮوﺳﻴﺔ ﺗﺮﺟﻤﺔ دﻗﻴﻘﺔ‪ P‬ﻣﺎ زاﻟﺖ ﻣﺮﺟﻌ ًﺎ ﻟﻠﺒﺎﺣﺜﻴﻦ‪P‬‬ ‫اﻟﻤﻨﺰل اﻷول‬ ‫وﻟﺪ إﻏﻨﺎﻃﻴﻮس ﻛﺮاﺗﺸﻜﻮﻓﺴيك ﰲ ‪16‬‬ ‫ﻣﺎرس ﻣﻦ ﻋﺎم ‪ 1883‬مبﺪﻳﻨﺔ ﭬﻴﻠﻨﺎ ”ﻋﺎﺻﻤﺔ‬ ‫ﺟﻤﻬﻮرﻳﺔ ﻟﻴﺘﻮاﻧﻴﺎ ﺣﺎﻟﻴﺎً“‪ .‬وﻛﺎن واﻟﺪه‬ ‫”ﻟﻴﻮﻟﻴﺎن“ ﻣﺪﻳﺮ ﻣﻌﻬﺪ اﳌﻌﻠﻤني ﻫﻨﺎك‪.‬‬ ‫وﻣﺎ إن ﺑﻠﻎ ﻋﺎﻣﻪ اﻟﺜﺎﻣﻦ ﻋﴩ ﺣﺘﻰ ﺗﻌﻠﻢ‬ ‫ﻟﻐﺎت أﻫﻞ اﻟﴩق‪ .‬ودﺧﻞ ﻟﻴﺪرس ﰲ ﻛﻠﻴﺔ‬ ‫اﻟﻠﻐﺎت اﻟﴩﻗﻴﺔ ﺑﺠﺎﻣﻌﺔ ﺳﺎﻧﺖ ﭘﻄﺮﺳﺒﻮرغ‪،‬‬ ‫ﻓﺪرس اﻟﻌﱪﻳﺔ واﻟﺤﺒﺸﻴﺔ‪ ،‬ﺛﻢ أﻛﻤﻞ اﻟﻌﺮﺑﻴﺔ‬ ‫واﻟﻔﺎرﺳﻴﺔ واﻟﱰﻛﻴﺔ واﻟﺘﱰﻳﺔ‪.‬‬ ‫درس إﻏﻨﺎﻃﻴﻮس ﺗﺎرﻳﺦ اﻟﴩق اﻹﺳﻼﻣﻲ ﻋﲆ‬ ‫ﻳﺪ اﳌﺆرخ اﻟﺮوﳼ ﺑﺎرﺗﻮﻟﺪ‪ ،‬وﺗﺪرب ﻋﲆ ﻟﻐﺔ‬ ‫اﳌﺨﺎﻃﺒﺔ اﻟﻌﺮﺑﻴﺔ ﰲ اﻟﻠﻬﺠﺔ اﻟﺸﺎﻣﻴﺔ ﻋﲆ ﻳﺪ‬ ‫اﻟﻠﺒﻨﺎين أﻧﻄﻮان ﺧﺸﺎب‪ ،‬وﻣﻊ ازدﻳﺎد ﻣﻌﺮﻓﺘﻪ‬ ‫ﺑﺎﻟﻠﻐﺔ اﻟﻌﺮﺑﻴﺔ‪ ،‬أوﻟﻊ ﺑﻬﺎ وﺑﺘﻔﺎﺻﻴﻠﻬﺎ ﻣام‬ ‫دﻓﻊ ﺑﻪ إﱃ دراﺳﺔ ﺗﺎرﻳﺦ اﻟﴩق اﻹﺳﻼﻣﻲ‪،‬‬ ‫ﻓﺘﺘﻠﻤﺬ ﻋﲆ أﻳﺪي أﻫﻢ ﻋﻠامء زﻣﺎﻧﻪ ﻣﺜﻞ‬ ‫ﻣﻴﻠﻴﻮراﻧﺴيك ‪ Melioransky‬ﰲ ﻋﻠﻢ اﻟﻠﻐﺔ‬ ‫اﻟﻌﺎم‪ ،‬وﻓﺴﻴﻠﻮﻓﺴيك ‪A.N.Vasselovsky‬‬ ‫ﰲ ﺗﺎرﻳﺦ اﻷدب اﻟﻌﺎم‪ ،‬وﺑﺎرﺗﻮﻟﺪ ‪Bartold‬‬ ‫ﰲ اﻟﺘﺎرﻳﺦ اﻹﺳﻼﻣﻲ‪ ،‬وﻗﺪ ﺗﺨﺮج ﰲ ﻋﺎم ‪1905‬‬ ‫ﺣﺎﺋﺰاً اﳌﻴﺪاﻟﻴﺔ اﻟﺬﻫﺒﻴﺔ ﳌﺆﻟَﻔﻪ ﻋﻦ اﻟﺨﻼﻓﺔ‬ ‫ﰲ ﻋﻬﺪ اﻟﺨﻠﻴﻔﺔ اﻟﻌﺒﺎﳼ اﳌﻬﺪي‪ .‬ﺣﻴﺚ‬ ‫اﻋﺘﻤﺪ ﻣﺼﺎدرﻫﺎ اﻟﻌﺮﺑﻴﺔ اﳌﺸﻬﻮرة ﻣﺜﻞ اﺑﻦ‬ ‫اﻷﺛري واﻟﻄﱪي واﳌﺴﻌﻮدي وﻏريﻫﻢ‪ ،‬وﻧﺎل‬ ‫درﺟﺔ اﳌﺎﺟﺴﺘري ﻋﺎم ‪.1907‬‬ ‫اﻟﺸﻌﺮ ‪ /‬اﻟﻌﺪد ‪60‬‬ ‫‪ 72‬ﺑﻴﺖ ِ‬

‫إن ﻗﺮاءﺗﻨﺎ ﻟﻬﺬه اﻟﻘﺼﺔ ﺗﺒﺪي أن اﻟﺘﻌﺎﻇﻢ ﺑني اﻟﺨﻨﺴﺎء وﻫﻨﺪ ﺑﻨﺖ‬ ‫اﻟﻌﺮب مبﺼﻴﺒﺘِﻚِ ؛ َﻓ ِﺒ َﻢ ﺗﻌﺎﻇﻤﻴ َﻨ ُﻬﻢ أﻧﺖ؟‬ ‫ني‬ ‫ﺗُﻌﺎﻇﻤ َ‬ ‫َ‬ ‫ﻗﺎﻟﺖ‪ :‬ﺑﺄيب ﻋﻤﺮو ﺑﻦ اﻟﴩﻳﺪ وأﺧ َﻮ ﱠي ﺻﺨﺮ وﻣﻌﺎوﻳﺔ؛ ﻓﺒﻢ ﺗﻌﺎﻇﻤﻴﻨﻬﻢ ﻋﺘﺒﺔ ﻳﺒﺪو ﰲ ﻇﺎﻫﺮه ﻣﻦ ﺑﺎب اﺳﺘﻜﺒﺎر اﳌﺼﻴﺒﺔ اﻟﺘﻲ أﳌﺖ ﺑﻜﻞ‬ ‫واﺣﺪة ﻣﻨﻬام؛ ﻟﻜﻨﻪ ﰲ ﺑﺎﻃﻨﻪ ﻳﻨﻄﻮي ﻋﲆ ﺗﻔﺎﺧﺮ ﻗﺒ ّ‬ ‫وأﴎي ﺛﻢ‬ ‫ﲇ‬ ‫ّ‬ ‫أﻧﺖ؟‬ ‫ذايت؛ إن اﳌﺮأة ﻫﻨﺎ ﺗﺤﺎول أن ﺗﻔﺎﺧﺮ وﺗﺠﺎﻫﺮ ﰲ اﳌﻔﺎﺧﺮة ﻣﺴﺘﻌﻤﻠﺔ‬ ‫ﻗﺎﻟﺖ‪ :‬ﺑﺄيب ﻋﺘﺒﺔ وﻋﻤﻲ ﺷﻴﺒﺔ ﺑﻦ رﺑﻴﻌﺔ وأﺧﻲ اﻟﻮﻟﻴﺪ‪.‬‬ ‫ً‬ ‫اﻟﺮﺛﺎء ﻣﻄﻴﺔ ﻟﺬﻟﻚ؛ ﻣﻮﻇﻔﺔ اﻟﺒﻄﻮﻟﺔ واﻟﺸﺠﺎﻋﺔ واﻟﺴﻴﺎدة واﻟﺮﻳﺎدة‬ ‫ﻗﺎﻟﺖ اﻟﺨﻨﺴﺎء‪ :‬أ َو َﺳﻮا ٌء ﻫﻢ ﻋﻨﺪك؟‬ ‫واﻟﺠﻮد واﻟﻌﺰ واﻟﻌﺰوة ﺑﺎﻹﺧﻮة واﻷﻋامم واﻵﺑﺎء‪ ..‬وﻟﻌﻞ ﻣﺎ ﻳﺆﻛﺪ ﻫﺬا‬ ‫أﻧﺸﺪت ﺗﻘﻮل‪:‬‬ ‫ﻗﺎﻟﺖ‪ :‬ﻧﻌﻢ‪ :‬ﺛﻢ‬ ‫ْ‬ ‫‪12‬‬ ‫اﻟﻄﺮح اﻟﺬي ﻧﺰﻋﻤﻪ ﻛام مل ﻳﺰﻋﻤﻪ أﺣﺪ ﻣﻦ ﻗﺒﻠﻨﺎ ﻫﻮ أن اﻟﺸﺎﻋﺮﺗني‬ ‫*&‪Q C+U &¸* QzCCªCC S C <Q «CCC X CCC+Q R‬‬ ‫‪f ¤R ªU Q FS ÕCC‬‬ ‫‪S U CtCC‬‬ ‫‪Q C CC‬‬ ‫‪ fCCC CM|CCCM 13 fCCCCCCC+ CCC‬ﻣﻌﺎً ﺗﻮاﺟﺪﺗﺎ ﰲ ﺳﻮق ﻋﻜﺎظ؛ ﺣﻴﺚ ﻣﻠﺘﻘﻰ اﻟﺸﻌﺮاء وﺳﺎﺣﺔ اﻟﺒﻠﻐﺎء‬ ‫‪QJ RzCC R P Q X CF ¢CCC‬‬ ‫‪U CH fCCC¤Q CCC Q CCCIS fCCCHQ KQ‬‬ ‫واﻟﻨﻘﺎد‪ .‬وﻻ ﺑﺪ أﻧﻪ ﻗﺪ ﺗ َ​َﺤ ﱠﻮ َم ﺣﻮﻟﻬام ﺧﻼل إﻧﺸﺎدﻫام ﻫﺬه اﻷﺷﻌﺎر‬ ‫*&‪Q * jR gQ kU <R «+Q‬‬ ‫‪-14«S Q <f‬‬ ‫»‪QU‬‬ ‫‪U DQ S tQ MU KQ Sm*Ô‬‬ ‫ﺟﻤﻬﻮر ﻋﺮﻳﺾ ﻣﻦ اﻟﻌﺮب؛ ﺑﺤﻴﺚ ﺣﻔﺰوا ﻟﺪﻳﻬام ﺣﺲ اﳌﻨﺎﻓﺴﺔ‬ ‫‪15‬‬ ‫‪Q *KQ jCR CgQ CªCC CCQ 7K‬‬ ‫‪ fCC QJ RzCCªCCGS KQ 4fCCCHQ {CCX CG* «CCCHS fCCCº‬واﻟﺘﺒﺎري اﻟﺸﻌﺮي ﻻ ﺣﺲ اﻟﺒﻜﺎء واﻟﺮﺛﺎء‪ ،‬وأﺻﺒﺤﺖ ﻛﻞ واﺣﺪة‬ ‫*&‪Q CcS CCCCCGQ KR‬‬ ‫‪hCC‬‬ ‫‪U CH SzCCCqCCC¼* %R * CCCC‬‬ ‫‪P CGS fCCC=Q S %* ¢CCC‬‬ ‫‪ 16‬ﻣﻨﻬام ﺗﺤﺎول أن ﺗﻈﻬﺮ ﺧﺼﻮﺑﺘﻬﺎ اﻟﺸﻌﺮﻳﺔ أﻣﺎم اﻷﺧﺮى؛ ﻟﻬﺬا ﻓﻘﺪ‬ ‫‪Q C Q C ¡U C MR fCC¤Q C ¡CCH X~CCC S CCCG* ·KQ‬‬ ‫‪ fCCC QJ RzCCCM SzCCC< ¨C‬اﺳﺘﻌﻤﻠﺖ ﻫﻨﺪ ﰲ ﻣﺨﺎﻃﺒﺘﻬﺎ اﻟﺨﻨﺴﺎء )وﻳﺤﻚ ﻓﺎﻋﻠﻤﻲ( واﺳﺘﻌﻤﻠﺖ‬ ‫ﻓﻘﺎﻟﺖ اﻟﺨﻨﺴﺎء‪:‬‬ ‫اﻟﺨﻨﺴﺎء ﰲ ﻣﺨﺎﻃﺒﺘﻬﺎ ﻟﻬﻨﺪ )ﻓﺬﻟﻚ ﻳﺎ ﻫﻨﺪ اﻟﺮزﻳﺔ ﻓﺎﻋﻠﻤﻲ(‪ ..‬إﻧﻪ‬ ‫‪P,|CCC‬‬ ‫‪S C= Q ÕCCC‬‬ ‫‪P U C Q CCCC+S N*|CCCC U CCCC< «CCCC‬‬ ‫*&‪Q C+Q&* «CCCC X CCCC+Q R‬‬ ‫‪Q CM~CCC‬‬ ‫‪ 17‬ﻣﻮﻗﻒ اﻟﺘﻨﺎﻓﺲ اﳌﺤﺘﺪم ﺑني ﺷﺎﻋﺮﺗني ﻗﻮﻳﺘني ﻻ ميﻜﻦ أن ﻳﻜﴪﻫام‬ ‫‪Q * Q fCCCCI *3(* CCªCC CCE‬‬ ‫‪R C RJ «CCCS‬‬ ‫»‪W CCC‬‬ ‫‪ fCCC QJR2§CCCqCC‬اﻟﺒﻜﺎء أﻣﺎم اﳌﻸ !!‬

‫‪Q MQ KS fCC Q CCHR ¨CC CQC CCIU &*Q ¸ 18¬V §Q CCC¡U CCC CCCS 8KQ‬‬ ‫‪¬{CCG* jCC‬‬ ‫‪Q * S,*|CCC CCR C6 ¢CC‬‬ ‫‪U CH R¥CCCG‬‬ ‫‪ fCCC QJR2§CCCDR KR 19ÕCCC‬وﺑﻬﺬا؛ ﻧﺨﻠﺺ إﱃ أن اﻟﺸﺎﻋﺮة اﻟﻌﺮﺑﻴﺔ اﻟﺠﺎﻫﻠﻴﺔ ﺗﺤﺎﻳﻠﺖ ‪-‬ﺑﻮﻋﻲ‬ ‫‪S U C-Q |V CCCCº‬‬ ‫‪R *3Q ¢CC‬‬ ‫‪* QzCC=Q *3Q (* |P Uw 8Q nH‬‬ ‫‪U CHQ K N*|w 8K‬‬ ‫أو ﺑﻐري وﻋﻲ‪ -‬ﻋﲆ اﻟﺴﻴﺎﻗﺎت اﳌام ِﻧ َﻌﺔ ﻟﺸﻌﺮﻳﺘﻬﺎ؛ ﻓﻔﺮﺟﺖ ﻋﻨﻬﺎ ﰲ‬ ‫‪Q‬‬ ‫‪Q‬‬ ‫‪R‬‬ ‫‪R‬‬ ‫‪U~CCCC‬‬ ‫‪fC‬‬ ‫‪C‬‬ ‫‪2‬‬ ‫‪§C‬‬ ‫‪C‬‬ ‫ ‬ ‫‪C‬‬ ‫‪M‬‬ ‫ ‬ ‫‪ ‬‬ ‫‪C‬‬ ‫ ‪E‬‬ ‫‪ fCCC‬‬ ‫‪C‬‬ ‫‪ CCC‬‬ ‫‪C‬‬ ‫‪+‬‬ ‫¸‬ ‫&‬ ‫ *‬ ‫‪C‬‬ ‫‪k‬‬ ‫‪C‬‬ ‫‪0fC‬‬ ‫‪C‬‬ ‫‪ C‬‬ ‫‪C‬‬ ‫‪ C‬‬ ‫‪C‬‬ ‫‪+‬‬ ‫‪QJR‬‬ ‫‪S¥C‬‬ ‫‪S‬‬ ‫‪O‬‬ ‫‪Q‬‬ ‫‪S‬‬ ‫‪Q‬‬ ‫‪U‬‬ ‫‪Q‬‬ ‫ﺗﻴامت ﺳﻤﺘﻬﺎ اﳌﺸﺎﺑﻬﺔ‪ ،‬ﺑﺤﻴﺚ أﺧﻔﺖ اﻟﻐﺰل واﻟﻔﺨﺮ اﻟﺬايت داﺧﻞ‬ ‫‪«CC CC CC<fCCD 20jCCCCM5|CCCCG* zCC¡CCJ fCCCM CCCG{CCCD‬‬ ‫ﻏﺮض ﺣﺎوﻟﺖ اﻟﻌﻘﻠﻴﺔ اﻟﺬﻛﻮرﻳﺔ أن ﺗﺠﻌﻠﻪ ﺣﻜﺮاً ﻋﲆ اﳌﺮأة؛ وﻧﻘﺼﺪ‬ ‫‪ 22 fCCJ2R §CCEK 21hCV C CC7 Õ0 i|CC0 £*ÔCCIK‬ﻏﺮض اﻟﺮﺛﺎء‪.‬‬

‫)‪ (1‬اﻟﺨﻨﺴﺎء‪ ،‬اﻷﻋامل اﻟﻜﺎﻣﻠﺔ‪ ،‬إﻋﺪاد ﺳﻤري إﺑﺮاﻫﻴﻢ‪ ،‬ط‪ ،1‬أﴍﻗﺖ )‪ (11‬إذا اﻟﻘﻮم ﻣﺪوا‪ :‬إذا ﺗﺴﺎﺑﻖ اﻟﻘﻮم ﻋﲆ ﺑﻠﻮغ أﻋﲆ ﻣﺮاﺗﺐ اﳌﺠﺪ‪،‬‬ ‫ﺗﺴﺎﺑﻖ ﺻﺨﺮ ﻣﻌﻬﻢ‪.‬‬ ‫ﻟﻠﻨﴩ واﻟﺘﻮزﻳﻊ‪ ،‬اﻟﻘﺎﻫﺮة‪-‬ﻣﴫ‪ ،2015 ،‬ص ‪.5‬‬ ‫)‪ (12‬ﻋﻤﻴﺪ اﻷﺑﻄﺤني‪ :‬ﺳﻴﺪ ﻣﻜﺔ‪.‬‬ ‫)‪ (2‬ﻋﻠﻢ اﻹﻧﺴﺎن‪.‬‬ ‫)‪ (13‬وﻣﺎﻧﻌﻬﺎ ﻣﻦ ﻛﻞ ﺑﺎغ‪ :‬ﺣﺎﻣﻴﻬﺎ ﻣﻦ ﻛﻞ ﻣﻌﺘﺪ ﻳﺮﻳﺪ ﺗﺪﻣريﻫﺎ‪.‬‬ ‫)‪ (3‬اﻧﻈﺮ‪ ،‬اﺑﻦ ﺳﻼم اﻟﺠﻤﺤﻲ‪ ،‬ﻃﺒﻘﺎت ﻓﺤﻮل اﻟﺸﻌﺮاء‪ ،‬ﻣﺤﻤﻮد‬ ‫)‪ (14‬اﳌﻨﺎدى ﻫﻨﺎ ﻫﻲ اﻟﺨﻨﺴﺎء‪.‬‬ ‫ﻣﺤﻤﺪ ﺷﺎﻛﺮ‪ ،‬دار اﳌﺪين‪ ،‬ﺟﺪة‪ ،1974 ،‬ص ‪.1006‬‬ ‫)‪ (15‬اﻟﺬﻣﺎر‪ :‬ﻣﺎ ﻳﺠﺐ ﺣامﻳﺘﻪ ﻛﺎﻷرض واﻟﻌﺮض‪.‬‬ ‫ﻋﻴﻨﻲ أﻛرثا ﻣﻦ اﻟﺪﻣﻊ‪.‬‬ ‫)‪(4‬‬ ‫أﻋﻴﻨﻲ ﺟﻮدا‪ :‬ﻳﺎ ﱠ‬ ‫ﱠ‬ ‫)‪ (16‬ﻳﻨﻤﻰ ﻋﺪﻳﺪﻫﺎ ‪ :‬ﺗﻘﺼﺪ ﺑﻬﺆﻻء ﺗﻌﺮﻓني ﺑﻘﻴﺔ آل اﻟﻌﺰ‬ ‫)‪ (5‬ﺻﺨﺮ‪ :‬أﺧﻮ اﻟﺨﻨﺴﺎء‪.‬‬ ‫ﻣﻦ أﻫﲇ‪.‬‬ ‫)‪ (6‬اﻟ ﱠﻨﺪا‪ :‬ﻛﻨﺎﻳﺔ ﻋﻦ اﻟﺠﻮد واﻟﻜﺮم‪.‬‬ ‫)‪ (17‬ﻣﻌﻨﺎﻫﺎ‪ :‬ﻗﻠﻴﻞ ﻣﺎ أﻧﺎم ﻣﻦ ﻛرثة اﻟﺒﻜﺎء‪.‬‬ ‫)‪ (7‬ﻃﻮﻳﻞ اﻟﻨﺠﺎد‪ :‬ﻛﻨﺎﻳﺔ ﻋﻦ ﻃﻮل اﻟﻘﺎﻣﺔ‪ ،‬واﻟﻨﺠﺎد ﻫﻮ ﺣامﺋﻞ‬ ‫ﺻﻨﻮي‪ :‬اﳌﺜﻴﻞ واﻟﺸﺒﻴﻪ‪.‬‬ ‫اﻟﺴﻴﻒ‪.‬‬ ‫(‬ ‫‪18‬‬ ‫)‬ ‫ﱠ‬ ‫)‪ (8‬رﻓﻴﻊ اﻟﻌامد‪ :‬ﻛﻨﺎﻳﺔ ﻋﻦ اﻟﺴﻴﺎدة واﻟﴩف‪ ،‬واﻟﻌامد ﻫﻮ ﻣﺎ ﻳﺴﻨﺪ )‪ (19‬اﻟﺤﺮﺗﺎن‪ :‬اﻷرض ذات اﻟﺤﺠﺎرة اﻟﺴﻮداء وﻛﺄﻧﻬﺎ أﺣﺮﻗﺖ‪.‬‬ ‫)‪ (20‬اﻟﺮزﻳﺔ‪ :‬اﳌﺼﻴﺒﺔ اﻟﺘﻲ ﺗﺴﺘﺤﻖ اﻟﺒﻜﺎء‪.‬‬ ‫ﺑﻪ ﰲ اﻷﺻﻞ أو ﻫﻮ اﻟﺒﻨﺎء اﻟﻌﺎﱄ اﳌﺮﺗﻔﻊ‪.‬‬ ‫)‪ (9‬ﺳﺎد ﻋﺸريﺗﻪ‪ :‬ﺣﻜﻢ اﳌﻘﺮﺑني ﻣﻦ ﻗﺒﻴﻠﺘﻪ )ذوي اﻟﻘﺮىب ﻣﻦ اﻟﻘﺒﻴﻠﺔ( )‪ (21‬ﺷﺐ‪ :‬ﺑﺪأ ﰲ اﻻﺷﺘﻌﺎل‪.‬‬ ‫)‪ (22‬اﻟﺨﻨﺴﺎء‪ ،‬ﻣﺮﺟﻊ ﺳﺎﺑﻖ‪ ،‬ص ص ‪.223-222‬‬ ‫)‪ (10‬أﻣﺮد‪ :‬ﺻﻔﺔ ﻣﺸﺒﻬﺔ ﺗﺪل ﻋﲆ اﻟﺜﺒﻮت‪.‬‬ ‫أﻛﺘﻮﺑﺮ ‪71 2017 /‬‬

‫اﻟﻟﺠﺠ ﺎﺎﻫ ﻲ‬ ‫ﻠﻲ‬ ‫اﻟﺠ ﺎﻫﻠﻲ‬ ‫‪baa teellsshhe‬‬ ‫‪baytelshear‬‬

‫وﻧﺤﻦ ﻧﺰﻋﻢ أﻧﻬﺎ ﻛﺎﻧﺖ ﺗﺨﻔﻲ )اﻟﻐﺰل ﺑﺎﻟﺮﺟﻞ داﺧﻞ اﻟﺮﺛﺎء( ﻛام ﻛﺎﻧﺖ‬ ‫)ﺗﺨﻔﻲ اﻟﻔﺨﺮ داﺧﻞ اﻟﺮﺛﺎء أﻳﻀﺎً(‪.‬‬ ‫أﻣﺎ ﻋﻦ إﺧﻔﺎء اﻟﺘﻐﺰل ﺑﺎﻟﺮﺟﻞ داﺧﻞ اﻟﺮﺛﺎء ﻓﺈن ﻣﻌﻈﻢ اﻟﻘﺼﺎﺋﺪ اﻟﺘﻲ‬ ‫رﺛﺖ ﻓﻴﻬﺎ اﻟﺨﻨﺴﺎ ُء ﺻﺨﺮاً‪ ،‬ﻻ ميﻜﻦ ﺗﻠﻘﻴﻬﺎ إﻻ ﻛﺄﻧﻬﺎ ﻗﺼﺎﺋﺪ اﻣﺮأة ﺗﺘﻐﺰل‬ ‫ﰲ رﺟﻞ إذا ﻣﺎ اﻓﱰﺿﻨﺎ ﻋﺪم ﻣﻌﺮﻓﺘﻨﺎ ﺑﻘﺼﺔ اﻟﺸﺎﻋﺮة )ﻣﺄﺳﺎة ﻗﺘﻞ‬ ‫أﺧﻴﻬﺎ( وﺳﻴﺎﻗﺎت ﻗﻮل اﻟﻘﺼﻴﺪة ﻋﻤﻮﻣﺎً؛ ﺗﻘﻮل اﻟﺨﻨﺴﺎء ﻣﺜ ًﻼ‪:‬‬ ‫‪U Q ¸K 4*2§CCCCCCCCCC/R «CCC‬‬ ‫‪ * QzCCCCCC CCCCC‬‬ ‫‪R C±‬‬ ‫*&<‪V C¡CCCCªCCCC‬‬ ‫‪6‬‬ ‫‪5‬‬ ‫‪"* QzCCCCC¡V CCCCCG* |CC‬‬ ‫*&¸ ‪S C UwCCC CCQC CCCG £fCCCªCCC S CCCgCCC-Q‬‬ ‫‪Q CªCCC CCC¹* $¬|CCCCCCC‬‬ ‫‪ CC‬‬ ‫*&¸ ‪C¹* £fCCªCC CCgCC-‬‬ ‫‪Q‬‬ ‫‪Q‬‬ ‫*&¸ ‪"* QzCCCCªX CCCC CCCV C CCCCG* ¨CCCkCCC CCCG* £fCCCªCCC CCCgCCC-‬‬ ‫‪8‬‬ ‫‪7‬‬ ‫‪R‬‬ ‫ ‪ 2fCCC CCC CCCG* CCCªCCCD4‬‬ ‫‪2S fCCCCqCCCC¡CCCCG* CCCM§CCC:‬‬ ‫‪R‬‬ ‫‪10‬‬ ‫‪9‬‬ ‫‪ *2|CCCCCCCCCCCCCCCCH&* ¥CCCCC-ÔCCCCC CCCCC CCCCC< 2fCCCCCC CCCCCC6‬إﻧﻪ ﺑﻜﺎء َﻣ َﺤ ﱠﺒ ٍﺔ ﺷﻔﻴﻒ ﻣﺸﻔﻮع ﺑﺄوﺻﺎف ﺗﺨﺺ اﻟﺠﺴﺪ ﻣﺜﻞ ﻗﻮﻟﻬﺎ‪:‬‬ ‫*(‪ CCC¤CCCMzCCCM&fCCC+ *KzCCCCCCCCCH R §CCCCCC CCCCCCG* *3‬‬ ‫)اﻟﺠﻤﻴﻞ‪ ،‬اﻟﻄﻮﻳﻞ‪ ،‬اﻟﺮﻓﻴﻊ‪ ،‬اﻟﻴﺪ( وأوﺻﺎف ﺗﺪل ﻋﲆ ﺷﺒﺎب اﻟﺠﺴﺪ‪:‬‬ ‫‪11‬‬ ‫ً‬ ‫‪) *zCCCCM ¥CCCCCCªCCCCCCG(* zCCCCCCH zCCCCCCCqCCCCCCC¼* ¢CCCCCCH‬اﻟﻔﺘﻰ‪ ،‬أﺻﻐﺮﻫﻢ ﻣﻮﻟﺪا( وأوﺻﺎف ﺗﺪل ﻋﲆ اﳌﻜﺎﻧﺔ اﳌﺘﻘﺪﻣﺔ‪) :‬اﻟﺴﻴﺪ‪،‬‬ ‫‪ CCCCC¤CCCCCMzCCCCCM&* §CCCCCCCCCD ¬{CCCCCCCCCCCG* fCCCCCC¡CCCCCCD‬‬ ‫ﺳﺎد ﻋﺸريﺗﻪ( وأوﺻﺎف ﺗﺪل ﻋﲆ اﻟﻔﻀﺎﺋﻞ اﻷﺧﻼﻗﻴﺔ‪) :‬اﻟﻨﺪا؛ أي اﻟﻜﺮم‬ ‫‪*zCCC‬‬ ‫‪C‬‬ ‫‪G§CCC‬‬ ‫‪C‬‬ ‫‪H‬‬ ‫&‪ CCCCJ|CCCC CCCC CCCC8‬‬ ‫‪* £fCCCCCCCF U£(*K‬‬ ‫‪ /‬واﻟﺠﺮيء أي اﻟﺸﺠﺎع(‪ .‬وأي اﻣﺮأة ﻻ ﺗﺤﺐ أن ﻳﻜﻮن ﻣﺤﺒﻮﺑﻬﺎ ﻃﻮﻳ ًﻼ‬

‫إن ُﻣ َﻘ ﱢﻮ َﻣﺎت اﻟﻐﺰل ﻫﻨﺎ ﻣﺘﻮﻓﺮة ﺑﻜرثة‪ ،‬ﺧﺎﺻﺔ إذا اﻋﺘﱪﻧﺎ اﻟﺒﻜﺎء اﻟﺬي‬ ‫ﺗﺒﺎﴍه اﻟﺨﻨﺴﺎء أﺷﺒﻪ ﺑﺒﻜﺎء اﳌﺘﻐﺰﻟني ﻣﻦ اﻟﺮﺟﺎل ﻣﺜﻞ ﻗﻮل اﻣﺮئ‬ ‫اﻟﻘﻴﺲ‪:‬‬ ‫‪ ~CC¡CCHK hCCªCCgCC0 L|CCCCF3 ¢CCCH CCgCCI fC‬‬ ‫‪C CCE‬‬ ‫‪S‬‬ ‫ ‪ H§tD §CC1zCCG* ÕCC+ L§CC CCG* +‬‬

‫أو ﻗﻮل ﺟﻤﻴﻞ ﺑﺜﻴﻨﺔ‪:‬‬ ‫‪fCC CCgCCG* CCCC)*2 ¢CCC< «CV C¡CCªCC< *§CC CC¡CCÊ ¢CC CCD‬‬ ‫‪¬Ô 9 ¢CC‬‬ ‫‪W CqCC‬‬ ‫‪S CMR zCCCE fCCCH *§CCCgR CCCJ{CCCMR ¢CCCGK‬‬

‫اﻟﺸﻌﺮ ‪ /‬اﻟﻌﺪد ‪60‬‬ ‫‪ 70‬ﺑﻴﺖ ِ‬

‫رﻓﻴﻌﺎً ﺟﻤﻴ ًﻼ؟؟ وأي اﻣﺮأة ﻻ ﺗﺤﺒﻪ أن ﻳﻜﻮن ﻓﺘﻰ ﺷﺎﺑﺎً؟؟ وأي اﻣﺮأة‬ ‫ﻻ ﺗﺤﺒﻪ أن ﻳﻜﻮن ﻛﺮميﺎً ﺷﺠﺎﻋﺎً؟؟ وأي اﻣﺮأة ﻻ ﺗﺤﺒﻪ أن ﻳﻜﻮن ﺳﻴﺪاً‬ ‫ﰲ ﻗﺒﻴﻠﺘﻪ؟؟ إﻧﻬﺎ ‪-‬إذن‪ -‬أوﺻﺎف ميﻜﻦ ﻗﺮاءﺗﻬﺎ ﰲ ﺳﻴﺎق اﳌامﻧﻌﺔ اﻟﺘﻲ‬ ‫ﻋﺎﺷﺘﻬﺎ اﳌﺮأة اﻟﺠﺎﻫﻠﻴﺔ ﻓﻔﺮﺿﺖ ﻋﻠﻴﻬﺎ إﺧﻔﺎء ﻣﻜﻨﻮﻧﺎﺗﻬﺎ اﻟﻐﺰﻟﻴﺔ ﰲ‬ ‫أﺑﻌﺪ ﻣﻨﻄﻘﺔ ﻧﺘﻮﻗﻊ ﻣﻨﻬﺎ أن ﺗﺨﺒﺌﻬﺎ ﻓﻴﻬﺎ‪) :‬اﻟﺮﺛﺎء(‪.‬‬ ‫أﻣﺎ ﻋﻦ اﳌﺴﺄﻟﺔ اﻟﺜﺎﻧﻴﺔ ﻣﻦ ﻫﺬه اﻟﻘﺮاءة؛ أي إﺧﻔﺎء اﻟﻔﺨﺮ اﻟﺬايت داﺧﻞ‬ ‫اﻟﺮﺛﺎء‪ ،‬ﻓﻴﻤﻜﻦ أن ﻧﺴﺘﺸﻔﻬﺎ ﻣﻦ ﺧﻼل ﻃﺮﻳﻔﺔ ﻟﻠﺨﻨﺴﺎء ﺣني اﻟﺘﻘﺖ‬ ‫ﺑﻬﻨﺪ ﺑﻨﺖ ﻋﺘﺒﺔ ﰲ ﺳﻮق ﻋﻜﺎظ‪ ،‬ﻓﺒﺎدرﺗﻬﺎ ﺑﺎﻟﺴﺆال ﻣﻦ أﻧﺖ ﻳﺎ أﺧﻴﺔ‪:‬‬ ‫)ﻓﻘﺎﻟﺖ‪ :‬أﻧﺎ ﻫﻨﺪ ﺑﻨﺖ ﻋﺘﺒﺔ أﻋﻈﻢ اﻟﻌﺮب ﻣﺼﻴﺒ ًﺔ‪ ،‬وﻗﺪ ﺑﻠﻐﻨﻲ أﻧﻚِ‬

‫وﻻ ﺧﻼف ﺑﻴﻨﻨﺎ أن »اﳌﺠﺘﻤﻌﺎت« اﻟﻌﺮﺑﻴﺔ أو ﺑﺎﻷﺣﺮى اﻟﺘﺠﻤﻌﺎت‬ ‫اﻟﻘﺒﻠﻴﺔ اﻟﻌﺮﺑﻴﺔ ﰲ ﺟﺎﻫﻠﻴﺘﻬﺎ ﻛﺎﻧﺖ »ﺗﺠﻤﻌﺎت« ذﻛﻮرﻳﺔ ﺑﺎﻣﺘﻴﺎز‪ ،‬وﻣﺎ‬ ‫زاﻟﺖ ﻛﺬﻟﻚ –ﻧﺴﺒﻴﺎً‪ -‬ﻋﲆ اﻟﺮﻏﻢ ﻣﻦ ﺗﺤﻮﻟﻬﺎ إﱃ ﻣﺠﺘﻤﻌﺎت ﺣﻘﻴﻘﻴﺔ‬ ‫ﻣﻊ اﻟﺘﻐﻴري اﻟﺠﺬري اﻟﺬي أﺣﺪﺛﻪ اﻹﺳﻼم ﰲ أﻓﻖ ﺗﺤﻘﻴﻖ رؤﻳﺔ اﳌﺴﺎواة‬ ‫ﺑني اﻟﺠﻨﺴني‪ .‬ﻫﺬه اﻟﺮؤﻳﺔ اﻟﺘﻲ مل ﺗﺘﺤﻘﻖ ‪-‬ﺑﺎﻟﺸﻜﻞ اﳌﻄﻠﻮب‪ -‬ﻋﲆ‬ ‫ﻣﺴﺘﻮﻳﺎت ﻋﺪة‪) :‬اﻗﺘﺼﺎدﻳﺔ‪ ،‬ﺳﻴﺎﺳﻴﺔ‪ ،‬ﻗﻴﻤﻴﺔ‪ (..‬مل ﺗﺘﺤﻘﻖ ‪-‬ﻛﺬﻟﻚ‪-‬‬ ‫ﻋﲆ اﳌﺴﺘﻮى »اﻷديب« اﻟﺬي ﺗﺸﻐﻠﻪ اﻟﺬﻛﻮرة ﺑﻨﺴﺒﺔ ﺷﺒﻪ ﻣﻄﻠﻘﺔ‪ ،‬إﻻ‬ ‫ﻣﻊ ﻗﻠﺔ ﻧﺎدرة ﻣﻦ اﻟﺸﻌﺮاء اﻟﺬﻳﻦ رأوا ﰲ اﳌﺮأة ﻛﻔﺎءة وأﺷﺎروا ﺑﺬﻟﻚ‬ ‫إﱃ ﺣﻘﻬﺎ ﰲ اﳌﺴﺎواة ﻣﻊ اﻟﺮﺟﻞ؛ وﻣﻦ ﺑﻴﻨﻬﻢ ﻧﺬﻛﺮ اﳌﺘﻨﺒﻲ اﻟﻘﺎﺋﻞ‪:‬‬ ‫‪hCO CªCC< Q CS C CC CC CCT CCG* CC‬‬ ‫‪S C CCC6¸ oCR CªCCI&fC kCCG* fCCHK‬‬ ‫‪S ÑCCCC¤S CCCC CCCCG |CCCCCC‬‬ ‫‪R CF{CCCCCCCkT CCCCCCCG* ¸K‬‬ ‫‪O UwCCCCCCDQ ÔCCCCCC‬‬

‫وﳌﺎ ﻛﺎﻧﺖ اﳌﻨﺎﻓﺴﺔ ﺑني اﻟﺠﻨﺴني ﺗُﺠﺮى ﰲ ﻇﺮوف ﻏري ﻣﺘﻜﺎﻓﺌﺔ ﺗﺨﺪم‬ ‫ﺳﻠﻄﺔ اﻟﺮﺟﻞ وﺗﻜﺮﺳﻬﺎ؛ ﻓﻘﺪ ﻛﺎن ﻟﺰاﻣﺎ ﻋﲆ ﻫﺬه اﳌﺮأة أن ﺗﺒﺬل ﺟﻬﺪاً‬ ‫ﻣﻀﺎﻋﻔﺎً ﻟﺘﺜﺒﺖ ذاﺗﻬﺎ وﺗﺴﺘﺄﻫﻞ ﻣﻜﺎﻧﺘﻬﺎ‪ ،‬وأن ﺗﻨﺎﻓﺲ اﻟﺮﺟﻞ ﰲ ﻣﺎ‬ ‫ُﻳﺘﻘﻨﻪ ﻫﻮ ﻧﻔﺴﻪ وﻳﻈﻨﻪ ﻣﻌﺠﺰاً ﻟﻬﺎ ﻋﻘﻠﻴﺎً أو ﺟﺴامﻧﻴﺎً !!‬

‫ﻟﻤﺎ ﻛﺎﻧﺖ اﻟﻤﻨﺎﻓﺴﺔ ﺑﻴﻦ اﻟﺠﻨﺴﻴﻦ ُﺗﺠﺮى ﻓﻲ‬ ‫ﻇﺮوف ﻏﻴﺮ ﻣﺘﻜﺎﻓﺌﺔ ﺗﺨﺪم ﺳﻠﻄﺔ اﻟﺮﺟﻞ وﺗﻜﺮﺳﻬﺎ؛‬ ‫ﻓﻘﺪ ﻛﺎن ﻟﺰاﻣﺎً ﻋﻠﻰ ﻫﺬه اﻟﻤﺮأة أن ﺗﺒﺬل ﺟﻬﺪاً ﻣﻀﺎﻋﻔﺎً‬ ‫ﻟﺘﺜﺒﺖ ذاﺗﻬﺎ‬ ‫وﺿﻊ اﺑﻦ ﺳﻼم اﻟﺠﻤﺤﻲ ‪-‬ﻓﻲ ﺳﻴﺎق اﻟﻤﻤﺎ َﻧﻌَﺔ‪-‬‬ ‫اﻟﺨﻨﺴﺎ َء ﻓﻲ ذﻳﻞ ﻃﺒﻘﺎت ﻓﺤﻮل اﻟﺸﻌﺮاء اﻟﺠﺎﻫﻠﻴﻴﻦ؛‬ ‫ﻣﺎ ﺑﻴﻦ ‪ 44‬ﺷﺎﻋﺮاً؛ ﻟﻌﻠﻬﺎ ﻛﺎﻧﺖ أﺟﻮد ﻣﻦ ﻛﺜﻴﺮ ﻣﻨﻬﻢ‬ ‫أﻣﺎ ﻋﻦ إﺧﻔﺎء اﻟﺘﻐﺰل ﺑﺎﻟﺮﺟﻞ داﺧﻞ اﻟﺮﺛﺎء ﻓﺈن ﻣﻌﻈﻢ‬ ‫اﻟﻘﺼﺎﺋﺪ اﻟﺘﻲ رﺛﺖ ﻓﻴﻬﺎ اﻟﺨﻨﺴﺎ ُء ﺻﺨﺮاً‪ ،‬ﻻ ﻳﻤﻜﻦ ﺗﻠﻘﻴﻬﺎ‬ ‫إﻻ ﻛﺄﻧﻬﺎ ﻗﺼﺎﺋﺪ اﻣﺮأة ﺗﺘﻐﺰل ﻓﻲ رﺟﻞ‬

‫إﻧﻨﺎ ﻧﺘﺤﺪث –ﻫﻨﺎ‪ -‬ﻋﻦ ﻣﺠﺎﻟني ﻣﺨﺘﻠﻔني ﻣﺘﻼزﻣني‪) :‬اﻟﺸﻌﺮ‬ ‫واﻟﻔﺮوﺳﻴﺔ(‪ ،‬ﺣﺎوﻟﺖ اﳌﺮأة اﻟﻌﺮﺑﻴﺔ اﺧﱰاﻗﻬام وﻧﺠﺤﺖ ﰲ أﻛرث ﻣﻦ‬ ‫ﻣﻨﺎﺳﺒﺔ‪ .‬وﻷﻧﻨﺎ ﻧُﻌﻨﻰ ﺑﺎﻟﺸﻌﺮ ﻓﺴﻨﴬب ﻋﻦ اﻟﺨﻮض ﰲ ﻓﺮوﺳﻴﺔ اﳌﺮأة‬ ‫وﻧﻬﺘﻢ ﺑﺄﻓﺼﺢ ﻣﻦ ﻗﺎل اﻟﺸﻌﺮ ﻣﻦ ﻧﺴﺎء اﻟﺠﺎﻫﻠﻴﺔ؛ وﻫﻲ اﻟﺨﻨﺴﺎء‬ ‫‪1‬‬ ‫متﺎﴐ ﺑﻨﺖ ﻋﻤﺮو ﺑﻦ اﻟﺤﺮث وﻟﻴﺪة ﺳﻨﺔ ‪ 575‬ﻟﻠﻤﻴﻼد‪.‬‬ ‫واﻟﺤﺪﻳﺚ ﻋﻦ ﺷﻌﺮ اﳌﺮأة اﻟﺠﺎﻫﻠﻴﺔ ﰲ ﺳﻴﺎﻗﺎت اﳌام َﻧ َﻌﺔ اﻟﻘﺒﻠﻴﺔ‬ ‫واﻟﺬﻛﻮرﻳﺔ ﻳﺠﺮﻧﺎ إﱃ ﻃﺮح ﻣﻔﻬﻮﻣني ﻣﻬﻤني ﻳﺠﺴﺪان ﺟﻮدة اﻟﺸﻌﺮ‬ ‫ﺑﺎﻟﻨﻈﺮ إﱃ ﺟﻨﺲ ﻗﺎﺋﻠﻪ؛ وﻧﻘﺼﺪ ﻫﻨﺎ ﻣﻔﻬﻮم‪» :‬ﻓﺤﻮﻟﺔ اﻟﺸﺎﻋﺮ« اﻟﺬي‬ ‫ﻧﻔﱰض ﰲ ﻣﻘﺎﺑﻠﻪ وﺟﻮد ﻣﻔﻬﻮم‪» :‬ﺧﺼﻮﺑﺔ اﻟﺸﺎﻋﺮة«‪ ،‬ﻫﺬا اﳌﻔﻬﻮم‬ ‫اﻷﺧري مل َﻳﻈﻬﺮ ومل ُﻳﺴﺘﻌﻤﻞ ﰲ ﺗﺎرﻳﺦ اﻷدب اﻟﻌﺮيب؛ ﻷن اﳌامﻧﻌﺔ اﻟﺘﻲ‬ ‫ﻧﻔﺴﻬﺎ اﻟﺘﻲ أﻇﻬﺮت ﻣﻔﻬﻮم‬ ‫ﺣﺠﺒﺖ اﻷﻧﻮﺛﺔ وأﻇﻬﺮت اﻟﺬﻛﻮرة ﻫﻲ ُ‬ ‫ﻓﺤﻮﻟﺔ اﻟﺸﻌﺮ وأﺧﻔﺖ ﻣﻔﻬﻮم اﻟﺨﺼﻮﺑﺔ ﻓﻴﻪ‪ .‬وﻳﻜﻔﻲ أن ﻧﺸري إﱃ‬ ‫اﻟﺠ َﻤﺤِ ّﻲ اﻟﺬي ﻳﻌﺪ‬ ‫ﻛﺘﺎب‪» :‬ﻃﺒﻘﺎت ﻓﺤﻮل اﻟﺸﻌﺮاء« ﻻﺑﻦ ﺳﻼم ُ‬ ‫ﻣﻦ أواﺋﻞ اﻟﻜﺘﺐ اﻟﺘﻲ ﺣﺎوﻟﺖ ﻗﺮاءة اﻟﺸﻌﺮﻳﺔ اﻟﻌﺮﺑﻴﺔ اﻟﺠﺎﻫﻠﻴﺔ‬ ‫ﺑﻌﺪ ﻣﻦ ﻣﻨﻈﻮر ﻧﻘﺪي ﻳﻌﺘﻤﺪ اﳌﻔﺎﺿﻠﺔ ﺑﺎﻟﻄﺒﻘﺎت‪ ،‬ﻣﻊ‬ ‫واﻹﺳﻼﻣﻴﺔ ﻣﻦ ُ‬ ‫ﻣﺎ َﻳ ْﻌ َﺘ ِﻮ ُر ﻫﺬه اﻟﻌﻤﻠﻴﺔ ‪-‬ﰲ اﻋﺘﻘﺎدﻧﺎ‪ -‬ﻣﻦ ﺗﻮﺟﻪ »أﻳﺪﻳﻮﻟﻮﺟﻲ وإﺛﻨﻲ«‬ ‫ﻳﻨﺤﻮ إﱃ ﺗﻔﻀﻴﻞ ﱟ‬ ‫ﺧﻂ ﺷﻌﺮي ﻋﲆ آﺧﺮ أو ﺗﻐﻠﻴﺐ ﻗﺒﻴﻠﺔ ﻋﲆ أﺧﺮى‪..‬‬ ‫‪2‬‬ ‫وﻟﻌﻞ ﻣﻔﻬﻮم اﻟﻔﺤﻮﻟﺔ ﻋﻨﺪ اﺑﻦ ﺳﻼم ﻳﺘﺨﺬ ﺑﻌﺪاً »أﻧرثﺑﻮﻟﻮﺟﻴﺎً«‬ ‫ُﺳﻼﻟﻴﺎً ﻳﻌﻤﻞ ﻋﲆ اﳌﺤﺎﻓﻈﺔ ﻋﲆ ﻧﻘﺎء اﻟﻨﻮع اﻟﺸﻌﺮي‪ ،‬وﻣﺤﺎوﻟﺔ‬ ‫ﺑﻨﺴﺐ ذﻛﻮري ﻻ ﻳﻘﺒﻞ اﻟﺘﻬﺠني أو اﻟﺘﻄﺒﻴﻊ ﻣﻊ ﺻﻮت اﳌﺮأة‪.‬‬ ‫ﺗﺄﺻﻴﻠﻪ‬ ‫ٍ‬

‫ذﻳﻞ ﻃﺒﻘﺎت ﻓﺤﻮل اﻟﺸﻌﺮاء اﻟﺠﺎﻫﻠﻴني؛ ﻣﺎ ﺑني ‪ 44‬ﺷﺎﻋﺮاً ‪3‬؛ ﻟﻌﻠﻬﺎ‬ ‫َ‬ ‫وأﻧﺼﻒ‬ ‫ﻛﺎﻧﺖ أﺟﻮد ﻣﻦ ﻛﺜري ﻣﻨﻬﻢ‪ ،‬وﻟﻌﻠﻬﺎ اﺳﺘﺤﻘﺖ ﻃﺒﻘﺔ أﻋﲆ‬ ‫ﻟﻮﻻ أﻧﻬﺎ أﻧﺜﻰ‪ .‬وﻣﻊ أن ﻃﺒﻘﺎت ﻓﺤﻮل اﻟﺸﻌﺮاء مل ﺗﻨﺼﻒ اﻟﺨﻨﺴﺎء‪،‬‬ ‫وﻣﺎ ﻛﺎﻧﺖ ﺗﺴﺘﻄﻴﻊ إﻧﺼﺎﻓﻬﺎ ﺣﺘﻰ وإن ﺳﻌﺖ إﱃ ذﻟﻚ ﻧﻈﺮاً ﻟﻜﻮن‬ ‫أﻧﻮﺛﺘﻬﺎ ﻻ ﺗﺘامﳽ ﻣﻊ ﻣﻔﻬﻮم اﻟﻔﺤﻮﻟﺔ؛ ﻓﺈن ﻃﺒﻘﺎت أﺧﺮى اﺳﺘﻄﺎﻋﺖ‬ ‫إﻧﺼﺎﻓﻬﺎ‪ ،‬ﻓﻘﺪ روي ﰲ ﻃﺒﻘﺎت اﻟﺼﺤﺎﺑﺔ أن اﻟﺮﺳﻮل )ص( ﻛﺎن ﻳﻘﺪﻣﻬﺎ‬ ‫وﻳﺴﺘﺤﺴﻦ ﺷﻌﺮﻫﺎ وﻳﺴﺘﺰﻳﺪ ﻣﻨﻪ؛ ﻣﺎ ﻳﻌﻨﻲ أﻧﻬﺎ ﻛﺎﻧﺖ ﻟﻬﺎ ﻣﻜﺎﻧﺔ‬ ‫ﻛﺒرية ﰲ ﻋﺎمل اﻟﺸﻌﺮ ﺟﻌﻠﺖ اﻟﺮﺳﻮل )ص( ﻳﻘﺪﻣﻬﺎ ﻋﲆ ﻏريﻫﺎ إﺛﺮ‬ ‫ذﻟﻚ‪.‬‬ ‫إن ﻣﺎ ﻧﺤﺎول اﻟﻮﺻﻮل إﻟﻴﻪ ﰲ اﻟﻨﻬﺎﻳﺔ ﻫﻮ أن ﺟﻤﻴﻊ ﺳﻴﺎﻗﺎت اﳌامﻧ َﻌﺔ مل‬ ‫ﺗﺨﻠﻖ ﻣﻦ ﻫﺬه اﳌﺮأة اﻟﺸﺎﻋﺮ )اﻟﺨﻨﺴﺎء(‪ ،‬اﻣﺮأة ﻋﲆ ﻣﻘﺎس ﺗﻮﻫامت‬ ‫اﻟﻨﻘﺪ اﻟﻌﺮيب؛ أي أﻧﻬﺎ مل ﺗﻜﻦ ﻣﺠﺮد اﻣﺮأة َﺑ ﱠﻜﺎ َء ًة ﺗﺮيث أﺧﺎﻫﺎ ﺻﺨﺮاً‬ ‫ﰲ ﻛﻞ ﻣﻨﺎﺳﺒﺔ؛ ﻟﻘﺪ ﻛﺎﻧﺖ ﰲ اﻋﺘﻘﺎدﻧﺎ ﺗﻨﺤﻮ إﱃ »اﻹﻏﺮاب اﻟﺘﻴاميت«‪،‬‬ ‫ُ‬ ‫اﻟﺨﻮض ﻓﻴﻪ داﺧﻞ ﻏﺮض آﺧﺮ؛‬ ‫ﻟﻘﺪ وﺿﻊ اﺑﻦ ﺳﻼم اﻟﺠﻤﺤﻲ ‪-‬ﰲ ﺳﻴﺎق اﳌام َﻧﻌﺔ‪ -‬اﻟﺨﻨﺴﺎء ﰲ وﺗﺨﻔﻲ ﻏﺮﺿﺎً ﺷﻌﺮﻳﺎً ُﻳ ْﺴ َﺘ ْﻘ ُﺒ ُﺢ ﻣﻨﻬﺎ‬ ‫َ‬ ‫َ‬ ‫أﻛﺘﻮﺑﺮ ‪69 2017 /‬‬

‫اﻟﺠ ﺎﻫﻠﻲ‬ ‫‪baytelshear‬‬

‫إﺧﻔﺎء اﻟﺘﻐﺰل ﺑﺎﻟﺮﺟﻞ داﺧﻞ اﻟﺮﺛﺎء‬

‫اﻟﺨﻨﺴﺎء ‪..‬وﺳﻴﺎﻗﺎت اﻟﻤﻤﺎﻧﻌﺔ اﻟﺜﻘﺎﻓﻴﺔ‬ ‫واﻟﺘﺤﺎﻳﻞ ﺑﺎﻟﺸﻌﺮ!‬

‫د‪ .‬ﻳﺎﺳﻴﻦ ﺣﺰﻛﺮ‬

‫ﻓﻲ اﻟﺜﻘﺎﻓﺎت اﻟﻘﺪﻳﻤﺔ اﻟﺘﻲ ﻏﻠﺒﺖ ﻋﻠﻴﻬﺎ »اﻟﻤﻤَ ﺎ َﻧﻌَ ﺔ« ﺑﻴﻦ اﻟﺠﻨﺴﻴﻦ؛ ﺑﺤﻴﺚ وﻗﻔﺖ اﻟﺬﻛﻮرة ﻣﺴﻴﻄﺮة ﻋﻠﻰ اﻷﻧﻮﺛﺔ ﻛﻤﺎ ﻫﻲ اﻟﺤﺎل‬ ‫ﻓﻲ اﻟﻤﺠﺘﻤﻌﺎت اﻟﺬﻛﻮرﻳﺔ‪ ،‬أو وﻗﻔﺖ اﻷﻧﻮﺛﺔ ﻣﺴﻴﻄﺮة ﻋﻠﻰ اﻟﺬﻛﻮرة‪ P‬ﻛﺎن ﻻ ﺑﺪ ﻟﻠﺠﻨﺲ اﻟﻮاﻗﻊ ﺗﺤﺖ اﻟﻀﻐﻂ )ذﻛﺮ ًا ﻛﺎن أم أﻧﺜﻰ( أن‬ ‫َ‬ ‫ﻣﻨﺎﻓﺬ ﻟﻠﻈﻬﻮر واﻟﺘﻤﻴﺰ‪ ،‬ﺑﻞ وﺣﺘﻰ اﻟﺘﻤﺮد ﻓﻲ ‪-‬ﻛﺜﻴﺮ ﻣﻦ اﻷﺣﻴﺎن‪ -‬ﻋﻠﻰ ﺳﻴﺎﻗﺎﺗﻪ اﻟﺘﺎرﻳﺨﻴﺔ اﻟﻤﻤﺎ ِﻧﻌَ ﺔ ﻟﻪ‪ P‬إﺛﺮ ذﻟﻚ ﻇﻬﺮ رﺟﺎل‬ ‫ﻳﺒﺤﺚ ﻟﻪ ﻋﻦ‬ ‫اﺳﺘﺜﻨﺎﺋﻴﻮن ﻓﻲ ﻣﺠﺘﻤﻌﺎت ﺗﺤﻜﻤﻬﺎ اﻟﻤﺮأة وأﻇﻬﺮوا ﻛﻔﺎءاﺗﻬﻢ ﻓﻲ ﻣﻴﺪان ﻣﻦ اﻟﻤﻴﺎدﻳﻦ‪ P‬ﻛﻤﺎ ﺑﺮزت ﻧﺴﺎء ﻓﻲ ﻣﺠﺘﻤﻌﺎت ذﻛﻮرﻳﺔ‬ ‫ﺑﺸﻜﻞ ﻻﻓﺖ‪ ،‬ﻓﻲ أزﻣﻨﺔ ﻏﺎﺑﺮة ﺗﺜﻴﺮ دﻫﺸﺔ اﻟﺴﺆال ﻋﻦ ﻛﻴﻔﻴﺔ وﻃﺮﻳﻘﺔ وﺛﻤﻦ اﻟﻈﻬﻮر؟‬

‫اﻟﺸﻌﺮ ‪ /‬اﻟﻌﺪد ‪60‬‬ ‫‪ 68‬ﺑﻴﺖ ِ‬

‫اﻟﻌﻤﺮ ﻳﻮﻣﻴﻦ‬ ‫أﺻﻴﻞ اﻟﻜﻨﺪي‬ @a9eelah

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67 2017 / ‫أﻛﺘﻮﺑﺮ‬

‫ﻣﺎﺳﺎت‬ baytelshear t

‫دﻣﻮع اﻟﺸﻮق‬ ‫ﻫﻨﺪ اﻟﻔﻬﻴﺪ‬ @Amaasi

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60 ‫ اﻟﻌﺪد‬/ ‫اﻟﺸﻌﺮ‬ ِ ‫ ﺑﻴﺖ‬66

‫ﻣﻴﻮﻻﺗﻪ اﻟﻬﺰﻟﻴﺔ وﺣﺒﻪ ﻟﻠﺪﻋﺎﺑﺔ ﺟﻌﻠﺘﻪ ﻳﺨﺘﺮق ﺣﺪود‬ ‫أﻋﺮاف اﻟﻐﺮﺿﻴﺔ اﻟﺸﻌﺮﻳﺔ‪ ،‬وﻳﺠﻌﻞ ﻣﻦ اﻟﻤﺮأة اﻟﺘﻲ‬ ‫ﺗﻌﻮدﻧﺎﻫﺎ ﱠ‬ ‫ﻣﺤﻞ ﺗﻘﺪﻳﺲ واﻫﺘﻤﺎم ﻣﻦ اﻟﺸﻌﺮاء اﻟﻌﺮب‬ ‫ﱠ‬ ‫ﻣﺤﻂ ﺳﺨﺮﻳﺔ وﻫﺠﺎء‬ ‫ﻣﻦ اﻟﺼﻌﺐ –ﻓﻲ اﻟﺤﻘﻴﻘﺔ‪ -‬اﻟﺤﺪﻳﺚ ﻋﻦ ﻫﺠﺎء اﻟﻤﺮأة‬ ‫ﺑﺎﻟﻨﻈﺮ إﻟﻰ ﻛﻞ ﺗﻠﻚ اﻟﺴﻴﺎﻗﺎت اﻟﺪﻳﻨﻴﺔ واﻻﺟﺘﻤﺎﻋﻴﺔ‬ ‫واﻷﺧﻼﻗﻴﺔ واﻟﻌﺎداﺗﻴﺔ واﻷدﺑﻴﺔ اﻟﺘﻲ ﺟﻌﻠﺖ ﻣﻨﻬﺎ ﻛﺎﺋﻨﺎً‬ ‫ﻣﺼﻮﻧﺎً ﻣﺤﻔﻮظ اﻟﺠﺎﻧﺐ‬ ‫ﻟﻠﻌني واﻟﻨﻔﺲ« ‪ .29‬وﳌﺎ ﻛﺎن اﻟﻐﺮض ﻛام ﺳﺒﻖ وأﴍﻧﺎ ﻫﻮ اﻟﺘﺴﻠﻴﺔ‪ ،‬ﻓﺈن‬ ‫ﻫﺬا اﻟﻨﻮع ﻣﻦ اﻟﻬﺠﺎء ﻳﺪﺧﻞ ﰲ داﺋﺮة اﻟﻔﻜﺎﻫﺎت واﻟﻨﻮادر؛ ﻓﺎﻟﻐﺮض‬ ‫ﻣﻨﻪ ﻫﻮ اﻹﺿﺤﺎك ﻻ إﻳﺬاء ﻣﺸﺎﻋﺮ اﳌﺮأة ﻧﻔﺴﻬﺎ‪.‬‬ ‫وﻧﻌﺘﻘﺪ أن أﺣﺪاث اﻟﻘﺼﻴﺪة ُﻣﺨ َﺘ َﻠ َﻘ ٌﺔ ﺑ ُﺮ ﱢﻣﺘﻬﺎ؛ ﻳﺪﻟﻨﺎ ﻋﲆ ذﻟﻚ أن‬ ‫ﻳﴬب رﺟﻞ ﻋﺮيب اﻣﺮأة‬ ‫اﻟﺸﺎﻋﺮ ادﻋﻰ »ﻟﻄﻤﻪ« ﻻﻣﺮأة ُﻣﺴﻨﺔ؛ وأنْ‬ ‫َ‬ ‫ﻳﴬب اﻣﺮأة ﻣﺴﻨﺔ؟؟‬ ‫أن‬ ‫ﺷﺎﺑ ًﺔ ُﻳﻌﺪ ﻣﻦ ﻣﺴﺎوئ اﻷﺧﻼق‪ ،‬ﻓام ﺑﺎﻟﻚ‬ ‫َ‬ ‫إن ﻣﺤﺎوﻟﺔ اﻟﺸﺎﻋﺮ اﻹﻏﺮاب ﻋﲆ ﻣﺴﺘﻮى اﻟﻐﺮض دﻓﻌﻪ إﱃ ﺧﻠﻖ‬ ‫ﻣﻮﻗﻒ ﻣﻀﺤﻚ وﺻﻨﻊ ﺻﻮرة ﻛﺎرﻳﻜﺎﺗﻮرﻳﺔ ﻻﻣﺮأة ﺻﻠﻌﺎء ﻣﻨﻔﺮة ﻋﲆ‬ ‫ﻣﺴﺘﻮى اﳌﻈﻬﺮ‪.‬‬ ‫وﻧﺤﻦ ﻫﻨﺎ ﻧﺤﺘﺞ ﺑﺴرية اﻟﺸﺎﻋﺮ ﻳﺤﻴﻰ ﺑﻦ اﻟﺤﻜﻢ اﻟﻐﺰال اﻟﺘﻲ ﺗﺆﻛﺪ‬ ‫أﻧﻪ ﻣﻦ اﳌﺴﺘﺤﻴﻞ أن ﺗﺼﺪر ﻋﻨﻪ واﻗﻌﺔ اﻟﴬب؛ ﻓﻘﺪ »ﻧﺸﺄ ﻧﺸﺄة‬ ‫دﻳﻨﻴﺔ واﻛﺘﺴﺐ ﻣﻨﺬ ﺻﺒﺎه أﺧﻼق اﻟﻔﺮوﺳﻴﺔ وﻣﺂﺛﺮﻫﺎ«‪ 30‬وﻫﺬا ﻣﺎ‬ ‫)‪(10‬‬ ‫)‪(11‬‬ ‫)‪(12‬‬ ‫)‪(13‬‬ ‫)‪(14‬‬ ‫)‪(15‬‬ ‫)‪(16‬‬ ‫)‪(17‬‬ ‫)‪(18‬‬ ‫)‪(19‬‬ ‫)‪(20‬‬

‫ميﻨﻌﻪ ﻣﻦ أن ُﻳ ْﻘ ِﺪ َم ﻋﲆ ﻫﺬه اﻟﻔﻌﻠﺔ ﻣﻬام ﻛﺎﻧﺖ اﻟﺪواﻓﻊ‪ .‬وﺳرية‬ ‫»اﻟﻐﺰال« ﺗﺨﱪﻧﺎ ‪-‬أﻳﻀﺎً‪ -‬أﻧﻪ »ﻛﺎن ﻳﺠﻤﻊ ﰲ ﺷﺨﺼﻪ ﻋﻨﺎﴏ اﻟﺬﻛﺎء‬ ‫واﻟﺒﺪﻳﻬﺔ اﻟﺤﺎﴐ واﻟﻔﻜﺎﻫﺔ وﺧﻔﺔ اﻟﺮوح واﻟﻈﺮف واﻟﺠﺪ واﻟﻬﺰل‪،‬‬ ‫ﻫﺬا ﺑﺎﻹﺿﺎﻓﺔ إﱃ اﻟﺜﻘﺎﻓﺔ اﻟﻮاﺳﻌﺔ واﻟﻨﺠﺪة واﻹﻗﺪام«‪ ،31‬وﻟﻌﻞ‬ ‫ﻣﻴﻮﻻﺗﻪ اﻟﻬﺰﻟﻴﺔ وﺣﺒﻪ ﻟﻠﺪﻋﺎﺑﺔ ﺟﻌﻠﺘﻪ ﻳﺨﱰق ﺣﺪود أﻋﺮاف اﻟﻐﺮﺿﻴﺔ‬ ‫اﻟﺸﻌﺮﻳﺔ‪ ،‬وﻳﺠﻌﻞ ﻣﻦ اﳌﺮأة اﻟﺘﻲ ﺗﻌﻮدﻧﺎﻫﺎ ﱠ‬ ‫ﻣﺤﻞ ﺗﻘﺪﻳﺲ واﻫﺘامم‬ ‫ﻣﻦ اﻟﺸﻌﺮاء اﻟﻌﺮب ﱠ‬ ‫ﻣﺤﻂ ﺳﺨﺮﻳﺔ وﻫﺠﺎء ﺗﻨﻔﺮ اﳌﺘﻠﻘﻲ وﺗﺪﺧﻠﻪ ﰲ‬ ‫دﻫﺸﺔ ﻣﻀﺎﻋﻔﺔ ﺗﻨﻘﺴﻢ ﺑني ﻃﺮاﻓﺔ وﻏﺮاﺑﺔ اﻟﻐﺮض وﺟﺮأة اﻟﺸﺎﻋﺮ ﻋﲆ‬ ‫إﺗﻴﺎن ﻣﺎ ﻻ ﻳﺘﺠﺮأ ﻋﻠﻴﻪ ﻏريه‪ .‬ﻫﻜﺬا ﻳﺒﺪو اﻹﻏﺮاب ﻧﻮﻋﺎ ﻣﻦ اﳌﻐﺎﻣﺮة‬ ‫‪32‬‬ ‫اﻟﺠامﻟﻴﺔ ﰲ ﺣﺪاﺛﺔ ﺗﻴامﺗﻴﺔ ﻏري ﻣﺄﻟﻮﻓﺔ ﰲ اﻟﺸﻌﺮ اﻟﻌﺮيب اﻷﻧﺪﻟﴘ‪.‬‬

‫ﻳﻘﺼﺪ أن وﻻدة مل ﺗﻜﻦ ﻏري اﻣﺮأة ﺳﻬﻠﺔ اﳌﺘﻨﺎول‪ .‬ﻣﺜﻞ اﻷﻛﻞ‪(21) .‬‬ ‫أﻛﻞ ﻣﻨﻬﺎ ﺣﺘﻰ ﺷﺒﻊ وأﺑﻘﻰ »ﻟﻠﻔﺄر« اﻟ ُﻔﺘﺎت‪ ،‬واﻟﻔﺄر ﻫﻨﺎ ﻫﻮ )‪(22‬‬ ‫أﺑﻮ ﻋﺎﻣﺮ‪.‬‬ ‫)‪(23‬‬ ‫ﺟﺮداء‪ :‬أرض ﺻﺨﺮﻳﺔ ﻣﻠﺴﺎء ﻻ ﻧﺒﺎت ﻓﻴﻬﺎ‪ ،‬وﻳﻘﺼﺪ ﻫﻨﺎ رأس )‪(24‬‬ ‫اﳌﺮأة‪.‬‬ ‫)‪(25‬‬ ‫ﺻﻠﻌﺎء‪ :‬اﻟﺼﻠﻊ ﺳﻘﻮط اﻟﺸﻌﺮ ﻏﺎﻟﺒﺎ ﻋﻨﺪ اﻟﻜﱪ‪.‬‬ ‫)‪(26‬‬ ‫ﻟﺴﺎن ﻣﻠﺢ‪ :‬ﻛﺜري اﻟﻜﻼم واﻟﻠﻐﻂ‪.‬‬ ‫)‪(27‬‬ ‫ﻟﻄﻤﺘﻬﺎ‪ :‬اﻟﴬب ﻋﲆ اﻟﺨﺪ ﺑﺒﺎﻃﻦ اﻟﻴﺪ؛ أي ﺻﻔﻌﻬﺎ‪.‬‬ ‫اﻟﺸﺎري‪:‬اﻟﺨﺎرﺟﻲ‪ ،‬واﻟﺒﻴﻀﺔ اﻟﺨﻮذة‪ .‬وﺷﺒﻬﻬﺎ ﺑﺨﻮذة أﺣﺪ‬ ‫)‪(28‬‬ ‫اﻟﺨﻮارج اﻟﺘﻲ ﻛﺎﻧﺖ ﺷﺪﻳﺪة اﻟﻠﻤﻌﺎن‪.‬‬ ‫ﺑﺮﻗﺖ ‪ :‬ﳌﻌﺖ‪.‬‬ ‫اﳌﺄزق اﻟﻀﻨﻚ‪ :‬ﺳﺎﺣﺔ اﻟﺤﺮب‪.‬‬ ‫)‪(29‬‬ ‫اﳌﴩﻓﻴﺎت‪ :‬ﺟﻤﻊ ﻣﴩﰲ وﻫﻮ ﺳﻴﻒ ﻳﺠﻠﺐ ﻣﻦ اﳌﺸﺎرف‬ ‫)‪(30‬‬ ‫وﻳﻨﺴﺐ إﻟﻴﻬﺎ‪.‬‬ ‫ٍ‬ ‫ﻧﻮاﺗﺊ وﻗﺪ ﺧﻔﻔﺖ اﻟﻬﻤﺰة ﻣﻦ أﺟﻞ‬ ‫أﺻﻠﻬﺎ‬ ‫ﻧﻮات‪ :‬اﻟﻜﻠﻤﺔ‬ ‫)‪(31‬‬ ‫ٌ‬ ‫اﻟﻮزن وﻣﻌﻨﺎﻫﺎ ﺑﺎرزة وﺣﺎدة‪.‬‬ ‫)‪(32‬‬ ‫ﺟﻮاﻧﺒﻬﺎ‪ :‬ﻳﻘﺼﺪ ﻋﺠﻴﺰﺗﻬﺎ‪.‬‬

‫ﻛﻘﺴﻤﺔ اﻷرض‪ :‬ﻛﺴﻄﺢ اﻷرض‪.‬‬ ‫اﻟﺘﺨﻮم‪ :‬اﳌﻔﺼﻞ ﺑني ﻗﺮﻳﺘني أو أرﺿني‪.‬‬ ‫ﻛﺎﻫﻞ‪ :‬ﻣﺎ ﺑني اﻟﻜﺘﻔني واﻟﻌﻨﻖ ﻣﻦ ﺟﻬﺔ اﻟﻈﻬﺮ‪.‬‬ ‫ﺳﻨﺎم اﻟﻌﻴﺲ‪ :‬ﻇﻬﺮ اﻟﺠﻤﻞ‪.‬‬ ‫ﺟﺮده‪ :‬ﺟﻌﻠﻪ ﻣﻨﺒﺴﻄﺎ‪.‬‬ ‫ﻃﻮل اﻟﺴﻔﺎر‪ :‬ﻛرثة وﻃﻮل ﻣﺴﺎﻓﺎت اﻟﺴﻔﺮ‪.‬‬ ‫إﻟﺤﺎح اﻟﻘﺘﻮدات ‪ :‬ﻛرثة اﺳﺘﻌامل ﺧﺸﺐ اﻟﺮﺣﻞ ﻋﲆ ﻇﻬﺮ‬ ‫اﻟﺠﻤﻞ‪.‬‬ ‫ﻳﺤﻴﻰ ﺑﻦ ﺣﻜﻢ اﻟﻐﺰال‪ ،‬دﻳﻮان‪ ،‬ﺟﻤﻊ وﺗﺤﻘﻴﻖ‪ :‬ﻣﺤﻤﺪ رﺿﻮان‬ ‫اﻟﺪاﻳﺔ‪ ،‬ط‪ ،1‬دار اﻟﻔﻜﺮ اﳌﻌﺎﴏ ﺑريوت ﻟﺒﻨﺎن و دار اﻟﻔﻜﺮ‪-‬‬ ‫دﻣﺸﻖ‪ ،1993 ،‬ص ‪.42‬‬ ‫اﳌﺮﺟﻊ ﻧﻔﺴﻪ‪ ،‬ص ‪.42‬‬ ‫ﻣﺤﻤﺪ ﺻﺎﻟﺢ اﻟﺒﻨﺪاق‪ ،‬ﻳﺤﻴﻰ ﺑﻦ اﻟﺤﻜﻢ اﻟﻐﺰال‪ ،‬أﻣري ﺷﻌﺮاء‬ ‫اﻷﻧﺪﻟﺲ ﰲ اﻟﻘﺮن اﻟﺜﺎﻟﺚ اﻟﻬﺠﺮي‪ ،‬ط‪ ،1‬ﻣﻨﺸﻮرات‬ ‫دار اﻵﻓﺎق اﻟﺠﺪﻳﺪة‪ ،‬ﺑريوت‪-‬ﻟﺒﻨﺎن‪ ،1979 ،‬ص‪.18‬‬ ‫اﳌﺮﺟﻊ ﻧﻔﺴﻪ‪ ،‬ص ‪.30‬‬

‫أﻛﺘﻮﺑﺮ ‪65 2017 /‬‬

‫أﻧﺪﻟﺴ ﻴﺎت‬ baytelshear

fCC¤CC-R fCCHQ fCC Q C < Q Um4fCCCC: jCN C CC CCG 14fCC¤CCkR C U C CQ CGQ m*| 7 CR C CC CC1 f¤ªD ªG j 8 ¢CC< 16 R f¤I&fF UlCCEQ |CQ C+Q *3(* ]15¬4fCC CCV CCG* j ª+^ 18 17 U V mfªV DS |Q ¼* ÕCC+ ] C S C¡U C CC CCG* 5& S fC ¼fCC+^ 20 O fCC¤CCgCCI*§CC/ · 19m* C0 fCC¤CCG P §Q CCCCCCCCIQ K|CCCC 22 21 mfH§wkGf+ m~ª0 CC94&¸* j F 25 ¦R 2Q |V CCCCC/Q 24 CC CCªCC CCG* f¡ F 23 CCCJfCCCFK 28 27 ( m*2§k G* vfCCº(*K 264f G* §:

،‫إن ﻫﺬه اﻟﻘﻄﻌﺔ اﻟﺸﻌﺮﻳﺔ اﻟﻨﺎدرة ﻫﻲ ﺟﺰء ﻣﻦ ﻗﺼﻴﺪة ﺿﺎع ﻣﻌﻈﻤﻬﺎ‬ ‫وﻗﺪ أﻧﺸﺄﻫﺎ اﻟﺸﺎﻋﺮ ﰲ ﻣﺬﻣﺔ اﳌﺮأة »وﻫﻮ ﻳﺼﻒ ﺗﻠﻚ اﳌﺮأة اﻟﻌﺠﻴﺒﺔ‬ ‫ وﻳﺒﺎﻟﻎ ﰲ رﺳﻢ ﺻﻮرة ﻣﻀﺤﻜﺔ ﻣﺆذﻳﺔ‬،ً‫اﻟﺸﻜﻞ واﻟﺤﺎل وﺻﻔﺎً ﺳﺎﺧﺮا‬

R R ÔCCCC f¡ wM 4fCCC CCC8 zCCCE £&fCCCCC+ fCCCCIQ §CCCCµ U V <Q 4S fCCC< ¢CCCH *3 · fCCCCHK hCC W CtCCCI ¢CC CCªCCD O CF&* CCCCC S¥CCCCgS CCCCMS fCCCC:&Q * ¢CCCH fCCC¡Q CCCgCCC CCC8&* «CC¤CC CC7 Z 10 4fCC Q C CCG ¥¡< fCC¡Q CtCU C U C CCQ 8 fQ +K fN +

ّ ‫وﻳﺤﻂ ﻣﻦ‬ ‫وﰲ ﻫﺬا اﳌﻘﻄﻊ ﻳﴬب اﺑﻦ زﻳﺪون اﳌﺮأة ﰲ ﻋﺮﺿﻬﺎ‬ ‫ ﻏري أن اﻷﺳﺒﺎب اﻟﺠﺎﻧﺒﻴﺔ اﻟﺘﻲ‬.‫ﻗﺪرﻫﺎ ﻋﲆ ﻣﺴﺘﻮى ﻧﻔﴘ واﺟﺘامﻋﻲ‬ ‫ﻗﺪ ﺗﺪﻓﻊ ﺑﺸﺎﻋﺮ إﱃ ﻫﺠﺎء اﻣﺮأة ﻣﺎ ﻗﺪ ﻻ ﺗﻜﻮن ﻣﺘﺄﺛﺮة ﺑﺠﺎﻧﺐ ﻧﻔﴘ‬ ‫ﺑﻘﺪر ﻣﺎ ﻳﻜﻮن اﻟﻐﺮض ﻣﻨﻬﺎ اﻟﺴﺨﺮﻳﺔ اﻟﺘﻲ ﺗﺼﺪر ﰲ أوﻗﺎت اﻟﺘﺴﻠﻴﺔ‬ :‫ ﻳﻘﻮل ﻳﺤﻴﻰ ﺑﻦ ﺣﻜﻢ اﻟﻐﺰال‬،‫واﻟ ﱠﺘ َﻔ ﱡﻜ ِﻪ ﺑني اﻟﺮﺟﺎل‬ f¤G £fH~G* gMR ½ 12$f 8 11$*2|CC/

R Q C Q CCCCCCCGfCCC+ 13fCCCCtCCC SmfCCCHQ ÑCC Y C S CCCCHR fCCIfCC CC CCG ¸(*

60 ‫ اﻟﻌﺪد‬/ ‫اﻟﺸﻌﺮ‬ ِ ‫ ﺑﻴﺖ‬64

‫وﺑﺎﻟﺤﺪﻳﺚ ﻋﻦ اﻟﻨﻮع اﻷول )اﻹﻏﺮاب اﻟﺘﻴاميت(؛ ﻓﺈن ﻣﺎ ﻳﺠﻌﻞ اﻟﻐﺮض‬ ‫اﻟﺸﻌﺮي ﻏﺮﻳﺒﺎً ﻫﻮ ﺧﺮوﺟﻪ ﻋﻦ اﳌﺄﻟﻮف واﻷﻋﺮاف اﳌﻘﺼﺪﻳﺔ ﰲ‬ ‫اﻟﺸﻌﺮﻳﺔ اﻟﻌﺮﺑﻴﺔ ﻋﻤﻮﻣﺎً واﻟﺸﻌﺮﻳﺔ اﻷﻧﺪﻟﺴﻴﺔ ﻋﲆ وﺟﻪ اﻟﺘﺤﺪﻳﺪ؛‬ ‫وﻋﲆ ﺳﺒﻴﻞ اﳌﺜﺎل ﻓﻐﺮض اﻟﻐﺰل ﻣﻦ اﻷﻏﺮاض اﻷﻛرث ارﺗﺒﺎﻃﺎً ﺑﺎﻟﺬات‬ ‫اﻟﺸﺎﻋﺮة واﻷﻛرث إﺛﺎرة ﻟﻠﻤﺘﻐﺰل ﻓﻴﻪ )اﳌﺮأة(‪ ،‬وأﻳﻀﺎ اﻷﻛرث ﺗﺄﺛرياً ﰲ‬ ‫اﳌﺘﻠﻘﻲ اﻟﻌﺮيب ﻋﱪ ﻣﺮ اﻟﻌﺼﻮر‪ .‬وﻟﻌﻞ ﻣﺎ ﻳﺠﻌﻞ ﻫﺬا اﻟﻐﺮض ﻣﺜرياً‬ ‫ﻟﻠﻤﺘﻠﻘﻲ اﻟﻌﺮيب‪ ،‬وﻣﺤﻂ اﻫﺘامم ﻣﻦ ﻃﺮف اﻟﻨﻘﺪﻳﺔ اﻟﻌﺮﺑﻴﺔ‪ ،‬ﻫﻮ أﻧﻪ‬ ‫ﺳﻮي ﰲ‬ ‫ﻣﺮﺗﺒﻂ ﺑﺈﺣﺴﺎس اﻟﺤﺐ ﺗﺠﺎه اﳌﺮأة اﻟﺬي ﻳﺨﺎﻟﺞ ﻛﻞ إﻧﺴﺎن ﱟ‬ ‫ﻣﺮﺣﻠﺔ ﻣﺎ ﻣﻦ ﺣﻴﺎﺗﻪ‪ .‬وﻣﻦ مثﺔ؛ ﻓﻤﻦ اﻟﺼﻌﺐ أن ﻧﺘﺨﻴﻞ ﺷﺎﻋﺮاً ﻣﺎ‬ ‫ﻳﻬﺠﻮ اﻣﺮأة!!‬ ‫إن أﺑﺴﻂ ﻣﺤﺎوﻟﺔ ﻟﺘﺤﻮﻳﻂ ﻋﺎمل اﳌﺮأة اﻟﺴﻠﻮيك ﻗﺼﺪ ﻓﻬﻤﻪ واﺳﺘﻴﻌﺎب‬ ‫ﻣﻌﻨﻰ اﻷﻧﻮﺛﺔ ﻣﻦ ﺧﻼﻟﻪ؛ ﻳﺠﻌﻞ اﻟﺒﺎﺣﺚ ﻳﻘﻒ أﻣﺎم ذﻟﻚ اﻟﻜﺎﺋﻦ‬ ‫اﳌﻼﺋ ّ‬ ‫يك واﳌﺮﺗﺒﻂ ﺑـ »اﻟﻜﻴﺪ«‪ ،‬اﳌﺘﻌﺎﱄ اﻟﺨﺠﻮل‪ ،‬اﻟﺴﺎﺣﺮ اﻟﻌﻔﻴﻒ‪،‬‬ ‫اﻟﻘﺎﺗﻞ اﻟﺮﺣﻴﻢ‪ ،‬اﻟﻘﻮي اﻟﻀﻌﻴﻒ‪ .‬ذﻟﻚ اﻟﺬي اﺟﺘﻤﻌﺖ ﻓﻴﻪ اﻷﺿﺪاد‬ ‫وﺗﻮﺣﺪت ﻋﻨﺪه اﻟﻨﻘﺎﺋﺾ؛ ﺣﺘﻰ ﻗﺎل ﻓﻴﻪ اﻟﺸﺎﻋﺮ‪:‬‬ ‫‪2‬‬

‫‪4O §Q CCCC0 1fCCC¤CCCDP |CC‬‬ ‫*(‪U C:Q · «CCkCCG* £§CCªCC CCG* T£‬‬ ‫‪ fCCIÑCCkCCE QÕCCCCªCCCCtCCCCMR ½ CCCCC‬‬ ‫‪V C. fCC¡CC¡CC CCkCCE‬‬ ‫‪Q C0 ¸ ¨k0 4hCX C W CG* *3 3 Q¢<U |Q U MQ‬‬ ‫‪S¥+ *|C‬‬ ‫‪R C CCC CCC9&* V¢CCCCCCC RJKQ‬‬ ‫‪ fCCIfCC CC CCI(* SÙ* CC‬‬ ‫‪S C CCC1 CC‬‬

‫اﳌﺮأة‪ ،‬ﻫﺬه اﻟﺘﻲ أوﴅ ﺑﻬﺎ اﻟﺮﺳﻮل )ص( ﺧرياً‪ ،‬وأﻣﺮ ﺑﺎﻟﺮﻓﻖ ﺑﻬﺎ‪ ،‬ﻛﻴﻒ‬ ‫ميﻜﻦ ﻫﺠﺎؤﻫﺎ؟‬ ‫ﻣﻦ اﻟﺼﻌﺐ –ﰲ اﻟﺤﻘﻴﻘﺔ‪ -‬اﻟﺤﺪﻳﺚ ﻋﻦ ﻫﺠﺎء اﳌﺮأة ﺑﺎﻟﻨﻈﺮ إﱃ‬ ‫ﻛﻞ ﺗﻠﻚ اﻟﺴﻴﺎﻗﺎت اﻟﺪﻳﻨﻴﺔ واﻻﺟﺘامﻋﻴﺔ واﻷﺧﻼﻗﻴﺔ واﻟﻌﺎداﺗﻴﺔ‬ ‫واﻷدﺑﻴﺔ اﻟﺘﻲ ﺟﻌﻠﺖ ﻣﻨﻬﺎ ﻛﺎﺋﻨﺎً ﻣﺼﻮﻧﺎً ﻣﺤﻔﻮظ اﻟﺠﺎﻧﺐ‪ ،‬ﺗﻄري ﻣﻦ‬

‫)‪(1‬‬ ‫)‪(2‬‬ ‫)‪(3‬‬ ‫)‪(4‬‬ ‫)‪(5‬‬

‫ﻗﺒﻞ أن ﻧﺘﻄﺮق‬ ‫ﻟﻠﻘﺼﻴﺪة اﻟﺘﻲ ﺳﻨﻄﺮﺣﻬﺎ ﻧﻤﻮذﺟﺎ‬ ‫ﻟﻬﺠﺎء اﻟﻤﺮأة‪ ،‬أوﻟﻰ ﺑﻨﺎ أن ﻧﺒﺴﻂ‬ ‫اﻟﺪواﻓﻊ اﻟﻨﻔﺴﻴﺔ اﻟﺘﻲ ﻳﻤﻜﻦ أن‬ ‫ﺗﺪﻓﻊ ﺷﺎﻋﺮا ﻟﻬﺠﺎﺋﻬﺎ‬

‫دون اﳌﺴﺎس ﺑﻈﻔﺮﻫﺎ اﻟﺠامﺟﻢ‪ ،‬وﺗﺴﻘﻂ ﻣﻦ دون ﺗﻜﺸﻴﻒ ﻋﻮرﺗﻬﺎ‬ ‫اﻟﻌامﺋﻢ ! ﻣﺎ ﻳﻌﻨﻲ أن اﻟﺸﺎﻋﺮ اﻟﺬي ﺳﻴﻔﻜﺮ ﰲ اﻟﺨﺮوج ﻋﲆ ﻛﻞ‬ ‫ﻫﺬه اﳌﻮاﻧﻊ »اﻟﺴﻮﺳﻴﻮﺛﻘﺎﻓﻴﺔ«؛ ﺳﻴﺘﺤﺘﻢ ﻋﻠﻴﻪ اﻟﺪﺧﻮل ﰲ اﻹﻏﺮاب‬ ‫اﻟﺸﻌﺮي أﻗﻠﻪ ﻋﲆ اﳌﺴﺘﻮى اﻟﺘﻴاميت‪ .‬وﻫﺬا ﻣﺎ ﻳﻌﺘﱪ ﺑﺤﺪ ذاﺗﻪ ﻧﻮﻋﺎً‬ ‫ﻣﻦ اﻟﺘﺠﺪﻳﺪ ﰲ اﻟﺸﻌﺮﻳﺔ اﻟﻌﺮﺑﻴﺔ‪ ،‬ﺑﻐﺾ اﻟﻨﻈﺮ ﻋﻦ إﺣﺴﺎس اﳌﺘﻠﻘﻲ‬ ‫ﺑﺎﻟﻨﻔﻮر ﻣﻦ ﻓﻜﺮة ﻫﺠﺎء اﳌﺮأة ﺟﻤﻠﺔ وﺗﻔﺼﻴ ًﻼ‪.‬‬ ‫وﻟﻜﻦ ﻗﺒﻞ أن ﻧﺘﻄﺮق ﻟﻠﻘﺼﻴﺪة اﻟﺘﻲ ﺳﻨﻄﺮﺣﻬﺎ منﻮذﺟﺎً ﻟﻬﺠﺎء اﳌﺮأة‪،‬‬ ‫أوﱃ ﺑﻨﺎ أن ﻧﺒﺴﻂ اﻟﺪواﻓﻊ اﻟﻨﻔﺴﻴﺔ اﻟﺘﻲ ميﻜﻦ أن ﺗﺪﻓﻊ ﺷﺎﻋﺮاً‬ ‫ﻟﻬﺠﺎﺋﻬﺎ‪ ،‬وﻧﻌﺘﻘﺪ أن ﻣﻦ أﻛرث اﻷﺳﺒﺎب اﳌﻨﻄﻘﻴﺔ ﺷﻴﻮﻋﺎً ﻫﻲ ﺧﻴﺎﻧﺔ‬ ‫اﳌﺮأة ﻟﻠﺸﺎﻋﺮ؛ ﻋﲆ ﻧﺤﻮ ﻣﺎ ﺣﺼﻞ ﻻﺑﻦ زﻳﺪون ﻣﻊ ﻣﺤﺒﻮﺑﺘﻪ )وﻻدة(‬ ‫ﻓﺪﻓﻌﻪ ذﻟﻚ ﻟﻠﻘﻮل‪: 5‬‬ ‫*&‪V C¼ *|CCCCCCCCC13R 6,2¸§CCCCCCCCCC+ U |CCCCCCCCCCF‬‬ ‫‪|CCCC S1{CCC‬‬ ‫‪7‬‬ ‫‪V C<K 4fCC CCªCC+ ÕCCC+ lCCCE|V CCCD fCCC¤CCCI&* §CCCG‬‬ ‫‪4S fCCC CC‬‬ ‫‪9‬‬ ‫‪8‬‬ ‫‪f¤+ CC‬‬ ‫‪W C S CCCMR ¨CCtCC CC9&* |CCHfCC< §CCCC+&* *§CCGfCCE‬‬ ‫‪4S fCC¡CCG* ¢CCCH §CCIzCC- zCCCE jCR C CC7*|CC CCG* RlCC CCE‬‬

‫)‪(6‬‬ ‫اﻟﻄﺮف ‪ :‬ﺟﺎﻧﺐ اﻟﻌني‪.‬‬ ‫اﻟﺤﻮر‪ :‬ﺷﺪة اﻟﺒﻴﺎض ﰲ ﺑﻴﺎض اﻟﻌني ﻣﻊ ﺷﺪة اﻟﺴﻮاد ﰲ ﺳﻮادﻫﺎ‪(7) .‬‬ ‫ﻳﴫﻋﻦ‪ :‬ﻳﺴﻘﻄﻦ ﰲ ﻫﻮاﻫﻦ اﻟﺮﺟﺎل‪.‬‬ ‫ذو اﻟﻠﺐ‪ :‬ﺻﺎﺣﺐ اﻟﻌﻘﻞ اﻟﺤﻜﻴﻢ‪.‬‬ ‫)‪(8‬‬ ‫اﺑﻦ زﻳﺪون‪ ،‬دﻳﻮان‪ ،‬ﺗﺤﻘﻴﻖ ﺣﻨﺎ ﻓﺎﺧﻮري‪ ،‬ط‪ ،1‬دار اﻟﺠﻴﻞ ﺑريوت‪،‬‬ ‫‪ ،1999‬ص ‪.384‬‬ ‫)‪(9‬‬

‫ّوﻻدة‪ :‬اﺳﻢ أﻣرية أﻣﻮﻳﺔ أﺣﺒﻬﺎ اﺑﻦ زﻳﺪون‪.‬‬ ‫ﺑﻴﻄﺎر وﻋﻄﺎر‪ :‬ﻣﻌﻨﺎﻫﺎ ﻣﺎ أﻛﺮﻣﻬﺎ ﻟﻮ أﻧﻬﺎ ﻓﺮﻗﺖ ﺑني رﺟﻞ ﻳﻌﻤﻞ‬ ‫ﻣﻊ اﻟﺒﻬﺎﺋﻢ ورﺟﻞ ﻳﻌﻤﻞ ﻣﻊ اﻟﺰﻫﻮر‪.‬‬ ‫أﺑﻮ ﻋﺎﻣﺮ ‪ :‬ﻫﻮ اﻟﻮزﻳﺮ أﺑﻮ ﻋﺎﻣﺮ اﺑﻦ ﻋﺒﺪوس اﳌﻠﻘﺐ ﺑﺎﻟﻔﺎر وﻛﺎن‬ ‫ﻳﻨﺎﻓﺲ اﺑﻦ زﻳﺪون ﻋﲆ ﺣﺐ وﻻدة‪.‬‬ ‫ﻳﻠﻢ ﺑﻬﺎ‪ :‬ﻳﺄﺗﻴﻬﺎ وﻳﺰورﻫﺎ‪.‬‬ ‫أﻛﺘﻮﺑﺮ ‪63 2017 /‬‬

‫أﻧﺪﻟﺴ ﻴﺎت‬ ‫‪baytelshear‬‬

‫ﻣﻴﻮﻻﺗﻪ اﻟﻬﺰﻟﻴﺔ وﺣﺒﻪ ﻟﻠﺪﻋﺎﺑﺔ ﺟﻌﻠﺘﻪ ﻳﺨﺘﺮق ﺣﺪود أﻋﺮاف اﻟﻐﺮﺿﻴﺔ اﻟﺸﻌﺮﻳﺔ‬

‫ﻫﺠﺎء اﻟﻤﺮأة ﻓﻲ ﺷﻌﺮ ﻳﺤﻴﻰ ﺑﻦ اﻟﺤﻜﻢ اﻟﻐﺰال ا<ﻧﺪﻟﺴﻲ‬ ‫د‪P‬ﻳﺎﺳﻴﻦ ﺣﺰﻛﺮ‬

‫ﺗﺮﺗﺒﻂ روح اﻟﺸﻌﺮ اﻟﻌﺮﺑﻲ اﻷﻧﺪﻟﺴﻲ ﻋﻠﻰ ﻏﺮار ﺳﻠﻔﻪ‬ ‫اﻟﻤﺸﺮﻗﻲ ﺑﺎﻹﻏﺮاب اﻟﺠﻤﺎﻟﻲ اﻟﺬي ﻳﻨﻘﺴﻢ إﻟﻰ أﻧﻮاع ﻣﺨﺘﻠﻔﺔ؛‬ ‫ﻳﻤﻜﻦ إﺟﻤﺎﻟﻬﺎ ﻓﻲ ﻣﺎ ﻳﻠﻲ ‬ ‫اﻟﻨﻮع اﻷول ﻣﺘﻌﻠﻖ ﺑﺎﻟﻤﻘﺼﺪ اﻟﺸﻌﺮي )اﻟﻐﺮض( وﻧﻄﻠﻖ‬ ‫ﻋﻠﻴﻪ )اﻹﻏﺮاب اﻟﺘﻴﻤﺎﺗﻲ(؛‬ ‫اﻟﻨﻮع اﻟﺜﺎﻧﻲ ﻣﺘﻌﻠﻖ ﺑﺎﻟﻠﻐﺔ ﻧﻔﺴﻬﺎ )اﻟﺘﺮﻛﻴﺐ( وﻧﻄﻠﻖ ﻋﻠﻴﻪ‬ ‫)اﻹﻏﺮاب اﻟﺘﺮﻛﻴﺒﻲ(؛ وﻳﺘﻢ ﺑﺘﺰوﻳﺞ أﻟﻔﺎظ ﻟﻢ ُﺗﺰوج ﻣﻦ ﻗﺒﻞ؛‬ ‫اﻟﻨﻮع اﻟﺜﺎﻟﺚ ﻣﺘﻌﻠﻖ ﺑﺎﻟﺼﻮرة اﻟﺸﻌﺮﻳﺔ )اﻟﺘﺼﻮﻳﺮ( وﻧﻄﻠﻖ‬ ‫ﻋﻠﻴﻪ )اﻹﻏﺮاب اﻟﺪﻻﻟﻲ( وﻧﺘﻤﺜﻠﻪ ﻓﻲ اﻟﻤﺴﺘﻮﻳﺎت اﻟﺒﻼﻏﻴﺔ‬ ‫ﻋﺎﻣﺔ )اﻻﺳﺘﻌﺎرات‪ ،‬اﻟﻜﻨﺎﻳﺎت‪ ،‬اﻟﻤﺠﺎزات‪ ،‬اﻻﻧﺰﻳﺎﺣﺎت(؛‬ ‫اﻟﻨﻮع اﻟﺮاﺑﻊ ﻣﺮﺗﺒﻂ ﺑﺎﻟﺨﻴﺎل واﻟﻤﺤﺎﻛﺎة ﻟﺪى اﻟﺸﺎﻋﺮ وﻧﻄﻠﻖ‬ ‫ﻋﻠﻴﻪ )اﻹﻏﺮاب اﻟﺘﺨﻴﻴﻠﻲ( وﻧﺘﻤﺜﻠﻪ ﺑﻤﺪى اﻗﺘﺮاب اﻟﺼﻮرة‬ ‫اﻟﺸﻌﺮﻳﺔ ﻣﻦ اﻟﻮاﻗﻊ )ﻣﺤﺎﻛﺎة(‪ ،‬ﻋﻠﻰ اﻋﺘﺒﺎر أن اﻟﺸﺎﻋﺮ ﻣﻠﺘﻘﻂ‬ ‫ﺑﺎرع ﻟﺰواﻳﺎ ﻏﺮاﺋﺒﻴﺔ ﻣﻦ اﻟﺤﻴﺎة ﻟﻢ ﻳﺘﻌﻮد اﻹﻧﺴﺎن اﻟﻌﺎدي‬ ‫ﻣﻼﺣﻈﺘﻬﺎ‪ P‬أو ﻣﺪى إﻳﻐﺎﻟﻬﺎ ﻓﻲ اﻟﺨﻴﺎل ﺣﺪ ﻛﻮﻧﻬﺎ ﺗﺠﺮﻳﺪﻳﺔ‬ ‫ﺑﻌﻴﺪة ﻋﻦ اﻟﻮاﻗﻊ‪P‬‬

‫اﻟﺸﻌﺮ ‪ /‬اﻟﻌﺪد ‪60‬‬ ‫‪ 62‬ﺑﻴﺖ ِ‬

‫ﻣﻦ ﻋﻴﻮن اﻟﺸﻌﺮ‬ ‫ ﻓﺘﻠﻚ ﻣﺼﻴﺒ ٌﺔ‬66‫إن ﻛﻨﺖ ﻣﺎﺗﺪري‬ @@ @~@@P @z@ @ @ @ -O @N @ @ @ @ @ @ @/H @P @ @~@ @ z@ @ p@ @ + P4b@@ @ @ @ @ @ @ @ @ D* @O @ @z@ @ @ @ ~@ @ 7 O @ @ @ ~@@N @ @z@ @ @ @ @ @ -O @N @ @ @ Db@@ @ @ @ @ @ @/ @@ @ @ @ E N f@@ @ @ @ 0É@@ @ @ @ ´* (Q * b@@ @ @ @ @ T @ @ @C @O @ @ @ @~@ @ @ @ 6b@@ @ @ @p@ @ @ @ ´* @N @ @ @g@ @ @ m@ @ @ @ @ @ c@ @ @ D Rh@@ @ @ @ @ @ @ @ @ @ @/ O @ @ @ ~@@S @ @z@ @ @ @ @ @ E P b@@ @ @ @ @ @ @ @ @ @ @ @ @ @ F&°* Q @ @ @ @ @ @ @ C ¯ @O @ @ @ @ @~@ @ @ @ @ z@ @ @ @ @ ²*H P @ @ @ £U @ @ @ P @@ @ @~@@N @ @6 @N @ @ @£@ @ @ ~@ @ @ 6 O b@@ @ @ @ @ @ @£@ @ @ @< Rh@@ @ @ @ @ @ @ @ 0 @@ @ @ @ E b@@ @ @ @ J Q @ @ @ @ @ @ @G O @ @ @ @ @ @ O @ @ @ @ @ @p@R @ @ @ @ @ JN 3(* @@ @ @ Dv@@ @ @ @ @ @ + Nh@@ @ @ @ Jv@@ @ @ @ g@ @ @ @ @B* É ¤@@ @ @ @ -b@@ @B @N @ @ @ @ P @@ @ @ @ ² @O @ @ @ @£@ @ @ @ ~@@ N @ @ @6H O2*x@@ @ @ @ @ @ @ @ @ @ @ @ @O´* Nh@@ @ @ @ @ @ @ @ F&* O @ @ @ @m@N @ @ @ @ @ @ @EO ·b@@ @ @ @ @ @0 rP x@@ @ @ @ ~@ @ @ @ @7 @@ @ @ @ < ¤@@ @ @ @ @ @ @ @ AN R @@ @ @ @ @ @ @ @ D O @ @ @gN @ @ @£@ @ @ @ @ @/ Nh@@ @ @ @ @ @ @ @ @ @ @ @ F&*H b@@ @ @ @ @ @ @ @ @ @ BN xT @ @ @ @ @ O @ @ @ @ @ -N *¡@@ @ @ @ @ @ ~@ @ @ {@ @ @ L P @ @ @ @ @ @ @ @ @ @ ; Pd@@ @ @ @ )P b@@ @ @ @ m@ @ @ @ @ N @ @ @ @ @ D* @@ @ @ @ @ @ @EH O @ @ @ @ S @ @ @ @ @N @ @ @ @ gN @ @ @ @ JN µb@ L b@@ @ @ @ @ < ¥v@@ @ @ @ @ @ @ @ @ + P4w@@ @ @ @ @ @ O @ @ @ @ @ @ @+ Nh@@ @ @ @ @ @ @ @ @ @ @ F&* ¡@ O @ @ @ @ @ @ @ @ @ @ @ @ @-H µ OS O @ @ @ @ @ @ @ @N @ @ @ @ @ @ @ @<&* ° ¤@@ @ @ @ @ @ @ @ @ @ @ @ @ @ @FQ &* O @ @ @ @ @ @N @ @ @ @ @ @ @ @ @ @ @ @JN Ñ*H N Æ@O @ @ @ @ @ @ @ @ @ @ @ @A ¤@@ @ @ @ @ P @ @ @g@ @ @EO @N @ @ @ @ @cQ @ @ @ @ @ 0 &Q * ¥4v@@ @ @ @ @ @ @ @ @ @ -N * N @ @ @ @ @ @ @ @ @ @ @ @ @ @GN ¤@@ @ @ @ @ @ @ @ @ @ @ @ @ @ 1O&* ¤@@ @ @ @ @ @ @ Q @ @ @ @ @ @ @ @D O @ @ @ @ @ @ @ @ gP @ @ @ @ @ @ @ @ C&*H *¡@ L f@@ @c@ @ £@ @ ~@ @ |@ @ E @N @ @ @ @ @ @ g@ @ @ A ¥4v@@ @ @ @ @ @ @ @ @- b@@ @ @ @ E Nh@@ @ @ @ @ @ @C (* O @ @ @ @ @N @ @ @ @ <&* O f@@ @ cN @ @ @£@ @ @~@ @ @|@ @ @´b@@ @ A ¥4v@@ @ @ @ @ @ @ @ @ @-N Nh@@ @ @ @ @ @ @C H&* ‫ﺻﻔﻲ اﻟﺪﻳﻦ اﻟﺤﻠﻲ‬

61 2017 / ‫أﻛﺘﻮﺑﺮ‬

‫ﺧﺎرج اﻟﻨﺺ‬ ‫‪baytelshear‬‬

‫ﻷﻟﻌﺎيب‪ ،‬وﻗﺪ زاد ﺷﻐﻔﻲ وﻛﱪ ﻣﻌﻲ‪ ،‬وﺧﺼﻮﺻﺎً‬ ‫ﻋﻨﺪﻣﺎ رﻛﺰت ﻋﲆ اﻟﻘﻔﻄﺎن اﳌﻐﺮيب‪ ،‬ﻟﻜﻮﻧﻪ‬ ‫ﻣﻦ أﻓﺨﻢ وأﻓﺨﺮ أﻧﻮاع اﻷزﻳﺎء اﻟﺘﻲ ﺗُﻌﺮف‬ ‫ﺑﻬﺎ اﳌﻐﺮب‪ ،‬وﻛﻨﺖ أﻋﻠﻢ أﻧﻪ ﺻﻌﺐ أو ﻣﻌﻘﺪ‬ ‫اﻟﺘﻨﻔﻴﺬ وﻳﺤﺘﺎج إﱃ دراﻳﺔ وﺧﱪة وﻣﺼﻤﻤني‬ ‫ﻣﺨﺘﺼني‪ ،‬اﻷﻣﺮ اﻟﺬي زاد إﴏاري وﺗﺸﺒﺜﻲ‬ ‫ﺑﻪ‪ ،‬ﻓﻜﺎن ﻣﻦ اﻟﴬوري أن أﻛﻤﻞ دراﺳﺘﻲ‬ ‫ﺣﻴﺚ ﺣﺼﻠﺖ ﻋﲆ اﳌﺎﺟﺴﺘري ﰲ إدارة‬ ‫اﻷﻋامل‪ ،‬وﻣﻦ ﺑﻌﺪﻫﺎ ﻗﺮرت أن أﺻﺐ ﻛﺎﻣﻞ‬ ‫ﺗﻔﻜريي واﻫﺘامﻣﻲ ﻋﲆ ﺗﺼﻤﻴﻢ اﻟﻘﻔﻄﺎن‬ ‫اﳌﻐﺮيب‪ ،‬وﺑﺎﻟﻔﻌﻞ ﻓﻌﻠﺖ ذﻟﻚ وﺑﺪأﺗﻪ ﻣﻨﺬ‬ ‫اﻧﺘﻘﺎﱄ ﻟﻠﻌﻴﺶ ﰲ ديب‪.‬‬ ‫ﻓﻲ اﻟﻮﺳﻂ اﻟﻔﻨﻲ‪9‬‬ ‫ارﺗﺪت أﺷﻬﺮ اﻟﻔﻨﺎﻧﺎت اﻟﻌﺮﺑﻴﺎت ﻣﻦ‬ ‫ﺗﺼﺎﻣﻴﻤﻚ‪ ،‬ﻓام أﻫﻤﻴﺔ ﻫﺬا ﺑﺎﻟﻨﺴﺒﺔ‬ ‫ﻟﺘﺠﺮﺑﺘﻚ واﻧﺘﺸﺎر ﺗﺼﺎﻣﻴﻤﻚ؟‬ ‫ﺣﻘﻴﻘﺔ ﻫﻲ ﺗﺠﺮﺑﺔ أﻛرث ﻣﻦ راﺋﻌﺔ وﺗﻌﻨﻲ ﱄ‬ ‫اﻟﻜﺜري‪ ،‬ﻷﻧﻬﻢ اﺧﺘﺎروا ﺗﺼﺎﻣﻴﻤﻲ ﻹﻃﻼﻻﺗﻬﻢ‬ ‫اﳌﻬﻤﺔ ﺧﺼﻮﺻﺎً ﰲ رﻣﻀﺎن وﻣﻮاﺳﻢ اﻷﻋﻴﺎد‬ ‫وﺣﻔﻼﺗﻬﻢ اﻟﺨﺎﺻﺔ‪ ،‬وﻣﻦ اﻟﴬوري ﺟﺪاً أن‬ ‫ﻳﻌﻠﻢ اﻟﺠﻤﻴﻊ أن ﻋﻼﻗﺘﻲ ﺑﺎﳌﺸﺎﻫري ﺟﺎءت‬ ‫ﻣﻦ وراء ﺗﺼﺎﻣﻴﻤﻲ وﻣﻬﻨﺘﻲ ﻛﻤﺼﻤﻤﺔ‬ ‫أزﻳﺎء‪ ،‬ﻓﺄﻧﺎ مل أﻋﺮﻓﻬﻢ ﻣﻦ ﻗﺒﻞ أو ﺑﺎﻷﺣﺮى‬ ‫مل ﺗﻜﻦ ﺑﻴﻨﻨﺎ ﺻﺪاﻗﺔ أو أي ﻣﻌﺮﻓﺔ ﺷﺨﺼﻴﺔ‪،‬‬ ‫ﻟﻘﺪ ﻛﻨﺖ أﻋﺮﻓﻬﻢ وأﺳﻤﻊ ﻋﻨﻬﻢ ﻣﻦ ﺧﻼل‬ ‫اﻟﺘﻠﻔﺎز واﻟﱪاﻣﺞ واﻹذاﻋﺔ‪ ،‬وﺗﺼﻤﻴاميت ﻫﻲ‬ ‫اﻟﺘﻲ ﺧﻠﻘﺖ ﻫﺬه اﻟﻌﻼﻗﺔ واﳌﻌﺮﻓﺔ ﺑﻴﻨﻲ‬ ‫وﺑﻴﻨﻬﻢ‪ .‬ﺗﻌﺮﻓﺖ أوﻻً ﻋﲆ ﻟﺠني ﻋﻤﺮان ﻋﻦ‬ ‫ﻃﺮﻳﻖ اﺳﺘﻀﺎﻓﺘﻲ ﰲ ﺑﺮﻧﺎﻣﺞ ﺻﺒﺎح اﻟﺨري ﻳﺎ‬ ‫ﻋﺮب ﰲ )إم يب ﳼ( أﻋﺠﺒﺖ ﺑﺄﻋامﱄ وأﺻﺒﺢ‬ ‫ﺑﻴﻨﻨﺎ ﺗﻮاﺻﻞ ﻛﻤﺼﻤﻤﺔ وزﺑﻮﻧﺔ‪ ،‬وﺑﺎﻟﻄﺮﻳﻘﺔ‬ ‫ﻧﻔﺴﻬﺎ ﺗﻌﺮﻓﺖ إﱃ اﻟﺠﻤﻴﻊ‪ ،‬وأﻧﺎ ﻓﺨﻮرة‬ ‫ﺟﺪاً مبﻌﺮﻓﺘﻬﻢ وﻣﺤﺒﺘﻬﻢ وإﻋﺠﺎﺑﻬﻢ ﺑﺄﻋامﱄ‬ ‫اﻟﻔﻨﻴﺔ ﰲ ﻋﺎمل اﳌﻮﺿﺔ واﻟﻘﻔﻄﺎن اﳌﻐﺮيب‪.‬‬

‫ﻣﻦ ﺧﻼل ﺻﺪاﻗﺎﺗﻚ ﻣﻊ أﻫﻞ اﻟﻔﻦ ﻫﻞ‬ ‫ﻋﺮض ﻋﻠﻴﻚ اﳌﺸﺎرﻛﺔ ﰲ ﻋﻤﻞ ﻓﻨﻲ‪ ،‬وإن‬ ‫ﺣﺪث ﻫﺬا ﻫﻞ ميﻜﻦ أن ﺗﻮاﻓﻘﻲ؟‬ ‫ﺑﺎﻟﻔﻌﻞ‪ ،‬ﻋﺮض ﻋ ﱠ‬ ‫ﲇ اﳌﺸﺎرﻛﺔ ﰲ ﻋﻤﻞ ﻓﻨﻲ‬ ‫اﻟﺴﻨﺔ اﳌﺎﺿﻴﺔ‪ ،‬ﻟﻜﻨﻨﻲ رﻓﻀﺖ‪ ،‬أﻧﺎ أﺣﺐ اﻟﻔﻦ‬ ‫اﻟﺸﻌﺮ ‪ /‬اﻟﻌﺪد ‪60‬‬ ‫‪ 60‬ﺑﻴﺖ ِ‬

‫ﺧﺎص أو ﻛﲇ ﻟﻠﻌﺒﺎءة اﻟﺨﻠﻴﺠﻴﺔ‪ ،‬ﻷﻧﻨﻲ ﻟﻦ‬ ‫أوﻓﻴﻬﺎ ﺣﻘﻬﺎ ﻛام ﺗﻔﻌﻞ ﺑﺎﻗﻲ اﳌﺼﻤامت‬ ‫اﻟﺨﻠﻴﺠﻴﺎت‪ ،‬ﻓﻔﻲ اﻟﺨﻠﻴﺞ ﻫﻨﺎك ﻣﺼﻤامت‬ ‫ﻋﺒﺎءات ﻳﺒﺪﻋﻦ وﺑﺸﻜﻞ راﺋﻊ ﰲ ﺗﺼﻤﻴﻤﻬﺎ‬ ‫وﺗﻄﻮﻳﺮﻫﺎ ﻣﻊ اﻟﺤﻔﺎظ ﻋﲆ أﺳﺎﺳﻴﺎﺗﻬﺎ‪ .‬ﻻ‬ ‫أﻇﻦ أﻧﻨﻲ ﺳﺄﻛﻮن ﻣﻠﻤﺔ ﰲ اﻟﻌﺒﺎءة اﻟﺨﻠﻴﺠﻴﺔ‬ ‫أﻛرث ﻣﻨﻬﻦ !! اﳌﺼﻤامت اﻟﺨﻠﻴﺠﻴﺎت ﻳﻘﻤﻦ‬ ‫ﺑﺪور ﻛﺒري وﻣﻬﻢ وراﺋﻊ ﰲ ﻫﺬا اﳌﺠﺎل وﻻ‬ ‫ﻟﺪي أﻛرث أو أﻓﻀﻞ ﻣام ﻳﻘﺪﻣﻨﻪ‪.‬‬ ‫أﻋﺘﻘﺪ أن ﱠ‬ ‫ﻣﺎ ﻫﻲ ﻣﺸﺎرﻳﻌﻚ ﻟﻠﻔﱰة اﳌﻘﺒﻠﺔ؟‬ ‫ﺑﺎﻟﺘﺄﻛﻴﺪ ﻣﺎزال ﻫﻨﺎك اﻟﻜﺜري اﻟﺬي أﺣﻠﻢ ﺑﻪ‬ ‫وأﺗﻮق ﻟﺘﺤﻘﻴﻘﻪ‪ ،‬ﻓﺒﻌﺪ أن أوﺻﻠﺖ اﻟﻘﻔﻄﺎن‬ ‫اﳌﻐﺮيب ﻟﺸﻬﺮة ﻋﲆ ﻣﺴﺘﻮى اﻟﻌﺎمل اﻟﻌﺮيب‬ ‫واﻟﴩق اﻷوﺳﻂ‪ ،‬ﻓﺄﻧﺎ أﻃﻤﺢ ﻷن ﻳﺼﻞ‬ ‫إﱃ دول اﻟﻌﺎمل اﻷﺧﺮى‪ ،‬وﻣﻦ ﻣﺨﻄﻄﺎيت‬ ‫اﳌﺴﺘﻘﺒﻠﻴﺔ ﻛﺬﻟﻚ أن اﺗﺠﻪ وأﺑﺪأ ﰲ ﺗﺼﻤﻴﻢ‬ ‫ﺧﻂ ﺟﺪﻳﺪ ﻛﻘﻄﻊ ﻣﻼﺑﺲ ﺟﺎﻫﺰة ‪.‬‬ ‫ﺑﻜﻞ أﻧﻮاﻋﻪ وأﺷﻜﺎﻟﻪ‪ ،‬و ﻟﻜﻦ‪ ،‬رﺣﻢ اﻟﻠﻪ أﻣﺮأ‬ ‫ﻋﺮف ﻗﺪر ﻧﻔﺴﻪ‪ .‬ﻓﺒﺎﻟﻨﺴﺒﺔ ﱄ‪ ،‬أرى ﺑﺄﻧﻪ‬ ‫ﻣﺨﻄﺊ ﻣﻦ ﻳﻈﻦ أن اﻟﺘﻤﺜﻴﻞ ﳾء ﺳﻬﻞ وأن‬ ‫اﻟﻨﺠﺎح ﰲ ﻫﺬا اﳌﺠﺎل ﻳﺄيت ﺑﴬﺑﺔ ﺣﻆ‪ ،‬ﻛام‬ ‫أﻧﻨﻲ أﻓﻀﻞ اﻟﱰﻛﻴﺰ ﰲ ﻋﻤﲇ وﺗﺼﺎﻣﻴﻤﻲ اﻟﺘﻲ‬ ‫ﺗﺄﺧﺬ ﻗﺴﻄﺎً ﻛﺒرياً ﺟﺪاً ﻣﻦ وﻗﺘﻲ وﺗﻔﻜريي‪.‬‬ ‫ﺧﺼﻮﺻﻴﺔ اﻟﻬﻮﻳﺔ‪9‬‬ ‫ﻣﺎ اﻟﺬي ميﻴﺰ اﻷزﻳﺎء اﻹﻣﺎراﺗﻴﺔ ﺑﺤﺴﺐ‬ ‫وﺟﻬﺔ ﻧﻈﺮك وﻫﻞ ﻓﻜﺮيت ﺑﺎﻟﻌﻤﻞ ﻣﻦ وﺣﻴﻬﺎ‬ ‫أو اﻟﺮﺑﻂ ﺑﻴﻨﻬﺎ وﺑني اﻟﺰي اﳌﻐﺮيب؟‬ ‫ﻛﻞ ﳾء ﰲ اﻷزﻳﺎء اﻹﻣﺎراﺗﻴﺔ ﻣﻤﻴﺰ‪ ،‬وأﻧﺎ أرى‬ ‫اﳌﺮأة اﻹﻣﺎراﺗﻴﺔ ﺳﻴﺪة ﻋﴫﻳﺔ أﻧﻴﻘﺔ ﺗﺤﺐ‬ ‫اﳌﻮﺿﺔ وﻗﻮﻳﺔ اﻟﺤﻀﻮر ﰲ ﻛﻞ اﳌﺠﺎﻻت‪،‬‬ ‫وﺣﻘﻴﻘﺔ مل أرﺑﻂ ﺑﻴﻨﻬﺎ وﺑني اﻟﺰي اﳌﻐﺮيب ﻣﻦ‬ ‫ﻗﺒﻞ ﻷن ﻟﻜﻞ ﻣﻨﻬام ﻣﻌﺎﻳريه اﻟﺨﺎﺻﺔ وﻟﻮﻧﻪ‬ ‫اﻟﺨﺎص وﺟﻤﻬﻮره اﻟﺨﺎص أﻳﻀﺎً‪ ،‬ﻓﻠﻠﻘﻄﻌﺔ‬ ‫اﻹﻣﺎراﺗﻴﺔ ﻫﻮﻳﺘﻬﺎ وﻟﻠﻘﻔﻄﺎن اﳌﻐﺮيب ﻫﻮﻳﺘﻪ‪.‬‬ ‫ﻟﻜﻦ ﰲ اﻟﺤﻘﻴﻘﺔ ﻗﻤﺖ ﺑﺘﺼﻤﻴﻢ ﻋﺒﺎءة‬ ‫ﺧﻠﻴﺠﻴﺔ ﻗﺒﻞ ﺳﻨﺘني‪ ،‬ﻓﺼﻤﻤﺖ ﻣﺠﻤﻮﻋﺔ‬ ‫ﺻﻐرية ﻣﻊ إﺣﺪى ﺻﺪﻳﻘﺎيت اﳌﺼﻤامت‪ ،‬وﻻ‬ ‫أﻋﺘﻘﺪ أﻧﻨﻲ ﺳﻮف أﺗﺠﻪ أو أﻗﻮم ﺑﺘﺼﻤﻴﻢ‬

‫ﻫﻞ ﺗﻘﺮأﻳﻦ اﻟﺸﻌﺮ‪ ،‬وﻣﻦ ﻳﻌﺠﺒﻚ ﻣﻦ‬ ‫اﻟﺸﻌﺮاء؟‬ ‫ﻣﻦ ﻣﻨﺎ ﻻ ﻳﺤﺐ اﻟﺸﻌﺮ‪ ،‬وﻳﻨﺘﺎﺑﻪ اﻹﺣﺴﺎس‬ ‫ﺑﻜﻠامﺗﻪ وﻋﱪه اﻟﺸ ّﻴﻘﺔ‪ ،‬ﻣﻦ ﻣﻨﺎ مل ﺗﺄﺧﺬه‬ ‫ﺟامل اﻟﻜﻠامت وروﻋﺔ ﺗﻨﺴﻴﻘﻬﺎ وﺑﻼﻏﺘﻬﺎ!‬ ‫ﻓﻜﻴﻒ ﱄ أﻻ أﻛﻮن ﻣﻮﻟﻌﺔ ﺑﻪ‪ ،‬وﺧﺼﻮﺻﺎً‬ ‫أن واﻟ َﺪ ﱠي ﻗﻀﻴﺎ ﻣﺎﻳﺰﻳﺪ ﻋﲆ ﺛﻼﺛﺔ ﻋﻘﻮد ﰲ‬ ‫ﺗﺪرﻳﺲ اﻟﻠﻐﺔ اﻟﻔﺮﻧﺴﻴﺔ وآداﺑﻬﺎ‪ .‬ﻟﻘﺪ ﻗﺮأت ﻟـ‬ ‫”ﻓﻴﻜﺘﻮر ﻫﻮﻏﻮ“ وﻻ زاﻟﺖ أﺣﻔﻆ ﻋﻦ ﻇﻬﺮ‬ ‫ﻗﻠﺐ ﻗﺼﻴﺪﺗﻪ اﻟﺮاﺋﻌﺔ )ﻏﺪاً‪ ..‬ﻋﻨﺪ اﻟﻔﺠﺮ(‬ ‫وﻫﻲ ﻗﺼﻴﺪة ﺑني ﻓﻴﻬﺎ ﻣﺪى ﻋﺸﻘﻪ ﻻﺑﻨﺘﻪ‬ ‫اﻟﺘﻲ ﻓﺎرﻗﺖ اﻟﺤﻴﺎة‪ ،‬وﻫﻲ ﻻ زاﻟﺖ ﰲ رﻳﻌﺎن‬ ‫ﺷﺒﺎﺑﻬﺎ‪ .‬ﻟﻘﺪ اﺳﺘﻤﺘﻌﺖ أﻳﻀﺎً ﺑﻘﺼﺎﺋﺪ ﻟﺸﻌﺮاء‬ ‫آﺧﺮﻳﻦ ﻣﺜﻞ ﻓريﻟني وﺑﻮل إﻳﻠﻮار واﻟﻼﺋﺤﺔ‬ ‫ﻃﻮﻳﻠﺔ‪.‬‬ ‫أﻣﺎ ﻓﻴام ﻳﺨﺺ اﻟﺸﻌﺮاء اﻟﻌﺮب ﻓﻘﺪ ﻗﺮأت‬ ‫ﺑﺎﻹﺿﺎﻓﺔ إﱃ اﳌﻌﻠﻘﺎت‪ ،‬ﻟﻠﺸﺎﻋﺮ ﻣﺤﻤﻮد‬ ‫دروﻳﺶ اﻟﺜﺎﺋﺮ اﳌﺪاﻓﻊ ﻋﻦ اﻟﻘﻀﻴﺔ‬ ‫اﻟﻔﻠﺴﻄﻴﻨﻴﺔ‪ ،‬و ﻟﺸﺎﻋﺮ اﳌﺮأة ﻧﺰار ﻗﺒﺎين اﻟﺬي‬ ‫ﺗﻐﻨﻰ ﺑﺠامﻟﻬﺎ‪ ،‬وأﺧرياً وﻟﻴﺲ ﺑﺂﺧﺮ ﻟﺼﺪﻳﻘﺘﻲ‬ ‫اﻟﺪﻛﺘﻮرة واﻟﺸﺎﻋﺮة اﳌﺘﻤﻴﺰة ﺑﺮوﻳﻦ ﺣﺒﻴﺐ‪،‬‬ ‫وﺧﺎﺻﺔ دﻳﻮاﻧﻬﺎ اﻷﺧري ”اﻧﺴﺘﻐﺮاﻣﻴﺎت“‪.‬‬

‫ﺑﺈﺣﺪى اﻟﴩﻛﺎت اﻟﻔﺮﻧﺴﻴﺔ‪.‬‬ ‫رﻓﻀﺖ ﻋﺮض اﻟﺘﻤﺜﻴﻞ ﻷﻧﻲ أﻓﻀﻞ‬ ‫وﺑﻮﺟﻮدي ﺑﺪيب ﺣﻴﺚ ﻃﺎب اﳌﻘﺎم‪ ،‬دﻗﺖ‬ ‫اﻟﺘﺮﻛﻴﺰ ﻓﻲ ﺗﺼﺎﻣﻴﻤﻲ‪t‬‬ ‫ﺳﺎﻋﺔ اﳌﻴﻌﺎد ﻣﻊ ﺣﻠﻢ ﻛﺎن ﻳﺮاودين ﻣﻨﺬ‬ ‫ﻛﻨﺖ ﻃﻔﻠﺔ‪ ،‬وﻛﻨﺖ ﺣﻴﻨﻬﺎ ﺣﺮﻳﺼﺔ ﻋﲆ‬ ‫ﻗﻀﺎء وﻗﺖ ﻓﺮاﻏﻲ ﻣﻊ ﻋاميت اﻟﻠﻮايت‬ ‫ﻋﻠﻤﻨﻨﻲ ﻓﻨﻮن اﻟﺘﻄﺮﻳﺰ ﻣﺜﻞ ﺗﻄﺮﻳﺰ اﻟﻔﺎﳼ‬ ‫واﻟﺮﺑﺎﻃﻲ‪ ،‬ﺑﺎﻹﺿﺎﻓﺔ إﱃ ﺗﻌﻠﻤﻲ ﻓﻦ اﻟﻘﺺ‬ ‫واﻟﺘﻔﺼﻴﻞ اﻟﺨﺎﺻﺔ ﺑـ ‪»:‬اﻟﺠﻼﺑﻴﺎت أو اﻟﻌﺒﺎءة‪،‬‬ ‫واﻟﻘﻤﺼﺎن‪ ،‬واﳌﻨﺼﻮرﻳﺔ واﻟﻘﻔﻄﺎن‪ ،‬وﴎﻋﺎن‬ ‫ﻣﺎ متﺮﺳﺖ واﻣﺘﻬﻨﺖ ﻫﺬه اﳌﻬﻨﺔ إﱃ أن‬ ‫اﻛﺘﺴﺒﺖ ﻟﻘﺐ اﳌﻌﻠﻤﺔ«‪.‬‬ ‫وﺑﺎﻟﻌﻮدة ﻟﺴﺆاﻟﻚ ﻓﻴﺠﺐ اﻹﺷﺎرة إﱃ أن‬ ‫ﺷﻐﻒ اﳌﺮأة اﻹﻣﺎراﺗﻴﺔ ﺑﻠﺒﺎﺳﻬﺎ اﻟﺘﻘﻠﻴﺪي‪،‬‬ ‫وأﻗﺼﺪ ﻫﻨﺎ ”اﻟﻌﺒﺎءة أو اﻟﺠﻼﺑﻴﺔ“ ﻫﻮ اﻟﺪاﻓﻊ‬ ‫اﻷﺳﺎﳼ اﻟﺬي ﺷﺠﻌﻨﻲ وﺟﻌﻠﻨﻲ أﻣﴤ ﻗﺪﻣﺎً‬ ‫ﻹﺑﺮاز اﻟﻘﻔﻄﺎن‪ ،‬ﻫﺬا اﳌﻮروث اﻟﺜﻘﺎﰲ اﳌﻐﺮيب‬ ‫اﻷﺻﻴﻞ‪ ،‬وإﻋﻄﺎﺋﻪ اﳌﻜﺎﻧﺔ اﻟﻼﺋﻘﺔ ﺑﻪ وﺟﻌﻠﻪ‬ ‫مبﺜﺎﺑﺔ ﻗﻄﻌﺔ زﻳﻨﺔ ﻣﻬﻤﺔ ﻟﻠﻨﺴﺎء واﻟﺴﻴﺪات‪،‬‬ ‫ﺗﺘﺒﺎﻫﻰ ﺑﻪ ﻛﻞ اﻟﻌﺎﺷﻘﺎت ﻟﻸﺻﺎﻟﺔ‪ ،‬واﻟﻔﺮادة‪،‬‬ ‫ﰲ ﻛﻞ اﻟﺤﻔﻼت وﻛﻞ اﳌﻨﺎﺳﺒﺎت‪ .‬وﻳﺮﺟﻊ‬ ‫اﻟﻔﻀﻞ ﰲ ﻫﺬا إﱃ إﻣﺎرة ديب ﻋﺎﺻﻤﺔ اﳌﻮﺿﺔ‬ ‫واﻷزﻳﺎء اﻟﺮاﻗﻴﺔ‪ ،‬ﻣﺪﻳﻨﺔ اﻟﺤﻀﺎرة واﳌﺰﻳﺞ‬ ‫اﻟﺜﻘﺎﰲ واﻟﻔﻜﺮي‪ ،‬ﺣﻴﺚ ﻣﻜﻨﺘﻨﻲ ﻣﻦ ﺻﻘﻞ‬ ‫ﻣﻬﺎرايت وإﺑﺮاز أﻋامﱄ وﺗﺼﺎﻣﻴﻤﻲ وﺟﻌﻠﻬﺎ‬ ‫ﻧﻘﻄﺔ اﻟﺒﺪاﻳﺔ وﻣﺮﻛﺰاً ﻹﺑﺪاﻋﺎيت ﰲ ﺗﺼﻤﻴﻢ‬ ‫اﻟﻘﻔﻄﺎن اﳌﻐﺮيب ﰲ إﻃﺎر وﺷﻜﻞ ﺟﺪﻳﺪﻳﻦ‬ ‫ﻣﺒﺘﻜﺮﻳﻦ‪ ،‬ﻣﻊ ﺣﺮﴆ ﻋﲆ إﺑﻘﺎء اﻟﺘﻔﺎﺻﻴﻞ‬ ‫اﻟﺘﻲ ﺗﺘﻤﺜﻞ ﺑﻬﺎ اﻷﺻﺎﻟﺔ واﻟﺘﻘﺎﻟﻴﺪ اﳌﻐﺮﺑﻴﺔ ﰲ‬ ‫ﺗﺼﻤﻴﻢ اﻟﻘﻔﻄﺎن‪ ،‬ﻷﺣﻈﻰ ﰲ ﻧﻬﺎﻳﺔ اﳌﻄﺎف‬ ‫ﺑﻘﻄﻌﺔ ﺗﺪﻣﺞ ﺑني اﻟﺤﺎﴐ اﳌﻌﺎﴏ واﳌﺎﴈ‬ ‫اﻟﻌﺮﻳﻖ‪.‬‬

‫ﰲ ﺧﺰاﻧﺔ اﳌﺸﺎﻫري وﻫﻮ ﺧﻴﺎرﻫﻢ اﻷول ﰲ‬ ‫اﻟﻜﺜري ﻣﻦ اﳌﻨﺎﺳﺒﺎت واﻟﺤﻔﻼت ﺳﻮاء ﻛﺎﻧﺖ‬ ‫ﺧﺎﺻﺔ أو ﻋﺎﻣﺔ‪.‬‬ ‫واﻟﺬي ميﻴﺰ اﻟﻘﻔﻄﺎن اﳌﻐﺮيب ﻫﻮ اﻟﺘﻄﺮﻳﺰ‬ ‫اﻟﻴﺪوي واﻷﻗﻤﺸﺔ اﻟﺘﻲ ﺗﺴﺘﺨﺪم ﻟﺘﺼﻤﻴﻤﻪ‪،‬‬ ‫وﺑﺎﻟﻨﺴﺒﺔ ﱄ‪ ،‬ﻻ أﻋﺘﻤﺪ اﺳﺘﺨﺪام أي ﻗامش‪،‬‬ ‫إمنﺎ أﻗﻮم ﺑﺮﺣﻼت ﻟﺒﺎرﻳﺲ أو ﻟﺒﻠﺪان أﺧﺮى‪،‬‬ ‫ﻻﻧﺘﻘﻰ ﳌﺠﻤﻮﻋﺘﻲ وﺗﺼﺎﻣﻴﻤﻲ أﻓﺨﺮ أﻧﻮاع‬ ‫اﻟﻘامش اﻟﺘﻲ ﺗﻌﻄﻴﻬﺎ ﺣﻘﻬﺎ ﰲ اﻟﺸﻜﻞ‬ ‫واﻟﺘﺼﻤﻴﻢ‪ .‬أﻣﺎ اﻟﻘﻔﻄﺎن اﻟﺘﻘﻠﻴﺪي ﻓﻴﺒﻘﻰ ﻟﻪ‬ ‫ﺣﻠﺘﻪ وﻣﺮﻛﺰه وﻫﻮ اﳌﻔﻀﻞ ﻋﻨﺪ اﻟﻜﺜريات‪،‬‬ ‫وﻻ ميﻜﻦ اﻻﺳﺘﻐﻨﺎء ﻋﻨﻪ‪ ،‬وﻫﻮ ﻣﻌﺮوف‬ ‫ﺑﺎﻟﺮداء اﻷﻧﺴﺐ ﻟﻠﻤﺮأة اﻟﺘﻲ ﺗﺒﺤﺚ ﻋﻦ‬ ‫اﻟﻔﺨﺎﻣﺔ واﻟﺮﻗﻲ أﻣﺎ ﻗﻔﺎﻃني ”ﺳﻠﻤﻰ ﺑﻨﻌﻤﺮ“‬ ‫ﻓﺄرﻛﺰ ﺑﻬﺎ ﻋﲆ اﻟﺒﺴﺎﻃﺔ وأﻃﻠﻖ اﻟﻌﻨﺎن‬ ‫ﻟﻠﻘامش واﻟﻘﺼﺎت ﻟﺘﺜﺒﺖ ﺟامﻟﻬﺎ ورﻗﻴﻬﺎ‪،‬‬ ‫ﻣﻤﻜﻦ أن أﻋﺘﻤﺪ اﻟﺸﻚ واﻟﺘﻄﺮﻳﺰ ﰲ‬ ‫ﺑﻌﺾ ﻣﻨﻬﺎ ﻟﻜﻦ ﺑﺸﻜﻞ ﺧﻔﻴﻒ‬ ‫ﻻ ﻳﻔﻘﺪ اﻟﻘﻄﻌﺔ روﻋﺘﻬﺎ‪،‬‬ ‫ﻣﻊ اﻟﺒﻘﺎء ﰲ إﻃﺎر‬ ‫اﻟﺒﺴﺎﻃﺔ واﻷﻧﺎﻗﺔ‪.‬‬

‫أﻧﺎﻗﺔ وﺑﺴﺎﻃﺔ‪9‬‬ ‫ﻣﺎ ﺳﺒﺐ ﻧﺠﺎﺣﻚ ﰲ ﺗﺼﻤﻴﻢ اﻟﻘﻔﺎﻃني‬ ‫اﳌﻐﺮﺑﻴﺔ‪ ،‬وﻣﺎ اﻟﺬي ﺗﺘﻤﻴﺰ ﺑﻬﺎ اﻟﻘﻔﺎﻃني اﻟﺘﻲ‬ ‫ﺗﻌﻤﻠني ﻋﻠﻴﻬﺎ ﻣﻘﺎرﻧﺔ ﺑﺎﻟﻘﻔﻄﺎن اﻟﺘﻘﻠﻴﺪي؟‬ ‫ﻛام ذﻛﺮت‪ ،‬ﻫﻲ ﻫﻮاﻳﺘﻲ وﺷﻐﻔﻲ ﻣﻨﺬ‬ ‫اﻟﻄﻔﻮﻟﺔ‪ ،‬وﻛﻮين ﻣﻐﺮﺑﻴﺔ اﻷﺻﻞ‪ ،‬ﻓﺄﻧﺎ ﻓﺨﻮرة‬ ‫ﺟﺪاً مبﺎ ﺗﻘﺪﻣﻪ ﺑﻠﺪي ﻣﻦ ﺗﻘﺎﻟﻴﺪ وأزﻳﺎء ﻧﺴﺎﺋﻴﺔ‬ ‫وأﺻﺎﻟﺔ ﺗﱰﺟﻢ ﰲ ﻗﺼﺎت وﺗﺼﺎﻣﻴﻢ اﻟﻘﻔﻄﺎن‬ ‫اﳌﻐﺮيب‪ ،‬وﺣﺎﻟﻴﺎً أرى أﻧﻪ ﻳﺤﺘﻞ اﳌﺮﺗﺒﺔ اﻷوﱃ‬

‫إﺑﺪاﻋﺎت‪9‬‬ ‫ﻛﻴﻒ اﻧﻌﻜﺴﺖ‬ ‫إﻗﺎﻣﺘﻚ ﰲ ﺑﺎرﻳﺲ ﻋﲆ ﺗﺼﺎﻣﻴﻤﻚ؟‬ ‫ﻟﻦ أﺧﻔﻴﻜﻢ ﴎاً إذا ﻗﻠﺖ ﻟﻜﻢ إن اﳌﺪة‬ ‫اﻟﺘﻲ ﻗﻀﻴﺘﻬﺎ ﰲ ﺑﺎرﻳﺲ ﰲ ﻣﺪﻳﻨﺔ اﻷﻧﻮار ﻣﺪة‬ ‫ﻟﻴﺴﺖ ﺑﺎﻟﻬﻴﻨﺔ أو اﻟﻘﻠﻴﻠﺔ‪ ،‬ﻓﻬﻲ ﻣﻨﺤﺘﻨﻲ‬ ‫اﻟﻜﺜري ﻣﻦ اﻟﻔﺮص ﺣﻴﺚ ﺗﻮﻏﻠﺖ مبﺤﺎﻻت‬ ‫إﺑﺪاﻋﻴﺔ ﻋﺪة ﻣﺜﻞ اﻟﻔﻨﻮن ﺑﺠﻤﻴﻊ أﻧﻮاﻋﻬﺎ‬ ‫واﳌﻮﺿﺔ وﻋﺎﳌﻬﺎ‪ ،‬ﺧﺎﺻﺔ ﺑﺎﳌﺠﺎل اﻟﺬي‬

‫اﺣﺮص ﻓﻲ ﺗﺼﺎﻣﻴﻤﻲ ﻋﻠﻰ اﻟﺪﻣﺞ ﺑﻴﻦ‬ ‫اﻟﺤﺎﺿﺮ اﻟﻤﻌﺎﺻﺮ واﻟﻤﺎﺿﻲ اﻟﻌﺮﻳﻖ‪t‬‬ ‫ﻟﻌﺒﺖ ﺑﺎرﻳﺲ دوراً ﻓﻲ اﻧﻔﺘﺎﺣﻲ‬ ‫ﻋﻠﻰ ﻋﺎﻟﻢ اﻟﻤﻮﺿﺔ واﻟﻔﻦ‪ ،‬وﻛﺎﻧﺖ دﺑﻲ‬ ‫اﻟﺸﺮارة اﻷوﻟﻰ اﻟﺘﻲ أﻧﺎرت ﻃﺮﻳﻘﻲ‪t‬‬

‫ﻳﺨﺺ اﻟﺘﻔﺼﻴﻞ وأﻧﻮاع اﻷﻗﻤﺸﺔ واﻷﺛﻮاب‬ ‫اﳌﺴﺘﻌﻤﻠﺔ ﻣﻦ ﻗﺒﻞ وﻃﺮف ﻛﺒﺎر اﳌﺼﻤﻤني‬ ‫واﳌﺼﻤامت‪.‬‬ ‫وﻫﻨﺎك ﳾء ﻻ ﺑﺪ ﻣﻦ اﻹﺷﺎرة إﻟﻴﻪ‪ ،‬ﻓﺈن ﻛﺎﻧﺖ‬ ‫ﺑﺎرﻳﺲ ﻗﺪ ﻟﻌﺒﺖ دوراً ﻣﻬ ًام ﰲ اﻧﻔﺘﺎﺣﻲ‬ ‫ﻋﲆ ﻋﺎمل اﳌﻮﺿﺔ ﺑﻜﻞ ﻣﻌﺎﳌﻪ وﺗﺠﻠﻴﺎﺗﻪ‪ ،‬ﻓﺈن‬ ‫ديب ﻛﺎﻧﺖ مبﺜﺎﺑﺔ اﻟﴩارة اﻷوﱃ اﻟﺘﻲ أﻧﺎرت‬ ‫اﻟﻄﺮﻳﻖ ﱄ ﻷﺻﺒﺢ اﺳ ًام وﺗﻮﻗﻴﻌﺎً ﻟﻪ ﺻﺪاه ﰲ‬ ‫اﻟﻌﺎمل اﻟﻌﺮيب‪ ،‬ﺑﻌﺪﻣﺎ ﺟﻌﻞ اﻟﻘﻔﻄﺎن اﳌﻐﺮيب‬ ‫ﻣﻠﺘﻘﻰ اﻹﻟﻬﺎم وﻋﻨﻮاﻧﺎ ﻟﻸﻧﺎﻗﺔ‪ ،‬واﻟﻔﺨﺎﻣﺔ‬ ‫واﻟﺠامل‪.‬‬ ‫ﻛﻴﻒ ﺟﺎءت ﻋﻼﻗﺘﻚ ﻣﻊ اﻟﺘﺼﻤﻴﻢ‪ ،‬وﻛﻴﻒ‬ ‫ِ‬ ‫ﻋﻤﻠﺖ ﻋﲆ ﺗﻄﻮﻳﺮ ﻗﺪراﺗﻚ ﰲ ﻫﺬا اﳌﺠﺎل؟‬ ‫ﻗﺼﺘﻲ ﻣﻊ ﻋﺎمل اﻷزﻳﺎء ﺗﺮﺟﻊ )ﻛام ذﻛﺮت( إﱃ‬ ‫ﻓﱰة ﻃﻔﻮﻟﺘﻲ‪ ،‬ﻓﻠﻄﺎﳌﺎ ﻛﻨﺖ ﻣﻬﺘﻤﺔ ﺑﺎﳌﻮﺿﺔ‬ ‫واﻷﻧﺎﻗﺔ وﻛﻨﺖ أﺻﻤﻢ وأﺑﺘﻜﺮ ﻣﻼﺑﺲ وأزﻳﺎء‬

‫أﻛﺘﻮﺑﺮ ‪59 2017 /‬‬

‫ﺧﺎرج اﻟﻨﺺ‬ ‫‪baytelshear‬‬

‫اﺳﺘﻘﻄﺒﺖ أﻧﻈﺎر ﻧﺠﻤﺎت اﻟﻌﺎﻟﻢ اﻟﻌﺮﺑﻲ إﻟﻰ اﻟﻘﻔﻄﺎن اﻟﻤﻐﺮﺑﻲ‬

‫ﺳﻠﻤﻰ ِﺑ ْﻨﻌﻤﺮ‪ :‬اﻟﻤﺮأة ا ﻣﺎراﺗﻴﺔ أﻧﻴﻘﺔ وﺣﻀﻮرﻫﺎ ﻗﻮي‬ ‫ﺣﻮار ‪ :‬ﺑﺸﺮى ﻋﺒﺪا‪+‬‬

‫اﺳﺘﻄﺎﻋﺖ ﺳﻠﻤﻰ ﺑﻨﻌﻤﺮ ﻣﺼﻤﻤﺔ اﻷزﻳﺎء‬ ‫اﳌﻐﺮﺑﻴﺔ اﻟﻔﺮﻧﺴﻴﺔ اﳌﻘﻴﻤﺔ ﰲ ديب‪ ،‬أن‬ ‫ﺗﺴﺘﻘﻄﺐ أﻧﻈﺎر ﻧﺠامت اﻟﻌﺎمل اﻟﻌﺮيب‬ ‫ﺑﺘﺼﺎﻣﻴﻢ اﻟﻘﻔﻄﺎن اﳌﻐﺮيب‪ ،‬اﻟﺬي ﺟﻤﻌﺖ‬ ‫ﻓﻴﻪ ﺑني اﻟﺰي اﻟﺘﻘﻠﻴﺪي واﻷﺳﻠﻮب اﻟﻌﴫي‪،‬‬ ‫ﻣﱰﺟﻤﺔ ﻗﻨﺎﻋﺘﻬﺎ ﺑﺄن اﻟﻘﻔﻄﺎن ﻗﺮﻳﺐ ﻣﻦ‬ ‫ﻗﻠﺐ ﻛﻞ اﻣﺮأة ﻋﺮﺑﻴﺔ‪ ،‬وﻫﻮ ﻣﺎ دﻓﻌﻬﺎ إﱃ‬ ‫إﻃﻼق دار أزﻳﺎء ﺧﺎﺻﺔ ﰲ اﻟﻌﺎم ‪ 2012‬ﺑﺎﺳﻢ‬ ‫”ﺳﻠﻤﻰ ﺑﻨﻌﻤﺮ“ ﻟﺘﱰﺟﻢ ﻣﻦ ﺧﻼﻟﻪ أﻓﻜﺎرﻫﺎ‬ ‫ﺑﺄﻋامل ﻳﺪوﻳﺔ ﻣﺘﻘﻨﺔ‪ ،‬ﺑﻮﺣﻲ ﻣﻦ اﻟﻄﺒﻴﻌﺔ‬ ‫وأﻟﻮاﻧﻬﺎ‪ ،‬وﺗﻌﻜﺲ ﺣﺒﻬﺎ ﻟﻠﺤﻴﺎة ﺑﺄﺳﺎﻟﻴﺒﻬﺎ‬ ‫اﳌﺘﻨﻮﻋﺔ واﳌﺨﺘﻠﻔﺔ‪ ،‬وﺗﻨﻘﻞ ﻣﺎ اﺳﺘﻮﺣﺘﻪ ﻣﻦ‬ ‫اﻷﺳﻔﺎر واﻟﺘﻌﺮف ﻋﲆ ﺛﻘﺎﻓﺎت وﺣﻀﺎرات‬ ‫ﺷﻌﻮب أﺧﺮى‪ ،‬ﻛﻞ ﻫﺬا ﻣﺠﺘﻌ ًام ﺟﻌﻠﻬﺎ‬ ‫ﺗﻐﻮض ﰲ أدق ﺗﻔﺎﺻﻴﻞ ﺗﺼﺎﻣﻴﻤﻬﺎ اﻟﺘﻲ‬ ‫ﺗﺤﺎيك ﻓﻴﻬﺎ أذواق اﻟﻨﺴﺎء ذوات اﻟﺸﺨﺼﻴﺔ‬ ‫اﻟﻘﻮﻳﺔ واﻟﻠﻮايت ﻳﻔﻀﻠﻦ اﻟﻈﻬﻮر ﺑﺈﻃﻼﻟﺔ‬ ‫إﻧﺜﻮﻳﺔ ﻣﺨﺘﻠﻔﺔ‪.‬‬ ‫ﺗﺮى ﺳﻠﻤﻰ ﺑﻨﻌﻤﺮ اﻟﺤﺎﺻﻠﺔ ﻋﲆ اﳌﺎﺟﺴﺘري‬ ‫ﰲ إدارة اﻷﻋامل‪ ،‬أن وﺟﻮدﻫﺎ ﰲ ديب ﻳﻠﻌﺐ‬ ‫دوراً ﻣﻬ ًام وأﺳﺎﺳﻴﺎً ﰲ إﻟﻬﺎﻣﻬﺎ وﺗﺤﻘﻴﻖ‬ ‫ﺷﻐﻔﻌﺎ وﺣﻠﻤﻬﺎ‪ ،‬ﻟﺘﻄﻮر ﺑﺎﻟﺘﺎﱄ ﻣﻦ ﻋﻼﻣﺘﻬﺎ‬ ‫اﻟﺘﺠﺎرﻳﺔ‪.‬‬ ‫ﻋﻦ ﺗﺠﺮﺑﺘﻬﺎ اﻟﺨﺎﺻﺔ ﻫﺬه ﺗﺤﺪث ﺳﻠﻤﻰ إﱃ‬ ‫”ﺑﻴﺖ اﻟﺸﻌﺮ“ ﻣﻦ ﺧﻼل اﻟﺤﻮار اﻟﺘﺎﱄ‪:‬‬ ‫ﻣﺎ اﻟﺬي ﺟﻌﻠﻚ ﺗﺨﺘﺎرﻳﻦ ﻣﻦ ديب ﻣﺮﻛﺰاً‬ ‫ﻹﺑﺪاﻋﺎﺗﻚ ﰲ ﻣﺠﺎل اﻟﻘﻔﻄﺎن اﳌﻐﺮيب؟‬ ‫ﻋﻨﺪﻧﺎ ﰲ اﳌﻐﺮب ﻣﻘﻮﻟﺔ ﺷﻬرية ﺗﻘﻮل‪» :‬رب‬ ‫ﺻﺪﻓﺔ ﺧري ﻣﻦ أﻟﻒ ﻣﻴﻌﺎد« ﺣﻘﻴﻘﺔ أﺗﻴﺖ‬ ‫واﻧﺘﻘﻠﺖ ﻣﻦ ﺑﺎرﻳﺲ إﱃ ديب ﺑﺎﻟﺼﺪﻓﺔ‪ ،‬وذﻟﻚ‬ ‫ﻋﻨﺪﻣﺎ اﻟﺘﺤﻖ زوﺟﻲ مبﻘﺮ ﻋﻤﻠﻪ ﻛﻤﻬﻨﺪس‬ ‫ﺑﺈﺣﺪى اﻟﴩﻛﺎت اﻟﻌﺎﳌﻴﺔ اﻟﻜﺒرية‪ ،‬ﺗﺎرﻛﺔ‬ ‫ﻣﻨﺼﺒﻲ ﻛﻤﺴﺘﺸﺎرة ﰲ ﻣﺠﺎل اﳌﺎل واﻷﻋامل‬ ‫اﻟﺸﻌﺮ ‪ /‬اﻟﻌﺪد ‪60‬‬ ‫‪ 58‬ﺑﻴﺖ ِ‬

‫ﺣﻤﻴﺪ‬ ‫ﺣ ﻤ ﻴﺪ ﺑﻦ ﺻﺮّوخ اﻟﺪرﻋﻲ‬ @HBS_1987

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57 2017 / ‫أﻛﺘﻮﺑﺮ‬

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‫ﻣﺎﺳﺎت‬ baytelshear t

‫اﻟﺸﺎﻋﺮ‬ ‫ﻋﺒﺪاﻟﺮﺣﻤﻦ اﻟﺴﻤﻴﻦ‬ @Alsameen30

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60 ‫ اﻟﻌﺪد‬/ ‫اﻟﺸﻌﺮ‬ ِ ‫ ﺑﻴﺖ‬56

‫أﻣﻞ دروﻳﺶ‬

‫ﻫﺬا وﻳﺠﺪ اﳌﺘﺘﺒﻊ ﻟﺤﺎل اﻟﻘﺼﻴﺪة اﻟﻌﺎﻣﻴﺔ‬ ‫ﰲ اﻟﻮﻗﺖ اﻟﺤﺎﱄ أن اﻷﻣﺮ مل ﻳﺘﻐري ﻛﺜرياً؛ ﻓﺈذا‬ ‫ﻛﺎﻧﺖ ﻣﻌﻀﻠﺔ اﻟﻨﴩ ﻗﺪ ﺗﻢ ﺣﻠﻬﺎ ﻋﱪ اﻟﻨﴩ‬ ‫اﻹﻟﻜﱰوين‪ ،‬ﻓﺈن اﻟﻮﺿﻊ ﻳﻈﻞ ﻛام ﻫﻮ ﻋﲆ‬ ‫ﻣﺴﺘﻮى اﻟﺘﺠﺎﻫﻞ واﻟﺘﻌﺎﱄ اﻟﻨﻘﺪي واﻷﻛﺎدميﻲ‪،‬‬ ‫وﻛﺬﻟﻚ ﻋﲆ ﻣﺴﺘﻮى اﻟﺠﻮاﺋﺰ واﻟﺘﻤﺜﻴﻞ ﰲ‬ ‫ﻣﺤﺎﻓﻞ اﻟﺸﻌﺮ وﻓﻌﺎﻟﻴﺎﺗﻪ‪ ،‬وﻗﺪ ﻳﺼﻌﺐ اﻵن‬ ‫أن ﻳﺘﺠﺎوز ﻋﺪد ﺷﺎﻋﺮات اﻟﻌﺎﻣﻴﺔ اﳌﻮﺟﻮدات‬ ‫ﻋﲆ اﻟﺴﺎﺣﺔ أﺻﺎﺑﻊ اﻟﻴﺪﻳﻦ ورمبﺎ اﻟﻴﺪ اﻟﻮاﺣﺪة‪،‬‬ ‫ﻓﺄﻏﻠﺐ اﻟﺸﺎﻋﺮات اﳌﺠﻴﺪات ﻗﺪ واﺟﻬﻦ ﻋﲆ‬ ‫ﻓﱰات ﻣﺨﺘﻠﻔﺔ ﻣﺎ ﺟﻌﻠﻬﻦ ﻳﻔﻀﻠﻦ اﻻﺑﺘﻌﺎد‬ ‫واﻻﺣﺘﺠﺎب‪ ،‬ﺳﻮاء واﺻﻠﻦ أو اﻋﺘﺰﻟﻦ اﻟﻜﺘﺎﺑﺔ‪،‬‬ ‫وﻫﻮ ﻣﺎ ﺗﴚ ﺑﻪ ﻫﺬه اﻟﺸﻬﺎدات اﳌﻘﺘﻀﺒﺔ‬ ‫ﻟﺒﻌﺾ ﻣﻦ ﺷﺎﻋﺮات اﻟﻌﺎﻣﻴﺔ اﳌﴫﻳﺎت‪:‬‬ ‫ﺗﻘﻮل اﻟﺸﺎﻋﺮة اﳌﴫﻳﺔ اﳌﻘﻴﻤﺔ ﺑﺈﻳﻄﺎﻟﻴﺎ أﻣﻞ‬ ‫َ‬ ‫ﻣﺴﻴﻄﺮ ﻋﻠﻴﻪ ﻣﻦ‬ ‫دروﻳﺶ إن اﻟﻮﺳﻂ اﻟﺜﻘﺎﰲ‬ ‫ﻗﺒﻞ ﻣﺠﻤﻮﻋﺔ ﻣﻦ اﻟﻘﺮاﺻﻨﺔ اﻟﺬﻳﻦ وﺻﻔﺘﻬﻢ‬ ‫ﺑـ»ﻋﺪميﻲ اﻟﻀﻤري«‪ ،‬وإن اﳌﺮأة اﻷدﻳﺒﺔ ﻻ ﺗﺴﻠﻢ‬ ‫أﺑ ًﺪا ﻣﻦ ﺟﺮح ذاﺗﻬﺎ او اﻟﺨﻮض ﰲ ﻋﺮﺿﻬﺎ إذا ﻣﺎ‬ ‫ﺣﺎوﻟﺖ اﻟﺘﺼﺪي ﻟﻬﺆﻻء أو ﻛﺸﻔﻬﻢ‪.‬‬ ‫وﺗﻀﻴﻒ أﻣﻞ أﻧﻬﺎ ﻛﺎﻣﺮأة »ﻋﺎﻧﻴﺖ وﻣﺎ زﻟﺖ‬ ‫أﻋﺎين رﻏﻢ ﺑﻌﺪي ﻋﻦ اﻟﻮﺳﻂ اﻟﺜﻘﺎﰲ ﻏري ًة‬ ‫ٍ‬ ‫ﺗﺤﺮﺷﺎت و ﺗﻬﻤﻴﺸﺎً«‪،‬‬ ‫وأﺣﻘﺎداً وﺷﺘﺎﺋﻢ وأذى و‬ ‫ﻟﺬا مل ﻳﻌﺪ ﻣﺠﺪﻳﺎً‪ ،‬ﺑﺤﺴﺒﻬﺎ‪ ،‬اﻟﺪﺧﻮل ﰲ ﺣﺮوب‬ ‫ﻟﻦ ﺗﻌﻮد ﺑﺄﻳﺔ ﻧﺘﻴﺠﺔ‪ ،‬ﻷن ﻫﺆﻻء ﻛ ٌرث وﻟﻬﻢ‬ ‫»ﺷﻠﻞ« وﺟامﻋﺎت ﻣﺼﺎﻟﺢ ﻣﺘﻌﺪدة‪.‬‬ ‫وﺗﺆﻛﺪ أﻣﻞ أن ﻫﺬا اﻟﻮﺿﻊ »اﳌﺆمل« ﻟﻠﻤﺮأة‬ ‫اﻟﺸﺎﻋﺮة وﺷﺎﻋﺮة اﻟﻌﺎﻣﻴﺔ ﺧﺎﺻ ًﺔ ﻣﻘﺼﻮ ٌر‬ ‫ﻋﲆ اﻟﻌﺎمل اﻟﻌﺮيب‪ ،‬ﻓﺎﳌﺮأة ﺑﺎﻟﺨﺎرج ﻳﺤﺘﻔﻰ‬ ‫ﺑﻬﺎ وﺗﻜﺮم‪ ،‬وﺗﺤﺼﻞ ﻋﲆ اﻟﺠﻮاﺋﺰ ﻃﺎﳌﺎ أﻧﻬﺎ‬ ‫ﺗﺴﺘﺤﻘﻬﺎ‪.‬‬ ‫ً‬ ‫وﺗﻠﻔﺖ اﻟﺸﺎﻋﺮة إﱃ أﻧﻪ ﻓﻀﻼ ﻋﻦ اﻟﺘﻠﻘﻲ ﻓﺈن‬ ‫اﻟﺸﺎﻋﺮ اﻟﻌﺎﻣﻲ ذاﺗﻪ ﻳﺤﺘﺎج إﱃ ﻓﺮ ٍز وﺗﺠﺪﻳﺪ‬

‫ﺳﺤﺮ ﺳﺎﻣﻲ‬

‫أﻣﻴﻨﺔ ﻋﺒﺪاﻟﻠﻪ‬

‫ﻳﻮاﻛﺐ ﻇﺮوف وﻣﺘﻐريات اﻟﻮاﻗﻊ اﻟﺤﺎﱄ‪،‬‬ ‫إذ ﻳﺠﺐ أن ﻳﻘﺎرب اﻟﺸﻌﺮ اﻟﻮاﻗﻊ ً‬ ‫ﺑﺪﻻ ﻣﻦ‬ ‫اﻟﻬﺮوب واﻟﻔﺰع ﻣﻨﻪ‪ ،‬ﻟﻜﻦ اﳌﺴﻴﻄﺮﻳﻦ ﻋﲆ‬ ‫اﳌﻨﺼﺎت اﻷدﺑﻴﺔ‪» :‬ﻳﻌﺰزون ‪ -‬ﻟﻸﺳﻒ‪ -‬ﻣﺴﺎرات‬ ‫أﻃﺮوﺣﺎﺗﻬﻢ اﻟﻘﺪميﺔ ﺑﺘﻬﻤﻴﺶ و ﻣﺤﺎرﺑﺔ ﻛﻞ‬ ‫ﺟﺪﻳﺪ«‪.‬‬ ‫ً‬ ‫وﺗﺴﺘﻄﺮد ﻗﺎﺋﻠﺔ‪ :‬إن ﻫﻨﺎك ﺷﻌﺮاء ﻗﻠﻴﻠني ﺣﺎوﻟﻮا‬ ‫اﻟﺘﺤﺪﻳﺚ ﻋﲆ ﻣﺴﺘﻮى اﻷﻓﻜﺎر أو ﺷﻜﻞ وﺑﻨﻴﺔ‬ ‫وﺗﻜﻨﻴﻚ ﻛﺘﺎﺑﺔ اﻟﻘﺼﻴﺪة‪ ،‬ﻟﻜﻦ ﻫﺆﻻء ﺑﺤﺴﺒﻬﺎ‬ ‫إﻣﺎ ﻣﺎﺗﻮا ﻛﻤﺪاً ﻣﻦ اﻟﺘﻬﻤﻴﺶ واﻟﺤﺼﺎر أو‬ ‫ﻫﺎﺟﺮوا و»ﻃﻔﺸﻮا ﻣﺜﲇ«‪.‬‬ ‫ﺗﺠﺮﺑﺔ اﻟﺸﺎﻋﺮة أﻣﻴﻨﺔ ﻋﺒﺪ اﻟﻠﻪ ﻗﺪ ﻻ ﺗﺨﺘﻠﻒ‬ ‫ﻛﺜ ًريا ﻋﻦ ﺗﺠﺮﺑﺔ أﻣﻞ دروﻳﺶ‪ ،‬ﻟﻜﻨﻬﺎ مل‬ ‫ﺗﻠﺠﺄ ﻟﻠﻌﺰﻟﺔ أو اﳌﻨﻔﻰ اﻻﺧﺘﻴﺎري ﻛﻜﺜري ﻣﻦ‬ ‫اﻟﺸﺎﻋﺮات‪ ،‬إذ ﺗﻌﺘﺪ أﻣﻴﻨﺔ ﺑﻜﻮﻧﻬﺎ »أول ﺷﺎﻋﺮة‬ ‫ﻧرث ﻋﺎﻣﻴﺔ ﰲ اﻹﺳﻜﻨﺪرﻳﺔ‪ ،‬وإﺣﺪى أواﺋﻞ ﻣﻦ‬ ‫ﻛﺘﺒﻮا ﻗﺼﻴﺪة اﻟﻨرث اﻟﻌﺎﻣﻴﺔ ﰲ ﺟﻴﻞ اﻟﺘﺴﻌﻴﻨﻴﺎت‬ ‫ﺑﺸﻜﻞ ﻋﺎم«‪.‬‬ ‫ﺗﻘﻮل‪ :‬ﻧﴩت ﻣﺠﻤﻮﻋﺘﻲ اﻟﺸﻌﺮﻳﺔ اﻷوﱃ‬ ‫»أﻟﺒﻮم ﻛﻼم« ﻋﺎم ‪ ،1990‬وﻛﺎن ﻋﻤﺮي وﻗﺘﻬﺎ‬ ‫‪ 18‬ﻋﺎﻣﺎً‪ ،‬وﺑﺨﱪة ﻗﺮاﺑﺔ اﻟـ‪ 20‬ﻋﺎﻣﺎً أﺳﺘﻄﻴﻊ‬ ‫أن أﺧﱪكِ أﻧﻨﻲ وﻛﺜري ٍ‬ ‫ات ﻣﻦ ﺷﺎﻋﺮات اﻟﻌﺎﻣﻴﺔ‬ ‫ﻧﺸﻌﺮ ﺑﺄﻧﻨﺎ أﻗﻠﻴﺔ‪ ،‬ﺑﻞ أﻗﻠﻴﺔ اﻷﻗﻠﻴﺔ“‪.‬‬ ‫وﺗﻮﺿﺢ أﻣﻴﻨﺔ أﻧﻪ ﺣﺘﻰ اﻵن ﻻ ﻳﻌﺘﺪ ﺑﺸﻌﺮ‬ ‫اﻟﻌﺎﻣﻴﺔ ﺑﺸﻜﻞ ﻋﺎم‪ ،‬وﻗﺼﻴﺪة ﻧرث اﻟﻌﺎﻣﻴﺔ‬ ‫ﺑﺸﻜﻞٍ ﺧﺎص‪ ،‬ﻣﺆﻛﺪ ًة أن ﺷﺎﻋﺮات اﻟﻌﺎﻣﻴﺔ‬ ‫اﻟﺠﻴﺪات ﺷﺒﻪ ﻣﺤﻈﻮرات‪ ،‬مل ﻳﻨﻠﻦ ﺗﻜﺮميﺎً أو‬ ‫ﺟﻮاﺋﺰ ﺗﺬﻛﺮ ﺧﺎﺻﺔ ﺷﺎﻋﺮات اﻟﻨرث ﺗﺤﺪﻳﺪاً‪.‬‬ ‫وﺗﻠﻔﺖ ﺻﺎﺣﺒﺔ دﻳﻮان »ﺑﻨﺖ اﻟﺸﺘﺎ« إﱃ أن‬ ‫اﻻﺣﺘﻔﺎء اﻟﻮﺣﻴﺪ ﺑﺸﺎﻋﺮات اﻟﻌﺎﻣﻴﺔ ﻳﻜﺎد ﻳﻜﻮن‬ ‫ﻣﻘﺼﻮراً ﻋﲆ اﻟﺰﺟﻞ وﻋﲆ اﻟﻘﺼﺎﺋﺪ ذات‬ ‫اﻷﻓﻜﺎر اﻟﺘﻲ ﺗﻜﺮس ﻟﺘﺤﻘري وﺗﻬﻤﻴﺶ اﳌﺮأة‬ ‫وﻟﻮﺿﻌﻬﺎ ﻛﻜﺎﺗﺒﺔ وإﻧﺴﺎﻧﺔ درﺟﺔ ﺛﺎﻧﻴﺔ‪ ،‬ﻋﱪ‬

‫ﺷﺎﻋﺮات ﻻ ﻳﺨﺘﻠﻔﻦ ﻋﻦ ﻛﺜ ٍري ﻣﻦ اﻟﺮﺟﺎل ﰲ‬ ‫أﻓﻜﺎرﻫﻢ وﻧﻈﺮﺗﻬﻢ اﻟﺬﻛﻮرﻳﺔ‪.‬‬ ‫ﻣﻦ ﺟﻬﺘﻬﺎ أرﺟﻌﺖ اﻟﺸﺎﻋﺮة واﻹﻋﻼﻣﻴﺔ ﺳﺤﺮ‬ ‫ﺳﺎﻣﻲ اﻟﺠﻮر ﻋﲆ اﻟﻜﺘﺎﺑﺔ اﻟﻨﺴﺎﺋﻴﺔ ﺑﺎﻟﻌﺎﻣﻴﺔ‬ ‫إﱃ ﻋﺪة ﻣﺤﺎور أﺑﺮزﻫﺎ اﻟﺤﺎﻟﺔ اﻟﺜﻘﺎﻓﻴﺔ اﻟﻌﺎﻣﺔ؛‬ ‫ﻓﺎﳌﺮأة ﺗﻜﺘﺐ وﺗﻨﴩ وﺗﺸﺎرك ﰲ ﻣﺆمتﺮات‬ ‫ﻟﻜﻦ ﻣﻦ ﺗﻜﺘﺐ ﻟﻬﻢ أﺻﻼ ﻏﺎﻟ ًﺒﺎ ﻻ ﻳﻘﺮؤون وﻻ‬ ‫ﻳﺴﺘﻮﻋﺒﻮن دورﻫﺎ اﳌﻬﻢ ﻛﺸﺎﻋﺮة‪ ،‬ذات ﺻﻮت‬ ‫ووﺟﻮد ﻣﺘﻔﺮد ودور ﻳﺘﺠﺎوز ﺣﺪود اﳌﻨﺰل‪.‬‬ ‫وأﺷﺎرت ﺳﺎﻣﻲ اﻟﺘﻲ ﺗﺪ ﱢرس اﻟﻨﻘﺪ اﻷديب‬ ‫ﺑﺄﻛﺎدميﻴﺔ اﻟﻔﻨﻮن اﳌﴫﻳﺔ إﱃ ﺿﻌﻒ‬ ‫اﻗﺘﺼﺎدﻳﺎت اﻟﻨﴩ وإﻧﺘﺎج اﻟﻜﺘﺐ ﺑﺸﻜﻞٍ‬ ‫ﻋﺎم‪ ،‬ﻛام ﺣﻤﻠﺖ اﻟﺤﺮﻛﺔ اﻟﻨﻘﺪﻳﺔ اﻟﺘﻲ ﺗﺼﻔﻬﺎ‬ ‫ﺑﺎﻟﺮﻛﻮد وﻋﺪم اﻟﺤﻴﻮﻳﺔ اﳌﺴﺆوﻟﻴﺔ ﻋﻦ ﻇﻠﻢ‬ ‫اﻹﺑﺪاع اﻟﺠﺪﻳﺪ واﻟﺠﻴﺪ‪ ،‬اﻷﻣﺮ اﻟﺬي ﻳﻠﻘﻲ‬ ‫ﺑﻈﻼﻟﻪ ﻋﲆ ﺣﺎل اﻟﺠﻮاﺋﺰ ووﺿﻊ اﳌﺮأة ﺧﻼﻟﻬﺎ‪.‬‬ ‫وأﺑﺪت ﺳﺤﺮ ﺗﻔﺎؤﻻً ﻛﺒرياً ﺣﻴﺎل وﺿﻊ اﳌﺮأة‬ ‫اﻟﻜﺎﺗﺒﺔ ﰲ ﻣﴫ ﻋﻤﻮﻣﺎً واﻟﺸﺎﻋﺮة ﺧﺼﻮﺻﺎً‪،‬‬ ‫ﻣﺸري ًة إﱃ وﺟﻮد أﺻﻮات ﺟﺎدة وﺣﻘﻴﻘﻴﺔ‬ ‫ﰲ ﻣﺠﺎل ﺷﻌﺮ اﻟﻌﺎﻣﻴﺔ اﳌﴫي‪ ،‬وأن ﻫﺬه‬ ‫اﻷﺻﻮات ﻋﲆ أول اﻟﻄﺮﻳﻖ ﻻﻧﺘﺰاع ﺣﻘﻮﻗﻬﺎ‪،‬‬ ‫ﻻﻓﺘ ًﺔ إﱃ أﻧﻬﺎ ﻧﴩت اﺛﻨﺘني ﻣﻦ ﻣﺠﻤﻮﻋﺎﺗﻬﺎ‬ ‫اﻟﺸﻌﺮﻳﺔ ﻋﱪ ﻣﺆﺳﺴﺎت اﻟﻨﴩ اﻟﺤﻜﻮﻣﻲ‪ ،‬ﻛام‬ ‫ﻧﴩت اﻟﺸﺎﻋﺮة أﻣﻞ ﻋﺎﻣﺮ وأﺧﺮﻳﺎت ﰲ ﺳﻼﺳﻞ‬ ‫اﻟﻨﴩ اﻟﺤﻜﻮﻣﻲ إﱃ ﺟﻮار اﻷﺑﻨﻮدي وﻛﺒﺎر‬ ‫ﺷﻌﺮاء اﻟﻌﺎﻣﻴﺔ‪.‬‬ ‫وأﻛﺪت ﺻﺎﺣﺒﺔ »ﻣﻨﺤﻮﺗﺔ ﻣﻦ ﺷﺠﺮة اﻟﺤﻨني«‬ ‫أن اﻟﻜﺮة ﺗﻈﻞ دامئًﺎ ﰲ ﻣﻠﻌﺐ اﳌﺮأة اﻟﻜﺎﺗﺒﺔ‬ ‫واﻟﺸﺎﻋﺮة‪ ،‬وأن ﻋﻠﻴﻬﺎ ﻣﻮاﺻﻠﺔ اﻟﻜﺘﺎﺑﺔ‪ ،‬واﻹﴏار‬ ‫ﻋﲆ ﻃﺮح ﺧﻄﺎﺑﻬﺎ اﻹﺑﺪاﻋﻲ اﻟﺨﺎص‪ ،‬واﻟﺤﻔﺎظ‬ ‫ﻋﲆ ﻣﻜﺘﺴﺒﺎﺗﻬﺎ اﳌﻨﺘﺰﻋﺔ ﻋﱪ ﻋﺼﻮر ﻣﻦ اﻟﻨﻀﺎل‬ ‫اﻟﻄﻮﻳﻞ ﻹﺛﺒﺎت ذاﺗﻬﺎ‪ ،‬ﻣﺤﺬر ًة ﻣﻦ اﻻﻧﺴﺤﺎب‬ ‫واﻻﺳﺘﻐﺮاق ﰲ اﻟﻌﺰﻟﺔ واﻻﻛﺘﺌﺎب‪.‬‬ ‫أﻛﺘﻮﺑﺮ ‪55 2017 /‬‬

‫ﺷﻌﺒﻲ ﻋﺮﺑﻲ‬ ‫‪baytelshear‬‬

‫ﻋﺎﻧﻰ ﻣﻦ اﻟﺘﻬﻤﻴﺶ واﻟﺘﻌﺎﻟﻲ!‬

‫ﺷﻌﺮ اﻟﻌﺎﻣﻴﺔ اﻟﻨﺴﺎﺋﻲ ﻓﻲ ﻣﺼﺮ‪..‬‬

‫ﻫﻤﻮم ﺻﻮت ا<ﻗﻠﻴﺔ‬

‫ﻋﺰة ﺣﺴﻴﻦ‬

‫و»اﻵن‪ ،‬ﻣﺮﺣﻰ‪ ،‬ﻓﻬﻨﺎ ﻓﺘﺎة ﺗﻘﻮل اﻟﺸﻌﺮ ﺑﻠﻐﺔ‬ ‫اﻟﺸﻌﺐ«‪..‬‬ ‫ﻋﻨﺪﻣﺎ ﻛﺘﺐ اﻟﺸﺎﻋﺮ اﳌﴫي اﻟﻜﺒري ﺻﻼح‬ ‫ﺟﺎﻫني ﻫﺬه اﻟﻌﺒﺎرة اﻟﱰﺣﻴﺒﻴﺔ ﰲ ﺧﺎمتﺔ‬ ‫ﺗﻘﺪميﻪ ﻟﻠﺸﺎﻋﺮة اﳌﴫﻳﺔ ﻓﺮﻳﺪة إﻟﻬﺎﻣﻲ‪،‬‬ ‫مبﺠﻠﺔ ﺻﺒﺎح اﻟﺨري ﻋﺎم ‪ ،1961‬ﻛﺎن ﺟﻠ ّﻴﺎً أﻧﻪ‬ ‫ﻳﺤﺘﻔﻲ ﺑﻜﻮن اﻟﺸﺎﻋﺮة اﻣﺮأة‪ ،‬رمبﺎ أﻛرث ﻣﻦ‬ ‫اﺣﺘﻔﺎﺋﻪ ﺑﺎﻟﻘﺼﻴﺪة اﳌﻨﺸﻮرة؛ ذﻟﻚ ﻷن ﻣﴫ مل‬ ‫ﺗﻌﺮف ﺷﺎﻋﺮة ﻋﺎﻣﻴﺔ ﻗﺒﻞ ﻫﺬا اﻟﺘﺎرﻳﺦ‪.‬‬ ‫وﻛام ﻛﺎن ﻟﺠﺎﻫني اﻟﻔﻀﻞ ﰲ اﻛﺘﺸﺎف وﺗﻘﺪﻳﻢ‬ ‫ﻛﺒﺎر ﺷﻌﺮاء اﻟﻌﺎﻣﻴﺔ ﺑﺠﻴﻞ اﻟﺴﺘﻴﻨﻴﺎت‪،‬‬ ‫ﻛﺎﻷﺑﻨﻮدي وﺳﻴﺪ ﺣﺠﺎب وأﺣﻤﺪ ﻓﺆاد ﻧﺠﻢ‬ ‫وﻏريﻫﻢ‪ ،‬ﻛﺎن ﻟﻪ اﻟﻔﻀﻞ أﻳﻀﺎً ﰲ اﻻﺣﺘﻔﺎء‬ ‫ﺑﺄول ﺻﻮت ﺷﻌﺮي ﻧﺴﺎيئ ﰲ اﻟﻘﺼﻴﺪة اﻟﻌﺎﻣﻴﺔ‪،‬‬ ‫ﻣﺨﺘﻠ ًﻔﺎ ﺑﺬﻟﻚ ﻣﻊ ﻏﺎﻟﺒﻴﺔ ﻣﻔﻜﺮي وﻣﺒﺪﻋﻲ‬ ‫ﺟﻴﻠﻪ واﻷﺟﻴﺎل اﻟﺴﺎﺑﻘﺔ ﻋﻠﻴﻪ‪ ،‬اﻟﺬﻳﻦ ﻧﻔﻰ‬ ‫ﺑﻌﻀﻬﻢ ﻋﻦ اﳌﺮأة اﻟﻘﺪرة ﻋﲆ ﻣﺸﺎرﻛﺘﻬﻢ ﰲ‬ ‫ﻣﺠﺎل اﻹﺑﺪاع اﻷديب ﺧﺎﺻﺔ اﻟﺸﻌﺮ‪.‬‬ ‫وﺑﺤﺴﺐ ﻣﺎ أورد اﻟﺸﺎﻋﺮ ﺷﻌﺒﺎن ﻳﻮﺳﻒ ﰲ‬ ‫ﻛﺘﺎﺑﻪ »ﳌﺎذا متﻮت اﻟﻜﺎﺗﺒﺎت ﻛﻤﺪاً«‪ ،‬ﻛﺎن وﺿﻊ‬ ‫اﻟﺸﺎﻋﺮات اﻟﻠﻮايت ﻳﻜﺘنب اﻟﻘﺼﻴﺪة اﻟﻌﺎﻣﻴﺔ‬ ‫ﰲ ﻣﴫ ﻫﻮ اﻷﺳﻮأ ﻋﲆ اﻹﻃﻼق‪ ،‬ﺣﻴﺚ إن‬ ‫اﻟﺸﻌﺮ ‪ /‬اﻟﻌﺪد ‪60‬‬ ‫‪ 54‬ﺑﻴﺖ ِ‬

‫اﻟﺸﺎﻋﺮة ﻛﺎﻧﺖ ﰲ ﻧﻈﺮ اﻟﻮﺳﻂ اﻟﺜﻘﺎﰲ ﰲ‬ ‫ﺗﻠﻚ اﻟﻔﱰة‪ ،‬ورمبﺎ ﻟﻶن‪ ،‬ﺗﺮﺗﻜﺐ ﺧﻄﺄﻳﻦ؛ ﻣﺮة‬ ‫ﻷﻧﻬﺎ اﻣﺮأة ﺗﻜﺘﺐ‪ ،‬وﻣﺮة ﻷﻧﻬﺎ ﺗﻜﺘﺐ اﻟﻘﺼﻴﺪة‬ ‫اﻟﺸﻌﺒﻴﺔ‪ ،‬اﻟﺘﻲ ميﺎرس ﻋﻠﻴﻬﺎ اﻟﺠﻤﻴﻊ ﻛﺎﻓﺔ‬ ‫أﻧﻮاع اﻟﺮﻓﺾ واﻟﺘﻌﺎﱄ ﻣﻬام ﺑﻠﻐﺖ ﻗﻴﻤﺘﻬﺎ‬ ‫اﻟﻔﻨﻴﺔ‪ ،‬ﺑﺴﺒﺐ ﺗﻮﺳﻠﻬﺎ ﻟﻐﺔ اﻟﺸﻌﺐ اﳌﻘﴩة‬ ‫ﻣﻦ اﻟﺮﺳﻤﻴﺔ واﻟﻘﺪاﺳﺔ‪.‬‬ ‫ﻳﻮﺳﻒ ﺧﺼﺺ ﰲ ﻛﺘﺎﺑﻪ ﻓﺼ ًﻼ ﻟﺮﺻﺪ وﺿﻊ‬ ‫ﺷﺎﻋﺮات اﻟﻌﺎﻣﻴﺔ اﻟﻨﺴﺎء ﰲ ﻣﴫ ﺣﻤﻞ ﻋﻨﻮاﻧﺎً‬ ‫داﻻً ﻫﻮ »ﺷﺎﻋﺮات اﻟﻌﺎﻣﻴﺔ اﳌﻤﻨﻮﻋﺎت ﻣﻦ‬ ‫اﻟﺘﺪاول«‪ ،‬ﺗﺘﺒﻊ ﻣﻦ ﺧﻼﻟﻪ رأي وﻣﻮاﻗﻒ‬ ‫ﺑﻌﺾ اﻟﻜﺘﺎب واﻟﺸﻌﺮاء اﻟﺮﺟﺎل ﺗﺠﺎه ﺷﻌﺮ‬ ‫اﳌﺮأة ﻛﺎﻟﻌﻘﺎد‪ ،‬وأﺣﻤﺪ ﻋﺒﺪ اﳌﻌﻄﻲ ﺣﺠﺎزي‬ ‫وﻏريﻫام‪ .‬وإذا ﻛﺎن ﻣﺪﻫﺸﺎً أن ﻧﻘﺮأ أن اﻟﻌﻘﺎد‬ ‫اﻟﺬي اﻃﻠﻊ ﻋﲆ ﻋﻴﻮن اﻟﺸﻌﺮ اﻟﻌﺮيب ﻣﻨﺬ‬ ‫اﻟﺠﺎﻫﻠﻴﺔ إﱃ ﻣﻨﺘﺼﻒ اﻟﻘﺮن اﻟﻌﴩﻳﻦ‪ ،‬وﻋﺎﻳﻦ‬ ‫ﺗﺠﺎرب ﺷﻌﺮﻳﺔ ﻧﺴﺎﺋﻴﺔ ﻣﻬﻤﺔ وﻣﻠﻬﻤﺔ ﻛﺘﺠﺮﺑﺔ‬ ‫اﻟﺨﻨﺴﺎء‪ ،‬ﻗﺪ »ﻧﻔﻰ ﰲ ﻛﺘﺎﺑﻪ »ﺷﻌﺮاء ﻣﴫ‬ ‫وﺑﻴﺌﺎﺗﻬﻢ« اﻟﺼﺎدر ﻋﺎم ‪ 1937‬أن ﺗﺼﻠﺢ اﳌﺮأة‬ ‫ﺷﺎﻋﺮ‬ ‫ﻟﻜﺘﺎﺑﺔ اﻟﺸﻌﺮ‪ ،‬ﻓﺈن اﻷﻛرث إدﻫﺎﺷﺎً أن ﻳﺄيت ٌ‬ ‫راﺋﺪ ﻛﺄﺣﻤﺪ ﻋﺒﺪ اﳌﻌﻄﻲ ﺣﺠﺎزي ﺑﻌﺪ رﺑﻊ‬ ‫ﻗﺮنٍ ﻣﻦ ﻛﺘﺎب اﻟﻌﻘﺎد ﻟﻴﻬﺎﺟﻢ متﺜﻴﻞ اﳌﺮأة ﰲ‬ ‫أﺣﺪ ﻣﻬﺮﺟﺎﻧﺎت اﻟﺸﻌﺮ ﻋﺎم ‪ً 1962‬‬ ‫ﻗﺎﺋﻼ‪” :‬أﻣﺎ‬

‫اﳌﺮأة‪ ..‬ﻓﺄﻧﺎ ﻻ أدري أوﻻ ﻣﻌﻨﻰ ﻟﺘﻤﺜﻴﻠﻬﺎ ﰲ‬ ‫اﳌﻬﺮﺟﺎن‪ ..‬ﻓﺎﻟﺮﺟﻞ ﰲ اﳌﻬﺮﺟﺎن ﻻ ميﺜﻞ ﺟﻨﺴﻪ‪،‬‬ ‫وإمنﺎ ميﺜﻞ ﻧﻔﺴﻪ ﻛﺸﺎﻋﺮ‪ ،‬ﻓﺈذا وﺟﺪت ﺷﺎﻋﺮة‬ ‫ﻓﻬﻲ أﻳﻀﺎً ﻻ متﺜﻞ ﺟﻨﺴﻬﺎ وﻟﻜﻦ متﺜّﻞ ﻧﻔﺴﻬﺎ‪،‬‬ ‫إن اﻟﺤﻜﻢ ﻋﲆ أﺷﻌﺎر اﻟﺴﻴﺪات ﺗﺴﻤﻌﻪ ﻣﻨﻬﻦ‬ ‫ﺷﺨﺼﻴﺎً‪ ،‬ﺑﴩط أن ﺗﺠﻠﺲ ﻣﻊ ﻛﻞ واﺣﺪة ﻋﲇ‬ ‫ﺣﺪة‪ ،‬ﻓﻔﻼﻧﺔ ﺗﻘﻮل إن ﻓﻼن ﻫﻮ اﻟﺬي ﻳﻜﺘﺐ‬ ‫ﻟﴩﻳﻔﺔ ﻓﺘﺤﻲ أﺷﻌﺎرﻫﺎ‪ ،‬وﻋﻼﻧﺔ ﺗﻘﻮل إن‬ ‫ﻋﻼن ﻫﻮ اﻟﺬي ﻳﻜﺘﺐ ﻟــ ”ﻟﻮرا“ أﺷﻌﺎرﻫﺎ‪.“..‬‬ ‫وﺑﺤﺴﺐ ﻣﺆﻟﻒ اﻟﻜﺘﺎب ﻳﻜﻮن اﻟﺘﻐري اﻟﺬي‬ ‫ﻃﺮأ ﻋﲆ اﳌﻮﻗﻒ ﻣﻦ ﺷﻌﺮ اﻟﻨﺴﺎء‪ ،‬ﻋﱪ رﺑﻊ‬ ‫ﻗﺮنٍ ‪ ،‬ﻫﻮ اﻻﻧﺘﻘﺎل ﻣﻦ ﻣﺮﺣﻠﺔ اﻟﺘﻬﻤﻴﺶ‬ ‫واﻟﺘﻌﺎﱄ إﱃ ﻣﺮﺣﻠﺔ اﻟﺘﺤﻘري واﻟﺘﺠﺮﻳﺲ أﺣﻴﺎﻧًﺎ‪،‬‬ ‫أﻣﺎ أﻛرث اﳌﻮاﻗﻒ ﺗﺄ ُدﺑﺎً ﻓﻜﺎن ﺗﺠﺎﻫﻞ ﺷﻌﺮ‬ ‫اﳌﺮأة ﺑﺮﻣﺘﻪ‪.‬‬ ‫وإذا ﻛﺎﻧﺖ ﻫﺬه اﻟﻨﻈﺮة اﻟﺪوﻧﻴﺔ ﻣﻮﺟﻬﺔ‬ ‫ﺑﺎﻷﺳﺎس ﻟﻠﺸﻌﺮ اﻟﺬي ﺗﻜﺘﺒﻪ اﳌﺮأة ﺑﺎﻟﻔﺼﺤﻰ‪،‬‬ ‫ﻓﺈن اﳌﺸﻜﻠﺔ ﺗﺼري ﻣﺮﻛﺒﺔ ﻋﻨﺪﻣﺎ ﺗﻜﺘﺐ اﳌﺮأة‬ ‫اﻟﻘﺼﻴﺪة اﻟﻌﺎﻣﻴﺔ‪ ،‬اﻟﺘﻲ وﺻﻔﻬﺎ اﻟﻨﺎﻗﺪ ﺳﻴﺪ‬ ‫ﺧﻤﻴﺲ ﻣﺮة ﺑﺄﻧﻬﺎ ﻛﺎﻹﺑﺪاﻋﺎت اﻟﴪﻳﺔ‪ ،‬إذ‬ ‫ﺗﱰﻓﻊ ﻛﺎﻓﺔ اﻷوﺳﺎط اﻟﺜﻘﺎﻓﻴﺔ ﻋﻦ اﻻﻋﱰاف‬ ‫ﺑﻔﻨﻴﺘﻬﺎ وﺟامﻟﻬﺎ ﳌﻐﺎﻳﺮﺗﻬﺎ ﻟﻐﺘﻬﻢ اﻷﻛﺎدميﻴﺔ‬ ‫اﳌﻮروﺛﺔ‪.‬‬

‫ﻧﻘﻄﺘﺎن‬ ‫أن ﺗﻜﻮن ﻗﺎرﺋﺎً‬ ‫ﻣﺎ ﻫﻮ ﻣﻌﻨﻰ أن ﻳﻜﻮن أﺣﺪﻧﺎ ﻗﺎرﺋﺎً؟ إﻧﻬﺎ ﻟﻴﺴﺖ ﻃﺮﻳﻘﺔ ﻹﺿﺎﻓﺔ ﳾء ﻣﺎ إﱃ ﻣﺨﺰون‬ ‫ﺗﺮاﻛﻤﻲ ﻣﻦ اﳌﻌﺎرف واﳌﻌﻠﻮﻣﺎت واﻷﻓﻜﺎر واﻵراء‪ ،‬ﺑﻞ ﻫﻮ ﺑﺒﺴﺎﻃﺔ ﻓﻦ ﻳﺠﻴﺪ ﻓﻴﻪ‬ ‫اﳌﺮء اﻻﺳﺘﻴﻘﺎظ ﻣﺮة ﺗﻠﻮ اﻷﺧﺮى ﻣﻦ ﺳﺒﺎﺗﻪ ﻟﻴﺒﺪي اﻫﺘامﻣﺎً أﻛﱪ مبﻦ ﻳﺠﺎوره ﻋﲆ‬ ‫وﺟﻪ ﻫﺬه اﻟﺒﺴﻴﻄﺔ‪ ،‬وﺑﺎﻷﺧﺺ ذﻟﻚ اﻟﺬي ﻳﺨﺘﻠﻒ ﻋﻨﻪ ﻛﻠ ّﻴﺎً‪ ،‬ﻫﺬا ﻫﻮ رأي ﻫرني‬ ‫ﻣﻴﻠﻠﺮ اﻟﺬي ﻻ ﺗﺤﻔﺰه اﻟﻜﺘﺐ ﺑﻞ ﻋﻨﺎﴏ ﻫﺬه اﻷرض اﻷرﺑﻌﺔ اﳌﺘﻤﺜﻠﺔ ﺑﺎﳌﺎء واﻟﱰاب‬ ‫واﻟﻨﺎر واﻟﺮﻳﺢ‪ .‬وﻳﺮى ﻫﺮﻣﺎن ﻫﺴﻪ ﺑﺄن اﻟﻘﺎرئ ﻳﺘﻨﻘﻞ ﺑني ﻣﺮاﺣﻞ ﻋﺪة ﻓﻬﻮ ﰲ ﺑﺪاﻳﺘﻪ‬ ‫ﺳﺎذج ﻳﺴﺘﻬﻠﻚ اﻟﻜﺘﺐ ﻛام ﻳﺴﺘﻬﻠﻚ ﻃﻌﺎﻣﻪ‪ ،‬وﻫﻮ ﰲ ﻣﺮﺣﻠﺔ ﺗﺎﻟﻴﺔ ﻳﺘﺒﻊ ﻃﺒﻴﻌﺘﻪ‬ ‫اﻟﺒﴩﻳﺔ ﰲ اﻟﻠﻌﺐ واﻻﺧﱰاع ﺣﻴﺚ ميﻜﻦ أن ﺗﻮﻟﺪ ﻋﻨﺪه ﻗﻄﻌﺔ اﻟﺨﺒﺰ آﻻف اﳌﻌﺎين‪،‬‬ ‫أﻣﺎ اﻟﻨﻮع اﻟﺜﺎﻟﺚ ﻣﻦ اﻟﻘﺮاء ﻓﻬﻮ ﻻ ﻳﻘﺘﻨﻲ ﻛﺘﺎﺑﺎ ًﻟﻴﺘﻌﻠﻢ أو ﻳﺘﺒﻨﻰ ﻣﻮﻗﻔﺎً أو ﻳﻬﺎﺟﻢ‬ ‫ﻓﻴﻠﺴﻮﻓﺎً‪ ،‬وإمنﺎ ﻳﻘﺮأ ﻟﻴﺴﺒﺢ ﰲ ﺗﻴﺎر أﻓﻜﺎره وإﻟﻬﺎﻣﺎﺗﻪ‪ ،‬ﺑﻞ ﻳﻔﻌﻞ ذﻟﻚ ﻟﻴﻔﴪ اﻟﻌﺎمل‬ ‫ﺑﻨﻔﺴﻪ‪ .‬إن اﻟﺮﻓﻮف ﻣﻠﻴﺌﺔ ﺑﺎﻷﻓﻜﺎر ذاﺗﻬﺎ‪ ،‬اﻟﺘﻲ ﺗﻈﻬﺮ ﻟﻨﺎ دامئﺎً ﺑﻜﻠامت ﺟﺪﻳﺪة ﺗﻨﺎﺳﺐ‬ ‫ﻛﻞ ﻋﴫ‪ ،‬ﻟﺬﻟﻚ أﺟﺪين ﻣﺘﻔﻘﺔ متﺎﻣﺎً ﻣﻊ ﻣﻼﺣﻈﺔ ﻓﻠﻮﺑري ﺣﻮل ﺣﻜﻤﺔ اﻟﺸﺨﺺ اﻟﺬي‬ ‫ﻳﻌﺮف ﺟﻴﺪاً ﻧﺼﻒ دزﻳﻨﺔ ﻣﻦ اﻟﻜﺘﺐ‪ ،‬وﻫﻲ ﻣﻌﺮﻓﺔ ﻻ ميﻜﻦ أن ﺗﺘﻢ ﻋﲆ أي ﺣﺎل ﻣﻦ‬ ‫دون أن ﻳﻼﺣﻆ اﻟﻘﺎرئ ﺗﻔﺎﺻﻴﻞ ﺗﻠﻚ اﻟﺤﻜﺎﻳﺎت اﻟﻌﻈﻴﻤﺔ وﻳﻌﺎﻣﻠﻬﺎ ﺑﺮﻓﻖ‪ ،‬إذ أﻧﻪ ﻣﻦ‬ ‫اﻟﻈﻠﻢ اﻟﻜﺒري أن ﺗﺒﺪأ ﻣﻊ ﻛﺘﺎب ﻣﺎ وﰲ ﺑﺎﻟﻚ ﺣﻜﻢ ﻣﺴﺒﻖ‪ ،‬ﺑﻞ ﻫﻲ إﺿﺎﻋﺔ ﻟﻔﺮﺻﺔ ميﻜﻦ‬ ‫ﻣﻦ ﺧﻼﻟﻬﺎ أن ﻳﻄﻞ أﺣﺪﻧﺎ ﻋﲆ ﻋﺎمل ﺟﺪﻳﺪ ﺗﻌﻬﺪه ﻣﺒﺘﻜﺮه ﺑﺤﺮﻓﻴﺔ متﻜﻨﻨﺎ ﻣﻦ ﺗﺬوق‬ ‫مثﺮة ﺗﻮت وﺻﻠﻨﺎ إﻟﻴﻬﺎ ﺑﻌﺪ ان اﺟﺘﺰﻧﺎ ﺑﺤرية ﻛﺒرية ﺗﻘﻊ ﺧﻠﻒ ﻣﻨﺤﺪر ﻏري ﻣﻄﺮوق‪.‬‬ ‫وﻟﺘﺤﻘﻴﻖ ﻫﺬا اﳌﻘﻴﺎس اﻟﺠامﱄ اﳌﺘﻨﺎﻏﻢ ﻣﻊ اﻟﻜﺎﺗﺐ‪ ،‬ﻳﺮى ﻓﻼدميري ﻧﺎﺑﻮﻛﻮف أن ﻋﲆ‬ ‫اﻟﻘﺎرئ أن ﻳﺴﺘﻌﻤﻞ أداﺗﻪ اﻷﺻﻴﻠﺔ اﳌﺘﻤﺜﻠﺔ ﰲ اﻟﺬاﺋﻘﺔ اﻟﻔﻨﻴﺔ إﺿﺎﻓﺔ إﱃ ﺧﻴﺎﻟﻪ اﳌﺠﺮد‪.‬‬ ‫إن اﻟﻘﺎرئ اﳌﺘﻤﻴﺰ ﻫﻮ اﻟﺬي ﻳﻘﺮأ ﻻ ﺑﻘﻠﺒﻪ وﻻ ﺑﺪﻣﺎﻏﻪ ﺑﻞ ﺑﻌﻤﻮده اﻟﻔﻘﺮي وذﻟﻚ ﻟﻴﺲ‬ ‫ﻣﺠﺮد ﺗﻄﺮف ﻣﻦ ﺳﺎﺣﺮ ﻋﻈﻴﻢ ﻛﻨﺎﺑﻮﻛﻮف‪ ،‬ﺑﻞ ﻫﻲ ﺣﻘﻴﻘﺔ ميﻜﻦ أن ﻳﺴﺘﺸﻌﺮﻫﺎ ﻣﻦ‬ ‫ﻳﺨﺘﺎر اﻷدب اﻟﺮﻓﻴﻊ ﻻ ﻛﻤﺼﺪر ﻟﻠﻤﺘﻌﺔ اﻟﺨﺎﻟﺼﺔ وﺣﺴﺐ‪ ،‬ﺑﻞ وﻟﻠﻤﻌﺮﻓﺔ‪.‬‬ ‫ﻗﺒﻞ أن ﺗﺼﻞ ﻟﻬﺬه اﻟﻘﻨﺎﻋﺔ ﻋﻠﻴﻚ أن ﺗﻜﻮن ﻗﺪ ﻣﺮرت ﺑﺎﻟﻜﺜري ﻣﻦ اﻟﻬﺮاء‪ ،‬وﻟيك ﺗﻄﻮر‬ ‫ﻃﺎﻗﺔ ﻣﻦ اﻟﺨﻴﺎل ﺳﺘﺤﺘﺎج ﻟﺼﻨﺎﻋﺔ ﺑﻮﺻﻠﺘﻚ اﻟﺨﺎﺻﺔ ﻣﻦ دون اﺳﺘﻌﺠﺎل‪ ،‬ﻓﻌﲆ أي‬ ‫ﺣﺎل ﻳﺤﺘﺎج اﻷﻣﺮ اﻟﻜﺜري ﻣﻦ اﻟﻮﻗﺖ‪ ،‬وميﻜﻨﻚ أن ﺗﻌﺘﻤﺪ ﻋﲆ ﺑﻌﺾ اﻟﺘﻮﺻﻴﺎت ﻣﻦ‬ ‫ﺻﺪﻳﻖ أو ﻛﺘﺎب آﺧﺮ‪ ،‬وأؤﻛﺪ ﻟﻚ أﻧﻚ ﻟﻦ ﺗﻜﻮن ﻣﺘﺒﻌﺎً ﻟﻠﻤﻮﺿﺔ اﻟﻌﺎﻣﺔ وﻻ ﺑﺄس ﰲ‬ ‫ذﻟﻚ إن ﻛﻨﺖ ﺗﺴﻌﻰ ﻟﺤﻜﻤﺔ ﻣﺆﻟﻒ ﻣﺪام ﺑﻮﻓﺎري‪ .‬ﻣﻨﻌﻄﻒ أﺧري ميﻜﻦ إﺿﺎﻓﺘﻪ ﻟﻬﺬه‬ ‫اﻟﺨﺮﻳﻄﺔ ﻋﲆ ﺷﻜﻞ ﻣﻼﺣﻈﺔ ﻳﱰﻛﻬﺎ ﺑني أﺻﺎﺑﻌﻚ ﺟﻮزﻳﻒ ﺑﺮودﺳيك اﻟﺸﺎﻋﺮ اﻟﺮوﳼ‬ ‫ﻳﺤﺴﻦ‬ ‫اﻷﻣﺮﻳيك اﻟﺤﺎﺋﺰ ﻋﲆ ﻧﻮﺑﻞ ﻋﺎم ‪ 1987‬ﻣﻔﺎدﻫﺎ أن اﻟﻄﺮﻳﻘﺔ اﻟﻮﺣﻴﺪة يك ّ‬ ‫اﻟﺸﺨﺺ ﻣﻦ ذاﺋﻘﺘﻪ اﻷدﺑﻴﺔ ﻫﻲ ﰲ ﻗﺮاءﺗﻪ ﻟﻠﺸﻌﺮ‪ ،‬وﺑﻌﻴﺪاً ﻋﻦ اﻟﺘﻨﻈري‪ ،‬أﻋﺘﻘﺪ‬ ‫أن ﻫﺬه ﻧﺼﻴﺤﺔ ذﻫﺒﻴﺔ إذ أﻧﻨﻲ ﳌﺴﺖ أﺛﺮﻫﺎ اﻹﻳﺠﺎيب ﺷﺨﺼﻴﺎً‪.‬‬

‫ﺻﻔﻴﺔ اﻟﺸﺤﻲ‬

‫‪@safiaalshehi‬‬ ‫أﻛﺘﻮﺑﺮ ‪220017 /‬‬ ‫أﻛﻛﺘﺘﻮﻮﺑﺮ‬ ‫‪53 2017‬‬

‫ﺣ ﻮار أدب‬ ‫‪baytelshear‬‬

‫ﻫﻨﺎك ﻣﻦ ﻳﻄﺎﻟﺐ ﺑﺄن ﺗﻜﻮن اﻟﻘﺼﻴﺪة واﻟﺼﺤﺎﻓﺔ‪ ،‬وأﺣﱰم اﳌﻬﻨﺘني‪ ،‬وﺳﻌﻴﺪ ﺟﺪاً مبﺎ‬ ‫ﺑﻴﺎﻧﺎً أو ﻣﻨﺸﻮراً ﺳﻴﺎﺳﻴﺎً أو ﺧﻄﺒﺔ وﻋﻈﻴﺔ‪ .‬أﻧﺠﺰﺗﻪ ﰲ اﳌﺠﺎﻟني‪ .‬وﻟﻜﻦ اﻟﺸﻌﺮ ﻳﺒﻘﻰ ﻫﻮ‬ ‫اﳌﻌﺎدل اﳌﻮﺿﻮﻋﻲ ﻟﻠﺤﻴﺎة ﺑﺎﻟﻨﺴﺒﺔ ﱄ‪ ،‬وﻫﻮ‬ ‫ﻣﺎ اﻟﻘﺼﻴﺪ ُة ﰲ ﻣﻔﻬﻮﻣﻚ؟ وﻣﺎ رﺳﺎﻟﺘﻬﺎ؟‬ ‫ّ‬ ‫ﻳﺼﺢ ﻟﻠﻮاﻋﻆ أن ميﺴﻚ ﻗﺼﻴﺪيت وﻳﻌﺘﲇ ﻣﴩوﻋﻲ اﻟﺬي ﻻ أﺗﺨﲆ ﻋﻨﻪ‪.‬‬ ‫ﻻ ّ‬ ‫ﻳﺼﺢ ﱄ أن‬ ‫ﻻ‬ ‫ﻛام‬ ‫اﻟﻨﺎس‪،‬‬ ‫ﻟﻴﻌﻆ‬ ‫اﳌﻨﱪ‬ ‫ﺑﻬﺎ‬ ‫ّ‬ ‫ﻣﴩوﻋﻚ اﻷﺳﺎس ﰲ ﺑﺪاﻳﺔ ﺗﺠﺮﺑﺘﻚ‬ ‫أﻗﱰض ﺧﻄﺒﺔ اﻟﻮاﻋﻆ وأ ّدﻋﻲ أﻧﻬﺎ ﻗﺼﻴﺪة ﱄ‪.‬‬ ‫ُ‬ ‫اﻟﻮﻋﻆ ٌ‬ ‫ﺷﻌﺮ‪ .‬مثﺔ ﻓﺎرق ﻛﺒري اﻟﺸﻌﺮﻳﺔ ﻫﻮ ﺗﺠﺪﻳﺪ اﻟﻘﺼﻴﺪة اﻟﻜﻼﺳﻴﻜﻴﺔ‬ ‫وﻋﻆ واﻟﺸﻌ ُﺮ ٌ‬ ‫اﻟﻌامين وإﺛﺮاؤﻫﺎ ﺑﺘﻘﻨﻴﺎت‬ ‫ﺑني ﻟﻐﺔ اﻟﺸﻌﺮ وﻟﻐﺔ ﻏريه‪ .‬ﻟﻴﺲ ﻣﻦ اﻟﻌﺪل اﳌﻘ ّﻔﺎة ﰲ اﻟﺸﻌﺮ ُ‬ ‫أن ﻧﻄﺎﻟﺐ اﻟﺸﺎﻋﺮ أن ميﺎرس أدوار اﻟﺠﻤﻴﻊ اﻟﻘﺼﻴﺪة اﻟﺤﺪﻳﺜﺔ‪ .‬ﻫﻞ ﺗﻌﻨﻲ أن اﻟﻘﺼﻴﺪة‬ ‫ﻣﻦ اﻟﻮاﻋﻆ واﻟﺨﻄﻴﺐ واﳌﺮيب واﻟﺼﺤﻔﻲ اﻟﻌﻤﻮدﻳﺔ ﺑﻠﻐﺖ اﻟﺸﻴﺨﻮﺧﺔ؟ وﻛﻴﻒ‬ ‫َ‬ ‫واﻟﺴﻴﺎﳼ واﳌﺆرخ واﳌﻔﺘﻲ واﳌﺪاح وﻏريﻫﺎ‪.‬‬ ‫ﻋﻤﻠﺖ ﻋﲆ ﺗﻨﻔﻴﺬ ﻣﴩوﻋﻚ ﻫﺬا ﻣﻦ ﺧﻼل‬ ‫اﻟﺸﻌﺮ‬ ‫ﺧﻄﺎب ﺟامﱄ ﻳﻨﺤﺎز إﱃ اﻟﺮوح اﻟﻘﺼﻴﺪة؟‬ ‫ٌ‬ ‫ﻛﺎﻫﻦ اﻟﻘﺼﻴﺪة اﳌ َﻘ ّﻔﺎة اﻟﺤﺪﻳﺜﺔ‬ ‫وﻳﻄﺮق ﻋﻮامل اﻟﺪاﺧﻞ ﻋﱪ ﻟﻐﺘﻪ اﻟﺘﻲ ﺗﺘﺨﻠﺺ ﻧﻌﻢ‪ ..‬أﻧﺎ‬ ‫ُ‬ ‫ﻣﻦ ﺗﺒﻌﺎﺗﻬﺎ اﻟﻘﻮاﻣﻴﺴﻴﺔ وﺗﺘﻤﺮد ﻋﲆ دﻻﻻﺗﻬﺎ ﰲ ُﻋامن‪ ،‬وﻟﻜﻨﻲ مل أﻋﺪ ﻣﺨْ ﻠﺼﺎً ﻟﻬﺎ‪ .‬ﻟﻘﺪ‬ ‫اﳌﻜﺮﺳﺔ وﺗﺘﻔﻠﺖ ﻣﻦ أﻃﺮﻫﺎ اﻟﺴﺎﻛﻨﺔ اﺷﺘﻐﻠﺖ ﻋﲆ اﳌﴩوع وﺗﺒ ّﻨﻴﺘﻪ ﺑﻘﻮة ﰲ‬ ‫اﻟﻌامﻧﻴﺔ‬ ‫اﻟﻌﺘﻴﻘﺔ‪ ،‬ﻟﺘﺒﻨﻲ ﻋﺎﳌﻬﺎ اﻟﺨﺎص‪ ،‬وﺗﻘﱰح ﻣﺸﻮاري ﺣني رأﻳﺖ اﻟﻘﺼﻴﺪة ُ‬ ‫ﻓﺮادﻳﺴﻬﺎ اﻟﺨﺎﺻﺔ‪ ،‬وﺗﺒﺘﻜﺮ ﻃﺮﻗﺎﺗﻬﺎ اﻟﻔﺮﻳﺪة اﳌﻘ ّﻔﺎة دﺧﻠﺖ ﻣﺮﺣﻠﺔ اﻟﺸﻴﺨﻮﺧﺔ ﰲ ﺗﻠﻚ‬ ‫ﻟﻠﺴﺎﻟﻜني ﰲ ﻣﻌﺎرﺟﻬﺎ‪.‬‬ ‫اﻟﻔﱰة‪ ،‬ﰲ ﺣني ﻗﻄﻊ اﻟﺸﻌﺮ أﺷﻮاﻃﺎً ﻛﺒرية‬ ‫وﺑﻘﻴﺖ ﻫﻲ ﻟﻠﻮﻋﺎظ واﻟﺨﻄﺒﺎء ﻳﻨﻈﻤﻮن‬ ‫ْ‬ ‫أﻧﺖ أدﻳﺐ وﻣﱰﺟﻢ وإﻋﻼﻣﻲ‪ ..‬ﻛﻴﻒ ﻋﻠﻴﻬﺎ أﺣﻜﺎم اﻟﻔﻘﻪ وﴍوﺣﺎت ﻣﺘﻮن اﻟﻠﻐﺔ‬ ‫ﺗﺘﻌﺎﻃﻰ ﻣﻊ ﻫﺬه اﻟﺨﻠﻄﺔ اﳌﺮ ّﻛﺒﺔ؟ وﻣﺎ أﺛﺮ واﻷﺧﻼق وﻏريﻫﺎ ﻣﻦ اﻷﻏﺮاض اﻟﺘﻲ ﻻ‬ ‫ﻋﻼﻗﺔ ﻟﻬﺎ ﺑﺎﻟﺸﻌﺮ‪ .‬ﻛﺎن ﻻ ﺑﺪ ﻣﻦ ﻫﺰة ﻛﱪى‬ ‫ﻛﻞ ﻣﺠﺎل ﻋﲆ ﺗﺠﺮﺑﺘﻚ اﻟﺸﻌﺮﻳﺔ؟‬ ‫مثﺔ ﺧﻠﻂ ﻛﺒري ﰲ اﻷﻣﺮ ﻳﻮﺟﺐ اﻟﺘﻮﺿﻴﺢ‪ .‬ﻟﺰﺣﺰﺣﺔ ﻫﺬا اﻟﺮﻛﺎم‪ .‬ﻛﺎﻧﺖ اﻟﻔﺮﺻﺔ ﻣﻮاﺗﻴﺔ‬ ‫وﻛﻨﺖ اﻷوﺣﺪ ﰲ ﻫﺬا اﳌﻀامر‪.‬‬ ‫ﻓﺎﻟﺸﻌﺮ ﻻ ﻋﻼﻗﺔ ﻟﻪ ﺑﺒﻘﻴﺔ اﻷﺷﻴﺎء‪ ،‬وﻣﻨﻬﺎ ﱄ‪ُ ،‬‬ ‫اﻹﻋﻼم واﻟﱰﺟﻤﺔ‪ .‬ﻫﻨﺎك ﻣﺎ ﻫﻮ ﻛﺴﺒﻲ وﻣﺎ وﻗﺪ زادين ﺛﻘﺔ مبﴩوﻋﻲ ﻓﻮزي ﺑﺠﺎﺋﺰة‬ ‫ﻫﻮ ﻣﻜﺘﺴﺐ‪ .‬اﻟﻜﺴﺒﻲ ﻫﻮ اﻟﺬي ﻳﺘﻌﻠﻤﻪ »اﳌﺒﺪﻋﻮن« ﰲ دورﺗﻬﺎ اﻷوﱃ ﻋﺎم ‪،1999‬‬ ‫اﳌﺮء ﻣﻦ اﳌﻬﻦ اﻟﻔﻨﻴﺔ واﻟﻮﻇﺎﺋﻒ وﻫﺬا ﻗﺒﻞ أن ﺗﺘﺤﻮل إﱃ ”ﺟﺎﺋﺰة ديب اﻟﺜﻘﺎﻓﻴﺔ“‪.‬‬ ‫ﻳﻨﻄﺒﻖ ﻋﲆ اﻟﱰﺟﻤﺔ واﻟﺼﺤﺎﻓﺔ‪ .‬وﻫﻨﺎك ﻣﺎ‬ ‫ﻫﻮ ﻣﻜﺘﺴﺐ‪ ،‬أي ﻓﻄﺮي ووﻗﻔﻲ ﻋﲆ‬ ‫اﻟﺸﺨﺺ اﳌﻮﻫﻮب‪ ،‬اﻟﺬي ﻳﺤﻤﻞ ﻫﺬه‬ ‫اﳌﻠﻜﺔ اﻟﺮﺑﺎﻧﻴﺔ ﰲ ﺗﻜﻮﻳﻨﻪ‪ ،‬وﻣﻨﻬﺎ اﻟﺸﻌﺮ‬ ‫إﱃ ﺟﺎﻧﺐ ﺑﻘﻴﺔ اﻟﻔﻨﻮن اﻟﺘﻲ ﺗﺨﻠﻖ ﻓﻄﺮﻳﺔ‬ ‫ﻣﻊ اﻹﻧﺴﺎن وﻻ ميﻜﻦ اﻟﺤﺼﻮل ﻋﻠﻴﻬﺎ ﻣﻊ‬ ‫اﻟﺘﻌﻠﻴﻢ‪ ،‬رﻏﻢ أن اﳌﻌﺮﻓﺔ واﻟﺘﻌﻠﻢ ﻳﺴﻬامن‬ ‫ﰲ ﺻﻘﻞ اﳌﻮﻫﺒﺔ‪ .‬وﺑﻨﺎء ﻋﲆ ذﻟﻚ ﻓﻴﻤﻜﻦ‬ ‫ﻟﻠﺸﺎﻋﺮ أن ﻳﺘﻌﻠﻢ اﻟﱰﺟﻤﺔ واﻟﺼﺤﺎﻓﺔ‪ ،‬وﻟﻜﻦ‬ ‫ﻻ ميﻜﻦ ﻟﻠﻤﱰﺟﻢ واﻟﺼﺤﻔﻲ أن ﻳﺘﻌ ّﻠام‬ ‫اﻟﺸﻌﺮ‪.‬‬ ‫وﺑﺎﻟﻨﺴﺒﺔ ﱄ إﻧﻨﻲ أمتﺴﻚ ﺑﺎﻷول‪ ،‬أي‬ ‫اﻟﺸﺎﻋﺮ‪ ،‬ﻓﻬﻮ أﻧﺎ‪ ،‬وﻻ ﳾء ﻏري ذﻟﻚ‪ ،‬رﻏﻢ‬ ‫أﻧﻨﻲ أﺣﺎول ﺟﺎﻫﺪاً أن أﺧْ ﻠﺺ ﰲ اﻟﱰﺟﻤﺔ‬

‫اﻟﺸﻌﺮ ‪ /‬اﻟﻌﺪد ‪60‬‬ ‫‪ 52‬ﺑﻴﺖ ِ‬

‫ﰲ ﻫﺬه اﻟﺠﺎﺋﺰة ﺗﻌﺮﻓﺖ ﻋﲆ ﻋﺪد ﻣﻦ‬ ‫اﻷﺳامء اﻟﻌﺮﺑﻴﺔ اﻟﺘﻲ ﺣﻤﻠﺖ اﻟﻔﻜﺮة ﻧﻔﺴﻬﺎ‪.‬‬ ‫ﻓﺎﻟﺘﻘﺖ إرادة ﻣﺠﻤﻮﻋﺔ ﻣﻦ اﻟﺸﺒﺎب اﻟﻌﺮيب‬ ‫ﺣﻮل ﻫﺪف واﺣﺪ‪ ،‬ﻳﺘﻤﺜﻞ ﰲ إﻋﺎدة ﺗﺸﻜﻴﻞ‬ ‫اﻟﻘﺼﻴﺪة اﳌﻘ ّﻔﺎة‪ ،‬وﻫﻮ ﻣﺎ ﺑﺪأﻧﺎه ﻓﻌ ًﻼ ﻣﻦ‬ ‫ﺧﻼل ﻧﺼﻮﺻﻨﺎ اﻟﺘﻲ ﻓﺎزت ﰲ ﺗﻠﻚ اﳌﺴﺎﺑﻘﺔ‬ ‫وﻟﻔﺘﺖ اﻷﻧﻈﺎر ﻋﺮﺑﻴﺎً‪.‬‬ ‫اﺷﺘﻐﻠﺖ ﺑﻌﺪ ذﻟﻚ ﻋﲆ اﳌﴩوع ﻣﻦ ﺧﻼل‬ ‫اﻟﻜﺘﺎﺑﺔ واﻟﺘﻌﺮﻳﻒ ﺑﻬﺬا اﻟﻠﻮن اﻟﺠﺪﻳﺪ‬ ‫ودﻋﻮة ﺷﻌﺮاﺋﻪ إﱃ ُﻋامن‪ ،‬وﻏري ذﻟﻚ ﻣام‬ ‫اﻟﻌامين‬ ‫أﺳﻬﻢ ﰲ إﻋﺎدة اﻟﺜﻘﺔ ﻟﺪى اﻟﺸﺒﺎب ُ‬ ‫ﺑﻬﺬه اﻟﻘﺼﻴﺪة‪.‬‬ ‫وﻛﺎﻧﺖ ﻗﺼﻴﺪيت »ﻣﻦ ﻣﺬﻛﺮات اﳌﻠﻚ ﺣﺴﺎن‬ ‫ﺑﻦ ﺗﺒﻊ« اﻟﺘﻲ ﻓﺎزت ﺑﺎﳌﺮﻛﺰ اﻷول ﰲ ﻣﻬﺮﺟﺎن‬ ‫اﻟﻌامين اﻟﺬي أﻗﻴﻢ ﺑﺼﺤﺎر ﻋﺎم ‪،2000‬‬ ‫اﻟﺸﻌﺮ ُ‬ ‫ﻧﻘﻄ َﺔ ﺗﺤ ﱡﻮل ﰲ ﻣﴩوﻋﻲ‪ ،‬وﻋﲆ ﺻﻌﻴﺪ‬ ‫اﻟﻌامﻧﻴﺔ اﳌﻘ ّﻔﺎة ﻋﻤﻮﻣﺎً‪ ،‬ﻧﻈﺮاً‬ ‫اﻟﻘﺼﻴﺪة ُ‬ ‫ﺣﻈﻴﺖ ﺑﻬﺎ‪ ،‬ﻓﻜﺎﻧﺖ‬ ‫ﻟﻠﺸﻬﺮة اﻹﻋﻼﻣﻴﺔ اﻟﺘﻲ‬ ‫ْ‬ ‫ﺣﺪﻳﺚ اﻟﺸﺒﺎب ﰲ ﺗﻠﻚ اﻟﻔﱰة‪ ،‬وﻗﺪ ﻧﴩﺗﻬﺎ‬ ‫ﰲ ﻣﺠﻤﻮﻋﺘﻲ ”وﺣﻴﺪاً‪ ..‬ﻛﻘﱪ أيب“ اﻟﺼﺎدر‬ ‫ﻋﺎم ‪ ،2003‬وﺗﻀ ّﻤﻦ إﱃ ﺟﺎﻧﺒﻬﺎ ﻋﺪداً ﻛﺒرياً‬ ‫ﻣﻦ ﻫﺬا اﻟﻨﻮع ﻣﻦ اﻟﺸﻌﺮ‪ .‬وأﺳﺘﻄﻴﻊ اﻟﺠﺰم‬ ‫أﻧﻪ ﺑﻌﺪ ﺗﻠﻚ اﻟﻘﺼﻴﺪة مل ﻳﻌﺪ ﻣﻘﺒﻮﻻً ﰲ‬ ‫ُﻋامن ﻛﺘﺎﺑﺔ ﻧﺺ ﻋﻤﻮدي ﺑﺄﺳﻠﻮب ﻛﻼﺳﻴيك‬ ‫ﻗﺪﻳﻢ‪ .‬وﻫﺎ ﻧﺤﻦ اﻟﻴﻮم ﻟﺪﻳﻨﺎ ﰲ ُﻋامن ﺟﻴﻞ‬ ‫ﻛﺒري ﻣﻦ اﻟﺸﺒﺎب اﻟﺬﻳﻦ ﻳﻜﺘﺒﻮن اﻟﻘﺼﻴﺪة‬ ‫ﻳﺤﺪﺛﻮا ﺗﻐﻴرياً‬ ‫اﳌﻘ ّﻔﺎة ﺑﻮﻋﻲ ﻛﺒري‪ ،‬وﻟﻜﻨﻬﻢ مل ْ‬ ‫ﺟﺬرﻳﺎً ﻻﻓﺘﺎً‪.‬‬

‫وﻻ ﻳﻐﺎدرﻫﺎ‪ ،‬ﻓﺈن ﻏﺎدرﻫﺎ أﺻﺒﺢ أي ﳾء‬ ‫ﺳﻮى اﻟﺸﺎﻋﺮ‪ .‬ﻓﻬﻮ ﻟﻴﺲ ﻣﻌﻨﻴﺎً ﺑﺎﻟﻴﻘﻴﻨﻴﺎت‬ ‫واﻟﻘﻄﻌﻴﺎت‪ ،‬إن ﺗﻠﻚ ﻣﻬﻤﺔ اﻟﻮﻋﺎظ واﻟﺨﻄﺒﺎء‬ ‫واﻟﻜﻬﺎن‪ .‬أﻣﺎ اﻟﺸﺎﻋﺮ ﻓﻬﻮ ﺻﻔﺎرة إﻧﺬار‪ ،‬ﻛام‬ ‫وﺻﻔﻪ ﻧﺰار ﻗﺒﺎين‪ ،‬وﻫﻮ ﻛﺎﻹﺻﺒﻊ ﰲ اﻟﺤﻜﻤﺔ‬ ‫اﻟﺼﻴﻨﻴﺔ‪ ،‬ﻳﺸري إﱃ اﻟﻘﻤﺮ وﻻ ﻳﻮﺻﻞ إﻟﻴﻪ‪.‬‬ ‫ﻣﻬﻤﺔ اﻟﺸﺎﻋﺮ أن ﻳﻘﻮل اﻷﺷﻴﺎء إميﺎ ًء‪ ،‬وأن‬ ‫ﻳﺮﻓﻊ اﻟﴪاج ﻋﺎﻟﻴﺎً‪ ،‬وﻋﻠﻴﻚ إﻛامل ﻣﻬﻤﺔ أن‬ ‫ﺗﺴﻠﻚ اﻟﻄﺮﻳﻖ إﱃ آﺧﺮﻫﺎ‪.‬‬ ‫ﻻ ﺑﺪ ﻣﻦ ﻫﺎﻣﺶ ﻳﱰﻛﻪ ﻟﻚ اﻟﺸﺎﻋﺮ ﻻﻛﺘﺸﺎف‬ ‫اﻟﻘﺼﻴﺪة ﻣﻦ زاوﻳﺘﻚ ووﻓﻖ ﻣﻘﺎرﺑﺎﺗﻚ‬ ‫ووﻋﻴﻚ اﻟﺨﺎص‪ ،‬ﻓﻬﻮ ﻻ ﻳﻠﺰﻣﻚ ﺑﺮؤﻳﺘﻪ أو‬ ‫ﻳﻔﺮض ﻋﻠﻴﻚ ﺗﻔﺴريه أو ميﲇ ﻋﻠﻴﻚ ﺑﺮاﻫﻴﻨﻪ‬ ‫اﻟﺤﺎﺳﻤﺔ‪ .‬اﻟﻘﺼﻴﺪة اﳌﻌ ّﻠﺒﺔ اﻟﺠﺎﻫﺰة ﺗﺠﺎوزﻫﺎ‬ ‫اﻟﺰﻣﻦ وﺗﻌ ّﺪاﻫﺎ ﻣﻨﻄﻖُ اﻟﻔﻦ اﻟﺤﻘﻴﻘﻲ‪.‬‬

‫اﻟﺸﻴﻮخ وأﻏﺎين اﻟﻌﺸﺎق‪ ،‬ﺣﺘﻰ ﻗﺎدﺗﻨﻲ ﺧُ ﻄﺎي‬ ‫إﱃ ﻋﺎﳌﻲ اﻟﺨﺎص اﻟﺬي أ ّﺛ ْﺜ ُﺘﻪ ﺑﻨﺰﰲ وأرﻗﻲ‬ ‫وﻏﺮﺑﺎيت اﻟﻄﻮﻳﻠﺔ‪ .‬اﻷﻣﺮ ﻟﻴﺲ ﺳﻬ ًﻼ‪ ،‬وﻻ ﻳﺘﺄىت‬ ‫ﻟﻠﻤﺮء وﻫﻮ ﻣﺘﻜﺊ ﻋﲆ أرﻳﻜﺘﻪ ميﻀﻎ اﻟﻬﻮاء!‬ ‫ﺗﻘ ّﺪم اﳌﻀﻤﻮنَ اﻟﺸﻌﺮي ﻋﲆ ﱟ‬ ‫ﻛﻞ ﻣﻦ‬ ‫اﻟﺸﻜﻞ واﻟﻘﺎﻟﺐ اﳌﺘﻨﻮع ﻣﺎ ﺑني اﻟﻨﺺ‬ ‫اﻟﺘﻔﻌﻴﲇ واﻟﺸﻄﺮي‪ .‬ﻫﻞ ﻫﻨﺎك ﺣﺴﺎﺑﺎت‬ ‫ﻧﺼﻚ ﻟﻴﺨﺮج إﱃ اﻟﻘﺎرئ‬ ‫دﻗﻴﻘﺔ ﺗُﺠﺮﻳﻬﺎ ﻋﲆ ّ‬ ‫ﺑﻬﺬه اﳌﻌﺎدﻟﺔ؟‬ ‫رﻫﺎين ﻳ ّﺘﺠﻪ ﰲ اﻷﺻﻞ إﱃ اﳌﻀﻤﻮن‪ ،‬وإﱃ‬ ‫اﻟﺤﻤﻮﻻت اﻟﺮؤﻳﻮﻳﺔ واﻟﺪﻻﻻت اﻟﻔﻠﺴﻔﻴﺔ‬ ‫واﻷﺳﺌﻠﺔ اﻟﺘﻲ ﺗﺜريﻫﺎ اﻟﻘﺼﻴﺪة‪ ،‬ورﻏﻢ ذﻟﻚ‬ ‫أﺣﺎول ﺟﺎﻫﺪاً ّأﻻ ﺗﻜﻮن اﻟﻘﺼﻴﺪة رﻫﻴﻨﺔ‬ ‫ﻷي ﻣﻀﻤﻮن‪،‬‬ ‫اﻟﻔﻜﺮة وﺣﺒﻴﺴﺔ اﳌﻌﻨﻰ اﻟﻀﻴﻖ ّ‬ ‫ً‬ ‫ﺑﻞ ﻫﻲ ﺗﺘﺨﺬ ﻣﻦ اﻟﻔﻜﺮة ﻣﻨﻄﻠﻘﺎ ﻟﻠﻨﺰوع‬ ‫واﻟﺘﺤﻠﻴﻖ‪ ،‬وﴎﻋﺎن ﻣﺎ ﺗﺘﻤﺮد ﻋﲆ اﻟﻔﻜﺮة‬ ‫ﻧﻔﺴﻬﺎ‪ ،‬وﺗﺴﻌﻰ إﱃ ﺗﺪﻣريﻫﺎ وﺗﺤﻄﻴﻤﻬﺎ‬ ‫وﺗﻬﺸﻴﻢ ُأﻃﺮﻫﺎ واﻟﺘﺨﻠﺺ ﻣﻦ ﺑﺮاوﻳﺰﻫﺎ‪ ،‬ﻣﻦ‬ ‫أﺟﻞ إﻋﺎدة ﺑﻨﺎﺋﻬﺎ وﺗﺸﻜﻴﻠﻬﺎ وﻓﻖ ﺻﻴﺎﻏﺎت‬ ‫ﺷﻌﺮﻳﺔ ﻣﺒﺘﻜﺮة وﺟﺪﻳﺪة‪ ،‬ﺗﺨﻠﺺ ﻟﻠﺸﻌﺮ‬ ‫وﺗﻨﺤﺎز ﻟﻠﺪﻫﺸﺔ واﳌﻔﺎرﻗﺎت اﻟﺼﺎدﻣﺔ‬ ‫ﻟﺘﻮﻗﻌﺎت اﻟﻘﺎرئ‪ .‬أﻣﺎ أﻻﻋﻴﺐ اﻟﺸﻜﻞ‬ ‫واﻷوزان واﻹﻳﻘﺎع اﻟﺨﺎرﺟﻲ ﻟﻠﻘﺼﻴﺪة ﻓﻬﻲ‬ ‫آﺧﺮ اﻫﺘامﻣﻲ رﻏﻢ إﺧﻼص ﺗﺠﺮﺑﺘﻲ ﻟﻘﺼﻴﺪة‬ ‫اﻟﺘﻔﻌﻴﻠﺔ واﻟﺒﻴﺖ‪.‬‬ ‫ﰲ ﻗﺼﺎﺋﺪك ﻳﺘﻀﺢ اﻋﺘﺰازُك ﺑﻘﺮوﻳﺘﻚ‪،‬‬ ‫وﻋﺪم ﺗﺼﺎﻟﺤﻚ ﻣﻊ اﳌﺪﻳﻨﺔ مبﺎ ﺗﻌﻨﻴﻪ ﻣﻦ‬ ‫ﺻﺨﺐ وﺿﺠﻴﺞ‪ .‬أﻻ ﺗﺮى ﰲ ﻫﺬا متﺴﻜﺎً‬ ‫ﺑﻄﻮﺑﺎوﻳ ٍﺔ ﺣ ُﻠ ٍﻢ؟!‬ ‫اﻋﺘﺰازي ﺑﻘﺮوﻳﺘﻲ وإﺧﻼﴆ ﻟﻬﺎ ﻟﻴﺲ ﺣﻤﻴﺔ‬ ‫ﺟﺎﻫﻠﻴﺔ أو ﻧﺰوﻋﺎً ﺑﺪاﺋﻴﺎً‪ ،‬ﺑﻞ ﻫﻮ اﻧﺘامء ﻟﻠﻀﻤري‬ ‫اﻟﺬي ﻳﺴﻜﻨﻨﻲ وأﺳﻜﻨﻪ ﻣﻨﺬ وﻃﺄت ﻋﲆ ﻫﺬه‬ ‫ﺑﺤﺎر ﻗﺮوي‪ .‬ﺟﺒﻴﻨﻲ‬ ‫اﻷرض‪ .‬أﻛﺮر دامئﺎً أﻧﻨﻲ ّ‬ ‫ﻳﺮﺷﺢ ﻣﻠﺤﺎً وﰲ داﺧﲇ أﺻﻮات أﺟﺪادي ﻣﻦ‬ ‫اﻟﻘﺮاﺻﻨﺔ واﻟﻐﻮاﺻني اﻟﻘﺪﻣﺎء‪ ،‬وﰲ ﺿﻠﻮﻋﻲ‬ ‫ﺗﻨﺴﺞ اﻟﻨﻮارس أﻋﺸﺎﺷﻬﺎ وﺗﺒﺘﻜﺮ ﻫﺠﺮاﺗﻬﺎ‪،‬‬ ‫وﰲ رﺋﺘﻲ رﻓﻴﻒ اﻟﺼﻮاري اﻷﺑﺪي‪ ،‬وﰲ دﻣﻲ‬ ‫ﻣﻮاوﻳﻞ اﻟﺼﻴﺎدﻳﻦ اﻟﺒﺴﻄﺎء‪ .‬أﻧﺎ اﺑﻦ اﻟﺸﻤﺲ‬ ‫واﻟﻌﺮاء واﻟﺴﻮاﺣﻞ اﳌﻤﺘﺪة واﳌﺴﺎءات‬ ‫اﳌﻀﻤﺨﺔ ﺑﻌﺒﻖ اﻟﺸﻮاﻃﺊ اﻟﺒﻌﻴﺪة‪ .‬أﻧﺎ رﻓﻴﻖ‬

‫اﳌﻮﺟﺔ وﺻﺪﻳﻖ اﻟﺴﻤﻜﺔ وﺷﻘﻴﻖ اﻷﺻﺪاف‪.‬‬ ‫أﻣﴤ ﰲ ﻟﻴﻞ اﳌﺪن ﻏﺮﻳﺒﺎً ﺑﻮﺣﺸﻴﺔ أﺳﻼﰲ‪،‬‬ ‫ﻳﺸﻄﺮين اﻟﺤﻨني إﱃ ﻣﻮاﻃﻨﻲ اﻷوﱃ اﻟﺘﻲ‬ ‫أﺣﻤﻠﻬﺎ ﻣﻌﻲ ﺧﻠﺴﺔ وأﺧﺒﺌﻬﺎ ﺑني دﻓﺎﺗﺮي ﻛام‬ ‫أﺧﺒﺊ ﺻﻮرة أﻣﻲ وﺻﻮت أيب‪ .‬ﻗﺪ أﺳﺘﻮﻃﻦ‬ ‫اﳌﺪﻳﻨﺔ وأﺳﺘﺴﻠﻢ ﻟﺠﱪوﺗﻬﺎ ﻣﺮﻏ ًام‪ ،‬وﻟﻜﻦ ﻛام‬ ‫ﻳﻘﻴﻢ ﺑﻌﻀﻬﻢ ﻣﺴﻜﻨﺎً ﻣﺆﻗﺘﺎً ﺗﺤﺖ اﻻﺣﺘﻼل‪.‬‬ ‫ﺗﻜﺘﺐ ﻗﺼﺎﺋﺪك ﺑـ»ﺿﺒﺎﺑﻴﺔ ﻣﻮﺣﻴﺔ«‪،‬‬ ‫أي ﺑﺘﻘﺪﻳﻢ ﻣﻨﻄﻖ اﻻﺣﺘامﻻت اﻟﺨﺼﺐ‬ ‫وﻣﺘﻌﺪد اﻟﻘﺮاءة واﻟﺘﺄوﻳﻞ ﻋﲆ ﻣﻨﻄﻖ‬ ‫اﻟﻴﻘني اﳌﺤﺪد واﳌﺤﺴﻮم‪ .‬ﻫﻞ ﻋﲆ اﻟﺸﺎﻋﺮ‬ ‫أن ﻳﻨﺤﺎز ﻟﻠﻴﻘني؟‬ ‫اﻟﺸﺎﻋﺮ ﻳﻘﻴﻢ ﰲ ﺗﻠﻚ اﳌﻨﻄﻘﺔ اﻟﻀﺒﺎﺑﻴﺔ‬

‫ٌ‬ ‫ﺣﺪاﺛﺔ أﺳﻠﻮﺑﻴﺔ ﰲ ﻗﺼﺎﺋﺪك اﻟﺤ ّﺮة‬ ‫مثﺔ‬ ‫ٌ‬ ‫ﻃﺎﻟﻌﺔ ﻣﻦ اﻷﺻﻮل اﻟﺸﻌﺮﻳﺔ‬ ‫واﳌﻮزوﻧﺔ‬ ‫وﻣﻨﺎخ وﻋﺒﺎرة‪ ،‬وﻫﻲ ﻗﺼﺎﺋﺪ‬ ‫ﻛﺈﻳﻘﺎع‬ ‫اﻟﻌﺮﺑﻴﺔ‪،‬‬ ‫ٍ‬ ‫ٍ‬ ‫ﺗﺜﺒﺖ ﻟﻚ »اﻟﻨﺴﺐ اﻷﺻﻮﱄ اﻟﻜﻼﺳﻴيك«‬ ‫أﻛرث ﻣام ﺗﺜﺒﺘﻪ ﻣﻘﺎﻃﻌﻚ اﳌﻮزوﻧﺔ ﺑﻜﺎﻣﻞ‬ ‫أوزاﻧﻬﺎ واﳌﻘﻔﺎة‪ .‬ﻫﻞ ﻣﻦ ﻋﻼﻗﺔ ﺑني اﻟﺤﺪاﺛﺔ‬ ‫واﻟﺸﻜﻞ؟‬ ‫اﻟﺤﺪاﺛﺔ ﺷﺄنٌ ﻣﺮﺗﺒﻂ ﺑﺎﻟﻮﻋﻲ واﻟﺘﻔﻜري‬ ‫وأﻃﺮ اﻟﺘﻌﺒري واﻟﺘﺠﺮﻳﺐ واﳌﻐﺎﻣﺮة أﻛرث‬ ‫ﻣﻦ ارﺗﺒﺎﻃﻬﺎ ﺑﺎﻷﺷﻜﺎل واﻷﻧﺴﺎق اﻟﺨﺎرﺟﻴﺔ‬ ‫ﻟﻠﻘﺼﻴﺪة‪ .‬اﻟﺤﺪاﺛﺔ ﻫﻲ اﻟﺘﺤﻮل اﻟﺪاﺋﻢ‪،‬‬ ‫أي أﻧﻬﺎ ﰲ ﻣﺴﺎءﻟﺔ دامئﺔ ﻟﺬاﺗﻬﺎ‪ ،‬ﻣﺘﺤﻮﻟﺔ‬ ‫وﻣﺘﺒﺪﻟﺔ ﻗﺎﺑﻠﺔ ﻟﻠﺘﺠﺪﻳﺪ دامئﺎً‪ .‬إﻧﻬﺎ ﺑﺎﺧﺘﺼﺎر‬ ‫ﻋﺪم اﻟﺮﻛﻮن إﱃ ﺻﻴﻐﺔ ﻓﻨﻴﺔ وﺗﻌﺒريﻳﺔ‬ ‫واﺣﺪة‪ ،‬وﻫﻲ ﺗﺴﺘﻬﺪف اﻟﺒﻨﻰ اﻟﺠﻮﻫﺮﻳﺔ‬ ‫واﻷﻧﺴﺎق اﻷﺳﻠﻮﺑﻴﺔ‪ ،‬وﺗﺴﻌﻰ إﱃ ﺧﻠﺨﻠﺘﻬﺎ‬ ‫وإﻗﻼﻗﻬﺎ ﺑﺎﺳﺘﻤﺮار‪ ،‬ﺣﺘﻰ ﻻ ﺗﺘﺤﻮل إﱃ‬ ‫ﻗﻮاﻟﺐ ﺻﻨﻤﻴﺔ أزﻟﻴﺔ‪ .‬ﻓام ﻫﻮ ﺣﺪايث اﻟﻴﻮم‪،‬‬ ‫وﻓﻖ ﻫﺬا اﳌﻨﻄﻖ‪ ،‬ﻟﻴﺲ ﺑﺎﻟﴬورة أن ﻳﻜﻮن‬ ‫ﺣﺪاﺛﻴﺎً ﻏﺪاً‪.‬‬ ‫وﰲ ﻧﻈﺮي ﻗﺪ ﺗﻜﻮن اﻟﻘﺼﻴﺪة ﻣﻮزوﻧﺔ‬ ‫ﻗﺼﻴﺪة اﻟﺒﻴﺖ أو اﻟﺘﻔﻌﻴﻠﺔ‪ -‬ﰲ ﺣني ﺗﺼﻞ‬‫إﱃ ﻣﺮاﺗﺐ ﻋﻠﻴﺎ ﻣﻦ اﻟﺘﺠﺮﻳﺐ واﻟﺘﻄﻮﻳﺮ‬ ‫واﻟﺤﺪاﺛﺔ‪ .‬وﰲ اﳌﻘﺎﺑﻞ ﻗﺪ ﺗﺠﺪ ﻗﺼﻴﺪة‬ ‫ﻣﺘﺤﺮرة ﻣﻦ اﻟﻮزن متﺎﻣﺎً وﻟﻜﻦ ﻻ ﺗﺘﻮﻓﺮ ﻓﻴﻬﺎ‬ ‫اﺷﱰاﻃﺎت اﻟﻘﺼﻴﺪة اﻟﺤﺪاﺛﻴﺔ‪.‬‬ ‫أﻛﺘﻮﺑﺮ ‪51 2017 /‬‬

‫ﺣ ﻮار أدب‬ ‫‪baytelshear‬‬

‫ﺣﺴﻦ اﻟﻤﻄﺮوﺷﻲ‪:‬‬ ‫ﻣﻬﻤﺔ اﻟﺸﺎﻋﺮ أن ﻳﺮﻓﻊ اﻟﺴﺮاج ﻋﺎﻟﻴ ًﺎ‬ ‫ﺣﻮل اﻟﺼﻮرة اﻟﻔﻨﻴﺔ ﰲ ﺷﻌﺮه‪ ،‬ﺻﺪرت ﰲ‬ ‫ﻛﺘﺎب ﺑﻌﻨﻮان »ﻇﻼل اﻟﻨﻮرس‪ :‬اﻟﺼﻮرة اﻟﻔﻨﻴﺔ‬ ‫ﰲ ﺷﻌﺮ ﺣﺴﻦ اﳌﻄﺮوﳾ« ﻟﻠﺒﺎﺣﺚ راﺷﺪ‬ ‫اﻟﺴﻤﺮي‪.‬‬ ‫ﻋﻤﻞ اﳌﻄﺮوﳾ ﻣﱰﺟ ًام ﰲ وزارة اﻟﺪﻓﺎع‬ ‫ﺑﺴﻠﻄﻨﺔ ُﻋامن‪ ،‬ورأس اﻟﻘﺴﻢ اﻟﺜﻘﺎﰲ‬ ‫ﺑﺼﺤﻴﻔﺔ »اﻟﻮﻃﻦ« اﻟﻴﻮﻣﻴﺔ‪ ،‬وﻋﻤﻞ ﺧﺒرياً‬ ‫إﻋﻼﻣﻴﺎً ﻣﺘﻌﺎوﻧﺎً مبﺠﻠﺲ اﻟﺒﺤﺚ اﻟﻌﻠﻤﻲ ﻗﺒﻞ‬ ‫أن ﻳﺘﻮﱃ اﻹدارة اﻟﺘﻨﻔﻴﺬﻳﺔ ﻟﻠﻨﺎدي اﻟﺜﻘﺎﰲ‬ ‫مبﺴﻘﻂ‪ ،‬وﻫﻮ ﻳﻌﻤﻞ ﺣﺎﻟﻴﺎً ﻣﺪﻳﺮاً ﻟﻠﺘﺤﺮﻳﺮ ﰲ‬ ‫ﻣﺠﻠﺔ »اﻟﺘﻜﻮﻳﻦ« اﻟﺘﻲ ُﻳﺼﺪرﻫﺎ ﺑﻴﺖ اﻟﻐﺸﺎم‬ ‫مبﺴﻘﻂ‪.‬‬ ‫ﺗﺎﻟﻴﺎً ﺣﻮار ﻣﻊ اﳌﻄﺮوﳾ ﻋﻦ ﺗﺠﺮﺑﺘﻪ‬ ‫اﻟﺸﻌﺮﻳﺔ ورؤاه واﺷﺘﻐﺎﻻﺗﻪ واﻧﺸﻐﺎﻻﺗﻪ ﰲ‬ ‫اﻷدب واﻟﺤﻴﺎة‪.‬‬

‫ﺣﺎوره‪ :‬ﺟﻌﻔﺮ اﻟﻌﻘﻴﻠﻲ‬

‫مل ُﻳﺼﺪر ﺣﺴﻦ اﳌﻄﺮوﳾ ﺳﻮى أرﺑﻊ‬ ‫ﻣﺠﻤﻮﻋﺎت ﺷﻌﺮﻳﺔ ﻣﻨﺬ ﺑﺪأ اﻟﻜﺘﺎﺑﺔ ﻗﺒﻞ أزﻳﺪ‬ ‫ﻣﻦ رﺑﻊ ﻗﺮن‪ ،‬ﻟﻜﻨﻬﺎ ﻛﺎﻧﺖ ﻛﺎﻓﻴ ًﺔ ﻟﺘﻌﻠﻦ ﻋﻦ‬ ‫ٍ‬ ‫ﺻﻮت ﻣﻨﻔﺮ ٍد ﰲ اﻟﺴﺎﺣﺔ‪ ،‬ﻻ ﻳﻌﻨﻴﻪ اﻻزدﺣﺎم‬ ‫ﻗﺪ َر ﻣﺎ ﻳﻌﻨﻴﻪ ّأﻻ ﻳﻘﺘﻔﻲ أﺛﺮ أﺣﺪ‪.‬‬ ‫اﻧﺘﻤﻰ اﳌﻄﺮوﳾ ﻟﻠﻘﺼﻴﺪة‪ ،‬وأﻋﻄﺎﻫﺎ‬ ‫ﻓﺄﻋﻄﺘﻪ‪ ،‬وﻛﺎن مث ُﺮ اﻟﺘﺠﺮﺑﺔ زﻛ ّﻴﺎً‪» :‬وﺣﻴﺪاً‬ ‫و»ﻟﺪي ﻣﺎ‬ ‫ﻛﻘﱪ أيب«‪ ،‬و»ﻋﲆ اﻟﺴﻔﺢ إﻳﺎه«‪،‬‬ ‫ّ‬ ‫أﻧﴗ«‪ ،‬و»ﻣﻜﺘﻔﻴﺎً ﺑﺎﻟﻠﻴﻞ«‪.‬‬ ‫ﻧﺎل اﳌﻄﺮوﳾ‪ ،‬ﺟﻮاﺋﺰ ﻣﻨﻬﺎ‪ :‬ﺟﺎﺋﺰة أﻓﻀﻞ‬ ‫ﺷﺎﻋﺮ ﻋﺮيب ﰲ ﻣﺴﺎﺑﻘﺔ »اﳌﺒﺪﻋﻮن« )ديب‪،‬‬ ‫‪ ،(1999‬ﺟﺎﺋﺰة أﻓﻀﻞ ﺷﺎﻋﺮ ُﻋامين )‪،(2008‬‬ ‫ﺟﺎﺋﺰة راﺷﺪ ﺑﻦ ﺣﻤﻴﺪ ﰲ اﻟﺸﻌﺮ )دوﻟﺔ‬ ‫اﻹﻣﺎرات‪ ،‬اﳌﺮﻛﺰ اﻟﺜﺎين(‪ ،‬وﺟﺎﺋﺰة اﻟﺴﻨﻮﳼ‬ ‫اﻟﺸﻌﺮﻳﺔ ﻣﻦ اﻟﺴﻌﻮدﻳﺔ ﻋﻦ ﻣﺠﻤﻮﻋﺘﻪ‬ ‫اﻟﺸﻌﺮ ‪ /‬اﻟﻌﺪد ‪60‬‬ ‫‪ 50‬ﺑﻴﺖ ِ‬

‫”ﻟﺪي ﻣﺎ أﻧﴗ“ )‪.(2015‬‬ ‫ﱠ‬ ‫ً‬ ‫وﺑﺎﻹﺿﺎﻓﺔ إﱃ ﻛﻮﻧﻪ ﺷﺎﻋﺮا‪ ،‬ﺻﺪر ﻟﻠﻤﻄﺮوﳾ‬ ‫ﻛﺘﺐ ﻣﻦ ﺗﺮﺟﻤﺘﻪ ﻣﻦ أﺑﺮزﻫﺎ‪» :‬اﻗﺘﺼﺎد‬ ‫اﳌﻌﺮﻓﺔ‪ :‬اﻟﺒﺪﻳﻞ اﻻﺑﺘﻜﺎري ﻟﺘﻨﻤﻴﺔ اﻗﺘﺼﺎدﻳﺔ‬ ‫ﻣﺴﺘﺪاﻣﺔ‪ ..‬ﺳﻠﻄﻨﺔ ُﻋامن منﻮذﺟﺎً« ﻟﻠﺪﻛﺘﻮر‬ ‫إﺑﺮاﻫﻴﻢ اﻟﺮﺣﺒﻲ‪ ،‬و»ﻣﺬﻛﺮات رﺟﻞ ﻋامين ﰲ‬ ‫زﻧﺠﺒﺎر« ﻟﻠﺴﻴﺪ ﺳﻌﻮد ﺑﻦ أﺣﻤﺪ اﻟﺒﻮﺳﻌﻴﺪي‪.‬‬ ‫ﺗُﺮﺟﻤﺖ أﻋامﻟﻪ اﻟﺸﻌﺮﻳﺔ إﱃ ﻟﻐﺎت ﻋﺪة‪،‬‬ ‫وﺻﺪرت ﺗﺮﺟﻤﺔ ﻓﺮﻧﺴﻴﺔ ﳌﺠﻤﻮﻋﺘﻪ »ﻟﺪي ﻣﺎ‬ ‫أﻧﴗ« )ﻗﺎﻣﺖ ﺑﱰﺟﻤﺘﻬﺎ اﻟﺸﺎﻋﺮة واﳌﱰﺟﻤﺔ‬ ‫اﳌﻐﺮﺑﻴﺔ ﻋﺰﻳﺰة رﺣﻤﻮين(‪ .‬وﺻﺪرت ﺗﺮﺟﻤﺔ‬ ‫إﺳﺒﺎﻧﻴﺔ ﳌﺨﺘﺎرات ﻣﻦ ﺷﻌﺮه ﺑﻌﻨﻮان »أﻃﻞ‬ ‫ﻋﻠﻴﻜﻢ ﻣﻦ ﻫﺬه اﻟﻜﻮة« أﺻﺪرﺗﻬﺎ وزارة‬ ‫اﻟﺜﻘﺎﻓﺔ ﺑﻜﻮﺳﺘﺎرﻳﻜﺎ‪ ،‬ﺑﺎﻟﺘﻌﺎون ﻣﻊ ﺑﻴﺖ‬ ‫اﻟﺸﻌﺮ ﻫﻨﺎك‪ ،‬ﻟﻠﻤﱰﺟﻤﺔ اﳌﴫﻳﺔ د‪.‬ﻋﺒري‬ ‫ﻋﺒﺪاﻟﻮﻫﺎب‪ .‬ﻛام ُأﻧﺠﺰت أﻃﺮوﺣﺔ ﻣﺎﺟﺴﺘري‬

‫ﺗﺤﻤﻞ ﻗﺼﺎﺋﺪك ﻣﻀﺎﻣني ﺷﻌﺮﻳﺔ ﻻﻓﺘﺔ‪،‬‬ ‫ﺗﻜﺸﻒ ﻋﻦ ﺧﺼﻮﺻﻴ ٍﺔ ﻋﲆ ﺻﻌﻴﺪ اﻟﺮؤﻳﺔ‪.‬‬ ‫َ‬ ‫رﺳﻤﺖ ﺧﻄﻮاﺗﻚ ﰲ ﻫﺬا اﻻﺗﺠﺎه؟‬ ‫ﻛﻴﻒ‬ ‫ﻟﺪي ﺳﺆال ﺟﺎرح ميﺘﺰج وﻳﺘامﻫﻰ‬ ‫اﻟﻘﺼﻴﺪة‬ ‫ّ‬ ‫ﻋﱪ اﻟﻠﻐﺔ ﻟﻴﺼﺒﺢ ﺻﻮرة ﺷﻌﺮﻳﺔ ﻣﺘﻔﺠﺮة‬ ‫متﺎرس ﻏﻮاﻳﺎﺗﻬﺎ وﻣﺮاوﻏﺎﺗﻬﺎ اﻟﻼﻧﻬﺎﺋﻴﺔ‪ .‬ﻟﻴﺲ‬ ‫مثﺔ ﻣﺨﻄﻂ ﺛﺎﺑﺖ أو ﺧﺮاﺋﻂ ﺟﺎﻫﺰة ﺗﻘﻮدك‬ ‫ﻟﻠﻜﻨﺰ أو ﻃﺮﻗﺎت ﻣﻌ ّﺒﺪة ﻟﺘﺴﻠﻜﻬﺎ ﺧﻴﻮل‬ ‫اﻟﻘﺼﻴﺪة‪ .‬ﺑﻞ ﻫﻮ اﻟﺒﺤﺚ واﻟﺴﺆال واﻟﺤﻔﺮ‬ ‫اﻟﺪاﺋﻢ ﰲ ﺟﺴﺪ اﻟﻠﻐﺔ وأﻋامق اﻟﺮوح‪،‬‬ ‫ﺑﺎﻷﻇﺎﻓﺮ واﻷﻧﻴﺎب واﻟﻨﺰﻳﻒ‪ .‬ﻻ ﺑﺪ ﻣﻦ إﻳﺠﺎد‬ ‫ﺗﻠﻚ اﻷﺧﺎدﻳﺪ واﻟﻨﺪوب اﻟﻌﻤﻴﻘﺔ ﰲ اﻟﻘﻠﺐ‬ ‫ﻋﻨﺪ ﻛﺘﺎﺑﺔ اﻟﻘﺼﻴﺪة‪ ،‬متﺎﻣﺎً ﻛام وﺻﻒ اﻷﻋﺮايب‬ ‫ﻳﻮﻣﺎً أﻓﺨﺮ ﻗﺼﺎﺋﺪه ﻗﺎﺋ ًﻼ‪» :‬ﻧﻜﺘﺒﻬﺎ وأﻛﺒﺎدﻧﺎ‬ ‫ﺗﺤﱰق«‪.‬‬ ‫ﺑﺤﺜﺖ ﻃﻮﻳ ًﻼ ﻋﻦ ﻃﺮﻳﻘﻲ اﻟﺨﺎﺻﺔ اﻟﺘﻲ‬ ‫ُ‬ ‫أﺳﻠﻜﻬﺎ وﺣﺪي ﻣﻦ دون ﺳﻮاي‪ ،‬ﻓﻮﺟﺪﺗﻬﺎ‬ ‫ﺑﻌﺪ ﺣﺮوب ﻣﻊ اﻟﻠﻴﻞ واﻟﺴﻬﺮ‪ ،‬واﻟﺘﻨﻘﻞ‬ ‫ﺑني أوراق اﻟﻜﺘﺐ اﻟﺼﻔﺮاء اﻟﻌﺘﻴﻘﺔ وﺣﻜﻤﺔ‬

‫اﻟﻄﻴﺐ‬ ‫ ﺑﻦ ﻗﺼﻴّﺮ‬+‫ﻋﺒﺪا‬ @binqusyier

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49 2017 / ‫أﻛﺘﻮﺑﺮ‬

‫ﻣﺎﺳﺎت‬ baytelshear t

ّ ‫ﺣﻄﻤﺖ ﻏﻴﺮك‬ ‫ﺳﻌﻴﺪ ﺑﻦ ﻏﻤﺎض اﻟﺮاﺷﺪي‬ @l_kroo

@@ @ £@ 0 @@ @ £@ @ @Ab@@ @ E v@@ @ £@ @ @ @ @ @D* 4b@@ @ @ @ @ @ F @@ @g@ @ @ @ ~@ @ 7 @@ @ @ @ Jv@@ @~@ @ 6b@@ @0 É@@ @ @ @ @ @ @ ´*H Ì@@ @ @ @ @ @= h@@ @ @ @ @ @ @ @0 @@ @ £@ @ B @@ @ A¡@@ @ ~@ @ @8H @@ @ @E @@ @Db@@ @ @ @ / Ì@@ @ @ @ @=H @@ @ @Jy@@ + @@ @ Eb@@ @ C 4¡@@ @ @ @ @ ²* ¡@@ @ @~@ @ @ 8H w@@ @ 1b@@ @ E @@ @ @ @ Jv@@ @+ 4¡@@ @ @ @ @ @ @ F eb@@ @ @ @ @ @ @ =° x@@ @ @ @ @ @ @ @ @ D* 4¡@@ @ @ @ @ @F @@ @ @ @ £@ @ @ @ Jb@@ @~@ @ 7 @@ @ @Dy@@ @ @ @ @ @ E b@@ @ @ @ JÈ@@ @ @ @ D* v@@ @ @ @ @ @ < f@@ @ @ @ £@ @ ~@ @ 8°* ¡@@ @ @ @ @ @ @ @ Db@@ @ J ·b@@ @ @ @ @ 0 @@ @ @ @JHb@@ @ @ @J @@ @ £@ c@ / ¤@@ @ ~@ @ @9b@@ @ J *Ä@@ @ @ @ @ @ @ D* b@@ @ @ @ @C v@@ @ @ @ @1 @@ @ £@ c@ ~@ 6 x@@ @ @+b@@ @ @< @@ @|@ @ s@ @ ~@ @ 7 q@@ @ @+w@@ @ @- *x@@ @ @ @ @ @0 @@ @ @£@ @< @@ @ @6b@@ @ @ @ @ @ D* q@@ @ @ +w@@ @ @ - ¤@@ @ @ @ @ @ D* @@ @ £@ @ @Gb@@ @ J @@ @ £@ g@ B @@ @ F¡@@ @ £@ @ @< @@ @ @ E h@@ @ @0b@@ @ @: rHx@@ @ @ @ @ @ @ @D*H @@ @ @ @ Jv@@ @J f@@ @~@ @ }@ @ c@ @ B Í@@ @ @ @ + @@ @ @c@ @ @ @ @ @ BH h@@ @ @£@ @ @ E @@ @ @£@ @ @ @²* ib@@ @ @ @ / ¡@@ @ @ @ J ¥x@@ @ @ @ ~@ @ 7 h@@ @ @ @ @~@ @ @64H @@ @ Jy@@0 @@ @ @ @ @ 04*H v@@ @ ~@ @ 8 @@ @ E b@@ @ @ F* h@@ £@ @c@ @0 f@@ @ @ £@ @ c@ @ @ @ D* b@@ @ @ £@ @ @ @< @@ @ @ @ E °H b@@ @ @ @ @ @1 @@ @ @ @ + @@ @ @ @ @Jv@@ @ D*¡@@ @ D ex@@ @ @ @ @ @ @ @ J ¡@@ @ @ @ G v@@ @ @ @ @ @ ~@ @ @ 6 b@@ @ @ @ J f@@ @ £@ @ / ¢@@ @ @p@ @J d@@ @£@ @ @ @ D* ¡@@ @ ~@ @ @8¡@@ @ D* @@ @ @C @@ @ @ @ @£@ @ @02b@@ @ E @@ @ @ @ @ @ @ @ C @@ @ @ @ @ £@ @ @ 0 @@ @ @ £@ @ @ @Ab@@ @ @ E @@ @ £@ / @@ @ @C @@ @ @< b@@ @ @ @A ¤@@ @ @ @ @D* d@@ @0b@@ @~@ @ |@ @ Db@@ @J @@ @ @ @ @J5H @@ @ @ -É@@ @ @ 0 b@@ @ @ @J Ì@@ @ @ @ @ = h@@ @ @ @ @ @ 0

60 ‫ اﻟﻌﺪد‬/ ‫اﻟﺸﻌﺮ‬ ِ ‫ ﺑﻴﺖ‬48

‫ارﺗﻔﺎﻋﻪ اﻟﺴﺒﻌني ﻃﺎﺑﻘﺎً ﺳﻴﻤﻨﺤﻚ ﺷﻌﻮراً‬ ‫ﻻ ﻳﻮﺻﻒ‪ ،‬وﺳﻴﻤﻜﻨﻚ ﻣﻦ اﻟﺘﻘﺎط ﺻﻮر‬ ‫ﺧﻼﺑﺔ ﻟﻠﻤﺪﻳﻨﺔ اﻟﺘﻲ أﻧﺖ ﻓﻴﻬﺎ‪ ،‬ﺳﻮاء ﻛﻨﺖ‬ ‫ﰲ أﺑﻮﻇﺒﻲ‪ ،‬أو ديب‪ ،‬أو اﻟﺸﺎرﻗﺔ‪ .‬وﺳﺘﻜﻮن‬ ‫اﻟﺼﻮر أروع ﻓﻴام ﻟﻮ ﺣﺎﻟﻔﻚ اﻟﺤﻆ ﺑﺼﻌﻮد‬ ‫اﻟﱪج ﰲ أوﻗﺎت اﻟﻀﺒﺎب‪ ،‬اﻟﺬي ﻳﻠﻒ اﳌﺪن‬ ‫ﺑﺸﻜﻞ أﺧﺎذ‪.‬‬ ‫ﻫﻨﺎك أﺑﺮاج ﻻ ﺗﺴﻤﺢ ﻟﻠﻤﺼﻮرﻳﻦ ﺑﺼﻌﻮدﻫﺎ‪،‬‬ ‫وﻫﻨﺎك أﺑﺮاج أﺧﺮى ﺗﺴﻤﺢ ﺑﺬﻟﻚ ﺑﻌﺪ‬ ‫اﻟﺤﺼﻮل ﻋﲆ إذن اﻹدارة‪ ،‬وﻣﻦ ﺗﻠﻚ اﻷﺑﺮاج‬ ‫ﺑﺮج اﻟﻌني ﰲ أﺑﻮﻇﺒﻲ‪ ،‬وﺑﺮج ﻛﻴﺎن ﰲ ديب‪،‬‬ ‫وﻫﻨﺎك ﻋﺪد ﻣﻦ اﳌﺼﻮرﻳﻦ اﻟﺬﻳﻦ ﺗﺨﺼﺼﻮا‬ ‫ﰲ ﻣﺜﻞ ﻫﺬا اﻟﻨﻮع ﻣﺜﻞ اﳌﺼﻮر اﻹﻣﺎرايت‬ ‫ﺧﺎﻟﺪ اﻟﺤامدي‪.‬‬ ‫ﻣﺘﺤﻒ زاﻳﺪ اﻟﻌﺪل‬ ‫ﻳﻘﻊ ﻫﺬا اﳌﺘﺤﻒ ﰲ ﻣﻨﻄﻘﺔ اﻟﺒﻄني ﰲ إﻣﺎرة‬ ‫أﺑﻮﻇﺒﻲ‪ ،‬وﻣﻦ ﺧﻼل ﺑﻨﺎﺋﻪ اﳌﻤﻴﺰ اﳌﺴﺘﻮﺣﻰ‬ ‫ﻣﻦ اﻟﻌامرة اﻹﻣﺎراﺗﻴﺔ اﻷﺻﻴﻠﺔ‪ ،‬ﻳﻮﻓﺮ ﻟﻌﺸﺎق‬ ‫اﻟﺘﺼﻮﻳﺮ ﺧﻠﻔﻴﺎت ﺗﺮاﺛﻴﺔ راﺋﻌﺔ متﻜﻨﻬﻢ ﻣﻦ‬ ‫اﻟﺨﺮوج ﺑﺼﻮر ﺗﺮاﺛﻴﺔ ﻣﺬﻫﻠﺔ‪ ،‬ﻓام ﻋﻠﻴﻬﻢ‬ ‫ﺳﻮى ﺗﺨﻴﻞ اﳌﺸﻬﺪ‪ ،‬وﺗﻮﻓري اﻷﺷﺨﺎص‬ ‫واﻷدوات ﻟﻠﺨﺮوج ﺑﺼﻮر ﺗﺒﻘﻰ ﻟﻠﺬﻛﺮى‪.‬‬ ‫ﻣﺤﻤﻴﺔ اﻟﻮﺛﺒﺔ‬ ‫متﺜﻞ ﻫﺬه اﳌﺤﻤﻴﺔ وﺟﻬﺔ ﻣﺜﺎﻟﻴﺔ ﳌﺤﺒﻲ‬ ‫ﺗﺼﻮﻳﺮ اﻟﻄﻴﻮر واﻟﺤﻴﺎة اﻟﻔﻄﺮﻳﺔ‪ ،‬ﻷﻧﻬﺎ‬

‫أﺻﺒﺤﺖ ﻣﻮﺋ ًﻼ ﳌﺌﺎت اﻟﻄﻴﻮر‪ ،‬واﺳﱰاﺣﺔ‬ ‫ﻟﻌﴩات اﻷﻧﻮاع ﻣﻦ اﻟﻄﻴﻮر اﳌﻬﺎﺟﺮة‪ .‬ﺗﻘﻊ‬ ‫ﻣﺤﻤﻴﺔ اﻟﻮﺛﺒﺔ ﰲ ﻣﻨﻄﻘﺔ اﳌﻔﺮق ﻋﲆ ﻃﻮل‬ ‫ﻃﺮﻳﻖ ﺷﺎﺣﻨﺎت اﻟﻌني وﻋﲆ ﺑﻌﺪ ﺣﻮاﱄ‬ ‫‪ 40‬ﻛﻴﻠﻮﻣﱰاً ﺟﻨﻮب ﴍق ﺟﺰﻳﺮة أﺑﻮﻇﺒﻲ‪،‬‬ ‫وﺗﻀﻢ ﻋﺪداً ﻣﻦ اﻟﺒﺤريات اﻟﻄﺒﻴﻌﻴﺔ‬ ‫واﻟﺼﻨﺎﻋﻴﺔ اﻟﺘﻲ ﺗﻐﻄﻲ ﻣﻌﻈﻢ ﻣﺴﺎﺣﺎت‬ ‫اﳌﺤﻤﻴﺔ‪.‬‬ ‫ﺗﻜ ّﻮﻧﺖ ﺑﺤرية اﻟﻮﺛﺒﺔ ﰲ ﻋﺎم ‪ 1982‬ﻧﺘﻴﺠﺔ‬ ‫ﺗﺠﻤﻊ اﳌﻴﺎه اﻟﻔﺎﺋﻀﺔ ﻣﻦ ﻣﺤﻄﺔ ﻣﻌﺎﻟﺠﺔ‬ ‫ﱡ‬ ‫ﻣﻴﺎه اﻟﴫف اﻟﺼﺤﻲ ﺑﺎﳌﻔﺮق‪ ،‬وﻛﺬﻟﻚ‬ ‫ﻣﻴﺎه اﻷﻣﻄﺎر وﻣﻴﺎه اﻟﺮي‪ ،‬اﻟﺘﻲ ﺗﴪﺑﺖ‬ ‫ﻣﻦ ﺣﻘﻮل اﻷﻋﻼف اﻟﻘﺮﻳﺒﺔ‪ .‬وﺗﻘﻊ اﻟﺒﺤرية‬ ‫ﰲ ﺣﻮض ﻣﻨﺨﻔﺾ ﻳﺴﻤﻰ اﻟﺴﺒﺨﺔ وﻳﺘﺄﺛﺮ‬ ‫ﻣﺴﺘﻮى اﳌﻴﺎه ﻓﻴﻬﺎ مبﻨﺴﻮب اﳌﻴﺎه اﻟﺠﻮﻓﻴﺔ‬ ‫وﺣﺮﻛﺔ اﳌﺪ واﻟﺠﺰر‪.‬‬ ‫ﺗﻌﺘﱪ اﳌﺤﻤﻴﺔ اﻟﺘﻲ ﺗﴩف ﻋﻠﻴﻬﺎ ﻫﻴﺌﺔ‬ ‫أﺑﺤﺎث اﻟﺒﻴﺌﺔ واﻟﺤﻴﺎة اﻟﻔﻄﺮﻳﺔ وﺗﻨﻤﻴﺘﻬﺎ‬ ‫ﻣﻼذاً آﻣﻨﺎً ﻟﻠﺤﻴﺎة اﻟﱪﻳﺔ ﻻﺳﻴام ﻟﻠﻄﻴﻮر‬ ‫اﳌﻬﺎﺟﺮة اﻟﺘﻲ ﺗﻔﺪ إﱃ اﳌﻨﻄﻘﺔ ﺧﻼل ﻣﻮﺳﻢ‬ ‫اﻟﺸﺘﺎء‪ .‬وﻗﺪ أﻋﻠﻦ ﻋﻦ اﻓﺘﺘﺎح اﳌﺤﻤﻴﺔ اﻟﺘﻲ‬ ‫متﺘﺪ ﻋﲆ ﻣﺴﺎﺣﺔ إﺟامﻟﻴﺔ ﺗﺒﻠﻎ ﻧﺤﻮ ﺧﻤﺴﺔ‬ ‫ﻛﻴﻠﻮﻣﱰات ﻣﺮﺑﻌﺔ رﺳﻤﻴﺎً ﺑﺄﻣﺮ ﻣﻦ اﳌﻐﻔﻮر‬ ‫ﻟﻪ ﺑﺈذن اﻟﻠﻪ اﻟﺸﻴﺦ زاﻳﺪ ﺑﻦ ﺳﻠﻄﺎن آل‬ ‫ﻧﻬﻴﺎن‪ ،‬ﻃﻴﺐ اﻟﻠﻪ ﺛﺮاه ﰲ ﻋﺎم ‪ .1998‬وﺑﻌﺪ‬ ‫ﻣﻨﺢ اﳌﻨﻄﻘﺔ ﺣامﻳﺔ ﻛﺎﻣﻠﺔ ﺗﻢ ﺗﺴﻮﻳﺮﻫﺎ‬ ‫وﻣﺮاﻗﺒﺘﻬﺎ ﺑﺼﻮرة ﻣﺴﺘﻤﺮة ﳌﻨﻊ أي إزﻋﺎج‬

‫ﻟﻠﺤﻴﺎة اﻟﱪﻳﺔ‪ .‬وﺗﻀﻢ اﳌﺤﻤﻴﺔ ﺛﻼﺛﺔ أﻧﻮاع‬ ‫ﻣﻦ اﻟﺒﻴﺌﺎت اﳌﺨﺘﻠﻔﺔ‪ :‬ﺑﻴﺌﺔ اﳌﻴﺎه اﻟﻌﺬﺑﺔ‬ ‫وﺑﻴﺌﺔ اﳌﻴﺎه اﳌﺎﻟﺤﺔ واﻟﺒﻴﺌﺔ اﻟﺼﺤﺮاوﻳﺔ‪،‬‬ ‫وﺗﻨﻔﺮد ﻛﻞ واﺣﺪة ﻣﻨﻬﺎ ﺑﻮﺟﻮد ﻣﺠﻤﻮﻋﺎت‬ ‫ﻣﺨﺘﻠﻔﺔ ﻣﻦ اﻟﻨﺒﺎﺗﺎت واﻟﺤﻴﻮاﻧﺎت‪.‬‬ ‫وميﻜﻦ ﳌﺤﺒﻲ اﻟﺘﺼﻮﻳﺮ اﻟﺘﻮﺟﻪ إﱃ ﻫﺬه‬ ‫اﳌﺤﻤﻴﺔ واﻻﺳﺘﻔﺎدة ﻣﻦ اﳌﺮاﺻﺪ اﳌﺘﻮﻓﺮة‪،‬‬ ‫واﻟﺘﻲ ﺗﻮﻓﺮ إﻣﻜﺎﻧﻴﺔ اﻟﺘﻘﺎط ﺻﻮر راﺋﻌﺔ‪.‬‬ ‫أﻛﺘﻮﺑﺮ ‪47 2017 /‬‬

‫ﻋﻄﺮ اﻟﻤﻜﺎن‬ ‫‪baytelshear‬‬

‫اﻟﺸﻴﺦ زاﻳﺪ ﻣﺮاﻛﺰ ﻣﺘﻘﺪﻣﺔ ﰲ ﻣﺴﺎﺑﻘﺎت‬ ‫اﻟﺘﺼﻮﻳﺮ‪ ،‬ﺣﻴﺚ ﺗﺼﺪرت ﻣﺠﻤﻮﻋﺔ اﻟﺼﻮر‬ ‫اﳌﻠﺘﻘﻄﺔ ﻟﺠﺎﻣﻊ اﻟﺸﻴﺦ زاﻳﺪ اﻟﻜﺒري ﻗﺎمئﺔ‬ ‫اﻟﺼﻮر اﻟﺘﻲ ﺗﻘﺪم ﺑﻬﺎ اﳌﺸﺎرﻛﻮن ﺿﻤﻦ‬ ‫ﻣﺴﺎﺑﻘﺔ ﺗﺼﻮﻳﺮ ﻧﻈﻤﺘﻬﺎ ﻛﻞ ﻣﻦ ﻣﺪﻳﻨﺘﻲ ديب‬ ‫ﻟﻺﻧﱰﻧﺖ‪ ،‬وﴍﻛﺔ ﻛﺎﻧﻮن اﻟﴩق اﻷوﺳﻂ‪.‬‬ ‫ﻟﻴﻮا‪ FF‬واﺣﺔ وﺻﺤﺮاء‬ ‫ﺗﻌﺘﱪ واﺣﺔ ﻟﻴﻮا اﻷﻛﱪ ﻣﻦ ﻧﻮﻋﻬﺎ ﰲ‬ ‫اﻟﺠﺰﻳﺮة اﻟﻌﺮﺑﻴﺔ واﳌﺪﺧﻞ إﱃ اﻟﺮﺑﻊ‬ ‫اﻟﺨﺎﱄ‪ ،‬وﻫﻨﺎك ميﻜﻦ أن ﺗﺸﺎﻫﺪ ﻣﺪﻳﻨﺔ‬ ‫ﻟﻴﻮا اﻟﻘﺪميﺔ وﻣﺪﻳﻨﺔ زاﻳﺪ اﻟﺤﺪﻳﺜﺔ اﻟﺘﺎﺑﻌﺔ‬ ‫ﻹﻣﺎرة أﺑﻮﻇﺒﻲ‪ ،‬ﻣﻨﻄﻘﺔ اﻟﻈﻔﺮة‪ ،‬وﻣﺤﺎﴐ‬ ‫ﻟﻴﻮا ﺗﻘﻊ ﻋﲆ ﺑﻌﺪ ﻧﺤﻮ ‪ 200‬ﻛﻴﻠﻮﻣﱰ إﱃ‬ ‫اﻟﻐﺮب ﻣﻦ اﻟﻌني وﺗﻀﻢ اﻵن أﻛرث ﻣﻦ ‪60‬‬ ‫ﻗﺮﻳﺔ‪ ،‬إﺿﺎﻓﺔ إﱃ اﳌﺮاﻋﻲ اﻟﺨﺼﺒﺔ اﳌﻮﺟﻮدة‬ ‫ﰲ ﻣﻨﺎﻃﻖ اﻟﻈﻔﺮة اﻟﺘﻲ ﺗﺘﻮﻓﺮ ﻓﻴﻬﺎ اﳌﻴﺎه‬ ‫اﻟﺠﻮﻓﻴﺔ‪ .‬وﻳﻜﻮن اﻟﻄﺮﻳﻖ إﻟﻴﻬﺎ ﻋﲆ ﻃﺮﻳﻖ‬ ‫اﻟﺴﻠﻊ ﺣﺘﻰ ﺗﺠﺪ ﻣﺤﻄﺔ أدﻧﻮك اﻟﺠﺪﻳﺪة‬ ‫ﻋﻨﺪ ﻣﻔﱰق اﻟﺠﴪ‪ ،‬ﻓﺘﺠﺪ اﳌﻨﻄﻘﺔ اﻟﻐﺮﺑﻴﺔ‬ ‫ﺗﺄﺧﺬك ﺑﺎﺗﺠﺎه اﻟﺠﻨﻮب اﻟﻐﺮيب‪ ،‬وﺗﺼﺎدﻓﻚ‬ ‫ﰲ ﺑﺪاﻳﺔ اﻟﻄﺮﻳﻖ ﻣﺪﻳﻨﺔ زاﻳﺪ‪ ،‬وﻣﻦ ﺛﻢ‬ ‫ﺗﻜﻤﻞ ﺳريك ﺣﺘﻰ ﺗﺼﻞ ﳌﺤﺎﴐ ﻟﻴﻮا ﺣﻴﺚ‬ ‫اﻟﺨﴬة واﻟﺠامل واﻟﻬﺪوء اﻟﺬي ﻳﺮﻳﺢ‬ ‫اﻷﻋﺼﺎب ﻣﻦ ﺿﻮﺿﺎء اﳌﺪﻳﻨﺔ وﺿﻐﻮط‬ ‫اﻟﻌﻤﻞ‪.‬‬ ‫ﺗﺘﻤﻴﺰ ﻟﻴﻮا ﺑﻜﺜﺒﺎﻧﻬﺎ اﻟﺮﻣﻠﻴﺔ اﻟﻀﺨﻤﺔ اﻟﺘﻲ‬ ‫ﺗﺘامﻳﻞ وﺗﺘﻼﺻﻖ ﺑﺸﻜﻞ آﴎ‪ ،‬ﻣﺸ ّﻜﻠﺔ‬ ‫ﻣﺸﺎﻫﺪ ﻃﺒﻴﻌﻴﺔ ﻏﺎﻳﺔ ﰲ اﻟﺠامل‪ ،‬وﻗﺪ‬ ‫أﻟﻬﻤﺖ ﻟﻴﻮا اﻟﻜﺜري ﻣﻦ اﳌﺼﻮرﻳﻦ‪ ،‬وﻣﻨﻬﻢ‬ ‫اﳌﺼﻮر اﻹﻣﺎرايت أﺳﺎﻣﺔ اﻟﺰﺑﻴﺪي‪ ،‬اﻟﺬي‬ ‫اﻟﺘﻘﻂ ﺻﻮرة ﺑﺪﻳﻌﺔ ﻟﺘﻼل ﻟﻴﻮا‪ ،‬ﻓﺎزت‬ ‫ﺑﺎﻟﺠﺎﺋﺰة اﻟﻜﱪى ﰲ ﺟﺎﺋﺰة ﺣﻤﺪان ﺑﻦ‬ ‫ﻣﺤﻤﺪ ﻟﻠﺘﺼﻮﻳﺮ اﻟﻀﻮيئ‪ ،‬وﻫﻲ أﻛﱪ ﻣﺴﺎﺑﻘﺔ‬ ‫ﻋﺎﳌﻴﺔ ﰲ اﻟﺘﺼﻮﻳﺮ اﻟﻀﻮيئ ﻣﻦ ﺣﻴﺚ اﻟﻘﻴﻤﺔ‬ ‫اﳌﺎدﻳﺔ‪.‬‬ ‫اﻷﺑﺮاج‬ ‫ﺗﺘﻤﻴﺰ دوﻟﺔ اﻹﻣﺎرات اﻟﻌﺮﺑﻴﺔ ﺑﺄﺑﺮاﺟﻬﺎ‬ ‫اﻟﻀﺨﻤﺔ ذات اﻻرﺗﻔﺎﻋﺎت اﻟﺸﺎﻫﻘﺔ‪ ،‬واﻟﺘﻲ‬ ‫أﻟﻬﻤﺖ اﳌﺼﻮرﻳﻦ اﳌﺤﺒني ﻟﻠﻤﻐﺎﻣﺮة ﺑﺎﻟﺘﻘﺎط‬ ‫ﺻﻮر ﺗﺤﺒﺲ اﻷﻧﻔﺎس‪ ،‬ﻓﺼﻌﻮد ﺑﺮج ﻳﺘﺠﺎوز‬ ‫اﻟﺸﻌﺮ ‪ /‬اﻟﻌﺪد ‪60‬‬ ‫‪ 46‬ﺑﻴﺖ ِ‬

‫ﻣﺼﻄﻔﻰ اﻟﺠﻨﺪي‬

‫ﻻ ﻳﺪﺧﺮ ﻋﺸﺎق اﻟﺘﺼﻮﻳﺮ ﺟﻬﺪ ًا ﻓﻲ اﻟﺒﺤﺚ‬ ‫ﻋﻦ أﻣﺎﻛﻦ ﺟﻤﻴﻠﺔ ﻳﻈﻬﺮون ﻣﻦ ﺧﻼﻟﻬﺎ‬ ‫ﻣﻮاﻫﺒﻬﻢ اﻹﺑﺪاﻋﻴﺔ ﻓﻲ ﻣﺠﺎل اﻟﺘﺼﻮﻳﺮ‬ ‫اﻟﻀﻮﺋﻲ‪ ،‬ﻓﺘﺮاﻫﻢ ﻳﻨﺘﻘﻠﻮن ﻣﻦ ﻣﻜﺎن إﻟﻰ‬ ‫آﺧﺮ‪ ،‬ﺑﺤﺜ ًﺎ ﻋﻦ ﻟﻘﻄﺔ ﻟﻢ ﻳﺴﺒﻘﻬﻢ إﻟﻴﻬﺎ‬ ‫أﺣﺪ‪ ،‬وﻫﺬا ﻳﻨﻄﺒﻖ ﻋﻠﻰ ﺣﺎل اﻟﻤﺼﻮرﻳﻦ‬ ‫ﻓﻲ دوﻟﺔ اﻹﻣﺎرات اﻟﻌﺮﺑﻴﺔ اﻟﻤﺘﺤﺪة‪،‬‬ ‫ﺣﻴﺚ ﻳﺪﻓﻌﻬﻢ ﺷﻐﻔﻬﻢ ﺑﺎﻟﺘﺼﻮﻳﺮ إﻟﻰ‬ ‫اﻟﺴﻔﺮ آﻻف اﻟﻜﻴﻠﻮﻣﺘﺮات ﺑﺤﺜ ًﺎ ﻋﻤﺎ ﻳﺮﺿﻲ‬ ‫ﺷﻐﻔﻬﻢ‪ ،‬ﻟﻜﻦ ﻓﻲ ﺑﻌﺾ اﻷوﻗﺎت‬ ‫ﻳﻐﻴﺐ ﻋﻦ أذﻫﺎﻧﻬﻢ ﺑﺂن ﺻﻴﺪ اﻟﺴﻤﻜﺔ‬ ‫اﻟﻜﺒﻴﺮة ﻻ ﻳﻌﻨﻲ ﺑﺎﻟﻀﺮورة اﻟﺴﻔﺮ إﻟﻲ‬ ‫أﻋﺎﻟﻲ اﻟﺒﺤﺎر‪ ،‬ﺑﻞ ﻛﺜﻴﺮ ًا ﻣﺎ ﻳﻤﻜﻦ ﺻﻴﺪ أﻛﺒﺮ‬ ‫اﻷﺳﻤﺎك ﻣﻦ ﻋﻠﻰ اﻟﺸﺎﻃﺊ‪P‬‬ ‫واﻹﻣﺎرات ورﻏﻢ ﺟﻮﻫﺎ اﻟﺤﺎر‪ ،‬ﺗﺰﺧﺮ‬ ‫ﺑﻤﺌﺎت اﻟﻤﻮاﻗﻊ اﻟﻤﺬﻫﻠﺔ‪ ،‬واﻟﺘﻲ ﺗﻤﻜﻦ‬ ‫ﺑﻌﺾ اﻟﻤﺼﻮرﻳﻦ ﻣﻦ ﺧﻼل ﺗﺼﻮﻳﺮﻫﺎ‬ ‫ﻣﻦ اﻟﺤﺼﻮل ﻋﻠﻰ ﺟﻮاﺋﺰ ﻋﺎﻟﻤﻴﺔ‪ ،‬وﻓﻲ‬ ‫ﻫﺬا اﻟﻌﺪد ﻧﺴﺘﻌﺮض ﻟﻜﻢ أﻫﻢ ﺗﻠﻚ‬ ‫اﻷﻣﺎﻛﻦ‪ ،‬ﻋﻞ ﻋﻄﺮﻫﺎ ﻳﻨﺘﺜﺮ ﺻﻮر ًا ﻣﻦ‬ ‫ﺧﻼل ﻋﺪﺳﺎﺗﻜﻢ‪P‬‬ ‫ﺟﺎﻣﻊ اﻟﺸﻴﺦ زاﻳﺪ‬ ‫ميﺜﻞ ﺟﺎﻣﻊ اﻟﺸﻴﺦ زاﻳﺪ اﻟﻜﺒري أﻳﻘﻮﻧﺔ‬ ‫ﻣﻌامرﻳﺔ ﻗﻞ ﻣﺜﻴﻠﻬﺎ ﰲ اﻟﻌﺎمل‪ ،‬ﺗﺠﻤﻊ أﺟﻤﻞ‬ ‫وأﻓﻀﻞ ﻣﺎ وﺻﻞ إﻟﻴﻪ اﻹﻧﺴﺎن ﰲ ﻋﺎمل اﻟﺒﻨﺎء‬ ‫واﻟﺰﺧﺮﻓﺔ‪ ،‬ﰲ ﻛﻞ ﻋﺎم ﻳﺰور اﻟﺠﺎﻣﻊ آﻻف‬ ‫اﻟﺰوار اﻟﺬﻳﻦ ﻳﻠﺘﻘﻄﻮن ﻋﺪداً ﻻ ﻳﺤﴡ ﻣﻦ‬ ‫اﻟﺼﻮر اﳌﺒﻬﺮة‪ ،‬وﻫﻨﺎ ﻗﺪ ﻳﺘﺴﺎءل ﺳﺎﺋﻞ‪:‬‬ ‫»ﻫﻞ ﻻﺗﺰال ﻫﻨﺎك ﻣﺴﺎﺣﺎت ﻣﻤﻜﻨﺔ‬ ‫ﻟﻠﺘﺼﻮﻳﺮ ﰲ اﻟﺠﺎﻣﻊ؟« وﻫﻮ اﻟﺴﺆال اﻟﺬي‬ ‫ﺗﻮﺟﻬﻨﺎ ﺑﻪ إﱃ أدﻳﺐ اﻟﻌﺎين رﺋﻴﺲ اﺗﺤﺎد‬ ‫اﳌﺼﻮرﻳﻦ اﻟﻌﺮب واﻟﺬي أﺟﺎﺑﻨﺎ ﻋﻦ ﻫﺬا‬ ‫اﻟﺴﺆال ﺑﺎﻟﻘﻮل‪» :‬إﱃ اﻟﻴﻮم مل ﻳﻠﺘﻘﻂ‬ ‫اﳌﺼﻮرون ﺳﻮى ﺟﺰء ﻳﺴري ﻣﻦ ﺟامﻟﻴﺎت‬ ‫اﻟﺠﺎﻣﻊ‪ ،‬وﻣﺎ زال ﻫﻨﺎك ﻋﺪد ﻛﺒري ﻣﻦ‬ ‫اﻟﺰواﻳﺎ اﻟﺘﻲ ﺗﻨﺘﻈﺮ ﻣﻦ ﻳﻜﺘﺸﻔﻬﺎ‪ ،‬وﻫﺬه‬ ‫اﻟﺰواﻳﺎ ﻻ ﺗﻌﺘﻤﺪ ﻋﲆ اﳌﻜﺎن ﻓﺤﺴﺐ ﺑﻞ‬ ‫ﻋﲆ اﻟﻮﻗﺖ أﻳﻀﺎً‪ ،‬ﻓﺼﻮرة اﻟﻘﺒﺎب ﺻﺒﺎﺣﺎً‬ ‫ﺗﺨﺘﻠﻒ ﻋﻦ ﺻﻮرﺗﻬﺎ ﻣﺴﺎء‪ ،‬وﻫﺬا ﻳﻨﻄﺒﻖ‬ ‫ﻋﲆ ﻛﻞ ﻣﺮاﻓﻖ اﻟﺠﺎﻣﻊ‪ ،‬ﻓﻠﻠﺨﺮوج ﺑﺼﻮرة‬ ‫ﻓﺮﻳﺪة‪ ،‬ﻳﺠﺐ اﺧﺘﻴﺎر اﻟﻮﻗﺖ واﳌﻜﺎن‬ ‫اﻟﻔﺮﻳﺪﻳﻦ«‪ .‬ودامئﺎً ﻣﺎ ﺗﺤﺘﻞ ﺻﻮر ﺟﺎﻣﻊ‬ ‫أﻛﺘﻮﺑﺮ ‪45 2017 /‬‬

‫ﻋﻄﺮ اﻟﻤﻜﺎن‬ ‫‪baytelshear‬‬

‫ﻣﻌﺎﻟﻢ إﻣﺎراﺗﻴﺔ‬

‫ﻃﺒﻴﻌﺔ ﺗﻐﺮي ﻋﺪﺳﺎت اﻟﻜﺎﻣﻴﺮات‬

‫اﻟﺸﻌﺮ ‪ /‬اﻟﻌﺪد ‪60‬‬ ‫‪ 44‬ﺑﻴﺖ ِ‬

‫ﺻﻌﻮﺑﺔ اﻻﺧﺘﻴﺎر ﺑﻴﻦ اﻟﺒﻴﺖ ‪ ..‬واﻟﺒﻄﻮﻟﺔ‬

‫»ﻣﻦ ﻻﺗﻘﺎﺿﻰ ﺣﻲ‪ ..‬ﻳﻘﻤﺢ اﻟﻴﺎ ﻣﺎت«‬ ‫ﻋﻠﻲ اﻟﻤﺴﻌﻮدي‬

‫ﻛﺎن أﺣﺪ ﻓﺮﺳﺎن وﺷﻴﻮخ اﻟﺒﺎدﻳﺔ‪ ..‬ﺑﻠﻎ‬ ‫ﺻﻴﺘﻪ اﻵﻓﺎق ﰲ اﻟﺸﺠﺎﻋﺔ واﻟﻜﺮم‪ ..‬وﻗﺪ‬ ‫ﺑﻠﻎ ﻣﻦ اﻟﻌﻤﺮ ﻋﺘﻴﺎً ﻟﻜﻨﻪ ﺑﻘﻲ ﰲ ﻗﻮة‬ ‫اﻟﺸﺒﺎب ﻋﻨﺪﻣﺎ ﺗﺰوج ﻣﻦ ﻗﺒﻴﻠﺘﻪ ﻓﺘﺎة‬ ‫ﺻﻐرية أﻋﻄﺎﻫﺎ ﻣﻬﺮاً ﻛﺒرياً‪ ،‬وأﺻﺒﺤﺖ‬ ‫اﻟﻔﺘﺎة ذات أﻫﻤﻴﺔ ﻛﺒرية ﺑني ﺑﻨﺎت ﺟﻴﻠﻬﺎ‬ ‫ﻳﻘﺪروﻧﻬﺎ إﱃ اﻟﺪرﺟﺔ اﻟﺘﻲ ﻳﻘﺒﻠﻮن رأﺳﻬﺎ‬ ‫إذا ﺳﻠﻤﻮا ﻋﻠﻴﻬﺎ‪ ،‬وﻻﻳﺨﻠﻮ ﺑﻴﺘﻬﺎ ﻣﻦ‬ ‫اﻟﻀﻴﻮف‪ ..‬وأﺻﺒﺤﺖ ﻣﴬب ﻣﺜﻞ ﰲ‬ ‫اﻟﺤﺴﻦ واﻟﻘﺒﻮل‪ ،‬ﻓﻈﻨﺖ اﳌﺴﻜﻴﻨﺔ أﻧﻬﺎ‬ ‫أﺧﺬت ﻫﺬه اﳌﻜﺎﻧﺔ ﺑﺠﻬﺪﻫﺎ وﺟامﻟﻬﺎ‬ ‫وﻋﻠﻤﻬﺎ‪ ،‬ﻓﺤﺪﺛﺖ ﻧﻔﺴﻬﺎ أﻧﻬﺎ ﺗﺴﺘﺤﻖ‬

‫أن ﻳﻜﻮن زوﺟﻬﺎ ﺷﺎﺑﺎً ﻳﺘﻔﺮغ ﻟﻬﺎ وﻳﺪﻟﻠﻬﺎ‪،‬‬ ‫ﻓﻔﺎرﻗﺖ زوﺟﻬﺎ اﻟﻔﺎرس اﻟﻜﺮﻳﻢ‪ ..‬ﺛﻢ‬ ‫ﺗﺰوﺟﺖ ﺷﺎﺑﺎً ﻣﻘﺎرﺑﺎً ﻟﻌﻤﺮﻫﺎ‪ ،‬ﻟﻜﻨﻪ‬ ‫ﻓﺎﺟﺄﻫﺎ ﺑﺴﻮء ﺧﻠﻘﻪ وﻃﻤﻌﻪ ومل ﺗﻌﺪ‬ ‫ذات ﻣﻜﺎﻧﺔ ﺑني أﺗﺮاﺑﻬﺎ وﻧﺴﺎء ﻗﺒﻴﻠﺘﻬﺎ‪ ..‬ومل‬ ‫ﻳﺪﺧﻞ ﺑﻴﺘﻬﺎ اﻟﻀﻴﻮف ﻛام ﻛﺎﻧﻮا ﻓﻌﻠﻤﺖ‬ ‫أﻧﻬﺎ ﺧﴪت اﻟﻜﺜري‪ ،‬وﺑﻌﺪ ﻓﱰة ﻃﻠﻘﻬﺎ‬ ‫اﻟﺸﺎب‪ ،‬ومتﻨﺖ ﺑﻌﺪ ذﻟﻚ أن ﺗﻌﻮد إﱃ‬ ‫زوﺟﻬﺎ اﻟﻜﺮﻳﻢ اﻟﺴﺎﺑﻖ‪ ..‬ﻟﻜﻨﻪ وﺟﺪ ﻓﺮﺻﺔ‬ ‫ﻟﻴﻌﻄﻴﻬﺎ درﺳﺎً ﰲ اﻟﺮد ﻋﲆ ﻣﻦ أﺳﺎء‪..‬‬ ‫ﻫﻜﺬا اﻧﺘﴩت ﻫﺬه اﻟﺤﻜﺎﻳﺔ ﺑني اﻟﻨﺎس‬ ‫ﻛﺴﺒﺐ ﻟﻬﺬه اﻟﻘﺼﻴﺪة‪ ..‬ﻟﻜﻦ ﺣﻜﺎﻳﺔ‬ ‫اﻟﻘﺼﻴﺪة اﳌﻮﺛﻘﺔ أﻛرث ﻫﻲ ﻛﺎﻟﺘﺎﱄ‪:‬‬

‫‪ @@ Q @B Í@@ @ D* @@ {@ @J4* h@@ @ ~@ 7 ° 2¡@@ @ 0 b@@ J‬‬ ‫‪ @@ @ @ @ Q @ @ @ @ - @@ @Jv@@ @£@ @ + ¡@@ @ @ J @@ @ @c@ @0 h@@ @ Jw@@ @ /‬‬ ‫*‪ @@ @ @ @ Q @ @ ~@ @ 9°* ib@@ @ s@ @ @AÉ@@ @ E e*w@@ @ @ @ @ < b@@ @ @ @ F‬‬ ‫‪ @@ @ @ @ DQ v@@ @J @@ @ @ @ @ @Q @ @ 0H @@ @ @ @ @ @ A ¢@@ @ @ @ < M @@ @ @ @ C‬‬ ‫‪ @@ Q @ @ @ @ @ @J M @@ @ @ @ = *¡@@ @ @ @ @ @ / ¢@@ @ @ @ < Ä@@ @~@ @ |@ @ F‬‬

‫»ﻣﻦ ﻻﺗﻘﺎﴇ ﺣﻲ ﻳﻘﻤﺢ اﻟﻴﺎ ﻣﺎت«‪..‬‬ ‫ﺑﻴﺖ ﺷﻬري ﻟﻠﺸﺎﻋﺮ واﻟﻔﺎرس اﳌﺸﻬﻮر‬ ‫ﻓﺮاج اﻟﻌامين )ﺑـﻌﻴـﺪ اﳌﻐﺎزي( اﻟﺬي‬ ‫ّ‬ ‫ﺗﻮﰱ ﺳﻨﺔ ‪ 1396‬ﻫـ ‪ ،‬وﻳﻘﺎل إﻧﻪ ﺗﻮﰱ ﺑﻌﺪ‬ ‫أن ﺗﺠﺎوز اﳌﺌﺔ مبﺎ ﻳﻘﺎرب اﻟﻌﻘﺪﻳﻦ ﻣﻦ‬ ‫اﻟﺰﻣﻦ‪ ..‬وﻟﻠﺒﻴﺖ ﺣﻜﺎﻳﺔ ﺟﻤﻴﻠﺔ ﺣني ﻗﺎﻟﻪ‬ ‫ﺑﻌﺪ رﺟﻮﻋﻪ ﻣﻦ إﺣﺪى ﻏﺰواﺗﻪ ﻓﻮﺟﺪ‬ ‫زوﺟﺘﻪ ﻗﺪ ﻓﺎرﻗﺘﻪ ﻻﻧﺸﻐﺎﻟﻪ اﻟﻄﻮﻳﻞ ﻋﻨﻬﺎ‬ ‫واﺑﺘﻌﺎده اﻟﺪاﺋﻢ ﺑﺴﺒﺐ ﻛرثة ﻏﺰواﺗﻪ‬ ‫وﻃﻮﻟﻬـﺎ واﻻﺑﺘﻌﺎد ﻋﻨﻬﺎ ﻷوﻗﺎت ﻃﻮﻳﻠﺔ‬ ‫ﺟﺪاً‪..‬‬ ‫ﻓﺄرﺳﻞ ﺧﺎدﻣﻪ ﺣﻤﻮد ﻟﻴﻘﻮل ﻟﻬﺎ ﻫﺬه‬ ‫اﻟﻘﺼﻴﺪة‪..‬‬

‫ < @ @‪ ib@@ @+¡@@ @F x@@~@ {@ < *Ä@@ @ @ D* 2H2x@@ @ @ @ E @@£‬‬ ‫ ‪ ib@@ A Mh@@ Jb@@ A ¯ 2¡@@ @ 0 b@@ J ¢@@ @p@ @J °H‬‬ ‫‪ i*¡@~8°* i*3¡@@ @ D ¡@@ @ J ·*¡@@g@ D* @@ +5H‬‬ ‫‪ ib@c.*H v@@ ~@ 8 b@@ @ +b@@E M ¡@@ @ @< x@@ @ @-*H‬‬ ‫ ‪ ibE b£D* q J ¤0 ¢~9b - ° @EH‬‬

‫أﻛﺘﻮﺑﺮ ‪43 2017 /‬‬

‫ﻗﺼﺔ ﻗﺼﻴﺪة‬ ‫‪baytelshear‬‬

‫اﻟﺸﻌﺮ ‪ /‬اﻟﻌﺪد ‪60‬‬ ‫‪ 42‬ﺑﻴﺖ ِ‬

‫ﺑﻄﺎﻗﺎت اﻟﻌﺮوس‬ ‫ﺟﻤﺎل ﺑﻨﺪر اﻟﻐ ّﻨﺎﻣﻲ‬ @JamalBander

b@@ @ F¡@@C b@@ @ £@ c@ - @@ @/b@@ @0 ¥*H @@ @ ~@ @ @6*4 @@ }@ @A @@6¡@@m@ @ D* @@ @ @ ~@ {@ -H @@z@ ~@ z@ « ° ¤@@ @ £@ A4 b@@ J b@@ @ F¡@@Ax@@ @ J* ° @@ 6b@@ @ @D* @@ @AHx@@ @; 2b@@ @ < @@ z@ + 6¡ A v@@ @<b@@E @@6É@@A* v@@ @< @@ @FQ * x@@+b@@1 b@@ @ F¡@@ @ ~@ 7H ¤@@ g@ @Db@@ 0 x@@ @ @ @ - h@@ @ @ F*H @@ ~@ @z@ @g@ @+*H @@6H42 d@@ @~@8* b@@£@ ²* @@E w@@1b@@E @@ @j@E b@@F* b@@ @F¡@@ @+ @@c@ B @@£@ /b@@m@ Jx@@D* ¡@@£@ < ·b@@ @EH @@6¡@@ @ @ D* @@ @ @D @@ z@ @ @ @m@ @´*H É@@ @ @ @ ;°* ¬b@@ @ @A b@@ @ F¡@@ @ + ¡@@ @ @J Ñ* ¤@@ +b@@ p@ @~@ @8* q@@£@ @ E @@ @E @@6H4 ¡@@ @E2* e¡@@Gb@@E Á¡@@£@< @@E Bb~zgJ* b@@ @ F¡@@s@ J* @@ £@ @A4 b@@ @ £@ @ < v@@ @ ~@ |@ J b@@ E @@ ± @@6¡@@ @ ±* ¡@@ @ » Í@@ @ D* ¢@@ @ < d@@g@ @ +* ¤@@ @ @~@7 b@@ @ F¡@@~@ 8* iy@@m@ < ¡@ M @ @ G ·b@@ + ¢@@ @ < $b@@ @/H @@6Hx@@ @ D* ib@@Bb@@ @ + q@@ @´* b@@ E @@ C ¤@@~@z@ @F @@ @ D b@@ @ @FHv@@ c@ @ @ @JH d@@ @ @ Db@@ A 4b@@ @ @ @ D* ¡@@ @ @ ~@ {@ J @@6¡@@¸ @@<¡@@ @¸ d@@ ²* @@E ¥4v@@~@ 8 ¯ @@C b@@ @ @ @ @FH2 @@ @ @Bb@@ @ @- v@@ @ £@ @ @Db@@ @ @ @ @g@ @ @D*H v@@ @ @ J*¡@@ @ @ @ @ @ @D* @@6¡@@c@ @D* @@£@ @D* · h@@ @ 1H ¤@@c@ @ B iw@@ 1 @@E b@@ @ F¡@@£@ < @@ ± ex@@ @ @²* h@@ Eb@@ B b@@ @ £@ /* ¡@@ D @@6¡@@~@ z@ + f@@ Bb@@ F @@ j@ E b@@ @ @ G* Í@@ @+ b@@ @ @F* Ñ*H b@@ @ F¡@@ @ ~@ 6 @@ @ A b@@GÌ@@Cb@@ @ ~@ 7 ·* ¡@@ £@ @³b@@ +H @@6¡@@E i*x@@ @ ~@ 7 b@@Gv@@0 ¢@@ @ < ¤@@ @ D* ¡@@£@ ~@ z@ Db@@+ b@@ @ F¡@@ @ ¸ b@@ @ @ F* d@@ @ @ ²* @@ @ < @@ @Bb@@ @ @ @ + Áb@@ @ @ E 6Hx~9 x~{< D* 6Hx~9 E · hcF ¡D

41 2017 / ‫أﻛﺘﻮﺑﺮ‬

‫ﻣﺎﺳﺎت‬ baytelshear t

‫ﺗﺮاﺗﻴﻞ اﻟﻤﺪاد‬ ‫ﻋﺘﻴﻖ ﺧﻠﻔﺎن اﻟﻜﻌﺒﻲ‬ @ateq_alkabi

¥v@@ @ @ @ @Ex@@ @ @ @~@6 M @@ @ @ @ @£@ @ @ @D eb@@ @ @~@z@ @0 h@@ @c@ @~@z@ @0 °H ¥24 ¤@@ @ @ @ @ @ @ @ @ @ @ @ @0 b@@ @ @ @ @ @ @ @ @j@ @E ¤@@ @ @ @ @ @ @ @ @ @0 *2 ¥v@@ @ @ @ @ @ @Gx@@ @/ b@@ @ @ @ G*v@@ @ @ @ E ¤@@ @ @<¡@@ @ @ @~@9 @@z@ @ @+b@@ @ JH ¥v@@ @ @ @ @ @ @ @- ¡@@ @ £@ @ @1H rx@@ @ @ @/ ¤@@ @ @ @c@ @ @ @ @B @@ @ @ @ @£@ @ @+H ¥v@@ @ 0H @@6b@@ @ @ @ @D* @@ @ < @@z@ @ @ @ /* d@@ @ @ @ @ 0* h@@ @ @ @ @C ¥2x@@ @ @ @ @ @ @ @ @ @ @ @ @ @ @+ h@@ @ @ @ @ 04H b@@ @ @ £@ @ Fv@@ @ @ @ @ D h@@ @ @ @£@ @ @/ ¥v@@ @ @ @ @ @ @ @0* b@@ @ @ @ @~@z@ @+ b@@ @ ~@ {@ @ @²*H b@@ @ @ @Jb@@ @ @ @p@ @D*H ¥v@@ @ @ @ @ @ @ @= @@ @ @ @Fb@@ @ @ @ @ @ @´ x@@ @ @ @ @ m@ @ @ @ @ @D* 5* h@@ @ @ @ 04 ¥2¡@@ @ @ @ @ @ @/* d@@ @ @ @ @B ¤@@ @ A @@}@ @ @c@ @ @F x@@ @ @ <b@@ @ @ ~@ {@ @ @ @ D* ¥v@@ @ @ @ @ @ @ @ @J f@@ @ @ @ @ @ @0*4 ¤@@ @ @ @ @ A @@ @ @ @Jv@@ @ J @@ @ p@ @ @J ° ¥v@@ @ @ @ @ @ @g@ @c@ @- @@ @ + h@@ @ @ g@ @ @F* ¡@@ @ D @@ @ @ @ @ @ @ @: @@ @ @ @C ¥v@@ @ @ @ @D* ib@@0b@@c@ @ @~@ |@ @ @D* 4¡@@ @ @ @F Q @ @ @ @E x@@ @ @ @< ¥v@@ @ @ @ @ @ @ @ @ @JH 4v@@ @ ~@ |@ @ @+ ¤@@ @ @ ~@ {@ @ @ @ J d@@ @ @ @~@ {@ @ @ @ @ @D* ¥v@@ @ @ @ @ @ @ g@ @ @ @- @@ @ @ @ @ @ @g@ @ @£@ @ @D @@z@ @ @ @ @ @+ 4*2 x@@ @ @ @£@ @ @= ¥v@@ @ @ @g@ @ @B* b@@ @ @ @ @ @ @+H b@@ @ @ @ @ F¡@@ @ ~@ 8 @@ @ @ @ @ @ @ @ @ @0 @@ @ @ CH

2b@@ @ @ @Bx@@ @ @ @D* ¢@@ @ @ @ @ @ @ @ @E ¤@@ @ @ @ @A ¡@@ @ @ @J x@@ @ @ @ @ @ @A&* @@ @ @ @ @D 2b@@ @ @ @~@6H ¤@@ @ @ D d@@ @Jb@@ @p@ @~@z@D* @@ @ @ E h@@ @ @ @ @ @ @~@8 °H 2*x@@ @ @ @ @m@ @D* ex@@ @ @ @ ~@ 6 ¤@@ @ @ @ Fx@@ @ E ¥4v@@ @ @ @~@ 8 h@@ @ p@ @ 2b@@ @ @ @ @ @ @ @ @ @E4H 4b@@ @ @ @ @ @ @c@ @ @=H q@@ @ @ @ @ J4 ¤@@ @ @ @ @ F¡@@ @ @ @£@ @ @< ¤@@ @ @ A 2b@@ @ @ @ @ @ @ @D* @@ @ @ ~@ 6 ¤@@ @ @ @A @@ @ @ @ : ¥x@@ @ @ @ @ @ @ < ¡@@ @ @ J 2b@@ @ @c@ @ @ @ @D* @@ @ @ @£@ @+ ¤@@ @ D eb@@ @ p@ @ ~@ 8* iw@@ @ @ s@ @ -* b@@ @ E 2*5 v@@ @ @ @ @ @ @ ~@ |@ @ D* y@@ @ @ @c@ @ @1H ¤@@ @ +x@@ @ @ @~@ 7 x@@ @ @ @ @ @ @ D* 2*v@@ @ @ @ @p@ @D* e¡@@ @ @ @. y@@ @ @p@ @ @ @D *¡@@ @~@z@ @c@ @D @@ @ @ @£@ @0 2b@@ @ @ @m@ @D* @@ @ @ @/H @@ @ @ @E @@6b@@~@ z@ @ @0(* h@@£@ @ @/4 b@@ @ E 2b@@ ~@ @7x@@ D* eH42 @@ @< @@ @ @ @ @ @ @£@ @ @< h@@ @ @ @ @ @ @< @@ @ @ EH 2b@@ @ @ @ @~@9 @@ E @@ @ D b@@ @ E 4v@@ @ @ @ @D* @@ @ £@ @ ~@ 6 rx@@ @ @ / 2b@@~@ |@ @ @p@ @ @D* ¤@@ @ A ¤@@ @ @ @ @m@ @ @- 24¡@@ @ @ @ D* h@@ @ @ @ <45 (* 2b@@ @ @ @ @ @ @C¡@@ @ @ @Db@@ @ + ¤@@ @ @ @ @ @ @BÉ@@ @ - f@@ @ @ @Ax@@ @ @ @~@ {@ @ @D* q@@ @ @ @g@ @ @A* 2É@@ @ @ @ @ @ @+ @@ @ @ @E @@ @ @ @ @ Db@@ @ @ @ @ E @@ @ @ @ 94&°* @@ @ £@ @ c@ @ - ° 2*v@@ @ @ @ @ @ @ @ @ @D* @@ @ @ @£@ @ @-*x@@ @ - @@ @ @ @ @ @ @ @ @ ~@ 6*H ¤@@ @ @ @ @ @ £@ @ : 60 ‫ اﻟﻌﺪد‬/ ‫اﻟﺸﻌﺮ‬ ِ ‫ ﺑﻴﺖ‬40

.‫وﻳﻐﺮق ﰲ ﺗﻠﻚ اﻟﻔﺼﻮل اﻟﺨﻮاﱄ‬ ‫ﻛام َﻳ ﱡ‬ ‫اﳌﺮي وﰲ ﻛ ّﻔ ِﻪ أﺑﻴﺎت ﺷﻌﺮﻳﺔ‬ ّ ‫ﻄﻞ ﻋﻠﻴﻨﺎ اﻟﺸﺎﻋﺮ ﻣﺤﻤﺪ ﺑﻦ ﻓﻄﻴﺲ‬ : ‫ ﻳﻘﻮل‬،‫ﻳﺬﻛﺮ ﻓﻴﻬﺎ اﻟﻠﻮز‬ fCC CC CCG* L4K ¢CCCCH uCCC P C CCCC9*K ¥CCkCC CC CC7 fCCCCCC»* m§CCCEfCCCªCCC+ CCCC CCCC8|CCCCH CCCCCC6fCCCCCC¼* ¶fCCCCCCCCCCC»*K *5 hCCªCCIfCCH «CC¡CCF ¢CCM|CC CC CC CCG* · |CCC CCC CCCG*K m§CCtCC¡CCH rCCC CCC. CCCgCCC/ ¢CCCCH ¥CCC¡CCCF CCC CCC CCC¹*K fCCCCH L§CCCCC¤CCCCCG* ¥CCCCE|CCCC: ¸ ¢CCCC CCCCGK CCCCgCCCC/ m§CC CCGfCC+ 4fCCCCkCCCCH&¸fCCCC+ «CCCJfCCCH fCCC¤CCC-*§CCC CCC1K ÑCCCC;¸* CCC; ¢CCCH CC CC CC CC CCG* §CC CC CC- «CCJfCCH mKÔCCCCCCC+K £zCCCC¡CCCCG ÕCCCCC+ fCCCCCH fCCC¤CCCDfCCCªCCC CCC CCCHK fCC CC6 fCC¤CC CC CC CC/ ¨CC CC< |CC CC CC- §CCCG CC CC CC CC CCG* m§CCC CCC CCC CCC+K ¥CCCªCCCgCCC CCCÁ CCCC CCCC CCCCÀ fCCCC¤CCCC¡CCCCF fCCCº* fCC¤CCGfCC0 ¨CC CC CC7 fCC¤CC CC CC CCgCCH |CC CC CC8 ¢CCCCHK m§CCCCkCCCCG*K y§CCCCCCCC»*K 5§CCCC CCCCG* ¸* CCCCFfCCCC- fCCCCH

ّ ‫إن ﻛﺎن ﰲ‬ ‫ ﻳﺘﻐﺰل‬.‫ ﻓﻔﻲ ﻛﻒ اﻟﺸﺎﻋﺮ ﺗﻘﻒ زﻫﺮة اﻟﻠﻮز‬،‫ﻛﻒ اﻟﺤﺒﻴﺒﺔ ﺧﺎﺗﻢ‬ ً ً ‫ ﻓام‬،‫ ﻣﺒ ّﻴﻨﺎ رﻣﺰ ّﻳﺔ اﻟﻠﻮز اﻟﺘﻲ ﺗﻔﻀّ ﻠﻬﺎ اﻟﺤﺒﻴﺒﺔ‬،‫اﺑﻦ ﻓﻄﻴﺲ مبﺤﺒﻮﺑﺘ ِﻪ ﺷﻌﺮا‬ ‫ ﺧﺼﻮﺻﺎً ﺣني ﻳﺬﻛﺮ اﻟﻠﻮز ﻣﻊ ﺻﻐﺮ ﻣﺒﺴﻢ‬،‫أﺟﻤﻠﻬﺎ ﻣﻦ ذوﺑﺎﻧﻴﺔ ﻏﺰﻟﻴﺔ‬ ‫ و َﻣﻦ ﻳﺼﻨﻊ‬،‫ ﻓﻠﻠﺰﻫﺮ ﻋﻼﻗﺔ ﺣﻤﻴﻤﺔ ﻣﻊ ﻟﻮن اﻟﺨﺪود واﻻﺑﺘﺴﺎم‬،‫اﻟﺤﺒﻴﺒﺔ‬ ‫اﻟﻮﺟﻪ اﻟﺒﺸﻮش ﻏري اﻟﺰﻫﺮة ؟‬ ‫ واﻧﺘﻈﺎر ﻣﻮاﺳﻢ اﻟﺼﻔﺎء‬،‫ وراﺋﺤﺔ اﻟﻔﺼﻮل‬،‫زﻫﺮة اﻟﻠﻮز ﻓﻴﻬﺎ ﻋﻄﺮ اﻟﺬاﻛﺮة‬ ‫ ﻓﻴﺰﻫﺮ ﻣﻮﺳﻢ اﻟﺤﺐ ﰲ ﻗﻠﻮب‬،‫ ﺗﴤء ﻛﺎﻟﻨﺠﻮم ﻟﻴﻞ اﻟﻄﺒﻴﻌﺔ‬.‫اﻷرض‬ ‫ﰲ‬ ِ .‫اﻟﺸﻌﺮاء‬ ‫ وﺗﻔﻮح راﺋﺤﺘﻬﺎ ﻣﻞء اﻟﺒﺴﺎﺗني اﳌﺰﻫﺮة ﺑﺄﺟﻤﻞ أﻟﻮان‬،‫إﻧﻬﺎ روح ﺗﺘﻨﻔﺲ‬ ‫ ويك ﻳﻌﻴﺸﻮا ذاك‬،‫ اﻟﺸﻌﺮاء ﻳﻨﺘﻈﺮون ﻣﻮﺳﻢ اﻟﻠﻮز يك ﻳﻜﺘﺒﻮا ﻋﻨ ُﻪ‬..‫اﻟﻠﻮز‬ .‫ وﺗﺰﻫﺮ ﻣﻌ ُﻪ اﻟﻘﺼﻴﺪة‬،‫اﻟﺼﻔﺎء اﳌﻮﺳﻤﻲ ﺣني ﻳﺰﻫﺮ اﻟﻠﻮز‬ 39 2017 / ‫أﻛﺘﻮﺑﺮ‬

‫راﺋﺤﺔ اﻟﺸﻌﺮ‬ ‫‪baytelshear‬‬

‫زﻫﺮة اﻟﻠﻮز ‪ ..‬ﻣﻮاﺳﻢ‬ ‫اﻟﺼﻔﺎء ﻓﻲ ﻗﺼﺎﺋﺪ اﻟﺸﻌﺮاء‬ ‫ﺑﺎﺳﻞ ﻋﺒﺪاﻟﻌﺎل‬

‫ٍ‬ ‫ﺑﺸﻐﻒ ﻣﻮﺳﻤﻬﺎ يك‬ ‫َﻳﺮى اﻟﺸّ ﻌﺮا ُء ﰲ زﻫﺮ ِة اﻟﻠﻮز أﺟﻤﻞ أﻣﻨﻴﺎﺗﻬﻢ‪ ،‬و َﻳﻨﺘﻈﺮون‬ ‫َﻳﺘﺄﻣﻠﻮا ﻟﻮﻧﻬﺎ اﻟﻘﺮﻧﻔﲇ ﺣني ﻳﺘﻮﻫﺞ ﻣﻞء اﻟﺒﺴﺎﺗني‪ .‬ﻫﺬه اﻟﺰﻫﺮة اﻟﺘﻲ اﺳﺘﻌﺎن‬ ‫ﺑﻬﺎ اﻟﺸﻌﺮاء يك متﺘﻠﺊ ﻗﺼﺎﺋﺪﻫﻢ ﺑﺠامﻟﻬﺎ وﺧﺼﻮﺻﻴﺘﻬﺎ اﻟﺘﻲ متﻴﺰﻫﺎ دامئﺎً ﻋﻦ‬ ‫ﻏريﻫﺎ ﻣﻦ اﻟﺰﻫﻮر‪ .‬وﻻ ﻧﻨﴗ أن زﻫﺮة اﻟﻠﻮز ﺧﻠﺪت ﰲ اﻟﺸﻌﺮ اﻟﻌﺮيب ﻗﺪميﺎً‬ ‫وﺣﺪﻳﺜﺎً‪ ،‬ﻓﻜﺎن ﻟﻬﺎ ﻣﻌﻨﺎﻫﺎ اﻟﺨﺎص‪ ،‬ورﻣﺰﻳﺘﻬﺎ اﳌﻌﱪة ﻋﻦ ﺟﻮﻫﺮ اﻟﻄﺒﻴﻌﺔ‬ ‫واﻟﺤﻴﺎة‪.‬‬ ‫ﰲ ﻗﺼﻴﺪة ﻟﻠﺸﺎﻋﺮ ﺟامح ﺑﻦ ﻋﲇ اﻟﻐﺎﻣﺪي ﻳﺤﴬ اﻟﻠﻮز‪ ،‬ﻓﻴﺘﻤﻨﻰ اﻟﺸﺎﻋﺮ ﰲ‬ ‫ﻗﻠﺒ ِﻪ أن ﺗﺘﺤﻘﻖ أﺣﻼﻣ ُﻪ‪ ،‬ﻳﻘﻮل ‪:‬‬ ‫‪U CGQ U C¡CC CC‬‬‫‪¥CCMV 2fCC¡CC< ¦U |CCqCCJ · U~CC¡CC CCG* hC‬‬ ‫‪Q CwCC CCR CC+ CC‬‬ ‫‪Q‬‬ ‫‪U §CC‬‬ ‫‪C‬‬ ‫‪G*K U‬‬ ‫‪5‬‬ ‫‪§CC‬‬ ‫‪C‬‬ ‫‪ CC‬‬ ‫‪C‬‬ ‫‪G* «C‬‬ ‫‪C‬‬ ‫‪¡C‬‬ ‫‪C‬‬ ‫‪µ fC‬‬ ‫‪C‬‬ ‫‪gC‬‬ ‫‪C‬‬ ‫‪ C‬‬ ‫‪C‬‬ ‫‪E fCC‬‬ ‫‪C‬‬ ‫‪M‬‬ ‫ ‬ ‫‪vfCC‬‬ ‫‪C‬‬ ‫‪ CC‬‬ ‫‪C‬‬ ‫ ‪/‬‬ ‫‪C‬‬ ‫‪ CC‬‬ ‫‪C‬‬ ‫‪M‬‬ ‫‪U£fCCCH|CC‬‬ ‫‪Q‬‬ ‫‪Q‬‬ ‫‪Q‬‬ ‫‪U‬‬ ‫‪W‬‬ ‫‪Q §Q M U Ì‬‬ ‫‪U£ftQ MU |V G*K U SU ¼*K U Q G* ªG‬‬ ‫< ¨ ‪Q 8‬‬ ‫‪Q‬‬ ‫* <‪¥CCªT CIS fCC CC‬‬ ‫‪CMK‬‬ ‫‪R |CQ C U C < ¢CCH U CCCC+(¸* hC‬‬ ‫ ‪Q CªCC CC0‬‬ ‫‪Q Ä ¬K|CCC‬‬ ‫‪U‬‬

‫ُﻳ ّﺒني اﻟﺸﺎﻋﺮ ﰲ أﺑﻴﺎﺗ ِﻪ اﳌﺎﺛﻠﺔ أﻣﺎﻣﻨﺎ ﻣﺤﺎوﻟﺔ اﻟﺨﺮوج ﻣﻦ ﻣﻮﺳﻢ اﻷمل ‪،‬وﻫﻮ‬ ‫ﻳﺘﻤﻨﻰ ﰲ ﻗﻠﺒ ِﻪ أن ﱠ‬ ‫ﻳﺤﻞ ﻣﻮﺳﻢ اﻟﻠﻮز واﻟﺮ ّﻣﺎن ‪ .‬وﻫﻨﺎ ﻳﺘﻘﺎﻃﻊ اﻟﻠﻮز ﻣﻊ اﻟﺘﻔﺎؤل‪،‬‬ ‫وﻧﺮى ﺑﺰوغ ﻣﻮﺳﻢ اﻟﻔﺮح ﺑﻌﺪ ﻣﻮﺳﻢ اﻟﺤﺰن‪ ،‬ﻛﺄنﱠ اﻟﻠﻮز ﻫﻮ اﻟﺒﺪاﻳﺔ اﻟﺠﺪﻳﺪة‬ ‫اﻟﺘﻲ ﻋﺎﻫﺪت ﺷﺎﻋﺮﻧﺎ أن متﻸ ﺑﺴﺘﺎن أﺣﻼﻣﻪ ﻋﺴ ًﻼ وﻣﺴﻜﺎً ﺑﻌﺪ ﺻﱪ ِه اﻟﻄﻮﻳﻞ ‪.‬‬ ‫وﻣﻊ زﻫﺮ اﻟﻠﻮز ﺗﴩق ﺷﻤﺲ اﻷﺑﺠﺪﻳﺔ‪ ،‬ﻳﻘﻮل ﺷﺎﻋﺮﻧﺎ اﻟﺤﻤﻴﺪي اﻟﺜﻘﻔﻲ ﰲ‬ ‫ﻗﺼﻴﺪة ﺑﻌﻨﻮان » ﺷﻤﺲ اﻷﺑﺠﺪﻳﺔ«‪:‬‬ ‫‪"ifCkF CHf G* £fªg GK ÕCCgCC¼* 9§ G §CCG‬‬ ‫‪¥CªT C < zCtCG‬‬ ‫‪ ¨C +‬‬ ‫‪ ¸K‬‬ ‫< ‪ ¥Cª‬‬ ‫‪ «CG ¨C + zCP CCCCÁ‬‬ ‫‪P‬‬ ‫<|‪ifCt 8* «CG +ft 8*K g0f 8 fI* l¡F «¡kD‬‬ ‫*‪¥CCMT zCM «C¡CtDf - ¬ TzCCM CtCDf ¼ TzCCH‬‬ ‫*‪" ifC= L|C G* «CD C : ¥/K uHÑH ¢< G&f +‬‬ ‫= ‪" ¥CªT J CªD lC+f= C :fM L|C G* ¸* lCgªT‬‬ ‫‪if¡<¸* 7§<4 ^ 2ÑgG* · G l ¤/*K L| G* l E‬‬ ‫‪¥CMT |CTn< ¦5§CG £fC =*K ^ ¬§Ck ¼* ^ C ¼*K‬‬ ‫‪i*4 LzC¼* «CD zC/|+5 ^ f¤Êf F ]C+ § - f¼*K‬‬ ‫‪¥CMT zC¡G* mfC0fCg G* §Cªw+ KzCÀ hC G*K‬‬ ‫*‪i*zCJ*K ¢C / fC¤ª < C = «Cg0f 8 CG&f +‬‬ ‫‪¥CªT ¡J fC¼* mfC 7§ 7K ¢CH L|C G* uCg G fCHfM‬‬

‫أﻏﺼﺎن اﻟﻠﻮز ﻧﺎﺿﺠﺔ ﰲ أﺑﻴﺎت ﺷﺎﻋﺮﻧﺎ‪ ،‬ﻣﺮت ﺷﻔﻴﻔﺔ‪ ،‬ﻓﻴﻬﺎ ﻣﻦ اﻟﺤﻨني واﻟﻌﺎﻃﻔﺔ‬ ‫ﻣﺎ ﻳﻜﻔﻲ ﰲ ﺣﴬة اﻟﺒﻼد‪ ،‬واﻟﻄﻔﻮﻟﺔ ﰲ اﻟﻘﺮى‪ .‬وﻫﻨﺎ ﻧﺠﺪ أنّ اﻟﻠﻮز أﻋﺎد ﺷﺎﻋﺮﻧﺎ‬ ‫إﱃ ﻣﻮاﺳﻢ أﺧﺮى ﻣﻊ »اﳌﺸﻤﺶ اﳌﺴﺘﻮي »‪ .‬وﰲ ﺣﺎﻟﺔ اﻟﺘﺬﻛﺮ ﻳﻐﻤﺾ ﻋﻴﻨﻴﻪ‬ ‫اﻟﺸﻌﺮ ‪ /‬اﻟﻌﺪد ‪60‬‬ ‫‪ 38‬ﺑﻴﺖ ِ‬

‫أو ﺗﺰﻳﺤﻬﺎ ﻋﻦ ﻋﺮش اﻟﺘﺄﻟﻖ‪ ،‬ﻟﻜﻦ ﻣﻊ ذﻟﻚ‬ ‫اﻟﻜﻢ اﻟﻬﺎﺋﻞ ﻣﻦ اﻟﻘﺼﺎﺋﺪ ﻛﺎن ﻻ ﺑﺪ ﻣﻦ وﺟﻮد‬ ‫ﻋﻤﻠﻴﺔ ﻧﻘﺪﻳﺔ ﺗﻮاﻛﺐ ذﻟﻚ اﻟﻜﻢ ﻣﻦ اﻷﺷﻌﺎر‬ ‫ﻟﺘﻔﺮز ﻣﻨﻪ اﻟﺠﻴﺪ وﺗﱪز ﻣﺎ ﻳﺴﺘﺤﻖ‪.‬‬ ‫ﰲ اﻟﺤﻘﻴﻘﺔ‪ ،‬مل ﺗﻜﻦ اﻟﻜﺘﺎﺑﺎت اﻟﻨﻘﺪﻳﺔ‬ ‫ﺗﺘﻨﺎﺳﺐ ﻣﻊ اﻟﻜﻢ اﻟﺸﻌﺮي اﳌﻮﺟﻮد‪ ،‬إﻻ ﻣﺎ‬ ‫ﻛﻨﺎ ﻧﻘﺮأ ﻣﻦ أﺑﺤﺎث ﻟﻠﺪﻛﺘﻮر ﺳﻌﺪ اﻟﺼﻮﻳﺎن‬ ‫وﻛﺘﺎب أﺑﻄﺎل ﻣﻦ اﻟﺼﺤﺮاء واﻟﺪﻣﻌﺔ اﻟﺤﻤﺮاء‬ ‫ﻟﻠﺸﺎﻋﺮ اﻷﻣري ﻣﺤﻤﺪ اﻟﺴﺪﻳﺮي رﺣﻤﻪ اﻟﻠﻪ‪،‬‬ ‫وﻣﻮﺳﻮﻋﺔ اﻟﺸﻌﺮ اﻟﻨﺒﻄﻲ ﻟﻠﺸﺎﻋﺮ ﻃﻼل‬ ‫اﻟﺴﻌﻴﺪ‪ ،‬واﻟﺒﺎﺣﺚ اﻟﺴﻌﻮدي ﻋﺒﺪاﻟﻠﻄﻴﻒ‬ ‫اﻟﻮﺣﻴﻤﺪ‪ ،‬واﻷدﻳﺐ اﻟﺸﺎﻋﺮ اﻹﻣﺎرايت ﺣﻤﺪ‬ ‫ﺧﻠﻴﻔﻪ ﺑﻮ ﺷﻬﺎب‪ ،‬وﻏريﻫﻢ‪ .‬ﻟﻜﻦ ﻫﺬه‬ ‫اﻟﺪراﺳﺎت ﻛﺎﻧﺖ ﰲ اﻟﻐﺎﻟﺐ ﺗﺒﺤﺚ ﻋﻦ ﻣﺴرية‬ ‫اﻟﺸﻌﺮ اﻟﻨﺒﻄﻲ وﺗﺎرﻳﺨﻪ وﺗﻄﻮره وﺑﺤﻮره‪،‬‬ ‫وﻫﻲ ﻣﻔﺎﺗﻴﺢ وأﺑﻮاب ﻟﻠﺪﺧﻮل اﻟﺼﺤﻴﺢ‬ ‫إﱃ ﻫﺬا اﻟﻌﺎمل اﻟﺠامﱄ‪ ،‬وﻣﻊ ﻫﺬا ﻓﻠﻢ ﺗﻜﻦ‬ ‫ﺗﻘﱰب ﰲ اﻟﻐﺎﻟﺐ ﻣﻦ اﻟﻨﺼﻮص ﻟﺘﺤﻠﻠﻬﺎ ﺑﺪﻗﺔ‬ ‫وﻣﻮﺿﻮﻋﻴﺔ وﺗﱪز أوﺟﻪ اﻟﺠامل ﻓﻴﻬﺎ ﻣﺜﻠام‬ ‫ﺗﺒني أوﺟﻪ اﻟﻘﺼﻮر وﺑﻌﺾ اﻟﻬﻨﺎت اﻟﻌﺮوﺿﻴﺔ‬ ‫وﻗﻮة اﻟﻠﻐﺔ ﻣﻦ ﺿﻌﻔﻬﺎ واﻟﺼﻮرة واﻟﺨﻴﺎل‪،‬‬ ‫ﻷن ﻣﻌﻈﻢ اﻟﺸﻌﺮ اﳌﻮﺟﻮد ﰲ ﺗﻠﻚ اﳌﺮﺣﻠﺔ‬ ‫ﻛﺎن ﻣﺘﻘﺎرﺑﺎً ﻧﻮﻋﺎً ﻣﺎ ﰲ اﻟﻜﺜري ﻣﻦ اﻟﻌﻨﺎﴏ‬ ‫ﺑﺤﻜﻢ اﻟﺘﻨﺎﻓﺲ ﻋﲆ اﻟﻈﻬﻮر ﰲ ذﻟﻚ اﳌﻨﺎخ‬ ‫اﳌﺤﺮض ﻋﲆ اﳌﺸﺎرﻛﺔ ﰲ اﻟﱪاﻣﺞ اﳌﺮﺋﻴﺔ‬ ‫واﳌﺴﻤﻮﻋﺔ واﳌﻘﺮوءة‪ ،‬وﻟﺬﻟﻚ ﻟﺠﺄ اﻟﻜﺜري ﻣﻦ‬ ‫اﻟﺸﻌﺮاء اﻟﺸﻌﺒﻴني اﳌﺠﻴﺪﻳﻦ واﻟﺬﻳﻦ اﺳﺘﻠﻤﻮا‬ ‫ﺑﻌﺾ اﳌﻄﺒﻮﻋﺎت واﳌﻼﺣﻖ إﱃ إﻳﺠﺎد وﺳﻴﻠﺔ‬ ‫ﻣﻨﺎﺳﺒﺔ ﺗﺴﺪ ﻫﺬا اﻟﻨﻘﺺ وﺗﺴﺘﻄﻴﻊ أن ﺗﻔﻠﱰ‬ ‫ﻣﺎ ﻳﺼﻞ إﻟﻴﻬﺎ ﻣﻦ ﻣﺸﺎرﻛﺎت ﻛﺜرية ﻓﺘﻨﴩ‬ ‫ﻟﻠﻘﺎرئ ﻣﺎ ﻳﻔﻴﺪه وﺗﺴﺘﺒﻌﺪ اﳌﺸﺎرﻛﺎت‬ ‫اﻟﻀﻌﻴﻔﺔ واﳌﺨﺘﻠﺔ ﰲ وزﻧﻬﺎ‪ .‬ورﻏﻢ ﻣﺤﺎوﻟﺔ‬ ‫ﺑﻌﺾ اﻟﺸﻌﺮاء ﺗﻘﺪﻳﻢ ﻗﺮاءات ﺣﻮل ﺑﻌﺾ‬ ‫اﻟﻨﺼﻮص اﻟﺸﻌﺮﻳﺔ‪ ،‬ﻟﻜﻨﻬﺎ ﰲ ﻣﻌﻈﻤﻬﺎ ﻛﺎﻧﺖ‬ ‫اﻧﻄﺒﺎﻋﻴﺔ‪ ،‬وﺑﻌﻀﻬﺎ ﺗﻨﺎول أﻓﻀﻞ اﻟﻨﺼﻮص ﻣﻦ‬ ‫ﺑﺎب ﺗﻘﺪﻳﻢ اﻟﺠامل ﻟﺘﺤﻔﻴﺰ اﻟﻐري ﻋﲆ اﻹﺗﻴﺎن‬ ‫مبﺜﻠﻪ‪ .‬ﻛام أن ﺑﻌﺾ اﳌﺤﺮرﻳﻦ ﰲ ﺗﻠﻚ اﻟﻔﱰة‬ ‫ﺟﻌﻠﻮا ﻣﻦ ﻣﻜﺎﺗﺒﻬﻢ ورﺷﺎ ﻳﺴﺘﻘﺒﻠﻮن ﻓﻴﻬﺎ‬ ‫أﺻﺤﺎب اﳌﻮاﻫﺐ اﻟﺠﺪﻳﺪة ﺑﻮﺟﻮد ﺑﻌﺾ‬ ‫اﻟﺸﻌﺮاء اﳌﺠﻴﺪﻳﻦ‪ ،‬ﺣﻴﺚ ﻳﺘﻢ ﻣﻦ ﺧﻼل‬ ‫ﻫﺬه اﻟﻠﻘﺎءات ﺗﺼﺤﻴﺢ اﻟﻜﺜري ﻣﻦ اﻟﻘﺼﺎﺋﺪ‬

‫ﻗﺒﻞ ﻋﺮﺿﻬﺎ ﻋﲆ اﳌﺘﻠﻘﻲ‪ ،‬وﻗﺪ ﻛﻨﺖ أﺗﺎﺑﻊ‬ ‫ﻫﺬه اﻟﻌﻤﻠﻴﺔ ﰲ ﺑﻌﺾ اﳌﻼﺣﻖ اﻟﺸﻌﺮﻳﺔ ﻣﺜﻞ‬ ‫ﻣﻠﺤﻖ »ﺣﱪ وورق« اﻟﺬي أﻋﺪه اﻟﺸﺎﻋﺮ ﻋﲇ‬ ‫اﻟﺨﻮار وﻣﻠﺤﻖ »ﻓﺠﺮ اﻟﺸﻌﺮاء« ﺛﻢ ﻣﻠﺤﻖ‬ ‫»ﺷﻌﺮ وﻓﻦ» اﻟﺬي أﴍف ﻋﻠﻴﻬام اﻟﺸﺎﻋﺮ ﺳﺎمل‬ ‫ﺳﻴﻒ اﻟﺨﺎﻟﺪي وﻣﺠﻠﺔ اﻷﴎة اﻟﻌﴫﻳﺔ وﻛﻞ‬ ‫اﻷﴎة وﻣﺎ ﻗﺪﻣﻪ اﻟﺸﺎﻋﺮ أﺣﻤﺪ ﺑﻦ ﺷﺒﻴﺐ‬ ‫واﻟﺸﺎﻋﺮ ﺳﺎمل اﻟﺰﻣﺮ‪ ،‬ﻛام ﻗﺎﻣﺖ ﻣﺠﻠﺔ ﻣﺰون‬ ‫ﺑﺪور آﺧﺮ أﺳﻬﻢ ﰲ ﻫﺬه اﻟﻌﻤﻠﻴﺔ‪ ،‬وأﺳﻬﻢ‬ ‫اﻟﺪﻛﺘﻮر ﻏﺴﺎن اﻟﺤﺴﻦ ﻣﻦ ﺧﻼل ﻟﻘﺎﺋﻪ‬ ‫ﺑﺎﻟﻌﺪﻳﺪ ﻣﻦ اﻟﺸﻌﺮاء ﰲ ﺗﻮﺟﻴﻬﻬﻢ ﻟﻠﻜﺘﺎﺑﺔ‬ ‫اﻟﺼﺤﻴﺤﺔ‪ ،‬ﻛﺬﻟﻚ ﻓﺈن اﻷدﻳﺐ اﻟﺸﺎﻋﺮ ﺣﻤﺪ‬

‫ﺧﻠﻴﻔﺔ أﺑﻮ ﺷﻬﺎب رﺣﻤﻪ اﻟﻠﻪ ﺳﺎﻫﻢ ﰲ ﻫﺬه‬ ‫اﻟﻌﻤﻠﻴﺔ اﻟﻨﻘﺪﻳﺔ ﰲ ﻇﻞ ﻏﻴﺎب ﻧﻘﺪ أﻛﺎدميﻲ‬ ‫ﻟﻠﺸﻌﺮ اﻟﺸﻌﺒﻲ‪ ،‬ورمبﺎ ﺳﺎﻋﺪﻫﻢ ﻋﲆ ذﻟﻚ‬ ‫أﻧﻬﻢ ﰲ اﻷﺻﻞ ﺷﻌﺮاء ﺣﻘﻴﻘﻴﻮن‪ ،‬وﺑﻌﻀﻬﻢ‬ ‫ﻳﻜﺘﺐ اﻟﺸﻌﺮ اﻟﻔﺼﻴﺢ‪ ،‬إﱃ ﺟﺎﻧﺐ اﺷﺘﻐﺎﻟﻬﻢ‬ ‫ﰲ اﻟﺼﺤﺎﻓﺔ اﻟﺬي ﻣﻨﺢ ﺑﻌﻀﻬﻢ ﻣﻴﺰة اﻻﻃﻼع‬ ‫ﻋﲆ اﻟﺘﺠﺎرب واﻟﻘﺮاءات اﻟﻨﻘﺪﻳﺔ ﰲ اﻟﺸﻌﺮ‬ ‫اﻟﻔﺼﻴﺢ واﻟﺸﻌﺒﻲ‪ ،‬ﻓﺄﺻﺒﺤﺖ اﻟﺼﻮرة ﻗﺮﻳﺒﺔ‬ ‫ﻣﻨﻬﻢ وﻣﺎرﺳﻮا ﻫﺬه اﻟﻌﻤﻠﻴﺔ ﻟﻘﺮﺑﻬﻢ أﻳﻀﺎً‬ ‫ﻣﻦ ﻧﺒﺾ اﻟﺸﻌﺮاء‪ ،‬وﻣﻦ اﻟﻠﻬﺠﺔ اﻟﺘﻲ ﺳﻬﻠﺖ‬ ‫اﻷﻣﺮ ﻛﻮن اﻟﺸﻌﺮ اﻟﻨﺒﻄﻲ ﻣﺘﺤﺮراً ﻣﻦ ﻗﻴﻮد‬ ‫اﻟﴫف واﻟﻨﺤﻮ‪.‬‬ ‫أﻛﺘﻮﺑﺮ ‪37 2017 /‬‬

‫اﻟﻤﻔﺮدة اﻟﺸﻌﺒﻴﺔ‬ ‫‪baytelshear‬‬

‫اﻟﺸﻌﺮاء اﻟﻨ ّﻘﺎد‬ ‫ﻣﺤﻤﺪ اﻟﺒﺮﻳﻜﻲ‬

‫ﻇﻬﺮت ﻣﻊ ﺑﺪاﻳﺔ ﻋﴫ اﻟﻨﻬﻀﺔ واﺗﺤﺎد‬ ‫دوﻟﺔ اﻹﻣﺎرات اﻟﻌﺮﺑﻴﺔ اﳌﺘﺤﺪة اﻟﻌﺪﻳﺪ ﻣﻦ‬ ‫اﳌﻄﺒﻮﻋﺎت واﳌﻼﺣﻖ اﻟﺸﻌﺮﻳﺔ‪ ،‬ﻟﺘﻮاﻛﺐ‬ ‫اﻟﺘﻄﻮر ﰲ اﳌﺠﺎل اﻹﻋﻼﻣﻲ اﻟﺬي أﺳﻬﻢ وﺑﻼ‬ ‫ﺷﻚ ﰲ إﺑﺮاز ﺛﻘﺎﻓﺔ اﳌﺠﺘﻤﻊ ووﺛﻖ ﻧﺘﺎﺟﻪ‬ ‫اﻷديب‪ ،‬وأﻧﺘﺞ ﻣﻊ اﻟﻮﻗﺖ ﻛ ًام ﺷﻌﺮﻳﺎً ﺗﺮاﻛﻤﻴﺎً‬ ‫ﻳﻌﺪ ﻣﺮﺟﻌﺎً ﻣﻬ ًام ﳌﺮﺣﻠﺔ ﻋﺎش ﻓﻴﻬﺎ اﻟﺸﻌﺮ‬ ‫اﻟﺸﻌﺒﻲ أﺟﻤﻞ ﻋﺼﻮره‪ ،‬وازدﻫﺮ ازدﻫﺎراً ﻻ‬ ‫ﻣﺜﻴﻞ ﻟﻪ ﺑﻔﻀﻞ اﻟﺪﻋﻢ اﻟﺴﺨﻲ واﻟﻼﻣﺤﺪود‬ ‫ﻣﻦ ﻗﺒﻞ اﳌﻐﻔﻮر ﻟﻪ ﺑﺈذن اﻟﻠﻪ اﻟﺸﻴﺦ زاﻳﺪ‬ ‫ﺑﻦ ﺳﻠﻄﺎن آل ﻧﻬﻴﺎن ﻃﻴﺐ اﻟﻠﻪ ﺛﺮاه‪ ،‬وﻫﻮ‬

‫اﻟﺸﻌﺮ ‪ /‬اﻟﻌﺪد ‪60‬‬ ‫‪ 36‬ﺑﻴﺖ ِ‬

‫ﻟﻜﻮﻧﻪ ﺷﺎﻋﺮاً‪ ،‬ﻛﺘﺐ ﻣﻦ اﻟﺸﻌﺮ أﺟﺰﻟﻪ وﻣﻦ‬ ‫اﻟﻮﺻﻒ أﺟﻤﻠﻪ‪ ،‬وﻣﻨﺤﻪ اﻟﺪﻋﻢ ورﻋﺎه ﺑﺤﺐ‬ ‫وﻓﺴﺢ ﻟﻪ اﳌﺠﺎل يك ﻳﺤﻠﻖ وﻳﺒﻮح ﺑﻮﺟﺪان‬ ‫اﻟﺸﻌﺮاء‪ ،‬وﻳﻮاﻛﺐ اﻟﻨﻬﻀﺔ وﻳﺠﺴﺪ ﺗﻠﻚ‬ ‫اﳌﺮﺣﻠﺔ اﳌﻬﻤﺔ ﻣﻦ ﻋﴫ اﺗﺤﺎد دوﻟﺔ اﻹﻣﺎرات‬ ‫اﻟﻌﺮﺑﻴﺔ اﳌﺘﺤﺪة‪.‬‬ ‫اﳌﺘﺘﺒﻊ ﻟﺘﻠﻚ اﳌﺮﺣﻠﺔ ﻳﻠﺤﻆ اﻟﻜﻢ اﻟﻜﺒري ﻣﻦ‬ ‫اﻟﺸﻌﺮاء اﻟﺸﻌﺒﻴني اﻟﺬﻳﻦ ﺗﺒﺎروا وﺗﻨﺎﻓﺴﻮا‬ ‫وﻛﺘﺒﻮا وأﺑﺪﻋﻮا وواﻛﺒﻮا اﳌﺮﺣﻠﺔ‪ ،‬وﻗﺪﻣﻮا‬ ‫ﻗﺼﺎﺋﺪ ﻛﺜرية اﻣﺘﻸت ﺑﻬﺎ ﺻﻔﺤﺎت اﳌﺠﻼت‬ ‫وﻏﺼﺖ ﺑﻬﺎ اﳌﻼﺣﻖ اﻟﺸﻌﺮﻳﺔ‪ ،‬وﻇﻬﺮوا ﰲ‬ ‫اﻟﻌﺪﻳﺪ ﻣﻦ اﻟﱪاﻣﺞ اﻹذاﻋﻴﺔ واﻟﺘﻠﻔﺰﻳﻮﻧﻴﺔ‪ ،‬ﻣﺎ‬ ‫أﺳﻬﻢ ﰲ إﻳﺠﺎد ﻣﻨﺎخ ﺷﻌﺮي ﺗﻨﺎﻓﴘ ﺗﻔﺠﺮت‬

‫ﻣﻌﻪ اﻟﻜﺜري ﻣﻦ اﻟﻄﺎﻗﺎت‪ ،‬وﻛﺸﻒ ﻋﻦ اﻟﻌﺪﻳﺪ‬ ‫ﻣﻦ اﳌﻮاﻫﺐ اﻟﺸﻌﺮﻳﺔ اﻟﺘﻲ اﻣﺘﺪ ﻋﻄﺎؤﻫﺎ‬ ‫ﻟﺘﻨﻬﻞ اﻷﻏﻨﻴﺔ ﻣﻦ ﻧﻬﺮ ﻋﻄﺎﺋﻬﺎ اﻟﻌﺬب‪،‬‬ ‫واﺳﺘﻔﺎدت ﻣﻨﻬﺎ ﺣﻨﺎﺟﺮ اﳌﻄﺮﺑني اﻟﺬﻳﻦ‬ ‫اﺳﺘﻄﺎﻋﻮا أن ﻳﺨﺮﺟﻮا ﺑﺎﻟﻜﻠﻤﺔ اﻹﻣﺎراﺗﻴﺔ ﻣﻦ‬ ‫ﻧﻄﺎق ﻣﺤﻠﻴﺘﻬﺎ ﻟﺘﺤﻠﻖ ﰲ ﺳاموات ﺑﻌﻴﺪة‬ ‫وﺗﱰدد ﰲ ﻓﻀﺎءات ﻋﺪﻳﺪة وﺗﺴﺠﻞ ﺣﻀﻮراً‬ ‫ﻛﺒرياً ﰲ اﻟﻌﺪﻳﺪ ﻣﻦ اﳌﺤﺎﻓﻞ واﳌﻬﺮﺟﺎﻧﺎت‪ ،‬وﻻ‬ ‫ﺗﺰال إﻓﺮازات ﺗﻠﻚ اﳌﺮﺣﻠﺔ ﻣﻦ اﻟﻌﴫ اﻟﺬﻫﺒﻲ‬ ‫ﻟﻠﻘﺼﻴﺪة ﻣﺘﺼﻠﺔ اﻟﻌﻄﺎء إﱃ ﻳﻮﻣﻨﺎ ﻫﺬا ومل‬ ‫ﺗﺆﺛﺮ اﻟﺜﻮرة اﳌﻌﻠﻮﻣﺎﺗﻴﺔ ووﺳﺎﺋﻞ اﻟﺘﻮاﺻﻞ‬ ‫اﻻﺟﺘامﻋﻲ وﻻ ﻃﻔﺮة اﳌﻨﺎﺑﺮ اﻟﻔﻀﺎﺋﻴﺔ ﰲ‬ ‫اﻟﻌﴫ اﻟﺤﺪﻳﺚ ﻋﻠﻴﻬﺎ أو متﺤﻮﻫﺎ ﻣﻦ اﻟﺬاﻛﺮة‬

‫ﻧﻘﻄﺔ أول اﻟﺸﻄﺮ‬

‫ﻣﺘﺤﻒ اﻟﻠﻮﻓﺮ أﺑﻮﻇﺒﻲ‬ ‫ُﻳﻌﺘﱪ ﺿﺦ اﻷﻣﻮال واﻻﺳﺘﺜامرات ﰲ اﻟﻘﻄﺎع اﻟﺜﻘﺎﰲ دﻟﻴ ًﻼ ﻗﺎﻃﻌﺎً ﻋﲆ اﻟﺨﻠﻔﻴﺔ‬ ‫اﻟﺤﻀﺎرﻳﺔ اﳌﺘﺠﺬرة ﰲ إﻧﺴﺎن ﻫﺬه اﳌﻨﻄﻘﺔ‪ ،‬ﻓﺎﻟﺒﺪوي اﻟﻘﺎدم ﻣﻦ اﻟﺼﺤﺮاء مل ﻳﻜﻦ‬ ‫ﺧﺎﻟﻴﺎً ﻣﻦ اﻟﺜﻘﺎﻓﺔ واﻟﻔﻜﺮ‪ ،‬ﺑﻞ أﻧﺘﺞ ﺑﻔﻄﺮﺗﻪ اﻟﺴﻠﻴﻤﺔ إﺑﺪاﻋﺎت ﻣﺎدﻳﺔ وﻣﻌﻨﻮﻳﺔ‪،‬‬ ‫وﺣﻴﻨام ﺗﻮﻓﺮت ﻟﺪﻳﻪ اﳌﻮارد أﺑﺪع ﰲ ﺗﺄﺳﻴﺲ ﺣﻀﺎرة ﻋﻤﺮاﻧﻴﺔ وﺛﻘﺎﻓﻴﺔ ﰲ ﻏﻀﻮن‬ ‫أﻗﻞ ﻣﻦ ﻧﺼﻒ ﻗﺮن‪ ،‬وﻫﺬا مل ﻳﺄت إﻻ ﻣﻦ واﻗﻊ ﻓﻜﺮ ﻣﺴﺘﻨري وﻓﻄﺮة ﺳﻠﻴﻤﺔ‪.‬‬ ‫إن اﻓﺘﺘﺎح ﻣﺘﺤﻒ ﻟﻮﻓﺮ أﺑﻮﻇﺒﻲ ﻳﺤﻤﻞ ﰲ ﻃﻴﺎﺗﻪ ﻧﺠﺎح رؤﻳﺔ أﺑﻮﻇﺒﻲ ﰲ ﺗﻮﺣﻴﺪ‬ ‫اﻟﺜﻘﺎﻓﺔ اﻟﻌﺎﳌﻴﺔ وإﺿﻔﺎء اﻟﺮوح اﻹﻧﺴﺎﻧﻴﺔ اﻟﺸﺎﻣﻠﺔ ﻋﲆ اﻟﻨﺘﺎج اﻟﺒﴩي‪ ،‬ﻓﺎﳌﺘﺤﻒ‬ ‫اﻟﻔﺮﻧﴘ وأﺷﻬﺮ ﻣﺘﺎﺣﻒ اﻟﻌﺎمل ﻳﺪﺧﻞ ﻣﻊ اﻓﺘﺘﺎح ﻟﻮﻓﺮ أﺑﻮﻇﺒﻲ ﻣﺮﺣﻠﺔ ﺟﺪﻳﺪة‬ ‫ﻣﻦ ﺗﺎرﻳﺨﻪ‪ ،‬ﺑﺪءاً ﻣﻦ رﺑﻂ اﻟﻐﺮب اﻟﺠﻐﺮاﰲ ﺑﺎﻟﴩق ﰲ ﺳﻴﺎق ﻓﻨﻲ ﺛﻘﺎﰲ ﻳﻔﺘﺢ‬ ‫آﻓﺎق اﻟﺘﻨﺎﻏﻢ اﻟﺤﻀﺎري اﻟﻔﻜﺮي إﱃ رﺑﻂ اﻟﻘﺪﻳﻢ اﻟﺰﻣﺎين ﺑﺎﻟﺤﺪﻳﺚ‪ ،‬وﺑﺎﻟﺘﺄﻛﻴﺪ إن‬ ‫اﻟﺴﻨﻮات اﻟﺜﻼﺛني اﻟﻘﺎدﻣﺔ ﺳﺘﻜﻮن ﻣﺜﻤﺮة وﻣﺆﺛﺮة ﻛﻮن اﳌﺘﺤﻒ ﻻ ﻳﻘﻊ ﻛﻤﴩوع‬ ‫وﺣﻴﺪ ﰲ اﳌﻨﻄﻘﺔ‪ ،‬وإمنﺎ ﻫﻮ ﺿﻤﻦ ﻣﻨﻄﻘﺔ ﺛﻘﺎﻓﻴﺔ ﺗﻀﻢ ﻣﺘﺤﻒ زاﻳﺪ اﻟﻮﻃﻨﻲ‬ ‫وﺟﻮﺟﻨﻬﺎﻳﻢ وﻏريﻫام ﻣﻦ اﳌﺸﺎرﻳﻊ اﻟﺘﻲ ﺳﺘﺠﺘﺬﺑﻬﺎ أﺑﻮﻇﺒﻲ ﻟﺘﻜﻮن ﻗﺒﻠﺔ اﻟﺜﻘﺎﻓﺔ‬ ‫اﻹﻧﺴﺎﻧﻴﺔ‪ ،‬وﺗﻌﻮد ﺑﺎﻟﻌﻮاﺋﺪ اﳌﺠﺪﻳﺔ ﰲ ﻗﺎدم اﻟﻮﻗﺖ‪.‬‬ ‫ﻧﺄﻣﻞ ﻛﻤﺜﻘﻔني أن ﻧﺴﺘﺜﻤﺮ ﻫﺬا اﻟﻨﺠﺎح ﰲ اﻟﺘﺴﻮﻳﻖ ﻟﻔﻨﻮﻧﻨﺎ وﺛﻘﺎﻓﺘﻨﺎ اﳌﺤﻠﻴﺔ‪،‬‬ ‫وأن ﻳﻜﻮن اﳌﺘﺤﻒ ﺑﻮاﺑﺔ ﻋﺎﳌﻴﺔ ﻧﻨﻬﻞ ﻣﻦ ﻣﻌﻴﻨﻪ اﻟﺒﻌﺪ اﻟﺠامﱄ اﻟﺬي ﻳﺠﻤﻊ ﺑني‬ ‫اﻟﺒﴩﻳﺔ ﻣﺎ ﻳﺮﺳﺦ ﻋﻼﻗﺎﺗﻬﺎ وﻳﺆﻛﺪ ﻋﲆ ﻗﻴﻢ اﻟﺘﺴﺎﻣﺢ واﻟﺘﺤﺎور واﻟﺘﻼﻗﺢ اﻟﻔﻜﺮي‪،‬‬ ‫ﺑﻌﻴﺪاً ﻋﻦ اﻟﺘﻄﺮف واﻻﻧﻐﻼق واﻟﻌﺪواﻧﻴﺔ اﻟﺒﻐﻴﻀﺔ اﻟﺘﻲ ﺗﻨﺎﰲ اﻟﻔﻄﺮة وﺗﺤﺪ ﻣﻦ‬ ‫اﻟﻨﻤﻮ اﻟﺒﴩي واﻟﺤﻴﺎة اﳌﺸﱰﻛﺔ ﰲ ﻋﴫ اﻟﺜﻮرة اﳌﻌﻠﻮﻣﺎﺗﻴﺔ‪.‬‬

‫ﻣﺤﻤﺪ ﻧﻮر اﻟﺪﻳﻦ‬

‫وأﺧرياً ﻓﺈن اﳌﴩوع ﺳﻴﺠﺬب ﻣﻌﺎرض ﻋﲆ أﻋﲆ اﳌﺴﺘﻮﻳﺎت ﺑﺪءاً ﻣﻦ اﻟﺴﻨني‬ ‫اﻟﺨﻤﺴﺔ ﻋﴩ اﻷوﱃ‪ ،‬ﻣﺎ ﺳﻴﻨﻌﻜﺲ ﻋﲆ اﻟﻮاﻗﻊ اﳌﺤﲇ واﻹﻗﻠﻴﻤﻲ وﺻﻮﻻً إﱃ‬ ‫اﻟﻨﻘﻠﺔ اﻟﻨﻮﻋﻴﺔ اﻟﻜﺒرية اﻟﺘﻲ ﺳﻨﺸﻬﺪﻫﺎ ﻋﲆ اﻟﺴﺎﺣﺔ اﻟﻔﻨﻴﺔ واﻟﺜﻘﺎﻓﻴﺔ‪ ،‬ﻣﻦ ﺣﻴﺚ‬ ‫اﻟﺘﻌﺎﻃﻲ واﻟﺘﻨﺎول ﻣﻊ ﻫﺬه اﻷﻋامل‪ ،‬وﺻﻮﻻً إﱃ اﺳﺘﺜامر ﻫﺬه اﻟﺨﱪات ﰲ ﺧﻠﻖ‬ ‫واع ﺑﻜﻮﻧﻴﺔ اﻟﻔﻦ واﻟﺜﻘﺎﻓﺔ وﻋﻤﻮﻣﻴﺘﻬﺎ وأﻫﻤﻴﺔ اﻟﻬﻮﻳﺔ اﳌﺤﻠﻴﺔ وﺧﺼﻮﺻﻴﺘﻬﺎ‬ ‫ﺟﻴﻞٍ ٍ‬ ‫وﺟامﻟﻴﺎﺗﻬﺎ‪.‬‬

‫‪@khaligalb‬‬ ‫أﻛﺘﻮﺑﺮ ‪2 17 /‬‬ ‫‪20‬‬ ‫أﻛﻛﺘﺘﻮﻮﺑﺮ‬ ‫‪355 2017‬‬

‫أﺳﺮار ﻓﻲ أﺷﻌﺎر‬ baytelshear CCCCCCCF*K|CCCCCCC CCCCCCC7 fCCCCCCCCCCCCCCCCCI&* lCCCCCCCCCCCCCM4 fCCCCCCCCCCH hCCCCªCCCC: K K|CCCCCCCCCCCCCC C CCCCCCCCCCCCCCCHU CCCCCCCCCCCCCCC QJ P

‫ﺻﺤﻴﺢ أن ﻣﻌﻨﻰ اﻟﺒﻴﺖ ﻫﻮ أن اﻟﺸﺎﻋﺮ ﻳﺜﻨﻲ ﻋﲆ ﺻﻔﺎت اﳌﺨﺎﻃﺐ‬ ‫ وﻟﻜﻨﻪ‬،‫ وﻳﺼﻒ ﺑﺄﻧﻪ مل ﻳﺮ ﻣﺜﻠﻪ ﻣﻦ أﻫﻞ اﻟﻄﻴﺐ واﳌﻌﺮوف‬،‫وأﺧﻼﻗﻪ‬ ‫ﻳﻘﺼﺪ أن أوﻟﺌﻚ اﻟﺬﻳﻦ ﺗﺴﺒﺒﻮا ﰲ ﺿﻴﻘﻪ أﻧﺎس اﺳﺘﻐﻠﻮا ﻫﺬه اﻷﺧﻼق‬ ‫ وﻫﺬه اﳌﻨﺰﻟﺔ ﻳﺴﺘﺤﻘﻬﺎ‬،‫ وﻟﻴﺴﻮا ﺟﺪﻳﺮﻳﻦ أن ﻳﻜﻮﻧﻮا ﻣﻘﺮﺑني ﻣﻨﻪ‬،‫اﻟﺮﻓﻴﻌﺔ‬ ‫ وﻛام ﻳﺒﺪو أن اﻟﺸﺎﻋﺮ ﺗﺄﺛﺮ ﻛﺜريا ﺑﻌﺪ أن‬،‫ﻣﻦ ﻳﻘ ّﺪر اﻟﺼﻔﺎت اﳌﺬﻛﻮرة‬ ‫ﺻﺎرﺣﻪ اﻟﺸﻴﺦ ﻣﺤﻤﺪ ﺑﻦ ﺧﻠﻴﻔﺔ ﻓﺄﻧﺸﺪ ﻫﺬه اﻷﺑﻴﺎت يك ﻳﺨﻔﻒ وﻃﺄة‬ ‫ ﻷن اﻟﺸﻴﺦ ﻣﺤﻤﺪ‬،‫اﳌﻮﺿﻮع وﻳﻈﻬﺮ اﻟﻮﻻء ﻟﻪ واﻟﱪاءة ﻣﻤﻦ ﺿﺎﻳﻘﻮه‬ ‫ وﻫﺬه‬،‫ وﻫﻲ ﺟﺰء ﻻ ﻳﺘﺠﺰأ ﻣﻨﻪ‬،‫ﻳﺤﻤﻞ ﻗﻴﻢ وأﺧﻼق اﻟﻔﺮوﺳﻴﺔ اﻷﺻﻴﻠﺔ‬ ‫اﻟﻘﻴﻢ ﻫﻲ اﻟﺒﺎﻗﻴﺔ واﻟﺮاﺳﺨﺔ وﻟﻴﺴﺖ ﻷﺻﺤﺎب اﳌﺼﺎﻟﺢ اﻟﺸﺨﺼﻴﺔ ﻗﻴﻤﺔ‬ ‫ ﺑﻌﺪ أن‬،‫ أو ﻳﻠﺘﻔﺖ إﻟﻴﻬﻢ ﺷﻴﺦ ﻛﻤﺤﻤﺪ ﺑﻦ ﺧﻠﻴﻔﺔ‬،‫ﺗﺴﺘﺤﻖ أن ﻳﺄﺑﻪ ﻟﻬﺎ‬ ‫ وﻗﺪ ُأﻋﺠﺐ اﳌﻐﻔﻮر ﻟﻪ اﻟﺸﻴﺦ زاﻳﺪ‬.‫أﻇﻬﺮت اﻷﻗﺪار ﻣﻌﺎدﻧﻬﻢ اﻟﺮﺧﻴﺼﺔ‬ :‫ﺑﻬﺬه اﻟﻘﺼﻴﺪة ﻟريد ﻋﻠﻴﻬﺎ ﺑﺎﻟﻘﺼﻴﺪة اﳌﻌﺮوﻓﺔ اﻟﺘﺎﻟﻴﺔ‬ CCCCCCFfCCCCCC¤CCCCCCG* |CCCCCCCCCCtCCCCCCCCCC+S ¬zCCCCCCCCCCCCCCCCCCCC+&* CCCCCCCFÑCCCCCCC+U CCCCCCªCCCCCC CCCCCC CCCCCC S1 ¢CCCCCCCCCCCCC+S fCCCCCCCCCCM CCCCCCFfCCCCCCE|CCCCCCDQ ¢CCCCCCCCCH hCCCCCCCCU CCCCCCCC Q CCCCCCCCG* K T CCCCCCCCCCF*{CCCCCCCCCC0U lCCCCCCCCM|CCCCCCCC CCCCCCCC9 ɸ CCCCCCCCCFfCCCCCCCCCMKU lCCCCCCªCCCCCC CCCCCC< K m{CCCCCCCCCCCCC1 CCCCCCFfCCCCCCºfCCCCCC+ CCCCCCCCC Q CCCCCCCCC¡V CCCCCCCCCG* CCCCCCgCCCCCC CCCCCC6 CCCCCCCCCCF*4zCCCCCCCCCC+S |CCCCCCC CCCCCCC CCCCCCS C CCCCCCCG* 4fCCCCCCCC CCCCCCCC8 CCCCCCCF*|CCCCCCCÀ ¢CCCCCCCCCC< CCCCCCCCCC U CCCCCCCCCCkS CCCCCCCCCC1*K CCCCCCCCFfCCCCCCCC+|CCCCCCCCM |CCCCCCCCC CCCCCCCCC¡CCCCCCCCCG* T¶ CCCCCCCFfCCCCCCC+|CCCCCCCHQ · lCCCCCCªCCCCCC CCCCCC CCCCCCUI K CCCCCCCCCCCCCCCCCCCCCCCCCCCCCCF*42&* fCCCCCCCCCCCCCCCH ¢CCCCCCCCCCCC C CCCCCCCCCCCCCG T CCCCCCCCF*KzCCCCCCCCD ¢CCCCCCCCCJ K £ U{CCCCCCCCCCCCCCCCC1* K T C CCCCCCCCCC CCCCCCCCCCG* CCCCCCCF*zCCCCCCC CCCCCCCM fCCCCCCCCCCCCCH CCCCCCCCC CCCCCCCF*§T CCCCCCC CCCCCCC6 ¬{CCCCCCCCCCCCCCCCGS hCCCCCCCC CCCCCCCC:* K CCCCCCCFfCCCCCCCº* lCCCCCCªCCCCCC CCCCCC< CCCCCCCCC CCCCCCCCCGU K hCCCCªCCCC-|CCCC- CCCCCCC S CCCCCCC¡V CCCCCCCG* «CCCCCCCCCCC CCCCC CCCCCI* K hCCCCCCCªCCCCCCC CCCCCCC-U fCCCCCCCCCCCCCC¡CCCCCCCCCCCCCC¼* lCCCCCCCCCCCCCCCCCCCM4 hCCCCCªCCCCC CCCCC CCCCCkCCCCC CCCCC CCCCCH K ToCCCCCCCCCkCCCCCCCCC CCCCCCCCCH hCCCCCCCCMzCCCCCCCCHU ¥CCCCCCCCCCCM*{CCCCCCCCCCC0 §CCCCCCCCkCCCCCCCCI K hCCCCªCCCC: K fCCCCCCC CCCCCCC CCCCCCCkCCCCCCC0* ¨CCCCCCC CCCCCCC< hCCCCCCCCCCCCCCCCCCCM2&¸* CCCCCCCC¤CCCCCCCC CCCCCCCV C CCCCCCCCG* %* hCCCCCCCCCCCCCM|CCCCCCCCCCCC C0Q hCCCCCCCCCCCCCCCF|CCCCCCCCCCCCCCCHQ · X hCCCCCªCCCCC CCCCC¼ ¨CCCCCCCCC CCCCCCCCC< L|CCCCCCCCCCCCCCCCCCCCC/* K hCCCCCCªCCCCCCgCCCCCC CCCCCCG* CCCCCCCCCCCCCCM3fCCCCCCCCCCCCCCJ · hCCCCCªCCCCCqCCCCC¡T CCCCCG* xCCCCCCªCCCCCC CCCCCC CCCCCCG* zCCCCCCCC¡U CCCCCCCC< hCCCCCCCªCCCCCCCgCCCCCCC»* m*ÔCCCCCCCCCCCCCCCCCCCCCCCC< ¢CCCCCCCCCCCCCCC< hCCCCCCCCCM T{CCCCCCCCCG* 4fCCCCCCC CCCCCCC CCCCCCCkCCCCCCC0* £K2 V hCCCCªCCCCwCCCCªCCCC+ fCCCCCCCCCCCCH ¢CCCCCCCCCCCCC C CCCCCCCCCCCCC CG* K T hCCCCCCCCM|CCCCCCCC SE ¢CCCCCCCCCCCC< CCCCCCCC CCCCCCCC CCCCCCCC/|CCCCCCCCMU hCCCCCCCCCCªCCCCCCCCCC0ÎCCCCCCCCCC+U P ÑCCCCCCCCCCCCCC CCCCCCCCCCCCCC6 60 ‫ اﻟﻌﺪد‬/ ‫اﻟﺸﻌﺮ‬ ِ ‫ ﺑﻴﺖ‬34

‫<‪½fCCCCC CCCCC6 CCCCCCC CCCCCCC8§CCCCCCC- fCCCCCCC CCCCCCC CCCCCCC‬‬ ‫‪hCCCCªCCCCgCCCC0 CCCCCCCCCCCF ¥CCCCCCCCCCCCCCCM*§CCCCCCCCCCCCCCC-*K‬‬ ‫‪ CCCCCCCCFfCCCCCCCCº* CCCCCCCCCCCC. UzCCCCCCCCCCCCCCCCCCCCCCCCCCG*K‬‬ ‫‪hCCCCCM|CCCCC/ CCCCCCCCCG ¢CCCCCCCCCH CCCCCCCC CCCCCCCCG* K‬‬

‫ﻳﺨﺎﻃﺐ راﺷﺪ ﺑﻦ ﺧﺼﻴﻒ ﻓﻲ ﻫﺬه اﻟﻘﺼﻴﺪة‬ ‫اﻟﺸﻴﺦ ﻣﺤﻤﺪ ﺑﻦ ﺧﻠﻴﻔﺔ آل ﻧﻬﻴﺎن ﺣﻔﻴﺪ اﻟﺸﻴﺦ زاﻳﺪ‬ ‫ﺑﻦ ﺧﻠﻴﻔﺔ ﺑﻦ ﺷﺨﺒﻮط آل ﻧﻬﻴﺎن‬

‫ﻫﻨﺎ ﻳﺪﻋﻮ اﻟﺸﺎﻋﺮ أن ﻳﺼﻞ اﻟﺸﻴﺦ ﻣﺤﻤﺪ ﺑﻦ ﺧﻠﻴﻔﺔ ﺑﺎﻟﺴﻼﻣﺔ إﱃ‬ ‫دﻳﺎر اﻷﺣﺒﺔ ﻣﻦ رﺣﻠﺘﻪ إﱃ اﻟﻬﻨﺪ‪ ،‬وﺑﺪﻻً ﻣﻦ أن ﻳﺬﻛﺮ دﻳﺎر اﻷﺣﺒﺔ‬ ‫ﻓﻘﻂ‪ ،‬ﻧﺠﺪه ﻳﺮﺟﻮ أن ﻳﻠﻘﻰ اﻷﺣﺒﺔ ﺟﻤﻴﻌﺎً‪ ،‬أي أن ميﺘﺪ اﻟﺪﻋﺎء ﻟﻴﺸﻤﻞ‬ ‫أﺣﺒﺔ اﻟﺸﻴﺦ ﻣﺤﻤﺪ ﺑﻦ ﺧﻠﻴﻔﺔ‪ ،‬وﻳﺨﺺ ﻣﻨﻬﻢ ﺑﻌﺪ ذﻟﻚ واﻟﺪه اﻟﺸﻴﺦ‬ ‫ﺧﻠﻴﻔﺔ ﺑﻦ زاﻳﺪ ﺑﻦ ﺧﻠﻴﻔﺔ وﻫﻮ أﻛﱪ أﻧﺠﺎل اﻟﺸﻴﺦ زاﻳﺪ اﻷول‪،‬‬ ‫وﻳﺤﻈﻰ ﺑﺘﻘﺪﻳﺮ ﻛﺒري ﻛﻮﻧﻪ ﻛﺒري ﻋﺎﺋﻠﺔ آل ﻧﻬﻴﺎن‪ ،‬ﻛام ﻳﺨﺺ ﺑﻌﺪ ذﻟﻚ‬ ‫ﺣﺎﻛﻢ إﻣﺎرة أﺑﻮﻇﺒﻲ‪ ،‬وﻫﻮ اﻟﺸﻴﺦ ﺷﺨﺒﻮط ﺑﻦ ﺳﻠﻄﺎن آل ﻧﻬﻴﺎن‪.‬‬ ‫ﻫﺬا اﻟﺘﺴﻠﺴﻞ ﻳﻨﻄﻮي ﻋﲆ أﻛرث ﻣﻦ ﻣﻌﻨﻰ‪ ،‬اﻷول ﻫﻮ أن اﻟﻮاﻟﺪ‬ ‫ﻳﺤﻈﻰ ﺑﺼﻠﺔ أﻗﺮب‪ ،‬واﳌﻌﻨﻰ اﻟﺜﺎين ﻫﻮ أن اﻟﻮاﻟﺪ ﻳﺤﻈﻰ ﺑﺘﻘﺪﻳﺮ‬ ‫واﻣﺘﻴﺎز ﺧﺎص ﰲ اﳌﺠﺘﻤﻊ ﻛام أﺳﻠﻔﻨﺎ‪ .‬وﻋﻮدة إﱃ ﻗﺼﻴﺪة اﻟﺸﺎﻋﺮ‬ ‫راﺷﺪ ﺑﻦ ﺧﺼﻴﻒ ﻧﺠﺪه ﻳﻈﻬﺮ اﺷﺘﻴﺎﻗﻪ إﱃ اﻟﻮﻃﻦ ﻣﻦ ﺧﻼل أﺳﻔﻪ‬ ‫ﻋﲆ ﻓﺮاق اﻟﺸﻴﺦ ﻣﺤﻤﺪ ﺑﻦ ﺧﻠﻴﻔﺔ اﻟﻌﺎﺋﺪ إﱃ اﻟﻮﻃﻦ‪ ،‬وﻛﺄن ﻋﻮدﺗﻪ‬ ‫ﻫﻲ اﻟﺘﻲ أﺛﺎرت ﻛﻞ ﻫﺬه اﻷﺷﺠﺎن‪ ،‬وﻫﺬا اﻟﺴﻴﻨﺎرﻳﻮ واﻟﺼﻮر اﻟﻮاردة‬ ‫ﺿﻤﻦ ﺣﺪود اﻟﺰﻣﺎن واﳌﻜﺎن‪ ،‬ﺗﺒني اﳌﺪرﺳﺔ أو اﳌﺬﻫﺐ اﻷديب اﳌﻨﺘﴩ‬ ‫ﰲ ﺗﻠﻚ اﻟﻔﱰة وﻫﻲ اﳌﺪرﺳﺔ اﻟﺸﻌﻮرﻳﺔ اﻟﺘﻲ ﺗﻌﺘﻤﺪ ﻋﲆ ﻫﺬه‬ ‫اﻟﺠﻮاﻧﺐ اﻟﻮاﺿﺤﺔ ﰲ ﺳﻴﺎق اﳌﻮﺿﻮع‪:‬‬

‫ﻓﺮض وﺟﻮد إﻣﺎرﺗﻪ ﻋﻠﻰ اﻟﺠﻤﻴﻊ وأﻛﺴﺒﻬﺎ ﻫﻴﺒﺔ‬ ‫وﻗﺪرة ﻛﺒﻴﺮة ﻟﻢ ﺗﺼﻞ إﻟﻴﻬﺎ ﺳﺎﺑﻘﺎً‬ ‫رد ﻋﻠﻰ ﻫﺬه اﻟﻘﺼﻴﺪة اﻟﻤﻐﻔﻮر ﻟﻪ اﻟﺸﻴﺦ زاﻳﺪ ﺑﻦ‬ ‫ﺳﻠﻄﺎن آل ﻧﻬﻴﺎن‬

‫ﻣﻦ اﻟﻬﻨﺪ إﱃ اﻹﻣﺎرات رﺣﻠﺔ ﺑﺎﳌﺮاﻛﺐ اﻟﺒﺤﺮﻳﺔ‪ .‬وﻳﺤﺘﺎج اﻟﺸﺎﻋﺮ‬ ‫إﱃ ﻣﻌﺎدل ﻣﻮﺿﻮﻋﻲ يك ﻻ ﻳﺨﺮج ﻣﻦ ﺳﻴﺎق اﳌﺪرﺳﺔ اﻷدﺑﻴﺔ اﻟﺘﻲ‬ ‫ﻳﻜﺘﺐ ﺑﻬﺎ اﻟﻘﺼﻴﺪة‪ ،‬وﻗﺪ ﻳﻜﻮن ﻫﺬا اﳌﻌﺎدل اﳌﻮﺿﻮﻋﻲ ﰲ ذﻫﻦ‬ ‫اﻟﺸﺎﻋﺮ‪ ،‬ﺣني ﻳﻜﻮن ﻣﺘﺨﻴ ًﻼ ﻧﺰوﻟﻪ ﻣﻦ اﳌﺮﻛﺐ وﻣﻤﺘﻄﻴﺎً ﻧﺎﻗﺘﻪ‪ ،‬ﻣﺘﺠﻬﺎً‬ ‫إﱃ ﻣﻘﺎﺑﻠﺔ اﻟﺸﻴﻮخ اﻟﻜﺮام‪ ،‬وﻟﻜﻨﻲ أرى أن اﻟﺸﺎﻋﺮ مل ﻳﻜﻦ ﻳﺘﺨ ّﻴﻞ ﻛﻞ‬ ‫ذﻟﻚ وإمنﺎ ﻫﺬه اﻟﺼﻮر واﳌﻌﺎين ﺗﻮارﺛﻬﺎ ﻣﻦ اﻷﻗﺪﻣني‪ ،‬ﻛﻮن اﳌﺪارس‬ ‫ﺗﻠﻎ اﳌﺪارس اﻟﻘﺪميﺔ‪ ،‬وﻛﺎﻧﺖ اﻟﺤﺪاﺛﺔ ﺗﺄﺧﺬ ﻧﺴﺒﺎً ﻣﺨﺘﻠﻔﺔ‬ ‫اﻟﺤﺪﻳﺜﺔ مل ِ‬ ‫ﻣﻦ ﻗﺼﻴﺪة إﱃ أﺧﺮى‪ ،‬وﻫﺬه اﻷﺑﻴﺎت مل ﺗﻜﻦ إﻻ ﺗﻌﺒرياً ﻋﻦ ﺗﺄﺛﺮه‬ ‫‪ËfCCCCCCC/ hCCCCCCCCCCJ CCCCC CCCCCgCCCCC CCCCC< ¢CCCCCCCCCCH‬‬ ‫‪ hCCCCCªCCCCC/|CCCCCG* ¬4fCCCCCCCCCCgCCCCCCCCCCG* |CCCCCCCHfCCCCCCC+‬ﺑﺎﳌﺪرﺳﺔ اﻟﺘﻘﻠﻴﺪﻳﺔ‪.‬‬ ‫‪ CCCCCCCCCCF*|CCCCCCCCCC+Q ¢CCCCCCCCCCCCH ¥CCCCCCCCCCCCCCM*|CCCCCCCCCCCCCC+Q‬‬ ‫¯‪ËfCCCCCCC CCCCCCCI «CCCCCCCCCCCgCCCCCCCCCCC‬‬ ‫‪U · §CCCCCCCCCCCCCG‬‬ ‫‪T‬‬ ‫‪hCCCCCCCM4 K CCCCCCCC CCCCCCCC7‬‬ ‫‪ £K2 ¢CCCCCCCCCCH‬‬ ‫‪hCCCCªCCCC CCCC0 K m*§CCCCCCCCCCCCCªCCCCCCCCCCCCCHS ¢CCCCCCCCCCCH‬‬ ‫<‪ CCCCCFfCCCCC CCCCC CCCCC S< ¢CCCCCCCCCCH CCCCCCCCCCF ¨CCCCCCC CCCCCCC‬‬ ‫‪Ë*|CCCCCCCCC Q CCCCCCCCCG* ¢CCCCCCCCCH ¨CCCCC CCCCC CCCCC+ §CCCCCCCCCG‬‬ ‫‪hCCCCCCM|CCCCCC/ ¿ i|CCCCCCCCCCCCCCCCCCCE¸ §CCCCCCCCCCCG‬‬ ‫‪hCCCCCCM|CCCCCC S CCCCCCG* L§CCCCCC CCCCCC CCCCCC6 CCCCCCCCCCCCCCCCC‬‬ ‫*&‪C+Q 4‬‬ ‫‪Q‬‬

‫ﻳﴫح اﻟﺸﺎﻋﺮ أﻧﻪ ﻻ ﻳﻮد اﻹﻗﺎﻣﺔ ﰲ اﻟﻬﻨﺪ ﺑﻌﺪ ﻣﻐﺎدرة اﻟﺸﻴﺦ‬ ‫ﻫﻨﺎ ّ‬ ‫ﻣﺤﻤﺪ ﺑﺎﻟﺮﻏﻢ ﻣﻦ اﻟﻌﻴﺸﺔ اﻟﻬﻨﻴﺌﺔ اﻟﺘﻲ ﻳﺤﻈﻰ ﺑﻬﺎ ﰲ اﻟﻬﻨﺪ أو‬ ‫»مبﺒﻲ« وﻫﻲ ﻣﺪﻳﻨﺔ »ﻣﻮﻣﺒﺎي« اﳌﻌﺮوﻓﺔ‪ .‬وﻟﻦ ﺗﻌﻮﺿﻪ اﻹﻗﺎﻣﺔ ﻓﻴﻬﺎ‬ ‫ﻋﻦ وﻃﻨﻪ رﻏﻢ أﻧﻪ ﻻ ﺗﻮﺟﺪ ﰲ وﻃﻨﻪ اﻟﻔﻮاﻛﻪ اﳌﻨﻮﻋﺔ‪ ،‬وﻣﺸﺘﻘﺎت‬ ‫اﻟﺤﻠﻴﺐ اﻟﺘﻲ ﺗﺘﻮﻓﺮ ﰲ ﻣﻮﻣﺒﺎي‪ ،‬وﻫﺬه اﳌﻘﺎرﻧﺔ اﻻﺟﺘامﻋﻴﺔ ﺑني‬ ‫اﻟﺒﻴﺌﺘني ﺑﻌﺪ ﻣﻌﺮﻓﺔ ﺷﺨﻮص اﻟﻘﺼﻴﺪة ﺗﺒني ﻟﻨﺎ اﻟﺰﻣﺎن اﻟﺬي ﻗﻴﻠﺖ‬ ‫ﻓﻴﻬﺎ واﻷوﺿﺎع اﻻﺟﺘامﻋﻴﺔ اﻟﺘﻲ ﻛﺎﻧﺖ آﻧﺬاك‪.‬‬

‫أﻣﺎ اﻷﺑﻴﺎت اﻟﺜﻼﺛﺔ اﻷﺧرية ﻓﺈﻧﻬﺎ ﺗﻀﻤﺮ ﻣﻮﺿﻮع اﻟﻘﺼﻴﺪة اﻟﺤﻘﻴﻘﻲ‪،‬‬ ‫واﻟﺬي ﻗﻴﻠﺖ ﻷﺟﻠﻪ اﻟﻘﺼﻴﺪة‪ .‬وﰲ ﻃﻴﺎت ﻫﺬه اﻷﺑﻴﺎت ﴎ اﻟﻘﺼﻴﺪة‬ ‫اﻟﺬي مل ﻳﺸﺄ اﻟﺸﺎﻋﺮ إﻇﻬﺎره‪ ،‬وﻟﻜﻦ اﻟﻮاﺿﺢ ﻣﻦ ﺳﻴﺎق اﻟﺒﻴﺖ اﻷول أن‬ ‫اﻟﺸﺎﻋﺮ ﻳﺘﱪأ ﻣﻤﻦ ﺗﺴﺒﺒﻮا ﰲ ﺿﻴﻖ اﻟﺸﻴﺦ ﻣﺤﻤﺪ ﺑﻦ ﺧﻠﻴﻔﺔ‪ ،‬وذﻟﻚ‬ ‫ﰲ ﻗﻮﻟﻪ »ﺑﺮاﻳﻪ ﻣﻦ ﺑﺮاﻛﻢ« ﺣﻴﺚ إﻧﻬﻢ ﻋﺼﻮه ومل ميﺘﺜﻠﻮا ﻷﻣﺮه ﻛام‬ ‫ﺟﺎء ﰲ ﻗﻮﻟﻪ »ﻋﲆ ﻛﻞ ﻣﻦ ﻋﺼﺎﻛﻢ«‪.‬‬ ‫وﻟﻜﻦ اﻟﺴﺆال اﳌﻬﻢ ﻫﻨﺎ ﻫﻮ ‪ ...‬ﻣﻦ ﻫﻢ ﻫﺆﻻء؟‬

‫‪ CCCCFfCCCC CCCC CCCC+ fCCCCCCCCCCH zCCCCCCCCCC U CCCCCCCCCC+Q ¸K‬‬ ‫<‪hCCCCCªCCCCCgCCCCC1 ,§CCCCCCCCCCCC CCCCCCCCCCCC0 ¨CCCCCCCCCC CCCCCCCCCC‬‬ ‫‪ËfCCCCCCC¡T CCCCCCCG* ¨CCCCCCCkT CCCCCCC0 T~CCCCCCCC¤CCCCCCCCU- fCCCCCCCCH‬‬ ‫‪hCCCCCCCCCM T{CCCCCCCCCG* CCCCCCCCCM{CCCCCCCCCJ {CCCCCCCCC¤CCCCCCCCC‬‬‫‪ CCCCCCCCFfCCCCCCCCM§CCCCCCCCJ CCCCCCCC CCCCCCCCkCCCCCCCCÅfCCCCCCCC+‬‬ ‫‪Q‬‬ ‫‪hCCCCCªCCCCCnCCCCC S CCCCCG* L§CCCCCCCCCC CCCCCCCCCC1 ¨CCCCCC‬‬ ‫<‪C CCCCCCC‬‬

‫ﻳﻔﺎﺟﺌﻨﺎ اﻟﺸﺎﻋﺮ ﺑﺄﻧﻬﻢ ﻣﻦ أﻗﺮب اﻟﻨﺎس إﻟﻴﻪ ﰲ ﻗﻮﻟﻪ »اﻗﺮب ﱄ‬ ‫ﺟﺮﻳﺐ« وﻟﻜﻦ اﻟﺸﺎﻋﺮ ﻳﻀﻊ »ﻟﻮ« ﻗﺒﻞ ذﻟﻚ وﻳﻌﻨﻲ أﻧﻬﻢ ﻟﻴﺴﻮا‬ ‫أﻗﺎرب وﻻ ﺧﻮاص اﻟﺸﻴﺦ ﻣﺤﻤﺪ ﺑﻦ ﺧﻠﻴﻔﺔ‪ ،‬وإمنﺎ ﻣﻦ اﳌﻘﺮﺑني اﻟﺬﻳﻦ‬ ‫مل ﻳﺴﺘﺤﻘﻮا أن ﻳﻜﻮﻧﻮا ﻗﺮﺑﻪ‪ ،‬ﻷﻧﻬﻢ ﺑﺄﻓﻌﺎﻟﻬﻢ ﺗﺴﺒﺒﻮا ﰲ إزﻋﺎﺟﻪ‪،‬‬ ‫وﻫﻨﺎ ﻳﺘﻀﺢ اﳌﻌﻨﻰ اﻟﺤﻘﻴﻘﻲ ﰲ اﻟﻘﺼﻴﺪة ﺣﻴﺚ إن اﻟﺸﺎﻋﺮ مل ﻳﻜﺘﺐ‬ ‫ﻫﻨﺎ ﻳﺨﺮج اﻟﺸﺎﻋﺮ ﻣﻦ ﺳﻴﺎق اﳌﺪرﺳﺔ اﻟﺸﻌﻮرﻳﺔ ﻣﺘﺄﺛﺮاً ﺑﺎﳌﺪرﺳﺔ اﻟﻘﺼﻴﺪة اﺷﺘﻴﺎﻗﺎً إﱃ اﻟﻮﻃﻦ‪ ،‬وإمنﺎ ﻣﻮاﺳﺎة وﺟﱪاً ﻟﺨﺎﻃﺮ اﻟﺸﻴﺦ‬ ‫اﻟﺘﻘﻠﻴﺪﻳﺔ ﺣﻴﺚ ﻳﺴﺘﺤﴬ رﻛﻮب ﻣﻄﺎﻳﺎ اﻹﺑﻞ‪ ،‬ﺑﺎﻟﺮﻏﻢ ﻣﻦ أن اﻟﺮﺣﻠﺔ ﻣﺤﻤﺪ ﺑﻦ ﺧﻠﻴﻔﺔ وﻫﺬا ﻣﺎ ﻳﺆﻛﺪه اﻟﺒﻴﺖ اﻷﺧري ﺣني ﻳﻘﻮل‪:‬‬ ‫أﻛﺘﻮﺑﺮ ‪33 2017 /‬‬

‫أﺳﺮار ﻓﻲ أﺷﻌﺎر‬ ‫‪baytelshear‬‬

‫ﻓﻲ ﻗﺼﻴﺪﺗﻪ ﻟﻠﺸﻴﺦ ﻣﺤﻤﺪ ﺑﻦ ﺧﻠﻴﻔﺔ‪:‬‬

‫راﺷﺪ ﺑﻦ ﺧﺼﻴﻒ‪» :‬ﻋﺴﺎك ﺗﻮﺻﻞ ﺳﺎﻟﻢ واﺗﻮاﻳﻪ ﻛﻞ ﺣﺒﻴﺐ«‬ ‫ﻣﺤﻤﺪ ﻧﻮر اﻟﺪﻳﻦ‬

‫ﻳﻘﻮل اﻟﺸﺎﻋﺮ راﺷﺪ ﺑﻦ ﺧﺼﻴﻒ وﻫﻮ ﻣﻦ ﺷﻌﺮاء ﻋﺠامن‪ ،‬ﰲ ﻗﺼﻴﺪة‬ ‫ﻟﻪ‪:‬‬ ‫‪ 4fCCCCCCCCCCCCCCCCCCCF&¸* CCCCCC CCCCCC CCCCCCI zCCCCCCCC T CCCCCCCCÁ‬‬ ‫¿ ‪hCCCCCCCCCM|CCCCCCCCCº* ¢CCCCCCCCCCCCCM3|CCCCCCCCCCCCCH‬‬ ‫‪½*K *§CCCCCCCCCCCGfCCCCCCCCCCCE CCCCCC CCCCCCgCCCCCCF|CCCCCCH‬‬ ‫‪hCCCCCCªCCCCCCgCCCCCC CCCCCCGfCCCCCCJ CCCCCCCC CCCCCCCC CCCCCCCCMfCCCCCCCC+‬‬

‫ﻳﺨﺎﻃﺐ راﺷﺪ ﺑﻦ ﺧﺼﻴﻒ ﰲ ﻫﺬه اﻟﻘﺼﻴﺪة اﻟﺸﻴﺦ ﻣﺤﻤﺪ ﺑﻦ ﺧﻠﻴﻔﺔ‬ ‫آل ﻧﻬﻴﺎن ﺣﻔﻴﺪ اﻟﺸﻴﺦ زاﻳﺪ ﺑﻦ ﺧﻠﻴﻔﺔ ﺑﻦ ﺷﺨﺒﻮط آل ﻧﻬﻴﺎن أي زاﻳﺪ‬ ‫اﻷول ﺣﺎﻛﻢ أﺑﻮﻇﺒﻲ )‪ (1909-1855‬ﺣﻴﺚ أﺻﺒﺤﺖ أﺑﻮﻇﺒﻲ ﰲ ﻋﻬﺪه‬

‫اﻟﺸﻌﺮ ‪ /‬اﻟﻌﺪد ‪60‬‬ ‫‪ 32‬ﺑﻴﺖ ِ‬

‫ﻗﻮة ﺳﻴﺎﺳﻴﺔ وﻋﺴﻜﺮﻳﺔ ﺑﺎرزة‪ ،‬وﻳﺸري اﻟﺸﺎﻋﺮ راﺷﺪ ﺑﻦ ﺧﺼﻴﻒ إﱃ‬ ‫ﻫﺬه اﳌﻌﺎين‪ ،‬ﻓﺎﻟﺸﻴﺦ ﻣﺤﻤﺪ ﺳﻠﻴﻞ ﻋﺎﺋﻠﺔ ﻋﺮﻳﻘﺔ وﻣﻌﺮوﻓﺔ ﺑﺎﻟﺸﺠﺎﻋﺔ‬ ‫وﻋﺒﺎرة ”ﻣﺮذﻳﻦ اﻟﺤﺮﻳﺐ“ ﻳﻘﺼﺪ ﺑﻬﺎ دﺣﺮ ﻛﻞ ﻣﻌﺘﺪٍ‪ ،‬وﻟﻜﻦ اﳌﻌﻨﻰ‬ ‫ﻻ ﻳﺄيت ﻣﻦ ﻓﺮاغ‪ ،‬ﻷن اﻟﺸﺎﻋﺮ ﻳﻘﺼﺪ أﻧﻪ ﻣﻦ ﻧﺴﻞ زاﻳﺪ اﻟﻜﺒري اﻟﺬي‬ ‫أﺧﻔﻖ اﻟﴩق واﻟﻐﺮب واﻟﺸامل واﻟﺠﻨﻮب أن ﺗﺄﺧﺬ ﻣﻄﻤﻌﻬﺎ ﻣﻦ‬ ‫أراﺿﻴﻪ‪ ،‬ﻓﻘﺪ ﻓﺮض وﺟﻮد إﻣﺎرﺗﻪ ﻋﲆ اﻟﺠﻤﻴﻊ وأﻛﺴﺒﻬﺎ ﻫﻴﺒﺔ وﻗﺪرة‬ ‫ﻛﺒرية مل ﺗﺼﻞ إﻟﻴﻬﺎ ﺳﺎﺑﻘﺎً‪.‬‬ ‫ﺛﻢ ﺑﻌﺪ ذﻟﻚ ﻳﺸري إﱃ أن ﺳﻔﻴﻨﺔ اﻟﺸﻴﺦ ﻣﺤﻤﺪ ﺑﻦ ﺧﻠﻴﻔﺔ ﺟﺎﻫﺰة‬ ‫ﻟﻘﻄﻊ اﻟﺮﺣﻠﺔ وﻋﺒﻮر »ﻏﺒﻴﺐ« اﻟﺒﺤﺮ أي اﻷﻋامق اﻟﺴﺤﻴﻘﺔ‪ ،‬واﻟﻘﺼﺪ‬ ‫ﻫﻨﺎ ﻋﺒﻮر اﳌﺤﻴﻂ ﻛﻮن اﻟﺒﺤﺮ ﰲ اﻟﺨﻠﻴﺞ ﻏري ﻣﻌﺮوف ﺑﺎﻟﻌﻤﻖ وﻫﺬا‬ ‫اﳌﻌﻨﻰ ﺳﻴﻜﺸﻔﻪ ﻟﻨﺎ ﺑﻴﺖ ﻗﺎدم ﻣﻦ أﺑﻴﺎت اﻟﻘﺼﻴﺪة‪:‬‬

‫اﻟﺤﺎﻛﻤﺔ‬ ‫ﻧﺎﺻﺮ اﻟﺸﻔﻴﺮي‬ @nasseralshaferi

31 2017 / ‫أﻛﺘﻮﺑﺮ‬

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¡£D* *3 jE x+b E Áb@@/ b@@E Ñb@@+ ~zB

Hx¹ ¡GH B4b E ¤c B *¡ < ¤+bc0* ~7

60 ‫ اﻟﻌﺪد‬/ ‫اﻟﺸﻌﺮ‬ ِ ‫ ﺑﻴﺖ‬30

‫‪jCCCGfCCC CCCH ¿ ÓCCCCC‬‬ ‫‪P Q CCCCCH «CCCCT CCCCGfCCCC+ ÑCCCCCCC QJ‬‬ ‫وﺗﺘﺠﻬﺰ ذاﺋﻘﺘﻪ ﻟﻜﺮ ٍم ﰲ اﻟﻠﻐﺔ‪ ،‬وﺑﻼﻏﺔ ﰲ اﻟﺘﻮﺻﻴﻒ‪ ،‬ودﻗﺔ ﰲ اﺧﺘﻴﺎر‬ ‫‪T‬‬ ‫‪¥C‬‬ ‫‪C‬‬ ‫‪ªC‬‬ ‫‪C‬‬ ‫‪0 lCCCC‬‬ ‫‪C‬‬ ‫‪H2 fCCC‬‬ ‫‪C‬‬ ‫‪H $fCCCC‬‬ ‫‪C‬‬ ‫‪/|CCCC‬‬ ‫‪C‬‬ ‫‪G‬‬ ‫‪* ¥CCC‬‬ ‫‪C‬‬ ‫‪G fCCCCCC‬‬ ‫‪C‬‬ ‫‪I*K‬‬ ‫اﳌﻔﺮدة‪.‬‬ ‫‪ CCCCCCC‬‬ ‫‪P CtCCCCCC CCCCCC6 ¥CCCCCCCCC+ ÑCCCCCCCCCJ‬‬ ‫‪U CF*|CCCCCCCC- hCCCCC‬‬ ‫وﻳﻨﻄﺒﻖ اﻷﻣﺮ ذاﺗﻪ ﻋﲆ ﻗﻮﻟﻬﺎ‪:‬‬

‫‪jCCCªT CCC CCC CCC6§CCCH ¥CCCCE§CCCC CCCC0 ¢CCCCCH lCCCCC CCCCCJK‬‬ ‫‪UlCCGfCC CC6K «C‬‬ ‫‪UT‬‬ ‫‪Q C CC CC6§CCG* ¨CC Q CC CC6 fCCCC‬‬ ‫‪Q CHT * zCCCCC<K‬‬ ‫‪jCCªCC:§CCG* fCCtCC CCgCCG* · £fCCCCCM2§CCCCCG* ¥CCCC+‬‬

‫ﺗﻔﺘﺢ ﻓﺘﺎة اﻟﻌﺮب ﰲ ﻗﺼﻴﺪﺗﻬﺎ اﻟﺒﺎب ﻋﲆ ﻣﻔﻬﻮﻣﻲ »اﻟﺘﻜﺮار«‪ ،‬ﻣﻔﻬﻮم‬ ‫»اﳌﻔﺮدة اﻷوﱃ« ﰲ اﻟﻨﺺ اﻟﺸﻌﺮي‪ ،‬إذ ﺗﺘﻮﻗﻒ اﻟﻜﺜري ﻣﻦ اﳌﺪارس‬ ‫اﻟﻨﻘﺪﻳﺔ ﻋﻨﺪ اﻟﻜﻠﻤﺔ اﻷوﱃ ﰲ اﻟﻨﺺ ﺑﻮﺻﻔﻬﺎ ﻋﺘﺒﺔ اﻟﻘﺼﻴﺪة اﻟﺘﻲ ﺗﺒﺪأ‬ ‫ﻣﻨﻬﺎ ﻟﺤﻈﺔ وﻻدة اﻟﻨﺺ‪ ،‬وﺗﻜﺎد ﺗﻜﻮن اﻟﻌﺎﻣﻞ اﻷﺻﻴﻞ ﻟﺘﺤﺪﻳﺪ ﺷﻜﻞ‬ ‫اﻟﻨﺺ وﺻﻮرﺗﻪ اﻟﻨﻬﺎﺋﻴﺔ‪ ،‬اﻷﻣﺮ اﻟﺬي ﻳﺠﻌﻞ ﻣﻔﺮدة )ﻫﻼ(‪ ،‬ﰲ ﻣﺴﺘﻬﻞ‬ ‫ﻗﺼﻴﺪﺗﻬﺎ اﺳﺘﺤﻀﺎراً ﻛﺎﻣ ًﻼ ﻟﺸﻜﻞ اﻟﻌﻼﻗﺔ اﻟﻘﺎﺋﻢ ﺑني ﺛﻼﺛﻴﺔ اﻟﺸﺎﻋﺮ‬ ‫واﻟﻨﺺ واﻟﺠﻤﻬﻮر‪ ،‬ﻓﺎﻟﺠﻤﻬﻮر ﰲ ﻫﺬا اﻟﺸﻜﻞ اﻟﺸﻌﺮي ﻳﺘﺤﻮل ﻣﻦ‬ ‫اﳌﺨﺎﻃﺐ اﻟﺬي ﺗﺘﺤﺪث إﻟﻴﻪ اﻟﻘﺼﻴﺪة‪ ،‬إﱃ ﻣﺠﺎﻣﻴﻊ ﺑﴩﻳﺔ ﺗﻨﺴﺎق‬ ‫إﺑﺪاﻋﻴﺎً ﻹﻳﻘﺎع اﻟﻘﺼﻴﺪة ﺑﻮﺻﻔﻪ ﺿﻴﻔﺎً ﻣﺮﺣﺒﺎً ﺑﻪ‪ ،‬ﺳﻴﺪﺧﻞ ﺑﻌﺪ أرﺑﻌﺔ‬ ‫أﺑﻴﺎت »ﺑﻴﺖ اﻟﻘﺼﻴﺪ« اﻟﺬي ﺗﺮﻳﺪ اﻟﺸﺎﻋﺮة اﻟﻮﺻﻮل إﻟﻴﻪ‪.‬‬

‫*&‪ fCCCCCCnCCCCCCH&¸* «CCCCCC0 ÑCCCC¤CCCC CCCC6K ÑCCCCCCCCCCJ‬‬ ‫ *‪ uCCCCªCCCC CCCC9*§CCCCH fCCCC¤CCCCªCCCCIfCCCC CCCCH «CCCCCC CCCCCCG‬‬ ‫*(‪ ÑCCCCCCCCC/*K 4zCCCCCCCCCE fCCCCC¡CCCCC CCCCCEK fCCCCCCC¤CCCCCCCG‬‬ ‫¸&‪rCCCCM4fCCCC CCCCkCCCCGfCCCC+ ¦KfCCCCCCC CCCCCCCº* CCCCCCCCCC/‬‬ ‫‪ fCCC CCC CCC+ £§CCCCªCCCC CCCCH fCCCCgCCCC0|CCCCH fCCCCCCCCMK‬‬ ‫‪uCCCCCCMK*|CCCCCCH fCCCCC-|CCCCC CCCCC CCCCCG* lCCCCCgCCCCCJ fCCCCCCCH‬‬

‫وإذ ﻻ ميﻜﻦ ﻗﺮاءة ﺗﺠﺮﺑﺔ ﺷﻌﺮﻳﺔ ﻣﻦ دون ﺗﺘﺒﻊ ﺗﺄﺛري اﳌﺤﻤﻮل اﻟﺜﻘﺎﰲ‬ ‫اﻟﺸﻔﻬﻲ واﳌﺮيئ واﳌﺴﻤﻮع اﻟﺬي ﻳﻌﻴﺶ ﻓﻴﻪ‪ ،‬ﻓﺈن أﺳﻠﻮﺑﻴﺔ اﻟﱰﺣﺎب‬ ‫اﻟﺘﻲ ﺗﺴﺘﻨﺪ إﻟﻴﻬﺎ ﻓﺘﺎة اﻟﻌﺮب ﰲ اﻟﻜﺜري ﻣﻦ ﻧﺼﻮﺻﻬﺎ‪ ،‬ﺗﺠﺴﺪ اﻟﻌﻼﻗﺔ‬ ‫اﻟﺘﻲ ﺑﻨﺘﻬﺎ ﺑني اﻟﻨﺺ اﻟﺸﻌﺮي اﻟﺸﻌﺒﻲ واﻟﻠﻐﺔ اﳌﺤﻜﻴﺔ اﻟﻴﻮﻣﻴﺔ ﰲ‬ ‫اﻟﺜﻘﺎﻓﺔ اﻹﻣﺎراﺗﻴﺔ‪ ،‬وﺗﻌﻜﺲ ‪-‬ﰲ اﻟﻮﻗﺖ ذاﺗﻪ‪ -‬واﺣﺪة ﻣﻦ اﻟﺼﻮر اﻟﺘﻲ‬ ‫ﺗﺸﻜﻠﺖ ﻓﻴﻬﺎ اﻟﻘﺼﻴﺪة اﻟﺸﻌﺒﻴﺔ اﻹﻣﺎراﺗﻴﺔ‪ ،‬إذ ﺗﻜﺎد ﺗﻜﻮن اﻟﻘﺼﻴﺪة‬ ‫ﰲ ﻫﺬا اﻟﺴﻴﺎق ﻧﺼﺎً ﺑﻠﻴﻐﺎً ﻟﻠﱰﺣﺎب ﺑﻜﻞ ﻣﺎ ُﻳﻨﺘﻈﺮ ﻗﺪوﻣﻪ‪ ،‬ﺳﻮاء ﻛﺎن‬ ‫ﻋﺎﺷﻘﺎً‪ ،‬أو ﻋﻴﺪاً‪ ،‬أو ﻓﺼ ًﻼ ﻣﻦ ﻓﺼﻮل اﻟﺴﻨﺔ‪ ،‬أو ﻣﻨﺎﺳﺒﺔ‪ ،‬أو ﻏريﻫﺎ‪.‬‬

‫ﻣﻘﺎﺑﻞ ﻣﻔﻬﻮم »اﳌﻔﺮدة اﻷوﱃ« ﻳﻈﻬﺮ ﺟﻠﻴﺎً أﺳﻠﻮب اﻟﺘﻜﺮار ﰲ ﻣﺴﺘﻬﻞ‬ ‫ﻗﺼﻴﺪة ﻓﺘﺎة اﻟﻌﺮب‪ ،‬اﻷﻣﺮ اﻟﺬي ﻳﺆﻛﺪ ﻣﺎ ﻃﺮﺣﻪ اﻟﻨﻘﺎد ﺣﻮل ﻋﻼﻗﺔ‬ ‫اﳌﻔﺮدة اﻷوﱃ ﺑﺎﻟﺸﻜﻞ اﻟﻨﻬﺎيئ ﻟﻠﻘﺼﻴﺪة‪ ،‬وﰲ اﻟﻮﻗﺖ ﻧﻔﺴﻪ ﻳﻌﻴﺪ‬ ‫اﻟﺤﺪﻳﺚ ﺣﻮل اﻟﻌﻼﻗﺔ اﻟﺠﺬرﻳﺔ اﻟﻘﺎمئﺔ ﻋﲆ إﻳﻘﺎع اﻟﻨﺺ‪ ،‬وﺗﺄﺛﺮ ﺗﻜﺮار‬ ‫اﳌﻔﺮدة ﻋﻠﻴﻪ‪ ،‬ﻓﻤﻔﺮدة )ﻫﻼ( ﻻ ﺗﺒﺪو ﰲ ﻧﺼﻮص ﻓﺘﺎة اﻟﻌﺮب ﺣﺠﺮ‬ ‫اﻷﺳﺎس ﻟﺒﻨﺎء اﻟﻘﺼﻴﺪة ﺑﻘﺪر ﻣﺎ ﻫﻲ ﻣﻔﺘﺎح ﺟﻤﻠﺔ ﻣﻦ اﻟﺼﻮر اﻟﺠامﻟﻴﺔ‬ ‫اﻟﺘﻲ ﺗﺴﻬﻞ ﺻﻴﺎﻏﺘﻬﺎ وﺗﺠﻌﻞ ﻣﻦ ﺣﻀﻮرﻫﺎ أﻛرث ﻗﺒﻮﻻً ﻟﺪى اﻟﻘﺎرئ أو‬ ‫اﳌﺴﺘﻤﻊ‪.‬‬ ‫وﻻ ﺗﺘﻮﻗﻒ ﻓﺘﺎة اﻟﻌﺮب ﻋﻨﺪ ﻫﺬا اﻟﺤﺪ‪ ،‬وإمنﺎ ﺗﻨﻮع ﰲ اﺧﺘﻴﺎر ﺻﻴﻐﺔ‬ ‫اﻟﱰﺣﺎب ﻧﻔﺴﻬﺎ‪ ،‬ﻓﻴﺠﺪ اﻟﻘﺎرئ ﻗﻮﻟﻬﺎ ﰲ ﻗﺼﻴﺪة أﺧﺮى‪:‬‬ ‫‪ fCCkCC CC CCM hCC CC CCG* ¥CCCG «CC CC CC+ fCCgCC0|CCH fCCCM‬‬ ‫‪ CCM*§CC¤CCG* 2ÌCCCCG* $fCC CC CCG fCC CC CCG* §CC CC7‬‬ ‫‪ *|+ ht G* · JfI fH 2z< ÑJ fMK‬‬ ‫‪ CCMfCC CC CCG* mÑCCCtCCCÃ ¥CC CC+§CC+ ¨CCC CCC CCC6&*K‬‬ ‫‪ *4§CCG h G* lg¡M fCCH 2zCC< ÑCCJ fCCMK‬‬ ‫‪ CCMfCC CC CC¼* i§CCgCCJ ¬4{CCCC- fCCCH 2*zCCCCCCC<&*K‬‬ ‫‪ ÑCC CCH CCCªCCC»* CCgCC CC CC CCG fCCCH 2*zCCCCCCC<&*K‬‬ ‫‪ CCMfCC CC»* ¢CCMzCCªCCG* CC CC CC< ¢CC CCJ42 fCCCHK‬‬

‫ﻳﺘﻔﻖ اﻟﺸﻜﻞ اﻟﺬي ﺗﻈﻬﺮ ﻓﻴﻪ ﻗﺼﻴﺪة اﻟﺸﺎﻋﺮة ﻣﻊ اﻟﺼﻴﻐﺔ اﻟﺘﻲ ﻳﻘﻒ‬ ‫ﻓﻴﻬﺎ رب اﻟﺒﻴﺖ ﻣﺮﺣﺒﺎً ﺑﻀﻴﻮﻓﻪ‪ ،‬ﻓﺘﻜﺮار اﻟﱰﺣﺎب ﰲ اﻟﺜﻘﺎﻓﺔ اﻹﻣﺎراﺗﻴﺔ‬ ‫اﻟﺸﻌﺒﻴﺔ ﻫﻮ ﻛﻨﺎﻳﺔ ﻋﻦ ﺣﺮارﺗﻪ‪ ،‬وﻛﺄن اﳌﻀﻴﻒ ﰲ ﻛﻞ ﻣﺮة ﻳﻌﻴﺪ ﻓﻴﻬﺎ‬ ‫اﻟﱰﺣﺎب وﻳﺆﻛﺪ ﺳﻌﺎدﺗﻪ ﺑﺎﺳﺘﻘﺒﺎل اﻟﻀﻴﻮف‪ ،‬وﻫﺬا ﻣﺎ ﺗﻮﻇﻔﻪ ﻓﺘﺎة‬ ‫اﻟﻌﺮب ﰲ ﻧﺼﻮﺻﻬﺎ اﻟﻘﺎمئﺔ ﻋﲆ اﻻﺳﺘﻬﻼل اﻟﱰﺣﻴﺒﻲ‪ ،‬إذ ﻳﺴﺘﺤﴬ‬ ‫اﻟﻘﺎرئ أو اﳌﺴﺘﻤﻊ ﺗﻠﻚ اﻟﺼﻮرة اﻟﻘﺎمئﺔ ﺑني اﳌﻀﻴﻒ واﻟﻀﻴﻒ‪،‬‬ ‫أﻛﺘﻮﺑﺮ ‪29 2017 /‬‬

‫ﻧ ﻘ ﺪ‬ ‫‪baytelshear‬‬

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‫اﻟﻘﺼﻴﺪة ﺑﻴﺘﻬﺎ واﻟﻘﺮاء‬ ‫ﺿﻴﻮﻓﻬﺎ اﻟﻤﺮﺣﺐ ﺑﻬﻢ‬

‫ﻣﺤﻤﺪ أﺑﻮ ﻋﺮب‬

‫ﺗﻜﺸﻒ ﺗﺠﺮﺑﺔ اﻟﺸﺎﻋﺮة ﻋﻮﺷﺔ ﺑﻨﺖ ﺧﻠﻴﻔﺔ اﻟﺴﻮﻳﺪي اﳌﻌﺮوﻓﺔ‬ ‫ﺑﻔﺘﺎة اﻟﻌﺮب ﻋﻦ ﻓﺮادة أﺳﻠﻮﺑﻴﺔ ﰲ ﺑﻨﺎء اﻟﻘﺼﻴﺪة ﺗﺠﻌﻠﻬﺎ واﺣﺪة‬ ‫ﻣﻦ اﻷﺳامء اﻟﻼﻓﺘﺔ ﰲ اﻟﻘﺼﻴﺪة اﻟﺸﻌﺒﻴﺔ اﻹﻣﺎراﺗﻴﺔ‪ ،‬ﺗﺘﺄﻛﺪ ﰲ ﺟﻤﻠﺔ‬ ‫ﻣﻦ اﳌﻼﻣﺢ اﻟﻔﻨﻴﺔ اﻟﺘﻲ ﺗﺘﻤﻈﻬﺮ ﰲ اﻟﺸﻜﻞ اﻟﺸﻌﺮي اﻟﺬي اﺧﺘﺎرﺗﻪ‬ ‫ﻟﻘﺼﻴﺪﺗﻬﺎ‪ ،‬واﻟﻠﻐﺔ اﻟﺘﻲ ﺗﻜﺘﺐ ﻓﻴﻬﺎ‪ ،‬إﺿﺎﻓﺔ إﱃ اﳌﻀﺎﻣني اﻟﺠامﻟﻴﺔ‬ ‫اﻟﺘﻲ ﺗﻨﺴﺠﻬﺎ ﺑﻘﻮاﻟﺐ ﺗﺘﻜﺊ ﻋﲆ اﻟﺼﻮرة اﻟﻔﻨﻴﺔ ﻣﻦ ﺟﻬﺔ‪ ،‬وﻣﻔﺎرﻗﺔ‬ ‫اﻟﻄﺮح ﻣﻦ ﺟﺎﻧﺐ آﺧﺮ‪.‬‬ ‫ميﻜﻦ ﻗﺮاءة واﺣﺪة ﻣﻦ أﺳﺎﻟﻴﺒﻬﺎ اﻟﺸﻌﺮﻳﺔ ﺑﺘﺘﺒﻊ ﺳرية ﻣﻨﺠﺰﻫﺎ‬ ‫اﻟﺸﻌﺮي واﻟﻮﻗﻮف ﻋﻨﺪ ﻣﻌامر اﻟﻘﺼﻴﺪة ﻟﺪﻳﻬﺎ‪ ،‬إذ ﺗﻈﻬﺮ ﰲ ﻣﺠﻤﻞ‬ ‫ﻗﺼﺎﺋﺪﻫﺎ ﺻﻮرة واﺿﺤﺔ ﻟﺸﻜﻞ اﻻﺳﺘﻬﻼل اﻟﺸﻌﺮي‪ ،‬ومنﻄﺎً ﰲ ﻣﻌﺎﻟﺠﺔ‬ ‫اﳌﻀﺎﻣني‪ ،‬وأﺛﺮاً ﻟﺒﻼﻏﺔ اﻟﺤﻜﻤﺔ اﻟﻌﺮﺑﻴﺔ ﰲ ﺟﻤﻴﻊ ﻗﺼﺎﺋﺪﻫﺎ‪.‬‬ ‫ﺗﺘﺠﺴﺪ ﻫﺬه اﻷﺳﻠﻮﺑﻴﺔ ﺑﺘﺄﻣﻞ اﻟﺒﻨﺎء اﻟﺬي ﻳﻄﻐﻰ ﻋﲆ اﺳﺘﻬﻼل‬ ‫ﻗﺼﺎﺋﺪﻫﺎ‪ ،‬ﺣﻴﺚ ﻓﺘﺤﺖ ﺑﺎب اﻷﺑﻴﺎت اﻷوﱃ ﻟﻨﺼﻮﺻﻬﺎ ﻋﲆ اﻟﻴﻮﻣﻲ‬ ‫واﳌﻌﺎش وراﺣﺖ ﺗﺤ ّﻮل اﻟﺤﺪﻳﺚ اﻟﻌﺎﺑﺮ إﱃ ﺷﻜﻞ ميﻜﻦ ﺑﺎﻻﺳﺘﻨﺎد إﻟﻴﻪ‬ ‫ﰲ اﻟﺘﻤﻬﻴﺪ ﻟﻘﺼﺎﺋﺪﻫﺎ‪ ،‬واﻟﺪﺧﻮل إﱃ اﳌﻀﺎﻣني اﻟﺘﻲ ﻇﻠﺖ ﺗﻄﺮﺣﻬﺎ ﰲ‬ ‫ﻣﺠﻤﻞ ﺳريﺗﻬﺎ اﻟﺸﻌﺮﻳﺔ‪ ،‬ﺳﻮاء ﺗﻠﻚ اﻟﻘﺎمئﺔ ﻋﲆ اﳌﺪح‪ ،‬أو اﻟﻬﺠﺎء‪ ،‬أو‬ ‫اﻟﻐﺰل‪ ،‬أو ﺳﻮاﻫﺎ ﻣﻦ اﻷﻏﺮاض اﻟﺸﻌﺮﻳﺔ‪.‬‬ ‫ﻧﺠﺤﺖ ﻓﺘﺎة اﻟﻌﺮب ﰲ اﻟﻜﺜري ﻣﻦ ﻧﺼﻮﺻﻬﺎ اﻟﺸﻌﺮﻳﺔ ﰲ ﺗﺤﻮﻳﻞ‬ ‫اﻟﺸﻌﺮ ‪ /‬اﻟﻌﺪد ‪60‬‬ ‫‪ 28‬ﺑﻴﺖ ِ‬

‫ﺻﻴﻐﺔ اﻟﱰﺣﺎب ﰲ اﻟﺜﻘﺎﻓﺔ اﻹﻣﺎراﺗﻴﺔ إﱃ ﻣﺴﺘﻬﻞ ﻟﺒﻨﺎء ﻗﺼﺎﺋﺪﻫﺎ‪،‬‬ ‫ﻓﻴﺠﺪ اﳌﻌﺎﻳﻦ ﻟﻠﻜﺜري ﻣﻦ ﻧﺼﻮﺻﻬﺎ أﻧﻬﺎ ﺑﺪأﺗﻬﺎ ﺑﺼﻴﻐﺔ »ﻳﺎ ﻫﻼ«‪،‬‬ ‫أو »ﻫﻼ ﺑـ«‪ ،‬وﺳﻮاﻫﺎ ﻣﻦ اﻟﺼﻴﻎ اﻟﺘﻲ ﺗﻌﻮد ﰲ ﺟﺬرﻫﺎ إﱃ اﻟﺜﻘﺎﻓﺔ‬ ‫اﻟﺸﻌﺒﻴﺔ اﻹﻣﺎراﺗﻴﺔ‪ ،‬اﻷﻣﺮ اﻟﺬي ﻳﻀﻊ ﺗﺠﺮﺑﺘﻬﺎ اﻟﺸﻌﺮﻳﺔ أﻣﺎم ﺟﻤﻠﺔ‬ ‫ﻣﻦ اﻟﺘﺴﺎؤﻻت ﺣﻮل اﻟﻌﻼﻗﺔ اﻟﺘﻲ ﺑﻨﺘﻬﺎ اﻟﺸﺎﻋﺮة ﻣﻊ ﺛﻘﺎﻓﺔ اﻟﺤﺪﻳﺚ‬ ‫اﻟﻴﻮﻣﻲ‪ ،‬وﻗﺪرة اﻟﻘﺎﻟﺐ اﻟﺸﻌﺮﻳﺔ ﻋﲆ اﺳﺘﻴﻌﺎب ﻛﻞ ﻫﺬه اﻟﺼﻴﻎ‪،‬‬ ‫وﺗﺄﺛﺮ ﻫﺬا اﻷﺳﻠﻮب ﻋﲆ اﻟﻬﻮﻳﺔ اﻟﺠامﻟﻴﺔ ﻟﻠﻨﺺ اﻟﺸﻌﺮي ﻟﺪﻳﻬﺎ‪.‬‬ ‫ﺗﺘﺄﻛﺪ ﻫﺬه اﻷﺳﻠﻮﺑﻴﺔ ﰲ ﻗﺼﻴﺪة ﻟﻬﺎ ﺗﻘﻮل ﰲ ﻣﺴﺘﻬﻠﻬﺎ‪:‬‬ ‫‪£fq 7&¸ l ªJ «g + ¿ Mfn¼* «0 ÑJ‬‬ ‫‪ f¤ªEf 6 £f/K&¸ ¨ 6 «¡ª< ¢H HzG* M~I‬‬ ‫‪£fH|º* j MK ¢H ¿ ¦*§ 7 D4 « + ÑJ‬‬ ‫‪f¤ª  «CCH%¸*K ªJ fH&* ¨ < ¥ªIzM~M‬‬ ‫‪£fº* mf /f G* f º* |/ fH ¥+ ÑJ‬‬ ‫< ¨ ‪f¤M2f 7 vKzGf+ vz 8 fHK £§¡ G 6K4‬‬ ‫‪£*§G&* §D 24§G* 4§J5 ukD fH z< ÑJ fMK‬‬ ‫‪¥M4*K3 ¥+ m43&*K hª Gf+ fg G* hJ fHK‬‬ ‫‪£fCCD5 s4fCCC+ ¥CC+ CC¼ 24 fCCH zCC< ÑCCJ fCCMK‬‬ ‫‪f¤ª0*§I · iKf± ¦2§<4K ht G* ª 9‬‬

‫وﺗﻘﻮل ﰲ ﻗﺼﻴﺪة أﺧﺮى‪:‬‬ ‫‪¥CCCMzCCCJ ÉfCCCCCCCCM ¿ CCCCªCCCC¹fCCCC+ ÑCCCCCCJ‬‬ ‫‪jCCCªCCC CCC CCC CCC6&¸* §CCCCC CCCCC»* · ¥CCCC/§CCCCH‬‬

‫ﻓﻲ اﻟﺸﻌﺮ‬

‫ﻓﻜﺮة اﻟﺸﻌﺮ‬ ‫أﺑﻮﺑﻜﺮ‬ ‫ا} أ ﻜ‬ }‫ﻋﺒﺪا‬

@abdabubaker1 27 2017 / ‫أﻛﺘﻮﺑﺮ‬

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‫أﺳﺎﻃﻴﻦ اﻟﺸﻌﺮ‬ baytelshear

‫ ﻳﺠﻤﻊ ﻣﻦ ﺧﻼﻟﻬﺎ اﻵﻓﺎق اﳌﺘﻨﻮﻋﺔ واﻟﺘﻌﺒريات واﻻﺳﺘﻌﺎرات اﻟﺠﻤﻴﻠﺔ‬،‫واﻟﺼﻮر اﻟﺸﻌﺮﻳﺔ ﻋﻨﺪ اﻷﻣري ﺧﺎﻟﺪ اﻟﻔﻴﺼﻞ ﻣﻔﻌﻤﺔ ﺑﺎﻟﺼﻴﻎ اﻟﻔﻨﻴﺔ‬ :«‫ﻛﻘﻮﻟﻪ ﰲ ﻗﺼﻴﺪﺗﻪ »ﻳﺎ وش ﺑﻘﻰ‬

@@ D b@@ @ @ @ @ @ + b@@ @ @ @ £@ @ @ @ 0&* ¤@@ @ @ @ @ @ @0H4 °(* ¤@@ @ @ Bb@@ @ @ + b@@ @ @ @ E @@ @ Db@@ @ £@ @ @1 f@@ @ ~@ @ @z@ @ @ @ @ @m@ @ @+ ¤@@ @ @ @ @ @Eb@@ @ @ @ @ @J&* @@ @ @ @ @ @ @ @ @ @ @ @ J5&*H @@ Db@@ @ @E d@@ @ @ @ ~@ @ 8 H ¤@@ @ @ @BHx@@ @ @ @< @@ @ @ @E ex@@ @ @ @ @ @ @ B&* @@ @ Db@@ @ c@ @ @0 ¤@@ @ @<¡@@ @ @ @ @ @ ~@ @ @ 9 ¯ @@ @ @ @ @ @ @ .H @@ @ @ @ ~@ @ @ @ @7° @@ @ @ @ @D°2 ¯ ¤@@ @ @ ~@ @ @ @6b@@ @ @ B @@ @ @ @ @+ v@@ @ @ @ @ @ @ @ @ Db@@ @ @+ b@@ @ @ @ @E @@ @ @ @ D*v@@ @ @ @ + Ì@@ @ @ @ s@ @ @ @ @- b@@ @ @ @ @ @ E d@@ @ @ £@ @ @ @c@ @ @ @0 ¢@@ @ @ @ @ @ @ @ @< @@ @DÉ@@ @G d@@ @ £@ @ @ @ @ @- ¡@@ @ @ @ D @@ @ @{@ @ @ 0¡@@ @ @J @@ @ @£@ @ @ @ @ @ D* H @@ @ D É@@ @ @ @ @ @ @; °(* x@@ @ @ @ @ @ @ @ @ 0 ¡@@ @ @ @ @ @ @ @ @ @ @ @ J °H @@ @ @Db@@ @ @¸ °(* ¤@@ @ @ @ @ @ @ @ @ ~@ @ @ 6 ex@@ @ @ @ @ @ @ @ @ @ J °H @@ D *v@@ @ @ @ @ + b@@ @ @ @E ¤@@ @ @ @ @ < ¥v@@ @ @ c@ @ @ @J b@@ @ @ @E °¡@@ @ @ @ @ @ @ @ DH

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:‫وﰲ ﻗﺼﻴﺪﺗﻪ اﻟﺸﻬرية واﻟﺮاﺋﻌﺔ » اﳌﻌﺎﻧﺎة« ﻧﻘﺮأ ﺟامﻟﻴﺎت اﻟﺸﻌﺮ ﻛام ﻳﺠﺐ‬

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,b@@ @ @ Fb@@ @ @ @ @ @ ´* x@@ @ @ @ @ @ @ @E&* @@ @ @ @ @< ÁÄ@@ @ @ @ @ @ 1 @@ @ @ £@ @ @ Db@@ @ @ J ib@@ @ + °H Á¡@@ @ @£@ @ @ < x@@ @ @ @ ~@ @ z@ @ J @@ @ z@ @ @/b@@ @ G ¤@@ @ @ @G i*¡@@ @ @ @ ~@ @ @ @ @8&°* ¡@@ @ @ @ @A i2x@@ @ @ @ @ @ ­ f@@ @ 1x@@ @ ~@ @ @8 H&* i*x@@ @ @ @ @ @ @ @ F Í@@ @ @ @ @ @ + h@@ @ @ @ @ @ @ @ @ @ @ @ - ,Ä@@ @ @ @ @ @ @ @ < H&* ib@@ @Ab@@ @~@ @ z@ @ E Áb@@ @ @ @ @ @ @ @ @ <&*H f@@ @ <b@@ @ ~@ @ @z@ @ @D* Áb@@ @ @ @ @ @ @ @<&* ib@@ @ £@ @ @+* H Hx@@ @ @ @ @ @ 0 ¤@@ @ -b@@ @ Fb@@ @ @ @ @E 4¡@@ @ @ @ ~@ @ @ @ @ 8*H ib@@ @ @A b@@ @ @ @ E @@ @ @ @ C ¢@@ @ @ @ @ @ < b@@ @ @ @ Ev@@ @ @ @ F d@@ @ @£@ @ @ F °H ib@@ @ / b@@ @ @ @E @@ @ £@ @ @C b@@ @ @ g@ @ ~@ @ {@ @ < ¤@@ @ -b@@ @ £@ @ @0 w@@ @ @ @ @G 60 ‫ اﻟﻌﺪد‬/ ‫اﻟﺸﻌﺮ‬ ِ ‫ ﺑﻴﺖ‬26

‫وﻗﺪ ﻟﻔﺘﺖ أﺷﻌﺎر اﻷﻣري اﻟﻔﻴﺼﻞ اﻟﻌﺪﻳﺪ ﻣﻦ اﳌﻬﺘﻤني ﺑﺎﻟﱰﺟﻤﺔ‬ ‫ﺑﻴﻨﻬﻢ اﻟﺪﻛﺘﻮر ﻋﺪﻧﺎن ﺟﻮاد اﻟﻄﻌﻤﺔ‪ ،‬اﻟﺬي ﺗﺮﺟﻢ ﺟﺰءاً ﻣﻦ‬ ‫أﺷﻌﺎره إﱃ اﻷﳌﺎﻧﻴﺔ‪ ،‬ﺗﺤﺖ ﻋﻨﻮان )ﻣﺨﺘﺎرات ﻣﻦ اﻟﺸﻌﺮ اﻟﻌﺮيب‬ ‫اﻟﻔﺼﻴﺢ واﻟﺸﻌﺒﻲ اﻟﻌﺮاﻗﻲ واﻟﻨﺒﻄﻲ اﻟﺴﻌﻮدي إﱃ اﻷﳌﺎﻧﻴﺔ( ﻹﺛﺮاء‬ ‫اﳌﻜﺘﺒﺔ اﻷﳌﺎﻧﻴﺔ‪ ،‬ﺑﺤﺴﺐ ﻣﺎ ﻳﺆﻛﺪ ﻃﻌﻤﺔ وﻣﻨﺢ اﻟﺸﻌﻮب اﻷوروﺑﻴﺔ‬ ‫اﻟﻨﺎﻃﻘﺔ ﺑﺎﻷﳌﺎﻧﻴﺔ ﻓﺮص اﻻﻃﻼع ﻋﲆ ﺗﺮاﺛﻨﺎ اﻷديب اﻟﻌﺮيب‪ .‬وﺻﺪرت‬ ‫اﻟﱰﺟﻤﺔ ﰲ أﳌﺎﻧﻴﺎ ﻋﺎم ‪ 1997‬ﺗﺤﺖ ﻋﻨﻮان )ﻗﺼﺎﺋﺪ ﺣﺐ( ﺣﻴﺚ أﺷﺎر‬ ‫اﻟﻄﻌﻤﺔ إﱃ أن ﺑﺪاﻳﺎﺗﻪ ﰲ ﺗﺮﺟﻤﺔ أﺷﻌﺎر اﻟﻔﻴﺼﻞ ﺗﻌﻮد ﻟﻌﺎم ‪1995‬‬ ‫ﺣني ﺑﺜﺖ اﻟـ )إم يب ﳼ( أﺷﻌﺎر اﻟﻔﻴﺼﻞ ﻓﺄﻋﺠﺐ ﻃﻌﻤﺔ ﺑﻘﺼﺎﺋﺪ‬ ‫اﻷﻣري‪ ،‬وﻣﺎ ﻓﻴﻬﺎ ﻣﻦ ﻣﻌﺎن ﺳﺎﻣﻴﺔ‪ ،‬وﺻﻮر ﺟﻤﻴﻠﺔ وﻣﻨﻬﺎ ﻗﺼﻴﺪة‬ ‫»اﻟﻨﻴﻞ اﻷﺳﻤﺮ« اﻟﺘﻲ ﻳﻨﺎﺟﻲ ﻓﻴﻬﺎ ﻧﻬﺮ اﻟﻨﻴﻞ وﺗﻘﻮل‬ ‫ﻛﻠامﺗﻬﺎ‪:‬‬

‫‪Í@@ @ @²* @@ £@ @ @ @ < Á2Hb@@ @ @ @ @ @ < @@ @£@ @ @ @ D* x@@ @ @ @ ~@ @ 6* b@@ @ @J‬‬ ‫‪Í@@ @ @~@ @z@ @D* @@ @ @-¡@@ @ @: b@@ @ @ E @@ @ @ E*x@@ @ @ = ¤@@ @ @ + ¥4b@@ @ @ ~@ @ @ @6‬‬ ‫‪Í@@ @ @ @ ~@ @ 7b@@ @ @ @ D* x@@ @ @ 0b@@ @ @ ~@ @ @ @6H Í@@ @ @ <v@@ @ @ c@ @ @ @´* @@ @ @ @ @ @ @ @E‬‬ ‫*‪ @@ @ Jv@@ @ Db@@ @ ³* ¤@@ @ Bb@@ @ ~@ @ @6 b@@ @ @ @J ÁH4*H ¤@@ @ @ @ @ @ ~@ @ 6‬‬ ‫واﻟﻮﻗﻮف أﻣﺎم اﺳﻢ ﺧﺎﻟﺪ اﻟﻔﻴﺼﻞ ﻫﻮ وﻗﻮف أﻣﺎم ﺗﺎرﻳﺦ ﻣﲇء‬ ‫ﺑﺎﻟﻌﻄﺎء اﻟﻔﻜﺮي واﻹﺑﺪاﻋﻲ‪ ،‬اﻟﺬي زﺧﺮ ﺑﺈﻧﺠﺎزات إﺑﺪاﻋﻴﺔ وﻓﻜﺮﻳﺔ‬ ‫ﻣﻨﻬﺎ‪ :‬ﻣﺆﺳﺴﺔ اﻟﻔﻜﺮ اﻟﻌﺮيب اﳌﻌﺮوﻓﺔ‪ ،‬وإﻧﺠﺎزات أﺧﺮى ﻋﺪﻳﺪة ﺗﺤﺘﺎج‬ ‫إﱃ وﻗﻔﺎت ﻃﻮﻳﻠﺔ ﻣﻨﻬﺎ إﺑﺪاﻋﺎﺗﻪ اﻟﻔﻨﻴﺔ‪.‬‬ ‫اﻟﻔﻴﺼﻞ اﻟﺬي ﺗﺄﺛﺮ ﺑﺎﳌﺘﻨﺒﻲ وﺗﻮﻗﻒ ﻃﻮﻳﻼ ﻛام ﻗﺎل أﻣﺎم ﺧﺰاﻧﺘﻪ‬ ‫اﻟﺸﻌﺮﻳﺔ‪ ،‬ﻛﺎن ﻣﻦ أواﺋﻞ اﻟﺸﻌﺮاء اﻟﺬﻳﻦ أﻗﻴﻤﺖ ﻟﻬﻢ أﻣﺴﻴﺎت ﺷﻌﺮﻳﺔ‬ ‫ﰲ ﻋﻮاﺻﻢ ﻋﺮﺑﻴﺔ وﻏﺮﺑﻴﺔ‪ ،‬وﻣﻦ اﻟﺸﻌﺮاء اﻟﺬﻳﻦ ﻳﻜﺘﺒﻮن ﺷﻌﺮ اﻟﺘﻔﻌﻴﻠﺔ‬ ‫ﺑﺈﺟﺎدة‪ ،‬وميﺘﻠﻚ اﻟﻘﺪرة ﻋﲆ ﺗﻮﻇﻴﻒ اﳌﻔﺮدات اﻟﺸﻌﺮﻳﺔ ﺑﺈﺗﻘﺎن‬ ‫ودﻫﺸﺔ ﺗﺄﺧﺬك إﱃ ﻋﻮامل رﺣﺒﺔ ﻣﻦ اﻟﺨﻴﺎل اﳌﺒﺪع واﳌﻌﺎين اﻟﻌﻤﻴﻘﺔ‬ ‫واﻟﺼﻮر اﻟﻔﻨﻴﺔ‪ ،‬اﻟﺘﻲ ﺗﻠﻤﺲ ﺑﺪاﺧﻠﻚ أﺣﺎﺳﻴﺲ ﺷﺘﻰ‪ ،‬وﺗﺴﻤﻮ ﺑﻚ إﱃ‬ ‫ﻓﻀﺎءات ﻣﻐﺎﻳﺮة ﺗﺸﻌﺮ أﻣﺎﻣﻬﺎ أﻧﻚ ﻛﺎﺋﻦ آﺧﺮ أﺳﻤﻰ وأﺟﻤﻞ‪ ،‬وﰲ‬ ‫اﻟﻮﻗﺖ ﻧﻔﺴﻪ ﻻ ﺗﺒﺪو ﻣﻨﻔﺼ ًﻼ ﻋﻦ ﻋﺎﳌﻚ؛ ﻷن ﺧﻴﺎﻟﻚ وﻋﻘﻠﻚ ﻣﻌﺎً ﰲ‬ ‫دواﺋﺮ اﻟﺪﻫﺸﺔ اﳌﻠﺘﺤﻤﺔ ﺑﺎﻟﻮاﻗﻊ وﻟﻴﺲ ﰲ اﻧﻔﺼﺎل ﻋﻨﻪ‪ ،‬وﺗﻠﻚ اﻟﻘﺪرة‬

‫*‪ 4¡@@ @ @ @ @~@ @ @ @ @ 8 @@ @ @ @ @ @ @ E @@ @ @ @}@ @ @ @ @ @ @ @ + @@ @ @ @ @ @ @ D @@ @ @ @ @ @ @ ~@ @ @ @ @ @ @ @64‬‬ ‫ @ @ @ @ @@‪ 4¡@@ @ @ @ @ @ @ @ @ @ @ @ ~@ @ @ @ @ @ 7H ¥x@@ @ @ @ @ @ @ @ @ @ @ @ ~@ @ @ @ @ @ 7 f@@ @ @ @ @ @ @ @ @ @ £@ @ @ @ @ @Fx‬‬‫‪ 4¡@@ @ @ @ @ @ @ @ @~@ @ @ @ @6 Í@@ @ @ @ @ @ @ @ + ¢@@ @ @ @ @ @ @ @ @ @ @ @ @ @- k@@ @ @ @ @ @ @ @ p@ @ @ @ @ @ @ @ @+*H‬‬ ‫ @ @ @ @ @ @ @ @ @ @ @ @ @ @@‪ 4¡@@ @ @ @ @ p@ @ @ @ @ @+ ¯ @@ @ @ @ @ @ @ @ + x@@ @ @ @ @ @ @ @ p@ @ @ @ @ @ @ @ @+&* b‬‬‫‪ 4¡@@ @ @ @ @ @ @ @ @ @ @ @ ¹ @@ @ @ @ @ @ @ @ @ @ @ @ £@ @ @ @ @ @ +H ¤@@ @ @ @ @ @ @ @ @ @ £@ @ @ @ @ + b@@ @ @ @ @ @ @ @ @E‬‬

‫ ‪ *¡@@ @ @ @ @G Ì@@ @ @ @ @ @ - b@@ @ @ @ @E Kb@ @ @ @ @ Eb@@ @ @ @ @< Í@@ @ @ @.É@@ @ @ @. @@ @ @ @ @E‬‬ ‫‪ É@@ @= ¥v@@ @ @ @ @< 2*5 ¢@@ @~@ @ z@ @ F* b@@ @ @ @ +&* h@@ @ @ @ B b@@ @ @E @@ @ @C‬‬ ‫‪ b@@ @ @ < ,x@@ @ @ @ @ @G5 @@ @ @ @ @ @ D* b@@ @ @ @Ey@@ @ @ @D* Ãv@@ @ @ @ B @@ @ @ E‬‬ ‫‪ b@@ ~@ @z@ @EH *v@@ @ @ @F x@@ @:b@@ @< @@ @ E v@@ @ /¡@@ @ D* k@@ @ @ @ @+*H‬‬ ‫ﻻ ﺗﺘﺄىت ﻟﺸﻌﺮاء ﻛﺜريﻳﻦ زﺧﺮت ﺑﻬﻢ أروﻗﺔ اﻟﺸﻌﺮ‪.‬‬ ‫وﰲ دﻳﻮاﻧﻪ »وزن اﻟﻜﻼم« ﻛام ﻳﺬﻛﺮ اﻟﻜﺎﺗﺐ أﺣﻤﺪ أﺳﺎﻣﻪ ﺗﺄﺧﺬﻧﺎ‬ ‫ﻗﺼﺎﺋﺪ ﺧﺎﻟﺪ اﻟﻔﻴﺼﻞ إﱃ ﻋﺎمل ﻣﻐﺎﻳﺮ‪ ،‬ﻋﺎمل ﺗﻌﺮﻓﻪ وﺗﻠﻤﺴﻪ‪ ،‬وﻟﻜﻨﻪ ﻫﻨﺎ‬ ‫ﻳﺪﻫﺸﻚ وﻳﺤﻠﻖ ﺑﻚ وﻳﺪﻓﻌﻚ ﻣﻦ دون أن ﺗﺪري ﻟﺘﺘﺴﺎءل ﳌﺎذا؟‬ ‫ورمبﺎ ﺗﻜﻮن اﻹﺟﺎﺑﺔ ﺻﻌﺒﺔ رﻏﻢ دﻫﺸﺘﻚ ورﻏﻢ ﻣﻌﺮﻓﺘﻚ مبﻔﺮدات‬ ‫اﻟﻜﻼم‪ ،‬وﻫﺬا ﻫﻮ اﻹﺑﺪاع‪.‬‬ ‫إن اﻟﺸﺎﻋﺮ اﻟﺬي ﻳﻌﺮف ﺟﻴﺪاً ﻣﺘﻠﻘﻴﻪ‪ ،‬ﻳﺘﺠﻪ إﻟﻴﻪ ﰲ أوﱃ ﻗﺼﺎﺋﺪه‬ ‫ﻣﺒﺠ ًﻼ ﺣﻀﻮره وﻣﻄﺎﻟﺒﺎً ﻣﻨﻪ أن ﻳﺸﺎرك اﻟﺸﺎﻋﺮ إﺑﺪاﻋﻪ‪ ،‬وأن ﻳﺴﻬﻢ‬ ‫ﺑﻔﻜﺮه ﰲ رﺳﻢ اﻟﺼﻮرة اﻟﺸﻌﺮﻳﺔ اﳌﺒﺪﻋﺔ‪ ،‬ﻓﻬﻮ ﺟﺰء ﻣﻨﻬﺎ‪ ،‬وﻋﻠﻴﻪ أﻻ‬ ‫ﻣﺘﻠﻖ ﻋﺎدي‪ ،‬ﺑﻞ ﻳﺠﺐ أن ﻳﻜﻮن اﳌﺘﻠﻘﻲ ﻣﺒﺪﻋﺎً ﺑﺎﺣﺜﺎً‬ ‫ﻳﻜﻮن ﻣﺠﺮد ﱟ‬ ‫ﻣﻨﺘﺸﻴﺎً إﱃ درﺟﺔ اﻟﺘﻐﻨﻲ ﺑﺎﻟﻜﻠامت‪ ،‬ﻓﻠﻴﺲ ﻫﻨﺎك ﻓﺎرق ﺑﻴﻨﻪ وﺑني‬ ‫ﻛﻤﺘﻠﻖ ﻓﻬام ﻣﻌﺎً ﻳﺘﺸﺎرﻛﺎن وﻳﺒﺤﺮان ﰲ ﻋﻮامل اﻹﺑﺪاع وﻟﻴﺲ‬ ‫اﻟﺸﺎﻋﺮ‬ ‫ﱟ‬ ‫ﺑﻴﻨﻬام ﺣﺎﺟﺰ‪:‬‬

‫‪b@@ @ @ @ @ @ @£@ @ @ @Bb@@ @ @ + @@ @ @ @ @ ~@ @ @ @ @ @6x@@ @ @ @ @ - @@ @ @ @ @ @ @ @ D x@@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @-*H‬‬ ‫*&­ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @@‪b@@ @ @ @ @ @ @ @ @£@ @ @ @ @ @ @ @ @ @ @ @ @ @ @- ¡@@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ J ¢‬‬ ‫‪b@@ @ @ @ @ @ @£@ @ @ @A @@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @EH ¤@@ @ @ @ @ @ @ @ @ @ @ @ @ @ E @@ @ @ @ @ }@ @ @ @ @ @ @ @ @ @ @ @ +‬‬ ‫‪b@@ @ @ @ @ @ @ @ @£@ @ @ @ @Db@@ @ @ @ < d@@ @ @ @ @ @ @ @ @Cx@@ @ @ @ @ @ @ @ @- @@ @ @ @ @ @ @ @ @ @ @ @ /¡@@ @ @ @ @ @ @ @ @ @ @ @ ´*H‬‬ ‫‪b@@ @ @ @ @ @ @£@ @ @ @Db@@ @ @ - @@ @ @ @ @ @ @ @ @ @ @ @ @ @DN H b@@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ DH&* @@ @ @ @ @ @ @ @ @ @ @E‬‬

‫أﻛﺘﻮﺑﺮ ‪25 2017 /‬‬

‫أﺳﺎﻃﻴﻦ اﻟﺸﻌﺮ‬ ‫‪baytelshear‬‬

‫ﻣﺠﻤﻮﻋﺔ إﻧﺴﺎن‪..‬‬ ‫وﻣﺠﻤﻮﻋﺔ ﻣﻮاﻫﺐ وإﻣﻜﺎﻧﻴﺎت‬

‫ א ‪..‬‬ ‫أﻣﻴﺮ اﻟﺸﻌﺮ اﻟﻨﺒﻄﻲ‬

‫ﻋﻠﻲ اﻟﻤﺴﻌﻮدي‬

‫ﺻﺎﺣﺐ اﻟﺴﻤﻮ اﳌﻠيك اﻷﻣري ﺧﺎﻟﺪ اﻟﻔﻴﺼﻞ ﺑﻦ ﻋﺒﺪاﻟﻌﺰﻳﺰ آل ﺳﻌﻮد‬ ‫‪ ..‬أﻣري ﻣﻨﻄﻘﺔ ﻣﻜﺔ اﳌﻜﺮﻣﺔ وﻣﺴﺘﺸﺎر ﺧﺎدم اﻟﺤﺮﻣني اﻟﴩﻳﻔني‬ ‫ورﺋﻴﺲ اﻟﻠﺠﻨﺔ اﳌﺮﻛﺰﻳﺔ ﻟﻠﺤﺞ‪ .‬اﻻﺑﻦ اﻟﺜﺎﻟﺚ ﻣﻦ أﺑﻨﺎء اﳌﻠﻚ ﻓﻴﺼﻞ ﺑﻦ‬ ‫ﻋﺒﺪاﻟﻌﺰﻳﺰ وواﻟﺪﺗﻪ ﻫﻲ اﻷﻣرية ﻫﻴﺎ ﺑﻨﺖ ﺗﺮيك ﺑﻦ ﻋﺒﺪ اﻟﻌﺰﻳﺰ ﺑﻦ ﻋﺒﺪ‬ ‫اﻟﻠﻪ ﺑﻦ ﺗﺮيك ﺑﻦ ﻋﺒﺪاﻟﻠﻪ آل ﺳﻌﻮد‪.‬‬ ‫اﺷﺘﻬﺮ اﺳﻤﻪ ﰲ دول اﻟﺨﻠﻴﺞ واﻟﻌﺎمل اﻟﻌﺮيب ﻛﺄﻫﻢ أﻋﻤﺪة اﻟﺸﻌﺮ‬ ‫اﻟﻨﺒﻄﻲ وﻓﺤﻞ ﻣﻦ ﻓﺤﻮﻟﻪ‪ ..‬ﳌﺎ ﻳﺘﻤﺘﻊ ﺑﻪ ﻣﻦ ﺷﺎﻋﺮﻳﺔ اﺳﱰﻋﺖ اﻧﺘﺒﺎه‬ ‫اﻟﻜﺜري ﻣﻦ اﻟﻨﻘﺎد‪ ،‬اﻟﺬﻳﻦ ﺗﻨﺎوﻟﻮﻫﺎ ﻣﻦ ﺧﻼل ﻣﺎ اﻧﻄﻮت ﻋﻠﻴﻪ ﻣﻦ‬ ‫ﻋﺎﻃﻔﺔ ﺟﻴﺎﺷﺔ وﺗﺼﻮﻳﺮ ﺳﺎﺣﺮ‪ ،‬وﻣﻌﺎن ﺳﺎﻣﻴﺔ‪ ،‬ﻓﻀ ًﻼ ﻋام ﺗﻀﻤﻨﺘﻪ‬ ‫ﻫﺬه اﻟﻘﺼﺎﺋﺪ ﻣﻦ أﻏﺮاض ﻋﺪة ﰲ اﻟﻮﺻﻒ واﻟﻐﺰل واﻟﺮﺛﺎء واﻟﻔﺨﺮ‪،‬‬

‫‪ ¤@@ @ @ @ Eb@@ @ @ @ J&°* @@ @ c@ @ @: *w@@ @ @ @ @ @GH h@@ @ @ B¡@@ @ @ D* ¥2b@@ @ @ @ @ @+ @@ @ @ E‬‬ ‫‪¤@@ @ @ @ EÉ@@ @ @ @ 0&°* @@ @ @j@ @ @ E I4*¡@@ @ @ @ @ @ @ @ - ·b@@ @ @ £@ @ @ @ @ @ @ @D* ¡@@ @ @ @ @ @ 0‬‬ ‫*&‪¤@@ Eb@@ F v@@ @ @ @ + b@@ @ @E ¤@@ @ @ @ @D* @@ @z@ @ /b@@ @ @ @ D* @@ @ @E ¥x@@ @ @ ~@ @ @ @6‬‬ ‫*&‪¤@@ @ @ E*¡@@ @ @ <&* @@ @ Db@@ @ ~@ @ @6 @@ @ @ @ @ @ @ @ /*4&* x@@ @ @ @ @ @ @ @D* @@ @ @ @ Db@@ @ @ @ 1‬‬ ‫ @ @ @@‪¤@@ @ Eb@@ @ @ @ @<* 24b@@ @ @ @ @ @ @+ ¡@@ @ @ ~@ @ @ @9 b@@ @ @ @ @ / ¢@@ @ @ @ @ < ¢@@ @ @ Av‬‬‫‪¤@@ @Eb@@ @; b@@ @ @ @J @@ @ @ @< @@ @ @ @Fb@@ @ @ @E5 @@ @ @ @D ¢@@ @ @ @ ~@ @ 8 b@@ @ @ @£@ @ @ @ D*H‬‬ ‫اﻟﺸﻌﺮ ‪ /‬اﻟﻌﺪد ‪60‬‬ ‫‪ 24‬ﺑﻴﺖ ِ‬

‫وﻏريﻫﺎ‪.‬‬ ‫ﻧﴩ اﻷﻣري ﺧﺎﻟﺪ اﻟﻔﻴﺼﻞ‪ ،‬ﰲ ﺑﺪاﻳﺎﺗﻪ أﺷﻌﺎره ﺗﺤﺖ اﺳﻢ ﻣﺴﺘﻌﺎر ﻫﻮ‬ ‫)داﻳﻢ اﻟﺴﻴﻒ( ذﻟﻚ اﻻﺳﻢ اﻟﺬي اﺳﺘﺨﺪﻣﻪ ﻟﺠﺲ ﻧﺒﺾ ﺟﻤﻬﻮره‪،‬‬ ‫اﻟﺬي ﺑﺪأ ﻳﺘﺰاﻳﺪ ﻳﻮﻣﺎً ﺑﻌﺪ ﻳﻮم‪ ،‬وﻫﻮ ﺑﺤﺴﺐ ﻣﺎ وﺻﻒ اﻷﻣري اﺧﺘﺒﺎر‬ ‫ﻟﻠﺸّ ﻌﺮ وﻣﻌﺮﻓﺔ ﻣﺪى إﻣﻜﺎﻧﻴﺔ وﺻﻮﻟـﻪ ﻟﻠﻤﺘﻠﻘﱢﻲ‪ ،‬وﻫﻮ اﻟﺬي ﺟﻌﻠﻪ‬ ‫ﻣﻌﺮوﻓﺎً ﻣﻦ ﺧﻼل ﺷﻌﺮه‪ ،‬ﻗﺒﻞ أن ﻳﻌﺮﻓﻪ اﻟﻨﺎس‪ ،‬و»داﻳﻢ« ﻛام ﻋﱪ‬ ‫ﻋﻨﻪ اﻟﻔﻴﺼﻞ ﻫﻮ ﻛﻨﺎﻳﺔ ﻋﻦ اﺳﻢ ﺧﺎﻟﺪ ﻓﻴام اﻟﻔﻴﺼﻞ ﻫﻮ اﺳﻢ اﻟﺴﻴﻒ‪.‬‬ ‫وﺑﺪأت ﺗﺘﻮاﱃ ﻗﺼﺎﺋﺪ اﻷﻣري اﻟﻔﻴﺼﻞ‪ ،‬مبﺎ ﺗﺤﻤﻞ ﻣﻦ رﻣﻮز ودﻻﻻت‪،‬‬ ‫وﻗﺪ ﻛﺘﺐ ﺳﻤﻮه اﻟﻜﺜري ﻣﻦ ﻫﺬه اﻟﻘﺼﺎﺋﺪ وﻣﻨﻬﺎ ﻋﲆ ﺳﺒﻴﻞ اﳌﺜﺎل‪:‬‬ ‫اﳌﻌﺎﻧﺎة‪ ،‬ﺣﻨﺎ اﻟﻌﺮب‪ ،‬ﻣﺠﻤﻮﻋﺔ إﻧﺴﺎن‪ ،‬ﺑﻨﺎت اﻟﺮﻳﺢ‪ ،‬ﰲ ﺳﺤﺎﺑﻪ‪،‬‬ ‫أﺟﺎذﺑﻚ اﻟﻬﻮى‪ ،‬ﻃﺎل اﻟﺴﻔﺮ‪ ،‬و»ﺑﺎدي اﻟﻮﻗﺖ« اﻟﺘﻲ ﺟﺎء ﻓﻴﻬﺎ‪:‬‬

‫<@ @ @ @@‪ b@@ @ @ @ @ @ @£@ @Db@@ £@ @ @ @ @ @D ¥v@@ @ @ @ @ @ ­ b@@ @ @ @ @ E b@@ @ @ @ @ @ @ @ @ J&°* ib@@ @ @ @+w‬‬ ‫‪ b@@ @ @ @ @£@ @ @ @s@ @J h@@ @ @ @B¡@@ @ @ @D* ob@@ @ @ m@ @ @ @< ¤@@ @ @ @ @ < 4¡@@ @ @ @ @ @ @º‬‬ ‫ ‪b@@ @ @ @ £@ @ @ @ @ ~@ @ 6&*H ¤@@ @~@ @ z@ @ @ @ @ @ D ¤@@ @ @ ~@ @ @ @9b@@ @ @ ´* 4¡Q @ @ @ @ @ @ @~@ @ @ @ @ @ @8&*H‬‬ ‫‪b@@ @ @ @ @ @ £@ @ @ <*2 v@@ @ @ @ @ @ @< ¥x@@ @ @ @ @ @ @ @ @A eb@@ @ @ @ @ @ @ @ @C4 u¡@@ @ @ @ @ @ @ @ @ @ F&* H‬‬ ‫‪b@@ @ @ @ @ @ JHx@@ @ @J H ¤@@ @ @ @ @ @ £@ @ @ Db@@ @ @ @ @ @ § ¡@@ @ @ ~@ @ @ @z@ @ @ @J b@@ @ @ @ @ @ @ @ @ ´*H‬‬ ‫*‪b@@ @ @£@ @Ab@@ ~@ @8 Í@@ @ @ @ @ @ D* @@ @ 6¡@@ @ p@ @ @J ° @@ @ c@ @ @B ex@@ @ @ ~@ @ @ @7‬‬

‫ﻋﺎﻳﺪ ﺑﻦ ﺧﻠﻒ اﻟﺮﺷﻴﺪي‬

‫ﺗﻬﺎين اﻟﺘﻤﻴﻤﻲ‬

‫ﻣﻦ أﺟﻤﻞ وأرق وأﻋﺬب ﻣﺎ ﻗﻴﻞ ﰲ ﺷﻌﺮ‬ ‫اﻟﻐﺰل ‪:‬‬ ‫ﻋﻴﻮن اﳌﻬﺎ ﺑني اﻟﺮﺻﺎﻓﺔ واﻟﺠﴪ‬ ‫ﺟﻠنب اﻟﻬﻮى ﻣﻦ ﺣﻴﺚ أدري وﻻ أدري‬ ‫ﻣﻦ ﻫﻨﺎ‪ ،‬أﻛﺎد أﺟﺰم ﺑﺄن ﻟﻠﻤﻜﺎن وﺟامل ﻣﺎ‬ ‫ﻳﻨﻈﺮ إﻟﻴﻪ اﻟﺸﺎﻋﺮ‪ ،‬اﻷﺛﺮ اﻟﻜﺒري ﻋﲆ ﺗﺸ ّﻜﻞ‬ ‫ﻗﺼﻴﺪﺗﻪ ﺳﻮاء ﻣﻦ ﺣﻴﺚ ﻗﻮة اﳌﻔﺮدة أو‬ ‫ﻋﺬوﺑﺘﻬﺎ‪ ،‬ﻓﺎﻟﺸﻌﺮ ﻣﺮﺗﺒﻂ مبﺎ ميﺮ ﺑﻪ اﻟﺸﺎﻋﺮ‪،‬‬ ‫وﻣﺎ ﻳﺮاه ﻣﻦ أﺣﺰان أو أﻓﺮاح ﺗﻨﻌﻜﺲ ﻋﲆ‬ ‫ﻣﺸﺎﻋﺮه ﻓﻴﻤﻄﺮﻫﺎ ﺷﻌﺮاً‪ ،‬وﻻ ﻧﻨﴗ أن اﻟﺸﺎﻋﺮ‬ ‫ﺣﺪﻳﺚ ﻣﺎ ﻳﺮى وﻋﻴﻮﻧﻪ ﻻ ﺗﻜﺬب أﺑﺪاً‪.‬‬ ‫اﻻﻧﺘﻤﺎء ﻟﻠﻤﻜﺎن‬ ‫اﻟﺸﺎﻋﺮة ﻫﻴﻼﻧﺔ اﻟﺸﻴﺦ أﻛﺪت أن اﻟﻘﺼﻴﺪة‬ ‫رﺣﻢ اﳌﻜﺎن ﻣﺜﻞ ﻧﺒﺘ ٍﺔ ﺷﻘﺖ اﻟﺼﺪر‬ ‫ﺗﻮﻟﺪ ﻣﻦ ِ‬ ‫ﺷ ًﻘﺎ وزﻟﺰﻟﺖ اﻟﻜﻴﺎن! وأﺿﺎﻓﺖ‪» :‬ﺗﺨ ّﻴﻞ أن‬ ‫أﺟﺴﺎدﻧﺎ ﺗﺤ ّﻠﻖ ﰲ ﺧﻮاء ﻣﻦ دون ﻣﻼﻣﺢ ﻛام‬ ‫ّ‬ ‫ﻣﺠﺴام ٍت ﻻ ﺗﻨﺘﻤﻲ ﻟﴚء‪ .‬ﻫﻜﺬا‬ ‫ﻟﻮ ﻛ ّﻨﺎ ﻣﺠﺮد‬ ‫ﻫﻲ اﻟﻘﺼﻴﺪة؛ إن ﺟﺮ ّدﺗﻬﺎ ﻣﻦ اﳌﻜﺎن واﻟﺰﻣﺎن‬ ‫ﺗﻔﻘﺪ ﻫﻮ ّﻳﺘﻬﺎ وﺗﺼﺒﺢ ﻣﺜﻞ ﻣﺴﺦ ﻧﺴﻞ ﻣﻦ‬ ‫ً‬ ‫ﺟﻤﻴﻼ ورمبﺎ ُﻣﺸَ ّﻮﻫﺎً‪ ،‬ﻟﻜﻦ‬ ‫اﻟ َﻌﺪم؛ رمبﺎ ﻛﺎن‬ ‫اﻻﻧﺘامء ﻟﻠﻤﻜﺎن ُﻳﺸﻜﻠﻬﺎ وﻳﺤﺪد ﻫﻮ ّﻳﺘﻬﺎ‬ ‫وﻫﻮﻳﺔ اﻟﺸﺎﻋﺮ‪.‬‬

‫ﺗﻬﺘﻢ ﺑﺎﳌﻜﺎن ﺑﻘﺪر ﻣﺎ ﺗﻬﺘﻢ ﺑﺘﻔﺮﻳﻎ اﻹﺑﺪاع‬ ‫ﰲ ورﻗﺔ ‪.‬‬ ‫ﻟﻜﻦ ﻻ ﺿري ﰲ أن ﻳﻜﻮن ﻟﻠﻤﻜﺎن اﻧﻌﻜﺎﺳﺎت‬ ‫وﻟﻮ ﺑﺴﻴﻄﺔ ﰲ اﻟﻨﺎﺗﺞ اﻟﻔﻜﺮي ﻟﻠﺸﺎﻋﺮ‬ ‫واﻟﻜﺎﺗﺐ ﺑﺼﻔﺔ ﻋﺎﻣﺔ‪ ،‬وﻫﺬا ﻳﻌﺘﻤﺪ ﻋﲆ‬ ‫اﻟﺸﺎﻋﺮ وﻣﺪى ارﺗﺒﺎﻃﻪ ﺑﺎﳌﻜﺎن‪.‬‬

‫ﻣﻊ ذﻟﻚ ﻓﺎﻷﻣﺮ ﻳﺨﺘﻠﻒ ﻣﻦ ﺷﺎﻋﺮ إﱃ ﺷﺎﻋﺮ‪،‬‬ ‫وﻟﻌﻞ اﻟﺸﺎﻋﺮ اﻻﺟﺘامﻋﻲ ﰲ ﻃﺒﻌﻪ ﻳﺠﺪ ﰲ‬ ‫ﻣﺨﺎﻟﻄﺘﻪ ﻟﻠﻨﺎس ﺑﻴﺌﺔ ﻣﻼمئﺔ ﻟﻠﻜﺘﺎﺑﺔ‪ ،‬ﻋﲆ‬ ‫ﻋﻜﺲ اﻟﺸﺎﻋﺮ اﻻﻧﻄﻮايئ ﻣﺜ ًﻼ‪.‬‬ ‫وﺣﺘﻰ اﳌﻔﺮدات ﺗﺨﺘﻠﻒ ﰲ ﻛﻞ ﺑﻴﺌﺔ ﻋﻦ‬ ‫اﻷﺧﺮى‪ ،‬وﰲ ﻛﻞ ﻗﺼﻴﺪة ﻋﻦ اﻷﺧﺮى ﺣﺴﺐ‬ ‫اﳌﻜﺎن‪ .‬ﻛﻞ ذﻟﻚ ﻣﻮﺟﻮد ﺑﻨﺴﺒﺔ ﻣﻌﻴﻨﺔ ﻗﺪ‬ ‫ﻗﺎﻣﻮس ﻣﻔﺮدات‬ ‫ﺗﺰﻳﺪ أو ﺗﻨﻘﺺ ﺣﺴﺐ إﻣﻜﺎﻧﻴﺎت اﻟﺸﺎﻋﺮ‪.‬‬ ‫وﻣﻊ ذﻟﻚ ﺑﻌﺾ اﻟﻘﺼﺎﺋﺪ ﺗﻔﺮض ﻧﻔﺴﻬﺎ ﰲ وﻳﺮى اﻟﺸﺎﻋﺮ أﺣﻤﺪ اﻟﺰرﻋﻮين أن اﻷﻣﺎﻛﻦ ﻣﻦ‬ ‫أﺑﺮز اﻟﻌﻮاﻣﻞ اﳌﺆﺛﺮة ﻋﲆ اﻟﺤﺎﻟﺔ اﻟﺸﻌﺮﻳﺔ‪،‬‬ ‫أﺣﻠﻚ اﻟﻈﺮوف واﻷﻣﺎﻛﻦ!‬ ‫ﺣﻴﺚ ارﺗﺒﺎط اﻟﺸﺎﻋﺮ ﺑﺘﻔﺎﺻﻴﻞ اﳌﻜﺎن اﻟﺬي‬ ‫ﻳﺸﻜﻞ إﻟﻬﺎﻣﻪ وﻣﻨﺒﻊ وﺟﺪاﻧﻪ‪ ،‬ﻟﺒﻨﺎء ﻫﻴﻜﻞ‬ ‫اﻧﻌﻜﺎﺳﺎت اﻷﻣﺎﻛﻦ‬ ‫اﻟﺸﺎﻋﺮ ﺣﺴﻦ اﳌﻌﺸﻨﻲ أﺷﺎر إﱃ أن ﻟﻠﻤﻜﺎن اﻟﻨﺺ اﻟﺸﻌﺮي ورﺳﻤﻪ إذا ﺻﺢ اﻟﺘﻌﺒري‪.‬‬ ‫ﺗﺄﺛرياً ﻛﺒرياً ﻋﲆ اﻟﺸﺎﻋﺮ وﻛﺘﺎﺑﺎﺗﻪ وﺣﻴﺎﺗﻪ‪ ،‬واﳌﻜﺎن ﻳﻌﺘﱪ ﻗﺎﻣﻮس ﻣﻔﺮدات‪ ،‬ﻟﺬﻟﻚ ﻧﺠﺪ‬ ‫ﻓﺎﻟﺒﻴﺌﺔ اﻟﺘﻲ ﻳﻌﻴﺶ ﻓﻴﻬﺎ اﻟﺸﺎﻋﺮ ﻫﻲ أن ﺷﻌﺮاء اﳌﻬﺠﺮ اﺧﺘﻠﻔﻮا ﰲ ﺗﻮاﺻﻴﻔﻬﻢ‬ ‫اﻟﺘﻔﺎﺻﻴﻞ اﻟﺘﻲ ﻳﺴﺘﻤﺪ ﻣﻨﻬﺎ اﻟﺸﺎﻋﺮ اﻧﻔﻌﺎﻻﺗﻪ وﻣﻔﺮداﺗﻬﻢ وﺗﻌﺎﺑريﻫﻢ ﻋﻦ ﺷﻌﺮاء اﻟﺒﺎدﻳﺔ‪،‬‬ ‫اﻟﺤﺴﻴﺔ اﻟﺘﻲ ﺗﻈﻬﺮ ﰲ ﻗﺼﻴﺪﺗﻪ‪ .‬واﻟﻘﺼﻴﺪة ﺣﻴﺚ إن ﻣﻔﺮدات أﻫﻞ اﳌﻬﺠﺮ ﻣﻼﻣﺴﺔ‬ ‫ﻣﻦ وﺟﻬﺔ ﻧﻈﺮي ﻻ ﺗﺤﺘﺎج إﱃ ﻣﻜﺎن ﻣﻌني ﻟﺤﻴﺎة اﳌﺪﻳﻨﺔ مبﺎ ﻓﻴﻬﺎ ﻣﻦ ﻣﻄﺎرات وﺳﻜﻚ‬ ‫ﻟﻠﻜﺘﺎﺑﺔ‪ ،‬ﻓﺎﻟﻬﺎﺟﺲ اﻟﺸﻌﺮي ﻫﻮ اﻟﺬي ﻳﺨﺘﺎر اﻟﻘﻄﺎرات واﻟﻄﺒﻴﻌﺔ اﻟﻴﺎﻧﻌﺔ‪ ..‬اﻟﺦ‪ .‬ﺑﻴﻨام‬ ‫ﻳﻨﺴﺞ أﻫﻞ اﻟﺒﺎدﻳﺔ ﻧﺼﻮﺻﻬﻢ ﻣﻦ ﺑﻴﺌﺔ اﻟﺼﱪ‬ ‫اﻟﻮﻗﺖ ﻟﻠﺤﻀﻮر ﻣﻦ دون ﺗﺤﺪﻳﺪ اﳌﻜﺎن‪.‬‬ ‫أﺳﻤﻊ أن ﺑﻌﻀﺎً ﻣﻦ اﻟﺸﻌﺮاء و)اﻟﻜﺘﺎب( وﻋﺎدات اﻵﺑﺎء واﻷﺟﺪاد‪ .‬ﻟﺬا ﻧﺠﺪ أن اﳌﻜﺎن‬ ‫ﻳﺨﺘﺎرون أﻣﺎﻛﻦ ﻣﻌﻴﻨﺔ وﻣﻮاﻗﻊ ﻟﻠﻜﺘﺎﺑﺔ وﻟﻬﻢ ﻗﺎﻟﺐ ﻳﺸﻜﻞ ﺷﺎﻋﺮﻳﺔ اﻟﺸﺎﻋﺮ ﺳﻮاء ﺑﺸﻜﻞ‬ ‫ﻋﺬرﻫﻢ‪ ،‬وﻟﻜﻦ اﻋﺘﻘﺪ أن ﻓﺌﺔ ﻛﺒرية ﻣﻨﻬﻢ ﻻ ﻣﺆﻗﺖ أو ﻣﺴﺘﺪام ‪.‬‬

‫أﻛﺘﻮﺑﺮ ‪23 2017 /‬‬

‫اﺳﺘﻄﻼع‬ ‫‪baytelshear‬‬

‫ﻓﻔﻲ اﻟﺼﻌﻴﺪ ﻣﺜ ًﻼ‪ ،‬ﺗﺨﺮج اﻟﻘﺼﻴﺪة ﺑﺎﻟﻠﻐﺔ‬ ‫اﻟﺼﻌﻴﺪﻳﺔ وﻣﺘﻘﺎﻃﻌﺔ ﻣﻊ اﻷﻋﺮاف اﻟﺼﻌﻴﺪﻳﺔ‪.‬‬ ‫ﺑﻴﻨام ﰲ اﻷﻣﺎﻛﻦ اﻟﺴﺎﺣﻠﻴﺔ ﻧﺠﺪ أن اﻟﻘﺼﺎﺋﺪ‬ ‫ﺗﻜﻮن ﻣﻔﺮداﺗﻬﺎ أﻛرث ﻣﺴﺎﺣﺔ‪ ،‬وﺣﺘﻰ ﻋﻨﺪﻣﺎ‬ ‫ﻳﻨﻘﻄﻊ اﳌﺒﺪع ﻋﻦ اﻟﻜﺘﺎﺑﺔ ﻟﻔﱰه ﻓﺈن ﻣﺠﺮد‬ ‫ﺗﺮدده ﻋﲆ اﳌﻨﺘﺪﻳﺎت اﻷدﺑﻴﺔ واﻟﻨﺪوات‬ ‫واﻷﻣﺴﻴﺎت اﻟﺸﻌﺮﻳﺔ ﻳﺴﺘﺜري ﻓﻴﻪ اﻟﻜﺘﺎﺑﺔ ﻣﻦ‬ ‫ﺟﺪﻳﺪ‪ .‬ﻛﻞ ﻫﺬا ﻳﱪﻫﻦ ﻋﲆ أن ﻟﻸﻣﺎﻛﻦ دوراً‬ ‫أﺳﺎﺳﻴﺎً ﰲ اﻟﺘﺸﻜﻴﻞ اﻟﻔﻨﻲ ﻟﻠﻘﺼﻴﺪة‪.‬‬ ‫ﻃﺒﻴﻌﺔ اﻟﺸﻌﺮاء‬ ‫اﻟﺸﺎﻋﺮة ﺑﺘﻮل آل ﻋﲇ ﺗﻘﻮل ‪»:‬ﻻ أﺑﺤﺚ ﻋﻦ‬ ‫اﳌﻜﺎن ﺑﻘﺪر ﻣﺎ أﺑﺤﺚ ﻋﻦ اﻟﻌﺰﻟﺔ واﻟﻬﺪوء‪،‬‬ ‫وﻟﻜﻦ ﻻﺷﻚ أن اﳌﻜﺎن ﻳﻠﻌﺐ دوراً ّ ً‬ ‫ﻣﻬام‪،‬‬ ‫ﻓﺒﻄﺒﻴﻌﺔ اﻟﺤﺎل أﻧﺎ ﻻ أﺣﺐ اﻟﻜﺘﺎﺑﺔ ﰲ ﻣﻜﺎن‬ ‫ذي إﺿﺎءة ﺳﻴﺌﺔ أو ﺗﻬﻮﻳﺔ ردﻳﺌﺔ‪ ،‬اﻷﻣﺎﻛﻦ‬ ‫اﻟﻀﻴﻘﺔ واﳌﺰدﺣﻤﺔ ﺗﺸﺘﺖ اﻟﻔﻜﺮة أﻳﻀﺎً‪.‬‬ ‫اﻟﻄﺒﻴﻌﺔ ﻫﻲ أﻛرث ﻣﺎ ﻳﺒﻌﺚ اﻟﺮاﺣﺔ ﰲ ﻧﻔﴘ‪،‬‬ ‫وﻟﻜﻦ ﻟﻴﺴﺖ ﻛﻞ ﻃﺒﻴﻌﺔ ﻫﻲ ﻣﻜﺎن ﺧﺼﺐ‬ ‫ﻟﻠﻜﺘﺎﺑﺔ‪ .‬وﻟﻜﻨﻬﺎ ﻋﲆ اﻷﻗﻞ ﺗﺒﻌﺚ اﻟﻄأمﻧﻴﻨﺔ‬ ‫و متﻬﺪ اﻟﻄﺮﻳﻖ ﻷﺑﻴﺎت ﻗﺎدﻣﺔ ﰲ اﻟﻄﺮﻳﻖ إن‬ ‫مل ﺗُﻜﺘﺐ ﰲ آﻧﻬﺎ‪.‬‬

‫ﻳﻮﻣﺎً أﻧﻨﻲ ﺑﺤﺜﺖ ﻋﻦ ﻣﻜﺎن ﻟﻜﺘﺎﺑﺔ ﺳﻄﺮ‬ ‫ﺷﻌﺮي واﺣﺪ‪ .‬ﻣﻊ أﻧﻨﻲ ﻻ أﻧﻜﺮ أن ﻟﻠﻤﻜﺎن‬ ‫ﺗﺄﺛريه اﻟﺒﺎﻟﻎ ﰲ ﻧﻔﻮس اﻟﺸﻌﺮاء وﰲ ﻛﺘﺎﺑﺎﺗﻬﻢ‪.‬‬ ‫ﻓﺎرﺗﻴﺎح اﻟﺮوح أﻣﺎم اﻟﺒﺤﺮ أو أﺛﻨﺎء وﺟﻮدﻫﺎ‬ ‫ﺑﺎﻟﻄﺒﻴﻌﺔ أو ﰲ ﻣﻜﺎن ﺣﺎمل ﻳﻬ ّﻴﺊ اﻟﻄﻘﻮس‬ ‫ﻟﻘﺪوم اﻟﺰاﺋﺮ اﻷﺟﻤﻞ وﻫﻮ »اﻟﺸﻌﺮ«‪.‬‬ ‫وﻟﻴﺲ ﴐورﻳﺎً أن ﻳﻜﻮن اﳌﻜﺎن ﺟﻤﻴ ًﻼ‪،‬‬ ‫ﻓﺒﻌﻀﻬﻢ ﻳﺼﻞ ﳌﺮﺣﻠﺔ اﻹﺑﺪاع ﰲ زﻧﺰاﻧﺘﻪ‬ ‫وﺑﻌﻀﻬﻢ اﻵﺧﺮ ﻳﺼﻠﻪ ﰲ اﻟﺸﺎﻧﺰﻟﻴﺰﻳﻪ!‬ ‫وﻣﺘﻰ ﻣﺎ اﺳﺘﻄﺎع ﻫﺬا اﳌﻜﺎن اﺳﺘﻨﻄﺎق اﻟﺮوح‬ ‫واﻟﺘﺄﺛري ﻓﻴﻬﺎ ﻧﺠﺪه ﻳﺪﻓﻊ اﻟﺸﺎﻋﺮ ﻧﺤﻮ اﻟﻜﺘﺎﺑﺔ‬ ‫ﻓﻲ اﻟﺰﻧﺰاﻧﺔ واﻟﺸﺎﻧﺰﻟﻴﺰﻳﻪ!‬ ‫واﻹﺑﺪاع ﺑﺤﺴﺐ ﻣﺎ ﻳﱰﻛﻪ اﳌﻜﺎن ﻣﻦ أﺛﺮ ﰲ‬ ‫أذﻛﺮ‬ ‫‪»:‬ﻻ‬ ‫ﻓﺘﻘﻮل‬ ‫أﻣﺎ اﻟﺸﺎﻋﺮة ﺗﻬﺎين اﻟﺘﻤﻴﻤﻲ‬ ‫ﻧﻔﺲ اﻟﺸﺎﻋﺮ‪.‬‬ ‫اﻟﺸﻌﺮ ‪ /‬اﻟﻌﺪد ‪60‬‬ ‫‪ 22‬ﺑﻴﺖ ِ‬

‫ﻋﻠﻰ ﺷﺎﻃﺊ دﺟﻠﺔ‬ ‫اﻟﺸﺎﻋﺮ ﻋﺎﻳﺪ ﺑﻦ ﺧﻠﻒ اﻟﺮﺷﻴﺪي ﻗﺎل‪ :‬ﻛﻞ‬ ‫ﻣﻨﺎ ﻳﻌﺮف اﻟﺸﺎﻋﺮ ﻋﲇ ﺑﻦ اﻟﺠﻬﻢ وﻗﺼﺘﻪ‬ ‫اﻟﺸﻬرية ﻣﻊ اﻟﺨﻠﻴﻔﺔ اﳌﺘﻮﻛﻞ‪ ،‬وﻣﺎ ﻛﺎن ﻟﻬﺬا‬ ‫اﻟﺸﺎﻋﺮ ﻣﻦ ﺗﺤﻮل ﺑﺎﻟﺸﻌﺮ )ﻣﻦ اﻟﺸﻌﺮ‬ ‫اﻟﺒﺪوي اﻟﺠﺎف إﱃ اﻟﺸﻌﺮ اﻟﺮﻗﻴﻖ اﻟﻌﺬب(‬ ‫وذﻟﻚ ﻋﻨﺪﻣﺎ ﻋﻠﻢ اﻟﺨﻠﻴﻔﺔ ﺑﺄن اﻟﺒﻴﺌﺔ اﻟﺘﻲ‬ ‫ﻧﺸﺄ ﻓﻴﻬﺎ اﻟﺸﺎﻋﺮ اﺑﻦ اﻟﺠﻬﻢ ﻫﻲ ﻣﻦ‬ ‫ﺟﻌﻠﺖ ﻣﻔﺮداﺗﻪ ﺑﻬﺬه اﻟﻘﺴﻮة واﻟﺨﺸﻮﻧﺔ‬ ‫وﻗ ّﻠﺔ اﻟﺜﻘﺎﻓﺔ‪ ،‬وﺣﻴﻨﻬﺎ ﺑﻌﺜﻪ إﱃ دار ﺣﺴﻨﺔ‬ ‫ﻋﲆ ﺷﺎﻃﺊ دﺟﻠﺔ ﻓﻴﻬﺎ ﺑﺴﺘﺎن ﻳﺘﺨﻠﻠﻪ ﻧﺴﻴﻢ‬ ‫ﻟﻄﻴﻒ وﺟﴪ ﻗﺮﻳﺐ ﻣﻨﻪ‪ ،‬ﻓﺄﻗﺎم ﻫﻨﺎك ﺳﺘﺔ‬ ‫أﺷﻬﺮ ﺛﻢ اﺳﺘﺪﻋﺎه اﻟﺨﻠﻴﻔﺔ ﻓﺄﻧﺸﺪه واﺣﺪ ًة‬

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‫ﻣﺤﻤﺪ ﻋﺒﺪاﻟﺴﻤﻴﻊ‬

‫ﻋﺒﺪاﻟﻠﻄﻴﻒ اﻟﻮﺣﻴﻤﺪ‬

‫ﻓﻬﻤﻲ ﻋﺒﺎس‬

‫ﻛﻞ ذﻟﻚ‪.‬‬ ‫ارﺗﺒﻂ اﻟﺸﻌﺮ ﺑﺎﳌﻜﺎن ارﺗﺒﺎﻃﺎً ﻻ إرادﻳﺎً ﰲ ﻫﻨﺎ ﻧﺴﺘﻌﺮض ﺑﻌﺾ آراء اﳌﺒﺪﻋني ﰲ ﻫﺬا‬ ‫ﻣﻌﻈﻢ اﻷﺣﻴﺎن‪ ،‬ﻓﺎﳌﻜﺎن ﻳﻔﺮض ﻧﻔﺴﻪ اﻟﺨﺼﻮص‪-:‬‬ ‫ﺑﺴﻼﺳﺔ ﻋﲆ ﻛﻞ أﺷﻜﺎل اﻹﺑﺪاع‪ .‬وﻗﺪ زﺧﺮ‬ ‫اﻟﺸﻌﺮ ﺑﺄﺳﺎﻟﻴﺐ اﻟﺘﻌﺒري اﻟﺤﻴﺔ وﺳﺠﻞ اﻟﺰﻣﻦ ﻻ ﻳﺘﺴﻢ ﺑﺨﺼﻮﺻﻴﺔ‬ ‫أﺣﺎﺳﻴﺲ اﻟﻨﺎس اﳌﺨﺘﻠﻔﺔ‪ ،‬وﺣﻔﻞ ﺑﺠﺎﻧﺐ ﻗﺎل اﻟﺸﺎﻋﺮ واﻹﻋﻼﻣﻲ راﺷﺪ اﻟﻘﻨﺎص ‪»:‬ﺗﻨﺎول‬ ‫ﻛﺒري ﻣﻦ اﻷﺳﺎﻟﻴﺐ اﻟﺒﻼﻏﻴﺔ واﻟﺼﻮر اﻟﺨﻴﺎﻟﻴﺔ اﻟﻨﻘﺎد ﻣﻨﺬ ﻓﺠﺮ اﻟﺸﻌﺮ اﻟﻌﺮيب ﺣﺘﻰ اﻟﻌﴫ‬ ‫اﻟﺘﻲ أﻣﺪت ذﻟﻚ اﻟﻨﺘﺎج ﺑﺎﻟﺘﺠﺪد واﻻﻧﻔﺘﺎح اﻟﺤﺪﻳﺚ ﻗﻀﻴﺔ اﻟﺒﻴﺌﺔ وﺟﺪل متﻈﻬﺮاﺗﻬﺎ ﰲ‬ ‫واﻟﺘﺄﺛري‪ ،‬ﻓﺎﻟﺸﻌﺮ ﻳﺠﺴﺪ ﻟﻨﺎ ﰲ اﻷﺳﺎس اﻟﻘﺼﻴﺪة واﻧﻌﻜﺎﺳﻬﺎ ﻋﲆ اﻟﺸﺎﻋﺮ‪.‬‬ ‫اﻧﺴﺠﺎم اﻟﺸﺎﻋﺮ ﻣﻊ ذاﺗﻪ ﻣﻦ ﺟﻬﺔ واﻟﺤﻴﺎة وﻟﻜﻦ ﻫﺬا اﻟﺠﺪل اﻟﻘﺪﻳﻢ ﻳﻜﺎد ﻳﻜﻮن ﻋﺪﻳﻢ‬ ‫اﻟﺘﻲ ﺣﻮﻟﻪ واﳌﺘﻤﺜﻠﺔ ﺑﺎﻟﺰﻣﺎن واﳌﻜﺎن ﻣﻦ اﻟﺠﺪوى ﰲ زﻣﻨﻨﺎ اﻟﺤﺎﱄ‪ ،‬وذﻟﻚ ﻻﻧﻔﺘﺎح اﻟﻌﺎمل‬ ‫ﻋﲆ ﺗﻄﻮر اﻟﻮﺳﺎﺋﻞ اﻟﺘﻘﻨﻴﺔ‪ ،‬ﻓﺮمبﺎ ﻳﺘﺄﺛﺮ ﺷﺎﻋﺮ‬ ‫ﺟﻬﺔ أﺧﺮى‪.‬‬ ‫وﻳﺒﺪو ﻣﻦ اﻟﺒﺪﻳﻬﻲ أن ﻳﻨﻌﻜﺲ ارﺗﺒﺎط ﰲ ﴍق اﻷرض ﺑﺒﻴﺌﺔ ﻣﺎ ﰲ أﻗﴡ اﻟﻐﺮب‪ .‬ﻓﻔﻲ‬ ‫اﻹﻧﺴﺎن ﺑﺎﳌﻜﺎن ﰲ أﺷﻜﺎل اﻟﺘﻌﺒري اﳌﺨﺘﻠﻔﺔ وﺟﺪان اﻟﺸﺎﻋﺮ )ﺣﺘﻰ وإن ﻛﺎن ﺑﻌﻴﺪاً ﻋﻨﻬﺎ(‬ ‫اﻟﺘﻲ ﻳﺘﻨﺎوﻟﻬﺎ ﰲ ﺣﻴﺎﺗﻪ‪ ،‬مبﺎ ﰲ ذﻟﻚ اﻟﺸﻌﺮ ﻗﺪ ﻳﻨﻌﻜﺲ ﻫﺬا ﻋﲆ اﻟﻘﺼﻴﺪة ﻟرنى ﻓﻴﻬﺎ‬ ‫ﻛﺄداة راﻗﻴﺔ ﻧﺎﺑﻌﺔ أﺻ ًﻼ ﻣﻦ ﺣﺎﺟﺔ اﻹﻧﺴﺎن ﻣﺼﻄﻠﺤﺎت ﻣﻦ ﺧﺎرج ﺑﻴﺌﺔ اﻟﺸﺎﻋﺮ اﻟﻀﻴﻘﺔ‪،‬‬ ‫ﻟﻠﻐﻨﺎء واﻟﺠامل‪ .‬ﻏري أن ﻟﻠﻤﻜﺎن ﻣﻠﻤﺤني‪ ،‬وأﺳﻠﻮﺑﺎً ﻣﺘﻨﻮﻋﺎً ﺑﺤﺴﺐ ﺗﻨﻮع اﻟﺒﻴﺌﺔ اﻟﺠﺎذﺑﺔ‬ ‫أﺣﺪﻫام ﻣﺎدي واﻵﺧﺮ ﺗﺠﺮﻳﺪي‪ .‬أﻣﺎ اﻟﻄﺎﺑﻊ ﻟﻠﺸﺎﻋﺮ واﻷﻗﺮب إﱃ ﻧﻔﺴﻪ‪ ،‬وﻗﺪ وﺟﺪت ﻫﺬا‬ ‫اﳌﺎدي‪ :‬ﻓﻴﻌﻜﺲ اﻻﻧﺘامء ﺑﺎﻟﺠﺴﺪ ﻟﺤﻴﺰ ﻣﻨﻄﻘﻴﺎ ﺟﺪاً ﺣني ﺳﺎﻓﺮت اﱃ ﺟﻤﻬﻮرﻳﺔ ﻣﴫ‬ ‫ﻣﻠﻤﻮس ﻛﻤﻨﺰل أو ﻗﺮﻳﺔ أو ﺷﺎﻃﺊ ﻣﻬﺠﻮر‪ ،‬وﻛﺘﺒﺖ ﻫﻨﺎك إﺣﺪى ﻗﺼﺎﺋﺪي ﻣﺘﺄﺛﺮاً ﺑﺒﻴﺌﺘﻬﺎ‪،‬‬ ‫ﺣﺪث ﻓﻴﻪ أﻣﺮ ﻣﺎ ﻧﺘﺬﻛﺮه ﻛﻠام ﻣﺮرﻧﺎ ﺑﺎﻟﻘﺮب وﻛﺬﻟﻚ ﰲ اﻟﻜﻮﻳﺖ‪ ،‬واﻹﻣﺎرات واﻟﺒﺤﺮﻳﻦ‬ ‫ﻣﻨﻪ‪ ،‬وﻧﺴﺘﻌﻴﺪ اﻟﺬﻛﺮى ﺑﻜﻞ ﻣﺎ ﻓﻴﻬﺎ ﻣﻦ وﻏريﻫﺎ‪.‬‬ ‫اﻧﻔﻌﺎل‪ ،‬وﺑﺎﻟﺘﺎﱄ‪ ،‬ﻓﺎﳌﻜﺎن وﻓﻖ ﻫﺬا اﳌﻌﻨﻰ أرى أن ﻫﺬا اﻟﺰﻣﻦ ﻻ ﻳﺘﺴﻢ ﺑﺨﺼﻮﺻﻴﺔ‬ ‫ﻫﻮ اﻟﺒﺎﻋﺚ ﻋﲆ اﻟﻜﺘﺎﺑﺔ ﻃﺎﳌﺎ أﻧﻪ ﻳﺠﺮﻓﻨﺎ مبﺎ ﻣﺤﺪدة‪ ،‬ﻟﺒﻴﺌﺔ ﻣﺤﺪدة‪ ،‬ﻓﻬﺮ زﻣﻦ اﻟﻌﻮﳌﺔ‪،‬‬ ‫أﻳﻘﻈﻪ ﰲ داﺧﻠﻨﺎ ﻣﻦ أﺣﺎﺳﻴﺲ ﻛﺎن اﻟﻨﺴﻴﺎن وﺗﻼﺣﻢ اﻟﺤﻀﺎرات واﻟﺨﻠﻴﻂ اﳌﻌﺮﰲ اﳌﺸﱰك‪،‬‬ ‫ﻗﺪ أﺧﻤﺪﻫﺎ ﻟﻔﱰة ومل ﻳﻘﺾ ﻋﻠﻴﻬﺎ ﺑﺎﻟﻜﺎﻣﻞ‪ .‬وﻫﺬا ﻛﻠﻪ ذو ﺗﺄﺛري واﺳﻊ ﻋﲆ اﻟﻘﺼﻴﺪة‬ ‫أﻣﺎ اﻟﻄﺎﺑﻊ اﻟﺘﺠﺮﻳﺪي‪ :‬ﻓﻬﻮ ﻋﻨﺪﻣﺎ ﻧﻨﻔﺼﻞ واﻟﺸﺎﻋﺮ‪.‬‬ ‫ﻋﻦ اﻟﺰﻣﻦ وﻧﺮﺗﺒﻂ ﺑﺎﻷﺑﺪ ﻣﻦ ﺧﻼل اﻟﺤﻴﺎة‬ ‫ﰲ ﻗﻠﺐ اﻟﻠﺤﻈﺔ اﻟﺮاﻫﻨﺔ‪ ،‬ﻓﻴﻨﺸﺄ ﻟﺪﻳﻨﺎ ارﺗﺒﺎط ﻛﻞ ﻣﻜﺎن وزﻣﺎن‬ ‫ﺑﺮﻣﻮز اﻟﺤﻴﺎة ﻳﻮﺣﻲ ﺑﺎﻟﺘﺄﺛﺮ وﻳﺰرع ﰲ داﺧﻠﻨﺎ وﻳﻘﻮل اﻷدﻳﺐ ﻋﺒﺪاﻟﻠﻄﻴﻒ اﻟﻮﺣﻴﻤﺪ إن‬ ‫اﻻﻧﻔﻌﺎل‪ ،‬وﺑﺎﻟﺘﺎﱄ ﻧﻠﺠﺄ ﻟﻠﻜﺘﺎﺑﺔ واﻟﺘﻌﺒري ﻋﻦ اﻟﺸﻌﺮ إﻟﻬﺎم‪ ،‬واﻹﻟﻬﺎم ﻳﺄيت ﻟﻠﺸﺎﻋﺮ ﰲ أي‬

‫أﺣﻤﺪ اﻟﺰرﻋﻮين‬

‫زﻣﺎنٍ وﰲ ﻛﻞ ﻣﻜﺎن‪ ،‬وﻟﻴﺲ ﺑﺎﻟﴬورة أن‬ ‫ﻳﻜﻮن ﻫﺬا اﳌﻜﺎن ﻓﺨ ًام أو راﺋﻌﺎً‬ ‫ﻛﻤﻨﺘﺠﻊ أو‬ ‫ٍ‬ ‫ﺷﺎﻃﺊ أو ﻗﴫ‪ ،‬ﻓﻘﺪ ﻳﻜﻮن ﺷﺎرﻋﺎً‬ ‫ﺣﺪﻳﻘ ٍﺔ أو‬ ‫ٍ‬ ‫ﻣﻘﺮاً ﻟﻠﻌﻤﻞ أو ﺣﺘﻰ اﻟﺨﻼء‪.‬‬ ‫ﻣﺎ أو ﺑﻴﺘﺎً أو ّ‬ ‫وﺗﺤﴬين ﻫﻨﺎ ﺣﺎﻟﺔ اﻹﻟﻬﺎم اﻟﺘﻲ اﺳﺘﻌﺼﺖ‬ ‫ﻋﲆ أﺣﺪ ﻛﺒﺎر اﻟﺸﻌﺮاء‪ ،‬وﻣﺎ ﻗﺎﻟﻪ اﻟﻔﺮزدق‬ ‫)اﻟﺬي ﻟﻮﻻ ﺷﻌﺮه ﻟﻀﺎع ﺛﻠﺚ اﻟﻠﻐﺔ ﻛام ذﻛﺮ‬ ‫اﻟﺠﺎﺣﻆ ﰲ ﻛﺘﺎﺑﻪ اﻟﺒﻴﺎن واﻟﺘﺒﻴني( ‪» :‬ﺗﺄيت ﻋ ﱠ‬ ‫ﲇ‬ ‫ﻟﺤﻈﺔ ﻳﻜﻮن ﻓﻴﻬﺎ ﺧﻠﻊ اﻟﺴﻦ أﻫﻮن ﻋ ﱠ‬ ‫ﲇ ﻣﻦ‬ ‫ﻗﻮل ﺑﻴﺖ ﻣﻦ اﻟﺸﻌﺮ«‪ .‬ﻓﺎﻟﺸﻌﺮ‪ ،‬إﻟﻬﺎم ﻛام‬ ‫أﺳﻠﻔﻨﺎ وﻗﺪ ﻳﻮﺣﻲ ﺑﻪ ﻣﺸﻬﺪ ﻳﺮاه اﻟﺸﺎﻋﺮ أو‬ ‫ﺻﻮرة ﻳﺸﺎﻫﺪﻫﺎ أو ﻛﻠﻤﺔ ﻳﻘﺮأﻫﺎ أو ﻗﺼﺔ‬ ‫ﻳﺴﻤﻌﻬﺎ أو ﻓﻜﺮة ﺗﻄﺮق ﺑﺎﻟﻪ أو ﺣﺪﻳﺚ ﺑني‬ ‫ﺷﺨﺼني أو ﻏري ذﻟﻚ‪.‬‬ ‫ﺻﺒﻎ اﻟﻘﺼﺎﺋﺪ ﺑﻤﻔﺮدات اﻟﺒﻴﺌﺔ‬ ‫وﺗﺆﻛﺪ اﻟﺸﺎﻋﺮة ﻧﺎدﻳﺔ ﻟﻄﻔﻲ أن ﻟﻠﻤﻜﺎن دوراً‬ ‫أﺳﺎﺳﻴﺎً ﰲ اﻟﺘﺸﻜﻴﻞ اﻟﻔﻨﻲ ﻟﻠﻘﺼﻴﺪة‪ ،‬ﻓﻤﺜ ًﻼ‬ ‫ﺣﻴﻨام ﻳﺮوق ﻟﻠﺸﺎﻋﺮ ﻛﺘﺎﺑﺔ ﻗﺼﻴﺪة ﺗﺘﺴﻢ‬ ‫ﺑﺎﻟﺮوﻣﺎﻧﺴﻴﺔ واﻟﺸﺠﻦ‪ ،‬ﻳﻠﻌﺐ ﻓﻴﻬﺎ اﻟﺨﻴﺎل‬ ‫دوراً ﻛﺒرياً ميﺲ اﻟﺤﺲ واﻟﻮﺟﺪان‪ ،‬ﻓﺈﻧﻨﺎ‬ ‫ﻧﺠﺪه ﻳﻠﺠﺄ إﱃ اﻷﻣﺎﻛﻦ اﻟﺘﻲ ﺗﺘﺴﻢ ﺑﺎﻟﻬﺪوء‬ ‫واﻟﺸﺎﻋﺮﻳﺔ ﻣﻦ ﻗﺒﻴﻞ ﻏﺮوب اﻟﺸﻤﺲ‪ ،‬وﺧﺮﻳﺮ‬ ‫اﳌﺎء‪ ،‬واﻟﺨﴬة اﻟﺘﻲ ﺗﺮﺗﺎح إﻟﻴﻬﺎ اﻷﻋني‪ .‬ﺑﻴﻨام‬ ‫ﻧﺠﺪ أن اﻟﺸﻌﺮاء ﺣﻴﻨام ﻳﻮﺟﺪون ﰲ اﳌﺤﺎﻓﻞ‬ ‫اﻟﺴﻴﺎﺳﻴﺔ ﻣﺜﻞ اﻷﺣﺰاب واﻟﻨﻘﺎﺑﺎت وﻏريﻫﺎ‪.‬‬ ‫ﺗﺘﺴﻢ ﻗﺼﺎﺋﺪﻫﻢ ﺑﺎﻟﻬﻤﻮم اﻟﺤﺰﺑﻴﺔ واﻟﻌﻨﺎوﻳﻦ‬ ‫اﻟﺜﻮرﻳﺔ ﺑﻌﻴﺪاً ﻋﻦ اﻟﺨﻴﺎل‪ ،‬وﺗﺼﺒﺢ اﻟﻘﺼﻴﺪة‬ ‫ﻣﻌﺰوﻓﺔ ﻋﲆ أوﺗﺎر اﻟﺼﺪق واﻟﻮاﻗﻌﻴﺔ‪ .‬وﻣﻦ‬ ‫اﳌﺘﻌﺎرف أﻳﻀﺎً أن اﻷﻣﺎﻛﻦ ﺗﺆﺛﺮ ﰲ ﺻﺒﻎ‬ ‫اﻟﻘﺼﺎﺋﺪ مبﻔﺮدات ﻣﺴﺘﻮﺣﺎة ﻣﻦ اﻟﺒﻴﺌﻴﺔ‪.‬‬ ‫أﻛﺘﻮﺑﺮ ‪21 2017 /‬‬

‫اﺳﺘﻄﻼع‬ ‫‪baytelshear‬‬

‫ﻓﻲ ﺣﺪﻳﺚ ﻋﻦ أﺛﺮ‬ ‫اﻟﻤﻜﺎن ﻓﻲ اﻟﻜﺘﺎﺑﺔ‬

‫ﺷﻌﺮاء‪ :‬اﻟﻘﺼﺎﺋﺪ‬ ‫ﺗﺮﺳﻢ ا‪9‬ﻣﺎﻛﻦ‬ ‫ُ‬ ‫ﺑﺎﻟﻜﻠﻤﺎت!‬

‫اﻟﺸﻌﺮ ‪ /‬اﻟﻌﺪد ‪60‬‬ ‫‪ 20‬ﺑﻴﺖ ِ‬

‫ﺧﻼﺻﺔ ﻗﺼﻴﺪي‬

‫ اﻟﻄﻠﺤﻲ‬+‫ﻋﺒﺪا‬ @talhi_abdullah

19 2017 / ‫أﻛﺘﻮﺑﺮ‬

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‫ﻣﺎﺳﺎت‬ baytelshear t

‫ﺗﺮاب اﻟﻮﻃﻦ‬ ‫ﻫﺎدي اﻟﻤﻨﺼﻮري‬ @HadiAlMns

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‫ﻮط اﻟﺤﻤﺮ‬I‫اﻟﺨﻄ‬ ¡@@ +x@@ B°* eR xN @ @ @ @ @ @ BR &*HN R @ @ gP @ @ £R @ @N @ @ =&R * R @@ @ EN ¢@@ @N @ @ =&R * ¡R @ @ @ O @ @ @ P @ @ @ R @ @ @ JN °N b@@ @ @ E ¡@@ @ @ @ A R @ @ @ @ @ cU @ @ @ @ @ P0&* b@@ @ @ @ @ F%* N HR @@ @ @Jb@@ ~@ @8HR HP ¡R @ @ O @ @ Pm@@ R @ @DP R¥U2'¡@ @ @ @ @ - R @ @ P @ @ cR @ @ : R N R @ @ O @ @ £R @ @N @ @ <N ¡R @ @ @ gO @ @ @ FR *PH R @ @ @ P @ @ @~@@ P@ 8HR b@@ @ +N &* ¡R @ @ O @ @ P @ @ « ¡@@ s@ @J @@ @ @~@@R 8HN @R @ @jP @ @ PE ¯R P ¥x@@ R @ @~@P@ 7 &Q ° ¡@@ @ @~@ @8¡@@ J b@@ @ @ S @ @ @ <N @@ @ @ @ @ @ @ @ @ 0R xS @ @ D* 4b@@ @ @c@ @ @ ¡R @ @£O @ @ P< R @ @ FP ¡R @ @ £O @ @ < I R ¡N @ @~@ @6 R @ cN @ ~@R @{@ -P b@@ E ¡@@ @£@ @ <PR H NR H ¡R @ O @ P: É@@+R @@£R @~@N @6 @Q @z@ +N M @@£R @~@N @6 R @ ~@P @{@ ³*P ¡R @ @ +O 4P b@@ @~@S@ @{@ @ @ @ DP M ,wS @ @ @ @ @ @DN HR $R b@@ @ N @ @ ~@@QP @{@ @ D* @@ @£R @ @ AP ¡R @ @ @ @ O @ @ @ @+P wR @ @ @ @JN R vU @ @ @ @ @ @ @ 1N 4¡@@ @ @ @ @G5 @R @ @ @ @ @ @ @ <N 5N *3*H ¡R @ @ gO @ @ ~@@ P@ |@ @ R @ @ JN HR ¡R @ @ gO @ @ P @ @ ~@@R @ z@ @ JN R @ @ @ S @ @ @ N @ @ @- *3*H HR xO @ @~@P@ {@ @cR @ @gN @ @~@R@ z@ @J @R @ @ cN @ @ @BP *3N (* eR xN @ @ @ @ N @ @ @ @DR * Q @ @ @ @CP H'¡@ @ @~@ @ @7 @@ @ @ @ @ R @ @ @1N ¯R P ÑP HR ¢@@ @ @N @ @ < Ñ* HR xO @ @ P @ @~@R@ {@ @JN °N R @ @ @ @ OGHR @@ D R @ @£U @ @ Pp@@ ~@@P 9 *¡R @ @ @ @ @ 0* N 4N ¡@@ @m@ @ ´* Í@@ @ @ @ +HR @@ @ @ @ ~@@R @{@ @ ² P * Í@R @ @ @ @ +N @@ £@ @ @ @1 R N R @@ @ PEHR ¡@@ @ @ R @ +N HR @@|@£@ @BHR oHR 4N R @@ P @ gP @ « ¡@@ @ @J%°* H e¡@@ - eÉ@@ @D* Í@R @ +N @@£R @ S @ D* ¯H ¡R @ @ O @ @ ±* R P R 24U ¡N @ @ @ @ J R @ @cU @ @ P0 eR xN @ @ N @ @ DR * @@}@ R @ +N

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È@R P @ @ FN @@ @D d@R @ @ @gP @ @ @ CR *HN x@@ R @ @~@P@ 7 d@R @ @ gP @ @ @ CR &* @@ F¡@@ £@ @ R @ @DP R P @ @ @ @CP @@R @ @ @ 7HP °S *PH @@ @ £R @ @ @CN Á¡@@ D&b@ @ ~@ @ z@ @ - ° "È@ xR @ @ P @@ P @ @DR * @@ @DR ¡R @ @ @~@@O @ 6*HN R @ @ cU @ @ P0* b@@ E ¡R @ @ @ DN @R@ @ @7HP K @ @ @ @ R @ @ @ @EN @@ @ @£R @ @ @ AP ¤@@ @ @ @ £@ @ ° b@@ @ @J Ä@ R P @ @ ~@@ S@ |@ @ @ D*H É 4R Pw@@ @ @ P< @@ @ @ R @ @ PE ¢@@ @ @ @ +N &* @@ @ @ @ ~@@R @8HN @R @ @ cP @ @ @BN R @@ @ P @ @ D xR @ P @ ~@U @{@ D* P Ä@RN @ @ @ @ @ CR *HN 4R b@@ S @ @~@U @ {@ @D* R @@ @ @ PE Ä@ R N @ @ @ @ CR &* 4 Pv@@ cN @ @D* @@ @E ¢@ R @ @ @ @ 0&R * Ñ*HN °N 4R Pv@@ @ cN @ @ @D* @@ @ @/R HN xR @ @ N @ @~@S @ {@ @D* @Q@ @|@ @ FP x@@ N @ @ @ @+R xR @ @ @ CU wN @ @ @ - R xU @ @ @ @ @ @ @ P=HR N @ @« R N R @@ @ @ PEHR xR @ P @@1 N fR @ @ FN b@@ @0N HR R24P ¡R @ @ @ @ EN R @ P @@~@R @{@ 1 h@ N @ @N @ @ <N Rh@@ @cP @ @ R @ @ JN R @ @ ~@N@ @z@ @ gP @ @ +R * *3(* xR @ @ @ @GN 5N R vU @ @ @ @ @ 1 ¢@ 4R Pv@@ @ @ BN HR @@ @ c@ @ £R @ @ GN HR R @ @ P @ @ £R @ @ P @ @ ~@@P 6 h@@ N @ @~@ @6 *3*PH xR @ @ @N @ E xR @ @ @ @N @ @ E xR @ @ @ @N @ @ E xR @ @ @ @N @ @ E R @ @ gP @ @ P @ @ cR @ @ BN ¯ Æ@R P @ @ ~@@U @ z@ @ D*H PR ¡@ @ @ @ R @ @ @ @ <N eQ 4N b@@ @ J ¢@@ @ N @ @ B *3*H R H Ä@RN @ @<N xR @ @ N @ @~@R@ 6&* ¢@@ N @ @<N xR @ @N @s@R @ N @ gR @ J xQ @ @ EN *P R P @ R @ ~@P @7 b@@E @@ @ Jb@@gN @ ~@R @6 ¯ xR @ ~@@N }@ 0 N HR HRv@ @ @+N ¯ h@ xR @ @ P @ @ ~@@N @8 R @ @ @ @ @ @BP xR @ @ @ @ @ @+P HR @@ @ @£Q @ @ @ EÉ@@ @ @~@@R @ @6(* R b@@ @ @ cN @ @ @ @< xR @ @ Pm@@ U @ @ D*PH xR @ @ N @ @ ~@@R @7°* QÅ@P @ @ @ D* Í@R @ @ @+N q@@ cR @ @~@@U |@ @D*H xR @ @ P @@ ~@S @ {@ @Db@@ GN °S (* R @ @ cN @ @ ~@R@ @{@ @ -P b@@ @ @EN R @ @ @ P @ @ @JP b@@ @ ~@@N @ 8HP N HR @@ @ @R @ @+N R @@ @ @ PE Í@R @ @ BN xR @ @ @ P @ @ @DR * eR xS @ @ @ N @ @ @ ER xR @ @ N @ @; x@@ ~@N @ {@ + Ñ* ¤@Q @ @ @ @ 0H N Ì@R @ @ @ @ =N @R @ @ jP @ @ @ PE ¡@@ @ G b@@ @ E xR @ @ @ O @ @ @0O M ¡R @ @ @ @ @O @ @ @ @1R @@ @ @ @ @ FH2 *w@@ @ @ @ @ GH ° ° xR @ @ N @ @EN ¥x@@ R @ @~@P@ 7 @R @ @cP @ @ BN R¥x@@ @ R @ @ @ P< R @ @ @ DP h@@ @ ESR v@ @ @BN Ì@RN @ P @ @D* @@ @ RG&* b@@ @JN v@@ @ @ JR 5N ¡R @ @ +O b@@ @JN @@ z@ @£R @ @BN b@@ @JN xQ @ @ N @ @ E R @@ @ @ @ @ PE b@@ @ @ @ EN @@ @CÌ@@ @~@ @ |@ @ E b@@ @FÌ@@ @~@ @ |@ @ E

‫ﺣﻮار اﻟﻌﺪد‬ ‫‪baytelshear‬‬

‫دامئﺎ ﻣﺤﻠﻘﺎً ﰲ ﺧﻴﺎﻟﻪ وأﻓﻜﺎره‪.‬‬ ‫ﻣﺎ ﻫﻲ ﺑﺮأﻳﻚ أﺳﺒﺎب متﻴﺰك ووﺻﻮﻟﻚ إﱃ‬ ‫ﻗﻠﻮب اﻟﻨﺎس؟‬ ‫أول ﺳﺒﺐ‪ ،‬ﻫﻮ اﻟﺘﻮﻓﻴﻖ ﻣﻦ اﻟﻠﻪ ﺳﺒﺤﺎﻧﻪ‬ ‫وﺗﻌﺎﱃ‪ ،‬أﻣﺎ اﻟﺴﺒﺐ اﻟﺘﺎﱄ واﻷﺳﺎس ﻛام‬ ‫أراه أﻧﺎ )وﻗﺪ أﻛﻮن ﻣﺨﻄﺌﺎً أو ﻣﺼﻴﺒﺎً( ﻓﻬﻮ‬ ‫ني‬ ‫دﺧﻮﱄ اﳌﺘﺄين ﻟﻠﻤﺸﻬﺪ اﻟﺸﻌﺮي‪ ،‬ﺑﻌﺪ ﻳﻘ ٍ‬ ‫ﺑﻨﻀﺞ ﺗﺠﺮﺑﺘﻲ وﺛﻘﺔ ﻛﺎﻓﻴﺔ مبﺎ أﻗﺪﻣﻪ‪،‬‬ ‫ﻋﻠام ﺑﺄين أﺟﺪت ﻛﺘﺎﺑﺔ اﻟﺸﻌﺮ وأﻧﺎ ﻻ أزال‬ ‫ﰲ اﻟﺨﺎﻣﺴﺔ ﻋﴩة ﻣﻦ ﻋﻤﺮي‪ .‬أﻣﺎ اﻟﺴﺒﺐ‬ ‫اﻟﺜﺎﻟﺚ ﻓﻴﺘﻌﻠﻖ ﺑﺎﻟﺠﻤﻬﻮر‪ ،‬اﻟﺬي أﺻﺒﺢ واﻋﻴﺎً‬ ‫وﻗﺎدراً ﻋﲆ اﻟﺘﻤﻴﻴﺰ ﺑني اﳌﻮﻫﺒﺔ اﻟﺤﻘﻴﻘﻴﺔ‬ ‫واﳌﻮﻫﺒﺔ اﳌﺰﻳﻔﺔ‪.‬‬

‫ﻣﻦ اﻟﺸﺎﻋﺮ اﻟﺬي ﻳﺤﺒﻪ اﻟﺠﻤﻬﻮر وﻣﻦ ﻫﻮ‬ ‫اﻟﺸﺎﻋﺮ اﻟﺬي ﻳﺘﺠ ّﻨﺒﻪ اﻟﺠﻤﻬﻮر ﺑﺮأﻳﻚ؟‬ ‫اﻟﺸﺎﻋﺮ اﳌﺪﻫﺶ‪ ،‬ﻫﻮ اﻷﻗﺮب إﱃ اﻟﺠﻤﻬﻮر‬ ‫ﰲ ﻳﻮﻣﻨﺎ ﻫﺬا‪ ،‬واﻟﺸﺎﻋﺮ إذا مل ُﻳﺪﻫﺶ ﻧﻔﺴﻪ‬ ‫ﻓﻠﻦ ﻳﺪﻫﺶ ﺟﻤﻬﻮره وﻟﻦ ﻳﻨﺎل ﻣﺤﺒﺘﻪ‬ ‫ورﺿﺎه ﻋﻦ ﻗﺼﺎﺋﺪه‪ .‬وأرى أن اﻟﺸﺎﻋﺮ اﳌﺒﺪع‬ ‫ﻫﻮ اﻟﺬي ﻳﺴﺘﻄﻴﻊ ﻛﺴﺐ ﻣﺤﺒﺔ اﻟﺠﻤﻬﻮر‬ ‫ﻋﱪ اﻟﺘﺠﺪﻳﺪ واﻷﻓﻜﺎر اﳌﺨﺘﻠﻔﺔ واﻟﺤﻀﻮر‬ ‫اﻷﻧﻴﻖ‪ .‬أﻣﺎ اﻟﺸﺎﻋﺮ اﻟﺬي ﻻ ﻳﺤﺒﻪ اﻟﺠﻤﻬﻮر‬ ‫ﻓﻬﻮ اﻟﺸﺎﻋﺮ اﻟﺬي ﻳﻜﺮر ﻧﻔﺴﻪ وأﻓﻜﺎره‬ ‫وﻻ ﻳﺴﺘﻄﻴﻊ ﺗﺠﺎوز ﻣﻮاﺿﻴﻌﻪ اﳌﺤﺪودة‪.‬‬ ‫وﻻ ﻳﺤﺐ اﻟﺠﻤﻬﻮر ﻛﺬﻟﻚ اﻟﺸﺎﻋﺮ اﻟﺬي ﻻ‬ ‫ﻳﺤﻤﻞ رﺳﺎﻟﺔ‪ ،‬واﻟﺸﺎﻋﺮ اﻟﺬي ﻳﻬﺘﻢ ﺑﺼﻮرﺗﻪ‬ ‫اﻟﺸﺨﺼﻴﺔ أﻛرث ﻣﻦ ﺻﻮرﺗﻪ اﻟﺸﻌﺮﻳﺔ‪ ،‬وﻫﻨﺎك‬ ‫اﻟﻜﺜري ﻣﻦ ﻫﺆﻻء اﻟﺸﻌﺮاء ﰲ اﻟﺴﺎﺣﺔ‬ ‫اﻟﺸﻌﺮﻳﺔ وﻫﻢ ﰲ ازﻳﺎد ﻻ ﺳﻴام ﺑﻌﺪ ﻇﻬﻮر‬ ‫وﺳﺎﺋﻞ اﻟﺘﻮاﺻﻞ اﻻﺟﺘامﻋﻲ‪.‬‬ ‫ﻣﺎ ﻫﻲ اﻷﻏﺮاض اﻟﺸﻌﺮﻳﺔ اﻟﺘﻲ ﺗﺠﺪ‬ ‫ﻧﻔﺴﻚ ﻗﺮﻳﺒﺎً ﻣﻨﻬﺎ وﻗﺎدراً ﻋﲆ اﻟﻜﺘﺎﺑﺔ ﻓﻴﻬﺎ‬ ‫ﺑﺘﻤﻴﺰ واﻗﺘﺪار؟‬ ‫أﺳﺘﻄﻴﻊ أن أﻛﺘﺐ ﰲ ﺟﻤﻴﻊ اﻷﻏﺮاض اﻟﺸﻌﺮﻳﺔ‬ ‫ﻣﺎ دﻣﺖ ﻗﺎدراً ﻋﲆ أن أﻋﻴﺸﻬﺎ وأﺗﺮﺟﻤﻬﺎ‬ ‫ﻗﺼﺎﺋﺪ وأﺑﻴﺎت‪ .‬ﻟﻜﻦ أﺟﺪ ﻧﻔﴘ ﻣﺘﻮﻫﺠﺎ ﰲ‬ ‫اﻟﻜﺘﺎﺑﺔ ﻋﻦ اﻟﻮﻃﻦ واﻟﻮﺟﺪان‪ .‬ﻟﻜﻦ وﻋﻤﻮﻣﺎً‪،‬‬ ‫ﻟﻠﺸﺎﻋﺮ أن ﻳﻜﺘﺐ ﻓﻴام ﻳﺮﻳﺪ‪ ،‬ﻟﻜﻦ ﻋﻠﻴﻪ أن‬ ‫ﻳﺤﺴﻦ اﺧﺘﻴﺎر ﻣﺎ ُﻳﻈﻬﺮه ﻟﻠﺠﻤﻬﻮر‪ ،‬ﻓﺎﻟﻘﺼﺎﺋﺪ‬ ‫أﻃﻮل ﻋﻤﺮاً ﻣﻦ ﻋﻤﺮ ﺷﺎﻋﺮﻫﺎ وﺳﺘﺒﻘﻰ ﺣﻴ ًﺔ‬ ‫ﺑﻌﺪ رﺣﻴﻠﻪ‪.‬‬ ‫ﻟﺪﻳﻚ ﻗﺼﺎﺋﺪ ﻏﺰﻟﻴﺔ ﻣﺪﻫﺸﺔ ﻧﺎﻟﺖ‬ ‫ﺷﻬﺮة واﺳﻌﺔ‪ ،‬ﻫﻞ ﺗﻌﺘﻘﺪ أن اﻟﻐﺰل ﻫﻮ‬ ‫أﻗﴫ اﻟﻄﺮق ﻟﻠﻮﺻﻮل إﱃ ذاﺋﻘﺔ اﻟﻨﺎس؟‬ ‫ﻧﻌﻢ ﻫﻮ ﺳ ّﻴﺪ أﻏﺮاض اﻟﺸﻌﺮ وأﻣﺘﻌﻬﺎ وأﻛرث‬ ‫ﻣﺎ ُﻳﻄﺎﻟﺐ ﺑﻪ اﻟﺸﺎﻋﺮ ﻣﻦ ﺟﻤﻬﻮره‪.‬‬ ‫ﻟﺪﻳﻚ ﻣﺸﺎرﻛﺎت ﻛﺜرية ﰲ اﳌﻬﺮﺟﺎﻧﺎت‬ ‫واﻟﻔﻌﺎﻟﻴﺎت واﻟﱪاﻣﺞ اﻟﺸﻌﺮﻳﺔ ﰲ ﻣﺨﺘﻠﻒ‬

‫اﻟﺸﻌﺮ ﻓﻲ ﻇﻞ اﻫﺘﻤﺎم ودﻋﻢ وﻻة اﻷﻣﺮ ﻟﻪ‪،‬‬ ‫ﺳﻴﻈﻞ ﺑﺨﻴﺮ وﻣﻦ ﺣﺴﻦ إﻟﻰ أﺣﺴﻦ‬ ‫اﻟﺸﻌﺮ ‪ /‬اﻟﻌﺪد ‪60‬‬ ‫‪ 16‬ﺑﻴﺖ ِ‬

‫إﻣﺎرات اﻟﺪوﻟﺔ‪ .‬ﻫﻞ ﺳرناك ﻣﻦ ﺟﺪﻳﺪ ﰲ‬ ‫ﻣﺴﺎﺑﻘﺎت وﺑﺮاﻣﺞ ﺷﻌﺮﻳﺔ مل ﺗﻈﻬﺮ ﺑﻬﺎ ﻣﻦ‬ ‫ﻗﺒﻞ؟‬ ‫ﻧﻌﻢ‪ ،‬وﻫﻨﺎك ﻣﺴﺎﺑﻘﺔ ﺧﺎرج اﻹﻣﺎرات ﺳﱰى‬ ‫اﻟﻨﻮر ﻗﺮﻳﺒﺎً ﺑﺈذن اﻟﻠﻪ‪ ،‬وﺳﺄﻋﻠﻦ ﻋﻨﻬﺎ ﰲ‬ ‫اﻟﻮﻗﺖ اﳌﻨﺎﺳﺐ‪.‬‬ ‫ﺳﺄﺗﻮﺟﻪ إﻟﻴﻚ ﺑﺄﺳﺌﻠﺔ ﻣﺒﺎﴍة ﻻ ﺗﺤﺘﻤﻞ‬ ‫اﻹﺟﺎﺑﺔ ﻋﻠﻴﻬﺎ ﺑﺄﻛرث ﻣﻦ ﻛﻠﻤﺘني أو ﺛﻼث‪..‬‬ ‫وأﺑﺪأ ﺑﺴﺆال ﻋﻦ ﺷﺎﻋﺮ ﺷﻌﺒﻲ ﺗﺤﺒﻪ‬ ‫وﺗﺘﺎﺑﻌﻪ ؟‬ ‫ﻓﻘﻴﺪ اﻟﺸﻌﺮ واﻟﺸﻌﺮاء ﺳﻌﺪ ﺑﻦ ﺟﺪﻻن‪.‬‬ ‫ﻛﺘﺎب أو دﻳﻮان ﺷﻌﺮي أ ّﺛﺮ ﰲ ﺗﺠﺮﺑﺘﻚ‬ ‫اﻟﺸﻌﺮﻳﺔ وﺗﻌﻮد إﻟﻴﻪ ﻟﺘﻘﺮأه ﺑني ﺣني وآﺧﺮ؟‬ ‫ﻣﻌني‪ ،‬وﻟﻜﻦ‬ ‫ﻟﻴﺲ ﻫﻨﺎك ﻛﺘﺎب أو دﻳﻮان ّ‬ ‫ﻣام ﻗﺮأت ﻣﺆﺧﺮاً وأﻋﺠﺒﻨﻲ‪ ،‬إذاﻋﺔ اﻷﻏﺎين ﻟـ‬ ‫»ﻋﻤﺮ ﻃﺎﻫﺮ«‪.‬‬ ‫ﺷﺎﻋﺮ ﻓﺼﻴﺢ ﺗﺮاه اﻷﺑﺮز ﰲ ﺳرية اﻟﺸﻌﺮ‬ ‫اﻟﻌﺮيب؟‬ ‫اﻟﻌﺮاﻗﻲ ﻋﺒﺪاﻟﺮزاق ﻋﺒﺪاﻟﻮاﺣﺪ أو ﻛام ﻳﻄﻠﻖ‬ ‫ﻋﻠﻴﻪ اﳌﺘﻨﺒﻲ اﻷﺧري‪.‬‬ ‫ﻣﻜﺎن أو ﻣﺪﻳﻨﺔ ﺗﻠﻬﻤﻚ ﰲ اﻟﻜﺘﺎﺑﺔ ؟‬ ‫ﻛﺎردف ‪ -‬اﳌﻤﻠﻜﺔ اﳌﺘﺤﺪة‪.‬‬ ‫أﻗﺮب اﻟﻔﻨﻮن إﱃ اﻟﺸﻌﺮ‬ ‫اﻟﺮﺳﻢ‪.‬‬ ‫أﺧرياً‪ ،‬وأﻧﺖ واﺣﺪ ﻣﻦ أﺑﺮز اﻟﺸﻌﺮاء‬ ‫اﻟﺸﺒﺎب ﰲ دوﻟﺔ اﻹﻣﺎرات اﻟﻌﺮﺑﻴﺔ اﳌﺘﺤﺪة‪.‬‬ ‫ﻛﻴﻒ ﺗﻨﻈﺮ إﱃ ﺣﺎﴐ اﻟﺸﻌﺮ اﻟﺸﻌﺒﻲ‬ ‫وﻣﺴﺘﻘﺒﻠﻪ ﰲ اﻟﺪوﻟﺔ وﻣﻨﻄﻘﺔ اﻟﺨﻠﻴﺞ اﻟﻌﺮيب‬ ‫ﻋﻤﻮﻣﺎ؟‬ ‫اﻟﺸﻌﺮ ﰲ ﻇﻞ اﻫﺘامم ودﻋﻢ وﻻة اﻷﻣﺮ‬ ‫ﻟﻪ‪ ،‬ﺳﻴﻈﻞ ﺑﺨري وﻣﻦ ﺣﺴﻦ إﱃ أﺣﺴﻦ‪،‬‬ ‫وﻣﻊ ﻇﻬﻮر وﺳﺎﺋﻞ اﻟﺘﻮاﺻﻞ اﻻﺟﺘامﻋﻲ‬ ‫واﳌﺴﺎﺑﻘﺎت اﻟﺸﻌﺮﻳﺔ‪ ،‬زادت ﺟﺴﻮر اﻟﺘﻮاﺻﻞ‬ ‫ﺑني اﻟﺸﻌﺮاء وﺟﻤﻬﻮر اﻟﺸﻌﺮ‪ ،‬وﻻ ﻧﺪري‬ ‫ﻣﺎﻳﺨﺒﺌﻪ ﻟﻨﺎ اﳌﺴﺘﻘﺒﻞ ﻣﻦ وﺳﺎﺋﻞ ﺟﺪﻳﺪة‪،‬‬ ‫وﻟﻜﻨﻨﻲ ﻋﻤﻮﻣﺎً ﻣﺘﻔﺎﺋﻞ‪.‬‬

‫ﺗﻨﺘﻤﻲ ﻷﴎة ﺷﻌﺮﻳﺔ ﻣﻤﻴﺰة أﺧﻠﺼﺖ‬ ‫ﻟﻜﺘﺎﺑﺔ اﻟﻘﺼﻴﺪة وﻣﻨﺤﺖ اﻟﺴﺎﺣﺔ اﻟﺸﻌﺒﻴﺔ‬ ‫أﺳامء ﻗﺪﻳﺮة‪ .‬ﻛﻴﻒ أﺛﺮ ذﻟﻚ ﻋﲆ ﺗﺠﺮﺑﺘﻚ‬ ‫اﻟﺸﻌﺮﻳﺔ ﻣﻦ ﺣﻴﺚ اﻟﻨﻀﺞ واﻻﻧﺘﺸﺎر‬ ‫واﻟﻮﻋﻲ؟‬ ‫أن ﺗﻨﺸﺄ ﰲ ﺑﻴﺌﺔ ﺷﻌﺮﻳﺔ ﺑني ﺷﻌﺮاء وﻣﺘﺬوﻗني‬ ‫ﻟﻠﺸﻌﺮ‪ ،‬ﻓﻤﻦ اﻟﻄﺒﻴﻌﻲ أن ﻳﺆﺛﺮ ذﻟﻚ ﺑﺘﺠﺮﺑﺘﻚ‪،‬‬ ‫وﻳﺴﻬﻢ ﰲ ﺗﺸﻜﻴﻞ وﻋﻴﻚ وﻧﻀﻮﺟﻚ‪ .‬ﺻﺤﻴﺢ‬ ‫أن اﳌﻮﻫﺒﺔ ﻫﻲ اﻷﺳﺎس‪ ،‬ﻟﻜﻦ ﻧﺸﺄﺗﻚ ﰲ‬ ‫ﻣﺜﻞ ﺗﻠﻚ اﻟﺒﻴﺌﺔ ﺳﺘﺼﻘﻞ اﳌﻮﻫﺒﺔ وﺗﻐﺬﻳﻬﺎ‬ ‫ﺑﺎﻟﻨﻀﻮج واﳌﻌﺮﻓﺔ ﺑﺸﻜﻞ أﴎع‪.‬‬ ‫ﻣﺎ اﻟﺬي ﺣﺼﺪﺗﻪ ﻣﻦ ﻣﺤﻴﻄﻚ اﻟﺸﻌﺮي‬ ‫ﻛﺄﴎة وأﺻﺪﻗﺎء وأﻗﺎرب؟‬ ‫ﻣﺎ ﺣﺼﺪﺗﻪ ﻫﻮ اﻟ ّﺪﻋﻢ واﻟ ّﺘﺸﺠﻴﻊ اﳌﺴﺘﻤﺮ‬ ‫رﺣﺐ‪،‬‬ ‫واﻟ ّﻨﻘﺪ اﻟﺒ ّﻨﺎء اﻟﺬي أﺳﺘﻘﺒﻠﻪ دامئﺎً ﺑﺼﺪ ٍر ٍ‬ ‫ﺧﺼﻮﺻﺎً إذا ﻛﺎن ﻣﻦ ﻣﺨﺘﺺ أو ﺻﺎﺣﺐ‬ ‫ﺗﺠﺮﺑﺔ‪ ،‬أﺿﻒ إﱃ ذﻟﻚ اﻟﺘﻮﺟﻴﻪ‪ .‬وأﻧﺎ أرى أن‬ ‫اﻟﺸﺎﻋﺮ ﻻ ﻳﻜﻔﻴﻪ أن ﻳﻜﻮن ُﻣﺠﻴﺪاً وﻣﺆﻫ ًﻼ‬ ‫ﺑﺎﻟﻜﺎﻣﻞ ﻟﺪﺧﻮل اﻟﺴﺎﺣﺔ اﻟﺸﻌﺮﻳﺔ ﻣﻦ دون‬ ‫أن ﻳﺤﻈﻰ ﺑﻔﺮﺻﺔ اﻟﻨﺼﻴﺤﺔ واﻟﺘﻮﺟﻴﻪ‪ ،‬ﻓﻜام‬ ‫ﻧﻌﻠﻢ أن ﻟﻠﺸﻌﺮ واﻟﻮﺳﻂ اﻟﺸﻌﺮي ﻗﻮاﻧﻴﻨﻪ‬ ‫وﺿﻮاﺑﻄﻪ‪ .‬ﻟﻜﻦ ﻋﻤﻮﻣﺎً‪ ،‬ﻟﻴﺴﺖ ﻛﻞ ﻧﺼﻴﺤﺔ‬ ‫ﻗﺎﺑﻠﺔ ﻷن أﺻﻐﻲ ﻟﻬﺎ وأﻋﻤﻞ ﺑﻬﺎ‪ ،‬ﻟﻜﻨﻲ ﰲ‬ ‫اﻟﺤﻘﻴﻘﺔ ﻻ أﻫﻤﻞ اﻟﻨﺼﺎﺋﺢ وأﺣﺎول دامئﺎً‬ ‫ﺳامﻋﻬﺎ وﺗﻔﻬﻤﻬﺎ‪.‬‬ ‫ﻛﻴﻒ اﺳﺘﻘﺒﻞ اﻟﻘﺮﻳﺒﻮن ﻣﻨﻚ ﺑﺪاﻳﺎﺗﻚ‬ ‫اﻟﺸﻌﺮﻳﺔ اﻷوﱃ ؟‬ ‫ﺗﺴﺘﻄﻴﻊ اﻟﻘﻮل إﻧﻬﻢ ﺗﻔﺎﺟﺆوا‪ ،‬وﻟﻜﻦ ﻻ ﻳﻌﻨﻲ‬ ‫ذﻟﻚ أﻧﻪ ﻛﺎن اﻋﱰاﻓﺎً ﺑﺄين ﻗﺪ أﺻﺒﺤﺖ ﺷﺎﻋﺮاً‪،‬‬ ‫ﻓﻬﻢ ﻋﲆ ﻋﻠﻢ ﻣﺴﺒﻖ ﺑﺸﻐﻔﻲ ﺑﺎﻟﺸﻌﺮ‪،‬‬ ‫وﻣﻨﻬﻢ ﻣﻦ ﻛﺎن ﻳﻘﺮأ ﺷﻌﺮه ﱄ وﻳﺘﻮاﺻﻞ ﻣﻌﻲ‬ ‫ﺑﻜﻞ ﺟﺪﻳﺪ ﻣﻦ ﺑﺎب ﻋﻠﻤﻪ مبﺤﺒﺘﻲ اﻟﻜﺒرية‬ ‫ﻟﻠﺸﻌﺮ واﻟﻘﺼﺎﺋﺪ‪ .‬ﻟﻜﻦ ﻣﺎ ﻓﺎﺟﺄﻫﻢ ﺣﻘﺎ ﻫﻮ‬ ‫ﴎﻋﺔ اﻧﺘﺸﺎري وإﺷﺎدة أﺳامء ﺷﻌﺮﻳﺔ ﻛﺒرية‬ ‫ﺑﺘﺠﺮﺑﺘﻲ ﺑﺎﻟﺮﻏﻢ ﻣﻦ ﻇﻬﻮري اﳌﺘﺄﺧﺮ ﰲ‬ ‫اﻟﺴﺎﺣﺔ‪.‬‬ ‫اﻟﺸﻌﺮ ﻛام ﻳﺮاه ﻣﺤﻤﺪ ﺑﻦ ﻃﺮﻳﺶ ﻫﻮ ؟‬ ‫ﻻ أﺑﺎﻟﻎ إذا ﻗﻠﺖ إن اﻟﺸﻌﺮ ﻫﻮ رﺋﺔ ﺛﺎﻟﺜﺔ‬

‫اﻟﺸﺎﻋﺮ اﻟﺬي ﻻ ﻳﺤﺒﻪ اﻟﺠﻤﻬﻮر‬ ‫ﻫﻮ اﻟﺸﺎﻋﺮ اﻟﺬي ﻳﻜﺮر ﻧﻔﺴﻪ‬ ‫وأﻓﻜﺎره وﻻ ﻳﺴﺘﻄﻴﻊ ﺗﺠﺎوز‬ ‫ﻣﻮاﺿﻴﻌﻪ اﻟﻤﺤﺪودة‬ ‫اﻟﺸﻌﺮ رﺳﺎﻟﺔ ﻋﻈﻴﻤﺔ‪ ،‬واﻟﺸﺎﻋﺮ‬ ‫ﺗﻜ ّﻔﻞ ﺑﺤﻤﻞ ﻫﺬه اﻟﺮﺳﺎﻟﺔ‪ ،‬وﻧﺤﻦ‬ ‫ﻣﺤﺐ‬ ‫و} اﻟﺤﻤﺪ ﻓﻲ ﻣﺠﺘﻤﻊ ّ‬ ‫وﺣﺎﻓﻆ ﻟﻠﺸﻌﺮ‬ ‫دﻳﻨﻲ وﻣﺒﺎدﺋﻲ أﻫﻢ اﻟﺨﻄﻮط‬ ‫اﻟﺘﻲ ﻻ ﻳﻤﻜﻦ ﺑﺤﺎل ﻣﻦ اﻷﺣﻮال‬ ‫أن أﺗﺠﺎوزﻫﺎ‪ ،‬وﻣﺎ ﻋﺪا ذﻟﻚ‪ ،‬ﻳﻤﻜﻦ‬ ‫ﻟﻠﺸﺎﻋﺮ أن ﻳﺘﻌﺎﻣﻞ ﻣﻌﻪ ﺑﺤﺮﻳﺔ‬

‫ﻳﺘﻨﻔﺲ ﻣﻦ ﺧﻼﻟﻬﺎ اﻟﺸﻌﺮاء‪ ،‬وﻫﻮ ﻛﺬﻟﻚ أداة‬ ‫ﻟﻠﺘﻌﺒري‪ ،‬أو ﻫﻮ أداة ﺗﻌﺒري ﻟﻜﻞ ﻗﻠﺐ ﺻﺎﻣﺖ‪.‬‬ ‫واﻟﺸﺎﻋﺮ ﻫﻮ ﻟﺴﺎن اﻟﺸﺎرع وﻫﻮ اﳌﺆرخ اﻟﺬي‬ ‫ﻗﺪ ﻧﻘﺮأ ﻣﻦ ﺧﻼل ﻗﺼﺎﺋﺪه ﺗﺎرﻳﺦ اﳌﻜﺎن‬ ‫واﻟﺰﻣﺎن‪.‬‬ ‫ّ‬ ‫اﻟﺸﻌﺮ رﺳﺎﻟﺔ ﻋﻈﻴﻤﺔ‪ ،‬واﻟﺸﺎﻋﺮ ﺗﻜﻔﻞ ﺑﺤﻤﻞ‬ ‫ﻫﺬه اﻟﺮﺳﺎﻟﺔ‪ ،‬وﻧﺤﻦ وﻟﻠﻪ اﻟﺤﻤﺪ ﰲ ﻣﺠﺘﻤﻊ‬ ‫ﻣﺤﺐ وﺣﺎﻓﻆ ﻟﻠﺸﻌﺮ‪ ،‬وﻋﺎرف ﺑﻘﻴﻤﺘﻪ وﻗﻴﻤﺔ‬ ‫ﻛ ّﺘﺎﺑﻪ اﻟﺸﻌﺮاء‪.‬‬ ‫اﻟﺨﻄﻮط اﻟﺤﻤﺮ‪ ،‬ﻋﻨﻮان ﻗﺼﻴﺪة ﻟﻚ‪ .‬ﺗُﺮى‬ ‫ﻣﺎ ﻫﻲ اﻟﺨﻄﻮط اﻟﺤﻤﺮاء اﻟﺘﻲ ﺗﻀﻌﻬﺎ دامئﺎً‬ ‫أﻣﺎم ﻗﻠﻤﻚ ﺣني ﺗﻜﺘﺐ اﻟﻘﺼﻴﺪة ؟‬ ‫دﻳﻨﻲ وﻣﺒﺎديئ أﻫﻢ ﻫﺬه اﻟﺨﻄﻮط اﻟﺘﻲ ﻻ‬ ‫ميﻜﻦ ﺑﺤﺎل ﻣﻦ اﻷﺣﻮال أن أﺗﺠﺎوزﻫﺎ‪ ،‬وﻣﺎ‬ ‫ﻋﺪا ذﻟﻚ‪ ،‬ميﻜﻦ ﻟﻠﺸﺎﻋﺮ أن ﻳﺘﻌﺎﻣﻞ ﻣﻌﻪ‬ ‫ﺣﺮ وﻣﺘﻤﺮد ﺑﻄﺒﻴﻌﺘﻪ‪ ،‬وﻻ ﻳﺤﺐ‬ ‫ﺑﺤﺮﻳﺔ‪ ،‬ﻓﻬﻮ ﱞ‬ ‫أن ﻳﻀﻊ أﻣﺎﻣﻪ اﻟﺨﻄﻮط واﻟﺤﻮاﺟﺰ يك ﻳﻈﻞ‬ ‫أﻛﺘﻮﺑﺮ ‪15 2017 /‬‬

‫ﺣﻮار اﻟﻌﺪد‬ ‫‪baytelshear‬‬

‫إﻟﻰ )اﻷﻟِﻒ(‬ ‫ﻣﻦ )ﻳﺎءﻫﺎ(‬ ‫اﻟﻠﻐﻪ ‪..‬‬ ‫ﺪﻳﻦ اﻵﺧﺮﻳﻦ‬ ‫ﻳﻨﻲ و ﻓﻲ ﻳ‬ ‫ﻓﻲ ﻳﺪ‬ ‫ور و ﻻ أَﻟِﻒ‬ ‫ﻣﺎ اﺣﺐ اد‬ ‫ﻓـ اﻟﺸِﻌﺮ‬ ‫ﻤﺴﺘﺸﻌﺮﻳﻦ‬ ‫ﺸﺎﻋﺮ ﻣﻦ اﻟ‬ ‫اﻓﺮز اﻟ‬ ‫ﻣﺮار اﺧﺘﻠِﻒ‬ ‫ﻖ ﻣﺮه ‪ ..‬و أ‬ ‫ﺬري ﺳﻤﻴﻦ‬ ‫اﺗﻔ‬ ‫ﻲ ﻋﻨّﻜﻢ ﻋ‬ ‫و ﻓـ اﺧﺘﻼﻓ‬ ‫اﻧﻲ ﻣﺨﺘﻠِﻒ‬ ‫ﺗْﺸﻮﻓﻮن ﺑـ‬ ‫ﻤﺘﺸﺎﺑﻬﻴﻦ( !‬ ‫اﻧﺘﻮ‬ ‫ﻜﻢ اﻧﺘﻮ )اﻟ‬ ‫ﻫﺬا ﻟـ اﻧ‬

‫ﻳﻌ ّﺪ ﻣﻦ أﺑﺮز ا<ﺻﻮات اﻟﺸﻌﺮﻳﺔ اﻟﺸﺎﺑﺔ ﻓﻲ ا ﻣﺎرات‬

‫ﻣﺤﻤﺪ ﺑﻦ ﻃﺮﻳﺶ‪ :‬أﺛﻖ ﺑﻘﺼﻴﺪﺗﻲ وﻻ أرﻓﺾ اﻟﻨﺼﻴﺤﺔ!‬ ‫ﺣﺎوره ﻋﺒﺪا‪ +‬أﺑﻮ ﺑﻜﺮ‬

‫ﺷﺎﻋﺮ ﺷﺎب ﻣﺘﻤﻴﺰ‪ ،‬وﺻﺎﺣﺐ ﺣﻀﻮر ﻣﺘﻮﻫﺞ‪ P‬ﻳﻜﺘﺐ ﺑﺴﻼﺳﺔ وأدوات ﻓﻨﻴﺔ ﻋﺎﻟﻴﺔ‪ ،‬وﻳﺘﺮك ﻟﻨﻔﺴﻪ ﺑﺼﻤﺔ ﻓﻴﻤﺎ ﻳﻜﺘﺐ‬ ‫ﻣﻦ ﻗﺼﺎﺋﺪ وأﺑﻴﺎت ذات ﺧﺼﻮﺻﻴﺔ ‪P‬‬ ‫ﻧﺸﺄ ﺑﻴﻦ أﻓﺮاد ﻳﺤﺒﻮن اﻟﺸﻌﺮ وﻳﺠﻴﺪون ﻛﺘﺎﺑﺘﻪ‪ ،‬وﻫﻢ أﺻﺤﺎب ﺗﺠﺎرب ﻛﺒﻴﺮة‪ ،‬اﺳﺘﻄﺎع أن ﻳﺜﺒﺖ ﻧﻔﺴﻪ أﻣﺎﻣﻬﻢ‪ ،‬وﻳﺼﻞ إﻟﻰ‬ ‫ﺟﻤﻬﻮر اﻟﺸﻌﺮ ﺑﻜﻞ ﺛﻘﺔ وﻧﻀﺞ‪P‬‬ ‫ﻳﺮى أن اﻟﺠﻤﻬﻮر أﺻﺒﺢ واﻋﻴ ًﺎ وﻗﺎدر ًا ﻋﻠﻰ اﻟﺘﻤﻴﻴﺰ ﺑﻴﻦ اﻟﻤﻮﻫﺒﺔ اﻟﺤﻘﻴﻘﻴﺔ واﻟﻤﻮﻫﺒﺔ اﻟﻤﺰﻳﻔﺔ‪ P‬وﻳﺆﻛﺪ أن اﻟﺸﻌﺮ ﻫﻮ رﺋﺔ ﺛﺎﻟﺜﺔ‬ ‫ﻳﺘﻨﻔﺲ ﻣﻦ ﺧﻼﻟﻬﺎ اﻟﺸﻌﺮاء‪ ،‬وﻫﻮ ﻛﺬﻟﻚ أداة ﻟﻠﺘﻌﺒﻴﺮ‪ ،‬أو ﻫﻮ أداة ﺗﻌﺒﻴﺮ ﻟﻜﻞ ﻗﻠﺐ ﺻﺎﻣﺖ‪P‬‬ ‫وﻳﻜﺸﻒ أن ﻫﻨﺎك ﻣﺴﺎﺑﻘﺔ ﺧﺎرج اﻹﻣﺎرات ﺳﺘﺮى اﻟﻨﻮر ﻗﺮﻳﺒ ًﺎ وﺳﻴﻜﻮن ﻣﺸﺎرﻛ ًﺎ ﻓﻴﻬﺎ‪P‬‬ ‫اﻟﺸﻌﺮ اﻟﺘﻘﺖ اﻟﺸﺎﻋﺮ اﻟﻤﺘﻤﻴﺰ ﻣﺤﻤﺪ ﺑﻦ ﻃﺮﻳﺶ اﻟﻜﻌﺒﻲ وﻛﺎن ﻫﺬا اﻟﺤﻮار ‬ ‫ﺑﻴﺖ ِ‬ ‫اﻟﺸﻌﺮ ‪ /‬اﻟﻌﺪد ‪60‬‬ ‫‪ 14‬ﺑﻴﺖ ِ‬

‫ﻣﺸﺮوع ﻋﻘﺎري ﻓﻲ دﺑﻲ ﻳُﺤﺎﻛﻲ ﻃﻮﻛﻴﻮ‬ ‫ﺗﺸﻬﺪ ديب ﺧﻼل اﻷﺳﺎﺑﻴﻊ اﻟﻘﻠﻴﻠﺔ اﳌﻘﺒﻠﺔ‬ ‫إﻃﻼق ﻣﴩوع ﻣﺪﻳﻨﺔ ﻣﺘﻜﺎﻣﻠﺔ ﻳﺤﺎيك اﻟﻌﺎﺻﻤﺔ‬ ‫اﻟﻴﺎﺑﺎﻧﻴﺔ ﻃﻮﻛﻴﻮ ﻋﲆ ﻣﺴﺎﺣﺔ ‪ 80‬ﻣﻠﻴﻮن ﻗﺪم‬ ‫ﻣﺮﺑﻊ )ﻣﺎ ﻳﻌﺎدل ‪ 740‬ﻫﻜﺘﺎراً( ﻋﲆ ﻣﻘﺮﺑﺔ ﻣﻦ‬ ‫ﻣﻮﻗﻊ إﻛﺴﺒﻮ ‪ .2020‬ومتﺜﻞ اﳌﺪﻳﻨﺔ اﻟﺠﺪﻳﺪة‬ ‫اﳌﺮﺣﻠﺔ اﻟﺜﺎﻧﻴﺔ ﻣﻦ ﻣﴩوع »ﻋﻘﺎرات ﺟﻤريا‬ ‫ﻟﻠﻐﻮﻟﻒ« وﺳﻴﺴﺘﻐﺮق ﺗﺸﻴﻴﺪﻫﺎ ‪ 15‬ﻋﺎﻣﺎً‬ ‫وﺗﺘﻜﻮن ﻣﻦ ‪ 8‬ﻣﻨﺎﻃﻖ ﻋﻤﺮاﻧﻴﺔ ﺗﺤﺘﻀﻦ‬

‫ﻣامرﺳﺎت وأﻧﺸﻄﺔ إﻧﺴﺎﻧﻴﺔ ﻋﲆ ﻣﺴﺘﻮﻳﺎت‬ ‫)اﻟﻨﻘﻞ واﻟﺘﻌﻠﻴﻢ واﻟﺼﺤﺔ واﻟﺜﻘﺎﻓﺔ واﻟﺴﻜﻦ‬ ‫واﻟﻌﻤﻞ واﻟﱰﻓﻴﻪ واﻟﺘﺴﻮق واﻟﻀﻴﺎﻓﻪ‪ .‬وﻃﺒﻘﺎً‬ ‫ﻟﺘﴫﻳﺤﺎت أدﱃ ﺑﻬﺎ ﻟـ»اﻟﺒﻴﺎن اﻻﻗﺘﺼﺎدي«‬ ‫اﻟﺮﺋﻴﺲ اﻟﺘﻨﻔﻴﺬي ﻟـ»ﴍﻛﺔ ﻋﻘﺎرات ﺟﻤريا‬ ‫ﻟﻠﻐﻮﻟﻒ«‪ ،‬ﻳﻮﺳﻒ ﻛﺎﻇﻢ‪ ،‬ﻓﺈن اﳌﴩوع‬ ‫ﻳﻘﻮم ﻋﲆ ﻣﻔﻬﻮم اﻟﺘﻨﻤﻴﺔ اﻟﻌﻤﺮاﻧﻴﺔ اﳌﻮﺟﻬﺔ‬ ‫ﻟﺘﺸﺠﻴﻊ اﻟﻨﻘﻞ اﻟﺠامﻋﻲ‪ .‬ﻣﻮﺿﺤﺎً أن اﳌﺪﻳﻨﺔ‬

‫ﺗﺮﻛﺰ ﻋﲆ اﻟﻨﻘﻞ ﺑﻮﺻﻔﻪ اﻟﻌﺼﺐ اﻷﺳﺎﳼ‬ ‫ﻟﻠﺘﻄﻮﻳﺮ اﻟﺤﴬي اﳌﺴﺘﻘﺒﲇ‪ ،‬إذ ﺳﻴﺨﺪم‬ ‫اﳌﺪﻳﻨﺔ ﻣﺤﻄﺘﺎن ﻟﻠﻤﱰو )إﺣﺪاﻫام ﺗﺤﺖ‬ ‫اﻷرض( وﻣﺮﻛﺒﺎت ذاﺗﻴﺔ اﻟﻘﻴﺎدة وأﺧﺮى ﺗﻌﻤﻞ‬ ‫ﺑﺎﻟﻄﺎﻗﺔ اﳌﺘﺠﺪدة وﺷﺒﻜﺎت ﻧﻘﻞ ذﻛﻴﺔ ﺗﺤﺖ‬ ‫اﻷرض ﻻﻧﺘﻘﺎل اﻟﺴﻜﺎن ﺑني ﻣﻨﺎﻃﻖ اﳌﺪﻳﻨﺔ‬ ‫واﳌﻨﺎﻃﻖ اﳌﺠﺎورة ﺑﻄﺎﻗﺔ اﺳﺘﻴﻌﺎﺑﻴﺔ ﺗﺼﻞ إﱃ‬ ‫‪ 100‬أﻟﻒ ﺷﺨﺺ‪.‬‬

‫اﻹﻣﺎرات ﺿﻤﻦ أﻋﻠﻰ ‪ 10‬دول ﺗﺤﺼﻴﻨ ًﺎ ﻓﻲ اﻟﻤﺠﺎل اﻹﻟﻜﺘﺮوﻧﻲ‬ ‫أﻛﺪ اﳌﺸﺎرﻛﻮن ﰲ ﻣﻠﺘﻘﻰ اﻹﻣﺎرات ﻟﻸﻣﻦ‬ ‫اﻹﻟﻜﱰوين‪ ،‬أن اﻹﻣﺎرات ﺿﻤﻦ أﻋﲆ ‪ 10‬دول‬ ‫ﰲ اﻟﻌﺎمل ﰲ ﻣﺴﺘﻮى اﻟﺘﺤﺼني اﻹﻟﻜﱰوين‪،‬‬ ‫وأن ﻣﻜﺎﻧﺔ ﺣﻜﻮﻣﺔ اﻹﻣﺎرات ﺿﻤﻦ اﻟﺪول‬ ‫اﻷﻛرث اﺑﺘﻜﺎراً ﰲ اﻟﻌﺎمل ﰲ ﻣﺠﺎل ﺗﺤﺪﻳﺪ‬ ‫أوﻟﻮﻳﺎت اﻷﻣﻦ اﻹﻟﻜﱰوين‪ .‬وأﺷﺎروا إﱃ أن‬ ‫دوﻟﺔ اﻹﻣﺎرات ﺗﻔﻮﻗﺖ ﻋﲆ اﻟﺪول اﻷوروﺑﻴﺔ‬ ‫ﰲ ﻣﺠﺎل اﻟﺠﺎﻫﺰﻳﺔ ﳌﻮاﺟﻬﺔ ﻣﺨﺎﻃﺮ اﻷﻣﻦ‬ ‫اﻹﻟﻜﱰوين‪ ،‬وﺣامﻳﺔ اﻟﺒﻨﻴﺔ اﻟﺘﺤﺘﻴﺔ اﻟﻮﻃﻨﻴﺔ‬ ‫واﻟﺤﻴﻮﻳﺔ ﻟﻠﺪوﻟﺔ ﺿﺪ اﻟﺘﻬﺪﻳﺪات اﻹﻟﻜﱰوﻧﻴﺔ‬ ‫اﳌﺘﻨﺎﻣﻴﺔ‪ ،‬وﻓﻘﺎً ﳌﺎ أﻋﻠﻨﻪ ﺧﱪاء ﻋﲆ ﻣﺴﺘﻮى‬ ‫ﻫﺬه اﻟﺼﻨﺎﻋﺔ‪ .‬وأﺟﻤﻊ اﳌﺸﺎرﻛﻮن ﻣﻦ ‪13‬‬ ‫ﴍﻛﺔ ﻋﺎﳌﻴﺔ ﻣﺘﺨﺼﺼﺔ ﰲ ﻣﺠﺎل اﻷﻣﻦ‬ ‫اﻹﻟﻜﱰوين أﻧﻪ ﻣﻊ اﻟﺘﻄﻮر اﻟﺘﻜﻨﻮﻟﻮﺟﻲ‬

‫اﻟﺬي ﻳﺸﻬﺪه اﻟﻌﺎمل ﻳﻮﺟﺪ ﺗﻄﻮر ﰲ ﻣﻮاﺟﻬﺔ‬ ‫اﻟﻘﺮﺻﻨﺔ وﻣﺤﺎوﻻت اﻻﺧﱰاق‪ ،‬وأن ﻣﻨﻈامت‬ ‫ﻛﱪى ﺗﺪﻳﺮ ﻫﺬا اﻷﻣﺮ‪ ،‬وﻫﻮ ﻣﺎ ﻳﻀﻊ اﻟﺪول‬ ‫واﳌﺆﺳﺴﺎت أﻣﺎم ﺗﺤ ٍﺪ ﻣﺴﺘﻤﺮ ﳌﻮاﺟﻬﺔ ﺗﻠﻚ‬ ‫اﻟﻬﺠامت وﺣامﻳﺔ أﻧﻈﻤﺘﻬﺎ اﳌﻌﻠﻮﻣﺎﺗﻴﺔ‪ ،‬ﻋﱪ‬

‫اﻻﻃﻼع اﳌﺴﺘﻤﺮ واﻟﺘﻌﺎون اﻟﻮﺛﻴﻖ ﻹﻳﺠﺎد‬ ‫ﻣﺤﺼﻨﺎت إﻟﻜﱰوﻧﻴﺔ ﻗﻮﻳﺔ‪ ،‬وأن اﻟﻬﺠامت‬ ‫اﻹﻟﻜﱰوﻧﻴﺔ اﻟﴩﺳﺔ ﻣﺴﺘﻤﺮة ﻋﲆ اﺧﺘﻼف‬ ‫اﳌﺴﺘﻮﻳﺎت‪ ،‬ﺳﻮاء اﻟﺪول أو اﳌﺆﺳﺴﺎت‬ ‫واﻟﺸﺨﺼﻴﺎت اﻻﻋﺘﺒﺎرﻳﺔ‪.‬‬ ‫أﻛﺘﻮﺑﺮ ‪13 2017 /‬‬

‫اﻷﺧﺒﺎر‬ ‫‪baytelshear‬‬

‫ﻓﻲ ﻣﺤﺎﺿﺮة ﺑﻤﺮﻛﺰ ﺳﻠﻄﺎن ﺑﻦ زاﻳﺪ‬

‫اﻟﻜﺎﺗﺐ اﻟﺴﻮداﻧﻲ ﻋﻤﺮو ذﻫﺐ ﻫﺬا ﻟﻴﺲ زﻣﺎن اﻟﺮواﻳﺔ‬ ‫ﺑﺪأ ﻣﺮﻛﺰ ﺳﻠﻄﺎن ﺑﻦ زاﻳﺪ ﻣﻮﺳﻤﻪ اﻟﺜﻘﺎﰲ‬ ‫ﻧﻬﺎﻳﺔ اﻟﺸﻬﺮ اﳌﺎﴈ مبﺤﺎﴐة ﻟﻠﻜﺎﺗﺐ‬ ‫اﻟﺴﻮداين ﻋﻤﺮو ﻣﻨري دﻫﺐ ﺑﻌﻨﻮان »ﻫﺬا‬ ‫ﻟﻴﺲ زﻣﺎن اﻟﺮواﻳﺔ«‪ ،‬ﺗﻨﺎول ﺧﻼﻟﻬﺎ ﻣﻮﺿﻮﻋﺎت‬ ‫اﻟﺮواﻳﺔ وأﻫﺪاﻓﻬﺎ وﻇﺮوف ﻛﺘﺎﺑﺘﻬﺎ‪.‬‬ ‫وﺗﺴﺎءل اﳌﺤﺎﴐ ﺣﻮل اﳌﻘﻮﻟﺔ اﻟﺸﺎﺋﻌﺔ‪:‬‬ ‫»ﻫﺬا زﻣﺎن اﻟﺮواﻳﺔ«‪ :‬أﻳﻬام أﺳﺒﻖ اﳌﻘﻮﻟﺔ أم‬ ‫اﻟﻮاﻗﻊ اﻟﺬي ﺗﺸري إﻟﻴﻪ؟ ورأى أن اﻟﺬﻳﻦ ﻻ‬ ‫ﻳﻮاﻓﻘﻮن ﻋﲆ اﳌﻘﻮﻟﺔ ﻗﻠﺔ‪ ،‬ﻻ ﻳﻜﺎد ُﻳﺴ َﻤﻊ ﻟﻬﻢ‬ ‫ﺻﻮت ﻣﺆﺛﺮ‪ ،‬ﻣﺒﻴﻨﺎً أن ﻋﺒﺎرة »زﻣﻦ اﻟﺮواﻳﺔ«‬ ‫ﺧﻠﻌﺖ ﺗﺄﺛريﻫﺎ اﻟﺴﺎﺣﺮ ﻋﲆ ﺟﻨﺲ اﻟﺮواﻳﺔ‬ ‫اﻷديب وﺣﻈﻴﺖ ﺑﻬﺎﻟﺔ ﻣﻦ اﻟﺘﺒﺠﻴﻞ‪.‬‬ ‫وذﻛﺮ اﳌﺤﺎﴐ أﻧﻪ ﺗﻨﺎول ﰲ ﻛﺘﺎﺑﻪ »ﺗ ّﺒﺎً‬ ‫ﻟﻠﺮواﻳﺔ« ﻣﺎ ﻗﺎﻟﻪ ﻧﺠﻴﺐ ﻣﺤﻔﻮظ ﺣﻮل اﻟﻘﺼﺔ‬ ‫ﰲ ﻣﻨﺘﺼﻒ اﻷرﺑﻌﻴﻨﻴﺎت اﳌﺎﺿﻴﺔ‪ ،‬ﺣﻴﺚ رأى‬ ‫أﻧﻬﺎ »ﺷﻌﺮ اﻟﺪﻧﻴﺎ اﻟﺤﺪﻳﺜﺔ«‪ ،‬ﻣﻮﺿﺤﺎً أن ﺗﻠﻚ‬ ‫اﻟﻨﺒﻮءة »ﺗﺄﺧﺮت أﻣﺎم ﺳﻄﻮة اﻟﺸﻌﺮ اﻟﻐﻨﺎيئ‬ ‫اﻟﻌﺮيب«‪ ،‬ﻣﻨﻮﻫﺎً ﺑﺮأي »اﻟﻨﺎﻗﺪ اﻟﺒﺎرز اﻟﺪﻛﺘﻮر‬ ‫ﺟﺎﺑﺮ ﻋﺼﻔﻮر اﻟﺬي أﻋﺎد ﺻﻴﺎﻏﺔ اﻟﻌﻨﻮان‬ ‫ﺑﺈﻳﺠﺎز ﺑﺎﻟﻎ ﻋﲆ أﻧﻪ ﻧﺒﻮءة«‪ ،‬ﺛﻢ ﻋﻤﻞ ﻋﲆ‬ ‫ﺻﻴﺎﻏﺔ ﻣﻘﻮﻟﺔ »زﻣﻦ اﻟﻘﺺ« ﺑﺪﻻً ﻣﻦ »زﻣﻦ‬ ‫اﻟﺮواﻳﺔ«‪ ،‬ﻣﻊ أن اﻟﺸﻌﺮ ﰲ رأي اﳌﺤﺎﴐ »ﻣﺎ‬ ‫زال ﻳﻈﻬﺮ ﻗﺪرة ﻋﲆ دﻏﺪﻏﺔ وﺟﺪان اﻟﻌﺮب‪،‬‬ ‫ﻋﲆ اﻷﻗﻞ ﰲ اﻟﺤﻀﻮر اﻟﺠامﻫريي‪ ،‬ﰲ اﻟﻨﺪوات‬ ‫واﻻﺣﺘﻔﺎﻻت واﳌﺴﺎﺑﻘﺎت ﻋﲆ اﺧﺘﻼﻓﻬﺎ«‪.‬‬ ‫وﻋﺮج اﳌﺤﺎﴐ ﻋﲆ اﳌﻘﺎﻟﺔ وأﻫﻤﻴﺘﻬﺎ‪ ،‬رﻏﻢ‬ ‫ﺗﻮاﺿﻌﻬﺎ ﺑني أﺟﻨﺎس اﻷدب‪ ،‬ﻣﺒﻴﻨﺎً أن ﻫﺬا‬ ‫اﻟﺘﻮاﺿﻊ »ﻟﻴﺲ ﺑﺴﺒﺐ ﻗﺼﻮر ﻓﻨﻲ ﻳﺤﻴﻂ‬

‫ﺑﻬﺎ وإمنﺎ ﻹﻫامل اﻟﻨﻘﺎد ﻟﻬﺎ‪ .‬وأﻛﺪ ذﻫﺐ‪:‬‬ ‫»ﻟﻴﺲ ﻣام ﻳﺸﻐﻠﻨﻲ ﺗﻨﺼﻴﺐ ﺳﻴﺪ ﻟﻔﻨﻮن‬ ‫اﻷدب ﻣﻜﺎن ﺳﻴﺎدة اﻟﺮواﻳﺔ اﳌﺰﻋﻮﻣﺔ ﻟﺰﻣﺎﻧﻨﺎ‬ ‫اﻷديب ﻫﺬا‪ ،‬وﻟﻜﻦ إذا اﺿﻄﺮرت إﱃ ذﻟﻚ ﻓﻠﻦ‬ ‫أﺗﺮدد ﰲ ﺗﻨﺼﻴﺐ اﳌﻘﺎﻟﺔ ﺳﻴﺪة ﻟﻬﺬا اﻟﺰﻣﺎن«‪،‬‬ ‫ﻣﺴﺘﺸﻬﺪاً ﺑﺮﺳﺎﻟﺔ ﻣﻦ ﻣﺤﻤﻮد دروﻳﺶ‬ ‫إﱃ ﺳﻤﻴﺢ اﻟﻘﺎﺳﻢ ﺟﺎء ﻓﻴﻬﺎ‪» :‬ﻳﺒﺪو ﱄ‪ ،‬ﻳﺎ‬ ‫ﻋﺰﻳﺰي‪ ،‬أن اﻟﻨرث ﻫﻮ دﻳﻮان ﻫﺬا اﻟﻌﴫ‪ ،‬إذا‬ ‫أﺑﻘﻰ اﻟﺘﻠﻔﺰﻳﻮن ﻟﻪ ﺑﺎﻗﻴﺔ!« وﻳﻌﻠﻖ اﳌﺤﺎﴐ‬ ‫ﻗﺎﺋ ًﻼ‪ :‬إن اﻟﺘﻠﻔﺰﻳﻮن ﻣﻨﺎﻓﺲ ﴍس ﻟﻸدب‬ ‫اﳌﻜﺘﻮب ﻻ رﻳﺐ‪ ،‬وﻟﻜﻦ ﻣﺎ مل ﻳﺪرﻛﻪ دروﻳﺶ‬ ‫أن اﻟﺘﻠﻔﺰﻳﻮن ﻧﻔﺴﻪ ﻗﺪ ﺑﺎت ﻳﱰﻧّﺢ )أﻣﺎم(‬ ‫وﺳﺎﺋﻞ اﻟﺘﻮاﺻﻞ اﻻﺟﺘامﻋﻲ«‪.‬‬ ‫وﻻ ﻳﻌﱰض اﳌﺤﺎﴐ ﻋﲆ ﻣﻘﻮﻟﺔ »اﻟﻨرث دﻳﻮان‬ ‫اﻟﻌﴫ«‪ ،‬ﻣﺮﺟﻌﺎً ذﻟﻚ »ﻷﻛرث ﻣﻦ ﺳﺒﺐ‬

‫ﺟﻮﻫﺮي وﻣﻮﺿﻮﻋﻲ‪ ،‬وأﻫﻢ ﺗﻠﻚ اﻷﺳﺒﺎب‬ ‫ﻳﺘﻌﻠﻖ ﺑﺎﳌﻌﻴﺎر اﻟﺬي ﻳﺠﻌﻠﻨﺎ ﻧﻨﺴﺐ زﻣﺎﻧﻨﺎ‬ ‫اﻷديب إﱃ ﺟﻨﺲ ﺑﻌﻴﻨﻪ«‪ .‬ﺛﻢ ﻳﻌﻮد ﻟﻴﺆﻛﺪ أن‬ ‫اﳌﻘﺎﻟﺔ ﻫﻲ اﻷﻛرث اﻧﺘﺸﺎراً واﺳﺘﺴﺎﻏﺔ‪ ،‬ﻟﻴﺲ‬ ‫ﺑني ﻋﺸﺎق اﻷدب ﻓﺤﺴﺐ‪ ،‬وإمنﺎ ﻟﺪى ﻛﻞ‬ ‫اﻟﻘﺮاء ﻋﲆ اﺧﺘﻼف ﻃﺒﻘﺎﺗﻬﻢ وﻣﻴﻮﻟﻬﻢ‪.‬‬ ‫وﻟﻔﺖ اﻟﻜﺎﺗﺐ إﱃ أن ﺟﺎﺋﺰة ﻧﻮﺑﻞ »رﻓﻴﻌﺔ‬ ‫اﳌﻘﺎم‪ ،‬وﻟﻜﻦ ﻫﺬا ﻻ ميﻨﺤﻬﺎ ﺗﻔﻮﻳﻀﺎً ﻣﻄﻠﻘﺎً‬ ‫ﻟﻠﺤﻜﻢ ﻋﲆ ﻣﺼري ﻛﻞ زﻣﺎن وﻣﻜﺎن أدﺑﻴني«‪،‬‬ ‫ﺧﺎمتﺎً ﻣﺤﺎﴐﺗﻪ ﺑﻘﻮﻟﻪ‪» :‬ﻋﴫﻧﺎ ﻫﺬا مل ﻳﻜﻠﻒ‬ ‫أﺣﺪاً ﻣﻦ اﻷدﺑﺎء مبﻬﻤﺔ ﺗﻔﻜﻴﻜﻪ وﺗﴩﻳﺤﻴﺔ‬ ‫ﻻﺳﺘﻘﺼﺎﺋﻪ‪ .‬ﻛﻞ ﻣﺎ ﻋﻠﻴﻨﺎ أن ﻧﻌﱪ ﻋﻦ أﻧﻔﺴﻨﺎ‬ ‫ﰲ ﺧﻀﻢ اﻟﻌﴫ‪ ،‬ﺳﻮاء ﺑﺮواﻳﺔ‪ ،‬أو ﻗﺼﺔ‬ ‫ﻗﺼرية‪ ،‬أو ﻗﺼﻴﺪة‪ ،‬أو أﻏﻨﻴﺔ‪ ،‬أو ﺣﺘﻰ ﺗﻐﺮﻳﺪة‬ ‫ﻻ ﺗﺘﺠﺎوز ﻣﺌﺔ وأرﺑﻌني ﺣﺮﻓﺎً«‪.‬‬

‫ﻣﺒﺎرك اﻟﻤﻨﺼﻮري ‪ % 3P5‬ﻧﻤﻮ اﻷﻧﺸﻄﺔ ﻏﻴﺮ اﻟﻨﻔﻄﻴﺔ ﺑﺎﻹﻣﺎرات ﻓﻲ ‪2018‬‬ ‫ﻗﺎل ﻣﻌﺎﱄ ﻣﺒﺎرك اﳌﻨﺼﻮري‪ ،‬ﻣﺤﺎﻓﻆ ﻣﴫف‬ ‫اﻹﻣﺎرات اﳌﺮﻛﺰي‪ ،‬إن اﻻﻗﺘﺼﺎد اﻟﻮﻃﻨﻲ‬ ‫ﻳﻮاﺻﻞ منﻮه اﻟﻘﻮي‪ ،‬ﻣﺘﻮﻗﻌﺎً منﻮ اﻟﻘﻄﺎع ﻏري‬ ‫اﻟﻨﻔﻄﻲ ﺑﻨﺴﺒﺔ ‪ %3.1‬ﺧﻼل اﻟﻌﺎم اﻟﺠﺎري‪،‬‬ ‫ﻋﲆ أن ﻳﺮﺗﻔﻊ إﱃ ‪ %3.5‬أو أﻛرث ﺑﺪءاً ﻣﻦ‬ ‫اﻟﻌﺎم اﳌﻘﺒﻞ‪ .‬وﻗ ّﺪر اﳌﻨﺼﻮري اﺳﺘﻤﺮار‬ ‫منﻮ اﻗﺘﺼﺎد اﻟﺪوﻟﺔ ﺑﺎﻟﺮﻏﻢ ﻣﻦ ﺗﺪاﻋﻴﺎت‬ ‫اﻻﻧﺨﻔﺎض اﳌﺴﺘﻤﺮ ﻷﺳﻌﺎر اﻟﻨﻔﻂ‪ ،‬ﻋﺎزﻳﺎً ﻫﺬا‬ ‫اﻟﺸﻌﺮ ‪ /‬اﻟﻌﺪد ‪60‬‬ ‫‪ 12‬ﺑﻴﺖ ِ‬

‫اﻟﻨﻤﻮ إﱃ اﻟﺴﻴﺎﺳﺎت اﻟﺘﻨﻮﻳﻌﻴﺔ اﻟﺘﻲ ﻳﻨﺘﻬﺠﻬﺎ‬ ‫اﻗﺘﺼﺎد اﻹﻣﺎرات‪ ،‬وإﱃ ﺗﺴﺎرع منﻮ اﻷﻧﺸﻄﺔ‬ ‫ﻏري اﻟﻨﻔﻄﻴﺔ‪ .‬ﺟﺎءت ﺗﴫﻳﺤﺎت ﻣﺤﺎﻓﻆ‬ ‫ﻣﴫف اﻹﻣﺎرات اﳌﺮﻛﺰي ﰲ ﻛﻠﻤﺘﻪ‪ ،‬ﺧﻼل‬ ‫اﻓﺘﺘﺎح اﻻﺟﺘامع اﻟﺴﻨﻮي ﻟﻠﺪورة اﻟﺤﺎدﻳﺔ‬ ‫واﻷرﺑﻌني ﳌﺠﻠﺲ ﻣﺤﺎﻓﻈﻲ اﳌﺼﺎرف‬ ‫اﻟﻌﺮﺑﻴﺔ وﻣﺆﺳﺴﺎت اﻟﻨﻘﺪ اﻟﻌﺮﺑﻴﺔ‪ ،‬اﻟﺬي‬ ‫اﻧﻌﻘﺪ ﺗﺤﺖ رﻋﺎﻳﺔ ﺳﻤﻮ اﻟﺸﻴﺦ ﻣﻨﺼﻮر ﺑﻦ‬

‫زاﻳﺪ آل ﻧﻬﻴﺎن ﻧﺎﺋﺐ رﺋﻴﺲ ﻣﺠﻠﺲ اﻟﻮزراء‬ ‫وزﻳﺮ ﺷﺆون اﻟﺮﺋﺎﺳﺔ‪ .‬وذﻛﺮ ﻣﻌﺎﱄ اﳌﻨﺼﻮري‬ ‫أن منﻮ اﻷﻧﺸﻄﺔ ﻏري اﻟﻨﻔﻄﻴﺔ ﺳﺠﻞ ﻧﺴﺒﺔ‬ ‫‪ %3.2‬ﰲ ‪ 2015‬وﻧﺴﺒﺔ ‪ %2.7‬ﰲ ‪ ،2016‬ﻣﻨﻮﻫﺎً‬ ‫ﺑﺄن ﻫﺬه اﳌﺴﺘﻮﻳﺎت ﻣﻦ اﻟﻨﻤﻮ ﻣﻌﻘﻮﻟﺔ إذا‬ ‫ﻣﺎ أﺧﺬﻧﺎ ﰲ اﻻﻋﺘﺒﺎر أﻫﻤﻴﺔ اﻟﻘﻄﺎع اﻟﻨﻔﻄﻲ‬ ‫ﰲ ﻇﻞ اﻟﺘﻨﻮﻳﻊ اﻟﺬي ﻳﺸﻬﺪه اﻗﺘﺼﺎد‬ ‫اﻹﻣﺎرات‪.‬‬

‫ﺳﻠﻄﺎن ﺑﻦ زاﻳﺪ ﻳﻬﻨﺊ ﺧﺎدم اﻟﺤﺮﻣﻴﻦ ووﻟﻲ ﻋﻬﺪه ﺑﺎﻟﻴﻮم اﻟﻮﻃﻨﻲ‬ ‫ﺑﻌﺚ ﺳﻤﻮ اﻟﺸﻴﺦ ﺳﻠﻄﺎن ﺑﻦ زاﻳﺪ آل ﻧﻬﻴﺎن‪ ،‬ﻣﻤﺜﻞ ﺻﺎﺣﺐ اﻟﺴﻤﻮ‬ ‫رﺋﻴﺲ اﻟﺪوﻟﺔ‪ ،‬ﺑﺮﻗﻴﺔ ﺗﻬﻨﺌﺔ إﱃ ﺧﺎدم اﻟﺤﺮﻣني اﻟﴩﻳﻔني اﳌﻠﻚ ﺳﻠامن‬ ‫ﺑﻦ ﻋﺒﺪ اﻟﻌﺰﻳﺰ آل ﺳﻌﻮد‪ ،‬ﻋﺎﻫﻞ اﳌﻤﻠﻜﺔ اﻟﻌﺮﺑﻴﺔ اﻟﺴﻌﻮدﻳﺔ‪ ،‬وذﻟﻚ‬ ‫مبﻨﺎﺳﺒﺔ اﻟﻴﻮم اﻟﻮﻃﻨﻲ اﻟـ ‪ 87‬ﻟﻠﻤﻤﻠﻜﺔ‪.‬‬ ‫وأﻋﺮب ﺳﻤﻮه ﰲ اﻟﱪﻗﻴﺔ ﻋﻦ ﺗﻬﺎﻧﻴﻪ اﻟﺤﺎرة‪ ،‬ﺳﺎﺋ ًﻼ اﻟﻠﻪ ﻋﺰ وﺟﻞ أن‬ ‫ﻳﻌﻴﺪ ﻫﺬه اﳌﻨﺎﺳﺒﺔ اﻟﻮﻃﻨﻴﺔ اﻟﻐﺎﻟﻴﺔ ﻋﲆ ﺧﺎدم اﻟﺤﺮﻣني اﻟﴩﻳﻔني‬ ‫واﻟﺸﻌﺐ اﻟﺴﻌﻮدي اﻟﻜﺮﻳﻢ ﺑﺎﻟﺨري واﻟﻴﻤﻦ واﻟﱪﻛﺎت‪ ،‬وأن ﻳﺪﻳﻢ ﻋﻠﻴﻪ‬ ‫وﻋﲆ اﳌﻤﻠﻜﺔ اﻟﺸﻘﻴﻘﺔ وﺷﻌﺒﻬﺎ اﻟﺨري واﻟﻌﺰة واﻟﺮﻓﻌﺔ‪.‬‬ ‫و ّمثﻦ ﺳﻤﻮ اﻟﺸﻴﺦ ﺳﻠﻄﺎن ﺑﻦ زاﻳﺪ آل ﻧﻬﻴﺎن ﰲ ﺑﺮﻗﻴﺘﻪ ﻣﻮاﻗﻒ وﺟﻬﻮد‬ ‫ﺧﺎدم اﻟﺤﺮﻣني اﻟﴩﻳﻔني اﳌﻠﻚ ﺳﻠامن ﺑﻦ ﻋﺒﺪ اﻟﻌﺰﻳﺰ آل ﺳﻌﻮد ﰲ‬ ‫ﺧﺪﻣﺔ وﻃﻨﻪ واﳌﻨﻄﻘﺔ واﻷﻣﺘني اﻟﻌﺮﺑﻴﺔ واﻹﺳﻼﻣﻴﺔ‪.‬‬ ‫ﻛام ﺑﻌﺚ ﺳﻤﻮ اﻟﺸﻴﺦ ﺳﻠﻄﺎن ﺑﻦ زاﻳﺪ آل ﻧﻬﻴﺎن ﺑﺮﻗﻴﺔ ﺗﻬﻨﺌﺔ ﻣامﺛﻠﺔ‬ ‫إﱃ ﺻﺎﺣﺐ اﻟﺴﻤﻮ اﳌﻠيك اﻷﻣري ﻣﺤﻤﺪ ﺑﻦ ﺳﻠامن ﺑﻦ ﻋﺒﺪاﻟﻌﺰﻳﺰ آل‬ ‫ﺳﻌﻮد‪ ،‬وﱄ اﻟﻌﻬﺪ ﻧﺎﺋﺐ رﺋﻴﺲ ﻣﺠﻠﺲ اﻟﻮزراء‪ ،‬وزﻳﺮ اﻟﺪﻓﺎع ﺑﺎﳌﻤﻠﻜﺔ‬ ‫اﻟﻌﺮﺑﻴﺔ اﻟﺴﻌﻮدﻳﺔ‪.‬‬

‫ﻧﻬﻴﺎن ﺑﻦ ﻣﺒﺎرك‪» P‬ﻣﺆﺷﺮ اﻹﻣﺎرات اﻟﺜﻘﺎﻓﻲ« ﻳﺮﺳﻢ اﻟﻤﺴﺘﻘﺒﻞ‬ ‫ﻗﺎل ﻣﻌﺎﱄ اﻟﺸﻴﺦ ﻧﻬﻴﺎن ﺑﻦ ﻣﺒﺎرك آل‬ ‫ﻧﻬﻴﺎن وزﻳﺮ اﻟﺜﻘﺎﻓﺔ وﺗﻨﻤﻴﺔ اﳌﻌﺮﻓﺔ إن‬ ‫ﻣﺒﺎدرة »ﻣﺆﴍ اﻹﻣﺎرات اﻟﺜﻘﺎﰲ« اﻟﺬي‬ ‫ﻳﺘﻨﺎول اﻟﻌﻮاﻣﻞ اﳌﺆﺛﺮة ﰲ اﻟﺜﻘﺎﻓﺔ اﻟﺴﺎﺋﺪة‬ ‫ﺑﺎﳌﺠﺘﻤﻊ اﻹﻣﺎرايت ﻳﻌﺪ واﺣﺪاً ﻣﻦ أﻫﻢ‬ ‫اﳌﺸﺎرﻳﻊ اﻟﺜﻘﺎﻓﻴﺔ اﻟﺘﻲ ﻗﺪﻣﺘﻬﺎ اﻟﻮزارة‬ ‫ﻣﻨﺬ ﻋﺎم ‪ 2008‬وﺣﺘﻰ اﻟﻴﻮم ﺑﺎﻋﺘﺒﺎره أﺣﺪ‬ ‫اﳌﺮﺟﻌﻴﺎت اﻟﺘﻲ ميﻜﻦ اﻻﻋﺘامد ﻋﻠﻴﻬﺎ‬ ‫ﰲ رﺳﻢ اﻟﺨﻄﻂ اﻻﺳﱰاﺗﻴﺠﻴﺔ اﻟﺜﻘﺎﻓﻴﺔ‬ ‫ﻟﻠﻤﺴﺘﻘﺒﻞ‪ ،‬واﻟﺘﻲ ﺗﺘﻮاﻓﻖ ﻣﻊ رؤﻳﺔ‬ ‫اﻹﻣﺎرات ‪ .2021‬ﻣﺆﻛﺪاً أن دوﻟﺔ اﻹﻣﺎرات‬

‫ﺗﺒﻮأت اﳌﺮﺗﺒﺔ اﻟﺜﺎﻟﺜﺔ ﻋﺎم ‪ 2015‬ﰲ اﻟﺘﻨﺎﻓﺴﻴﺔ‬ ‫ﰲ ﻣﺆﴍ اﻟﺜﻘﺎﻓﺔ اﻟﻮﻃﻨﻲ ﻋﲆ ﻣﺴﺘﻮى‬ ‫اﻟﻌﺎمل‪ ،‬مبﺎ ﻳﺪﻟﻞ ﻋﲆ دور اﻟﺒﻌﺪ اﻟﺜﻘﺎﰲ ﰲ‬ ‫اﻟﻨﻬﻀﺔ اﻟﺸﺎﻣﻠﺔ اﻟﺘﻲ ﺗﻌﻴﺸﻬﺎ اﻹﻣﺎرات ﰲ‬ ‫ﻇﻞ ﻗﻴﺎدﺗﻨﺎ اﻟﺮﺷﻴﺪة ﻟﻴﺼﺒﺢ اﻟﺒﻌﺪ اﻟﺮاﺑﻊ‬ ‫اﳌﻀﺎف إﱃ اﻷﺑﻌﺎد اﻻﻗﺘﺼﺎدﻳﺔ واﻻﺟﺘامﻋﻴﺔ‬ ‫واﻟﺒﻴﺌﻴﺔ‪ .‬ﺟﺎء ذﻟﻚ ﺧﻼل ﻣﺘﺎﺑﻌﺔ ﻣﻌﺎﻟﻴﻪ‬ ‫ﻷﻋامل اﻟﺪورة اﻟﺠﺪﻳﺪة ﻣﻦ اﳌﺆﴍ اﻟﺜﻘﺎﰲ‬ ‫اﻟﺬي ﻧﻈﻤﺘﻪ اﻟﺜﻘﺎﻓﺔ ﻟﻠﻮﻗﻮف ﻋﲆ اﻟﻮﺿﻊ‬ ‫اﻟﺜﻘﺎﰲ واﻻﺗﺠﺎﻫﺎت اﻟﺴﺎﺋﺪة ﰲ اﳌﺠﺘﻤﻊ‬ ‫اﻹﻣﺎرايت‪.‬‬

‫أﻛﺘﻮﺑﺮ ‪11 2017 /‬‬

‫اﻷﺧﺒﺎر‬ ‫‪baytelshear‬‬

‫ﺧﻠﻴﻔﺔ ُﻳﺼﺪر ﻣﺮﺳﻮﻣ ًﺎ ﺑﺈﻋﺎدة ﺗﺸﻜﻴﻞ »ﺗﻨﻔﻴﺬي أﺑﻮﻇﺒﻲ« ﺑﺮﺋﺎﺳﺔ ﻣﺤﻤﺪ ﺑﻦ زاﻳﺪ‬

‫أﺻﺪر ﺻﺎﺣﺐ اﻟﺴﻤﻮ اﻟﺸﻴﺦ ﺧﻠﻴﻔﺔ ﺑﻦ‬ ‫زاﻳﺪ آل ﻧﻬﻴﺎن رﺋﻴﺲ اﻟﺪوﻟﺔ‪ ،‬ﺣﻔﻈﻪ اﻟﻠﻪ‪،‬‬ ‫ام ﻹﻣﺎرة أﺑﻮﻇﺒﻲ ﻣﺮﺳﻮﻣﺎً‬ ‫ﺑﺼﻔﺘﻪ ﺣﺎﻛ ً‬ ‫أﻣريﻳﺎً ﺑﺘﻌﻴني ﺻﺎﺣﺐ اﻟﺴﻤﻮ اﻟﺸﻴﺦ ﻣﺤﻤﺪ‬ ‫ﺑﻦ زاﻳﺪ آل ﻧﻬﻴﺎن وﱄ ﻋﻬﺪ أﺑﻮﻇﺒﻲ ﻧﺎﺋﺐ‬ ‫اﻟﻘﺎﺋﺪ اﻷﻋﲆ ﻟﻠﻘﻮات اﳌﺴﻠﺤﺔ رﺋﻴﺴﺎً‬ ‫ﻟﻠﻤﺠﻠﺲ اﻟﺘﻨﻔﻴﺬي ﻹﻣﺎرة أﺑﻮﻇﺒﻲ‪ .‬ﻛام‬ ‫أﺻﺪر ﺳﻤﻮه ﻣﺮﺳﻮﻣﺎ أﻣريﻳﺎً ﺑﺈﻋﺎدة ﺗﺸﻜﻴﻞ‬ ‫ﻧﺺ ﻋﲆ ﺗﻌﻴني ﺳﻤﻮ اﻟﺸﻴﺦ ﻫﺰاع‬ ‫اﳌﺠﻠﺲ ّ‬ ‫ﺑﻦ زاﻳﺪ آل ﻧﻬﻴﺎن ﻧﺎﺋﺒﺎً ﻟﻠﺮﺋﻴﺲ‪ ،‬وﺳﻤﻮ‬ ‫اﻟﺸﻴﺦ ﺣﺎﻣﺪ ﺑﻦ زاﻳﺪ آل ﻧﻬﻴﺎن رﺋﻴﺲ‬ ‫دﻳﻮان وﱄ ﻋﻬـﺪ أﺑﻮﻇﺒﻲ ﻋﻀﻮاً‪ ،‬وﺳﻤﻮ‬

‫اﻟﺸﻴﺦ ﻣﺤﻤﺪ ﺑﻦ ﺧﻠﻴﻔﺔ آل ﻧﻬﻴﺎن ﻋﻀﻮاً‪،‬‬ ‫وﺳﻤﻮ اﻟﺸﻴﺦ ذﻳﺎب ﺑﻦ ﻣﺤﻤﺪ ﺑﻦ زاﻳﺪ‬ ‫آل ﻧﻬﻴﺎن رﺋﻴﺲ داﺋﺮة اﻟﻨﻘـﻞ ﻋﻀﻮاً‪،‬‬ ‫واﻟﺸﻴﺦ ﺳﻠﻄﺎن ﺑﻦ ﻃﺤﻨﻮن آل ﻧﻬﻴﺎن‬ ‫ﻋﻀﻮاً‪ ،‬واﻟﺪﻛﺘﻮر أﺣـﻤﺪ ﻣﺒﺎرك اﳌـﺰروﻋـﻲ‬ ‫اﻷﻣني اﻟﻌﺎم ﻟﻠﻤﺠﻠﺲ اﻟﺘﻨﻔﻴﺬي ﻋﻀﻮاً‪،‬‬ ‫وﺧﻠﺪون ﺧﻠﻴﻔﺔ اﳌﺒﺎرك رﺋﻴﺲ ﺟﻬـﺎز‬ ‫اﻟﺸﺆون اﻟﺘﻨﻔﻴﺬﻳﺔ ﻋﻀﻮاً‪ ،‬وﺟﺎﺳﻢ ﻣﺤﻤﺪ‬ ‫ﺑﻮﻋﺘﺎﺑﻪ اﻟﺰﻋﺎيب رﺋﻴﺲ ﻣﻜﺘﺐ أﺑﻮﻇﺒﻲ‬ ‫اﻟﺘﻨﻔﻴﺬي ﻋﻀﻮاً‪ ،‬واﻟﺪﻛﺘﻮر ﻣﻐري ﺧﻤﻴﺲ‬ ‫اﻟﺨﻴﻴﲇ رﺋﻴﺲ داﺋﺮة ﺗﻨﻤﻴﺔ اﳌﺠﺘﻤﻊ‬ ‫ﻋﻀﻮاً‪ ،‬واﻟﻠﻮاء ﻣﺤﻤـﺪ ﺧﻠﻔﺎن اﻟﺮﻣﻴﺜﻲ‬

‫اﻟﻘﺎﺋﺪ اﻟﻌﺎم ﻟﴩﻃﺔ أﺑﻮﻇﺒﻲ ﻋﻀﻮاً‪،‬‬ ‫ورﻳﺎض ﻋﺒﺪ اﻟﺮﺣﻤﻦ اﳌﺒﺎرك رﺋﻴﺲ داﺋﺮة‬ ‫اﳌﺎﻟﻴـﺔ ﻋﻀﻮاً‪ ،‬واﻟﺸﻴﺦ ﻋﺒﺪاﻟﻠﻪ ﺑﻦ ﻣﺤﻤﺪ‬ ‫آل ﺣﺎﻣﺪ رﺋﻴـﺲ داﺋـﺮة اﻟﺼﺤﺔ ﻋﻀﻮاً‪،‬‬ ‫وﻣﻌﺎﱄ اﻟﺪﻛﺘﻮر ﻋﲇ راﺷـﺪ اﻟﻨﻌﻴﻤﻲ رﺋﻴﺲ‬ ‫داﺋﺮة اﻟﺘﻌﻠﻴﻢ واﳌﻌﺮﻓﺔ ﻋﻀﻮاً‪ ،‬واﳌﻬﻨﺪس‬ ‫ﻋﻮﻳﻀـﺔ ﻣﺮﺷﺪ اﳌﺮر رﺋﻴﺲ داﺋﺮة اﻟﻄﺎﻗـﺔ‬ ‫ﻋﻀﻮاً‪ ،‬وﺳﻴﻒ ﻣﺤﻤﺪ اﻟﻬﺎﺟﺮي رﺋﻴﺲ داﺋﺮة‬ ‫اﻟﺘﻨﻤﻴﺔ اﻻﻗﺘﺼﺎدﻳﺔ‪ ،‬وﻓﻼح ﻣﺤﻤﺪ اﻷﺣﺒﺎيب‬ ‫رﺋﻴﺲ داﺋﺮة اﻟﺘﺨﻄﻴﻂ اﻟﻌﻤﺮاين واﻟﺒﻠﺪﻳﺎت‬ ‫ﻋﻀﻮاً‪ ،‬وﻣﺤﻤﺪ ﺧﻠﻴﻔﺔ اﳌﺒﺎرك رﺋﻴﺲ داﺋﺮة‬ ‫اﻟﺜﻘﺎﻓﺔ واﻟﺴﻴﺎﺣﺔ ﻋﻀﻮاً‪.‬‬

‫ﻣﺤﻤﺪ ﺑﻦ راﺷﺪ ﻳُﻄﻠﻖ أﺿﺨﻢ ﻣﺸﺮوع ﺗﻌﻠﻴﻤﻲ إﻟﻜﺘﺮوﻧﻲ ﻓﻲ اﻟﻌﺎﻟﻢ اﻟﻌﺮﺑﻲ‬ ‫أﻃﻠﻖ ﺻﺎﺣﺐ اﻟﺴﻤﻮ اﻟﺸﻴﺦ ﻣﺤﻤﺪ ﺑﻦ راﺷﺪ آل ﻣﻜﺘﻮم‬ ‫ﻧﺎﺋﺐ رﺋﻴﺲ اﻟﺪوﻟﺔ رﺋﻴﺲ ﻣﺠﻠﺲ اﻟﻮزراء ﺣﺎﻛﻢ ديب‪،‬‬ ‫رﻋﺎه اﻟﻠﻪ‪ ،‬ﻣﴩوع ﻣﺤﻤﺪ ﺑﻦ راﺷﺪ ﻟﻠﺘﻌﻠﻴﻢ اﻹﻟﻜﱰوين‬ ‫اﻟﻌﺮيب ﺑﺎﻋﺘﺒﺎره اﻟﻄﺮﻳﻖ اﻷﴎع ﻟﺮدم اﻟﻔﺠﻮة اﻟﺘﻌﻠﻴﻤﻴﺔ‬ ‫ﰲ اﻟﻮﻃﻦ اﻟﻌﺮيب ﻣﺒﺘﺪﺋﺎً ﺑـ»ﺗﺤﺪي اﻟﱰﺟﻤﺔ« ﻛﺄﻛﱪ ﺗﺤ ﱟﺪ‬ ‫ﻣﻦ ﻧﻮﻋﻪ ﰲ اﻟﻌﺎمل اﻟﻌﺮيب‪ .‬واﻋﺘﱪ ﺳﻤﻮه أن واﻗﻊ اﻟﺘﻌﻠﻴﻢ‬ ‫ﰲ اﻟﻌﺎمل اﻟﻌﺮيب ﻻ ﻳﺮﴈ أﺣﺪاً‪ ،‬وأﻧﻪ ﻻ ﺑﺪ ﻣﻦ اﳌﺒﺎدرة‬ ‫ﺑﺈﺷﻌﺎل أول ﺷﻤﻌﺔ‪ ،‬ﻣﻀﻴﻔﺎً أن اﻟﺘﻌﻠﻴﻢ اﻹﻟﻜﱰوين ﺳﻴﻜﻮن‬ ‫اﻟﻄﺮﻳﻖ اﻷﴎع ﻟﺮدم اﻟﻔﺠﻮة اﻟﺘﻌﻠﻴﻤﻴﺔ ﰲ وﻃﻨﻨﺎ اﻟﻌﺮيب‪.‬‬ ‫وﻋﱪ ﺳﻤﻮه ﻋﻦ إميﺎﻧﻪ ﺑﺎﻟﻘﺪرات اﻻﺳﺘﺜﻨﺎﺋﻴﺔ ﻟﻠﻄﻼب‬ ‫اﻟﻌﺮب‪ ،‬ﻣﺆﻛﺪاً أن اﻟﺮﻳﺎﺿﻴﺎت واﻟﻌﻠﻮم ﰲ اﳌﺪارس‬ ‫اﻟﻌﺮﺑﻴﺔ ﻣﻔﺘﺎح ﻻﺳﺘﺌﻨﺎف اﻟﺤﻀﺎرة اﻟﻌﺮﺑﻴﺔ‪.‬‬ ‫اﻟﺸﻌﺮ ‪ /‬اﻟﻌﺪد ‪60‬‬ ‫‪ 10‬ﺑﻴﺖ ِ‬

‫ﻣﺠﻠﺔ ﺷﻬﺮﻳﺔ ﺷﺎﻣﻠﺔ‬ ‫ﺗﺼﺪر ﻋﻦ ﻣﺮﻛﺰ ﺳﻠﻄﺎن ﺑﻦ زاﻳﺪ‬

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‫راﺷﺪ ﺑﻦ ﺧﺼﻴﻒ‪» P‬ﻋﺴﺎك ﺗﻮﺻﻞ ﺳﺎﻟﻢ واﺗﻮاﻳﻪ ﻛﻞ ﺣﺒﻴﺐ«‬ ‫ﻣﺘﺤﻒ اﻟﻠﻮﻓﺮ أﺑﻮﻇﺒﻲ‬ ‫زﻫﺮة اﻟﻠﻮز ‪ 66‬ﻣﻮاﺳﻢ اﻟﺼﻔﺎء ﻓﻲ ﻗﺼﺎﺋﺪ اﻟﺸﻌﺮاء‬ ‫ﻗﺼﺔ ﻗﺼﻴﺪة‪»66‬ﻣﻦ ﻻﺗﻘﺎﺿﻰ ﺣﻲ‪ 66‬ﻳﻘﻤﺢ اﻟﻴﺎ ﻣﺎت«‬ ‫أن ﺗﻜﻮن ﻗﺎرﺋ ًﺎ‬ ‫ﺷﻌﺮ اﻟﻌﺎﻣﻴﺔ اﻟﻨﺴﺎﺋﻲ ﻓﻲ ﻣﺼﺮ‪ 66‬ﻫﻤﻮم ﺻﻮت اﻷﻗﻠﻴﺔ‬ ‫ﻫﺠﺎء اﻟﻤﺮأة ﻓﻲ ﺷﻌﺮ ﻳﺤﻴﻰ ﺑﻦ اﻟﺤﻜﻢ اﻟﻐﺰال اﻷﻧﺪﻟﺴﻲ‬ ‫ﻛﺮاﺗﺸﻜﻮﻓﺴﻜﻲ‪66‬ﻋ ّﺮاب اﻻﺳﺘﻌﺮاب اﻟﺮوﺳﻲ‬ ‫ﻣﻌﺮض اﻟﺼﻴﺪ واﻟﻔﺮوﺳﻴﺔ‪66‬ﺧﺒﺮة اﻟﻤﺎﺿﻲ وﺗﻘﻨﻴﺎت اﻟﺤﺎﺿﺮ‬ ‫ﻣﻮروﺛﺎت ﺑﻮرﺗﻮرﻳﻜﻮ ‪66‬ﺗﺮﻗﺺ اﻟﺒﻮﻣﺒﺎ ﻋﻠﻰ أﻧﻐﺎم اﻟﺠﻮﻳﺮو‬

‫اﻟﻌﺪد ‪ - 60‬أﻛﺘﻮﺑﺮ ‪2017‬‬

‫رﺋﻴﺲ اﻟﺘﺤﺮﻳﺮ‬

‫ﻣﻨﺼﻮر ﺳﻌﻴﺪ اﻟﻤﻨﺼﻮري‬ ‫اﻹﺷﺮاف اﻟﻌﺎم‬

‫زﺑﻦ ﺑﻦ ﻋﻤﻴﺮ‬

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‫‪@zabin2011‬‬ ‫ﻣﺴﺘﺸﺎر اﻟﺘﺤﺮﻳﺮ‬

‫ﻋﻠﻲ اﻟﻤﺴﻌﻮدي‬ ‫‪@allmasoudi‬‬ ‫ﻣﺪﻳﺮ اﻟﺘﺤﺮﻳﺮ‬

‫ﻋﺒﺪا‪ +‬أﺑﻮﺑﻜﺮ‬ ‫‪@abdabubaker1‬‬ ‫اﻹﺧﺮاج اﻟﻔﻨﻲ & ﺳﻜﺮﺗﺎرﻳﺔ اﻟﺘﺤﺮﻳﺮ‬

‫ﺳﻌﺎد ﺣﺴﻨﺔ‬ ‫‪@HasnaSuad‬‬ ‫ﻣﺴﺆول اﻟﺘﻮزﻳﻊ‬ ‫أﺣﻤﺪ ﻋﺒﺎس‬

‫‪marketing@sbzc.ae‬‬ ‫ﺳﻌﺮ اﻟﻨﺴﺨﺔ‬ ‫اﻹﻣﺎرات اﻟﻌﺮﺑﻴﺔ اﻟﻤﺘﺤﺪة ‪ 10‬دراﻫﻢ اﻟﻤﻤﻠﻜﺔ اﻟﻌﺮﺑﻴﺔ اﻟﺴﻌﻮدﻳﺔ ‪ 10‬رﻳﺎﻻت اﻟﻜﻮﻳﺖ دﻳﻨﺎر واﺣﺪ‬ ‫‪ -‬ﺳﻠﻄﻨﺔ ﻋﻤﺎن ‪ 800‬ﺑﻴﺴﺔ ﻗﻄﺮ ‪ 10‬رﻳﺎﻻت ﻣﻤﻠﻜﺔ اﻟﺒﺤﺮﻳﻦ دﻳﻨﺎر واﺣﺪ‪P‬‬

‫ﻋﻨﻮان اﻟﻤﺠﻠﺔ ‬ ‫اﻹﻣﺎرات اﻟﻌﺮﺑﻴﺔ اﻟﻤﺘﺤﺪة‪ -‬أﺑﻮﻇﺒﻲ‬

‫اﻻﺷﺘﺮاﻛﺎت‬

‫ﻫﺎﺗﻒ ‪009712-6666130‬‬ ‫ﻓﺎﻛﺲ ‪009712-6663088‬‬

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

‫ص‪P‬ب ‪ 6420‬أﺑﻮﻇﺒﻲ إ‪P‬ع‪P‬م‬

‫‪baitshir@sbzc.ae‬‬

‫أﻛﺘﻮﺑﺮ ‪9 2017 /‬‬

‫ﻣﺤﺘﻮﻳﺎت‬ ‫‪baytelshear‬‬

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‫‪23‬‬ ‫ﻛﺘﺎب اﻟﻌﺪد‬

‫اﻟﺸﻌﺮ ‪ /‬اﻟﻌﺪد ‪60‬‬ ‫ﺑﻴﺖ ِ‬

‫ﺷﻌﺮاء اﻟﻌﺪد‬

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‫ﻋﻠﻲ اﻟﻤﺴﻌﻮدي‬ ‫ﻋﺒﺪا‪ +‬أﺑﻮﺑﻜﺮ‬ ‫ﻣﺤﻤﺪ اﻟﺒﺮﻳﻜﻲ‬ ‫ﻣﺤﻤﺪ ﻧﻮراﻟﺪﻳﻦ‬ ‫ﺻﻔﻴﺔ اﻟﺸﺤﻲ‬ ‫ﻣﺤﻤﺪ أﺑﻮﻋﺮب‬ ‫د‪P‬ﻳﺎﺳﻴﻦ ﺣﺰﻛﺮ‬

‫ﻫﺎدي اﻟﻤﻨﺼﻮري‬ ‫ﻋﺒﺪا‪ +‬اﻟﻄﻠﺤﻲ‬ ‫راﺟﺢ ﻧﻮاف اﻟﺤﻤﻴﺪاﻧﻲ‬ ‫ﻧﺎﺻﺮ اﻟﺸﻔﻴﺮي‬ ‫ﻋﺘﻴﻖ اﻟﻜﻌﺒﻲ‬ ‫ﺟﻤﺎل ﺑﻨﺪر اﻟﻐ ّﻨﺎﻣﻲ‬

‫‪76‬‬ ‫ﺳﻌﻴﺪ ﺑﻦ ﻏﻤﺎض‬ ‫اﻟﺮاﺷﺪي‬ ‫ﻋﺒﺪا‪ +‬ﺑﻦ ﻗﺼﻴّﺮ‬ ‫ﻋﺒﺪاﻟﺮﺣﻤﻦ اﻟﺴﻤﻴﻦ‬ ‫ﺣ ﻤ ﻴﺪ ﺑﻦ ﺻﺮّوخ اﻟﺪرﻋﻲ‬ ‫ﻫﻨﺪ اﻟﻔﻬﻴﺪ‬

‫أﺻﻴﻠﺔ اﻟﻜﻨﺪي‬ ‫ﻋﺒﺪا‪ +‬ذﻳﺎب اﻟﻌﻮﻧﻲ‬ ‫ﻋﻠﻲ اﻟﺨﺰﻳﻤﻲ اﻟﺸﻤﺮي‬ ‫ﻋﺒﺪا‪ +‬اﻟﻌﻮﻧﻲ‬ ‫ﺧﺎﻟﺪ اﻟﺸﻌﻴﺒﻲ‬ ‫ﻓﻮاز ﺧﺎﻟﺪ اﻟﻐﺎﻧﻢ‬

‫ﻣﻦ أﻗﻮال ﺳﻤﻮ اﻟﺸﻴﺦ‬

‫ﺳﻠﻄﺎن ﺑﻦ زاﻳﺪ آل ﻧﻬﻴﺎن‬ ‫ﻧﺪﻋﻢ اﻟﻌﻤﻞ اﻟﺜﻘﺎﻓﻲ إﻳﻤﺎﻧ ًﺎ ﺑﻀﺮورة اﻟﺜﻘﺎﻓﺔ ودورﻫﺎ‬ ‫اﻟﺴﻠﻮك‬ ‫ﻓﻲ ﺑﻨﺎء اﻟﻤﺠﺘﻤﻌﺎت وﺗﻄﻮرّﻫﺎ‪ ،‬وﺗﺄﺛﻴﺮﻫﺎ ﻓﻲ ّ‬ ‫واﺗﺴﺎع اﻟﻮﻋﻲ‪P‬‬ ‫اﻹﻧﺴﺎﻧﻲ ّ‬

‫أﻛﺘﻮﺑﺮ ‪7 2017 /‬‬

‫ذﻫﺐ اﻟﻜﻼم‬ ‫‪baytelshear‬‬

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‫اﻟﺸﻌﺮ ‪ /‬اﻟﻌﺪد ‪60‬‬ ‫ﺑﻴﺖ ِ‬

‫أﻛﺘﻮﺑﺮ ‪5 2017 /‬‬

‫ﺣﻜﻴﻢ اﻟﻌﺮب‬ baytelshear

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b@@ @ @Gx@@ @ @m@ @ @ ~@ @ @ 7 ¯ q@@ @ @ ~@ @ @ z@ @ @ @ @ @ g@ @ @ -

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b@@ @ @GÈ@@ @ @ @ @ @ E b@@ @ @ @ @ @ @ @ @ @ @ @ ´* b@@ @ @ @ @ @ @ @ £@ @ @ @ A

4*x@@ @ @ @ @ @ @ @~@ @ @ @ @ @ @ @ 6&°* @@ @ @ @ @ @ @+ @@ @ @ @ @ @ @ @ @ «H

b@@ @ Gx@@ @ @ @ @F ¤@@ @ @ @ @ @ @ @ @ D* v@@ @ @ @ @ @ @~@ @ @ @6b@@ @ @ J

4b@@ @ @ @ £@ @ @ @ @1° b@@ @ @ @ @ @ @ @ @D d@@ @ @ @ @ @ @ @ @ @ @ @ @ GH*H

b@@ @ @ G4¡@@ @ @ ~@ @ @ @8 ¥w@@ @ @ @ @ @ @ @ D v@@ @ @ @ @ @ @p@ @ @ @F

4b@@ @ @ @ @ c@ @ @ @ @ @g@ @ @ @ @ @<*H b@@ @ @ @ @ @ @ @ @ m@ @ @ @ @ @ @ @ @ @+(*

b@@ @ @ G4v@@ @ @ B ¯ b@@ @ @ @ @ @ @ @ @ @ @ < H&*

b@@ @Gx@@ @m@ @ ~@ @ 7 H&* Ì@@ @ @ @ @ @³* È@@ @ @ @ C

‫اﻟﺸﻴﺦ زاﻳﺪ ﺑﻦ ﺳﻠﻄﺎن آل ﻧﻬﻴﺎن‬ - ‫ﻃﻴﺐ ﷲ ﺛﺮاه‬-

60 ‫ اﻟﻌﺪد‬/ ‫اﻟﺸﻌﺮ‬ ِ ‫ﺑﻴﺖ‬

4

‫ﺻﻮت اﻟﺼﻮرة‬ baytelshear

b@@ @ @ @ £@ + O b@@ @ @ @ @ @ @ J&°*H P b@@ @ @ @ £@ @ <H ¤@@ c@ @ @ @B P @ @£@ @~@ @6%b@ @E @@ @ E b@@ @ c@ @ - @L @ @ J¡@@ @ : e42 L O @ @/x@@F x@@ @ @D* @@£@C d@@ @ @D* P @@ @s@J (* N @ @ @E ¥w@@ @ @D* Q @ @ C P @ £@ £@ p@ FO @@£@ C b@@ @ £@ A ib@ O @ ~@ @{@ @D* O @ @ @ ~@ 6&* Oh@@~@ {@ < @L @ J¡@@ : e42 L ¡@ P @ £@ Fb@@=&* Rh@@ 0b@@ -4*H e4Q O v@ @ @ D* ¢@@ @ g@ F* @@. ‫ﻓﺎروق ﺟﻮﻳﺪة‬ 3 2017 / ‫أﻛﺘﻮﺑﺮ‬

‫ﻣﻦ إﺻﺪارات ﻣﺮﻛﺰ ﺳﻠﻄﺎن ﺑﻦ زاﻳﺪ ﻟﻠﺜﻘﺎﻓﺔ واﻹﻋﻼم ﺑﺎﻟﺘﻌﺎون ﻣﻊ دار ﻣﺪارك ﻟﻠﻨﺸﺮ‬

‫ﻟﻤﻌﺮﻓﺔ ﻣﻮاﻗﻊ ﺻﺎﻻت اﻟﻌﺮض و اﻟﻤﻜﺘﺒﺎت اﻟﺘﻲ ﺗﺘﻮاﻓﺮ ﻓﻴﻬﺎ اﻟﺪواوﻳﻦ ﻳﺮﺟﻰ زﻳﺎرة ﻣﻮﻗﻊ دار ﻣﺪارك ﻟﻠﻨﺸﺮ‬ ‫‪madarekpublishing‬‬

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‫اﻟﺸﻌﺮ ‪ /‬اﻟﻌﺪد ‪60‬‬ ‫ﺑﻴﺖ ِ‬