Bayt Alshier 68 Jun 2018 by SBZC Mags

‫ﺟﺪﻳﺪ إﺻﺪارات‬ ‫ﻣﺮﻛﺰ ﺳﻠﻄﺎن ﺑﻦ زاﻳﺪ‬

‫‪www.sbzc.ae‬‬

‫‪sbzc.ae‬‬

‫‪2018‬‬

‫‪@sbzc_ad‬‬

‫ﻣﻦ إﺻﺪارات ﻣﺮﻛﺰ ﺳﻠﻄﺎن ﺑﻦ زاﻳﺪ‬

‫‪www.sbzc.ae‬‬

‫‪sbzc.ae‬‬

‫‪@sbzc_ad‬‬

‫ﻧﻴﻮ‬ ‫ﻳﻮﻧﻴ‬ ‫ﻳﻮﻧﻴﻮ ‪97 2018 /‬‬

‫ﻣﺬﻛﺮات ﻃﺎﻟﺐ ﺣﻠﻢ‬ ‫ﺳﺮﻗﺔ ﺣﻼل ﻣﻊ ﺳﺒﻖ اﻹﺻﺮار واﻟﺘﺮﺻﺪ ‬ ‫ﻓﺠﺄة وﺟﺪت ﻗﺮﻳﺤﺘﻲ اﻟﺸﻌﺮﻳﺔ متﲇ ﺑﻴﺘﺎً ﺟﻤﻴﻞ اﳌﻌﻨﻰ‪ ..‬ﻓﻜﺘﺒﺖ‪:‬‬ ‫واﻟﻄﻴﺐ ﻳﻔﺮق ﰲ ﻧﻔﻮس اﻟﺮﺟﺎﺟﻴﻞ‬ ‫ﻓﻌﻞ اﻟﻜﺮﻳﻢ وﻓﻌﻞ ﻣﻨﻬﻮ ﻳﺘﻜريم‬ ‫ﺑﻴﺖ ﻳﺘﻴﻢ ﻳﺘﺴﺎءل ﻋﻦ أﺧﻼق ﻟﻺﻧﺴﺎن ﺗﺪل ﻋﻠﻴﻪ ﻓﻴﻌﺮف إن ﻛﺎن‬ ‫ﺟﻮده َﻃ ْﺒﻌﺎً أم ﺗﻜﻠﻔﺎً!‬ ‫ﻫﻞ ﻫﻮ اﻹﻟﻬﺎم اﻟﺬي ﻳﺘﺤﺪث ﻋﻨﻪ اﻟﺸﻌﺮاء؟‬ ‫ﻓﻘﺪ ﻓﻮﺟﺌﺖ ﺑﻬﺬا اﳌﻌﻨﻰ اﳌﺮﺗﺐ اﳌﻜﺘﻤﻞ وأﻧﺎ اﻟﺬي ﻳﺤﻔﺮ اﻟﺼﺨﺮ‬ ‫ﻟﻴﻜﺘﺐ ﺑﻴﺘﺎً‪ ..‬وﻳﺸﻖ ﻛﻬﻔﺎً ﰲ ﺟﺒﻞ ﺣﺘﻰ ﻳﻜﺘﺐ ﻗﺼﻴﺪة!‬ ‫وﻋﻨﺪ اﻟﺘﺤﻘﻖ وﺟﺪت أﻧﻪ ﻟﻴﺲ إﻟﻬﺎﻣﺎً‪ ..‬ﺑﻞ ﻫﻮ ﺷﻴﻄﺎن اﻟﺸﻌﺮ‬ ‫اﳌﺮاوغ وﺳﻮس ﱄ ﺑﺒﻴﺖ اﺳﺘﻨﺸﻘﺖ ﻓﻴﻪ راﺋﺤﺔ ﺷﺎﻋﺮ أﻋﺮﻓﻪ!‬ ‫ﻗﺎﻟﺖ ﱄ اﻟﺤﻘﻴﻘﺔ‪ :‬ﺑﻴﺘﻚ ﻫﺬا ﻫﻮ اﻻﺑﻦ اﻟﴩﻋﻲ ﻟﺒﻴﺖ ﺳﻴﺪ اﻟﺸﻌﺮ‬ ‫اﺑﻮ اﻟﻄﻴﺐ‪:‬‬ ‫أﺧﻼق ّ‬ ‫ٌ‬ ‫ﺗﺪل ﻋﲆ اﻟﻔﺘﻰ‬ ‫وﻟﻠﻨﻔﺲ‬ ‫أﻛﺎن ﺳﺨﺎء ﻣﺎ أىت أم ﺗﺴﺎﺧﻴﺎ‬ ‫ﻣﻦ ﻗﺼﻴﺪﺗﻪ اﻟﻌﻈﻴﻤﺔ اﻟﺘﻲ ﻣﻄﻠﻌﻬﺎ‪:‬‬ ‫ﻛﻔﻰ ﺑﻚ دا ًء أن ﺗﺮى َ‬ ‫اﳌﻮت ﺷﺎﻓﻴﺎ‬ ‫وﺣﺴﺐ اﳌﻨــﺎﻳﺎ ان ﻳﻜﻦّ أﻣﺎﻧﻴﺎ‬

‫ﻋﻠﻲ اﻟﻤﺴﻌﻮدي‬ ‫ﻋﻠ‬ ‫وﺗﺘﺸﺎﺑﻪ وﺟﻮه ﺑﻌﺾ اﻷﺑﻴﺎت ﻣﺜﻞ وﺟﻮه اﻟﺠﻤﻴﻼت اﻟﺼﻴﻨﻴﺎت‪..‬‬ ‫ﻓﻼﺑﺪ أن ﺗﺪﻗﻖ ﰲ اﳌﻼﻣﺢ يك ﺗﺴﺘﻄﻴﻊ ﻓﺮز اﻟﻮﺟﻮه وﻓﻚ ﺗﺸﺎﺑﻚ‬ ‫اﳌﻼﻣﺢ‪..‬‬ ‫ﻗﺎل ﺑﺪر ﺑﻦ ﻋﺒﺪاﳌﺤﺴﻦ‪:‬‬ ‫وﰲ ﻋﺰ اﻟﻠﻴﻞ ﻻﺑﻨﺘﻲ‬ ‫ﻳﻄري اﻟﺼﺒﺢ‬ ‫ﻣﻦ ﻛﻒ اﻟﺮﺑﺎ ﻋﺼﻔﻮر‬ ‫وﻗﺎل ﻧﺎﻳﻒ ﺻﻘﺮ‪:‬‬ ‫اﻟﺼﺒﺢ ﻋﺼﻔﻮر ﰲ ﻏﺼﻦ اﻟﻀﺤﻰ ﻋﺸﻪ‬ ‫ﻃﺎر وﺻﺤﻰ اﻟﻜﻮن وادﻳﺎك اﻟﺴام ﺻﺎﺣﺖ‬

‫ﻷﺗﺠﻮل ﺑﻌﺪ ذﻟﻚ ﰲ ﺳﺎﺣﺔ اﻟﺸﻌﺮ اﻟﻌﻤﻴﻘﺔ واﻟﻐﺰﻳﺮة واﻟﻮاﺳﻌﺔ‬ ‫واﻟﻄﻮﻳﻠﺔ أﻟﺘﻘﻂ ﻣﻨﻬﺎ اﳌﺘﺸﺎﺑﻪ ﻗﺼﺪاً واﳌﺘﺸﺎﺑﻪ ﻋﺮﺿﺎً ﻷﺟﺪه ﻳﻔﻮق وﻗﺎل ﻓﻬﺪ ﻋﺎﻓﺖ‪:‬‬ ‫اﻟﻌﺪد‪ ..‬وﻳﻔﻮق اﻟﻌﺪة اﻟﻨﻘﺪﻳﺔ‬ ‫ﺻﺎر اﻟﻐﺼﻦ اﳌﺘﺪﱄ ﺻﺒﺢ ﻳﺼﲇ‬ ‫وﻳﺮﺗﻄﻢ ﻗﻠﻤﻲ ﺑﺒﻴﺖ اﺑﻦ ﻟﻌﺒﻮن‪:‬‬ ‫اﻟﻌﺼﻔﻮرﻳﻦ اﻟﲇ ﻃﺎروا ﺻﺎروا اﻣني‬ ‫ﻣﴫ ﻛﻦ ﺟﺎﻛﺎت ﺷﺎﻟﻪ‬ ‫وأﻗﻔﻰ ﱟ‬ ‫ﺟﻠﻤﻮد ﺻﺨ ٍﺮ ﺣﻄﻪ اﻟﺴﻴﻞ ﻣﻦ ﻋﺎل‬ ‫ﻻ أدري ﺗﺤﺪﻳﺪاً ﻣﻦ ﺳﺒﻖ اﻵﺧﺮ ﰲ ﺧﻠﻂ اﻷﻏﺼﺎن واﻟﻌﺼﺎﻓري‬ ‫واﻟﺼﺒﺢ ﻟﻴﻜ ّﻮن ﻫﺬه اﻟﻮﺟﺒﺔ اﻟﺸﻌﺮﻳﺔ اﻟﻠﺬﻳﺬة‪..‬‬ ‫ﻟﻴﴩق ﻓﻴﻪ ﺑﻴﺖ اﻣﺮئ اﻟﻘﻴﺲ اﳌﻌﺮوف‪:‬‬ ‫ورمبﺎ ﻫﻲ اﻷرواح ﻗﺪ اﻧﻄﻠﻘﺖ ﻣﻌﺎً ﻣﻦ ﺣﻔﻴﻒ اﻷﺷﺠﺎر مبﺠﺮد أن‬ ‫ﻣﻜ ﱟﺮ ﻣﻔ ﱟﺮ ﻣﻘﺒﻞٍ ﻣﺪﺑ ٍﺮ ﻣﻌﺎً‬ ‫ﺳﻤﻌﺖ ﺧﻄﻮات ﺻﻴﺎد ﻗﺮﻳﺐ ﻳﻮﺳﻮس ﰲ أذﻧﻪ ﺷﻴﻄﺎن اﻟﺸﻌﺮ!‬ ‫ﻛﺠﻠﻤﻮد ﺻﺨ ٍﺮ ّ‬ ‫ﺣﻄﻪ اﻟﺴﻴﻞ ﻣﻦ ﻋﻞِ‬ ‫ﻟﻜﻦ ﻣﺤﺴﻦ اﻟﻬﺰاين ﺳﺒﻖ اﺑﻦ ﻟﻌﺒﻮن ﰲ اﻻﻟﺘﻘﺎﻃﺔ‪:‬‬ ‫رﻛﻦ ﻣﻦ اﻟﺨﻴﻞ ﻛ ّﻨﻪ‬ ‫أﻫﻮا ﻋﲆ ٍ‬ ‫ﺟﻠﻤﻮد ﺻﺨ ٍﺮ ّ‬ ‫ﺣﻄﻪ اﻟﺴﻴﻞ ﻣﻦ ﻋﺎل‬ ‫ﻌﺮ ‪ /‬اﻟاﻟﻌﺪد ‪688‬‬ ‫اﻟﺸﻌﺮ‬ ‫‪ 96‬ﺑﻴﻴﺖ‬ ‫ﺑﻴﺖ ِ‬

‫‪@allmasoudi‬‬

‫ﻣﺮاﻓﺊ‬

‫اﻟﺒﺎرﺣﺔ ﻣﺸﻜﻠﻨﻲ اﻟﻮد‬ ‫ﻗﺼﻴﺪة ﻟﻠﺸﺎﻋﺮ ﺳﻌﻴﺪ ﺑﻦ ﻣﻬﻴﻠﺔ اﻟﺸﺎﻣﺴﻲ ﻓﻲ اﻟﻐﺰل‪:‬‬

‫ﻳﻌﺪ اﻟﺸﺎﻋﺮ ﺳﻌﻴﺪ ﻋﻠ ًام ﻣﻦ أﻋﻼم اﻷدب اﻟﺸﻌﺒﻲ ﰲ اﻹﻣﺎرات ﺧﺎﺻﺔ ودول اﻟﺨﻠﻴﺞ ﻋﺎﻣﺔ ﳌﺎ ﺗﺮك ﻣﻦ ﺗﺮاث ﺷﻌﺮي ﻣﻤﻴﺰ‬ ‫ومبﺎ وﺿﻊ ﻣﻦ ﺑﺼﻤﺔ ﻣﺘﻔﺮدة ﰲ ﻋﺎمل اﻹﺑﺪاع اﻟﺸﻌﺮي‪ ..‬ﻓﻜﺎن ﻣﻦ ﺟﻴﻞ اﻟﺮواد اﻟﺬﻳﻦ ﺗﺠﻤﻠﺖ ﻗﺼﺎﺋﺪﻫﻢ ﺑﺄﻟﻮان اﻷﺻﺎﻟﺔ‪،‬‬ ‫واﻻرﺗﺒﺎط اﻟﺤﻘﻴﻘﻲ ﺑﺎﻟﻮاﻗﻊ‪ ،‬واﻟﺘﻌﺒري اﻟﴫﻳﺢ ﻋﻦ ﻫﻤﻮم اﻟﺠﻴﻞ ﺑﻼﻣﻮارﺑﺔ‪.‬‬

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‫ﻳﻮﻧﻴﻮ ‪95 2018 /‬‬

‫ﻣﻦ اﻟﻤﺎﺿﻲ‬ ‫‪baytelshear‬‬

‫اﳌﻌﺮوﻓﺔ ﰲ اﳌﻨﻄﻘﺔ‪ ،‬ﻛام ان ﺑﻌﺾ اﻟﻘﺒﺎﺋﻞ‬ ‫ﺗﺴﺘﺸري ﺷﻴﺦ اﻟﻘﺒﻴﻠﺔ إذا ﺗﻘﺪم ﻻﺑﻨﺘﻬﻢ ﺷﺎب‬ ‫وﻳﻜﻮن ﻟﻪ اﻟﺮأي مبﺎ ﻟﺪﻳﻪ ﻣﻦ ﺧﱪة ودراﻳﺔ‬ ‫ﺑﺎﻟﻨﺎس وأﻣﻮرﻫﻢ‪ ،‬وأﺣﻴﺎﻧﺎ ﻳﺮﻓﺾ اﻟﺸﺎب إذا‬ ‫مل ﻳﻮاﻓﻖ ﻋﻠﻴﻪ ﻛﺒري اﻟﻘﻮم أو ﺷﻴﺦ اﻟﻘﺒﻴﻠﺔ‪،‬‬ ‫واﻟﻔﺘﺎة اﳌﺨﻄﻮﺑﺔ ﻻ ﺗﺮى ﺧﻄﻴﺒﻬﺎ وﻛﺬﻟﻚ‬ ‫اﻟﺨﻄﻴﺐ ﻻ ﻳﺮى ﻣﺨﻄﻮﺑﺘﻪ‪ ،‬ﺑﻞ إﻧﻪ ﻳﻜﺘﻔﻲ‬ ‫مبﺎ ﺳﻤﻊ ﻋﻨﻬﺎ ﻣﻦ أﻣﻪ أو أﻗﺎرﺑﻪ‪.‬‬ ‫ﻓﺈذا ﻛﺎن اﻟﺨﻄﻴﺐ ﻣﻦ أﻫﻞ اﻟﻘﺮﻳﺔ ﻓﺮمبﺎ‬ ‫ﻳﺮى ﻣﺨﻄﻮﺑﺘﻪ ﻋﻨﺪ اﻟﻌني أو اﻟﻔﻠﺞ‪ ،‬وﻟﻜﻨﻪ‬ ‫ﻻ ﻳﺮى وﺟﻬﻬﺎ ﻷﻧﻪ ﻣﻐﻄﻰ‪ ،‬أي أﻧﻬﺎ ﺗﻠﺒﺲ‬ ‫اﻟﻐﺸﻮة وﺗﻜﻮن ﺑﺼﺤﺒﺔ أﻣﻬﺎ أو إﺣﺪى‬ ‫ﻗﺮﻳﺒﺎﺗﻬﺎ‪.‬‬

‫اﻟﺒﻨﺖ‪ ،‬ورمبﺎ دﺧﻠﺖ ﻋﲆ ﺣني ﻏﻔﻠﺔ ﻓﺮأت‬ ‫اﻟﺒﻨﺖ وﺟﻬﺎً ﻟﻮﺟﻪ‪ ،‬ﻷﻧﻪ ﻣﻦ اﻟﺼﻌﺐ اﻻﻟﺘﻘﺎء‬ ‫ﺑﺎﻟﺒﻨﺖ اﻟﺒﻜﺮ‪ ،‬ﻓﻬﻲ ﻻ ﺗﻈﻬﺮ أﻣﺎم اﻟﻨﺴﺎء‬ ‫ﺳﻮى ﺟﻠﻮﺳﻬﺎ ﻣﻊ أﻫﻠﻬﺎ وذوﻳﻬﺎ‪ ،‬وﻋﻨﺪ‬ ‫دﺧﻮل اﻣﺮأة أﺟﻨﺒﻴﺔ ﻓﺈﻧﻬﺎ ﺗﺴﺎرع ﺑﺎﻻﺧﺘﻔﺎء‪.‬‬ ‫وإن رﺟﻌﺖ اﳌﺮأة ﺑﻠﻐﺖ اﻷﻫﻞ ﺑﺄوﺻﺎف‬ ‫اﻟﺒﻨﺖ وﻣﺪﺣﺘﻬﺎ ﻟﻬﻢ وﴍﺣﺖ ﻟﻬﻢ ﻣﻮاﺻﻔﺎﺗﻬﺎ‬ ‫ﻓﺈذا رﻏﺒﻮا ﰲ ﺧﻄﺒﺘﻬﺎ‪ ،‬أرﺳﻠﻮا ﻋﺪة رﺟﺎل‬ ‫ﻣﻦ ﻛﺒﺎر اﻟﺴﻦ اﳌﻌﺮوﻓني ﻟﻴﻌﺮﺿﻮا ﻋﲆ أﺑﻴﻬﺎ‬ ‫ﻣﺎﺟﺎءوا ﻣﻦ أﺟﻠﻪ‪ ،‬ﻓريﺣﺐ ﺑﻬﻢ ﺛﻢ ﻳﻌﺪﻫﻢ‬ ‫ﺑﺮد اﻟﺠﻮاب‪ ،‬ﻓﺈذا رﺟﻌﻮا ﻣﻦ ﻋﻨﺪه ﺷﺎور‬ ‫اﻟﺸﻌﺮ ‪ /‬اﻟﻌﺪد ‪68‬‬ ‫‪ 94‬ﺑﻴﺖ ِ‬

‫أﻫﻞ ﺑﻴﺘﻪ وﰲ ﻣﻘﺪﻣﺘﻬﻢ أم اﻟﺒﻨﺖ‪ ،‬ورمبﺎ‬ ‫اﻧﻔﺮد ﺑﺮأﻳﻪ ﰲ اﻟﺮد أو اﻟﻘﺒﻮل‪.‬‬ ‫وﻋﻨﺪ ﻋﺪم اﻟﺮﻏﺒﺔ ﰲ ﺗﺰوﻳﺠﻬﻢ ﻳﻠﺘﻤﺲ‬ ‫ﻋﺬراً ﻟﺤﺴﻦ اﻟﺘﺨﻠﺺ ﻣﻨﻬﻢ‪ ،‬وﻋﻨﺪ اﳌﻮاﻓﻘﺔ‬ ‫ﻓﺈن واﻟﺪ اﻟﻌﺮوس ﻻ ﻳﻀﻊ أي ﴍوط ﻛﻘﻴﻤﺔ‬ ‫ﻟﻠﻤﻬﺮ وﻣﺆﺧﺮ اﻟﺼﺪاق ﻣﻜﺘﻔﻴﺎً ﺑﺤﺴﻦ‬ ‫ﺳرية اﻟﻌﺮﻳﺲ وأﺻﻠﻪ وﻗﺒﻴﻠﺘﻪ‪ ،‬ﺣﻴﺚ إن‬ ‫أﻫﻞ اﻟﺒﻨﺖ ﻻ ﻳﺴﺄﻟﻮن ﻋﻦ اﳌﻬﺮ‪ ،‬ﺑﻞ إن‬ ‫أﺻﻞ اﻟﻮاﻟﺪ وﺣﺴﺒﻪ وﻋﺎﺋﻠﺘﻪ وأﺧﻼﻗﻪ‬ ‫ﺗﺸﻜﻞ ﻟﺪﻳﻬﻢ أﻫﻤﻴﺔ أﻛﱪ ﻣﻦ اﳌﺎل‪ ،‬وﺑﻌﺾ‬ ‫اﻟﻌﺎﺋﻼت ﻳﺘﻔﺎﺧﺮون مبﺼﺎﻫﺮة اﻟﻘﺒﺎﺋﻞ‬

‫اﻟﻤ ْﻬﺮ‬ ‫َ‬ ‫ﻣﻦ اﳌﺘﻌﺎرف ﻋﻠﻴﻪ ﻋﻨﺪ أي زواج أو اﻗﱰان‬ ‫ﺑني رﺟﻞ أو اﻣﺮأة أن ﻳﻜﻮن ﻫﻨﺎك ﻣﺒﻠﻎ‬ ‫ﻣﻦ اﳌﺎل ﻳﺪﻓﻌﻪ اﻟﻌﺮﻳﺲ إﱃ أب اﻟﻌﺮوس‪،‬‬ ‫وﻋﻨﺪﻣﺎ ﺗﺄيت اﳌﻮاﻓﻘﺔ ﻣﻦ اﻷب ﻋﲆ زواج‬ ‫اﺑﻨﺘﻪ‪ ،‬وﻫﺬا ﻳﺤﺪث أﺣﻴﺎﻧﺎ ﺑﺄن اﻷب أو وﱄ‬ ‫اﻷﻣﺮ ﻳﻘﺮر أو ﻳﻌﻄﻲ رأﻳﻪ ﰲ ﻧﻔﺲ اﻟﻮﻗﺖ‬ ‫ﻣﻦ دون اﻟﺮﺟﻮع إﱃ واﻟﺪة اﻟﺒﻨﺖ أو أي‬ ‫أﺣﺪ‪ ،‬ﻫﻨﺎ ﻳﻘﻮم أﺣﺪ أﺑﻨﺎء اﻟﻘﺒﻴﻠﺔ ﺑﺈﻃﻼق‬ ‫أﻋرية ﻧﺎرﻳﺔ ﺛﻼث ﻣﺮات مبﻨﺎﺳﺒﺔ اﳌﻮاﻓﻘﺔ‪،‬‬ ‫وﺣﺘﻰ ﻳﻌﺮف أﻫﻞ اﻟﻘﺮﻳﺔ أو اﳌﻨﻄﻘﺔ أن اﺑﻨﺔ‬ ‫ﻓﻼن ﺧُ ﻄِ ﺒﺖ إﱃ اﺑﻦ ﻓﻼن‪ ،‬وﻳﻘﻮم اﻟﺮﺟﺎل‬ ‫ﺑﺘﻘﺪﻳﻢ اﻟﺘﻬﻨﺌﺔ واﳌﺒﺎرﻛﺔ إﱃ واﻟﺪي اﻟﻌﺮوس‬ ‫واﻟﻌﺮﻳﺲ‪ ،‬وﺗﻜرث اﻟﺼﻼة ﻋﲆ اﻟﻨﺒﻲ‪ ،‬وﻳﺤﺪد‬ ‫ﻣﻬﺮ اﻟﻌﺮوس ﻣﻦ ﻗﺒﻞ واﻟﺪﻫﺎ‪ ،‬وأﺣﻴﺎﻧﺎ ﻳﱰك‬ ‫ﻣﻦ دون ﺗﺤﺪﻳﺪ ﻛﺄن ﻳﻘﻮل واﻟﺪ اﻟﻌﺮوس‬ ‫ﻟﻮاﻟﺪ اﻟﻌﺮﻳﺲ »اﻟﺒﻨﺖ ﺑﻨﺘﻜﻢ واﻟﻮﻟﺪ وﻟﺪﻛﻢ«‪.‬‬ ‫وﻫﻨﺎ ﻧﺮى أن واﻟﺪ اﻟﻌﺮﻳﺲ ﻻ ﺑﺪ أن ﻳﺪﻓﻊ‬ ‫ﻣﻬﺮاً ﻳﻠﻴﻖ مبﺎ ﺳﻤﻌﻪ ﻣﻦ ﻛﻼم‪ ،‬ﻓﺎﻟﻨﻈﺎم اﻟﻘﺒﲇ‬ ‫دامئﺎ ﻳﻘﻮم ﻋﲆ اﻟﻜﻠﻤﺔ‪ ،‬ﻓﻜﻠﻤﺔ اﻟﺮﺟﻞ ﻋﻨﺪﻣﺎ‬ ‫ﻳﻘﻮﻟﻬﺎ ﻓﻼ ﺗﻐﻴري ﻟﻬﺎ ﻣﻬام ﻛﻠﻒ اﻷﻣﺮ‪.‬‬ ‫وﺗﺨﺘﻠﻒ اﻟﻘﺒﺎﺋﻞ ﺑﻌﻀﻬﺎ ﻋﻦ ﺑﻌﺾ ﰲ‬ ‫ﺗﺤﺪﻳﺪ اﳌﻬﺮ‪ ،‬واﳌﻬﻮر دامئﺎ ﻣﻬام اﺧﺘﻠﻔﺖ‬ ‫ﺗﻜﻮن ﻣﺮﺗﻔﻌﺔ‪ ،‬وﻗﺪ ﻳﻜﻮن اﳌﻬﺮ ﻋﺒﺎرة ﻋﻦ‬ ‫ﻋﺪد ﻛﺒري ﻣﻦ رؤوس اﻷﻏﻨﺎم أو اﻟﺠامل‪،‬‬ ‫وأﺣﻴﺎﻧﺎ ﺗﻘﺪم ﺑﻌﺾ اﳌﺠﻮﻫﺮات ﻋﲆ ﺳﺒﻴﻞ‬ ‫اﳌﺜﺎل‪» :‬ﻃﺒﻠﺔ ذﻫﺐ أو ﻣﺮﻳﺔ«‪ ،‬إذا ﻛﺎن‬ ‫اﻟﻌﺮﻳﺲ ﻣﻴﺴﻮراً‪.‬‬

‫وأﺑﻮﻃرية واﻟﻜﻴﻤﺮي«‪ ،‬وﻏريﻫﺎ‪ .‬واﻷﻋﺮاس‬ ‫ﻗﺪميﺎً‪ ،‬ﻛﺎﻧﺖ ﺗﺘﻤﻴﺰ ﺑﺎﻟﺒﺴﺎﻃﺔ ﺑﺪءاً ﻣﻦ‬ ‫اﳌﻬﺮ واﻧﺘﻬﺎ ًء ﺑﺤﻔﻞ ﻋﺸﺎء اﻟﻀﻴﻮف‪ ،‬ﻛام‬ ‫أن اﺳﺘﻌﺪاد اﻟﺰوج ﻛﺎن ﻳﻘﺘﴫ ﻋﲆ ارﺗﺪاء‬ ‫اﳌﻼﺑﺲ اﻟﺠﺪﻳﺪة‪.‬‬ ‫وﻟﻜﻦ ﻗﺒﻞ اﳌﻮاﻓﻘﺔ ﻋﲆ »اﳌﻌﺮس«‪ ،‬ﻳﻄﻠﺐ‬ ‫أب اﻟﺰوﺟﺔ اﻹذن ﻣﻦ إﺧﻮﺗﻪ‪ ،‬وﻳﺴﺄل إن‬ ‫ﻛﺎن أﺣﺪ أﺑﻨﺎﺋﻬﻢ ﻳﺮﻏﺐ ﰲ اﻟﺰواج ﻣﻦ اﺑﻨﺘﻪ‪،‬‬ ‫وﻣﻦ ﺛﻢ أﺑﻨﺎء ﺧﺎل اﻟﻔﺘﺎة‪ ،‬وإن أﺑﺪى أﻫﻞ‬ ‫اﻟﻔﺘﺎة ﻣﻮاﻓﻘﺘﻬﻢ ﻋﲆ اﻟﺮﺟﻞ اﻟﺬي ﺗﻘﺪم‬ ‫ﻟﻄﻠﺐ ﻳﺪ اﻟﻔﺘﺎة‪ ،‬ﻳﺒﺤﺜﻮن ﻋﻦ ﺧﻠﻔﻴﺔ اﻟﺸﺎب‬ ‫اﻻﺟﺘامﻋﻴﺔ واﻟﺴﻠﻮﻛﻴﺔ‪ ،‬إﱃ ﺟﺎﻧﺐ اﻟﺒﺤﺚ‬ ‫ﻋﻦ أﺻﻠﻪ وﻓﺼﻠﻪ‪ ،‬وﻻﺗﺰال ﻣﻌﻈﻢ اﻟﻌﺎﺋﻼت‬ ‫واﻷﴎ ﻣﺘﻘﻴﺪة ﺑﻬﺬه اﳌﺒﺎدئ اﻟﺮاﺳﺨﺔ ﻣﻨﺬ‬ ‫اﻟﻘﺪم‪.‬‬ ‫وﻟﻌﻞ أوﺟﻪ اﻻﺧﺘﻼف ﺑني اﳌﺎﴈ واﻟﻮاﻗﻊ‬ ‫اﳌﻌﺎش‪ ،‬ﺗﺘﺠﲆ أﻛرث ﰲ ﺣﺠﻢ اﻟﺘﻜﺎﻟﻴﻒ‬ ‫واﻷدوات اﳌﺴﺘﺨﺪﻣﺔ ﰲ اﻟﺰﻓﺎف‪.‬‬ ‫»اﻟﺮزﻓﺔ« و»اﻟﺪان«‬ ‫وﺑﺎﻟﻨﺴﺒﺔ ﻟﺤﻔﻞ اﻟﺰﻓﺎف‪ ،‬ﻓﻼ ﻳﺰال ﻣﺤﺎﻓﻈﺎً‬ ‫ﻋﲆ ﻫﻴﺌﺘﻪ وﺻﻴﻐﺘﻪ ﻋﱪ اﻷﻫﺎزﻳﺞ‬ ‫واﳌامرﺳﺎت اﻟﺸﻌﺒﻴﺔ ﻣﺜﻞ »اﻟﺮزﻓﺔ«‬ ‫واﻷﻫﺎزﻳﺞ اﻟﺸﻌﺒﻴﺔ اﳌﻌﺮوﻓﺔ ﺑﺎﺳﻢ »اﻟﺪان«‪،‬‬ ‫واﻟﺘﻲ ارﺗﺒﻄﺖ ﺑﺎﻟﻌﺎدات اﻹﻣﺎراﺗﻴﺔ ﺧﻼل‬ ‫اﻷﻋﺮاس‪ ،‬وﻫﻲ ﺗﺘﻜﻮن ﻣﻦ رﺟﺎل وﻧﺴﺎء‬ ‫ﻳﻨﺸﺪن ﰲ ﺗﻨﺎﻏﻢ ﺟﻤﻴﻞ وأﺻﻮات راﺋﻌﺔ ﻣﻊ‬ ‫اﺳﺘﺨﺪام آﻟﺔ اﻟﻄﺒﻞ‪.‬‬ ‫و»ﻓﻦ اﻟﺪان« ﻳﻌﺘﻤﺪ ﻋﲆ اﻷﻫﺎزﻳﺞ واﻷﻏﺎين‬ ‫اﻟﱰاﺛﻴﺔ اﻟﻘﺪميﺔ اﻟﺘﻲ ورﺛﻬﺎ اﻟﺠﻴﻞ اﻟﺤﺎﱄ‬ ‫ﻋﻦ اﻵﺑﺎء واﻷﺟﺪاد‪ ،‬وﻫﻮ ﻓﻦ ﻛﺎن ﻳﺴﺘﺨﺪم‬ ‫ﰲ اﻷﻋﺮاس ﺳﺎﺑﻘﺎً‪ ،‬ﺧﺎﺻﺔ ﻋﺎدات وﺗﻘﺎﻟﻴﺪ‬ ‫اﻷﻫﺎﱄ ﰲ ﻧﻘﻞ »زﻫﺒﺔ اﻟﻌﺮوس« إﱃ ﺑﻴﺖ‬ ‫اﳌﻌﺮس‪.‬‬ ‫و»اﻟﺪان« ﻓﻦ ﺷﻌﺒﻲ ﻗﺪﻳﻢ ﻋﺮف ﻣﻨﺬ ﻣﺌﺎت‬ ‫اﻟﺴﻨني ﰲ ﺳﻠﻄﻨﺔ ُﻋامن‪ ،‬ودوﻟﺔ اﻹﻣﺎرات‪،‬‬ ‫وأﺻﺒﺢ ﻳﺴﺘﺨﺪم ﰲ اﻷﻋﺮاس واﳌﻨﺎﺳﺒﺎت‬ ‫واﳌﻬﺮﺟﺎﻧﺎت ﰲ اﻹﻣﺎرات وﻛﺎﻓﺔ اﻟﺪول‬ ‫اﻟﺨﻠﻴﺠﻴﺔ‪.‬‬ ‫وﺗﺘﻜﻮن ﻓﺮﻗﺔ »ﻓﻦ اﻟﺪان« ﻣﻦ ﻣﺠﻤﻮﻋﺔ‬ ‫ﻣﻦ اﻟﺮﺟﺎل واﻟﻨﺴﺎء ﻳﱰاوح ﻋﺪدﻫﻢ ﻣﺎ ﺑني‬

‫‪ 30‬إﱃ ‪ 50‬ﺷﺨﺼﺎً‪ ،‬ﻋﲆ ﺷﻜﻞ ﻣﺠﻤﻮﻋﺘني‬ ‫ﻛﻞ ﻣﺠﻤﻮﻋﺔ ﰲ ﺻﻒ‪ ،‬واﻟﺒﻌﺾ ﻳﺪق ﻋﲆ‬ ‫اﻟﻄﺒﻮل ﺑﺈﻳﻘﺎﻋﺎت ﻣﻮﺣﺪة‪ ،‬وﻋﲆ رأس‬ ‫اﻟﺼﻔني ﻗﺎرع ﻃﺒﻞ اﻟﻜﺎﴎ ذي اﻹﻳﻘﺎع‬ ‫اﳌﺨﺘﻠﻒ ﻋﻦ ﺑﺎﻗﻲ اﻟﻄﺒﻮل‪ ،‬ﺑﻄﺮﻳﻘﺔ ﺗﻮﺟﻪ‬ ‫ﻛِﻼ اﳌﺠﻤﻮﻋﺘني وﺗﺤﺮﻛﻬﻢ أﺛﻨﺎء اﻟﺮﻗﺼﺎت‪،‬‬ ‫واﻻﺳﺘﻌﺮاﺿﺎت اﻟﺤﺮﻛﻴﺔ‪ ،‬واﻟﺘﻲ ﺗﻜﻮن ﻋﲆ‬ ‫اﻷﻫﺎزﻳﺞ اﻟﱰاﺛﻴﺔ واﻷﻏﺎين اﻟﻘﺪميﺔ‪ ،‬إﺿﺎﻓﺔ إﱃ‬ ‫ﺑﻌﺾ اﻷﺑﻴﺎت اﻟﺸﻌﺮﻳﺔ اﻟﺘﻲ ﺗﺘﺼﻒ ﺑﺎﳌﺪح‬ ‫واﻟﻔﺨﺮ واﳌﺤﺒﺔ‪ ،‬اﻟﺘﻲ ﻳﻘﻮﻟﻬﺎ ﺻﺎﺣﺐ اﻟﻄﺒﻞ‬ ‫اﻟﻜﺎﴎ وﺗﺮددﻫﺎ ﺑﺎﻗﻲ اﳌﺠﻤﻮﻋﺔ ﺑﺸﻜﻞ‬ ‫ﺟامﻋﻲ‪.‬‬

‫»ﻓﻦ اﻟﺪان« ﻳﻌﺘﻤﺪ ﻋﻠﻰ اﻷﻫﺎزﻳﺞ‬ ‫واﻷﻏﺎﻧﻲ اﻟﺘﺮاﺛﻴﺔ اﻟﻘﺪﻳﻤﺔ اﻟﺘﻲ ورﺛﻬﺎ‬ ‫اﻟﺠﻴﻞ اﻟﺤﺎﻟﻲ ﻋﻦ اﻵﺑﺎء واﻷﺟﺪاد‬ ‫ﺗﺘﻤﻴﺰ اﻷﻋﺮاس اﻹﻣﺎراﺗﻴﺔ اﻟﻘﺪﻳﻤﺔ‬ ‫ﺑﺮوﻧﻘﻬﺎ وﺗﻔﺎﺻﻴﻠﻬﺎ اﻟﺪﻗﻴﻘﺔ واﻟﻜﺜﻴﺮة‪،‬‬ ‫ﺣﻴﺚ ﺗﺒﺪأ اﻟﻄﻘﻮس ﻗﺒﻞ ﻳﻮم اﻟﻌﺮس‬ ‫ﺑﺄﻳﺎم ﻟﺘﻨﺘﻬﻲ ﺑﺼﺒﺎح »ﻳﻮم اﻟﻤﻜﺴﺎر«‬

‫ﺛﻮب »اﻟﻤﺨﻮر«‬ ‫أﻣﺎ ﻓﺴﺘﺎن اﻟﻌﺮوس ﻓﻘﺪ ﻃﺎﻟﻪ اﻟﺘﻄﻮر ﰲ‬ ‫اﳌﺠﺘﻤﻊ‪ ،‬إذ اﻧﺘﻘﻠﺖ اﻟﻌﺮوس ﻣﻦ ارﺗﺪاء‬ ‫اﻟﺜﻮب »اﳌﺨﻮر« واﻟﺤﲇ اﻟﻘﺪﻳﻢ ﻣﺜﻞ‬ ‫»اﳌﺮﺗﻌﺸﺔ« و»اﳌﺮﻳﺔ« و»اﻟﻜﻒ«‪ ،‬إﱃ‬ ‫اﻟﻔﺴﺘﺎن اﻟﻐﺮيب اﳌﻌﺎﴏ واﻷﳌﺎس وﻧﺤﻮ‬ ‫ذﻟﻚ ﻣﻦ اﳌﺼﻮﻏﺎت اﻟﺤﺪﻳﺜﺔ‪ ،‬إﱃ ﺟﺎﻧﺐ‬ ‫اﻻﺳﺘﻌﺪادات اﻷﺧﺮى اﻟﺘﻲ ﺑﺎﺗﺖ ﺗﻜﻠﻒ‬ ‫مثﻨﺎً ﺑﺎﻫﻈﺎً ﻳﺮﻫﻖ ﻛﺎﻫﻞ اﻟﺰوج وأﻫﻞ‬ ‫اﻟﻌﺮوس ﻣﻌﺎً‪ ،‬ﻣﻨﻬﺎ ﻗﺼﺎت اﻟﺸﻌﺮ اﳌﺮﺗﻔﻌﺔ‬ ‫ﰲ أﺳﻌﺎرﻫﺎ‪ ،‬واﻷزﻳﺎء اﳌﻌﺎﴏة اﻟﺘﻲ ﺗﻘﺘﻨﻴﻬﺎ‬ ‫اﻟﺰوﺟﺔ ﻟﺤﻴﺎﺗﻬﺎ اﻟﺠﺪﻳﺪة‪.‬‬ ‫وﺗﻌﺘﱪ ﻗﺎمئﺔ ﺟﻬﺎز اﻟﻌﺮوس ﻃﻮﻳﻠﺔ‪ ،‬وﺗﺤﺘﻮي‬ ‫ﻋﲆ اﻟﻜﺜري ﻣﻦ اﻷﻏﺮاض وﻣﺴﺘﺤﴬات‬ ‫اﻟﺘﺠﻤﻴﻞ واﳌﻼﺑﺲ اﻟﺘﻲ ﺗﺤﺘﺎﺟﻬﺎ اﻟﻌﺮوس‬ ‫ﺑﻌﺪ اﻻﻧﺘﻘﺎل إﱃ ﻣﻨﺰﻟﻬﺎ‪ ،‬ﻟﺘﺒﺪأ ﺣﻴﺎﺗﻬﺎ‬ ‫اﻟﺠﺪﻳﺪة‪.‬‬ ‫وﻗﺪ ﺗﻮارﺛﺖ اﻟﻌﺎﺋﻼت ﺗﻘﺎﻟﻴﺪ اﻟﺰﻓﺎف ﻣﻨﺬ‬ ‫زﻣﻦ اﻟﺒﺎدﻳﺔ وﺣﺘﻰ اﻟﻴﻮم‪ ،‬إذ ﻛﺎن ﻳﻌﺘﱪ‬ ‫اﻟﺰواج أﺣﺪ أﻫﻢ ﻣﻨﺎﺳﺒﺔ ميﺮ ﺑﻬﺎ »اﻟﻔﺮﻳﺞ«‬ ‫وﻳﺤﺘﻔﻞ ﺑﻬﺎ ﺟﻤﻴﻊ ﺳﻜﺎﻧﻪ ﻣﻦ رﺟﺎل وﻧﺴﺎء‬ ‫وﺻﻐﺎر‪.‬‬ ‫اﻟﺘﻘﺪم ﻟﻠﺰواج‬ ‫وﻣﻦ ﻋﺎدات اﻟﺘﻘﺪم ﻟﻠﺰواج ﻣﻦ ﻓﺘﺎة ﻣﺎ‬ ‫ﻗﺪميﺎً‪ ،‬أن ﻳﺘﻮﺟﻪ واﻟﺪ اﻟﻔﺘﻰ إﱃ واﻟﺪ اﻟﻔﺘﺎة‬ ‫ﻟﻴﺨﻄﺐ ﻳﺪ اﺑﻨﺘﻪ ﻟﻮﻟﺪه‪ ،‬ﻓﺎﻟﻔﺘﺎة اﻟﺘﻲ ﻳﺮاﻫﺎ‬ ‫اﻷب ﺻﺎﻟﺤﺔ ﻻﺑﻨﻪ زوﺟﻬﺎ ﻟﻪ‪ ،‬واﻟﺮﺟﻞ اﻟﺬي‬ ‫ﻳﺮى اﻟﻔﺘﻰ ﺻﺎﻟﺤﺎ ﻻﺑﻨﺘﻪ زوﺟﻪ ﻟﻬﺎ رﺿﻴﺖ‬

‫أم أﺑﺖ‪ ،‬ﻓﺎﻟﻔﺘﺎه ﻟﻴﺲ ﻟﻬﺎ ﺣﻖ اﻻﻋﱰاض‬ ‫وﻻ ﺗﺴﺘﺸﺎر أﺑﺪاً‪ ،‬ﻓﺮأﻳﻬﺎ ﻋﻨﺪ أﺑﻴﻬﺎ اﻟﺬي‬ ‫ميﻠﻚ زﻣﺎﻣﻬﺎ دامئﺎً‪ .‬وأﺣﻴﺎﻧﺎً ﻳﻘﻮم أﻫﻞ اﻟﻔﺘﻰ‬ ‫ﺑﺈرﺳﺎل اﻣﺮأة ذات ﻋﻘﻞ وﻓﻜﺮ وﻟﺒﺎﻗﺔ ﰲ‬ ‫اﻟﺤﺪﻳﺚ إﱃ أﻫﻞ اﻟﻌﺮوس‪ ،‬ﻓﺘﺬﻫﺐ ﻟﻬﻢ ﰲ‬ ‫زﻳﺎرة ودﻳﺔ ﺗﻘﺼﺪ ﻣﻦ وراﺋﻬﺎ اﻟﺘﻌﺮف ﻋﲆ‬ ‫ﻳﻮﻧﻴﻮ ‪93 2018 /‬‬

‫ﻣﻦ اﻟﻤﺎﺿﻲ‬ ‫‪baytelshear‬‬

‫ﻋﺎدات إﻣﺎراﺗﻴﺔ ﻣﺘﻮارﺛﺔ ﻋﺒﺮ اﻟﺰﻣﻦ‬

‫»زﻫﺒﺔ اﻟﻌﺮوس« وﺗﻘﺎﻟﻴﺪ اﻟﻌﺮس )‪(1‬‬ ‫ﻣﺤﻤﺪ ﺳﻠﻄﺎن‬

‫ﻣﺤﻤﻮﻟﺔ ﻋﲆ اﻷﻛﺘﺎف ﻣﻦ ﻗﺒﻞ أﻫﻞ‬ ‫اﻟﻌﺮﻳﺲ واﻟﺠريان ﰲ ﻣﺴرية ﻛﺮﻧﻔﺎﻟﻴﺔ‬ ‫ﻣﺒﻬﺠﺔ‪ ،‬مبﺸﺎرﻛﺔ أﻫﺎﱄ اﻟﺤﻲ ﺑﺄﻛﻤﻠﻪ‪ ،‬ﻟﻴﺒﺪأ‬ ‫ﻋﺮﺿﻪ ﰲ ﺳﺎﺣﺔ ﺑﻴﺖ اﻟﻌﺮوس ﺑﺎﺳﺘﻌﺮاض ﻣﺎ‬ ‫ﺟﺎد ﺑﻪ ﻛﺮم اﻟﻌﺮﻳﺲ ﻟﺘﻘﻮم إﺣﺪى اﻟﻨﺴﺎء‬ ‫اﳌﻌﺮوﻓﺎت ﺑﻌﺮض ﺗﻠﻚ اﻟﺰﻫﺒﺔ »أﻏﺮاض‬ ‫اﻟﻌﺮوس« ﻋﲆ اﻟﺤﺎﴐﻳﻦ‪ ،‬ﰲ ﺟﻮ ﻣﻦ اﻟﻔﺮح‬ ‫ﻣﻤﺰوج ﺑﺄﻫﺎزﻳﺞ وﺳﻌﺎدة اﻟﺠﻤﻴﻊ‪ .‬وﺗﺘﻜﻮن‬ ‫»اﻟﺰﻫﺒﺔ« ﻣﻦ ﺛﻴﺎب اﻟﻌﺮوس واﻟﻌﻄﻮر‬ ‫واﻟﻬﺪاﻳﺎ اﻟﺘﻲ ﺗﻘﺪم ﻷﻫﻞ اﻟﻌﺮوس‪ ،‬وﺑﻌﺾ‬ ‫أﻧﻮاع »اﻟﻜﻨﺪورة« اﻟﻨﺴﺎﺋﻴﺔ واﳌﺼﻨﻮﻋﺔ ﻣﻦ‬ ‫اﻟﺸﻴﻔﻮن اﻟﻨﺎﻋﻢ واﳌﻄﺮزة ﺑﺄﺷﻜﺎل وأﻟﻮان‬ ‫زاﻫﻴﺔ‪.‬‬

‫ﻫﻨﺎك ﻋﺎدات وﺗﻘﺎﻟﻴﺪ إﻣﺎراﺗﻴﺔ ﻣﺘﻮارﺛﺔ ﻋﱪ‬ ‫اﻟﺰﻣﻦ‪ ،‬ﺗﺮﺗﺒﻂ ﺑﺘﺠﻬﻴﺰ اﻟﻌﺮوس وﻃﻘﻮس‬ ‫اﻟﺰواج‪ ،‬واﻟﺘﻲ ﻣﺎزال ﺑﻌﻀﻬﺎ ميﺎرس ﺣﺘﻰ‬ ‫اﻵن ﺑﺄﺷﻜﺎل ﻣﺨﺘﻠﻔﺔ‪ ،‬وﺗﺒﺪأ ﺑﺎﻟﺘﻌﺮف إﱃ‬ ‫أﻫﻢ أﻧﻮاع اﻟﺬﻫﺐ اﻹﻣﺎرايت اﻟﺬي ﻳﺘﻢ ﴍاؤه‬ ‫ﻟﻠﻌﺮوس اﻹﻣﺎراﺗﻴﺔ‪ ،‬واﻟﺘﻤﻴﻴﺰ ﺑني أﺷﻜﺎﻟﻪ‬ ‫وأﺣﺠﺎﻣﻪ وأﺳامﺋﻪ وﻣﺎ ميﺜﻠﻪ ﺑﺎﻟﻨﺴﺒﺔ ﻟﻠﻤﺮأة‬ ‫اﻹﻣﺎراﺗﻴﺔ‪ ،‬وﻣﻦ ﺗﺸﻜﻴﻼت اﻟﺬﻫﺐ اﻹﻣﺎرايت‬ ‫»اﳌﺮﺗﻌﺸﺔ واﳌﺮاري واﻟﺴﺘﻤﻲ واﻟﻄﺎﺳﺔ‬ ‫واﻟﻬﻴﺎد وﺑﻮﻗﻄني«‪ ،‬وﻏريﻫﺎ‪.‬‬ ‫ﺗﺘﻤﻴﺰ اﻷﻋﺮاس اﻹﻣﺎراﺗﻴﺔ اﻟﻘﺪميﺔ ﺑﺮوﻧﻘﻬﺎ‬ ‫وﺗﻔﺎﺻﻴﻠﻬﺎ اﻟﺪﻗﻴﻘﺔ واﻟﻜﺜرية‪ ،‬ﺣﻴﺚ ﺗﺒﺪأ‬ ‫اﻟﻄﻘﻮس ﻗﺒﻞ ﻳﻮم اﻟﻌﺮس ﺑﺄﻳﺎم ﻟﺘﻨﺘﻬﻲ »اﻟﻤﻨﺪوس«‬ ‫ﺑﺼﺒﺎح »ﻳﻮم اﳌﻜﺴﺎر«‪ ،‬وﻫﻮ ﻳﻮم اﺳﺘﻘﺒﺎل وﺗﻌﺪ »زﻫﺒﺔ اﻟﻌﺮوس« واﺣﺪة ﻣﻦ اﻟﺼﻮر‬ ‫»زﻫﺒﺔ اﻟﻌﺮوس«‪ ،‬وﻫﻮ ﻋﺒﺎرة ﻋﻦ ﺻﻨﺎدﻳﻖ اﻟﺘﻲ ﻻ ﺗﺰال إﱃ اﻟﻴﻮم ﻣﺎﺛﻠﺔ ﰲ ﻣﺮاﺳﻢ‬ ‫اﻟﺸﻌﺮ ‪ /‬اﻟﻌﺪد ‪68‬‬ ‫‪ 92‬ﺑﻴﺖ ِ‬

‫اﻟﺰﻓﺎف‪ ،‬وﻫﻲ ﻋﺒﺎرة ﻋﻦ ﻣﻮﻗﻒ ﻳﺴﺒﻖ ﺣﻔﻞ‬ ‫اﻟﺰواج‪ ،‬ﻳﺘﺤﺪد ﰲ زﻳﺎرة أﻫﻞ »اﳌﻌﺮس«‬ ‫ﻟﺒﻴﺖ أﻫﻞ اﻟﻌﺮوس‪ ،‬ﻣﺤﻤﻠني ﺑﺤﻘﺎﺋﺐ‬ ‫ﺗﻀﻢ اﳌﻼﺑﺲ واﻷزﻳﺎء اﻟﺨﺎﺻﺔ ﺑﺎﻟﻌﺮوس‪،‬‬ ‫إﱃ ﺟﺎﻧﺐ اﻟﺬﻫﺐ وﻣﺨﺘﻠﻒ أﻧﻮاع اﻟﻌﻄﻮر‪،‬‬ ‫واﳌﺴﺘﻠﺰﻣﺎت اﻷﺧﺮى اﳌﺘﻌﻠﻘﺔ ﺑﺰﻳﻨﺔ اﻟﻔﺘﺎة‪.‬‬ ‫وﰲ اﳌﺎﴈ‪ ،‬ﻛﺎﻧﻮا ﻳﻘﺪﻣﻮن ﻫﺬه اﻷدوات‬ ‫اﻟﺨﺎﺻﺔ ﺑﺎﻟﻔﺘﺎة ﻋﱪ »اﻟﺴﺤﺎرة« أو‬ ‫»اﳌﻨﺪوس«‪ ،‬وﻫﻮ ﺻﻨﺪوق ﻳﺤﺘﻮي ﻋﲆ‬ ‫ﺟﻤﻴﻊ ﻣﺎ ﺗﻬﺘﻢ ﺑﻪ اﻟﻌﺮوس ﻣﻦ ذﻫﺐ‬ ‫وﻣﻼﺑﺲ وﺣﲇ‪ ،‬إﱃ ﺟﺎﻧﺐ ﻣﻘﺘﻨﻴﺎت أﺧﺮى‬ ‫ﺗﺴﺘﺨﺪﻣﻬﺎ اﻟﺰوﺟﺔ ﰲ ﻗﻔﺺ ﺣﻴﺎﺗﻬﺎ اﻟﺬﻫﺒﻲ‪،‬‬ ‫ﻣﺜﻞ اﳌﺒﺨﺮة وأدوات أﺧﺮى ﺧﺎﺻﺔ ﺑﺎﻟﻄﻬﻲ‪،‬‬ ‫واﻟﻌﻄﻮر ﺑﺎﺧﺘﻼف رواﺋﺤﻬﺎ ﻣﺜﻞ‪» :‬دﻫﻦ‬ ‫اﻟﻌﻮد ودﻫﻦ اﻟﺰﻋﻔﺮان واﻟﻌﻨﱪ واﻟﺼﻨﺪل‬ ‫واﳌﺴﻚ واﳌﺨﻤﺮﻳﺔ«‪ .‬إﺿﺎﻓﺔ إﱃ اﻷﻗﻤﺸﺔ‬ ‫اﻟﺘﻲ ﺗﺤﻤﻞ أﺳامء ﻛﺜرية ﻣﻨﻬﺎ‪» ،‬اﻟﴩﺑﺖ‬

‫ﻣﻬﻤﺎ ﻗﻠﺖ ﻟﻚ‬ ‫ﻓﺘﺎة ﻧﺠﺪ‬ @fatat_najd

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‫ﻣﺎﺳﺎت‬ baytelshear

‫ﺷﻬﺮ اﻟﻬﺪاﻳﺔ‬ ‫ﻓﻬﺪ اﻟﻌﺪواﻧﻲ‬ @fahad3adwani

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68 ‫ اﻟﻌﺪد‬/ ‫اﻟﺸﻌﺮ‬ ِ ‫ ﺑﻴﺖ‬90

‫ﻣﻦ اﻟﻜﻌﻚ واﻟﺨﺒﺰ‪ ،‬ﻣﺜﻞ اﻟﻐﺮ ّﻳﺒﺔ واﻟﺒﻴﺘﻲ ﺑﻌﻀﻬﺎ اﻟﺒﻌﺾ وﻣﺨﻠﻮﻃﺔ ﺑﺎﻟﺒﻴﺾ واﻟﺪﻫﻦ‬ ‫ﻓﻮر واﻟﺴﺎﺑﻠﻴﻪ واﻟﺴﻮﻳﴪول ﺑﻜﻤﻴﺎت واﻓﺮة اﻟﺒﻠﺪي واﻟﻌﺴﻞ اﻟﻄﺒﻴﻌﻲ‪.‬‬ ‫ﺗﻜﻔﻲ ﻹﻛﺮام اﻟﺰاﺋﺮﻳﻦ اﻟﺬﻳﻦ ﻳﺘﻮاﻓﺪون‬ ‫ﺑﻌﺪ ﺻﻼة اﻟﻌﻴﺪ‪ ،‬اﻟﺘﻲ ﺗﺆدى ﰲ اﻟﺴﺎﺣﺎت اﻟﻌﻴﺪ ﻋﻨﻮان اﻟﺒﻬﺠﺔ ﻓﻲ اﻟﻌﺮاق‬ ‫ﻗﺮب اﳌﺴﺎﺟﺪ‪ ،‬إذ ﻳﺸﻬﺪﻫﺎ اﻟﺠﻤﻴﻊ‪ ،‬ﻳﺸﱰك اﻟﻌﺮاﻗﻴﻮن ﺑﺎﻟﻜﺜري ﻣﻦ ﻋﺎدات‬ ‫وﻳﺘﺒﺎدﻟﻮن اﻟﺘﻬﺎين‪ ،‬ﺛﻢ ﻳﺘﻮاﻓﺪ رﺟﺎل اﻟﺤﻲ وﺗﺤﻀريات ﻣﺘﺄﺻﻠﺔ ﻣﺜﻞ وﺿﻊ اﻟﺤﻨﺎء ﻋﲆ‬ ‫ﰲ ﻛﺜري ﻣﻦ اﻟﻘﺮى إﱃ ﻣﻨﺰل أﺣﺪ اﻟﻜﺒﺎر‪ ،‬أﻳﺪي اﻟﺒﻨﺎت واﻟﺴﻴﺪات‪ ،‬وﺗﺠﻬﻴﺰ اﳌﻼﺑﺲ‬ ‫ﺣﺎﻣﻠني إﻓﻄﺎرﻫﻢ‪ ،‬ﺛﻢ ﻳﺨﺮﺟﻮن ﺟامﻋﺎت اﻟﺠﺪﻳﺪة ﻟﻸﻃﻔﺎل‪ ،‬وﻃﻌﺎم اﻟﻌﻴﺪ ﺧﺎﺻﺔ‬ ‫ﻟﺰﻳﺎرة اﳌﺮﴇ وﻛﺒﺎر اﻟﺴﻦ وﻣﻌﻬﻢ اﻟﻨﺴﺎء اﻟﻠﻘﻴامت واﻟﺤﻠﻮﻳﺎت واﻟﻜﻠﻴﺠﺔ‪ ،‬وﻛﻤﻴﺎت‬ ‫واﻷﻃﻔﺎل‪ ،‬وﻳﻘﻀﻮن ﻧﻬﺎر اﻟﻴﻮم اﻷول ﰲ ﻣﻦ اﻟﻔﻮاﻛﻪ ﰲ اﳌﺠﺎﻟﺲ ﻻﺳﺘﻘﺒﺎل اﻟﻀﻴﻮف‪،‬‬ ‫اﻟﺰﻳﺎرات وﺗﻬﻨﺌﺔ اﻟﺠريان‪ ،‬وﺗﺴﺘﻤﺮ ﻫﺬه وﺧﺘﺎم اﳌﺴﻚ اﻟﻌﺼﺎﺋﺮ واﻟﻘﻬﻮة واﻟﺸﺎي‬ ‫اﻟﺰﻳﺎرات ﻃﻮال اﻷﻳﺎم اﻷوﱃ ﻣﻦ ﺷﻮال‪ ،‬واﳌﻜﴪات‪ .‬وﺑﻌﺪ اﻓﺘﺘﺎح اﻟﺮﺟﺎل ﻳﻮم اﻟﻌﻴﺪ‬ ‫وﺗﻨﻈﻢ اﻟﺮﺣﻼت اﻟﻌﺎﺋﻠﻴﺔ واﻟﺸﺒﺎﺑﻴﺔ‪ ،‬وﻳﻘﴤ ﺑﺄداء اﻟﺼﻼة ﰲ اﳌﺴﺎﺟﺪ واﻷﻣﺎﻛﻦ اﳌﻔﺘﻮﺣﺔ‪،‬‬ ‫وﻫﻢ ﻋﲆ ﻛﺎﻣﻞ زﻳﻨﺘﻬﻢ ﻣﻦ اﳌﻼﺑﺲ‬ ‫اﻟﺠﻤﻴﻊ أوﻗﺎﺗﻬﻢ ﻋﲆ ﺿﻔﺎف ﻧﻬﺮ اﻟﻨﻴﻞ‪.‬‬ ‫اﻟﺠﺪﻳﺪة‪ ،‬ﻳﺘﺒﺎدﻟﻮن اﻟﺘﻬﺎين واﻟﺘﱪﻳﻚ وإﻋﻄﺎء‬ ‫»اﻟﻌﻴﺪﻳﺔ« ﻟﻠﺼﻐﺎر‪ ،‬ﺛﻢ ﺗﻄﺮق أﺑﻮاب اﻟﻐﺎﺋﺒني‬ ‫اﻟ‪$‬ﻴﻤﻦ ﺣﺮق اﻟﺤﻄﺐ‬ ‫ﺗﺒﺪأ إﺣﺘﻔﺎﻻت اﻟﻴﻤﻨﻴني ﺑﺎﻟﻌﻴﺪ ﻣﻦ اﻟﻌﴩ اﳌﺮﴇ ﳌﻌﺎﻳﺪﺗﻬﻢ وﺗﻔﻘﺪ أﺣﻮاﻟﻬﻢ‪ .‬اﻷﻃﻔﺎل‬ ‫اﻷواﺧﺮ ﻣﻦ رﻣﻀﺎن‪ ،‬وﻣﻦ أﻏﺮب اﻟﻌﺎدات ﻟﻬﻢ ﻃﺮﻳﻘﺘﻬﻢ اﻟﺨﺎﺻﺔ ﺑﺈﺣﻴﺎء ﻃﻘﻮس اﻟﻌﻴﺪ‬ ‫واﻟﺘﻘﺎﻟﻴﺪ اﻟﺘﻲ متﻴﺰﻫﻢ ﻫﻲ ﺟﻤﻊ اﻟﺤﻄﺐ ﺣﻴﺚ ﻳﺒﺪؤون ﺑﻄﺮق أﺑﻮاب اﻟﺠريان واﻟﺴري‬ ‫ووﺿﻌﺔ ﻋﲆ ﻫﻴﺌﺔ أﻛﻮام ﻋﺎﻟﻴﺔ‪ ،‬ﻟﻴﺘﻢ ﺣﺮﻗﻬﺎ ﰲ أزﻗﺔ اﻟﺤﻲ اﻟﺴﻜﻨﻲ مبﻼﺑﺴﻬﻢ اﻟﺠﺪﻳﺪة‬ ‫ﺟﻤﻴﻌﺎً ﻟﻴﻠﺔ اﻟﻌﻴﺪ وﺗﻜﻮن ﻫﺬه اﻟﻌﺎدة وﺗﺮدﻳﺪﻫﻢ ﻟﻠﻜﺒﺎر ﺑﻨﱪة اﻟﱪاءة )ﻋﻴﺪﻛﻢ‬ ‫ﺗﻌﺒرياً ﻋﻦ ﺣﺰﻧﻬﻢ ﻋﲆ ﻣﻔﺎرﻗﺔ رﻣﻀﺎن ﻣﺒﺎرك(‪ ،‬ﻣﻼزﻣني اﳌﻜﺎن ﻻﻳﺒﺎرﺣﻮه ﺣﺘﻰ متﻸ‬ ‫وﻻﺳﺘﻘﺒﺎل اﻟﻌﻴﺪ‪ ،‬ﰲ ﺣني ﻳﻘﻮم أﻫﻞ اﻟﻘﺮى‬ ‫ﺑﻨﺤﺮ اﻟﺬﺑﺎﺋﺢ وﺗﻮزﻳﻊ ﻟﺤﻮﻣﻬﺎ ﻋﲆ اﻟﺠريان‬ ‫واﻷﺻﺪﻗﺎء‪ ،‬ﻛام أﻧﻬﻢ ﻳﻘﻴﻤﻮن ﺑﺪاﺧﻞ‬ ‫ﻣﺠﺎﻟﺲ ﻃﻴﻠﺔ أﻳﺎم اﻟﻌﻴﺪ ﻟﺘﺒﺎدل اﻟﺤﻜﺎوي‪،‬‬ ‫وإﻗﺎﻣﺔ اﻟﺮﻗﺼﺎت اﻟﺸﻌﺒﻴﺔ‪ ،‬واﻟﺪﺑﻜﺎت‪.‬‬ ‫ﻋﲆ ﺻﻌﻴﺪ آﺧﺮ‪ ،‬ﻳﻘﴤ أﻫﺎﱄ اﳌﺪن اﻟﻌﻴﺪ‬ ‫ﺑﺘﺒﺎدل اﻟﺰﻳﺎرات اﻟﻌﺎﺋﻠﻴﺔ‪ ،‬وﺗﻘﺪﻳﻢ اﻟﻌﻴﺪﻳﺔ‬ ‫ﻟﻸﻃﻔﺎل‪ ،‬وأﻳﻀﺎً ﻣﻦ اﻟﻌﺎدات اﻟﺘﻲ متﻴﺰ‬ ‫اﻟﻴﻤﻨﻴني‪ ،‬ﺟﺎﺋﺰة ﻳﺠﻌﻠﻬﺎ اﳌﺠﺘﻤﻊ اﻟﻴﻤﻨﻲ ﻋﻦ‬ ‫»ﺟ َﻌﺎﻟﺔ‬ ‫ﺻﻴﺎم رﻣﻀﺎن ﺗﻌﺮف ﻣﺤﻠﻴﺎً ﺑﺎﺳﻢ َ‬ ‫اﻟﻌﻴﺪ«‪ ،‬وﻫﻲ ﻣﺎزاﻟﺖ ﻋﻼﻣﺔ ﻻزﻣﺔ ﻟﻠﻤﻨﺎزل‬ ‫ﰲ اﻟﻴﻤﻦ وﺑﻬﺎ وﺣﺪﻫﺎ ُﻳﻘﺎﺑﻞ اﻟﺰاﺋﺮ أول ﻣﺎ‬ ‫ﻳﻘﺎﺑﻞ ﻫﺬه اﻷﻳﺎم‪ .‬أﻣﺎ ﻋﻦ أﺷﻬﺮ اﻷﻛﻼت‬ ‫اﻟﺨﺎﺻﺔ ﺑﻬﻢ واﻟﺘﻲ ﻻ ﻳﻜﺎد ﺑﻴﺖ ﻳﺨﻠﻮ ﻣﻨﻬﺎ‬ ‫»اﻟﺴﻠﺘﺔ« وﺗﺘﺄﻟﻒ ﻣﻦ اﻟﺤﻠﺒﺔ اﳌﺪﻗﻮﻗﺔ‬ ‫ﻓﻬﻲ ﱠ‬ ‫وﻗﻄﻊ اﻟﺒﻄﺎﻃﺎ اﳌﻄﺒﻮﺧﺔ ﻣﻊ ﻗﻠﻴﻞ ﻣﻦ اﻟﻠﺤﻢ‬ ‫واﻷرز واﻟﺒﻴﺾ‪ ،‬وﺗﺤﺮص اﻟﻨﺴﻮة اﻟﻴﻤﻨﻴﺎت‬ ‫ﻋﲆ ﺗﻘﺪﻳﻢ أﺻﻨﺎف ﻣﻦ اﻟﻄﻌﺎم ﻟﻠﻀﻴﻮف ﰲ‬ ‫اﻟﺴﺒﺎﻳﺔ‪ ،‬وﻫﻲ‬ ‫اﻟﻌﻴﺪ‪ ،‬وﻣﻨﻬﺎ‪ :‬ﺑﻨﺖ ّ‬ ‫اﻟﺼﺤﻦ أو ّ‬ ‫ﻋﺒﺎرة ﻋﻦ رﻗﺎﺋﻖ ﻣﻦ اﻟﻔﻄري ﻣﺘامﺳﻜﺔ ﻣﻊ‬

‫أﻳﺎدﻳﻬﻢ مبﺎ ﻟﺬ وﻃﺎﻟﺐ‪ ،‬ﻟﺘﺒﺪأ ﻟﺬة ﻋﻴﺪﻫﻢ‬ ‫اﻟﺤﻘﻴﻘﻴﺔ ﺑﺎﻟﺴﻌﻲ رﻛﻀﺎً اﱃ اﳌﺘﻨﺰﻫﺎت‬ ‫واﻻرﺟﻮﺣﺎت ودواﻟﻴﺐ اﻟﻬﻮاء‪ ،‬وﴍاء‬ ‫اﻟﻔﺮارات‪ ،‬واﻟﺮﻛﻮب ﻋﲆ اﻟﺨﻴﻞ واﻟﺤﻤري‪،‬‬ ‫وﺣﺪﻳﺜﺎ ﻋﺠﻼت اﻟﻨﻘﻞ )اﻟﺴﺘﻮﺗﺎت(‪ ،‬وﻫﻢ‬ ‫ﻳﺮددون أﻫﺎزﻳﺞ واﻷﻧﺸﻮدات اﻟﺸﻌﺒﻴﺔ‬ ‫اﻟﺨﺎﺻﺔ‪ ،‬ﺑﻌﺪﻣﺎ ﻛﺎﻧﺖ اﻷﻟﻌﺎب أراﺟﻴﺢ‬ ‫ﺑﺴﻴﻄﺔ ﻋﲆ ﺟﺬوع اﻷﺷﺠﺎر وﻋﺮﺑﺎت ﺗﺠﺮﻫﺎ‬ ‫اﻟﺨﻴﻮل‪.‬‬ ‫وﺑني اﻟﺮﺟﺎل واﻷﻃﻔﺎل‪ ،‬ﻳﻘﺮع اﳌﺴﺤﺮايت‬ ‫)اﺑﻮ ﻃﺒﻴﻠﺔ(‪ ،‬وﻫﻮ ﻳﺠﻮب اﻟﺸﻮارع واﻷﺣﻴﺎء‪،‬‬ ‫إﻋﻼﻧﺎ ﺑﻴﻮم اﻟﻌﻴﺪ‪ ،‬ﺗﻮاﻛﺒﻪ اﻷﻃﻔﺎل‪ ،‬ﻟﻴﻮﰲ‬ ‫ﺣﻘﻪ‪ ،‬وﻳﺄﺧﺬ ﻋﻴﺪﻳﺘﻪ واﻟﺤﻠﻮﻳﺎت ﻣﻦ‬ ‫اﻷﻫﺎﱄ‪ ،‬ﺗﺜﻤﻴﻨﺎً ووﻓﺎ ًء ﻹﻳﻘﺎﻇﻬﻢ وﻗﺖ‬ ‫اﻟﺴﺤﻮر ﰲ ﻟﻴﺎﱄ ﺷﻬﺮ رﻣﻀﺎن اﻟﻜﺮﻳﻢ‪.‬‬ ‫وﻟﻠﻌﻴﺪ ﺣﻠﻮﻳﺎت وﻓﻴام ﻳﻨﻔﺮد أﻫﻞ اﻟﺒﴫة‬ ‫ﺑﻮﺟﺒﺔ )اﳌﺼﻤﻮﻃﺔ( وﻫﻲ ﺳﻤﻚ ﻣﺠﻔﻒ‬ ‫ﻣﻤﻠﺢ‪ ،‬ﺗﺤﺮص اﻟﻌﻮاﺋﻞ اﻟﻌﺮاﻗﻴﺔ ﺑﺈﻋﺪاد‬ ‫ﺻﻨﻊ )اﻟﻜﻠﻴﺠﺔ( وﻫﻲ ﻧﻮع ﻣﻦ اﳌﻌﺠﻨﺎت‬ ‫اﳌﺤﺸﻮة ﺑﺎﻟﺘﻤﺮ‪ ،‬ﺣﻴﺚ ﺗﺠﺘﻤﻊ اﻟﻨﺴﺎء ﰲ‬ ‫ﻟﻴﻠﺔ اﻟﻌﻴﺪ ﻹﻋﺪادﻫﺎ‪ ،‬إذ أﻧﻬﺎ ﺣﻠﻮﻳﺎت اﻟﻌﻴﺪ‬ ‫اﻷﺳﺎﺳﻴﺔ‪.‬‬

‫ﻳﻮﻧﻴﻮ ‪89 2018 /‬‬

‫ﻣﻮروﺛ‪SSSSS‬ﺎت‬ ‫‪baytelshear‬‬

‫ﻓﺴﻴﺢ ﺗﻈﻠﻠﻪ اﻷﺷﺠﺎر اﻟﻌﺎﻟﻴﺔ ﻟﻴﻮاﺻﻠﻮا وﻗﺖ اﻟﻐﺪاء‪ ،‬ﻓﺄﻏﻠﺐ اﳌﻐﺎرﺑﺔ ﻳﻔﻀﻠﻮن‬ ‫ً‬ ‫اﺣﺘﻔﺎﻻ ﺑﺎﻟﻌﻴﺪ‪.‬‬ ‫ﻏﻨﺎءﻫﻢ ﺣﺘﻰ وﻗﺖ اﻟﻈﻬﺮ‪ ،‬ﺛﻢ ﻳﺬﻫﺒﻮن إﱃ ﺗﺤﻀري »اﻟﺒﺴﻄﻴﻠﺔ«‬ ‫ﻣﻨﺎزﻟﻬﻢ ﻟﻠﺮاﺣﺔ أو زﻳﺎرة اﻷﻗﺎرب واﻷﺻﺪﻗﺎء‪.‬‬ ‫ﻓﻠﺴ‪$$$‬ﻄﻴﻦ واﻷﻏﺎﻧﻲ‬ ‫ﻳﺆدي أﻫﻞ ﻓﻠﺴﻄني ﺻﻼة اﻟﻌﻴﺪ ﰲ اﳌﺴﺠﺪ‬ ‫اﻟﻤﻐﺮب واﻟﺠﻠﺒﺎب اﻷﺑﻴﺾ‬ ‫مبﺠﺮد ﺳامع ﺧﱪ ﺗﺤﺪﻳﺪ ﻳﻮم اﻟﻌﻴﺪ ﻋﲆ اﻷﻗﴡ اﻟﴩﻳﻒ‪ ،‬وﺗﺴﺘﻌﺪ اﻟﻨﺴﻮة ﺑﻌﻤﻞ‬ ‫اﻟﻘﻨﻮات اﳌﻐﺮﺑﻴﺔ‪ ،‬ﻳﺠﻮل »اﻟﻨﻔﺎر« أو اﻟﺤﻠﻮﻳﺎت اﻟﺸﻌﺒﻴﺔ ﻣام ﺗﻘﺪﻣﻪ اﻟﻌﻮاﺋﻞ ﰲ‬ ‫»اﳌﺴﺤﺮايت« ﰲ ﻛﻞ اﻷزﻗﺔ ﻃﺎﻟﺒﺎً زﻛﺎة اﻟﻔﻄﺮ‪ .‬ﻓﻠﺴﻄني اﳌﺤﺘﻠﺔ اﻟﱪازق واﻟﻨﻘﻮع‪ ،‬وﻫﻲ‬ ‫وﻳﺒﺪأ اﻟﻴﻮم ﻋﻨﺪ أﻫﻞ اﳌﻐﺮب ﺑﺄداء ﺻﻼة ﺑﺬور ﻟﻬﺎ راﺋﺤﺘﻬﺎ اﻟﺰﻛﻴﺔ‪ ،‬وﻫﻨﺎك أﻏﺎنٍ‬ ‫اﻟﻌﻴﺪ‪ ،‬وذﻟﻚ ﺑﺎرﺗﺪاء اﻟﺰي اﻟﺘﻘﻠﻴﺪي اﳌﻐﺮيب ﻳﺆدﻳﻬﺎ اﻷﻃﻔﺎل ﰲ اﻟﻴﻮم اﻷﺧري ﻣﻦ ﺷﻬﺮ‬ ‫»اﻟﺠﻠﺒﺎب اﻷﺑﻴﺾ« و»اﻟﺒﻠﻐﺔ«‪ ،‬وﺗﻘﻮم اﻟﻨﺴﺎء رﻣﻀﺎن‪ ،‬وأﺧﺮى ﺗﻐﻨﻰ أﻳﺎم ﻋﻴﺪ اﻟﻔﻄﺮ‬ ‫ﺑﻨﻘﺶ اﻟﺤﻨﺔ ﻋﲆ أﻳﺪﻳﻬﻦ وأرﺟﻠﻬﻦ ﺣﻴﺚ اﻟﺴﻌﻴﺪ‪ .‬وﰲ ﻗﻄﺎع ﻏﺰة وﺗﺤﺪﻳﺪاً ﰲ اﻷﻳﺎم‬ ‫ﻳﺮﺗﺒﻂ ﻧﻘﺶ اﻟﺤﻨﺔ ﻋﻨﺪﻫﻦ ﺑﺎﳌﻨﺎﺳﺒﺎت اﻷﺧرية ﻣﻦ ﺷﻬﺮ رﻣﻀﺎن اﳌﺒﺎرك ﻳﺤﺮص‬ ‫اﻟﺴﻌﻴﺪة‪ .‬وﺗﺘﻮﺟﻪ رﺑﺎت اﻟﺒﻴﻮت إﱃ اﳌﻄﺒﺦ اﻟﻔﻠﺴﻄﻴﻨﻴﻮن ﻋﲆ إﺣﻴﺎء ﻋﺎدات وﺗﻘﺎﻟﻴﺪ‬ ‫ﻵﺧﺮ ﺗﺤﻀريات اﻟﺤﻠﻮﻳﺎت أو ﻣﺎ ﻳﺴﻤﻴﻪ وﻃﻘﻮس ﺗﻮارﺛﻮﻫﺎ ﻣﻨﺬ اﻟﻘﺪم‪ ،‬ﻳﺴﺘﻘﺒﻠﻮن ﺑﻬﺎ‬ ‫اﻟﺒﻌﺾ »ﻓﻄﺎﺋﺮ اﻟﻌﻴﺪ«‪ ،‬اﻟﺘﻲ ﺗﺘﻨﺎول ﰲ أول أﻳﺎم ﻋﻴﺪ اﻟﻔﻄﺮ اﻟﺴﻌﻴﺪ‪ .‬ﻛﺼﻨﺎﻋﺔ اﻟﻜﻌﻚ‬ ‫ﺻﺒﺎح اﻟﻌﻴﺪ‪ ،‬ﻣﺜﻞ »اﳌﺴﻤﻦ« أو »اﻟﺒﻐﺮﻳﺮ«‪ ،‬وﴍاء اﻟﺤﻠﻮى واﳌﻜﴪات وﺑﻌﺾ اﻟﻔﻮاﻛﻪ‬ ‫وﺗﺠﻬﻴﺰ ﻣﻼﺑﺲ اﻟﻌﻴﺪ ﻟﻜﻞ أﻓﺮاد اﻟﻌﺎﺋﻠﺔ‪ .‬ﻟﺘﻘﺪميﻬﺎ ﻟﻀﻴﻮﻓﻬﻢ وأﻳﻀﺎً ﴍاء اﻷﺳامك‬ ‫وﺗﺴﻬﺮ اﻟﻨﺴﺎء ﻋﺎدة ﻋﲆ إﻋﺪاد ﻓﻄﺎﺋﺮ اﻟﻌﻴﺪ اﳌﻤﻠﺤﺔ ﺑﺄﻧﻮاﻋﻬﺎ وﻓﻘﺎً ﻷذواﻗﻬﻢ وﻋﲆ رأﺳﻬﺎ‬ ‫إﱃ وﻗﺖ ﻣﺘﺄﺧﺮ‪ ،‬أﻣﺎ ﻋﻦ اﳌﺄﻛﻮﻻت اﻟﺘﻲ »اﻟﻔﺴﻴﺦ ﻣﻦ اﻟﺒﻮري اﳌﺠﻔﻒ«‪ ،‬أو اﻟﺮﻧﺠﺔ‬ ‫ﺗﺤﴬ ﺧﻼل أﻳﺎم‪ ،‬ﻓﺘﺨﺘﻠﻒ ﻣﻦ ﻣﻨﻄﻘﺔ اﳌﺪﺧﻨﺔ أو اﻟﴪدﻳﻦ اﳌﻤﻠﺢ‪ ،‬ﺑﺎﻹﺿﺎﻓﺔ إﱃ‬ ‫ﻣﻐﺮﺑﻴﺔ ﻷﺧﺮى وأﺷﻬﺮﻫﺎ »اﻟﺘﻘﻠﻴﺔ«‪ ،‬وﻓﻴام ﴍاء ﻣﻮاد إﻋﺪاد ﻃﺒﻖ اﻟﺴامﻗﻴﺔ اﻟﺸﻬرياﻟﺬي‬ ‫ﻳﻌﺮف ﺑـ»ﻗﻀﺒﺎن اﻟﺸﻮاء« ﻓﻀ ًﻼ ﻋﻦ ﺗﻘﺪﻳﻢ ﺗﺠﺘﻤﻊ ﻋﻠﻴﻪ اﻟﻌﺎﺋﻠﺔ ﰲ ﻓﱰة اﻟﻐﺬاء ﺑﻌﺪ‬ ‫اﻟﺨﻄﻴﺒﺔ إﱃ ﺧﻄﻴﺒﻬﺎ اﻟﻔﻮاﻛﻪ اﳌﺠﻔﻔﺔ ﻣﺜﻞ زﻳﺎرة اﻷﻗﺎرب وﺻﻠﺔ اﻷرﺣﺎم‪.‬‬ ‫اﻟﻠﻮز واﻟﺘﻤﺮ‪ .‬وﻣﻦ ﺑني أﺷﻬﺮ اﻟﺤﻠﻮﻳﺎت‬ ‫اﳌﻐﺮﺑﻴﺔ اﻟﺘﻲ ﺗﻘﺪم ﰲ اﻟﻌﻴﺪ ﻫﻲ اﻟﺤﻠﻮﻳﺎت ﻣﺼﺮ واﻟﻌﻴﺪﻳﺔ‬ ‫اﳌﺼﻨﻮﻋﺔ ﺑﺎﻟﺘﻤﺮ‪ ،‬وﺣﻠﻮﻳﺎت »ﻛﻌﺐ اﻟﻐﺰال«‪ ،‬وﰲ ﻣﴫ‪ ،‬ﻳﺒﺪأ اﻻﺣﺘﻔﺎل ﺑﻌﻴﺪ اﻟﻔﻄﺮ‬ ‫وﺣﻠﻮﻳﺎت »اﻟﺰﻟﻴﺠﺔ« وﺣﻠﻮﻳﺎت »اﳌﺤﻨﺸﺔ«‪ ،‬ﺑـ»ﺻﻼة اﻟﻌﻴﺪ«‪ ،‬ﺣﻴﺚ ﺗﺬﻫﺐ اﻷﴎ ﻛﺒﺎرﻫﺎ‬ ‫وﻛﻠﻬﺎ ﺣﻠﻮﻳﺎت ﺗﻘﻠﻴﺪﻳﺔ ﻣﻐﺮﺑﻴﺔ‪ ،‬ﺗﻜﻮن ﻣﻊ ﺻﻐﺎرﻫﺎ إﱃ اﻷﻣﺎﻛﻦ اﳌﺠﻬﺰة ﻟﻠﺼﻼة‪،‬‬ ‫ﺣﺎﴐة »ﺑﻘﻮة« ﻋﲆ ﻣﺎﺋﺪة اﻟﻌﻴﺪ‪ .‬أﻣﺎ ﰲ ﻳﺮﺗﺪون ﻣﻼﺑﺲ ﺟﺪﻳﺪة زاﻫﻴﺔ‪ ،‬وﺑﻌﺪ اﻻﻧﺘﻬﺎء‬ ‫اﻟﺸﻌﺮ ‪ /‬اﻟﻌﺪد ‪68‬‬ ‫‪ 88‬ﺑﻴﺖ ِ‬

‫ﻣﻦ اﻟﺼﻼة ﻳﻬﻨﺌﻮن ﺑﻌﻀﻬﻢ اﻟﺒﻌﺾ وﺳﻂ‬ ‫ﺣﺎﻟﺔ ﻣﻦ اﻟﻔﺮﺣﺔ اﻟﻌﺎرﻣﺔ ﺑني ﺟﻤﻴﻊ اﻟﻨﺎس‪،‬‬ ‫ﺛﻢ ﺗﺄىت وﺟﺒﺔ اﻹﻓﻄﺎر اﻟﻌﺎﺋﻠﻴﺔ ﺣﻴﺚ ﻳﺠﺘﻤﻊ‬ ‫ﺟﻤﻴﻊ أﻓﺮاد اﻟﻌﺎﺋﻠﺔ ﻣﻊ ﺑﻌﻀﻬﺎ‪ ،‬ﻓﻴﺼﻄﺤﺐ‬ ‫اﻵﺑﺎء واﻷﻣﻬﺎت ﺻﻐﺎرﻫﻢ إﱃ ﺑﻴﺖ اﻟﺠﺪ‬ ‫واﻟﺠﺪة ﻟﻴﺘﻨﺎول اﻟﺠﻤﻴﻊ اﻹﻓﻄﺎر ﻫﻨﺎك ﺑﻌﺪ‬ ‫ﺷﻬﺮ ﻛﺎﻣﻞ ﻣﻦ اﻟﺼﻴﺎم‪ ،‬وﺑﻌﺪﻫﺎ ﻳﺨﺮج اﻟﻜﻞ‬ ‫ﻟﺰﻳﺎرة اﻷﻗﺎرب واﻷﺻﺪﻗﺎء ﻟﻠﺘﻬﻨﺌﺔ ﺑﺎﻟﻌﻴﺪ‪.‬‬ ‫وﺗﻨﺸﻐﻞ اﻟﺴﻴﺪات ﺑﺘﺤﻀري اﳌﺄﻛﻮﻻت ﻣﻦ‬ ‫ﻣﻌﺠﻮﻧﺎت وﺣﻠﻮﻳﺎت ﺧﺎﺻﺔ »ﻛﻌﻚ اﻟﻌﻴﺪ«‬ ‫اﻟﺬي ﺗﺤﺮص ﻋﲆ إﻋﺪاده ﺳﻴﺪات ﻣﴫ‬ ‫ﰲ اﻟﻌﴩ اﻷواﺧﺮ ﻣﻦ رﻣﻀﺎن‪ ،‬وﻫﻮ ﻳﻌﺘﱪ‬ ‫أﻫﻢ ﻣﺎ ﻳﻘﺪم ﺧﻼل اﻟﺰﻳﺎرات ﻓﻀ ًﻼ ﻋﻦ‬ ‫اﻷﻧﻮاع اﻷﺧﺮى ﻛﺎﻟﺮﻗﺎق و»اﻟﻔﺘﺔ« واﻟﻠﺤﻮم‪.‬‬ ‫وﺗﻌﺪ »اﻟﻌﻴﺪﻳﺔ« واﺣﺪة ﻣﻦ أﻫﻢ ﻃﻘﻮس‬ ‫وﻋﺎدات اﻻﺣﺘﻔﺎل ﺑﺎﻟﻌﻴﺪ ﰲ ﻣﴫ وأﻛرثﻫﺎ‬ ‫اﻧﺘﺸﺎرا ورﺳﻮﺧﺎً‪ ،‬وﻣﻦ ﻋﺎدات وﺗﻘﺎﻟﻴﺪ‬ ‫اﻟﻌﻴﺪﻳﺔ أﻧﻬﺎ ﺗﺨﺘﻠﻒ ﰲ اﻟﻘﻴﻤﺔ ﺣﺴﺐ‬ ‫اﻟﺴﻦ‪ ،‬وﻛﺜرياً ﻣﺎ ﻳﺤﺼﻞ اﻟﺼﻐﺎر ﻋﲆ اﻟﻌﻴﺪﻳﺔ‬ ‫ّ‬ ‫واﻟﻌامت‬ ‫ﻣﻦ اﻷﺑﻮﻳﻦ واﻟﺠﺪﻳﻦ واﻷﻋامم‬ ‫واﻷﺧﻮال واﻟﺨﺎﻻت‪ ،‬وﻣﻦ اﳌﻌﺘﺎد أن ﺗﻜﻮن‬ ‫ﻧﻘﻮد اﻟﻌﻴﺪﻳﺔ ﺟﺪﻳﺪة وزاﻫﻴﺔ‪ ،‬وﻛﺜرياً ﻣﺎ ﻳﺘﻢ‬ ‫اﻟﻜﺘﺎﺑﺔ ﻋﻠﻴﻬﺎ واﻻﺣﺘﻔﺎظ ﺑﻬﺎ ﻛﺘﺬﻛﺎر‪.‬‬ ‫اﻟﺴﻮدان وزﻳﺎرة اﻟﻤﺮﺿﻰ‬ ‫أﻣﺎ ﰱ اﻟﺴﻮدان ﻓﻴﺘﻢ اﻟﺘﺠﻬﻴﺰ ﻻﺳﺘﻘﺒﺎل‬ ‫اﻟﻌﻴﺪ ﰱ ﻣﻨﺘﺼﻒ ﺷﻬﺮ رﻣﻀﺎن اﳌﺒﺎرك‪،‬‬ ‫وﻳﻘﻮم اﻟﺒﻴﺖ ﻋﲆ ﻗﺪم وﺳﺎق ﻟﻼﺳﺘﻌﺪاد‬ ‫ﻟﻌﻴﺪ اﻟﻔﻄﺮ‪ ،‬وﻳﺘﻢ إﻋﺪاد أﺻﻨﺎف اﻟﺤﻠﻮى‬

‫اﻟﻌﻴﺪ ﻗﺒﻞ ﻗﺪوﻣﻪ‪ ،‬وﺗﻬﺘﻢ اﻷﴎة ﺑﴩاء‬ ‫ﺣﺎﺟﺎﺗﻬﺎ ﻣﻦ أﻟﺒﺴﺔ وأﻃﻌﻤﺔ وﻏريﻫﺎ‪ ،‬وﻣﻊ‬ ‫أول ﺳﺎﻋﺔ ﻣﻦ ﺻﺒﺎح اﻟﻌﻴﺪ ﻳﺠﺘﻤﻊ اﻟﻨﺎس‬ ‫ﻟﻠﺼﻼة‪ ،‬ﻋﲆ أن ﻳﻘﻮﻣﻮا ﺑﻌﺪﻫﺎ ﺑﺘﺒﺎدل‬ ‫اﻟﺘﻬﻨﺌﺔ ﰲ اﳌﺴﺠﺪ‪ ،‬وﺗﻘﺪﻳﻢ اﻟﺘﻬﺎين اﻟﺨﺎﺻﺔ‬ ‫ﻣﺜﻞ‪» :‬ﻛﻞ ﻋﺎم وأﻧﺘﻢ ﺑﺨري«‪ ،‬و»ﻋﺴﺎﻛﻢ ﻣﻦ‬ ‫ﻋﻮاده«‪ ،‬و»ﺗﻘﺒﻞ اﻟﻠﻪ ﻃﺎﻋﺘﻜﻢ«‪ ،‬وﻏريﻫﺎ‪.‬‬ ‫ﺛﻢ ﻳﺬﻫﺐ اﻟﻨﺎس إﱃ ﻣﻨﺎزﻟﻬﻢ اﺳﺘﻌﺪاداً‬ ‫ﻟﻠﺰﻳﺎرات اﻟﻌﺎﺋﻠﻴﺔ واﺳﺘﻘﺒﺎل اﻟﻀﻴﻮف ﻣﻦ‬ ‫اﻷﻫﻞ واﻷﻗﺎرب‪ ،‬وﻫﻨﺎك ﻋﺎدة ﻟﺪى ﻛﺜري‬ ‫ﻣﻦ اﻷﴎ اﻟﺴﻌﻮدﻳﺔ‪ ،‬ﺗﺘﻤﺜﻞ ﺑﺎﻻﺟﺘامﻋﺎت‬ ‫اﻟﺨﺎﺻﺔ ﰲ اﻻﺳﱰاﺣﺎت اﻟﺘﻲ ﺗﻘﻊ ﰲ اﳌﺪﻳﻨﺔ‬ ‫أو ﰲ أﻃﺮاﻓﻬﺎ‪ ،‬ﺣﻴﺚ ﻳﺘﻢ اﺳﺘﺌﺠﺎر اﺳﱰاﺣﺔ‬ ‫ﻳﺘﺠﻤﻊ ﻓﻴﻬﺎ أﻋﻀﺎء اﻷﴎة اﻟﻮاﺣﺪة اﻟﻜﺒرية‪،‬‬ ‫ﺗﻀﻢ اﻟﺠﺪ واﻷوﻻد واﻷﺣﻔﺎد‪ ،‬وﻫﻨﺎك ﺗﻘﺎم‬ ‫اﻟﺬﺑﺎﺋﺢ واﻟﻮﻻﺋﻢ‪ ،‬وﺗﻌﻘﺪ اﻟﺠﻠﺴﺎت اﻟﻌﺎﺋﻠﻴﺔ‬ ‫اﳌﻮﺳﻌﺔ‪.‬‬ ‫أﻣﺎ ﰲ اﻟﻜﻮﻳﺖ ﻓﺈن ﻣﻈﺎﻫﺮ اﻻﺣﺘﻔﺎل ﺑﺎﻟﻌﻴﺪ‬ ‫ﻗﺪ اﺧﺘﻠﻔﺖ ﰲ أﻳﺎﻣﻨﺎ اﻟﺤﺎﻟﻴﺔ ﻋﻨﻬﺎ ﰲ اﻟﺰﻣﻦ‬ ‫اﳌﺎﴈ ﻗﻠﻴ ًﻼ‪ ،‬ﺣﻴﺚ ﻛﺎن اﻻﺣﺘﻔﺎل ﺑﺎﻟﻌﻴﺪ‪،‬‬ ‫ﺳﻮاء ﻋﻴﺪ اﻷﺿﺤﻰ أو ﻋﻴﺪ اﻟﻔﻄﺮ‪ ،‬ميﺘﺪ ﻋﲆ‬ ‫ﻣﺪار ﺳﺒﻌﺔ أﻳﺎم ﻛﺎﻣﻠﺔ‪ .‬وﺣﺎﻟﻴﺎً ﻻزال ﺑﺎﻟﻄﺒﻊ‬ ‫ﻳﺤﺘﻔﻞ اﻟﺠﻤﻴﻊ‪ ،‬ﻓﻌﻘﺐ اﻟﺼﻼة ﻳﺠﺘﻤﻊ‬ ‫اﻟﺮﺟﺎل ﰲ اﳌﻘﻬﻰ أو )اﻟﺼﻔﺎ( ﻟﺘﺒﺎدل اﻟﺘﻬﻨﺌﺔ‬ ‫ومتﻀﻴﺔ أوﻗﺎت ﻃﻴﺒﺔ‪ ،‬ﺛﻢ ﻳﺘﻮﺟﻪ اﻟﺠﻤﻴﻊ‬ ‫أوﻻً إﱃ اﻻﺟﺘامع ﰲ اﻟﺒﻴﺖ اﻟﻜﺒري ﻟﺘﻼﻗﻲ‬ ‫أﻓﺮاد اﻟﻌﺎﺋﻠﺔ ﻟﻴﺘﺒﺎدﻟﻮا اﻟﺘﻬﻨﺌﺔ ﺑﺎﻟﻌﻴﺪ‪ ،‬وﻗﺪ‬ ‫متﴤ اﻟﻌﺎﺋﻠﺔ ﻣﺠﺘﻤﻌﺔ ﰲ ﻫﺬا اﻟﺒﻴﺖ ﻧﺤﻮ‬ ‫ﻧﺼﻒ اﻟﻨﻬﺎر‪ ،‬وﻗﺪ ميﺘﺪ ﺑﻬﻢ اﻷﻣﺮ إﱃ ﻋﴫ‬

‫اﻟﻴﻮم اﻷول ﻣﻦ اﻟﻌﻴﺪ‪ .‬وﻓﻴام ﻣﴣ اﻋﺘﺎد‬ ‫اﻟﺮﺟﺎل اﻟﺘﺠﻤﻊ ﰲ اﻟﺪﻳﻮان ﻟﺘﻨﺎول ﻏﺪاء‬ ‫اﻟﻌﻴﺪ‪ ،‬اﳌﻜﻮن ﻣﻦ اﻟﻠﺤﻢ واﻟﺤﺸﻮر واﻟﺨﺒﺰ‪،‬‬ ‫ﺗﻮﺿﻊ ﻋﲆ »ﺻﻴﻨﻴﺎت )أوانٍ (« ﻛﺒرية ﻟﻴﺠﺘﻤﻊ‬ ‫ﺣﻮﻟﻬﺎ ﺳﺘﺔ أو ﺳﺒﻌﺔ ﻣﻦ اﻟﺮﺟﺎل‪ .‬أﻣﺎ اﻟﺤﻠﻮى‬ ‫اﻟﻜﻮﻳﺘﻴﺔ اﻟﺨﺎﺻﺔ ﺑﺎﻟﻌﻴﺪ ﻓﻬﻲ ﺷﻌﺮ اﻟﺒﻨﺎت‪،‬‬ ‫وﻫﻲ ﺣﻠﻮى ﺧﺎﺻﺔ ﺗﺼﻨﻊ ﻋﲆ ﺷﻜﻞ اﻟﺸﻌﺮ‬ ‫اﻟﻄﻮﻳﻞ‪ ،‬وﻣﺎ ﺗﺰال ﻫﺬه اﻟﺤﻠﻮى ﺗﻘﺪم ﰲ‬ ‫اﻟﻌﻴﺪ ﻛام ﻛﺎن ﻳﻘﺪم ﻣﻌﻬﺎ ﰲ اﻟﻌﻴﺪ اﻟﻬﺮﻳﺲ‪،‬‬ ‫وﻫﻮ ﻧﻮع آﺧﺮ ﻣﻦ أﻧﻮاع ﺣﻠﻮى اﻟﻌﻴﺪ‪.‬‬ ‫وﻳﺘﺠﻤﻊ اﻟﺒﺤﺮﻳﻨﻴﻮن ﻳﻮم اﻟﻌﻴﺪ ﻣﻨﺬ اﻟﺼﺒﺎح‬ ‫ﻷداء ﺻﻼة اﻟﻌﻴﺪ‪ ،‬وﺑﻌﺪﻫﺎ ﻳﻘﻮﻣﻮن ﺑﺎﻟﺘﺼﺎﻓﺢ‬ ‫واﻟﺘﺰاور ﺑني ﺑﻌﻀﻬﻢ ﺑﻌﻀﺎ وﺳﻂ ﻣﻈﺎﻫﺮ‬ ‫اﻟﻔﺮﺣﺔ واﻟﺒﻬﺠﺔ اﻟﺘﻲ ﺗﻌﻢ ﻛﻞ ﻣﻜﺎن‪ ،‬ﺣﻴﺚ‬ ‫ﻳﺘﻠﻮن اﻟﻌﻴﺪ ﰲ اﳌﻤﻠﻜﺔ مبﻈﺎﻫﺮ ﺟﺬاﺑﺔ ﺗﺮﺗﺒﻂ‬ ‫ﺑﻘﻴﻢ أﺻﺎﻟﺔ اﳌﺎﴈ وﺗﺮاﺛﻪ اﻟﻌﺮﻳﻖ اﻟﺘﻲ‬ ‫ﺗﻨﻐﺮس ﰲ ﻋﻤﻖ اﳌﻮاﻃﻦ اﻟﺒﺤﺮﻳﻨﻲ‪ ،‬ووﺳﻂ‬ ‫ﻓﺮﺣﺔ اﻷﻃﻔﺎل اﻟﺬﻳﻦ ميﺮﺣﻮن وﻳﻠﻬﻮن ﻣﻊ‬ ‫أﻗﺮاﻧﻬﻢ ﰲ اﻟﺤﺪاﺋﻖ وﰲ اﳌﺠﻤﻌﺎت مبﻼﺑﺴﻬﻢ‬ ‫اﻟﺠﺪﻳﺪة ﺗﻐﻤﺮﻫﻢ اﻟﻔﺮﺣﺔ واﻟﺴﻌﺎدة‬ ‫واﻟﺤﺒﻮر‪ .‬وﻏﺎﻟﺒﺎ ﻣﺎ ﻳﺨﺼﺺ اﻟﻴﻮم اﻷول ﻣﻦ‬ ‫ﻋﻴﺪ اﻟﻔﻄﺮ ﻟﺰﻳﺎرة اﻷﻗﺎرب وﺗﻨﺎول وﺟﺒﺔ‬ ‫اﻟﻐﺪاء ﰲ »اﻟﺒﻴﺖ اﻟﻌﻮد« وﻫﻮ ﺑﻴﺖ اﻟﺠﺪ‬ ‫أو اﻷب إذ ﻳﺠﺘﻤﻊ ﺟﻤﻴﻊ أﻓﺮاد اﻟﻌﺎﺋﻠﺔ ﰲ‬ ‫ﻣﻨﺰل ﻛﺒري اﻟﻌﺎﺋﻠﺔ ﻟﻬﺬا اﻟﻐﺮض‪ ،‬ﻓﻴام ﺗﻘﺴﻢ‬ ‫ﺑﺎﻗﻲ أﻳﺎم اﻟﻌﻴﺪ ﻟﺰﻳﺎرة اﻷﺻﺪﻗﺎء واﺻﻄﺤﺎب‬ ‫اﻷﻃﻔﺎل إﱃ اﳌﺘﻨﺰﻫﺎت وﺻﺎﻻت اﻟﻠﻌﺐ‪.‬‬ ‫وﻣﻦ اﻟﻌﺎدات اﻟﱰاﺛﻴﺔ اﻟﺘﻲ ﻣﺎزاﻟﺖ متﺎرس‬ ‫ﰲ اﻟﺒﻌﺾ ﻣﻦ ﻗﺮى اﻟﺒﺤﺮﻳﻦ ﺗﺠﻤﻌﻬﻢ ﺑﻌﺪ‬

‫ﺻﻼة اﻟﻌﻴﺪ وزﻳﺎرة ﺟﻤﻴﻊ اﳌﻨﺎزل ﺑﺸﻜﻞ‬ ‫ﺟامﻋﻲ ﻓﻴام ﻳﻘﻮم أﺻﺤﺎب اﳌﻨﺎزل ﺑﺘﻘﺪﻳﻢ‬ ‫اﳌﺄﻛﻮﻻت واﻟﻌﺼﺎﺋﺮ أو ﻣﺎ ﻳﺴﻤﻰ ﰲ اﻟﺒﺤﺮﻳﻦ‬ ‫ﺑـ »اﻟﻘﺪوع« ﻟﻠﺰاﺋﺮﻳﻦ‪ ،‬وﻫﻮ ﺻﺤﻦ ﻛﺒري ﻳﻀﻢ‬ ‫أﻧﻮاﻋﺎ ﻛﺜرية ﻣﻦ اﻟﻔﻮاﻛﻪ واﻟﺤﻠﻮﻳﺎت‪ ،‬ﻳﺘﺼﺪر‬ ‫ﻣﺠﻠﺲ اﻟﻀﻴﻮف‪ ،‬ﺣﻴﺚ ﺗﻘﺪم ﻫﺬه اﻷﻧﻮاع‬ ‫ﻟﻴﺨﺘﺎر ﻣﻨﻬﺎ ﻣﺎ ﻳﺸﺎء ﻋﻨﺪﻣﺎ ﻳﺤﻞ ﺿﻴﻔﺎً ﻋﲆ‬ ‫أﺣﺪ اﻟﺒﻴﻮت‪ .‬ﻛام ﺗﻘﺪم اﻟﺤﻠﻮى اﻟﺒﺤﺮﻳﻨﻴﺔ‬ ‫اﻟﺸﻬرية ﻟﻠﻀﻴﻮف‪ ،‬وﻳﺠﺘﻤﻊ أﻓﺮاد اﻟﻌﺎﺋﻠﺔ ﻣﻊ‬ ‫أﻗﺎرﺑﻬﻢ ﻟﺘﻨﺎول ﻃﻌﺎم اﻟﻐﺪاء ﰲ ﺑﻴﺖ اﻟﻮاﻟﺪ‬ ‫ﰲ أول ﻳﻮم اﻟﻌﻴﺪ‪.‬‬ ‫وﰲ ﺳﻠﻄﻨﺔ ُﻋامن‪ ،‬ﻋﻨﺪﻣﺎ ﻳﻬﻞ ﻫﻼل ﺷﻬﺮ‬ ‫ﺷﻮال ﻣﻌﻠﻨﺎ ﺑﺬﻟﻚ ﻧﻬﺎﻳﺔ ﺷﻬﺮ رﻣﻀﺎن‬ ‫اﳌﺒﺎرك وﺑﺪاﻳﺔ اﻟﻌﻴﺪ اﻟﺴﻌﻴﺪ‪ ،‬ﺗﻌﻢ اﻟﻔﺮﺣﺔ‬ ‫اﻟﺠﻤﻴﻊ‪ ،‬وﺗﻄﻠﻖ ﻋﴩات ﻃﻠﻘﺎت اﻟﺬﺧرية‬ ‫ﻣﻦ اﻟﺒﻨﺎدق ﻣﻌﻠﻨﺔ ﺑﺬﻟﻚ رؤﻳﺔ ﻫﻼل اﻟﻌﻴﺪ‪،‬‬ ‫وﰲ ﺻﺒﺎح ﻳﻮﻣﻪ اﻷول ﻳﺘﻨﺎول اﻟﻨﺎس وﺟﺒﺔ‬ ‫إﻓﻄﺎرﻫﻢ اﻟﺼﺒﺎﺣﻴﺔ‪ ،‬وﻫﻲ اﻟﻮﺟﺒﺔ اﻷوﱃ‬ ‫ﻟﻠﻌﻴﺪ »اﻟﻌﺮﺳﻴﺔ«‪ ،‬اﻟﺘﻲ ﻃﺒﺨﺖ ﻣﻨﺬ اﻟﻠﻴﻞ‪،‬‬ ‫وﻫﻲ اﻟﻮﺟﺒﺔ اﳌﻔﻀﻠﺔ واﻟﺸﻬرية ﻟﺪى ﻋﺎﻣﺔ‬ ‫اﻟﻌامﻧﻴني‪ ،‬ﺛﻢ ﻳﺬﻫﺒﻮن ﻟﺘﺄدﻳﺔ ﺻﻼة اﻟﻌﻴﺪ‪.‬‬ ‫أﻣﺎ اﻷﻃﻔﺎل واﻟﻨﺴﺎء ﻓﻴﺒﻘﻮن ﰲ ﻣﻜﺎن‬ ‫»اﻟﻌﻴﻮد« ﻳﺸﺎرﻛﻮن أﺻﺪﻗﺎءﻫﻢ وأﻗﺮاﻧﻬﻢ‬ ‫اﻟﻔﺮﺣﺔ‪ ،‬وﻣﺎ ﻳﻨﺘﻬﻲ اﻟﻨﺎس ﻣﻦ اﻟﺼﻼة‬ ‫واﻻﺳﺘامع ﻟﻠﺨﻄﺒﺔ ﺣﺘﻰ ﻳﻘﻔﻠﻮا راﺟﻌني إﱃ‬ ‫ﻣﻨﺎزﻟﻬﻢ وﻫﻢ ﻳﺮددون اﻷﻫﺎزﻳﺞ واﻟﺮﻗﺼﺎت‬ ‫اﻟﺸﻌﺒﻴﺔ اﻟﺠﻤﻴﻠﺔ‪ .‬وﻋﻨﺪ اﻟﺮﺟﻮع‪ ،‬ﻋﺎدة ﻣﺎ‬ ‫ﻳﻐريون ﻣﺴﻠﻚ ﻃﺮﻳﻘﻬﻢ اﻟﺘﻲ أﺗﻮا ﻣﻨﻬﺎ‪،‬‬ ‫وﻣﻦ ﺛﻢ ﻳﺠﺘﻤﻌﻮن ﰲ وﺳﻂ اﻟﺤﺎرة ﰲ ﻣﻜﺎن‬ ‫ﻳﻮﻧﻴﻮ ‪87 2018 /‬‬

‫ﻣﻮروﺛ‪SSSSS‬ﺎت‬ ‫‪baytelshear‬‬

‫ﻋﻴﺪﻳﺔ ا&ﻃﻔﺎل واﻟﺤﻠﻮى أﻫﻢ ﻣﻈﺎﻫﺮﻫﺎ‬

‫ﻣﻮروﺛﺎت ﻋﻴﺪ اﻟﻔﻄﺮ اﻟﻤﺒﺎرك ﺑﻬﺠﺔ ﺗﻤ‪ .‬أرﻛﺎن اﻟﻮﻃﻦ اﻟﻌﺮﺑﻲ‬ ‫ﻣﺤﻤﺪ دروﻳﺶ‬

‫ميﺜﻞ ﻋﻴﺪ اﻟﻔﻄﺮ اﳌﺒﺎرك ﻗﻤﺔ ﻫﺮم اﻻﺣﺘﻔﺎﻻت‬ ‫اﻟﺪﻳﻨﻴﺔ ﰲ اﻟﻌﺎﳌني اﻟﻌﺮيب واﻹﺳﻼﻣﻲ ﻛﻮﻧﻪ‬ ‫ﻳﺄيت ﺑﻌﺪ ﺷﻬﺮ رﻣﻀﺎن اﻟﻔﻀﻴﻞ وﻧﺴامﺗﻪ‬ ‫وروﺣﺎﻧﻴﺎﺗﻪ‪ ،‬ﻓﺒﻌﺪ ﺻﻴﺎم ﺷﻬﺮ ﻃﻮﻳﻞ ﻳﻀﻔﻲ‬ ‫اﻟﻌﻴﺪ ﺑﻬﺠﺔ ﻋﲆ ﻗﻠﻮب اﻟﺼﻐﺎر واﻟﻜﺒﺎر ﰲ‬ ‫ﺷﺘﻰ أﻧﺤﺎء اﻟﻌﺎمل اﻟﻌﺮيب وﺗﺘﺠﲆ ﻣﻈﺎﻫﺮ‬ ‫اﻟﻔﺮح واﻻﻧﻄﻼق ﰲ اﻷﺟﻮاء ﺑﺪاﻳﺔ ﻣﻊ ﺻﻼة‬ ‫اﻟﻌﻴﺪ اﻟﺘﻲ ﻳﺘﺠﻤﻊ ﻓﻴﻬﺎ اﻟﺠﻤﻴﻊ رﺟﺎﻻً وﻧﺴﺎ ًء‬ ‫وأﻃﻔﺎﻻً وﺷﻴﻮﺧﺎً ﻣﺮﺗﺪﻳﻦ اﳌﻼﺑﺲ اﻟﺠﺪﻳﺪة‬ ‫وﻳﺘﺒﺎدﻟﻮن اﻟﺘﻬﺎين وﺗﻐﻤﺮﻫﻢ ﺳﻌﺎدة ﻛﺒرية‪،‬‬ ‫ﻟﺘﺒﺪأ ﺑﻌﺪﻫﺎ ﻣﻈﺎﻫﺮ اﻻﺣﺘﻔﺎل اﻟﺤﻘﻴﻘﻴﺔ‬ ‫وﻳﴤء اﻟﻌﻴﺪ ﺳامء اﻟﻮﻃﻦ اﻟﻌﺮيب ﻟﺜﻼﺛﺔ أﻳﺎم‬ ‫ﺗﻄﻐﻰ ﻋﻠﻴﻬﺎ ﻣﺨﺘﻠﻒ اﻟﻌﺎدات واﳌﻮروﺛﺎت‬ ‫اﻟﻘﺪميﺔ اﻟﺘﻲ رﺳﺨﺖ ﻟﻬﺬا اﻻﺣﺘﻔﺎل ﻣﻨﺬ‬ ‫ﻗﺮون ﻗﺪميﺔ وﺟﻌﻠﺘﻪ ﰲ ﻗﺎﻟﺐ ﻗﺪﻳﻢ ﻳﺘﻄﻮر‬ ‫ﻛﻞ ﻋﺎم ﺑﺎﺧﺘﻼف اﻷﺟﻴﺎل‪ ،‬ﻓﻤﻦ اﻟﻌﻴﺪﻳﺔ‬ ‫وزﻳﺎرة اﻷﻫﻞ وﺗﻨﺎول اﻟﺤﻠﻮى اﻟﺘﻘﻠﻴﺪﻳﺔ‪،‬‬ ‫ﺗﺒﻘﻰ اﺣﺘﻔﺎﻻت ﻋﻴﺪ اﻟﻔﻄﺮ اﳌﺒﺎرك اﻷﺑﻬﻰ‬ ‫ﻋﲆ اﻹﻃﻼق ﰲ ﺗﺎرﻳﺦ اﳌﻮروﺛﺎت اﻟﻘﺪميﺔ‪.‬‬ ‫ﻋﲆ اﻟﺮﻏﻢ ﻣﻦ ﺗﺸﺎﺑﻪ ﻣﻌﻈﻢ ﻣﻈﺎﻫﺮ‬ ‫اﻻﺣﺘﻔﺎﻻت ﺑﻌﻴﺪ اﻟﻔﻄﺮ ﰲ ﻣﺨﺘﻠﻒ أﻧﺤﺎء‬ ‫اﻟﻮﻃﻦ اﻟﻌﺮيب‪ ،‬إﻻ أن ﻟﻜﻞ ﺷﻌﺐ ﳌﺴﺘﻪ‬ ‫اﻟﺨﺎﺻﺔ اﻟﺘﻲ متﻴﺰه ﻋﻦ اﻵﺧﺮ‪ ،‬وﻫﻮ ﻣﺎ‬ ‫اﻟﺸﻌﺮ ‪ /‬اﻟﻌﺪد ‪68‬‬ ‫‪ 86‬ﺑﻴﺖ ِ‬

‫ﻳﺨﻠﻖ روح اﻟﺘﻨﻮع اﻟﺘﻲ ﺗرثي ﻋﺒﻖ اﻟﱰاث‬ ‫اﻟﻘﺪﻳﻢ وﺗﺮﺳﺦ ﻟﻪ مبﺮور اﻟﺰﻣﻦ‪ .‬ﻓﻠﻠﻌﻴﺪ‬ ‫مبﻨﻄﻘﺔ اﻟﺨﻠﻴﺞ ﺑﺼﻤﺘﻪ اﻟﺨﺎﺻﺔ‪ ،‬وﺗﻌﺪ‬ ‫ﻣﻮروﺛﺎت دوﻟﺔ اﻹﻣﺎرات اﻟﻌﺮﺑﻴﺔ اﳌﺘﺤﺪة‬ ‫ﻟﺆﻟﺆة اﳌﻮروﺛﺎت اﻟﻌﺮﺑﻴﺔ ﰲ ﻋﻴﺪ اﻟﻔﻄﺮ‬ ‫اﳌﺒﺎرك‪ ،‬ﻣﻦ ﺧﻼل ﻋﺎدات وﺗﻘﺎﻟﻴﺪ راﺳﺨﺔ‬ ‫ﺑﺠﺬور ﰲ ﻋﻤﻖ اﻟﺘﺎرﻳﺦ‪ ،‬ﺣﻴﺚ ﻳﺘﻤﻴﺰ اﻟﻌﻴﺪ‬ ‫ﰲ اﻹﻣﺎرات ﺑﺎﳌﻮروث اﻟﺸﻌﺒﻲ اﻟﺬي ﻳﺤﺮص‬ ‫ﻋﻠﻴﻪ اﻵﺑﺎء واﻷﴎة ﻋﻤﻮﻣﺎً‪ .‬ﻳﺒﺪأ اﻟﻌﻴﺪ ﰲ‬ ‫اﻹﻣﺎرات ﻣﻦ اﻟﺨﺮوج إﱃ ﻣﺼﻠﻴﺎت اﻟﻌﻴﺪ ﰲ‬ ‫اﻟﺼﺒﺎح ﻟﺘﻨﻄﻠﻖ اﻷﻟﺴﻦ ﺑﺎﻟﺘﻜﺒري واﻟﺘﻬﻠﻴﻞ‪،‬‬ ‫ﻣﻌﻠﻨﺔ ﺑﺪاﻳﺔ ﻣﻈﺎﻫﺮ اﻟﻴﻮم اﻷول ﺑﺘﺄدﻳﺔ ﻫﺬه‬ ‫اﻟﺸﻌرية اﳌﺒﺎرﻛﺔ‪ .‬وﺗﺤﺮص اﻟﻌﺎﺋﻠﺔ اﻹﻣﺎراﺗﻴﺔ‬ ‫ﻋﲆ إﻋﺪاد ﺗﺠﻬﻴﺰات ﺧﺎﺻﺔ ﺗﺘﻌﻠﻖ ﺑﺄﻃﺒﺎق‬ ‫اﻟﻄﻌﺎم اﻟﺨﻠﻴﺠﻴﺔ اﳌﺘﻤﻴﺰة‪ ،‬ﺛﻢ ﻳﺒﺪأ ﺗﺠﻤﻊ‬ ‫أﻓﺮاد اﻷﴎة واﻟﻌﺎﺋﻠﺔ ﺣﻮل »ﻓﻮاﻟﺔ اﻟﻌﻴﺪ«‪،‬‬ ‫وﻫﻲ اﳌﺎﺋﺪة اﻟﺮﺋﻴﺴﺔ اﻟﺘﻲ ﻳﺘﻢ إﻋﺪادﻫﺎ‬ ‫ﻻﺳﺘﻘﺒﺎل اﻟﻌﻴﺪ‪ ،‬وﺗﺸﻬﺪ إﻗﺒﺎﻻً ﻛﺒرياً ﻣﻦ‬ ‫اﻟﻜﺒﺎر واﻟﺼﻐﺎر ﰲ اﻟﻮﻗﺖ ﻧﻔﺴﻪ‪ ،‬وﺗﻀﻢ‬ ‫ﻣﺠﻤﻮﻋﺔ ﻣﻨﻮﻋﺔ ﻣﻦ اﻷﻛﻼت واﻟﺤﻠﻮﻳﺎت‬ ‫اﻟﺸﻌﺒﻴﺔ اﻹﻣﺎراﺗﻴﺔ‪ ،‬وﺗﻘﺪم ﻟﻠﻀﻴﻮف ﻣﻦ‬ ‫اﻷﻫﻞ واﻷﺻﺪﻗﺎء‪ ،‬وﻣﻦ أﺻﻨﺎﻓﻬﺎ اﻟﻬﺮﻳﺲ‪،‬‬ ‫واﻷرز ﻣﻊ اﻟﻠﺤﻢ‪ ،‬واﻟﺨﺒﻴﺺ‪ ،‬واﻟﺤﻠﻮى‬ ‫اﻟﻌامﻧﻴﺔ‪ .‬واﻟﻨﺴﺎء ﻟﻬﻦ أﻳﻀﺎً ﻧﺼﻴﺐ ﻣﻦ‬

‫ﻣﻮروﺛﺎت ﻋﻴﺪ اﻟﻔﻄﺮ‪ ،‬ﺣﻴﺚ ﺗﺴﺘﻌﺪ اﻟﻔﺘﻴﺎت‬ ‫واﻟﺴﻴﺪات ﻟﻨﻘﺶ أﻳﺪﻳﻬﻦ ﺑﺎﻟﺤﻨﺎء اﻟﺤﻤﺮاء‬ ‫ﻟﻴﻠﺔ اﻟﻌﻴﺪ ﺑﻔﻨﻮن وأﺷﻜﺎل ورﺳﻮم ﻋﺠﻴﺒﺔ‪،‬‬ ‫وأﻟﻮان ﻣﺨﺘﻠﻔﺔ‪ .‬وﻻزال ﺑﻌﺾ اﻟﻨﺴﺎء ﻳﴪن‬ ‫ﻋﲆ ﻧﻬﺞ اﻟﺘﺠﻤﻴﻞ اﻟﻘﺪﻳﻢ‪ ،‬وﻳﻘﻤﻦ ﺑﻘﻄﻒ‬ ‫أوراق اﻟﺤﻨﺎء ﻗﺒﻞ اﻟﻌﻴﺪ ﺑﺄﺳﺒﻮع أو أﺳﺒﻮﻋني‬ ‫ﻟﻴﺘﻢ ﺗﺠﻔﻴﻒ ﺗﻠﻚ اﻷوراق وﺳﺤﻘﻬﺎ وﻧﺨﻠﻬﺎ‪،‬‬ ‫ﺛﻢ ﺗٌﻌﺠﻦ وﺗٌﻐﲆ ﻣﻊ اﻟﻠﻴﻤﻮن ﻟيك ﻳﺘﻢ اﻟﻨﻘﺶ‬ ‫ﺑﻪ ﻋﲆ اﻟﻴﺪﻳﻦ و ٌﻳﻌﺎد ﻋﻠﻴﻬﺎ ﳌﺪة ﻳﻮﻣني ﺣﺘﻰ‬ ‫ﺗﻜﺘﺴﺐ اﻟﻠﻮن اﻷﺣﻤﺮ‪ .‬وﺗﺤﺮص اﻟﻨﺴﺎء‬ ‫أﻳﻀﺎً ﻋﲆ ﻟﺒﺲ اﳌﻼﺑﺲ اﻟﺸﻌﺒﻴﺔ اﻟﱰاﺛﻴﺔ‬ ‫ﻣﺜﻞ اﻟﻜﻨﺪورة اﳌﺨﻮرة واﻟﴪوال واﻟﺸﻴﻠﺔ‪،‬‬ ‫وﻳﺴﺘﺨﺪﻣﻦ اﻟﻜﺜري ﻣﻦ اﻟﻌﻄﻮر‪ ،‬وﻳﺠﺪﻟﻦ‬ ‫ﺷﻌﻮرﻫﻦ مبﺎ ﻳﺴﻤﻰ اﻟﻌﻜﻔﺔ أو اﻟﻌﻘﻮص‪.‬‬ ‫اﻟﺼﻐﺎر ﰲ اﻟﻌﻴﺪ أوﻓﺮ ﺣﻈﺎً ﻣﻦ اﻟﻜﺒﺎر ﺣﻴﺚ‬ ‫ﻳﺘﻠﻘﻮن )اﻟﻌﻴﺪﻳﺔ( وﻫﻲ ﻋﺒﺎرة ﻋﻦ ﻫﺪاﻳﺎ‬ ‫ﻣﺎﻟﻴﺔ ﻣﻦ أﻗﺎرﺑﻬﻢ وإﺧﻮاﻧﻬﻢ‪ ،‬وﻳﺤﺮص اﻟﻜﺒﺎر‬ ‫ﻋﲆ ﺗﺠﻬﻴﺰ اﻟﻌﻴﺪﻳﺔ ﻣﻦ ﺧﻼل زﻳﺎرة اﻟﺒﻨﻮك‬ ‫وﻃﻠﺐ اﻟﺨﺮدة )اﻟﻨﻘﻮد( وﻳﺘﻢ ﺗﻮزﻳﻌﻬﺎ ﳌﺮة‬ ‫واﺣﺪة ﻋﲆ ﻛﻞ ﻃﻔﻞ وﻃﻮال أﻳﺎم اﻟﻌﻴﺪ‪ .‬أﻣﺎ‬ ‫ﻋﲆ اﳌﺴﺘﻮى اﻟﺸﻌﺒﻲ‪ ،‬ﺗﻨﻄﻠﻖ ﻣﻮﺟﺎت ﻣﻦ‬ ‫ﺗﺰﻳني اﻟﺸﻮارع ﺑﻌﺒﺎرات اﻟﺒﻬﺠﺔ ﰲ ﻣﺨﺘﻠﻒ‬ ‫إﻣﺎرات اﻟﺪوﻟﺔ وﺷﻮارﻋﻬﺎ اﻟﺮﺋﻴﺴﺔ‪.‬‬ ‫وﰲ اﳌﻤﻠﻜﺔ اﻟﻌﺮﺑﻴﺔ اﻟﺴﻌﻮدﻳﺔ ﺗﺒﺪأ ﻣﻈﺎﻫﺮ‬

‫ﻋﺎد إﱃ ﻓﺮﻧﺴﺎ ﻟﺨﺪﻣﺔ اﻟﻌﻠﻢ وﻟﻜﻦ ﺗﻢ‬ ‫ﺗﴪﻳﺤﻪ ﻷﺳﺒﺎب ﺻﺤﻴﺔ ﺗﺘﻌﻠﻖ ﺑﻀﻌﻒ ﺑﻨﻴﺘﻪ‬ ‫وﻣﺮﺿﻪ اﳌﺴﺘﻤﺮ‪ .‬ﻓﺄرﺳﻞ ﻟﻪ ﺻﺪﻳﻖ واﻟﺪه‬ ‫اﳌﻘﺮب اﻟﺠرنال »ﻟﻴﺎﺗﻴﻪ« دﻋﻮ ًة إﱃ اﳌﻐﺮب‬ ‫ﻟريﺳﻢ وﻳﺴﺘﺠﻢ‪ .‬وﻛﺎﻧﺖ ﺑﺪاﻳﺔ أﺧﺮى ﻟﺠﺎك‬ ‫ﻣﻊ اﻟﴩق وﻣﻔﺮداﺗﻪ‪ ،‬ومل ﻳﺤﺘﻤﻞ ﻣﻨﺎخ‬ ‫ﻛﺎزﺑﻼﻧﻜﺎ اﻟﺮﻃﺐ ﻓﺬﻫﺐ ﻻﻛﺘﺸﺎف ﻣﺮاﻛﺶ‬ ‫ووﻗﻊ ﺑﻐﺮاﻣﻬﺎ وأﻛﻤﻞ ﺑﻬﺎ ﺑﻘﻴﺔ ﻋﻤﺮه‪ ،‬ﻷﻧﻬﺎ‬ ‫ﻛام وﺻﻔﻬﺎ »واﺣﺔ ﻓﺮﻳﺪة ﺗﺘﻮﻫﺞ أﻟﻮاﻧﻬﺎ‬ ‫وأﺿﻮاؤﻫﺎ وأﺳﻮاﻗﻬﺎ ﺗﻨﺒﺾ ﺑﺎﻟﺤﻴﺎة اﳌﺜﻤﺮة‬ ‫واﻟﺴﻌﻴﺪة«‪.‬‬ ‫وﻛﺎﻧﺖ ﻣﺮاﻛﺶ ﺑﻮاﺑﺔ ﺟﺎك إﱃ وﻟﻌﻪ ﺑﺄﻓﺮﻳﻘﻴﺎ‬ ‫وأﻟﻮاﻧﻬﺎ اﻟﺤﺎرة واﻧﻄﻠﻖ ﻣﻨﻬﺎ ﺑﻌﺪ ذﻟﻚ ﳌﺪن‬ ‫أﺧﺮى ﻣﻊ زوﺟﺘﻪ أﻧﺪرﻳﻪ ﻟﻮﻧﺠﻔﻴﻞ اﻟﺘﻲ‬ ‫اﺳﺘﻘﺮت ﻣﻌﻪ ﰲ ﻣﺮاﻛﺶ‪ ،‬وﻛﺎن ﻗﺪ ﺗﺰوﺟﻬﺎ‬ ‫ﻋﺎم ‪ 1919‬ﰲ ﻣﻨﺰل ﺻﻐري ﻗﺮب ﺳﺎﺣﺔ ﺟﺎﻣﻊ‬ ‫اﻟﻔﻨﺎء ﰲ ﻣﺮاﻛﺶ‪ ،‬ﺛﻢ اﻧﺘﻘﻼ إﱃ ﻗﴫ ﺑﺎﺷﺎ‬ ‫ﺑﻦ داود ﻗﺒﻞ أن ﻳﺴﺘﻘﺮا مبﺎ ﻋﺮف ﻻﺣﻘﺎً‬ ‫ﺑـ“ﻣﺎﺟﻮرﻳﻞ ﺟﺎردن“‪.‬‬

‫ﺻﻤﻤﻪ ﺑﻔﻨﻴﺔ وذاﺋﻘﺔ ﻫﺎﺋﻠﺔ ﻣﺎزﺟﺎً ﻓﻴﻪ اﻟﻔﻦ‬ ‫اﻟﱪﺑﺮي اﳌﺘﺴﻖ ﻣﻊ ﻋامرة ﻣﺮاﻛﺶ وﻃ ّﻌﻤﻪ‬ ‫ﺑﺎﻟﻔﻦ اﻟﺒﺎرويك وﻣﺎ ﺑﻌﺪه‪.‬‬ ‫ومل ﻳﻜﺘﻒ ﺟﺎك مبﺴﺎﺣﺔ اﳌﻜﺎن ﻓﺰاد ﺑﻬﺎ‬ ‫ﻟﺘﺼﺒﺢ ‪ 4‬ﻫﻜﺘﺎرات أﺿﺎف ﻟﻬﺎ ورﺷﺔ ﻟﺼﻨﺎﻋﺔ‬ ‫اﻷﺛﺎث اﻟﺨﺸﺒﻲ ﻣﺜﻞ واﻟﺪه وﺑﺪأ ﺑﺎﻷﻋامل‬ ‫اﻟﺰﺧﺮﻓﻴﺔ ودﺑﺎﻏﺔ اﻟﺠﻠﻮد وﺗﺼﻤﻴﻢ اﻷﺳﻘﻒ‪،‬‬ ‫وﻣﻦ ذﻟﻚ ﺳﻘﻒ ﻣﻄﻌﻢ ‪ Mamounia‬اﻟﺬي‬ ‫ﻣﺎ زال ﺷﺎﺧﺼﺎً ﺣﺘﻰ اﻟﻴﻮم ﻛﺘﺤﻔﺔ ﻓﻨﻴﺔ راﺋﻌﺔ‪.‬‬ ‫وﻟﻴﺲ ﻫﺬا ﻓﺤﺴﺐ ﺑﻞ ﻗﺎم ﺟﺎك ﺑﺘﺼﻤﻴﻢ‬

‫ﻗﺎم ﺟﺎك ﺑﺘﺼﻤﻴﻢ اﻟﻜﺜﻴﺮ ﻣﻦ اﻟﻤﻠﺼﻘﺎت‬ ‫اﻟﺴﻴﺎﺣﻴﺔ اﻟﺘﻲ ﺗﺮوج ﻟﻤﺮاﻛﺶ ﻛﻮﺟﻬﺔ‬ ‫ﺳﻴﺎﺣﻴﺔ‬ ‫درس ﺟﺎك اﻟﻬﻨﺪﺳﺔ اﻟﻤﻌﻤﺎرﻳﺔ ﻧﺰو ًﻻ ﻋﻨﺪ‬ ‫رﻏﺒﺔ واﻟﺪه إﻻ أﻧﻪ ﺗﺮﻛﻬﺎ ﺑﻌﺪ ﺛﻼث ﺳﻨﻮات‬ ‫وﻗﺮر أن ﻳﻜﺮس ﺣﻴﺎﺗﻪ ﻟﻠﺮﺳﻢ‬

‫اﺑﻦ اﻟﺤﻮﻣﺔ!‬ ‫اﻟﻜﺜري ﻣﻦ اﳌﻠﺼﻘﺎت اﻟﺴﻴﺎﺣﻴﺔ اﻟﺘﻲ ﺗﺮوج‬ ‫ﺑﻌﺪ اﺳﺘﻘﺮار ﺟﺎك وزوﺟﻪ ﰲ ﻣﺮاﻛﺶ ﺑﺪأ ﳌﺮاﻛﺶ ﻛﻮﺟﻬﺔ ﺳﻴﺎﺣﻴﺔ‪.‬‬ ‫ﺣﻴﺎ ًة ﻓﻨﻴﺔ ﺑﺤﻀﻮر ﻣﻜﺜﻒ وأﻋامل ﺿﺨﻤﺔ‪،‬‬ ‫ورﻏﻢ أﻧﻪ أﻗﺎم أول ﻣﻌﺮض ﻓﻨﻲ ﰲ ﻣﺮاﻛﺶ »ﻣﺎﺟﻮرﻳﻞ ﺟﺎردن« ﻣﺰار ًا ﻓﻨﻴ ًﺎ وﺳﻴﺎﺣﻴ ًﺎ‬ ‫ﺑﻌﺪ وﺻﻮﻟﻪ ﺑﺴﻨﺔ واﺣﺪة‪ ،‬أي ﻋﺎم ‪ ،1918‬إﻻ ﻋﺎﻣﺎً ﺑﻌﺪ ﻋﺎم ﺗﺤﻮل ﻣﻨﺰل ﺟﺎك ﻣﺎﺟﻮرﻳﻞ‬ ‫أﻧﻪ ﻻﺣﻘﺎً ﺗﻮﺣﺪ ﻣﻊ اﳌﻜﺎن واﺷﺘﻐﻞ ﺑﺸﻜﻞ إﱃ ﻣﺰار ﺳﻴﺎﺣﻲ ﻳﻘﺼﺪه اﻷوروﺑﻴﻮن واﻟﻌﺮب‬ ‫ﻣﺤﻤﻮم ﻟﻴﺠﻌﻞ ﻣﻦ ﻣﺮاﻛﺶ ﻋﻨﴫ ﺟﺬب واﻟﱪاﺑﺮة ﻣﻦ ﺳﻜﺎن اﳌﻨﻄﻘﺔ‪ ،‬وﰲ اﻟﻌﺎم ‪1931‬‬ ‫ﻟﻜﺜري ﻣﻦ اﻟﻔﻨﺎﻧني ﺑﻌﺪه‪.‬‬ ‫ﻋ ّﻤﺮ اﳌﻬﻨﺪس اﳌﻌامري اﻟﺸﻬري ﺑﻮل ﺳﻴﻨﻮار‬ ‫ﻏريت ﻟﻮﺣﺎﺗﻪ ‪ Paul Sinoir‬ﻓﻴﻼ ﻋﲆ اﻟﻄﺮاز اﻟﺘﻜﻌﻴﺒﻲ ﰲ‬ ‫ﻟﻘﺪ ﺻﺪﻣﺘﻪ ﻣﺮاﻛﺶ ﻓﻨﻴﺎً‪ّ ،‬‬ ‫وﺗﻘﻨﻴﺎﺗﻪ وﻃ ّﻌﻤﺘﻬﺎ ﺑﺄﻟﻮان ﻏري ﻋﺎدﻳﺔ واﻟﻜﺜري أرض ﺟﺎك‪ ،‬ﺗﻠﻚ اﻟﻔﻴﻼ اﻟﺘﻲ أﺻﺒﺢ اﻟﻄﺎﺑﻖ‬ ‫ﻣﻦ اﳌﻌﺎدن واﻟﺨﺎﻣﺎت اﻟﺠﺪﻳﺪة‪ ،‬ﻛﺎﻟﺬﻫﺐ اﻷرﴈ ﻣﻨﻬﺎ اﺳﺘﻮدﻳﻮ ﻳﺮﺳﻢ ﻓﻴﻪ ﻣﺎﺟﻮرﻳﻞ‬ ‫واﻟﻔﻀﺔ‪ ،‬وذﻟﻚ ﻟﻴﻨﻘﻞ ﺣﻴﺎة اﻟﻘﺮوﻳني وﻳﻨﺎم ﻓﻴﻪ ﰲ ﻛﺜري ﻣﻦ أﻳﺎﻣﻪ‪.‬‬ ‫وأﻋامﻟﻬﻢ اﻟﻴﻮﻣﻴﺔ ﺑﺸﻜﻞ أدق‪ .‬ورﺳﻢ ﰲ ﻫﺬه وﺗﺸﺎرﻛﺎ ﻣﻌﺎً‪ ،‬ﺟﺎك وﺑﻮل ﺑﺘﺼﻤﻴﻢ ﴍﻓﺎت‬ ‫اﻟﻔﱰة واﺣﺪة ﻣﻦ أﺟﻤﻞ ﻟﻮﺣﺎﺗﻪ وأﻏﻼﻫﺎ ﻣﺴﺘﻮﺣﺎة ﻣﻦ اﻟﻠﻐﺔ اﻟﻌﺮﺑﻴﺔ وزرﻋﺎ ﻣﻌﺎً‬ ‫مثﻨﺎً وﻫﻲ ﻟﻮﺣﺔ »اﻟﻌﺒﻴﺪ اﻟﺴﻮد اﻟﻌﺮاة«‪ ،‬ﻧﺒﺎﺗﺎت ﻓﺮﻳﺪة ﺟﺎءا ﺑﻬﺎ ﻣﻦ اﻟﻘﺎرات اﻟﺨﻤﺲ‬ ‫واﻟﺘﻲ ﻋﺪﻫﺎ اﻟﻨﻘﺎد ﻣﻦ أﻛرث اﻟﻠﻮﺣﺎت ﺟامﻻً ﻟﺘﺼﺒﺢ ﻋﲆ ﺣﺪ وﺻﻒ ﺳﻴﻨﻮار‪» :‬ﻛﺎﺗﺪراﺋﻴﺔ‬ ‫وواﻗﻌﻴﺔ وﻓﻠﺴﻔﺔ‪.‬‬ ‫ﻣﻦ اﻷﺷﻜﺎل واﻷﻟﻮان« أو »ﺣﺪﻳﻘﺔ اﻧﻄﺒﺎﻋﻴﺔ«‬ ‫ﰲ ﻋﺎم ‪ ،1923‬اﺷﱰى ﺟﺎك ﻣﺎﺟﻮرﻳﻞ ﻗﻄﻌﺔ ﺑﺘﻌﺒري ﺟﺎك‪ .‬ﻛام ﻛﺎن ﻣﻌﻬام ﴍﻳﻚ ﺑﻮل‬ ‫أرض ﻛﺒرية ﻣﺴﺎﺣﺘﻬﺎ ‪ 1.6‬ﻫﻜﺘﺎر‪ ،‬ﻓﻴﻬﺎ ﺑﺴﺘﺎن ﺳﻴﻨﻮار‪ ،‬اﳌﻬﻨﺪس اﳌﻌامري ‪.R. Poisson‬‬ ‫ﻧﺨﻞ ﻋﲆ أﻃﺮاﻓﻬﺎ ﻛام زرع ﻓﻴﻬﺎ ﺟﺎك اﻟﻜﺜري وﻗﺪ ﺗﺤﻮل ﻫﺬا اﳌﻜﺎن اﻟﺴﺤﺮي إﱃ ﻣﺰار‬ ‫ﻣﻦ ﺷﺠﺮ اﻟﺼﻔﺼﺎف واﻟﺤﻮر واﻟﺼﺒﺎر ﻟﺘﺼﺒﺢ ﻣﻔﺘﻮح ﻟﻠﻌﺎﻣﺔ ﻣﻦ اﻟﻨﺎس ﰲ اﻟﻌﺎم ‪1947‬‬ ‫ﺟﻨﺔ ﺣﻘﻴﻘﻴﺔ‪ ،‬وﺑﻨﻰ ﻓﻴﻬﺎ ﻗﴫه اﳌﻨﻴﻒ واﻟﺬي وﴏف ﻋﻠﻴﻪ ﺟﺎك ﻛﻞ اﳌﺒﺎﻟﻎ اﻟﺘﻲ ﻳﺘﺤﺼﻞ‬

‫ﻋﻠﻴﻬﺎ ﻣﻦ ﺧﻼل رﺳﻮﻣﺎﺗﻪ وﺗﺼﺎﻣﻴﻤﻪ إذ أﻧﻪ‬ ‫ﻳﺤﺘﺎج إﱃ ﺻﻴﺎﻧﺔ دورﻳﺔ ﻣﻜﻠﻔﺔ ﻟﻠﻐﺎﻳﺔ‪.‬‬ ‫وﻇﻞ اﳌﻜﺎن ﻣﻔﺘﻮﺣﺎً ﺣﺘﻰ ﻃﻼق ﺟﺎك ﻣﻦ‬ ‫زوﺟﺘﻪ أﻧﺪرﻳﻪ ﻋﺎم ‪ .1956‬ورﻏﻢ أﻧﻪ ﺗﺰوج‬ ‫زواﺟﺎً ﺳﻌﻴﺪاً ﻣﻦ ”ﻣﺎﻳﺜﻲ“ وأﻋﺎد اﻓﺘﺘﺎح‬ ‫اﳌﻜﺎن‪ ،‬إﻻ أﻧﻪ اﺿﻄﺮ ﻹﻏﻼﻗﻪ ﰲ اﻟﻌﺎم ‪،1961‬‬ ‫وذﻟﻚ أن ﺟﺎك ﻛﺎن ﻗﺪ وﻗﻊ ﺿﺤﻴﺔ ﺣﺎدث‬ ‫ﺳري أﻓﻘﺪه ﺳﺎﻗﻪ اﻟﻴﴪى ﻋﺎم ‪ ،1955‬اﻷﻣﺮ‬ ‫اﻟﺬي أدى إﱃ ﺗﺪﻫﻮر وﺿﻌﻪ اﳌﺎﱄ إﱃ ﺣﺪ‬ ‫إﻟﺰاﻣﻪ إﱃ ﺑﻴﻊ ﺣﺼﺘﻪ ﻣﻦ اﻟﺤﺪﻳﻘﺔ واﻟﻮرﺷﺔ‬ ‫واﻟﻔﻴﻼ‪.‬‬ ‫ﺗﻢ ﻧﻘﻞ ﺟﺎك إﱃ ﺑﺎرﻳﺲ ﰲ ذات اﻟﻌﺎم اﻟﺬي‬ ‫ﺑﺎع ﻓﻴﻪ ﺣﺪﻳﻘﺘﻪ اﻟﺸﻬرية وذﻟﻚ ﺑﻌﺪ ﺣﺎدث‬ ‫ﺳ ٍري ﺛﺎن ﺣﻴﺚ ﺗﻮﰲ ﰲ ﺑﺎرﻳﺲ أﻛﺘﻮﺑﺮ ‪،1962‬‬ ‫ودﻓﻦ إﱃ ﺟﺎﻧﺐ واﻟﺪه ﰲ ﻣﻘﱪة ﺑﺮﻳﻔﻴﻞ‬ ‫مبﺴﻘﻂ رأﺳﻪ ﻧﺎﻧﴘ‪.‬‬ ‫ﻟﻘﺪ ﺗﺮك ﺟﺎك ﻣﺎﺟﻮرﻳﻞ أﻋامﻻً ﻫﺎﺋﻠﺔ ﰲ‬ ‫اﻟﻌﺎمل‪ ،‬وﻟﻜﻦ ﻟﻌﻞ أﻫﻢ ﻣﺎ ﺗﺮﻛﻪ ﻫﻮ ﺗﻠﻚ‬ ‫اﻟﺤﺪﻳﻘﺔ اﻟﺸﻬرية اﳌﻤﻬﻮرة ﺑﺎﺳﻤﻪ »ﻣﺎﺟﻮرﻳﻞ‬ ‫ﺟﺎردن« ﰲ ﻣﺮاﻛﺶ واﳌﻤﻠﻮﻛﺔ اﻟﻴﻮم ﻣﻦ ﻗﺒﻞ‬ ‫ﻣﺼﻤﻢ اﻷزﻳﺎء اﻟﻔﺮﻧﴘ اﻟﺸﻬري ‪Yves Saint‬‬ ‫‪ Laurent‬وﴍﻳﻜﻪ ‪.Pierre Bergé‬‬ ‫ﻳﻮﻧﻴﻮ ‪85 2018 /‬‬

‫ﻣﻦ اﻟﻐﺮب‬ ‫‪baytelshear‬‬

‫اﻟﺮﺳﺎم ﺟﺎك ﻣﺎﺟﻮرﻳﻞ‬ ‫اﻟﻔﺮﻧﺴﻲ اﻟﺬي ﻋ ِﻠﻖ ﺑﺄﺛﻮاب ﻣﺮاﻛﺶ‬ ‫ﻫﺎﻧﻲ ﻧﺪﻳﻢ‬

‫اﺗﻔﻖ ﻋﻠﻰ أن اﻟﻔﻦ ﻣﻮﻫﺒﺔ وﻓﻄﺮة إﻧﺴﺎﻧﻴﺔ ﺗﻨﻤﻴﻬﺎ اﻟﺘﺠﺮﺑﺔ وﻳﻘﻮدﻫﺎ اﻟﺸﻐﻒ‪،‬‬ ‫إﻻ أن ﺑﻌﺾ اﻟﻤﻮاﻫﺐ ﻣﺘﻮارﺛﺔ ﺗﺪﺧﻞ ﻓﻲ اﻟﺠﻴﻨﺎت وﻳﻘﻮدﻫﺎ اﻟﻤﺤﻴﻂ‪ ،‬وﻫﺬا‬ ‫ﻣﺎ ﺣﺼﻞ ﻣﻊ »ﺟﺎك ﻣﺎﺟﻮرﻳﻞ« ‪ Jacques Majorelle‬أﺣﺪ أﺷﻬﺮ اﻟﺮﺳﺎﻣﻴﻦ‬ ‫اﻟﻤﺴﺘﺸﺮﻗﻴﻦ‪ ،‬اﻟﺬي وﻟﺪ ﻓﻲ ﺑﻴﺌﺔ ﻓﻨﻴﺔ ﺧﺎﻟﺼﺔ‪ ،‬ﻓﻬﻮ اﺑﻦ ﻟﻮﻳﺲ ﻣﺎﺟﻮرﻳﻞ أﺣﺪ‬ ‫أﻫﻢ ﺻﻨﺎع اﻟﻤﺠﻮﻫﺮات وﻣﺼﻤﻤﻲ اﻟﺪﻳﻜﻮر ﻓﻲ ﺑﺎرﻳﺲ أواﺳﻂ اﻟﻘﺮن اﻟﺘﺎﺳﻊ‬ ‫ﻋﺸﺮ‪ X‬واﻟﻤﺆﺳﺲ اﻟﻤﺸﺎرك ﻟﻤﺪرﺳﺔ ﻧﺎﻧﺴﻲ اﻟﻔﻨﻴﺔ ﻣﻊ إﻣﻴﻞ ﻏﺎﻟﻴﻪ اﻟﺸﻬﻴﺮ‪X‬‬

‫رﻏﺒﺔ واﻟﺪه إﻻ أﻧﻪ ﺗﺮﻛﻬﺎ ﺑﻌﺪ ﺛﻼث ﺳﻨﻮات‬ ‫وﻗﺮر أن ﻳﻜﺮس ﺣﻴﺎﺗﻪ ﻟﻠﺮﺳﻢ اﻟﺬي أوﻟﻊ ﺑﻪ‬ ‫ﻃﻔ ًﻼ‪ ،‬وﻳﻨﺘﻘﻞ إﱃ ﻣﺪرﺳﺔ اﻟﻔﻨﻮن اﻟﺠﻤﻴﻠﺔ ﰲ‬ ‫ﻧﺎﻧﴘ وأﻛﺎدميﻴﺔ ﺟﻮﻟﻴﺎن ﻣﻦ ﺑﺎرﻳﺲ ﺑﻌﺪﻫﺎ‪.‬‬ ‫ﻟﻴﺒﺪأ رﺣﻠﺘﻪ ﻣﻊ ﻋﺎملٍ ﻣﻦ اﻟﺠامل مل ﻳﻨﻘﺾ‬ ‫ﺣﺘﻰ ﻳﻮﻣﻨﺎ ﻫﺬا‪ ،‬ﻓﻘﺪ أﺳﺲ ﻟﺘﺠﺮﺑﺔ ﻓﺮﻳﺪة‬ ‫وﺧﺎﺻﺔ ﺟﺪاً‪.‬‬

‫وﻟﺪ ﻣﺎﺟﻮرﻳﻞ ﰲ ﻧﺎﻧﴘ ﻋﺎم ‪1886‬؛ ﰲ ﺑﻴﺌﺔ‬ ‫ﺧﺼﺒﺔ ﻣﻦ اﻟﻔﻦ وورﺷﺔ ﻋﻤﻞ ﻣﺘﺼﻠﺔ ﺗﻨﺎﻗﺶ‬ ‫اﻟﺘﺼﺎﻣﻴﻢ واﻷﻟﻮان واﻟﺪﻳﻜﻮرات‪ ،‬وﰲ ﺗﺎرﻳﺦ‬ ‫ذروة ﺗﺸﻜﻞ ﺣﺮﻛﺔ ”اﻟﻔﻦ اﻟﺤﺪﻳﺚ“‪ ،‬ﺗﻠﻚ‬ ‫اﻟﺤﺮﻛﺔ اﻟﺘﻲ ﻛﺎن ﻟﻮاﻟﺪه ﻟﻮﻳﺲ ﺗﺄﺛري ﻋﻈﻴﻢ‬ ‫ﻓﻴﻬﺎ وﺑﺎﻟﺬات ﻋﲆ اﻷﺛﺎث واﻟﺨﺰاﺋﻦ اﻟﺘﻲ‬ ‫ﻛﺎن ﻳﺼﻨﻌﻬﺎ ﻣﺴﺘﻠﻬ ًام ﻧﻘﻮﺷﻬﺎ ﻣﻦ اﻟﻄﺒﻴﻌﺔ‬ ‫وﺗﻘﻨﻴﺎت اﻟﺤﺪاﺛﺔ ﻣام ﻧﻘﻞ اﻷﺛﺎث اﻷورويب‬ ‫اﻟﻮﻟﻊ ﺑﺎﻟﺸﺮق وﺛﻴﻤﺎﺗﻪ‬ ‫ﻣﻦ ﻣﺴﺎﺣﺔ إﱃ أﺧﺮى‪.‬‬ ‫درس ﺟﺎك اﻟﻬﻨﺪﺳﺔ اﳌﻌامرﻳﺔ ﻧﺰوﻻً ﻋﻨﺪ ﻟﻘﺪ ﻛﺎﻧﺖ ﺑﺪاﻳﺔ وﻟﻊ ﺟﺎك ﺑﺎﻟﴩق ﻫﻲ وﻟﻌﻪ‬

‫اﻟﺸﻌﺮ ‪ /‬اﻟﻌﺪد ‪68‬‬ ‫‪ 84‬ﺑﻴﺖ ِ‬

‫ﺑﺎﻟﻀﻮء‪ ،‬إذ اﻓﺘنت ﻣﺎﺟﻮرﻳﻞ ﺑﺤﺮﻛﺔ اﻟﻀﻮء‬ ‫وﻗﻮﺗﻪ وﺗﺒﺪﻻﺗﻪ اﻟﺘﻲ ﻳﻀﻔﻴﻬﺎ إﱃ اﻟﻠﻮﺣﺔ‪،‬‬ ‫ﻓﻼﺣﻘﻪ ﰲ ﻛﻞ ﺑﻠﺪان أوروﺑﺎ اﳌﺸﻤﺴﺔ‬ ‫ﻛﺈﻳﻄﺎﻟﻴﺎ وإﺳﺒﺎﻧﻴﺎ وﻫﻮ ﻣﺎ ﻗﺎده ﺑﺎﻟﴬورة إﱃ‬ ‫اﻟﻌﺎمل اﻟﻌﺮيب‪ ،‬ﻓﺴﺎﻓﺮ إﱃ ﻣﴫ ﰲ اﻟﻌﺎم ‪1910‬‬ ‫ﻟريﺳﻢ ﻟﻜﻨﻪ ﻇﻞ ﻫﻨﺎﻟﻚ أرﺑﻊ ﺳﻨﻮات ﻛﺎﻣﻠﺔ‪،‬‬ ‫ﻓﻘﺪ وﺟﺪ ﻣﺎ ﻫﻮ أﻛرث ﻣﻦ اﻟﻀﻮء ﺑﻜﺜري‪ ..‬وﺟﺪ‬ ‫اﳌﻔﺮدات واﻟﺘﺸﻜﻴﻼت اﻹﺳﻼﻣﻴﺔ واﳌﺨﺰون‬ ‫اﻟﺒﴫي اﻟﻬﺎﺋﻞ واﳌﺨﺘﻠﻒ ﻋام رآه ﰲ أوروﺑﺎ‬ ‫اﳌﺘﺸﺎﺑﻬﺔ‪.‬‬

тАля║гя╗дя║О┘Е ╪зя╗Яя╗о╪▒┘ВтАм тАля╗Зя║Оя╗Уя║о я╗гя║дя╗дя║к ╪зя╗Яя╗дя║╕я╗Мя╗ая╗▓тАм @llnnll8

┬д@@0b@@F ┬╢*H ┬в@@┬Ы@ =b@@E ┬Ц@@ C ┬Я@@-┬б@@~@ |@ + ┬д@@┬Ы@ ~@ }@ ┬г@ ┬Ю@ J ┬д@@0*x@@/ ┬Оy@@┬Ы@ - ┬Я@@ B*x@@ A* ┬Ь@@ E Md@@┬г@ c@ 0 ├Бx@@ Cw@@ J ┬д@@0b@@~@}@F ┬Эb@@Jx@@~@ {@ Db@@+H ┬д@@ @E2 ┬З@@ E 4b@@ ~@ 8 ┬Я@@ c@ 0H ┬д@@0*x@@/ d@@ : b@@┬Ю@┬Ж@┬М@Fb@@E x@@Jb@@┬Ш@ ~@ }@ Db@@+ ┬д@@ 0Hx@@ / ┬д@@0b@@c@~@|@EH ┬д@@┬Х@J2b@@┬Ы@B ┬в@@┬М@ :*H ┬д@@g@┬Ж@┬Ш@~@7 ┬в@@┬М@ :H ┬д@@0b@@~@ 8┬░H ├Гb@@ @ F┬░ ix@@ ~@ 8 ┬Я@@+b@@┬г@ = f@@ ┬Х@ 04 v@@┬Ж@ + ┬д0b~}J┬░* }┬Ж+ b┬Ю┬гA ib@@┬Ш@┬Х@C x┬Ж~{Db+ 224*H ┬д0bA ┬в~{┬▓*H b┬Ю┬ЫE ┬О┬б┬▒* ┬И┬б┬Х~}D* ev0 h┬л ┬д@@0b@@c@ ~@ 7*H 4b@@ ┬Т@ @A&┬░b@@ + ┬Ц@@┬г@ ┬Х@ D* ┬Ъ┬б@@ ┬Ш@ G ├Б2H*x@@ @ @ ┬д@@0b@@┬г@E ┬Ц@@ C b@@┬Ю@c@p@~@6 ┬░ ┬д@@B*┬б@@~@ z@ D* ┬Ц@@c@ 0 b@@┬Ш@ C ┬д0*y┬ЫJ d┬Ж~8 ┬Я@@<*x@@~@7 ┬в@@~@ 64*H ┬в@@~@64 ┬░ ┬д@@┬Ш@GH ┬д0bc~6 o*┬б@@ E&┬░b@@ + ├М@@~@ 8* ┬Чb@@┬г@ ┬│* x@@p@+ ┬в@@┬Ж@ EH ┬д@@ 0*H4&┬░* ┬Б@@~@6H ┬п ┬Ь┬Т~6 Md@@0 ├Й┬ЙDb+ ┬Ц@@m@~@6*H ┬д0*┬бD&┬░* ibp┬М~8 ┬п h┬Ш~|D* 4*v@@/ ┬п ┬ЯgcgCH ┬д@@0b@@g@┬М@EH M┬Ц@@┬М@ B ├Й@@ + ┬Я@@┬Х@ ~@ 8H Ix@@ 0 ┬п ┬ИxQ @ ~@ {@ E

83 2018 / тАля╗│я╗оя╗зя╗┤я╗отАм

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‫ﻣﺎﺳﺎت‬ baytelshear

‫ﻋﻴﻮن ﻋﻔﻮك‬ ‫ﻗﻤﺮ دﺑﻲ‬

N R rP xR @ @ @ @ @ @ @ @ P/PH Á*v@@ @ cR @ @ @DN rP x@@ @ @ @ @ P/ Py@ @ @ R @ @ @ JN x@ P @ @ @ @ @ @ ²* Áb@@ @ @ @ @ @ @ @ @ ~@N @ z@ @DR P @ @ @ @g@ @ @ @ @ @£@ @~@@U |@ @BN ¤@@ P @ @gP @ @ @ @ @ @£@ @D b@@ @ N @ @ R @ @ @ @ @BN Áb@@ @ @ @ @ @ @ .N °H k@@ @ @Db@@ @ @. Mv@@ @ @ @ @ ~@ @ |@ @ @ @ E · °N HN Á*Sv@ @ @ @D* PeQ¡@ @ @ @ @ @~@@N 8 @@ @ @ @ @ @ @ @ @ D Pv@@ @ @ @ @ £@ P @ cR @ DP R xN @ @ @ @ @ @ -P Á*y@@ @ @ @0&* ,N xN @ @ @ @ @ @m@N @ @ +R b@@ @ @ @ P/ x@@ @ @N @ @ A&* Nh@@ @c@ @ N @ @ -P Áb@@ @ @ @ gQ @ @ G b@@ @ @ ~@ @ @ @94 H 4 Pw@@ @ @ @ @ @ @ @ @ @ P @ @ @ D*x@@ @ @G5 b@@ @ @ @ @ @ @ @FN N&* ¤@@ @ Fb@@ @ @ @ ~@@N |@ @ -P P ¡@@ @ @ @ @ @ @m@ @JN É@@ @ @ @ ´R * Q @ @ @ @ @ @CP ¡@@ @ @ @ DO HP Áb@@ @ @ EN 5° P @@ @ £@ @ @ @ @ c@ - b@@ @E @P @ @ @ @ £@ P @ Db@@ G ¢@@ @~@N@ @z@ @ <N HR R @ @~@ @ z@ @ F(*P HP Áb@P @~@ z@ @ @ @ @ @ @ -P @@£@ +b@@E @R @z@ @ @ @ +N rP x@@ @ @ @±* ¢@

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68 ‫ اﻟﻌﺪد‬/ ‫اﻟﺸﻌﺮ‬ ِ ‫ ﺑﻴﺖ‬82

‫ﻣﺠﻠﺔ ﺷﻬﺮﻳﺔ ﺷﺎﻣﻠﺔ‬

‫ﺗﺼﺪر ﻋﻦ ﻣﺮﻛﺰ ﺳﻠﻄﺎن ﺑﻦ زاﻳﺪ‬ ‫‪baitshir@sbzc.ae‬‬ ‫‪2‬‬

‫اﻟﺸﻌﺮ ‪ /‬اﻟﻌﺪد ‪62‬‬ ‫ﺑﻴﺖ ِ‬

‫‪@bait_alshe3r‬‬

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‫‪@baytelshear‬‬ ‫ﻳﻮﻧﻴﻮ ‪81 2018 /‬‬

‫ﻓﻌﺎﻟﻴ‪SSSSSSSSSSSSS‬ﺎت‬ ‫‪baytelshear‬‬

‫ﺗﻠﻚ اﻷﻋامل اﻟﺘﻲ أﺑﺪﻋﻬﺎ أدﺑﺎؤﻫﺎ ﻋﲆ ﻣﺮ‬ ‫اﻟﻘﺮون ﻣﺮاﺣﻞ اﻻزدﻫﺎر واﻟﱰاﺟﻊ ﰲ ﺗﺎرﻳﺦ‬ ‫ﺑﻮﻟﻨﺪا اﻟﻌﺮﻳﻖ‪ .‬ﻛام ﺗﻢ اﺳﺘﻌﺮاض أﺣﺪث‬ ‫اﻻﺗﺠﺎﻫﺎت ﰲ اﻷدب اﻟﺒﻮﻟﻨﺪي اﻟﺬي ميﺘﻠﻚ‬ ‫ﻗﺎﻋﺪة ﻛﺒرية ﻣﻦ اﻟﻘﺮاء ﰲ اﻟﺪاﺧﻞ واﻟﺨﺎرج‪،‬‬ ‫وﻣﻌﻈﻤﻬﻢ ﰲ أوروﺑﺎ‪.‬‬ ‫وأﺗﺎح ﻣﻌﺮض أﺑﻮﻇﺒﻲ اﻟﺪوﱄ ﻟﻠﻜﺘﺎب اﻟﻔﺮﺻﺔ‬ ‫أﻣﺎم ﺑﻮﻟﻨﺪا ﻟﺘﺴﻠﻴﻂ اﻟﻀﻮء ﻋﲆ اﻷﻋامل‬ ‫اﻟﻜﻼﺳﻴﻜﻴﺔ اﻟﺨﺎﻟﺪة ﰲ اﻷدب اﻟﺒﻮﻟﻨﺪي‬ ‫ﺑﺎﻟﻘﺮن اﻟﺘﺎﺳﻊ ﻋﴩ‪ ،‬واﻹﻧﺠﺎزات اﻟﺤﺪﻳﺜﺔ‬ ‫اﻟﺘﻲ ﺣﻘﻘﻬﺎ اﻷدﺑﺎء اﻟﺒﻮﻟﻨﺪﻳﻮن اﻟﺤﺎﺻﻠﻮن‬ ‫ﻋﲆ ﺟﺎﺋﺰة ﻧﻮﺑﻞ‪ ،‬ﻣﻦ اﻷدب اﳌﻠﺤﻤﻲ ﻟﻬرنﻳﻚ‬ ‫ﺳﻴﻨﻜﻴﻔﻴﺘﺶ‪ ،‬وأﺷﻌﺎر ﺗﺸﻴﺴﻼف ﻣﻴﻠﻮش‪ ،‬إﱃ‬ ‫ﻧﻬﺞ ﻓﻴﺴﻮاﻓﺎ ﺷﻴﻤﺒﻮرﺳﻜﺎ اﻷﻛرث ﺣﺪاﺛﺔ‪.‬‬ ‫ﺷﺨﺼﻴﺔ ﻣﺤﻮرﻳﺔ‬ ‫دأب ﻣﻌﺮض أﺑﻮﻇﺒﻲ اﻟﺪوﱄ ﻟﻠﻜﺘﺎب ﻋﲆ‬ ‫ﺗﺴﻠﻴﻂ اﻟﻀﻮء ﻋﲆ ﺷﺨﺼﻴﺔ ﻣﺤﻮرﻳﺔ‪ ،‬ﻟﻬﺎ‬ ‫وزﻧﻬﺎ‪ ،‬وﰲ ﻫﺬه اﻟﺪورة مل ﻳﻜﻦ ﻫﻨﺎك ﻣﻦ‬ ‫اﻟﺸﻌﺮ ‪ /‬اﻟﻌﺪد ‪68‬‬ ‫‪ 80‬ﺑﻴﺖ ِ‬

‫ﺷﺨﺼﻴﺔ أﻧﺴﺐ ﻣﻦ ﺷﺨﺼﻴﺔ اﳌﻐﻔﻮر ﻟﻪ‬ ‫اﻟﺸﻴﺦ زاﻳﺪ ﺑﻦ ﺳﻠﻄﺎن ﻟﺘﻜﻮن اﻟﺸﺨﺼﻴﺔ‬ ‫اﳌﺤﻮرﻳﺔ ﻟﺪورة ﻫﺬا اﻟﻌﺎم‪ ،‬ﻛﻴﻒ ﻻ وﻧﺤﻦ‬ ‫ﻧﺤﺘﻔﻲ مبﺌﻮﻳﺔ ﻫﺬا اﻟﺮاﺣﻞ اﻟﻌﻈﻴﻢ‪ .‬وﻳﺄيت‬ ‫اﻻﺣﺘﻔﺎء ﺑﺎﳌﻐﻔﻮر ﻟﻪ اﻟﺸﻴﺦ زاﻳﺪ ﺑﻦ ﺳﻠﻄﺎن‬ ‫آل ﻧﻬﻴﺎن‪ ،‬ﻃﻴﺐ اﻟﻠﻪ ﺛﺮاه‪ ،‬ﻛﺸﺨﺼﻴﺔ‬ ‫ﻣﺤﻮرﻳﺔ ﻟﻠﻤﻌﺮض‪ ،‬وﺑـ»ﻋﺎم زاﻳﺪ«‪ ،‬ﺗﻘﺪﻳﺮاً‬ ‫ﻟﺪور اﻟﻮاﻟﺪ اﳌﺆﺳﺲ ﰲ ﻧﴩ اﻟﻌﻠﻢ واﻟﺜﻘﺎﻓﺔ‪،‬‬ ‫ﺣﻴﺚ ﺗﻀﻤﻨﺖ ﻓﻌﺎﻟﻴﺎت اﻟﺪورة اﻟﻌﺪﻳﺪ ﻣﻦ‬ ‫اﻟﻨﺪوات واﻟﺠﻠﺴﺎت اﻟﻨﻘﺎﺷﻴﺔ‪ ،‬اﻟﺘﻲ ﺳﻠﻄﺖ‬ ‫اﻟﻀﻮء ﻋﲆ ﺟﻮاﻧﺐ ﻣﺨﺘﻠﻔﺔ ﻣﻦ ﺷﺨﺼﻴﺔ‬ ‫اﻟﺸﻴﺦ زاﻳﺪ‪ ،‬وﻣﺎ ﻛﺎن ﻳﺘﻔﺮد ﺑﻪ ﻣﻦ ﺑﺼرية‬ ‫ﻣﺴﺘﻘﺒﻠﻴﺔ‪ ،‬ورؤﻳﺔ ﺗﻘﻮم ﻋﲆ أن ﺑﻨﺎء اﻹﻧﺴﺎن‬ ‫ﻳﺒﺪأ ﻣﻦ ﺑﻨﺎء ﻓﻜﺮه‪ ،‬وﻫﻮ ﻣﺎ ﻻ ﻳﺘﺤﻘﻖ ﻣﺎ مل‬ ‫ﻳﻨﻬﻞ ﻣﻦ ﻣﻌني اﻟﺜﻘﺎﻓﺔ اﻟﺘﻲ ﺗﺠﻌﻠﻪ ﻣﻨﻔﺘﺤﺎً‬ ‫ﻋﲆ ﺛﻘﺎﻓﺎت اﻟﺸﻌﻮب واﻟﺤﻮار ﻣﻌﻬﺎ‪ ،‬مبﺎ‬ ‫ﻳﻌﻮد ﻋﻠﻴﻪ مبﺰﻳﺪ ﻣﻦ اﻟﻔﻬﻢ ﻟﺬاﺗﻪ وواﻗﻌﻪ‬ ‫وﻣﺤﻴﻄﻪ‪ ،‬ﻛام ﺷﻬﺪت اﻟﺪورة ﺗﻮﻗﻴﻊ اﻟﻌﺪﻳﺪ‬ ‫ﻣﻦ اﻟﻜﺘﺐ‪ ،‬اﻟﺘﻲ ﺗﺘﻨﺎول اﻟﺸﻴﺦ زاﻳﺪ‪ ،‬وﺳريﺗﻪ‬ ‫وﻣﺴريﺗﻪ وﺻﻔﺎﺗﻪ‪.‬‬

‫ﺗﻮﻗﻴﻌﺎت‬ ‫وﺑﺪورﻫﺎ ﻧﻈﻤﺖ أﻛﺎدميﻴﺔ اﻟﺸﻌﺮ ‪ -‬اﻟﺘﺎﺑﻌﺔ‬ ‫ﻟﻠﺠﻨﺔ إدارة اﳌﻬﺮﺟﺎﻧﺎت واﻟﱪاﻣﺞ اﻟﺜﻘﺎﻓﻴﺔ‬ ‫واﻟﱰاﺛﻴﺔ ‪ -‬اﻟﻌﺪﻳﺪ ﻣﻦ ﻓﻌﺎﻟﻴﺎت ﺗﻮاﻗﻴﻊ‬ ‫إﺻﺪاراﺗﻬﺎ اﻟﺠﺪﻳﺪة ﰲ ﺟﻨﺎح اﻟﻠﺠﻨﺔ اﳌﺸﺎرك‬ ‫مبﻌﺮض أﺑﻮﻇﺒﻲ اﻟﺪوﱄ ﻟﻠﻜﺘﺎب‪.‬‬ ‫وﺗﻢ ﺗﻮﻗﻴﻊ دﻳﻮان »ﻳﻮم ﻛﴪت اﳌﺮآة«‬ ‫ﻟﻠﺸﺎﻋﺮة واﻟﺮواﺋﻴﺔ اﻟﻔﻠﺴﻄﻴﻨﻴﺔ ﻋﺒﻠﺔ ﺟﺎﺑﺮ‬ ‫إﺣﺪى ﻧﺠﻮم ﺑﺮﻧﺎﻣﺞ أﻣري اﻟﺸﻌﺮاء ﰲ ﻣﻮﺳﻤﻪ‬ ‫اﻟﺴﺎﺑﻊ وﻛﺘﺎب »ﻗﻀﺎﻳﺎ اﻹﻧﺴﺎن ﰲ اﻟﺸﻌﺮ‬ ‫اﻹﻣﺎرايت اﳌﻌﺎﴏ« ﻟﻠﻜﺎﺗﺒﺔ اﻹﻣﺎراﺗﻴﺔ وﻓﺎء‬ ‫أﺣﻤﺪ وﻫﻲ أﻛﺎدميﻴﺔ ﺟﺎﻣﻌﻴﺔ ‪.‬‬ ‫وﺗﻢ ﺗﻮﻗﻴﻊ ﻛﺘﺎب »ﺳرية دﻳﻮان أﺣﻤﺪ‬ ‫اﻟﻜﻨﺪي‪ ..‬ﻗﺼﺺ وﺣﻘﺎﺋﻖ ﺗﻨﴩ ﻷول ﻣﺮة«‬ ‫ﻣﻦ ﺗﺄﻟﻴﻒ ﻋﲇ أﺣﻤﺪ اﻟﻜﻨﺪي اﳌﺮر واﻟﺬي‬ ‫أﺻﺪرﺗﻪ أﻛﺎدميﻴﺔ اﻟﺸﻌﺮ ﺑﺄﺑﻮﻇﺒﻲ ﺿﻤﻦ‬ ‫ﺳﻠﺴﻠﺔ ﺷﻌﺮاء ﻣﻦ اﻟﻈﻔﺮة‪ ،‬وﻫﻮ ﺑﺎﺣﺚ‬ ‫ﻣﻌﺮوف ﰲ اﻟﺘﺎرﻳﺦ واﻟﱰاث اﻹﻣﺎرايت اﳌﺤﲇ‬ ‫ﺧﺼﻮﺻﺎً ﰲ ﺗﺎرﻳﺦ ﻣﻨﻄﻘﺔ اﻟﻈﻔﺮة ومتﻜﻦ ﻣﻦ‬ ‫ﺟﻤﻊ ﻣﺌﺎت اﳌﺨﻄﻮﻃﺎت اﻟﻨﺎدرة‪.‬‬

‫آل ﻧﻬﻴﺎن ﻧﺎﺋﺐ اﻟﺮﺋﻴﺲ – ﻣﺪﻳﺮ ﻋﺎم اﳌﺮﻛﺰ‬ ‫وﺣﺮص ﺳﻤﻮﻫام ﻋﲆ ﻣﺸﺎرﻛﺔ اﳌﺮﻛﺰ ﺑﺸﻜﻞ‬ ‫ﻓﻌﺎل ﰲ اﳌﺤﺎﻓﻞ اﻟﻮﻃﻨﻴﺔ اﻟﺜﻘﺎﻓﻴﺔ اﻟﺘﻲ‬ ‫ﺗﻬﺪف اﱃ ﻧﴩ اﻟﻌﻠﻢ واﳌﻌﺮﻓﺔ وﻓﻜﺮ زاﻳﺪ‬ ‫اﻟﻘﺎﺋﺪ اﳌﺆﺳﺲ ﰲ اﻟﺘﺴﺎﻣﺢ واﻹﺧﺎء اﻻﻧﺴﺎين‪،‬‬ ‫واﳌﺴﺎﻫﻤﺔ ﺑﻔﻌﺎﻟﻴﺔ ﰲ ﻛﻞ ﻣﺎ ﻳﺨﺪم اﳌﺠﺘﻤﻊ‬ ‫وﻳرثي اﻟﺤﺮاك اﻟﺜﻘﺎﰲ وﻳﻌﺰز اﻟﻘﻴﻢ واﻟﻬﻮﻳﺔ‬ ‫اﻟﻮﻃﻨﻴﺔ‪.‬‬ ‫ﻛام ﺷﺎرك اﳌﺠﻠﺲ اﻟﻮﻃﻨﻲ ﻟﻺﻋﻼم ﰲ ﻣﻌﺮض‬ ‫أﺑﻮﻇﺒﻲ اﻟﺪوﱄ ﻟﻠﻜﺘﺎب‪ ،‬ﺑﺠﻨﺎح ﺗﻔﺎﻋﲇ‬ ‫ﺗﻀﻤﻦ اﻟﻌﺪﻳﺪ ﻣﻦ اﻷﻧﺸﻄﺔ واﻟﻔﻌﺎﻟﻴﺎت‪،‬‬ ‫ﺑﻬﺪف إﺑﺮاز دور اﳌﺠﻠﺲ اﻟﺤﻴﻮي ﰲ ﻗﻄﺎع‬ ‫اﻟﻨﴩ‪ ،‬وﻣﺎ ﻳﻘﺪﻣﻪ ﻣﻦ دﻋﻢ ﻟﺼﻨﺎﻋﺔ اﻟﻨﴩ‬ ‫اﻟﻮﻃﻨﻴﺔ‪ ،‬وﻟﻠﻜ ّﺘﺎب اﻹﻣﺎراﺗﻴني‪ ،‬مبﺎ ﻳﻌﺰز‬ ‫اﻟﻬﻮﻳﺔ اﻟﻮﻃﻨﻴﺔ واﳌﻮروث اﻟﺜﻘﺎﰲ ﻟﻠﺪوﻟﺔ‪،‬‬ ‫ﻛام ﺗﺄيت ﻣﺸﺎرﻛﺔ اﳌﺠﻠﺲ ﰲ اﳌﻌﺮض ﺑﻬﺪف‬ ‫اﻟﺘﻌﺮف إﱃ أﻓﻀﻞ اﻟﻨامذج واﻟﺨﱪات اﻟﻌﺎﳌﻴﺔ‬ ‫اﳌﺸﺎرﻛﺔ ﰲ اﳌﻌﺮض اﻟﺬي ﻳﻌﺪ ﺗﻈﺎﻫﺮة‬ ‫ﺛﻘﺎﻓﻴﺔ وﻣﻨﺼﺔ ﻋﺎﳌﻴﺔ ﻟﻠﻜ ّﺘﺎب واﳌﻔﻜﺮﻳﻦ‬ ‫واﳌﺜﻘﻔني‪ ،‬وﻣﻨﺎﻗﺸﺔ ﺳﺒﻞ اﻻرﺗﻘﺎء ﺑﺠﻮدة‬ ‫اﻟﺨﺪﻣﺎت اﻟﺘﻲ ﻳﻘﺪﻣﻬﺎ اﳌﺠﻠﺲ ﻟﻠﻤﺘﻌﺎﻣﻠني‪،‬‬ ‫مبﺎ ﻳﻨﺴﺠﻢ ﻣﻊ رؤﻳﺘﻪ اﻟﻬﺎدﻓﺔ إﱃ اﻟﻨﻬﻮض‬ ‫ﺑﺎﻟﻘﻄﺎع اﻹﻋﻼﻣﻲ وﺧﺎﺻﺔ ﻗﻄﺎع اﻟﻨﴩ‪،‬‬ ‫ﻟﻴﻜﻮن ﻣﻮاﻛﺒﺎً ﳌﺎ ﺗﺸﻬﺪه اﻟﺪوﻟﺔ ﻣﻦ ﺗﻄﻮر‬ ‫وﺗﻘﺪم وازدﻫﺎر ﰲ ﺟﻤﻴﻊ اﳌﺠﺎﻻت‪.‬‬ ‫أﻳﻦ وأﻳﻦ‬ ‫ﻻ ﻳﻌﺮف اﻟﺰاﺋﺮ ﻟﻬﺬه اﻟﻔﻌﺎﻟﻴﺔ اﻟﻜﺒرية ﻣﻦ أﻳﻦ‬ ‫ﻳﺒﺪأ وإﱃ أﻳﻦ ﺳﻴﻨﺘﻬﻲ‪ ،‬ﺣﻴﺚ ﺳﻴﺴري ﺑﺪون‬ ‫ﻫﺪى‪ ،‬ﻣﺎ ﻳﻘﻮده ﻫﻮ ﻋﻴﻨﺎه اﻟﻠﺘﺎن ﺗﺘﻨﻘﻼن‬ ‫ﺑﴪﻋﺔ ﻣﻦ ﺟﻬﺔ إﱃ أﺧﺮى‪ ،‬وﻣﻦ ﻋﻨﻮان إﱃ‬ ‫آﺧﺮ‪ ،‬ﻋﻠﻬام ﺗﺨﺮﺟﺎن ﺑﺼﻴﺪ مثني ﻣﻦ ﻫﺬا‬ ‫اﻟﺒﺤﺮ اﻟﻜﺒري ﻣﻦ اﻟﻌﻨﺎوﻳﻦ اﻟﻘﻴﻤﺔ‪ ،‬اﻟﺠﺪﻳﺪ‬ ‫ﻣﻨﻬﺎ واﻟﻘﺪﻳﻢ‪.‬‬ ‫ﻓﻘﺪ ﻗﺪم ﺻﻨﺎع اﻟﻜﺘﺎب ﻣﻦ ﻛﻞ ﺣﺪب وﺻﻮب‬ ‫ﻳﻌﺮﺿﻮن أﻣﺎم ﻣﺤﺒﻲ اﻟﺤﺮف واﻟﻜﻠﻤﺔ أﻫﻢ‬ ‫ﻣﻨﺸﻮراﺗﻬﻢ اﻟﺘﻲ ﺗﻨﺘﻤﻲ إﱃ ﺷﺘﻰ اﳌﺠﺎﻻت‪،‬‬ ‫ﻛﺎﻵدب واﻟﻔﻦ واﳌﴪح واﻟﺴﻴﺎﺳﺔ وﺻﻮﻻً إﱃ‬ ‫اﻟﻄﺒﺦ واﻟﺮﻳﺎﺿﺔ وﻋﻠﻮم اﻟﺘﻨﺠﻴﻢ وﻏريﻫﺎ‪ ،‬ﻫﻨﺎ‬ ‫ﺗﺨﺘﴫ اﳌﺴﺎﻓﺎت وﻳﺘﻘﺎرب اﻟﺰﻣﻦ وﻳﻨﺘﻔﻲ‬ ‫ﺗﻌﺒري »ﻏري ﻣﻮﺟﻮد« ﻓﻨﺤﻦ ﰲ ﺣﴬة واﺣﺪة‬ ‫ﻣﻦ أﻫﻢ ﻣﻌﺎرض اﻟﻜﺘﺎب ﰲ اﳌﻨﻄﻘﺔ‪.‬‬

‫ﰲ ﻣﺜﻞ ﻫﺬه اﻟﻔﻌﺎﻟﻴﺎت ﻳﺘﺠﲆ اﻟﺠامل ﻛﺘﺎب‪ ،‬وﻫﻨﺎ أﻋﻮد ﺑﺎﻟﺬاﻛﺮة إﱃ أﻟﺒﻮم اﻟﻌﺎﺋﻠﺔ‬ ‫اﻟﺤﻘﻴﻘﻲ ﻟﻠﻜﺘﺎب اﻟﻮرﻗﻲ‪ ،‬وﻳﻌﻮد ﺑﻨﺎ اﻟﺤﻨني ﺣﻴﺚ ﻛﺎﻧﺖ أﻳﺎدي اﻟﺸﺒﺎب ﰲ اﻟﺼﻮر ﺣﻴﻨﻬﺎ‬ ‫إﱃ اﻟﻮزن اﻟﺬي ﻳﺜﻘﻞ اﻟﻌﻘﻞ وﻻ ﻳﺘﻌﺐ ﺗﺘﺰﻳﻦ ﺑﺜﻼث‪ ،‬ﺳﺎﻋﺔ وﺧﺎﺗﻢ وﻛﺘﺎب‪.‬‬ ‫اﻟﺮاﺣﺘني‪ ،‬ﰲ ﻣﺜﻞ ﻫﺬه اﻟﻔﻌﺎﻟﻴﺎت ﻳﺼﺒﺢ‬ ‫اﻟﻜﺘﺎب اﻹﻟﻜﱰوين ﻣﻌﺪوم اﻟﻘﻴﻤﺔ‪ ،‬ﻓﻌﻨﺪﻣﺎ ﺑﻮﻟﻨﺪا ﺿﻴﻒ ﺷﺮف‬ ‫ﻳﺤﴬ اﻷﺻﻞ ﺗﱰاﺟﻊ اﻟﻔﺮوع إﱃ اﻟﺨﻠﻒ ﻣﻦ ﺧﻼل ﻣﺸﺎرﻛﺘﻬﺎ ﰲ ﻫﺬه اﻟﺪورة‬ ‫رﻏﻢ ﻋﻠﻤﻨﺎ أﻧﻬﺎ ﺳﺘﻌﻮد ﻟﻠﻈﻬﻮر ﺑﻌﺪ أن ﻳﻘﻔﻞ أرادت ﺑﻮﻟﻨﺪا أن ﺗﻘﺪم أدب ﺑﻼدﻫﺎ اﻟﺘﻲ‬ ‫اﳌﻌﺮض أﺑﻮاﺑﻪ‪ ،‬ﻓﻼ ﳾء أﺟﻤﻞ ﰲ اﻟﻴﺪ ﻣﻦ ﻳﻌﻮد ﺗﺎرﻳﺨﻬﺎ إﱃ ‪ 1,000‬ﺳﻨﺔ‪ .‬وﺗﻌﻜﺲ‬ ‫ﻳﻮﻧﻴﻮ ‪79 2018 /‬‬

‫ﻓﻌﺎﻟﻴ‪SSSSSSSSSSSSS‬ﺎت‬ ‫‪baytelshear‬‬

‫ﻣﻌﺮض أﺑﻮﻇﺒﻲ اﻟﺪوﻟﻲ ﻟﻠﻜﺘﺎب ‪2018‬‬ ‫اﺣﺘﻔﺎء ﺑﺰاﻳﺪ وﺗﺄﻛﻴﺪ ﻋﻠﻰ ﻗﻴﻤﺔ ا?ﺑﺪاع واﻟﻤﻌﺮﻓﺔ‬ ‫ﻣﺼﻄﻔﻰ ﺟﻨﺪي‬

‫ﺗﺤﺖ رﻋﺎﻳﺔ ﺻﺎﺣﺐ اﻟﺴﻤﻮ اﻟﺸﻴﺦ ﻣﺤﻤﺪ‬ ‫ﺑﻦ زاﻳﺪ آل ﻧﻬﻴﺎن‪ ،‬وﱄ ﻋﻬﺪ أﺑﻮﻇﺒﻲ ﻧﺎﺋﺐ‬ ‫اﻟﻘﺎﺋﺪ اﻷﻋﲆ ﻟﻠﻘﻮات اﳌﺴﻠﺤﺔ‪ ،‬اﻓﺘﺘﺢ ﺳﻤﻮ‬ ‫اﻟﺸﻴﺦ ﻋﺒﺪ اﻟﻠﻪ ﺑﻦ زاﻳﺪ آل ﻧﻬﻴﺎن‪ ،‬وزﻳﺮ‬ ‫اﻟﺨﺎرﺟﻴﺔ واﻟﺘﻌﺎون اﻟﺪوﱄ‪ ،‬اﻟﺪورة اﻟـ‪ 28‬ﻣﻦ‬ ‫ﻣﻌﺮض أﺑﻮﻇﺒﻲ اﻟﺪوﱄ ﻟﻠﻜﺘﺎب اﻟﺬي ﺗﻨﻈﻤﻪ‬ ‫داﺋﺮة اﻟﺜﻘﺎﻓﺔ واﻟﺴﻴﺎﺣﺔ ﰲ أﺑﻮﻇﺒﻲ ﰲ ﻣﺮﻛﺰ‬ ‫أﺑﻮﻇﺒﻲ اﻟﻮﻃﻨﻲ ﻟﻠﻤﻌﺎرض‪.‬‬ ‫اﻟﺸﻌﺮ ‪ /‬اﻟﻌﺪد ‪68‬‬ ‫‪ 78‬ﺑﻴﺖ ِ‬

‫واﻓﺘﺘﺢ ﻣﻌﺮض أﺑﻮﻇﺒﻰ اﻟﺪوﱃ ﻟﻠﻜﺘﺎب ﻫﺬا‬ ‫اﻟﻌﺎم ﺗﺤﺖ ﺷﻌﺎر »ﻧﺒﻨﻲ اﳌﺴﺘﻘﺒﻞ« ﻣﻘﺪﻣﺎً‬ ‫أﻛرث ﻣﻦ ‪ 500‬أﻟﻒ ﻋﻨﻮان ﻛﺘﺎب ﰱ ﻣﺨﺘﻠﻒ‬ ‫اﻟﻠﻐﺎت‪ ،‬ﻛام ﺗﻢ اﺧﺘﻴﺎر اﻟﺸﻴﺦ زاﻳﺪ ﺑﻦ‬ ‫ﺳﻠﻄﺎن آل ﻧﻬﻴﺎن ”ﺷﺨﺼﻴﺔ اﳌﻌﺮض“ وذﻟﻚ‬ ‫مبﻨﺎﺳﺒﺔ ﻣﺮور ‪ 100‬ﻋﺎم ﻋﲆ ﻣﻴﻼده‪.‬‬ ‫وﺷﻤﻞ ﺑﺮﻧﺎﻣﺞ اﳌﻌﺮض ﻧﺤﻮ ‪ 830‬ﻧﺪوة‬ ‫وﺟﻠﺴﺔ ﺣﻮارﻳﺔ وﺣﻠﻘﺔ ﻧﻘﺎﺷﻴﺔ ﻛام اﺳﺘﻀﺎف‬ ‫ﻣﺠﻤﻮﻋﺔ ﻛﺒرية ﻣﻦ اﻟﻜﺘﺎب واﳌﻔﻜﺮﻳﻦ‬

‫واﳌﺜﻘﻔني ﻣﻦ ﺑﻴﻨﻬﻢ اﻟﻔﺎﺋﺰون ﺑﺎﻟﺠﺎﺋﺰة‬ ‫اﻟﻌﺎﳌﻴﺔ ﻟﻠﺮواﻳﺔ اﻟﻌﺮﺑﻴﺔ وﺟﺎﺋﺰة اﻟﺸﻴﺦ زاﻳﺪ‬ ‫ﻟﻠﻜﺘﺎب ﻟﻬﺬا اﻟﻌﺎم‪.‬‬ ‫وﺷﺎرك ﻣﺮﻛﺰ ﺳﻠﻄﺎن ﺑﻦ زاﻳﺪ ﺑﺠﻨﺎح ﰲ‬ ‫ﻣﻌﺮض أﺑﻮﻇﺒﻲ اﻟﺪوﱄ ﻟﻠﻜﺘﺎب ‪ ، 2018‬وﺗﺄيت‬ ‫ﻫﺬه اﳌﺸﺎرﻛﺔ ﰲ اﻃﺎر ﺗﻮﺟﻴﻬﺎت ﺳﻤﻮ‬ ‫اﻟﺸﻴﺦ ﺳﻠﻄﺎن ﺑﻦ زاﻳﺪ آل ﻧﻬﻴﺎن ﻣﻤﺜﻞ‬ ‫ﺻﺎﺣﺐ اﻟﺴﻤﻮ رﺋﻴﺲ اﻟﺪوﻟﺔ رﺋﻴﺲ اﳌﺮﻛﺰ‪،‬‬ ‫وﻣﺘﺎﺑﻌﺔ اﻟﺸﻴﺦ اﻟﺪﻛﺘﻮر ﺧﺎﻟﺪ ﺑﻦ ﺳﻠﻄﺎن‬

‫ﻣﻦ ﻋﻴﻮن اﻟﺸﻌﺮ‬ ‫ﻋﺪﺗﻲ وﻋﺘﺎدي‬ ّ ‫ﻣﺤﻤﻮد ﺳﺎﻣﻲ اﻟﺒﺎرودي‬

‫ﻣﺮت ﺳﻨﺘﺎن ﻋﲆ وﺟﻮد ﺷﺎﻋﺮ اﻟﺴﻴﻒ واﻟﻘﻠﻢ ﻣﺤﻤﻮد ﺳﺎﻣﻲ اﻟﺒﺎرودي ﻣﻨﻔ ّﻴﺎً ﰲ ﺟﺰﻳﺮة ﺳﻴﻼن ﻣﻦ ﻗﺒﻞ اﻟﺴﻠﻄﺔ‬ ‫ ﻓﻘﺎل ﻫﺬه اﻷﺑﻴﺎت ﻣﻦ ﻗﺼﻴﺪة ﻃﻮﻳﻠﺔ‬..‫ ﻓﺒﻠﻐﻪ ﻧﺒﺄ وﻓﺎة زوﺟﺘﻪ‬..‫اﻹﻧﺠﻠﻴﺰﻳﺔ ﺑﻌﺪ ﻓﺸﻞ اﻟﺜﻮرة اﻟﻌﺮاﺑﻴﺔ اﻟﺘﻲ ﺷﺎرك ﻓﻴﻬﺎ‬ :‫ﺗﻌﺪ ﻣﻦ ﻋﻴﻮن اﻟﺸﻌﺮ اﻟﺤﺪﻳﺚ‬

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.‫ اﻟﺬﻳﻦ ﻳﺰورون اﳌﺮﻳﺾ‬:‫( اﻟﻌﻮادي‬5) .‫ ﺣﺎرﻗﺔ‬:‫( ﻟﻮاﻓﺢ‬6) .‫ اﻟﺬاﻫﺐ ﻣﻦ ﻏري رﺟﻌﺔ‬:‫( اﻟﻐﺎدي‬7)

77 2018 / ‫ﻳﻮﻧﻴﻮ‬

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‫ واﳌﺮاد ﺑﻪ اﻟﻠﻮن‬،‫ اﻟﺘﻮت اﻷﺣﻤﺮ ﺧﺎﺻﺔ‬:‫( اﻟﻔِﺮﺻﺎد‬4) ‫ ﻳﺮﻳﺪ أن دﻣﻌﻪ ﻳﻨﺰل دﻣﺎً ﻣﻦ ﻓﺮط أﳌﻪ‬،‫اﻷﺣﻤﺮ ﻋﺎﻣﺔ‬ .‫ووﺟﺪه‬

.‫ اﻟﻔﻴﻠﻖ ﻫﻮ اﻟﺠﻴﺶ‬:‫( ﻓﻴﻠﻖ‬1) .‫ اﻟﺮﻣﺢ ﻳﺴﺘﺨﺪم ﳌﻼﺣﻘﺔ اﻷﻋﺪاء‬:‫( رﻣﺢ ﻃﺮاد‬2) .‫ أﻗﺎم ﺑﺎﳌﻜﺎن‬:‫( أﻧﺎخ‬3)

‫اﻟﺠ‪SSSSSSS‬ﺎﻫﻠﻲ‬ ‫‪baytelshear‬‬ ‫*‪R¥CC¡CC< QlCCCCC. XzCCCCC0R ¬{CCCCCCG* S,ÌCCCCCCCCG‬‬ ‫‪ *3K‬‬ ‫‪R‬‬ ‫‪ fCC¡CCM|CCqCCtCCR¼* «CC CCtCCIK ¨CC CCtCCRI ¥CCC+‬‬ ‫‪R C CCCCgCCCCE fCCCCC¡V CCCCCHK‬‬ ‫‪hCC‬‬ ‫‪O CªCCC CCCF «CCCC<fCCCC CCCV C CCCCG* jCCC‬‬ ‫‪13‬‬ ‫‪]fCCCC¡CCCCªCCCCGKQ UzCCCCCE T¸(* SzCCCCqCCCC¼* ¬&W fCCCCCCCCD‬‬ ‫‪12‬‬

‫*&‪«CCCC+2&* ¾(* ¨CCC CCC<&¸* |CC CCI ¬{CCCCG* fCCCCI‬‬ ‫‪ CR C CC CC8 ¥CCC+ ¢CCCH «CC-fCC CC CCF UlCCCC Q CCCC Q CCCC CCCU C6&*K‬‬

‫وﻋﲆ ﻣﺎ ﰲ اﻟﻨﻤﻮذﺟني اﻟﺴﺎﺑﻘني ﻣﻦ ﻗﻮة وﺟﺰاﻟﺔ؛ وﻗﻴﻤﺔ ﺷﻌﺮﻳﺔ‬ ‫اﳌﻘﻄﻊ اﻟﻌﻈﺎﻣﻲ‬ ‫ﻃﺎﻓﺤﺔ‪ ،‬ﻳﺸﻬﺪ ﻋﻠﻴﻬام اﻟﻨﻘﺪ اﻟﻘﺪﻳﻢ اﻟﺬي َﺻ ﱠﻨ َﻒ‬ ‫َ‬ ‫اﳌﻘﻄﻊ اﻟﻌﻈﺎﻣﻲ‬ ‫وﺻ ﱠﻨ َﻒ‬ ‫اﻷول ﺿﻤﻦ اﳌﻔﻀﻠﻴﺎت اﳌﺨﺘﺎرة ﻟﻠﻀﺒﻲ‪َ ،‬‬ ‫َ‬ ‫اﻟﺜﺎين ﺿﻤﻦ اﳌﻌﻠﻘﺎت اﻟﺴﺒﻊ )ﻟﻠﺰوزين(‪ .‬إﻻ أن ﻗﻴﻤﺔ اﻟﻔﺨﺮ اﻟﻌﻈﺎﻣﻲ‬ ‫ﺗﺒﺪو ﻣﺘﺪﻧﻴﺔ مبﺮاﺣﻞ أﻣﺎم اﻟﻔﺨﺮﻳﺎت اﻟﻌﺼﺎﻣﻴﺔ اﻟﺘﻲ ﺗﻨﺒﻊ ﻣﻦ ﻗﻮة‬ ‫اﻟﺬات واﻋﺘﺰاز اﻟﺸﺨﺺ ﺑﻨﻔﺴﻪ؛ ومبﻨﺠﺰه اﻟﻔﺮدي ﺑﻌﻴﺪاً ﻋﻦ ﻣﻨﺠﺰ‬ ‫ﻗﺒﻴﻠﺘﻪ أو أﺑﻴﻪ أو أﺑﻨﺎء ﻋﻤﻮﻣﺘﻪ وأﺑﻨﺎء ﺧﺆوﻟﺘﻪ‪ .‬ﻫﻨﺎ ﻗﻴﻤﺔ اﻟﺬات‬ ‫ﺗﻐﻠﺐ ﻗﻴﻤﺔ اﻟﺠامﻋﺔ ﰲ ﻣﻴﺰان اﻟﻘﻴﻢ اﻷﺧﻼﻗﻴﺔ اﻟﺘﻲ ﻳﺴﻌﻰ اﳌﺮء‬ ‫ﻟﻠﺘﺰﻳﻦ ﺑﻬﺎ‪ ،‬وﻻ َﺗ ِﺰﻳ ُﻨ ُﻪ أو َﺗ ِﺰﻳﺪه َذ ﱠر َة ﺣﺴﻦ إذا اﺗﺸﺢ ﺑﻬﺎ أﺣﺪ أﻧﺴﺒﺎﺋﻪ‬ ‫وﻛﺎن ﻫﻮ ﺧِ ْﻠﻮاً ﻣﻨﻬﺎ ﻋﲆ اﻟﺮﻏﻢ ﻣﻦ اﺳﺘﻔﺎدﺗﻪ ﻣﻦ ﺻﻴﺘ ِﻪ !!‬ ‫اﻟﻌﺮﺟﻲ ﻣﺜﻼ ﰲ ﺑﻴﺘﻪ اﻟﻌﺼﺎﻣﻲ اﻟﺸﻬري‪:‬‬ ‫ﻣﻦ ﻫﺬه اﳌﻨﻄﻠﻘﺎت ﻧﺠﺪ ﻗﻮل‬ ‫ﱢ‬

‫أﺟﻮد ﻣﻦ ﻗﻮل اﻟﺤﺼني ﺑﻦ ﺣامم ﻋﲆ اﻟﺮﻏﻢ ﻣﻦ أن ﻗﺼﻴﺪة ﻫﺬا‬ ‫اﻷﺧري ﻫﻲ إﺣﺪى ﻣﺨﺘﺎرات اﻟﺸﻌﺮ اﻟﻌﺮيب اﻷﺟﻮد ﺑﺎﻟﻨﺴﺒﺔ ﻟﻠﻤﻔﻀﻞ‬ ‫اﻟﻀﺒﻲ‪.‬‬ ‫وﻛام أﺳﻠﻔﻨﺎ‪ ،‬وﺑﺤﺜﺎ ﻋﻦ اﻟﺘﻨﺎﺳﺒﺎت اﻟﺠامﻟﻴﺔ ﻟِﺸِ ﻘ ْﱠﻲ اﻟﻔﺨﺮ؛ ﻧﻮرد ﻫﺬه‬ ‫اﻟﻘﺼﺔ اﻟﺘﻲ ﺗﺴﺘﻈﻬﺮ ﻣﺎ ﰲ أﻧﻔﺴﻨﺎ وﺗﻜﻔﻨﺎ ﻋﻨﺎء اﻟﴩح؛ »ﻳﻘﺎل‪ :‬إﻧﻪ‬ ‫ُوﺻِ َﻒ ﻋﻨﺪ اﻟﺤﺠﺎج ٌ‬ ‫رﺟﻞ ﺑﺎﻟﺠﻬﻞ‪ ،‬وﻛﺎﻧﺖ إﻟﻴﻪ ﺣﺎﺟﺔ‪ ،‬ﻓﻘﺎل ﰲ ﻧﻔﺴﻪ‪:‬‬ ‫ً‬ ‫ً‬ ‫ﻷﺧﺘﱪ ﱠﻧ ُﻪ‪ ،‬ﺛﻢ ﻗﺎل ﻟﻪ ﺣني دﺧﻞ ﻋﻠﻴﻪ‪ :‬أﻋﺼﺎﻣﻴﺎ أﻧﺖ أم ﻋﻈﺎﻣﻴﺎ؟ ﻳﺮﻳﺪ‬ ‫َُ‬ ‫أﴍ ْﻓ َﺖ أﻧﺖ ﺑﻨﻔﺴﻚ أم ﺗﻔﺘﺨﺮ ﺑﺂﺑﺎﺋﻚ اﻟﺬﻳﻦ ﺻﺎروا ﻋﻈﺎﻣﺎً؟ ﻓﻘﺎل‬ ‫اﻟﺮﺟﻞ‪ :‬أﻧﺎ ﻋﺼﺎﻣﻲ وﻋﻈﺎﻣﻲ‪ ،‬ﻓﻘﺎل اﻟﺤﺠﺎج ﻫﺬا أﻓﻀﻞ اﻟﻨﺎس‪ ،‬وﻗﴣ‬ ‫ﺣﺎﺟﺘﻪ‪ ،‬وزاده«‪.16‬‬ ‫إن ﻣﺎ ﻧﺴﻌﻰ ﻟﻠﻮﺻﻮل إﻟﻴﻪ ﻫﻮ اﻟﻮﻗﻮف ﻋﲆ ﻗﺼﻴﺪة ﻳﺠﻤﻊ ﻓﻴﻬﺎ‬ ‫اﳌﻔﺘﺨﺮ ﻋﺼﺎﻣﻴﺘﻪ وﻋﻈﺎﻣﻴﺔ؛ َﻓ َﻴ ْﻌ َﺘ ﱠﺰ ﺑﺎﻷوﱃ وﻳﺠﻌﻠﻬﺎ ﻧﻮاة ﻓﺨﺮﻳﺘﻪ‬ ‫ﻋﲆ ﻧﺤﻮ ﻗﻮل اﳌﺘﻨﺒﻲ‪:‬‬

‫*&‪*§CCC<fCCC CCC9&* ¨CCCkCCCD ¬&*K É§CCCC<fCCCC CCCC9‬‬ ‫‪|CCC CCC. 2*zCCCCCCCC CCCCCCCC6K jCCCCC¤CCCCCM|CCCCCF §CCCCCCªCCCCCCG‬‬

‫ ¸ ‪«+ *§CCCD|CCC CCC7 CCC+ RlCCCD|CCC CCC7 «CCH§CC CC+‬‬ ‫‪¬2KzCCCCqCCCC+ ¸ m|CCCCwCCCCD «CCC CCC CCC CCC¡CCC+K‬‬

‫أَ ْﺟ َﻮ َد ﻣام ﻗﺎﻟﻪ ﻋﻤﺮو ﺑﻦ ﻛﻠﺜﻮم ﰲ ﻛﻞ ﻣﻌﻠﻘﺘﻪ؛ ﻋﲆ اﻟﺮﻏﻢ ﻣﻦ أن‬ ‫أﺣﺪﻫام ﺟﺎﻫﲇ واﻟﺜﺎين أﻣﻮي؛ وﻋﲆ اﻟﺮﻏﻢ ﻣﻦ أن اﻟﻌﺮﺟﻲ ﻟﻮ أراد و ُﻳ َﺪ ﱢﻋ َﻢ ﺑﺎﻟﺜﺎﻧﻴﺔ إذا اﺿﻄﺮ إﱃ ذﻟﻚ ﻋﲆ ﻗﺪر ﻣﻦ اﻻﺣﺘﺸﺎم ﻣﻦ دون‬ ‫أن ﻳﻔﺘﺨﺮ ﺑﻠﻐﺔ »ﻋﻈﺎﻣﻴﺔ« ﻟﻜﺎن ﻟﻪ ذﻟﻚ وﻷﺟﺎد ﻛﻮﻧﻪ ﺣﻔﻴﺪ ﻋﺜامن ﺗﻐﻠﻴﺒﻬﺎ؛ ﻋﲆ ﻧﺤﻮ ﻗﻮﻟﻪ أﻳﻀﺎ ﻣﻀﻴﻔﺎً‪:‬‬ ‫‪X |CCC‬‬ ‫ ‪fCC CC CCG* CCC CCCI ¢CCCCH CCCCCF‬‬ ‫‪R CwCCCCD CCCC¤CCCC+K‬‬ ‫ﺑﻦ ﻋﻔﺎن رﴈ اﻟﻠﻪ ﻋﻨﻪ!!‬ ‫‪R C=K ÉfCCCCC¹* 3R §CCCCCC<K 2Q‬‬ ‫‪SzCCM|CC CCG* m§CCCCC‬‬ ‫ﻛام إﻧﻨﺎ ﻧﺮى ﻗﻮل اﳌﺘﻨﺒﻲ ﰲ ﻣﻘﻄﻊ ﻣﻦ ﻗﺼﻴﺪﺗﻪ اﻟﻌﺼﺎﻣﻴﺔ اﻟﺸﻬرية‪:‬‬ ‫وﻫﻜﺬا ﻓﺈن ﻣﻌﻈﻢ اﻟﻔﺨﺮ اﻟﺬي ﻣﺮ ﻋﻠﻴﻨﺎ ﰲ اﻟﱰاث اﻟﻘﺪﻳﻢ‪ ،‬ﻟﻴﺲ‬ ‫*»‪ «¡D| - $*zCCªCCgCCG*K CCªCC CCG* K CCªCC‬‬ ‫‪15‬‬ ‫‪ G*K‬ﰲ اﻟﺤﻘﻴﻘﺔ ﻫﻮ أﺟﻮد ﻣﺎ ﻗﻴﻞ ﻣﺎ مل َﻳ َﺘ َﺠ ْﻮ َﻫ ْﺮ ﻋﲆ ﻋﺼﺎﻣﻴﺔ ﺣﻘﻴﻘﻴﺔ‪.‬‬ ‫‪ 6f:| G*K uCCH|CCG*K ª G*K‬‬ ‫‪R‬‬

‫اﻟﻤﺮاﺟﻊ‪:‬‬ ‫)‪ (1‬ﻳﺎﺳني ﺣﺰﻛﺮ‪ ،‬اﻟﻨﺎﺑﻐﺔ اﻟﺬﺑﻴﺎين وﻗﻴﻤﺔ اﻟﻔﺨﺮ ﰲ ﺳﻴﺎق اﻟﻜامل‬ ‫اﻻﺟﺘامﻋﻲ‪ ،‬ﻣﺠﻠﺔ ﺑﻴﺖ اﻟﺸﻌﺮ‪ ،‬ﻋﺪد ‪ ،59‬أﺑﻮ ﻇﺒﻲ‪-‬اﻹﻣﺎرات اﻟﻌﺮﺑﻴﺔ‬ ‫اﳌﺘﺤﺪة‪ ،‬ﺳﺒﺘﻤﱪ ‪ ،2017‬ص ‪.81‬‬ ‫)‪ (2‬ﺳﻮدت‪ :‬ﺟﻌﻠﺘﻪ ﻳﺴﻮد‪.‬‬ ‫)‪ (3‬اﻟﻜﺮ‪ :‬اﻟﻬﺠﻮم ﻟﻐﺔ‪ ،‬واﻟﻠﻔﻈﺔ ﻫﻨﺎ مبﻌﻨﻰ اﻟﺤﺮب‪.‬‬ ‫)‪ (4‬اﻹﻗﺪام‪ :‬اﻟﺸﺠﺎﻋﺔ‪.‬‬ ‫ً‬ ‫)‪» (5‬زﻋﻤﻮا أن ﻋﺼﺎم ﺑﻦ ﺷﻬري اﻟﺠﺮﻣﻲ ﻛﺎن أﺷﺪ اﻟﻨﺎس ﺑﺄﺳﺎ‪ ،‬أﺑﻴﻨﻬﻢ‬ ‫ﻟﺴﺎﻧﺎً‪ ،‬وأﺣﺰﻣﻬﻢ رأﻳﺎً‪ ،‬ومل ﻳﻜﻦ ﰲ ﺑﻴﺖ ﻗﻮﻣﻪ‪ ،‬وﻛﺎن ﻣﻦ ﺻﻠﺤﺎﺋﻬﻢ‪ ،‬وﻛﺎن‬ ‫ﻋﲆ ﻋﺎﻣﺔ أﻣﺮ اﻟﻨﻌامن‪ ،‬ﻗﺎل‪ :‬ﻗﺎﺋﻞ ﻣﻦ اﻟﻨﺎس‪ :‬وﻛﻴﻒ ﻧﺰل ﻋﺼﺎم ﺑﻬﺬه‬ ‫اﳌﻨﺰﻟﺔ ﻣﻦ اﻟﻨﻌامن وﻟﻴﺲ ﰲ ﺑﻴﺖ ﻗﻮﻣﻪ وﻟﻴﺲ ﺑﺴﻴﺪﻫﻢ؟‬ ‫ﻓﻘﺎل ﻋﺼﺎم‪:‬‬ ‫ﻧﻔﺲ ﻋﺼﺎم ﺳ ﱠﻮدت ﻋﺼﺎﻣﺎً ‪ ..‬وﺟﻌﻠﺘﻪ ﻣﻠﻜﺎً ﻫامﻣﺎً‬ ‫اﻟﻜﺮ واﻹﻗﺪاﻣﺎ ‪ ..‬وأﻟﺤﻘﺘﻪ اﻟﺴﺎدة اﻟﻜﺮاﻣﺎ« اﳌﻔﻀﻞ اﻟﻀﺒﻲ‪ ،‬أﻣﺜﺎل‬ ‫وﻋ ﱠﻠﻤﺘﻪ ﱠ‬ ‫اﻟﻌﺮب‪ ،‬ﺗﺤﻘﻴﻖ إﺣﺴﺎن ﻋﺒﺎس‪ ،‬ج‪ ،1‬ص ‪.167‬‬ ‫)‪ (6‬اﻟﺤﺴﻦ اﻟﻴﻮﳼ‪ ،‬اﳌﺤﺎﴐات ﰲ اﻷدب واﻟﻠﻐﺔ‪ ،‬ﺗﺤﻘﻴﻖ وﴍح ﻣﺤﻤﺪ‬ ‫اﻟﺸﻌﺮ ‪ /‬اﻟﻌﺪد ‪68‬‬ ‫‪ 76‬ﺑﻴﺖ ِ‬

‫ﺣﺠﻲ وأﺣﻤﺪ اﻟﴩﻗﺎوي إﻗﺒﺎل‪ ،‬ط‪ ،2‬ج‪ ،1‬ج‪ ،2‬دار اﻟﻐﺮب اﻹﺳﻼﻣﻲ‪،‬‬ ‫ﺑريوت‪-‬ﻟﺒﻨﺎن‪ ،2006 ،‬ص ‪.59‬‬ ‫)‪ (7‬اﻟﺪارة ﻣﺎ أﺣﺎط ﺑﺎﻟﴚء‪.‬‬ ‫)‪ (8‬اﻟﺮﻫﻂ ﺟامﻋﺔ اﻟﺮﺟﻞ اﳌﻘﺮﺑﺔ إﻟﻴﻪ‪.‬‬ ‫)‪ (9‬ﻣﺤﻤﺪ ﺑﻦ اﳌﺒﺎرك ﺑﻦ ﻣﺤﻤﺪ ﺑﻦ ﻣﻴﻤﻮن‪ ،‬ﻣﻨﺘﻬﻰ اﻟﻄﻠﺐ ﻣﻦ أﺷﻌﺎر‬ ‫اﻟﻌﺮب‪ ،‬ﺗﺤﻘﻴﻖ وﴍح ﻣﺤﻤﺪ ﻧﺒﻴﻞ ﻃﺮﻳﻔﻲ‪ ،‬ط‪ ،1‬ج‪ ،2‬دار ﺻﺎدر ﺑريوت‪-‬‬ ‫ﻟﺒﻨﺎن‪ .1999 ،‬ص ص ‪.150-149‬‬ ‫)‪ (10‬اﺳﻢ ﻗﺒﻴﻠﺔ‪.‬‬ ‫)‪ (11‬اﻟﺨﻄﻮب ﻫﻨﺎ مبﻌﻨﻰ أﺧﺒﺎر وأﻳﺎم اﻟﻘﺪﻣﺎء‪.‬‬ ‫)‪ (12‬اﻟﺬﻳﻦ ﻫﻢ ﺗﺤﺖ رﻋﺎﻳﺔ اﻟﻔﺮﺳﺎن؛ ﻛﺎﻷﻃﻔﺎل واﻟﻨﺴﺎء وﻛﺒﺎر اﻟﺴﻦ‪.‬‬ ‫)‪ (13‬اﺑﻦ ﻣﻴﻤﻮن‪ ،‬ﻣﻨﺘﻬﻰ اﻟﻄﻠﺐ‪ ،‬ﻣﺼﺪر ﺳﺎﺑﻖ‪ ،‬ص ص ‪.139-138‬‬ ‫)‪ (14‬ﻳﻮم اﻟﺤﺮب‪ .‬وﺗﺴﻤﻰ اﻟﺤﺮب اﻟﻜﺮﻳﻬﺔ ﻷﻧﻬﺎ ﻣﻜﺮوﻫﺔ‪.‬‬ ‫)‪ (15‬اﻟﻘﺮﻃﺎس‪ :‬اﻟﺼﺤﻴﻔﺔ‪.‬‬ ‫)‪ (16‬اﳌﻴﺪاين‪ ،‬ﻣﺠﻤﻊ اﻷﻣﺜﺎل‪ ،‬ج‪ ،1‬ﻣﺆﺳﺴﺔ اﻟﻄﺒﻊ واﻟﻨﴩ اﻷﺳﺘﺎﻧﺔ‬ ‫اﻟﺮﺿﻮﻳﺔ‪ ،1344 ،‬ص ‪.294‬‬

‫ﻟﻘﺪ ﺳﺒﻖ وأوﺿﺤﻨﺎ ﰲ ﻫﺬا اﳌﻨﱪ ﻧﻔﺴﻪ )ﻣﺠﻠﺔ ﺑﻴﺖ اﻟﺸﻌﺮ( ﻋﲆ‬ ‫أن »ﺣﺮص اﻟﻌﺮب ﻋﲆ ﺣﻔﻆ وﺗﺄﺻﻴﻞ أﻧﺴﺎﺑﻬﻢ وﻣﺒﺎﻟﻐﺘﻬﻢ ﰲ ذﻟﻚ‬ ‫ﻣﻊ إﻫامﻟﻬﻢ ﺗﺄﺻﻴﻞ ﺗﻮارﻳﺦ ازدﻳﺎدﻫﻢ؛ ﻳﺤﻴﻞ ﺑﻄﺮﻳﻘﺔ ﻣﻦ اﻟﻄﺮق إﱃ‬ ‫ﻗﺪاﺳﺔ اﻟﺠامﻋﺔ اﻟﺘﻲ ﻳﻨﺘﻤﻲ إﻟﻴﻬﺎ اﳌﺮء وأﻫﻤﻴﺔ اﻟﺪم اﻟﺠامﻋﻲ اﻟﺬي‬ ‫ﺗﺘﻘﻄﺮ ﻣﻨﻪ ذاﺗﻴﺔ اﻟﺸﺎﻋﺮ؛ ﻫﺬه اﻟﺬات اﻟﺘﻲ ﺗﻘﺰم ﻧﻔﺴﻬﺎ وﺗﻀﺨﻢ‬ ‫ﺟامﻋﺘﻬﺎ ﻗﺼﺪ ﺑﻠﻮغ أﻋﲆ ﻣﻘﺎﻣﺎت اﻟﻔﺨﺮ‪..‬‬ ‫إن إﻟﻐﺎء اﻟﺬات ﻫﻮ ﺗﻮاﺿﻊ ﻛﺒري وﺧﻄﻮة اﺳﱰاﺗﻴﺠﻴﺔ ﻗﺒﻞ ﺗﻌﻠﻢ‬ ‫اﻻﻋﺘﺰاز ﺑﻬﺎ؛ ﻣﻦ مثﺔ ﻛﺎن اﻻﻓﺘﺨﺎر ﺑﺎﻷب واﻟﺠﺪ واﻷﻋامم واﻟﻌﺸرية‬ ‫واﻟﻔﺨﺬ واﻟﻘﺒﻴﻠﺔ‪َ ..‬ﻣ ْﻮﺿﻌ ًﺔ ﻟﻬﺬه اﻟﺬات اﳌﻔﺘﺨﺮة ﰲ ﺳﻴﺎﻗﺎت اﻟﻜامل‬ ‫اﻻﺟﺘامﻋﻲ‪ ..‬ﻫﺬه اﻟﺬات وإن ﻛﺎﻧﺖ ﺷﺎﻋﺮة أو ﻧﺒﻴﻠﺔ أو ﻓﺎرﺳﺔ‬ ‫ﻓﺈن ﻗﻴﻤﺘﻬﺎ ﺗﺰﻳﺪ إن ﻛﺎن ﻣﻌﺪﻧﻬﺎ ﻋﲆ اﳌﺴﺘﻮى اﻟﻘﻴﻤﻲ واﻷﺧﻼﻗﻲ‬ ‫واﻻﺟﺘامﻋﻲ ﻧﻔﺴﻪ«‪ .1‬ﻏري أن ﻫﺬه اﻻﺳﱰاﺗﻴﺠﻴﺔ ﻻ ﺗﻨﺠﺢ دامئﺎ إذا‬ ‫مل ﻳﺴﺘﻄﻊ اﻟﺸﺎﻋﺮ أن ﻳﺨﺮج ﻣﻦ ﺟﺒﺔ ﺟامﻋﺘﻪ‪ ،‬أو إذا ﺧﺮج وﺧَ َﻤ َﻞ‬ ‫ِذ ْﻛﺮ ُه ﺑﻌﺪ ذﻟﻚ !! إﻧﻨﺎ ﻧﺘﺤﺪث ﺑﻮﻋﻲ ﺟامﱄ ﻋﻦ إﺟﺮاء ﺗﻨﺎﺳﺒﺎت ﰲ‬ ‫اﻟﻔﺨﺮ ﺑني ﺷﻘﻴﻪ‪» :‬اﻟﻌﻈﺎﻣﻲ واﻟﻌﺼﺎﻣﻲ« ﺑﺤﻴﺚ ﻻ ﺗﻜﻮن اﻟﺬات ذﻟﻚ‬ ‫اﻟﻘﺰم اﻟﺬي اﺑﺘﻠﻌﺘﻪ ﻗﺎﻣﺎت وﻫﺎﻣﺎت اﻟﺠامﻋﺔ‪ ،‬وﻟﻜﻦ ﺗﻠﻚ اﻟﺸﺠﺮة اﻟﺘﻲ‬ ‫ﺗﺨﻔﻲ اﻟﻐﺎﺑﺔ‪ ..‬وﻗﺒﻞ أن ﻧﺼﻞ إﱃ ﻫﺬا اﳌﺴﺘﻮى ﻣﻦ اﻟﻮﻋﻲ ﻟِ َﻨ ْﺒﺴِ ْﻂ‬ ‫ﺷﻴﺌﺎ ﻓﺸﻴﺌﺎ ﻟﻈﺎﻫﺮيت اﻟﻌﻈﺎﻣﻴﺔ واﻟﻌﺼﺎﻣﻴﺔ ﰲ اﻟﻘﺼﻴﺪة اﻟﻔﺨﺮﻳﺔ‬ ‫اﻟﺠﺎﻫﻠﻴﺔ‪.‬‬

‫ﻟﻘﺪ أﺣﺎط اﻟﻘﺪﻣﺎء ﺑﻤﻔﻬﻮم اﻟﻔﺨﺮ إﺣﺎﻃﺔ‬ ‫دﻗﻴﻘﺔ؛ وذﻟﻚ ﺑﺎﻟﻨﻈﺮ إﻟﻰ ﻧﻮﻋﻴﺔ أﺻﺤﺎﺑﻪ‬ ‫ﻣﻔﻬﻮم »اﻟﻌﻈﺎﻣﻴﺔ« ﻳﺤﻴﻞ ﻋﻠﻰ اﻟﻤﻮت واﻟﺘﺤﻠﻞ‬ ‫واﻟﻘﺪم؛ ﻓﻲ ﺣﻴﻦ أن ﻣﻔﻬﻮم »اﻟﻌﺼﺎﻣﻴﺔ«‬ ‫ﻳﺤﻴﻞ ﻋﻠﻰ اﻟﺤﺎﺿﺮ اﻟﺮاﻫﻦ‬ ‫ﻛﺎن اﻟﻔﺨﺮ ﺿﺮﺑﺎ ﻣﻦ »اﻟﺸﻌﺮ اﻟﻮﻇﻴﻔﻲ«‬ ‫اﻟﺬي ُﺗﻘﻀﻰ ﻣﻦ وراﺋﻪ اﻟﻤﺂرب اﻟﻨﻔﺴﻴﺔ ﻗﺒﻴﻞ‬ ‫اﺷﺘﻌﺎل اﻟﺤﺮوب واﻧﺪﻻع ﻧﻴﺮاﻧﻬﺎ‬

‫اﻟﺤﻤﻮﻟﺔ »اﻷﺧﻼﻗﻴﺔ« ﻟﻠﺜﺎين أﻗﻮى وأﴍف ﻟﻘﺎﺋﻠﻬﺎ‪ ،‬وإن ﻛﺎن اﳌﻔﻬﻮم‬ ‫اﻷول أ ْد َر ُج ﰲ اﻟﻠﺴﺎن وأﻛرث ﺗﻮﻇﻴﻔﺎً ﰲ اﻟﺸﻌﺮ‪.‬‬ ‫َ‬ ‫وﻫﺎك منﺎذج ﻟﻠﻤﻔﻬﻮﻣني ﺣﺘﻰ ﺗﺴﺘﻄﻴﻊ اﻟﺘﻔﺮﻳﻖ ﺑﻴﻨﻬام؛ ﻳﻘﻮل اﳌﻔﺘﺨﺮ‬ ‫اﻟﻌﻈﺎﻣﻲ ‪-‬وﻫﺬا ﻟﺴﺎن ﺣﺎﻟﻪ ﰲ ﻣﺠﻤﻞ اﻟﺸﻌﺮ اﻟﻌﺮيب ﻻ ﻳﺨﺘﻠﻒ ﻓﻴﻪ‬ ‫ﺑﻌﺾ اﻟﺸﻌﺮاء ﻋﻦ ﺑﻌﺾ إﻻ ﰲ اﻟﺼﻴﺎﻏﺎت‪) -‬اﻟﺤﺼني ﺑﻦ ﺣامم(‪:‬‬

‫ﻟﻘﺪ أﺣﺎط اﻟﻘﺪﻣﺎء مبﻔﻬﻮم اﻟﻔﺨﺮ إﺣﺎﻃﺔ دﻗﻴﻘﺔ؛ وذﻟﻚ ﺑﺎﻟﻨﻈﺮ إﱃ‬ ‫ﻧﻮﻋﻴﺔ أﺻﺤﺎﺑﻪ؛ ﻓﻌﺮ ﱠﻓﻪ وﻗﺴﻤﻪ )اﻟﺤﺴﻦ اﻟﻴﻮﳼ( ﻗﺎﺋﻼ‪» :‬اﻹﻧﺴﺎن ﻗﺪ‬ ‫ﻣﺮ‪ ،‬وﻗﺪ ﻳﻔﺘﺨﺮ ﺑﻨﻔﺴﻪ أي ﺑﺎﻟﺨﺼﺎل اﻟﺘﻲ‬ ‫ﻳﻔﺘﺨﺮ ﺑﻨﺴﺒﻪ ﻋﲆ ﻣﺎ ﱠ‬ ‫اﺗﺼﻒ ﺑﻬﺎ واﻟﺪرﺟﺎت اﻟﺘﻲ ﻧﺎﻟﻬﺎ ﻣﻦ اﻟﺪﻳﻦ واﻟﺪﻧﻴﺎ‪ .‬واﻷول ﻫﻮ‬ ‫اﻟﻔﺨﺮ »اﻟﻌﻈﺎﻣﻲ«؛ ﻷﻧﻪ اﻓﺘﺨﺎر ﺑﺎﻟﻌﻈﺎم واﻟﺮﻓﺎت‪ ،‬واﻟﺜﺎين ﻫﻮ اﻟﻔﺨﺮ‬ ‫‪R‬‬ ‫‪R ,Ô‬‬ ‫^‪Q C/‬‬ ‫‪fCC¤CC T CF S‬‬ ‫‪~CCCC‬‬ ‫‪S Q CCG* $fCCC‬‬ ‫‪Q CC CC CC‬‬ ‫‪Q‬‬ ‫‪Q C¡Q CCCCDU Q&* Ù* L‬‬ ‫»اﻟﻌﺼﺎﻣﻲ«؛ وﻫﻮ ﻣﺄﺧﻮذ ﻣﻦ ﻋﺼﺎم ﺻﺎﺣﺐ اﻟﻨﻌامن‪ ،‬وﻛﺎن ﻳﻘﻮل‪:‬‬ ‫‪fCCHQ fCC CCQ CC S< 2 Um2Q §V CCCCC CCCCQ C6 fCC‬‬ ‫‪P C CCQC CCC S< CCR C CCC U CCCIQ‬‬ ‫‪4‬‬ ‫‪3‬‬ ‫‪ fCCCCCCCHQ * QzCCCCCCCE(¸*K |V CCCC Q CCCCG* R¥CCCCkU CCCC Q CCCCV CCCC<K‬‬ ‫‪Q‬‬

‫ﻓﻜﻞ ﻣﺎ ﺟﺎءه اﻟﺴﺆدد ﻣﻦ ﺗﻠﻘﺎء ﻧﻔﺴﻪ ﻓﻬﻮ ﻣﺜﻞ ﻋﺼﺎم ﻫﺬا ‪ ،5‬ﻓﻔﺨﺮه‬ ‫ﻋﺼﺎﻣﻲ«‪.6‬‬ ‫ﻣﻦ اﻟﻨﺎﺣﻴﺔ اﻟﺰﻣﺎﻧﻴﺔ اﳌﺤﺾ؛ ﻓﺈن ﻣﻔﻬﻮم »اﻟﻌﻈﺎﻣﻴﺔ« ﻳﺤﻴﻞ ﻋﲆ‬ ‫اﳌﻮت واﻟﺘﺤﻠﻞ واﻟﻘﺪم؛ أي اﳌﺎﴈ ﺑﻜﻞ ﻋﺘﺎﻗﺘﻪ؛ ﰲ ﺣني أن ﻣﻔﻬﻮم‬ ‫»اﻟﻌﺼﺎﻣﻴﺔ« ‪-‬وﺑﻌﻴﺪا ﻋﻦ ﺷﻘﻪ »اﻟﻌﻠﻤﻲ اﻻﺳﻤﻲ اﻟﺘﻮﺳﻴﻤﻲ«‪ -‬ﻳﺤﻴﻞ‬ ‫ﻋﲆ اﻟﺤﺎﴐ اﻟﺮاﻫﻦ اﳌﻌﺎش ﺑﻜﻞ ﻗﻮﺗﻪ وﺟﺪﺗﻪ وﺗﺠﺪده‪ .‬وﻻ ﺑﺪ‬ ‫أن ﻧﺸري إﱃ أن اﳌﻔﻬﻮﻣني وإن ﺟﺎ َءا ﻋﲆ ﺻﻴﻐﺔ »ﻓ َﻌﺎل«؛ إﻻ أن‬ ‫أﺣﺪﻫﻢ ﺟﻤﻊ واﻟﺜﺎين ﻣﻔﺮد؛ وﻣﻦ ﻫﺬا اﳌﺪﺧﻞ ﻧﻔﺴﻪ ﻧﻘﺒﺾ ﻋﲆ‬ ‫دﻻﻟﺔ »اﻟﺠامﻋﺔ« ﰲ ﺟﻤﻊ‪/‬اﻟﺠامﻋﺔ )ﻋﻈﺎم( ودﻻﻟﺔ »اﻷﻧﺎ« ﰲ اﳌﻔﺮد‪/‬‬ ‫اﻟﺬات )ﻋﺼﺎم(‪.‬‬

‫ <‪fCC CC.&fC HK fN CCE§CCR CC‬‬ ‫ ‪R P §CCC CCCR 9§U CCCHQ 7 S,4Q * QzCCCCCC+‬‬ ‫‪8‬‬ ‫‪Q CI2&¸* fCC¡CC X C< «CC¡CC+‬‬ ‫‪ fCC¡CC CR CJ4K CU C¤CC¡CCH ÕCCCC‬‬ ‫‪Q i|CCC‬‬ ‫‪f H‬‬ ‫ ‪R Cº* fCC¡CC+ UlCCCCH*4 U3(* ,Q 4*~CCCCD‬‬ ‫‪Q CH fCCC¡CCCªCCCG*§CCCH‬‬ ‫‪ CR C¤CC¡CCH S,2¸§CCCCCCCCCCCG* ¾§CCCCCC‬‬ ‫‪9‬‬ ‫ ‪Q CHK‬‬ ‫‪]f kH‬‬ ‫‪ fN C CC CC+fCC0 Õ‬‬ ‫‪S C CCªCCG* ¾§CCCC‬‬ ‫‪V‬‬

‫ﻋﻈﺎﻣﻲ آﺧ ُﺮ ﰲ ﻣﻘﻄﻊ ﻣﻦ ﻣﻌﻠﻘﺘﻪ اﻟﻔﺨﺮﻳﺔ اﻟﺸﻬرية‬ ‫وﻳﻘﻮل‬ ‫ﱞ‬ ‫)ﻋﻤﺮو ﺑﻦ ﻛﻠﺜﻮم(‪:‬‬ ‫‪10‬‬

‫‪ |CP C CC+ ¢CC‬‬ ‫ ‪S C+ CQ C CC CC/ · QlCCC. XzCCC0‬‬ ‫^‪R U CCC¤CCCD‬‬ ‫ ‬ ‫‪fCCCC¡CCCCªCCCCGKV &¸* i§CCCC‬‬ ‫‪P‬‬ ‫‪S C CCCCC1 · CC CC CC¡CC+‬‬ ‫‪Q C CCC CCC CCC< QzCCCCCÀ fCCCCC¡CCCCC.U 4K‬‬ ‫‪ C‬‬ ‫‪P CªCC CC6 ¢CCCC‬‬ ‫‪S C+ jCC‬‬ ‫‪fCC¡CCM2 QzCCCCqCCCC¼* Q£§CCC CCC CCC0 fCCC¡CCCG vfCCCCCCCC‬‬ ‫ *&‪Q C+‬‬ ‫‪N C¤CCC CCC¤CCCH RlCCCCCCCCCC.4K‬‬ ‫‪ CCC¤R CCC¡CCCH Ô‬‬ ‫‪Q CCCCCCCCCC»*K ÑCC‬‬ ‫‪V CG* |CCCCCC‬‬ ‫‪fCCCC¡CCCCM|CCCC1*{CCC‬‬ ‫‪Q C CCCCI N*ÔCCCCCCCCCJ5‬‬ ‫‪R C13 CCC‬‬ ‫‪fN CCC CCCªCCC CCC/ fN CCCCCH§CCCCCnCCCCC CCCCCFK fN CCCCCC+fCCCCCCkV CCCCCC<K‬‬ ‫‪Q‬‬ ‫‪fCCCC¡CCCCªCCCCH|CCCCF&¸* p*|CCCCCCCCC‬‬ ‫‪C- fCCCC¡CCCC U CCCCI CCCC¤CCCC+‬‬ ‫واﻟﺘﺪﻗﻴﻖ ﰲ اﳌﻔﻬﻮﻣني‪» :‬ﻋﻈﺎﻣﻲ« و »ﻋﺼﺎﻣﻲ« ﻳﺠﻌﻠﻨﺎ ﻧﻼﺣﻆ أن‬ ‫‪U‬‬ ‫‪11‬‬

‫ﻳﻮﻧﻴﻮ ‪75 2018 /‬‬

‫اﻟﺠ‪SSSSSSS‬ﺎﻫﻠﻲ‬ ‫‪baytelshear‬‬

‫اﻟﻮﻋﻲ اﻟﺠﻤﺎﻟﻲ ﻓﻲ ﺑﻨﺎء اﻟﻘﺼﻴﺪة اﻟﻔﺨﺮﻳﺔ‬

‫)ﻣﻦ اﻟﻌﻈﺎﻣﻴﺔ إﻟﻰ اﻟﻌﺼﺎﻣﻴﺔ(‬ ‫د‪X‬ﻳﺎﺳﻴﻦ ﺣﺰﻛﺮ‬

‫ﻫﻞ ﻳﻤﻜﻦ أن ﻧﻌﺘﺒﺮ أن ﺗﻔﺨﻢ وﺗﻀﺨﻢ اﻷﻧﺎ ﻓﻲ اﻟﻔﺨﺮ ﻋﻨﺪ اﻟﻌﺮب ﻓﻲ اﻟﺠﺎﻫﻠﻴﺔ‬ ‫ﻳﻌﻜﺲ ﻧﻮﻋﺎ ﻣﻦ اﻟﻀﻌﻒ ﻓﻲ اﻟﺘﻮاﺻﻞ ﻣﻊ اﻵﺧﺮ؟ أم أﻧﻪ ﻣﺠﺮد إﺣﺴﺎس ﻣﺴﺘﺤﻖ »ﻷﻧﺎ« ﻣﺘﺄﻣﻠﺔ ﻓﻲ ذاﺗﻬﺎ؟؟‬ ‫ﻳﺨﺮج اﻟﺒﺎﺣﺚ إﻻ ﺑﻔﻜﺮة ﺷﺒﻪ أﻛﻴﺪة ﻋﻠﻰ ﻏﻴﺎب اﻟﺤﻮار‬ ‫ﺑﺎﻟﻨﻈﺮ إﻟﻰ اﻟﺤﺮوب اﻟﺘﻲ ﻋﺮﻓﺘﻬﺎ اﻟﻌﺮب ﻓﻲ أﻃﻮار ﺗﺎرﻳﺨﻬﺎ اﻟﻤﺨﺘﻠﻔﺔ ﻻ ﻳﻤﻜﻦ أن َ‬ ‫ً‬ ‫ً‬ ‫واﻟﺘﻮاﺻﻞ‪ ،‬وﻫﻴﻤﻨﺔ اﻟﺤﻤﻴﺔ واﻟﻌﺼﺒﻴﺔ واﻟﺘﻌﺼﺐ؛ ﺣﻴﺚ ﻛﺎﻧﺖ اﻟﻨﻔﻮس ً‬ ‫ﻣﺴﺘﻌﺪة ﻟﻠﻘﺘﺎل‪ ،‬أﻻ ﺗﺮى أن اﻟﻤﺜﻞ اﻟﺴﺎﺋﺮ‬ ‫ﻣﺘﻮﺛﺒﺔ‬ ‫آﻫﻠﺔ ﺑﺎﻟﻐﻀﺐ‬ ‫»ﺳﺒﻖ اﻟﺴﻴﻒ ْ‬ ‫اﻟﻌﺬ َل« ﻳﺆﻛﺪ ﻋﻠﻰ أن أرواح اﻟﻌﺮب ﻛﺎﻧﺖ ﻋﻠﻰ أﻃﺮاف ﺳﻴﻮﻓﻬﻢ وأﺳﻨﺘﻬﻢ ﻻ ﻋﻠﻰ أﻃﺮاف أﻟﺴﻨﺘﻬﻢ؟؟‬ ‫ﻟﺬﻟﻚ ﻓﻘﺪ ﻛﺎن اﻟﻔﺨﺮ ﺿﺮﺑ ًﺎ ﻣﻦ »اﻟﺸﻌﺮ اﻟﻮﻇﻴﻔﻲ« اﻟﺬي ُﺗﻘﻀﻰ ﻣﻦ وراﺋﻪ اﻟﻤﺂرب اﻟﻨﻔﺴﻴﺔ ﻗﺒﻴﻞ اﺷﺘﻌﺎل اﻟﺤﺮوب واﻧﺪﻻع ﻧﻴﺮاﻧﻬﺎ‪X‬‬ ‫ﻣ َﺸ َﺎﺣ َﺔ ﻓﻲ ذﻟﻚ‪ -‬إﻻ أﻧﻪ ﻛﺎن ﻧﺎدر ًا وﻻ ﻳﻘﺘﺮن ﺑﺎﻟﺤﻤﺎﺳﺎت اﻟﺠﻤﺎﻋﻴﺔ ﺑﻞ‬‫وﻗﺪ ﻳﻜﻮن اﻟﺸﻖ اﻟﺘﺄﻣﻠﻲ ﻓﻲ اﻟﺬات ﺷﻘ ًﺎ ﻣﻮﺟﻮد ًا ﻻ َ‬ ‫ﺑﺎﻹﻧﺠﺎزات اﻟﻔﺮدﻳﺔ‪X‬‬

‫اﻟﺸﻌﺮ ‪ /‬اﻟﻌﺪد ‪68‬‬ ‫‪ 74‬ﺑﻴﺖ ِ‬

‫ﻻ ﺗﻌﺘﺬر‬ ‫ﺳﺎﻟﻢ ﺑﻦ ﺣﻤﺎد اﻟﻜﻌﺒﻲ‬ @b_hammad

v@@ £@ @ @ @- b@@ @ @E @@ @ @ @ @J*y@@ @ D* ¡@@ @ @ Ev@@ @ @ D* x@@ @ @ @ < v@@ @ @J&b@ @ @ + @@ @ @ Q @ @ @ C 2¡@@ @ @ @ @ @D* h@@ @ @Ev@@ @ @G @@ @ @ g@ @ @ @F*H v@@ £@ @ @ @+ v@@ @ @ @ @ @ 1*H @@ @£@ @ A @@ @g@ @ Ax@@ @< b@@ @ @ @ @ F*H v@@ @Jx@@ @J @@ @ @D r4 Ì@@ @ @ @ @D* h@@ @ @c@ @- @@ @ @ @ @E*2 v@@ £@ @~@ @84 ¤@@ @Bb@@ @+ x@@ @ @~@ @8 ¥v@@ @ @ @ @<H @@ @ @ @ J*2 v@@ @ @ @ @J5&* ¤@@ @ @ @ @- h@@ @ @ @ C b@@ @ @E È@@ @ @C ¢@@ @ @ @ @<H v@@ £@ @c@ @<H @@ @ @E *H4b@@ @ @~@ @ @ 8 b@@ @ E 4*x@@ @ @ @ @0* v@@ @£@ @ B @@ @ @ @ @p@N @ @ @ @ @FR HP rb@@ @ @g@ @ @ @ @ @ ´* ¤@@ @ @ Q @ @ @ E w@@ @ @ 1 v@@ £@ @0H Áb@@ @ @E x@@ @Gv@@ @Db@@ @A *x@@ @ @- Px@ @ @ @ @ @ @<*HP v@@ @£@ @ <* 4v@@ @ @ @ @ B* @@ @ @ @ Â ° ¤@@ @ @ @ Ab@@ @ 1 ¯

73 2018 / ‫ﻳﻮﻧﻴﻮ‬

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‫ﻣﺎﺳﺎت‬ baytelshear

‫دروﺑﻲ ﻃﻮﻳﻠﺔ‬ ‫زﻳﻨﺐ اﻟﺒﻠﻮﺷﻲ‬ @ZainabIAB

v@@ @ @+ @@ @£@ @ A @@ @ @z@ @ @ 0&* ¡@@ @ @ @J h@@ @£@ @ Q @ @ b@@ @ @Eb@@ @ @JH Nv@ < @@ E v@@ @ P/¡@@ @F&*H @@£@ A @@£@ ~@ 9&*° ¡@@ 1 @@ E v@@ @ @ @ F* ib@@ @ Jx@@ @ @ @ @´* @@ @ @~@ @6 h@@ @ @ @ ~@ @ 7° 24&*H Q * h@@ @ @:b@@ EH Nv@ @ @1H v@@£@ c@ < ¤@@ JQ 2b@@ c@ @ E @@ @ @ @ ;H& Nv@ @ B @@ @E b@@ @ g@ @ ~@ 8 ¤@@ -¡@@ ~@ 8 4*5H&* @@ @ Q @ @ 0*H Nv@ g@ 0* b@@ ~@ @94 @@ E ¤@@ ~@ @6*4 ¡@@ @J b@@ @ g@ @ /*H H v@@< @@ E v@@ @ P/¡@@ @F*H b@@ @ £@ A @@£@ ~@ 9* ° h@@ @ 1b@@E Nv@ @ @ @ + @@ @ z@ @ @0&* b@@ @ @ EH d@@ @ @£@ @ @ =&* Á¡@@ @ c@ @ @E b@ R @ @ @ @ F&* v@@ B ¯b@@ @ @ 0 Rh@@ @ @F*H f@@ @ @ @ @ @ J¡@@ @ @: ¤@@ @ @ @ @ +H42 b@@ @ @ @ F&*

¥b@@ Bv@@ ~@ @8&*H x@@ @ ~@ {@ D*H Áb@@ @ @ =&°* h@@ Cx@@ - b@@ Eb@@ J ¥*w@@1 d@@~@ 6b@@0*H ¤@@ @s@´* ¤@@+4v@@D x@@ @ =&* h@@ @C ¥b@@ / @@ @ @+ d@@ @0x@ Q @ @- ¡@@ @ @ @ ²* ¡@@ @ @J rH4*H ¥*4H ¥x@@ @ @ < d@@ @ F3 °*Q ¤@@ @E*v@@ @B h@@ @ ~@ 6b@@E ¥b@@ @ ; @@ @ @£@ @Â° ¤@@ @ @ @ ~@ @ 6*H @@ @ @²* ¤@@ @ c@ @ g@ J ¥b@@ @ B h@@ @ Q @ @ 0 ¡@@ @ @J d@@ Jb@@ ~@ @|@ @´* @@ @ @/H h@@ £@ @ Q @ @D ¥b@@ @~@6 @@ P @ @ -H ¤@@-b@@ @ BH @@ @ @ 94&°* Æ@@ @- ¡@@ D ¥b@@~@94 d@@ @ @-H @@/x@@-b@@E @@c@B @@E h@@c@= ¡@@ DH ¥b@@ @ E @@ @ Q @ @ @ @ -° f@@ Ab@@ ~@ @z@ @´* @@ @ G h@@ @ @~@ @7 ¡@@ @ @ DH

68 ‫ اﻟﻌﺪد‬/ ‫اﻟﺸﻌﺮ‬ ِ ‫ ﺑﻴﺖ‬72

‫وﻫﻲ ﺑﻐﺒﺎر اﻟﺴﻔﺮ‪ ،‬ﻓﺎﺷﺘﻬﺮ ﺑﻬﺎ ﰲ ﻏري ﻣﺎ ﺷﻌﺮ وﺧﱪ« ‪10‬؛ وﻋﲆ ﻫﺬا‬ ‫اﳌﻨﻮال ﻇﻠﺖ ﻋﻼﻗﺘﻬﻢ ﺑﻪ ﻋﻼﻗﺔ ﻣﱰددة ﻣﺸﻜﻜﺔ‪ ،‬وﻫﺬا ﻣﺎ زاده ﻋﺰﻻً‬ ‫وﻓﻘﺮاً ﰲ اﻟﻮﻗﺖ ﻧﻔﺴﻪ‪ ،‬ﻓﻔﻜﺮ اﳌﻨﺼﻮر ﺑﺎﺧﺘﺒﺎره ﻟﻠﻤﺮة اﻷﺧرية »وﻗﺎل‬ ‫ﻟﻠﺤﺎﴐﻳﻦ‪ :‬ﻏﺪاً أﻣﺘﺤﻨﻪ‪ ،‬ﻓﺈن ﻓﻀﺤﻪ اﻻﻣﺘﺤﺎن أﺧﺮﺟﺘﻪ ﻣﻦ اﻟﺒﻼد‪،‬‬ ‫ومل ﻳﺒﻖ ﰲ ﻣﻮﺿﻊ ﱄ ﻋﻠﻴﻪ ﺳﻠﻄﺎن‪ ،‬ﻓﻠام أﺻﺒﺢ وﺟﻪ إﻟﻴﻪ ﻓﺄﺣﴬ‪،‬‬ ‫وأﺣﴬ ﺟﻤﻴﻊ اﻟﻨﺪﻣﺎء‪ ،‬ﻓﺪﺧﻞ ﺑﻬﻢ إﱃ ﻣﺠﻠﺲ ﻣﺤﻔﻞ ﻗﺪ أﻋﺪ ﻓﻴﻪ‬ ‫ﻃﺒﻘﺎً ﻋﻈﻴ ًام ﻓﻴﻪ ﺳﻘﺎﺋﻒ ﻣﺼﻨﻮﻋﺔ ﻣﻦ ﺟﻤﻴﻊ اﻟﻨﻮاوﻳﺮ‪ ،‬ووﺿﻊ ﻋﲆ‬ ‫اﻟﺴﻘﺎﺋﻒ ﻟﻌﺐ ﻣﻦ ﻳﺎﺳﻤني ﰲ ﺷﻜﻞ اﻟﺠﻮاري‪ ،‬وﺗﺤﺖ اﻟﺴﻘﺎﺋﻒ ﺑﺮﻛﺔ‬ ‫ﻣﺎء‪ ،‬ﻗﺪ أﻟﻘﻲ ﻓﻴﻬﺎ اﻟﻶﻟﺊ ﻣﺜﻞ اﻟﺤﺼﺒﺎء‪ ،‬وﰲ اﻟﱪﻛﺔ ٌ‬ ‫ﺣﻴﺔ ﺗﺴﺒﺢ‪ ،‬ﻓﻠام‬ ‫دﺧﻞ ﺻﺎﻋﺪ ورأى اﻟﻄﺒﻖ ﻗﺎل ﻟﻪ اﳌﻨﺼﻮر‪ :‬إن ﻫﺬا ﻳﻮم إﻣﺎ أن ﺗﺴﻌﺪ‬ ‫ﻗﻮم أن ﻛﻞ‬ ‫ﻓﻴﻪ ﻣﻌﻨﺎ‪ ،‬وإﻣﺎ أن ﺗﺸﻘﻰ ﺑﺎﻟﻀﺪ ﻋﻨﺪﻧﺎ‪ ،‬ﻷﻧﻪ ﻗﺪ زﻋﻢ ٌ‬ ‫ﻣﺎ ﺗﺄيت ﺑﻪ دﻋﻮى‪ ،‬وﻗﺪ وﻗﻔﺖ ﻣﻦ ذﻟﻚ ﻋﲆ ﺣﻘﻴﻘﺔ‪ ،‬وﻫﺬا ﻃﺒﻖ ﻣﺎ‬ ‫ﺗﻮﻫﻤﺖ أﻧﻪ ﺣﴬ ﺑني ﻳﺪي ﻣﻠﻚ ﻗﺒﲇ ﺷﻜﻠﻪ‪ ،‬ﻓﺼﻔﻪ ﺑﺠﻤﻴﻊ ﻣﺎ ﻓﻴﻪ‬ ‫)‪ (...‬ﻓﻘﺎل ﺻﺎﻋﺪ ﺑﺪﻳﻬ ًﺔ‪:‬‬

‫‪fCC¤CC-fCCgCC¡CC/ · ÕCCC CCCG* ¦*|CCCCCC- fCCCCH L|CCCCC‬‬‫‪T‬‬ ‫‪ 0Ñ G* ¢¤¡ª+‬‬ ‫‪ ¨CCkC 0 CC CC0§CCG* ¢CCH‬‬ ‫‪T‬‬

‫ﻓﺎﺳﺘﻐﺮﺑﺖ ﻟﻪ ﻳﻮﻣﺌ ٍﺬ ﺗﻠﻚ اﻟﺒﺪﻳﻬﺔ ﰲ ﻣﺜﻞ ذﻟﻚ اﳌﻮﺿﻊ‪ ،‬وﻛﺘﺒﻬﺎ‬ ‫اﳌﻨﺼﻮر ﺑﺨﻄﻪ« ‪.15‬‬ ‫إن ﻫﺬا اﻻﻣﺘﺤﺎن اﻷﺧري اﻟﺬي ُوﺿِ َﻊ ﻓﻴﻪ ﺻﺎﻋﺪ ﻛﺎن ﻣﻨﺠﺎة ﻟﻪ ﻣﻦ‬ ‫اﻟﻄﺮد‪ ،‬وﻣﻨﻘﺬاً ﻣﻦ اﻹﻫﺎﻧﺔ اﻟﺘﻲ ﻛﺎﻧﺖ ﺳﺘﻠﺤﻘﻪ ﻃﻴﻠﺔ ﺣﻴﺎﺗﻪ وﺣﺘﻰ‬ ‫ﺑﻌﺪ ﻣامﺗﻪ‪.‬‬

‫‪11‬‬

‫*&‪ CCCF*K *KzCCCC/ ÔCC= CCJ |CP CHfCC< fCCC+‬‬ ‫‪ )f1 CCC94&¸* · *2fCC< ¢H Ô= CCJK‬‬ ‫‪jCP CgCCM|CC= T CCCCF |CCCCJ TzCCCCG* CCCªCCCG(* §CC CC CCM‬‬ ‫‪ CC CC8*K zCCC¡CCC< ¦fCC CC CCM fCCCH hCCCCqCCCC<&*K‬‬ ‫‪fCCªCCº* |CCHfCC< fCC¤CC=fCC CC8 4P §CCCCI 12 CC)fCC CC7K‬‬ ‫‪ 4fCCCCCCCD4K |CC‬‬ ‫<‪O C CCCgCCC< fCCC¤CCCªCCCkCCCDfCCC0 ¨CCC CCC‬‬ ‫‪lCC CC+fCC CC- fCC¤CCªCCD ¢CC CC CCº* ¨CCJfCC¡CC- fCCCCCT¼K‬‬ ‫<‪ CC)fCC CC8§CCG* «CCCJÑCCC¼* *§CCCCI&fCCCC+ fCC¤CCªCC CC‬‬ ‫‪fN C CC CC¡T C F jCC¡T C CCkCC CC CC¼* $fCCCgCCC CCCG* CCnCC CCF‬‬ ‫‪ CC)fCC CC CC CCG* ÕCC‬‬ ‫‪C CCC CCC6fCCCªCCCGfCCC+ fCC¤CC CCT CC CC‬‬‫‪T‬‬ ‫‪|CCCC;*§CCCCI ¢CCCCC‬‬ ‫‪C¤CCCCCCIT &* fCCC¤CCC¡CCCH hCCCCCCqCCCCCC<&*K‬‬ ‫‪O‬‬ ‫*(¾ ‪ CC)*|CC CCG* fCC¤CCªCCG(* lCC T C CC9 jCCF|CC+‬‬ ‫‪13‬‬ ‫‪ fCC¤CC+fCCgCC< · uCO C+fCC CC6 ¿%ÑCCCCG* fCCJfCC CC CC0‬‬ ‫‪14‬‬ ‫‪ 0*5 Õ+f nG* R § H CC CCE|CT CG* ¢H‬‬

‫اﻟﻤﺮاﺟﻊ‪:‬‬ ‫)‪ (1‬أﺑﻮ اﻟﺤﺴﻦ ﻋﲇ ﺑﻦ ﺑﺴﺎم اﻟﺸﻨﱰﻳﻨﻲ‪ ،‬اﻟﺬﺧرية ﰲ ﻣﺤﺎﺳﻦ أﻫﻞ‬ ‫اﻟﺠﺰﻳﺮة‪ ،‬ﺗﺤﻘﻴﻖ إﺣﺴﺎن ﻋﺒﺎس‪ ،‬ط‪ ،1‬اﻟﻘﺴﻢ اﻟﺮاﺑﻊ‪ ،‬اﳌﺠﻠﺪ‪ ،1‬دار اﻟﺜﻘﺎﻓﺔ‪،‬‬ ‫ﺑريوت‪ -‬ﻟﺒﻨﺎن‪ ،1997 ،‬ص ‪.4‬‬ ‫)‪ (2‬اﻟﻮﻟﻖ‪ :‬اﻻﺳﺘﻤﺮار ﰲ اﻟﻜﺬب؛ وﻫﻨﺎ ﻳﻬﺰأ اﻟﺰﺑﻴﺪي ﺑﺼﺎﻋﺪ و ُﻳ َﻌ ﱢﺮ ُض ﺑﻪ‪.‬‬ ‫)‪ (3‬أي ﻣﻤﻮه ﻛﺎذب‪.‬‬ ‫)‪ (4‬اﺑﻦ ﺑﺴﺎم‪ ،‬اﻟﺬﺧرية‪ ،‬ﻣﺼﺪر ﺳﺎﺑﻖ‪ ،‬ص ص ‪.8-7‬‬ ‫)‪ (5‬اﺑﻦ ﺑﺴﺎم‪ ،‬اﻟﺬﺧرية‪ ،‬ﻣﺼﺪر ﺳﺎﺑﻖ‪ ،‬ص ص ‪.8-7‬‬ ‫)‪ (6‬اﺑﻦ ﺑﺴﺎم‪ ،‬اﻟﺬﺧرية‪ ،‬ﻣﺼﺪر ﺳﺎﺑﻖ‪ ،‬ص ‪.8‬‬ ‫)‪ (7‬اﻟﻌﻠﻢ‪ :‬اﳌﺸﻬﻮر‪.‬‬ ‫)‪ (8‬اﻟﺤﺸﺎﺷﺔ‪ :‬ﺑﻘﻴﺔ اﻟﺮوح ﰲ اﻟﺠﺴﺪ‪.‬‬

‫)‪ (9‬اﺑﻦ ﺑﺴﺎم‪ ،‬اﻟﺬﺧرية‪ ،‬ﻣﺼﺪر ﺳﺎﺑﻖ‪ ،‬ص ‪.5‬‬ ‫)‪ (10‬اﺑﻦ ﺑﺴﺎم‪ ،‬اﻟﺬﺧرية‪ ،‬ﻣﺼﺪر ﺳﺎﺑﻖ‪ ،‬ص ص ‪.15-14‬‬ ‫)‪ (11‬واﻛﻒ‪ :‬ﻻ ﺟﺪوى ﻣﻦ ﻣﻮاﺟﻬﺘﻚ‪.‬‬ ‫)‪ (12‬اﻟﻮﺷﻴﻌﺔ‪ :‬ﺧﺸﺒﺔ ﻳﻠﻒ ﻋﻠﻴﻬﺎ أﻟﻮان اﻟﻐﺰل‪.‬‬ ‫)‪ (13‬اﻟﻌﺒﺎب‪ :‬ﻛرثة اﳌﺎء‪.‬‬ ‫)‪ (14‬اﻟﺮﻗﺶ‪ :‬اﳌﻨﻘﻄﺔ ﺑﺎﻟﺴﻮاد واﻟﺒﻴﺎض‪.‬‬ ‫)‪ (15‬اﳌﻘﺮي‪ ،‬ﻧﻔﺢ اﻟﻄﻴﺐ ﻣﻦ ﻏﺼﻦ اﻷﻧﺪﻟﺲ اﻟﺮﻃﻴﺐ‪ ،‬وذﻛﺮ وزﻳﺮﻫﺎ ﻟﺴﺎن‬ ‫اﻟﺪﻳﻦ ﺑﻦ اﻟﺨﻄﻴﺐ‪ ،‬ﺗﺤﻘﻴﻖ إﺣﺴﺎن ﻋﺒﺎس‪ ،‬ط‪ ،1‬ج‪ ،3‬دار ﺻﺎدر‪ ،‬ﺑريوت‪-‬‬ ‫ﻟﺒﻨﺎن‪ ،1997 ،‬ص ‪.81‬‬

‫ﻳﻮﻧﻴﻮ ‪71 2018 /‬‬

‫أﻧﺪﻟﺴ‪SSSSSSS‬ﻴﺎت‬ ‫‪baytelshear‬‬

‫٭اﺳﺘﻘﻄﺒﺖ ﻗﺮﻃﺒﺔ اﻟﻜﺜﻴﺮ ﻣﻦ‬ ‫اﻟﻤﺜﻘﻔﻴﻦ اﻟﻤﺸﺎرﻗﺔ‪ ،‬وﻻ ﻧﺘﺤﺪث ﻫﻨﺎ‬ ‫ﻋﻦ ﻣﺮﺣﻠﺔ اﻟﻔﺘﺢ اﻹﺳﻼﻣﻲ اﻟﺬي وﻓﺪ‬ ‫ﻣﻌﻪ أﻛﺜﺮ ﻣﺎ وﻓﺪ اﻟﺠﻨﻮ ُد ورﺟﺎل اﻟﺪﻳﻦ‬ ‫وﺻﻞ ﺻﺎﻋﺪ إﻟﻰ ﻗﺮﻃﺒﺔ وﻓﻲ ﻧﻴﺘﻪ إﺑﻬﺎر‬ ‫اﻷﻧﺪﻟﺴﻴﻴﻦ ﺑﻤﺸﺮﻗﻴﺘﻪ اﻟﻠﻤﺎﻋﺔ؛ ﻫﺬه‬ ‫اﻟﻤﺸﺮﻗﻴﺔ اﻟﺘﻲ اﻋﺘﻘﺪَﻫﺎ ﺳﺘﻔﺘﺢ ﻟﻪ‬ ‫أﺑﻮاب اﻟﺒﻼط ﻣﻦ دون ﻣﺴﺎءﻟﺔ‬ ‫ﻟﻘﺪ ادﻋﻰ ﺻﺎﻋﺪ ﻣﻌﺮﻓﺘﻪ ﺑﻌﻠﻮم ﻻ ﻳﻔﻘﻪ‬ ‫ﻓﻴﻬﺎ ﺷﻴﺌﺎ‪ ،‬ﻓﻘﻂ ﻷﻧﻪ اﻋﺘﻘﺪ ﺑﻔﻮﻗﻴﺔ‬ ‫اﻟﻤﺸﺮق ودوﻧﻴﺔ اﻷﻧﺪﻟﺲ‬ ‫إﱃ أﺑﻌﺪ ﻣﻦ ذﻟﻚ وﺗﺠﻌﻞ اﻵﺧﺮ ﻏﺮﻳﺒﺎً ﻋﻦ اﻟﺤﻀﺎرة اﻟﻌﺮﺑﻴﺔ وﻟﻴﺲ‬ ‫اﻣﺘﺪادا ﻃﺒﻴﻌﻴﺎ ﻟﺘﺎرﻳﺨﻬﺎ وﺟﻐﺮاﻓﻴﺘﻬﺎ !!‬ ‫ﻏري أﻧﻪ وﻟﻸﻣﺎﻧﺔ اﻟﻌﻠﻤﻴﺔ ﻓﺈن ﺻﺎﻋﺪا مل ﻳﻨﻘﺬ ﻧﻔﺴﻪ ﻣﻦ ﻣﺄزﻗﻪ ﻫﺬا إﻻ‬ ‫ﺑ َﺘ َﻮ َﺑﺘِﻪ وأَ ْو َﺑﺘِﻪ إﱃ ﻣﺎ ﻳﺠﻴﺪه‪ ،‬واﺑﺘﻌﺎده ﻋام ﻻ ﻳﺠﻴﺪ ﻣﻨﺘﻔﺨﺎً ﺑﺘﻤﺜﻼﺗﻪ‬ ‫اﻟﺨﺎﻃﺌﺔ ﻋﻦ ﺿﺂﻟﺔ ﻣﻌﺮﻓﺔ اﻷﻧﺪﻟﺴﻴني ﺑﺜﻘﺎﻓﺘﻬﻢ اﻷم؛ وﻫﻨﺎ ُﻧﺘ ﱡِﻢ ﺧﱪ‬ ‫اﳌﻨﺎﻇﺮة اﻟﺬي ﻳﺴﻮﻗﻪ اﺑﻦ ﺑﺴﺎم ﻓﻴﻘﻮل‪» :‬ﻗﺎل ﺻﺎﻋﺪ‪ :‬وﺑﻀﺎﻋﺘﻲ أﻧﺎ‬ ‫ﺣﻔﻆ اﻷﺷﻌﺎر‪ .‬ورواﻳﺔ اﻷﺧﺒﺎر‪ ،‬وﻓﻚ ا ُﳌ َﻌ ﱠﻤﻰ‪ ،‬وﻋﻠﻢ اﳌﻮﺳﻴﻘﻰ‪ .‬ﻗﺎل‪:‬‬ ‫َﻓ َﻨ َ‬ ‫وﺟ َﻌ َﻞ ﻻ ُﻳﺠﺮي ﰲ اﳌﺠﻠﺲ‬ ‫اﺑﻦ اﻟﻌﺮﻳﻒ َﻓ َﻈ َﻬ َﺮ ﻋﻠﻴﻪ‬ ‫ﺎﻇﺮ ُه ُ‬ ‫ٌ‬ ‫ﺻﺎﻋﺪ‪َ ،‬‬ ‫ﻛﻠﻤ ًﺔ إﻻ أﻧﺸﺪ ﻋﻠﻴﻬﺎ ﺷﻌﺮاً ﺷﺎﻫﺪاً‪ ،‬أو أىت ﺑﺤﻜﺎﻳﺔ ﺗُﺠﺎﻧﺴﻬﺎ‪ ،‬ﻓﺎزداد‬ ‫اﳌﻨﺼﻮر ﻋﺠﺒﺎً«‪.5‬‬ ‫إن ﻫﺬ اﻻﻧﺘﺼﺎر اﻟﺼﻐري اﻟﺬي ﺣﻘﻘﻪ ﺻﺎﻋﺪ ﰲ ﻣﺠﻠﺲ اﳌﻨﺼﻮر ﺑﻌﺪ‬ ‫اﺋﻢ ﻣﺘﺘﺎﻟﻴﺔ؛ مل ﻳﺪﻓﻊ ﺑﺼﺎﻋﺪ ﻟﻼﺗﻌﺎظ واﻟﱰاﺟﻊ ﻋﻦ متﺜﻼﺗﻪ‬ ‫ﺧﻴﺒﺎت وﻫﺰ َ‬ ‫اﻟﺨﺎﻃﺌﺔ؛ إذ ﳌﺎ »أراه ﻛﺘﺎب )اﻟﻨﻮادر( ﻷيب ﻋﲇ ﻓﻘﺎل‪ :‬إذا أراد اﳌﻨﺼﻮر‬ ‫أﻣﻠﻴﺖ ﻋﲆ ﻣﻘﻴﺪي ﺧﺪﻣﺘﻪ وﻛﺘﺎب دوﻟﺘﻪ ﻛﺘﺎﺑﺎ أرﻓﻊ ﻣﻨﻪ ﻗﺪراً‪ ،‬أﺟﻞ‬ ‫ﺧﻄﺮاً‪ ،‬ﻻ أدﺧﻞ ﻓﻴﻪ ﺧﱪاً ﻣام أدﺧﻠﻪ أﺑﻮ ﻋﲇ‪ .‬ﻓﺄذن ﻟﻪ اﳌﻨﺼﻮر ﰲ‬ ‫ذﻟﻚ‪ ،‬وﺟﻠﺲ ﺑﺠﺎﻣﻊ ﻣﺪﻳﻨﺔ اﻟﺰاﻫﺮة ميﲇ ﻛﺘﺎﺑﻪ اﳌﱰﺟﻢ ﺑﺎﻟﻔﺼﻮص‬ ‫ﻓﻠام أﻛﻤﻠﻪ وﺗﺘﺒﻌﻪ أدﺑﺎء اﻟﻮﻗﺖ‪ ،‬مل متﺮ ﻓﻴﻪ ﻛﻠﻤﺔ زﻋﻤﻮا ﺻﺤﺘﻬﺎ‬ ‫ﻋﻨﺪﻫﻢ‪ ،‬وﻻ ﺧﱪ ﺛﺒﺖ ﻟﺪﻳﻬﻢ‪ ،‬ﻓﻘﺎﻟﻮا ﻟﻠﻤﻨﺼﻮر‪ :‬رﺟﻞ ﻣﻘﺘﺪر ﻋﲆ‬ ‫ﺗﺄﻟﻴﻒ اﻟﻜﺬب ﻣﻦ ﻋﻴﻮن اﻷدب‪ ،‬ﻳﺴﻨﺪﻫﺎ إﱃ ﺷﻴﻮخ مل ﻳﺮﻫﻢ وﻻ‬ ‫أﺧﺬ ﻋﻨﻬﻢ«‪.6‬‬ ‫إن ﻣﻌني اﻷدب وﻣﺼﺎدره اﳌﻌﺮوﻓﺔ اﻟﺘﻲ ﺗﻜﻮن ﰲ ﻣﺘﻨﺎول اﻟﻘﺮﻳﺐ‬ ‫واﻟﺒﻌﻴﺪ ﺗﺠﻌﻞ ﻣﻦ اﻟﺠﻤﻴﻊ )ﻣﺸﺎرﻗﺔ وﻣﻐﺎرﺑﺔ‪/‬أﻧﺪﻟﺴﻴني( ﻣﺘﺴﺎوﻳﻦ‬ ‫ﰲ اﻟﺘﺤﺼﻴﻞ‪ ،‬ﻣﺘﻔﺎوﺗني ﰲ اﻹﺑﺪاع اﻟﺬي ﻳﻨﺘﺞ ﻋﻨﻪ ﻻﺣﻘﺎ؛ وﻋﻠﻴﻪ ﻓﻠﻴﺲ‬ ‫ﻷﺣﺪ اﻟﺤﻖ ﰲ ﻣﺼﺎدرة ﻣﺴﺘﻮى ﺗﻠﻘﻲ اﻵﺧﺮ ﺑﺪﻋﻮى أﻧﻪ ﻛﺎن ﻗﺮﻳﺒﺎً ﻣﻦ‬ ‫ﻣﺼﺪر »اﳌﻌﺮﻓﺔ« ﺑﻴﻨام اﻵﺧﺮ ﻛﺎن ﺑﻌﻴﺪاً ﻋﻨﻬﺎ !!‬ ‫اﻟﺸﻌﺮ ‪ /‬اﻟﻌﺪد ‪68‬‬ ‫‪ 70‬ﺑﻴﺖ ِ‬

‫ﻟﻘﺪ ﻓﻄﻦ أدﺑﺎء وﻋﻠامء اﻷﻧﺪﻟﺲ ﺑﻜﺬب ﺻﺎﻋﺪ وﺣﺎﴏوه وﺿﻴﻘﻮا‬ ‫ﺑﻘﻲ ﻟﻪ ﻋﻴﺶ ﺑﻴﻨﻬﻢ‪ ،‬ﻓﺎﻓﺘﻘﺮ وأﺻﺎﺑﺘﻪ ﺧﺼﺎﺻﺔ؛‬ ‫ﻋﻠﻴﻪ‪ ،‬ﺣﺘﻰ ﻣﺎ َ‬ ‫َ‬ ‫َ‬ ‫واﺳﺘﻠﻄﻒ أميﺎ رﺋﻴﺲ ﺣﺘﻰ ﻳﻨﺎل ﻓﺮﺻﺘﻪ وﻳﻨﻌﻢ‬ ‫ﻓﺎﺳﺘﻌﻄﻒ ّأميﺎ وزﻳ ٍﺮ‬ ‫ﺑﺼﻠﺘﻪ‪ ،‬وأرﺳﻞ ﻋﺪة رﺳﺎﺋﻞ وﺗﻮﺳﻞ ﺑﺎﻟﻨرث واﻟﻨﻈﻢ َﻣ ْﺮ َﺟﺎ َة إﻗﻨﺎع‬ ‫ﻣﺨﺎﻃﺒﻴﻪ؛ وﻫﻮ ﻳﻘﻮل ﰲ إﺣﺪى رﺳﺎﺋﻠﻪ‪» :‬ﻓﺤﻨﺎﻧﻚ ﻋﻠﻴﻪ وﻋﲇ ﻓﻴﻪ‪،‬‬ ‫واذﻛﺮ ﺗﻌﻠﻖ اﻵﻣﺎل ﺑﻪ وﺗﻌﻠﻖ أﻣﻠﻪ ﺑﻚ‪ ،‬وﺣﺎﺟﺔ اﻟﺮؤﺳﺎء إﻟﻴﻪ وﺣﺎﺟﺘﻪ‬ ‫إﻟﻴﻚ‪ .‬وﺣﺸﺪت ﻟﻚ اﻟﻘﻮل‪ ،‬واﻟﻠﻪ ﺗﻌﺎﱃ ﺧﻠﻖ اﻟﺪﻧﻴﺎ ﺑﺤﺮﻓني‪ ،‬وإن‬ ‫ﺧﺒﺖ ﻣﻦ‬ ‫اﻟﻜﻠﻤﺔ ﻟَ َ ْﱰ َﻗ ُﺄ اﻟﺪم‪ ،‬واﻟﺮﻗﻴﺔ ﻟﺘﺨﺮج اﻟﺤﻴﺔ ﻣﻦ ﻣﻜﻤﻨﻬﺎ‪ ،‬ﻓﺈن ُ‬ ‫ﻗﻠﺖ ﻧﻈام‪:‬‬ ‫ﻃِ ﻼﺑﻚ ﻧرثا ُ‬ ‫‪¬{CCCG* 7 CC‬‬ ‫‪Q C Q CCC Q CCCG* zCCªCC CC CC6 ¢CCC+ zCCC CCC0&* fCCCM‬‬ ‫*&‪R CªCCCCG5 ¥CCCC¡CCCC< £fCCC.zCCCtCCC CCC CCCD ¨CCCCCCCCCCDK‬‬ ‫‪ CCC‬‬ ‫*&‪¬{CCG* j H ¢CCC+* ¢CCH ifCC CC CCG* {CCCC1‬‬ ‫‪Q‬‬ ‫‪R‬‬ ‫ =‪ §CCC‬‬ ‫‪$fCC‬‬ ‫ ‪UlCCCCCGQ fCCCCC=K ¥CCC+‬‬ ‫‪R C CCC CCC CCCG* CC CC0‬‬ ‫‪UlCCCCCCFQ 4S 2U R&* £(* 8 jCP C CCQ 7fCC CCQ CC0 ÔC‬‬ ‫½ ‪R C= CCgCC-‬‬ ‫‪ ªkE §CCC¤U CCCD QlCCC CCC CCC CCC6&* £(*K lCC CC CC CC1‬‬ ‫‪W CD Ù* zCCC CCC+ CCCMzCCCªCCC+‬‬ ‫(‪¦S 4S fCCCCCC CCCCCC6‬‬ ‫‪Q * CCCCC‬‬ ‫‪R CM§CCC CCCkCCCG* ¦3fCCC CCC¡CCCkCCC CCC6* · CCCªCCC CCC<K‬‬ ‫‪ CC‬‬ ‫‪h M ½ mfCCC‬‬ ‫‪P C¡Q CCCC+Q «CCCCC+&* ÕCCCCCI&* CCC04fCCCD‬‬ ‫‪9‬‬ ‫‪ ] CCCªCCCnCCCH 2KzCCCCCCC»* ¨CCC CCC< ¢CCC¤CCC<§CCCHzCCCG‬‬

‫ﻻ ميﻜﻦ أن ﻧﻨﻜﺮ أن ﺻﺎﻋﺪا ﻛﺎن ﺑﺎرﻋﺎً ﰲ اﻟﺸﻌﺮ‪ ،‬ﻣﺠﻴﺪاً ﻓﻴﻪ ﻣﻘﺘﻨﺼﺎً‬ ‫ﻟﺼﻮره اﻟﺒﺪﻳﻌﺔ‪ ،‬ﻏري أن ﺳﻠﻮﻛﺎﺗﻪ اﻟﺴﺎﺑﻘﺔ ﺟﻌﻠﺖ اﻷﻧﺪﻟﺴﻴني‬ ‫ﻳﺘﻮﺟﺴﻮن ﻣﻨﻪ وﻳﺤﺬرون ﻣﻦ أن ﻳﻜﻮن ﻳﻨﺘﺤﻞ أﺷﻌﺎر ﻏريه ﻣﻦ‬ ‫اﳌﺸﺎرﻗﺔ‪ ،‬ﺧﺎﺻﺔ وﻗﺪ »ذﻛﺮ ﻋﻦ ﺻﺎﻋﺪ‪ ،‬أﻧﻪ اﻓﺘﻀﺢ ﰲ ﴎﻗﺔ ﺷﻌﺮ ﻏري‬ ‫واﺣﺪ ﻣﻦ أﻫﻞ ﺗﻠﻚ اﻵﻓﺎق‪ ،‬ﻣﻦ ﺷﻌﺮاء اﻟﺸﺎم واﻟﻌﺮاق؛ إذ ﻛﺎن ورد ﺑﻬﺎ‬

‫ﺟﺎء ﺻﺎﻋﺪ ﻏري ﻋﺎرف مبﻘﺪار ﻋﻠﻢ أﻫﻞ ﻗﺮﻃﺒﺔ وﺳﻌﺔ ﻣﻌﺮﻓﺘﻬﻢ؛ ﻓﺤﺎول ﻗﺎل اﻟﺰﺑﻴﺪي‪ :‬ﻓﻘﺪ ﺳﺄﻟﻨﺎك‪ ،‬وﻻ ﻧﺸﻚ أﻧﻚ ﺗﺠﻬﻠﻪ‪ .‬ﻓﺘﻐري ﻟﻮﻧﻪ وﻗﺎل‪:‬‬ ‫أن ُﻳ َﺤ ﱠﺎﺟ ُﻬﻢ ﰲ ﺟﻤﻴﻊ ﻋﻠﻮﻣﻬﻢ إﻻ أﻧﻪ َﻛ َﺒﺎ أﺛﻨﺎء اﳌﺤﺎوﻟﺔ ومل ﻳﺤﻔﻆ ﻣﺎء )أَ ْﻓ َﻌ َﻞ(‪ .‬ﻗﺎل اﻟﺰﺑﻴﺪي‪ :‬ﺻﺎﺣﺒﻜﻢ ُﻣ َﻤﺨْ ِﺮ ٌق ‪.4 «3‬‬ ‫وﺟﻬﻪ إﻻ ﺑﺎﻟﻘﻠﻴﻞ ﻣام أﺟﺎده؛ ﻳﻘﻮل اﺑﻦ ﺑﺴﺎم‪» :‬اﺟﺘﻤﻊ ﻋﻨﺪ اﳌﻨﺼﻮر‬ ‫ﺑﻦ أيب ﻋﺎﻣﺮ أﻋﻴﺎنُ اﻷوان ﻛﺎﻟﺰﺑﻴﺪي واﻟﻌﺎﺻﻤﻲ واﺑﻦ اﻟﻌﺮﻳﻒ‪ ،‬وﻣﻦ ﻟﻘﺪ ادﻋﻰ ﺻﺎﻋﺪ ﻣﻌﺮﻓﺘﻪ ﺑﻌﻠﻮم ﻻ ﻳﻔﻘﻪ ﻓﻴﻬﺎ ﺷﻴﺌﺎ‪ ،‬ﻓﻘﻂ ﻷﻧﻪ اﻋﺘﻘﺪ‬ ‫ﺳﻮاﻫﻢ؛ ﻓﻘﺎل ﻟﻬﻢ اﳌﻨﺼﻮر‪ :‬ﻫﺬا اﻟﺮﺟﻞ اﻟﻮاﻓﺪ ﻋﻠﻴﻨﺎ ُ‬ ‫ﻳﺰﻋﻢ أﻧﻪ ﺑﻔﻮﻗﻴﺔ اﳌﴩق ودوﻧﻴﺔ اﻷﻧﺪﻟﺲ؛ وﻫﺬا اﳌﻌﺘﻘﺪ إمنﺎ ﺗﻜﺮس ﻟﺪى اﻟﻨﻘﺎد‬ ‫ﺻﺎﻋﺪ ُ‬ ‫اﻟﺴﺎ ِر َﻳﺔ‪ .‬واﻷدﺑﺎء اﳌﺸﺎرﻗﺔ ﻗﺪميﺎً وﺣﺪﻳﺜﺎً ﻋﻨﺪﻣﺎ اﻋﺘﻘﺪوا أﻧﻪ ﻛﻠام اﺑﺘﻌﺪت‬ ‫ﻣﺘﻘﺪم ﰲ ﻫﺬه اﻵداب اﻟﺘﻲ أﻧﺘﻢ ُ ُ‬ ‫ﴎ ُﺟﻬﺎ اﻟﻀﱠ ﺎﺣِ َﻴﺔ‪ ،‬وأَﻫِ ﱠﻠ ُﺘ َﻬﺎ ﱠ‬ ‫َ‬ ‫َ‬ ‫َ‬ ‫ﻞ‬ ‫ﻔ‬ ‫اﺣﺘ‬ ‫ﻗﺪ‬ ‫واﳌﺠﻠﺲ‬ ‫ودﺧﻞ‬ ‫إﻟﻴﻪ‪،‬‬ ‫ﻓﻮﺟ َﻪ‬ ‫اﻟﻌﺮﺑﻴﺔ ﻋﻦ ﻣﻌﻘﻠﻬﺎ اﻷول )اﳌﴩق( ﺗﻼﺷﺖ واﺿﻤﺤﻠﺖ‪ ،‬ﻣﺘﻨﺎﺳني‬ ‫ﱡ‬ ‫وأﺣﺐ أن ُ ْمي َﺘ ُﺤ َﻦ ﻣﺎ ﻋﻨﺪه‪ ،‬ﱠ‬ ‫ُ‬ ‫َ‬ ‫ﻪ‬ ‫ﻣﺠﻠﺴ‬ ‫ر‬ ‫اﳌﻨﺼﻮ‬ ‫ﻓﺮﻓﻊ‬ ‫‪،‬‬ ‫ﺠﻞ‬ ‫َﻓﺨَ‬ ‫ُ‬ ‫وآﻧﺴ ُﻪ‪ ،‬وﺳﺄﻟﻪ ﻋﻦ أيب ﺳﻌﻴﺪ اﻟﺴرياﰲ‪ ،‬أن َﺣ َﻤ َﻠ َﺘ َﻬﺎ ﰲ اﻟﺒﻌﻴﺪ اﻟﻘﺎﴆ ﻟﻴﺴﻮا ﺳﻮى ﻋﺮب ﻳﻌﺘﺰون ﺑﻌﺮﺑﻴﺘﻬﻢ‬ ‫ُ‬ ‫َ‬ ‫َ‬ ‫ُ‬ ‫ﻓﺰﻋﻢ أﻧﻪ ﻟﻘ َﻴﻪ وﻗﺮأ ﻋﻠﻴﻪ ﻛﺘﺎب ﺳﻴﺒﻮﻳﻪ‪ .‬ﻓﺒﺎدره‬ ‫اﻟﻌﺎﺻﻤﻲ ﺑﺎﻟﺴﺆال وﻳﻌﺘﱪوﻧﻬﺎ أﺳﺎس ﻫﻮﻳﺘﻬﻢ‪ ،‬أو ﻣﺴﻠﻤني ﻣﻦ أﻋﺮاق ﻣﺨﺘﻠﻔﺔ ﻳﻔﺘﺨﺮون‬ ‫ﱡ‬ ‫ﻋﻦ ﻣﺴﺄﻟﺔ ﻣﻦ اﻟﻜﺘﺎب‪ ،‬ﻓﻠﻢ ﻳﺤﴬه ﻓﻴﻬﺎ ﻣﻦ ﺟﻮاب‪ ،‬واﻋﺘﺬ َر أن اﻟﻨﺤ َﻮ ﺑﺘﻌﻠﻢ اﻟﻌﺮﺑﻴﺔ وآداﺑﻬﺎ ﺗﻘﺮﺑﺎً إﱃ اﻟﺜﻘﺎﻓﺔ اﻟﺘﻲ ﺟﺎء ﺑﻬﺎ اﻟﺪﻳﻦ اﻟﺠﺪﻳﺪ‪،‬‬ ‫ﻟﻴﺲ ﱠ‬ ‫رأس ﺻﻨﺎﻋﺘﻪ‪ .‬ﻓﻘﺎل ﻟﻪ اﻟﺰﺑﻴﺪي‪ :‬ﻓام ﺗﺤﺴﻦ وﻣﺤﺎوﻟﺔ ﻣﻨﻬﻢ إﱃ ﻓﻬﻢ اﻟﻨﺺ اﻟﻘﺮآين ﺑﺸﻜﻞ أﻓﻀﻞ‪.‬‬ ‫ﺟﻞ ﺑﻀﺎﻋﺘﻪ‪ ،‬وﻻ َ‬ ‫‪2‬‬ ‫أﻳﻬﺎ اﻟﺸﻴﺦ؟ ﻗﺎل‪ :‬ﺣﻔﻆ اﻟﻐﺮﻳﺐ‪ .‬ﻗﺎل‪ :‬ﻓام وزن )أَ ْوﻟَﻖَ ( ؟ ﻓﻀﺤﻚ إﻧﻨﺎ ﻋﻨﺪﻣﺎ ﻧﺮاﺟﻊ ﻗﻮل اﻟﺜﻌﺎﻟﺒﻲ‪» :‬ﺑﻀﺎﻋﺘﻨﺎ ردت إﻟﻴﻨﺎ«‪ ،‬ﻧﺤﺲ ﺑﻬﺬه‬ ‫ﺻﺎﻋﺪ وﻗﺎل‪ :‬أﻣﺜﲇ ُﻳﺴﺄل ﻋﻦ ﻫﺬا؟ إمنﺎ ُﻳﺴﺄل ﻋﻨﻪ ﺻﺒﻴﺎن اﳌﻜﺘﺐ‪ .‬اﻷﺳﺘﺎذﻳﺔ واﻟﻔﻮﻗﻴﺔ اﻟﺘﻲ ﺗﺨﺘﺰل اﻵﺧﺮ ﰲ ﺣﺠﻢ اﻟﺘﻠﻤﻴﺬ‪ ،‬وﻗﺪ ﺗﺬﻫﺐ‬ ‫ﻳﻮﻧﻴﻮ ‪69 2018 /‬‬

‫أﻧﺪﻟﺴ‪SSSSSSS‬ﻴﺎت‬ ‫‪baytelshear‬‬

‫ﻣﺸﺮﻗﻲ ﻓﻲ ا&ﻧﺪﻟﺲ‬

‫ﺻﺎﻋﺪ ﺑﻦ اﻟﺤﺴﻦ اﻟﺒﻐﺪادي‬ ‫ﻣﻨﺎﻇﺮات اﻟﻤﺮﻛﺰ واﻟﻬﺎﻣﺶ‬ ‫د‪ .‬ﻳﺎﺳﻴﻦ ﺣﺰﻛﺮ‬

‫مل ﻳﻜﻦ اﳌﴩق اﻟﻌﺮيب دامئﺎً ﻣﺮﻛﺰ اﻷرض ﻛام ﻳﻌﺘﻘﺪ اﻟﻨﻘﺪ اﻷديب‬ ‫اﳌﴫي ﺧﺎﺻﺔ‪ ،‬أو اﻟﻨﻘﺪ اﳌﺘﺄﺛﺮ ﺑﻔﻜﺮة ﻣﺮﻛﺰﻳﺔ اﻟﺤﻀﺎرة اﻹﺳﻼﻣﻴﺔ ﰲ‬ ‫اﳌﴩق ﻋﻤﻮﻣﺎً؛ وﻧﺰﻋﻢ ﻫﺬا اﻟﺰﻋﻢ ﻻ ﻣﻦ زاوﻳﺔ ﻧﻈﺮ ﺳﻴﺎﺳﻴﺔ ﻣﻐﺎرﺑﻴﺔ‬ ‫أو أﻧﺪﻟﺴﻴﺔ‪ ،‬ﺑﻞ ﻣﻦ واﻗﻊ ﺣﻘﻴﻘﺔ ﺳﻴﺎﺳﻴﺔ »ﻣﴩﻗﻴﺔ«؛ وﻫﻲ أﻧﻪ ﻋﻘﺐ‬ ‫ﺳﻘﻮط دوﻟﺔ اﻷﻣﻮﻳني ﰲ اﳌﴩق و َﺗ َﻮ ﱡﺛ ِﺐ اﻟﻌﺒﺎﺳﻴني ﻋﲆ إرﺛﻬﺎ‪ ،‬مل‬ ‫ﻳﺴﺘﻄﻊ ﻫﺆﻻء اﻻﺳﺘﻴﻼء ﻋﲆ إﻗﻠﻴﻢ اﻷﻧﺪﻟﺲ اﻟﺬي ﺿﻤﻦ إﺣﻴﺎء وﺑﻘﺎء‬ ‫واﺳﺘﻤﺮارﻳﺔ اﻷﻣﻮﻳني ﺑﻌﻴﺪاً ﻋﻦ دﻣﺸﻖ ﻋﺎﺻﻤﺘﻬﻢ اﻟﺴﺎﺑﻘﺔ‪.‬‬ ‫إﻧﻨﺎ ﻧﻘﺼﺪ أن ﺗﺎرﻳﺦ ﻣﻨﺘﺼﻒ اﻟﻘﺮن اﻟﺜﺎين اﻟﻬﺠﺮي )‪132‬ﻩ‪-750‬م(‬ ‫ُ‬ ‫ﺣﻴﺚ اﻋﺘﻘﺪ اﻟﺠﻤﻴﻊ ﺑﺴﻘﻮط ﻧﺠﻢ اﻷﻣﻮﻳني وﺳﻄﻮع ﻧﺠﻢ اﻟﻌﺒﺎﺳﻴني‪،‬‬ ‫مل ﻳﻜﻦ ﰲ اﻟﺤﻘﻴﻘﺔ إﻻ ﺗﺎرﻳﺨﺎ ﻻﻧﺸﻄﺎر اﳌﴩق ﻋﲆ ﻧﻔﺴﻪ‪ ،‬واﻧﺘﻘﺎل‬ ‫ﺷﻌﻠﺘﻪ اﳌﻘﺪﺳﺔ إﱃ ﻣﻔﺎو َز ﻧﺎﺋﻴﺔ ﺣﺘﻰ ﺑﻠﻐﺖ أﻗﴡ ﻣﻐﺮب اﻷرض‪،‬‬ ‫وﺑﺪأت ﺗﺴﻄﻊ وﺗﺸﻊ‪ ،‬ﺿﺎرﺑﺔ ﻋﺮض اﻟﺤﺎﺋﻂ ﻗﻮاﻧني اﻟﻄﺒﻴﻌﺔ‬ ‫وﻫ ْﻨ َﺪ َﺳ ِ‬ ‫ﺎت اﳌﻤﻜﻦ‪ ،‬ﰲ ﺗﻨﺎﻓﺲ ﺑني اﻟﻌﺒﺎﺳﻴني ﰲ اﳌﴩق واﻷﻣﻮﻳني‬ ‫َ‬ ‫ﰲ اﻷﻧﺪﻟﺲ‪.‬‬ ‫ﰲ ﻫﺬا اﻟﺴﻴﺎق اﻟﺤﻀﺎري اﻟﺠﺪﻳﺪ ﺑﺪت ﻗﺮﻃﺒﺔ ﻣﺮﻛﺰاً ﻟﻠﺤﻀﺎرة اﻟﺬي‬ ‫اﺳﺘﻘﻄﺐ اﻟﻬﺎرﺑني ﻣﻦ اﳌﴩق اﻟﻌﺒﺎﳼ اﻟﺬي ﺗﻮﻋﺪﻫﻢ ﺑﺎﻟﺴﻴﻒ؛‬

‫أﻣﺜﺎل‪ :‬زرﻳﺎب اﻟﺬي ﻓﺮ ﻣﻦ ﺣﺴﺪ أﺳﺘﺎذه و َﻗ ِﺪ َم إﱃ اﻷﻧﺪﻟﺲ ﺑﺤﺜﺎ ﻋﻦ‬ ‫اﻷﻣﺎنِ ﻓﻮﺟﺪه ُﻣﺨَ ِﺎﴏاً ﻟﻠﻤﺠﺪ‪ ،‬وأﻣﺜﺎل‪ :‬أيب ﻋﲇ اﻟﺒﻐﺪادي اﳌﺸﻬﻮر‬ ‫ﺑﺎﻟﻘﺎﱄ وﻣﻦ ﺑﻌﺪه ﺻﺎﻋﺪ اﻟﺒﻐﺪادي‪ ،‬وﻗﺪ وﻓﺪا ﻋﲆ اﻷﻧﺪﻟﺲ ﺑﺤﺜﺎ‬ ‫ﻋﻦ اﳌﺠﺪ ﻓﻮﺟﺪاه ﻣﺨﺎﴏا ﻟﻸﻣﺎن ﰲ ﺑﻼﻃﺎت اﳌﻠﻮك وأروﻗﺔ اﻟﻮزراء‬ ‫واﻟﺮؤﺳﺎء‪.‬‬ ‫ﻟﻘﺪ اﺳﺘﻘﻄﺒﺖ ﻗﺮﻃﺒﺔ اﻟﻜﺜري ﻣﻦ اﳌﺜﻘﻔني اﳌﺸﺎرﻗﺔ‪ ،‬وﻻ ﻧﺘﺤﺪث‬ ‫ﻫﻨﺎ ﻋﻦ ﻣﺮﺣﻠﺔ اﻟﻔﺘﺢ اﻹﺳﻼﻣﻲ اﻟﺬي وﻓﺪ ﻣﻌﻪ أﻛرث ﻣﺎ وﻓﺪ اﻟﺠﻨﻮ ُد‬ ‫ورﺟﺎل اﻟﺪﻳﻦ اﻟﺬﻳﻦ اﻋﺘﻨﻮا ﺑﱰﺳﻴﺦ اﻹﺳﻼم ﰲ اﻟﻘﻠﻮب‪ ،‬وﻗﻠﻴﻼ ﻣﻦ‬ ‫اﻟﺸﻌﺮاء اﻟﺬﻳﻦ أَﺧْ َﻤ َﻞ اﻟﺘﺎرﻳﺦ ﺻﻔﺤﺎﺗﻬﻢ ومل ﻳﺼﻠﻨﺎ ﻣﻦ أﺷﻌﺎرﻫﻢ إﻻ‬ ‫اﻟﻨﺰر اﻟﻴﺴري؛ وﻟﻜﻨﻨﺎ ﻧﻘﺼﺪ ﻣﺮﺣﻠﺔ ﻣﺘﺄﺧﺮة ﺗﺰاﻣﻨﺖ ﻣﻊ ﻧﻬﺎﻳﺔ اﻟﺪوﻟﺔ‬ ‫اﻷﻣﻮﻳﺔ ﰲ اﻷﻧﺪﻟﺲ‪ ،‬أو ﻣﺎ ﻳﺼﻄﻠﺢ ﻋﻠﻴﻬﺎ ﻋﻨﺪ رﺟﺎﻻت اﻟﺘﺎرﻳﺦ‪:‬‬ ‫»اﻟﻌﴫ اﻟﻌﺎﻣﺮي«‪ ،‬ﻧﺴﺒﺔ إﱃ اﳌﻨﺼﻮر ﺑﻦ أيب ﻋﺎﻣﺮ اﻟﺬي اﺳﺘﻮﱃ ﻋﲆ‬ ‫واﺳ َﺘ َﻠ َﺒﻪ ﻟﻨﻔﺴِ ﻪ ﻣﻦ دون اﻟﺨﻠﻴﻔﺔ اﻷﻣﻮي اﻟﴩﻋﻲ‪.‬‬ ‫ُ‬ ‫اﻟﺤ ْﻜ ِﻢ ْ‬ ‫ﰲ ﻫﺬا اﻟﻌﴫ ﺗﺪﻗﻴﻘﺎ ﺣﻂ )أﺑﻮ اﻟﻌﻼء ﺻﺎﻋﺪ ﺑﻦ اﻟﺤﺴني اﻟﺒﻐﺪادي(‬ ‫رﻛﺎﺑﻪ ﻃﺎﻣﺤﺎً إﱃ اﳌﺠﺪ واﻟرثوة؛ ﻏري أن ﻃﻤﻮﺣﻪ ﻛﺎن أﻛﱪ ﻣﻦ ﻣﻘﺪراﺗﻪ‬ ‫اﳌﻌﺮﻓﻴﺔ‪ ،‬وﻣﻌﺮﻓﺘﻪ أﻗﻞ ﻣﻦ أن ﺗﺴﺘﻔﺰ إﻟﻴﻬﺎ دﻫﺸﺔ اﻷﻧﺪﻟﺴﻴني )وﻻدة‬ ‫ني إﱃ ﻣﺂﺻﻠﻬﻢ اﻟﻘﺪميﺔ‪ ،‬وﻣﺎ ا ْﻋ َﺘ َﻮ َر ُﻫﻢ‬ ‫وﻧﺸﺄة( ﻋﲆ ﻣﺎ اﺧْ َﺘ َﻠ َﺠ ُﻬﻢ ﻣﻦ ﺣﻨ ٍ‬ ‫ﻣﻦ ﺷﻮق إﱃ اﻟﴩق؛ ﴍق اﻟﺮوح واﻟﻌﻘﻞ واﻟﻘﻠﺐ !!‬ ‫ﻟﻘﺪ وﺻﻞ ﺻﺎﻋﺪ إﱃ ﻗﺮﻃﺒﺔ وﰲ ﻧﻴﺘﻪ إﺑﻬﺎر اﻷﻧﺪﻟﺴﻴني مبﴩﻗﻴﺘﻪ‬ ‫اﻟﻠامﻋﺔ؛ ﻫﺬه اﳌﴩﻗﻴﺔ اﻟﺘﻲ اﻋﺘﻘ َﺪﻫﺎ ﺳﺘﻔﺘﺢ ﻟﻪ أﺑﻮاب اﻟﺒﻼط ﻣﻦ‬ ‫دون ﻣﺴﺎءﻟﺔ أو اﻣﺘﺤﺎن !! وﻋﻜﺲ ﻣﺎ ﺗﻮﻗﻌﻪ ﻓﻘﺪ وﺟﺪ ﺣِ َﺠﺎ َﺑ ًﺔ وأﻟﻒ‬ ‫ﺑﻮاﺑﺔ‪ ،‬وﺟﻨﺪا ﻣﻦ وراء ﺳﺪ‪ ،‬واﻣﺘﺤﺎﻧﺎً ﻋﻘﺐ اﻣﺘﻬﺎن؛ ﻳﻘﻮل اﺑﻦ ﺑﺴﺎم‪:‬‬ ‫»دﻓﻌﻮه ﺑﺎﻟﺠﻤﻠﺔ ﻋﻦ اﻟﻌﻠﻢ ﺑﺎﻟﻠﻐﺔ‪ .‬وأﺑﻌﺪوه ﻋﻦ اﻟﺜﻘﺔ ﰲ ﻋﻠﻤﻪ‬ ‫وﻋﻘﻠﻪ ودﻳﻨﻪ‪ ،‬وﻟﺬﻟﻚ ﻣﺎ رﺿ َﻴﻪ أﺣﺪ ﻣﻦ أﻫﻠﻬﺎ أﻳﺎم دﺧﻮﻟﻪ إﻟﻴﻬﺎ وﻻ‬ ‫رأوه أﻫ ًﻼ ﻟﻸﺧﺬ ﻋﻨﻪ واﻻﻗﺘﺪاء ﺑﻪ«‪ .1‬ﻓﻮﺟﺪ ﻣﺪاﺧﻠﻪ إﱃ اﳌﺠﺪ ﻋﺼﻴﺔ‬ ‫ﻣﻨﻴﻌﺔ‪ ،‬ﻟﺴﺒﺐ ﺑﺴﻴﻂ ﻫﻮ أن اﳌﴩق ﻃﺎﳌﺎ ﻧﻈﺮ إﱃ اﻷﻧﺪﻟﺲ ﺑﻌني‬ ‫اﻻﺳﺘﻌﻼء ﰲ ﺣني ﻧﻈﺮ اﻷﻧﺪﻟﺲ إﱃ اﳌﴩق ﺑﻌني اﻹﻋﺠﺎب؛ ﻓﺮﻓﺾ‬ ‫ﻳﺼﻐﻲ ﻟﻠﺜﺎين ور ﱠد ﻋﻠﻴﻪ أﺷﻌﺎره وآداﺑﻪ واﻋﺘﱪه ﻣﺠﺮد ﺗﺎﺑﻊ‬ ‫اﻷول أن‬ ‫َ‬ ‫اﻟﺜﻌﺎﻟﺒﻲ ﰲ ازدراء ﻛﺘﺎب اﻟﻌﻘﺪ‬ ‫ﻻ ﻳﺠﻴﺪ اﻻﺑﺘﺪاع ﻋﲆ ﻧﺤﻮ ﻣﺎ ﻗﺎﻟﻪ‬ ‫ﱡ‬ ‫اﻟﻔﺮﻳﺪ ﻻﺑﻦ ﻋﺒﺪ رﺑﻪ‪» :‬ﺑﻀﺎﻋﺘﻨﺎ ردت إﻟﻴﻨﺎ«‪ ،‬وﻇﻞ اﻟﺜﺎين ﻣﺘﺎﺑﻌﺎ ﻟﻸول‬ ‫ﻳﺄﺧﺬ ﻋﻨﻪ وﻳﺰﻳﺪ؛ ﺣﺘﻰ ﺗﻔﻮق ﻋﻠﻴﻪ ﰲ ﻛﺜري ﻣﻦ اﻷﺣﻴﺎن ﻣﻦ دون أن‬ ‫ﻳﺪري اﻷول ﻣﺒﻠﻎ ﻋﻠﻢ »اﻟﺘﻠﻤﻴﺬ اﳌﻔﱰض« !!‬ ‫َ‬

‫اﻟﺸﻌﺮ ‪ /‬اﻟﻌﺪد ‪68‬‬ ‫‪ 68‬ﺑﻴﺖ ِ‬

‫أﻣﺎ ﺑﻌﺪ‬ ‫ﻋﺎﻳﺾ اﻟﺤﺒﺎﺑﻲ‬ @alhbabe_ayad1

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67 2018 / ‫ﻳﻮﻧﻴﻮ‬

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‫ﻣﺎﺳﺎت‬ baytelshear

‫ِﺳ ُﻠ ْﻮم ِر َﺟ ْﺎل‬ ‫ﺧﻠﻴﻔﺔ ﻣﺼﺒّﺢ اﻟﻜﻌﺒﻲ‬ @alkaabikhalifa

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¡R @ O @~@@U}@D* eRv@ @ P0 ¢@@N @<N ¤@R @+P b@@gN @ R @+P xQ @ / N *R HP 4R Pw@@ P @ DR * R P @:b@ N @cN @-P M @@GN ¡R @ +* @@ R @DP ¡R @cO @ P~@@6 R @@ PE ¤@R @BP ¡R @ O @ P1 ¯ ¢@ R P @ @ EN IxN @ @ -N ¤@R @ U @ N @ E R @R @ @ @ PE*N2 4R wS @ @ N @ @-U ° ¡R @ O @ ~@P @6 Áb@ Q R *N2HP @R @ BP ¡R @ EO vU @ D* @@JR 2P b@@ N @ EN PR x@ ~@R @z@ -N °N HR Ñ* " ¡R @m@O @AP ¤@R @BP b@@ S @ 1N HR Ä@R @ N @ DR * ¤@R @ P @ R @ P @s@R @-N ¢@@gN @ PE R @@ PE Q HN N @p@N @ U @D* Í@R @ P @ R @ : N Í@R @ +N Á( R U * Ñ* HR xO @ @JP ¤@R @ P @ cR @ : ¢@ R P ¤@R @ PE¡R @ BN R P~6 R @@ PE b@@FN &* @R @ P~@@7 ¡R @cO @ P:HR ÃPR 5É@@ EN · ¡R @ +O xU @ D* Í@R @+N @R @+P h£R mS ~6 b@ N @EN @R @CP ¤@R @ P @@cR @ PE Ph@@ R @ CP N £R P/ °S (* d~|R =N @@+P 4R 2N h£R P/ bNE ¢~{N 0 ¡R : h N °N ¡R @ @FN Q @ @ @ CP HR xR @ @ @ P< Q @ @ @ CP HR 4R *N2 Q @ @ CP R @@ @ PE eR xN @ @ N @ @ DR * ¡R @ @ O @ @BP @R @ U @ @ PE b@@ @ @ FN *HN ¢@@ N @ R @ JP °N y@@ R @ @CN @@ <b@@ N @ N @ DR * ¡R /O xU D* Rib N £R GN hJR vS ~8N *R HP hJR vS ~8N b@@FN &* rHR 4O

68 ‫ اﻟﻌﺪد‬/ ‫اﻟﺸﻌﺮ‬ ِ ‫ ﺑﻴﺖ‬66

Ê ;Ê ê± F= C ¼ Î C = a Ê C C ½CCÊ Ò± C< ± ÏCÊÊ `Ê M Ò Î ± » h Ê < Ê CÊ a == Ò CÊÊ

CCCC6*42 m*K|CCCCCCCCC¼* CCCCJ&* v|CCCCH lCCªCC CCGK ¥C+* «C < |CC CCH §CC+ fCCM CC¤CC+ ¥CC CC CC< CC6fCCCCCgCCM CCCCCªCCGfCC CC¼* §CCCCCCCM fCCCCC¤CCkCCM|CCH ¥Cgª < |CCCCCMfCC CC CC CCG* §CCCCCM fCC¤CCkCCG~CCIK 6f 0 |CCCº* rCCCJ*K ¬4zCC CC CC+ CC CCIKK ¥C+ «CCqCCM ¿ ¥CC CCJ 4fCCCD ¢CCH hCC CC CC0* 6*|CH hC G* m|CC CC CC+* ¢CCF lCCªCC CCE*K ¥CgM3 §CCC¹* ¢CCH h¡ M f F hCC¡CCE*K 6fH|< §gG* ¨ < § - f F §CCC<*K ¥Cgª < ¥CCCCCG*§CC0 CC CC/ «CC¡CCH¸ ¢CCCHK 6fCH2¸* h < h G* £§ M « Gf+ ¥Cgª Gf+ KzCCC CCCG* ,|CCwCC CC CCH «CC CC+4 CC6*|CCD¸* s| 6 ¨ < *§CCgCCF4 ¤¡H fªG* ¥CgM|< hCCCCCE §CCCCD ¢CCCH *§CCCH~CCCªCCC³K 6fC G* «CCCCCGfCC< Ô g+ *K~CCCkCCC<* fCCªCCG* ¥Cgª 0 ¬2fCCCCC CC¼* CC CC/ ¨CC CC< *§CC CC1 CC6fCCCCC+ fCCCCC¤CC+ fCCCH i|CC CC CCG ¦2§CCCCCC¼* |CCCCF3 ¥CCCCCgCCCCCªCC CC CCH CCCCCCCG§CCC¼* ¨CCCCC CC< fCCCCC¤CC¡CC CCG 6*|CG*K hC G* hª 7 ¥CCEfCCD|CCG* hCC0 ¥CgM|E CCCCCMzCC+ ¥CCCCCG ¦2§CCCCCCC¼* fCCCCC+K 6fC¡G* CH ¥ Mz+ f - i|CC CCG* «Ef+ ¥Cgª G fCCCCCH zCCgCCG* m42 §CCG §CCCC1*K

‫وﻗﺪ ﻛﺎﻧﺖ ﻟﻬﺎ ردﻳﺎت ﻣﻊ ﻋﺪد ﻣﻦ اﻟﺸﻌﺮاء ﻛام متﻴﺰت ﺑﻮﺻﻒ‬ :‫اﻟﺴﻴﺎرات وﻫﻮ اﻟﻔﻦ اﻟﺬي متﻴﺰ ﺑﻬﺎ ﺷﻌﺮ اﻟﺮﺟﺎل ﻋﺎدة‬ ¥CCCCC0K|CC¼* CnH ÎCCCCD&*K |CCD hCP C CC CCG ¢CCH fCJÔ 6 ¬§CCC P CCCCCD fCCCCCJ|CCD P CE zCCCCCMzCC/ m|CC ¥0|D*K «g E | 6 «g0f ªG t 9 £* fCJ| 7 «C¡ª< 2*5 «g0f 8 ¨ - £*K ¥t+3* L§ H fI*K «¡t+{M ¬KfI «g0f 8 fCJ|0 2KT 5 4fCCCCCI fC¡ 6 ¬zCCgCCF · h 7

:‫وﻣﻦ ﻗﺼﺎﺋﺪﻫﺎ اﻟﺠﻤﻴﻠﺔ‬ ¥CCCCCM2fCCI* CC CCCCC+ fCCCCCCCI*K «CC¡CCM2fCC¡CCM ¥CCkCCªCCG ¦|CCCCCH £fCCCCF §CCCCGK ÕCC CC CC0fCCM ¥CCCC+KfCCCC/*K ¥CCCCCMK*|CC< mfCCCCC CC CC+fCCM «CCCCCgCC CCE ¥CCªCC CC< ¦|CCCCCqCCM «CCCCC<§CC CC CC9 ¢CCCH «CCgCC CC CC+* fCC CCE* ¥CCCCCMK*|CC0 «CCCCCD ¦zCCC<fCCCE fCCCªCCCG ¿*3 ¦|CCCCC CC CC¼* ¨CCCCCCC CCC< m2*5 fCCCCCCC¤CCCI* ÕCCCCG ¥CCªCCGfCC= mfCCCCH ¢CCCH zCCCC/K zCC/§CC-fCCkCC CCE ¦|CCCCCÊ §CCCCCCCM CCCCCCCF ¥CCCCCCCGfCCCgCCCE* ¦§CCCgCCCE ¥Cª Ã CCªCC CCG*§CCJKfCC1 ¢CCH zCCC/K K&* ¦|CCH ¢CCqCC¤CCG* CCCJ ¢CCCH zCCC0 ¸K fCCwCC¡CCM ¥CCªCC CC9fCC³* ¬4*§CCC CCC CCCG*K uCCM|CC: «CC CC1 ¦|CCCCC0 CCCCC CC CC9 ¥CC CC+fCC CCH*K ¥CC CC CC CC¼fCC+ ¥CªGftM fCCªCC0 lCC CC CC7fCCH ¬{CCCCG* ¨CC CC< ¦|CCCCC CC7 ¢CCCCCM2fCC CC¼* §CCC CCCG* ¨CC CC< xCCªCC CC7 65 2018 / ‫ﻳﻮﻧﻴﻮ‬

‫أﺳﺎﻃﻴﻦ اﻟﺸﻌﺮ‬ ‫‪baytelshear‬‬

‫وﺻﻔﺖ اﻟﻤﻮاﺗﺮ‪ ..‬وﺗﺤﺪت اﻟﺮﺟﺎل‬

‫ﺑﺨﻮت اﻟﻤﺮﻳﺔ‪..‬‬

‫ﺣﺐ ﻋﻠﻰ »وﺿﺢ اﻟﻨﻘﺎ«!‬

‫ﻋﻠﻲ اﻟﻤﺴﻌﻮدي‬ ‫*‪« <fH «-§ + CCCD4*K 6§ ¡¼* hCC CCG‬‬ ‫‪ ¥C¡ª¤G* § G* CCCJ*K 2§ ¡¼* CCJ ¢CCH‬‬ ‫ﺷﺎﻋﺮة ﻇﻬﺮت ﰲ وﻗﺖ ﺻﻌﺐ‪ ،‬ﻣﻦ ﺿﻤﻦ ﻗﻠﺔ اﺳﺘﻄﺎﻋﺖ أﺻﻮاﺗﻬﻦ‬

‫أن ﺗﴪي ﰲ ﻣﺠﺎﻟﺲ ﺷﻌﺮ اﻟﺮﺟﺎل‪ ..‬واﻷﺻﻌﺐ ﻣﻦ ذﻟﻚ أﻧﻬﺎ ﺗﻜﺘﺐ ﰲ‬ ‫اﻟﺤﺐ‪ ،‬ﺑﻞ إﻧﻬﺎ ﺗﺠﺎﻫﺮ ﰲ ﻣﻦ ﺗﺤﺐ!‬ ‫اﻟﺪﺧﻮل إﱃ أﺷﻮاك اﻟﻘﺒﻴﻠﺔ‪ ،‬واﻗﺘﺤﺎم اﳌﻤﻨﻮع‪..‬‬ ‫ﺑﺨﻴﺘﺔ اﻟﺘﻲ ﻛﺎن ﻳﺪﻟﻌﻬﺎ أﻫﻠﻬﺎ »ﺑﺨّ ﻮت« ﺑﻨﺖ ﻋﺎﻳﺾ اﳌﺮي ﻣﻦ ﻋﺎﺋﻠﺔ‬ ‫آل ﻣﻨرية‪.‬‬ ‫ﻓﺠﻌﺖ ﰲ ﻃﻔﻮﻟﺘﻬﺎ ﺑﻔﻘﺪ أﻣﻬﺎ ﻓﻌﺎﺷﺖ ﰲ ﻛﻨﻒ واﻟﺪﻫﺎ ﻋﺎﻳﺾ اﳌﺮي‪،‬‬ ‫وﻻزﻣﺘﻪ ﰲ ﺣﻴﺎﺗﻪ‪ ،‬وﻫﻮ ﻣﺎ أﻛﺴﺒﻬﺎ ﻣﻌﺮﻓﺔ ﺑﻌﻠﻮم اﻟﺮﺟﺎل وﺳامع اﻟﻜﺜري‬ ‫ﻣﻦ اﻟﺸﻌﺮ وﺣﻜﺎﻳﺎت اﻟﺒﺎدﻳﺔ‪ ،‬وﻫﻢ ﻳﺘﻨﻘﻠﻮن ﰲ ﻣﻨﻄﻘﺔ اﻻﺣﺴﺎء‬ ‫وﻳﻘﻄﻨﻮن ﻋﲆ ِﻋ ّﺪ )اﻟﺰرﻧﻮﻗﺔ(اﳌﺸﻬﻮر ﰲ ﺟﻨﻮب اﻻﺣﺴﺎء‪.‬‬ ‫ﻳﻘﺎل إﻧﻬﺎ ﺗﺰوﺟﺖ ﺛﻼث ﻣﺮات‪ ،‬وﻟﻜﻨﻬﺎ مل ﺗﺮزق ﺑﺬرﻳﺔ‪.‬‬ ‫ﺳﻤﻌﻬﺎ واﻟﺪﻫﺎ ﺗﻨﺸﺪ اﻟﺸﻌﺮ وﻫﻲ ﺻﻐرية‪ ..‬وﻟﻘﻲ ﻧﻈﻤﻬﺎ اﻟﻘﺒﻮل‪..‬‬ ‫ﻓﺄﺧﺬت ﺗﺼﻮر اﻟﻄﺒﻴﻌﺔ ﺣﻮﻟﻬﺎ‪ ..‬وﻻ ﺗﺄﺑﻪ مبﻦ ﻳﻨﺘﻘﺺ ﻣﻨﻬﺎ ﻷﻧﻬﺎ ﺗﻨﺸﺪ‬ ‫اﻟﺸﻌﺮ‪:‬‬ ‫اﻟﺸﻌﺮ ‪ /‬اﻟﻌﺪد ‪68‬‬ ‫‪ 64‬ﺑﻴﺖ ِ‬

‫ﻋﻨﺪﻣﺎ ﺗﻘﺪم ﺑﻬﺎ اﻟﻌﻤﺮ ‪ ..‬اﺳﺘﻘﺮت ﰲ ﻣﺪﻳﻨﺔ اﻟﺪﻣﺎم ﰲ ) ﻛﺎﻣﺐ اﻟﺒﺪو(‬ ‫اﳌﻌﺮوف ﺣﺎﻟﻴﺎ ﺑﺎﺳﻢ ﺣﻲ اﻟﺒﺎدﻳﺔ‪.‬‬ ‫ﻟﻜﻦ ﺣﺐ ﺣﻴﺎة اﻟﺼﺤﺮاء ﻇﻞ ﻳﺴﻜﻦ وﺟﺪاﻧﻬﺎ‪:‬‬ ‫‪¢Cª G* lCª+ h < | G* lª+ ¨ < ¬2§/K‬‬ ‫‪¦|CnC¡CH‬‬ ‫‪ |CªC-fC ¼* §CC 7 ¨C C< ¬2§CC/K‬‬ ‫‪T‬‬ ‫‪¢CªC 7f¼* |C-§C¼* CJ ,§C1 ¨C < ¬2§C/K‬‬ ‫‪¦|º* *4K ¢H ¤ G* § 7 ¨ < ¬2§/K‬‬ ‫‪T‬‬

‫ﻳﻘﺎل إﻧﻬﺎ أﺣﺒﺖ اﺑﻦ ﻋﻤﻬﺎ »ﻣﺤﻤﺪ« ﻋﲆ وﺿﺢ اﻟﻨﻘﺎ ﰲ زﻣﻦ اﻟﺤﺐ‬ ‫اﻟﻌﻨﻴﻒ واﻟﻨﻮاﻳﺎ اﻟﻌﻔﻴﻔﺔ‪ ..‬ﻓﻘﺎﻟﺖ ﻓﻴﻪ اﻟﻜﺜري ﻣﻦ اﻟﺸﻌﺮ‪:‬‬ ‫‪ CC6fCCCCCIK* fCC¤CC+ fCCH ¥CCªCCGfCC1 5fCC¡CC¼* lCCªCC/‬‬ ‫‪ ¥CCgCCªCC:K fCCCH fCC¤CC CC94* K&¸* fCCCC< ¢CCCH‬‬

‫وﻫﺬه ﺷﺎﻋﺮة ﺗﻜﺸﻒ ﺣﻘﻴﻘﺔ وﺟﻬﻬﺎ‪ ،‬وﺗﻜﺘﺐ ﺑﻜﻞ ﺗﺠﺮد ﻣﻌﺎﻧﺎﺗﻬﺎ أﻣﺎ اﻟﺤﺎﻟﺔ اﻟﺘﻲ أﻣﺎﻣﻨﺎ ﻓﺘﺨﺘﻠﻒ ﻋﻦ ذﻟﻚ متﺎﻣﺎً‪ .‬وﻳﺼﻔﻬﺎ اﻟﺸﺎﻋﺮ‬ ‫ﺑﺎﻟﻘﻮل‪:‬‬ ‫اﻟﻄﻮﻳﻠﺔ ﰲ اﻟﺒﺤﺚ ﻋﻦ ﺣﺒﻴﺐ‪:‬‬ ‫‪ @@ @ £@ ~@ 7 @@ @ @ @ < ¢@@ @ @ @ < Mv@@ @ @ @ @< b@@ @ @ J Í@@ @ @~@ @z@ @E‬‬ ‫‪f@@ c@ @£@ @~@ @|@ @´b@@ G %°(* ,x@@ @ @ Jv@@ @ @ Db@@ @ @ + b@@ @ @ @E @@ @ @ @C‬‬ ‫@‪ @@ @ 6b@@ @ ´&°* v@@ @ @< n@@ @ @ GH x@@ @ @ @ E2 Ä‬‬ ‫‪@ @ @ = M @ @ @ @ /H‬‬ ‫‪*3¡@@ @ @< b@@ @ @ @B ¤@@ @ @ @ @/¡@@ @ + @@ @ Db@@ @ : @@ @ @E @@ @ @C‬‬ ‫‪Q‬‬ ‫‪ @@ @ £@ @ g@ @ - ¤@@ @ c@ @ - ¤@@ @ @ Q @ @ @ @D* @@ @£@ @ c@ @ @ @ D* @@ @ @ @ JH‬‬ ‫*´@ @ @ @ @ @ @ @@¡‪ @@ c@ @£@ @~@ @|@ @= ¤@@ @ @ @G b@@ @ @ @E ex@@ @ @ @ @ < b@@ @ @ @J 2‬‬ ‫‪ @@ 6b@@ c@ < ¡@@ @ @ @B° v@@ @ @ D* °¡@@ @ D b@@ @J Ñ*H‬‬ ‫‪" *3¡@@ @ @ @ @ @ J @@ @ £@ @ @D " Í@@ @ ~@ @ @{@ @ @D* ¡@@ @ @ c@ @ @ @- b@@ @ @ @E‬‬

‫وﻫﺬه ﺻﻮرة ﻣﻦ ﺻﻮر اﻟﺤﺐ ﺗﻜﺘﺒﻬﺎ »ﻣﺮام اﻟﺸﻮق«ﺗﺼﻒ ﻓﻴﻬﺎ ﺣﻮاراً وﻫﻨﺎك ﻣﻦ ﺷﻌﺮاء ﻳﺼﻔﻮن ﺣﺒﻴﺒﺎﺗﻬﻢ ﺑﺄوﺻﺎف ﺗﺤﺘﺎر ﻓﻴﻬﺎ ﺣﺘﻰ‬ ‫ﻳﺮﺣﺐ ﺑﺤﺒﻴﺒﺘﺔ اﳌﻌﺘﻮﻫﻪ‬ ‫ﻣﻊ »ﺣﺒﻴﺐ اﻟﺮوح« وﻟﻮﻋﺔ اﻟﻨﻘﺎش اﳌﻔﱰﺿﺔ ﺑني اﺛﻨني ﺟﻤﻌﺘﻬام أﺷﻴﺎء اﻟﺨﻴﺎﻻت‪ ،‬ﻟﻜﻦ ﻫﺬا اﻟﺸﺎﻋﺮ اﻟﻮاﻗﻌﻲ‬ ‫ّ‬ ‫اﳌﻌﻮﻗﻪ ‪ ..‬ﻓﻴﻘﻮل‪:‬‬ ‫ﻛﺜرية‪ .‬ﻣﻨﻬﺎ ﻣﺎ ﺗﺘﻀﻤﻨﻪ اﻷﺑﻴﺎت اﻵﺗﻴﺔ ‪:‬‬ ‫‪ b@@ @Jb@@ @ @ @ . @@ @ p@Q @ @ @ @ @J ¤@@ @ @ Q @ @ @ Db@@ @ @J É@@ @ @ @G f@@ @ @ £Q @ @ @ E‬‬ ‫· ‪¥v@@ @ @G @@ @ @£@ @A ¤@@ c@ @0b@@ ~@ @8 @@ @ E f@@ ~@ @|@ @B‬‬ ‫*‪ @@ F¡@@ £@ @ < ¯ @@ @ @ Ex@@ @ @ Jv@@ @ @ D* @@ @ p@ @ @J ¤@@ @ @ @ @ @ D‬‬ ‫‪ ¡@@ @ @ @E2H @@ @ @7*¡@@ @ @G ¯ b@@ @ @ @ @ @JH* b@@ @ @ @ @F*H Ã*2‬‬ ‫*‪ b@@ c@ @ < @@ @ @ @ 1 @@ @ @E @@ @Jv@@ @ @ @ F *v@@ @ @ @0 ¤@@ @ @ @ @D‬‬ ‫‪ ¥v@@ @ @E @@ @z@ @ £@ @ - ¢@@ @ @ @ < Áx@@ @Eb@@ @~@ @ z@ @ J Q2H‬‬ ‫‪ @@ @ FH2x@@ @ @ @ @J *¡@@ @ @ @ @ @0H4 x@@ @ @ @ @ @1%°* v@@ @ @ @ @ @ @ @D*H‬‬ ‫‪ ¡@@ @ @~@ @7H 4b@@ @ @ G5b@@ @ @ + ¥Q2H f@@ @ @ @ £@ @ B4 b@@ @ @ @ F*H‬‬ ‫‪¥Qv@ @~@ @|@ @E v@@ @ @ @ < @@ @ @ @ @ @ D*H ¤@@ @ c@ @ = ¤@@ @ Q @ @ 1‬‬ ‫‪Q‬‬ ‫‪ H42H x@@ @ @~@ @7 y@@ @ Jb@@ @ 0 @@ @ @ @ s@ @ g@ @ D* @@ @ @ @ @+H‬وﻣﻊ ذﻟﻚ ‪ ،‬وﻛﻞ ﺗﻠﻚ اﻷوﺻﺎف واﻟﺒﺸﺎﻋﺔ‪ ،‬ﻳﺒﻘﻰ ﻟﻠﻤﺮأة ﺣﻀﻮرﻫﺎ‪،‬‬ ‫‪¥v@@ @ @ @ A&*H b@@ ~@ 7b@@ + @@{@ £@ < 4¡@@ @ @ @ - @@ @ D h@@ @ B‬‬ ‫وﻟﻠﺤﺒﻴﺒﺔ ﺻﻮرﻫﺎ‪ ،‬وأﻫﻤﻴﺘﻬﺎ‪ .‬ﻓﺎﻟﺤﻴﺎة ﻻ ﺗﺴﺘﻘﻴﻢ ﺑﺪوﻧﻬﺎ‪ ،‬وﻻ ميﻜﻦ‬ ‫*(¶ ‪ Hy@@ @ @ @ @E @@ @ @ @ @s@ @g@ @+ h@@ @ @ @ @ @ @F&*H ¢@@ @ g@ @ @E‬‬ ‫ﻟﻠﺮﺟﻞ أن ﻳﺤﺲ ﺑﻮﺟﻮده ﻣﻦ دون أن ﺗﺸﺎرﻛﻪ ﺣﻴﺎﺗﻪ اﻣﺮأة ‪ ..‬ﻣﻬام‬ ‫‪¥Qv@ @ @ @ @ @- ¤@@ @ @E¡@@ @ @B b@@ @ @ @ @B h@@ @ @ Q @ @ @ @ @ @ @ @-H b@@ @ @ @ @B‬‬ ‫‪ ¡@@ @ / Mh@@ @£@ @ E b@@ @ @ F* ¡@@ @ @ J v@@ @ @ @ /*H @@ @ -4w@@ @ G‬ﺑﻠﻐﺖ ذﻣﺎﻣﺘﻬﺎ ‪ ،‬وﻣﻬام ﺑﻠﻎ ﻋﻤﺮﻫﺎ ‪..‬وﻫﺬا اﻟﺸﻌﺮ ﻳﺆﻛﺪ ذﻟﻚ‪:‬‬ ‫‪ @@ @ @ @ @ @D¡@@ @ @ @ @ @Db@@ @ @ @ @ @J °É@@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ 0*H °‬‬ ‫‪ f@@ @ @ @ F¡@@ @ @ @ @ @ @ @ @¸H M5¡@@ @ @ @ @ @ m@ @ @ @ @ @ @ < ¤@@ @ @ @ @ @ G ¡@@ @ @ @ @ @ D‬‬ ‫وﺗﺼﻒ »ﻋﺎﺑﺮة ﺳﺒﻴﻞ« ‪ ،‬رﺣﻤﻬﺎ اﻟﻠﻪ ‪ ..‬ﻋﻼﻗﺔ ﺣﺐ ﺗﺠﻤﻊ ﺑني اﺛﻨني ‪ @@ @ @ @ @ @ ~@ @ @ {@ @ @ D* b@@ @ @ @ @ @ @ @ @ Q @ @ @ @ @C b@@ @ @ @ @ @ @ @ @ @ @ @ @ @/4 ¡@@ @ @ @ @ @ @D‬‬ ‫ﻳﺸﱰﻛﺎن ﰲ أﻣﻮر ﻋﺪﻳﺪة ﻓﻴﻬﺎ اﻟﺒﻼدة وأﺷﻴﺎء آﺧﺮى‪ ،‬ﻳﺘﻀﻤﻨﻬﺎ ﻗﻮﻟﻬﺎ ‪:‬‬ ‫‪ @@ @ @F¡@@ @ @£@ @ @ @ @ @ + @@ @ @ @ @ @6b@@ @ @ @ @ @ @ @ @ @ @ @ D* @@ @ @ @ @ @cQ @ @ @ @ @ @ @ @ @ @ @ @ -H‬‬ ‫· ‪rHx@@ @ @ D* @@ @ @ @ @- ¤@@ @c@ @ - @@ @ @ @ E Md@@ @0b@@ @~@ @ 8‬‬ ‫‪ @@ @ c@ 1 @@ @£@ @ A @@ @ @ @ @DQ ¡@@ @ E ¤@@ @ @G @@ @ @ @EH M @@ @ c@ @ @1‬‬ ‫وﺑﻌﺪ ﻫﺬه اﻟﻨامذج اﻟﺸﻌﺮﻳﺔ‪ ،‬ﻫﻞ ﺳﺘﺼﺪﻗﻮن أوﺻﺎف اﻟﺤﺒﻴﺒﺎت‬ ‫<@ @ @@‪rHy@@ @ @ @ EH Qv@ @ @ @ @ @±* @@ @ @ E @@ @ @ D q@@ @ @ @ @ L´* Í@@ @ @Eb‬‬ ‫‪ @@ @ c@ < @@ @ J2b@@ @ @ @ @- Æ@@ @ @ @ < b@@ @ @ J ¡@@ @ @ @ @ @ @ @B&*H‬ﰲ ﻗﺼﺎﺋﺪ اﻟﺸﻌﺮاء اﻟﺬﻳﻦ ﻳﻨﴩون ﺻﻮرﻫﻢ اﳌﺰرﻛﺸﺔ‪ ،‬وﻳﺘﺨﻴﻠﻮن‬ ‫ﺣﺒﻴﺒﺎت ﻣﻦ ﺧﺎرج ﻧﻄﺎق واﻗﻌﻬﻢ اﻟﺸﻴﻄﺎين!!‬ ‫‪r¡@@ @ @D b@@ @ @ @ J h@@ @ @ @ @ @ B @@ @ @ @ . Iv@@ @ @ @ @ @ @ ´* b@@ @ @ @ @ @:‬‬ ‫¸ @ @ @ @@‪ @@ @ m@ < x@@ @ @ @ :b@@ @ @ @ º R rM x@@ @ @ @ @ @/ Mf@ @ @ @ @0Hx‬‬ ‫‪rHx@@ @ ¸ b@@ @ @ @ @D* @@ @ E b@@ @ @ F* b@@ @ @ @ BH @@ @ @ @ FQ 2‬‬ ‫‪ @@ @ @ @ /4 @@ @ ~@ @ @6H ¤@M @ @ @ @ c@ @ E rM x@@ @ @ @ ± x@@ @ @ ~@@Q @ @ 7*H‬‬

‫ﻫﻜﺬا ﻳﻜﻮن ﺷﻜﻞ اﻟﻌﻼﻗﺔ ﻣﻊ »ﻟﻮح« ﻛﺎن ﻣﻦ اﳌﺼﺎدﻓﺎت أن ﻳﺼﺒﺢ‬ ‫ﺣﺒﻴﺒﺎً ﺗﺬﻫﺐ ﻛﻞ ﺷﻜﻮى ﻣﻦ اﻟﺤﺒﻴﺒﺔ أﻣﺎﻣﻪ إﱃ ﻫﺒﺎء ﻣﻨﺜﻮر!‬ ‫ﻟﻜﻦ ﻣﺎذا ميﻜﻦ أن ﻳﻔﻌﻞ ﺣﺒﻴﺐ ارﺗﺒﻂ ﻗﻠﺒﻪ ﺑﻔﺘﺎة »ﺟﻴﻜﺮة«وأوﺻﺎﻓﻬﺎ‬ ‫ﻏﺮﻳﺒﺔ‪ ،‬ﻏﺜﻴﺜﺔ‪ ،‬وﻣﻘﺮﻓﺔ‪ ...‬ﻫﺬا ﻣﺎ ﻳﺘﺤﺪث ﻋﻨﻪ اﻟﺸﺎﻋﺮ »ﻋﺒﺪاﻟﻠﻪ‬ ‫اﻟﺮوﻳﲇ«‪:‬‬ ‫*&‪ @@ @ @ £@ @ @ @F*3* v@@ @ @ @ 0 @@ @ @ @ ~@ @ @ @ @8*H @@ @ @ Jv@@ @ @ / ¡@@ @ @ @ @ @ @ +‬‬ ‫*&; @ @ @ @ @ @@ <@ @ @ @ @ ‪¤@@ @ p@ @ F f@@ @<b@@ @~@ @ 6 ¡@@ @ @ @ @ @ D* ¤@Q‬‬ ‫‪ @@£@A v@@ @~@ @ |@ @ F&* b@@ @E b@@ ~@ @ 7 @@ @E @@ @D ix@@ @;b@@ @F‬‬ ‫‪ ¤@@ @ @p@ @+3 @@ Db@@ @ @/ ¯ @@ @ F* d@@~@ z@ p@ J ¡@@ @ GH‬‬

‫وﻋﻨﺪﻣﺎ ﻏﻨﻰ ﻣﺤﻤﺪ ﻋﺒﺪه ‪ :‬أﺣﲆ ﻣﻦ اﻟﻌﻘﺪ ﻟﺒﺎّﺳﻪ‪ .‬ﻛﺎن ﻳﺼﻒ اﻟﻌﻨﻖ‬ ‫واﻟﻌﻘﺪ ‪ ..‬واﻟﺘﺤ ّﺪي اﻟﺬي ﻳﺸﺘﻌﻞ ﺑﻴﻨﻬام‪ ..‬ﻓﻔﻲ ﻛﻞ ﻣﻨﻬام ﻳﻨﺒﻊ ﺟامل‬ ‫أﺧﺎذ ﻟﻜﻦ اﻟﻐﻠﺒﺔ ﺗﻜﻮن ﻟﻠﻌﻨﻖ ‪ ..‬ﻷﻧﻬﺎ ﻛﺎﻧﺖ »أﳌﺎﺳﻪ ﺗﻠﺒﺲ أﳌﺎﺳﻪ« ‪.‬‬ ‫ﻳﻮﻧﻴﻮ ‪63 2018 /‬‬

‫ﻣ‪SSSSSSS‬ﺪارات‬ ‫‪baytelshear‬‬

‫ﺷﺎﻋﺮ ﻏﺒﻲ أﺻﻠﻊ ‪ ..‬ﻳﻌﺸﻖ ﻓﺘﺎة ﻣﺮﺟﻮﺟﺔ ﺛﺮﺛﺎرة !‬

‫ﺗﻐﻴﺮ ﻣﺒﺎﻟﻐﺎت اﻟﺸﻌﺮاء ﻓﻲ ﺣﺒﻴﺒﺎﺗﻬﻢ اﻟﻔﺎﺗﻨﺎت‬ ‫ﺣﻘﺎﺋﻖ ّ‬ ‫ﻋﻠﻲ اﻟﻤﺴﻌﻮدي‬

‫ﺣﺒﻴﺒﺔ اﻟﺸﺎﻋﺮ‪ ..‬وﻣﺎ أدراك ﻣﺎﺣﺒﻴﺒﺔ اﻟﺸﺎﻋﺮ؟‬ ‫أﺟﻤﻞ ﻓﺘﺎة ﰲ اﻟﻜﻮن‬ ‫ﻳﺘﻤﻨﺎﻫﺎ اﻷﻣﺮاء واﳌﻠﻮك واﻟﺴﻼﻃني‪ ..‬ﻟﻜﻨﻬﺎ ﺗﺮﻛﺘﻬﻢ ﻷﺟﻞ ﻋﻴﻮن ﻫﺬا‬ ‫اﻟﺼﻌﻠﻮك اﻟﻔﻘري!!‬ ‫ﻫﻞ ﻫﺬه ﻫﻲ اﻟﺤﻘﻴﻘﺔ‪ ..‬أم اﻧّﻬﻢ ﻣﺜﻠام اﻋﺘﺪﻧﺎﻫﻢ‪ ..‬ﻳﻜﺘﺒﻮن أﻣﻨﻴﺎﺗﻬﻢ‬ ‫ﺑﺘﻠﻔﻴﻖ ﺷﻴﺎﻃني اﻟﺸﻌﺮ اﻟﺬﻳﻦ ﻳﻮﺣﻮن إﻟﻴﻬﻢ )زﺧﺮف اﻟﻘﻮل(!‬ ‫ووﺟﻪ اﻟﺸﺒﻪ ﺑني ﺑﻌﺾ اﻟﺸﻌﺮاء اﻟﺸﻌﺒﻴني ‪ ..‬واﻟﺒﻨﺰﻳﻦ ‪ ..‬أن ﻛﻼﻫام‬ ‫ﴎﻳﻊ اﻻﺷﺘﻌﺎل‪.‬‬ ‫ﻣﺎ إن ﺗﻘﱰب اﻟﻨﺎر ﺣﺘﻰ »ﻳﻔﻘﻊ« اﻟﻠﻬﺐ‪ ،‬وﺗﺄﻛﻞ اﻟﻨﺎر اﻟﺤﻄﺐ!‬ ‫وﻣﺎ إن ﻳﻠﻔﺢ ﻋﻄﺮ أﻧﺜﻰ أﻧﻒ ﺷﺎﻋﺮ ‪ ..‬ﺣﺘﻰ ﻳﺬوب ﻗﻠﺒﻪ ﺣﺒﺎً‪ ،‬وﻳﻨﻔﻄﺮ‬ ‫ﻋﺸﻘﺎً وﻫﻴﺎﻣﺎً ‪..‬وﻳﺼﺪح ‪:‬‬ ‫ﻳﺎ وﺟﻮدي وﺟﺪ ﻣﻦ ﺿﻴﻊ أﺣﺒﺎب !!‬ ‫ﺣﺐ ﺑﺎﳌﺮاﺳﻠﺔ‪ ..‬وﻗﻠﺐ ﻣﺜﻞ اﻟﺮﻳﺸﺔ ﰲ اﻟﻬﻮاء‪..‬‬ ‫وﺷﺎﻋﺮ ﻳﻌﻴﺶ اﻟﺤﺐ ﻛام اﻟﱪﻗﻴﺔ‪ ،‬ﻣﺨﺘﴫ وﻋﺎﺟﻞ – وﻏري ﻣﻔﻬﻮم‬ ‫متﺎﻣﺎً‪.‬‬ ‫أﻣﺎ ﺣﺒﻴﺒﺔ اﻟﺸﺎﻋﺮ اﻟﺸﻌﺒﻲ ﻓﻬﻲ‪ :‬ﻃﻮﻳﻠﺔ‪،‬ﺟﻤﻴﻠﺔ‪ ،‬ﻧﺒﻴﻠﺔ‪ ،‬ﺑﻴﻀﺎء‪ ،‬ﻗﻮاﻣﻬﺎ‬ ‫ﻓﺎرع‪ ،‬ﺷﻌﺮﻫﺎ ﻧﺎﻋﻢ‪ ،‬ﻋﻴﻮﻧﻬﺎ دﻋﺠﺎء‪ ،‬ﻓﻤﻬﺎ ﻣﺮﺳﻮم ﻛﺎﻟﻌﻨﻘﻮد‪ ،‬أﺻﺎﺑﻌﻬﺎ‬ ‫ﻛﺎﳌﺨﻤﻞ‪ ،‬وﻋﻄﺮﻫﺎ ﻛﺎﻟﻘﺮﻧﻔﻞ ‪ ...‬إذا ﻇﻬﺮت اﺧﺘﻔﺖ ﻛﻞ ﻧﺴﺎء اﻟﻌﺎمل‪،‬‬ ‫وإذا ﻏﺎﺑﺖ ﻏﺎب ﻣﻌﻬﺎ اﻟﻀﻴﺎء واﻟﻔﺮح‪.‬‬ ‫وﰲ ﻫﺬا اﻟﻮﻫﻢ ﻳﻌﻴﺶ‪ ،‬ﻳﺮﺳﻢ ﻣﻦ اﻟﺨﻴﺎل ﺻﻮرة ﻟﻴﺴﺖ ﻣﻮﺟﻮدة‪،‬‬ ‫وإن وﺟﺪت ﻓﺈﻧﻬﺎ ﻻ ميﻜﻦ أن ﺗﺨﺘﺎره ‪ ..‬ﻷن ﻓﺘﺎة ﻫﺬه أوﺻﺎﻓﻬﺎ ‪ ..‬ﻻ ﺑﺪ‬ ‫وأن ﺗﺒﺤﺚ ﻋﻦ رﺟﻞ ﻻ ﻳﻌﻴﺸﻬﺎ ﰲ اﻷوﻫﺎم‪ ،‬ﺑﻞ ﻳﺠﻌﻞ اﻟﺤﻠﻢ واﻗﻌﺎً‪،‬‬ ‫واﻷرض ﺳﺠﺎدة ﻣﻦ ﺣﺮﻳﺮ ‪ ..‬وﻫﺬا ﻣﺎ ﻻ ﻳﻘﺪر ﻋﻠﻴﻪ اﻟﺸﺎﻋﺮ اﻟﺸﻌﺒﻲ ‪.‬‬ ‫ﺣﺘﻰ اﻟﺸﺎﻋﺮة اﻟﺘﻲ ﺗﺘﻐﻨﻰ ﺑﺠامل ﻧﻔﺴﻬﺎ‪ ،‬وﺑﻨﻀﺠﻬﺎ‪ ،‬وﺑﺜﻤﺮﻫﺎ‪،‬‬ ‫ﻻﻧﻌﺮف ﺣﻘﻴﻘﺔ ﻗﻮﻟﻬﺎ ﻷﻧﻬﺎ ﻻ ﺗﻈﻬﺮ ﺑﺎﻟﺼﻮرة‪ ،‬وﻫﻲ ﻻ ﺗﺮﻳﺪ أن ﺗﻈﻬﺮ‬ ‫ﺣﺘﻰ وإن أﺗﻴﺤﺖ ﻟﻬﺎ اﻟﻔﺮﺻﺔ ‪ ..‬ﻓﺎﻟﺤﻘﻴﻘﺔ ﺗﻨﺎﻗﺾ ﻗﻮﻟﻬﺎ ﻟﻨﺠﺪﻫﺎ ‪:‬‬ ‫ﻋﺠﻔﺎء‪ ،‬ﻳﺎﺑﺴﺔ‪ ،‬ﻻ مثﺮ ﻓﻴﻬﺎ وﻻ رﻃﺐ وﻻ ﻃﻴﺐ وﻻ ﺟامل‪.‬‬ ‫وﻣﻦ ﺑني رﻛﺎم اﻟﺠامل اﻟﻮﻫﻤﻲ ﺧﺮج ﺷﻌﺮاء اﺧﺘﺎروا اﻟﻮاﻗﻊ‬ ‫وﺻﻮروه ﻛام ﻫﻮ‪ ،‬أﺣﺒﻮا ﻓﺘﻴﺎت ﺑﺸﻌﺎت وﺗﻐﺰﻟﻮا ﺑﻬﺬه اﻟﺒﺸﺎﻋﺔ ‪..‬‬ ‫وﺗﻠﻚ »اﻟﺪﻣﺎﻣﺔ« ﺑﺎﻋﺘﺒﺎرﻫﺎ ﻣﻴﺰة ﻟﻬﺎ وﺣﺪﻫﺎ ‪ ..‬ﺗﺠﻌﻠﻬﺎ ﻣﺨﺘﻠﻔﺔ ﻋﻦ‬ ‫اﻵﺧﺮﻳﺎت‪.‬‬ ‫اﻟﺸﻌﺮ ‪ /‬اﻟﻌﺪد ‪68‬‬ ‫‪ 62‬ﺑﻴﺖ ِ‬

‫ﺗﻌﺎﻟﻮا ﻧﻘﺮأ اﳌﺸﺎﻫﺪ اﻟﺸﻌﺮﻳﺔ اﻟﺘﻲ أﻟﻔﻬﺎ اﳌﺤﺒﻮن ﻟﻠﺒﺸﻌﺎت ‪..‬‬ ‫ﻫﺬا ﺷﺎﻋﺮ »ﻣﺮﺟﻮج« ‪ ..‬ﻳﺤﺐ ﻣﺮﺟﻮﺟﺔ ﻣﺜﻠﻪ‪ ،‬وﻳﻀﻊ ﺑﻜﻞ ﺛﻘﺔ وﻓﺮح‬ ‫أوﺻﺎﻓﻪ وأوﺻﺎﻓﻬﺎ ﰲ ﻫﺬﻳﻦ اﻟﺒﻴﺘني ‪:‬‬ ‫‪f@@ @ @ @J4b@@ @ @ @~@ @ @ @ {@ @ @ @ @ @ @ @ @ @ @ @ 1 ¤@@ @ @ @ @-v@@ @ @ @ @£@ @ @ @ @ ~@ @ @ @ @ |@ @ @ @ @ B‬‬ ‫‪ @@ @ @ /¡@@ @ @ /x@@ @ @ § v@@ @ @ ~@ @ @ |@ @ @ @ @ @ J o¡@@ @ @ @ @ @ /x@@ @ @ @ @ @ E‬‬ ‫*&‪ @@ @ @ @ @ @ @ @ £Q @ @ @ @ @ @ @ @ @+42H @@ @ @ @ @ @ @ @ @£@ @ @ @ @g@ @ @ @ @E ¤@@ @ @ @ @ @ @ @ g@ @ @ @ @ @ @ @ @F‬‬ ‫‪ @@ @ @ @ @ @ @ @/Hx@@ @ @ @ @ @ @ @02H MÌ@ @ @ @ @~@ @ @ @ @|@ @ @ @ @B b@@ @ @ @ @ @ @ @ @ @ @ @ @ @F&*H‬‬

‫واﻗﻊ آﺧﺮ ﻻ ﻧﺸﺎﻫﺪه ﰲ ﻗﺼﺎﺋﺪ اﻟﻐﺰل!‬ ‫ﺷﺎﻋﺮآﺧﺮ ﻳﺮﺗﺒﻂ ﺑﻌﻼﻗﺔ ﺣﺐ ﻣﻊ اﻣﺮأة ﻻ ﺗﺘﻤﻴﺰ ﺑﺎﻟﻬﺪوء واﻟﺮوﻣﺎﻧﺴﻴﺔ‬ ‫واﻟ ّﻨﻌﻮﻣﻪ‪ ،‬ﺑﻞ ﺗﺘﺼﻒ ﺑﺴﻼﻃﺔ اﻟﻠﺴﺎن واﻟﻠﻒ واﻟﺪوران واﻻﺣﺘﻴﺎل‪،‬‬ ‫وﻫﻮ ﻣﺎ ﺟﻌﻠﻪ ﻳﺤﺘﺎر ‪ ..‬ﻫﻞ ﻫﻮ ﰲ اﻟﺼﺒﺎح أم اﳌﺴﺎء ﻓﻴﻘﻮل ‪:‬‬ ‫‪¥x@@ @ @< rH4 b@@ @ @J Ì@@ @ @ @ ³* rb@@ @c@ @ ~@ @ 8 b@@ ~@ @ z@ @ E‬‬ ‫‪ @@ Fb@@ @ / @@ @ @E ¤@@ g@ @ @ @ @ @~@ @8 f@@ @ :É@@ @ + i4b@@ @ @ @ @:‬‬ ‫‪¥x@@ @ / @@ @8x@@ @B b@@ @ @ JH ¤@@ @ @EÉ@@ @ @0&* f@@ @ @£@ @Cb@@ J‬‬ ‫@ @ @ @@¡ ‪ @@Fb@@~@ z@ D ¡Q @ @ @ @ @ @ :H ¤@@ @ @ @ @Ex@@ E‬‬ ‫‪¥x@@ @ @ @ 0H ¥x@@ @ @ @ ~@ @ 8H ¤@@ @ @ @ @B45 v@@ @ @ @ + b@@ @ @J °‬‬ ‫‪ @@ @ @ @ @ @ @ F*4HN 2R H ¤@@ @ @< @@ @ Q @ @ D @@ @ E ¡@@ ~@ @z@ @c@ @E‬‬

‫وﺑﻬﺬا ﻳﺨﺮج اﻟﺤﺐ ﻣﻦ إﻃﺎره اﳌﻌﺘﺎد إﱃ أﻓﻖ ﺟﺪﻳﺪ ‪ ..‬ﺗﺴﺘﺤﻖ ﻓﻴﻪ‬ ‫اﻟﺒﺸﺎﻋﺔ اﻟﺘﻐﺰل‪ ،‬وﺗﻨﺎل ﻓﻴﻪ »اﻟﺪﻣﺎﻣﺔ« ﺻﻔﺔ اﻟﺠﺎذﺑﻴﺔ‪.‬‬

‫أﺣﺒﻚ‬ ‫ﻓﻬﺪ ﻣﻔﻠﺢ اﻟﻨﺎﻫﺴﻲ‬ @fahed9113

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61 2018 / ‫ﻳﻮﻧﻴﻮ‬

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‫ﻣﺎﺳﺎت‬ baytelshear

‫ﻳﺎﺻﺎﺣﺒﻲ‬ ‫اﺑﺮاﻫﻴﻢ اﻟﺸﺎﻣﻲ‬ @ibrahim_shami

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68 ‫ اﻟﻌﺪد‬/ ‫اﻟﺸﻌﺮ‬ ِ ‫ ﺑﻴﺖ‬60

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‫ﺣﻤﺪ ﺑﻦ ﺷﺎﻣﺲ اﻟﻤﺰروﻋﻲ‬

59 2018 / ‫ﻳﻮﻧﻴﻮ‬

‫ﺣﻮار اﻟﻌﺪد‬ ‫‪baytelshear‬‬

‫اﻟﺼﺪﻓﺔ‪ ،‬ﺗﻤﺮ أﻣﺎم ﻧﺎﻇﺮﻳﻚ ﻧﺘﻴﺠﺔ ﻣﻮﻗﻒ‬ ‫اﻟﻘﺼﻴﺪة ﻫﻲ وﻟﻴﺪة اﻟﺼ‬ ‫ﻣﻌﻴﻦ‪ ،‬ﺗﺘﺮاءى أﻣﺎﻣﻚ ﻛﺨﻴﺎل‪ ،‬ﻋﻨﺪﻫﺎ ﺗﻨﺘﻬﺰ‬ ‫أو ذﻛﺮى أو ﻣﺸﻬﺪ ﻣﻌﻴ‬ ‫ﻓﺮﺻﺔ ﻣﻤﻜﻨﺔ ﻟﺘﺪوﻧﻬﺎ‬ ‫أي ﻓﺮ‬

‫ﺟﻤﻴﻊ أﻓﺮاد اﳌﺠﺘﻤﻊ اﻹﻣﺎرايت‪ ،‬واﺳﺘﺨﺪام ﻫﺬه اﳌﻔﺮدات ﻓﻬﻮ واﺟﺐ‬ ‫ﻋﻨﺪﻣﺎ ﻳﻜﻮن اﻟﺸﻌﺮ ﻣﻮﺟﻬﺎً ﻟﻠﺸﻌﺐ اﻹﻣﺎرايت‪ ،‬أﻣﺎ إذ ﻛﺎﻧﺖ اﻟﻘﺼﻴﺪة‬ ‫ﺗﻠﻘﻰ ﺧﺎرج اﻟﺪوﻟﺔ‪ ،‬ﻓﻤﻦ ﻏري اﳌﺤﺒﺬ اﻟﺘﻤﺴﻚ ﺑﺘﻠﻚ اﳌﻔﺮدات‪ ،‬ﻛﻮﻧﻬﺎ‬ ‫ﺳﺘﻜﻮن ﺻﻌﺒﺔ اﻟﻔﻬﻢ ﻋﲆ ﺳﻜﺎن ﺑﺎﻗﻲ اﻟﺪول ﻣﺜﻞ اﳌﻤﻠﻜﺔ اﻟﻌﺮﺑﻴﺔ‬ ‫اﻟﺴﻌﻮدﻳﺔ أو اﻟﻜﻮﻳﺖ‪ ،‬وﻣﻦ ﻫﻨﺎ أرى أﻧﻪ ﻣﻦ اﻟﻮاﺟﺐ اﻟﺘﻤﺴﻚ ﺑﺒﻌﺾ‬ ‫اﳌﻔﺮدات اﻟﺘﻲ ﺗﺸري إﱃ أن ﻫﺬه اﻟﻘﺼﻴﺪة ﻫﻲ ﻗﺼﻴﺪة إﻣﺎراﺗﻴﺔ‪ ،‬وﰲ‬ ‫ﻧﻔﺲ اﻟﻮﻗﺖ اﺳﺘﺨﺪام اﻟﻠﻐﺔ اﻟﺒﻴﻀﺎء اﻟﺒﺴﻴﻄﺔ اﳌﻔﻬﻮﻣﺔ ﻣﻦ ﻗﺒﻞ‬ ‫ﻣﻌﻈﻢ دول اﻟﺨﻠﻴﺞ اﻟﻌﺮيب«‪.‬‬ ‫ﻳﻌﺘﱪ ﺷﺎﻋﺮ اﳌﻠﻴﻮن اﳌﻨﺼﺔ اﻟﺸﻌﺮﻳﺔ اﻹﻋﻼﻣﻴﺔ اﻷﻫﻢ ﰲ ﺣﻴﺎة أي‬ ‫ﺷﺎﻋﺮ ﺷﻌﺒﻲ‪ ،‬وﻣﻦ ﻫﻨﺎ ﻛﺎن اﻟﺴﺆال ﻋﻦ ﻋﻼﻗﺔ ﺣﻤﺪ اﳌﺰروﻋﻲ‬ ‫ﺑﺎﻹﻋﻼم‪ ،‬ﻓﺄﺟﺎﺑﻨﺎ ﺑﺎﻟﻘﻮل‪» :‬ﻳﻠﻌﺐ اﻹﻋﻼم دوراً ﻛﺒرياً ﰲ ﺣﻴﺎة أي ﺷﺎﻋﺮ‪،‬‬ ‫وﰲ وﻗﺘﻨﺎ اﻟﺤﺎﱄ ﻳﺒﺬل اﻹﻋﻼم اﻹﻣﺎرايت ﻛﻞ ﺟﻬﺪ ﻣﻤﻜﻦ ﰲ ﺳﺒﻴﻞ‬ ‫ﺗﺴﻠﻴﻂ اﻟﻀﻮء ﻋﲆ اﻟﺸﻌﺮاء اﻹﻣﺎراﺗﻴني‪ ،‬وإن ﻛﺎن ﻫﻨﺎك ﻣﻦ ﺗﻘﺼري‬ ‫ﻳﺴﻊ اﻟﺸﺎﻋﺮ وﻳﻌﻤﻞ وﻳﺘﻮاﺟﺪ ﰲ‬ ‫ﻓﻬﻮ ﻣﻦ اﻟﺸﺎﻋﺮ ﻧﻔﺴﻪ‪ ،‬ﻓﺈن مل َ‬ ‫اﳌﺤﺎﻓﻞ اﻟﺸﻌﺒﻴﺔ واﻹﻋﻼﻣﻴﺔ ﻛﻴﻒ ﻟﻺﻋﻼم أن ﻳﻌﻠﻢ ﺑﻮﺟﻮده‪ ،‬ﺑﺎﻟﻨﺴﺒﺔ‬ ‫ﱄ ﻋﻼﻗﺘﻲ ﺑﺎﻹﻋﻼم ﺑﺪأت ﻣﻊ ﻣﺸﺎرﻛﺘﻲ ﰲ ﺷﺎﻋﺮ اﳌﻠﻴﻮن‪ ،‬واﳌﺮﺣﻠﺔ‬ ‫اﻟﺘﻲ ﺳﺒﻘﺘﻪ ﻛﻨﺖ ﻣﻘﴫاً ﰲ ﻫﺬا اﻟﺠﺎﻧﺐ«‪.‬‬ ‫ﻧﻌﻴﺶ ﰲ ﻫﺬه اﻷﻳﺎم أﺟﻮاء ﺷﻬﺮ رﻣﻀﺎن اﻟﻔﻀﻴﻞ‪ ،‬ومل ﻳﻜﻦ ﻟﻬﺬا‬ ‫اﻟﺤﻮار أن ﻳﺘﻢ ﻣﻦ دون أن ﻧﺴﺄل ﻋﻦ ﻣﻜﺎن ﻫﺬا اﻟﺸﻬﺮ ﰲ ﺷﻌﺮ ﺣﻤﺪ‪،‬‬ ‫ﻓﻜﺎن رده ﻣﻦ ﺧﻼل ﻗﺼﻴﺪة ﻳﻘﻮل ﻓﻴﻬﺎ‪:‬‬ ‫‪ É~zD* b £ < @@~@64* b~}E4 x ~7 É@@G‬‬ ‫‪Í@@ @ @ ~@ z@ @ @ D @@ @ G @@ @DÉ@@ @G Ñ* v@@ @ @p@ @FH‬‬ ‫‪ b£~|D* x ~{A ¥4b@@c@ D* @@Db@@³* b@@J D&b~zF‬‬ ‫ @ @‪ ÍÂb~8 @@ @DH b@@ @ @ 0x@@-H b@@ Fb@@ <2 @@c‬‬‫‪ b£ D*H x@@ @ @ ´* b@@ @c@ @: ¡@@ @ @ + ¤@@ @ Db@@J‬‬ ‫*‪ Jv/b~6H @@ @ /¡@@D Í@@ @ @C*4 b@@ @ D @@c@ B‬‬ ‫‪ b@@F°* ¡@@~@ 64 @@Ab@@~@{@D* ®b@@ ³* ¢@@ @< *¡@@ Q @~@8‬‬ ‫‪Í@@ E°*H x@@~@ {@ c@ D* Ì@@ 1 ¢@@ @ @~@|@´* v@@ @ ¹‬‬ ‫اﻟﺸﻌﺮ ‪ /‬اﻟﻌﺪد ‪68‬‬ ‫‪ 58‬ﺑﻴﺖ ِ‬

‫ومل ﻳﻜﻦ ﻟﻴﻐﻴﺐ ﻋﻦ ﺑﺎﻟﻨﺎ أﻧﻨﺎ ﻧﻌﻴﺶ أﻳﺎم ﻋﺎم زاﻳﺪ اﻟﺨري‪ ،‬زاﻳﺪ اﻹﻧﺴﺎن‪،‬‬ ‫زاﻳﺪ اﻟﺤﻀﺎرة‪ ،‬زاﻳﺪ اﻟﻘﺎﺋﺪ اﳌﻠﻬﻢ‪ ،‬اﻟﺬي اﻧﺘﴩت أﻳﺎدﻳﻪ اﻟﺒﻴﻀﺎء ﰲ‬ ‫ﻛﻞ أرﺟﺎء اﻟﺒﺴﻴﻄﺔ‪ ،‬وﻋﻨﻪ ﻳﻘﻮل ﺷﺎﻋﺮﻧﺎ‪» :‬ﻣﻬام ﻗﻠﻨﺎ وﻛﺮرﻧﺎ ﻓﺈﻧﻨﺎ ﻟﻦ‬ ‫ﻧﺴﺘﻄﻴﻊ أن ﻧﻌﺪد ﻣﻜﺎرم وإﻧﺠﺎزات ﻫﺬا اﻟﻘﺎﺋﺪ اﻟﻌﻈﻴﻢ‪ ،‬ﻟﻘﺪ ﻗﺪم‬ ‫أﺑﻮﻧﺎ زاﻳﺪ ﻟﻺﻣﺎرات وﻟﻠﻌﺎمل اﻟﴚء اﻟﻜﺜري‪ ،‬ﺣﺘﻰ ﻋﻨﺪﻣﺎ ﻧﺰور اﻟﺪول‬ ‫اﻟﻐﺮﺑﻴﺔ وﻧﺘﺤﺪث ﻣﻊ أﻫﻠﻬﺎ وﻳﻌﺮﻓﻮن أﻧﻨﺎ ﻣﻦ اﻹﻣﺎرات‪ ،‬ﻳﻘﻮﻟﻮن أﻧﺘﻢ‬ ‫ﻋﻴﺎل زاﻳﺪ‪ ،‬وﻻ أﺑﺎﻟﻎ إن ﻗﻠﺖ ﺑﺄن ﺟﻤﻴﻊ اﻟﻨﺎس ﰲ اﻟﻌﺎمل ﻛﺒﺎراً وﺻﻐﺎراً‬ ‫ﺑﺎﺗﻮا ﻳﻌﺮوﻓﻮن زاﻳﺪ وﻳﺘﻐﻨﻮن ﺑﺨﺼﺎﻟﻪ اﻟﻨﺒﻴﻠﺔ‪ ،‬رﺣﻢ اﻟﻠﻪ واﻟﺪﻧﺎ زاﻳﺪ‬ ‫وأﺳﻜﻨﻪ ﻓﺴﻴﺢ ﺟﻨﺎﺗﻪ«‪.‬‬ ‫ﻣام ﻻ ﺷﻚ ﻓﻴﻪ أن اﻟﺸﻌﺮ اﻟﻨﺒﻄﻲ ﰲ اﻹﻣﺎرات اﻟﻴﻮم ﻳﺘﺒﻮأ ﻣﻜﺎﻧﺔ‬ ‫ﻣﺮﻣﻮﻗﺔ ﻧﺘﻴﺠﺔ اﻟﺠﻬﻮد اﻟﻌﻈﻴﻤﺔ اﳌﺒﺬوﻟﺔ ﰲ ﻫﺬا اﳌﺠﺎل وﻫﻨﺎ ﻳﻘﻮل‬ ‫ﺣﻤﺪ اﳌﺰروﻋﻲ‪» :‬ﻟﻘﺪ ﺣﻘﻖ اﻟﺸﻌﺮ اﻟﻨﺒﻄﻲ ﻗﻔﺰات ﻧﻮﻋﻴﺔ ﰲ دوﻟﺔ‬ ‫اﻹﻣﺎرات وذﻟﻚ ﻧﻈﺮاً ﻟﻠﺠﻬﻮد اﻟﻜﺒرية اﳌﺒﺬوﻟﺔ ﻣﻦ ﻗﺒﻞ اﻟﺠﻬﺎت‬ ‫اﳌﻌﻨﻴﺔ‪ ،‬واﻟﺘﻲ ﻗﺎﻣﺖ ﻋﲆ ﺟﻤﻊ ﻗﺼﺎﺋﺪ اﻟﺸﻌﺮاء اﻹﻣﺎراﺗﻴني اﻟﻘﺪﻣﺎء‬ ‫واﳌﻌﺎﴏﻳﻦ وﺗﺮﺟﻤﺔ ﺟﺰء ﻛﺒري ﻣﻨﻬﺎ إﱃ اﻟﻠﻐﺔ اﻹﻧﺠﻠﻴﺰﻳﺔ‪ ،‬ﻣام ﺳﺎﻋﺪ‬ ‫ﰲ ﻧﴩ ﻫﺬا اﻷدب اﻟﻌﺮﻳﻖ ﰲ اﻟﻌﺎمل‪ ،‬وﻣﻨﺬ ﻓﱰة ﻛﻨﺖ ﰲ ﻣﻘﺎﺑﻠﺔ‬ ‫ﻣﻊ أﺳﺘﺎذ ﺟﺎﻣﻌﻲ‪ ،‬وﻛﻢ أدﻫﺸﺘﻨﻲ ﻣﻌﺮﻓﺘﻪ اﻟﻌﻤﻴﻘﺔ ﺑﺎﻟﺸﻌﺮ اﻟﻨﺒﻄﻲ‬ ‫وﺑﺎﻟﺸﻌﺮاء اﻹﻣﺎراﺗﻴني‪ ،‬وﻫﺬا إن دل ﻋﲆ ﳾء ﻓﺈمنﺎ ﻳﺪل ﻋﲆ أن‬ ‫اﻟﺸﻌﺮ اﻹﻣﺎرايت اﻟﺸﻌﺒﻲ وﺻﻞ ﺑﺤﻖ ﺣﺪ اﻟﻌﺎﳌﻴﺔ«‪.‬‬ ‫ﻛﺎن ﻣﻦ اﻟﻄﺒﻴﻌﻲ أن ﻳﺮد اﻟﺸﺎﻋﺮ اﻹﻣﺎرايت اﻟﺠﻤﻴﻞ‪ ،‬وﻳﻘﻒ ﻣﻊ وﻃﻨﻪ‬ ‫ﰲ ﻛﻞ اﳌﺤﺎﻓﻞ اﻟﺪوﻟﻴﺔ وﺧﻼل ﻛﺎﻓﺔ اﻷﺣﺪاث‪ ،‬وﻋﻦ ﻫﺬه اﻟﻨﻘﻄﺔ‬ ‫ﻳﻘﻮل ﺣﻤﺪ‪» :‬إن اﻟﺸﺎﻋﺮ اﻟﺬي ﻻ ﻳﻜﺘﺐ ﰲ ﻫﺬا اﳌﻨﺤﻰ ﻳﻔﻘﺘﺪ ﺑﻜﻞ‬ ‫ﺗﺄﻛﻴﺪ ﳌﻌﺎين اﻟﻮﻻء واﻻﻧﺘامء‪ ،‬ﻧﺤﻦ اﻟﻴﻮم ﻧﻌﻴﺶ ﻟﺤﻈﺎت ﺗﺎرﻳﺨﻴﺔ‪،‬‬ ‫وﺣﺮي ﺑﻨﺎ ﻧﺤﻦ ﻣﻌﴩ اﻟﺸﻌﺮاء‪ ،‬أن ﻧﻘﺪم ﻛﻞ دﻋﻢ ﻟﻮﻃﻨﻨﺎ وﻷﺑﻄﺎﻟﻨﺎ‬ ‫اﳌﺮاﺑﻄني واﻟﺴﺎﻫﺮﻳﻦ ﻋﲆ أﻣﻦ اﻟﻮﻃﻦ وﺣامﻳﺘﻪ«‪.‬‬

‫ﻋﲆ اﻧﺘﺎﺟﺎﺗﻬﻢ وأﺳﺎﻟﻴﺒﻬﻢ وﻣﺪارﺳﻬﻢ اﻟﺸﻌﺮﻳﺔ‪ ،‬ﻫﺬا اﻷﻣﺮ أﺿﺎف ﱄ‬ ‫ﻛﺸﺎﻋﺮ‪ ،‬وﺟﻌﻠﻨﻲ أﻛرث ﻗﺪرة ﻋﲆ ﺗﻘﺪﻳﻢ اﻷﻓﻀﻞ«‪.‬‬ ‫ﻛﺘﺐ ﺣﻤﺪ وﻳﻜﺘﺐ ﰲ أﻏﺮاض ﺷﻌﺮﻳﺔ ﻣﺘﻨﻮﻋﺔ‪ ،‬ﻟﻜﻦ اﻟﻮﻃﻨﻲ واﻟﻮﺟﺪاين‬ ‫ﻫام اﻟﻐﺎﻟﺒﺎن ﰲ ﺷﻌﺮه‪ ،‬وﻳﻀﻴﻒ ﺑﺎﻟﻘﻮل‪» :‬ﻟﻴﺲ ﻟﻠﻘﺼﻴﺪة ﻣﻜﺎن أو‬ ‫زﻣﺎن‪ ،‬ﻓﻼ ميﻜﻨﻚ دﺧﻮل ﻣﻜﺘﺒﻚ واﻟﺒﺪء ﺑﻜﺘﺎﺑﺔ ﻗﺼﻴﺪة‪ ،‬اﻟﻘﺼﻴﺪة ﻫﻲ‬ ‫وﻟﻴﺪة اﻟﺼﺪﻓﺔ‪ ،‬متﺮ أﻣﺎم ﻧﺎﻇﺮﻳﻚ ﻧﺘﻴﺠﺔ ﻣﻮﻗﻒ أو ذﻛﺮى أو ﻣﺸﻬﺪ‬ ‫ﻣﻌني‪ ،‬ﺗﱰاءى أﻣﺎﻣﻚ ﻛﺨﻴﺎل‪ ،‬ﻋﻨﺪﻫﺎ ﺗﻨﺘﻬﺰ أي ﻓﺮﺻﺔ ﻣﻤﻜﻨﺔ ﻟﺘﺪوﻧﻬﺎ‬ ‫ﻋﲆ ﺷﻜﻞ ﻛﻠامت وأﺑﻴﺎت ﻣﻘﺮوءة‪ ،‬ﺑﻌﺪﻫﺎ ﻗﺪ ﺗﻘﻠﺒﻬﺎ وﺗﻌﺪﻟﻬﺎ وﺗﺰﻳﺪ‬ ‫ﻋﻠﻴﻪ أو ﺗﻨﻘﺺ ﻣﻨﻬﺎ‪ ،‬ﻟﻜﻦ اﻟﻘﺼﻴﺪة ﺑﺸﻜﻞ ﻋﺎم ﻫﻲ ﻧﺘﻴﺠﺔ ﻣﻮﻗﻒ أو‬ ‫ﺧﱪ أو ﺣﺪث ﻣﻔﺎﺟﺊ«‪.‬‬ ‫ﻛﺎن اﻟﻮﻗﻮف ﻋﲆ ﺧﺸﺒﺔ ﻣﴪح ﺷﺎﻃﺊ اﻟﺮاﺣﺔ ﺿﻤﻦ اﻟﻨﺴﺨﺔ اﻷﺧرية‬ ‫ﻷﺧرية‬ ‫ﻣﻦ ﺑﺮﻧﺎﻣﺞ ﺷﺎﻋﺮ اﳌﻠﻴﻮن ﻫﻲ اﳌﺮة اﻷوﱃ اﻟﺘﻲ ﻳﻮاﺟﻪ ﻓﻴﻬﺎ ﺣﻤﺪ‬ ‫ﺟﻤﻬﻮراً ﺑﻬﺬا اﻟﺤﺠﻢ‪ ،‬و ﻳﺎ ﻟﻬﺎ ﻣﻦ ﻣﻮاﺟﻬﺔ‪ ،‬ﻓام أﺻﻌﺒﻬﺎ ﻣﻦ ﻟﺤﻈﺔ‬ ‫أوﱃ ﺗﻘﻒ أﻣﺎم ﻋﴩات اﻟﻜﺎﻣريات واﳌﺼﻮرﻳﻦ واﻟﻔﻨﻴني وﻣﺌﺎت‬ ‫ﻦ‬ ‫اﳌﺸﺎﻫﺪﻳﻦ ﻣﻦ‬ ‫اﻟﺤﻀﻮر اﳌﺘﺎﺑﻌني ﻋﲆ ﻣﺪرﺟﺎت اﳌﴪح وﻣﻼﻳني‬ ‫ﺧﻼل ﺷﺎﺷﺎت اﻟﺘﻠﻔﺰة‪ ،‬ﻋﻦ ﺗﻠﻚ اﻟﺘﺠﺮﺑﺔ ﻳﻘﻮل ﺣﻤﺪ‪» :‬ﻛﺎن ﱄ ﰲ‬ ‫اﻟﺤﻘﻴﻘﺔ‬ ‫اﻟﺴﺎﺑﻖ ﺑﻌﺾ اﳌﺸﺎرﻛﺎت اﻟﺒﺴﻴﻄﺔ‪ ،‬ﻟﻜﻦ ﺗﺠﺮﺑﺘﻲ اﻟﺸﻌﺮﻳﺔ ﺤﻘﻴﻘﺔ‬ ‫اﻷوﱃ أﻣﺎم ﺟﻤﻬﻮر ﺣﻘﻴﻘﻲ ﻛﺎﻧﺖ ﰲ ﺑﺮﻧﺎﻣﺞ ﺷﺎﻋﺮ اﳌﻠﻴﻮن‪ ،‬ﻻ ميﻜﻦ‬ ‫ﱄ وﺻﻒ ﻫﺬه اﻟﺘﺠﺮﺑﺔ وﻣﺪى اﻟﻔﺎﺋﺪة اﻟﺘﻲ ﻗﺪﻣﺘﻬﺎ ﱄ‪ ،‬إﻧﻬﺎ ﺗﺠﺮﺑﺔ‬ ‫ﺷﻜﻠﺖ ﻧﻘﻠﺔ ﻧﻮﻋﻴﺔ ﰲ ﻣﺴرييت اﻟﺸﻌﺮﻳﺔ‪ ،‬ﻣﻦ ﺧﻼل ﻫﺬه ﺘﺠﺮﺑﺔ‬ ‫اﻟﺘﺠﺮﺑﺔ‬ ‫ﺗﻌﺮﻓﺖ ﻋﲆ ﻋﺪد ﻣﻦ اﻷﺧﻮة اﻟﺸﻌﺮاء ﻣﻦ اﻟﺨﻠﻴﺞ وﻣﻦ ﻟﻮﻃﻦ‬ ‫اﻟﻮﻃﻦ‬ ‫اﻟﻌﺮيب‪ ،‬ﺗﻌﻠﻤﺖ ﻣﻨﻬﻢ وﺗﻌﺮﻓﺖ إﱃ أﺳﺎﻟﻴﺒﻬﻢ وﻣﺪارﺳﻬﻢ ﻌﺮﻳﺔ‪،‬‬ ‫اﻟﺸﻌﺮﻳﺔ‪،‬‬ ‫اﺳﺘﻔﺪت ﻛﺜرياً ﻣﻦ ﺗﻮﺟﻴﻬﺎت ﻟﺠﻨﺔ اﻟﺘﺤﻜﻴﻢ‪ ،‬وﻣﻦ اﳌﻌﺎﻳري اﻟﺘﻲ‬ ‫وﺿﻌﺘﻬﺎ‪ ،‬واﻟﺘﻲ ﺗﻜﻤﻦ ﰲ ﻋﺪم اﻟﱰﻛﻴﺰ ﻋﲆ وزن ﻣﻌني‪ ،‬ﺑﻞ ﺘﻌامل‬ ‫اﺳﺘﻌامل‬ ‫أﻛﱪ ﻗﺪر ﻣﻦ اﻷوزان واﻟﺒﺤﻮر‪ ،‬ﻫﻨﺎك أوزان ﻣﻌﺮوﻓﺔ ﰲ ﻣﺎ‬ ‫اﻹﻣﺎرات‪،‬‬ ‫ﻳﺠﺐ اﻻﺑﺘﻌﺎد ﻋﻨﻬﺎ ﺑﻌﺾ اﻟﴚء ﻋﻨﺪ اﻟﺘﻮﺟﻪ إﱃ اﻟﺠﻤﻬﻮر ﻠﻴﺠﻲ‪،‬‬ ‫اﻟﺨﻠﻴﺠﻲ‪،‬‬

‫وﻫﻨﺎ أﻗﻮل اﻻﺑﺘﻌﺎد ﻋﻨﻬﺎ وﻟﻴﺲ اﻟﺘﺨﲇ‪ ،‬ﻫﺬا اﻷﻣﺮ ﺣﺮرين ﻣﻦ أﺳﻠﻮب‬ ‫اﻟﻮزن اﻟﻮاﺣﺪ‪ ،‬وﻗﺪﻣﻨﻲ إﱃ ﴍﻳﺤﺔ ﺟامﻫريﻳﺔ أوﺳﻊ‪ ،‬ﻟﻘﺪ ﻓﺘﺢ ﱄ‬ ‫اﻟﱪﻧﺎﻣﺞ أﺑﻮاﺑﺎً ﺟﺪﻳﺪة‪ ،‬ﻣﺘﻤﺜﻠﺔ ﰲ اﳌﺸﺎرﻛﺔ ﰲ اﻟﻌﺪﻳﺪ ﻣﻦ اﻷﻣﺴﻴﺎت‬ ‫واﳌﻬﺮﺟﺎﻧﺎت ﰲ اﳌﺴﺘﻘﺒﻞ اﻟﻘﺮﻳﺐ«‪.‬‬ ‫ﺣﺪﻳﺜﻨﺎ ﻋﻦ اﻷوزان واﺧﺘﻼﻓﻬﺎ ﻣﻦ ﺑﻠﺪ إﱃ آﺧﺮ‪ ،‬أﺧﺬﻧﺎ ﻟﻠﺤﺪﻳﺚ ﻋﻦ‬ ‫اﳌﻔﺮدة اﻹﻣﺎراﺗﻴﺔ وأﻫﻤﻴﺔ اﻟﺘﻤﺴﻚ ﺑﻬﺎ‪ ،‬وﻋﻦ ﻫﺬه اﻟﻨﻘﻄﺔ ﻳﻘﻮل‬ ‫ﻟﺪي وﺟﻬﺔ ﻧﻈﺮ ﻣﺨﺘﻠﻔﺔ ﺑﻌﺾ‬ ‫ﺣﻤﺪ اﳌﺰروﻋﻲ‪» :‬ﰲ ﻫﺬه اﻟﻨﻘﻄﺔ ّ‬ ‫اﻟﴚء‪ ،‬ﻓﺄﻧﺎ أرى أﻧﻪ ﻻ وﺟﻮد ﳌﺎ ﻳﺴﻤﻰ ﻣﻔﺮدة إﻣﺎراﺗﻴﺔ‪ ،‬ودﻟﻴﻞ ذﻟﻚ‬ ‫اﺧﺘﻼف اﻟﻠﻬﺠﺎت اﳌﺤﻠﻴﺔ ﻣﻦ ﻣﻨﻄﻘﺔ ﻷﺧﺮى‪ ،‬ﻫﻨﺎك ﻣﻔﺮدات ﺗﻜﻮن‬ ‫دارﺟﺔ ﻟﺪى ﻗﺒﻴﻠﺔ ﻣﺎ أو ﺿﻤﻦ ﻧﻄﺎق ﺟﻐﺮاﰲ ﻣﻌني‪ ،‬ﻫﻲ ﻣﻔﺮدة‬ ‫إﻣﺎراﺗﻴﺔ ﻛﻮﻧﻬﺎ ﺗﻨﺘﻤﻲ إﱃ دوﻟﺔ اﻹﻣﺎرات‪ ،‬ﻟﻜﻨﻬﺎ ﻟﻴﺴﺖ ﻣﻔﺮدة ﺗﺸﻤﻞ‬

‫ﻛﻞ ﺷﺎﻋﺮ ﻳﻤﺘﻠﻚ اﻟﻘﺪرة ﻋﻠﻰ اﻟﻨﻘﺪ اﻟﺬاﺗﻲ‪،‬‬ ‫ﻟﻜﻦ ﻫﺬه اﻟﻘﺪرة ﺗﻜﻮن ﺑﺴﻴﻄﺔ ﻓﻲ ﺑﺪاﻳﺎﺗﻪ‪،‬‬ ‫وﻣﻦ ﻫﻨﺎ ﻋﻠﻴﻪ أن ﻳﺘﺠﻪ ﻧﺤﻮ ﻛﺒﺎر اﻟﺸﻌﺮاء‬ ‫ﻗﺪم أﺑﻮﻧﺎ زاﻳﺪ ﻟﻺﻣﺎرات وﻟﻠﻌﺎﻟﻢ اﻟﺸﻲء اﻟﻜﺜﻴﺮ‪،‬‬ ‫ﺣﺘﻰ ﻋﻨﺪﻣﺎ ﻧﺰور اﻟﺪول اﻟﻐﺮﺑﻴﺔ وﻧﺘﺤﺪث ﻣﻊ أﻫﻠﻬﺎ‬ ‫وﻳﻌﺮﻓﻮن أﻧﻨﺎ ﻣﻦ اﻹﻣﺎرات‪ ،‬ﻳﻘﻮﻟﻮن أﻧﺘﻢ ﻋﻴﺎل زاﻳﺪ‬ ‫ﻋﻠﻰ اﻟﺸﺎﻋﺮ أن ﻳﺘﻘ ّﺒﻞ اﻟﻨﻘﺪ اﻟﻌﻘﻼﻧﻲ اﻟﻬﺎدف ﺑﺼﺪر‬ ‫رﺣﺐ وﻳﺴﺘﻔﻴﺪ ﻣﻨﻪ ﻓﻲ ﺗﻄﻮﻳﺮ ﻣﺴﺘﻮاه‬

‫ﻳﻮﻧﻴﻮ ‪57 2018 /‬‬

‫ﺣﻮار اﻟﻌﺪد‬ ‫‪baytelshear‬‬ ‫أﻛﺪ أن ﺗﺠﺮﺑﺘﻪ ا&وﻟﻰ أﻣﺎم ﺟﻤﻬﻮر ﺿﺨﻢ ﻛﺎﻧﺖ ﻓﻲ »ﺷﺎﻋﺮ اﻟﻤﻠﻴﻮن«‬ ‫ّ‬

‫ﻟﻠﻌﺎﻟﻤﻴﺔ‬ ‫ﺣﻤﺪ اﻟﻤﺰروﻋﻲ‪ِ :‬ﺷﻌﺮﻧﺎ اﻟﺸﻌﺒﻲ وﺻﻞ‬ ‫ّ‬ ‫ﺣﻮار وﺗﺼﻮﻳﺮ‪ :‬ﻣﺼﻄﻔﻰ ﺟﻨﺪي‬

‫ﻳﻤﺘﺎز اﻟﻤﺠﺘﻤﻊ اﻹﻣﺎراﺗﻲ ﺑﺄﺑﻨﺎﺋﻪ‬ ‫اﻟﻤﺒﺪﻋﻴﻦ‪ ،‬ﻓﻼ ﻳﻜﺎد ﻳﻤﺮ ﻳﻮم ﻣﻦ‬ ‫دون أن ﻧﺸﻬﺪ ﻓﻴﻪ ﺑﺮوز ﻧﺠﻢ‬ ‫ﻣﺒﺪع‪ ،‬ﻛﻴﻒ ﻻ‪ ،‬وأﺑﻮاب اﻹﺑﺪاع‬ ‫وﻣﻘﻮﻣﺎﺗﻪ ﻣﻔﺘﻮﺣﺔ ﻓﻲ دوﻟﺔ‬ ‫اﺗﺨﺬت اﻹﺑﺪاع واﻟﺘﻔﺮد ﻣﻨﻬﺠ ًﺎ‬ ‫ﻟﻬﺎ‪ ،‬وﻻ ﺗﺸﺬ اﻟﺴﺎﺣﺔ اﻟﺸﻌﺮﻳﺔ‬ ‫ﻋﻦ ﻫﺬه اﻟﻘﺎﻋﺪة‪ ،‬ﺣﻴﺚ ﺗﺸﻬﺪ‬ ‫ﺑﺎﺳﺘﻤﺮار ﺳﻄﻮع أﺳﻤﺎء ﺷﻌﺮﻳﺔ‬ ‫ﺟﺪﻳﺪة‪ ،‬ﻟﺪﻳﻬﺎ اﻟﻜﺜﻴﺮ ﻟﺘﻘﺪﻣﻪ‬ ‫ﻓﻲ ﻫﺬا اﻟﻤﺠﺎل‪ ،‬وﻣﻨﻬﻢ اﻟﺸﺎﻋﺮ‬ ‫اﻹﻣﺎراﺗﻲ ﺣﻤﺪ اﻟﻤﺰروﻋﻲ‪ ،‬اﻟﺬي‬ ‫ﻛﺎن ﻟﻪ ﺣﻀﻮر ﺑﺎرز ﻓﻲ اﻟﻨﺴﺨﺔ‬ ‫اﻷﺧﻴﺮة ﻣﻦ ﺑﺮﻧﺎﻣﺞ ﺷﺎﻋﺮ اﻟﻤﻠﻴﻮن‪،‬‬ ‫ﻣﺠﻠﺔ ﺑﻴﺖ اﻟﺸﻌﺮ اﻟﺘﻘﺖ اﻟﺸﺎﻋﺮ‬ ‫اﻟﺸﺎب وﻣﻌﻪ ﻛﺎن ﻫﺬا اﻟﺤﻮار‪ ‬‬ ‫ﻳﻘﻮﻟﻮن إن اﻟﺸﺎﻋﺮ اﺑﻦ ﺑﻴﺌﺘﻪ‪ ،‬وﻫﺬا ﻳﻨﻄﺒﻖ ﻋﲆ ﺣﻤﺪ اﳌﺰروﻋﻲ‬ ‫ﺣﻴﺚ ﺗﺄﺛﺮ ﺑﺒﻴﺌﺘﻪ اﻟﺒﺪوﻳﺔ‪ ،‬اﻟﺘﻲ ﺗﺘﻤﻴﺰ ﺑﻌﺎداﺗﻬﺎ وﺗﻘﺎﻟﻴﺪﻫﺎ اﻷﺻﻴﻠﺔ‪،‬‬ ‫وﻣﻦ ﻫﺬه اﻟﺘﻘﺎﻟﻴﺪ اﻟﺮزﻓﺔ اﻟﺤﺮﺑﻴﺔ اﻟﺘﻲ ﻋﺎدة ﻣﺎ ﻳﺘﻐﻨﻰ ﺑﻬﺎ اﻟﻨﺎس‬ ‫ﰲ اﻷﻋﺮاس واﳌﻨﺎﺳﺒﺎت اﻟﺸﻌﺒﻴﺔ‪ ،‬ﻳﻘﻮل ﺣﻤﺪ‪» :‬ﻛﻨﺖ أﺣﻔﻆ ﻫﺬه‬ ‫اﻷﺑﻴﺎت وذﻟﻚ ﺑﺘﺸﺠﻴﻊ ﻣﻦ ﻋﻤﻲ رﺣﻤﻪ اﻟﻠﻪ ﺗﻌﺎﱃ‪ ،‬ﺣﺘﻰ ﺻﺎرت‬ ‫ﻟﺪي ﻣﺨﺰون وﺣﺼﻴﻠﺔ ﻛﺒرية ﻣﻦ اﳌﻔﺮدات‬ ‫ﻟﺪي أذن ﻣﻮﺳﻴﻘﻴﺔ‪ ،‬وﺑﺎت ﱠ‬ ‫ﱠ‬ ‫واﳌﻌﺎين‪ ،‬واﻟﺘﻲ ﺗﻌﺘﱪ ﻋامد اﻟﺸﻌﺮ‪ ،‬ﻓﻜﻠام ﻛﺎن ﻫﺬا اﳌﺨﺰون أﻛﱪ ﻟﺪى‬ ‫اﻟﺸﺎﻋﺮ‪ ،‬ﻛﻠام ﻛﺎﻧﺖ ﻗﺼﺎﺋﺪه أﻗﻮى وأﻋﻤﻖ وأﻛﱪ ﺗﺄﺛرياً‪ ،‬ومبﺮور اﻷﻳﺎم‬ ‫متﻜﻨﺖ ﺑﺸﻜﻞ أﻛﱪ ﻣﻦ اﻷوزان اﻟﺸﻌﺮﻳﺔ‪ ،‬وﺑﺪأت ﺑﻨﻈﻢ اﻟﺸﻌﺮ‪ ،‬إﱃ‬ ‫أن وﺻﻠﺖ إﱃ اﳌﺮﺣﻠﺔ اﻟﺤﺎﻟﻴﺔ«‪.‬‬ ‫مل ﻳﻜﺘﻒ ﺣﻤﺪ مبﺎ ﺗﻌﻠﻤﻪ ﺑﺸﻜﻞ ﺷﺨﴢ ﺑﻞ راح ﻳﻌﺮض ﻗﺼﺎﺋﺪه ﻋﲆ‬ ‫ﻛﺒﺎر اﻟﺸﻌﺮاء ﺑﻬﺪف اﻟﻨﺼﺢ واﻟﺘﻮﺟﻴﻪ‪ ،‬وﻫﻮ اﻷﻣﺮ اﻟﺬي ﻳﺮاه ﴐورﻳﺎً‪،‬‬ ‫ﺣﻴﺚ ﻳﻘﻮل‪» :‬ﻛﻞ ﺷﺎﻋﺮ ميﺘﻠﻚ اﻟﻘﺪرة ﻋﲆ اﻟﻨﻘﺪ اﻟﺬايت‪ ،‬ﻟﻜﻦ ﻫﺬه‬ ‫اﻟﻘﺪرة ﺗﻜﻮن ﺑﺴﻴﻄﺔ ﰲ ﺑﺪاﻳﺎﺗﻪ‪ ،‬وﻣﻦ ﻫﻨﺎ ﻋﻠﻴﻪ أن ﻳﺘﺠﻪ ﻧﺤﻮ ﻛﺒﺎر‬ ‫اﻟﺸﻌﺮاء‪ ،‬وﻳﻌﺮض ﻋﻠﻴﻬﻢ اﻧﺘﺎﺟﻪ اﻟﺸﻌﺮي ﺑﻬﺪف اﻟﺤﺼﻮل ﻋﲆ اﻟﻨﻘﺪ‬ ‫واﻟﺘﻮﺟﻴﻪ وﻟﻴﺲ ﺑﻬﺪف ﺳامع اﳌﺪح واﻹﻃﺮاء‪ ،‬ﻟﻴﺲ ﻫﻨﺎك ﻣﻦ ﻗﺼﻴﺪة‬ ‫ﻛﺎﻣﻠﺔ‪ ،‬ﻓﺎﻟﻜامل ﻟﻠﻪ ﺳﺒﺤﺎﻧﻪ وﺗﻌﺎﱃ‪ ،‬وﻣﻦ ﻫﻨﺎ ﻋﲆ اﻟﺸﺎﻋﺮ أن ﻳﺘﻘﺒﻞ‬ ‫اﻟﺸﻌﺮ ‪ /‬اﻟﻌﺪد ‪68‬‬ ‫‪ 56‬ﺑﻴﺖ ِ‬

‫اﻟﻨﻘﺪ اﻟﻌﻘﻼين اﻟﻬﺎدف ﺑﺼﺪر رﺣﺐ وﻳﺴﺘﻔﻴﺪ ﻣﻨﻪ ﰲ ﺗﻄﻮﻳﺮ ﻣﺴﺘﻮاه‪،‬‬ ‫ﻋﻠﻴﻪ أن ﻳﺼﱪ وﻳﺘﻌﻠﻢ وﻳﺤﺎول إﱃ أن ﻳﺼﺒﺢ ﻗﺎدراً ﻋﲆ ﻧﻘﺪ ﻗﺼﺎﺋﺪه‬ ‫ﺑﺸﻜﻞ ذايت‪ ،‬ﻓﻴﻌﺮف ﺗﻠﻘﺎﺋﻴﺎً إن ﻛﺎﻧﺖ ﺻﺎﻟﺤﺔ ﻟﻠﻨﴩ أم ﻻ«‪.‬‬ ‫وﻳﺸري ﺣﻤﺪ إﱃ ﴐورة ﺗﻘﺒﻞ اﻟﻨﻘﺪ ﺑﴩط أن ﻳﻜﻮن ﻧﻘﺪاً ﺑﻨﺎ ًء ﻳﻬﺪف‬ ‫إﱃ اﻟﻔﺎﺋﺪة وﻟﻴﺲ اﻟﻬﺪف ﻣﻨﻪ اﻟﺘﺠﺮﻳﺢ واﻹﺳﺎءة‪ ،‬ﻓﻴﻘﻮل‪» :‬أﺑﺤﺚ ﻋﻦ‬ ‫اﻟﺸﺎﻋﺮ اﻟﺬي ﻳﻘﺪم ﱄ اﻟﻨﺼﺢ اﻟﺼﺎدق‪ ،‬وأﺗﻘﺒﻞ ﻣﺎ ﻳﻘﻮﻟﻪ ﱄ‪ ،‬وﻫﺬا ﻣﺎ‬ ‫ﻳﺠﺐ ﻋﲆ أي ﺷﺎﻋﺮ اﻟﻘﻴﺎم ﺑﻪ‪ ،‬ﻓﻠﻮ مل ﻳﻔﻌﻞ‪ ،‬ﺳﺘﻤﺮ اﻷﻳﺎم واﻟﺴﻨﻮات‬ ‫ﻣﻦ دون أن ﻳﺤﺼﻞ أي ﺗﻘﺪم ﰲ ﺳﻮﻳﺘﻪ اﻟﺸﻌﺮﻳﺔ‪ ،‬وﺳﻴﺘﻠﻘﻰ اﻟﻨﻘﺪ‬ ‫ﻣﻦ اﻟﺠﻤﻬﻮر ﻣﺒﺎﴍة‪ ،‬ﻟﻴﻜﺘﺸﻒ ﻣﺘﺄﺧﺮاً ﺑﺄﻧﻪ أﺿﺎع اﻟﻜﺜري ﻣﻦ اﻟﻮﻗﺖ‬ ‫وﻫﻮ ﰲ ﺑﺮﺟﻪ اﻟﻌﺎﺟﻲ‪ ،‬ﻧﺎﺋﻴﺎً ﺑﻨﻔﺴﻪ ﻋﻦ أي ﻣﻼﺣﻈﺔ‪ ،‬وﻣﻀﻴﻌﺎً ﻛﻞ‬ ‫ﻓﺮﺻﺔ ﻟﻠﺘﻘﺪم واﻟﺘﻄﻮر«‪.‬‬ ‫ﻛﺎن ﻣﻦ اﻟﻄﺒﻴﻌﻲ ﻟﺤﻤﺪ أن ﻳﺘﺄﺛﺮ مبﻦ ﺣﻮﻟﻪ ﻣﻦ ﺷﻌﺮاء إﻣﺎراﺗﻴني‪ ،‬إﻻ‬ ‫أن ﺗﺄﺛﺮه مل ﻳﻘﺘﴫ ﻋﲆ أﺑﻨﺎء ﺑﻠﺪه ﺑﻞ ﺗﻌﺪى ذﻟﻚ ﺣﻴﺚ ﻳﻘﻮل‪» :‬ﻧﺤﻦ‬ ‫اﻟﻴﻮم ﻧﻌﻴﺶ ﰲ ﻗﺮﻳﺔ ﺻﻐرية‪ ،‬ﻓام ﻋﻠﻴﻚ إﻻ أن متﺴﻚ ﺟﻮاﻟﻚ ﻟﺘﺘﻌﺮف‬ ‫إﱃ أﺣﺪث اﻻﻧﺘﺎﺟﺎت اﻟﺸﻌﺮﻳﺔ ﻟﺸﻌﺮاء اﳌﻨﻄﻘﺔ واﻟﻌﺎمل‪ ،‬ﻫﺬا اﻷﻣﺮ‬ ‫ﺳﺎﻋﺪين ﰲ اﻻﺳﺘﻔﺎدة ﻣﻦ ﺗﺠﺎرب اﻟﺸﻌﺮاء اﻟﻌﺮب‪ ،‬ﻟﻴﺲ ﻫﺬا ﻓﺤﺴﺐ‬ ‫ﺑﻞ ﺣﺘﻰ أين اﺳﺘﻔﺪت ﻣﻦ ﻗﺮاءايت ﻟﻠﺸﻌﺮاء اﻷﺟﺎﻧﺐ‪ ،‬ﺣﻴﺚ اﻃﻠﻌﺖ‬

@HAILAH_al_qahtani

‫ﺷﻮاﻫﻖ ﻧﺠﺪ‬

@@ @ @ @£@ @ @ @ +&°* i*4b@@ @ @ @ @ @ @ E(°b@@ @ @ @ @ @ @ + rM x@@ @ @ @ ~@ @ @ @ @8 @@ @ @ @ C v@@ @ J*5 t@@ £@ @~@ @{@ @D* @@ @~@ @ 6* @@ @ @p@ @J M b@@ @ ~@ @ @6H @@ @ + @@ Jy@@ E b@@ @ @ @ £@ @ A R @ @ @ @ @C eb@@ @ @ @ = ¡@@ @ @ D @@ g@ @ @ @~@ @|@ @+ v@@ @ J*y@@ @ - h@@ @ @Eb@@ @ @B v@@ @ @ @ @ @ @ @D* Rv@ @ @ @ @BN b@@ @ @ @ E @@ @ @ C

@apt_nora

‫ﻧﻮرة اﻟﺴﺒﻴﻌﻲ‬

v@@ @ @ @ J*5 b@@ @ @ @ @ @< É@@ @ @ @ ~@ @ @ @ @8&* x@@ @ @ @ Â b@@ @ @ @ @ @< @@ @ @ @ C @@ @ @Jv@@ £@ @+ @@ @ @ @ @ @<45 @@ @ @ E @@ @ @ < Ì@@ @ @ 1 @@ @ @ @ CH v@@ @ J*¡@@ @ < @@ @ @ @ C @@ @ @ E Ì@@ @ @ @ ³* b@@ @ @~@ @z@ @´ @@ @ @ C @@ @ £@ @ E @@ @ @ @ @J ¢@@ @ @~@ @6 @@ @ @-*Ì@@ @ @1 @@ @£@ @ =

@kamaialkutbi

‫ﺧﻤﻴﺲ ﺑﻦ ﺑﻠﻴﺸﺔ‬

i*4b@@ @ @ @ @ @ E°* 2b@@ @p@ @ @ @ @-° @@ @ @ 0¡@@ @ @ @ @: ox@@ @ ~@ @ @6* 4b@@ @ @ @ @ E(* 4b@@ @ @ @ @ @ @ @ @ E(* b@@ @ @ @ Gv@@ @ @ @ 0H @@ @ @ £@ @ @ @Db@@ @ @ J ib@@ A b@@ @ E @@ @ C b@@ @ c@ @ ~@ 7 @@ @9¡Q @ @ @ @ J @@ @~@ @ z@ @ B*H 4*v@@ @ @+ d@@ Jb@@ m@ @ @ @D* @@ c@ ~@ 6 h@@ p@ @c@ @~@ @8* Í@@ @ D

@ali_alkaabi_uae

‫ﻋﻠﻲ ﺑﻦ ﺷﻤﻴﻞ اﻟﻜﻌﺒﻲ‬

Ì@@ 1 b@@ @ @ @ @ @ <H d@@ @ £@ @ @: b@@ @ @ @ @< v@@ @ @ @ @ @ J*5 b@@ @ @ @ @< 2É@@ @ c@ @ @Db@@ @ <N @@ @c@ @ @ @ E Ì@@ @ @ @ @ @ ³*H b@@ @ @A¡@@ @ @Db@@ @ @+ Ì@@ = b@@ @ @ @ @ C 4*v@@ @ @ @ @ @ @ @ D ¤@@ @ @ @ Q @ @ @ @ D* @@ @ @£@ @ @ <y@@ @ @D* 2b@@ @ c@ @ @ @ @ @D* e¡@@ @ @ @ @ @ @ @ @ A *5° @@ @ @ @ @ 04 ¡@@ @ @ @ D

55 2018 / ‫ﻳﻮﻧﻴﻮ‬

‫ﺪات‬SSS‫ﺗﻐﺮﻳ‬ baytelshear

‫ﻓﻲ ﺗﻐﺮﻳﺪات اﻟﺸﻌﺮاء‬..‫زاﻳﺪ‬ @ali_binwanees

‫ﻋﻠﻲ ﺑﻦ ﺳﺎﻟﻢ اﻟﻜﻌﺒﻲ‬

¤@@ @ @ @B*4 x@@ @ @ @ @ A H3H v@@ @ @ )b@@ @ @ B x@@ @ @ Cw@@ @ @ g@ @ @ F b@@ @ J*y@@ @ E v@@ ~@ @z@ @© @@ @Db@@ @½b@@ @A ¡@@ @~@ @ {@ @ FH ¤@@ Bb@@ + b@@ @ @Bx@@ @ @A v@@ @ @ @ + x@@ @ @ @ @ C3H @@ @ @ @ @ @ .4(*H b@@ @ @ £@ @Fv@@ + @@ @ {@ @ Jb@@ @ < ¤@@ @ @ 0 °(* @@ @ @ @ @Cb@@ @ E

@hamadska

‫ﺣﻤﺪ اﻟﺒﻠﻮﺷﻲ‬

" @@ £@ @ c@ F Ì@@ @ @ @³* v@@ @ @ @ @J*5 b@@ @ @J ¢@@ @g@ @ E ¶(* v@@ @ @¹ H @@ @ @ @ £@ @ @ @ 1 ¯ b@@ @ @ @F*y@@ @ @ @< @@ @ @ @ @ D @@ Jv@@ J f@@ @ @ @ 0 Í@@ @ Bb@@ @ + @@ @ @ @ F @@ c@ @ @ @~@ @7 v@@ @ @ @ © b@@ @ @ @ @ @ £@ @ @ A v@@ @ @ @ @ @ @ @ @ D* ¡@@ @ @ @ @ D Í@@ @ @ @ @ @ @ @ @ A*H

@@theyab_poet

‫ذﻳﺎب ﺑﻦ ﻏﺎﻧﻢ اﻟﻤﺰروﻋﻲ‬

4b@@ @ N @ @ EN Rv@ @ @ @ @ @ JP *5N t@@ @ JR 4P b@@ @ gS @ @ @ D* fR @ @ p@N @ @ R @ @ ~@@N @8 ¯R P R b@@ @ @ <N *4N HN M b@@ @ @ @ @ <N 4¡R @ @ @ T @ @ @ Db@@ @ @+P R @ @ @_@ @ @DP &É@ @ @gR @ @ @ PE 4*Nv@ @ @ @ @ @FP HR d@@ @£R @ @ P: t@@ @ JR 4P b@@ @ gS @ @ @D* R @ @ @ @DP Rv@ @ N @ @~@R@ {@ @JP R b@@ ~@@N |@ @1*R HN Í@R @ @cU @ @ ¹ R P P @ @ @DP Rv@ N @ ~@R @{@ -P @R @ 6b@@ S @ @D*PH 68 ‫ اﻟﻌﺪد‬/ ‫اﻟﺸﻌﺮ‬ ِ ‫ ﺑﻴﺖ‬54

‫‪www.sbzc.ae‬‬ ‫‪2‬‬

‫ﺑﻴﺖ اﻟﺸﻌﺮ ‪ /‬اﻟﻌﺪد ‪56‬‬

‫‪sbzc.ae‬‬

‫‪@sbzc_ad‬‬

‫ﻳﻮﻧﻴﻮ ‪53 2018 /‬‬ ‫أﻛﺘﻮﺑﺮ ‪93 2017 /‬‬

‫أﺳﺮار ﻓﻲ أﺷﻌﺎر‬ baytelshear

‫ﻻ ﺗﻠﻮم ﻟﻲ أ ّﺧﺮوﻧﺎ‬ *x@@ @ @ @ @ @ @ @ @ ~@ @ @ @ @ @ @ @ @ @7° b@@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ cP @ @ @ @ @ @ @ @ J5b@@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ ER b@@ @ @ @ @ @ @ @ ~@ @ @ @ z@ @ @ @ PE @@ @ @ @ @ @ @ @ @ @ @ @ O @ @ @ @ @ @ DP b@@ @ @ @ @ @ @ @ @ @ @ U @ @ @ @ @ @ @ @ @ @ @ @ P0HR *y@@ @ @ @ @ @ @ @ @ @ @ @ @ @ PG @@ @ @ @ @ @ @ @ @ @ @ @ g@ @ @ @ @ @ @ @ @ @ @ @ @F* @@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ PEH2 °¡@@ @ @ @ @ @ @ @ @ @ @ E @R @ @ @ @ @ @ @ @ @ @ @ @ @ DP R H2 ¤@@ @ @ @ @ @ @ @ @ @ @ @ @ D b@@ @ @ @ @ @ @ @ @ ~@ @ @ @ @94b@@ @ @ @ +P É@@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ =N H d@Q @ @ @ @ @ @ @ @ @ @ @ @ @ 0O °H&°* @@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ PE @@ @ @ @ @ @ @ @ @ @ @ @AP b@@ @ @ @ @ @ @ @ @ @ @ @F b@@ @ @ @ @ @~@ @ @ @ @ @ |@ @ @ @ @ @ F*PH Pv@@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ <N H @@ @ @ @ @ @ @ @Jy@@ @ @ @ @ @ @ @+R b@@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @P´* x@@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @1&Q * ¡@@ @ @ @ @ @ @ @ @ @ @ @ @D

b@@ @ @ @ @ @ @ @ @ @ @ @ @FHx@@ @ @ @ @ @ @ @ @ @ @ @ @1&U * · ¡@@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ -R ° b@@ @ @ @ F¡@@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ +&* É@@ @ @ @ @ @ @ @ @ @ @ N @ @ @ @ @ @ @ @ @ @ @ @D* @@ @ @ @ @ @ @ @ @ @ @ ER b@@ @ @ @ F¡@@ @ @ @ @ @ @ @ @£@ @ @ @ @N ´* x@@ @ @ @ @ @ P<b@@ @ @ @ @ @ ~@@ @ @Q @ @ @ {@ @ @ @ @ @ @D* b@@ @ @ @ @ @ @ @ @ @ @ @ @ J b@@ @ @F¡@@ @ @ @ @ @ ~@ @ @ }@ @ @ @ @ @ @ N @ @ @ @ @ @ @ @ @ @DP b@@ @ @ @ @ @ @ @ g@ @ @ @ @ @ @ @ @~@ @ @ @ {@ @ @ @ @ @ @ @ @-P b@@ @ @ F¡@@ @ @ @ @ @ @ @ @ EN @@ @ @ @ @ @ @ @ N @ @ @ @ @ @ @ @ N@ @ @ @ @ E @@ @ @ @ @ @ @ P @ @ @ @ @ @ @ @£@ @ @ @ @ @ @ @D b@@ @ @ @ @ @ @ @FH2 @@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ FP H2 ¡@@ @ @ @ @ @ @ @ @ @ @ @ @ @ ~@ @ @ @ @{@ @ @ @ @JR N b@@ @ @ F¡@@ @ @ @ @ @ @ @ @ @ @ +R Ph@@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @BN HP b@@ @ @ @ @ @ @ Eb@@ @ @ @ @ @ @ J b@@ @ @ F¡@@ @ @ @ @ @ @ JR N @@ @ @ @ @ @ @ @ @ @ N @ @ @ @ @ EN P4v@@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @BN

‫اﻟﺸﻴﺦ زاﻳﺪ ﺑﻦ ﺳﻠﻄﺎن آل ﻧﻬﻴﺎن‬ 1994/12/27

68 ‫ اﻟﻌﺪد‬/ ‫اﻟﺸﻌﺮ‬ ِ ‫ ﺑﻴﺖ‬52

‫ﻣﻀﻴﺎﻓﻨﺎ ﻳﺎ اﺧﻮﻧﺎ‬ b@@ @ @£@ @ @ ~@ @ @ }@ @ @ P @@ @ @ @ @ @ D* b@@ @ @ @ @ @ J t@@ @ @ @ £@ @ @ @ ~@@ @U @ @ {@ @ @ @ D* b@@ @ @ @ @ @ J b@@ @ @ @ @ @ @ @ @ @ /4 b@ Q @ @ @ @ ~@ @ @ @ @ {@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ P²* eb@@ @ @ @ @ @ @ @ @ @ @ @ ~@ @ @ @ @ @ 8 *xQ @ @ @ @ @ @ P @ @ @ @ @ @ @ @ @ @ @ @ @D* @@ @ @ @ @ @ @ @ @ @ @ PE @@ @ @ @ @ @ @ @ @ @ @ gN @ @ @ @ @ @ @ @ @ @ @ @FR * H b@@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ P @@ @ @ @ @ @ @ D* ,yS @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @0 ¤@ N @@@@@@ @@@@@@ A b@@ @ @ @ @ @ @ @ @ @ N @ @ @ @ @ @ @ @ @ @ @D* b@@ @ @ @ @ @ @ @ @ @ @GN HS &* ¯ b@@ @ @ @ @ @ @ @ @ @ @~@ @ @ @z@ @ @ @ @ @ @ @ PE *Hv@@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ =N b@@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @DR H b@@ @ @ @ @ @ @ ~@ @ @ @{@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @FP H @@ @ @ @ O @ @ @ @ @ R @ @ @ @ @ @ @ @ @ @~@@ @ N@ @ 8¡@@ @ @ @ @ @ @ @ @ FN °H&É@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ D ¡@@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @~@@ @ Q@ @ @ @{@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ D*H Q @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @-N @@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ O @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @BP *x@@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ AR H É b@@ @ @ @~@ @ @ @ z@ @ @ @ 0R b@@ @ @ @ F¡@@ @ @ @ @ @ @ @ @ ~@@ @P @ @ 6 v@@ @ @ @ @ @ @ @ @ BP °H b@@ @ @ @ @ @~@ @ @ @ @ @ 94* É@@ @ @ @ @ @ ~@@ @ @S @ @ @ z@ @ @ @ @ @ @D* *HQ24H b@@ @ @ @ @ @ @ @ @ @ @ ~@ @ @ @ @ @ @ @ @ @ @ 8H&°* @@ @ @ @ @ @ @ PEb@@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ C · *x@@ @ @ @ @ @ ~@ @ @ @ @ @ @7° exN @ @ @ @ @ @ @ @ @ @ @ N @ @ @ @ @ @ @ @ @ @ @D* v@@ @ @ @ £@ @ @ @ @ @ @ @ @ @~@@ @P @ @ 6

b@@ @ @ @ @ @ F¡@@ @ @ @ @ @ 1* b@@ @ @ @ @ @ @ @ @ J b@@ @ @ @ @ @ @ @ @ @ @ @ AR b@@ @ @ @ @ @£@ @ @ @ @ @ ~@ @ @ @ @ @ }@ @ @ @ @ @ PE b@@ @ @ F¡@@ @ @ @ @ @ @ <b@@ @ @ @ @ @ @ J v@@ @ @ @ @ @ N @ @ @ @ @ @ @ @ @ @ @ @ @0 *y@ N @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ FP b@@ @ @ @ @F¡@@ @ @ @ @ @ @ @ @ @ DN @@ @ @ @ @ @ @ @ @ @ @ @ P @ @ @ @ @ @ @ @ @ @ @ @ +4N v@@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @J*H b@@ @ @ @ @ @ @ @ FHx@@ @ @ @ @ @ @ @ 1&U * @@ @ @ @ @ @ @ Gb@@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ J @@ @ @ @ @ @ @ R@ @ @ @ @ @ @ @ @ @7HP b@@ @ @ @ F¡@@ @ @ @ Q @ @ @ @ @ @ @ @ @ 1N *H4N2 @@ @ @ @ @ @ @ @ @ @ @ @ OG ¡@@ @ @ @ @ @ @ @ @ @ @ @ D b@@ @ @ @ @F¡@@ @ @ @ @ @ @ @ @ @ m@U @ @ @ @ @<N @@ @ @ @ @ @N @ @ @ @ @ @ @ E¡@@ @ @ @ @ @ ~@@ @ @Q @ @ @ {@ @ @ @ @ @ @ @ @ @ @ @ @ @DP H b@@ @ @ @ @ @F¡@@ @ @ @ @ @JQ xN @ @ @ @ @ @ @ @ @ @ @ @ @-R b@@ @ @ @ @ @ @ @ @ @ @ @ @ @ +R b@@ @ @ @ @ @ @ @ @ c@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ 0*& b@@ @ @ F¡@@ @ @ @ @ @ @ @ @ @ @ + @@ @ @ @ O @ @ @ @ p@ @ @ @ @ @ @ @ @ @ @ @ @ cQ @ @ @ @ @ @ @ @ @~@ @ @ @ |@ @ @ @ @ @ @ @ @ @ @ @ @ F b@@ @ @ @ @ @ @ FH¡@@ @ @ @ @ @ @ OG · @@ @ @ @ @ @ @ OG*¡@@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @FP b@@ @ @ @ F¡@@ @ @ @ @ @ @ @ @ @ @ @ @ @ P/ b@@ @ @ @ @ @ @ @ @E x@@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ EN ¤@@ @ @ @ @ @ @ @ @ @ @ @ D b@@ @ @ F¡@@ @ @ Ab@@ @ @ @ @ @ @ ~@ @ @ @7 ¢@@ @ @ @ @ @ g@ @ @ @ @ @ PE *¡@@ @ @ @ @ @ @ 0x@@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ AP b@@ @ @ @ F¡@@ @ @ @ Q @ @ @ @ @D* @@ @ @ @ @ @ £@ @ @ @ @ @ @ ~@ @ @ z@ @ @ @ @ @ @ 0 @ N @ @ @ @ @ @cS @ @ @ @ @ @ @ @ @ @ @ @ @0O b@@ @ @F¡@@ @ @ @ @ @ @ @ @ @ @ @ @£@ @ @ @ @ @ @+N @@ @ @ @ @ @ @ @ @ DN d@@ @ @ @ @ @ @ @ R @ @ @ @ @ @ @ @ @ ~@@ @S @ @ |@ @ @ @ D*

‫اﻟﺪﻛﺘﻮر ﻣﺎﻧﻊ ﺳﻌﻴﺪ اﻟﻌﺘﻴﺒﺔ‬ 1994/12/21 ‫اﻟﺒﺤﺮﻳﻦ ﻓﻲ‬

‫ﺣﻲ اﻟﺬي ﺣ ّﻴﻮﻧﺎ‬ b@@ @ @ @ @ @ @ @ @ @ @ @ ~@ @ @ @ @ @ 6° b@@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @F*¡@@ @ @ @ @ @ @ @ @ @ 1(* b@@ @ @ @ @ @ @ @ @ @~@ @ @ 7 b@@ @ @ @ @ @ @ @GÉ@@ @ @ @ @ @ @ @+N v@@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ p@S @ @ @ @ @ @ @ @ EN b@@ @ @ @ @ @ @ @ @ @ @ @ @ @ P @@ @ @ @ @ @ @ @ @ D* ¥x@@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ FN b@@ @ @ @ @ @ @ @ @ @ @ @EH É@@ @ @ @ @ @ @ @ @ @ @ 1R b@@ @ @ @ @ @ @ @ @ @ @ @ £Q @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ +N X2H É@@ @ @ @ @ @£@ @ @ @ @ @ ´* d@@ @ @ @ @ @ P0b@@ @ @ @ @ @ @ @ @ @ @ @ @ ~@@ @ @ Q@ @ @ |@ @ @ @ @ @ @D* b@@ @ @ @ @ @ @ @ @J b@@ @ @ @ @ @ @ @ s@ @ @ @ @ @ @ @ JP @@ @ @ @ @GxP @ @ @ @ @ m@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ GN @@ @ @ @ @ @ @ @ @ @ PE b@@ @ @ @ @ @ @ @ @ @~@ @ @ @ @ @ @ @ @ @ 8H&* @@ @ @ @ @ @ @ @ @ @ @ @ P @ @ @ @ @ @ ~@ @ @ @ @ @ z@ @ @ @ @ @ P0 ¯ *x@@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ ~@ @ @ 7° @@ @ @ @ ~@ @ @ @ @z@ @ @ @ @FN v@@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @JP *5 b@@ @ @ @ ~@ @ @ @ @{@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @JP °H ¢@@ @ @ @ @ @ @gQ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @0 b@@ @ @ @ @ ~@ @ @ @ @ @|@ @ @ @ @ @ @ @ @ @ @ @F(É@ @ @ @ @ @D @@ @ @ @ @£@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @c@ @ @ @ @ @ @ @ @ @ @JN É@@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ 0&°* f@@ @ @ @ @ @ @ @~@@ @ @ @Q @ @ @ @9b@@ @ @ @ @ @ @ @ Q @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @FN

b@@ @ @ @F¡@@ @ @ @ @ @ @ @ £Q @ @ @ @ @ @ @ @ @0 ¥w@ N @ @ @ @ @ @ @ @ @P @ @ @ @ @ @ @ @ @ D* ¤@Q @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ 0N b@@ @ @ F¡@@ @ @ £@ @ @ @ @ @ @ @ @ @ @ @DP @@ @ @ @ @ @ @ @ @ @ j@ @ @ @ @ @ @ @ @ @ @ PE ¡@@ @ @ @ @ @ @ @ @ @ g@ @ @ @ @ @ @ @ @ @ @F* b@@ @ @ F¡@@ @ @ ~@ @ @ z@ @ @ @ @ @ @ @ @ @ @ @ @ @ -P b@@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @F2U HP b@@ @ @ @ @ @ @ @ @ @ @ @ @ E b@@ @ @ F¡@@ @ @ @ @ @ @c@ @ @ @-P @@ @ @ @ @ O @ @ @ @ @ P @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ G* @@ @ @ @ @ @ @ @ @ £@ @ @ @ @ + b@@ @ @ @ @F¡@@ @ @ @ @ @ @ @ @ @ 1&* b@@ @ @ @ @ @ @ @ @ @ J @@ @ @ @ @ @ @FP b@@ @ @ @ @ @ @ @ @ @ @ @ @ @ E b@@ @ @ @ @ @ @ @ @ @ J b@@ @ @ @ @ @ F¡@@ @ @ @ @ @ B° @@ @ @ @ @ @ @ @ @ @ @ @ @ PE ¡@@ @ @ @ @ @ @ @ ~@ @ @ @ @ @ @ @ @7 b@@ @ @ @ @ @ @ @ @ @ @ @ @ J b@@ @ @ @ @F¡@@ @ @ @ @E° @@ @ @ @ @ O @ @ @ @ @ O@ @ @ @ @ @ @ @ @ @ @ @ @cQ @ @ @ @ @ @ @ @ @ @ @ @0 @ O @ @ @ @ @ @ @ @ @ @ @ @ PE b@@ @ @ @ @ @ @ @ @ @ @ @ F¡@@ @ @ @ @ @ @ @ @ @ @ @ +° Mf@ @ @ @ @ @ @ @ @ £QP @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ p@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ -N b@@ @ @ @F¡@@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ -P É@@ @ @ @ @ @ @ @ @ @ @ AN @@ @ @ @ @ @ @ @ @ N @ @ @ @ @ @ @ @ @ @j@ @ @ @ @ @ @ @ @ @ PE b@@ @ @ @ @F¡@@ @ @ @ @ @ @ @ @ @ D* @@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @D(* &b@ @ @ @ @ @ @ @ @ ~@ @ @ @ @ @ @ @ @ z@ @ @ @ @ @ @ @ @ FP Q @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ JR H b@@ @ @ @ @ @ @ @ @ FH2b@@ @ @ @ @ @ @ @ @ < @@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ PE w@

‫اﻟﻤﻠﻚ ﺣﻤﺪ ﺑﻦ ﻋﻴﺴﻰ آل ﺧﻠﻴﻔﺔ‬ 1994 ‫اﻟﺒﺤﺮﻳﻦ ﻓﻲ دﻳﺴﻤﺒﺮ‬ 51 2018 / ‫ﻳﻮﻧﻴﻮ‬

‫أﺳﺮار ﻓﻲ أﺷﻌﺎر‬ ‫‪baytelshear‬‬

‫ﺑﻘﺼﻴﺪة ﺗﺆﻛﺪ ﻋﲆ اﻟﻌﻼﻗﺎت اﻟﻮﻃﻴﺪة اﻟﺘﻲ ﺗﺠﻤﻊ ﺑﻴﻨﻬﻢ‪:‬‬ ‫‪b@@ @ @ @ @ @ @ @ @ @ @FHx@@ @ @ @ @ @ @ @ @ @ @1&U * · ¡@@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ -R °‬‬ ‫‪ *x@@ @ @ @ @ @ @ @~@ @ @ @ @ @ @ @ 7° b@@ @ @ @ @ @ @ @ @ @ @ @ @ @ cP @ @ @ @ @ @ @ J5b@@ @ @ @ @ @ @ @ @ @ @ @ @ @ ER‬‬ ‫‪b@@ @ @ F¡@@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @+&* É@@ @ @ @ @ @ @ @ @ @ N @ @ @ @ @ @ @ @ @ @ @D* @@ @ @ @ @ @ @ @ @ ER‬‬ ‫‪ b@@ @ @ @ @ @ ~@ @ @ z@ @ @ PE @@ @ @ @ @ @ @ @ @ @ O @ @ @ @ @ DP b@@ @ @ @ @ @ @ @ @ @ U @ @ @ @ @ @ @ @ @ @ P0HR‬‬ ‫ﻳﺨﺎﻃﺐ اﻟﺸﻴﺦ زاﻳﺪ ﰲ ﻗﺼﻴﺪﺗﻪ اﻟﺪﻛﺘﻮر ﻣﺎﻧﻊ اﻟﻌﺘﻴﺒﺔ أﻳﻀﺎً‪ ،‬وﻛﺄن‬ ‫ﻗﺼﻴﺪة اﳌﺸﺎﻛﺎة ﻛﺎﻧﺖ ﻣﻮﺟﻬﺔ إﻟﻴﻪ‪ ،‬وﻳﺘﻮاﺿﻊ ﰲ ذﻛﺮه اﳌﻠﻚ ﺣﻤﺪ‬ ‫وﻳﻘﻮل إﻧﻬﻢ »ﻣﻌﺎزﻳﺒﻨﺎ« ﺗﻘﺪﻳﺮاً ﻟﻜﺮم ﺿﻴﺎﻓﺘﻪ وﺷﻜﺮاً ﻟﻠﺤﻔﺎوة اﻟﺘﻲ‬ ‫ﺣﻈﻲ ﺑﻬﺎ ﰲ اﻟﺒﺤﺮﻳﻦ ﰲ ﺿﻴﺎﻓﺔ واﻟﺪه اﻷﻣري ﻋﻴﴗ ﺑﻦ ﺳﻠامن آل‬ ‫ﺧﻠﻴﻔﺔ ﻳﺮﺣﻤﻪ اﻟﻠﻪ‪ ،‬وﻫﺬا ﺷﺄن اﻟﻜﺒﺎر ﺣﻴﻨام ﻳﻜﺮﻣﻮن اﻟﻀﻴﻒ ﺑﺄﻏﲆ‬ ‫ﻣﺎ ميﻠﻜﻮن‪ ،‬وﻫﻞ ﻳﻮﺟﺪ أﻏﲆ ﻣﻦ اﻟﻮﻗﺖ اﻟﺬي ﺧﺼﺼﻮه ﻟﻠﺸﻴﺦ زاﻳﺪ‬ ‫وﻣﺮاﻓﻘﻴﻪ؛ يك ﻳﻀﺤﻮا ﺑﻪ ﻷﺟﻠﻬﻢ‪ ،‬ﺑﻞ وزادوا ﻋﲆ ذﻟﻚ ﺣﻴﻨام أﴏ‬ ‫اﳌﻠﻚ ﺣﻤﺪ ﻋﲆ ﻃﻠﺐ ﺑﻘﺎﺋﻬﻢ ﳌﺪة أﻛﱪ‪ ،‬وﻳﺬﻫﺐ اﻟﺸﻴﺦ زاﻳﺪ ﺑﻌﺪ‬ ‫ذﻟﻚ إﱃ ﻟﻮم اﻟﺪﻛﺘﻮر ﻣﺎﻧﻊ‪:‬‬ ‫‪N‬‬ ‫‪b@@ @ @ @F¡@@ @ @ @ @ @ @ @ £@ @ @ @ ´* x@@ @ @ @ @ P<b@@ @ @ @ @ ~@@ @Q @ @ @ {@ @ @ @ @ @D* b@@ @ @ @ @ @ @ @ @ @ @ J‬‬ ‫‪ *y@@ @ @ @ @ @ @ @ @ @ @ PG @@ @ @ @ @ @ @ @ @ @ g@ @ @ @ @ @ @ @ @ @ @F* @@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ PEH2‬‬ ‫‪b@@ @ F¡@@ @ @ @ @~@ @ @}@ @ @ @ @ @ N @ @ @ @ @ @ @ @ @DP b@@ @ @ @ @ @ @ g@ @ @ @ @ @ @ @~@ @ @ @{@ @ @ @ @ @ @ @-P‬‬ ‫‪ °¡@@ @ @ @ @ @ @ @ @ E @R @ @ @ @ @ @ @ @ @ @ @DP R H2 ¤@@ @ @ @ @ @ @ @ @ @ @ D‬‬ ‫‪b@@ @ F¡@@ @ @ @ @ @ @ @ EN @@ @ @ @ @ @ @ N @ @ @ @ @ @ @N@ @ @ @ @E @@ @ @ @ @ @ P @ @ @ @ @ @ @£@ @ @ @ @ @ @D‬‬ ‫‪ b@@ @ @ @ @ @ @ ~@ @ @ @94b@@ @ @ +P É@@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ =N H d@Q @ @ @ @ @ @ @ @ @ @ @ 0O‬‬ ‫ ‪b@@ @ @ @ @ @ FH2 @@ @ @ @ @ @ @ @ @ @ @ @ @FP H2 ¡@@ @ @ @ @ @ @ @ @ @ @ @ @~@ @ @ @ {@ @ @ @ JR N‬‬ ‫‪ °H&°* @@ @ @ @ @ @ @ @ @ @ @ @ @ PE @@ @ @ @ @ @ @ @ @ @AP b@@ @ @ @ @ @ @ @ @ @F‬‬ ‫ﻫﻨﺎ ميﺎزح اﻟﺸﻴﺦ زاﻳﺪ اﻟﺪﻛﺘﻮر ﻣﺎﻧﻊ‪ ،‬وﻫﻮ أﺳﻠﻮب ﺷﻌﺮي ﻣﻌﺮوف‬ ‫ﰲ اﻟﺮدود ﺑني اﻟﺸﻌﺮاء‪ ،‬وﻳﻘﻮل ﻟﻪ ﰲ ﻫﺬا اﻷﺑﻴﺎت ﻋﺎدة ﻣﺎ ﻳﻜﻮن‬ ‫اﺷﺘﻴﺎق اﻟﺪﻛﺘﻮر ﻣﺎﻧﻊ إﱃ اﳌﺤﺒﻮب ﺳﺒﺒﺎً ﰲ ﺗﻐﻴري اﳌﻮاﻋﻴﺪ؛ ﻷﻧﻚ‬ ‫ﺗﺨﺼﺺ ﻟﻪ ﻟﻴﻠﻚ ﺑﺎﻟﺤﺐ واﻻﻫﺘامم اﳌﻀﺎﻋﻒ‪ ،‬وﻫﻮ ﻳﺴﺘﺤﻖ ذﻟﻚ‬

‫اﻟﺸﻌﺮ ‪ /‬اﻟﻌﺪد ‪68‬‬ ‫‪ 50‬ﺑﻴﺖ ِ‬

‫ﻟﻮﻓﺎﺋﻪ ﻟﻚ‪ ،‬وﻟﺘﻔﻮﻗﻪ ﰲ ﺣﺴﻦ اﻟﺨُ ﻠﻖ واﻟﺨَ ﻠﻖ ﻋﲆ اﻵﺧﺮﻳﻦ‪ .‬وﻫﺬا‬ ‫اﳌﺪﺧﻞ أراد ﺑﻪ اﻟﺸﻴﺦ زاﻳﺪ ﻳﺮﺣﻤﻪ اﻟﻠﻪ أن ﻳﱪئ ﺳﺎﺣﺔ اﳌﺤﺒﻮب‪،‬‬ ‫ﻛﻮن اﻟﻘﺼﺎﺋﺪ ﻋﺎدة ﻣﺎ ﺗﻘﺤﻢ اﳌﺤﺒﻮب ﻓﻴﻬﺎ ﻹﺿﻔﺎء اﻟﴪور واﻟﺒﻬﺠﺔ‪،‬‬ ‫وﻟﺬﻛﺮ أوﺻﺎف اﳌﺤﺒﻮب اﻟﺘﻲ ﺗﻬﻴﺾ ﻣﺸﺎﻋﺮ اﻟﺸﻌﺮاء؛ ﻟﺬﻟﻚ ﻳﺨﺮج‬ ‫اﻟﺸﻴﺦ زاﻳﺪ ﻳﺮﺣﻤﻪ اﻟﻠﻪ ﻋﻦ ﻫﺬا اﻟﺘﻘﻠﻴﺪ ﰲ اﻷﺑﻴﺎت اﻷﺧرية‪ ،‬وﻳﻘﻮل‪:‬‬ ‫‪b@@ @ @F¡@@ @ @ @ @ @ @ @ @ +R Ph@@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ BN HP b@@ @ @ @ @ @ Eb@@ @ @ @ @ @ J‬‬ ‫‪ b@@ @ @ @ @~@ @ @ @ @ |@ @ @ @ @ F*PH Pv@@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ <N H @@ @ @ @ @ @ Jy@@ @ @ @ @ @ +R‬‬ ‫‪b@@ @ @F¡@@ @ @ @ @ @ JR N @@ @ @ @ @ @ @ @ @ N @ @ @ @ @EN P4v@@ @ @ @ @ @ @ @ @ @ @ @ @ @ @BN‬‬ ‫‪ b@@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @P´* x@@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ 1&Q * ¡@@ @ @ @ @ @ @ @ @ @ @ D‬‬ ‫ﻫﻨﺎ ﻳﻘﻮل اﻟﺸﻴﺦ زاﻳﺪ‪ :‬إن اﻟﺪﻛﺘﻮر ﻣﺎﻧﻊ ﻛﺎن دامئﺎً ﺣﺴﻦ اﳌﻌﺎﻣﻠﺔ ﻣﻊ‬ ‫اﳌﺤﺒﻮب وﻋﺎدﻻً وﻣﻨﺼﻔﺎً ﻣﻌﻪ‪ ،‬أي أﻧﻪ دامئﺎً ﻣﺎ ﻳﻔﺮد اﻟﻮﻗﺖ اﻟﻜﺎﰲ ﻟﻪ‪،‬‬ ‫وﻟﻬﺬا‪ ،‬ﻓﺈن اﳌﺤﺒﻮب ﺳﻴﻘﺪر اﻟﻈﺮوف اﻟﺘﻲ ﺗﺆدي إﱃ ﺗﺄﺧﺮ اﻟﺪﻛﺘﻮر‬ ‫ﻣﺎﻧﻊ ﻋﻦ ﺟﺪول ﻣﻮاﻋﻴﺪه اﻟﺮﺳﻤﻴﺔ‪ ،‬وﻟﻦ ﻳﺨﴪ اﻟﺪﻛﺘﻮر ﻣﺎﻧﻊ ﻫﺬا‬ ‫اﳌﺤﺒﻮب أو ﻳﺰﻋﺠﻪ ﺑﻬﺬا اﻟﺘﺄﺧري‪ ،‬وﻛﺎن َﺣﺮ ّﻳﺎً ﺑﻪ أن ﻳﻘﺪم دﻋﻮة اﳌﻠﻚ‬ ‫ﺣﻤﺪ ﺑﺎﻟﺒﻘﺎء ﰲ اﻟﺒﺤﺮﻳﻦ ﻋﲆ اﻟﻌﻮدة إﱃ اﻟﻮﻃﻦ‪ .‬وﻫﻨﺎ ﺑﻴﺖ اﻟﻘﺼﻴﺪ‬ ‫ورد واﺿﺢ ﻣﻦ اﻟﺸﻴﺦ زاﻳﺪ أن ﻋﲆ اﻟﺪﻛﺘﻮر ﻣﺎﻧﻊ إﻳﺠﺎد ﻣﻮﻋﺪ آﺧﺮ‬ ‫ﻟﺘﻠﺒﻴﺔ ﻃﻠﺐ اﳌﻠﻚ ﺣﻤﺪ أو اﺳﺘﻀﺎﻓﺘﻪ ﰲ أﺑﻮﻇﺒﻲ‪ ،‬وﻫﺬا ﺑﺎﻟﻔﻌﻞ ﻣﺎ‬ ‫ﺣﺪث ﺑﻌﺪ أﻗﻞ ﻣﻦ ﺷﻬﺮ ﰲ أﺑﻮﻇﺒﻲ ﰲ ﻳﻨﺎﻳﺮ ‪.1995‬‬

‫ﻳﺼ ّﺮح اﻟﺪﻛﺘﻮر ﻣﺎﻧﻊ ﺑﺎﻟﺴﺒﺐ‪،‬‬ ‫وﻫﻮ أﻧﻪ ﻣﺸﺘﺎق ﻟﺮؤﻳﺔ أﺣﺒﺎﺑﻪ‪ ،‬وﻫﻢ‬ ‫أﻳﻀﺎ ﻻ زاﻟﻮا ﺑﺎﻧﺘﻈﺎره‬ ‫ﻳﺆﻛﺪ اﻟﻤﻠﻚ ﺣﻤﺪ أن ﻣﺎﻧﻊ ﺑﻴﻦ‬ ‫أﻫﻠﻪ ﻓﻲ اﻟﺒﺤﺮﻳﻦ‪ ،‬وﻫﻢ ﺳﻌﺪاء‬ ‫ﺑﻮﺟﻮده ﺳﻌﺎدة ﻛﺒﺮى‬ ‫رﺟﻊ اﻟﺸﻴﺦ زاﻳﺪ ﻳﺮﺣﻤﻪ ا ‬ ‫إﻟﻰ أرض اﻟﻮﻃﻦ‪ ،‬وﻟﻜﻨﻪ ﺣﻴﻨﻤﺎ‬ ‫وﺻﻠﺖ إﻟﻴﻪ اﻟﻘﺼﻴﺪﺗﺎن ﻟﻢ ﻳﺘﺮﻛﻬﻤﺎ‬ ‫ﻣﻦ دون أن ﻳﺠﻮد ﻗﻠﻤﻪ ﺑﻘﺼﻴﺪة‬ ‫ﻳﺆﻛﺪ ﻫﻨﺎ أن ﻫﺠﺮ ﻣﻦ ﻧﺸﺘﺎق إﻟﻴﻬﻢ ﻷﻣﺮ ﻣﺨﻴﻒ‪ ،‬وﻫﻮ ﺑﺬﻟﻚ ﻳﺆﻳﺪ‬ ‫ﻣﺎ ﻗﺎﻟﻪ اﻟﺪﻛﺘﻮر ﻣﺎﻧﻊ ﺣني ﻗﺎل أن »ﻓﺮاﻗﻬﻢ ّﺗﻼف«؛ ﻟﺬﻟﻚ ﻻ ﻳﺠﺐ أن‬ ‫ﻳﻼم اﻟﺪﻛﺘﻮر ﻣﺎﻧﻊ ﻛﻮن ﺟﻤﻴﻊ اﳌﺤﺒني ﻳﻌﺎﻧﻮن ﻣﻦ ﻫﺬا اﻷﻣﺮ‪ ،‬وﻫﺬا‬ ‫اﳌﻌﻨﻰ ﺗﻔﺮﺿﻪ اﻟﻘﺎﻓﻴﺔ ﰲ »ﻻﻗﻮﻧﺎ« و»ﻻﻣﻮﻧﺎ«‪ ،‬وﻟﻜﻦ ﻳﺪﺧﻞ اﳌﻠﻚ‬ ‫ﺣﻤﺪ ﻣﺤﻮراً ﺟﺪﻳﺪاً ﰲ اﻟﺴﻴﺎق‪ ،‬وﻳﺘﻐﺎﴇ ﻋﻦ اﳌﺤﻮر اﻟﺴﺎﺑﻖ‪:‬‬ ‫‪b@@ @ @ @ @ @ @ @ @ @ F¡@@ @ @ @ @ @ @ @ @ @ +° Mf@ @ @ @ @ @ @ @£QP @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @p@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @-N‬‬ ‫‪ *x@@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ ~@ @ @ 7° @@ @ @ @~@ @ @ @ z@ @ @ @ FN v@@ @ @ @ @ @ @ @ @ @ @ @ @ JP *5‬‬ ‫‪b@@ @ @ F¡@@ @ @ @ @ @ @ @ @ @ @ @ @ @ @-P É@@ @ @ @ @ @ @ @ @ @AN @@ @ @ @ @ @ @ @ N @ @ @ @ @ @ @ @ @j@ @ @ @ @ @ @ @ @ PE‬‬ ‫‪ b@@ @ @ @~@ @ @ @ {@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @JP °H ¢@@ @ @ @ @ @gQ @ @ @ @ @ @ @ @ @ @ @ @ @0‬‬ ‫‪b@@ @ @ @ F¡@@ @ @ @ @ @ @ @ @D* @@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ D(* &b@ @ @ @ @ @ @ @ ~@ @ @ @ @ @ @ @ z@ @ @ @ @ @ @ @ FP‬‬ ‫‪ b@@ @ @ @ @~@ @ @ @ @ |@ @ @ @ @ @ @ @ @ @ @F(É@ @ @ @ @ D @@ @ @ @ £@ @ @ @ @ @ @ @ @ @ @ @ @ @ @c@ @ @ @ @ @ @ @ @ @JN‬‬ ‫‪Q @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @JR H‬‬ ‫@‪b@@ @ @ @ @ @ @ @FH2b@@ @ @ @ @ @ @ @< @@ @ @ @ @ @ @ @ @ @ @ @ @ PE w‬‬ ‫‪N‬‬ ‫‪ É@@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @0&°* f@@ @ @ @ @ @ @~@@ @ @ @Q @ @ @9b@@ @ @ @ @ @ @ Q @ @ @ @ @ @ @ @ @ @ @ @ @ @ @F‬‬

‫ﻳﺮﻳﺪ أن ﻳﺆﻛﺪ أن ﻣﺸﻜﻠﺘﻪ ﺧﺎﺻﺔ ﺑﻪ‪ ،‬وأن ﻳﻄﻠﺐ اﻟﺮﺧﺼﺔ ﺑﺎﻟﺴامح‬ ‫ﻟﻪ ﻟﻴﻌﻮد إﱃ أرض اﻟﻮﻃﻦ‪ ،‬ومل ﻳﻜﻦ اﻟﺰﻳﺎدة ﰲ ﻛﺮم اﻟﻀﻴﺎﻓﺔ إﻻ ذرﻳﻌﺔ‬ ‫ﻟﺬﻟﻚ‪.‬‬ ‫وﺟﺎءت ﻗﺼﻴﺪة اﳌﺮدة ﻣﻦ اﳌﻠﻚ ﺣﻤﺪ ﺑﻦ ﻋﻴﴗ آل ﺧﻠﻴﻔﺔ ﻣﻌﱪة‬ ‫ﻋﻦ ﻣﺪى اﳌﻮدة واﳌﺤﺒﺔ اﻟﺘﻲ ﻳﺤﻤﻠﻬﺎ‪ ،‬وﻋﻦ ﻗﻮة اﻷواﴏ ﺑﻴﻨﻬام‪:‬‬ ‫@‪b@@ @ @ F¡@@ @ @ @ @ @ @ £Q @ @ @ @ @ @ @ @0 ¥w‬‬ ‫‪N @ @ @ @ @ @ @ @P @ @ @ @ @ @ @ @ D* ¤@Q @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ 0N‬‬ ‫*(‪ b@@ @ @ @ @ @ @ @ @ @ @~@ @ @ @ @ @6° b@@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ F*¡@@ @ @ @ @ @ @ @ @1‬‬ ‫*‪b@@ @ @F¡@@ @ @£@ @ @ @ @ @ @ @ @ @DP @@ @ @ @ @ @ @ @ j@ @ @ @ @ @ @ @ @ PE ¡@@ @ @ @ @ @ @ @ g@ @ @ @ @ @ @ @ @ F‬‬ ‫‪ b@@ @ @ @ @ @ @ @ ~@ @ @7 b@@ @ @ @ @ @ @GÉ@@ @ @ @ @ @ @+N v@@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ p@S @ @ @ @ @ @ @ EN‬‬ ‫‪b@@ @ @F¡@@ @ @~@ @ @ z@ @ @ @ @ @ @ @ @ @ @ @ @ @-P b@@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @F2U HP b@@ @ @ @ @ @ @ @ @ @ @ E‬‬ ‫‪ b@@ @ @ @ @ @ @ @ @ @ @ @ P @@ @ @ @ @ @ @ @ D* ¥x@@ @ @ @ @ @ @ @ @ @ @ @ @ @ @FN b@@ @ @ @ @ @ @ @ @ @EH‬‬ ‫‪b@@ @ @F¡@@ @ @ @ @ @ c@ @ @ -P @@ @ @ @ O @ @ @ @ @P @ @ @ @ @ @ @ @ @ @ @ @ @ @ @G* @@ @ @ @ @ @ @ @ £@ @ @ @ +‬‬ ‫‪ É@@ @ @ @ @ @ @ @ @ @ R1 b@@ @ @ @ @ @ @ @ @ @ @ £Q @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @+N X2H‬‬ ‫‪b@@ @ @ @ F¡@@ @ @ @ @ @ @ @ @ 1&* b@@ @ @ @ @ @ @ @ @J @@ @ @ @ @ @FP b@@ @ @ @ @ @ @ @ @ @ @ @ E b@@ @ @ @ @ @ @ @ @J‬‬ ‫‪ É@@ @ @ @ @£@ @ @ @ @ ´* d@@ @ @ @ @ P0b@@ @ @ @ @ @ @ @ @ @ @ ~@@ @ @Q @ @ |@ @ @ @ @ @D* b@@ @ @ @ @ @ @ J‬ﰲ ﻫﺬا اﳌﺤﻮر اﻟﺬي ﻳﺒﺪأ ﺑﺎﻟﺘﺤﻴﺔ إﱃ اﻟﺸﻴﺦ زاﻳﺪ وﻣﺪﺣﻪ واﻟﺪﻋﺎء‬ ‫ﻟﻪ‪ ،‬ﻳﻜﺸﻒ اﻟﺸﺎﻋﺮ اﻟﻐﻄﺎء ﻋﻦ ﴎ اﳌﻮﺿﻮع‪ ،‬ﻓﻜام ﻳﺒﺪو مل ﻳﻜﻦ‬ ‫ﰲ ﻫﺬه اﻷﺑﻴﺎت اﻟﺠﻤﻴﻠﺔ‪ ،‬ﻳﺆﻛﺪ اﳌﻠﻚ ﺣﻤﺪ أن ﻣﺎﻧﻊ ﺑني أﻫﻠﻪ ﰲ ﻫﻨﺎك ﺗﺄﺧري ﰲ ﺗﺮﺗﻴﺒﺎت ﻣﻐﺎدرة اﻟﺪﻛﺘﻮر ﻣﺎﻧﻊ‪ ،‬وإمنﺎ ﻫﻨﺎك ﻃﻠﺐ ﻣﻦ‬ ‫اﻟﺒﺤﺮﻳﻦ‪ ،‬وﻫﻢ ﺳﻌﺪاء ﺑﻮﺟﻮده ﺳﻌﺎدة ﻛﱪى‪ ،‬وإﴏارﻫﻢ ﻋﲆ ﺑﻘﺎﺋﻪ اﳌﻠﻚ ﺣﻤﺪ ﻟﺘﻐﻴري ﺟﺪول اﻟﺸﻴﺦ زاﻳﺪ ﻣﻦ ﺧﻼل اﻟﺪﻛﺘﻮر ﻣﺎﻧﻊ؛ يك‬ ‫ﻛﺎن ﺑﺴﺒﺐ ﻣﺤﺒﺘﻬﻢ ﻟﻪ‪ ،‬وإﺣﺴﺎﺳﻬﻢ ﺑﺨﻠﻮة اﳌﻜﺎن ﺑﻌﺪ ﻣﻐﺎدرﺗﻪ‪ .‬ﻳﺒﻘﻰ ﻣﺪة أﻃﻮل ﰲ اﻟﺒﺤﺮﻳﻦ‪ ،‬ومل ﻳﺠﺪ اﻟﺪﻛﺘﻮر ﻣﺎﻧﻊ وﺳﻴﻠﺔ أرﻗﻰ‬ ‫ﻟﻬﺬا‪ ،‬ﻓﺈﻧﻬﻢ ﻻ ﻳﺬﻛﺮون ﻣﻮﺿﻮع اﳌﻐﺎدرة؛ ﻷن اﻟﺬﻫﺎب ﻳﺸﺒﻪ زوال وأﺟﻤﻞ ﻣﻦ اﻻﻋﺘﺬار ﺳﻮى ﺑﻘﺼﻴﺪة ﺷﻌﺮﻳﺔ ﺗﻨﻢ ﻋﻦ ﻣﻨﺘﻬﻰ اﻟﻠﺒﺎﻗﺔ‬ ‫ﻧﻌﻤﺔ اﻟﺒﴫ ﻋﻦ اﻟﻌﻴﻮن‪ ،‬وﻫﻮ أﻣﺮ ﻛﺒري ﻻ ﻳﺤﺘﻤﻞ‪ ،‬وأﻣﺎ ﻣﻮﺿﻮع رؤﻳﺔ واﻟﺸﻜﺮ‪ ،‬ﻣﺮاﻋﺎة ﻷدب ﻣﺨﺎﻃﺒﺔ وﱄ ﻋﻬﺪ اﻟﺪوﻟﺔ اﻟﺸﻘﻴﻘﺔ اﻟﺘﻲ‬ ‫اﻷﺣﺒﺎب ﻓﺈﻧﻬﺎ ﺣﺠﺔ ﻳﺮد ﻋﻠﻴﻬﺎ ﰲ اﻟﺒﻴﺘني اﻟﺘﺎﻟﻴني‪:‬‬ ‫ﺗﺮﺑﻄﻬﺎ ﺑﺎﻹﻣﺎرات رواﺑﻂ وﺛﻴﻘﺔ‪.‬‬ ‫‪b@@ @ @ @ @ F¡@@ @ @ @ @ B° @@ @ @ @ @ @ @ @ @ @ @ PE ¡@@ @ @ @ @ @ @~@ @ @ @ @ @ @ 7 b@@ @ @ @ @ @ @ @ @ @ @ J‬‬ ‫‪ b@@ @ @ @ @ @ s@ @ @ @ @ @ JP @@ @ @ @ GxP @ @ @ @ @m@ @ @ @ @ @ @ @ @ @ @ @ @ @ @GN @@ @ @ @ @ @ @ @ PE‬وأﻣﺎ رد اﳌﻠﻚ ﺣﻤﺪ‪ ،‬ﻓﻜﺎن ﻛﺮﻣﺎً ﻳﻀﺎف إﱃ ﻛﺮم ﺿﻴﺎﻓﺘﻪ اﻟﺘﻲ مل ﺗﻜﺘﻤﻞ‬ ‫متﺎ ًﻣـﺎ؛ ﺣﻴﺚ رﺟﻊ اﻟﺸﻴﺦ زاﻳﺪ ﻳﺮﺣﻤﻪ اﻟﻠﻪ إﱃ أرض اﻟﻮﻃﻦ‪ ،‬وﻟﻜﻨﻪ‬ ‫@ ‪b@@ @ @ @ F¡@@ @ @ @ E° @@ @ @ @ O @ @ @ @ @O @ @ @ @ @ @ @ @ @ @cQ @ @ @ @ @ @ @ @ @ @0‬‬ ‫‪O @ @ @ @ @ @ @ @ @ @ PE‬‬ ‫@‪ b‬‬ ‫@‬ ‫@‬ ‫@‬ ‫@‬ ‫@‬ ‫@‬ ‫@‬ ‫@‬ ‫~‬ ‫@‬ ‫@‬ ‫@‬ ‫@‬ ‫@‬ ‫@‬ ‫@‬ ‫@‬ ‫@‬ ‫‪8‬‬ ‫&‪H‬‬ ‫*‬ ‫@ ‬ ‫@‬ ‫@‬ ‫@‬ ‫@‬ ‫@‬ ‫ ‬ ‫@‬ ‫@‬ ‫@‬ ‫@‬ ‫@‬ ‫ ‬ ‫@‬ ‫@‬ ‫@‬ ‫@‬ ‫@‬ ‫~‬ ‫@‬ ‫@‬ ‫@‬ ‫@‬ ‫@‬ ‫‪z‬‬ ‫@‬ ‫@‬ ‫@‬ ‫@‬ ‫@‬ ‫¯ ‬ ‫‪P‬‬ ‫‪P0‬‬ ‫ﺣﻴﻨام وﺻﻠﺖ إﻟﻴﻪ اﻟﻘﺼﻴﺪﺗﺎن مل ﻳﱰﻛﻬام ﻣﻦ دون أن ﻳﺠﻮد ﻗﻠﻤﻪ‬

‫ﻳﻮﻧﻴﻮ ‪49 2018 /‬‬

‫أﺳﺮار ﻓﻲ أﺷﻌﺎر‬ ‫‪baytelshear‬‬

‫ﻛﺘﺒﻬﺎ ﻣﺎﻧﻊ اﻟﻌﺘﻴﺒﺔ واﻟﻤﻠﻚ ﺣﻤﺪ ﺑﻦ ﻋﻴﺴﻰ و اﻟﺸﻴﺦ زاﻳﺪ‬

‫ﺛﻼث ﻗﺼﺎﺋﺪ ﺗﺰاوج ﺑﻴﻦ اﻟﺸﻌﺮ »واﻟﺪﺑﻠﻮﻣﺎﺳﻴﺔ«‬ ‫ﻣﺤﻤﺪ ﻧﻮر اﻟﺪﻳﻦ‬

‫وﺻﻞ وﻓﺪ دوﻟﺔ اﻹﻣﺎرات إﱃ ﻗﻤﺔ ﻣﺠﻠﺲ اﻟﺘﻌﺎون اﻟﺨﻠﻴﺠﻲ ﺑﺎﳌﻨﺎﻣﺔ‬ ‫ﰲ ‪ 19‬دﻳﺴﻤﱪ ‪ 1994‬وﻛﺎن اﻟﺸﻴﺦ زاﻳﺪ ﻳﺤﴬ ﻗﻤﺔ أﺧﺮى ﻫﻲ ﻣﺆمتﺮ‬ ‫اﻟﺘﻌﺎون اﻹﺳﻼﻣﻲ ﺑﺪءاً ﻣﻦ ‪ 12‬دﻳﺴﻤﱪ‪ .‬وﺑﻌﺪ اﻻﻧﺘﻬﺎء ﻣﻦ اﳌﺆمتﺮ‬ ‫اﻟﺨﻠﻴﺠﻲ ﺑﺘﺎرﻳﺦ ‪ 21‬دﻳﺴﻤﱪ أﻧﺸﺪ اﻟﺪﻛﺘﻮر ﻣﺎﻧﻊ ﻗﺼﻴﺪة اﳌﺸﺎﻛﺎة‬ ‫اﻟﺘﺎﻟﻴﺔ ﻣﺨﺎﻃﺒﺎً اﳌﻠﻚ ﺣﻤﺪ ﺑﻦ ﻋﻴﴗ آل ﺧﻠﻴﻔﺔ اﻟﺬي ﻛﺎن وﻟﻴﺎً ﻟﻠﻌﻬﺪ‬ ‫آﻧﺬاك‪:‬‬ ‫‪R‬‬ ‫‪b@@ @ @ @ @ F¡@@ @ @ @ @ 1* b@@ @ @ @ @ @ @ @ J b@@ @ @ @ @ @ @ @ @ @ Ab@@ @ @ @ @£@ @ @ @ @ ~@ @ @ @ @ }@ @ @ @ @ PE‬‬ ‫‪ b@@ @ £@ @ @~@ @ @}@ @ @ P @@ @ @ @ @ D* b@@ @ @ @ @ J t@@ @ @ £@ @ @ @~@@U @ @ {@ @ @ @D* b@@ @ @ @ @ J‬‬ ‫@‪b@@ @ @F¡@@ @ @ @ @ @ <b@@ @ @ @ @ @ J v@@ @ @ @ @ N @ @ @ @ @ @ @ @ @ @ @0 *y‬‬ ‫‪N @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ FP‬‬ ‫@‪ b@@ @ @ @ @ @ @ @ @/4 b‬‬ ‫‪Q @ @ @ @~@ @ @ @ {@ @ @ @ @ @ @ @ @ @ @ @ @ P²* eb@@ @ @ @ @ @ @ @ @ @ ~@ @ @ @ @ 8‬‬ ‫‪b@@ @ @ @ F¡@@ @ @ @ @ @ @ @ @DN @@ @ @ @ @ @ @ @ @ @ P @ @ @ @ @ @ @ @ @ @ @+4N v@@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ J*H‬‬ ‫‪ *xQ @ @ @ @ @ P @ @ @ @ @ @ @ @ @ @ @D* @@ @ @ @ @ @ @ @ @ PE @@ @ @ @ @ @ @ @ @ gN @ @ @ @ @ @ @ @ @ @FR * H‬‬ ‫‪b@@ @ @ @ @ @ @ FHx@@ @ @ @ @ @ @ 1&U * @@ @ @ @ @ @ Gb@@ @ @ @ @ @ @ @ @ @ @ @ @ J @@ @ @ @ @ @R @ @ @ @ @ @ @ @ 7HP‬‬ ‫@‪ b@@ @ @ @ @ @ @ @ @ @ @ @ P @@ @ @ @ @ @ D* ,yS @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @0 ¤‬‬ ‫‪N @ @ @ @ @@ @ @ @ @ @A‬‬ ‫‪b@@ @ @ F¡@@ @ @ Q @ @ @ @ @ @ @ @1N *H4N2 @@ @ @ @ @ @ @ @ @ @ OG ¡@@ @ @ @ @ @ @ @ @ @ D‬‬ ‫¯ *& ‪ b@@ @ @ @ @ @ @ @ N @ @ @ @ @ @ @ @ @D* b@@ @ @ @ @ @ @ @ @ GN HS‬‬ ‫‪b@@ @ @ @ F¡@@ @ @ @ @ @ @ @ @m@U @ @ @ @ <N @@ @ @ @ @N @ @ @ @ @ @ E¡@@ @ @ @ @ ~@@ @Q @ @ @ {@ @ @ @ @ @ @ @ @ @ @ @DP H‬‬ ‫‪ b@@ @ @ @ @ @ @ @ @ @~@ @ @ z@ @ @ @ @ @ @ PE *Hv@@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ =N b@@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @DR H‬‬

‫ﻣﻦ اﻷﺳﻠﻮب اﻟﻘﺮﻳﺐ ﻣﻦ اﻟﺸﻜﻮى‪ ،‬إ ﱠﻻ أﻧﻪ ﺧﻄﺎب ﺷﻜﺮ واﻣﺘﻨﺎن‬ ‫واﺿﺢ؛ ﻟﺤﻔﺎوة اﻻﺳﺘﻘﺒﺎل واﻟﻀﻴﺎﻓﺔ‪ ،‬وﺗﺄﻛﻴﺪ أن اﻟﻮاﺟﺐ ﻗﺪ اﺳﺘﻮﰲ‬ ‫اﻟﺘﻌﺠﻞ ﺑﺎﻟﻌﻮدة ﺳﻴﻌني اﻟﺪﻛﺘﻮر‬ ‫ﺑﻞ أﻛرث ﻣﻦ اﻟﻮاﺟﺐ؛ ﻟﺬﻟﻚ ﻓﺈن‬ ‫ّ‬ ‫ﻣﺎﻧﻊ ﻋﲆ إﻛامل ﻣﻬﺎﻣﻪ ﺧﺎرج اﻟﺒﺤﺮﻳﻦ‪ ،‬وﻫﻜﺬا ﻋﺮف اﻟﺴﺒﺐ‪ ،‬ﻟﻜﻦ‬ ‫اﻟﺠﻤﻴﻊ ﻋﻮن ﻟﻪ ﰲ اﻟﻌﻮدة ﺑﺄﴎع وﻗﺖ‪ ،‬ﻓﻜﺎن ﻻﺑﺪ ﻟﻪ ﻣﻦ أن ﻳﺴ ّﻮغ‬ ‫ﻋﺠﻠﺘﻪ ﻛام ﻓﻌﻞ ﰲ اﻷﺑﻴﺎت اﻟﺘﺎﻟﻴﺔ‪:‬‬ ‫*&‪b@@ @ @ @ @ F¡@@ @ @ @ @ JQ xN @ @ @ @ @ @ @ @ @ @ @ -R b@@ @ @ @ @ @ @ @ @ @ @ @ @+R b@@ @ @ @ @ @ @ @ c@ @ @ @ @ @ @ @ @ @ @ @ @ 0‬‬ ‫‪ b@@ @ @ @ @ @ ~@ @ @ {@ @ @ @ @ @ @ @ @ @ @ @ @ @FP H @@ @ @ @ O @ @ @ @ R @ @ @ @ @ @ @ @ @~@@ @N @ @8¡@@ @ @ @ @ @ @ @ FN‬‬ ‫‪b@@ @ @ F¡@@ @ @ @ @ @ @ @ @ @ + @@ @ @ O @ @ @ @p@ @ @ @ @ @ @ @ @ @ @ @cQ @ @ @ @ @ @ @ @~@ @ @ @|@ @ @ @ @ @ @ @ @ @ @ @F‬‬ ‫‪ °H&É@ @ @ @ @ @ @ @ @ @ @ @ @ @D ¡@@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @~@@ @Q @ @ @{@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ D*H‬‬ ‫‪b@@ @ @ @ @ @ FH¡@@ @ @ @ @ @ OG · @@ @ @ @ @ @ OG*¡@@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @FP‬‬ ‫‪ É@Q @ @ @ @ @ @ @ @ @ @ @ @ @ -N @@ @ @ @ @ @ @ @ @ @ @ @ @ O @ @ @ @ @ @ @ @ @ @ @ @ @ @BP *x@@ @ @ @ @ @ @ @ @ @ @ @ @ AR H‬‬ ‫‪b@@ @ @ @F¡@@ @ @ @ @ @ @ @ @ @ @ @ @ P/ b@@ @ @ @ @ @ @ E x@@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ EN ¤@@ @ @ @ @ @ @ @ @ @ D‬‬ ‫‪ b@@ @ @ ~@ @ @ @z@ @ @ @0R b@@ @ @ @F¡@@ @ @ @ @ @ @ @ ~@@ @P @ @6 v@@ @ @ @ @ @ @ @BP °H‬‬ ‫‪b@@ @ @F¡@@ @ @Ab@@ @ @ @ @ @ ~@ @ @ 7 ¢@@ @ @ @ @ g@ @ @ @ @ @ PE *¡@@ @ @ @ @ @ 0x@@ @ @ @ @ @ @ @ @ @ @ @ @ AP‬‬ ‫‪ b@@ @ @ @ @~@ @ @ @ @ 94* É@@ @ @ @ @ ~@@ @S @ @ @ z@ @ @ @ @ D* *HQ24H‬‬ ‫@ ‪b@@ @ @ @F¡@@ @ @ @ Q @ @ @ @ D* @@ @ @ @ @ £@ @ @ @ @ @ ~@ @ @ z@ @ @ @ @ @ 0‬‬ ‫‪N @ @ @ @ @cS @ @ @ @ @ @ @ @ @ @ @0O‬‬ ‫· ‪ b@@ @ @ @ @ @ @ @ @ ~@ @ @ @ @ @ @ @ @ @8H&°* @@ @ @ @ @ @ PEb@@ @ @ @ @ @ @ @ @ @ @ @ @ C‬‬ ‫*‪b@@ @ F¡@@ @ @ @ @ @ @ @ @ @ @£@ @ @ @ @ @+N @@ @ @ @ @ @ @ @DN d@@ @ @ @ @ @ @ R @ @ @ @ @ @ @ @~@@ @S @ |@ @ @ @D‬‬ ‫‪ *x@@ @ @ @ @ ~@ @ @ @ @ @7° exN @ @ @ @ @ @ @ @ @ N @ @ @ @ @ @ @ @ @ D* v@@ @ @ @£@ @ @ @ @ @ @ @ @~@@ @P @ @6‬‬

‫ﻳﺸري اﻟﺪﻛﺘﻮر ﻣﺎﻧﻊ إﱃ أن اﻟﻀﻴﺎﻓﺔ اﻟﺘﻲ وﺟﺪﻫﺎ ﰲ اﳌﻨﺎﻣﺔ ﻗﺪ ﺗﻌ ّﺪت‬ ‫ﻳﴫح اﻟﺪﻛﺘﻮر ﻣﺎﻧﻊ ﺑﺎﻟﺴﺒﺐ‪ ،‬وﻫﻮ أﻧﻪ ﻣﺸﺘﺎق ﻟﺮؤﻳﺔ أﺣﺒﺎﺑﻪ‪،‬‬ ‫ﻫﻨﺎ‬ ‫ّ‬ ‫ﻣﺴﺘﻮاﻫﺎ‪ ،‬وﺑﺪﻻً ﻣﻦ اﻟﺸﻜﺮ ﻧﺠﺪه ﻳﻄﻠﺐ أ ﱠﻻ ﺗﺆﺧﺮﻫﻢ ﻫﺬه اﳌﺮاﺳﻢ‬ ‫ً‬ ‫ﻋﻦ أﻣﻮر أﺧﺮى أﻫﻢ ﻻ ﻳﻌﺮف ﻋﻨﻬﺎ اﳌﺴﺘﻀﻴﻔﻮن؛ ﻟﺬﻟﻚ ﻳﺘﻮﺟﻪ وﻫﻢ أﻳﻀﺎ ﻻ زاﻟﻮا ﺑﺎﻧﺘﻈﺎره‪ ،‬وإن اﻟﺒﻘﺎء ﺑﻌﻴﺪا ﻋﻦ اﳌﺤﺒﻮب ﺳﻴﺴﺒﺐ‬ ‫ﺑﺎﻟﺨﻄﺎب إﱃ اﳌﻠﻚ ﺣﻤﺪ راﺟﻴﺎً ﺗﻘﺪﻳﺮ اﳌﻮﻗﻒ‪ ،‬وﻫﺬا اﻟﺨﻄﺎب ﺑﺎﻟﺮﻏﻢ اﻟﺸﻘﺎء واﻟﻬﻼك ﻛام أﺷﺎر إﱃ ﻫﺬا اﳌﻌﻨﻰ ﰲ »وﻓﺮاﻗﻬﻢ ّﺗﻼف«‪ ،‬وﻋﻠﻴﻪ‬ ‫اﻟﺸﻌﺮ ‪ /‬اﻟﻌﺪد ‪68‬‬ ‫‪ 48‬ﺑﻴﺖ ِ‬

‫اﻟﺴﻴﺮة اﻟﺒﺎﻗﻴﺔ‬ ‫ﻣﺤﻤﺪ اﻟﻤﻐﻴﺮﻓﻲ‬ @M_alharbi

b@@ @ @-*4b@@ E(* @@c@ ~@ 6 @@ Eb@@ . b@@ £Q @ @ @ @F v@@ @ @ J*5

b@@ @ @-b@@ J*4 v@@ @m@ @ ´* b@@ @ @G ¡@@ @ @A @@ @ @A4 ¢@@ g@ @0 b@@ @ -*2b@@B b@@ @ @ @ @D(*H ex@@ @ @ @ D* ib@@ £@ @ @ @E&* 4b@@ @~@ @ 8H b@@ @-b@@p@ @~@8 ew@@ @ < @@ E ¥¡@@ -x@@ F b@@ E È@@ C b@@ J b@@ @ -b@@BH&* @@ @ @ E f@@Eb@@~@ z@ g@ +°* @@ @ E ¤@@~@ }@ @ b@@ @ -b@@ @ E2 @@ 6b@@ @ @D* ¡@@ £@ @< @@ @E q@@~@ z@ E b@@ Eb@@ J b@@ @-b@@A @@c@ @ D* b@@~@ |@ 1 @@ E f@@ @~@|@1 @@£@ A b@@ E b@@ @ @-b@@ <*y@@ F ¯ 5b@@ @ @ @ @g@ @ @D* @@ @ @ @ @G&* q@@ Db@@ ~@ @|@ @J b@@ @ @-b@@ E¡@@ @ @0H @@ @6b@@ @ @ @ D* @@ @ @ m@Q @ J @@ z@ @ @ @m@ @´* b@@ @ @ @ @ @ @ @ -*$°H v@@ @ 0¡@@ @ g@ @ @- i*4b@@ @ @ @ @ @ @ @ @ @ @ E(°* @@ @ £@ @ @A b@@ @ @ @ @ @ -*4*2(* 5b@@ @ @ @ ½(* ¯ @@ j@ @E ex@@ ~@ @}@ @J @@ @ @ D* b@@ @ @-b@@ Jb@@ = @@ @ @Jx@@ @ @: b@@ @ @ @ D 4¡@@ @ @ @ @ @ J @@ @ @ @ C b@@ @-b@@g@£@D b@@~@ {@ @ - x@@ @ @ D* q@@ @ ~@ 6 ¡@@ @ A @@ E b@@ @ @ @ -*4b@@ @ ¸ ¯ x@@ @ @ @ @ @ - ,x@@ @ @ @ @ @ E @@ @ £@ @ A b@@ @ @ E b@@ @-b@@ @~@|@+ ¡@@~@ {@ - v@@ Jv@@ / @@ @ ~@ z@ E @@ @C ¯ b@@ @ @-°b@@ /4 f@@ @ @ @ @0 ¯ 4*v@@ @ @ @ @D* v@@ ~@ z@ p@ F H&* b@@ @ @ -*4b@@ @ @ @ @ + @@ @ £@ @ @ @ D* Hb@@ @ @ @ @ : b@@ @ @ E Í@@ @ @ @ @ D(* b@@ @ @ @ -*4b@@ @/ Í@@ @ @+ b@@ @ @E f@@ @ @B4b@@ @ @A iv@@ @ @ @= ¢@@ @g@ @ 0 b@@ @ -b@@ @ p@ ~@ 9 b@@ @ @ @ @ J&°* f@@ @ @ @ /H ¢@@ @ @< @@ ~@ @6x@@ J b@@ @ @ @ @-*4H2H b@@ £@ @Fv@@ D* b@@ j@ @= @@ @E ¤@@ @ g@ ~@ {@ F b@@ @E

47 2018 / ‫ﻳﻮﻧﻴﻮ‬

b@@ @. *¡@@ D¡@@ B h@@ @ B f@@ @c@~@6 i*4b@@ @ @ @E(°* *¡@@ Db@@ B b@@Ey@@D* @@/¡@@+ @@ @BQ H @@-x@@J2 @@ /° ¤@@ @ D* b@@ @ @²*H y@@ @ @²* Í@@ + @@ @ / ¤@@ @ @D* v@@ Jb@@ @ @D* b@@ @ @EH h@@ @ @ BH @@ @ C ¯ f@@ £@ @Bb@@ c@ @D* ,Ì@@ @~@ @ z@ @ D* b@@~@z@ @D* ¡@@ @ 0 @@ @ D* Q¥v@@ @F @@}@ £@ +&°* @@/¡@@D* b@@ ~@ @ 7H f@@ @ @ @ BH @@ @ C ¯ @@ g@ c@ £@ G Ä@@ @ C ¢@@ @ @ < b@@ @ c@ D* *3 @@ ~@ @6HH eb@@ @ @±* *3 Í@@ D b@@ J *¡@@ @ @ @ D* @@ @ @: x@@ @ @ CH É@@ ~@ @z@ @D* ¯ Mf@ @ c@ @ ¹ b@@ ~@ @{@ @< Ã M v@@ @ @ @ @ @ B @@ @ @ @E Hb@@ @ @ @ @ @ @ @ g@ @ @ @ D* 2b@@ @ @ @ @B b@@£@ C ¥2b@@ @ @ @ @«°* $°¡@@ @ @ @ D @@ @ @1 @@ @E ¡@@ @ @GH b@@m@ @ D* 4b@@ @£@ @ g@ @ 1*H @@ @ @s@ @´* @@ @A Í@@ @+ b@@ @E b@@±¡@@~@ 8 v@@ @J ¯ @@ @ A*4 x@@ @ B ¤@@ @GH b@@ Gb@@ / b@@£@ @ D* e¡@@ @ B @@ @ s@ - f@@ @ -b@@A ¤@@ @GH rH4H b@@ @ < f@@ @ £@ @ : b@@ @ £@ A Ix@@ @ @/ ¤@@ @ @ @ D* ,x@@ @ @ @ ´* *H&É@ @ @ @ @D f@@ @ @+b@@ ~@ @6H v@@ £@ @ @ @+ b@@ Gx@@ @ @F Ã*2 b@@~@ |@ ´* 2É@@c@ Db@@ @ + b@@ /x@@ D* v@@~@z@p@F ¥4v@@ @ E b@@ @ @ E&*H @@ @ @ E&* Í@@ @+ Ä@@ @ @- i*4b@@ @ @ @ @ @ E(°* É@Q @ @ @1 *x@@ @ @ @ <5 b@@ @ @<b@@ BH 4¡@@ @s@ @ + b@@ Gb@@ @ ~@ 6 I¡@@ @~@ @ 6 b~7 h@@B¡@@D* b@@E @@C v@@ J*5 @@j@E v@@ 0&* @@£@A b@@E b@@C i*4b@@ @ @ @ @E(°* @@ @ G&* @@ j@ @EH @@ @ j@ E @@£@ A ¡@@ D

‫ﻣﺎﺳﺎت‬ baytelshear

‫ﻛﻞ اﻷﻳﺎم زاﻳﺪ‬ ‫ﻧﺎﻳﻠﻪ اﻷﺣﺒﺎﺑﻲ‬ @NaylaUae

b@@ @ @ <H M b@@ @ @ @ @ @< b@@ @ @ @ @ @ Eb@@ @ @J&* @@ @ @ @ @+ v@@ @ @ @ @ @ @ @ @ @ J*5H b@@ @ @ @ J°* xQ @ @ @ @ @ E ¢@@ @ @ @ @< @@ @ {@ @ @Jb@@ @ < b@@ @ @ @ @ @ @ @ 0*H4&b@ @ @ @ + b@@ @ @ @ @ @ D°* t@@ @£@ @ ~@ @ 7 b@@ @ c@ @ @F b@@ @ @ @ @<¡Q @ @ @ @ @ @J M ¡@@ @ @ @ @ @ : É@@ @ @ @ B°* 2*v@@ @ @ @ @ @ E* d@@ @ @ @ gP @ @ J @M @ @ @ @ @ @ + x@@ @ 1y@@ @ b@@ @ @ Q @ @ @ @0H 2b@@ @ @ @ @ @ @ B n@@ @ @ @ @ @ F @@ @ @ @ @ @ @ @ @ AH @@ @ @ D¡@@ @ @ B *2b@@ @ @ @ @E @@ @ @ @ @J5*¡@@ @ @ @ @´* ¡@@ @ @ @ @ @ C @@ @ @ + q@@ @ @ /x@ N @@@ b@@ ~@ @6HH x@@s@ A b@@ @ ~@ z@ D* 4v@@ ~@ @8 ¢@@ @ < @@ @ @~@ @6(* H b@@ @ g@ @ @J°* r*H4&b@ @ @ @ @ @ @ @ + r*x@@ @ @ @ @ @ @A°* x@@ @ Q @ @ @< @@ @ @ @EH b@@ @ @ @F°* eb@@ @ @ @c@ @ @ @ D&*H e¡@@ @ @ @ ~@ @ 7 e¡@@ @ @ @ @B ew@@ @ @ @© É@@ @ @ @ <°* x@@ @ @ @ @ -H *v@@ @ @ @ @ @ @ @+°* b@@ @ @ @ D @@ @g@ @ @ @ J É@@ @ @ 0* @@ @ @ @ ¹ H x@@ @ J¡@@ @ @ @ g@ @ D* v@@ @ @ @ @ J*4 b@@ @ @ J *Qv@ @ @ @ @ @ @ @ @ @ @ @ B *v@@ @ @Q @ @ @ @ @ @ @ @ @ @ @ @ BH H&°* H&°*

v@@ @ @ @J*5 b@@ @ @ @ @ @ @ @ J°* @@ @ @ @ @ @ @ @ C v@@ @ @ @ @ @ @J*5 b@@ @ @ @ @ < ¯ v@@ @ @ @ @ @J*y@@ @ @ @ @ @JR H e¡@@ @ @ @ @ @ @ @Db@@ @ + Ä@@ @ @ @ @J É@@ @ @ @ @ = v@@ @ J*x@@ @ @ @ @D* ib@@ @ £@ @ @Eb@@ @ ~@ @ @z@ @ @D* Áb@@ @ @ @ @ @ @´* ¤@@ @ @-b@@ @ @v@@ Jb@@ ~@ @|@ @ @ @D* ib@@ @ @ @ @ @ JH*4 Áb@@ @ @ @ @ @ ´* y@@ @ @ @ @/H v@@ @J*v@@ @~@ @ {@ @ D* h@@ @ @B¡@@ @ @+ °*H b@@ @ @ 1x@@ @ @ D* v@@ @ @ @ @< v@@ @ @Jb@@ @ @p@ @ @ O ´* É@@ @ @ @ @ @= ¯ v@@ @ @ @ @ @ @ J*5 *5b@@ @ @ @ @ @ @ @ @ @ EH v@@ @ @J*v@@ @ @/ Ã*v@@ @ @ @ @ @ @ @ @ @ @ @ D*H v@@ @ @ @ Q @ @ @ @ º v@@ @ @ @ @ @¸ v@@ @ @ J*v@@ @ @ +H 2É@@ @ @ @ @ + v@@ @ @ @ @ @ @0H @ Q @ @ @ @ E eb@@ @ @ @ @ = b@@ @ @ @ E v@@ @ Jb@@ @ BH b@@ @ Gb@@ @ @ @ ~@ @ 6 ¡Q @ @ @ @ ~@ @ @ @ 9 @@ @ @ @E r*4 b@@ @ @ @E v@@ @JÉ@@ @B b@@ @ @ GÉ@@ @ @ = @@ @ @ @E ¢@@ @ @ Gy@@ @ @ - 4*v@@ @ @ @ @ @ @ @ @ D*H v@@ @ @ @J*5 t@@ @ £@ @ @~@ @ @{@ @ @D*b@@ @ J @@ @ @ @6H2x@@ @ @ @ @ @ @ @ D* f@@ @ @ @ @ ± v@@ Jb@@ p@ @F b@@ @ @ E b@@ @ @ A¡@@ @ @ D* n@@ @ @ @ @F ¢@@ @ @ @ @< b@@ @ @ Q @ @ @ @0H

68 ‫ اﻟﻌﺪد‬/ ‫اﻟﺸﻌﺮ‬ ِ ‫ ﺑﻴﺖ‬46

‫ﺳﻴﺬﻫﺐ اﻟﺰوار مبﺠﺮد دﺧﻮﻟﻬﻢ إﱃ ﻣﺘﺤﻒ‬ ‫زاﻳﺪ اﻟﻮﻃﻨﻲ ﰲ رﺣﻠﺔ ّ‬ ‫ﻳﻄﻠﻌﻮن ﻣﻦ ﺧﻼﻟﻬﺎ‬ ‫ﻋﲆ ﺛﻘﺎﻓﺔ وﺗﺎرﻳﺦ دوﻟﺔ اﻹﻣﺎرات اﻟﻌﺮﺑﻴﺔ‬ ‫اﳌﺘﺤﺪة‪ ،‬وﻗﺼﺔ ﺣﻴﺎة اﻟﺸﻴﺦ زاﻳﺪ‪ ،‬ﻣﺆﺳﺲ‬ ‫اﻟﺪوﻟﺔ‪ ،‬وﻣﺼﺪر إﻟﻬﺎﻣﻬﺎ وﻓﺨﺮﻫﺎ‪.‬‬ ‫ﻳﻌﺪ ﻣﻌﺮض »ﺣﻴﺎة وﻋﻬﺪ اﻟﺸﻴﺦ زاﻳﺪ« ﻣﺮﻛﺰ‬ ‫اﳌﺘﺤﻒ‪ ،‬ﺣﻴﺚ ﺗُﺮﻛﺰ اﻟﻘﺎﻋﺔ اﻟﺮﺋﻴﺴﺔ ﻋﲆ‬ ‫ﺣﻴﺎة اﻟﺸﻴﺦ زاﻳﺪ وﻣﺴريﺗﻪ ﻧﺤﻮ اﺗﺤﺎد دوﻟﺔ‬ ‫اﻹﻣﺎرات‪ .‬ﻛام ّ‬ ‫ﺳﻴﻄﻠﻊ اﻟﺰوار ﻣﻦ ﺧﻼﻟﻬﺎ ﻋﲆ‬ ‫ﻣﺤﻄﺎت رﺋﻴﺴﺔ ﰲ ﺣﻴﺎة اﻟﺸﻴﺦ زاﻳﺪ اﻹﻧﺴﺎن‬ ‫واﻟﻘﺎﺋﺪ ﻣﻦ ﺧﻼل اﻟﺼﻮر‪ ،‬واﻟﻜﻨﻮز اﻟﻮﻃﻨﻴﺔ‪،‬‬ ‫واﻟﻮﺛﺎﺋﻖ اﳌﻬﻤﺔ‪ ،‬واﳌﻘﺘﻨﻴﺎت اﻟﺸﺨﺼﻴﺔ‪.‬‬ ‫ﻳﺴ ّﻠﻂ ﻣﻌﺮض »اﻟﺼﻴﺪ ﺑﺎﻟﺼﻘﻮر واﳌﺤﺎﻓﻈﺔ‬

‫ﻋﲆ اﳌﻮارد اﻟﻄﺒﻴﻌﻴﺔ« اﻟﻀﻮء ﻋﲆ ﻣﺪى‬ ‫اﻫﺘامم اﻟﺸﻴﺦ زاﻳﺪ ﺑﺎﻟﻄﺒﻴﻌﺔ‪ ،‬وﺣﺮﺻﻪ‬ ‫اﻟﻜﺒري ﻋﲆ اﳌﺤﺎﻓﻈﺔ ﻋﻠﻴﻬﺎ‪ ،‬ﻓﻀ ًﻼ ﻋﻦ ﺷﻐﻔﻪ‬ ‫ﺑﺎﻟﺼﻘﻮر اﻟﺬي ﻇﻬﺮ ﰲ اﻟﺼﺤﺮاء‪ ،‬وﺷﻬﺪ ﰲ‬ ‫ﻓﱰة ﻻﺣﻘﺔ ﺗﻄﻮرات ﻛﺒرية ﻟﻴﻤﻨﺢ ﻣﻌﻨﻰ‬ ‫ﻟﻠﺤﻴﺎة وﻳﻀﻴﻒ إﻟﻴﻬﺎ ﺑﻌﺪاً ﺟﺪﻳﺪاً‪.‬‬ ‫ﺗﺸﺠﻊ »ﻣﻜﺘﺒﺔ اﻟﺸﻴﺦ زاﻳﺪ« اﻟﺰوار ﻋﲆ‬ ‫ﺗﻌﺰﻳﺰ ﻣﻌﻠﻮﻣﺎﺗﻬﻢ وﻣﻌﺮﻓﺘﻬﻢ ﺑﺎﻟﺸﻴﺦ زاﻳﺪ‪،‬‬ ‫ودوﻟﺔ اﻹﻣﺎرات‪ .‬ﻛام ﺳﻴﺘﻤﻜﻦ اﻟﺰوار ﻣﻦ‬ ‫اﻻﻃﻼع ﻋﲆ اﳌﺮاﺟﻊ اﻟﺘﺎرﻳﺨﻴﺔ واﻟﺜﻘﺎﻓﻴﺔ‬ ‫ﻣﻦ ﺧﻼل وﺳﺎﺋﻞ اﻹﻋﻼم اﻟﺘﻔﺎﻋﻠﻴﺔ‪.‬‬ ‫وﻳﺴﺘﻜﺸﻒ ﻣﻌﺮض »اﻟﺒﻴﺌﺔ ﻋﻄﺎء اﻷرض«‬

‫ﻃﺮق اﺳﺘﺨﺪام اﳌﻮارد اﻟﻄﺒﻴﻌﻴﺔ ﰲ اﳌﻨﻄﻘﺔ‪،‬‬ ‫وأﺳﺎﻟﻴﺐ زراﻋﺘﻬﺎ واﻟﺘﺠﺎرة ﺑﻬﺎ ﰲ اﳌﺎﴈ‪.‬‬ ‫ﻛام وﻳﺴﻠﻂ اﻟﻀﻮء ﻋﲆ رؤﻳﺔ ﻣﺆﺳﺲ‬ ‫اﻟﺪوﻟﺔ اﻟﺮاﺋﺪة ﺣﻴﺎل اﺳﺘﺨﺪام ﻣﻮارد اﳌﻴﺎه‬ ‫واﻟﻨﻔﻂ‪ ،‬اﻟﺘﻲ أمثﺮت ﻋﻦ أﻃﺮ ﻋﻤﻞ راﺋﺪة‬ ‫ﺟﻌﻠﺖ اﻹﻣﺎرات ﻣﻦ اﻟﺪول اﻟﺮاﺋﺪة ﰲ‬ ‫اﻟﺘﻨﻤﻴﺔ اﳌﺴﺘﺪاﻣﺔ ﻋﲆ اﻟﺼﻌﻴﺪ اﻟﻌﺎﳌﻲ‪.‬‬ ‫وﺻﻤﻢ اﳌﻌامري ﻧﻮرﻣﺎن ﻓﻮﺳﱰ اﻟﺤﺎﺋﺰ ﻋﲆ‬ ‫ﺟﺎﺋﺰة »ﺑﺮﻳﺘﺰﻛﺮ« اﻷﺑﺮاج اﳌﻤﻴﺰة ﳌﺘﺤﻒ‬ ‫زاﻳﺪ اﻟﻮﻃﻨﻲ ﻋﲆ ﺷﻜﻞ رﻳﺶ ﺟﻨﺎح اﻟﺼﻘﺮ‬ ‫اﻟﺬي ﻳﻌﺪ ﻣﻦ أﺣﺪ أﻫﻢ رﻣﻮز اﳌﻮروث‬ ‫اﻟﺜﻘﺎﰲ ﰲ دوﻟﺔ اﻹﻣﺎرات وﻃﺮﻳﻘﺔ ﺣﻴﺎﺗﻬﺎ‪.‬‬ ‫وﻗﺪ اﻋﺘﻤﺪ ﻓﻮﺳﱰ ﰲ ﺗﺼﻤﻴﻤﻪ ﻋﲆ ﺗﻘﻨﻴﺎت‬ ‫ﻫﻨﺪﺳﻴﺔ ﻣﺘﻄﻮرة ﻣﻊ اﻟﱰﻛﻴﺰ ﺑﺸﻜﻞ ﺧﺎص‬ ‫ﻋﲆ اﻻﺳﺘﺪاﻣﺔ اﻟﺒﻴﺌﻴﺔ ﻛﱰﺷﻴﺪ اﺳﺘﻌامل‬ ‫اﻟﻄﺎﻗﺔ وﻋﺪم ﻫﺪرﻫﺎ‪ .‬ﻣﺜﺎل ﻋﲆ ذﻟﻚ‪ ،‬ﺷﻜﻞ‬ ‫اﻷﺑﺮاج اﻟﺘﻲ ﺗﺄﺧﺬ أﻃﺮاف ﺟﻨﺎح اﻟﺼﻘﺮ اﻟﺘﻲ‬ ‫ﺗﺘﻤﻴﺰ ﺑﺄﻟﻮاﺣﻬﺎ اﻟﺸﻤﺴﻴﺔ اﻟﺨﺎﺻﺔ ﺑﺎﻟﻄﺎﻗﺔ‬ ‫اﻟﺸﻤﺴﻴﺔ‪ .‬ﻛام ﻳﺤﻴﻂ ﺑﺎﳌﺘﺤﻒ أﻳﻀﺎً ﻣﻨﺎﻇﺮ‬ ‫ﺧﻼﺑﺔ ﰲ »اﻟﺤﺪﻳﻘﺔ اﻟﺰﻣﻨﻴﺔ« اﻟﺘﻲ ﺗﻀﻢ‬ ‫ﻣﺨﺘﻠﻒ أﻧﻮاع اﻟﻨﺒﺎﺗﺎت اﳌﺤﻠﻴﺔ واﳌﺘﻜﻴﻔﺔ‬ ‫واﻟﺘﻲ ﺳﺘﺘﻴﺢ ﻟﻠﺰوار ﻓﺮﺻﺔ اﻟﺘﻌﺮف ﻋﲆ‬ ‫اﻟﻠﺤﻈﺎت اﳌﻬﻤﺔ ﰲ ﺣﻴﺎة اﻟﺸﻴﺦ زاﻳﺪ‬ ‫واﻟﺘﺤﻮﻻت اﻟﺘﻲ ﻃﺮأت ﻋﲆ دوﻟﺔ اﻹﻣﺎرات‬ ‫اﻟﻌﺮﺑﻴﺔ اﳌﺘﺤﺪة ﻣﻦ ﺧﻼل وﺿﻊ ﻣﺠﻤﻮﻋﺔ‬ ‫ﻣﻦ اﳌﻨﺼﺎت ﰲ اﻟﺤﺪﻳﻘﺔ‪.‬‬ ‫ﻳﻮﻧﻴﻮ ‪45 2018 /‬‬

‫ﻋﻄﺮ اﻟﻤﻜﺎن‬ ‫‪baytelshear‬‬

‫ﺻﺮح زاﻳﺪ اﻟﻤﺆﺳﺲ‬ ‫ﻫﻮ أﺣﺪث اﻟﴫوح اﻟﺘﻲ ﺗﺤﻤﻞ اﺳﻢ اﻟﺮاﺣﻞ‬ ‫اﻟﻜﺒري‪ ،‬وﻗﺪ ُأﻧﺸﺊ ﴏح زاﻳﺪ اﳌﺆﺳﺲ‬ ‫ﻟﻴﻜﻮن ﺗﻜﺮميﺎً وﻃﻨﻴﺎً دامئﺎً ﻟﻠﺸﻴﺦ زاﻳﺪ ﺑﻦ‬ ‫ﺳﻠﻄﺎن آل ﻧﻬﻴﺎن‪ ،‬واﺣﺘﻔﺎء ﺑﺎﻹرث ا ُﳌﻠﻬﻢ‬ ‫واﻟﻘﻴﻢ اﻟﻨﺒﻴﻠﺔ ﻟﻸب اﻟﻘﺎﺋﺪ ﻣﺆﺳﺲ دوﻟﺔ‬ ‫اﻹﻣﺎرات اﻟﻌﺮﺑﻴﺔ اﳌﺘﺤﺪة‪.‬‬ ‫ﺣﻴﺚ ﻳﺘﻴﺢ ﻟﻠﺰوار ﻓﺮﺻﺔ اﻟﺘﻌﺮف ﺑﺸﻜﻞ‬ ‫أﻋﻤﻖ ﻋﲆ اﻟﻮاﻟﺪ اﳌﺆﺳﺲ‪ ،‬وذﻟﻚ ﻣﻦ‬ ‫ﺧﻼل ﻋﻤﻞ ﻓﻨﻲ ُﻣﺒﺘﻜﺮ‪ ،‬وﻣﺴﺎﺣﺎت ﺧﴬاء‬ ‫ﻓﺴﻴﺤﺔ‪ ،‬وﻣﺮﻛﺰ ﻟﺨﺪﻣﺎت اﻟﺰوار ﻳﻀﻢ ﺻﻮراً‬ ‫وﻗﺼﺼﺎً ﻋﻨﻪ ﻃ ّﻴﺐ اﻟﻠﻪ ﺛﺮاه‪ .‬وﻣﺠﻤﻮﻋﺔ ﻣﻦ‬ ‫اﻟﺘﺠﺎرب اﻟﺘﻔﺎﻋﻠﻴﺔ ﻟﻠﺘﻌﺮف أﻛرث ﻋﲆ أﺛﺮه‬ ‫اﻟﻄﻴﺐ ﻋﲆ ﻣﺴﺘﻮى اﻟﺪوﻟﺔ واﻟﻌﺎمل‪.‬‬ ‫ﻳﻀﻢ اﻟﴫح ﻣﺮﻛﺰ اﻟﺰوار‪ ،‬ﺣﻴﺚ ﺗﺘﺎح ﻟﻜﻢ‬ ‫ﻓﺮﺻﺔ اﺧﺘﺒﺎر ﺗﺠﺎرب ﺗﻌﺘﻤﺪ ﻋﲆ اﻟﻮﺳﺎﺋﻂ‬ ‫اﳌﺘﻌﺪدة ﺗُﻠﻘﻲ اﻟﻀﻮء ﻋﲆ ﺣﻴﺎة وإرث وﻗﻴﻢ‬ ‫اﳌﻐﻔﻮر ﻟﻪ ﻃ ّﻴﺐ اﻟﻠﻪ ﺛﺮاه‪ ،‬ﻣﻦ ﺧﻼل ﺻﻮر‬ ‫أرﺷﻴﻔﻴﺔ ﻧﺎدرة وﻗﺼﺺ ﺷﺨﺼﻴﺔ ﻳﻘﺼﻬﺎ‬ ‫أﺷﺨﺎص ﺟﻤﻌﺘﻬﻢ ﺑﻪ ﻣﻌﺮﻓﺔ ﺷﺨﺼﻴﺔ‬ ‫وﺗﺴﺠﻴﻼت ﺻﻮﺗﻴﺔ ﺑﺼﻮت اﻟﺸﻴﺦ زاﻳﺪ‪.‬‬ ‫ﻛام ﺳﻴﺘﻴﺢ ﻟﻠﺰوار أن ﻳﻌﻴﺸﻮا ﻣﺠﻤﻮﻋﺔ‬ ‫ﻣﻦ اﻟﺘﺠﺎرب اﻟﺤﺴﻴﺔ اﻟﻐﺎﻣﺮة ﻣﻊ اﻟﺰﻋﻴﻢ‬ ‫اﻟﺮاﺣﻞ‪ ،‬ﺳﻮاء ﻣﻦ ﺧﻼل ﻓﺮﺻﺔ اﻻﺳﺘامع إﱃ‬ ‫ﺗﺴﺠﻴﻼت ﻧﺎدرة ﻟﻠﺸﻴﺦ زاﻳﺪ رﺣِ ﻤﻪ اﻟﻠﻪ‪،‬‬ ‫أو ﺗﺄﻣﻞ ﻛﻠامﺗﻪ‪ ،‬أو اﺳﺘﻜﺸﺎف اﻟﻘﻀﺎﻳﺎ اﻟﺘﻲ‬ ‫اﻟﺸﻌﺮ ‪ /‬اﻟﻌﺪد ‪68‬‬ ‫‪ 44‬ﺑﻴﺖ ِ‬

‫أﻳﺪﻫﺎ وداﻓﻊ ﻋﻨﻬﺎ‪.‬‬ ‫وﻳﺘﻮﺳﻂ ﴏح زاﻳﺪ اﳌﺆﺳﺲ »اﻟرثﻳﺎ«‪ ،‬وﻫﻲ‬ ‫ﻋﻤﻞ ﻓﻨﻲ ُﻣﺒﺘﻜﺮ‪ .‬ﺣﻴﺚ ﻳﺘﻤﻴﺰ ﻫﺬا اﻟﻌﻤﻞ‬ ‫اﻟﺜﻼيث اﻷﺑﻌﺎد ﺑﻄﺎﺑﻊ دﻳﻨﺎﻣﻴيك ُﻳﻈﻬﺮ ﻣﻼﻣﺢ‬ ‫اﻟﺸﻴﺦ زاﻳﺪ ﻣﻦ ﻋﺪة زواﻳﺎ ﺣﻮل اﻟﴫح وﻣﻦ‬ ‫ﻧﻘﺎط اﳌﺸﺎﻫﺪة اﳌﺨﺼﺼﺔ أﻳﻀﺎً‪ .‬وﺧﻼل‬ ‫اﻟﻠﻴﻞ‪ ،‬ﺗﺘﻸﻷ اﻷﺷﻜﺎل اﻟﻬﻨﺪﺳﻴﺔ ﺑﺸﻜﻞ ﻳﺤﺎيك‬ ‫ﻧﺠﻮم اﻟﺴامء اﻟﺘﻲ ﻣﺎ ﺗﺰال ﺗﺸﻊ ﻧﻮراً ﻣﻦ‬ ‫ﻋﲆ ﺑﻌﺪ آﻻف اﻟﺴﻨني اﻟﻀﻮﺋﻴﺔ وﺗُﺮﺷﺪﻧﺎ إﱃ‬ ‫اﻟﻄﺮﻳﻖ اﻟﺼﺤﻴﺢ‪.‬‬ ‫وﻳﺒﻠﻎ ﻋﺪد اﻷﺷﻜﺎل اﻟﻬﻨﺪﺳﻴﺔ اﻟﺘﻲ ﺗﺸﻜﻞ‬ ‫ﻫﺬا اﻟﻌﻤﻞ اﻟﻔﻨﻲ ‪ 1.300‬ﺷﻜﻞ‪ ،‬ﻣﻌﻠﻘﺔ‬ ‫ﺟﻤﻴﻌﻬﺎ ﻋﲆ أﻛرث ﻣﻦ ‪ 1000‬ﺳﻠﻚ‪ ،‬وﻳﺒﻠﻎ‬ ‫ارﺗﻔﺎع اﻟﻌﻤﻞ اﻟﻔﻨﻲ ‪ 30‬ﻣﱰاً‪ ،‬وﻫﻮ واﺣﺪ‬ ‫ﻣﻦ اﻷﻋامل اﻟﻔﻨﻴﺔ اﻷﻛﱪ ﻣﻦ ﻧﻮﻋﻬﺎ‪ ،‬وﻳﺸﻜﻞ‬ ‫ﻣﻌﻠ ًام ﺑﺎرزاً ﰲ ﻗﻠﺐ اﻟﻌﺎﺻﻤﺔ أﺑﻮﻇﺒﻲ‪ ،‬وﻳﻌﺪ‬ ‫ﻋﻤ ًﻼ ﻓﻨﻴﺎً ذا ﻗﻴﻤﺔ وﺟﺪاﻧﻴﺔ ﻋﻤﻴﻘﺔ ﻳﻘﺪم‬ ‫ﺷﻌﻮراً ﺑﺎﻟﺘﻮاﺻﻞ واﻻرﺗﺒﺎط ﻣﻊ ﺷﺨﺼﻴﺔ‬ ‫ﻟﻄﺎﳌﺎ أﻟﻬﻤﺖ اﳌﻼﻳني ﺣﻮل اﻟﻌﺎمل‪.‬‬ ‫ﻣﺘﺤﻒ زاﻳﺪ اﻟﻮﻃﻨﻲ‬ ‫ﺷﻬﺪت اﻟﻌﺎﺻﻤﺔ اﻹﻣﺎراﺗﻴﺔ ﻣﻨﺬ ﻣﺪة ﻟﻴﺴﺖ‬ ‫ﺑﺎﻟﻄﻮﻳﻠﺔ اﻓﺘﺘﺎح ﻣﺘﺤﻒ اﻟﻠﻮﻓﺮ أﺑﻮﻇﺒﻲ‬ ‫ﻟﻴﻜﻮن أول ﻣﺘﺤﻒ ﻋﺎﳌﻲ ﰲ اﳌﻨﻄﻘﺔ‪ ،‬وﰲ‬ ‫اﳌﺴﺘﻘﺒﻞ اﻟﻘﺮﻳﺐ ﺳﻴﺘﻢ اﻓﺘﺘﺎح ﻣﺘﺤﻒ زاﻳﺪ‬ ‫اﻟﻮﻃﻨﻲ ﰲ ﺟﺰﻳﺮة اﻟﺴﻌﺪﻳﺎت‪ ،‬ﻟﻴﻜﻮن واﺣﺪاً‬

‫ﻣﻦ ﺳﻠﺴﻠﺔ اﳌﺘﺎﺣﻒ اﻟﻌﻤﻼﻗﺔ اﻟﺘﻲ ﺗﺸﻜﻞ‬ ‫اﳌﻨﻄﻘﺔ اﻟﺜﻘﺎﻓﻴﺔ ﰲ اﻟﻌﺎﺻﻤﺔ اﻹﻣﺎراﺗﻴﺔ‪،‬‬ ‫وﻳﺴﺘﻌﺮض اﳌﺘﺤﻒ اﻟﻮﻃﻨﻲ ﻟﺪوﻟﺔ اﻹﻣﺎرات‬ ‫اﻟﻌﺮﺑﻴﺔ اﳌﺘﺤﺪة ﺳرية اﻟﻮاﻟﺪ واﳌﺆﺳﺲ‬ ‫اﻟﺸﻴﺦ زاﻳﺪ ﺑﻦ ﺳﻠﻄﺎن آل ﻧﻬﻴﺎن رﺣﻤﻪ‬ ‫اﻟﻠﻪ‪ ،‬وﻣﺴرية اﺗﺤﺎد دوﻟﺔ اﻹﻣﺎرات اﻟﻌﺮﺑﻴﺔ‬ ‫اﳌﺘﺤﺪة ﺗﺤﺖ ﻟﻮاء واﺣﺪ‪ ،‬ﻛام ﻳﴪد ﺗﺎرﻳﺦ‬ ‫اﳌﻨﻄﻘﺔ‪ ،‬ورواﺑﻄﻬﺎ اﻟﺜﻘﺎﻓﻴﺔ ﻣﻊ اﻟﻌﺎمل‪.‬‬ ‫ﺣﻴﺚ ﻣﻦ اﳌﻘﺮر أن ﻳﻜﻮن اﻟﴫح اﳌﻌامري‬ ‫اﻷﻫﻢ ﰲ أﺑﻮﻇﺒﻲ‪ .‬وﺑﺎﻋﺘﺒﺎره اﳌﺘﺤﻒ‬ ‫اﻟﻮﻃﻨﻲ ﻟﺪوﻟﺔ اﻹﻣﺎرات اﻟﻌﺮﺑﻴﺔ اﳌﺘﺤﺪة‪،‬‬ ‫ﻳﺮوي اﳌﺘﺤﻒ ﺳرية اﳌﻐﻔﻮر ﻟﻪ اﻟﺸﻴﺦ‬ ‫زاﻳﺪ ﺑﻦ ﺳﻠﻄﺎن آل ﻧﻬﻴﺎن‪ ،‬ورﺣﻠﺔ ﺗﻮﺣﻴﺪه‬ ‫ﻟﻠﺪوﻟﺔ‪ ،‬وﺗﺎرﻳﺦ اﳌﻨﻄﻘﺔ‪ ،‬وﻋﻼﻗﺎﺗﻬﺎ اﻟﺜﻘﺎﻓﻴﺔ‬ ‫ﻣﻊ اﻟﻌﺎمل‪.‬‬ ‫ﺳﻴﻘﻒ ﻣﺘﺤﻒ زاﻳﺪ اﻟﻮﻃﻨﻲ ﺷﺎﻣﺨﺎً وﺳﻂ‬ ‫اﳌﻨﻄﻘﺔ اﻟﺜﻘﺎﻓﻴﺔ ﰲ اﻟﺴﻌﺪﻳﺎت‪ ،‬ﻣﺴﺘﻌﺮﺿﺎً‬ ‫ﻣﺮاﺣﻞ ﺗﻄﻮر اﻹﻣﺎرات واﻟﺘﻘﺪم اﻟﴪﻳﻊ‬ ‫اﻟﺬي ﺷﻬﺪﺗﻪ ﻋﲆ ﻣﺪى اﻟﺴﻨﻮات اﳌﺎﺿﻴﺔ‪،‬‬ ‫ﻣﻦ ﺧﻼل اﻟﻨﻤﻮ اﻟﻬﺎﺋﻞ اﻟﺬي ﺗﺤﻘﻖ ﻋﲆ‬ ‫ﻣﺨﺘﻠﻒ اﳌﻴﺎدﻳﻦ وﻣﻨﻬﺎ اﻟﺘﻨﻤﻴﺔ اﻻﻗﺘﺼﺎدﻳﺔ‬ ‫واﻻﺟﺘامﻋﻴﺔ واﻟﺘﻌﻠﻴﻤﻴﺔ واﻟﺼﺤﻴﺔ‪ ،‬ﻟﺘﻌﺰﻳﺰ‬ ‫اﳌﻌﺮﻓﺔ ﺑﺎﻹﻧﺠﺎزات اﻟﻌﻤﻼﻗﺔ ﻛﺎﻓﺔ اﻟﺘﻲ‬ ‫ﺗﺤﻘﻘﺖ‪ ،‬وذﻟﻚ ﻣﻦ ﺧﻼل ﺗﺮﺳﻴﺨﻬﺎ ﰲ‬ ‫أذﻫﺎن وﻗﻠﻮب اﻷﺟﻴﺎل اﳌﻘﺒﻠﺔ ﺳﻮاء ﰲ‬ ‫اﻹﻣﺎرات أو اﻟﻌﺎمل‪.‬‬

‫ﺟﺎﻣﻊ اﻟﺸﻴﺦ زاﻳﺪ اﻟﻜﺒﻴﺮ‬ ‫أﻳﻨام وﻟﻴﺖ وﺟﻬﻚ ﰲ ﻫﺬا اﻟﺒﻠﺪ اﳌﻌﻄﺎء‪،‬‬ ‫ﺗﺠﺪ ﴏوﺣﺎً ﺗﺤيك ﺷﻴﺌﺎ ﻣﻦ ﺳرية زاﻳﺪ‪،‬‬ ‫ﺗﺠﺴﺪ ﺣﺐ ﻫﺬا اﻟﺸﻌﺐ اﻟﻌﻈﻴﻢ ﻟﻘﺎﺋﺪ‬ ‫ﻋﻈﻴﻢ‪ ،‬وﻟﻌﻞ أﺑﺮز ﺗﻠﻚ اﻟﴫوح ﻫﻮ ﺟﺎﻣﻊ‬ ‫اﻟﺸﻴﺦ زاﻳﺪ اﻟﻜﺒري‪ ،‬اﻟﺬي ﻳﺴﺘﻘﺒﻞ اﻟﻘﺎدﻣني‬ ‫إﱃ ﻣﺪﻳﻨﺔ أﺑﻮﻇﺒﻲ وﻳﻮدع اﳌﻐﺎدرﻳﻦ ﻟﻬﺎ‪،‬‬ ‫ﺣﻴﺚ ﻳﻘﻊ ﻫﺬا اﳌﺴﺠﺪ ﻋﲆ ﻗﻤﺔ ﺗﻠﺔ ﺗﴩف‬ ‫ﻋﲆ أﺑﻮﻇﺒﻲ ﺑﺎﻟﻘﺮب ﻣﻦ ﺟﴪ اﳌﻘﻄﻊ‪،‬‬ ‫و ُﻳﻌﺘﱪ ﺟﺎﻣﻊ اﻟﺸﻴﺦ زاﻳﺪ اﻟﻜﺒري ﻣﻦ اﳌﻌﺎمل‬ ‫اﻟﺸﻬرية ﰲ أﺑﻮﻇﺒﻲ‪ ،‬وﻫﻮ ﺛﺎﻟﺚ أﻛﱪ ﻣﺴﺠﺪ‬ ‫ﰲ اﻟﻌﺎمل ﺑﻌﺪ اﳌﺴﺠﺪ اﻟﺤﺮام مبﻜﺔ اﳌﻜﺮﻣﺔ‬ ‫واﳌﺴﺠﺪ اﻟﻨﺒﻮي ﺑﺎﳌﺪﻳﻨﺔ اﳌﻨﻮرة ﰲ اﳌﻤﻠﻜﺔ‬ ‫وﺗﻢ ﺑﻨﺎؤه ﻛﻤﻌﻠﻢ‬ ‫اﻟﻌﺮﺑﻴﺔ اﻟﺴﻌﻮدﻳﺔ‪ّ ،‬‬ ‫ﻳﺤﺘﻔﻲ ﺑﺎﻟﺤﻀﺎرة اﻹﺳﻼﻣﻴﺔ وﻣﺮﻛﺰ ﺑﺎرز‬ ‫ﻟﻌﻠﻮم اﻟﺪﻳﻦ اﻹﺳﻼﻣﻲ‪.‬‬ ‫ُأﻃﻠﻖ ﻋﲆ اﳌﺴﺠﺪ اﺳﻢ ﻣﺆﺳﺲ دوﻟﺔ‬ ‫اﻹﻣﺎرات اﻟﻌﺮﺑﻴﺔ اﳌﺘﺤﺪة ورﺋﻴﺴﻬﺎ اﻷول‬ ‫اﳌﻐﻔﻮر ﻟﻪ‪ ،‬اﻟﺸﻴﺦ زاﻳﺪ ﺑﻦ ﺳﻠﻄﺎن آل‬ ‫ﻧﻬﻴﺎن‪ ،‬ﻃﻴﺐ اﻟﻠﻪ ﺛﺮاه‪ ،‬واﻟﺬي ﻛﺎن ﻗﺪ اﺧﺘﺎر‬ ‫ﻣﻮﻗﻊ اﳌﺴﺠﺪ ﰲ ﻣﻨﻄﻘﺔ ﺗﺮﺗﻔﻊ مبﻘﺪار ‪11‬‬ ‫ﻣﱰاً ﻋﻦ ﻣﺴﺘﻮى ﺳﻄﺢ اﻟﺒﺤﺮ‪ ،‬وﻋﲆ ارﺗﻔﺎع‬ ‫‪ 9.5‬ﻣﱰ ﻋﻦ ﻣﺴﺘﻮى اﻟﺸﺎرع ﺑﺤﻴﺚ ميﻜﻦ‬ ‫ﻣﺸﺎﻫﺪﺗﻪ ﺑﻮﺿﻮح ﻣﻦ ﺟﻤﻴﻊ اﻻﺗﺠﺎﻫﺎت‪.‬‬ ‫ﻛام ﻛﺎﻧﺖ ﻟﻪ ﺑﺼامﺗﻪ اﳌﻤﻴﺰة ﰲ ﺗﺼﻤﻴﻤﻪ‬ ‫وﺑﻨﺎﺋﻪ اﻟﻌﻤﺮاين‪.‬‬ ‫ﻳﺤﺘﻀﻦ اﳌﺴﺠﺪ ﻗﱪ اﳌﻐﻔﻮر ﻟﻪ اﻟﺸﻴﺦ‬ ‫زاﻳﺪ ﺑﻦ ﺳﻠﻄﺎن آل ﻧﻬﻴﺎن‪ ،‬ﻃﻴﺐ اﻟﻠﻪ ﺛﺮاه‪.‬‬ ‫وﻳﺘﻤﻴﺰ اﳌﺴﺠﺪ مبﺠﻤﻮﻋﺔ ﻣﻦ اﻟﺼﻔﺎت‬ ‫اﳌﻌامرﻳﺔ اﻟﺘﻲ ﺗﺠﻌﻠﻪ إﺣﺪى أروع اﻟﺘﺤﻒ‬ ‫اﳌﻌامرﻳﺔ ﻋﲆ ﻣﺴﺘﻮى اﻟﻌﺎمل‪ ،‬ﺣﻴﺚ ﺗﺒﻠﻎ‬ ‫اﳌﺴﺎﺣﺔ اﻹﺟامﻟﻴﺔ ﻟﻠﻤﺴﺠﺪ ‪ 22,412‬ﻣﱰاً‬ ‫ﻣﺮﺑﻌﺎً‪ ،‬وﺗﻢ اﺳﺘﺨﺪام ‪ 33,000‬ﻃﻦ ﻣﻦ‬ ‫اﻟﺤﺪﻳﺪ و‪ 250,000‬ﻣﱰ ﻣﻜﻌﺐ ﻣﻦ اﻹﺳﻤﻨﺖ‬ ‫ﰲ ﺑﻨﺎﺋﻪ‪ ،‬ﻛام ﻳﻘﻮم اﳌﺴﺠﺪ ﻋﲆ ‪6,500‬‬ ‫ﻋﻤﻮد أﺳﺎس‪ ،‬وﺗﺘﻀﻤﻦ ﺳﺎﺣﺔ اﳌﺴﺠﺪ ‪1048‬‬ ‫ﻋﻤﻮداً‪ ،‬وﺗﻮﺟﺪ ﰲ اﳌﺴﺠﺪ ‪ 82‬ﻗﺒﺔ‪ ،‬ﺗﻌ ّﺪ ﻗﺒﺔ‬ ‫اﳌﺴﺠﺪ اﻟﺮﺋﻴﺴﺔ أﻛﱪ ﻗﺒﺔ ﻣﺴﺠﺪ ﰲ اﻟﻌﺎمل‪،‬‬ ‫وﻳﺒﻠﻎ ارﺗﻔﺎﻋﻬﺎ ‪ 85‬ﻣﱰاً وﻗﻄﺮﻫﺎ ‪ 32,8‬ﻣﱰ‪،‬‬ ‫وﻳﺘﺴﻊ اﳌﺴﺠﺪ ﻟﻨﺤﻮ ‪ 40,000‬ﱟ‬ ‫ﻣﺼﻞ‪ ،‬وﻗﺎﻋﺔ‬ ‫اﻟﺼﻼة اﻟﺮﺋﻴﺴﺔ ﻟﻨﺤﻮ ‪ 7,000‬ﱟ‬ ‫ﻣﺼﻞ‪.‬‬ ‫ﻳﻮﻧﻴﻮ ‪43 2018 /‬‬

‫ﻋﻄﺮ اﻟﻤﻜﺎن‬ ‫‪baytelshear‬‬

‫ﺷﻴﺪت ﺗﺨﻠﻴﺪاً ﻟﺬﻛﺮاه‬ ‫ّ‬

‫ﺻﺮوح ﻋﻈﻴﻤﺔ ﻳﺰﻳّﻨﻬﺎ اﺳﻢ زاﻳﺪ‬

‫ﻣﺼﻄﻔﻰ ﺟﻨﺪي‬

‫داﺋﻤ ًﺎ ﻣﺎ ﻳﻜﺮم اﻟﻌﻈﻤﺎء ﻋﺒﺮ اﻟﺘﺎرﻳﺦ ﺑﺈﻃﻼق اﺳﻤﺎﺋﻬﻢ ﻋﻠﻰ اﻟﻤﻨﺸﺂت ﻛﺎﻟﻤﺪارس واﻟﻤﺴﺘﺸﻔﻴﺎت واﻟﺸﻮارع أو ﺑﻌﺾ اﻟﺼﺮوح‬ ‫اﻟﻤﻌﻤﺎرﻳﺔ اﻟﻤﻌﺮوﻓﺔ‪ ،‬ﻟﻜﻦ ﻓﻲ اﻹﻣﺎرات‪ ،‬ﻟﻮ ﺗﻌﻠﻖ اﻷﻣﺮ ﺑﺘﻜﺮﻳﻢ اﻟﻤﻐﻔﻮر ﻟﻪ اﻟﺸﻴﺦ زاﻳﺪ ﺑﻦ ﺳﻠﻄﺎن آل ﻧﻬﻴﺎن ﺑﻨﻔﺲ اﻟﻄﺮﻳﻘﺔ‪،‬‬ ‫ﻟﻤﺎ ﻛﻔﺎﻧﺎ ان ﻧﺴﻤﻲ ﻛﻞ ﻣﺎ ﻳﺤﻴﻂ ﺑﻨﺎ ﻣﻦ ﺷﻮارع وﻣﻌﺎﻟﻢ وﻣﺪارس وﻣﺆﺳﺴﺎت ﺑﺎﺳﻤﻪ‪ ،‬ﻛﻴﻒ ﻻ وﻧﺤﻦ ﻓﻲ دار زاﻳﺪ‪ ،‬ﻛﻴﻒ ﻻ‬ ‫وﻧﺤﻦ ﻧﺘﺤﺪث ﻋﻦ رﺟﻞ ﻟﻪ اﻟﻔﻀﻞ ﻓﻴﻤﺎ ﻧﻨﻌﻢ ﺑﻪ اﻟﻴﻮم ﻣﻦ ﺣﻀﺎرة ورﻗﻲ وآﻣﺎن وﻋﻴﺶ رﻏﻴﺪ‪X‬‬ ‫ﻓﻲ دوﻟﺔ اﻹﻣﺎرات اﻟﻌﺮﺑﻴﺔ ﻟﻢ ﻳﻜﻦ ﻛﺎﻓﻴ َﺎ أن ﻳﺨﻠﺪ ذﻛﺮ زاﻳﺪ ﻋﻦ ﻃﺮﻳﻖ اﻃﻼق اﺳﻤﻪ ﻋﻠﻰ ﺷﺎرع أو ﻣﺪرﺳﺔ أو ﺻﺮح ﺧﻴﺮي‪،‬‬ ‫ﻓﻤﺜﻞ ﻫﺬا اﻟﺮﺟﻞ ﻳﺠﺐ أن ﺗﺒﻨﻰ ﺻﺮوح ﺑﺎﺳﻤﻪ‪ ،‬ﺗﺸﻴﺪ ﻷﺟﻠﻪ‪ ،‬ﻟﺘﺤﻜﻲ ﺟﺰء ًا ﻣﻦ ﻣﺴﻴﺮﺗﻪ اﻟﺘﻲ ﻣﺎ زاﻟﺖ ﻣﺴﺘﻤﺮة ﺣﺘﻰ ﺑﻌﺪ رﺣﻴﻠﻪ‬ ‫إﻟﻰ ﺟﻮار اﻟﺮﻓﻴﻖ اﻷﻋﻠﻰ‪X‬‬ ‫اﻟﺸﻌﺮ ‪ /‬اﻟﻌﺪد ‪68‬‬ ‫‪ 42‬ﺑﻴﺖ ِ‬

‫ﻳﺎ دار زاﻳﺪ‬ ‫راﺷﺪ ﺷﺮار‬ @sharar688

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41 2018 / ‫ﻳﻮﻧﻴﻮ‬

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‫ﻗ‪SSSSSSSSSS‬ﺮاءات‬ ‫‪baytelshear‬‬

‫اﻟﻨﺼﻴﺤﺔ واﻟﻐﺰل واﳌﺤﺒﺔ واﻟﺴﻼم واﻹﻧﺴﺎﻧﻴﺔ‪ .‬وﻳﻔﺘﺘﺢ اﳌﺆﻟﻒ ﻫﺬا ومل ﻳﻐﻔﻞ زاﻳﺪ اﻻﻧﺴﺎن ﻋﻦ دﻧﻴﺎه وﺟامﻟﻬﺎ واﻧﻌﺎﻣﻬﺎ واﻟﺘﺄﻣﻞ ﻓﻴﻬﺎ‬ ‫ﻓﻴﻘﻮل ﰲ ﻣﻮﺿﻊ آﺧﺮ‪:‬‬ ‫اﻟﻔﺼﻞ ﺑﺒﻴﺘني ﺷﻬريﻳﻦ ﻟﻠﺸﻴﺦ زاﻳﺪ ‪:‬‬ ‫‪b@@ @ @ @ @ Gx@@ @ @ @ @ @ @ @ @ @ :H É@@ @ @ @ @ @ @ @ @ @ @ @ @ ¹ b@@ @ @ @ @ @ @ @ @ @ @ @ @ £@ @ @ @ @ @ @F2‬‬ ‫*‪ b@@ @ @ @ @ @ @ @ @ @ @ @ @ @ F&*H Ì@@ @ @ @ @ @ @1 b@@ @ @ @ Fb@@ @ @ @ @ @ @ @ @< Ñ‬‬ ‫‪ 4*¡@@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ F°* h@@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ G5 b@@ @ @ @ @ @ @ @ @ @ @ @ @ @£@ @ @ @ @A‬‬ ‫‪b@@ @ @ @ £@ @ @ @ < d@@ @ @ @ @ @ @ @ @ @ @/*H @@ @ @ @ @ @ D v@@ @ @ @ @ @ @ @ @ @ @ @ @²*H‬‬ ‫‪b@@ @ @ @Gx@@ @ @ @m@ @ @ @ ~@ @ @ @ 7H x@@ @ @ @ @ @ @ @ @ @ £@ @ @ @ @ ³* x@@ @ @ @ @ @ @ @ @ j@ @ @ @ @C‬‬ ‫‪ b@@ @ @ @ @ @ D*H b@@ @ @ @ @ @ Â* Áb@@ @ @ @ @ @ < ¤@@ @ @ @ @ @ D* b@@ @ @ @J‬‬ ‫‪4b@@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ .°* ix@@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ A¡@@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ -H‬‬ ‫‪b@@ @ @£@ @ @ @< ¯b@@ @ @ @ @ @ @ @ @ @ D* @@ @ @ @ @~@ @ @}@ @ @A @@ @ @ @ @ @ @EH‬‬ ‫وﻣام ﺟﺎء ﻣﻦ اﻟﻨﺼﺎﺋﺢ اﻟﺸﻌﺮﻳﺔ ﻟﻠﻤﻐﻔﻮر ﻟﻪ ﰲ ﻫﺬا اﻟﺒﺎب‪:‬‬ ‫وﻣام ﺟﺎء ﰲ اﻟﻔﺼﻞ اﻟﺜﺎﻟﺚ ﻣﻦ اﻟﻜﺘﺎب أﺑﻴﺎت ﻟﻠﻤﻐﻔﻮر ﻟﻪ اﻟﺸﻴﺦ *(<@ @ @ @ @ @ @ @ @@ ‪ @@ @ @ @ @ N @ @ @A* H @@ @ @ @ @ @ @ J5H d@@ @ £@ @ @ @ @ @+‬‬ ‫ ‪ @@ @ £@ @ @<*x@@ @ +* v@@ @ @ @ @ @ J v@@ @ @ @ @ @ @D* IÆ@@ @ @ @ @ @EH‬‬ ‫زاﻳﺪ ﰲ وﺻﻒ ﺑﻬﺎء اﻹﻣﺎرات‪:‬‬ ‫*(‪ @@ @ @~@ @z@ @J Ä@@ @ ~@ @ @ |@ @ @ D* IÆ@@ @ @ @ @ @ @EH Ä@@ @ @ @~@ @ @ @ 8‬‬ ‫*´ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @@‪b@@ @ @ @ @ @ @ @GÈ@@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ E b‬‬ ‫¯ *‪ @@ @ @ @ @ £@ @ @A*¡@@ @ - @@ @ @ @ @ @ F* ¡@@ @ @ @ @ @ J y@@ @ @ @ @ @ @ @ ±‬‬ ‫‪ 4b@@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @E°*H b@@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @E¡@@ @ @ @ @ @ J4H‬‬ ‫‪ @@ @ @ @ @ @ D* n@@ @ @ @ @ @ @ Db@@ @ @ @ @ @ @J* R *x@@ @ @ @ @ @ @ @ @ @ @ @ @ g@ @ @ @ @ @ @0(°*H‬‬ ‫‪b@@ @ @Gx@@ @ @ @ @ @ @ @ @ F ¤@@ @ @ @ @ @ @ @ @ @ @ @ D* v@@ @ @ @ @ @ @ @ @ @ @~@ @ @ @6 b@@ @ @ @ @ @ @J‬‬ ‫‪ @@ @ @ @ @ @ £@ @ @ 0*¡@@ @ @-P b@@ @ @ @ @ @ @ E *w@@ @ @ @ @ @ @ @ @ G Ì@@ @ @ @ @ @ @ @ @ @ @ @ DR *H‬‬ ‫‪ 4*x@@ @ @ @ @ @ @ @ @ @ @ @ @ @ ~@ @ @ @ @ @ @ 6°* b@@ @ @ @ @ @ @ @ @ @ @ @ + @@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ «H‬‬ ‫‪b@@ @ @ @ @G4¡@@ @ @ @ @~@ @ @ @ @ 8 ¥w@@ @ @ @ @ @ @ @ @ @ @ @ @ @ D v@@ @ @ @ @ @ @ @ @ @ @ @ @ @p@ @ @ @ @F‬‬ ‫‪ 4b@@ @ @ @ @ @ @£@ @ @ @ @ @ @ 1°* b@@ @ @ @ @ @ @ @ @ @ @ @ @ @D d@@ @ @ @ @ @ @ @ @ @ @ G HH‬ﻛام ﺿﻢ اﻟﻜﺘﺎب ﻋﺪداً ﻛﺒرياً ﻣﻦ ﺻﻮر اﻟﺸﻴﺦ زاﻳﺪ ﺧﻼل ﺟﻮﻻﺗﻪ‬ ‫‪b@@ @ @ @ @ G4v@@ @ @ @ @ B ¤@@ @ @ @ @ @ @ @ @ @ @ A b@@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @< H‬‬ ‫اﳌﻴﺪاﻧﻴﺔ‪ ،‬ورﺣﻼت اﻟﺼﻴﺪ‪ ،‬واﺟﺘامﻋﻪ ﺑﺎﻟﻨﺎس ﻣﻦ ﺣﻮﻟﻪ‪ ،‬وﻫﻲ ﺻﻮر‬ ‫‪4b@@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @c@ @ @ @ @ g@ @ @ @ @ <*H M b@@ @ @ @ @ @ @ @ @ @ @m@ @ @ @ @ @ @ @ @ @ @ +‬‬ ‫ﻣﻌﱪة ﺗﺠﺴﺪ ﺣﻴﺎة ﻗﺎﺋﺪ وإﻧﺴﺎن ﻋﻈﻴﻢ‪.‬‬ ‫ّ‬

‫اﻟﺸﻌﺮ ‪ /‬اﻟﻌﺪد ‪68‬‬ ‫‪ 40‬ﺑﻴﺖ ِ‬

‫ﻳﺘﺤﺪث اﻟﻤﺆﻟﻒ ﻓﻲ اﻟﻔﺼﻞ‬ ‫اﻷول ﻋﻦ ﺗﺎرﻳﺦ وﻣﻜﺎن ﻣﻮﻟﺪ‬ ‫اﻟﺸﻴﺦ زاﻳﺪ‪ ،‬إﻟﻰ ﺟﺎﻧﺐ ﺳﻴﺮﺗﻪ‬ ‫اﻟﺘﻌﻠﻴﻤﻴﺔ ﻣﻨﺬ ﺻﻐﺮه‪ ،‬ﺣﻴﺚ ﻛﺎن‬ ‫اﻟﻘﺮآن اﻟﻜﺮﻳﻢ أول زاده اﻟﻌﻠﻤﻲ‬ ‫أﻣﺎ اﻟﻔﺼﻞ اﻟﺜﺎﻧﻲ وﻫﻮ اﻟﻔﺼﻞ اﻷﻛﺒﺮ‬ ‫ﻓﻲ ﻫﺬا اﻟﻜﺘﺎب ﻓﺠﺎء ﺗﺤﺖ ﻋﻨﻮان‬ ‫»زاﻳﺪ اﻹﻧﺴﺎن« وﻓﻴﻪ ﻳﺒﺮز اﻟﻤﺆﻟﻒ‬ ‫اﻟﺠﺎﻧﺐ اﻹﻧﺴﺎﻧﻲ اﻟﻌﻈﻴﻢ ﻓﻲ‬ ‫ﺷﺨﺼﻴﺔ زاﻳﺪ‬ ‫اﺳﺘﻌﺮض اﻟﻤﺆﻟﻒ ﻋﺪداً ﻣﻦ أﺑﺮز‬ ‫اﻟﻘﺼﺎﺋﺪ واﻷﺑﻴﺎت اﻟﺘﻲ ﻛﺘﺒﻬﺎ اﻟﻤﻐﻔﻮر‬ ‫ﻟﻪ‪ ،‬ﻣﻀﻴﺌﺎً ﻋﻠﻰ ﻣﺎ ﺗﺨﻠﻠﺘﻪ ﻣﻦ ﺣِ ﻜﻤﺔ‬ ‫و رؤى ﺟﻤﺎﻟﻴﺔ ﻟﻠﻤﻜﺎن‬ ‫إﱃ إﻋﻼﻧﻪ اﺗﺤﺎد اﻹﻣﺎرات واﺧﺘﻴﺎره رﺋﻴﺴﺎً ﻟﺪوﻟﺔ اﻹﻣﺎرات اﻟﻌﺮﺑﻴﺔ‬ ‫ﺻﺪر ﻋﻦ دار ﻣﺪارك ﻟﻠﻨﴩ‪ ،‬ﻛﺘﺎب »إﻧﺴﺎﻧﻴﺔ زاﻳﺪ« ﳌﺆﻟﻔﺔ زﺑﻦ ﺑﻦ اﳌﺘﺤﺪة‪ .‬وﻗﺪ أرﻓﻖ اﳌﺆﻟﻒ ﰲ ﻫﺬا اﻟﻔﺼﻞ ﻋﺪداً ﻣﻦ أﺑﺮز اﳌﻘﻮﻻت‬ ‫ﻋﻤري‪ ،‬ﰲ ‪ 75‬ﺻﻔﺤﺔ ﻣﻦ اﻟﻘﻄﻊ اﳌﺘﻮﺳﻂ‪ ،‬واﺷﺘﻤﻞ اﻟﻜﺘﺎب ﻋﲆ ﻋﺮض ﻋﻦ اﻟﺸﻴﺦ زاﻳﺪ‪ ،‬ﻣﻨﻬﺎ ﻣﺎ ﻗﻠﻪ اﻟﺮﺣﺎﻟﺔ وﻳﻠﻔﺮد ﺛﻴﺴﺠﺮ‪ ،‬وأﻧﻄﻮين ﺷﱪد‪،‬‬ ‫ﺟﻤﻴﻞ ﻟﺤﻴﺎة وﺳرية اﳌﻐﻔﻮر ﻟﻪ اﻟﺸﻴﺦ زاﻳﺪ ﺑﻦ ﺳﻠﻄﺎن آل ﻧﻬﻴﺎن‪ ،‬وﺑﻮﺳﺘﻴﺪ اﻟﺬي ﻗﺎل ”ﻟﻘﺪ دﻫﺸﺖ دوﻣﺎً ﻣﻦ اﻟﺠﻤﻮع اﻟﺘﻲ ﺗﺤﺘﺸﺪ‬ ‫ﻃﻴﺐ اﻟﻠﻪ ﺛﺮاه‪.‬‬ ‫ﺣﻮﻟﻪ‪ ،‬وﺗﺤﻴﻄﻪ ﺑﺎﺣﱰام واﻫﺘامم ﻛﺒريﻳﻦ“‪.‬‬

‫ﻋﺒﺪا¬ أﺑﻮﺑﻜﺮ‬

‫ﰲ ﻣﻘﺪﻣﺔ اﻟﻜﺘﺎب ﻗﺎل اﳌﺆﻟﻒ‪» :‬ﻛﺎن ﻟﺪي ﺷﻐﻒ ﻛﺒري ﰲ ﺗﺘﺒﻊ‬ ‫ﻗﺼﺺ اﻟﺮﻣﻮز اﻟﺘﺎرﻳﺨﻴﺔ وأﻗﻮاﻟﻬﻢ وأﻓﻌﺎﻟﻬﻢ‪ ،‬وﻛﻨﺖ وﻻ أزال أﻋﺸﻖ‬ ‫اﻟﺴري ﻋﻨﻬﻢ ﻷﻃﻠﻊ ﻋﲆ ﻃﺮﻳﻘﺔ ﺗﻔﻜريﻫﻢ وأﺳﺎﻟﻴﺐ ﺣﻴﺎﺗﻬﻢ‪.‬‬ ‫ﻛﺘﺐ َ‬ ‫وﻗﺪ ﳌﺴﺖ ﰲ ﻧﻔﴘ ﺗﺘﺒﻌﺎً ﻟﺸﺨﺼﻴﺔ ﻓﺬة ﺟﻤﻌﺖ ﺑني ﺳامت ﻋﺪة‬ ‫ﻫﻲ اﻟﺒﺪاوة واﻟﺘﻮاﺿﻊ واﻟﱰﺣﺎل ﻣﻦ ﺟﻬﺔ‪ ،‬واﻟﺘﺤﴬ واﻟﺘﺨﻄﻴﻂ‬ ‫اﻻﺳﱰاﺗﻴﺠﻲ واﻟﺤﻜﻢ ﻣﻦ ﺟﻬﺔ أﺧﺮى‪«..‬‬ ‫وﺿﻢ اﻟﻜﺘﺎب ﺛﻼﺛﺔ ﻓﺼﻮل‪ ،‬اﻷول‪» :‬ﻣﻦ ﻫﻮ اﻟﺴﻠﻄﺎن‪ ..‬زاﻳﺪ ﺑﻦ‬ ‫ﺳﻠﻄﺎن«‪ ،‬وﻓﻴﻪ ﺗﻌﺮﻳﻒ ﻋﺎم ﺑﺎﻟﺸﻴﺦ زاﻳﺪ‪ ،‬ﺣﻴﺚ ﻳﺘﺤﺪث اﳌﺆﻟﻒ ﰲ‬ ‫ﻫﺬا اﻟﻔﺼﻞ ﻋﻦ ﺗﺎرﻳﺦ وﻣﻜﺎن ﻣﻮﻟﺪ اﻟﺸﻴﺦ زاﻳﺪ‪ ،‬إﱃ ﺟﺎﻧﺐ ﺳريﺗﻪ‬ ‫اﻟﺘﻌﻠﻴﻤﻴﺔ ﻣﻨﺬ ﺻﻐﺮه‪ ،‬ﺣﻴﺚ ﻛﺎن اﻟﻘﺮآن اﻟﻜﺮﻳﻢ أول زاده اﻟﻌﻠﻤﻲ‪،‬‬ ‫ﻟﻴﺒﺪأ ﻣﻌﻪ رﺣﻠﺘﻪ اﻟﺘﻌﻠﻴﻤﻴﺔ ﰲ ﺳﻦ اﻟﺨﺎﻣﺴﺔ ﻋﲆ ﻳﺪ اﳌﻄﺎوﻋﺔ‪ ،‬وﻫﻢ‬ ‫ﻋﻠامء اﻟﺪﻳﻦ اﻟﺬﻳﻦ ﻳﺪ ّرﺳﻮن اﻟﻘﺮآن اﻟﻜﺮﻳﻢ واﻟﺤﺪﻳﺚ اﻟﴩﻳﻒ‬ ‫وأﺻﻮل اﻟﺪﻳﻦ واﻟﻠﻐﺔ اﻟﻌﺮﺑﻴﺔ‪ .‬ﺛﻢ ﻳﺘﻨﺎول اﳌﺆﻟﻒ ﰲ ﻫﺬا اﻟﻔﺼﻞ‬ ‫أﺑﺮز اﳌﺤﻄﺎت ﰲ ﺣﻴﺎة اﻟﺸﻴﺦ زاﻳﺪ‪ ،‬ﻣﻨﺬ ﺗﻮﻟﻴﻪ ﺣﻜﻢ ﻣﺪﻳﻨﺔ اﻟﻌني ﻋﺎم‬ ‫‪ ،1946‬ﺛﻢ ﺗﻮﻟﻴﻪ ﻣﻘﺎﻟﻴﺪ اﻟﺤﻜﻢ ﰲ إﻣﺎرة أﺑﻮﻇﺒﻲ ﻋﺎم ‪ ،1966‬وﺻﻮﻻً‬

‫أﻣﺎ اﻟﻔﺼﻞ اﻟﺜﺎين وﻫﻮ اﻟﻔﺼﻞ اﻷﻛﱪ ﰲ ﻫﺬا اﻟﻜﺘﺎب ﻓﺠﺎء ﺗﺤﺖ‬ ‫ﻋﻨﻮان »زاﻳﺪ اﻹﻧﺴﺎن« وﻓﻴﻪ ﻳﱪز اﳌﺆﻟﻒ اﻟﺠﺎﻧﺐ اﻹﻧﺴﺎين اﻟﻌﻈﻴﻢ ﰲ‬ ‫ﺷﺨﺼﻴﺔ اﻟﺸﻴﺦ زاﻳﺪ رﺣﻤﻪ اﻟﻠﻪ‪ ،‬ﻓﺘﺤﺪث ﻣﻦ ﺧﻼل ﻗﺼﺺ وأﺣﺪاث‬ ‫ﺣﻘﻴﻘﻴﺔ ﻋﻦ دﻣﻌﺔ اﻟﺸﻴﺦ زاﻳﺪ‪ ،‬ورؤﻳﺘﻪ اﻟﺜﺎﻗﺒﺔ‪ ،‬وﺣﺮﺻﻪ ﰲ اﻟﺤﻔﺎظ‬ ‫ﻋﲆ اﻟﺒﻴﺌﺔ‪ ،‬مبﺨﺘﻠﻒ ﻣﻔﺮداﺗﻬﺎ‪ ،‬ورﻋﺎﻳﺘﻪ ﻟﻠﻬﺠﻦ واﻟﻄﻴﻮر وﻣﺸﺎرﻳﻊ‬ ‫اﻹﻋامر واﻟﺒﻨﺎء‪ ،‬إﱃ ﺟﺎﻧﺐ دﻋﻢ اﻷﻋامل اﻟﺨريﻳﺔ واﻹﻧﺴﺎﻧﻴﺔ‪ .‬وﺿﻢ‬ ‫ﻫﺬا اﻟﻔﺼﻞ ﻋﺪداً ﻣﻦ اﻟﻌﻨﺎوﻳﻦ ﻣﻨﻬﺎ ‪» :‬دﻣﻌﺔ زاﻳﺪ‪ ،‬ﻏﺪاء ﻟﻠﻌﻘﺒﺎن‪،‬‬ ‫إﻧﻘﺎذ ﻋﺎﺑﺮ ﺳﺒﻴﻞ‪ ،‬رﻣﺎل اﻟﺴﺪ‪ ،‬أﻃﺒﺎء اﳌﻘﺎﻧﻴﺺ‪ ،‬اﻟﺤﻞ اﻷﻋﺠﺐ‪3 ،‬‬ ‫آﻻف وﺟﺒﺔ ﻋﺸﺎء‪ ،‬ﻗﺼﺔ ﻋﺠﻴﺒﺔ‪ ،‬دﻋﻢ اﻟﱰاث‪ ،‬زاﻳﺪ واﻟﺰراﻋﺔ‪ ،‬ﻏﺰال‬ ‫اﳌﻬﺎ‪ ،‬اﻟﺤامﻳﺔ اﻟﻔﻄﺮﻳﺔ‪ ،‬اﻟﺘﻮاﺿﻊ ﻣﻦ ﻋﻠﻮ‪ ،‬أوﻟﻮﻳﺔ اﳌﺮور‪ ،‬اﻟﺘﺴﻮق‬ ‫اﻟﺸﺨﴢ“‪.‬‬ ‫وﺗﺤﺖ ﻋﻨﻮان »زاﻳﺪ ﺑﻴﻄﺎر اﻟﺸﻌﺮ« ﺟﺎء اﻟﻔﺼﻞ اﻟﺜﺎﻟﺚ واﻷﺧري ﰲ‬ ‫ﻫﺬا اﻟﻜﺘﺎب‪ ،‬ﻣﺴﺘﻌﺮﺿﺎً اﳌﺆﻟﻒ ﻣﻦ ﺧﻼﻟﻪ ﻋﺪداً ﻣﻦ أﺑﺮز اﻟﻘﺼﺎﺋﺪ‬ ‫واﻷﺑﻴﺎت اﻟﺘﻲ ﻛﺘﺒﻬﺎ اﻟﺸﻴﺦ زاﻳﺪ‪ ،‬ﻣﻀﻴﺌﺎً ﻋﲆ ﻣﺎ ﺗﺨﻠﻠﺘﻪ ﻣﻦ ﺣِ ﻜﻤﺔ و‬ ‫رؤى ﺟامﻟﻴﺔ ﻟﻠﻤﻜﺎن واﻹﻧﺴﺎن‪ ،‬وﻣﺎ اﺷﺘﻤﻞ ﻋﻠﻴﻪ ﺷﻌﺮه ﻣﻦ ﻣﻔﺮدات‬ ‫ﻳﻮﻧﻴﻮ ‪39 2018 /‬‬

‫ﻗ‪SSSSSSSSSS‬ﺮاءات‬ ‫‪baytelshear‬‬

‫ﺻﺪر ﻋﻦ دار "ﻣﺪارك"‬

‫إﻧﺴﺎﻧﻴﺔ زاﻳﺪ‬ ‫ﺣﻴﺎ ٌة ﻣﺤﺎﻃ ٌﺔ ﺑﺎﻟﺤﻜﻤﺔ واﻟﻌﺪل واﻟﺸﻌﺮ‬

‫اﻟﺸﻌﺮ ‪ /‬اﻟﻌﺪد ‪68‬‬ ‫‪ 38‬ﺑﻴﺖ ِ‬

‫واﳌﺴﺎﻛﻦ اﻟﺸﻌﺒﻴﺔ«‪.‬‬ ‫ﻛﺎن اﻟﺸﻴﺦ زاﻳﺪ ميﺘﻠﻚ رؤﻳﺔ ﻣﺴﺘﻘﺒﻠﻴﺔ‬ ‫ﻣﻤﻴﺰة‪ ،‬ﺣﻴﺚ ﻋﻤﺪ إﱃ ﺗﻮﻓري ﻛﻞ ﺳﺒﻞ‬ ‫اﻟﺤﻴﺎة اﻟﻜﺮميﺔ ﻷﺑﻨﺎء اﻹﻣﺎرات ﺑﻬﺪف اﻟﺒﻘﺎء‬ ‫ﰲ أراﺿﻴﻬﻢ‪ ،‬ﻳﻘﻮل اﻟﺨﺎﻟﺪي‪» :‬ﻟﻘﺪ أﻣﺮ‬ ‫اﻟﺸﻴﺦ زاﻳﺪ ﰲ ﺑﺪاﻳﺔ أﻳﺎم اﻻﺗﺤﺎد ﺑﺘﻮﺻﻴﻞ‬ ‫اﳌﻴﺎه اﻟﺤﻠﻮة اﻟﺘﻲ ﻛﺎﻧﺖ ﺗﻨﺘﺠﻬﺎ ﻣﺤﻄﺎت‬ ‫اﻟﺘﺤﻠﻴﺔ ﻋﲆ اﻟﺴﺎﺣﻞ إﱃ ﻣﻨﺎﻃﻖ ﺑﺪع زاﻳﺪ‬ ‫وﻟﻴﻮا‪ ،‬ﻓﺄﻣﺮ مبﺪ ﺧﻂ ﻣﻴﺎه ميﺘﺪ ﻷﻛرث ﻣﻦ‬ ‫ﻣﺌﺔ ﻛﻴﻠﻮﻣﱰ‪ ،‬وﻗﺎم ﺑﻌﺪﻫﺎ ﺑﺈﻧﺸﺎء اﳌﺴﺎﻛﻦ‬ ‫واﻟﺒﻨﻰ اﻟﺘﺤﺘﻴﺔ‪ ،‬ﻛام أﻣﺮ ﺑﺒﻨﺎء ﻣﺪﻳﻨﺔ ﻏﻴﺎيث‬ ‫وﻗﺪ أرﺳﻠﻨﻲ ﺣﻴﻨﻬﺎ ﻟﺘﺼﻮﻳﺮ اﻟﻌﻤﻠﻴﺎت‬ ‫اﻹﻧﺸﺎﺋﻴﺔ اﻷوﱃ«‪.‬‬ ‫ﺗﻮﺛﻴﻖ اﻟﺘﺮاث‬ ‫مل ﻳﻬﺘﻢ اﻟﺸﻴﺦ زاﻳﺪ رﺣﻤﻪ اﻟﻠﻪ ﺑﺒﻨﺎء اﳌﺴﺘﻘﺒﻞ‬ ‫ﻓﺤﺴﺐ‪ ،‬ﺑﻞ ﻛﺎن ﺣﺮﻳﺼﺎً ﻋﲆ اﻟﺤﻔﺎظ ﻋﲆ‬ ‫ﺗﺮاث اﻹﻣﺎرات‪ ،‬ﻳﻘﻮل اﻟﺨﺎﻟﺪي‪» :‬ﻛﺎن اﻟﺸﻴﺦ‬ ‫زاﻳﺪ ﻳﺪرك أﻫﻤﻴﺔ ﺗﻮﺛﻴﻖ اﻟﱰاث‪ ،‬ﻓﻄﻠﺐ‬ ‫ﻣﻨﻲ ذات ﻳﻮم ﺗﺼﻮﻳﺮ ﻗﺎﻓﻠﺔ اﻹﺑﻞ ﻣﻦ‬ ‫اﻟﻌني إﱃ ﻣﻨﻄﻘﺔ اﻟﺨﺰﻧﺔ‪ ،‬ﺣﻴﺚ ﺻﻌﺪ أﺑﻨﺎء‬ ‫اﻟﺸﻴﺦ زاﻳﺪ ﺣﻔﻈﻬﻢ اﻟﻠﻪ ﻋﲆ ﻇﻬﻮر اﻟﻬﺠﻦ‪،‬‬ ‫وﺗﻮﺟﻬﺖ اﻟﻘﺎﻓﻠﺔ إﱃ ﺻﺤﺮاء اﻟﻌني‪ ،‬وﻗﻤﻨﺎ‬ ‫ﺑﺘﺼﻮﻳﺮ اﻟﻘﺎﻓﻠﺔ ﻣﻦ ﺟﻤﻴﻊ اﻻﺗﺠﺎﻫﺎت‪،‬‬ ‫وﺧﻼل اﻟﺘﺼﻮﻳﺮ ﻧﺎداين اﻟﺸﻴﺦ زاﻳﺪ رﺣﻤﻪ‬ ‫اﻟﻠﻪ وﻃﻠﺐ ﻣﻨﻲ اﻟﺼﻌﻮد ﺑﺴﻴﺎرﺗﻪ‪ ،‬وراح‬ ‫ﻳﻮﺟﻬﻨﻲ ﰲ ﻛﻴﻔﻴﺔ ﺗﺼﻮﻳﺮ اﻟﻘﺎﻓﻠﺔ‪ ،‬متﺎﻣﺎً ﻛام‬ ‫ﻳﻔﻌﻞ اﳌﺨﺮج اﳌﺤﱰف‪ ،‬ﻓام ﻗﻤﺖ ﺑﺪراﺳﺘﻪ‬ ‫ﰲ اﻟﻜﻠﻴﺔ وﺟﺪت اﻟﺸﻴﺦ زاﻳﺪ ﻳﺘﻘﻨﻪ‪ ،‬ﻟﻘﺪ‬ ‫ﻛﺎﻧﺖ اﻟﻨﺘﻴﺠﺔ راﺋﻌﺔ«‪.‬‬ ‫رﺣﻠﺔ ﻣﻘﻨﺎص‬ ‫ﰲ ﺳﻨﺔ ‪ 1976‬ﻛﺎﻧﺖ أول رﺣﻠﺔ ﺻﻴﺪ ﻟﻠﺸﻴﺦ‬ ‫زاﻳﺪ ﺑﻌﺪ اﻟﺤﺮب اﻟﻬﻨﺪﻳﺔ اﻟﺒﺎﻛﺴﺘﺎﻧﻴﺔ‪ ،‬ﻳﻘﻮل‬ ‫اﻟﺨﺎﻟﺪي‪” :‬ﺳﺎﻓﺮت ﺣﻴﻨﻬﺎ ﻣﻊ اﻟﺸﻴﺦ زاﻳﺪ‬ ‫ﺣﻴﺚ ﻧﺰﻟﻨﺎ ﰲ ﻛﺮاﺗﴚ‪ ،‬ﺛﻢ اﺳﺘﻘﻠﻴﻨﺎ اﻟﻘﻄﺎر‬ ‫ﰲ رﺣﻠﺔ اﺳﺘﻤﺮت ﻟﺴﺖ ﻋﴩة ﺳﺎﻋﺔ‪ ،‬وﺻﻠﻨﺎ‬ ‫إﱃ رﺣﻴﻤﻲ رﺧﺎن‪ ،‬ﺣﻴﺚ ﻣﻘﺮ اﻟﺸﻴﺦ زاﻳﺪ‪،‬‬ ‫ﻛﺎﻧﺖ أﻳﺎم اﻟﺼﻴﺪ ﻃﻮﻳﻠﺔ متﺘﺪ ﻷﻛرث ﻣﻦ ﺷﻬﺮ‬ ‫وﻧﺼﻒ‪ ،‬ﻛﺎن اﻟﺸﻴﺦ زاﻳﺪ رﺣﻤﻪ اﻟﻠﻪ ﻳﻌﻠﻢ‬ ‫ﻣﻦ ﻳﺮاﻓﻘﻪ ﰲ اﻟﺮﺣﻠﺔ ﻫﺬه اﻟﺮﻳﺎﺿﺔ‪ ،‬ﻛﺎن‬ ‫ﻳﻨﻈﻢ رﺣﻠﺔ اﻟﺼﻴﺪ ﺑﺸﻜﻞ دﻗﻴﻖ‪ ،‬ﻛﺎن اﻟﺸﻴﺦ‬

‫زاﻳﺪ ﺣﺮﻳﺼﺎً أن ﺗﺘﻢ ﻋﻤﻠﻴﺔ اﻟﺼﻴﺪ ﺑﻨﻈﺎم‬ ‫وﻓﻦ‪ ،‬ﻛﺎن ﻳﻬﺘﻢ ﺑﺎﻟﻜﻴﻒ وﻟﻴﺲ ﺑﺎﻟﻜﻢ“‪.‬‬ ‫وﺧﺘﻢ اﻟﺨﺎﻟﺪي ﺣﻮارﻧﺎ ﻣﻌﻪ ﺑﺎﻟﻘﻮل‪» :‬إن‬ ‫أﺑﻮﻧﺎ اﻟﺸﻴﺦ زاﻳﺪ ﻃﻴﺐ اﻟﻠﻪ ﺛﺮاه ﺳﻴﺒﻘﻰ ﰲ‬ ‫ذاﻛﺮة اﻟﺘﺎرﻳﺦ ﺣﻴﺎً ﺑﻴﻨﻨﺎ ﺑﺈﻧﺠﺎزاﺗﻪ وﺻﻔﺎﺗﻪ‪،‬‬ ‫إميﺎﻧﺎً ﻣﻄﻠﻘﺎً ﻓﻴﻨﺎ أن اﻟﺸﻴﺦ زاﻳﺪ ﻗﺎﺋﺪ‬ ‫اﺳﺘﺜﻨﺎيئ ورﻣﺰ ﺷﺎﻣﺦ‪ ،‬وﻫﻮ ﺧﺎﻟﺪ ﰲ ذاﻛﺮﺗﻨﺎ‬ ‫وذاﻛﺮة اﻹﻣﺎرات واﻟﺘﺎرﻳﺦ‪ ،‬رﺣﻢ اﻟﻠﻪ اﻟﺸﻴﺦ‬ ‫زاﻳﺪ اﻟﺬي رﻓﻊ اﺳﻢ اﻹﻣﺎرات ﻋﺎﻟﻴﺎً‪ ،‬ﺑﻌﺪ ﻣﺎ‬ ‫ﺑﺬل ﻣﻦ اﻟﺠﻬﺪ واﻟﻮﻗﺖ واﳌﺎل اﻟﴚء اﻟﻜﺜري‬ ‫ﻟﻴﺆﺳﺲ ﻟﻨﻬﻀﺔ ﺣﻀﺎرﻳﺔ ﺷﺎﻣﻠﺔ ﺗﺘﻮاﺻﻞ‬ ‫اﻟﻴﻮم ﺑﻘﻴﺎدة ﺳﻴﺪي ﺻﺎﺣﺐ اﻟﺴﻤﻮ اﻟﺸﻴﺦ‬

‫ﺧﻠﻴﻔﺔ ﺑﻦ زاﻳﺪ آل ﻧﻬﻴﺎن رﺋﻴﺲ اﻟﺪوﻟﺔ‬ ‫ﺣﻔﻈﻪ اﻟﻠﻪ وإﺧﻮاﻧﻪ ﺣﻜﺎم اﻹﻣﺎرات‪ ،‬وأﻗﻮل‬ ‫إن اﻟﺘﺎرﻳﺦ ﺳﻴﻘﻒ ﻃﻮﻳ ًﻼ ﻋﻨﺪ زاﻳﺪ اﻹﻧﺴﺎن‬ ‫اﻟﺬي ﻣﻨﺢ ﺷﻌﺒﻪ اﻟﻜﺜري وﻛﺎن رﺣﻤﻪ اﻟﻠﻪ‬ ‫ﻣﺪرﺳﺔ ﺣﻘﻴﻘﻴﺔ ﺗﻌﻠﻤﻨﺎ ﻣﻨﻬﺎ اﻟﺼﱪ واﻟﺠﻠﺪ‬ ‫واﳌﺜﺎﺑﺮة واﻟﻌﺪل واﻟﺮﺣﻤﺔ‪ ،‬إن ﻧﻬﺞ زاﻳﺪ‬ ‫ﺳﻴﺒﻘﻰ ﻣﺪرﺳﺔ ﻧﻨﻬﻞ ﻣﻨﻬﺎ ﺟﻤﻴﻌﺎً ﻣﻌﺎين‬ ‫اﻟﺒﺬل واﻟﻌﻄﺎء وﻓﻦ اﻟﻘﻴﺎدة‪ ،‬وﺳﺘﺒﻘﻰ‬ ‫ﺑﺼامﺗﻪ اﻟﻌﻈﻴﻤﺔ ﺗﻌﺮف اﻷﺟﻴﺎل ﺑﺸﺨﺼﻴﺘﻪ‬ ‫اﻟﻔﺬة اﻟﺘﻲ ﻏﺮﺳﺖ ﰲ ﻧﻔﻮﺳﻨﺎ ﻗﻴ ًام وﻣﺂﺛﺮ‬ ‫ﻛﺒرية‪ ،‬وﺳﻴﺒﻘﻰ ﻣﻨﺎرة ﻣﻀﻴﺌﺔ ﻋﲆ ﻣﺮ‬ ‫اﻷزﻣﺎن«‪.‬‬ ‫ﻳﻮﻧﻴﻮ ‪37 2018 /‬‬

‫ﻣﻦ اﻟﺬاﻛﺮة‬ ‫‪baytelshear‬‬

‫ﺟﻌﻠﺘﻪ ﻗﺎدراً ﻋﲆ اﻻﻫﺘامم ﺑﺎﻷﻓﻼم‪ ،‬ﻳﻘﻮل‬ ‫اﻟﺨﺎﻟﺪي‪ :‬ﺑﻌﺪ إذاﻋﺔ اﻟﺨﱪ ﻛﻨﺖ أﻋﻤﺪ إﱃ‬ ‫ﺣﻔﻆ اﻷﻓﻼم اﻷﺻﻠﻴﺔ‪ ،‬رﻏﻢ ﺿﻌﻒ اﻹﻣﻜﺎﻧﻴﺎت‬ ‫ﰲ ذﻟﻚ اﻟﻮﻗﺖ‪ ،‬ﻛﻨﺖ ﺣﺮﻳﺼﺎً ﻋﲆ اﻟﺤﻔﺎظ‬ ‫ﻋﲆ اﻷﺻﻮل‪ ،‬ومبﺮور اﻷﻳﺎم وﺳﻨﺔ ﺗﻠﻮ ﺳﻨﺔ‪،‬‬ ‫ﻟﺪي ﻋﺪد ﻫﺎﺋﻞ ﻣﻦ اﻷﻓﻼم‪ ،‬ﺣﻴﺚ‬ ‫ﺗﺠﻤﻊ ﱠ‬ ‫ﻋﻤﻠﺖ ﺣﻴﻨﻬﺎ ﻋﲆ ﺗﺸﻜﻴﻞ ﻗﺴﻢ ﻟﻠﺴﻴﻨام ﰲ‬ ‫دوﻟﺔ اﻹﻣﺎرات اﻟﻌﺮﺑﻴﺔ اﳌﺘﺤﺪة‪ ،‬وﺑﻨﺎء ﻋﲆ‬ ‫ﻃﻠﺐ ﻣﻦ اﳌﻐﻔﻮر ﻟﻪ اﻟﺸﻴﺦ زاﻳﺪ رﺣﻤﻪ اﻟﻠﻪ‪،‬‬ ‫اﺳﺘﻘﺪﻣﺖ ﺧﻤﺴﺔ ﻣﻦ زﻣﻼيئ اﳌﺼﻮرﻳﻦ‬ ‫وأﻧﺸﺄت ﻗﺴ ًام ﻟﻠﺴﻴﻨام‪ ،‬وﻛﺎن ﻣﻘﺮﻧﺎ ﺣﻴﻨﻬﺎ‬ ‫ﰲ ﺑﻨﺎﻳﺎت اﻟﺸﻴﺦ ﴎور ﺑﻦ ﻣﺤﻤﺪ ﰲ ﺷﺎرع‬ ‫اﻟﺸﻴﺦ ﺣﻤﺪان‪ ،‬وﻛﺎن ﺣﻴﻨﻬﺎ ﻣﺒﻨﻰ اﻟﺘﻠﻔﺰﻳﻮن‬ ‫ﻋﺒﺎرة ﻋﻦ ﺷﻘﺔ ﰲ اﻟﻄﺎﺑﻖ اﻟﺨﺎﻣﺲ‪ ،‬ﺛﻢ‬ ‫ﺑﺪأﻧﺎ ﻧﺘﻮﺳﻊ ﰲ اﻟﺘﻠﻔﺰﻳﻮن إﱃ أن اﺳﺘﻮﻟﻴﻨﺎ‬ ‫ﻋﲆ اﻟﻄﺎﺑﻖ اﻟﺨﺎﻣﺲ ﺑﺎﻟﻜﺎﻣﻞ‪ ،‬وﺣﻴﻨﻬﺎ‬ ‫رﺣﺖ أﻃﻮر آﻻت اﻟﺘﺼﻮﻳﺮ‪ ،‬ﻓﺠﻠﺒﺖ ﻛﺎﻣريات‬ ‫أرﻓﻠﻴﻜﺲ اﻷﳌﺎﻧﻴﺔ‪ ،‬وﺑﺪأﻧﺎ ﺑﺘﺼﻮﻳﺮ ﺟﻮﻻت‬ ‫اﻟﺸﻴﺦ زاﻳﺪ رﺣﻤﻪ اﻟﻠﻪ ﺑﺎﻟﺼﻮت واﻟﺼﻮرة‪،‬‬ ‫وأﺑﺪى اﻟﺸﻴﺦ زاﻳﺪ ﺳﻌﺎدﺗﻪ ﺑﺎﻟﻨﺘﺎﺋﺞ«‪.‬‬ ‫ﺣﺮب ‪1973‬‬ ‫ﻋﺎم ‪ 1973‬ﻧﺸﺒﺖ اﻟﺤﺮب اﻟﻌﺮﺑﻴﺔ اﻹﴎاﺋﻴﻠﻴﺔ‬ ‫ﻋﲆ اﻟﺠﺒﻬﺘني اﳌﴫﻳﺔ واﻟﺴﻮرﻳﺔ‪ ،‬وﺗﻢ ﺗﻜﻠﻴﻒ‬ ‫ﻣﺤﻤﺪ اﻟﺨﺎﻟﺪي ﺣﻴﻨﻬﺎ ﺑﺘﻐﻄﻴﺔ اﻟﺤﺮب ﻋﲆ‬ ‫اﻟﺠﺒﻬﺔ اﻟﺴﻮرﻳﺔ‪ ،‬وﻋﻦ ﻫﺬه اﻟﺘﺠﺮﺑﺔ ﻳﻘﻮل‬ ‫اﻟﺸﻌﺮ ‪ /‬اﻟﻌﺪد ‪68‬‬ ‫‪ 36‬ﺑﻴﺖ ِ‬

‫ﻫﻲ ﻣﻦ ﺗﺼﻮﻳﺮي‪.‬‬ ‫ﻛﺎن اﻟﺸﻴﺦ زاﻳﺪ ﻋﺮﺑﻴﺎً أﺻﻴ ًﻼ‪ ،‬ﻻ ﻳﺘﻮاىن ﻋﻦ‬ ‫ﻣﺪ ﻳﺪ اﻟﻌﻮن ﻟﻠﻌﺮب ﰲ أي وﻗﺖ‪ ،‬ﺣﺘﻰ أﻧﻨﻲ‬ ‫ﻗﻤﺖ ﺑﺘﺼﻮﻳﺮ ﻣﻬامت اﻟﻘﻮات اﻹﻣﺎراﺗﻴﺔ ﰲ‬ ‫ﻣﻨﻄﻘﺔ اﻟﺒﻘﺎع ﰲ ﻟﺒﻨﺎن‪ ،‬وﻛﺎﻧﺖ ﺗﺪﻋﻰ ﺣﻴﻨﻬﺎ‬ ‫درع اﻟﺠﺰﻳﺮة اﻟﻌﺮﺑﻴﺔ‪ ،‬وﻫﻨﺎ ﻳﺴﺘﺤﴬين ﻗﻮل‬ ‫اﻟﺸﻴﺦ زاﻳﺪ‪ :‬ﻟﻴﺲ اﻟﺒﱰول اﻟﻌﺮيب ﺑﺄﻏﲆ ﻣﻦ‬ ‫اﻟﺪم اﻟﻌﺮيب«‪.‬‬

‫اﻟﺨﺎﻟﺪي‪” :‬أﻗﻤﺖ ﺣﻴﻨﻬﺎ ﰲ ﻧﻔﺲ اﳌﺒﻨﻰ‬ ‫اﻟﺬي ﻳﺠﺘﻤﻊ ﻓﻴﻪ ﻣﺠﻠﺲ اﻟﻮزراء اﻟﺴﻮري‪،‬‬ ‫ﻳﺮاﻓﻘﻨﻲ ﻧﻘﻴﺐ ﺳﻮري‪ ،‬ﻛﻨﺖ أﺣﻤﻞ ﺣﻴﻨﻬﺎ‬ ‫اﻟﻌﺪﺳﺎت اﻟﻜﺒرية ﺑﻬﺪف ﺗﺼﻮﻳﺮ اﻟﻌﻤﻠﻴﺎت‬ ‫اﻟﻌﺴﻜﺮﻳﺔ‪ ،‬وﺣني ﻛﻨﺖ أﺣﻤﻠﻬﺎ ﻋﲆ ﻛﺘﻔﻲ‬ ‫ﻛﺎﻧﺖ ﺗﺒﺪو وﻛﺄﻧﻬﺎ ﻣﻀﺎد ﻃريان‪ ،‬وﺑﻴﻨام‬ ‫ﻛﻨﺖ أﺻﻮر ﻗﺼﻒ اﻟﻄريان‪ ،‬رﺻﺪﺗﻨﻲ إﺣﺪى‬ ‫اﻟﻄﺎﺋﺮات وﻋﲆ ﻣﺎ ﻳﺒﺪو ﻇﻨﺖ أين اﺣﻤﻞ‬ ‫ﻣﻀﺎد ﻃريان‪ ،‬ﻓﺎﻧﻘﻀﺖ ﻋ ﱠ‬ ‫ﲇ‪ ،‬ﻓﻘﻔﺰت ﰲ‬ ‫ﺣﻔﺮة ﻗﺮﻳﺒﺎً وﺧﻼل ﺟﺰء ﻣﻦ اﻟﺜﺎﻧﻴﺔ اﺧﺘﻔﺖ ﺑﻨﺎء اﻟﻤﺴﺘﻘﺒﻞ‬ ‫اﻟﺸﺠﺮة اﻟﺘﻲ ﻛﻨﺖ أﻗﻒ ﺗﺤﺘﻬﺎ‪ ،‬واﻟﺤﻤﺪ ﻟﻠﻪ ﺑﻌﺪ اﻧﺘﻬﺎء اﻟﺤﺮب ﺑﺎﴍ اﻟﺨﺎﻟﺪي ﰲ ﺗﻐﻄﻴﺔ‬ ‫أين مل أﺻﺐ ﺣﻴﻨﻬﺎ“‪.‬‬ ‫ﻣﺸﺎرﻳﻊ اﻟﺒﻨﻰ اﻟﺘﺤﺘﻴﺔ اﻟﺘﻲ اﻧﻄﻠﻘﺖ ﻣﻨﺬ‬ ‫اﻟﻴﻮم اﻷول ﻟﻨﺸﻮء اﻟﺪوﻟﺔ‪ ،‬ﻳﻘﻮل اﻟﺨﺎﻟﺪي‪:‬‬ ‫ﻛﺎن اﻟﺨﺎﻟﺪي ﻳﺠﻬﺰ اﻷﻓﻼم ﺑﻌﺪ ﺗﺼﻮﻳﺮﻫﺎ »ﻛﺎن اﻟﺸﻴﺦ زاﻳﺪ ﻳﺘﺎﺑﻊ ﻛﻞ ﻣﴩوع إﱃ أن‬ ‫وﻳﺮﺳﻠﻬﺎ إﱃ اﻟﺴﻔﺎرة اﻹﻣﺎراﺗﻴﺔ ﰲ دﻣﺸﻖ ﻳﻨﺘﻬﻲ‪ ،‬مل ﻳﻜﻦ ﻳﻌﺮف اﻟﺘﻌﺐ‪ ،‬ﻛﺎن داﺋﻢ‬ ‫واﻟﺘﻲ ﻛﺎﻧﺖ ﺗﺮﺳﻠﻬﺎ ﺑﺪورﻫﺎ إﱃ اﻟﺴﻔﺎرة اﻟﺤﺮﻛﺔ واﻟﻨﺸﺎط‪ ،‬وﻗﺪ وﺿﻊ ﻧﺼﺐ ﻋﻴﻨﻴﻪ‬ ‫اﻹﻣﺎراﺗﻴﺔ ﰲ ﺑريوت‪ ،‬ﺣﻴﺚ ﻛﺎﻧﺖ ﺗﻨﻘﻞ ﺗﻜﻮﻳﻦ اﻟﺒﻨﻴﺔ اﻷﺳﺎﺳﻴﺔ ﻟﻠﺪوﻟﺔ ﻣﻦ وزارات‪،‬‬ ‫ﺑﻮاﺳﻄﺔ ﻃريان اﻟﴩق اﻷوﺳﻂ إﱃ أﺑﻮﻇﺒﻲ‪ ،‬ودواﺋﺮ ﻣﺴﺎﻧﺪة‪ ،‬وﺑﻨﺎء ﻣﺸﺎرﻳﻊ اﻟﺒﻨﻰ‬ ‫واﺳﺘﻤﺮ اﻟﺨﺎﻟﺪي ﰲ أداء ﻣﻬﻤﺘﻪ إﱃ أن اﻧﺘﻬﺖ اﻟﺘﺤﺘﻴﺔ اﻟﺘﻲ ﺗﺮﺑﻂ اﻹﻣﺎرات ﺑﺒﻌﻀﻬﺎ‪ ،‬ﻛام‬ ‫اﻟﺤﺮب‪ ،‬ﻟﻴﻌﻮد ﺑﻌﺪﻫﺎ إﱃ أﺑﻮﻇﺒﻲ‪ ،‬ﻳﻘﻮل وﺣﺪ اﻟﻘﻮات اﳌﺴﻠﺤﺔ‪ ،‬وﺣﺪث اﻟﺘﺴﻠﻴﺢ‪،‬‬ ‫اﻟﺨﺎﻟﺪي‪» :‬ﺑﻌﺪ ﻓﱰة زار وزﻳﺮ اﻟﺪﻓﺎع اﻟﺴﻮري ﻓﺒﺪأت ﺗﺘﻀﺢ ﻣﻌﺎمل اﻟﺪوﻟﺔ اﻟﺤﺪﻳﺜﺔ اﻟﻨﺎﺷﺌﺔ‪،‬‬ ‫اﻹﻣﺎرات‪ ،‬وﻃﻠﺐ ﻣﻦ وزارة اﻹﻋﻼم ﺣﻴﻨﻬﺎ أن ﻛﺎن اﻟﺸﻴﺦ زاﻳﺪ رﺣﻤﻪ اﻟﻠﻪ ﻳﺆﻣﻦ ﺑﺄن‬ ‫ﻳﻌﻄﻮه اﻷﻓﻼم اﻟﺘﻲ ﻗﻤﺖ ﺑﺘﺼﻮﻳﺮﻫﺎ ﻋﲆ ﺑﻨﺎء اﻟﺪول ﻳﻌﺘﻤﺪ ﻛﻠﻴﺎً ﻋﲆ ﺑﻨﺎء اﻻﻧﺴﺎن‪،‬‬ ‫اﻟﺠﺒﻬﺔ اﻟﺴﻮرﻳﺔ‪ ،‬ﺣﻴﺚ مل ﻳﻜﻦ ﻟﺪﻳﻬﻢ ﻣﺼﻮر ﻓﻠﺬﻟﻚ ﺑﺬل ﻛﻞ ﺟﻬﺪ ﻣﻤﻜﻦ ﰲ ﺳﺒﻴﻞ ﺗﻮﻓري‬ ‫ﺣﻴﻨﻬﺎ‪ ،‬وﻫﻨﺎ ﻓﻘﺪت ﻫﺬه اﳌﺎدة اﳌﻬﻤﺔ‪ ،‬وﻛﻞ وﺳﺎﺋﻞ اﻟﺘﻌﻠﻴﻢ واﻟﺼﺤﺔ واﻟﻌﻴﺶ اﻟﺮﻏﻴﺪ‬ ‫ﻣﺎ ﻳﻌﺮض اﻟﻴﻮم ﻋﻦ أﺣﺪاث اﻟﺠﺒﻬﺔ اﻟﺴﻮرﻳﺔ ﻷﺑﻨﺎء ﺷﻌﺐ اﻹﻣﺎرات‪ ،‬ﻓﺎﻧﺘﴩت اﳌﺪارس‬

‫ﻛﺎن اﻟﺸﻴﺦ زاﻳﺪ رﺣﻤﻪ ا ﻳﺆﻣﻦ‬ ‫ﺑﺄن ﺑﻨﺎء اﻟﺪول ﻳﻌﺘﻤﺪ ﻛﻠﻴﺎً ﻋﻠﻰ ﺑﻨﺎء‬ ‫اﻹﻧﺴﺎن‪ ،‬ﻓﻠﺬﻟﻚ ﺑﺬل ﻛﻞ ﺟﻬﺪ‬ ‫ﻣﻤﻜﻦ ﻓﻲ ﺳﺒﻴﻞ ﺗﻮﻓﻴﺮ وﺳﺎﺋﻞ‬ ‫اﻟﺘﻌﻠﻴﻢ واﻟﺼﺤﺔ واﻟﻌﻴﺶ اﻟﺮﻏﻴﺪ‬ ‫ﻷﺑﻨﺎء ﺷﻌﺐ اﻹﻣﺎرات‬ ‫ﻛﺎن اﻟﺸﻴﺦ زاﻳﺪ ﻳﺪرك أﻫﻤﻴﺔ‬ ‫ﺗﻮﺛﻴﻖ اﻟﺘﺮاث‪ ،‬ﻓﻄﻠﺐ ﻣﻨﻲ ذات ﻳﻮم‬ ‫ﺗﺼﻮﻳﺮ ﻗﺎﻓﻠﺔ اﻹﺑﻞ ﻣﻦ اﻟﻌﻴﻦ إﻟﻰ‬ ‫ﻣﻨﻄﻘﺔ اﻟﺨﺰﻧﺔ‬ ‫ﻧﻬﺞ زاﻳﺪ ﺳﻴﺒﻘﻰ ﻣﺪرﺳﺔ‬ ‫ﻧﻨﻬﻞ ﻣﻨﻬﺎ ﺟﻤﻴﻌﺎً ﻣﻌﺎﻧﻲ اﻟﺒﺬل‬ ‫واﻟﻌﻄﺎء وﻓﻦ اﻟﻘﻴﺎدة‪ ،‬وﺳﺘﺒﻘﻰ‬ ‫ﺑﺼﻤﺎﺗﻪ اﻟﻌﻈﻴﻤﺔ ﺗﻌﺮف اﻷﺟﻴﺎل‬ ‫ﺑﺸﺨﺼﻴﺘﻪ اﻟﻔﺬة‬ ‫ﺑﺪأت اﻟﻘﺼﺔ ﻋﺎم ‪ 1970‬ﻋﻨﺪﻣﺎ أرﺳﻞ ﻋﻤﺮ‬ ‫اﻟﺨﻄﻴﺐ ﻣﺪﻳﺮ اﻹذاﻋﺔ واﻟﺘﻠﻔﺰﻳﻮن ﰲ‬ ‫اﻹﻣﺎرات ﻛﺘﺎﺑﺎً إﱃ داﺋﺮة اﻷﻓﻼم ﰲ اﻷردن‪،‬‬ ‫ﻳﻄﻠﺐ ﻣﻨﻬﺎ اﻟﺴامح ﻟﻠﻤﺼﻮر اﻟﺘﻠﻔﺰﻳﻮين‬ ‫ﻣﺤﻤﺪ اﻟﺨﺎﻟﺪي ﺑﺎﻟﻘﺪوم إﱃ اﻹﻣﺎرات‬ ‫وﻣﺮاﻓﻘﺔ اﻟﺸﻴﺦ زاﻳﺪ ﺑﻦ ﺳﻠﻄﺎن آل ﻧﻬﻴﺎن‬ ‫ﻃﻴﺐ اﻟﻠﻪ ﺛﺮاه ﰲ رﺣﻠﺔ ﺻﻴﺪ إﱃ اﻟﻬﻨﺪ‪،‬‬ ‫وﻗﺪ ﻛﺎن ﻣﻦ اﳌﻘﺮر ﻟﻬﺬه اﻟﺮﺣﻠﺔ أن ﺗﺴﺘﻤﺮ‬ ‫ﺣﻮاﱄ اﻟﺜﻼﺛني ﻳﻮﻣﺎً ﻳﻌﻮد ﺑﻌﺪﻫﺎ اﻟﺨﺎﻟﺪي إﱃ‬ ‫اﻷردن وﺑﻨﺎء ﻋﲆ ذﻟﻚ ﺗﻢ ﺣﺠﺰ ﺗﺬﻛﺮة ذﻫﺎب‬ ‫وﻋﻮدة ﻟﻪ‪ ،‬ﻳﻘﻮل اﻟﺨﺎﻟﺪي‪” :‬وﺻﻠﺖ ﻣﻄﺎر‬ ‫أﺑﻮﻇﺒﻲ‪ ،‬وﻛﺎن ﺣﻴﻨﻬﺎ ﻳﻘﻊ ﺑﺎﻟﻘﺮب ﻣﻦ ﺟﴪ‬ ‫اﳌﻘﻄﻊ‪ ،‬واﺳﺘﻘﺒﻠﺘﻨﻲ ﺳﻴﺎرة ﻣﺮﺳﻠﺔ ﻣﻦ ﻗﺒﻞ‬ ‫داﺋﺮة اﻹﻋﻼم واﻟﺴﻴﺎﺣﺔ‪ ،‬وأﺧﺬﺗﻨﻲ إﱃ ﻣﻨﻄﻘﺔ‬ ‫ﺑﺎﻟﻘﺮب ﻣﻦ دوار اﳌﴩف‪ ،‬ﺣﻴﺚ ﻛﺎﻧﺖ ﺗﺸﻬﺪ‬ ‫اﳌﻨﻄﻘﺔ ﺣﻔ َﻼ ﺷﻌﺒﻴﺎً‪ ،‬دﺧﻠﻨﺎ اﻟﺤﻔﻞ‪ ،‬وﻣﺎ أن‬ ‫ﺗﺮﺟﻠﺖ ﻣﻦ اﻟﺴﻴﺎرة ﺣﺘﻰ ﺗﻮﺟﻪ إ ﱠﱄ ﺑﻌﺾ‬ ‫اﻟﺮﺟﺎل ورﺣﺒﻮا يب‪ ،‬وﺳﻠﻤﻮين آﻟﺔ ﺗﺼﻮﻳﺮ ﻣﻦ‬ ‫ﻧﻮع ﺑﻮﻟﻴﻜﺲ‪ ،‬وﻃﻠﺒﻮا ﻣﻨﻲ ﺗﺼﻮﻳﺮ اﻟﺤﻔﻞ‬ ‫ﺑﺤﻀﻮر اﻟﺸﻴﻮخ‪ ،‬وﻓﻌ ًﻼ رﺣﺖ أﺻﻮر اﻟﺤﻔﻞ‪،‬‬

‫ﻛﺎﻧﺖ اﻷرض ﻣﻔﺮوﺷﺔ ﺑﺎﻟﺴﺠﺎد وﻋﻠﻴﻬﺎ‬ ‫ﻛﻨﺒﺎت ﻳﺠﻠﺲ ﻋﻠﻴﻬﺎ اﳌﻐﻔﻮر ﻟﻪ اﻟﺸﻴﺦ زاﻳﺪ‬ ‫ﻃﻴﺐ اﻟﻠﻪ ﺛﺮاه وﻣﻦ ﺣﻮﻟﻪ ﻋﺪد ﻣﻦ ﻛﺒﺎر‬ ‫اﳌﺴﺆوﻟني‪ ،‬وﺧﻼل ﻗﻴﺎﻣﻲ ﺑﺎﻟﺘﺼﻮﻳﺮ‪ ،‬أﺷﺎر إ ﱠﱄ‬ ‫اﻟﺸﻴﺦ زاﻳﺪ رﺣﻤﻪ اﻟﻠﻪ وﻃﻠﺐ ﻣﻨﻲ اﻻﻗﱰاب‪،‬‬ ‫ﺻﺎﻓﺤﻨﻲ ﺑﺤﺮارة‪ ،‬ﺗﻌﺮف ﻋﲇ‪ ،‬وأﺧﱪين ﺑﺄين ﰲ‬ ‫ﺑﻠﺪي وﺑني أﻫﲇ“‪.‬‬ ‫ﺑﺪأت اﻷﻳﺎم متﺮ ومل ﺗﻨﻄﻠﻖ رﺣﻠﺔ اﻟﺼﻴﺪ‪،‬‬ ‫ﺣﻴﺚ إنّ ﺣﺮﺑﺎً ﻧﺸﺒﺖ ﺑني اﻟﻬﻨﺪ واﻟﺒﺎﻛﺴﺘﺎن‪،‬‬ ‫وﰲ ﻫﺬه اﻟﻔﱰة راح ﻣﺤﻤﺪ اﻟﺨﺎﻟﺪي ﻳﺮاﻓﻖ‬ ‫اﻟﺸﻴﺦ زاﻳﺪ ﰲ ﺟﻮﻻﺗﻪ اﳌﻜﻮﻛﻴﺔ ﰲ ﺳﻌﻴﻪ‬ ‫ﻹﻗﺎﻣﺔ اﻟﻮﺣﺪة ﺑني إﻣﺎرات اﻟﺨﻠﻴﺞ اﳌﺘﺼﺎﻟﺤﺔ‪،‬‬ ‫ﻳﻀﻴﻒ اﻟﺨﺎﻟﺪي‪ :‬ﻗﻤﺖ ﺑﺘﻐﻄﻴﺔ ﺗﻠﻚ اﻟﺠﻬﻮد‬

‫اﻟﺠﺒﺎرة اﻟﺘﻲ ﻛﺎن ﻳﺒﺬﻟﻬﺎ اﻟﺸﻴﺦ زاﻳﺪ ﰲ ﺳﺒﻴﻞ‬ ‫ﺗﻘﺮﻳﺐ وﺟﻬﺎت اﻟﻨﻈﺮ ﺑني اﻹﻣﺎرات ﻟﻠﻮﺻﻮل‬ ‫إﱃ اﺗﺤﺎد ﻗﻮي ﻳﺠﻤﻌﻬﺎ‪ ،‬ﻛﺎﻧﺖ اﳌﻔﺎوﺿﺎت‬ ‫ﺗﺠﺮي ﰲ ﺧﻀﻢ ﺿﻐﻮﻃﺎت دوﻟﻴﺔ وإﻗﻠﻴﻤﻴﺔ‬ ‫ﻛﺒرية‪ ،‬ﻟﻜﻦ اﻟﺸﻴﺦ زاﻳﺪ رﺣﻤﻪ اﻟﻠﻪ اﺳﺘﻄﺎع‬ ‫ﺑﺤﻜﻤﺘﻪ وﺻﱪه وإﴏاره واﺟﺘﻬﺎده ﻣﻦ‬ ‫اﻟﻮﺻﻮل إﱃ ﻗﻴﺎم اﺗﺤﺎد ﺳﺪاﳼ وﺑﻌﺪ ذﻟﻚ‬ ‫اﻧﻀﻤﺖ ﻟﻪ رأس اﻟﺨﻴﻤﺔ‪ ،‬ﻛﺎن ﻳﻮم اﻻﺗﺤﺎد‬ ‫ﻳﻮﻣﺎً ﻋﻈﻴ ًام‪ ،‬وﻗﻤﺖ ﺣﻴﻨﻬﺎ ﺑﺘﺼﻮﻳﺮ ﻣﺸﻬﺪ‬ ‫رﻓﻊ ﻋﻠﻢ دوﻟﺔ اﻹﻣﺎرات اﻟﻌﺮﺑﻴﺔ اﳌﺘﺤﺪة«‪.‬‬ ‫مل ﺗﻜﻦ أﺑﻮﻇﺒﻲ ﰲ ﺗﻠﻚ اﻟﻔﱰة اﻟﺘﺎرﻳﺨﻴﺔ‬ ‫ﺗﺤﻮي ﻋﲆ ﻣﻜﺘﺒﺔ أو أرﺷﻴﻒ ﻟﺤﻔﻆ اﻷﻓﻼم‬ ‫اﳌﺼﻮرة‪ ،‬ﻟﻜﻦ دراﺳﺔ اﻟﺨﺎﻟﺪي اﻷﻛﺎدميﻴﺔ‬ ‫ﻳﻮﻧﻴﻮ ‪35 2018 /‬‬

‫ﻣﻦ اﻟﺬاﻛﺮة‬ ‫‪baytelshear‬‬

‫ﻋﻤﻞ ﻣﺼﻮراً ﻣﺮاﻓﻘ ًﺎ ﻣﻨﺬ ﻋﺎم ‪1970‬‬

‫ﻣﺤﻤﺪ اﻟﺨﺎﻟﺪي‪ :‬زاﻳﺪ ﻣﺪرﺳﺔ ﺣﻘﻴﻘﻴﺔ ﺗﻌﻠﻤﻨﺎ ﻣﻨﻬﺎ اﻟﺼﺒﺮ‬ ‫واﻟﻤﺜﺎﺑﺮة واﻟﻌﺪل واﻟﺮﺣﻤﺔ‬ ‫ﻣﺼﻄﻔﻰ ﺟﻨﺪي‬

‫ﻟﻢ ﻳﻜﻦ ﻣﺤﻤﺪ اﻟﺨﺎﻟﺪي ﻳﻌﺮف أن رﺣﻠﺘﻪ اﻟﻤﻘﺮر ﻟﻬﺎ أن ﻻ ﺗﺘﺠﺎوز اﻟﺜﻼﺛﻴﻦ ﻳﻮﻣ ًﺎ ﺳﺘﻤﺘﺪ إﻟﻰ أﻛﺜﺮ ﻣﻦ أرﺑﻌﺔ وﺛﻼﺛﻴﻦ ﻋﺎﻣ ًﺎ‪ ،‬ﻟﻢ ﻳﻜﻦ‬ ‫ﻳﻌﻠﻢ ﺑﺄﻧﻪ ﺳﻴﻜﻮن ﺷﺎﻫﺪ ًا ﻋﻠﻰ أﻫﻢ اﻟﻠﺤﻈﺎت اﻟﺘﺎرﻳﺨﻴﺔ ﻓﻲ ﻋﺼﺮﻧﺎ اﻟﺤﺪﻳﺚ‪ ،‬وﺳﻴﻜﻮن ﺣﺎﺿﺮ ًا وﻣﻮﺛﻘ ًﺎ ﺑﺂﻟﺔ ﺗﺼﻮﻳﺮه ﻟﻤﺴﻴﺮة ﻧﻀﺎل‬ ‫ﻋﻈﻴﻤﺔ ﻗﺎدﻫﺎ رﺟﻞ ﻋﻈﻴﻢ‪ ،‬ﻟﻢ ﻳﻜﻦ ﻣﺤﻤﺪ اﻟﺨﺎﻟﺪي ﻳﺪرك أن رﺣﻠﺔ اﻟﺼﻴﺪ اﻟﺘﻲ ﺟﺎء ﻣﻦ أﺟﻠﻬﺎ ﺳﺘﻜﻮن رﺣﻠﺔ ﻃﻮﻳﻠﺔ ﻓﻲ ﻛﺘﺎﺑﺔ ﺗﺎرﻳﺦ‬ ‫ﺟﺪﻳﺪ ﻟﺪوﻟﺔ ﺑﺎت ﻟﻬﺎ ﺛﻘﻠﻬﺎ اﻟﻜﺒﻴﺮ ﺑﻴﻦ اﻟﺪول‪X‬‬

‫اﻟﺸﻌﺮ ‪ /‬اﻟﻌﺪد ‪68‬‬ ‫‪ 34‬ﺑﻴﺖ ِ‬

‫ﻧﻘﻄﺘﺎن‬ ‫ﻋﺒﻘﺮﻳﺔ زاﻳﺪ ورؤﻳﺘﻪ اﻹﻧﺴﺎﻧﻴﺔ واﻟﻔﻜﺮﻳﺔ‬ ‫مل ﻳﻌﺮف زاﻳﺪ ﻛﺄﺣﺪ ﻋﺒﺎﻗﺮة اﻟﻌﻄﺎء ﰲ اﻟﻌﺎمل وﺣﺴﺐ ﺑﻞ ﻛﺼﺎﺣﺐ رؤﻳﺔ إﻧﺴﺎﻧﻴﺔ‬ ‫ﺗﺮﺟﻤﻬﺎ اﳌﺠﺘﻤﻊ اﻹﻣﺎرايت اﻟﺤﺪﻳﺚ إﱃ ﻧﻬﺞ ﻳﺸﻤﻞ ﻛﻞ ﻣﻈﺎﻫﺮ اﻟﺤﻴﺎة‪.‬‬ ‫اﳌﻐﻔﻮر ﻟﻪ‪ ،‬اﻹﻧﺴﺎن واﻟﺸﺎﻋﺮ زاﻳﺪ ﺑﻦ ﺳﻠﻄﺎن ﻃﻴﺐ اﻟﻠﻪ ﺛﺮاه‪ ،‬ﻛﺎن ﻗﺎﺋﺪ ﻣﴩوع‬ ‫وﻃﻨﻲ أﺳﺎﺳﻪ اﻟﻌﻠﻢ واﳌﻌﺮﻓﺔ‪ ،‬ﻳﻨﻄﻠﻖ ﻣﻦ ﺑﻴﺌﺘﻪ اﻟﻔﺮﻳﺪة ﻧﺤﻮ اﻟﻌﺎﳌﻴﺔ‪ ،‬وﻫﻮ اﻷﻣﺮ‬ ‫اﻟﺬي ﺣﻮل اﻹﻣﺎرات إﱃ واﺣﺔ ﻟﻠﺘﻨﻮع اﻟﻔﻜﺮي واﻟﺜﻘﺎﰲ‪.‬‬ ‫»اﻷﻣﻢ ﻻ ﺗﻘﺎس ﺑرثواﺗﻬﺎ اﳌﺎدﻳﺔ وﺣﺪﻫﺎ وإمنﺎ ﺗﻘﺎس ﺑﺄﺻﺎﻟﺘﻬﺎ اﻟﺤﻀﺎرﻳﺔ‪ ،‬واﻟﻜﺘﺎب‬ ‫ﻫﻮ أﺳﺎس ﻫﺬه اﻷﺻﺎﻟﺔ« ﻫﺬا ﻣﺎ أﻛﺪ رﺣﻤﺔ اﻟﻠﻪ ﻋﻠﻴﻪ ﺑﻌﺪ اﻧﺘﻬﺎء ﺟﻮﻟﺘﻪ ﰲ ﻣﻌﺮض‬ ‫ﺻﻔﻴﺔ اﻟﺸﺤﻲ‬ ‫اﻟﻜﺘﺎب اﻹﺳﻼﻣﻲ ﻋﺎم ‪ ،1981‬واﻟﺬي ﺗﺤﻮل إﱃ ﻣﻌﺮض أﺑﻮﻇﺒﻲ اﻟﺪوﱄ ﻟﻠﻜﺘﺎب ﻋﺎم‬ ‫‪ ، 1986‬ﻳﻮﻣﻬﺎ ﻛﺎﻧﺖ اﻟﻌﺎﺻﻤﺔ ﺗﻔﺘﺘﺢ ﻋﻬﺪا ﺟﺪﻳﺪا متﺪ ﻣﻦ ﺧﻼﻟﻪ اﻟﺠﺴﻮر ﻣﻊ اﻟﻜﺘﺎب‬ ‫واﻟﻜﺘﺎﺑﺔ‪ ،‬وﺗﺸﻜﻞ ﻧﻮاة ﳌﻜﺘﺒﺎت اﳌﺆﺳﺴﺎت واﳌﻜﺘﺒﺔ اﻟﻮﻃﻨﻴﺔ‪ ،‬اﻟﺘﻲ ﺗﺆدي اﻟﻴﻮم دوراً‬ ‫ﻋﻈﻴ ًام ﻣﻦ ﺧﻼل ﺟﻤﻊ وﺣﻔﻆ وﻋﺮض اﳌﺨﻄﻮﻃﺎت اﻟﻌﺮﺑﻴﺔ واﻹﺳﻼﻣﻴﺔ اﻟﻘﺪميﺔ اﻟﺘﻲ ﺗﻐﻄﻲ ﻣﺠﺎﻻت اﻷدب واﻟﺪﻳﻦ واﻟﻌﻠﻮم واﻟﻔﻨﻮن‪.‬‬ ‫أﻣﺎ اﻟﱰاث ﻓﻘﺪ ﻛﺎﻧﺖ ﻟﻪ ﻣﻜﺎﻧﺘﻪ اﻟﺨﺎﺻﺔ ﰲ ﻗﻠﺐ اﻟﻘﺎﺋﺪ اﻟﻜﺒري اﻟﺬي دامئﺎ ﻣﺎ اﻋﺘﱪه ﻣﻜﻮﻧﺎً رﺋﻴﺴﺎً ﻣﻦ ﻣﻜﻮﻧﺎت اﻟﻬﻮﻳﺔ اﻟﻮﻃﻨﻴﺔ‪،‬‬ ‫ﻓﺎﻟﻌﺎدات واﻟﺘﻘﺎﻟﻴﺪ وﻣﺎ اﻧﺒﺜﻖ ﻋﻨﻬﺎ ﻣﻦ ﻗﻴﻢ ﻫﻲ وﺻﻴﺘﻪ ﻟﻠﺠﻤﻴﻊ ﻣﺆﺳﺴﺎت وأﻓﺮاد‪ ،‬ﺣﺘﻰ ﺗﺘﺎﺑﻊ رﺣﻠﺔ اﻻﺗﺤﺎد ﻣﺴريﻫﺎ ﻣﻄﻤﺌﻨﺔ إﱃ‬ ‫ﻣﺘﺎﻧﺔ ﻫﺬا اﻟﺒﻨﺎء وﻗﺪرﺗﻪ ﻋﲆ ﻣﻮاﺟﻬﺔ اﻟﺘﺤﺪﻳﺎت واﻟﺘﻜﻴﻒ ﻣﻊ اﳌﺘﻐريات‪.‬‬ ‫وﻫﻨﺎ ﻳﻘﻒ اﻟﺸﻌﺮ رﻓﻴﻖ درب اﻟﻔﺎرس ﻣﻮﻗﻒ اﻟﺼﺪﻳﻖ واﳌﺴﺎﻧﺪ واﻟﻜﺎﺷﻒ ﳌﺮاﺣﻞ ﻣﻬﻤﺔ ﰲ اﻟﺒﻨﺎء اﻟﺴﻴﺎﳼ واﻻﺟﺘامﻋﻲ واﻻﻗﺘﺼﺎدي‬ ‫واﻟﺜﻘﺎﰲ‪ ،‬ﻓﻬﻮ ﻳﺆدي أﻏﺮاﺿﺎ ﺷﻌﺮﻳﺔ ﻣﺘﻨﻮﻋﺔ ﺣﺴﺐ اﳌﻮاﻗﻒ وﻣﺎ ﺗﺘﻄﻠﺒﻪ اﻟﺤﻜﻤﺔ ﰲ ﻇﺮوف اﻟﺘﻐﻴري‪ ،‬وﻓﻴﻪ ﻛﺎن اﻟﺸﻴﺦ زاﻳﺪ ﻃﻴﺐ اﻟﻠﻪ‬ ‫ﺛﺮاه ﻣﺘﻐﻨﻴﺎ ﺑﻌﺮوﺑﺘﻪ ‪ ،‬أﺻﻴﻼ ﻛام ﻳﻠﻴﻖ ﺑﻘﺎﺋﺪ ‪ ،‬وﻣﺴﺎﺟﻼ ﺣني ﻳﺘﻄﻠﺐ اﻷﻣﺮ ﰲ ﺻﻮﻻت وﺟﻮﻻت ﻣﻦ اﻟﻠﻔﻆ اﻟﻐﺰﻳﺮ واﳌﻌﻨﻰ اﳌﺤﻜﻢ‬ ‫ﺗﺪور ﺑﻴﻨﻪ وﺑني ﺷﻌﺮاء اﻹﻣﺎرات واﻟﺨﻠﻴﺞ‪.‬‬ ‫ﰲ ﻋﻬﺪ زاﻳﺪ اﻟﺨريﻋﺮﻓﺖ أرض اﻹﻣﺎرات ﺑﺪاﻳﺔ ﺗﺪﻓﻖ ﺛﻘﺎﰲ ﻗﺎﺑﻠﻪ اﺳﺘﻘﺒﺎل ﻷﻫﻢ ﻣﺎ ﺟﺎدت ﺑﻪ ﻗﺮاﺋﺢ اﳌﺜﻘﻔني وﻋﻘﻮﻟﻬﻢ ﻣﻦ اﻟﻌﺎﳌني‬ ‫اﻟﻌﺮيب وﻏري اﻟﻌﺮيب‪ ،‬أﻣﺎ ﺗﻠﻚ اﻟﻌﻼﻗﺔ اﻟﺘﻜﺎﻣﻠﻴﺔ ﻓﻘﺪ ﺑﺪأت ﻋﻨﺪﻣﺎ ﻗﺮر ﻃﻴﺐ اﻟﻠﻪ ﺛﺮاه ﴍاء ﻛﻞ ﻣﺎ ﻗﺪﻣﺘﻪ اﻟﺪور اﳌﺸﺎرﻛﺔ ﻣﻦ ﻣﴫ‬ ‫وﻟﺒﻨﺎن ﰲ أول ﻣﻌﺮض ﻟﻠﻜﺘﺎب اﺳﺘﻘﺒﻠﺘﻪ اﻟﻌﺎﺻﻤﺔ أﺑﻮﻇﺒﻲ ﻗﺒﻞ ﻋﻘﻮد‪ ،‬وﻟﺘﻮﻃﻴﺪ ﻫﺬه اﻟﻌﻼﻗﺔ اﺳﺘﻤﺮ ﺳﻌﻲ اﳌﻐﻔﻮر ﻟﻪ ﰲ ﺳﻦ اﻟﻘﻮاﻧني‬ ‫واﻟﺘﴩﻳﻌﺎت اﳌﻨﻈﻤﺔ ﻟﻠﻔﻌﻞ اﻟﺜﻘﺎﰲ‪ ،‬ﻳﻮازﻳﻪ اﻟﻌﻤﻞ اﻹﻋﻼﻣﻲ ﺻﺎﺣﺐ اﻟﺪور اﻟﺬي ﻻ ﻳﻘﻞ أﻫﻤﻴﺔ وﻣﺤﻮرﻳﺔ ﰲ دﻓﻊ ﻋﺠﻠﺔ اﻟﺜﻘﺎﻓﺔ‬ ‫ﻋﻤﻮﻣﺎ ﻓﺘﻢ ﺗﺄﺳﻴﺲ وزارة اﻹﻋﻼم واﻟﺜﻘﺎﻓﺔ‪.‬‬ ‫وﻷن اﻟﺘﻌﻠﻴﻢ ﻫﻮ أﺳﺎس ﻛﻞ ذﻟﻚ ﻛﺎﻧﺖ ﺟﺎﻣﻌﺔ اﻹﻣﺎرات –اﻟﴫح اﻷﻛﺎدميﻲ اﻟﻌﺮﻳﻖ –ﺗﻠﻌﺐ دوراً ﻣﻬ ًام ﰲ ﺗﻌﺰﻳﺰ اﻟﺤﺮاك اﻷديب‬ ‫واﻟﺸﻌﺮي ﻣﻦ ﺧﻼل اﺳﺘﻀﺎﻓﺔ اﻟﻨﺨﺒﺔ ﻣﻦ اﳌﻔﻜﺮﻳﻦ واﻷدﺑﺎء اﻟﻌﺮب اﻟﺬﻳﻦ ﺳﺠﻞ ﻟﻬﻢ ﺗﺎرﻳﺨﻨﺎ اﻟﺜﻘﺎﰲ ﺣﻮارات ﻣرثﻳﺔ ﰲ زﻣﻦ اﻟﻨﺸﺄة‬ ‫واﻟﺘﺄﺳﻴﺲ‪ ،‬ﻣﻦ دون أن ﻧﻨﴗ اﻟﺤﺮﻛﺔ اﳌﴪﺣﻴﺔ اﳌﻮﻟﻮدة ﻋﲆ ﺧﺸﺒﺎت اﳌﺪارس ﰲ ﻋﻬﺪ زاﻳﺪ ﰲ ﺣني ﺣﻈﻴﺖ ﻣﻌﻈﻢ اﻟﻔﺮق اﳌﴪﺣﻴﺔ‬ ‫آﻧﺬاك ﺑﺪﻋﻤﻪ اﻟﻼﻣﺤﺪود ورﻋﺎﻳﺘﻪ ﻟﻠﻮرش اﻟﺘﺪرﻳﺒﻴﺔ اﻟﺘﺨﺼﺼﻴﺔ اﻟﺘﻲ ﻧﺸﻬﺪ ﻧﺘﺎﺟﻬﺎ اﻟﻴﻮم ﰲ ﻧﻬﻀﺔ ﻣﴪﺣﻴﺔ ﺗﺠﺎوزت ﺣﺪود اﻟﻮﻃﻦ‪.‬‬ ‫ﻫﺬه اﻟﻔﻠﺴﻔﺔ اﻟﺨﻼﻗﺔ ﻫﻲ ﻣﺎ ﺣﻮل اﻹﻣﺎرات إﱃ اﻟﺪوﻟﺔ اﻷمنﻮذج ﻋﲆ ﺻﻌﻴﺪ اﻟﺜﻘﺎﻓﺔ مبﺨﺘﻠﻒ ﻣﺴﺘﻮﻳﺎﺗﻬﺎ وﺗﺠﻠﻴﺎﺗﻬﺎ‪ ،‬وﻫﻲ ﻓﻠﺴﻔﺔ‬ ‫أﺛﺒﺘﺖ دامئﺎً ﺗﻔﻮﻗﻬﺎ وﻓﺮادﺗﻬﺎ ﻷﻧﻬﺎ ﺗﻨﻄﻠﻖ ﻣﻦ أمثﻦ ﻋﻨﴫ ﰲ اﻟﺘﺎرﻳﺦ اﻹﻣﺎرايت وﻫﻮ اﻹﻧﺴﺎن‪ ،‬أﺳﺎس اﻟﺮﻫﺎن اﻟﺤﻘﻴﻘﻲ ﰲ أي ﻣﺠﺘﻤﻊ‬ ‫ﻣﺘﺤﴬ‪.‬‬

‫‪@safiaalshehi‬‬ ‫ﻳﻮﻧﻴﻮ ‪2018 /‬‬ ‫‪20‬‬ ‫ﻧﻴﻮ‬ ‫ﻳﻮﻧﻧﻴ‬ ‫ﻮ‬ ‫‪33 2018‬‬

‫ﺪ‬SSSSSSSSSS‫ﻘ‬SSSSS‫ﻧ‬ baytelshear

‫اﺧﺘﺎر اﻟﺸﻴﺦ زاﻳﺪ ﻧﺺ ﻗﺼﻴﺪﺗﻪ‬ ،‫ﻓﻲ ﻣﺴﺎﺣﺔ ﻟﻐﻮﻳﺔ ﻣﺘﻔﺮدة‬ ‫ﺗﻈﻬﺮ ﻓﻲ اﻟﻤﺮاوﺣﺔ ﺑﻴﻦ اﻟﻤﻔﺮدة‬ ‫ واﻟﺘﻌﺒﻴﺮ اﻟﻔﺼﻴﺢ ﻓﻲ‬،‫اﻟﻤﺤﻜﻴﺔ‬ ‫اﻟﺸﻜﻞ واﻟﻤﺮﺟﻌﻴﺔ اﻟﺬﻫﻨﻴﺔ‬ ،‫ﻧﺠﺢ اﻟﺸﻴﺦ زاﻳﺪ ﻓﻲ ﺗﻘﺪﻳﻢ رؤاه‬ ،‫وأﻓﻜﺎره داﺧﻞ اﻟﻨﺺ اﻟﺸﻌﺮي‬ ‫ﻟﻴﻀﻲء ﻋﻠﻰ اﻟﻤﺮﺗﻜﺰات اﻟﺘﻲ اﻧﻄﻠﻖ‬ ‫ﻣﻨﻬﺎ ﻓﻲ ﻣﺸﺮوﻋﻪ اﻟﺤﻀﺎري‬ ‫اﺳﺘﻨﺪ إﻟﻰ ﻗﺪرة اﻟﻨﺺ اﻟﺸﻌﺮي‬ ،‫ﻓﻲ ﺗﻘﺪﻳﻢ اﻟﻤﻔﺎﻫﻴﻢ اﻷﺧﻼﻗﻴﺔ‬ ‫ وﺧﺒﺮات اﻟﺤﻴﺎة‬،‫وﺗﻮﺟﻴﻪ اﻟﻨﺼﺢ‬ ‫ﻟﺘﻜﻮن ﺑﻤﺜﺎﺑﺔ رؤى وﻧﺼﺎﺋﺢ‬ ‫ﻳﻌﺮﺿﻬﺎ ﻷﺑﻨﺎء دوﻟﺘﻪ‬ ‫ ﻳﺘﺸﺎﻛﻞ وﻳﺘامﺛﻞ ﰲ‬،‫اﳌﻐﻔﻮر ﻟﻪ منﻮذﺟﺎً ﻣﺠﺪداً ﻟﻠﻨﺺ اﻟﺸﻌﺮي‬ ‫ اﻟﻮﻃﻨﻲ ﰲ‬،‫ وﻣﻀﻤﻮﻧﻪ ﻣﻊ اﻟﺨﻄﺎب اﻟﻨﻬﻀﻮي‬،‫ﻣﺤﻤﻮﻟﻪ اﻟﻔﻜﺮي‬ ‫ واﻟﺘﻌﺒري‬،‫ ﻓﻜﺘﺐ ﻗﺼﺎﺋﺪ ميﻜﻦ ﺑﺘﺠﺎوز ﺷﻜﻠﻬﺎ اﻟﺒﻨﺎيئ‬،‫اﳌﻘﺎم اﻷول‬ ،‫ اﻋﺘﺒﺎرﻫﺎ ﺧﻄﺎﺑﺎً ﻳﺘﻮﺟﻪ ﻓﻴﻪ إﱃ أﺑﻨﺎء أﻣﺘﻪ ودوﻟﺘﻪ‬،‫اﻟﺠامﱄ ﻓﻴﻬﺎ‬ ¥CHfC¤ Gf+ «CCCCCCCC0 ÑCCCCCJ fCCCCCM fCCCCCgCC0|CCH :‫ﺣﻴﺚ ﻗﺎل ﰲ واﺣﺪة ﻣﻦ ﻧﺼﻮﺻﻪ‬

‫وﻳﺆﻛﺪ اﻟﺸﻴﺦ زاﻳﺪ ﻗﺪرة اﻟﻘﺼﻴﺪة اﻟﺸﻌﺒﻴﺔ ﰲ ﺗﻮﺟﻴﻪ وﺗﺤﺮﻳﻚ أﺑﻨﺎء‬ ‫ وﺗﺪﻓﻌﻬﻢ ﻟﻠﺘﻤﺴﻚ ﺑﺎﻟﻘﻴﻢ اﻟﺘﻲ ﺑﻨﻴﺖ ﻋﻠﻴﻬﺎ دوﻟﺔ اﻹﻣﺎرات‬،‫اﳌﺠﺘﻤﻊ‬ ،‫ ﰲ ﻧﺺ آﺧﺮ ﻳﻈﻬﺮ ﻓﻴﻪ ﻧَﻔﺲ اﻟﺰﻋﻴﻢ اﻟﺴﻴﺎﳼ‬،‫اﻟﻌﺮﺑﻴﺔ اﳌﺘﺤﺪة‬ :‫ ﺣﻴﺚ ﻛﺘﺐ‬،‫ واﻟﺴﺒﺎق ﰲ رؤﻳﺘﻪ‬،‫واﻟﻘﺎﺋﺪ اﳌﺠﺪد‬

¢CªC C w¼* 4§CCCCC CCCCC CC CCGfCC+ fCCCCCgCCCCC0|CCH fCCCCCC CCCCCCI*K ÔCCCCCCC1 fCCCCCIfCCCCC CCCCC< Ù* ¥CCH*ÎCC0* *§CCIfCC CC8 ¢CCC:§CCCG* ÕCC¡CCHfCC CC9 fCC¡CCªCC CC< hCCCCCCCCCC/*K ¥CCCCCCG zCCCCCC CCCCCCº*K fCCCC¤CCCCG*K £fCCCCCCCCÊ* fCCCIfCCC CCC< «CCC CCCGfCCCM ¢CªC .K «CCCCCGfCCCCC< fCCCCCIzCCCCC¡CC< CCCCCJ4zCCE ¥CCCCCHfCC025* §CCCCCM ¢CCCCC:§CCG* ,fCC CC0 CCJ fCC¡CCªCC CC< ·fCCCCC CCCCCG* ¥CCC CCC CCC CCCD ¢CCCCCCCHK ÑCCCCCC0&* jCCC¡CCC/ m4fCCCCC CCCCC8 §CCCCCCªCCCCCCG*K ¢CCCCCªCC¤CCHK «CCCCC+fCCF ¬2|CCCCCCCCCG* zCCCCCCCGK §CCCCM ¥CH*z G* |C < CCCCCgCC¹fCCF fC¡ / fCCCC¡CCCCªCCCC CCCC CCCC6fCCCCMK CCCCC CCCCC+ |CCCCCCC1~CCCCCCC fCCC CCCIK CCCªCCC CCCwCCC- ¢CCCCC:§CCCCCG* *2 ¢CCªCgCM CC CC< CC¤CG fCCCCCHfCCCCC CC CCCCC¡CCG*K fCC¡CCªCC¤CC+ ¥CCCCCCCC+K |CCCCCCC1~CCCCCCC-K £*5 ÑCCCCC CCCCC6*K ~CCCCCC< 4§T CCCCCC CCCCCC- jCCCCCCCCCCGK2 ‫ﺗﻈﻞ ﺳامت اﻟﻨﺺ اﻟﺸﻌﺮي ﰲ ﺗﺠﺮﺑﺔ اﳌﻐﻔﻮر ﻟﻪ اﻟﺸﻴﺦ زاﻳﺪ ﺑﻦ‬ fCC C ¡CC C ªCC C ¡CC C + ¥CCCCCCCCCC C GK2 Ä& ¸* ÕCCCCCCCCC+K ‫ ﻣﴩﻋﺔ ﻋﲆ اﻟﻘﺮاءة واﻟﺘﺄوﻳﻞ‬،‫ ﻃﻴﺐ اﻟﻠﻪ ﺛﺮاه‬،‫ﺳﻠﻄﺎن آل ﻧﻬﻴﺎن‬ fCCCC CCCCI¸fCCCC+ «CCC¡CCC¤CCCkCCCH hCCCC CCCC CCCC CCCCG*K ً‫ ﻟﻠﺤﺪ اﻟﺬي ﺗﺸﻜﻞ ﻛﻞ ﻗﺼﻴﺪﺗﻪ ﻣﻦ ﻧﺘﺎﺟﻪ ﻓﻀﺎ ًء ﻟﻐﻮﻳﺔ ﺟامﻟﻴﺎ‬fCCC¡CCCªCCC¡CCC CCC CCCG* ¬{CCCCCCCJ · vfCCCCCCC-|CCCCCCCHK ‫ واﻷﺳﺎﻟﻴﺐ اﻟﺘﻲ ﺗﺆﻛﺪ ﻓﺮادة‬،‫ واﻟﻔﻨﻮن‬،‫إﺑﺪاﻋﻴﺎً ﻣﺤﻤ ًﻼ ﺑﺎﻟﻌﻼﻣﺎت‬ *§CCCCCCCC<*K *§CCCCCCCCCC<* 2§CCCC¤CCCC/ ¬{CCCCCCCJ .‫ اﻟﺸﻴﺦ زاﻳﺪ اﻟﺸﻌﺮﻳﺔ‬fCCC¡CCCªCCC¡CCC< ¥CCCCCCCG zCCCCC P CqCCCCCC¼ ¨CCCC CCCC CCCC CCCCIK 68 ‫ اﻟﻌﺪد‬/ ‫اﻟﺸﻌﺮ‬ ِ ‫ ﺑﻴﺖ‬32

‫ﺗﺒﺪو ﺷﺨﺼﻴﺔ اﻟﻤﻐﻔﻮر ﻟﻪ ﻓﻲ أﺻﺎﻟﺘﻬﺎ اﻟﻌﺮﺑﻴﺔ‬ ،‫ﺑﺎﻟﻮﻗﻮف ﻋﻨﺪ ﻧﻤﻮذج اﻟﺸﺎﻋﺮ ﻓﻲ ﺳﻴﺮﺗﻪ‬ ‫ راﻓﻘﻪ ﻣﻨﺠﺰ‬،‫ وﻣﺎ ﺣﻘﻘﻪ‬،‫ﻓﻤﺎ أﻧﺠﺰه ﻟﻠﺪوﻟﺔ‬ ‫ﺷﻌﺮي ﺧﺎﻟﺪ‬

¿*§Q CCCCCCCCCCCCCJ&U *K U §CCCCC CCCCC8 ¦ ST CgS CCCCCCCMS fCCCCCH R zCCCCCC ¥CCCCCD§CC CC CCM ¢CCCCCCCH CCCCCE*§CCCCCG* CCCC ¤ CCCCU CCCC M Q S U «CCCCCCCCCGfCCCCgCCCCG* UlCCCCCCC S CCCCCCC U CCCCCCC-Q uCCCCCCCHÑCCCCCCC¼* ¥CCCCCCCDQ K|CCC CCCH £§CCCCCCCCC CCCC-* ¥CCCCªU CCCCgS CCCC¡ST CCCC CCCCGS ¿fCC CC CC Q MU ¸K fCCCCªQ CCCC CCCU C7Q&¸* CCU C CCC XwCCC CCQ C CCCMU ¥CCCCDQ §U CCCC0 ¥CCC Q CCCS- ¸ ¢CCCC< 4 S{CCCCCCCC0Q R Q CCCtCCCU

،‫ﻛام اﺳﺘﻨﺪ إﱃ ﻗﺪرة اﻟﻨﺺ اﻟﺸﻌﺮي ﰲ ﺗﻘﺪﻳﻢ اﳌﻔﺎﻫﻴﻢ اﻷﺧﻼﻗﻴﺔ‬ ‫ وﺧﱪات اﻟﺤﻴﺎة ﻟﺘﻜﻮن مبﺜﺎﺑﺔ رؤى وﻧﺼﺎﺋﺢ ﻳﻌﺮﺿﻬﺎ‬،‫وﺗﻮﺟﻴﻪ اﻟﻨﺼﺢ‬ ‫ وﴐورة اﻟﺘﻤﺴﻚ‬،‫ ﻳﻮﺻﻴﻬﻢ ﻓﻴﻬﺎ ﺑﺤﺴﻦ اﻟﺨﻠﻖ‬،‫ﻷﺑﻨﺎء دوﻟﺘﻪ‬ ،‫ وﺑﻨﺎء اﳌﺴﺘﻘﺒﻞ‬،‫ ورﺟﺎﺣﺔ اﻟﻌﻘﻞ ﰲ ﺗﺴﻴري ﺷﺆون اﻟﺤﻴﺎة‬،‫ﺑﺎﻟﺤﻜﻤﺔ‬ :‫ﻓﻜﺘﺐ‬ zCCCC¡CCCC- CCCCkCCCC CCCC CCCC- ¸K 4{CCCCCCCCCCCC0* ¥CCªCC CC CC¡CC- «CCC CCC CCCG* «CCC CCCgCCC- £fCCCCCCF fCCCCCM ¶5* CCCC CCCCgCCCCE zCCCCCCCCCCC0*K CCCCCCCF fCCCCCCCM ¥CCªCC CCgCCM ¿ CCC CCC8§CCCM ¸K CCC CCCF|CCCM CCCtCCCI* ¥CCC CCC CCC CCC/ ¥CCCCEfCCCC CCCCº* ¢CCCCCCHK ¥CCCMzCCCM CCC CCCgCCC CCC- fCCCCCH fCCCªCCC CCCG* ¢CCCCCCHK CCC¤CCCG* CCC9§CCC CCCkCCCM CCCªCCC CCCG* LÎCCCCCCCCHK ¥CCCMKfCCCwCCCM ¿ ¥CCC CCCMzCCC CCC8 |CCC CCC CCCwCCCMK

‫ ﻓﻴﺠﺪ اﻟﻘﺎرئ‬،‫ واﻟﻴﻮﻣﻲ واﻟﺘﺎرﻳﺨﻲ‬،‫ واﻟﻈﺎﻫﺮ واﻟﻐﺎﺋﺮ‬،‫اﻟﺴﻬﻞ واﳌﻤﺘﻨﻊ‬ ‫ إﻻ أﻧﻬﺎ ﻣﻨﺴﻮﺟﺔ‬،‫ﻗﺼﻴﺪﺗﻪ ﺗﺴﺘﻨﺪ إﱃ ﺷﻜﻞ ﺑﻨﺎيئ وﺻﻮر ﻣﺄﻟﻮﻓﺔ‬ :«‫ ﺣﻴﺚ ﻳﻘﻮل ﰲ ﻗﺼﻴﺪة ﺑﻌﻨﻮان »ﺣﺒﻜﻢ‬،‫ﺑﺎﻟﺪارﺟﺔ اﻹﻣﺎراﺗﻴﺔ‬ ¬2fCCCC CCCC6 fCCCC CCCC CCCCº* CCCC CCCC6K CCC CCCgCCC0 ¥CCC CCCF ¥CCCCC CCCCC CCCCC³fCCCCCH CCCCCCgCCCCCC/ §CCCCCCCCG ¬2*'§CCCCCCCCCCCD ¥CCCC CCCCnCCCCH §CCCC¤CCCC¡CCCCH CCCCCCCCCMK ¥CC CC0 zCCCCCCE lCCCCCCE§CCCCCCG* §CCCCCCC: £fCCCCCCCF ¬2fCCCgCCCkCCCH CCC CCC CCC CCC CCCG* CCCnCCCH lCCCªCCC/ ¥CCC CCC CCCG* ¢CCCCCCCH «CCCCCCCCCCC0K4 fCCCC CCCC CCCC7fCCCCM ¬2fCCCCC¤CCCCCI¸* CCCC CCCC=fCCCCM «CCCCC+ K4 ¥CC CC< · CCCC¡CCCCH «CCCCC CCCCCG* CCCCCCCCCCC04*K ¬2ÑCCCCCCgCCCCCCG §CCCCCCCCCCCCCCM4 zCCCCCªCCCCC CCCCC<fCCCCCM ¥CC CCF ¢CCCCCC:§CCCCCCG* *{CCCCCCCCJ |CCCC CCCC CCCC6 fCCCCCCM ¬2fCCCC¤CCCCkCCCCH CCCCC CCCCCI ¿ zCCCCCCCC CCCCCCCCG* ¥CCC CCC0 · hCCCCCCªCCCCCCº* |CCCCCCCCC+ CCCCCnCCCCCH ¬2fCCCCC¤CCCCC CCCCC6* ¦zCCCCCCCCCC+ ¢CCCCCCCHfCCCCCCCM ¦* ¥CCC CCCF fCCCCC CCCCC CCCCC= fCCCCCCCCH ¥CCCCC CCCCCªCCCCCG |CCCCCCCCH ¬2*5 fCCCCCCCCCI* «CCCCCCE§CCCCCC< zCCCCC CCCCC0fCCCCCM ¥CCC CCCgCCCM* «CCCC CCCC7fCCCCH «CCCCC CCCCCM4 CCCC CCCC CCCCI ¬2*§CCCCCCCCCCC/¸* CCC CCC CCCI fCCCCCCM «CCC¡CCCgCCCªCCC. ¥CC CCF ¥CCCCªCCCC+ fCCCCCCH |CCCCC CCCCC- lCCCCCCCCCCI*K

،‫ وأﻓﻜﺎره داﺧﻞ اﻟﻨﺺ اﻟﺸﻌﺮي‬،‫وﻧﺠﺢ اﻟﺸﻴﺦ زاﻳﺪ ﰲ ﺗﻘﺪﻳﻢ رؤاه‬ ،‫ﻟﻴﴤء ﻋﲆ اﳌﺮﺗﻜﺰات اﻟﺘﻲ اﻧﻄﻠﻖ ﻣﻨﻬﺎ ﰲ ﻣﴩوﻋﻪ اﻟﺤﻀﺎري‬ ‫ﺣﻴﺚ ﻻ ميﻜﻦ ﻟﻘﺎرئ ﺗﺠﺮﺑﺘﻪ اﻹﺑﺪاﻋﻴﺔ اﻟﻔﺼﻞ ﺑني ﺷﺨﺼﻴﺔ اﻟﻘﺎﺋﺪ‬ ‫ إذ ﻇﻞ ﻳﺮى أن‬،‫ واﳌﺤﻜﻢ اﻟﻌﺒﺎرة‬،‫ وﺷﺨﺼﻴﺔ اﻟﺸﺎﻋﺮ اﻟﻔﺼﻴﺢ‬،‫واﻟﺰﻋﻴﻢ‬ ‫اﻟﻨﻬﻮض ﺑﺎﳌﺠﺘﻤﻊ ﻳﺒﺪأ ﺑﺒﻨﺎء أﺟﻴﺎل ﻣﻦ اﳌﺜﻘﻔني واﳌﺤﺼﻨني ﺑﺎﳌﻌﺮﻓﺔ‬ ‫ »اﻟﻜﺘﺎب ﻫﻮ وﻋﺎء‬:‫ ﻓﻬﻮ اﻟﻘﺎﺋﻞ‬،‫واﻟﻌﺎرﻓني ﺑﺠامﻟﻴﺎت اﻷدب واﻟﻔﻦ‬ ‫ وأن اﻷﻣﻢ‬،‫اﻟﻌﻠﻢ واﻟﺤﻀﺎرة واﻟﺜﻘﺎﻓﺔ واﳌﻌﺮﻓﺔ واﻵداب واﻟﻔﻨﻮن‬ .‫ﻻ ﺗﻘﺎس ﺑرثواﺗﻬﺎ اﳌﺎدﻳﺔ وﺣﺪﻫﺎ وإمنﺎ ﺗﻘﺎس ﺑﺄﺻﺎﻟﺘﻬﺎ اﻟﺤﻀﺎرﻳﺔ‬ .«‫واﻟﻜﺘﺎب ﻫﻮ أﺳﺎس ﻫﺬه اﻷﺻﺎﻟﺔ واﻟﻌﺎﻣﻞ اﻟﺮﺋﻴﺲ ﻋﲆ ﺗﺄﻛﻴﺪﻫﺎ‬ ،‫ﻛﺸﻒ اﻟﺸﻴﺦ زاﻳﺪ ﻋﻦ إميﺎﻧﻪ ﺑﻬﺬه اﳌﺮﺗﻜﺰات ﰲ ﻧﺼﻪ اﻟﺸﻌﺮي‬ ،‫ واﻟﺮﺳﺎﺋﻞ‬،‫ﻓﻜﺎﻧﺖ اﻟﻘﺼﻴﺪة ﰲ ﺗﺠﺮﺑﺘﻪ ﺣﺎﻣﻠﺔ ﻟﺠﻤﻠﺔ ﻣﻦ اﻟﻘﻴﻢ‬ ‫واﻷﺧﻼﻗﻴﺎت اﻟﺘﻲ ﻳﺨﺎﻃﺐ ﻓﻴﻬﺎ ﻗﺮاءه وﻣﺴﺘﻤﻌﻴﻪ ﻣﻦ أﺑﻨﺎء اﳌﺠﺘﻤﻊ‬ : «‫»ﺣـﻲ ﺟـﻴﻞٍ ﻳـﺎ ِﺑ َﻠ ْﻤﺜَﺎﱄ‬ ‫ ﺣﻴﺚ ﻛﺘﺐ ﰲ ﻗﺼﻴﺪة‬،‫اﻹﻣﺎرايت‬ ّ

¿fCCCCCnQ CCCCC U CCCCC Q CCCCC+S fCCCCCCC/ P CCCCCCªCCCCCCE «CCCCCCCC T C0 Q Q ¥CCCCCD§CC CC8K CCU C CCCCCCC VwCCC CCC7 CC P C¤CCC CCC7 zCCC¡CCC< ¿fCCCCCCº* · ¦fCCCCCCCCT¡CCCCCCCC<KU ¦5|CCCCCCCCCCCC: T Q ¥CCCCCDQ K|CCCCC0 ¢CCCCCC C M ~CCCCCC C H K hCCCCCCCCC C 3 ¢CCCC C H QJ S S T U U U ¿fCCCC CCCQ C CCCCHU &* ¦|CCCC CCCU C CCCCDQ ·S ¿ S £fCCCCCC+ ¥CCCCCDQ K|CCCCC R CCCCC8 U KS ¦fCCCCC¡CCCCC U CCCCCHQ KU L§CCC¤CCC CCCG «CCCCCCCCCCCGS ÑCCCCCGT * CCCC+fCCCCkCCCCM CCCCªCCCC CCCC CCCC CCCCG* ¥CCCCCDQ §U CC CC CC 0 C CCCCC C /* § CCCC R U U¥CCCC S Q CMU KS ¦zCCCCC CC CC CCM ¿*§CCCCCCCº CCCCCC CCCCCC qCCCCCC S MU ÔCCCCCCCgCCCCCCC»*K T ‫ ﻋﺮض‬،‫ إﱃ ﺟﺎﻧﺐ ﻫﺬه اﻟﺴامت اﻷﺳﻠﻮﺑﻴﺔ ﰲ ﻗﺼﻴﺪة اﻟﺸﻴﺦ زاﻳﺪ‬¥CCCCCCCDQ §CCC CCC+U fCCCCCCC¤Q CCCGQ «CCCCC¡CC CCM ¸ U CCCCgCCCCEQ 31 2018 / ‫ﻳﻮﻧﻴﻮ‬

‫ﻧ‪SSSSS‬ﻘ‪SSSSSSSSSS‬ﺪ‬ ‫‪baytelshear‬‬

‫زاﻳﺪ‪..‬‬

‫ﻓﺮادة اﻟﺸﻌﺮ وﺑﻼﻏﺔ اﻟﺰﻋﺎﻣﺔ‬

‫ﻣﺤﻤﺪ أﺑﻮ ﻋﺮب‬

‫ﺗُﴩع ﺳرية اﳌﻐﻔﻮر ﻟﻪ اﻟﺸﻴﺦ زاﻳﺪ ﺑﻦ ﺳﻠﻄﺎن آل ﻧﻬﻴﺎن‪ ،‬ﻣﺆﺳﺲ‬ ‫دوﻟﺔ اﻹﻣﺎرات اﻟﻌﺮﺑﻴﺔ اﳌﺘﺤﺪة‪ ،‬ﻃﻴﺐ اﻟﻠﻪ ﺛﺮاه‪ ،‬اﻟﺒﺎب ﻛﺎﻣ ًﻼ ﻋﲆ‬ ‫ﺳامت اﻟﺸﺨﺼﻴﺔ اﻟﻌﺮﺑﻴﺔ اﻷﺻﻴﻠﺔ‪ ،‬وﺻﻮرة اﻟﻘﺎﺋﺪ اﳌﺘﻤﺴﻚ ﺑﻘﻴﻢ‬ ‫اﻟﻬﻮﻳﺔ اﻹﺳﻼﻣﻴﺔ اﻟﺘﺎرﻳﺨﻴﺔ‪ ،‬ﻓﻬﻮ مل ﻳﻜﻦ ﺳﻴﺎﺳﻴﺎً ﻗﺎد أول اﺗﺤﺎد ﻓﺪراﱄ‬ ‫ﻋﺮيب‪ ،‬وأﺳﺲ ﳌﺠﻠﺲ ﺧﻠﻴﺠﻲ ﻳﻮﺣﺪ ﺟﻬﻮد اﳌﻨﻄﻘﺔ ﻓﺤﺴﺐ‪ ،‬وإمنﺎ‬ ‫ﺷﻜﻞ ﺣﻀﻮره ﰲ اﻟﺘﺎرﻳﺦ اﳌﻌﺎﴏ ﺻﻮرة ﻟﻠﺮﻣﺰ‪ ،‬اﻟﺤﻜﻴﻢ‪ ،‬واﻟﺒﻠﻴﻎ‪،‬‬ ‫وﺻﺎﺣﺐ اﻟﺮؤﻳﺔ اﻟﺴﺒﺎﻗﺔ‪ ،‬واﻟﻌﻤﻞ اﳌﺘﻔﺮد‪.‬‬ ‫ﺗﻨﻜﺸﻒ ﻫﺬه اﻟﺴامت ﻟﻴﺲ ﺑﺎﻟﻌﻮدة إﱃ دوره اﻟﺴﻴﺎﳼ ﻋﲆ‬ ‫ﻣﺴﺘﻮى اﻟﺪوﻟﺔ‪ ،‬واﻟﻮﻃﻦ اﻟﻌﺮيب‪ ،‬وإمنﺎ ﻳﺘﻌﺪى ذﻟﻚ ﻟﺘﻜﺸﻒ ﻋﻦ‬ ‫ﺻﻮرة اﻟﻘﺎﺋﺪ‪ ،‬اﻟﺬي ﻋﻠﻤﺘﻪ اﻟﺼﺤﺮاء‪ ،‬ﻓﺼﺎﺣﺔ اﻟﻘﻮل‪ ،‬وﺟﺰاﻟﺔ اﻟﻌﺒﺎرة‪،‬‬ ‫وﻗﻮة اﻟﺘﻌﺒري‪ ،‬ﻟﻠﺤﺪ اﻟﺬي ﺑﺎﺗﺖ أﻓﻜﺎره اﻟﻴﻮم رؤى متﴤ ﻋﻠﻴﻬﺎ دوﻟﺔ‬ ‫اﻹﻣﺎرات اﻟﻌﺮﺑﻴﺔ اﳌﺘﺤﺪة ﻋﲆ ﻣﺨﺘﻠﻒ اﳌﺴﺘﻮﻳﺎت اﻻﻗﺘﺼﺎدﻳﺔ‪،‬‬ ‫واﻟﺘﻌﻠﻴﻤﻴﺔ‪ ،‬واﻻﻗﺘﺼﺎدﻳﺔ‪ ،‬واﻻﺟﺘامﻋﻴﺔ‪ ،‬وﺳﻮاﻫﺎ‪.‬‬ ‫ﺗﺒﺪو ﺷﺨﺼﻴﺔ اﳌﻐﻔﻮر ﻟﻪ ﰲ أﺻﺎﻟﺘﻬﺎ اﻟﻌﺮﺑﻴﺔ ﺑﺎﻟﻮﻗﻮف ﻋﻨﺪ منﻮذج‬ ‫اﻟﺸﺎﻋﺮ ﰲ ﺳريﺗﻪ‪ ،‬ﻓام أﻧﺠﺰه ﻟﻠﺪوﻟﺔ‪ ،‬وﻣﺎ ﺣﻘﻘﻪ‪ ،‬راﻓﻘﻪ ﻣﻨﺠﺰ ﺷﻌﺮي‬ ‫ﺧﺎﻟﺪ‪ ،‬ﺗﺮك آﺛﺎره ﻟﻴﺲ ﻋﲆ ﺻﻌﻴﺪ اﻟﺘﺠﺮﺑﺔ اﻟﺸﻌﺮﻳﺔ اﻹﻣﺎراﺗﻴﺔ اﳌﺤﻠﻴﺔ‬ ‫اﻟﺸﻌﺮ ‪ /‬اﻟﻌﺪد ‪68‬‬ ‫‪ 30‬ﺑﻴﺖ ِ‬

‫وﺣﺴﺐ‪ ،‬وإمنﺎ ﺗﺠﺎوز ذﻟﻚ ﻟﻴﱰك ﺑﺼﻤﺔ واﺿﺤﺔ ﰲ ذاﻛﺮة اﻟﺸﻌﺮ‬ ‫اﻟﺸﻌﺒﻲ اﻟﺨﻠﻴﺠﻲ ﺑﺼﻮرة ﻋﺎﻣﺔ‪.‬‬ ‫ﻳﻨﺘﺴﺐ اﻟﺸﻴﺦ زاﻳﺪ إﱃ ﺛﻘﺎﻓﺔ اﳌﺠﺘﻤﻊ اﻟﻌﺮيب اﻟﺘﺎرﻳﺨﻴﺔ‪ ،‬اﻟﺘﻲ‬ ‫ﺗﻘﺪم اﳌﺮوﻳﺎت ﺣﻮﻟﻬﺎ ﺣﻜﺎﻳﺎت ﻗﺒﺎﺋﻞ ﻛﺎﻧﺖ ﺗﺮﺳﻞ أﺑﻨﺎءﻫﺎ إﱃ‬ ‫اﻟﺼﺤﺮاء ﻟﺘﺘﻌﻠﻢ اﻟﻔﺼﺎﺣﺔ وﺑﻼﻏﺔ اﻟﻘﻮل‪ ،‬ﻓﻬﻮ اﳌﻮﻟﻮد ﰲ ﻣﺠﺘﻤﻊ‬ ‫ﺑﺪوي ﻣﻠﺘﺼﻖ ﺑﺎﻟﺜﻘﺎﻓﺔ اﻟﺼﺤﺮاوﻳﺔ وﺧﺼﺎﻟﻬﺎ اﻟﻨﺒﻴﻠﺔ ﰲ اﻟﻌﺎم ‪ 1918‬ﰲ‬ ‫ﻣﺪﻳﻨﺔ أﺑﻮﻇﺒﻲ ﺑﻘﴫ اﻟﺤﺼﻦ؛ ﻫﻨﺎك ﻧﺸﺄ وﺗﻌﻠﻢ ﻋﲆ ﻳﺪ ”اﳌﻄﺎوﻋﺔ“‬ ‫)اﻟﻜ ّﺘﺎب(‪ ،‬وﺣﻔﻆ اﻟﻘﺮآن اﻟﻜﺮﻳﻢ‪ ،‬ﻟﺘﻜﻮن اﻟﻠﻐﺔ واﺣﺪة ﻣﻦ اﻷدوات‬ ‫اﻟﺘﻲ ﺻﻘﻠﺖ ﺷﺨﺼﻴﺘﻪ وأﻛﺴﺒﺘﻪ ﻓﺮادة اﻟﺸﻌﺮ‪ ،‬واﻟﺰﻋﺎﻣﺔ‪.‬‬ ‫ﺗﺘﺄﻛﺪ ﻛﻞ ﺗﻠﻚ اﻟﺨﺼﺎل ﺑﺎﻟﻌﻮدة إﱃ اﳌﻨﺠﺰ اﻟﺸﻌﺮي اﻟﺬي ﺗﺮﻛﻪ‬ ‫اﻟﺸﻴﺦ زاﻳﺪ‪ ،‬إذ ﻣﻨﻪ ﻳﺠﺪ اﻟﺒﺎﺣﺚ ﻧﻔﺴﻪ أﻣﺎم ﺟﻤﻠﺔ ﻣﻦ اﻟﺴامت‬ ‫اﻷﺳﻠﻮﺑﻴﺔ اﻟﺸﻌﺮﻳﺔ‪ ،‬ﻓام ميﻜﻦ ﻗﺮاءﺗﻪ ﰲ ﻗﺼﻴﺪة اﳌﻐﻔﻮر ﻟﻪ‪ ،‬ﻳﻜﺸﻒ‬ ‫ﻋﻦ ﻓﺮادة أﺳﻠﻮﺑﻴﺔ ﻣﺘﻌﺪدة اﳌﺴﺘﻮﻳﺎت‪ ،‬ﻳﻈﻬﺮ ﺑﻌﻀﻬﺎ ﻋﲆ ﻣﺴﺘﻮى‬ ‫اﻟﻠﻐﺔ اﳌﺴﺘﺨﺪﻣﺔ‪ ،‬واﻵﺧﺮ ﻋﲆ ﻣﺴﺘﻮى اﳌﻀﻤﻮن واﻟﻄﺮح‪ ،‬وآﺧﺮ ﻋﲆ‬ ‫ﻣﺴﺘﻮى اﻟﺒﻨﺎء‪ ،‬واﻟﺸﻜﻞ‪.‬‬ ‫اﺧﺘﺎر اﻟﺸﻴﺦ زاﻳﺪ ﻧﺺ ﻗﺼﻴﺪﺗﻪ ﰲ ﻣﺴﺎﺣﺔ ﻟﻐﻮﻳﺔ ﻣﺘﻔﺮدة‪ ،‬ﺗﻈﻬﺮ ﰲ‬ ‫اﳌﺮاوﺣﺔ ﺑني اﳌﻔﺮدة اﳌﺤﻜﻴﺔ‪ ،‬واﻟﺘﻌﺒري اﻟﻔﺼﻴﺢ ﰲ اﻟﺸﻜﻞ واﳌﺮﺟﻌﻴﺔ‬ ‫اﻟﺬﻫﻨﻴﺔ‪ ،‬وﻫﺬا ﻣﺎ ﺟﻌﻞ ﻧﺼﻮﺻﻪ ﻗﺎمئﺔ ﻋﲆ ﻣﺎ ميﻜﻦ ﺗﻮﺻﻴﻔﻪ ﺑﺜﻨﺎﺋﻴﺔ‬

‫َز ِاﻳ ْﺪ ا ْﻟ َﺨ ْﻴﺮ‬

‫ﻧﺎﺻﺮ ﺑﻦ ﺧﻤﻴﺲ اﻟﻐﻴﻼﻧﻲ‬ @naser3747

R @ P @@ ~@P@ 6xR @ JN yR @ @ m@N @ @ P< ¢@@ N @ @ R @ @§ N R xR @ @ P<b@@ ~@S @ {@ @D* R @ @ @ P @ @ @DR (* R @ @ P @@ ½* P R HN R @ gP @ DP b@@GN wR @ P1b@@EN ¡R @ @ N @ @DR * b@@~@@N }@AP R @@ @ PEHR R @ P @@~@P @6 R @@ @ PE R @ @ -P yP @ @ £R @ @ PEHR ¡Q @ @ O @ @~@P@ 6 R @@ @ PE R @ @gP @ @cP @ @£R @ @GN R @ @ @ P @@ @ PGxR @ @ @P´*R R @ @ cP @ @ p@R @ @~@@P @6HR R *¡N @ @ @ ~@@ P @ @ 6 M xR @ @ @ @ @ +N Q¥&* @@ @ ~@@P|@ R @ PE ¢@@ N @ @<N @R @ z@ @FN xR @ @ @ @gR @ @JP Qv@ @~@@U }@ @D* R @ @ S @ @ <N R @ P @@ ~@P@ z@ 0 R R b@@ @ @ @BN ¡R @ @ @ N @ @ @ DR * @@ £R @ @N @ @<N M4¡R @ @ @~@@N @ 7 Q @ @ @ CP N @ @ @ ~@@S @ z@ @ @ D*HP R @ @ @ Q @ @ @CN @R @ @ 6b@@ @ +N R Pv@@ @ @ N @ @ @ @DR * R @ @ P @@ P @ @BR R É R P @R @ 6b@@ S @ @Db@@ GN Q @ @ @ CP R @ P @@~@P @z@ FR Ri*xN @ @ @~@@N @ 7 @@ c@ @ R @ @BN ¯ R @ @ P @@ PGRv@ @ PE Rh@@ @ @ @/N HR R @ @ P @@ £R @ @=N b@@ N @ ~@U @z@ @ DP b@@ @ N @ @ @ AS 5N HR R @ @ P @@ P @ @<R Q 4N HR R @ @ @ @ @-P *4N b@@ @ @ @ EN (* R @ @ @ @+P Rh@@ @ N @ @ @ P @ @ @FR *HN R P @ @ @ N @ @ @ @N ´R *HP @@ @ @=N xR @ @ PE ¤@R @ @ P @ @ EN @@ +¡R @ @~@@N 8 ¤@R @ @ @ © P P Áb@ N R R @ @ ~@@P 64R &* R @ @ PEPx@ @ CR *HN R @ @ P @@ P @ @DR *HP R @ P @@~@R @6b@@+N xR @ @ @ ²* @@Ex@@CR @@ }@ @ £R @ @ AN HR R @ @-P b@@ N @ @£R @ @~@P@ 7 HR Rv@ @ @ @ @JP *5N rHR 4O @@ @ @0N xR @ @N ´*HP Ä@R @ ~@@S |@ @D* y@@ @ @ER 4N e&Q °* Rv@ @ @ S @ @ @¹ N R HP R N @ @ @ @ N @ @ @ @ DR *HP R *¡N @ @ @ @ @ @ @ <&R * @@ @ @cR @ @BN R @ @ P @@ P @ @ R @ @ PE b@@ @ N @ @ +P µb@ R @ @ PE Pv@@ BR @Q @ z@ @ P0 HR R @ @ -P *¡N @ @ @R @ @³ P P ¤@R @ @ @ @ P0HR &* ¤@R @ U @ @ CN R @ @ @ @ @0HR 4O @@ c@ @ R @ @~@N @ 7 @@ £R @ @~@@P 8b@@ N @ @-P ¯R P R @ @ P @@ @ P @ @ R @ @ P´* @ R *Nv@ @ @ @ @ @+P Rv@ @ @ @ @ @JP *5N R @ @ @~@@P @ 6&* b@ R @ @ P @@ gP @ @1 R M @ @ @ @BN Q @ @ @ @ @ CP HR 29 2018 / ‫ﻳﻮﻧﻴﻮ‬

N R v@ @ PE x@@ @~@U @{@D* @R @z@ P/b@@GN @@ JR yP @ @±* P R Q @@ =N xR @ @ @²* Q @@£R @ P @ PE M4¡R @ @ @ FO @@z@ R @ ~@S @{@ D* HR xO @ @ ~@@P @7 R @@ @ PE Mw@@ P1b@@ EN @@£R @ P @ .P R @ @FP b@@ ~@N @ 7 ¡R @ @ N @ @ DR * @@ JR yP @ @ PG R @@ @<N R @ @ P @ @-P xR @ @JP @@£R @ Ps@@-P °HR Rv@ @ @ @JP *5N d@R @ @ gP @ @ CR *HP @@ 6¡R @ @ N @ @DR * q@R @ @gN @ @ AR (* N R v@ @ @ @ @ JP *5N @@ @£R @ @ P @@ @±* P R HP b@@ N @ @jS @ @D* eb@ R @ @~@S@ @z@ @ CN Ì@R @ @ @ @³* R @@£R @ b@ P P @ EN R @ @gP @ @ P @@ R @ @ P0HR @@ R @ ~@P @6 @@ @ @ 94R &°* R @ P @ R @ PE @@£R @ P @~@@8P Mv@@ ¸ @ R N @£R @~@N @6 HR @R @9b@@£N @ +P R @@ PE R @ -P Ì@PR @~@P @6 @@ £R @ @ Pp@@ gN @ @~@R @ z@ @P´* R R @ @ @ S @ @ @ /N HR @@ £R @ @ Pp@@ gN @ @~@R@ z@ @P´R * Rh@@ gS @ @~@N @ 7 R P R @ cR @ ~@S @z@ D* R @ @ S @ @/N @@£R @ ~@@P8&* fR @ N @ R @ Pp@@+P @@ @ R @ P0 ¯ @@£R @ cP @ ~@P @z@ R @ ~@S @z@ D* R @ @ FP b@@ @gS @ @ GN R @@ @ @ PE R b@@ @ N @ @ @DR * Rh@@ @ cN @ @ @FR &* N R @p@R @+N @R @9b@@AN Rv@ @ @JP *5N h@@ R @ BP R P(* Rv@ @ @JP *5N @@£R @ P @ ³* x@ R U P(* ¤@R @ P @ @ R @ @JN @@£R @ cP @ FP M4¡R @ @ O @ @ ~@@P @7 R @@ @ @ PE R @ @gP @ @cR @ @gN @ @CP Á R U P(* ¤@R @ P @ @ R @ @JN HR @@£R @ DP 2N Ä@RN @ @ @CR &* Rv@ @ S @ @¹ N R ¡R @ @ ~@O@ 7&* Á R @ @0 ° d@ @@JR ¡P @ @U @D* 4R b@@ N @ S @ D* b@ @ R @ ~@@S |@ D* Rv@ @ S @ @¹ N R N @@£R @ cP @ ~@P @6 xR @ @+P b@@ N @ @+P ¡R @ @ @ OG b@@ @EN IxN @ @ @ -N Rv@ @ @ @ JP *5N R b@@ @ @ @<N HR R P ¤@Q @ @ @ 0 R @@ £R @ @ P/ Q @ @ @ @CP ¯ N v@ @ @ @ @ @ @JP *5N HR Rv@ @ @ @ @ JP *5N Rib@@ @ @ @EN @@£R @~@@P|@²* P R HP xR @ N @ jU @ D* d@@£R @ P: b@@JN d@@£R @ @U @D* @R @64P b@@=N @@ £R @ P @ BP ¢@@ N @ @cR @ @JP @@ @£R @ @ AP R @ @ gP @ @ cR @ @ gN @ @ CP ¢@@ N @ @ R @ @EN Q @ @ @ CP

‫ﻣﺎﺳﺎت‬ baytelshear

‫َز ِاﻳ ْﺪ‬

‫ﺳﻴﻒ اﻟﺴﻌﺪي‬ @saifalsa3di

R 2P É@@ @ @ @ @+R yQ @ @ @ @ @ @ <N HR R @ @ cP @ @ R @ @ ~@N@ @7 ¢@@ @ @N @ @ P< Rv@ @ @ @ @ @ @ @ @JP *5N HR R 2P b@@ @ @ @ @ <S 4N Rh@@ @ s@N @ @ AN b@@ @ EN R @ @ P @@ @ ~@@R @ 6HN HR ¢@@ @ @ @N @ @ @ +R &* R 2P b@@ @m@S @ @~@@P @6 d@R @ @jP @ @ P @ @ DR * ¢@@ @ @S @ @=N d@R @ ~@@P {@ @ P @ @ DR * Í@R @ @ @DN N R @@ @ @ @ PE Rh@@ @ s@N @ @ cN @ @ @DR * Q @ @ @ @ :N R 2P É@@ @ @ @£R @ @ @ @ PEHR R @ @ gP @ @ U @ @ : R 2P b@@ @ @ @ @ @ @ @ @ BS HN R xN @ @ @ @ @ N @ @ @ @ @ R @ @ @ @ @DP Rv@ @ @ @ @ @ @ @ @ @JP *5N *R Ì@ N R @ @ @ @ @ @ @ @ @ @ @FP R 2P *5N R @ @ @ P @ @ @£R @ @ @~@@ N@ }@ @ @DP @R @ @ @ U @ @ @ N @ @ @ JR R @ @ @~@@U @ z@ @ @cN @ @ @gR @ @ @ PE R 2P b@@ @ @ @ <N ¤@R @ @ @ P0É@@ @ @ N @ @ @ DR * k@@ @£R @ @ S @ @ D° q@@ @ R @ @ ~@@S @|@ @ D*HP R @ @ @£N @ @ @ P @ @ @ DR * Qv@ @ @ @ @/ b@ R 2P b@@ @ @ @ N @ @ @ @ @0&R * b@ N @ @ N @ @ @+P lSR v@ @ @ @ @ @ 0N R P 2P HR yN @ @ @ @ @ @ @ @ @+P Rh@@ @ S @ @ @0N R @ @ @ @EN yU @ @ @ @ D* ¯ R R 2P *Nv@ @ @ @ @ @ @ @ FR &* b@ R 2P b@@ @ @ ~@@ @N @ 9 fR @ @ @ @ @ @ @ @ES O&* @R @ @ @ @ @ P/° R @ @ @ -P b@@ @ @£N @ @ @ 0 N R vS @ @ @ @ @ @ @BN Q HN R 2P b@@ @ @ @cN @ @ @ @ <R d@Q @ @ @ Pp@@ @ @ JP ¢@@ @ @ S @ @ @ D* d@Q @ @ @ Pp@@ @ @ JP Ñ* R 2P °HR &* @@ @£R @ @ P @@ @ P/ @@ c@ @ R @ @ P< b@@ @ N @ @ DP @R @ @ @ P @ @ @ @ 0*R HP

Q R 2P *5N HR @@ @ @ R @ @ @ N @ @ @ FP Rv@ @ @ @ @ @ @ @ @ JP *5N ¢@@ @ @ @N @ @ @ P< Ñ* N R @ @ @ @ PE R @ @ @ @~@@ P@ @ 6HN 4*N2 ¢@@ @ N @ @ @ <N Rv@ @ @ @ @ @ @ @JP *5N Rh@@ @ @ @CP *Æ@ @@ @ A¡R @ @ @ O @ @ @BR k@@ @ @£R @ @ @ N @ @ @ +P R @ @ @ @ @ @ @ -P *4N b@@ @ @ @ @ @ @EN (* IHN 4R &* R @ @ P @@ @ R @ @ FP b@@ @ N @ @ £R @ @ N @ @ <N R¥P4b@@ @ @ @ cN @ @ @ @ @ DR * R @@ @ @ @ PE Rv@ @ @ @ @ @ @ JP *5N d@R @ DP b@@ N @ @gR @ @ PE xR @ @ P @ @ N @ @ DR * ¡R @ @ @ @ JN xR @ @ ~@@P @z@ @ P @ @ DR * h@@ @ @ @BR HN R P @ @ @ @ @<N b@@ @ @FN b@@ @ @ N @ @ @ DP R @@ @ @ @ @ PE ,R 2N b@@ @ @ @ @ @ @ @ @ @AN HP R xP @ @ @ @ @ R @ @ @ @ @JN Áb@ OR R @ @ @ @~@@ N@ @ @z@ @ @ @ 0(R °*HP 2¡R @ @ @ @ @ @ @ ±* R @ @ -P b@@ @ N @ @ £R @ @ ~@@P @7 R @@ @ @ @ PE b@ R 2P ¡R @ @ @ @ O @ @ @ @ ¹ P R @ @ @ ~@@ P@ @ 6 R @ @ @ @ DP R N eR xN @ @ @ @ N @ @ @ @ DR * Í@R @ @ @ @+N M,Ì@ PR 2b@@ @ @~@@ @N @8 Rv@ @ @ @ @ @ @ JP *5N R b@@ @ S @ @ @~@@N @ 6 R @@ @ @ @ PE HR Rv@ @ @ @ @ @ @ JP *5N xR @ @ @+N ¡R @ @ @gN @ @ @CR * exR @ @ @ @ 0 @ N @ @ gR @ @ @ N @ @ @BR HN ¢@@ @N @ @ <N Rv@ @ N @ @~@R@ {@ @ -P Q @@ @ @ @ R @ @ @ @ ³ N P R @ @ @ @ cU @ @ @ @ P0 Ñ* @@ @ @ @ @DN R @ @ @ @ @cQ @ @ @ @ @¹ N N Ñ* R @ @ DP R @@ @ ~@@P @ z@ @ 0*R HP b@@ @ N @ @ @ +U 4N b@@ @ JN b@@ @ N @ @ DP R @@ @~@N@ @z@ @ 0&R * 68 ‫ اﻟﻌﺪد‬/ ‫اﻟﺸﻌﺮ‬ ِ ‫ ﺑﻴﺖ‬28

‫ﻧﻘﻄﺔ أول اﻟﺸﻄﺮ‬

‫زاﻳﺪ ﻓﻲ ﻋﻴﻮﻧﻨﺎ‬

‫ﻣﺤﻤﺪ ﻧﻮر اﻟﺪﻳﻦ‬

‫ﺗﺮﺑﻄﻨﻲ ﻋﻼﻗﺔ ﻗﻮﻳﺔ ﺑﻘﺼﺎﺋﺪ اﳌﻐﻔﻮر ﻟﻪ اﻟﺸﻴﺦ زاﻳﺪ ﺑﻦ ﺳﻠﻄﺎن آل ﻧﻬﻴﺎن ﻃﻴﺐ اﻟﻠﻪ ﺛﺮاه‪ ،‬ﺑﺪأت ﻣﻨﺬ اﻟﺼﻐﺮ‪ ،‬ﻓﻜﻠامﺗﻪ ﻛﺎﻧﺖ‬ ‫وﺗﺤﺮك ﻣﺸﺎﻋﺮي ﺑﻴﴪ وﺳﻬﻮﻟﺔ‪ ،‬وﻫﺬا ﻣﺎ ﻛﺎن ﻳﺜري اﻟﻔﻀﻮل ﺑﺪاﺧﲇ ﻷﻋﺮف أﴎار‬ ‫ﺗﻠﺞ إﱃ أﻋامق ﻧﻔﴘ ﻣﻦ دون ﻣﻘﺪﻣﺎت‪ّ ،‬‬ ‫ﺟامل ﻫﺬه اﻟﻘﺼﺎﺋﺪ وﻛﻴﻤﻴﺎء ﺗﻜﻮﻳﻨﻬﺎ‪ ،‬وﰲ ﻫﺬا اﻟﻄﺮﻳﻖ ﺑﺪأت أﻛﺘﺐ وأﻧﴩ ﻣﻘﺎﻻت ﻛﺜرية ﰲ اﳌﺠﻼت ﺣﺘﻰ ﺗﺤ ّﻮﻟﺖ اﳌﻘﺎﻻت‬ ‫إﱃ ﻛﺘﺐ ﺑﺪءا ﻣﻦ ﻛﺘﺎب أﺻﺪرﺗﻪ ﰲ ﻋﺎم ‪ 2008‬ﺑﻌﻨﻮان ”دراﺳﺔ ﺗﺤﻠﻴﻠﻴﺔ ﰲ ﺷﻌﺮ اﳌﻐﻔﻮر ﻟﻪ اﻟﺸﻴﺦ زاﻳﺪ ﺑﻦ ﺳﻠﻄﺎن آل‬ ‫ﻧﻬﻴﺎن“ وﺗﻨﺎوﻟﺖ ﻓﻴﻪ ﺗﺠﺮﺑﺔ اﻟﺸﻴﺦ زاﻳﺪ ﻣﻦ ﺟﻮاﻧﺐ ﻋﻠﻤﻴﺔ وﻓﻨﻴﺔ ﻋﺪﻳﺪة‪ ،‬وﺟﻤﻌﺖ ﻓﻴﻪ أﻛﱪ ﻣﺠﻤﻮﻋﺔ ﻣﻦ ﻗﺼﺎﺋﺪ اﻟﺸﻴﺦ‬ ‫زاﻳﺪ اﳌﻨﺸﻮرة ﺣﺘﻰ اﻵن‪ .‬وﻣﺮوراً ﺑﻜﺘﺎب ﺻﺪر ﺑﺎﻟﺘﺰاﻣﻦ ﻣﻊ إﻋﻼن ”ﻋﺎم زاﻳﺪ“ وﻋﻨﻮاﻧﻪ ”ذرب اﳌﻌﺎين ﻗﺮاءات ﰲ ﺷﻌﺮ اﻟﺸﻴﺦ‬ ‫زاﻳﺪ“ واﻟﺬي ﺗﻨﺎوﻟﺖ ﻓﻴﻪ ﻗﺮاءات ﻟـ ‪ 13‬ﻗﺼﻴﺪة ﻣﻦ ﻗﺼﺎﺋﺪه ﻳﺮﺣﻤﻪ اﻟﻠﻪ‪ ،‬وﺻﻮﻻً إﱃ ﻛﺘﺎب ﺻﺪر ﱄ ﻣﺆﺧﺮاً ﺑﻌﻨﻮان ” ﻗﺼﺎﺋﺪ‬ ‫أﻋﺠﺒﺖ اﻟﺸﻴﺦ زاﻳﺪ“ ﻗﺮأت ﻓﻴﻪ ﻗﺼﺎﺋﺪ اﻟﺸﻌﺮاء اﻟﺬﻳﻦ أﺛﺎروا اﻟﻘﺮﻳﺤﺔ اﻟﺸﻌﺮﻳﺔ ﻟﻠﻤﻐﻔﻮر ﻟﻪ اﻟﺸﻴﺦ زاﻳﺪ ﻓﻘﺎم ﺑﺎﻟﺮد ﻋﻠﻴﻬﻢ‬ ‫ﺑﻘﺼﺎﺋﺪ ﻣﺠﺎراة ﺧﺎﺻﺔ‪ ،‬واﻧﺘﻬﺎ ًء ﺑﻜﺘﺎب ﺟﺪﻳﺪ ﺑﻌﻨﻮان ”زاﻳﺪ ﰲ ﻋﻴﻮن اﻟﺒﺎﺣﺜني“ ﺟﻤﻌﺖ ﻓﻴﻪ ﺟﻬﻮد ﺗﺴﻌﺔ ﺑﺎﺣﺜني ﰲ ﺗﻨﺎول‬ ‫ﻗﺼﺎﺋﺪ اﻟﺸﻴﺦ زاﻳﺪ ﺑﺎﻟﻘﺮاءة واﻟﺘﺤﻠﻴﻞ‪ .‬وﻻ أﺟﺪين ﻣﺸﺒﻌﺎً ﻣﻦ ﺗﻨﺎول ﻫﺬه اﻟﺘﺠﺮﺑﺔ اﻟﺸﻌﺮﻳﺔ اﻟﻔﺎرﻗﺔ ﰲ ﻣﺴرية اﻟﺸﻌﺮ اﻟﺸﻌﺒﻲ‬ ‫ﰲ اﻹﻣﺎرات‪ ،‬وﻻ أﻇﻦ أين ﺳﺄﺗﻮﻗﻒ ﻋﻦ اﻻﺳﺘﻤﺘﺎع ﺑﺘﻨﺎول ﺗﺠﺮﺑﺘﻪ اﻟﺸﻌﺮﻳﺔ وﻋﻦ ﺟﻤﻊ ﻗﺼﺎﺋﺪه وﻛﻞ ﻣﺎ ﻳﺘﻌ ّﻠﻖ ﺑﺸﻌﺮه ﻣﻦ‬ ‫ﺑﺤﻮث ودراﺳﺎت وﻣﻘﺎﻻت‪.‬‬ ‫وﻗﺪ أﻓﺮدت ﰲ ﻛﺘﺎيب اﻷﺧري »زاﻳﺪ ﰲ ﻋﻴﻮن اﻟﺒﺎﺣﺜني« ﻓﺼ ًﻼ ﻟﻜﻞ ﺑﺎﺣﺚ ﻣﻦ اﻟﺒﺎﺣﺜني ﻣﻨﺘﻘﻴﺎً ﻣﻘﺎﻻً ﻣﻦ ﻣﻘﺎﻻﺗﻪ ﰲ ﻫﺬا‬ ‫اﳌﻮﺿﻮع وذﻟﻚ ﻣام ﻧﴩ ﰲ اﻟﻜﺘﺐ أو اﳌﺠﻼت‪ ،‬ﻓﺘﻨﻮﻋﺖ ﻓﺼﻮل اﻟﻜﺘﺎب ﺑني اﻟﺮؤى وﻃﺮق اﻟﺘﻨﺎول اﳌﺨﺘﻠﻔﺔ ﺣﺴﺐ ﻣﺎ رآه‬ ‫اﻟﺒﺎﺣﺚ ﻣﻦ ﺟﻮاﻧﺐ ﻓﻨﻴﺔ وﻣﻌﻨﻮﻳﺔ ﺗﺰﺧﺮ ﺑﻬﺎ ﻗﺼﺎﺋﺪ اﳌﻐﻔﻮر ﻟﻪ اﻟﺸﻴﺦ زاﻳﺪ ﺑﻦ ﺳﻠﻄﺎن آل ﻧﻬﻴﺎن ﻟﺘﺘﻜﺎﻣﻞ ﰲ ﺻﻮرة ﻣﻨﻈﻮﻣﺔ‬ ‫ﺗﺮاﻛﻤﻴﺔ ﻣﺘﺠﺎﻧﺴﺔ ﺗﻠﻴﻖ ﺑﻬﺬه اﻟﻨﺼﻮص اﻟﺸﻌﺮﻳﺔ اﻟﺘﻲ ﻳﺰداد أﻟﻘﻬﺎ ﻣﻊ ﻣﺮور اﻷﻳﺎم‪.‬‬ ‫وأوردت ﰲ ﻫﺬا اﻟﻜﺘﺎب ﻗﺮاءات ودراﺳﺎت ﻟﺒﺎﺣﺜني ﻣﻬﻤني ﰲ ﺳﺎﺣﺔ اﻟﺸﻌﺮ اﻟﺸﻌﺒﻲ ﰲ اﻹﻣﺎرات وﺧﺎرﺟﻬﺎ وﻫﻢ اﳌﺮﺣﻮم‬ ‫ﺣﻤﺪ ﺧﻠﻴﻔﺔ ﺑﻮﺷﻬﺎب واﻟﺪﻛﺘﻮر ﻓﺎﻟﺢ ﺣﻨﻈﻞ واﻟﺪﻛﺘﻮر ﻏﺴﺎن اﻟﺤﺴﻦ واﻟﺪﻛﺘﻮر ﻋﺒﺪاﻟﻠﻪ ﺑﻨﴫ اﻟﻌﻠﻮي واﻟﺪﻛﺘﻮر إﺑﺮاﻫﻴﻢ‬ ‫ﻣﻠﺤﻢ وﻋﺘﻴﻖ اﻟﻘﺒﻴﴘ وﴎور ﺧﻠﻴﻔﺔ اﻟﻜﻌﺒﻲ وﻣﺤﻤﺪ ﻣﻬﺎوش اﻟﻈﻔريي ﺑﺎﻹﺿﺎﻓﺔ إﱃ ﻣﺤﻤﺪ ﻋﺒﺪاﻟﻠﻪ اﻟﱪﻳيك وﻫﻮ أول ﻛﺘﺎب‬ ‫ﻳﺠﻤﻊ ﻫﺬا اﻟﻌﺪد اﻟﻜﺒري ﻣﻦ اﻟﺒﺎﺣﺜني اﻟﺬﻳﻦ ﻳﺘﻨﺎوﻟﻮن ﺷﻌﺮ اﻟﺸﻴﺦ زاﻳﺪـ وﻟﻜﻨﻪ ﻟﻴﺲ ﺳﻮى ﻗﻄﺮة أول اﻟﻐﻴﺚ ﻷين أﺗﻮﻗﻊ أن‬ ‫ﻳﺰداد اﻫﺘامم اﻟﺒﺎﺣﺜني وﻫﺬا ﺷﺄن اﻟﺘﺠﺎرب اﻟﺸﻌﺮﻳﺔ اﻟﺤﻘﻴﻘﻴﺔ اﻟﺘﻲ ﺗﺸﻊ ﻣﻊ ﻣﺮور اﻟﺴﻨني ﺑﺮﻳﻘﺎً وﳌﻌﺎﻧﺎً‪.‬‬

‫‪@khaligalb‬‬ ‫ﻳﻮﻧﻴﻮ ‪2 18 /‬‬ ‫‪20‬‬ ‫ﻳﻮﻧﻧﻴﻮ‬ ‫ﻮ‬ ‫‪277 2018‬‬

‫ﻣﻨﻬﺞ ﻧﺪرﺳﻪ‬

‫ﻓﻄﻴﻢ اﻟﺤﺮز‬ ‫ﻛﺎن اﳌﻐﻔﻮر ﻟﻪ اﻟﺸﻴﺦ زاﻳﺪ ﺑﻦ ﺳﻠﻄﺎن آل‬ ‫ﻧﻬﻴﺎن‪ ،‬ﻃ ّﻴﺐ اﻟﻠﻪ ﺛﺮاه‪ ،‬ﺷﺎﻋﺮاً ﻋﻈﻴ ًام‪ ،‬وﺿﻊ‬ ‫ﺑﺼﻤﺘﻪ اﳌﻤﻴﺰة واﳌﺨﺘﻠﻔﺔ ﰲ اﻟﺴﺎﺣﺔ اﻟﺸﻌﺒﻴﺔ‪،‬‬ ‫وﻻ ﺗﺰال ﻗﺼﺎﺋﺪه ﺣ ّﻴﺔ اﻟﺬﻛﺮ وﻳﺘﻐﻨﻰ ﺑﻬﺎ‬ ‫اﳌﻄﺮﺑﻮن وأﺑﻨﺎء ﻫﺬا اﻟﺠﻴﻞ‪ .‬ﻧﺤﻦ ﻛﺸﻌﺮاء‬ ‫وﺷﺎﻋﺮات ﰲ اﻹﻣﺎرات واﻟﺨﻠﻴﺞ ﺑﺸﻜﻞ ﻋﺎم‪،‬‬ ‫أﺧﺬﻧﺎ ﻣﻦ ﻗﺼﺎﺋﺪ اﳌﻐﻔﻮر ﻟﻪ ﻣﻨﻬﺠﺎً ﻧﺪرﺳﻪ‬ ‫وﻧﺘﻌﻠﻢ ﻣﻦ ﺣﺮﻓﺘﻪ وﻓﻨﻮن أﺳﺎﻟﻴﺒﻪ ﰲ ﻃﺮح‬ ‫اﳌﻮاﺿﻴﻊ وﴎد اﻷﻓﻜﺎر ﻣﻊ ﺻﻴﺎﻏﺔ اﳌﺸﺎﻋﺮ‬ ‫ﺑﻄﺮﻳﻘﺔ ﺗﺸﺪ اﳌﺴﺘﻤﻊ وﺗﺠﺬب اﻟﺠﻤﻬﻮر‪.‬‬ ‫وﰲ ﻋﺎم زاﻳﺪ أﻗﻮل‪:‬‬ ‫‪zCCCCMfCCCC< K Ë*2 v|CCCCCCC CCCCCCCG* CCCCC CCCCCM‬‬ ‫‪ËzCCCCCH Ë*2 fCCCCC¡CCCCC¤CCCCCG* CCCCC CCCCCM K‬‬ ‫‪zCCCCCCM*5 fCCCCCCCC< · fN CCCCC CCCCCH fCCCCC¡CCCCC0* K‬‬ ‫‪ CCCªCCC CCC CCCG* |CCCCCCCCCC/¸* fCCCCgCCCCI ¨CCC CCC CCC CCCI‬‬ ‫‪zCCCCMfCCCCE *§CCCCCCCCCCCCCCCC<¸* *zCCCCCCCCCH zCCCCCCCCCCCM*5‬‬ ‫‪ CCCCªCCCC CCCCH fCCCCCC¡CCCCCC CCCCCCF fCCCCCC¡CCCCCC+§CCCCCC CCCCCC CCCCCCD‬‬ ‫‪zCCCMfCCC CCC6 ¶ CCCC CCCC+ zCCCC CCCC CCCC¹* mfCCCCCCCCH‬‬ ‫· ‪ CCCªCCC¤CCC- ¥CCCCCCCC+ ¥CCCCCCCCCCCCCCGK2 vK4‬‬ ‫‪zCCCCCMÑCCCCC CCCCCG* fCCCCC¤CCCCC CCCCC CCCCT C9|CCCCC- 4P *2‬‬ ‫‪ CCCªCCC CCCkCCC CCC CCCH i42‬‬ ‫‪ «CCCCC CCCCC CCCCCµ‬‬ ‫‪P‬‬ ‫‪zCCCCCMfCCCCCFK zCCCCC CCCCC6fCCCCC0 fCCCC¤CCCC CCCC¤CCCCMfCCCCH‬‬ ‫‪ CCCCªCCCCcCCCCGK É*2 CCCCCCCCF 2|CCCCCCCCCCCCCCCC-*K‬‬ ‫‪zCCCCCCCM*K hCCCCCCC0 ¥CCCCCCCG fCCCCC¤CCCCCG «CCCC CCCCkCCCC1‬‬ ‫‪ CCCCCªCCCCCH5 ¥CCCCCCCHfCCCCCCC< ¨CCCCCC CCCCCC< zCCCCCCCCCCCCCCM*5‬‬ ‫*‪zCCCCCCM*K~CCCCCCG* ¬ TzCCCCCCC CCCCCCCM* K §CCCCCC CCCCCCM‬‬ ‫‪Ë2 CCCCCCCCCCF ¥CCCCCCCE§CCCCCCC CCCCCCCM ¦ÔCCCCCCCCCCCCC1‬‬ ‫ﺣﺎرس اﻟﺮوح‬

‫ﻫﻴﺎم اﻟﻌﺠﻼن‬ ‫ﻣﻬﻤﺔ اﻟﺸﺎﻋﺮ ﻻ ﺗﺘﻐري ﰲ أي ﻣﻜﺎن وﻻ زﻣﺎن‪ ،‬ﻟﻜﻦ أﺣﻴﺎﻧﺎً‪ ،‬ﻻ ﻳﻌﺮف اﻟﺒﻌﺾ ﻗﻮة اﻟﺸﻌﺮ‬ ‫وأﻫﻤﻴﺘﻪ‪ ،‬واﻟﺤﻘﻴﻘﺔ ان اﻟﺤﺎﺟﺔ اﱃ اﻟﺸﻌﺮ ﺗﺰداد ﻛﻠام ازداد اﻧﺘﺸﺎر اﻷﻓﻜﺎر اﻟﻈﻼﻣﻴﺔ‪ ،‬ﻟﺬا‬ ‫ﻓﺈن اﻟﻠﺤﻈﺔ اﻟﺮاﻫﻨﺔ ﻫﻲ اﻷﻛرث ﺣﺎﺟﺔ إﱃ ﺷﻌﺮ ﻳﻌﻴﺪ ﺗﺮﻣﻴﻢ ﻣﺎ اﻫﱰأ ﻣﻦ روح اﻟﻌﺎمل‪.‬‬ ‫وﻣﻬﻤﺔ اﻟﺸﺎﻋﺮ ﻫﻲ ﺣﺮاﺳﺔ اﻟﺮوح وﺗﻨﻘﻴﺘﻬﺎ ﻣﻦ اﻟﺘﺸﻮﻳﻪ‪ .‬ﻣﻦ ﻫﺬا اﳌﻨﻄﻠﻖ ﻛﺎن اﳌﻐﻔﻮر‬ ‫ﻟﻪ اﻟﺸﻴﺦ زاﻳﺪ رﺣﻤﻪ اﻟﻠﻪ ﻗﺪوة ﰲ ﻣﺠﺎل اﻟﺸﻌﺮ وﻛﺎن دامئﺎً داﻋ ًام ﻟﻺﺑﺪاع ﺑﺸﺘﻰ ﻣﺠﺎﻻﺗﻪ‬ ‫وأﻋﻄﻰ اﻫﺘامﻣﺎً ﺧﺎﺻﺎً ﺑﺎﻟﺸﻌﺮ واﻟﺸﻌﺮاء‪ ،‬وﻣﺎزال اﻣﺘﺪاد ﻫﺬا اﻻﻫﺘامم ﻗﺎمئﺎً إﱃ اﻟﻴﻮم‪.‬‬ ‫واﻟﺠﻬﺎت اﻟﺤﻜﻮﻣﻴﺔ واﻟﺜﻘﺎﻓﻴﺔ ﺣﺮﻳﺼﺔ ﻛام ﻧﺮى ﻋﲆ اﻻﺳﺘﻤﺮار ﺑﻬﺬا اﻟﺴﻴﺎق ﻋﻦ ﻃﺮﻳﻖ‬ ‫ﻣﺪارس اﻟﺸﻌﺮ واﳌﺴﺎﺑﻘﺎت واﳌﺠﻼت واﻟﱪاﻣﺞ اﻟﺜﻘﺎﻓﻴﺔ واﻷﻣﺴﻴﺎت واﻟﻔﻌﺎﻟﻴﺎت‪.‬‬

‫اﻟﺸﻌﺮ ‪ /‬اﻟﻌﺪد ‪68‬‬ ‫‪ 26‬ﺑﻴﺖ ِ‬

‫دﺳﺘﻮر ﺣﻴﺎة وﻣﻌﺠﻢ أﻧﻴﻖ‬

‫ﺷﻴﺨﺔ اﻟﻤﻄﻴﺮي‬ ‫ﻳﺪرك اﻟﻘﺎرئ ﻷﺷﻌﺎر اﻟﺸﻴﺦ زاﻳﺪ – رﺣﻤﻪ‬ ‫اﻟﻠﻪ – ﻛﻴﻒ أﻧﻪ ﻳﻘﻒ أﻣﺎم ﺣﺎﻟﺔ ﺷﻌﺮﻳﺔ‬ ‫ﻣﺘﻔﺮدة ﻳﺴﺘﺨﻠﺺ ﻣﻨﻬﺎ دﺳﺘﻮر ﺣﻴﺎة‪ .‬ﰲ ﻫﺬه‬ ‫اﳌﺪرﺳﺔ اﻟﺸﻌﺮﻳﺔ ﻣﺮرﻧﺎ ﻋﲆ ﻗﺼﺎﺋﺪ اﻟﺸﻴﺦ‬ ‫زاﻳﺪ – رﺣﻤﻪ اﻟﻠﻪ – واﻟﺪراﺳﺎت اﻟﺘﻲ ﻛﺘﺒﺖ‬ ‫ﺣﻮل ﺷﻌﺮه وﴍح ﻗﺼﺎﺋﺪه وذﻟﻚ ﻟﻨﻘﻒ ﻋﲆ‬ ‫ﺟﻤﻴﻞ اﳌﻌﺎين وﺑﺪﻳﻊ اﻷﻟﻔﺎظ واﻟﱰاﻛﻴﺐ‪،‬‬ ‫وﻳﺘﻀﺢ ﺗﺄﺛري ﺷﻌﺮ اﻟﺸﻴﺦ ﻋﲆ اﻟﺸﻌﺮ أوﻻً‬ ‫أﻧﻪ أﺛﺮى اﳌﻜﺘﺒﺔ اﻟﺸﻌﺮﻳﺔ اﻹﻣﺎراﺗﻴﺔ ﺑﻔﺮﻳﺪ‬ ‫اﻟﻘﺼﺎﺋﺪ اﻟﺘﻲ ﺗﻌﺪ ﻣﻦ ﻗﺼﺎﺋﺪ اﻟﺤﻜﻤﺔ وﻣﻦ‬ ‫رواﺋﻊ اﻟﻘﺼﺎﺋﺪ اﻟﻮﻃﻨﻴﺔ ورﻗﻴﻖ ﻗﺼﺎﺋﺪ اﻟﻐﺰل‬ ‫وﻋﻤﻴﻖ ﻣﻌﺎين اﻟﻘﺼﺎﺋﺪ اﻻﺟﺘامﻋﻴﺔ‪ ،‬وإذا‬ ‫أردت أن ﺗﻌﺮف ﻣﺴﺘﻮى ﺛﻘﺎﻓﺔ اﻟﺸﻌﻮب ﻓﺈن‬ ‫ﻣﻦ ﺑني ﺗﻠﻚ اﳌﻘﺎﻳﻴﺲ اﻟﺸﻌﺮ واﻷدب وﻫﻜﺬا‬ ‫ﻓﺈن ﺷﻌﺮ اﻟﻮاﻟﺪ اﳌﺆﺳﺲ ﻳﻌﺪ أﻫﻢ ﻣﻠﻤﺢ‬ ‫ﺷﻌﺮي وﺛﻘﺎﰲ وأديب ﰲ اﻟﺴﺎﺣﺔ اﻟﺸﻌﺮﻳﺔ‪ .‬أﻣﺎ‬ ‫ﻣﻦ ﺣﻴﺚ ﺗﺄﺛريه ﻋﲆ اﻟﺸﻌﺮاء ﻓﺈن اﻟﺸﻌﺮاء‬ ‫وﺟﺪوا ﰲ ﻣﺪرﺳﺔ زاﻳﺪ اﻟﺸﻌﺮﻳﺔ ﺧري ﻣﻠﻬﻢ‬ ‫وﺧري ﻗﺪوة ﰲ اﻻﺳﺘﺌﻨﺎس ﺑﻬﺬا اﻷدب اﻟﺮﻓﻴﻊ‬ ‫واﻟﻨﻬﻞ ﻣﻨﻪ واﻟﺘﻌﻠﻢ ﻣﻦ ﻣﻌﺠﻤﻪ اﻷﻧﻴﻖ‬ ‫إﺿﺎﻓﺔ إﱃ اﻟﺠﺎﻧﺐ اﻷﻫﻢ وﻫﻮ اﻟﺘﻌﻠﻢ ﻣﻦ‬ ‫رﺳﺎﺋﻞ زاﻳﺪ اﻟﱰﺑﻮﻳﺔ واﻷﺧﻼﻗﻴﺔ ﻓﻔﻲ ﻛﻞ ﺑﻴﺖ‬ ‫ﻧﻘﻒ أﻣﺎم ﻣﺸﺎﻫﺪ اﻟﺤﻴﺎة اﻟﺘﻲ ﻳﻌﻠﻤﻨﺎ ﻓﻴﻬﺎ‬ ‫زاﻳﺪ ﻛﻴﻒ ﻧﺘﻌﺎﻣﻞ ﻓﻴﻬﺎ وﻛﻴﻒ ﻧﻜﻮن ﻣﺜﻞ‬ ‫زاﻳﺪ ﰲ اﻟﻜﺘﺎﺑﺔ‪ ،‬ﻓﻼ ﻳﺨﺘﻞ ﺗﻮازﻧﻨﺎ ﰲ ﻋﻼﻗﺘﻨﺎ‬ ‫ﻣﻊ اﻟﺤﻴﺎة واﻟﻨﺎس واﻟﻘﻀﺎﻳﺎ ﺑﻞ ﻧﻜﻮن ﻛام‬ ‫ﻛﺎن زاﻳﺪ ﺣﻜامء ﰲ اﻟﻄﺮح وأن ﻧﱰﻓﻊ ﺑﺸﻌﺮﻧﺎ‬ ‫ﻋﻦ اﻷﺷﻴﺎء اﻟﺘﻲ ﻻ ﺗﻨﻔﻊ‪ ،‬وأن ﻧﺪرك متﺎم‬ ‫اﻹدراك أن ﺷﻌﺮ زاﻳﺪ ﺳﻴﺒﻘﻰ ﻣﴬﺑﺎً ﻟﻸﻣﺜﺎل‬ ‫وﻋﻠﻴﻪ ﻳﺠﺐ أن ﻧﻌﻠﻢ أن اﻟﺘﺎرﻳﺦ ﻻ ﻳﺨﻠﺪ إﻻ‬ ‫اﻟﺮاﻗﻲ ﻣﻦ اﻟﺸﻌﺮ‪.‬‬

‫ﺳﻤﻮ اﻟﻤﻌﻨﻰ واﻧﺘﺼﺎر اﻟﺮوح‬

‫اﻟﺸﻌﺮ ﻣﻦ أﺟﻞ اﻹﻧﺴﺎن‬

‫ﻟﻤﻴﺎء اﻟﺼﻘﻴﻞ‬ ‫ﻳﱪز دور اﻟﺸﻌﺮﻳﺔ ﰲ اﻻﻧﺤﻴﺎز ﻟﻺﻧﺴﺎن وﺣﺪه ﻗﺒﻞ ﻛﻞ ﳾء وﰲ اﻻﻋﱰاض ﻋﲆ ﻛﻞ ﻣﺎ‬ ‫ﻳﻨﺘﻘﺺ ﻣﻦ ﺣﻘﻪ ﰲ أن ﻳﺤﻴﺎ ﺑﺄﻣﺎن وﺳﻼم‪.‬‬ ‫ً‬ ‫ﻓﻔﻲ اﻟﻮﻗﺖ اﻟﺬي ﺷﻜﻠﺖ ﻓﻴﻪ اﻟﺤﺮوب واﻟﺨﻼﻓﺎت اﻟﺴﻴﺎﺳﻴﺔ ﺿﻐﻮﻃﺎ ﻋﲆ ﺣﻴﺎة اﻟﺒﴩ‬ ‫ﻛﺎن ﻫﺎﺟﺲ زاﻳﺪ ﺗﻮﻓري اﻷﻣﻦ واﻻﺳﺘﻘﺮار ﻟﻺﻧﺴﺎﻧﻴﺔ ﺟﻤﻌﺎء‪ ،‬ﻓﻘﺪ ﻏﺮس اﻟﺸﻴﺦ زاﻳﺪ ﰲ‬ ‫ﻛﻞ ﻓﺮد ﻗﻴ ًام وأﺳﺴﺎ ﻧﺸﺄﻧﺎ ﻋﻠﻴﻬﺎ‪ ،‬ﻓﻜﺮﻣﻪ وﺣﺒﻪ وﻃﻴﺐ ﻗﻠﺒﻪ ﻃﺎل اﻹﻧﺴﺎن واﻟﻨﺒﺎت‬ ‫واﻟﻄﺒﻴﻌﺔ وﻛﻞ ﳾء ﻋﲆ ﻫﺬه اﻻرض‪ ،‬وأﻳﻨام ﻧﺬﻫﺐ ﻧﺠﺪ ﻣﺎ ﺧ ّﻠﻔﻪ زاﻳﺪ‪ ،‬و ﻛﺄﻧﻪ ﻣﺎزال‬ ‫ﻣﻮﺟﻮداً ﻧﺮاه ﻣﻦ أﺑﻨﺎﺋﻪ اﻟﱪرة ﺣﻔﻈﻬﻢ اﻟﻠﻪ‪ ،‬ﻧﺮاه ﰲ اﻟﻌﻤﺮان واﻟﺘﺸﻴﻴﺪ واﻟﺒﻨﺎء‪ ،‬ﻧﺮاه ﰲ‬ ‫اﻟﺰراﻋﺔ واﻟﻨﺒﺎت‪ ،‬وﻧﺮاه ﰲ وﻇﺎﺋﻔﻨﺎ وﻋﻤﻠﻨﺎ و ﻣﺪارﺳﻨﺎ‪ ،‬ﻧﺮاه ﰲ اﻷﻋامل اﻹﻧﺴﺎﻧﻴﺔ واﻟﺨريﻳﺔ‬ ‫ﻓﻬﻮ اﻟﺴﺒﺎق دامئﺎً ﺑﺎﻟﺨري‪ ،‬وأﻳﻀﺎ ﻧﺮاه ﰲ ﺑﻴﻮﺗﻨﺎ ﻓﻬﻮ ﻣﻦ أﻣﺮ ﺑﺒﻨﺎﺋﻬﺎ ﻟﻨﺎ‪ ،‬ﻓﻜﻞ ﻫﺬا اﻟﺤﺐ‬ ‫واﻟﻌﻄﺎء اﻟﺬي ﺻﺒﻪ ﻋﲆ أرﺿﺔ ﺑﻜﻞ ﻣﺎ ﻓﻴﻬﺎ‪ ،‬ﺷﻌﺮﻧﺎ ﺑﻪ وﻣﺎزﻟﻨﺎ ﻧﺸﻌﺮ ﺑﻪ وﻧﺮاه و ﻛﺄﻧﻪ‬ ‫ﻣﻮﺟﻮد وإﱃ اﻵن؛‬ ‫*&‪ 6f¡G* £§ª< «CD CD§ 7*K É§ª + «C0 CD§ 7‬‬ ‫‪ C 6f I* fC¤T¡F fC¤ I jCDf G*K Cw¡G* ¨Ck0K‬‬ ‫‪ 6fC 6 f¡ªD hª G* l 6|C= Cg0 f¡g +U lC<45‬‬ ‫‪ 6f 6 § < ¢H TÑC <Q K zCCM*5 fCM hC G* lCª¡+‬‬ ‫‪ 6f¼*K hJ{G* S ¨ =&* fM nH z/§I* Q £z H CMQ‬‬ ‫‪T‬‬ ‫‪ 6Ñ/ K 2ÑC‬‬ ‫‪C+ ¢< Cg0 04 fCH K l C04‬‬ ‫‪ 6f:| G* ¨ < ·K|0 G zM*5 fM f< CF · K‬‬ ‫‪U‬‬ ‫‪ 6fªE CCG lCCTDK fCCH | G* ·*§CCCCCE *{CJ CC=4‬‬ ‫‪ 6f 0¸* « wI fI~CqC< fCI| 8&¸ fIÌF* ¢CH‬‬ ‫‪ C 6f kI ifC U CG ¨C < fCT¡0 *{C CJ ¢C G K‬‬ ‫| ‪ 6fCH§¡CG* «CCCCC<*4 fT¡CH K zCCCCCM* ¨ < fC¡ª+T‬‬‫‪ 6f+ ¬§CCE ¢CH ¥ 6f+K «C+4 ¥C tM ¥C ª 1‬‬ ‫‪ 6*|G* ¿f< K ¿f< Ë*2 ¦zªC < zGfC1 §C+ K‬‬ ‫‪P‬‬ ‫‪ 6f 0(*K H~< p4K ¥gª G*K U-4§ 8 p4K‬‬ ‫‪ 6*|C0‬‬ ‫‪T ¢C:§ G f¡ CF K ¤Mz I vK|CGf+ ¢CtI‬‬ ‫< ‪ 6f¡ I uCM|+ v§C M zCCM* 45 |Cg1 ¨C‬‬ ‫<‪ 6fC G* ÕgT ªC: f¤ CJ* K fC¡kGK2 CMzMU Ù* ¨C C‬‬ ‫¸&‪ 6fC 6 § < ¢CH lT C S- zCCCCCM*5 fCM 4*zCCCCCG* £‬‬

‫ﻋﺘﻴﻖ ﺧﻠﻔﺎن اﻟﻜﻌﺒﻲ‬ ‫أن ﺗﻜﻮن ﺷﺎﻋﺮاً ﻳﻌﻨﻲ أن ﺗﺨﻠﻊ ﻗﻠﺒﻚ‬ ‫ﺑﺎﺳﺘﻤﺮار وﺗﻄﻌﻤﻪ ﻟﻺﻧﺴﺎﻧﻴﺔ ﺟﻤﻌﺎء ﻣﻦ‬ ‫دون اﺳﺘﺜﻨﺎء أو متﻴﻴﺰ‪ .‬ﺗﺠﺮﺑﺔ زاﻳﺪ اﻟﺸﻌﺮﻳﺔ‬ ‫منﻮذج ﻳﺤﺘﺬى ﺑﻪ ﻟﺠﻤﻴﻊ اﻟﺸﻌﺮاء وﻣﻦ مل‬ ‫ﻳﻘﺮأ وﻳﻄﻠﻊ ﻋﲆ ﻗﺼﺎﺋﺪه ﻟﻦ ﻳﺪرك اﻟﺸﻤﻮخ‬ ‫واﻟﻮﻃﻨﻴﺔ واﻟﺴﻤﻮ ﰲ اﳌﻌﻨﻰ واﻻﻧﺘﺼﺎر ﰲ‬ ‫روح اﻟﺸﻌﺮ‪ ،‬ﻓﻤﻦ ﻳﺘﺘﺒﻊ ﻣﺎ ﺗﺤﺘﻮﻳﻪ ﻗﺼﺎﺋﺪ‬ ‫اﻟﺸﻴﺦ زاﻳﺪ وﻣﻌﺎﻧﻴﻬﺎ ﻳﺼﻞ اﱃ ﻗﻤﺔ اﻟﺸﻌﺮ‪،‬‬ ‫ﻓﺎﳌﻔﺮدات اﻟﺘﻲ ﺗﺤﺘﻮﻳﻬﺎ ﻗﺼﺎﺋﺪ اﻟﺸﻴﺦ زاﻳﺪ‬ ‫ﺗﺨﺘﺰل ﺣﺐ اﻟﻮﻃﻦ وﺗﺮﺳﻢ اﻟﻘﻴﻢ اﻟﺴﺎﻣﻴﺔ ﰲ‬ ‫اﻻﺧﻼق واﻟﻌﺎدات اﻟﺒﺪوﻳﺔ اﳌﺘﻮارﺛﺔ ﻛﺎﻟﻜﺮم‬ ‫واﻟﺸﺠﺎﻋﺔ واﻟﻌﻔﻮ واﻟﺘﺴﺎﻣﺢ‪.‬‬ ‫ﻟﺬﻟﻚ ﻧﺠﺪ ﺟﻤﻴﻊ اﻟﺸﻌﺮاء ﻳﻘﺘﺪون ﺑﺎﻟﺸﻴﺦ‬ ‫زاﻳﺪ ﰲ ﻛﺘﺎﺑﺔ ﻧﺼﻮﺻﻬﻢ و ﻳﺴﺘﻠﻬﻤﻮن ﻣﻨﻪ‬ ‫أﻓﻜﺎرﻫﻢ وﻧﻈﺮﺗﻬﻢ اﳌﺴﺘﻘﺒﻠﻴﺔ ﰲ اﻟﺸﻌﺮ‪.‬‬ ‫ﻟﻘﺪ اﺛﺮ اﻟﺸﻴﺦ زاﻳﺪ ﰲ اﻟﺸﻌﺮ ﺑﻮﺻﻔﻪ ﺷﺎﻋﺮاً‬ ‫ﻣﺘﻔﺮداً ﻳﻜﺘﺐ ﺑﺈﺣﺴﺎس ﻣﻔﻌﻢ ﺑﺤﺐ دوﻟﺔ‬ ‫اﻹﻣﺎرات وأﻫﻠﻬﺎ وﻧﺨﻴﻠﻬﺎ وﺟﺒﺎﻟﻬﺎ‪..‬‬ ‫ﻛﺎن ﰲ ﺷﻌﺮه رﺣﻤﻪ اﻟﻠﻪ رﻗﻴﻖ اﳌﺸﺎﻋﺮ‬ ‫ﻳﺼﻒ ﺑﻌني اﻹﻧﺴﺎن‪ ،‬وﻗﺼﺎﺋﺪه ﺗﻨﺒﺾ مبﻨﺠﺰه‬ ‫وﺣﻠﻤﻪ اﻟﻮﺣﺪوي وﺣﺒﻪ ﻟﻠﺨري وإﺣﺴﺎﺳﻪ‬ ‫مبﺸﺎﻋﺮ اﻵﺧﺮﻳﻦ‪.‬‬ ‫ﰲ ﺷﻌﺮه ﺣﺚ اﻟﺸﺒﺎب ﻋﲆ اﻟﻌﻤﻞ‪ ،‬وأﺑﺮز‬ ‫دور اﳌﺮأة ﰲ اﳌﺠﺘﻤﻊ‪ ،‬وﻓﻴﻪ ﺣﻨﺎن اﻷﺑﻮة‪،‬‬ ‫وإميﺎن ﺑﺮص اﻟﺼﻔﻮف وﺻﻔﺎء اﻟﻘﻠﻮب‪.‬‬ ‫زاﻳﺪ ﻛﺎن إﻧﺴﺎﻧﺎً وﻗﺎﺋﺪاً وﺷﺎﻋﺮاً وﻓﺎرﺳﺎً‬ ‫وﺣﻜﻴ ًام‪ ،‬رﺣﻞ وﻻ ﺗﺰال ﻗﺼﺎﺋﺪه وﻛﻠامﺗﻪ‬ ‫ﺗﺘﺸﺢ ﺑﺸﻤﻮخ اﻟﺠﺒﺎل وﻣﻼﻣﺢ اﻟﺒﺪوي‬ ‫اﻷﺻﻴﻞ‪ ،‬واﺑﺘﺴﺎﻣﺘﻪ ﺗﺮﻓﺮف ﰲ رﺑﻮع اﻟﻮﻃﻦ‬ ‫ﰲ ﻛﻞ وﻗﺖ ‪.‬‬

‫ﻳﻮﻧﻴﻮ ‪25 2018 /‬‬

‫اﺳﺘﻄﻼع‬ ‫‪baytelshear‬‬

‫ﻣﻠﻬﻢ اﻟﺸﻌﺮاء‬

‫ﺧﺎﻟﺪ اﻟﻈﻨﺤﺎﻧﻲ‬ ‫ﺷﺨﺼﻴﺔ اﳌﻐﻔﻮر ﻟﻪ اﻟﺸﻴﺦ زاﻳﺪ‪ ،‬ﻃﻴﺐ اﻟﻠﻪ‬ ‫ﺛﺮاه‪ ،‬ميﻠﺆﻫﺎ اﻹﺣﺴﺎس ﺑﺎﻵﺧﺮﻳﻦ‪ ،‬وﻫﻲ ﻗﺎمئﺔ‬ ‫ﻋﲆ اﻟﺘﺠﺬر اﻟﻮﻃﻨﻲ واﻟﻌﺮويب ﺑﺎﻧﺘامء ﻣﺘﺄﺻﻞ‪،‬‬ ‫وﺗﻠﻚ اﻟﺮؤى اﻟﻨﺎﺑﻀﺔ ﺑﻔﻜﺮ ﻣﻌﺮﰲ أﺻﻴﻞ‪،‬‬ ‫ﺗﺸ ّﻜﻞ‪ ،‬وﺑﺎﻟﻔﻄﺮة‪ ،‬ﺣﺎﻟﺔ ﻣﻮﺳﻮﻋﻴﺔ ﻣﻦ اﻟﻌﻠﻢ‬ ‫واﳌﻌﺮﻓﺔ واﻟﺜﻘﺎﻓﺔ‪ ،‬أﺿﺎف إﻟﻴﻬﺎ اﻟﺸﻴﺦ زاﻳﺪ‬ ‫اﻟﺸﻌﺮ‪ ،‬ﻣام ﺟﻌﻞ اﻹﻣﺎرات اﻟﻌﺮﺑﻴﺔ اﳌﺘﺤﺪة‬ ‫ﻗﺼﻴﺪة ﻻ ﺗﻨﺘﻬﻲ‪ ،‬ﺗﻠﻬﻢ مبﺘﺤﻮﻻﺗﻬﺎ وﻣﺘﻐرياﺗﻬﺎ‬ ‫اﻟﺒﻨـﺎءة‪ ،‬اﻟﺪول‪ ،‬واﻟﻨﺎس واﻟﺸﻌﺮاء‪..‬‬ ‫ّ‬ ‫ﻣﻨﺬ ﺗﻮﻟﻴﻪ اﻟﺤﻜﻢ‪ ،‬ﺣﺮص اﳌﻐﻔﻮر ﻟﻪ اﻟﺸﻴﺦ‬ ‫زاﻳﺪ ﻋﲆ إﻃﻼق اﳌﴩوﻋﺎت اﻟﺜﻘﺎﻓﻴﺔ‬ ‫وﺗﺸﺠﻴﻊ اﻟﺠﻤﻬﻮر ﻋﲆ اﻟﺘﻔﺎﻋﻞ ﻣﻌﻬﺎ وﻣﻊ‬ ‫ﻣﺎ ﺗﻘﺪﻣﻪ‪ ،‬وأوﱃ اﻫﺘامﻣﺎً ﺧﺎﺻﺎً ﺑﺎﻟﱰاث‪،‬‬

‫ﻟﺴ‪$$$$$$$‬ﺎن وﻃ‪$$$‬ﻦ‬

‫ﻷﻧﻪ ﻣﻜﻮن أﺳﺎﳼ ﻣﻦ ﻣﻜﻮﻧﺎت اﻟﻬﻮﻳﺔ‬ ‫اﻟﻮﻃﻨﻴﺔ‪ ،‬واﻟﺸﺨﺼﻴﺔ اﻹﻣﺎراﺗﻴﺔ‪ ،‬ﻓﻜﺎن ﺣﺮﻳﺼﺎً‬ ‫أﺷﺪ اﻟﺤﺮص ﻋﲆ ﺻﻮن اﻟﱰاث‪ ،‬ﻣﻦ ﻋﺎدات‬ ‫وﺗﻘﺎﻟﻴﺪ وﻗﻴﻢ إﻳﺠﺎﺑﻴﺔ‪ ،‬وإﻳﺼﺎﻟﻬﺎ إﱃ اﻷﺟﻴﺎل‬ ‫اﻟﺠﺪﻳﺪة‪ ..‬وﻷن اﻟﺸﻌﺮ ﻋﻤﻮﻣﺎً‪ ،‬واﻟﺸﻌﺮ‬ ‫اﻟﻨﺒﻄﻲ ﺧﺼﻮﺻﺎً‪ ،‬ميﺜﻞ إﺣﺪى دﻋﺎﺋﻢ اﻟﺜﻘﺎﻓﺔ‬ ‫اﻟﻌﺮﺑﻴﺔ واﻟﺨﻠﻴﺠﻴﺔ‪ ،‬اﻫﺘﻢ ﺑﻪ اﻟﺸﻴﺦ زاﻳﺪ‪،‬‬ ‫ﻓﻠﻢ ﻳﻜﻦ ﻣﺤﺒﺎً ﻟﻠﺸﻌﺮ واﻟﺸﻌﺮاء ﻓﻘﻂ‪ ،‬ﺑﻞ‬ ‫ﻛﺎن ﺷﺎﻋﺮاً ﻣﺒﺪﻋﺎً‪ ،‬وﻟﻪ اﻟﻜﺜري ﻣﻦ اﻟﻘﺼﺎﺋﺪ‬ ‫اﳌﻤﻴﺰة ﺑﺮوﺣﻬﺎ وﻟﻐﺘﻬﺎ وﺟامﻟﻴﺎﺗﻬﺎ وﻣﻀﻤﻮﻧﻬﺎ‬ ‫واﺳﺘﻤﺮارﻳﺘﻬﺎ ﰲ اﻟﺰﻣﺎن واﳌﻜﺎن‪..‬‬ ‫إن ﺷﺨﺼﻴﺘﻪ اﳌﺘﻔﺮدة اﻟﺘﻲ ﺟﻤﻌﺖ ﺑني اﻟﻘﻴﺎدة‬ ‫ﺗﺸﻊ ﺑﺼﻔﺎت‬ ‫واﻹﺑﺪاع اﻟﺸﻌﺮي‪ ،‬ﻣﺎ زاﻟﺖ ّ‬ ‫اﻟﻔﺮوﺳﻴﺔ اﻟﺘﻲ ﺟﻌﻠﺘﻪ ﻳﺪ ّون أﺟﻤﻞ ﻗﺼﻴﺪة‬ ‫ﰲ اﻟﺘﺎرﻳﺦ اﻟﺤﺪﻳﺚ وﻫﻲ دوﻟﺔ اﻹﻣﺎرات‬ ‫اﻟﻌﺮﺑﻴﺔ اﳌﺘﺤﺪة‪ ،‬اﻟﺘﻲ إﱃ اﻟﻴﻮم ﺗﻠﻬﻢ اﻟﺸﻌﺮاء‬ ‫واﳌﺒﺪﻋني ﻳﻨﻬﻠﻮن ﻣﻨﻬﺎ إﺑﺪاﻋﺎﺗﻬﻢ اﻟﺸﻌﺮﻳﺔ‬ ‫وﻳﻄﺮزون ﻗﺼﺎﺋﺪﻫﻢ ﺑﻮﻋﻲ زاﻳﺪ وﺣﻠﻢ زاﻳﺪ‬ ‫وﻋﺒﻘﺮﻳﺔ زاﻳﺪ‪ ..‬ومبﺎ أﻧﻪ‪ ،‬رﺣﻤﻪ اﻟﻠﻪ‪ ،‬ﺷﺎﻋﺮ‬ ‫أﺻﻴﻞ ﻓﻘﺪ اﻫﺘﻢ ﺑﺈﻗﺎﻣﺔ ﻣﺠﺎﻟﺲ اﻟﺸﻌﺮ ﰲ‬ ‫ﻣﺨﺘﻠﻒ أﻧﺤﺎء اﻟﺪوﻟﺔ‪ ،‬ورﻓﻊ ﻣﻜﺎﻧﺔ اﻟﺸﻌﺮاء‬ ‫وﺷﺠﻌﻬﻢ ﻣﺎدﻳﺎً وﻣﻌﻨﻮﻳﺎً‪ .‬اﻷﻣﺮ اﻟﺬي اﻧﻌﻜﺲ‬ ‫ﻋﲆ ﻗﻮة وﻋﻤﻖ اﻹﺑﺪاع اﻟﺸﻌﺮي ﻟﻠﺸﻌﺮاء‪،‬‬ ‫وﻛﺎن أﻳﻀﺎً ﺳﺒﺒﺎً ﰲ ﺗﺒﻮء اﻟﺴﺎﺣﺔ اﻟﺜﻘﺎﻓﻴﺔ‬ ‫اﻹﻣﺎراﺗﻴﺔ ﻣﻜﺎﻧﺔ ﻣﻬﻤﺔ ﻋﺮﺑﻴﺎً ودوﻟﻴﺎً‪.‬‬

‫ﻋﺒﺪا[ اﻟﻌﺴﺎف‬ ‫اﻟﺸﺎﻋﺮ ﻟﺴﺎن وﻃﻨﻪ وﻣﺠﺘﻤﻌﻪ ﻳﻨﻄﻖ‬ ‫ﺑﻔﺮﺣﻪ ووﺟﻌﻪ‪ ،‬وﻫﻮ اﻟﺮاﺣﻞ دامئﺎ ﰲ‬ ‫ﻫﻤﻮم اﻻﻧﺴﺎﻧﻴﺔ اﻟﺰارع ﻟﻠﺤﻠﻢ ﰲ ﺟﺪب‬ ‫اﻟﻮاﻗﻊ ووﺟﻌﻪ‪ .‬وﻗﺪ ﻛﺎن اﻟﺸﻴﺦ زاﻳﺪ‬ ‫رﺣﻤﺔ اﻟﻠﻪ ﻋﻠﻴﻪ ﺷﺨﺼﻴﻪ ﻗﻴﺎدﻳﺔ وﻣﺆﺛﺮة‪،‬‬ ‫وﺷﺨﺼﻴﺘﻪ اﻟﺸﻌﺮﻳﺔ ﺗﻮازي ﺷﺨﺼﻴﺘﻪ‬ ‫اﻟﺴﻴﺎﺳﻴﺔ ﺗﺄﺛريا وﻗﻮة‪ ،‬ﻓﻬﻮه رﺣﻤﻪ اﻟﻠﻪ‬ ‫ﻣﺪرﺳﺔ ﺷﻌﺮﻳﺔ ﻋﺮﻳﻘﺔ ﺗﺄﺛﺮ ﺑﻬﺎ وﻧﻬﻞ ﻣﻨﻬﺎ‬ ‫اﻟﻜﺜريون ‪ .‬وﻗﺪ مت ّﻴﺰت أﺷﻌﺎره ﺑﻮﺿﻮح‬ ‫اﳌﻌﻨﻰ وﺳﻼﺳﺔ اﻟﻠﻔﻆ وﺟﻮدة اﻟﺴﺒﻚ واﺳﺘﺴﺎﻏﺘﻬﺎ اﻷﺳامع‪ ،‬ﻣام أوﺻﻞ اﻟﻠﻬﺠﺔ‬ ‫وﻋﺬوﺑﺔ اﻟﻜﻠﻤﺔ‪ ،‬ﻣام ﺣ ّﺒﺐ اﻟﺠﻤﻴﻊ ﻓﻴﻬﺎ‪ ،‬اﻹﻣﺎراﺗﻴﺔ ﻟﻠﺨﻠﻴﺞ واﻟﻌﺮب وأﺧﺮﺟﻬﺎ ﺧﺎرج‬ ‫وﻋﺮف اﻟﻜﺜريﻳﻦ ﺑﻬﺎ‪.‬‬ ‫ﻓﺤﻔﻈﻮﻫﺎ ﰲ اﻟﺬاﻛﺮة‪ ،‬وﺗﻨﺎﻗﻠﺘﻬﺎ اﻟﺸﻔﺎه اﻟﻨﻄﺎق اﳌﺤﲇ ّ‬

‫اﻟﺸﻌﺮ ‪ /‬اﻟﻌﺪد ‪68‬‬ ‫‪ 24‬ﺑﻴﺖ ِ‬

‫ﻣﻮﺳﻮﻋﺔ ﺷﻌﺮﻳﺔ‬

‫ﻧﺎﺻﺮ ﺑﻦ ﻳﺮوان اﻟﻨﻴﺎدي‬ ‫ﻻ ﻗﻴﻤﺔ ﻟﻠﺸﻌﺮ إن مل ﻳﺨﺪم ﺑﺎﻟﺸﻜﻞ‬ ‫اﻟﺬي ﻳﺮﺗﻀﻴﻪ ﻗﻀﻴﺔ اﻹﻧﺴﺎن‪ ،‬ﻓﺎﻟﺸﻌﺮ‬ ‫أوﻻً واﺧرياً ﻣﺴﺆوﻟﻴﺔ اﺧﻼﻗﻴﺔ وﺟامﻟﻴﺔ‬ ‫ﰲ آن ﻣﻌﺎً‪ .‬واﻟﺸﻌﺮ اذا ﻣﺎ ﺗﻮﻓﺮت ﻟﻪ‬ ‫اﳌﺴﺎﺣﺔ واﻻﻣﻜﺎﻧﺎت واﻟﺮﻋﺎﻳﺔ ﻳﺴﺘﻄﻴﻊ‬ ‫أن ﻳﺆدي دوره اﳌﺠﺘﻤﻌﻲ ﺑﻜﻔﺎءة‬ ‫واﻗﺘﺪار‪.‬‬ ‫وﺗﺠﺮﺑﺔ اﻟﺸﻴﺦ زاﻳﺪ اﻟﺸﻌﺮﻳﺔ وأﺛﺮﻫﺎ ﰲ‬ ‫اﻟﺸﻌﺮ واﻟﺸﻌﺮاء ذات ﺑﺼﻤﺔ واﺿﺤﻪ‬ ‫ﺗﻨﻌﻜﺲ ﰲ ﺟﻤﻴﻊ اﻷﻃﻴﺎف وﻣﺨﺘﻠﻒ‬ ‫أﻟﻮان اﻟﺤﻴﺎة ﰲ دوﻟﺔ اﻹﻣﺎرات‪ ،‬اﻟﺘﻲ‬ ‫أﺻﺒﺤﺖ وﺟﻬﺔ اﻟﺸﻌﺮاء وﻣﻨﱪاً ﻟﻜﻞ‬ ‫ﻣﺒﺪع‪ ،‬واﻟﺪﻟﻴﻞ ﻋﲆ ذﻟﻚ ﻛرثة اﻟﱪاﻣﺞ‬ ‫واﳌﻬﺮﺟﺎﻧﺎت اﻟﺘﻲ ﻟﻬﺎ أﺻﺪاء ﻋﺎﳌﻴﺔ‪،‬‬ ‫واﻟﺘﻲ ﺟﻌﻠﺖ ﻣﻦ اﻟﺸﺎﻋﺮ ﺳﻔري اﻟﻜﻠﻤﺔ‬ ‫اﻟﻄﻴﺒﺔ وﺻﻮت اﻹﻧﺴﺎﻧﻴﺔ‪.‬‬ ‫اﻟﺸﻴﺦ زاﻳﺪ ﻃﻴﺐ اﻟﻠﻪ ﺛﺮاه ﻣﻨﻬﺞ‬ ‫وﻣﻨﺒﻊ ﺗﻨﻬﻞ ﻣﻨﻪ اﻷﺟﻴﺎل‪ ،‬ﻓﺎﻟﻮاﻟﺪ‬ ‫اﻟﺮاﺣﻞ ﻣﺪرﺳﺔ ﺷﻌﺮﻳﺔ ﺑﻞ ﻣﻮﺳﻮﻋﺔ‬ ‫ﺷﻌﺮﻳﺔ ﻳﺘﻮﺣﺪ ﺑﺎﻟﻠﻐﺔ وﻻ ﻳﺘﻼﻋﺐ‬ ‫ﺑﺄﻟﻔﺎﻇﻬﺎ‪ ،‬ﻳﻨﺼﻬﺮ ﰲ ﻗﺼﻴﺪﺗﻪ ﻷﻧﻬﺎ‬ ‫ﺟﻮﻫﺮ اﻟﺠامل واﻟﻨﻘﺎء واﳌﺤﺒﺔ‪ ،‬أﻗﺮب‬ ‫اﻟﻨﺎس إﱃ اﻟﻄﺒﻴﻌﺔ اﻟﺒﻜﺮ‪ ،‬ﻳﻨﺼﺖ ﺟﻴﺪاً‬ ‫إﱃ ﻏﻨﺎﺋﻬﺎ‪ ،‬ﻫﻮﻳﺔ أﻣﺔ وﻋﻨﻮان وﻃﻦ‪.‬‬ ‫ﻛﻠﻬﺎ ﻋﻨﺎﴏ وﺳامت واﻃﺮ ﺳﺎﻫﻤﺖ‬ ‫ﺑﻔﻌﺎﻟﻴﺔ ﰲ ﺑﻨﺎء ذاﺋﻘﺔ اﻟﺸﻌﺮاء‬ ‫وﻣﺠﺎراﺗﻬﺎ‪.‬‬

‫وﻓﺮة ﻓﻲ اﻟﻤﻮﺿﻮع وﺗﻘﻨﻴﺔ ﻓﻲ اﻟﻜﺘﺎﺑﺔ‬

‫راﺷﺪ ﺷﺮار‬

‫أﺳﺘﻄﻴﻊ اﻟﻘﻮل إنّ اﻟﺘﺠﺮﺑﺔ اﻟﺸﻌﺮ ّﻳﺔ ﻟﻠﻤﻐﻔﻮر‬ ‫ﻟﻪ اﻟﺸﻴﺢ زاﻳﺪ ﺑﻦ ﺳﻠﻄﺎن آل ﻧﻬﻴﺎن ﻃ ّﻴﺐ‬ ‫اﻟﻠﻪ ﺛﺮاه ﻗﺪ ﻣ ّﺪت ﺷﻌﺮاء اﻟﻮﻃﻦ اﻟﻌﺮيب‬ ‫ﻋﻤﻮﻣﺎً‪ ،‬وﺷﻌﺮاء اﻹﻣﺎرات واﻟﺨﻠﻴﺞ ﺗﺤﺪﻳﺪاً‪،‬‬ ‫ﺑﻮﻓﺮة ﻋﲆ ﻣﺴﺘﻮى اﳌﻮﺿﻮع‪ ،‬وﻛﺬﻟﻚ ﻋﲆ‬ ‫ﻣﺴﺘﻮى اﺳﺘﺜامر اﻟﺸﻌﺮاء ﻟﺘﻘﻨﻴﺘﻪ رﺣﻤﻪ اﻟﻠﻪ‬ ‫وﴍاﻛﺘﻬﻢ ﻣﻊ ﺳﻤﻮه ﰲ ﻛﺘﺎﺑﺔ ﻫﺬه اﻟﻘﺼﺎﺋﺪ‪.‬‬ ‫ﻓﻌﲆ ﻣﺴﺘﻮى اﳌﻮﺿﻮع‪ ،‬ﻇﻬﺮت ﻣﻔﺮدات‬ ‫اﻟﻔﺮوﺳ ّﻴﺔ واﻟﺒﻄﻮﻟﺔ ﻣﺜﻠام ﻇﻬﺮت ﻋﺎدات‬ ‫زاﻳﺪ وﻣﺮو ّﻳﺎﺗﻬﻢ وﺣﻜﺎﻳﺎﺗﻬﻢ ﻋﻨﻪ رﺣﻤﻪ اﻟﻠﻪ‬ ‫ﰲ اﻟﺼﻴﺪ وﺟﻤﻠﺔ اﻟﻄﻘﻮس اﻟﻨﺒﻴﻠﺔ اﻟﺘﻲ ﻛﺎﻧﺖ‬ ‫ّ‬ ‫ﻣﺤﻂ ﻋﻨﺎﻳﺘﻪ واﻫﺘامﻣﻪ‪ .‬أ ّﻣﺎ ﰲ ﺗﻘﻨﻴﺔ اﻟﺒﻨﺎء؛‬ ‫ﻓﻘﺪ ﺟﺎءت ﻗﺼﺎﺋﺪ اﻟﺸﻌﺮاء ﻣامﺛﻠ ًﺔ ﰲ ﺑﺤﻮر‬ ‫أﺻﻴﻠﺔ وأوزان ﻓﻄﺮ ّﻳﺔ ﻻ ﺗﻜ ّﻠﻒ ﻓﻴﻬﺎ‪ ،‬ﻛام‬ ‫ﻇﻬﺮت اﻟﻠﻬﺠﺔ ﻃﺎزﺟ ًﺔ ّ‬ ‫ﻟﺘﺪل ﻋﲆ اﻟﻈﺮف‬ ‫اﻟﺰﻣﻨﻲ ﻟـ »زاﻳﺪ« ّ‬ ‫ﺑﻜﻞ اﳌﺤ ّﺒﺔ اﻟﺘﻲ ﻧﻔﺬت‬ ‫إﱃ ﻗﻠﻮب أﺻﺪﻗﺎﺋﻪ وﻣﺴﺎﺟﻠﻴﻪ وﻣﺠﺎﻳﻠﻴﻪ‪،‬‬ ‫ّﺛﻢ ﻟﻴﺘﻮارث اﻟﺸﻌﺮاء اﻟﺸﺒﺎب ﻫﺬه اﻟﺘﻘﻨﻴﺎت‬ ‫ﰲ اﻟﺼﻮر اﻟﻔﻄﺮ ّﻳﺔ اﻟﺘﻲ ﻇ ّﻠﺖ ﺗﻘﺒﻞ اﻟﺘﺠﺪد‬ ‫وﻣﺴﺎﺣﺔ اﳌﻔﺮدات اﳌﺴﺘﺠ ّﺪة ﻟﺪى اﻟﺠﻴﻞ‬ ‫اﻟﺤﺎﴐ ﻣﻦ اﻟﺸﻌﺮاء‪.‬‬ ‫ﻓﺎﳌﻬﻢ ﻫﻮ ﰲ اﻟﺜﻴﻤﺔ أو ﻓﻜﺮة اﻟﻘﺼﻴﺪة‬ ‫ّ‬ ‫اﻟﺸﻌﺮي وﰲ اﻟﺤﻔﺎظ ﻋﲆ‬ ‫وﰲ اﻟﻨﻔﺲ‬ ‫ّ‬ ‫اﻟﺸﻌﺮي وروﻧﻘﻪ ﻋﲆ ﻣﺎ‬ ‫أﺻﺎﻟﺔ اﻟﻨﻤﻮذج‬ ‫ّ‬ ‫ﰲ اﳌﺴﺎﻓﺔ ﺑني زﻣﻨني ﻣﻦ ﻇﺮوف ﺟﺪﻳﺪة‬ ‫وأﻟﻔﺎظ ﺟﺪﻳﺪة ﺑﺤﻜﻢ اﻻﺧﺘﻼط اﻟ ّﻠﻬﺠﻲ‬ ‫ﺑﻄﺒﻴﻌﺔ اﻟﺤﺎل‪.‬‬

‫ﻧﻔﺮق ﺑني أن ﺗﻜﻮن ﺷﺨﺼ ّﻴﺔ‬ ‫وﻋﻠﻴﻨﺎ ﻫﻨﺎ أن ّ‬ ‫»زاﻳﺪ« ّ‬ ‫إﻋﺠﺎب وﻣﺒﺜﻮﺛ ًﺔ ﰲ أﺷﻌﺎر‬ ‫ﻣﺤﻂ‬ ‫ٍ‬ ‫اﻟﺸﻌﺮاء‪ ،‬ﻳﺘﻐ ّﻨﻮن ﺑﻬﺎ ومبﺂﺛﺮ ﺻﺎﺣﺒﻬﺎ‬ ‫وﻳﻔﺘﺨﺮون ﺑﺄﻧّﻬﺎ اﻟﺸﺨﺼ ّﻴﺔ اﻟﺘﻲ ﻧﺸﺄت ﰲ‬ ‫ٍ‬ ‫ٍ‬ ‫وﻣﻨﺒﺖ ﻃ ّﻴ ٍﺐ أﺻﻴﻞ‪ ،‬وﻋﻤﻠﺖ‬ ‫ﺑﻴﺖ ﻛﺮﻳﻢ‬ ‫وﺗﺼﻤﻴﻢ ﻋﲆ اﻟﺒﻨﺎء‬ ‫وﺣﺪوي‬ ‫ﻋﲆ ﻓﻜ ٍﺮ‬ ‫ﱟ‬ ‫ٍ‬ ‫واﻹﻧﺠﺎز‪ ،‬ﻣﻦ ﻧﺎﺣﻴﺔٍ‪ ،‬وأن ﻳﺘﺄ ّﺛﺮ ﻫﺆﻻء‬ ‫اﻟﺸﻌﺮاء ﺑﻘﺼﻴﺪة »زاﻳﺪ« رﺣﻤﻪ اﻟﻠﻪ ﰲ‬ ‫ﺑﻨﺎﺋﻬﺎ وﺗﻘﻨﻴﺎﺗﻬﺎ وﻓﻄﺮ ّﻳﺘﻬﺎ وﻣﻮاﺿﻴﻌﻬﺎ‬ ‫اﻟﺒﺪوي‬ ‫اﻟﺸﻌﺒﻲ أو‬ ‫وﺷﻜﻠﻬﺎ اﻟﻔ ّﻨﻲ ﰲ اﻟﺸﻌﺮ‬ ‫ّ‬ ‫ّ‬ ‫اﻹﻣﺎرايتّ‪ ،‬ووﻓﻖ ﺗﺴﻤﻴﺎت ﻫﺬا اﻟﻨﻮع ﻣﻦ‬ ‫اﻟﺸﻌﺮ ﰲ اﳌﻨﻄﻘﺔ اﻟﻌﺮﺑ ّﻴﺔ ﻋﲆ وﺟﻪ اﻟﻌﻤﻮم‪.‬‬ ‫ّ‬ ‫وﻟﻌﲇ ﻫﻨﺎ أﺷري إﱃ ﺗﺄﺛري ﻗﺼﻴﺪة »زاﻳﺪ«‬ ‫ﰲ ﺑﺤﻮرﻫﺎ اﻟﴪﻳﻌﺔ أو اﻟﻠﻄﻴﻔﺔ اﻟﻮﻗﻊ ﰲ‬ ‫اﻟﺴﺎﺑﻖ؛‬ ‫اﻟﺠﻴﻞ اﻟﻼﺣﻖ وﻛﺬﻟﻚ ﰲ اﻟﺠﻴﻞ ّ‬ ‫وﻫﻲ اﻟﻘﺼﻴﺪة اﻟﺘﻲ ﺗﺸﺘﻤﻞ ﻋﲆ ﺣﻨني‬ ‫ووﻓﺎء ﻟﻠﺤﺒﻴﺐ ووﺻﻒ ﳌﺤﺎﺳﻨﻪ اﳌﻌﻨﻮ ّﻳﺔ‬ ‫أ ّوﻻً واﻟﺨَ ْﻠﻘ ّﻴﺔ ﺛﺎﻧﻴﺎً أو ﺑﻄﺮﻳﻖ ﺳﻠﺲ‪ ،‬ﻓﻬﺬه‬ ‫اﻟﺘﻮﻟﻴﻔﺔ اﻹﺑﺪاﻋ ّﻴﺔ ﻗﻠﻴﻠﺔ اﻷﺑﻴﺎت وﴎﻳﻌﺔ‬ ‫اﳌﻮﺳﻴﻘﻰ‪ ،‬وﻣﻜﺜّﻔﺔ ﺑﺎﻟﺼﻮر اﻟﻌﺬﺑﺔ ﻏري‬

‫اﳌﻌﻘّﺪة‪ ،‬ﻇﻬﺮت ﰲ ﻛﺘﺎﺑﺎت ﺷﻌﺮاء ﺟﺪد‬ ‫أو ﻗﺪاﻣﻰ ﺣﻔﻈﻨﺎ ﻗﺼﺎﺋﺪﻫﻢ اﳌﻐ ّﻨﺎة‪ ،‬وذﻟﻚ‬ ‫ﻋﲆ ﻣﺎ أرى ّ‬ ‫ﻳﺪل ﻋﲆ ﻓﱰة ﺳﺎﺑﻘﺔ ﻛﺎن ﻓﻴﻬﺎ‬ ‫»زاﻳﺪ« رﺣﻤﻪ اﻟﻠﻪ اﺑﻨﺎً وﻓ ّﻴﺎً ﳌﻨﻄﻘﺘﻪ وﻟﻬﺠﺘﻪ‬ ‫ﻋﲆ اﳌﺴﺘﻮى اﻹﺑﺪاﻋﻲ‪ ،‬وﺷﻮاﻫﺪ ﻫﺬه‬ ‫اﻟﻘﺼﻴﺪة ﻣﻮﺟﻮدة ﰲ ﻗﺼﺎﺋﺪه وﻋﺘﺎﺑ ّﻴﺎﺗﻪ‬ ‫اﳌﺸﻬﻮرة‪ ،‬وﻛﺬﻟﻚ ﰲ ﻗﺼﺎﺋﺪ اﻟﺸﻌﺮاء‬ ‫اﻟﺴﻤﻮ ﺗﻮﻟﻴﻔﺎﺗﻪ‬ ‫اﻟﺬﻳﻦ اﻗﺘﺒﺴﻮا ﻣﻦ ﺻﺎﺣﺐ ّ‬ ‫ٍ‬ ‫ﻣﺴﺎﺟﻼت أو ﺗﴩّ ﺑﻮا‬ ‫وﻧﺴﺠﻮا إﺑﺪاﻋﺎﺗﻬﻢ ﰲ‬ ‫ﰲ ﺗﺄ ّﺛﺮﻫﻢ ﺑﺴﻤﻮه ﺑﻨﺎء اﻟﻘﺼﻴﺪة واﻟﺒﻴﺖ‪.‬‬ ‫ّمثﺔ ﻧﻘﻄﺔ أﺧﺮى‪ ،‬وﻫﻲ أنّ أﻏﺮاض »زاﻳﺪ«‬ ‫ﻧﺠﺪﻫﺎ ﻫﻲ ذاﺗﻬﺎ‪ ،‬ﻣﻊ ﳾء ﻣﻦ اﻟﺨﺼﻮﺻ ّﻴﺔ‪،‬‬ ‫ﻟﺸﻌﺮاء ﺷﺒﺎب وﺷﻌﺮاء ﻟﻬﻢ رﻳﺎدﺗﻬﻢ اﻟﺰﻣﻨ ّﻴﺔ‪،‬‬ ‫ﻛام ﰲ وﺻﻒ اﻟﺸﻌﺮاء ﻟﻠﺼﻴﺪ واﻟﻄري‪ ،‬ﺑﻞ‬ ‫وإﻋﺠﺎﺑﻬﻢ ﺑﺸﺨﺼ ّﻴﺔ زاﻳﺪ اﻟﺬي »ﻳﺸﻞ اﻟﻄري‬ ‫ﻣﻦ ﻓﻮق ﻧﺎﻗﺘﻪ«‪ ،‬ﻛام ﻗﺎل أﺣﺪ اﻟﺸﻌﺮاء‪،‬‬ ‫ﻓـ»زاﻳﺪ« ﻧﻔﺴﻪ ﺗﻐ ّﻨﻰ ﺑﺎﻟﺼﻘﻮر وأﺳﻘﻂ‬ ‫ﺻﻔﺎﺗﻬﺎ اﻟﻌﻈﻴﻤﺔ ﻋﲆ ﺣامة اﻟﻮﻃﻦ‪ ،‬وﰲ‬ ‫ذﻟﻚ ﻣﻮﺿﻮع واﺷﺘﻐﺎل ﻓ ّﻨﻲ‪ ،‬ﻋﻼو ًة ﻋﲆ أﻧّﻪ‬ ‫رﺣﻤﻪ اﻟﻠﻪ ﺗﻐ ّﻨﻰ ﺑﺎﻟﻨﺴﻴﻢ وﻣﻸ اﻟﺤﻨني ﻋﻠﻴﻪ‬ ‫ﻧﻔﺴﻪ‪ ،‬ﻓﻨﺎدى ﻫﺬا اﻟﻨﺴﻴﻢ ﺑﺄﺑﻠﻎ اﻟﻨﺪاء ّ‬ ‫وﺑﺚ‬ ‫اﻟﻘﺼﻴﺪة أﺣﺰان اﻟﺒﻌﺪ‪ ،‬وذﻟﻚ ﻣﺎ ﻧﺠﺪه ﻟﺪى‬ ‫اﻟﺴﻤﻮ ﻧﺎﺋﺐ رﺋﻴﺲ اﻟﺪوﻟﺔ رﺋﻴﺲ‬ ‫ﺻﺎﺣﺐ ّ‬ ‫ﻣﺠﻠﺲ اﻟﻮزراء ﺣﺎﻛﻢ ديب اﻟﺸﺎﻋﺮ ﻣﺤﻤﺪ‬ ‫ﺑﻦ راﺷﺪ آل ﻣﻜﺘﻮم‪ ،‬اﻟﺬي ﻻزم »زاﻳﺪ«‬ ‫وأﻓﺮد ﻟﻪ ﻗﺼﺎﺋﺪ ﻃﻮﻳﻠﺔ ﰲ ﻣﺪﺣﻪ رﺣﻤﻪ‬ ‫اﻟﻠﻪ ورﺛﺎﺋﻪ ووﺻﻒ ﺑﻄﻮﻻﺗﻪ‪ ،‬ﻓﻬﻮ ﺗﺄﺛري‬ ‫ﻋﺎلٍ ﻻ ميﻨﻊ ﺧﺼﻮﺻ ّﻴﺔ‪ ،‬وميﻜﻦ أن ﻧﺪرﻛﻪ ﰲ‬ ‫اﺷﱰاك اﻟﺸﻌﺮاء ﻣﻊ زاﻳﺪ ﰲ اﻟﻮﺻﻒ واﻟﻐﺰل‬ ‫واﻟﻨﺼﻴﺤﺔ وﺗﻮﻟﻴﻔﺔ اﻟﻜﺘﺎﺑﺔ‪.‬‬

‫ﻳﻨﻌﻜﺲ ﻓﻲ ﻛﻞ ﻗﺎﻓﻴﺔ وﺑﺤﺮ وﺷﻌﻮر ﻧﻜﺘﺒﻪ‬

‫ﺑﺘﻮل آل ﻋﻠﻲ‬ ‫ً‬ ‫ً‬ ‫اﻟﺸﺎﻋﺮ ﺿﻤري ﻋﴫه‪ ،‬ﻣﻠﺘﺰم ﺑﻘﻀﺎﻳﺎ اﻹﻧﺴﺎن اﻟﺤﻘﻴﻘﻴﺔ‪ ،‬وﻫﻮ أﻳﻀﺎ أﻛرث رؤﻳﺔ واﻧﺪﻣﺎﺟﺎ ﻣﻊ ﻛﻞ‬ ‫ﻣﺎ ﻳﺤﺪث ﰲ ﻣﺠﺘﻤﻌﻪ وﺣﻮﻟﻪ‪ ،‬وإذا أﻟﻘﻴﻨﺎ ﻧﻈﺮة ﴎﻳﻌﺔ ﻋﲆ ﻧﺘﺎج وﺳﺠﺎﻳﺎ وﺳامت اﳌﻐﻔﻮر ﻟﻪ‬ ‫اﻟﺸﻴﺦ زاﻳﺪ اﻻﻧﺴﺎن اﻟﺸﺎﻋﺮ اﻟﺤﺎﻛﻢ اﻟﻘﺎﺋﺪ‪ ،‬ﻧﺠﺪه أﻧﻪ ﻛﺎن ﺿﻤﻦ ﺣﺮاك ﺷﻌﺒﻲ واﻧﺴﺎين‪ ،‬ﺻﺎغ‬ ‫ﻋﱪ ﻋﻦ أﺑﻨﺎء وﻃﻨﻪ وﻧﻬﻀﺔ أﻣﺘﻪ وﺳﺎﻫﻢ ﰲ أﻣﻦ وﺳﻼﻣﺔ اﻹﻧﺴﺎﻧﻴﺔ ﺟﻤﻌﺎء‪ .‬واﻟﺸﻴﺦ‬ ‫ﻛﻞ ﻣﺎ ّ‬ ‫زاﻳﺪ رﺣﻤﻪ اﻟﻠﻪ ﻗﺒﻞ أن ﻧﺘﺄﺛﺮ ﺑﺸﺎﻋﺮﻳﺘﻪ ﻓﻘﺪ ﺗﺄﺛﺮﻧﺎ ﺑﺄﻓﻌﺎﻟﻪ وﻣﻮاﻗﻔﻪ وﺣﻜﻤﺘﻪ وأﺑﻮﺗﻪ‪.‬‬ ‫ﺷﺎﻋﺮ‪ ،‬ﻗﺎﺋﺪ‪ ،‬ﺣﻜﻴﻢ‪ ،‬ﻛﺮﻳﻢ‪ ،‬أب ﻋﻄﻮف ﻋﲆ ﺷﻌﺒﻪ وﻏريﻫﺎ ﻣﻦ اﻟﺼﻔﺎت اﻟﺘﻲ ﺗﺜري ﻣﻠﻜﺔ اﻟﺸﻌﺮ‬ ‫ﰲ أي ﺷﺎﻋﺮ ﻟﻴﺘﻐﻨﻰ ﺑﻬﺬا اﻟﺮﺟﻞ اﻟﺬي ﺗﺴﺒﻖ أﻓﻌﺎﻟﻪ أﻗﻮاﻟﻪ‪.‬‬ ‫ﻳﻮﻧﻴﻮ ‪23 2018 /‬‬

‫اﺳﺘﻄﻼع‬ ‫‪baytelshear‬‬

‫أﺛﺮ زاﻳﺪ ﻓﻲ ﺣﻴﺎة وﻗﺼﺎﺋﺪ اﻟﺸﻌﺮاء‬

‫ﺑﻴﺌ ٌﺔ ﺧﺼﺒ ٌﺔ ﺑﺎﻟﺼﻮر واﻻﺑﺘﻜﺎرات‬ ‫َ‬ ‫اﻟﺸﻌﺮي‬ ‫واﻟﺨ ْﻠﻖ‬ ‫ّ‬ ‫ﻣﺤﻤﺪ ﻋﺒﺪاﻟﺴﻤﻴﻊ‬

‫ّ‬ ‫ﺑﺎﻟﻔﻦ اﻟﺬي ﻳﻠﻴﻖ ﺑﺼﺎﺣﺒﻬﺎ زاﻳﺪ رﺣﻤﻪ ا¬‪ ،‬ﻓﻜ ّﻨﺎ أﻣﺎم ﻗﺼﺎﺋﺪ ﻣﻨﺴﺎﺑﺔ‪،‬‬ ‫ﺣﻤﻞ اﻟﺸﻌﺮ ﺻﻮرة اﻟﺸﻴﺦ زاﻳﺪ وﺑﺎﻫﻰ ﺑﻬﺎ واﺷﺘﻐﻞ ﻋﻠﻰ ﺣﻤﻠﻬﺎ‬ ‫ً‬ ‫ﻗﺼﻴﺪة أو اﺛﻨﺘﻴﻦ ﻣﻤﺎ ﻗﺎﻟﻪ اﻟﺸﻌﺮاء اﻹﻣﺎراﺗﻴﻮن واﻟﻌﺮب ﻓﻲ ﻫﺬه‬ ‫ﻻ ﺗﻌﺮف اﻟﺘﻜ ّﻠﻒ أو اﺻﻄﻨﺎع اﻟﻌﺎﻃﻔﺔ؛ إذ ﻳﻜﻔﻲ أن ﻳﺘﺪاول اﻟﻤﻬﺘﻢّ‬ ‫ّ‬ ‫اﻟﺸﺨﺼﻴّﺔ اﻟﻌﻈﻴﻤﺔ‪ ،‬ﻟﻨﻘﻒ ﻋﻠﻰ ﻣﻘﺪار اﻟﺼّ ﺪق اﻟﻌﺎﻃﻔﻲ ﻛﻤﻮﺿﻮع‪ ،‬واﻹﺑﺪاع اﻟﻔﻨﻲ اﻟﺬي ﻳﺘﺒﺎرى ﺑﻪ اﻟﺸﻌﺮاء ﻟﻠﻮﺻﻮل إﻟﻰ ﻗﻤّﺔ زاﻳﺪ‬ ‫واﻟﻤﺠﺪ اﻟﺬي وﺻﻞ إﻟﻴﻪ‪X‬‬ ‫ﺧﺼﺒﺔ ﻟﻠﺸﻌﺮاء وﺣﺎﻓﺰ ًا ﻟﻘﺼﻴﺪة ﻏ ّﻨﺎء ﺑﺎﻟﺼﻮر واﻻﺑﺘﻜﺎرات َ‬ ‫ً‬ ‫ﺷﺨﺼﻴّﺔ »زاﻳﺪ« ﺷﻜ ّﻠﺖ ً‬ ‫واﻟﺨ ْﻠﻖ اﻟﺸﻌﺮيّ ‪ ،‬ﻓﻘﺪ ﻛﺎﻧﺖ ﻣُ ﻠﻬﻤ ًﺎ ﻗﻮ ّﻳ ًﺎ‬ ‫ﺑﻴﺌﺔ‬ ‫اﻟﺴﻴﺎق‪X‬‬ ‫ﻟﻤﺒﺪﻋﻲ اﻟﻘﺼﻴﺪة‪ ،‬ﻳﺪﻋﻢ ذﻟﻚ وﻳﺆﻳّﺪه ﻣﺎ ﺗﻨﻄﻖ ﺑﻪ ﻛﺒﺮﻳﺎت اﻟﻘﺼﺎﺋﺪ وﻣﻄﻮّﻻﺗﻬﺎ اﻟﺒﻠﻴﻐﺔ ﻓﻲ ﻫﺬا ّ‬ ‫ﻧﺠﺪ ً‬ ‫ً‬ ‫وﺗﻮﻟﻴﻔﺎت ﻟﻐﻮﻳ ًّﺔ ذﻛﻴّﺔ ﺟﺪا ﺗﺠﻌﻞ ﻣﻦ ﻫﺬه‬ ‫ﻣﻴﺰة ﻗﺪ ﻻ ﺗﺘﻮ ّﻓﺮ ﻟﻐﻴﺮ اﻟﺸﻴﺦ زاﻳﺪ ﻣﻦ اﻟﺸﺨﺼﻴّﺎت؛ إذ ﻧﻘﺮأ إﺑﺪاﻋ ًﺎ ﺷﻌﺮ ّﻳ ًﺎ ﻋﺎﻟﻴ ًﺎ‬ ‫ٍ‬ ‫ً‬ ‫ﻣﺘﻮاﺷﺠﺔ ﻣﻊ ﻫﺬا اﻹﺑﺪاع‪X‬‬ ‫اﻟﺨﺼﺎﺋﺺ‬ ‫ﻫﻨﺎ ﻓﻲ ﻫﺬا اﻟﻤﻠﻒ اﻟﺸﺎﻋﺮات واﻟﺸﻌﺮاء ﻳﺴﺠﻠﻮن ﻣﻮاﻗﻔﻬﻢ ورؤاﻫﻢ إزاء اﻟﺴﺆال ﻋﻦ أﺛﺮ ﺗﺠﺮﺑﺔ اﻟﺸﻴﺦ زاﻳﺪ اﻟﺸﻌﺮﻳﺔ ﻓﻲ اﻟﺸﻌﺮ‬ ‫واﻟﺸﻌﺮاء؟‬ ‫ﻫﻨﺎ رؤى ﻣﺘﻌﺪدة ﺗﻌﻜﺲ ﻏﻨﻰ اﻟﺸﺨﺼﻴﺔ اﻟﺸﻌﺮﻳﺔ ﻟﻠﺸﻴﺦ زاﻳﺪ‪ ،‬ﻣﻦ ﺷﺄﻧﻬﺎ أن ﺗﻐﻨﻲ اﻟﻨﻘﺎش ﺣﻮل اﻟﺸﻌﺮ واﻟﺸﻌﺮاء وﻗﻀﺎﻳﺎ اﻧﺴﺎﻧﻴﺔ‬ ‫ﻣﺮﺗﺒﻄﺔ ﺑﺤﺎﺿﺮ وﻣﺴﺘﻘﺒﻞ ووﺟﻮد اﻟﺒﺸﺮ‪X‬‬ ‫اﻟﺸﻌﺮ ‪ /‬اﻟﻌﺪد ‪68‬‬ ‫‪ 22‬ﺑﻴﺖ ِ‬

‫ﻓﻲ اﻟﺸﻌﺮ‬

‫إرادة زاﻳﺪ‬

‫ﻋﺒﺪا أﺑﻮﺑﻜﺮ‬

‫ﻟﻴﺲ ﺳﻬ ًﻼ أن ﻳﱰك اﻹﻧﺴﺎن ﺳرية ﺷﺨﺼﻴﺔ ﻣﺘﻮﻫﺠﺔ‪ ،‬ميﻜﻨﻬﺎ أن ﺗﺨ ّﻠﺪه وﺗﻀﻌﻪ دامئﺎً‬ ‫ﰲ أﻋﲆ اﳌﺮاﺗﺐ‪ ،‬ﻓﺬﻟﻚ ﻳﺘﻄﻠﺐ ﻋﻤ ًﻼ اﺳﺘﺜﻨﺎﺋﻴﺎ ُﻳ َﺘ ّﻮج ﺑﺎﻹﻧﺠﺎزات وﺧﺪﻣﺔ اﻹﻧﺴﺎن‬ ‫واﻟﻌﺎمل‪.‬‬ ‫ﻫﺬا ﺑﺎﻟﻀﺒﻂ‪ ،‬ﻣﺎ ﺗﻔ ّﻮق ﺑﻪ اﳌﻐﻔﻮر ﻟﻪ اﻟﺸﻴﺦ زاﻳﺪ ﺑﻦ ﺳﻠﻄﺎن آل ﻧﻬﻴﺎن‪ ،‬ﻋﻨﺪﻣﺎ‬ ‫ﻗ ّﺪم ﻟﻠﻌﺎمل ﺑﻼداً ﺗﻨﺎﻓﺲ ﻏريﻫﺎ ﰲ ﻣﺠﺎﻻت وﻣﺴﺎﺣﺎت ﻛﺜرية وﻛﺒرية‪ ،‬ﻣﻦ ﺷﺄﻧﻬﺎ أن‬ ‫ﺗﺤﻘﻖ اﻟﺮﻓﻌﺔ ﻷﻫﻠﻬﺎ وﺗﺴﺘﺜﻤﺮ ﰲ ﻃﺎﻗﺔ اﻹﻧﺴﺎن ﻣﻦ أﺟﻞ ﺗﻘﺪﻣﻪ واﻛﺘﺸﺎف ﻣﻮاﻫﺒﻪ‬ ‫وإﺑﺪاﻋﺎﺗﻪ‪ .‬ﻓﻜﺎن زاﻳﺪ ﺳﺒﺒﺎً ﰲ ﻧﻬﻀﺘﻬﺎ وﺗﻄ ّﻮرﻫﺎ‪ ،‬وﺻﺎرت ﺗﺤﻘﻖ ﻳﻮﻣﺎً ﺑﻌﺪ ﻳﻮم ﻧﺠﺎﺣﺎً‬ ‫ﺑﻌﺪ ﻧﺠﺎح‪ ،‬وﺗﺘﻘﺪم ﰲ ﻛﻞ ﻟﺤﻈﺔ‪ 100 ،‬ﺧﻄﻮة يك ﺗﺼﻞ إﱃ اﻷﻣﺎم‪ ،‬ﺣﻴﺚ اﳌﻘ ّﺪﻣﺔ‪،‬‬ ‫وﺣﻴﺚ ﻳﺘﻢ ﻫﻨﺎك ﺻﻨﺎﻋﺔ اﻷﻣﺠﺎد وﺑﻨﺎء اﳌﺴﺘﻘﺒﻞ ﻛﻴﻔام ﺗﺸﺘﻬﻲ اﻟﻘﻠﻮب واﻟﻌﻘﻮل‪.‬‬ ‫إن ﻣﺎ ميﻴﺰ ﻣﺴرية وﺳرية اﻟﺸﻴﺦ زاﻳﺪ ﺑﻦ ﺳﻠﻄﺎن آل ﻧﻬﻴﺎن ﺧﻼل ﻓﱰة ﺣﻜﻤﻪ ﻣﻨﺬ‬ ‫إﻋﻼﻧﻪ اﻻﺗﺤﺎد‪ ،‬ﻫﻲ ﺗﻠﻚ اﻹرادة اﻟﺘﻲ ﺳﺎرت ﻋﲆ ﻃﺮﻳﻖ واﺿﺢ‪ ،‬وﻇﻠﺖ ﻣﺘامﺳﻜﺔ‬ ‫وﻣﴫة ﻋﲆ اﻟﻌﻄﺎء واﻟﺘﻘ ّﺪم وﺑﺬل اﻟﺠﻬﻮد ﻣﻦ أﺟﻞ أن ﻳﺒﻘﻰ اﻹﻧﺠﺎز ﺣﺎﴐاً وﻣﺘﺤﺪاً‪،‬‬ ‫وﻫﻲ إرادة ﺳﺒﻘﺖ ﻛﻞ ﳾء‪ ،‬ﻣﻦ ﻣﺎل وإﻣﻜﺎﻧﺎت وآﻣﺎل‪ ،‬ﻓﻜﺎﻧﺖ ﺗﻠﻚ اﻹرادة وﻗﻮد‬ ‫اﳌﺮﺣﻠﺔ‪ ،‬وﺑﻄﺎﻗﺔ اﻟﻌﺒﻮر إﱃ ﺑﻼد واﺳﻌﺔ ﻻ ﺗﻀﻴﻖ‪ ،‬وﻻ ﺗﻌﺮف اﳌﺴﺘﺤﻴﻞ‪.‬‬ ‫ﻫﻜﺬا‪ ،‬ﺑﺪأت ﺳرية اﻹﻣﺎرات‪ ،‬ﻣﻊ زاﻳﺪ‪ ،‬ﻛﺎﺗﺐ اﻟﻘﺼﻴﺪة اﻷﺟﻤﻞ ﻓﻮق ﺻﻔﺤﺎﺗﻬﺎ‬ ‫اﻟﺒﻴﻀﺎء‪ ،‬وواﻫﺐ ﻣﻌﻨﺎﻫﺎ‪ ،‬وﻣﺒﺪع رﺳﻤﻬﺎ‪.‬‬ ‫زاﻳﺪ اﻟﺤﻜﻴﻢ‪ ،‬اﻟﺬي ﻟﻦ ﻳﺨﺮج ﻣﻦ ﻣﺴﺎﺣﺎت اﻟﺬاﻛﺮة‪ ،‬وﻟﻦ ﺗﻨﺴﺎه اﻟﻘﻠﻮب‪ ،‬وﺳﻴﻈﻞ‬ ‫رﻣﺰاً ﻟﻜﻞ ﻫﺬا اﻟﻌﻄﺎء واﻟﺒﻨﺎء‪ ،‬ودﻟﻴ ًﻼ إﱃ اﳌﺴﺘﻘﺒﻞ اﻷﺟﻤﻞ‪.‬‬

‫‪@abdabubaker1‬‬ ‫ﻳﻮﻧﻴﻮ ‪21 2018 /‬‬

‫اﻟﻤﻔﺮدة اﻟﺸﻌﺒﻴﺔ‬ baytelshear

‫ﻛﺎﻧﺖ ﻗﺼﺎﺋﺪ اﻟﺸﻴﺦ زاﻳﺪ ﺑﻦ ﺳﻠﻄﺎن آل ﻧﻬﻴﺎن ﺗﻨﺒﺾ ﺑﺎﻟﻌﺎﻃﻔﺔ ﺣﺘﻰ ﻛﺎﻧﺖ ﻛﻠﻤﺎﺗﻪ ﺗﺮﺳﻢ اﻟﻤﺴﺘﻘﺒﻞ وﺗﺨﻄﻂ ﻟﻸﻳﺎم وﻫﻮ‬ ‫ وﻫﺬا ﻻ ﻳﺄيت إﻻ ﻣﻦ إﻧﺴﺎن‬،‫وﻫﻮ ﻳﻜﺘﺐ ﻋﻦ ﻣﻀﺎﻣني ﺑﻌﻴﺪة ﻋﻦ اﻟﻐﺰل‬ ‫ﻳﻨﻈﺮ إﻟﻰ اﻟﺜﻘﺎﻓﺔ واﻟﻌﻠﻢ ﻛﻌﻤﺎد وأﺳﺎس‬ ‫ﻛﺎن ﺷﻌﺮه رﺣﻤﻪ ا ﻳﺘﺤﺪث ﻋﻨﻪ ﻛﺈﻧﺴﺎن ﻻ ﻳﺰﻳﻒ‬ ‫ ﻓﻬﻮ ﻳﻌﻴﺶ‬،‫ وﻻ ﻳﺘﻌﺎﻟﻰ ﻋﻠﻰ ﻏﻴﺮه ﺑﻤﻨﺼﺒﻪ‬،‫ﻓﻄﺮﺗﻪ‬ ‫ وﻳﺸﻌﺮ ﺑﻤﺎ ﻳﺸﻌﺮون‬،‫ﻣﻌﻬﻢ ﻛﻞ ﺣﺎﻻت اﻹﻧﺴﺎن‬

‫ ﻫﺬه‬،‫ ﻳﺤﺐ وﻳﺘﺄمل وﻳﻔﺮح وﻳﺤﺰن‬،‫ﻳﻌﻴﺶ ﻓﻄﺮﺗﻪ ﻛام ﻳﻌﻴﺸﻬﺎ ﻏريه‬ ‫ وﺟﺴﺪت ﺣﺮوﻓﻪ ﻣﻌﻨﺎﻫﺎ ﺑﺼﺪق‬،‫اﻹﻧﺴﺎﻧﻴﺔ ﺗﺠﻠﺖ ﻛﺜرياً ﰲ ﻗﺼﺎﺋﺪه‬ :‫ ﻓﻬﻮ ﻳﺮﺣﺐ اﻟﺤﺒﻴﺐ وﻳﺴﺘﻘﺒﻠﻪ ﺑﻠﻄﻒ وﻳﻘﻮل‬،‫وﺑﺪون ﺧﺠﻞ‬

«CCHS ÑQ C CV CG* v* S C Q CCCGU* 4U §R CCC¡CCC+U * ÑCCC QJ U 5Q |CC U CqCC Q CgCCªCC0S |CU C-Q CCCC U CG&* U¥CCCC+S ÑCCC QJ ¥CCCCCCCªX CCC0S KU &* ¥C Q QJ «CCCCCSHfCC Q CC S= · P£ U~CCCCCCCHS TzCCCCC< Q U¥CCCCC+S ÑCCCCC U¥CCCCCCCªT CCC S CCC S CCC U CCCS¼*U CC U CCCCCªCCC CCS C CCCIS UlCCCCgV CCCC QJ fCCCCCHK «CCCCCHÑCC CCQ 6 KU &* UmfCCCCCCCªT CCC³ U¥CCCCCGS U XzCCCCCCCCCEQ Q&* C/S P :‫ ﺷﻌﻮره أو ﻳﻘﺪره‬U¥CCCCCªS CC StCCkT CCGfCC+S 4U 2Q fCCCCCCCCCCC+Q §CCCCCCCM i*§CCCCCC Q «CCHÑCCF ¨CCQ¡CC U CCHQ U (* CCC Q C S< U C¤Q CCCC U CCCCMS KU &* CU CªCC¤CCDS CCC U C< «CC Q C CCS C CCC U CCCIQ UlCCCCCCGU {CCCCC U CCCCCCF*R §Q CCCC SJ ¢CCCCC Q U C CCC C ª CC C F 3 C CCC C fCC C kCC C U CC C G 2 §CC C CCC C CC C G * hCC C ª CC C gCC C G U¥CC U¥CC S S S S S U R U T U C CCCC C ¤ CCC C G «CC C CCC C CC C GfCC C + fCCC¤CCCS k CCC CCCQ ¡ CCC E*K TzCCCCCCCE Q CCC S U R U «CCCCCHfCCqCQ C CSC CCIU *K «CCC CCS C CCCIU (* CCCkCCCM( * ¦fCCC Q CCCHQ T CCC HQ UÕCCCCDS fCCCC CCCQ C9 Q Q C CCCQ C7 *K4fCCCCC CCCCC8 fCCCCC U CF*R |CCC ¥C C CC C ª C qC C C C 7 C CCC C G fCC C 0 «CCkCCGS f CC 0 C I K C + * ( RzCCCC U¥CC U¥CCCC S S S Q Q U T S zCCCCC0 Q U¥CCCCCCCCCCCªCCCCCIS KU 2R CCCCC U ¤R CCCCCUGKS U£KKR |CCCCCCCCCCC U CMQ R C Q CCC0 ¢CCC CC S C< «CCC CCS C CCC U CCCIQ mzCCCCCC Q CCCCCC+U *KQ U CFfCC TzCCCCCCC+ ¿S lCCCCCCCCCMU 4Q ¦2fCCCCC CCCCC¡T CCCCCG* ¢CCCCCCHK ‫ ﻳﻄﻠﺐ ﻣﻦ اﳌﺤﺐ‬،‫وﻳﻜﺘﺐ ﻋﻦ اﻟﻬﺠﺮ وأﺛﺮه ﺑﻌﻔﻮﻳﺔ وﻣﻦ دون ﺗﻜﻠﻒ‬ R C¡Q CCC< Q ¢CCCC CC U CHS «CCC CCS C CCC U CCCIQ lCCC CCUC CCC Q CCC U1*KQ U CFfCC :‫اﻟﻨﻈﺮ ﺑﺮﺣﻤﺔ إﱃ ﻗﻠﺐ ﻣﺤﺐ ﻳﺘﻤﻨﻰ ﻟﻪ اﻟﺨري وﻳﻘﻮل‬ zCCCCCCC Q CCC+U Q&* CC Q CgCCC U CCCE Q U §CCCCCCªR CCCCCCGU*KS U CCCCC R CCC¡U CCC< «CC *§CCCkCCCI* CCCªCCCF vK|CCCCCCCCCG* CC CªCCC CCC1 fCCCCM T Q C0 §CCCCCCCJ fCCCC CCCC CH P,§Q CCCCCCCCCCCCCC+U 4Q · ¥CCCCCCCCCE* U CCCCCCCF*R {CCCC U Q §Q CCCC<* ¢CCC CCCCCCHS «CCgCC CCE fCCC CCC CCS C7 fCCCCM U U zCCCCCCC¡S CCC CCU C CCCMQ KU |CCCC U C CCCCQ C CCCCC U1Q&* xCCC P CHS fCCCC CCCQ C7 · *§CCCCCCCCCkCCCCCCCCCHU |V CCCC Q CCCC-S §CCCCG «CCCCCCCCCCCI§CCCCC CCCCC04* R HQ hCCC CCC Q C CCCCCU C7Q&* zCCC¤U CCC CCV C CCCG*K ¥CCCCCCCEfCC U FfCCC U C S CCCC S< iU |CCCCC Q C Q CCC CCU C7* ¢CCCCCCCH fCCCCCCCCI*KQ CCC CCC8§CCCGfCCC+ 2T §Q CCCCCCCCC CCCU C CCCCHS KU &* 4U SzCCCCC U CCCCCHS ¢CCCC P C0S UzCCCCCHS U¿Q *§CCCCCCCRkCCCU¡CCC+S ¸K «CCCC P CCCCCCCCEU KQ |CCCCCH U CCCCCCCGS lCCCCC Q D* U §V CCCCCCCCCCC: Q ¢CCC ¥CCCCCCCE*|CCCU U CCCCCCHS |CCCC S CCCCkS CCCCIU &* ‫ وﻻ‬،‫ﻛﺎن ﺷﻌﺮه رﺣﻤﻪ اﻟﻠﻪ ﻳﺘﺤﺪث ﻋﻨﻪ ﻛﺈﻧﺴﺎن ﻻ ﻳﺰﻳﻒ ﻓﻄﺮﺗﻪ‬ *§CCCCCCCkCCC¡U CCC SJ ¸ vK|CCCCCCCC T CG* *3 *§CCCCC CCCCC04* Q Q Q W R U C CCCCCGS ¿ ،‫ ﻓﻬﻮ ﻳﻌﻴﺶ ﻣﻌﻬﻢ ﻛﻞ ﺣﺎﻻت اﻹﻧﺴﺎن‬،‫ ﻳﺘﻌﺎﱃ ﻋﲆ ﻏريه مبﻨﺼﺒﻪ‬¥CCCCCCCCCE*§T CCCC- §CCCCCCC CCC CCCGfCCC+ CCCC

،‫ وﻟﺬﻟﻚ ﺗﻠﻤﺲ اﺣﺘﻴﺎﺟﺎﺗﻬﻢ وﺣﻘﻖ أﻣﺎﻧﻴﻬﻢ‬،‫وﻳﺸﻌﺮ مبﺎ ﻳﺸﻌﺮون‬ ‫ وﻻ ﻳﺮﴇ وﻋﺎش ﻣﻌﻬﻢ ومل ميﺖ ذﻛﺮه ﻷن اﻟﺠﻤﻴﻊ ﻣﺎ زال وﺳﻴﺒﻘﻰ ﻳﻌﻴﺶ ﻣﻦ‬،‫ﻟﻜﻨﻪ ﻣﻊ ﻫﺬا ﻳﺒﻘﻰ اﻟﻔﺎرس اﻟﺬي ﻳﻌﺘﺰ ﺑﻨﻔﺴﻪ وﻳﻌﺰﻫﺎ‬ .‫ﻟﻬﺎ اﻟﻬﻮان ﺣني ﻳﺘامدى اﻵﺧﺮ وﻳﻘﺴﻮ ﻋﲆ ﻣﻦ ﻳﺤﺒﻪ وﻻ ﻳﻠﺘﻔﺖ إﱃ ﻫﺬا اﻟﻌﻄﺎء اﳌﻤﺘﺪ اﻟﺬي ﺧﻄﻂ ﻟﻪ زاﻳﺪ رﺣﻤﻪ اﻟﻠﻪ‬

68 ‫ اﻟﻌﺪد‬/ ‫اﻟﺸﻌﺮ‬ ِ ‫ ﺑﻴﺖ‬20

‫ﻗﺼﺎﺋﺪ اﻟﺸﻴﺦ زاﻳﺪ ﺑﻦ ﺳﻠﻄﺎن آل ﻧﻬﻴﺎن ﺗﻨﺒﺾ‬ ‫ﺑﺎﻟﻌﺎﻃﻔﺔ ﺣﺘﻰ وﻫﻮ ﻳﻜﺘﺐ ﻋﻦ ﻣﻀﺎﻣﻴﻦ‬ ‫ﺑﻌﻴﺪة ﻋﻦ اﻟﻐﺰل‬ ‫ﻣﻦ أراد أن ﻳﻌﻮد إﻟﻰ ﺗﻠﻚ اﻟﻤﺮﺣﻠﺔ وﻳﺘﺘﺒﻊ ذاك اﻟﺰﻣﺎن‬ ‫ ﻧﺘﺞ ﻋﻨﻪ ﻛﻢ‬،ً‫ﺳﻴﺠﺪ أن اﻟﺸﻌﺮ ﻋﺎش ﻋﺼﺮاً ذﻫﺒﻴﺎ‬ ‫ﻫﺎﺋﻞ ﻣﻦ اﻟﻘﺼﺎﺋﺪ واﻟﺪواوﻳﻦ‬

‫ﻛﺎﻧﺖ ﻛﻠامﺗﻪ إﻟﻴﻬﻢ ﺗﺤﻤﻞ ﻋﺎﻃﻔﺔ اﻷﺑﻮة اﻟﺘﻲ ﺗﺤﺜﻬﻢ ﻋﲆ ﺗﻘﺪﻳﻢ‬ ‫ ﻓﻜﺎن ﻳﻘﻮل ﻟﻬﻢ ﺑﺤﺮوف ﺧﺎﻟﺪة‬،‫ﻛﻞ ﻣﺎ ﻣﻦ ﺷﺄﻧﻪ أن ﻳﺒﻨﻲ وﻳﻌﻤﺮ‬ :‫ﺗﺮددﻫﺎ اﻷﻳﺎم‬ ÉfCCCCCCgCCCCCCG* ifCCCCCCgCCCCCC CCCCCC CCCCCCG* *3 fCCCCCCCCM 2§CCCCCCCCC¤CCCCqCCCC+ CCCCCCCCCCCCCCCCCEK 42fCCCCCCCCCCCCCCCCCCCCC+ «CCCCCCCCCCCIfCCCCC¤CCCCCGzCCCCCG* zCCCCCCCCCCC T CCCCC CCCCC- ¸K 2K5 CCCCCCCCCCCCCCCCCCCCCCCCCJ*4K fCCCCCCCCCCH «CCCCCCCCCCCCCCCG É*zCCCCCCCCCCCCCG*K ¬2|CCCCCCCCCCCCCCCCG* L|CCCCCCCCCCCCC-K 2§CCCCCCCCCCC CCCCC¡CCCCCH CCCCCC¤CCCCCCªCCCCCC CCCCCC CCCCCC6 ·

‫ﻛﺎﻧﺖ ﻛﻠامﺗﻪ ﺗﺮﺳﻢ اﳌﺴﺘﻘﺒﻞ وﺗﺨﻄﻂ ﻟﻸﻳﺎم وﻫﻮ ﻳﻨﻈﺮ إﱃ اﻟﺜﻘﺎﻓﺔ‬ ‫ وﻟﺬﻟﻚ ﻛﺎن ﻳﺤﺚ اﻟﺸﺒﺎب‬،‫واﻟﻌﻠﻢ ﻛﻌامد وأﺳﺎس ﰲ ﻫﺬه اﻟﻌﻤﻠﻴﺔ‬ ¥CCCCCCCCCIS §CCCC<R |CCC U CMS KU hCCC CCS C CCC U CCCMQ U CCCCCCHS |V CCCCCCG*K ‫ وﻣﺎ أﻋﻈﻢ وأﺟﻤﻞ وأرق‬،‫ﻋﲆ ﻃﻠﺐ اﻟﻌﻠﻢ ﻣﻦ ﺧﻼل ﻗﺼﺎﺋﺪه‬ fCCCCC¤CCCCCªCCIfCCgCCH «CCCCCCCCCCC SJ U~CCCCC-Q KzCCCCCCCCCCCgCCCCCG*K :‫اﻟﻨﺼﻴﺤﺔ ﺣني ﺗﻨﺴﺎب ﻋﺬوﺑﺔ ﻣﻦ ﺧﻼل اﻟﺸﻌﺮ‬ ¥CCI§CC CWC CCG* · oCCCªCCC CCCG* S «CCqCCkCC CC CCMK

CCM4fCC CC= «CCC CCCG* ifCCCgCCC CCC CCCG* *3 fCCCCM fCCCCCCC¤CCCMÔCC U CMQ £fCCCCCCCCCCCCCM2U §S CCCCCCG*K U |CCCC U CCCCCCC CCCCQ C7 £*5 ¿ zCC C CC C CC C CC C G* lCCC C E§CCC CG *§CCCCgCCCCJ ¥CCCCCCCCCI§CCCCCCCCCF4U *S CCCCCCCCCCCDT VzCCCCC-S CCCCCCCCCCCgQ CCCCC¹ S *K CCM|CC CC CC- ¢CCC CCC CCC0K CCC CCC CCC+ *§CCCCgCCCCJ fCCCCCCC¤CCCM4S fCCCM U£fCCCCCCCCCCC Q CCCCCªU CCCCC¹ U Q KU S *U «CCCCCCCCCCC S CCCCCÊ £fCCCC CCCC-*K CCCC CCCC<K ¥CCCDfCCC CCC. CCC CCC CCCH CCCªCCCM~CCC- £K2 ¢CCCCCCH zCCCC P CMfCCCCC¤CCCCC CCCCC7K ‫ وﺑﻔﻀﻞ ﻫﺬه اﻟﺮؤﻳﺔ اﻟﺤﻜﻴﻤﺔ واﻟﻨﻈﺮة اﻟﺘﻔﺎؤﻟﻴﺔ اﻟﺘﻲ ﺗﺤﺮﻛﻬﺎ ﻋﺎﻃﻔﺔ‬£fCCCªCCC¡CCC+K 4P §CCCCC CCCCC6 ¢CCCCC:§CCCCCG* «CCC CCCgCCCM

‫اﻟﺸﺎﻋﺮ وﻓﻜﺮ اﻟﻘﺎﺋﺪ ﻏﺪت ﻫﺬه اﻷرض دوﻟﺔ ﻋﴫﻳﺔ ﺣﻀﺎرﻳﺔ ﻣﺘﻄﻮرة‬ ‫ ﺛﻢ ﻣﺪت ﻳﺪﻫﺎ ﺑﺎﻟﺨري واﻟﻌﻄﺎء‬،‫ ﻣﻦ ﻧﻈﺮت إﱃ اﻹﻧﺴﺎن وﳌﺴﺖ اﺣﺘﻴﺎﺟﺎﺗﻪ‬،‫ وﻛﺎن ﻳﺮﺳﻢ وﻳﺨﻄﻂ ﺷﻜﻠﻬﺎ‬،‫وﻟﺬﻟﻚ ﻛﺎﻧﺖ اﻷرض ﺗﺤﺘﻔﻲ ﺑﺸﻌﺮه‬ :‫ وﻫﻲ ﻣﺎ ﺗﺆﻛﺪﻫﺎ ﻛﻠامﺗﻪ اﻟﺘﻲ ﻳﻘﻮل ﻓﻴﻬﺎ‬،‫ﺧﻼل ﺗﻠﻚ اﻟﺸﺎﻋﺮﻳﺔ اﻟﺘﻲ ﺗﻔﻴﺾ ﻋﲆ اﻷرض مبﺎء اﻟﻘﺼﻴﺪة ﻓﺘﺨﴬ واﳌﺤﺒﺔ واﻟﺘﺴﺎﻣﺢ ﻟﻸﻣﻢ‬ ÑCCCCCC CCCCCC6*K ~CCCCCCC< 4§T CCCCCCC CCCCCCC- jCCCCCCCCCCCGK2 ‫ ﺑﻞ‬،‫ ومل ﺗﻘﺘﴫ ﻋﲆ ﻣﻜﺎنٍ ﺑﻌﻴﻨﻪ‬،‫وﺗﻌﺸﺐ وﺗﻨﻬﺾ ﺑﺸﻤﻮخ وﻋﺰة‬ fCCC¡CCCªCCC¡CCC+ ¥CCCCCCCCCCCCCGK2 Ä&¸* ÕCCCCCCCC+ fCCCC CCCCI¸fCCCC+ «CCCC¡T CCCC¤CCCCkCCCCH hCCCC CCCC CCCC CCCCG*K ‫ﻛﺎﻧﺖ ﻗﺼﻴﺪﺗﻪ ﺳﺤﺎﺑﺔ متﻄﺮ ﻋﲆ اﻟﺼﺤﺮاء ﺗﺎرة وﻋﲆ اﻟﺒﺎدﻳﺔ واﻟﺠﺒﻞ‬ :‫وﻏريﻫﺎ ﺗﺎرة أﺧﺮى‬ fCCC¡CCCªCCC¡CCC CCC CCCG* ¬{CCCCCCCCJ · vfCCCCCCC-|CCCCCCCHK

¥CCCCCCCCCCCIK~CCCCCHU * lCCCCCCCCCIfCCCC+ §[ CCCCCCCCI CCCCCCCCC CCCCM *§CCCCCCCC<*K *§CCCCCCCCCC<* 2§CCCC¤CCCC/ ¬{CCCCCCCJ V fCCC C CCCC C ¤CCC C M K |CCC C M K ¦|CCC C CCCC C U CCC C CCC CG* «CCqCC CC CCM SU QU fCCC¡CCCªCCC¡CCC< ¥CCCCCCCCG zCCCCCC P CqCCCCCCC¼ ¨CCCC CCCC CCCC CCCCI ¥CCCCCCCIS §CCC¡R CCCªU CCC+Q hCC ÑCCCCCCCC<¸* |CCCCCCCC- ¥CCCCCªCCCCCDK xCCCCHfCCCC CCCC7 U CCCCC CCS C CCC S< |CCCCCCCCC1Q U~CCCCMS ÕCCCCC U CGQ fCCCCCCC¤CCCªCCC SE*§Q CCC CCS C6 «CCCCCCC S CCC CCU C CCC-Q 4~CCCCCCCCCS CCCCUG*K fCCC¡CCCªCCC CCC CCC CCC CCC¼* uCCC CCC CCC CCCG ¨CCCC CCCC CCCC CCCCIK

19 2018 / ‫ﻳﻮﻧﻴﻮ‬

‫اﻟﻤﻔﺮدة اﻟﺸﻌﺒﻴﺔ‬ ‫‪baytelshear‬‬

‫ﻛﺘﺐ ﻗﺼﺎﺋﺪه ﻋﻠﻰ إﻳﻘﺎع اﻟﺤﻠﻢ وا?ﻧﺠﺎز واﻟﺤﻜﻤﺔ‬

‫زاﻳﺪ‪..‬اﻟﺸﺎﻋﺮ وا?ﻧﺴﺎن‬

‫ﻣﺤﻤﺪ اﻟﺒﺮﻳﻜﻲ‬

‫ﺳﻜﻦ اﻟﺸﻌﺮ ﻗﻠﺐ اﳌﻐﻔﻮر ﻟﻪ اﻟﺸﻴﺦ زاﻳﺪ ﺑﻦ ﺳﻠﻄﺎن آل ﻧﻬﻴﺎن ﻃ ّﻴﺐ‬ ‫اﻟﻠﻪ ﺛﺮاه‪ ،‬وﻋﺎش ﰲ ﻓﻜﺮه ﻋﻴﺸﺔ ﻣﻨﻌﻤﺔ‪.‬‬ ‫وﻋﲆ اﻟﺮﻏﻢ ﻣﻦ ﻣﺴﺆوﻟﻴﺎﺗﻪ اﻟﻜﺒرية ﺧﻼل ﺗﺄﺳﻴﺲ دوﻟﺔ اﻹﻣﺎرات‬ ‫اﻟﻌﺮﺑﻴﺔ اﳌﺘﺤﺪة وﻣﺎ ﺑﻌﺪ اﻟﺘﺄﺳﻴﺲ‪ ،‬إﻻ أﻧﻪ رﺣﻤﻪ اﻟﻠﻪ مل ﻳﻐﻔﻞ ﺟﺎﻧﺒﺎً‬ ‫ﻣﻬ ًام ﰲ ﻋﻤﻠﻴﺔ اﻟﺒﻨﺎء‪ ،‬ﻓﻘﺪ آﻣﻦ ﺑﺄن ﺑﻨﺎء اﻟﺬات واﻹﻧﺴﺎن ﻟﻪ ﻣﻜﺎﻧﺔ‬ ‫ﻋﻈﻴﻤﺔ وﻣﻨﺰﻟﺔ رﻓﻴﻌﺔ‪ ،‬وﻫﻮ أﺳﺎس ﺑﻨﺎء اﻟﺤﻀﺎرة واﻟﻌﻤﺮان‪ ،‬وﻟﺬﻟﻚ‬ ‫ﻛﺎﻧﺖ اﻟﺜﻘﺎﻓﺔ ﺑﺸﺘﻰ أﻧﻮاﻋﻬﺎ وﻣﺸﺎرﺑﻬﺎ وﺧﺼﻮﺻﺎً اﻟﺸﻌﺮ ﻣﺮاﻓﻘﺔ‬ ‫ﻟﺨﻄﻮاﺗﻪ اﻟﺘﻲ ﻳﺘﻨﻘﻞ ﻓﻴﻬﺎ ﺑني اﻟﺒﺎدﻳﺔ واﳌﺪﻳﻨﺔ‪ ،‬واﻟﺠﺒﻞ واﻟﺼﺤﺮاء‪،‬‬ ‫ﻳﺄﺧﺬ ﻣﻦ ﻛﻞ ﻫﺬه اﻟﺒﻴﺌﺎت روﺣﻬﺎ وﻫﻮﻳﺘﻬﺎ وﻣﺎ ﻳﻨﺎﺳﺒﻬﺎ ﻣﻦ ﻛﻼم‬ ‫ﻟﻴﻮﻇﻔﻪ ﻗﺼﺎﺋﺪ ﻣﻔﻌﻤﺔ ﺑﺎﻟﺼﺪق واﳌﺤﺒﺔ ﻣﻦ أﺟﻞ ﻋﻤﻠﻴﺔ اﻟﺒﻨﺎء‪،‬‬ ‫وأﺻﺒﺢ ﻟﻠﺸﻌﺮ ﰲ ﻋﻬﺪه ﻣﻨﺰﻟﺔ ﻋﻈﻴﻤﺔ وﻧﺎل ﺣﻈﻮة ﻛﺒرية‪ ،‬ووﺟﺪ‬ ‫اﻟﺸﻌﺮاء ﻟﻬﻢ ﻣﺪﻳﻨﺔ ﻓﺎﺿﻠﺔ ﺗﻌﺘﻨﻲ ﺑﻬﻢ وﺗﺴﺘﻘﺒﻠﻬﻢ وﺗﻨﺰﻟﻬﻢ ﻣﻨﺎزل‬ ‫اﻟﻜﺮم واﻟﻔﺨﺮ واﻟﻌﺰة واﻟﺨﻠﻮد‪ ،‬ﻓﺘﻨﻮﻋﺖ اﻟﻮﺳﺎﺋﻞ واﳌﻨﺎﺑﺮ اﻟﺘﻲ‬ ‫ﺣﻔﺰت اﻟﺸﻌﺮاء ﻋﲆ اﻟﻜﺘﺎﺑﺔ واﻟﺘﺒﺎري ﰲ ﻣﻴﺪان اﻟﻘﺼﻴﺪة‪ ،‬ﻓﻄﺮﻗﻮا‬ ‫ﺷﺘﻰ اﳌﻀﺎﻣني‪ ،‬وﻛﺘﺒﻮا ﰲ ﻣﻮاﺿﻴﻊ ﻣﺨﺘﻠﻔﺔ أﻏﻠﺒﻬﺎ ﻛﺎن ميﺠﺪ اﳌﺮﺣﻠﺔ‬ ‫اﳌﻬﻤﺔ ﻣﻦ ﺣﻴﺎة ﻫﺬه اﻟﺪوﻟﺔ وﺷﻌﺒﻬﺎ وﻣﻦ ﻳﻘﻴﻢ ﻓﻴﻬﺎ‪ ،‬ﺑﺎﻹﺿﺎﻓﺔ‬ ‫إﱃ اﻻﻟﺘﺤﺎم ﻣﻊ اﳌﺠﺘﻤﻊ ﺑﻄﺮح ﻗﻀﺎﻳﺎه اﻻﺟﺘامﻋﻴﺔ اﳌﺨﺘﻠﻔﺔ واﻟﺘﻲ‬ ‫اﻟﺸﻌﺮ ‪ /‬اﻟﻌﺪد ‪68‬‬ ‫‪ 18‬ﺑﻴﺖ ِ‬

‫متﺴﻜﺖ ﺑﺄﺻﺎﻟﺘﻬﺎ وﻫﻮﻳﺘﻬﺎ ومل ﺗﻨﺴﻠﺦ ﻋﻦ ﺟﻠﺪﻫﺎ‪ ،‬وﻫﻲ ﺗﺴري ﺑﻜﻞ‬ ‫ﺛﺒﺎت وﺗﺘﺒﻊ ﻣﺎ ﻛﺎن ﻳﺮﺳﻤﻪ زاﻳﺪ رﺣﻤﻪ اﻟﻠﻪ وﻳﺨﻄﻂ ﻟﻪ ﻣﻦ أﺟﻞ ﺑﻨﺎء‬ ‫دوﻟﺔ ﻋﴫﻳﺔ ﻣﺘﻘﺪﻣﺔ ﺗﻨﻌﻢ ﺑﺎﻟﺨري‪ ،‬وﺗﺘﻨﺎﻓﺲ ﻣﻊ اﻟﺠﻤﻴﻊ ﻣﻦ أﺟﻞ‬ ‫أن ﺗﺤﻮز اﳌﺮاﺗﺐ اﻟﻌﻼ وﺗﺼﻌﺪ إﱃ ﻗﻤﻢ اﻟﺠامل وﺳاموات اﳌﺠﺪ‪.‬‬ ‫وﻣﻦ أراد أن ﻳﻌﻮد إﱃ ﺗﻠﻚ اﳌﺮﺣﻠﺔ وﻳﺘﺘﺒﻊ ذاك اﻟﺰﻣﺎن ﺳﻴﺠﺪ‬ ‫أن اﻟﺸﻌﺮ ﻋﺎش ﻋﴫاً ذﻫﺒﻴﺎً‪ ،‬ﻧﺘﺞ ﻋﻨﻪ ﻛ ًام ﻫﺎﺋ ًﻼ ﻣﻦ اﻟﻘﺼﺎﺋﺪ‬ ‫واﻟﺪواوﻳﻦ ﺑني اﳌﻄﺒﻮع واﳌﺴﻤﻮع واﳌﺮيئ‪ ،‬وﻳﻌﺘﱪ ﻛﻞ ذﻟﻚ رﺻﻴﺪاً‬ ‫ﻛﺒرياً وﻣﺮﺟﻌﺎً ﻣﻬ ًام ﰲ ﻋﻤﻠﻴﺔ اﻟﺘﻮﺛﻴﻖ واﻟﺘﺪوﻳﻦ ﻟﺘﻠﻚ اﳌﺮﺣﻠﺔ‪ ،‬ﻓﻘﺪ‬ ‫ﺗﺒﺎرت اﳌﺆﺳﺴﺎت اﳌﺨﺘﻠﻔﺔ اﻟﺮﺳﻤﻴﺔ وﻏري اﻟﺮﺳﻤﻴﺔ ﰲ ﺗﻘﺪﻳﻢ ﻣﻨﺎﺑﺮﻫﺎ‪،‬‬ ‫واﺳﺘﻘﺒﻠﺖ اﻟﻌﺪﻳﺪ ﻣﻦ اﻟﺸﻌﺮاء ﻣﻤﻦ ﻟﻬﻢ ﺑﺎع ﻃﻮﻳﻞ ﻣﻊ اﻟﺸﻌﺮ‪،‬‬ ‫ﺑﺎﻹﺿﺎﻓﺔ إﱃ ﺗﻘﺪﻳﻢ ﻣﺴﺎﺣﺎت ﻛﺒرية ﻣﻬﻤﺔ ﻟﻠﺸﻌﺮاء اﻟﺸﺒﺎب ﻣﻦ أﺟﻞ‬ ‫اﻻﻟﺘﺤﺎق ﺑﺮﻛﺐ اﻟﺠﻴﻞ اﻟﺴﺎﺑﻖ واﻟﺘﻮاﺻﻞ ﻣﻊ إرث اﻷﻣﺔ اﻟﻌﻈﻴﻢ‪،‬‬ ‫ﺣﻔﺰﻫﻢ ﻋﲆ ذﻟﻚ ﻗﺪوﺗﻬﻢ زاﻳﺪ‪ ،‬اﻟﺬي ﻛﺎن ﻳﺴﺎﺑﻘﻬﻢ ﰲ ﻛﺘﺎﺑﺔ اﻟﺸﻌﺮ‬ ‫واﻟﺘﻔﺎﺧﺮ ﺑﺎﳌﻨﺠﺰ ومتﺠﻴﺪ اﻷوﻃﺎن وﺗﺤﻔﻴﺰ ﺷﻌﻮر اﻹﻧﺴﺎن اﻟﺬي ﻛﻠام‬ ‫ﻋﺎش ﺣﻴﻮﻳﺔ داﺧﻠﻴﺔ ذاﺗﻴﺔ ﻛﻠام ﻛﱪ ﻃﻤﻮﺣﻪ وﻋﻠﺖ ﻫﻤﺘﻪ ﻟﻴﻄﺎول‬ ‫اﻟﻨﺠﻮم وﻳﺠﻠﺴﻬﺎ ﰲ ﻗﺼﻴﺪﺗﻪ ﻟﺘﺴﺘﻤﻊ إﱃ ﻣﻮاﺟﺪه اﻟﺘﻲ ﻳﺒﺜﻬﺎ ﺑﺤﺮوف‬ ‫ﺗﺘﺸﻈﻰ ﺟامﻻً وﻋﺎﻃﻔﺔ ﺟﻴﺎﺷﺔ‪.‬‬ ‫ﻛﺎن زاﻳﺪ رﺣﻤﻪ اﻟﻠﻪ ﻳﻨﻈﺮ إﱃ اﻟﺸﺒﺎب ﻧﻈﺮة ﺗﻘﺪﻳﺮ ﻛﺒرية‪ ،‬ﻓﻬﻮ ﻳﺮى‬ ‫وﻳﺆﻣﻦ أﻧﻬﻢ ﻫﻢ ﻣﻦ ﻳﻌﻮل ﻋﻠﻴﻬﻢ ﰲ اﻟﻘﻴﺎم ﺑﺎﳌﻬامت اﻟﺠﺴﺎم‪ ،‬وﻟﺬﻟﻚ‬

‫زاﻳﺪ‪..‬اﻟﺸﺎﻋﺮ وا?ﻧﺴﺎن‬ ‫أﺛﺮ زاﻳﺪ ﻓﻲ ﺣﻴﺎة وﻗﺼﺎﺋﺪ اﻟﺸﻌﺮاء‬ ‫زاﻳﺪ‪ ..‬ﻓﺮادة اﻟﺸﻌﺮ وﺑﻼﻏﺔ اﻟﺰﻋﺎﻣﺔ‬ ‫ﻣﺤﻤﺪ اﻟﺨﺎﻟﺪي‪ :‬زاﻳﺪ ﻣﺪرﺳﺔ ﺣﻘﻴﻘﻴﺔ ﺗﻌﻠﻤﻨﺎ ﻣﻨﻬﺎ اﻟﺼﺒﺮ واﻟﻤﺜﺎﺑﺮة واﻟﻌﺪل واﻟﺮﺣﻤﺔ‬ ‫ﺻﺮوح ﻋﻈﻴﻤﺔ ﻳﺰﻳّﻨﻬﺎ اﺳﻢ زاﻳﺪ‬ ‫ﺛﻼث ﻗﺼﺎﺋﺪ ﺗﺰاوج ﺑﻴﻦ اﻟﺸﻌﺮ »واﻟﺪﺑﻠﻮﻣﺎﺳﻴﺔ« ﺑﻴﻦ ﻣﺎﻧﻊ اﻟﻌﺘﻴﺒﺔ‬ ‫واﻟﻤﻠﻚ ﺣﻤﺪ ﺑﻦ ﻋﻴﺴﻰ و اﻟﺸﻴﺦ زاﻳﺪ‬

‫ﻳﻮﻧﻴﻮ ‪17 2018 /‬‬

‫اﻷﺧﺒﺎر‬ ‫‪baytelshear‬‬

‫ﺟﻮاز اﻟﺴﻔﺮ اﻹﻣﺎراﺗﻲ ﺿﻤﻦ أﻗﻮى ‪ 10‬ﺟﻮازات ﻋﺎﻟﻤﻴ ًﺎ ﻧﻬﺎﻳﺔ ‪2018‬‬ ‫ﻳﻘﱰب ﺟﻮاز اﻟﺴﻔﺮ اﻹﻣﺎرايت ﻣﻦ ﺗﺤﻘﻴﻖ إﻧﺠﺎز ﺟﺪﻳﺪ ﰲ ﻧﻬﺎﻳﺔ اﻟﻌﺎم‬ ‫اﻟﺠﺎري ﺑﺪﺧﻮﻟﻪ ﺿﻤﻦ ﻗﺎمئﺔ أﻓﻀﻞ ‪ 10‬ﺟﻮازات ﰲ اﻟﻌﺎمل‪ ،‬وذﻟﻚ ﺑﻌﺪ‬ ‫اﻻﻧﺘﻬﺎء ﻣﻦ ﺗﻮﻗﻴﻊ ﻣﺠﻤﻮﻋﺔ ﻣﻦ اﻻﺗﻔﺎﻗﻴﺎت اﻟﺨﺎﺻﺔ ﺑﺘﺒﺎدل اﻹﻋﻔﺎء‬ ‫ﻣﻦ اﻟﺘﺄﺷرية اﳌﺴﺒﻘﺔ ﻣﻊ ﻋﺪد ﻣﻦ دول اﻟﻌﺎمل ﺧﻼل اﻷﺷﻬﺮ اﻟﺴﺘﺔ‬ ‫اﳌﻘﺒﻠﺔ‪ .‬وﺑﻨﺎء ﻋﲆ ﺗﻮﺟﻴﻬﺎت ﺳﻤﻮ اﻟﺸﻴﺦ ﻋﺒﺪ اﻟﻠﻪ ﺑﻦ زاﻳﺪ آل‬ ‫ﻧﻬﻴﺎن وزﻳﺮ اﻟﺨﺎرﺟﻴﺔ واﻟﺘﻌﺎون اﻟﺪوﱄ‪ ،‬ﺗﺴﻌﻰ اﻟﻮزارة ﻋﱪ ﻣﺒﺎدرة‬ ‫»ﺗﻌﺰﻳﺰ ﻗﻮة اﻟﺠﻮاز اﻹﻣﺎرايت« اﻟﺘﻲ أﻃﻠﻘﺘﻬﺎ اﻟﻌﺎم اﳌﺎﴈ ﻟﻮﺿﻊ‬ ‫اﻟﺠﻮاز اﻹﻣﺎرايت ﺿﻤﻦ ﻗﺎمئﺔ أﻗﻮى ‪ 5‬ﺟﻮازات ﺳﻔﺮ ﰲ اﻟﻌﺎمل ﺧﻼل‬ ‫اﻟﺴﻨﻮات اﻟﺜﻼث اﳌﻘﺒﻠﺔ‪ ،‬اﻧﺴﺠﺎﻣﺎً ﻣﻊ رؤﻳﺔ اﻹﻣﺎرات ‪ .2021‬ووﻓﻖ‬ ‫آﺧﺮ ﺗﺤﺪﻳﺜﺎت وزارة اﻟﺨﺎرﺟﻴﺔ واﻟﺘﻌﺎون اﻟﺪوﱄ‪ ،‬ﻳﱰﺑﻊ ﺟﻮاز اﻟﺴﻔﺮ‬ ‫اﻹﻣﺎرايت »اﻟﻌﺎدي« ﺣﺎﻟﻴﺎً ﰲ اﳌﺮﻛﺰ اﻷول ﻋﺮﺑﻴﺎً وﴍق أوﺳﻄﻴﺎً‪ ،‬ﻛام‬ ‫ﻳﱰﺑﻊ ﻋﲆ اﳌﺮﻛﺰ اﻟـ ‪ 16‬ﻋﲆ ﻣﺴﺘﻮى اﻟﻌﺎمل ﺑﺪﺧﻮل ‪ 149‬دوﻟﺔ ﻣﻦ دون‬ ‫ﺗﺄﺷرية ﻣﺴﺒﻘﺔ‪.‬‬

‫اﻹﻣﺎرات اﻷوﻟﻰ إﻗﻠﻴﻤﻴ ًﺎ واﻟﺴﺎﺑﻌﺔ ﻋﺎﻟﻤﻴ ًﺎ ﻓﻲ اﻟﺘﻨﺎﻓﺴﻴﺔ ‪2018‬‬ ‫ﺣﻘﻘﺖ دوﻟﺔ اﻹﻣﺎرات اﳌﺮﻛﺰ اﻷول إﻗﻠﻴﻤﻴﺎً‬ ‫واﻟﺴﺎﺑﻊ ﻋﺎﳌﻴﺎً ﺿﻤﻦ أﻛرث اﻟﺪول ﺗﻨﺎﻓﺴﻴﺔ‬ ‫ﰲ اﻟﻌﺎمل ﻣﺘﻘﺪﻣﺔ ﻋﲆ دول ﻣﺜﻞ اﻟﺴﻮﻳﺪ‪،‬‬ ‫واﻟرنوﻳﺞ‪ ،‬وﻛﻨﺪا ﻷول ﻣﺮة‪ .‬ﻛام ﺗﻘﺪﻣﺖ‬ ‫ﺑﻮاﻗﻊ ‪ 21‬ﺗﺮﺗﻴﺒﺎً ﺧﻼل ‪ 7‬أﻋﻮام ﺑني ﻋﺎﻣﻲ ‪2011‬‬ ‫ﺣﺘﻰ ‪ ،2018‬وذﻟﻚ ﺣﺴﺐ ﺗﻘﺮﻳﺮ »اﻟﻜﺘﺎب‬ ‫اﻟﺴﻨﻮي ﻟﻠﺘﻨﺎﻓﺴﻴﺔ اﻟﻌﺎﳌﻴﺔ« ﻟﻌﺎم ‪،2018‬‬ ‫اﻟﺼﺎدر ﻋﻦ ﻣﺮﻛﺰ اﻟﺘﻨﺎﻓﺴﻴﺔ اﻟﻌﺎﳌﻲ اﻟﺘﺎﺑﻊ‬ ‫ﻟﻠﻤﻌﻬﺪ اﻟﺪوﱄ ﻟﻠﺘﻨﻤﻴﺔ اﻹدارﻳﺔ مبﺪﻳﻨﺔ‬ ‫اﻟﺸﻌﺮ ‪ /‬اﻟﻌﺪد ‪68‬‬ ‫‪ 16‬ﺑﻴﺖ ِ‬

‫ﻟﻮزان اﻟﺴﻮﻳﴪﻳﺔ‪ ،‬اﻟﺬي ﻳﻌ ّﺪ أﺣﺪ أﻫﻢ‬ ‫اﻟﻜﻠﻴﺎت اﳌﺘﺨﺼﺼﺔ ﻋﲆ ﻣﺴﺘﻮى اﻟﻌﺎمل ﰲ‬ ‫ﻫﺬا اﳌﺠﺎل‪.‬‬ ‫واﺣﺘﻠﺖ اﻹﻣﺎرات اﳌﺮاﺗﺐ اﻷوﱃ ﰲ‬ ‫ﻣﺆﴍات ﻣﺨﺘﻠﻔﺔ ﻣﻨﻬﺎ »ﻛﻔﺎءة ﺗﻄﺒﻴﻖ‬ ‫اﻟﻘﺮارات اﻟﺤﻜﻮﻣﻴﺔ«‪ ،‬و»اﻟﴩاﻛﺎت ﺑني‬ ‫اﻟﻘﻄﺎﻋني اﻟﺤﻜﻮﻣﻲ واﻟﺨﺎص«‪ ،‬و»ﻧﺴﺒﺔ‬ ‫اﻟﺘﻮﻇﻴﻒ ﻣﻦ إﺟامﱄ اﻟﺴﻜﺎن«‪ ،‬و»ﺗﻮﻓﺮ‬ ‫اﻟﺨﱪات واﳌﻮاﻫﺐ اﻟﻌﺎﳌﻴﺔ«‪ .‬ﻛام اﺣﺘﻠﺖ‬

‫اﻹﻣﺎرات اﻟﻌﺮﺑﻴﺔ اﳌﺘﺤﺪة اﳌﺮﻛﺰ اﻟﺜﺎين ﻋﺎﳌﻴﺎً‬ ‫ﰲ ﻣﺤﻮر »ﻛﻔﺎءة اﻷﻋامل« واﳌﺮﻛﺰ اﻟﺜﺎﻟﺚ‬ ‫ﻋﺎﳌﻴﺎً ﰲ ﻣﺆﴍ »اﻟﺘﻨﻮع اﻻﻗﺘﺼﺎدي« وﻣﺆﴍ‬ ‫»اﻟﻜﻔﺎءة ﰲ إدارة اﳌﺪن«‪ .‬واﳌﺮﻛﺰ اﻟﺮاﺑﻊ‬ ‫ﻋﺎﳌﻴﺎً ﰲ ﻛﻞ ﻣﻦ ﻣﺆﴍي »اﻟﺒﻨﻴﺔ اﻟﺘﺤﺘﻴﺔ‬ ‫ﻟﻠﻄﺎﻗﺔ« و»ﺗﻄﺒﻴﻖ اﻟﺘﻘﻨﻴﺎت اﻟﺤﺪﻳﺜﺔ«‪،‬‬ ‫وذﻟﻚ اﺳﺘﻨﺎداً إﱃ ﻣﺎ ﻛﺸﻒ ﻋﻨﻪ أﺣﺪث‬ ‫إﺻﺪار ﻟﺘﻘﺮﻳﺮ »اﻟﻜﺘﺎب اﻟﺴﻨﻮي ﻟﻠﺘﻨﺎﻓﺴﻴﺔ‬ ‫اﻟﻌﺎﳌﻴﺔ« ﻟﻌﺎم ‪.2018‬‬

‫ﻓﺮﻳﺪ ﻣﻦ ﻧﻮﻋﻪ ﻟﺨﺪﻣﺔ رﻳﺎﺿﺔ اﻟﻔﺮوﺳﻴﺔ‪ ،‬إذ‬ ‫ﺗﺠﺘﻤﻊ ﰲ اﳌﻨﻄﻘﺔ ﻋﻴﻨﻬﺎ ﺻﺎﻟﺔ ﻛﱪى ﻟﻠﻔﺮوﺳﻴﺔ‬ ‫وﻗﺮﻳﺔ ﻋﺎﳌﻴﺔ مبﻀﺎﻣري وﻣﺴﺎرات ﻃﺒﻴﻌﻴﺔ‬ ‫وﻓﻨﺪق‪ ،‬وأﻛﺎدميﻴﺔ ﺗﻌﻠﻴﻤﻴﺔ‪.‬‬ ‫ﻣﺮﻛﺰان ﻟﻠﻨﺎﺷﺌﺔ ﻓﻲ اﻟﺴﻤﺤﺔ واﻟﻮﺛﺒﺔ‬ ‫وﻋﲆ ﺻﻌﻴﺪ ﻣﺸﺎرﻳﻊ اﻟﺘﻄﻮﻳﺮ اﳌﺠﺘﻤﻌﻲ اﻟﺘﻲ‬ ‫ﺗﺸﻜﻞ ﻣﺮاﻛﺰ ﻟﺨﺪﻣﺔ اﻟﻨﺎﺷﺌﺔ واﻟﺸﺒﺎب‪ ،‬أوﺿﺢ‬ ‫اﻟﺪﻛﺘﻮر اﻟﻜﻌﺒﻲ أن ﻟﺠﻨﺔ اﳌﺸﺎرﻳﻊ اﻟﺘﺎﺑﻌﺔ‬ ‫ﻟﺴﻤﻮ اﻟﺸﻴﺦ ﺳﻠﻄﺎن ﺑﻦ زاﻳﺪ آل ﻧﻬﻴﺎن‬ ‫ﻋ ِﻬﺪت إﱃ ﴍﻛﺔ ﻣﺴﺎﻧﺪة ﺑﺘﻨﻔﻴﺬ ﻣﺒﻨﻴني؛‬ ‫أﺣﺪﻫام ﰲ ﻣﺪﻳﻨﺔ اﻟﺴﻤﺤﺔ‪ ،‬واﻵﺧﺮ ﰲ ﻣﺪﻳﻨﺔ‬ ‫اﻟﻮﺛﺒﺔ‪ ،‬ﻟﻴﺸﻜﻼ ﻣﺮﻛﺰﻳﻦ ﻟﻠﻄﻠﺒﺔ اﳌﻨﺘﺴﺒني‬ ‫ﻟﻠﻨﺎدي‪ ،‬مبﻮاﺻﻔﺎت ﺣﺪﻳﺜﺔ وﻣﺮاﻓﻖ ﻣﺘﻜﺎﻣﻠﺔ‬ ‫ﺗﺴﺎﻋﺪ اﻟﻨﺶء ﰲ ﺻﻘﻞ وﺗﻌﺰﻳﺰ ﻗﺪراﺗﻬﻢ‬ ‫وﻣﻬﺎراﺗﻬﻢ‪ ،‬وﺗﻌني اﻟﻨﺎدي ﰲ ﺗﻨﻔﻴﺬ ﺑﺮاﻣﺠﻪ‬ ‫وﻓﻌﺎﻟﻴﺎﺗﻪ اﻟﻬﺎدﻓﺔ إﱃ اﻹﺳﻬﺎم اﻟﻔﺎﻋﻞ ﰲ‬ ‫ﺑﻨﺎء ﺟﻴﻞ ﻣﺜﻘﻒ ورﻳﺎﴈ ﻣﺤﺎﻓﻆ ﻋﲆ ﺗﺮاﺛﻪ‬ ‫وﻗﻴﻤﻪ اﻷﺻﻴﻠﺔ‪.‬‬ ‫ﺗﻮﺟﻴﻬﺎت ﺑﺎﻻﺳﺘﺠﺎﺑﺔ ﻟﻠﺨﻄﻂ اﻟﺮﺳﻤﻴﺔ‬ ‫وﻣﺜﻠام ﻳﺤﺮص ﺳﻤﻮ اﻟﺸﻴﺦ ﺳﻠﻄﺎن ﺑﻦ زاﻳﺪ آل‬ ‫ﻧﻬﻴﺎن ﻋﲆ أن ﺗﺒﻘﻰ ﻣﺴﺎﻋﻲ اﻟﻨﺎدي وﺟﻬﻮده‬ ‫ﻣﻮﺻﻮﻟﺔ ﻟﻠﺤﻔﺎظ ﻋﲆ اﳌﻮروث اﻟﻮﻃﻨﻲ وﻗﻴﻤﻪ‬ ‫اﻷﺻﻴﻠﺔ وﺗﻌﺰﻳﺰ اﻟﻬﻮﻳﺔ اﻟﻮﻃﻨﻴﺔ وﺗﺮﺳﻴﺨﻬﺎ‬ ‫ﻟﺪى اﻟﻨﺶء‪ ،‬ﻓﺈن ﺗﻮﺟﻴﻬﺎت ﺳﻤﻮه ﺗﺆﻛﺪ أﻳﻀﺎ‬ ‫اﻟﺘﺰام اﻟﻨﺎدي ﺑﺎﻟﺤﺮص ﻋﲆ أن ﺗﺒﻘﻰ ﻣﺸﺎرﻳﻌﻪ‬ ‫وﺑﺮاﻣﺠﻪ ﻣﻨﺴﺠﻤﺔ ﻣﻊ اﻟﺘﻮﺟﻬﺎت واﻟﺨﻄﻂ‬ ‫اﻟﺮﺳﻤﻴﺔ وﻋﲆ رأﺳﻬﺎ ﺧﻄﺔ أﺑﻮﻇﺒﻲ ‪.2030‬‬ ‫ﻫﺬا ﻣﺎ ﻧﻮه إﻟﻴﻪ اﻟﺪﻛﺘﻮر اﻟﻜﻌﺒﻲ‪ ،‬وﻫﺬا‬ ‫ﻣﺎ دأﺑﺖ ﻋﲆ اﻻﻟﺘﺰام ﺑﻪ إدارة اﻟﻨﺎدي ﻋﱪ‬ ‫ﺧﻄﻄﻬﺎ وﺑﺮاﻣﺠﻬﺎ وﻣﺸﺎرﻳﻌﻬﺎ‪ ،‬ﻟﺘﺒﻘﻰ ﺟﻤﻴﻌﻬﺎ‬ ‫ﻣﻨﺴﺠﻤﺔ ﻣﻊ ﺗﻮﺟﻬﺎت اﻟﻘﻴﺎدة اﻟﺮﺷﻴﺪة‬ ‫»ﻳﺤﻔﻈﻬﺎ اﻟﻠﻪ« واﻟﺘﻲ ﺗﺒﻠﻮر ﺧﻄﺔ أﺑﻮﻇﺒﻲ‬ ‫‪ 2030‬رؤاﻫﺎ اﳌﺴﺘﻘﺒﻠﻴﺔ ﻟﻺﻣﺎرة‪ ،‬ﻓﱪاﻣﺞ‬ ‫اﻟﻨﺎدي وﻣﺸﺎرﻳﻌﻪ ﻣﺘامﻫﻴﺔ ﻣﻊ ﻣﺮﺗﻜﺰات‬ ‫وﺑﺮاﻣﺞ وﻣﺸﺎرﻳﻊ اﻟﺨﻄﺔ وﺗﺨﺪم ﻛﺜرياً ﻣﻨﻬﺎ‪.‬‬ ‫اﻟﺘﻨﻤﻴﺔ اﻻﺟﺘﻤﺎﻋﻴﺔ‬ ‫ﻓﻔﻲ اﻟﺘﻨﻤﻴﺔ اﻻﺟﺘامﻋﻴﺔ ﺗﺮﻣﻲ اﻟﺨﻄﺔ إﱃ ﺑﻨﺎء‬ ‫ﺟﻴﻞ واﻋﺪ ﻣﺘﻌﻠﻢ ﻳﺴﺎﻫﻢ ﰲ ﺧﺪﻣﺔ اﻟﻮﻃﻦ‬ ‫واﳌﺠﺘﻤﻊ‪ ،‬أوﺿﺢ اﻟﺪﻛﺘﻮر اﻟﻜﻌﺒﻲ أن مثﺔ‬

‫اﻟﻌﺪﻳﺪ ﻣﻦ ﺑﺮاﻣﺞ اﻟﻨﺎدي اﻟﺘﻲ ﺗﻬﺪف إﱃ‬ ‫متﻜني اﻟﻄﻠﺒﺔ ﻣﻦ ﺧﻼل ﺻﻘﻞ وﺗﻌﺰﻳﺰ ﻗﺪراﺗﻬﻢ‬ ‫وﻣﻬﺎراﺗﻬﻢ‪ ،‬وذﻟﻚ ﻋﱪ وﺿﻊ ﺑﺮاﻣﺞ وآﻟﻴﺎت‬ ‫ﻟﺘﻌﺰﻳﺰ اﻟﻬﻮﻳﺔ اﻟﻮﻃﻨﻴﺔ وﺗﺮﺳﻴﺨﻬﺎ‪ ،‬وﺗﻌﺰﻳﺰ‬ ‫اﻷﻧﺸﻄﺔ مبﺎ ﰲ ذﻟﻚ اﻷﻧﺸﻄﺔ اﻟﺮﻳﺎﺿﻴﺔ‬ ‫واﳌﻬﺎرات اﻟﺤﻴﺎﺗﻴﺔ اﻟﺘﻲ ﺗﺤﻔﻞ ﺑﻬﺎ اﳌﻠﺘﻘﻴﺎت‬ ‫اﻟﻄﻼﺑﻴﺔ اﻟﺴﻨﻮﻳﺔ ﰲ اﻟﻨﺎدي‪.‬‬ ‫وﻟﺒﻨﺎء ﻣﺠﺘﻤﻊ ﻣﺜﻘﻒ ورﻳﺎﴈ ﻣﺤﺎﻓﻆ‬ ‫ﻋﲆ ﺗﺮاﺛﻪ وﻗﻴﻤﻪ اﻷﺻﻴﻠﺔ‪ ،‬وﺗﻌﺰﻳﺰ اﻟﺜﻘﺎﻓﺔ‬ ‫واإﻹﺑﺪاع اﻟﻔﻜﺮي واﻟﻔﻨﻲ‪ ،‬ﻓﺈن ﻣﻦ اﻫﺘامﻣﺎت‬ ‫اﻟﻨﺎدي ﺗﻨﻤﻴﺔ اﻷﻧﺸﻄﺔ واﻟﻌﻨﺎﴏ اﻟﺜﻘﺎﻓﻴﺔ‬ ‫ﰲ إﻣﺎرة أﺑﻮﻇﺒﻲ‪ ،‬ﻋﱪ اﳌﺤﺎﴐات واﻟﻨﺪوات‬ ‫وورش اﻟﻌﻤﻞ وﻣﻌﺎرض اﻟﻜﺘﺐ اﻟﺘﻲ ﻳﺨﺘﺺ‬ ‫ﻣﺮﻛﺰ زاﻳﺪ ﻟﻠﺪراﺳﺎت واﻟﺒﺤﻮث ﰲ اﻟﻨﺎدي‬ ‫ﺑﻬﺎ‪ ،‬وﻳﻠﺘﺰم ﺑﺘﻨﻔﻴﺬ ﺧﻄﺔ ﺳﻨﻮﻳﺔ ﺑﺸﺎﻧﻬﺎ‪ ،‬إﱃ‬ ‫ﺟﺎﻧﺐ ﻣﺎ ﻳﻀﻄﻠﻊ ﺑﻪ ﻣﻦ دﻋﻢ وﺗﻄﻮﻳﺮ اﻟﺒﺤﺚ‬ ‫اﻟﻌﻠﻤﻲ ﰲ ﻣﺠﺎل اﻟﺜﻘﺎﻓﺔ واﻟﱰاث‪ .‬ﻓﻴام ﻳﺄيت‬ ‫ﰲ ﺻﻤﻴﻢ ﻋﻤﻞ إدارات اﻟﻨﺎدي اﳌﺨﺘﻠﻔﺔ وﺿﻊ‬ ‫وﺗﻄﻮﻳﺮ اﻷﺳﺲ واﻟﺴﻴﺎﺳﺎت ﻟﻠﻤﻨﺸﺂت واﳌﺮاﻛﺰ‬ ‫اﻟﺜﻘﺎﻓﻴﺔ واﻟﱰاﺛﻴﺔ‪ ،‬وﺗﻨﻤﻴﺔ اﳌﻮاﻫﺐ اﻟﻮﻃﻨﻴﺔ ﰲ‬ ‫ﻣﺠﺎل اﻟﺜﻘﺎﻓﺔ واﻟﱰاث‪ ،‬وﻛﺬﻟﻚ ﺗﻄﻮﻳﺮ وﺗﻨﻔﻴﺬ‬ ‫ﻧﻈﻢ وآﻟﻴﺎت ﻟﻠﺤﻔﺎظ ﻋﲆ اﻟﱰاث‪.‬‬ ‫وﺗﺘﺠﲆ أدوار ﻣﺮﻛﺰ زاﻳﺪ ﻟﻠﺪراﺳﺎت واﻟﺒﺤﻮث‬ ‫ﰲ اﻟﻌﻤﻞ ﻋﲆ إﺣﻴﺎء وﺗﺮوﻳﺞ اﻟﺜﻘﺎﻓﺔ واﻟﱰاث‪،‬‬ ‫ﻋﱪ ﺗﻮﺛﻴﻖ وﻧﴩ اﻟﱰاث اﳌﻌﻨﻮي‪ ،‬ودﻋﻢ‬ ‫اﻟﻜﺘﺎب‪ ،‬إذ ﺗﺠﺎوزت ﻋﻨﺎوﻳﻦ إﺻﺪاراﺗﻪ ‪130‬‬ ‫ﻋﻨﻮاﻧﺎ‪ ،‬وﺗﻌﺰﻳﺰ اﻟﻨﴩ اﻹﻟﻜﱰوين ﻟﻠﻤﻄﺒﻮﻋﺎت‬ ‫واﳌﺤﺘﻮى اﻟﺮﻗﻤﻲ‪ ،‬وﺗﻄﻮﻳﺮ وﺗﻨﻔﻴﺬ ﺑﺮاﻣﺞ‬ ‫وﻓﻌﺎﻟﻴﺎت ﺗﻬﺪف ﻟﺮﻓﻊ وﻋﻲ اﳌﺠﺘﻤﻊ ﺑﱰاث‬ ‫وﺗﺎرﻳﺦ اﻹﻣﺎرات‪ ،‬واﻟﱰوﻳﺞ ﻟﻠﻤﻘﻮﻣﺎت‬ ‫اﻟﺜﻘﺎﻓﻴﺔ واﻟﱰاﺛﻴﺔ‪.‬‬

‫اﻟﺘﻨﻤﻴﺔ اﻻﻗﺘﺼﺎدﻳﺔ‬ ‫وﰲ اﻟﺘﻨﻤﻴﺔ اﻻﻗﺘﺼﺎدﻳﺔ اﻟﺘﻲ ﺗﺮﻣﻲ ﻓﻴﻬﺎ‬ ‫ﺧﻄﺔ أﺑﻮﻇﺒﻲ ‪ 2030‬إﱃ ﺟﻌﻞ إﻣﺎرة أﺑﻮﻇﺒﻲ‬ ‫وﺟﻬﺔ ﺳﻴﺎﺣﻴﺔ ﺟﺎذﺑﺔ ذات ﻃﺎﺑﻊ ﻣﺘﻤﻴﺰ‪ ،‬ﺑني‬ ‫اﻟﺪﻛﺘﻮر اﻟﻜﻌﺒﻲ أن ﺟﻬﻮد اﻟﻨﺎدي ﻣﻮﺻﻮﻟﺔ‬ ‫ﻋﱪ ﺑﺮاﻣﺞ ﺗﻌﺰﻳﺰ وﺗﻄﻮﻳﺮ اﳌﻨﺎﻃﻖ اﻟﺴﻴﺎﺣﻴﺔ‪،‬‬ ‫ﻣﺜﻞ اﻟﻘﺮﻳﺔ اﻟﱰاﺛﻴﺔ ﺑﻜﺎﴎ اﻷﻣﻮاج اﻟﺘﻲ‬ ‫ﺗﻔﺘﺢ أﺑﻮاﺑﻬﺎ ﳌﺌﺎت اﻟﺴﻴﺎح ﻳﻮﻣﻴﺎً‪ ،‬وﺗﺸﻬﺪ‬ ‫ﻣﻴﺎه ﻛﺎﴎ اﻷﻣﻮاج اﳌﺘﻜﺌﺔ ﻋﻠﻴﻪ اﻟﻘﺮﻳﺔ‬ ‫أﺷﻬﺮ ﺳﺒﺎﻗﺎت اﻟﻘﻮارب اﻟﱰاﺛﻴﺔ‪ ،‬وﻣﻌﺮض‬ ‫اﻟﺸﻴﺦ زاﻳﺪ ﰲ ﻣﻨﻄﻘﺔ اﻟﺒﻄني اﻟﺬي ﻳﺴﺘﻘﺒﻞ‬ ‫اﻟﻌﺪﻳﺪ ﻣﻦ ﺿﻴﻮف اﻟﺪوﻟﺔ‪ ،‬ومتﺮ ﺑﻪ ﻣﺨﺘﻠﻒ‬ ‫اﻟﻮﻓﻮد اﻟﺴﻴﺎﺣﻴﺔ‪ ،‬وﻛﺬﻟﻚ ﺟﺰﻳﺮة اﻟﺴامﻟﻴﺔ‬ ‫اﻟﺘﻲ متﺜﻞ ﺻﻮرة ﺟﻠﻴﺔ ﳌﺎ ﺗﺘﻄﻠﺒﻪ اﻟﺨﻄﺔ ﻣﻦ‬ ‫اﻻﺳﺘﻔﺎدة ﻣﻦ اﻟﺠﺰر اﻟﻄﺒﻴﻌﻴﺔ ﰲ اﻹﻣﺎرة مبﺎ‬ ‫ﻳﺨﺪم اﻟﺘﺠﺮﺑﺔ اﻟﺴﻴﺎﺣﻴﺔ‪ ،‬واﻻرﺗﻘﺎء مبﺴﺘﻮى‬ ‫اﻟﺨﺪﻣﺎت ﰲ اﻟﺠﺰر‪ ،‬وﺗﻄﻮﻳﺮ ﺗﺠﺮﺑﺔ اﻟﺴﻴﺎﺣﺔ‬ ‫اﻟﺒﻴﺌﻴﺔ ﰲ ﺑﻌﺾ اﻟﺠﺰر‪ ،‬إﱃ ﺟﺎﻧﺐ ﻣﺎ ﺗﺸﻬﺪه‬ ‫اﳌﻴﺎه اﳌﺤﻴﻄﺔ ﺑﻬﺎ ﻣﻦ أﻧﺸﻄﺔ ﺑﺤﺮﻳﺔ ﻟﻠﴩاع‬ ‫اﻟﺤﺪﻳﺚ ﺗﺠﻤﻊ ﻣﺨﺘﻠﻒ اﻟﺠﻨﺴﻴﺎت‪ ،‬ﺗﻨﻈﻤﻬﺎ‬ ‫ﻣﺪرﺳﺔ اﻹﻣﺎرات ﻟﻠﴩاع اﻟﺮاﺑﻀﺔ ﻗﺒﺎﻟﺔ‬ ‫اﻟﺠﺰﻳﺮة‪.‬‬ ‫ﻛام أن ﻟﻠﻨﺎدي ﺟﻬﻮده اﻟﻮاﺿﺤﺔ ﰲ ﺗﻄﻮﻳﺮ‬ ‫اﻟﺴﻴﺎﺣﺔ اﻟﺜﻘﺎﻓﻴﺔ واﻟﻔﻌﺎﻟﻴﺎت واﳌﻬﺮﺟﺎﻧﺎت‬ ‫اﻟﻜﱪى‪ ،‬ﻣﺜﻞ ﻣﻬﺮﺟﺎن ﺳﻠﻄﺎن ﺑﻦ زاﻳﺪ اﻟﱰايث‪،‬‬ ‫وﻣﻬﺮﺟﺎن ﺳﻠﻄﺎن ﺑﻦ زاﻳﺪ اﻟﺪوﱄ ﻟﺮﻛﻮب‬ ‫اﻟﻘﺪرة واﻟﺘﺤﻤﻞ‪ ،‬واﳌﻬﺮﺟﺎﻧﺎت اﻟﺮﻣﻀﺎﻧﻴﺔ ﰲ‬ ‫أﻛرث ﻣﻦ ﻣﻨﻄﻘﺔ ﻣﻦ ﻣﻨﺎﻃﻖ اﻹﻣﺎرة‪.‬‬ ‫اﻟﺒﻨﻴﺔ اﻟﺘﺤﺘﻴﺔ واﻟﺒﻴﺌﺔ‬ ‫وﰲ ﻣﺎ ﺗﻀﻤﻨﺘﻪ ﺧﻄﺔ أﺑﻮﻇﺒﻲ ‪ 2030‬ﺣﻴﺎل‬ ‫اﻟﺒﻨﻴﺔ اﻟﺘﺤﺘﻴﺔ واﻟﺒﻴﺌﺔ اﻟﺮاﻣﻴﺔ إﱃ ﺑﻴﺌﺔ‬ ‫ﻣﺴﺘﺪاﻣﺔ واﺳﺘﻐﻼل أﻣﺜﻞ ﻟﻠﻤﻮارد ﻟﻠﺤﻔﺎظ‬ ‫ﻋﲆ اﻟﱰاث اﻟﻄﺒﻴﻌﻲ‪ ،‬أﺷﺎر اﻟﺪﻛﺘﻮر اﻟﻜﻌﺒﻲ‬ ‫إﱃ أن ﻣﻦ اﻫﺘامﻣﺎت اﻟﻨﺎدي اﳌﻮﺻﻮﻟﺔ‬ ‫اﻋﺘﻨﺎءه ﺑﺎﻟﺘﻨﻮع اﻟﺒﻴﻮﻟﻮﺟﻲ‪ ،‬ﻛام ﻫﻮ اﻟﺤﺎل‬ ‫ﰲ ﺟﺰﻳﺮة اﻟﺴامﻟﻴﺔ اﻟﺘﻲ ﺗﺤﺘﻀﻦ ﻋﺪداً ﻣﻦ‬ ‫اﻟﺤﻴﻮاﻧﺎت اﻟﱪﻳﺔ واﻟﻄﻴﻮر‪ ،‬ﻛام ﺗﻮﺟﺪ أﻧﻮاع‬ ‫ﻣﺨﺘﻠﻔﺔ ﻣﻦ اﻷﺣﻴﺎء اﻟﺒﺤﺮﻳﺔ اﻟﺘﻲ ﺗﻮﻓﺮ ﻟﻬﺎ‬ ‫ﺑﻴﺌﺔ ﻣﻼمئﺔ أﺷﺠﺎر اﻟﻘﺮم اﻟﺘﻲ ﺟﻌﻞ اﻟﻨﺎدي‬ ‫ﻣﻦ اﻟﺠﺰﻳﺮة أﻛﱪ اﳌﻨﺎﻃﻖ اﻟﺘﻲ متﺖ زراﻋﺘﻬﺎ‬ ‫ﺑﻬﺬا اﻟﻨﺒﺎت ﰲ اﻟﻌﺎمل‪.‬‬ ‫ﻳﻮﻧﻴﻮ ‪15 2018 /‬‬

‫اﻷﺧﺒﺎر‬ ‫‪baytelshear‬‬

‫ﺟﺎﻧﺒﻴﺔ ﻣﻦ اﻟﻨﺒﺎﺗﺎت واﻷﺷﺠﺎر اﻟﱪﻳﺔ اﻟﺘﻲ‬ ‫ﺗﺴﻬﻢ ﰲ زﻳﺎدة ﻣﺴﺎﺣﺎت اﻟﺘﺸﺠري اﻟﺨﴬاء‪،‬‬ ‫وﻳﺤﺎذي ﻫﺬا اﻟﺸﺎرع ﻣﻤﴙ ﺑﻄﻮل ﺛﻼﺛﺔ‬ ‫ﻛﻴﻠﻮﻣﱰات ﻳﺨﺪم أﺻﺤﺎب اﻟﻌﺰب واﻟﻘﺎﻃﻨني‬ ‫ﰲ اﳌﻨﻄﻘﺔ‪ ،‬وﻳﺴ ّﻬﻞ ﺗﻮاﻓﺪ ﺟامﻫري اﳌﻬﺮﺟﺎن‬ ‫ﻓﱰة ﺗﻨﻈﻴﻤﻪ‪.‬‬ ‫وﺑني اﻟﺪﻛﺘﻮر اﻟﻜﻌﺒﻲ أن ﻣﻮﻗﻊ اﳌﻬﺮﺟﺎن‬ ‫ﻧﻔﺴﻪ ﺳﻴﺤﻈﻰ ﺑﻌﺪد ﻣﻦ اﳌﺸﺎرﻳﻊ اﻟﺘﻄﻮﻳﺮﻳﺔ‬ ‫اﻟﺘﻲ ﺗﻄﺎل ﻣﻀامري ﺳﺒﺎق اﻹﺑﻞ واﻟﺴﻠﻮﻗﻲ‪،‬‬ ‫وإﻧﺸﺎء ﺷﻮارع رﺋﻴﺴﺔ ﺗﺴ ّﻬﻞ اﻟﺪﺧﻮل إﱃ‬ ‫ﻣﻴﺎدﻳﻦ اﳌﻬﺮﺟﺎن‪ ،‬إﺿﺎﻓﺔ إﱃ ﻣﺴﺎرات ﺟﺪﻳﺪة‬ ‫وﻣﺤﺪﺛﺔ ﳌﴚ اﻹﺑﻞ وﺗﺪرﻳﺒﻬﺎ‪ ،‬وﻛﺬﻟﻚ إﻗﺎﻣﺔ‬ ‫ﱟ‬ ‫ﻣﺼﻞ‪،‬‬ ‫ﻣﺴﺠﺪ ﺟﺪﻳﺪ ﻳﺘﺴﻊ ﻟﻨﺤﻮ ‪1500‬‬ ‫ﻟﻴﻮاﻛﺐ اﻟﺘﻮﺳﻊ اﻟﺤﺎﺻﻞ ﰲ اﳌﻨﻄﻘﺔ واﻟﺘﺰاﻳﺪ‬ ‫اﳌﻀﻄﺮد ﰲ أﻋﺪاد اﳌﺸﺎرﻛني ﰲ ﻓﻌﺎﻟﻴﺎت‬ ‫اﳌﻬﺮﺟﺎن واﻟﺰاﺋﺮﻳﻦ ﻟﻪ ﺑﻌﺪ أن أﺻﺒﺢ اﳌﻬﺮﺟﺎن‬ ‫ﺣﺪﺛﺎً ﺗﺮاﺛﻴﺎً ﻓﺎﻋ ًﻼ ﰲ ﺗﻨﺸﻴﻂ اﻟﺴﻴﺎﺣﺔ‬ ‫اﻟﱰاﺛﻴﺔ واﻟﺜﻘﺎﻓﻴﺔ‪ ،‬وﻏﺪا ﻣﺤ ّﻔﺰاً ﻗﻮﻳﺎً ﻟﻠﺤﺮاك‬ ‫اﻻﻗﺘﺼﺎدي ﰲ اﳌﻨﻄﻘﺔ‪ ،‬وﻣﺤﻄﺔ ﺳﻨﻮﻳﺔ ﰲ‬ ‫ﺑﺮاﻣﺞ ﻃﻠﺒﺔ اﳌﺪارس‪ ،‬واﻟﻌﺎﻣﻠني ﰲ ﻣﺨﺘﻠﻒ‬ ‫اﻟﻬﻴﺌﺎت اﻟﺪﺑﻠﻮﻣﺎﺳﻴﺔ اﳌﻤﺜﻠﺔ ﻟﺪى اﻟﺪوﻟﺔ‬ ‫وﻋﺎﺋﻼﺗﻬﻢ‪ ،‬وأﺷﺎر إﱃ أﻧﻪ ﺗﻢ رﺻﺪ ﻣﻴﺰاﻧﻴﺔ‬ ‫ﻹﻗﺎﻣﺔ ﻣﻨﺼﺔ ﻟﻠﻤﺰاﻳﻨﺔ ﺧﻼل اﻟﺴﻨﻮات اﻟﺜﻼث‬ ‫اﻟﻘﺎدﻣﺔ‪ ،‬ﺗﻜﻮن ذات ﻃﺎﺑﻊ ﺗﺮايث ﻳﻌﻜﺲ‬ ‫ﻃﺒﻴﻌﺔ اﻹﻣﺎرات ﺑﺸﻜﻞ ﻋﺎم‪ ،‬واﳌﻬﺮﺟﺎن‬ ‫ﺑﺸﻜﻞ ﺧﺎص‪ ،‬ﻛام ﻳﺘﻢ ﺣﺎﻟﻴﺎ دراﺳﺔ ﻣﴩوع‬ ‫ﺑﻨﺎء ﺳﻮق ﺷﻌﺒﻲ‪ ،‬وﺗﻘﻴﻴﻤﻪ اﻟﻨﻬﺎيئ‪ ،‬ﺑﺤﻴﺚ ﻻ‬ ‫ﻳﻘﺘﴫ ﻧﺸﺎط ﻫﺬا اﻟﺴﻮق ﻋﲆ ﻓﱰة ﺗﻨﻈﻴﻢ‬ ‫اﳌﻬﺮﺟﺎن‪ ،‬ﺑﻞ ﺳﻴﻜﻮن دامئﺎً ﻟﺘﻌﺰﻳﺰ اﻟﺘﻨﻤﻴﺔ‬ ‫اﳌﺤﻠﻴﺔ‪ ،‬وﺧﺪﻣﺔ أﻫﺎﱄ اﳌﻨﻄﻘﺔ واﳌﺴﺘﺜﻤﺮﻳﻦ‪.‬‬

‫اﻟﺸﻌﺮ ‪ /‬اﻟﻌﺪد ‪68‬‬ ‫‪ 14‬ﺑﻴﺖ ِ‬

‫ﻓﻲ اﻟﺴﻤﺎﻟﻴﺔ أول ﻣﻀﻤﺎر ﺳﺮﻳﻊ ﻟﻠﺨﻴﻞ‬ ‫ﺑﺄﺑﻮﻇﺒﻲ‬ ‫ﰲ ﺟﺰﻳﺮة اﻟﺴامﻟﻴﺔ‪ ،‬اﳌﺤﻤﻴﺔ اﻟﻄﺒﻴﻌﻴﺔ اﻟﺘﻲ‬ ‫ﺗﺰﻫﻮ مبﻜﻮﻧﺎﺗﻬﺎ اﻟﱰاﺛﻴﺔ وﻋﻨﺎﴏ ﺟﺬﺑﻬﺎ‬ ‫اﻟﺴﻴﺎﺣﻲ‪ ،‬ﻗﺎل اﻟﺪﻛﺘﻮر اﻟﻜﻌﺒﻲ ﺑﺄﻧﻪ ﺳﻮف‬ ‫ﻳﻘﺎم أول ﻣﻀامر ﴎﻳﻊ ﻟﺴﺒﺎﻗﺎت اﻟﺨﻴﻮل‬ ‫ﰲ أﺑﻮﻇﺒﻲ ﺑﻄﻮل ﻗﻴﺎﳼ ﻋﺎﳌﻲ ﻳﺒﻠﻎ أرﺑﻌﺔ‬ ‫ﻛﻴﻠﻮﻣﱰات‪ ،‬ﻣام ُﻳﻌﺪ ﻣﻦ اﳌﺸﺎرﻳﻊ اﳌﻬﻤﺔ‬ ‫واﻟﺤﻴﻮﻳﺔ اﻟﺘﻲ ﺗﻀﻔﻲ ﻋﲆ اﻟﺠﺰﻳﺮة ﻣﻜﺎﺳﺐ‬ ‫وﻣﻴﺰات إﺿﺎﻓﻴﺔ ﺟﺎذﺑﺔ ﻟﻠﺴﻴﺎﺣﺔ‪ ،‬ﻣﻀﻴﻔﺎ أن‬ ‫ﻣﻴﺪان اﻟﺮﻣﺎﻳﺔ ﰲ اﻟﺠﺰﻳﺮة ﺳﻴﺸﻬﺪ ﺗﻄﻮﻳﺮاً‬ ‫ﺿﻤﻦ اﳌﺸﺎرﻳﻊ اﻟﺠﺪﻳﺪة‪ ،‬مبﺎ ﻳﺘامﳽ ﻣﻊ‬ ‫ﻣﺘﻄﻠﺒﺎت اﻷﻣﻦ واﻟﺴﻼﻣﺔ‪ ،‬ﻟﺘﻐﺪو ﻣﻴﺎدﻳﻦ‬ ‫اﻟﺠﺰﻳﺮة وﻣﺮاﻓﻘﻬﺎ مبﻮاﺻﻔﺎت ﻋﺎﻟﻴﺔ‪ ،‬ﺣﻴﺚ مثﺔ‬ ‫اﳌﺴﺒﺢ اﻷوﳌﺒﻲ‪ ،‬وﻣﻴﺎدﻳﻦ اﻟﺘﺪرب ﻋﲆ رﻛﻮب‬ ‫اﻟﺨﻴﻞ واﻟﻬﺠﻦ‪ ،‬واﻟﺼﻴﺪ ﺑﺎﻟﺼﻘﻮر وﻏريﻫﺎ‪.‬‬ ‫وﺗﺸﻜﻞ ﺟﺰﻳﺮة ّ‬ ‫اﻟﺴامﻟﻴﺔ ﻟﻨﺎدي ﺗﺮاث اﻹﻣﺎرات‬ ‫اﻟﺒﻮاﺑﺔ اﻟﺒﺤﺮﻳﺔ واﳌﻴﺪان اﻟﺮﺋﻴﺲ اﳌﻤ ّﻬﺪ‪،‬‬ ‫وﻓﻖ ﻣﻮاﺻﻔﺎت ﻓﻨﻴﺔ ﻋﺎﻟﻴﺔ‪ ،‬ﳌﺰاوﻟﺔ اﻷﻧﺸﻄﺔ‬ ‫اﻟﱰاﺛﻴﺔ واﻟﺜﻘﺎﻓﻴﺔ واﻟﱰﺑﻮﻳﺔ واﻟﺒﻴﺌﻴﺔ واﻟﻔﻠﻜﻴﺔ‪،‬‬ ‫ﻛام ﺗﺸﻬﺪ ﻗﺎﻋﺎت اﻟﺠﺰﻳﺮة ﺗﻨﻈﻴﻢ اﻟﻌﺪﻳﺪ ﻣﻦ‬ ‫اﻟﺪورات اﻟﺘﺪرﻳﺒﻴﺔ واﳌﺤﺎﴐات اﻟﺘﺜﻘﻴﻔﻴﺔ‬ ‫واﳌﻠﺘﻘﻴﺎت واﻟﺴﺒﺎﻗﺎت واﳌﻬﺮﺟﺎﻧﺎت‪ ،‬ﺑﺎﻹﺿﺎﻓﺔ‬ ‫إﱃ اﺳﺘﻘﺒﺎل ﺿﻴﻮف اﻟﺪوﻟﺔ اﻟﺮﺳﻤﻴني وﺿﻴﻮف‬ ‫ﺗﺘﻔﺮد‬ ‫اﻟﻨﺎدي‪ ،‬ﺣﻴﺚ ﺗ ﱡ‬ ‫ُﻌﺪ وﺟﻬﺔ ﺳﻴﺎﺣﻴﺔ ﱠ‬ ‫ﺑﺠﻤﻌﻬﺎ ﻣﻴﺰات ﺑﻴﺌﻴﺔ وﺗﺮاﺛﻴﺔ ﺧﺎﺻﺔ‪.‬‬ ‫ﻓﺘﺘﻤﺘﻊ اﻟﺠﺰﻳﺮة مبﻘﻮﻣﺎت اﳌﺤﻤﻴﺎت اﻟﻄﺒﻴﻌﻴﺔ؛‬ ‫ﳌﺎ ﻳﺴﻮدﻫﺎ ﻣﻦ ﺗﻨﻮع ﺑﻴﻮﻟﻮﺟﻲ ﻛﺒري‪ ،‬ﺳﺎﻋﺪﻫﺎ‬ ‫ﰲ ذﻟﻚ وﺟﻮد رﻗﻌﺔ ﻛﺒرية ﻣﻦ أﺷﺠﺎر اﻟﻘﺮم‪،‬‬ ‫ﺟﻌﻞ اﻟﺠﺰﻳﺮة ﻣﻦ أﻛﱪ اﳌﻨﺎﻃﻖ اﳌﺰروﻋﺔ‬

‫ﺑﺎﻟﻘﺮم‪ ،‬وﻳﺘﺨﻠﻞ ﻫﺬه اﻷﺷﺠﺎر ﻣﻤﺮ ﻟﻐﺎﻳﺎت‬ ‫ﺗﻌﻠﻴﻤﻴﺔ وﺗﻮﻋﻮﻳﺔ‪ ،‬ﻳﻌﺪ ﻣﻦ اﳌﻤﺮات اﻟﻔﺮﻳﺪة‬ ‫ﰲ ﻧﻮﻋﻬﺎ ﻋﲆ ﻣﺴﺘﻮى اﳌﻨﻄﻘﺔ‪ ،‬وﺗﻀﻢ اﻟﺠﺰﻳﺮة‬ ‫أمنﺎﻃﺎ ﻣﻦ اﻟﻌامﺋﺮ اﻟﺘﻘﻠﻴﺪﻳﺔ اﻟﺘﻲ ﺑﻨﻴﺖ ﻋﲆ‬ ‫اﻟﻄﺮاز اﳌﻌامري اﻟﻘﺪﻳﻢ ﺑﻜﻞ ﺗﻔﺎﺻﻴﻠﻪ‪ ،‬ﻣﺜﻞ‬ ‫اﻟﻌامرة اﻟﺴﻜﻨﻴﺔ وﻋامرة اﻟﺴﻮق‪ ،‬ﻛام ﺗﺸﻬﺪ‬ ‫اﺳﺘﺤﺪاث وﺗﻨﻔﻴﺬ وﻣﺘﺎﺑﻌﺔ ﻋﺪد ﻣﻦ اﻟﱪاﻣﺞ‬ ‫اﻟﺘﻨﻤﻮﻳﺔ ﻟﻠﺤﻴﺎة اﻟﱪﻳﺔ ﻛﺈﻃﻼق اﻟﻐﺰﻻن‬ ‫واﻟﻄﻴﻮر واﻷراﻧﺐ اﻟﱪﻳﺔ‪ ،‬و ﻟﻠﺤﻴﺎة اﻟﺒﺤﺮﻳﺔ‬ ‫اﻟﺘﻲ ﻣﻦ أﺑﺮزﻫﺎ اﳌﺤﻤﻴﺔ اﻟﺒﺤﺮﻳﺔ‪ ،‬ﺣﻴﺚ أﻋﻠﻦ‬ ‫رﺳﻤﻴﺎً ﺑﺘﻮﺟﻴﻬﺎت ﻣﻦ ﺳﻤﻮ اﻟﺸﻴﺦ ﺳﻠﻄﺎن‬ ‫ﺑﻦ زاﻳﺪ آل ﻧﻬﻴﺎن‪ ،‬أن ﺗﻜﻮن اﳌﻨﻄﻘﺔ اﻟﺒﺤﺮﻳﺔ‬ ‫اﻟﻮاﻗﻌﺔ ﺷامل ﺟﺰﻳﺮة ّ‬ ‫اﻟﺴـامﻟﻴﺔ ‪-‬واﻟﺘﻲ ﺗﺒﻠﻎ‬ ‫ﻣﺴﺎﺣﺘﻬﺎ ﺣﻮاﱄ ‪ 14‬ﻛﻴﻠﻮﻣﱰاً ﻣﺮﺑﻌﺎً‪ -‬ﻣﺤﻤﻴﺔ‬ ‫ﺑﻴﺌﻴﺔ ﺑﺤﺮﻳﺔ‪ ،‬ﻟﻐﻨﺎﻫﺎ ﺑﺎﻟرثوات اﻟﻄﺒﻴﻌﻴﺔ ﻣﻦ‬ ‫اﻟﻜﺎﺋﻨﺎت اﻟﺒﺤﺮﻳﺔ اﻟﺤﻴﺔ‪.‬‬ ‫ﻣﺒﻨﻰ ﻷﻛﺎدﻳﻤﻴﺔ ﺑﻮذﻳﺐ ﻟﻠﻔﺮوﺳﻴﺔ ﻓﻲ‬ ‫اﻟﺨﺘﻢ‬ ‫وﰲ ﻗﺎﻋﺔ ﺳﻠﻄﺎن ﺑﻦ زاﻳﺪ اﻟﻜﱪى ﻟﻠﻔﺮوﺳﻴﺔ ﰲ‬ ‫ﻣﻨﻄﻘﺔ اﻟﺨﺘﻢ‪ ،‬ﺣﻴﺚ ﻳﺘﺪرب ﻋﴩات اﻟﻄﻠﺒﺔ‬ ‫اﳌﻨﺘﺴﺒني ﻷﻛﺎدميﻴﺔ ﺑﻮذﻳﺐ ﻟﻠﻔﺮوﺳﻴﺔ ﻣﻌﻈﻢ‬ ‫أﻳﺎم اﻟﺴﻨﺔ‪ ،‬مثﺔ ﻧﺼﻴﺐ ﻣﻦ اﳌﺸﺎرﻳﻊ اﻟﺠﺪﻳﺪة‪،‬‬ ‫إذ أوﺿﺢ اﻟﺪﻛﺘﻮر اﻟﻜﻌﺒﻲ ﺑﺄن ﻣﺒﻨﻰ إدارﻳﺎً‬ ‫ﻟﻸﻛﺎدميﻴﺔ ﻳﻘﺎم ﻣﻠﺘﺼﻘﺎً مبﺒﻨﻰ اﻟﺼﺎﻟﺔ اﻟﺘﻲ‬ ‫ﻳﺘﻮﺳﻂ ﻣﻮﻗﻌﻬﺎ اﻟﺘﺠﻤﻌﺎت اﻟﺴﻜﻨﻴﺔ اﳌﻮزﻋﺔ‬ ‫ﰲ اﳌﻨﻄﻘﺔ‪ ،‬ﻣﺜﻞ اﻟﺨﺘﻢ واﻟﺨﺰﻧﺔ واﻟﻮﺛﺒﺔ‬ ‫وﻏريﻫﺎ‪ ،‬وﺗُﻌﺪ ﻣﻴﺪان اﻟﺘﺪرﻳﺐ اﻟﺮﺋﻴﺲ ﻋﲆ‬ ‫اﻟﻌﺪﻳﺪ ﻣﻦ رﻳﺎﺿﺎت اﻟﻔﺮوﺳﻴﺔ‪ ..‬ﻣام ﻳﺴﺎﻋﺪ‬ ‫ﻋﲆ ﺗﻄﻮﻳﺮ ﻋﻤﻞ اﻷﻛﺎدميﻴﺔ اﻟﺘﻲ ﺗﺄﺧﺬ ﻋﲆ‬ ‫ﻋﺎﺗﻘﻬﺎ ﺗﺒ ّﻨﻲ اﻟﺮاﻏﺒني ﰲ ﺗﻌ ﱡﻠﻢ رﻳﺎﺿﺎت‬ ‫اﻟﻔﺮوﺳﻴﺔ‪ ،‬وﺗﺪرﻳﺒﻬﻢ وإﻋﺪادﻫﻢ ﻟﺮﻓﺪ رﻳﺎﺿﺔ‬ ‫اﻟﻔﺮوﺳﻴﺔ ﰲ اﻹﻣﺎرات ﺑﻬﻢ‪.‬‬ ‫وﰲ اﳌﻨﻄﻘﺔ ﻧﻔﺴﻬﺎ‪ ،‬ﺣﻴﺚ متﺘﺪ ﻣﻀﺎﻣري ﻗﺮﻳﺔ‬ ‫ﺑﻮذﻳﺐ اﻟﻌﺎﳌﻴﺔ ﻟﻠﻘﺪرة اﻟﺘﻲ ﺗﺤﺘﻀﻦ ﺳﻨﻮﻳﺎً‬ ‫ﻋﺪداً ﻣﻦ ﺳﺒﺎﻗﺎت اﻟﻔﺮوﺳﻴﺔ اﳌﺤﻠﻴﺔ واﻟﺪوﻟﻴﺔ‪،‬‬ ‫ﻳﻬﺘﻢ ﺳﻤﻮ اﻟﺸﻴﺦ اﻟﺪﻛﺘﻮر ﻫﺰاع ﺑﻦ ﺳﻠﻄﺎن‬ ‫ﺑﻦ زاﻳﺪ آل ﻧﻬﻴﺎن ﺑﺈﻗﺎﻣﺔ أول ﻣﺴﺘﺸﻔﻰ ﺧﺎص‬ ‫ﺑﺎﻟﺨﻴﻮل ﰲ أﺑﻮﻇﺒﻲ‪ ،‬وﻓﻘﺎ ﳌﺎ أﺷﺎر إﻟﻴﻪ اﻟﺪﻛﺘﻮر‬ ‫اﻟﻜﻌﺒﻲ‪ ،‬اﻟﺬي ﺗﻮﻗﻊ أن ﻳﺒﺪأ اﻟﻌﻤﻞ ﺑﺈﻧﺸﺎﺋﻪ ﰲ‬ ‫ﻏﻀﻮن اﻟﺴﻨﻮات اﻟﺜﻼث اﻟﻘﺎدﻣﺔ‪ ،‬ﻟﻴﺸﻜﻞ ﻫﺬا‬ ‫اﳌﺴﺘﺸﻔﻰ ﻣﺮﻓﻘﺎً ﺣﻴﻮﻳﺎً ورﻛﻨﺎً ﻣﻜﻤ ًﻼ ﳌﴩوع‬

‫ﺿﻤﻦ ﺧﻄﺔ ﻣﻮاﻛﺒﺔ ﻟﻠﺘﻄﻮﱡر وﻣﻨﺴﺠﻤﺔ ﻣﻊ ‪2030‬‬

‫ﻣﺸﺎرﻳﻊ ﺟﺪﻳﺪة وﺗﻄﻮﻳﺮ أﺧﺮى ﻟﻨﺎدي ﺗﺮاث اﻹﻣﺎرات ﻓﻲ أرﺑﻊ ﻣﻦ ﻣﻨﺎﻃﻖ اﻹﻣﺎرة‬

‫ﺗﺸﻬﺪ إدارة ﻣﺸﺎرﻳﻊ ﺳﻤﻮ اﻟﺸﻴﺦ ﺳﻠﻄﺎن ﺑﻦ‬ ‫زاﻳﺪ آل ﻧﻬﻴﺎن ﻣﻤﺜﻞ ﺻﺎﺣﺐ اﻟﺴﻤﻮ رﺋﻴﺲ‬ ‫اﻟﺪوﻟﺔ ﻧﺸﺎﻃﺎ ﻣﻜﺜﻔﺎ ﰲ اﻟﺘﺨﻄﻴﻂ ﻟﻌﺪد ﻣﻦ‬ ‫اﳌﺸﺎرﻳﻊ اﻟﺤﻴﻮﻳﺔ وﺗﻄﻮﻳﺮ أﺧﺮى واﻹﴍاف‬ ‫ﻋﲆ ﺗﻨﻔﻴﺬ ﻋﺪد آﺧﺮ ﰲ أﻛرث ﻣﻦ ﻣﻮﻗﻊ ﻣﻦ‬ ‫ﻣﻨﺎﻃﻖ إﻣﺎرة أﺑﻮﻇﺒﻲ‪ ،‬ﺗﻨﻔﻴﺬاً ﻟﺘﻮﺟﻴﻬﺎت‬ ‫ﺳﻤﻮ اﻟﺸﻴﺦ ﺳﻠﻄﺎن ﺑﻦ زاﻳﺪ آل ﻧﻬﻴﺎن اﻟﺮاﻣﻴﺔ‬ ‫إﱃ ﺧﺪﻣﺔ أﻧﺸﻄﺔ اﻟﻨﺎدي وﻓﻌﺎﻟﻴﺎﺗﻪ اﻟﱰاﺛﻴﺔ‬ ‫ﻣﻀﻄﺮدة اﻟﻨﻤﻮ واﻟﺘﻄﻮر‪ ،‬ومبﺎ ﻳﻨﺴﺠﻢ ﻣﻊ‬ ‫ﻣﺮﺗﻜﺰات وﺑﺮاﻣﺞ وﻣﺸﺎرﻳﻊ ﺧﻄﺔ أﺑﻮﻇﺒﻲ‬ ‫‪ ،2030‬إذ ﺗﻢ اﻋﺘامد ﻫﺬه اﳌﺸﺎرﻳﻊ ﻟﻴﺘﻢ‬ ‫ﺗﻨﻔﻴﺬﻫﺎ واﻻﻧﺘﻬﺎء ﻣﻨﻬﺎ ﺧﻼل اﻟﺴﻨﻮات اﻟﺜﻼث‬ ‫اﻟﻘﺎدﻣﺔ‪.‬‬ ‫وﺗﺪﻳﺮ ﻫﺬه اﳌﺸﺎرﻳﻊ وﺗﺘﺎﺑﻊ ﺗﻔﺎﺻﻴﻞ‬ ‫وﺟﻪ ﺑﺘﺸﻜﻴﻠﻬﺎ ﺳﻤﻮ‬ ‫ﺗﻨﻔﻴﺬﻫﺎ ﻟﺠﻨﺔ ﺧﺎﺻﺔ ﱠ‬ ‫اﻟﺸﻴﺦ ﺳﻠﻄﺎن ﺑﻦ زاﻳﺪ آل ﻧﻬﻴﺎن‪ ،‬ﺗﻀﻢ‬ ‫ﻧﺨﺒﺔ ﻣﻦ اﻟﺸﺒﺎب اﳌﻮاﻃﻨني ذوي اﻟﻜﻔﺎءات‪،‬‬ ‫اﻟﺬﻳﻦ ﺗﻨﻮﻋﺖ ﺧﱪاﺗﻬﻢ ﻟﺘﺸﻤﻞ ﻣﺨﺘﻠﻒ‬

‫زاﻳﺪ اﻟﱰايث؛ أﺣﺪ أﻫﻢ ﻣﻬﺮﺟﺎﻧﺎت اﻹﺑﻞ ﰲ‬ ‫اﳌﻨﻄﻘﺔ‪ ،‬وﺟﺰﻳﺮة اﻟﺴامﻟﻴﺔ؛ اﳌﺤﻤﻴﺔ اﻟﺒﻴﺌﻴﺔ‬ ‫واﻟﻄﺒﻴﻌﻴﺔ اﻟﺘﻲ ﺗﻌﺪ اﳌﻴﺪان اﻟﱰايث اﻟﺘﺪرﻳﺒﻲ‬ ‫ﻟﻄﻠﺒﺔ اﻟﻨﺎدي ﻋﲆ أﻫﻢ اﻟﻨﺸﺎﻃﺎت اﻟﱰاﺛﻴﺔ‬ ‫وﺣﺎﺿﻨﺔ ﻣﻠﺘﻘﻴﺎت اﻟﻨﺎدي اﻟﻄﻼﺑﻴﺔ‪ ،‬وﻣﻨﻄﻘﺔ‬ ‫اﻟﺨﺘﻢ اﻟﺘﻲ ﺗﺴﺘﻘﺮ ﺑني أرﺟﺎﺋﻬﺎ أﻛﺎدميﻴﺔ ﺑﻮ‬ ‫ذﻳﺐ ﻟﻠﻔﺮوﺳﻴﺔ‪ ،‬اﻟﺘﻲ ﺗﺄﺧﺬ ﻋﲆ ﻋﺎﺗﻘﻬﺎ رﻓﺪ‬ ‫ﻓﺮوﺳﻴﺔ اﻹﻣﺎرات ﺑﺎﻟﻔﺮﺳﺎن اﻟﻮاﻋﺪﻳﻦ‪ ،‬إﱃ‬ ‫ﺟﺎﻧﺐ ﺟﺎرﺗﻬﺎ ﻗﺮﻳﺔ ﺑﻮذﻳﺐ اﻟﻌﺎﳌﻴﺔ ﻟﻠﻘﺪرة‪.‬‬ ‫ﻛام ﺗﺼﻞ ﻣﺸﺎرﻳﻊ اﻹدارة إﱃ ﻣﺪﻳﻨﺘﻲ‬ ‫اﻟﺘﺨﺼﺼﺎت اﻟﺘﻲ ﺗﻔﻲ مبﺘﻄﻠﺒﺎت ﻫﺬه اﻟﺴﻤﺤﺔ واﻟﺮﺣﺒﺔ اﻟﻠﺘني ﻳﻘﻄﻨﻬام ﻋﺪد ﻛﺒري‬ ‫اﳌﺸﺎرﻳﻊ‪ ،‬و ﺗﺸﻜﻞ اﻟﻠﺠﻨﺔ ﺧﻠﻴﺔ ﻋﻤﻞ ﻻ ﺗﻬﺪأ ﻣﻦ ذوي اﻟﻄﻠﺒﺔ اﳌﻨﺘﺴﺒني إﱃ اﻟﻨﺎدي‪.‬‬ ‫ﻟﻠﻮﻗﻮف ﻋﲆ ﻛﻞ ﺧﻄﻮة ﰲ ﻣﺴرية اﻟﺘﺨﻄﻴﻂ‬ ‫واﳌﺘﺎﺑﻌﺔ واﻟﺘﻨﻔﻴﺬ واﻟﺘﻐﻠﺐ ﻋﲆ أي ﻣﻌﻮﻗﺎت‪ .‬ﺗﻄﻮﻳﺮ اﻟﺒﻨﻴﺔ اﻟﺘﺤﺘﻴﺔ ﻟﻤﻬﺮﺟﺎن ﺳﻮﻳﺤﺎن‬ ‫ﻣﻨﻄﻘﺔ ﺳﻮﻳﺤﺎن‪ ،‬ﺣﻴﺚ اﻟﻜﺮﻧﻔﺎل اﻟﱰايث‬ ‫وﻟﻀامن ﺗﻜﺎﻣﻞ اﻟﻌﻤﻞ ﰲ اﻹﻣﺎرة واﻻﻧﺴﺠﺎم‬ ‫ﻣﻊ ﻣﺨﺘﻠﻒ اﻟﺘﻮﺟﻬﺎت اﻟﺤﻜﻮﻣﻴﺔ‪ ،‬مبﺎ ﻓﻴﻬﺎ اﻟﺴﻨﻮي اﻟﺬي ﺗﺸﻬﺪه اﳌﻨﻄﻘﺔ ﺳﻨﻮﻳﺎ ﻣﻊ‬ ‫دﻋﻢ اﻻﻟﺘﺰام مبﺘﻄﻠﺒﺎت اﻻﺳﺘﺪاﻣﺔ وأﻫﺪاف ﻣﻬﺮﺟﺎن ﺳﻠﻄﺎن ﺑﻦ زاﻳﺪ اﻟﱰايث‪ ،‬اﳌﻬﺮﺟﺎن‬ ‫اﻻﺳﱰاﺗﻴﺠﻴﺔ اﻟﺒﺤﺮﻳﺔ ﻹﻣﺎرة أﺑﻮﻇﺒﻲ‪ ،‬إذ اﻟﺬي ﻳﺠﺬب اﻵﻻف ﻣﻦ ﻣﺮيب اﻹﺑﻞ وﻋﺸﺎﻗﻬﺎ‬ ‫ﺗﻌﻤﻞ اﻟﻠﺠﻨﺔ ﺑﺎﻟﺘﻨﺴﻴﻖ ﻣﻊ ﻣﺠﻤﻮﻋﺔ ﻣﻦ وﻣﻦ اﻟﺴﻴﺎح اﳌﻘﻴﻤني واﻟﻘﺎدﻣني ﻣﻦ اﻟﺨﺎرج‪..‬‬ ‫اﻟﻬﻴﺌﺎت واﻟﺠﻬﺎت اﻟﺤﻜﻮﻣﻴﺔ اﳌﻌﻨﻴﺔ‪ ،‬ﻻ ﺳﻮف ﺗﺸﻬﺪ ﻣﺸﺎرﻳﻊ ﺗﻄﻮﻳﺮﻳﺔ ﺗﻮاﻛﺐ ﺗﻄﻮر‬ ‫ﺳﻴام داﺋﺮة اﻟﺘﺨﻄﻴﻂ اﻟﻌﻤﺮاين واﻟﺒﻠﺪﻳﺎت ﰲ اﳌﻬﺮﺟﺎن اﳌﻮﺻﻮل‪ ،‬متﺘﺪ ﻣﻦ دوار »اﻟﺸﻂ«‬ ‫إﻣﺎرة أﺑﻮﻇﺒﻲ‪ ،‬وﻣﺴﺎﻧﺪة‪ ،‬ودﻳﻮان وﱄ اﻟﻌﻬﺪ‪ ،‬ﰲ واﺟﻬﺔ اﳌﺪﻳﻨﺔ ﺣﺘﻰ ﻣﻮﻗﻊ اﳌﻬﺮﺟﺎن‪،‬‬ ‫وﻓﻘﺎ ﳌﺎ ﻗﺎﻟﻪ اﻟﺪﻛﺘﻮر اﳌﻬﻨﺪس ﺧﻠﻴﻔﺔ ﺟﻤﻌﺔ‬ ‫ووزارة ﺷﺆون اﻟﺮﺋﺎﺳﺔ‪.‬‬ ‫وﻳﺘﻮزع ﱡ‬ ‫ﺟﻞ ﻫﺬه اﳌﺸﺎرﻳﻊ ﻋﲆ ﺛﻼث ﻣﻨﺎﻃﻖ اﻟﻜﻌﺒﻲ رﺋﻴﺲ اﻟﻠﺠﻨﺔ ﻣﺪﻳﺮ ﻣﺸﺎرﻳﻊ ﺳﻤﻮ‬ ‫ﺗﺸﻜﻞ ﻟﻠﻨﺎدي أﺑﺮز اﳌﻴﺎدﻳﻦ اﻟﺮﺋﻴﺴﺔ اﻟﺘﻲ اﻟﺸﻴﺦ ﺳﻠﻄﺎن ﺑﻦ زاﻳﺪ آل ﻧﻬﻴﺎن‪ ،‬إذ ﻳﺸﻬﺪ‬ ‫ﺗﺸﻬﺪ أﻫﻢ اﻷﻧﺸﻄﺔ واﻟﻔﻌﺎﻟﻴﺎت اﻟﺴﻨﻮﻳﺔ اﻟﺘﻲ ﻫﺬا اﻟﻄﺮﻳﻖ ﺗﻄﻮﻳﺮاً ﰲ اﻟﺒﻨﻴﺔ اﻟﺘﺤﺘﻴﺔ ﺑﺤﻴﺚ‬ ‫دأب ﻋﲆ ﺗﻨﻈﻴﻤﻬﺎ‪ ،‬وﻫﻲ ﻣﻨﻄﻘﺔ ﺳﻮﻳﺤﺎن ﻳﻐﺪو ﺷﺎرﻋﺎً ﺑﺄرﺑﻊ ﺣﺎرات‪ ،‬اﺛﻨﺘﺎن ﻟﻜﻞ اﺗﺠﺎه‪،‬‬ ‫اﻟﺘﻲ ﺗﺤﺘﻀﻦ ﻣﻴﺎدﻳﻦ ﻣﻬﺮﺟﺎن ﺳﻠﻄﺎن ﺑﻦ وﺑﻄﻮل ﺳﺒﻌﺔ ﻛﻴﻠﻮﻣﱰات‪ ،‬ﻣﺤﻔﻮﻓﺎً ﺑﺰراﻋﺔ‬

‫ﻳﻮﻧﻴﻮ ‪13 2018 /‬‬

‫اﻷﺧﺒﺎر‬ ‫‪baytelshear‬‬

‫ﻣﺸﺎرﻳﻊ ﺟﺪﻳﺪة وﺗﻄﻮﻳﺮ أﺧﺮى ﻟﻨﺎدي‬ ‫ﺗﺮاث اﻹﻣﺎرات‬

‫ﻣﺪة‬ ‫اﻟﺘﻨﻔﻴﺬ‬

‫اﻟﺮؤﻳﺔ‬ ‫واﻷﻫﺪاف‬ ‫ﺗﻨﻔﻴﺬا ﻟﺘﻮﺟﻴﻬﺎت ﺳﻤﻮ اﻟﺸﻴﺦ ﺳﻠﻄﺎن ﺑﻦ زاﻳﺪ آل ﻧﻬﻴﺎن‬ ‫اﻟﺮاﻣﻴﺔ إﱃ ﺧﺪﻣﺔ أﻧﺸﻄﺔ اﻟﻨﺎدي وﻓﻌﺎﻟﻴﺎﺗﻪ اﻟﱰاﺛﻴﺔ‬ ‫ﻣﻀﻄﺮدة اﻟﻨﻤﻮ واﻟﺘﻄﻮر‪ ،‬ومبﺎ ﻳﻨﺴﺠﻢ ﻣﻊ ﻣﺮﺗﻜﺰات‬ ‫وﺑﺮاﻣﺞ وﻣﺸﺎرﻳﻊ ﺧﻄﺔ أﺑﻮﻇﺒﻲ ‪،2030‬‬

‫ﻣﺸﺎرﻳﻊ اﻟﺒﻨﻴﺔ‬ ‫اﻟﺘﺤﺘﻴﺔ‬

‫ﺗﻄﻮﻳﺮ اﻟﺒﻨﻴﺔ اﻟﺘﺤﺘﻴﺔ‬ ‫ﳌﻬﺮﺟﺎن ﺳﻮﻳﺤﺎن‬ ‫ﰲ اﻟﺴامﻟﻴﺔ أول ﻣﻀامر‬ ‫ﴎﻳﻊ ﻟﻠﺨﻴﻞ ﺑﺄﺑﻮﻇﺒﻲ‬ ‫ﻣﺒﻨﻰ ﻷﻛﺎدميﻴﺔ ﺑﻮذﻳﺐ‬ ‫ﻟﻠﻔﺮوﺳﻴﺔ ﰲ اﻟﺨﺘﻢ‬

‫اﻟﺸﻌﺮ ‪ /‬اﻟﻌﺪد ‪68‬‬ ‫‪ 12‬ﺑﻴﺖ ِ‬

‫ﻣﺸﺎرﻳﻊ‬ ‫اﻟﺘﻄﻮر‬ ‫اﻟﻤﺠﺘﻤﻌﻲ‬

‫ﻣﺮﻛﺰان ﻟﻠﻨﺎﺷﺌﺔ‬ ‫ﰲ اﻟﺴﻤﺤﺔ واﻟﻮﺛﺒﺔ‪.‬‬

‫ﺛﻼث ﺳﻨﻮات‬

‫اﻟﻤﺸﺎرﻳﻊ‬

‫اﻟﺘﻨﻤﻴﺔ‬ ‫اﻻﺟﺘﻤﺎﻋﻴﺔ‬

‫ﺗﻬﺪف إﱃ ﺑﻨﺎء ﺟﻴﻞ واﻋﺪ‬ ‫ﻣﺘﻌﻠﻢ ﻳﺴﺎﻫﻢ ﰲ ﺧﺪﻣﺔ‬ ‫اﻟﻮﻃﻦ واﳌﺠﺘﻤﻊ‪ ،‬ﻋﻦ ﻃﺮﻳﻖ‬ ‫وﺿﻊ ﺑﺮاﻣﺞ وآﻟﻴﺎت ﻟﺘﻌﺰﻳﺰ‬ ‫اﻟﻬﻮﻳﺔ اﻟﻮﻃﻨﻴﺔ وﺗﺮﺳﻴﺨﻬﺎ‪،‬‬ ‫وﺗﻌﺰﻳﺰ اﻷﻧﺸﻄﺔ واﳌﻬﺎرات‬ ‫اﻟﺤﻴﺎﺗﻴﺔ ﺧﻼل اﳌﻠﺘﻘﻴﺎت‬ ‫اﻟﻄﻼﺑﻴﺔ اﻟﺴﻨﻮﻳﺔ ﰲ اﻟﻨﺎدي‪.‬‬

‫اﻟﺘﻨﻤﻴﺔ‬ ‫اﻻﻗﺘﺼﺎدﻳﺔ‬

‫اﻟﺘﻨﻤﻴﺔ‬ ‫اﻟﺒﻴﺌﻴﺔ‬ ‫واﻻﺳﺘﺪاﻣﺔ‬

‫ﺗﻄﻮﻳﺮ ﻣﺸﺎرﻳﻊ اﻟﺒﻨﻴﺔ‬ ‫ﻋﻦ ﻃﺮﻳﻖ ﺑﺮاﻣﺞ ﺗﻌﺰﻳﺰ‬ ‫اﻟﺘﺤﺘﻴﺔ واﻟﺒﻴﺌﺔ اﻟﺮاﻣﻴﺔ‬ ‫وﺗﻄﻮﻳﺮ اﳌﻨﺎﻃﻖ اﻟﺴﻴﺎﺣﻴﺔ‪،‬‬ ‫ﻣﺜﻞ اﻟﻘﺮﻳﺔ اﻟﱰاﺛﻴﺔ وﻣﻌﺮض إﱃ ﺑﻴﺌﺔ ﻣﺴﺘﺪاﻣﺔ‬ ‫اﻟﺸﻴﺦ زاﻳﺪ وﺟﺰﻳﺮة اﻟﺴامﻟﻴﺔ واﺳﺘﻐﻼل أﻣﺜﻞ ﻟﻠﻤﻮارد‬ ‫ﻟﻠﺤﻔﺎظ ﻋﲆ اﻟﱰاث‬ ‫وﺗﻄﻮﻳﺮ ﺗﺠﺮﺑﺔ اﻟﺴﻴﺎﺣﺔ‬ ‫اﻟﻄﺒﻴﻌﻲ‪ ،‬ﺟﺰﻳﺮة‬ ‫اﻟﺒﻴﺌﻴﺔ واﻟﺴﻴﺎﺣﺔ اﻟﺜﻘﺎﻓﻴﺔ‬ ‫اﻟﺴامﻟﻴﺔ ﻣﺜﺎﻻً‪.‬‬ ‫واﻟﻔﻌﺎﻟﻴﺎت واﳌﻬﺮﺟﺎﻧﺎت‬ ‫اﻟﻜﱪى اﻟﺘﻲ ﻳﻨﻈﻤﻬﺎ اﻟﻨﺎدي‬ ‫ﺳﻨﻮﻳﺎً‪.‬‬

‫ﺳﻠﻄﺎن ﺑﻦ زاﻳﺪ‪ ‬ﺗﻮﺣﻴﺪ اﻟﻘﻮات اﻟﻤﺴﻠﺤﺔ ّ‬ ‫ﺷﻜﻞ ﺑﺪاﻳﺔ ﺗﻌﺰﻳﺰ اﻟﻤﺴﻴﺮة اﻻﺗﺤﺎدﻳﺔ‬ ‫أﻛﺪ ﺳﻤﻮ اﻟﺸﻴﺦ ﺳﻠﻄﺎن ﺑﻦ زاﻳﺪ آل ﻧﻬﻴﺎن ﻣﻤﺜﻞ ﺻﺎﺣﺐ اﻟﺴﻤﻮ‬ ‫رﺋﻴﺲ اﻟﺪوﻟﺔ أن ﺗﻮﺣﻴﺪ اﻟﻘﻮات اﳌﺴﻠﺤﺔ ﻟﺪوﻟﺔ اﻹﻣﺎرات اﻟﻌﺮﺑﻴﺔ‬ ‫اﳌﺘﺤﺪة ﰲ اﻟﺴﺎدس ﻣﻦ ﻣﺎﻳﻮ ﻋﺎم ‪ 1976‬ﺷﻜﻞ ﺑﺪاﻳﺔ ﺗﻌﺰﻳﺰ اﳌﺴرية‬ ‫اﻻﺗﺤﺎدﻳﺔ اﻟﺘﻲ ﻗﺎدﻫﺎ رﺟﺎل ﻋﻈامء وﻣﺨﻠﺼﻮن ﻧﻈﺮوا ﻟﻠﻤﺴﺘﻘﺒﻞ‬ ‫ﺑﺈرادة ﺻﻠﺒﺔ وإميﺎن وﻋﺰميﺔ ﺻﺎدﻗﺔ‪.‬‬ ‫وﻗﺎل ﺳﻤﻮه ‪ -‬ﰲ ﻛﻠﻤﺔ ﻟﻪ مبﻨﺎﺳﺒﺔ اﻟﺬﻛﺮى اﻟـ»‪ «42‬ﻟﺘﻮﺣﻴﺪ اﻟﻘﻮات‬ ‫اﳌﺴﻠﺤﺔ ‪ -‬إن ﻣﺎ ﺗﺤﻘﻘﻪ ﻗﻮاﺗﻨﺎ اﳌﺴﻠﺤﺔ اﻟﺒﺎﺳﻠﺔ اﻟﻴﻮم ﻣﻦ ﻧﺠﺎﺣﺎت‬ ‫ﰲ ﻣﻬامﺗﻬﺎ اﳌﺨﺘﻠﻔﺔ اﻟﻌﺴﻜﺮﻳﺔ واﻻﻧﺴﺎﻧﻴﺔ ﻟﻴﺴﺖ إﻻ ﺣﺼﺎد ﻏﺮس‬ ‫اﻵﺑﺎء وﻣﻦ ﺧﻠﻔﻬﻢ ﻣﻦ اﻟﻘﺎدة اﻷوﻓﻴﺎء إﺿﺎﻓﺔ اﱃ ﺟﻬﻮد ﺻﺎدﻗﺔ ﻳﺒﺬﻟﻬﺎ‬ ‫أﺑﻨﺎء اﳌﺆﺳﺴﺔ اﻟﻌﺴﻜﺮﻳﺔ إميﺎﻧﺎً ﻣﻨﻬﻢ ﺑﺪورﻫﻢ ﰲ دﻋﻢ ﻣﺴرية اﻟﻮﻃﻦ‬ ‫وﻧﻬﻀﺘﻪ اﳌﺒﺎرﻛﺔ وﺗﻘﺪﻣﻪ ﻋﲆ ﻣﺴﺘﻮى اﳌﻨﻄﻘﺔ واﻟﻌﺎمل‪.‬‬ ‫وأﺿﺎف ﺳﻤﻮه أن ﻫﺬا اﻹﻧﺠﺎز ﻣﺎ ﻛﺎن ﻟﻴﺘﺤﻘﻖ ﻟﻮﻻ وﺟﻮد ﻗﻴﺎدة‬ ‫ﺣﻜﻴﻤﺔ ﺗﺪرك أﻫﻤﻴﺔ اﻟﺠﻴﺶ ودوره ﰲ ﺣامﻳﺔ اﻟﻮﻃﻦ وﻣﻜﺘﺴﺒﺎﺗﻪ‬ ‫وﺗﺤﺼﻴﻨﻬﺎ وﰲ ﻣﻘﺪﻣﺘﻬﺎ ﺻﺎﺣﺐ اﻟﺴﻤﻮ اﻟﺸﻴﺦ ﺧﻠﻴﻔﺔ ﺑﻦ زاﻳﺪ آل‬ ‫ﻧﻬﻴﺎن رﺋﻴﺲ اﻟﺪوﻟﺔ »ﺣﻔﻈﻪ اﻟﻠﻪ« وﺻﺎﺣﺐ اﻟﺴﻤﻮ اﻟﺸﻴﺦ ﻣﺤﻤﺪ‬ ‫ﺑﻦ راﺷﺪ آل ﻣﻜﺘﻮم ﻧﺎﺋﺐ رﺋﻴﺲ اﻟﺪوﻟﺔ رﺋﻴﺲ ﻣﺠﻠﺲ اﻟﻮزراء ﺣﺎﻛﻢ‬ ‫ديب »رﻋﺎه اﻟﻠﻪ« وﺻﺎﺣﺐ اﻟﺴﻤﻮ اﻟﺸﻴﺦ ﻣﺤﻤﺪ ﺑﻦ زاﻳﺪ آل ﻧﻬﻴﺎن‬ ‫وﱄ ﻋﻬﺪ أﺑﻮﻇﺒﻲ ﻧﺎﺋﺐ اﻟﻘﺎﺋﺪ اﻷﻋﲆ ﻟﻠﻘﻮات اﳌﺴﻠﺤﺔ‪ .‬وأﻛﺪ ﺳﻤﻮ‬ ‫اﻟﺸﻴﺦ ﺳﻠﻄﺎن ﺑﻦ زاﻳﺪ آل ﻧﻬﻴﺎن أن اﻟﻘﺎﺋﺪ اﳌﺆﺳﺲ اﻟﻮاﻟﺪ اﳌﻐﻔﻮر‬ ‫ﻟﻪ اﻟﺸﻴﺦ زاﻳﺪ ﺑﻦ ﺳﻠﻄﺎن آل ﻧﻬﻴﺎن ﻃﻴﺐ اﻟﻠﻪ ﺛﺮاه وإﺧﻮاﻧﻪ أﺻﺤﺎب‬ ‫اﻟﺴﻤﻮ أﻋﻀﺎء اﳌﺠﻠﺲ اﻷﻋﲆ ﻟﻼﺗﺤﺎد ﺣﻜﺎم اﻻﻣﺎرات أﻛﺪوا ﺑﺘﻮﺣﻴﺪ‬ ‫اﻟﻘﻮات اﳌﺴﻠﺤﺔ أن دوﻟﺔ اﻻﺗﺤﺎد ﺑﺤﺎﺟﺔ إﱃ ﺟﻴﺶ ﻗﻮي ﻳﺤﻤﻲ‬ ‫ﺳﻴﺎدﺗﻬﺎ وﻳﺼﻮن ﺗﺮاﺑﻬﺎ وﻳﺬود ﻋﻦ ﺣﻴﺎﺿﻬﺎ ﻓﻜﺎن ﻗﺮارﻫﻢ اﻟﺘﺎرﻳﺨﻲ‬ ‫اﻟﺬﻳﻦ أﻋﻠﻨﻮا ﻣﻦ ﺧﻼﻟﻪ ﺗﻮﺣﻴﺪ اﻟﻘﻮات اﳌﺴﻠﺤﺔ اﻹﻣﺎراﺗﻴﺔ ﺗﺤﺖ راﻳﺔ‬ ‫واﺣﺪة‪.‬‬ ‫وﻗﺎل ﺳﻤﻮ اﻟﺸﻴﺦ ﺳﻠﻄﺎن ﺑﻦ زاﻳﺪ آل ﻧﻬﻴﺎن »إﻧﻪ ﻣﻨﺬ ﺗﻠﻚ اﻟﻠﺤﻈﺔ‬ ‫اﻟﺘﺎرﻳﺨﻴﺔ ﻋﻤﻞ ﻗﺎدﺗﻨﺎ اﻷواﺋﻞ وﻣﻦ ﺧﻠﻔﻬﻢ ﻋﲆ ﺗﻄﻮﻳﺮ ﻗﻮاﺗﻨﺎ‬ ‫اﳌﺴﻠﺤﺔ ووﻓﺮت ﻟﻬﻢ ﻛﻞ اﻻﻣﻜﺎﻧﻴﺎت ﻟﻀامن ﺑﻨﺎء ﻗﻮة ﻋﺴﻜﺮﻳﺔ‬ ‫ﻗﺎدرة وﻣﻘﺘﺪرة ﻟﻠﺬود ﻋﻦ اﻟﻮﻃﻦ واﻟﺸﻌﺐ وﺣﻔﻆ اﳌﻜﺘﺴﺒﺎت‬

‫واﳌﻨﺠﺰات وﻓﻖ أﺳﺲ ﻋﻠﻤﻴﺔ وﺧﻄﻂ اﺳﱰاﺗﻴﺠﻴﺔ ﻣﺒﺘﻜﺮة ﺗﺄﺧﺬ ﰲ‬ ‫اﻻﻋﺘﺒﺎر اﻟﻈﺮوف واﳌﺘﻐريات اﻹﻗﻠﻴﻤﻴﺔ واﻟﺪوﻟﻴﺔ وﻣﺎ ﻗﺪ ﻳﺴﺘﺠﺪ ﻣﻦ‬ ‫ﺗﺤﺪﻳﺎت«‪.‬‬ ‫وأﺿﺎف ﺳﻤﻮه »إﻧﻨﺎ وﻧﺤﻦ ﻧﺤﺘﻔﻞ ﺑﺬﻛﺮى ﺗﻮﺣﻴﺪ ﻗﻮاﺗﻨﺎ اﳌﺴﻠﺤﺔ‬ ‫ﻧﻔﺨﺮ وﻧﻌﺘﺰ ﺑﺎﳌﺴﺘﻮى واﻟﺘﻄﻮر اﻟﻜﺒري اﻟﺬي وﺻﻠﺖ إﻟﻴﻪ وﻧﺘﺬﻛﺮ ﺑﻜﻞ‬ ‫ﺗﻘﺪﻳﺮ وإﺟﻼل ﺷﻬﺪاء اﻟﻮﻃﻦ ﻣﻦ أﺑﻨﺎء اﻟﻘﻮات اﳌﺴﻠﺤﺔ اﻷﺑﺮار اﻟﺬﻳﻦ‬ ‫ﺿﺤﻮا ﺑﺤﻴﺎﺗﻬﻢ ﻓﺪاء ﻟﻠﻮﻃﻦ ﻓﺎﺳﺘﺤﻘﻮا أن ﺗﻜﺘﺐ أﺳامؤﻫﻢ مبﺪاد ﻣﻦ‬ ‫ذﻫﺐ ﰲ ﺳﺠﻞ ﺗﺎرﻳﺦ دوﻟﺔ اﻹﻣﺎرات اﻟﻌﺮﺑﻴﺔ اﳌﴩّف‪ ..‬ﻟﻘﺪ أﻋﻄﻰ‬ ‫ﻫﺆﻻء اﻟﺸﻬﺪاء دروﺳﺎً ﻣﻬﻤﺔ ﻟﻸﺟﻴﺎل ﺗﺆﻛﺪ أن اﻟﻮﻃﻦ ﻏﺎل وﻳﺴﺘﺤﻖ‬ ‫اﻟﻔﺪاء وﻻ ﳾء ﻳﻌﻠﻮ ﻋﻠﻴﻪ«‪ .‬وﺟﺪد ﺳﻤﻮ اﻟﺸﻴﺦ ﺳﻠﻄﺎن ﺑﻦ زاﻳﺪ‬ ‫آل ﻧﻬﻴﺎن اﻟﻌﻬﺪ واﻟﻮﻻء اﱃ ﺻﺎﺣﺐ اﻟﺴﻤﻮ اﻟﺸﻴﺦ ﺧﻠﻴﻔﺔ ﺑﻦ زاﻳﺪ‬ ‫آل ﻧﻬﻴﺎن رﺋﻴﺲ اﻟﺪوﻟﺔ »ﺣﻔﻈﻪ اﻟﻠﻪ« وإﱃ ﻗﻴﺎدﺗﻨﺎ اﻟﺤﻜﻴﻤﺔ ورﻓﻊ‬ ‫إﻟﻴﻬﻢ ﺟﻤﻴﻌﺎ أﺳﻤﻰ آﻳﺎت اﻟﺘﻬﺎين واﻟﺘﱪﻳﻜﺎت‪ ..‬ﺳﺎﺋ ًﻼ اﻟﻠﻪ ﻋﺰ وﺟﻞ أن‬ ‫ﻳﻌﻴﺪ ﻋﻠﻴﻬﻢ ﻫﺬه اﳌﻨﺎﺳﺒﺔ اﻟﺨﺎﻟﺪة ﺑﺎﻟﺨري واﻟﱪﻛﺔ وأن ﻳﺤﻔﻆ دوﻟﺘﻨﺎ‬ ‫اﻟﺤﺒﻴﺒﺔ ﰲ أﻣﻦ واﺳﺘﻘﺮار وﺗﻘﺪم‪.‬‬

‫ﻳﻮﻧﻴﻮ ‪11 2018 /‬‬

‫اﻷﺧﺒﺎر‬ ‫‪baytelshear‬‬

‫ﺗﻨﻔﻴﺬ ًا ﻟﺘﻮﺟﻴﻬﺎت ﺧﻠﻴﻔﺔ‪» ‬زاﻳﺪ ﻟﻺﺳﻜﺎن« ﻳﻌﺘﻤﺪ أﺳﻤﺎء ‪ 300‬ﻣﻦ ﻣﺴﺘﺤﻘﻲ اﻟﺪﻋﻢ‬ ‫ﺗﻨﻔﻴﺬاً ﻟﻠﺘﻮﺟﻴﻬﺎت اﻟﺴﺎﻣﻴﺔ ﻟﺼﺎﺣﺐ اﻟﺴﻤﻮ‬ ‫اﻟﺸﻴﺦ ﺧﻠﻴﻔﺔ ﺑﻦ زاﻳﺪ آل ﻧﻬﻴﺎن رﺋﻴﺲ‬ ‫اﻟﺪوﻟﺔ‪ ،‬ﺣﻔﻈﻪ اﻟﻠﻪ‪ ،‬وأﺧﻴﻪ ﺻﺎﺣﺐ اﻟﺴﻤﻮ‬ ‫اﻟﺸﻴﺦ ﻣﺤﻤﺪ ﺑﻦ راﺷﺪ آل ﻣﻜﺘﻮم‪ ،‬ﻧﺎﺋﺐ‬ ‫رﺋﻴﺲ اﻟﺪوﻟﺔ رﺋﻴﺲ ﻣﺠﻠﺲ اﻟﻮزراء ﺣﺎﻛﻢ‬ ‫ديب‪ ،‬رﻋﺎه اﻟﻠﻪ‪ .‬وﻣﺘﺎﺑﻌﺔ ﺳﻤﻮ اﻟﺸﻴﺦ ﻣﻨﺼﻮر‬ ‫ﺑﻦ زاﻳﺪ آل ﻧﻬﻴﺎن‪ ،‬ﻧﺎﺋﺐ رﺋﻴﺲ ﻣﺠﻠﺲ‬ ‫اﻟﻮزراء وزﻳﺮ ﺷﺆون اﻟﺮﺋﺎﺳﺔ‪ ،‬اﻋﺘﻤﺪ ﻣﺠﻠﺲ‬ ‫إدارة ﺑﺮﻧﺎﻣﺞ اﻟﺸﻴﺦ زاﻳﺪ ﻟﻺﺳﻜﺎن‪ ،‬أﺳامء‬ ‫‪ 300‬ﻣﻮاﻃﻦ ﻣﻦ ﻣﺴﺘﺤﻘﻲ ﻗﺮارات اﻟﺪﻋﻢ‬ ‫اﻟﺴﻜﻨﻲ ﺑﻘﻴﻤﺔ ‪ 323‬ﻣﻠﻴﻮن درﻫﻢ ﺿﻤﻦ‬ ‫‪ 1000‬ﻗﺮار دﻋﻢ ﺳﻜﻨﻲ ﺳﻴﺘﻢ اﻹﻋﻼن ﻋﻨﻬﺎ‬ ‫ﻧﻬﺎﻳﺔ ﻛﻞ أﺳﺒﻮع ﺧﻼل ﺷﻬﺮ رﻣﻀﺎن اﳌﺒﺎرك‪.‬‬

‫ﻣﺤﻤﺪ ﺑﻦ زاﻳﺪ‪ ‬اﻹﻣﺎرات ﻣﻨﻔﺘﺤﺔ ﻋﻠﻰ اﻟﻌﺎﻟﻢ وﺣﺮﻳﺼﺔ ﻋﻠﻰ ﺑﻨﺎء اﻹﻧﺴﺎن اﻟﻤﺘﻌﺎﻳﺶ‬ ‫أﻛﺪ ﺻﺎﺣﺐ اﻟﺴﻤﻮ اﻟﺸﻴﺦ ﻣﺤﻤﺪ ﺑﻦ زاﻳﺪ‬ ‫آل ﻧﻬﻴﺎن‪ ،‬وﱄ ﻋﻬﺪ أﺑﻮﻇﺒﻲ ﻧﺎﺋﺐ اﻟﻘﺎﺋﺪ‬ ‫اﻷﻋﲆ ﻟﻠﻘﻮات اﳌﺴﻠﺤﺔ‪ ،‬دور أﺻﺤﺎب‬ ‫اﻟﻔﻀﻴﻠﺔ اﻟﻌﻠامء ﰲ اﻟﺘﺼﺪي ﻟﺪﻋﺎة اﻟﻔنت‬ ‫واﻟﺘﻄﺮف واﻹرﻫﺎب اﻟﺬﻳﻦ ﻳﻠﺒﺴﻮن ﻋﺒﺎءة‬ ‫اﻟﺪﻳﻦ‪ ،‬وﻳﺪﻋﻮن إﱃ ﻋﻘﺎﺋﺪ ﻣﻀﻠﻠﺔ وﻣﻨﺤﺮﻓﺔ‬ ‫ﻟﻠﻮﺻﻮل إﱃ أﻫﺪاﻓﻬﻢ اﳌﺸﺒﻮﻫﺔ‪ ،‬وﻳﺴﻌﻮن‬ ‫إﱃ اﻟﺘﻐﺮﻳﺮ ﺑﺎﻟﺸﺒﺎب وإﺛﺎرة اﻟﻔﻮﴇ وﺗﻬﺪﻳﺪ‬ ‫اﻟﺴﻠﻢ واﻻﺳﺘﻘﺮار ﰲ اﳌﻨﻄﻘﺔ واﻟﻌﺎمل‪.‬‬ ‫وأﺿﺎف ﺳﻤﻮه أن دوﻟﺔ اﻹﻣﺎرات ﺑﺎﻧﻔﺘﺎﺣﻬﺎ‬ ‫ﻋﲆ اﻟﻌﺎمل ﺗﺤﺮص ﻋﲆ اﻟﺘﻤﺴﻚ ﺑﻬﻮﻳﺘﻬﺎ‬ ‫اﻟﻮﻃﻨﻴﺔ‪ ،‬وﺗﻌﻤﻞ ﻋﲆ ﺑﻨﺎء اﻹﻧﺴﺎن اﳌﺘﻌﺎﻳﺶ‬ ‫ﻣﻊ ﻣﺨﺘﻠﻒ اﻷدﻳﺎن واﻟﺜﻘﺎﻓﺎت‪ ،‬واﳌﺘﻮاﺻﻞ‬ ‫ﻣﻊ ﺑﺎﻗﻲ اﻟﺤﻀﺎرات‪ ،‬واﳌﺘﻤﻜﻦ ﻣﻦ‬ ‫ﻣﻌﻄﻴﺎت اﻟﻌﴫ واﳌﺘﻔﺎﻋﻞ ﻣﻊ ﻣﺘﻄﻠﺒﺎﺗﻪ‪.‬‬ ‫ﺟﺎء ذﻟﻚ ﺧﻼل اﺳﺘﻘﺒﺎل ﺳﻤﻮه‪ ،‬ﰲ ﻗﴫ‬ ‫اﻟﺒﻄني‪ ،‬أﺻﺤﺎب اﻟﻔﻀﻴﻠﺔ اﻟﻌﻠامء ﺿﻴﻮف‬ ‫ﺻﺎﺣﺐ اﻟﺴﻤﻮ اﻟﺸﻴﺦ ﺧﻠﻴﻔﺔ ﺑﻦ زاﻳﺪ آل‬ ‫ﻧﻬﻴﺎن‪ ،‬رﺋﻴﺲ اﻟﺪوﻟﺔ‪ ،‬ﺣﻔﻈﻪ اﻟﻠﻪ‪ ،‬ووﻓﺪ‬ ‫اﻟﻬﻴﺌﺔ اﻟﻌﺎﻣﺔ ﻟﻠﺸﺆون اﻹﺳﻼﻣﻴﺔ واﻷوﻗﺎف‪،‬‬ ‫ﻳﺮاﻓﻘﻬﻢ اﻟﺪﻛﺘﻮر ﻣﺤﻤﺪ ﻣﻄﺮ اﻟﻜﻌﺒﻲ‪،‬‬ ‫رﺋﻴﺲ اﻟﻬﻴﺌﺔ‪.‬‬ ‫اﻟﺸﻌﺮ ‪ /‬اﻟﻌﺪد ‪68‬‬ ‫‪ 10‬ﺑﻴﺖ ِ‬

‫ﻣﺠﻠﺔ ﺷﻬﺮﻳﺔ ﺷﺎﻣﻠﺔ‬ ‫ﺗﺼﺪر ﻋﻦ ﻣﺮﻛﺰ ﺳﻠﻄﺎن ﺑﻦ زاﻳﺪ‬ ‫اﻟﻌﺪد ‪ - 68‬ﻳﻮﻧﻴﻮ ‪2018‬‬

‫اﻟﻮﻋﻲ اﻟﺠﻤﺎﻟﻲ‬ ‫ﻓﻲ ﺑﻨﺎء اﻟﻘﺼﻴﺪة‬ ‫اﻟﻔﺨﺮﻳﺔ‬ ‫ﺣﻤﺪ اﻟﻤﺰروﻋﻲ‪:‬‬ ‫ِﺷﻌﺮﻧﺎ اﻟﺸﻌﺒﻲ‬ ‫ﻟﻠﻌﺎﻟﻤﻴﺔ‬ ‫وﺻﻞ‬ ‫ّ‬

‫ﻣﺠﻠﺔ ﺷﻬﺮﻳﺔ ﺷﺎﻣﻠﺔ ﺗﺼﺪر ﻋﻦ ﻣﺮﻛﺰ ﺳﻠﻄﺎن ﺑﻦ زاﻳﺪ‬

‫ﺑﺨﻮت اﻟﻤﺮﻳﺔ‪..‬‬ ‫ﺣﺐ ﻋﻠﻰ »وﺿﺢ اﻟﻨﻘﺎ«!‬

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‫ﻣﺤﻤﺪ اﻟﺨﺎﻟﺪي‪:‬‬ ‫زاﻳﺪ ﻣﺪرﺳﺔ ﺣﻘﻴﻘﻴﺔ‬ ‫ﺗﻌﻠﻤﻨﺎ ﻣﻨﻬﺎ اﻟﺼﺒﺮ‬ ‫واﻟﻤﺜﺎﺑﺮة‬

‫أﺛﺮ زاﻳﺪ ﻓﻲ ﺣﻴﺎة‬ ‫وﻗﺼﺎﺋﺪ اﻟﺸﻌﺮاء‬

‫ﻓﺮادة اﻟﺸﻌﺮ‬ ‫وﺑﻼﻏﺔ اﻟﺰﻋﺎﻣﺔ‬

‫إﻧﺴﺎﻧﻴﺔ زاﻳﺪ‪.‬‬ ‫ﺣﻴﺎ ٌة ﻣﺤﺎﻃ ٌﺔ‬ ‫ﺑﺎﻟﺤﻜﻤﺔ واﻟﺸﻌﺮ‬

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‫ﺻﺮوح ﻋﻈﻴﻤﺔ ﻳﺰ ّﻳﻨﻬﺎ اﺳﻢ زاﻳﺪ‬ ‫ﻛﺘﺒﻬﺎ ﻣﺎﻧﻊ اﻟﻌﺘﻴﺒﺔ واﻟﻤﻠﻚ ﺣﻤﺪ ﺑﻦ ﻋﻴﺴﻰ و اﻟﺸﻴﺦ زاﻳﺪ‬ ‫ﺛﻼث ﻗﺼﺎﺋﺪ ﺗﺰاوج ﺑﻴﻦ اﻟﺸﻌﺮ »واﻟﺪﺑﻠﻮﻣﺎﺳﻴﺔ«‬ ‫زاﻳﺪ‪ dd‬ﻓﻲ ﺗﻐﺮﻳﺪات اﻟﺸﻌﺮاء‬ ‫ﺣﻘﺎﺋﻖ ﺗﻐ ّﻴﺮ ﻣﺒﺎﻟﻐﺎت اﻟﺸﻌﺮاء ﻓﻲ ﺣﺒﻴﺒﺎﺗﻬﻢ اﻟﻔﺎﺗﻨﺎت‬ ‫ﺻﺎﻋﺪ ﺑﻦ اﻟﺤﺴﻦ اﻟﺒﻐﺪادي‪dd‬ﻣﻨﺎﻇﺮات اﻟﻤﺮﻛﺰ واﻟﻬﺎﻣﺶ‬ ‫اﻟﺮﺳﺎم ﺟﺎك ﻣﺎﺟﻮرﻳﻞ‪ddd‬اﻟﻔﺮﻧﺴﻲ اﻟﺬي ﻋ ِﻠﻖ ﺑﺄﺛﻮاب ﻣﺮاﻛﺶ‬ ‫ﻣﻮروﺛﺎت ﻋﻴﺪ اﻟﻔﻄﺮ اﻟﻤﺒﺎرك‪ dd‬ﺑﻬﺠﺔ ﺗﻤﻸ أرﻛﺎن اﻟﻮﻃﻦ اﻟﻌﺮﺑﻲ‬ ‫ﻋﺎدات إﻣﺎراﺗﻴﺔ ﻣﺘﻮارﺛﺔ ﻋﺒﺮ اﻟﺰﻣﻦ‬ ‫»زﻫﺒﺔ اﻟﻌﺮوس« وﺗﻘﺎﻟﻴﺪ اﻟﻌﺮس )‪(1‬‬

‫اﻟﻌﺪد ‪ - 68‬ﻳﻮﻧﻴﺮ ‪2018‬‬

‫رﺋﻴﺲ اﻟﺘﺤﺮﻳﺮ‬

‫ﻣﻨﺼﻮر ﺳﻌﻴﺪ اﻟﻤﻨﺼﻮري‬ ‫اﻹﺷﺮاف اﻟﻌﺎم‬

‫زﺑﻦ ﺑﻦ ﻋﻤﻴﺮ‬ ‫‪@zabin2011‬‬ ‫ﻣﺴﺘﺸﺎر اﻟﺘﺤﺮﻳﺮ‬

‫ﻋﻠﻲ اﻟﻤﺴﻌﻮدي‬ ‫‪@allmasoudi‬‬ ‫ﻣﺪﻳﺮ اﻟﺘﺤﺮﻳﺮ‬

‫ﻋﺒﺪا¬ أﺑﻮﺑﻜﺮ‬ ‫‪@abdabubaker1‬‬ ‫اﻹﺧﺮاج اﻟﻔﻨﻲ & ﺳﻜﺮﺗﺎرﻳﺔ اﻟﺘﺤﺮﻳﺮ‬

‫ﺳﻌﺎد ﺣﺴﻨﺔ‬ ‫‪@HasnaSuad‬‬

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‫ﻣﺴﺆول اﻟﺘﻮزﻳﻊ‬ ‫أﺣﻤﺪ ﻋﺒﺎس‬

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

‫ﻋﻨﻮان اﻟﻤﺠﻠﺔ‪ ‬‬ ‫اﻹﻣﺎرات اﻟﻌﺮﺑﻴﺔ اﻟﻤﺘﺤﺪة‪ -‬أﺑﻮﻇﺒﻲ‬

‫اﻻﺷﺘﺮاﻛﺎت‬

‫ﻫﺎﺗﻒ‪009712-6666130 ‬‬ ‫ﻓﺎﻛﺲ‪009712-6663088 ‬‬

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

‫ص‪X‬ب‪ 6420 ‬أﺑﻮﻇﺒﻲ إ‪X‬ع‪X‬م‬

‫‪baitshir@sbzc.ae‬‬

‫ﻳﻮﻧﻴﻮ ‪9 2018 /‬‬

‫ﻣﺤﺘﻮﻳﺎت‬ ‫‪baytelshear‬‬

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‫‪92‬‬ ‫ﻛﺘﺎب اﻟﻌﺪد‬

‫ﻋﻠﻲ اﻟﻤﺴﻌﻮدي‬ ‫ﻋﺒﺪا¬ أﺑﻮﺑﻜﺮ‬ ‫ﻣﺤﻤﺪ ﻧﻮراﻟﺪﻳﻦ‬ ‫ﻣﺤﻤﺪ اﻟﺒﺮﻳﻜﻲ‬ ‫ﺻﻔﻴﺔ اﻟﺸﺤﻲ‬ ‫ﻣﺤﻤﺪ أﺑﻮﻋﺮب‬ ‫د‪X‬ﻳﺎﺳﻴﻦ ﺣﺰﻛﺮ‬

‫اﻟﺸﻌﺮ ‪ /‬اﻟﻌﺪد ‪68‬‬ ‫ﺑﻴﺖ ِ‬

‫ﺷﻌﺮاء اﻟﻌﺪد‬

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‫ﺳﻴﻒ اﻟﺴﻌﺪي‬ ‫ﻧﺎﺻﺮ ﺑﻦ ﺧﻤﻴﺲ اﻟﻐﻴﻼﻧﻲ‬ ‫ﻧﺎﻳﻠﻪ اﻷﺣﺒﺎﺑﻲ‬ ‫ﻣﺤﻤﺪ اﻟﻤﻐﻴﺮﻓﻲ‬ ‫راﺷﺪ ﺷﺮار‬

‫‪85‬‬ ‫اﺑﺮاﻫﻴﻢ اﻟﺸﺎﻣﻲ‬ ‫ﻓﻬﺪ ﻣﻔﻠﺢ اﻟﻨﺎﻫﺴﻲ‬ ‫ﺧﻠﻴﻔﺔ ﻣﺼﺒّﺢ اﻟﻜﻌﺒﻲ‬ ‫ﻋﺎﻳﺾ اﻟﺤﺒﺎﺑﻲ‬ ‫زﻳﻨﺐ اﻟﺒﻠﻮﺷﻲ‬

‫ﺳﺎﻟﻢ ﺑﻦ ﺣﻤﺎد اﻟﻜﻌﺒﻲ‬ ‫ﺣﻤﺪة اﻟﻤﺮ‬ ‫ﻇﺎﻓﺮ ﻣﺤﻤﺪ اﻟﻤﺸﻌﻠﻲ‬ ‫ﻓﻬﺪ اﻟﻌﺪواﻧﻲ‬ ‫ﻓﺘﺎة ﻧﺠﺪ‬

‫ﻳﻮﻧﻴﻮ ‪7 2018 /‬‬

‫ذﻫﺐ اﻟﻜﻼم‬ ‫‪baytelshear‬‬

‫ﻣﻦ أﻗﻮال ﺳﻤﻮ اﻟﺸﻴﺦ‬

‫ﺳﻠﻄﺎن ﺑﻦ زاﻳﺪ آل ﻧﻬﻴﺎن‬ ‫ﺗﻌﻴﻴﻦ ﻋﺎم ﺑﺬاﺗﻪ ﻟﺰاﻳﺪ ﻫﻮ ﺗﺠﺴﻴﺪ ﺟﻠﻲ ﻟﻤﺎ ﻧﺤﻤﻠﻪ ﺟﻤﻴﻌ ًﺎ ﻣﻦ ﺣﺐ وﻋﺮﻓﺎن واﻣﺘﻨﺎن‬ ‫ﻟﺮﺟﻞ ﺻﻨﻊ اﻟﺘﺎرﻳﺦ ﻓﻲ وﻃﻨﻪ وﻏ ّﻴﺮ وﺟﻪ اﻷرض ﻓﻲ ﺑﻼده وﺳﺒﻖ ﻋﺼﺮه وﺗﺤﺪى اﻟﺼﻌﺎب‬ ‫وﻟﻢ ﻳﺒﺨﻞ ﻋﻠﻰ اﻟﺒﻼد وﻻ ﻋﻠﻰ اﻟﻌﺒﺎد ﺑﻮﻗﺖ وﻻ ﺑﻤﺎل وﻻ ﺑﺠﻬﺪ ﻓﺎﺳﺘﺤﻖ أن ﺗﺘﻔﻖ اﻵراء‬ ‫ﻋﻠﻰ أﻧﻪ ﺣﻜﻴﻢ اﻟﻌﺮب‬

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‫اﻟﺸﻌﺮ ‪ /‬اﻟﻌﺪد ‪68‬‬ ‫ﺑﻴﺖ ِ‬

‫ﻳﻮﻧﻴﻮ ‪5 2018 /‬‬

‫ﺣ‪S‬ﻜﻴ‪S‬ﻢ اﻟﻌ‪S‬ﺮب‬ ‫‪baytelshear‬‬

‫إن اﻟﺴﻴﺎﺳﺔ اﻟﺨﺎرﺟﻴﺔ ﻟﺪوﻟﺔ اﻹﻣﺎرات ﺗﺴﺘﻬﺪف ﻧﺼﺮة اﻟﻘﻀﺎﻳﺎ واﻟﻤﺼﺎﻟﺢ اﻟﻌﺮﺑﻴﺔ‬ ‫واﻹﺳﻼﻣﻴﺔ وﺗﻮﺛﻴﻖ أواﺻﺮ اﻟﺼﺪاﻗﺔ واﻟﺘﻌﺎون ﻣﻊ ﺟﻤﻴﻊ اﻟﺪول واﻟﺸﻌﻮب ﻋﻠﻰ أﺳﺎس ﻣﻴﺜﺎق‬ ‫اﻷﻣﻢ اﻟﻤﺘﺤﺪة واﻷﺧﻼق واﻟﻤﺜﻞ اﻟﺪوﻟﻴﺔ‪ ،‬وإن دوﻟﺘﻨﺎ اﻟﻔﺘﻴﺔ ﺣﻘﻘﺖ ﻋﻠﻰ اﻟﺼﻌﻴﺪ اﻟﺨﺎرﺟﻲ ﻧﺠﺎﺣ ًﺎ‬ ‫ﻛﺒﻴﺮ ًا ﺣﺘﻰ أﺻﺒﺤﺖ ﺗﺘﻤﺘﻊ اﻵن ﺑﻤﻜﺎﻧﺔ ﻣﺮﻣﻮﻗﺔ ﻋﺮﺑﻴ ًﺎ ودوﻟﻴ ًﺎ ﺑﻔﻀﻞ ﻣﺒﺎدﺋﻬﺎ اﻟﻨﺒﻴﻠﺔ‪ ،‬وﻟﻘﺪ ارﺗﻜﺰت‬ ‫ﺳﻴﺎﺳﺘﻨﺎ وﻣﻮاﻗﻔﻨﺎ ﻋﻠﻰ ﻣﺒﺎدئ اﻟﺤﻖ واﻟﻌﺪل واﻟﺴﻼم ﻣﻨﻄﻠﻘﻴﻦ ﻣﻦ إﻳﻤﺎﻧﻨﺎ ﺑﺄن اﻟﺴﻼم ﺣﺎﺟﺔ‬ ‫ﻣﻠﺤﺔ ﻟﻠﺒﺸﺮﻳﺔ ﺟﻤﻌﺎء‬ ‫اﻟﻤﻐﻔﻮر ﻟﻪ اﻟﺸﻴﺦ زاﻳﺪ ﺑﻦ ﺳﻠﻄﺎن آل ﻧﻬﻴﺎن‬ ‫‪-‬ﻃﻴّﺐ اﻟﻠﻪ ﺛﺮاه ‪-‬‬

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‫اﻟﺸﻌﺮ ‪ /‬اﻟﻌﺪد ‪68‬‬ ‫ﺑﻴﺖ ِ‬

‫ﺻﻮت اﻟﺼﻮرة‬ baytelshear

fCCM&¸* p*zCCC0&* z¤ - zCCM*5 xª G f¤k Q 0 j ª G* ¥CC U C CCCE*§C S CH «CC CCG* *§CCC<&*K *§CCCC<&* m|CC T CH §CCG ¨ TQ ¡M fCCH fCCC¤CCC-|CC Q CF*3 ·K fCCC¡CCCkCCCGK2 · «CCCEfCCC+ ÑCC0&* ¦Ô CUG lCCIfCCF «CC CCG* ¥CCGfCC CCD&*K fCC¤CCkCCFQ |CC+U K fCCJÔCC1 «CC¡CCÅ ÕCCtCC CCG

‫ﺳﻌﻴﺪ ﺑﻦ ﻃﻤﻴﺸﺎن‬

‫ أﺑﻮﻇﺒﻲ‬- ‫ﺻﺮح اﻟﻤﺆﺳﺲ‬ 3 2018 / ‫ﻳﻮﻧﻴﻮ‬

‫ﻣﺠﻠﺔ ﺑﻴﺖ اﻟﺸﻌﺮ ﺑﻴﻦ ﻳﺪﻳﻚ‬ ‫ﻋﻠﻰ ﺗﻄﺒﻴﻖ اﻟﻜﺘﺮوﻧﻲ‬ ‫ﺧﺎص ﺑﻤﺮﻛﺰ ﺳﻠﻄﺎن ﺑﻦ زاﻳﺪ‬

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‫اﻟﺸﻌﺮ ‪ /‬اﻟﻌﺪد ‪68‬‬ ‫ﺑﻴﺖ ِ‬