Bayt alshier 64 feb 2018r

‫‪2018‬‬ ‫‪018‬‬ ‫ﻓﺒﺮاﻳﺮ ‪18 /‬‬ ‫ﻓﺒﺮﺒﺮ ﻳاﻳﺮ‬ ‫‪105‬‬ ‫‪10‬‬ ‫‪05 20‬‬

‫ﻣﺬﻛﺮات ﻃﺎﻟﺐ ﺣﻠﻢ‬

‫اﻟﺨﺒﺮ اﻟﺼﺤﻔﻲ اﻷول ‬ ‫ﻫﻞ اﻟﺼﺤﺎﻓﺔ ﻫﻲ ﻣﻬﻨﺔ اﻟﺤﻘﻴﻘﺔ أم ﻣﻬﻨﺔ اﻟﻜﺬب؟‬ ‫ﻫﻞ ﻫﻲ ﻣﺮآة اﳌﺠﺘﻤﻊ ﺗﻌﻜﺲ ﺻﻮرﺗﻪ أﻣﺎم ﻧﻔﺴﻪ متﺎﻣﺎً ﻟﻴﻜﺘﺸﻒ ﻣﺰاﻳﺎه وأﺧﻄﺎءه‪ ..‬أم ﻫﻲ ﻣﺼﻤﻢ‬ ‫ﻳﺴﺘﺨﺪم اﻟﻔﻮﺗﻮﺷﻮب ﻟﺘﻐﻄﻴﺔ اﻟﻌﻴﻮب واﳌﺒﺎﻟﻐﺔ ﰲ ﺗﺤﺴني اﻟﻮﺟﻪ‪ ..‬ﻟﺘﻈﻬﺮ اﻟﺼﻮرة اﳌﺰﻳﻔﺔ؟‬ ‫وﻣﻦ ﻳﺪﻳﺮ اﻹﻋﻼم اﻟﻌﺮيب‪..‬؟‬ ‫ﻫﻞ ﻫﻮ ﺣﺮ متﺎﻣﺎً‪ ..‬ﻫﻞ ﻳﻠﺘﺰم ﺑﻘﻴﻢ ﻣﺠﺘﻤﻌﻪ؟‬ ‫مل ﺗﻜﻦ ﻣﺜﻞ ﻫﺬه اﻷﺳﺌﻠﺔ ﺗﺪور ﰲ ﻋﻘﻞ ﺷﺎب ﺻﻐري ﺗﺨﺮج ﻟﻠﺘﻮ ﻣﻦ اﻟﺜﺎﻧﻮﻳﺔ اﻟﻌﺎﻣﺔ‪ ..‬وﻛﺎن ﻳﻈﻦ‬ ‫أن اﻹﻋﻼم ﻫﻮ ﺣﺎﻟﺔ ﻣﺘﻘﺪﻣﺔ ﻣﻦ اﳌﺜﺎﻟﻴﺔ واﻹﻧﺴﺎﻧﻴﺔ‪.‬‬ ‫وﰲ اﻟﻮﻗﺖ اﻟﺬي ﺻﻌﺪت ﻓﻴﻪ اﻟﻌﺘﺒﺔ اﻷوﱃ ﰲ ﻋﺎمل اﻟﻌﻤﻞ اﻟﺼﺤﻔﻲ ﻛﺎﻧﺖ اﻟﻜﻮﻳﺖ ﻗﺪ أﻗﺒﻠﺖ ﻋﲆ‬ ‫ﺗﺤﻮل ﺟﺪﻳﺪ ﻗ ّﻴﺪ اﻟﻌﻤﻞ اﻟﺼﺤﻔﻲ‪ ..‬ﻟﻴﻨﺘﻬﻲ ﻋﻬﺪ اﻟﺤﺮﻳﺔ اﻟﺬي ﻋﺮﻓﺖ ﺑﻪ اﻟﺪوﻟﺔ وﻳﺪﺧﻞ اﻟﺮﻗﻴﺐ‬ ‫ﻛﻌﺎﻣﻞ أﺳﺎﳼ ﰲ اﻟﺼﺤﻒ ﻳﺴﻤﺢ ﳌﺎ ﻳﺮﻳﺪ وميﻨﻊ ﻣﺎﻳﺮﻳﺪ ﻣﻦ اﻟﻨﴩ‪ ،‬وذﻟﻚ ﺑﻌﺪ أن ﺗﻢ ﺣﻞ ﻣﺠﻠﺲ‬ ‫اﻷﻣﺔ ﻟﻌﺎم ‪ 1985‬واﻧﺘﻬﻰ ﻓﻴﻪ ﻋﻬﺪ ﻟﻴﺒﺪأ ﻋﻬﺪ ﺟﺪﻳﺪ‪ ..‬ﺗﺤﻮل ﻓﻴﻪ اﻟﻜﺜري ﻣﻦ اﻟﻜﺘﺎب إﱃ ﻣﻨﺎﻗﺸﺔ‬ ‫ﻗﻀﺎﻳﺎ ﻫﺎﻣﺸﻴﺔ واﻹﻋﺮاض ﻋﻦ اﻟﻘﻀﺎﻳﺎ اﳌﻔﺼﻠﻴﺔ‪.‬‬ ‫ومل أﺣﺴﺐ ﺧﻄﻮات ﻗﺪﻣﻲ ﻗﻠﻴ ًﻼ وأﻧﺎ أﺿﻌﻬﺎ ﰲ أرض ﻫﺸﺔ ﻋﻨﺪﻣﺎ ﻧﻘﻠﺖ ﺧﱪاً ﻣﻦ وزارة اﻟﻜﻬﺮﺑﺎء‬ ‫اﻟﺘﻲ ﺗﻌﻤﻞ ﻋﲆ اﺗﻔﺎﻗﻴﺔ ﻛﺒرية ﻟﺘﺰوﻳﺪ اﻟﻌﺮاق ﺑﺎﻟﻜﻬﺮﺑﺎء ﻣﻘﺎﺑﻞ ﺣﺼﻮل اﻟﻜﻮﻳﺖ ﻋﲆ ﻣﻴﺎه ﺷﻂ‬ ‫اﻟﻌﺮب اﻟﺤﻠﻮة‪ ..‬ﻟﻜﻨﻨﻲ مل أﻛﺘﻒ ﺑﺎﻟﺨﱪ ﺑﻞ أﺿﻔﺖ إﻟﻴﻪ ﻣﻌﻠﻮﻣﺔ ﺻﻐرية ﻫﻲ أن ﻣﺎﺗﻨﺘﺠﻪ اﻟﻜﻮﻳﺖ‬ ‫ﻣﻦ ﻛﻬﺮﺑﺎء ﻻﻳﻜﻔﻲ ﺣﺎﺟﺘﻬﺎ ﻓﻠﺬﻟﻚ ﺳﺘﻀﻄﺮ إﱃ ﻗﻄﻊ ﻣﱪﻣﺞ ﻋﻦ ﻣﻨﺎﻃﻖ اﻟﻜﻮﻳﺖ‪.‬‬ ‫مل أﻛﻦ أﺗﺼﻮر أن ﻋﻘﻞ وﻛﻴﻞ اﻟﻮزارة ﻳﻄﻴﺶ ﰲ ذﻟﻚ اﻟﻮﻗﺖ وﻳﻘﻠﺐ اﻟﺪﻧﻴﺎ رأﺳﺎً ﻋﲆ ﻋﻘﺐ أﻣﺎم‬ ‫رﺋﻴﺲ ﺗﺤﺮﻳﺮ ﻣﺮﺗﺠﻒ مل ﻳﻮﻓﺮ ﱄ اﻟﺤامﻳﺔ‪.‬‬ ‫ﻓﻜﺎﻧﺖ اﻟﻨﺘﻴﺠﺔ أن ﺗﻢ ﺗﻮﺟﻴﻪ اﻧﺬار ﺧﻄﻲ ﱄ‪ ..‬ﻟﻜﻦ ﻳﺒﺪو أن ﻣﺎﻟﻚ اﻟﺠﺮﻳﺪة ﺷﻌﺮ ﺑﺎﻷﺳﻒ ﻋﲆ‬ ‫اﻹﻧﺬار‪ ..‬ورأى أﻧﻪ ﻋﻘﻮﺑﻪ ﻏري ﻛﺎﻓﻴﺔ‪ ..‬ﻓﺄوﻋﺰ إﱃ رﺋﻴﺲ اﻟﺘﺤﺮﻳﺮ ﺑﻄﺮدي ﻣﻦ اﻟﺠﺮﻳﺪة‪.‬‬ ‫ﻛﺎﻧﺖ ﺟﺮﻳﺪة اﻟﺴﻴﺎﺳﺔ ﻣﺠﺎورة ﳌﺒﻨﻰ اﻟﺠﺮﻳﺪة اﻟﺘﻲ أﻋﻤﻞ ﺑﻬﺎ‪ ..‬ﺣﻤﻠﺖ أوراﻗﻲ ﻣﺒﺎﴍة ودﺧﻠﺖ‬ ‫إﻟﻴﻬﺎ ﻷواﺟﻪ ﻧﺎﺋﺐ رﺋﻴﺲ اﻟﺘﺤﺮﻳﺮ وأﻃﻠﺐ ﻣﻨﻪ اﻟﻌﻤﻞ ﺿﻤﻦ ﻃﺎﻗﻢ اﻟﺘﺤﺮﻳﺮ‪ ..‬ﻓﻮاﻓﻖ ﻋﲆ اﻟﻔﻮر‬ ‫وﻃﻠﺐ ﻣﻨﻲ اﻟﺼﻌﻮد إﱃ اﻟﺪور اﻷول ﳌﻘﺎﺑﻠﺔ رﺋﻴﺲ اﳌﺤﻠﻴﺎت »ﺧﻠﻴﻞ« اﻟﻘﺎدم ﻣﻦ اﻟﺠﻨﻮب اﻟﻠﺒﻨﺎين‬ ‫ﻗﺒﻞ أﻳﺎم‪ ..‬واﺑﺘﺪأت اﻟﺤﻜﺎﻳﺔ!‬

‫ﻋﻠﻲ اﻟﻤﺴﻌﻮدي‬ ‫ﻋﻠ‬

‫‪@allmasoudi‬‬ ‫ﻌﺮ ‪ /‬اﻟاﻟﻌﺪد ‪644‬‬ ‫اﻟﺸﻌﺮ‬ ‫‪ 104‬ﺑﻴﻴﺖ‬ ‫ﺑﻴﺖ ِ‬

‫ﻓﺼﻞ اﻟﺸﺘﺎء ﺗﺘﻔﺎﻋﻞ ﻗﻮى ﺗﻠﻚ اﻟﺤﻜﺎﻳﺎت‬ ‫اﳌﺮﻋﺒﺔ ﻣﻊ اﻷﺟﻮاء اﻟﻘﺎمتﺔ ﻟﻴﺨﺮج ﻣﻦ ﺟﻌﺒﺘﻬﺎ‬ ‫أﺣﺪاث ورواﻳﺎت ﻣﻔﺰﻋﺔ ﺗﺘﻌﻠﻖ ﺑﺎﻟﻜﻬﻮف‬ ‫واﻟﻘﻼع اﻟﻨﺎﺋﻴﺔ وﻗﻤﻢ اﻟﺠﺒﺎل اﻟﺠﻠﻴﺪﻳﺔ اﳌﻨﻌﺰﻟﺔ‬ ‫وﻣﻐﺎﻣﺮات اﻟﺼﻴﺎدﻳﻦ اﳌﺤﻔﻮﻓﺔ ﺑﺎﳌﺨﺎﻃﺮ ﻋﲆ‬ ‫أﻃﺮاف اﻟﻌﺎمل‪ .‬وﺗﺪور ﻛﻞ ﺗﻠﻚ اﻻﺟﺘﻬﺎدات أن‬ ‫ﻣﺨﻠﻮﻗﺎت اﻵﻟﻒ ﻣﺘﻮاﺟﺪة ﺣﻮﻟﻨﺎ وﻟﻬﺎ اﻟﻘﺪرة‬ ‫ﻋﲆ اﻟﻈﻬﻮر وﻟﻜﻦ أﻣﺎم ﻣﻦ ﺗﺨﺘﺎرﻫﻢ ﻓﻘﻂ‪،‬‬ ‫وﺗﺤﺬر ﺗﻠﻚ اﻟﺨﺮاﻓﺎت ﻣﻦ ﻣﻐﺒﺔ اﻟﻌﺒﺚ ﻣﻊ‬ ‫ﺗﻠﻚ اﳌﺨﻠﻮﻗﺎت ﺣﺘﻰ ﻻ ﺗﺼﻴﺐ اﻷﺷﺨﺎص‬ ‫ﺑﻠﻌﻨﺎت ﻣﺆذﻳﺔ ﻻ ميﻜﻦ اﻟﺸﻔﺎء ﻣﻨﻬﺎ‪ ،‬وﻣﻦ‬ ‫اﻟﻌﺠﻴﺐ أن اﻷﻣﺮ وﺻﻞ إﱃ اﻟﺤﻜﻮﻣﺔ اﻟﺘﻲ‬ ‫أﻟﻐﺖ وﻋﺪﻟﺖ ﻣﻦ ﻣﴩوﻋﺎت ﺗﻨﻤﻮﻳﺔ وﻃﺮق‬ ‫ﺟﺪﻳﺪة ﺑﺴﺒﺐ إﻣﻜﺎﻧﻴﺔ ﺗﺪاﺧﻠﻬﺎ ﻣﻊ ﻣﻨﺎﻃﻖ‬ ‫ﻳﻌﺘﻘﺪ أﻧﻪ ﻳﻌﻴﺶ ﻓﻴﻬﺎ ﻣﺨﻠﻮﻗﺎت اﻵﻟﻒ«‪.‬‬ ‫اﻟﺰواج رﺑﺎط أﺑﺪي‬ ‫ﻳﻌﺪ اﻟﺰواج ﻣﻦ أﻫﻢ أرﻛﺎن اﳌﻮروﺛﺎت‬ ‫اﻟرنوﻳﺠﻴﺔ اﻟﻘﺪميﺔ‪ ،‬ﺣﻴﺚ ﻛﺎن ﻋﲆ اﻟﺸﺎب‬ ‫اﻟﺬي ﻳﺮﻳﺪ ﺧﻄﺒﺔ ﻓﺘﺎة أن ﻳﺬﻫﺐ إﱃ ﺑﻴﺘﻬﺎ‬ ‫ﺑﺼﺤﺒﺔ أﺣﺪ اﻷﺷﺨﺎص اﻟﺬي ﻳﺘﻮﱃ ﻣﻬﻤﺔ‬ ‫اﻟﺤﺪﻳﺚ ﻧﻴﺎﺑﺔ ﻋﻨﻪ‪ ،‬وإذا ﻗﺒﻠﻪ اﻷﺑﻮان زوﺟﺎً‬ ‫ﻻﺑﻨﺘﻬام‪ ،‬ﺗﻘﻮم اﻟﻔﺘﺎة اﻟﻌﺮوس ﺑﻨﺰع اﻟﻄﻮق‬ ‫ﻋﻦ ﻓﺮس اﻟﺨﻄﻴﺐ‪ ،‬ﻓﻴﺪل ذﻟﻚ ﻋﲆ ﻗﺒﻮﻟﻬﺎ‬ ‫إﻳﺎه‪ .‬وﻛﺎن اﻟﺮﺟﻞ ﻳﻔﻀﻞ اﻟﺰواج ﺑﺎﻣﺮأة‬ ‫ﺗﺼﻐﺮه ﺑﺨﻤﺴﺔ ﻋﴩ ﻋﺎﻣﺎً ﻟﻀامن إﻧﺠﺎب‬ ‫أﻛﱪ ﻋﺪد ﻣﻦ اﻷﻃﻔﺎل‪ .‬وﻻ ﻳﺴﻤﺢ ﻟﻠﺮﺟﻞ‬

‫ﺑﺎﻟﺰواج ﺛﺎﻧﻴﺔ ﺑﺤﺴﺐ اﻟﺘﻘﺎﻟﻴﺪ اﻟﻘﺪميﺔ‪.‬‬ ‫وﻋﻨﺪ اﻟﺰﻓﺎف ﻳﺘﺒﻊ اﻟرنوﻳﺠﻴﻮن ﺑﻌﺾ اﻟﺘﻘﺎﻟﻴﺪ‪،‬‬ ‫ﻓﻴﺠﺐ ﻋﲆ اﻟﻌﺮوﺳني ارﺗﺪاء اﻟـ »ﺟﺎﻛﺘﻲ«‬ ‫أو ﻛام ﻳﻄﻠﻖ ﻋﻠﻴﻪ اﻟﺴﻜﺎن اﳌﺤﻠﻴﻮن ﻛﻮﻓﺘﺎ‪.‬‬ ‫وﺗﻀﻊ اﻟﻌﺮوس ﻋﺪداً ﻣﻦ اﻷوﺳﻤﺔ وأﻛرث ﻣﻦ‬ ‫‪ 20‬دﺑﻮﺳﺎً ﻓﻀﻴﺎً‪ .‬ﻛام ﺗﻀﻊ أﻳﻀﺎً ﺗﺎج اﻟﺰﻓﺎف‬ ‫وﻗﺒﻌﺔ ﺗﻘﻠﻴﺪﻳﺔ ﺗﺰﻳﻨﻬﺎ أﴍﻃﺔ ﻣﻦ اﻟﺤﺮﻳﺮ‪.‬‬ ‫أﻣﺎ اﻟﻌﺮﻳﺲ ﻓريﺗﺪي وﺷﺎﺣﺎً أﺑﻴﺾ ﻃﻮﻳ ًﻼ‬ ‫ﺑﻌﺮض ﺻﺪره‪ .‬وﻣﻮﻛﺐ اﻟﻌﺮس ﻣﻦ أﻫﻢ أرﻛﺎن‬ ‫اﻟﺰﻓﺎف‪ ،‬وﻳﻀﻢ ﺟﻤﻴﻊ اﻷزواج واﻟﺰوﺟﺎت‬ ‫اﻟﺬﻳﻦ ﺗﺰوﺟﻮا ﻣﺆﺧﺮاً‪ ،‬وﺷﺒﺎﻧﺎً وﻓﺘﻴﺎت ﻋﺰاﺑﺎً‪.‬‬ ‫وﻳﺄﺧﺬ اﻟﻌﺮوﺳﺎن اﻟﱰﺗﻴﺐ اﻟﺮاﺑﻊ ﰲ اﳌﻮﻛﺐ‬

‫ﺑﻌﺪ أن ﻳﺨﺘﺎرا ﺛﻼﺛﺔ ﻣﻦ اﻷزواج ﻣﻊ زوﺟﺎﺗﻬﻢ‬ ‫ﻟﻴﺘﻘﺪﻣﻮﻫﻢ ﰲ اﳌﺴرية‪ ،‬أﻣﺎ اﻟﺰوﺟﺎن اﻟﻠﺬان‬ ‫ﻳﺴريان ﺧﻠﻒ اﻟﻌﺮوﺳني ﻓﻬام ﺻﺪﻳﻘﺎﻫام ‪.‬‬ ‫وﻳﺴﺘﻤﺮ اﳌﻮﻛﺐ ﰲ اﻟﺴري ﻣﻦ ﻣﻨﺰل اﻟﻌﺮﻳﺲ‬ ‫أو اﻟﻌﺮوس وﺻﻮﻻً إﱃ اﳌﻜﺎن اﻟﺬي ﻳﻘﺎم‬ ‫ﻓﻴﻪ ﺣﻔﻞ اﻻﺳﺘﻘﺒﺎل‪ .‬وﺑﻌﺪ اﻟﺰواج ﻳﺘﺸﺎرك‬ ‫اﻟﺰوﺟﺎن ﻛﻞ اﳌﻤﺘﻠﻜﺎت‪ ،‬ورمبﺎ ﻳﻠﺠﺄ اﻟﺒﻌﺾ‬ ‫إﱃ ﺗﺤﺮﻳﺮ ﻋﻘﺪ ﻳﺜﺒﺘﺎن ﻓﻴﻪ ذﻟﻚ‪.‬‬ ‫ﻋﻨﺪﻣﺎ ﻳﺘﺰوج اﺛﻨﺎن ﰲ ﺑﻌﺾ اﳌﻨﺎﻃﻖ اﻟﺸامﻟﻴﺔ‬ ‫ﻳﻘﻮم اﻷﺻﺪﻗﺎء واﻟﺠريان ﺑﺰرع ﺷﺠﺮيت ﺻﻨﻮﺑﺮ‬ ‫ﻋﲆ ﺟﺎﻧﺒﻲ اﻟﺒﺎب رﻣﺰاً ﻟﻠﺨﺼﻮﺑﺔ‪ .‬وﺗﻠﺒﺲ‬ ‫اﻟﻌﺮوس اﻟرنوﻳﺠﻴﺔ ﻛﺬﻟﻚ ﺗﺎﺟﺎً ﻓﻀﻴﺎً ﻣﻌﻠﻘﺎً‬ ‫ﻋﲆ ﺟﻮاﻧﺒﻪ ﺻﻔﻮف ﻣﻦ اﻟﻘﻄﻊ اﻟﻔﻀﻴﺔ‬ ‫اﻟﺼﻐرية اﻷﺧﺮى ﻓﺘﺼﺪر أﺻﻮاﺗﺎً ﻣﻮﺳﻴﻘﻴﺔ‬ ‫ﻣﺤﺒﺒﺔ ﻋﻨﺪﻣﺎ متﴚ اﻟﻌﺮوس ﻟﺘﻄﺮد ﺑﻬﺎ‬ ‫اﻷرواح اﻟﴩﻳﺮة اﻟﺘﻲ ﺗﺴﻌﻰ إﱃ ﺗﺪﻣري‬ ‫اﳌﺤﺒﺔ ﺑني اﻟﺰوﺟني اﻟﺤﺪﻳﺜني‪ .‬ﺗﻘﺪم أﻳﻀﺎً‬ ‫أم اﻟﻌﺮوس ﻻﺑﻨﺘﻬﺎ ﻋﻤﻠﺔ ذﻫﺒﻴﺔ ﺗﻌﻠﻖ ﰲ‬ ‫ﺣﺬاﺋﻬﺎ اﻷميﻦ‪ ،‬ﻛام ﻳﻘﺪم ﻟﻬﺎ واﻟﺪﻫﺎ ﻗﻄﻌﺔ‬ ‫ﻓﻀﻴﺔ ﺗﻀﻌﻬﺎ ﻋﲆ ﺣﺬاﺋﻬﺎ اﻷﻳﴪ‪ ،‬وﺑﻬﺬا‬ ‫ﻳﺄﻣﻠﻮن أﻻ ﺗﺮى اﺑﻨﺘﻬﻢ اﻟﻔﻘﺮ أﺑﺪاً‪ .‬وﺟﺮت‬ ‫اﻟﻌﺎدة ﰲ ﺑﻌﺾ اﳌﻨﺎﻃﻖ اﻟﺮﻳﻔﻴﺔ أن ﺗﺤﺼﻞ‬ ‫اﻟﻌﺮوس ﻋﲆ ﺧﺎﺗﻢ اﻟﺨﻄﻮﺑﺔ ﻋﻨﺪﻣﺎ ﻳﺘﻢ‬ ‫ﻃﻠﺒﻬﺎ ﻟﻠﺰواج‪ ،‬ﺛﻢ ﻳﻘﻮم اﻟﻌﺮﻳﺲ ﺑﻮﺿﻊ ﺧﺎﺗﻢ‬ ‫اﻟﺰواج ﰲ إﺻﺒﻌﻬﺎ ﺛﻢ ﺧﺎﺗﻢ آﺧﺮ ﻟﻸﻣﻮﻣﺔ‪،‬‬ ‫وﻫﺬا ﻳﻌﻨﻲ أن اﳌﺮأة اﻟرنوﻳﺠﻴﺔ ﻋﺎدة ﻣﺎ‬ ‫ﺗﻠﺒﺲ ﺛﻼﺛﺔ ﺧﻮاﺗﻢ ذﻫﺒﻴﺔ‪.‬‬

‫ﻓﺒﺮاﻳﺮ ‪103 2018 /‬‬

‫ﻣﻮروﺛ!!!!!ﺎت‬ ‫‪baytelshear‬‬

‫اﻟﺘﻘﻠﻴﺪﻳﺔ ﺣﺘﻰ ﻳﻮﻣﻨﺎ ﻫﺬا‪ ،‬ﺣﻴﺚ ﻻ زاﻟﺖ‬ ‫اﻻﺣﺘﻔﺎﻻت اﻟﺮﻳﻔﻴﺔ ﻣﻔﻌﻤﺔ ﺑﺄﻟﻮان اﻷزﻳﺎء‬ ‫اﻟﻨﺴﺎﺋﻴﺔ اﻟﺒﺪﻳﻌﺔ اﻟﺘﻲ ﻳﺰﻳﺪ ﺑﻬﺎءﻫﺎ وروﻧﻘﻬﺎ‬ ‫زﺧﺎرف اﻟﺒﻮﻧﺪا اﻟﺘﻲ ﺗٌﺸﻜﻞ ﺑﺪورﻫﺎ ﺟﺬور‬ ‫اﻟﻔﻨﻮن اﻟرنوﻳﺠﻴﺔ ﻋﲆ اﻹﻃﻼق‪ .‬وﻣﺼﻄﻠﺢ‬ ‫»اﻟﺒﻮﻧﺪا« اﻟرنوﻳﺠﻲ ﻳﺸﻤﻞ مبﻌﻨﺎه اﻟﻮاﺳﻊ‪،‬‬ ‫ﻣﺠﻤﻮﻋﺔ ﻣﻦ اﳌﻼﺑﺲ اﻟﺮﻳﻔﻴﺔ اﻟﺘﻘﻠﻴﺪﻳﺔ اﻟﺘﻲ‬ ‫ﻳﺮﺟﻊ ﺗﺎرﻳﺦ ﻣﻌﻈﻤﻬﺎ إﱃ اﻟﻘﺮن اﻟﺜﺎﻣﻦ ﻋﴩ‪.‬‬ ‫وﻳﻨﺒﻊ اﳌﺼﻄﻠﺢ أﻳﻀﺎً ﻣﻦ ﺣﺮﻛﺔ ﻟﻬﺎ ﺟﺬوره‬ ‫روﻣﺎﻧﺴﻴﺔ ﻗﻮﻣﻴﺔ ﰲ اﻟﻘﺮن اﻟﺘﺎﺳﻊ ﻋﴩ‪ ،‬واﻟﺘﻲ‬ ‫ﺷﻤﻠﺖ اﻫﺘامﻣﺎ ﺑﺎﻷزﻳﺎء اﻟﺸﻌﺒﻴﺔ اﻟﺘﻘﻠﻴﺪﻳﺔ‬ ‫ﰲ اﻟرنوﻳﺞ‪ .‬ﻣﺮت أزﻳﺎء اﻟﺒﻮﻧﺪا ﺑﺎﻟﻌﺪﻳﺪ ﻣﻦ‬ ‫اﻟﺘﻄﻮرات وأﺻﺒﺤﺖ ﻣﻮﺿﺔ ﺑﺤﺪ ذاﺗﻬﺎ ﺗﺘﺄﻟﻒ‬ ‫ﻣﻦ اﻟﻌﺪﻳﺪ ﻣﻦ اﻻزﻳﺎء اﻟﻨﺴﺎﺋﻴﺔ واﻟﺮﺟﺎﻟﻴﺔ‬ ‫اﻟﺸﺎﺋﻌﺔ واﻟﺘﻲ ﺗﺘﻤﻴﺰ ﺑﺰﺧﺎرف ﻣﺘﻘﻨﺔ أﺻﺒﺤﺖ‬ ‫ﻣﻌﱪة ﻋﻦ اﻟﺬوق اﻟرنوﻳﺠﻲ وﺗﻌﻜﺲ ﻣﺪى‬ ‫ارﺗﺒﺎﻃﻪ ﺑﺠامل اﻟﻄﺒﻴﻌﺔ وأﻟﻮاﻧﻬﺎ اﻟﺴﺎﺣﺮة ﻣﻦ‬ ‫ﺣﻮﻟﻪ‪ .‬ﻛام أﺻﺒﺤﺖ ﺗﻠﻚ اﻻزﻳﺎء ﻋﻨﻮاﻧﺎً ﻟﻠﻨﺒﻼء‬ ‫واﻟﻔﻘﺮاء ﻋﲆ ﺣﺪ ﺳﻮاء ﻣﻊ اﻟﻔﺎرق ﰲ ﺧﺎﻣﺎت‬ ‫اﻷﻗﻤﺸﺔ واﻟﺘﻄﺮﻳﺰات اﻟﻔﺎﺧﺮة‪ .‬ﻓﻔﻲ ﺑﻌﺾ‬ ‫اﻻﺣﻴﺎن ﻳﺼﻞ ﺳﻌﺮ ﻓﺴﺘﺎن اﻟﺒﻮﻧﺪا اﻟﻔﺎﺧﺮ‬ ‫إﱃ أﻛرث ﻣﻦ ‪ 10‬آﻻف دوﻻر ﰲ اﻟﻮﻗﺖ اﻟﺤﺎﱄ‪،‬‬ ‫وﻫﺬا ﻳﺘﻮﻗﻒ ﻋﲆ اﻟﺘﺼﻤﻴﻢ اﳌﻄﻠﻮب‪ ،‬واﳌﻮاد‪،‬‬ ‫واﻟﺘﻄﺮﻳﺰ‪ ،‬واﻟﺬﻫﺐ‪ ،‬واﻟﻔﻀﺔ واﻻﻛﺴﺴﻮارات‬ ‫اﳌﺮﺻﻌﺔ ﻋﲆ اﻟﺮداء‪ .‬وﻣﻦ اﳌﻤﻜﻦ أﻳﻀﺎً أن‬ ‫ﻳﺴﺘﻐﺮق ﺻﻨﻌﻪ ﻋﺎﻣﺎً ﻋﲆ اﻷﻗﻞ‪.‬‬ ‫اﻣﺘﺰﺟﺖ أزﻳﺎء اﻟﺒﻮﻧﺪا ﺑﺎﻟﻄﺮازات اﻷوروﺑﻴﺔ‬ ‫اﻟﺸﻌﺮ ‪ /‬اﻟﻌﺪد ‪64‬‬ ‫‪ 102‬ﺑﻴﺖ ِ‬

‫اﳌﻌﺎﴏة ﻣﻦ ﺣﻴﺚ اﻻﺳﺘﺨﺪام‪ .‬ﻓﻌﲆ ﺳﺒﻴﻞ‬ ‫اﳌﺜﺎل‪ ،‬ﻻ ﻳﺰال ﻋﺪد ﻗﻠﻴﻞ ﻣﻦ اﻟرنوﻳﺠﻴني‬ ‫ﻳﺴﺘﺨﺪﻣﻮن أﻏﻄﻴﺔ اﻟﺮأس‪ .‬و اﻟﺘﻲ ﻛﺎﻧﺖ ﺟﺰءاً‬ ‫ﻣﻦ اﻷزﻳﺎء اﻟﺘﻘﻠﻴﺪﻳﺔ‪ ،‬وﻳﻔﻀﻠﻮن ﺑﺪﻻً ﻣﻦ‬ ‫ذﻟﻚ إﻇﻬﺎر ﺷﻌﺮﻫﻢ‪ ،‬وذﻟﻚ وﻓﻘﺎً ﻟﻠﻤﻮﺿﺎت‬ ‫اﻟﻐﺮﺑﻴﺔ اﻟﺤﺪﻳﺜﺔ‪ .‬وﻣﻦ اﳌﻔﺎرﻗﺎت أن أﻏﻄﻴﺔ‬ ‫اﻟﺮأس ﻛﺎﻧﺖ ﻏﺎﻟﺒﺎً ﻣﺎ ﻳﻨﻈﺮ إﻟﻴﻬﺎ ﺑﺎﻋﺘﺒﺎرﻫﺎ‬ ‫أﻫﻢ ﺟﺰء ﻣﻦ أزﻳﺎء ﺑﻮﻧﺎد‪ .‬ﻷن ﻏﻄﺎء اﻟﺮأس‬ ‫ﻏﺎﻟﺒﺎً ﻣﺎ ﻳﺸري إﱃ اﻟﺤﺎﻟﺔ اﻻﺟﺘامﻋﻴﺔ ﻟﻠﻔﺮد‪.‬‬ ‫ﺗﺮاث اﻟﺤﻜﺎﻳﺎت وأﺳﺎﻃﻴﺮ اﻟﻔﺎﻳﻜﻨﺞ‬ ‫ﺷﻜﻠﺖ ﺑﻌﺾ اﻟﺤﻜﺎﻳﺎت واﻟﻘﺼﺺ اﻟﺸﻌﺒﻴﺔ‬ ‫اﻷﺳﻄﻮرﻳﺔ وﻋﻲ ووﺟﺪان اﻟرنوﻳﺠﻴني‪ ،‬وﻋﲆ‬ ‫رأس ﺗﻠﻚ اﻟﺤﻜﺎﻳﺎت ﻗﺼﺔ اﻧﺘﻘﺎم »ﺑﺮوﻛﺎ‬ ‫أوﺑﻮر«‪ ،‬إﺣﺪى ﺑﻄﻼت اﻟﻔﺎﻳﻜﻨﺞ‪ ،‬ﻣﻦ زوﺟﻬﺎ‬ ‫اﻟﺨﺎﺋﻦ ﺑﻄﻌﻨﺔ ﺑﺎﻟﺴﻴﻒ ﻗﺒﻞ ﻋﴩة ﻗﺮون‪،‬‬ ‫وﺗﺤﺪت ﺗﻘﺎﻟﻴﺪ ذﻟﻚ اﻟﻌﴫ ﺑﺎرﺗﺪاء ﴎوال‬ ‫وﺳﺎﻋﺪت اﻣﺮأة ﻓﻨﻠﻨﺪﻳﺔ أﺧﺮى ﰲ ﻗﻴﺎدة ﺑﻌﺜﺔ‬ ‫اﻟﻔﺎﻳﻜﻨﺞ اﻟﺜﺎﻟﺜﺔ إﱃ أﻣﺮﻳﻜﺎ اﻟﺸامﻟﻴﺔ ﰲ ﺑﺪاﻳﺔ‬ ‫اﻟﻘﺮن اﻟﺤﺎدي ﻋﴩ ووﻟﺪت أول ﻃﻔﻞ أورويب‬ ‫ﻫﻨﺎك‪ .‬ﻓﺎﳌﺮأﺗﺎن ﻫﻨﺎ ﺿﻤﻦ ﺣﻔﻨﺔ ﻣﻦ ﺑﻄﻼت‬ ‫أﺳﻄﻮرﻳﺎت ﰲ ﻣﻼﺣﻢ اﻟﻔﺎﻳﻜﻨﺞ‪ .‬وﺑﺸﻜﻞ‬ ‫ﻋﻤﲇ ﺗﻨﺘﴩ ﻣﻬﺮﺟﺎﻧﺎت ﺗﺠﺴﺪ وﺗﻌﻴﺪ متﺜﻴﻞ‬ ‫ﻗﺼﺺ اﳌﻌﺎرك اﻟﻘﺪميﺔ ﻟﺸﻌﻮب اﻟﻔﺎﻳﻜﻨﺞ‪،‬‬ ‫ﺣﻴﺚ ﺗﻘﺎم ﰲ اﻟﻌﺪﻳﺪ ﻣﻦ اﻟﻘﺮى ﻓﻌﺎﻟﻴﺎت‬ ‫ﻳﺮﺗﺪي ﺧﻼﻟﻬﺎ اﻟﺮﺟﺎل ﻣﻼﺑﺲ ﺣﺮﺑﻴﺔ ﺗﻘﻠﻴﺪﻳﺔ‬ ‫ﺗﺤﺎيك ﺟﻨﻮد اﻟﻔﺎﻳﻜﻨﺞ وﻳﺘﺒﺎرون ﰲ ﻣﻬﺎرﺗﻬﻢ ﰲ‬

‫اﺳﺘﺨﺪام اﻷﺳﻠﺤﺔ واﳌﺒﺎرزة ﺑﺎﻟﺴﻴﻮف واﻟﺪروع‬ ‫واﺳﺘﻌﺮاض اﻟﻘﻮة اﻟﺠﺴامﻧﻴﺔ اﻟﺘﻲ ورﺛﻬﺎ‬ ‫اﻟرنوﻳﺠﻴﻮن ﻋﻦ ﺷﻌﻮب اﻟﻔﺎﻳﻜﻨﺞ‪ .‬ﻓﻀ ًﻼ ﻋﻦ‬ ‫ذﻟﻚ اﺳﺘﻨﺴﺎخ ﺣﻴﺎة ﺷﻌﻮب اﻟﻔﺎﻳﻜﻨﺞ اﻟﻘﺪميﺔ‬ ‫داﺧﻞ ﺑﻌﺾ اﻟﻘﺮى واﳌﺘﺎﺣﻒ اﳌﻔﺘﻮﺣﺔ اﻟﺘﻲ‬ ‫ﺗﻢ ﺑﻨﺎؤﻫﺎ ﻋﲆ ﻃﺮاز اﻟﻔﺎﻳﻜﻨﺞ اﻟﺘﻘﻠﻴﺪي ﺑﻜﻞ‬ ‫ﺗﻔﺎﺻﻴﻠﻬﺎ ﺑﺪءاً ﻣﻦ اﳌﻨﺎزل اﳌﺤﻔﻮرة داﺧﻞ‬ ‫اﻟﺘﻼل وﻣﻼﺑﺲ اﻟﻔﺮو اﻟﻄﺒﻴﻌﻲ واﻷدوات‬ ‫اﻟﺨﺸﺒﻴﺔ اﻟﻐﻠﻴﻈﺔ واﻷﺣﺬﻳﺔ اﻟﺠﻠﺪﻳﺔ اﻟﻄﻮﻳﻠﺔ‬ ‫وﻏريﻫﺎ‪ ،‬وأﺻﺒﺤﺖ اﻟﻘﺮﻳﺔ ﻣﻘﺼﺪاً ﺳﻴﺎﺣﻴﺎً ﳌﻦ‬ ‫ﻳﺮﻳﺪ ﻣﻌﺎﻳﺸﺔ ﺣﻴﺎة ﺗﻠﻚ اﻟﺤﻀﺎرة ﰲ اﻟﻮاﻗﻊ‬ ‫واﻻﺳﺘﻤﺘﺎع ﺑﻜﻞ ﻋﻨﺎﴏﻫﺎ‪.‬‬ ‫ﻧﺴﺞ اﻟﺴﻜﺎن اﳌﺤﻠﻴﻮن واﻟﻘﺮوﻳﻮن ﻋﲆ وﺟﻪ‬ ‫اﻟﺘﺤﺪﻳﺪ اﻟﻌﺪﻳﺪ ﻣﻦ أﺳﺎﻃري اﻟﻔﺎﻳﻜﻨﺞ وﻛﻴﻔﻴﺔ‬ ‫ﺳﻴﻄﺮﺗﻬﻢ ﻋﲆ أوروﺑﺎ ﻟﻘﺮون وﻣﻬﺎراﺗﻬﻢ‬ ‫اﻟﻌﺎﻟﻴﺔ ﰲ رﻛﻮب اﻟﺒﺤﺮ واﻟﻘﺮﺻﻨﺔ ﻋﲆ اﻷﻋﺪاء‬ ‫ﰲ ﻛﺜري ﻣﻦ اﻷﺣﻴﺎن‪ .‬وﻟﻜﻦ مل ﻳﻘﺘﴫ اﻷﻣﺮ‬ ‫ﻋﲆ ذﻟﻚ‪ ،‬ﺣﻴﺚ ﺗﺰﺧﺮ اﳌﻮروﺛﺎت اﻟرنوﻳﺠﻴﺔ‬ ‫ﺑﺎﻟﻌﺪﻳﺪ ﻣﻦ اﻟﺨﺮاﻓﺎت واﻟﺸﺨﺼﻴﺎت‬ ‫اﻟﺨﺎرﻗﺔ ﻟﻠﻄﺒﻴﻌﺔ‪ ،‬ﻓﻼزاﻟﻮا ﻳﺆﻣﻨﻮن ﺑﺎﻟﻌﺪﻳﺪ‬ ‫ﻣﻦ اﻟﺨﺮاﻓﺎت واﻷﺷﺒﺎح وﻣﺨﻠﻮﻗﺎت اﻵﻟﻒ‬ ‫اﻷﺳﻄﻮرﻳﺔ اﻟﺸﻌﺒﻴﺔ‪ ،‬ﺑﻞ وﺗﺘﺪاﺧﻞ ﰲ اﻟﻔﻨﻮن‬ ‫اﻟﺸﻌﺒﻴﺔ واﻟﻔﻠﻜﻠﻮرﻳﺔ وﻳﺘﻢ ﺗﺪرﻳﺴﻬﺎ ﰲ ﺑﻌﺾ‬ ‫اﳌﻌﺎﻫﺪ اﻟرنوﻳﺠﻴﺔ‪ ،‬وﺗﺘﺪاول ﺣﻜﺎﻳﺎﺗﻬﺎ اﻷﺟﻴﺎل‬ ‫ﺣﺘﻰ وﻗﺘﻨﺎ ﻫﺬا وﺗﺒﺚ اﻟﺮﻋﺐ ﰲ ﻗﻠﻮب ﻛﻞ‬ ‫ﻣﻦ ﻳﺴﻤﻌﻬﺎ ﻷول ﻣﺮة‪ ،‬ﻓﺒﺴﺒﺐ ﻃﺒﻴﻌﺔ اﻟﻈﻼم‬ ‫اﻟﺪاﻣﺲ اﻟﺬي ﻳﺨﻴﻢ ﻋﲆ اﻟﺒﻼد ﻟﺸﻬﻮر ﺧﻼل‬

‫ﻣﺤﻤﺪ دروﻳﺶ‬

‫ﻋﲆ ﻗﻤﺔ اﻟﻌﺎمل ﺣﻴﺚ ﻳﺘﻼﳽ ﻛﻞ ﳾء وﺳﻂ‬ ‫اﻟﻀﺒﺎب اﻟﺴﺎﺣﺮ وﺗﱪز اﻟﻄﺒﻴﻌﺔ وﺟﻬﻬﺎ اﻵﺧﺮ‬ ‫اﻟﺴﺎﺣﺮ ﺗﻘﺒﻊ اﳌﻮروﺛﺎت اﻟرنوﻳﺠﻴﺔ ﺑﻜﻞ ﻣﺎ‬ ‫ﺗﺤﻤﻠﻪ ﻣﻦ ﻗﻴﻢ وإرث ﻋﻈﻴﻢ ﻳﻌﺸﻖ اﻟﻄﺒﻴﻌﺔ‬ ‫وﻳﺮﺗﺒﻂ ﺑﺮﺑﺎط أﺑﺪي ﺑﻌﺰة وﻓﺨﺮ ﻣﺤﺎريب‬ ‫اﻟﻔﺎﻳﻜﻨﺞ اﻟﺬﻳﻦ ﻣﻸت ﺷﺠﺎﻋﺘﻬﻢ اﻟﻌﺎمل‬ ‫وﺗﺤﻮﻟﺖ ﺳريﺗﻬﻢ إﱃ أﺳﺎﻃري ﺗﺘﻨﺎﻗﻠﻬﺎ اﻷﺟﻴﺎل‬ ‫ﰲ ﺟﻨﺢ اﻟﻈﻼم اﻟﺪاﻣﺲ اﳌﻤﺘﺰج ﺑﺎﻟﻀﺒﺎب‬ ‫وﺗﺘﻸﻷ ﻣﻦ ﻓﻮﻗﻪ أﺿﻮاء اﻟﺸﻔﻖ اﻟﻘﻄﺒﻲ ﻟﺘﻨري‬ ‫اﻟﻌﺎمل ﺑﺜﻘﺎﻓﺔ وإرث ﻓﺮﻳﺪ ﻣﻦ ﻓﻮق ﻗﻤﺔ اﻟﻌﺎمل‬ ‫اﻟﻘﻄﺒﻴﺔ وﻣﻦ ﺧﻼل ﺷﻌﺐ ﻳﻬﻮى اﻟﺤﻴﺎة‬ ‫وﻳﺘﺤﺪى ﻏﻀﺐ اﻟﻄﺒﻴﻌﺔ ﰲ أﺣﻠﻚ ﻇﺮوﻓﻬﺎ‬ ‫اﻟﻘﺎﺳﻴﺔ‪ ،‬ﻓﻔﻲ ﺑﻠﺪ اﻟﺠﻠﻴﺪ ﻳﻌﺎﻧﻖ أﻫﻠﻬﺎ‬ ‫اﻟﺸﻤﺲ واﻟﻨﻮر ﻟﺸﻬﻮر وﻳﺘﺄﻣﻠﻮن اﻟﻄﺒﻴﻌﺔ‬ ‫أﺛﻨﺎء ﻟﻴﻠﻬﺎ اﻟﺪاﻣﺲ اﻟﺬي ﻻ ﻧﻬﺎﻳﺔ ﻟﻪ‪ ،‬ﺗﱪز‬ ‫ﻟﻨﺎ ﺛﻘﺎﻓﺔ وﺗﻘﺎﻟﻴﺪ ﻣﻔﻌﻤﺔ ﺑﺎﻟﺤﻴﻮﻳﺔ ﺗﺆﺟﺠﻬﺎ‬ ‫اﳌﻬﺮﺟﺎﻧﺎت اﻟﺼﺎﺧﺒﺔ ﰲ اﻟﻨﻬﺎر وﺗﺮﻋﺐ‬ ‫أﺳﺎﻃريﻫﺎ ﺳﻜﺎن اﻟﻠﻴﻞ‪ ،‬ﻣﻜﻮﻧ ًﺔ ﻣﻮروﺛﺎت‬ ‫ﻓﺮﻳﺪة ﻳﺘﻨﺎوﻟﻬﺎ اﻟﻌﻘﻞ مبﺬاق ﺳﻤﻚ اﻟﻘﺪ ﻋﲆ‬ ‫أﻧﻐﺎم رﻗﺼﺔ اﻟﻬﺎﻟﻴﻨﻎ اﻟﺮﻳﻔﻴﺔ وﺳﻂ ﺳﺤﺮ‬ ‫زﺧﺎرف اﻟﺒﻮﻧﺪا اﻟﺒﺎﻫﺮة‪.‬‬ ‫أﻫﻢ ﻣﺎ ميﻴﺰ اﻟﺸﻌﺐ اﻟرنوﻳﺠﻲ ﻫﻮ ﻋﺸﻘﻪ‬ ‫ووﻟﻌﻪ ﺑﺎﻟﺤﻜﺎﻳﺎت اﻷﺳﻄﻮرﻳﺔ واﳌﻠﺤﻤﻴﺔ اﻟﺘﻲ‬ ‫ﺗﻌﻜﺲ ﻣﺪى ﺑﺄﺳﻪ وﻗﻮﺗﻪ ﰲ ﻣﻮاﺟﻬﺔ اﻟﻄﺒﻴﻌﺔ‬ ‫اﻟﺼﻌﺒﺔ ﻫﻨﺎك‪ ،‬ومتﺜﻞ رواﻳﺔ اﻟﺤﻜﺎﻳﺎت روح‬ ‫اﻟﺜﻘﺎﻓﺔ اﻟرنوﻳﺠﻴﺔ‪ ،‬وﺗﻌﻜﺲ ﻧﻮﻋﺎً ﻣﻦ اﻟﻨﺰﻋﺔ‬ ‫اﻟﻔﻠﺴﻔﻴﺔ ﻟﻠﺴﻜﺎن اﳌﺘﺄﻣﻠني ﰲ ﺣﻴﺎﺗﻬﻢ‬ ‫وﰲ اﻟﻄﺒﻴﻌﺔ اﻟﺠﻠﻴﺪﻳﺔ ﻟﺒﻼدﻫﻢ‪ ،‬وﺗﻌﻜﺲ‬ ‫اﻟﺤﻜﺎﻳﺎت اﻟرنوﻳﺠﻴﺔ اﻋﺘﻘﺎد اﻟﺸﻌﺐ اﻟﺮاﺳﺦ ﰲ‬ ‫اﻟﺠﻦ واﻷﻗﺰام واﻟﻜﺎﺋﻨﺎت ﻏري اﳌﺮﺋﻴﺔ ﺑﺎﻹﺿﺎﻓﺔ‬ ‫إﱃ اﻟﻘﺼﺺ اﻟﺒﻮﻟﻴﺴﻴﺔ اﻟﺘﻲ ﻳﺸﺘﻬﺮ ﺑﻬﺎ ﻫﺬا‬ ‫اﻟﺒﻠﺪ‪ ،‬واﻟﺘﻲ ﻳﻌﺮض اﻟﻜﺜري ﻣﻦ اﻟﺠﺮاﺋﻢ اﻟﺘﻲ‬ ‫متﺲ ﻛﺎﻓﺔ ﻃﺒﻘﺎت اﳌﺠﺘﻤﻊ‪ .‬ﻓﺤﺘﻰ اﳌﻮﺳﻴﻘﻰ‬ ‫مل ﺗﺨﻞ ﻣﻦ ﻃﺎﺑﻊ اﻟﻔﺎﻳﻜﻨﺞ‪ ،‬ﺣﻴﺚ ﺗﺴﺘﻤﺪ‬ ‫ﻧﻐامﺗﻪ ﻣﻦ ﻣﻼﺣﻤﻪ اﻷﺳﻄﻮرﻳﺔ وﺣﻜﺎﻳﺎت‬ ‫ﺣﺮوﺑﻪ اﻟﺒﺤﺮﻳﺔ اﳌﻤﺘﺪة ﻋﱪ ﻗﺮون‪ ،‬وﺗﻨﻘﺴﻢ‬ ‫اﳌﻮﺳﻴﻘﻰ إﱃ ﺻﻮﺗﻴﺔ وﻣﻌﺰوﻓﺔ‪ .‬ﺗﺮﺟﻊ آﻟﺔ‬ ‫اﻟـ » ‪ «hardingfele‬اﳌﻮﺳﻴﻘﻴﺔ اﻟﻮﺗﺮﻳﺔ إﱃ‬ ‫ﻣﻨﻄﻘﺔ ﻣﻀﻴﻖ ﻫﺎرداﻧﺠري‪ ،‬وﺗﻌﺪ ﻫﻲ اﻵﻟﺔ‬

‫إﻳﻘﺎﻋﺎت اﳌﻮﺳﻴﻘﻰ واﻟﺘﻤﻜﻦ ﻣﻦ رﻛﻠﻬﺎ ﺑﻘﺪﻣﻪ‬ ‫ﰲ وﺿﻊ اﻟﻄريان ﰲ اﻟﻬﻮاء‪.‬‬ ‫ﻛام ﺗﻮﺟﺪ رﻗﺼﺔ اﻟـ » ‪ «Bygdedans‬اﻟﺮﻳﻔﻴﺔ‬ ‫اﳌﺘﺄﺻﻠﺔ ﰲ اﻟﻘﺮى اﻟرنوﻳﺠﻴﺔ‪ ،‬واﻟﺘﻲ ﺗﺘﻤﻴﺰ‬ ‫ﺑﻄﺎﺑﻌﻬﺎ اﻻﺟﺘامﻋﻲ‪ ،‬ﺣﻴﺚ ﻳﺸﺎرك ﻓﻴﻬﺎ‬ ‫ﺟﻤﻴﻊ اﻟﺴﻜﺎن ﻣﻦ أﻃﻔﺎل وﺷﺒﺎب وﻧﺴﺎء‬ ‫ورﺟﺎل وﺷﻴﻮخ وميﺴﻜﻮن أﻳﺎدي ﺑﻌﻀﻬﻢ‬ ‫ﺑﻌﻀﺎً وﻳﺒﺪؤون ﰲ اﻟﺮﻗﺺ ﻋﲆ إﻳﻘﺎع ﺑﻄﻲء‬ ‫واﻟﺤﺮﻛﺔ ﰲ دواﺋﺮ أو اﳌﴚ ﻋﱪ أﻣﺎﻛﻦ داﺧﻞ‬ ‫اﻟﻘﺮﻳﺔ‪ ،‬وﻫﻲ دﻟﻴﻞ ﻋﲆ متﺎﺳﻚ اﻟﺴﻜﺎن‬ ‫ﺑﺘﻘﺎﻟﻴﺪﻫﻢ اﳌﻮروﺛﺔ واﻧﻌﻜﺎﺳﺎً ﺑﺎن اﻟﻘﺮﻳﺔ ﺗﻌﺪ‬ ‫أﴎة واﺣﺪة‪ .‬وﻻ ﺗﺨﻠﻮ اﳌﻮروﺛﺎت اﻟرنوﻳﺠﻴﺔ‬ ‫ﻣﻦ اﻟﺮﻗﺼﺎت اﻟﺮوﻣﺎﻧﺴﻴﺔ‪ ،‬ﺣﻴﺚ ﺗﺘﺄﻟﻖ‬ ‫رﻗﺼﺔ اﻟـ » ‪ «Rudl‬اﻟﺘﻲ ﻳﺸﺎرك ﻓﻴﻬﺎ رﺟﻞ‬ ‫وﺳﻴﺪة وﻳﺒﺪؤون ﰲ اﻟﺮﻗﺺ اﻹﻳﻘﺎﻋﻲ اﻟﴪﻳﻊ‬ ‫واﻟﺒﻄﻲء ﰲ متﺎﻳﻼت روﻣﺎﻧﺴﻴﺔ ﺗﻌﻜﺲ رﻗﺔ‬ ‫اﻷﻧﻮﺛﺔ وﻋﻨﻔﻮان اﻟﺮﺟﻮﻟﺔ‪.‬‬

‫اﻟﻮﻃﻨﻴﺔ ﻟﻠرنوﻳﺞ‪ ،‬وميﻜﻦ ﺳامع ﻋﺰﻓﻬﺎ ﺑﻜرثة‬ ‫ﺧﻼل اﳌﻮﺳﻴﻘﻰ اﻟﺘﺼﻮﻳﺮﻳﺔ ﻟﻔﻴﻠﻢ » ﺳﻴﺪ‬ ‫اﻟﺨﻮاﺗﻢ‪ :‬رﻓﻘﺔ اﻟﺨﺎﺗﻢ«‪ ،‬وﻳﺘﻢ اﻟﻌﺰف ﻋﻠﻴﻬﺎ‬ ‫ﺧﻼل اﻻﺣﺘﻔﺎﻻت اﻟﻮﻃﻨﻴﺔ اﻟرنوﻳﺠﻴﺔ‪ ،‬وﻛﺬﻟﻚ‬ ‫اﻷﻣﺴﻴﺎت واﳌﻨﺎﺳﺒﺎت اﻻﺟﺘامﻋﻴﺔ‪.‬‬ ‫متﺜﻞ اﳌﻮﺳﻴﻘﻰ واﻟﺮﻗﺺ رﻛﻨﺎً أﺳﺎﺳﻴﺎً ﰲ‬ ‫اﻟﺜﻘﺎﻓﺔ اﻟرنوﻳﺠﻴﺔ ﺑﺸﻘﻴﻬﺎ اﻟﺴﺎﺣﲇ واﻟﺮﻳﻔﻲ‪،‬‬ ‫وﺗﻌﺪ رﻗﺼﺔ اﻟـ »‪ «hallingdansen‬أﻫﻢ‬ ‫ﺗﻠﻚ اﻟﺮﻗﺼﺎت ﻋﲆ اﻹﻃﻼق‪ ،‬وﻳﺘﻢ أداؤﻫﺎ‬ ‫ﰲ اﻟﻌﺪﻳﺪ ﻣﻦ اﻻﺣﺘﻔﺎﻻت اﻟﻘﺮوﻳﺔ وﺳﻂ‬ ‫ﺗﺠﻤﻌﺎت ﻛﺒرية‪ ،‬وﻋﺎدة ﻣﺎ ﻳﺘﻢ أداؤﻫﺎ‬ ‫ﺑﻮاﺳﻄﺔ اﻟﺸﺒﺎب ﺧﻼل اﻷﻋﺮاس‪ ،‬إذ ﺗﺘﻄﻠﺐ‬ ‫ﻗﻮة وﻟﻴﻮﻧﺔ ورﺷﺎﻗﺔ ﺟﺴامﻧﻴﺔ ﻛﺒرية‪ ،‬ﻓﻬﻲ‬ ‫ﺑﻄﺒﻴﻌﺘﻬﺎ رﻗﺼﺔ ﴎﻳﻌﺔ اﻹﻳﻘﺎع‪ ،‬وﺗﻘﻮم ﻋﲆ‬ ‫ﻣﻘﺎرﻋﺔ أﻛﺮوﺑﺎﺗﻴﺔ ﻣﺘﻨﺎﻏﻤﺔ ﺑني اﻟﺮاﻗﺼني‬ ‫ﻹﻇﻬﺎر ﻣﺪى اﻟﱪاﻋﺔ ﰲ اﻟﺮﻗﺺ واﻟﻠﻴﺎﻗﺔ‬ ‫اﻟﺒﺪﻧﻴﺔ اﻟﺘﻲ ﻳﺘﻤﺘﻊ ﺑﻬﺎ اﻟﺮاﻗﺺ‪ ،‬وﰲ ﺑﻌﺾ‬ ‫أمنﺎط اﻟﺮﻗﺼﺔ ﺗﻘﻮم ﻓﺘﺎة ﺑﺤﻤﻞ ﺛﻘﻞ ﻣﺘﺪلٍ‬ ‫ﻣﻦ ﻋﺼﺎ ﻃﻮﻳﻠﺔ ﺑﺸﻜﻞ أﻓﻘﻲ وﻋﲆ ارﺗﻔﺎع ﺣﻴﺎة ﻣﻔﻌﻤﺔ ﺑﺰﺧﺎرف اﻟﺒﻮﻧﺪا‬ ‫ﻣﻌني‪ ،‬ﻟﻴﺒﺪأ اﻟﺮاﻗﺺ ﺑﺎﺳﺘﻌﺮاض ﻣﻬﺎراﺗﻪ ﻋﲆ ﻳﻮﱄ اﻟرنوﻳﺠﻴﻮن أﻫﻤﻴﺔ ﻛﺒرية ﺑﺎﳌﻼﺑﺲ‬ ‫ﻓﺒﺮاﻳﺮ ‪101 2018 /‬‬

‫ﻣﻮروﺛ!!!!!ﺎت‬ ‫‪baytelshear‬‬

‫ﺗﻬﻮى اﻟﺮﻗﺺ اﻟﺮﻳﻔﻲ وﺗﺘﺄﻣﻞ زﺧﺎرف اﻟﺒﻮﻧﺪا‬

‫اﻟﻤﻮروﺛﺎت اﻟﻨﺮوﻳﺠﻴﺔ‬

‫ﺗﺘﻨﺎول ﺳﻤﻚ اﻟﻘﺪ ﻋﻠﻰ ﻣﺎﺋﺪة ﻣﺤﺎرﺑﻲ اﻟﻔﺎﻳﻜﻨﺞ‬

‫اﻟﺸﻌﺮ ‪ /‬اﻟﻌﺪد ‪64‬‬ ‫‪ 100‬ﺑﻴﺖ ِ‬

‫‪§CC1&* ,zCCªCC CCD ¸K zCCCGK ,zª + lCCCI* fCCH‬‬ ‫ﺷﺎﻋﺮ ﻣﻤﻴﺰ ﻣﻦ أﻳﺎم اﻟﺠﻮﻻت‪ ،‬وﻻ ﻳﺰال ﻛﺬﻟﻚ‪ ،‬ﻣﺸﻴﺪا ﺑﺘﻮﻇﻴﻒ‬ ‫<|‪i‬‬ ‫‪ ,zª D‬‬ ‫‪ C‬‬ ‫‪C‬‬ ‫*‪I‬‬ ‫‪ *|CC‬‬ ‫‪C‬‬ ‫‪0‬‬ ‫‪ zCCCM*5 xª 7 fCCM‬‬ ‫ﺣﺎدﺛﺔ ﻣﺮﻳﻢ ﻋﻠﻴﻬﺎ اﻟﺴﻼم ﰲ اﻟﻨﺺ‪ ،‬واﻟﺪﻻﻻت اﻟﺪﻳﻨﻴﺔ‪ ،‬اﻟﺘﻲ ﺗﺸري‬ ‫إﻟﻴﻬﺎ ﻋﺒﺎرات ﻣﻮﻇﻔﺔ ﺑﺸﻜﻞ ذيك‪.‬‬ ‫وﺑﻌﻨﻮان »ﻣﺮﻳﻢ« ﻗﺮأ اﻟﻈﻔريي ﻣﻦ ﻗﺼﻴﺪﺗﻪ‪:‬‬ ‫‪ f H ¿fª Gf+ CCG ¨ < Ë|CCH §CC CC‬‬‫اﻟﻤﺘﺄﻫﻞ ﺑﻘﺮار اﻟﻠﺠﻨﺔ‬ ‫‪ ª H ÉfCCH z/§G* zqk 6* £fCCF §CCCE&*K‬وﰲ اﻟﺠﺰء اﻷﺧري ﻣﻦ اﻷﻣﺴﻴﺔ اﻷوﱃ‪ ،‬وﻗﺒﻞ اﻹﻋﻼن ﻋﻦ ﻧﺘﺎﺋﺞ ﻗﺮار‬ ‫‪ f º* £§ = i| - fH £fF £* Ë|H fM‬‬ ‫ﻟﺠﻨﺔ اﻟﺘﺤﻜﻴﻢ‪ ،‬أﺗﻴﺤﺖ اﻟﻔﺮﺻﺔ ﻟﺠﻤﻬﻮر ﻣﴪح ﺷﺎﻃﺊ اﻟﺮاﺋﺤﺔ‬ ‫‪ ËzCC CCG* mfCCM|CCF{CCG* {CCC< ¢CCM~CC¤CC- ÑCCD‬ﻟﻠﺘﺼﻮﻳﺖ ﻟﺸﺎﻋﺮﻫﻢ اﳌﻔﻀﻞ ﻋﻠام ﺑﺄن ﻧﺘﻴﺠﺔ اﻟﺘﺼﻮﻳﺖ ﻫﺬه ﻏري‬ ‫· ‪ ÑF fMf + «¡ª< K vK|CC/ «g E‬‬ ‫ﻣﺆﺛﺮة ﰲ اﻟﻨﺘﺎﺋﺞ اﻟﻨﻬﺎﺋﻴﺔ اﳌﺆﻫﻠﺔ ﻟﻠﻤﺮﺣﻠﺔ اﻟﺘﺎﻟﻴﺔ‪ .‬وﺣﺼﻞ ﻋﲆ أﻋﲆ‬ ‫‪ ª Gf+ kªH4 «¡k/K «kªH4 «CCkCCI(*K‬ﻧﺴﺒﺔ ﺗﺼﻮﻳﺖ ﻣﻦ ﺟﻤﻬﻮر اﳌﴪح اﻟﺸﺎﻋﺮ اﻹﻣﺎرايت ﻋﺒﻴﺪ اﻟﻜﻌﺒﻲ‬ ‫ﺑﻨﺴﺒﺔ ‪ .%36‬ﺛﻢ ﺗﻢ اﻹﻋﻼن ﻋﻦ اﺳﻢ اﳌﺘﺄﻫﻞ ﻟﻠﻤﺮﺣﻠﺔ اﻟﺜﺎﻧﻴﺔ ﺑﻘﺮار‬ ‫ﻫﺬه اﻟﻘﺼﻴﺪة اﻟﺘﻲ ﻋﻠﻖ ﻋﻠﻴﻬﺎ أوﻻً اﻟﺴﻌﻴﺪ‪ ،‬ﻓﻘﺎل »ﻛﻔﻴﺘﻨﻲ ﻋﻦ ﻟﺠﻨﺔ اﻟﺘﺤﻜﻴﻢ‪ ،‬وﻛﺎﻧﺖ اﳌﻔﺎﺟﺄة ﻫﻲ اﺧﺘﻴﺎر اﻟﻠﺠﻨﺔ ﻟﺸﺎﻋﺮﻳﻦ اﺛﻨني‬ ‫ﻛﻠﻤﺔ ﻣﺎ ﻓﻴﻚ ﺣﻴﻠﺔ«‪ ،‬ﻣﺸﻴﺪاً ﺑﻨﻀﻮج اﻟﺸﺎﻋﺮ اﻟﻔﻜﺮي اﻟﺬي ﻳﻠﻴﻖ ﺑﺪﻻ ﻣﻦ ﺷﺎﻋﺮ واﺣﺪ ﻋﲆ ﻏري ﻣﺎ ﺟﺮت اﻟﻌﺎدة‪ ،‬ﺣﻴﺚ ﻧﺎﻟﺖ اﻟﺸﺎﻋﺮة‬ ‫ﺑﺎﺳﻢ ﻧﻮاف اﻟﻈﻔريي اﻟﺬي ﻫﻮ ﻣﻦ أﺟﻤﻞ اﻷﺳامء اﻟﺘﻲ ﻣﺮت ﰲ ﺗﻬﺎين اﻟﺘﻤﻴﻤﻲ ﺑﻄﺎﻗﺔ اﻟﺘﺄﻫﻞ ﺑﻌﺪ ﺣﺼﻮﻟﻬﺎ ﻋﲆ ﻧﺴﺒﺔ ‪ ،% 48‬وﻧﺎل‬ ‫ﺟﻮﻻت ﺷﺎﻋﺮ اﳌﻠﻴﻮن‪ .‬وﻛﺬﻟﻚ أﺷﺎد اﻟﺪﻛﺘﻮر اﻟﺤﺴﻦ ﺑﺎﻟﻨﺺ وﺟامﻟﻴﺎﺗﻪ اﻟﺒﻄﺎﻗﺔ إﱃ ﺟﺎﻧﺒﻬﺎ اﻟﺸﺎﻋﺮ اﻹﻣﺎرايت ﻋﺒﻴﺪ اﻟﻜﻌﺒﻲ ﺑﺤﺼﻮﻟﻪ أﻳﻀﺎ ﻋﲆ‬ ‫ﻣﻌﻠﻘﺎً ﻋﲆ ﺟﺎﻧﺒني‪ ،‬أﻷول ﺑﻨﺎء اﻟﻨﺺ‪ ،‬ﺣﻴﺚ ﺷﺨّ ﺺ اﻟﺸﺎﻋﺮ ﻣﺮﻳﻢ‪ ،‬اﻟﻨﺴﺒﺔ ذاﺗﻬﺎ‪.‬‬ ‫واﺳﺘﺤﴬ ﺷﺨﺼﻴﺔ أﺧﺮى وﺣﺎورﻫﺎ وأدار ﻧﻘﺎﺷﺎ ﻣﻌﻬﺎ‪ ،‬وﻫﻮ أﺳﻠﻮب ﻓﻴام ﺣﺼﻞ اﻟﺸﺎﻋﺮ ﻋﲇ اﻟﻐﻴﺎث ﻋﲆ ﻧﺴﺒﺔ ‪ ،%44‬واﻟﺸﺎﻋﺮ ﻣﺴﺎﻋﺪ ﺑﻦ‬ ‫ﺟﻤﻴﻞ درج ﻋﻠﻴﻪ اﻟﺸﻌﺮاء‪ .‬أﻣﺎ اﻟﺠﺎﻧﺐ اﻟﺜﺎين ﻓﻬﻮ اﻷﺳﻠﻮب اﻟﺠﻤﻴﻞ ﻋﺮﻳﺞ ﻋﲆ ‪ %44‬واﻟﺸﺎﻋﺮ ﻧﺒﻬﺎن اﻟﺼﻠﺘﻲ ﻋﲆ ‪ ،% 45‬وﻧﻮاف اﻟﻈﻔريي‬ ‫اﻟﺬي اﻋﺘﻤﺪ ﻋﲆ اﻟﺘﻨﺎص ﻏري اﳌﺒﺎﴍ ﻣﻊ اﻟﻨﺺ اﻟﻘﺮآين‪.‬‬ ‫ﻋﲆ ﻧﺴﺒﺔ ‪ %47‬أي ﺑﻔﺎرﻗﺔ درﺟﺔ واﺣﺪة ﻋﻦ ﻋﻼﻣﺔ اﳌﺘﺄﻫﻠني ﺑﻘﺮار‬ ‫واﺧﺘﺘﻢ اﻟﻌﻤﻴﻤﻲ ﻣﺪاﺧﻼت ﻟﺠﻨﺔ اﻟﺘﺤﻜﻴﻢ ﻟﻸﻣﺴﻴﺔ اﻷوﱃ ﺑﺎﻟﻘﻮل‪ :‬اﻟﻠﺠﻨﺔ‪.‬‬ ‫ﻓﺒﺮاﻳﺮ ‪99 2018 /‬‬

‫ﺑ!!!!!ﺮاﻣﺞ‬ ‫‪baytelshear‬‬

‫*&‪ fª/ ÉfCCCH¸*K zMf G* ¢ + l g 7‬‬ ‫‪¥ 6§¯ ¥¡ª- | nM 2fCCC< fCCH |CC CC CC CCG*K‬‬ ‫‪ f gG* CCCFK «CC CC6fCC CC CC0(* jg + ·§CCC:‬‬ ‫‪¥H~H5 · | G* ¢CCMzCCM og - gE ¢CCH‬‬

‫ﻋﻠﻖ ﻋﲆ اﻟﻘﺼﻴﺪة أوﻻ اﻟﺪﻛﺘﻮر ﻏﺴﺎن اﻟﺤﺴﻦ اﻟﺬي أﺷﺎد مبﻄﻠﻊ‬ ‫اﻟﻘﺼﻴﺪة اﻟﺠﻴﺪ واﳌﺘﻤﻴﺰ‪ ،‬ﻻ ﺳﻴام ﰲ اﻷﺑﻴﺎت اﻟﺜﻼﺛﺔ اﻷوﱃ اﳌﻔﻌﻤﺔ‬ ‫ﺑﺎﻟﺸﺎﻋﺮﻳﺔ‪ .‬وﺑﺪوره أﺷﺎد اﻟﻌﻤﻴﻤﻲ ﺑﺎﻟﻨﺺ‪ ،‬واﺻﻔﺎ إﻳﺎه »ﺑﺎﻟﺴﻬﻞ‬ ‫اﳌﻤﺘﻨﻊ«‪ .‬وأﻧﻪ ﻛﺎن ﻣﺪﻫﺸﺎ‪ ،‬وﻗﺪ ﻟﻔﺖ اﻧﺘﺒﺎﻫﻪ اﺷﺘﻐﺎل اﻟﺸﺎﻋﺮ ﻋﲆ‬ ‫اﻷﻧﺴﻨﺔ ﻣﻦ اﻟﺒﺪاﻳﺔ وﺣﺘﻰ اﻟﻨﻬﺎﻳﺔ‪ .‬أﻣﺎ اﻟﺴﻌﻴﺪ ﻓﻘﺎل ‪ :‬أﻧﺎ ﻣﻦ ﻋﺸﺎق‬ ‫ﻣﺪرﺳﺔ اﻟﺴﻬﻞ اﳌﻤﺘﻨﻊ وأﻧﺎ ﻣﻦ ﻣﻨﺘﺴﺒﻴﻬﺎ‪ ،‬ﻓﻬﻲ ﺗﺴﻬﻢ ﰲ ﴎﻋﺔ اﻟﻌﻤﻴﻤﻲ اﻟﺬي رأى أن اﻟﻌﻨﻮان ﻫﻮ اﻷﺟﻤﻞ‪ ،‬وﺻﻒ اﻟﻨﺒﻬﺎن ﺑﺸﺎﻋﺮ‬ ‫ُﻋامن اﳌﻤﻴﺰ‪ ،‬وأﺷﺎد ﺑﺎﻟﺤﻀﻮر اﻟﻔﺎرق ﻟﻠﺸﺎﻋﺮ وﺣﻀﻮر اﻹﺣﺴﺎس‬ ‫اﻟﻮﺻﻮل وﻣﻼﻣﺴﺔ اﳌﺘﻠﻘﻲ‪.‬‬ ‫واﻟﺘﻔﺎﻋﻞ ﻣﻌﻪ‪.‬‬ ‫ﻣﻌﱪ وﻣﺒﺪع‪ ،‬واﻟﻨﻀﻮج اﻟﺸﻌﺮي ﻓﻴﻪ واﺿﺢ‪،‬‬ ‫وﻧ ّﻮﻩ اﻟﺴﻌﻴﺪ أن اﻟﻨﺺ ّ‬ ‫ﺷﺎﻋﺮ ُﻋﻤﺎن اﻟﻤﺘﻤﻴﺰ‬ ‫واﻓﺘﺘﺢ ﺧﺎﻣﺲ ﺷﻌﺮاء اﻷﻣﺴﻴﺔ اﻟﺸﺎﻋﺮ ﻧﺒﻬﺎن اﻟﺼﻠﺘﻲ ﻣﻦ ﺳﻠﻄﻨﺔ ﻣﺸريا إﱃ إﻋﺠﺎﺑﻪ ﺑﻘﺎﻓﻴﺔ اﳌﻴﻢ واﻟﻬﺎء‪ ،‬وﺗﻮﻇﻴﻒ ﻣﻔﺮداﺗﻬﺎ‪.‬‬ ‫أﻣﺎ اﻟﺪﻛﺘﻮر ﻏﺴﺎن ﻓﻘﺎل إن اﻟﻨﺺ ﻳﺪل ﻋﲆ ﺗﺠﺮﺑﺔ ﺷﻌﺮﻳﺔ ﻧﺎﺿﺠﺔ‬ ‫ﻋامن ﻗﺮاءﺗﻪ ﺑﺒﻴﺘني ﺗﱰﺟﻢ ﻣﻘﻮﻟﺔ اﻟﺸﻴﺦ زاﻳﺪ وﻫام ‪:‬‬ ‫وﻗﺎدرة ﻋﲆ ﻣﻌﺮﻓﺔ ﻓﻠﺴﻔﺔ اﻟﺸﻌﺮ ﰲ اﻟﻘﻮل‪ ،‬وﻛﻞ ﺑﻴﺖ ﻣﻦ اﻷﺑﻴﺎت‬ ‫‪,K|CCCCCCC¼*K fCCC CCC CCCG* xCCCªCCC CCC7 fCCC¤CCCGfCCCE ¢CCCCH‬‬ ‫ ‪ fCCCIzCCC<K fCCC¡CCC CCC CCC1 fCCCCCH fCCCC¡CCCC0K zCCCCCCCM*5‬ﻳﺜﺒﺖ ذﻟﻚ‪.‬‬ ‫‪,§CCCCEK ~CCCCC< CCCCCCCJ&* uCCCgCCC CCC CCCIK L§CCCC CCCCI‬‬ ‫‪ fCCCCIzCCCC³*K fCCC¡CCC+§CCC CCCE fCCC¡CCC CCC CCC/ fCCC CCC CCCF‬ﺷﺎﻋﺮ ﻋﻈﻴﻢ‬

‫ﻣﺴﻚ اﻟﺨﺘﺎم ﻛﺎن ﻣﻊ اﻟﺸﺎﻋﺮ ﻧﻮاف اﻟﻈﻔريي اﻟﺬي ﻟﻔﺖ اﻟﻨﻈﺮ إﱃ‬ ‫ﺗﻠﺖ ﻫﺬه اﻷﺑﻴﺎت ﻗﺼﻴﺪة ﻣﻤﻴﺰة ﺑﻌﻨﻮان »ﺳﺤﺎﺑﺔ اﻟﺤﱪ« ﻛﺎن إﻟﻘﺎﺋﻪ اﻟﺬي ﺗﻘﺎﻃﻊ ﻣﻊ اﻟﻘﺼﻴﺪة ﺑﺸﻜﻞ ﺟﻤﻴﻞ وأﻧﻴﻖ‪ .‬واﺳﺘﻬﻞ‬ ‫ﻣﻄﻠﻌﻬﺎ‪:‬‬ ‫اﻟﺸﺎﻋﺮ ﻣﺸﺎرﻛﺘﻪ ﺑﱰﺟﻤﺔ ﻣﻘﻮﻟﺔ اﻟﺸﻴﺦ زاﻳﺪ ﻓﻘﺎل‪:‬‬ ‫‪ fE CC CCG* ¢CCH lg¡M fCCH ÌCCº* j+ft 6‬‬ ‫‪j =|H §CCG zªg G fCCªCC0 CC<§CCH2 «g 8‬‬ ‫اﻟﺸﻌﺮ ‪ /‬اﻟﻌﺪد ‪64‬‬ ‫‪ 98‬ﺑﻴﺖ ِ‬

‫‪§wIK fCC CC¼* f 9 ¸ CCªCC»* zCC CCH fCCM‬‬ ‫‪i|J §CCJ ¢CCHK zCC CCM ¢CCH ÕCC+ ¤ M|D‬‬

‫اﻟﺒﻄﺎﻗﺔ اﻟﺬﻫﺒﻴﺔ اﻷﺧرية ﰲ دوﻟﺔ اﻷردن‪ ،‬ﻛﺎﻧﺖ ﺗﺮﺟﻤﺔ ﻣﻘﻮل اﻟﺸﻴﺦ ورﻏﻢ ﺗﺠﺴﻴﺪ ذﻟﻚ ﰲ ﺷﺨﺺ واﺣﺪ إﻻ أﻧﻪ ﻗﺼﺪ اﻷﻣﺔ ﺟﻤﻌﺎء‪،‬‬ ‫وأﺣﺴﻦ اﻟﺸﺎﻋﺮ ﻋﻨﺪﻣﺎ ﻗﺎل » إﱃ ﻣﺘﻰ واﻟﻮﻋﻮد ﺗﻠﻮح ﻣﺜﻞ اﻟﻬﻼل‪...‬‬ ‫زاﻳﺪ ﻋﱪ ﺑﻴﺘني ﻟﻠﻐﻴﺎث‪:‬‬ ‫‪ j ¤ G* «C‬‬ ‫‪C‬‬ ‫‪<*4K 2fC‬‬ ‫‪C‬‬ ‫< ¨ ‪³¸* Éf+ mf F‬‬ ‫ﺑﺄول اﻟﺸﻬﺮ واﻟﻐﻴﻮم ان ﻻح ﻟﻚ ﺗﺠﺤﺪه«‪ .‬وأﺧريا ﻗﺎل اﻟﻌﻤﻴﻤﻲ إن‬ ‫‪ 2Kz0 l º ¸K ¦|t+ ¢H |=&* «¡FK lgkF‬اﻟﻘﺼﻴﺪة ﺟﻤﻴﻠﺔ‪ ،‬واﻷﺟﻤﻞ اﻧﺘﻘﺎﻟﻬﺎ ﻣﻦ اﻟﺬاﺗﻴﺔ إﱃ اﻟﻌﺎم‪ ،‬وﺗﻐﻠﻴﻔﻬﺎ‬ ‫<§*‪ j G*K zq G ¨ 6 F ¿* zM*5 zM‬‬ ‫ﺑﺮﻣﺰﻳﺔ ﺑﺪأت ﺗﻨﻜﺸﻒ ﺷﻴﺌﺎً ﻓﺸﻴﺌﺎً‪ .‬ﻣﻨﻮﻫﺎ أن ﻫﻨﺎك أﺑﻴﺎت ﻛﺜرية ﰲ‬ ‫‪ 2K24 lª/4 ¸K lª < F « GfM Ù* 04‬اﻟﻘﺼﻴﺪة ﻧﺎﻟﺖ إﻋﺠﺎﺑﻪ‪.‬‬ ‫وﺑﻌﻨﻮان »وﻋﻮد ﻣﻨﻘﻮﺻﺔ« ﻗﺮأ اﻟﻐﻴﺎث ﻗﺼﻴﺪﺗﻪ وﻣﻨﻬﺎ ﻫﺬه اﻷﺑﻴﺎت‪:‬‬ ‫‪ *K~CC CCG «CC¤CCkCC¡CCM ¥CC CC CC/ v*4 fCCCH CCCF 2‬‬ ‫اﻟﺴﻬﻞ اﻟﻤﻤﺘﻨﻊ‬ ‫‪ ¦z¤/ ¦ÑCCH ¥CCI* *2 4z G* ¢CC< 1K‬وﻗﺒﻞ أن ﻳﻘﺮأ راﺑﻌﺎً اﻟﺸﺎﻋﺮ اﻟﻜﻮﻳﺘﻲ ﻣﺴﺎﻋﺪ ﺑﻦ ﻋﺮﻳﺞ ﺻﺎﺣﺐ أول‬ ‫‪ CP CªCC= |CCC CCC CCCG*K fCC CC CC6 CCCC CCCC6*4 *2 fCCCCH‬‬ ‫ﺑﻄﺎﻗﺔ ذﻫﺒﻴﺔ ﻣﻨﺤﻬﺎ ﻟﻪ ﺣﻤﺪ اﻟﺴﻌﻴﺪ ﰲ ﺟﻮﻟﺔ اﻟﻜﻮﻳﺖ‪ ،‬ﻗﺪم ﺗﺮﺟﻤﺘﻪ‬ ‫ ‪¦2|+ JK ª= z 8‬‬ ‫‪ |+ ª G*K fHK‬‬ ‫‪P‬‬ ‫ﳌﻘﻮﻟﺔ اﻟﺸﻴﺦ زاﻳﺪ ﰲ ﺑﻴﺘني ‪:‬‬ ‫‪ fª1 K&* CCC‬‬ ‫¸ ‪P CE*K ¥CCIfCCF |CC CC CC CCG* 2|CCC-‬‬ ‫*&‪ hCCCCM4*{CCCC< fCCC¤CCC CCCº fCCCCH zCCCCM*§CCCC< §CCCCCCC+‬‬ ‫‪¦z E ÔC‬‬ ‫‪C‬‬ ‫‪nC‬‬ ‫‪C‬‬ ‫‪F «C‬‬ ‫‪C‬‬ ‫‪ C‬‬ ‫‪C‬‬ ‫‪G* hC‬‬ ‫‪C‬‬ ‫‪ªC‬‬ ‫‪C‬‬ ‫‪ C‬‬ ‫‪C‬‬ ‫‪ C‬‬ ‫‪C‬‬ ‫‪G* «C‬‬ ‫‪C‬‬ ‫‪gC‬‬ ‫‪C‬‬ ‫‪ C‬‬ ‫‪C‬‬ ‫‪M ¥C‬‬ ‫‪C CC1‬‬ ‫‪zCCCM*§CCC< ¥CCI§CC¤CCgCC CC CCM ¥CCC¡CCCªCCC CCC+4&* lCCCªCCCG‬‬ ‫‪ hCCªCC CCG* jCC+fCC CC CCF ¦*ÐCCCCCCF CCCJÐCCCF fCCCCM‬‬ ‫‪zCCCCM*5 hCCCªCCC: ¨CCC CCC< zCCCCCCM*5 zCCCCCÁ ¢CC‬‬ ‫‪C CCCG‬‬ ‫‪Q‬‬ ‫وﺣﻮل ﻫﺬه اﻟﻘﺼﻴﺪة ﻗﺎل اﻟﺴﻌﻴﺪ‪ :‬أﺑﻬﺮين اﻟﺸﺎﻋﺮ ﻋﲇ‪ ،‬وﻫﻮ ﻳﺴﺘﺤﻖ‬

‫اﻟﻄﺎﻗﺔ اﻟﺬﻫﺒﻴﺔ‪ ،‬ﻻ ﺳﻴام ﺑﻌﺪ ﻫﺬا اﻟﻨﺺ اﻟﺤﺮﰲ‪ .‬ﻣﺸريا إﱃ ﺟامل‬ ‫اﻟﺘﺼﻮﻳﺮ ﰲ اﻟﺒﻴﺖ »ﻋﻮدٍ« ﺧﺬا اﳌﺠﺪ ﰲ ﺻﻮﻻت ﻋﻤﺮه وﺟﺎل ﰲ ﺗﺎﱄ ﺛﻢ ﻗﺪم اﻟﻌﺠﻤﻲ ﻗﺼﻴﺪة اﳌﺸﺎرﻛﺔ اﻟﺘﻲ أﻟﻘﺎﻫﺎ أﻣﺎم ﻟﺠﻨﺔ اﻟﺘﺤﻜﻴﻢ‬ ‫ﻧﺴﺘﻘﻄﻊ ﻣﻨﻬﺎ ﻫﺬه اﻷﺑﻴﺎت‪:‬‬ ‫اﻟﻌﻤﺮ ﻳﺸيك ﻣﻦ ﻋﻘﻮق وﻟﺪه«‪،‬‬ ‫ﻛام أﺷﺎر إﱃ ﺑﻴﺖ » ﻳﺎ ﺻﺎﺣﺒﻲ ﻻ ﺗﻘﻮل ﺣﺎل ﻣﺎ ﻫﻮب ﺣﺎل ﻣﺎ ﻳﺠﻨﻲ ‪ Ñ1 fH §¡G* t+3 | 7 fM §¡G* u 8 fM‬‬ ‫ §‪«Hf¤G(* «t -K G* 7*|D ¡-K ‬‬‫اﻵدﻣﻲ إﻻ زراﻋﺔ ﻳﺪه« ﻣﺒ ّﻴﻨﺎ أن اﻟﺸﺎﻋﺮ ﰲ ﻫﺬا اﻟﺒﻴﺖ ﻳﻘﻮل ﻟﻠﻌﺮب ‪ fg G* ¨ < « G* 4fk G* ¥gqtM 4§¡G* f 7‬‬ ‫»ﻫﺬا ﻣﺎ ﺣﺼﺪﺗﻢ وﻫﺬا ﻣﺎ ﺟﻨﺖ ﻳﺪﻛﻢ‪ .‬ﰲ ﺣني ﻗﺎل اﻟﺪﻛﺘﻮر ﻏﺴﺎن‬ ‫ ‪«HÑ0&* 4§¡- ÕG v§gG* 4fk 6 F* f‬‬‫إن اﻟﻘﺼﻴﺪة ﻣﻠﻴﺌﺔ ﺑﺎﻟﺸﻌﺮ واﻟﺸﻌﺮﻳﺔ‪ ،‬ﻟﻜﻦ ﺑﺎﺗﺠﺎه ﻣﻌني‪ ،‬وﳌﺴﻨﺎ ان ‪ fMK fI&* I gE DK|0 z¡J hJ~-‬‬ ‫‪«HÑE&* |:f1 · Ì0 ,| E ¸K |1{- ¸K‬‬ ‫ﻫﻨﺎك ﺿﻴﻘﺎً ﰲ اﻟﺠﻮ اﻟﻌﺎم اﻟﺬي رﺳﻤﻪ اﻟﺸﺎﻋﺮ وﻳﻜﺎد ﻳﻜﺘﻢ اﻷﻧﻔﺎس‪،‬‬ ‫ﻓﺒﺮاﻳﺮ ‪97 2018 /‬‬

‫ﺑ!!!!!ﺮاﻣﺞ‬ ‫‪baytelshear‬‬

‫ﻣﺠﻠﺲ اﻟﺘﻌﺎون وﺑﺪاﻳﺔ اﻟﺘﺤﺎﻟﻒ‪.‬ﺑﻌﺪ ذﻟﻚ‪ ،‬ﻇﻬﺮ ﺷﻌﺮاء اﻟﺤﻠﻘﺔ اﻷوﱃ ﺑﻴﻨام ﻗﺎل ﺣﻤﺪ اﻟﺴﻌﻴﺪ إن اﻟﺸﺎﻋﺮة أﺛﻠﺠﺖ ﺻﺪور ﻟﺠﻨﺔ اﻟﺘﺤﻜﻴﻢ‬ ‫مبﺴﺘﻮى ﻳﻠﻴﻖ ﺑﺤﺠﻢ وﻣﻜﺎﻧﺔ »ﺷﺎﻋﺮ اﳌﻠﻴﻮن« اﻟﺬي ﻳﺤﻠﻢ ﻛﻞ ﺷﺎﻋﺮ ﺑﻘﺼﻴﺪﺗﻬﺎ اﻟﺮاﺋﻌﺔ اﻟﺘﻲ ﺟﺬﺑﺖ اﳌﺘﻠﻘﻲ ﻣﻦ ﻣﻄﻠﻌﻬﺎ ﺣﺘﻰ آﺧﺮ ﺑﻴﺖ‬ ‫ﺑﺎﻟﻮﺻﻮل إﻟﻴﻪ واﳌﻨﺎﻓﺴﺔ ﻋﲆ ﻧﻴﻞ ﻟﻘﺒﻪ‪ .‬ﺑﺎﻋﺘﺒﺎر اﻟﱪﻧﺎﻣﺞ ﻣﺤﻄﺔ أوﱃ ﻓﻴﻬﺎ‪.‬‬ ‫ﰲ ﻃﺮﻳﻖ اﻟﺸﻬﺮة‪ ،‬ورﺧﺼﺔ ﻧﻘﺪﻳﺔ ﻟﻼﻋﱰاف ﺑﺎﻟﺘﺠﺮﺑﺔ اﻟﺸﻌﺮﻳﺔ ﻟﻜﻞ‬ ‫اﻟﻮﻃﻨﻴﺔ واﻟﻠﻬﺠﺔ اﻹﻣﺎراﺗﻴﺔ‬ ‫ﻣﺘﺴﺎﺑﻖ‪.‬‬ ‫ﺛﺎين ﺷﻌﺮاء اﻷﻣﺴﻴﺔ ﻛﺎن اﻟﺸﺎﻋﺮ اﻹﻣﺎرايت ﻋﺒﻴﺪ ﺑﻦ ﺧﺼﻴﻒ اﻟﻜﻌﺒﻲ‬ ‫اﻟﺬي ﺗﺮﺟﻢ ﻣﻘﻮﻟﺔ اﻟﺸﻴﺦ زاﻳﺪ ﺑﺒﻴﺘني‪:‬‬ ‫ﻋﻄﺮ اﻟﺒﺪاﻳﺔ‬ ‫ﻗﺮأت أوﻻً اﻟﺸﺎﻋﺮة اﻟﺴﻌﻮدﻳﺔ ﺗﻬﺎين اﻟﺘﻤﻴﻤﻲ‪ ،‬وﺗﱰﺟﻤﺖ ﻣﻘﻮﻟﺔ اﻟﺸﻴﺦ ‪ CCCG§CCCE lCCCCªCCCCµK zCCCCCCCCM*5 fCCCCCM fCCC¤CCCkCCC CCCE‬‬ ‫ ‪£KfCCC CCCkCCCG*K 45%fCCCCCkCCCCCG* · CCC CCCJ £fCCCCCF‬‬ ‫زاﻳﺪ ﺑﺒﻴﺘني‪:‬‬ ‫‪hCCEfCC. CCCCÅ fCCC CCCF jCCCCCCCH&¸* fCC CC CC CC+ |CCCCH‬‬ ‫ ‪«CC<fCC CC CC¼* 2fCCCCCCCEK fCCC¤CCC-ÔCCC CCC CCCH zCCCCCCC0K‬‬ ‫‪T‬‬ ‫‪ i3fCCCCF ¢CCC; K&* CC CC0 CCGfCCtCCkCCG* £fCCCCF‬‬ ‫ ‪«CCC<*4 ÑCCC0ÑCCCG uCCCgCCC CCC8*K ¥CC CC CC0 fCCC/‬‬

‫‪ CCG§CC:K CC CC9|CC< ¨CC CC< zCC¤CC CC7* rª 1 fCCM‬‬ ‫ ‪£KfCCC¤CCCkCCCG*K 3fCCCwCCCkCCC CCCG fCC¡CCkCC CCkCCG* fCCCCH‬‬

‫ﻟﻴﺒﺪأ ﻣﺸﺎرﻛﺘﻪ ﺑﻌﺪ ذﻟﻚ ﺑﻘﺼﻴﺪة ﺗﺤﺖ ﻋﻨﻮان ‪:‬ﺑﺎب اﻟﴩف‪ .‬ﺟﺎء‬ ‫ﻓﻴﻬﺎ‪:‬‬

‫‪ CC CC CC CCkCCM 4*|CCCCCC CCCCCC8(¸*K |CCCCF{CCCCG* zCC CCwCCkCCM‬‬ ‫ﺛﻢ ﻗﺮأت ﻗﺼﻴﺪﺗﻬﺎ ﺑﻌﻨﻮان » ﺻﻤﻢ« وﻣﻨﻬﺎ ﻫﺬه اﻷﺑﻴﺎت‪:‬‬ ‫‪¦4*{CCCC<&* 4fCC CCM K~CCC CCCG* · zCCG§CCG* *2‬‬ ‫‪É*§n+ v|/ k I*K ¦§/§G* uM|G* l+f/‬‬ ‫‪ CC CCtCCkCCM §CCCCCCM ¥CCCC-ÎCCCC= hCCC CCC CCC- [ &* ¥ H F ]z 9^ £fª ¼* 4f G* rªq 9 ¢H‬‬ ‫‪¦4fCCCC CCCCHK i§CCCCCCF · mfCCCCCCCCCM%* CCCCkCCCCµ*K‬‬ ‫*(‪É*3&¸* - ¦§t 8K ª+4K mf/fqk0‬‬ ‫‪ CC T C + L2|CCCCCCCG*K hCCCM{CCC+ |CC CC7fCCwCCM hCCCC‬‬ ‫‪P CM3 ¥ + ]j¡¹*K 4f¡G*^ ¥G(* ¥I(* ¢; hª:‬‬ ‫‪¦4fCCI lCC CC CCJ2* fCCH ¥CC¡CCªCCÊ ]2§CCCC‬‬ ‫‪P C<^ m§CCCÊ‬‬ ‫‪É*§¡ G* fJz0§M i*~0&* lDf1 jG§ G*K‬‬ ‫*‪¥ H § H J§Df 7 «CC<KÑCCG*K «CC<§CCG‬‬

‫وﻋ ّﻠﻖ ﺑﺪاﻳﺔ اﻷﺳﺘﺎذ ﺳﻠﻄﺎن اﻟﻌﻤﻴﻤﻲ »ﻫﺬا ﻧﺺ أﻗﻞ ﻣﺎ ميﻜﻦ أن ﻧﻘﻮل‬ ‫ﻋﻨﻪ إﻧﻪ ﺷﻌﺮي ووﻃﻨﻲ ﺑﺎﻣﺘﻴﺎز‪ ،‬وﻗﺪ ﻗﺎل اﻟﺸﺎﻋﺮ ﻓﻴﻪ ﻛﻞ ﻣﺎ ميﻜﻦ أن‬ ‫ﻳﻘﺎل ﰲ ﻣﻮﺿﻮع ﻛﻬﺬا‪.‬‬ ‫ﺑﻴﻨام وﺻﻒ اﻟﺴﻌﻴﺪ اﻟﺸﺎﻋﺮ ﺑﺎﻟﺒﻄﻞ اﻟﻮﻃﻨﻲ واﻟﻘﻮﻣﻲ‪ ،‬ﻣﺸﻴﺪا ﺑﺤﻀﻮره‬ ‫اﳌﴪﺣﻲ اﻟﺬي ﻳﺮﻓﻊ ﻣﻦ ﻣﻌﻨﻮﻳﺎت اﻟﻘﻮات اﳌﺴﻠﺤﺔ واﻟﺸﻌﺐ وﻛﻞ ﻣﻦ‬ ‫ﻟﺪﻳﻪ ﻏريه ﻋﲆ اﻷﻣﺔ‪.‬‬ ‫ووﺻﻒ اﻟﺪﻛﺘﻮر اﻟﺤﺴﻦ اﻟﻨﺺ ﺑﺎﻟﺤامﳼ واﳌﺘﺄﻟﻖ‪ ،‬وﻗﺎل إن ﻣﺜﻞ ﻫﺬه‬ ‫اﻟﻨﺼﻮص ﺗﺴﻬﻢ ﺑﺎﳌﺠﻬﻮد اﻟﺤﺮيب وﺗﺸﺪ ﻋﺰم اﻟﺮﺟﺎل‪.‬‬

‫وﰲ ﺗﻌﻠﻴﻖ ﻟﺠﻨﺔ اﻟﺘﺤﻜﻴﻢ ﻋﲆ اﻟﻘﺼﻴﺪة‪ ،‬ﻗﺎل اﻟﺪﻛﺘﻮر ﻏﺴﺎن اﻟﺤﺴﻦ‪:‬‬ ‫اﻟﻘﺼﻴﺪة ﻣﻨﺬ اﻟﺒﺪاﻳﺔ ﻛﺎﻧﺖ ﺗﻔﺘﺢ اﻟﺒﺎب أﻣﺎم واﻗﻊ ﻧﺴﺘﺸﻌﺮه ﺟﻤﻴﻌﺎً‪،‬‬ ‫وﻗﺪ ذﻫﺒﺖ اﻟﺸﺎﻋﺮة إﱃ ﺟﺰﺋﻴﺎت وﻋﻤﻮﻣﻴﺎت‪ ،‬ﺣﴬ ﻓﻴﻬﺎ اﻟﻮﻋﻲ‪،‬‬ ‫وﻫﻮ وﻋﻲ وﻃﻨﻲ وﻗﻮﻣﻲ‪ .‬وأﻛﺪ أن اﻟﺸﺎﻋﺮة اﺳﺘﻄﺎﻋﺖ أن ﺗﺘﺪرج‬ ‫ﰲ ﻗﺼﻴﺪﺗﻬﺎ ﺑﺄﺳﻠﻮب ﻣﻜﺜﻒ‪ ،‬ﻣﻦ ﺧﻼل اﻟﺘﺼﻮﻳﺮ واﻟﱰﻣﻴﺰ ﰲ ﴍح‬ ‫اﻟﻮﻗﺎﺋﻊ داﺧﻞ اﻟﻘﺼﻴﺪة‪.‬‬ ‫أﻣﺎ ﺳﻠﻄﺎن اﻟﻌﻤﻴﻤﻲ ﻓﻘﺎل ﰲ ﺗﻌﻠﻴﻘﻪ ‪» :‬ﺳﻌﻴﺪ اﻟﻴﻮم ﻷن اﻟﻨﺼﻮص‬ ‫اﻟﺘﻲ ﺗﻘﺪﻣﺖ ﻫﺬه اﻟﻠﻴﻠﺔ ﻛﻠﻬﺎ ﻣﺘﻤﻴﺰة‪ ،‬وﻫﺬا ﻳﺸﻌﺮﻧﺎ ﺑﺄن اﻟﺸﻌﺮاء‬ ‫ﻳﻘ ّﺪرون ﻗﻮة اﻟﺘﻨﺎﻓﺲ ﻫﺬا اﳌﻮﺳﻢ« ‪ .‬ﻣﻀﻴﻔﺎ أن ﻧﺺ اﻟﺘﻤﻴﻤﻲ ذيك‪ ،‬إﺑﻬﺎر وﺟﻤﺎل ﻓﻲ اﻟﺘﺼﻮﻳﺮ‬ ‫وﻣﻊ ﺛﺎﻟﺚ ﺷﻌﺮاء اﻷﻣﺴﻴﺔ اﻟﺸﺎﻋﺮ ﻋﲇ اﻟﻐﻴﺎث اﻟﺬي ﺣﺼﻞ ﻋﲆ‬ ‫وميﻜﻦ ﺗﻠﻤﺲ ذﻟﻚ ﻣﻦ ﺧﻼل ﻃﺮﻳﻘﺔ ﺑﻨﺎء اﻟﻨﺺ‪.‬‬ ‫اﻟﺸﻌﺮ ‪ /‬اﻟﻌﺪد ‪64‬‬ ‫‪ 96‬ﺑﻴﺖ ِ‬

‫ﻛﺬﻟﻚ ﺑﺎﻟﺸﻜﺮ واﻟﻌﺮﻓﺎن ﻟﺮاﻋﻲ اﻟﱪﻧﺎﻣﺞ ﺻﺎﺣﺐ اﻟﺴﻤﻮ اﻟﺸﻴﺦ ﻣﺤﻤﺪ‬ ‫ﺑﻦ زاﻳﺪ آل ﻧﻬﻴﺎن اﻟﺬي ﻗﺪم دﻋ ًام ﻣﺘﻮاﺻ ًﻼ ﻣﻨﺬ اﻧﻄﻼﻗﺘﻪ اﻷوﱃ‬ ‫ﰲ ﻣﻮﺳﻤﻪ اﻷول‪ ،‬وﻫﻮ اﻟﱪﻧﺎﻣﺞ اﻟﺬي اﺳﺘﻄﺎع ﺑﻔﻀﻞ ﻫﺬا اﻟﺪﻋﻢ‬ ‫واﻟﺮﻋﺎﻳﺔ أن ﻳﻐري ﻣﺴرية ﺗﺎرﻳﺦ اﻟﺸﻌﺮ اﻟﺸﻌﺒﻲ ﰲ اﳌﻨﻄﻘﺔ‪ .‬ﻣﻄﺎﻟﺒﺎ‬ ‫اﻟﺸﻌﺮاء اﻟـ ‪ 48‬أن ﻳﻘﺪﻣﻮا ﻣﺴﺘﻮﻳﺎت ﻋﺎﻟﻴﺔ ﻛﺎﻟﺘﻲ ﻗﺪﻣﻮﻫﺎ ﰲ ﻣﺮاﺣﻞ‬ ‫اﻟﺘﺄﻫﻞ‪.‬‬ ‫ﻣﻌﺎﻳﻴﺮ اﻟﻤﻨﺎﻓﺴﺔ‬ ‫ّ‬ ‫أﻃﻞ ﺷﻌﺮاء اﳌﻮﺳﻢ أﻣﺎم ﺟﻤﻬﻮر اﳌﴪح وﺷﺎﺷﺔ ﻗﻨﺎة اﻹﻣﺎرات‬ ‫وﻗﻨﺎة ﺑﻴﻨﻮﻧﺔ‪ ،‬ﻟﻴﺘﻢ ﺑﻌﺪ ذﻟﻚ ﻃﺮح اﳌﻌﺎﻳري اﳌﻌﺘﻤﺪة ﰲ ﻫﺬا اﳌﻮﺳﻢ‬ ‫ﻟﻠﻤﻨﺎﻓﺴﺔ ﻋﲆ ﺑريق اﻟﺸﻌﺮ‪ ،‬ﺣﻴﺚ ﺗﻨﻄﻠﻖ رﺣﻠﺔ اﳌﻨﺎﻓﺴﺔ ب ‪48‬‬ ‫ﺷﺎﻋﺮاً‪ ،‬ﺳﻴﺨﻮﺿﻮن ﻋﺪدا ﻣﻦ اﻟﺘﺤﺪﻳﺎت‪ ،‬ﺣﺴﺐ ﻣﻌﺎﻳري وآﻟﻴﺎت ﻣﻦ‬ ‫ﺧﻼل أرﺑﻊ ﻣﺮاﺣﻞ رﺋﻴﺴﺔ‪ ،‬اﻷوﱃ ﺗﺘﻀﻤﻦ مثﺎين أﻣﺴﻴﺎت‪ ،‬ﻳﺘﻨﺎﻓﺲ ﰲ‬ ‫ﻛﻞ واﺣﺪة ﻣﻨﻬﺎ ﺳﺘﺔ ﺷﻌﺮاء‪ ،‬وﻳﺘﺄﻫﻞ ﻓﻴﻬﺎ ﺛﻼﺛﺔ ﻓﻘﻂ‪ ،‬واﺣﺪ ﺑﻘﺮار‬ ‫اﻟﻠﺠﻨﺔ‪ ،‬واﺛﻨﺎن ﺑﺘﺼﻮﻳﺖ اﻟﺠﻤﻬﻮر‪ ،‬أﻣﺎ اﳌﺮﺣﻠﺔ اﻟﺜﺎﻧﻴﺔ ﻓﻴﺘﻨﺎﻓﺲ ﻓﻴﻬﺎ‬ ‫‪ 24‬ﺷﺎﻋﺮا ﰲ أرﺑﻊ ﺣﻠﻘﺎت‪ ،‬ﻳﺘﺄﻫﻞ ﰲ ﻛﻞ ﺣﻠﻘﺔ ﺛﻼﺛﺔ ﺷﻌﺮاء‪ ،‬اﺛﻨﺎن‬ ‫ﺑﺎﻟﺘﺼﻮﻳﺖ وواﺣﺪ ﺑﻘﺮار اﻟﻠﺠﻨﺔ‪ ،‬وﰲ اﳌﺮﺣﻠﺔ اﻟﺜﺎﻟﺜﺔ ﺳﻴﺘﻨﺎﻓﺲ ‪12‬‬ ‫ﺷﺎﻋﺮا ﻣﻦ ﺧﻼل ﺣﻠﻘﺘني‪ ،‬ﰲ ﻛﻞ واﺣﺪة ﻳﺘﺄﻫﻞ ﺛﻼﺛﺔ ﺷﻌﺮاء ﻛﺬﻟﻚ‪،‬‬ ‫اﺛﻨﺎن ﺑﺘﺼﻮﻳﺖ اﻟﺠﻤﻬﻮر وواﺣﺪ ﻋﱪ اﻟﻠﺠﻨﺔ‪ ،‬و ﰲ اﻟﺤﻠﻘﺔ اﻟﺨﺘﺎﻣﻴﺔ‬ ‫ﻳﺘﻨﺎﻓﺲ ‪ 6‬ﺷﻌﺮاء ﻣﻦ ﺧﻼل ﺟﻤﻊ ﻧﺴﺐ ﺗﺼﻮﻳﺖ اﻟﺠﻤﻬﻮر ودرﺟﺎت‬

‫ﻟﺠﻨﺔ اﻟﺘﺤﻜﻴﻢ اﻟﱰاﻛﻤﻴﺔ ﻣﻦ اﳌﺮﺣﻠﺔ اﻟﺴﺎﺑﻘﺔ‪ ،‬وﻳﺘﻢ ﺗﺮﺗﻴﺒﻬﻢ ﰲ‬ ‫ﺧﻤﺴﺔ ﻣﺮاﻛﺰ أوﱃ‪ ،‬ﻳﺤﺼﻞ اﻟﺨﺎﻣﺲ ﻋﲆ ﻣﻠﻴﻮن درﻫﻢ‪ ،‬واﻟﺮاﺑﻊ ﻋﲆ‬ ‫ﻣﻠﻴﻮﻧني‪ ،‬واﻟﺜﺎﻟﺚ ﻋﲆ ﺛﻼﺛﺔ ﻣﻼﻳني‪ ،‬واﻟﺜﺎين ﻋﲆ أرﺑﻌﺔ ﻣﻼﻳني‪ ،‬واﻷول‬ ‫ﻋﲆ ﺧﻤﺴﺔ ﻣﻼﻳني درﻫﻢ ﺑﺎﻹﺿﺎﻓﺔ إﱃ ﺑريق اﻟﺸﻌﺮ وﻟﻘﺐ ﺷﺎﻋﺮ‬ ‫اﳌﻠﻴﻮن ﰲ اﳌﻮﺳﻢ اﻟﺜﺎﻣﻦ‪.‬‬ ‫»ﻋﺎم زاﻳﺪ«‬ ‫وﻗﺒﻞ اﻧﻄﻼﻗﺔ اﻟﻘﺮاءات اﻟﺸﻌﺮﻳﺔ ﻟﺸﻌﺮاء اﻟﺤﻠﻘﺔ اﻷوﱃ‪ ،‬ﺗﻢ ﻋﺮض‬ ‫ﺗﻘﺮﻳﺮ ﻋﻦ ﺷﺨﺼﻴﺔ اﻟﺸﻴﺦ زاﻳﺪ‪ ،‬واﺧﺘﻴﺎر ﻋﺎم ‪” 2018‬ﻋﺎم زاﻳﺪ“ اﻟﺬي‬ ‫أﻋﻠﻨﻪ ﺻﺎﺣﺐ اﻟﺴﻤﻮ اﻟﺸﻴﺦ ﺧﻠﻴﻔﺔ ﺑﻦ زاﻳﺪ آل ﻧﻬﻴﺎن رﺋﻴﺲ اﻟﺪوﻟﺔ‬ ‫ﺣﻔﻈﻪ اﻟﻠﻪ‪ ،‬مبﻨﺎﺳﺒﺔ ﻣﺮور ‪ 100‬ﻋﺎم ﻋﲆ ﻣﻴﻼد ﺑﺎين دوﻟﺔ اﻹﻣﺎرات‬ ‫اﻟﻌﺮﺑﻴﺔ اﳌﺘﺤﺪة‪ ،‬وﺑﻮﺻﻔﻪ رﻣﺰا ﻟﻠﺨري واﻟﺤﻜﻤﺔ‪ ،‬وﺗﺴﻠﻴﻄﺎً ﻟﻠﻀﻮء ﻋﲆ‬ ‫ﻣﺴريﺗﻪ اﻟﻘﻴﺎدﻳﺔ‪ ،‬وﻫﻮ واﺣﺪ ﻣﻦ أﻋﻈﻢ ﻗﺎدة اﻟﻌﺎمل ﰲ اﻟﺘﺎرﻳﺦ‪.‬‬ ‫وﰲ ﻣﺪاﺧﻠﺔ ﻟﻪ ﻗﺎل ﻋﻀﻮ ﻟﺠﻨﺔ اﻟﺘﺤﻜﻴﻢ اﻷﺳﺘﺎذ ﺳﻠﻄﺎن اﻟﻌﻤﻴﻤﻲ‬ ‫إن زاﻳﺪ ﺗﺮك ﻟﻨﺎ إرﺛﺎً ﻛﺒرياً ﻣﻦ اﻹﻧﺠﺎزات واﻷﻓﻌﺎل‪ ،‬وﻛﺬﻟﻚ اﻷﻗﻮال‬ ‫اﻟﺘﻲ ﻻ ﺗﺰال ﺣﺎﴐة ﰲ ﺣﻴﺎﺗﻨﺎ‪ ،‬واﻷﻳﺎم ﺗﺜﺒﺖ أن ﻣﺎ ﻛﺎن ﻳﻘﻮﻟﻪ زاﻳﺪ‬ ‫رﺣﻤﻪ اﻟﻠﻪ ﺻﺎﻟﺢ ﻟﻜﻞ زﻣﺎن وﻟﻜﻞ ﺟﻴﻞ ﻗﺎدم‪ .‬وأﺷﺎر اﻟﻌﻤﻴﻤﻲ إﱃ‬ ‫أﻧﻪ ﺳﻴﺘﻢ ﺗﻮﻇﻴﻒ ﻋﺪد ﻛﺒري ﻣﻦ ﻣﻘﻮﻻت اﻟﺸﻴﺦ زاﻳﺪ ﰲ ﻛﻞ ﺣﻠﻘﺔ‬ ‫ﻣﻦ ﺣﻠﻘﺎت اﻟﱪﻧﺎﻣﺞ‪ ،‬ﻋﱪ ﺑﻴﺘني ﻣﻦ اﻟﺸﻌﺮ ﻟﻜﻞ ﺷﺎﻋﺮ ﻗﺒﻞ ﻗﺮاءة‬ ‫اﻟﻘﺼﻴﺪة اﳌﺸﺎرﻛﺔ‪.‬واﺧﺘريت ﻟﻬﺬه اﻟﺤﻠﻘﺔ ﻣﻘﻮﻟﺔ اﻟﺸﻴﺦ زاﻳﺪ ﻋﻦ‬ ‫ﻓﺒﺮاﻳﺮ ‪95 2018 /‬‬

‫ﺑ!!!!!ﺮاﻣﺞ‬ ‫‪baytelshear‬‬

‫ﻓﻲ اﻧﻄﻼﻗﺔ اﻟﻤﻮﺳﻢ اﻟﺜﺎﻣﻦ ﻣﻦ »ﺷﺎﻋﺮ اﻟﻤﻠﻴﻮن« ‪..‬‬

‫ﺑﺪاﻳﺔ ّ‬ ‫ﺗﺒﺸﺮ ﺑﻤﻮﺳﻢ ﺗﻨﺎﻓﺴﻲ ﻣﺜﻴﺮ‬ ‫واﺳﺘﺤﻀﺎر ﺷﻌﺮي ﻟﺒﺎﻧﻲ ا(ﻣﺎرات واﺣﺘﻔﺎء ﻛﺒﻴﺮ ﺑـ »ﻋﺎم زاﻳﺪ«‬

‫ﻋﺒﺪا أﺑﻮ ﺑﻜﺮ‬

‫اﻧﻄﻠﻘﺖ ﻓﻲ ﻣﺴﺮح ﺷﺎﻃﺊ اﻟﺮاﺣﺔ ﺑﺄﺑﻮﻇﺒﻲ ﻣﺆﺧﺮ ًا أوﻟﻰ ﺣﻠﻘﺎت اﻟﺒﺮﻧﺎﻣﺞ اﻟﺸﻌﺮي اﻷول ﻓﻲ اﻟﻌﺎﻟﻢ اﻟﻌﺮﺑﻲ »ﺷﺎﻋﺮ اﻟﻤﻠﻴﻮن« وﺳﻂ‬ ‫أﺟﻮاء ﺗﻨﺎﻓﺴﻴﺔ ﻛﺒﻴﺮة‪ ،‬إذ ﺷﻬﺪت ﻫﺬه اﻟﺪورة ازدﻳﺎدا ﻣﻠﺤﻮﻇﺎ ﻓﻲ أﻋﺪاد اﻟﺸﻌﺮاء اﻟﻤﺘﻘﺪﻣﻴﻦ ﻟﻠﻤﺴﺎﺑﻘﺔ‪ ،‬ﻃﻤﻌﺎ ﺑﺎﻟﻮﺻﻮل إﻟﻰ ﻗﺎﻋﺪة‬ ‫ﺟﻤﺎﻫﺮﻳﺔ ﻫﻲ اﻷوﺳﻊ ﻓﻲ ﺗﺎرﻳﺦ اﻟﺸﻌﺮ‪ ،‬ﺣﻴﺚ ﻳﻌﺪ »ﺷﺎﻋﺮ اﻟﻤﻠﻴﻮن« اﻟﺒﺮﻧﺎﻣﺞ اﻷﻛﺜﺮ ﻣﺘﺎﺑﻌﺔ ﺑﻌﺪﻣﺎ ﺣﻘﻖ ﻧﺴﺐ ﻣﺸﺎﻫﺪة ﻋﺎﻟﻴﺔ ﺟﺪا‬ ‫ﻓﺎﻗﺖ ﺟﻤﻴﻊ اﻟﺘﻮﻗﻌﺎت‪ ،‬ﻣﻨﺬ اﻧﻄﻼﻗﺔ اﻟﻤﻮﺳﻢ اﻷول‪W‬‬ ‫»أوﺑﺮﻳﺖ زاﻳﺪ اﻟﺨﻴﺮ«‬ ‫اﻟﺒﺪاﻳﺔ ﻛﺎﻧﺖ ﻣﻊ ﻇﻬﻮر اﻟﻔﻨﺎن اﻟﻨﺠﻢ ﺧﺎﻟﺪ ﻋﺒﺪاﻟﺮﺣﻤﻦ ﰲ أوﺑﺮﻳﺖ‬ ‫ﻏﻨﺎيئ ﺿﺨﻢ ﺑﻌﻨﻮان »زاﻳﺪ اﻟﺨري« ﻣﻦ ﻛﻠامت ﺑﺎين اﻟﺪار اﳌﻐﻔﻮر ﻟﻪ‬ ‫ﺑﺈذن اﻟﻠﻪ اﻟﺸﻴﺦ زاﻳﺪ ﺑﻦ ﺳﻠﻄﺎن آل ﻧﻬﻴﺎن‪ ،‬ﺗﻔﺎﻋﻞ ﻣﻌﻪ اﻟﺠﻤﻬﻮر‬ ‫اﻟﺬي ﻣﻸ اﳌﴪح‪ ،‬وﻫﻮ ﻋﻤﻞ ﻗﺎم ﺑﺘﻠﺤﻴﻨﻪ اﻟﻔﻨﺎن اﳌﻌﺮوف اﻟﻨﺠﻢ ﻓﺎﻳﺰ‬ ‫اﻟﺴﻌﻴﺪ اﻟﺬي ﻛﺎن ﺣﺎﴐا ﰲ أﻣﺴﻴﺔ اﻓﺘﺘﺎح اﳌﻮﺳﻢ اﻟﺜﺎﻣﻦ‪.‬‬ ‫واﻧﻀﻤﺖ اﻹﻋﻼﻣﻴﺔ اﳌﺘﻤﻴﺰة أﺳﻤﻬﺎن اﻟﻨﻘﺒﻲ إﱃ اﻹﻋﻼﻣﻲ اﳌﺘﻮﻫﺞ‬ ‫ﺣﺴني اﻟﻌﺎﻣﺮي ﻟﺘﻘﺪﻳﻢ ﻫﺬا اﳌﻮﺳﻢ ﻣﻦ ﺑﺮﻧﺎﻣﺞ »ﺷﺎﻋﺮ اﳌﻠﻴﻮن«‪،‬‬ ‫وﺷﻜﻼ ﻣﻌﺎ ﺛﻨﺎﺋﻴﺎ إﻋﻼﻣﻴﺎ ﻧﺎﺟﺤﺎ وﻣﻤﻴﺰا‪ .‬ﺛﻢ ﺗﻨﺎوب اﳌﻘﺪﻣﺎن ﻋﲆ‬ ‫ﻗﺮاءة ﺑﻴﺘني ‪:‬‬ ‫‪fCC¡CCªCCIfCCH&* jCCC CCC04 CCwCCI zCCCCCM*5 CC CC6fCC+‬‬ ‫‪f¡ªD ÔCCCCC»* |CCC CCC CCCM zCCCCCCM*5 vK|CCCCCCC+K‬‬ ‫‪f¡MKf 1 ,|CC CCkCC CC CCH zCCCCM*5 rCC¤CCI ¨CC CC<K‬‬ ‫‪fCC¡CCMK|CCM |CCwCCD ÔCCCC+K 5fCCCCCÅ*K zCCªCC CC CCE‬‬

‫رﺣﺒﺎ ﺑﺄﻋﻀﺎء ﻟﺠﻨﺔ اﻟﺘﺤﻜﻴﻢ اﻟﺬﻳﻦ أﻃﻠﻮا ﻋﲆ ﺧﺸﺒﺔ اﳌﴪح‪ ،‬وﻫﻢ‬ ‫ﻛام ّ‬ ‫اﻟﺸﻌﺮ ‪ /‬اﻟﻌﺪد ‪64‬‬ ‫‪ 94‬ﺑﻴﺖ ِ‬

‫اﳌﺴﺘﺸﺎر اﻟﺜﻘﺎﰲ واﻟﱰايث ﰲ أﻛﺎدميﻴﺔ اﻟﺸﻌﺮ اﻟﺪﻛﺘﻮر ﻏﺴﺎن اﻟﺤﺴﻦ‪،‬‬ ‫واﻟﺸﺎﻋﺮ اﻹﻋﻼﻣﻲ ﺣﻤﺪ اﻟﺴﻌﻴﺪ رﺋﻴﺲ ﺗﺤﺮﻳﺮ ﻣﺠﻠﺔ وﺿﻮح‪ ،‬وأﺧريا‬ ‫اﻟﺸﺎﻋﺮ واﻷدﻳﺐ اﻟﺒﺎﺣﺚ ﺳﻠﻄﺎن اﻟﻌﻤﻴﻤﻲ ﻣﺪﻳﺮ أﻛﺎدميﻴﺔ اﻟﺸﻌﺮ ﰲ‬ ‫أﺑﻮﻇﺒﻲ‪ .‬وﻗﺎل اﻟﺪﻛﺘﻮر ﻏﺴﺎن اﻟﺤﺴﻦ ‪ :‬أﺑﺎرك ﻟﻠﺠﻤﻴﻊ ﻫﺬا اﳌﻮﺳﻢ‬ ‫اﻟﺠﺪﻳﺪ وﻫﺬه اﻟﺨﻄﻮة اﻟﺠﺪﻳﺪة اﳌﺘﻮاﺻﻠﺔ وأﺣﺐ أن أﺗﺬﻛﺮ ﻋﻨﺪﻣﺎ‬ ‫اﺑﺘﺪأ ﻫﺬا اﳌﴩوع ﻛﻔﻜﺮة ﰲ ذﻫﻦ ﺻﺎﺣﺐ اﻟﺴﻤﻮ اﻟﺸﻴﺦ ﻣﺤﻤﺪ‬ ‫ﺑﻦ زاﻳﺪ آل ﻧﻬﻴﺎن وﱄ ﻋﻬﺪ أﺑﻮ ﻇﺒﻲ ﻧﺎﺋﺐ اﻟﻘﺎﺋﺪ اﻷﻋﲆ ﻟﻠﻘﻮات‬ ‫اﳌﺴﻠﺤﺔ‪ ،‬ﻛﻨﺖ أﻋﺠﺐ ﻛﻴﻒ ﻟﻬﺬا اﻟﺸﻌﺮ أن ﻳﻜﻮن ﻣﻮﺿﻮﻋﺎً ﳌﻬﺮﺟﺎن‬ ‫أو ﺑﺮﻧﺎﻣﺠﺎً ﻃﻮﻳﻞ اﳌﺪى‪ ،‬وﻟﻜﻦ اﻟﺤﻘﻴﻘﺔ إن ﺳﻤﻮه ﻛﺎن ﻳﺘﻤﺘﻊ ﺑﺮؤﻳﺔ‬ ‫ﺑﻌﻴﺪة ﺟﺪاً ﺣﻴﺚ وﺻﻠﻨﺎ اﻟﻴﻮم إﱃ اﳌﻮﺳﻢ اﻟﺜﺎﻣﻦ واﻟﱪﻧﺎﻣﺞ ﻻ ﻳﺰال‬ ‫ﰲ ﻗﻤﺔ ﺗﺄﻟﻘﻪ وﰲ أوﺳﻊ اﻧﺘﺸﺎر ﻋﲆ ﻣﺴﺘﻮى اﻟﻌﺎمل‪ .‬ﻛام ﺗﻮﺟﻪ ﻛﺬﻟﻚ‬ ‫اﻟﺸﺎﻋﺮ ﺣﻤﺪ اﻟﺴﻌﻴﺪ ﺑﻜﻠﻤﺔ ﺷﻜﺮ إﱃ اﻟﺪاﻋﻢ اﻟﺤﻘﻴﻘﻲ ﻟﻠﱪﻧﺎﻣﺞ‬ ‫ﺻﺎﺣﺐ اﻟﺴﻤﻮ اﻟﺸﻴﺦ ﻣﺤﻤﺪ ﺑﻦ زاﻳﺪ آل ﻧﻬﻴﺎن‪ ،‬ﻣﺸرياً ﺑﻌﺪ ذﻟﻚ‬ ‫إﱃ ﺟﻬﻮد اﻟﻔﻘﻴﺪ ﻣﺤﻤﺪ ﺧﻠﻒ اﳌﺰروﻋﻲ ﰲ ﺧﺪﻣﺔ ﻫﺬا اﳌﴩوع‬ ‫اﻟﻜﺒري واﻻرﺗﻘﺎء ﺑﻪ‪ ،‬ﻃﺎﻟﺒﺎً اﻟﺮﺣﻤﺔ ﻟﻪ‪ .‬أﻣﺎ ﺳﻠﻄﺎن اﻟﻌﻤﻴﻤﻲ ﻓﺘﻘﺪم‬

‫ﻣﻤﻨﻮع ﻧﺴﻴﺎﻧﻪ‬ ‫ﺧﺎﻟﺪ اﻟﺸﻌﻴﺒﻲ‬ @khaledalshuaibi

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93 2018 / ‫ﻓﺒﺮاﻳﺮ‬

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‫َﻣ ْﻮت ا ْﻟ َﻐﻼ‬ ‫اﻟﻴﺎﺳﻴﺔ‬

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64 ‫ اﻟﻌﺪد‬/ ‫اﻟﺸﻌﺮ‬ ِ ‫ ﺑﻴﺖ‬92

‫ﻧﻘﻄﺔ أول اﻟﺸﻄﺮ‬

‫اﻟﻤﺎﺟﺪي ﺑﻦ ﻇﺎﻫﺮ‬ ‫ﺳﻴﻌﻮد ﻣﻦ ﺟﺪﻳﺪ=‬ ‫اﻟﺪواوﻳﻦ اﻟﺸﻌﺮﻳﺔ ﻟﻠﺸﻌﺮاء ﰲ ﻫﺬا اﻟﺰﻣﻦ ﺗﻌﺎين ﺷﺢ اﻟﻄﻠﺐ‪ ،‬ﺑﺎﺳﺘﺜﻨﺎء ﺑﻌﺾ اﻷﺳامء‬ ‫اﳌﺤﺪودة واﻷﺳﺒﺎب ﻛﺜرية ﰲ وﺟﻬﺔ ﻧﻈﺮي‪ ،‬وأول ﻫﺬه اﻷﺳﺒﺎب ﺧﻠﻮ اﻟﻨﺼﻮص‬ ‫اﻟﺸﻌﺮﻳﺔ ﻣﻦ رﺳﺎﻟﺔ اﻟﺸﺎﻋﺮ‪ ،‬ﺣﻴﺚ ﺗﺠﺪ اﻟﻨﺼﻮص ﺗﻜﺘﺐ ﰲ أﻏﺮاض ﻛﺎﻟﺤﻜﻤﺔ‬ ‫واﻟﻐﺰل واﻟﻮﻃﻦ وﻏريﻫﺎ ﻣﻦ اﻷﻏﺮاض‪ ،‬وﻟﻜﻨﻬﺎ ﺗﺨﻠﻮ ﻣﻦ ﻓﻠﺴﻔﺔ اﻟﺸﺎﻋﺮ أو ﻛام ﻋﱪت‬ ‫ﻋﻨﻬﺎ ﺑﺎﻟﺮﺳﺎﻟﺔ‪ ،‬ﻷن اﻟﻘﺎرئ ﺣﻴﻨام ﻳﻘﺮأ ﻟـ »س« ﻣﻦ اﻟﺸﻌﺮاء ﻓﺈﻧﻪ ﻻ ﻳﺠﺪ ﻫﻨﺎك أي‬ ‫اﺧﺘﻼف ﰲ اﻟﻄﺮح اﻟﻔﻜﺮي ﻣﻊ »ص« ﻣﻦ اﻟﺸﻌﺮاء‪ ،‬وإن ﻛﺎن ﻫﻨﺎك ﻓﺮق واﺿﺢ ﰲ‬ ‫اﻟﺘﻨﺎول واﻟﺼﻴﺎﻏﺔ واﻟﺼﻮرة اﻟﺸﻌﺮﻳﺔ‪ ،‬وﻟﻜﻦ ﻋﲆ اﳌﺴﺘﻮى اﻟﻔﻜﺮي ﻓﺈﻧﻚ ﻻ ﺗﺠﺪ أن‬ ‫ﻛﻞ واﺣﺪ ﻣﻦ اﻟﺸﻌﺮاء ﻳﺤﻤﻞ ﻓﻠﺴﻔﺔ ﺧﺎﺻﺔ متﻴﺰه ﻋﻦ زﻣﻼﺋﻪ اﻵﺧﺮﻳﻦ‪ .‬وأﻇﻦ أن‬ ‫ذﻟﻚ ﻣﻦ أﻫﻢ اﻷﺳﺒﺎب اﻟﺘﻲ ﺗﺠﻌﻞ اﻟﺪواوﻳﻦ اﻟﺸﻌﺮﻳﺔ ﻣﻬﺠﻮرة‪ .‬ﻓﺎﻟﻨﺺ اﳌﻜﺘﻮب‬ ‫وأﺿﻊ )اﳌﻜﺘﻮب( ﺑني ﻗﻮﺳني ﻣﺸﺪداً ﻋﲆ ﻋﻤﻠﻴﺔ ﻗﺮاءة اﻟﻨﺺ اﻟﺸﻌﺮي ﻧﺠﺪه ﻳﺤﺘﺎج‬ ‫إﱃ ﺗﻜﻮﻳﻦ ﺷﺨﺼﻴﺘﻪ اﻟﻔﻜﺮﻳﺔ ﺟﻨﺒﺎ إﱃ ﺟﻨﺐ ﻣﻊ ﺷﺨﺼﻴﺘﻪ اﻟﻔﻨﻴﺔ‪ ،‬يك ﻳﺴﺘﻄﻴﻊ إﻗﻨﺎع‬ ‫اﻟﻘﺎرئ ﺑﻮﺟﻮد ﻛﻴﺎن ﺷﻌﺮي ﻣﺴﺘﻘﻞ ﺧﻠﻒ اﻟﻨﺼﻮص اﻟﺸﻌﺮﻳﺔ اﻟﺘﻲ ﻳﻘﺮأﻫﺎ‪.‬‬ ‫وﻣﻦ ﻧﺎﺣﻴﺔ أﺧﺮى ﻗﺪ ﻻ ﺗﺠﺪ ﻫﺬا اﻷﻣﺮ ﰲ اﻟﻨﺺ اﻟﺸﻌﺮي اﳌﺴﻤﻮع‪ ،‬اﻟﺬي ﻳﻌﺘﻤﺪ‬ ‫ﰲ ﻛﺜري ﻣﻦ اﻷﺣﻴﺎن ﻋﲆ اﻟﺪﻓﻘﺎت اﻟﺸﻌﻮرﻳﺔ أو اﳌﻮﺳﻴﻘﻴﺔ اﻟﺘﻲ ﺗﻨﻬﺎل ﻋﲆ اﳌﺘﻠﻘﻲ‬ ‫وﺗﺸﻞ ﻣﻦ إدراﻛﻪ اﻟﻔﻜﺮي ﻟﺼﺎﻟﺢ اﻟﻨﺺ‪ ،‬ﻟﺬﻟﻚ ﻟﻴﺲ ﺑﻐﺮﻳﺐ أن ﻳﻜﻮن اﻟﺸﻌﺮ‬ ‫اﳌﺴﻤﻮع أو اﳌﺮيئ أﻗﺮب إﱃ اﳌﺘﻠﻘﻲ اﻟﻴﻮم ﺑﻌﺪ اﻧﺘﺸﺎر اﳌﻮاﻗﻊ اﻻﺟﺘامﻋﻴﺔ‪ ،‬وﻟﻜﻨﻲ‬ ‫ﻋﲆ ﻳﻘني أﻧﻪ ﺑﻌﺪ ﻓﱰة ﻗﺼرية ﺳﻴﻌﻮد اﳌﺘﻠﻘﻲ ﻟﻴﺒﺤﺚ ﻋﻦ اﻟﺸﻌﺮ اﳌﻜﺘﻮب‪ ،‬وذﻟﻚ‬ ‫ﻃﺒﻘﺎً ﻟﻠﻨﻈﺮﻳﺔ اﻟﺘﺴﻮﻳﻘﻴﺔ اﻟﺘﻲ ﺗﻔﱰض أن اﳌﺘﻠﻘﻲ ﻳﻜﻮن أﻛرث اﻗﺘﻨﺎﻋﺎً ﺣﻴﻨام ﻳﺒﺎدر‬ ‫ﻳﻼﺣﻖ ﺑﺎﻟﺪﻋﺎﻳﺎ اﻹﻋﻼﻧﻴﺔ‪ ،‬ﻟﺬا ﻓﻼﺑﺪ‬ ‫ﺑﺎﻟﺒﺤﺚ وميﻠﻚ ﺣﺮﻳﺔ اﻻﺧﺘﻴﺎر ﻣﻦ اﳌﺘﻠﻘﻲ اﻟﺬي َ‬ ‫ﻣﻦ ﻣﺮﺣﻠﺔ آﺗﻴﺔ ﻗﺮﻳﺒﺎ ﻳﺒﺤﺚ ﻓﻴﻬﺎ اﳌﺘﻠﻘﻲ ﻋﻦ اﻟﺸﺎﻋﺮ اﳌﻔﻜﺮ واﻟﺸﺎﻋﺮ اﻟﻔﻴﻠﺴﻮف‬ ‫ﻟﻴﻘﺮأ ﻟﻪ وﻳﻄﻠﻊ ﻋﲆ آراﺋﻪ اﳌﺨﺘﻠﻔﺔ وﻣﻨﻈﻮره اﻟﺨﻼق‪ ،‬ﺑﻌﺪ أن ﻛﺎن ﻗﺒﻞ ذﻟﻚ ﻳﺒﺤﺚ‬ ‫ﻋﻦ اﻟﺸﺎﻋﺮ اﳌﺘﻤﺮس اﳌﺘﻤﻜﻦ ﻣﻦ أدواﺗﻪ اﻟﺬي ﻳﻘﺪم ﺻﻴﺎﻏﺔ ﻣﺘﻴﻨﺔ وﺻﻮرة ﺷﻌﺮﻳﺔ‬ ‫ﻣﺪﻫﺸﺔ‪ ،‬وﻟﻜﻦ ﻣﻌﺎﻳري اﻟﺰﻣﻦ اﻟﻘﺎدم ﻗﺪ ﺗﻜﻮن ﻣﺨﺘﻠﻔﺔ ﻛﺜرياً ﻋﻦ ﻣﺎ ﻣﴣ‪ .‬ورمبﺎ‬ ‫ﻳﻜﻮن اﻟﺒﺤﺚ ﻋﻦ اﻟﺸﺎﻋﺮ اﳌﻔﻜﺮ واﻟﺸﺎﻋﺮ اﻟﻔﻴﻠﺴﻮف ﻫﻮ ﻋﻮدة إﱃ ﻛﻼﺳﻴﻜﻴﺔ‬ ‫ﺟﺪﻳﺪة ﰲ اﻟﺤﺪاﺛﺔ ﻛﻮن اﻟﺒﺤﺚ ﻋﻦ اﻟﺸﺎﻋﺮ اﻟﺤﻜﻴﻢ ﻛﺎن ﻣﻦ ﻇﻮاﻫﺮ اﻟﻌﻬﺪ اﻟﻘﺪﻳﻢ‪.‬‬ ‫ﺧﻼﺻﺔ اﻟﻘﻮل إن اﳌﺎﺟﺪي ﺑﻦ ﻇﺎﻫﺮ اﻟﺠﺪﻳﺪ رمبﺎ وﻟﺪ أو ﺳﻴﻮﻟﺪ ﻋام ﻗﺮﻳﺐ‪ ،‬وﻋﻠﻴﻨﺎ‬ ‫أن ﻧﺴﺘﻘﺒﻠﻪ مبﺎ ﻳﻠﻴﻖ مبﻜﺎﻧﺘﻪ اﻟﺸﻌﺮﻳﺔ اﻟﻌﺎﻟﻴﺔ‪.‬‬

‫ﻣﺤﻤﺪ ﻧﻮر اﻟﺪﻳﻦ‬

‫‪@khaligalb‬‬ ‫ﻓﺒﺮاﻳﺮ ‪2 18 /‬‬ ‫‪20‬‬ ‫ﻓ ﺮﺒﺮااﻳﺮ‬ ‫‪911 2018‬‬

‫ﻣﻦ اﻟﻤﺎﺿﻲ‬ ‫‪baytelshear‬‬

‫اﻟﺼﻐﺎر ﻋﻦ ﺑﻴﺌﺘﻬﻢ‪ ،‬واﻟﺤﻴﺎة ﻣﻊ اﻷم واﻷب‬ ‫ﺧﺎرج ﺑﻴﺖ اﻟﻌﺎﺋﻠﺔ‪ ،‬ﺣﺘﻰ إن ﻣﺘﻄﻠﺒﺎت اﻟﺤﻴﺎة‬ ‫أﺣﻴﺎﻧﺎً ﺗﻔﺮض ﻋﲆ ﺑﻌﻀﻬﻢ اﻟﻌﻴﺶ ﰲ ﻣﺪن‬ ‫ﻣﺘﻨﺎﺛﺮة ﻫﻨﺎ وﻫﻨﺎك‪..‬‬ ‫إﺛﺮاء ﻣﺨﻴﻠﺔ اﻟﺼﻐﺎر‬ ‫وﻣﻦ اﻟﺮواة اﻟﺬﻳﻦ ﺣﻔﻈﻮا اﻟﺘﺎرﻳﺦ اﻟﺸﻔﺎﻫﻲ‬ ‫ﻟﺪوﻟﺔ اﻹﻣﺎرات ﻋﺜامن ﺑﺎروت‪ ،‬راوي وﺟﺎﻣﻊ‬ ‫ﻟﻠﱰاث‪ ،‬اﻟﺬي ﻳﻘﻮل ﻋﻦ اﻟﺨﺮارﻳﻒ‪ :‬إﻧﻨﻲ‬ ‫وﺟﻴﲇ ﻧﺤﻔﻆ اﻟﻜﺜري ﻣﻨﻬﺎ‪ ،‬ﻋﱪ اﺳﺘامﻋﻨﺎ إﻟﻴﻬﺎ‬ ‫ﰲ اﻟﺴﺎﺑﻖ ﺛﻢ ﴎدﻫﺎ ﰲ اﻟﻮﻗﺖ اﻟﺤﺎﴐ‪،‬‬ ‫وﻛﺎﻧﺖ اﻟﻐﺎﻳﺔ ﻣﻨﻬﺎ ﻣﻞء أوﻗﺎت اﻷﻃﻔﺎل‬ ‫ﺑﴚء ﻣﻔﻴﺪ ﻋﱪ ﺗﻮﺻﻴﻞ ﻣﻌﻠﻮﻣﺔ ﺑﺄﺳﻠﻮب‬ ‫ﺣﻜﺎيئ وﺳﻬﻞ‪ ،‬ﻳﻌﺘﻤﺪ ﻋﲆ إﺛﺮاء ﻣﺨﻴﻠﺘﻬﻢ‬ ‫اﳌﻔﺘﻮﺣﺔ وﻗﺪرﺗﻬﻢ ﻋﲆ ﺗﺼﻮر اﻷﺣﺪاث‬ ‫ﺑﺼﻮرة دراﻣﻴﺔ‪ ،‬وﺗﺨﻮﻳﻔﻬﻢ ﻣﻦ اﻷﻣﻮر اﻟﺘﻲ‬ ‫ﻛﺎﻧﺖ ﻣﻦ اﳌﺤﺘﻤﻞ أن ﺗﻠﺤﻖ ﺑﻬﻢ ﴐراً‪ ،‬ﻣﺜﻞ‬ ‫اﻟﺒﻘﺎء ﺧﺎرﺟﺎً ﺑﻌﺪ ﻏﺮوب اﻟﺸﻤﺲ‪ ،‬وﺣﻠﻮل‬ ‫اﻟﻈﻼم‪.‬‬ ‫ً‬ ‫ومل ﻳﺨﺘﻠﻒ اﻷﻣﺮ ﻛﺜريا ﺑﺎﻟﻨﺴﺒﺔ إﱃ اﻟﻜﺒﺎر‬ ‫اﻟﺬﻳﻦ ﻛﺎﻧﻮا ﻳﺠﺘﻤﻌﻮن ﰲ اﳌﺴﺎء وﻳﺴﺘﻤﻌﻮن‬ ‫ﻟﻠﻘﺼﺺ اﻟﺘﻲ ﻛﺎﻧﻮا ﻳﺘﺒﺎدﻟﻮﻧﻬﺎ ﻓﻴام ﺑﻴﻨﻬﻢ‪،‬‬ ‫إﻻ أﻧﻬﺎ ﻛﺎﻧﺖ ﺑﻐﺮض اﻟﺘﺴﻠﻴﺔ واﻟﺴﻤﺮ وﻟﻴﺲ‬ ‫اﻟﺘﺨﻮﻳﻒ‪.‬‬ ‫وﻳﻘﺎل إن اﻟﺨﺮارﻳﻒ ﻗﺼﺺ ﺧﻴﺎﻟﻴﺔ‪ ،‬ﻛﺎﻧﺖ‬ ‫اﻟﺠﺪات ﻳﺮوﻳﻨﻬﺎ ﰲ اﳌﺎﴈ ﻟﻸﻃﻔﺎل‪ ،‬وﻛﺎﻧﻮا‬ ‫ﻳﺘﻔﺎﻋﻠﻮن ﻣﻌﻬﺎ‪ ،‬ﻣﻨﻬﺎ ﻗﺼﺺ ﻋﻦ أﺷﺨﺎص‬ ‫ﺷﺠﻌﺎن‪ ،‬وﻛﺎن اﻟﻬﺪف ﻣﻨﻬﺎ أن ﻳﺸﺐ اﻷﻃﻔﺎل‬ ‫ﻋﲆ ﻗﻴﻤﻬﺎ اﻟﺠﻤﻴﻠﺔ‪ ،‬ﻛام ﻛﺎﻧﻮا ﻗﺪميﺎً ﻳﴬﺑﻮن‬ ‫اﳌﺜﻞ ﺑﺎﻟﺤﻴﻮاﻧﺎت اﻟﻀﺨﻤﺔ واﳌﻔﱰﺳﺔ‪ ،‬وﻛﺎﻧﺖ‬ ‫اﻟﺠﺪات ﻳﺼﻠﻦ ﺑﺄﺣﺪاث اﻟﻘﺼﺔ إﱃ ﻧﻘﻄﺔ‬ ‫ﻣﻌﻴﻨﺔ ﻣﺜرية وﺷﺎﺋﻘﺔ‪ ،‬وﻳﺘﻮﻗﻔﻦ يك ﻳﻨﺎم‬ ‫اﻷﻃﻔﺎل ﻋﲆ أن ﺗﻜﻤﻞ ﰲ اﻟﻴﻮم اﻟﺘﺎﱄ‪ .‬ﻟﺬا‬ ‫ﻛﺎﻧﺖ وﻻ ﺗﺰال اﻟﺨﺮارﻳﻒ ﻣﻦ أﻧﻘﻰ اﻟﻶﻟﺊ‬ ‫اﻟﺘﻲ ﻛﺎﻧﺖ ﻣﻮﺟﻮدة ﰲ اﳌﺎﴈ‪ ،‬ﺧﺎﺻﺔ أن‬ ‫ﻣﻔﺮداﺗﻬﺎ ﻛﺎﻧﺖ ﻣﺮﺗﺒﻄﺔ ﺑﺎﻟﺒﻴﺌﺔ اﳌﺤﻴﻄﺔ‬ ‫ﺑﺎﻟﻨﺎس ومتﺴﻬﻢ ﻋﻦ ﻗﺮب‪.‬‬ ‫وﻣﻦ اﻟﻌﻮاﻣﻞ اﻟﺘﻲ ﺳﺎﻋﺪت ﻋﲆ اﺳﺘﻤﺮار‬ ‫اﻟﺨﺮارﻳﻒ ﺑﺎﻹﻣﺎرات ﰲ اﳌﺎﴈ‪ ،‬ﻋﺪم وﺟﻮد‬ ‫ﻣﺪارس ﻟﻴﻠﺘﺤﻖ ﺑﻬﺎ اﻷﻃﻔﺎل‪ ،‬ﻓﻘﺪ ﻛﺎن اﻷﻣﺮ‬ ‫ﻣﻘﺘﴫاً ﻋﲆ دور اﻟﻜﺘﺎﺗﻴﺐ ﻟﺘﻌﻠﻢ اﻟﻘﺮاءة‬ ‫اﻟﺸﻌﺮ ‪ /‬اﻟﻌﺪد ‪64‬‬ ‫‪ 90‬ﺑﻴﺖ ِ‬

‫واﻟﻜﺘﺎﺑﺔ وﺣﻔﻆ آﻳﺎت ﻣﻦ اﻟﻘﺮآن اﻟﻜﺮﻳﻢ‬ ‫وﻗﺼﺎﺋﺪ ﻟﻜﺒﺎر اﻟﺸﻌﺮاء اﻟﻌﺮب واﻟﺸﻌﺮ‬ ‫اﻟﻨﺒﻄﻲ‪ ،‬إﺿﺎﻓﺔ إﱃ اﻟﺨﺮارﻳﻒ اﻟﺘﻲ ﻛﺎن‬ ‫ﻳﺮوﻳﻬﺎ ﻟﻬﻢ اﻷﻫﻞ ﻟﺰرع اﻟﻘﻴﻢ اﻟﻨﺒﻴﻠﺔ ﻓﻴﻬﻢ‬ ‫وﺗﻀﻴﻴﻊ اﻟﻮﻗﺖ وإﻟﻬﺎﺋﻬﻢ‪.‬‬ ‫وﻛﺎن اﻷﻫﺎﱄ ﻳﻨﺼﺤﻮن اﻷﻃﻔﺎل أن ﻳﻌﻮدوا‬ ‫إﱃ اﻟﺒﻴﺖ ﻗﺒﻞ ﻏﺮوب اﻟﺸﻤﺲ‪ ،‬وإﻻ ﺳﻮف‬ ‫ﺗﻨﻘﺾ ﻋﻠﻴﻬﻢ »أم اﻟﺪوﻳﺲ« ﺗﻠﻚ اﻟﺸﺨﺼﻴﺔ‬ ‫اﻟﺨﺮاﻓﻴﺔ اﻟﺘﻲ ﺗﻌﻴﺶ ﰲ اﻟﺒﺤﺮ‪ ،‬اﻟﺘﻲ ﻛﺎﻧﻮا‬ ‫ﻳﺨﻮﻓﻮن ﺑﻬﺎ أﻃﻔﺎﻟﻬﻢ‪ ،‬وﻳﻌﻄﻮﻧﻬﺎ ﺻﻔﺎت‬ ‫ﺧﺎرﻗﺔ وﻣﺨﻴﻔﺔ‪ ،‬وﻛﺎن اﻷﻫﺎﱄ ﻳﻌﺘﻤﺪون ﰲ‬ ‫ﺗﺨﻮﻳﻔﻬﻢ ﻣﻦ ﺗﻠﻚ اﻟﺸﺨﺼﻴﺔ وﻏريﻫﺎ اﻋﺘامداً‬ ‫ﻋﲆ اﻟﺼﻮرة اﻟﺘﺨﻴﻠﻴﺔ ﻟﻸﻃﻔﺎل ﺣﻮل ﺗﻠﻚ‬ ‫اﳌﺨﻠﻮﻗﺎت‪ .‬وﻋﻨﺪﻣﺎ ﻛﺎﻧﻮا ﻳﺒﻜﻮن أو ميﺘﻨﻌﻮن‬ ‫ﻋﻦ اﻟﻨﻮم ﻟﻴ ًﻼ‪ ،‬ﻛﺎﻧﺖ اﻷﻣﻬﺎت واﻟﺠﺪات‬ ‫ﺗﺮوﻳﻦ ﻟﻬﻢ اﻟﺨﺮارﻳﻒ‪ ،‬وﻳﺴﺘﻤﺘﻌﻮن ﺑﴪدﻫﺎ‬ ‫وﻳﺘﺨﻴﻠﻮن أﻧﻔﺴﻬﻢ أﺑﻄﺎﻟﻬﺎ‪ ،‬وﻳﻔﺮﺣﻮن أﻛرث‬ ‫ﻛﻠام ﺗﻄﺮﻗﺖ اﻟﻘﺼﺔ إﱃ ﺣﺎدﺛﺔ ﺟﺪﻳﺪة ميﺮ‬ ‫ﺑﻬﺎ اﻟﺒﻄﻞ‪ ،‬ﺣﺘﻰ ﻳﺴﺘﺴﻠﻤﻮا ﻟﻠﻨﻮم‪.‬‬ ‫وﺑﺮأي ﺳﻌﻴﺪ ﺑﻦ ﻛﺮاز اﳌﻬريي‪ ،‬ﺑﺎﺣﺚ ﰲ‬ ‫اﻟﱰاث اﻹﻣﺎرايت‪ ،‬ﻓﺈن اﻟﺨﺮارﻳﻒ ﺗﺨﺘﻠﻒ ﻣﻦ‬ ‫ﻣﻨﻄﻘﺔ إﱃ أﺧﺮى ﰲ اﻹﻣﺎرات ﻣﻦ ﺣﻴﺚ‬ ‫اﳌﻀﻤﻮن وﻃﺮﻳﻘﺔ ﴎدﻫﺎ‪ ،‬ﻣﺜﻞ اﻷﻓﻼم اﻟﺘﻲ‬ ‫ﻧﺸﺎﻫﺪﻫﺎ ﰲ اﻟﺴﻴﻨام واﻟﺘﻠﻔﺰﻳﻮن‪ ،‬وﻫﻨﺎك‬ ‫ﻗﺼﺺ أﺟﻨﺒﻴﺔ ﻗﺪميﺔ‪ ،‬ﻣﺜﻞ »روﺑﻦ ﻫﻮد« اﻟﺘﻲ‬ ‫ﺗﻢ ﺗﺤﻮﻳﻠﻬﺎ إﱃ أﻋامل ﻣﺮﺋﻴﺔ ﻧﺎﺟﺤﺔ وذاع‬

‫ﺻﻴﺘﻬﺎ ﰲ اﻟﻌﺎمل‪ ،‬وﻟﻜﻦ ﻫﻨﺎك ﻗﺼﺼﺎً ﻋﺮﺑﻴﺔ‬ ‫ﻋﻦ اﻟﺼﻌﺎﻟﻴﻚ ﻣﺜ ًﻼ وﺑﺎﻟﺘﺤﺪﻳﺪ ﻗﺼﺔ »ﻋﺮوة‬ ‫ﺑﻦ اﻟﻮرد« وﻛﺎﻧﺖ أﻗﺪم ﻣﻦ ﻗﺼﺔ »روﺑﻦ‬ ‫ﻫﻮد« وﻟﻜﻨﻬﺎ مل ﺗﺮ اﻟﻨﻮر‪.‬‬ ‫وﻳﺆﻳﺪ اﻟﻜﺜريون ﴐورة وﺟﻮد اﻟﺨﺮارﻳﻒ ﰲ‬ ‫ﺣﻴﺎة اﻷﻃﻔﺎل‪ ،‬وﻟﻜﻦ ﻟﻴﺲ ﻟﺘﺨﻮﻳﻔﻬﻢ أﺛﻨﺎء‬ ‫ﴎد أﺣﺪاث اﻟﺨﺮارﻳﻒ‪ ،‬ﻷن اﻟﻌﱪة ﻣﻨﻬﺎ‬ ‫ﺗﻮﺻﻴﻞ ﻣﻌﻠﻮﻣﺔ إﱃ اﻟﻄﻔﻞ ﺑﺄﺳﻠﻮب ﺳﻠﺲ‪ ،‬يك‬ ‫ﻳﺘﻌﻠﻢ اﻟﻌﺎدات اﻟﺤﺴﻨﺔ وﻳﺒﺘﻌﺪ ﻋﻦ اﻟﺴﻴﺌﺔ‪،‬‬ ‫وﻃﺮﻳﻘﺔ اﻟﺘﻌﺎﻣﻞ اﻟﺠﻴﺪ ﻣﻊ اﻟﺤﻴﻮاﻧﺎت‪ ،‬ﻷﻧﻬﺎ‬ ‫ﻻ ﺗﺴﺘﻄﻴﻊ أن ﺗﺘﻜﻠﻢ‪.‬‬ ‫وﻛﺎﻧﺖ اﻟﻔﻨﺎﻧﺔ رزﻳﻘﺔ اﻟﻄﺎرش‪ ،‬ﻗﺪ ﻗﺪﻣﺖ‬ ‫ﺑﺮﻧﺎﻣﺠﺎً ﻋﻦ »اﻟﺨﺮارﻳﻒ« ﻣﻦ ﺗﺄﻟﻴﻔﻬﺎ‬ ‫وإﻋﺪادﻫﺎ‪ ،‬ﻋﲆ ﺷﺎﺷﺔ ﺗﻠﻔﺰﻳﻮن ﺳام ديب ﰲ‬ ‫رﻣﻀﺎن ‪ ،2012‬وﻛﺎﻧﺖ ﺗﺆدي دور اﻟﺠﺪة اﻟﺘﻲ‬ ‫ﺗﺠﻠﺲ وﻣﻦ ﺣﻮﻟﻬﺎ اﻷﻃﻔﺎل وﺗﺮوي ﻟﻬﻢ ﻛﻞ‬ ‫ﻳﻮم ﺧﺮوﻓﺔ ﺗﺤﻤﻞ اﻟﻜﺜري ﻣﻦ اﻟﻌﱪ واﻟﺪروس‪،‬‬ ‫وﺗﻌﻠﻤﻬﻢ ﻛﻴﻒ ﻳﺘﻌﺎﻣﻠﻮن ﻣﻊ اﻟﻜﺒﺎر‪ ،‬وﻛﺎﻧﺖ‬ ‫ﺗﺘﻔﺎﻋﻞ ﻣﻌﻬﻢ ﻋﱪ اﻓﺘﻌﺎل ﻣﻮاﻗﻒ ورﺑﻄﻬﺎ‬ ‫ﺑﻘﺼﺺ‪ ،‬ﻣﺜﻞ اﻟﺘﻮﻓﻴﻖ ﺑني اﻟﻠﻌﺐ واﻟﺪراﺳﺔ‬ ‫ﺑﻌﺪ اﻟﻌﻮدة ﻣﻦ اﳌﺪرﺳﺔ‪ ،‬واﺳﺘﻄﺎﻋﺖ‬ ‫ﺑﺄﺳﻠﻮﺑﻬﺎ أن ﺗﻘﻨﻊ اﻷﻃﻔﺎل‪ ،‬وﻛﺎﻧﺖ ﺗﻘ ّﻠﺪ‬ ‫اﻷﺻﻮات ﻓﻴﻬﺎ ﻟﻴﺘﻌﺮﻓﻮا إﱃ اﻷﺑﻄﺎل ﻋﻦ ﻗﺮب‪،‬‬ ‫ﻣﻊ ﺗﻘﺪﻳﻢ ﴍح ﻋﻦ ﻛﻞ ﺷﺨﺼﻴﺔ‪ ،‬ﻟﻴﺘﻌﺮﻓﻮا‬ ‫إﻟﻴﻬﺎ أﻛرث‪ ،‬وﰲ ﺗﻠﻚ اﻷﺛﻨﺎء ﻛﺎﻧﻮا ﻳﺘﺎﺑﻌﻮن ﻛﻞ‬ ‫ﺗﺤﺮﻛﺎﺗﻬﺎ وﻫﻲ ﺗﺮوي ﻟﻬﻢ اﻟﺨﺮارﻳﻒ‪.‬‬

‫وﻟﻜﻨﻬﺎ ﻛﺎﻧﺖ وﺳﻴﻠﺔ ﻟﻠﺘﻌﻠﻴﻢ واﻟﺘﺜﻘﻴﻒ ﰲ زﻣﻦ‬ ‫مل ﺗﻜﻦ ﻓﻴﻪ ﻣﺪارس أو وﺳﺎﺋﻞ ﺣﺪﻳﺜﺔ ﻟﻠﱰﻓﻴﻪ‬ ‫وﻛﺴﺐ اﳌﻌﺮﻓﺔ ﻣﺜﻞ اﻟﺮادﻳﻮ واﻟﺘﻠﻔﺰﻳﻮن‪،‬‬ ‫ﻓﻜﺜرياً ﻣﺎ ﻛﺎﻧﺖ اﻟﺤﻜﺎﻳﺎت اﻟﺸﻌﺒﻴﺔ ﺗﺪور‬ ‫ﺣﻮل ﺑﻄﻞ ﻳﺘﺴﻢ ﺑﺎﻟﺸﺠﺎﻋﺔ واﻟﻨﺨﻮة واﻟﻜﺮم‪،‬‬ ‫وﻳﺴﻌﻰ ﺑﻜﻞ ﺟﻬﺪه ﻹﻏﺎﺛﺔ اﳌﻠﻬﻮف وﻧﴫة‬ ‫اﻟﻘﺒﻴﻠﺔ ورﻓﻊ اﻟﻈﻠﻢ ﻋﻦ اﳌﻈﻠﻮم‪ ،‬وﻫﻲ ﻛﻠﻬﺎ‬ ‫ﻗﻴﻢ وﺻﻔﺎت ﻣﻬﻤﺔ ﰲ اﻟﺸﺨﺼﻴﺔ اﻟﻌﺮﺑﻴﺔ ﻛﺎن‬ ‫اﻵﺑﺎء ﻳﺘﻮارﺛﻮﻧﻬﺎ ﻋﻦ اﻷﺟﺪاد وﻳﺤﺮﺻﻮن ﻋﲆ‬ ‫ﻧﻘﻠﻬﺎ إﱃ اﻷﺑﻨﺎء‪ .‬ﻛام ﻛﺎﻧﺖ ﺗﻘﺪم ﻟﻸﻃﻔﺎل‬ ‫ﻣﻌﻠﻮﻣﺎت ﻋﻦ اﻟﻌﺎمل واﻟﻨﺎس واﻟﻌﺎدات‬ ‫واﻟﺘﻘﺎﻟﻴﺪ اﻟﺘﻲ ﺗﺨﺘﻠﻒ ﻣﻦ ﻣﻨﻄﻘﺔ ﻷﺧﺮى‪،‬‬ ‫واﻟﺘﻌﺮف إﱃ اﻟﺴﻠﻮك اﻹﻧﺴﺎين ﰲ اﳌﻮاﻗﻒ‬ ‫اﳌﺨﺘﻠﻔﺔ‪ ،‬وﻛﻴﻒ ميﻜﻦ ان ﻳﻜﻮن اﻹﻧﺴﺎن‬ ‫واﺳﻊ اﻟﺤﻴﻠﺔ وﻳﺘﺼﻒ ﺑﺎﻟﺤﻜﻤﺔ واﻟﺸﺠﺎﻋﺔ ﰲ‬ ‫اﻟﻮﻗﺖ ﻧﻔﺴﻪ‪.‬‬ ‫وﻛﺜرياً ﻣﺎ ﻛﺎﻧﺖ اﻟﺮاوﻳﺔ‪ ،‬وﺗﺘﻤﺜﻞ ﰲ اﻟﺠﺪة‬ ‫ﰲ أﻏﻠﺐ اﻷﺣﻮال‪ ،‬ﺗﺘﻮﻗﻒ ﻓﺠﺄة ﰲ وﺳﻂ‬ ‫اﻟﺤﻜﺎﻳﺔ ﻟﺘﺴﺄل اﻷﻃﻔﺎل ﻋﻦ ﻛﻴﻒ ميﻜﻦ أن‬ ‫ﻳﺘﴫف اﻟﺒﻄﻞ ﰲ اﳌﻮﻗﻒ اﻟﺬي ﻳﺘﻌﺮض ﻟﻪ‪،‬‬ ‫ﻟﺘﻨﻤﻲ ﻟﺪﻳﻬﻢ اﻟﻘﺪرة ﻋﲆ اﺗﺨﺎذ اﻟﻘﺮار وﺗﺘﺄﻛﺪ‬ ‫ﻣﻦ ﺟﺪﻳﺔ ﻣﺘﺎﺑﻌﺘﻬﻢ ﳌﺎ ﺗﺮوﻳﻪ‪ ،‬ﻛﺬﻟﻚ ﻛﺎﻧﺖ‬ ‫ﺗﺤﺮص ﻋﲆ أن ﺗﺘﻮﻗﻒ ﻋﻨﺪ ﻧﻘﻄﺔ ﻣﻌﻴﻨﺔ‬ ‫ﺗﺘﺴﻢ ﻓﻴﻬﺎ اﻷﺣﺪاث ﺑﺎﻹﺛﺎرة‪ ،‬ﻟﺘﺨﱪﻫﻢ أن‬ ‫ﻋﻠﻴﻬﻢ اﻻﻧﴫاف ﻟﻠﻨﻮم ﻋﲆ أن ﺗﻜﻤﻞ ﻟﻬﻢ‬ ‫اﻟﺤﻜﺎﻳﺔ ﰲ اﻟﻴﻮم اﻟﺘﺎﱄ‪ ،‬وﻫﻮ ﻣﺎ ﻳﺪﻓﻊ اﻷﻃﻔﺎل‬ ‫إﱃ اﻟﺘﻔﻜري ﰲ ﻛﻴﻔﻴﺔ ﺳري اﻷﺣﺪاث ﰲ اﻟﺠﺰء‬ ‫اﳌﺘﺒﻘﻲ ﻣﻦ اﻟﺤﻜﺎﻳﺔ ووﺿﻊ ﺳﻴﻨﺎرﻳﻮﻫﺎت ﻟﻬﺎ‪.‬‬ ‫ﻣﺼﺪر إﻟﻬﺎم‬ ‫ﺗﻌﺪ »اﻟﺨﺮارﻳﻒ« ﺟﺰءاً ﻣﻬ ًام ﻣﻦ اﻟﱰاث‬ ‫اﳌﻌﻨﻮي واﻟﺜﻘﺎﻓﺔ اﻟﺸﻌﺒﻴﺔ ﻟﻠﺸﻌﻮب‪ ،‬ﻛام‬ ‫متﺜﻞ ﻣﺼﺪر إﻟﻬﺎم ﻟﻜﺜري ﻣﻦ اﻷﻋامل اﻷدﺑﻴﺔ‬ ‫واﻟﻔﻨﻴﺔ ﰲ اﳌﺠﺘﻤﻊ اﻹﻣﺎرايت ﺣﺎﻟﻴﺎً‪ ،‬ﺳﻮاء ﰲ‬ ‫اﻷدب اﳌﻜﺘﻮب أو اﻷﻋامل اﻟﻔﻨﻴﺔ اﻟﺘﺸﻜﻴﻠﻴﺔ‬ ‫أو اﻟﺪراﻣﺎ وﺣﺘﻰ اﻷﻓﻼم اﻟﺴﻴﻨامﺋﻴﺔ‪ ،‬ﺑﺎﻹﺿﺎﻓﺔ‬ ‫إﱃ أﻧﻬﺎ ﻣﻮﺿﻮع ﻣﻬﻢ ﻟﻜﺜري ﻣﻦ اﻟﺪراﺳﺎت‬ ‫واﻟﺒﺤﻮث اﻟﺘﻲ ﺗﻬﺘﻢ ﺑﺎﻟﺘﺎرﻳﺦ اﻟﺸﻔﺎﻫﻲ‬ ‫واﻷدب اﻟﺸﻌﺒﻲ‪ .‬وﰲ ﻣﺠﺘﻤﻌﻨﺎ اﻹﻣﺎرايت‬ ‫ﻋﺪد ﻣﻦ اﻟﺮواﻳﺎت اﻟﺸﻬرية اﻟﺘﻲ ﺗﺮوى أﺣﻴﺎﻧﺎً‬ ‫ﺑﺄﺷﻜﺎل ﻣﺨﺘﻠﻔﺔ‪ ،‬ﻣﺜﻞ ﺣﻜﺎﻳﺔ »ﺑﻨﺖ اﻟﺴامك‬ ‫وأﺑﻮزﻳﺪ اﻟﻬﻼﱄ‪ ،‬وﻋﻠﻴﺎ اﻟﻬﻼﻟﻴﺔ‪ ،‬وﺣﻜﺎﻳﺎت‬

‫ﺳﺤﺮﻳﺔ«‪ ،‬ﻓﻘﺪ ﻛﺎﻧﺖ اﻟﺨﺮارﻳﻒ ﺗﺘﻨﺎول‬ ‫ﻣﻮﺿﻮﻋﺎت ﻣﺨﺘﻠﻔﺔ ﺗﺪور ﰲ ﻋﻮامل اﻹﻧﺴﺎن‬ ‫واﻟﻄري واﻟﺤﻴﻮان‪ ،‬وﻳﻜﺘﺴﺐ ﻓﻴﻬﺎ أﺑﻄﺎل‬ ‫اﻟﺤﻜﺎﻳﺔ ﺻﻔﺎت وﻗﺪرات ﺗﻔﻮق ﺻﻔﺎﺗﻬﻢ‬ ‫وﻗﺪراﺗﻬﻢ ﰲ اﻟﻮاﻗﻊ‪.‬‬ ‫وﻛﺎن ﻟﻠﺒﻴﺌﺔ اﻟﺠﻐﺮاﻓﻴﺔ ﺗﺄﺛريﻫﺎ ﰲ اﻟﺤﻜﺎﻳﺎت‬ ‫اﻟﺸﻌﺒﻴﺔ اﻟﺘﻲ ﺗﺮوى ﻓﻴﻬﺎ وﻣﻀﻤﻮن ﻫﺬه‬ ‫اﻟﺤﻜﺎﻳﺎت‪ ،‬ﻓﺎﺗﺴﻤﺖ ﺣﻜﺎﻳﺎت اﻟﺒﺪو ﻣﻦ أﻫﻞ‬ ‫اﻟﺼﺤﺮاء ﺑﺎرﺗﺒﺎﻃﻬﺎ ﺑﺎﻟﺒﻴﺌﺔ اﻟﺼﺤﺮاوﻳﺔ وﻣﻨﺎﺧﻬﺎ‬ ‫وﺷﻜﻞ اﻟﺤﻴﺎة ﻓﻴﻬﺎ‪ ،‬وﻛﺎﻧﺖ ﺗﺪور ﺣﻮل‬ ‫ﻣﻮﺿﻮﻋﺎت ﻣﺜﻞ اﻟﻜﺮم‪ ،‬واﻟﻔﺮوﺳﻴﺔ واﻟﻐﺰو‬ ‫وﻏريﻫﺎ‪ .‬أﻣﺎ ﺣﻜﺎﻳﺎت أﻫﻞ اﻟﻘﺮى ﻓﻜﺎﻧﺖ‬ ‫ﺗﺘﻨﺎول أﺣﻮال اﻟﻨﺎس اﻟﺒﺴﻄﺎء وﻣﻌﺎﻧﺎﺗﻬﻢ‬ ‫ﻣﻦ أﺟﻞ اﻟﺤﺼﻮل ﻋﲆ ﻗﻮﺗﻬﻢ واﻟﺘﻄ ﱡﻠﻊ إﱃ‬ ‫اﻟﻐﻨﻰ ﻋﻦ ﻃﺮﻳﻖ »ﻋﻔﺮﻳﺖ ﻣﻦ اﻟﺠﻦ«‪ ،‬أو‬ ‫اﻟﻌﺜﻮر ﻋﲆ »ﻛﻨﺰ ﻣﺮﺻﻮد«‪ ،‬وﻗﺼﺺ اﻟﺴﺤﺮ‬ ‫واﻟﺸﻌﻮذة‪ ،‬وﻛﺬﻟﻚ اﻟﻜﺮم واﳌﺮوءة‪ .‬ﺑﻴﻨام ﺗﺪور‬ ‫اﻟﺘﺠﺎر وﻣﻐﺎﻣﺮاﺗﻬﻢ‬ ‫ﺣﻜﺎﻳﺎت أﻫﻞ اﳌﺪن ﺣﻮل ّ‬ ‫وﻣﻐﺎﻣﺮات أﺑﻨﺎﺋﻬﻢ‪ ،‬وﻗﺼﺺ اﻟﺠﻮاري واﻟﺨﺪم‪،‬‬ ‫وﻗﺼﺺ اﻟﻐﺮام اﻟﺘﻲ ﺗﺤﺪث ﺑني أﺑﻨﺎء اﻟﻄﺒﻘﺎت‬ ‫اﻟﻐﻨﻴﺔ واﻟﻔﻘرية‪ ،‬وﻣﺎ ﻳﺼﺎﺣﺐ ذﻟﻚ ﻣﻦ‬ ‫ﻣﺸﻜﻼت ﺗﻔﺮﺿﻬﺎ اﻟﻔﺮوق اﻻﺟﺘامﻋﻴﺔ‪.‬‬

‫ﺧﻄﺮ اﻻﻧﺪﺛﺎر‬ ‫ﰲ اﻟﻮﻗﺖ اﻟﺤﺎﱄ‪ ،‬ﺗﻌﺎين »اﻟﺨﺮارﻳﻒ« ﺧﻄﺮ‬ ‫اﻻﻧﺪﺛﺎر ﰲ ﻇﻞ ﺳﻴﻄﺮة اﻷﺟﻬﺰة اﻟﺤﺪﻳﺜﺔ‬ ‫ﻋﲆ اﻫﺘامﻣﺎت اﻷﻃﻔﺎل واﻟﻨﺶء‪ ،‬مبﺎ ﺗﻘﺪﻣﻪ‬ ‫ﻟﻬﻢ ﻣﻦ ﻣﻮاد ﻣﻐﺮﻳﺔ ﻣﺜﻞ اﻷﻟﻌﺎب اﻟﺘﻔﺎﻋﻠﻴﺔ‬ ‫واﻟﻔﻴﺪﻳﻮ ﺟﻴﻢ وﻣﻮاﻗﻊ اﻟﺘﻮاﺻﻞ اﻻﺟﺘامﻋﻲ‪،‬‬ ‫إﱃ ﺟﺎﻧﺐ اﻟﻔﻀﺎﺋﻴﺎت وﻣﺎ ﺗﻌﺮﺿﻪ ﻣﻦ‬ ‫اﳌﺴﻠﺴﻼت واﻷﻏﺎين اﳌﺼﻮرة واﳌﻮاد اﻟﻜﺮﺗﻮﻧﻴﺔ‬ ‫واﻷﻓﻼم‪ ،‬وﻏريﻫﺎ ﻣﻦ ﻣﻮاد متﺘﻠﻚ ﻣﻘﻮﻣﺎت‬ ‫ﺟﺬب ﺗﻔﻮق ﻣﺎ متﺘﻠﻜﻪ اﻟﺤﻜﺎﻳﺎت اﻟﺸﻌﺒﻴﺔ‪.‬‬ ‫ﻛام أن ﻫﻨﺎك أﻳﻀﺎً ﻋﻮاﻣﻞ اﺟﺘامﻋﻴﺔ ﻟﻬﺎ دورﻫﺎ‬ ‫ﰲ ﺗﺮاﺟﻊ »اﻟﺨﺮارﻳﻒ« أﻫﻤﻬﺎ اﻟﺘﻮﺳﻊ ﰲ منﻂ‬ ‫»اﻷﴎة اﻟﻨﻮوﻳﺔ« اﻟﺘﻲ ﺗﻘﺘﴫ ﻓﻘﻂ ﻋﲆ اﻷب‬ ‫واﻷم واﻷﺑﻨﺎء‪ ،‬وﺗﺮاﺟﻊ منﻂ »اﻷﴎة اﳌﻤﺘﺪة«‪،‬‬ ‫ﺣﻴﺚ ﻳﻨﺸﺄ اﻷﻃﻔﺎل ﰲ ﻣﻨﺰل اﻟﻌﺎﺋﻠﺔ اﻟﻜﺒري‬ ‫اﻟﺬي ﻳﻘﻴﻢ ﻓﻴﻪ أﻳﻀﺎً اﻟﺠﺪ واﻟﺠﺪة واﻷﻋامم‬ ‫وأﺑﻨﺎء اﻷﻋامم‪ ،‬وﻫﻮ ﻣﺎ أﺛﺮ ﰲ اﻟﱰاﺑﻂ اﻷﴎي‬ ‫واﻟﻌﻼﻗﺎت اﻻﺟﺘامﻋﻴﺔ ﰲ ﻣﺤﻴﻂ اﻟﻌﺎﺋﻠﺔ ﻗﺪميﺎً‪.‬‬ ‫وﻫﺬا اﻷﻣﺮ ﻳﺨﺘﻠﻒ اﻟﻴﻮم‪ ،‬ﺣﻴﺚ ﻳﺴﺘﻘﻞ اﻷﺑﻨﺎء‬ ‫ﺑﺤﻴﺎﺗﻬﻢ ﺑﻌﻴﺪاً ﻋﻦ ﺑﻴﺖ اﻟﻌﺎﺋﻠﺔ اﻟﺬي ﻳﻀﻢ‬ ‫اﻟﺠﺪ واﻟﺠﺪة‪ ،‬وﻻ ﻳﻠﺘﻘﻮن إﻻ ﰲ اﳌﻨﺎﺳﺒﺎت‬ ‫ﻛﺎﻟﺰواج أو اﻷﻋﻴﺎد‪ ،‬وﻏريﻫﺎ‪ ،‬ﻣﺎ أدى إﱃ اﻧﺴﻼخ‬ ‫ﻓﺒﺮاﻳﺮ ‪89 2018 /‬‬

‫ﻣﻦ اﻟﻤﺎﺿﻲ‬ ‫‪baytelshear‬‬

‫»اﻟﺨﺮارﻳﻒ«‪ ..‬ﺣﻜﺎﻳﺎت اﻟﺠﺪات ﻣﻦ اﻟﺰﻣﻦ اﻟﺠﻤﻴﻞ )‪(2/1‬‬

‫وﻋﺒﺮ ووﺳﻴﻠﺔ ﺗﺴﻠﻴﺔ ﻳﺤﺎﺻﺮﻫﺎ زﻣﻦ اﻟﺤﺪاﺛﺔ‬ ‫دروس ِ‬ ‫ﻣﺤﻤﺪ ﺳﻠﻄﺎن‬

‫ﰲ ﺻﻐﺮﻧﺎ‪ ،‬ﻛﻨﺎ ﻧﻠﺘﻒ ﺣﻮل اﻟﺠﺪات ﰲ اﳌﺴﺎء‪،‬‬ ‫ﻧﻨﺼﺖ ﻟﺤﻜﺎﻳﺎﺗﻬﻦ اﻟﺸﺎﺋﻘﺔ اﻟﺘﻲ ﻻ ﺗﺨﻠﻮ‬ ‫ﻣﻦ اﻟﻄﺮاﻓﺔ واﻟﻔﻜﺎﻫﺔ واﻷﺳﺎﻃري أﻳﻀﺎً‪ ،‬إﻧﻬﺎ‬ ‫ﺣﻜﺎﻳﺎت اﻟﺠﺪات ﻣﻦ اﻟﺰﻣﻦ اﻟﺠﻤﻴﻞ‪ ،‬ﺣﻴﺚ‬ ‫ﻋﺒﻖ اﳌﺎﴈ‪ ،‬واﻟﻘﻔﺰ ﻓﻮق اﻟﻮاﻗﻊ وﺻﻮﻻً إﱃ‬ ‫ﺟﴪ اﻟﺨﻴﺎل‪ .‬ﻫﺬه اﻟﺤﻜﺎﻳﺎت ﻛﻨﺎ ﻧﻌﻴﺶ ﻣﻌﻬﺎ‬ ‫وﺑﻬﺎ‪ ،‬ﻧﻨﻔﻌﻞ ﻣﻊ أﺑﻄﺎﻟﻬﺎ‪ ،‬وﻧﺘﻌﺎﻃﻒ ﻣﻌﻬﻢ‪،‬‬ ‫ﻧﺤ ّﻠﻖ ﻣﻊ ﺷﺨﺼﻴﺎﺗﻬﺎ‪ ،‬اﻟﺘﻲ ﺗﺨﻴﻔﻨﺎ وﺗﺼﻴﺒﻨﺎ‬ ‫ﺑﺎﻟﺮﻋﺐ أﺣﻴﺎﻧﺎً‪ ،‬وﻧﺴﺘﻤﺪ ﻣﻨﻬﺎ اﻟﻌﱪ واﻟﺪروس‬ ‫ﰲ أﺣﻴﺎن أﺧﺮى‪..‬‬ ‫ﻫﺬه اﻟﺤﻜﺎﻳﺎت‪ُ ،‬ﻳﻄﻠﻖ ﻋﻠﻴﻬﺎ ﰲ اﻹﻣﺎرات‬ ‫وﺑﻌﺾ دول اﻟﺨﻠﻴﺞ‪» ،‬اﻟﺨﺮارﻳﻒ« وﺗﻌﻨﻲ‬ ‫»اﻟﺨﺮاﻓﺔ«‪ .‬أﻣﺎ ﰲ ﺑﻌﺾ اﻟﺒﻠﺪان اﻟﻌﺮﺑﻴﺔ ﻣﺜﻞ‬ ‫ﻣﴫ واﻟﺴﻮدان ﻓﻴﻄﻠﻖ ﻋﻠﻴﻬﺎ »ﺣﺠﻴﻮة« أو‬ ‫»ﺣﻜﻴﻮة«‪ ،‬وﻫﺬه اﻟﺨﺮارﻳﻒ ﺗﺘﻨﺎول ﻛﺎﺋﻨﺎت‬ ‫ﻛﺎﻧﺖ ﻣﻮﺟﻮدة ﰲ اﻟﺴﺎﺑﻖ‪ ،‬وﺑﻘﻴﺖ ﻋﺎﻟﻘﺔ‬ ‫ﰲ ذاﻛﺮة اﻟﻨﺎس‪ ،‬وﻣﻦ ﺗﻠﻚ اﻟﺸﺨﺼﻴﺎت‪،‬‬ ‫»أم اﻟﺼﺒﻴﺎن‪ ،‬ﺧﺮارﻳﻒ ﻳﺪوه‪ ،‬ﺑﻮ ﺳﻼﺳﻞ‪،‬‬ ‫ﺑﺎﺑﺎ درﻳﺎه‪ ،‬أم اﻟﻬﻴﻼن‪ ،‬أم ﻛﺮﺑﻪ وﻟﻴﻔﺔ‪ ،‬ﺑﻌري‬ ‫ﺑﻼ راس‪ ،‬ﺑﻌري ﺑﻮ ﺧﺮﻳﻄﻪ‪ ،‬ﺟﻨﻲ اﻟﺮﻗﺎص‪،‬‬ ‫ﺧﻄﺎف رﻓﺎي‪ ،‬روﻋﺎن‪ ،‬ﺳﻮﻳﺪا ﺧﺼﻒ‪ ،‬ﻋﺜﻴﻮن‪،‬‬ ‫اﻟﻨﻐﺎﻣﺔ‪ ،‬اﻟﻀﺒﻌﺔ‪ ،‬أم اﻟﺪوﻳﺲ ﻓﻀ ًﻼ ﻋﻦ ﻗﺼﺺ‬ ‫ﻣﻨﺒﻌﻬﺎ اﻟﺨﻴﺎل واﻷﺳﺎﻃري اﻟﺒﻌﻴﺪة ﻋﻦ اﻟﻮاﻗﻊ‬ ‫واﻟﺘﻲ ﺗﺴري ﺿﺪ ﺗﻴﺎر اﳌﻨﻄﻖ‪ .‬وﻫﻲ ﺗﻨﺘﴩ‬ ‫ﺣﺘﻰ اﻵن ﻣﻊ اﻷﺟﻴﺎل اﻟﺠﺪﻳﺪة ﻣﻦ ﺧﻼل‬ ‫اﳌﻬﺮﺟﺎﻧﺎت اﻟﱰاﺛﻴﺔ ﺑﺪوﻟﺔ اﻹﻣﺎرات‪ ،‬ﻓﻼ ﻳﻜﺎد‬ ‫ﻳﺨﻠﻮ ﻣﻬﺮﺟﺎن ﻗﺮايئ أو ﻓﻨﻲ ﻣﻦ »ﻣﴪح‬ ‫اﻟﺨﺮارﻳﻒ«‪ ،‬ﺣﻴﺚ ﺗﺠﻠﺲ اﻟﺠﺪة وﻣﻦ ﺣﻮﻟﻬﺎ‬ ‫اﻟﺼﻐﺎر ﻳﺴﺘﻤﻌﻮن إﱃ ﺣﻜﺎﻳﺎﺗﻬﺎ ﻣﻦ اﻟﺰﻣﻦ‬ ‫اﻟﻘﺪﻳﻢ‪ ،‬ﻟﻴﻌﻴﺶ اﻟﺼﻐﺎر ﻣﻌﻬﺎ ﻟﺤﻈﺎت ﻣﻊ‬ ‫اﻷﻗﺪﻣني وﺣﻜﺎﻳﺎﺗﻬﻢ اﻟﺸﺎﺋﻘﺔ‪ ،‬وﻳﻨﴫﻓﻮن‬ ‫ﻟﺒﻌﺾ اﻟﻮﻗﺖ ﻋﻦ أﻟﻌﺎﺑﻬﻢ اﻹﻟﻜﱰوﻧﻴﺔ اﻟﺘﻲ‬ ‫ﺳﻴﻄﺮت ﻋﲆ ﻋﻘﻮﻟﻬﻢ‪ ،‬وأﻟﻘﺖ ﺑﻬﻢ ﰲ ﻣﺴﺘﻨﻘﻊ‬ ‫اﻟﺸﻌﺮ ‪ /‬اﻟﻌﺪد ‪64‬‬ ‫‪ 88‬ﺑﻴﺖ ِ‬

‫اﻟﺤﺪاﺛﺔ اﻟﺬي ﻳﻔﺘﻘﺪ ﻟﻌﺎداﺗﻨﺎ وﺗﻘﺎﻟﻴﺪﻧﺎ‬ ‫اﳌﺘﻮارﺛﺔ‪ ،‬واﻟﺘﻲ ﺗﺴﻬﻢ ﰲ ﺑﻨﺎء ﺟﻴﻞ ﻟﻪ ﻫﻮﻳﺘﻪ‬ ‫اﻟﺘﻲ ﺗﺪﻓﻌﻪ ﻟﻼرﺗﺒﺎط ﺑﺎﻟﻮﻃﻦ‪ ،‬واﻻﻧﺘامء ﻟﻪ‪.‬‬ ‫ﻓﻀﻮل وﻟﻬﻔﺔ‬ ‫اﺳﺘﺨﺪم اﻷﻫﺎﱄ اﻟﺨﺮارﻳﻒ ﰲ اﻹﻣﺎرات ﺳﺎﺑﻘﺎً‬ ‫ﻟﴪدﻫﺎ ﻟﻸﻃﻔﺎل واﻟﻜﺒﺎر‪ ،‬ﻷﻫﺪاف ﻣﺨﺘﻠﻔﺔ‪،‬‬ ‫وﻟﻜﻨﻬﺎ ﺗﺤﻮﻟﺖ ﻣﻊ اﻟﺰﻣﻦ إﱃ ﻗﺼﺺ ﻃﺒﻌﺖ ﰲ‬ ‫ﻛﺘﺐ وأﻋامل ﺗﻠﻔﺰﻳﻮﻧﻴﺔ وﺳﻴﻨامﺋﻴﺔ‪ ،‬وﻫﺬا مل‬ ‫ميﻨﻊ ﺑﻌﺾ اﻟﻨﺎس ﻣﻦ إﺣﻴﺎﺋﻬﺎ ﻋﱪ ﴎدﻫﺎ ﻋﲆ‬ ‫اﻷﻃﻔﺎل ﰲ اﻟﺒﻴﻮت واﳌﺪارس‪ ،‬وأﻳﻀﺎً ﻣﻦ ﺧﻼل‬ ‫اﳌﻬﺮﺟﺎﻧﺎت اﻟﱰاﺛﻴﺔ واﳌﻨﺎﺳﺒﺎت اﻟﻮﻃﻨﻴﺔ‪ .‬وﻗﺪ‬ ‫ﻧﺠﺤﺖ »اﻟﺨﺮوﻓﺔ« ﰲ ﺗﺤﺪي اﻟﺰﻣﻦ‪ ،‬وﺳﺎﻓﺮت‬ ‫ﻋﱪ اﻷﺟﻴﺎل واﺳﺘﻤﺮت ﺑﻘﺼﺼﻬﺎ اﻟﺨﻴﺎﻟﻴﺔ‪ ،‬اﻟﺘﻲ‬

‫ﻛﺎﻧﺖ اﻟﺠﺪات ﻳﺮوﻳﻨﻬﺎ ﰲ اﳌﺎﴈ ﻟﻸﻃﻔﺎل‪.‬‬ ‫وﺑﺸﻮق وﻟﻬﻔﺔ ﻛﺎن اﻷﻃﻔﺎل ﻗﺪميﺎً ﻳﻨﺘﻈﺮون‬ ‫ﺣﻠﻮل اﳌﺴﺎء ﻟﻴﻨﺪﻓﻌﻮا إﱃ أﺣﻀﺎن اﻟﺠﺪات‪،‬‬ ‫ﺑﻌﺪ أن ﻗﻀﻮا اﻟﻨﻬﺎر ﰲ اﻟﻠﻬﻮ واﻟﻠﻌﺐ‪ ،‬ﻣﻄﺎﻟﺒني‬ ‫ﺑﻨﺼﻴﺒﻬﻢ اﻟﻴﻮﻣﻲ ﻣﻦ »اﻟﺨﺮارﻳﻒ« اﻟﺘﻲ ﻛﺎﻧﺖ‬ ‫ﺗﺘﻔﻨﻦ اﻟﺠﺪات ﰲ رواﻳﺘﻬﺎ وإﺿﻔﺎء ﻋﻨﺎﴏ‬ ‫اﻟﺘﺸﻮﻳﻖ ﻋﻠﻴﻬﺎ‪ .‬وﻣﺎ أن ﺗﺒﺪأ اﻟﺠﺪة اﻟﺤﺪﻳﺚ‬ ‫ﺑﻌﺒﺎرﺗﻬﺎ اﻟﺸﻬرية »ﻛﺎن ﻳﺎ ﻣﻜﺎن ﰲ ﻗﺪﻳﻢ‬ ‫اﻟﺰﻣﺎن«‪ ،‬ﻳﻨﺼﺖ اﻟﺠﻤﻴﻊ وﻗﺪ ﻋﻠﺖ وﺟﻮﻫﻬﻢ‬ ‫ﻋﻼﻣﺎت اﻟﻔﻀﻮل واﻟﻠﻬﻔﺔ‪ ،‬وﻛﺎﻧﺖ اﻟﺨﺮوﻓﺔ‬ ‫ﻏﺎﻟﺒﺎً ﻣﺎ ﺗﺪور ﻋﻦ ﺷﺨﺼﻴﺎت أﺳﻄﻮرﻳﺔ وﰲ‬ ‫ﻋﻮامل ميﺘﺰج ﻓﻴﻬﺎ اﻟﻮاﻗﻊ ﻣﻊ اﻟﺨﻴﺎل‪.‬‬ ‫ومل ﻳﻘﺘﴫ دور »اﻟﺨﺮارﻳﻒ« ﻗﺪميﺎً ﻋﲆ ﺗﺴﻠﻴﺔ‬ ‫اﻷﻃﻔﺎل أو ﺣﺜﻬﻢ ﻋﲆ اﻟﻨﻮم اﳌﺒﻜﺮ ﻓﻘﻂ‪،‬‬

‫واﻟﻜﺜري ﻏريه‪ ،‬وﺗﺤﻤﻞ ﻣﺤﺎرﺑﺔ اﻟﻼﻫﻮﺗﻴني‬ ‫واﳌﺘﺰﻣﺘني اﻟﺘﻮراﺗﻴني‪ ،‬ﻓ ُﻬﻤﺶ وﻣﻨﻊ وأﻫﻤﻞ‬ ‫وذاق اﻟﻔﻘﺮ ﺟﺮاء ذﻟﻚ‪ ،‬إﻻ أﻧﻪ مل ﻳﺘﻮﻗﻒ‬ ‫ﻳﻮﻣﺎً ﻋﻦ اﻟﺒﺤﺚ ﰲ اﻟﻔﻜﺮ واﻵداب اﻟﻌﺮﺑﻴﺔ‪.‬‬ ‫ﻛﺎن ﻳﻮﻫﺎن ﻟﺸﺪة وﻟﻌﻪ وﻋﻼﻗﺘﻪ ﺑﺎﳌﺨﻄﻮﻃﺎت‬ ‫اﻟﻌﺮﺑﻴﺔ ﻳﺼﻔﻬﺎ ﺑﺄوﻻده اﻟﺬﻳﻦ مل ﻳﻘﺪر اﻟﻠﻪ‬ ‫ﻟﻪ أن ﻳﻨﺠﺒﻬﻢ ﻣﻦ زواﺟﻪ اﳌﺘﻌﺐ أﻳﻀﺎً‪ .‬ﻟﻘﺪ‬ ‫ﻋﺎش ﻳﻮﻫﺎن ﺷﻈﻒ اﻟﺤﻴﺎة وﺣﺮم ﻧﻔﺴﻪ إﻻ‬ ‫ﻣﻦ اﻟﴬورﻳﺎت ﻓﻘﻂ ﻣﻦ أﺟﻞ اﻗﺘﻨﺎء اﻟﻜﺘﺐ‬ ‫اﻟﻌﺮﺑﻴﺔ واﻟﺒﺤﺚ ﻓﻴﻬﺎ‪ ،‬ﻓﻤﻠﻚ ﻛﻨﺰاً ﻣﻦ‬ ‫اﻻﺣﱰام واﻟﺘﻘﺪﻳﺮ‪.‬‬ ‫ﻋﻨﺪﻣﺎ أﺻﺒﺢ راﻳﺴﻜﻪ أﺳﺘﺎذاً ﺟﺎﻣﻌﻴﺎً رﻏﻢ‬ ‫أﻧﻒ اﻟﺠﻤﻴﻊ أﻟﻘﻰ ﻣﺤﺎﴐﺗﻪ اﻻﻓﺘﺘﺎﺣﻴﺔ‬ ‫ﻋﲆ اﻷﺳﺎﺗﺬة واﻟﻄﻼب ﺣﻮل ﺗﺎرﻳﺦ اﻟﻌﺮب‬ ‫ﰲ اﻟﻌﴫ اﻟﺠﺎﻫﲇ‪ ،‬وﻛﺎن ﻣﺼﺪرﻫﺎ ﻣﺎ‬ ‫وﺟﺪه ﰲ اﻟﻘﺮآن‪ ،‬ﰲ ﺳﻮرة ﺳﺒﺄ‪ ،‬ﻣﻦ ﻗﻮﻟﻪ‬ ‫ﺗﻌﺎﱃ‪َ » :‬ﻓﺄَ ْﻋ َﺮﺿُ ﻮا َﻓﺄَ ْر َﺳ ْﻠ َﻨﺎ َﻋ َﻠ ْﻴ ِﻬ ْﻢ َﺳ ْﻴ َﻞ ا ْﻟ َﻌ ِﺮ ِم‬ ‫ني َذ َو َ ْ‬ ‫ايت ُأ ُﻛﻞٍ ﺧَ ْﻤﻂٍ‬ ‫َو َﺑ ﱠﺪ ْﻟ َﻨ ُﺎﻫﻢ ِﺑ َﺠ ﱠﻨ َﺘ ْﻴ ِﻬ ْﻢ َﺟ ﱠﻨ َﺘ ْ ِ‬ ‫َوأَ ْﺛﻞٍ َو َ ْ‬ ‫ﳾ ٍء ﱢﻣﻦ ﺳِ ْﺪ ٍر َﻗﻠِﻴﻞٍ « وﻟﺬﻟﻚ ﺳﻤﻰ‬ ‫ﻣﻘﺎﻟﺘﻪ اﻟﺘﻲ ﻃﺒﻌﺖ ﺑﻌﺪ إﻟﻘﺎء اﳌﺤﺎﴐة ﺑـ‬ ‫»ﺳﻴﻞ اﻟﻌﺮم« ﻣﺘﺤﺪﻳﺎً ﺑﺬﻟﻚ ﻛﻞ ﻣﻌﺎرﺿﻴﻪ‪.‬‬ ‫ﰲ ﺳﻨﺔ ‪1754‬م ﻧﴩ اﻟﺠﺰء اﻷول ﻣﻦ ﺗﺮﺟﻤﺘﻪ‬ ‫اﻟﻼﺗﻴﻨﻴﺔ ﻟﻜﺘﺎب أيب اﻟﻔﺪاء اﻷﻳﻮيب اﳌﺴﻤﻰ‬

‫”ﻣﺨﺘﴫ ﺗﺎرﻳﺦ اﻟﺒﴩ“ وﺑﻴﻊ ﻣﻨﻪ ‪ 30‬ﻧﺴﺨ ًﺔ‬ ‫ﻓﻘﻂ ﻣﺎ ﺟﻌﻠﻪ ﻻ ﻳﻨﴩ ﺑﻘﻴﺔ اﻷﺟﺰاء‪ ،‬ﻓﺎﻫﺘﻢ‬ ‫ﻋﺎش ﻳﻮﻫﺎن ﺷﻈﻒ اﻟﺤﻴﺎة وﺣﺮم و ُﻓنت ﺑﺪواوﻳﻦ اﻟﺸﻌﺮ اﻟﻌﺮيب واﺳﺘﻨﺴﺦ ﻣﻨﻬﺎ‬ ‫ﻧﻔﺴﻪ إﻻ ﻣﻦ اﻟﻀﺮورﻳﺎت ﻓﻘﻂ ﻣﻦ دﻳﻮان ﻛﻞ ﻣﻦ‪ :‬ﺟﺮﻳﺮ وﻻﻣﻴﺔ اﻟﻌﺮب ﻟﻠﺸﻨﻔﺮى‪،‬‬ ‫أﺟﻞ اﻗﺘﻨﺎء اﻟﻜﺘﺐ اﻟﻌﺮﺑﻴﺔ واﻟﺒﺤﺚ ودﻳﻮان ﻃﻬامن ﺑﻦ ﻋﻤﺮو اﻟﻜﻼيب واﻟﺒﺤﱰي‬ ‫ﻓﻴﻬﺎ‪ ،‬ﻓﻤﻠﻚ ﻛﻨﺰاً ﻣﻦ اﻻﺣﺘﺮام‬ ‫وﻣﻌﻠﻘﺔ ﻃﺮﻓﻪ ﺑﻦ اﻟﻌﺒﺪ‪ .‬وﻗﺪ ﺷﻐﻒ ﺑﺤﺒﻪ‬ ‫ﻟﻜﺘﺎب ”ﻣﺠﻤﻊ اﻷﻣﺜﺎل“ ﻟﻠﻤﻴﺪاين‪.‬‬ ‫واﻟﺘﻘﺪﻳﺮ ‬ ‫ﻟﻘﺪ ﻋﺎش ﺑﺎﺋﺴﺎً وﻣﺎت ﻣﺼﺎﺑﺎً ﺑﺎﻟﺴﻞ‪ .‬إﻧﻪ‬ ‫»ﺷﻬﻴﺪ اﻷدب اﻟﻌﺮيب« ﺑﺤﻖ‪ ،‬وﻳﺠﺪر اﻟﻘﻮل‬ ‫ﻳﺴﺘﺤﻖ ﻟﻘﺐ »ﺷﻬﻴﺪ اﻷدب‬ ‫ﻫﻨﺎ إن راﻳﺴﻜﻪ ﻫﻮ أول ﻣﻦ أﺳﺲ ﻟﻠﺪراﺳﺎت‬ ‫اﻟﻌﺮﺑﻲ« اﻟﺬي أﻃﻠﻘﻪ ﻋﻠﻴﻪ ﺟﻮن ﻓﻮغ‪،‬‬ ‫اﻟﻌﺮﺑﻴﺔ ﺑﺎﻷﳌﺎﻧﻴﺔ وأول ﻣﺴﺘﴩق أﳌﺎين‬ ‫ﺛﻢ اﻋﺘﻤﺪه ﻣﻌﺎﺻﺮوه وﻣﻦ ﻛﺘﺐ ﻋﻨﻪ أوﻗﻒ ﺣﻴﺎﺗﻪ ﻋﲆ اﻻﻫﺘامم ﺑﺎﻟﻠﻐﺔ اﻟﻌﺮﺑﻴﺔ‬ ‫ﻻﺣﻘﺎً‪ ،‬ذﻟﻚ ﻷﻧﻪ أوﻗﻒ ﺣﻴﺎﺗﻪ ﻛﻠﻬﺎ‬ ‫واﻟﺤﻀﺎرة اﻹﺳﻼﻣﻴﺔ وأول ﻣﻦ واﺟﻪ ﻋﻠامء‬ ‫ﻹﺛﺒﺎت أن اﻟﻠﻐﺔ اﻟﻌﺮﺑﻴﺔ ﻫﻲ ﻟﻐﺔ ﻟﻬﺎ اﻟﻼﻫﻮت وﺑﻘﻴﺖ إﱃ اﻵن آﺛﺎره ﰲ اﻟﺪراﺳﺎت‬ ‫رﻏﻢ اﻟﺪاء واﻷﻋﺪاء‪.‬‬ ‫ﻛﻴﺎﻧﻬﺎ اﻟﻤﺴﺘﻘﻞ‬ ‫ﻳﻘﻮل ﺟﺎن ﻓﻮغ ﰲ ﻛﺘﺎﺑﻪ »اﻟﺪراﺳﺎت اﻟﻌﺮﺑﻴﺔ‬ ‫اﻫﺘﻢ و ُﻓﺘﻦ ﺑﺪواوﻳﻦ اﻟﺸﻌﺮ اﻟﻌﺮﺑﻲ ﰲ أوروﺑﺎ«‪ :‬ﻟﻘﺪ أﺻﺒﺢ ﻳﻮﻫﺎن ﺷﻬﻴﺪ اﻷدب‬ ‫واﺳﺘﻨﺴﺦ ﻣﻨﻬﺎ دﻳﻮان ﻛﻞ ﻣﻦ‪ c‬اﻟﻌﺮيب وﺻﺎرت ﺣﻴﺎﺗﻪ ﺗﺎرﻳﺨﺎً ﺑﻜﻞ ﺗﻠﻚ‬ ‫اﻵﻻم اﻟﺘﻲ ﺳﺠﻠﻬﺎ ﰲ ﻣﺬﻛﺮاﺗﻪ‪ ،‬وﻗﺪ ﻛﺎن ﻣﻦ‬ ‫ﺟﺮﻳﺮ وﻻﻣﻴﺔ اﻟﻌﺮب ﻟﻠﺸﻨﻔﺮى‪،‬‬ ‫اﳌﺨﺠﻞ أن أﺣﺪاً ﻣﻦ اﻟﺮﺟﺎل اﻟﺒﺎرزﻳﻦ ﰲ‬ ‫ودﻳﻮان ﻃﻬﻤﺎن ﺑﻦ ﻋﻤﺮو اﻟﻜﻼﺑﻲ ﻋﴫه مل ﻳﻌﺮف اﻷﻫﻤﻴﺔ اﻟﻔﺎﺋﻘﺔ ﻟﻬﺬا اﻟﺮﺟﻞ‬ ‫واﻟﺒﺤﺘﺮي وﻣﻌﻠﻘﺔ ﻃﺮﻓﻪ ﺑﻦ اﻟﻌﺒﺪ اﻟﻌﺒﻘﺮي اﻟﺬي ﻛﺎن واﺣﺪاً ﻣﻦ أﻋﻈﻢ ﻋﻠامء‬ ‫اﻟﻌﺮﺑﻴﺔ«‪.‬‬

‫ﻓﺒﺮاﻳﺮ ‪87 2018 /‬‬

‫ﻣﻦ اﻟﻐﺮب‬ ‫‪baytelshear‬‬

‫ﻳﻮﻫﺎن ﺟﺎﻛﻮب راﻳﺴﻜﻪ‪..‬‬ ‫ﺷﻬﻴﺪ ا‪5‬دب اﻟﻌﺮﺑﻲ!‬ ‫ﻫﺎﻧﻲ ﻧﺪﻳﻢ‬

‫ٌ‬ ‫ﻣﺴﺘﺸﺮق آﺧﺮ ﻳﻘﻊ ﻓﻲ ﺣﺐ اﻟﺸﺮق وﺳﺤﺮه ﺣﺪ اﻟﻤﻮت!‬ ‫ﺷﺮﻗﻨﺎ اﻟﺴﺎﺣﺮ ﺑﻠﻐﺘﻪ وﻋﺎداﺗﻪ وﻃﺒﻴﻌﺘﻪ وآداﺑﻪ وﻗﺼﺼﻪ اﻟﺘﻲ‬ ‫ﻻ ﺗﻨﺘﻬﻲ‪ ،‬ﺟﻌﻞ اﻟﻜﺜﻴﺮ ﻣﻦ اﻟﻤﺴﺘﺸﺮﻗﻴﻦ ﻳﻌﺘﻜﻔﻮن ﻓﻴﻪ‬ ‫وﻳﻘﻀﻮن ﺑﻘﻴﺔ ﻋﻤﺮﻫﻢ ﻋﻠﻰ ﺗﺮاﺑﻪ‪ ،‬وﻗﻠﺔ ﻣﻨﻬﻢ ﻣﺎﺗﺖ ﻷﺟﻠﻪ‪،‬‬ ‫ﻣﻨﻬﻢ ﻳﻮﻫﺎن ﺟﺎﻛﻮب راﻳﺴﻜﻪ‪W‬‬ ‫ﻓﻲ اﻟﻘﺮن اﻟﺜﺎﻣﻦ ﻋﺸﺮ اﻟﺬي ﺳﻤﻲ ﺑﻌﺼﺮ اﻟﺘﻨﻮﻳﺮ ﻟﺸﺪة‬ ‫ﺻﺮاﻋﺎﺗﻪ اﻟﻔﻜﺮﻳﺔ وﺗﺒﺎﻳﻨﻬﺎ‪ ،‬ﻛﺎن اﻟﻼﻫﻮت اﻟﺪﻳﻨﻲ ﻟﻪ اﻟﻤﺴﺎﺣﺔ‬ ‫اﻷﻛﺒﺮ ﻣﻦ اﻟﺪراﺳﺎت واﻟﺤﻀﻮر‪ ،‬ﻣﺎ ﻳﻔﺴﺮ ﺗﻮﺟﻪ راﻳﺴﻜﻪ إﻟﻰ‬ ‫ﻋﻠﻮم اﻟﺪﻳﻦ‪W‬‬

‫وﻟﺪ راﻳﺴﻜﻪ ﰲ ﻣﺪﻳﻨﺔ إﺗﺴﻮرﻳﻚ ﺑﻨﻮاﺣﻲ‬ ‫‪ Halle‬ﻷب ﻳﻌﻤﻞ ﰲ اﻟﺪﺑﺎﻏﺔ إﻻ أﻧﻪ ﺗﻮﰲ‬ ‫وﻳﻮﻫﺎن ﻣﺎ زال ﻃﻔ ًﻼ ﻓﺄودع ﻣﻠﺠﺄ اﻷﻳﺘﺎم‪.‬‬ ‫وﻟﻜﻦ ﻫﺬا مل ﻳﺜﻨﻪ ﻋﻦ ﺗﻌﻠﻴﻢ ﻧﻔﺴﻪ وﺗﻄﻮﻳﺮﻫﺎ‪،‬‬ ‫ﻓﻘﺪ ﺑﺪأ ﺑﺘﻌﻠﻢ اﻟﻴﻮﻧﺎﻧﻴﺔ واﻟﻼﺗﻴﻨﻴﺔ ﰲ ﻣﺪارس‬ ‫اﻻﺑﺘﺪاﺋﻴﺔ وأﺗﻘﻨﻬﺎ متﺎﻣﺎً ﰲ اﻟﺜﺎﻧﻮﻳﺔ‪.‬‬ ‫ﺑﺪأ دراﺳﺘﻪ اﻟﺠﺎﻣﻌﻴﺔ ﰲ ﻟﻴﺒﺰﻳﺞ ‪Leipzig‬‬ ‫ﺳﻨﺔ ‪ 1733‬وذﻟﻚ ﺑﻌﺪ أن ﻧﺎل ﻣﻨﺤﺘني‬ ‫ﻻﺳﺘﻜامل دراﺳﺘﻪ ﻣﻦ اﳌﺠﻠﺲ اﻟﺒﻠﺪي ﰲ‬ ‫اﳌﺪﻳﻨﺔ‪ ،‬ﺑﻌﺪﻫﺎ ﺳﺎﻋﺪه اﳌﺴﺘﴩق اﻟﻬﻮﻟﻨﺪي‬ ‫أﻟﺒري ﺳﻮﻟﺘﻨﺰ‪-‬ﻋﲆ دﺧﻮل ﻣﻜﺘﺒﺔ ﻟﻴﺪن‬‫اﻟﺸﻬرية‪ ،‬وذﻟﻚ ﻟﻴﻔﻬﺮس ﻣﺨﻄﻮﻃﺎﺗﻬﺎ‪ ،‬وﻫﻨﺎ‬ ‫ﰲ ﺗﻠﻚ اﳌﺮﺣﻠﺔ ﺗﻮﺟﻪ ﻧﺤﻮ اﻟﺸﻌﺮ اﻟﻌﺮيب‬ ‫واﻧﺨﻄﻒ إﻟﻴﻪ وﻟﻜﻦ ﻧﺸﺐ ﺧﻼف ﺑﻴﻨﻪ وﺑني‬ ‫ﺳﻮﻟﺘﻨﺰ ﺣﻮل أﺻﻮل اﻵداب اﻟﻌﺮﺑﻴﺔ‪ ،‬وﻛﺎن‬ ‫ﺳﺒﺒﺎً ﰲ ﻋﺪم ﻧﻴﻠﻪ اﻟﺪﻛﺘﻮراة‪ ،‬ﻓﻘﺮر اﻟﺘﺤﻮل‬ ‫إﱃ دراﺳﺔ اﻟﻄﺐ ﻟﻴﻨﺎل اﻟﺪﻛﺘﻮراة ﻓﻴﻪ ﻋﺎم‬ ‫‪1747‬م‪.‬‬ ‫ﺣﺮب ﺷﻌﻮاء‬ ‫ً‬ ‫واﺟﻪ ﻳﻮﻫﺎن ﺣﺮﺑﺎ ﻏري ﻣﻌﻠﻨﺔ ﰲ اﻷوﺳﺎط‬ ‫وذﻟﻚ ﻟﺤﺪة آراﺋﻪ ﻓﻴام ﻳﺘﻌﻠﻖ ﺑﺎﻷدب اﻟﻌﺮيب‬ ‫وﻛﺮﻫﻪ ﻟﻼﻫﻮت واﻟﺘﻮراﺗﻴني‪ ،‬ﻓﻘﺪ ُﺣﺮم ﻣﻦ‬ ‫اﻟﺸﻌﺮ ‪ /‬اﻟﻌﺪد ‪64‬‬ ‫‪ 86‬ﺑﻴﺖ ِ‬

‫اﻷﺳﺘﺎذﻳﺔ واﻟﺘﻌﻠﻴﻢ ﰲ ﻟﻴﺒﺰﻳﺞ ومتﺖ ﻣﺤﺎرﺑﺘﻪ‬ ‫ﻣﻦ ﻗﺒﻞ اﻟﻜﺎدر اﻟﺘﺪرﻳﴘ‪ ،‬ﻓﺴﺎءت أﺣﻮاﻟﻪ‬ ‫واﺿﻄﺮ إﱃ أن ﻳﻌﻤﻞ ﻛﻤﺪﻳﺮ ﻹﺣﺪى ﻣﺪارس‬ ‫ﻟﻴﺒﺰﻳﺞ اﻟﺜﺎﻧﻮﻳﺔ‪.‬‬ ‫إﻻ أن ﺗﻠﻚ اﻟﺤﺮب ﻛﺎﻧﺖ ﻣﻦ ﺣﺴﻦ ﺣﻈﻪ‪،‬‬ ‫ﻓﻘﺪ ﺗﻔﺮغ واﻧﻜﺐ ﻋﲆ اﻟﺪراﺳﺎت اﻟﻌﺮﺑﻴﺔ‪،‬‬ ‫ﺣﺘﻰ ﺗﻢ اﻻﻋﱰاف ﺑﻪ ﻣﻦ ﻗﺒﻞ ﺑﻼط درﺳﺪن‬ ‫اﻟﺬي ﻣﻨﺤﻪ ﻟﻘﺐ أﺳﺘﺎذ‪.‬‬ ‫اﳌﺜري ﰲ ﺣﻴﺎة ﻫﺬا اﳌﺴﺘﴩق أﻧﻪ ﺗﻌﻠﻢ‬ ‫اﻟﻌﺮﺑﻴﺔ ﺑﻐري ﻣﻌ ّﻠﻢ وﻣﻦ دون أي ﻋﻮن‬ ‫ﺧﺎرﺟﻲ ﻣﻌﺘﻤﺪاً ﻋﲆ ﻣﻮﻫﺒﺘﻪ اﻟﺨﺎﺻﺔ ﻓﻘﻂ‪،‬‬ ‫ﻛام وﺻﻔﻪ ﻣﻦ ﺣﻮﻟﻪ‪ ،‬وﻳﻘﻮل ﻫﻮ ﻋﻦ ﻧﻔﺴﻪ‪:‬‬ ‫»اﺟﺘﺎﺣﻨﻲ ﺷﻌﻮر ﺟﺎرف ورﻏﺒﺔ ﻣﻠﺤﺔ ﺑﺘﻌﻠﻢ‬ ‫اﻟﻠﻐﺔ اﻟﻌﺮﺑﻴﺔ ﻣﻨﺬ ﻣﺮاﻫﻘﺘﻲ«‪ .‬وﺑﺎﻟﻔﻌﻞ‪ ،‬ﻓﻘﺪ‬ ‫أﺗﻘﻦ اﻟﻨﺤﻮ واﻃﻠﻊ ﻋﲆ اﻟﻜﺘﺐ واﳌﺨﻄﻮﻃﺎت‬ ‫اﻟﻌﺮﺑﻴﺔ ﺑﺎﻛﺮاً ﺣﺘﻰ ﻗﻮي ﻋﲆ اﻟﺴﺠﻊ اﻟﻌﺴري‬ ‫ﰲ ﺳرية ﺗﻴﻤﻮر ﻻﺑﻦ ﻋﺮﺑﺸﺎه‪.‬‬ ‫ﻛﺎن ﻫﺬا اﻟﺸﻐﻒ واﻟﺤﺐ واﻹﺧﻼص ﻣﻦ‬ ‫ﺑني أﻫﻢ اﻷﺳﺒﺎب اﻟﺘﻲ ﻛﺎﻧﺖ وراء ﻣﺤﺎرﺑﺘﻪ‬ ‫واﺿﻄﻬﺎده اﻟﻔﻜﺮي اﻟﺬي ﺑﻠﻎ ذروﺗﻪ ﻋﻨﺪﻣﺎ‬ ‫ﻧﺎدى ﻳﻮﻫﺎن ﺑﺄن ﺗﺼﺒﺢ اﻟﻠﻐﺔ اﻟﻌﺮﺑﻴﺔ ﻣﺎد ًة‬ ‫ﻣﺴﺘﻘﻠ ًﺔ ﻋﻦ ﺑﻘﻴﺔ اﻟﻠﻐﺎت اﻟﺴﺎﻣﻴﺔ اﻷﺧﺮى‪،‬‬ ‫واﺳﺘﺒﻌﺎده ﻟﻬﺎ ﻋﻦ دراﺳﺎت اﻟﻼﻫﻮت اﻟﺘﻲ‬

‫ﻛﺎﻧﺖ ﺳﺎﺋﺪة ﰲ اﻟﻌﺼﻮر اﻟﻮﺳﻄﻰ اﻷوروﺑﻴﺔ‪،‬‬ ‫ﻫﺬا ﺑﺎﻹﺿﺎﻓﺔ إﱃ رﻓﻀﻪ ﺑﺄن ﺗﺒﻘﻰ ﻣﻬﻤﺔ‬ ‫اﻟﻠﻐﺔ اﻟﻌﺮﺑﻴﺔ ﺗﻔﺴري ﻣﺎ ﺟﺎء ﰲ اﻟﺘﻮراة‪.‬‬ ‫اﺗﻬﻢ ﻳﻮﻫﺎن ﺑﺎﻟﺰﻧﺪﻗﺔ وﺑﻐﻀَ ﻪ اﻟﻼﻫﻮﺗﻴﻮن‬ ‫ﻣﺠ ٌﺪ ﰲ ﻣﺤﺒﺔ‬ ‫أﺷﺪ اﻟﺒﻐﺾ‪ ،‬ذﻟﻚ أﻧﻪ ّ‬ ‫اﻵداب اﻟﻌﺮﺑﻴﺔ ومل ﻳﻮاﻓﻘﻬﻢ ﻋﲆ أﻛﺎذﻳﺒﻬﻢ‬ ‫واﺗﻬﺎﻣﺎﺗﻬﻢ‪ ،‬ﺑﻞ وﺿﻊ اﻟﻌﺎمل اﻹﺳﻼﻣﻲ ﰲ ﻗﻠﺐ‬ ‫اﻟﺘﺎرﻳﺦ اﻟﻌﺎﳌﻲ‪.‬‬ ‫ﺑﺪاﻳﺔ اﻟﻤﺠﺪ‪ JJ‬وﻧﻬﺎﻳﺘﻪ‬ ‫ﻟﻘﺪ ﺑﺪأت رﺣﻠﺔ ﻳﻮﻫﺎن ﻧﺤﻮ اﳌﺠﺪ ﺑﺎﻛﺮاً‪،‬‬ ‫وﻟﻜﻦ ﻟﻌﻠﻪ ﺣﻘﻖ أﺣﻼﻣﻪ وأﺷﺒﻊ ﻧﻬﻤﻪ‬ ‫اﻟﻌﻠﻤﻲ ﺣﻴﻨام ﻋﻬﺪ إﻟﻴﻪ ﺗﺮﺗﻴﺐ اﳌﺨﻄﻮﻃﺎت‬ ‫ﰲ ﻣﻜﺘﺒﺔ ﺟﺎﻣﻌﺔ ﻟﻴﺪن‪ ،‬ﻓﻨﺴﺦ ﻛﺘﺎب اﳌﻌﺎرف‬ ‫ﻻﺑﻦ ﻗﺘﻴﺒﺔ واﻟﺒﻠﺪان ﻷيب اﻟﻔﺪاء وﺗﺎرﻳﺦ‬ ‫اﻷﺻﻔﻬﺎين وﻏريﻫﺎ اﻟﻜﺜري‪.‬‬ ‫إﻧﻪ ﻳﺴﺘﺤﻖ ﻟﻘﺐ »ﺷﻬﻴﺪ اﻷدب اﻟﻌﺮيب«‬ ‫اﻟﺬي أﻃﻠﻘﻪ ﻋﻠﻴﻪ ﺟﻮن ﻓﻮغ‪ ،‬ﺛﻢ اﻋﺘﻤﺪه‬ ‫ﻣﻌﺎﴏوه وﻣﻦ ﻛﺘﺐ ﻋﻨﻪ ﻻﺣﻘﺎً‪ ،‬ذﻟﻚ ﻷﻧﻪ‬ ‫أوﻗﻒ ﺣﻴﺎﺗﻪ ﻛﻠﻬﺎ ﻹﺛﺒﺎت أن اﻟﻠﻐﺔ اﻟﻌﺮﺑﻴﺔ‬ ‫ﻫﻲ ﻟﻐﺔ ﻟﻬﺎ ﻛﻴﺎﻧﻬﺎ اﳌﺴﺘﻘﻞ وﻟﻴﺴﺖ ﻣﻦ‬ ‫اﻟﻌﱪﻳﺔ ﻛام أﺷﺎع اﳌﺴﺘﴩق اﻟﻬﻮﻟﻨﺪي‬ ‫‪-‬ادرﻳﻨﻮس ﻏﻮﻟﻨﺪوس‪ -‬اﳌﺘﻮﰱ ﻋﺎم ‪1718‬م‬

‫ﻳﻘ ّﺪم ﻣﻬﺮﺟﺎن اﻟﺸﺎرﻗﺔ ﻟﻠﺸﻌﺮ‬ ‫اﻟﻌﺮﺑﻲ ﻧﻔﺴﻪ ﻓﻲ اﻟﺴﺎﺣﺔ اﻟﺸﻌﺮﻳﺔ‬ ‫اﻟﻌﺮﺑﻴﺔ ﻟﻴﻘﻒ ﻓﻲ ﺻﻔﻮف ﻣﺘﻘﺪﻣﺔ‪،‬‬ ‫ﻣﺴﺘﻌﻴﺪاً زﻣﻦ اﻟﺸﻌﺮ‪ ،‬وﻣﻨﻄﻘﻪ‬ ‫اﻷﺻﻴﻞ‬ ‫ﺗﻌﻠﻦ اﻟﺸﺎرﻗﺔ ﻋﻦ ﻣﻬﺮﺟﺎﻧﻬﺎ‬ ‫اﻟﺴﻨﻮي‪ ،‬ﻟﻴﻀﻲء ذﻫﺐ اﻟﻤﻌﻨﻰ‪،‬‬ ‫وﺗﺘﻮﻫﺞ اﻟﻠﻐﺔ اﻟﻌﺮﺑﻴﺔ ﻓﻲ ﻣﺴﺎرح‬ ‫اﻟﻜﻼم واﻟﻘﻮل‪ ،‬ﻓﺘﻘﻮل اﻟﻤﺪﻳﻨﺔ ﻛﻠﻤﺔ‬ ‫اﻟﺸﻌﺮ‪ ،‬وﻫﻲ ﺗﺰ ّﻳﻦ اﻟﻤﻜﺎن ﺑﻤﺼﺎﺑﻴﺢ‬ ‫اﻟﻘﺼﺎﺋﺪ وأﻧﻮارﻫﺎ‬ ‫ﻣﻘﺎﺑﻞ اﻻﻫﺘامم ﺑﻔﻨﻮن أدﺑﻴﺔ أﺧﺮى‪ .‬وﻟﻌﻞ‬ ‫أﻛرث ﻣﺎ ﻳﺜري اﻹﻋﺠﺎب ﺑﻬﺬا اﳌﻬﺮﺟﺎن‪ ،‬أﻧﻪ‬ ‫ﻳﺴﺘﻄﻴﻊ ﻛﻞ ﻋﺎم أن ﻳﺠ ّﺪد ﻧﻔﺴﻪ‪ ،‬وﻳﻮاﺻﻞ‬ ‫ﻣﺴريﺗﻪ وﺳريﺗﻪ اﻟﺘﻲ اﺣﺘﻔﺖ ﺑﻌﺪد ﻛﺒري ﻣﻦ‬ ‫اﻟﺸﻌﺮاء اﻟﻌﺮب‪ ،‬وأن ﻳﺤﻘﻖ )ﺑﺎﻟﺮﻏﻢ ﻣﻦ‬ ‫اﻟﺤﺎﻟﺔ اﻟﺸﻌﺮﻳﺔ اﳌﱰاﺟﻌﺔ ﻋﺮﺑﻴﺎً( ﻧﺠﺎﺣﺎت‬ ‫ﺗﺴﺘﺤﻖ اﻹﺷﺎرة إﻟﻴﻬﺎ‪ ،‬واﻹﺷﺎدة ﺑﻬﺎ‪.‬‬ ‫وﻻ ﻳﻜﺘﻔﻲ اﳌﻬﺮﺟﺎن ﺑﺬﻟﻚ‪ ،‬ﺑﻞ ﻳﺘﻴﺢ ﻣﺴﺎﺣﺔ‬ ‫واﺳﻌﺔ ﻟﻠﻨﻘﺪ‪ ،‬ﻋﱪ ﻃﺮح ﻋﻨﺎوﻳﻦ ﻋﺮﻳﻀﺔ‬ ‫ﺗﻠﺨﺺ ﺣﺎﺟﺔ اﻟﺸﻌﺮ واﻟﺸﻌﺮاء إﱃ ﻣﺘﺎﺑﻌﺔ‬ ‫ﻧﻘﺪﻳﺔ واﻋﻴﺔ ﺑﻘﻴﻤﺔ اﻟﺸﻌﺮ‪ ،‬وﻗﺎدرة ﻋﲆ‬ ‫اﻟﺘﻤﻴﻴﺰ ﺑﻦ اﻟﺠ ّﻴﺪ واﻟﺮديء‪.‬‬

‫ﺗﻌﻠﻦ اﻟﺸﺎرﻗﺔ ﻋﻦ ﻣﻬﺮﺟﺎﻧﻬﺎ اﻟﺴﻨﻮي‪ ،‬ﻟﻴﴤء‬ ‫ذﻫﺐ اﳌﻌﻨﻰ‪ ،‬وﺗﺘﻮﻫﺞ اﻟﻠﻐﺔ اﻟﻌﺮﺑﻴﺔ ﰲ‬ ‫ﻣﺴﺎرح اﻟﻜﻼم واﻟﻘﻮل‪ ،‬ﻟﺘﻘﻮل اﳌﺪﻳﻨﺔ ﻛﻠﻤﺔ‬ ‫اﻟﺸﻌﺮ‪ ،‬وﻫﻲ ﺗﺰ ّﻳﻦ اﳌﻜﺎن مبﺼﺎﺑﻴﺢ اﻟﻘﺼﺎﺋﺪ‬ ‫وأﻧﻮارﻫﺎ‪ ،‬ﻟﺘﺜﺒﺖ أن اﻟﺸﻌﺮ ﻻ ﻳﺰال ﺑﺨري‪،‬‬ ‫وأن اﻟﺸﺎﻋﺮ اﻟﻌﺮيب‪ ،‬ﻳﺴﺘﺤﻖ اﻻﺣﺘﻔﺎء ﺑﻪ‬ ‫وﺗﻜﺮميﻪ‪ .‬واﻟﺸﺎرﻗﺔ إذ ﺗﻜﺮم ﺷﺎﻋﺮﻳﻦ ﰲ ﻛﻞ‬ ‫ﻋﺎم‪ ،‬ﻋﺮيب وإﻣﺎرايت‪ ،‬ﺗﺴﻬﻢ ﺑﺸﻜﻞ واﺿﺢ‬

‫ﰲ ﺗﻜﺮﻳﺲ اﻟﺘﺠﺎرب اﻟﺸﻌﺮﻳﺔ اﻟﻌﺮﺑﻴﺔ‬ ‫اﳌﺴﺘﺤﻘﺔ‪ ،‬اﻟﺘﻲ ﻗﺪﻣﺖ ﻟﻨﺎ ﻣﴩوﻋﺎً ﺷﻌﺮﻳﺎً‬ ‫ﻧﺎﺟﺰاً ﻳﺴﺘﺤﻖ اﻹﺷﺎرة إﻟﻴﻪ‪.‬‬ ‫اﻧﻄﻠﻘﺖ أﻣﺴﻴﺎت اﳌﻬﺮﺟﺎن ﻣﻄﻠﻊ اﻟﺸﻬﺮ‬ ‫اﳌﺎﴈ‪ ،‬ﺷﻬﺪﻧﺎ ﻣﻌﻬﺎ ﻟﻘﺎء ﻣﺘﺠﺪدا‪ ،‬ﻓﺄﺻﻐﻴﻨﺎ‬ ‫إﱃ اﻟﺸﻌﺮ‪ ،‬ورﻣﻤﻨﺎ اﻟﻔﻜﺮة‪ ،‬ﺗﻠﻚ اﻟﺘﻲ ﻻ ﺑﺪ‬ ‫ﻟﻬﺎ أن ﺗﻜﺘﻤﻞ ﰲ ﻣﺴﺎﺣﺔ ﻣﻤﻜﻨﺔ‪ ،‬متﻨﺤﻬﺎ‬ ‫ﺣﺮﻳﺔ اﻟﻨﻬﻮض‪ ،‬واﻟﺴري ﰲ ﺟﻤﻴﻊ اﻻﺗﺠﺎﻫﺎت‪.‬‬

‫ﻓﺒﺮاﻳﺮ ‪85 2018 /‬‬

‫ﻣﻬ!!ﺮﺟ!!ﺎﻧ!!ﺎت‬ ‫‪baytelshear‬‬

‫ﻣﻬﺮﺟﺎن اﻟﺸﺎرﻗﺔ ﻟﻠﺸﻌﺮ اﻟﻌﺮﺑﻲ ‪..2018‬‬ ‫ﺿﺮورة اﻟﻘﺼﻴﺪة وﺻﻼﺣﻴﺘﻬﺎ اﻟﺘﻲ ﻻ ﺗﻨﺘﻬﻲ‬ ‫اﻟﺸﺎرﻗﺔ_ ﻋﺒﺪا أﺑﻮ ﺑﻜﺮ‬

‫اﺣﺘﻔﺖ اﻟﻌﻮاﺻﻢ واﻟﻤﺪن اﻟﻌﺮﺑﻴﺔ ﺑﺎﻟﺸﻌﺮ واﻟﺸﻌﺮاء‪ ،‬ﻋﺒﺮ ﺗﻨﻈﻴﻢ اﻟﻤﻬﺮﺟﺎﻧﺎت واﻷﻣﺴﻴﺎت اﻟﺸﻌﺮﻳﺔ اﻟﺘﻲ اﺳﺘﻀﺎﻓﺖ أﺳﻤﺎء ﺷﻌﺮﻳﺔ‬ ‫وازﻧﺔ‪ ،‬وأﻋﻠﻨﺖ ﻛﺬﻟﻚ ﻋﻦ أﺳﻤﺎء ﻣﺎ ﻛﺎن ﻟﻬﺎ أن ﺗﻈﻬﺮ ﻟﻮﻻ ﺗﻠﻚ اﻟﻤﻬﺮﺟﺎﻧﺎت واﻟﻔﻌﺎﻟﻴﺎت‪ ،‬اﻟﺘﻲ ﻛﺎﻧﺖ ﺗﺮﻓﺪ اﻟﻤﺸﻬﺪ اﻟﻌﺮﺑﻲ ﺑﻤﺎ ﻳﻠﻴﻖ‬ ‫ﺑﺴﻴﺮة اﻟﺸﻌﺮ‪ ،‬وﺗﺆﻛﺪ ﺣﻀﻮر اﻟﻘﺼﻴﺪة وﺗﻔﺎﻋﻠﻬﺎ ﻣﻊ ﺣﻴﺎة اﻟﻤﺠﺘﻤﻌﺎت وﻗﻀﺎﻳﺎﻫﻢ اﻟﻜﺒﺮى‪W‬‬

‫ﻫﻜﺬا ﻛﺎن ﺣﺎل اﳌﻬﺮﺟﺎﻧﺎت ﰲ ﻛﺜري ﻣﻦ‬ ‫اﻟﻌﻮاﺻﻢ واﳌﺪن ﻋﲆ اﻣﺘﺪاد اﻟﺠﻐﺮاﻓﻴﺎ‬ ‫اﻟﻌﺮﺑﻴﺔ‪ .‬ﻟﻜﻦ‪ ،‬ﰲ اﻟﻌﻘﺪﻳﻦ اﻷﺧريﻳﻦ‪،‬‬ ‫أﺳﻬﻤﺖ ﻇﺮوف ﻛﺜرية ﰲ ﺧﻔﻮت ﻧﺠﻢ‬ ‫اﳌﻬﺮﺟﺎﻧﺎت ﰲ اﻟﻌﺎمل اﻟﻌﺮيب‪ ،‬وﻇﻞ اﻟﺸﻌﺮ‬ ‫ﻳﻌﺎين ﺣﺎﻟﺔ ﻣﻦ اﻟﺘﻬﻤﻴﺶ واﻟﱰاﺟﻊ‪ ،‬ﻓﻜﺜري‬ ‫ﻣﻦ ﺗﻠﻚ اﳌﻬﺮﺟﺎﻧﺎت ﺗﻢ اﻹﻋﻼن ﻋﻦ ﺗﻮ ّﻗﻔﻬﺎ‪،‬‬ ‫ّ‬ ‫وﺗﻌﻄﻠﺖ اﻟﻔﻌﺎﻟﻴﺎت اﻟﺸﻌﺮﻳﺔ ﻷﺳﺒﺎب ﺗﺒﺪو‬ ‫ﻣﻔﻬﻮﻣﺔ أﺣﻴﺎﻧﺎً‪ ،‬ﻟﻜﻨﻬﺎ ﺑﺪت ﻓﺎرﻏﺔ ﰲ ﻛﺜري‬ ‫ﻣﻦ اﻷﺣﻴﺎن‪ ،‬ﺣني أﺻﻴﺐ اﳌﺸﻬﺪ ﺑﺤﺎﻟﺔ‬ ‫ﻣﻦ اﻟﻜﺴﻞ وﺗﺪاﺧﻞ اﳌﺼﺎﻟﺢ واﻷوﻟﻮﻳﺎت‬ ‫اﻟﻀ ّﻴﻘﺔ‪.‬‬ ‫ﻟﻜﻦ‪ ،‬وﺳﻂ ﻫﺬه اﻟﺤﺎﻟﺔ اﻟﺘﻲ ﻋﺎﻳﺸﻨﺎﻫﺎ‬ ‫اﻟﺸﻌﺮ ‪ /‬اﻟﻌﺪد ‪64‬‬ ‫‪ 84‬ﺑﻴﺖ ِ‬

‫ﻟﺴﻨﻮات‪ ،‬ﺑﺮز ﻣﻬﺮﺟﺎن اﻟﺸﺎرﻗﺔ ﻟﻠﺸﻌﺮ‬ ‫اﻟﻌﺮيب‪ ،‬ﻟﻴﺼﺒﺢ اﳌﻬﺮﺟﺎن اﻷﻛرث وﻫﺠﺎً ﺑني‬ ‫اﳌﻬﺮﺟﺎﻧﺎت اﻟﻌﺮﺑﻴﺔ‪ ،‬ﻷﺳﺒﺎب ﻛﺜرية‪ ،‬ﻣﻨﻬﺎ‬ ‫اﺳﺘﻀﺎﻓﺘﻪ ﻟﺸﻌﺮاء ﻋﺮب ﻣﻦ ﻣﺨﺘﻠﻒ اﻟﺪول‬ ‫اﻟﻌﺮﺑﻴﺔ‪ ،‬ﺑﻌﺪ اﻟﺤﺮص ﻋﲆ اﻧﺘﻘﺎء اﻷﺳامء‬ ‫ﺑﺪﻗﺔ ﺗﺄﺧﺬ ﺑﻌني اﻻﻋﺘﺒﺎر ﻗﻴﻤﺔ اﳌﻮﻫﺒﺔ‬ ‫واﻟﻘﺼﻴﺪة‪ ،‬ﺑﻌﻴﺪاً ﻋﻦ أي دواﻓﻊ أﺧﺮى‬ ‫اﻋﺘﺪﻧﺎﻫﺎ ﰲ اﻟﻌﺪﻳﺪ ﻣﻦ اﳌﻨﺎﺳﺒﺎت اﻟﺜﻘﺎﻓﻴﺔ‬ ‫ﰲ ﻋﺎﳌﻨﺎ اﻟﻌﺮيب‪ ،‬وﻫﻮ ﻣﺎ أﻋﺎد اﻻﻋﺘﺒﺎر‬ ‫ﻟﻘﻴﻤﺔ اﻟﺸﻌﺮ وﻣﻜﺎﻧﺘﻪ‪ ،‬وإﺗﺎﺣﺔ اﻟﻔﺮﺻﺔ‬ ‫أﻣﺎم ﺣﺎﻟﺔ ﺷﻌﺮﻳﺔ ﺷﺎﻣﻠﺔ وﻣﺘﻨﻮﻋﺔ‪ ،‬ﺗﻔﺘﺢ‬ ‫أﺑﻮاب اﻟﻘﺼﻴﺪة اﻟﻌﺮﺑﻴﺔ‪ ،‬ومتﻨﺢ اﻟﻔﺮﺻﺔ‬ ‫ﳌﻦ ﻳﺴﺘﺤﻖ أن ﻳﻘﻒ ﻋﲆ ﻣﻨﱪ اﻟﺸﻌﺮ‪،‬‬

‫وﻛﺬﻟﻚ أﻣﺎم ﺟﻤﻬﻮر اﻟﺸﻌﺮ‪ ،‬ﻫﺬا اﻟﺠﻤﻬﻮر‬ ‫اﳌﺨﻠﺺ ﻟﺪﻳﻮان اﻟﻌﺮب‪ ،‬اﻟﺬي ﺗﺘﺄﻛﺪ ﻣﻦ‬ ‫ﺧﻼل وﺟﻮده وإﴏاره ﻋﲆ اﻟﺤﻀﻮر ﰲ‬ ‫ﻣﺨﺘﻠﻒ اﻟﻔﻌﺎﻟﻴﺎت واﻷﻣﺴﻴﺎت ﻗﻴﻤﺔ اﻟﺸﻌﺮ‬ ‫وﴐورﺗﻪ‪.‬‬ ‫ﻳﻘ ّﺪم ﻣﻬﺮﺟﺎن اﻟﺸﺎرﻗﺔ ﻟﻠﺸﻌﺮ اﻟﻌﺮيب ﻧﻔﺴﻪ‬ ‫ﰲ اﻟﺴﺎﺣﺔ اﻟﺸﻌﺮﻳﺔ اﻟﻌﺮﺑﻴﺔ ﻣﻦ ﺟﺪﻳﺪ‪،‬‬ ‫ﻟﻴﻘﻒ ﰲ ﺻﻔﻮف ﻣﺘﻘﺪﻣﺔ‪ ،‬ﻣﺴﺘﻌﻴﺪا زﻣﻦ‬ ‫اﻟﺸﻌﺮ‪ ،‬وﻣﻨﻄﻘﻪ اﻷﺻﻴﻞ‪ ،‬اﻟﺬي ﻳﺤﺎﻓﻆ‬ ‫ﻋﲆ ﺳرية اﻟﻘﺼﻴﺪة اﻷوﱃ‪ ،‬ﻣﻘﺪ ّﻣﺎ ﺻﻮرة‬ ‫ﻧﻘﻴﻪ ﺗﻌﻜﺲ ﺟﺪارة اﻟﺸﻌﺮ وﺻﻼﺣﻴﺘﻪ‬ ‫اﻟﺘﻲ ﻻ ﺗﻨﺘﻬﻲ‪ ،‬ﰲ اﻟﻮﻗﺖ اﻟﺬي ﻳﺮاﻫﻦ ﻓﻴﻪ‬ ‫ﺑﻌﻀﻬﻢ ﻋﲆ ﺗﺮاﺟﻌﻪ وﺿﻴﺎع ﺑﻮﺻﻠﺘﻪ‪ ،‬ﰲ‬

‫ﻣﻦ ﻋﻴﻮن اﻟﺸﻌﺮ‬

‫وﻃﻦ اﻟﻨﺠﻮم‬ ‫ﺷﻌﺮ إﻳﻠﻴﺎ أﺑﻮ ﻣﺎﺿﻲ‬

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83 2018 / ‫ﻓﺒﺮاﻳﺮ‬

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‫اﻟﺠ!!!!!!!ﺎﻫﻠﻲ‬ ‫‪baytelshear‬‬

‫‪15‬‬ ‫‪S¥CC X C QJ ÌCCCCC‬‬ ‫‪R Q CFU Q&* S §U CCCCV¡CCCCG* 4S *|CCCCC‬‬ ‫‪Q C S= S CCªCC S C EQ‬‬ ‫‪18‬‬ ‫‪17‬‬ ‫‪16‬‬ ‫‪f Q ¡V Q HR fªY S FQ ¨ Q U MQ KU Q&* 4S U&fCCCnV CCCG* R 2Q‬‬ ‫‪jCN CV C S C -Q ¸(V * 192S *V~CCCCCCCCG* 4S fCCCCCCC1Q 2X * S CCªCCS CCEQ‬‬ ‫*‪R 6R |U G‬‬ ‫‪W 20~Q Q IQ UzEQ KQ‬‬ ‫§ ‪¨ Q S¼* Q Q kQ G*K 21‬‬ ‫‪22‬‬ ‫ ‪R¥CC¡Q C U C GS Q&* ¨CCkV C0‬‬ ‫‪Q S RlªgS MQ‬‬ ‫ ¯‪Q CS C CC0U §Q CG* ¨CC¡Q C U C‬‬ ‫‪23‬‬ ‫ ‪f Q -Q |U HQ |Q JU VzG* f¤G «S tU MQ ¸Q uR gS U MR KQ‬‬

‫وﻧﻌﺘﻘﺪ أن ﻃﻠﺒﻪ اﻟﺰواج ﻣﻦ ﻫﺬه اﳌﺮأة اﻟﻌﺒﺴﻴﺔ ﻛﺎن ﻳﻨﻄﻮي ﻋﲆ‬ ‫رﻏﺒﺔ دﻓﻴﻨﺔ ﰲ اﻻﺳﺘﻘﺮار واﻟﻌﺪول ﻋﻦ ﺣﻴﺎة اﻟﻠﺼﻮﺻﻴﺔ؛ إﻧﻪ اﻟﻔﺮﺻﺔ‬ ‫اﻟﺘﻲ ﻛﺎن ﻳﻨﺘﻈﺮﻫﺎ واﻷﻣﻞ اﻟﺬي ﻛﺎن ﻳﺘﻤﻨﻰ ﺗﺤﻘﻘﻪ؛ ﻟﻮﻻ أن ﻏﺎﻓ َﻠﻪ‬ ‫ﱡ‬ ‫ﺣﻈﻪ ووﻗﻒ ﻣﻦ دون ﻣﺴﻌﺎه اﻷﺧري ﰲ اﻟﺘﻮﻗﻒ ﻋﻦ اﻟ َﻌ ْﺪ ِو واﻟﺘﻘﺎط‬ ‫ُ‬ ‫أﻧﻔﺎﺳِ ﻪ ﰲ ﺣﻀﻦ اﻣﺮأة ﻳﻄﻤﱧ إﻟﻴﻬﺎ وﻳﻮ ِﻛﻠﻬﺎ أﻣﺮ ُه وﴎه‪ .‬وﻟﻜﻦ أ ٍّﻳﺎ ﻣﻦ‬ ‫ﻫﺬا مل ﻳﺤﺪث؛ ﻓﺎﺳﺘﻤﺮ اﻟﺸﺎﻋﺮ ﻋﲆ ﻣﺎ ﻫﻮ ﻋﻠﻴﻪ ﺑني ﻏﺰو ورﻛﺾ‪،‬‬ ‫وأﻛﻤﻞ ﻣﺎ ﺗﺒﻘﻰ ﻣﻦ ﻋﻤﺮه ﰲ ﺗﺤﺎ ُﻳﻞ ﻋﲆ أﺳﺒﺎب اﻟﻌﻴﺶ‪ ،‬وإميﺎن‬ ‫ﻣﻄﻠﻖ ﺑﺤﻴﺎة اﻟﺘﺴﻜﻊ واﻟﺘﺼﻌﻠﻚ ؛ إميﺎنٌ مل ﻳﺘﻮﺻﻞ إﻟﻴﻪ إﻻ ﺑﻌﺪ‬ ‫ﻣﻌﺎﻧﺎة ﻃﻮﻳﻠﺔ وﺗﻘ ﱡﻠ ٍﺐ ﰲ أﻛﻨﺎف اﻟﺸﻘﺎء؛ ﻳﻘﻮل اﻟﺸﺎﻋﺮ‪:‬‬

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‫‪ O §V CC0R 7f< fH |JzG* CR CM|CS CEQ *{CCD‬‬ ‫‪26‬‬ ‫ ‪|CR CwCQ C¡U C HS CQ C7fCC/‬‬ ‫ *(‪Q |CO CwCQ C¡U C HS ¥¡H VzCC CC6 *3‬‬ ‫‪Q CG C‬‬ ‫‪Q CIV (fC D‬‬ ‫‪«k ª0 27hC‬‬ ‫‪S C CCU CC CCGfCC+ QlCCªU C CCQ 6fCCE §C‬‬ ‫‪28‬‬ ‫‪| H‬‬ ‫*‪ |JzG‬‬ ‫‪ + | M ½ £fªt +‬‬ ‫‪Q‬‬ ‫‪R‬‬

‫إﻧﻪ ﻣﺪﻓﻮع ﺑﺎﻷمل اﳌﻌﺘﻖ ﰲ دواﺧﻠﻪ؛ ﻳﻘﺎﳼ دﻫﺮه ﻓﻴﻘﺎرﻋﻪ ﺑﺎﻟﺴﻴﻒ‬ ‫إن اﺳﺘﻄﺎع وﺑﺎﻟﻬﺮب إن ﺗﻜﺎﺛﻔﺖ وﺗﻜﺎﺛﺮت ﻋﻠﻴﻪ اﻟﻨﺼﻮل؛ واﻟﻬﺮب‬ ‫ﻧﺼﻒ اﻟﺸﺠﺎﻋﺔ ﻛام ﻫﻮ ﺷﺎﺋﻊ‪.‬‬ ‫ﻟﻘﺪ ﻇﻞ اﻟﺸﺎﻋﺮ ﻳﺮﻛﺾ ﰲ اﺗﺠﺎه اﳌﺠﻬﻮل ﻫﺮﺑﺎً ﻣﻦ ذاﻛﺮﺗﻪ اﳌﻌ ﱠﻨﻔﺔ‬ ‫وﻣﺄﺳﺎﺗﻪ اﳌﺆﳌﺔ؛ ﻣﻦ ﻃﻔﻮﻟﺘﻪ اﳌﺘﻌرثة‪ ،‬وﻳﺘﻤﻪ اﻟﻘﺎﳼ‪ ،‬وﺟﻮﻋﻪ‪ ،‬وﺳﻮء‬ ‫ﺗﺮﺑﻴﺘﻪ‪ ،‬وﺗﻨﻜﺮ أﻣﻪ‪ ،‬وﺧﺬﻻن اﳌﺠﺘﻤﻊ اﻟﻘﺒﲇ ﻟﻪ‪..‬‬

‫ ‪¦R WzCCC/‬‬ ‫‪S VzCCC/ zCCCEK U CCkQ C tCU CMQ U½ $|CCC‬‬ ‫*(‪R C¼* *3‬‬ ‫‪Q‬‬ ‫‪|CC‬‬ ‫‪+‬‬ ‫‪zCC‬‬ ‫‪H‬‬ ‫‪ §CC‬‬ ‫‪C‬‬ ‫ ‪JK‬‬ ‫¦‬ ‫‪|CCCCC‬‬ ‫‪C‬‬ ‫&‪H‬‬ ‫*‬ ‫‪ ¨CC‬‬ ‫‪ CC6fCC‬‬ ‫ ‪EK‬‬ ‫ ‬ ‫&‪fCCC CCC9‬‬ ‫*‬ ‫ ‬ ‫‪Q‬‬ ‫‪S‬‬ ‫‪R‬‬ ‫‪R‬‬ ‫‪Q‬‬ ‫‪Q‬‬ ‫‪R‬‬ ‫‪¸N 5fCCCI CC CCªCCG ¬{CCCCG* S ~CCCCº* §CCCC1&* ¢CC CCGK‬‬ ‫‪|CR C CCS CCgCCHR |CC‬‬ ‫‪S CH&ÑCCCG §Q CCCCCJU KQ ¸(* |CCCCC‬‬ ‫ ‪R CH&¸* ¥CC+‬‬

‫)‪ (15‬ﻗﻠﻴﻞ اﻟﻨﻮم ﻣﻦ ﻛرثة اﳌﻼﺣﻘني ﻟﻪ‪.‬‬ ‫)‪ (16‬ﻻ ﻳﺸﻐﻠﻪ إﻻ اﻟﺜﺄر‪.‬‬ ‫)‪ (17‬اﻟ َﻜﻤ ﱡِﻲ‪ :‬ﻫﻮ اﻟﺬي ﻳﻜﻤﻲ اﻟﺴﻼح ﰲ ﻛﻤﻪ؛ أي ﻳﺨﻔﻴﻪ اﺣﺘﻴﺎﻃﺎ ﻋﻨﺪﻣﺎ ﻳﻨﺎم‪.‬‬ ‫)‪ (18‬ﻣﻘ ﱠﻨﻌﺎ‪ :‬أي ﻻ ﻳﻨﺎم إﻻ ﻣﻠ ﱢﺜ ًام وﺟﻬﻪ‪.‬‬ ‫)‪ (19‬ﻛام أﻧﻪ ﻗﻠﻴﻞ ادﺧﺮ اﻟﺰاد؛ وﻣﻌﻨﺎه أﻧﻪ إذا ﺗﺰوﺟﺘﻪ ﻓﺴﺘﻌﻴﺸني ﰲ ﺟﻮع وإﻗﺘﺎر‪.‬‬ ‫)‪ (20‬ﻧﺸﺰ اﻟﴚء ﺧﺮج ﻋﻦ اﳌﻌﺘﺎد‪.‬‬ ‫)‪ (21‬اﻟﴩﺳﻮف ‪ :‬اﻟﻄﺮف اﻟﻠني ﻣﻦ اﻟﻀﻠﻊ ﻣام ﻳﲇ اﻟﺒﻄﻦ‪.‬‬ ‫)‪ (22‬ﻳﺒﻴﺖ ﰲ اﻟﺨﻼء ﺑني اﻟﻮﺣﺶ ﺣﺘﻰ ﺗﻌﻮدﺗﻪ وﺣﺴﺒﺘﻪ ﻣﻨﻬﺎ‪.‬‬ ‫)‪ (23‬ﺗﺄﺑﻂ ﴍا‪ ،‬ﻣﺮﺟﻊ ﺳﺎﺑﻖ‪ ،‬ص ص ‪.115-112‬‬ ‫)‪ (24‬ﻗﺮﻳﻊ اﻟﺪﻫﺮ‪ :‬ﻣﻦ ﻳﻘﺎﺗﻞ اﻟﺪﻫﺮ ﻛﻞ ﺣﻴﺎﺗﻪ وﻫﻮ ﻛﻨﺎﻳﺔ ﻋﻦ اﻟﺸﻘﺎء‪.‬‬ ‫)‪ (25‬اﻟﺤ ّﻮل‪ :‬اﻟﺤﺎﺟﺰ ﺑني اﻟﺸﻴﺌني‪.‬‬ ‫)‪ (26‬إذا أﻏﻠﻖ اﻟﺪﻫﺮ ﻣﻨﺨﺮ اﻟﺸﺎﻋﺮ ﻗﺼﺪ ﺧﻨﻘﻪ ﺗﻨﻔﺲ ﺑﺎﻵﺧﺮ وﻗﺎوﻣﻪ‪.‬‬ ‫)‪ (27‬اﻟﻠﺼﺐ‪ :‬اﻟﺒﺨﻞ؛ وﻳﻘﺼﺪ ﺑﺨﻞ ﻗﺒﻴﻠﺔ ﻟﺤﻴﺎن‪.‬‬ ‫)‪ (28‬ﺗﺄﺑﻂ ﴍا‪ ،‬ﻣﺮﺟﻊ ﺳﺎﺑﻖ‪ ،‬ص ص ‪.88-87-86‬‬ ‫اﻟﺸﻌﺮ ‪ /‬اﻟﻌﺪد ‪64‬‬ ‫‪ 82‬ﺑﻴﺖ ِ‬

‫ﻫﻮ اﻟﻠﺺ اﻟﺬي ﻳﺄﻛﻞ ﻣﻦ رﻳﻊ اﻟﻘﻮاﻓﻞ؛ ﻳﻨﺘﺰع ﻗﻮﺗﻪ ﺑﻘﻮة اﻟﺴﻴﻒ‬ ‫ﺗﻌﺮ َض ﻟﻐﺰوة ﻣﻦ ﻏﺰواﺗﻪ‪ ..‬ﻫﻮ اﻟﻌﺪاء‬ ‫وﻳﺮدف اﻟﺸام َﺗ َﺔ ﺷﻌﺮاً مبﻦ ﱠ‬ ‫وﻓﺮﻩِ ُﻣﻨﺎﻓﻴﺎً ﻛﻞ ﻃﻘﻮس اﻟﻔﺮوﺳﻴﺔ؛ وﻛﺄﻧﻪ‬ ‫ﻛﺮﻩِ ﱢ‬ ‫اﻟﺬي ﻳﺠﺮي ﺣﺎﻓﻴﺎً ﰲ ﱢ‬ ‫َ‬ ‫ً‬ ‫َ ً‬ ‫ﻻ ميﻠﻚ أن‬ ‫ﻳﺸﱰي ﻓﺮﺳﺎ‪ ،‬أو أﻧﻪ ﻻ ﻳﺘﺤﻤﻞ أن َﻳ ْﻌ َﺘ ِﲇ ﻣﺨﻠﻮﻗﺎ ﻻ ﻳﻘﺪر إﻧﻪ ﻣﺪﻓﻮع ﺑﺎﻷﻟﻢ اﻟﻤﻌﺘﻖ ﻓﻲ دواﺧﻠﻪ؛ ﻳﻘﺎﺳﻲ دﻫﺮه ﻓﻴﻘﺎرﻋﻪ‬ ‫ﻳﻌﺘﻨﻲ ﺑﻪ‪.‬‬ ‫ﻋﲆ أن‬ ‫َ‬ ‫ﺑﺎﻟﺴﻴﻒ إن اﺳﺘﻄﺎع وﺑﺎﻟﻬﺮب إن ﺗﻜﺎﺛﻔﺖ وﺗﻜﺎﺛﺮت ﻋﻠﻴﻪ‬ ‫اﻟﻨﺼﻮل‬ ‫ﺷﺌﺖ ﻣﻦ‬ ‫ﻫﺬا اﻟﻨﻤﻮذج اﻟﺬي ﻧﺘﺤﺪث ﻋﻨﻪ ﻟﻚ أن ﺗ َُﺴ ﱢﻤ َﻴ ُﻪ ﻣﺎ َ‬ ‫اﻷﺳامء اﻟﺠﺎﻫﻠﻴﺔ اﳌﻌﺮوﻓﺔ ﺑﺎﻟﺼﻌﻠﻜﺔ ﻣﺜﻞ‪) :‬ﺣﺎﺟﺰ اﻷزدي‪ ،‬ﻗﻴﺲ‬ ‫‪7‬‬ ‫‪Q CDQ §U C GQ ÔC‬‬ ‫*‪OzCC0‬‬ ‫‪S KQ mfC‬‬ ‫*&‪S U C CV CG* Q ÑCCQ S; 6¬4S fCCCC/Q R‬‬ ‫اﻟﺤﺪادﻳﺔ‪ ،‬اﻟﱪاض ﺑﻦ ﻗﻴﺲ اﻟﻜﻨﺎين‪ ،‬اﻟﺴﻠﻴﻚ ﺑﻦ اﻟﺴﻠﻜﺔ‪ ،‬اﻟﺸﻨﻔﺮى‪،‬‬ ‫‪9‬‬ ‫‪8‬‬ ‫‪ R |CC‬‬ ‫ ‪Q CC6U Q&* §Q CC RJ ¥CCGQ *§CCGR fCCE Q *§CCEQ QzCC CCQ 8 §U CCCGQ KQ‬‬ ‫ﻋﺮوة ﺑﻦ اﻟﻮرد( وﻧﺤﻦ ﻧﺨﺘﺎر ﻣﻦ ﺑني ﻫﺆﻻء ﻣﻦ ﻻ ﻳﻘﻞ ﻋﻨﻬﻢ ﻗﻴﻤﺔ‬ ‫وﻻ ﻳﺰﻳﺪ ﺣﻈﺎ وﺗﻌﺎﺳﺔ؛ وﻧﻘﺼﺪ ﻫﻨﺎ اﻟﺸﺎﻋﺮ ﺗﺄﺑﻂ ﴍاً‪.‬‬ ‫إﻧﻪ ﺑﺒﺴﺎﻃﺔ ﻛﺎن ﻳﻔﺎﺧﺮ ﺑﻘﻮﺗﻪ وﴎﻋﺘﻪ‪ ،‬ﻣﻘﺎﺑﻞ اﻟﻔﺎرس اﻟﺬي ﻳﻔﺎﺧﺮ‬ ‫ﺑﴪﻋﺔ ﻓﺮﺳﻪ؛ ﻗﺪ ﻧﺬﻫﺐ إﱃ اﻟﻘﻮل إن ﻫﺬا اﻟﺴﻠﻮك ﻳﻌﺘﱪ متﺮداً ﻋﲆ‬ ‫مل ﻳﺨﱰ ﺗﺄﺑﻂ ﴍاً أن ﻳﻜﻮن أﺳﻮد اﻟﻠﻮن ﻓ َﻴ َﺘ َﺼ ﱠﻨ َﻒ ﰲ ذﻳﻞ اﻟﱰاﺗﺒﻴﺔ‬ ‫ﻋﺎدات اﻟﻔﺮوﺳﻴﺔ ﺧﺎﺻﺔ إذا ﻋﻠﻤﻨﺎ أﻧﻪ ﰲ ﺑﻌﺾ اﻟﺤﻀﺎرات ﻛﺎن اﻟﻌﺒﻴﺪ‬ ‫اﻻﺟﺘامﻋﻴﺔ ﺑني اﻟﻌﺒﻴﺪ‪ ،‬ومل ﻳﺨﱰ أن ﻳﻌﻴﺶ اﻟﻴﺘﻢ ﺑني أرﺑﻌﺔ إﺧﻮة‬ ‫ميﻨﻌﻮن ﻣﻦ اﻣﺘﻄﺎء اﻟﺨﻴﻮل‪ ،‬ﺑﻞ وﻛﺎﻧﺖ ﻛﺜري ﻣﻦ اﻟﺤﻀﺎرات اﻟﻘﺪميﺔ‬ ‫ﻓﻴﻜﱪ ﻣﻦ دون ﻣﻌﻴﻞ‪ ،‬ومل ﻳﺨﱰ أن ﺗﺘﺰوج أﻣﻪ ﻓﺘﻬﻤﻞ ﺗﺮﺑﻴﺘﻪ ﺑﻞ‬ ‫ﺗﺴﺘﻌﻤﻞ اﻟﻌﺒﻴﺪ ﺣامﻟني ﻟﻬﻮادج اﻟﻨﺴﺎء ﺑﺪﻻً ﻣﻦ اﻟﺨﻴﻮل أو ﺑﺎﻗﻲ‬ ‫وﺗﺘﺂﻣﺮ ﻋﻠﻴﻪ ﻫﻲ وزوﺟﻬﺎ )اﻟﺸﺎﻋﺮ أﺑﻮ ﻛﺒري اﻟﻬﺬﱄ( ﻗﺼﺪ ﻗﺘﻠﻪ‪ .‬مل‬ ‫أﺻﻨﺎف اﳌﻄﺎﻳﺎ اﻟﺤﻴﻮاﻧﻴﺔ‪ .‬ﻻ ﻧﺒﺘﻌﺪ ﻛﺜرياً وﻧﺰﻋﻢ أن ﺗﺄﺑﻂ ﴍاً ﻛﺎن‬ ‫ﻳﺨﱰ ﻃﺮﻳﻘﻪ اﻟﺘﻲ ﺣ ﱠﺘﻤﺖ ﻋﻠﻴﻪ أن ﻳﺼري ﻗﺎﻃﻊ ﻃﺮﻳﻖ وﻳﺤﱰف‬ ‫ﻣﻤﻨﻮﻋﺎً ﻣﻦ متﻠﻚ أو اﻣﺘﻄﺎء اﻟﺨﻴﻞ ﻓﻌﻨﱰة اﻟﻌﺒﴘ اﺷﺘﻬﺮ ﺑﻔﺮوﺳﻴﺘﻪ‬ ‫اﻟﻠﺼﻮﺻﻴﺔ؛ وﻟﻌﻠﻪ اﺧﺘﺎر اﻟﻬﺮب ﻣﻦ ﻛﻞ ﻫﺬه اﳌﺄﺳﺎة ﻓﺮﻛﺾ ﺑﺄﻗﴡ ﻣﺎ‬ ‫اﳌﻘﱰﻧﺔ ﺑﺮﻛﻮب ِﻋ َﺘﺎ ِﻗ َﻬﺎ و َﺗ َﻔ ﱠﻨ َﻦ ﻏ َري ﻣﺎ ﻣﺮ ٍة ﰲ وﺻﻔِﻬﺎ‪ ،‬ﻟﻜﻨﻨﺎ ﻧﻌﺘﻘﺪ أﻧﻪ‬ ‫ﻟﺪﻳﻪ ﻣﻦ ﴎﻋﺔ ﻓﻠﻢ ﻳﻠﺤﻘﻪ ﻇﻠﻪ‪ .‬وﻟﻘﺪ ﺳﺎق اﻷﺻﻔﻬﺎين ﺧﱪاً ﻋﻦ ﻋﻤﺮو‬ ‫ً مل ﻳﻜﻦ ميﻠﻚ ﻣﺮ ِﺑﺪاً ﻟﻨﻔﺴﻪ أو ﻣﺮ ِﺑﻀﺎً ﻟﻔﺮﺳﻪ اﳌﻔﱰض ﺣﺘﻰ ﻳﺴﺘﻘﺮ‪،‬‬ ‫ﺑﻦ أيب ﻋﻤﺮو اﻟﺸﻴﺒﺎين ﻋﻦ ﺟامﻋﺔ ﻧﺰل ﻓﻴﻬﻢ؛ وﻗﺎل‪» :‬إن ﺗﺄﺑﻂ ﴍا‬ ‫ﻟﻘﺪ ﻋﺎش ﻃﺮﻳﺪاً وﻣﺎت ﻃﺮﻳﺪاً‪ ،‬ﻳﻨﺎم ﺣﺬراً ﻛﺎﻟﺬﺋﺎب؛ وﻟﻘﺪ اﺳﺘﻤﺮ ﻋﲆ‬ ‫ﻛﺎن أﻋﺪى ذي رﺟﻠني وذي ﺳﺎﻗني وذي ﻋﻴﻨني وﻛﺎن إذا ﺟﺎع مل ﺗﻘﻢ‬ ‫ﻓﻬﻤﺖ ﺑﻘﺒﻮﻟﻪ ﻟﻮﻻ‬ ‫ﻟﻪ ﻗﺎمئﺔ ﻓﻜﺎن ﻳﻨﻈﺮ إﱃ اﻟﻈﺒﺎء ﻓﻴﻨﺘﻘﻲ ﻋﲆ ﻧﻈﺮه أﺳﻤﻨﻬﺎ‪ ،‬ﺛﻢ ﻳﺠﺮي ﻫﺬه اﻟﺤﺎل ﺣﺘﻰ ﺧﻄﺐ اﻣﺮأة ﻣﻦ ﺑﻨﻲ ﻋﺒﺲ ﱠ‬ ‫أن أﺷﺎر ﻋﻠﻴﻬﺎ ﺑﻌﻀﻬﻢ ﺑﻌﺪم اﻟﺘﻮرط ﰲ ﺣﻴﺎة رﺟﻞ أﻟﻒ اﻟﻠﺼﻮﺻﻴﺔ‬ ‫ﺧﻠﻔﻪ ﻓﻼ ﻳﻔﻮﺗﻪ ﺣﺘﻰ ﻳﺄﺧﺬه ﻓﻴﺬﺑﺤﻪ ﺑﺴﻴﻔﻪ ﺛﻢ ﻳﺸﻮﻳﻪ ﻓﻴﺄﻛﻠﻪ‪.‬‬ ‫واﺳﺘﺄﻧﺲ ﺑﺤﻴﺎة اﻟﻬﺮب؛ ﻳﻘﻮل اﻟﺸﺎﻋﺮ‪:‬‬ ‫وﻳﻜﺎد ﻻ ﻳﺮى ﻟﺸﺪة ﴎﻋﺘﻪ«‪ .1‬إﻧﻪ ﰲ اﻋﺘﻘﺎدﻧﺎ ﻛﺎن ﻳﻬﺮب ﻣﻦ ﺟﻤﻠﺔ‬ ‫‪ ¥CCI(fC D 10 S¥CCCªCCC StCCC S CCC¡U CCC-Q ¸ fCCC¤CCCG *§CCCGfCCCEK‬‬ ‫ﻇﺮوف اﺟﺘامﻋﻴﺔ ﻻﺣﻘﺘﻪ وﻟﻮﺣﺖ ﺧﻠﻒ ﻇﻬﺮه ﺑﺎﻟﺴﻴﻮف وﺑﺎﻟﺮﻣﺎح‪.‬‬ ‫‪11‬‬

‫ﻟﻌﻠﻪ اﺧﺘﺎر اﻟﻬﺮب ﻣﻦ ﻛﻞ ﻫﺬه اﻟﻤﺄﺳﺎة ﻓﺮﻛﺾ ﺑﺄﻗﺼﻰ‬ ‫ﻣﺎ ﻟﺪﻳﻪ ﻣﻦ ﺳﺮﻋﺔ ﻓﻠﻢ ﻳﻠﺤﻘﻪ ﻇﻠﻪ‬

‫‪2‬‬

‫* <‪Q C‬‬ ‫‪4P {CC‬‬ ‫‪R 3Q CQ C CCªU CGQ «CC¡CCHS Q |CC‬‬ ‫‪Q C CCU C6Q&* $«C‬‬ ‫¸ ‪Q C CC7‬‬ ‫‪3‬‬ ‫‪Q SzCCCMU |V CCCG* 4S U{CCCqCC‬‬ ‫‪ fCCV‬‬ ‫ ‪S CC1‬‬ ‫‪S C+ vfCC‬‬ ‫‪Q 3Q KQ‬‬ ‫* ‪P C¡Q CCC/‬‬ ‫‪4‬‬

‫وﻗﻮﻟﻪ ﻣﻦ دﻳﻮاﻧﻪ‪:‬‬

‫‪5‬‬

‫‪fCCC Q CCC Q CCCÀ‬‬ ‫‪U Q «CCC‬‬ ‫‪Q C SEÑCCC‬‬ ‫¸& ‪U IQ S KV‬‬ ‫‪Q CMR U£&* P CC CC CC‬‬ ‫‪Um4Q 3Q fCCCtCC‬‬ ‫‪U CHS |CC‬‬ ‫‪Q CDQ 12ÑN C ªCCkS C DQ ¬P U&*4Q ¢CC‬‬ ‫‪Q C-Q CC Q C DQ‬‬ ‫‪14‬‬ ‫‪13‬‬ ‫‪Q‬‬ ‫‪Q‬‬ ‫‪Q CHS fCC¤Q CCÊ‬‬ ‫‪fCCCCC<Q KQ 4U &* S CCªU C V C G* CS C CC+S ¸ ¢C‬‬ ‫ ‪Q W &fCC-Q‬‬

‫)‪ (1‬أﺑﻮ اﻟﻔﺮج اﻷﺻﻔﻬﺎين‪ ،‬اﻷﻏﺎين‪ ،‬ج ‪ ،21‬ص ‪.139‬‬ ‫)‪ (2‬ﻟﻴﺲ ذا ﻋﺬر‪ :‬ذو اﻟﻌﺬر ﻫﻮ ﺻﺎﺣﺐ اﻟﺸﻌﺮ ﻛﺎﻹﻧﺴﺎن ﻋﻤﻮﻣﺎ‪ ،‬وﻗﺪ ﻳﻘﺼﺪ ﺑﻪ اﻟﺨﻴﻞ أﻳﻀﺎ ﻷﻧﻬﺎ متﻠﻚ ﺷﻌﺮا‪.‬‬ ‫)‪ (3‬وذا ﺟﻨﺎح‪ :‬وﻻ ﻳﻮﺟﺪ ﻃﺎﺋﺮ ﻳﺴﺒﻘﻨﻲ‪.‬‬ ‫)‪ (4‬اﻟﺮﻳﺪ‪ :‬اﻟﺤﺮف أو اﻟﺤﺎﻓﺔ اﻟﻨﺎﺗﺌﺔ ﻣﻦ اﻟﺠﺒﻞ اﻟﺘﻲ ﻳﻘﻒ ﻋﻠﻴﻬﺎ اﻟﻄري‪.‬‬ ‫)‪ (5‬ﺗﺄﺑﻂ ﴍا‪ ،‬اﻟﺪﻳﻮان‪ ،‬ﺟﻤﻊ وﺗﺤﻘﻴﻖ ﻋﲇ ذو اﻟﻔﻘﺎر ﺷﺎﻛﺮ‪ ،‬ط‪ ،1‬دار اﻟﻐﺮب اﻹﺳﻼﻣﻲ‪ ،1984 ،‬ص ‪.387‬‬ ‫)‪ (6‬أﺟﺎري‪ :‬أﺳﺎﺑﻖ‪.‬‬ ‫)‪ (7‬ﻟﻮ ﻓﺎت واﺣﺪ‪ :‬ﻟﻮ ﺳﺒﻘﻨﻲ واﺣﺪ؛ أي ﻃﺎﺋﺮ‪ ،‬وﻫﻮ ﻣﺴﺘﺒﻌﺪ أن ﻳﺴﺒﻘﻨﻲ‪.‬‬ ‫)‪ (8‬ﻟﻮ ﺻﺪﻗﻮا‪ :‬ﻟﻮ رآين اﻷﻋﺪاء أﺳﺎﺑﻖ اﻟﻄري ﳌﺎ ﻓﻜﺮوا ﰲ اﻟﻠﺤﺎق يب‪.‬‬ ‫)‪ (9‬ﺗﺄﺑﻂ ﴍا‪ ،‬ﻣﺮﺟﻊ ﺳﺎﺑﻖ‪ ،‬ص ‪.105‬‬ ‫)‪ (10‬ﻻ ﺗﻨﻜﺤﻴﻪ‪ :‬ﻻ ﺗﻨﻜﺤﻴﻪ ﻧﻔﺴﻚ‪ ،‬أي ﻻ ﺗﺘﺰوﺟﻴﻪ‪.‬‬ ‫)‪ (11‬أي أﻧﻪ ﺳﻴﺠﺘﻤﻊ وﻳﻌﺎﻧﻖ أول ﻧﺼﻞ ﻳﺴﺪد ﻟﺼﺪره؛ وﻣﻌﻨﺎه أﻧﻪ ﻟﺺ وﺣﺘام ﺳﻴﻘﺘﻞ ﰲ أي ﻟﺤﻈﺔ ﻓﻼ ﺗﺘﺰوﺟﻴﻪ‪.‬‬ ‫)‪ (12‬أي مل ﺗﱰدد ﰲ ﻗﺒﻮل ﻧﺼﻴﺤﺘﻬﻢ‪.‬‬ ‫)‪ (13‬ﻓﺤﺎذرت ﺗﺄميﻬﺎ‪ :‬ﺧﺎﻓﺖ ﻣﻦ أن ﺗﺼري أرﻣﻠﺔ‪.‬‬ ‫)‪ (14‬ﻣﻦ ﻳﺒﻴﺖ ﻣﺮﺗﺎﻋﺎ ﰲ ﻟﻴﻠﻪ ﺧﺎﺋﻔﺎ ﻣﻦ اﻟﻬﺠﻮم ﻋﻠﻴﻪ‪.‬‬ ‫ﻓﺒﺮاﻳﺮ ‪81 2018 /‬‬

‫اﻟﺠ!!!!!!!ﺎﻫﻠﻲ‬ ‫‪baytelshear‬‬

‫اﺑﻦ اﻟﻤﺄﺳﺎة‬

‫اﻟﺸﺎﻋﺮ ﺗﺄﺑﻂ ﺷﺮاً‪ ..‬واﻟﺮﻛﺾ ﻓﻲ اﺗﺠﺎه اﻟﻤﺠﻬﻮل‬

‫د‪W‬ﺑﺎﺳﻴﻦ ﺣﺰﻛﺮ‬

‫اﻟﺼﺒﻲ ﺑﻴﻦ َأ ْﺗﺮ َِاﺑﻪ ﻓﻲ ﻗﺒﻴﻠﺘﻪ وﻧﻄﻖ ﻋﻦ اﻟﻬﻮى اﺣﺘﻔﻮا واﺣﺘﻔﻠﻮا ﺑﻪ؛ ذﺑﺤﻮا ﻟﻪ‬ ‫اﺣﺘﻔﻰ اﻟﻌﺮب ﺑﺸﺎﻋﺮﻳﺔ اﻟﺸﺎﻋﺮ اﻟﺠﺎﻫﻠﻲ‪ ،‬ﺣﺘﻰ إذا ﻧﺒﻎ‬ ‫ﱡ‬ ‫اﻟﺬﺑﺎﺋﺢ‪ ،‬وزوﺟﻮه إن أراد ذﻟﻚ‪َ ،‬‬ ‫وأﻗﻄﻌُ ﻮا ﻟﻪ ﻣﻦ ﺧﻴﺮات اﻟﻘﺒﻴﻠﺔ إن ﻛﺎﻧﺖ ﻏﻨﻴﺔ أو ﺣﺘﻰ إن ﻛﺎﻧﺖ ﻓﻘﻴﺮة‪ W‬ﻛﻞ ﻫﺬا ﻣﻘﺎﺑﻞ ﻟﺴﺎ ِﻧﻪ اﻟﺬي‬ ‫ﻗﺪ ﻳُﻤَ ﱢﻨﻊُ ﻗﺒﻴ َﻠ َﺘﻪ وﻳﻤﻨﻊ أﻋﺪاءَ ﻫﺎ ﻋﻦ اﻟﺘﻌﺮض ﻟﻬﺎ ﺑﺴﻮء‪ WW‬ﻛﺎن ﻫﺬا اﻟﺸﺎﻋﺮ ﻟﺴﺎن ﺣﺎﻟﻬﻢ اﻟﻤﺪاﻓﻊ واﻟﻤﻨﺎﻓﺢ ﻋﻦ أرﺿﻬﻢ وﻋﺮﺿﻬﻢ؛‬ ‫واﻟﻨﻤﻮذج اﻟﻤﺜﺎﻟﻲ ﻟﺮﺟﻞ اﻟﻘﺒﻴﻠﺔ اﻷول ﻣﺎ ﺑﻌﺪ ﺷﻴﺨﻬﺎ‪W‬‬ ‫ﻫﺬا اﻟﻨﻤﻮذج اﻟﻤﺜﺎﻟﻲ ﻟﻢ ﻳﻨﻜﺴﺮ إﻻ أﻣﺎم اﻟﺸﺎﻋﺮ اﻟﺼﻌﻠﻮك اﻟﺬي ﺗﺘﺒﺮأ ﻣﻨﻪ اﻟﻘﺒﻴﻠﺔ وﺗﻨﺒﺬه ﻣﻬﻤﺎ ﻛﺎن ﺷﺎﻋﺮ ًا‪ ،‬وﺣﺘﻰ إن ﻛﺎن ﻫﻮاه‬ ‫ﻣﻜﺮﺳ ًﺎ ﻓﻲ اﻟﺪﻓﺎع ﻋﻨﻬﺎ‪ W‬إﻧﻪ اﻟﺸﺎﻋﺮ اﻟﺬي اﺧﺘﺎر ﻃﻮﻋﺎ أو أﺟﺒﺮﺗﻪ اﻟﻈﺮوف ﻋﻠﻰ أن ﻳﻜﻮن ﻓﻲ ذﻳﻞ اﻟﺘﺮﺗﻴﺐ اﻻﺟﺘﻤﺎﻋﻲ ﻟﺪى اﻟﻘﺒﻴﻠﺔ‬ ‫اﻟﻌﺮﺑﻴﺔ‪W‬‬

‫اﻟﺸﻌﺮ ‪ /‬اﻟﻌﺪد ‪64‬‬ ‫‪ 80‬ﺑﻴﺖ ِ‬

‫ واﻋﺘﱪ ﻛﻞ ذﻟﻚ ﻣﺠﺮد ﺗﺴﻠﻴﺔ ومتﻀﻴﺔ‬،‫ميﻮت اﻷﺻﺤﺎب وﻳﺒﻘﻰ اﻟﺸﺎﻋﺮ وﺣﻴﺪاً وﻛﺬﻟﻚ اﻟﺠﺒﻞ متﺮ ﺑﻪ اﻟﻈﻮاﻫﺮ ﻣﻦ دون أن ﻳﺘﻬﺎوى أو ﻳﺘﻮاﻫﻦ‬ :‫ﳌﺎ ﺗﺒﻘﻰ ﻣﻦ اﻟﻴﺄس‬ :‫اﻟﻄﺒﻴﻌﻴﺔ وﻳﺒﻘﻰ ﻣﻜﺎﻧَﻪ‬ V F R S¥CCCC S CCCC<KQ ¢CCCCHS «CC¡CC Q C Q C CC6Q&fC DQ P,Ì Q CCCC S< CCCC Q CMR iS 4S fCCCqCCCkQ CCCG* R£fCCC CCC CCCGS R¥CCC¡CCC< fCC Q C¤CCC CC R C/S ÎCC Q fq 7 fCCC¯ L S |CCC S C T C CCQ CCDQ T C CCCQ C6KQ ¨CCC CCC+Q&* fCCC¯ ¨C Q C CCR CCG* SzCC¤CC< ¨C hS 0f 8 S ÔCC Q C CC< Q Q£fCCCFKQ Q C1 L|C jCC P CªV CCC S CCCGS R¥CCC¡CCC< Q RlCCCgCCC V CCCIQ zCCCCCCEQ KQ RlCCCC CCCCER KQ hCCCCCCC O C CCCQ C6 S C SJ*3QK CC P CªCCC CCCHR ¢CCCCCHS fCCCCCIT S(fCCCCCDQ ÑCCC

15

Q Q&* ¸T S(* Q£fCCCF fCC CCDQ L2|CCCG* Q RzCCCMQ CC¤R C-§Q C: £ hCC C¤S C +S m4Q fCCCCC:KQ S C)S *§CCC¡V CCCG*KQ L§CCC¡V CCCG* uCCCM4 C R 16 R Q C CCDQ CP C C CC9&*Q SjCC Q C /4Q ÔCC Q C= Q «CC CCMQ&* R CC U C 1 fC 17 Q «CCCCC SE4U KR v§CC Q C CCQ 8 ÔCC iSS 2fCCCI SjCC1|C Q C= R CIQ ¸KQ Q CHKQ fCCCCÇV S(*KQ «CC CCH2Q Q£*§CC CC CCW CCG* 18 CQ C CCªV C = fCC Q Q hC S C CCQ CCG* *|CCCCS S D · «CC<§CCH2R RlCCCD~CCCI S C0*§C hCO C0fC S C CC819 R¢CC Q C CCMQ KQ ¨CC CC+Q&* ¨CCkCCHQ ¨CCkT CtCQ CDQ ‫"" ﺑني اﻣﺮئ اﻟﻘﻴﺲ واﻟﺠﺒﻞ وﺑني اﻟﺠﺒﻞ واﺑﻦ ﺧﻔﺎﺟﺔ ﻳﺘﻮﺣﺪ اﳌﻮﻗﻒ‬hCCCCCC N C0*4 S R¥CCC¡CCCHS R 2X KQ R&* Q C=Q ÑCCCCCC S CMS %* ÔCCCC ‫وﺗﺨﺘﻠﻒ ﺗﺠﺮﺑﺔ اﻟﺒﻮح؛ أﺣﺪﻫام ﻳﻘﻒ ﻋﻨﺪ ﻋﻈﻤﺔ اﻟﺠﺒﻞ وﻳﺘﻮﻗﻒ‬ *|CC SJfCC CC6 hCCS Q F*§CC Q CCG* ¨CCCC<4Q&* ¨CCkCCHQ ¨CCCkT CCC0Q KQ ‫ واﻵﺧﺮ ﻳﺬﻫﺐ إﱃ أﺑﻌﺪ ﻣﻦ ذﻟﻚ ﺑﺠﻌﻠﻪ‬،‫"" ﻋﻨﺪﻫﺎ ﻣﻦ دون ﺗﺠﺎوز ذﻟﻚ‬iS 4S fCCCCC=KQ ¿fCCªCC Q CG* L|CCCC1R&* CP CGS fCC: ¢CC S C DQ .‫ﻣﺠﺮد ﻣﺠﺎﻟﺲ وﻣﺴﺎﻣﺮ‬ Q C CCC0|CC P 4S fCCC CCC9 ,Q §Q CCCCC<2 Q¬¸§CCCCCHQ fCCCM fCC R CDQ Q Q ‫ ﻟﻘﺪ متﻨﻰ اﻣﺮؤ اﻟﻘﻴﺲ ﻓﺮﺻﺔ أﺧﺮى وﻫﻮ ﻣﺤ َﺘ َﴬ ﻋﲆ ﻣﺸﺎرف اﳌﻮت‬hCCCCC Q fCCC CCC CCCIR ¾S(* WzCCCCCCRÊQ S S=*4 jCCCCCCC0*4

‫ﻓﺠﺎءت ﻣﻘﻄﻮﻋﺘﻪ اﻟﺸﻌﺮﻳﺔ ﻗﺼرية ﴎﻳﻌﺔ ﺗﺘﻨﺒﻪ ﻟﻌﻈﻤﺔ اﻟﺠﺒﻞ اﻟﺒﺎﻗﻲ‬ ‫ ﺑﻴﻨام ﺟﺎءت ﻗﺼﻴﺪة اﺑﻦ ﺧﻔﺎﺟﺔ ﻣﻔﺼﻠﺔ ﻃﻮﻳﻠﺔ‬،‫وﻻ ﺗﺪﻗﻖ ﰲ ﺗﻔﺎﺻﻴﻠﻪ‬ ‫ﺗﺘﻤﺜﻞ ﻋﻈﻤﺔ اﻟﺠﺒﻞ وﺗﺠﻌﻠﻪ ﻣﺸﺎرﻛﺎً ﰲ ﺻﻨﺎﻋﺔ اﳌﻮﻗﻒ اﻟﺸﻌﺮي‬ ‫وﻣﺘﻔﺎﻋﻼ ﰲ متﺜﻞ اﻹﺣﺴﺎس ﺑني اﻟﻜﺎﺋﻨﺎت؛ إﻧﻬﺎ ﺑﻄﺮﻳﻘﺔ ﻣﻦ اﻟﻄﺮق‬ !! ‫ﻗﺼﻴﺪة ﻛﺘﺒﻬﺎ ﻛﺎﺋﻨﺎن‬

‫ﻫﻨﺎ ﻳﻨﺘﺰع اﻟﺸﺎﻋﺮ ﺻﻮﺗﻪ ﻣﻦ ﺻﻮت اﻟﺠﺒﻞ؛ إﻧﻬﺎ اﻷﻋﺠﻮﺑﺔ اﻟﺘﻲ ﻣﻴﺰت‬ ‫ ﺑﺤﻴﺚ ﻧﺴﺐ اﺑﻦ ﺧﻔﺎﺟﺔ اﻟﻀﻌﻒ ﻟﻠﺠﺒﻞ اﻟﺸﺎﻫﻖ‬،‫ﻫﺬه اﻟﻘﺼﻴﺪة‬ ‫ ﻫﻨﺎ ﻳﺘﻘﺰم ﺷﻜﻞ‬،‫ وﻗﺪم ﻧﻔﺴﻪ ﻣﻮاﺳﻴﺎ ﻟﻪ‬،‫اﻟﺒﺎﺳﻖ وﺟﻌﻠﻪ ﻳﺸﺘيك إﻟﻴﻪ‬ ‫ ﻟﻘﺪ ﻗﺎل اﻟﺸﺎﻋﺮ ﻣﺎ أراد ﻗﻮﻟﻪ وﻟﻜﻦ‬.‫اﻟﺠﺒﻞ أﻣﺎم ﺿﺨﺎﻣﺔ ﻧﻔﺲ اﻟﺸﺎﻋﺮ‬ .‫ اﳌﻮت‬:‫( اﻟﺮدى‬15) .‫ ﻧﻮع ﻣﻦ اﻟﺸﺠﺮ‬:‫( اﻷﻳﻚ‬16) .‫ اﻟﺤامﻣﺔ‬:‫( اﻟﻮرﻗﺎء‬17) .‫ ﺟﻒ‬:‫( ﻏﺎض اﳌﺎء‬18) .‫ رﺣﻞ‬:‫( ﻇﻌﻦ‬19)

79 2018 / ‫ﻓﺒﺮاﻳﺮ‬

‫أﻧﺪﻟﺴ!!!!!!!ﻴﺎت‬ baytelshear

‫ﺗﺮك اﺑﻦ ﺧﻔﺎﺟﺔ دﻳﻮاﻧﺎً ﺷﻌﺮﻳﺎً ﺿﺨﻤﺎً أو ﻟﻨﻘﻞ‬ ‫ﺑﺴﺘﺎﻧﺎ ﺷﻌﺮﻳﺎ ﻳﻌﺒﻖ ﺑﺤﺐ اﻟﻄﺒﻴﻌﺔ؛ وﻟﻘﺪ ﻛﺎن ﺣﺒﻪ‬ ‫ﻟﻠﻄﺒﻴﻌﺔ ﺣﺒﺎً أﻗﺮب إﻟﻰ اﻟﺤﻠﻮل اﻟﺼﻮﻓﻲ‬ ‫ﺑﻴﻦ اﻣﺮئ اﻟﻘﻴﺲ واﻟﺠﺒﻞ وﺑﻴﻦ اﻟﺠﺒﻞ واﺑﻦ ﺧﻔﺎﺟﺔ‬ ‫ﻳﺘﻮﺣﺪ اﻟﻤﻮﻗﻒ وﺗﺨﺘﻠﻒ ﺗﺠﺮﺑﺔ اﻟﺒﻮح‬

Q C0fCC jCN C<fC S C CCC9R&* £Q&* ¸T S(* CCQ C CCCIR&* ¸KQ Q C CC6 CC 4 hC S CGS fCC CCQ¼* S¦§CCCCC/KR · ÉfCCCCCCHQ&¸* 4Q §CCC CCC.R

‫ﻣﺎ أﺷﺒﻪ ﻫﺬا اﳌﻄﻠﻊ مبﺎ ﻗﺎﻟﻪ اﻣﺮؤ اﻟﻘﻴﺲ وﻣﺎ أﺑﻌﺪه أن ﻳﻜﻮن ﻧﺴﺨﺔ‬ ‫ﻋﻨﻪ ! إن إﺣﺴﺎس اﻟﻐﺮﺑﺔ اﳌﺘﺠﺬر ﰲ ﻃﺒﻴﻌﺔ اﻹﻧﺴﺎن ﺣني ﻳﺒﺘﻌﺪ ﻋام‬ ‫ﻳﺄﻟﻔﻪ ﻓﻴﺠﻌﻠﻪ ﻳﺒﺤﺚ ﰲ ﻋﻤﻘﻪ ﻋﻦ اﻧﺘامﺋﻪ ﻟﻠﻄﺒﻴﻌﺔ ﻟﻴﻌﺰز وﺟﻮده‬ /‫اﻟﻠﻴﻞ( ﻳﺒﺤﺚ ﻋﻦ ﻣﻔﺮج )اﻟﻔﺠﺮ‬/‫ﻓﻴﻬﺎ؛ وﻟيك ﻳﺨﺮج ﻣﻦ ﺿﻴﻖ )اﻟﻐﺮﺑﺔ‬ :(‫اﻷﻣﻞ‬ ¨ Q IfDQ 52Q fCCC+ zCCEQ RlCC CCER fCCH *3S(* P CCªCCGQ KQ Q CG* Q¢CCCCHS zCCC Q C CVC CC Q C -Q iSS 3fCCCCF X¢CCC CC P C<KQ ¢CCC< Q C 6 hCCC P C)S *K3Q 2Q §CC CC6 S¥CCªCCD «CC/fCCM VzCCG* RlCCgCCtCQ C CCQ 6 7 Q& S Q CH%¸* CCC Q C¡S CCCCkQ CCCC<¸ hCCC S C)S *|CCCC-Q CQ C CCªCC+ fCCCCCC 8 P Q :Q&* w S 7Q ¢<Q S ª Q G* hª Q /Q RlEV~ Q DQ 10 9 Q -Q hCC S C0fCC S C CCC CCCQ¼* vfCC Q C CCCT 9KQ Q CCV CC CC S C S:fCCCE CC 11 fN gQ =Q&* |CS CqCC Q CG* Q¢CCSH fN SE S¥CCS+ RlCCCCMQ&*4Q V Q CHV Q&fCCCCCC-Q Q C< Q CCCCC hCC S C SEfCCC. QzCCCCCE§Q CCCCC-Q CCCCC P CÅ ¢CCCC

13 lSO Hf 8 CCR C6|CC Q C1Q&* §Q CCCJKQ S¥CCªCCGQ S(* RlCCwCC CCQ 8Q&* R GQ «CC¡CC.Q VzCCtCQ CDQ hC S C)S fCCqCC Q C GfCC+S L|CC CWC CCG* CCªCC Q CEKQ R CFQ ¸Q&* fCCCCC P CCC-S fCCCE &fQ CCCqCC Q C CCCHQ RlCCC¡CCCF CCC Q Q Q V hCCC C ) fCCC C

CCC C k CCC C g CCC C P ¦ * K * &

C C H K Q¢CCCCCC S:§CCCCCC Q Q Q S S T iP KX Q'§CCCCCCCCCHR KQ rCCC P CGS zCCCCHR ¢CCCCHS «CCC+ |V CCCCCHQ CCCCCCFQ KQ 14 Q CEKQ hCCCCC S CFS *4KQ «CC [ C S CCCHQ ¢CCCCHS «CCC T CCC S CCC+S fCCCCCCC Q KQ «CC CC S:fCC CCHQ vfCCC S CG* hCC Q C:¸ S C CCCIR ¢CCCHS CCCCC S CM|CCC R CHS CCCCC «CCC+4S *§CCC= Q 4S fCCtCCgS C G* |CS C CC CC1 ¢CC Q C0*5 Q KQ

.‫اﻟﻔﺠﺮ ﻫﻨﺎ ﻟﻴﺲ ﺳﻮى ﻗﻤﺮ ﻳﴤء ﻣﺴﺎﻣﺮة اﺑﻦ ﺧﻔﺎﺟﺔ ﻣﻊ اﻟﺠﺒﻞ‬ ‫إن اﻟﺸﺎﻋﺮ ﻳﺘﻌﺎﻣﻞ ﻣﻌﻪ ﻧﺪاً ﻟﻨﺪ وﻻ ﻳﺤﺲ ﺑﺄي ﻧﻘﺺ ﺗﺠﺎﻫﻪ ﺣﻴﺚ‬ ،‫ ﺷﻴﺨﺎن‬-‫ﻻ ﻳﺸﻜﻞ اﻟﺤﺠﻢ ﻓﺎرﻗﺎً ﰲ ﺟﻮﻫﺮ اﻟﻮﺟﻮد؛ إﻧﻬام –ﻛﻼﻫام‬ ‫ ﻟﻬﺬا‬،‫اﻟﺠﺒﻞ ﺷﻴﺦ ﺑﻘﺪﻣﻪ ﰲ اﻷرض واﻟﺸﺎﻋﺮ ﺷﻴﺦ ﺑﻘﺪﻣﻪ ﺑني اﻟﺒﴩ‬ ‫ﻓﻬﻮ ﻳﻜﻠﻤﻪ ﺑﻮﻗﺎر واﺣﱰام اﻟﺮﺟﻞ ﻟﻠﺮﺟﻞ أو اﻟﻜﺎﺋﻦ ﻟﻠﻜﺎﺋﻦ؛ إﻧﻪ‬ :‫ﻳﺨﺎﻃﺐ ﻓﻴﻪ اﻟﻜﻴﻨﻮﻧﺔ اﳌﺸﱰﻛﺔ‬

Q Q¢CCCCCCCCCCC<4 R CG* vfCCC ySP 3fCCCCC+ SjCCCCCC+Q *'K{CCCCC Q Q&*KQ S C T CCCC: iS 4S fCCC CCC+S S$fCCC CCC CCQ C CCCG* Q£fCCCC¡CCCC<Q&* R KS fCCCC CCCCMR R C< Q uCC X CF ¢CC jCC P C¤Q CCC/KR CCC V C¤Q CCCHQ WzCC CC CC R MQ S CM|CCCG* hCC ‫ ﰲ ﻫﺬه اﳌﺮﺣﻠﺔ ﻣﻦ اﻟﻘﺼﻴﺪة ﺗﺒﺪو اﻟﺸﻜﻮى اﺧﺘﺘﺎﻻً واﺣﺘﻴﺎﻻً ﺑني‬hCC N Q Q R R¥CCgCC¤CC C F fCC C ¡CC C ¼ fCC C +

CC7 ÑCCCªCCC G

CCCC C 0~CCCC C M K S S R Q QQ S ‫ﺻﻮت اﻟﺠﺒﻞ وﺻﻮت اﻟﺸﺎﻋﺮ؛ ﻓﻼ ﻧﻌﺮف ﺣﻘﺎً ﻫﻞ اﻟﺠﺒﻞ ﻫﻮ ﻣﻦ‬ Q C CCC< Q 4P §CCCCCCCEKQ R¥CCCCTIQ&fCCCCFQ S,ÑCCCC Q CCCCG* |CCC¤CCC S ; ¨CC ‫ ﻳﺒيك أم ﻫﻮ اﻟﺸﺎﻋﺮ اﻟﺬي ﻳﺠﻌﻠﻪ ﻳﺘﻘﻮل ﻣﺎ ﻻ ﻳﻘﻮﻟﻪ؛ أمل ﻳﻔﺼﺢ اﻟﺸﺎﻋﺮ‬hCC Q Q Q

CCG* · |CCX

CC

CC H ¿fC C ªC C

C G* *§CCCC C SE*§CC S: Q R S O ‫ﻗﺒﻠﺌﺬ ﺑﺄن اﻟﺠﺒﻞ أﺧﺮس؟؟‬ R C CCCMQ CP C)S fCC CC< Q 2Q §CC CC6 CR CªCC Q C G* S¥CCªCC Q C <Q 12 p§CC hCCC S C)S *K3Q |CR C CC0 R S ÌCCC Q CG* CS C CCªCCHKQ ¢CCCHS fCC¤CCGQ

‫إذن؛ ﻓﺄﻧﺴﻨﺔ اﻟﻄﺒﻴﻌﺔ متﺖ ﻋﲆ ﻣﺴﺘﻮى ﻋﺎلٍ ﻣﻦ اﻟﺤﺮﻓﻴﺔ اﻟﺸﻌﺮﻳﺔ‬ ‫ إن ﻃﻮل ﺑﻘﺎء اﻟﺠﺒﻞ‬،‫وﻛام ﻳﺼﻔﻪ اﻟﺸﺎﻋﺮ ﺑﺘﺪﻗﻴﻖ وﺗﺤﻘﻴﻖ ﻓﺈﻧﻪ ﻳﺼﻐﻲ إﻟﻴﻪ ﺑﺘﻤﻌﻦ ﻓﺎﺋﻖ؛ واﻟﺘامﻫﻲ اﻟﺼﻮﰲ ﰲ ﻧﻘﻄﺔ اﻟﻮﺟﻮد اﳌﺸﱰك‬ ‫ﺣني ﻳﺤيك اﻟﺠﺒﻞ ﻋﻦ ﺗﺠﺎرﺑﻪ وﻳﻜﺸﻒ ﻋﻦ ذاﻛﺮﺗﻪ اﳌﻠﻴﺌﺔ ﺑﺎﻟﺠﻤﻴﻞ وﻃﻮل ﻋﻴﺶ اﻟﺸﺎﻋﺮ ﺟﻌﻠﻬام ﻳﺘﺬﻣﺮان ﻣﻦ اﻟﺒﻘﺎء ﻧﻔﺴﻪ؛ ﺧﺎﺻﺔ إذا‬ ٍ :‫واﻟﻘﺒﻴﺢ‬ ‫ﺣﻴﻮات أﺧﺮى ﺗﻨﻘﴤ ﺑﴪﻋﺔ وﺗﻮرث اﻷمل؛‬ ‫ﻛﺎﻧﺖ ﺣﻴﺎﺗﻬام ﻧﻘﻄﺔ ﻋﺒﻮر‬ .‫ ﻋﺎﺑﺲ‬:‫( ﻗﺎﻃﺐ‬10) .‫ ﺷﺪة اﻟﺴﻮاد‬:‫( اﻟﻐﺒﺶ‬11) .‫ ﻳﻄﻮي‬:‫( ﻳﻠﻮث‬12) .‫ أﺻﻐﻴﺖ‬:‫( أﺻﺨﺖ‬13) .‫ أﻗﺎم اﻟﻘﻴﻠﻮﻟﺔ‬:‫( ﻗﺎل‬14)

.‫ اﻧﺘﻬﻰ‬:‫( ﺑﺎد‬5) .‫ ﺿﻔرية اﻟﺸﻌﺮ‬:‫( اﻟﺬؤاﺑﺔ‬6) .‫ ﻣﻘﺪم اﻟﻨﺤﺮ ﻣﺎ ﺑني اﻟﺼﺪر‬:‫( اﻟﱰاﺋﺐ‬7) .‫ ﻏﱪة وﺳﻮاد‬:‫( أﻃﻠﺲ‬8) .‫ ﺑﻴﺎض اﻟﺼﺒﺢ واﻟﻘﻤﺮ‬:‫( وﺿﺎح‬9) 64 ‫ اﻟﻌﺪد‬/ ‫اﻟﺸﻌﺮ‬ ِ ‫ ﺑﻴﺖ‬78

‫وﻧﺤﻦ إذ ﻧﺘﻨﺎول ﻫﺬه اﳌﻮﺿﻮﻋﺔ ﻣﻦ ﺟﺪﻳﺪ‪ ،‬ﻓﺈﻧﻨﺎ ﻧﺘﱪأ ﻣﻦ ﺗﻠﻚ‬ ‫اﻟﺪراﺳﺎت اﻟﻌﺘﻴﻘﺔ‪ ،‬وﻧﻌﻤﻞ ﻋﻤﻞ اﻟﺤﻴﺎد ﺑﻐﺾ اﻟﻨﻈﺮ ﻋﻦ أﺻﻮﻟﻨﺎ‬ ‫اﳌﻐﺮﺑﻴﺔ‪ ،‬ﻓﻨﺪرس اﻷدب مبﺎ ﻫﻮ أدب‪ ،‬ﺑﻌﻴﺪاً ﻋﻦ ﻧﻈﺮﻳﺔ اﳌﺮﻛﺰ‬ ‫اﳌﴩﻗﻲ واﳌﻐﺮب اﻟﻬﺎﻣﺶ‪ ،‬ﻓﺎﻷدب ﻻ ﻳﺘﻘﻴﺪ ﺑﺤﺪود اﻟﺰﻣﺎن واﳌﻜﺎن‬ ‫أو ﻓﻮﻗﻴﺔ اﻟﻌﺮق‪ ،‬واﻷدب ﻣﻮروث إﻧﺴﺎين ﻳﺤﻘﻖ ﺗﻠﻚ اﻟﺘﻘﻮى اﻟﺘﻲ‬ ‫أرادﻫﺎ اﻟﻠﻪ ﻣﻦ ﺧﻠﻘﻨﺎ ﰲ ﺷﻌﻮب وﻗﺒﺎﺋﻞ‪.‬‬ ‫وﺷﻌﺮ اﻟﻄﺒﻴﻌﺔ ﰲ اﻷﻧﺪﻟﺲ ﻣﺠﺎل ﺧﺼﺐ ﻟﻠﺪراﺳﺔ واﻟﺒﺤﺚ‪ ،‬ﻳﺘﺠﺪد‬ ‫ﺑﺪورة اﻟﻔﺼﻮل اﻷرﺑﻌﺔ‪ ،‬ﻓﻼ ﺗﺠﺪ ﺛﻘﻼ ﰲ اﻟﺨﻮض ﻓﻴﻪ وﻻ ﻏﻀﺎﺿﺔ‬ ‫ﻣﻦ ﺗﻨﺎوﻟﻪ‪ ،‬وﻟﻌﻠﻨﺎ ﻧﺠﺪ ﰲ اﻟﺪراﺳﺔ اﻟﻨﻤﻮذﺟﻴﺔ ﻣﺠﺎﻻً ﺧﺼﺒﺎً ﻟﻠﻤﻘﺎرﻧﺔ‬ ‫ﺑني اﻟﺸﻌﺮاء اﻟﺬﻳﻦ ﺗﻨﺎوﻟﻮا اﻟﻄﺒﻴﻌﺔ ﰲ أﺷﻌﺎرﻫﻢ‪ .‬وﻧﺤﻦ ﻧﻮﻗﻒ‬ ‫ﻫﺬا اﳌﻘﺎل ﻋﲆ ﻗﺼﻴﺪة ﻓﺮﻳﺪة ﻻﺑﻦ ﺧﻔﺎﺟﺔ اﻷﻧﺪﻟﴘ اﻟﺬي ﻋﺸﻖ‬ ‫اﻟﻄﺒﻴﻌﺔ ووﺻﻔﻬﺎ ﺑﺮوﻋﺔ ﰲ ﺷﻌﺮه ﺣﺘﻰ ﻟﻘﺐ ﺑني اﻷﻧﺪﻟﺴﻴني إﺑﺎن‬ ‫ﻓﺈﻧﻨﺎ ﻧﺬﻛﺮ ﻣﺄﺳﺎة ﺗﺴﻤﻤﻪ وﺧﻴﺎﻧﺔ اﻟﺰﻣﻦ ﻟﻪ وﻣﻘﺘﻠﻪ ﺷﺎﺑﺎ وﻟﻔﻆ‬ ‫ﺣﻴﺎﺗﻪ ب »ﺟ ﱠﻨﺎن اﻷﻧﺪﻟﺲ«‪.‬‬ ‫وإذا ﺳﺄل أﺣﺪ ﻋﻦ اﺑﻦ ﺧﻔﺎﺟﺔ ﺗﻄﻔﻮ ﻣﺒﺎﴍة إﱃ اﻟﺴﻄﺢ ﺗﻠﻚ أﻧﻔﺎﺳﻪ اﻷﺧرية ﻣﻐﱰﺑﺎً ﻋﻦ أرﺿﻪ أﻣﺎم ﺟﺒﻞ ﻣﻬﻴﺐ اﺳﻤﻪ »ﻋﺴﻴﺐ«؛‬ ‫ﻛﻞ اﳌﺸﺎﻋﺮ اﻹﻧﺴﺎﻧﻴﺔ ﻋﻨﺪ اﻣﺮئ اﻟﻘﻴﺲ ﺗﺨﺎذﻟﺖ وﺟﻌﻠﺘﻪ ﻳﺮى ﺻﻐﺮ‬ ‫اﳌﻘﻄﻮﻋﺔ اﻟﺸﻬرية اﻟﺘﻲ ﻳﻘﻮل ﻓﻴﻬﺎ‪:‬‬ ‫‪QT S CCCCP C CCCCCGR QzCCCCCIQ&* CCCCCCC‬‬ ‫ﺣﺠﻤﻪ أﻣﺎم ذﻟﻚ اﻟﺠﺒﻞ اﻟﻬﺎﺋﻞ؛ ﻟﻘﺪ ﺷﻌﺮ ﺑﻜﻞ ﺑﺴﺎﻃﺔ ﺑﺄﻧﻪ ﻛﺎن‬ ‫‪Q CJQ&* fCCCCCMQ‬‬ ‫‪ CCCCCCCC‬‬ ‫‪R CFR 4W 2Q SÙ‬‬ ‫‪Q‬‬ ‫‪Q‬‬ ‫‪O‬‬ ‫‪T C S;QK $fCCCCC‬‬ ‫‪ 4R fCCCCqCCCC CCCC7&*KQ 4O fCCCCCCC¤CCCCCCCI&*KQ CCCCCCCCC‬ﻟﻴﺸﺒﻪ اﻟﺠﺒﻞ ﻟﻮ أﻧﻪ اﺳﺘﻤﺮ ﰲ اﻟﻌﻴﺶ‪ ،‬ﻛﺎن ﻟﻴﺤﻘﻖ أﺣﻼﻣﻪ وﻳﺘﺠﺎوز‬ ‫‪O CH‬‬ ‫‪R C¡V CCCC/Q fCCCH‬‬ ‫‪R jCCC‬‬ ‫‪ CCCC‬‬ ‫آﻻﻣﻪ‪ ..‬ﻟﻜﻦ اﻟﺰﻣﻦ مل ميﻬﻠﻪ؛ ﻟﻘﻲ ﺣﺘﻔﻪ وﺑﻘﻴﺖ ﻗﺼﺘﻪ ﻣﻌﻠﻘﺔ ﻣﻦ‬ ‫*»‪R CFR 4S fCCCCCMS2 · ¸T (*S SzCCCC CCCC‬‬ ‫‪Q‬‬ ‫‪Q‬‬ ‫‪Q‬‬ ‫‪R‬‬ ‫‪R‬‬ ‫‪Q‬‬ ‫‪ 4R fCCCCkCCCC1&* RlCCC¡CCCF *{CCCCC QJ mÔCCCC‬دون ﻧﻬﺎﻳﺔ‪ ،‬اﻟﻨﻬﺎﻳﺔ اﻟﺘﻲ ﻧﺘﻮﻗﻌﻬﺎ ﺟﻤﻴﻌﺎً )اﻷﻣري اﻟﺬي ﻳﻨﺘﻘﻢ ﻟﻮاﻟﺪه‬ ‫‪V CwCCCCC- §CCCCCCGKQ‬‬ ‫‪N‬‬ ‫¸ ‪R C-Q £Q&* *3 QzCC CC+Q *§ kQ w-Q‬‬ ‫*‬ ‫‪| Q 6Q *§CC CC1zC‬‬ ‫وﻳﺴﱰﺟﻊ ﻋﺮﺷﻪ(‪ .‬وﺑﻘﻲ اﻟﺠﺒﻞ ﺟﺎمثﺎً ﻋﲆ ﻗﱪه؛ ذﻟﻚ ﻷﻧﻪ ﺧﺎﻃﺐ‬ ‫‪Q‬‬ ‫‪R‬‬ ‫‪R‬‬ ‫‪Q‬‬ ‫‪ 4R fCC¡CCG* SjCCC¡V CCC¹* QzCCC CCC+Q CCC1zCCC- CQ C CCªCC Q C DQ‬اﳌﺮأة ومل ﻳﺨﺎﻃﺐ اﻟﺠﺒﻞ‪ ،‬ﺣﺎﻓﻆ ﻋﲆ منﻄﻴﺔ اﻟﻌﻼﻗﺔ ﺑني اﻹﻧﺴﺎن‬ ‫واﻟﺠامد ﻓﺤﺪث اﳌﺮأة واﻋﺘﱪﻫﺎ ﺟﺎرﺗﻪ ومل ﻳﺤﺪث اﻟﺠﺒﻞ ﻣﻊ أﻧﻪ ﻫﻮ‬ ‫ﻟﻘﺪ ﺗﺮك اﺑﻦ ﺧﻔﺎﺟﺔ دﻳﻮاﻧﺎً ﺷﻌﺮﻳﺎً ﺿﺨ ًام أو ﻟﻨﻘﻞ ﺑﺴﺘﺎﻧﺎً ﺷﻌﺮﻳﺎً أﻳﻀﺎ ﺟﺎره‪.‬‬ ‫ﻳﻌﺒﻖ ﺑﺤﺐ اﻟﻄﺒﻴﻌﺔ؛ وﻟﻘﺪ ﻛﺎن ﺣﺒﻪ ﻟﻠﻄﺒﻴﻌﺔ ﺣﺒﺎً أﻗﺮب إﱃ اﻟﺤﻠﻮل وﰲ ﻫﺬا اﻟﺴﻴﺎق ﻧﺬﻛﺮ أﻳﻀﺎً ﻛﻴﻒ وﻗﻒ اﺑﻦ ﺧﻔﺎﺟﺔ أﻣﺎم ﺟﺒﻞ ﺿﺨﻢ‬ ‫اﻟﺼﻮﰲ؛ ﺑﺤﻴﺚ متﺎﻫﻰ ﻣﻊ ﻣﻜﻮﻧﺎﺗﻬﺎ اﻟﺼﻐرية واﻟﻜﺒرية وﺗﻔﺎﻋﻞ وإﻳﺎﻫﺎ ﰲ اﻷﻧﺪﻟﺲ وﴍع ﻳﺤﺎدﺛﻪ وﻳﺒﺜﻪ ﺷﻜﻮاه‪ ،‬إﻧﻪ اﳌﻮﻗﻒ اﻟﺴﺎﺑﻖ ﻧﻔﺴﻪ‪،‬‬ ‫»ﺗﻔﺎﻋ ًﻼ ﻋﺎﻃﻔﻴﺎً ﺟﺪﻳﺪاً ﻗﺎمئﺎً ﻋﲆ اﻟﺮؤﻳﺔ اﻟﻌﻤﻴﻘﺔ وﻋﲆ اﻟﺘﺸﺨﻴﺺ ﻟﻮﻻ أن اﻣﺮئ اﻟﻘﻴﺲ ﻛﺎن ﺷﺎﺑﺎً ﺑﻴﻨام ﻛﺎن اﺑﻦ ﺧﻔﺎﺟﺔ ﺷﻴﺨﺎ‪ ،‬ﺣﻴﺎﺗﻪ‬ ‫‪1‬‬ ‫ﻣﻌﺎً« ؛ ﻟﻘﺪ ﻗﺎم اﻟﺸﺎﻋﺮ ﰲ أﻛرث ﻣﻦ ﻣﻮﻗﻒ ﺷﻌﺮي ﺑﺄﻧ َْﺴ َﻨ ِﺔ اﻟﻄﺒﻴﻌﺔ‪ :‬ﺧﻠﻔﻪ ﺑﺎﻧﺘﺼﺎراﺗﻬﺎ واﻧﻬﺰاﻣﺎﺗﻬﺎ‪ ،‬وﻣﺎ ﻛﺎن ﻳﻄﻤﻊ ﰲ ﻣﻠﻚ وﻻ ﻳﻄﻤﺢ ﰲ‬ ‫)ﻣﺤﺎدﺛﺘﻬﺎ وﻣﺤﺎورﺗﻬﺎ وﻣﻨﺎﺟﺎﺗﻬﺎ( وﻛﺄﻧﻬﺎ ﺗﺴﻤﻌﻪ وﻳﺴﻤﻌﻬﺎ‪.‬‬ ‫ﻋﺮش‪:‬‬ ‫ﻻ ميﻜﻦ أن ﻧﺪﻋﻲ أن ﻫﺬا ﺳﻠﻮك ﺟﺪﻳﺪ‪ ،‬ﻛام ﻻ ميﻜﻦ أن ﻧﺪﻋﻲ ‪Q C CCS CCªCC Q C+Q‬‬ ‫‪Q * sR §U CCCCCJQ&* ¬4zCCCC-Q CCC QJ C‬‬ ‫‪hC‬‬ ‫‪S C)S fCC¡CC¹‬‬ ‫‪Q‬‬ ‫أن اﻟﺸﻌﺮ ﺣﻜﺮ ﻋﲆ أﺣﺪ؛ أﻛﺎن ﻣﴩﻗﻴﺎً أم ﻛﺎن أﻧﺪﻟﺴﻴﺎً‪ .‬واﳌﺸﺎﻋﺮ‬ ‫‪R &* «CC CC0|CQ C+S hCC‬‬ ‫‪R C-Q‬‬ ‫‪hC‬‬ ‫‪S C)S fCCqCC¡Q C G* 4R §CCC¤CCC; ‬‬ ‫‪W CwCC‬‬ ‫اﻹﻧﺴﺎﻧﻴﺔ ﻫﻲ ﻣﺸﱰك ﻛﻮين ﺗﻨﻔﺠﺮ ﰲ ﻟﺤﻈﺔ وﺳﻴﺎق ﻣﻌﻴﻨني؛ ﻓﻌﻨﺪﻣﺎ ‪R C CCDQ‬‬ ‫‪fN C gCCFQ §CCFQ S 4S fCCC CCC CCCQ¼* ¾K&* · 2 RlCCCCº fC‬‬ ‫ﻧﺘﺬﻛﺮ ﻟﺤﻈﺔ ﻗﻮل اﻣﺮئ اﻟﻘﻴﺲ ﰲ وﺻﻒ اﻟﺠﺒﻞ‪:‬‬ ‫‪iS 4S fCC CCQ¼* L|CCC1R&* RlCCcCC/ ¨C‬‬ ‫ ‪S CkT C0‬‬ ‫‪Q RlCCE|CQ C CC7Q&fC DQ‬‬ ‫*»‪R C‬‬ ‫* ‪R £QT (*S fCCCCC¡CCCCC-Q 4Q fCCCCC/&Q‬‬ ‫‪i§CC‬‬ ‫‪Q C CCCC‬‬ ‫‪R C¡CCC-Q i§CCCC‬‬ ‫‪hCR CªCC CSC CC<Q Q fCCCCCCCCCCEQ Q&* fCCCCCHQ CC‬‬ ‫‪O CªCCC S CCCHR É(ST *K‬‬ ‫ *&‪Q CIT (* fCCCC¡CCCC-Q 4Q fCCCC/‬‬ ‫‪fCC¡Q C RJ fCCCC QJ S£fCCCCgQ CCCCM|CCC‬‬ ‫‪S C= fCCCCC‬‬ ‫‪R‬‬ ‫‪TR FK‬‬ ‫‪hCCªCC‬‬ ‫‪S IQ hCC‬‬ ‫‪S C= Q CCCCCCCC‬‬ ‫‪S CM|CCC Q CCC CCCG hCCCC‬‬ ‫‪R CC CC‬‬ ‫‪P CM|CCCC‬‬

‫‪«CC CCkQ C /Q&fC DQ ·fCCªCC Q C G* É*2fCCC¤CCC-Q N*zCCCªCCC0KQ‬‬ ‫‪hCC‬‬ ‫‪S SJfCCªCC Q CCG* S fCCC¡CCC SE · fCCCMfCCC¡CCCQ¼* ¦Q §CCCCCC/KQ‬‬ ‫‪ CP C V C CCQ CCHR fCC‬‬ ‫‪P C CCC CCC0R ¢CCCCHS ¸T S(* 4Q fCCCCC/ ¸KQ‬‬ ‫‪3‬‬ ‫‪hCC‬‬ ‫‪S C)S fCCCF|CC‬‬ ‫‪Q CG* 2S §CCCCkCCCCER · ¸T S(* 4Q *2 ¸KQ‬‬

‫)‪ (1‬إﺣﺴﺎن ﻋﺒﺎس‪ ،‬ﺗﺎرﻳﺦ اﻷدب اﻷﻧﺪﻟﴘ‪:‬ﻋﴫ اﻟﻄﻮاﺋﻒ واﳌﺮاﺑﻄني«‪،‬ص‪.208:‬‬ ‫)‪ (2‬ﻟﺤﺖ‪ :‬ﻇﻬﺮت‪.‬‬ ‫)‪ (3‬ﻗﺘﻮد‪ :‬ﺧﺸﺐ اﻟﺮﺣﻞ‪.‬‬ ‫)‪ (4‬ﺛﻐﻮر‪ :‬أﻓﻮاه‪.‬‬ ‫ﻓﺒﺮاﻳﺮ ‪77 2018 /‬‬

‫أﻧﺪﻟﺴ!!!!!!!ﻴﺎت‬ ‫‪baytelshear‬‬

‫ﺴ َﻨ ُﺔ اﻟﻄﺒﻴﻌﺔ ﻓﻲ ﻗﺼﻴﺪة ﻻﺑﻦ ﺧﻔﺎﺟﺔ ا‪N‬ﻧﺪﻟﺴﻲ‪..‬‬ ‫أ َ ْﻧ َ‬ ‫ﺣﻴﻦ ﻳﻨﺘﺰع اﻟﺸﺎﻋﺮ ﺻﻮﺗﻪ ﻣﻦ ﺻﻮت اﻟﺠﺒﻞ‬ ‫د‪W‬ﻳﺎﺳﻴﻦ ﺣﺰﻛﺮ‬

‫ﻣﻮﺿﻮع ﺷﻌﺮ اﻟﻄﺒﻴﻌﺔ ﻓﻲ اﻷدب اﻟﻌﺮﺑﻲ‪ ،‬ﻫﻮ ﻣﻮﺿﻮع ﺷﺒﻪ ﻣﺴﺘﻬﻠﻚ ﻓﻲ ﻋﻤﻮم ﻓﻜﺮﺗﻪ وﻣﺘﺪاوﻟﻴﻪ؛ ﻟﻜﻨﻪ ﻣﺎ زال أرﺿ ًﺎ ﺧﺼﺒﺔ ﻓﻲ‬ ‫اﻟﺪراﺳﺎت واﻷﺑﺤﺎث اﻟﺘﻲ ﺗﻬﺘﻢ ﺑﺎﻟﺸﻌﺮ اﻷﻧﺪﻟﺴﻲ‪ ،‬وﻗﺪ اﻫﺘﻢ اﻟﻨﻘﺎد اﻟﻤﻐﺎرﺑﺔ ﻋﻠﻰ وﺟﻪ اﻟﺘﺨﺼﻴﺺ ﺑﻪ وﺟﻌﻠﻮه ﻣﺪار ﻣﺸﺎرﻳﻌﻬﻢ‬ ‫اﻷﻛﺎدﻳﻤﻴﺔ ﺑﻞ واﻟﺤﻴﺎﺗﻴﺔ‪ ،‬وﻫﺬا اﻹﻛﺜﺎر ﻓﻲ ﺗﻨﺎول ﻣﻮﺿﻮع ﺷﻌﺮ اﻟﻄﺒﻴﻌﺔ ﻻ ﻳﻌﻨﻲ ﺑﺎﻟﻀﺮورة أﻧﻪ درس ﺑﻤﺎ ﻓﻴﻪ اﻟﻜﻔﺎﻳﺔ وﺑﻤﺎ ﻳﻨﺎﺳﺐ‬ ‫ﺗﻨﻮﻋﻪ‪ ،‬ﻓﺎﻟﺪراﺳﺎت ﻣﻦ ﻧﺎﺣﻴﺔ اﻟﻜﻢ ﻣﻮﺟﻮدة وﻣﺘﻨﺎﺛﺮة ﻫﻨﺎ وﻫﻨﺎك‪ ،‬ﻟﻜﻦ‪ ،‬ﻗﻠﻴﻠﺔ ﻫﻲ اﻟﺪراﺳﺎت اﻟﺘﻲ أﻋﻄﺖ ﺷﻌﺮ اﻟﻄﺒﻴﻌﺔ ﻓﻲ‬ ‫اﻷﻧﺪﻟﺲ ﺣﻘﻪ ووﻓﺘﻪ ﻗﺪره‪ ،‬ﺧﺎﺻﺔ وأن ﻣﻌﻈﻤﻬﺎ دﺧﻠﺖ ﻓﻲ ﺟﺪال وﺳﺠﺎل ﻣﻊ ﺑﻌﺾ ﻣﻦ اﻟﻨﻘﻮد اﻟﻤﺸﺮﻗﻴﺔ »اﻟﻌﺘﻴﻘﺔ« اﻟﺘﻲ ﺣﺎوﻟﺖ‬ ‫ﻣﺤﻮ اﻟﺨﺼﻮﺻﻴﺔ ﻣﻦ ﺷﻌﺮ اﻟﻄﺒﻴﻌﺔ اﻷﻧﺪﻟﺴﻲ‪ ،‬وأﺟﻬﺰت ﻓﻲ أﺣﺎﻳﻴﻦ ﻣﺘﻌﺪدة ﻋﻠﻰ اﻟﻤﺠﻬﻮد اﻟﺘﺎرﻳﺨﻲ ﻟﻸﻧﺪﻟﺴﻴﻴﻦ ﻓﻲ ﺗﻄﻮﻳﺮ‬ ‫ﻣﻮﺿﻮع اﻟﻄﺒﻴﻌﺔ وﺗﺘﻮﻳﺠﻬﺎ ﻋﻠﻰ رأس إﻧﺠﺎزاﺗﻬﻢ اﻟﻌﻈﻴﻤﺔ‪W‬‬

‫اﻟﺸﻌﺮ ‪ /‬اﻟﻌﺪد ‪64‬‬ ‫‪ 76‬ﺑﻴﺖ ِ‬

тАля╗│я╗д ┘Ся║оя╗зя╗▓ я╗Гя╗┤я╗Фя╗ЪтАм тАл╪гя║гя╗дя║к я║│я╗ия║ктАм @a.sanad7

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75 2018 / тАля╗Уя║Тя║о╪зя╗│я║отАм

┬Я@@ ┬Ж@ @E ┬д@@ @ @┬Ы@ @ @ ┬М@ @ @ ┬А@ @ @ s@ @ @ JH ┬У@@ @ @┬М@ @ @ ┬г@ @ @ : ├БxQ @ @ @ ├ВR ┬Я@@┬Ж@ ~@ 6 b@@ @┬г@ @ Fv@@ @Db@@ @A 2b@@ @ @ <b@@ @ @ EH ┬У@@ @ @D ┬Сb@@ @ g@ @ @~@ @ @7&* ┬Я@@┬Ж@ c@ g@ E ┬е4v@@ @ @ @ - h@@ @ @ F* ┬д@@ @┬ЫQ @ @ < Qv@ @ ~@ @ 8 ┬Ь@@ @ E ┬Я@@┬Ж@ ┬Ш@ ┬Ж@ ┬┤* ┬Ъ┬б@@ @ @ J ┬Б@@ @~@ @ 6H ┬п ┬У@@ ┬Ж@ @E ┬Ь@@ @┬Т@ @ DH ┬Я@@ @ @┬Ж@ @ @ /H┬░* 4b@@ @ @┬А@ @ @ E ┬п ┬Я@@ @ @┬Х@ @ @ 04 ┬У@@ @ -v@@ @ ~@ @ @8 ┬Я@@ ┬Ж@ ┬Ш@ ~@ z@ -H ┬д@@ @ ┬ЫQ @ @ @E ┬Эb@@ @┬А@ @ ┬г@ @ ~@ @ 7 ┬Фw@@ @ @1b@@ @ @J ┬░ ┬Я@@ ┬Ж@ @m@ @┬М@ @E ┬д@@ @ ┬П@ @ @┬г@ @ @A4 b@@ @ @ @J ┬еw@@ @ @ @ @ G b@@ @ @┬г@ @ @ Fv@@ @ @D* " ┬Я@@┬Ж@ ┬Ы@ ┬П@ J ┬б@@┬Ю@ ┬Ы@ E ┬д@@c@ ┬Х@ B @@z@ + ┬З@@┬Ы@ g@ ┬П@ E ┬Я@@ @ J(* ┬Я@@ ┬Ж@ @E ┬д@@ @ ┬Ы@ @ ┬М@ @ ┬А@ @ s@ @ JH ┬У@@ @ ┬М@ @ @┬г@ @ @: ├Бx@@ @ @ @ @ @ @├ВH

‫ﻣﺎﺳﺎت‬ baytelshear

ّ ‫ﻗﻄﻌﺔ‬ ‫اﻟﺴﻜﺮ‬ ( ‫ﻣﻮزه اﻟﻜﺘﺒﻲ ) ﺑﻨﺖ اﻟﺪار‬

@@ @+ ¥4v@@ @ @ @ @ @ @ @ @ @ - @@ @ @ @ @ @ @ @ J5 b@@ @ @ @ @ @ J v@@ @ @ @~@ @ @ @ z@ @ @ @ « @@ @+ ¤@@ @ @ @ Gy@@ @ @ @ J @@ @ @ @ @ Jy@@ @ @ @ @ D* H I¡@@ @ @ @ @ @ @ @ @ @ @ @ @D*H @@ @ @ c@ @ @ @Jw@@ @ @ @ @ @ @- v@@ @ @ @ @ @ @ @ Jy@@ @ @ @ @ @ @ @ -H @M @ @ @ @ @ @ @ @ :b@@ @ @ @ @ @ @ @ B @@ @ c@ @ @ £@ @ @ +b@@ @ ¹ @@ @ @ @ @ @ @ @ @ @ @04* H ¥v@@ @ @ @ @£Q @ @ @ @ @ ~@ @ @ @ @ 6 @@ @ + ¤@@ @ @ @ @ Q @ @ @ @ @ @ @ @ @ @ F b@@ @ @ @ @ @ @ @ @ @ Q @ @ @ @ @ C b@@ @ @ @ @ @ @ @ @ @ @ @ @ @Db@@ @ @ @ + @@ @ c@ @ @£@ @ @: x@@ @ @ @ @ @ @ @ < b@@ @ @ @ @ @ @ @ Ex@@ @ @ @« @@ @ @ {@ @ @ @£@ @ @ @D @@ @ @c@ @ @ £@ @ @ Db@@ @ @~@ @ @ 6* f@@ @ @ @ @ +w@@ @ @ @ @ < É@@ @ @ @ @ @ @ @ @ @ @D* b@@ @ @ @ @ @ @J @@ @ @ c@ @ @ @£@ @ @ @ @ @ @ @J ¤@M @ @ @ @ @ @ @ ~@ @ @ @ @ @ @ @ 7b@@ @ @ @ @ @ @ E · M b@@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ = @@ @ @ c@ @ @ @Jw@@ @ @ @ @ @ @- Hx@@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ E ¤@M @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ B*4 @@ @ c@ @ @£@ @ @: ¤@@ @ @ @ @©x@@ @ @ @ @F f@@ @ @ @0¡@@ @ @ @ @ @ @ @ ~@ @ @ @ z@ @ @ @ D*H

@@ @ @~@ @ @ 6b@@ @ @C @@ @ @ @ ~@ @ @ @ @6H x@@ @ @ @ @ @ ~@ @ @ z@ @ @ D* f@@ @ @ @ @ @ @ @ @ B @@ @ @~@ @ @ 6*x@@ @ @D @@ @ @~@ @ @ 6b@@ @ @~@ @ @ 6 @@ @ @ @ @E É@@ @ @ @ @0 @@ @ @ @ @+ @@ @ @~@ @ @ 6b@@ @ @F ¢@@ @ @ @ @ @ @ @ @< ¢@@ @ @ @ Q @ @ @ @ @ @ @ @ g@ @ @ @ - @@ @ @ @{@ @ @ @ £@ @ @ @ D @@ @ @~@ @ @ 6b@@ @ @ @ @ @ F* @@ @ ~@ @ @{@ @ @ @ @ @J ¤@@ @ @ @ @ @ @Db@@ @ @ + H4 @@ @ @ @~@ @ @ @ 6*¡@@ @ @ @G* ¤@@ @ @ @~@ @ @ @ 9x@@ @ @ @J b@@ @ @ @ @ @E b@@ @ @ @ @ @ @ @ @ @ ±* @@ @ @ @ @ ~@ @ @ @ @ @6*xQ @ @ @ @ @ @0 Q @ @ @ @ @ @ @ @ @ @ @ 1 b@@ @ @ @ @ @ @ @J b@@ @ @ @ @ @ @ @ @ @ @ Q @ @ @ @ @ @1 @@ @ ~@ @ @6b@@ @ ~@ @ @z@ @ @0* f@@ @ @ @ @ @ @ @ @BQ 4 @@ @ @ @ @ E @@ @ g@ @ @ @ @ @~@ @ @z@ @ @+ @@ @ @~@ @ @ 6b@@ @ @ @ @ @ /* @@ @ @ @ @Jb@@ @ @ @ @A ¤@@ @ @ @ @ @ @ @ Db@@ @ @ @J h@@ @ @ @ @ @ @ @F* @@ @ @ @~@ @ @ @ 6É@Q @ @ @ @/ Í@@ @ @ @ @ @ @ + b@@ @ @ @ @ @ @ E x@@ @ @ @ @ @ @ @ @ @ @ @ Db@@ @ @ @ C @@ @ ~@ @ @6b@@ @ /¡@@ @ G d@Q @ @ @ @ @ @ @0 ¥x@@ @ @ @ @ @ @~@ @ @ @7 x@@ @ @ @ @ @ @0

64 ‫ اﻟﻌﺪد‬/ ‫اﻟﺸﻌﺮ‬ ِ ‫ ﺑﻴﺖ‬74

‫ﻣﻬﺮﺟﺎن ﺳﻠﻄﺎن ﺑﻦ زاﻳﺪ اﻟﺘﺮاﺛﻲ ﻋﺰﻳﺰ‬ ‫ﻋﻠﻰ ﻗﻠﺒﻲ‪ ،‬وأﻧﺘﻈﺮه ﻣﻦ ﺳﻨﺔ إﻟﻰ ﺳﻨﺔ‬ ‫اﻟﻐﻨﺎء ﻋﻠﻰ اﻟﻤﺴﺮح ﻳﻜﺸﻒ ﻋﻦ اﻟﻔﻨﺎن‬ ‫اﻟﻤﺘﻤﻜﻦ ﻣﻦ ﻏﻴﺮ اﻟﻤﺘﻤﻜﻦ‪ ،‬وﻳﺘﻠﻤﺲ‬ ‫اﻟﺠﻤﻬﻮر اﻟﻔﺮق ‬ ‫ﻻ أرﻳﺪ ﺷﺎﻋﺮاً ﺗﺤﺖ اﻟﻄﻠﺐ واﺧﺘﺎر ﻓﻘﻂ ﻣﺎ‬ ‫ﻳﻼﻣﺴﻨﻲ ﻣﻦ ﻗﺼﺎﺋﺪ ‬ ‫أﻏﺎن أﺧﺠﻞ ﻣﻦ ﻏﻨﺎﺋﻬﺎ‪ ،‬ﻟﻤﺎ ﻓﻴﻬﺎ ﻣﻦ‬ ‫ﺗﻨﺘﺸﺮ ٍ‬ ‫ﻛﻼم ﺧﺎدش‪ ،‬وﻏﻴﺮ ﺻﺤﻴﺢ أن اﻟﺠﻤﻬﻮر ﻳﻄﻠﺐ‬ ‫ﻫﺬا‬ ‫رمبﺎ اﻟﻜﺜري ﻣﻦ اﻟﻨﺎس ميﻜﻨﻬﻢ أن ﻳﺘﺴﺎءﻟﻮا‬ ‫ﺣﻮل ﻣﺎ اﻟﺬي ﻳﺠﻌﻠﻚ ﺗﺤﺮﺻني ﻋﲆ ﻧﻴﻞ‬ ‫ﺷﻬﺎدات ﻋﻠﻴﺎ؟‬ ‫ﺗﺮﺑﻴﺖ وﺳﻂ أﴎة ﻛﺮﺳﺖ ﻓﻴﻨﺎ ﺑﺄن اﻟﺪراﺳﺔ‬ ‫أﻫﻢ ﳾء ﰲ ﺣﻴﺎﺗﻨﺎ‪ ،‬وﻣﻨﺬ ﻛﺎن ﻋﻤﺮي ﻋﴩ‬ ‫ﺳﻨﻮات‪ ،‬أي أﻳﺎم ﻛﻨﺖ ﻃﻔﻠﺔ ذات ﺿﻔريﺗني‪،‬‬ ‫ﻛﻨﺖ ﻣﻦ ﺣﻴﻨﻬﺎ أﻏﻨﻲ‪ ،‬ﻟﻜﻨﻲ ﺗﺮﺑﻴﺖ ﻋﲆ أن‬ ‫ﻳﻜﻮن ﻫﺎﺟﴘ اﻟﺪﻛﺘﻮراه‪ ،‬ﻣﻦ أﺟﻞ أن ﻳﻘﺎل‬ ‫ﻋﻨﻲ ﺑﺄين ﻧﺎﺟﺤﺔ ﺑﺎﻟﻔﻦ وﺑﺎﻟﺪراﺳﺔ أﻳﻀﺎً‪،‬‬ ‫وﻫﻮ ﻣﺎ ﻛﺎن ﻳﺸﺠﻌﻨﻲ ﺧﻼل ﻓﱰة اﻟﺪراﺳﺔ‬ ‫ﻋﲆ اﻟﻨﺠﺎح‪ ،‬ﺣﺘﻰ أين ﺣﺼﻠﺖ ﻋﲆ ﺟﻮاﺋﺰ ﰲ‬ ‫ﺣﻔﻆ اﻟﻘﺮآن اﻟﻜﺮﻳﻢ‪ ،‬وﻫﺬا ﻧﺎﺑﻊ ﻣﻦ ﺣﺒﻲ‬ ‫ﻟﻠﺪراﺳﺔ واﻟﻘﺮاءة واﻟﺘﻌﻠﻢ اﻟﺬي اﺳﺘﻤﺮ ﻣﻌﻲ‪،‬‬ ‫واﻵن واﻧﺎ أﺗﻜﻠﻢ ﻋﻦ ﺷﻬﺎدة ﻓﻬﺬا ﻳﺠﻌﻠﻨﻲ‬ ‫ﻋﲆ اﻷﻗﻞ ﻓﺨﻮرة ﺑﻨﻔﴘ‪.‬‬ ‫ﻓﺎﻟﻔﻨﺎن ﻟﻴﺲ »ﻣﻴﻜﺮﻓﻮن« وﻳﻐﻨﻲ ﻓﻘﻂ‪،‬‬ ‫اﻟﻜﺜري ﻣﻦ اﻟﻨﺎس ميﻴﻠﻴﻮن ﻟﻠﻔﻨﺎن ﻋﻨﺪﻣﺎ‬ ‫ﻳﻐﻨﻲ وﻻ ﻳﺤﺒﻮن ﺳامع أﺣﺎدﻳﺜﻪ‪ ،‬ﻓﻬﻨﺎك‬ ‫ﺑﻌﺾ اﻟﻔﻨﺎﻧني ﻋﻨﺪﻣﺎ ﻳﺘﺤﺪﺛﻮن »ﻳﺨﺮﺑﻄﻮن‬ ‫اﻟﺪﻧﻴﺎ« ﻟﻬﺬا ﺗﻜﻮن اﻟﺪراﺳﺔ واﻟﺜﻘﺎﻓﺔ ﺣﺎﴐة‬ ‫ﰲ أﺣﺎدﻳﺚ اﻟﻔﻨﺎن‪ .‬وﺑﺎﳌﺤﺼﻠﺔ أﻋﺘﱪ أن ﻛﻞ‬ ‫ﻣﺮﺣﻠﺔ ﰲ ﺣﻴﺎيت ﺟﻤﻴﻠﺔ‪.‬‬

‫ﺗﻜﺮرﻳﻬﺎ؟‬ ‫ﻗﺪﻣﺖ ﺑﺮﻧﺎﻣﺞ »ﺟﻮاﻫﺮ« اﻟﺨﺎص ﺑﺎﻟﺸﻌﺮ‪،‬‬ ‫ﻋﲆ ﺗﻠﻔﺰﻳﻮن ديب‪ ،‬و»زﻫﺮة اﻟﺨﻠﻴﺞ« ﻋﲆ‬ ‫ﺗﻠﻔﺰﻳﻮن أﺑﻮﻇﺒﻲ‪ ،‬وﺑﺮﻧﺎﻣﺞ ﻟﻠﻤﻮاﻫﺐ‬ ‫ﻋﲆ ﻗﻨﺎة ﻧﺠﻮم‪ ،‬وﻛﻨﺖ ﺳﻌﻴﺪة ﺟﺪاً ﺑﻬﺬه‬ ‫اﻟﺘﺠﺎرب ﻛﻮﻧﻬﺎ ﺗﺘﻨﺎﺳﺐ ﻣﻊ دراﺳﺘﻲ‬ ‫اﻹﻋﻼﻣﻴﺔ إذ ﺻﺎدف ﺗﻘﺪميﻲ ﻟـ »ﺟﻮاﻫﺮ«‬ ‫ﺧﻼل اﻟﺴﻨﺔ اﻷﺧرية ﻟﺪراﺳﺘﻲ اﳌﺎﺟﺴﺘري‪ .‬وﻗﺪ‬ ‫ﻛﺎﻧﺖ ﺗﺠﺎريب ﺑﺎﻟﺘﻘﺪﻳﻢ ﻣﻤﺘﻌﺔ‪ ،‬وﻣﻦ اﳌﻤﻜﻦ‬ ‫أن أﺧﻮض ﺗﺠﺮﺑﺔ اﻟﺘﻘﺪﻳﻢ ﻣﻦ ﺟﺪﻳﺪ‪ ،‬وأﺑﺪل‬ ‫ﺑني اﻷدوار‪ ،‬ﻓﻌﻮﺿﺎً ﻋﻦ ﺗﻠﻘﻲ اﻷﺳﺌﻠﺔ ﺳﺄﻛﻮن‬ ‫أﻧﺎ ﻣﻦ ﻳﻄﺮح اﻷﺳﺌﻠﺔ ﻋﲆ اﻟﻀﻴﻮف‪.‬‬

‫ﻏري ﺗﺠﺮﺑﺔ ﺗﻘﺪﻳﻢ اﻟﱪاﻣﺞ ﻗﻤﺖ أﻳﻀﺎً‬ ‫ﺑﺎﻟﺘﻤﺜﻴﻞ‪ ،‬ﻛﻴﻒ ﻛﺎن ﺻﺪى ﻫﺬه اﻟﺘﺠﺮﺑﺔ‪،‬‬ ‫وﻫﻞ ﻧﺘﻮﻗﻊ أن ﻧﺮاك ﻣﻤﺜﻠﺔ ﻣﻦ ﺟﺪﻳﺪ؟‬ ‫ﺷﺎرﻛﺖ ﰲ ﻣﺴﻠﺴﻞ »اﻟﺤﺐ ﺳﻠﻄﺎن« اﻟﺬي‬ ‫ﻋﺮض ﻋﲆ ﺗﻠﻔﺰﻳﻮن »أﺑﻮﻇﺒﻲ« ﺧﻼل أﺣﺪ‬ ‫اﳌﻮاﺳﻢ اﻟﺮﻣﻀﺎﻧﻴﺔ‪ ،‬إﱃ ﺟﺎﻧﺐ ﺧﺎﻟﺪ ﺳﻠﻴﻢ‬ ‫وأﻣرية ﻣﺤﻤﺪ وﻓﺎﻃﻤﺔ ﻋﺒﺪ اﻟﺮﺣﻴﻢ وآﺧﺮﻳﻦ‪،‬‬ ‫وأﻋﺘﱪ أن اﻟﺘﺠﺮﺑﺔ ﻛﺎﻧﺖ ﻧﺎﺟﺤﺔ ﺑﻌﺪ أن ﻛﻨﺖ‬ ‫ﺧﺎﺋﻔﺔ ﻣﻦ أن ﻻ أﻋﺮف اﻻﺧﺘﻴﺎر‪ ،‬وﻛﻨﺖ أﻣﺜﻞ‬ ‫ﺑﻌﻔﻮﻳﺔ وﻋﲆ ﻃﺒﻴﻌﺘﻲ‪ ،‬ﺣﺘﻰ أن واﻟﺪيت ﻗﺎﻟﺖ‬ ‫ﻗﺪﻣﺖ ﻋﺪداً ﻣﻦ اﻟﱪاﻣﺞ اﻟﺘﻠﻔﺰﻳﻮﻧﻴﺔ ﱄ إن ﻫﺬا اﻟﺪور ﻣﻨﺎﺳﺐ ﺟﺪاً ﻟﺸﺨﺼﻴﺘﻲ‪،‬‬ ‫ﻓﻜﻴﻒ ﺗﻘﻴﻤني ﻫﺬه اﻟﺘﺠﺮﺑﺔ‪ ،‬وﻫﻞ ميﻜﻦ أن وﻫﻮ ﻣﺎ ﺳﺄﺣﺮص ﻋﻠﻴﻪ ﰲ ﺧﻴﺎرايت اﻟﻘﺎدﻣﺔ‪.‬‬

‫ِ‬ ‫ﻏﻨﻴﺖ ﻟﻠﻜﺜري ﻣﻦ اﻟﺸﻌﺮاء‪ ،‬ﻟﻜﻦ ﺑﻌﻴﺪاً ﻋﻦ‬ ‫اﻟﻐﻨﺎء ﳌﻦ ﺗﻘﺮأﻳﻦ ﻣﻦ اﻟﺸﻌﺮاء؟‬ ‫أﻧﺎ ﻣﻦ ﻋﺸﺎق اﻟﺸﻌﺮ وإﺿﺎﻓﺔ إﱃ أين ﻗﺮأت‬ ‫ﻗﺼﺎﺋﺪ اﳌﻐﻔﻮر ﻟﻪ اﻟﺸﻴﺦ زاﻳﺪ ﺑﻦ ﺳﻠﻄﺎن آل‬ ‫ﻧﻬﻴﺎن‪ ،‬أﺗﺎﺑﻊ أﺷﻌﺎر ﺻﺎﺣﺐ اﻟﺴﻤﻮ اﻟﺸﻴﺦ‬ ‫ﻣﺤﻤﺪ ﺑﻦ راﺷﺪ آل ﻣﻜﺘﻮم ﻧﺎﺋﺐ رﺋﻴﺲ‬ ‫اﻟﺪوﻟﺔ رﺋﻴﺲ ﻣﺠﻠﺲ اﻟﻮزراء ﺣﺎﻛﻢ ديب‬ ‫»رﻋﺎه اﻟﻠﻪ« وأﺷﻌﺎر )ﻓﺰاع( ﺳﻤﻮ اﻟﺸﻴﺦ‬ ‫ﺣﻤﺪان ﻣﻦ ﻣﺤﻤﺪ ﺑﻦ راﺷﺪ آل ﻣﻜﺘﻮم وﱄ‬ ‫ﻋﻬﺪ ديب‪ ،‬اﻟﺬي ﻏﻨﻴﺖ ﻣﻦ أﺷﻌﺎره‪ ،‬ﻛام أﻗﺮأ‬ ‫أﺷﻌﺎر اﻷﻣري ﺧﺎﻟﺪ ﺑﻦ ﺳﻌﻮد اﻟﻜﺒري‪.‬‬ ‫وأﻧﻮه أﻳﻀﺎً أن ﺧﻀﺖ ﺗﺠﺮﺑﺔ اﻟﻜﺘﺎﺑﺔ‪ ،‬وﻛﺎن‬ ‫ﻳﻘﺮأ ﻧﺼﻮﴆ اﻟﺸﺎﻋﺮ واﻹﻋﻼﻣﻲ ﻓﻬﺪ ﻋﺎﻓﺖ‬ ‫اﻟﺬي أوﺟﻪ ﻟﻪ اﻟﺘﺤﻴﺔ واﻻﺣﱰام‪ ،‬ﻓﻘﺪ ﻛﺎن‬ ‫ﻳﻨﺼﺤﻨﻲ ووﻗﻒ إﱃ ﺟﺎﻧﺒﻲ وﺟﻌﻠﻨﻲ ﻋﲆ‬ ‫ﻣﻌﺮﻓﺔ ﺑﺎﺧﺘﻴﺎر ﻛﻠامت اﻷﻏﺎين‪.‬‬ ‫ﻛﻴﻒ ﺗﻨﻈﺮﻳﻦ إﱃ اﻟﺴﺎﺣﺔ اﻟﻐﻨﺎﺋﻴﺔ ﰲ‬ ‫دول اﻟﺨﻠﻴﺞ اﻟﻌﺮيب؟‬ ‫ﻳﻈﻬﺮ ﻛﻞ ﻳﻮم ﺻﻮت ﺟﺪﻳﺪ‪ ،‬وﻫﻨﺎك ﻣﻦ‬ ‫ﻳﺒﻘﻰ وﻫﻨﺎك ﻣﻦ ﻳﺨﺘﻔﻲ وﻫﺬا ﻟﻴﺲ‬ ‫ﺑﺎﻟﴚء اﻟﻐﻠﻂ‪ ،‬ﺑﻞ ﻫﻲ ﺣﺎﻟﺔ ﺻﺤﻴﺔ‪) ،‬اﻟﻠﻪ‬ ‫ﻳﻮﻓﻖ اﻟﺠﻤﻴﻊ( ﻟﻜﻦ ﻣﻦ اﻟﻮاﺟﺐ أن ﻳﻜﻮن‬ ‫ﻫﻨﺎك دﻋﻢ ﻟﻸﺻﻮات اﻟﺒﺎﻗﻴﺔ‪ ،‬ﻷﻧﻬﺎ ﺗﺴﺘﺤﻖ‬ ‫اﻻﺳﺘﻤﺮارﻳﺔ‪.‬‬ ‫ﻓﺒﺮاﻳﺮ ‪73 2018 /‬‬

‫ﺧﺎرج اﻟﻨﺺ‬ ‫‪baytelshear‬‬

‫زال اﻟﺠﻤﻬﻮر ﻳﻄﻠﺐ ﺳامﻋﻬﺎ ﻟﻐﺎﻳﺔ اﻵن‪ ،‬ﻷن‬ ‫ﻛﻠامﺗﻬﺎ ﺗﻌﱪ ﻋﻦ ﻣﻮﻗﻒ وﺻﻞ إﱃ ﻗﻠﻮﺑﻬﻢ‪.‬‬ ‫وأﻧﺎ أﻫﺘﻢ ﺟﺪاً ﺑﺎﺧﺘﻴﺎر ﻛﻠامت اﻷﻏﺎين‪ ،‬ﺧﺎﺻﺔ‬ ‫ﰲ ﻫﺬا اﻟﺰﻣﻦ اﻟﺬي ﺗﻨﺘﴩ ﻓﻴﻪ أﻏﺎنٍ أﺧﺠﻞ‬ ‫ﻣﻦ ﻏﻨﺎﺋﻬﺎ‪ ،‬ﳌﺎ ﻓﻴﻬﺎ ﻣﻦ ﻛﻼم ﺧﺎدش‪ ،‬واﻟﺤﺠﺔ‬ ‫أن اﻟﺠﻤﻬﻮر ﻳﻄﻠﺐ ﻫﺬا‪ ،‬وأن ﻋﻠﻴﻨﺎ أن ﻧﺤﱰم‬ ‫اﻟﺴﻮق‪ ،‬ﻣﻊ أن ﻫﺬا اﻟﻜﻼم ﻏري ﺻﺤﻴﺢ‪ ،‬ﺑﺪﻟﻴﻞ‬ ‫ﺗﻔﺎﻋﻞ اﻟﺠﻤﻬﻮر ﻣﻊ اﻷﻏﺎين اﻟﺮاﻗﻴﺔ‪.‬‬ ‫ﻛﺜرياً ﻣﺎ ﺗﻜﺮرﻳﻦ ﺑﺄن اﻟﺤﻆ ﻟﻌﺐ دوره‬ ‫ﻣﻌﻚ‪ ،‬ﻣﻨﺬ راﻓﻘﺖ أﺧﺘﻚ اﻟﻔﻨﺎﻧﺔ راﻧﻴﺎ إﱃ‬ ‫ﺣﻔﻞ ﻛﺎﻧﺖ ﺳﺘﻐﻨﻲ ﻓﻴﻪ ﺧﻼل ﻓﻌﺎﻟﻴﺎت‬ ‫ِ‬ ‫اﻟﺘﻘﻴﺖ‬ ‫ﻣﻬﺮﺟﺎن ديب ﻟﻠﺘﺴﻮق‪ ،‬وﻫﻨﺎك‬ ‫اﻟﻔﻨﺎن ﺳﻴﻤﻮن أﺳﻤﺮ اﻟﺬي ﺷﺠﻌﻚ ﻋﲆ‬ ‫اﻟﻐﻨﺎء ﰲ اﻟﺤﻔﻞ‪ ،‬ﻓﻜﻴﻒ ﻟﻌﺐ اﻟﺤﻆ دوره‬ ‫ﰲ ﺗﺠﺮﺑﺘﻚ؟‬ ‫ﺑﺎﻟﻔﻌﻞ ﻟﻌﺐ اﻟﺤﻆ دوره ﻣﻌﻲ ﻟﻴﺲ ﻷين‬ ‫دﺧﻠﺖ اﻟﻔﻦ ﺑﺎﻟﺼﺪﻓﺔ‪ ،‬وأﻋﺘﱪ ﻧﻔﴘ اﻷﻛرث‬ ‫ﺣﻈﺎً ﻷن أوﱃ أﻏﻨﻴﺎيت ﻛﺎﻧﺖ ﻣﻦ أﺷﻌﺎر‬ ‫»اﳌﻐﻔﻮر ﻟﻪ ﺑﺈذن اﻟﻠﻪ« اﻟﺸﻴﺦ زاﻳﺪ ﺑﻦ‬ ‫ﺳﻠﻄﺎن آل ﻧﻬﻴﺎن‪ ،‬وﻫﻮ ﺟﻌﻠﻨﻲ ﻛﺒرية ﺑﺪاﻳﺔ ﰲ‬ ‫ﻧﻈﺮ ﻧﻔﴘ‪ ،‬وﻣﻦ ﺛﻢ ﰲ ﻧﻈﺮ اﻟﻨﺎس‪ ،‬ووﺿﻌﻨﻲ‬ ‫ﰲ ﻣﻜﺎﻧﺔ ﺟﻌﻠﺘﻨﻲ ﺣﺬرة‪ ،‬ﺑﻞ أﺧﺎف وأﺗﺮدد ﰲ‬ ‫ﺧﻴﺎرايت ﻷﺟﻞ أن ﻻ أﻗﻠﻞ ﻣﻦ ﻣﻜﺎﻧﺔ اﺳﻤﻲ‪،‬‬ ‫وأﻧﺎ اﻟﺘﻲ أرى ﻧﻔﴘ ﻋﺎﻟﻴﺎً ﰲ اﻟﺴامء‪ ،‬وﻫﻜﺬا‬ ‫اﺳﺘﻄﻌﺖ اﻟﺤﻔﺎظ ﻋﲆ ﻣﻜﺎﻧﺔ أرﻳﺎم واﻹﺑﻘﺎء‬ ‫ﻋﻠﻴﻬﺎ ﻛام ﻫﻲ مبﻜﺎﻧﺔ ﻋﺎﻟﻴﺔ‪.‬‬

‫ﺗﺠﺮﺑﺔ ﻓﻨﻴﺔ‪K‬‬ ‫دﺧﻠﺖ اﻟﻔﻨﺎﻧﺔ أرﻳﺎم ﻣﺠﺎل اﻟﻔﻦ ﻋﺎم ‪ 1995‬واﻧﻄﻠﻘﺖ ﺑﻘﻮة ﻣﻦ ﺧﻼل أﻏﻨﻴﺘﻬﺎ اﻷوﱃ‬ ‫”ﻳﺎ ﻣﻌﺰل“ ﰲ رﺻﻴﺪﻫﺎ ‪ 9‬أﻟﺒﻮﻣﺎت ﻏﻨﺎﺋﻴﺔ‪ ،‬ﻣﻨﻬﺎ ”ﻓﻴﺘﺎﻣني اﻟﻐﺮام“ و“ﻣﻬﺮﺟﺎن ﻣﻄﻠﻊ‬ ‫اﻟﺸﻤﺲ اﻷول“ واﻟﻌﺪﻳﺪ ﻣﻦ أﻏﺎين ”اﻟﺴﻨﻐﻞ“ ﻣﻨﻬﺎ ”ﺳﻼم اﻟﺤﺐ‪ ،‬واﻟﻨﺴﺎء‪ ،‬وﻻﺗﻮدﻋﻨﻲ‬ ‫ﺑﺎﻟﺪﻣﻮع وﻏريﻫﺎ اﻟﻜﺜري“‪ .‬ﻗﺪﻣﺖ ﻋﺪة ﺑﺮاﻣﺞ‪ ،‬ﻛام ﺧﺎﺿﺖ أوﱃ ﺗﺠﺎرب اﻟﺘﻤﺜﻴﻞ ﻣﻦ‬ ‫ﺧﻼل ﻣﺴﻠﺴﻞ ”ﺳﻠﻄﺎن اﻟﺤﺐ“‬

‫اﻟﺸﻌﺮ ‪ /‬اﻟﻌﺪد ‪64‬‬ ‫‪ 72‬ﺑﻴﺖ ِ‬

‫ﺑﻌﻴﺪ ًا ﻋﻦ اﻟﻐﻨﺎء‪K‬‬ ‫ِ‬ ‫ﺗﻜﺘﻒ ﺑﺎﻟﻔﻦ ﺑﻞ ﺣﺼﻠﺖ ﻋﲆ درﺟﺔ‬ ‫مل‬ ‫اﳌﺎﺟﺴﺘري‪ ،‬ﻓﻬﻞ ﺗﻔﻜﺮﻳﻦ ﻓﻴام ﺑﻌﺪ اﻟﺘﺤﻀري‬ ‫ﻟﻨﻴﻞ اﻟﺪﻛﺘﻮراه؟‬ ‫ﺑﺎﻟﻔﻌﻞ ﺣﺼﻠﺖ ﻋﲆ درﺟﺔ اﳌﺎﺟﺴﺘري ﰲ‬ ‫اﻹﻋﻼم اﻟﺴﻴﺎﳼ‪ ،‬ﺑﺎﻣﺘﻴﺎز ﻣﻊ ﻣﺮﺗﺒﺔ اﻟﴩف‪،‬‬ ‫ﻣﻦ ﺟﺎﻣﻌﺔ زاﻳﺪ وﺗﻢ ﺗﻜﺮميﻲ ﻣﻦ ﻗﺒﻞ ﺳﻤﻮ‬ ‫اﻟﺸﻴﺨﺔ ﻓﺎﻃﻤﺔ ﺑﻨﺖ ﻣﺒﺎرك رﺋﻴﺴﺔ اﻻﺗﺤﺎد‬ ‫اﻟﻨﺴﺎيئ اﻟﻌﺎم‪ ،‬اﻟﺮﺋﻴﺲ اﻷﻋﲆ ﳌﺆﺳﺴﺔ اﻟﺘﻨﻤﻴﺔ‬ ‫اﻷﴎﻳﺔ‪ ،‬رﺋﻴﺴﺔ اﳌﺠﻠﺲ اﻷﻋﲆ ﻟﻸﻣﻮﻣﺔ‬ ‫واﻟﻄﻔﻮﻟﺔ‪ ،‬ﻟﻜﻦ اﻵن ﻣﺠﺮد ﺗﻔﻜريي ﺑﺎﻟﺘﺤﻀري‬ ‫ﻟﻠﺪﻛﺘﻮراه ﻳﺸﻌﺮين ﺑﺄين ﻛﱪت ﺟﺪاً‪ ،‬ورﻏﻢ ذﻟﻚ‬ ‫ﻳﺒﻘﻰ اﳌﻮﺿﻮع ﻣﺤﺘﻤ ًﻼ‪ ،‬ورمبﺎ أﺷﻌﺮ ﻓﺠﺄة‬ ‫ﺑﺄﻧﻪ ﻋﲇ اﻟﺘﺤﻀري ﻟﻨﻴﻞ درﺟﺔ اﻟﺪﻛﺘﻮراه‪.‬‬

‫ﻟﻴﺴﺖ اﳌﺮة اﻷوﱃ اﻟﺘﻲ ﺗﻐﻨﻲ ﻓﻴﻬﺎ ﰲ‬ ‫ﻣﻬﺮﺟﺎن ﺳﻠﻄﺎن ﺑﻦ زاﻳﺪ اﻟﱰايث ﰲ ﺳﻮﻳﺤﺎن‪،‬‬ ‫ﻓام ﺧﺼﻮﺻﻴﺔ ﻏﻨﺎﺋﻚ ﰲ ﻫﺬا اﳌﻬﺮﺟﺎن؟‬ ‫إن ﻫﺬا اﳌﻬﺮﺟﺎن ﻋﺰﻳﺰ ﻋﲆ ﻗﻠﺒﻲ‪ ،‬وأﻧﺘﻈﺮه‬ ‫ﻣﻦ ﺳﻨﺔ إﱃ ﺳﻨﺔ‪ ،‬وﻣﻦ ﺧﻼﻟﻪ أرى ﺗﻔﺎﻋﻞ‬ ‫اﻟﻨﺎس اﻟﻜﺒري ﻣﻌﻲ‪ ،‬وﻋﻨﺪﻣﺎ أﺷﺎﻫﺪ اﻟﻔﻴﺪﻳﻮ‬ ‫اﻟﺬي ﻳﺼﻮر ﺣﻔﻠﺘﻲ ﰲ ﻫﺬا اﳌﻬﺮﺟﺎن أرى‬ ‫ﻧﻔﴘ أين ﻛﻨﺖ ﺑﻜﺎﻣﻞ ﻃﺎﻗﺘﻲ‪ ،‬وﻫﺬا ﻣﺎ رﺻﻴﺪ ﻏﻨﺎﺋﻲ‪K‬‬ ‫ﻣﺎ اﻟﺠﺪﻳﺪ اﻟﺬي ﺗﺤﴬﻳﻨﻪ ﺧﻼل ﻫﺬه‬ ‫ﻳﻌﻨﻲ أﻧﻪ ﻳﻌﻨﻲ ﱄ أﻛرث ﻣﻦ ﻛﻮﻧﻪ ﻣﻬﺮﺟﺎن‪.‬‬ ‫اﻟﻔﱰة؟‬ ‫ﻣﺎ أﻫﻤﻴﺔ اﻟﻐﻨﺎء اﳌﺒﺎﴍ أﻣﺎم اﻟﺠﻤﻬﻮر؟ ﻫﻨﺎك ﺗﻌﺎون ﺟﺪﻳﺪ ﺑﻴﻨﻲ وﺑني ﻳﻮﺳﻒ‬ ‫ﻳﻜﻔﻴﻨﻲ ﰲ ﻫﺬه اﻟﺤﺎﻟﺔ اﻟﺘامس ﻣﺤﺒﺔ اﻟﻨﺎس اﻟﻌامين‪ ،‬وﺳﺄﻏﻨﻲ ﻣﻦ ﻛﻠامﺗﻪ وأﻟﺤﺎﻧﻪ ﰲ‬ ‫اﻟﺘﻲ أراﻫﺎ ﰲ ﻋﻴﻮﻧﻬﻢ‪ ،‬إﱃ ﺟﺎﻧﺐ ﺗﻔﺎﻋﻠﻬﻢ أﻏﻨﻴﺔ ﺗﺘﻤﻴﺰ ﺑﺄﺳﻠﻮب ﺟﺪﻳﺪ‪ ،‬وﻛﻠامت ﻗﺮﻳﺒﺔ‬ ‫ﻣﻊ أﻏﻨﻴﺎيت‪ ،‬وﻣﻄﺎﻟﺒﺘﻬﻢ ﺑﺄﻏﺎنٍ أﺣﺒﻮﻫﺎ‪ ،‬ﻛام إﱃ اﻟﻨﺎس‪ ،‬وﻣﻨﻬﺎ مبﺎ ﻣﻌﻨﺎه أﻧﻪ ﻋﻨﺪﻣﺎ ﻳﺰﻋﻞ‬ ‫إﻧﻬﻢ ﻳﻌﱪون ﻋﻦ اﻧﻄﺒﺎﻋﺎﺗﻬﻢ اﻟﺠﻤﻴﻠﺔ ﻣﻦ أﺣﺪ ﻣﻦ اﻵﺧﺮ ﻳﻘﺎل ﻟﻪ »اﻟﺪرب اﻟﲇ ودي‬ ‫ﺧﻼل اﻟﺮﺳﺎﺋﻞ واﻟﺘﻌﻠﻴﻘﺎت اﻟﺘﻲ ﺗﺼﻠﻨﻲ ﺑﻌﺪ ﻣﺎ ﻳﺠﻴﺐ«‪.‬‬ ‫اﻟﺤﻔﻠﺔ‪ ،‬وﺑﺎﻷﺳﺎس ﻻ ميﻜﻦ ﻷﺣﺪ اﻟﺬﻫﺎب‬ ‫ﻫﻞ ﻫﻨﺎك ﻓﻜﺮة ﻟﺘﺼﻮﻳﺮ اﻷﻏﻨﻴﺔ ﺑﻄﺮﻳﻘﺔ‬ ‫إﱃ ﺣﻔﻞ أﺣﺪ اﻟﻔﻨﺎﻧني إﻻ إذا ﻛﺎن ﻣﻌﺠﺒﺎً ﺑﻪ‬ ‫»اﻟﻔﻴﺪﻳﻮ ﻛﻠﻴﺐ«؟‬ ‫وﻳﺤﺐ أن ﻳﺴﺘﻤﻊ إﻟﻴﻪ‪.‬‬ ‫ﻟﺪي اﺣﺘامل ﻟﺘﺼﻮﻳﺮﻫﺎ وذﻟﻚ ﺑﻌﺪ ﺗﺴﺠﻠﻴﻬﺎ‬ ‫ّ‬ ‫ﻳﻘﺎل إن اﻟﻐﻨﺎء ﻋﲆ اﳌﴪح ﻫﻮ اﺧﺘﺒﺎر وﻃﺮﺣﻬﺎ ﻟﻠﺠﻤﻬﻮر‪.‬‬ ‫ﻟﻘﺪرة اﻟﻔﻨﺎن ﻓام رأﻳﻚ؟‬ ‫اﻟﻔﻨﺎﻧﻮن ﻫﺬه اﻷﻳﺎم ﻳﺘﺠﻬﻮن إﱃ ﺗﻘﺪﻳﻢ‬ ‫ﺑﺎﻟﻔﻌﻞ ﺣﺘﻰ اﻟﻨﺎس ﻏري اﳌﺘﺨﺼﺼني‬ ‫ﺑﺎﳌﻮﺳﻴﻘﻰ‪ ،‬ﺣني ﻳﺴﻤﻌﻮن ﺑﻌﺾ اﻟﻔﻨﺎﻧني اﻷﻏﺎين »اﻟﺴﻨﻐﻞ« ﻓﻬﻞ ﺗﻌﺘﱪ ﻣﺜﻞ ﻫﺬه‬

‫ﻣﺒﺎﴍة ﻋﲆ اﳌﴪح ﻳﺠﺪون ﺻﻮﺗﻪ ﻣﺨﺘﻠﻔﺎً‬ ‫متﺎﻣﺎً ﻋﻦ ﺻﻮﺗﻪ ﰲ أﻟﺒﻮﻣﻪ اﻟﻐﻨﺎيئ‪ ،‬وﻟﻬﺬا‬ ‫ﻳﻜﺸﻒ اﻟﻐﻨﺎء اﳌﺒﺎﴍ ﻋﻦ اﻟﻔﻨﺎن اﳌﺘﻤﻜﻦ‬ ‫وﻏري اﳌﺘﻤﻜﻦ‪ .‬ﻣﻊ ﻗﻨﺎﻋﺘﻲ ﺑﺄن اﻟﻔﻦ ﻛﺎﻟﺤﻆ‪،‬‬ ‫ﻗﺪ ﻳﺤﺎﻟﻒ ﻓﻨﺎﻧني وآﺧﺮﻳﻦ ﻻ‪ ،‬وﻫﻮ ﻣﺎ ﻳﺪﻋﻮين‬ ‫ﻟﻼﺳﺘﻐﺮاب ﰲ اﻟﻜﺜري ﻣﻦ اﻷﺣﻴﺎن‪.‬‬

‫اﻷﻏﺎين وﺟﻮداً ﻣﺴﺘﻤﺮاً ﻟﻠﻔﻨﺎن ﻋﲆ اﻟﺴﺎﺣﺔ‬ ‫اﻟﻐﻨﺎﺋﻴﺔ؟‬ ‫ﻫﺬا رأﻳﻲ‪ ،‬ﻓﻬﻮ وﺟﻮد ﻟﻠﻔﻨﺎن ورﺻﻴﺪ ﻏﻨﺎيئ‬ ‫ﻟﻪ‪ ،‬وﺑﺎﻟﻮاﻗﻊ ﻋﻨﺪﻣﺎ ﻳﺼﺪر أﻟﺒﻮم ﻏﻨﺎيئ ﻷي‬ ‫ﻓﻨﺎن ﻳﺘﻢ اﻟﱰﻛﻴﺰ ﻋﲆ أﻏﻨﻴﺔ أو اﺛﻨﺘني ﻣﻦ‬ ‫أﻏﺎين اﻷﻟﺒﻮم‪ ،‬وﻟﻬﺬا ﻧﺮى اﻵن إﻧﻪ ﻣﻦ اﻟﻨﺎدر‬ ‫أن ﻳﺼﺪر اﻟﻔﻨﺎن أﻟﺒﻮﻣﺎً ﻏﻨﺎﺋﻴﺎً ﺑﻘﺪر اﺗﺠﺎﻫﻪ‬ ‫ﻟﺘﻘﺪﻳﻢ »اﻟﺴﻨﻐﻞ« اﻟﺘﻲ ﻳﺘﻢ اﻟﺘﺤﻜﻢ ﺑﻬﺎ‬ ‫وﺗﺒﻘﻰ ﰲ اﻟﺬاﻛﺮة‪.‬‬ ‫ﻣﻜﺎﻧﺔ ﻋﺎﻟﻴﺔ‪K‬‬ ‫ﻫﻞ ﻟﺪﻳﻚ ﻃﻘﻮس ﻣﻌﻴﻨﺔ ﻋﻨﺪ اﻟﺘﺤﻀري‬ ‫ﻹﺣﺪى أﻏﻨﻴﺎﺗﻚ؟‬ ‫ﻣﻤﻜﻦ أﺣﻴﺎﻧﺎً ﺣني اﻻﺳﺘامع إﱃ ﻓﻨﺎن ﻣﺎ‪،‬‬ ‫ﺗﻌﺠﺒﻨﻲ أﻏﻨﻴﺘﻪ‪ ،‬ان أﺗﻮاﺻﻞ ﻣﻊ اﻟﺸﺎﻋﺮ‬ ‫اﻟﺬي ﻛﺘﺒﻬﺎ‪ ،‬وأﻃﻠﺐ ﻣﻨﻪ اﻹﻃﻼع ﻋﲆ ﻛﻠامت‬ ‫ﻗﺮﻳﺒﺔ ﻣﻦ اﳌﻮﺿﻮع واﳌﺤﺘﻮى‪ ،‬ﻻﺧﺘﺎر ﰲ‬ ‫اﳌﺤﺼﻠﺔ ﻣﺎ ﻳﻼﻣﺴﻨﻲ أﻧﺎ‪ ،‬ﻷين ﻻ أرﻳﺪ أن‬ ‫ﻳﻜﻮن اﻟﺸﺎﻋﺮ ﺗﺤﺖ اﻟﻄﻠﺐ‪ ،‬وﻟﻬﺬا أﺑﺤﺚ‬ ‫ﻋﻦ اﻷﺳﺒﺎب اﻟﺘﻲ ﻛﺎﻧﺖ وراء ﻛﺘﺎﺑﺔ ﻗﺼﺎﺋﺪه‪،‬‬ ‫ﺣﻴﻨﻬﺎ ميﻜﻦ اﻟﺘﻔﺮﻳﻖ ﺑني اﻟﻜﻠامت واﻷﻓﻜﺎر‬ ‫وﻣﺤﺘﻮى اﻟﻘﺼﻴﺪة‪ ،‬وأذﻛﺮ ﻫﻨﺎ أﻏﻨﻴﺔ ﻗﺪميﺔ‬ ‫ﻣﻦ ﻛﻠامت اﻟﺸﺎﻋﺮ ﻋﻴﺪ اﻟﺸﻤﺮي‪ ،‬ﺟﺎء ﰲ‬ ‫ﻣﻄﻠﻌﻬﺎ »ﻋﻨﺪي ﻛﻼم وﺧﺎﻃﺮي ﻟﻚ أﻗﻮﻟﻪ« وﻻ‬ ‫ﻓﺒﺮاﻳﺮ ‪71 2018 /‬‬

‫ﺧﺎرج اﻟﻨﺺ‬ ‫‪baytelshear‬‬

‫ﺗﻐﻨﻲ ﻓﻲ ﻣﻬﺮﺟﺎن ﺳﻠﻄﺎن ﺑﻦ زاﻳﺪ اﻟﺘﺮاﺛﻲ وﺗﻨﺘﻈﺮه ﻣﻦ ﺳﻨﺔ إﻟﻰ أﺧﺮى‬

‫أرﻳﺎم‪ :‬ﻏﻨﺎﺋﻲ ﻟﺸﻌﺮ اﻟﺸﻴﺦ زاﻳﺪ‬ ‫ﺟﻌﻠﻨﻲ ﻛﺒﻴﺮة ﻣﻨﺬ اﻟﺒﺪاﻳﺔ‬ ‫ﺣﻮار ﺑﺸﺮى ﻋﺒﺪا ‪:‬‬

‫ﻋﺮﻓﺖ اﻟﻔﻨﺎﻧﺔ اﻹﻣﺎراﺗﻴﺔ أرﻳﺎم ﺑﻴﻦ‬ ‫اﻟﻨﺎس ﻣﻦ ﺧﻼل أﻏﻨﻴﺘﻬﺎ »ﻳﺎ ﻣﻌﺰل«‬ ‫وﻫﻲ ﻣﻦ ﻛﻠﻤﺎت اﻟﻤﻐﻔﻮر ﻟﻪ ﺑﺈذن ا ‬ ‫اﻟﺸﻴﺦ زاﻳﺪ ﺑﻦ ﺳﻠﻄﺎن آل ﻧﻬﻴﺎن‪ W‬ﻫﺬا‬ ‫اﻷﻣﺮ دﻓﻊ أرﻳﺎم ﻟﻠﻘﻮل »أﻋﺘﺒﺮ ﻧﻔﺴﻲ‬ ‫ﻣﺤﻈﻮﻇﺔ ﻣﻦ اﻟﺒﺪاﻳﺔ‪ ،‬ﻷﻧﻲ ﻏﻨﻴﺖ ﻣﻦ‬ ‫ﻛﻠﻤﺎت اﻟﺸﻴﺦ زاﻳﺪ‪ ،‬وﻫﻮ ﻣﺎ ﺟﻌﻠﻨﻲ أﺑﺪأ‬ ‫ﻛﺒﻴﺮة وﻻ أزال ﻛﺬﻟﻚ«‪W‬‬ ‫ﺑﻘﻲ اﻟﺸﻌﺮ ﻣﺘﻼزﻣ ًﺎ ﻣﻊ ﺗﺠﺮﺑﺔ أرﻳﺎم‪،‬‬ ‫وﻫﻮ ﻣﺎ دﻋﻢ ﻣﺸﻮارﻫﺎ اﻟﻔﻨﻲ‪ ،‬ﻷﻧﻬﺎ‬ ‫ﻏﻨﺖ ﻣﻦ ﻗﺼﺎﺋﺪ ﻛﺒﺎر اﻟﺸﻌﺮاء ﻣﺜﻞ‬ ‫ﻋﻠﻲ ﺑﻦ ﺳﺎﻟﻢ اﻟﻜﻌﺒﻲ‪ ،‬وﻣﺤﻤﺪ ﺑﻦ‬ ‫ﺳﺎﻟﻢ اﻟﻈﺎﻫﺮي وﻣﻄﻠﻊ اﻟﺸﻤﺲ‪W‬‬ ‫وأرﻳﺎم اﻟﺘﻲ ﻗﺎدﺗﻬﺎ اﻟﺼﺪﻓﺔ إﻟﻰ‬ ‫ﻣﺴﻴﺮﺗﻬﺎ اﻟﻔﻨﻴﺔ‪ ،‬ﻓﻲ اﻟﻌﺎم ‪،1995‬‬ ‫ﺗﻐﻨﻲ ﻓﻲ ﻣﻬﺮﺟﺎن ﺳﻠﻄﺎن ﺑﻦ زاﻳﺪ‬ ‫اﻟﺘﺮاﺛﻲ اﻟﻤﻘﺎم ﻓﻲ ﺳﻮﻳﺤﺎن ﻣﻦ ‪21‬‬ ‫ﻳﻨﺎﻳﺮ اﻟﻤﺎﺿﻲ ﻟﻐﺎﻳﺔ ‪ 3‬ﻓﺒﺮاﻳﺮ ‪،2018‬‬ ‫وﻋﻦ ﻫﺬا ﺗﺤﺪﺛﺖ ﻟ »ﺑﻴﺖ اﻟﺸﻌﺮ« ﻛﻤﺎ‬ ‫ﻛﺸﻔﺖ ﻋﻦ ﺟﺪﻳﺪﻫﺎ اﻟﻔﻨﻲ ﻣﻦ ﺧﻼل‬ ‫اﻟﺤﻮار اﻟﺘﺎﻟﻲ ‬

‫اﻟﺸﻌﺮ ‪ /‬اﻟﻌﺪد ‪64‬‬ ‫‪ 70‬ﺑﻴﺖ ِ‬

‫اﻟﺬي ﻳﺤﺼﻞ ﻋﻠﻴﻪ ﻣﻦ ﺧﻼﻟﻪ‪ ،‬وﻫﺬا اﻷﻣﺮ‬ ‫اﻟﺬي ﺗﻌﻠﻤﺘﻪ ﺧﻼل ﺳﻨﻮات ﺧﱪيت‪ ،‬ﻋﺮﻓﺖ‬ ‫ﻣﻌﻪ ﻛﻴﻒ أﺣﺎﻓﻆ ﻋﲆ اﳌﻴﺰان اﻟﺘﺠﺎري‬ ‫راﺑﺤﺎً ﻓﻴام ﻳﺨﺺ اﳌﺪﻓﻮﻋﺎت واﳌﻘﺒﻮﺿﺎت ﰲ‬ ‫ﻫﺬا اﳌﺠﺎل‪ ،‬وﻫﺬا ﺣﺎل أي ﻋﻤﻞ أو ﻣﻬﻨﺔ‬ ‫ﻳﻘﻮم ﺑﻬﺎ اﻹﻧﺴﺎن‪ ،‬وأﻧﺎ ﻻ أرﻳﺪ أن أﻗﻊ ﻓﻴام‬ ‫وﻗﻊ ﺑﻪ اﻟﻜﺜريون ﺣني اﺷﱰوا ﻣﻌﺪات مبﺌﺎت‬ ‫اﻵﻻف‪ ،‬ﺛﻢ ﺟﻠﺴﻮا ﻳﺘﻔﺮﺟﻮن ﻋﻠﻴﻬﺎ ﻣﻦ دون‬ ‫أن ﻳﺴﺘﻔﻴﺪوا ﻣﻨﻬﺎ«‪ ،‬وﻫﻨﺎ ﻳﺸري اﳌﻄﺮوﳾ‬ ‫إﱃ اﻟﺴﻴﺎﺳﺔ اﻟﺘﺠﺎرﻳﺔ اﻟﺘﻲ ﺗﻨﺘﻬﺠﻬﺎ اﻟﴩﻛﺎت‬ ‫اﳌﺼﻨﻌﺔ ﳌﻌﺪات اﻟﺘﺼﻮﻳﺮ‪ ،‬ﻳﻘﻮل‪» :‬ﺗﻨﺘﺞ‬ ‫ﻫﺬه اﻟﴩﻛﺎت ﺳﻴﺎﺳﺎت ﻃﻮﻳﻠﺔ اﳌﺪى‪،‬‬ ‫ﺑﻬﺪف دﻓﻊ ﻫﻮاة اﻟﺘﺼﻮﻳﺮ إﱃ ﴍاء اﳌﺰﻳﺪ‬ ‫واﳌﺰﻳﺪ‪ ،‬ﻓﻬﻲ ﻋﻨﺪﻣﺎ ﺗﻨﺘﺞ ﺗﻘﻨﻴﺔ ﺟﺪﻳﺪة‬ ‫ﻳﻜﻮن ﻫﻨﺎك ﻋﴩات اﻟﺘﻘﻨﻴﺎت اﻷﺧﺮى ﻗﻴﺪ‬ ‫اﻻﺧﺘﺒﺎر‪ ،‬وﺑﺎﻟﺘﺎﱄ دامئﺎً ﻳﺴﻌﻰ اﻟﺤﺎمل ﺑﺎﺣﱰاف‬ ‫اﻟﺘﺼﻮﻳﺮ إﱃ ﴍاء أﺣﺪث اﻟﺘﻘﻨﻴﺎت‪ ،‬وﻫﻨﺎك‬ ‫دامئﺎً أﺣﺪث«‪.‬‬ ‫وﻳﺆﻛﺪ اﳌﻄﺮوﳾ ﺑﺄن اﻟﻮﺻﻮل إﱃ اﻟﻘﻤﺔ ﰲ‬ ‫ﻋﺎمل اﻟﺘﺼﻮﻳﺮ أﻣﺮ ﺻﻌﺐ ﺟﺪاً‪ ،‬وذﻟﻚ ﻧﺎﺟﻢ‬ ‫ﻋﻦ اﻟﺘﺸﻌﺒﺎت اﻟﻜﺜرية ﰲ ﻫﺬا اﻟﻔﻦ‪ ،‬ﺣﻴﺚ‬ ‫ﻳﻘﻮل‪» :‬ﻫﻨﺎك ﻋﴩات اﻟﻌﻨﺎوﻳﻦ ﰲ ﻋﺎمل‬ ‫اﻟﺘﺼﻮﻳﺮ ﻣﺜﻞ اﻟﺒﻮرﺗﺮﻳﻪ واﳌﺎﻛﺮو‪ ،‬اﻟﻄﺒﻴﻌﺔ‪،‬‬

‫اﻟﺸﺎرع‪ ،‬اﳌﻌامري‪ ،‬وﻏريﻫﺎ‪ ،‬واﳌﺘﻠﻬﻒ ﻟﺪﺧﻮل‬ ‫ﻋﺎمل اﻟﺘﺼﻮﻳﺮ ﻳﺴﻌﻰ ﻣﴪﻋﺎً ﻟﺘﻘﻠﻴﺪ اﻟﺼﻮر‬ ‫اﳌﻤﻴﺰة واﻟﺤﺎﺋﺰة ﻋﲆ اﻟﺠﻮاﺋﺰ‪ ،‬ﻓﺈﻣﺎ أﻧﻪ ﻟﻦ‬ ‫ﻳﺴﺘﻄﻴﻊ ﺗﻘﻠﻴﺪﻫﺎ وﺑﺎﻟﺘﺎﱄ ﻳﺼﻞ إﱃ اﻟﻴﺄس‪ ،‬أو‬ ‫ﻳﻨﺠﺢ ﰲ ذﻟﻚ ﻓﻴﺼﻞ إﱃ ﻣﺮﺣﻠﺔ اﻟﺘﺸﺒﻊ‪ ،‬وﻫﻨﺎ‬ ‫ﻋﲆ اﳌﺼﻮر أن ﻳﺮﺳﻢ ﻟﻨﻔﺴﻪ ﻃﺮﻳﻘﻪ اﻟﺨﺎص‪،‬‬ ‫وﻳﺤﺎول أن ﻳﻘﺪم ﻓﻴﻪ اﻟﺠﺪﻳﺪ ﻣﺴﺘﻔﻴﺪاً ﻣﻦ‬ ‫اﻵﺧﺮﻳﻦ وﻟﻴﺲ ﻣﻘﻠﺪاً ﻟﻬﻢ«‪.‬‬ ‫وﺑﻌﺪ ﺗﻨﻘﻠﻪ ﰲ ﻋﺪة ﻣﺠﺎﻻت وﺟﺪ اﳌﻄﺮوﳾ‬ ‫ﰲ ﻧﻔﺴﻪ ﻣﻴ ًﻼ أﻛﱪ ﻟﺘﺼﻮﻳﺮ اﻟﻮﺟﻮه )اﻟﺒﻮرﺗﺮﻳﻪ(‬ ‫وﻋﻦ ﻫﺬه اﻟﻨﻘﻄﺔ ﻳﻘﻮل‪» :‬ﺑﺎﻟﻨﺴﺒﺔ ﱄ‪،‬‬ ‫ﻓﺈن اﻟﺼﻮرة اﻷﻓﻀﻞ اﻟﺘﻲ ﺗﺪﺧﻞ اﻟﻔﺮﺣﺔ‬ ‫إﱃ اﻟﻘﻠﻮب وﺗﺮﺳﻢ اﻟﺒﺴﻤﺔ ﻋﲆ اﻟﻮﺟﻮه‪،‬‬ ‫ﻫﻲ ﺻﻮر اﻟﺒﻮرﺗﺮﻳﻪ‪ ،‬ﻓﻬﻲ ﺗﺪﺧﻞ اﻻﺑﺘﺴﺎﻣﺔ‬ ‫ﻋﲆ ﻗﻠﺐ اﳌﺘﺼﻮر وﻋﲆ ﻗﻠﺒﻲ وﻋﲆ ﻗﻠﺐ‬ ‫ﻛﻞ ﻣﻦ ﻳﺮاﻫﺎ‪ ،‬وﺧﺎﺻﺔ ﻋﻨﺪﻣﺎ ﺗﺘﺴﻢ ﻫﺬه‬ ‫اﻟﺼﻮرة ﺑﺎﻟﻌﻔﻮﻳﺔ‪ .‬أﻧﺎ دامئﺎً ﰲ ﺣﺎﻟﺔ ﺑﺤﺚ‬ ‫ﻋﻦ أﺷﺨﺎص ﻷﺻﻮرﻫﻢ‪ ،‬رﺟﺎل‪ ،‬أﻃﻔﺎل‪ ،‬ﻧﺴﺎء‪،‬‬ ‫وﺣﺒﻲ ﻟﺘﺼﻮﻳﺮ اﻟﻮﺟﻮه ﻻ ﻳﻌﻨﻲ أين مل أﺟﺮب‬ ‫ﺑﺎﻗﻲ اﻷﻧﻮاع‪ ،‬ﻓﻘﺪ ﻛﺎن ﱄ ﺗﺠﺮﺑﺔ ﺟﻴﺪة ﻣﻊ‬ ‫اﻟﺘﺼﻮﻳﺮ اﳌﻘﺮب‪ ،‬ﻓﺮﺣﺖ أﺻﻮر اﻟﺤﴩات‪،‬‬ ‫وﻛﺎﻧﺖ اﻟﻨﺘﺎﺋﺞ ﺟﻤﻴﻠﺔ ﺟﺪاً‪ ،‬ﻓام أروع أن‬ ‫ﺗﺸﺎﻫﺪ ﺑﺪﻳﻊ ﺧﻠﻖ اﻟﻠﻪ واﻟﺘﻲ ﻻ ميﻜﻦ ﻟﻚ‬

‫أن ﺗﺸﺎﻫﺪه ﺑﺎﻟﻌني اﳌﺠﺮدة‪ .‬ﻛام دﺧﻠﺖ ﻋﺎمل‬ ‫اﻟﺘﺼﻮﻳﺮ اﳌﻌامري‪ ،‬ﺣﻴﺚ ﻛﻨﺖ أﺛﻨﺎء اﻟﻌﻤﻞ‬ ‫أﺻﻮر اﳌﻨﺸﺂت ﺧﻼل ﻋﻤﻠﻴﺔ اﻟﺒﻨﺎء‪ ،‬أي ﻗﺒﻞ‬ ‫وﺑﻌﺪ‪ ،‬ودامئﺎً ﻣﺎ ﻛﺎﻧﺖ أﻋامﱄ ﺗﻨﺎل اﺳﺘﺤﺴﺎن‬ ‫اﳌﺪﻳﺮﻳﻦ‪ ،‬ﻟﻜﻦ وﻟﺨﺼﻮﺻﻴﺔ اﻟﻌﻤﻞ ﻛﺎن ﻣﻦ‬ ‫ﻏري اﳌﺴﻤﻮح ﻋﺮﺿﻬﺎ«‪.‬‬ ‫ﻳﻄﻤﺢ ﻫﺎﺷﻢ إﱃ ﺗﺄﺳﻴﺲ ﻓﺮﻳﻖ ﻣﻦ اﳌﺼﻮرﻳﻦ‬ ‫اﳌﺤﱰﻓني ﻟﻠﻘﻴﺎم مبﺸﺎرﻳﻊ ﺗﺼﻮﻳﺮ ﻛﺒرية ﻳﻜﻮن‬ ‫ﻟﻬﺎ وزﻧﻬﺎ ﰲ اﻟﺴﺎﺣﺔ اﻟﻔﻨﻴﺔ‪ ،‬ﻳﻘﻮل اﳌﻄﺮوﳾ‪:‬‬ ‫»أﺣﺐ أن أﻋﻤﻞ ﻣﻊ ﻓﺮﻳﻖ ﻣﺤﱰف‪ ،‬ﻧﺨﻄﻂ‬ ‫وﻧﺴﻌﻰ ﻟﺘﻘﺪﻳﻢ ﺻﻮر ﻋﺎﻟﻴﺔ اﻟﻘﻴﻤﺔ اﻟﻔﻨﻴﺔ‪،‬‬ ‫ﻟﺬا أﺣﺮص دامئﺎً ﻋﲆ اﳌﺸﺎرﻛﺔ ﰲ اﻟﻔﻌﺎﻟﻴﺎت‬ ‫اﻟﺘﻲ ﺗﻨﻈﻤﻬﺎ ﺟﻤﻌﻴﺎت واﺗﺤﺎدات اﻟﺘﺼﻮﻳﺮ ﰲ‬ ‫اﻟﺪوﻟﺔ‪ ،‬وﻣﻨﻬﺎ رﺣﻠﺔ ﻟﻴﻮا اﻟﻔﻮﺗﻐﺮاﻓﻴﺔ‪ ،‬ﻛﺎﻧﺖ‬ ‫رﺣﻠﺔ ﺟﻤﻴﻠﺔ ﺟﺪاً‪ ،‬ﻛﺎﻧﺖ أﺟﻤﻞ اﻟﺮﺣﻼت‬ ‫اﻟﺘﻲ ﺷﺎرﻛﺖ ﺑﻬﺎ‪ ،‬ﺗﻌﻠﻤﺖ ﻣﻨﻬﺎ اﻟﻜﺜري‬ ‫واﺳﺘﻔﺪت ﻣﻦ ﺧﱪات ﺑﺎﻗﻲ زﻣﻼيئ اﳌﺼﻮرﻳﻦ‪،‬‬ ‫ﻟﺪي‬ ‫ﺗﻌﻠﻤﺖ ﺗﻘﻨﻴﺎت ﺟﺪﻳﺪة‪ ،‬ﻛام ﻗﺪﻣﺖ ﻣﺎ ﱠ‬ ‫ﻣﻦ ﺧﱪات ﻟﻶﺧﺮﻳﻦ‪ ،‬ﻛﺎﻧﺖ ﺗﺠﺮﺑﺔ ﺗﺸﺎرﻛﻴﺔ‬ ‫راﺋﻌﺔ‪ .‬ﻋﺮﻓﺖ ﰲ ﻫﺬه اﻟﺮﺣﻠﺔ اﳌﻌﻨﻰ‬ ‫اﻟﺤﻘﻴﻘﻲ ﻟﺴﺤﺮ ﻟﻴﻮا‪ ،‬وﻫﻨﺎ أﺷﻜﺮ ﺟﻤﻴﻊ ﻣﻦ‬ ‫ﻗﺎﻣﻮا ﻋﲆ ﺗﻨﻈﻴﻢ ﻫﺬه اﻟﺮﺣﻠﺔ اﻟﺘﻲ ﻓﺎﻗﺖ ﰲ‬ ‫ﺗﻨﻈﻴﻤﻬﺎ وروﻋﺘﻬﺎ ﻛﻞ اﻟﺘﻮﻗﻌﺎت«‪.‬‬ ‫ﻓﺒﺮاﻳﺮ ‪69 2018 /‬‬

‫ﻣﺒﺪﻋ!!!!!!ﻮن‬ ‫‪baytelshear‬‬

‫أﻛﺪ أن اﻟﻮﺻﻮل إﻟﻰ اﻟﻘﻤﺔ ﻓﻲ ﻋﺎﻟﻢ اﻟﺘﺼﻮﻳﺮ ﺻﻌﺐ ﺟﺪاً‬

‫ﻫﺎﺷﻢ اﻟﻤﻄﺮوﺷﻲ‪ :‬أﺣﻠﻢ ﺑﻤﺸﺮوع‬ ‫ﻓﻮﺗﻐﺮاﻓﻲ ﻛﺒﻴﺮ‬

‫ﻣﺼﻄﻔﻰ ﺟﻨﺪي‬

‫ﺗﺸﻬﺪ اﻟﺴﺎﺣﺔ اﻟﻔﻮﺗﻐﺮاﻓﻴﺔ‬ ‫اﻹﻣﺎراﺗﻴﺔ ﻧﺸﺎﻃ ًﺎ ﻛﺒﻴﺮ ًا‪ ،‬أﺛﻤﺮ‬ ‫ﻋﻦ ﻇﻬﻮر ﻋﺪد ﻣﻦ اﻟﻤﻮاﻫﺐ‬ ‫اﻟﻔﻮﺗﻐﺮاﻓﻴﺔ اﻹﻣﺎراﺗﻴﺔ‪ ،‬اﻟﺘﻲ ﺳﻌﺖ‬ ‫وﺗﺴﻌﻰ ﺑﺸﻜﻞ ﻣﺴﺘﻤﺮ إﻟﻰ ﺗﻄﻮﻳﺮ‬ ‫إﻣﻜﺎﻧﻴﺎﺗﻬﺎ وﺗﻘﺪﻳﻢ اﻷﺟﻤﻞ ﻓﻲ ﻫﺬا‬ ‫اﻟﻔﻦ‪ ،‬وﻣﻦ ﻫﺬه اﻟﻤﻮاﻫﺐ اﻟﻤﺒﺪع‬ ‫اﻹﻣﺎراﺗﻲ ﻫﺎﺷﻢ ﻋﻠﻲ اﻟﻤﻄﺮوﺷﻲ‪،‬‬ ‫اﻟﺬي ﺟﻤﻊ ﻣﺎ ﺑﻴﻦ اﻟﻔﻦ واﻟﻌﻠﻢ‪ ،‬وﻣﺎ‬ ‫ﺑﻴﻦ اﻟﻬﻨﺪﺳﺔ واﻟﺘﺼﻮﻳﺮ اﻟﻔﻮﺗﻐﺮاﻓﻲ‪،‬‬ ‫ﻟﻴﺨﺮج ﺑﻤﺠﻤﻮﻋﺔ ﻣﻤﻴﺰة ﻣﻦ اﻷﻋﻤﺎل‬ ‫اﻟﻔﻨﻴﺔ‪W‬‬ ‫ﻋﻨﻪ وﻋﻦ ﻣﺴﻴﺮﺗﻪ اﻟﻀﻮﺋﻴﺔ ﻛﺎن ﻟﻨﺎ‬ ‫ﻣﻌﻪ ﻫﺬا اﻟﺤﻮار ‬

‫ﻧﺸﺄ ﻫﺎﺷﻢ ﰲ ﻣﺪﻳﻨﺔ ﺧﻮرﻓﻜﺎن ﰲ إﻣﺎرة‬ ‫اﻟﺸﺎرﻗﺔ‪ ،‬واﻟﺘﺤﻖ ﺑﺎﳌﺪرﺳﺔ اﻟﻔﻨﻴﺔ ﻟﻴﺘﺨﺮج‬ ‫ﻣﻨﻬﺎ ﺑﺘﻔﻮق ّأﻫﻠﻪ ﻟﻼﻟﺘﺤﺎق ﺑﺎﻟﺠﺎﻣﻌﺔ‪ ،‬ﺣﻴﺚ‬ ‫ﻛﺎن اﻟﻄﺎﻟﺐ اﻟﻮﺣﻴﺪ اﻟﺬي ﺣﻘﻖ ذﻟﻚ‪ ،‬وﰲ‬ ‫اﻟﺠﺎﻣﻌﺔ درس اﻟﻬﻨﺪﺳﺔ اﳌﺪﻧﻴﺔ اﻟﺒﻴﺌﻴﺔ‪ ،‬أﻣﺎ‬ ‫ﻋﻦ ﺑﺪاﻳﺎﺗﻪ ﰲ ﻋﺎمل اﻟﺘﺼﻮﻳﺮ اﻟﻔﻮﺗﻐﺮاﰲ ﻓﻴﻘﻮل‪:‬‬ ‫»ﺑﺪأت رﺣﻠﺘﻲ ﻣﻊ اﻟﺘﺼﻮﻳﺮ اﻟﻔﻮﺗﻐﺮاﰲ ﻣﻦ‬ ‫ﻋﲆ ﻣﻘﺎﻋﺪ اﻟﺠﺎﻣﻌﺔ‪ ،‬ﻓﻤﻊ ﻇﻬﻮر اﻟﻬﻮاﺗﻒ‬ ‫اﻟﺸﻌﺮ ‪ /‬اﻟﻌﺪد ‪64‬‬ ‫‪ 68‬ﺑﻴﺖ ِ‬

‫اﳌﺘﺤﺮﻛﺔ اﳌﺰودة ﺑﻌﺪﺳﺎت ﺗﺼﻮﻳﺮ رﺣﺖ‬ ‫أﻧﺠﺰ اﻟﺘﻘﺎرﻳﺮ اﻟﺪراﺳﻴﺔ وأرﻓﻖ ﻣﻌﻬﺎ ﺻﻮراً‬ ‫اﻟﺘﻘﻄﻬﺎ ﺑﻬﺎﺗﻔﻲ اﳌﺘﺤﺮك‪ ،‬ودامئﺎً ﻣﺎ ﻛﺎﻧﺖ‬ ‫ﺻﻮري ﺗﺒﻬﺮ اﳌﺤﺎﴐﻳﻦ واﻟﺰﻣﻼء‪ .‬مل أﻛﻦ ﰲ‬ ‫ﺗﻠﻚ اﻟﻔﱰة أﻓﻜﺮ ﰲ اﺣﱰاف اﻟﺘﺼﻮﻳﺮ‪ ،‬ﻫﺬا ﻛام‬ ‫أين مل أﻣﺘﻠﻚ ﺣﻴﻨﻬﺎ اﻹﻣﻜﺎﻧﻴﺎت اﻟﻼزﻣﺔ ﻟﻠﺒﺪء‬ ‫ﺑﺘﻌﻠﻢ ﻫﺬا اﻟﻔﻦ‪ ،‬وﻣﺎ أن ﺗﺨﺮﺟﺖ ﰲ اﻟﺠﺎﻣﻌﺔ‬ ‫ﺣﺘﻰ ﺳﺎرﻋﺖ ﻟﴩاء آﻟﺔ ﺗﺼﻮﻳﺮ ﺣﺎﳌﺎً ﺑﺪﺧﻮل‬ ‫ﻫﺬا اﳌﺠﺎل اﻟﺬي أﺣﺒﻪ«‪.‬‬ ‫ﻛﺎن ﻫﺎﺷﻢ ﻣﺘﺤﻤﺴﺎً ﻻﻟﺘﻘﺎط اﻟﺼﻮر‪ ،‬إﻻ أن‬ ‫ﻋﺪم اﻣﺘﻼﻛﻪ ﻷي ﻣﻬﺎرات ﰲ ﻣﺠﺎل اﻟﺘﺼﻮﻳﺮ‬ ‫ﺟﻌﻠﻪ ﻳﻘﻒ ﺣﺎﺋﺮاً أﻣﺎم ﻫﺬه اﻵﻟﺔ‪ ،‬ﻣﺎ دﻓﻌﻪ‬ ‫ﻟﻮﺿﻌﻬﺎ ﻋﲆ اﻟﺮف ﳌﺪة مثﺎﻧﻴﺔ أﺷﻬﺮ ﻛﺎﻣﻠﺔ‪،‬‬ ‫ﻳﻘﻮل ﻫﺎﺷﻢ‪ :‬ﺑﻘﻴﺖ آﻟﺔ اﻟﺘﺼﻮﻳﺮ ﻋﲆ اﻟﺮف‬ ‫إﱃ أن ﺗﻌﺮﻓﺖ ﻋﲆ أﺣﺪ اﻷﺷﺨﺎص اﻟﺬي‬ ‫ﻋﻠﻤﻨﻲ ﻣﺒﺎدئ اﻟﺘﺼﻮﻳﺮ وﻋﺮﻓﻨﻲ ﻋﲆ ﺗﻘﻨﻴﺎﺗﻪ‬ ‫وﻣﺼﻄﻠﺤﺎﺗﻪ وﻣﻔﺮداﺗﻪ‪ ،‬ﻋﻠﻤﻨﻲ اﻟﻔﺮق ﺑني‬ ‫اﻟﻜﺎﻣريات‪ ،‬اﻟﻌﺪﺳﺎت‪ ،‬ﻋﻠﻤﻨﻲ اﻟﺘﻘﻨﻴﺎت‬ ‫اﻟﴬورﻳﺔ‪ ،‬ﻣﺎ اﳌﻘﺼﻮد ﺑﺎﻟﺒﻴﻜﺴﻞ‪ ،‬ﻣﺜﻠﺚ‬ ‫اﻟﻀﻮء‪ ،‬اﻷﻳﺰو‪ ،‬وﻏريﻫﺎ ﻣﻦ اﳌﺒﺎدئ اﻟﴬورﻳﺔ‬ ‫ﻟﺪﺧﻮل ﻋﺎمل اﻟﻀﻮء اﻟﻮاﺳﻊ‪ ،‬وﻣﻊ ﻣﺮور‬ ‫اﻷﻳﺎم زاد ﻧﻬﻤﻲ اﳌﻌﺮﰲ‪ ،‬ﻓﺮﺣﺖ أﺑﺤﺚ ﰲ‬

‫اﳌﻨﺘﺪﻳﺎت واﳌﻮاﻗﻊ‪ ،‬وأﺷﺎﻫﺪ اﻟﻔﻴﺪﻳﻮﻫﺎت‬ ‫اﻟﺨﺎﺻﺔ ﺑﺎﻟﺘﺼﻮﻳﺮ اﻟﻀﻮيئ واﻟﺘﻲ ﻳﻘﺪﻣﻬﺎ‬ ‫ﻣﺼﻮرون ﻣﺤﱰﻓﻮن ﻣﻦ ﻣﺨﺘﻠﻒ أﻧﺤﺎء اﻟﻌﺎمل‪،‬‬ ‫وﴏت أﺣﺎول ﺗﻄﺒﻴﻖ ﻣﺎ ﻳﻘﻮﻣﻮن ﺑﻪ‪ ،‬ﺣﺘﻰ‬ ‫ﻟﺪي ﻗﺎﻋﺪة ﻣﻌﺮﻓﻴﺔ وﺗﻘﻨﻴﺔ ﻗﻮﻳﺔ ﰲ‬ ‫ﺗﺸﻜﻠﺖ ّ‬ ‫ﻣﺠﺎل اﻟﺘﺼﻮﻳﺮ اﻟﻀﻮيئ«‪.‬‬ ‫ﻣﻦ اﳌﻌﺮوف أن ﻣﻌﺪات اﻟﺘﺼﻮﻳﺮ ﻣﻜﻠﻔﺔ‪،‬‬ ‫ﻟﻜﻦ ﺣﺐ ﻫﺎﺷﻢ ﻟﻬﺬه اﻟﻬﻮاﻳﺔ دﻓﻌﻪ ﻟﴩاء‬ ‫ﻛﻞ ﻗﻄﻌﺔ أو أداة ﻛﺎن ﻳﻈﻨﻬﺎ ﺳﺘﺨﺪم ﻣﺴريﺗﻪ‬ ‫اﻟﻔﻨﻴﺔ‪ ،‬وﻫﻨﺎ ﻳﻘﻮل ﻫﺎﺷﻢ‪» :‬اﳌﺸﻜﻠﺔ ﰲ ﻋﺎمل‬ ‫اﻟﺘﺼﻮﻳﺮ أن ﻣﻌﺪاﺗﻪ ﻣﻜﻠﻔﺔ ﻣﺎدﻳﺎً‪ ،‬وﰲ ﻧﻔﺲ‬ ‫اﻟﻮﻗﺖ ﻫﻨﺎك ﺟﺪﻳﺪ وﺗﻄﻮرات ﻣﺘﻮاﻟﻴﺔ ﺑﺸﻜﻞ‬ ‫ﻳﻮﻣﻲ ﺗﻘﺮﻳﺒﺎً‪ ،‬ﻓﺎﻷداة اﻟﺘﻲ ﺗﺸﱰﻳﻬﺎ اﻟﻴﻮم‬ ‫ميﻜﻦ أن ﺗﺼﺒﺢ ﻗﺪميﺔ ﺑﻌﺪ ﻣﺪة ﻗﺼرية وذﻟﻚ‬ ‫ﻧﺘﻴﺠﺔ ﻇﻬﻮر ﺗﻘﻨﻴﺎت أﺣﺪث وﺗﻌﻄﻲ ﻧﺘﺎﺋﺞ‬ ‫أﻓﻀﻞ‪ ،‬ﻓﺎﻟﻄﺎﺋﺮات اﳌﺴﺘﺨﺪﻣﺔ اﻟﻴﻮم ﺗﻌﻄﻲ‬ ‫ﺻﻮراً راﺋﻌﺔ ﺟﻌﻠﺖ ﻣﻦ اﻟﺤﻮاﻣﻞ اﻟﻀﺨﻤﺔ‬ ‫واﻷذرع اﻟﻄﻮﻳﻠﺔ اﳌﻜﻠﻔﺔ أدوات ﻏري ﻧﺎﻓﻌﺔ‪،‬‬ ‫وﰲ ﻋﺎمل اﻟﺘﺼﻮﻳﺮ ﺳﺘﺸﻌﺮ دامئﺎً ﺑﺄﻧﻚ ﺑﺤﺎﺟﺔ‬ ‫ﻟﻌﺪﺳﺎت وإﻛﺴﺴﻮارات وإﺿﺎءات ﺟﺪﻳﺪة‪،‬‬ ‫وﻫﻨﺎ ﻳﺠﺐ ﻋﲆ اﳌﺼﻮر أن ميﺘﻠﻚ اﻟﻘﺪرة ﻋﲆ‬ ‫ﺗﻨﻈﻴﻢ إﻧﻔﺎﻗﻪ ﰲ ﻋﺎمل اﻟﺘﺼﻮﻳﺮ واﻟﻌﺎﺋﺪ اﳌﺎدي‬

‫اﻟﺤﺐ اﻟﺤﻘﻴﻘﻲ‬ ‫ﺑﺮدﻳﺲ ﻓﺮﺳﺎن ﺧﻠﻴﻔﺔ‬ @bardees_khalifa

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‫ﻣﺎﺳﺎت‬ baytelshear

‫ﺑﺮوق اﻟﻮداع‬ ‫رﺿﺎ اﻟﺸﺎﻣﻲ اﻟﻬﺎﺷﻤﻲ‬ @redhaalhashimi

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‫ﻧﻘﻄﺘﺎن‬

‫ﺣﻴﺎﺗﻲ – أﺣﻤﺪ أﻣﻴﻦ‬ ‫ﺗﻔﻜﺮ ﺑﺎﻟﻜﺘﺎﺑﺔ ﻋﻦ ﻛﺎﺗﺐ ﺑﻌﻴﻨﻪ‪ ،‬ﻷﻧﻚ ﺗﺮﻳﺪ ﻣﻤﻦ ﺣﻮﻟﻚ‪ ،‬ﻣﻦ اﻟﺬﻳﻦ ﻗ ّﻠام ميﺴﻜﻮا‬ ‫ﺑﻜﺘﺎب ﰲ أﻳﺎﻣﻨﺎ ﻫﺬه‪ ،‬أن ﻳﻠﺘﻔﺘﻮا إﱃ ﺣﻴﺎة ﺛﺮﻳﺔ ﺑﺎﻟﺪروس واﻟﺘﺠﺎرب اﻹﻧﺴﺎﻧﻴﺔ ﻻ‬ ‫ميﻜﻦ ﻟﻌﺎﻗﻞ أن ﻳﺘﺠﺎوزﻫﺎ‪ ،‬ﻣﻦ دون أن ﺗﱰك أﺛﺮاً ﰲ ﻧﻔﺴﻪ‪ ،‬ﻓﺘﻌﺠﺰ ﻋﻦ ﻧﻈﻢ ﺟﻤﻠﺔ‬ ‫ﻣﺘﻜﺎﻣﻠﺔ ﺗﻠﻴﻖ ﺑﺤﻴﺎﺗﻪ اﻟﺘﻲ ﺣﻔﻈﺘﻬﺎ ﻟﻨﺎ اﻟﻜﺘﺐ‪.‬‬ ‫ﺣﻴﺎة ﺧﻴﻤﺖ ﻋﻠﻴﻬﺎ اﻟﺠﺪﻳﺔ ﰲ ﻣﻌﻈﻢ اﻷوﻗﺎت‪ ،‬وﻛﺎن ﻳﺤﺮﻛﻬﺎ اﻟﺠﺪ وﻻ ﻳﺰورﻫﺎ اﻟﻬﺰل‬ ‫ﺻﻔﻴﺔ اﻟﺸﺤﻲ‬ ‫إﻻ ﳌﺎﻣﺎ أو ﻳﻜﺎد‪ ،‬ﻫﻲ ﺣﻴﺎة أﺣﻤﺪ أﻣني اﳌﻮﻟﻮد ﻋﺎم ‪ 1886‬ﰲ ﺑﻴﺖ ﻋﻠﻢ وأدب‬ ‫وﻟﻐﺔ‪ ،‬ﻣﺤﻜﻮم ﺑﺎﻟﺤﺰن واﻟﺴﻠﻄﺔ اﻷﺑﻮﻳﺔ‪ ،‬وﻗﺪ ﻫﻴﺄ ﻛﻞ ذﻟﻚ ﻋﲆ ﺗﻨﺎﻗﻀﻪ اﻟﻮاﺿﺢ ﻟﻠﻜﺎﺗﺐ‬ ‫اﻟﻜﺒري ﻣﻌﻴﺸﺔ ﺷﻘﻴﺔ ﺑﺎﻟﻄﻤﻮح واﳌﻌﺮﻓﺔ‪ ،‬ﻓﻼ أﺻﻌﺐ ﻣﻦ أن ﻳﻌﺮف اﳌﺮء ﻧﻔﺴﻪ ﺑﻨﻔﺴﻪ ﻛام ﻳﻘﻮل أرﺳﻄﻮ‪ ،‬وأﻇﻦ أن ﺗﻌﻠﻘﻪ‬ ‫ﺑﺎﻟﺘﺪوﻳﻦ ﻣﻨﺬ ﻓﺠﺮ ﺣﻴﺎﺗﻪ ﻛﺎن ﺳﺒﺒﺎ ﰲ وﻻدة ﻛﺎﺗﺐ ﻣﺠﺪد‪ ،‬ﻓﻤﻊ ﻫﺬه اﳌامرﺳﺔ وﻣﺎ ﻳﺼﺎﺣﺒﻬﺎ ﻣﻦ ﻗﺮاءة وﺑﺤﺚ ﺟﺎدﻳﻦ ﰲ‬ ‫ﺻﻨﻮف اﻟﻌﻠﻮم وﺗﻨﻘﻴﺐ ﰲ ﴎادﻳﺐ اﻟﺘﺎرﻳﺦ‪ ،‬ﺗﻌﻤﻖ اﻟﻜﺎﺗﺐ ﰲ ﻛﻨﻮز اﻟﺸﻌﺮ واﻷدب وﺣﻘﻖ ﻫﺬا اﻟﺘﻔﺎﻋﻞ اﻟﺬي اﺧﺘﱪه ﰲ‬ ‫اﻟﻌﻮاﻃﻒ واﳌﺸﺎﻋﺮ واﻷﻓﻜﺎر واﻷﺧﻴﻠﺔ‪.‬‬ ‫ﻳﻌﻠﻤﻚ ﻛﺘﺎب »ﺣﻴﺎيت« أن ﺗﻨﻈﺮ ﻟﻠﻌﺎمل ﻣﻦ زواﻳﺎ ﻣﺨﺘﻠﻔﺔ‪ ،‬ﻓﻬﻮ ﻟﻴﺲ ﻛﻼ ﻣﺘﺸﺎﺑﻬﺎ‪ ،‬ﺑﻞ ﻫﻮ ذرات ﻣﺘﺠﺎﻧﺴﺔ ﺧﺎﺿﻌﺔ ﻟﻠﻘﻮاﻧني‪،‬‬ ‫وﻳﻌﻠﻤﻚ ﻗﺒﻞ ذﻟﻚ أن ﺗﻨﻈﺮ إﱃ داﺧﻠﻚ ﻛﻌﺎمل ﻣﺘﻔﺮد‪ ،‬ﺑﻞ ﻛﺂﻟﺔ ﻋﻮد ﺗﻘﻊ ﻋﲆ أوﺗﺎرك اﻷﺣﺪاث ﻋﻴﻨﻬﺎ اﻟﺘﻲ ﺗﻘﻊ ﻋﲆ ﻏريك‪،‬‬ ‫إﻻ أﻧﻚ ﺗﻈﻞ ﻣﻨﻔﺮداً وﻣﺘﻤﻴﺰاً ﻻ ﻳﺴﺎوﻳﻚ آﺧﺮ‪.‬‬ ‫إرث ﻋﺎﺋﲇ واﻗﺘﺼﺎدي وﺛﻘﺎﰲ وﺳﻴﺎﳼ ﻳﻨﻮء ﺑﺤﻤﻠﻪ ﻛﻞ ﻣﻨﺎ ﻓام ﻫﻲ اﻟﻨﺘﻴﺠﺔ؟ وﻣﺎذا ﻋﻦ اﻟﻠﻐﺔ اﻟﺘﻲ ﻧﺘﻜﻠﻢ ﺑﻬﺎ وأدﺑﻨﺎ اﻟﺸﻌﺒﻲ‬ ‫اﻟﺬي ﻛﺎن ﻳﺮوى ﻟﻨﺎ وﻧﻮع اﻟﱰﺑﻴﺔ اﻟﺘﻲ رﺳﻤﺖ اﻟﺘﺼﻮرات ﻋﻨﻪ ﰲ أذﻫﺎن آﺑﺎﺋﻨﺎ؟‬ ‫ﻳﻘﻮل أﺣﻤﺪ أﻣني ‪» :‬ﻛﺎﻧﺖ أول ﻣﺪرﺳﺔ ﺗﻌﻠﻤﺖ ﻓﻴﻬﺎ أﻫﻢ دروﳼ ﰲ اﻟﺤﻴﺎة ﻫﻲ ﺑﻴﺘﻲ«‪ ،‬وﻣﻦ ﻫﺬا اﻟﺒﻴﺖ اﻧﻄﻠﻖ ﻫﺬا اﻟﺮﺟﻞ‬ ‫ﰲ ﺣﻴﺎﺗﻪ اﻟﻐﻨﻴﺔ ﺑني رﺣﻼت وﻋﻤﻞ ﺳﻴﺎﳼ وﺗﺪرﻳﺲ ووﻇﻴﻔﺔ ﺣﻜﻮﻣﻴﺔ‪ ،‬ﻓﻤ ّﻜﻨﻪ ﻛﻞ ذﻟﻚ ﻣﻦ أن ميﺴﻚ ﺑﺰﻣﺎم اﻟﻔﻜﺮ اﻟﻌﻘﻼين‬ ‫وﻳﻌﻴﺪ دراﺳﺔ وﺗﻘﺪﻳﻢ اﻟﻌﺼﻮر اﻹﺳﻼﻣﻴﺔ ﻣﻦ ﺧﻼل ﻣﻮﺳﻮﻋﺘﻪ اﻟﺸﻬرية ﻓﺠﺮ وﺿﺤﻰ وﻇﻬﻮر اﻹﺳﻼم‪ ،‬إﺿﺎﻓﺔ إﱃ أﻧﻪ ﻛﺎن‬ ‫ﻧﺎﻗﺪاً ﺟﺰل اﻷﺳﻠﻮب‪ ،‬ﺳﻌﻰ ﻟﻴﺠﻌﻞ ﻟﻸدب وﻇﻴﻔﺔ اﺟﺘامﻋﻴﺔ ﺣﺎﻣ ًﻼ ﻫﻢ ﻧﴩ اﻟﺘﻌﻠﻴﻢ ﺑني أﻛﱪ ﻓﺌﺔ ﻣﻤﻜﻨﺔ ﻣﻦ أﺑﻨﺎء ﻋﴫه‪.‬‬ ‫ﻟﻘﺪ أﺛﺒﺖ أﺣﻤﺪ أﻣني أن ﺧﻴﺎﻟﻴﺔ اﻟﺜﻘﺎﻓﺔ اﻟﺸﻌﺒﻴﺔ ﻗﺎدرة ﻋﲆ ﻣﺪ اﻟﺠﺴﻮر ﻣﻊ اﻟﻌﻘﻼﻧﻴﺔ‪ ،‬ﻟﻴﺤﻘﻖ ﺑﺬﻟﻚ اﻧﻌﻄﺎﻓﺔ ﻓﻜﺮﻳﺔ‬ ‫وﺣﻴﺎﺗﻴﺔ وﺳﻤﺖ أﺑﻨﺎء ﺟﻴﻠﻪ ﻣﻦ ﻛﺒﺎر اﳌﻔﻜﺮﻳﻦ واﻟﻨﻘﺎد‪ ،‬أﻣﺎ ﺳﻔﺮه إﱃ اﻟﺨﺎرج واﺣﺘﻜﺎﻛﻪ ﺑﺎﻟﺤﺪاﺛﺔ اﻷوروﺑﻴﺔ ﻓﻘﺪ أﺳﻬﻢ ﰲ‬ ‫أن ﻳﺤﻘﻖ اﳌﻮازﻧﺔ اﳌﻄﻠﻮﺑﺔ ﻋﻨﺪ اﻟﻨﺎﻗﺪ واﻷدﻳﺐ اﳌﻌﻨﻲ ﺑﺘﻨﺎول ﻗﻀﺎﻳﺎ اﻟﺘﺄﺻﻴﻞ واﻟﺘﻐﻴري ﰲ ﻣﺠﺘﻤﻌﻪ‪.‬‬ ‫أﺧريا ﻳﺤﻖ ﻟﻨﺎ وﻧﺤﻦ ﻧﻘﺮأ ﻫﺬه اﻟﺴرية اﻟﺘﻲ ﺗﺆرخ ﻟﺤﻴﺎة ﻋﻘﻠﻴﺔ ﻏﻨﻴﺔ ﻛﺤﻴﺎة أﺣﻤﺪ أﻣني‪ ،‬أن ﻧﺘﺴﺎءل ﻋﻦ ﻧﻮع اﳌﻔﻜﺮﻳﻦ‬ ‫اﻟﺬﻳﻦ ﺗﻨﺘﺠﻬﻢ أرﺿﻨﺎ اﻟﻌﺮﺑﻴﺔ ﰲ أﻟﻔﻴﺔ اﻻﻧﻔﺠﺎر اﳌﻌﺮﰲ واﻻﺗﺼﺎﱄ‪ ،‬وإن ﻛﺎن ﻣﻔﻜﺮ اﻟﻴﻮم ﻗﺎدراً ﻋﲆ إﻋﺎدة اﻹﻧﺘﺎج اﻟﻔﻜﺮي‬ ‫ﻋﻮﺿﺎً ﻋﻦ اﻹﻧﺘﺎج ﺑﺤﺪ ذاﺗﻪ!‬

‫‪@safiaalshehi‬‬ ‫‪2200018‬‬ ‫ﻓﺒﺮاﻳﺮ ‪18 /‬‬ ‫اﻳﺮﺮ‬ ‫ﻳﻮﻧ ﺮﺒﺮﻮا‬ ‫ﻓ‬ ‫‪2017‬‬ ‫‪20‬‬ ‫ﻳﻮﻧﻴﻮ‪/‬‬ ‫ﻴﻮ‪/‬‬ ‫‪65 2018‬‬

‫ﺷﻌﺒﻲ ﻋﺮﺑﻲ‬ ‫‪baytelshear‬‬

‫ﰲ اﻟﻨﺪوات واﻷﻣﺴﻴﺎت‪ ،‬أم ﺑﻘﻠﺔ اﻟﺠﻮاﺋﺰ‬ ‫اﳌﻤﻨﻮﺣﺔ ﻟﻪ‪ ،‬أم ﺑﺎﻟﻨﻀﺞ اﳌﺒﻜﺮ‪ ،‬أم ﺑﺎﻟﻮﻋﻲ‬ ‫ﺑﺎﳌﺠﺘﻤﻊ أم ﺑﺘﺤﻘﻴﻖ اﻟﺸﻬﺮة ﰲ ﺳﻦ ﺻﻐرية‪،‬‬ ‫أم ﻟﻪ ﻋﻼﻗﺔ ﺑﺎﻟﺘﻜﻮن اﻻﺟﺘامﻋﻲ‪ ،‬أم ﺗﻘﻒ‬ ‫اﻟﻌﻼﻗﺔ ﻋﻨﺪ اﳌﺴﺘﻮى اﻟﻄﺒﻘﻲ اﻟﺬى ﻳﻨﺘﻤﻰ‬ ‫ﻟﻪ اﻟﺸﺎﻋﺮ‪ ،‬وﻫﻞ ﻳﺆﺛﺮ اﳌﺴﺘﻮى اﻟﻠﻐﻮي‬ ‫وﻃﺮاﺋﻖ اﻹﺑﺪاع واﻟﺒﺤﺚ ﻋﻦ اﻟﺠﺪﻳﺪ ﰲ‬ ‫اﻟﻮﺻﻮل ﻟﻠﻤﻮت ﺑﻮﺻﻔﻪ أﺣﻴﺎﻧﺎً ﻟﻴﺲ ﻧﻬﺎﻳﺔ‬ ‫ﻟﻠﺤﻴﺎة‪ ،‬ﻟﻜﻦ ﺑﻮﺻﻔﻪ ﺑﺪاﻳﺔ اﻟﺨﻠﻮد واﻟﻠﻤﻌﺎن‬ ‫واﻻﻫﺘامم ﺑﺎﻟﺮاﺣﻞ‪ ،‬وﻫﻞ اﻟﺮﻏﺒﺔ ﰲ اﻟﺘﺠﺎوز‬ ‫وﺗﻔﺠري اﻟﻠﻐﺔ واﻟﺨﺮوج ﻋﻦ اﻟﺜﺎﺑﺖ واﳌﺄﻟﻮف‬ ‫ﻳﺼﻞ اﻟﺸﻌﺮاء ﺑﻄﺮﻳﻖ اﳌﻮت أم أﻧﻪ ﻳﻀﻌﻬﻢ‬ ‫ﰲ ﻗﻠﺐ اﻟﺤﻴﺎة؟‪ ،....‬وﰲ ﻣﺤﺎوﻟﺔ ﳌﻘﺎرﺑﺔ‬ ‫اﻟﺸﻌﺮ ‪ /‬اﻟﻌﺪد ‪64‬‬ ‫‪ 64‬ﺑﻴﺖ ِ‬

‫اﻹﺟﺎﺑﺔ ﻳﺴﻮق اﻟﺸﺎﻋﺮ ﻋﺪ ًدا ﻣﻦ اﻟﺪراﺳﺎت‬ ‫ﻟﺒﺎﺣﺜني ﻏﺮﺑﻴني ﻛـ»ﻛﻮﻓامن« وﻓﻴﻠﻴﺸﺎر‬ ‫ﱄ« وآﺧﺮﻳﻦ‪ ،‬ﻟﻜﻨﻪ ﻳﻌﻮد ﻟﻴﺆﻛﺪ أن أﺳﺒﺎب‬ ‫ﻣﻮت اﻟﺸﻌﺮاء ﰲ ﻣﴫ ﻣﺠﺎﻓﻴﺔ ﻟﻠﻨﺘﺎﺋﺞ اﻟﺘﻲ‬ ‫ﺧﺮﺟﺖ ﺑﻬﺎ ﻫﺬه اﻟﺪراﺳﺎت ﺣﻮل ﻧﻔﺲ‬ ‫اﻟﻈﺎﻫﺮة ﰲ اﻟﻐﺮب واﻟﺘﻲ ﻳﺪور ﻣﺠﻤﻠﻬﺎ‬ ‫ﰲ ﻓﻠﻚ اﻻﺿﻄﺮاب اﻟﻌﻘﲇ واﻟﺮﺑﻂ ﻣﺎﺑني‬ ‫اﻟﻌﺒﻘﺮﻳﺔ واﻟﺠﻨﻮن واﻟﻨﺰوع ﻟﻼﻧﺘﺤﺎر‪ ،‬ﻣﺸ ًريا‬ ‫إﱃ أن اﻟﻨﺘﺎﺋﺞ اﻟﺘﻲ ﺗﻮﺻﻠﺖ إﻟﻴﻬﺎ ﻫﺬه‬ ‫اﻟﺪراﺳﺎت ـ ﻗﻠﻴﻠﺔ اﻟﻌﺪد ـ ﻛﺎﻧﺖ ﺳﺘﺘﻐري‬ ‫ﻟﻮ أدﺧﻠﺖ ﺿﻤﻦ ﺣﺴﺎﺑﺎﺗﻬﺎ ﻋﺪد اﻟﺸﻌﺮاء‬ ‫اﻟﺬﻳﻦ رﺣﻠﻮا ﻣﺒﻜﺮاً ﻣﻦ اﻟﻌﺮب‪.‬‬ ‫أﻣﺎ ﰲ ﻣﴫ ﻓﻴﺸري ﻣﺴﻌﻮد إﱃ أن ﻗﺮاءة‬

‫ﺣﺎل اﻟﺸﻌﺮ اﳌﴫي ﺧﻼل رﺑﻊ ﻗﺮن ﻣﴣ‬ ‫ﺳﺘﺆﻛﺪ ﻋﲆ رﺣﻴﻞ ﺷﻌﺮاء اﻟﻌﺎﻣﻴﺔ ﰲ ﺳﻦ‬ ‫ﻣﺒﻜﺮة ﻛﻈﺎﻫﺮة ﺑﺎرزة‪ ،‬ﺣﻴﺚ ﻳﻘﻒ اﳌﺘﺘﺒﻊ‬ ‫ﻣﻨﺪﻫﺸً ﺎ أﻣﺎم رﺣﻴﻞ ﻋﺪد ﻛﺒري ﻣﻦ اﻟﺸﻌﺮاء‪،‬‬ ‫وﺳﺘﺰﻳﺪ اﻟﺪﻫﺸﺔ ﺣني ﻧﻄﺎﻟﻊ أﺳامء ﺷﻌﺮاء‬ ‫اﻟﻌﺎﻣﻴﺔ ﻣﻦ اﻟﺮاﺣﻠني ﺳﻮاء ﻣﻦ ﺣﻘﻘﻮا ﺷﻬﺮة‬ ‫وﻣﻜﺎﻧﺔ ﻛﺒرية أو ﻣﻦ مل ﻳﻘﺪر ﻟﺤﻴﺎﺗﻬﻢ أن‬ ‫متﻨﺤﻬﻢ اﻟﺬﻳﻮع‪ ،‬وﻗﺪ رﺻﺪ اﻟﺒﺎﺣﺚ ﰲ ﻫﺬا‬ ‫اﻟﺴﻴﺎق ﻋﴩات اﻷﺳامء ﻣﺜﻞ‪ :‬ﻓﺆاد ﺣﺪاد‪،‬‬ ‫ﺻﻼح ﺟﺎﻫني‪ ،‬ﺣﺠﺎج اﻟﺒﺎي‪ ،‬ﻓﺆاد ﻗﺎﻋﻮد‪،‬‬ ‫زيك ﻋﻤﺮ‪ ،‬ﻣﺠﺪي اﻟﺠﻼد‪ ،‬ﻣﺤﻤﺪ إﺑﺮاﻫﻴﻢ أﺑﻮ‬ ‫ﺳﻌﺪة‪ ،‬ﻣﺤﻤﺪ اﻟﻨﺒﻮي ﺳﻼﻣﺔ‪ ،‬ﻣﺤﻤﺪ ﺣﻤﺪ‪،‬‬ ‫ﻣﺤﻤﺪ ﺻﺎﺑﺮ ﻣﺮﳼ‪ ،‬ﻛﺎﻣﻞ ﺣﺴﻨﻲ‪ ،‬ﻋﺒﺪ‬ ‫اﻟﺪاﻳﻢ اﻟﺸﺎذﱄ‪ ،‬أﺣﻤﺪ ﻋﺒﻴﺪة‪ ،‬ﻋﻤﺮ ﻧﺠﻢ‪،‬‬ ‫ﺧﺎﻟﺪ ﻋﺒﺪ اﳌﻨﻌﻢ‪ ،‬ﻣﺠﺪي اﻟﺠﺎﺑﺮي‪ ،‬أﺳﺎﻣﺔ‬ ‫اﻟﺪﻧﺎﺻﻮري‪ ،‬ﻣﺤﻤﺪ ﻋﺒﺪ اﳌﻌﻄﻲ‪ ،‬ﻣﺤﻤﺪ‬ ‫اﻟﺤﺴﻴﻨﻲ‪ ،‬وﻏريﻫﻢ‪ ،‬وﻫﻲ اﻟﻘﺎمئﺔ اﻟﺘﻲ ﺗﺸري‬ ‫إﱃ رﺣﻴﻞ ﻋﺪد ﻛﺒري ﻣﻦ ﺷﻌﺮاء اﻟﻌﺎﻣﻴﺔ ﰱ‬ ‫ﺟﻴﻞ اﻟﺜامﻧﻴﻨﻴﺎت ﰲ ﺳﻦ ﻣﺒﻜﺮة‪ ،‬ﻓﻤﻌﻈﻢ‬ ‫ﻣﻦ رﺣﻠﻮا مل ﻳﻜﻤﻠﻮا ‪ 50‬ﻋﺎﻣﺎً‪ ،‬ﺑﻞ إن ﺑﻌﻀﻬﻢ‬ ‫مل ﻳﻜﻤﻞ ﻋﺎﻣﻪ اﻟﺜﻼﺛني‪.‬‬ ‫وﻫﻨﺎ ﻳﻠﻔﺖ اﻟﺒﺎﺣﺚ اﻟﻨﻈﺮ إﱃ أن ﻇﺎﻫﺮة‬ ‫ﻣﻮت ﻋﺪد ﻛﺒري ﻣﻦ اﻟﺸﻌﺮاء ﰲ ﻫﺬا اﻟﺠﻴﻞ‬ ‫رمبﺎ ﺗﺮﺟﻊ ﰱ أﺣﺪ أﺳﺒﺎﺑﻬﺎ إﱃ اﻟﻨﻔﻲ اﻟﺬي‬ ‫ﺗﻢ ﺑﻘﺼﺪ أو ﺑﺴﻮء ﻧﻴﺔ‪ ،‬ﻟﺠﻴﻞ اﻟﺜامﻧﻴﻨﻴﺎت‬ ‫اﻟﺬى ميﺜﻞ ﻗﻨﻄﺮة ﺑني ﺟﻴﻠني‪ ،‬ﻋﱪت ﻋﻠﻴﻬﺎ‬ ‫اﻟﺘﻐريات اﻟﺴﻴﺎﺳﻴﺔ واﻻﺟﺘامﻋﻴﺔ اﻟﺤﺎدة‪،‬‬ ‫ﻓﻀ ًﻼ ﻋﻦ اﻹﻫامل اﻟﻨﻘﺪي اﻟﺬي ﻟﻘﻴﺘﻪ‬ ‫ﻫﺬه اﳌﺮﺣﻠﺔ‪ ،‬ﻓﻈﻞ اﻟﻨﻘﺎد ﻳﺘﺎﺑﻌﻮن ﺷﻌﺮ‬ ‫اﻟﺴﺒﻌﻴﻨﻴﺎت واﻟﺘﺴﻌﻴﻨﻴﺎت‪ ،‬وﻛﺄن ﺟﻴ ًﻼ ﻛﺎﻣ ًﻼ‬ ‫ﻗﺪ ﺳﻘﻂ ﻣﻦ ﺣﺴﺎﺑﺎت اﻟﺘﺄرﻳﺦ واﳌﺘﺎﺑﻌﺔ‬ ‫اﻟﻨﻘﺪﻳﺔ‪.‬‬ ‫وﻫﻜﺬا ﻳﻌﻮد اﻟﺸﺎﻋﺮ واﻟﺒﺎﺣﺚ ﻣﺴﻌﻮد‬ ‫ﺷﻮﻣﺎن ﻟﻴﺆﻛﺪ أن ﻣﺎ ﻟﺤﻖ ﺑﺸﻌﺮ اﻟﻌﺎﻣﻴﺔ‬ ‫وﺷﻌﺮاﺋﻬﺎ ﻃﻮال اﻟﻨﺼﻒ ﻗﺮن اﻷﺧري ﻛﺎن‬ ‫أﺷﺒﻪ ﺑﺎﻟﻘﺘﻞ اﻟﻌﻤﺪ‪ ،‬ﻛﺎﺷﻔﺎً ﻋﻦ ﻣﺴﺆوﻟﻴﺔ‬ ‫ﻫﺬا اﻟﺴﻴﺎق اﳌﻠﺘﺒﺲ ﻋﻦ ﻣﻮت »ﺷﻌﺮاء‬ ‫ﻋﻈﺎم«‪ ،‬ﻣﻦ دون أن ﻳﻠﻘﻰ ﺷﻌﺮﻫﻢ ﻣﺎ ﻳﻠﻴﻖ‬ ‫ﺑﻪ ﻣﻦ ﻣﺘﺎﺑﻌﺔ‪ ،‬ﻓﻀ ًﻼ ﻋﻦ آﺧﺮﻳﻦ ﻻ ﻳﺰاﻟﻮن‬ ‫ﻳﻌﻴﺸﻮن ﺑﻴﻨﻨﺎ ﻓﻴام ﻳﻮاﺻﻞ اﻟﻨﻘﺪ ﺳﻜﻮﺗﻪ‬ ‫»اﳌﺮﻳﺐ« ﺗﺠﺎﻫﻬﻢ!‪.‬‬

‫اﻟﺸﻌﺮاء ﻋﱪ دراﺳﺔ ﻛﺎﻣﻠﺔ ﻷن ذﻟﻚ ﻳﺤﺘﺎج‬ ‫ ﺑﺤﺴﺒﻪ ‪ -‬إﱃ ﻛﺘﺎﺋﺐ ﻣﻦ اﻟﺪارﺳني‪ ،‬ﺧﺎﺻ ًﺔ‬‫ﰲ ﻇﻞ ﻏﻴﺎب ﺗﺎرﻳﺨﻲ ﻋﻦ دراﺳﺔ ﻫﺬا اﻟﻠﻮن‬ ‫اﻟﺸﻌﺮي‪ ،‬وإمنﺎ اﻟﻮﻗﻮف ﻋﲆ أﻫﻢ اﻻﺗﺠﺎﻫﺎت‬ ‫اﻟﺸﻌﺮﻳﺔ واﻟﻈﻮاﻫﺮ اﻟﺘﻲ ﺗﺠﻠﺖ ﰲ ﺷﻌﺮ‬ ‫اﻟﻌﺎﻣﻴﺔ‪ ،‬ﺑﻮﺻﻔﻪ ﺗﺠﻠ ًﻴﺎ ﺑﺎﻟﻎ اﻷﺛﺮ ﰲ ﺣﺮﻛﺔ‬ ‫اﻟﺸﻌﺮ اﻟﺤﺪﻳﺚ‪.‬‬ ‫اﻟﺜﺎﻟﻮث اﻟﻤﺆﺳﺲ وﻋﻼﻗﺘﻪ ﺑﺎﻟﺠﺬور‬ ‫ﻳﺤﺘﺸﺪ ﻛﺘﺎب »اﳌﺆﺗﻠﻒ واﳌﺨﺘﻠﻒ«‬ ‫ﺑﺎﻟﺪراﺳﺎت اﻟﺘﻄﺒﻴﻘﻴﺔ ﺣﻮل ﻣﻼﻣﺢ ﺷﻌﺮ‬ ‫اﻟﻌﺎﻣﻴﺔ وﺗﺠﻠﻴﺎﺗﻬﺎ ﻋﱪ إﻧﺘﺎج ﺷﻌﺮاﺋﻬﺎ ﺑﺪ ًءا‬ ‫ﻣﻦ اﻟﺮواد اﻷواﺋﻞ‪ ،‬وﻣﺮو ًرا ﺑﺮواد اﳌﻮﺟﺔ‬ ‫اﻟﺜﺎﻧﻴﺔ‪ ،‬ﺛﻢ اﻟﺘﻌﺮﻳﺞ ﻋﲆ ﺷﻌﺮاء اﻟﺴﺒﻌﻴﻨﻴﺎت‬ ‫وﺣﺘﻰ ﺷﻌﺮاء ﺟﻴﻞ اﻟﺜامﻧﻴﻨﻴﺎت‪ .‬وﻫﻮ ﻳﺮﺗﻜﺰ‬ ‫ﰲ ﺗﻨﺎوﻟﻪ ﻟﻠﺸﻌﺮاء اﳌﺆﺳﺴني ﺗﺤﺪﻳ ًﺪا ﻋﲆ‬ ‫ﻋﻼﻗﺔ ﻫﺆﻻء اﻟﺸﻌﺮاء ﺑﺎﳌﺼﺎدر اﻟﺸﻌﺒﻴﺔ‪،‬‬ ‫ﻓﺘﺤﺖ ﻋﻨﻮان ﺟﺎﻣﻊ ﻫﻮ »اﻹﺑﺪاع ﺑﺎﻟﻌﺎﻣﻴﺔ‬ ‫‪ ..‬آﻟﻴﺎت اﺳﺘﻠﻬﺎم اﻟﱰاث واﳌﺄﺛﻮر اﻟﺸﻌﺒﻲ«‬ ‫ﻳﺘﻨﺎول ﻣﺴﻌﻮد ﺑﺎﻟﺪراﺳﺔ ﺗﺠﺎرب رواد ﺷﻌﺮ‬ ‫اﻟﻌﺎﻣﻴﺔ اﻟﺜﻼﺛﺔ‪ :‬ﻓﺆاد ﺣﺪاد وﺻﻼح ﺟﺎﻫني‪،‬‬ ‫وﻓﺆاد ﻗﺎﻋﻮد‪ ،‬وﻋﻼﻗﺘﻬﻢ ﺑﺎﻟﱰاث‪ ،‬اﺳﺘﻠﻬﺎ ًﻣﺎ‬ ‫وﻧﻔ ًﻴﺎ‪ ،‬وﰲ ﻫﺬا اﻟﺴﻴﺎق ﻻ ﻳﻔﻮﺗﻪ اﻟﺘﺄﻛﻴﺪ ﻋﲆ‬ ‫ﻣﻔﺎرﻗﺔ ﺗﺠﺎرب ﻫﺆﻻء ﻟﱰاث اﻟﺸﻌﺮ اﻟﺸﻌﺒﻲ‪،‬‬ ‫وﻓﻦ اﻟﺰﺟﻞ اﻟﺬي ﻛﺎن ﺑريم اﻟﺘﻮﻧﴘ آﺧﺮ‬ ‫رواده‪.‬‬ ‫وﻳﺮى ﻣﺴﻌﻮد أن اﻟﺘﺄرﻳﺦ ﻟﺸﻌﺮ اﻟﻌﺎﻣﻴﺔ‬ ‫اﳌﴫي ﻳﺒﺪأ ﻣﻦ ﻋﻨﺪ ﻓﺆاد ﺣﺪاد‪ ،‬وﻳﺼﻔﻪ‬ ‫ﺑﺎﻟﺸﺎﻋﺮ اﳌﺆﺳﺲ ﻟﻬﺬا اﻟﻠﻮن‪ ،‬ﻓﻬﻮ مل ُﻳﺸﺪ‬ ‫أﺑﻨﻴﺘﻪ ﻋﲆ أﺳﺎﺳﺎت اﺑﻦ ﻋﺮوس واﻟﻨﺪﻳﻢ‬ ‫ﴏﺣﺎ ﺷﻌﺮﻳﺎً ﻗﺎمئﺎً‬ ‫وﺑريم اﻟﺘﻮﻧﴘ‪ ،‬وإمنﺎ ﺷﻴﺪ ً‬ ‫ﺑﻨﻔﺴﻪ‪ ،‬ﻣﻦ دون أن ﻳﻌﻨﻲ ذﻟﻚ ﺗﺨﻠﻴﻪ ﻋﻦ‬ ‫ﺗﺮاث ﺟامﻋﺘﻪ وﻣﺄﺛﻮرﻫﺎ‪ ،‬ﻟﺬا ﺗﻌﺪ ﺗﺠﺮﺑﺘﻪ‬ ‫ﻃﺮﺣﺎ ﻟﻠﻘﻀﺎﻳﺎ‬ ‫واﺣﺪة ﻣﻦ أﻛرث اﻟﺘﺠﺎرب ً‬ ‫اﻹﺷﻜﺎﻟﻴﺔ‪ ،‬ﻷﻧﻬﺎ ﺗﺸﺘﺒﻚ ﻣﻊ ﻛﻞٍ ﻣﻦ اﻟﱰاث‬ ‫واﳌﺄﺛﻮر اﻹﻧﺴﺎين اﻟﻌﺮيب اﻟﺸﻌﺒﻲ‪ ،‬ﻋﱪ ﻋﺪة‬ ‫ﻣﺴﺘﻮﻳﺎت وﻋﱪ ﻋﺪﻳﺪ اﳌﻮﺗﻴﻔﺎت اﻟﺸﻌﺒﻴﺔ‪.‬‬ ‫أﻣﺎ ﺻﻼح ﺟﺎﻫني ﺛﺎين أﺿﻼع اﳌﺜﻠﺚ اﻟﺸﻌﺮي‬ ‫ﻟﻠﻌﺎﻣﻴﺔ اﳌﴫﻳﺔ ﻓﻬﻮ ﻳﻌﺪ إﺿﺎﻓﺔ ﻫﺎﺋﻠﺔ‬ ‫ﻟﻬﺬ اﻟﻠﻮن‪ ،‬ورﻏﻢ أﻧﻪ مل ﻳﻜﻦ اﺑﻨﺎ ـ ﻃﺒﻘﻴﺎً‬ ‫ﻟﻠﺠامﻋﺔ اﻟﺸﻌﺒﻴﺔ‪ ،‬ﻟﻜﻦ اﺳﺘﻄﺎع ﺗﴩب‬ ‫اﻷﻏﺎين اﻟﺸﻌﺒﻴﺔ‪ ،‬واﳌﻮاوﻳـﻞ‪ ،‬واﻷزﺟﺎل‬

‫واﳌﺮﺑﻌﺎت وﻏريﻫﺎ‪ ،‬ﺣﻴﻨام ﻛﺎن ﻳﺘﻨﻘﻞ ﻣﻊ‬ ‫واﻟﺪه ﰲ ﻃﻔﻮﻟﺘﻪ ﺑني ﻣﺤﺎﻓﻈﺎت ﻣﴫ‪ ،‬وﻣﻦ‬ ‫ﺧﻼل ارﺗﺤﺎﻻﺗﻪ اﺳﺘﻄﺎع ﻋﱪ ﻣﺸﺎﻫﺪاﺗﻪ‬ ‫ﺑﻌﻴﻨﻪ اﻟﻼﻗﻄﺔ‪ ،‬وأذﻧﻪ اﻟﻘﺎدرة ﻋﲆ اﺻﻄﻴﺎد‬ ‫اﳌﻮﺳﻴﻘﻰ‪ ،‬ووﻋﻴﻪ اﻟﺤﺎد ﺑﺎﻟﻠﻮن‪ ،‬واﺗﻘﺎد‬ ‫ذﻫﻨﻪ ﰲ اﺳﺘﻠﻬﺎم أﺷﻜﺎل ﺷﻌﺮﻳﺔ ﺷﻌﺒﻴﺔ‪ ،‬أن‬ ‫ﺗﻜﻮن ﻟﻪ ﻫﺬه اﻟﻔﺮادة ﰲ ﻛﺘﺎﺑﺎﺗﻪ اﳌﺘﻨﻮﻋﺔ‪.‬‬ ‫ﻓﻴام ﻛﺎن اﻟﺸﺎﻋﺮ ﻓﺆاد ﻗﺎﻋﻮد ﺿﻠﻌﺎً ﻣﺘﻤ ًام‬ ‫ﻟﻬﺬا اﳌﺜﻠﺚ‪ ،‬وﺗﻌﺪ ﺗﺠﺮﺑﺘﻪ واﺣﺪة ﻣﻦ أﻫﻢ‬ ‫اﻟﺘﺠﺎرب اﻟﺸﻌﺮﻳﺔ اﳌﺘﻔﺮدة‪ ،‬وﺻﺎﺣﺒﺔ اﻟﺼﻮت‬ ‫اﻟﻨﻘﻲ‪ ،‬ﻓﻬﻲ ﻛﺘﺎﺑﺔ ﻻ ﺗﺸﺒﻪ إﻻ ذاﺗﻬﺎ‪ ،‬ﻧﺠﺤﺖ‬ ‫ﰲ أن ﺗﻨﺤﺖ ﺧﺼﻮﺻﻴﺘﻬﺎ اﻟﺘﻲ ﺟﻤﻌﺖ ﺑني‬ ‫ﺟﻤﻮح ﻓﺆاد ﺣﺪاد وﺣﻜﻤﺔ ﺟﺎﻫني‪ ،‬ﺻﺎﻧﻌ ًﺔ‬ ‫ﻣﺎ وﺻﻔﻪ ﻣﺆﻟﻒ اﻟﻜﺘﺎب ﺑﺎﻟﻌﻼﻗﺔ اﻟﻮﺟﻮدﻳﺔ‬ ‫ﺑني اﻟﺸﻌﺮ ودوره اﻻﺟﺘامﻋﻲ واﻟﺠامﱄ‪.‬‬ ‫وﺗﺄيت اﳌﻮﺟﺔ اﻟﺜﺎﻧﻴﺔ اﻟﺘﻲ ﺗﻀﻢ اﻟﺸﻌﺮاء‪ :‬ﻋﺒﺪ‬ ‫اﻟﺮﺣﻤﻦ اﻷﺑﻨﻮدي‪ ،‬وﺳﻴﺪ ﺣﺠﺎب‪ ،‬وأﺣﻤﺪ‬ ‫ﻓﺆاد ﻧﺠﻢ وﺣﺠﺎج اﻟﺒﺎي وزﻳﻦ اﻟﻌﺎﺑﺪﻳﻦ‬ ‫ﻓﺆاد‪ ،‬وﻋﺒﺪ اﻟﺮﺣﻴﻢ ﻣﻨﺼﻮر‪ ،‬وﻣﺠﺪي ﻧﺠﻴﺐ‪،‬‬ ‫وﺳﻤري ﻋﺒﺪ اﻟﺒﺎﻗﻲ وﻏريﻫﻢ‪ ،‬ﻟﺘﻘﺪم ﺑﺼﻤﺔ‬ ‫ﺟﺪﻳﺪة‪ ،‬ﺣﻴﺚ اﻧﺸﻐﻠﺖ ﺑﺎﻟﺮوح اﳌﴫﻳﺔ‬ ‫ﰲ ﺑﻌﺪﻫﺎ اﻟﻘﻮﻣﻲ‪ ،‬ﻣﻘﺎرﺑﺔ ﻟﻸﻳﺪوﻟﻮﺟﻴﺔ‬ ‫اﻟﺘﺜﻮﻳﺮﻳﺔ واﻻﻧﺸﻐﺎل ﺑﺎﻟﻘﻀﺎﻳﺎ اﻟﻘﻮﻣﻴﺔ آن‬ ‫ذاك‪ ،‬ﻟﻜﻦ ﺣﻤﻞ ﻛﻞ واﺣ ٍﺪ ﻣﻨﻬﻢ ﻣﻼﻣﺤﻪ‬ ‫اﻟﺸﻌﺮﻳﺔ اﻟﺘﻲ ﺗﺸﻜﻠﺖ ﻋﱪ ﺧﺼﻮﺻﻴﺘﻪ‬ ‫اﳌﻜﺎﻧﻴﺔ وﺛﻘﺎﻓﺘﻪ وﺣﺠﻢ ﻣﻮﻫﺒﺘﻪ‪.‬‬ ‫وﺑﺎﻹﺿﺎﻓﺔ ﻟﻬﺆﻻء اﻟﺸﻌﺮاء وﻣﻦ ﺳﺒﻘﻬﻢ‬ ‫ﻣﻦ ﺟﻴﻞ اﻟﺮواد‪ ،‬ﻳﺘﻨﺎول ﻛﺘﺎب »اﳌﺆﺗﻠﻒ‬

‫واﳌﺨﺘﻠﻒ« دراﺳﺔ ﻋﺪد ﻣﻦ ﺷﻌﺮاء‬ ‫اﻟﺴﺒﻌﻴﻨﻴﺎت واﻟﺜامﻧﻴﻨﻴﺎت‪ ،‬و ُﻳﻠﺤﻖ اﻟﻜﺘﺎب‬ ‫ﺑﺒﻠﻴﻮﺟﺮاﻓﻴﺎ اﻟﺸﻌﺮاء اﳌﺪروﺳني‪ ،‬ﻓﻀﻼ ﻋﻦ‬ ‫ﻛﺸﺎف ـ ﺗﺠﺮﻳﺒﻲ ـ ﻳﻮﺛﻖ ﻟﺪواوﻳﻦ ﺷﻌﺮ‬ ‫اﻟﻌﺎﻣﻴﺔ اﳌﴫﻳﺔ اﻟﺼﺎدرة ﰲ اﻟﻔﱰة ﻣﻦ‬ ‫)‪ ،(2015 :1980‬ﻳﺄﻣﻞ اﳌﺆﻟﻒ أن ﻳﻜﻮن ﺧﻄﻮ ًة‬ ‫ﰲ ﻃﺮﻳﻖ ﺗﻮﺛﻴﻖ إﻧﺘﺎج ﻫﺬا اﻟﻠﻮن اﻟﺸﻌﺮي‬ ‫اﻟﺬي ُﻇﻠﻢ ً‬ ‫ﻃﻮﻳﻼ‪ ،‬ﻛام ﻳﻀﻊ اﻟﻜﺸﺎف ﺟﺰ ًءا‬ ‫ﻛﺒ ًريا ﻣﻦ ﻧﺘﺎج ﻫﺬا اﻟﻨﻮع اﻹﺑﺪاﻋﻲ أﻣﺎم‬ ‫ﺣﺮﻛﺔ اﻟﻨﻘﺪ ﰲ ﻣﴫ‪.‬‬ ‫ﺷﻌﺮاء اﻟﻌﺎﻣﻴﺔ وﻏﻮاﻳﺔ اﻟﺮﺣﻴﻞ اﻟﻤﺒﻜﺮ‬ ‫أﻳﻀﺎ ﺗﻌﺮض ﻛﺘﺎب ﻣﺴﻌﻮد ﺷﻮﻣﺎن ﻟﻮاﺣﺪة‬ ‫ﻣﻦ أﺑﺮز اﻟﻈﻮاﻫﺮ اﻹﻧﺴﺎﻧﻴﺔ واﻹﺑﺪاﻋﻴﺔ‬ ‫اﳌﺮﺗﺒﻄﺔ ﺑﺸﻌﺮ اﻟﻌﺎﻣﻴﺔ اﳌﴫي وﻣﺒﺪﻋﻴﻪ‪،‬‬ ‫وﻫﻲ اﻟﺮﺣﻴﻞ اﳌﺒﻜﺮ ﻟﻬﺆﻻء اﻟﺸﻌﺮاء‪ ،‬ﻓﺮﻏﻢ‬ ‫ً‬ ‫ﻣﻠﺤﻮﻇﺎ ﺟ ًﺪا ﻋﲆ ﻣﺪى اﻟﻌﻘﻮد‬ ‫ﻣﻠﻤﺤﺎ‬ ‫ﻛﻮﻧﻬﺎ ً‬ ‫درﺳﺎ ﺑﺤﺜﻴﺎ ﻋﺮﺑ ًﻴﺎ‬ ‫اﻷﺧرية‪ ،‬إﻻ أﻧﻬﺎ مل ﺗﺠﺪ ً‬ ‫ﻗﺒﻞ دراﺳﺔ ﻣﺴﻌﻮد اﻟﺬي وﺻﻔﻬﺎ ﺑﺄﻧﻬﺎ‬ ‫ﻇﺎﻫﺮة ﺟﺪﻳﺮة ﺑﺎﻟﺪراﺳﺔ‪.‬‬ ‫ﰲ ﻫﺬا اﻟﺴﻴﺎق ﻳﻄﺮح ﻣﺴﻌﻮد ﻋﺪداً ﻣﻦ‬ ‫اﻷﺳﺌﻠﺔ اﳌﺘﻮاﺗﺮة ﻣﺜﻞ‪ :‬ﻫﻞ ﳌﻮت اﻟﺸﻌﺮاء‬ ‫ﻋﻼﻗﺔ ﺑﻨﻮع اﻟﻜﺘﺎﺑﺔ‪ ،‬أم ﺑﻮﺿﻌﻴﺔ ﻫﺬا اﻟﻨﻮع‬ ‫ﰲ ﺳﻴﺎق اﻟﻜﺘﺎﺑﺎت اﻟﻨﻮﻋﻴﺔ اﻷﺧﺮى‪ ،‬أم‬ ‫ﺑﺎﻧﺤﺼﺎر أﻣﺎﻛﻦ اﻟﻨﴩ واﻟﺘﻌﺎﻣﻞ ﻣﻊ ﻫﺬا‬ ‫اﻟﻨﻮع ﻣﻦ اﻟﺸﻌﺮ ﺑﻮﺻﻔﻪ »درﺟﺔ ﺛﺎﻧﻴﺔ«‬ ‫ﻋﲆ أﺣﺴﻦ ﺗﻘﺪﻳﺮ‪،‬أم ﺑﺤﺼﺎر ﻫﺬا اﻟﻨﻮع ﻣﻦ‬ ‫اﻟﺸﻌﺮوﻣﺤﺎوﻟﺔ ﺗﺜﺒﻴﺘﻪ ﻋﻨﺪ ﺣﺪود اﻹﻟﻘﺎء‬ ‫ﻓﺒﺮاﻳﺮ ‪63 2018 /‬‬

‫ﺷﻌﺒﻲ ﻋﺮﺑﻲ‬ ‫‪baytelshear‬‬

‫ﻓﻲ ﻛﺘﺎﺑﻪ »اﻟﻤﺆﺗﻠﻒ واﻟﻤﺨﺘﻠﻒ‪ ..‬ﺣﻜﺎﻳﺔ ﻧﺼﻒ ﻗﺮن ﻣﻦ ﻗﺘﻞ اﻟﺸﻌﺮاء«‬

‫ﻣﺴﻌﻮد ﺷﻮﻣﺎن ﻳﺪﻳﻦ اﻟﺨﺮس اﻟﻨﻘﺪي ﺗﺠﺎه ﺷﻌﺮ اﻟﻌﺎﻣﻴﺔ‬ ‫ﻋﺰة ﺣﺴﻴﻦ‬

‫ﻣﻨﺬ اﻟﻮﻫﻠﺔ اﻷوﻟﻰ ﻳﺸﻲ ﻋﻨﻮان اﻟﻜﺘﺎب اﻟﺒﺤﺜﻲ اﻷﺣﺪث ﻟﻠﺸﺎﻋﺮ واﻟﺒﺎﺣﺚ اﻟﻤﺼﺮي ﻣﺴﻌﻮد ﺷﻮﻣﺎن »اﻟﻤﺆﺗﻠﻒ واﻟﻤﺨﺘﻠﻒ‪ WW‬ﻗﺮاءات ﻓﻲ‬ ‫ﺷﻌﺮ اﻟﻌﺎﻣﻴﺔ اﻟﻤﺼﺮي« ﺑﺎﺗﺴﺎع واﻧﻔﺘﺎح ﻣﻮﺿﻮﻋﻪ وﺿﺨﺎﻣﺔ ﺣﻘﻠﻪ اﻟﺒﺤﺜﻲ؛ ﻓﺎﻟﻜﺘﺎب اﻟﺬي ﺣﺎز ﻣﺆﺧﺮًا ﺟﺎﺋﺰة اﻟﺸﺎﻋﺮ أﺣﻤﺪ ﻓﺆاد ﻧﺠﻢ ﻟﻨﻘﺪ‬ ‫ﺷﻌﺮ اﻟﻌﺎﻣﻴﺔ‪ ،‬ﻳﺘﺼﺪى ﻟﻠﻤﻨﺠﺰ اﻹﺑﺪاﻋﻲ اﻟﻬﺎﺋﻞ ﻟﺸﻌﺮ اﻟﻌﺎﻣﻴﺔ‪ ،‬اﻟﻤﺘﻮاﺗﺮ ﻣﻨﺬ ﻣﺎ ﻳﺰﻳﺪ ﻋﻠﻰ ﻧﺼﻒ ﻗﺮن‪ ،‬ﻣﻦ دون أن ﻳﺼﺎدف ﺟﻬﺪً ا ﺑﺤﺜﻴًﺎ أو‬ ‫ﻧﻘﺪﻳًﺎ ﻣﻮازﻳًﺎ‪ ،‬ﻣﺎ ﻛﺮس ﻻﻋﺘﺒﺎره ﺷﻌﺮًا ﻣﻦ اﻟﺪرﺟﺔ اﻟﺜﺎﻧﻴﺔ‪ ،‬أو أﻧﻪ ﻓﻦ اﻟﻌﻮام اﻟﺬي ﻻ ﻳﺮﻗﻰ ﻟﻠﺘﺪوﻳﻦ واﻟﺪراﺳﺔ‪W‬‬

‫وﻣﻦ ﻫﺬه اﻹﺷﻜﺎﻟﻴﺔ ﺗﺤﺪﻳ ًﺪا اﻧﻄﻠﻖ‬ ‫ﺷﻮﻣﺎن ﰲ ﻛﺘﺎﺑﻪ اﻟﺬي ميﺜﻞ اﻟﺠﺰء اﻷول‬ ‫ﻣﻦ ﻣﻮﺳﻮﻋ ٍﺔ ﻣﻦ ﺳﺘﺔ أﺟﺰاء‪ ،‬ﺗﻬﺪف إﱃ‬ ‫اﻟﺘﻌﺮﻳﻒ ﺑﺘﻀﺎرﻳﺲ اﻟﺨﺮﻳﻄﺔ اﻹﺑﺪاﻋﻴﺔ‬ ‫ﻟﺸﻌﺮ اﻟﻌﺎﻣﻴﺔ وأﺟﻴﺎﻟﻬﺎ اﳌﺘﻨﻮﻋﺔ ﰲ ﻓﱰة‬ ‫ﻣﻔﺼﻠﻴﺔ ﻣﻦ ﺗﺎرﻳﺦ ﻣﴫ‪ ،‬أﺳﻬﻢ ﻓﻴﻬﺎ ﺷﻌﺮ‬ ‫اﻟﻌﺎﻣﻴﺔ‪ ،‬ﻛام ﻳﺸري ﻣﺴﻌﻮد‪ ،‬ﺑﻘﺪر ﻛﺒري ﰲ‬ ‫اﻟﺤﺮاك اﻟﺜﻘﺎﰲ اﳌﴫي‪ ،‬وﺑﺎﻟﺘﺎﱄ ﰲ اﻟﺤﺮاك‬ ‫اﻻﺟﺘامﻋﻲ واﻟﺴﻴﺎﳼ‪.‬‬ ‫اﻟﻌﺎﻣﻴﺔ وﻋﺰﻟﺔ اﻟﻨﻘﺪ‬ ‫ﰲ ﻛﺘﺎﺑﻪ ﻳﺪﻳﻦ ﻣﺴﻌﻮد ﺷﻮﻣﺎن ﺣﺎﻟﺔ اﻟﺨﺮس‬ ‫اﻟﻨﻘﺪي ﺗﺠﺎه ﺷﻌﺮ اﻟﻌﺎﻣﻴﺔ‪ ،‬وﻋﺪم اﻟﺘﺼﺪي‬ ‫ﻟﺪراﺳﺘﻪ ﺑﺸﻜﻞٍ ﻳﻠﻴﻖ مبﻨﺠﺰه‪ ،‬ﻻﻓ ًﺘﺎ إﱃ أﻧﻪ‬ ‫رﻏﻢ ﻣﺮور أﻛرث ﻣﻦ ﻧﺼﻒ ﻗﺮن ﻋﲆ ﻇﻬﻮر‬ ‫اﻟﺸﻌﺮ ‪ /‬اﻟﻌﺪد ‪64‬‬ ‫‪ 62‬ﺑﻴﺖ ِ‬

‫ﻣﺼﻄﻠﺢ »ﺷﻌﺮ اﻟﻌﺎﻣﻴﺔ« ـ ﺑﻮﺻﻔﻪ ﻟﻴﺲ‬ ‫اﻣﺘﺪا ًدا ﻟﻠﺰﺟﻞ‪ ،‬وإمنﺎ أﺣﺪ اﻷﻧﻮاع اﻟﻜﺘﺎﺑﻴﺔ‬ ‫اﻟﺠﺪﻳﺪة اﻟﺘﻲ ﻓﺎرﻗﺖ اﻟﻌﻤﻮد اﻟﺸﻌﺮي ـ‬ ‫ﻻزال اﻟﻨﻘﺪ ﻳﺘﺤﻔﻆ ﻋﻦ اﳌﺘﺎﺑﻌﺔ‪ ،‬وﻳﺤﺠﻢ‬ ‫ﻋﻦ ﻣﻼﺣﻘﺔ ﻫﺬا »اﻟﻄﻮﻓﺎن اﻹﺑﺪاﻋﻲ«‪،‬‬ ‫ﻣﺮة ﻷﺳﺒﺎب ﻣﻌﻴﺎرﻳﺔ ﺧﺎﺻﺔ ﺑﺎﻟﻔﻬﻢ اﻟﻀﻴﻖ‬ ‫ﻣﻦ ﻗﺒﻞ اﻟﻨﻘﺎد ﻟﻠﺸﻌﺮ وﻟﻐﺘﻪ‪ ،‬وأﺧﺮى‬ ‫ﻷﺳﺒﺎب ﺳﻴﺎﺳﻴﺔ ودﻳﻨﻴﺔ‪ ،‬وﺛﺎﻟﺜﺔ ﻟﻌﺪم إدراك‬ ‫اﻟﻨﻘﺎد ﳌﻔﺎﺗﻴﺢ ﻫﺬا اﻟﻨﻮع اﻟﺸﻌﺮي ﻷﻧﻪ‬ ‫ﻳﺤﺘﺎج ﻻﻣﺘﻼك أدوات ﺟﺪﻳﺪة‪ ،‬ﻣﺎ ﺟﻌﻠﻬﻢ‬ ‫ﻳﺴﺘﺴﻬﻠﻮن اﻟﻨﻔﻲ واﻋﺘﺒﺎر ﺷﻌﺮ اﻟﻌﺎﻣﻴﺔ‬ ‫إﺑﺪا ًﻋﺎ ﻣﻦ اﻟﺪرﺟﺔ اﻟﺜﺎﻧﻴﺔ‪.‬‬ ‫وﻳﻠﻔﺖ ﺷﻮﻣﺎن اﳌﻀﻄﻠﻊ ﺑﺪراﺳﺔ وﺗﻘﴢ‬ ‫اﻟﺠﺬور اﻟﺒﺤﺜﻴﺔ واﻟﺠامﻟﻴﺔ ﻟﺸﻌﺮ اﻟﻌﺎﻣﻴﺔ‬ ‫ﻋﲆ ﻣﺪى ‪ 25‬ﻋﺎ ًﻣﺎ‪ ،‬أﺳﻔﺮت ﻋﻦ ﻧﺨﺒﺔ ﻣﻦ‬

‫اﻟﺪراﺳﺎت اﻟﺒﺤﺜﻴﺔ اﳌﻬﻤﺔ ﻣﺜﻞ‪” :‬اﻟﺨﻄﺎب‬ ‫اﻟﺸﻌﺮي ﰲ اﳌﻮال‪ ..‬دراﺳﺔ ﺗﺤﻠﻴﻠﻴﺔ ﰲ‬ ‫ﺗﺸﻜﻴﻞ اﻟﻨامذج اﻹﻧﺴﺎﻧﻴﺔ‪ ،‬و“ﻣﺮﺑﻌﺎت اﺑﻦ‬ ‫ﻋﺮوس“ )دراﺳﺔ وﺗﺤﻘﻴﻖ(‪ ،‬و“ﻣﺴﺎﺣﺎت‬ ‫اﻻﻟﺘﺒﺎس واﻟﻮﻋﻲ ﺑﺎﻟﻨﺺ اﻟﺸﻌﺒﻲ“‪،‬‬ ‫و“اﳌﻮﺳﻮﻋﺔ اﳌﴫﻳﺔ ﻟﻸﻏﻨﻴﺎت اﻟﺸﻌﺒﻴﺔ“‬ ‫وﻏريﻫﺎ ﻣﻦ اﻟﺪراﺳﺎت اﻟﺘﻲ ﺟﻌﻠﺖ اﻟﺒﻌﺾ‬ ‫ﻳﻌﺘﱪه ﻣﺆﺳﺴﺔ ﺑﺤﺜﻴﺔ ﻣﺴﺘﻘﻠﺔ‪ ،‬ﻳﻠﻔﺖ إﱃ‬ ‫أن ﻛﺘﺎﺑﻪ ﻣﺠﺮد ﴏﺧﺔ ﰲ وﺟﻪ اﳌﺆﺳﺴﺔ‬ ‫اﻟﺜﻘﺎﻓﻴﺔ ﻹﻧﺠﺎز ﻗﺎﻋﺪة ﻣﻌﻠﻮﻣﺎﺗﻴﺔ ﻟﻴﺲ‬ ‫ﻟﺸﻌﺮ وﺷﻌﺮاء اﻟﻌﺎﻣﻴﺔ ﻓﺤﺴﺐ وإمنﺎ ﻟﻐريه‬ ‫ﻣﻮﺿﺤﺎ أﻧﻪ ﻟﻴﺲ ﻣﻦ ﺑني‬ ‫ﻣﻦ اﻟﻔﻨﻮن‪،‬‬ ‫ً‬ ‫ﻣﺴﺢ ﺷﺎﻣﻞٍ ﻟﺸﻌﺮ‬ ‫أﻫﺪاف اﻟﻜﺘﺎب إﻋﺪاد ٍ‬ ‫وﺷﻌﺮاء اﻟﻌﺎﻣﻴﺔ ﰲ ﻛﻞ ﻣﴫ‪ ،‬أو اﻟﺘﻌﺮﻳﺞ‬ ‫ﻋﲆ اﻟﺴامت اﻟﺠامﻟﻴﺔ اﻟﺘﻲ ﻳﺨﺘﺺ ﺑﻬﺎ أﺣﺪ‬

‫ﺗﺄﺗﻲ اﻷﻋﻤﺎل اﻟﻤﻌﺮوﺿﺔ ﻓﻲ‬ ‫اﻟﻤﺘﺤﻒ ﻣﻦ ﻣﺠﺘﻤﻌﺎت وﺛﻘﺎﻓﺎت‬ ‫ﻣﺘﻨﻮﻋﺔ ﻣﻦ ﺟﻤﻴﻊ أﻧﺤﺎء اﻟﻌﺎﻟﻢ‪،‬‬ ‫وﻳﺘﻢ ﺗﺴﻠﻴﻂ اﻟﻀﻮء ﺑﺸﻜﻞ‬ ‫ﺧﺎص ﻋﻠﻰ اﻟﻤﻮﺿﻮﻋﺎت اﻟﻌﺎﻟﻤﻴﺔ‬ ‫واﻟﻤﺸﺘﺮﻛﺔ‬ ‫اﺳﺘﻠﻬﻢ اﻟﻤﺼﻤﻢ اﻟﻤﻌﻤﺎري ﺟﺎن‬ ‫ﻧﻮﻓﻴﻞ ﺗﺼﻤﻴﻢ اﻟﺠﺪاول اﻟﻤﺎﺋﻴﺔ‬ ‫اﻟﺘﻲ ﺗﺠﺮي ﻋﺒﺮ اﻟﻤﺘﺤﻒ ﻣﻦ ﻧﻈﺎم‬ ‫اﻟﻔﻠﺞ اﻟﺘﻘﻠﻴﺪي ﻟﻠﺮي‬ ‫اﳌﻜﺎن واﻟﺰﻣﺎن‪ ،‬وﻣﻦ ﺧﻼل دراﺳﺎت ﻣﺘﻌﻤﻘﺔ‬ ‫وﺑﺤﺚ دﻗﻴﻖ ﺗﻢ رﺻﻒ اﻟﻘﻄﻊ اﻷﺛﺮﻳﺔ‬ ‫ﺑﺤﻴﺚ ﺗﺸﻜﻞ ﺳﻠﺴﻠﺔ ﻣﺘﻜﺎﻣﻠﺔ ﺗﺤيك ﻗﺼﺔ‬ ‫ﺣﻘﻴﻘﻴﺔ ﺗﻨﺎﻗﻠﺘﻬﺎ اﻷﺟﻴﺎل‪ ،‬ﻓﻬﻨﺎك ﻣﺠﻤﻮﻋﺎت‬ ‫ﺗﺮوي ﺗﺎرﻳﺦ اﻷدﻳﺎن‪ ،‬وأﺧﺮى ﺗﺠﺴﺪ اﻟﺤﺮﻛﺔ‬ ‫اﻻﻗﺘﺼﺎدﻳﺔ واﻟﻔﻜﺮﻳﺔ‪ ،‬وﻏريﻫﺎ ﺗﻠﻘﻲ اﻟﻀﻮء‬ ‫ﻋﲆ ﻣﻜﺎﻧﺔ اﳌﺮأة ﰲ اﳌﺠﺘﻤﻌﺎت اﻟﻘﺪميﺔ‪.‬‬ ‫ﻫﺬا ﻛام ﻳﺴﻠﻂ اﳌﺘﺤﻒ اﻟﻀﻮء ﻋﲆ اﻟﺒﺪاﻳﺎت‬ ‫اﻷوﱃ ﻟﻠﻮﺟﻮد اﻟﺒﴩي ﻋﲆ ﻫﺬا اﻟﻜﻮﻛﺐ‪،‬‬ ‫ﺣﻴﺚ اﻧﻘﻀﺖ ﻣﻼﻳني اﻟﺴﻨﻮات ﻗﺒﻞ أن ﻳﻨﺘﴩ‬ ‫اﻟﺠﻨﺲ اﻟﺒﴩي ﰲ ﺟﻤﻴﻊ أﻧﺤﺎء اﳌﻌﻤﻮرة‬ ‫اﻧﻄﻼﻗﺎً ﻣﻦ ﻣﻬﺪه اﻷﺻﲇ ﰲ ﴍق إﻓﺮﻳﻘﻴﺎ‪،‬‬ ‫إﻻ أن اﻟﻮﺟﻮد اﻹﻧﺴﺎين ﺑﺸﻜﻠﻪ اﳌﺠﺘﻤﻌﻲ‬ ‫اﳌﺴﺘﻘﺮ ﺑﺪأ ﻟﻠﻤﺮة اﻷوﱃ ﰲ ﻣﻨﻄﻘﺔ اﻟﴩق‬

‫اﻷدىن واﻟﺼني ﺣﻴﺚ ﻇﻬﺮت اﻟﻘﺮى اﻷوﱃ ﰲ‬ ‫اﻟﻌﺎمل‪ ،‬ﻛام ﳌﻨﻄﻘﺔ اﻟﺒﺤﺮ اﳌﺘﻮﺳﻂ ﻧﺼﻴﺐ‬ ‫واﻓﺮ ﰲ اﳌﺘﺤﻒ‪ ،‬وﻫﻲ اﳌﻨﻄﻘﺔ اﻟﺘﻲ ﻛﺎﻧﺖ‬ ‫وﻣﺎ زاﻟﺖ ﻣﻠﺘﻘﻰ اﻟﻄﺮق اﻟﺘﺠﺎرﻳﺔ واﻟﺜﻘﺎﻓﻴﺔ‬ ‫ﻋﱪ آﺳﻴﺎ وأوروﺑﺎ وإﻓﺮﻳﻘﻴﺎ‪.‬‬ ‫اﻟﺸﺮﻓﺔ‪ JJ‬ﺳﺤﺮ اﻟﻀﻮء‬ ‫ﺑﻌﺪ ﺟﻮﻟﺔ ﺛﻘﺎﻓﻴﺔ ﻋﺎﻣﺮة ﺑﺎﻟﺒﺤﺚ واﻟﺘﻔﻜري‬ ‫واﻟﻔﺎﺋﺪة‪ ،‬ﻳﺼﻞ اﻟﺰاﺋﺮ إﱃ اﻟﴩﻓﺔ اﳌﻔﺘﻮﺣﺔ‬ ‫اﻟﺘﻲ ﻳﻄﻐﻰ ﻋﻠﻴﻬﺎ اﻟﻠﻮن اﻷول واﻟﺘﻲ‬ ‫ﻳﻌﻠﻮﻫﺎ ﺳﻘﻒ ﺧﻼب ﻳﺘﺴﻠﻞ اﻟﻀﻮء ﻣﻦ‬ ‫ﻓﺘﺤﺎﺗﻪ اﻟﻌﺸﻮاﺋﻴﺔ اﻟﱰﺗﻴﺐ‪ ،‬ﻟﻴﻨﺘرث ﻛﻘﻄﻊ‬ ‫ﻧﻘﺪﻳﺔ ﻻﻣﻌﺔ ﰲ أرﺟﺎء اﳌﻜﺎن‪ ،‬ﰲ ﻫﺬه‬ ‫اﳌﻨﻄﻘﺔ ﺗﺘﺠﲆ ﻋﺒﻘﺮﻳﺔ اﳌﻌامري اﻟﺬي ﺟﻤﻊ‬

‫ﻣﻔﺮدات اﻟﺤﻀﺎرة اﻹﻣﺎراﺗﻴﺔ ﺑﻄﺮﻳﻘﺔ ﻋﴫﻳﺔ‬ ‫ﻓﺮﻳﺪة‪ ،‬ﺣﻴﺚ اﺳﺘﻠﻬﻢ اﳌﺼﻤﻢ اﳌﻌامري ﺟﺎن‬ ‫ﻧﻮﻓﻴﻞ ﺗﺼﻤﻴﻢ اﻟﺠﺪاول اﳌﺎﺋﻴﺔ اﻟﺘﻲ ﺗﺠﺮي‬ ‫ﻋﱪ اﳌﺘﺤﻒ ﻣﻦ ﻧﻈﺎم اﻟﻔﻠﺞ اﻟﺘﻘﻠﻴﺪي‬ ‫ﻟﻠﺮي‪ ،‬ﻛام ﺻﻤﻢ ﻓﻜﺮة ﻗﺒﺔ ﻣﺘﺤﻒ اﻟﻠﻮﻓﺮ‬ ‫ﺨﺮﻣﺎت ﻫﻨﺪﺳﻴﺔ اﺳﺘﻠﻬﺎﻣﺎً‬ ‫أﺑﻮﻇﺒﻲ اﳌﺰﻳﻨﺔ ُمب ّ‬ ‫ﻣﻦ ﺳﻌﻒ اﻟﻨﺨﻴﻞ اﳌﺘﺪاﺧﻠﺔ‪ ،‬واﻟﺘﻲ ﻛﺎﻧﺖ‬ ‫ﺗﺴﺘﺨﺪم ﰲ ﺗﻐﻄﻴﺔ اﻷﺳﻘﻒ ﻟﻠﺴامح ﻟﻠﻀﻮء‬ ‫ﺑﺎﳌﺮور ﻋﱪﻫﺎ وﺗﻜﻮﻳﻦ أﺷﻜﺎل وأﻟﻮان ﻏﺎﻳﺔ‬ ‫ﰲ اﻟﺠامل‪ .‬وﻳﺄيت منﻂ اﻟﺴﻘﻒ اﳌﻌﻘﺪ ﻧﺘﻴﺠﺔ‬ ‫ﻟﻠﺘﺼﻤﻴﻢ اﻟﻬﻨﺪﳼ ﻧﻔﺴﻪ واﻟﺬي ﻳﺘﻜﺮر‬ ‫ﺑﺄﺣﺠﺎم وزواﻳﺎ ﻣﺨﺘﻠﻔﺔ ﺿﻤﻦ ‪ 10‬ﻃﺒﻘﺎت‪،‬‬ ‫ﺧﻤﺲ ﻣﻨﻬﺎ ﺧﺎرﺟﻴﺔ وﺧﻤﺲ داﺧﻠﻴﺔ‪ ،‬اﻷﻣﺮ‬ ‫اﻟﺬي ﻳﻌﻄﻲ اﻟﻘﺒﺔ ﺷﻜ ًﻼ دﻗﻴﻘﺎً وﻓﻨﻴﺎً ﻣﺒﺪﻋﺎً‪.‬‬ ‫ﻓﺒﺮاﻳﺮ ‪61 2018 /‬‬

‫ﻋﻄﺮ اﻟﻤﻜﺎن‬ ‫‪baytelshear‬‬

‫اﳌﻨﻈﻤني‪ ،‬ﻫﻲ ﻟﻮﺣﺔ »اﻟﺤ ّﺪادة اﻟﺠﻤﻴﻠﺔ« اﻟﺘﺠﺎرب اﻹﻧﺴﺎﻧﻴﺔ‪ ،‬اﻟﺘﻲ ﺗﺘﺠﺎوز ﺣﺪود‬ ‫ﻟﻠﻴﻮﻧﺎردو دا ﻓﻴﻨﴚ‪ ،‬وﻫﻲ ﻟﻮﺣﺔ ﻣﻌﺎرة ﻣﻦ اﻟﺠﻐﺮاﻓﻴﺎ واﻷﻋﺮاق واﻟﺘﺎرﻳﺦ‪.‬‬ ‫ﻣﺘﺤﻒ اﻟﻠﻮﻓﺮ ﰲ ﺑﺎرﻳﺲ‪ .‬وﻳﻌﺮض اﳌﺘﺤﻒ‬ ‫‪ 300‬ﻗﻄﻌﺔ ﻣﻌﺎرة ﻣﻦ اﳌﺘﺎﺣﻒ‪ ،‬ﺑﻴﻨﻬﺎ ﻣﺎ أن ﺗﺒﺪأ اﻟﺘﻨﻘﻞ ﺑني اﻟﻘﻄﻊ اﻷﺛﺮﻳﺔ اﻟﻘﺪميﺔ‬ ‫»ﺑﻮﻧﺎﺑﺮت ﻋﺎﺑﺮاً اﻷﻟﺐ« ﻟﺠﺎن ﻟﻮي داﻓﻴﺪ ﺣﺘﻰ ﻳﻠﻔﻚ ﺷﻌﻮر ﻏﺮﻳﺐ‪ ،‬ﺗﺸﻌﺮ ﺑﺄﻧﻚ ﺗﻘﻒ‬ ‫)ﻣﺘﺤﻒ ﻓﺮﺳﺎي(‪ ،‬و»رﺳﻢ ذايت« ﻟﻔﻨﺴﻨﺖ ﻋﲆ ﺑﻌﺪ ﺧﻄﻮة ﻣﻦ أﻧﺎس ﻋﺎﺷﻮا ﻗﺒﻞ آﻻف‬ ‫اﻟﺴﻨني‪ ،‬ﺗﺸﻌﺮ وﻛﺄن ﻫﺬه اﻟﺘﺤﻒ ﻫﻲ ﺻﻠﺔ‬ ‫ﻓﺎن ﻏﻮخ )ﻣﺘﺤﻒ أورﺳﺎي(‪.‬‬ ‫وﺗﺄيت اﻷﻋامل اﳌﻌﺮوﺿﺔ ﰲ اﳌﺘﺤﻒ ﻣﻦ اﻟﻮﺻﻞ اﻟﺘﻲ ﺗﺮﺑﻄﻚ ﺑﺎﻟﻔﺮاﻋﻨﺔ وﺷﻌﻮب‬ ‫ﻣﺠﺘﻤﻌﺎت وﺛﻘﺎﻓﺎت ﻣﺘﻨﻮﻋﺔ ﻣﻦ ﺟﻤﻴﻊ اﻷﻧﻜﺎ واﻟﻔﻴﻨﻴﻘﻴني واﻟﻜﻨﻌﺎﻧﻴني وﻏريﻫﻢ‪،‬‬ ‫أﻧﺤﺎء اﻟﻌﺎمل‪ ،‬وﻳﺘﻢ ﺗﺴﻠﻴﻂ اﻟﻀﻮء ﺑﺸﻜﻞ ﻓﻬﺬه اﻟﻘﻄﻊ أﺷﺒﻪ ﺑﺮﺳﺎﺋﻞ ﺣﻔﻈﻬﺎ اﻟﺘﺎرﻳﺦ‪،‬‬ ‫ﺧﺎص ﻋﲆ اﳌﻮﺿﻮﻋﺎت اﻟﻌﺎﳌﻴﺔ واﳌﺸﱰﻛﺔ‪ ،‬ﺗﻠﺨﺺ ﺣﻴﺎة ﻣﻦ ﻋﺎﺷﻮا ﻗﺒﻞ أن ﻳﻜﺘﺸﻒ‬ ‫ﺑﻬﺪف إﺑﺮاز اﻷوﺟﻪ اﻟﺘﻲ ﺗﺘﻼﻗﻰ ﻓﻴﻬﺎ اﻟﺤﺮف وﺑﻌﺪه‪ .‬ﻋﻨﺪ زﻳﺎرﺗﻚ ﻟﻠﻤﺘﺤﻒ‬ ‫اﻟﺸﻌﺮ ‪ /‬اﻟﻌﺪد ‪64‬‬ ‫‪ 60‬ﺑﻴﺖ ِ‬

‫ﺳﺘﺰدﺣﻢ اﻷﻓﻜﺎر ﰲ رأﺳﻚ‪ ،‬ﻳﺤﺎول ﻋﻘﻠﻚ‬ ‫ﺗﺨﻴﻞ اﻟﻠﺤﻈﺔ اﻟﺘﻲ ﺻﻨﻌﺖ ﻓﻴﻬﺎ ﻫﺬه‬ ‫اﻟﺘﺤﻒ‪ ،‬ﳌﺎذا وﻛﻴﻒ وﻣﻦ ﻣﺎذا ﺻﻨﻌﻮﻫﺎ‪،‬‬ ‫ﻣﺎ ﺷﻜﻞ اﻟﻔﻨﺎن اﻟﺬي أﺑﺪﻋﻬﺎ ﻫﻞ ﻛﺎن ﻗﻮﻳﺎً‬ ‫ﻣﻔﺘﻮل اﻟﻌﻀﻼت‪ ،‬ﻛﻢ ﻛﺎن ﻃﻮﻟﻪ‪ ،‬ﻛﻢ ﺷﺨﺼﺎً‬ ‫ﺗﻌﺎوﻧﻮا ﻋﲆ ﺻﻨﻌﻬﺎ‪ ،‬ﻫﻞ ﻛﺎن ﻣﻦ ﺻﻨﻌﻬﺎ‬ ‫ذﻛﺮاً أم أﻧﺜﻰ؟ وﻳﺒﻘﻰ اﻟﺴﺆال اﻷﻫﻢ ﻫﻞ‬ ‫ﻛﺎن ﻳﺘﻮﻗﻊ ﻫﺬا اﻟﻔﻨﺎن ﺑﺄن ﻗﻄﻌﺘﻪ ﺳﺘﺼﻤﺪ‬ ‫ﰲ وﺟﻪ اﻟﺰﻣﻦ ﻟﺘﻌﻴﺶ آﻻف اﻟﺴﻨني وﺗﻘﻄﻊ‬ ‫آﻻف اﻟﻜﻴﻠﻮﻣﱰات ﻟﺘﺴﻘﺮ ﰲ رﻛﻦ أﻧﻴﻖ ﰲ‬ ‫واﺣﺪ ﻣﻦ أﺟﻤﻞ ﻣﺘﺎﺣﻒ اﻟﻌﺎمل‪.‬‬ ‫ﻳﻨﻘﻠﻚ اﳌﺘﺤﻒ وﻋﱪ ﻗﺎﻋﺎﺗﻪ اﳌﺘﻌﺪدة ﻋﱪ‬

‫اﻟﺰ ّوار ﺑﺎﳌﴚ ﻋﲆ ﻃﻮل اﳌﺘﻨﺰﻫﺎت‬ ‫واﳌﻤﺮات اﳌﻄﻠﺔ ﻋﲆ ﻣﻴﺎه اﻟﺒﺤﺮ‪ ،‬ﺗﺤﺖ‬ ‫ﻇﻼل اﻟﻘﺒﺔ اﻟﻌﻤﻼﻗﺔ اﳌﺆﻟﻔﺔ ﻣﻦ ‪7850‬‬ ‫ﺷﻜ ًﻼ ﻫﻨﺪﺳﻴﺎً ﻋﲆ ﻫﻴﺌﺔ ﻧﺠﻤﺔ‪ .‬وﻋﻨﺪﻣﺎ‬ ‫ﺗﺘﺴﺎﻗﻂ أﺷﻌﺔ اﻟﺸﻤﺲ ﻋﲆ اﻟﻘﺒﺔ ﺗﺨﻠﻖ‬ ‫ﺗﺄﺛرياً ﻣﻠﻬ ًام ُﻳﻌﺮف ﺑﺎﺳﻢ ”ﺷﻌﺎع اﻟﻨﻮر“‪ ،‬مبﺎ‬ ‫ﻳﻌﻴﺪ اﻷذﻫﺎن إﱃ ﺳﻌﻒ اﻟﻨﺨﻴﻞ اﳌﺘﺪاﺧﻞ ﰲ‬ ‫واﺣﺎت اﻹﻣﺎرات‪.‬‬ ‫وﺑﺎﻹﺿﺎﻓﺔ إﱃ ﺻﺎﻻت ﻋﺮﺿﻪ اﻟﺪامئﺔ‪ ،‬ﻳﻀﻢ‬ ‫ﻣﺘﺤﻒ اﻟﻠﻮﻓﺮ أﺑﻮﻇﺒﻲ ﻣﺴﺎﺣﺔ ﻋﺮض ﺧﺎﺻﺔ‬

‫وﻣﺘﺤﻔﺎً ﻟﻸﻃﻔﺎل وﺻﺎﻟ ًﺔ ﻛﺒري ًة ﻟﻠﻔﻌﺎﻟﻴﺎت وﻳﺘﺴﻢ ﺑﻮﺟﻮد ﻗﻄﻊ ﻓﻨﻴﺔ وأﺛﺮﻳﺔ ﻧﺎدرة مل‬ ‫واﻟﺤﻮارات ﺑﺎﻹﺿﺎﻓﺔ إﱃ ﻣﻄﻌﻢ وﻣﺘﺠﺮ ﺗﺮﻫﺎ‪.‬‬ ‫وﻣﻘﻬﻰ وﺣﺪﻳﻘﺔ ﻋﺎﻣﺔ‪.‬‬ ‫ﺗﺎرﻳﺦ اﻟﻌﺎﻟﻢ ﺑﻴﻦ ﻳﺪﻳﻚ‬ ‫ﰲ أول اﳌﻌﺮض ﺗﺠﺪون ﻏﺮﻓﺔ ﻫﺎدﺋﺔ‬ ‫ﻛﻦ اﻟﻤﻜﺘﺸﻒ‬ ‫ﻣﻨﺬ ﻟﺤﻈﺔ دﺧﻮﱄ اﳌﺘﺤﻒ ﺷﻌﺮت وﻛﺄين ﻋﺮﺿﺖ ﻓﻴﻬﺎ ﻧﺴﺨﺔ ﻣﻦ اﻟﻘﺮآن اﻟﻜﺮﻳﻢ ﺗﻌﻮد‬ ‫ﰲ ﻣﺘﺎﻫﺔ ﻛﺒرية ﺗﻌﺞ ﺑﺎﻟﻜﻨﻮز واﻟﺘﺤﻒ‪ ،‬إﱃ اﻟﻘﺮن اﻟﺘﺎﺳﻊ ﻋﴩ‪ ،‬ﻛﺘﺒﺖ ﺑﺎﻟﺬﻫﺐ ﻋﲆ‬ ‫ﻓﺘﺼﻤﻴﻢ اﳌﺘﺤﻒ وﻗﺎﻋﺎﺗﻪ ﻳﺠﻌﻠﻚ ﰲ ﺣﺮﻛﺔ ﻣﺨﻄﻮﻃﺎت زرﻗﺎء‪ ،‬وإﱃ ﺟﺎﻧﺒﻬﺎ ﻛﺘﺎب ﺗﻮراة‬ ‫داﺋﺮﻳﺔ‪ ،‬ﺣﻴﺚ ﻋﻠﻴﻚ أن ﺗﻨﺘﺒﻪ إﱃ ﻛﻞ زاوﻳﺔ ميﻨﻲ‪ ،‬وإﻧﺠﻴﻞ ﻣﻦ اﻟﻘﺮن اﻟﺜﺎﻟﺚ ﻋﴩ‪.‬‬ ‫ورﻛﻦ وﺣﺎﺋﻂ‪ ،‬ﻓﺈن مل ﺗﻔﻌﻞ ﺳﻴﻔﻮﺗﻚ اﻟﻜﺜري‪ ،‬ﻟﻜﻦ ﻧﺠﻤﺔ اﻷﻋامل اﻟﻔﻨﻴﺔ ﰲ اﳌﺘﺤﻒ‪ ،‬ﺑﻨﻈﺮ‬ ‫ﻓﺒﺮاﻳﺮ ‪59 2018 /‬‬

‫ﻋﻄﺮ اﻟﻤﻜﺎن‬ ‫‪baytelshear‬‬

‫ﻣﺘﺤﻒ اﻟﻠﻮﻓﺮ أﺑﻮﻇﺒﻲ‪ ..‬ﺳﺤﺮ اﻟﺤﻀﺎرات‬ ‫ﻣﺼﻄﻔﻰ اﻟﺠﻨﺪي‬

‫ﻣﻨﺬ ﺳﻨﻮات ﻣﻀﺖ‪ ،‬ﻛﻨﺖ إذا رﻏﺒﺖ ﰲ‬ ‫رؤﻳﺔ اﳌﺒﺎين اﻟﺸﺎﻫﻘﺔ ﺗﺘﻮﺟﻪ إﱃ ﻧﻴﻮﻳﻮرك‪،‬‬ ‫وإذا ﺑﺤﺜﺖ ﻋﻦ اﻟﺤﻴﺎة اﻟﱪﻳﺔ ﺗﻔﻜﺮ ﺑﺰﻳﺎرة‬ ‫ﻹﺣﺪى اﻟﺪول اﻹﻓﺮﻳﻘﻴﺔ‪ ،‬وإذا ﻣﺎ ﻛﻨﺖ‬ ‫ﺗﺒﺤﺚ ﻋﻦ اﻟﱰﻓﻴﻪ‪ ،‬ﻓﻌﺎمل دﻳﺰين ﰲ ﻛﺎﻟﻴﻔﻮرﻧﻴﺎ‬ ‫ﻫﻮ وﺟﻬﺘﻚ اﻷﻓﻀﻞ‪ ،‬وإذا ﻣﺎ ﻛﻨﺖ ﻣﻦ‬ ‫ﻋﺸﺎق اﻟﻔﻦ واﻵﺛﺎر ﻓﺴﺘﺠﺪ ﰲ ﺑﺎرﻳﺲ‬ ‫وروﻣﺎ ﻣﺎ ﺗﺒﺤﺚ ﻋﻨﻪ‪.‬‬ ‫اﻟﻴﻮم ﺗﻐري اﻟﺤﺎل‪ ،‬ﻓﺴﻮاء ﻛﻨﺖ ﻣﻦ ﻋﺸﺎق‬ ‫اﻟﺮﻳﺎﺿﺔ أو اﻻﺳﺘﻜﺸﺎف أو اﻟﻔﻦ أو اﻟﱰﻓﻴﻪ‪،‬‬ ‫ﻓام ﻋﻠﻴﻚ ﺳﻮى اﻟﺘﻮﺟﻪ إﱃ اﻹﻣﺎرات‪،‬‬ ‫واﻟﺘﻲ أﺻﺒﺤﺖ وﺟﻬﺔ ﺳﻴﺎﺣﻴﺔ ﺗﻠﺒﻲ ﺷﻐﻒ‬ ‫وﺗﻄﻠﻌﺎت ﺟﻤﻴﻊ اﻟﻨﺎس ﺑﺎﺧﺘﻼف أﻫﻮاﺋﻬﻢ‬ ‫وﻫﻮاﻳﺎﺗﻬﻢ واﻫﺘامﻣﺎﺗﻬﻢ‪ ،‬وﻣﻊ اﻓﺘﺘﺎح‬ ‫ﻣﺘﺤﻒ اﻟﻠﻮﻓﺮ أﺑﻮﻇﺒﻲ زاد أﻟﻖ اﻹﻣﺎرات‬ ‫وﻣﻜﺎﻧﺘﻬﺎ اﻟﺴﻴﺎﺣﻴﺔ واﻟﺜﻘﺎﻓﻴﺔ‪ ،‬ﻛﻴﻒ ﻻ‪،‬‬ ‫وﻫﻲ متﺘﻠﻚ اﻟﻴﻮم ﻛﻨﺰاً ﻓﻨﻴﺎً ﺣﻀﺎرﻳﺎً ﻣﻌامرﻳﺎً‬ ‫ﻓﺮﻳﺪاً‪ ،‬ﺣﻴﺚ ُﻳﻌﺪ اﻟﻠﻮﻓﺮ أﺑﻮﻇﺒﻲ ﻣﺘﺤﻔﺎً‬ ‫ﻋﺎﳌﻴﺎً ﰲ ﺟﺰﻳﺮة اﻟﺴﻌﺪﻳﺎت‪ ،‬ﻳﺘﻀﻤﻦ أﻋامﻻً‬ ‫ﻓﻨﻴﺔ وﺗﺤﻔﺎً ﺗﺎرﻳﺨﻴﺔ ﺗﺤﻤﻞ أﻫﻤﻴﺔ ﺛﻘﺎﻓﻴﺔ‬ ‫واﺟﺘامﻋﻴﺔ ﺗﻌﻮد إﱃ ﻣﺨﺘﻠﻒ اﻟﺤﻀﺎرات‬ ‫اﻟﻘﺪميﺔ واﻟﻮﻗﺖ اﻟﺤﺎﴐ‪ .‬وﺗﺠﺴﻴﺪاً ﻟﺮوح‬ ‫اﻻﻧﻔﺘﺎح واﻟﺤﻮار ﺑني اﻟﺜﻘﺎﻓﺎت‪ ،‬ﺳﻴﻀﻢ‬ ‫اﳌﺘﺤﻒ اﻟﺬي ﺻﻤﻤﻪ اﳌﻌامري اﻟﻔﺮﻧﴘ‬ ‫ﺟﺎن ﻧﻮﻓﻴﻞ‪ 12 ،‬ﻓﺼ ًﻼ ﻳﻌﻜﺲ روح اﳌﺪﻳﻨﺔ‬ ‫اﻟﻌﺮﺑﻴﺔ‪ ،‬إﱃ ﺟﺎﻧﺐ ﻗﺎﻋﺎت ﻟﻠﻤﻌﺎرض اﳌﺆﻗﺘﺔ‪،‬‬ ‫وﻣﺘﺤﻒ ﻟﻸﻃﻔﺎل‪ ،‬وﻣﻘﻬﻰ‪ ،‬وﻣﻄﻌﻢ‪ ،‬وﻣﺘﺠﺮ‬ ‫وﻣﺮﻛﺰ ﻟﻠﺒﺤﻮث‪ .‬وميﻜﻦ ﻟﻠﺰوار أن ﻳﺘﺠﻮﻟﻮا‬ ‫ﰲ اﳌﺘﺤﻒ اﳌﺤﺎط ﺑﺎﳌﻴﺎه ﻣﻦ ﺟﻤﻴﻊ‬ ‫اﻟﺠﻮاﻧﺐ ﺗﺤﺖ اﻟﻘﺒﺔ‪ ،‬ﺣﻴﺚ ﺳﻴﺴﺘﻤﺘﻌﻮن‬ ‫ﺑﺘﺠﺮﺑﺔ ”ﺷﻌﺎع اﻟﻨﻮر“ اﻟﺘﺨﺮميﺎت اﻟﻬﻨﺪﺳﻴﺔ‬ ‫اﳌﺴﺘﻮﺣﺎة ﻣﻦ ﺳﻌﻒ اﻟﻨﺨﻴﻞ اﳌﺘﺪاﺧﻞ ﰲ‬ ‫واﺣﺎت اﻹﻣﺎرات‪.‬‬ ‫ﺟﺎء ﻣﺘﺤﻒ اﻟﻠﻮﻓﺮ أﺑﻮﻇﺒﻲ مثﺮ ًة ﻻﺗﻔﺎقٍ‬ ‫دوﱄ ﺑني ﺣﻜﻮﻣﺘﻲ أﺑﻮﻇﺒﻲ وﻓﺮﻧﺴﺎ ﰲ اﻟﻌﺎم‬ ‫اﻟﺸﻌﺮ ‪ /‬اﻟﻌﺪد ‪64‬‬ ‫‪ 58‬ﺑﻴﺖ ِ‬

‫‪ ،2007‬ومتﺖ إﻋﺎرة اﺳﻢ اﻟﻠﻮﻓﺮ ﻟﻠﻤﺘﺤﻒ واﻟﻌﴩﻳﻦ‪ .‬وﻳﻌﺪ اﻻﻓﺘﺘﺎح ﻣﻨﺎﺳﺒﺔ ﻣﻬﻤﺔ‬ ‫ﳌﺪة ‪ 30‬ﻋﺎﻣﺎً‪ ،‬وﺳﺘﻌﺮض ﻓﻴﻪ أﻋامل ﻓﻨﻴﺔ ﻟﻠﻐﺎﻳﺔ‪ ،‬ﺣﻴﺚ أﺻﺒﺢ ﻫﺬا اﳌﺒﻨﻰ ﻣﺘﺤﻔﺎً ﻗﻴ ًام‬ ‫ُﻣﻌﺎرة ﻣﻦ ﻋﺪد ﻣﻦ اﳌﺘﺎﺣﻒ اﻟﻔﺮﻧﺴﻴﺔ ﳌﺪة ﺑﻌﺪ ﻓﱰة ﻣﻦ اﻟﺘﺤﻀري واﻟﺘﻔﺎين ﰲ اﻟﻌﻤﻞ‪«.‬‬ ‫‪ 10‬أﻋﻮام ﺣﺘﻰ اﺳﺘﻜامل اﳌﺠﻤﻮﻋﺔ اﻟﺪامئﺔ‪،‬‬ ‫وﺳﻴﻜﻮن ﻫﻨﺎك ﺑﺮﻧﺎﻣﺞ ﻟﻠﻤﻌﺎرض اﳌﺆﻗﺘﺔ ﺗﺼﻤﻴﻢ ﻣﺬﻫﻞ‬ ‫ﻳﺒﺪو ﻣﺘﺤﻒ اﻟﻠﻮﻓﺮ أﺑﻮﻇﺒﻲ ﻣﻦ ﺧﻼل‬ ‫ﳌﺪة ‪ 15‬ﺳﻨﺔ‪.‬‬ ‫ﺗﺼﻤﻴﻤﻪ اﳌﻌامري ﻛﺄﻧﻪ »ﻣﺘﺤﻒ ﻣﺪﻳﻨﺔ«‪،‬‬ ‫ﻳﻘﺪم ﻣﺘﺤﻒ اﻟﻠﻮﻓﺮ أﺑﻮﻇﺒﻲ ﻣﺠﻤﻮﻋﺔ ﻣﻦ و ُﻳﻌﺪ ﻣﻈﻬﺮه اﻟﻌﺎم ﺣﺼﻴﻠﺔ اﻟﺘﺼﻤﻴﻢ‬ ‫أﻋامل ﻓﻨﻴﺔ اﺳﺘﺜﻨﺎﺋﻴﺔ ﻣﻌﺮوﺿﺔ ﰲ أﺣﺪ اﻟﻌﻤﺮاين اﻟﻌﺮيب اﳌﺘﻤ ّﻴﺰ واﻟﻬﻨﺪﺳﺔ اﳌﻌﺎﴏة‬ ‫أروع اﳌﺒﺎين اﳌﻌامرﻳﺔ ﰲ اﻟﻘﺮن اﻟﺤﺎدي اﳌﺪﻋﻮﻣﺔ ﺑﺎﻟﺘﻘﻨﻴﺎت اﳌﺒﺘﻜﺮة‪ .‬وﺳﻴﺴﺘﻤﺘﻊ‬

‫ﻃﺒﻊ اﻷﻛﺎﺑﺮ‬ ‫ﻣﺮﻳﻢ اﻟﺰﻋﺒﻲ‬ @AlMaryim

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Ì~zE @@+b@@E @@£@ @Db@@G @@c@ ±* @@ 6*4 ¤@@ @Jv@@~@8 Ì+ ¯ ¥x@@~@6 &* @@ + x@@ @<&*H 4*x@@~@ 6&* @@D ¤@@ @E x@@Jx@@~@9 Mh@@ @BH @@/¡@@+ 2¡@@ @ ~@ |@ D* @@ @ E iw@@ @ 1&* x@@Jx@@E b@@ Gx@@ .&* ¡@@ @DH eb@@ @ ~@ |@ D* Hx@@ @ ~@ |@ g@ ~@ z@ J Ìs+ b@@ @ @E h@@p@c@~@8&* @@ @6H42 @@ @ @E iw@@ @1&*H Ì@@ @g@~@z@EH @@ Jb@@ < ¤@@ @ D* f@@ @ ~@ 6 · iÆ@@ @ @1*H Ì ~}D* @@6b@@C £ Â b@@E @@6*x@@D* @@E rv@@ B*H Ì~|J @@ D¡@@ B&* ¤@@ @ D*H d@@g@ @ D* È@@ C d@@ @0&* b@@ E Ì ~7 ¯x@@ @ 0H ¥4b@@ @ @~@ @7&* ¢@@ @ < ¤@@c@ @ @+ ¤@@ @ D* Ì@@ @J @@g@ c@ m@ <b@@E ¤@@ @ @D*H b@@ @£@ @ 0&* @@ @ c@ m@ <&* Ì@@c@ @ D* w@@ @ @- b@@ @Gb@@ @~@ @ 94 @@ c@ @g@ @+ ¡@@ @ D @@ @6b@@ @ @ @ D* Ì@@ @ @ D* $b@@ @ JÄ@@ @ CH ¡@@ @ @E f@@ DÉ@@ m@ + h@@~@ {@ < Ì@@ @ =&* ¢@@ @ j@ @ F&* Á&° @@ g@ @Cx@@ - @@ @ c@ @ 0&* ¤@@ @ @ @ D*H Ì@@= b@@ @~@ @ z@ @ F(* @@g@ @ ~@ 7 @@ @ @ @ DH ·¡@@ @ @0 Ì@@ j@ @C Ì@@1&É@D ¥v@@ J ¯ w@@1 @@c@ ±* @@ 6*4 ¤@@ @Jv@@~@8

‫ﻣﺎﺳﺎت‬ baytelshear

‫واﻟﻘﺪر ﻣﺎﻳﺒﺎﻟﻲ‬66‫اﻟﻌﻤﺮ ﻳﻤﻀﻲ‬ ‫ﺳﺎﻣﻲ اﻟﻌﺮﻓﺞ‬ @Sami_Alarfaj

·b@@ @ @ EH @@ @ @Db@@ @ @E h@@ @ @ @ @< ° ¥x@@ @ @ :b@@ @ @ 1b@@ @ @ JH ·b@@ @ @ @ @ @ @ @ @ F*H ¤@@ @ @ @-v@@ @ @ @0 w@@ @ @ @ 1*¡@@ @ @ @ - °H ·b@@ @ @1 d@@ @ @£@ @ @ F °H Æ@@ @ @ @ @ @E ° d@@ @ @£@ @ @ Fb@@ @ @E ¤@@ @ @ Db@@ = 2¡@@ @ @ @ @ C b@@ @ @ @ J b@@ @ @ @ @ @ /x@@ @ @D* v@@ @ @ @ @ @ J °H ¤@@ @ @ Db@@ @ @j@ @D* 2¡@@ @ @ @ @ C b@@ @ @ @ @ £@ @ @ @ + xQ @ @ @ @ @ @c@ @ @J °H ¤@@ @ @ Db@@ c@ @²b@@ + @@ @ @ @ ~@ @ {@ @ @ @ D*H o4v@@ @ @ @ @ @ J @@ @ @ @ @ @ ²*H ·*¡@@ @g@ @ Db@@ @+ @@ @ 9¡@@ @ @ @ @ @ D*H ¢@@ @ @ @ @- @@ @ @ @6Hx@@ @ @ @D*H ·É@@~@ }@ Db@@+ $*y@@ @ @ @ @ @ D*H d@@ m@ @« @@ z@ @ @ @~@ @{@ @D*H ·b@@ @ @~@ @z@ @D* ¡@@ @ @ @ @ @ @ @D* °* v@@ @ Jv@@ @ / @@ @ @ + °H ·b@@ @c@ @ J b@@ @ @ E 4v@@ @ @ @ @ @ @ @ @D*H ¤@@ @~@ @ }@ @ Â x@@ @ @ @ @ @ @ @ @ D*H

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64 ‫ اﻟﻌﺪد‬/ ‫اﻟﺸﻌﺮ‬ ِ ‫ ﺑﻴﺖ‬56

‫ﻓﺒﺮاﻳﺮ ‪55 2018 /‬‬

‫ﻗ!ﺼﺔ ﻗ!ﺼﻴﺪة‬ ‫‪baytelshear‬‬ ‫‪baytelsh‬‬ ‫‪hear‬‬

‫اﻟﺠﻤﻴﻠﺔ‪ ..‬ﻓﻠﻘﻲ اﻟﺠﻮاب »ﻗﺼﻴﺪة ﻫﺠﺎء«!‬ ‫ﺔ‪..‬‬ ‫ااﺷﺎﻋﺮة اﻟﺠﻤﻴﻠﺔ‬ ‫اﻟﻤﺸﻬﻮر ﻋﻋﻨﺪﻣﺎ ﺧﻄﺐ ااﺷﺎﻋﺮة‬ ‫اﻟﺸﺎﻋﺮ اﻟﻤﺸﻬﻮر‬ ‫اﻟﺸﺎﻋﺮ‬

‫اﻟﺨﻨﺴﺎء‪ ..‬وﺣﻴﺪة ا‪N‬ﺳﺮة‬ ‫واﻟﺤﺒﻴﺒﺔ اﻟﻤﺪﻟﻠﺔ‬ ‫ﻋﻠﻲ اﻟﻤﺴﻌﻮدي‬

‫ﺣﻤﻠﺖ اﻟﺨﻨﺴﺎء ﻟﻮاء ﺷﺎﻋﺮات اﻟﻌﺮﺑﻴﺔ ﻣﻨﺬ اﻟﺠﺎﻫﻠﻴﺔ إﱃ اﻵن‪.‬‬ ‫ﻟﻴﺤﺘﻔﻲ ﺑﻬﺎ ﺗﺎرﻳﺦ اﻷدب اﻟﻌﺮيب‪ ،‬ﻋﲆ ﻧﺤﻮ مل ﺗﻈﻔﺮ ﺑﻪ ﺷﺎﻋﺮة ﻗﺒﻠﻬﺎ‬ ‫وﻻ ﺑﻌﺪﻫﺎ‪ ،‬وأﺟﻤﻊ أﻫﻞ اﻟﻌﻠﻢ ﺑﺎﻟﺸﻌﺮ أﻧﻪ مل ﺗﻜﻦ اﻣﺮأة ﻗﻂ ﻗﺒﻠﻬﺎ‬ ‫وﻻ ﺑﻌﺪﻫﺎ أﺷﻌﺮ ﻣﻨﻬﺎ‪.‬‬ ‫وﻫﻲ اﻟﺨﻨﺴﺎء ﺑﻨﺖ ﻋﻤﺮو ﺑﻦ اﻟﺤﺎرث ﺑﻦ اﻟﴩﻳﺪ ﺑﻦ رﻳﺎح ﺑﻦ ﻳﻘﻈﺔ‬ ‫ﺑﻦ ﻋﺼﻴﺔ ﺑﻦ ﺧﻔﺎف ﺑﻦ اﻣﺮئ اﻟﻘﻴﺲ ﺑﻦ ﺑﻬﺜﺔ ﺑﻦ ﺳﻠﻴﻢ ﺑﻦ ﻣﻨﺼﻮر‬ ‫ﺑﻦ ﻋﻜﺮﻣﺔ ﺑﻦ ﺧﺼﻔﺔ ﺑﻦ ﻗﻴﺲ ﺑﻦ ﻋﻴﻼن ﺑﻦ ﻣﴬ واﺳﻤﻬﺎ متﺎﴐ‪.‬‬ ‫ﻟﻘﺒﺖ ﺑﺎﻟﺨﻨﺴﺎء ﻣﺆﻧﺚ اﻷﺧﻨﺲ‪ .‬واﻟﺨﻨﺲ ﻫﻮ ﺗﺄﺧﺮ اﻷﻧﻒ ﻋﻦ اﻟﻮﺟﻪ‬ ‫ﻣﻊ ارﺗﻔﺎع ﻗﻠﻴﻞ ﰲ اﻷرﻧﺒﺔ‪ ،‬وﻫﻲ ﺻﻔﺔ ﻣﺴﺘﺤﺒﺔ أﻛرث ﻣﺎ ﻳﻜﻮن ﰲ‬ ‫اﻟﻈﺒﺎء وﰲ اﻟﺒﻘﺮ اﻟﻮﺣﴚ‪ ..‬ﻛام ﻛﺎن ُﻳﻘﺎل ﻟﻠﺨﻨﺴﺎء ﺧﻨﺎس‪.‬‬ ‫وﻗﺪ ﻛﺎﻧﺖ اﻟﺨﻨﺴﺎء ﻣﻦ ﺷﺎﻋﺮات اﻟﻌﺮب اﳌﻌﱰف ﻟﻬﻦ ﺑﺎﻟﺘﻘﺪم‬ ‫وﺟﻌﻠﻬﺎ اﺑﻦ ﺳﻼم اﻟﺠﻤﺤﻲ اﻟﺜﺎﻧﻴ َﺔ ﰲ ﻃﺒﻘﺔ أﺻﺤﺎب اﳌﺮايث ﺑﻌﺪ ﻣﺘﻤﻢ‬ ‫ﺑﻦ ﻧﻮﻳﺮة‪ .‬وﻗﺪ ﻗﺪﻣﺖ ﻋﲆ اﻟﻨﺒﻲ ّ‬ ‫ﺻﲆ اﻟ ﱠﻠﻪ ﻋﻠﻴﻪ وﺳ ّﻠﻢ ﻣﻊ ﻗﻮﻣﻬﺎ‬ ‫ﻣﻦ ﺑﻨﻲ ﺳﻠﻴﻢ‪ ،‬ﻓﺄﺳﻠﻤﺖ ﻣﻌﻬﻢ‪ ،‬ﻓﺬﻛﺮوا أنّ رﺳﻮل اﻟ ﱠﻠﻪ ّ‬ ‫ﺻﲆ اﻟ ﱠﻠﻪ ﻋﻠﻴﻪ‬ ‫وﺳ ّﻠﻢ ﻛﺎن ﻳﺴﺘﻨﺸﺪﻫﺎ وﻳﻌﺠﺒﻪ ﺷﻌﺮﻫﺎ‪ ،‬وﻛﺎﻧﺖ ﺗﻨﺸﺪه‪ ،‬وﻫﻮ ﻳﻘﻮل‪:‬‬ ‫»ﻫﻴﻪ ﻳﺎ ﺧﻨﺎس« ‪ ،‬وﻳﻮﻣﺊ ﺑﻴﺪه‪ ،‬و َﺑﻠﻎ ﻣﻦ َوﺟﺪﻫﺎ ﻋﲆ أﺧﻮﻳﻬﺎ ﺻﺨﺮ‬ ‫وﻣﻌﺎوﻳﺔ أﻧﻬﺎ ﻋﻤﻴﺖ ﻣﻦ اﻟﺒﻜﺎء‪.‬‬ ‫ﻛﺎﻧﺖ اﻟﺨﻨﺴﺎء اﻻﺑﻨﺔ اﻟﻮﺣﻴﺪة ﰲ أﴎﺗﻬﺎ‪ ،‬وﻟﻬﺬا ﻛﺎﻧﺖ ﻣﺤﻞ رﻋﺎﻳﺔ‬ ‫أﴎﺗﻬﺎ وﺧﺎﺻﺔ أﺧﻮﻳﻬﺎ ﺻﺨﺮ وﻣﻌﺎوﻳﺔ‪.‬‬ ‫وﻗﺪ رﻓﻀﺖ اﻟﺰواج ﻋﻨﺪﻣﺎ ﻛﺎﻧﺖ ﰲ ﺑﺪاﻳﺔ اﻟﺸﺒﺎب‪ ،‬ﺣﻴﺚ ﺗﻜﻮﻧﺖ‬ ‫ﻟﻬﺎ ﺷﺨﺼﻴﺔ ﻗﻮﻳﺔ‪ ،‬وﺑﺪأت ﻣﻮﻫﺒﺘﻬﺎ اﻟﺸﻌﺮﻳﺔ ﺗﺘﻔﺘﺢ وﻣام ﻳﺮوى ﰲ‬ ‫ﻫﺬا اﳌﺠﺎل‪:‬‬ ‫ﻣﺮ درﻳﺪ ﺑﻦ اﻟﺼﻤﺔ اﻟﺸﺎﻋﺮ واﻟﻔﺎرس وﻫﻮ ﺳﻴﺪ ﺑﻨﻲ ﺟﺸﻢ ﺑﺎﻟﺨﻨﺴﺎء‬ ‫ّ‬ ‫وﻫﻲ ﺗﻄﲇ ﺑﻌرياً ﻟﻬﺎ ﺑﺎﻟﻘﻄﺮان‪ .‬ﻓﺄﺧﺬ ﻳﺮاﻗﺒﻬﺎ وﻫﻲ ﻻ ﺗﺮاه إﱃ أن‬ ‫ﻓﺮﻏﺖ ﻣﻦ ﻃﻼﺋﻪ وﻗﺎﻣﺖ ﺑﺎﻻﻏﺘﺴﺎل ﻓﺎﻧﴫف وﻫﻮ ﻳﻘﻮل‪:‬‬

‫ﻻ ﻳﻘﺮع أﻧﻔﻪ‪.‬‬ ‫ـ إذن ﻓﺄﻧﺖ ﻣﻮاﻓﻖ‪..‬‬ ‫◆ ﻟﻴﺲ اﳌﻬﻢ أن أواﻓﻖ أﻧﺎ‪ ..‬ﺑﻞ ﻫﻲ‪..‬‬ ‫ـ وﳌﺎذا؟‬ ‫◆ ﻟﻬﺬه اﻟﺒﻨﺖ ﰲ ﻧﻔﺴﻬﺎ ﻣﺎ ﻟﻴﺲ ﻟﻐريﻫﺎ‪ ..‬وأﻧﺎ ﺳﺄﺳﺄﻟﻬﺎ اﳌﻮاﻓﻘﺔ ﻓﺈن‬ ‫ﻓﻌﻠﺖ وواﻓﻘﺖ ﻓﻬﺬا ﻣﺎ ﻧﺮﻳﺪ‪ ..‬وإن مل ﺗﻔﻌﻞ‪ ..‬ﻓﺎﻷﻣﺮ ﻟﻬﺎ‪.‬‬ ‫وﺑﺎﻟﻔﻌﻞ‪ ،‬ﻗﺎم اﻷب ﺑﺈﺧﺒﺎر اﻟﺨﻨﺴﺎء ﺑﺄﻣﺮ درﻳﺪ وﻋﲆ ﻣﺴﻤﻊ ﻣﻨﻪ‪،‬‬ ‫ﻓﻘﺎﻟﺖ اﻟﺨﻨﺴﺎء‪:‬‬ ‫ـ ﻳﺎ أﺑﺖ أﺗﺮاين ﺗﺎرﻛﺔ ﺑﻨﻲ ﻋﻤﻲ وﻫﻢ ﻛﻌﻮاﱄ اﻟﺮﻣﺎح وﻧﺎﻛﺤﺔ ﺷﻴﺦ ﺑﻨﻲ‬ ‫ﺟﺸﻢ وﻫﻮ ﰲ ﻧﻬﺎﻳﺔ اﻟﻌﻤﺮ وﻋﲆ ﺣﺎﻓﺔ اﻟﻘﱪ‪.‬‬ ‫مل ﻳﻴﺄس درﻳﺪ ﺑﻦ اﻟﺼﻤﺔ‪ ،‬وﺣﺎول أن ﻳﺴﺘﻌني ﺑﺄﺧﻴﻬﺎ ﻣﻌﺎوﻳﺔ وﻛﺎن‬ ‫ﺻﺪﻳﻘﺎً ﺣﻤﻴ ًام ﻟﻪ‪ ،‬وﺣﺎول أﺧﻮﻫﺎ ﻣﻌﺎوﻳﺔ إﻗﻨﺎﻋﻬﺎ‪ ،‬ﻓام ﻛﺎن ﻣﻨﻬﺎ إﻻ‬ ‫أن ﻧﻈﻤﺖ ﻗﺼﻴﺪة ﺗﻌﺮﺿﺖ ﻓﻴﻬﺎ ﺑﺎﻟﻬﺠﺎء ﻟﺪرﻳﺪ وﻗﺒﻴﻠﺘﻪ‪ ،‬ﻗﺎﻟﺖ ﻓﻴﻬﺎ‪:‬‬

‫‪fCCCgCCCªCCC CCC CCCI «CCC CCC CCC CCCI ¢CCCH m'K&* ½ ¢CCCcCCCG‬‬ ‫‪S|CCCCwCCCC CCCC CCCC+ *3(* £fCCCCH~CCCCG* L2K&* zCCCC CCCCG‬‬ ‫*&‪zCCCCM42 ¨CCCC CCCC< lCCCC CCCCgCCCCJ «CCCC¡CCCCJ|CCCC CCCC-‬‬ ‫‪"4S zCCCC+ %* zCCCCªCCCC CCCC6 lCCCCtCCCC CCCC CCCC8&* zCCCCEK‬‬ ‫*&‪ §CCCCCM CCCCCF jCCCCCªCCCCCqCCCCC0 ÉzCCCCC<§CCCCCM‬‬ ‫‪K|CCCCC CCCCC< ¢CCCCC+ jCCCCCMKfCCCCC CCCCCH ¾%‬‬ ‫¯‪* fCCCCC‬‬ ‫‪S‬‬ ‫‪ÔCC1 CCCCCCF · fCCCCCCCI'KfCCCCCCC CCCCCCCF&* CCCCCCCCJK‬‬ ‫‪|CC‬‬ ‫‪X C CCC7 CCCCCCF · fCCCCCCI'KfCCCCCC CCCCCCF&* CCCCCCCCJK‬‬ ‫‪¨CCCFÌCCC0 «CCC¡CCCtCCC CCC¡CCCM Ù* 3fCCCCC CCCCCH‬‬ ‫‪|CS C CC+ ¢CCC+ CC CC CC/ ¢CCCH ÌCC CC CCG* ÔCC CC CCE‬‬ ‫‪fCCCCJfCCCC-&* jCCCCH|CCCC CCCCHK N*zCCCCCCCCÀ L|CCCCCCCM‬‬ ‫*(‪T *3‬‬ ‫‪|CCµ‬‬ ‫<‪Q |CCCCC/ CCMzCC CC CCG* ¨CC CC CC‬‬ ‫‪S Ë‬‬ ‫‪fCCMzCCJ CCC CCC CCC/ · lCCCtCCCgCCC CCC8&* ¢CCCcCCCG‬‬ ‫‪«CCgCCtCC CCQ 8 *§CCCCC CCCCC+4*K |CCC CCC9fCCCµ *§CCCCªT CCCC0‬‬ ‫‪|CCC‬‬ ‫*(‪S C CCCCDK 3 · lCCCCtCCCCgCCCC CCCC8&* N*3‬‬ ‫‪O‬‬ ‫‪R‬‬ ‫‪Q‬‬ ‫‪ «C‬‬ ‫‪C‬‬ ‫‪gC‬‬ ‫‪C‬‬ ‫‪ C‬‬ ‫‪C‬‬ ‫‪ C‬‬ ‫‪C‬‬ ‫(‪0 CCC CCCD§CCCEK £‬‬ ‫‪fCCCCCCCD *§CCCC CCCCEK‬‬ ‫‪|CCC<{CCC+ *§CCC CCC CCC CCC6 *3(* jCCCCC CCCCCªX CCCCCgQ CCCCCE‬‬ ‫*&‪ CC CC+ 2*'§CCCCC CCCCCG* fCCCCCJ zCCCCE CCCC6fCCCC¡CCCC1‬‬ ‫‪|CCCtCCC‬‬ ‫‪/ CCCC‬‬ ‫‪S‬‬ ‫‪R CF · CCC¤CCC CCC CCC/ ¨CCCT CCCwCCC‬‬‫‪O‬‬ ‫‪ hCCCCCC‬‬ ‫‪C‬‬ ‫‪º* ¢CCCC‬‬ ‫‪C‬‬ ‫ ‪H‬‬ ‫‪ CC‬‬ ‫‪C‬‬ ‫‪CCC‬‬ ‫‪C‬‬ ‫‪CCC‬‬ ‫‪C‬‬ ‫‪gCC‬‬ ‫‪C‬‬ ‫‪- ¥CCC‬‬ ‫‪C+fCCCCCCCCC CCCC8&*K‬‬ ‫‪T‬‬

‫وﰲ اﻟﻴﻮم اﻟﺘﺎﱄ ذﻫﺐ درﻳﺪ ﺑﻦ اﻟﺼﻤﺔ إﱃ واﻟﺪﻫﺎ ﻓﺨﻄﺒﻬﺎ ﻓﻘﺎل ﻓﻐﻀﺐ درﻳﺪ وﻗﺎم ﺑﻬﺠﺎﺋﻬﺎ ﺑﻘﺼﻴﺪة ﻣﻄﻠﻌﻬﺎ‪:‬‬ ‫اﻷب‪:‬‬ ‫¼‪O C CCC: ¢CCCC‬‬ ‫‪ CCCS C CCCCH&* CCC CCC CCC»* m*{CCCCCC+ CC‬‬ ‫ً‬ ‫<‪ «CC CC6|CC1 ¢CC CCgCCD CCªCCkCC CCG* ÕCCC+ fCC CC‬‬ ‫◆ ﻣﺮﺣﺒﺎ ﺑﻚ ﻳﺎ أﺑﺎ ﻗﺮة‪ ..‬إﻧﻚ اﻟﻜﺮﻳﻢ ﻻ ﻳﻄﻌﻦ ﰲ ﺣﺴﺒﻪ واﻟﻔﺤﻞ‬ ‫اﻟﺸﻌﺮ ‪ /‬اﻟﻌﺪد ‪64‬‬ ‫‪ 54‬ﺑﻴﺖ ِ‬

‫\\\\\\\\\\\\\\\\\\\\\\\\ﺎت ﻣﻦ ﺷﻌﺮ ﺑﻦ ﻣﺤﻨﺎ‬ 4*v@@ @ @ @ @ @ @ @ @ @ @ @ E @@ @ @ £@ @ @ @~@ @ @ @}@ @ @ @ @ @ @ @D x@@ @ @ @ @ @ @ @ @ @ @ @ @ @ @D* 4*2 ¢@@ @ @ @ @ @ @ @ @< ¤@@ @ @ @ @ @ ~@ @ @ }@ @ @ J b@@ @ @ @ @ @ £@ @ @ @ @ @ @²*H

¤@@ @ @ Q @ @ @ @~@ @ @ @|@ @ @ @0R*H h@@ @ @ @ @ @ @~@ @ @ @7H v@@ @ @ £@ @ @ @C¡@@ @ @ Db@@ @ @ + ¤@@ @ Q @ @ @ @ @ @ @ @ @J d@@ @ @ p@ @ @ @~@ @ @ @z@ @ @ @D* 2¡@@ @ @ @ @ @ @ J @@ @ @ @ @ @ @ @ @ JH

‫ﻳﺎ ﻓﺘﻰ ﺑﻮﺻﻴﻚ‬ :‫ ﻓﻔﻲ ﻗﺼﻴﺪة »ﻳﺎ ﻓﺘﻰ ﺑﻮﺻﻴﻚ« ﻳﻘﻮل‬.‫ﺑﺎب ﻟﺸﻌﺮ اﻟﺤﻜﻤﺔ واﳌﻮﻋﻈﺔ‬ ٌ ً‫وﰲ دﻳﻮاﻧﻪ أﻳﻀﺎ‬

b@@ Gb@@ @ @ @ @E*H v@ @ £@ @~@ @|@ @ @ @D* @@ @ @F @@ @ @g@ @~@ @6*H R b@@Gb@@c@ ~@ 8 @@ @ @D ¤@@ @ Gy@@ @ J ¡@@ @ @ @J xQ @ @ @ @ @ @ J °H b@@ Gb@@ @ @< ¯ @@ £Q @ @ s@ @ ~@ @ 8 ¤@@ @ @ Q @ @ @ D* Í@@ @ @ @ @£@ @ @D*H b@@ @Gb@@ @ @ @ E f@ R @ @ @Jb@@ @ @= ¢@@ @ @ @ @< b@@ @ @ @ @ @ @ @ J2Q &b@ @ @ @ - ¡@@ @ @ @ @J

¤@@ -b@@ ~@ @8H @@ @ Q @ @ ~@ @ z@ @ -*H @@ £@ @~@ @8¡@@ +N ¢@@ @g@ @ AN b@@ @ J ¤@@ @ -b@@ @ @ @ ´*H 5b@@ @ @ £@ @ @ @E b@@ @ £@ @ @Fv@@ @ D* @@ @ @ E w@@ @ @ 1 ¤@@ -b@@ ²b@@ ~@ @|@ @D* b@@ @ @ @ @ @ @<&°* b@@ @ @£@ @A @@ @ @ @ @D* ¤@@ -É@@ ~@ @|@ @D* @@ @ @ 9Hx@@ @ @ AH @@ @ @ @²* b@@ @ @ @c@ @ @ @ -Q *H

‫ﻣﺰن ﺑﺎﻧﺖ ﻗﻨﻮﻓﻪ‬ ٍ ْ‫ِﻳﻌﻞ‬ ‫ وﺷﺎﻛﻴﺎً ﺣﺒﻪ‬،‫ ﻓﻘﺎل ﻫﺬه اﻟﻘﺼﻴﺪة ﻣﺘﻐﺰﻻً ﺑﺠامل ﺣﺒﻴﺒﺘﻪ واﺻﻔﺎً إﻳﺎﻫﺎ ﺑﺄﺣﲆ اﻷوﺻﺎف‬.‫وﰲ اﻟﻐﺰل ﻛﺎن ﻣﻦ ﺷﻌﺮه ﻧﺼﻴﺐ‬ .‫ﻟﺼﺪﻳﻘﻪ ﺣﻤﺪ ﺑﻦ ﻋﻤريه اﻟﺸﺎﻣﴘ‬

@@ @ @ £@ @ @ @ +S ¡@@ @ @ @ @ @ @ £@ @ @ @ D* 4*v@@ @ @ @ @ @ @ @ @ @ @ @ @ @D* ¤@@ @ @ @ @ @ @~@ @ @ @z@ @ @ @J @@ @ @ @JQ x@@ @ @ @~@ @ @ @ |@ @ @ @ < @@ @ @ @ @ @ @ @ @ @ @ CH ¡@@ @ @ @ @ @ @ @ @ @ @ J @@ @ @ @ @ @ @ @ C @@ @ @ @ @ JxS @ @ @ @ @ @D* ¥Hx@@ @ @ @ @ @ @ @ @ @ @ J Md@@ @ @ @ @ @ @Jx@@ @ @ @ @ @ @B @@ @ @ @ @ @ @E @@ @ @ @ £Q @ @ @ @ @0¡@@ @ @ @ +w@@ @ @ @ D* Í@@ @ @ @ @ @ @ @ @ @ @D* n@@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @<N 2R * @@ @ @ @ @ @ @ @ @ @ @ @ J2Q 4H b@@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @FR * 2Hv@@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ ³*H

@@ @ @A¡@@ @ @ @ @ @ B h@@ @ @ @ @ Fb@@ @ @ @ @ + M y@@ @ @ @ @ @ @ @ @ @ @ E @R @ @ @ @ @ @ @ @ @ @ @ @ @ @ JP @@ @ @ @ A¡@@ @ @ @ @ @ @ @ @BR *H b@@ @ @ @ @ @ @ @J2¡@@ @ @ @ @ @ @ @D* ¤@@ @ @ @ @ @ ~@ @ @ z@ @ @ J ¡@@ @ @ @ @ @ @~@ @ @ @8HR * ¡N @ @ @ @ @ R @ @ @ @ @ 0 · ¤@@ @ @~@ @ @ }@ @ @ @ @ @ D*H @@ @ @A¡@@ @ @~@ @ @ 7 É@@ @ @ @ @ @ 0 b@@ @ @ @ @ @ @ @ @EH É@@ @ @ @ @ @ @ @ @0 b@@ @ @ @ @ @ E @@ @ @ A¡@@ @ @ @ @ @ @CR * ¢@@ @ @ @ @ @ @< b@@ @ @ @ @ Q @ @ @ @ @ ²* f@@ @ @ ~@@N @ @ {@ @ @ @ @ @ @ @FN :‫ﺛﻢ ﻳﺸﻜﻮ ﺣﺎﻟﻪ ﻟﺼﺪﻳﻘﻪ ﺑﺎﻟﻘﻮل‬

@@ @ @ @£Q @ @ @ @ £@ @ @ @ D* @@ @ @ @z@ @ @ @ @ @ @ @ @ @ @ @ D* 2x@@ @ @ @ @ @ @ @ @ - ° @@ @ @ @ @ @ @ JQ w@@ @ @ @ @ @ @ <*R M4*2H r¡@@ @ @ @ @£@ @ @ @ @ ~@ @ @ @ @ 6 ¯

@@ @ @A¡@@ @ @ @ @ @ -R * ¤@@ @ @ @ @c@ @ @- ¡@@ @ @ @ @ J Rv@ @ @ @ @ N @ @ @ @ @ 0 b@ N @ @ @ @ @ JH @@ @ @ @ AHx@@ @ @ @ ~@ @ @ @ @|@ @ @ @ @EH @@ @ @ @ @ @ Q @ @ @ @ @ @ ~@@ @ N@ @ @ @7 Ì@@ @ @ @ @~@ @ @ @ @ 6 :‫وﻣﻦ ﻏﺰﻟﻴﺎﺗﻪ اﳌﺸﻬﻮرة واﳌﻌﺮوﻓﺔ‬

b@@ @~@ @ 9 · 4v@@ @ @ ~@ @ @ @|@ @ @ @D* ¡@@ @ @ @ @ @ @G ¥xS @ @ @ @ @ @ @ @ @ AN b@@ @ g@ @ @ <* ¥Ì@@ @ @ @ @ = ¤@@ @ @ B¡@@ @ @ < eb@@ @ @ ~@ @ @ @8 ¡@@ @ @ @ @ DH b@@ @ @ g@ @ @ @~@ @ @ @7* ¤@@ @ @ c@ @ @ @ @ @ @ @B @@ @ @ @ @ @ G*v@@ @ @ @ @ @ / °H b@@ @ @ @ - b@@ @ @~@ @ @ {@ @ @ @ @ @ @ @ @ D MÌ@ @ @ @ @ @ @ @ @: i*Hx@@ @ @ @ @ @ @ ~@ @ @ @ @ @ @ @7 53 2018 / ‫ﻓﺒﺮاﻳﺮ‬

¡@@ ~@ @z@ @ @ @D ix@@ @ @ ~@ @ @ 6 ¥4v@@ @ @ @~@ @ @ @ 8 b@@ @ @ ~@ @ @ 9 · ¡@@ @ p@ @ @ @ E @@ @ @ £@ @ @ @A b@@ @ @ @ @E *v@@ @ @ @ @ @ @ @ P= ·b@@ @ @ @ @ @ @ @ 0H ¡@@ @ @ @ R @ @ @ @ ³ P @@ @ }@ @ @ @ @ @+ ¯ x@@ @ @ @ @ @ F · °H ¡@@ @g@ @ J b@@ @ c@ @ @~@ @ @|@ @ @D* x@@ @ @ @ @ @- ¢@@ @ @ @ @ @ < ¤@@ @ c@ @ @ @ @ @B

‫ﻗ!!!!!!!ﺮاءات‬ ‫‪baytelshear‬‬

‫ﻣﻘﺘﻄﻔ\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\‬ ‫ﻳﺎﺑﻮ ﺧﻠﻴﻔﺔ ﻳﻔﺮح اﻟﺒﺎل روﻳﺎك‬ ‫ﻧﻈﻢ ﺑﻦ ﻣﺤﻨﺎ ﰲ اﳌﺪﻳﺢ ﻗﺼﺎﺋﺪ ﻋﺪة‪ ،‬ﻓﻘﺎل ﰲ ﻣﺪﻳﺢ اﻟﺸﻴﺦ زاﻳﺪ ﺑﻦ ﺳﻠﻄﺎن آل ﻧﻬﻴﺎن »ﻃﻴﺐ اﻟﻠﻪ ﺛﺮاه«‪:‬‬

‫‪ b@@ @ @ @JH4 b@@ @ @c@ @ @ D* rx@@ @ @ @ @J @@ @ @£@ @ @ @1 ¡@@ @ +b@@ @ J‬‬ ‫‪ b@@~@|@ @- @@6b@@ @ D* b@@ @ @ CH @@£@ <y@@D* @@ g@ @F*H‬‬ ‫‪ b@@ @ @ @ @F H2 b@@ @ @ @ @ Q @ @ @<N @@ Q @ @~@ @z@ @ @ @+ ¡@@ @ @ @ @ JH‬‬ ‫‪ b@@ J¡@@ 1 @@ @+x@@ @D* v@@ @ @ @ <H Ì@@ s@ + @@ @ gN @ @ F*H‬‬ ‫@‪ b@@~@z@ @J Rv@ @ @0 b‬‬ ‫‪N @ E Hx@@ @ @ @ ´* d@@0b@@~@ 8 b@@ @JH‬‬ ‫‪ b@@ <x@@ J Ñ* ¤@@~@ z@ < b@@ @ @-v@@ 0H h@@ @ @ @ @/H‬‬ ‫‪ É@@ @ @ @ @ J3H É@@ @ @ @ @ J3 Í@@ @ @ @+ b@@ @ @ @E h@@ @ @ @ @ @ @ @/H‬‬

‫‪ 4b@@ @ J2 v@@ £@ @ + ¤@@ @ Q @ @ D* d@@ Jx@@ @ @D* b@@~@ |@ @ EH‬‬ ‫‪ 4b@@ @ @ Jy@@ @ @ D*H @@ g@ @ @ @ ~@ @ 8H b@@ @ @£@ @ @ @< d@@ @ @ @ @/*H‬‬ ‫¯ ¸ @ @ @ @‪ 4b@@ @ @ @ @BH ·b@@ @ @ @ @ @ <H ¤@@ @ @ @ @ @ G*5 @@ @z‬‬ ‫‪ 4b@@ @ £@ @ @1 @@ @ E¡@@ @ @ @ @< ¡@@ @ @ @ @ @ ~@ @ 7 @@ @ @ C @@ @ @ E‬‬ ‫‪ 4b@@ @ @ @ @ F Í@N @ @ @ @ @ + Í@@ @ @ @D É@@ @ @ @ @ @ @ @ D* h@@ @ @ @ @ 05‬‬ ‫‪,4b@@ @ ~@ @ @z@ @ @³*H @@ @ @p@ @ @ ´* @@ @ @ C b@@ @ @ @ g@ @ £@ @ @ @ C*H‬‬ ‫‪ 4b@@ @~@ @ }@ @ ²* @@ @ @ @ G*H Hv@@ @ @c@ @ @ D*H b@@ @ @ @ Eb@@ @ Q @ @ 0‬‬

‫أﻧﺖ ﺧﻠﻴﻔﺔ ﻛﻠﻬﻢ ﻳﻤﺪﺣﻮﻧﻚ‬ ‫وﻧﻈﻢ اﻟﺸﺎﻋﺮ اﺑﻦ ﻣﺤﻨﺎَ ﻫﺬه اﻟﻘﺼﻴﺪة ﰲ ﻣﺪﻳﺢ ﺻﺎﺣﺐ اﻟﺴﻤﻮ اﻟﺸﻴﺦ ﺧﻠﻴﻔﺔ ﺑﻦ زاﻳﺪ آل ﻧﻬﻴﺎن ﺣﻔﻈﻪ اﻟﻠﻪ ﺗﻌﺎﱃ‪ ،‬ﻓﻴﻘﻮل‪:‬‬ ‫ﻳﺎ ﺷﻴﺦ ﱄ ﺧريك ﻋﲆ اﻟﻨﺎس واﻳﺪ‬

‫‪ @@ @£Q @ @ @ @ @ @ D*H x@@ @ @ @ @Db@@ @ + @@ @ @ @ £@ @ Â É@@ @ c@ @ ~@ @ 6H‬‬ ‫‪N @ @ @ @ @ @ @ @´*H‬‬ ‫@‪ @@ @ JvQ @ @ @G v@@ @ @ @ @ @ J*5 v@@ @ @ @ @< @@ @ @ @ -wR @ @ @ @ @1 rv‬‬ ‫‪ @@ @ £Q @ @ @0 @@ @ @ @ @C ¯ b@@ @ @ @ @ @ @ @ @ ~@ @ @ 6¡@@ @ @+ @@ @ @ @ @ @ @ @ FH‬‬ ‫*‪ @@ £Q @ @ c@ @ F f@@ @ S @ @ @~@ @ @6 %*x@@ @ @ @ @ @ @ @ @ @ @D* ¢@@ @ @ @ @< ¤@@ @ @ @ Q @ @ @ @ D‬‬

‫‪ @@ @ F¡@@ @ 0v@@ @ Â @@ @ @ @ @ @ @ @C @@ @ @ @ £@ @ @ @ 1 @@ @ @ @ g@ @ @ @ @F*H‬‬ ‫‪b@@ @ @ C i*4b@@ @ @ @ @ @ @ @ @ @ E(°* @@ @c@ @ ~@ @ 6 ¢@@ @ @ @ @< @@ @ @ z@ @ @ @J4Q‬‬ ‫‪v@@ @ @ J*5 *¡Q @ @ @ @ @ @ @ @J 4¡@@ @ @g@ @ @ ~@ @ @ 62 ¢@@ @ @ @ @< ¤@@ @ ~@ @ @7 b@@ @ @ E‬‬ ‫‪ @@ @ @ p@ + ¤@@ @ ~@ @ @9*4H @@ @ D @@ @Jb@@ @: d@@ @ @~@ @{@ @D*H‬‬

‫ﺻﻘﺮ ﻧﺎﻫﻞ‬ ‫ﻗﺎل اﻟﺸﺎﻋﺮ ﻫﺬه اﻟﻘﺼﻴﺪة ﰲ ﻗﴫ ﺳﻤﻮ اﻟﺸﻴﺦ ﺳﻠﻄﺎن ﺑﻦ زاﻳﺪ آل ﻧﻬﻴﺎن ﺣﻔﻈﻪ اﻟﻠﻪ ﺗﻌﺎﱃ ﰲ ﻣﺪﻳﻨﺔ ﻧﺎﻫﻞ ﺑﺴﻮﻳﺤﺎن‪.‬‬

‫‪¤@@ @ @ Q @ @ @ @ @ @ g@ @ @ E ¡@@ @ @ @ @ @ @ @ @ A @@ @ @ @ @ @Gb@@ @ @ @ @ @F x@@ @ @ @~@ @ @ @ |@ @ @ @ B‬‬ ‫¯ ‪ ¤@@ @ @ Q @ @ @ ; @@ @ @ @ @ @ + @@ @ @ @£@ @ @ @ @ @ @ @ D* ¡@@ @ @ @ @ @ @ @ ~@ @ @ @ 6‬‬ ‫‪¤@@ @ @ Q @ @ @ @ @ @ @ @ D*H 24¡@@ @ @ @ @ @ @ @ @ @ @ D* *w@@ @ @ @ @ ~@ @ @ @ @ @7 @@ @ @ @ @ @ @ EH‬‬ ‫‪Q @ @ @ @ @ @ @ @ @ JH @@ @ @ @ @ £@ @ @ @ @ @m@ @ @ @ @ @JR * d@@ @ @ @ @ @Jx@@ @ @ @ @ @ @ @ @ @ @ @ D*H‬‬ ‫@‪ ·v‬‬ ‫‪¤@@ @ @ @ Q @ @ @ @ @ @ @ @ Db@@ @ @ @+ @@ @ @ @ 6b@@ @ @ @ @ @ @ @ @ @ @ @ @ @D @@ @ @ @ @ @ @ @-5x@@ @ @ @ @ @ @ @+‬‬ ‫‪ ¤@@ @ @ @ @ @ @ @ @ DQ 5b@@ @ @ @ E 4y@@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @D*H M45b@@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ GH‬‬ ‫اﻟﺸﻌﺮ ‪ /‬اﻟﻌﺪد ‪64‬‬ ‫‪ 52‬ﺑﻴﺖ ِ‬

‫‪ 4b@@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ J5R * ·b@@ @ @ @ @ @ @ @ @ @ < ¯ @@ @ @ @ @ @ @ @ @ @ -x@@ @ @ @ @E‬‬ ‫‪ 4*v@@ @ @ @ @ @ @ @ /* @@ @ @ @ @ E ¯*2 b@@ @ @g@ @ @ ~@ @ @ {@ @ @ D* ¯H‬‬ ‫‪ 4b@@ @ @ @ @m@ @ @ @ @ ~@ @ @ @ @ 7&* f@@ @ @ @ @ Q @ @ @ @ @ + b@@ @ @ @ @GÉ@@ @ @ @ @0 b@@ @ @ @ @ @ @ @ EH‬‬ ‫‪ 4b@@ @ @ @ @ @ @ @ @ @ @ @BH* ·b@@ @ @ @ @ @ @ @ @ < t@M @ @ @ @ @£@ @ @ @ @ ~@ @ @ @ @ 7 h@@ @ @ @ @£@ @ @ @ @ +‬‬ ‫‪ 4b@@ @ @ @ @ @ @ @ @ @ @ @ @ @ FR* @@ @ @ @ @ @ @ @ @ @ @ FH2 ¤@@ @ @ @ Q @ @ @ @ @s@ @ @ @ @J °H‬‬ ‫‪ 4b@@ @ @ @£@ @ @ @ ~@ @ @ @ z@ @ @ @ EH v@@ @ @ @ @ @ @ @ @ @ @J*5 @@ @ @ @ @ @ @~@ @ @ @6 @@ @ @ @ @ @ E‬‬

‫وﰲ ﻫﺬه اﻟﺮﺑﻮع‪ ،‬وﰲ ذﻟﻚ اﻟﺠﻮ‪ ،‬ﻋﺎش اﻟﺸﺎﻋﺮ ﺑﻦ ﻣﺤ ّﻨﺎ ﺑﺪوﻳﺎً ﻳﻬﺘﻢ‬ ‫ﺑﺎﻹﺑﻞ وﺗﺮﺑﻴﺘﻬﺎ وﻣﻌﺮﻓﺔ ﺳﻼﻟﺘﻬﺎ‪ ،‬ﺧﺎﺻﺔ ﺳﻼﻟﺔ »ﺑﻨﺎت اﻟﺨﻼوي«‪،‬‬ ‫ﻓﺘﺠﺪه ﻳﻈﻌﻦ ﻣﻌﻬﺎ‪ ،‬ﻟﺬا ﻓﻘﺪ ﻗﴣ ﺷﻄﺮاً ﻣﻦ ﺣﻴﺎﺗﻪ ﻣﺘﺠﻮﻻً ﺑني‬ ‫ﻣﻨﺎﻃﻖ اﻟﻮﺟﻦ واﻟﺤﻤﺮة واﻟﺮﻓﻴﻌﺔ وأﺑﻮ درام وﺣﻠﻴﺒﺔ‪ .‬وﻫﻮ إﱃ ﺟﺎﻧﺐ‬ ‫اﻫﺘامﻣﻪ ﺑﺎﻹﺑﻞ‪ ،‬اﻫﺘﻢ ﺑﱰاث ﺑﺪوي آﺧﺮ وﻫﻮ ﺗﺮﺑﻴﺔ اﻟﺼﻘﻮر وﺗﺪرﻳﺒﻬﺎ‬ ‫ﻋﲆ اﻟﺼﻴﺪ واﻟﻘﻨﺺ‪ ،‬وﻫﻮ ﻣﻮروث أﺻﻴﻞ ﰲ ﺣﻴﺎة اﻟﻌﺮب‪ ،‬وﻳﺤﺘﻞ‬ ‫ﻣﻜﺎﻧﺎً ﻣﺮﻣﻮﻗﺎً ﰲ ﺛﻘﺎﻓﺘﻬﻢ وأدﺑﻬﻢ‪.‬‬ ‫اﻟﺘﺤﻖ ﰲ أﻳﺎﻣﻪ اﻷوﱃ مبﻌﻴﺔ اﳌﺮﺣﻮم اﻟﺸﻴﺦ ﺳﻌﻴﺪ ﺑﻦ ﺷﺨﺒﻮط‬ ‫ﺑﻦ ﺳﻠﻄﺎن آل ﻧﻬﻴﺎن‪ ،‬وأﺻﺒﺢ ﻣﻦ ﺣﺎﺷﻴﺘﻪ وﻣﺮاﻓﻘﻴﻪ‪ .‬ﺛﻢ ﳌﺎ ﺗﻮﱃ‬ ‫أﻣﺮ اﻟﺒﻼد اﳌﻐﻔﻮر ﻟﻪ اﻟﺸﻴﺦ زاﻳﺪ ﺑﻦ ﺳﻠﻄﺎن آل ﻧﻬﻴﺎن »ﻃﻴﺐ اﻟﻠﻪ‬

‫ﺛﺮاه«‪ ،‬اﻟﺘﺤﻖ ﺑﺴﻤﻮه ﻟﻴﺼﺒﺢ أﺣﺪ أﻓﺮاد ﺣﺮﺳﻪ اﻟﺨﺎص‪ ،‬ﻓﺪﺧﻞ دورة‬ ‫ﻋﺴﻜﺮﻳﺔ ﻟﻬﺬا اﻟﻐﺮض‪ ،‬وﳌﺎ اﻧﺘﻬﻰ ﻣﻨﻬﺎ‪ ،‬وﻧﻈﺮاً ﻟﺨﱪﺗﻪ اﻟﻄﻮﻳﻠﺔ ﰲ‬ ‫ﻣﻮﺿﻮع »اﻟﺒﻴﺰرة« أي اﻟﻘﻨﺺ ﺑﺎﻟﺼﻘﻮر‪ ،‬ﻓﺈﻧﻪ أﺻﺒﺢ أﺣﺪ ﻣﺪريب ﺻﻘﻮر‬ ‫ﺳﻤﻮه؛ ﻳﺤﻤﻞ ﺻﻘﻮره ﻋﲆ ذراﻋﻪ‪ ،‬وﻳﺬﻫﺐ ﻣﻌﻪ ﰲ رﺣﻼت اﻟﻘﻨﺺ‬ ‫اﻟﺘﻲ ﻛﺎن ﺳﻤﻮه ﻳﻬﻮاﻫﺎ وميﺎرﺳﻬﺎ‪.‬‬ ‫وﻫﻮ ﻛﺒﺪوي ﻓﺈﻧﻪ ﻛﺄﻗﺮاﻧﻪ اﻟﺒﺪو ﻣﻌﺮوﻓﻮن ﺑﺎﻟﺒﺪﻳﻬﻴﺔ اﻟﺘﻲ ﺗﺠﻌﻞ‬ ‫ﻏﺎﻟﺒﻴﺘﻬﻢ ﻳﻘﺮﺿﻮن اﻟﺸﻌﺮ اﻟﺬي ﻳﻬﺰ ﻋﻮاﻃﻔﻬﻢ‪ ،‬ﻓﺎﻟﺸﻌﺮ ﻋﻨﺪﻫﻢ َﻣ َﻠ ٌ‬ ‫ﻜﺔ‬ ‫ٍ‬ ‫ﻣﺮﻫﻒ ﻳﺤﺴﻦ‬ ‫ﺣﺲ‬ ‫ﻻ ﺗﺤﺘﺎج إﱃ ﺗﻌ ّﻠﻢ ودراﺳﺔ‪ ،‬ﻷﻧﻬﺎ ﺗﺼﺪر ﻋﻦ ٍ‬ ‫ﺗﻌﱪ ﻋﻦ ﻣﺸﺎﻋﺮه‬ ‫اﺳﺘﺨﺪام اﻷﻟﻔﺎظ واﳌﻌﺎين وﻳﺨﺮﺟﻬﺎ أﺑﻴﺎﺗﺎً وﻗﺼﺎﺋﺪ ّ‬ ‫وﻣﺪارﻛﻪ‪.‬‬ ‫ﻓﺒﺮاﻳﺮ ‪51 2018 /‬‬

‫ﻗ!!!!!!!ﺮاءات‬ ‫‪baytelshear‬‬

‫ﺑﻦ ﻣﺤ ﱠﻨﺎ اﻟﻌﺎﻣﺮي‬ ‫اﻟﺒﺪوي اﻟﺬي اﻫﺘﻢ ﺑﺎ‪c‬ﺑﻞ وأﺣﺴﻦ اﻟﺒﻴﺰرة وأﺑﺪع ﻓﻲ اﻟﺸﻌﺮ‬ ‫ﺧﺎﻟﺪ ﺻﺎﻟﺢ ﻣﻠﻜﺎوي‬

‫دﻳ ﻮان »ﺑ ﻦ ﻣﺤﻨ ﺎ« ﻟﻠﺸﺎﻋﺮ ﻣﺤﻤﺪ ﺑﻦ ﻣﺤﻨﺎ ﺑﻦ ﻟﻮﻳﻊ اﻟﻌﺎﻣﺮي‪،‬‬ ‫دﻳﻮان ﺿﻢ ﺑﺎﻗﺔ ﻣﻦ اﻟﻘﺼﺎﺋﺪ ﺗﻨﻮﻋﺖ ﻣﻮﺿﻮﻋﺎﺗﻬﺎ ﺑﻴﻦ ﻣﺪﻳﺢ أﺻﺤﺎب‬ ‫اﻟﺴﻤﻮ اﻟﺸﻴﻮخ‪ ،‬أو اﻟﺮد ﻋﻠﻰ ﻗﺼﺎﺋﺪ ﻟﺴﻤﻮﻫﻢ‪ ،‬أو اﻹﺟﺎﺑﺔ ﻋﻠﻰ أﺳﺌﻠﺔ‬ ‫ﻃﺮﺣﻬﺎ ﺑﻌﻀﻬﻢ‪ ،‬وﺑﻴﻦ ﺷﻌﺮ اﻟﺤﻜﻤﺔ واﻟﻤﻮﻋﻈﺔ واﻟﻮﺻﺎﻳﺎ اﻹﻳﻤﺎﻧﻴﺔ‬ ‫واﻻﺑﺘﻌﺎد ﻋﻦ ﺣﺐ اﻟﺪﻧﻴﺎ وإﻳﺜﺎرﻫﺎ ﻋﻠﻰ اﻵﺧﺮة‪ W‬إﻟﻰ ﺟﺎﻧﺐ ﺷﻌﺮ‬ ‫اﻟﻐﺰل واﻟﺼﺒﺎﺑﺔ اﻟﺬي ﻟﻢ ﻳﻨﺴﻪ ﺷﺎﻋﺮﻧﺎ‪ ،‬ﻓﻨﻈﻢ ﻗﺼﺎﺋﺪ ﻳﺘﻐﺰل ﻓﻴﻬﺎ‬ ‫ﺑﻌﻴﺪة ﻋﻦ اﻟﺤﺴﻴّﺎت واﻟﻤﺎدﻳﺎت‪،‬‬ ‫ﺷﺮﻳﻔﺔ‬ ‫ﻋﻔﻴﻔﺔ‬ ‫ﺑﻠﻐﺔ‬ ‫ٍ‬ ‫ٍ‬ ‫ﺑﻤﺤﺒﻮﺑﺘﻪ ٍ‬ ‫ٍ‬ ‫ً‬ ‫ﻓﺠﺎءت أﺑﻴﺎﺗﻬﺎ ً‬ ‫راﺋﻌﺔ ﺑﺎﻟﻜﺮاﻣﺔ واﻟﺨﻠﻖ اﻟﻨﺒﻴﻞ‪W‬‬ ‫ﻋﺬﺑﺔ‬

‫وﻫﺬا اﻟﺪﻳﻮان ﻛﺎن ﻟﻪ ﻧﺼﻴﺐ ﻣﻦ ﻣﴩوع ﻧﺎدي ﺗﺮاث اﻹﻣﺎرات ﰲ‬ ‫ﺗﻮﺛﻴﻖ اﻟﺸﻌﺮ اﻟﻨﺒﻄﻲ ﻋﱪ إﺻﺪارات ﺗﺠﻤﻊ ﺷﻮارد اﻟﺸﻌﺮ اﻟﻨﺒﻄﻲ ﻣﻦ‬ ‫أﻓﻮاه اﻟﺸﻌﺮاء‪ ،‬ﺧﺎﺻﺔ اﻟﺬﻳﻦ ﻋﺎﺷﻮا أﻳﺎم اﳌﻐﻔﻮر ﻟﻪ ﺑﺈذن اﻟﻠﻪ ﺗﻌﺎﱃ‬ ‫اﻟﺸﻴﺦ زاﻳﺪ ﺑﻦ ﺳﻠﻄﺎن آل ﻧﻬﻴﺎن‪ ،‬ﻃﻴﺐ اﻟﻠﻪ ﺛﺮاه‪ ،‬وﻛﺬﻟﻚ أﻳﺎم ﻣﺎ‬ ‫ﻗﺒﻞ زاﻳﺪ‪ ،‬ﻧﻈﺮا ﳌﺎ ﻳﺸﻜﻠﻪ اﻟﺸﻌﺮ اﻟﻨﺒﻄﻲ ﻣﻦ ﻣﺎدة أﺳﺎﺳﻴﺔ ﻣﻦ ﻣﻮاد‬ ‫اﳌﻮروث اﻟﺸﻌﺒﻲ اﻟﺘﻲ ﻳﺤﺮص اﻟﻨﺎدي ﻋﲆ ﺣﻔﻈﻬﺎ وﺻﻴﺎﻧﺘﻬﺎ وﻧﴩﻫﺎ‬ ‫ﺑني اﻟﻨﺎس‪.‬‬ ‫وﻛﺎن ﻟﻬﺬا اﻟﺪﻳﻮان ﻧﺼﻴﺐ أوﻓﺮ ﺣني ﺣﻈﻲ ﺑﴩف أن ﻳﻜﺘﺐ ﺳﻤﻮ‬ ‫اﻟﺸﻴﺦ ﺳﻠﻄﺎن ﺑﻦ زاﻳﺪ آل ﻧﻬﻴﺎن ﻣﻤﺜﻞ ﺻﺎﺣﺐ اﻟﺴﻤﻮ رﺋﻴﺲ اﻟﺪوﻟﺔ‬ ‫ﺣﻔﻈﻪ اﻟﻠﻪ ﺗﻌﺎﱃ‪ -‬ﺑﺨﻂ ﻳﺪه ﻧﺒﺬة ﻋﻦ اﻟﺸﺎﻋﺮ ﺑﻦ ﻣﺤ ّﻨﺎ ﰲ ﻣﺨﻄﻮﻃﺔ‬‫اﻟﺪﻳﻮان ﻋﻨﺪﻣﺎ ﻋﺮﺿﻬﺎ ﻋﲆ ﺳﻤﻮه ﻷول ﻣﺮة‪ ،‬وﻗﺪ أﻣﺮ ﺳﻤﻮه أن ﻳﻘﻮم‬ ‫ﻧﺎدي ﺗﺮاث اﻹﻣﺎرات ﺑﻄﺒﻌﻬﺎ وﻧﴩﻫﺎ‪ ،‬ﻓﺘﻮﱃ ﻣﺮﻛﺰ زاﻳﺪ ﻟﻠﺪراﺳﺎت‬ ‫واﻟﺒﺤﻮث ﻫﺬه اﳌﻬﻤﺔ‪ ،‬وﺗﻢ اﻻﻟﺘﻘﺎء ﺑﺎﻟﺸﺎﻋﺮ اﻟﺬي أﻋﺎد ﻗﺮاءة‬ ‫اﻟﻘﺼﺎﺋﺪ ﻟيك ﻳﺘﻢ ﺿﺒﻂ ﻛﻠامﺗﻬﺎ‪ ،‬ﻛام ﺗﻢ وﺿﻊ ﻋﻨﺎوﻳﻦ ﻟﻠﻘﺼﺎﺋﺪ‪.‬‬ ‫اﻟﺸﻌﺮ ‪ /‬اﻟﻌﺪد ‪64‬‬ ‫‪ 50‬ﺑﻴﺖ ِ‬

‫اﻟﻤﺘﺸ ّﺒﻊ ﺑﺎﻟﺘﺮاث اﻟﺒﺪوي‬ ‫وﺷﺎﻋﺮﻧﺎ ﻫﻮ اﻟﺸﺎﻋﺮ ﻣﺤﻤﺪ ﺑﻦ ﻣﺤﻨﺎ ﺑﻦ ﻟﻮﻳﻊ ﺑﻦ اﻟﺪﺣﺒﻪ ﺑﻦ ﻋﺒﺪ‬ ‫اﻟﻠﻪ آل ﻟﻮﻳﻊ اﻟﺤﻴﻮي اﻟﻌﺎﻣﺮي‪ ،‬ﻣﻦ ﻗﺒﻴﻠﺔ اﻟﻌﻮاﻣﺮ‪ ،‬اﻟﻘﺒﻴﻠﺔ اﻟﻌﺮﺑﻴﺔ‬ ‫ذات اﻟﺬﻛﺮ اﻟﻘﺪﻳﻢ واﻟﻄﻮﻳﻞ ﰲ اﻟﺘﺎرﻳﺦ اﻟﻌﺮيب‪ .‬واﻟﻌﻮاﻣﺮ ﺗﻐﻠﺐ‬ ‫ﻋﻠﻴﻬﻢ اﻟﺒﺪاوة‪ ،‬ﻓﻬﻢ أﺻﺤﺎب ﻣﺎﺷﻴﺔ وإﺑﻞ‪ ،‬ﻳﻄﻮون ﺣﻴﺎﺗﻬﻢ ﰲ اﻗﺘﻨﺎء‬ ‫اﳌﻮاﳾ ورﻋﻴﻬﺎ وﻳﻌﻴﺸﻮن ﺣﻴﺎ ًة ﺣﺎﻓﻠ ًﺔ ﺑﺎﻟﺴﻔﺮ واﻟﱰﺣﺎل وﺗﺤ ّﻤﻞ‬ ‫ﺷﻈﻒ اﻟﻌﻴﺶ واﳌﺸﻘﺎت‪ .‬وﻫﺬه ﻛﻠﻬﺎ ﻣﺠﺎﻻت ﺑﻄﻮﻟﻴﺔ ﻳﺼﺒﺢ‬ ‫أﻓﺮادﻫﺎ ﻣﺘﻤﺴﻜني مبرياث اﻟﺒﺪاوة اﻟﻌﻈﻴﻢ اﻟﻘﺎﺋﻢ ﻋﲆ اﻟﺪﺳﺘﻮر‬ ‫اﻻﺟﺘامﻋﻲ ﰲ اﻟﺸﺠﺎﻋﺔ واﻟﻜﺮم واﻟﺘﻘﺎﻟﻴﺪ واﻷﻋﺮاف اﳌﺴﺘﻤﺪة ﻣﻦ‬ ‫اﻟﺪﻳﻦ واﻹميﺎن‪ .‬وﻣﻌﻘﻞ اﻟﻌﻮاﻣﺮ ﰲ اﻹﻣﺎرات ﻣﻨﻄﻘﺔ اﻟﻮﺟﻦ واﻟﻌني‪.‬‬

‫ﺳﻠﻴﻞ اﻟﻤﺠﺪ‬ ‫ﻃﻼل ﺑﻦ ﻓﻬﺪ‬ @talalalshmmri

@@ @ Eb@@ @ J*H v@@ @ m@ @ @´* @@ £@ @ @ @~@ @6 b@@ @ @ @ < eb@@ @ @ @= @@ @ @E @@ @ @ E°*H d@@ @ @~@ @{@ @D* e¡@@ @ @ @ B @@ @ G Ä@@ @ C b@@ @ @£@ @A @@Eb@@~@ z@ 0 ,4w@@ @ ~@ @ @ 7H @@ @+Hx@@ @ @ @ D* @@ @£@ @ <5 ¢@@ @ @< @@ @ E*¡@@ @ <&* h@@ @-b@@ @E b@@ @ @ @ F* ¡@@ @ D @@ @ @ @ @< ib@@ @ Eb@@ @ E @@Eb@@ @ ~@ 6 ¤@@ @ @ º b@@ @Jb@@ @ @ @ ´* @@ @ 6¡@@ @ B h@@ £@ @ Db@@ J @@ Eb@@ ~@ @7H x@@ @~@ @ |@ @ EH n@@ £@ @ @ @³* @@ @ C ¡@@ @ £@ @ @<H @@ @E*v@@ @B* f@@ £@ ~@ {@ E y@@ @ Dy@@ @ -b@@ @ E b@@ @ @1 @@ @ @ @ .*H @@Eb@@ @ +* f@@ @ ~@ |@ + @@ @ /*x@@ @ ´* @@m@ ~@ 6 @@ @ p@ J @@ Eb@@ @ @0H 2¡@@ @ @ @ @ @ /H i*4b@@ @ @ @ @ @ @ @E(°* @@ @ 9x@@ @ +H @@ @ EÉ@@ @ 0* ¤@@ @ @Bb@@ @ @+ @@ @ @ @ @« @@ @ @ @ @Jv@@ @ J ¢@@ @ @ @ @<

49 2018 / ‫ﻓﺒﺮاﻳﺮ‬

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‫ﻣﺎﺳﺎت‬ baytelshear

‫ﺳﻮق اﻷﻣﺎﻧﻲ‬ ‫ﻣﺤﻤﺪ ﺑﻦ ﺳﻌﻴﻮاد‬ @mohamed79577834

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64 ‫ اﻟﻌﺪد‬/ ‫اﻟﺸﻌﺮ‬ ِ ‫ ﺑﻴﺖ‬48

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‫أﺳﺮار ﻓﻲ أﺷﻌﺎر‬ ‫‪baytelshear‬‬

‫وﻫﺬا أﺳﻠﻮب اﳌﺪرﺳﺔ اﻟﺮوﻣﺎﻧﺴﻴﺔ ﰲ اﺳﺘﺨﺪام اﻟﻘﺼﻴﺪة؛ ﻟﺘﻔﺮﻳﻎ‬ ‫اﻟﺸﺤﻨﺎت اﻟﻌﺎﻃﻔﻴﺔ‪ ،‬وﻟﻜﻦ اﺑﻦ ﺳﻮﻗﺎت ﻳﺬﻫﺐ أﺑﻌﺪ ﻣﻦ ذﻟﻚ‪،‬‬ ‫وﻳﺮى اﻟﻘﺼﻴﺪة ﻋﺼﻔﺎً ذﻫﻨﻴﺎً وﻋﺎﻃﻔﻴﺎً ﻟﻠﺨﺮوج ﻣﻦ اﳌﺄزق‪ .‬وﰲ‬ ‫اﻷﺑﻴﺎت اﻟﺘﺎﻟﻴﺔ‪ ،‬ﻧﺠﺪه ﻣﺘﺨﺬاً ﻗﺮاره وﻣﻘﺘﻨﻌﺎً ﺑﺘﻨﻔﻴﺬه ﻟﻠﺨﺮوج ﻣﻦ‬ ‫اﻟﺤﺎﻟﺔ اﻟﻨﻔﺴﻴﺔ اﻟﺘﻲ ﻫﻮ ﻓﻴﻬﺎ‪:‬‬

‫‪ *|CCCCC U CCCCC S CCCCC+ ¸(* 4zCCCCCCC¡CCCCCCCM fCCCCCCCH‬‬ ‫‪£§CCCC CCCCG* K CCC CCC CCC CCCGfCCC+ ~CCC‬‬ ‫‪P CªT CCCC CCCCkCCCCH‬‬ ‫‪ fCCCCCCCCCI%¸ ÕCCCCCCCCC+ fCCCCCCCH iP T{CCCCCCCCCCC¤CCCCCCCCCCCHU K‬‬ ‫‪£§CC CCCCC CC CCCCCHK P fCCCCCCgCCCCCC:*K ÑCCCCC1fCCCCC+‬‬ ‫‪ ÑCCC<ÑCCCCCCC+ 4zCCCCCCCCCHS ¬{CCCCCCCG* lCCCCCCCI*K‬‬ ‫‪£§CCC¡CCCDU K CCCC CCCCIU &fCCCC+ hCCCM§CCC CCC8 fCCCCCCCCI&*K‬‬ ‫‪ fCCCCCJK¸ T CCCCCCF «CCC T CCCwCCC- |CCCCCCCCCCCªCCC1*K‬‬ ‫‪£§CCC CCCG* rCCCHfCCC CCC6 «CCC CCCCCCCG* |CCCCCCCCC‬‬ ‫‪T C-T * K‬‬

‫‪ *zCCCC CCCCHK CCC‬‬ ‫‪P C¤CCCC CCCC7 L§CCCCC¤CCCCCG* «CCCCCCCC<*4‬‬ ‫‪£§CC CC CC CCH |CCCC‬‬ ‫‪C‬‬ ‫‪CCCCC‬‬ ‫‪C‬‬ ‫‪º* CC‬‬ ‫‪C‬‬ ‫‪nCC‬‬ ‫‪C‬‬ ‫‪CCC‬‬ ‫‪C‬‬ ‫‪H §CCC‬‬ ‫‪C‬‬ ‫‪kCCC‬‬ ‫‪C‬‬ ‫‪M K‬‬ ‫‪T‬‬ ‫‪ *zCCCCCC/¸ zCCC¡CCC< L4fCCCCCCF§CCCCCCG* ¸(*K‬‬ ‫ﰲ ﻫﺬه اﻷﺑﻴﺎت ﻳﺆﻛﺪ اﻟﺸﻴﺦ زاﻳﺪ أن ﻫﺬا اﳌﺤﺒﻮب ﻳﺠﺐ أن‬ ‫*‪£K2 ¢CCCCCCCH K2 ¢CC¤CC CC CC¡CCCCCE «CCCC CCCCG‬‬

‫ّ‬ ‫ﻳﺘﺤﲆ ﺑﺄﺧﻼق وأﻃﺒﺎع ﻳﺘﻔﻮق ﺑﻬﺎ ﻋﲆ اﻷﻧﺎم؛ يك ﻳﻜﻮن ﻣﺴﺘﺤﻘﺎً ﳌﺎ‬ ‫ﻳﻘﺪﻣﻪ اﻟﺸﺎﻋﺮ اﻟﻌﺎﺷﻖ ﻣﻦ اﻻﻫﺘامم واﻟﺘﻀﺤﻴﺎت‪ ،‬وإن مل ﻳﻜﻦ ﺑﻬﺬا‬ ‫ﻧﺠﺪ اﻟﺸﺎﻋﺮ ﻫﻨﺎ ﻳﺮى اﻹﻗﺪام ﰲ اﳌﻮاﺟﻬﺔ ﺳﺒﻴﻠﻪ اﻟﻮﺣﻴﺪ‪ ،‬وﻳﺸﺒﻪ‬ ‫اﳌﺴﺘﻮى ﻓﻼ ﻳﺠﺐ أن ﻳﱰﻛﻪ؛ ﻷﻧﻪ ﻟﻴﺲ إﻻ ﻇﺎﻫﺮاً ﻣﻦ دون ﻣﺤﺘﻮى‪،‬‬ ‫ﻧﻔﺴﻪ ﺑﺎﻟﺼﻘﺮ ﻣﻦ ﻧﻮع اﻟﺤﺮ اﻟﺬي ﻳﺼﻨﻒ ﺑﺄﻓﻀﻞ اﻟﻄﻴﻮر ﰲ اﻟﺼﻴﺪ‬ ‫ووﺻﻔﻪ اﻟﺸﻴﺦ زاﻳﺪ ﺑـ »ﺳﺎﻣﺞ اﻟﻠﻮن«‪ .‬وﻗﺒﻞ أن ﻳﻘﻮل ذﻟﻚ اﺧﺘﴫ‬ ‫ﻣﻘﺎرﻧﺔ ﺑﺎﻟﺼﻘﺮ ﻣﻦ اﻟﻨﻮع »اﻟﻮﻛﺮي« وﻫﻮ أﺿﻌﻒ اﻷﻧﻮاع ﻗﺪرة‪،‬‬ ‫اﻟﺸﻴﺦ زاﻳﺪ ﺣﺎﻟﺘﻪ وﺣﺎﻟﺔ اﺑﻦ ﺳﻮﻗﺎت ﰲ اﻟﺒﻴﺖ اﻟﺘﺎﱄ‪:‬‬ ‫ّ‬ ‫ﻣﺎ ﻳﺪل ﻋﲆ اﺗﺨﺎذه ﻗﺮار اﳌﻮاﺟﻬﺔ‪ ،‬وﻟﻜﻨﻪ ﰲ ﻧﻔﺲ اﻟﻮﻗﺖ ﻳﺒﺪو ‪ ÑCCC<ÑCCCCCCC+ 4zCCCCCCCCCHS ¬{CCCCCCCG* lCCCCCCCI*K‬‬ ‫ﻏري ﺿﺎﻣﻦ أﺑﺪاً اﻟﻨﺘﺎﺋﺞ ﻣﺎ ﻳﺪل ﻋﲆ أﻧﻪ ﻳﺮﻳﺪ أن ﻳﺴﺘﻤﺮ ﰲ ﻫﺬه‬ ‫‪£§CCC¡CCCDU K CCCC CCCCIU &fCCCC+ hCCCM§CCC CCC8 fCCCCCCCCI&*K‬‬ ‫اﻟﻌﻼﻗﺔ‪ ،‬أو ﻳﻘﻄﻌﻬﺎ إﱃ اﻷﺑﺪ راﺿﻴﺎً ﺑﺘﺒﻌﺎﺗﻬﺎ اﻟﺘﻲ رمبﺎ ﺗﻜﻮن ﻣﺤﻨﺔ‬ ‫ﻃﻮﻳﻠﺔ ﺑﻌﺪ ذﻟﻚ‪:‬‬ ‫وﺑﻬﺬا‪ ،‬ﻳﻘﻮل اﻟﺸﻴﺦ زاﻳﺪ ﻳﺮﺣﻤﻪ اﻟﻠﻪ‪ :‬إن ﻫﻨﺎك اﺧﺘﻼﻓﺎً ﰲ اﻟﺘﻌﺎﻃﻲ‬ ‫‪ ¸%‬‬ ‫*‬ ‫‪ ¥CCC‬‬ ‫‪C‬‬ ‫‪G §CC‬‬ ‫‪C‬‬ ‫‪ CC‬‬ ‫‪C‬‬ ‫‪ CC‬‬ ‫‪C‬‬ ‫‪ CC‬‬ ‫‪C‬‬ ‫‪- ¢CCC‬‬ ‫‪CH zCCCCCCC U CCC CCS C6 fCCCCM‬‬ ‫ﺑﻴﻨﻪ واﺑﻦ ﺳﻮﻗﺎت؛ ﻷﻧﻪ ﺑﺎﻟﺮﻏﻢ ﻣﻦ إﺻﺎﺑﺘﻪ ﺑﺎﳌﺤﺒﺔ إ ﱠﻻ أﻧﻪ ﻳﺄﻧﺲ‬ ‫‪£K~CCCCCCCCCCCÁ mzCCCCC< ¿ CCCCG hCCªCCnCCªCC+‬‬ ‫ﺑﻬﺬه اﻹﺻﺎﺑﺔ‪ ،‬وﻳﺘﻌﺎﻣﻞ ﺑﺬوق ﻓﻨﻲ ﺧﺎص إذ ﻳﺘﻌﺎﻳﺶ ﻣﻊ اﻟﻮﺿﻊ‬ ‫‪ fCC CCCCCCCCCCC CC6¸*K ¥CCqCCªCC CC CCG* s|CC‬‬ ‫‪T C CCCªCCC+‬‬ ‫*‪ £§CCtCCà CC¤U CC CC CCG‬ﻣﺴﺘﻤﺘﻌﺎً مبﺎ ﻳﻌﺎﻧﻴﻪ‪ ،‬وﻣﺆﻛﺪاً اﳌﻌﺎين اﻟﺘﻲ ذﻛﺮﻫﺎ ﰲ اﻟﻘﺼﻴﺪة‪،‬‬ ‫‪Q *3 fCCCM £§CCC CCC-U ¸K‬‬ ‫ﺑﻴﻨام اﺑﻦ ﺳﻮﻗﺎت أﺻﺒﺢ »ﻣﺪرك ﺑﺎﻻﻋﻼم«؛ أي ﻇﻬﺮت ﻋﻠﻴﻪ ﻋﻼﺋﻢ‬ ‫وﻟﻜﻦ اﻟﺸﻴﺦ زاﻳﺪ ﻳﺮﺣﻤﻪ اﻟﻠﻪ ﻳﺘﺪارك ﻫﺬا اﳌﻮﻗﻒ اﻟﺤﺎزم‪ ،‬وﻳﺤﺎول اﻟﻬﻼك‪ ،‬وﻫﻲ ﻧﻔﺴﻬﺎ اﻟﻌﻼﻣﺎت اﻟﺘﻲ ﴏح ﺑﻬﺎ اﺑﻦ ﺳﻮﻗﺎت ﰲ ﺑﺪاﻳﺔ‬ ‫ﺗﻬﺪﺋﺔ اﻟﻮﺿﻊ وإﻗﻨﺎع اﺑﻦ ﺳﻮﻗﺎت أن ﻫﺬه اﳌﻌﺎﻧﺎة ﻫﻲ اﻟﴬﻳﺒﺔ ﻗﺼﻴﺪﺗﻪ‪ ،‬وﻟﻴﺲ ﻫﺬا ﺑﻴﺖ اﻟﻘﺼﻴﺪ ﺑﻞ ﺑﻴﺖ اﻟﻘﺼﻴﺪﺗني ﻣﻌﺎً ﻳﻘﺪﻣﻬﺎ‬ ‫اﳌﻔﺮوﺿﺔ ﻋﲆ ﻛﻞ ﻣﺤﺐ ﰲ ﻫﺬا اﻟﻄﺮﻳﻖ‪ ،‬وﻫﻮ ﺑﺬﻟﻚ ﻳﺸ ّﻜﻞ ﻣﻊ اﻟﺸﻴﺦ زاﻳﺪ ﻳﺮﺣﻤﻪ اﻟﻠﻪ ﺑﻌﺒﺎرات ﺳﻬﻠﺔ وﻣﻤﺘﻨﻌﺔ ﻟﻌﻤﻖ اﳌﻌﺎين‬ ‫اﺑﻦ ﺳﻮﻗﺎت دراﻣﺎ ﻓﻨﻴﺔ ﺗﺘﻮزع أﺣﺪاﺛﻬﺎ ﺑني اﻟﻘﺼﻴﺪﺗني‪ ،‬وﻫﺬا ﻫﻮ اﻟﺘﻲ ﻳﺤﺘﻮﻳﻬﺎ‪.‬‬ ‫ﺷﺄن اﻟﻘﺼﺎﺋﺪ واﻟﺮدود ﰲ اﻟﺸﻌﺮ اﻟﻨﺒﻄﻲ‪:‬‬ ‫‪ fCCCJ L§CCCC¤CCCCG* · §CCCCJ ¢CCCCH zCC CC CC6 fCCCCM‬‬ ‫‪£§CCgCCCCC CCH K ¬T5§CCCCCCkCCCCCCH £fCCCCCCCCF §CCCCCCCG‬‬ ‫¸ ‪ fCCCCCM4¸fCCCCC+ ¨CCC CCCtCCCM ¸ TzCCCCCCCC+‬‬ ‫‪£§CCCCM~CCCCH m*|CCCCCC CCCCCC»* S K |CCCCCCC‬‬ ‫‪C‬‬‫‪P‬‬ ‫‪ *|CCCCCF¸ mÑCCC CCC CCC1 ¢CCCCH ÌCCCCCCC CCTC CCCG*K‬‬ ‫‪£§CC CCnCCH ifCC CC CC8fCC+ CCC CCCS CCCtCC‬‬ ‫‪Q CMU «CCC CCCG*K‬‬

‫ﰲ اﻷﺑﻴﺎت اﻟﺴﺎﺑﻘﺔ ﻧﺠﺪ ﻓﻠﺴﻔﺔ اﻟﺸﻴﺦ زاﻳﺪ ﰲ ﺗﻘﺒﻞ اﳌﻌﺎﻧﺎة‬ ‫واﻟﺘﻌﺎﻳﺶ ﻣﻊ اﻷمل؛ ﻓﻔﻲ ذﻟﻚ ﻟﺬة ﺣﻴﻨام ﻳﻜﻮن اﻟﻌﺎﺷﻖ ﻫﺎمئﺎً ﰲ‬ ‫اﻟﻬﻮى‪ ،‬وﻳﻜﻮن ﻣﺤﻈﻮﻇﺎً ﻣﻦ أﺻﻴﺐ ﺑﺬﻟﻚ‪ .‬وﻫﺬا اﳌﻌﻨﻰ ﻧﺠﺪه‬ ‫ﰲ اﻟﺒﻴﺖ اﻟﺬي ﻳﻨﺘﻬﻲ ﺑـ »ﻣﺘﻮزّي وﻣﻐﺒﻮن«‪ ،‬وأﻣﺎ اﳌﻌﻨﻰ اﻷﻫﻢ‬ ‫ﻓﻨﺠﺪه ﰲ اﻷﺑﻴﺎت اﻟﺘﻲ ﺗﻠﺖ ﺣﻴﻨام ﺳ ّﻮغ ﺗﻘﺒﻞ اﻷمل ﻛﺄﻧﻪ »اﻟﺼﱪ«‬ ‫وﻫﻮ اﻟﻄﺮﻳﻖ اﳌﺆدي يك »ﻳﺤﻈﻰ« ﺑﺎﳌﺤﺒﻮب‪ ،‬وﻛﻠام ﻃﺎل ﺻﱪه ﻓﺈن‬ ‫ﻣﺎ ﺳﻴﺤﺼﻞ ﻋﻠﻴﻪ ﺳﻴﻜﻮن أﻏﲆ مثﻨﺎً وأﻛرث أﻫﻤﻴﺔ‪ ،‬وﻫﻞ ﻳﻮﺟﺪ أﻏﲆ‬ ‫وأﻫﻢ ﻣﻦ اﳌﺤﺒﻮب! ﻟﻨﺘﺎﺑﻊ اﻷﺑﻴﺎت اﻟﺘﺎﻟﻴﺔ ﻣﻦ ﻗﺼﻴﺪة اﻟﺸﻴﺦ زاﻳﺪ‪:‬‬ ‫اﻟﺸﻌﺮ ‪ /‬اﻟﻌﺪد ‪64‬‬ ‫‪ 46‬ﺑﻴﺖ ِ‬

‫‪ ¸%* ¥CCCCG §CCC CCC CCC CCC- ¢CCCCH zCCCCCCC U CCC CCS C6 fCCCCM‬‬ ‫‪£K~CCCCCCCCCCCÁ mzCCCCC< ¿ CCCCG hCCªCCnCCªCC+‬‬ ‫‪ fCC CCCCCCCCCCC CC6¸*K ¥CCqCCªCC CC CCG* s|CC‬‬ ‫‪T C CCCªCCC+‬‬ ‫‪Q‬‬ ‫‪U‬‬ ‫‪£§CCtCCà CCC¤U CCC CCC CCCG* *3 fCCCM £§CCCC CCCC-¸K‬‬ ‫‪U‬‬ ‫‪ fCCC¡CCC-U ¸K ¦ÌCCCCC CCCCCG* «CCCCC CCCCC6fCCCCC±¸K‬‬ ‫‪£§CCtCC CC CCH K §CCCC‬‬ ‫‪P C+|CCCCCH £§CCCCCC CCCCCC-U ¸K‬‬

‫ﻧﻼﺣﻆ أن اﻟﺸﻴﺦ زاﻳﺪ ﻳﺮﺣﻤﻪ اﻟﻠﻪ مل ﻳﻘﻞ ﺑﺄن اﻟﺸﻜﻮى وﺻﻠﺖ إﻟﻴﻪ‪،‬‬

‫ﻓﺨﱪة اﺑﻦ ﺳﻮﻗﺎت ﰲ اﻟﺤﻴﺎة ﺗﺴﻌﻔﻪ ﰲ ﺣﻞ ﻫﺬه اﳌﻌﻀﻼت‬ ‫وﺣﺪه‪ ،‬ووﺻﻔﻪ اﻟﺸﻴﺦ زاﻳﺪ ﰲ ﻗﺼﻴﺪﺗﻪ »ﺧﺒري ﺗﻌﺮف ﻟﻔﻨﻮن« أي‬ ‫أن ﻣﻮاﺿﻴﻊ اﻟﺤﺐ واﻟﻐﺮام ﺗﺤﺘﺎج إﱃ أﺳﺎﻟﻴﺐ ﻓﻨﻴﺔ ﰲ ﺟﻮ متﻠﺆه‬ ‫اﻟﺨﺼﻮﺻﻴﺔ أﻛرث ﻣﻦ ﺣﺎﺟﺘﻬﺎ إﱃ اﻻﺳﺘﻌﺎﻧﺔ ﺑﺎﻵﺧﺮﻳﻦ‪ ،‬وﻫﺬا اﳌﻌﻨﻰ‬ ‫واﺿﺢ ﰲ ﻗﺼﻴﺪة اﺑﻦ ﺳﻮﻗﺎت ﺣﻴﺚ إﻧﻪ‪ ،‬وﺑﺎﻟﺮﻏﻢ ﻣﻦ ﺷﻜﻮاه ﻧﺠﺪه‬ ‫ﰲ ﺗﺎﱄ اﻷﺑﻴﺎت ﻳﺴﺪي اﻟﻨﺼﻴﺤﺔ واﳌﺸﻮرة ﻣﻦ واﻗﻊ ﻓﻠﺴﻔﺘﻪ ﰲ‬ ‫اﻟﺤﻴﺎة وﻳﻘﻮل‪:‬‬

‫*&‪ fCC CC CCº ,*4zCCCCCCCCCCCCCCH L§CCCC¤CCCCG* L42‬‬ ‫وﻫﻮ اﻟﺬي ﺳﻴﻌني اﺑﻦ ﺳﻮﻗﺎت‪ ،‬ﺑﻞ ﺟﻌﻞ ذﻟﻚ ﻣﻮﻫﻮﻣﺎً‪ ،‬وﻗﺎل »ﻳﺎ‬ ‫‪£§CC CCCCCMU fCCCCH ¢CCCCCMK ¦2§CCCC¤CCCC< ¨CCCCCC<4* K‬‬ ‫ﺳﻌﺪ ﻣﻦ ﺗﺸﻜﻮ ﻟﻪ آﻻم«‪ ،‬وﺑﺘﺄوﻳﲇ اﻟﺸﺨﴢ‪ ،‬ﻓﺈن ﻫﺬا ﺟﺎء ﻷﺳﺒﺎب ‪ fCCCT CCC0 CCCC6fCCCCI ¥CCCCCG *§CCCCCC CCCCCCF4* CCCCCCCF‬‬ ‫ﺛﻼﺛﺔ‪ ،‬أوﻟﻬﺎ‪ :‬ﻟيك ﻻ ﻳﺸﻌﺮ ﺑﺎﻗﻲ اﻟﺸﻌﺮاء ﺑﺎﻟﻌﺠﺰ ﻛﻮن اﻟﺸﻴﺦ زاﻳﺪ‬ ‫‪U‬‬ ‫‪£K|CCCCCE jCC CC CC/ ¥CCCCG KzCCCqCCC CCC6* CCCCCFK‬‬

‫ﻫﻮ ﻣﻦ ﺑﺎدر ﺑﺎﻟﺮد‪ ،‬وﻟﻦ ﻳﺒﺎدر اﻵﺧﺮون ﺑﻌﺪ ذﻟﻚ‪ ،‬وﺛﺎﻧﻴﻬﺎ‪ :‬إن اﺑﻦ‬ ‫ﺳﻮﻗﺎت مل ﻳﻜﻦ ﻳﺸﻜﻮ ﴏاﺣﺔ وﻳﻄﻠﺐ اﻟﺮد‪ ،‬وأﻣﺎ ﺛﺎﻟﺜﻬام واﻷﻫﻢ وﻫﻮ ﺑﻬﺬه اﻷﺑﻴﺎت ﻻ ﻳﺴﺪي اﻟﻨﺼﻴﺤﺔ ﻓﻘﻂ‪ ،‬وإمنﺎ ﻳﺮﻳﺪ اﻟﻘﻮل‪:‬‬ ‫ﻓﻬﻮ أن اﳌﺤﺒﻮب ﻗﺪ ﻳﻜﻮن ﻫﻮ اﳌﻌﻨﻲ ﺑﺎﻟﺸﻜﻮى ﻛام ﺗﺸري اﻷﺑﻴﺎت إﻧﻪ اﺳﺘﺨﺪم ﻛﻞ اﻟﻄﺮق اﻟﺘﻲ ﻳﻌﺮﻓﻬﺎ ﻣﻊ اﳌﺤﺐ‪ ،‬وﻟﻜﻦ ﻣﻦ دون‬ ‫ﺟﺪوى‪ ،‬وﻛﺄن ﻗﻮة اﻟﺤﺐ ﻛﺎﻧﺖ اﻟﻐﺎﻟﺒﺔ‪ ،‬وﺟﻌﻠﺘﻪ راﺿﺨﺎً ﻟﻬﺎ؛ ﻟﺬﻟﻚ‬ ‫اﻟﺘﺎﻟﻴﺔ ﻟﻠﺸﻴﺦ زاﻳﺪ‪:‬‬ ‫‪ fCC CC CCCCC0* CCCCG ¥CCCkCCCI* ifCCC¤CCC CCS C7§CCC+ fCCCCM‬‬ ‫ﻳﻘﻮل إﻧﻪ ﺳريﴇ ﺑﻬﺬا ﰲ ﺳﺒﻴﻞ اﻟﻮﺻﻮل إﱃ اﻟﻬﺪف اﻷﺳﻤﻰ‪ ،‬وﻫﻮ‬ ‫¿ ‪ £§CCCCC¤CCUCCCM K rCCªCCCCCCCC CC CCG* £§CCCCCCCC/|CT C CCMU‬وﺻﺎل اﳌﺤﺒﻮب‪:‬‬ ‫<‪ fCC CTC CC+ £§CCCCCF K ¦fCCCCªCCCCº* · CC CCCCCCCC‬‬ ‫¯‪[ C1 jCCCCC CCCCC CCCCC8*§CCCCC‬‬ ‫‪£§CCCCM~CCCCH K CCCCCCCC‬‬ ‫‪US‬‬ ‫‪ fCCCCCCM4* K 2|CCCCCC‬‬ ‫‪U C1 K 2§CCCCCC1 ÕCCCC+ fCCCCH‬‬ ‫‪£§CCC CCC CCCº ÕCCCCCC+ fCCCCCCH £|CCCC CCCC6fCCCC CCCCkCCCCM‬‬ ‫‪ *|CCCCCCCCCF¸ CCCC6fCCCC¡CCCCG* ,fCCCCªCCCC0 ¬3fCCCCCCCJ‬‬ ‫‪£§CCgCC CCH ¢CCCCM T~CCCCG* £K2 CCC7fCCC< ¢CCCH K‬‬

‫وﻫﻨﺎ ﻳﻘﺼﺪ اﻟﺸﻴﺦ زاﻳﺪ ﻳﺮﺣﻤﻪ اﻟﻠﻪ أن اﳌﺤﺒﻮب ﻟﻪ ﻣﻦ اﻟﺤﺸﻤﺔ‬ ‫واﻷﺧﻼق اﻟﺘﻲ ﺗﺆﻫﻠﻪ إﱃ ﺗﻔﺮﻳﺞ اﻟﻀﻴﻖ ﻋﻨﻚ‪ ،‬ﻗﺒﻞ أن ﻳﴩع‬ ‫ﺑﺎﳌﺒﺎدرة اﻟﴫﻳﺤﺔ ﻋﻦ اﺳﺘﻌﺪاده اﻟﺘﺎم ﺑﻌﺪ ذﻟﻚ ﻟﻠﺘﺪﺧﻞ ﰲ اﻷﻣﻮر‬ ‫اﻟﺸﺪﻳﺪة واﻟﻌﻈﻴﻤﺔ ﺑﻜﻞ ﻣﺎ ميﺘﻠﻚ ﻣﻦ إﻣﻜﺎﻧﻴﺎت‪ ،‬وﻟﻜﻦ ذﻟﻚ ﻻ‬ ‫ﻳﻠﻐﻲ ﻣﻘﺪرة وﺧﱪة اﺑﻦ ﺳﻮﻗﺎت ﰲ اﻟﺘﻌﺎﻣﻞ ﻣﻊ ﻫﻜﺬا ﻣﻮاﻗﻒ‪ ،‬ﻛام‬ ‫ﺗﺸري إﻟﻴﻪ اﻷﺑﻴﺎت اﻟﺘﺎﻟﻴﺔ ﻣﻦ ﻗﺼﻴﺪة اﻟﺸﻴﺦ زاﻳﺪ‪:‬‬ ‫ﻓﺎﻟﺤﻴﺎة ﻣﻦ دون اﳌﺤﺒﻮب ﰲ ﻧﻈﺮ اﺑﻦ ﺳﻮﻗﺎت ﺗﻌﺪ ﺣﻴﺎة ﻧﺎﻗﺼﺔ‪،‬‬ ‫ﻟﻜﻨﻪ ﻳﺒﺤﺚ ﻋﻦ ﻣﻌﺎدﻟﺔ‪ :‬ﻓﻴﻬﺎ اﳌﺤﺒﻮب وﻓﻴﻬﺎ اﻟﺴﻌﺎدة ﻣﻌﺎً‪ ،‬ﻛام‬ ‫‪ fCC CCCCCCCCCCC<&¸* K ¦ TzCCCCCCC CCC CCCG* CC0zCC¡CC+‬‬ ‫‪ £§CCCC CCCCªCCCC+Q K ¢CCCCC CCCCCÊ fCCCCCCCH T CCCCCC CCCCCC+‬أﺷﺎرت اﻷﺑﻴﺎت اﻟﺴﺎﺑﻘﺔ‪ ،‬وﻳﺮى أن ﻫﺬه اﳌﻌﺎدﻟﺔ ﻻ ﺗﺘﺤﻖ إﻻ ﺑﻮﺻﺎل‬ ‫اﳌﺤﺒﻮب‪ ،‬أﻣﺎ اﻵﻻم اﻟﺘﻲ ﻳﺤﺲ ﺑﻬﺎ‪ ،‬ﻓﻠﻴﺴﺖ إ ﱠﻻ ﺑﺴﺒﺐ ﺑﻌﺪه ﻋﻦ‬ ‫‪ fCCC CCC CCC-U ¸ K |CCCC CCCC- ¬{CCCCCCCG* lCCCCCCCI*K‬‬ ‫‪ £§CC¡CC CCG |CCCCC‬اﳌﺤﺒﻮب‪ ،‬وأراد اﻟﺸﺎﻋﺮ أن ﺗﻜﻮن ﻫﺬه اﻟﻘﺼﻴﺪة ﺳﺒﺒﺎً ﻟﺰوال آﻻﻣﻪ‪،‬‬ ‫¸ ‪U C Q CCCCCC-U |CCCCCCCªCCCgCCC1 CCCCCCCCIT‬‬ ‫ﻓﺒﺮاﻳﺮ ‪45 2018 /‬‬

‫أﺳﺮار ﻓﻲ أﺷﻌﺎر‬ ‫‪baytelshear‬‬

‫اﻟﺸﻴﺦ زاﻳﺪ ﻟﺤﻤﺪ ﺑﻦ ﺳﻮﻗﺎت‪:‬‬ ‫ــﻌـﺪ ﻣﻦ ﺗﺸﻜﻮ ﻟﻪ آﻻم‬ ‫» ﻳﺎ ِﺳ ْ‬ ‫ﺑﻴﺜﻴﺐ ﻟﻚ ﻟﻲ ﻋـﺪت ﻣﺤﺰون«‬

‫ﻣﺤﻤﺪ ﻧﻮر اﻟﺪﻳﻦ‬

‫ﰲ ﻗﺼﻴﺪة ﻳﺨﺎﻃﺐ ﻓﻴﻬﺎ ﺣﻤﺪ ﺑﻦ ﺳﻮﻗﺎت اﻟﺸﻌﺮاء وﻳﺴﻤﻌﻬﻢ‬ ‫ﺷﻜﻮاه‪ ،‬ﻳﻌﺮض ﻋﻠﻴﻬﻢ ﺣﺎﻟﺘﻪ اﻟﺨﺎﺻﺔ ﻣﻦ ﻧﺎﺣﻴﺔ وﺣﺎﻟﺔ اﳌﺤﺒني‬ ‫ﺑﺼﻔﺔ ﻋﺎﻣﺔ‪ ،‬ﻣﺸﻜ ًﻼ ﻟﻮﺣﺔ ﻓﻨﻴﺔ ﺟﻤﻴﻠﺔ ﺳﻨﺒﺤﺚ ﰲ ﺟﻮاﻧﺒﻬﺎ‬ ‫اﳌﺨﺘﻠﻔﺔ؛ ﻟﻨﺴﺘﻜﺸﻒ ﻛﻮاﻣﻦ ﺟامﻟﻬﺎ واﻟﻔﻠﺴﻔﺔ اﻟﺸﻌﺮﻳﺔ اﻟﺘﻲ‬ ‫ﻳﺤﻤﻠﻬﺎ اﻟﺸﺎﻋﺮ‪ ،‬وﺳﺒﺐ إﻋﺠﺎب اﻟﺸﺎﻋﺮ اﻷول ﺑﻬﺬه اﻟﻘﺼﻴﺪة اﻟﺘﻲ‬ ‫ﺟﺎء ﰲ ﻣﻄﻠﻌﻬﺎ‪:‬‬ ‫‪ ¸%* ¥CCCCCG «CCC CCC CCC CCC+ ¢CCCCCH CCCCCCCMK fCCCCCM‬‬ ‫‪£K~CCCCCCC K2 ¦zCCC¡CCCCCCC< K ¬|CCCC‬‬ ‫‪T C CCCCC6‬‬ ‫‪ ÑCCCCCC<&* ¬§T CCCC CCCC CCCCHU ¦*§CCCCCCCCJ ¢CCCCCH «CCCCC+‬‬ ‫‪£§CCC CCC+U CCCT CCC CCCCCCCHU K «CCCCCkCCqCC¤CCH «CCCCCCCD‬‬ ‫‪ fCCCCCCCCI%*K ¦ÑCCCCC CCCCC6* lCCCCªCCCC CCCC+S ¢CCCCCH CCCCCF‬‬ ‫‪£§CCCªCCC CCCG* K ¥CCCCCCCIK2 ¢CCC CCCCCCC¹* «CCC‬‬ ‫<‪X CCCCCC‬‬

‫ﻳﺴﺘﻬﻞ اﺑﻦ ﺳﻮﻗﺎت ﺣﺪﻳﺜﻪ ﺷﺎﻛﻴﺎً ﻣﻦ آﻻﻣﻪ‪ ،‬وﻣﺆﻛﺪاً أن ﻻ أﺣﺪ‬ ‫اﻟﺸﻌﺮ ‪ /‬اﻟﻌﺪد ‪64‬‬ ‫‪ 44‬ﺑﻴﺖ ِ‬

‫ﺳﻴﺤﺘﻤﻞ اﻻﺳﺘامع إﱃ اﻷﴎار اﻟﺨﻔﻴﺔ اﻟﺘﻲ ﺗﺴﺒﺒﺖ ﺑﻬﺬه اﻵﻻم‬ ‫اﻟﺠﺴﻴﻤﺔ اﻟﺘﻲ ﺗﺮﻛﺖ آﺛﺎرﻫﺎ ﻋﲆ ﻣﻬﺠﺘﻪ‪ .‬وﻋﲆ ذﻟﻚ‪ ،‬ﻓﺈﻧﻪ أﺻﺒﺢ‬ ‫ﻏري ﻗﺎدر ﻋﲆ اﻟﻨﻮم ﻛﻠام ﺣﺎوﻟﻪ؛ ﻷﻧﻪ ﻓﻘﺪ إرادﺗﻪ وﺳﻴﻄﺮﺗﻪ ﻋﲆ‬ ‫ﺟﻔﻨﻪ واﻟﻌﻴﻮن‪ .‬وﺑﻬﺬا اﻻﺳﺘﻬﻼل ﻳﺮﺑﻚ اﺑﻦ ﺳﻮﻗﺎت اﳌﺴﺘﻤﻌني‬ ‫مبﻨﺘﻬﻰ اﻟﺤﺮﻓﻴﺔ‪ ،‬ﻓﻨﺠﺪه ﻳﺸﻜﻮ وﻻ ﻳﺮﻳﺪ أن ﻳﺸﻜﻮ إﱃ أﺣﺪ‪ ،‬ﻛﻮﻧﻪ‬ ‫ﻳﻌﻠﻢ ﻣﺴﺒﻘﺎً أن ﻻ ﻓﺎﺋﺪة ﻣﻦ ﺷﻜﻮاه؛ ﻟﺬا ﻧﺠﺪ ﻗﺼﻴﺪة اﳌﺠﺎراة‬ ‫ﻟﻠﻤﻐﻔﻮر ﻟﻪ ﺑﺈذن اﻟﻠﻪ اﻟﺸﻴﺦ زاﻳﺪ ﺑﻦ ﺳﻠﻄﺎن آل ﻧﻬﻴﺎن ﺗﺒﺪأ‬ ‫مبﻌﺎﻟﺠﺔ ﻫﺬه اﳌﺸﻜﻠﺔ أوﻻً‪ ،‬وﻣﻦ ﺧﻼل ﺗﺒﺪﻳﻞ اﳌﺪﺧﻞ »ﻳﺎ وﻳﻞ«‬ ‫إﱃ »ﻳﺎ ﺳﻌﺪ« ﻳﻘﻠﺐ اﳌﻌﺎين رأﺳﺎً ﻋﲆ ﻋﻘﺐ‪ ،‬وﻳﺨﺮج اﻟﻘﺼﻴﺪة‬ ‫اﳌﺴﺘﺴﻠﻤﺔ ﻣﻦ ﺿﻌﻔﻬﺎ إﱃ ﻗﺼﻴﺪة ﻣﺘﺄﻗﻠﻤﺔ ﻣﻊ اﻟﻮﺿﻊ اﻟﺠﺪﻳﺪ‪،‬‬ ‫ﺣﻴﺚ ﻳﻄﻠﺐ اﻟﺸﻴﺦ زاﻳﺪ ﻣﻦ اﺑﻦ ﺳﻮﻗﺎت أن ﻻ ﻳﻜﻮن ﻣﺘﺄﺛﺮاً ﺑﺸﺤﻦ‬ ‫ﻧﻔﺴﻪ أﻛرث ﻣﻦ اﻟﻼزم؛ يك ﻳﺨﺮج ﻣﻦ ﻫﺬا اﻟﺠﻮ اﻟﺬي ميﻠﺆه اﻟﻀﻴﻖ‬ ‫واﻷﺳﻘﺎم‪ ،‬واﻷﺷﺒﻪ ﺑﺎﳌﺤﻨﺔ اﻟﺘﻲ ﻳﻜﺎﺑﺪﻫﺎ‪ ،‬ﻟﻨﻼﺣﻆ ذﻟﻚ ﰲ ﻫﺬه‬ ‫اﻷﺑﻴﺎت اﻷوﱃ ﻟﻘﺼﻴﺪة اﻟﺸﻴﺦ زاﻳﺪ ﻳﺮﺣﻤﻪ اﻟﻠﻪ‪:‬‬

‫واﻻﺳﺘﻤﺮار‪ ،‬وﻻ ﻳﻨﺘﻬﻲ ﺑﻨﻬﺎﻳﺔ ﺣﺪث ﻣﺎ‪،‬‬ ‫ﻓﻬﻨﺎك اﻟﻜﺜري ﻣﻦ اﻟﻘﺼﺎﺋﺪ اﻟﻘﻮﻣﻴﺔ واﻟﻮﻃﻨﻴﺔ‬ ‫اﻟﺘﻲ متﺠﺪ وﺣﺪة اﻟﺼﻒ وﺗﺪﻋﻮ إﱃ اﻟﻌﻤﻞ‬ ‫وﻧﺒﺬ اﻟﺨﻼف واﻻﻟﺘﻔﺎف ﺣﻮل ﻣﺼري واﺣﺪ‪،‬‬ ‫ﻋﱪ ﻣﻈﻠﺔ ﻳﺠﺘﻤﻊ ﺗﺤﺘﻬﺎ اﻟﺼﻒ وﺗﻨﻄﻠﻖ‬ ‫ﻣﻦ ﺧﻼﻟﻬﺎ اﻟﻜﻠﻤﺔ ﻟﺘﻜﻮن ﺣﺎﺋﻄﺎً ﻣﻨﻴﻌﺎً‬ ‫ﺿﺪ رﻳﺎح اﻟﻔﺮﻗﺔ واﻟﺘﺸﻈﻲ‪ ،‬ﻫﺬه اﻟﻘﺼﺎﺋﺪ‬ ‫واﻷﻏﺎين »اﳌﻨﺎﺳﺒﺎﺗﻴﺔ« اﻧﺘﻘﻠﺖ ﻣﻦ ﺟﻴﻞ‬ ‫إﱃ آﺧﺮ وأورﺛﻬﺎ اﻵﺑﺎء ﻟﻸﺑﻨﺎء‪ ،‬ودﺧﻠﺖ‬ ‫ﺑﺘﻠﻘﺎﺋﻴﺔ إﱃ اﻟﻘﻠﻮب ﻛﻮن اﻷﺣﺪاث ﺗﺘﺸﺎﺑﻪ‬ ‫واﳌﻨﺎﺳﺒﺎت ﺗﺘﺠﺪد وإن اﺧﺘﻠﻔﺖ اﻟﺸﺨﻮص‬ ‫واﻷﻣﺎﻛﻦ‪ ،‬ﻓﻼ أﺣﺪ ﻣﺜ ًﻼ ﻳﺴﺘﻄﻴﻊ ﻧﺴﻴﺎن‬ ‫اﻟﺸﺎيب وﻫﻮ ﻳﻘﻮل ‪ :‬إذا اﻟﺸﻌﺐ ﻳﻮﻣﺎً أراد‬ ‫اﻟﺤﻴﺎة ‪ /‬ﻓﻼ ﺑﺪ أن ﻳﺴﺘﺠﻴﺐ اﻟﻘﺪر‪ ،‬وﻣﻦ ﻻ‬ ‫ﻳﺘﺬﻛﺮ ﻗﻮل اﻟﺸﺎﻋﺮ ﻋﲇ ﻣﺤﻤﻮد ﻃﻪ وﻫﻮ‬ ‫ﻳﺘﺤﺪث ﻋﻦ اﻟﻘﻀﻴﺔ اﳌﺤﻮرﻳﺔ ﻟﻸﻣﺔ‪» :‬أﺧﻲ‬ ‫ﺟﺎوز اﻟﻈﺎﳌﻮن اﳌﺪى‪ /‬ﻓﺤﻖ اﻟﺠﻬﺎد وﺣﻖ‬ ‫اﻟﻔﺪا‪ /‬أﻧﱰﻛﻬﻢ ﻳﻐﺼﺒﻮن اﻟﻌﺮوﺑﺔ ﻣﺠ َﺪ‬ ‫اﻷﺑ ّﻮة واﻟﺴﺆددا«‪ .‬وإﱃ ﻏري ﺗﻠﻚ اﻟﻘﺼﺎﺋﺪ‬ ‫اﻟﺘﻲ ﻻ ﺗﺸﻴﺦ ومل ﺗﺴﺘﻄﻊ اﻷﻳﺎم واﻟﻠﻴﺎﱄ‬ ‫إزاﺣﺘﻬﺎ ﻋﻦ ﻋﺮش اﻟﺬاﻛﺮة‪.‬‬ ‫ﰲ اﻟﺸﻌﺮ اﻟﺸﻌﺒﻲ ﻫﻨﺎك ﻗﺼﺎﺋﺪ ﻣﻨﺎﺳﺒﺎت‬

‫ﻗﺼﺎﺋﺪ اﻟﻤﻨﺎﺳﺒﺎت ﻻ ﺗﻌﻨﻲ ﺗﻠﻚ‬ ‫اﻟﻘﺼﺎﺋﺪ اﻟﺘﻲ ﻳﺘﻢ ﺗﻨﺎول ﻣﻮﺿﻮﻋﺎﺗﻬﺎ‬ ‫ﺑﻠﻐﺔ ﺑﺴﻴﻄﺔ ﺧﺎﻟﻴﺔ ﻣﻦ اﻟﺪﻫﺸﺔ‪،‬‬ ‫ﺑﻞ ﻫﻲ ﻋﻤﻞ أدﺑﻲ ﻳﺴﻬﻢ ﺑﺸﻜﻞ‬ ‫ﻛﺒﻴﺮ ﻓﻲ ﺗﻮﺛﻴﻖ ﻣﺮاﺣﻞ اﻹﻧﺴﺎن ﻣﻊ‬ ‫ﻣﺠﺘﻤﻌﻪ ووﻃﻨﻪ وأﻣﺘﻪ ‬ ‫ﻓﻲ اﻟﺸﻌﺮ اﻟﺸﻌﺒﻲ ﻫﻨﺎك ﻗﺼﺎﺋﺪ‬ ‫ﻣﻨﺎﺳﺒﺎت ﻛﺜﻴﺮة ﻻ ﺗﺰال ﺗﺘﺮدد ﻋﻠﻰ‬ ‫اﻷﻟﺴﻦ وﺗﺤﻔﻈﻬﺎ اﻟﺬاﻛﺮة ‬ ‫ﻛﺜرية ﻻ ﺗﺰال ﺗﱰدد ﻋﲆ اﻷﻟﺴﻦ وﺗﺤﻔﻈﻬﺎ‬ ‫اﻟﺬاﻛﺮة‪ ،‬وﺣﺘﻰ ﰲ اﳌﻨﺎﺳﺒﺎت اﻟﺮﻳﺎﺿﻴﺔ اﻟﺘﻲ‬ ‫ﺗﺠﻤﻊ اﻟﻜﻠﻤﺔ وﺗﺮﺳﻞ إﺷﺎرات واﺿﺤﺔ‬ ‫ﻋﻦ وﺣﺪة اﻟﺼﻒ وﰲ ﻛﻞ ﻣﻨﺎﺳﺒﺔ‪ ،‬وﻻ‬ ‫ﺗﺰال اﻷﺟﻴﺎل ﰲ اﻟﺨﻠﻴﺞ اﻟﻌﺮيب ﺗﺘﺬﻛﺮ‬ ‫ﺗﻠﻚ اﻟﻜﻠامت اﻟﺘﻲ ﺗﻘﻮل ‪ :‬أﻧﺎ ﺧﻠﻴﺠﻲ‬ ‫واﻓﺘﺨﺮ إين ﺧﻠﻴﺠﻲ‪ ،‬وﺗﺮدد ‪ :‬ﺧﻠﻴﺠﻨﺎ واﺣﺪ‬ ‫وﺷﻌﺒﻨﺎ واﺣﺪ‪ ،‬ﻓﻤﺜﻞ ﻫﺬه اﻟﻜﻠامت ﺗﱰك‬

‫أﺛﺮاً ﻃﻴﺒﺎً ﰲ اﻟﻨﻔﻮس وﻟﻬﺎ وﻗﻊ اﻟﺴﺤﺮ ﰲ‬ ‫إزاﻟﺔ أو ﺗﺨﻔﻴﻒ ﻛﻞ ﻣﺎ ﻣﻦ ﺷﺄﻧﻪ ﺗﻌﻜري‬ ‫ﺻﻔﻮ اﻷﺧﻮة اﻟﺘﻲ ﺗﺮﺑﻂ اﻹﻧﺴﺎن ﺑﺎﻹﻧﺴﺎن‪،‬‬ ‫واﻟﺠﺎر ﺑﺎﻟﺠﺎر‪ ،‬وﻫﻨﺎك ﻗﺼﺎﺋﺪ متﺠﺪ اﻟﻮﻃﻦ‬ ‫وﺗﺪﻋﻮ إﱃ اﻟﺬود ﻋﻦ اﻟﺤﻤﻰ وﺗﻔﺨﺮ‬ ‫مبﻨﺠﺰات اﻷرض وﺑﺮاﻳﺘﻪ اﻟﺘﻲ ﻫﻲ رﻣﺰ‬ ‫اﻟﺒﻘﺎء واﻟﺸﻤﻮخ ﺑني اﻷﻣﻢ‪ ،‬وﻻ أﺟﻤﻞ ﻣﻦ‬ ‫ـﻤــﻬﺎ‬ ‫اﻟﺜـ ّ‬ ‫اﻟﻘﻮل‪ :‬داري أﻧﺎ ﻓﻮق ّ‬ ‫ـﺮﻳــﺎ ﻋـَـﻠـَ ْ‬ ‫‪َ /‬ر ْﻓ َﺮ ْف ﻋﲆ ّ‬ ‫اﻟﺪ َول واﻟﺤﻀﺎرات ‪ /‬ﻟﻮﺣﻪ‬ ‫ﻛﻞ ﱡ‬ ‫ـﻤــﻬﺎ ‪ /‬ﻣﺜﻞ اﳌﺰون‬ ‫ﺟﻤﻴﻠﻪ ّ‬ ‫ﺣﻴـ َـﺮت ﻣﻦ رِﺳـَ ْ‬ ‫اﳌﺎﻃﺮه ﺗﺴﻜﻦ اﻟﺬات‪.‬‬ ‫إن ﻗﺼﺎﺋﺪ اﳌﻨﺎﺳﺒﺎت ﻻ ﺗﻌﻨﻲ ﺗﻠﻚ اﻟﻘﺼﺎﺋﺪ‬ ‫اﻟﺘﻲ ﻳﺘﻢ ﺗﻨﺎول ﻣﻮﺿﻮﻋﺎﺗﻬﺎ ﺑﻠﻐﺔ ﺑﺴﻴﻄﺔ‬ ‫ﺧﺎﻟﻴﺔ ﻣﻦ اﻟﺪﻫﺸﺔ‪ ،‬ﺑﻞ ﻫﻲ ﻋﻤﻞ أديب‬ ‫ﻳﺴﻬﻢ ﺑﺸﻜﻞ ﻛﺒري ﰲ ﺗﻮﺛﻴﻖ ﻣﺮاﺣﻞ اﻹﻧﺴﺎن‬ ‫ﻣﻊ ﻣﺠﺘﻤﻌﻪ ووﻃﻨﻪ وأﻣﺘﻪ‪ ،‬وﻛﺬﻟﻚ ﻳﻜﻮن‬ ‫ﻟﻬﺎ دور ﻛﺒري ﰲ اﻟﺤﺚ ﻋﲆ وﺣﺪة اﻟﺼﻒ‬ ‫وﻋﲆ اﻟﺘﺤﲇ مبﻜﺎرم اﻷﺧﻼق وﺗﺠﺴﻴﺪ روح‬ ‫اﻟﻌﻤﻞ اﳌﺸﱰك اﻟﻨﺎﺑﻊ ﻣﻦ اﳌﺼري اﻟﻮاﺣﺪ‪،‬‬ ‫ﻟﻴﺒﻘﻰ اﻟﺸﻌﺮ ﻫﻮ اﻟﻀﻮء اﻟﺬي ﻻ ﻳﻐﻴﺐ‬ ‫وﻳﺒﺚ ﻧﻮره ﰲ ﻋﺘﻤﺔ اﻷﻳﺎم وﺗﺘﺴﻠﻞ ﻛﻠامﺗﻪ‬ ‫إﱃ اﻟﻨﻔﻮس ﻟﺘﺠﻤﻌﻬﺎ ﻋﲆ ﻫﺪف واﺣﺪ‪.‬‬ ‫ﻓﺒﺮاﻳﺮ ‪43 2018 /‬‬

‫اﻟﻤﻔﺮدة اﻟﺸﻌﺒﻴﺔ‬ ‫‪baytelshear‬‬

‫ﻗﺼﺎﺋﺪ اﻟﻤﻨﺎﺳﺒﺎت‬ ‫اﻟﻘﻴﻢ اﻟﻮﻃﻨﻴﺔ وا‪c‬ﻧﺴﺎﻧﻴﺔ‬ ‫اﻟﻘﻴﻤﺔ ا‪c‬ﺑﺪاﻋﻴﺔ وﺗﻘﺎﻃﻌﻬﺎ ﻣﻊ ِ‬ ‫ﻣﺤﻤﺪ اﻟﺒﺮﻳﻜﻲ‬

‫ﻳﻌﺮف اﻟﺒﻌﺾ ﺷﻌﺮ اﳌﻨﺎﺳﺒﺎت ﻋﲆ أﻧﻪ‬ ‫اﻟﺸﻌﺮ اﳌﺮﺗﺒﻂ مبﻨﺎﺳﺒﺔ ﻣﺎ ﺳﻮاء ﻛﺎﻧﺖ‬ ‫دﻳﻨﻴﺔ أو وﻃﻨﻴﺔ أو اﺟﺘامﻋﻴﺔ وﻧﺤﻮﻫﺎ‪ ،‬وﻣﻨﺬ‬ ‫زﻣﻦ ﻃﻮﻳﻞ وﺷﻌﺮ اﳌﻨﺎﺳﺒﺎت ﻳﺤﻮز اﻫﺘامم‬ ‫اﻟﻜﺜري ﻣﻦ اﻟﻜﺘﺎب واﻟﻨﻘﺎد واﻟﺒﺎﺣﺜني‪ ،‬اﻟﺬﻳﻦ‬ ‫اﺗﺨﺬوا اﻟﺒﻌﺾ ﻣﻦ اﻟﺸﻌﺮاء اﻟﺮﻣﻮز أمنﻮذﺟﺎً‬ ‫ﺣﻴﺎً ﻟﻠﺤﺪﻳﺚ ﻋﻦ ﻫﺬه اﻟﻘﻀﻴﺔ‪ ،‬وﺗﻨﺎوﻟﻮا‬ ‫ﻗﺼﺎﺋﺪﻫﻢ ﺑﺎﻟﻜﺜري ﻣﻦ اﻟﺘﺤﻠﻴﻞ‪ ،‬ﻓﻤﻨﻬﻢ‬ ‫ﻣﻦ ﻫﺎﺟﻢ ﺗﻠﻚ اﻟﻘﺼﺎﺋﺪ واﻋﺘﱪﻫﺎ ﺗﻜﺴﺒﻴﺔ‬ ‫ﻳﺘﻘﺮب ﻋﱪﻫﺎ اﻟﺸﺎﻋﺮ إﱃ ﳾء ﻣﺎ‪ ،‬وﻣﻨﻬﻢ‬ ‫اﺗﻬﻤﻬﺎ ﺑﺄﻧﻬﺎ ﻣﺒﺘﺬﻟﺔ وﻻ ﺗﺤﻤﻞ دﻫﺸﺔ‬ ‫وﻻ ﻟﻐﺔ ﻟﻜﻮﻧﻬﺎ متﻴﻞ إﱃ اﻟﺘﻜﻠﻒ ﺑﻌﻜﺲ‬ ‫اﳌﻀﺎﻣني اﻷﺧﺮى اﻟﺘﻲ ﺗﻜﻮن ﻧﺴﺒﺔ اﻟﺘﻠﻘﺎﺋﻴﺔ‬ ‫ﻓﻴﻬﺎ ﻋﺎﻟﻴﺔ‪ .‬ﻟﻜﻦ اﳌﺘﺄﻣﻞ ﻟﻠﺸﻌﺮ اﻟﻌﺮيب ﻳﺠﺪ‬ ‫أﻧﻪ اﺑﻦ اﳌﺠﺘﻤﻊ ورﻓﻴﻖ ﻫﻤﻮﻣﻪ وأﻧﺎﺗﻪ‬ ‫اﻟﺸﻌﺮ ‪ /‬اﻟﻌﺪد ‪64‬‬ ‫‪ 42‬ﺑﻴﺖ ِ‬

‫اﻟﺸﻌﺒﻲ وﺧﺼﻮﺻﺎً ﰲ دول اﻟﺨﻠﻴﺞ اﻟﻌﺮيب‬ ‫ﻣﻠﺘﺤﻢ ﺑﺸﻜﻞ ﻣﺒﺎﴍ ﻣﻊ اﻟﻨﺎس‪ ،‬وﻳﻌﱪ‬ ‫ﻋﻦ ﺧﻠﺠﺎت ﻧﻔﻮﺳﻬﻢ وﻳﻮﺛﻖ ﻛﻞ ﻣﺎ ﻣﻦ‬ ‫ﺷﺄﻧﻪ ﺑﺚ روح اﻟﺘﻌﺎون واﻟﺘﻜﺎﻓﻞ واﻟﻮﺣﺪة‬ ‫واﻟﻔﺮح‪ ،‬وﻟﺬﻟﻚ ﻓﻼ ﻏﺮاﺑﺔ ﻣﻦ أن ﺗﺠﺪ‬ ‫اﻟﻜﺜري ﻣﻦ اﻟﺸﻌﺮاء اﻟﺬﻳﻦ ﻳﻜﺘﺒﻮن ﻗﺼﺎﺋﺪ‬ ‫ﻣﺴﺘﻤﺮة ﺗﺘﺰاﻣﻦ ﻣﻊ اﻷﺣﺪاث اﳌﻨﺎﺳﺒﺎت‬ ‫واﻟﺘﻲ ﻳﺘﻐﻨﻰ ﺑﻬﺎ ﺑﻌﺾ اﳌﻄﺮﺑني‪ ،‬ﻫﻢ ﻣﻦ‬ ‫اﻟﺬﻳﻦ ﻳﺤﻈﻮن مبﻜﺎﻧﺔ ﻃﻴﺒﺔ ﰲ اﳌﺠﺘﻤﻊ‪،‬‬ ‫وﻳﺘﻨﺎﻗﻞ اﻟﻨﺎس أﺧﺒﺎرﻫﻢ‪ ،‬ﻷﻧﻬﻢ اﺳﺘﻄﺎﻋﻮا‬ ‫ﻣﻦ ﺧﻼل ﻗﺼﺎﺋﺪﻫﻢ أن ﻳﻼﻣﺴﻮا ﻛﻞ ﻣﺎ ﻣﻦ‬ ‫ﺷﺄﻧﻪ أن ﻳﺼﺐ ﰲ ﺣﻴﺎة اﳌﺠﺘﻤﻊ وﻳﺠﺴﺪ‬ ‫أﺣﺪاﺛﻪ اﳌﺨﺘﻠﻔﺔ‪.‬‬

‫وآﻻﻣﻪ وأﻓﺮاﺣﻪ‪ ،‬واﻟﺸﺎﻋﺮ اﻷﳌﺎين ﻏﻮﺗﺔ‬ ‫ﻳﻌﺘﱪ ﺷﻌﺮ اﳌﻨﺎﺳﺒﺎت ﻫﻮ اﻟﺸﻌﺮ اﻟﻌﻈﻴﻢ‪،‬‬ ‫وﻳﺮى أن ﻣﻦ اﻟﻈﻠﻢ اﻋﺘﺒﺎره ﻣﻨﺘﻬﻴﺎً ﺑﺎﻧﺘﻬﺎء‬ ‫اﳌﻨﺎﺳﺒﺔ‪ ،‬وﻳﺆﻛﺪ ﻫﺬا ﰲ ﻛﺘﺎﺑﻪ » ﺷﻌﺮ‬ ‫وﺣﻘﻴﻘﺔ ﻗﺎﺋ ًﻼ‪» :‬إن ﺷﻌﺮ اﳌﻨﺎﺳﺒﺔ وﻫﻮ‬ ‫اﻷﻛرث أﺻﺎﻟﺔ ﻣﻦ ﺟﻤﻴﻊ ﴐوب اﻟﺸﻌﺮ ﻗﺪ‬ ‫ﻓﻘﺪ ﻛﻞ ﺗﻘﺪﻳﺮ ﻣﻨﺬ أن ﺑﺪأت اﻷﻣﺔ ﻻ ﺗُﻠﻘﻲ‬ ‫ﺑﺎﻻً إﱃ ﻗﻴﻤﺘﻪ اﻟﻌﻠﻴﺎ«‪ .‬وﻳﺮوي اﻟﺘﺎرﻳﺦ ﻋﻦ‬ ‫اﻟﻘﺒﺎﺋﻞ اﻟﻌﺮﺑﻴﺔ اﻟﺘﻲ ﻳﻮﻟﺪ ﻓﻴﻬﺎ ﺷﺎﻋﺮ ﻋﲆ‬ ‫أﻧﻬﺎ ﺗﻘﻴﻢ اﻷﻓﺮاح وﺗﻘﺪم اﻟﻮﻻﺋﻢ اﺣﺘﻔﺎﻻً‬ ‫ﺑﻬﺬا اﻟﺤﺪث اﻟﻜﺒري‪ ،‬ﻛﻮن ﻫﺬا اﻟﺸﺎﻋﺮ‬ ‫ﺳﻴﻜﻮن ﻫﻮ اﳌﺘﺤﺪث اﻟﺮﺳﻤﻲ واﻹﻋﻼﻣﻲ‬ ‫ﻋﻦ اﻟﻘﺒﻴﻠﺔ وﻟﺴﺎﻧﻬﺎ اﻟﺬي ﻳﻨﻘﻞ ﻣﺂﺛﺮﻫﺎ‬ ‫وﻳﱪز ﻣﻜﺎﻧﺘﻬﺎ ﻟﺪى اﻟﻘﺒﺎﺋﻞ اﻷﺧﺮى‪ ،‬وﻫﻮ‬ ‫ﻣﺎ ﻳﺠﻌﻠﻬﺎ ﻣﻦ ﺧﻼل ﺷﻌﺮه ﻗﺒﻴﻠﺔ ﻣﻌﺮوﻓﺔ واﻟﺤﻘﻴﻘﺔ‪ ،‬إن اﻟﺸﻌﺮ اﻟﺠﻴﺪ واﻟﻘﺮﻳﺐ‬ ‫ﻳﺤﺴﺐ ﻟﻬﺎ ﺣﺴﺎﺑﺎً ﻣﻦ اﻵﺧﺮﻳﻦ‪ ،‬واﻟﺸﻌﺮ ﻣﻦ اﻟﻨﺎس وﻣﻦ ﺣﻴﺎﺗﻬﻢ ﻳﻜﺘﺐ ﻟﻪ اﻟﺨﻠﻮد‬

‫ﺳ ّﻴﺮ ﻋ َﻠﻲ‬ ‫ﻧﺎﻳﻒ اﻟﻌﺒﻴﺪ‬ @naif_obid

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тАля╗гя║Оя║│я║О╪ктАм baytelshear

тАля║гя╗ая╗┤я╗дя╗к я╗│я║Оя║гя╗ая╗┤я╗дя╗ктАм тАл┘И╪пя╗│я╗К ╪зя╗╗я║гя╗дя║к┘КтАм @wadeea_a

┬Я┬Ш┬г┬Г┬ЖD* r┬бcD* b┬Ш~6 ┬п ┬пHx@@0 ├М@Q @:*H ┬дg┬Ш~8 Y┬Я@@┬Ш@┬г@┬Х@0b@@J ┬Я@@┬Ш@┬г@┬Х@0Z ┬д@@┬ЫQ @┬Й@- ┬е4v@@~@ 8 ┬п ├Н@@┬Ы@~@6 ┬Я┬Ш┬г┬ЖF ┬д@@Eb@@┬Г@D* f@@+x@@~@7H ├Н@@┬Ы@┬▓* ┬Р@@J4 ┬Н@Q @/ ┬Щ@@C ┬Я┬Ш┬г; rxR @ @/ ┬е├Д@@J ┬Сbg~{┬Ш┬ХD ┬Сb@@Jx@@- ┬У@@Ey@ R @E5 ┬Я@@├Вv@@F ┬Я@@c@ Jx@@┬Й@ - v@@┬Ж@ + ┬Р@@ Fb@@ < d@X @ @ ┬╣ ┬Я@ R @ F&b@ @C ┬Я@@├Вv@@+ ┬в@@Bx@@J x@@┬А@ E ┬Щ@@ @Gb@@ @<2R H ┬Щ@@┬г@ = ┬Щ@@ ┬ЮQ @ @F&b@ @C ┬Я@@├Вx@@C ┬аv@@ 1 ┬в@@┬Х@ < ┬аv@@ 0┬б@@ D* f@@┬Ж@ E2 ┬б@@ DH ┬в@@g@ 0 ┬Я┬Ш┬г┬А0H h┬гcD* ┬ЬE ┬е┬б~}- ┬ЦE&* ┬УJ4b.&* vBH*H ┬Я@@┬Ш@┬г@04 @@z@ ┬М@ F*H ┬аv@@ 0┬б@ Q @ E ib@@┬г@ ┬Ы@ E*H b@@ A2 ┬Р@@N┬Х@ 1 ┬Я@@┬Ш@┬г@~@{@0H 2┬б@@ @ / ┬Я@@┬Ж@ ~@ {@ E ├Г*2 e*┬б@@ @+b@@ @+ xQ @ @ @ ├ВO ┬Я@@┬Ш@ ┬г@ ┬Ы@ ┬Й@ D*H b@@Jb@@p@ g@ Db@@+ ┬Ь@@ @ Cb@@ @ E&┬░* ┬Ь@@ Jx@@ +b@@ <H ┬Я@@┬Ш@ ┬г@ Fx@@AR e*3 ┬Щ@@┬Й@ F ┬У@@ ┬Х@ @G&* ┬Ъ├Й@@ @C x@@ ┬ТQ @ ~@O @ 6 ┬Э&b@ @ @C ┬Я@@├Вv@@┬П@ D* ┬У@@ JHb@@ ┬Т@ @0 ┬д@@ @ -x@@ @ C*3 ┬Сx@@ ┬Ж@ @+ 4xQ @ @ @ @├В ┬Я┬Ш┬г_D f@@ /b@@ ┬▓*H ┬С5x@@ @ D* ┬Ь@@Jv@@J ┬д@@┬Ы@ gR @ ┬МN @ :b@@s@ Y┬Я@@┬Ш@┬г@┬Х@0b@@J ┬Я@@┬Ш@┬г@┬Х@0Z ┬У@@-*4b@@p@ A ┬д@@ ┬ЫQ @ @=N * 2┬б@@ @ <*H

6*┬бB* ┬УD x~zC*H ┬дg+x┬ЙDR 5bm┬▓* ┬Чbc/ ┬дE┬б 6b┬МF* ┬Ф4v~8 ┬еvG*H ┬Щ┬Х┬▓*H ┬аxC*wD* ┬Ь< ┬д┬Т0&* 6b~z0* ┬еH4* Y┬И45 ┬е3 ├М= ┬е2*H ┬ЦCZ ┬п ┬Щ┬гG&* 6*┬б~6H ┬ЦC 2x:*H z┬М┬ЫD* obm< ┬Ц~z=*H ┬О┬б:&* 6b┬ТD* f@@0x@@┬М@+ @@z@ 0*H eb@@~@z@┬Ы@J ┬Р@@Ax@@+ ┬Я@@cQ @~@8&* 6bcD }┬г+bA *┬бcQ D ┬Ъ┬бJ ┬Уm┬гm0 ┬╖b┬г1 ┬Щ~6xJ 6*x<* f┬Тp~9 ┬п ┬Ц┬М: ┬УD 2┬бQ @<*H ┬У+*x- z┬┤&* 6b┬гD* ┬д@@┬М@:*H ┬Я┬П┬гg┬ЖD* ┬У@@<4*┬б@ R @~@7 ┬д┬Ы┬г< ┬Щ~} 6b┬ЫD* ┬д<H ┬Р┬гQ ~9bE ┬Р┬г~}D* *wGH ┬е4*┬б┬▓* ├Н+ 6b~z< ┬Чb@ @c@ D* ┬еx@@~@z@J ib@@ CQ v@@ D*H y@@┬г@ C*x@@┬┤* ├Н@@+ Q @@6├Й@Q @/ ├Н@@+ x@@ J*2 ox@@┬Ю@┬Х@D ex@@ : ┬д@@┬ХQ @ CH ┬д@@┬Й@~@8&* 6*xD* ┬в┬Х<H ├Н┬ЖD* ┬в┬Х< ┬д┬ХG&* v┬г~6bJ ┬У+ bc0xEbJ Q b@@┬г@ D *w@@ C @@6b@@~@Q @62 ┬С┬б@@~@ {@ D*H Riv@@ @ = ┬д@@ Eb@@ J&*H ┬╖ 6b┬ЖF ┬У~94bA ┬д+ ┬Сb~9bE ┬Оx@@- ┬У┬ЫQ < hc=bE 6b┬МF*H rH4 ┬У┬Ш~9* ob@@g@0* ├Н@@┬Ы@┬▓* e4H b@ Q @F&*H 64 тАл ╪зя╗Яя╗Мя║к╪птАм/ тАл╪зя╗Яя║╕я╗Мя║отАм ┘Р тАл я║Ся╗┤я║ЦтАм40

‫اﻟﺮاﺋﻌﺔ! ﻓﺄﺟﻮاء اﳌﻨﺎﻓﺴﺔ متﻨﺢ ﺑﺮﻳﻘﺎً ﰲ ﻓﻜﺮ‬ ‫اﳌﺆﻟﻒ ﺗﺘﺒﻌﻪ أﺑﻴﺎت راﺋﻌﺔ«‪.‬‬ ‫ﺟﻮدة اﻟﺸﻌﺮ‬ ‫وﺑني اﻟﺸﺎﻋﺮﻋﲇ اﻟﻐﻨﺒﻮﴆ أن اﳌﺴﺎﺑﻘﺎت‬ ‫ّ‬ ‫اﻟﺸﻌﺮﻳﺔ ﻣﺤﻚ ﻟﺼﻘﻞ اﳌﻮﻫﺒﺔ اﻟﺸﻌﺮﻳﺔ‪،‬‬ ‫وإﻳﺼﺎﻟﻬﺎ ﻷﻛﱪ ﴍﻳﺤﺔ ﻣﻦ اﳌﺘﺎﺑﻌني‪ .‬وﻗﺎل‪:‬‬ ‫»أﻋﺘﻘﺪ ان اﻟﻘﻴﻤﺔ اﻟﺤﻘﻴﻘﻴﺔ ﻟﻠﻤﺴﺎﺑﻘﺎت‬ ‫ﺗﻜﻤﻦ ﰲ إﻇﻬﺎر اﻟﺸﺎﻋﺮ وﺟﻮدة اﻟﺸﻌﺮ‬ ‫ﺑﺸﻜﻞ ﺟﻤﻴﻞ‪ ،‬وﺑﻨﺎء اﻟﺸﺨﺼﻴﺔ اﻟﺸﻌﺮﻳﺔ‬ ‫ووﺿﻌﻬﺎ ﻋﲆ اﻟﻄﺮﻳﻖ اﻟﺼﺤﻴﺢ‪.‬‬ ‫ﻫﻨﺎك ﺑﻌﺾ اﳌﺴﺎﺑﻘﺎت اﻟﺘﻲ ﺗﻌﺪ ﻣﻨﺎرات‬ ‫ﻟﻠﺸﻌﺮ ﻣﺜﻞ ﻣﺴﺎﺑﻘﺔ ﺷﺎﻋﺮ اﳌﻠﻴﻮن اﻟﺘﻲ‬ ‫ﺗﺨﺪم اﻟﺸﻌﺮ واﻟﺸﻌﺮاء ﻛﺜرياً‪ ،‬ﻣﺜﻞ ﻫﺬه‬ ‫اﳌﺴﺎﺑﻘﺎت ﺗﻀﻴﻒ ﻟﻠﺸﺎﻋﺮ اﻟﻜﺜري ﻋﲆ‬ ‫اﻟﺼﻌﻴﺪ اﻷديب‪ ،‬وﻣﺠﺮد اﳌﺮور ﻣﻦ ﺧﻼﻟﻬﺎ‬ ‫وﺣﺼﻮﻟﻚ أو وﺻﻮﻟﻚ ﳌﺮاﻛﺰ ﻣﺘﻘﺪﻣﺔ ﻓﻴﻬﺎ‬ ‫ﺗﻌﺘﱪ ﻋﻼﻣﺔ ﻓﺎرﻗﺔ ﰲ اﳌﺴرية اﻟﺸﻌﺮﻳﺔ‪.‬‬ ‫ﻛﺬﻟﻚ ﻫﻨﺎك ﻣﺴﺎﺑﻘﺎت ﻟﻬﺎ أﺛﺮ ﻋﲆ‬ ‫ﺗﺠﺮﺑﺘﻚ اﻟﺸﻌﺮﻳﺔ ﻣﺜﻞ اﳌﺴﺎﺑﻘﺎت اﻟﻜﺒرية‬ ‫اﻟﺘﻲ ﺗﺤﺘﻀﻦ اﻟﺸﻌﺮاء ﻣﻦ ﻣﺨﺘﻠﻒ أﻗﻄﺎر‬ ‫اﻟﻮﻃﻦ اﻟﻌﺮيب وﺗﺸﻜﻞ ﻓﺮﺻﺔ ﻟﻼﺣﺘﻜﺎك ﻣﻊ‬ ‫اﻟﺘﺠﺎرب اﻟﺸﻌﺮﻳﺔ واﳌﺪارس اﳌﺨﺘﻠﻔﺔ اﻟﺘﻲ‬

‫ﻣﻦ ﺷﺄﻧﻬﺎ أن ﺗرثﻳﻚ ﻛﺸﺎﻋﺮ وﻣﺴﺘﻤﻊ ﰲ اﻟﻠﻘﺎءات اﻹﻋﻼﻣﻴﺔ واﻟﻔﻜﺮﻳﺔ‪.‬‬ ‫اﳌﺴﺎﺑﻘﺎت ﺗﺸﻜﻞ ﺣﺎﻓﺰاً وﻓﺮﺻﺔ ﻟﺘﻄﻮﻳﺮ‬ ‫ﻧﻔﺲ اﻟﻮﻗﺖ‪.‬‬ ‫اﻟﺬات وﻓﺮﺻﺔ ﻟﻼﻧﺘﺸﺎر وﻣﻌﺮﻓﺔ أﻛرث‬ ‫ﺗﻄﻮﻳﺮ اﻟﺬات‬ ‫ﻟﻠﺸﻌﺮاء‪.‬‬ ‫اﻟﺸﺎﻋﺮة ﻫﻴﺎم أﺣﻤﺪ اﻟﻌﺠﻼن ﺗﺮى أن اﻟﻘﻴﻤﺔ‬ ‫اﻟﺤﻘﻴﻘﻴﺔ ﻟﻠﺠﺎﺋﺰة ﻫﻲ ﻣﻌﺮﻓﺔ اﳌﺴﺘﻮى اﻟﺬايت ﻗﺎﻋﺪة ﺟﻤﺎﻫﻴﺮﻳﺔ‬ ‫اﻟﺸﻌﺮي ﺑني اﻟﺸﻌﺮاء‪ ،‬وﰲ ﻧﻈﺮ أﻛﱪ ﻋﺪد ﻣﻦ وأﺧرياً ﻗﺎل اﻟﺸﺎﻋﺮ ﻋﺒﺪاﻟﻌﺰﻳﺰ آل ﺑﺎﻛﺮ‪:‬‬ ‫اﻟﺠﻤﻬﻮر‪ ،‬وﻫﺬا ﻟﻦ ﻳﺘﺤﻘﻖ إﻻ ﻣﻦ ﺧﻼل إن اﻟﻘﻴﻤﺔ اﻟﺤﻘﻴﻘﻴﺔ ﻟﺘﻠﻚ اﳌﺴﺎﺑﻘﺎت ﻫﻲ‬ ‫اﻟﺪﺧﻮل ﰲ أﻛﱪ ﻋﺪد ﻣﻦ اﳌﺴﺎﺑﻘﺎت اﻟﻨﺎﺟﺤﺔ اﻻﺳﺘﻔﺎدة ﻣﻦ اﻟﺨﱪات وﻛﺴﺐ اﻟﺜﻘﺔ ﺑﺎﻟﻨﻔﺲ‬ ‫واﻟﻨﻈﻴﻔﺔ‪ ،‬وأﻳﻀﺎ ﻣﻦ ﺧﻼل اﻷﻣﺴﻴﺎت ﰲ ﻛﺜري وﺗﻌﺰﻳﺰ روح اﳌﻨﺎﻓﺴﺔ اﻟﴩﻳﻔﺔ ﺑني ﻛﺎﻓﺔ‬ ‫ﻣﻦ اﻟﺒﻠﺪان‪.‬‬ ‫اﻟﺸﻌﺮاء اﳌﺸﺎرﻛني‪ ،‬واﻟﺘﻌﺮف ﻋﲆ ﺷﻌﺮاء‬ ‫واﻟﺪواﻓﻊ اﻟﺘﻲ ﺗﺤﻔﺰين ﻟﻠﻤﺸﺎرﻛﺔ ﺗﻨﻘﺴﻢ دول ﻣﺠﻠﺲ اﻟﺘﻌﺎون اﻟﺨﻠﻴﺠﻲ‪ ،‬وﻛﺬﻟﻚ‬ ‫ﻗﺴﻤني‪ :‬ﻣﻌﻨﻮﻳﺔ‪ ،‬وﻣﺎﻟﻴﺔ‪ ،‬أﻣﺎ اﳌﻌﻨﻮﻳﺔ ﺑﺮوز وﻇﻬﻮر واﻧﺘﺸﺎر اﺳﻢ اﻟﺸﺎﻋﺮ ﻣﺤﻠﻴﺎً‬ ‫ﻓﺘﺘﻤﺜﻞ ﰲ رﻏﺒﺘﻲ رﻓﻊ اﺳﻢ ﺑﻠﺪي ﰲ ﻛﻞ ودوﻟﻴﺎً‪ ،‬وﻛﺬﻟﻚ اﻟﺠﻮاﺋﺰ اﻟﺘﺸﺠﻴﻌﻴﺔ ﰲ ﺗﻠﻚ‬ ‫اﳌﺤﺎﻓﻞ‪ ،‬وﻇﻬﻮر اﺳﻤﻲ‪.‬‬ ‫اﳌﺴﺎﺑﻘﺎت ﺗﻌﺪ ﺣﺎﻓﺰا ﻟﻠﻤﺸﺎرﻛﺔ‪ .‬ﻛﺬﻟﻚ أذﻛﺮ‬ ‫أﻣﺎ اﳌﺴﺎﺑﻘﺎت اﻟﺸﻌﺮﻳﺔ اﻟﺘﻲ ﺗﻐﺮﻳﻨﻲ ﻓﻬﻲ اﻫﺘامم اﻻﻋﻼم ﺑﻬﺎ‪ ،‬و ﺣﺼﺪ اﻟﺸﺎﻋﺮ ﻟﻘﺎﻋﺪة‬ ‫اﳌﺴﺎﺑﻘﺎت اﻟﺘﻲ ﺗﻜﻮن ﻓﻴﻬﺎ ﻟﺠﻨﺔ ﻗﻮﻳﺔ ﺟامﻫﺮﻳﺔ ﻣﻦ ﺗﻠﻚ اﳌﺴﺎﺑﻘﺎت‪ ،‬ﻣﺜﻞ ﺑﺮﻧﺎﻣﺞ‬ ‫وﺗﺮاﻋﻲ اﻟﻠﻪ‪.‬‬ ‫ﺷﺎﻋﺮ اﳌﻠﻴﻮن وﺑﺮﻧﺎﻣﺞ اﻟﺒﻴﺖ وﻣﻬﺮﺟﺎن‬ ‫اﳌﺴﺎﺑﻘﺎت ﺗﻀﻴﻒ ﱄ اﻟﻜﺜري ﻋﲆ اﻟﺼﻌﻴﺪﻳﻦ اﻟﺸﺎرﻗﺔ ﻟﻠﺸﻌﺮ واﳌﺴﺎﺑﻘﺔ اﻟﺸﻌﺮﻳﺔ ﳌﻬﺮﺟﺎن‬ ‫اﻟﺸﺨﴢ واﻷديب‪ ،‬ﻓﻌﲆ اﻟﺼﻌﻴﺪ اﻷديب ﻣﺜﻼ ﺳﻠﻄﺎن ﺑﻦ زاﻳﺪ اﻟﱰايث وﻛﺬﻟﻚ ﻣﻬﺮﺟﺎن‬ ‫ﺳﺄرﺗﻘﻲ أﻛرث وأﻛرث ﺛﻘﺎﻓﻴﺎً وﺷﻌﺮﻳﺎً ﻣﻦ ﺧﻼل اﳌﻠﻚ ﻋﺒﺪاﻟﻌﺰﻳﺰ اﻟﱰايث ﰲ اﻟﺴﻌﻮدﻳﺔ وﺣﺼﺪ‬ ‫اﻟﺨﱪات اﻟﺸﻌﺮﻳﺔ اﻟﺘﻲ ﺳﺄﻛﻮن ﻣﻌﻬﺎ ﰲ أي اﻟﺸﺎﻋﺮ اﻷﻟﻘﺎب ﻣﻦ ﻫﺬه اﻟﱪاﻣﺞ واﳌﺴﺎﺑﻘﺎت‬ ‫ﻣﺴﺎﺑﻘﺔ أو أﻣﺴﻴﻪ وﺳﺘﻜﻮن ﻫﻨﺎك ﺧﱪات ﰲ ﻳﻌﺪ أﻛﱪ ﺣﺎﻓﺰ وداﻓﻊ ﻟﻠﻤﺸﺎرﻛﺔ‪.‬‬

‫ﻓﺒﺮاﻳﺮ ‪39 2018 /‬‬

‫اﺳﺘﻄﻼع‬ ‫‪baytelshear‬‬

‫ﻋﺒﺪ اﻟﻌﺰﻳﺰ آل ﺑﺎﻛﺮ‬

‫اﻟﺸﻌﺮاء‪ ،‬ووﺿﻊ ﻣﻌﺎﻳري ﺣﻘﻴﻘﻴﺔ ﻟﻔﺮز اﻟﺸﻌﺮاء‬ ‫ﻋﻦ اﳌﺴﺘﺸﻌﺮﻳﻦ واﻟﻨﻬﻮض ﺑﺎﻟﺬاﺋﻘﺔ اﻷدﺑﻴﺔ ‪.‬‬ ‫أﻣﺎ اﻟﺪواﻓﻊ اﻟﺘﻲ ﺗﺤﻔﺰ ﻋﲆ اﳌﺸﺎرﻛﺔ ﻓﺄﺑﺮزﻫﺎ‬ ‫اﻟﺒﺤﺚ ﻋﻦ إﺛﺒﺎت اﻟﺬات واﻻﻧﺘﺸﺎر واﻟﺤﺼﻮل‬ ‫ﻋﲆ اﻟﺪﻋﻢ اﳌﻌﻨﻮي واﳌﺎدي‪.‬‬ ‫ﺟﻤﻴﻊ اﳌﺴﺎﺑﻘﺎت واﳌﻬﺮﺟﺎﻧﺎت اﻟﺜﻘﺎﻓﻴﺔ اﻟﺘﻲ‬ ‫ﺗﻘﺎم ﰲ اﻹﻣﺎرات ﻫﻲ ﺣﻠﻢ ﻟﻜﻞ ﺷﺎﻋﺮ ﻣﻦ‬ ‫أﺟﻞ اﳌﺸﺎرﻛﺔ ﻓﻴﻬﺎ‪ ،‬ﳌﺎ ﻳﺘﻮﻓﺮ ﺑﻬﺎ ﻣﻦ دﻋﻢ‬ ‫ﻣﻦ أﻋﲆ اﳌﺴﺘﻮﻳﺎت وﺗﻨﻈﻴﻢ ﻣﺘﻤﻴﺰ وﺟﻮاﺋﺰ‬ ‫مثﻴﻨﺔ وﺿﻮء إﻋﻼﻣﻲ ﻓﺮﻳﺪ‪.‬‬ ‫وﺗﻀﻴﻒ ﻣﺜﻞ ﻫﺬه اﳌﺴﺎﺑﻘﺎت رﺻﻴﺪاً أدﺑﻴﺎً‬ ‫وﺗﺠﺮﺑﺔ ﺟﺪﻳﺪة واﺣﺘﻜﺎﻛﺎً ﻣﻊ ﺗﺠﺎرب ﺷﻌﺮﻳﺔ‬ ‫ﺟﺪﻳﺪة واﻟﻨﻘﺪ اﻟﺬي ﻳرثي ﺗﺠﺮﺑﺔ اﻟﺸﺎﻋﺮ‬ ‫وﻳﺼﻘﻞ ﻣﻬﺎراﺗﻪ‪.‬‬ ‫روح اﻟﻤﻨﺎﻓﺴﺔ‬ ‫اﻟﺸﺎﻋﺮ ﺣﺎزم اﳌﺮﳼ أﻛﺪ أن اﳌﺴﺎﺑﻘﺎت‬ ‫اﻟﺸﻌﺮﻳﺔ ﺗﻌﺘﱪ ﺗﻮﺛﻴﻘﺎ ﻟﺘﺎرﻳﺦ اﻟﺸﺎﻋﺮ اﻷديب‪،‬‬ ‫ﺣﻴﺚ إن ﻫﺬه اﳌﺴﺎﺑﻘﺎت ﻏﺎﻟﺒﺎً ﻣﺎ ﺗﴩف‬ ‫ﻋﻠﻴﻬﺎ ﻟﺠﻨﻪ ﺗﺤﻜﻴﻢ ﻣﻦ ﻛﺒﺎر اﻟﺸﻌﺮاء‪،‬‬ ‫وﻣﻨﺤﻬﻢ اﻟﺠﺎﺋﺰة ﻟﻠﺸﺎﻋﺮ ﻫﻮ مبﺜﺎﺑﺔ ﺗﻮﺛﻴﻖ‬ ‫وﺗﺄﻛﻴﺪ ﻋﲆ ﻣﻮﻫﺒﺘﻪ اﻷدﺑﻴﺔ‪.‬‬ ‫أﻣﺎ اﻟﺪواﻓﻊ اﻟﺘﻲ ﺗﺤﻔﺰ ﻋﲆ اﳌﺸﺎرﻛﺔ ﻓﺄﺑﺮزﻫﺎ‬ ‫ﻳﺘﻤﺜﻞ ﰲ أن ﺗﻜﻮن ﻫﻨﺎك ﺟﻬﺔ ﻣﻮﺛﻮﻗﺔ‬ ‫ﻣﴩﻓﻪ ﻋﲆ اﻟﺠﺎﺋﺰة ﺣﻴﺚ ﺗﺨﺘﺎر ﻟﺠﻨﺔ‬ ‫ﺗﺤﻜﻴﻢ ﺑﺸﻜﻞ ﻣﺆﺳﴘ وﻣﻮﺿﻮﻋﻲ‪ ،‬واﻟﺠﺎﻧﺐ‬ ‫اﻹﻋﻼﻣﻲ ﻟﻠﺠﺎﺋﺰة ﻣﻦ اﻟﺪواﻓﻊ اﳌﻬﻤﺔ ﻛﺬﻟﻚ‪،‬‬ ‫وﻻﺷﻚ ﰲ أﻫﻤﻴﺔ اﻟﻘﻴﻤﺔ اﳌﺎدﻳﺔ ﻟﻠﺠﺎﺋﺰة‪ .‬أﻳﻀﺎً‬ ‫ﻣﺴﺎﺑﻘﺎت اﻟﺴﺠﺎل اﻟﺸﻌﺮى ﺗﻜﻮن ﻣﻐﺮﻳﺔ‬ ‫ﺑﺎﻹﺿﺎﻓﺔ اﱃ اﳌﺴﺎﺑﻘﺎت اﻟﺨﺎﺻﺔ ﺑﺘﺠﺮﺑﺔ‬ ‫ﻣﺘﻜﺎﻣﻠﺔ ﻟﻠﺸﺎﻋﺮ ) ﻣﺠﻤﻮﻋﺔ دواوﻳﻦ(‪.‬‬ ‫اﻟﺸﻌﺮ ‪ /‬اﻟﻌﺪد ‪64‬‬ ‫‪ 38‬ﺑﻴﺖ ِ‬

‫ﺣﺎزم اﳌﺮﳼ‬

‫ﻋﲇ اﻟﻐﻨﺒﻮﴆ‬

‫اﳌﺴﺎﺑﻘﺎت اﻟﺸﻌﺮﻳﺔ داﻓﻊ ﻛﺒري ﻟﻠﺸﺎﻋﺮ ﺗﻔﻴﺪه‬ ‫ﰲ اﺳﺘﻤﺮارﻳﺔ ﻣﴩوﻋﻪ اﻹﺑﺪاﻋﻲ وﺗﺸﻜﻞ‬ ‫اﺿﺎﻓﻪ ﻗﻮﻳﺔ ﰲ اﻟﺴرية اﻟﺬاﺗﻴﺔ ﻟﻠﺸﺎﻋﺮ‪.‬‬ ‫اﳌﺴﺎﺑﻘﺎت اﻷدﺑﻴﺔ ﺑﺎﻟﻨﺴﺒﺔ ﱄ ﻋﲆ اﳌﺴﺘﻮى‬ ‫اﻟﺸﺨﴢ ﻛﺎﻧﺖ اﻟﻮﻗﻮد اﻟﻼزم ﻻﺳﺘﻤﺮارﻳﺔ‬ ‫ﺗﺠﺮﺑﺘﻲ اﻟﺸﻌﺮﻳﺔ ﻓﻬﻲ اﻟﺘﻲ ﺧﻠﻘﺖ داﺧﲇ‬ ‫روح اﳌﻨﺎﻓﺴﺔ‪.‬‬ ‫ّ‬ ‫ﺣﻜﺎﻣﻨﺎ اﻟﺬﻳﻦ ﻳﺤﺒﻮن اﻟﺸﻌﺮ‬ ‫اﻟﺸﺎﻋﺮة ﻫﻨﺎدي اﳌﻨﺼﻮري ﻗﺎﻟﺖ ﺑﺪورﻫﺎ‬ ‫»اﻟﺸﻌﺮاء ﻋﺎد ًة ﻣﺎ ﻳﺰداد ﺣامﺳﻬﻢ ﻟﻜﺘﺎﺑﺔ‬ ‫اﻷﺟﻤﻞ واﻷﻛرث مت ّﻴﺰاً ﰲ ﺣﺎل وﺟﻮد ﺟﻮ‬ ‫ﻣﻨﺎﻓﺲ ﻟﻬﻢ ﰲ ﻇﻞ دﻋﻢ ﻣﻌﻨﻮي وﻣﺎدي ﻗﺪ‬ ‫ﻳﺰﻳﺪﻫﻢ دﻓﻘﺎً‪.‬‬ ‫وﰲ اﻟﻌﺼﻮر اﻟﻌﺮﺑﻴﺔ اﻟﻘﺪميﺔ ﻣﻨﺬ اﻟﻌﴫ‬ ‫ﻳﻘﺮﺑﻮن ﻃﺒﻘﺔ‬ ‫اﻟﺠﺎﻫﲇ ﻛﺎن اﳌﻠﻮك واﻟﺨﻠﻔﺎء ّ‬ ‫اﻟﺸﻌﺮاء ﻣﻨﻬﻢ ﻟﺮﻗﻲ ذاﺋﻘﺘﻬﻢ واﻫﺘامﻣﻬﻢ‬ ‫وﺣﺒﻬﻢ ﻟﻠﺸﻌﺮ؛ وﻛﺎﻧﻮا ﻳﻘﺪﻣﻮن ﻟﻬﻢ اﻟﺪﻋﻢ‬ ‫ﺑﻜﻞ أﺷﻜﺎﻟﻪ‪ ،‬ﻟﻨﻈﻢ اﳌﺰﻳﺪ ﻣﻦ اﻟﺸﻌﺮ اﻷﻋﺬب‬ ‫واﳌﻨﺎﻓﺲ ﻟﻐريﻫﻢ ﻣﻦ اﻟﺸﻌﺮاء؛ وﻛﺎن اﻟﺸﻌﺮاء‬ ‫ﻳﺘﻨﺎﻓﺴﻮن ﰲ ﻫﺬا اﻟﺴﺒﺎق اﻷديب ﻟﺮمبﺎ ﻃﻠﺒﺎً‬ ‫ﻟﻠﻘﺮىب ﻣﻦ اﻟﺨﻠﻔﺎء آﻧﺬاك أو رﻏﺒﺔ ﰲ اﻟﻔﻮز‬ ‫ﰲ اﳌﻨﺎﻓﺴﺔ اﻟﺸﻌﺮﻳﺔ اﳌﻄﺮوﺣﺔ‪..‬‬ ‫واﻟﻴﻮم اﻷﻣﺮ ذاﺗﻪ ﻳﺘﻜﺮر! ﻓﻌﲆ ﺳﺒﻴﻞ اﳌﺜﺎل‬ ‫ﻻ اﻟﺤﴫ ﻓﻘﺪ اﺷﺘﻬﺮ ﺗﺎرﻳﺦ دوﻟﺘﻨﺎ ﺑﺤﻜﺎﻣﻬﺎ‬ ‫اﻟﺬﻳﻦ ﻳﺤﺒﻮن اﻟﺸﻌﺮ وﻳﺘﻘﻨﻮن ﻧﻈﻤﻪ‬ ‫وﻳﻘﺪﻣﻮن ﻛﺎﻓﺔ أﺷﻜﺎل اﻟﺪﻋﻢ ﻟﻠﺸﻌﺮاء؛‬ ‫واﻋﺘﱪ ﻣﺆرﺧﻮ اﻷدب اﻟﻌﺮيب أن اﻟﺸﻌﺮ‬ ‫ﺗﺴﺠﻞ ﺗﻮارﻳﺦ وأﺣﺪاث‬ ‫دﻳﻮان اﻟﻌﺮب وﺑﻪ ّ‬ ‫اﻟﺪول؛ وﻣﻦ ﻫﺬا اﳌﻨﻄﻠﻖ ﻓﻘﺪ اﻫﺘﻢ ﻣﺆﺳﺲ‬ ‫اﻹﻣﺎرات اﻟﻌﺮﺑﻴﺔ اﳌﺘﺤﺪة » أﺑﻮﻧﺎ اﻟﺸﻴﺦ زاﻳﺪ‬

‫اﻟﻠﻪ ﻳﺮﺣﻤﻪ وﻳﻐﻔﺮ ﻟﻪ » ﻛﻮﻧﻪ ﺷﺎﻋﺮاً ﺑﺘﻘﺪﻳﻢ‬ ‫ﻛﻞ وﺳﺎﺋﻞ اﻟﺪﻋﻢ ﻟﻼرﺗﻘﺎء ﺑﺎﻟﺸﻌﺮ ﰲ اﻟﺴﺎﺣﺔ‬ ‫اﻟﺸﻌﺮﻳﺔ اﻹﻣﺎراﺗﻴﺔ ﺑﺼﻮرة ﺧﺎﺻﺔ؛ وأﻛﻤﻞ‬ ‫ﻣﺴريﺗﻪ ﺷﻴﻮﺧﻨﺎ اﻟﻜﺮام؛ وﻗﺪﻣﻮا ﺣﻔﻈﻬﻢ اﻟﻠﻪ‬ ‫وﺳﺎﺋﻞ ﺷﺘﻰ ﻟﺪﻋﻢ اﻟﺸﻌﺮ!‬ ‫ﺗﺤﺮك‬ ‫إن ﺑﺮاﻣﺞ اﻟﺸﻌﺮ واﳌﺴﺎﺑﻘﺎت اﻟﺸﻌﺮﻳﺔ ّ‬ ‫ﻗﺮاﺋﺢ اﻟﺸﻌﺮاء ﻟﺒﺬل اﻷﺟﻤﻞ واﻟﺒﺪﻳﻊ ﻣﻦ‬ ‫اﻟﺸﻌﺮ! وإن ﺑﺮﻧﺎﻣﺞ ﺷﺎﻋﺮ اﳌﻠﻴﻮن اﻟﺬي‬ ‫ﻳﺮﻋﺎه ﺻﺎﺣﺐ اﻟﺴﻤﻮ اﻟﺸﻴﺦ ﻣﺤﻤﺪ ﺑﻦ زاﻳﺪ‬ ‫آل ﻧﻬﻴﺎن وﱄ ﻋﻬﺪ أﺑﻮﻇﺒﻲ ﻧﺎﺋﺐ اﻟﻘﺎﺋﺪ‬ ‫اﻷﻋﲆ ﻟﻠﻘﻮات اﳌﺴﻠﺤﺔ ﺣﻔﻈﻪ اﻟﻠﻪ ﻣﻦ أﻛرث‬ ‫اﻟﱪاﻣﺞ اﻟﺸﻌﺮﻳﺔ ﻧﺠﺎﺣﺎً ﻋﲆ ﻣﺴﺘﻮى اﻟﻮﻃﻦ‬ ‫اﻟﻌﺮيب ﺑﻞ ﻋﲆ ﻣﺴﺘﻮى اﻟﻌﺎمل؛ ﺣﻴﺚ ﺧﺮﺟﺖ‬ ‫ﻣﻨﻪ أﺳامء ﺷﻌﺮﻳﺔ راﺋﻌﺔ وﻗﺪﻣﻬﻢ ﻟﻠﻤﻬﺘﻤني‬ ‫ﺑﺎﻟﺸﻌﺮ واﻟﺒﺎﺣﺜني ﰲ ﻋﻠﻮﻣﻪ! وﻳﻮازﻳﻪ ﺑﺮﻧﺎﻣﺞ‬ ‫أﻣري اﻟﺸﻌﺮاء‪ -‬ﻗﻴﻤ ًﺔ ﰲ دﻋﻢ اﻟﺸﻌﺮاء ﻣﻦ‬ ‫ﺣﻮل اﻟﻌﺎمل‪.‬‬ ‫وﻻ ﺗﺨﻔﻰ ﻋﻠﻴﻨﺎ اﻷﻟﻐﺎز واﳌﺴﺎﺑﻘﺎت اﻟﺸﻌﺮﻳﺔ‬ ‫اﻟﺤامﺳﻴﺔ اﳌﺴﺘﻤﺮة واﻟﺘﻲ ﻳﻘﺪﻣﻬﺎ وﻳﺪﻋﻤﻬﺎ‬ ‫ﺻﺎﺣﺐ اﻟﺴﻤﻮ اﻟﺸﻴﺦ ﻣﺤﻤﺪ ﺑﻦ راﺷﺪ آل‬ ‫ﻣﻜﺘﻮم ﻧﺎﺋﺐ رﺋﻴﺲ اﻟﺪوﻟﺔ رﺋﻴﺲ ﻣﺠﻠﺲ‬ ‫اﻟﻮزراء ﺣﺎﻛﻢ ديب ﺣﻔﻈﻪ اﻟﻠﻪ‪ -‬ﻣﻨﺬ أﻋﻮام‬ ‫ﻃﻮﻳﻠﺔ؛ وﻛﺬﻟﻚ دﻋﻢ ﺻﺎﺣﺐ اﻟﺴﻤﻮ اﻟﺸﻴﺦ‬ ‫اﻟﺪﻛﺘﻮر ﺳﻠﻄﺎن ﺑﻦ ﻣﺤﻤﺪ اﻟﻘﺎﺳﻤﻲ ﺣﺎﻛﻢ‬ ‫اﻟﺸﺎرﻗﺔ ﺣﻔﻈﻪ اﻟﻠﻪ ﻟﻠﻤﺴرية اﻟﺸﻌﺮﻳﺔ‬ ‫ورﻋﺎﻳﺘﻪ اﻟﻜﺮميﺔ اﳌﺒﺎﴍة ﻟﺠﻤﻌﻴﺔ اﻟﺸﻌﺮ‬ ‫اﻟﺸﻌﺒﻲ ﻣﻦ ﻋﺎﺻﻤﺔ اﻟﺜﻘﺎﻓﺔ‪.‬‬ ‫إن اﻟﻘﻴﻤﺔ اﻟﺤﻘﻴﻘﻴﺔ ﻟﺘﻠﻚ اﳌﺴﺎﺑﻘﺎت‬ ‫اﻟﺸﻌﺮﻳﺔ ﺗﻜﻤﻦ ﰲ ﻗﺪرﺗﻬﺎ ﻋﲆ ﺗﺤﻔﻴﺰ اﻟﺸﺎﻋﺮ‬ ‫اﳌﺸﺎرك أن ﻳﺒﺬل ﻗﺼﺎرى ﺟﻬﺪه ﻟﻴﺨﺮج إﻟﻴﻨﺎ‬ ‫ﺑﺄﺟﻤﻞ وأﻋﺬب ﻣﺎ ﰲ ﺟﻌﺒﺘﻪ ﻣﻦ اﻟﻘﺼﺎﺋﺪ‬

‫د‪.‬ﻧﺎدﻳﻦ اﻷﺳﻌﺪ‬

‫ﺧﺎﻟﺪ ﺑﻦ ﻋﲇ‬

‫ﺣﺮاك ﺛﻘﺎﻓﻲ‬ ‫اﻟﺸﺎﻋﺮة د‪ .‬ﻧﺎدﻳﻦ اﻷﺳﻌﺪ ﻗﺎﻟﺖ »ﻻ ﺷﻚ أن‬ ‫ﻟﻠﺸﻌﺮ دو ًرا ً‬ ‫ﻓﻌﺎﻻ ﰲ إﻣﺘﺎع اﻟﻨﺎس‪ ،‬وإﻏﻨﺎء‬ ‫وﺟﺪاﻧﻬﻢ وﺧﻴﺎﻟﻬﻢ‪ ،‬ﻛام ﻻ ﺷﻚ ﰲ أن‬ ‫اﳌﺴﺎﺑﻘﺎت اﻟﺸﻌﺮﻳﺔ ﺗﺴﻬﻢ اﻟﻴﻮم ﺑﺸﻜﻞ ﻛﺒري‬ ‫ﰲ إﺛﺮاء اﳌﺸﻬﺪ اﻟﺜﻘﺎﰲ اﻟﻌﺮيب‪ ،‬وذﻟﻚ اﻧﻄﻼﻗﺎ‬ ‫ﻣام ﺗﺸﻜﻠﻪ ﻫﺬه اﳌﺴﺎﺑﻘﺎت ﻣﻦ ﺣﺎﻓﺰ ﻟﺪى‬ ‫اﻟﺸﻌﺮاء ﻋﲆ اﻹﺑﺪاع؛ وأرى أن اﻟﺠﺎﻧﺐ‬ ‫اﻹﻳﺠﺎيب ﳌﺜﻞ ﻫﺬه اﳌﺴﺎﺑﻘﺎت ﺷﺎﻣﻞ وواﺳﻊ‬ ‫وﻣﻦ ﺷﺄﻧﻪ إﺑﺮاز ﻣﻮاﻫﺐ ﺟﺪﻳﺪة وﺗﺴﻠﻴﻂ‬ ‫اﻟﻀﻮء ﻋﲆ ﻃﺎﻗﺎت أدﺑﻴﺔ ﺗرثي اﻟﺸﻌﺮ اﻟﻌﺮيب‪،‬‬ ‫ورمبﺎ مل ﻳﻜﻦ ﻟﻬﺎ أن ﺗﺮى اﻟﻨﻮر ﻟﻮﻻ أن أﺧﺬت‬ ‫ﻓﺮﺻﺘﻬﺎ ﻣﻦ ﺧﻼل اﳌﺴﺎﺑﻘﺎت‪.‬‬ ‫أﺟﺪ أن اﳌﺴﺎﺑﻘﺎت اﻟﺸﻌﺮﻳﺔ ﻫﻲ ﺣﺮاك ﺛﻘﺎﰲ‬ ‫ﺟﻴﺪ ﻻ ﺑﺪ ﻟﻪ ﻣﻦ أن ﻳﺴﻬﻢ ﰲ ﻋﻮدة اﻟﺸﻌﺮ‬ ‫اﻟﻌﺮيب إﱃ ﻣﻜﺎﻧﺘﻪ اﻟﺘﻲ ﻛﺎن ﻋﻠﻴﻬﺎ ؛ وﻣﻦ ﺟﻬﺔ‬ ‫أﺧﺮى أرى أﻧﻬﺎ ﻗﺎدرة أﻳﻀﺎً ﻋﲆ ﺧﻠﻖ ﻣﻌﺎﻳري‬ ‫ﻧﻘﺪﻳﺔ ﺣﺪﻳﺜﺔ ﻣﻦ ﺷﺄﻧﻬﺎ اﻻرﺗﻘﺎء ﺑﺎﻟﻨﻘﺪ اﻷديب‬ ‫أﻳﻀﺎً وﻟﻴﺲ اﻟﺸﻌﺮ ﻓﻘﻂ‪.‬‬ ‫ﰲ اﻟﺤﻘﻴﻘﺔ ﺗﻐﺮﻳﻨﻲ ﻣﺴﺎﺑﻘﺎت اﻟﺸﻌﺮ اﻟﻌﺎﻣﻲ‬ ‫أو ﻣﺎ ﻳﺴﻤﻰ ﰲ ﻣﻨﻄﻘﺔ اﻟﺨﻠﻴﺞ ﺑﺎﻟﺸﻌﺮ‬ ‫اﻟﺸﻌﺒﻲ‪ /‬اﻟﻨﺒﻄﻲ؛ وﻋﲆ اﻟﺮﻏﻢ ﻣﻦ ﺻﺪور ‪5‬‬ ‫ﻣﺆﻟﻔﺎت أدﺑﻴﺔ ﱄ ﺗﺘﻨﻮع ﺑني اﻟﺸﻌﺮ اﻟﻔﺼﻴﺢ‬ ‫واﻟﺮواﻳﺔ إﻻ أن ﻣﺴرييت ﻣﻊ اﻟﺸﻌﺮ اﻟﻌﺎﻣﻲ ﻗﺪ‬ ‫ﺣﻤﻠﺖ ﻣﺤﻄﺎت ﻛﺜرية أﻋﺘﺰ ﺑﻬﺎ؛ وﻟﺬا ﻓﺈﻧﻨﻲ‬ ‫ﻻ أﻣﻞ اﻟﻐﻮص ﰲ اﻟﺸﻌﺮ اﻟﻌﺎﻣﻲ‪.‬‬ ‫أرى أن ﻫﺬا اﻟﻨﻮع ﻣﻦ اﳌﺴﺎﺑﻘﺎت ميﻨﺢ‬ ‫اﻟﺸﻌﺮاء ﻓﺮﺻﺎً ﻣﺘﻨﻮﻋﺔ ﻟﻠﺘﺄﻟﻖ واﻹﺑﺪاع؛ ﻛام‬ ‫ذﻛﺮت ﺳﺎﺑﻘﺎً؛ وذﻟﻚ ﳌﺎ ﻳﻌﱰﻳﻬﺎ ﻣﻦ أﺟﻮاء‬ ‫ﺗﻨﺎﻓﺴﻴﺔ‪ ،‬ﻫﺬا اﻟﺘﻨﺎﻓﺲ ﻳﺴﺘﻔﺰين دامئﺎً؛‬ ‫ﻳﺴﺘﻔﺰ اﻷدب ﰲ داﺧﲇ وﻳﺴﺘﻨﻬﺾ ﺣامﺳﺘﻲ‬ ‫ﻋﲆ اﳌﻨﺎﻓﺴﺔ وﺗﻘﺪﻳﻢ اﻷﻓﻀﻞ ﺑﺮوح إﺑﺪاﻋﻴﺔ‬

‫ﺣﻤﺪه اﻟﻌﻮﴈ‬

‫أﺑﻮ ﻋﺪﻧﺎن اﻟﺮﻳﺎﳾ‬

‫ﻋﲆ أن ﺗﻜﻮن اﳌﺴﺎﺑﻘﺔ اﻟﺸﻌﺮﻳﺔ ﺑﺤﺪ ذاﺗﻬﺎ‬ ‫ذات ﻣﺴﺘﻮى أديب رﻓﻴﻊ ﻣﻦ ﺣﻴﺚ اﳌﺸﺎرﻛﺎت‬ ‫واﻟﻨﻘﺪ‪ ،‬ﻓﻬﻨﺎك ﺑﻌﺾ ﻣﻦ اﳌﺴﺎﺑﻘﺎت ﻻ‬ ‫ﺗﻀﻴﻒ إﱃ اﻟﺸﺎﻋﺮ وﺑﺎﻟﺘﺎﱄ أراين ﺑﻌﻴﺪة ﻋﻨﻬﺎ‬ ‫ﻛﻞ اﻟﺒﻌﺪ ﻓﺒﺤﺜﻲ اﻟﺪاﺋﻢ ﻳﺬﻫﺐ ﻧﺤﻮ ﻛﻞ ﻣﺎ‬ ‫ﻳﻀﻴﻒ ﱄ وﳌﺴرييت اﻷدﺑﻴﺔ‪.‬‬ ‫ﻟﻘﺪ ﺳﻌﺪت ﺧﻼل اﻟﻌﺎم اﳌﺎﴈ ﺑﺘﻘﺪﻳﻢ‬ ‫ﻣﻨﺎﻓﺴﺎت اﳌﻮﺳﻢ اﻟﺴﺎﺑﻊ ﻣﻦ ﺑﺮﻧﺎﻣﺞ أﻣري‬ ‫اﻟﺸﻌﺮاء ﰲ اﻟﻌﺎﺻﻤﺔ أﺑﻮﻇﺒﻲ اﻷﻣﺮ اﻟﺬي‬ ‫ﺟﻌﻠﻨﻲ أﻋﻴﺶ ﻟﺤﻈﺎت اﳌﻨﺎﻓﺴﺔ ﺑني اﻟﺸﻌﺮاء‬ ‫ﰲ ﻇﻞ ﺗﻨﺎﻓﺲ أديب أﻛرث ﻣﻦ راﺋﻊ وﻗﺪ‬ ‫دﻓﻌﺘﻨﻲ ﻫﺬه اﻟﺘﺠﺮﺑﺔ ﻟﻠﻤﺰﻳﺪ ﻣﻦ اﻟﻌﻤﻞ ﺗﻐﻄﻴﺔ إﻋﻼﻣﻴﺔ وﻣﺼﺪاﻗﻴﺔ‬ ‫وﺗﺮى اﻟﺸﺎﻋﺮة ﻋﺒري ﻓﻮزي أن اﻟﻘﻴﻤﺔ اﻟﺤﻘﻴﻘﻴﺔ‬ ‫ﻟﺘﻘﺪﻳﻢ اﳌﺰﻳﺪ ﻣﻦ اﻷﻋامل اﻷدﺑﻴﺔ‪.‬‬ ‫ﻟﻠﻤﺴﺎﺑﻘﺎت ﺗﻜﻤﻦ ﰲ ﻣﺼﺪاﻗﻴﺘﻬﺎ‪ ،‬ﻓﺈن ﻛﺎﻧﺖ‬ ‫ﻣﻮﺿﻮﻋﻴﺔ وﺣﻴﺎدﻳﺔ وﻟﻬﺎ ﻣﺼﺪاﻗﻴﺔ ﻓﻬﺬه ﻫﻲ‬ ‫ﻣﺪارس اﻟﻨﻘﺪ‬ ‫ﺑﺪوره أﺷﺎر اﻟﺸﺎﻋﺮ ﺧﺎﻟﺪ ﺑﻦ ﻋﲇ إﱃ أن ﻗﻴﻤﺘﻬﺎ اﻟﺤﻘﻴﻘﻴﺔ اﻟﺘﻲ ﺗﻜﺘﻤﻞ ﺑﻮﺟﻮد ﻟﺠﻨﺔ‬ ‫اﻟﻘﻴﻤﺔ اﻟﺤﻘﻴﻘﻴﺔ ﻟﻠﻤﺴﺎﺑﻘﺎت‪ ،‬ﺗﻜﻤﻦ ﰲ ﺗﺤﻜﻴﻢ ﺧﺒرية واﻋﻴﺔ ﻣﺘﻨﻮﻋﺔ ﺣﻴﺎدﻳﺔ‪ .. .‬وﻛﻞ‬ ‫إﺑﺮاز ﺷﻌﺮاء ﺟﺪد واﻻﻫﺘامم ﺑﺎﳌﻮروث‪ .‬أﻣﺎ ﻫﺬا ﻳﱰﺟﻢ ﺑﻮﺻﻮل اﻟﻌﻤﻞ اﻟﻔﺎﺋﺰ ﻷﻛﱪ ﻗﺪر‬ ‫اﻟﺪواﻓﻊ ﻓﺘﻜﻤﻦ ﰲ اﻟﺒﺤﺚ ﻋﻦ إﺛﺒﺎت اﻟﺬات ﻣﻤﻜﻦ ﻣﻦ اﳌﺘﺎﺑﻌني واﻟﻘﺮاء ﻓﻬﺬا ﻫﻮ اﻟﻌﺎﺋﺪ‬ ‫اﻟﺤﻘﻴﻘﻲ اﻟﺬي ﻳﻨﺘﻈﺮه اﳌﺒﺪع ‪.‬‬ ‫واﻻﻧﺘﺸﺎر واﻟﺸﻬﺮة واﳌﺮدود اﳌﺎدي‪.‬‬ ‫ﻓﻤﺮدود اﳌﺴﺎﺑﻘﺎت ﻛﺒري وﻣﺆﺛﺮ وﻣﻬﻢ ﺣﻴﺚ اﳌﺴﺎﺑﻘﺎت اﻟﺘﻲ ﺗﻐﺮﻳﻨﻲ ﻫﻲ اﳌﺴﺎﺑﻘﺎت‬ ‫ﺗﻀﻴﻒ إﱃ اﻟﺘﺠﺮﺑﺔ وﺗﻮﻓﺮ اﻻﺣﺘﻜﺎك واﻻﻃﻼع اﻟﺘﻲ ﺗﻨﻈﻤﻬﺎ ﺟﻬﺎت ﺣﻜﻮﻣﻴﺔ أو أﻫﻠﻴﺔ ذات‬ ‫ﻋﲆ ﺗﺠﺎرب اﻵﺧﺮﻳﻦ وأﻳﻀﺎً اﻻﺳﺘﻔﺎدة ﻣﻦ ﻣﺼﺪاﻗﻴﺔ وﻟﻬﺎ ﻧﺸﺎط وﺗﺎرﻳﺦ ﺛﻘﺎﰲ ﻳﺤﱰم‪،‬‬ ‫ﻣﺪارس اﻟﻨﻘﺪ وأﺛﺮﻫﺎ اﻻﻳﺠﺎيب ﰲ ﺗﻄﻮﻳﺮ اﳌﻨﺘﺞ وﺗﺤ ّﻜﻢ ﻓﻴﻬﺎ ﻟﺠﺎن ذات ﺧﱪة وﻗﺪرات‬ ‫إﺑﺪاﻋﻴﺔ ﻣﻤﻴﺰة‪ ،‬إﱃ ﺟﺎﻧﺐ اﺷﺘامﻟﻬﺎ ﻋﲆ‬ ‫اﻹﺑﺪاﻋﻲ وﺗﺤﺴﻴﻨﻪ‪.‬‬ ‫ﺗﻐﻄﻴﺔ إﻋﻼﻣﻴﺔ ﻣﻤﻴﺰة‪.‬‬ ‫اﻟﺜﻘﺔ اﻟﺸﻌﺮﻳﺔ‬ ‫اﻟﺸﺎﻋﺮة اﻹﻣﺎراﺗﻴﺔ ﺣﻤﺪه اﻟﻌﻮﴈ ﻗﺎﻟﺖ إن ﺟﻴﻞ ﺟﺪﻳﺪ وﺣﻠﻢ ﻟﻠﺸﻌﺮاء‬ ‫ﻟﻠﻤﺴﺎﺑﻘﺎت دوراً ﻓﻌﺎﻻً ﰲ ﺗﺤﻔﻴﺰ اﻹﺑﺪاع اﻟﺸﺎﻋﺮ ﺧﺎﻟﺪ اﻟﺠﻌﻤﲇ أﻛﺪ أن اﻟﻘﻴﻤﺔ‬ ‫اﻟﺸﻌﺮي ﻟﻠﺸﺎﻋﺮ‪ ،‬ﻛام ﺗﺪﺧﻠﻚ ﰲ ﺟﻮ ﻣﻦ اﻟﺤﻘﻴﻘﻴﺔ ﺗﺨﺘﻠﻒ ﻣﻦ ﺷﺎﻋﺮ اﱃ ﺷﺎﻋﺮ وﻣﻦ‬ ‫اﻟﺘﻨﺎﻓﺲ اﻟﴩﻳﻒ ﻣﻊ ﻧﺨﺒﺔ ﻣﻦ اﻟﺸﻌﺮاء‬ ‫ﻣﺘﻠﻖ‪ .‬وﻟﻜﻦ ﺗﻈﻞ اﻟﻘﻴﻤﺔ اﻟﺤﻘﻴﻘﻴﺔ‬ ‫ﻣﺘﻠﻖ اﱃ ٍ‬ ‫ٍ‬ ‫اﳌﺘﻤﻴﺰﻳﻦ ﻣام ﻳﺰﻳﺪ إﻟﻬﺎم اﻟﺸﺎﻋﺮ ورﻏﺒﺘﻪ ﰲ ﻟﻠﺠﻮاﺋﺰ ﻣﺘﻤﺜﻠﺔ ﰲ إﺑﺮاز ﺟﻴﻞ ﺟﺪﻳﺪ ﻣﻦ‬ ‫اﻹﺑﺪاع‪ ،‬إﱃ ﺟﺎﻧﺐ اﻟﺮﻏﺒﺔ ﰲ ﺗﻘﻴﻴﻢ اﻟﻌﻤﻞ‬ ‫اﻟﺸﻌﺮي وﻣﺪى ﺗﻘﺪم ﻣﺴﺘﻮى اﻟﻜﺘﺎﺑﺔ‬ ‫اﻟﺸﻌﺮﻳﺔ ‪.‬‬ ‫ﻛﻞ اﳌﺴﺎﺑﻘﺎت متﻨﺤﻨﻲ ﻣﺴﺎﺣﺔ ﻣﻦ اﻟﺮﻏﺒﺔ ﰲ‬ ‫اﳌﻨﺎﻓﺴﺔ وﺗﺘﻴﺢ ﱄ اﻟﻔﺮﺻﺔ ﻹﺑﺮاز ﻋﻤﲇ‪ .‬وﻫﻲ‬ ‫ﺗﻌﺰز ﻣﻦ ﻣﻮﻫﺒﺘﻲ أوﻻً‪ ،‬و ﺗﺰﻳﺪ ﺛﻘﺘﻲ اﻟﺸﻌﺮﻳﺔ‬ ‫ﰲ ﻧﻔﴘ و ﺗﺘﻴﺢ ﱄ ﻣﺠﺎﻻً ﰲ اﻟﺤﻴﺎة اﻷدﺑﻴﺔ‬ ‫ﻣﻊ ﻛﺒﺎر اﻟﺰﻣﻼء واﻟﻨﻘﺎد‪ .‬وﻫﻲ ﺑﺎﻟﺘﺄﻛﻴﺪ ﻟﻬﺎ‬ ‫دور ﻛﺒري ﰲ ﺗﻌﺰﻳﺰ ﻣﻜﺎﻧﺘﻲ اﻷدﺑﻴﺔ وﺗﻘﻮﻳﺔ‬ ‫إﻧﺘﺎﺟﻲ اﻷديب ﻣﺴﺘﻘﺒ ًﻼ‪.‬‬

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‫اﺳﺘﻄﻼع‬ ‫‪baytelshear‬‬

‫اﻟﻤﺴﺎﺑﻘﺎت واﻟﺒﺮاﻣﺞ اﻟﺸﻌﺮﻳﺔ‬ ‫ﺑﻴﻦ اﻟﻘﻴﻤﺔ واﻟﺪواﻓﻊ وا‪N‬ﺛﺮ‬ ‫ﺗﻘﻴﻴﻢ ﻟﻠﺘﺠﺎرب وداﻓﻊ ﻟﻼﺳﺘﻤﺮارﻳﺔ ودﻋﻢ ﻣﻄﻠﻮب‬

‫ﻣﺤﻤﺪ ﻋﺒﺪاﻟﺴﻤﻴﻊ‬

‫ﺗﻌﺪ اﻟﻤﺴﺎﺑﻘﺎت اﻟﺸﻌﺮﻳﺔ ﺣﺎﻓﺰ ًا ﻫﺎﻣ ًﺎ ﻟﺘﻔﺠﻴﺮ اﻟﻄﺎﻗﺎت اﻹﺑﺪاﻋﻴﺔ ﻟﻠﺸﻌﺮاء ﺑﺤﺜ ًﺎ ﻋﻦ ﺷﻬﺮة أو ﻣﻜﺎﻧﺔ أو دﻋﻢ ﻣﺎﻟﻲ‪ ،‬ﻛﻞ ﺣﺴﺐ رﻏﺒﺘﻪ‪،‬‬ ‫ﺣﻴﺚ ﻧﺠﺤﺖ اﻟﻤﺴﺎﺑﻘﺎت اﻟﺸﻌﺮﻳﺔ ﻓﻲ اﺳﺘﻘﻄﺎب ﺟﺎﻧﺐ ﻛﺒﻴﺮ ﻣﻦ اﻟﺠﻤﻬﻮر‪ ،‬وﻛﺎﻧﺖ ﺳﺒﺒ ًﺎ ﻓﻲ اﻧﺘﺸﺎر اﻟﻌﺪﻳﺪ ﻣﻦ اﻷﺳﻤﺎء اﻟﺸﻌﺮﻳﺔ‬ ‫اﻟﺘﻲ ﻟﻢ ﺗﻜﻦ ﻣﻌﺮوﻓﺔ ﻓﻲ اﻟﺴﺎﺣﺔ اﻟﺸﻌﺮﻳﺔ اﻟﺨﻠﻴﺠﻴﺔ واﻟﻌﺮﺑﻴﺔ‪ W‬اﻋﺘﺒﺮﻫﺎ ﻋﺪد ﻣﻦ اﻟﺸﻌﺮاء وﺳﻴﻠﺔ وﻟﻴﺴﺖ ﻏﺎﻳﺔ ﻳﻤﻜﻦ ﻣﻦ ﺧﻼﻟﻬﺎ‬ ‫ﺗﺤﻘﻴﻖ ﺣﻠﻢ اﻻﻧﺘﺸﺎر واﻻﺳﺘﻤﺮار‪ ،‬واﻟﺒﻌﺾ اﻋﺘﺒﺮﻫﺎ ﻓﺮﺻﺔ ﻟﻠﺘﺠﺪﻳﺪ وإﺛﺒﺎت اﻟﺬات وآﺧﺮون اﺗﺨﺬوﻫﺎ ﻃﺮﻳﻘﺎ ﻟﻜﺴﺐ اﻷﻣﻮال‪ W‬ﻫﺬا اﻻﻣﺮ‬ ‫دﻓﻊ اﻟﻌﺪﻳﺪ ﻣﻦ اﻟﻤﻬﺘﻤﻴﻦ ﺳﻮاء ﻛﺎﻧﻮا أﻓﺮاد ًا أو ﻣﺆﺳﺴﺎت أو ﻣﻬﺮﺟﺎﻧﺎت ﻟﺘﺒﻨﻲ إﻗﺎﻣﺔ ﻣﺴﺎﺑﻘﺎت ﺷﻌﺮﻳﺔ ﻣﺘﻨﻮﻋﺔ ﻓﻲ اﻟﺸﻜﻞ‬ ‫واﻟﻤﻀﻤﻮن‪ ،‬وﺣﺮص اﻟﻜﺜﻴﺮ ﻣﻦ اﻟﺸﻌﺮاء ﻋﻠﻰ اﻟﻤﺸﺎرﻛﺔ ﻓﻲ ﺗﻠﻚ اﻟﻤﺴﺎﺑﻘﺎت‪ ،‬اﻟﺘﻲ أﺻﺒﺤﺖ وﺳﻴﻠﺔ ﺟﺬب واﻫﺘﻤﺎم ﻟﻌﺪد ﻛﺒﻴﺮ ﻣﻨﻬﻢ‬ ‫ﻳﺘﺴﺎﺑﻘﻮن ﻟﻠﺤﺼﻮل ﻋﻠﻰ ﻓﺮﺻﺔ اﻟﻤﺸﺎرﻛﺔ ﻓﻴﻬﺎ‪ W‬ﻣﻤﺎ دﻓﻌﻨﺎ اﻟﻰ اﻟﺘﺴﺎؤل ﻋﻦ ﻣﺎﻫﻴﺔ اﻟﻘﻴﻤﺔ اﻟﺤﻘﻴﻘﻴﺔ ﻟﺘﻠﻚ اﻟﻤﺴﺎﺑﻘﺎت‪ ،‬وﻣﺎ ﻫﻲ‬ ‫اﻟﺪواﻓﻊ اﻟﺘﻲ ﺗﺤﻔﺰ ﻋﻠﻰ اﻟﻤﺸﺎرﻛﺔ ﺑﻬﺎ‪ ،‬وﻣﺎذا ﻳﻤﻜﻦ أن ﺗﻀﻴﻒ ﻋﻠﻰ اﻟﺼﻌﻴﺪ اﻟﺸﺨﺼﻲ واﻷدﺑﻲ‪ W‬وﻫﻨﺎ ﻧﻌﺮض ﺑﻌﺾ آراء اﻟﺸﻌﺮاء ﺣﻮل‬ ‫ﻫﺬا اﻟﻤﻮﺿﻮع اﻟﻤﻬﻢ واﻟﻘﻴﻢ ‪WW‬‬ ‫اﻟﺸﻌﺮ ‪ /‬اﻟﻌﺪد ‪64‬‬ ‫‪ 36‬ﺑﻴﺖ ِ‬

‫اﻧﻔﻮﺷﻌﺮ‬

‫ﺳﺎﻟﻢ‬ ‫اﻟﺠﻤﺮي‬ ‫ﻣﻴﻼده وﻧﺸﺄﺗﻪ‬

‫وﻟﺪ اﻟﺸﺎﻋﺮ ﺳﺎﻟﻢ ﻣﺤﻤﺪ ﺑﻦ ﺳﺎﻟﻢ اﻟﺠﻤﺮي‬ ‫ﻓﻲ اﻟﺮاﺷﺪﻳﺔ ﻓﻲ إﻣﺎرة دﺑﻲ ﻋﺎم ‪.1910‬‬

‫ﻗﺼﺎﺋﺪ ﻣﻐﻨﺎة‬ ‫آﺛﺎره اﻟﺸﻌﺮﻳﺔ‬

‫ﺻﺪر ﻟﻪ ﻓﻲ ﺣﻴﺎﺗﻪ دﻳﻮان ‪m‬ﻟﺊ اﻟﺨﻠﻴﺞ‬ ‫‪..‬وﻗﺪ ﺗﻤﺖ ﻃﺒﺎﻋﺘﻪ ﻓﻲ ﺑﺪاﻳﺔ اﻟﺜﻤﺎﻧﻴﻨﻴﺎت‬ ‫ﻋﻠﻰ ﻧﻔﻘﺔ اﻟﻤﻐﻔﻮر ﻟﻪ ﺑﺈذن ا‪ o‬ﺗﻌﺎﻟﻰ‬ ‫اﻟﺸﻴﺦ زاﻳﺪ ﺑﻦ ﺳﻠﻄﺎن آل ﻧﻬﻴﺎن ''ﻃﻴﺐ ا‪o‬‬ ‫ﺛﺮاه''‪.‬‬ ‫ﻛﻤﺎ ﺻﺪر ﻟﻪ دﻳﻮان ﻋﻦ ﻧﺎدي ﺗﺮاث ا‪c‬ﻣﺎرات‬ ‫ﻋﺎم ‪ 2013‬ودﻳﻮان ﻋﻦ ﻫﻴﺌﺔ أﺑﻮ ﻇﺒﻲ‬ ‫ﻟﻠﺜﻘﺎﻓﺔ واﻟﺘﺮاث ﺑﻌﻨﻮان ''ﺳﺎﻟﻢ اﻟﺠﻤﺮي‬ ‫ﺣﻴﺎﺗﻪ وﻗﺮاءة ﻓﻲ ﻗﺼﺎﺋﺪه''‪.‬‬

‫وﻓﺎﺗﻪ‬

‫ﺗﻮﻓﻲ ﻓﻲ ‪ 28‬ﻓﺒﺮاﻳﺮ ﻋﺎم ‪ 1991‬ﻓﻲ‬ ‫ﻣﻨﺰﻟﻪ ﺑﻤﻨﻄﻘﺔ اﻟﺮاﺷﺪﻳﺔ ﺑﺪﺑﻲ ‪.‬‬

‫ﻣ َﺜﻞ ﺷﻌﺮ اﻟﺠﻤﺮي ﻧﻤﻮذﺟ ًﺎ ﻓﺮﻳﺪاً ﻓﻲ ﻛﻴﻔﻴﺔ‬ ‫ﻛﺘﺎﺑﺔ اﻟﻘﺼﻴﺪة اﻟﺸﻌﺒﻴﺔ اﻟﻤﻐﻨﺎة ﻟﻌﺪد ﻛﺒﻴﺮ‬ ‫ﻣﻦ اﻟﺸﻌﺮاء وﻣﺘﺬوﻗﻲ اﻟﺸﻌﺮ اﻟﻌﺎﻣﻲ ﻓﻲ‬ ‫ا‪c‬ﻣﺎرات‪ ،‬اﻧﻄﻼﻗ ًﺎ ﻣﻦ أﻧﻪ ﺷﻜﻞ ﺛﻨﺎﺋﻴ ًﺎ ﻣﻤﻴﺰاً‬ ‫ﻣﻊ اﻟﻔﻨﺎن اﻟﺸﻌﺒﻲ اﻟﻤﻌﺘﺰل ﻋﻠﻲ ﺑﺎﻟﺮوﻏﺔ‬ ‫اﻟﺬي ﻏﻨﻰ ﻟﻪ ﻣﺎ ﻳﻘﺎرب اﻟﻤﺎﺋﺔ ﻗﺼﻴﺪة‪ ،‬ﻛﻤﺎ‬ ‫ﻏﻨﻰ ﻟﻪ ﻛﻞ ﻣﻦ ﺣﺎرب ﺣﺴﻦ وﻣﻴﺤﺪ ﺣﻤﺪ‬ ‫وآﺧﺮون‪.‬‬

‫ﺗﻜﺮﻳﻢ‬

‫ﻣﻦ اﻟﻠﺤﻈﺎت اﻟﻤﺆﺛﺮة ﻓﻲ ﺣﻴﺎة اﻟﺠﻤﺮي‪،‬‬ ‫ﻟﺤﻈﺔ ﺗﻜﺮﻳﻤﻪ ﻓﻲ ﻣﻬﺮﺟﺎن اﻟﺸﻌﺮ اﻟﻨﺒﻄﻲ‬ ‫ﻓﻲ ﻋﺎم ‪ 1981‬وأﻗﻴﻢ اﻟﻤﻬﺮﺟﺎن ﺗﺤﺖ رﻋﺎﻳﺔ‬ ‫ﺻﺎﺣﺐ اﻟﺴﻤﻮ اﻟﺸﻴﺦ اﻟﺪﻛﺘﻮر ﺳﻠﻄﺎن ﺑﻦ‬ ‫ﻣﺤﻤﺪ اﻟﻘﺎﺳﻤﻲ ﻋﻀﻮ اﻟﻤﺠﻠﺲ ا‪N‬ﻋﻠﻰ‬ ‫ﺣﺎﻛﻢ اﻟﺸﺎرﻗﺔ‪.‬‬

‫ﻓﺒﺮاﻳﺮ ‪35 2018 /‬‬

‫ﻧﻘ!!!!!!!!!!!!!!!!!ﺪ‬ ‫‪baytelshear‬‬ ‫‪ fCC CC6¸*K zCC/§CCG* rCCC<¸ ¢CCH fCC CC CCº* ¢CCF‬‬ ‫‪ ½fCCCCCH «CCC CCCkCCC CCC CCCM ¥CCCC CCCCqCCCC CCCC6 «CCCCCCC:‬‬ ‫<‪ CCªCC CC CC7 fCC¤CCgCC¤CCG fCCC¤CCCªCCCJ 4fCCCCCCI ¨CCC CCC‬‬ ‫‪ ]«CCCCC-*zCCCCCI§CCCCC»* zCCCªCCC CCC6 *§CCCCCCCJ ¥CCCCC+‬‬ ‫‪lCC CCHfCC¤CC- ¬zCCCC1 §CCCCD «CC¡CCªCC< §CCCCCH2K‬‬ ‫‪ ª J CCªCC¡CCF ¢CCCH CCCC+K CCkCCJ fCC CCF‬‬ ‫ﻳﺘﺠﲆ دور اﳌﻔﺮدة ﰲ ﻫﺬه اﳌﺴﺎﺣﺔ ﺑﺎﻟﺮﺟﻮع إﱃ ﻣﻌﻨﻰ اﻟﻄﺎرش‬

‫وﺗﻮﻇﻴﻒ اﻟﺸﺎﻋﺮ ﻟﻪ ﰲ ﻗﺼﻴﺪه‪ ،‬إذ ميﻜﻦ ﺑﺘﺄﻣﻞ دﻻﻟﺘﻪ اﻟﻮﺻﻮل إﱃ‬ ‫اﻟﺬﻫﻨﻴﺔ اﻟﺸﻌﺒﻴﺔ اﻟﺘﻲ اﺳﺘﻨﺪ إﻟﻴﻬﺎ ﻟﺒﻨﺎء ﻧﺼﻪ‪ ،‬ﻓﺎﻟﻄﺎرش ﻫﻮ اﻟﺸﺨﺺ‬ ‫اﳌﻌﺮوف ﰲ اﻟﺜﻘﺎﻓﺔ اﻹﻣﺎراﺗﻴﺔ اﻟﺸﻌﺒﻴﺔ ﺑﺄﻧﻪ ﻣﻦ ﻳﺠﻠﺐ اﻷﺧﺒﺎر‪،‬‬ ‫وﻳﻨﻘﻠﻬﺎ‪.‬‬ ‫ﺗﻘﻮم اﳌﻔﺮدة ﰲ ﻫﺬا اﻟﺴﻴﺎق ﺑﻮﺻﻔﻬﺎ اﻟﺸﻜﻞ اﻟﻠﻐﻮي ﻟﻠﺤﻴﺎة‬ ‫اﻟﺸﻌﺒﻴﺔ‪ ،‬ﻓﻬﻲ ﺗﻌﺒري ﻋﲆ ﻣﻈﻬﺮ ﻣﻌﺎش‪ ،‬وﺗﺠﺮﺑﺔ ﺣﻴﺎة‪ ،‬وﺷﻜﻞ ﺛﻘﺎﻓﺔ‬ ‫ﻋﺎﺷﻬﺎ اﻹﻣﺎراﺗﻴﻮن ﻃﻮال ﻋﻘﻮد ﻃﻮﻳﻠﺔ‪ ،‬وﻫﻮ ﻣﺎ ﻳﻀﻌﻨﺎ أﻣﺎم وﻇﻴﻔﺔ‬ ‫ﺟﺪﻳﺪة ﻟﻠﻤﻔﺮدة ﰲ اﻟﻨﺺ اﻟﺸﻌﺮي اﻟﺸﻌﺒﻲ‪ ،‬ﺗﺘﺠﺎوز اﻟﺼﻮرة اﻟﺠﺎﻫﺰة‬ ‫اﳌﺘﻤﺜﻠﺔ ﰲ اﻟﻔﺮق ﺑني اﻟﻌﺎﻣﻲ واﻟﻔﺼﻴﺢ‪ ،‬ﻟﺘﺼﻞ إﱃ اﻟﺘﻌﺒري اﻟﺤﺮ ﻋﻦ‬ ‫ذﻫﻨﻴﺔ اﳌﺠﺘﻤﻊ ﺑﺄﻛﻤﻠﻪ‪.‬‬

‫ميﻜﻦ اﻟﻘﻮل إﻧﻪ ﻻ ميﻜﻦ ﻗﺮاءة اﳌﻔﺮدة ﰲ اﻟﻨﺺ اﻟﺸﻌﺮي اﻟﺸﻌﺒﻲ‬ ‫اﳌﺤﲇ ﻣﻦ دون ﻗﺮاءة أﺛﺮﻫﺎ ﻋﲆ اﻟﺸﻜﻞ واﻷﺳﻠﻮب اﻟﺸﻌﺮي‪ ،‬ﻓام‬ ‫ﻳﺘﻴﺤﻪ ﻓﻀﺎء ﻟﻐﻮي ﻣﺜﻞ ﻓﻀﺎء اﻟﻠﻬﺠﺔ اﻹﻣﺎراﺗﻴﺔ‪ ،‬ﻗﺪ ﻻ ﺗﺘﻴﺤﻪ ﻟﻬﺠﺎت‬ ‫أﺧﺮى‪ ،‬أو ﺣﺘﻰ اﻟﻠﻐﺔ اﻟﻌﺮﺑﻴﺔ اﻟﻔﺼﺤﻰ‪ ،‬وﻫﺬا ﻳﻌﺮﻓﻪ اﻟﺸﻌﺮاء ﻋﲆ‬ ‫ﻣﺴﺘﻮى اﻟﻮزن واﻟﻘﺎﻓﻴﺔ‪ ،‬وﺗﻌﺪد اﳌﻌﺎين‪ ،‬وﺧﻴﺎرات اﳌﻌﻨﻰ اﻟﻮاﺣﺪة‬ ‫ﰲ اﳌﻔﺮدات‪.‬‬ ‫وﻣﺎ ﻻ ﺷﻜﻞ ﻓﻴﻪ أن ﻣﻔﺮدات ﻗﺼﻴﺪة اﻟﺠﻤﺮي اﻟﺘﻲ ﻳﻘﻮل ﻓﻴﻬﺎ »اﻟﺒﺎرﺣﺔ‬ ‫واﻟﻨﻴﺖ ﰲ ﻫﻴﻌﺔ اﳌﻼ« ﻟﻌﺒﺖ أﺛﺮاً ﺟﻮﻫﺮﻳﺎً ﰲ أﺳﻠﻮب اﻟﺸﺎﻋﺮ‪ ،‬ﻓﺈن‬ ‫ﻛﺎﻧﺖ اﻟﻘﺼﻴﺪة ﺣﺎﻟﺔ اﻣﺘﺜﺎل اﳌﻌﻨﻰ ﻟﺒﻨﺎء اﻟﻠﻐﺔ اﳌﻮزون‪ ،‬ﻓﺈن ﺗﺤﻮل‬ ‫ﻣﻔﺮدات اﻟﻠﻐﺔ ﻳﻌﻨﻲ ﺗﺤﻮﻻً ﺟﻮﻫﺮﻳﺎً ﰲ أﺳﻠﻮﺑﻬﺎ‪.‬‬

‫إﱃ ﺟﺎﻧﺐ ﻫﺬا اﻷﺛﺮ اﳌﻠﻤﻮس ﻟﻠﻤﻔﺮدة ﰲ اﻟﻘﺼﻴﺪة اﻟﺸﻌﺒﻴﺔ اﻹﻣﺎراﺗﻴﺔ‪،‬‬ ‫ميﻜﻦ ﻟﻠﻤﻌﺎﻳﻦ ﳌﻔﻬﻮﻣﻬﺎ ودورﻫﺎ اﻟﻮﺻﻮل إﱃ ﻣﺴﺎﺣﺔ أﻛرث ﺧﺼﻮﺑﺔ ﰲ ﺗﻈﻞ اﳌﻔﺮدة ﻣﻔﻬﻮﻣﺎً ﻣﴩﻋﺎً ﻋﲆ اﻟﻘﺮاءة واﻟﺘﺄوﻳﻞ ﰲ اﻟﻨﺺ اﻟﺸﻌﺮي‬ ‫ﻗﺮاءة اﻟﻨﺺ اﻟﺸﻌﺮي‪ ،‬ﻳﺒﺪو اﻟﺘﻌﺒري ﻋﻨﻬﺎ أﻛرث وﺿﻮﺣﺎً ﰲ ﺗﺄﻣﻞ منﻮذج اﻟﻌﺮيب ﺑﺼﻮرة ﻋﺎﻣﺔ‪ ،‬واﻟﺸﻌﺒﻲ ﺑﺼﻮرة ﺧﺎﺻﺔ‪ ،‬وﺗﻈﻞ اﻟﻘﺼﻴﺪة‬ ‫اﻟﺸﻌﺒﻴﺔ ﰲ اﻹﻣﺎرات واﺣﺪة ﻣﻦ اﻟﺘﺠﺎرب اﻟﻨﺎﺿﺠﺔ واﳌﻮﺛﻘﺔ اﻟﺘﻲ‬ ‫ﺟﺪﻳﺪ ﻟﻠﺸﺎﻋﺮ ﺳﺎمل اﻟﺠﻤﺮي‪ ،‬ﻳﻘﻮل ﻓﻴﻪ‪:‬‬ ‫ميﻜﻦ اﻻﺳﺘﻨﺎد إﻟﻴﻬﺎ ﻟﺘﻤﺜﻞ ﻣﺜﻞ ﻫﺬا اﻟﻨﻮع ﻣﻦ اﻟﻘﺮاءات‪.‬‬ ‫*‪ ÑCC¼* ¥CC CCªCCJ · lCCCªCCC¡CCCG*K ¥CCC04fCCCgCCCG‬‬ ‫‪ CCªCCG fCCCCCMÑCCCCC- · CCCCCCCCCM42 lCCCCC¡CCCCCG*K‬‬ ‫‪ «CCkCC¡CCG*K «CCkCC CCªCCG ¢CCCCH «CCC-|CCC CCC CCC0*K‬‬ ‫‪ CCM§CC: ÔCCCCCD5 fCCC¤CCCG* ÔCC CC CCG* fCC CC CC CC+‬‬

‫اﻟﺸﻌﺮ ‪ /‬اﻟﻌﺪد ‪64‬‬ ‫‪ 34‬ﺑﻴﺖ ِ‬

‫ﻳﻘﻮل اﻟﺰﻣﺮ ﰲ ذﻟﻚ‪ ،‬إن‪» :‬ﺗﻘﻠﺐ ﺑﻌﺾ اﻟﻠﻬﺠﺎت ﰲ اﻹﻣﺎرات اﻟﻜﺎف ﰲ‬ ‫ﺣﺪﻳﺜﻬﺎ‪ ،‬ﻣﺜﻞ ﻣﻔﺮدة »ﻗﻠﺒﻚ« ﻋﻨﺪ ﻣﺨﺎﻃﺒﺔ اﳌﺆﻧﺚ ﻳﻘﻮﻟﻮن ﻗﻠﺒﺶ‪ ،‬وﻋﻴﻨﺶ‪،‬‬ ‫وﺗﻠﻚ ﻻ ﺷﻚ ﻟﻬﺠﺔ ﻣﻦ ﻟﻬﺠﺎت اﻟﻌﺮب اﻟﺘﻲ ﺗﺴﻤﻰ اﻟﻜﺸﻜﺸﺔ‪ ،‬واﻟﻜﺸﻜﺸﺔ‬ ‫ﺗﻠﻚ ﻟﻬﺠﺔ ﻗﺪميﺔ ﻇﻬﺮت ﰲ ﻟﻬﺠﺎت اﻟﻘﺒﺎﺋﻞ اﻷوﱃ ﻛﺮﺑﻴﻌﺔ وﻣﴬ وﺑﻨﻲ‬ ‫ﺳﻌﺪ‪ ،‬وﻣﺎ زال ﰲ اﻟﻌﺮب ﻣﻦ ﻳﺄيت ﺑﻬﺎ ﻛﻘﺒﻴﻠﺔ اﻟﻌﺠامن ﰲ اﻟﺴﻌﻮدﻳﺔ‪،‬‬ ‫وﻛﻘﺒﺎﺋﻞ اﻟﻨﻘﺒني ﰲ اﻹﻣﺎرات وأﻫﻞ اﻟﻴﻤﻦ‪ ،‬ﺟﺎء ذﻟﻚ ﰲ ﻟﺴﺎن اﻟﻌﺮب ﻻﺑﻦ‬ ‫ﻣﻨﻈﻮر )واﻟﻜﺸﻜﺸﺔ‪ :‬ﻟﻐﺔ ﻟﺮﺑﻴﻌﺔ‪ ،‬وﰲ اﻟﺼﺤﺎح‪ :‬ﻟﺒﻨﻲ أﺳﺪ‪ ،‬ﻳﺠﻌﻠﻮن اﻟﺸني‬ ‫ﻣﻜﺎن اﻟﻜﺎف‪ ،‬وذﻟﻚ ﰲ اﳌﺆﻧﺚ ﺧﺎﺻﺔ‪ ،‬ﻓﻴﻘﻮﻟﻮن‪ ،‬ﻋﻠﻴﺶ‪ ،‬وﻣﻨﺶ‪ ،‬وﺑﺶ‪،‬‬ ‫وﻳﻨﺸﺪون‪:‬‬

‫اﻟﻤﻔﺮدة ﻓﻲ ﻧﺼﻪ‪ ،‬ﻫﻲ ﻣﺴﺎﺣﺔ ﻟﻘﺮاءة ذاﻛﺮة‬ ‫ﺟﻤﺎﻟﻴﺔ ﺧﺎﻟﺼﺔ ﻟﻢ ﻳﻜﺘﺐ اﻟﺸﺎﻋﺮ ﻣﻦ دون اﻟﺮﺟﻮع‬ ‫إﻟﻴﻬﺎ واﻋﻴﺎً‪ ،‬أو ﺑﻼ وﻋﻲ‬ ‫ﺗﻈﻞ اﻟﻘﺼﻴﺪة اﻟﺸﻌﺒﻴﺔ ﻓﻲ اﻹﻣﺎرات واﺣﺪة ﻣﻦ‬ ‫اﻟﺘﺠﺎرب اﻟﻨﺎﺿﺠﺔ واﻟﻤﻮﺛﻘﺔ اﻟﺘﻲ ﻳﻤﻜﻦ اﻻﺳﺘﻨﺎد‬ ‫إﻟﻴﻬﺎ ﻟﺘﻤﺜﻞ ﻣﺜﻞ ﻫﺬا اﻟﻨﻮع ﻣﻦ اﻟﻘﺮاءات ‬

‫‪fCCJzCCªCC/ CCC7zCCCªCCC/K fCCJfCC¡CCªCC< CC7fCC¡CCªCC CCD‬‬ ‫ ‪ CCCªCCCE4 CCC CCC¡CCCH fCCCC CCCC CCCCG* CCCC CCCC< CCCCCCCGK‬‬

‫وﻳﻘﺪم اﻟﺰﻣﺮ ﰲ ﻫﺬا اﻻﺷﺘﻐﺎل اﻟﻌﺪﻳﺪ ﻣﻦ اﻟﻨامذج ﻋﲆ ﻣﻔﺮدات ﻋﺮﻓﺖ‬ ‫ﻛﺸﻌﺒﻴﺔ إﻻ أﻧﻬﺎ ﻓﺼﻴﺤﺔ‪ ،‬ﻓﻴﺘﻨﺎول ﻗﺼﻴﺪة ﻟﻠﺸﺎﻋﺮ اﻹﻣﺎرايت اﳌﻌﺮوف‬ ‫اﳌﺎﺟﺪي ﺑﻦ ﻇﺎﻫﺮ‪ ،‬ﻣﻨﻬﺎ‪:‬‬ ‫‪fCC¡CC+ «CCCC CCCCG* ¬zCCCCCMfCCCCC¼* CCCªCCC¤CCC CCCG* §CCCC CCCCM‬‬ ‫ ‪fCCC¤CCCGfCCCnCCCH&* ÕCCCC CCCCJfCCCC CCCCG* ¦*|CCCCCCCCC- zCCCCCCC+‬‬ ‫‪jCCCCH{CCCCH · fCCCC¤CCCCkCCCC CCCCEfCCCCH jCCCCCCI§CCCCCCH fCCCCCCCH‬‬ ‫ ‪fCC¤CCGfCCE CCCMfCCCnCCC¼* «CCCCCCC<*4 ¾(* jCCCCJ~CCCCIK‬‬ ‫*(¾ ‪fCC¤CCG *K§CCCCCCI zCCªCC CC CC CCG* ¬4fCCCCCC: L|CCCCC:‬‬ ‫ ‪]fCC¤CCG ¸(* ÕCCC CCC CCCH*|CCCG* £§CCC+|CCC CCCM ¸K‬‬

‫وﻳﺸري إﱃ أن ﻗﻮﻟﻪ ﰲ اﻟﺒﻴﺖ اﻟﺜﺎﻟﺚ »اﻟﺮاﻣﺴني« ﻳﻌﻨﻲ اﳌﺘﺤﺪﺛني‪،‬‬ ‫واﳌﺘﻜﻠﻤني‪ ،‬وﻛﻠﻤﺔ رﻣﺴﺔ ﻛﻠﻤﺔ ذات أﺻﻞ ﻓﺼﻴﺢ‪ ،‬ﻓﻘﺪ ﺟﺎء ﰲ ﻟﺴﺎن اﻟﻌﺮب‬ ‫»اﻟﺮﻣﺲ‪ :‬اﻟﺼﻮت اﻟﺨﻔﻲ«‪.‬‬ ‫ﺗﺘﺒﺪد ﰲ ﺗﻠﻚ اﻟﺪراﺳﺔ واﺣﺪة ﻣﻦ أﻛرث أﺷﻜﺎل اﻻﺳﺘﻨﺎد إﱃ اﳌﻔﺮدة ﰲ‬ ‫اﻟﻘﺼﻴﺪة ﻟﺘﺤﻘﻴﻖ ﺳامت ﺗﺠﻨﻴﺴﻬﺎ ووﺿﻌﻬﺎ ﰲ ﻗﺎﻟﺐ ﺟﺎﻫﺰ‪ ،‬وﺷﻜﻞ ميﻜﻦ‬ ‫ﺗﻮﻇﻴﻔﻪ ﻟﻠﺘﻤﻴﻴﺰ ﺑﻴﻨﻬﺎ‪ ،‬وﺑني ﻏريﻫﺎ ﻣﻦ أﺷﻜﺎل اﻟﺸﻌﺮ اﻟﻌﺮيب‪ ،‬اﻷﻣﺮ اﻟﺬي‬ ‫ﻳﻀﻊ اﳌﻔﺮدة ﰲ ﻣﺴﺎر ﺟﺪﻳﺪ‪ ،‬ميﻜﻦ اﳌﴚ ﻓﻴﻪ ﻟﻠﻮﺻﻮل إﱃ ﻣﻌﻨﻰ أﻛرث‬ ‫ﺟﻮﻫﺮﻳﺔ ﰲ ﻣﻌﻨﻰ اﻟﻘﺼﻴﺪة اﻟﺸﻌﺒﻴﺔ‪.‬‬ ‫ميﻜﻦ ﺗﻠﻤﺲ ﻫﺬا اﳌﺴﺎر ﰲ منﻮذج آﺧﺮ ﻣﻦ ﻗﺼﺎﺋﺪ اﻟﺸﺎﻋﺮ ﺳﺎمل اﻟﺠﻤﺮي‪،‬‬ ‫إذ ﻳﻜﺘﺐ ﰲ رده ﻋﲆ اﻟﺸﺎﻋﺮ ﻣﺤﻤﺪ ﺑﻦ زﻧﻴﺪ‪:‬‬ ‫^‪ 2fCCCCC CCCCCG* CCCCCC74fCCCCCC CCCCCCG* fCCCCCCCCD ifCCCCCCCCCC:‬‬ ‫‪ «CCCCCC-fCCCCCCHÑCCCCCC CCCCCC CCCCCCG*K jCCCCCCªCCCCCCtCCCCCCkCCCCCCGfCCCCCC+‬‬ ‫‪ ËÑCCCCCCCCCCH* ifCCCCCCCCCCkCCCCCCCCCCF* ¥CCCCCCCªCCCCCCC¡CCCCCCCGKfCCCCCCC:‬‬ ‫‪ «CCCC-fCCCCªCCCC+K K|CCCCCCCCCCCCCC0* CCCCCCCCCCCCCC6K2* ¥CCCCCCC+‬‬ ‫‪ ½fCCCCCCCC< CCCCCCCCCCG§CCCCCCCCCCH ¿ ¥CCCCCCCC CCCCCCCC7|CCCCCCCC:‬‬ ‫‪ «CCCCC-fCCCCCªCCCCCgCCCCCG zCCCCCCCCCCCCCCC+ CCCCCCCCCCGfCCCCCCCCCC+‬‬ ‫‪ 5¸ fCCCCCCCCCCCCCCIK ¥CCCCCCCCCCC+ ¥CCCCCCªCCCCCC¡CCCCCCgCCCCCCGfCCCCCC:‬‬ ‫‪ «CCCCCCC-*|CCCCCCCH CCCCCCgCCCCCC CCCCCC6 hCCCCCCCC0|CCCCCCCC+ ¥CCCCCCCCCC+‬‬ ‫‪ ½fCCCCC CCCCCM ¦zCCCCCCC CCCCCCC CCCCCCCE hCCCCCCC CCCCCCC8 5|CCCCCCCCCCCCC:‬‬ ‫‪ «CCCCC-fCCCCC+fCCCCCnCCCCCH hCCCCC CCCCC CCCCCM |CCCCC CCCCC CCCCC CCCCCGfCCCCC+‬‬ ‫ﻓﺒﺮاﻳﺮ ‪33 2018 /‬‬

‫ﻧﻘ!!!!!!!!!!!!!!!!!ﺪ‬ ‫‪baytelshear‬‬

‫ﻗﺮاءة ﻓﻲ ﺗﺠﺮﺑﺔ اﻟﺸﺎﻋﺮ ﺳﺎﻟﻢ اﻟﺠﻤﺮي‬

‫ﺣﻴﺔ ﻟﺬﻫﻨﻴﺔ ﻣﺠﺘﻤﻊ ﺑﺄﻛﻤﻠﻪ‬ ‫ﺻﻮرة ّ‬ ‫ﻣﺤﻤﺪ أﺑﻮ ﻋﺮب‬

‫إذا ﻛﺎن اﻟﺤﺮف ﻫﻮ وﺣﺪة اﻟﺒﻨﺎء اﻷﺻﻐﺮ ﻓﻲ ﻧﺺ اﻟﻘﺼﻴﺪة‪ ،‬ﻓﺈن اﺗﺤﺎده وﻓﻖ ﻣﻨﻈﻮﻣﺎت ﻟﻐﻮﻳﺔ ودﻻﻟﻴﺔ‪ ،‬ﻳﻔﺘﺢ اﻟﺒﺎب ﻛﺎﻣ ًﻼ ﻋﻠﻰ ﻣﻔﻬﻮم‬ ‫اﻟﻤﻔﺮدة ﻓﻲ اﻟﻘﺼﻴﺪة‪ ،‬ﺑﻮﺻﻔﻬﺎ اﻟﻠﺒﻨﺔ اﻷوﻟﻰ اﻟﺘﻲ ﺗﺘﺠﺎوز اﻟﻤﺒﻨﻰ إﻟﻰ اﻟﻤﻌﻨﻰ‪ ،‬ﻓﺎﻟﺤﺮف ﺑﺼﻴﻐﺘﻪ اﻷﺣﺎدﻳﺔ ﻻ ﻳﺤﻤﻞ ﻣﻌﻨﻰ أو دﻻﻟﺔ ﻋﻠﻰ‬ ‫اﻟﻤﺴﺘﻮى اﻟﻠﻐﻮي اﻟﻤﻘﺮوء ﻇﺎﻫﺮ ًا‪W‬‬

‫ﺗﺘﺸﻜﻞ أﻫﻤﻴﺔ اﳌﻔﺮدة أو اﻟﻜﻠﻤﺔ ﰲ اﻟﻨﺺ اﻹﺑﺪاﻋﻲ ﺑﺎﻟﻮﻗﻮف ﻋﻨﺪ‬ ‫ﻗﺪرﺗﻬﺎ اﻟﺠﻮﻫﺮﻳﺔ ﻋﲆ ﺗﺤﻮﻳﻞ ﻣﺴﺎر اﻟﻨﺺ‪ ،‬وﻓﺘﺢ أﻓﻖ ﺗﺄوﻳﻠﻪ ﻋﲆ‬ ‫دﻻﻻت ﺟﺪﻳﺪة‪ ،‬إذ ﺗﻜﻔﻲ ﻛﻠﻤﺔ واﺣﺪة ﻹﺣﺪاث اﻧﺰﻳﺎح ﰲ اﳌﻌﻨﻰ‪ ،‬أو‬ ‫ﺗﻌﻤﻴﻖ ﰲ اﻟﺼﻮرة‪ ،‬أو ﺗﺸﻴﻴﺪ ﻣﻌامر ﺟﺪﻳﺪ ﰲ اﻟﺠامﻟﻴﺎت‪.‬‬ ‫ﻳﻜﺜﻒ أﺛﺮ اﳌﻔﺮدة ﻛﺒري اﻷدب اﻹﻧﺠﻠﻴﺰي وﻳﻠﻴﻢ ﺷﻜﺴﺒري ﰲ ﻋﺒﺎرة‬ ‫ﻟﻪ ﻳﺮى ﻓﻴﻬﺎ‪» :‬اﻷﻋامل اﻟﺴﻴﺌﺔ ﺗﻀﺎﻋﻔﻬﺎ ﻛﻠﻤﺔ ﴍﻳﺮة«‪ ،‬ﻟﻴﺒﺪو ﺑﺬﻟﻚ‬ ‫ﻣﻨﺤﺎزاً ﻷﺛﺮ اﻟﻠﻐﺔ ﻋﲆ اﻟﻮاﻗﻊ‪ ،‬وﻗﺪرة اﳌﻔﺮدة ﻋﲆ ﺗﻀﻌﻴﻒ ﻣﻌﻨﻰ‬ ‫اﻟﺤﺪث‪.‬‬ ‫ﻣﻦ ﻫﺬه اﻟﻨﺎﻓﺬة اﻟﺒﻼﻏﻴﺔ ميﻜﻦ اﻹﻃﻼﻟﺔ ﻋﲆ واﺣﺪة ﻣﻦ اﻟﺘﺠﺎرب‬ ‫اﻟﺮاﺳﺨﺔ ﰲ ذاﻛﺮة اﻟﺸﻌﺮ اﻟﺸﻌﺒﻲ اﻹﻣﺎرايت‪ ،‬ﺣﻴﺚ ﻳﺼﺒﺢ اﻟﺒﺤﺚ ﰲ‬ ‫ﻣﻌﻨﻰ اﳌﻔﺮدة‪ ،‬وﻣﺴﺎﺣﺔ وﻋﻲ اﻟﺸﺎﻋﺮ اﻟﺸﻌﺒﻲ ﻓﻴﻬﺎ‪ ،‬ﻣﺴﺎﺣﺔ ﺧﻄﺮة‪،‬‬ ‫ﺗﻨﺘﻘﻞ ﻣﻦ ﺑﻨﺎء اﻟﻨﺺ إﱃ ﻋﻘﻞ اﻟﺸﺎﻋﺮ ﻧﻔﺴﻪ‪ ،‬واﳌﺮﺟﻌﻴﺔ اﳌﻌﺮﻓﻴﺔ اﻟﺘﻲ‬ ‫ﻳﻌﻮد إﻟﻴﻬﺎ‪ ،‬وﺑﺎﻟﺘﺎﱄ ﻧﺠﺪ أﻧﻔﺴﻨﺎ أﻣﺎم اﳌﺤﻤﻮل اﻟﺬﻫﻨﻲ ﻟﻠﻤﺠﺘﻤﻊ‬ ‫اﻹﻣﺎرايت ﻗﺒﻞ ﻋﻘﻮد ﻣﻦ اﻟﻴﻮم‪.‬‬ ‫ﺑﺎﻻﺳﺘﻨﺎد إﱃ ذﻟﻚ ﻳﺒﺪو درب اﻟﻘﺮاءة اﻟﺘﺄوﻳﻠﻴﺔ اﻟﻈﺎﻫﺮ ﻣﴩﻋﺎً‬ ‫ﻟﻠﻮﻗﻮف ﻋﻨﺪ ﻣﻔﻬﻮم‪ ،‬وﺗﺤﻮﻻت اﳌﻔﺮدة‪ ،‬ﰲ ﻗﺼﻴﺪة اﻟﺸﺎﻋﺮ اﻟﺸﻌﺒﻲ‬ ‫ﺳﺎمل اﻟﺠﻤﺮي‪ ،‬إذ ﺗﺘﺤﻮل اﳌﻔﺮدة إﱃ ﻣﺴﺎر ﻛﺎﻣﻞ ميﻜﻦ ﺗﺘﺒﻊ ﻋﻼﻣﺎﺗﻪ‬ ‫ﰲ ﻗﺼﻴﺪة اﻟﺠﻤﺮي‪ ،‬ﻓﺎﳌﻔﺮدة ﰲ ﻧﺼﻪ‪ ،‬ﻫﻲ ﻣﺴﺎﺣﺔ ﻟﻘﺮاءة ذاﻛﺮة‬ ‫ﺟامﻟﻴﺔ ﺧﺎﻟﺼﺔ مل ﻳﻜﺘﺐ اﻟﺸﺎﻋﺮ ﻣﻦ دون اﻟﺮﺟﻮع إﻟﻴﻬﺎ واﻋﻴﺎً‪ ،‬أو‬ ‫ﺑﻼ وﻋﻲ‪.‬‬ ‫وﻳﺘﺄﻛﺪ ذﻟﻚ ﺑﺘﺄﻣﻞ منﺎذج ﻣﻦ ﻗﺼﺎﺋﺪه‪ ،‬ﻓﺎﳌﻌﺎﻳﻦ ﻟﻮاﺣﺪة ﻣﻦ ﻧﺼﻮﺻﻪ‬ ‫ﻳﺠﺪ ﻧﻔﺴﻪ أﻣﺎم ﺣﺎﻟﺔ ﺗﺘﻘﻠﺐ ﻓﻴﻬﺎ دﻻﻟﺔ اﳌﻔﺮدة ﻣﻦ اﻟﺸﻔﻬﻲ‬ ‫واﻟﻌﺎﻣﻲ‪ ،‬إﱃ اﳌﻜﺘﻮب واﻟﻔﺼﻴﺢ‪ ،‬ﺣﻴﺚ ﻳﻜﺘﺐ‪:‬‬

‫*&‪ ¬4*§CCC/ § - hCCCº* ifCC CC CCH ¢CCH fCCCI‬‬ ‫‪ hª¤G ¦*|CCC CCC- $fCCCE|CCC CCCG* ¢CCCH «CCgCC CCEK‬‬ ‫‪«k < CC CC< ¢CCH fCCCº* ªq 6 ¿fCCC0K‬‬ ‫‪ hªg 8 2KzCCCC»* uCC CC CC8 ¨CC CC< «CC CCH2K‬‬ ‫‪ §CC¹*K |CC CCG* ¢CCH f ¡; «k ª HK‬‬ ‫‪ hCCCM|CCC0 fCCC¡CCC CCC CCCG ÔCCC¤CCC CCC6 «CCC¡CCC CCC/K‬‬ ‫‪ f¤+f H ¢CCH l 7 ¿ « I §CCG ÑCCD‬‬ ‫‪hCCªCC CC-* *|CCCCC CCCCCG*K «CCgCC CCE §CCCCCG ¸K‬‬

‫ﰲ اﻟﻘﺮاءة اﻷوﱃ ﻟﻨﺺ اﻟﺠﻤﺮي ﻳﺠﺪ اﳌﺘﺘﺒﻊ ﻧﻔﺴﻪ أﻣﺎم ﻧﺺ ﻣﺸﻐﻮل‬ ‫ﺑﺎﻟﻌﺎﻣﻴﺔ اﻹﻣﺎراﺗﻴﺔ اﻟﺘﻲ ﻛﺎﻧﺖ ﻣﺴﺘﺨﺪﻣﺔ ﻗﺒﻞ ﻋﻘﻮد ﻗﻠﻴﻠﺔ ﻣﺎﺿﻴﺔ‪ ،‬إﻻ‬ ‫أن اﳌﺘﺄﻣﻞ ﻟﻬﺬا اﻟﻨﺺ ﻳﺠﺪ أن اﻟﺸﺎﻋﺮ مل ﻳﻜﺪ ﻳﺘﺠﺎوز اﻟﻠﻐﺔ اﻟﻔﺼﻴﺤﺔ‬ ‫ﺳﻮى ﻇﺎﻫﺮﻳﺎً‪ ،‬وأﻧﻪ ﻇﻞ ﻣﺤﻜﻮﻣﺎً ﳌﺎ ﻗﺪﻣﺘﻪ اﻟﻘﺼﻴﺪة اﻟﻔﺼﻴﺤﺔ‬ ‫اﻟﺘﺎرﻳﺨﻴﺔ‪ ،‬ﻓﺎﻷﺑﻴﺎت اﳌﺬﻛﻮرة ﺗﺠﻤﻊ ﻋﺪداً ﻣﻦ اﳌﻔﺮدات اﻟﻌﺎﻣﻴﺔ اﻟﺘﻲ‬ ‫ميﻜﻦ ﺑﺘﺤﻮﻳﻠﻬﺎ إﱃ ﻣﻔﺮدات ﻓﺼﻴﺤﺔ‪ ،‬أن ﻧﺠﺪ أﻧﻔﺴﻨﺎ أﻣﺎم ﻧﺺ ﻓﺼﻴﺢ‪.‬‬ ‫وﻳﻀﻌﻨﺎ ﻫﺬا اﳌﻠﻤﺢ ﻋﻨﺪ اﻟﻌﻼﻗﺔ ﺑني اﻟﺸﻌﺒﻲ واﻟﻔﺼﻴﺢ مبﺴﺘﻮاه‬ ‫اﻟﻠﻐﻮي‪ ،‬إذ ﻫﻞ ﻳﻜﻔﻲ أن ﺗﻜﻮن اﻟﻘﺼﻴﺪة ﻣﻜﺘﻮﺑﺔ ﺑﺎﻟﻠﻬﺠﺔ اﳌﺤﻜﻴﺔ‬ ‫ﻟﺘﺼﺒﺢ ﻧﺼﺎً ﺷﻌﺒﻴﺎً‪ ،‬أم أن ﻣﺎ ﻳﺤﺪد ﻫﺬا اﻟﺘﺠﻨﻴﺲ ﻫﻮ اﳌﺤﻤﻮل‬ ‫اﻟﺠامﱄ‪ ،‬واﻟﺬﻫﻨﻲ اﻟﺬي ﻗﺎﻣﺖ ﻋﻠﻴﻪ اﻟﻘﺼﻴﺪة؟‬

‫ﻳﻈﻞ ﻫﺬا اﻟﺴﺆال ﻋﺎﻟﻘﺎً وﻳﺤﺘﺎج إﱃ ﺟﻤﻠﺔ ﻣﻦ اﻟﺠﻬﻮد اﻟﺒﺤﺜﻴﺔ‬ ‫ﻟﻠﻮﺻﻮل إﱃ إﺟﺎﺑﺎت ﺣﺎﺳﻤﺔ ﻓﻴﻪ‪ ،‬إذا ﻣﺎ ﻋﺪﻧﺎ إﱃ اﻟﺪراﺳﺔ اﻟﺘﻲ ﻗﺪﻣﻬﺎ‬ ‫اﻟﺒﺎﺣﺚ واﻟﺸﺎﻋﺮ اﻹﻣﺎرايت ﺳﺎمل اﻟﺰﻣﺮ ﰲ ﻛﺘﺎﺑﻪ »اﻟﻨﺒﻄﻲ اﻟﻔﺼﻴﺢ«‬ ‫اﻟﺬي ﻳﺰﻳﺢ ﻓﻴﻪ اﻟﻨﻘﺎب ﻋﻦ ﺟﻤﻠﺔ ﻣﻦ اﳌﻔﺮدات اﳌﻜﺮﺳﺔ ﰲ اﳌﺸﻬﺪ‬ ‫اﻟﺸﻌﺮي اﻟﺸﻌﺒﻲ ﺑﻮﺻﻔﻬﺎ ﻣﻔﺮدات ﺷﻌﺒﻴﺔ‪ ،‬ﻟﻴﻈﻬﺮ أﻧﻬﺎ ﻣﻔﺮدات‬ ‫‪ hªg0 *|CCCD&* ¢CCH ¿fCCº* § G* *|CC+‬‬ ‫‪ hCCªCC CC CC8 ¦*K2 ¨CCgCC CCE ¨CCC CCC< v|CCCCCC/K‬ﻓﺼﻴﺤﺔ ﺧﺎﻟﺼﺔ‪ ،‬وﻣﺎ ﺣﺎﻟﺔ اﻟﺘﺤﻮل واﻻﻧﺰﻳﺎح ﰲ ﻣﺒﻨﺎﻫﺎ إﻻ ﺗﺠﺮﺑﺔ‬ ‫اﺳﺘﻨﺎداً إﱃ واﺣﺪة ﻣﻦ اﻟﻠﻬﺠﺎت اﻟﻌﺮﺑﻴﺔ اﻟﺘﻲ ﻛﺎﻧﺖ ﻣﺴﺘﺨﺪﻣﺔ ﰲ‬ ‫‪ ÑH fCCCM |CCC CCCG* CCCJ «CCCCH2 §CC CC CC0 §CCCCGK‬‬ ‫‪ hCCªCCgCC: ¥CCMzCCkCC¤CCM «CCC0|CCC/ ¢CCCC; ÑCCCCD‬اﻟﺠﺰﻳﺮة اﻟﻌﺮﺑﻴﺔ وﻣﺎ ﻳﺠﺎورﻫﺎ ﻣﻦ ﻣﻨﺎﻃﻖ‪.‬‬ ‫اﻟﺸﻌﺮ ‪ /‬اﻟﻌﺪد ‪64‬‬ ‫‪ 32‬ﺑﻴﺖ ِ‬

‫ﻣﺸﺎﻋﺮ ﻋﺒﻮر‬ ‫ﺳﻌﺪ ﻋﻠﻮش‬ @saad3alosh

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31 2018 / ‫ﻓﺒﺮاﻳﺮ‬

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‫ﻣﺎﺳﺎت‬ baytelshear

‫اﻟﺠﺎدل‬ ‫ﻣﺤﻤﺪ اﻟﻤﺮ‬ @almurrm

@@ @ £@ Ex@@- h@@ @ @ £@ @/ b@@ @ @ @ @ Q @ @C ¤@@ @ @ c@ @ @ @ @ @+ ¤@@ @ @ @ Ex@@ @ @@J¡@@ @ - H @@ @ £@ ~@ }@ - ° @@ @ @ @ @ £@ @ + @@ @ Q @ @ 1 @@ @ JÄ@@- rx@@ @ @ @ @ ±* h@@ +b@@ ~@ @ 8 *H Mf@ @ @ @ @ @ @ @+ @@ @ D @@£@ g@ D* ¤@@ @ @ ~@ {@ J ¡@@ @ @ G H 2b@@ @ @ @ @< · ¤@@ @ ~@ {@ @@ @ @ @ @ JxQ @ @+*H b@@ @ @ @ @ Jb@@ @ @ @ @³* @@ ~@ @z@ @cQ @ @D* 4¡@@ @ @ c@ @¸ @@ @ @ @£@ Db@@- H ¥H*v@@ @ @ @ @ @ @ @D* v@@ @ @ @ /¡@@ @D* HQ * ¡@@ @ @ G @@ @ £@ A ¤@@g@ @ £@ ~@ 9 b@@ @ J H @@ -*x@@ @ @ @ ~@ z@ E ¡@@ @ @: b@@ @ J @@Jx@@ @ @ - h@@ @ @ @ @ @ D5° H @@ @ @~@ @8¡@@ + @@ @ @ @ @ g@ @Jx@@ =* @@£@ Ab@@~@ 8 Q2¡@@ @ @ D* 2b@@ @~@ @ 8 @@ @E @@ @D h@@£@ @ ~@ 8* H @@£@ @ ~@ z@ D qQ @ @ ~@ @ 8 H 2Hb@@ @ @ @< *H @@ @ @ @ @. ¢@@ g@ @0 @@ @ @ @£@ @ @ J @@ @ @ @ @ @ @D* @@ @ @ @ @E ¡@@ @ D @@ @ D rb@@ @ @ @ @ @ -4* @@ @ £@ £@ « H @@ @ @ g@ @£@ @­ v@@ @£@ @ + x@@ @ @ @ @ D* ¢@@ g@ @ 0 @@£@ ~@ }@ A* ¥2H b@@ @ E Ì@@ @ = @@ @ @ @ <* ¯b@@ @ @ @³* H

@@ @ g@ £@ E4 @@ @ @g@ @E ¡@@ @ @ @ @ A @@ @ E ¥w@@ @ @ @ D* *w@@ @ @ @ @ G @@ @ g@ J¡@@: H h@@ @ @ @ @ @ @ @ @/4 °Q &* x@@ @ j@ g@ @ J b@@ @ E @@ @ @ @ @ @ @ @ @ @g@ £@ E2 rM x@@ @ @ @ @ @ / @@ @ @ @ C ¥H*v@@ @ @ @ @ @ @ J @@ @ Q @ @ @1 @@ @ g@ £@ @ F ¡@@ @ @ @ @ D @@ @ c@ @ g@ J ¤@@ @ @ @ D* 2b@@ @ @ @ @±* @@ @ g@ £@ @ ~@ 7 ¤@@ @ @j@ @´ @@ @ @ @ E*2 @@ @ @ @ @~@ @|@ @F* @@ @£@ @ C @@g@ J¡@@G 2H* @@ c@ @B Á*Q v@@ @ @ @ @~@ @7* b@@ @ @ F* @@g@ Jx@@ @ @ @~@ 6H b@@ @~@ @ 8¡@@ @D* @@ £@ @D @@ c@ @~@ @z@ @0* h@@ @ @C @@ @ g@ £@ + Q24N b@@ @ @ @ E d@@ @ @ @ @ @ @D* H b@@ @ @ @ @E¡@@ J @@ @ @E @@ @ g@ £@ @ @ ~@ 8* 2¡@@ @ @ ~@ @z@ @²* Q @ @ @ @ @= ¢@@ @ @< @@ @Eb@@ @J @@g@ £@ @ ~@ 6 H *¡@@ @ @ @G ¯ x@@ @ @ @ ~@ @ 6* Md@@ @ @ @ @B · @@ @ @ @g@ £@ @ 0 oM x@@ @ @ @ @ @ G @@ @ @C d@@ @ =x@@ @ - 3* · H @@g@ £@ E v@@ £@ @ @ @D* @@ @ E Ì@@ @ @= @@ @ < Í@@ @ < ·H @@g@£@ @1 @@ @ ~@ }@ @ + H @@ @ g@ @ B x@@ @ @ ~@ {@ D* @@}@ @ + 64 ‫ اﻟﻌﺪد‬/ ‫اﻟﺸﻌﺮ‬ ِ ‫ ﺑﻴﺖ‬30

‫ﻛﺘﻴﺐ ﺗﻮﺛﻴﻘﻲ ﺧﺎص ﺑﺎﻟﻤﺴﺎﺑﻘﺔ اﻟﺸﻌﺮﻳﺔ‬ ‫ﺻﺪور ّ‬ ‫ﻟﻤﻬﺮﺟﺎن ﺳﻠﻄﺎن ﺑﻦ زاﻳﺪ اﻟﺘﺮاﺛﻲ‬ ‫ﺻﺪر ﻋﻦ ﻣﺮﻛﺰ زاﻳﺪ ﻟﻠﺪراﺳﺎت واﻟﺒﺤﻮث‬ ‫ﻛﺘ ّﻴﺐ ﺗﻮﺛﻴﻘﻲ ﺧﺎص ﺑﺎﳌﺴﺎﺑﻘﺔ اﻟﺸﻌﺮﻳﺔ‬ ‫ﳌﻬﺮﺟﺎن ﺳﻠﻄﺎن ﺑﻦ زاﻳﺪ اﻟﱰايث‪ .‬وﺿﻢ‬ ‫اﻟﻜﺘﻴﺐ ﺑني دﻓﻴﺘﻪ اﻟﻘﺼﺎﺋﺪ اﻟﻔﺎﺋﺰة ﰲ‬ ‫اﻟﺪورات اﻟﺨﻤﺲ اﻷوﱃ‪ ،‬ﺑﺪءاً ﻣﻦ اﻟﻌﺎم‬ ‫‪ ،2013‬وﺻﻮﻻً إﱃ اﻟﻌﺎم ‪ .2017‬وذﻟﻚ ﻣﻦ‬ ‫أﺟﻞ ﺗﻮﺛﻴﻖ ﻫﺬه اﳌﺴﺎﺑﻘﺔ اﻟﺘﻲ اﻧﻄﻠﻘﺖ‬ ‫ﺑﺘﻮﺟﻴﻬﺎت ﺳﻤﻮ اﻟﺸﻴﺦ ﺳﻠﻄﺎن ﺑﻦ زاﻳﺪ آل‬ ‫ﻧﻬﻴﺎن ﻣﻤﺜﻞ ﺻﺎﺣﺐ اﻟﺴﻤﻮ رﺋﻴﺲ اﻟﺪوﻟﺔ‬ ‫ﺣﻔﻈﻪ اﻟﻠﻪ‪ ،‬ﻟﺘﺆﻛﺪ ﻋﲆ ﻣﻜﺎﻧﺔ اﻟﺸﻌﺮ‬ ‫وﻗﻴﻤﺘﻪ‪ ،‬ودوره ﰲ ﺣﻔﻆ اﻟﱰاث واﻻﺣﺘﻔﺎء‬ ‫ﺑﺄﺻﺎﻟﺘﻪ وﻣﻔﺮداﺗﻪ‪ .‬وﻗﺪ أﺻﺒﺤﺖ اﻟﻴﻮم‬ ‫واﺣﺪة ﻣﻦ أﺑﺮز اﳌﺴﺎﺑﻘﺎت اﻟﺸﻌﺮﻳﺔ ﰲ‬ ‫اﳌﻨﻄﻘﺔ‪.‬‬ ‫وﺟﺎء اﻟﻜﺘ ّﻴﺐ ﰲ ‪ 55‬ﺻﻔﺤﺔ ﻣﻦ اﻟﻘﻄﻊ‬ ‫اﳌﺘﻮﺳﻂ‪ ،‬وﺿﻢ ﴍﺣﺎً ﻋﻦ دورات اﳌﺴﺎﺑﻘﺔ‪،‬‬ ‫وﻋﻨﻮان ﻛﻞ دورة‪ ،‬إﱃ ﺟﺎﻧﺐ أﺳامء ﻟﺠﺎن‬ ‫اﻟﺘﺤﻜﻴﻢ واﻟﺸﻌﺮاء اﻟﻔﺎﺋﺰﻳﻦ‪ .‬وﺷﺎرك ﰲ‬ ‫إﻋﺪاد اﳌﻠﺤﻖ ﻛﻞ ﻣﻦ ﻓﺎﻃﻤﺔ اﳌﻨﺼﻮري‬ ‫ﻣﺪﻳﺮ ﻣﺮﻛﺰ زاﻳﺪ ﻟﻠﺪراﺳﺎت واﻟﺒﺤﻮث‬ ‫ﻛﻤﴩﻓﺔ ﻋﲆ اﳌﻠﺤﻖ‪ ،‬وﻋﺒﺪاﻟﻠﻪ أﺑﻮ ﺑﻜﺮ‬ ‫ﻣﺪﻳﺮ ﺗﺤﺮﻳﺮ ﻣﺠﻠﺔ ﺑﻴﺖ اﻟﺸﻌﺮ ﰲ اﻟﺘﺤﺮﻳﺮ‪ ،‬وﺗﻢ ﺗﻮزﻳﻊ اﳌﻠﺤﻖ ﺗﺰاﻣﻨﺎً ﻣﻊ اﻧﻄﻼق واﳌﻬﺘﻤني ﺑﺎﳌﺴﺎﺑﻘﺔ اﻟﺸﻌﺮﻳﺔ‪ ،‬اﻟﺘﻲ ﺷﻬﺪت‬ ‫وﺳﻌﺎد ﺣﺴﻨﺔ ﻣﺨﺮﺟﺔ اﳌﺠﻠﺔ اﻟﺘﻲ ﺗﻮ ّﻟﺖ ﻓﻌﺎﻟﻴﺎت ﻣﻬﺮﺟﺎن ﺳﻠﻄﺎن ﺑﻦ زاﻳﺪ اﻟﱰايث ﰲ دورﺗﻬﺎ اﻟﺴﺎدﺳﺔ )‪ (2018‬ﻣﺸﺎرﻛﺔ واﺳﻌﺔ‬ ‫ﻣﻬﻤﺔ اﻹﺧﺮاج اﻟﻔﻨﻲ‪.‬‬ ‫‪ ،2018‬ﻟﻴﻜﻮن ﻣﺘﺎﺣﺎً أﻣﺎم ﺟﻤﻬﻮر اﳌﻬﺮﺟﺎن‪ ،‬ﻣﻦ ﺷﻌﺮاء اﻹﻣﺎرات ودوﻟﺔ اﻟﺨﻠﻴﺞ اﻟﻌﺮﺑﻴﺔ‪.‬‬

‫ﻓﺒﺮاﻳﺮ ‪29 2018 /‬‬

‫ﻣﺘﺎﺑ!!!!!!!ﻌﺔ‬ ‫‪baytelshear‬‬

‫ﻣﻘﺎﻃﻊ ﻣﻦ ﻗﺼﺎﺋﺪ اﻟﺪﻳﻮان ‬

‫اﻟﻤﺪح واﻟﻮﻃﻨﻴﺎت‬

‫ﻣﻦ ﻗﺼﻴﺪة اﻟﺸﺎﻋﺮ ﰲ ﻣﺪح ﺳﻤﻮ اﻟﺸﻴﺦ ﺳﻠﻄﺎن ﺑﻦ زاﻳﺪ آل ﻧﻬﻴﺎن ﺣﻔﻈﻪ اﻟﻠﻪ ‪:‬‬

‫‪¥2¡@@ @ @ @ © 4b@@ @ @ @ @ @ @ @ @ @ @´* i*x@@ @ @ @ @ @ @ @ @ @ @+ ·Q b@@ @ @ @ J‬‬ ‫‪¥2¡@@ @~@ @ {@ @ J @@ @c@ @ @ @ ~@ @ 7 v@@ @ @ @ @< @@ @c@ @ £@ @ @ @ + @X @ @ @ @ @C‬‬ ‫‪¥2Hv@@ @ @ @ @ @ /°* d@@ @ Jx@@ @ < ex@@ @ @ @ @ @ EH v@@ @Jv@@ @ @ @ ~@ @ 8‬‬

‫‪2b@@ @ @ ¸°* y@@ @ @ E4 b@@ @ =¡@@ @ D* 5x@@ @ @ A b@@ @ J b@@ @ @ @ @~@ @6‬‬ ‫‪2b@@ @ @ @ <Q 4 ib@@ c@ @£@ @ @ @~@ @|@ @ @ @D @@ @~@ @ 8b@@ @E @@ @ 8*x@@ @ @ @ @E‬‬ ‫‪2*v@@ @ @ @/&°* ex@@ @ < b@@ @J b@@ =x@@ ~@ @}@ @D* b@@ @J k@@ £@ @D b@@ @J‬‬

‫اﻟﻔﺨﺮ‬ ‫ﻣﻦ ﻗﺼﻴﺪة اﻟﺸﺎﻋﺮ ﰲ ﻣﻠﺘﻘﻰ ﺣﺮب اﻷول ‪:‬‬

‫‪ @@ @ £Q @ @ @p@ @ @g@ @ @D*H ¤@@ @ @ @ @ @ @ +4 2¡@@ @ @ @ @ @ @ @ @ + b@@ @ @c@ @ @ 0x@@ @ @E‬‬ ‫‪ @@ @ £@ @ @D3b@@ @ ~@ @ @{@ @ @D*H b@@ @ @ @A¡@@ @ @ @D* @@ @ @ @G&b@ @ @ @ + b@@ @ c@ @ @0x@@ @ E‬‬ ‫‪f@@ £@ @~@ @94 @@ @~@ @ z@ @ @ @ F xM @ @ @ <b@@ @ @~@ @ @ 7 @@ @ @ E b@@ @ c@ @ @0x@@ @ E‬‬

‫< @ @@‪eb@@ p@ @~@ @z@ @D* @@ £@ @Db@@ @ @G @@ @ E x@@ @ @ @ @E&* b@@ @ E v‬‬ ‫‪eb@@ @c@ @ ~@ @ {@ @ Db@@ @+H 4¡@@ @ @~@ @ @ }@ @ @ ²b@@ @ @+H 4b@@ @ c@ @ @ @ @ @ Db@@ @ +‬‬ ‫‪eb@@ ~@ @ }@ @ @ @ D* Ä@@ @ @ C @@ @C4¡@@ @~@ @ }@ @ p@ @ + @@ @ g@ @ @0x@@ @ A‬‬

‫اﻟﺮﺛﺎء‬ ‫ﻣﻦ ﻗﺼﻴﺪة اﻟﺸﺎﻋﺮ ﰲ رﺛﺎء ﻣﺤﻤﺪ ﺑﻦ ﻋﲇ ﺑﻦ ﺣامد ﺑﻦ ﻏﱰ اﻟﺤﺮيب رﺣﻤﻪ اﻟﻠﻪ ‪:‬‬

‫‪4b@@ @ ±*H @@£@ ~@ }@ D* x@@ @ @- ¤@@ @ @D* b@@ @J ¡@@ @0x@@ @E‬‬ ‫‪4b@@ @£@ @ ³ Í@@ @ @ @ @Jx@@ @ ~@ @ @7 v@@ @ @ @ @ < b@@ @ @£@ @ @ D v@@ @ @ @ @ @ ¹‬‬ ‫*‪4b@@ @c@ @ @ @ - d@@ @ @£@ @ @ /*¡@@ @ @ @ @ @ @ @ @ D 4b@@ @ @ @ @ @ @ @ @ @ @´* @@ @ @ @ @ @ +‬‬

‫‪ @@ £@ @ @ @ ²* @@ @ Jx@@ @ ~@ @ @6 @@ @ @<y@@ @ @ @ @ @ D* ¤@@ @ @ @ @ @ <*4 b@@ @ @ @J‬‬ ‫‪ @@ @ @Jx@@ @ @ @ @ @ D*H x@@ @ @ @ @ @ @ j@ @ @ @ ´* ¡@@ @ @ @ @ @ @ @ @ @ @ D* *4‬‬ ‫‪ @@ £@ @ @ @ ³* @@ @£@ @ @ @ < iÄ@@ @ @ @ @ C @@ @ @ @E b@@ @ ~@ @ @|@ @ @ @ @ @J‬‬

‫اﻟﻘﺼﺎﺋﺪ اﻻﺟﺘﻤﺎﻋﻴﺔ‬ ‫ﻣﻦ ﻗﺼﻴﺪة اﻟﺸﺎﻋﺮ ﰲ اﻻﻋﺘﺬار ﻣﻮﺟﻪ ﻷﺣﺪ أﺻﺪﻗﺎﺋﻪ ‪:‬‬

‫*&‪¤@@ @ @ @ £@ @ A4 b@@ @ @ @ J ¤@@ @ @ g@ @ @ @D5 q@@ @ @ Ev@@ @ @ - ¡@@ @ @ @ @ @ @ @ @ @/4‬‬ ‫*‪¤@@ @ @ @ Jx@@ @: 4¡Q @ @ @ @ @ @ @ @ @ @FH @@ @ @ @ @Dy@@ @ @ @ @D* · q@@ @ @ @ @ @ @ @E2‬‬ ‫‪¤@@ @ @£@ @ @ @J b@@ @ @ @E 4v@@ @ @ @ @ @ @ @ @ @ ´* v@@ @ @ @ @ < ¡@@ @ @ @ @ @ @ @ @ D*H‬‬

‫*‪ v@@ @ @J ¢@@ @ @ @ @ @ < ¥¡@@ @ @ @ @ @ @ @ < @@ @ @ @ . Ñ ¡@@ @ @ @ @ @ @ @ @ D‬‬ ‫ @ @ @ @ @@‪ v@@ @~@ @ 7b@@ @F* ¡@@ @ @ @ J ¤@@ p@ @g@ @~@ @z@ @E @@ @ @ @ E ¥*x‬‬‫‪ v@@ @Jb@@ @ @ @ 0 ·b@@ @ @ @ @ @ @ @ @´*H 4v@@ @ @ @ @ @ @ @ + @@ @ @ Ax@@ @ @ J‬‬

‫اﻟﻐﺰل‬ ‫ﻣﻦ ﻗﺼﻴﺪة اﻟﺸﺎﻋﺮ ﰲ اﻟﺘﻐﻨﻲ ﺑﺠامل اﳌﺤﺒﻮﺑﺔ‪ ،‬وﺟامﻟﻴﺎت اﳌﻜﺎن ﰲ دﻳﺎر ﻃﻲء ‪:‬‬

‫‪q@@ Jx@@ D*H rHx@@ @ @ D* $*¡@@ @ @G b@@ J ¢@@ @ @ ~@ 6 b@@ c@ @/ b@@ J‬‬ ‫‪q@@ £@ @-b@@ @ @EH @@ c@ @~@ @7 @@ @£@ @ A b@@ @ E ¢@@ @ :¡@@ @ D* ¡@@ @ @ J‬‬ ‫*&‪q@@ @ £@ @ @+*Hw@@ @ D* ¡@@ @ £@ @ @ @ @ @D* *4 @@ @ @< @@ @ @D&b@ @ @ ~@ @ @ 6‬‬

‫‪°b@@ @ @ @ ~@ @ 7 4Qv@ @ @ @ @ @ @ @ « @@ @ @ @ @ @ E ¥w@@ @ @ @ @ @ @ @D* @@ @ @ @ @ @ JH‬‬ ‫‪ °b@@ @ @ 0x@@ @ @ D* ¡@@ @ @~@ @ @ z@ @ @ J @@ @ @ @ @£@ @ @C ¢@@ @ @ @ @ @ < M @@ @ @ @ @ @C‬‬ ‫‪ °b@@ @ p@ @ @ @ D* ¡@@ @ @ @ @~@ @ @}@ @ @D* @@ @ m@ @ s@ @ J @@M @ @ @6x@@ @ @ @1‬‬

‫اﻟﻤﺴﺎﺟﻼت »‪«1‬‬ ‫ﻣﻦ ﻗﺼﻴﺪة اﻟﺸﺎﻋﺮ ﺟﺰاء اﻟﺤﺮيب ﻳﺴﺘﺸري ﻓﻴﻬﺎ اﻟﺸﺎﻋﺮ ﻣﺒﺎرك ﻣﻠﻴﺤﺎن اﻟﻄﻮﻣﻲ وﻳﻄﻠﺐ ﻣﻮاﺳﺎﺗﻪ مبﺎ ﺣﺪث ﻟﻘﻮﻣﻪ‪:‬‬

‫‪ @@ @ D¡@@ @ @ @ @¸ Mf@ @ @ @~@ @ @ @|@ @ @ @B @@ @ @ @ @ D @@ @ @ @ @ E ¡@@ @ @ @ @ @ @ @ @J‬‬ ‫‪ 4v@@ @ @ @ ~@ @ @ @ @8 ¯ b@@ @ @ @ @ @ @ @ @ Q @ @ @ @ @ @ @ @ @ @JH b@@ @ @ @cQ @ @ @ @ ~@ @ @ @ {@ @ @ @ J‬‬ ‫‪b@@ @GÌ@Q @ @~@ @ z@ @ JH Æ@@ @ ~@ @ @z@ @ @D* b@@ @ @ £@ @ @ @ < ¤@@ @ @ @ ~@ @ }@ @ JH‬‬ ‫اﻟﺸﻌﺮ ‪ /‬اﻟﻌﺪد ‪64‬‬ ‫‪ 28‬ﺑﻴﺖ ِ‬

‫‪ 4b@@ @ @ @ F ,4*x@@ @ @ @ @ ~@ @ @ @ @ 7 @@ @ @ @ E @@ @ <¡@@ @ @ @ @~@ @ @7 @@ @ @ @ @ @ @ DQ H‬‬ ‫‪ 4*w@@ @ @ @ @ @ @ @ @D* @@ @ @ @ < b@@ @ @ @ @ @ Jb@@ @ @ @ ~@ @ 7 ¤@@ @ @ @ @ @ s@ @ @ JH‬‬ ‫‪ 4b@@ @ @ @ @£@ @ @+ @@ @ @ @ @ @ @ @p@ @ @JH Q @@ @ @ @ @ @A x@@ @ @ @ @ @ ~@ @ @ {@ @ @ D*H‬‬

‫أﻫﺪى دﻳﻮاﻧﻪ وﻗﺼﺎﺋﺪه ﻟ‪x‬ﻣﺎرات‪..‬‬

‫ﻳﻮﻗﻊ وﻳﻘﺮأ ﻓﻲ أﻣﺴﻴﺔ ﺧﺎﺻﺔ‬ ‫اﻟﺤﺮﺑﻲ ّ‬ ‫وﺳﻂ ﺣﻀﻮر ﺟامﻫريي ﻛﺒري‪ ،‬ﻗﺮأ اﻟﺸﺎﻋﺮ‬ ‫ﺟﺰاء اﻟﺤﺮيب ﻣﺠﻤﻮﻋﺔ ﻣﻦ ﻗﺼﺎﺋﺪه ﻋﲆ‬ ‫ﻣﴪح اﻟﺴﻮق اﻟﺸﻌﺒﻲ‪ /‬ﺳﻮﻳﺤﺎن‪ ،‬ﰲ‬ ‫أﻣﺴﻴﺔ ﺷﻌﺮﻳﺔ ﺧﺎﺻﺔ ﺟﺎءت ﺿﻤﻦ اﻟﱪﻧﺎﻣﺞ‬ ‫اﻟﻔﻜﺮي اﳌﺼﺎﺣﺐ ﳌﻬﺮﺟﺎن ﺳﻠﻄﺎن ﺑﻦ زاﻳﺪ‬ ‫اﻟﱰايث ‪ ،2018‬متﻴﺰت ﺑﺄﺟﻮاء ﺷﻌﺮﻳﺔ ﺧﺎﻟﺼﺔ‬ ‫ﺗﻔﺎﻋﻞ ﺧﻼﻟﻬﺎ ﺟﻤﻬﻮر اﳌﴪح ﻣﻊ ﻗﺼﺎﺋﺪ‬ ‫اﻟﺸﺎﻋﺮ اﻟﺘﻲ ﺗﻨﻮﻋﺖ ﺑني اﻟﻐﺰل واﻟﺤﻜﻤﺔ‬ ‫واﳌﺴﺎﺟﻼت‪.‬‬ ‫وأﻋﺮب اﻟﺤﺮيب ﻋﻦ ﺷﻜﺮه اﻟﺠﺰﻳﻞ ﻟﺴﻤﻮ‬ ‫اﻟﺸﻴﺦ ﺳﻠﻄﺎن ﺑﻦ زاﻳﺪ آل ﻧﻬﻴﺎن ﻣﻤﺜﻞ‬ ‫ﺻﺎﺣﺐ اﻟﺴﻤﻮ رﺋﻴﺲ اﻟﺪوﻟﺔ‪ ،‬ﻣﺸﻴﺪاً ﺑﺪﻋﻤﻪ‬ ‫ﻟﻠﱰاث اﻷﺻﻴﻞ‪ ،‬وﺗﻮﺟﻴﻬﺎﺗﻪ ﺑﺈﺻﺪار اﻟﺪواوﻳﻦ‬

‫اﻟﺸﻌﺮﻳﺔ ﻟﻜﺒﺎر ﺷﻌﺮاء اﻟﺨﻠﻴﺞ‪ ،‬وﺗﻮﺛﻴﻖ ﻣﻮاﺻﻠﺔ ﻣﺎ ﺑﺪأه اﻵﺑﺎء واﻷﺟﺪاد‪ .‬ﻣﻀﻴﻔﺎ أن‬ ‫اﻟﺘﻜﱪ‪ ،‬واﳌﺼﻄﻠﺤﺎت‬ ‫ﺗﺠﺎرﺑﻬﻢ‪ ،‬ﻣﺆﻛﺪاً أن اﻟﻜﻼم ﻳﻌﺠﺰ ﻋﻦ وﺻﻒ ﻋﻠﻴﻬﻢ اﻻﺑﺘﻌﺎد ﻋﻦ‬ ‫ّ‬ ‫ﻣﺎ ﻳﻘﺪﻣﻪ ﺳﻤﻮه ﻣﻦ دﻋﻢ ورﻋﺎﻳﺔ ﻟﻸدب واﳌﻌﺎين اﻟﺘﻲ ﻻ ﺗﻠﻴﻖ ﺑﻌﺎداﺗﻨﺎ وﺗﻘﺎﻟﻴﺪﻧﺎ‪ ،‬وﻗﺪ‬ ‫ﻏﺰت ﻣﺠﺘﻤﻌﺎﺗﻨﺎ ﺑﺤﺠﺔ اﻟﺤﺪاﺛﺔ وﻏريﻫﺎ«‪.‬‬ ‫واﻟﱰاث‪.‬‬ ‫وﰲ ﺣﺪﻳﺚ ﻋﻦ دﻳﻮاﻧﻪ اﻟﺠﺪﻳﺪ ﻗﺎل اﻟﺤﺮيب‬ ‫‪»:‬أﻫﺪي ﻫﺬا اﻟﺪﻳﻮان وﻛﻞ ﻣﺎ ﻛﺘﺒﺘﻪ ﻣﻦ أدب وﰲ ﺧﺘﺎم اﻷﻣﺴﻴﺔ‪ ،‬ﻗﺎم اﻟﺤﺮيب ﻳﺘﻮﻗﻴﻊ ﻧﺴﺦ‬ ‫وﺷﻌﺮ ﻟﺪوﻟﺔ اﻹﻣﺎرات اﻟﻌﺮﺑﻴﺔ اﳌﺘﺤﺪة«‪ ،‬ﻣﻦ دﻳﻮاﻧﻪ ﰲ رﻛﻦ ﻣﺮﻛﺰ زاﻳﺪ ﻟﻠﺪراﺳﺎت‬ ‫ﻣﺸﻴﺪاً ﺑﺎﳌﺸﻬﺪ اﻟﺜﻘﺎﰲ واﻟﺤﺮاك اﻟﺬي ﺗﺪﻋﻤﻪ واﻟﺒﺤﻮث‪ ،‬ﺑﺤﻀﻮر ﺳﻌﺎدة ﻣﻨﺼﻮر ﺳﻌﻴﺪ‬ ‫دوﻟﺔ اﻹﻣﺎرات‪ ،‬وﻗﺪ أﺻﺒﺢ اﻷﺑﺮز ﰲ اﳌﻨﻄﻘﺔ‪ .‬اﳌﻨﺼﻮري ﻋﻀﻮ اﻟﻠﺠﻨﺔ اﻟﻌﻠﻴﺎ ﻟﻠﻤﻬﺮﺟﺎن‬ ‫واﺧﺘﺘﻢ اﻟﺤﺮيب ﺣﺪﻳﺜﻪ ﺑﺘﻘﺪﻳﻢ اﻟﻨﺼﻴﺤﺔ رﺋﻴﺲ اﻟﻠﺠﻨﺔ اﻹﻋﻼﻣﻴﺔ‪ ،‬وﻓﺎﻃﻤﺔ ﻣﺴﻌﻮد‬ ‫ﻟﻠﺸﻌﺮاء اﻟﺸﺒﺎب‪ ،‬ﻣﺸرياً أن ﻋﻠﻴﻬﻢ اﳌﻨﺼﻮري ﻣﺪﻳﺮ ﻣﺮﻛﺰ زاﻳﺪ ﻟﻠﺪراﺳﺎت‬ ‫أن ﻳﺠﺎﻟﺴﻮا اﻟﺸﻌﺮاء اﻟﺬﻳﻦ ﺳﺒﻘﻮﻫﻢ‪ ،‬واﻟﺒﺤﻮث‪ ،‬ود‪.‬إﺑﺮاﻫﻴﻢ ﻣﻠﺤﻢ اﻟﺬي ﻗﺎم‬ ‫ﻟﻴﺴﺘﻔﻴﺪوا ﻣﻦ ﺗﺠﺎرﺑﻬﻢ‪ ،‬وﻳﺘﻤﻜﻨﻮا ﻣﻦ ﺑﺈﻋﺪاد اﻟﺪﻳﻮان وﺗﺤﺮﻳﺮه‪ ،‬وﻋﺪد ﻣﻦ اﻟﺸﻌﺮاء‪.‬‬ ‫ﻓﺒﺮاﻳﺮ ‪27 2018 /‬‬

‫ﻣﺘﺎﺑ!!!!!!!ﻌﺔ‬ ‫‪baytelshear‬‬

‫ﻧﺎدي ﺗﺮاث ا‪c‬ﻣﺎرات‬ ‫ﻳﺼﺪر دﻳﻮان ﺟﺰاء اﻟﺤﺮﺑﻲ‬ ‫ﺻﺪر ﻋﻦ ﻧﺎدي ﺗﺮاث اﻹﻣﺎرات‪ /‬ﻣﺮﻛﺰ زاﻳﺪ‬ ‫ﻟﻠﺪراﺳﺎت واﻟﺒﺤﻮث دﻳﻮان اﻟﺸﺎﻋﺮ اﻟﻜﺒري‬ ‫ﺟﺰاء اﻟﺤﺮيب‪ ،‬ﰲ ﻃﺒﻌﺔ أﻧﻴﻘﺔ ﺿﻤﺖ اﻟﻜﺜري‬ ‫ﻣﻦ ﻗﺼﺎﺋﺪ اﻟﺸﺎﻋﺮ‪ ،‬اﻟﺬي اﺳﺘﻄﺎع أن ﻳﻔﺮض‬ ‫ﺣﻀﻮره ﰲ ﺳﺎﺣﺔ اﻟﺸﻌﺮ اﻟﺸﻌﺒﻲ مبﻨﻄﻘﺔ‬ ‫اﻟﺨﻠﻴﺞ ﻋﻤﻮﻣﺎً‪ ،‬ﻟﻴﻜﻮن واﺣﺪاً ﻣﻦ رﻣﻮز‬ ‫اﻟﺤﺮﻛﺔ اﻟﺸﻌﺮﻳﺔ ﻓﻴﻬﺎ‪.‬‬ ‫واﺣﺘﻮى دﻳﻮان ﺟﺰاء اﻟﺤﺮيب ﻋﲆ ﻋﺪد ﻛﺒري‬ ‫ﻣﻦ اﻟﻘﺼﺎﺋﺪ‪ ،‬اﻟﺘﻲ ﺗﻢ ﺗﻮزﻳﻌﻬﺎ ﰲ اﻟﺪﻳﻮان‬ ‫ﺣﺴﺐ أﺑﻮاب وأﻗﺴﺎم ﻣﺨﺘﻠﻔﺔ‪ ،‬ﻣﻨﻬﺎ‪ :‬اﳌﺪح‬ ‫واﻟﻮﻃﻨﻴﺎت‪ ،‬اﻟﻔﺨﺮ‪ ،‬اﻟﺮﺛﺎء‪ ،‬اﻻﺟﺘامﻋﻴﺎت‪،‬‬ ‫اﻟﻐﺰل‪ ،‬اﳌﺴﺎﺟﻼت )‪ ،(1‬واﳌﺴﺎﺟﻼت )‪.(2‬‬ ‫وﺗﻮﺳﻄﺖ ﻏﻼف اﻟﺪﻳﻮان ﺻﻮرة اﻟﺸﺎﻋﺮ‬ ‫ﺟﺰاء اﻟﺤﺮيب‪ ،‬ﻳﻌﻠﻮﻫﺎ ﺷﻌﺎر »ﻋﺎم زاﻳﺪ«‪،‬‬ ‫ﺣﻴﺚ ﻳﺼﺪر اﻟﺪﻳﻮان ﰲ اﻟﻌﺎم ‪ 2018‬اﻟﺬي ﺗﻢ اﻹﻋﻼن ﻋﻨﻪ ﰲ دوﻟﺔ‬ ‫اﻹﻣﺎرات اﻟﻌﺮﺑﻴﺔ اﳌﺘﺤﺪة ﻟﻴﻜﻮن ”ﻋﺎم زاﻳﺪ“ اﺣﺘﻔﺎء مبﺮور ‪ 100‬ﻋﺎم‬ ‫ﻋﲆ ﻣﻴﻼد اﳌﺆﺳﺲ واﻟﺒﺎين وﺣﻜﻴﻢ اﻟﻌﺮب اﳌﻐﻔﻮر ﻟﻪ ﺑﺈذن اﻟﻠﻪ‬ ‫اﻟﺸﻴﺦ زاﻳﺪ ﺑﻦ ﺳﻠﻄﺎن آل ﻧﻬﻴﺎن رﺣﻤﻪ اﻟﻠﻪ‪.‬‬ ‫وﰲ أوﱃ ﻗﺼﺎﺋﺪ اﻟﺪﻳﻮان اﻟﺘﻲ أدرﺟﺖ ﰲ ﺑﺎب اﳌﺪح‪ ،‬ﻳﻘﻮل ﺟﺰاء‬ ‫اﻟﺤﺮيب ﰲ ﻣﺪح اﻟﺸﻴﺦ زاﻳﺪ رﺣﻤﻪ اﻟﻠﻪ ﰲ واﺣﺪة ﻣﻦ ﻣﻨﺎﺳﺒﺎت اﻟﻴﻮم‬ ‫اﻟﻮﻃﻨﻲ ﻟﺪوﻟﺔ اﻹﻣﺎرات ﺣني ﻛﺎن زاﻳﺪ رﺋﻴﺴﺎً ﻟﻠﺪوﻟﺔ‪:‬‬ ‫‪m*4fCCCCCH(¸* CCªCC<5 fCCCM ÉfCC¤CC- U CC CC/&fC +‬‬ ‫‪ £ÑCCªCCtCCF CCMÑCC CC6 U¥CCCCGKzCCCCG* CCC CCCMT 4 fCCCM‬‬ ‫‪m*|CT C CC CC¼fCC+ ¢CCC:§CCCG* zCCªCC< · C‬‬ ‫‪CªCC¡CC¤CCI‬‬ ‫‪S‬‬ ‫<‪£fCCªCC¤CC¡CCG* CCªCC CC/ CCCH §T CCC CCC CCC6 ¨CC CC‬‬ ‫‪mfCCCgT CCCtCCC¼*K v|CCCC CCCCG*K ÉfCCC¤CCCkCCCG* CCCCF‬‬ ‫‪£*~CCCCCH¸* fCCCC T CCCC QJ XzCCCC< CC CCªCC CC< «CCC¡T CCCH‬‬

‫وﰲ ﺗﻘﺪميﻪ ﻟﻠﺸﺎﻋﺮ‪ ،‬ﻗﺎل ﺑﺪر ﺑﻦ ﻋﻮاد اﻟﺤﻮﻳﻔﻲ اﻟﺤﺮيب »إن اﻟﺸﺎﻋﺮ‬ ‫ﺟﺰاء ﺑﻦ ﺻﺎﻟﺢ اﻟﺤﺮيب ورث اﻟﺸﻌﺮ‪ ،‬ﻓﻬﻮ ﻣﻦ ﺑﻴﺖ أﻫﻠﻪ ﺷﻌﺮاء‪،‬‬ ‫ﻓﻮاﻟﺪه رﺣﻤﻪ اﻟﻠﻪ ﺷﺎﻋﺮ ﻣﺘﻤﻜﻦ‪ ،‬ﻳﺴﺘﺸﻬﺪ ﺑﺸﻌﺮه ﰲ أﻛرث ﻣﻦ‬ ‫ﻣﻮﻗﻒ‪ .‬ﺑﺪأت ﻫﺬه اﻟﻮراﺛﺔ ﻣﻊ اﻟﺸﺎﻋﺮ ﺟﺰاء ﻣﻨﺬ اﻟﺼﻐﺮ ﻣﻤﺰوﺟﺔ‬ ‫اﻟﺸﻌﺮ ‪ /‬اﻟﻌﺪد ‪64‬‬ ‫‪ 26‬ﺑﻴﺖ ِ‬

‫ﺑﺎﳌﻮﻫﺒﺔ واﻟﺤامس ﻟﻬﺬا اﻟﻔﻦ‪ ،‬ﻓﻦ اﻷدب‬ ‫واﻟﱰاث‪ ،‬ﻓﺒﺪأ ﻳﻘﻮل اﻟﺸﻌﺮ وﻳﻮاﺻﻞ اﻟﺴري‬ ‫ﺣﺘﻰ أﺻﺒﺢ ﺷﺎﻋﺮاً ﻳﺸﺎر إﻟﻴﻪ ﺑﺎﻟﺒﻨﺎن ﰲ‬ ‫ﻣﻨﻄﻘﺔ اﻟﺨﻠﻴﺞ‪ ،‬وﻣﻦ اﻷدﻟﺔ ﻋﲆ ذﻟﻚ اﻟﺮﻗﻢ‬ ‫اﻟﻘﻴﺎﳼ ﰲ ﻋﺪد اﳌﺴﺎﺟﻼت اﻟﺸﻌﺮﻳﺔ ﻟﻪ‪،‬‬ ‫ﺣﻴﺚ ﺑﻠﻐﺖ أﻛرث ﻣﻦ ﻣﺎﺋﺔ وﺳﺘني ﻣﺴﺎﺟﻠﺔ‪.‬‬ ‫وﻟﻦ أﻛﻴﻞ اﳌﺪح ﻟﻬﺬا اﻟﺸﺎﻋﺮ ﻓﻬﻮ ﰲ ﻏﻨﻰ‬ ‫ﺗﺎم ﻋﻨﻪ‪ ،‬ﻷﻧﻪ اﺳﺘﺤﻖ ﻛﻠﻤﺔ ﺷﺎﻋﺮ ﺑﻜﻞ‬ ‫ﻳﺴﻊ ﻟﻠﺤﺼﻮل ﻋﲆ ﻫﺬه اﻟﻜﻠﻤﺔ‬ ‫ﺟﺪارة ومل َ‬ ‫ﻛام ﻳﻔﻌﻞ اﳌﺘﻄﻔﻠﻮن واﳌﺴﺘﺸﻌﺮون‪.‬‬ ‫وﺗﺤﺖ ﻋﻨﻮان »ﻣﺪاﺧﻞ ﺟﻮﻫﺮﻳﺔ« ﻗﺪم‬ ‫اﻟﺪﻛﺘﻮر إﺑﺮاﻫﻴﻢ أﺣﻤﺪ ﻣﻠﺤﻢ ﴍﺣﺎً ﻋﺎﻣﺎً‬ ‫ﻋﻦ ﺳرية اﻟﺸﺎﻋﺮ‪ ،‬وﻋﻦ دﻳﻮاﻧﻪ واﻷﺑﻮاب‬ ‫اﻟﺘﻲ ﺗﻮزّﻋﺖ ﻓﻴﻬﺎ اﻟﻘﺼﺎﺋﺪ‪ .‬ﻳﻘﻮل ﻣﻠﺤﻢ‪«:‬‬ ‫ﻟﻴﺴﺖ ﻫﺬه اﻟﻘﺼﺎﺋﺪ اﻟﺘﻲ ﺟﻤﻌﻬﺎ ﻫﺬا‬ ‫اﻟﺪﻳﻮان اﻟﻀﺨﻢ ﻫﻲ ﻛﻞ ﻣﺎ ﻗﺎﻟﻪ اﻟﺸﺎﻋﺮ‬ ‫ﺟﺰاء ﺻﺎﻟﺢ اﻟﺤﺮيب‪ ،‬وﻟﻜﻨﻬﺎ اﺳﺘﻄﺎﻋﺖ أن ﺗﻌﻄﻲ ﺻﻮرة ميﻜﻦ اﻟﻘﻮل‬ ‫إﻧﻬﺎ ﺗﺒﺪو ﻣﻜﺘﻤﻠﺔ اﻷﺑﻌﺎد ﻋﻦ ﺗﺠﺮﺑﺘﻪ‪ ،‬وﻋﻦ ﻃﺒﻴﻌﺔ ﺷﻌﺮه‪ ،‬وﻋﻦ‬ ‫رؤﻳﺘﻪ اﻟﻔﻜﺮﻳﺔ‪ .‬وﻗﺪ أﻟﻘﻰ ﻧﺎدي ﺗﺮاث اﻹﻣﺎرات ﻋﲆ ﻛﺎﻫﻠﻪ ﻣﺴﺆوﻟﻴﺔ‬ ‫ﺗﺤﻈﻰ ﺑﺎﻟﺘﻘﺪﻳﺮ واﻟﻌﺮﻓﺎن ﰲ ﻧﴩ ﻫﺬا اﻟﺪﻳﻮان«‪ .‬وﻋﻦ أﺳﻠﻮب‬ ‫اﻟﺸﺎﻋﺮ وأدواﺗﻪ أﻛﺪ د‪.‬ﻣﻠﺤﻢ أن اﻟﺸﺎﻋﺮ ﰲ ﻣﺨﺘﻠﻒ ﻗﺼﺎﺋﺪه ﻳﻮﻇﻒ‬ ‫اﻟﻜﻠامت اﳌﻨﺘﺰﻋﺔ ﻣﻦ ﺣﻴﺎة اﻟﺒﺪاوة ﰲ ﻏري ﺗﻜ ّﻠﻒ أو ﺗﺼ ّﻨﻊ‪ ،‬وﻫﺬا ﻣﺎ‬ ‫ﻳﺠﻌﻞ ﺷﻌﺮه ﻣﻌﺠ ًام ﻟﻠﺪراﺳﺎت اﻟﻠﻐﻮﻳﺔ اﳌﻌﺎﴏة«‪.‬‬ ‫أﻣﺎ ﻓﺎﻃﻤﺔ اﳌﻨﺼﻮري ﻣﺪﻳﺮ ﻣﺮﻛﺰ زاﻳﺪ ﻟﻠﺪراﺳﺎت واﻟﺒﺤﻮث ﻓﻘﺎﻟﺖ ﰲ‬ ‫‪»:‬وﺳﻊ ﻧﺎدي ﺗﺮاث اﻹﻣﺎرات‬ ‫ﻛﻠﻤﺔ اﳌﺮﻛﺰ اﻟﺘﺎﺑﻊ ﻟﻨﺎدي ﺗﺮاث اﻹﻣﺎرات ّ‬ ‫داﺋﺮة اﻫﺘامﻣﺎﺗﻪ إﱃ اﻟﺸﻌﺮ اﻟﺸﻌﺒﻲ ﰲ اﳌﻨﻄﻘﺔ ﺑﺘﻮﺟﻴﻬﺎت ﻣﻦ ﺳﻤﻮ‬ ‫اﻟﺸﻴﺦ ﺳﻠﻄﺎن ﺑﻦ زاﻳﺪ آل ﻧﻬﻴﺎن ﻣﻤﺜﻞ ﺻﺎﺣﺐ اﻟﺴﻤﻮ رﺋﻴﺲ اﻟﺪوﻟﺔ‪،‬‬ ‫رﺋﻴﺲ ﻧﺎدي ﺗﺮاث اﻹﻣﺎرات‪ ،‬ﻓﺄﺻﺪر ﻣﺮﻛﺰ ﺳﻠﻄﺎن ﺑﻦ زاﻳﺪ دواوﻳﻦ‬ ‫ﻣﻨﻬﺎ‪ :‬دﻳﻮان ﺑﻨﺪر ﺑﻦ ﴎور‪ ،‬وﻫﻮ أﺣﺪ اﻟﺸﻌﺮاء اﳌﺮﻣﻮﻗني ﰲ اﳌﻤﻠﻜﺔ‬ ‫اﻟﻌﺮﺑﻴﺔ اﻟﺴﻌﻮدﻳﺔ‪ ،‬وﻳﺄيت دﻳﻮان اﻟﺸﺎﻋﺮ ﺟﺰاء ﺻﺎﻟﺢ اﻟﺤﺮيب ﻣﻦ دوﻟﺔ‬ ‫اﻟﻜﻮﻳﺖ اﻟﺸﻘﻴﻘﺔ ﺿﻤﻦ ﻫﺬه اﻻﻫﺘامﻣﺎت اﻟﺘﻲ ﺳﺘﺒﻘﻰ ﻣﺘﻮاﺻﻠﺔ‬ ‫ﺑﺈذن اﻟﻠﻪ‪ ،‬ﳌﺎ ﻓﻴﻪ ﺧري ﺗﺮاﺛﻨﺎ‪ ،‬وﺗﻘﺮﻳﺒﻪ إﱃ اﻷﺟﻴﺎل ﺣﺘﻰ ﻳﻈﻞ ﺟﺰءا‬ ‫ﻣﻦ ﺣﻴﺎﺗﻨﺎ اﻟﺜﻘﺎﻓﻴﺔ‪.‬‬

‫ﻓﻲ اﻟﺸﻌﺮ‬

‫ﻣﻦ ﻳﻘ ّﺪم اﻷﻣﺴﻴﺎت اﻟﺸﻌﺮﻳﺔ ؟‬ ‫اﻟﻜﺜري ﻣﻦ اﳌﺆﺳﺴﺎت اﻟﺜﻘﺎﻓﻴﺔ ﺗﻌﺘﻘﺪ أن ﻣﺴﺄﻟﺔ اﺧﺘﻴﺎر ﻣﻘﺪم اﻷﻣﺴﻴﺎت‬ ‫واﻟﻨﺪوات ﻣﺴﺄﻟﺔ ﺛﺎﻧﻮﻳﺔ ﺟﺪاً‪ ،‬ورمبﺎ آﺧﺮ ﻣﺎ ﺗﻘﻮم ﺑﻪ ﻋﻨﺪ ﺗﻨﻈﻴﻤﻬﺎ ﻟﺘﻠﻚ‬ ‫اﻷﻣﺴﻴﺎت واﻟﻨﺪوات ﻫﻮ اﺧﺘﻴﺎر ﻣﻘﺪم ﻟﻬﺎ‪ ،‬وﻫﺬا ﻟﻴﺲ اﺳﺘﺨﻔﺎﻓﺎً ﺑﺎﻟﻘﻴﻤﺔ‬ ‫اﻟﺘﻲ ﻳﻀﻴﻔﻬﺎ اﳌﻘﺪﻣﻮن‪ ،‬ﺑﻞ ﻫﻮ اﺳﺘﺨﻔﺎف ﺑﻀﻴﻮف اﻷﻣﺴﻴﺎت ﻣﻦ اﻟﺸﻌﺮاء‬ ‫واﻟﻨﻘﺎد واﳌﺤﺎﴐﻳﻦ‪ ،‬ﻛام ﻫﻮ اﺳﺘﺨﻔﺎف ﺑﻘﻴﻤﺔ اﻷﺷﻴﺎء وﻋﺒﺚ ﻣﻘﺼﻮد‪.‬‬ ‫ﺗﺤﴬ ﰲ ﻣﻬﺮﺟﺎن ﻛﺒري‪ ،‬ﻓﺘﺠﺪ ﻣﻦ ﻻ ﻳﻌﺮف ﻛﻴﻒ ﻳﻘﺮأ ﻗﺼﻴﺪة اﻟﻀﻴﻒ‪،‬‬ ‫أو ﻣﻦ ﻳﺨﻄﺊ ﺑﺎﻟﻠﻐﺔ‪ ،‬أو ﻣﻦ ﻳﻀﻴﻊ ﰲ اﻷﻣﺴﻴﺔ ﻛﺄﻧﻪ أﺣﺪ اﻟﺠﺎﻟﺴني ﻋﲆ‬ ‫ﻣﻘﺎﻋﺪ اﻟﺠﻤﻬﻮر ﻻ أﻣﺎﻣﻬﻢ‪.‬‬ ‫اﻟﻜﺜري ﻣﻦ اﳌﺆﺳﺴﺎت اﻟﺜﻘﺎﻓﻴﺔ‪ ،‬ﺗﺘﺠﺎﻫﻞ ﻫﺬه اﳌﺴﺄﻟﺔ‪ ،‬وﻳﻔﻮﺗﻬﺎ أن‬ ‫اﻻﺧﺘﻴﺎر اﻟﻼﺋﻖ ﻟﻠﻤﻘ ّﺪم ﻋﺎﻣﻞ ﻧﺠﺎح أﺳﺎﳼ ﻟﻸﻣﺴﻴﺔ‪ ،‬وﻳﺘﺤﻘﻖ ذﻟﻚ ﻣﻦ‬ ‫ﺧﻼل وﻋﻴﻪ ﺑﺘﺠﺎرب اﻟﻀﻴﻮف‪ ،‬وﻟﺒﺎﻗﺘﻪ ﺑﺎﻟﺘﺤﺪث واﻟﻄﺮح وﺣﺴﻦ اﳌﻈﻬﺮ‪.‬‬ ‫َوﻟَﻚ أن ﺗﺘﺨ ّﻴﻞ دﻋﻮة ﻣﺠﻤﻮﻋﺔ ﺷﻌﺮاء ﻣﻤﻴﺰﻳﻦ ﻳﺘﻮﺳﻄﻬﻢ ﻣﻘﺪم ﻣﺘﻮاﺿﻊ‬ ‫ﻻ ﻳﺘﻮاﻓﺮ ﻓﻴﻪ ﳾء ﻣﻦ اﻟﺬي ﺗﻘﺪم‪ .‬ﺗُﺮى ﻛﻴﻒ ﺳﻴﻜﻮن ﻣﻈﻬﺮ اﻷﻣﺴﻴﺔ؟‬ ‫ﺑﻞ ﻛﻴﻒ ﺳﻴﻜﻮن ﻣﻀﻤﻮﻧﻬﺎ ؟‬ ‫ً‬ ‫ً‬ ‫اﻟﻌﻤﻞ اﻟﺜﻘﺎﰲ‪ ،‬ﻻ ميﻜﻦ أن ﻳﻜﻮن ﻣﻨﻘﻮﺻﺎ‪ ،‬أو ﻣﺮﺗﻜﺒﺎ‪ ،‬أو ﻣﺠﺮد ﻣﺴﺎﺣﺔ‬ ‫ﻟﻴﺴﺠﻞ ﺑﺎﺳﻢ اﳌﺆﺳﺴﺎت ﻧﺸﺎط ﻣﺎ‪ .‬إﻧﻪ ﻋﻤﻞ‬ ‫ﰲ ﺧﱪ ﻳﻈﻬﺮ ﰲ اﻟﻴﻮم اﻟﺘﺎﱄ ﱠ‬ ‫ﻣﻮﺟﻪ ﻟﻌﺎﻣﺔ اﻟﻨﺎس‪ ،‬ﺗﴩف ﻋﻠﻴﻪ اﻟﻨﺨﺒﺔ‪ ،‬ﻓﺈذا ﻛﺎﻧﻮا ﻫﺆﻻء ﻋﺎﺟﺰﻳﻦ ﻋﻦ‬ ‫ﺗﻘﺪﻳﻢ ﻋﻤﻞ ﺛﻘﺎﰲ ﻣﺘﻜﺎﻣﻞ أو ﻣﻘﺒﻮل ﺑﺎﻟﺤﺪ اﻷدىن‪ ،‬ﻓﻜﻴﻒ ﻧﻌﺘﺐ ﻋﲆ‬ ‫ﺑﺎﻗﻲ أﻓﺮاد اﳌﺠﺘﻤﻊ ﰲ أﻋامﻟﻬﻢ وإﻧﺠﺎزاﺗﻬﻢ وﻣﺸﺎرﻳﻌﻬﻢ ؟‬

‫أﺑﻮﺑﻜﺮ‬ ‫ا أ ﻜ‬ ‫ﻋﺒﺪا ‬

‫‪@abdabubaker1‬‬ ‫ﻓﺒﺮاﻳﺮ ‪25 2018 /‬‬

‫ﺣﻮار اﻟﻌﺪد‬ baytelshear

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‫ﺳﻌﻮد اﻟﻤﺼﻌﺒﻲ‬

*y D* £~9 bJ ° H* h~{E b£D* *y D* jE b D¡: Ñ*H ¤@@0 b@@J n@@ @= ,Hx@@ . x@@- ,Hx@@ . b£1H ¡ <H r*xA*H v ~zD* ¡~7 b A¡~7 ¯ b D¡~z E ¯ eH3* h p~9* @@. h@@ @0 *3*H b~|³bG J*x- © x 0 Mv1 xG5 ~zcE b DHv¸ 0 24 x ~9 M x~|1 x . xM pF M *'¡@ ~@ 6 ¤@@ Q @ C b@@ F*H h@@ @ +*H h@@+b@@=° b@@ @Bb@@g@~@7* b D ¡@@<2*H b D* ¯ bGb~z< b@@J Ñ* b@@J ¡@@B*H bm´* £~9H b Q + h@@J42 ¤@@ Q @E° @@£@~@9*H b D¡ - b@@E £ ~{´* ¡ D* * h£D ¡@@B*H b0 + ¤ < E¡ G ¤ Q 1 ¤ £< ¡@@E b@@J b D¡ p+ ¥x@@~@ 7b@@c@ -H b@@GvQ @ B ¤@@+ ¥x@@~@ 7b@@c@ -H b~8H 2*¡A E z -* bF*H b£FvD* Q - ° b@@ @ D¡@@ @ 0H v@@Jb@@ @ @ D M2¡@@ @ @g@ @E @@g@ @ D* *w@@ @ G b¹ x - °H ¤ ~{- bE 9Hx E Ix- jE b@@ @D¡@@ @J Í@@ D @@c@ @ @- @@ AÆ@@ ´* @@£@ c@ - ¤@@ @ @D*H b£ D* £~9 H vJb D* ¡ D* ¤ Q 1 ¤ < ¤ J b D¡ EH £<H D2 E ¤B¡ 1 ¥H4*H

64 ‫ اﻟﻌﺪد‬/ ‫اﻟﺸﻌﺮ‬ ِ ‫ ﺑﻴﺖ‬24

‫‪ 2016‬و‪ ،2017‬ﻟﻜﻦ ﰲ أواﺧﺮ ﻋﺎم ‪ 2017‬وﻣﻊ‬ ‫دﺧﻮل اﻟﻌﺎم اﻟﺠﺪﻳﺪ ﺑﺎﺗﺖ ﻣﺸﺎرﻛﺎيت أﻗﻞ‬ ‫وأﻛرث اﻧﺘﻘﺎﺋﻴﺔ‪ ،‬ﺣﻴﺚ ﺑﺖ أﺣﺮص ﻋﲆ‬ ‫ﺗﻘﺪﻳﻢ اﻷﻓﻀﻞ ﻣﻦ ﺧﻼل ﻗﺼﺎﺋﺪ ﺟﺪﻳﺪة‬ ‫وأﺧﺒﺎر ﻋﻦ اﻷﻣﺴﻴﺎت وﻛﻞ ﻣﺎ ﻳﺨﺺ اﻟﺴﺎﺣﺔ‬ ‫اﻟﺸﻌﺮﻳﺔ‪ ،‬ﻛام أين ﻻ أرﻏﺐ ﰲ أن ﻳﺼﺎب‬ ‫ﻣﺘﺎﺑﻌﻲ ﺣﺴﺎﺑﺎيت ﺑﺎﳌﻠﻞ ﻣﻦ ﻛرثة اﻟﻄﺮح‪،‬‬ ‫وﻫﻨﺎ ﻻ أﻗﻮل إن اﻟﻨﴩ اﻟﻜﺜري ﺳﻠﺒﻲ‪ ،‬ﻓﻬﻨﺎك‬ ‫ﴍﻳﺤﺔ ﻛﺒرية ﻣﻦ اﻟﺠﻤﻬﻮر ﺗﺮﻏﺐ ﺑﺘﻮاﺻﻞ‬ ‫ﻳﻮﻣﻲ ﻣﻊ ﺷﻌﺮاﺋﻬﺎ اﳌﻔﻀﻠني‪ ،‬ﻟﻜﻨﻲ اﻟﻴﻮم‬ ‫أﺣﺎول اﳌﻮازﻧﺔ ﺑني ﻛرثة اﻟﻈﻬﻮر ﻋﲆ ﻣﻮاﻗﻊ‬ ‫اﻟﺘﻮاﺻﻞ اﻻﺟﺘامﻋﻲ واﻟﻘﻠﺔ‪ ،‬أرﻳﺪ أن ﻳﻜﻮن‬ ‫ﻟﻈﻬﻮري ﺻﺪى ﻃﻴﺐ‪ ،‬وأرﻳﺪ ﻟﻠامدة أن‬ ‫ﻳﻜﻮن ﻟﻬﺎ ﺟﻤﻴﻞ اﻷﺛﺮ ﻋﻨﺪ اﻟﻄﺮح“‪.‬‬ ‫ُﻋﺮف ﻋﻦ ﺳﻌﻮد ﺣﺮﺻﻪ ﻋﲆ اﳌﺸﺎرﻛﺔ ﰲ‬ ‫اﳌﻬﺮﺟﺎﻧﺎت واﻷﻣﺴﻴﺎت وﻣﺎ زال ﺣﺮﻳﺼﺎً‬ ‫ﻋﲆ ﻫﺬه اﳌﺸﺎرﻛﺔ‪ ،‬ﺣﻴﺚ ﺷﺎرك ﰲ ﻣﻬﺮﺟﺎن‬ ‫ﺳﻠﻄﺎن ﺑﻦ زاﻳﺪ اﻟﱰايث ‪ ،2018‬وﻋﻦ ﻣﺸﺎرﻛﺘﻪ‬ ‫ﻳﻘﻮل‪” :‬ﻣﻬﺮﺟﺎن ﺳﻠﻄﺎن ﺑﻦ زاﻳﺪ اﻟﱰايث ﻣﻦ‬ ‫اﳌﻬﺮﺟﺎﻧﺎت اﳌﺘﻤﻴﺰة واﳌﺘﺄﻟﻘﺔ‪ ،‬وﻗﺪ وﺟﻬﺖ‬ ‫ﱄ اﻟﺪﻋﻮة ﻟﻠﻤﺸﺎرﻛﺔ ﰲ ﻓﻌﺎﻟﻴﺎت اﻟﺪورة‬ ‫اﻷﺧرية وﻛﺎن ﱄ ﴍف اﳌﺸﺎرﻛﺔ ﻣﻦ ﺧﻼل‬ ‫ﺣﻠﻘﺔ ﻣﺼﻮرة ﺿﻤﻦ ﻓﻌﺎﻟﻴﺎت اﳌﻬﺮﺟﺎن“‪.‬‬ ‫اﻹﻧﺘﺎج اﻟﺸﻌﺮي اﳌﻤﻴﺰ ﻟﻠﺸﺎﻋﺮ ﺳﻌﻮد‬ ‫اﳌﺼﻌﺒﻲ ﻳﺴﺘﺤﻖ أن ﻳﺤﻔﻆ ﰲ دﻳﻮان‬ ‫ﺷﻌﺮي‪ ،‬ﻓﻜﺎن ﺳﺆاﻟﻨﺎ ﻟﻪ ﻋﻦ ﺟﻤﻊ ﻗﺼﺎﺋﺪه‬ ‫ﰲ دﻳﻮان ﺷﻌﺮي ﻓﻘﺎل‪» :‬ﺣﺎوﻟﺖ أﻛرث ﻣﻦ‬ ‫ﻣﺮة ﺟﻤﻊ ﻗﺼﺎﺋﺪي ﰲ دﻳﻮان‪ ،‬ﻛام ﺗﻮاﺻﻠﺖ‬ ‫ﻣﻌﻲ دور اﻟﻨﴩ ﺳﻮاء ﻣﻦ أﺟﻞ إﺻﺪار‬ ‫دﻳﻮان ﻣﻄﺒﻮع أو ﻣﺴﻤﻮع‪ ،‬وﻗﺪ ﻛﺎن ﱄ‬ ‫ﺗﺠﺮﺑﺔ ﰲ ﻣﺠﺎل اﻟﺪﻳﻮان اﳌﺴﻤﻮع ﺣﻴﺚ‬ ‫ﺳﺠﻠﺖ دﻳﻮاﻧﺎً ﺷﻌﺮﻳﺎً ﻣﺴﻤﻮﻋﺎً اﺷﱰﺗﻪ ﺟﻬﺔ‬ ‫إﻋﻼﻣﻴﺔ‪ ،‬دامئﺎً ﻣﺎ داﻋﺒﺖ ﻓﻜﺮة اﻟﺪﻳﻮان‬ ‫اﻟﺸﻌﺮي ﻣﺨﻴﻠﺘﻲ‪ ،‬ﻟﻜﻦ اﻟﺘﺠﺮﺑﺔ اﻟﺸﻌﺮﻳﺔ‬ ‫ﻧﻔﺴﻬﺎ ﺗﺨﻠﻖ ﻧﻮﻋﺎً ﻣﻦ اﻟﱰدد ﰲ اﻟﻮﻗﺖ‬ ‫اﻷﻓﻀﻞ ﻹﺻﺪار اﻟﺪﻳﻮان‪ ،‬ﻓﻤﻊ ﻣﴤ اﻟﻮﻗﺖ‬ ‫وزﻳﺎدة اﻟﺨﱪة ﰲ اﳌﺠﺎل اﻟﺸﻌﺮي‪ ،‬ﺗﻈﻬﺮ‬ ‫رﻏﺒﺔ ﰲ اﻟﱰﻳﺚ ﺑﻬﺪف أن ﻳﻀﻢ اﻟﺪﻳﻮان‬ ‫أﺣﺪث اﻟﻘﺼﺎﺋﺪ وأﻓﻀﻠﻬﺎ‪ ،‬وﺑﺸﻜﻞ ﻋﺎم‬ ‫ﻟﺪي ﺗﻮﺟﻪ ﻷن أﺻﺪر دﻳﻮاﻧﺎً ﺷﻌﺮﻳﺎً ﻣﻄﺒﻮﻋﺎً‬ ‫ﱠ‬ ‫ﺧﻼل اﻟﻌﺎﻣني اﳌﻘﺒﻠني‪ ،‬واﳌﻔﺎوﺿﺎت ﻗﺎمئﺔ‬

‫اﻟﺤﺮﻛﺔ اﻟﺸﻌﺮﻳﺔ ﺷﻬﺪت ﺗﻄﻮراً ﻛﺒﻴﺮاً ﻓﻲ اﻟﺴﻨﻮات اﻷﺧﻴﺮة‪،‬‬ ‫وذﻟﻚ ﺗﻤﺎﺷﻴﺎً ﻣﻊ اﻟﻨﻬﻀﺔ اﻟﺤﻀﺎرﻳﺔ اﻟﺸﺎﻣﻠﺔ اﻟﺘﻲ ﺗﺸﻬﺪﻫﺎ اﻟﺪوﻟﺔ‬ ‫ﻟﺪي ﺗﻮﺟﻪ ﻷن أﺻﺪر دﻳﻮاﻧﺎً ﺷﻌﺮﻳﺎً ﻣﻄﺒﻮﻋﺎً ﺧﻼل اﻟﻌﺎﻣﻴﻦ اﻟﻤﻘﺒﻠﻴﻦ‪،‬‬ ‫واﻟﻤﻔﺎوﺿﺎت ﻗﺎﺋﻤﺔ ﺑﻬﺬا اﻟﺨﺼﻮص وﻗﺪ وﺻﻠﺖ إﻟﻰ ﻣﺮﺣﻠﺔ ﻣﺘﻘﺪﻣﺔ ﻣﻊ‬ ‫إﺣﺪى دور اﻟﻨﺸﺮ‬ ‫ﺑﻬﺬا اﻟﺨﺼﻮص وﻗﺪ وﺻﻠﺖ إﱃ ﻣﺮﺣﻠﺔ‬ ‫ﻣﺘﻘﺪﻣﺔ ﻣﻊ إﺣﺪى دور اﻟﻨﴩ«‪.‬‬ ‫وﻳﺆﻛﺪ اﳌﺼﻌﺒﻲ ﻋﲆ أن اﻟﺤﺮﻛﺔ اﻟﺸﻌﺮﻳﺔ‬ ‫ﺷﻬﺪت ﺗﻄﻮراً ﻛﺒرياً ﰲ اﻟﺴﻨﻮات اﻷﺧرية‪،‬‬ ‫وذﻟﻚ متﺎﺷﻴﺎً ﻣﻊ اﻟﻨﻬﻀﺔ اﻟﺤﻀﺎرﻳﺔ اﻟﺸﺎﻣﻠﺔ‬ ‫اﻟﺘﻲ ﺗﺸﻬﺪﻫﺎ اﻟﺪوﻟﺔ‪ ،‬ﻳﻘﻮل اﳌﺼﻌﺒﻲ‪:‬‬ ‫»ﻛﺎﻧﺖ اﻟﺴﻨﻮات اﳌﻤﺘﺪة ﺑني ﻋﺎﻣﻲ ‪2000‬‬ ‫و‪ 2010‬ﻫﻲ اﻟﺴﻨﻮات اﻟﺬﻫﺒﻴﺔ ﰲ ﺗﺎرﻳﺦ‬ ‫اﻟﺸﻌﺮ اﻟﺸﻌﺒﻲ ﰲ اﻹﻣﺎرات‪ ،‬ﻓﻔﻲ ﻫﺬه‬ ‫اﻟﺴﻨﻮات ﺧﺮﺟﺖ إﱃ اﻟﻌﻠﻦ أﻫﻢ اﳌﺒﺎدرات‬ ‫ﰲ ﻋﺎمل اﻟﺸﻌﺮ وﻣﻨﻬﺎ ﺷﺎﻋﺮ اﳌﻠﻴﻮن‪ ،‬وﻣﺎ‬ ‫زاﻟﺖ اﻟﻨﻬﻀﺔ اﻟﺸﻌﺮﻳﺔ ﻣﺴﺘﻤﺮة إﱃ ﻳﻮﻣﻨﺎ‬ ‫ﻫﺬا‪ ،‬وﻫﺬا ﻣﺎ ﻧﻼﺣﻈﻪ ﻣﻦ ﺧﻼل اﳌﺮاﻛﺰ‬ ‫اﳌﺘﺨﺼﺔ ﰲ اﻟﺸﻌﺮ واﳌﻌﺎرض واﳌﻬﺮﺟﺎﻧﺎت‬

‫اﻟﺜﻘﺎﻓﻴﺔ اﻟﺸﻌﺮﻳﺔ‪ ،‬ﻫﺬا اﻟﺰﺧﻢ اﻟﺸﻌﺮي‬ ‫اﻟﻜﺒري ﺧﻠﻖ ﻧﻮﻋﺎً ﻣﻦ اﻟﺜﻘﺎﻓﺔ اﻟﺸﻌﺮﻳﺔ ﻟﺪى‬ ‫ﻋﺎﻣﺔ اﻟﺸﻌﺐ‪ ،‬ﻓﺒﺎت ﻣﻌﻈﻢ اﻟﻨﺎس ﻗﺎدرﻳﻦ‬ ‫ﻋﲆ متﻴﻴﺰ اﻟﺸﺎﻋﺮ اﻟﺠﻴﺪ واﻟﻘﺼﻴﺪة اﻟﺠﻴﺪة‪.‬‬ ‫وﰲ ﻧﻬﺎﻳﺔ ﺣﻮارﻧﺎ وﺟﻪ ﺳﻌﻮد اﳌﺼﻌﺒﻲ رﺳﺎﻟﺔ‬ ‫إﱃ اﻟﺸﻌﺮاء اﻟﺼﺎﻋﺪﻳﻦ‪ ،‬أﻛﺪ ﺧﻼﻟﻬﺎ ﻋﲆ‬ ‫ﴐورة اﻟﻌﻤﻞ ﻋﲆ ﺗﻄﻮﻳﺮ اﻟﻘﺪرات اﻟﺸﻌﺮﻳﺔ‬ ‫ﻣﻦ ﺧﻼل اﻻﺳﺘﻔﺎدة ﻣﻦ ﻛﻞ اﳌﺒﺎدرات‬ ‫واﳌﺮاﻛﺰ اﳌﺨﺘﺼﺔ ﺑﺎﻟﺸﻌﺮ‪ ،‬وﻳﻀﻴﻒ ﺑﺎﻟﻘﻮل‪:‬‬ ‫»ﻋﻠﻴﻬﻢ ﺑﺬل ﺟﻬﺪ ﻛﺒري ﰲ ﺳﺒﻴﻞ اﻟﻮﺻﻮل‬ ‫إﱃ ﻣﺼﺎﰲ اﻟﺸﻌﺮاء اﳌﺘﻤﻴﺰﻳﻦ‪ ،‬ﻃﺮﻳﻖ اﻟﺘﻤﻴﺰ‬ ‫ﻟﻴﺲ ﻣﻔﺮوﺷﺎً ﺑﺎﻟﻮرود‪ ،‬ﻳﺠﺐ ﺑﺬل ﺟﻬﺪ ﻛﺒري‬ ‫ﰲ ﺳﺒﻴﻞ ﺗﺤﻘﻴﻖ اﻟﻨﺠﺎح‪ ،‬ﻓﺒﻘﺪر ﻣﺎ ﺗﻌﻄﻲ‬ ‫اﻟﺸﻌﺮ ﻳﻌﻄﻴﻚ«‪.‬‬ ‫ﻓﺒﺮاﻳﺮ ‪23 2018 /‬‬

‫ﺣﻮار اﻟﻌﺪد‬ ‫‪baytelshear‬‬

‫ﻣﺤﻤﺪ اﻟﱪﻳيك‪ ،‬ﻋﻴﻀﺔ ﺑﻦ ﻣﺴﻌﻮد‪ ،‬وﻏريﻫﻢ‪،‬‬ ‫اﻟﺬﻳﻦ ﻳﺸﻜﻠﻮن ﻣﺮاﺟﻊ ﺷﻌﺮﻳﺔ ﺣﻴﺔ‪ ،‬ودامئﺎً‬ ‫ﻣﺎ ﻧﺴﺘﻔﻴﺪ ﻣﻦ ﺧﱪﺗﻬﻢ ﰲ ﻫﺬا اﳌﺠﺎل‪،‬‬ ‫ﻓﺈذا ﻣﺎ اﺧﺘﻠﻔﻨﺎ ﻧﺤﻦ ﻣﻌﴩ اﻟﺸﻌﺮاء ﰲ‬ ‫ﺑﺤﺮ أو وزن‪ ،‬ﻧﺘﺼﻞ ﺑﻬﻢ ودامئﺎً ﻣﺎ ﻧﺠﺪ‬ ‫ﻟﺪﻳﻬﻢ اﻟﺠﻮاب اﻟﻔﺼﻞ‪ ،‬ﻓﻨﺼﻴﺤﺘﻲ ﻟﻠﺸﻌﺮاء‬ ‫اﳌﺒﺘﺪﺋني أن ﻳﺜﻘﻔﻮا ﺑﺄﻧﻔﺴﻬﻢ وﻳﻄﻮروا‬ ‫ﻣﻦ ﻗﺪراﺗﻬﻢ ﰲ ﺑﺤﻮر اﻟﺸﻌﺮ وﰲ ﻛﻴﻔﻴﺔ‬ ‫ﻧﻈﻢ اﻟﺤﺒﻜﺔ اﻟﺸﻌﺮﻳﺔ‪ ،‬وﻫﺬا ﻣﺎ ميﻜﻦ أن‬ ‫ﻳﻨﻬﻠﻮه ﻣﻦ اﳌﺮاﻛﺰ اﻟﺸﻌﺮﻳﺔ اﳌﺘﺨﺼﺼﺔ«‪.‬‬ ‫وأﺷﺎر ﺳﻌﻮد إﱃ أن ﺑﺤﻮر اﻟﺸﻌﺮ ﺛﺎﺑﺘﺔ‪ ،‬رﻏﻢ‬ ‫اﺧﺘﻼﻓﻬﺎ ﻣﻦ دوﻟﺔ ﻷﺧﺮى ﻓﻴﻘﻮل‪» :‬ﺑﺤﻮر‬ ‫اﻟﺸﻌﺮ ﻻ ﺗﺘﻐري‪ ،‬متﺎﻣﺎً ﻛام ﻫﻮ اﻟﺤﺎل ﰲ‬ ‫اﻟﺸﻌﺮ اﻟﻔﺼﻴﺢ‪ ،‬ﻟﻜﻦ ﻳﺨﺘﻠﻒ اﺳﺘﻌامﻟﻬﺎ ﻣﻦ‬ ‫دوﻟﺔ ﻷﺧﺮى‪ ،‬ﻓﻬﻨﺎك ﺑﺤﻮر ﺗﺘﻤﻴﺰ ﺑﻬﺎ دوﻟﺔ‬ ‫اﻹﻣﺎرات‪ ،‬وﻫﻨﺎك ﺑﺤﻮر ﺗﺘﻤﻴﺰ ﺑﻬﺎ اﳌﻤﻠﻜﺔ‬ ‫اﻟﻌﺮﺑﻴﺔ اﻟﺴﻌﻮدﻳﺔ وﻏريﻫﺎ‪ ،‬اﻟﺸﻌﺮ ﻣﺤﻴﻂ‬ ‫ﻛﺒري‪ ،‬وﻗﺪ ﺻﺎغ ﻋﺪد ﻣﻦ اﻟﺸﻌﺮاء ﺑﺤﻮرﻫﻢ‬

‫اﻟﻌﺪد ‪6644‬‬ ‫ﻟﻌﺪد‬ ‫ﻌﺮ ‪ /‬اﻟاﻟﻌﺪ‬ ‫ﻌﺪ‬ ‫ﺸﻌﺮ‬ ‫اﻟﺸ‬ ‫ﻟﺸ‬ ‫ﺑﻴﺖ‬ ‫ﺖ‬ ‫‪ 2222‬ﺑﺑﻴ‬ ‫ﻴﺖ اﻟ ِ‬

‫وﺗﻔﻌﻴﻼﺗﻬﻢ اﻟﺨﺎﺻﺔ‪ ،‬ﻟﻜﻦ ﻫﺬا مل ﻳﻐري ﻣﻦ‬ ‫ﺗﻜﻮﻳﻦ اﻟﺒﺤﻮر اﻟﺸﻌﺮﻳﺔ اﻷﺻﻠﻴﺔ‪ ،‬ﻓﻬﻲ ﺑﺤﻮر‬ ‫ﻣﺘﻮارﺛﺔ ﺟﻴ ًﻼ ﺑﻌﺪ ﺟﻴﻞ«‪.‬‬ ‫متﻴﺰ اﳌﺼﻌﺒﻲ ﰲ ﻣﺨﺘﻠﻒ أﻏﺮاض اﻟﺸﻌﺮ‬ ‫ﻛﺎﻟﻐﺰل واﻟﺤﻜﻤﺔ واﻟﻮﺟﺪاين‪ ،‬ﻟﻜﻨﻪ ﰲ اﻟﻮﻗﺖ‬ ‫اﻟﺤﺎﱄ ﻳﺮﻛﺰ ﻋﲆ اﻟﺸﻌﺮ اﻟﻮﻃﻨﻲ‪ ،‬ﻓﻴﻘﻮل‪:‬‬ ‫»ﻧﻌﻴﺶ اﻟﻴﻮم ﻣﺮﺣﻠﺔ ﻣﻔﺼﻠﻴﺔ ﰲ ﺗﺎرﻳﺦ‬ ‫دوﻟﺘﻨﺎ‪ ،‬ﻓﺒﺤﻜﻢ اﻧﺘﺸﺎر ﺟﻨﻮدﻧﺎ اﻟﺒﻮاﺳﻞ ﰲ‬ ‫ﻣﺨﺘﻠﻒ ﺑﻘﺎع اﻷرض‪ ،‬ﻣﺪاﻓﻌني ﻋﻦ اﻟﺤﻖ‬ ‫واﻟﺤﻴﺎة‪ ،‬ﻛﺎن ﻣﻦ واﺟﺒﻨﺎ اﻟﻮﻃﻨﻲ ﻛﺸﻌﺮاء‬ ‫ﺗﺤﻔﻴﺰﻫﻢ واﻟﺸﺪ ﻣﻦ أزرﻫﻢ‪ ،‬ﻓﺎﻟﺸﻌﺮ‬ ‫اﻟﻮﻃﻨﻲ اﻟﻴﻮم ﻫﻮ اﻷﺳﺎس‪ ،‬وﻟﻪ اﻟﻴﻮم ﻧﺼﻴﺐ‬ ‫اﻷﺳﺪ‪ ،‬ووﻃﻨﻨﺎ وﺣﻜﻮﻣﺘﻨﺎ اﻟﺮﺷﻴﺪة ﻳﺴﺘﺤﻘﺎن‬ ‫ﻣﻨﺎ ﻛﻞ اﻷﺑﺪاع‪ ،‬وﻣﻬام ﻗﻠﻨﺎ ﻟﻦ ﻧﻮﻓﻴﻬﻢ‬ ‫ﺣﻘﻬﻢ«‪.‬‬ ‫ﻛﺎن ﻟﱪﻧﺎﻣﺞ ﺷﺎﻋﺮ اﳌﻠﻴﻮن أﺛﺮ ﻛﺒري ﰲ‬ ‫ﻣﺴرية ﺳﻌﻮد اﳌﺼﻌﺒﻲ اﻟﺸﻌﺮﻳﺔ‪ ،‬وﻋﻦ ﻫﺬه‬ ‫اﻟﺘﺠﺮﺑﺔ ﻳﻘﻮل‪» :‬ﺷﺎرﻛﺖ ﰲ اﻟﺪورة اﻷوﱃ‬

‫ﻣﻦ ﻫﺬا اﻟﱪﻧﺎﻣﺞ‪ ،‬ﻛﺎن ﺗﺠﺮﺑﺔ ﺟﺪﻳﺪة ﰲ‬ ‫ﺑﺮﻧﺎﻣﺞ ﺟﺪﻳﺪ‪ ،‬وﱄ اﻟﻔﺨﺮ أن ﻟﻘﺎيئ اﻷول ﻣﻊ‬ ‫ﺻﺎﺣﺐ اﻟﺴﻤﻮ اﻟﺸﻴﺦ ﻣﺤﻤﺪ ﺑﻦ زاﻳﺪ آل‬ ‫ﻧﻬﻴﺎن وﱄ ﻋﻬﺪ أﺑﻮ ﻇﺒﻲ ﻧﺎﺋﺐ اﻟﻘﺎﺋﺪ اﻷﻋﲆ‬ ‫ﻟﻠﻘﻮات اﳌﺴﻠﺤﺔ ﺣﻔﻈﻪ اﻟﻠﻪ ﻛﺎن ﻣﻦ ﺧﻼل‬ ‫ﺷﺎﻋﺮ اﳌﻠﻴﻮن‪ ،‬واﻟﺤﻤﺪ ﻟﻠﻪ ﻣﻦ ذﻟﻚ اﻟﻮﻗﺖ‬ ‫إﱃ ﻳﻮﻣﻨﺎ ﻫﺬا وأﻧﺎ أﺣﻈﻰ ﺑﺰﻳﺎرة ﻣﺠﻠﺲ‬ ‫ﺻﺎﺣﺐ اﻟﺴﻤﻮ وإﻟﻘﺎء اﻟﻘﺼﺎﺋﺪ ﻋﲆ ﻣﺴﺎﻣﻊ‬ ‫ﺳﻤﻮه‪ .‬ﻟﻘﺪ ﻛﺎن اﻟﱪﻧﺎﻣﺞ ﻧﻘﻠﺔ إﻋﻼﻣﻴﺔ‬ ‫ﻛﺒرية‪ ،‬ﺷﺎﻋﺮ اﳌﻠﻴﻮن ﺑﺮﻧﺎﻣﺞ ﻣﺘﻤﻴﺰ وﻣﺤﻄﺔ‬ ‫ﻣﻬﻤﺔ ﰲ ﺳﺎﺣﺔ اﻟﺸﻌﺮ‪ ،‬ﻫﻮ أﺷﺒﻪ ﻣﺎ ﻳﻜﻮن‬ ‫ﺑﺴﻮق ﻋﻜﺎظ اﻟﺰﻣﻦ اﻟﺤﺎﱄ‪ ،‬ﻓﺄﺻﺒﺢ اﻟﻮﻗﻮف‬ ‫ﻋﲆ ﻣﴪح ﺷﺎﻋﺮ اﳌﻠﻴﻮن ﺣﻠﻢ ﻛﻞ ﺷﺎﻋﺮ‬ ‫ﰲ اﻟﻌﺎمل اﻟﻌﺮيب«‪ ،‬وﻳﺆﻛﺪ اﳌﺼﻌﺒﻲ ﻋﲆ أن‬ ‫ﻣﺎ وﺻﻞ إﻟﻴﻪ اﻟﱪﻧﺎﻣﺞ ﻣﻦ ﻧﺠﺎح وﻣﻦ ﻗﺪرة‬ ‫ﻋﲆ اﺳﺘﻘﻄﺎب اﻟﺸﻌﺮاء ﻣﻦ ﻛﻞ أﺻﻘﺎع‬ ‫اﻟﻮﻃﻦ اﻟﻌﺮيب إمنﺎ ﻳﺪل ﻋﲆ أن اﻟﱪﻧﺎﻣﺞ‬ ‫اﺳﺘﻄﺎع أن ﻳﻮﺻﻞ ﺛﻘﺎﻓﺔ اﻟﻘﺼﻴﺪة وﺛﻘﺎﻓﺔ‬ ‫ﺗﻄﻮﻳﺮ اﻟﻘﺼﻴﺪة وﺛﻘﺎﻓﺔ ﻧﻘﻞ اﻟﻘﺼﻴﺪة‪.‬‬ ‫وﺑﺤﻜﻢ ﺣﺪﻳﺜﻨﺎ ﻋﻦ ﺑﺮﻧﺎﻣﺞ ﺷﺎﻋﺮ اﳌﻠﻴﻮن‬ ‫ﻛﺎن ﻣﻦ اﻟﺒﺪﻳﻬﻲ أن ﻧﻌﺮج ﻋﲆ اﻟﻌﻼﻗﺔ‬ ‫ﺑني اﻟﺸﻌﺮ اﻟﺸﻌﺒﻲ واﻹﻋﻼم‪ ،‬وﻋﻨﻬﺎ ﺣﺪﺛﻨﺎ‬ ‫ﺳﻌﻮد ﻓﻘﺎل‪» :‬ﻣﻨﺬ ﺳﻨﻮات ﻣﻀﺖ ﻛﺎﻧﺖ‬ ‫اﳌﻬﺮﺟﺎﻧﺎت اﻟﺸﻌﺮﻳﺔ ﰲ اﻟﺨﻠﻴﺞ اﻟﻌﺮيب‬ ‫ﻛﺜرية وﻏﺰﻳﺮة‪ ،‬ﻟﻜﻦ ﻫﺬه اﳌﻬﺮﺟﺎﻧﺎت ﻗﻠﺖ‬ ‫ﻣﻊ ﻇﻬﻮر ﻣﻮاﻗﻊ اﻟﺘﻮاﺻﻞ اﻻﺟﺘامﻋﻲ واﻟﺘﻲ‬ ‫وﺟﺪ ﻓﻴﻬﺎ اﻟﺸﻌﺮاء ﺑﺪﻳ ًﻼ ﻋﻦ اﳌﻬﺮﺟﺎﻧﺎت‬ ‫واﻷﻣﺴﻴﺎت‪ ،‬وﻣﻊ ﻫﺬا ﻓﺈن ﻋﻼﻗﺔ اﻟﺸﺎﻋﺮ‬ ‫ﻣﻊ اﻹﻋﻼم اﻟﺘﻘﻠﻴﺪي ﻣﺎ زاﻟﺖ ﻋﻼﻗﺔ ﺟﻤﻴﻠﺔ‪،‬‬ ‫ﻫﺬه اﻟﻌﻼﻗﺔ ﺗﺘﻄﻠﺐ ﺟﻬﺪاً ﻣﻦ اﻟﻄﺮﻓني‪،‬‬ ‫ﻓﺎﻟﺸﺎﻋﺮ ﻋﻠﻴﻪ أن ﻳﻠﺒﻲ اﻟﺪﻋﻮات اﻹﻋﻼﻣﻴﺔ‬ ‫إن ﻛﺎﻧﺖ ﺗﺘامﳽ ﻣﻊ أﻫﺪاﻓﻪ‪ ،‬وﻛﺬﻟﻚ‬ ‫ﻳﺠﺐ ﻋﲆ اﻹﻋﻼم اﻟﺒﺤﺚ ﻋﻦ اﳌﻮاﻫﺐ‬ ‫اﳌﺘﻤﻴﺰة وﺗﺴﻠﻴﻂ اﻟﻀﻮء ﻋﻠﻴﻬﺎ‪ ،‬ﺧﺎﺻﺔ أﻧﻪ‬ ‫ﰲ اﻟﺴﻨﻮات اﻷﺧرية‪ ،‬ﻟﻜﻦ ﻻ ﻧﻨﴗ أﻧﻪ ﻧﺘﻴﺠﺔ‬ ‫ﻇﻬﻮر ﻣﺎ ﻳﺴﻤﻰ اﻹﻋﻼم اﻟﺸﺨﴢ اﺧﺘﻠﻂ‬ ‫اﻟﻐﺚ ﻣﻊ اﻟﺜﻤني ﰲ ﺑﻌﺾ اﻷﺣﻴﺎن«‪.‬‬ ‫وﻳﺼﻒ اﻟﺸﺎﻋﺮ ﺳﻌﻮد اﳌﺼﻌﺒﻲ ﻋﻼﻗﺘﻪ‬ ‫ﻣﻊ ﻣﻮاﻗﻊ اﻟﺘﻮاﺻﻞ اﻻﺟﺘامﻋﻲ ﺑﺎﻟﻌﻼﻗﺔ‬ ‫اﻟﺠﻤﻴﻠﺔ‪ ،‬وﻳﻀﻴﻒ ﺑﺎﻟﻘﻮل‪» :‬ﻛﺎن ﱄ ﻧﺸﺎط‬ ‫ﻛﺒري ﰲ ﻣﻮاﻗﻊ اﻟﺘﻮاﺻﻞ اﻻﺟﺘامﻋﻲ ﰲ ﻋﺎﻣﻲ‬

‫ﻃﺮق اﻟﺸﻌﺮ اﻟﻨﺒﻄﻲ أﺑﻮاب ﻗﻠﺐ ﺳﻌﻮد‬ ‫ﻣﻨﺬ ﺳﻨﻮات اﻟﺼﺒﺎ‪ ،‬ﻟﻜﻦ ﺗﺠﺮﺑﺘﻪ اﻟﺸﻌﺮﻳﺔ‬ ‫اﻟﺤﻘﻴﻘﻴﺔ ﺑﺪأت ﺗﺘﺒﻠﻮر ﰲ اﳌﺮﺣﻠﺔ اﻟﺠﺎﻣﻌﻴﺔ‪،‬‬ ‫وﻋﻦ ﺑﺪاﻳﺎﺗﻪ ﻳﻘﻮل ﺳﻌﻮد‪» :‬ﺑﺪأت رﺣﻠﺘﻲ‬ ‫اﻟﺤﻘﻴﻘﻴﺔ ﰲ ﻋﺎمل اﻟﺸﻌﺮ اﻟﻨﺒﻄﻲ ﻣﻦ ﻋﲆ‬ ‫ﻣﻘﺎﻋﺪ اﻟﺠﺎﻣﻌﺔ‪ ،‬ﺣﻴﺚ ﺷﺎرﻛﺖ ﰲ ﺗﻠﻚ‬ ‫اﳌﺮﺣﻠﺔ ﺑﻌﺪد ﻛﺒري ﻣﻦ اﻷﻣﺴﻴﺎت اﻟﺸﻌﺮﻳﺔ‪،‬‬ ‫إﱃ أن ﻟﻘﺒﺖ ﺑﺸﺎﻋﺮ اﻷﻣﺴﻴﺎت وﺷﺎﻋﺮ‬ ‫اﻟﺸﺒﺎب‪ .‬ﺗﺨﺮﺟﺖ ﰲ اﻟﺠﺎﻣﻌﺔ واﺳﺘﻤﺮت‬ ‫ﻣﺸﺎرﻛﺘﻲ ﰲ اﻷﻣﺴﻴﺎت اﻟﺸﻌﺮﻳﺔ داﺧﻞ‬ ‫اﻟﺪوﻟﺔ وﺧﺎرﺟﻬﺎ‪ ،‬ﰲ اﳌﻤﻠﻜﺔ اﻟﻌﺮﺑﻴﺔ‬ ‫اﻟﺴﻌﻮدﻳﺔ واﻟﻜﻮﻳﺖ وﻣﺨﺘﻠﻒ دول اﻟﺨﻠﻴﺞ‪،‬‬ ‫ﻛام ﻛﺮﻣﺖ ﰲ ﻫﺬه اﳌﺮﺣﻠﺔ ﻣﻦ ﻗﺒﻞ ﻣﺠﻠﺔ‬ ‫ﻗﻄﻮف ﺣﻴﺚ ﺣﺼﻠﺖ ﻗﺼﻴﺪيت ﻋﲆ اﳌﺮﻛﺰ‬ ‫اﻷول ﺑني ﻗﺼﺎﺋﺪ اﻟﺤﻜﻤﺔ‪ ،‬وﻣﻦ ﺛﻢ ﺟﺎءت‬ ‫ﻣﺸﺎرﻛﺘﻲ ﰲ ﺑﺮﻧﺎﻣﺞ ﺷﺎﻋﺮ اﳌﻠﻴﻮن ﰲ ﻧﺴﺨﺘﻪ‬ ‫اﻷوﱃ‪ ،‬وﻗﺪ اﺧﺘﴫ ﻫﺬا اﻟﱪﻧﺎﻣﺞ اﳌﺴﺎﻓﺔ‬ ‫إﱃ اﻟﺴﺎﺣﺔ اﻹﻋﻼﻣﻴﺔ‪ ،‬وﺷﻜﻞ اﻟﱪﻧﺎﻣﺞ ﻧﻘﻠﺔ‬ ‫ﻛﺒرية ﰲ ﺗﺎرﻳﺨﻲ اﻟﺸﻌﺮي‪ ،‬وﻣﻦ ﺑﻌﺪﻫﺎ‬ ‫ﻛﺎﻧﺖ اﻻﻧﻄﻼﻗﺔ إﱃ ﻣﺴﺘﻮﻳﺎت ﺟﺪﻳﺪة ﻋﲆ‬ ‫اﳌﺴﺘﻮى اﻟﺠامﻫريي‪ ،‬وﻛﺎن ﱄ ﺣﻀﻮري ﻗﺒﻞ‬ ‫اﻟﱪﻧﺎﻣﺞ‪ ،‬وزاد ﻫﺬا اﻟﺤﻀﻮر ﺑﻌﺪه‪ ،‬وﺗﻮاﻟﺖ‬ ‫اﻷﻣﺴﻴﺎت واﳌﻬﺮﺟﺎﻧﺎت‪ .‬وإﱃ اﻵن ﻣﺴﺘﻤﺮ‬ ‫ﻣﻊ زﻣﻼيئ ﰲ أداء واﺟﺒﺎﺗﻨﺎ ﻛﺸﻌﺮاء‪ ،‬ﻓﺎﻷﻧﻈﺎر‬ ‫ﻣﻮﺟﻬﺔ إﻟﻴﻨﺎ اﻟﻴﻮم أﻛرث ﻣﻦ ذي ﻗﺒﻞ‪ ،‬ﺧﺎﺻﺔ‬ ‫ﰲ وﺟﻮد ﻫﺬا اﻟﺤﺮاك اﻟﻜﺒري ﻋﲆ اﻟﺴﺎﺣﺔ‬ ‫اﻟﻮﻃﻨﻴﺔ‪ ،‬ﻓﺎﻟﺸﺎﻋﺮ ﻫﻮ ﻟﺴﺎن اﳌﺠﺘﻤﻊ‪ ،‬وﻧﺤﻦ‬ ‫ﻣﻮﺟﻮدون دامئﺎً ﻟﺘﻤﺜﻴﻞ اﻟﺪوﻟﺔ‪ ،‬وأرﺟﻮ أن‬ ‫أﻛﻮن دامئﺎً ﻋﻨﺪ ﺣﺴﻦ ﻇﻦ اﻟﻘﻴﺎدة اﻟﺮﺷﻴﺪة‬ ‫اﻟﺘﻲ ﻻ ﻧﺴﺘﻐﻨﻲ ﻋﻦ دﻋﻤﻬﺎ وﺗﺸﺠﻴﻌﻬﺎ«‪.‬‬ ‫ﻳﺨﺎل اﳌﺘﺤﺪث ﻣﻊ ﺳﻌﻮد ﺑﺄﻧﻪ ﻳﺤﻤﻞ ﺷﻬﺎدة‬ ‫ﺟﺎﻣﻌﻴﺔ ﰲ اﻹﻋﻼم‪ ،‬ﻟﻜﻦ اﳌﻔﺎﺟﺄة ﺗﻜﻮن ﻋﻨﺪﻣﺎ‬ ‫ﻳﻌﺮف ﺑﺄن ﺳﻌﻮد ﻳﺤﻤﻞ ﺷﻬﺎدة اﻟﻬﻨﺪﺳﺔ ﰲ‬ ‫ﺟﻴﻮﻟﻮﺟﻴﺎ اﻟﺒﱰول واﳌﻴﺎه‪ ،‬وﻫﻮ ﺣﺎﺻﻞ ﻋﲆ‬ ‫ﺷﻬﺎدة اﻟﺒﻜﺎﻟﻮرﻳﻮس وﰲ ﻃﺮﻳﻘﻪ ﻟﻠﺤﺼﻮل‬ ‫ﻋﲆ ﺷﻬﺎدة اﻟﺪﻛﺘﻮراه إن ﺷﺎء اﻟﻠﻪ‪ ،‬ﻟﻴﻜﻮن‬ ‫اﻟﺴﺆال ﻣﻦ أﻳﻦ ﻟﻪ ﻫﺬا اﻟﺤﻀﻮر اﻹﻋﻼﻣﻲ‬ ‫اﳌﺘﻤﻴﺰ ﻓﻴﺠﻴﺐ‪» :‬ﺧﻼل ﻣﺴرييت اﻟﺸﻌﺮﻳﺔ‬ ‫أﺟﺮﻳﺖ اﻟﻜﺜري ﻣﻦ اﻟﻠﻘﺎءات اﻹﻋﻼﻣﻴﺔ‪ ،‬ﻛام‬ ‫ﺳﺒﻖ ﱄ أن ﻗﺪﻣﺖ ﺑﺮﻧﺎﻣﺠني ﻋﲆ ﺗﻠﻔﺰﻳﻮن‬ ‫اﻟﺪار‪ ،‬ﻫﺬا اﻷﻣﺮ ﻣﻨﺤﻨﻲ ﺧﱪة إﻋﻼﻣﻴﺔ‬ ‫ﺳﺎﻋﺪﺗﻨﻲ ﰲ أداء اﻟﺤﻮارات واﻟﻮﻗﻮف أﻣﺎم‬

‫ﻟﻲ اﻟﻔﺨﺮ أن ﻟﻘﺎﺋﻲ اﻷول ﻣﻊ‬ ‫ﺻﺎﺣﺐ اﻟﺴﻤﻮ اﻟﺸﻴﺦ ﻣﺤﻤﺪ ﺑﻦ‬ ‫زاﻳﺪ آل ﻧﻬﻴﺎن وﻟﻲ ﻋﻬﺪ‬ ‫أﺑﻮ ﻇﺒﻲ ﻧﺎﺋﺐ اﻟﻘﺎﺋﺪ اﻷﻋﻠﻰ‬ ‫ﻟﻠﻘﻮات اﻟﻤﺴﻠﺤﺔ ﺣﻔﻈﻪ ا ﻛﺎن‬ ‫ﻣﻦ ﺧﻼل ﺷﺎﻋﺮ اﻟﻤﻠﻴﻮن‬ ‫ﻣﻬﺮﺟﺎن ﺳﻤﻮ اﻟﺸﻴﺦ ﺳﻠﻄﺎن‬ ‫ﺑﻦ زاﻳﺪ اﻟﺘﺮاﺛﻲ‪ ،‬ﻣﻦ اﻟﻤﻬﺮﺟﺎﻧﺎت‬ ‫اﻟﻤﺘﻤﻴﺰة واﻟﻤﺘﺄﻟﻘﺔ‪ ،‬وﻗﺪ وﺟﻬﺖ‬ ‫ﻟﻲ اﻟﺪﻋﻮة ﻟﻠﻤﺸﺎرﻛﺔ ﻓﻲ‬ ‫ﻓﻌﺎﻟﻴﺎت اﻟﺪورة اﻷﺧﻴﺮة وﻛﺎن‬ ‫ﻟﻲ ﺷﺮف اﻟﻤﺸﺎرﻛﺔ ﻣﻦ ﺧﻼل‬ ‫ﺣﻠﻘﺔ ﻣﺼﻮرة ﺿﻤﻦ ﻓﻌﺎﻟﻴﺎت‬ ‫اﻟﻤﻬﺮﺟﺎن ‬

‫اﻟﻜﺎﻣريا‪ ،‬وﻛﻴﻔﻴﺔ إﻳﺼﺎل اﻟﺮﺳﺎﻟﺔ اﻟﺘﻲ أرﻏﺐ‬ ‫ﰲ إﻳﺼﺎﻟﻬﺎ ﻟﻠﺠﻤﻬﻮر مبﺤﺘﻮاﻫﺎ اﻟﻜﺎﻣﻞ«‪.‬‬ ‫ﻟﻘﺪ ﻛﺎن ﻟﻠﺒﻴﺌﺔ اﻟﺒﺪوﻳﺔ اﻟﺘﻲ ﺗﺮﻋﺮع ﻓﻴﻬﺎ‬ ‫ﺳﻌﻮد دور ﻛﺒري ﰲ إﺷﻌﺎل ﺟﺬوة اﻟﺸﻌﺮ‬ ‫ﰲ ﻋﻘﻠﻪ‪ ،‬ﻓﺎﻟﺒﻴﺌﺔ اﻟﺒﺪوﻳﺔ ﻣﻌﺮوﻓﺔ ﺑﺤﺒﻬﺎ‬ ‫ﻟﻠﺸﻌﺮ‪ ،‬واﻟﺸﻌﺮ ﻫﻮ وﻋﺎء اﻟﺤﻀﺎرات‪ ،‬وﻫﻮ‬ ‫اﻹرث اﳌﺘﻮارث ﻣﻦ ﺟﻴﻞ إﱃ ﺟﻴﻞ‪ ،‬وﻛﻐريه‬ ‫ﻣﻦ أﺑﻨﺎء اﻟﺒﺎدﻳﺔ ﻛﺎن ﺳﻌﻮد ﻣﺤﺒﺎً ﻟﺴامع‬ ‫اﻟﺸﻌﺮ ﻣﻦ ﻛﺒﺎر ﻣﻦ ﻗﺎﻟﻮه‪ ،‬ﻟﺘﻜﻮن ﺑﺪاﻳﺘﻪ‬ ‫ﻣﻊ ﻓﻦ اﻟﺸﻠﺔ‪ ،‬ﺳﺎﻋﺪه ﰲ ذﻟﻚ ﺻﻮﺗﻪ اﻟﻘﻮي‪،‬‬ ‫أﻣﺎ ﻋﻦ اﺗﻘﺎﻧﻪ اﻟﺸﻌﺮ وﺑﺤﻮره ﻓﻴﻘﻮل‪» :‬ﻛﺎن‬ ‫ﺗﻌﻠﻢ أﺻﻮل اﻟﺸﻌﺮ وﺑﺤﻮره وأوزاﻧﻪ ﰲ‬ ‫اﻟﺴﺎﺑﻖ أﺻﻌﺐ ﻣﻦ اﻟﻮﻗﺖ اﻟﺤﺎﱄ‪ ،‬ﻓﺎﻟﻴﻮم‬ ‫ﻫﻨﺎك اﳌﺮاﻛﺰ اﳌﺘﺨﺼﺼﺔ ﰲ اﻟﺸﻌﺮ ﻣﺜﻞ‬ ‫أﻛﺎدميﻴﺔ اﻟﺸﻌﺮ‪ ،‬ﺣﻴﺚ ميﻜﻦ ﳌﻦ ميﺘﻠﻚ‬ ‫اﳌﻮﻫﺒﺔ اﻟﺸﻌﺮﻳﺔ أن ﻳﻘﺼﺪ ﻫﺬه اﳌﺮاﻛﺰ‪،‬‬ ‫وﻳﺘﻌﻠﻢ أﺻﻮل اﻟﺸﻌﺮ‪ ،‬وﻳﺴﺘﻔﻴﺪ ﻣﻦ ﺗﺠﺎرب‬ ‫ﻛﺒﺎر اﻟﺸﻌﺮاء واﻟﻨﻘﺎد ﻣﺜﻞ ﺳﻠﻄﺎن اﻟﻌﻤﻴﻤﻲ‪،‬‬ ‫ﻓﺒﺮاﻳﺮ ‪21 2018 /‬‬

‫ﺣﻮار اﻟﻌﺪد‬ ‫‪baytelshear‬‬

‫ﻳﺮى أن اﻟﺴﻨﻮات اﻟﻤﻤﺘﺪة ﺑﻴﻦ ‪ 2000‬و‪ 2010‬ﻫﻲ اﻟﺬﻫﺒﻴﺔ ﻓﻲ ﺗﺎرﻳﺦ اﻟﺸﻌﺮ اﻟﺸﻌﺒﻲ‬

‫ﺳﻌﻮد اﻟﻤﺼﻌﺒﻲ‪ :‬ﻣﻌﻈﻢ اﻟﻨﺎس ﻳﺴﺘﻄﻴﻌﻮن اﻟﺘﻤﻴﻴﺰ‬ ‫ﺑﻴﻦ اﻟﺠﻴﺪ واﻟﺮديء ﻓﻲ اﻟﺸﻌﺮ‬ ‫ﺣﻮار وﺗﺼﻮﻳﺮ‪ :‬ﻣﺼﻄﻔﻰ اﻟﺠﻨﺪي‬

‫ﻋﻨﺪﻣﺎ ﻳﺠﺘﻤﻊ اﻟﻌﻠﻢ واﻟﻤﻮﻫﺒﺔ اﻟﺸﻌﺮﻳﺔ واﻟﺤﻀﻮر اﻹﻋﻼﻣﻲ ﻓﻲ ﺷﺨﺺ واﺣﺪ‪ ،‬ﻓﻬﺬا ﻳﻌﻨﻲ أﻧﻨﺎ ﻋﻠﻰ ﻣﻮﻋﺪ ﻣﻊ ﺣﻮار ﺷﻴﻖ‪ ،‬وإذا ﻣﺎ ﺻﺎﺣﺐ‬ ‫ﻫﺬه اﻟﻌﻨﺎﺻﺮ اﻹﺑﺪاﻋﻴﺔ ﺻﻮت ﺟﻬﻮري رﺧﻴﻢ‪ ،‬ﻓﺴﻨﻜﻮن ﺑﻼ ﺷﻚ أﻣﺎم ﺣﺎﻟﺔ ﻣﺘﻔﺮدة‪ ،‬ﺳﺘﻨﻘﻠﻨﺎ ﻓﻲ ﺑﺤﻮر اﻟﺸﻌﺮ اﻟﻨﺒﻄﻲ ﺑﺴﻼﺳﺔ وﺧﻔﺔ‪W‬‬ ‫ﺿﻴﻔﻨﺎ ﻓﻲ ﻫﺬا اﻟﻌﺪد ﻳﻤﺘﻠﻚ ﻣﻦ اﻟﺼﻔﺎت اﻹﺑﺪاﻋﻴﺔ واﻷداﺋﻴﺔ ﻣﺎ ﺟﻌﻠﻪ رﻗﻤﺎ ﺻﻌﺒﺎ ﻓﻲ ﻋﺎﻟﻢ اﻟﺸﻌﺮ اﻟﻨﺒﻄﻲ‪ ،‬ﻓﻜﺎن ﻣﻦ ﺑﻴﻦ اﻟﺬﻳﻦ ﻳﺸﺎر‬ ‫إﻟﻴﻬﻢ ﺑﺎﻟﺒﻨﺎن ﻛﻠﻤﺎ ُﻃﺮﻗﺖ أﺑﻮاب اﻟﺸﻌﺮ‪ ،‬إﻧﻪ اﻟﺸﺎﻋﺮ اﻹﻣﺎراﺗﻲ ﺳﻌﻮد اﻟﻤﺼﻌﺒﻲ اﻟﺬي ﻛﺎن ﻣﻌﻪ ﻫﺬا اﻟﺤﻮار ‬ ‫اﻟﺸﻌﺮ ‪ /‬اﻟﻌﺪد ‪64‬‬ ‫‪ 20‬ﺑﻴﺖ ِ‬

‫اﻟﻘﺼﻴﺪة اﻟﺤﺎﺋﺰة ﻋﻠﻰ اﻟﻤﺮﻛﺰ اﻟﺨﺎﻣﺲ‬

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d C2 7 ± d9 ¹C P: 0188 / ‫ﻓﺒﺮاﻳﺮ‬ ‫ﻓﺒﺮااﻳﺮ‬ 19 22018

‫اﻟﻤﺴﺎﺑﻘﺔ اﻟﺸﻌﺮﻳﺔ‬ baytelshear

‫اﻟﻘﺼﻴﺪة اﻟﺤﺎﺋﺰة ﻋﻠﻰ اﻟﻤﺮﻛﺰ اﻟﺮاﺑﻊ‬

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ýR=5ê± P: 64 ‫ اﻟﻌﺪد‬/ ‫ﻌﺮ‬ ‫ﺸﻌﺮ‬ ‫اﻟﺸ‬ ‫ ﺑﻴﺖ‬18 ِ ‫ﻴﺖ اﻟ‬

‫اﻟﻘﺼﻴﺪة اﻟﺤﺎﺋﺰة ﻋﻠﻰ اﻟﻤﺮﻛﺰ اﻟﺜﺎﻟﺚ‬

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·ÒPò »C< 0188 / ‫ﻓﺒﺮاﻳﺮ‬ ‫ﻓﺒﺮااﻳﺮ‬ 17 22018

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‫اﻟﻤﺴﺎﺑﻘﺔ اﻟﺸﻌﺮﻳﺔ‬ baytelshear

‫اﻟﻘﺼﻴﺪة اﻟﺤﺎﺋﺰة ﻋﻠﻰ اﻟﻤﺮﻛﺰ اﻟﺜﺎﻧﻲ‬

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4b@@s@g@A* H x@@s@ AH b@@~@ |@ F*H b@@ @ D* @@ @A*2 @@E 4*x@@ @ @D* Í@@ @Â q@@ Ab@@ ~@ @8 ° 2b@@ @ @ @ @¸&°* t@@ @J4b@@ @4b@@c@ @ @ D @@~@ }@ 1 ¥2É@@ @£@ @ E Í@@ @ c@ ~@ 6H v@@ @ @ 0*H 4b@@ @ < d@@Jb@@m@ @ D* @@c@ ~@ 6 b@@ @J i*4b@@ @ @ @ @ E&°* @@c@ ~@ 6 4*x@@ @ @ ²* k@@ @ @ @J4H v@@ @ @ @J*5 @@ @ @C ¯ h@@ @<x@@ @<x@@ @4b@@ @ BH b@@ @ £@ @ < v@@ @ ~@ @ @6*H b@@ @ @A¡@@ @ @C @@ @ D iv@@ @ @E 4*2 4*2 x@@s@ g@ @ -H eb@@ p@ @~@ @z@ @D* ¡@@ @ @A @@ @ @ 4b@@Jv@@D* @@ J3 @@6b@@ @ D* ,b@@ £@ 0 f@@ @ J5 ¡@@ @ B&* @@ + 4b@@ @ @ @ @´*H '¡@ @ @ @D'¡@ @ @ @ @ @ @ @D*H ex@@ @ @ @ @ @ D* n@@ £@ @ @ @1 ,42 4*v@@ g@ @B*H f@@ @ @ ~@ 6 ¤@@ 0É@@ @ @D* @@j@ E @@ 7b@@ < b@@ E 4*x@@ ~@ @7H 4b@@ @ @+ °* É@@ @ @ @ D* @@ £@ @1 @@ |@ @B b@@ @E 4b@@ @ @ @ @G25* É@@ @ @ @ @+ i*4b@@ @ @ @ @ @ @ @ @E(°* ¡@@ @ £@ @ @< @@ @p@ @ C 4b@@~@ z@ ´* o¡@@ c@ @J ¤@@ @ @D* Ì@@ @= v@@ m@ @´* @@{@ @ @ J b@@ @E 4*¡@@ @±* @@~@ z@ 0 @@ C ¯ @@ @ ³* @@~@ z@ 0 @@p@ J 4b@@~@ |@ g@ 1b@@ @ + x@@ @ ~@ {@ D*H ¡@@ @ @´* k@@ Jv@@ ²* d@@ D 4b@@ @ @ D* *¡@@ @ @ @: rv@@ @ @Â @@ @ E e¡@@ @ @ @ B @@ @ @ -

d C R ± ½Cï ^0= 64 ‫اﻟﻌﺪد‬ ‫ﻟﻌﻌﻌﺪد‬ ‫ ﻟاﻟﻌ‬/ ‫ﻌﺮ‬ ‫ﺸﻌﺮ‬ ‫اﻟﺸ‬ ‫ ﺑﻴﺖ‬16 ِ ‫ﻴﺖ اﻟ‬

‫ول‬N‫اﻟﻘﺼﻴﺪة اﻟﺤﺎﺋﺰة ﻋﻠﻰ اﻟﻤﺮﻛﺰ ا‬

4b@@ c@ @g@ @1°* v@@ @ @< @@ @ @ @ @ @ D*H 4b@@ @ Q @ @ ~@ @ {@ @ D* ev@@ @ @ @ J Ì@@ @ @.&°* Ä@@ @ < rv@@ @~@ @ 8 v@@ @ @ @J*5 b@@ @ @< ¯ *v@@ @ Q @ @ @ D* 4b@@: ¡@@ @J v@@ @ J*5 2b@@ @ ¸&* ¶(* v@@ @~@|@J 4v@@ @B b@@ E Ì@@: 4b@@ ~@ @8 @@ @ F&* ¢@@ @ < b@@ @ ~@ 9Æ@@A* ¡@@ D b@@Fx@@ @ ~@ 7 4b@@ @ @g@ @~@ @7*H @@ +b@@ @ @E ¤@@ @ @c@ @J 2¡@@ @ @~@ @8 @@ m@Q @ g@ @E Ì@@~@ z@ ´* *5 °H x@@ @ @B @@ @ @g@ @C* v@@ @ @ @J*5 b@@ @ @< 4b@@ ~@ @{@ @g@ @F°b@@ + f@@ @ @ @ ~@ @ 6*H Mf@ @ <¡@@ @~@ @ 6¡@@ @E @@ ~@ @z@ @g@ @J Ì@@1 @@ @ C 4¡Q @ @ @ @ @ @J v@@ @ @ @ J*5 @@ £@ @ C b@@ @ Fx@@ @ C3 &* Ì@@~@{@: @@ E Mib@@g@ ~@ 7 @@ Q @ / @@£@ C b@@ Fx@@ C3 &*H 4*v@@ @g@ @ B*H t@@ @~@ @ 6*4 2¡@@ @ m@ § f@@ @DHv@@ @D* v@@ @ @ @0HH Q 4b@@ p@ g@ F°b@@ + h@@ @ @ @ @J*H h@@ @~@ @ z@ @ JQ &* @@ @ £@ @ ~@ }@ D*H Ì@@~@|@´* ¢@@ @~@ @ 64&*H @@Bx@@ @ g@ D*H ib@@gQ @ ~@ {@ D* v@@ @ @<&* 4*2 4*2 @@ @ @EQ &*H ¡@@ @³* v@@ @ @<&*H @@ @£@~@6 @@~@ 6H Ì@@ @ @ D* @@ @< @@ @ Ev@@ @ <&*H x@@ @ @ @ D @@ @ £@ ~@ 6 @@ ~@ 6 4b@@~@ |@ g@ s@ + *w@@ @ @ @GH v@@ @ @ @J*5 2¡@@ @ @ @ ¸ @@~@ {@ g@ @ J Ì@@~@ |@ c@ D*H d@@ Fb@@ / @@ C @@ E b@@ @ ~@ @ 64&* v@@ @ @ @ D*H 4b@@~@}@³b@@+ ¤@@ @ G*5 @@ +*x@@ E @@£Q @ ~@ |@ D*H b@@gQ @ ~@ {@ D*H x@@ Jv@@ =H ib@@ @ @ @ @0*H *Hb@@ @ @ ~@ @ @ @6H @@ Db@@ ~@ @7 @@ @c@ @ ±* 4b@@ @ @< b@@ @ @ JH 4b@@ @ @ @ < b@@ @ J b@@ @ @ @ G b@@ @£@ @ Fv@@ @D* f@@ @ Q @ @ / Ì@@c@< f@@ @0*¡@@ @A Í@@ -b@@ ~@ z@ + *x@@ p@ @~@ @|@ @D* ¡Q @ @ @ @ 0H 4b@@ @ @ D* ¡@@ ~@ @7 b@@ @ Ab@@~@ 7 Mf@ @ @ @/ @@ @< @@ @+Hb@@ @/ Ì@@ @ c@ D* ¢@@ @g@ @ 0 v@@ ~@ @{@ @ @ @J ¡@@ @ Db@@ @ J ¤@@ @ @ @ < b@@ @ @ @ @ G2Q 4 4b@@ @c@ @ @ @ D* ib@@ @ @ @ @ @ @ @ @ D ¡@@ @ @ @ C v@@ @ @ @ @ J*5 ¡@@ @ @ @ @ @ D* Ì~z D* d@@ @~@|@D* ¢@@ @< v@@<b@@~@8 4b@@cQ @ ±* v@@ @ / 4b@@ s@ @g@ @A*H @@s@ @ : @@ £@ @C b@@ @ Db@@m@ @ A Me4b@@ @ ~@ @ @7 Ì@@p@ J °H iÉ@@ ~@ @}@ @ @ @´* b@@ @ @+ @@ @ @Q @ @0 @@ g@ @ @ @G 4*x@@ B @@~@ }@ A&b@ + @@ @-¡@@ @1&* HQv@ @ @ @ @ J&*H b@@ @ £@ A 4b@@ ~@ @7 Ì@@c@1 &b@ @ @ ~@ @ @ 6&*H @@ -x@@ @ @A ¤@@ +x@@ @ @£@ @D* n@@ £@ @ @ @³* 4b@@ @ g@ +* ¡@@ ~@ @ {@ @ -H i*4b@@ @ @ E&É@ @ @ @D x@@ @ @ @ F @@ @ @ @D&* Ì@@ @E&* ¢@@ @ ~@ z@ E @@ @E Ä@@ @ @C&* b@@ @ @ £@ ¹ @@g@ c@ £@ G 4b@@ @ @´* b@@ @ @ < ¢@@ @ @< v@@ @ @ @ J*5 t@@ @ J4b@@ @ g@ @ D* @@ m@Q @ ~@ @6 Ì@@c@ @ D* t@@£@ ~@ {@ D* @@ Cb@@ ²* ¡@@ G v@@ Jb@@ @ @D* v@@ @ @J*5 4b@@ @ @/ x@@ @~@ @ 9b@@ @²* @@ @ Q @ @ @C x@@ @ @ .%b@ @ @ @E v@@ @Gb@@ @~@ @ 7 Ì D* ¡@@~@ 7 @@< eb@@ = ¡@@ DH x@@~@ 9b@@²* v@@ @J*5 4b@@c@ g@ <*H Ix@@ @ C3 ¤@@ 0 ¡@@ @ A x@@ @ C3 v@@ @ 1 @@ @EH Ì@@ @~@{@D* rx@@ ~@ @|@ @D* ¢@@ @ < @@ @ @D°2 ¤@@ Bb@@ + x@@ @ @ .&°* 4b@@ c@ @ @ @D* b@@ @ @£@ @ @Q @ @ @J b@@ @ E Iv@@ @ @ @´* Ä@@ @ < @@ £@ @Bb@@ + Ì@@ @ g@ ~@ z@ - x@@ @ @.%b@ @ @ ´* ¢@@ @ @c@ @-H @@ @0x@@ @J v@@ ~@ @z@ @±* 4b@@~@z@J @@ @EH Í@@ Â @@ E @@ :¡@@ D* @@ C @@ @ Eb@@~@ 7 Ì@@j@ @D* ¤@@ @ @ - @@ :¡@@ D* Í@@c@ / ¢@@ @ < @@g@ @~@|@+

Ðb ¼ P: P4

155 2018 / ‫ﻓﺒﺮاﻳﺮ‬

‫اﻟﻤﺴﺎﺑﻘﺔ اﻟﺸﻌﺮﻳﺔ‬ ‫‪baytelshear‬‬

‫ × ‪N àN‬‬ ‫_ ‪ë § Ù NNNà ÷ ¢‬‬ ‫‪N‬‬ ‫‪NN‬‬ ‫‪¢‬‬ ‫‪³‬‬ ‫‪N‬‬ ‫‪NN‬‬ ‫‪¢‬‬ ‫ ‬ ‫‪Ã‬‬ ‫‪N‬‬ ‫‪ČN N ïï ąą‬‬ ‫‪NàNë‬‬ ‫‪ NÄ_ N°N× ¢‬‬ ‫‪¥‬‬ ‫‪å‬‬ ‫ ‬ ‫×‪Ä‬‬ ‫‪ÚØ‬‬ ‫‪Ã‬‬ ‫¯‪Nߦ¦NÄN‬‬ ‫‪à‬‬ ‫‪¥ ó ¢‬‬ ‫ × ‪ N àN ·ĈN ËË ææN‬‬ ‫‪Ã‬‬ ‫‪N‬‬ ‫‪Ø‬‬ ‫‪N‬‬ ‫‪è‬‬ ‫{‬ ‫{‪ß‬‬ ‫‪N‬‬ ‫‪NN‬‬ ‫‪â‬‬ ‫‪³‬‬ ‫‪N‬‬ ‫‪NN‬‬ ‫ ‪Č» ¥‬‬ ‫‪Ä´ë ¥¥¢NÏ Û‬‬ ‫´‪ ¢Ä‬‬ ‫‪ü ¢‬‬ ‫{‪Ġ‬‬ ‫‪N‬‬ ‫ ‬ ‫¡‬ ‫ ‬ ‫§‬ ‫‪ë‬‬ ‫ ‪ë‬‬ ‫‪N‬‬ ‫‪¢‬‬ ‫‪ë‬‬ ‫‪¥ » ÙæN‬‬

‫ﻳﻜﺮم اﻟﺸﻌﺮاء اﻟﻔﺎﺋﺰﻳﻦ‬ ‫ﺳﻠﻄﺎن ﺑﻦ زاﻳﺪ ّ‬ ‫ﺑﺎﻟﻤﺴﺎﺑﻘﺔ اﻟﺸﻌﺮﻳﺔ ﻟﻤﻬﺮﺟﺎن ﺳﻤﻮه ‪2018‬‬ ‫اﻹﻣﺎرات اﻟﻌﺮﺑﻴﺔ اﳌﺘﺤﺪة‪.‬‬ ‫وأﻋﻠﻨﺖ ﻟﺠﻨﺔ اﳌﺴﺎﺑﻘﺔ أن اﳌﺸﺎرﻛﺎت ﻫﺬه‬ ‫اﻟﺪورة‪ ،‬ﺟﺎءت أﻋﲆ ﻣﻦ ﺳﺎﺑﻘﺎﺗﻬﺎ ﰲ اﻟﺪورات‬ ‫اﳌﺎﺿﻴﺔ‪ ،‬ﺣﻴﺚ ﺷﺎرك ﻓﻴﻬﺎ أﻛرث ﻣﻦ ‪ 120‬ﺷﺎﻋﺮاً‬ ‫ﻣﻦ أﺑﻨﺎء اﻹﻣﺎرات ودول اﻟﺨﻠﻴﺞ‪ ،‬ﻟﻴﺘﺄﻛﺪ‬ ‫ﻋﺎﻣﺎً ﺑﻌﺪ ﻋﺎم اﻟﺤﻀﻮر اﻟﻜﺒري ﻟﻠﻤﺴﺎﺑﻘﺔ‬ ‫اﻟﺸﻌﺮﻳﺔ اﳌﺮاﻓﻘﺔ ﻟﻔﻌﺎﻟﻴﺎت ﻣﻬﺮﺟﺎن ﺳﻠﻄﺎن‬ ‫ﺑﻦ زاﻳﺪ اﻟﱰايث ﰲ اﻟﺴﺎﺣﺔ اﻟﺸﻌﺮﻳﺔ اﳌﺤﻠﻴﺔ‬ ‫واﻟﺨﻠﻴﺠﻴﺔ‪.‬‬

‫ﻛﺮم راﻋﻲ اﳌﻬﺮﺟﺎن ﺳﻤﻮ اﻟﺸﻴﺦ ﺳﻠﻄﺎن‬ ‫ّ‬ ‫ﺑﻦ زاﻳﺪ آل ﻧﻬﻴﺎن ﻣﻤﺜﻞ ﺻﺎﺣﺐ اﻟﺴﻤﻮ‬ ‫رﺋﻴﺲ اﻟﺪوﻟﺔ ﺣﻔﻈﻪ اﻟﻠﻪ‪ ،‬اﻟﺸﻌﺮاء اﻟﺨﻤﺴﺔ‬ ‫اﻟﻔﺎﺋﺰﻳﻦ ﺑﺎﳌﺴﺎﺑﻘﺔ اﻟﺸﻌﺮﻳﺔ ﳌﻬﺮﺟﺎن ﺳﻤﻮه‬ ‫ﰲ دورﺗﻬﺎ اﻟﺴﺎدﺳﺔ‪.‬‬ ‫ووﺳﻂ أﺟﻮاء اﺣﺘﻔﺎﻟﻴﺔ‪ ،‬أﻟﻘﻰ اﻟﺸﻌﺮاء‬ ‫ﻗﺼﺎﺋﺪﻫﻢ أﻣﺎم ﺳﻤﻮه‪ ،‬وﺑﺪأ أوﻻً اﻟﻔﺎﺋﺰ ﺑﺎﳌﺮﻛﺰ‬ ‫اﻷول اﻟﺸﺎﻋﺮ ﺳﻌﺪ ﺣﻤﺪ زﺑﻮن اﻟﺤﺎﺻﻞ ﻋﲆ‬ ‫ﺟﺎﺋﺰة ﻫﻲ ﻋﺒﺎرة ﻋﻦ ﺳﻴﺎرة ﻓﺎﺧﺮة‪ ،‬وﺟﺎء‬ ‫ﺛﺎﻧﻴﺎً اﻟﺸﺎﻋﺮ ﻓﻴﺼﻞ منﺎس اﻟﺮﻳﺎﺣﻲ‪ ،‬وﺛﺎﻟﺜﺎً‬ ‫اﻟﺸﺎﻋﺮ ﻧﻬﺎر ﻣﻤﺪوح‪ ،‬وراﺑﻌﺎً اﻟﺸﺎﻋﺮ ﻣﺤﻤﺪ وأﺷﺎرت اﻟﻠﺠﻨﺔ أن ﻋﻨﻮان اﳌﺴﺎﺑﻘﺔ ﰲ ﻫﺬه‬ ‫اﳌﻐريﰲ‪ ،‬وﺧﺎﻣﺴﺎً اﻟﺸﺎﻋﺮ ﻣﺤﻤﺪ ﺑﺠﺎد ﻋﲇ اﻟﺪورة وﻫﻮ »زاﻳﺪ واﻹﻣﺎرات« أﺳﻬﻢ ﰲ‬ ‫اﻟﻘﺤﻄﺎين‪.‬‬ ‫زﻳﺎدة ﻋﺪد اﳌﺸﺎرﻛﺎت‪ ،‬وﻫﻮ اﻟﻌﻨﻮان اﻟﺬي‬ ‫ﺗﻢ اﺧﺘﻴﺎره ﺑﺘﻮﺟﻴﻬﺎت ﺳﻤﻮ اﻟﺸﻴﺦ ﺳﻠﻄﺎن‬ ‫واﻟﺘﺰﻣﺖ ﻗﺼﺎﺋﺪ اﳌﺸﺎرﻛني ﺑﴩوط وﻣﻮﺿﻮع ﺑﻦ زاﻳﺪ آل ﻧﻬﻴﺎن راﻋﻲ اﳌﻬﺮﺟﺎن‪ ،‬متﺎﺷﻴﺎ ﻣﻊ‬ ‫اﳌﺴﺎﺑﻘﺔ »زاﻳﺪ واﻹﻣﺎرات«‪ ،‬ومتﻴﺰت ﺑﺄﺳﻠﻮب إﻋﻼن ﻋﺎم ‪ 2018‬ﻋﺎم زاﻳﺪ‪.‬‬ ‫ﺷﻌﺮي ﻻﻓﺖ‪ ،‬وﺑﺎﺳﺘﺤﻀﺎر ﺟﻤﻴﻞ ﻹﻧﺠﺎزات وﺗﺨﺼﺺ ﻟﺠﻨﺔ اﳌﺴﺎﺑﻘﺔ ﰲ ﻛﻞ دورة‬ ‫وﺳرية اﳌﻐﻔﻮر ﻟﻪ ﺑﺈذن اﻟﻠﻪ اﻟﺸﻴﺦ زاﻳﺪ ﺑﻦ ﻣﻮﺿﻮﻋﺎ ﻳﱪز دور اﻟﱰاث ﰲ ﺣﻴﺎة اﳌﺠﺘﻤﻌﺎت‬ ‫ﺳﻠﻄﺎن آل ﻧﻬﻴﺎن‪ ،‬ودوره ﰲ ﺑﻨﺎء وﺗﻄﻮر دوﻟﺔ اﻟﻌﺮﺑﻴﺔ واﻟﺨﻠﻴﺠﻴﺔ ﻋﲆ وﺟﻪ اﻟﺨﺼﻮص‪،‬‬

‫اﻟﺸﻌﺮ ‪ /‬اﻟﻌﺪد ‪64‬‬ ‫‪ 14‬ﺑﻴﺖ ِ‬

‫واﻟﺪاﻋﻤني ﻟﻬﺬا اﻟﱰاث‪ ،‬وﺗﺘﺠﺪد اﻟﻔﺮﺻﺔ‬ ‫أﻣﺎم اﻟﺸﻌﺮاء ﻟﻠﻮﻗﻮف ﻋﲆ ﻣﻨﺼﺔ اﻟﺘﺘﻮﻳﺞ‬ ‫واﻟﺤﺼﻮل ﻋﲆ ﺟﻮاﺋﺰ ﻗ ّﻴﻤﺔ ﺗﺪﻋﻢ ﻣﺴريﺗﻬﻢ‬ ‫اﻟﺸﻌﺮﻳﺔ وﺗﺪﻓﻌﻬﻢ ﻟﻠﻤﺰﻳﺪ ﻣﻦ اﻹﺑﺪاع‬ ‫واﻟﻌﻄﺎء اﻟﺸﻌﺮي‪.‬‬ ‫وﻗﺪ ﺗﻢ اﻹﻋﻼن ﻋﻦ إﻃﻼق اﳌﺴﺎﺑﻘﺔ اﻟﺸﻌﺮﻳﺔ‬ ‫ﺗﻨﻔﻴﺬا ﻟﺘﻮﺟﻴﻬﺎت ﺳﻤﻮ اﻟﺸﻴﺦ ﺳﻠﻄﺎن ﺑﻦ‬ ‫زاﻳﺪ آل ﻧﻬﻴﺎن ﻣﻤﺜﻞ ﺻﺎﺣﺐ اﻟﺴﻤﻮ رﺋﻴﺲ‬ ‫اﻟﺪوﻟﺔ‪ ،‬ﺣﺮﺻﺎ ﻣﻨﻪ ﻋﲆ ﺣﻀﻮر اﻟﺸﻌﺮ‬ ‫وإﺑﺮازه ﻛﻔﻦ أد ّيب وﺗﺮا ّيث ﻋﺮﻳﻖ‪ ،‬راﻓﻖ اﻟﻜﺜري‬ ‫ﻣﻦ اﻷﺣﺪاث واﳌﻨﺎﺳﺒﺎت اﻟﻮﻃﻨﻴﺔ واﻟﺜﻘﺎﻓﻴﺔ‬ ‫واﻻﺟﺘامﻋﻴﺔ ﻣﻨﺬ زﻣﻦ ﺑﻌﻴﺪ‪ ،‬وﺣﺘﻰ ﻳﻮﻣﻨﺎ‬ ‫ﻫﺬا‪.‬‬ ‫وﺗُﻌﺪ اﳌﺴﺎﺑﻘﺔ اﻟﺸﻌﺮﻳﺔ ﰲ ﻣﻬﺮﺟﺎن ﺳﻠﻄﺎن‬ ‫ﺑﻦ زاﻳﺪ اﻟﱰايث واﺣﺪة ﻣﻦ أﺑﺮز ﻫﺬه‬ ‫اﳌﺴﺎﺑﻘﺎت اﻟﺘﻲ ﺗﻌﻠﻦ ﻋﻦ ﻧﻔﺴﻬﺎ ﰲ ﻛﻞ ﻋﺎم‬ ‫وﺗﺆﻛﺪ ﻋﲆ ﴐورة اﻟﺸﻌﺮ وﺗﻘﺪﻳﻢ اﻟﺪﻋﻢ‬ ‫ﻟﺠﻤﻴﻊ اﳌﻬﺘﻤني ﺑﻪ واﳌﺒﺪﻋني ﰲ ﻛﺘﺎﺑﺘﻪ‬ ‫وﻧﻈﻤﻪ‪.‬‬

‫اﻷﻣﻴﺮة ﻫﻴﺎ ﺗﺪﻋﻢ إﻃﻼق ﺻﻨﺪوق ﺧﺎص ﻳُﻌﻨﻰ ﺑﻤﻜﺎﻓﺤﺔ اﻟﺠﻮع‬ ‫ﻗ ّﺪﻣﺖ ﺣﺮم ﺻﺎﺣﺐ اﻟﺴﻤﻮ اﻟﺸﻴﺦ ﻣﺤﻤﺪ ﺑﻦ راﺷﺪ آل‬ ‫ﻣﻜﺘﻮم‪ ،‬ﻧﺎﺋﺐ رﺋﻴﺲ اﻟﺪوﻟﺔ رﺋﻴﺲ ﻣﺠﻠﺲ اﻟﻮزراء ﺣﺎﻛﻢ‬ ‫ديب‪ ،‬ﺳﻤﻮ اﻷﻣرية ﻫﻴﺎ ﺑﻨﺖ اﻟﺤﺴني‪ ،‬رﺋﻴﺴﺔ ﻣﺠﻠﺲ‬ ‫إدارة اﳌﺪﻳﻨﺔ اﻟﻌﺎﳌﻴﺔ ﻟﻠﺨﺪﻣﺎت اﻹﻧﺴﺎﻧﻴﺔ ﺳﻔرية اﻷﻣﻢ‬ ‫اﳌﺘﺤﺪة ﻟﻠﺴﻼم‪ ،‬ﺗﱪﻋﺎً ﻣﺎﻟﻴﺎً ﻟﺪﻋﻢ إﻃﻼق ﺻﻨﺪوق ﺧﺎص‬ ‫ُﻳﻌﻨﻰ مبﻜﺎﻓﺤﺔ اﻟﺠﻮع ﰲ ﺣﺎﻻت اﻟﻜﻮارث واﻷزﻣﺎت‬ ‫اﻟﻄﺎرﺋﺔ ﺣﻮل اﻟﻌﺎمل واﻻﺳﺘﺠﺎﺑﺔ اﻟﻔﻮرﻳﺔ ﻟﻠﺤﻔﺎظ ﻋﲆ‬ ‫ﺣﻴﺎة اﳌﺘﴬرﻳﻦ ﻣﻨﻬﺎ‪ .‬وﺳ ُﻴﻌﻨﻰ اﻟﺼﻨﺪوق اﻟﻌﺎﳌﻲ ا ُﳌﺰﻣﻊ‬ ‫إﻃﻼﻗﻪ‪ ،‬ﺑﺪﻋﻢ ﺳﻤﻮ اﻷﻣرية ﻫﻴﺎ ﺑﻨﺖ اﻟﺤﺴني‪ ،‬ﺑﴩاء‬ ‫وﻧﻘﻞ وﺗﻮزﻳﻊ ﻧﻮﻋﻴﺎت ﻣﻦ اﻷﻏﺬﻳﺔ ﻋﺎﻟﻴﺔ اﻟﻄﺎﻗﺔ ﻋﲆ‬ ‫ﺤﺎﴏﻳﻦ ﰲ اﳌﻨﺎﻃﻖ اﳌﻨﻜﻮﺑﺔ ﺟﺮاء اﻟﻜﻮارث اﻟﻄﺒﻴﻌﻴﺔ‪،‬‬ ‫ا ُﳌ َ‬ ‫وﻛﺬﻟﻚ ﰲ ﻣﻨﺎﻃﻖ اﻟﻨﺰاﻋﺎت ﻟﻠﺤﻔﺎظ ﻋﲆ ﺣﻴﺎﺗﻬﻢ ﰲ ﻣﺜﻞ‬ ‫ﺗﻠﻚ اﳌﻮاﻗﻒ اﻟﺘﻲ ﻳﺘﻌﺬر ﻋﻠﻴﻬﻢ ﻣﻌﻬﺎ اﻟﺤﺼﻮل ﻋﲆ‬ ‫ﻃﻌﺎم‪.‬‬

‫ﻣﺆﺷﺮ »أﺟﻴﻠﻴﺘﻲ« اﻟﻠﻮﺟﻴﺴﺘﻲ اﻹﻣﺎرات اﻷوﻟﻰ ﻋﺎﻟﻤﻴ ًﺎ ﻓﻲ ﺟﻮدة اﻟﺒﻨﻴﺔ اﻟﺘﺤﺘﻴﺔ‬ ‫ﺣﺼﺪت دوﻟﺔ اﻹﻣﺎرات اﳌﺮﻛﺰ اﻷول ﻋﺎﳌﻴﺎً‬ ‫ﻋﲆ ﺻﻌﻴﺪ ﺟﻮدة اﻟﺒﻨﻴﺔ اﻟﺘﺤﺘﻴﺔ ﰲ ﻣﺆﴍ‬ ‫أﺟﻴﻠﻴﺘﻲ اﻟﻠﻮﺟﻴﺴﺘﻲ ﻟﻸﺳﻮاق اﻟﻨﺎﺷﺌﺔ ‪،2018‬‬ ‫ﺑﻴﻨام ﺣﺎﻓﻈﺖ ﻋﲆ ﻣﻮﻗﻌﻬﺎ اﻟﺮﻳﺎدي اﻷول ﺑني‬ ‫دول اﳌﻨﻄﻘﺔ واﺣﺘﻠﺖ اﳌﺮﺗﺒﺔ اﻟﺜﺎﻟﺜﺔ ﻋﺎﳌﻴﺎً‬ ‫ﻋﲆ ﻣﻌﻴﺎري ﺗﻮاﻓﻖ وﺗﺮاﺑﻂ اﻟﺴﻮق ﻋﲆ‬

‫اﳌﺆﴍ ذاﺗﻪ وذﻟﻚ ﻟﻠﺴﻨﺔ اﻟﺮاﺑﻌﺔ ﻋﲆ اﻟﺘﻮاﱄ‪.‬‬ ‫وﻳﺪرس اﳌﺆﴍ اﻟﻔﺮﻋﻲ ﻟﱰاﺑﻂ وﺗﻮاﻓﻖ اﻟﺴﻮق‬ ‫ﺳﻬﻮﻟﺔ اﻟﺪﺧﻮل إﱃ اﻷﺳﻮاق وﻣﻨﺎخ ﻣامرﺳﺔ‬ ‫اﻷﻋامل وﻗﺪ ﺗﻢ ﺗﺼﻨﻴﻒ ﺳﺖ دول ﻣﻦ اﻟﴩق‬ ‫اﻷوﺳﻂ وأﻓﺮﻳﻘﻴﺎ ﻣﻦ ﺑني أﻓﻀﻞ ﻋﴩ دول ﻣﻦ‬ ‫اﻷﺳﻮاق اﻟﻨﺎﺷﺌﺔ ﻋﲆ ﻣﻌﻴﺎر ﺗﻮاﻓﻖ اﻷﺳﻮاق‪.‬‬

‫ﻣﻦ ﺟﻬﺔ أﺧﺮى‪ ،‬ﺣﻘﻘﺖ اﻹﻣﺎرات اﳌﺮﻛﺰ‬ ‫اﻷول إﻗﻠﻴﻤﻴﺎً واﻟـ ‪ 17‬ﻋﺎﳌﻴﺎً ﰲ ﺗﻘﺮﻳﺮ »ﻣﺆﴍ‬ ‫ﺗﻨﺎﻓﺴﻴﺔ اﳌﻮاﻫﺐ اﻟﻌﺎﳌﻲ« وذﻟﻚ اﺳﺘﻨﺎداً إﱃ‬ ‫ﻣﺎ ﻛﺸﻒ ﻋﻨﻪ أﺣﺪث إﺻﺪار ﻟﻠﺘﻘﺮﻳﺮ ﻟﻌﺎم‬ ‫‪ 2018‬واﻟﺼﺎدر ﻋﻦ ﻛﻠﻴﺔ إدارة اﻷﻋامل اﻟﺪوﻟﻴﺔ‬ ‫»إﻧﺴﻴﺎد« ﰲ ﻓﺮﻧﺴﺎ‪.‬‬ ‫ﻓﺒﺮاﻳﺮ ‪13 2018 /‬‬

‫اﻷﺧﺒﺎر‬ ‫‪baytelshear‬‬

‫ﺷﺮﻃﺔ أﺑﻮﻇﺒﻲ ﺗﺴﺘﺤﺪث ﻓﺮﻋ ًﺎ ﻟﻤﻜﺎﻓﺤﺔ ﺗﻬﺮﻳﺐ اﻵﺛﺎر‬ ‫اﺳﺘﺤﺪﺛﺖ ﴍﻃﺔ أﺑﻮﻇﺒﻲ ﻓﺮﻋﺎً ﳌﻜﺎﻓﺤﺔ ﺗﻬﺮﻳﺐ اﻵﺛﺎر أو ﺗﺮوﻳﺠﻬﺎ‬ ‫ﺑﺼﻮرة ﻏري ﻣﴩوﻋﺔ وﺗﻘﺪﻳﻢ اﻟﺘﻮﻋﻴﺔ ﰲ ﻫﺬا اﳌﺠﺎل‪ ،‬وﻳﺘﺒﻊ »اﻟﻔﺮع«‬ ‫ﻟﻘﺴﻢ اﻟﺠﺮميﺔ اﳌﻨﻈﻤﺔ ﰲ إدارة اﻟﺘﺤﺮﻳﺎت واﳌﺒﺎﺣﺚ اﻟﺠﻨﺎﺋﻴﺔ‪ ،‬وﻳﺘﻮﱃ‬ ‫ﺗﻌﺰﻳﺰ ﻋﻼﻗﺎت اﻟﺘﻌﺎون اﳌﺘﻤﻴﺰة ﻣﻊ اﻟﺠﻬﺎت اﳌﻌﻨﻴﺔ ﻟﺘﺤﻘﻴﻖ اﻟﴩاﻛﺔ‬ ‫اﻟﻨﻤﻮذﺟﻴﺔ‪ .‬وأﻛﺪ اﻟﻌﻤﻴﺪ ﻃﺎرق ﺧﻠﻔﺎن اﻟﻐﻮل‪ ،‬ﻣﺪﻳﺮ ﻣﺪﻳﺮﻳﺔ اﻟﺘﺤﺮﻳﺎت‬ ‫واﻟﺘﺤﻘﻴﻘﺎت اﻟﺠﻨﺎﺋﻴﺔ ﺑﺎﻹﻧﺎﺑﺔ‪ ،‬ﺣﺮص ﴍﻃﺔ أﺑﻮﻇﺒﻲ ﻋﲆ اﺳﺘﺤﺪاث أﻓﺮع‬ ‫ﻟﻠﴩﻃﺔ ﺗﻮاﻛﺐ اﻟﺘﻄﻮر ﰲ إﻣﺎرة أﺑﻮﻇﺒﻲ مبﺎ ﻳﺘامﳽ ﻣﻊ ﻣﺘﻄﻠﺒﺎت اﻟﺪوﻟﺔ‬ ‫اﻟﻌﴫﻳﺔ وﺗﻌﺰﻳﺰ ﻣﻨﻈﻮﻣﺔ اﻟﻌﻤﻞ اﻷﻣﻨﻲ‪ ،‬ﻣﺸرياً إﱃ أن اﻟﺤﺎﺟﺔ ﺑﺮزت‬ ‫ﻟﻮﺟﻮد ﴍﻃﺔ ﺗُﻌﻨﻰ ﺑﺤامﻳﺔ اﻵﺛﺎر‪ ،‬ﳌﺎ ﺗﺰﺧﺮ ﺑﻪ اﻹﻣﺎرة ﻣﻦ ﻣﺘﺎﺣﻒ ﻋﺎﳌﻴﺔ‬ ‫وﻣﺤﻠﻴﺔ ذات ﺳﻤﻌﺔ دوﻟﻴﺔ ﻣﺮﻣﻮﻗﺔ‪ ،‬ﳌﻜﺎﻓﺤﺔ أي ﻣﺤﺎوﻻت اﺳﺘﻐﻼل ﻟﱰوﻳﺞ‬ ‫اﻵﺛﺎر اﳌﴪوﻗﺔ‪ .‬وأوﺿﺢ أن إﻧﺸﺎء أﻓﺮع ﻧﻮﻋﻴﺔ ﰲ ﻣﺪﻳﺮﻳﺔ اﻟﺘﺤﺮﻳﺎت‬ ‫واﻟﺘﺤﻘﻴﻘﺎت اﻟﺠﻨﺎﺋﻴﺔ ﻟﻠﺘﻌﺎﻣﻞ ﻣﻊ اﳌﻌﻄﻴﺎت اﻟﺠﺪﻳﺪة ﻟﻠﺠﺮميﺔ‪ ،‬ﻳﺸ ّﻜﻞ‬ ‫ﻧﻬﻮﺿﺎً ﺑﺎﻟﻮاﺟﺒﺎت ﻟﻠﺤﺪ ﻣﻦ اﻟﺠﺮاﺋﻢ واﻛﺘﺸﺎﻓﻬﺎ وﻣﻼﺣﻘﺔ ﻣﺮﺗﻜﺒﻴﻬﺎ‪.‬‬

‫إﻧﺠﺎز إﻣﺎراﺗﻲ ﻋﺎﻟﻤﻲ‪WW‬إﻃﻼق »اﻟﻴﺎه ‪ «3‬ﺑﻨﺠﺎح‬ ‫أﻛﺪت »اﻟﻴﺎه ﺳﺎت«‪ ،‬اﻟﴩﻛﺔ اﻟﻌﺎﳌﻴﺔ اﻟﺮاﺋﺪة‬ ‫ﰲ ﻣﺠﺎل ﺗﺸﻐﻴﻞ اﻷﻗامر اﻟﺼﻨﺎﻋﻴﺔ ﰲ‬ ‫اﻹﻣﺎرات‪ ،‬إﻃﻼق »اﻟﻴﺎه ‪ «3‬ﺑﻨﺠﺎح‪ ،‬ﻣﺎ ﻳﺸﻜﻞ‬ ‫ﺧﻄﻮة ﻣﻬﻤﺔ ﰲ اﺳﱰاﺗﻴﺠﻴﺔ اﻟﴩﻛﺔ ﻟﺘﻮﺳﻴﻊ‬ ‫ﻧﻄﺎق ﺗﻐﻄﻴﺔ اﻟﺨﺪﻣﺎت اﳌﻮﻓﺮة ﻋﻦ ﻃﺮﻳﻖ‬ ‫ﺣﺰﻣﺔ اﻟﱰددات ‪ Ka‬ﻟﺘﻜﻤﻞ اﻟﺘﻐﻄﻴﺔ اﻟﺤﺎﻟﻴﺔ‬ ‫ﰲ أﻧﺤﺎء ﻗﺎرة إﻓﺮﻳﻘﻴﺎ وﺗﺼﻞ إﱃ ﻗﺎرة أﻣريﻛﺎ‬ ‫اﻟﻼﺗﻴﻨﻴﺔ ﻟﻠﻤﺮة اﻷوﱃ‪ .‬وأﻛﺪ ﻣﻌﺎﱄ اﻟﺪﻛﺘﻮر‬ ‫أﺣﻤﺪ ﻋﺒﺪ اﻟﻠﻪ ﺑﺎﻟﻬﻮل اﻟﻔﻼﳼ‪ ،‬وزﻳﺮ اﻟﺪوﻟﺔ‬ ‫ﻟﺸﺆون اﻟﺘﻌﻠﻴﻢ اﻟﻌﺎﱄ واﳌﻬﺎرات اﳌﺘﻘﺪﻣﺔ‪،‬‬ ‫رﺋﻴﺲ ﻣﺠﻠﺲ إدارة وﻛﺎﻟﺔ اﻹﻣﺎرات ﻟﻠﻔﻀﺎء‪،‬‬ ‫أن إﻃﻼق اﻟﻘﻤﺮ اﻟﺼﻨﺎﻋﻲ »اﻟﻴﺎه ‪ «3‬إﻧﺠﺎز‬ ‫إﻣﺎرايت ﻋﺎﳌﻲ ﻳﺨﺪم اﻟﺘﻘﺪم اﻟﺤﻀﺎري‪،‬‬ ‫وإﺳﻬﺎم ﻣﻦ دوﻟﺔ اﻹﻣﺎرات ﰲ ﺗﺴﻬﻴﻞ ﺣﻴﺎة‬ ‫ﺷﻌﻮب اﻟﻌﺎمل وﺗﻮاﺻﻠﻬﻢ‪.‬‬

‫اﻟﺸﻌﺮ ‪ /‬اﻟﻌﺪد ‪64‬‬ ‫‪ 12‬ﺑﻴﺖ ِ‬

‫ﺳﻠﻄﺎن ﺑﻦ زاﻳﺪ ﺣﺐ ﺷﻌﺒﻪ واﺣﺘﺮام اﻟﻌﺎﻟﻢ ﻟﻪ أﺳﻤﻰ وﺳﺎم ﻳﺰﻳﻦ ﺗﺎرﻳﺦ زاﻳﺪ‬ ‫أﻛﺪ ﺳﻤﻮ اﻟﺸﻴﺦ ﺳﻠﻄﺎن ﺑﻦ زاﻳﺪ آل ﻧﻬﻴﺎن ﻣﻤﺜﻞ ﺻﺎﺣﺐ اﻟﺴﻤﻮ‬ ‫رﺋﻴﺲ اﻟﺪوﻟﺔ ان أﺳﻤﻰ وﺳﺎم ﻳﺰﻳﻦ ﺗﺎرﻳﺦ اﳌﻐﻔﻮر ﻟﻪ اﻟﺸﻴﺦ زاﻳﺪ ﻫﻮ‬ ‫ﺣﺐ ﺷﻌﺒﻪ ﻟﻪ واﺣﱰام اﻟﻌﺎمل وﺗﻘﺪﻳﺮﻫﻢ ﳌﻮاﻗﻔﻪ اﻹﻧﺴﺎﻧﻴﺔ اﻟﻨﺒﻴﻠﺔ‪.‬‬ ‫وﻟﻔﺖ ﺳﻤﻮه اﱃ أﻧﻪ ﻧﺎدراً ﻣﺎ ﻋﺮف اﻟﺘﺎرﻳﺦ ﻗﺎﺋﺪاً أﺟﻤﻊ اﻟﻌﺎمل ﻋﲆ‬ ‫ﺣﺒﻪ واﺣﱰاﻣﻪ ﻛﺎﻟﺸﻴﺦ زاﻳﺪ ﺑﻦ ﺳﻠﻄﺎن آل ﻧﻬﻴﺎن رﺣﻤﻪ اﻟﻠﻪ‪ .‬ﺟﺎء‬ ‫ذﻟﻚ ﰲ ﻛﻠﻤﺔ ﺳﻤﻮه مبﻨﺎﺳﺒﺔ ﺑﺪء ﻋﺎم زاﻳﺪ ‪ 2018‬ﻓﻴام ﻳﲇ ﻧﺼﻬﺎ‪:‬‬ ‫»إذا ﻛﺎن ﺑﻌﺾ اﻟﻘﺎدة ﻗﺪ ﺳﻄﺮوا ﺗﺎرﻳﺨﻬﻢ ﺑﺪﻣﺎء اﻟﺸﻌﻮب اﻟﺘﻲ‬ ‫ﻗﻬﺮوﻫﺎ ‪ ..‬وﺑﻨﻮا أﻣﺠﺎدﻫﻢ ﻋﲆ ﺟامﺟﻢ ﻗﺘﲆ اﻟﺒﻼد اﻟﺘﻲ ﺣﻜﻤﻮﻫﺎ ‪...‬‬ ‫وزﻳﻨﻮا ﺻﺪورﻫﻢ ﺑﻨﻴﺎﺷني اﻟﺤﺮوب اﻟﺘﻲ ﺧﺎﺿﻮﻫﺎ‪ ..‬وﻳﻔﺎﺧﺮون ﺑﺄﻧﻬﻢ‬ ‫أﻳﻨام ﺳﺎروا ﺗﻬﺘﺰ اﻷرض ﺗﺤﺖ ﺣﻮاﻓﺮ ﺧﻴﻮﻟﻬﻢ وﻳﺮﺗﻌﺪ اﻟﻨﺎس ﻟﺪى‬ ‫ﻣﺸﺎﻫﺪﺗﻬﻢ ‪ ..‬ﻓﻘﺪ ﺳﻄﺮ اﻟﺸﻴﺦ زاﻳﺪ رﺣﻤﻪ اﻟﻠﻪ ﺗﺎرﻳﺨﻪ ﺑﺤﺒﻪ وﻋﺸﻘﻪ‬ ‫ﻷرﺿﻪ وﻟﺸﻌﺒﻪ وﺑﺤﻜﻤﺘﻪ ورﺟﺎﺣﺔ ﻋﻘﻠﻪ وإﻧﺴﺎﻧﻴﺘﻪ وﺷﺨﺼﻴﺘﻪ اﻟﺨرية‬ ‫‪ ..‬وإن أﺳﻤﻰ وﺳﺎم ﻳﺰﻳﻦ ﺗﺎرﻳﺦ زاﻳﺪ ﻫﻮ ﺣﺐ ﺷﻌﺒﻪ ﻟﻪ واﺣﱰام‬ ‫اﻟﻌﺎمل وﺗﻘﺪﻳﺮﻫﻢ ﳌﻮاﻗﻔﻪ اﻹﻧﺴﺎﻧﻴﺔ اﻟﻨﺒﻴﻠﺔ‪ .‬ﻫﺬه اﻷﻳﺎم ﺗﺤﺘﻔﻞ دوﻟﺔ‬ ‫اﻹﻣﺎرات اﻟﻌﺮﺑﻴﺔ اﳌﺘﺤﺪة ﺑـ ”ﻋﺎم زاﻳﺪ“ اﻟﺬي أﻋﻠﻦ ﻋﻨﻪ ﰲ اﻟﺴﺎدس‬ ‫ﻣﻦ ﺷﻬﺮ أﻏﺴﻄﺲ ﻣﻦ اﻟﻌﺎم اﳌﺎﴈ ﺻﺎﺣﺐ اﻟﺴﻤﻮ اﻟﺸﻴﺦ ﺧﻠﻴﻔﺔ ﺑﻦ‬ ‫زاﻳﺪ آل ﻧﻬﻴﺎن رﺋﻴﺲ اﻟﺪوﻟﺔ ”ﺣﻔﻈﻪ اﻟﻠﻪ“واﻟﺬي أﻛﺪ أن ”اﺧﺘﻴﺎر ﻋﺎم‬ ‫‪ 2018‬ﻟﻴﻜﻮن ”ﻋﺎم زاﻳﺪ“ ﻳﺠﺴﺪ اﳌﻜﺎﻧﺔ اﻻﺳﺘﺜﻨﺎﺋﻴﺔ واﻟﻔﺮﻳﺪة اﻟﺘﻲ‬ ‫ميﺜﻠﻬﺎ اﳌﻐﻔﻮر ﻟﻪ اﻟﺸﻴﺦ زاﻳﺪ ﺑﻦ ﺳﻠﻄﺎن آل ﻧﻬﻴﺎن – ﻃﻴﺐ اﻟﻠﻪ ﺛﺮاه‬ ‫– ﻟﺪى ﻛﻞ إﻣﺎرايت ﻓﻬﻮ اﻟﻘﺎﺋﺪ اﳌﺆﺳﺲ ﻟﺪوﻟﺔ اﻻﺗﺤﺎد وواﺿﻊ أﺳﺲ‬ ‫اﻟﻨﻬﻀﺔ اﻟﻌﴫﻳﺔ اﻟﺘﻲ ﺗﺸﻬﺪﻫﺎ دوﻟﺔ اﻹﻣﺎرات ﻋﲆ اﳌﺴﺘﻮﻳﺎت ﻛﺎﻓﺔ‬ ‫وﻫﻮ رﻣﺰ اﻟﺤﻜﻤﺔ واﻟﺨري واﻟﻌﻄﺎء ﻟﻴﺲ ﰲ اﻹﻣﺎرات ﻓﺤﺴﺐ وإمنﺎ‬ ‫ﻋﲆ اﳌﺴﺘﻮﻳني اﻟﻌﺮيب واﻟﺪوﱄ وﻻ ﺗﺰال ﻣﻮاﻗﻔﻪ وﻣﺒﺎدراﺗﻪ ﺷﺎﻫﺪة‬ ‫ﻋﲆ اﺳﺘﺜﻨﺎﺋﻴﺔ ﺑﻮﺻﻔﻪ ﻗﺎﺋﺪاً ﻋﴫﻳﺎً ﻳﺤﻈﻰ ﺑﺘﻘﺪﻳﺮ ﺟﻤﻴﻊ ﺷﻌﻮب‬

‫دول اﳌﻨﻄﻘﺔ واﻟﻌﺎمل“‪ .‬ﻓﻌﲆ اﻟﺼﻌﻴﺪ اﻟﺪاﺧﲇ ﻛﺎن اﻹميﺎن ﺑﺄن اﻹﻧﺴﺎن‬ ‫اﳌﺘﺴﻠﺢ ﺑﺎﻟﻌﻠﻢ واﻷﺧﻼق ﻫﻮ اﻟﻠﺒﻨﺔ اﻷﺳﺎﺳﻴﺔ اﻟﺼﺎﻟﺤﺔ ﻟﺒﻨﺎء ﻣﺠﺘﻤﻊ‬ ‫ﻗﻮي ﺻﺎﻟﺢ‪ ،‬ﻓﻘﺪ ﺗﻢ ﺗﺨﺼﻴﺺ ﺟﺰء ﻛﺒري ﻣﻦ دﺧﻞ اﻟﺪوﻟﺔ ﻟﻠﺘﻌﻠﻴﻢ‬ ‫وﺑﻨﺎء اﳌﺆﺳﺴﺎت اﻹدارﻳﺔ واﻻﺟﺘامﻋﻴﺔ واﻟﺜﻘﺎﻓﻴﺔ واﻟﻌﻠﻤﻴﺔ واﻟﻔﻨﻴﺔ‬ ‫واﻟﺼﺤﻴﺔ واﻟﻌﺴﻜﺮﻳﺔ‪.‬‬ ‫ﻓﺒﺮاﻳﺮ ‪11 2018 /‬‬

‫اﻷﺧﺒﺎر‬ ‫‪baytelshear‬‬

‫ﻣﺤﻤﺪ ﺑﻦ زاﻳﺪ ﻳﺆﻛﺪ أﻫﻤﻴﺔ اﻟﺘﻀﺎﻣﻦ‬ ‫اﻟﻤﺸﺘﺮك ﻟﺤﻔﻆ ﻫﻮﻳﺔ اﻟﻘﺪس‬ ‫أﻛﺪ ﺻﺎﺣﺐ اﻟﺴﻤﻮ اﻟﺸﻴﺦ ﻣﺤﻤﺪ ﺑﻦ زاﻳﺪ آل ﻧﻬﻴﺎن‪ ،‬وﱄ ﻋﻬﺪ‬ ‫أﺑﻮﻇﺒﻲ ﻧﺎﺋﺐ اﻟﻘﺎﺋﺪ اﻷﻋﲆ ﻟﻠﻘﻮات اﳌﺴﻠﺤﺔ‪ ،‬وﻓﻀﻴﻠﺔ اﻹﻣﺎم اﻷﻛﱪ‬ ‫اﻟﺪﻛﺘﻮر أﺣﻤﺪ اﻟﻄﻴﺐ‪ ،‬ﺷﻴﺦ اﻷزﻫﺮ اﻟﴩﻳﻒ أﻫﻤﻴﺔ اﻟﺒﻨﺎء ﻋﲆ‬ ‫ﻧﺘﺎﺋﺞ »ﻣﺆمتﺮ اﻷزﻫﺮ اﻟﻌﺎﳌﻲ ﻟﻨﴫة اﻟﻘﺪس« ﻣﻦ ﺧﻼل اﻟﺘﻀﺎﻣﻦ‬ ‫اﳌﺸﱰك ﻟﺤﻔﻆ ﻫﻮﻳﺘﻬﺎ وﺣامﻳﺔ ﻣﻘﺪﺳﺎﺗﻬﺎ‪ .‬ﺟﺎء ذﻟﻚ ﺧﻼل اﺗﺼﺎل‬ ‫ﻫﺎﺗﻔﻲ ﺗﻠﻘﺎه ﺳﻤﻮه ﻣﻦ ﻓﻀﻴﻠﺔ ﺷﻴﺦ اﻷزﻫﺮ‪ .‬وﺗﻌﺮف ﺳﻤﻮه ﻣﻦ‬ ‫اﻟﺪﻛﺘﻮر أﺣﻤﺪ اﻟﻄﻴﺐ ﻋﲆ ﻧﺘﺎﺋﺞ »ﻣﺆمتﺮ اﻷزﻫﺮ اﻟﻌﺎﳌﻲ ﻟﻨﴫة‬ ‫اﻟﻘﺪس« اﻟﺬي ﻧﻈﻤﻪ اﻷزﻫﺮ اﻟﴩﻳﻒ‪ ،‬ﺑﺎﻟﺘﻌﺎون ﻣﻊ ﻣﺠﻠﺲ ﺣﻜامء‬ ‫اﳌﺴﻠﻤني‪ ،‬ﺧﺎﺻﺔ ﻓﻴام ﻳﺘﻌﻠﻖ ﺑﺎﻟﺤﻔﺎظ ﻋﲆ اﻟﻮﺿﻊ اﻟﻘﺎﻧﻮين ﳌﺪﻳﻨﺔ‬ ‫اﻟﻘﺪس وﺗﺄﻛﻴﺪ ﻫﻮﻳﺘﻬﺎ‪ ،‬وأﻫﻤﻴﺔ اﻟﺘﻨﺴﻴﻖ ﺑني اﻟﺠﻬﺎت ﰲ اﻟﻌﺎﳌني‬ ‫اﻟﻌﺮيب واﻹﺳﻼﻣﻲ‪ ،‬ﻣﻦ أﺟﻞ ﺗﺤﻘﻴﻖ اﻟﺘﻀﺎﻣﻦ وﻣﻮاﺟﻬﺔ اﻟﺘﺤﺪﻳﺎت‬ ‫اﻟﺘﻲ ﺗﺤﻴﻂ ﺑﺎﳌﻘﺪﺳﺎت اﻹﺳﻼﻣﻴﺔ ودرء اﳌﺨﺎﻃﺮ ﻋﻨﻬﺎ‪ .‬ومثﻦ ﺳﻤﻮه‬ ‫ﻣﺒﺎدرات ﺷﻴﺦ اﻷزﻫﺮ ﻟﻨﴫة ﻣﺪﻳﻨﺔ اﻟﻘﺪس‪ ،‬وﺗﺄﻛﻴﺪ ﻋﺮوﺑﺘﻬﺎ‪،‬‬ ‫وﺑﻨﺎء ﻣﻮﻗﻒ ﻋﺮيب وإﺳﻼﻣﻲ ﺗﺠﺎه ﺣامﻳﺔ ﻣﻘﺪﺳﺎﺗﻬﺎ‪ ،‬إﺿﺎﻓﺔ إﱃ‬ ‫ﻣﻮاﻗﻔﻪ اﻟﺪاﻋﻤﺔ ﻟﻘﻀﺎﻳﺎ اﻹﺳﻼم واﳌﺴﻠﻤني‪ ،‬وﺟﻬﻮده ﰲ إﻋﻼء ﻗﻴﻢ‬ ‫اﻟﺘﺴﺎﻣﺢ واﻟﺘﻌﺎﻳﺶ‪ ،‬وﻧﺒﺬ ﺧﻄﺎب اﻟﻜﺮاﻫﻴﺔ اﻟﺬي ﻳﺤﺾ ﻋﲆ اﻟﻌﻨﻒ‬ ‫واﻹرﻫﺎب‪ ،‬وﻳﺸﻮه ﺻﻮرة اﻹﺳﻼم وﺗﻌﺎﻟﻴﻤﻪ اﻟﺴﻤﺤﺔ‪.‬‬

‫اﻟﺸﻌﺮ ‪ /‬اﻟﻌﺪد ‪64‬‬ ‫‪ 10‬ﺑﻴﺖ ِ‬

‫ﻣﺤﻤﺪ ﺑﻦ راﺷﺪ ﻳﺆﻛﺪ أﻫﻤﻴﺔ اﻟﺘﻨﺴﻴﻖ‬ ‫اﻹﻣﺎراﺗﻲ اﻟﺴﻌﻮدي ﻟﺘﺮﺳﻴﺦ اﻷﻣﻦ‬ ‫واﻻﺳﺘﻘﺮار‬ ‫أﻛﺪ ﺻﺎﺣﺐ اﻟﺴﻤﻮ اﻟﺸﻴﺦ ﻣﺤﻤﺪ ﺑﻦ راﺷﺪ آل ﻣﻜﺘﻮم‪ ،‬ﻧﺎﺋﺐ رﺋﻴﺲ‬ ‫اﻟﺪوﻟﺔ رﺋﻴﺲ ﻣﺠﻠﺲ اﻟﻮزراء ﺣﺎﻛﻢ ديب‪ ،‬رﻋﺎه اﻟﻠﻪ‪ ،‬أﻫﻤﻴﺔ ﺗﺮﺳﻴﺦ‬ ‫أﺳﺲ اﻷﻣﻦ واﻻﺳﺘﻘﺮار واﻟﺮﻓﺎه اﻻﺟﺘامﻋﻲ‪ ،‬ﻣﻦ ﺧﻼل اﻟﺘﻨﺴﻴﻖ‬ ‫اﳌﺴﺘﻤﺮ واﻟﺘﺸﺎور ﺑني اﻟﺠﻬﺎت اﳌﻌﻨﻴﺔ ﻟﺪى دوﻟﺔ اﻹﻣﺎرات واﳌﻤﻠﻜﺔ‬ ‫اﻟﻌﺮﺑﻴﺔ اﻟﺴﻌﻮدﻳﺔ اﻟﺸﻘﻴﻘﺔ‪ ،‬مبﺎ ﻳﻌﻮد ﺑﺎﻟﺨري واﻟﺴﻌﺎدة واﻟﻄأمﻧﻴﻨﺔ‬ ‫ﻋﲆ ﺷﻌﺒﻴﻨﺎ اﻟﺸﻘﻴﻘني‪ .‬ﺟﺎء ذﻟﻚ ﺧﻼل اﺳﺘﻘﺒﺎﻟﻪ‪ ،‬ﺑﻘﴫ ﺳﻤﻮه ﰲ‬ ‫زﻋﺒﻴﻞ ‪ ،‬اﻷﻣري ﻋﺒﺪ اﻟﻌﺰﻳﺰ ﺑﻦ ﺳﻌﻮد ﺑﻦ ﻧﺎﻳﻒ آل ﺳﻌﻮد‪ ،‬وزﻳﺮ‬ ‫اﻟﺪاﺧﻠﻴﺔ اﻟﺴﻌﻮدي‪ .‬وﺗﺒﺎدل ﺳﻤﻮه واﻷﻣري ﻋﺒﺪ اﻟﻌﺰﻳﺰ ﺑﻦ ﺳﻌﻮد‬ ‫اﻟﺤﺪﻳﺚ ﻋﻦ اﻟﻌﻼﻗﺎت اﻷﺧﻮﻳﺔ اﻟﻘﺎمئﺔ ﺑني اﻟﺒﻠﺪﻳﻦ ﻋﲆ ﻣﺨﺘﻠﻒ‬ ‫اﻟﺼﻌﺪ‪ ،‬ﺧﺎﺻﺔ اﻟﺘﻌﺎون اﻷﻣﻨﻲ واﻟﺘﻨﺴﻴﻖ ﺑني وزاريت اﻟﺪاﺧﻠﻴﺔ‬ ‫واﻷﺟﻬﺰة اﻷﻣﻨﻴﺔ واﻟﴩﻃﻴﺔ‬

тАля╗гя║ая╗ая║Ф я║╖я╗мя║оя╗│я║Ф я║╖я║Оя╗гя╗ая║ФтАм тАля║Чя║╝я║к╪▒ я╗Ля╗ж я╗гя║оя╗Ыя║░ я║│я╗ая╗Дя║О┘Ж я║Ся╗ж ╪▓╪зя╗│я║ктАм тАл╪зя╗Яя╗Мя║к╪п тАк - 64тАмя╗Уя║Тя║о╪зя╗│я║о тАк2018тАмтАм

тАл╪зя║Ся╗ж я║зя╗Фя║Оя║Яя║ФтАк..тАмтАм

тАля╗гя║ая╗ая║Ф я║╖я╗мя║оя╗│я║Ф я║╖я║Оя╗гя╗ая║Ф я║Чя║╝я║к╪▒ я╗Ля╗ж я╗гя║оя╗Ыя║░ я║│я╗ая╗Дя║О┘Ж я║Ся╗ж ╪▓╪зя╗│я║ктАм

тАля║гя╗┤я╗ж я╗│я╗ия║Шя║░╪╣ ╪зя╗Яя║╕я║Оя╗Ля║о я║╗я╗оя║Чя╗ктАм тАля╗гя╗ж я║╗я╗о╪к ╪зя╗Яя║ая║Тя╗Ю!тАм

тАл"я║╖я║Оя╗Ля║о ╪зя╗Яя╗дя╗ая╗┤я╗о┘Ж"тАк ..тАмя║Ся║к╪зя╗│я║Ф я╗зя║О╪▒я╗│┘Ся║ФтАм тАл┘СтАм тАля║Чя║Тя║╕я║о я║Ся╗дя╗оя║│я╗в я║Чя╗ия║Оя╗Уя║┤я╗▓ я╗гя║Ья╗┤я║отАм

тАл╪г╪▒я╗│я║О┘ЕтАк:тАмтАм тАля╗Пя╗ия║Оя║Ля╗▓ я╗Яя║╕я╗Мя║о ╪зя╗Яя║╕я╗┤я║ж ╪▓╪зя╗│я║ктАм тАля║Яя╗Мя╗ая╗ия╗▓ я╗Ыя║Тя╗┤я║о╪й я╗гя╗ия║м ╪зя╗Яя║Тя║к╪зя╗│я║ФтАм

тАля╗гя║┤я╗Мя╗о╪п я║╖я╗оя╗гя║О┘ЖтАм

тАля╗│я║кя╗│я╗ж ╪зя╗Яя║ия║о╪│ ╪зя╗Яя╗ия╗Шя║к┘КтАм тАля║Чя║ая║О┘З я║╖я╗Мя║о ╪зя╗Яя╗Мя║Оя╗гя╗┤я║Ф я║Ся╗дя║╝я║отАм

тАлтАк15тАмтАм

тАля║│я╗Мя╗о╪п ╪зя╗Яя╗дя║╝я╗Мя║Тя╗▓тАк:тАмтАм тАл╪зя╗Яя╗ия║О╪│ я╗│я║┤я║Шя╗Дя╗┤я╗Мя╗о┘Ж ╪зя╗Яя║Шя╗дя╗┤я╗┤я║░тАм тАля║Ся╗┤я╗ж ╪зя╗Яя║ая╗┤┘Ся║к ┘И╪зя╗Яя║о┘С╪п┘К╪бтАм

тАлтАк8 552536 322951тАмтАм

тАля║Ся╗ж я╗гя║дя╗ия▒ая║О ╪зя╗Яя╗Мя║Оя╗гя║о┘КтАк..тАмтАм тАл╪зя╗Яя║Тя║к┘И┘К ╪зя╗Яя║м┘К ╪зя╗ля║Шя╗в┘С я║Ся║Оя╗╣я║Ся╗ЮтАм тАл┘И╪гя║Ся║к╪╣ я╗Уя╗▓ ╪зя╗Яя║╕я╗Мя║отАм

тАл тАк y2O;b [ 7gb 4 Wb . ?[bтАмтАм тАл тАк2018 { 2 b .y 3 l i Gc6 i "2pgbтАмтАм

тАл╪зя╗Яя╗Мя║к╪п тАк - 64тАмя╗Уя║Тя║о╪зя╗│я║о тАк2018тАмтАм

тАлтАк31тАмтАм

тАлтАк40тАмтАм

тАлтАк37тАмтАм

тАлтАк56тАмтАм

тАлтАк66тАмтАм

тАлтАк75тАмтАм

тАл╪▒я║Ля╗┤я║▓ ╪зя╗Яя║Шя║дя║оя╗│я║отАм

тАля╗гя╗ия║╝я╗о╪▒ я║│я╗Мя╗┤я║к ╪зя╗Яя╗дя╗ия║╝я╗о╪▒┘КтАм тАл╪зя╗╣я║╖я║о╪з┘Б ╪зя╗Яя╗Мя║О┘ЕтАм

тАл╪▓я║Ся╗ж я║Ся╗ж я╗Ля╗дя╗┤я║отАм тАлтАк@zabin2011тАмтАм

тАлтАк32тАмтАм тАлтАк36тАмтАм тАлтАк42тАмтАм тАлтАк 44тАм╪зя╗Яя║╕я╗┤я║ж ╪▓╪зя╗│я║к я╗Яя║дя╗дя║к я║Ся╗ж я║│я╗оя╗Чя║О╪к тАм

тАля╗Чя║о╪з╪б╪й я╗Уя╗▓ я║Чя║ая║оя║Ся║Ф ╪зя╗Яя║╕я║Оя╗Ля║о я║│я║Оя╗Яя╗в ╪зя╗Яя║ая╗дя║о┘КтАк 66тАмя║╗я╗о╪▒╪й я║г ┘Ся╗┤я║Ф я╗Яя║мя╗ля╗ия╗┤я║Ф я╗гя║ая║Шя╗дя╗К я║Ся║Дя╗Ыя╗дя╗ая╗ктАм тАл╪зя╗Яя╗дя║┤я║Оя║Ся╗Шя║О╪к ┘И╪зя╗Яя║Тя║о╪зя╗гя║Ю ╪зя╗Яя║╕я╗Мя║оя╗│я║ФтАк 66тАмя║Ся╗┤я╗ж ╪зя╗Яя╗Шя╗┤я╗дя║Ф ┘И╪зя╗Яя║к┘И╪зя╗Уя╗К ┘И╪зя╗╖я║Ыя║отАм тАл╪зя╗Яя╗Шя╗┤я╗в ╪зя╗Яя╗оя╗Гя╗ия╗┤я║Ф ┘И╪зя╗╣я╗зя║┤я║Оя╗зя╗┤я║ФтАм тАля╗Чя║╝я║Оя║Ля║к ╪зя╗Яя╗дя╗ия║Оя║│я║Тя║О╪ктАк 66тАм╪зя╗Яя╗Шя╗┤я╗дя║Ф ╪зя╗╣я║Ся║к╪зя╗Ля╗┤я║Ф ┘Ия║Чя╗Шя║Оя╗Гя╗Мя╗мя║О я╗гя╗К ┘РтАм

тАл┬╗ я╗│я║О ┘Ря║│тАкmmтАмя╗М┘Т тАкmтАмя║к я╗гя╗ж я║Чя║╕я╗Ья╗о я╗Яя╗к ╪вя╗╗┘Е тАк66тАмя║Ся╗┤я║Ья╗┤я║Р я╗Яя╗Ъ я╗Яя╗▓ я╗ЛтАкmтАмя║к╪к я╗гя║дя║░┘И┘Ж┬лтАм

тАлтАк 54тАм╪зя╗Яя║ия╗ия║┤я║О╪бтАк 66тАм┘Ия║гя╗┤я║к╪й ╪зя╗╖я║│я║о╪й ┘И╪зя╗Яя║дя║Тя╗┤я║Тя║Ф ╪зя╗Яя╗дя║кя╗Яя╗ая║ФтАм тАлтАк 68тАмя╗ля║Оя║╖я╗в ╪зя╗Яя╗дя╗Дя║о┘Ия║╖я╗▓ ╪гя║гя╗ая╗в я║Ся╗дя║╕я║о┘И╪╣ я╗Уя╗оя║Чя╗Ря║о╪зя╗Уя╗▓ я╗Ыя║Тя╗┤я║отАм тАлтАк 80тАм╪зя║Ся╗ж ╪зя╗Яя╗дя║Дя║│я║О╪й тАк 66тАмя║Чя║Дя║Ся╗В я║╖я║о ┘Л╪зтАк 66тАм┘И╪зя╗Яя║оя╗Ыя║╛ я╗Уя╗▓ ╪зя║Чя║ая║О┘З ╪зя╗Яя╗дя║ая╗мя╗о┘ДтАм тАлтАк 86тАм╪зя╗Яя║╕я║Оя╗Ля║о я╗│я╗оя╗ля║О┘Ж я║Яя║Оя╗Ыя╗о╪и ╪▒╪зя╗│я║┤я╗Ья╗ктАк66тАмя║╖я╗мя╗┤я║к ╪зя╗╖╪п╪и ╪зя╗Яя╗Мя║оя║Ся╗▓!тАм

тАля╗гя║┤я║Шя║╕я║О╪▒ ╪зя╗Яя║Шя║дя║оя╗│я║отАм

тАля╗Ля╗ая╗▓ ╪зя╗Яя╗дя║┤я╗Мя╗о╪п┘КтАм тАлтАк@allmasoudiтАмтАм тАля╗гя║кя╗│я║о ╪зя╗Яя║Шя║дя║оя╗│я║отАм

тАля╗Ля║Тя║к╪з ╪гя║Ся╗оя║Ся╗Ья║отАм тАлтАк@abdabubaker1тАмтАм тАл╪зя╗╣я║зя║о╪з╪м ╪зя╗Яя╗Фя╗ия╗▓ & я║│я╗Ья║оя║Чя║О╪▒я╗│я║Ф ╪зя╗Яя║Шя║дя║оя╗│я║отАм

тАля║│я╗Мя║О╪п я║гя║┤я╗ия║ФтАм тАлтАк@HasnaSuadтАмтАм тАля╗гя║┤я║Ж┘И┘Д ╪зя╗Яя║Шя╗о╪▓я╗│я╗КтАм тАл╪гя║гя╗дя║к я╗Ля║Тя║О╪│тАм

тАлтАкmarketing@sbzc.aeтАмтАм тАля║│я╗Мя║о ╪зя╗Яя╗ия║┤я║ия║ФтАм тАл╪зя╗╣я╗гя║О╪▒╪з╪к ╪зя╗Яя╗Мя║оя║Ся╗┤я║Ф ╪зя╗Яя╗дя║Шя║дя║к╪й┬Ч тАк 10тАм╪п╪▒╪зя╗ля╗в ╪зя╗Яя╗дя╗дя╗ая╗Ья║Ф ╪зя╗Яя╗Мя║оя║Ся╗┤я║Ф ╪зя╗Яя║┤я╗Мя╗о╪пя╗│я║Ф тАк 10тАм╪▒я╗│я║Оя╗╗╪к ╪зя╗Яя╗Ья╗оя╗│я║Ц ╪пя╗│я╗ия║О╪▒ ┘И╪зя║гя║ктАм тАлтАк -тАмя║│я╗ая╗Дя╗ия║Ф я╗Ля╗дя║О┘Ж тАк 800тАмя║Ся╗┤я║┤я║Ф я╗Чя╗Дя║о тАк 10тАм╪▒я╗│я║Оя╗╗╪к я╗гя╗дя╗ая╗Ья║Ф ╪зя╗Яя║Тя║дя║оя╗│я╗ж ╪пя╗│я╗ия║О╪▒ ┘И╪зя║гя║ктАкWтАмтАм

тАля╗Ля╗ия╗о╪з┘Ж ╪зя╗Яя╗дя║ая╗ая║Ф┬ЧтАм тАл╪зя╗╣я╗гя║О╪▒╪з╪к ╪зя╗Яя╗Мя║оя║Ся╗┤я║Ф ╪зя╗Яя╗дя║Шя║дя║к╪йтАк -тАм╪гя║Ся╗оя╗Зя║Тя╗▓тАм

тАл╪зя╗╗я║╖я║Шя║о╪зя╗Ыя║О╪ктАм

тАля╗ля║Оя║Чя╗Т┬Ч тАк009712-6666130тАмтАм тАля╗Уя║Оя╗Ыя║▓┬Ч тАк009712-6663088тАмтАм

тАля╗Яя╗╝я║╖я║Шя║о╪з┘Г я║Ся║Оя╗Яя║Тя║оя╗│я║к ╪п╪зя║зя╗Ю ╪зя╗Яя║к┘Ия╗Яя║Ф тАк 90тАм╪п╪▒я╗ля╗в ╪зя║╖я║Шя║о╪з┘Г тАк VIPтАм╪п╪зя║зя╗Ю ╪зя╗Яя║к┘Ия╗Яя║Ф тАк 120тАм╪п╪▒я╗ля╗в я║│я╗ия╗оя╗│ ┘Ля║ОтАм тАл╪зя╗Яя╗дя╗дя╗ая╗Ья║Ф ╪зя╗Яя╗Мя║оя║Ся╗┤я║Ф ╪зя╗Яя║┤я╗Мя╗о╪пя╗│я║Ф тАк 300тАм╪п╪▒я╗ля╗в я║│я╗ия╗оя╗│ ┘Ля║О я║Ся║Оя╗Чя╗▓ ╪зя╗Яя║к┘И┘Д тАк 130тАм╪п┘Ия╗╗╪▒ ╪гя╗гя║оя╗│я╗Ья╗▓ я║│я╗ия╗оя╗│ ┘Ля║ОтАм

тАл╪╡тАкWтАм╪и┬Ч тАк 6420тАм╪гя║Ся╗оя╗Зя║Тя╗▓ ╪етАкWтАм╪╣тАкWтАм┘ЕтАм

тАлтАкbaitshir@sbzc.aeтАмтАм

тАля╗Уя║Тя║о╪зя╗│я║о тАк9 2018 /тАмтАм

‫ﻣﺤﺘﻮﻳﺎت‬ ‫‪baytelshear‬‬

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‫‪99‬‬ ‫ﻛﺘﺎب اﻟﻌﺪد‬

‫ﻋﻠﻲ اﻟﻤﺴﻌﻮدي‬ ‫ﻋﺒﺪا أﺑﻮﺑﻜﺮ‬ ‫ﻣﺤﻤﺪ ﻧﻮراﻟﺪﻳﻦ‬ ‫ﻣﺤﻤﺪ اﻟﺒﺮﻳﻜﻲ‬ ‫ﺻﻔﻴﺔ اﻟﺸﺤﻲ‬ ‫ﻣﺤﻤﺪ أﺑﻮﻋﺮب‬ ‫د‪W‬ﻳﺎﺳﻴﻦ ﺣﺰﻛﺮ‬

‫اﻟﺸﻌﺮ ‪ /‬اﻟﻌﺪد ‪64‬‬ ‫ﺑﻴﺖ ِ‬

‫ﺷﻌﺮاء اﻟﻌﺪد‬

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‫‪85‬‬ ‫ﻣﺤﻤﺪ اﻟﻤﺮ‬ ‫ﺳﻌﺪ ﻋﻠﻮش‬ ‫ودﻳﻊ اﻻﺣﻤﺪي‬ ‫ﻧﺎﻳﻒ اﻟﻌﺒﻴﺪ‬ ‫ﻣﺤﻤﺪ ﺑﻦ ﺳﻌﻴﻮاد‬

‫ﻃﻼل ﺑﻦ ﻓﻬﺪ‬ ‫ﺳﺎﻣﻲ اﻟﻌﺮﻓﺞ‬ ‫ﻣﺮﻳﻢ اﻟﺰﻋﺒﻲ‬ ‫رﺿﺎ اﻟﺸﺎﻣﻲ اﻟﻬﺎﺷﻤﻲ‬ ‫ﺑﺮدﻳﺲ ﻓﺮﺳﺎن ﺧﻠﻴﻔﺔ‬

‫ﻣﻮزه اﻟﻜﺘﺒﻲ‬ ‫أﺣﻤﺪ ﺳﻨﺪ‬ ‫اﻟﻴﺎﺳﻴﺔ‬ ‫ﺧﺎﻟﺪ اﻟﺸﻌﻴﺒﻲ‬

‫ﻣﻦ أﻗﻮال ﺳﻤﻮ اﻟﺸﻴﺦ‬

‫ﺳﻠﻄﺎن ﺑﻦ زاﻳﺪ‬ ‫آل ﻧﻬﻴﺎن‬ ‫ﻧﺪﻋﻢ وﻧﻘ ّﺪر ﻓﻦ اﻟﺸﻌﺮ ﻛﻮاﺣﺪ ﻣﻦ‬ ‫أﺑﺮز ﻓﻨﻮن اﻷدب واﻟﺘﺮاث ﻓﻲ ﻣﻨﻄﻘﺔ‬ ‫اﻟﺨﻠﻴﺞ اﻟﻌﺮﺑﻲ‪ ،‬وﻣﻦ ﺧﻼﻟﻪ ﻧﻜﺘﺐ ﺳﻴﺮة‬ ‫اﻟﺤﺎﺿﺮ ﻟﺘﻘﺮأﻫﺎ أﺟﻴﺎل اﻟﻤﺴﺘﻘﺒﻞ‬

‫ﻓﺒﺮاﻳﺮ ‪7 2018 /‬‬

‫ذﻫﺐ اﻟﻜﻼم‬ ‫‪baytelshear‬‬

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‫اﻟﺸﻌﺮ ‪ /‬اﻟﻌﺪد ‪64‬‬ ‫ﺑﻴﺖ ِ‬

‫ﻓﺒﺮاﻳﺮ ‪5 2018 /‬‬

‫ﺣ!ﻜﻴ!ﻢ اﻟﻌ!ﺮب‬ baytelshear

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‫اﻟﺸﻴﺦ زاﻳﺪ ﺑﻦ ﺳﻠﻄﺎن آل ﻧﻬﻴﺎن‬ - ‫ﻃﻴﺐ اﻟﻠﻪ ﺛﺮاه‬-

64 ‫ اﻟﻌﺪد‬/ ‫اﻟﺸﻌﺮ‬ ِ ‫ﺑﻴﺖ‬

4

‫ﺻﻮت اﻟﺼﻮرة‬ ‫‪baytelshear‬‬

‫ﻓﻴـﻨـﺎ ﻛﺒﻴـﺮﻳـﻦ اﻟـﻬـﻘـﺎوي ﻳـﻈـ ّﻨـﻮن‬ ‫إﻧّــﺎ ﻟـﻨـﺎ ﻣـﻨـﺰال ﻓــﻮق اﻟـﻨـﻮاﻳـﻒ‬ ‫وﻣﻦ ﺷﺎﻧﻬﻢ ﻣﺎ ﻧﻘﺒﻞ اﻟﻤﻨﺰل اﻟﺪون‬ ‫واﻟﻮﻗﺖ ﻣﺪﻫﺮ واﻟﻤﺰاﻫـﺐ ﺧﻔﺎﻳـﻒ‬

‫ ‪Ð P ` P4‬‬

‫ﻓﺒﺮاﻳﺮ ‪3 2018 /‬‬

‫دﻳﻮان ﺟﺰاء اﻟﺤﺮﺑﻲ ‪66‬‬ ‫ﺻﺎدر ﻋﻦ ﻧﺎدي ﺗﺮاث اﻹﻣﺎرات‬

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‫اﻟﺸﻌﺮ ‪ /‬اﻟﻌﺪد ‪64‬‬ ‫ﺑﻴﺖ ِ‬