bayt alshier_70_Sept_2018 بيت الشعر سبتمبر by SBZC Mags

‫ﺟﺪﻳﺪ إﺻﺪارات‬ ‫ﻣﺮﻛﺰ ﺳﻠﻄﺎن ﺑﻦ زاﻳﺪ‬

‫‪www.sbzc.ae‬‬

‫‪sbzc.ae‬‬

‫‪2018‬‬

‫‪@sbzc_ad‬‬

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

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‫اﻟﺸﻌﺮ ‪ /‬اﻟﻌﺪد ‪67‬‬ ‫ﺑﻴﺖ ِ‬

‫اﻟﺸﻌﺮ ‪baytelshear‬‬ ‫ﺑﻴﺖ ِ‬

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‫ ‪ ĬšĸōŒ ĝšĚ‬‬

‫ﻋﻠﻲ اﻟﻤﺴﻌﻮدي‬

‫‪@allmasoudi‬‬ ‫ﻫﻨﺎ إذاﻋﺔ ﺻﻮت اﻟﻌﺮب ﻣﻦ ﻟﻨﺪن‪..‬‬ ‫أﺧرياً أﻋﻮد إﱃ ﻟﻨﺪن ﺑﻌﺪ ﻏﻴﺎب ‪ 25‬ﻋﺎﻣﺎً‪..‬‬ ‫مل ﻳﺘﻐري ﳾء‬ ‫ﻫﺬا ﻫﻮ ﻛﺎﻣﱪﻻﻧﺪ اﻟﺬي ﺳﻜﻨﺘﻪ وأﻧﺎ ﰲ ﻋﺰ اﻟﺸﺒﺎب‬ ‫وﻫﺬه ﻫﻲ اﻟﻬﺎﻳﺪ ﺑﺎرك ﻛام ﺗﺮﻛﺘﻬﺎ‬ ‫وﻫﺬه اﳌﺪﻳﻨﺔ اﻟﻌﺠﻮز اﻟﺘﻲ أﴎت اﻟﻌﺎمل ﻣﺎزاﻟﺖ ﺑﺬات اﻟﻄﻌﻢ واﻟﻠﻮن واﻟﺮاﺋﺤﺔ‪" ..‬ﻟﻨﺪن‪ ..‬أﺟﻤﻞ ﻣﺪﻳﻨﺔ ﻋﺮﺑﻴﺔ" ﻛام ﻗﺎل ﻧﺰار‪.‬‬ ‫ﻟﻜﻨﻲ اﻵن أﻗﻞ ﺷﻐﻔﺎً وأﻛرث زﻫﺪاً ﰲ اﻻﻛﺘﺸﺎف‪ ..‬ﺳﻮى ﺗﺘﺒﻊ أﺣﻮال اﻷدﺑﺎء اﻟﻌﺮب اﻟﺬﻳﻦ ﺳﻜﻨﻮا ﻫﺬه اﳌﺪﻳﻨﺔ وأﺟﺮﻳﺖ ﻣﻊ ﻣﻌﻈﻤﻬﻢ ﺣﻮارات‬ ‫أدﺑﻴﺔ ﺻﺤﻔﻴﺔ أﻃﻤﻊ أن ﺗﻌﻴﺪ ﱄ ﺷﻴﺌﺎً ﻣﻦ ﺷﻐﻒ اﻟﺤﺐ اﻟﺬي ﺧﺒﺄ ﰲ داﺧﲇ‪ ..‬زرت ﺳﻌﺎد اﻟﺼﺒﺎح ﰲ ﻣﻨﺰﻟﻬﺎ اﻟﺮﻳﻔﻲ اﻟﺠﻤﻴﻞ‪..‬‬ ‫ﺛﻢ وﻗﻔﺖ ﻋﲆ اﻟﺠﴪ اﻟﺸﻬري ﰲ ﻣﺪﻳﻨﺔ اﻟﻀﺒﺎب أﺗﺄﻣﻞ ﻧﻬﺮ اﻟﺘﺎميﺰ اﻟﺬي ﻛﺘﺐ ﻋﻨﻪ أﻛﱪ اﻷدﺑﺎء‪ ..‬أدﺑﺎء اﻟﻌﺮب اﻟﺬﻳﻦ ﺣﻤﻠﻮا ﻏﺮﺑﺘﻬﻢ وأﺣﺰاﻧﻬﻢ‬ ‫ودﺧﻠﻮا اﱃ ﺳﺤﺮ ﺷﻜﺴﺒري‪.‬‬ ‫وأﺛﺮﻳﺎء اﻟﻌﺮب اﻟﺬﻳﻦ رﻛﺒﻮا ﻳﺨﻮﺗﻬﻢ وﺟﺎءوا إﱃ ﺳﺤﺮ دﻳﺎﻧﺎ‪.‬‬ ‫واﻟﺴﻴﺎﺳﻴﻮن اﻟﻌﺮب اﻟﺬﻳﻦ ﺣﻤﻠﻮا ﻣﻠﻔﺎﺗﻬﻢ وﺟﺎءوا إﱃ ﻗﴫ اﳌﻠﻜﺔ إﻟﻴﺰاﺑﻴﺚ‪.‬‬ ‫وﻇﻨﻨﺖ أن ﻟﻨﺪن ﺳﺘﴪق ﻗﻠﺒﻲ ﻣﺜﻠام ﴎﻗﺖ ﻗﻠﺐ ﺳﻌﺎد وأﺣﻤﺪ ﻣﻄﺮ وﻧﺰار واﻟﻘﺼﻴﺒﻲ‪..‬‬ ‫أﺣﺎول أن أﻛﻮن ﺣﺬراً ﻣﻦ ﻃﻴﻒ أي ﺟﻤﻴﻠﺔ اﺣﱰﻓﺖ ﺧﻄﻒ اﻷﺣﺎﺳﻴﺲ‬ ‫ﻫﺬه ﻟﻨﺪن ﻳﺎﺻﺪﻳﻖ اﻟﺸﻌﺮ‪ ..‬ﻏﻮاﻳﺔ اﻟﺤﺐ واﻟﺤﺮب‪ ..‬ﺑﻘﻴﺎدة ﻋﺠﻮز ﺗﺠﺎوزت اﻟﺘﺴﻌني ﺗﱰﺑﻊ رﺳﻤﻴﺎً ﻋﲆ ﻋﺮش أﻛرث ﻣﻦ ﺧﻤﺴني ﺑﻠﺪاً ﰲ اﻟﻌﺎمل‪..‬‬ ‫اﺳﺘﺴﻠﻢ ﻳﺎﻏﺮﻳﺐ‪ ..‬ﻟﻨﺪن ﺳﺘﴪﻗﻚ ﺣﺘ ًام‪..‬‬ ‫ﻟﻜﻨﻬﺎ ﺑﺪﻻ ﻣﻦ أن ﺗﴪق ﻗﻠﺒﻲ ﴎﻗﺖ ﺟﻴﺒﻲ!‬ ‫ﻣﺎ إن اﻟﺘﻘﻄﺖ ﺻﻮرة ﰲ ﻣﻨﺘﺼﻒ اﻟﺠﴪ وأﺧﺬت ﺷﻨﻄﺘﻲ اﻟﻜﺮوس‪ ..‬ﺣﺘﻰ وﺟﺪﺗﻬﺎ ﻓﺎرﻏﺔ! ﻟﻘﺪ اﺧﺘﻔﺖ ﻣﻨﻬﺎ ﻣﺤﻔﻈﺘﻲ ﺑﻜﻞ ﻣﺎﻓﻴﻬﺎ ﻣﻦ‬ ‫ﻫﻮﻳﺎت وﺑﻄﺎﻗﺎت وﻣﴫوف‪ .‬ﺗﺬﻛﺮت أﻧﻚ أﻳﺘﻬﺎ اﳌﺪﻳﻨﺔ اﻟﺮﻣﺎدﻳﺔ اﻟﻌﺮﻳﻘﺔ‪ ..‬ﺗﴪﻗني اﻟﺘﺎرﻳﺦ واﻟﻘﻠﻮب واﻟﺠﻴﻮب‪.‬‬ ‫وﺗﺬﻛﺮت ﺻﻮت ﺻﺪﻳﻘﻲ اﻟﻘﺪﻳﻢ وﻫﻮ ﻳﺘﺼﻞ ﻳﺨﱪين أﻧﻪ ﺳﻴﺰورين ﰲ اﻟﻔﻨﺪق ﻣﻊ ﻣﺤﺎم ﻣﺘﺨﺼﺺ وﺧﺒري ﺳﻴﴩح ﱄ ﻃﺮﻳﻘﺔ ﺧﺎﺻﺔ ﰲ اﻟﺤﺼﻮل‬ ‫ﻋﲆ ﻣﻴﺰة إﻗﺎﻣﺔ رﺟﺎل اﻷﻋامل‪..‬‬ ‫ﻟﻨﺪن مل ﺗﻌﻄﻨﻲ ﻫﻮﻳﺔ‪ ..‬ﺑﻞ ﴎﻗﺖ ﻫﻮﻳﺘﻲ‪!..‬‬ ‫ﻣﺎ أﺻﻌﺐ ﴎﻗﺔ ﺑﻄﺎﻗﺔ رﺟﻞ ﺧﺎض ﻣﻌﺮﻛﺔ ﻃﻮﻳﻠﺔ ﻣﻊ اﻟﻬﻮﻳﺔ‪.‬‬ ‫وﺑﻌﺪ ﻫﺬه اﻟﴪﻗﺔ اﻟﺘﺎرﻳﺨﻴﺔ‪ ..‬ﻗﻠﺒﻲ ﺳﻴﻈﻞ ﻛام ﻫﻮ ﻳﺎ أﺻﺪﻗﺎء‬ ‫ﻟﻜﻨﻲ ﺳﺄﻏري وﺟﻬﻲ ﻗﻠﻴ ًﻼ‪ ..‬وأﺑﺪل ﻣﻼﻣﺤﻲ ﻗﻠﻴ ًﻼ‪)..‬وﺑﺮﻏﻢ ذﻟﻚ ﻣﺎﻋﻨﺪﻧﺎ إﻻ ﺣﻼﻟﻚ ﻳﺎﺑﺮﻳﻄﺎﻧﻴﺎ اﻟﻌﻈﻤﻰ(‪.‬‬

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‫اﻟﻌﺪد ‪ ، 70‬ﺳﺒﺘﻤﺒﺮ ‪2018‬‬

‫واﻷﺻﻔﺮ واﻷزرق واﻷﺧــﴬ واﻟﺒﻨﻔﺴﺠﻲ‪،‬‬ ‫واﻟﱪﺗﻘﺎﱄ‪ .‬وﻟﻘﺪ ﻛﺎﻧﺖ ﻷﻟﻮان اﻟﺰي اﻟﺘﻘﻠﻴﺪي‬ ‫إﺷﺎرة ﻣﻬﻤﺔ ﺗﺮﻣﺰ إﱃ ﻋﻤﺮ اﻟﺴﻴﺪة أو اﳌﺮﻛﺰ‬ ‫اﻻﺟﺘامﻋﻲ اﻟﺬي ﺗﻨﺘﻤﻲ إﻟﻴﻪ‪ .‬ﻓﻔﻲ ﺣني ﻳﻜﻮن‬ ‫اﻟﺰي ذو اﻷﻟﻮان اﻟﺤﻤﺮاء واﻟﻮردي ﻟﻠﻔﺘﻴﺎت‬ ‫واﻟﺸﺎﺑﺎت؛ ﻳﻜﻮن اﻟﺰي ﻟﻠﻨﺴﺎء ﰲ ﻣﻨﺘﺼﻒ‬ ‫اﻟﻌﻤﺮ ذا ﻇﻼل ﻣﻦ اﻟﻀﻮء اﻷزرق واﻟﺮﻣﺎدي‪.‬‬ ‫أو ﺑﻴﻀﺎء اﻟﻠﻮن ﻓﻬﻮ اﻷﻛرث ﺷﻌﺒﻴﺔ واﳌﻨﺎﺳﺒﺔ‬ ‫ﻟﺠﻤﻴﻊ اﻷﻋامر‪ ،‬وﺧﺎﺻﺔ ﻟﻜﺒﺎر اﻟﺴﻦ‪ ،‬واﻟﻠﻮن‬ ‫اﻷﺳﻮد واﻷزرق اﻟﺪاﻛﻦ واﻟﺒﻨﻔﺴﺠﻲ أﻟﻮان‬ ‫اﻟﺤﺪاد‪ .‬وميﻜﻦ ﻟﻠﻤﺮء أن ﻳﺤﻜﻢ ﻋﲆ اﻟﻮﺿﻊ‬ ‫اﻻﺟﺘامﻋﻲ ﻟﻺﻧﺴﺎن ﻣﻦ ﻗﺒﻞ أمنﺎط اﻟﺘﻄﺮﻳﺰ؛‬ ‫ﻋﲆ اﻟﺮﻏﻢ ﻣﻦ أﻧﻬﺎ ﰲ ﺑﻌﺾ اﻷﺣﻴﺎن ﺗﺤﻤﻞ‬ ‫ﻣﻌﺎين أﺧﺮى ﻋﲆ ﺳﺒﻴﻞ اﳌﺜﺎل‪ ،‬ﺗﻜﺮار منﻂ‬ ‫ﻫﻨﺪﳼ ﻋﲆ اﳌﻼﺑﺲ واﻟﺘﻲ ﺗﻜﻮن ﻣﻦ اﻷﻟﻮان‬ ‫اﻷزرق اﻟﺪاﻛﻦ أو اﻷﺳــﻮد واﻟــﺬي ﻛﺎن ﻻ‬ ‫ﻳﺤﻈﻰ ﺑﺸﻌﺒﻴﺔ ﰲ أي ﻣﻨﻄﻘﺔ ﻣﻦ أوزﺑﻜﺴﺘﺎن‬ ‫ﺑﺴﺒﺐ اﻟــﺨـﺮاﻓــﺎت‪ .‬وﻗــﺪ ﺣﺎﻓﻈﺖ أمنﺎط‬ ‫‪ Sogdian‬ﻋﲆ ﺗﺄﺛري اﻟﺰرادﺷﺘﻴﺔ‪ ،‬وﺗﻢ اﺧﺘﻴﺎر‬ ‫اﻷﻟﻮان ﰲ ﻫﺬه اﳌﻨﻄﻘﺔ ﻋﲆ أﺳﺎس ﻣﻮﻗﻌﻪ‬ ‫ﰲ اﳌﺠﺘﻤﻊ ﻋﲆ ﺳﺒﻴﻞ اﳌﺜﺎل أﻇﻬﺮت ﻟﺴﺎدة‬ ‫اﻷزرق واﻟﺒﻨﻔﺴﺠﻲ ﰲ ﻓﺮوق دﻗﻴﻘﺔ ﰲ ﺛﻮب‬ ‫اﳌﺮأة ﻓﺨﺮ زوﺟﻬﺎ ﰲ اﳌﺠﺘﻤﻊ‪ ،‬ﰲ ﺣني ﻛﺜرياً‬ ‫ﻣﺎ ﺗﻢ اﺳﺘﺨﺪام اﻟﺰﺧﺎرف ﻣﺨﴬة ﻣﻦ ﻗﺒﻞ‬ ‫اﻟﻔﻼﺣني واﻟﺤﺮﻓﻴني‪.‬‬ ‫ﻏﻄﺎء اﻟﺮأس أو اﻟﻘﻠﻨﺴﻮة ‪ tubeteika‬ﺗﻘﻠﻴﺪ‬ ‫وﻫﻮ ﻣﺎ ميﻴﺰ ﺟﻤﻴﻊ أﺑﻨﺎء آﺳﻴﺎ اﻟﻮﺳﻄﻰ‪ ،‬وﻛﻞ‬ ‫ﻣﻨﻄﻘﺔ ﻣﻦ أوزﺑﻜﺴﺘﺎن ﻟﺪﻳﻬﺎ ﻧﻮع ﺧﺎص ﻟﺘﻠﻚ‬ ‫اﻟﻘﻠﻨﺴﻮة‪ .‬وارﺗﺪاء ﻫﺬه اﻟﻘﺒﻌﺔ ﻟﻴﺲ ﻓﻘﻂ‬ ‫ﻟﻠﺮﺟﺎل؛ ﻓﺤﺘﻰ اﳌﺮأة اﻷوزﺑﻜﻴﺔ ﺗﺘﺰﻳﻦ ﺑﻬﺎ‬ ‫ﻣﻊ اﻟﺤﲇ اﳌﺘﻨﻮﻋﺔ‪ ،‬واﻷﺣﺠﺎر اﻟﻜﺮميﺔ‪ ،‬وﺗﻌﺘﱪ‬ ‫ﻋﻨﴫاً ﻣﻬ ًام ﰲ اﻟﺰي ﰲ اﻷﻋﻴﺎد واﻻﺣﺘﻔﺎﻻت‬ ‫اﻟﺪﻳﻨﻴﺔ‪.‬‬ ‫‪ǳƓƃǂǙ ƐǷǂƣ ŲŌǶƋǕŌ‬‬

‫ﻳﻠﻌﺐ اﻟﺰﻓﺎف دوراً ﻣﻬ ًام ﰲ ﺣﻴﺎة اﻷوزﺑﻚ‬ ‫ﺣﻴﺚ إن ﺣﻔﻞ اﻟــﺰﻓــﺎف ﰲ أوزﺑﻜﺴﺘﺎن‬ ‫ﻳﺘﻄﻠﺐ ﺗﺮﺗﻴﺒﺎً وﻣﺴﺆوﻟﻴﺔ ﻛﺒرية ﺟﺪاً‪ ،‬وﻳﺘﻢ‬ ‫إﻋﺪاده ﺑﻌﻨﺎﻳﺔ ﻓﺎﺋﻘﺔ‪ ،‬ﻓﻬﻮ ﻣﺴﺆوﻟﻴﺔ ﻳﺘﻄﻠﺐ‬

‫ﺗﺤﻀريﻫﺎ ﻋﲆ ﻋﺪة ﺳﻨﻮات‪ ،‬ﻳﺒﺪأ ﻣﻦ ﻳﻮم‬ ‫وﻻدة اﻟﻔﺘﺎة إﱃ أن ﺗﺼﻞ اﻟﻔﺘﺎة إﱃ ﺳﻦ‬ ‫اﻟﻨﻀﺞ واﻟــﺰواج‪ ،‬ﻓرنى أن اﻹﻋــﺪاد ﻟﺤﻔﻞ‬ ‫اﻟﺰﻓﺎف ﺑﺎﻟﻨﺴﺒﺔ ﻟﻠﻌﺎﺋﻠﺔ اﻷوزﺑﻜﻴﺔ ﻟﻴﺲ وﻟﻴﺪ‬ ‫اﻟﻠﺤﻈﺔ ﺑﻞ ﻳﺤﺘﺎج ﻟﻌﺪة ﺳﻨﻮات ﻣﻦ اﻟﺘﺤﻀري‬ ‫ﺧﺎﺻﺔ ﺑﺎﻟﻨﺴﺒﺔ ﻟﻮاﻟﺪ اﻟﻌﺮوس‪ ،‬ﻓﻬﺬا اﻟﻌﻤﻞ‬ ‫ﺳﻴﻜﻮن ﻣﻬﺮ اﺑﻨﺘﻪ‪ ،‬وﻣﻦ ﻫﺬه اﻹﻋﺪادات‬ ‫واﻟﺘﻘﺎﻟﻴﺪ ﺟﻤﻊ أﻃﻮال ﻣﻦ اﻷﻗﻤﺸﺔ ﻟﻌﻤﻞ‬ ‫اﻟﺜﻴﺎب واﻟﻘﻤﺼﺎن ﻷﻗﺎرب اﺑﻨﺘﻬﻢ اﳌﺴﺘﻘﺒﻠﻴﺔ‪،‬‬ ‫وﺑﺤﻀﻮرك ﺣﻔﻞ زﻓــﺎف ﺳــﻮف ﺗﻜﺘﺸﻒ‬ ‫رؤى ﻋﻦ اﻟﻘﻴﻢ اﳌﺠﺘﻤﻌﻴﺔ واﻟﻌﺎﺋﻠﻴﺔ‪ ،‬ومنﻂ‬ ‫اﻟﺤﻴﺎة وﺗﺎرﻳﺦ اﻷﺟﻴﺎل‪ .‬ﻳﺮﺗﺪي اﻟﻌﺮوﺳﺎن‬ ‫اﻟﺰي اﻟﺘﻘﻠﻴﺪي ﻟﻠﺰﻓﺎف أو اﻟﻌﴫي‪ ،‬وﻳﺘﺄﻟﻒ‬ ‫اﻟﺘﻘﻠﻴﺪي ﻟﻠﻌﺮﻳﺲ ﻣﻦ رداء ﻣﻄﺮ ٍز ﺑﺎﻟﺬﻫﺐ‪،‬‬ ‫وﻗﻠﻨﺴﻮة أو ﻋامﻣﺔ ﺟﻤﻴﻠﺔ وﻣﻄﺮزة ووﺷﺎح‬ ‫اﻟﺨﴫ‪ .‬أﻣﺎ اﻟﻌﺮوس ﻓﺘﺨﺘﺎر ﻣﻦ ﺗﺸﻜﻴﻠﺔ‬ ‫ﻛﺒرية ﻣﻄﺮزة ﻣﻊ ﻃﺮﺣﺔ اﻟﻌﺮوس‪ .‬ﻳﺒﺪأ اﻟﺰﻓﺎف‬ ‫ﺑﺮﻗﺼﺔ اﻟﻌﺮوﺳني‪ ،‬ﺣﻴﺚ ﻳﻘﻮم اﻟﻌﺮﻳﺲ‬ ‫ﺑﺎﻟﻀﻐﻂ ﻋﲆ ﻗﺪم اﻟﻌﺮوس ﻟﻔﱰة ﻋﻼﻣﺔ ﻋﲆ‬ ‫اﺣﱰام اﻟﺰوﺟﺔ ﻟﺰوﺟﻬﺎ ﰲ اﳌﺴﺘﻘﺒﻞ وﻻ ﺗﺰال‬ ‫متﺎرس إﱃ اﻟﻴﻮم‪.‬‬ ‫‪ƃǾǕōǂŨǕŌ ŻǙȎǙ ǗƓƉǿ ſŞƢǘǕŌ‬‬

‫أﻫﻢ ﻣﺎ ميﻴﺰ اﳌﻄﺒﺢ اﻷوزﺑــيك ﻫﻮ اﻟﺘﻨﻮع‬ ‫اﻟﻬﺎﺋﻞ ﻟﻮﺻﻔﺎت اﻟﻄﻌﺎم اﻵﺳﻴﻮﻳﺔ واﻟﻌﺮﺑﻴﺔ‪،‬‬ ‫ﻛام أﺑﺪع اﻟﻄﻬﺎة ﻋﱪ ﻗﺮون مبﺰج ﻣﻜﻮﻧﺎت‬ ‫اﻟﻄﻌﺎم ﺑﺎﻟﻔﺎﻛﻬﺔ وﻋــﲆ رأﺳــﻬــﺎ اﻟﺮﻣﺎن‬ ‫اﻟﺬي ﻳﻀﺎف ﻋﺎدة ﻋﲆ اﻟﺸﻮرﺑﺎت واﻷرز‪،‬‬ ‫وﻳﺘﺨﺼﺺ اﳌﻄﺒﺦ اﻷوزﺑيك ﰲ أﻧﻮاع ﻣﺘﻌﺪدة‬ ‫ﻣﻦ اﻟﻜﺒﺎب ﻣﺜﻞ اﻟﺒﺎرغ واﻟﻜﻮﺑﻴﺪه واﻟﺠﻮﺟﻴﻪ‬ ‫واﻟﺸﻴﺸﻠﻴﻚ واﻟﺴﻠﻄﺎين واﻟﺸﻴﻨﺠﻪ‪ ،‬ﻛام‬

‫ﻳﺸﺘﻬﺮ ﺑﻴﺨﻨﺔ ﺧﻮرﻳﺸﺖ‪ ،‬ﻛام ﺗﺴﺘﻌﻤﻞ‬ ‫اﻷﻋﺸﺎب ﻣﻊ اﻟﻔﻮاﻛﻪ ﰲ اﻟﻄﻬﻲ ﻣﺜﻞ اﻟﺮﻣﺎن‬ ‫واﻟﺴﻔﺮﺟﻞ واﳌﺸﻤﺶ واﻟﺰﺑﻴﺐ‪ ،‬وﺗﺠﺪر‬ ‫اﻹﺷــﺎرة إﱃ أن ﺷﻌﻮب اﻷوزﺑــﻚ ﻋﲆ ﻣﺮ‬ ‫اﻷﺟﻴﺎل ﻻ ﻳﻘﻴﻤﻮن اﳌﻮاﺋﺪ اﻟﻀﺨﻤﺔ إﻻ أﺛﻨﺎء‬ ‫ﻋﻴﺪ اﻟﻨريوز واﻷﻋ ـﺮاس‪ ،‬وﻫﻲ ﺷﺎﺋﻌﺔ ﺟﺪاً‬ ‫ﰲ ﺑﻠﺪاﻧﻨﺎ اﻟﻌﺮﺑﻴﺔ وﺗﺴﻤﻰ "ﺳﻔﺮة اﻟﻌﺠﻢ"‪،‬‬ ‫وﺗﺤﺘﻮي ﺳﻔﺮة اﻟﻌﺠﻢ ﻋﲆ اﻟﻜﺜري ﻣﻦ اﻷﺷﻴﺎء‬ ‫اﻟﺠﻤﻴﻠﺔ واﻟﺘﻲ ﺗﺮﻣﺰ ﳌﻌﺘﻘﺪات ﻣﺨﺘﻠﻔﺔ‪.‬‬ ‫ارﺗﺒﻄﺖ ﺑﻌﺾ اﻷﻃﻌﻤﺔ ﰲ ﺣﻴﺎة اﻟﺸﻌﺐ‬ ‫اﻷوزﺑـــيك ﺑﺒﻌﺾ اﳌﻨﺎﺳﺒﺎت اﻹﺟﺘامﻋﻴﺔ‬ ‫ﻛﺎﻟﺰواج واﻟﻌﺰاء و اﻟﺤﻤﻞ وﻣﺎ إﱃ ذﻟﻚ‪ ،‬أو ﰲ‬ ‫ﺑﻌﺾ اﻟﺘﻮارﻳﺦ اﳌﻌﺘﱪة ﺧﻼل اﻟﺴﻨﺔ ﻛﺎﻷﻋﻴﺎد‬ ‫واﳌﻨﺎﺳﺒﺎت اﻟﺪورﻳﺔ‪.‬‬ ‫ﻳﺮﺗﺒﻂ اﻟﻄﻌﺎم ﺑﺎﻟﻮﻓﺎة‪ ،‬ﻓﻤﻦ ﻏري اﳌﺴﺘﺤﺴﻦ‬ ‫إﻳﻘﺎد اﻟﻨﺎر ﰲ ﺑﻴﺖ اﻟﻔﻘﻴﺪ ﻟﺘﺤﻀري اﻟﻄﻌﺎم‬ ‫ﰲ اﻟﻴﻮم اﻷول ﻣﻦ اﻟﻌﺰاء‪ ،‬ورمبﺎ ﻳﻌﻮد ذﻟﻚ‬ ‫إﱃ ﺑﻌﺾ اﻟﺒﻘﺎﻳﺎ ﻣﻦ اﻟﺪﻳﺎﻧﺔ اﻟﺰرادﺷﺘﻴﺔ‬ ‫اﻟﻘﺪميﺔ‪ ،‬ﺣﻴﺚ ﻳﺤﺮم ﻓﻴﻬﺎ إﻳﻘﺎد اﻟﻨﺎر ﺑﺤﻀﻮر‬ ‫اﳌﻴﺖ‪ .‬وﰲ ﺑﻴﺖ اﻟﻔﻘﻴﺪ ﻻ ﻳﺘﻢ ﻃﺒﺦ اﻟﻄﻌﺎم‬ ‫ﻃﻴﻠﺔ اﻷﻳﺎم اﻟﺜﻼﺛﺔ اﳌﺨﺼﺼﺔ ﻟﻠﻌﺰاء‪ ،‬و ﻳﺘﻢ‬ ‫ﺗﻮﻓري اﻟﻄﻌﺎم ﻷﻫﻞ اﳌﻴﺖ ﻣﻦ ﻗﺒﻞ اﻷﻗﺎرب‬ ‫واﻟﺠريان‪.‬‬ ‫اﻟﺸﻌﺮ ‪baytelshear‬‬ ‫ﺑﻴﺖ ِ‬

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‫‪ Ęġ¯ ŝŕ‬‬

‫اﻟﺤﺮﻳﺮ اﻟﺘﺎرﻳﺨﻴﺔ‪.‬‬ ‫ﻳﻮﻓﺮ اﻟﻨريوز ﻓﺮﺻﺔ ﻟﻼﺳﺘﻤﺘﺎع ﺑﺎﻟﻌﺎدات‬ ‫اﻟﺜﻘﺎﻓﻴﺔ اﻟﻘﺪميﺔ واﻷﻏـــﺎين اﻟﺘﻘﻠﻴﺪﻳﺔ‪،‬‬ ‫واﳌﻮﺳﻴﻘﻰ واﻟﺮﻗﺺ واﻷﻃﻌﻤﺔ واﻟﻘﺼﺺ‬ ‫ﻓﺤﺴﺐ‪ ،‬وﻳﻌﺪ أﻳﻀﺎً ﻓﺮﺻﺔ ﻟﺘﻌﺰﻳﺰ اﻟﺴﻼم‬ ‫واﻟﺘﻀﺎﻣﻦ ﻓﻴام ﺑني اﳌــﺪن واﳌﺠﺘﻤﻌﺎت‬ ‫اﳌﺤﻠﻴﺔ وﺗﻘﻮﻳﺔ أواﴏ اﻟﺼﺪاﻗﺔ واﻟﺘﺒﺎدل‬ ‫اﻟﺘﻲ رﺳﺨﺖ ﻋﲆ ﻣﺮ اﻟﺘﺎرﻳﺦ‪ .‬وﳌﺎ ﻛﺎن ﻋﻴﺪ‬ ‫اﻟﻨﻮروز ﻳﻜﺘﴘ أﻫﻤﻴﺔ ﻛﱪى‪ ،‬ﻓﻘﺪ ُأدرج ﰲ‬ ‫ﻗﺎمئﺔ اﻟﻴﻮﻧﺴﻜﻮ اﻟﺘﻤﺜﻴﻠﻴﺔ ﻟﻠﱰاث اﻟﺜﻘﺎﰲ ﻏري‬ ‫اﳌﺎدي ﻟﻠﺒﴩﻳﺔ ﺑﻮﺻﻔﻪ ميﺜﻞ ﻗﻴﻤﺔ ﻋﺎﳌﻴﺔ‬ ‫ﻟﻺﻧﺴﺎﻧﻴﺔ‪.‬‬ ‫‪ǳǙōƀƲǕŌǶ ǚǷǜƲǕŌ ǚŌǷǜƫ ƑşȎǘǕŌ‬‬

‫ميﺜﻞ اﻟﺰي اﻟﺘﻘﻠﻴﺪي اﻷوزﺑيك ﻋﻨﻮاﻧﺎً ﺑﺎرزاً ﻟﻜﻞ‬ ‫أﻣﺔ‪ ،‬ودﻟﻴ ًﻼ واﺿﺤﺎً ﻋﲆ ﻋﺎداﺗﻬﺎ وﺣﻀﺎرﺗﻬﺎ‬ ‫وﺛﻘﺎﻓﺘﻬﺎ‪ ،‬ﻓﺎﻟﺰي اﻟﺘﻘﻠﻴﺪي ميﺜﻞ ﺻﻮرة ﻋﻦ‬ ‫اﳌﺠﺘﻤﻊ واﻟﺤﻴﺎة ﰲ ﻫﺬا اﻟﺒﻠﺪ‪ ،‬وﻳﺸﻜﻞ‬ ‫ﻣﺮﺟﻌﺎً وﻃﻨﻴﺎً‪ .‬واﳌﻼﺑﺲ اﻟﻮﻃﻨﻴﺔ اﻷوزﺑﻜﻴﺔ‬ ‫ﻟﺪﻳﻬﺎ ﺗﺎرﻳﺦ ﻃﻮﻳﻞ دﻟﻴﻞ ﻋﲆ ﻗﺪرة اﻷزﻳﺎء‬ ‫ﻟﺘﻨﺎﺳﺐ اﻟﻈﺮوف اﳌﻨﺎﺧﻴﺔ اﻟﻄﺒﻴﻌﻴﺔ‪ .‬وﺗﺘﻤﻴﺰ‬ ‫اﳌﻼﺑﺲ ﰲ أوزﺑﻜﺴﺘﺎن ﺑﺠامﻟﻬﺎ وﻃﺮﻳﻘﺔ‬ ‫ﺧﻴﺎﻃﺘﻬﺎ اﻟﺨﺎﺻﺔ‪ ،‬وﻧﻘﻮﺷﻬﺎ اﳌﺤﻔﻮرة ﻋﲆ‬ ‫اﻷﻗﻤﺸﺔ‪ .‬ﻛام ﺗﺘﻨﻮع اﻷﻟﻮان ﻣﻦ إﻗﻠﻴﻢ ﻵﺧﺮ‪،‬‬ ‫ﻓﻌﲆ ﺳﺒﻴﻞ اﳌﺜﺎل ﻫﻨﺎك ﺛﻼﺛﺔ أﻟﻮان ﺗﺠﺪﻫﺎ‬ ‫ﻣﻬﻴﻤﻨﺔ ﰲ ﺗﺼﻤﻴﻢ اﳌﻼﺑﺲ ﰲ ﺑﺨﺎرى وﻫﻲ‬ ‫اﻷﺣﻤﺮ واﻷﺻﻔﺮ واﻟﻮردي‪ .‬أﻣﺎ اﻷزﻳﺎء اﻟﺮﺟﺎﻟﻴﺔ‬ ‫أﺷﻬﺮﻫﺎ "ﺷﺎﺑﺎن دﳌﺎس" وﻫﻮ رداء داﻓﺊ ﻣﺒﻄﻦ‬ ‫ﻓﻀﻔﺎض ﻣﻦ اﻟﻘﻄﻦ‪ ،‬وﻫﻮ ذات أﻛامم ﻃﻮﻳﻠﺔ‪،‬‬

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‫اﻟﻌﺪد ‪ ، 70‬ﺳﺒﺘﻤﺒﺮ ‪2018‬‬

‫ﻳﻜﻮن ﻃﻮﻟﻪ إﱃ اﻟﺮﻛﺒﺔ أو أﻃﻮل‪ ،‬ﻣﺼﻨﻮع ﻣﻦ‬ ‫ﻧﺴﻴﺞ ﻣﻠﻮن ﻣﺨﻴﻂ أﺳﻔﻞ اﻷﻛامم‪ ،‬واﻟﻌﻨﻖ‬ ‫ﻣﺨﻴﻂ ﺑﺸﻜﻞ ﻣﺴﺘﺪﻳﺮ ﻣﻊ ﺟﺪﻳﻠﺔ زﺧﺮﻓﻴﺔ‪،‬‬ ‫واﻟﺘﻲ ﻛﺎن ﻳﻌﺘﻘﺪ أﻧﻬﺎ ﻟﺤامﻳﺔ اﻟﺸﺨﺺ ﻣﻦ‬ ‫ﻗﻮى اﻟﴩ‪ .‬ﻛام ميﻜﻦ ارﺗﺪاء اﺛﻨني أو أﻛرث ﻣﻦ‬ ‫اﳌﻌﺎﻃﻒ ﰲ ﻧﻔﺲ اﻟﻮﻗﺖ وﻛﺎن ذﻟﻚ ﺷﺎﺋﻌﺎً‬ ‫ﰲ ﻛﻞ ﻣﻦ ﻓﺼﲇ اﻟﺸﺘﺎء واﻟﺼﻴﻒ‪ ،‬ﻟﻴﻌﻄﻲ‬ ‫اﻟﺮﺟﻞ ﻫﻴﺒﺔ ﻣﻌﻴﻨﺔ وﻟﺘﻈﻬﺮ ازدﻫﺎر اﻷﴎة‪،‬‬ ‫ﻛام ﻳﺮﺗﺒﻂ اﳌﻌﻄﻒ أو اﻟﻘﻤﻴﺺ ﺑﻘﻄﻌﺔ ﻗامش‬ ‫ﻣﻄﻮﻳﺔ ﻛﺒرية ‪ ،belbog‬وﺗﺸﻜﻞ اﻟﴩﻳﻚ اﳌﻬﻢ‬ ‫ﻟﻠﻤﻌﻄﻒ وميﻜﻦ أن ﺗﻜﻮن ﻣﺼﻨﻮﻋﺔ ﻣﻦ‬ ‫اﻷﻗﻤﺸﺔ اﻟﺠﻤﻴﻠﺔ‪ ،‬وﻣﺰﻳﻨﺔ وﻣﻄﺮزة ﺑﺎﻟﻠﻮن‬ ‫اﻟﻔﴤ‪ ،‬واﳌﺮﺻﻌﺔ ﺑﺎﻷﺣﺠﺎر واﻟﻔﻀﺔ‪ ،‬ﻛام‬ ‫ميﻜﻦ أن ﺗﻜﻮن ﻣﻜﺎﻧﺎً ﻟﺘﻌﻠﻴﻖ أﻛﻴﺎس ﺻﻐرية‬ ‫ﻟﻠﺘﺒﻎ وﻛﺬﻟﻚ اﳌﻔﺎﺗﻴﺢ واﳌﺤﺎﻓﻆ‪ .‬أﻳﻀﺎً ميﻜﻦ‬ ‫ارﺗﺪاء ﺷﺎل أو أﻛرث‪ ،‬و‪ Ishton‬ﻫﻲ ﴎاوﻳﻞ‬ ‫واﺳﻌﺔ ﻟﻠﺮﺟﺎل ﺿﻴﻘﺔ ﻋﻨﺪ اﻟﻜﺎﺣﻠني‪ ،‬ﺣﺘﻰ‬ ‫ﻳﺴﻬﻞ وﺿﻌﻬﺎ داﺧﻞ اﻟﺤﺬاء‪ ،‬واﻷﺣﺬﻳﺔ ﺗﻜﻮن‬ ‫ﻋﺎﻟﻴﺔ ﻣﺼﻨﻮﻋﺔ ﻣﻦ ﺟﻠﺪ اﻟﺨﺎم اﻟﺮﻗﻴﻖ أو‬ ‫اﳌﻄﺎط‪ ،‬وﻟﻘﺪ ﻛﺎﻧﺖ اﻷﺣﺬﻳﺔ اﻟﺪاﻓﺌﺔ ﻫﻲ‬ ‫اﻷﻛرث ﺷﻌﺒﻴﺔ ﺣﺘﻰ اﻟﻴﻮم‪ .‬واﺑﺘﺪاء ﻣﻦ اﻟﻨﺼﻒ‬ ‫اﻟﺜﺎين ﻣﻦ اﻟﻘﺮن ‪ 17‬أﺻﺒﺢ ﻫﻨﺎك ﻋامﻣﺔ‬ ‫ﺻﻐرية وﻛﺎﻧﺖ ﻣﻘﺒﻮﻟﺔ ﻋﻤﻮﻣﺎً ﻋﻨﺪ اﻟﺮﺟﺎل‬ ‫اﻷرﺳﺘﻘﺮاﻃﻴني وأﺻﺒﺤﺖ ﻣﻜﻤﻠﺔ ﻟﻠﺰي ﻋﻨﺪ‬ ‫اﻟﺬﻛﻮر ﺛﻢ أﺿﻴﻔﺖ اﻟﻘﻠﻨﺴﻮة ﺣﻴﺚ ﻛﺎن‬ ‫اﻹﺳﻼم ﻗﺪ أﺛﺮ ﻋﲆ اﻟﺘﻘﺎﻟﻴﺪ اﻟﻮﻃﻨﻴﺔ ﻟﻠﺬﻛﻮر‬ ‫ﻋﲆ ارﺗﺪاء ﻗﻠﻨﺴﻮة ﻓﺄﺻﺒﺢ اﻟﺮﺟﻞ ﻻ ﻳﺨﺮج ﻣﻦ‬ ‫دون أن ﻳﻐﻄﻲ رأﺳﻪ‪ .‬واﻷﺣﺰﻣﺔ واﻟﺘﻲ ﺗﺘﻌﻠﻖ‬ ‫ﺑﺎﻟﺤﺎﻟﺔ اﻻﺟﺘامﻋﻴﺔ ﻟﻠﺮﺟﻞ ﺗﻌﺘﱪ ردﻳﻔﺎً ﻟﺸﻜﻞ‬

‫اﻟﺮداء وﻧﻮع ﻗامﺷﻪ اﳌﺨﻴﻂ ﻣﻨﻪ‪ ،‬وﻧﻮﻋﻬﺎ ﺗﻌﱪ‬ ‫ﻋﻦ ﻣﻜﺎﻧﺔ اﻟﺮﺟﻞ ﰲ اﳌﺠﺘﻤﻊ اﻷوزﺑيك‪ .‬أﻣﺎ‬ ‫اﻟﺮﺟﺎل اﻟﻌﺎدﻳﻮن ﻓﻐﺎﻟﺒﺎً ﻣﺎ ﻳﻐﻠﻖ اﻟﺮداء ﻣﻊ‬ ‫ﻗﻄﻊ ﺑﺴﻴﻄﺔ ﻣﻦ اﻟﻘامش ﻣﺮﺑﻮﻃﺔ ﺣﻮل‬ ‫اﻟﺨﴫ‪ ،‬أي أﻧﻪ ﺗﻜﻮن ﻫﺬه اﻟﻘﻄﻌﺔ مبﺜﺎﺑﺔ‬ ‫ﺣﺰام ﻟﻬﻢ‪ .‬أﻣﺎ اﻟـ " ‪ "Chopon‬ﻫﻮ رﻣﺰ اﺣﱰام‬ ‫وﺗﻘﺪﻳﺮ ﻋﻨﺪ اﻷوزﺑﻚ ﻟﺬﻟﻚ ﻳﻘﺪم ﻛﻬﺪﻳﺔ ﺑني‬ ‫اﻷﻗﺎرب؛ وﺗﻘﺪميﻪ ﻟﻠﻀﻴﻮف ﻫﻮ اﺣﱰام وﻟﺬﻟﻚ‬ ‫ﻳﺤﺒﺬ ﺗﻘﺪميﻪ ﻛﻬﺪﻳﺔ ﻷﻗﺎرب اﳌﺴﺘﻘﺒﻞ ﺧﻼل‬ ‫ﻃﻘﻮس ﻣﺎ ﻗﺒﻞ اﻟﺰﻓﺎف‪ ،‬أو اﳌﻨﺎﺳﺒﺎت اﻟﻜﱪى‬ ‫وﻛﺬﻟﻚ ﻫﻮ ﻋﻼﻣﺔ ﻋﻦ اﻻﻣﺘﻨﺎن واﻟﺘﻘﺪﻳﺮ‪.‬‬ ‫اﳌﻼﺑﺲ اﻟﻨﺴﺎﺋﻴﺔ اﻟﺘﻘﻠﻴﺪﻳﺔ اﻷوزﺑﻜﻴﺔ ﺗﻜﻮن‬ ‫واﺳﻌﺔ وﻣﺼﻨﻮﻋﺔ ﻣﻦ اﻟﺴﺎﺗﺎن‪ ،‬واﻟﴪاوﻳﻞ‬ ‫ﻃﻮﻳﻠﺔ وﺗﻀﻴﻴﻖ ﰲ اﻟﺠﺰء اﻟﺴﻔﲇ‪ ،‬اﻟﺴﱰة‬ ‫ﻓﻀﻔﺎﺿﺔ ﺑﺄﻛامم واﺳﻌﺔ ﺗﺼﻞ إﱃ اﳌﻌﺼﻤني‪،‬‬ ‫وﻏﺎﻟﺒﺎً ﻣﺎ ﺗﻜﻮن ﻣﺼﻨﻮﻋﺔ ﻣﻦ ﻧﻔﺲ اﻟﻨﺴﻴﺞ‬ ‫ﻛام اﻟــﺴــﱰة‪ ،‬وﻳﻜﻮن اﻟﺠﺰء اﻟﺴﻔﲇ ﻣﻦ‬ ‫اﻟﴪاوﻳﻞ ﻣﺰﻳﻨﺎً وﻣﻄﺮزاً ﺑﺨﻴﻮط ذﻫﺒﻴﺔ ﻏﻨﻴﺔ‪.‬‬ ‫واﳌﻌﺎﻃﻒ اﻟﻨﺴﺎﺋﻴﺔ ﺗﻜﻮن ﻣامﺛﻠﺔ ﻟﺸﺎﺑﺎن‬ ‫دﳌﺎس ﻟﻠﺮﺟﺎل وﻗﺪ اﺳﺘﺨﺪﻣﺖ ﻟﻌﺪة ﻗﺮون‬ ‫ﻋﲆ ﻧﻄﺎق واﺳــﻊ وﻛﺎﻧﺖ ﻣﻨﺴﻮﺟﺔ ﻣﻦ‬ ‫اﻟﻘﻄﻦ ﰲ أوزﺑﻜﺴﺘﺎن ﺣﻴﺚ ﻛﺎﻧﺖ اﻷﻗﻤﺸﺔ‬ ‫اﳌﺼﻨﻮﻋﺔ ﻣﻦ اﻟﻘﻄﻦ اﻷﺑﻴﺾ اﻷﻛرث ﺷﻴﻮﻋﺎً‬ ‫ﻟﻼرﺗﺪاء اﻟﻴﻮﻣﻲ‪ ،‬وﻛﺎﻧﺖ اﻷﻗﻤﺸﺔ ‪khanatlas‬‬ ‫‪ . ، bekasama ، alacha‬وﻏﺎﻟﺒﺎً أمنﺎط اﻟﻨﺴﻴﺞ‬ ‫ﻣﺎ ﺗﺘﻀﻤﻦ أﻟﻮاﻧﺎً ﻣﺨﺘﻠﻔﺔ ﰲ ﺗﺼﻤﻴﻢ منﻮذﺟﻲ‬ ‫ﻗﺪ ﺗﺼﻞ إﱃ ﺳﺘﺔ أو ﺳﺒﻌﺔ أﻟﻮان ﻣﺨﺘﻠﻔﺔ‬ ‫ﻣﺸﻜﻠﺔ أزﻫﺎراً ﻫﻨﺪﺳﻴﺔ أو ﻣﻨﻤﻨﻤﺔ واﳌﻠﻮﻧﺔ‬ ‫ﺑﺄﻟﻮان زاﻫﻴﺔ ﰲ ﻇﻼل ﻣﻦ اﻟﻠﻮن اﻷﺣﻤﺮ‬

‫ﻛﺘّﺎ أﺷــﻮﻻ‪ ،‬ﺗﻌﻨﻲ ﰲ اﻷوزﺑﻜﻴﺔ "اﻷﻏﻨﻴﺔ‬ ‫اﻟﻜﺒرية"‪ ،‬ﻫﻲ ﻣﻦ اﻟﻔﻨﻮن اﻟﻠﻔﻈﻴﺔ اﳌﻮروﺛﺔ‬ ‫ﰲ أوزﺑﻜﺴﺘﺎن‪ ،‬وﺗﺘﻤﻴﺰ ﺑﺨﺼﺎﺋﺼﻬﺎ اﳌﻮﺳﻴﻘﻴﺔ‬ ‫واﻟﺸﻌﺮﻳﺔ اﻟﺨﺎﺻﺔ‪ .‬وﻫﺬا اﻟﻨﻮع ﻣﻦ اﻷداء‬ ‫اﻟﻐﻨﺎيئ منﺎ و ازدﻫﺮ ﰲ وادي ﻓﺮﻏﺎﻧﺔ ﴍﻗﻲ‬ ‫أوزﺑﻜﺴﺘﺎن‪ .‬وﺗﻠﻘﺎه اﻟﺘﻠﻤﻴﺬ ﻋﻦ أﺳﺘﺎذه‬ ‫ﻋﻦ ﻃﺮﻳﻖ اﻟﺘﻠﻘني واﻟﺘﺪرﻳﺐ اﻟﺸﻔﻬﻲ‬ ‫ﻟﻬﺬا اﻟﻔﻦ اﻷﺻﻴﻞ‪ .‬وﻳﺴﻤﻰ اﻷﺳﺘﺎذ ﰲ ﻫﺬا‬ ‫اﻟﻔﻦ ﺑﺎﻟﺤﺎﻓﻆ أو "ﻛﺘﺎ أﺷﻮﻻﺟﻲ"‪ ،‬وﺗﺴﻤﻰ‬ ‫ﻃﺮﻳﻘﺔ اﻟﺘﻠﻘني "أﺳﻄﻰ‪ -‬ﺷﺎﻛريد"‪ ،‬أي ﻣﻦ‬ ‫اﳌﻌﻠﻢ ﻟﻠﺘﻠﻤﻴﺬ‪ .‬وﻻ ﺗﺰال ﻫﺬه اﻟﻄﺮﻳﻘﺔ ﻫﻲ‬ ‫اﳌﺴﺘﺨﺪﻣﺔ ﺣﺘﻰ اﻟﻴﻮم‪ .‬ﺗﺮﺟﻊ أﺻﻮل ﻫﺬا‬ ‫اﻟﻔﻦ إﱃ اﻟﻘﺮون اﻟﻮﺳﻄﻰ‪ ،‬ﺣﻴﺚ ﻳﺴﺘﻤﺪ‬ ‫أﻟﺤﺎﻧﻪ ﻣﻦ أﻧﺎﺷﻴﺪ اﻟﻌامل اﻟﺘﻲ ﻳﺮددوﻧﻬﺎ‬ ‫ﻣﻦ ﻏري ﻣﺼﺎﺣﺒﺔ آﻻت ﻣﻮﺳﻴﻘﻴﺔ‪ ،‬ﺣﻴﺚ ﻻ‬ ‫ﻳﺰال اﳌﺆدون ﻳﻐﻨﻮن ﻫﺬه اﻷﻟﺤﺎن ﻣﻦ ﻏري‬ ‫آﻻت ﻣﻮﺳﻴﻘﻴﺔ ﰲ ﻣﺠﻤﻮﻋﺎت ﻣﻦ اﺛﻨني إﱃ‬ ‫ﺧﻤﺴﺔ أﺷﺨﺎص ﻳــﺮدد ﻛﻞ ﻣﻨﻬﻢ اﻷﺑﻴﺎت‬ ‫اﳌﺨﺼﺼﺔ ﻟﻪ ﺑﺎﻟﱰﺗﻴﺐ‪ ،‬وميﻜﻦ أن ﻳﺼﺎﺣﺒﻪ‬ ‫ﺑﻌﺾ اﻻرﺗﺠﺎل‪ .‬وﻳﻼﺣﻆ اﳌﺴﺘﻤﻊ ﻟﻬﺬا اﻟﻔﻦ‬ ‫ﻋﻠﻮ ﺻﻮت اﳌﺆدي‪ ،‬ﻣام ﻳﺪل ﻋﲆ أن اﳌﺸﺘﻐﻞ‬ ‫ﺑﻬﺬا اﻟﻔﻦ ﻳﺠﺐ أن ﻳﻜﻮن ﻟﻪ ﺻﻮت ﻗﻮي‪ ،‬و‬ ‫ﻟﻜﺘّﺎ أﺷﻮﻻ ﻋﺪة ﺗﻘﺴﻴامت ﻣﻨﻬﺎ‪" ،‬ﻳﻮي ﻣﻘﺎم"‪،‬‬ ‫و"اﻟﺒﻴﺎت" و"اﻟﺠﻬﺎرﻛﺎه"‪ ،‬و"ﻳﻮي أﺷﻮﻻ" اﻟﺬي‬ ‫ﻳﺆدى دون آﻻت ﻣﻮﺳﻴﻘﻴﺔ‪ ،‬و" ﻳﺎﻛﺎ ﺧﺎﻧﻠﻴﻚ"‬ ‫أو اﻷداء اﻟﻔﺮدي ﺣﻴﺚ ﻳﺆدي اﳌﻐﻨﻰ أدا ًء‬ ‫ﺻﻮﺗﻴﺎً وﻳﺼﺎﺣﺒﻪ ﻋــﺰف ﻣﻦ ﻣﻐﻦ آﺧﺮ‪.‬‬ ‫واﻟﻄﺮﻳﻘﺔ اﻷﺻﻴﻠﺔ ﰲ ﻛﺘّﺎ أﺷﻮﻻ ﻫﻲ "ﻟﻜﺎيب‬ ‫أﺷﻮﻻ"‪ ،‬ﺣﻴﺚ ﻳﻘﻮم اﳌﺆدون ﺑﺄداء وﺻﻼﺗﻬﻢ‬ ‫اﻟﻐﻨﺎﺋﻴﺔ وﰲ أﻳﺪﻳﻬﻢ ﺻﺤﻮن ﺧﺰﻓﻴﺔ ﻳﻮﺟﻬﻮن‬ ‫ﺑﻬﺎ أﺻﻮاﺗﻬﻢ و ﻳﺘﺤﻜﻤﻮن ﺑﺸﺪﺗﻪ اﳌﻮﺟﻬﺔ‬ ‫ﻟﻠﻤﺴﺘﻤﻌني‪ .‬وﰲ اﻟﻌﺎم ‪ 2009‬ﺗﻢ إدراج ﻛﺘّﺎ‬ ‫أﺷﻮﻻ ﺿﻤﻦ اﻟﱰاث اﻟﺜﻘﺎﰲ ﻏري اﳌﺎدي ﻣﻦ‬ ‫ﻗﺒﻞ ﻣﻨﻈﻤﺔ اﻟﻴﻮﻧﺴﻜﻮ‪ ،‬ﺣﻴﺚ ﺗﺘﺒﻨﻰ ﻣﴩوﻋﺎً‬ ‫ﻟﻠﺤﻔﺎظ ﻋﲆ ﻫﺬا اﻟﱰاث ﻟﻀامن اﺳﺘﻤﺮاره‬ ‫ﺑني اﻷﺟﻴﺎل‪.‬‬

‫وﻃﻨﻴﺔ وﺗﻘﺎم اﻻﺣﺘﻔﺎﻻت ﰲ ﺟﻤﻴﻊ أرﺟﺎء‬ ‫اﻟﺒﻼد ﻟﻌﻴﺪ اﻟﺮﺑﻴﻊ واﻟﺘﺠﺪﻳﺪ ﻫﺬا‪ .‬وﻳﺸري‬ ‫ﻫﺬا اﻟﻌﻴﺪ إﱃ ﺑﺪاﻳﺔ اﻟﻌﺎم اﻟﺠﺪﻳﺪ ﺣﺴﺐ‬ ‫أﺟﻨﺪة دول آﺳﻴﺎ اﻟﻮﺳﻄﻰ وﻳﺄيت اﻟﻨﺎس ﻣﻦ‬ ‫ﻣﺨﺘﻠﻒ اﻟﺠﺎﻟﻴﺎت اﻟﻌﺮﻗﻴﺔ ﻟﻴﺤﺘﻔﻠﻮا‪ ،‬وﰲ‬ ‫اﻷﻳﺎم اﻟﺘﻲ ﺗﺴﺒﻖ اﻟﻌﻴﺪ ﻳﻨﺨﺮط اﻟﺴﻜﺎن ﰲ‬ ‫اﻷﻋــامل اﻟﺘﻄﻮﻋﻴﺔ ﰲ ﻣﺠﻤﻮﻋﺎت ﺗﺴﻤﻰ‬ ‫اﻟﻜﺎﺷﺎر ﻟﺘﻨﻈﻴﻒ وﺗﺰﻳني ﻣﺪﻧﻬﻢ وﻗﺮاﻫﻢ‪،‬‬ ‫وﻳﻌﺪون ﻃﻌﺎﻣﺎً ﺧﺎﺻﺎً ﺑﻌﻴﺪ اﻟﻨريوز ﻣﻜﻮن‬ ‫ﻣﻦ ﻃﺤني اﻟﻘﻤﺢ وﻣﻦ ﻧﺒﺎﺗﺎﺗﻪ اﻟﺮﺑﻴﻌﻴﺔ‬ ‫اﻟﻐﻀﺔ وﻳﺮﻣﺰ ﻫﺬا اﻟﻄﻌﺎم إﱃ اﻟﺤﻴﺎة اﻷﺑﺪﻳﺔ‪.‬‬ ‫وﻳﺸﻤﻞ اﻟﻌﻴﺪ إﻗﺎﻣﺔ اﻟﻌﺪﻳﺪ ﻣﻦ اﳌﺮاﺳﻢ‬ ‫واﻟﺘﻘﺎﻟﻴﺪ اﻟﺨﺎﺻﺔ اﻟﺘﻲ ﻳﺤﺮص اﻟﺸﻌﺐ‬ ‫اﻻوزﺑيك ﻋﲆ اﻻﻟﺘﺰام ﺑﻬﺎ وذﻟﻚ ﻣﻦ ﺧﻼل‬ ‫إﻗﺎﻣﺔ اﻟﻔﻌﺎﻟﻴﺎت واﻷﻧﺸﻄﺔ اﳌﺨﺘﻠﻔﺔ‪ ،‬وﺗﺸﻬﺪ‬ ‫‪ŦōǝōŵƉǤǘǕŌ ƐǶƉƫ ƊǶƉǾǜǕŌ‬‬ ‫ﻳﺤﺘﻔﻞ ﺑﻌﻴﺪ اﻟﻨريوز ﰲ أوزﺑﻜﺴﺘﺎن ﻛﻌﻄﻠﺔ ﺳﺎﺣﺎت وﺣﺪاﺋﻖ اﻟﻌﺎﺻﻤﺔ ﻃﺸﻘﻨﺪ وﻋﺪد‬

‫ﻣﻦ اﳌﺪن ﻓﻌﺎﻟﻴﺎت ﺛﻘﺎﻓﻴﺔ ورﻳﺎﺿﻴﺔ اﺣﺘﻔﺎ ًﻻ‬ ‫ﺑﻌﻴﺪ اﻟﻨريوز‪ ،‬وﺗﻮزع ﺧﻼﻟﻬﺎ اﻟﺤﻠﻮى اﻟﺨﺎﺻﺔ‬ ‫ﺑﻬﺬا اﻟﻌﻴﺪ‪ ،‬ﻛام أﻗﻴﻤﺖ ﻋﺮوض ﻣﴪﺣﻴﺔ‬ ‫وﺣﻔﻼت راﻗﺼﺔ‪ .‬وﰲ ﻛﺜري ﻣﻦ اﻷﺣﻴﺎن‪،‬‬ ‫ُﺗﻘﺎم أﻧﺸﻄﺔ اﺣﺘﻔﺎﻟﻴﺔ ﰲ اﻟﻬﻮاء اﻟﻄﻠﻖ‪،‬‬ ‫ﻣﺜﻞ ﻟﻌﺒﺔ "ﻛﻮﺑﻜﺎري"‪ ،‬وﻣﺒﺎرﻳﺎت اﳌﺼﺎرﻋﺔ‪،‬‬ ‫وﺳﺒﺎق اﻟﺨﻴﻞ‪ .‬وﻫﻨﺎك ﺗﻘﺎﻟﻴﺪ أﺧﺮى ﺗﺸﻤﻞ‬ ‫ﻋﺮوﺿﺎً ﻣﺤﻠﻴﺔ ﰲ اﻟﺸﻮارع‪ ،‬واﳌﴚ ﻋﲆ ﺣﺒﺎل‬ ‫اﻟﺒﻬﻠﻮاﻧﺎت‪ ،‬اﻟﺬي ُﻳﺴﻤﻰ "ﺑﺎﻧﺪ ﺑﺎزي"‪ ،‬ﻓﻀ ًﻼ‬ ‫ﻋﻦ رﻳﺎﺿﺔ "ﺑﻮز ﻛﺎﳾ"‪ ،‬اﻟﺘﻲ ﻳﺘﻨﺎﻓﺲ ﻓﻴﻬﺎ‬ ‫ﻓﺮﺳﺎن ﻳﺴﺘﻬﺪﻓﻮن ﺷﻜ ًﻼ ميﺜﻞ رأس ﻋﺠﻞ‪.‬‬ ‫وﻟﻘﺪ ﺗﻨﻘﻠﺖ ﻫﺬه اﻟﺘﻘﺎﻟﻴﺪ اﻟﺴﻨﻮﻳﺔ اﻟﺨﺎﺻﺔ‬ ‫ﺑﺎﻻﺣﺘﻔﺎل ﺑﺤﻠﻮل اﻟﺮﺑﻴﻊ ﻣﻦ ﺟﻴﻞ إﱃ ﺟﻴﻞ‬ ‫ﻃﻮال اﻷﻟﻔﻴﺔ اﳌﺎﺿﻴﺔ‪ ،‬ورﺑﻄﺖ ﻓﻴام ﺑني‬ ‫ﻣﺠﺘﻤﻌﺎت ﺷﺘﻰ‪ ،‬ﻛام أﻧﻬﺎ ُﺗﻌﺪ أﻣﺜﻠﺔ ﺑﺎرزة‬ ‫ﻋﲆ ﻧﴩ اﻟﻄﻘﻮس واﻟﺘﻘﺎﻟﻴﺪ ﻃﻮال ﻃﺮق‬ ‫اﻟﺸﻌﺮ ‪baytelshear‬‬ ‫ﺑﻴﺖ ِ‬

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‫‪ Ęġ¯ ŝŕ‬‬

‫‪ȍǷƗŐ ōŨǈǕŌ ƃƖǜũǶ ƊǶƉǾǜǕōş ųǤŨŞũ‬‬

‫اﻟﻤﻮروﺛﺎت اﻷوزﺑﻜﻴﺔ‬ ‫‪ǻƢƓǷǕŌ ōǾƓŔ ƐǶƉƫ ưōƳƊ ŋǽƞũ ǚǷǜƳ‬‬

‫ﻣﺤﻤﺪ دروﻳﺶ‬

‫ﰲ وﺳﻂ آﺳﻴﺎ ﺣﻴﺚ ﻳﺘﺸﺎﺑﻚ ﻛﻢ ﻫﺎﺋﻞ ﻣﻦ اﻟﻌﺎدات واﻟﺘﻘﺎﻟﻴﺪ وﺗﺘﻌﺎﻧﻖ أرﻗﻰ ﺛﻘﺎﻓﺎت اﻟﺤﻀﺎرات اﻟﻘﺪميﺔ‪ ،‬متﺘﻠﻚ اﳌﻮروﺛﺎت‬ ‫اﻷوزﺑﻜﻴﺔ رﺻﻴﺪاً ﻫﺎﺋ ًﻼ ﻣﻦ اﻹرث اﻟﻔﻨﻲ واﳌﻌامري واﻷديب اﻟﺬي اﻣﺘﺰج ﰲ ﺗﻨﺎﻏﻢ ﻋﺬب ﻋﲆ إﻳﻘﺎﻋﺎت أﻏﺎين ﻛﺘّﺎ أﺷﻮﻻ وﺗﺘﻼﻋﺐ‬ ‫ﺑﻌﻴﻮن اﻟﺒﴩ أﻟﻮان ﻓﻨﻮن ﺗﻄﺮﻳﺰاﺗﻬﺎ ﻟﺘﺘﺄﻟﻖ ﻋﺮوس آﺳﻴﺎ اﻟﻮﺳﻄﻰ ﰲ أﺑﻬﻰ ﺣﻠﺔ ﺗﺒﺎﻫﻲ اﻟﻌﺎمل ﺑﺮوﻧﻖ اﻟﺤﻀﺎرة ووﻫﺞ اﻟﺜﻘﺎﻓﺔ واﻟﱰاث‬ ‫اﻟﺬي مل ﻳﻨﻄﻔﺊ ﻣﻨﺬ آﻻف اﻟﺴﻨني‪.‬‬ ‫متﺘﻠﻚ اﳌﻮروﺛﺎت اﻷوزﺑﻜﻴﺔ ﻛ ًام ﻫﺎﺋ ًﻼ ﻣﻦ اﻟﻔﻨﻮن اﻟﺘﻲ ﺗﺠﺴﺪت ﰲ اﳌﻮﺳﻴﻘﻰ واﻟﻐﻨﺎء واﻵداب واﻟﺸﻌﺮ واﻟﺮﺳﻮم واﻷﻋامل اﻟﻴﺪوﻳﺔ‬ ‫واﻟﻌامرة اﻟﺘﻲ ﻻ ﺗﺰال ﺗﺤﺘﻔﻆ ﺑﺮوﻧﻘﻬﺎ ﺑﻜﻞ ﻣﺎ ﺗﺠﻤﻌﻪ ﻣﻦ ﻋﺒﻖ‪ .‬وﻋﲆ ﻣﺪى ﻗﺮون ﻇﻠﺖ ﺗﻘﺎﻟﻴﺪ وﻋﺎدات اﻟﺸﻌﺐ اﻷوزﺑﻜﻴﺔ دون‬ ‫ﺗﻐﻴري ﺗﻘﺮﻳﺒﺎً ﻋﲆ اﻟﺮﻏﻢ ﻣﻦ رﻏﺒﺔ اﻟﻌﺪﻳﺪ ﻣﻦ اﻟﻐﺰاة ﻟﻔﺮض ﺛﻘﺎﻓﺔ ﻏﺮﻳﺒﺔ ﻋﻠﻴﻬﻢ‪ .‬وﻟﻜﻦ ﻛﺎن ﻟﻠﻌﺮب أﻋﻈﻢ ﺗﺄﺛري ﻋﲆ اﻟﻌﺎدات‬ ‫واﻟﺘﻘﺎﻟﻴﺪ اﻷوزﺑﻜﻴﺔ ﻣﻦ ﺧﻼل اﻧﺘﺸﺎر اﻹﺳﻼم ﰲ ﺟﻤﻴﻊ أﻧﺤﺎء آﺳﻴﺎ اﻟﻮﺳﻄﻰ‪ ،‬ﺣﺘﻰ ﺗﺸﺎﺑﻜﺖ اﻟﺜﻘﺎﻓﺔ اﳌﺤﻠﻴﺔ ﺑﺸﻜﻞ وﺛﻴﻖ ﻣﻊ ﺗﻘﺎﻟﻴﺪ‬ ‫اﻹﺳﻼم‪ ،‬واﺳﺘﻘﺮ ﺑﻘﻮة ﰲ وﺿﻊ وﻋﻘﻮل اﻟﺸﻌﺐ اﻷوزﺑيك‪.‬‬

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‫اﻟﻌﺪد ‪ ، 70‬ﺳﺒﺘﻤﺒﺮ ‪2018‬‬

─о─о┼Д─╡┼Т┬У ┬н┼Э┼б┼Г ┼Ч┼Х ─о┼Д ─о┼Д─╡┼Т ┼Д─╡┼Т┬У ┬н ┬У┬н ┬н┼Э┼б┼Г ┬н┼Э ┼Э┼б┼Г ┼Э┼б ┼Э┼б┼Г ┼б┼Г ┼Г ┼Ч┼Х ┼Ч┼Х ┼Ч

тАля╗Ля╗ая╗дя╗о┘З я╗Ыя╗┤я╗Т я╗│я║ая╗Фя╗о я╗Уя║ая╗Фя║ОтАм тАл ╪гя║гя╗дя║к я║╖я╗оя╗Чя╗▓тАм:тАля║╖я╗Мя║отАм

L b@@ @ @ @ @ @ @ @ @ @; ┬в@@ @┬М@ @ C b@@ @ @ @ @ @E ┬Я@@ @ @ @┬Ы@ @ @ @ E h@@ @ @ @ @ @┬гR @ @ @ @ @ @ B┬░ ┬╡ "b@@ @ @ @AxN @ @ @ @ ~@@ S@ @ @z@ @ @ @ D* ┬а┬б@@ @ @ @┬Ш@ @ @ @ ┬ХS @ @ @ @ < ┬Щ@@ @ @ @ @ @ @ @ G*x@@ @ @ @ @ @ @ @ -O N&*

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b@@ ┬М@ < d@@ @ @ @Fw@@ @ @ @D* I42 3(* ┬е4v@@ @ @ @ @ @ + h@@ @ ┬г@ @ @D

┬еx@@ @ @ ┬ЮN @ @ @ @~@@N @ @ 6 ┬Я@@ @ @ @ @ JR v@@ @ @ @ @ D ┬д@@ @ @ @ c@ @ @ @ @F3 *┬б@@ @ @ ┬Х@ @ @ @┬Ж@ @ @ @/

b@@ @ @┬М@ @ @ ┬А@ @ @ ┬Ж@ @ @ Fb@@ @ @A f@@ @ @ @ @ @ @ @ @ @ @ @ @ BQ 4 ┬ЯO @ @ @ @ @g@ @ @ @ @┬М@ @ @ @ @┬А@ @ @ @ @<

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┬еx@@ @ @ @ :b@@ @ @ @ 1 ┬п ┬ЯO @ @ @ @ @g@ @ @ @ @┬Х@ @ @ @ @jQ @ @ @ @ @E *3(3(*H

R N * ┬╡ b@@ @ @ AH b@@ @ @ @ @E ┬еv@@ @ @ ┬Ю@ @ @ ┬Ж@ @ @ D ┬б@@ @ @ @ @ @ GH ├А&

I┬б@@ @ @┬Ю@ @ @ D* Pv@@ @ @ ┬Ю@ @ @ @< ┬в@@ @ @┬Х@ @ @ < ┬Э*x@@ @ @ ┬Ю@ @ @ @~@ @ @ @6 b@@ @ @ @ @ @ @F&*

b@@ @ @┬М@ @ @ ┬Х@ @ @ 1&* ┬в@@ @ @ g@ @ @ @0 Oh@@ @ @ @Bv@@ @ @ @~@ @ @ @ 8 b@@ @ @ @ @ E ┬Щ@@ @ @ @ @ .

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b@@ @┬М@ @ ~@ @ |@ @ - ┬░ ┬Э&* f@@ @ @ ┬Х@ @ @ @ ┬г@ @ @ @ ┬▓* I4&*H

fK @ @ @┬Х@ @ @┬г@ @ @0 ┬╖ b@@ @ @ ┬М@ @ @ @~@@ @P @ 8 ┬д@S @ @ @ ┬Х@ @ @ @┬г@ @ @ @┬Х@ @ @ @1 b@@ @ @ @ @ J

┬в@@ ┬М@ @g@ @0* b@@ @ @E b@@ @ Gw@@ @ 1 ┬д@@ @ @ @ @ 0H4 ┬е3 ┬д@@ @ @G

M f@@ @ @ @ @ @ @ @ @ D3 ┬п ┬Я@@ @ @ @ @ g@ @ @ @ @ @J2b@@ @ @ @ @ F ┬б@@ @ @ @ @ @ @ D b@@ @ @ @ @ @ @ @ @ @ @ @FF&&*

baytelshear тАл╪зя╗Яя║╕я╗Мя║отАм ┘Р тАля║Ся╗┤я║ЦтАм

b@@ @┬М@ @ m@ @ A ┬б@@ @ @ ┬М@ @ @ @m@ @ @ @J ┬Н@N @ @ @ @ @ ┬г@ @ @ @ @ @C ┬а┬б@@ @ @ @ ┬Ш@ @ @ @ @┬Х@ @ @ @ @<

‫‪şĺĘŖŒ ŗŕ‬‬

‫‪ ǛǙōŭ ǽũŌƈōǙȑŌ ǼƊōƪǕŌ ƉŞŨƪǿ‬‬ ‫‪ ǽũŌƈōǙȑŌ ŪŌƉŨǕŌ ǛǙ Ɖƚǜƫ‬‬ ‫‪ ǗȃŌǷǃ ǻǔƫ Ųƈƃǿ ǽǜƣǷǕŌ‬‬ ‫‪ǽǘǕōƪǕŌ ŪŌƉŨǔǕ ǷǈƒǝǷǾǕŌ‬‬

‫‪ ǛǙ ǼŐ ǣǔƁƃǿ ǚŐ Ǜǈǘǿ ȍ‬‬ ‫‪ ǓŬǙ ɐǺƉƁȏŌ ƉƪƖǕŌ ƜŌƉƯŐ‬‬ ‫‪ ǚŐ ǼƂǹǘǔǕ ƃşȍǶ ɐǒƋƮǕŌ‬‬ ‫‪ ǳƮǕōş Ŧōǘǔǉ ǣǜǙ ƈƃƚǿ‬‬ ‫‪ǳƓōǘżǕŌ‬‬

‫أﺣﺪ ﻋﻨﺎﴏ اﻟﱰاث ﻏري اﳌﺎدي ﰲ اﻟﻘﺎمئﺔ‬ ‫اﻟﺘﻤﺜﻴﻠﻴﺔ ﻻﺗﻔﺎﻗﻴﺔ اﻟﻴﻮﻧﺴﻜﻮ ﻟﺤامﻳﺔ‬ ‫وﺻﻮن اﻟـﱰاث ﻏري اﳌــﺎدي‪ ،‬ﺗﺘﻤﺜﻞ ﰲ أن‬ ‫ﻳﺸﻜﻞ اﻟﻌﻨﴫ ﺗﺮاﺛﺎً ﺛﻘﺎﻓﻴﺎً ﻏري ﻣﺎدي وﻓﻘﺎً‬ ‫ﻟﺘﻌﺮﻳﻔﻪ ﰲ اﳌﺎدة اﻟﺜﺎﻧﻴﺔ ﻣﻦ اﻻﺗﻔﺎﻗﻴﺔ‪ ،‬وأن‬ ‫ﻳﺴﻬﻢ إدراج اﻟﻌﻨﴫ ﰲ ﺗﺄﻣني إﺑﺮاز اﻟﱰاث‬ ‫اﻟﺜﻘﺎﰲ ﻏري اﳌﺎدي وزﻳﺎدة اﻟﻮﻋﻲ ﺑﺄﻫﻤﻴﺘﻪ‪،‬‬ ‫وﺗﺸﺠﻴﻊ اﻟﺤﻮار‪ ،‬وﺑﺬﻟﻚ ﻳﻌﱪ ﻋﻦ اﻟﺘﻨﻮع‬ ‫اﻟﺜﻘﺎﰲ ﰲ اﻟﻌﺎمل ﻛﻠﻪ‪ ،‬وأن ﺗﻜﻮن ﻗﺪ وﺿﻌﺖ‬ ‫ﺗﺪاﺑري ﻟﻠﺼﻮن ﻣﻦ ﺷﺄﻧﻬﺎ أن ﺗﺤﻤﻲ اﻟﻌﻨﴫ‬ ‫وﺗﻜﻔﻞ اﻟﱰوﻳﺞ ﻟﻪ‪ ،‬ﺑﺎﻹﺿﺎﻓﺔ إﱃ أن ﻳﻜﻮن‬ ‫اﻟﻌﻨﴫ ﻗﺪ رﺷﺢ ﻟﻠﺼﻮن ﻋﻘﺐ ﻣﺸﺎرﻛﺘﻪ‬ ‫ﻋــﲆ أوﺳـــﻊ ﻧــﻄــﺎق ﻣﻤﻜﻦ ﻣــﻦ ﺟﺎﻧﺐ‬ ‫اﻟﺠامﻋﺔ أو اﳌﺠﻤﻮﻋﺔ اﳌﻌﻨﻴﺔ أو اﻷﻓﺮاد‬ ‫اﳌﻌﻨﻴني ﺑﺤﺴﺐ اﻟﺤﺎﻟﺔ‪ ،‬ومبﻮاﻓﻘﺘﻬﻢ اﻟﺤﺮة‬ ‫واﳌﺴﺒﻘﺔ واﻟﻮاﻋﻴﺔ‪ ،‬وأﺧرياً أن ﻳﻜﻮن اﻟﻌﻨﴫ‬ ‫ﻗﺪ أدرج ﰲ ﻗﺎمئﺔ ﺣﴫ اﻟﱰاث اﻟﺜﻘﺎﰲ ﻏري‬ ‫اﳌﺎدي اﳌﻮﺟﻮد ﰲ أراﴈ اﻟﺪوﻟﺔ اﻟﻄﺮف‬ ‫)اﻟﺪول اﻷﻃﺮاف( اﻟﺘﻲ ﻗﺪﻣﺖ اﻟﱰﺷﻴﺢ وﻓﻘﺎً‬ ‫ﻟﻠامدﺗني ‪ 11‬و‪ 12‬ﻣﻦ اﻻﺗﻔﺎﻗﻴﺔ‪.‬‬ ‫وﺑﻴﻨﺖ اﻻﺗﻔﺎﻗﻴﺔ اﳌﺠﺎﻻت اﻟﺘﻲ ﻳﻨﺪرج‬ ‫ﺗﻌﺮﻳﻒ ”اﻟﱰاث اﻟﺜﻘﺎﰲ ﻏري اﳌﺎدي“ ﺗﺤﺘﻬﺎ‬ ‫وﺣــﺪدت ﻣﺠﻤﻮﻋﺔ ﻣﻨﻬﺎ وﻫﻲ اﻟﺘﻘﺎﻟﻴﺪ‬ ‫وأﺷﻜﺎل اﻟﺘﻌﺒري اﻟﺸﻔﻬﻲ وﺗﻌﺘﱪ اﻟﻠﻐﺔ‬ ‫واﺳﻄﺔ ﻟﻠﺘﻌﺒري ﻋﻦ اﻟﱰاث اﻟﺜﻘﺎﰲ ﻏري اﳌﺎدي‪،‬‬

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‫اﻟﻌﺪد ‪ ، 70‬ﺳﺒﺘﻤﺒﺮ ‪2018‬‬

‫وﻓﻨﻮن وﺗﻘﺎﻟﻴﺪ أداء اﻟﻌﺮوض‪ ،‬واﳌامرﺳﺎت‬ ‫اﻻﺟﺘامﻋﻴﺔ واﻟﻄﻘﻮس واﻻﺣﺘﻔﺎﻻت‪ ،‬وﻛﺬﻟﻚ‬ ‫اﳌﻌﺎرف واﳌامرﺳﺎت اﳌﺘﻌﻠﻘﺔ ﺑﺎﻟﻄﺒﻴﻌﺔ‬ ‫واﻟــﻜــﻮن‪ ،‬إﺿﺎﻓﺔ إﱃ اﳌــﻬــﺎرات اﳌﺮﺗﺒﻄﺔ‬ ‫ﺑﺎﻟﻔﻨﻮن اﻟﺤﺮﻓﻴﺔ وﺻﻮﻧﻬﺎ‪..‬‬ ‫وﻋﻦ ﻧﻮﻋﻴﺔ اﻷﺷﻌﺎر اﻟﺘﻲ ﻳﺴﻤﻌﻬﺎ اﻟﻨﺎس‬ ‫ﺧﻼل ﻓﻦ اﻟﻌﺎزي‪ ،‬ﻧﺠﺪ أن اﻷﻏﺮاض اﻟﺸﻌﺮﻳﺔ‬ ‫ﻟﻠﻌﺎزي ﺗﺪور ﺟﻤﻴﻌﺎً ﺣﻮل اﻟﺤامس واﻟﻔﺨﺮ‬ ‫واﳌــﺪح ﰲ اﻟﺒﻼد وﻗﻴﺎدﺗﻬﺎ‪ ،‬وﻻ ميﻜﻦ أن‬ ‫ﻳﺪﺧﻠﻪ أي ﻣﻦ أﻏ ـﺮاض اﻟﺸﻌﺮ اﻷﺧــﺮى‪،‬‬ ‫ﻣﺜﻞ اﻟﻐﺰل‪ ،‬وﻏريﻫﺎ ﻣﻦ ﺻﻨﻮف اﻟﺸﻌﺮ‬ ‫اﻟﺘﻲ ﻳﻌﺮﻓﻬﺎ أﻫﻞ اﻟﺸﻌﺮ‪ ،‬وﻻﺑﺪ ﻟﻠﻤﺆدي‬

‫أن ﻳﺼﺪر ﻣﻨﻪ ﻛﻠامت ﺑﺎﻟﻐﺔ اﻟﺤامﺳﺔ ﺣﺘﻰ‬ ‫ﺗﺤﺪث ﺗﺄﺛريﻫﺎ ﰲ اﳌﺤﻴﻄني وﻳﺒﺎدﻟﻮﻧﻪ ذات‬ ‫اﻟﺤامﺳﺔ‪ ،‬ﻓﻼ ميﻜﻦ ﰲ اﳌﻄﻠﻖ أن ﺗﺘﻮاﺟﺪ‬ ‫ﻗﺼﻴﺪة ﻏﺰﻟﻴﺔ ﰲ اﻟﻌﺎزي‪.‬‬ ‫وميﻜﻦ ﻟﺸﻌﺮ اﻟﻌﺎزي أن ﻳﺘﺼﺪى ﻟﻪ ﻛﻞ ﻣﻦ‬ ‫أﺗﻘﻦ ﻓﻨﻮن اﻟﺸﻌﺮ اﻟﻌﺮيب اﻷﺻﻴﻞ‪ ،‬وﻟﻴﺲ‬ ‫ﺣﻜﺮاً ﻋﲆ ﻓﺌﺔ ﻣﻌﻴﻨﺔ ﻣﻦ اﻟﺸﻌﺮاء‪ ،‬وﻟﺬﻟﻚ‬ ‫ﻧﺠﺪ ﻗﺼﺎﺋﺪ وأﺑﻴﺎﺗﺎً ﻛﺜرية ﺗﺮدد ﰲ اﳌﻨﺎﺳﺒﺎت‬ ‫اﳌﺨﺘﻠﻔﺔ ﻟﺸﻌﺮاء ﻋﺪﻳﺪﻳﻦ‪ ،‬ﺣﻴﺚ إن اﻷﺑﻴﺎت‬ ‫اﻟﺸﻌﺮﻳﺔ اﻟﺠﻤﻴﻠﺔ ﺗﺸﻌﺮﻧﺎ ﺑﺠامﻟﻴﺎت ﻫﺬا‬ ‫اﻟﻠﻮن اﻟﻔﺮﻳﺪ ﻣﻦ اﻟﻔﻦ‪ ،‬ﻟﺬا ﻳﺆدﻳﻪ اﻟﺠﻤﻴﻊ‬ ‫ﺑﺤﺐ وﺣﺎﻟﺔ ﻣﻦ اﻻﻧﺴﺠﺎم اﻟﺘﺎم ﻣﻊ ﻣﺎ‬ ‫ﻳﻘﻮﻟﻮﻧﻪ ﻣﻦ ﻛﻠامت ﺣامﺳﻴﺔ‪!..‬‬

‫ورﻏﻢ ﻗﻴﻤﺔ ﻓﻦ اﻟﻌﺎزي‪ ،‬إﻻ أﻧﻪ ﻋﺎىن ﰲ‬ ‫ﺑﻌﺾ اﻟﻔﱰات ﻣﻦ اﻟﱰاﺟﻊ‪ ،‬وﻟﻜﻦ ﺑﻔﻀﻞ‬ ‫ﺟﻬﻮد ﻋﺪد ﻣﻦ اﳌﺒﺪﻋني واﻟﻔﺮق اﻟﻔﻨﻴﺔ‬ ‫اﻟﺘﻘﻠﻴﺪﻳﺔ ﰲ دوﻟﺔ اﻹﻣﺎرات‪ ،‬ﺗﻢ إﺣﻴﺎؤه ﻣﻨﺬ‬ ‫ﺳﻨﻮات ﻗﻠﻴﻠﺔ ﻣﺎﺿﻴﺔ‪ ،‬ﺑﺈدﺧﺎﻟﻪ ﰲ اﻷﺣﺪاث‬ ‫واﳌﻨﺎﺳﺒﺎت اﻟﻮﻃﻨﻴﺔ‪ ،‬ﻣﻊ إﻧﺘﺎج ﻣﴪﺣﻲ‬ ‫ﻧﺎﺟﺢ‪ ،‬وﻛﺎن ﻟﻠﺘﻐﻄﻴﺔ اﻹﻋﻼﻣﻴﺔ دور ﻛﺒري‬ ‫ﰲ إﺣﻴﺎء ﻫﺬا اﻟﻔﻦ‪ ،‬وﺗﺸﺠﻴﻊ اﳌﺰﻳﺪ ﻣﻦ‬ ‫اﻟﺸﻌﺮاء ﻋﲆ ﺗﺄﻟﻴﻒ اﻟﻘﺼﺎﺋﺪ ﻟﻪ‪..‬‬ ‫اﻹﻣﺎرات وﺳﻠﻄﻨﺔ ﻋامن‪ُ ،‬ﻳﻈﻬﺮان اﻫﺘامﻣﺎً‬ ‫ﺧﺎﺻﺎً ﺑﻬﺬا اﻟﻨﻮع ﻣﻦ اﻟﻔﻦ‪ ،‬وﰲ اﻵوﻧﺔ‬ ‫اﻷﺧــرية ﺗﻘﺪﻣﺖ دوﻟــﺔ اﻹﻣــﺎرات مبﻘﱰح‬ ‫ﳌﻨﻈﻤﺔ ”اﻟﻴﻮﻧﺴﻜﻮ“ اﻟﻌﺎﳌﻴﺔ ﻣﻦ أﺟﻞ‬ ‫إدراﺟﻪ ﻋﲆ ﻗﺎمئﺔ اﻟﱰاث اﻟﺜﻘﺎﰲ وﻧﺠﺤﺖ‬ ‫ﰲ إدراﺟﻪ ﻛﻔﻦ ﺗﺮايث إﻣﺎرايت‪.‬‬ ‫وﻛﺎن ﻓﻦ اﻟﻌﺎزي ﻗﺪ اﻧﺘﴩ ﰲ اﳌﻨﺎﺳﺒﺎت‬ ‫اﻟﺘﻲ ﺗﺴﺘﺪﻋﻲ اﻟﻔﺨﺮ وﺑــﺚ اﻟﺤامﺳﺔ‬ ‫واﻟــﻔــﺮح وﻏريﻫﺎ ﻣﻦ اﻷﻏـــﺮاض‪ ،‬وﻛﺎﻧﺖ‬ ‫ﺗﺠﺮى ﺑﺸﻜﻞ ﻣﺴﺘﻤﺮ ﺛﻢ ﺑﺪأ اﻷداء ﻳﱰاﺟﻊ‬ ‫ﺑﺸﻜﻞ ﺗﺪرﻳﺠﻲ ﻧﺘﻴﺠﺔ ﻟﻠﺘﻄﻮر واﻟﺤﺪاﺛﺔ‬ ‫اﳌﺠﺘﻤﻌﻴﺔ‪ .‬ﻓﺎﻧﺘﻘﻞ ﻣﻌﻈﻢ ﺳﻜﺎن اﳌﻨﺎﻃﻖ‬

‫اﻟﺼﺤﺮاوﻳﺔ إﱃ اﳌﻨﺎﻃﻖ اﻟﺤﴬﻳﺔ‪ .‬وﺧﻼل‬ ‫اﻟﻔﱰة ﻣﻦ ‪ 1970‬وﺣﺘﻰ ‪ 1990‬أدى اﻻزدﻫﺎر‬ ‫اﻻﻗﺘﺼﺎدي إﱃ ﺗﺮك اﳌﻮاﻃﻨني ﻟﻠﻌﻤﻞ ﰲ‬ ‫اﻟﻘﻄﺎﻋﺎت اﻟﺘﻘﻠﻴﺪﻳﺔ واﻟﺜﻘﺎﻓﺔ واﻟﻔﻨﻮن‬ ‫اﳌﺮﺗﺒﻄﺔ ﺑﻬﺬه اﻷﻧﺸﻄﺔ وﻣﻨﻬﺎ ﻓﻦ اﻟﻌﺎزي‪..‬‬ ‫ﻛﻠامت ﻫــﺬا اﻟﻔﻦ ﺗﻜﻮن ﻋﻦ ﻣﻄﺎرﺣﺔ‬ ‫ﺷﻌﺮﻳﺔ ﺗﺘﻨﺎول ﻣﻮاﺿﻴﻊ ﺗﺘﻌﻠﻖ ﺑﺎﻟﺸﺠﺎﻋﺔ‬ ‫واﻟﻔﺨﺮ واﳌﺪﻳﺢ واﻟﻬﺠﺎء‪ ،‬وﻳﻜﻮن ﺟﻤﻴﻊ‬ ‫اﳌﺸﺎرﻛني ﰲ ﻓﻦ اﻟﻌﺎزي داﺧﻞ داﺋﺮة ﻛﺒرية‬ ‫ﻣﻘـﻔﻠﺔ‪ ،‬وﻫﻨﺎ ﻳﺘﺼﺪر ﺷﺎﻋﺮ اﻟﻌﺎزي اﳌﺸﻬﺪ‬ ‫وﻳﺒﺪأ ﰲ إﻟﻘﺎء ﻗﺼﺎﺋﺪه‪..‬‬

‫اﻟﻠﻮن اﻟﻔﺮﻳﺪ ﻣﻦ اﻟﻔﻦ اﻹﻣﺎرايت اﻟﻌﺮﻳﻖ‪.‬‬ ‫وﰲ اﻟﺘﺎﺳﻊ ﻣﻦ ﺷﻬﺮ دﻳﺴﻤﱪ ﻋﺎم ‪2017‬‬ ‫أﻋﻠﻨﺖ دوﻟﺔ اﻹﻣــﺎرات اﻟﻌﺮﺑﻴﺔ اﳌﺘﺤﺪة‪،‬‬ ‫إدراج ”ﻓــﻦ اﻟــﻌــﺎزي“ ﰲ ﻗﺎمئﺔ ﻣﻨﻈﻤﺔ‬ ‫اﻷﻣــﻢ اﳌﺘﺤﺪة ﻟﻠﱰﺑﻴﺔ واﻟﻌﻠﻢ واﻟﺜﻘﺎﻓﺔ‬ ‫”اﻟﻴﻮﻧﺴﻜﻮ“ ﻟﻠﱰاث اﻟﺜﻘﺎﰲ ﻏري اﳌﺎدي‬ ‫ﻟﻠﺒﴩﻳﺔ‪ ،‬اﻟﺬي ﻳﺤﺘﺎج إﱃ ﺻﻮن ﻋﺎﺟﻞ‪،‬‬ ‫وﺟﺎء اﻹدراج ﺑﺈﺟامع ﻣﻤﺜﲇ اﻟﺪول اﳌﺸﺎرﻛﺔ‬ ‫ﰲ اﻻﺟﺘامع اﻟــﺪوري اﻟﺜﺎين ﻋﴩ‪ ،‬ﻟﻠﺠﻨﺔ‬ ‫اﻟﺪوﻟﻴﺔ اﻟﺤﻜﻮﻣﻴﺔ ﻟﺼﻮن اﻟﱰاث اﻟﺜﻘﺎﰲ ﻏري‬ ‫اﳌﺎدي ﻟﻠﻴﻮﻧﺴﻜﻮ‪ ،‬واﻟﺘﻲ اﺧﺘﺘﻤﺖ ﰲ ﺟﺰﻳﺮة‬ ‫”ﺟﻮﺟﻮ“ ﺑﺠﻤﻬﻮرﻳﺔ ﻛﻮرﻳﺎ اﻟﺠﻨﻮﺑﻴﺔ‪.‬‬ ‫وﻳﻌﺘﱪ اﻟﻌﺎزي اﻹﻣــﺎرايت ﺛﺎﻣﻦ ﻋﻨﴫ ﻣﻦ‬ ‫اﻟﱰاث اﻹﻣﺎرايت اﻟﻮﻃﻨﻲ ﻳﺪرج ﻋﲆ ﻗﻮاﺋﻢ‬ ‫اﻟﻴﻮﻧﺴﻜﻮ ﻟﻠﱰاث اﻟﻌﺎﳌﻲ‪ ،‬ﻓﻘﺪ ﺳﺒﻖ وﺗﻢ‬ ‫ﺗﺴﺠﻴﻞ ﻛﻞ ﻣﻦ اﻟﺼﻘﺎرة واﻟﻌﻴﺎﻟﺔ واﻟﺘﻐﺮودة‬ ‫واﳌﺠﺎﻟﺲ واﻟﻘﻬﻮة اﻟﻌﺮﺑﻴﺔ واﻟﺮزﻓﺔ واﻟﺴﺪو‬ ‫ﰲ ﻣﻠﻔﺎت وﻃﻨﻴﺔ وﻣﻠﻔﺎت دوﻟﻴﺔ ﻣﺸﱰﻛﺔ‬ ‫ﻣﻊ دول أﺧﺮى‪.‬‬

‫وﰲ اﻹﻣــﺎرات ﻳﻌﺪ ﻓﻦ اﻟﻌﺎزي ﻣﻦ ﻓﻨﻮن‬ ‫اﻟﺸﻌﺮ وﻳﻠﻘﻰ ﻷﻏــﺮاض اﻟﺜﻨﺎء واﻟﻔﺨﺮ‬ ‫واﻟﺸﺠﺎﻋﺔ‪ ،‬وﺑﺚ اﻟﺤامﺳﺔ ﰲ اﻟﺤﻀﻮر‪،‬‬ ‫ﻛام ﻳﻐﻠﺐ ﻋﻠﻴﻪ أﺷﻌﺎر اﻟﱰﺣﻴﺐ واﻻﺣﺘﻔﺎل‬ ‫واﳌﺪح وﴎد اﻹﻧﺠﺎزات واﻷﺷﻌﺎر اﳌﺮﺗﺒﻄﺔ‬ ‫ﺑﺎﻻﻧﺘامء ﻟﻠﻮﻃﻦ‪ ،‬ﻋﱪ أداء ﻗﻮي ﻣﻦ ﺟﺎﻧﺐ‬ ‫اﳌﺆدي واﳌﺮددﻳﻦ اﻟﺬﻳﻦ ﻳﻌﻄﻮن ”اﻟﺠﻮاب“‪،‬‬ ‫واﻟﺬﻳﻦ ﻳﺼﻄﻔﻮن ﺧﻠﻒ اﳌﺆدي ﺑﺼﻔﻮف‬ ‫ﻣﻨﻈﻤﺔ ﺗﻀﻔﻲ ﻣﺰﻳﺪًا ﻣﻦ اﻟﺠامل ﻋﲆ ﻫﺬا وﺗﻮﺟﺪ ﺧﻤﺴﺔ ﻣﻌﺎﻳري ﻳﺴﺘﻨﺪ إﻟﻴﻬﺎ ﻟﺘﺴﺠﻴﻞ‬

‫اﻟﺸﻌﺮ ‪baytelshear‬‬ ‫ﺑﻴﺖ ِ‬

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‫‪şĺĘŖŒ ŗŕ‬‬

‫‪ǒƋƮǕŌ ǛǙ Ƿǔƀǿ ƉƪƗ‬‬

‫اﻟﻌﺎزي‪..‬‬ ‫‪ǓǾƛŐ ǽũŌƈōǙŒ ǛƳ‬‬

‫ﻣﺤﻤﺪ ﺳﻠﻄﺎن‬

‫ﰲ اﻻﺣﺘﻔﺎﻻت اﻟﻮﻃﻨﻴﺔ واﻷﻋﻴﺎد اﻟﺮﺳﻤﻴﺔ ﻟﺪوﻟﺔ‬ ‫اﻹﻣﺎرات اﻟﻌﺮﺑﻴﺔ اﳌﺘﺤﺪة‪ ،‬ﺗﺘﺼﺪر اﳌﺸﻬﺪ ﻟﻮﺣﺔ‬ ‫ﻓﻨﻴﺔ ﺗﺮاﺛﻴﺔ ﻣﻦ اﻟﻄﺮاز اﻷول ﻳُﻄﻠﻖ ﻋﻠﻴﻬﺎ ”ﻓﻦ‬ ‫اﻟﻌﺎزي“‪ ،‬ذﻟﻚ اﻟﻔﻦ اﻟﺬي ﺳﻤﻲ اﻟﻌﺎزي ﻧﺴﺒﺔ إﱃ‬ ‫اﻟﺮﺟﻞ أو اﻟﺸﺎﻋﺮ اﻟﺬي ﻳﻨﺸﺪ ﻗﺼﻴﺪة اﻟﻌﺎزي‪،‬‬ ‫ﺑﺎﻋﺘﺒﺎره ﻓﻨﺎً ﺗﻘﻠﻴﺪﻳﺎً ﻋﺮﻳﻘﺎً‪ ،‬ﻳﻌﺘﻤﺪ ﻋﲆ إﻟﻘﺎء‬ ‫اﻟﺸﻌﺮ ﻣﻦ دون ﺗﻨﻐﻢ أو ﻏﻨﺎء‪ ،‬ﻋﲆ أن ﻳﺘﻮﻻه‬ ‫ﺷﺎﻋﺮ ﻣﺒﺪع ﻳﺠﻴﺪ أﺻﻮل اﻹﻟﻘﺎء اﻟﺸﻌﺮي‪.‬‬

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‫اﻟﻌﺪد ‪ ، 70‬ﺳﺒﺘﻤﺒﺮ ‪2018‬‬

‫وﺟﻤﻊ ﻛﻞ اﻟﺪورﻳﺎت واﻷﺧﺒﺎر اﻟﻮاردة ﻋﻦ‬ ‫ﺣﺮﻛﺔ اﻟﻔﺘﺢ ﰲ اﻟﻠﻐﺎت اﻟﻘﺪميﺔ ﻟﺘﺴﺎﻋﺪه ﰲ‬ ‫ﻛﺘﺎب ﺣﻮﻟﻴﺎت اﻹﺳﻼم‪ ،‬وﻗﺪ ذﻛﺮ ﰲ ﻛﺘﺎﺑﻪ أﻧﻪ‬ ‫ﻳﺮﻳﺪ ﺑﻬﺬا اﻟﻌﻤﻞ ﻓﻬﻢ ﴎ اﻟﻘﻌﻴﺪة اﻹﺳﻼﻣﻴﺔ‪..‬‬ ‫ﻳﻘﺎل إن ﻣﻦ أﻫــﻢ آراﺋــﻪ أﻧــﻪ ﻳﻌﺘﻘﺪ أن‬ ‫اﳌﺴﻴﺤﻴني اﻟﺴﺎﻣﻴني ﰲ ﻇﻞ اﻹﺳــﻼم ﺑﻌﺪ‬ ‫اﻟﻔﺘﻮﺣﺎت اﻻوﱃ اﻟﺒﺤﺮﻳﺔ متﺘﻌﻮا ﺑﺤﺮﻳ ٍﺔ مل‬ ‫ﻳﺘﻤﺘﻌﻮا ﺑﻬﺎ ﻣﻦ ﻗﺒﻞ ﻃﻴﻠﺔ أﺟﻴﺎل ﻋﺪﻳﺪة‪ ،‬ومل‬ ‫ﻳﻀﻄﻬﺪ اﻟﻌﺮب أﺣﺪ ﻣﻦ أﺟﻞ اﻟﺪﻳﻦ‪.‬‬ ‫ﻗﺎل ﻋﻨﻪ أدوارد ﺳﻌﻴﺪ إﻧﻪ ﺧﺒري ﰲ اﻹﺳﻼم‬ ‫واﻟﺪراﺳﺎت اﻹﺳﻼﻣﻴﺔ وﺗﺤﻘﻴﻖ اﻟﱰاث‪.‬‬ ‫أﻣﴣ ﻟﻴﻮن ﻛﺎﺗﻴﺎين ﺣﻴﺎﺗﻪ ﰲ ﻣﺘﺎﺑﻌﺔ ﺗﺎرﻳﺦ‬ ‫اﻟﺤﻀﺎرة اﻹﺳﻼﻣﻴﺔ ﺑﺸﻐﻒ ﻛﺒري ﺣﺘﻰ ﺗﻮﰲ‬ ‫ﰲ ﻋﺎم ‪1935‬م ﻋﻦ ﻋﻤ ٍﺮ ﻳﻨﺎﻫﺰ ‪ 66‬ﻋﺎﻣﺎً‪ ،‬ﺗﺎرﻛﺎً‬ ‫إرﺛﺎً ﻋﻠﻤﻴﺎً وﺛﻘﺎﻓﻴﺎً ﻛﺒريا اﺳﺘﻔﺎدت ﻣﻨﻪ اﳌﻜﺘﺒﺔ‬ ‫اﻟﻌﺎﻣﺔ اﻹﻳﻄﺎﻟﻴﺔ واﻷوروﺑﻴﺔ إﱃ ﻳﻮﻣﻨﺎ ﻫﺬا‪.‬‬

‫‪ ǳƓŌƈƃş ǽǝōǾũōǉ ƉǤŨƗŌ‬‬ ‫‪ ɐǽǙȎƓȑŌ ſǿƈōŨǕŌ‬‬ ‫‪ Ƿżǝ ǛǾşƅŴǜǘǕŌ ǓǈǉǶ‬‬ ‫‪ ŦōǙȎƫ Ŧƃş ǀƉƖǕŌ‬‬ ‫‪ ŦōƮǔǕŌ ǽƳ ǣƯǷŞǝ‬‬ ‫‪ǳǾǃƉƖǕŌ‬‬ ‫‪ ǛǾǾżǾƒǘǕŌ ǚŐ ƃǂŨƪǿ‬‬ ‫‪ ǓƧ ǽƳ ǛǾǾǙōƒǕŌ‬‬ ‫‪ ǳǿƉżş ŌǷƪŨǘũ ǖȎƓȑŌ‬‬ ‫‪ɲ‬‬ ‫‪ ǓŞǃ ǛǙ ōǤş ŌǷƪŨǘŨǿ ǗǕ‬‬ ‫‪ ǗǕǶɐ ǲƃǿƃƫ ǒōǾŵŐ ǳǔǾƣ‬‬ ‫‪ ǛǙ ƃŽŐ ŜƉƪǕŌ ƃǤƢƞǿ‬‬ ‫‪ǛǿƃǕŌ ǓŵŐ‬‬

‫اﻟﺸﻌﺮ ‪baytelshear‬‬ ‫ﺑﻴﺖ ِ‬

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‫‪ ĮŇŒ ŗŕ‬‬ ‫‪ǗǕōƪǕŌ ǽƳ ǳǾşƉƪǕŌ ŦōŞŨǈǘǕŌ ƉŞǉŐ ǛǙ ǲƃŽŌǶ ōǾǕōƢǿȑ ǆƉũ‬‬

‫اﻟﻤﺴﺘﺸﺮق ﻟﻴﻮن ﻛﺎﺗﻴﺎﻧﻲ‪..‬‬ ‫‪ǛǾǃƉƖǘǕŌ ǶƄ ƉǾǙȏŌ‬‬ ‫ﻫﺎﻧﻲ ﻧﺪﻳﻢ‬

‫إن اﳌﺘﺘﺒﻊ ﳌﺴرية اﻻﺳﺘﴩاق ﰲ أوروﺑﺎ ﻳﺠﺪ أن إﻳﻄﺎﻟﻴﺎ متﺜﻞ ﻣﺤﻮراً ﻫﺎﻣﺎً ﻟﻠﺪراﺳﺎت اﻟﻌﺮﺑﻴﺔ واﻹﺳﻼﻣﻴﺔ ﰲ اﻟﻘﺎرة اﻷوروﺑﻴﺔ‪ ،‬وﻗﺪ‬ ‫اﺳﺘﻤﺮ اﻻﻫﺘامم اﻹﻳﻄﺎﱄ ﺑﺎﻟﻌﺎمل اﻹﺳﻼﻣﻲ وأمثﺮ ﻋﻦ ﻇﻬﻮر ﻋﺪد ﻛﺒري ﻣﻦ اﳌﺴﺘﴩﻗني ﰲ ﺟﻤﻴﻊ اﳌﺠﺎﻻت ‪..‬‬ ‫وﻗﺪ ﻳﻜﻮن اﻷﻣري ﻟﻴﻮن ﻛﺎﺗﻴﺎين أﻛرثﻫﻢ ﺟﺎذﺑﻴﺔ‪ ،‬ذﻟﻚ اﻷﻣري واﻟﻌﺎمل‪.‬‬

‫اﺷﺘﻬﺮ ﻛﺎﺗﻴﺎين ﺑﺪراﺳﺔ اﻟﺘﺎرﻳﺦ اﻹﺳﻼﻣﻲ‪ ،‬وﻛﻜﻞ‬ ‫اﳌﻨﺠﺬﺑني ﻧﺤﻮ اﻟﴩق ﺑﺪت ﻋﻼﻣﺎت ﻧﺒﻮﻏﻪ‬ ‫ﰲ اﻟﻠﻐﺎت اﻟﴩﻗﻴﺔ‪ ،‬ﻓﻘﺪ ﺗﻌﻠﻢ اﻟﺴﻨﺴﻜﺮﻳﺘﻴﺔ‬ ‫واﻟﻌﺮﺑﻴﺔ ذاﺗﻴﺎً ﻣﻨﺬ ﻋﻤﺮ ‪15‬ﻋﺎﻣﺎً‪ .‬ﰲ وﻗﺖ‬ ‫ﻛﺎﻧﺖ أروﻗﺔ روﻣﺎ ﻳﱰدد ﺑﻬﺎ ﺻﺪى اﻟﻠﻐﺎت‬ ‫اﻟﴩﻗﻴﺔ ﻣﺘﻞ اﻟﻌﺮﺑﻴﺔ واﻟﻌﱪﻳﺔ واﻟﻔﺎرﺳﻴﺔ‬ ‫واﻵﺷﻮرﻳﺔ‪ ،‬ﻓﻮﺟﺪ ﻓﻴﻬﺎ ﺿﺎﻟﺘﻪ وﺷﻐﻔﻪ اﳌﻨﺸﻮد‬ ‫ودﻓﻌﻪ اﻟﻔﻀﻮل اﳌﻌﺮﰲ واﳌﻐﺎﻣﺮ ﻟﻠﺘﻌﺮف‬ ‫ﻋﲆ اﻟﻌﺎمل اﻟﻌﺮيب ﻓﻘﺎم ﺑﺮﺣﻼت ﻃﻮﻳﻠﺔ إﱃ‬ ‫ﺗﻮﻧﺲ واﻟﺠﺰاﺋﺮ وﺳﻮرﻳﺎ وﺗﺮﻛﻴﺎ واﻟﻌﺮاق‪ ،‬ﻛام‬ ‫ﺳﺎﻓﺮ إﱃ اﻟﻬﻨﺪ وآﺳﻴﺎ اﻟﻮﺳﻄﻰ وروﺳﻴﺎ‪.‬‬ ‫ﻛﺎﻧﺖ ﻣﻴﺰة اﻷﻣــري ﺑﻔﺮادة ﻃﺮﻳﻘﺔ ﺟﻤﻌﻪ‬ ‫ﻟﻠﻤﻌﻠﻮﻣﺎت وﺗﻮﺛﻴﻘﻬﺎ اﳌﻨﻬﺠﻲ‪ ،‬وﻷﻧﻪ ﻋﲆ‬

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‫اﻟﻌﺪد ‪ ، 70‬ﺳﺒﺘﻤﺒﺮ ‪2018‬‬

‫ﺳﻌﺔ وﺑﺴﻄﺔ ﰲ اﳌﺎل ﻛﺎﻧﺖ ﻟﺪﻳﻪ ﻛﻞ اﳌﺮاﺟﻊ‬ ‫اﳌﻄﻠﻮﺑﺔ وﻏري اﳌﻄﻠﻮﺑﺔ‪ ،‬وﻗﺪ ﺗﺮك ﻹﻳﻄﺎﻟﻴﺎ‬ ‫ﺑﻌﺪ وﻓﺎﺗﻪ واﺣﺪة ﻣﻦ أﻛﱪ اﳌﻜﺘﺒﺎت اﻟﻌﺮﺑﻴﺔ‬ ‫ﰲ اﻟﻌﺎمل‪.‬‬ ‫وﻳﺠﻤﻊ اﻟﺒﺎﺣﺜﻮن أن أﻫﻢ وأﻛــﱪ ﻣﺎ ﺗﺮك‬ ‫ﻛﺎﺗﻴﺎين ﻫﻮ ﻛﺘﺎب "ﺣﻮﻟﻴﺎت اﻹﺳﻼم" ﺣﻠﻞ ﺑﻪ‬ ‫اﻹﺳﻼم ﺑﺘﻔﺎﺻﻴﻠﻪ ﰲ ﻋﴩة ﻣﺠﻠﺪات ﻛﺎﻣﻠﺔ‪،‬‬ ‫وﻳﺬﻛﺮ ﻫﻨﺎ أن اﳌﺴﺘﴩق "دﻻﻓﻴﺪا" ﻗﺪ أﺳﻬﻢ‬ ‫ﻣﻌﻪ ﰲ ﺗﺤﺮﻳﺮ ﻣﴩوع اﻟﺤﻮﻟﻴﺎت وذﻟﻚ ﻋﺎم‬ ‫‪1911‬م‪ .‬وﻗﺪ أﻫﺪاه اﳌﺠﻠﺪ اﻟﺘﺎﺳﻊ ﻣﻌﱰﻓﺎً‬ ‫ﺑﻔﻀﻠﻪ ﰲ اﻹﺳﻬﺎم ﺑﺬﻟﻚ اﳌﴩوع‪.‬‬ ‫ﰲ ﻗ ـﺮاءة ﴎﻳﻌﺔ ﻟﻜﺘﺎﺑﻪ اﻟﺤﻮﻟﻴﺎت‪ ،‬ذﻛﺮ‬ ‫ﻛﻴﻒ أن ﻣﻌﺎﻗﻞ اﳌﺴﻴﺤﻴﺔ ﰲ اﻟــﴩق ﻗﺪ‬

‫ﺗﻬﺎوت أﻣﺎم اﳌﺪ اﻹﺳﻼﻣﻲ‪ ،‬وذﻟﻚ ﺑﺴﺒﺐ‬ ‫ﺟﺎذﺑﻴﺘﻪ وﺳﻄﻮع ﻣﺒﺎدﺋﻪ‪ .‬وﻳﻀﻴﻒ ﰲ ذﻟﻚ‪:‬‬ ‫"ﳌﺎ أﻫﻠﺖ آﺧﺮ اﻷﻣﺮ أﻧﺒﺎء اﻟﻮﺣﻲ اﻟﺠﺪﻳﺪ‬ ‫ﻓﺠﺄة ﻣﻦ اﻟﺼﺤﺮاء‪ ،‬مل ﺗﻌﺪ اﳌﺴﻴﺤﻴﺔ ﺑﺴﺒﺐ‬ ‫اﻧﻘﺴﺎﻣﺎﺗﻬﺎ اﻟﺪاﺧﻠﻴﺔ وﻗﻨﻮت رﺟﺎﻟﻬﺎ وﻳﺄﺳﻬﻢ‬ ‫ﻗﺎدر ًة ﻋﲆ ﻣﻘﺎوﻣﺔ إﻏﺮاء ﻫﺬا اﻟﺪﻳﻦ اﻟﺠﺪﻳﺪ‬ ‫اﻟﺬي ﺑﺪد ﺑﴬﺑﺔ ﻣﻦ ﴐﺑﺎﺗﻪ ﻛﻞ اﻟﺸﻜﻮك‪،‬‬ ‫وﻗﺪم ﻣﺰاﻳﺎ ﺟﻠﻴﻠﺔ إﱃ ﺟﺎﻧﺐ ﻣﺒﺎدﺋﻪ اﻟﻮاﺿﺤﺔ‬ ‫اﻟﺘﻲ ﻻ ﺗﻘﺒﻞ اﻟﺠﺪل"‪.‬‬ ‫ﻛام ﻳﺤﺴﺐ ﻟﻪ أﻧﻪ أﻧﻔﻖ ﻛﺜرياً ﻣﻦ أﻣﻮاﻟﻪ‬ ‫ﻋﲆ اﻟﺒﻌﺜﺎت اﻟﻌﻠﻤﻴﺔ ﺣﻴﺚ ﺟﻬﺰ ﻋﲆ ﻧﻔﻘﺘﻪ‬ ‫اﻟﺨﺎﺻﺔ ﺛﻼث ﻗﻮاﻓﻞ ﻟﱰﺗﺎد ﻣﻨﺎﻃﻖ اﻟﻔﺘﺢ‬ ‫اﻹﺳﻼﻣﻲ وﺗﺮﺳﻤﻬﺎ ﺟﻐﺮاﻓﻴﺎً وﻃﺒﻮﻏﺮاﻓﻴﺎً‪،‬‬

‫‪ĜĴŝōřŕ ĬĖĘĸŌ‬‬

‫َ‬ ‫َ‬ ‫ﺳﺎل َ‬ ‫»ﺑﺬ ْو ِب َ‬ ‫ﺟﻮاﻫ ٍﺮ«‬ ‫ﺑﻴﻦ‬ ‫ﻟﺠ ْﻴ ٍﻦ‬ ‫ِ‬ ‫ﺧﻠﺪت ﺟﺪران ﻗﴫ اﻟﺤﻤﺮاء ﻗﺼﺎﺋﺪ‬ ‫ﻟﺜﻼﺛﺔ ﺷﻌﺮاء ﻣﻦ اﻟﺒﻼط اﳌﻠيك ﺑﻐﺮﻧﺎﻃﺔ‬ ‫وﻫﻢ اﺑﻦ اﻟﺠﻴﺎب )‪ ،(1349-1274‬و اﺑﻦ‬ ‫اﻟﺨﻄﻴﺐ )‪ (1375-1313‬و اﺑﻦ زﻣﺮك‬ ‫)‪ ،(1393-1333‬وﻗﺪ ﻛﺎﻧﻮا ُﺣ ﱠﺠﺎﺑﺎً ﻟﻠﻤﻠﻚ‬ ‫ورؤﺳﺎء وزراﺋﻪ‪ .‬وﻳﻌﺘﱪ اﺑﻦ زﻣﺮك ‪-‬ﻣﻦ‬ ‫ﺑﻴﻨﻬﻢ‪ -‬ﻫﻮ أﳌﻊ ﺷﻌﺮاء اﻟﺤﻤﺮاء‪.‬‬ ‫وﻟﻪ ﻫﺬه اﻷﺑﻴﺎت اﻟﺘﻲ ﻳﺼﻒ ﻓﻴﻬﺎ ﻧﺎﻓﻮرة‬ ‫اﻟﺴﺒﺎع اﻟﺸﻬرية ﺑﻘﴫ اﻟﺤﻤﺮاء وﰲ ﻧﻔﺲ‬ ‫اﻟﻮﻗﺖ ميﺠﺪ اﻟﺴﻠﻄﺎن اﻟﻐﻨﻲ ﺑﺎﻟﻠﻪ‪:‬‬ ‫‪1‬‬

‫‪ K*v@@ @ Q @ @ @ ¹ O N b@@ @ @ @ @ E(°* ¢@@ @ @ @ <&* @@ @ EN N 4N b@@ @ c@ @ @ -‬‬

‫‪N b@@ @ @ @ @ @ @E‬‬ ‫‪b@@ @£@ @ Fb@@ @ @ @N ´* P b@@ @ @ @ @ @ ±b@@ @ @+ Rh@@ @ @ @ @ @ @ @ FN *5 Á‬‬ ‫*&‪O ¢@@ @ @ +‬‬ ‫*‪O * b@@ @ @D ¤@@ @ @ @ @JO &* Ñ‬‬ ‫‪b@@£@ Fb@@. @O @ @~@@R @z@ @ ²‬‬

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‫‪N‬‬ ‫§ @ @ @ ‪b@@ £@ @0*¡@@ @ @D* P b@@ @ @ @ @ @ ±* @@U @ }@ @ @ AxR‬‬ ‫« @ @ @ @@‪O ¤‬‬

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‫= @ @@‪O * ¯ b@@ @ @ j@ PE *v‬‬ ‫‪b@@£@ Ab@@~@8 @N @ }@ @£@ @+&* @P @ ~@R@ z@ @ ²‬‬

‫‪Mv@@ @ PEb@@ @ m@ @ @+ P ¡@@ @ @£@ @ @ O @ @ @ @ @ @ DP M4b@@ @ @ @ @ @ / N @ @ @ +b@@ @ @~@ @ @ {@ @ @ -N‬‬ ‫*&‪R N‬‬ ‫‪b@@ @ Pp@@ @ ~@@N |@ + ¥x@@ @m@ @ J N$b@@ @ @ @ @´* S &* xN @ @ @ @- µ‬‬

‫‪b@@ @J4b@@ @/ N b@@ @ @ @ @C b@@ @ @ @ O @ @ @ @ PE Kb@ @ @ @ @ @ J&* P4vR @ @ @ @ @ @ F R @ @ @ @ @ @A‬‬ ‫‪b@@ @ J4b@@ @ m@ @ @N ´* P @ @ @£@ @ @ @ @ @< RivS @ @ @ @ @~@@ @N @ @ 6 b@@ @ @ @ @ @ @ @CP °H‬‬

‫‪4‬‬

‫‪N @ @ @1 3R (* N @ @ @EQR v@ @ @D* *3‬‬ ‫‪N @N @ @}@ @ £S @ @ =N H‬‬ ‫@‪b@@£@ ~@P @7*H b‬‬

‫@‪fM @ @EN b@@ @ @=N Ì‬‬ ‫‪O R @ @ @ = P @@ £@ @ p@ g@ D* ¯ ¤@N @ @ @ PG @R @ @ @ @ GN H‬‬

‫‪b@@£@ B*¡@@~@ z@ D* b@@ @ @ E P2b@@ @ @ ~@ @ @ @6%°* ¶(* @O @ }@ @£@ @ @ @-O‬‬

‫‪RivN @ @ @ @=N 3R (* Pf@ @ @ @£@ @ @ @³* @S @ @ C Rh@@ @ @cN @ @~@ @7&* Rv@ @ @ @BH‬‬

‫‪b@@ @ J2b@@ @ J&°* P2b@@ @ @ @ @ @ P±* Pv@@ @ @~@@R @ @6O* ¶(* @O @ }@ @£@ @ @ @-O‬‬

‫‪ @O@ @}@ @ +*H4 ¤@N @ @ @GH 5 O2b@@ @ @~@ @ @ 6%°* I&*4 @@ @ EN b@@ £@ @AN‬‬

‫‪N * b@@ @ G*v@@ @ <N‬‬ ‫‪b@@ @J2*¡@@ @< N ¡@@ @ @ @ @- &R * R @@ @ @< b@@ @ £@ @ @²‬‬

‫‪N b@@ @ @ JH‬‬ ‫‪fM @ @ DN É@@ @ C R @@ @ @ @ <N ° P4b@@ @ @~@ @ @ |@ @ @ F&°* l4*H‬‬

‫@@@@@ ‪O‬‬‫ ‪b@@ @£@ @ ~@ @ 6*HxQ @ @ D* @T @ @ Ps@@ @g@ @ ~@@R @z@ @ JN M É@@ @ @ @ @ /‬‬ ‫@‪N l*x‬‬

‫‪K*v@@ @ @ @ @º‬‬ ‫< @ @ @ @‪N O R @ @ @N @ @ @~@@R @ 6&b@ @ @A PÑ* O É@@ @ ~@ @ @6 @N @ @£‬‬

‫‪NO‬‬ ‫©@ @ @ @ @ @ @ @ @ @ ‪b@@ @ @ @J2P b@@ @ @ @<&* ¤@@ @ @ @ @ @ cR @ @ @ -HN K*2b@@ @ @ @ @ @£@ @ @ @ @ @ <&R * O2vU‬‬

‫ ‪ O @ @ O @ @ R @ @ /‬‬ ‫‪N P @ @ ENR v@ @ Db@@ @+ @N @ 9b@@ A d@X @ @ @¹ O P @@ j@ @ P @@ CN‬‬

‫)‪ (1‬اﻟﺴﻠﻄﺎن ﻣﺤﻤﺪ اﻟﻐﻨﻲ ﺑﺎﻟﻠﻪ‪ ،‬اﳌﺘﻮﰱ ﻋﺎم ‪ 793‬ﻫـ )‪1391‬م(‪ ،‬ﺑﻨﻰ‬ ‫ﻗﺎﻋﺔ اﻟﺴﺒﺎع اﻟﺘﻲ ﺗﻌﺪ ﻣﻦ أﺟﻤﻞ أﺟﻨﺤﺔ ﻗﴫ اﻟﺤﻤﺮاء‪.‬‬ ‫اﻟﺤ َﺴﻦ‬ ‫)‪ (2‬اﻟﺮوض‪ :‬اﻟ ُﺒ ْﺴ َﺘﺎنُ َ‬

‫)‪ (3‬ﻟﺠني‪ :‬ﻣﺎء‬ ‫)‪ (4‬ﻣﺎء اﻟﻨﺎﻓﻮرة اﻟﺬي ﻳﺒﻠﻎ ﻣﻦ اﻟﺼﻔﺎء أن ﻳﻜﻮن ﻛﺪﻣﻮع اﳌﺤﺒني‪،‬‬ ‫)‪ (5‬آﺳﺎد ‪ :‬ﺟﻤﻊ أَ َﺳﺪ‬

‫اﻟﺸﻌﺮ ‪baytelshear‬‬ ‫ﺑﻴﺖ ِ‬

‫‪87‬‬

‫ ‪şœśĘĥŒ‬‬ ‫‪b@@ @ @ F4R v@@ @ @ B *3(* N ¡@@ @ @ @ @ @ @ P @ @ @ @ @ @ @ @´* b@@ @ @ @ @FS &b@ @ @ @ @ +‬‬ ‫‪O‬‬ ‫‪N‬‬ ‫‪b@@ @ @ @ @ @ £@ @ @ -&* *3(* ¡@@ @ @ @ @ @ @ @ P @ @ @ @ @ @ @ @ ´* b@@ @ @ @ @ @ @ @ @ @ @FS &*H‬‬ ‫‪K*¡@@ @ @ @ ~@ @ 8 N$b@@ @ @ @ @ @ @ ´* N ¡@@ @ @ +4b@@ @ @ ~@ @ @ @{@ @ @ @D* b@@ @ @ @ @ @ @ @ @FS &*H‬‬ ‫@‪b@@ @ @ @ £@ @ :H K*4v@@ @ @ @ @ @ @ @ C b@@ @ @ @FÌ@O @ @ @ @= ex‬‬ ‫‪O @ @ @ ~@ @ @ @{@ @ @ @JH‬‬ ‫‪b@@ @ @ @ £@ @ @ @ J b@@ @ @ @ @ @ @ P´ N ¡@@ @ @ @ @ @ @ @ @ @ @ Fb@@ @ @ @ @ ´* b@@ @ @ @ @ @ @ @ @ @ @ @ @ FS &*H‬‬ ‫*(‪b@@ F¡@@ @ @±* Ph@@ @ @ @ @+b@@ @ B @O@ @}@ @ £@ @ c@ @ D* b@@ @ @E *3‬‬ ‫‪b@@ @ S @ @ < N b@@ @ @ @~@ @ @ @ 9 ¢@@ @ @ gS @ @ @ @0 Ä‬‬ ‫‪S @ @ @ @ @ @ @D* b@@ @ @ @ FR&É@ @ @ @ @E‬‬ ‫‪b@@ @ £@ @ ~@ 6 O '¡@ @ @ @ @ @ @ @ @ @¿ @@ @ @ @ P@ @ @ @ @ @94&°* xN @ @ @ @ p@ @ @ @ +H‬‬ ‫‪b@@ @ £@ @ < ¢@@ @ p@ @ @~@ @ @9&* b@@ @ @ @ EH b@@ @ @£@ @ @ F Tv@@ @ @D* b@@ @ @ @ D‬‬ ‫‪b@@ @ @ @ J4P2b@@ @B @O @ {@ @ @ @c@ @F Í@N @ @ @ 0 16 @O @ @{@ @ @ @ c@ @ FH‬‬ ‫*(‪Kb@ @ Eb@@ @ @ @ AP b@@ @ @ @ D O @ @ @ £@ @ @ ~@ @ @ 9xS @ @ @ D* N @ @ @ @ @ @ + *3‬‬ ‫ﻓﺴﻤﻰ اﻋﺘﺪاء ﻟﻼزدواج واﻟﺘﻮﻓﻴﻖ ﺑني اﻟﻠﻔﻈﺘني‪ .‬ﻗﺎل اﻟﻠﻪ ﺗﺒﺎرك‬ ‫)وﺟﺰَا ُء َﺳﻴﺌﺔ َﺳ ٌ‬ ‫ﻴﺌﺔ ِﻣ ْﺜ ُﻠﻬﺎ(‪ ،‬واﻟﺴﻴﺌﺔ اﻟﺜﺎﻧﻴﺔ ﻟﻴﺴﺖ ﺑﺴﻴﺌﺔ‬ ‫@ @ @‪ b@@ @ @Jv@@ P/b@@ ~@ @6 xO @ @ @+b@@ @ c@ @ @±* O @ @ @ @ D 17 xT @ @ @s‬وﺗﻌﺎﱃ‪َ :‬‬‫ﰲ اﻟﺤﻘﻴﻘﺔ؛ ﻷن اﳌﺠﺎزي مبﺜﻞ ﻣﺎ ﻓﻌﻞ ﺑﻪ ﻟﻴﺲ مبﴘء‪ .‬وﺟﺎء ﰲ‬ ‫ﻳﺨﻞ ﻣﻦ دم وﻗﺘﻞ اﻟﺤﺪﻳﺚ‪) :‬ﻓﺈن اﻟﻠﻪ ﻻ ﱡ‬ ‫ﺑﻌﺪ ﻛﻞ ﻫﺬا اﻻﻧﺴﻴﺎب اﻟﻘﻴﻤﻲ؛ اﻟﺬي وإن مل ُ‬ ‫ميﻞ ﺣﺘﻰ مت ﱡﻠﻮا(‪ .‬ﻓﻤﻌﻨﺎه أن اﻟﻠﻪ ﺗﻌﺎﱃ ﻻ‬ ‫وﺳﻔﻚ‪ ..‬إﻻ أﻧﻪ دامئﺎً ﻛﺎن دﻣﺎً ﻣﱪراً ودﻓﺎﻋﺎً ﴍﻋﻴﺎً‪ ،‬ﻻ اﻧﺪﻓﺎﻋﺎ ﻳﻘﻄﻊ ﻋﻨﻜﻢ ﻓﻀﻠﻪ ﺣﺘﻰ متﻠﻮا ﻣﻦ ﻣﺴﺄﻟﺘﻪ وﺗﺰﻫﺪوا ﻓﻴﻬﺎ‪ ،‬ﻓﺎﻟﻠﻪ ﺟﻞ‬ ‫وﻫﺘﻜﺎ وﻇﻠام ﻟﻶﺧﺮ؛ ﻳﻈﻬﺮ ﻟﻨﺎ اﻟﺸﺎﻋﺮ اﻟﺬي َﻧ ﱠﺼ َﺐ ﻗﺒﻴﻠﺘﻪ ﺣﺎﻣﻴﺔ ﺛﻨﺎؤه ﻻ ميﻞ ﰲ اﻟﺤﻘﻴﻘﺔ‪ ،‬وإمنﺎ ﻧﺴﺐ اﳌﻠﻞ إﻟﻴﻪ ﻻزدواج اﻟﻠﻔﻈني‪.‬‬ ‫ﻟﻠﻤﺴﺘﻀﻌﻔني؛ ﻳﺴﺘﺤﻴﻞ ﻋﲆ اﻟﺸﺎﻋﺮ أن ﻳﺘﻌﺎﻃﻰ ﻣﻊ ﻟﻔﻈﺔ اﻟﺠﻬﻞ إﻻ وﻗﺎل ﺑﻌﻀﻬﻢ‪ :‬أراد ﺑﻘﻮﻟﻪ )ﻓﻨﺠﻬﻞ( ﻓﻨﺠﺎزﻳﻪ‪ ،‬ﻓﺴﻤﻰ اﳌﺠﺎزاة ﻋﲆ‬ ‫إذا ﻛﺎﻧﺖ ﺗﺤﻤﻞ دﻻﻻت أﺧﺮى ﺑﻌﻴﺪة ﻋﻦ وﻋﻴﻨﺎ اﻟﻠﻐﻮي اﻟﺴﻄﺤﻲ؛ اﻟﺠﻬﻞ ﺟﻬﻼ‪ ،‬ﻛام ﻗﺎل اﻟﻠﻪ ﺗﻌﺎﱃ‪ :‬ﱠ‬ ‫)إن اﳌﻨﺎ ِﻓﻘني ُﻳﺨﺎدﻋﻮن اﻟﻠ َﻪ وﻫﻮ‬ ‫ﺧﺎدﻋُ ﻬﻢ(‪ ،‬ﻳﺮﻳﺪ ُﻣ َﺠﺎ ِزﻳ ِﻬ ْﻢ ﻋﲆ ﻣﺨﺎدﻋﺘﻬﻢ"‪.18‬‬ ‫ﻳﻘﻮل ﻋﻤﺮو‪:‬‬ ‫َ‬ ‫َ‬ ‫*&‪b@@ @ @£@ @ @ @< Lv@ @ @ @ @ @ @ @ @ @ 0&* R @@ @ @ @ @ @ @ @ @ m@ @ @ J ° °‬‬ ‫إن ﻗﻮل اﻟﺬﻛﺮ اﻟﺤﻜﻴﻢ ) َوﻛ َﺘ ْﺒﻨَﺎ َﻋ َﻠ ْﻴ ِﻬ ْﻢ ِﻓﻴ َﻬﺎ أ ﱠن اﻟ ﱠﻨ ْﻔ َﺲ ِﺑﺎﻟ ﱠﻨ ْﻔ ِﺲ َوا ْﻟ َﻌ ْ َ‬ ‫ني‬ ‫‪N‬‬ ‫ُ‬ ‫ُ‬ ‫َ‬ ‫َ‬ ‫@‪b‬‬ ‫@‬ ‫@‬ ‫ ‬ ‫@‬ ‫@‬ ‫‪£‬‬ ‫@‬ ‫@‬ ‫ ‬ ‫@‬ ‫@‬ ‫‪G‬‬ ‫@‪b‬‬ ‫@‬ ‫@‬ ‫‪±‬‬ ‫ *‬ ‫@‬ ‫@‬ ‫@‬ ‫ ‬ ‫@‬ ‫@‬ ‫@‬ ‫‪/‬‬ ‫ ‬ ‫ ‬ ‫@¡‬ ‫@‬ ‫‪@ @ @ @ @A N @ @ @ @ m@ @ @ @ A‬‬ ‫@ ‪P‬‬ ‫ْ‬ ‫ْ‬ ‫ْ‬ ‫ْ‬ ‫‪P‬‬ ‫ني َواﻷ َ‬ ‫ﺎص‬ ‫ﻧﻒ ِﺑﺎﻷ ِ‬ ‫وح ِﻗ َﺼ ٌ‬ ‫ﺎﻟﺴﻦﱢ َوا ْﻟ ُﺠ ُﺮ َ‬ ‫اﻟﺴﻦﱠ ِﺑ ﱢ‬ ‫ﻧﻒ َواﻷ ُذ َن ِﺑﺎﻷ ُذنِ َو ﱢ‬ ‫ِﺑﺎ ْﻟ َﻌ ْ ِ‬ ‫* َﻓ َﻤﻦ َﺗ َﺼﺪ َﱠق ِﺑ ِﻪ َﻓ ُﻬ َﻮ َﻛ ﱠﻔﺎ َر ٌة ﱠﻟ ُﻪ * َو َﻣﻦ ﱠﻟ ْﻢ َﻳ ْﺤ ُﻜﻢ ِمبَﺎ أَﻧﺰ ََل اﻟ ﱠﻠ ُﻪ‬ ‫أﻣﺎ ﻣﻌﻨﻰ اﻟﺒﻴﺖ‪ ،‬واﻹﺟﺎﺑﺔ اﻟﺘﻲ ﺧﺒﺄﻧﺎﻫﺎ ﻟﻠﻨﻬﺎﻳﺔ ﻓﺘﻜﻤﻦ ﰲ ﺗﻔﺴري َﻓ ُﺄو ٰﻟَ ِﺌ َﻚ ﻫُ ُﻢ ﱠ‬ ‫اﻟﻈﺎﻟِ ُﻤ َ‬ ‫ﻮن( )اﳌﺎﺋﺪة‪ (45 :‬ﻓﻴام ﻓﴪه اﻟﻌﻠامء ﻳﻌﻨﻲ إﻗﺎﻣﺔ‬ ‫اﺑﻦ اﻷﻧﺒﺎري ﳌﻌﻨﻰ اﻟﺠﺎﻫﻠﻴﺔ؛ ﺣﻴﺚ ﻳﻘﻮل‪" :‬ﻓﻨﺠﻬﻞ ﻓﻮق ﺟﻬﻞ اﻟﻌﺪل ﻣﻦ أﺻﻞ اﻟﻔﻌﻞ؛ أي إﺳﻘﺎط اﻟﻔﻌﻞ ﻧﻔﺴﻪ ﻋﲆ اﻟﺬي ارﺗﻜﺐ‬ ‫اﻟﺠﺎﻫﻠني‪ ،‬ﻣﻌﻨﺎه ﻓﻨﻬﻠﻜﻪ وﻧﻌﺎﻗﺒﻪ مبﺎ ﻫﻮ أﻋﻈﻢ ﻣﻦ ﺟﻬﻠﻪ‪ ،‬ﻓﻨﺴﺐ اﻟﻔﻌﻞ اﻷول؛ ﻓﻤﻦ ارﺗﻜﺐ اﻟﻔﻌﻞ اﻷول ﻳﻜﻮن ﰲ وﺿﻌﻴﺔ اﻟﻈﺎمل وﻣﻦ‬ ‫اﻟﺠﻬﻞ إﱃ ﻧﻔﺴﻪ‪ .‬وﻫﻮ ﻳﺮﻳﺪ اﻹﻫﻼك واﳌﻌﺎﻗﺒﺔ‪ ،‬ﻟﻴﺰدوج اﻟﻠﻔﻈﺎن‪ ،‬ﻳﺮد اﻟﻔﻌﻞ ﻧﻔﺴﻪ ﻳﻜﻮن ﰲ وﺿﻌﻴﺔ ﻣﻘﻴﻢ اﻟﻘﺼﺎص؛ واﻟﻘﺼﺎص ﻋﺪل‪،‬‬ ‫ﻓﺘﻜﻮن اﻟﺜﺎﻧﻴﺔ ﻋﲆ ﻣﺜﻞ ﻟﻔﻆ اﻷوﱃ وﻫﻲ ﺗﺨﺎﻟﻔﻬﺎ ﰲ اﳌﻌﻨﻰ؛ ﻷن واﻟﻌﺪل ﺣﻖ‪ ،‬واﻟﺤﻖ ﻧﻮر‪..‬‬ ‫ذﻟﻚ أﺧﻒ ﻋﲆ اﻟﻠﺴﺎن وأﺧﴫ ﻣﻦ اﺧﺘﻼﻓﻬام‪ .‬ﻗﺎل اﻟﻠﻪ ﻋﺰ وﺟﻞ‪ :‬وﻋﻠﻴﻪ ﻓﺈن ﺟﺎﻫﻠﻴﺔ اﻟﺸﺎﻋﺮ اﻟﺘﻲ ﻧﺴﺒﻬﺎ إﱃ ﻧﻔﺴﻪ ﺟﺎء ﺑﻬﺎ ﰲ ﺣﺎﻟﺔ رد‬ ‫)ﻓﻤﻦ اﻋﺘﺪَى ﻋﻠﻴﻜﻢ ﻓﺎﻋﺘﺪُ وا ﻋﻠﻴﻪ مبﺜﻞ ﻣﺎ اﻋ َﺘﺪَى ﻋﻠﻴﻜﻢ(‪ ،‬ﻣﻌﻨﺎه اﻟﻔﻌﻞ اﻟﺬي ﻳﻮازي اﻟﻘﺼﺎص وإﻗﺎﻣﺔ اﻟﺤﻖ‪.‬‬ ‫ﻓﻌﺎﻗﺒﻮه ﻋﲆ اﻋﺘﺪاﺋﻪ‪ .‬واﻟﺜﺎين ﻟﻴﺲ اﻋﺘﺪاء ﰲ اﻟﺤﻘﻴﻘﺔ‪ ،‬ﺑﻞ ﻫﻮ ﻋﺪل‪ ،‬إﻧﻬﺎ ﺟﺎﻫﻠﻴﺔ ﻣﺘﻨﻮرة‪ ،‬ﺳﺎﺑﻘﺔ ﻷواﻧﻬﺎ وﻣﺘﺸﺒﻌﺔ ﺑﻘﻴﻢ اﻟﻔﻀﺎﺋﻞ‪.‬‬ ‫اﻟﻤﺼﺎدر واﻟﻤﺮاﺟﻊ‪:‬‬

‫)‪ (1‬اﻟﻜﺎﺷﺤﻮن‪ :‬اﳌﺮاﻗﺒﻮن‪.‬‬ ‫)‪ (2‬اﻟﻌﻴﻄﻞ‪ :‬اﳌﻤﺘﻠﺌﺔ‪.‬‬ ‫)‪ (3‬اﳌنت‪ :‬أﺳﻔﻞ اﻟﻈﻬﺮ‪.‬‬ ‫)‪ (4‬ﺗﻨﻮء‪ :‬ﺗﻌﺎين ﻣﻦ اﻟﺜﻘﻞ‪,‬‬ ‫)‪ (5‬ﻧﻮرد‪ :‬ﻧﺪﺧﻞ اﻟﺤﺮب ﺑﺮاﻳﺎت ﺑﻴﺾ‪.‬‬ ‫)‪ (6‬ﻧﺼﺪرﻫﻦ‪ :‬ﻧﺨﺮﺟﻬﻦ ُﺣ ْﻤﺮاً ﺑﺎﻟﺪم‪.‬‬ ‫)‪ (7‬ﻧﺪﻳﻦ‪ :‬ﻧﺒﺎﻳﻊ وﻧﻨﺼﺎع‪.‬‬ ‫)‪ (8‬ﻋﺎﻛﻔﺔ‪ :‬ﺣﺎرﺳﺔ ﻋﻠﻴﻪ‪.‬‬ ‫)‪ (9‬ﻫﺮت اﻟﻜﻼب‪ :‬ﺗﻔﺮﻗﺖ ﻣﻦ ﺣﻮﻟﻨﺎ ﺧﻮﻓﺎ‪.‬‬ ‫)‪ (10‬اﻟﺮﺣﻰ‪ :‬ﻛﻨﺎﻳﺔ ﻋﲆ اﻟﺤﺮب ﻫﻨﺎ‪.‬‬

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‫اﻟﻌﺪد ‪ ، 70‬ﺳﺒﺘﻤﺒﺮ ‪2018‬‬

‫)‪ (11‬ﻗﺒﻴﻠﺔ ﻣﻌﺪ‪.‬‬ ‫)‪ (12‬ﻧﻄﺎﻋﻦ‪ :‬ﻧﻘﺎﺗﻞ‪.‬‬ ‫)‪ (13‬ﻏﺸﻴﻨﺎ‪ :‬ﻫﻮﺟﻤﻨﺎ‪.‬‬ ‫)‪ (14‬اﺳﻢ ﻣﻠﻚ ﻋﺮيب‪.‬‬ ‫)‪ (15‬اﻟﺒﻨني‪ :‬اﻷﺑﻨﺎء‪.‬‬ ‫)‪ (16‬اﻟﺒﻄﺶ‪ :‬اﻟﺘﺠﱪ ﰲ اﺳﺘﻌامل اﻟﻘﻮة‪.‬‬ ‫)‪ (17‬ﺗﺨﺮ‪ :‬ﺗﺮﻛﻊ‪.‬‬ ‫)‪ (18‬أﺑﻮ ﺑﻜﺮ ﻣﺤﻤﺪ ﺑﻦ اﻟﻘﺎﺳﻢ اﻷﻧﺒﺎري‪ ،‬ﴍح اﻟﻘﺼﺎﺋﺪ اﻟﺴﺒﻊ اﻟﻄﻮال‬ ‫اﻟﺠﺎﻫﻠﻴﺎت‪ ،‬ﺗﺤﻘﻴﻖ وﺗﻌﻠﻴﻖ ﻋﺒﺪ اﻟﺴﻼم ﻣﺤﻤﺪ ﻫﺎرون‪ ،‬ط‪ ،5‬ذﺧﺎﺋﺮ‬ ‫اﻟﻌﺮب ‪ ،35‬دار اﳌﻌﺎرف‪ ،‬ﻣﴫ‪ ،‬د ت‪ ،‬ص ‪.426‬‬

:‫ﻗﺒﻴﻞ ذﻛﺮ أﻳﺎم اﻟﻌﺮب وﺗﺄرﻳﺦ داراﺗﻬﺎ وﻏﺎراﺗﻬﺎ‬ Mx@@ @ @+ @P @ @ @ @ + N @ @ ~@ @ {@ @ / ¯ Nh@@ @ @ @ .vU @ @ @ @ 0 O @R @ @ @ @ @A b@@ @ @ @ @ @ @ @ £@ @ @ @ DHS &°* Pe¡@@ @ @ @ @ @ @ @ @1 ¯ @@M @ |@ @ @ @ @ @ @ @ @+ @M @ £@ @~@ @6 @P @ @ @ @ + fN @ @ @ @ @ @ @ @ < Nv@ @ @ @ @¸ b@@ @ @ @ @ @ @ @ .R 4H b@@ @ @ @ J2 Nv@ @ @ @ m@ @ @ @ ´* N ¡@@ @ @~@ @ @ |@ @ @ 0 b@@ @ @ @ @D rN b@@ @ @ @ @ @ @ @ @+&* @@ O @ @ @ @E Ì N @ @ @ @ @ @ @ @ ³*H É@K @ @ @ @ @ @ @ @ E Oh@@ @ @ @ @ @ @ @.4H b@@ @ @ @ @ @ Jx@@ @ @1*wS @ @ @ D* xO @ @ @ @ @ @ @13 N @ @ @ @ @ @ @ @F K*Ì@@ @ @ @ @ @ @ @G5 Kb@ @ @ @ £@ @ @ @ / Kb@ @ @ @ E¡@@ @ @ @j@ @ @ @ @ @ @ @ CH Kb@ @ @ @ @ @+b@@ @ @ @ @ gS @ @ @ @ @ @<H N @ @ @ @ @ @ @ @ @- b@@ @ @ @ @ @ R @ @ @ F R @ @ @ @ @ @ @ @+ b@@ @ @ @ @ @ £@ @ @ Ex@@ @ @C&°* l*x@ @@ @ < Nh@@ @ @ @ @.vU @ @ @ @ @ 0O ¥w@@ @ @ @ @ @ D* P,Ä@O @ @ @ @ @ @ @ @ D* *3H O b@@ @ @ @ Jx@@ @m@ @ p@ @ ´* ¤@@ @ @ @ @p@ @ @FH ¢@@ @ @ @ @p@ @ @FO @@ @ @ @+ d@L @ @£@ @ @ @ C ¤@@ @ @ <b@@ @ @ ~@@S @ @ z@ @ @ @D* fO @ @ @ @ @ @ c@ @ @ B b@@ @ @ @ S @ @ @ @ @EH b@@ @ @ @ @£@ @ @DHN Rv@ @ @ @ @ @ B °Q (* Pv@@ @ @ @ m@ @ @ @ @´* T¥&b@ @ @ @ @ @ @ @ @ @A O v@ @ @ @ @ @ @ @ @ BHO&* ,N *v@@ @ @ @ @ @ = @O @ @ @ p@ @ @ @FH I5*y@@ @ @ @ @ 1 ¯ N b@@ @ @ @ @ @ Jv@@ @ @A*xS @ @ @ D* Pv@@ @ @ @ @ @ A4 N ¡@@ @ @ @ @ @ A b@@ @ @ @ FvR @ @ @ @ @A4 ¢@@ @ @ @ @ @ :*4O&* ¥w@@ @ @ @ + N ¡@@ @ ~@ @ @z@ @ @+b@@ @ ²* @O @ @ @p@ @ @ FH b@@ @ @ @ @ @ J4Sv@ @ @ D* 4O ¡@@ @ @ @ @ @ @ ³* fO @ @ @ @ @ S @ @ @ @ @±* @T @ @ ~@ @ @z@ @ @b@@ @ @ @ @ @ @EO *3(* N ¡@@ @ @ @ @ @ @ @ Cb@@ @ @ @²* @O @ @ @ @p@ @ @ @ FH b@@ @ @ @ @J¡@@ @ GN b@@ @ @ @ @´ N Hw@@ @ @ @ @ @ @ @ @ @ @ @ @ @ 1%°* @O @ @ @ @ @p@ @ @ @ @ FH

N @ @ @ - b@@ @ @E @O @ @ <b@@ @ @ @ @FO b@@ S @ @< @O @ @ @6b@@ @ @ S @ @ @ D* ¢@@ @ @ 1*x@ b@@ @ £@ ~@ {@ =O *3(* ¡@ P @ £@ @~@T@ z@ @Db@@ + ex@ O @ @~@ @ }@ @ FH

‫ﻧﴫة ﻳﺬﻫﺐ ﻓﻴﻬﺎ اﻟﻔﺮﺳﺎن ﻻ ﻟﴚء إﻻ ﻟﺘﺤﺼﻴﻞ ﻣﺠﺪ رﻫني ﺑﺎﻟﻘﺘﻞ‬ ‫ وﻳﺬﻛﺮ أﺣﻮال ﻫﺆﻻء اﻟﻔﺮﺳﺎن ﺑني ﺧﺎﺋﻔني ﻋﲆ‬،‫ﰲ ﺳﺒﻴﻞ ﻗﻀﻴﺔ ﻧﺒﻴﻠﺔ‬ :‫اﻟﻀﻌﻔﺎء وﻣﻄﻤﺌﻨني ﻟﺴﻼﻣﺘﻬﻢ‬ K*v@@ @ @ @ ¸ N @ @ @ @g@ @ @ @ @ @ @ @D* N Hx@@ @ @ @ @ @ @ @ J M b@@ @ @£@ @ @ g@ @ @ @ @ @ + b@@ @ @ @ £@ @ +xS @ @ ¸ PeHx@@ @ @ @ @ @ @ @ @ ²* ¯ @@M @ @}@ @ @ £@ @ @ +H R @ @ @ @ £@ @ @ @ < b@@ @ @ @ g@ @ £N @ @ ~@ @ {@ @ 1 N ¡@@ @ @ @ @ @ @ J b@@ @ @ @ @ES &b@ @ @ @ @ A K O b@@ @ @£@ @c@ @.O b@ @ c@ @ ~@ @ |@ @ < b@@ @ @ @ @ @ £@ @ 1 qO @ @ c@ @ ~@ @ |@ @ g@ @ A R @ @ @ @ £@ @ @ @ < ¢@@ @~@ @ {@ @ s@ @ F ° N ¡@@ @ @ @ @ @ @J b@@ @ @ @ @ @ @ @ @ @ES &*H b@@ @ @ @ £@ @ c@ @ cU @ @ @ @ g@ @ E ,K 4b@@ @ @ @ @ @ @ @ @ @ @ @= @O @ @ @ @ @ @ @ @ @ @ @ @ O @ @ @ @ A ‫ وﻷن اﻟﺤﺮب رﺣﻰ ﺗﺪور ﺑﺎﺳﺘﻤﺮار؛ ﻓﺈن ﺗﺸﺪﻳﺪ‬،‫وﻷن اﻟﻘﻀﻴﺔ ﴍﻳﻔﺔ‬ ‫اﻟﻠﻬﺠﺔ ورﻓﻊ وﺗرية اﻟﺘﻬﺪﻳﺪ ﺗﺨﻤﺪ ﻧريان اﻷﻋﺪاء وﺗﺠﻌﻠﻬﻢ ﻳﻔﻜﺮون‬ :‫أﻟﻒ ﻣﺮة ﻗﺒﻞ اﻟﺘﻌﺪي ﻋﲆ ﻗﺒﻴﻠﺔ اﻟﺸﺎﻋﺮ‬ 14 v@@ @ @ @ G @N @ @ @ @ + Hx@@ @ @ @ @< Mf@ @_@ @£@ @~@ @{@ @E U¥&b@ @ @ @ @ @ @+ b@@ @ @ @ @ @ J42yR @ @ @ -H ,N b@@ @ @ @~@ @ @ @ 7¡O @ @ @ @ D* b@@ @ @ @ @+ O @ @ @ £@ @ @ @ @ @ -O Mv@@ @ @ @ G @N @ @ @ @ @ + Hx@@ @ @ @ @ @ < Mf@ @ _@ @ £@ @ ~@ @ {@ @ E U¥&b@ @ @ @ @ @ @ @ + O @ @ @ @ @ @ @ @ @F b@@ @ @ @ £@ @ @ @ BN b@@ @ @ @ @£@ @ @A R @ @ @ @ @ @ @ @ @ @ @ @³ ¡@ K*v@@ @ @ @ @ @ @ @ @JH4 b@@ @ @ @ @ @ @ @ @FvN @ @ @ @ @ @ @ @ @ <H&*H b@@ @ @ @ @F2Sv@ @ @ @ @ @ @ @ @ @ N b@@ @ @ @ @J¡@@ @ g@ @ @ @ @ @EO @@ @ @ @ @ @ @ @ @ @ @ @EU &° b@@ @ @ @ S @ @ @ @ C ¢@@ @ @ g@ @ @ @E Rh@@ @ @ £@ @ @ <&* Hx@@ @ @ @ @ @ < b@@ @ @ @J b@@ @ @ @ @-N b@@ @ @ @ @B S (b@ @ @ @ @ @ @ @ A b@@ @ £@ @ - R &* @N @ @ @ @ c@ @ B P$*v@@ @ @ @ @ @ @ @ @ @ <&°* ¢@@ @ @ @ <

‫إﻧﻪ اﻹرث اﻹﻧﺴﺎين اﳌﺘﺪاول اﻟﺬي ﺣﻖ ﻟﻠﺸﺎﻋﺮ اﻟﺘﻔﺎﺧﺮ ﺑﻪ ﻣﺎ دام ﻻ‬ ‫ﻳﺘﺠﺎوز اﻟﺪﻓﺎع اﳌﴩوع ﻋﻦ اﻷﺷﻴﺎء اﻟﺘﻲ ﻳﺤﺒﻬﺎ وﻳﺆﻣﻦ ﺑﻬﺎ إﱃ اﻟﻈﻠﻢ‬ :‫واﻟﺘﻌﺪي ﻋﲆ اﻵﺧﺮﻳﻦ‬ M v@@ @ @ ~@ @ @ @8 P$b@@ @ @ @ @ @ @ @ @ @ @ @+%* @@ @ @ @ @< S @@ @ @ @ @Gb@@ @ @ @ @ @ @ @ @ @ .4H 15 b@@ @ @ @ @£@ @ @ @ @ @+ b@@ @ @ @ @ @ g@ @ @ EO *3(* b@@ @ @ @ @ @ @ @ .4U ¡@@ @ @ @ F Mv@@ @ @ @ E R @@ @ @ @ @E N @ @ @ )b@@ @ @c@ @ @ @ @ @ D* N @ @ @ @ @ @ < Rv@ @ @ @ @ @ @BH ‫ﺛﻢ إن اﻻﻓﺘﺨﺎر ﺑﺄﺳامء اﻷﺑﻄﺎل وﺗﻌﺪﻳﺪﻫﻢ واﺣﺪاً واﺣﺪاً؛ ﻫﻮ ﻣﻦ‬ b@@ @ @ @ £@ @ @ @ +O b@@ @ @ @ @ @ Pp@@ @ @ @ @ @ +&b@ @ @ + d@L @ @ @ @c@ @ @ @ B *3(*

baytelshear ‫اﻟﺸﻌﺮ‬ ِ ‫ﺑﻴﺖ‬

‫ ‪şœśĘĥŒ‬‬ ‫ﺿﺪ ﻗﺒﻴﻠﺔ ﻻ ﺣﻤﻴﺔ ﻋﺮب ميﺘﻠﻜﻮن وﻃﻨﺎً ﻣﻮﺣﺪاً ﺿﺪ ﻣﻦ ﻳﺤﺎول *&‪b@@ @ @£@ @p@ @c@ @~@ @8b@@ A @P @ @ @ @ p@ @ ~@ @ |@ @ + ¤@@ @ @cU @ @ @ G °‬‬ ‫‪b@@ @ @ @ @ @ @ @ J4v@@ @ @ @ F&°* 4N ¡@@ @ @ @ @ @ @ @ @ 1 ¤@@ @ @ @ @c@ @ @- °H‬‬ ‫اﺳﺘﻼﺑﻬﻢ ﻫﺬا اﻟﻮﻃﻦ‪﴿ :‬إِ ْذ َﺟ َﻌ َﻞ ا ﱠﻟ ِﺬﻳﻦَ َﻛ َﻔ ُﺮوا ِﰲ ُﻗ ُﻠﻮ ِﺑ ِﻬ ُﻢ ا ْﻟ َﺤ ِﻤ ﱠﻴ َﺔ‬ ‫َﺣ ِﻤ ﱠﻴ َﺔ اﻟﺠﺎﻫﻠ ّﻴﺔ َﻓﺄَ ْﻧﺰ ََل اﻟ ﱠﻠ ُﻪ َﺳ ِﻜﻴ َﻨ َﺘ ُﻪ ﻋ ََﲆ َر ُﺳﻮﻟِ ِﻪ َوﻋ ََﲆ ا ْﻟ ُﻤ ْﺆ ِﻣ ِﻨ َ‬ ‫ني‬ ‫ﺛﻢ ﻳﻘﻮل ﻛﻤﻦ ﺧﱪ اﻟﺤﻴﺎة وﻋﺮف ﺟﻮﻫﺮﻫﺎ اﻟﺼﻤﻴﻢ؛ ﰲ ﺑﻴﺖ ﻣﻦ‬ ‫َوأَ ْﻟ َﺰ َﻣﻬ ُْﻢ َﻛ ِﻠ َﻤ َﺔ اﻟ ﱠﺘ ْﻘ َﻮى﴾ )اﻟﻔﺘﺢ‪.(26:‬‬ ‫ﻓﺈﻧﻪ ﻣﻦ اﳌﺨﺠﻞ أن ﻧﻄﻠﻖ ﺗﺴﻤﻴﺔ "اﻟﺠﺎﻫﻠﻴﺔ" ﻋﲆ ﻣﺎ ﺳﻮى ذﻟﻚ؛ اﻟﺒﺪاﺋﻊ واﻟﻨﺎدرة‪:‬‬ ‫‪N @ @ @ @ ~@ @ @ @ @6 b@@ @ @ @ @ @ @ @ @ @ @FS (*H‬‬ ‫@¡ ‪b@@ @ Jb@@ @ @ @ @´* b@@ @ @ @ @ @ @C4v@@ @ @ -‬‬ ‫ﻣﻦ‪) :‬أدب وﻣﻌﺮﻓﺔ وﺷﻌﺮ وﺛﻘﺎﻓﺔ‪ (...‬أي ﻧﻌﻢ؛ إﻧﻪ ﻷﻣﺮ ﻣﺨﺠﻞ‪.‬‬ ‫‪K‬‬ ‫‪b@@ @ @ @ @ @ @ @ @J4Sv@ @ @ @ @ @ @ @ @ @EH b@@ @ @ @ @ @ @ @ @D ,4Sv@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ E‬‬ ‫ﻻ أﺣﺪ ﻳﺨﺘﻠﻒ ﺣﻮل رﻳﺎدة اﻟﻌﺮب ﰲ ﻋﻠﻢ اﻷﻧﺴﺎب اﻟﺬي مل ﻳﺴﺒﻘﻬﻢ‬ ‫ﻟﻪ أﺣﺪ ومل ﻳﻔﻘﻬﻢ ﻓﻴﻪ ﻏريﻫﻢ‪ ..‬ﺑﻞ ﺣﺘﻰ رﻳﺎدﺗﻬﻢ ﰲ ﻋﻠﻢ أﻧﺴﺎب‬ ‫وﻳﻘﻮل ﰲ ﺟامل اﳌﺮأة‪:‬‬ ‫ً‬ ‫اﻟﺨﻴﻮل‪ ..‬وﰲ ﻓﻦ اﻟﻘﻴﺎﻓﺔ ﰲ اﻟﺘﻌﺮف إﱃ اﻷﻧﺴﺎب اﻧﻄﻼﻗﺎ ﻣﻦ ﻋﻼﻣﺎت ‪$M É@@ @ @ @1 ¢@@ @ @ @ @< Nh@@ @ @ @ @ @ @ @ 12 *3(* @N @ @ @ @Jx@@ @ @ @-‬‬ ‫وراﺛﻴﺔ ﻣﻌﻴﻨﺔ‪ ..‬وﻓﻦ اﻟﺘﻘﻔﻲ ﺣﻴﺚ ﻳﻘﺮأ اﻟﺮﺟﻞ ﻣﻨﻬﻢ اﻟﺴامء ﻟﻴ ًﻼ‬ ‫‪1‬‬ ‫ ‪b@@ @ @£@ @p@ @~@ @7b@@ @ @D* N ¡@@ @ @£@ @ @ < Rh@@ @ @ @ @ @ @E&* v@@ @ @ @BH‬‬ ‫ﻛﻜﺘﺎب ﻣﻔﺘﻮح ﻳﺪﻟﻪ ﻋﲆ اﻟﻄﺮﻳﻖ ﰲ ﺻﺤﺎ ٍر ﻣﺘﺸﺎﺑﻬﺔ اﳌﻌﺎمل‪ ،‬وﻳﻘﺮأ ‪x@@ @ @+ N$b@@ @ @ @ @ @ @ @ @ @ @ @E2&* 2 M @@ @ @ @ @ @ @£@ @ @ @< ¤@R @ @ @ @ @ @ @ @ @ @ <*43‬‬ ‫اﻟﺼﺤﺮاء ﻧﻬﺎرا ﻓﻴﻌﺮف ﻣﻨﺎﺑﻊ اﳌﺎء وﻣﻮاﻗﻊ اﻻﺣﺘامء‪ ،‬وﻳﺘﺘﺒﻊ آﺛﺎر‬ ‫ @ @ @ @@‪b@@ @ @ F¡@@ @ @ g@ @ @ @´*H N 4b@@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ /&°* Ph@@ @ @ @ @ @ @ @ @+S x‬‬‫اﻟﻔﺮاﺋﺲ وﻳﺘﺠﻨﺐ آﺛﺎر اﻟﻀﻮاري‪ ،‬وﻓﻦ اﻟﻄﺐ اﻟﺸﻌﺒﻲ‪ ،‬وﻋﻠﻢ اﻷﻧﻮاء ‪Rh@@ @ @ @ @ F°H Rh@@ @ @ @Db@@ @ @ @: Mf@ @ @ @ Fv@@ @ @ @D 3¤@R @ @ @ @ @ @ @g@ @ @ @EH‬‬ ‫واﳌﻨﺎزل اﻟﻔﻠﻜﻴﺔ‪ ...‬ﻧﺎﻫﻴﻚ ﻋﻦ ﻓﻦ اﻟﺨﻄﺎﺑﺔ وإن مل ﺗﻜﻦ ﻫﻨﺎك ﻛﺘﺎﺑﺔ‪..‬‬ ‫‪b@@ @ @ £@ @ @ @ J b@@ @ @ @ @ @ @§4 O$¡@@ @ @ @ @ @ @ @ @ @ - b@@ @ @ @ @ @ @ @ @ @ @ @ @ @ A2*H4‬‬ ‫ﻛﻞ ﻫﺬا ﻗﺒﻞ ﺣﺘﻰ أن ﻳﻈﻬﺮ اﻹﺳﻼم ﰲ ﺷﺒﻪ اﻟﺠﺰﻳﺮة اﻟﻌﺮﺑﻴﺔ‪ ..‬وﻟﻜﻦ ‪b@@ @S ´ Oh@@ @ @ @ @g@ @ @~@ @ @7*H ¢@@ @ c@ @ ~@@U @ |@ @ D* Oh@@ @ @ @ @ @ @ @ @/*4H‬‬ ‫‪K‬‬ ‫ ‪b@@ @ @Jv@@ 0 É@@ @ @ @ ~@ @ @ @ 8&* b@@ @ @ @ Db@@ @ @ @ / Oh@@ @ @ @ @ @ @ @ J&*4‬‬ ‫إذا ﻛﺎﻧﺖ ﻫﺬه "اﻟﺠﺎﻫﻠﻴﺔ" اﳌﺰﻋﻮﻣﺔ ﺟﺎﻫﻠﻴﺔ دﻳﻦ؛ ﻓﻜﻴﻒ ﻛﺎن ﻳﻨﻈﺮ‬ ‫ﻫﺆﻻء "اﻟﺠﺎﻫﻠﻴﻮن" ﻷﻧﻔﺴﻬﻢ‪ ،‬ﻟﻬﻮﻳﺘﻬﻢ‪ ،‬ﻟﻜﻴﻨﻮﻧﺘﻬﻢ‪..‬؟؟وﻛﻴﻒ ﻛﺎﻧﻮا‬ ‫ﺛﻢ ﻳﻨﴫف إﱃ ﻓﺮوﺳﻴﺘﻪ وﺷﺠﺎﻋﺘﻪ ﻗﺎﺋﻼ‪:‬‬ ‫ﻳﻔﴪون ﻣﻌﻨﻰ اﻟﺠﺎﻫﻠﻴﺔ؟؟‬ ‫*&‪b@@ @ @£@ @ @ @< @R @ @ @ m@ @ @ @ @ @ - É@@ @ @ @ @A Mv@@ @ @ @ @ @ @ @ G b@@ @ @ @ @ @ @ @+‬‬ ‫‪b@@ @ @ @ £@ @ @ @ £@ @ D* N Ä@U @ @ @ @ @ @s@ @ @ @ @ @ F b@@ @ @ @ @ @ @ @ @ @ @ @ P @ @ @ @ E&*H‬‬ ‫ﻧﺪﻋﻲ اﻣﺘﻼﻛﻨﺎ ﻹﺟﺎﺑﺔ ﻣﺎ؛ ﻟﻨﻘﺮأ ﻣﻨﺘﺨﺒﺎت ﻣﻦ ﻣﻌﻠﻘﺔ ﻋﻤﺮو‬ ‫ﻗﺒﻞ أن‬ ‫َ‬ ‫ﺑﻦ ﻛﻠﺜﻮم اﻟﺘﻐﻠﺒﻲ‪ ،‬اﻟﺘﻲ ﺗﺘﺪرج ﰲ ﻣﻌﺎن إﻧﺴﺎﻧﻴﺔ ﻛﱪى ﻗﺒﻞ أن ﺗﻄﺮح ‪Kb@ @~@ @}@ @£@ @+ Pib@@ @ @ @ @ @ J*xS @ @ @ @ @ @ @D* 52O 4¡@@ @ @ @ @ @ @ @ @F b@@ @ @ @ FS &b@ @ @ @ @+‬‬ ‫‪b@@ @ @ @ @JH4 v@@ @ @ B K*x@@ @ @ @ @ @ @ 0 6 S @@ @ @ G4v@@ @ @ ~@ @ @ @|@ @ @ @FH‬‬ ‫ﻟﻔﻈﺔ اﻟﺠﺎﻫﻠﻴﺔ ﰲ آﺧﺮ ﺑﻴﺖ ﻣﻨﻬﺎ‪:‬‬ ‫ﻳﻘﻮل ﰲ ﻣﻄﻠﻌﻬﺎ ﻣﺘﻐﺰﻻً مبﺤﺒﻮﺑﺘﻪ وﻫﻮ ﻣﺎ ﻳﻌﺘﱪ منﻄﺎً ﻣﻦ ﺷﺪ اﻧﺘﺒﺎه ‪ *¡@@ @ @ @ @ @ : @@ @ @ @ @ @ @ @ @ @ DH b@@ @ @ @ @ @ @ @ D M b@@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @JS &*H‬‬ ‫‪7‬‬ ‫<@ @|@ @~@ @ ‪b@@ @ @ @ Jv@@ @FN &* b@@ @ @£@ @A @N @ @ @ @ @ @ ´* b@@ @ @£R‬‬ ‫اﳌﺘﻠﻘﻲ وﺗﺮﻗﻴﻖ ﻣﺸﺎﻋﺮه وﺗﻠﻄﻴﻔﻬﺎ‪:‬‬ ‫‪ O ¡@@ @ @ @ @/¡S @ @ @ @ @ - v@@ @ @ @ @B Mx@@ @ @~@ @ @ {@ @ @ @ @ @ E v@@ @ @ @£U @ @ @ @ ~@ @ @ @ 6H‬‬ ‫‪b@@ @ @ @ Jx@@ @m@ @ p@R @ @´* ¤@@ @ @ @ @p@ @ @JN P @@ @ @ @ @ @ @´* oP b@@ @ @ g@ @ @ @+‬‬ ‫@ @ @@‪ P @ @ £@ @ @ @ < 8fK @ @ @ @ @ @ @ @Cb@@ @ @ < N @ @ @ @ £@ @ @ @ ³* b@@ @ @ @ @ @ CR x‬‬‫‪b@@ @ F¡@@ @ @ @ @~@ @ @8 b@@ @ @ @ @ @ @ @ @g@ @ @ @ @ S @ @ @ @ @<&* ,K v@@ @ @ @ @ Q @ @ @ @ @ @ @ @ @ @ E‬‬ ‫@‪b@@ @ S @ @ E ¤@U @ @ @ @ @ @ ²* 9eÉ‬‬ ‫‪O @ @ @ @ @ @ @ C RixS @ @ @ @ @ @ @ @G Rv@ @ @ @ @ @ BH‬‬ ‫‪b@@ @ @ @ £@ @ @ @ JN R @@ @ @ @ @ @E ,N 2b@@ @ @ @ @ g@ @ @ @ @ @B b@@ @ @ @ @ @ @ @ +R wS @ @ @ @ ~@ @ @ @ 7H‬‬ ‫‪10‬‬ ‫‪b@@ @ @ @Fb@@ @ @ @04N M ¡@@ @ @ @ @ @B ¶(* @R @ @ @ @ @ @ @ @F ¢@@ @ g@ @ @E‬‬ ‫‪N @ @ @ @ D P$b@@ @ @ @ @ @ @ U @ @ @ @D* ¯ *¡@@ @ F¡@@ @ @ @ @J‬‬ ‫@‪b@@ @ @£@ @p@ @: b‬‬

‫وﻳﻘﻮل ﻣﻔﺘﺨﺮاً ﺑﻘﺒﻴﻠﺘﻪ‪ ،‬وﻳﺘﻐﻨﻰ ﺑﺤﻤﻴﺘﻬﺎ ﰲ ﻧﺠﺪة اﻟﻀﻌﻔﺎء وﻧﴫﺗﻬﻢ‪:‬‬ ‫‪11‬‬ ‫‪Wv@@ @ @ @ @E Nh@@ @ @ @ @ @ < Rv@ @ @ @ B Nv@ @ @ m@ @ @ ´* b@@ @ @ @ @ @ @.R 4H‬‬ ‫‪12‬‬ ‫‪b@@ @ @£@ @c@ @JN ¢@@ @ @gS @ @ @ 0 O @ @ @ @ @ @ @ @ FH2 @O @ @ @ @ <b@@ @ @ @ @ @ @ @ FO‬‬ ‫‪RixS @ @ @ @ @ 1 ¤@U @ @ @ @ @ @²* O2b@@ @ @ @ @ @ @< *3(* @O @ @ @ p@ @ @ @FH‬‬ ‫< @ @ @ @@‪b@@ @ £R @ @ J R @@ @ @ E O @ @ @ @ ¿ @@P @ @9b@@ @ @ @ @ @ 0&°* ¢‬‬ ‫‪b@@ @Ev@@ @B N$*v@@ @ @ @ @ @ @ @ @ @ @ @<&°* O @ @ @ @ @ @ @ @ @< O @ @ @ @ @A*v@@ @ @ @ F‬‬ ‫‪b@@ @ F¡@@ @ @ @ @ S @ @ @0 b@@ @ @ @ @E O @ @ @ @ @ @ @ @ @ @ @ @< O @ @ @ @ @ @ @ @ p@ @ @ @ FH‬‬

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‫اﻟﻌﺪد ‪ ، 70‬ﺳﺒﺘﻤﺒﺮ ‪2018‬‬

‫إﻧﻪ ﻻ وﺟﻮد ﻟﺘﺄﺛري ﻓﻌﺎل ﻣﻦ دون ﺗﻨﺎﺳﺐ وﺗﻜﺎﻓﻞ ﻛﻞ اﻟﺤﻘﻮل‬ ‫اﳌﻌﺮﻓﻴﺔ اﻟﺘﻲ ﺗﺼﻨﻊ ﻣﻔﻬﻮم اﻟﺤﻀﺎرة‪ ،‬وﻻ ﺣﻀﺎرة ﺗﻘﻮم ﻋﲆ ﻧﺴﻖ‬ ‫ﻣﻌﺮﰲ واﺣﺪ؛ وإن ﻗﺎﻣﺖ‪ ،‬ﻓﺈﻧﻬﺎ ﺗﻘﻮم ﻣﺎﺋﻠﺔ‪ ،‬وﴎﻋﺎن ﻣﺎ ﻳﺆﺛﺮ ﻋﻠﻴﻬﺎ‬ ‫ﻣﻴﻼﻧﻬﺎ ﻓﺘﺴﻘﻂ‪ .‬وﻣﻦ مثﺔ؛ ﻓﺎﻟﺤﻀﺎرة ﻫﻲ ﻣﺠﻤﻮع ﺗﻨﺎﺳﺒﺎت ﻣﻌﺮﻓﻴﺔ‬ ‫ﺑني ﺣﻘﻮل ﻋﺪة؛ ْ‬ ‫ﻓﺈن َﺧ َﻠ ْﺖ ﻫﺬه اﻟﺘﻨﺎﺳﺒﺎت ﺗﺒﺪدت اﻟﺤﻀﺎرة ﰲ‬ ‫ﻟﺤﻈﺔ ﻛﺄﻧﻬﺎ مل ﺗﻜﻦ‪..‬‬ ‫ﻣﻦ ﻫﻨﺎ؛ ﻓﺈن ﺗﻘﺴﻴﻢ اﻷدب ﺗﻘﺴﻴ ًام ﺳﻴﺎﺳﻴﺎً ﺗﺎرﻳﺨﻴﺎً )اﻟﺠﺎﻫﲇ‪،‬‬ ‫اﻹﺳﻼﻣﻲ‪ ،‬اﻷﻣﻮي‪ ،‬اﻟﻌﺒﺎﳼ‪ ،‬اﻷﻧﺪﻟﴘ‪ (...‬ﻫﻮ ﺑﺪﻋﺔ ﺳﻴﺌﺔ ﻻ ﺗﺤﱰم‬ ‫اﻟﺘﻘﺴﻴﻢ اﻟﺠﻐﺮاﰲ‪) :‬أدب‬ ‫"ﻫﻮﻳﺔ" اﻷدب ﻧﻔﺴﻪ‪ .‬وﺷﺒﻴﻬُﻪ ﰲ اﻟﺴﻮء‬ ‫ُ‬ ‫ﻣﴩﻗﻲ‪ ،‬أدب ﻣﻐﺮيب‪..(..‬‬ ‫وإن ﻛﻨﺎ ﻧﺤﻦ أﻧﻔﺴﻨﺎ ﻧﺴﺘﻌﻤﻞ ﻫﺬه اﻟﺘﺴﻤﻴﺎت؛ ﻓﻤﻦ ﺑﺎب ﻣﺴﺎﻳﺮة‬ ‫اﻟﺘﺸﻮﻫﺎت اﻟﺸﺎﺋﻌﺔ ﰲ اﻟﻮﻋﻲ اﻟﻌﺮيب اﻟﻨﻘﺪي واﻟﺤﺪﻳﺚ ﺑﺄﺧﻄﺎﺋﻪ‬ ‫اﻟﺴﺎﺋﺮة‪ ،‬ﻋﲆ أﻣﻞ ﺗﻘﻮميﻪ ﰲ ﻟﺤﻈﺔ ﻧﻘﺪﻳﺔ ﻣﺜﻞ ﻫﺎﺗﻪ وﺿﺒﻂ‬ ‫اﻟﺘﺴﻤﻴﺎت واﳌﻔﺎﻫﻴﻢ اﻟﺤﻘﻴﻘﻴﺔ وﻣﺸﺎرﻛﺘﻬﺎ ﻣﻊ اﳌﺘﻠﻘﻲ اﻟﻌﺮيب اﻟﺬي‬ ‫ﻳﻌﺘﻘﺪ أﻧﻪ ﻳﻌﺮف أدﺑﻪ ﰲ ﺣني ﻫﻮ ﻻ ﻳﻌﺮف ﺣﺘﻰ ﺗﺴﻤﻴﺘﻪ‪..‬‬ ‫وﻻ ﺑﺄس أن ﻧﻄﻠﻖ ﻣﺴﻤﻰ "اﻟﺸﻌﺮ اﻟﺠﺎﻫﲇ" ﻣﺆﻗﺘﺎً ﻋﲆ "اﻷدب‬ ‫اﻟﺠﺎﻫﲇ" ﻛﻜﻞ‪ ،‬ﻣﺎدام ميﺜﻞ اﻟﺠﺰء اﻷﻛرث ﻣﻨﻪ‪ ،‬واﻟﺬي َﻧ ﱠﺼ َﺒ ُﻪ ﰲ اﳌﺄﺛﻮر‬ ‫اﻟﺸﺎﺋﻊ "دﻳﻮاﻧﺎً ﻟﻠﻌﺮب"؛ ﻏري أن ﺣﻀﻮر ﻟﻔﻈﺔ "اﻟﺠﺎﻫﲇ" ﺑﻘﻮﺗﻬﺎ‬ ‫اﻟﺪﻻﻟﻴﺔ اﻟﺼﺎدﻣﺔ‪ ،‬مل ﺗﺄت ﻓﻘﻂ ﻣﺤﺪداً ﺗﺎرﻳﺨﻴﺎً ﻟﺰﻣﻦ اﻟﺸﻌﺮ أو ﺣﺘﻰ‬ ‫ﻟﻠﺰﻣﻦ اﻟﺴﻴﺎﳼ اﻟﺬي وﻗﻊ ﻓﻴﻪ اﻟﺸﻌﺮ؛ إمنﺎ ﺗﻌﺪت ذﻟﻚ إﱃ ﻛﻮﻧﻬﺎ‬ ‫ﺟﺎءت ﻣﺤﺪداً "ﻗﻴﻤﻴﺎً" ﻟﺰﻣﻦ وﻗﻮع اﻟﺸﻌﺮ‪ ،‬ﻫﺬا اﳌﺤﺪد اﻟﻘﻴﻤﻲ اﻟﺬي‬ ‫ﻻ ﻳﻌﻨﻲ ﻏري اﻟﺠﻬﻞ ﰲ أﺑﺴﻂ اﻟﺤﻤﻮﻻت اﻟﺪﻻﻟﻴﺔ ﻟﻠﻔﻈﺔ‪ ..‬اﻟﺠﻬﻞ‬ ‫اﻟﺬي ﻳﻘﺎﺑﻞ زﻣﻦ اﻟﻔﻮﴇ واﻟﻈﻼم‪ ،‬ﻣﺎ ﻳﺠﻌﻞ اﻷدب اﻹﺳﻼﻣﻲ ﻻﺣﻘﺎً‬ ‫زﻣﻨﺎً ﻟﻠﻨﻈﺎم واﻟﻨﻮر !! وﻫﺬا ﰲ اﻋﺘﻘﺎدي ﻣﻐﺎﻟﻄﺔ ﺗﺎرﻳﺨﻴﺔ ﻇﺎﳌﺔ‪.‬‬ ‫إن ﻫﺬا اﻟﺘﻘﺴﻴﻢ اﻟﺘﺎرﻳﺨﻲ اﻟﻠﺼﻴﻖ مبﻌﻨﻰ "اﻟﺠﻬﻞ"؛ ﻳﺠﻌﻠﻨﺎ ﻧﺘﺼﻮر‬ ‫اﳌﺠﺘﻤﻊ اﻟﻌﺮيب ﻣﺠﺘﻤﻌﺎً ﻣﺘﺨﻠﻔﺎً رﺟﻌﻴﺎً ﺑﻼ أي ﻣﻌﺎرف أو ﺛﻘﺎﻓﺔ أو‬ ‫ﻫﻮﻳﺔ‪ ،‬ﺻﺤﻴﺢ أﻧﻪ ﻣﺠﺘﻤﻊ ﻣﺘﻘﻠﺐ ﻟﻪ ﺣﺴﻨﺎﺗﻪ وﻟﻪ ﻣﺴﺎوﺋﻪ؛ وﻟﻜﻨﻪ‬ ‫ﻳﺒﻘﻰ ﻣﺠﺘﻤﻌﺎً ﻣﺘﺤﴬاً ﰲ ﻛﺜري ﻣﻦ اﻟﺼﻮر اﻟﺠامﻟﻴﺔ اﻟﺘﻲ وﺻﻠﺘﻨﺎ‬ ‫ﻋﻨﻪ‪ ،‬ﺧﺎﺻﺔ ﰲ اﳌﺴﺘﻮى اﻷﺧﻼﻗﻲ‪) :‬اﻟﻜﺮم‪ ،‬اﻟﺼﺪق‪ ،‬اﻹﺟﺎرة‪ ،‬اﻟﻮﻓﺎء‪(...‬‬ ‫وﺣﺘﻰ ﰲ ﺗﻠﻚ اﻟﺼﻮر اﻟﺪاﻣﻴﺔ اﻟﺘﻲ وﺻﻠﺘﻨﺎ وﺗﺆﻛﺪ ﻣﺴﺎوﺋﻪ ﻓﺈﻧﻬﺎ ﰲ‬ ‫اﻟﺤﻘﻴﻘﺔ اﻗﱰﻧﺖ ﺑﻔﻀﺎﺋﻞ ﻣﺜﻞ‪) :‬اﻟﺸﺠﺎﻋﺔ‪ ،‬واﻟﻔﺮوﺳﻴﺔ‪ ،‬واﻟﺤﻤﻴﺔ‪،‬‬ ‫واﻟﻨﺠﺪة‪..(...‬‬ ‫إﻧﻨﺎ ﻧﻌﻴﺐ ﻋﲆ ﻛﺜري ﻣﻦ رﺟﺎل اﻷدب )أﺣﻤﺪ أﻣني ﰲ‪ :‬ﻓﺠﺮ اﻹﺳﻼم‪،‬‬ ‫ﻓﺤﻤﻠﻮا اﻷدب‬ ‫وﻇﻬﺮ اﻹﺳﻼم‪ ،‬ﻣﺜﻼ( اﻟﺬﻳﻦ ﺗﴩﺑﻮه ﻣﻦ أﴐع اﻟﺪﻳﻦ؛ ﱠ‬ ‫اﻹﺳﻼﻣﻲ اﻟﺬي ﺟﺎء إﺛﺮ ﻇﻬﻮر اﻟﺪﻳﻦ اﻟﺠﺪﻳﺪ دﻻﻻت اﻟﻨﻮر واﻟﻘﺪاﺳﺔ‬ ‫ﻣام ﺟﻌﻞ ﻣﻦ اﻟﻌﴫ اﻟﺴﺎﺑﻖ ﻟﻪ ﻳﺘﺤﻮل ﺑﺸﻜﻞ ﺗﻠﻘﺎيئ إﱃ ﻋﴫ ﻇﻼم‬ ‫وﺟﻬﻞ وﺟﺎﻫﻠﻴﺔ‪ .‬ﻧﻌﻴﺐ ﻋﻠﻴﻬﻢ ﺗﺴﻮﻳﻘﻬﻢ ﳌﻔﻬﻮم اﻟﺠﺎﻫﻠﻴﺔ‪ .‬ﻋﻠام‬ ‫أن ﻫﺬا اﳌﺠﺘﻤﻊ "اﻟﺠﺎﻫﲇ" اﻟﺬي ﻧﻘﺴﻮ ﻋﻠﻴﻪ ﻳﺴﺘﺤﻴﻞ أن ﻳﺨﻠﻒ‬ ‫إﺑﺪاﻋﺎً ﺷﻌﺮﻳﺎً ﺗﻨﻮﻳﺮﻳﺎً ‪-‬ﻋﲆ اﳌﺴﺘﻮى اﻷﺧﻼﻗﻲ‪ -‬ﺑﺠامﻟﻴﺎت ﻣﺮﺗﻔﻌﺔ‬

‫‪ɰ‬‬ ‫‪ɰ‬‬ ‫‪ɰ‬‬ ‫ ‪ ōǾƀǿƈōũ‬‬ ‫ ‪ōǾƓōǾƓ‬‬ ‫ ‪ōǘǾƒǂũ ŜƂȏŌ ǗǾƒǂũ‬‬ ‫ ‪ ɐǽƓōŞƪǕŌ ɐǼǷǙȏŌ ɐǽǙȎƓȑŌ ɐǽǔǥōŴǕŌ‬‬ ‫‪ ǖƉŨżũ ȍ ǳȂǾƓ ǳƫƃş Ƿǥ ǽƒǕƃǝȏŌ‬‬ ‫}‪ǣƒƲǝ ŜƂȏŌ mǳǿǷǥ‬‬ ‫‪ ǻǔƫ mǳǾǔǥōŴǕŌ} ǳǾǘƒũ ǁǔƢǝ ǚŐ ǓŴƀǘǕŌ ǛǙ‬‬ ‫‪ ǳƳƉƪǙǶ ŜƂŐ ǛǙ ɑǇǕƄ ǺǷƓ ōǙ‬‬ ‫‪ ǳƳōǂŭǶ ƉƪƗǶ‬‬ ‫ ‪ ǁŽ ǼƅǕŌ ǒǶŌƃŨǘǕŌ ǽǝōƒǝȑŌ ŪƈȑŌ ǣǝŒ‬‬ ‫‪ ƨōƳƃǕŌ ƊǶōŴŨǿ ȍ ǖŌƂ ōǙ ǣş ƉƁōƲŨǕŌ ƉƫōƖǔǕ‬‬ ‫‪ōǤŞżǿ ǽŨǕŌ ŋōǾƗȏŌ Ǜƫ ƨǶƉƖǘǕŌ‬‬

‫وﰲ ﻗﺎﻟﺐ ﻣﺘﻄﻮر ﺑﺎﻟﻨﻈﺮ إﱃ ﻋﴫه‪.‬‬ ‫وإذا ﻛﺎن ﻣﻌﻈﻢ رﺟﺎل اﻟﺪﻳﻦ ﻳﺴﺘﺸﻬﺪون ﰲ ﺳﻴﺎﻗﺎت ﻣﺨﺘﻠﻔﺔ ﺑﺂﻳﺎت‬ ‫ﻣﻌﻴﻨﺔ ﺗﺤﻤﻞ ﻣﻔﻬﻮم "اﻟﺠﺎﻫﻠﻴﺔ"‪ ،‬ﻓﻴﻔﴪون ﻣﺎ ﻛﺎن ﻋﻠﻴﻪ اﻟﻌﺮب ﻋﲆ‬ ‫أﻧﻪ "ﺟﺎﻫﻠﻴﺔ دﻳﻦ"؛ وﻫﺬا ﻣﺎ ﺗﺬﻫﺐ إﻟﻴﻪ آﻳﺎت اﻟﺬﻛﺮ اﻟﺤﻜﻴﻢ اﻟﺘﻲ‬ ‫ﺟﺎءت‪:‬‬ ‫• مبﻌﻨﻰ‪ :‬اﻟﺸﻚ ﰲ ﺣﻘﻴﻘﺔ وﺣﺪاﻧﻴﺔ اﻟﻠﻪ وﻻ ﻧﻘﺼﺪ اﻟﺸﻚ ﰲ وﺟﻮد‬ ‫اﻟﻠﻪ؛ وﻫﻮ اﻷﻣﺮ اﻟﺬي ﻛﺎن ﻋﻠﻴﻪ اﻟﻌﺮب ﻗﺒﻞ اﻹﺳﻼم؛ ﺣﻴﺚ ﻛﺎﻧﻮا‬ ‫ﻳﻈﻨﻮن اﻟﻠﻪ ﰲ اﻟﻌﺪد ﻓﻌﺒﺪوا أﻛرث ﻣﻦ إﻟﻪ ﺑﺎﻃﻼ؛ ﰲ ﺣني أن اﻟﺤﻖ ﻫﻮ‬ ‫ﰲ اﻟﺘﻮﺣﻴﺪ‪َ ﴿ :‬و َﻃﺂ ِﺋ َﻔ ٌﺔ َﻗ ْﺪ أَﻫَ ﱠﻤ ْﺘﻬ ُْﻢ أَﻧ ُﻔ ُﺴﻬ ُْﻢ َﻳ ُﻈﻨ َ‬ ‫ﱡﻮن ِﺑﺎﻟ ّﻠ ِﻪ َﻏ ْ َري ا ْﻟ َﺤﻖﱢ‬ ‫َﻇﻦﱠ ا ْﻟ َﺠ ِﺎﻫ ِﻠ ﱠﻴ ِﺔ﴾ )آل ﻋﻤﺮان‪(154 :‬؛‬ ‫• مبﻌﻨﻰ‪ :‬أﺣﻜﺎم اﻟﺠﺎﻫﻠﻴﺔ اﻟﺘﻲ ﺗﺄﺧﺬ ﺑﺎﻷﻋﺮاف؛ ﻫﺬه اﻷﻋﺮاف ﰲ ﻛﺜري‬ ‫ﻣﻦ اﻷﺣﻴﺎن ﺗﻌﻜﺲ أﻫﻮاء ﻓﺮداﻧﻴﺔ ﻷﺷﺨﺎص ﻗﺪ ﺗﺤﻜﻤﻬﻢ ﻗﺒﻠﻴﺘﻬﻢ أو‬ ‫ﻟﻮن ﺑﴩﺗﻬﻢ أو ﻃﺒﻘﺘﻬﻢ اﻻﺟﺘامﻋﻴﺔ؛ وﻫﻲ أﺣﻜﺎم ﻻ ﴍﻋﻴﺔ ﺑﺎﳌﻌﻨﻰ‬ ‫اﻟﺠ ِﺎﻫﻠ ّﻴﺔ‬ ‫اﻟﺬي ﻳﺘﻮاﻓﻖ ﻋﻠﻴﻪ ﺟامﻋﺔ ﻣﻦ اﻟﻨﺎس وﻳﻘﺮروﻧﻪ‪﴿ :‬أَ َﻓ ُﺤ ْﻜ َﻢ َ‬ ‫َﻳﺒﻐﻮن َو َﻣﻦْ أَ ْﺣ َﺴﻦُ ِﻣﻦَ اﻟ ّﻠ ِﻪ ُﺣ ْﻜ ًام ﻟﱢ َﻘ ْﻮ ٍم ُﻳﻮ ِﻗﻨ َ‬ ‫ُﻮن﴾ )اﳌﺎﺋﺪة‪(50:‬؛‬ ‫• مبﻌﻨﻰ‪ :‬رﻫﻦ اﻟﻄﻬﺎرة ﺑﺎﻟﺴﱰ؛ وﻗﺪ ﻓﺮض اﻟﺤﺠﺎب ﻋﲆ اﳌﺮأة‬ ‫اﳌﺴﻠﻤﺔ ﺑﺪءاً ﻣﻦ ﻇﻬﻮر اﻹﺳﻼم وﻛﺎﻧﺖ ﻗﺒﻞ ذﻟﻚ ﻣﺨرية ﰲ أن ﺗﺘﱪج‬ ‫أو ﺗﺘﺤﺠﺐ‪ ،‬واﻟﺠﺎﻫﻠﻴﺔ ﻫﻨﺎ ﺗﺼري ذات ارﺗﺒﺎط ﺳﻠﻮيك ﻻ أﻗﻞ وﻻ أﻛرث‪:‬‬ ‫﴿ َو َﻗ ْﺮ َن ِﰲ ُﺑ ُﻴﻮ ِﺗ ُﻜﻦﱠ َو َﻻ َﺗ َ ﱠﱪ ْﺟﻦَ َﺗ َ ﱡﱪ َج ا ْﻟ َﺠ ِﺎﻫ ِﻠ ﱠﻴ ِﺔ ْ ُ‬ ‫اﻷ َ‬ ‫وﱃ﴾ )اﻷﺣﺰاب‪(33 :‬؛‬ ‫• ومبﻌﻨﻰ‪ :‬اﻻﺿﻄﺮاب واﻟﺘﺸﺘﺖ اﻟﺬي ﻛﺎن ﻋﻠﻴﻪ اﻟﻌﺮب؛ ﺣﻴﺚ‬ ‫ﺣﻮﻟﻮا ﻓﻀﻴﻠﺔ ﺣﺴﻨﺔ ﻣﺜﻞ "اﻟﺤﻤﻴﺔ" إﱃ ﻓﻀﻴﻠﺔ ﺳﻴﺌﺔ؛ ﻓﺎﻟﺤﻤﻴﺔ‬ ‫ﻣﺤﺒﺬة ﻏري أﻧﻬﺎ ﻇﻠﺖ ﰲ ﻧﻄﺎﻗﻬﺎ اﻟﻀﻴﻖ ﺑني اﻟﻌﺮب؛ ﺣﻤﻴﺔ ﻗﺒﻴﻠﺔ‬ ‫اﻟﺸﻌﺮ ‪baytelshear‬‬ ‫ﺑﻴﺖ ِ‬

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‫ ‪şœśĘĥŒ‬‬

‫‪ɶ‬‬ ‫‪ ǓȃōƞƲǕŌ ǗǾǂş ǳƪŞƖŨǙ‬‬

‫أﻧﻮار »اﻟﺠﺎﻫﻠﻴﺔ« !‬ ‫د'ﻳﺎﺳﻴﻦ ﺣﺰﻛﺮ‬

‫ﻳ ُِﺤ ﱡﺐ ﺑﻌﺾ ﻋﻠامء ﺗﺎرﻳﺦ اﻷدب أن ﻳﻘﺴﻤﻮه إﱃ ﻣﺮ َ‬ ‫اﺣﻞ ﻣﻮازﻳﺔ "ﻟﺤﻴﺎة" اﻷﻧﻈﻤﺔ اﻟﺴﻴﺎﺳﻴﺔ؛ وﻛﺜرياً ﻣﺎ رﺑﻄﻮا ﺗﻄﻮره ﺑﺘﻄﻮر‬ ‫وازدﻫﺎر اﻟﺪول‪ ،‬وﺑﺎﳌﻘﺎﻳﺴﺔ ﻋﲆ ذﻟﻚ رﺑﻄﻮا ﺗﻘﻬﻘ َﺮه ﺑﺘﺪا ِﻋﻴﻬﺎ وﺳﻘﻮﻃﻬﺎ!!‬ ‫ﻻ ميﻜﻦ اﻟﺠﺪال ﰲ ﺗﺄﺛري اﻟﺴﻴﺎﺳﺔ ﻋﲆ اﻷدب‪ ،‬وﻟﻜﻨﻪ ﺗﺄﺛري ﻳﺒﻘﻰ ﻣﺤﺼﻮراً‪ ،‬وﻏري ﻓﻌﺎل ﻣﺎ مل ﻧﺘﺤﺪث ﻋﻦ ﺗﺄﺛريات أﺧﺮى ﻟﺒﺎﻗﻲ‬ ‫اﻟﺤﻘﻮل اﳌﻌﺮﻓﻴﺔ‪) :‬اﻟﺪﻳﻦ‪ ،‬اﻟﻌﻠﻢ‪ ،‬اﻷﺳﻄﻮرة‪ ،‬اﳌﺠﺘﻤﻊ‪ .(...‬ﰲ ﻣﻘﺎﺑﻞ ذﻟﻚ‪ ،‬إذا ﻛﺎن ﻣﻮﺿﻮﻋﻨﺎ ﻫﻮ اﻟﺴﻴﺎﺳﺔ ﻧﻔﺴﻬﺎ وﺟﺐ ﻋﻠﻴﻨﺎ‬ ‫أن ﻧﺘﺤﺪث ﻋﻦ ﺗﺄﺛري اﻷدب ﻓﻴﻬﺎ وﺗﺄﺛري ﺑﺎﻗﻲ اﻟﺤﻘﻮل اﳌﻌﺮﻓﻴﺔ ﻛﺬﻟﻚ‪.‬‬

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‫ﻣﺠﻠﺔ ﺷﻬﺮﻳﺔ ﺷﺎﻣﻠﺔ‬

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

‫اﻟﺸﻌﺮ ‪ /‬اﻟﻌﺪد ‪62‬‬ ‫ﺑﻴﺖ ِ‬

‫‪@bait_alshe3r‬‬

‫‪Insta‬‬

‫‪@baytelshear‬‬ ‫اﻟﺸﻌﺮ ‪baytelshear‬‬ ‫ﺑﻴﺖ ِ‬

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‫‪ŝŃĬěŕ‬‬

‫رﺑﺢ ﺟﻴﺪ‪ ،‬ﻣﺎ اﺳﺘﻐﺮﺑﻪ ﻣﻦ اﻟﺒﻌﺾ أﻧﻬﻢ ﻻ‬ ‫ﻳﻠﺘﻘﻄﻮن اﻟﺼﻮر ﺑﺤﺠﺔ اﻟﺤﻔﺎظ ﻋﲆ ﻋﺪاد‬ ‫اﻟﻜﺎﻣريا‪ ،‬ﻟﻜﻨﻬﻢ ﻻ ﻳﺪرﻛﻮن أن ﺻﻮرة ﻧﺎﺟﺤﺔ‬ ‫ﻗﺪ ﺗﻌﻴﺪ ﻟﻬﻢ أﺿﻌﺎف ﻣﺎ أﻧﻔﻘﻮه‪ ،‬اﳌﻬﻢ‬ ‫أن ﻳﻔﻜﺮوا ﺑﻄﺮﻳﻘﺔ ﺟﻴﺪة ﻳﺴﺘﻄﻴﻌﻮن ﻣﻦ‬ ‫ﺧﻼﻟﻬﺎ اﻟﺠﻤﻊ ﺑني ﺷﻐﻔﻬﻢ ﺑﺎﻟﺘﺼﻮﻳﺮ وإدارة‬ ‫اﻷﻋامل"‪.‬‬ ‫ﻳــﺘــﻮزع اﻫــﺘــامم اﻟﺤﻮﺳﻨﻲ ﻋــﲆ ﺗﺼﻮﻳﺮ‬ ‫اﻟﻄﺒﻴﻌﺔ واﻟﺘﺼﻮﻳﺮ ﺑﺘﻘﻨﻴﺔ اﻟﻔﺎﺻﻞ اﻟﺰﻣﻨﻲ‪،‬‬ ‫وﻋﻦ ﻫﺬه اﻟﺘﻘﻨﻴﺔ ﻳﻘﻮل‪" :‬ﻣﺎ ميﻴﺰ اﻟﺘﺼﻮﻳﺮ‬ ‫ﺑﺘﻘﻨﻴﺔ اﻟﻔﺎﺻﻞ اﻟﺰﻣﻨﻲ ﻫﻮ اﺧﺘﺼﺎر اﻟﻮﻗﺖ‪،‬‬ ‫ﻓام ﻳﺤﺪث ﰲ ﺳﺎﻋﺎت ميﻜﻨﻚ اﺧﺘﺼﺎره ﰲ‬ ‫ﺛﻮانٍ ﻗﻠﻴﻠﺔ‪ ،‬وﻫﻨﺎ ﻧﺤﺼﻞ ﻋﲆ اﻹﺑﻬﺎر ﰲ ﺣﺎل‬ ‫متﻜﻦ اﳌﺼﻮر ﻣﻦ اﺧﺘﻴﺎر اﻟﻮﻗﺖ واﳌﻜﺎن‬ ‫اﳌﻨﺎﺳﺒني‪ ،‬اﻟﻨﺠﺎح ﰲ اﻟﺘﺼﻮﻳﺮ ﺑﺘﻘﻨﻴﺔ اﻟﻔﺎﺻﻞ‬ ‫اﻟﺰﻣﻨﻲ ﻳﻌﺘﻤﺪ ﻋﲆ ﻗﺪرة اﳌﺼﻮر اﻻﺳﺘﴩاﻓﻴﺔ‬ ‫وﺗﻮﻗﻌﻪ ﳌﺎ ﺳﻴﺤﺪث ﰲ اﳌﺴﺘﻘﺒﻞ اﻟﻘﺮﻳﺐ‪،‬‬ ‫ﻛﺤﺮﻛﺔ اﻟﻐﻴﻮم وﻏﺮوب اﻟﺸﻤﺲ واﻟﻀﺒﺎب‬ ‫وﺣﺮﻛﺔ اﻟﻨﺠﻮم واﻟــﺴــﻴــﺎرات واﻟــﻨــﺎس ﰲ‬ ‫اﻟﺸﺎرع‪ ،‬وﻣﻦ ﻫﻨﺎ ﻧﺠﺪ أن ﺑﻌﺾ اﻷﺷﺨﺎص‬ ‫ﻳﺨﺮﺟﻮن ﺑﺄﻓﻼم ﻣﺬﻫﻠﺔ ﻣﺼﻮرة ﺑﻬﺬه اﻟﺘﻘﻨﻴﺔ‬ ‫واﻟﺒﻌﺾ اﻵﺧﺮ ﻳﺤﺼﻠﻮن ﻋﲆ أﻓﻼم ﻋﺎدﻳﺔ ﻻ‬ ‫ﺗﱰك ذﻟﻚ اﻷﺛﺮ اﻟﻌﻈﻴﻢ ﰲ اﻟﻨﻔﺲ"‪.‬‬ ‫ﺳﺎﻓﺮ اﻟﺤﻮﺳﻨﻲ إﱃ ﻋﺪ ٍد ﻣﻦ اﻟﺪول ﻟﻜﻦ‬ ‫اﻟﻔﺮﺻﺔ مل ﺗﺘﺢ ﻟﻪ ﺧﻼل ﻫﺬه اﻷﺳﻔﺎر ﻻﻟﺘﻘﺎط‬ ‫اﻟﺼﻮر اﻟﺘﻲ ﻳﺮﻏﺐ ﺑﻬﺎ‪ ،‬ﺣﻴﺚ ﻳﻘﻮل‪" :‬ﺳﺎﻓﺮت‬ ‫إﱃ اﻟﺼني ﺿﻤﻦ ﺑﻌﺜﺔ ﻃﻼﺑﻴﺔ‪ ،‬ﻓﻠﻢ ﻳﺘﺴﻦ ﱄ‬ ‫اﻟﻮﻗﺖ ﻻﻟﺘﻘﺎط اﻟﺼﻮر ﺑﺎﻟﻄﺮﻳﻘﺔ اﻟﺘﻲ أرﻳﺪ‪،‬‬

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‫واﻷﻣــﺮ ﻧﻔﺴﻪ ﺣﺪث ﻣﻌﻲ ﻋﻨﺪﻣﺎ ﺳﺎﻓﺮت‬ ‫إﱃ ﻓﺮﻧﺴﺎ‪ ،‬ﺣﻴﺚ ﻛﻨﺖ ﺑﺮﻓﻘﺔ اﻟﻌﺎﺋﻠﺔ‪ ،‬رﺣﻠﺔ‬ ‫اﻟﺘﺼﻮﻳﺮ اﻟﻨﺎﺟﺤﺔ ﻫﻲ اﻟﺘﻲ ﺗﻜﻮن ﺑﻐﺮض‬ ‫اﻟﺘﺼﻮﻳﺮ وﻟﻴﺴﺖ ﻟﻐﺮض آﺧﺮ‪ ،‬رﺣﻠﺔ اﻟﺘﺼﻮﻳﺮ‬ ‫اﻟﻨﺎﺟﺤﺔ ﺗﺤﺘﺎج إﱃ ﺗﻔﺮغ ﺗﺎم ﻻﻟﺘﻘﺎط اﻟﺼﻮر‪،‬‬ ‫وﺻﻔﺎء ﻧﻔﺲ وﻫﺪوء وﺗﺮﻛﻴﺰ‪ ،‬وﻣﺤﺎوﻻت‬ ‫ﻛﺜرية ﻷوﻗــﺎت ﻃﻮﻳﻠﺔ‪ ،‬وﻫــﺬا ﻣﺎ ﻻ ميﻜﻦ‬ ‫اﻟﺤﺼﻮل ﻋﻠﻴﻪ ﰲ ﺣﺎل اﻟﺴﻔﺮ ﻣﻊ اﻟﻌﺎﺋﻠﺔ أو‬ ‫ﻣﻊ اﻷﺻﺪﻗﺎء ﻏري اﳌﻬﺘﻤني ﺑﺎﻟﺘﺼﻮﻳﺮ اﻟﻀﻮيئ‪،‬‬ ‫أرﻏﺐ ﰲ اﻟﺴﻔﺮ إﱃ ﻋﺪد ﻣﻦ اﻟﺪول ﺑﻬﺪف‬ ‫اﻟﺘﻘﺎط اﻟﺼﻮر‪ ،‬وأﻛرث وﺟﻬﺔ أرﻏﺐ ﰲ زﻳﺎرﺗﻬﺎ‬ ‫ﻫﻲ ﻣﺪﻳﻨﺔ ﻃﻮﻛﻴﻮ‪ ،‬واﻟﺘﻲ ﺗﺠﻤﻊ اﻟﻌﺪﻳﺪ‬ ‫ﻣﻦ ﻣﻘﻮﻣﺎت اﻟﺼﻮرة اﻟﻨﺎﺟﺤﺔ ﻓﻬﻲ ﺗﺠﻤﻊ‬ ‫ﺑني ﺣﻴﺎة اﻟﺸﺎرع واﻟﻔﻦ اﳌﻌامري واﳌﻨﺎﻇﺮ‬ ‫اﻟﻄﺒﻴﻌﻴﺔ اﻟﺨﻼﺑﺔ‪ ،‬ﻛام أين أرﻏﺐ ﰲ زﻳﺎرة‬ ‫اﻟرنوﻳﺞ ﻟﺘﺼﻮﻳﺮ اﻟﺸﻔﻖ اﻟﻘﻄﺒﻲ اﻷﺧﴬ"‪.‬‬ ‫وﻳﺸري اﻟﺤﻮﺳﻨﻲ إﱃ أن اﻟﻌﺪﻳﺪ ﻣﻦ ﻫﻮاة‬ ‫اﻟﺘﺼﻮﻳﺮ ﻳﻨﺴﻮن ﺟﺎﻧﺒﺎً ﻣﻬ ًام ﻣﻦ اﻟﺘﺼﻮﻳﺮ‪،‬‬ ‫أﻻ وﻫﻮ ﻣﻌﺎﻟﺠﺔ اﻟﺼﻮر‪ ،‬وﻋﻦ ﻫﺬه اﻟﻨﻘﻄﺔ‬ ‫ﻳﻘﻮل‪" :‬اﻟﺼﻮرة اﻟﻨﺎﺟﺤﺔ ﻫﻲ اﻟﺘﻲ ﺗﺠﻤﻊ‬ ‫ﺑني ﻣﻬﺎرات اﻟﺘﺼﻮﻳﺮ وﻣﻬﺎرات اﳌﻌﺎﻟﺠﺔ‪،‬‬ ‫ﻓﺎﳌﻌﺎﻟﺠﺔ ﻻ ﺗﻘﻞ أﻫﻤﻴﺔ ﻋﻦ اﻟﺘﺼﻮﻳﺮ‪ ،‬ﺣﻴﺚ‬ ‫أن اﳌﻌﺎﻟﺠﺔ اﳌﺘﻘﻨﺔ ﺗﻈﻬﺮ ﺗﻔﺎﺻﻴﻞ وأﻟﻮان‬ ‫اﻟﺼﻮرة ﺑﺸﻜﻞ أﻓﻀﻞ‪ ،‬وﺗﺮﻓﻊ ﻣﻦ ﻣﺴﺘﻮى‬ ‫اﻟﻌﻤﻞ إﱃ ﻣﺴﺘﻮى ﺟﺪﻳﺪ‪ ،‬وﻫــﺬا اﻷﻣﺮ‬ ‫اﻟﺬي ﻋﲆ اﳌﻘﺒﻠني ﻋﲆ اﻟﺘﺼﻮﻳﺮ ﻣﻌﺮﻓﺘﻪ‪،‬‬ ‫ﻗﺪ ﺗﻜﻮن اﻟﺼﻮرة ﻟﺤﻈﺔ اﻟﺘﻘﺎﻃﻬﺎ ﺟﻤﻴﻠﺔ‪،‬‬ ‫ﻟﻜﻦ اﳌﻌﺎﻟﺠﺔ اﳌﺘﻘﻨﺔ ﺗﺠﻌﻠﻬﺎ ﻣﺒﻬﺮة‪ ،‬وﻫﻨﺎ‬

‫ﻻ أﻗﺼﺪ ﺑﺎﻟﴬورة اﻹﻓﺮاط ﺑﺎﳌﻌﺎﻟﺠﺔ‪ ،‬ﺑﻞ‬ ‫اﳌﻌﺎﻟﺠﺔ اﳌﻨﺎﺳﺒﺔ ﻟﻜﻞ ﺻﻮرة‪ ،‬وﻫﻨﺎ ﺑﻌﺾ‬ ‫اﻟﺼﻮر اﻟﺘﻲ ﻗﺪ ﻻ ﺗﺤﺘﺎج ﻷﻛرث ﻣﻦ ﳌﺴﺎت‬ ‫ﺑﺴﻴﻄﺔ‪ ،‬وﻣﻦ ﻫﻨﺎ أﻧﺼﺢ اﳌﺼﻮرﻳﻦ اﻟﻨﺎﺷﺌني‬ ‫ﺑﺎﻻﻫﺘامم ﺑﺘﻌﻠﻢ ﺗﻘﻨﻴﺎت اﻟﺘﺼﻮﻳﺮ واﳌﻌﺎﻟﺠﺔ‬ ‫ﰲ وﻗﺖ واﺣﺪ"‪.‬‬ ‫وﻳﺮى اﻟﺤﻮﺳﻨﻲ أن اﻟﺘﻄﻮر ﰲ ﻣﺠﺎل اﻟﺘﺼﻮﻳﺮ‬ ‫اﻟﻀﻮيئ ﻳﺮﺗﺒﻂ ﺑﺸﻜﻞ ﻣﺒﺎﴍ ﺑﺎﳌﺼﻮر‪،‬‬ ‫ﻓﻴﻘﻮل‪" :‬ﺣﺎل اﻟﺘﺼﻮﻳﺮ ﺣﺎل أي ﻫﻮاﻳﺔ أو‬ ‫ﺣﺮﻓﺔ أو ﻣﻬﻨﺔ‪ ،‬ﻳﺘﻌﻠﻖ اﻟﻨﺠﺎح ﻓﻴﻬﺎ مبﻘﺪار‬ ‫اﻟﺠﻬﺪ اﻟﺬي ﻳﺒﺬﻟﻪ اﳌﺼﻮر‪ ،‬وﻣﻦ ﻫﻨﺎ أﻧﺼﺢ‬ ‫اﳌﺼﻮرﻳﻦ اﻟﻬﻮاة ﺑﺎﻟﺘﻘﺎط اﻟﻜﺜري ﻣﻦ اﻟﺼﻮر‬ ‫ﺑﺄوﻗﺎت ووﺿﻌﻴﺎت ﻣﺨﺘﻠﻔﺔ‪ ،‬ﺣﺘﻰ ﻳﺤﺴﻨﻮا‬ ‫اﻟﺘﻌﺎﻣﻞ ﻣﻊ آﻟﺔ اﻟﺘﺼﻮﻳﺮ وإﻋﺪاداﺗﻬﺎ ﰲ ﻛﻞ‬ ‫اﻟﻮﺿﻌﻴﺎت‪ ،‬ﻛام أﻧﺼﺤﻬﻢ ﺑﺎﻟﺘﻐﺬﻳﺔ اﻟﺒﴫﻳﺔ‪،‬‬ ‫واﻻﻃــﻼع ﻋﲆ أﻋامل اﳌﺼﻮرﻳﻦ اﻟﻌﺎﳌﻴني‬ ‫واﳌﺤﱰﻓني‪ ،‬وﻻ ﺿري ﻣﻦ ﺗﻘﻠﻴﺪﻫﺎ ﺑﻬﺪف‬ ‫اﻟﺘﻌﺮف ﻋﲆ اﻟﺘﻘﻨﻴﺎت اﻟﺘﻲ اﺳﺘﺨﺪﻣﻬﺎ‬ ‫اﳌﺼﻮرون اﳌﺤﱰﻓﻮن ﰲ أﻋامﻟﻬﻢ"‪.‬‬ ‫وﺗﺒﻘﻰ اﻹﻣﺎرات ورﻓﻌﺘﻬﺎ اﻟﻬﺪف اﻷﺳﻤﻰ‪،‬‬ ‫وﻫــﻮ ﻣﺎ ﻳﺴﻌﻰ إﻟﻴﻪ اﻟﺤﻮﺳﻨﻲ ﻓﻴﻘﻮل‪:‬‬ ‫"أﺳﻌﻰ ﰲ اﳌﺴﺘﻘﺒﻞ إﱃ ﺗﻘﺪﻳﻢ ﻣﴩوع‬ ‫ﻓﻮﺗﻮﻏﺮاﰲ ﻳﻌﻜﺲ اﻟﻨﻬﻀﺔ اﻟﺤﻀﺎرﻳﺔ ﰲ دوﻟﺔ‬ ‫اﻹﻣﺎرات‪ ،‬وﻳﺆﻛﺪ ﻋﲆ ﻣﻜﺎﻧﺘﻬﺎ اﻟﻌﻈﻴﻤﺔ ﺑني‬ ‫دول اﻟﻌﺎمل‪ ،‬وﻃﻨﻲ ﻫﻮ اﻷﻏﲆ ﺑﺎﻟﻨﺴﺒﺔ ﱄ‪،‬‬ ‫وﻫﺪﰲ اﳌﺴﺘﻘﺒﲇ أن أﻛﻮن ﺳﺒﺒﺎً ﰲ ذﻛﺮ اﺳﻢ‬ ‫وﻃﻨﻲ ﰲ أﻫﻢ اﳌﺤﺎﻓﻞ اﻟﻌﺎﳌﻴﺔ اﻟﺜﻘﺎﻓﻴﺔ"‪.‬‬

‫‪ ƉǿǷƚŨǕŌ ǗǕōƫ ǽƳ ǗǔƪŨǕŌ ǳǔŽƈ‬‬ ‫‪ ǓǈƳ ɐǽǤŨǜũ ȍ ǽƳŌƉƯǷũǷƲǕŌ‬‬ ‫‪ ǲƃǿƃŵ ǳǾǜǂũ ƃǤƖǿ ǖǷǿ‬‬ ‫‪ɰ‬‬ ‫‪ɰ‬‬ ‫ ‪Ōƃǿƃŵ‬‬ ‫‪ōşǷǔƓŐǶ‬‬ ‫‪ ɐǳƲǔǈǘǕŌ ŦōǿŌǷǤǕŌ ǛǙ ƉǿǷƚŨǕŌ‬‬ ‫‪ ɐŧǃǷǕŌ ƑƲǝ ǽƳ ǳżşƉǙ ōǤǜǈǕ‬‬ ‫‪ǚǶƉǾŬǈǕŌ ǣǉƈƃǿ ǗǕ ōǙ ǷǥǶ‬‬ ‫‪ ǛǾȂƗōǜǕŌ ǛǿƈǷƚǘǕŌ ŻƚǝŐ‬‬ ‫‪ ŦōǾǜǂũ ǗǔƪŨş ǖōǘŨǥȍōş‬‬ ‫‪ ŧǃǶ ǽƳ ǳŴǕōƪǘǕŌǶ ƉǿǷƚŨǕŌ‬‬ ‫‪ mƃŽŌǶ‬‬

‫أﺧﺬ ﻣﺴﺘﻮاي ﰲ اﻟﺘﺼﻮﻳﺮ ﻳﺘﻄﻮر‪ ،‬ﰲ اﻟﻮﻗﺖ‬ ‫اﻟﺬي ﺗﺨﲆ ﻓﻴﻪ ﺻﺪﻳﻘﻲ ﻋﻦ ﻫﺬه اﻟﻬﻮاﻳﺔ"‪.‬‬ ‫وﻳﻀﻴﻒ اﻟﺤﻮﺳﻨﻲ‪ :‬اﻟﺒﻌﺾ وﺑﺎﻟﺮﻏﻢ ﻣﻦ‬ ‫ﻋﺸﻘﻬﻢ ﻟﻠﺘﺼﻮﻳﺮ ﴎﻋــﺎن ﻣﺎ ميﻠﻮن ﻣﻨﻪ‬ ‫ﻋﻨﺪﻣﺎ ﻳﺸﻌﺮون ﺑﺄﻧﻬﻢ ﻗﺪﻣﻮا ﻛﻞ ﻣﺎ ﻟﺪﻳﻬﻢ‪،‬‬ ‫ﻫﺬه اﻟﺤﺎﻟﺔ ميﺮ ﺑﻬﺎ اﻟﻜﺜريون ﻣﻤﻦ ﺑﺪأوا‬ ‫ﻣامرﺳﺔ اﻟﺘﺼﻮﻳﺮ اﻟﻀﻮيئ‪ ،‬ﺣﻴﺚ ﻳﱰﻛﻮن ﻫﺬه‬ ‫اﻟﻬﻮاﻳﺔ وﻳﺘﺠﻬﻮن ﳌامرﺳﺔ ﻫﻮاﻳﺔ أﺧﺮى‪،‬‬ ‫وﻣﻦ ﻫﻨﺎ ﻧﺠﺪ أن ﻣﻦ ﻳﺤﻤﻠﻮن آﻻت ﺗﺼﻮﻳﺮ‬

‫ﻛرث‪ ،‬ﻟﻜﻦ ﻣﻦ ﻳﺘﻘﻨﻮن اﺳﺘﺨﺪاﻣﻬﺎ ﻳﻌﺪون‬ ‫ﻋﲆ اﻷﺻﺎﺑﻊ"‪.‬‬ ‫اﺳﺘﻤﺮ اﻟﺤﻮﺳﻨﻲ ﰲ ﺷﺤﺬ ﻣﻬﺎراﺗﻪ ﰲ ﻣﺠﺎل‬ ‫اﻟﺘﺼﻮﻳﺮ اﻟﻔﻮﺗﻮﻏﺮاﰲ‪ ،‬ﻣﻦ ﺧﻼل اﻟﺒﺤﺚ‬ ‫ﰲ ﻣﻮاﻗﻊ اﻹﻧﱰﻧﺖ اﳌﺘﺨﺼﺼﺔ وﻣﺸﺎﻫﺪة‬ ‫اﳌﻘﺎﻃﻊ اﳌــﺼــﻮرة ﻋﲆ ﻣﻮﻗﻊ اﻟﺘﻮاﺻﻞ‬ ‫اﻻﺟﺘامﻋﻲ اﻟﻴﻮﺗﻴﻮب‪ ،‬ﻳﻘﻮل اﻟﺤﻮﺳﻨﻲ‪:‬‬ ‫"رﺣﻠﺔ اﻟﺘﻌﻠﻢ ﰲ ﻋﺎمل اﻟﺘﺼﻮﻳﺮ اﻟﻔﻮﺗﻮﻏﺮاﰲ‬ ‫ﻻ ﺗﻨﺘﻬﻲ‪ ،‬ﻓﻜﻞ ﻳﻮم ﻳﺸﻬﺪ ﺗﻘﻨﻴﺔ ﺟﺪﻳﺪة‬

‫وأﺳﻠﻮﺑﺎً ﺟﺪﻳﺪاً‪ ،‬وﻣﻦ ﻫﻨﺎ ﻳﺠﺐ ﻋﲆ اﳌﺼﻮر‬ ‫اﳌﺘﺎﺑﻌﺔ اﳌﺴﺘﻤﺮة ﻟﻜﻞ ﺟﺪﻳﺪ‪ ،‬واﻟﻌﻤﻞ ﻋﲆ‬ ‫ﺗﻄﻮﻳﺮ ﻣﺴﺘﻮاه‪ ،‬وذﻟﻚ ﻟﻴﱰك ﻟﻨﻔﺴﻪ ﺑﺼﻤﺔ‬ ‫ﻣﻤﻴﺰة ﰲ ﻫﺬا اﻟﻌﺎمل ﺷﺪﻳﺪ اﳌﻨﺎﻓﺴﺔ"‪.‬‬ ‫مل ﻳﺸﺄ اﻟﺤﻮﺳﻨﻲ أن ﺗﺒﻘﻰ ﻋﻼﻗﺘﻪ ﺑﺎﻟﺘﺼﻮﻳﺮ‬ ‫ﻣﺠﺮد ﻋﻼﻗﺔ ﻫﺎو وﻫﻮاﻳﺔ‪ ،‬ﺑﻞ أراد أن ﻳﻨﺘﻘﻞ‬ ‫ﻟﻴﺠﻌﻞ ﻣﻨﻬﺎ ﻋﻤ ًﻼ اﺣﱰاﻓﻴﺎً‪ ،‬وﻋﻦ ﻫﺬا ﻳﻘﻮل‪:‬‬ ‫"اﻟﺘﺼﻮﻳﺮ ﻣﻦ اﻟﻬﻮاﻳﺎت اﳌﻜﻠﻔﺔ‪ ،‬ﻟﻜﻨﻬﺎ ﻣﺮﺑﺤﺔ‬ ‫ﰲ ﻧﻔﺲ اﻟﻮﻗﺖ‪ ،‬وﻫﻮ ﻣﺎ مل ﻳﺪرﻛﻪ اﻟﻜﺜريون‪،‬‬ ‫ﻓﺒﺎﻟﺮﻏﻢ ﻣﻦ أن اﳌﻌﺪات ﻣﺮﺗﻔﻌﺔ اﻟﺜﻤﻦ‪،‬‬ ‫ﻟﻜﻨﻬﺎ ﻗﺎدرة ﻋﲆ در ﻣﺒﺎﻟﻎ ﻣﺎﻟﻴﺔ ﺟﻴﺪة‪ ،‬إذا‬ ‫ﻣﺎ أﺣﺴﻦ اﳌﺼﻮر اﺳﺘﺨﺪاﻣﻬﺎ‪ ،‬وﻫﺬا ﻣﺎ ﻗﻤﺖ‬ ‫ﺑﺘﻄﺒﻴﻘﻪ‪ ،‬وﺧــﻼل ﻣﺪة ﻗﺼرية اﺳﺘﻄﻌﺖ‬ ‫اﺳﱰداد ﻗﻴﻤﺔ ﺗﻜﻠﻔﺔ اﳌﻌﺪات ﺑﺎﻹﺿﺎﻓﺔ إﱃ‬ ‫اﻟﺸﻌﺮ ‪baytelshear‬‬ ‫ﺑﻴﺖ ِ‬

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‫‪ŝŃĬěŕ‬‬

‫‪ɳ‬‬ ‫‪ ǲƈǷƚǕŌǶ ŋǷƞǕŌ ƩǙ ǓǙōƪŨǕŌ ǛƳ ǛǂũŐ‬‬

‫ﺣﺴﻴﻦ اﻟﺤﻮﺳﻨﻲ‪ŦŌƈōǙȑŌ ǽǜƣǷǕ ǓǾǘŴǕŌ ƂƈŐ ǚŐ ŻǘƣŐ :‬‬

‫ﻣﺼﻄﻔﻰ ﺟﻨﺪي‬

‫ﻗﺎﻟﻮا ﻗﺪميﺎً‪ :‬ﻗﻞ ﱄ ﻣﻦ ﺗﺼﺎﺣﺐ أﻗﻞ ﻟﻚ ﻣﻦ‬ ‫أﻧﺖ‪ ،‬أﻣﺎ اﻟﻴﻮم ﻓﻠﻴﺲ ﻣﻦ اﻟﻐﺮﻳﺐ أن ﻧﻘﻮل‪:‬‬ ‫"أرين ﺣﺴﺎﺑﻚ ﻋﲆ اﻻﻧﺴﺘﻐﺮام‪ ،‬أﻗﻞ ﻟﻚ ﻣﻦ‬ ‫أﻧﺖ"‪ ،‬ﻫﺬا اﻟﻘﻮل ﻳﻨﻄﺒﻖ متﺎﻣﺎً ﻋﲆ ﻣﺒﺪﻋﻨﺎ ﰲ‬ ‫ﻫﺬا اﻟﻌﺪد‪ ،‬ﻓﻠﻴﺲ ﻋﻠﻴﻚ إﻻ أن ﺗﻘﻮم ﺑﺠﻮﻟﺔ‬ ‫ﻗﺼرية ﰲ ﻣﺠﻤﻮﻋﺘﻪ اﳌﺼﻮرة‪ ،‬ﻟﺘﻜﺘﺸﻒ أﻧﻚ‬

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‫اﻟﻌﺪد ‪ ، 70‬ﺳﺒﺘﻤﺒﺮ ‪2018‬‬

‫ﰲ ﺣﴬة ﻣﺒﺪع أﺗﻘﻦ ﻓﻦ اﻟﺘﻌﺎﻣﻞ ﻣﻊ اﻟﻀﻮء‪،‬‬ ‫وأﺑﺪع ﰲ اﺧﺘﺼﺎر اﻟﺰﻣﻦ‪ ،‬إﻧﻪ اﳌﺼﻮر اﻹﻣﺎرايت‬ ‫ﺣﺴني ﻣﺤﻤﺪ اﻟﺤﻮﺳﻨﻲ‪ ،‬اﻟﺬي ﺟﻤﻊ ﺑني‬ ‫ﺣﺒﻪ ﳌﺸﺎﻫﺪ اﻟﻄﺒﻴﻌﺔ وﺣﺒﻪ ﻟﻠﺘﺼﻮﻳﺮ‪ ،‬أﺣﺐ‬ ‫ﻳﻮم ﺑﻼده ﻓﺎﺧﺘﴫه ﰲ دﻗﻴﻘﺔ‪ ،‬ﻣﺠﻠﺔ ﺑﻴﺖ‬ ‫اﻟﺸﻌﺮ اﻟﺘﻘﺖ ﺣﺴني اﻟﺤﻮﺳﻨﻲ ﻓﻜﺎن ﻣﻌﻪ‬ ‫ﻫﺬا اﻟﺤﻮار‪:‬‬ ‫مل متﺾ ﺳﻨﻮات ﻃﻮﻳﻠﺔ ﻋﲆ ﺗﻌﻠﻖ ﺣﺴني‬

‫ﺑﺎﻟﺘﺼﻮﻳﺮ اﻟﻀﻮيئ‪ ،‬ﻟﻜﻦ ﻫــﺬه اﻟﺴﻨﻮات‬ ‫ورﻏﻢ ﻗﻠﺘﻬﺎ ﻛﺎﻧﺖ ذاﺧﺮة ﺑﺎﻹﺑﺪاع‪ ،‬وﻋﻨﻬﺎ‬ ‫ﻳﻘﻮل اﻟﺤﻮﺳﻨﻲ‪" :‬ﺑﺪأت رﺣﻠﺘﻲ ﻣﻊ اﻟﺘﺼﻮﻳﺮ‬ ‫اﻟﻔﻮﺗﻮﻏﺮاﰲ ﻋﺎم ‪ ،2013‬ﺣﻴﺚ ﻛﻨﺖ ﻣﻔﺘﻮﻧﺎً‬ ‫ﺑﺎﳌﻨﺎﻇﺮ اﻟﻄﺒﻴﻌﻴﺔ واﻟﻌﻤﺮاﻧﻴﺔ ﰲ دوﻟﺔ‬ ‫اﻹﻣﺎرات اﻟﻌﺮﺑﻴﺔ اﳌﺘﺤﺪة‪ ،‬ومبﺴﺎﻋﺪة أﺣﺪ‬ ‫أﺻﺪﻗﺎيئ اﻟــﺬي ﻋﻠﻤﻨﻲ ﻣﺒﺎدئ اﻟﺘﺼﻮﻳﺮ‬ ‫اﻟﻀﻮيئ‪ ،‬ﺑﺪأت أﻟﺘﻘﻂ اﻟﺼﻮر‪ ،‬وﻳﻮﻣﺎً ﺑﻌﺪ ﻳﻮم‬

тАля║О╪ктАм,,тАля║Оя╗ЛтАм,,тАля╗итАм,,тАля╗ЧтАм ┬д@@ @)b@@ @┬┐(┬░* ┬У@@┬Ы@ c@ D* ┬Ц@@j@ E @@z@ ┬М@ ┬ЫQ @ D* f@@<b@@┬Ы@ B b@@┬Ю@+ xQ @ @~@ @}@ @- ┬░ b@@ @┬Ю@ @ + ┬З@@┬М@ ┬Ы@ - b@@ @E ┬Эb@@ @ @ @ @ C ┬Э* ┬д@@)b@@┬А@ D* ┬оb@@ @ 0 ┬Я@@c@ ~@ {@ J ┬Д@@ @ ┬▓* d@@~@ z@ ┬л ┬░ b@@ @┬Ю@ @ +4Q 2H b@@ ┬Ю@ @+wQ @ @G h@@ @ @ @ @ B┬б@@ D* ┬в@@ ┬Х@ @< ┬У@@~@ z@ ┬М@ F ┬д@@)b@@┬Ы@ D* t@@Eb@@~@ {@ D* r┬б@@┬Ш@ ┬А@ Db@@J ┬д@@ -2b@@ < ┬Ь@@ E b@@ ┬Ю@ @ +xQ @ @ =*H b@@ @┬Ю@ @ Bx@@ @~@ @ 7&* ┬╖b@@ @ @ ┬г@ @ @ @┬Х@ @D* 2┬б@@ @ @ ~@ @6 ┬д@@)b@@┬А@ 1&* ┬Ь@@ E ┬Щ@@ ┬ХQ @ @┬Ж@ @-&* h@@ B┬б@@ D* ┬З@@ E *w@@ @ @ D b@@┬Ю@+ xQ @ @ ┬П@ @ -O f@@┬А@ ┬Х@ ┬Й@ D* *3* f@@<b@@m@ ~@ 7 ├Д@@ @ @ C*H ┬д@@ @ )*v@@ @ <&*H ┬д@@ @ <┬б@@ @ +4H @@ 6b@@ ┬Ы@ @ D* y@@ @ ┬гQ @ @ E* b@@ @ E b@@┬Ю@+ xQ @ @ @ @ E&* ┬д@@ @┬ХQ @ @ D* ├Н@@┬Ы@ ~@ z@ D* ┬ОHx@@ ┬Г@ @ @ @+ ┬░Q * ┬д@@ )*┬б@@ /&* ┬Ь@@ < ┬д@@Bb@@┬Ю@ D* ,┬б@@┬П@ G iv@@ <b@@ + ┬Э*H Q @ D d@@┬Ж@ ~@@Q |@ D* ┬в@@┬Х@ < b@@ @ @ @ B4&* b@@┬Ю@ +xQ @ B&* ├Б* ├Н@ ┬д@@)*v@@~@ 8&* ┬Ь@@< ┬З@@┬Ш@~@z@- ex@@┬Ж@ D* ┬Щ@@┬Ю@ E ┬б@@G b@@E b@@ ┬Ю@ +xQ @ ~@ 6&* ┬Ь@@ ┬Т@ ├В ┬░ 4*x@@ @ @ ~@ @ @ @6&* ┬д@@ @E├Й@@ @0&* ┬д@@ @ @ @)*4%* ┬Ь@@ @ < ┬У@@ @ D ├Д@Q @ @ @ @ <&* ┬б@@ @ @ D b@@ @ @ @ F&* *w@@ @ @G b@@┬Ю@ + xQ @ @ @ @ @0H b@ O @ ┬г@ @ Fv@@ D* ┬п ib@@ <b@@ ┬Ы@ @ B ┬еv@@ @┬Ы@ @ < ┬д@@)b@@┬П@ ┬Х@ -H ,x@@ @┬А@ @ ┬М@ @ D* ┬в@@ ┬Х@ @< ┬д@@┬Ж@ ┬г@ c@ : b@@ @ @ @F&* R @@ @6b@@ @┬Ы@ @ D* r4b@@ @ @~@ @ @ 8*H b@@ @┬Ю@ @ +xQ @ @ /&* ├Б(* ┬Ц@@ @ @┬▒ ┬д@@)*┬б@@~@ {@ < ┬Ц@@┬Т@ ~@ {@ + ,b@@ ┬г@ @┬▓* @@ {@ @┬г@ @<&* d@@ @ @0*H b@@ @┬Ю@ @ +xQ @ @ 1&* b@@ @ @ ┬Ю@ @ @ @c@ @ @ @-Q 4&* h@@ ┬г@ @/ *3* ├Б&┬░

baytelshear тАл╪зя╗Яя║╕я╗Мя║отАм ┘Р тАля║Ся╗┤я║ЦтАм

тАля║зя╗ая╗┤я╗Фя║Ф ╪зя╗Яя╗Ья╗Мя║Тя╗▓тАм @alkaabikhalifa

ĘıĘŕ

‫ﺟﻤﺎل ﺑﻨﺪر‬ @ JamalBander

‫أم اﻟﺠﻤﺎل اﻟﺴﺎﻃﻲ‬ @@ @«x@@ @- @@ @F¡@@ @£@ @ < @@ @ @E ¤@@ @ @ @ @D* @@ @ @<¡@@ @ @E2 @@ £@ @ Fb@@ ²* 2Hv@@ @ @ @ @ @ ³* 4¡@@ @ @ @ F ¢@@ @ @ @ < y@@ @ @ @ @ @ -H @@ @p@ @ @ @ D* b@@ @ @~@ @ @ 6 ° ¡@@ @ @ @ @ B* x@@ @ @ @ B @@ @ @ @ F° @@ @£@ @ Fb@@ @. x@@ @ @ @ @ @E @@ @~@ @ {@ @ @ @ J x@@ @ @ @ @ @ @ @ @ D* b@@ @ @ @ @ @< @@p@ F ¤@@ @ ~@ z@ / * Ñ*H v@@ @ @ @ + 4b@@ @ @ F ¯ @@ £@ @Fb@@ / M4b@@ @ @ @ @ @ F @@ @ @ ~@ @ @ 6H ·b@@ @ @ @£@ @ @ @ D* h@@ @~@ @ {@ @ < @@ @p@ @ ´* *3 ¯ @@ @ @ @ @+b@@ @ B* ° @@ @c@ @ B ¢@@ @g@ @ 0 @@ @ £@ @ @Fb@@ @ +y@@ @ D* @@ @ @ @E M2x@@ @ @ @ @ @ @: v@@ @ @ @ @+ @@ @ g@ @ £@ @ / pg~zJ ¤@@ @ @D* ¤@@ :b@@ ~@ z@ D* b@@ @ @ @ ±* * b@@ @J @@ £@ @Fb@@ . @@ @ @ @ AR e¡@@ @ @ @ @ @ @ @D* i*x@@ @ ~@ @ @{@ @ @< b@@ @ @ @ @ @ B* " @@ @p@ @ g@ @ @ @ LE °H v@@ @ @~@ @ @ 8 *w@@ @ @ @ G @@ @ @ /¡@@ @ @ D* @@ @ @ £@ @ @ F%* °H Í@@ @ @ @ @< ¥3 @@ @ @ @ @ @ @ @ ~@ @ @ @ 6*¡@@ @ @ @D*H @@ @ « @@ @ @ @ @±b@@ @ A 4¡@@ @ @ @ @ ²* * q@@ @ @~@ @ @ 9*¡@@ @ @D* @@ @£@ @ Fb@@ @ @ @ D* b@@ @ @£@ @ @ ²b@@ @ @A ¤@@ @g@ @ £@ @ / ¡@@ @ @ @ @ @ ~@ @ @ 7H @@ p@ @ @ D ·¡@@ @ @ @ @ B @@ @ p@ @ @F @@ @ @ D¡@@ @ @ 0 4Hv@@ @ @ @ @ @ J @@ @ @£@ @ @ F*2 ¡@ M @ @ @ @ @ @ @ @ @B °H @@ @ @ £@ @ @ @04 Áb@@ @ @ @ @ @E @@ @ 05 x@@ @Gb@@ @ @ @ D* d@@ @C¡@@ @C @@ @D¡@@ @0 4Hv@@ @ @ @ @JH @@ £@ Fb@@ . v@@ @ @ @ 0H @@ z@ @ @ @~@ @{@ @D* * @@ @ @D ·¡@@ @ @ @B

2018 ‫ ﺳﺒﺘﻤﺒﺮ‬، 70 ‫اﻟﻌﺪد‬

‫‪Md@@ @£@ @ = rb@@ @ g@ @ @ @ @ @E I¡@@ @ @ @ @ @ @ @ D* P,x@@ @ @ ~@ @ @ @8b@@ @ @ ³‬‬ ‫‪K‬‬ ‫‪¤@@0¡@@ @ / b@ @ @ @ @ @g@ @º qO @ @ @ @ @ @ D* Áb@@ @c@ @ ~@ @ 6‬‬

‫وﺣﺪﻫﺎ اﻟﺼﻼة ﺗﺪﻋﻮ اﻟﺮوح إﱃ اﻟﱰﻳﺚ‪ ،‬دواء ﳌﻘﺎوﻣﺔ ﺟﻨﻮن اﻟﺜﺄر‬ ‫اﻟﺬاﻫﺐ ﻧﺤﻮ اﻟﻘﺎع‪ ،‬متﺴﻚ اﻟﺸﺎﻋﺮة ﺑﺨﺎﴏة اﻟﻬﻮى‪ ،‬ﻟﻜﻦّ ﻣﻔﺘﺎح‬ ‫اﻟﻐﻴﺐ ﻓﺘﺢ اﻟﺴﺒﻲ ﻋﲆ ﻣﴫﻋﻴﻪ‪ ،‬ﻓﻼ ﻳﺪ اﻟﻨﺠﺎة ﺗﺘﺪﱃ‪ ،‬وﻫﺬا اﻟﻘﻤﺢ‬ ‫وﻛﻞ اﳌﺂذن ﱡ‬ ‫ﻳﺨﺘﻄﻒ اﻟﺠﻤﻮح إﱃ ﻫﺎوﻳ ٍﺔ أﺧﺮى‪ ،‬أﻳﻦ اﳌﻔﺮ‪ ،‬ﱡ‬ ‫ﺗﻄﻞ ﻋﲆ‬ ‫اﻟﺠﺮوح؟‪.‬‬ ‫‪ɱ‬‬ ‫‪ɴ ƔǶƃƁ‬‬ ‫ ‪ǺƉũ ȍ‬‬

‫ّ‬ ‫اﳌﺘﺸﻈﻲ ﻣﻦ اﳌﻮت‬ ‫ﻋﲆ ﺟﺮاﺣﻪ‪ ،‬ﻟﻜﻨّﻪ ﻟﻦ ﻳﺴﺘﻄﻴﻊ اﺳﺘﻌﺎدة وﺟﻬﻪ‬ ‫ﺻﺒﺢ ﺗﴩق ﻓﻴﻪ اﻟﺸﻤﺲ؟‪ ،‬وأيﱡ ﻣﺮآ ٍة ﺳﺘﴤء ﻋﺘﻤﺔ‬ ‫اﻟﻄﻮﻳﻞ‪ ،‬ﻓﺄيﱡ‬ ‫ٍ‬ ‫ﻫﺬا اﻟﻘﻠﺐ؟‪.‬‬ ‫ﺗﻨﺎوﻟﺖ اﻟﺸﺎﻋﺮة ﻓﻜﺮﺗﻬﺎ ﻣﻦ ﺟﻮﻫﺮ ﻛﻴﺎﻧﻬﺎ‪ ،‬أﻻ وﻫﻮ اﻟﻘﻠﺐ اﻟﻨﺎﺑﺾ‬ ‫ﺑﺎﻟﺪﻣﺎء‪ّ ،‬‬ ‫ﻷن اﻟﻘﻠﺐ ﻫﻮ " دﻳﻨﻤﻮ" اﻟﺠﺴﺪ‪ ،‬إذا ﺗﻮﻗﻒ‪ ،‬ﻓﻘﺪ ﺗﻮﻗﻔﺖ‬ ‫اﻟﺤﻴﺎة‪ ،‬ﻓﻠﻴﺴﺖ اﳌﺮآة ﻫﻲ ﻓﻘﻂ اﻧﻌﻜﺎﺳﺎً ﻟﺼﻮرﺗﻨﺎ ﻓﻴﻬﺎ‪ ،‬ﺑﻞ‪ ،‬ﻫﻲ‬ ‫ﻃﻴﺶ‬ ‫أﻳﻀﺎً اﻧﻌﻜﺎس ﻟﻠﺤﻴﺎة اﻟﻬﺸﺔ اﻟﺘﻲ ﻣﻤﻜﻦ أن ﺗﻨﻜﴪ ﰲ ﻟﺤﻈﺔ ٍ‬ ‫ﻣﺎ‪ّ ،‬رمبﺎ‪ ،‬ﻳﻮم ﻛﴪت اﳌﺮآة‪ ،‬ﻫﻮ ﺗﻔﺴري آﺧﺮ ﳌﻌﻨﻰ اﻻﻧﺘﺤﺎر‪ ،‬واﻟﺪﻻﻟﺔ‬ ‫ﻋﲆ رﻓﺾ اﻟﺤﻘﻴﻘﺔ اﻟﺒﺸﻌﺔ‪ ،‬واﻻﺳﺘﺴﻼم ﻟﻠﺤﻤﻞ اﻟﺜﻘﻴﻞ اﻟﺬي أدﻣﻰ‬ ‫ﻛﺎﻫﻞ اﻟﻨﻔﺲ‪.‬‬

‫ّإن أﺻﻌﺐ اﻟﺨﺪوش ﺗﻠﻚ اﻟﺘﻲ ﻻ ُﺗﺮى‪ّ ،‬‬ ‫ﻛﺄن ﺟﻴﻮﺷﺎً ﺗﺘﻜﺎﺛﺮ ﻓﻴﻚ‪،‬‬ ‫يك ﺗﻌﻠﻦ ﺣﺮﺑﻬﺎ اﻟﺨﻔﻴﺔ‪ .‬ﺷﻌﻮر ﻣﻀﻤﺮ ﰲ اﻟﻬﻮاء اﻟﻄﻠﻖ‪ ،‬ﻫﻮ درب‬ ‫اﻟﻐﺮﻳﺒﺔ ﻛام ﺗﻘﻮل‪ ،‬ﰲ إﺣﺪى ﻗﺼﺎﺋﺪﻫﺎ‪ ،‬ﻓﻤﻦ اﻟﺨﺪوش ﺗﺒﺪأ رﺣﻠﺔ‬ ‫اﻻﻏﱰاب اﳌﺮﺋﻴﺔ‪ ،‬وﻣﻦ ﺳﺆال‪َ :‬ﻣﻦ أﻧﺎ ؟ وﺻﻮﻻً إﱃ ﺟﻮاﺑﻬﺎ اﻟﺸﻌﺮي‪:‬‬ ‫"ﻏﺮﺑﺎء ﻣﻦ وﺟﻊ"‪ ،‬ﺗﻘﻮل‪:‬‬ ‫‪fcJx D* d B w £D ¤-&b£~6‬‬ ‫‪ x ~zD* $b < P £A rb-ÌD‬‬ ‫*&<‪ f £ ²* /H N ~8&° Áv‬‬ ‫‪fc£c0 E bEH Md£c0 E b A‬‬ ‫‪fR cJx D* Pe¡j+ dJx= DH‬‬ ‫‪L‬‬ ‫ﺗﺴﺘﻘﺮ ﻋﺒﻠﺔ ﰲ ﻫﺬا اﻟﻐﻤﻮض اﻟﺬي ﻳﻘﻮد اﻟﺤﻘﻴﻘﺔ إﱃ اﻻﻧﻌﻜﺎس‬ ‫ّ‬ ‫اﻟﻜﲇ‪ ،‬ﻻ ﺗﻌﺮف ﻣﻦ اﻟﻈﻼل ذات اﻟﺨﺪوش اﻟﻜﺜرية ﺳﻮى ﻋﺘﻤﺘﻬﺎ‪،‬‬ ‫ﻳﺮﺗﺪﻳﻬﺎ ﺛﻮب اﻟﻐﺮﻳﺒﺔ ﺣﺘﻰ ﺗﺼﻔﻊ وﺟﻪ ﺣﻘﻴﻘﺘﻬﺎ ‪ /‬ﻣﺮآﺗﻬﺎ‪ ،‬ﺑﻜﻠﻤﺔ‬ ‫اﻟﺮﻓﺾ ﺗﻠﻚ‪ :‬ﻻ‪....،‬‬ ‫ٌ‬ ‫ﺧﺪوش ﻛﺄ ّﻧﻬﺎ ﺧﻴﻮط‬ ‫اﳌﺮآة ﻻ ﺗﻌﻜﺲ ﺷﻴﺌﺎً وﺳﻂ اﻟﻈﻼم اﻟﻜﺜﻴﻒ‪.‬‬ ‫اﻟﻌﻨﻜﺒﻮت ﻋﲆ اﳌﻼﻣﺢ اﳌﻬ ّﻤﺸﺔ‪ٌ ،‬‬ ‫ﻫﺒﻮط ﻣﺘﺴﻠﺴﻞ ﻋﲆ ﻗﺎرﻋﺔ اﻟﻮﺟﻊ‪،‬‬ ‫ﻫﻜﺬا ﻛﺎن ﻣﻮﻋﺪﻫﺎ ﻣﻊ اﻟﻔﻨﺎء‪.‬‬

‫ﻫﻲ ﻟﺤﻈﺔ اﻟﻜﺸﻒ‪ ،‬واﻗﺘﺤﺎم اﳌﺮيئ اﳌﺴﺠﻰ ﻛﺎﳌﺎء‪ ،‬ﻻ ﺗﻔﺴري ﻟﻪ‪ ،‬ﻓﻬﻞ‬ ‫ﺗﺴﺘﻄﻴﻊ أن ﺗﺰﻳﻞ ﺳﺘﺎﺋﺮه اﳌﺒﻠﻠﺔ ﺑﺎﻟﺪم؟‪ ،‬ﺗﻘﻊ ﰲ ﺣﺼﺎر اﻷﺳﺌﻠﺔ‪ ،‬ﻛام‬ ‫ﻗﺎﻟﺖ ‪" :‬ﺣﺼﺎ ٌر ورايئ ‪...‬ﺣﺼﺎ ٌر ﻳﺤﺎﴏ ﻓﻴﻨﺎ اﻟﺤﺼﺎر"‪ ،‬وﺗﴩب ﺟﺮﻋﺎت‬ ‫اﻟﺮﺣﻴﻞ ﻟﺘﺤﻠﻢ مبﺼ ٍري آﺧﺮ‪ ،‬ﺗﻘﻮل ‪:‬‬ ‫‪O‬‬ ‫(¶ *‪ ¡~8¡D* vJ4&* ix~6 z ~{D‬‬ ‫*‬ ‫‪K‬‬ ‫*&‪ R É D* *w D b<b ~7 OvJ4‬‬ ‫*&‪O ,K b£0 OvJ4‬‬ ‫ ‪¤ p+ £ -‬‬ ‫‪ R bF&°* £ < ¤ Q ~|JO K*v¸H‬‬ ‫ﻻ ﺿري ﰲ اﻟﺤﻠﻢ ﺣﺘﻰ ﻟﻮ ﻛﺎن ﺻﻌﺒﺎً‪ ،‬ﻣﺎ زاﻟﺖ ﺗﱰﻗﺐ ذاك اﻟﻀﻮء‬ ‫اﻟﺬي ﻏﺎب ﰲ ﺣﻄﺎم اﳌﺮآة‪ ،‬ﻛﺄ ّﻧﻬﺎ ﺗﺪﺧﻞ ﰲ ﴎداب ﻃﻮﻳﻞ‪ ،‬ﺗﺒﺤﺚ‬ ‫ﻋﻦ ذا ِﺗﻬﺎ‪ ،‬إذ ﺗﺒﴫ وﺟﻬﻬﺎ ﺛﺎﻧﻴ ُﺔ‪ ،‬ﻓﺈ ّﻧﻬﺎ ﺗﺴﺘﻌﻴﺪ ﻣﺮآة اﻟﺤﻘﻴﻘﺔ اﻟﻨﻘﻴﺔ‪،‬‬ ‫ﻓﻠﺘﺴﻘﻂ ﻛﻞ اﻷﻗﻨﻌﺔ ﻋﲆ ﺳﻠﻢ اﻷﺣﻼم‪ ،‬مل ﺗﻌﺪ ﺗﺤﺘﺎج إﱃ ﻣﺴﺎﺣﻴﻖ‬ ‫أﺧﺮى‪ ،‬ﻟﺘﻌﻴﺪ ﻧﻀﺎرة اﻟﻮﺟﻪ اﳌﻜﺴﻮر‪ ،‬ﺑﻞ‪ ،‬إ ّﻧﻬﺎ ﺗﻨﺒﺶ ﺑﺎﳌﻨﺎم‪ ،‬يك ﺗﻨﻈﺮ‬ ‫إﱃ اﳌﺴﺘﻘﺒﻞ ﺑﻌني اﻟﺤﻠﻢ‪ ،‬ﻣﺎ زاﻟﺖ ﺗﺆﻣﻦ ﺑﺎﺳﺘﻌﺎدة اﻟﻮﺟﻪ اﻵﺧﺮ‬ ‫اﻟﺬي ﻻ ميﻜﻦ أن ﻳﻨﻜﴪ‪.‬‬

‫‪ɱ‬‬ ‫‪ ƉƁȓŌ ǣŵǷǔǕ ǲŔƉǙ‬‬

‫‪ɶ‬‬ ‫‪ǳǾƦƗ ƉƁŔ ǻŨŽ‬‬

‫ﻛﺘﺒﺖ وﺻﻴﺔ اﻟﻮﺟﻪ اﻷول ﻋﲆ ﺷﻈﺎﻳﺎ اﻟﺮﻣﺎل‪ ،‬ﻫﻨﺎ‪ ،‬ﻳﻜﻤﻦ اﻻﺧﺘﻼف ﰲ‬ ‫اﻟﻮﺟﻪ اﻵﺧﺮ اﻟﺬي ﻳﺒﺤﺚ ﻋﻦ ﻣﺮآﺗﻪ‪ ،‬ﻫﻞ ﻫﻮ اﻧﺒﻌﺎث ﺟﺪﻳﺪ أم ﻫﻮ‬ ‫اﻧﻜﺴﺎر؟‪ ،‬ﰲ ﺣﺎﻟﺔ اﻟﺘﻴﻪ‪ ،‬ﺗﺼﺎب اﻟﺸﺎﻋﺮة ﺑﺎﻟﻨﺴﻴﺎن ﺣني ﺗﺴﻘﻂ ﻣﻨﻬﺎ‬ ‫ذاﻛﺮة اﻟﻮﺟﻪ اﻷول‪ ،‬ﺗﻘﻮل ‪:‬‬ ‫‪É@@ £@ @ @ @B b@@ @ @ @ £@ @ @ @ 0&* &* %°* Oh@@ @ £@ @ @~@ @ @z@ @ @F‬‬ ‫‪É@@ J¡@@ : Kb@ @ @ @-¡@@ @ @ E H&* q@@ @c@ @ ~@ @ |@ @ D* @@ @£@ @ c@ @ B‬‬ ‫<@ @ @ @ @@‪Ob@ @ @ @ @ @05 Oh@@ @ @ @ £@ @ @ @ -&* rb@@ @ @ @ Jx@@ @ @ @ D* Ç@@ @ @ E ¢‬‬ ‫‪K‬‬ ‫‪É@@ £@ @ @ @. *3¡@@ @ @ @c@ @ @ @ @ @ @ @ E d@O @ @ @ @ @ @ @ @ @ @ @D* $b@@ @ @ @ @ @ @ /H‬‬

‫أﻋﻠﻨﺖ اﻟﺴﻘﻮط اﻷﺧري ﰲ ﻫ ّﻮ ِة اﻟﻔﺮاغ‪ ،‬أن ﺗﻜﻮن اﻟﺨﺎمتﺔ ﺗﺮاﺟﻴﺪﻳﺔ‪،‬‬ ‫ﻧﺪرك متﺎﻣﺎً ﺑﺸﺎﻋﺔ اﻟﴫاع اﻟﺬي ﺗﺨﻮﺿ ُﻪ ﺷﺎﻋﺮﺗﻨﺎ ﻣﻊ أﻧﺎﻫﺎ‪ ،‬ﻧﺼﻞ‬ ‫ﻟﺐ اﻟﻔﻜﺮة ﰲ اﻟﺴﺆال اﻷول‪ ،‬ﳌﺎذا ﻛﴪت اﳌﺮآة؟‪ ،‬واﻟﺠﻮاب‬ ‫ﻣﻌﻬﺎ إﱃ ّ‬ ‫اﻟﻜﺎﻣﻞ‪ ،‬ﻻ ﻧﺴﺘﻄﻴﻊ اﻟﻮﺻﻮل إﻟﻴﻪ‪ّ ،‬‬ ‫ﻷن ﻋﺒﻠﺔ ﺟﺎﺑﺮ ﺗﺮﻛﺖ ﺑﺎب اﻟﺴﺆال‬ ‫ﻣﻔﺘﻮﺣﺎً ﻋﲆ ﺗﺄوﻳﻞ آﺧﺮ‪ ،‬ﻻ ﺑ ّﺪ ﻣﻦ رﺳﺎﻟﺔ ‪ /‬وﺻﻴﺔ ﰲ ﻧﻬﺎﻳﺔ اﻷﻣﺮ‪،‬‬ ‫ﺗﱰك اﻟﻘﺎرىء ﻳﺒﺤﺚ ﻋﻨﻬﺎ ﺑني ﻛﻠامﺗﻬﺎ‪ ،‬ﺑﻌﺪ ﺳﻘﻮط آﺧﺮ اﻟﺸﻈﺎﻳﺎ اﻟﺘﻲ‬ ‫ﺟﺮﺣﺖ اﻟﻮﺟﻮد‪.‬‬ ‫· ‪bGv/&* µ ,L b£0‬‬ ‫¯ ‪ P b£³* Pib0bc~8‬‬ ‫‪ )b= Mx O‬‬ ‫‪< O$b~zE‬‬ ‫‪M‬‬ ‫‪ ·É; ¯ ¢ J¡ D* ¤~{Â‬‬

‫اﻟﻘﻠﺐ اﻟﺬي أﺛﻘﻠﺘﻪ اﻟﻬﻤﻮم‪ ،‬ﻛﴪ اﳌﺮآة يك ﻻ ﻳﺮى ﺻﻮرﺗﻪُ‪ ،‬ﻟﻮ ّأن‬ ‫ﺣﻴﺎﺗ ُﻪ ﻋﺎدﻳﺔ‪ ،‬ﳌﺎ اﺳﺘﻄﺎع ﻧﺴﻴﺎﻧﻬﺎ‪ ،‬ﻓﺮﻛﺐ اﻟﺮﻳﺎح يك ﻳﺮﺟﻊ زﺣﻔﺎً‬

‫‪ɻ‬‬ ‫ ‪ǲŔƉǘǕŌ ǻǕŒ ǒǷƁƃǕŌ‬‬

‫اﻟﺸﻌﺮ ‪baytelshear‬‬ ‫ﺑﻴﺖ ِ‬

‫‪75‬‬

‫‪ĮńĵŒ ŝŘ‬‬

‫‪ ƉƪƖǕŌ ǳǾǘǿƂōǉŐ Ǜƫ ōǤǝŌǷǿƂ ƈƃƛ‬‬

‫» ﻳﻮم ﻛﺴﺮت اﻟﻤﺮآة« ﻟـ ﻋﺒﻠﺔ ﺟﺎﺑﺮ ‪..‬‬ ‫ﺑﺎﺳﻞ ﻋﺒﺪاﻟﻌﺎل‬ ‫ﺗﺼﺎب ﺑﺤﺎﻟﺔ ﺳﻜﻨﺖ ﰲ اﻏﱰاب اﳌﺮاﻳﺎ‪ ،‬ﻛﺄ ّﻧﻨﺎ ﻧﺮى اﻟﻮﺟﻪ ﻳﺘﻤﻮج ﰲ‬ ‫ﴎ اﻟﻬﺸﺎﺷ ِﺔ ﰲ اﻟﺼﻼﺑﺔ‪ .‬ﺗﻘﻮل ‪:‬‬ ‫اﻧﻌﻜﺎﺳ ِﻪ‪ ،‬ﻳﺤﻨﻮ ﻋﲆ ذاﺗ ِﻪ‪ ،‬ﻳﺪرك ّ‬ ‫@‪N @@ @ @ @ @ @ @<HN ¤@@ @ @ Q @ @ @ @< Ä‬‬ ‫ @ @ @ @ @ @ @ @@‪N @ @ @ @ @ @ @ @ @ @ @ 1O&° N b‬‬‫‪ƂǷŵǷǕŌ źƉŴũ ōǿōƦƗ‬‬ ‫‪Ri¡@@ @ @ @ M É@@ @ @ @ @ @ @; @@ @ @ @E M v@@ @ @ @ @ @ @ @ EO @@ @ @ @ @ @ @<HN‬‬ ‫ﻳﻘﻊ دﻳﻮان " ﻳﻮم ﻛﴪت اﳌﺮآة" ﻟﻠﺸﺎﻋﺮة اﻟﻔﻠﺴﻄﻴﻨﻴﺔ ﻋﺒﻠﺔ ﺟﺎﺑﺮ‬ ‫ﰲ ‪ 140‬ﺻﻔﺤﺔ ﻣﻦ اﻟﻘﻄﻊ اﳌﺘﻮﺳﻂ‪ ،‬وﻳﻀﻢ ‪ 30‬ﻗﺼﻴﺪة ﻣﺘﻨﻮﻋﺔ <@ @ @@ *‪b@@ @ J*x@@ @ ´* Pe*Æ@@ @ @ @ @ @ @ =* 4b@@ @ ~@ @ @8 d@U @ @ @ @ @ ²‬‬ ‫‪Ri¡@@ @ @ @ ~@@T @ z@ @ D* *w@@ @ @ @ @ @ + ¤@@ @ -¡@@ @ ~@ @ 8 xN @ @ @ ~@ @ @ z@ @ @ C&°‬‬ ‫اﻷﻏﺮاض اﻟﺸﻌﺮﻳﺔ‪ ،‬ﺑني اﻟﻌﺎﻣﻮدي واﻟﺘﻔﻌﻴﻠﺔ‪ ،‬ﺗﻨﺎوﻟﺘﻬﺎ اﻟﺸﺎﻋﺮة ﺑﺸﻜﻞ‬ ‫ﻣﺘﺴﻠﺴﻞ ﺿﻤﻦ ﻋﻨﺎوﻳﻦ رﺋﻴﺴﺔ وﻫﻲ‪" :‬ﻣﺎ ﻗﺒﻞ اﳌِﺮآة‪ ،‬اﻟﺸﻈﻴﺔ اﻷوﱃ‪،‬‬ ‫ﻫﻲ ﻟﺤﻈﺔ اﻻﻋﱰاف إذن؟‪ .‬ﻟﺤﻈﺔ اﻟﻜﻼم ﻣﻊ اﻟﻨﻔﺲ‪ .‬دﺧﻮل إﱃ‬ ‫ٌ‬ ‫ﺧﺪوش ﻻ ُﺗﺮى‪ ،‬ﻣﺮآ ٌة ﻟﻠﻮﺟﻪ اﻵﺧﺮ‪ ،‬اﻟﺪﺧﻮل إﱃ اﳌﺮآة‪ ،‬ﺣﺘﻰ آﺧﺮ‬ ‫ﺟﻮﻫﺮ اﻟﺴﺆال اﻷول اﻟﺬي ﻳﺨﺘﻠﺞ ﰲ أﻋامق اﻟﺸﺎﻋﺮة‪ ،‬ﻗﺒﻞ اﳌﺮآة‪،‬‬ ‫ﺷﻈﻴﺔ"‪.‬‬ ‫ّرمبﺎ‪ ،‬ﻫﻲ اﻟﴩارة اﻷوﱃ ﰲ ﴏاع اﻟﻔﻨﺎء ﻣﻊ اﻟﻮﺟﻮد‪ ،‬ﻛﺄ ّﻧﻬﺎ ﺗﺠﻠﺲ‬ ‫ّإن اﳌﻄﻠﻊ ﺑﻌﻤﻖ ﻋﲆ ﻗﺼﺎﺋﺪ ﺟﺎﺑﺮ‪ ،‬ﻳﻠﺤﻆ ﺗﻌﺪد اﻷﺳﺒﺎب اﻟﺘﻲ أدت‬ ‫ﻋﲆ اﻟﻜﺮﳼ يك ُﺗﺨﺮج ﻣﺎ ﰲ ﻧﻔﺴﻬﺎ ﻣﻦ ﺗﺴﺎؤﻻت‪ ،‬أﻳﻦ اﻟﺤﺐ اﻟﺬي‬ ‫ورمبﺎ‪ ،‬ﻫﻲ اﻟﻮﺳﻴﻠﺔ اﻷوﱃ‬ ‫إﱃ ﻗﺮار اﻟﺸﺎﻋﺮة اﻟﺤﺎﺳﻢ ﺑﻜﴪ اﳌﺮآة‪ّ ،‬‬ ‫ﺻﺎر اﻏﱰاب اﳌﺮاﻳﺎ؟‪ .‬وأﻳﻦ اﻟﺼﻮت اﻟﺬي ﺿﺎع ﰲ ﺿﻮﺿﺎء اﻟﺠﺮح؟‪ ،‬ﻛﻢ‬ ‫ﻟﻠﺸﻔﺎء ﻣﻦ ﺳﺆال اﻟﺬات اﻟﺼﻌﺐ‪ :‬ﳌﺎذا ﻛﴪت اﳌﺮآة؟‬ ‫ﺗﺒﻘﻰ ﻣﻦ اﻟﻮﻗﺖ يك ﺗﺼﻞ إﱃ أﻧﺎﻫﺎ؟‪.‬‬ ‫· ‪P @@ @ D&°* @@ E ¢@@ @ £@ ~@ 6¡@@E ¥b@@ Q @ @ D* ,O ¡@@ @ ~@ 7‬‬ ‫· ‪ P @@ @ @AO&°* ¶(* oL *x@@ @ @ @ E $¡@@~@ }@ D* O @ 0b@@~@ 6‬ﻟﻴﺴﺖ إﻻ اﻟﺒﺪاﻳﺔ ﻣﻦ ﺣﻮار ﻃﻮﻳﻞ ﻣﻊ ﻣﻼﻣﺢ ﺗﺴﻘﻂ ﺷﻈﻴ ًﺔ ﺷﻈﻴ ًﺔ‪،‬‬ ‫ﻻ أﻣﺲ ﻳﺴﺘﻌﻴﺪ اﻟﺸﺒﻪ اﳌﺪ ّﻣﻰ‪ ،‬وﻻ اﻟﻮﻗﺖ ﻳﺸﻌﺮ ﺑﺎﻟﻨﺪم ﻋﲆ رﺣﻠﺘ ِﻪ‬ ‫ﺗﻔﺘﺘﺢ دﻳﻮاﻧﻬﺎ ﺑﺸﻬﻮة ﻧﺎي اﻷﻟﻖ اﻟﺬي ﻳﺆﻧﺲ وﺣﺸﺘﻬﺎ‪ ،‬ﰲ ﺗﻠﻚ اﻟﻠﻴﻠﺔ ﻧﺤﻮ اﻟﻐﺪ اﳌﻜﺴﻮ ِر‪.‬‬

‫اﻟﻄﻮﻳﻠﺔ اﻟﺘﻲ ﺻﺪﺣﺖ ﺑﻬﺎ ﻣﻮﺳﻴﻘﻰ اﻟﺸﻌﺮ‪ ،‬ﱠ‬ ‫ﻋﻞ اﻟﻜﻠامت ﺗﺮ ّوض‬ ‫وﺣﺶ اﻷمل‪ ،‬ﰲ ﱢ‬ ‫ﻇﻞ ﻣﺼريﻫﺎ اﳌﺠﻬﻮل‪ ،‬ﻟﻜﻦّ اﻟﻀﻮء اﻟﺘﻲ ﺗﺤﻠﻢ ﺑﻪ‪،‬‬ ‫ﻛﺎن ﻣﻌﺮاﺟﻬﺎ ﻧﺤﻮ رؤﻳﺔ اﻷﻓﻖ أوﺿﺢ‪ ،‬ﻋﲆ إﻳﻘﺎع اﻟﺸﻈﻴﺔ اﻷوﱃ اﻟﺘﻲ ﺗﺒﺪأ ﻋﺒﻠﺔ ﺟﺎﺑﺮ ﺑﺎﻟﺼﻼة ﰲ ﺣﴬة اﻟﺮوح‪ ،‬وإن ﻛﺎﻧﺖ ﺗﺮى اﻟﺒﻼد ﰲ‬ ‫ﺟﻬﺎت‬ ‫ﻗﺎدم ﻣﻦ‬ ‫ٍ‬ ‫أوﱃ اﻟﺨﺪوش ﺗﺮﺗﺪي ﺛﻮب اﻟﺤﺪاد ﻣﻌﻠﻨ ًﺔ ﻋﻦ زﻟﺰالٍ ٍ‬ ‫ﺗﻨﺎﺛﺮت ﻣﻦ اﳌﺮآة‪.‬‬ ‫ﻋ ّﺪة‪ ،‬ﻻ ﺗﺴﺘﻄﻴﻊ أن ﺗﻮﻗﻒ ﺟﻤﻮح اﻟﺘﻼﳾ اﻵﺧﺬ ﺑﺎﻻﻧﺘﺸﺎر روﻳﺪاً‬ ‫روﻳﺪاً‪ ،‬ﺗﻘﻮل ﰲ ﻗﺼﻴﺪة " ﺻﻼة اﻟﺮوح" ‪:‬‬ ‫‪ ǲŔƉǘǕŌ ǓŞǃ ōǙ‬‬ ‫@‪¤@@ @ @ @0Hx@@ @ @ @/ ¢‬‬ ‫´ @ @ @ @_ @ @ @@‪O @ @ @ @ @ @ < @T @ @ @ @ @ @ @ @ @ @ -O Mf@ @ @ @ Fw‬‬ ‫ﺗﺒﺤﺚ ﻋﻦ ﻇﻼل اﻟﻮﻃﻦ ﰲ أﻋامق اﻟﻨﻔﺲ اﻟﺴﺎﺟﺪة أﻣﺎم اﻟﺰﺟﺎج‪،‬‬ ‫‪¤@@ @ @ @0H4 ,É@@ @ @ ~@ @ @ @8 ¡@@ @ @ @ @ @ @ @ ±* Pf@ @ @ «b@@ @ @ @ @ @ D‬‬ ‫‪ɶ‬‬ ‫‪ǻǕǶȏŌ ǳǾƦƖǕŌ‬‬

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‫اﻟﻌﺪد ‪ ، 70‬ﺳﺒﺘﻤﺒﺮ ‪2018‬‬

‫‪Ĝšřņ ¯ ĬšĸŌ‬‬ ‫اﻟﻐﻴﺒﻮﺑﺔ اﻟﻜﺎﻣﻠﺔ"‪.‬‬ ‫ومبﺠﺮد اﻧﺘﻬﺎﺋﻪ ﻣﻦ ﻟﺤﻦ ﻗﺼﻴﺪة اﻟﻜﺮﻧﻚ‬ ‫ﻧﻈﻢ ﻋﺒﺪ اﻟﻮﻫﺎب ﺳﻬﺮة ﰲ ﻧﻔﺲ اﻟﻔﻨﺪق‬ ‫اﳌﺠﺎور ﻟﻠﻤﻌﺒﺪ دﻋﺎ إﻟﻴﻬﺎ ﻧﺨﺒﺔ ﻣﻦ أﺻﺪﻗﺎﺋﻪ‬ ‫اﻟﻔﻨﺎﻧني واﳌﺜﻘﻔني واﻟﺴﻴﺎﺳﻴني وأﻃﻠﻌﻬﻢ‬ ‫ﻋﲆ ﻟﺤﻨﻪ اﻟﺠﺪﻳﺪ‪ ،‬ﻗﺒﻞ أن ﻳﻨﺘﻘﻞ ﻟﻠﻘﺎﻫﺮة‬ ‫ﻟﺘﺴﺠﻴﻞ ﻟﻠﺤﻦ ﺑﺎﺳﺘﻮدﻳﻮﻫﺎت اﻹذاﻋﺔ‪ ،‬ﰲ‬ ‫ﺗﺴﺠﻴﻞ وﺣﻴﺪ ﻫﻮ اﻟﺬي ﻳﺬاع ﺣﺘﻰ اﻟﻴﻮم‪،‬‬ ‫ﺧﺎﺻﺔ ﰲ اﳌﻨﺎﺳﺒﺎت اﻟﻮﻃﻨﻴﺔ واﻟﻘﻮﻣﻴﺔ‪.‬‬ ‫‪ƑǙȏŌ ǳƚǂǕ ǁǿƉƢǕŌ‬‬

‫ﻧﺠﺎح ﻛﺎﻟﺬي ﺣﻘﻘﺘﻪ ﺗﺠﺮﺑﺔ ﻓﺘﺤﻲ وﻋﺒﺪ‬ ‫اﻟﻮﻫﺎب ﻣﻌﺎً‪ ،‬ﻛﺎن ﻣﻦ اﳌﻔﱰض أن ﻳﺼري ﺣﺎﻓﺰًا‬ ‫ﻻﺳﺘﻤﺮار اﻟﺘﻌﺎون ﺑﻴﻨﻬام‪ ،‬ﺑﻞ ﺑﺎﻟﻎ اﻟﺸﺎﻋﺮ‬ ‫اﻟﺤﺎمل ﰲ ﺗﻔﺎؤﻟﻪ ﺣﺪ أﻧﻪ ﻇﻦ أن ﺳﻴﻜﻮن ﻣﻦ‬ ‫ﺑﻌﺪﻫﺎ ﺷﺎﻋﺮ ﻋﺒﺪ اﻟﻮﻫﺎب‪ ،‬ﻣﺜﻠام ﺻﺎر راﻣﻲ‬ ‫زﻣﻴﻠﻪ ﰲ اﻻﻧﺘامء ﳌﺪرﺳﺔ أﺑﻮ ﻟﻠﻮ اﻟﺸﻌﺮﻳﺔ‬ ‫ﺷﺎﻋﺮ أم ﻛﻠﺜﻮم‪ ،‬ﻟﻜﻦ ﻣﺎﺟﺮى ﻫﻮ اﻟﻌﻜﺲ‬ ‫متﺎ ًﻣﺎ‪ ،‬اﻧــﴫف ﻋﻨﻪ ﻋﺒﺪ اﻟﻮﻫﺎب ﻧﻬﺎﺋ ًﻴﺎ‪،‬‬ ‫وﻓﺸﻞ ﰲ إﻗﻨﺎﻋﻪ ﺑﻐﻨﺎء أي ﻣﻦ ﻗﺼﺎﺋﺪه ﺑﻌﺪ‬ ‫ذﻟﻚ‪ ،‬ﻛام ﺗﺄﺧﺮت ﻓﺮﺻﺔ اﻟﻮﺻﻮل ﻷم ﻛﻠﺜﻮم‬ ‫ﻗﺮاﺑﺔ اﻟﻌﻘﺪﻳﻦ‪ ،‬ﻣﺜﻠام ﺗﺄﺧﺮت ﻗﺒﻞ اﺳﺘﺠﺎﺑﺔ‬ ‫اﳌﻮﺳﻴﻘﺎر ﻓﺮﻳﺪ اﻷﻃﺮش ﻟﻄﻠﺐ اﻟﺸﺎﻋﺮ ﺑﻐﻨﺎء‬ ‫وﺗﻠﺤني ﻗﺼﻴﺪة "ﺣﺪﻳﺚ ﻋﻴﻨني"‪ ،‬ﻗﺒﻞ أن‬ ‫ﻳﻌﻄﻴﻬﺎ ﰲ اﻟﻨﻬﺎﻳﺔ ﻟﺸﻘﻴﻘﺘﻪ أﺳﻤﻬﺎن ﻟﺘﻐﻨﻴﻬﺎ‬ ‫ﺑﻠﺤﻦ اﳌﻮﺳﻴﻘﺎر رﻳﺎض اﻟﺴﻨﺒﺎﻃﻲ‪.‬‬ ‫وﻳﻨﺴﺐ ﻟﻬﺬه اﻷﻏﻨﻴﺔ إﺷﻌﺎل اﳌﻨﺎﻓﺴﺔ ﺑني‬ ‫أم ﻛﻠﺜﻮم وأﺳﻤﻬﺎن‪ ،‬ﻷن اﻟﺴﻨﺒﺎﻃﻲ ﻋﺮﺿﻬﺎ‬ ‫ﰲ اﻟﺒﺪاﻳﺔ ﻋﲆ أم ﻛﻠﺜﻮم ﻓﺘﺤﻔﻈﺖ ﻋﻠﻴﻬﺎ‬ ‫ﺑﺴﺒﺐ ﻣﺎ وﺻﻔﺘﻪ ﺑﺠﺮأﺗﻬﺎ وﺣﺪاﺛﺘﻬﺎ ﻏري‬ ‫اﳌﻼمئني ﻟﻬﺎ‪ ،‬وﻃﻠﺒﺖ ﻣﻦ اﻟﺴﻨﺒﺎﻃﻲ ﺗﻌﺪﻳﻞ‬ ‫ﺑﻌﺾ ﻛﻠامﺗﻬﺎ‪ ،‬ﻟﻜﻦ ﻧﺼﺤﻪ ﺻﺪﻳﻘﻪ اﳌﻮﺳﻴﻘﺎر‬ ‫ﻣﺤﻤﺪ اﻟﻘﺼﺒﺠﻲ ﺑﺘﻠﺤني اﻷﻏﻨﻴﺔ ﻷﺳﻤﻬﺎن‬ ‫ﻷﻧﻬﺎ ﺳﺘﻐﻨﻴﻬﺎ ﺑﻼ ﺗﺤﻔﻈﺎت‪ ،‬وﻓﻮﺟﻰء‬ ‫اﻟﺠﻤﻴﻊ ﺑﻨﺠﺎح أﻏﻨﻴﺔ "ﺣﺪﻳﺚ ﻋﻴﻨني" مبﻦ‬ ‫ﻓﻴﻬﻢ أم ﻛﻠﺜﻮم ﻧﻔﺴﻬﺎ‪ ،‬اﻟﺘﻲ اﻋﺘﻤﺪت ﻋﲆ‬ ‫اﻟﺴﻨﺒﺎﻃﻲ ﻣﻦ وﻗﺘﻬﺎ ﰲ ﺗﻠﺤني اﻟﻌﺪﻳﺪ ﻣﻦ‬ ‫اﻟﻘﺼﺎﺋﺪ ﻛﺎﻷﻃﻼل وﻋﴢ اﻟﺪﻣﻊ وﻣﻦ أﺟﻞ‬

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‫اﻟﻌﺪد ‪ ، 70‬ﺳﺒﺘﻤﺒﺮ ‪2018‬‬

‫ﻋﲇ ﻣﺤﻤﻮد ﻃﻪ وﻣﺤﻤﻮد ﺣﺴﻦ إﺳامﻋﻴﻞ‬ ‫وإﺑﺮاﻫﻴﻢ ﻧﺎﺟﻲ وﻏريﻫﻢ‪ ،‬وﻻ ﺻﺎر ﺷﺎﻋﺮ‬ ‫أﻏﺎنٍ ﻣﺮﻣﻮﻗﺎً ﻛﺄﺣﻤﺪ راﻣﻲ وﺻﺎﻟﺢ ﺟﻮدت‪،‬‬ ‫ﺑﻞ ﻋﺠﺰ أﻏﻠﺐ اﻟﻮﻗﺖ ﻋﻦ ﺗﻮﻓري اﺣﺘﻴﺎﺟﺎﺗﻪ‬ ‫اﳌﺎدﻳﺔ اﻟﺘﻲ ﺗﻜﻔﻞ ﻟﻪ اﻟﻌﻴﺶ ﻛﺸﺎﻋﺮ وﻣﺒﺪع‬ ‫ﻛﺄب وزوج‪ ،‬وﺗﻨﻘﻞ ﻣﺎ ﺑني اﻟﻘﺎﻫﺮة‬ ‫أو ﺣﺘﻰ ٍ‬ ‫وﻟﻨﺪن واﳌﻤﻠﻜﺔ اﻟﻌﺮﺑﻴﺔ اﻟﺴﻌﻮدﻳﺔ‪ ،‬ﻣﺨﻠﻔﺎً‬ ‫ﰲ ﻛﻞ أﻣﻜﻨﺘﻪ ﻫﺰميﺔ ﺟﺪﻳﺪة‪.‬‬ ‫وﻗﺪ أرﺟﻊ اﻟﺸﺎﻋﺮ ﻓــﺎروق ﺷﻮﺷﺔ ﻣﺄﺳﺎة‬ ‫ﻓﺘﺤﻲ إﱃ ﻣﺎ وﺻﻔﻪ ﺑـ"اﻧﻄﻮاﺋﻪ وﺗﻜﻮﻳﻨﻪ‬ ‫اﻟﻨﻔﴘ اﻟﺬي أدى ﺑﻪ إﱃ اﻟﻌﺰﻟﺔ اﻟﺤﻴﺎﺗﻴﺔ‬ ‫أوﻻ‪ ،‬واﻟﻌﺰﻟﺔ اﻷدﺑﻴﺔ ﺛﺎﻧﻴﺎً ﻓﺎﻟﺘﻤﻌﺖ أﺳامء‬ ‫‪ɰ‬‬ ‫‪ ōǝŌǷǜƫ ǓƪƲǕōş ŧǕōżŨƓŌ‬‬ ‫ﻧﺎﺟﻲ‪ ،‬وﻋﲇ ﻣﺤﻤﻮد ﻃﻪ‪ ،‬وﺻﺎﻟﺢ ﺟﻮدت‬ ‫‪ Ŧƈōƛ ǳƣōƒŞş ōǤǝȏ ɐōǤŞŽōƚǕ‬وأﺣﻤﺪ راﻣــﻲ‪ ،‬وﻣﺤﻤﻮد ﺣﺴﻦ إﺳامﻋﻴﻞ‬ ‫‪ɰ‬‬ ‫‪ ŦƉŞƫ ǚŐ ƅǜǙ ɐǣǜǙ ǲƉǤƗ ƉŬǉŐ‬رﻓﺎﻗﻪ ﰲ اﻻﺗﺠﺎه اﻟﺸﻌﺮي‪ ،‬وﰲ اﻷﻓﻖ اﻟﺬي‬ ‫‪ ǳǿƉǾǥōǘŵ ǻǕŒ ƉƪƖǕŌ ǳǿǷŞƀǝ‬ﻇﻠﻠﺘﻪ ﻋﺒﺎءة أﺑﻮﻟﻠﻮ‪ ،‬وﺑﻴﻨام ﻛﺎﻧﺖ دواوﻳﻦ‬ ‫ﻫﺆﻻء اﻟﺸﻌﺮاء ﺗﻨﻬﻤﺮ وﺗﺼﻨﻊ ﻟﻬﻢ ﻣﻜﺎﻧﻬﻢ‬ ‫‪ ŋōǜƮǕŌ‬‬ ‫وﻣﻜﺎﻧﺘﻬﻢ ﰲ دﻳﻮان اﻟﺸﻌﺮ اﻟﺤﺪﻳﺚ‪ ،‬اﻛﺘﻔﻰ‬ ‫أﺣﻤﺪ ﻓﺘﺤﻲ ﺑﻨﴩ ﻣﺠﻤﻮﻋﺔ أوﱃ ﻣﻦ‬ ‫ﻋﻴﻨﻴﻚ وﻏريﻫﺎ‪ .‬وﻣﺮ ﺣﻮاﱄ مثﺎﻧﻴﺔ ﻋﴩ ﻋﺎ ًﻣﺎ ﻗﺼﺎﺋﺪه ﺑﻌﻨﻮان »ﻗﺎل اﻟﺸﺎﻋﺮ« ﻋﺎم‪1949‬‬ ‫ﻋﲆ ﻫﺬا اﻟﻮاﻗﻌﺔ ﻗﺒﻞ أن ﺗﺘﺬﻛﺮ ﺳﻴﺪة اﻟﻐﻨﺎء وﻫﻮ دﻳﻮان ﻻ وﺟﻮد ﻟﻪ اﻵن ﰲ أي ﻣﻜﺎن‪.‬‬ ‫اﻟﻌﺮيب اﻟﺸﺎﻋﺮ اﻟﺬي مل ﺗﺘﺤﻤﺲ ﻟﻘﺼﻴﺪﺗﻪ‬ ‫اﻟﺘﻲ "ﺧﻄﻔﺘﻬﺎ" ﻣﻨﻬﺎ أﺳﻤﻬﺎن ﻋﺎم ‪ ،1940‬ﺑﻮﻓﺎة اﻟﺸﺎﻋﺮ أﺣﻤﺪ ﻓﺘﺤﻲ ﻋﺎم ‪ ،1960‬ﺑﺪا‬ ‫وﺗﻐﻨﻲ ﻣﻦ أﺷﻌﺎره ﻗﺼﻴﺪة "ﻗﺼﺔ اﻷﻣﺲ"‪ ،‬وأن رﺣﻴﻠﻪ ﻛﺎن اﻟﺜﻤﻦ اﻟﻮﺣﻴﺪ اﻟﻘﺎدر ﻋﲆ‬ ‫ﻓﺎﺗﻦ ﻟﺮﻳﺎض اﻟﺴﻨﺒﺎﻃﻲ‪ ،‬ﻧﺎﻓﺲ ﻟﺤﻦ ﻣﻨﺤﻪ اﻟﺤﻀﻮر اﻟﺬي ُﺣﺮﻣﻪ ﻃﻮال ﺣﻴﺎﺗﻪ‪،‬‬ ‫ﺑﻠﺤﻦ ٍ‬ ‫ٍ‬ ‫ﻋﺒﺪ اﻟﻮﻫﺎب ﻷﻧﺸﻮدة اﻟﻜﺮﻧﻚ‪ ،‬ﻛام ﻧﺎﻓﺲ ﻓﺴﺎرﻋﺖ إﱃ رﺛــﺎﺋــﻪ ﻛــﱪﻳــﺎت اﻟﺼﺤﻒ‪،‬‬ ‫ﻋﻨﻮان اﻟﻘﺼﻴﺪة ﻋﻨﻮان اﻟﻜﺮﻧﻚ ﰲ اﻟﺘﻌﺮﻳﻒ وأذﻳﻌﺖ ﻗﺼﺎﺋﺪه اﻟﻘﻠﻴﻠﺔ اﳌﻐﻨﺎة‪ ،‬ﻓﻴام‬ ‫ﺑﺸﺎﻋﺮﻫام‪ ،‬ﻓﺒﺎت ﻳﻌﺮف أﺣﻤﺪ ﻓﺘﺤﻲ ﺑﺸﺎﻋﺮ ﺗﺼﺪى ﺻﺪﻳﻘﻪ اﻟﺸﺎﻋﺮ ﺻﺎﻟﺢ ﺟﻮدت وﻣﻦ‬ ‫اﻟﻜﺮﻧﻚ وﺷﺎﻋﺮ ﻗﺼﺔ اﻷﻣــﺲ‪ ،‬ﺧﺎﺻ ًﺔ وأن وراﺋــﻪ ﺑﺎﺣﺜﻮن آﺧــﺮون ﻻﻗﺘﻔﺎء أﺛﺮ ﺳريﺗﻪ‬ ‫اﻷﺧرية ﻛﺎﻧﺖ ﻗﺼﻴﺪة ﺷﺪﻳﺪة اﻟﺬاﺗﻴﺔ وﺷﺖ وﺷﻌﺮه‪ ،‬وﻣﻦ ﻳﺪر رمبﺎ ﻻم اﳌﻄﺮﺑﻮن اﻟﻜﺒﺎر‬ ‫أﺑﻴﺎﺗﻬﺎ ﺑﻘﺼﺔ ﺣﺐ ﺣﻘﻴﻘﻴﺔ وﻣﺆﳌﺔ ﺳﻴﻄﺮت أﻧﻔﺴﻬﻢ ﻋﲆ ﺗﺠﺎﻫﻠﻪ‪ ،‬إﻻ أن ﻛﻞ ﻫﺬه ﻇﻠﺖ‬ ‫ﻋﲆ اﻟﺸﺎﻋﺮ‪ ،‬وﺿﺎﻋﻔﺖ ﻋﺬاﺑﺎﺗﻪ‪ ،‬اﻟﺘﻲ ﻻزﻣﺘﻪ ﻣﺤﺎوﻻت ﻓﺮدﻳﺔ‪ ،‬مل ﺗﺪﻋﻤﻬﺎ ﻣﺆﺳﺴﺔ وﻻ‬ ‫ووﺳﻤﺖ ﺷﻌﺮه ﺣﺘﻰ رﺣﻴﻠﻪ اﳌﻔﺎﺟﻲءﻋﺎم ﺣﺮﻛﺔ ﻧﻘﺪﻳﺔ أو أﻛﺎدميﻴﺔ ﺣﻘﻴﻘﻴﺔ‪ ،‬وﻟﻠﻴﻮم‬ ‫‪ ،1960‬ﻋﻦ ‪ 47‬ﻋﺎ ًﻣﺎ‪ ،‬ﻗﴣ ﺟﻠﻬﺎ ﻣﺎ ﺑني اﳌﻨﺎﰲ ﺻﺎر ﴐورﻳﺎً أن ﺗﺬﻛﺮ ﺻﻔﺔ "ﺷﺎﻋﺮ اﻟﻜﺮﻧﻚ"‬ ‫اﻻﺧﺘﻴﺎرﻳﺔ واﻟﺠﱪﻳﺔ داﺧﻞ وﺧﺎرج وﻣﴫ‪ ،‬أو ﺷﺎﻋﺮ "ﻗﺼﺔ اﻷﻣﺲ" ﻟﻠﺘﻌﺮﻳﻒ ﺑﺎﻟﺸﺎﻋﺮ‬ ‫وﻻزﻣﻪ ﺧﻼﻟﻬﺎ اﻟﺸﻌﻮر ﺑﺎﻟﻐنب واﻟﻘﻬﺮ ﻷﻧﻪ مل اﳌﺄﺳﺎوي أﺣﻤﺪ ﻓﺘﺤﻲ‪ ،‬اﻟﺬي رمبﺎ ﻛﺎﻧﺖ‬ ‫ﺑﻌﻀﺎ ﻣام ﻧﺎﻟﻪ رﻓﺎﻗﻪ أﺑﻨﺎء ﻣﺪرﺳﺔ ﻣﺸﻜﻠﺘﻪ أن وﻟﺪ ﻣﺘﺄﺧﺮاً ﻗﺮاﺑﺔ اﻷﻟﻒ ﻋﺎم ﻋﻦ‬ ‫ﻳﻨﻞ وﺷﻌﺮه ً‬ ‫أﺑﻮﻟﻠﻮ اﻟﺸﻌﺮﻳﺔ‪ ،‬ﻓﻠﻢ ﻳﺼﺒﺢ رﻣﺰاً ﺷﻌﺮﻳﺎً ﻣﺜﻞ زﻣﻦ ﺻﻌﺎﻟﻴﻚ اﻟﺸﻌﺮ اﻟﻌﻈﺎم‪.‬‬

‫‪ǇǝƉǈǕŌ ŜŌƉżǙ ǽƳ ŜōǥǷǕŌ ƃŞƫ‬‬

‫أﺑﺮزﻫﺎ ﻗﺼﻴﺪة "ﻓﺠﺮ" اﻟﺘﻲ ﻏﻨﺎﻫﺎ ﺑﻨﻔﺴﻪ‪،‬‬ ‫وﻗﺼﻴﺪة " ﺣﺪﻳﺚ ﻋﻴﻨني" اﻟﺘﻲ ﻟﺤﻨﻬﺎ ﻫﻮ‬ ‫وﻏﻨﺘﻬﺎ أﺳﻤﻬﺎن‪ .‬ﻟﻜﻦ اﻟﺮﺣﻠﺔ ﻣﺎ ﺑني اﻟﺒﺪاﻳﺔ‬ ‫واﻟﻨﻬﺎﻳﺔ ﻛﺎﻧﺖ ﻓﺼﻮﻻً ﻣﺘﻘﻄﻌﺔ ﻣﻦ اﳌﻌﺎﻧﺎة‬ ‫واﻹﺧﻔﺎق اﳌﺘﻜﺮر‪ ،‬إﺧﻔﺎق رمبﺎ ﻛﺎن أﺣﻤﺪ‬ ‫ﻓﺘﺤﻲ اﻋﺘﺎده ﻣﻨﺬ ﻃﻔﻮﻟﺘﻪ اﳌﺸﻮﺷﺔ ﺑﺎﻟﻴﺘﻢ‬ ‫واﻻﻏﱰاب‪ ،‬ﻟﻜﻨﻪ ﻇﻞ ﻋﲆ اﻟﺪوام ﻳﺆﻛﺪ أﻧﻪ‬ ‫ﻻ ﻳﺴﺘﺤﻘﻪ‪.‬‬ ‫‪ǻƲǜǘǕŌ ǳżǜǙ‬‬

‫ﻛﻜﺜ ٍري ﻣﻦ اﻷدب اﻟﻌﻈﻴﻢ ﻛﺎﻧﺖ ﻗﺼﻴﺪة‬ ‫اﻟﻜﺮﻧﻚ اﺑﻨ ًﺔ ﻟﻠﻤﻨﻔﻰ‪ ،‬أو ﻟﻠﺪﻗﺔ ﻛﺎﻧﺖ ﻣﻨﺤﺔ‬ ‫ﻣﻨﻔﻲ‬ ‫ﻣﻨﻪ‪ ،‬ﻓﻮﻗﺘام ﻛﺘﺒﻬﺎ ﻛﺎن اﻟﺸﺎﻋﺮ ﺷﺒﻪ‬ ‫ٍ‬ ‫مبﺪﻳﻨﺔ اﻷﻗﴫ اﻷﺛﺮﻳﺔ اﻟﺒﻌﻴﺪة ﻋﻦ اﻟﻘﺎﻫﺮة‬ ‫ﻣﺮﻛﺰ اﻟﺤﻴﺎة واﻟﺼﺨﺐ ﰲ ﻣﴫ‪ ،‬ﻛﻌﻘﺎب ﻟﻪ‬ ‫ﻋﲆ ﻧﺰﻗﻪ وﻋﺪم اﻟﺘﺰاﻣﻪ ﰲ ﻋﻤﻠﻪ ﻛﻤﻌﻠﻢ‬ ‫ﺑﺈﺣﺪى اﳌﺪارس اﻟﺼﻨﺎﻋﻴﺔ‪ ،‬ورﻏﺒﺘﻪ أن ﻳﺤﻴﺎ‬ ‫ﻛﺸﺎﻋﺮ‪ .‬وﻫﻨﺎك وﺟﺪ اﻟﺸﺎﻋﺮ ﻧﻔﺴﻪ ﺑني آﺛﺎر‬ ‫وﺷﻮاﻫﺪ اﳌﺎﴈ وأﻃﻼﻟﻪ‪ ،‬ﻳﺘﻮﺳﺪ ﻧﻔﺲ اﻷرض‬ ‫واﻟﺠﺪران واﻟﺮدﻫﺎت اﻟﺘﻲ ﻃﺎﳌﺎ ﺳﺎدﻫﺎ ﻣﻠﻮك‬ ‫وﻓﺮاﻋني اﺳﺘﻨﻄﻘﻮا اﻟﺮﻣﺎل واﻷﺣﺠﺎر ﻟﻴﺨﻠﺪوا‬ ‫ﻋﱪﻫﺎ‪ ،‬ﻓﻜﺘﺐ اﻟﺸﺎﻋﺮ ﻗﺼﻴﺪﺗﻪ اﻟﺘﻲ ميﺘﺰج‬ ‫ﻓﻴﻬﺎ اﻟﺬايت ﺑﺎﻟﻜﻮين‪ ،‬واﻵين ﺑﺎﳌﺎﺿﻮي‪:‬‬ ‫ﻃﺎف ﺑﺎﻟﺪﻧﻴﺎ ﺷﻌﺎع ﻣﻦ ﺧﻴﺎلِ ‪ /‬ﺣﺎﺋ ٌﺮ ﻳﺴﺄلُ‬ ‫ﴎﻫﺎ اﻟﺒﺎﻗﻲ وﻳﺎﱄ‪/‬‬ ‫ﴎ اﻟﻠﻴﺎﱄ‪ /‬ﻳﺎ ﻟﻪ ﻣﻦ ّ‬ ‫ﻋﻦ ﱢ‬ ‫ووﻫﻢ اﻟﺸﺎﻋ ِﺮ‪.‬‬ ‫ﻟﻮﻋﺔ اﻟﺸﺎدي‬ ‫ُ‬ ‫ُ‬ ‫ﻫﻴامن وﻳﺎ ﻃﻮل ﻫﻴﺎﻣﻲ‪ /‬ﺻﻮر اﳌﺎﴈ‬ ‫أﻧﺎ‬ ‫ﻫﻲ زﻫﺮي‪ ،‬وﻏﻨﺎيئ و ُﻣﺪاﻣﻲ‪/‬‬ ‫ورايئ وأﻣﺎﻣﻲ‪َ /‬‬ ‫ﺟﻨﺎح اﻟﻄﺎﺋ ِﺮ‪.‬‬ ‫وﻫﻲ ﰲ ُﺣ ْﻠﻤﻲ ُ‬ ‫ﻋﱪ ﺻﺪﻳﻖ ﻟﻪ ﻳﻌﻤﻞ ﺑﺎﻹذاﻋﺔ اﳌﴫﻳﺔ‬ ‫أرﺳﻞ ﻓﺘﺤﻲ ﻗﺼﻴﺪة اﻟﻜﺮﻧﻚ إﱃ اﳌﻮﺳﻴﻘﺎر‬ ‫ﻣﺤﻤﺪ ﻋﺒﺪ اﻟﻮﻫﺎب‪ ،‬وﻛﺎن ﻗﺒﻠﻬﺎ ﻗﺪ ﺗﻐﻨﻰ‬ ‫ﺑﺮاﺋﻌﺘﻲ اﻟﺸﺎﻋﺮ ﻋﲇ ﻣﺤﻤﻮد ﻃﻪ "اﻟﺠﻨﺪول"‬ ‫و"ﻛﻠﻴﻮﺑﺎﺗﺮا" اﻟﻘﺮﻳﺒﺘني ﻣﻦ ﺣﻴﺚ اﻟﻠﻐﺔ‬ ‫واﳌﻮﺿﻮع واﻟﻌﺎمل ﻣﻦ ﻗﺼﻴﺪة اﻟﻜﺮﻧﻚ‪،‬‬ ‫وﺑﺎﻟﻔﻌﻞ أﻋﺠﺐ ﺑﻬﺎ ﻣﻮﺳﻴﻘﺎر اﻷﺟﻴﺎل وﻟﺤﻨﻬﺎ‬ ‫وﻏﻨﺎﻫﺎ ﻣﻄﻠﻊ اﻷرﺑﻌﻴﻨﻴﺎت‪ ،‬ﻟﺘﻜﻮن ﺛﺎﻟﺜﺔ‬ ‫ﺛﻼﺛﺔ ﻣﻦ أﺟﻤﻞ ﻗﺼﺎﺋﺪ ﻋﺒﺪ اﻟﻮﻫﺎب ﺧﺎﻟﺼﺔ‬ ‫اﳌﴫﻳﺔ واﻟﺮوﻣﺎﻧﺴﻴﺔ ﰲ آن‪ .‬وﻗﺪ روى‬

‫‪ ǒōǾŵȏŌ ƈōǂǾƓǷǙ ōǥƈōŨƁŌ‬‬ ‫‪ ōǤǾǜƮǾǕ ŜōǥǷǕŌ ƃŞƫ ƃǘżǙ‬‬ ‫‪ ŧǂǂżƳ ɐŦōǾǜǾƪşƈȏŌ ǓȃŌǶŐ‬‬ ‫‪ɰ‬‬ ‫‪ɰ‬‬ ‫‪ ǲƉǂƳ ŧǝōǉǶ ɐōƮǕōş ō‬‬ ‫‪ŽōŴǝ‬‬ ‫‪ǳǿƉƚǘǕŌ ǳƫŌƄȑōş ǳǘȃŌƂ ǣŞƗ‬‬ ‫‪ ƃŞƫ ƃǘżǙ ǚŐ ƱǿƉƢǕŌ‬‬ ‫‪ ǛǾżǔũ ƂŌƈŐ ōǙƃǜƫ ŜōǥǷǕŌ‬‬ ‫‪ ƉƞżŨƓŌ ǲƃǾƚǂǕŌ Ǣƅǥ‬‬ ‫‪ ōǤş Ɖŭőũ ǽŨǕŌ ǗǕŌǷƪǕŌ ƑƲǝ‬‬ ‫‪ ǻŨŽ ɐōǤŨşōŨǉ ƃǜƫ ƉƫōƖǕŌ‬‬ ‫‪ ƉƚǃȏŌ ǳǜǿƃǙ ǻǕŒ ƉƳōƓ ǣǝŐ‬‬ ‫‪ ǛǉōǙȏŌ ƑƲǝ ǻǕŒ ŝǥƄǶ‬‬ ‫‪ ǽƳ ŦƉƞŽ ǽŨǕŌ ǳǿƉŭȏŌ‬‬ ‫‪ ǲƃǾƚǂǕŌ‬‬

‫اﻟﺸﺎﻋﺮ ﺻﺎﻟﺢ ﺟﻮدت ﰲ ﻛﺘﺎﺑﻪ ﻇﺮوف ﻛﺘﺎﺑﺔ‬ ‫ﻗﺼﻴﺪة اﻟﻜﺮﻧﻚ وﻣﺎ أﺣﺪﺛﺘﻪ ﻣﻦ ﺻﺪى ﰲ‬ ‫ﺣﻴﺎة ﺷﺎﻋﺮﻫﺎ ﻗﺎﺋ ًﻼ‪ :‬ﻣﻦ وﺣﻲ ﻫﺬه اﻷﺣﺠﺎر‬ ‫اﻟﺠﺎمثﺔ‪ ،‬واﻷﻃﻼل اﻟﻘﺎمئﺔ‪ ،‬ﻧﻈﻢ أﺣﻤﺪ ﻓﺘﺤﻲ‬ ‫ﻗﺼﻴﺪة »أﻧﺸﻮدة اﻟﻜﺮﻧﻚ«‪ ،‬اﻟﺘﻲ أﺻﺒﺤﺖ‬ ‫أﺷﻬﺮ أﻋامﻟﻪ ﰲ ﻧﻈﺮ اﻟﻨﺎس »وﻣﻦ ﻳﺪري‪،‬‬ ‫ﻳﺴﺘﻮح‬ ‫ﻟﻌﻠﻪ ﻟﻮ مل ﻳﺬﻫﺐ إﱃ اﻷﻗﴫ‪ ،‬وﻟﻮ مل‬ ‫ِ‬ ‫ﻫﺬه اﻷﺣﺠﺎر اﻟﺠﺎمثﺔ واﻷﻃﻼل اﻟﻘﺎمئﺔ‪ ،‬ﻣﺎ‬ ‫ﻋﺮف اﻟﻨﺎس ﺷﻴﺌﺎً ﻣﻦ أﻣﺮه‪ ،‬وﻻ ﺳﻤﻌﻮا ﺑﻴﺘﺎً‬ ‫ﻣﻦ ﺷﻌﺮه«!‪.‬‬

‫اﻟﻄﺮﻳﻒ أن ﻣﺤﻤﺪ ﻋﺒﺪ اﻟﻮﻫﺎب ﻋﻨﺪﻣﺎ أراد‬ ‫ﺗﻠﺤني ﻫﺬه اﻟﻘﺼﻴﺪة اﺳﺘﺤﴬ ﻧﻔﺲ اﻟﻌﻮامل‬ ‫اﻟﺘﻲ ﺗﺄﺛﺮ ﺑﻬﺎ اﻟﺸﺎﻋﺮ ﻋﻨﺪ ﻛﺘﺎﺑﺘﻬﺎ‪ ،‬ﺣﺘﻰ أﻧﻪ‬ ‫ﺳﺎﻓﺮ إﱃ ﻣﺪﻳﻨﺔ اﻷﻗﴫ وذﻫﺐ إﱃ ﻧﻔﺲ‬ ‫اﻷﻣﺎﻛﻦ اﻷﺛﺮﻳﺔ اﻟﺘﻲ ﺣﴬت ﺑﺼﻮر ﻣﺨﺘﻠﻔﺔ‬ ‫ﰲ اﻟﻘﺼﻴﺪة‪.‬‬ ‫وﻗﺪ روى ذﻟﻚ ﻋﻨﻪ ﺻﺪﻳﻘﻪ اﻟﺒﺎﺣﺚ واﳌﺆرخ‬ ‫اﳌﻮﺳﻴﻘﻲ إﻟﻴﺎس ﺳﺤﺎب ﺻﺎﺣﺐ ﻛﺘﺎب "ﻣﻊ‬ ‫ﻣﺤﻤﺪ ﻋﺒﺪ اﻟﻮﻫﺎب" ﻗﺎﺋ ًﻼ‪" :‬ﻋﻨﺪﻣﺎ ﺑﺪأت‬ ‫اﻟﺒﻮاﻛري اﻷوﱃ ﻟﻠﺤﻦ ﺗﱰدد ﰲ ﻣﺨﻴﻠﺔ ﻋﺒﺪ‬ ‫اﻟﻮﻫﺎب‪ ،‬ﺣﻤﻞ ﻋﻮده‪ ،‬وﺣﺠﺰ ﻏﺮﻓﺔ ﻟﻪ ﰲ‬ ‫ﻓﻨﺪق »وﻳﻨﱰ ﺑﺎﻻس« اﻟﻘﺪﻳﻢ‪ ،‬اﻟﻘﺮﻳﺐ ﻣﻦ‬ ‫ﻣﻮﻗﻊ ﻣﻌﺒﺪ اﻟﻜﺮﻧﻚ‪.‬‬ ‫ووﻓ ًﻘﺎ ﻟﺴﺤﺎب ﻗﴣ ﻋﺒﺪ اﻟﻮﻫﺎب أﻳﺎﻣﺎً‪،‬‬ ‫ﻻ ﻳﻔﻌﻞ ﺷﻴﺌﺎً‪ ،‬ﺳﻮى اﻻﻧﺘﻘﺎل ﻣﻦ ﻏﺮﻓﺘﻪ‬ ‫ﺑﺎﻟﻔﻨﺪق إﱃ اﳌﻌﺒﺪ‪ ،‬ﻳﺘﺠﻮل ﰲ أرﺟﺎﺋﻪ‪،‬‬ ‫وﻳﺪﻧﺪن ﺑﺎﻷﻟﺤﺎن اﻟﺘﻲ ﺗﺨﻄﺮ ﺑﺒﺎﻟﻪ‪ ،‬وﻳﻌﺎود‬ ‫اﻟﻨﻈﺮ ﰲ أﺑﻴﺎت اﻟﻘﺼﻴﺪة اﳌﺪوﻧﺔ ﻋﲆ ورﻗﺔ‬ ‫ﰲ ﺟﻴﺒﻪ‪.‬‬ ‫"وﻋﻨﺪﻣﺎ ﻛــﺎن ﻋﺒﺪ اﻟــﻮﻫــﺎب ﻳﻌﻮد ﻣﻦ‬ ‫ﺟﻮﻟﺘﻪ ﰲ أرﺟﺎء اﳌﻌﺒﺪ إﱃ ﻏﺮﻓﺘﻪ ﺑﺎﻟﻔﻨﺪق‪،‬‬ ‫ﻛﺎن ﻳﺤﻀﻦ ﻋﻮده‪ ،‬وﻳﺪﻧﺪن ﻋﻠﻴﻪ اﻟﺠﻤﻞ‬ ‫اﳌﻮﺳﻴﻘﻴﺔ‪ ،‬وﻳﻌﻴﺪ ﺗﺮﺗﻴﺒﻬﺎ وﺗﺸﺬﻳﺒﻬﺎ"‪.‬‬ ‫ﰲ ﺣﻮاره ﻣﻊ ﻋﺒﺪ اﻟﻮﻫﺎب ﺗﻮﻗﻒ ﺳﺤﺎب‬ ‫ﻋﻨﺪ ﻣﻘﻄﻊ "أﻳﻦ ﻳﺎ أﻃﻼل ﺟﻨﺪ اﻟﻐﺎﻟﺐ‪/‬‬ ‫أﻳﻦ آﻣﻮن وﺻﻮت اﻟﺮاﻫﺐ" أﺟﻤﻞ ﻣﻘﺎﻃﻊ‬ ‫اﻟﻘﺼﻴﺪة وأﻋﺬﺑﻬﺎ ﻟﺤﻨًﺎ‪ ،‬ﻛﺎﺷ ًﻔﺎ ﻋﻦ أن اﳌﻠﺤﻦ‬ ‫اﺳﺘﺸﻌﺮ ﻣﻨﺬ اﻟﺒﺪاﻳﺔ ﺧﺼﻮﺻﻴﺔ وﺣﺴﺎﺳﻴﺔ‬ ‫ﻫﺬا اﻟﺠﺰء ﻣﻦ اﻟﻘﺼﻴﺪة وﻋﻜﺲ ذﻟﻚ ﰲ‬ ‫ﻟﺤﻨﻪ‪ ،‬وروى ﻋﻦ ﻋﺒﺪ اﻟﻮﻫﺎب ﺧﻼل اﻟﺤﻮار‬ ‫اﻟﺬي ﺟﻤﻌﻬام ﻣﻌﺎً مبﻨﺰﻟﻪ ﰲ اﻟﻘﺎﻫﺮة‪ ،‬أﻧﻪ‬ ‫ﻋﻨﺪﻣﺎ وﺻﻞ ﰲ اﻟﺘﻠﺤني إﱃ ﻫﺬا اﳌﻘﻄﻊ‪ّ ،‬أﺟﻞ‬ ‫ﺟﻮﻟﺘﻪ ﰲ أرﻛﺎن اﳌﻌﺒﺪ‪ ،‬إﱃ ﻟﺤﻈﺎت اﻟﻐﺮوب‪،‬‬ ‫ﺣﺘﻰ ﺗﺘﻢ اﻟﺠﻮﻟﺔ "ﰲ ﻟﺤﻈﺔ ﺣﺴﺎﺳﺔ ﻳﺒﺪأ‬ ‫ﻓﻴﻬﺎ اﻟﻐﻴﺎب اﳌﺘﺪرج ﻟﻠﻀﻮء‪ ،‬واﻟﻬﺒﻮط‬ ‫اﳌﺘﺪرج ﻟﻠﻈﻼم‪ ،‬ﺣﺘﻰ ﺗﻜﻮن اﻧﻔﻌﺎﻻيت ﰲ‬ ‫أﺛﻨﺎء اﻟﺘﺠﻮال ﰲ أرﺟﺎء اﳌﻌﺒﺪ‪ ،‬ﰲ ذروة ﻣﻦ‬ ‫اﻟﺸﻌﺮ ‪baytelshear‬‬ ‫ﺑﻴﺖ ِ‬

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‫‪Ĝšřņ ¯ ĬšĸŌ‬‬

‫‪ɶ‬‬ ‫‪ɶ‬‬ ‫‪ŜōǥǷǕŌ ƃŞƫ ƃǘżǙ ǒōǾŵȏŌ ƈōǂǾƓǷǙ ōǥōǜƯǶ ōǤǜ‬‬ ‫‪żǕ‬‬

‫أﻧﺸﻮدة »اﻟﻜﺮﻧﻚ« ﻷﺣﻤﺪ ﻓﺘﺤﻲ‪..‬‬ ‫‪mƑǙȏŌ ǳƚǃ} ŦƃǔƁ ǽŨǕŌ ǻƲǜǘǕŌ ǳǿƃǥ‬‬ ‫ﻋﺰة ﺣﺴﻴﻦ‬

‫ﺣﻠﻢ ﻻح ﻟﻌني اﻟﺴﺎﻫﺮ‪ /‬وﺗﻬﺎدى ﰱ ﺧﻴﺎلٍ ﻋﺎﺑﺮ‪ /‬وﻫﻔﺎ ﺑني ﺳﻜﻮن اﻟﺨﺎﻃﺮ‪ /‬ﻳﺼﻞ اﳌﺎﴈ ﺑﻴﻤﻦ اﻟﺤﺎﴐ‪..‬‬ ‫ٌ‬ ‫ﻗﻠﻴﻞ ﻣﻦ ﺗﺄﻣﻞ ﻫﺬه اﻷﺷﻄﺮ ﻣﻦ ﻣﻄﻠﻊ ﻗﺼﻴﺪة "اﻟﻜﺮﻧﻚ" ﻟﻠﺸﺎﻋﺮ اﳌﴫي اﻟﺮاﺣﻞ أﺣﻤﺪ ﻓﺘﺤﻲ )‪ (1960-1913‬ﻳﴚ ﺑﺄﻧﻬﺎ ﻗﺪ ﺗﺼﻠﺢ‬ ‫ﺳرية ﺷﻌﺮﻳﺔ ﻟﺼﺎﺣﺒﻬﺎ‪ ،‬ﻏﺎﻳﺔ ﰲ اﻟﺒﻼﻏﺔ واﻻﻛﺘامل‪ .‬وﻫﺬه اﻟﻘﺼﻴﺪة اﻟﺘﻲ ﻇﻨﻬﺎ اﻟﺸﺎﻋﺮ متﻴﻤﺔ ﺣﻈﻪ ﺑﻌﺪ أن اﺧﺘﺎرﻫﺎ ﻣﻮﺳﻴﻘﺎر اﻷﺟﻴﺎل‬ ‫ﻧﺠﺎﺣﺎ ﺑﺎﻟ ًﻐﺎ‪ ،‬وﻛﺎﻧﺖ ﻓﻘﺮة ﺷﺒﻪ دامئﺔ ﺑﺎﻹذاﻋﺔ اﳌﴫﻳﺔ‪ ،‬اﺳﺘﺤﺎﻟﺖ ﺑﺎﻟﻔﻌﻞ‬ ‫ﻣﺤﻤﺪ ﻋﺒﺪ اﻟﻮﻫﺎب ﻟﻴﻐﻨﻴﻬﺎ أواﺋﻞ اﻷرﺑﻌﻴﻨﻴﺎت‪ ،‬ﻓﺤﻘﻘﺖ ً‬ ‫ﻋﻨﻮا ًﻧﺎ ﻟﺼﺎﺣﺒﻬﺎ‪ ،‬ﻷﻧﻬﺎ ﺑﺒﺴﺎﻃﺔ ﺻﺎرت أﻛرث ﺷﻬﺮ ًة ﻣﻨﻪ‪ ،‬ﻣﻨﺬ أن ﻋﱪت ﻧﺨﺒﻮﻳﺔ اﻟﺸﻌﺮ إﱃ ﺟامﻫريﻳﺔ اﻟﻐﻨﺎء‪.‬‬ ‫وﻃﻮال ﺣﻴﺎﺗﻪ اﻟﻘﺼرية‪ ،‬ﻛﻐﺎﻟﺒﻴﺔ اﻟﺸﻌﺮاء‪،‬‬ ‫ﻇﻞ اﻟﺸﺎﻋﺮ أﺣﻤﺪ ﻓﺘﺤﻲ ُﻳﻌﺮف ﺑـ"ﺷﺎﻋﺮ‬ ‫اﻟﻜﺮﻧﻚ"‪ ،‬وﺑﻌﺪ وﻓﺎﺗﻪ‪ ،‬ﺻﺪر ﻛﺘﺎﺑﺎن ﺗﻨﺎوﻻ‬ ‫ﺣﻴﺎﺗﻪ وﺷﻌﺮه ﺣﻤﻼ ﻧﻔﺲ اﻟﻌﻨﻮان "أﺣﻤﺪ‬ ‫ﻓﺘﺤﻲ ﺷﺎﻋﺮ اﻟﻜﺮﻧﻚ"‪ ،‬أوﻟﻬام ﻟﻠﺸﺎﻋﺮ‬ ‫ﺻﺎﻟﺢ ﺟﻮدت ﻋﺎم ‪ ،1973‬واﻵﺧﺮ ﻟﻠﻜﺎﺗﺐ‬ ‫اﻟﺼﺤﻔﻲ اﳌﴫي ﻣﺤﻤﺪ رﺿﻮان ﻋﺎم ‪،2008‬‬ ‫وﺑﻴﻨﻬام ﻗﺮاﺑﺔ اﻷرﺑﻌﺔ ﻋﻘﻮد‪ .‬ﻛام أن اﻟﻌﻨﻮان‬

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‫اﻟﻌﺪد ‪ ، 70‬ﺳﺒﺘﻤﺒﺮ ‪2018‬‬

‫ﻧﻔﺴﻪ ﺣﻤﻠﻪ اﻟﻌﺮض اﳌﴪﺣﻲ اﳌﻮﻧﻮدراﻣﻲ‬ ‫اﻟﺬي ﻗﺪﻣﻪ اﳌﺨﺮج اﻟﻜﻮﻳﺘﻲ ﻋﺒﺪ اﻟﻌﺰﻳﺰ‬ ‫اﻟﺤﺪاد ﻗﺒﻞ أﻋﻮام ﻗﻠﻴﻠﺔ ﻋﻦ ﺣﻴﺎة اﻟﺸﺎﻋﺮ‪،‬‬ ‫ﻣﻊ إﺿﺎﻓﺔ ﺟﻤﻠﺔ "ﻗﺼﺔ اﻷﻣﺲ" وﻫﻲ ﻋﻨﻮان‬ ‫اﻟﻘﺼﻴﺪة اﻟﺘﻲ ﻏﻨﺘﻬﺎ ﺳﻴﺪة اﻟﻐﻨﺎء اﻟﻌﺮيب أم‬ ‫ﻛﻠﺜﻮم ﻟﻠﺸﺎﻋﺮ ﻋﺎم ‪ ،1958‬أي ﻗﺒﻞ وﻓﺎﺗﻪ‬ ‫ﺑﻌﺎﻣني‪ ،‬وﻧﺎﻓﺴﺖ ﰲ أﻟﻘﻬﺎ وﻧﺠﺎﺣﻬﺎ ﻗﺼﻴﺪﺗﻪ‬ ‫اﻟﺘﻲ ﻏﻨﺎﻫﺎ ﻣﺤﻤﺪ ﻋﺒﺪ اﻟﻮﻫﺎب‪.‬‬

‫إذن ﺑﺪأ ﻓﺘﺤﻲ ﺣﻴﺎﺗﻪ ﺑﺘﻌﺎون ﻓﻨﻲ ﻣﺒﻜ ٍﺮ ﻣﻊ‬ ‫ﻋﺒﺪ اﻟﻮﻫﺎب‪ ،‬ﺳﻴﺪ اﳌﻮﺳﻴﻘﻰ ﰲ زﻣﻨﻪ‪ ،‬أﻳﺎم مل‬ ‫ﻳﺘﺠﺎوز ﻋﻤﺮ اﻟﺸﺎﻋﺮ وﻗﺘﻬﺎ اﻟﺜﺎﻣﻨﺔ واﻟﻌﴩﻳﻦ‪.‬‬ ‫ﻛام ﻧﺠﺢ ﰲ اﻟﻨﻬﺎﻳﺔ ﺑﺎﻟﻮﺻﻮل ﻷم ﻛﻠﺜﻮم‪ ،‬ﺑﻞ‬ ‫إﻧﻬﺎ ﻣﻦ ﺑﺤﺜﺖ ﻋﻨﻪ ﺑﻌﺪﻣﺎ ﻗﺮأت ﻗﺼﻴﺪﺗﻪ‬ ‫"ﻗﺼﺔ اﻷﻣﺲ" ﰲ إﺣﺪى اﻟﺼﺤﻒ وﻟﺤﻨﻬﺎ‬ ‫ﻟﻬﺎ اﳌﻮﺳﻴﻘﺎر اﻟﻜﺒري رﻳﺎض اﻟﺴﻨﺒﺎﻃﻲ‪ ،‬اﻟﺬي‬ ‫ﻟﺤﻦ وﻏﻨﻰ ﻷﺣﻤﺪ ﻓﺘﺤﻲ ﻋﺪدًا ﻣﻦ ﻗﺼﺎﺋﺪه‬

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

baytelshear ‫اﻟﺸﻌﺮ‬ ِ ‫ﺑﻴﺖ‬

‫ﻣﺤﻤﺪ ﺑﻦ ﻗﺬﻟﻪ‬ @Mbngthlah

‫‪şĚĮŃ şěńĴ‬‬ ‫‪ ǒǶȏŌ ǚŌǷǿƃǕŌ ƈǷǤƧ ǚōǉ‬‬ ‫‪ ƉƁŌǶŐ ǻƲƢƚǙ ƉŭǷǈǕ‬‬ ‫‪ ŧƳȎǕŌ ǣǝŌǷǜƪş ŦōǾǜǾǝōǘŬǕŌ‬‬ ‫‪ɰ‬‬ ‫}‪ ōŭƃŽ mŦōǜŞǕŌ ƨƈƊ ǗƓǷǙ‬‬ ‫‪ŋōƲŨŽȍŌ ǁżŨƒǿ‬‬

‫ﻣﺎ ﺟﻌﻞ ﻛﻮﺛﺮ أﻣﺎم ﺗﺮﻛﺔ ﺛﻘﻴﻠﺔ‪ ،‬مل ﻳﻜﻦ‬ ‫ﻳﻔﻠﺢ ﻣﻌﻬﺎ ﺳﻮى متﺜﻠﻬﺎ متﺎ ًﻣﺎ ﺛﻢ ﻧﺴﻴﺎﻧﻬﺎ‬ ‫واﺑﺘﻜﺎر ﺻﻮﺗﻬﺎ اﻟﺨﺎص‪ ،‬اﻟﺬي ﻛﺎﻧﺖ ﻣﻴﺰﺗﻪ‬ ‫اﻷﻫﻢ أﻧﻪ ﺻﻮت اﻣــﺮأة ﺣﻘﻴﻘﻴﺔ‪ ،‬وﻟﻴﺲ‬ ‫اﻣﺮأة ﻣﻦ ﺧﻴﺎل ﺷﺎﻋ ٍﺮ رﺟﻞ‪.‬‬ ‫ﻛﻮﺛﺮ أﻳﻀﺎً أﺿﺎﻓﺖ ﺑﺼﻤﺘﻬﺎ ﻟﺼﻮت ﻣﻨري‪،‬‬ ‫وﻣﻨﺤﺖ اﳌﺮأة ﰲ أﻏﻨﻴﺎﺗﻪ ﻣﺴﺎﺣﺔ ﺟﺪﻳﺪة‬ ‫ﻟﻠﺤﻴﺎة‪ ،‬وزاوﻳــﺔ ﻧﻈﺮ ﻣﻐﺎﻳﺮة ﻟﺼﻮرﺗﻬﺎ‬ ‫اﻹﻛﻠﻴﺸﻴﻬﻴﺔ ﻛﺤﺒﻴﺒﺔ‪ ،‬وأﻧﺜﻰ ﻣﺸﺘﻬﺎة‪.‬‬ ‫وﻛﺎن ﺻﻮت ﻣﻨري ﺻﺎﺣﺐ اﻟﺮﺻﻴﺪ اﻟﻬﺎﺋﻞ‬ ‫ً‬ ‫وﺳﻴﻄﺎ‬ ‫ﻣﻦ اﻟﺘﻤﺮد واﻟﺘﻔﺮد واﳌﻔﺎﺟﺄة‬ ‫ﻣﻨﺎﺳﺒﺎً وﻣﺮﻧﺎً ﳌامرﺳﺔ اﻟﻨﻘﺪ اﻻﺟﺘامﻋﻲ‬ ‫ﻟﻮﺿﻊ اﳌﺮأة أو "اﻟﺒﻨﺎت" ﰲ اﳌﺠﺘﻤﻊ‪ ،‬ﰲ‬ ‫أﻏﻨﻴﺎت أﺑﺮزﻫﺎ "ﺑﻠﺪ اﻟﺒﻨﺎت" و "ﻳﺎ ﺑﻨﺖ‬ ‫ﻳﺎﻟﲇ"‪ ،‬و"ﻣني ﻳﺠﺰ ﺑﺈﻳﺪه اﻟﻮرد" وﻏريﻫﺎ‪،‬‬ ‫وﻛﻠﻬﺎ ﺗﻔﻀﺢ اﻟﻘﻴﻮد اﻻﺟﺘامﻋﻴﺔ اﻟﺘﻲ ﺗﻘﻴﺪ‬ ‫ﺣﻘﻮق اﻟﻔﺘﻴﺎت ﰲ اﻟﺨﺮوج ﻟﻠﺤﻴﺎة واﺧﺘﻴﺎر‬ ‫اﻟﴩﻳﻚ‪ ،‬وﺣامﻳﺔ وﺧﺼﻮﺻﻴﺔ اﻟﺠﺴﺪ‪ ،‬وﰲ‬ ‫أﻏﻠﺒﻬﺎ ﺗﺘﻨﺎﺛﺮ اﳌﻔﺮدة اﻟﺘﻲ متﻴﺰ ﺷﻌﺮ ﻛﻮﺛﺮ‬ ‫ﻣﺼﻄﻔﻰ "ﺑﻨﺎت"‪..‬‬ ‫”ﰲ ﺑﻠﺪ اﻟﺒﻨﺎت‪ ،‬ﻛﻞ اﻟﺒﻨﺎت‪ ،‬ﻣﺎﺷﻴﺔ‬ ‫وﺿﺎﺑﻄﺔ ﰲ إﻳﺪﻫﺎ اﻟﺴﺎﻋﺎت‪” .. “.‬ﺑﻨﺖ‬ ‫ﺣﻠﻮة ﺑﺘﺠﺮي م اﻟﺤ ّﺮاس“‪» ..‬ﻳﺎ ﺑﻨﺖ ﻳﺎﻟﲇ‬ ‫ﺑﺘﻐﺰﱄ ُﻗﻔﻄﺎﻧﻪ‪ /‬ﻏﺰل اﻟﺼﺒﺢ ﱄ ع اﻟﻠﻴﻞ‬ ‫ﺗﺤﲆ ﺧﻴﻄﺎﻧﻪ‪ /‬ﻳﺎ ﻏﻨﻮة ﺧﺎﻳﻔﺔ ﺗﻐﻨﻲ‪ ،‬ﻳﺎ‬ ‫ﻃريي اﻟﲇ ﺷﺎرد ﻣﻨﻲ«‪..‬‬ ‫ﻛﻞ ﻫــﺬه وﻏريﻫﺎ ﻣﻘﺎﻃﻊ ﻣﻦ أﻏﻨﻴﺎت‬ ‫ﻣﺨﺘﻠﻔﺔ ﳌﻨري وﻛــﻮﺛــﺮ ميﻜﻦ ﻗﺮاءﺗﻬﺎ‬ ‫واﻻﺳﺘامع إﻟﻴﻬﺎ ﻛﺄﻏﻨﻴﺔ واﺣﺪة ﻃﻮﻳﻠﺔ ﻷﻧﻬﺎ‬ ‫ﻫﻢ واﺣﺪ‪.‬‬ ‫ذات ٍ‬

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‫اﻟﻌﺪد ‪ ، 70‬ﺳﺒﺘﻤﺒﺮ ‪2018‬‬

‫ﺑﻄﺒﻴﻌﺔ اﻟﺤﺎل مل ﻳﺤﺘﻜﺮ أي ﻣﻨﻬام إﻧﺘﺎج‬ ‫اﻵﺧﺮ ﻓﻘﺪ ﻛﺘﺒﺖ ﻛﻮﺛﺮ ﻣﺼﻄﻔﻰ ﻟﻌﺪد‬ ‫ﻣﻦ اﳌﻄﺮﺑني ﻛﺤﻨﺎن ﻣﺎﴈ وأﻧﻐﺎم وﻣﺤﻤﺪ‬ ‫اﻟﺤﻠﻮ وﺳﻴﻤﻮن ورﻳﻬﺎم ﻋﺒﺪ اﻟﺤﻜﻴﻢ وآﻣﺎل‬ ‫ﻣﺎﻫﺮ وﻧﻬﺎل ﻧﺒﻴﻞ وﻏريﻫﻢ‪ ،‬ﻛام ﻛﺘﺒﺖ‬ ‫أﺷﻌﺎر ﻋﺪد ﻣﻦ اﳌﴪﺣﻴﺎت ﻏري اﻟﺘﺠﺎرﻳﺔ‪،‬‬ ‫وأﻏﺎين ﻋﺪد ﻣﻦ اﻷﻓﻼم اﻟﺴﻴﻨامﺋﻴﺔ‪ ،‬أﻫﻤﻬﺎ‬ ‫"اﳌﺼري" و "دﻧﻴﺎ" و "ﺳﻜﻮت ﻫﻨﺼﻮر"‬ ‫وﺻﻴﺎد اﻟﻴامم و"ﺧﻴﺎﻧﺔ ﻣﴩوﻋﺔ" وﻏريﻫﺎ‪،‬‬ ‫ﻟﻜﻦ ﻇﻞ اﻟﻌﻤﻞ ﻣﻊ ﻣﺤﻤﺪ ﻣﻨري ﻣﻨﻄﻘﺘﻬﺎ‬ ‫اﻷﺛرية وﻫﻲ ﺗﴫح ﺑﺬﻟﻚ ﻋﲆ اﻟﺪوام‪" :‬مل‬ ‫أﺳﻌﺪ ﰱ اﻟﻌﻤﻞ إﻻ ﻣﻊ ﻣﻨري واﻟﺬى ﻳﻌﻤﻞ‬ ‫ﻣﻌﻪ ﻻ ﻳﺮﻳﺪ أي ﳾء آﺧﺮ" ﻓﻴام ﻳﺼﻔﻬﺎ ﻫﻮ‬ ‫ﺑﺄﻧﻪ ﺟﺰء ﻣﻦ ﻗﻠﺒﻪ‪.‬‬ ‫‪ɰ‬‬ ‫‪ǣŵǷǕ ōǤŵǶ ǛǾǥōƗ ƱƓǷǿ‬‬

‫إﱃ ﺟﺎﻧﺐ ﻣﻨري ﻛﺎن اﻟﻠﻘﺎء ﺑﺎﳌﺨﺮج اﻟﻌﺎﳌﻲ‬ ‫ﻳﻮﺳﻒ ﺷﺎﻫني ﻣﺤﻄﺔ ﻏري ﻋﺎدﻳﺔ‪ ،‬وميﻜﻦ‬ ‫ﺗﺨﻴﻞ اﻟﺸﺎﻋﺮة وﻫﻲ واﻗﻔ ُﺔ مبﻮاﺟﻬﺔ‬ ‫ﺷﺎﻫني‪ ،‬ﺗﺘﺬﻛﺮ ﻳﻮم ﻃﻠﺐ ﻣﻨﻬﺎ اﳌﺨﺮج‬ ‫ﺧريي ﺑﺸﺎرة ﻛﺘﺎﺑﺔ أﻏﺎنٍ ﻓﻴﻠﻤﻪ‪ ،‬ﻓﺮدت‬ ‫ﺑﺄﻧﻬﺎ ﺷﺎﻋﺮة وﻟﻴﺴﺖ ﻛﺎﺗﺒﺔ أﻏﺎين‪ .‬ﺻﺤﻴﺢ‬ ‫ﻧﺠﺢ ﺑﺸﺎرة ﰲ ﺟﻌﻠﻬﺎ ﺗﻜﺘﺐ "ﻣﺎمل ﺗﻜﻦ‬ ‫ﺗﻈﻦ أﻧﻬﺎ ﺳﺘﻜﺘﺒﻪ" ﻋﲆ ﺣﺪ وﺻﻔﻪ‪ ،‬ﻟﻜﻦ‬ ‫اﻟﻨﺰول ﳌﻠﻌﺐ ﺷﺎﻫني‪ ،‬اﻟــﺬي ﻳﻨﺪر أن‬ ‫ﻳﻌﺮف أﺣﺪﻫﻢ ﻣﺎذا ﻳﺮﻳﺪ ٌ‬ ‫ﺷﺄن آﺧﺮ!‪.‬‬

‫ﰲ إﺣﺪى اﳌﻘﺎﺑﻼت اﻟﺼﺤﻔﻴﺔ روت ﻛﻮﺛﺮ‬ ‫ﻣﺼﻄﻔﻰ أن اﻟﻮد اﻟﺬي ﻗﺎﺑﻠﻬﺎ ﺑﻪ اﳌﺨﺮج‬ ‫اﻟﻜﺒري‪ ،‬ودﻋﻢ ﻣﺴﺎﻋﺪه آن ذﻟﻚ اﳌﺨﺮج‬ ‫ﺧﺎﻟﺪ ﻳــﻮﺳــﻒ‪ ،‬ووﺳــﺎﻃــﺔ ﻣﻨري‪ ،‬ومثــﺮة‬ ‫ﻋﻤﻠﻬام ﺳﻮ ًﻳﺎ مل ﻳﺨﻔﻔﺎ ﺗﻮﺗﺮﻫﺎ‪ .‬ﻓﻮﻗﺘﻬﺎ‬ ‫ﻛﺎﻧﺖ ﻣﻘﺒﻠﺔ ﻋﲆ ﺗﺠﺮﺑ ٍﺔ ﻣﻦ ﺗﻠﻚ اﻟﺘﻲ‬ ‫ﻳﺤﺸﺪ اﳌﺮء ﻣﺠﻤﻞ ﺧﱪات ﺣﻴﺎﺗﻪ ﻷﺟﻠﻬﺎ‬ ‫ﻓﻴﻔﺎﺟﺄ ﺑﺄن ﺗﻠﻚ اﻟﺨﱪة امنﺤﺖ ﻋﲆ ﻋﺘﺒﺔ‬ ‫اﻟﺪﺧﻮل‪.‬وﻗﺎﻟﺖ اﻟﺸﺎﻋﺮة إن اﻟﻮﺻﻮل إﱃ‬ ‫ﻣﻄﻠﻊ اﻟﻘﺼﻴﺪة ﱢ‬ ‫"ﻋﲇ ﺻﻮﺗﻚ ﺑﺎﻟﻐﻨﺎ‪ ..‬ﻟﺴﺔ‬ ‫اﻷﻏﺎين ﻣﻤﻜﻨﺔ" اﺳﺘﻐﺮق أرﺑﻊ ﻣﺤﺎوﻻت‬ ‫ﳌﻘﺎرﺑﺔ روح اﻟﻔﻴﻠﻢ اﻟﺬي ﻧﺎﻗﺶ ﺳرية‬ ‫اﻟﻔﻴﻠﺴﻮف اﻹﺳﻼﻣﻲ اﺑﻦ رﺷﺪ وﻣﻌﺎرﻛﻪ‬ ‫اﻟﻔﻜﺮﻳﺔ ﰲ زﻣﻨﻪ‪ ،‬ﻗﺒﻞ أن ﺗﺨﺮج اﻷﻏﻨﻴﺔ‬ ‫ـﻒ ﻣﻦ‬ ‫ﻣﺴﺒﻮﻗ ًﺔ مبﺎ وﺻﻔﺘﻪ ﺑـــ"أرﺷــﻴـ ٍ‬ ‫اﳌﺤﺎوﻻت اﻟﻔﺎﺷﻠﺔ"‪.‬‬ ‫وﺣﺪﻫﺎ ردة ﻓﻌﻞ "ﺟﻮ" اﳌﻬﻠﻠﺔ اﳌﺤﺘﻔﻴﺔ‬ ‫أﻧﻘﺬت اﻷﻏﻨﻴﺔ ﻣﻦ أن ﺗﺼري واﺣﺪة ﺿﻤﻦ‬ ‫أرﺷﻴﻒ اﳌﺤﺎوﻻت وأﻳﺪ اﺣﺘﻔﺎءه ﻟﺤﻦ‬ ‫ﻛامل اﻟﻄﻮﻳﻞ وﺻﻮت ﻣﻨري اﻟﺬي أﺻﺒﺤﺖ‬ ‫اﻷﻏﻨﻴﺔ ﻣﻦ ﻋﻼﻣﺎت ﻣﺸﻮاره‪ ،‬ﻟﻜﻦ ﻳﺒﻘﻰ‬ ‫ﺿﻤﻦ أﺟﻤﻞ ﻋﻼﻣﺎت ﻣﺸﻮاره ﺗﻘﺪﻳﻢ ﺷﻌﺮ‬ ‫ﻛﻮﺛﺮ ﻣﺼﻄﻔﻰ اﻟﻄﺎزج اﻟﺨﻔﻴﻒ اﳌﻬﻤﻮم‪،‬‬ ‫واﳌﺤﺮض ﻋﲆ اﻟﻔﺮح‪ ،‬واﻟﺬي ﻳﻔﻮح أﻧﻮﺛ ًﺔ‬ ‫وﺗﺘﻨﺎﺛﺮ ﻣﻨﻪ ﻓﺼﻮص ﻳﺎﻗﻮت وﻋﻘﻴﻖ‪،‬‬ ‫وزﻣﺮد‪ ،‬وﴍاﺋﻂ ﻣﺠﺪوﻟﺔ ﺑﻀﻔﺎﺋﺮ اﻟﺒﻨﺎت‪.‬‬

‫ﺧﺎﺻ ًﺔ إذا ﻛﺎﻧﺖ ﺷﺎﻋﺮة ﺗﻜﺘﺐ اﻟﻌﺎﻣﻴﺔ‬ ‫اﻟﺘﻲ ﻳﻨﺎﺿﻞ ﺟﻞ ﺷﻌﺮاﺋﻬﺎ ‪ -‬ﺣﺘﻰ اﻵن‪-‬‬ ‫ﻻﻧﺘﺰاع اﻋﱰاف ﺑﻬﻢ وﺑﱰاﺛﻬﻢ اﻟﺜﻮري اﻟﺬي‬ ‫راﻛﻤﻮه مبﻮازاة اﻟﺸﻌﺮ اﻟﻔﺼﻴﺢ‪ .‬ﻟﺬا ﻛﺎن‬ ‫ﻇﻬﻮر اﻟﺪﻳﻮان اﻷول ﻟﻜﻮﺛﺮ ﻣﺼﻄﻔﻰ أواﺧﺮ‬ ‫اﻟﺜامﻧﻴﻨﻴﺎت ﺑﻌﻨﻮاﻧﻪ اﻟﻼﻓﺖ "ﻣﻮﺳﻢ زرع‬ ‫اﻟﺒﻨﺎت" ﺣﺪ ًﺛﺎ ﻳﺴﺘﺤﻖ اﻻﺣﺘﻔﺎء؛ ﻓﺒﻌﺪ ﻛﻞ‬ ‫ﻫﺬه اﻟﻘﺮون ﻣﻦ اﻟﺤﻀﻮر اﻟﺴﻠﺒﻲ ﻟﻠﻤﺮأة‬ ‫ﰲ ﻗﺼﺎﺋﺪ اﻟﺸﻌﺮاء اﻟﺮﺟﺎل‪ ،‬ﻫﺎﻫﻲ ﺷﺎﻋﺮة‬ ‫اﻣــﺮأة ﺗﻨﻄﻖ ﺑﻀﻤري اﳌﺘﻜﻠﻢ ﻻ ﺑﻀﻤري‬ ‫اﻟﻐﺎﺋﺐ‪:‬‬ ‫"ﻛﻞ اﻟﻠﻴﻞ ﻣﺎﻳﻘ ّﺮب‪ /‬ﺑﺎﺗﻌ ّﺬب ﻳﺎﻣﺎ وﺑﺘﻐ ّﺮب‪/‬‬ ‫وﺑﺤﺲ ﺑﺮﻋﺸﺔ وﺑﺪﻫﺸﺔ‪ /‬وﺑﺤﺲ ﺑﺮﻏﺒﺔ‬ ‫ف إين اﻫﺮب‪..‬‬ ‫ﻣﺎﺑﺤﺒﺶ ﻧــﻮم اﻟﺘﻮاﺑﻴﺖ‪ /‬ﻣﺠﻨﻮﻧﺔ‪..‬‬ ‫ﻣﻌﺠﻮﻧﻪ مبﻴﺔ ﻋﻔﺎرﻳﺖ‪ /‬ﺑﺎﻛﺘﺐ ﺷﻌﺮ‬ ‫وﺑﻌﺰف ﻋــﻮد‪ /..‬ﺑﺤﺐ اﻟﻠ ّﻤﺔ وﺑﻔﺮح ﳌّﺎ‬ ‫اﻟﺴام ّ‬ ‫ﺑﺘﻤﻄﺮ واﻟﻘﻄﺮ ﻳﻔﻮت‪ /‬ﻻﺑﺨﺎف ﻣﻦ‬ ‫ﺳﻮط وﻻﻧﺒ ّﻮت‪ /‬ﺑﺮﻋﺶ ﺑﺲ ﳌّﺎ‪ /‬ﺑﺘﻴﺠﻲ‬ ‫وﻟﻮ ﺑﺎﻟﻬﻤﺲ‪ /‬ﺳرية اﳌﻮت"‪.‬‬ ‫ﰲ ﻫﺬا اﻟﺪﻳﻮان ﺑﺬرت اﻟﺸﺎﻋﺮة ﻣﻼﻣﺢ‬ ‫ﺗﺠﺮﺑﺘﻬﺎ اﻟﺘﻲ ﺗﺸﻜﻞ اﻟﻬﻤﻮم اﻟﻨﺴﻮﻳﺔ‬ ‫ﺟﻮﻫﺮﻫﺎ‪ ،‬ﻣﺸﺘﺒﻜﺔ ﰲ اﻵن ﻧﻔﺴﻪ ﻣﻊ‬ ‫ﻫﻤﻮم اﻟﻮﻃﻦ واﻟﻜﻮن‪ ،‬وﻣﻔﺮدات اﻟﺤﻴﺎة‬ ‫وﺗﻔﺎﺻﻴﻠﻬﺎ‪ ،‬وأﺳﺌﻠﺘﻬﺎ اﻟﻜﱪى‪ ،‬ﻟﻜﻦ ﰲ‬ ‫ﺧﻔﺔ وﻧﻔﺲ ﴎدي ﻻ ﺗﻨﻘﺼﻪ اﳌﻮﺳﻴﻘﻰ‪،‬‬ ‫وﻟﻐ ٍﺔ ﺣﻤﻴﻤﻴ ٍﺔ ﺗﴚ ﻣﻌﻬﺎ ﻛﻞ ﺷﻄﺮة أن‬ ‫ﻛﺎﺗﺒﺘﻬﺎ اﻣﺮأة‪ ،‬وﻫﺬه اﳌﻼﻣﺢ ﻧﻔﺴﻬﺎ اﻟﺘﻲ‬ ‫وﺳﻤﺖ ﺗﺠﺮﺑﺘﻬﺎ اﻟﺸﻌﺮﻳﺔ ﰲ اﻟﺪواوﻳﻦ‬ ‫اﻟﺘﺎﻟﻴﺔ‪" :‬ﺣﻜﺎﻳﺔ دﻳﻞ ﺣﺼﺎن"‪" ،‬ﻟﺴﺔ اﻷﻏﺎين‬ ‫ﻣﻤﻜﻨﺔ"‪" ،‬ﻣﺮﻛﺐ ورق" و"ﻧﺺ ﻣﻴﺖ ﻧﺺ‬ ‫ﺣﻲ"‪.‬‬ ‫اﻟﻄﺮﻳﻒ أن اﻟﺪﻳﻮان اﻟﺬي ﺻﺎر ﻓﻴام ﺑﻌﺪ‬ ‫ﻣﺪﺧﻞ ﺻﺎﺣﺒﺘﻪ ﻟﻠﺘﻮرط ﰲ ﻋﺎمل اﳌﻮﺳﻴﻘﻰ‬ ‫واﻟﺴﻴﻨام‪ ،‬ﻋﱪ اﳌﺨﺮج ﺧريي ﺑﺸﺎرة وﻣﻦ‬ ‫وراﺋــﻪ اﻟﻔﻨﺎن ﻣﺤﻤﺪ ﻣﻨري‪ ،‬وﺻـ ً‬ ‫ـﻮﻻ ﻟﻠﻘﺎء‬ ‫اﻟﺘﺎرﻳﺨﻲ ﻣﻊ اﳌﺨﺮج اﻟﻌﺎﳌﻲ ﻳﻮﺳﻒ‬

‫‪ǇǔǘǕŌǶ ƉŭǷǉ‬‬

‫‪ɴ‬‬ ‫‪ɱ‬‬ ‫ ‪ ǓŞǃ ǓǿǷƣ‬‬ ‫‪ŧǃǶ ƉǙ ƉƚǙ ǽƳ‬‬ ‫‪ ǶŐ ɐǲŐƉǙŌ ǲƉƫōƗ ƉǤƦũ ǚŐ‬‬ ‫‪ɰ‬‬ ‫‪ ŌƄŒ ǳƛōƁ ɐƈǷǤƦǕōş ōǤǕ Żǘƒǿ‬‬ ‫‪ ǳǾǙōƪǕŌ ŝŨǈũ ǲƉƫōƗ ŧǝōǉ‬‬ ‫‪ ōǤȃŌƉƪƗ Ǔŵ ǓƟōǜǿ ǽŨǕŌ‬‬ ‫‪ǗǤş ưŌƉŨƫŌ ƨŌƋŨǝȍ ǚȓŌ ǻŨŽ‬‬ ‫‪ ɐōǤũōǜşǶ ŋŌǷŽ ǳƚǃ ōǤǝŒ‬‬ ‫‪ ǆƉżǿ ǼƅǕōǉ ǖōƦŨǝōş ƈƉǈŨũ‬‬ ‫‪ Ŧōǘǔǉ ōǤŨƯōƛ ɐǽǃŌǷƒǕŌ‬‬ ‫‪ǻƲƢƚǙ ƉŭǷǉ ǲƉƫōƖǕŌ‬‬

‫ﺷﺎﻫني‪ ،‬ﻛﺎن ﻗﺒﻞ أن ﻳﺼري ﻫﺪﻳ ًﺔ ﺷﺒﻪ‬ ‫ﻣﺠﺎﻧﻴﺔ ﻋﲆ أرﺻﻔﺔ ﺑﺎﻋﺔ اﻟﺠﺮاﺋﺪ ﰲ ﻣﴫ‬ ‫ﻋﺎم ‪ ،1989‬ﻗﺪ أﺧﺬ دورﺗــﻪ ﻣﻦ اﻟﺮﻓﺾ‬ ‫واﻟﺮﻛﻞ ﰲ ﻣﺆﺳﺴﺎت اﻟﻨﴩ اﻟﺤﻜﻮﻣﻴﺔ‪،‬‬ ‫ﺣﺘﻰ أن ﻣﻮﻇﻔﺎً ﺑﻬﻴﺌﺔ ﻗﺼﻮر اﻟﺜﻘﺎﻓﺔ أﺑﻠﻎ‬ ‫اﻟﺸﺎﻋﺮة ﻛﺘﺎﺑﻴﺎً أن دﻳﻮاﻧﻬﺎ ﻻ ﻳﺮﻗﻰ ﻟﻠﻨﴩ‪،‬‬ ‫ﻟﻜﻦ اﻟﺼﺪﻓﺔ ﻗﺎدﺗﻪ ﻟﺮاﺋﺪ اﻟﻔﻦ اﻟﺸﻌﺒﻲ‬ ‫اﻟﺮاﺣﻞ اﻟﺪﻛﺘﻮر ﻋﺒﺪ اﻟﺤﻤﻴﺪ ﻳﻮﻧﺲ‪ ،‬ﻓﻨﴩه‬ ‫مبﺆﺳﺴﺔ ﺣﻜﻮﻣﻴ ٍﺔ أﺧﺮى ﻣﺸﻔﻮﻋﺎً ﺑﺪراﺳﺔ‬ ‫ﺣﻮﻟﻪ‪ ،‬وﺑﻨﻔﺲ ﻋﻨﻮان اﻟﺪﻳﻮان ﺷﺎرﻛﺖ‬ ‫ﻓﻴﻠﻢ وﺛﺎﺋﻘﻲ‬ ‫اﻟﺸﺎﻋﺮة ﻓﻴام ﺑﻌﺪ‪ ،‬ﰲ ﺻﻨﺎﻋﺔ ٍ‬ ‫ﻋﻦ اﻟﺨﺘﺎن ﰲ ﻣﴫ‪ ،‬ﺗﻀﻤﻦ ﻗﺼﺎﺋﺪ ﻟﻬﺎ‪،‬‬ ‫ﻋﲆ ﺧﺼﻮﺻﻴﺘﻬﺎ‪ ،‬مل ﺗﺠﺮﺣﻬﺎ اﳌﺒﺎﴍة ومل‬ ‫ﺗﻬﺪر ﺷﻴﺌًﺎ ﻣﻦ ﺷﺤﻨﺘﻬﺎ اﻟﺸﻌﺮﻳﺔ‪.‬‬

‫ﻣﻦ ﻓﻮق أﺣﺪ أرﺻﻔﺔ وﺳﻂ اﻟﻘﺎﻫﺮة‪ ،‬ﺷﺎﻫﺪ‬ ‫اﳌﺨﺮج ﺧريي ﺑﺸﺎرة دﻳﻮان "ﻣﻮﺳﻢ زرع‬ ‫اﻟﺒﻨﺎت" ﻓﺎﻟﺘﻘﻄﻪ وﻗﺮأه ﻛﺎﻣ ًﻼ ﺛﻢ ﻗﺮر ﴍاء‬ ‫ﻛﻞ ﻗﺼﺎﺋﺪه‪ ،‬وﺑﺤﺚ ﻋﻦ اﻟﺸﺎﻋﺮة ودﻋﺎﻫﺎ‬ ‫ﻟﻜﺘﺎﺑﺔ أﻏﺎين ﻓﻴﻠﻤﻪ اﻟﺠﺪﻳﺪ "ﻃﻌﻢ اﻟﺪﻧﻴﺎ"‪.‬‬ ‫اﻟﻔﻴﻠﻢ ﺗﻌرث إﻧﺘﺎﺟﻪ‪ ،‬ﻟﻜﻦ ﻛﻠامت ﻛﻮﺛﺮ‬ ‫ﺧﺮﺟﺖ ﻟﻠﺪﻧﻴﺎ ﻋﱪ ﺻﻮت ﻳﴪا وﻣﺤﻤﺪ‬ ‫ﻣﻨري اﻟﺬي ﻏﻨﻰ وﻗﺘﻬﺎ "أﺧﺮج ﻣﻦ اﻟﺒﻴﺒﺎن‬ ‫اﻟﺤﺮ اﻟﻀﻴﻘﺔ"‪ ،‬ﻗﺒﻞ أن ﺗﻬﺪﻳﻪ اﻟﺸﺎﻋﺮة‬ ‫ﻗﺼﻴﺪة "ﺳﺎح ﻳﺎ ﺑﺪاح"‪ ،‬وﺿﻤﻬﺎ ﻓﻴام ﺑﻌﺪ‬ ‫أﻟﺒﻮم "اﻓﺘﺢ ﻗﻠﺒﻚ" ﻋﺎم ‪.1994‬‬ ‫اﻟﻨﺠﺎح اﻟﺬي ﺣﻘﻘﺘﻪ ﻫﺬه اﻷﻏﻨﻴﺔ ﺣﻴﻨﻬﺎ مل‬ ‫ﻳﻜﻦ ﻣﺼﺎدﻓ ًﺔ‪ ،‬ﻷﻧﻬﺎ ﻧﻜﺄت ﻫﻤﻮم واﻏﱰاب‬ ‫اﻟﺠﻴﻞ اﻟﺬي ﺷﺎﻫﺪ ﻋﲆ اﻟﺸﺎﺷﺎت ﻏﺰو‬ ‫اﻟﻌﺮاق وﺗﴩﻳﺪ أﻃﻔﺎﻟﻪ ﺑﻌﺪ ﻏﺰو ﺻﺪام‬ ‫ﻟﻠﻜﻮﻳﺖ‪ ،‬وﺷﻬﺪ ﺗﻔﺘﺖ آﺧﺮ ﺣﺠﺮ ﻓﻴام‬ ‫ﻋﺮف ﺑﺴﻘﻮط اﻟﻘﻀﺎﻳﺎ اﻟﻜﱪى‪.‬‬ ‫ﰲ ﻧﻔﺲ اﻷﻟﺒﻮم ﻏﻨﻰ ﻣﻨري ﻣﻦ ﻛﻠامت‬ ‫ﻛﻮﺛﺮ "اﻟﻌﺎﱄ ﻋــﺎﱄ ﻳﺎﺑﺎ" وﻧﺠﺤﺖ ﻫﻲ‬ ‫اﻷﺧــﺮى‪ ،‬وﺑﻌﺪﻫﺎ ﺟﺮى ﺑﻴﻨﻬام ﻣﺎ ﻳﺸﺒﻪ‬ ‫اﻟﺘﻮأﻣﺔ‪ ،‬ﻓﺎﺳﺘﻌﺎن ﺑﻬﺎ ﻣﻨري ﰲ ﻛﺘﺎﺑﺔ أﻛرث‬ ‫أﻏﺎين أﻟﺒﻮﻣﺎﺗﻪ اﻟﺘﺎﻟﻴﺔ اﻟﺘﻲ ﺗﺠﺎوز ﻋﺪدﻫﺎ‬ ‫ﻗﺮاﺑﺔ اﻟـــ‪ 25‬أﻏﻨﻴﺔ‪ ،‬ﻛام ﻗﺪﻣﻬﺎ ﻟﻴﻮﺳﻒ‬ ‫ﺷﺎﻫني ﻟﺘﻜﺘﺐ ﻛﻠامت أﻧﺸﻮدة ﻓﻴﻠﻢ اﳌﺼري‬ ‫"ﻟﺴﺔ اﻷﻏﺎين ﻣﻤﻜﻨﺔ" ﻋﺎم ‪.1997‬‬ ‫إذن وﻗﺖ ﺗﻌﺮﻓﻬﺎ ﻋﲆ ﻣﻨري وإﻧﺘﺎج أول‬ ‫ﻋﻤﻞ ﻣﺸﱰك ﻣﻌﻪ ﻛﺎﻧﺖ ﻛﻮﺛﺮ ﻣﺼﻄﻔﻰ‬ ‫ﰲ ﺑﺪاﻳﺔ ﻣﺸﻮارﻫﺎ‪ ،‬ﺑﻞ ميﻜﻦ اﻟﻘﻮل إن‬ ‫ﻣﻨري ﻛﺎن ﺑﺎﻟﻨﺴﺒﺔ ﻟﻬﺎ اﻟﺒﺪاﻳﺔ ﺑﻌﻴﻨﻬﺎ‪ ،‬أﻣﺎ‬ ‫ﻫﻮ ﻓﻜﺎن ﰲ ذروة ﻣﺠﺪه‪ ،‬ﻣﺘﻜﺌًﺎ ﻋﲆ أﻛرث‬ ‫ﻣﻦ ﻋﴩ أﻟﺒﻮﻣﺎت ﻏﻨﺎﺋﻴﺔ ﻧﻮﻋﻴﺔ وﻣﺘﻔﺮدة‪،‬‬ ‫ﺣﺼﻴﻠﺔ ﻣﺸﻮاره اﻟﺬي ﺑﺪأه ﻣﻨﺬ ﻣﻨﺘﺼﻒ‬ ‫اﻟﺴﺒﻌﻴﻨﻴﺎت‪ ،‬ﻋﲆ ﻳﺪ ﻧﺨﺒﺔ ﻣﻦ آﺑﺎء ﺷﻌﺮ‬ ‫اﻟﻌﺎﻣﻴﺔ اﳌﴫي أﻣﺜﺎل ﻋﺒﺪ اﻟﺮﺣﻴﻢ ﻣﻨﺼﻮر‬ ‫وﻓــﺆاد ﺣﺪاد واﻷﺑﻨﻮدي وﺻﻼح ﺟﺎﻫني‬ ‫وأﺣﻤﺪ ﻓﺆاد ﻧﺠﻢ وﻣﺠﺪي ﻧﺠﻴﺐ وﻏريﻫﻢ‪،‬‬ ‫اﻟﺸﻌﺮ ‪baytelshear‬‬ ‫ﺑﻴﺖ ِ‬

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‫‪şĚĮŃ şěńĴ‬‬

‫ﻛﻮﺛﺮ ﻣﺼﻄﻔﻰ‬ ‫‪mŦōǜŞǕŌ ƃǔş} ǽƳ ǳŞȃōƮǕŌ ƉǾǘƟ‬‬

‫ﻋﺰة ﺣﺴﻴﻦ‬

‫ﻧﺎي ﻛﺄﻧﻪ اﻟﺤﺰن‪،‬‬ ‫اﳌﻮﺳﻴﻘﻰ ﺗﻨﺴﺎب ﻣﻦ ٍ‬ ‫واﻣﺮأ ُة رﻳﻔﻴﺔ ﺷﺎﺑﺔ ﻳﻠ ﱡﻔﻬﺎ اﻟﺴﻮاد‪ ،‬ﺗﻐﺰل‬ ‫ﺟﺪاﺋﻞ ﻃﻔﻠ ٍﺔ ﻣﺴﺘﺴﻠﻤﺔ‪ ،‬ﻟﻮﻻ ﻇﻬﻮر‬ ‫اﻟﻮﻟﺪ اﻟﺬي ﺗﻘﺘﻠﻌﻬﺎ اﺑﺘﺴﺎﻣﺘﻪ ﻣﻦ ِﺣﺠﺮ‬ ‫أﻣﻬﺎ‪ ،‬ﻓﺘﻬﺮول ﻟﻠﺪوران ﻣﻌﻪ ﺣﻮل ﺳﺎﻗﻴ ٍﺔ‬ ‫ﻋﺘﻴﻘﺔ‪ ،‬ﻻ ﻳﻮﻗﻒ دوراﻧﻬﺎ ﺳﻮى اﻷم‪،‬‬ ‫ﺗﻨﺘﺰع َ‬ ‫اﻟﺒﻨﺖ ﻣﻦ ﻳﺪ اﻟﻮﻟﺪ ﻓﺘﺘﻠﻮن‬ ‫اﻟﺸﻔﺎه ﺑﺼﻮت اﻟﻨﺎي‪.‬‬ ‫ﰲ اﳌﺸﻬﺪ اﻟﺘﺎﱄ اﻣﺮأ ٌة ﺟﺪﻳﺪة ﺳﺘﻜﻮﻧﻬﺎ‬ ‫اﻟﻄﻔﻠﺔ‪ ،‬ﺗﺘﻮﺳﻞ ﻟﻸم أن ﺗﺸﺪ ﺿﻔﺎﺋﺮﻫﺎ‬ ‫وﺗﻘﻴﺪ ﺟﻤﻮﺣﻬﺎ‪ ،‬ﻟﺘﺤﺮﻣﻬﺎ اﻟﺤﺮﻳﺔ اﻟﺘﻲ‬ ‫أدرﻛﺖ مثﻨﻬﺎ ﺑﺨﱪة اﻷمل‪ ،‬وﰲ اﳌﺴﺎﻓﺔ ﺑني‬ ‫اﳌﺸﻬﺪﻳﻦ رﺣﻠﺔ اﻟﺒﻨﺖ ﻛﻤﺮاﻫﻘﺔ وﺷﺎﺑﺔ ﺛﻢ‬ ‫اﻣﺮأ ٍة ﻳﻠﻔﻬﺎ اﻟﺴﻮاد اﻟﺬي ﻃ ّﻮق اﻷم ﻣﻨﺬ‬ ‫اﳌﺸﻬﺪ اﻷول‪..‬‬ ‫"اﻣﺎﻳﺎ ﻳﺎﻣﺎ‪ ..‬ﺷﺪي اﻟﻀﻔﺎﻳﺮ‪ /‬ﺷﺪي رﺑﺎﻃﻬﺎ‬ ‫ﻋﺼﺒﻴﻨﻲ‪ /‬ﻟﻮ ﻗﺎدرة ﻳﺎﻣﺎ ﺗﻘﻴﺪﻳﻬﺎ ﻗﻴﺪﻳﻬﺎ‬ ‫وﻗﻴﺪﻳﻨﻲ‪..‬‬ ‫اﻣﺎﻳﻪ ﻳﺎ اﻣﺎ‪ /‬ﺟﻮاﻳﺎ ﻟﻴﻪ؟‪ /‬اﻣﺎﻳﺎ ﻳﺎ اﻣﺎ ﺟﻮاﻳﺎ‬ ‫إﻳﻪ؟‪ /‬ﺟﻮاﻳﺎ ﺣرية‪ /‬ﺟﻮاﻳﺎ ﺿﻠﻤﺔ‪ ..‬ﺟﻮاﻳﺎ‬

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‫اﻟﻌﺪد ‪ ، 70‬ﺳﺒﺘﻤﺒﺮ ‪2018‬‬

‫ﻃري ﻗﻠﻘﺎن ﰱ ُ‬ ‫ﻋﺸﻪ‪ /‬ﻻ اﻧﺎ ﻗﺎدرة اﺷﻴﻠﻪ وﻻ‬ ‫ﻗﺎدرة ُ‬ ‫اﻫﺸﻪ‪ ..‬وﻛﻼم ﰱ ﴎك‪ /‬وﺑﻘﻮﻟﻬﺎ ُﻣﺮة‪/‬‬ ‫ﻋﺬاب ﺑﺤﺴﻪ‪ /‬ﻋﺬاب وﺛﻮرة"‪..‬‬ ‫إﻧﻬﺎ ﻗﺼﺔ ﺣﻮاء وﺑﻨﺎﺗﻬﺎ‪ ،‬ﺗﺘﻜﺮر ﺑﺎﻧﺘﻈﺎم‬ ‫ﻛﺎﻟﺬي ﻳﺤﺮك اﻟﺴﻮاﻗﻲ‪ ،‬ﺻﺎﻏﺘﻬﺎ ﻛﻠامت‬ ‫ّ‬ ‫وﺗﻘﻄﺮ أﻧﻴﻨُﻬﺎ‬ ‫اﻟﺸﺎﻋﺮة ﻛﻮﺛﺮ ﻣﺼﻄﻔﻰ‪،‬‬ ‫ﻋﱪ ﺻﻮت اﳌﻄﺮﺑﺔ ﺣﻨﺎن ﻣﺎﴈ وﻟﺤﻦ‬ ‫ْ‬ ‫اﳌﻮﺳﻴﻘﺎر ﻳﺎﴎ ﻋﺒﺪ اﻟﺮﺣﻤﻦ اﻟﺬي اﻟﺘﻘﻂ‬ ‫ﺷﻔﺮة ﻣﻌﺎﻧﺎة اﳌﺮأﺗني‪.‬‬ ‫واﻷﻏــﻨــﻴــﺔ وﻗـــﺖ ﺻــﺪورﻫــﺎ ﻣﻨﺘﺼﻒ ‪ŦōǜŞǕŌ ƨƈƊ ǗƓǷǙ‬‬ ‫ُ‬ ‫اﻟﺘﺴﻌﻴﻨﻴﺎت‪ ،‬ﻛﺎﻧﺖ ﻧﻘﻠﺔ ﻧﻮﻋﻴﺔ ﰲ ﻋﺎمل ﰲ ﻣﴫ ﻣﺮ ٌ‬ ‫ﻃﻮﻳﻞ ﻗﺒﻞ أن ﺗﻈﻬﺮ‬ ‫وﻗﺖ‬ ‫اﻟــﻄــﺮب‪ ،‬ﻓﻬﻲ ﻟﻴﺴﺖ أﻏﻨﻴﺔ ﻋﺎﻃﻔﻴﺔ ﺷﺎﻋﺮة اﻣــﺮأة‪ ،‬أو ﻳﺴﻤﺢ ﻟﻬﺎ ﺑﺎﻟﻈﻬﻮر‪،‬‬ ‫ﺗﻘﻠﻴﺪﻳﺔ‪ ،‬وﻻ وﻃﻨﻴﺔ أو دﻳﻨﻴﺔ‪ ،‬ﺑﻞ ﺗﺼﻮﻳﺮ‬ ‫ﳌﻌﺎﻧﺎة اﳌﺮأة ومتﺰﻗﻬﺎ ﺑني رﻏﺒﺘﻬﺎ اﻟﻔﻄﺮﻳﺔ‬ ‫ﰲ اﻟﺘﺤﻠﻴﻖ واﻛﺘﺸﺎف اﻟﺤﻴﺎة‪ ،‬وﺑني ﺧﻮﻓﻬﺎ‬ ‫ﻣﻦ ﻓﺎﺗﻮرة اﻟﺤﺮﻳﺔ ﰲ ﻋﺎمل ﻛﻞ ﻣﺎ ﻓﻴﻪ ﻳﺪﻳﻦ‬ ‫وﺟﻮدﻫﺎ ﻣﻦ اﻷﺳﺎس‪ ..‬وﻣﺸﺎﻋﺮ ﻛﻬﺬه مل‬ ‫ﻳﻜﻦ ﻟﻴﺸﻌﺮ ﺑﻬﺎ وﻳﻌﱪ ﻋﻨﻬﺎ ﺳﻮى ﺷﺎﻋﺮة‬ ‫ﺧﺼﻮﺻﺎ ﻛﺘﻠﻚ اﻟﺘﻲ ﻛﺎﻧﺘﻬﺎ ﻛﻮﺛﺮ‬ ‫اﻣــﺮأة‪،‬‬ ‫ً‬ ‫ﻣﺼﻄﻔﻰ‪..‬‬

‫اﻟﻌﻤﺮ ﻓﺪاك‬ b~94 d ~8bJ D 6b D* ¤~94* » bF* ¥xJ2b E Ì@Q @=* Á* @@E d ~8* ¤@Q @ @< b@@ /H eb@@g@ @D* Ì@@= ¤@@~@7 ¤@@ @Jv@@J ¯ °H ¥Ì@@+b@@ @- h@@ @AQ H b@@ @ @ @E ¥Ì@@+b@@ @ - ¢@@g@ 0 b@@ @ J b@ - h + ° b ~z F v@@Jb~| D* ¡@@s@¥xJHb~{E E x ~{D* ¡sJ b@E jE *2HH @@+b/ E H Ab~7 E 0b£@A ¥Ì~| - b@@~7 °H Ì~| - b~7 °H b@ 0 Í+ b@EH C ¤@A x < 7b< ¡DH ¥Ì - i¡~8 ~6 ¡@@ D ¢ - -2b ~6 bBxA @D*H 0x/ Í+ Á* Ì²* @E ¥x@@ @JÄ@@- @@£@ @<* H* ¤@@~@z@ @ @ @D 4x@@ @ +* b@@ F* bGyJ °H ~6&* zFvJ ¤ Q D* E g 0 ¥xJv -H ¤ AH ¤ ~6* h 0 bE jE b~zF* ¤ < F* d/*H H J2 d²* ¡DH ¥Ì@@ @ @- h@@ @F* b@@ @ E Á* *x@@ @ @²* ¤@@ @ < *¡@~7°* Fb@~7 ¢ < ¢@:b- v D* v« ¥x@@JH*¡F @@E Mf@£Q @A ¤@@ @ @A @@ Q @;* b@@F*H b 1* Ì~zE v - © bE b 1* *3b@A ¥Ì~z@+ ¤~{§ b@@F*H Ì@@~@6 ¢ < sA b@ sJ b@@E x@@ @~@{@ @D*H Ì@@³* eH42 y@@£Q @ ¥Ì1 @< v@~|-H R @ Ax - x~{cD* Ì@@1H b@@JH *w@@ @ @ @C ¤@@ @ 0 *2 ¥¡@@~@ 6* @@{@ JH b@@ F* ¥x@@ @£@ @= b@@ @ @~@94 @@ @ G @@ @ CH b@@~@ 94 4H2* *vA ¤~7 C ¢~z< Ñ*H ° x D* ¢~z< ¥x@@J3b@@ @E x@@ 1%* ¶* @@ @E b@@ @1 H* @@E

baytelshear ‫اﻟﺸﻌﺮ‬ ِ ‫ﺑﻴﺖ‬

‫ﺟﺎﺑﺮ ﺑﻦ ﻋﻠﻮش‬ @J3losh

ĘıĘŕ

‫ﻧﻮاف اﻟﺘﺮﻛﻲ‬ @ nawafalturky

‫أﻏﻨﻴﺔ رﺣﻴﻞ‬ x@@ /&* @@c@£@c@0 ¯ d@@~@ z@ C*H Q @@ 0 @@ D h@@ @ B 2b@@ @ @ @ @D* v@@ £@ @ @ @c@ @D w@@ @ @ 1b@@ @ @ JH x@@ @ +b@@ @ @ @ @-° x© ¤@@ 0H4H @@D ¤0b / } 1* ¤ ~7 2b@@ @ /H rb@@c@ ~@ 8 @@C¡@@~@ 7 ¢@@ @ < b@@ @g@ @m@£@G Q @ j@ @E ¥4v@@ @ ~@ @ @8 ib@@ @ @ @B2 Q @@ @ @C x@@m@ @ D* 2 @ 2b@@~@ |@ 0 @@ @ @ J&*b@@ E @@ @C @@ /b@@ @ @´* Q @@ Ey@@ @ @J x@@m@ @ D* w@@ @ g@ ~@ z@ JH d@@£@ @ J @@c@ @ B h@@ @ @ @F&*H 2b@@ @ @c@ @D*H ¢@@ @ @±b@@ + @@ @=¡@@ @JH ¢@@ 0b@@ @ @g@ @JH x@@m@A f@@E¡@@~@ |@ ³b@@+ ¢@@g@ 0 Ä@@~@ |@ D* xQ @ @ @ = 2*5 ib@@ Âv@@ @ @D* @@£@ Db@@£@ D @@ @E @@~@ {@ 0b@@E x@@m@ ~@ {@ D*H b@@ @ @ Q @ @ ;H ,b@@ @ £@ @ ²* q@@ @ @E h@@ @ @C 2b@@c@ @ D* @@ @< ¤@@ @0Hx@@ @D v@@ £@ @0¡@@ D* 3É@@ @ @ @´*H x@@m@ @ D* @@ J¡@@ @ @ D* @@ £@ @ @ @D* @@ gQ @ @ @ @J x@@ @Cb@@ @+ 2b@@ CH f@@ E*v@@ @ @D* @@ @ +b@@ ~@ 8&* @Q @}@ @ - x@@ Cb@@ + x@@m@ ~@ 9H Q @ @ @ EH ¢@@ Bx@@ @ @D* ¤@@c@ @ B h@@ @ @ @ /H&* 2b@@ Ex@@ @ @D b@@ @ @F¡@@ ~@ @|@ @= 2Q x@@ @ @ @ @E M4b@@ @ @ @ @F @@ @ @ @CH x@@m@0 ¤@@c@ @ BH b@@ £@ Fv@@ D* @@ E ¡@@ @ @ :&* ·b@@ @+ 2*v@@~@ {@ D* ¤@@ @ <*4 d@@£@ @ J É@@ @1 h@@ Q @ @ g@ D*H x@@ /&* ¤@@c@ @ B @@c@ B @@c@ @ @ + d@@ ~@ @z@ @C*H rH4 2*v@@ ´* @Q @ @/H @@c@ 0 @@E @@p@~@|@D* h@@ @ A4 2018 ‫ ﺳﺒﺘﻤﺒﺮ‬، 70 ‫اﻟﻌﺪد‬

‫درﺑﻚ ﺳﺮﻣﺪي‬ ¥v@@ @ @ +H ¤@@ @ @ c@ B @@ @ £@ c@ p@ ´* @@ @ @ @ @£Q @ @<&* b@@ @ @ @ C ¥v@@ @ @ - b@@ @ @ @ @ @ J°*H @@ @ @ Bb@@ - 4b@@ @ @ @ @ @ <&°* h@@ @ @ Q @ @1 ¥2¡@@ @ /&* i¡@@ @ ÂH b@@~@ z@ F(* @@ @ s@ JO ¤@@ @ D* @@ Q @ 1 ¥24 b@@ @ @ @ @ @ Jb@@1H ¤@@ @ Ab@@ @ @ ~@ 6 b@@ @ @ £@ A y@@ @ g@ @ E ¥v@@ @ @c@D @@ @ Jb@@ @ ±* @@ @ @ « 2É@@ @ + b@@ E @@j@ E ¥v@@ @ 0 ¤@@ @ @ J2b@@0 @@ @ @ E b@@ @ @ @ ±*H Á*v@@ @ @ «H ¥v@@ @ @ JH q@@ @ Eb@@~@ z@ J Ñ* ¢@@~@ z@ < °* ¡@@ @ @Jb@@ E ¥vA ~z D q@@ +3&*H ¹b~zEH b ~zF(* ¥v@@ @ @ /H b@@ @ @ @ @ G*4H ¥x@@ @ @< h@@ @ £Q @ ~@ 9 Mf@ @ @ @ @ @= ¥v@@ @ g@ c@ -H 4b@@ @ ~@ |@ @ D* ¡@@ @ @ ~@ }@ D* @@ @ £@ + ¤@@ @ g@ @ ¥v@@~@z@/ h@@ JQ x@@ <H ¥Ä@@~@ 8 h@@JQ x@@ < b@@ @ ±b@@+ ¥v@@ @ @Db@@+ ¤@@ @ @ /4 *v@@ @ @ B&* d@@ @g@E @@ @ +H42 ¯H ¥vm D ¤@@ @ /H h@@ @ /H £ ~6 h@@J¡@@F (*H ¥v@@ @ Ex@@~@ 6 @@ @ @ @ @ +42H @@ @ @ JQ v@@ Ex@@ ~@ @6 ¤@@ @ Db@@£@ @ D* ¥v@@ @ J @@ @ E ¢@@ @ ~@ 7É@@- @@ @ @ DH5 h@@£@ @ ~@ 9b@@E @@ C ¥v@@ @ F M x@@ @ @ < @@ @ g@ cQ @ ~@ 6 @@ @ E d@@ @ @ Db@@A ¢@@ @ +b@@E ¥v@@ @ Bx@@E ¤@@ @ Fb@@ @ /H ¥b@@ @ ~@ z@ @ /* h@@ @ Bb@@j@ -° ¥v@@ @ @ 0&°* @@ @ £@ +H @@ @ £Q @ ´b@@~@ z@ D* Í@@ + h@@ @ @F&*H ¥v@@ @ @JH q@@Eb@@~@z@J Ñ* ¢@@~@z@< @@-x@@Cw@@- (*H ¥2¡@@/&b@ + h@@ @ F*°H ¯b@@ @ ~@ z@ + h@@Fb@@E * x@@ @ <&*

baytelshear ‫اﻟﺸﻌﺮ‬ ِ ‫ﺑﻴﺖ‬

‫ﻣﻄﻠﻖ ﺑﻦ ﺷﻮﻳﻪ‬ @MShawiah

eb@@ @c@~@7 b@@ @ £@ Fv@@D* ¤@@ @~@}@ @F ¤@@ @ c@ 0b@@~@ 8b@@J b@@ @ g@ £@ D eb@@ @p@~@z@D* b@@ @ @ £@ @ @ -b@@E @@ @ -4v@@B ¤@@ @ @ D* @@ @ @ D e*x@@ @ g@ @ D 2Q x@@ @ @ @ EH e*x@@ @ @ - @@ E @@ @ @FQ (* x@@ @ @<&* eb@@ @ Bx@@D* ¤@@ @ A @@ @ Fb@@E&°* @@j@ E d@@ ²* ¯ b@@A¡@@D* eb@@ @ @±* q@@ @ @~@6b@@J 2¡@@ @ D* @@ @ « Hb@@ @0 h@@ @ F&*H eb@@ @£@ @ @D* @@ @ Jx@@ @ JH ¤@@ @ Db@@£@ @ D* x@@ @ £Q @ @ -° eb@@ @/ ¡@@ J @@~@}@c@FH *2Q H ¡@@ J ¤@@c@ @B @@}@c@F eb@~z0 b@@ @ @c@~@z@0&*H v@@ J ¢@@ @< @@-b@@ @ @= v@@< eb@@ @ @g@~@z@-H eb@@ @ @ - ¤@@ @ @ D* @@ @ @ @ D* @@ @J3 2¡@@ @C eb@@ @ J3 b@@ @ @ @~@7 @@ @EH Æ@@ @ < @@£@ ~@ 6 @@ E Mf@ @ @ : eb@@ @£@j@D* b@@ @GÆ@@~@z@- 2b@@ @ ~@ z@ /&°* ¡@@ J @@g@£@ @Gb@@E eb@ ~|D* h@@Jv@@« @@Fb@@~@{@< ¤@@ @ D* b@@ F&*H @@£@D eb@@ @ C4 b@@ @ £@ @ + b@@ @ @ g@ Jx@@~@ 6 @@ @ £@ @ D* Á*¡@@ ~@ @ 9 (* e*w@@ < @@ E ¡@@ @ 1H ¡@@ @ 1 @@ C ¤@@ +*w@@ < @@ E e*x@@ @~@6 @@ @£@1* b@@ @F&*H ¤@@ @£@< ¡@@~@ 7 @@ Â&* @@ JH eb@@ @ Gw@@D* b@@ @ Eb@@J @@ @ J4b@@ @ + ¤@@ @ Db@@0 Md@@ @ Gw@@E eb@@ @+ @@ @ @ E ¥x@@ @ ~@ 7 eb@@ + ¢@@ @ < q@@g@ @ Jb@@E h@@£@ D eb@@ @g@C f@@ @p@ @~@8 ¢@@ @ < ¤@@ @£@< *v@@ @B @@ @ ~@ 64&*H e*x@@ @g@Db@@A *4*¡@@ @E Á(Q * x@@<&b@ A g£~zF (* eb@@ @g@ @D* b@@ @ @ 1&*H @@J4b@@~@ {@ ´* @@-v@@ @- *H

‫‪Ĭ§ō§§§Ř‬‬ ‫ﻳﻜﺎد اﳌﺰروﻋﻲ ﻳﻠﺨﺺ ﻣﺎ ﻗﺪﻣﺘﻪ ذاﻛﺮة اﻟﺸﻌﺮ اﻟﻌﺮيب ﰲ وﺻﻒ‬ ‫اﻟﻌﺎﺷﻘﺔ ﰲ ﻫﺬﻳﻦ اﻟﺒﻴﺘني‪ ،‬ﻓﺎﻟﻌﻴﻮن‪ ،‬واﳌﺸﻴﺔ‪ ،‬واﻧﺸﻐﺎل اﻟﻌﺎﺷﻖ‬ ‫مبﺤﺒﻮﺑﺘﻪ ﻇﻠﻮا أﻛرث اﳌﻮاﺿﻴﻊ اﻟﺘﻲ أﻋﺎد اﻟﺸﻌﺮاء ﻃﺮﺣﻬﺎ ﺟامﻟﻴﺎً ﰲ‬ ‫ﻧﺼﻮﺻﻬﻢ اﻟﺸﻌﺮﻳﺔ‪.‬‬ ‫ﻣﻘﺎﺑﻞ ﻫﺬا اﻟﺤﻀﻮر ﻟﻠﻘﺼﻴﺪة اﻟﻘﺼرية‪ ،‬ﺗﻈﻬﺮ ﻣﻮاﺿﻊ أﺧﺮى ﻟﺠﺄ‬ ‫ﻓﻴﻬﺎ اﻟﺸﻌﺮاء اﻟﺸﻌﺒﻴﻮن إﱃ اﻟﻨﺺ اﻟﻘﺼري‪ ،‬وﺗﺘﺠﲆ ﰲ ﻣﻮاﻗﻒ‬ ‫اﳌﺤﺎورات واﻟﺮد ﻋﲆ ﺷﻌﺮاء آﺧﺮﻳﻦ‪ ،‬ﺣﻴﺚ ﻳﻜﺘﺐ اﻟﺸﺎﻋﺮ ﻣﺤني‬ ‫اﻟﺸﺎﻣﴘ ﻗﺼﻴﺪة ﰲ ﺑﻴﺘني ﻳﺮد ﻓﻴﻬﺎ ﻋﲆ اﻟﺸﺎﻋﺮ ﺳﻌﻴﺪ ﺑﻦ راﺷﺪ‪،‬‬ ‫وﻳﻘﻮل‪:‬‬ ‫‪ q@@ Db@@ ~@ @8 b@@ @ @J¡@@ @ @G *y@@ @ @ @ @ @G ex@@ @ @ @ @0 @@ @ @ @ c@ @ B‬‬ ‫‪q@@ Db@@ ~@ 8 ¤@@ @ @£@ @ @ @ @ @D* ex@@ @ @ @0 ¯ h@@ @ @ @ @ J4°H‬‬ ‫‪ q@@Db@@~@ |@ - @@ £@ @ < @@ @Ex@@ @0 ¢@@ ~@ }@ E @@ @g@ @ BH‬‬ ‫‪ @@ @Db@@ @ @ @ < f@@ @ @ @ @ @ E @@ @ @ @E ix@@ @ @ @ @ / b@@ @ @ @Eb@@ @ @ @JH‬‬

‫ﻛام ﻳﺮد ﰲ ﻗﺼﻴﺪة أﺧﺮى ﻋﲆ اﻟﺸﺎﻋﺮ ﺳﻌﻴﺪ ﺑﻦ راﺷﺪ‪ ،‬ﺑﺎﻟﻘﻮل‪:‬‬ ‫‪ @@ @ Jv@@ @ @ @ D ,Ä@@ @ @ @ @ @ @< x@@ @ @ @ G*¡@@ @ @ @ @ @ @ @ @D* @@ @ @ z@ @ @ @+‬‬ ‫‪ ¤@@ @ @ @ @ @ @ @ @J2¡@@ @ @ @ E*H x@@ @ @~@ @ @ {@ @ @ @ @ @ D f@@ @ @ +b@@ @ @ c@ @ @ @0‬‬ ‫‪ ¤@@ @ @Jv@@ + Í@@ @ @ @ @ @ @J*2 Ñ* ¶(* @@ @ @ G¡@@ @ @ DH‬‬ ‫‪ @@ @Db@@ @ @ @ 0 b@@ @ @ @ @s@ @ @ @ @ @D ¥Ì@@ @ @ @ @ @ @ @ @´* b@@ @ @ @ @ @C‬‬

‫ﻋﲆ اﻟﺮﻏﻢ ﻣﻦ إﻣﻜﺎﻧﻴﺔ ﻗﺮاءة اﳌﻌﻨﻰ واﻟﺪﻻﻟﺔ اﻟﺠامﻟﻴﺔ ﻟﻜﻼ‬ ‫اﻟﻘﺼﻴﺪﺗني إﻻ أن ﻫﺬا اﻟﺸﻜﻞ ﻣﻦ اﻟﻨﺼﻮص اﻟﻘﺼرية اﻟﺬي ﺟﺎء ﰲ‬ ‫ﺳﻴﺎق اﻟﺮد ﻋﲆ ﻗﺼﺎﺋﺪ أﺧﺮى مل ﻳﺨﺮج ﻣﻦ إﻃﺎر ﻗﺮاءﺗﻪ اﳌﺘﻜﺎﻣﻠﺔ‬ ‫اﳌﺒﻨﻴﺔ ﻋﲆ ﺗﺄﻣﻞ اﻟﻨﺺ اﻷول وﺳﻠﺴﻠﺔ اﻟﻨﺼﻮص اﳌﺘﺒﺎدﻟﺔ ﰲ اﻟﺮد‬ ‫ﺑني اﻟﺸﺎﻋﺮﻳﻦ‪ ،‬ﺣﻴﺚ ﻇﻞ اﻟﻔﻀﺎء اﻟﻌﺎم ﻟﻠﻨﺺ رﻫني ﻣﺘﻌﻠﻘﺎت‬ ‫أﺧﺮى ﻣﺘﻮارﻳﺔ ﰲ ﻧﺼﻮص أﺧﺮى‪.‬‬ ‫ﻛﻞ ﺗﻠﻚ اﻟﺘﺠﺎرب ﰲ اﻟﻘﺼﻴﺪة اﻟﻘﺼرية ﻟﻠﺸﻌﺮ اﻟﺸﻌﺒﻲ اﻹﻣﺎرايت ﻻ‬ ‫ﺗﻨﻔﻲ أن اﻟﻜﺜري ﻣﻦ اﻟﻨﺼﻮص ﻛﺘﺒﺖ ﺑﺎﻷﺻﻞ ﺑﻨﺼﻮص ﻃﻮﻳﻠﺔ ومل‬ ‫ﻳﺼﻞ ﻣﻨﻬﺎ ﺳﻮى ﺑﻴﺘني أو ﺑﻴﺖ ﺑﻌﺪ أن ﺗﺤﻮﻟﺖ إﱃ ﺟﺰء ﻣﻦ ذاﻛﺮة‬ ‫اﳌﺮوي اﻟﺸﻔﻬﻲ ﻟﻠﻤﺠﺘﻤﻊ اﻹﻣﺎرايت‪ ،‬ﻓﻠﻴﺲ ﻏﺮﻳﺒﺎً أن ﺗﻜﻮن ﻗﺼﺎﺋﺪ‬ ‫ﻗﺼرية ﻟﻠﺸﺎﻋﺮ ﺣﺎﻓﻆ اﳌﺴﻜﺮي ﻛﺎﻧﺖ ﻃﻮﻳﻠﺔ ومل ﻳﺼﻞ ﻣﻨﻬﺎ ﺳﻮى‬ ‫ﺑﻴﺖ أو اﺛﻨني‪ ،‬واﻟﻌﺎرف ﻟﻠﻘﺼﻴﺪة اﻟﻌﻤﻮدﻳﺔ ﻳﺪرك أن أﻛرث ﻣﺎ ميﻴﺰﻫﺎ‬ ‫ﻫﻮ ﺣﻀﻮر اﻟﻮﺣﺪة اﻟﻜﻠﻴﺔ ﻟﻠﺒﻴﺖ اﻟﻮاﺣﺪ ﰲ وﻗﺖ ﺣﻀﻮر وﺣﺪة‬ ‫اﳌﻌﻨﻰ ﻟﻠﻘﺼﻴﺪة ﻛﺎﻣﻠﺔ‪ ،‬أي أﻧﻪ ميﻜﻦ اﺳﺘﺒﺪال أﻣﺎﻛﻦ ﺑﻴﻮت اﻟﺸﻌﺮ‬ ‫أو ﺣﺬﻓﻬﺎ‪ ،‬أو ﻓﺼﻠﻬﺎ ﻋﻦ اﻟﻨﺺ ﻛﺎﻣ ًﻼ ﻣﻦ دون اﻧﺘﺰاع ﻣﻌﻨﻰ وﺟﻮدة‬ ‫اﻟﻨﺺ‪ ،‬وﻛﺄن ﻛﻞ ﺑﻴﺖ ﰲ اﻟﻘﺼﻴﺪة ﻛﺘﺐ ﻟﻴﻜﻮن وﺣﻴﺪاً‪.‬‬ ‫ﻳﺆﻛﺪ ذﻟﻚ اﻟﻜﺜري ﻣﻦ اﻟﻘﺼﺎﺋﺪ اﻟﻘﺼرية واﻟﻄﻮﻳﻠﺔ ﰲ ذاﻛﺮة اﻟﺸﻌﺮ‬ ‫اﻟﺸﻌﺒﻲ اﻹﻣﺎرايت‪ ،‬ﻓﺎﻟﺸﺎﻋﺮ ﻣﺤﻤﺪ اﻟﺼﺎﻟﺢ اﻟﻘﺎﴈ ﻳﻘﻮل‪:‬‬

‫ ‪ǽŞƪƖǕŌ ƉƪƖǕŌ ǳşƉŴũ ǻǕŒ ƉƦǜǕōş‬‬ ‫ ‪ ƃȃōƚǂǕŌ ǛǙ ƉǾŬǈǕŌ ǛǿōƪǘǕŌ ƃŴǿ ǳǾũŌƈōǙȑŌ‬‬ ‫‪ ɐƱŬǈǘǕŌ ƙǜǕōş ōǤƲǾƛǷũ Ǜǈǘǿ ǽŨǕŌ‬‬ ‫‪ɐǲƉǾƚǂǕŌ ǶŐ ɐǳƞǙǷǕŌ ǲƃǾƚǂǕŌǶ‬‬ ‫‪ ǲƃǾƚǂǕŌ ſǿƈōũ ǽƳ ǛǾŬŽōŞǕŌ ǛǙ ƉǾŬǈǕŌ ƉŞŨƫŌ‬‬ ‫ ‪ ƃŽŌǷǕŌ ŧǾŞǕŌ ǲƃǾƚǃ ǲƈǷƛ ǚŐ ǳǾşƉƪǕŌ‬‬ ‫‪ ŧǔƧ ǽŨǕŌ ƘǷƚǜǕŌ ǒōǈƗŐ ǛǙ ǲƃŽŌǶ ƃƪũ‬‬ ‫‪ ǸƉǙŌ ƅǜǙ ǳǾşƉƪǕŌ ǳǾǕōǘŴǕŌ ƉǉŌƅǕŌ ǽƳ ǳǔŭōǙ‬‬ ‫‪ǖǷǾǕŌ ǻǕŒ ƑǾǂǕŌ‬‬

‫@‪ @R @ @ JHP É@@ @ +P Rl2*¡@@ @ @ @ @0 ¥v‬‬ ‫‪N @ c@ @ -P °N d@R @ @ @ BN b@@ @ JN‬‬ ‫*(‪R @ @ @ @ JQ HN Qv@ @ ~@@Q @z@ @ D* @N @ @ @ @ p@ @ JN ¡@@ @ @ OG R @@ @ @ @´N °Q P‬‬ ‫@‪ b‬‬

‫وﻳﻜﺘﺐ ﰲ ﻗﺼﻴﺪة ﻣﻦ ﺑﻴﺖ واﺣﺪ‪:‬‬ ‫‪ @@ {@ @£@ @Eb@@ @ @F @@ @ ~@ @ @ 6*x@@ @ + b@@ @ @ E *4w@@ @ @ @ @ @< @@ @ @ @ @D‬‬ ‫‪Á*¡@@ @ @ @ @ @ @ @ D*H I¡@@ @ @ @ @ @ @ @ @ D eR xU @ @ @ @ @ @ @ @ @ @ - °H‬‬

‫ﻛﻞ ﺗﻠﻚ اﻷﺑﻴﺎت وﺳﻮاﻫﺎ ميﻜﻦ ﻗﺮاءﺗﻬﺎ مبﻌﺰل ﻋﻦ اﻟﻨﺺ اﻟﻜﺎﻣﻞ‬ ‫اﻟﺬي وﻟﺪت ﻓﻴﻪ‪ ،‬اﻷﻣﺮ اﻟﺬي ﻳﺠﻌﻞ ﻣﻦ اﻟﻘﺼﻴﺪة اﻟﻘﺼرية ﰲ اﻟﺸﻌﺮ‬ ‫اﻟﺸﻌﺒﻲ ﻣﺎﺛﻠﺔ ﻣﺜﻮﻟﻬﺎ ﰲ ﻏريﻫﺎ ﻣﻦ ﺗﺠﺎرب اﻟﺸﻌﺮ اﻟﻌﺮيب واﻟﻌﺎمل‪،‬‬ ‫وﻟﻬﺎ أﻏﺮاﺿﻬﺎ واﺷﱰاﻃﺎﺗﻬﺎ اﻟﺘﻲ ﺗﺘﻜﺮر ﻟﺘﻈﻞ ﺗﻘﺪم ﻧﺼﻮﺻﺎً ﺟامﻟﻴﺔ‬ ‫ﺟﺪﻳﺪة‪ ،‬وأن ﻛﻞ ﻣﺎ ﺗﺤﺘﺎﺟﻪ ﻫﻲ وﻗﻔﺎت ﻧﻘﺪﻳﺔ ﺟﺎدة ﺗﺆﺻﻞ ﻟﻬﺎ‬ ‫ومتﻨﺤﻬﺎ ﻣﺴﺎراً ميﻜﻦ اﻟﻮﻗﻮف ﻋﻠﻴﻪ ﰲ ﺗﺘﺒﻊ ﺗﺎرﻳﺦ وراﻫﻦ اﻟﻨﺺ‬ ‫‪ @R @cP @ @ JP d@R @ @ N @ D* Ä@R P @ s@ @g@ @~@R @ 6*H R @ @ @ @BN b@@ @JN xR @ @~@P@ 6‬‬ ‫‪ *R 4N w@@ @ @0 N R¥*xQ @ @ @ @D* oN 4*Nv@ @ @ @ +* R @ @JyP @ @JN b@@ p@N @ ~@ 8*HN‬اﻟﺸﻌﺮي اﻟﺸﻌﺒﻲ‪.‬‬

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‫اﻟﻌﺪد ‪ ، 70‬ﺳﺒﺘﻤﺒﺮ ‪2018‬‬

‫وذﻫﺒﺖ اﻟﺪراﺳﺎت إﱃ ﻣﺎ ﻫﻮ أﺑﻌﺪ ﻣﻦ ذﻟﻚ ﻟﻠﺤﺪ اﻟﺬي ﻋﺮﺿﺖ‬ ‫منﺎذج ﺗﺎرﻳﺨﻴﺔ ﻷمنﺎط اﻟﻘﺼﻴﺪة اﻟﻮﻣﻀﺔ واﻟﻨﺺ اﻟﺸﻌﺮي اﳌﻜﺜﻒ‬ ‫واﻟﻘﺼري ﻟﺘﻌﻴﺪ ﺻﻮرﺗﻪ اﳌﻌﺎﴏة إﱃ ﺷﺬرات اﻟﺸﻌﺮاء اﳌﺘﺼﻮﻓني‬ ‫ﺑﺎﻋﺘﺒﺎرﻫﺎ اﻟﺸﻜﻞ اﻷﺻﻴﻞ ﳌﺎ ﻳﻘﺪم ﰲ اﻟﺴﺎﺣﺔ اﻟﺸﻌﺮﻳﺔ اﻟﻴﻮم‪،‬‬ ‫ﻣﻨﻄﻠﻘني ﺑﺬﻟﻚ ﻣﻦ ﺻﻮرة اﻟﻨﺺ ﰲ ﻣﺒﻨﺎه وﻣﻌﻨﺎه‪.‬‬ ‫واﻋﺘﱪ اﻟﻜﺜري ﻣﻦ اﻟﺒﺎﺣﺜني ﰲ ﺗﺎرﻳﺦ اﻟﻘﺼﻴﺪة اﻟﻌﺮﺑﻴﺔ أن ﺻﻮرة‬ ‫ﻗﺼﻴﺪة اﻟﺒﻴﺖ اﻟﻮاﺣﺪ ﺗﻌﺪ واﺣﺪة ﻣﻦ أﺷﻜﺎل اﻟﻨﺼﻮص اﻟﺘﻲ ﻇﻠﺖ‬ ‫ﻣﺎﺛﻠﺔ ﰲ اﻟﺬاﻛﺮ اﻟﺠامﻟﻴﺔ اﻟﻌﺮﺑﻴﺔ ﻣﻨﺬ اﻣﺮئ اﻟﻘﻴﺲ إﱃ اﻟﻴﻮم‪،‬‬ ‫ﻓﻈﻬﺮت ﻣﺆﻟﻔﺎت ﺗﺠﻤﻊ ﻗﺼﺎﺋﺪ اﻟﺒﻴﺖ اﻟﻮاﺣﺪ وﺗﻌﺮض ﺣﺬاﻗﺔ‬ ‫اﺷﺘﻐﺎﻟﻬﺎ وﺗﺎرﻳﺨﻬﺎ‪ ،‬وﺗﺆﺻﻞ ﻟﺘﺠﺮﺑﺘﻬﺎ ﻟﻴﺆﻛﺪوا ﺑﺬﻟﻚ أن ﻣﺎ ﻳﻌﺮف‬ ‫ﺑﺎﻟﻘﺼﻴﺪة اﻟﻮﻣﻀﺔ‪ ،‬أو اﻟﻘﺼرية‪ ،‬ﻟﻴﺲ وﻟﻴﺪ اﻟﺤﺪاﺛﺔ اﻟﺸﻌﺮﻳﺔ‪ ،‬وﻣﺎ‬ ‫راﻓﻘﻬﺎ ﻣﻦ ﻇﻬﺮ ﻗﺼﻴﺪة اﻟﻨرث‪.‬‬ ‫ﻟﻜﻦ اﳌﻔﺎرق أن ﺗﺠﺮﺑﺔ اﻟﺸﻌﺮ اﻟﺸﻌﺒﻲ اﻟﻌﺮيب مل ﺗﻠﺘﻔﺖ إﱃ ﻫﺬه‬ ‫اﻟﻈﺎﻫﺮة ﰲ ﻣﺤﻤﻮﻟﻬﺎ اﻟﺘﺎرﻳﺨﻲ‪ ،‬ومل ﺗﻠﻖَ ﺣﻘﻬﺎ ﻣﻦ اﻟﺪراﺳﺔ ﻣﺜﻠام‬ ‫ﻫﻲ ﺳﺎﺋﺮ اﻟﻈﻮاﻫﺮ اﻟﺸﻌﺮﻳﺔ ﰲ اﻟﻨﺺ اﻟﺸﻌﺒﻲ‪ ،‬إذ ﻇﻠﺖ ﺣﺘﻰ‬ ‫اﻟﻴﻮم ﻏﺎﺋﺒﺔ ﻋﻦ ﻣﺸﺎﻏﻞ اﻟﻨﻘﺎد‪ ،‬وﻣﻨﺎﻫﺠﻬﻢ وﺗﻜﺎد ﺗﺨﻠﻮ اﳌﻜﺘﺒﺔ‬ ‫اﻟﻌﺮﺑﻴﺔ ﻣﻦ ﺗﺠﺎرب ﻧﻘﺪﻳﺔ ﻣﻌﺎﴏة ﺗﺘﻮﻗﻒ ﻣﻠﻴﺎً ﻋﻦ اﻟﻨﺺ‬ ‫اﻟﺸﻌﺮي اﻟﺸﻌﺒﻲ ﺑﺎﻋﺘﺒﺎره واﺣﺪاً ﻣﻦ ﻣﺸﺎرب ورواﻓﺪ اﻟﺬاﺋﻘﺔ‬ ‫اﻹﺑﺪاﻋﻴﺔ اﻟﻌﺮﺑﻴﺔ‪.‬‬ ‫ﺑﺎﻟﻨﻈﺮ إﱃ ﺗﺠﺮﺑﺔ اﻟﺸﻌﺮ اﻟﺸﻌﺒﻲ اﻹﻣﺎراﺗﻴﺔ ﻳﺠﺪ اﳌﻌﺎﻳﻦ اﻟﻜﺜري‬ ‫ﻣﻦ اﻟﻘﺼﺎﺋﺪ اﻟﺘﻲ ميﻜﻦ ﺗﻮﺻﻴﻔﻬﺎ ﺑﺎﻟﻨﺺ اﳌﻜﺜﻒ‪ ،‬واﻟﻘﺼﻴﺪة‬ ‫اﻟﻮﻣﻀﺔ‪ ،‬أو اﻟﻘﺼرية‪ ،‬إذ ﻻ ﺗﻜﺎد ﺗﺨﻠﻮ ﺗﺠﺮﺑﺔ ﺷﺎﻋﺮ إﻣﺎرايت ‪-‬ﺧﺎﺻﺔ‬ ‫اﻟﻘﺪﻣﺎء‪ -‬ﻣﻦ ﻗﺼﻴﺪة ﻣﻜﻮﻧﺔ ﻣﻦ ﺑﻴﺖ‪ ،‬أو ﺑﻴﺘني‪ ،‬اﻷﻣﺮ اﻟﺬي ﻳﻘﺪم‬ ‫اﻟﻨﺺ اﻟﺸﻌﺮي اﻟﻘﺼري ﻛﻮاﺣ ٍﺪ ﻣﻦ اﻟﻈﻮاﻫﺮ اﻟﺸﻌﺮﻳﺔ اﳌﺎﺛﻠﺔ ﰲ‬ ‫ذاﻛﺮة اﻟﻘﺼﻴﺪة اﻟﺸﻌﺒﻴﺔ اﻹﻣﺎراﺗﻴﺔ‪.‬‬ ‫ﺗﻨﻜﺸﻒ أﻫﻤﻴﺔ اﻟﻮﻗﻮف ﻋﻨﺪ ﻫﺬه اﻟﻈﺎﻫﺮة ﺑﺘﺄﻣﻞ اﻷﺣﺪاث‬ ‫ﻳﺄت اﻟﻨﺺ اﻟﺸﻌﺮي‬ ‫واﻷﻏﺮاض اﻟﺘﻲ ﻇﻬﺮت ﻓﻴﻬﺎ ﺗﻠﻚ اﻟﻨﺼﻮص‪ ،‬إذ مل ِ‬ ‫اﻟﻘﺼري ﻋﲆ ﺣﺴﺎب اﳌﻌﻨﻰ‪ ،‬ومل ﻳﻐﺐ ﻋﻦ ﺳﺠﻞ اﻟﻨﺼﻮص اﻟﺘﻲ‬ ‫وﺛﻘﺘﻬﺎ ﺗﺠﺮﺑﺔ ﻛﻞ ﺷﺎﻋﺮ ﺑﺎﻋﺘﺒﺎره ﻗﺼﻴﺪة ﻧﺎﻗﺼﺔ أو ﻏري ﻣﻌﱰف‬ ‫ﻓﻴﻬﺎ‪.‬‬ ‫ميﻜﻦ ﺗﺘﺒﻊ ذﻟﻚ ﺑﺎﺳﺘﻌﺮاض منﺎذج راﺳﺨﺔ ﰲ ذاﻛﺮة اﻟﻘﺼﻴﺪة‬ ‫اﻟﺸﻌﺒﻴﺔ اﻹﻣﺎراﺗﻴﺔ‪ ،‬ﻓﺎﻟﺒﺎﺣﺚ ﻳﺠﺪ ﻗﺼﻴﺪة ﻟﻠﺸﺎﻋﺮ ﺧﻤﻴﺲ‬ ‫اﳌﺰروﻋﻲ ﻗﺎﻟﻬﺎ ﰲ اﻟﻐﺰل ﺣني ﻛﺎن ﰲ اﻟﻌﴩﻳﻦ ﻣﻦ ﻋﻤﺮه‪ ،‬ﻳﻘﻮل‬ ‫ﻓﻴﻬﺎ‪:‬‬ ‫‪Ë@@ @ @ @ @ @ g@ @ @ + *Hv@@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @/ x@@ @ @ @ @ @ Jb@@ @ @ @ @ @ ~@ @ @ @ @ @ @6‬‬ ‫‪ @@ @ @ @ @FH2 @@ @ @ @ @E @@ @ @ @ 6b@@ @ @ @ F ¤@@ @ @ @ @ @ g@ @ @ @ @ @ @ @ @ ~@ @ @ 7&*H‬‬ ‫‪ Ë@@ @ ~@ @ @z@ @ @g@ @ @J @@ @ @ @ @ @ @ £@ @ @ @ @ @ @ @D(* 4v@@ @ @ @ @ @ @ @ @ @0 ¡@@ @ @ @ @ @ @ @ @ @J‬‬ ‫*‪ @@ @ @F¡@@ @ @£@ @ @ < n@@ @ @ @ @ @ @ @ @ @ @<*2 · ¢@@ @ @ @~@ @ @ @ }@ @ @ @ @ @ @ @ D‬‬ ‫اﻟﺸﻌﺮ ‪baytelshear‬‬ ‫ﺑﻴﺖ ِ‬

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‫‪Ĭ§ō§§§Ř‬‬

‫‪ōǤũōƣŌƉŨƗŌǶ ōǥƉǥŌǷƧ ōǤǕ ǳǔǙōǈŨǙ ǳşƉŴũ ŧǔǈƗ‬‬

‫اﻟﻘﺼﻴﺪة اﻟﻮﻣﻀﺔ ﻓﻲ اﻟﺸﻌﺮ اﻟﺸﻌﺒﻲ‪..‬‬

‫‪ƱǾŬǈŨǕŌǶ ǒŌƋŨƁȎǕ ǲƉǉŌƄ‬‬ ‫ﻣﺤﻤﺪ أﺑﻮ ﻋﺮب‬

‫ﻗﺪﻣﺖ ﻗﺮاءات اﻟﻨﻘﺪ ﰲ اﻟﺸﻌﺮ اﻟﻌﺮيب اﳌﻌﺎﴏ اﻟﻜﺜري ﻣﻦ اﻟﺪراﺳﺎت‬ ‫واﻟﻮﻗﻔﺎت اﻟﺘﺄﺻﻴﻠﻴﺔ ﻟﻈﺎﻫﺮة اﻟﻮﻣﻀﺔ ﰲ اﻟﻨﺺ اﻟﺸﻌﺮي اﻟﻌﺮيب ﺑﺎﻋﺘﺒﺎرﻫﺎ‬ ‫واﺣﺪة ﻣﻦ اﻟﻈﻮاﻫﺮ اﳌﺴﺘﺤﺪﺛﺔ‪ ،‬اﻟﻘﺎمئﺔ ﻋﲆ ﺗﺠﺮﺑﺔ اﻟﺘﻘﺎء اﻟﻨﺺ اﻟﺸﻌﺮي‬ ‫اﻟﻌﺮيب ﻣﻊ ﻣﺎ ﻳﻘﺎﺑﻠﻪ ﻣﻦ ﻧﺼﻮص ﻗﺼﻴﺪة اﻟﻨرث اﻟﻐﺮﺑﻴﺔ‪ ،‬وﻧﺺ اﻟﻬﺎﻳﻜﻮ اﻟﻴﺎﺑﺎين‪.‬‬

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‫اﻟﻌﺪد ‪ ، 70‬ﺳﺒﺘﻤﺒﺮ ‪2018‬‬

‫ ‪ ĘğľōŘ‬‬

‫اﻷدب اﻟﺬي ﻧﻌﺮف‬

‫ﺻﻔﻴﺔ اﻟﺸﺤﻲ‬

‫‪@safiaalshehi‬‬

‫أﻓﺮدت إﺣﺪى اﻟﺼﺤﻒ اﻟﺨﻠﻴﺠﻴﺔ ﻣﺴﺎﺣﺔ ﳌﺎ أﺳﻤﺘﻪ "أدب اﻟﺘﻐﺮﻳﺪة"‪ ،‬وذﻟﻚ ﰲ إﺷﺎرة إﱃ ﺗﻠﻚ اﻟﻨﺼﻮص ﺑﺎﻟﻐﺔ اﻻﺧﺘﺼﺎر‬ ‫واﻟﺒﺴﺎﻃﺔ واﻟﺸﻌﺮﻳﺔ ﰲ ﻣﻌﻈﻤﻬﺎ‪ ،‬واﻟﺘﻲ ﻳﺘﺪاوﻟﻬﺎ اﻟﻨﺎس ﻋﱪ ﺣﺴﺎﺑﺎﺗﻬﻢ ﰲ ﺧﺪﻣﺔ اﻟﺘﺪوﻳﻦ اﳌﺼﻐﺮ اﳌﻌﺮوﻓﺔ ب"ﺗﻮﻳﱰ"‪.‬‬ ‫ﻫﻞ ميﻜﻦ أن ﻧﻄﻠﻖ ﻫﺬا اﳌﺼﻄﻠﺢ ﻋﲆ ﻫﺬه اﻟﻨﺼﻮص اﻟﺨﺎﺿﻌﺔ ﻟﻠﺴﻠﻄﺔ اﻟﺘﻘﻨﻴﺔ ﻗﺒﻞ أي ﳾء ﻟﺘﻈﻬﺮ ﰲ ﺻﻮرة ﺷﺬرات‬ ‫ﻳﺘﻠﻘﻔﻬﺎ ﻗﺎرئ اﻟﻌﴫ ﻣﻦ ﻣﻐﺮدﻳﻦ ﻗﺪ ﻳﻜﻮﻧﻮن أدﺑﺎء وﺷﻌﺮاء ﻣﺠﻴﺪﻳﻦ ﻣﻤﻦ ﺗﺘﻮاﻓﻖ أﻣﺰﺟﺘﻬﻢ ﻣﻊ ﻫﺬا اﻟﺠﻨﺲ اﻷديب اﻟﺬي‬ ‫ﻳﺘﻼءم وذاﺋﻘﺔ ﻋﺎﺑﺮة وﻟﺤﻈﻴﺔ ﻛام ﻳﺴﻤﻴﻬﺎ اﻟﻌﴫ؟‬ ‫ﻻﺷﻚ أن ﻫﺬا اﻟﺸﻜﻞ اﻟﺘﻌﺒريي ﻣﺤﻞ ﻟﻠﴫاﻋﺎت‪ ،‬إذ أﻧﻪ ﻳﻜﺸﻒ اﳌﺴﺘﱰ ﻣﻦ اﻟﻘﺪرات اﻟﻜﺘﺎﺑﻴﺔ وﻳﻮﻗﻊ اﻟﻜﺎﺗﺐ اﳌﺠﻴﺪ ﰲ‬ ‫ﺣرية ﺑني إﺧﻼﺻﻪ ﻟﻨﻤﻂ ﻣﻌني ﻣﻦ اﻷدب واﻟﺸﻌﺮ‪ ،‬وﻣﺎ ﺗﻔﺮﺿﻪ أدوات اﻟﻌﴫ ﻣﻦ ﴐورات ﺗﻜﴪ اﻟﻘﻮاﻟﺐ واﳌﺤﻈﻮرات‪.‬‬ ‫وﻟﻴﺴﺖ اﻟﻔﻜﺮة وﻟﻴﺪة زﻣﻦ "اﻟﻄﺎﺋﺮ اﻷزرق"‪ ،‬ﻓﻘﺪ ﺳﺒﻘﺖ اﻟﺮﺳﺎﺋﻞ اﻟﻨﺼﻴﺔ ﺗﻮﻳﱰ ﰲ إﺗﺎﺣﺘﻬﺎ اﳌﺠﺎل ﻟﺘﺒﺎدل اﻟﺸﺬرات ﺑني‬ ‫اﻟﻜﺘﺎب وذﻟﻚ ﻗﺒﻞ ﺛﻮرة اﻟﻬﻮاﺗﻒ اﻟﺬﻛﻴﺔ ﺑﺴﻨﻮات‪ ،‬ﻓﺎﺳﺘﻔﺎد اﻟﺒﻌﺾ ﻣﻦ اﻟﻨﻘﻠﺔ اﻟﻜﺎﺷﻔﺔ ﺧﺎرج إﻃﺎر اﻟﺜﻨﺎﺋﻴﺎت ﻧﺤﻮ اﻟﻔﻀﺎء‬ ‫اﻟﻌﺎم واﳌﻌﻠﻦ‪ ،‬ﻓﻬﻮ ﻳﺮى اﻷﻣﺮ ﻓﺮﺻﺔ أﺳﻬﻤﺖ ﰲ إﺣﻜﺎم اﻟﻠﻔﻆ واﳌﻌﻨﻰ ﻣﻦ ﺧﻼل ﻫﺬا اﻟﻔﻦ اﳌﺨﺘﺰل‪ ،‬ﻣﺎ أﻧﺘﺞ ﻗﺼﺎﺻﺎً‬ ‫ﻗﺪﻣﻮا إﻟﻜﱰوﻧﻴﺎً ﻣﺎمل ﻳﻘﺪﻣﻮه ورﻗﻴﺎً ﻣﻦ ﻗﺒﻞ وﻻﻗﻮا ﺑﺬﻟﻚ رواﺟﺎً واﺳﺘﺤﺴﺎﻧﺎً ﻣﻦ اﻟﻘﺮاء واﳌﺘﺎﺑﻌني‪.‬‬ ‫ﻟﻜﻦ ﻫﻞ ﺗﺼﻨﻊ اﻟﺘﻘﺎﻃﺎت اﻟﺸﺎﺷﺔ ﻫﺬه أدﺑﺎً ﺣﻘﻴﻘﻴﺎً؟ وﻫﻞ ﻳﺤﻖ ﺑﺬﻟﻚ ﻷﺗﺒﺎع اﳌﺬﻫﺐ اﻹﻟﻜﱰوين ﰲ اﻟﻜﺘﺎﺑﺔ اﳌﻄﺎﻟﺒﺔ‬ ‫مبﻌﺎﻣﻠﺔ ﻣﻨﺼﻔﺔ ﺧﺼﻮﺻﺎً ﻋﻨﺪﻣﺎ ﻳﺘﻌﻠﻖ اﻷﻣﺮ ﺑﺎﻟﺤﻖ اﻷديب؟‬ ‫ﻓﻼﺷﺎت‪ ،‬ﺷﺬرات‪ ،‬أو أﻓﻜﺎر ﺧﺎم‪ ،‬ﻛﻞ ذﻟﻚ ﻳﺤﻴﻠﻨﺎ ﳌﻘﻮﻟﺔ ﻓﺮﻳﺪرﻳﻚ ﻧﻴﺘﺸﻴﻪ ‪":‬إن ﻣﺮﻣﺎي أن أﻗﻮل ﰲ ﻋﴩ ﺟﻤﻞ ﻣﺎ ﻳﻘﻮﻟﻪ‬ ‫ﻏريي ﰲ ﻛﺘﺎب"‪ .‬إﻻ أن ﻣﻨﺘﺠﻲ ﻫﺬه اﻟﻈﺎﻫﺮة ﻟﻴﺴﻮا ﻋﻠامء وﻣﻔﻜﺮﻳﻦ ﻋﻈﺎﻣﺎً ﻛام أن ﻣﺮﻣﺎﻫﻢ ﻳﻘﺘﴫ ﻋﲆ إﻧﺘﺎج ﺑﻀﻊ‬ ‫ﻛﻠامت ﻻ ﺟﻤﻞ ﺑﺴﺒﺐ ﴍوط اﻟﺘﻐﺮﻳﺪ اﻟﺘﻲ ﺗﻔﺮﺿﻬﺎ ﻫﺬه اﳌﻨﺼﺔ‪ ،‬وﻫﻢ ﺑﺬﻟﻚ ﻳﺼﻨﻌﻮن ﺗﺤﺪﻳﺎً ﻛﺒرياً ﻣﻜﻤﻨﻪ اﻟﺜﻮرة ﻋﲆ‬ ‫اﻟﺴﺎﺋﺪ واﳌﻘﺒﻮل‪ ،‬ﻛام أﻧﻬﻢ ﻳﻔﻠﺘﻮن ﻣﻦ اﻟﱪاﻋﺔ وإﻟﻴﻬﺎ ﻋﱪ اﻟﻘﺎﺑﻠﻴﺔ ﻟﻠﺘﺸﻜﻞ وإﻋﺎدة اﻟﺘﺸﻜﻞ واﻟﻨﺄي ﻋﻦ اﳌﻘﺎﻳﻴﺲ اﻟﻨﻘﺪﻳﺔ‪.‬‬ ‫إن ﺣﻠﻢ "ﻓﺎﻏرن" ﺗﺤﻘﻖ ﻋﱪ رﻓﺎﻫﻴﺔ اﻻﻣﺘﺰاج ﺑني أﺷﻜﺎل ﺗﻌﺒريﻳﺔ ﻣﺨﺘﻠﻔﺔ وﺣﻮاس ﻣﺘﻌﺪدة‪ ،‬وﻫﻮ أﺛﺮ ﺑﻼ ﺷﻚ ﰲ ﺗﺤﻮل‬ ‫اﻟﺸﻜﻞ اﻷديب اﻟﺬي ﺗﺠﺮه رﻏﺒﺎت اﻟﺠﻤﻬﻮر اﳌﻌﺎﴏ ﻧﺤﻮ إﺑﺪاع ﻣﺆﺳﺴﺎيت ﺗﻘﻮده ﴍﻛﺎت اﻟﺘﻘﻨﻴﺔ ﻻ ﺻﻨﺎع اﳌﺤﺘﻮى‬ ‫وﻣﺒﺪﻋﻮه‪ ،‬ﻫﺬا اﻻﺑﺪاع ﻻ ﻳﻜﺘﻔﻲ ﺑﺎﻟﻜﻠﻤﺔ اﳌﻘﺮوءة ﺑﻞ ﻫﻮ ﴍه دامئﺎً إﱃ اﻟﺼﻮرة واﻟﺤﺮﻛﺔ ﺑﻜﺜري ﻣﻦ اﻻﺧﺘﺰال‪ ،‬وﻟﺬا أرى‬ ‫أن اﻟﺸﺬرة أو أدب اﻟﺘﻐﺮﻳﺪة ﻛام ﻳﺴﻤﻰ ﻻ ﻳﻌﱪ ﻋﻦ ﻗﻴﻤﺔ أدﺑﻴﺔ ﺑﺤﺘﺔ ﺑﻘﺪر ﻣﺎ ﻳﻌﻜﺲ ﻣﺴﺘﻮى اﺟﺘامﻋﻴﺎً واﻗﺘﺼﺎدﻳﺎً‬ ‫وﺳﻴﺎﺳﻴﺎً‪.‬‬ ‫وأﻧﺎ أﺗﻔﻖ ﻧﻮﻋﺎً ﻣﺎ ﻣﻊ ﻣﺎ ﻳﻘﺎل ﺑﺄن ﻫﺬا اﻷدب ﻫﻮ ﻣﻼذ ﻟﻠﻤﻬﻤﺸني‪ ،‬ﻛام أﻧﻪ ﻫﺎﺗﻚ ﻟﺴﱰ ﻛﺜري ﻣﻦ اﳌﻔﻜﺮﻳﻦ واﳌﺜﻘﻔني‬ ‫ﺑﻄﺮق ﻏري ﻣﻌﻬﻮدة‪ ،‬وﻫﻮ ﻛﺬﻟﻚ راﻓﻊ ﻟﻠﺴﻘﻒ ﻋﻨﺪﻣﺎ ﻳﺘﻌﻠﻖ اﻷﻣﺮ ﺑﺄدب اﻟﺴﺠﻮن ﻣﺜ ًﻼ‪ .‬ورﻏﻢ ذﻟﻚ‪ ،‬ﻫﻮ ﻏري ﻣﻘﻨﻊ‬ ‫ﺑﺎﻟﻨﺴﺒﺔ ﱄ وﻻ أﻃﻤﱧ إﻟﻴﻪ ﻛﻤﺼﺪر ﻟﻺﺷﺒﺎع اﻟﺮوﺣﻲ واﻟﺬﻫﻨﻲ اﻟﺬي ﻳﻔﱰض أن ﻳﺤﻘﻘﻪ اﻷدب اﻟﺬي ﻧﻌﺮف‪ ،‬ﻟﻜﻦ ﻣﺎ اﻟﺬي‬ ‫أﻋﺮﻓﻪ أﻧﺎ ﻋﲆ ﺳﺒﻴﻞ اﳌﺜﺎل ﰲ ﻋﺎمل ﻻ ﻳﱰك ﻟﻨﺎ ﻣﺠﺎﻻً ﻻﻟﺘﻘﺎط اﻷﻧﻔﺎس ﻋﱪ ﻃﺮﻳﻖ ﻃﻮﻳﻠﺔ وﻣﺘﺸﻌﺒﺔ وﻣﻠﻴﺌﺔ ﺑﺎﳌﻔﺎﺟﺂت؟‬ ‫ﻓﺎﻷﻣﺮ ﻻ ﻳﺰال ﻗﻴﺪ اﻟﺪراﺳﺔ واﻟﺘﺤﻠﻴﻞ وﻫﻮ ﻛﺬﻟﻚ ﻣﻌﻘﺪ وﺑﺤﺎﺟﺔ إﱃ دارﺳني وﻧﻘﺎد ﺷﺎﻣﻠني وﻣﻄﻠﻌني ﻋﲆ ﻣﻌﺎرف ميﺜﻞ‬ ‫اﻟﺸﻖ اﻟﺘﻘﻨﻲ أﻫﻤﻴﺔ ﻛﺒرية ﻓﻴﻬﺎ‪.‬‬ ‫اﻟﺸﻌﺮ ‪baytelshear‬‬ ‫ﺑﻴﺖ ِ‬

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ĮńĵŒ ŗšĽĘı

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2018 ‫ ﺳﺒﺘﻤﺒﺮ‬، 70 ‫اﻟﻌﺪد‬

‫أﺻﺪر دﻳﻮاﻧﻪ اﻷول "ﻗﺼﺎﺋﺪ ﻏري ﻣﴩوﻋﻪ" ﻓﴩع ﺑﺈﻧﺠﺎز ﻃﻤﻮﺣﻪ ‪t@@ JHv@@ - @@ @ @6*x@@ @ @D* uHQ v@@ @ @ @ @J d@@ £@ @m@ @< ¤@M @ @~@ @ 7‬‬ ‫‪¤@@ ~@ @7*x@@ @ @D* b@@ @ @ 0 x@@ @ @ ²* v@@ @ @ @ + ¡@@ @ @ @ ~@ @ 7H‬‬ ‫اﻟﺸﻌﺮي‪ ،‬اﻟﺬي ﻟﻘﻲ إﻗﺒﺎﻻً وﺗﺸﺠﻴﻌﺎً ﻣﻦ ﺟﻤﻬﻤﻮره اﻟﻜﺒري ﻟﻴﻜﻤﻞ‬ ‫*‪t@@£@ ~@ |@ D* @@ @ E I¡@@ @ @ @B* d@@ @ @ @ @ @ D*H b@@ @ @ @ D¡@@ @B‬‬ ‫اﻻﻧﻔﺠﺎر اﻟﺸﻌﺮي ﺑﺪﻳﻮان "ﻗﺼﺎﺋﺪ ﻣﻠﻐﻮﻣﺔ" ﺛﻢ متﻴﺰ ﰲ أﺑﻴﺎﺗﻪ اﻟﺘﻲ‬ ‫‪¤@@~@ 7b@@E @@ @ @94&°b@@ @ @+ @@ @ @²* ¡@@ ~@ @{@ @F ¢@@ g@ @E‬‬

‫ﻳﻨﴩﻫﺎ ﻳﻮﻣﻴﺎً ﰲ اﻟﺼﻔﺤﺔ اﻷﺧرية‪ ،‬ﰲ ﺟﺮﻳﺪة اﻟﻘﺒﺲ اﻟﻜﻮﻳﺘﻴﺔ‬ ‫ﺗﺤﺖ ﻋﻨﻮان "ﻣﻠﺤﻮﻇﺔ" ﻟﺘﺘﺤﻮل ﺑﻌﺪ ذﻟﻚ اﻷﺑﻴﺎت إﱃ دﻳﻮان‬ ‫ﺟﺪﻳﺪ ﺣﻤﻞ اﺳﻢ ﻣﻠﺤﻮﻇﺔ‪ ،‬أﺷﺒﻪ ﺑﴫﺧﺔ اﺟﺘامﻋﻴﺔ ﺳﻴﺎﺳﻴﺔ‬ ‫وأدﺑﻴﺔ ﻳﺠﻤﻊ ﻓﻴﻬﺎ أﻓﻜﺎره ﰲ ﻗﺎﻟﺐ ﺷﻌﺮي ﻣﻤﻴﺰ وﻃﺮﻳﻒ وﻧﺎﻗﺪ‪.‬‬ ‫ﺑﺪأ اﻗﺘﺤﺎﻣﻪ ﻟﻠﺸﻌﺮ ﻣﻦ ﺧﻼل ﻓﻦ اﳌﺤﺎورة ﺣﻴﺚ ﻗﺎرع ﰲ ﻣﻴﺪاﻧﻬﺎ‬ ‫ﰲ ﺑﺪاﻳﺔ ﺷﺒﺎﺑﻪ ﻛﺒﺎر ﺷﻌﺮاء اﳌﺤﺎورة وﻣﻨﻬﻢ ﻣﺴﺘﻮر اﻟﻌﺼﻴﻤﻲ‬ ‫وﻣﻄﻠﻖ اﻟﺜﺒﻴﺘﻲ وﻋﺪد ﻣﻦ ﺷﻌﺮاء اﻟﻜﻮﻳﺖ‪ ..‬ﺛﻢ أﻋﻠﻦ اﻋﺘﺰاﻟﻪ ﻫﺬا‬ ‫اﻟﻔﻦ ﻟﻴﻤﺘﻬﻦ اﻟﺼﺤﺎﻓﺔ ﻣﻦ ﺧﻼل إﻋﺪاد ﺻﻔﺤﺔ اﻟﺸﻌﺮ اﻟﺸﻌﺒﻲ‬ ‫ﰲ اﻟﻘﺒﺲ وﻣﻠﺤﻮﻇﺎﺗﻪ اﻟﻴﻮﻣﻴﺔ اﳌﺨﺘﺰﻟﺔ ﰲ ﺑﺘﻴني ﺷﻌﺮﻳني ﻳﺘﻨﺎول‬ ‫ﻓﻴﻬام اﻟﻘﻀﺎﻳﺎ اﻟﻌﺮﺑﻴﺔ اﻟﺴﻴﺎﺳﻴﺔ واﻹﻧﺴﺎﻧﻴﺔ ﺑﺄﺳﻠﻮب ﺳﺎﺧﺮ أﺣﻴﺎﻧﺎً‬ ‫وﺟﺎد أﺣﻴﺎﻧﺎً ﻛام ﻗﺎم ﺑﺘﻘﺪﻳﻢ ﻋﺪد ﻣﻦ اﻟﱪاﻣﺞ اﻟﺘﻠﻔﺰﻳﻮﻧﻴﺔ ﰲ‬ ‫ﺗﻠﻔﺰﻳﻮن اﻟﻜﻮﻳﺖ‪..‬‬ ‫ﺣﻀﻮره اﻟﻬﺎدئ اﻟﺒﻌﻴﺪ ﻋﻦ ﺿﺠﻴﺞ اﻹﻋﻼم ﺷ ّﻜﻞ ﻟﻪ ﻣﻨﻬﺠﺎً ﺧﺎﺻﺎً‬ ‫وﻫﻮﻳﺔ ﻣﻤﻴﺰة‪ ..‬مل ﻳﺮﻛﺾ وراء اﻟﺼﺤﺎﻓﺔ‪ ،‬مل ﻳﺴﻊ إﱃ اﻟﻨﴩ ﰲ‬ ‫وﺳﺎﺋﻞ اﻻﻧﺘﺸﺎر اﻟﴪﻳﻊ ‪ ..‬اﻋﺘﻤﺪ ﻋﲆ ﻧﺘﺎﺟﻪ اﻟﺸﻌﺮي ﻣﻦ دون‬ ‫زﺧﺮﻓﺔ أو ﺗﻄﺒﻴﻞ‪.‬‬ ‫اﺷﺘﻬﺮت ﻟﻪ اﻟﻜﺜري ﻣﻦ اﻷﺑﻴﺎت‪ ،‬وﻣﻨﻬﺎ‪:‬‬

‫ﻛام ﺳﺎرت ﺑﻜﺜري ﻣﻦ أﺑﻴﺎﺗﻪ اﻟﺮﻛﺒﺎن‪ ..‬ﳌﺎ ﻓﻴﻬﺎ ﻣﻦ ﺻﺪق وﻣﺤﺎﻛﺎة‬ ‫ﻟﻠﻮاﻗﻊ ووﺻﻒ ﻟﺤﺎﻟﺔ اﻻﻧﺴﺎن‪ ،‬وﻣﻨﻬﺎ ﻫﺬه اﻷﺑﻴﺎت اﳌﻠﻴﺌﺔ ﺑﺎﻟﺤﴪة‬ ‫واﻟﺸﺠﻦ‪:‬‬ ‫‪¥¡@@ @ ~@ @ @z@ @ @+&*H ¥¡@@ @ ~@ @ @ z@ @ @ +&* h@@ @ @ @ Bb@@ @E È@@ @ Cb@@ @ J‬‬ ‫‪ @@g@ J¡@@~@ 6 h@@ @ @B ¤@@ @ @ @ D* @@ @ E ¤@M @ @~@ @ 7 @@ @ £@ @ A°H‬‬ ‫‪¥¡@@ @ F&* b@@ @ @F&* ¥x@@ @ @ :&* b@@ @ @ F&*H ¤@@ -b@@ £@ 0 h@@ @ @0*4‬‬ ‫‪ @@g@ £@ @ 1 ¡@@ @ @ @J @@ g@ @£@ @~@ @z@ @F @@ g@ @£@ @ @ @+ ¤@@ @ @ @ @ @ D*H‬‬ ‫*&‪¥¡@@- x@@ @ @ Db@@+H Ì@@ @ ~@ 8 Á* d@@ ~@ z@ 0&* b@@ @ F‬‬ ‫‪ @@g@ Jv@@< x@@ @ @ @ @D* ¢@@ @ @ @ @0&*H h@@c@ £@ ~@ 7 @@ ~@ @7°‬‬ ‫‪¥¡@@ / b@@ @ @~@ @8 @@ @E¡@@ @J v@@ @ @0b@@ J ¤@@ @ @g@ @£@ @Db@@ J‬‬ ‫‪ @@g@ JHb@@1 h@@£@ c@ D* @@Jx@@~@ 7b@@J @@ Ey@@ D* b@@ @G‬‬ ‫‪¥¡@@ @ ~@ @ @z@ @ @+&*H ¥¡@@ @ ~@ @ @ z@ @ @ +&* h@@ @ @ @ Bb@@ @E È@@ @ Cb@@ @ J‬‬ ‫‪ @@g@ J¡@@~@ 6 h@@ @ @B ¤@@ @ @ @ D* @@ @ E ¤@@ ~@ @7 @@ @ £@ @ @A°H‬‬ ‫‪ ōǿƃǾŞǾǈǿǷǕŌ ǽƳ ǣŨżƲƛ ǽƳ ŋōŵ‬‬

‫ﺑﺮز اﺳﻢ ﺣﻤﻮد اﻟﺒﻐﻴﲇ ﰲ أواﺋﻞ اﻟﺜامﻧﻴﻨﻴﺎت‪ ،‬ﻣﴩف واﺣﺔ اﻷدب‬ ‫اﻟﺸﻌﺒﻲ ﰲ ﺟﺮﻳﺪة اﻟﻘﺒﺲ اﻟﻜﻮﻳﺘﻴﺔ‪ ،‬ﻧﴩ ﰲ اﻟﻜﺜري ﻣﻦ اﳌﺠﻼت‬ ‫*‪t@@ @J4*¡@@ @~@ @ 8H i*x@@ @ @Jb@@ @ @: @@ @ ~@ |@ J ex@@ @ @ @ @D‬‬ ‫اﻟﺸﻌﺮﻳﺔ‪ ،‬وأﺟﺮى اﻟﻜﺜري ﻣﻦ اﻟﻠﻘﺎءات اﻟﺼﺤﻔﻴﺔ واﻟﺘﻠﻔﺰﻳﻮﻧﻴﺔ‪،‬‬ ‫‪¤@@~@7É@@+ @@ @ @ F b@@~@ 9 @@ @~@ @ 6H&°* x@@~@ {@ D*H‬‬ ‫ﻣﻤﻦ ﻋﺎﺷﻮا ﰲ أز ّﻗﺔ اﻟﺴﺎﺣﺔ اﻟﺸﻌﺒﻴﺔ وأﻣﺘﻬﻨﻮا اﻟﺼﺤﺎﻓﺔ اﻟﺸﻌﺒﻴﺔ‪،‬‬ ‫‪t@@ J4b@@ - @@ @ @ @ @D* f@@p@ @ ~@ 8 ¯ @@ @ @D *¡@@ @ @ 0‬‬ ‫‪ ¤@@ ~@ @7b@@ @ @ @ @D* v@@ @£@ @ @ @ F b@@ @ @ £@ @ ~@ @ 9b@@ § b@@ @ @ @ @ 0H‬ﺷﺎﻋﺮ ﻟﻪ ﻣﻜﺎﻧﺘﻪ ﰲ اﻟﺠﺰﻳﺮة اﻟﻌﺮﺑﻴﺔ‪ ،‬ﻳﻌﺘﱪ ﻣﻦ اﻟﺸﻌﺮاء اﻟﺬﻳﻦ‬ ‫أﺑﺪﻋﻮا ﰲ ﺑﻠﻮرة اﻟﺴﻴﺎﺳﺔ ﰲ ﻗﻮاﻟﺐ ﺷﻌﺮﻳﺔ ﻣﻔﻬﻮﻣﺔ أﺻﺒﺤﺖ‬ ‫‪t@@ £@ @E*¡@@ ~@ @7 M b@@ @ @c@ @ @ / b@@ @ @ @ C b@@ @ @E d@@ @ @ @ < @@ @ @E‬‬ ‫‪ ¤@@~@ 7 °H ·b@@ @£@ @ @ @ D* @@ @ @0 h@@ @ « b@@ Fx@@ ~@ @8‬ﺣﺪﻳﺚ اﻟﺸﺎرع‪.‬‬ ‫‪ǲƉȃōƓ ŦōǾşŐ‬‬

‫وﻗﺪ اﻣﺘﺎز اﻟﺒﻐﻴﲇ ﻣﻦ ﺑني اﻟﺸﻌﺮاء ﺑﻜرثة اﻷﺑﻴﺎت اﳌﻔﺮدة اﻟﺘﻲ اﺷﺘﻬﺮت ﻟﻪ‪ ..‬رمبﺎ ﻷن أﻏﻠﺐ ﻧﺘﺎﺟﻪ اﻟﺸﻌﺮي ﻳﻌﺘﻤﺪ ﻋﲆ اﻟﺒﻴﺖ واﻟﺒﻴﺘني‪.‬‬ ‫وﻫﻨﺎ ﻣﺠﻤﻮﻋﺔ ﻣﻦ أﺑﻴﺎﺗﻪ اﻟﺴﺎﺋﺮة‪:‬‬

‫‪b@@ @ -b@@ @ / ¡@@ ~@ @{@ @-b@@ E b@@ £@ @ ²* °¡@@ @ @D @@ @ @ @ @ 94&°*H ¡@@£@~@z@D* @@ @ A ¡@@~@ {@ J b@@c@ ±b@@+ ¤@@ @g@p@J @@E‬‬

‫‪ttt‬‬ ‫‪ @@ @FÉ@@ @1 É@@ @ @ @ @ @³* °H 4*2 4*v@@ @ @ @ @ @ @ @ D*° @@ @ @£@ @c@ @¹ ¯ x@@ @ @ @ @ @ - @@ @ @ Db@@ @ @ ² @@ @ z@ @ @Db@@ @ /‬‬

‫‪ttt‬‬ ‫‪ @@z@ @ 1H @@z@ @ 1 Í@@ + @@}@ Bb@@ @ g@ D* ¢@@ @ @ - r*4 @@£@ s@ c@ D* @@ @C ¡@@ @~@ @ 7H Ãx@@ @ @ @ D* @@ @C ¡@@ ~@ @7‬‬

‫‪ttt‬‬ ‫‪v@@Jb@@C @@ @6b@@ @ @ @ D* b@@ @~@ @ 94 b@@ @£@ @ Fv@@ @D* h@@ @ @ @ @1 @@ @ E @@ 6b@@ @ D* ¤@@ ~@ @9x@@ - b@@ @ E d@@ £@ @: ¥¡QP @ @ ~@ @ z@ @ - b@@ @ @ E‬‬ ‫اﻟﺸﻌﺮ ‪baytelshear‬‬ ‫ﺑﻴﺖ ِ‬

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‫ ‪ ĮńĵŒ ŗšĽĘı‬‬

‫ﺣﻤﻮد اﻟﺒﻐﻴﻠﻲ‬

‫‪ɰ‬‬ ‫‪ɰ‬‬ ‫ ‪ƐōǜǕŌ ƝŞǝ ǛǙ ōŞǿƉǃ ųǾŴƞǕŌ Ǜƫ‬‬ ‫‪ŌƃǾƪş‬‬ ‫ﻋﻠﻲ اﻟﻤﺴﻌﻮدي‬

‫ﻣﺎﺑني اﳌﴩوع وﻏري اﳌﴩوع وﻗﻒ اﻟﺸﺎﻋﺮ ﺣﻤﻮد اﻟﺒﻐﻴﲇ ﺑني أﻣﺮﻳﻦ ﻳﻠﺰﻣﺎن اﻟﺸﺎﻋﺮ وﻻﻳﻠﺘﺰم ﺑﻬام‪.‬‬ ‫ﻛﺎن اﻟﺸﻌﺮ وﻣﺎزال ﺗﺴﻠﻴﺘﻪ ﰲ زﻣﻦ اﻟﻬﻤﻮم ‪ .‬ومل ﻳﻜﻦ اﻟﺸﻌﺮ ﺗﺴﻠﻴﺔ ﻓﺤﺴﺐ‪ ..‬ﺑﻞ ﻗﻀﻴﺔ وﺳﻼح وﺻﻮت وﺗﺠﺮﺑﺔ وأﻧﺲ وﻣﺤﻮر ﺣﻴﺎة‪.‬‬ ‫ﻣﻦ ﻣﻴﺎدﻳﻦ اﳌﺤﺎورة واﻟﻐﻨﺎء واﻟﻌﻤﻞ اﻟﺼﺤﻔﻲ اﺳﺘﻤﺪ أﻓﻜﺎره وأﺷﻌﺎره ﻟﻴﺴﻜﺒﻬﺎ رﺑﻴﻌﺎً ﻋﲆ اﻟﻮرق‪.‬‬

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‫اﻟﻌﺪد ‪ ، 70‬ﺳﺒﺘﻤﺒﺮ ‪2018‬‬

‫ﺻﺮح اﻷﻣﺠﺎد‬ P ¡@@ B @@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @+ ¡@@ @ @F b@@ E f@@ J*v@@ @ @ @ @ @ @ @ @ + P ¡@@ c@ @ @ @D* ¢@@ A ¶b@@ @ @- Ñ* b@@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ ~@ @z@ @F b@@ @ @ @ @ @ @ @ @Jv@@ g@ @+H Ñ* ¢@@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @< b@@ @ @ @ @C¡@@ P ¡@@ ~@ @8¡@@ @ @D Md@@ ~@ @z@ @0 b@@ @ @ @ @ @ @D* b@@ @ @£@ @ @ @ @ @+ @@ @ @ @ @ @ @ @ @Jv@@ E x@@ <b@@ ~@ @{@ @ @ @D x@@ @ @~@ @{@ @D* 4¡@@ @ @ @ @ p@ @+ P ¡@@ m@ @ J @@ @ @ £@ @ C ¢@@ @ @ < b@@ @ @ +* ¡@@ @ @ @ @ @ @ @ @ m@ @ J @@ @ @ @ ~@ @ |@ @ + x@@ @ @ @ ~@ @ {@ @ D* ¯ ·H x@@ @<b@@ @~@ @ 7 b@@ @F*H P ¡@@ @ @ @ @ @ @ @ @ @ @ £@ @E ¥v@@ @ @< x@@ @ @ @ @D* v@@ @ @+ ¢@@ @ @<H ¥2É@@ @+ ¯ v@@ @Jb@@ @~@ @ |@ @ @ @ D* v@@ @ @ @ @ @ @ @ @ @ @ @ @ @ + *3(*H P ¡@@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @- ¥4b@@ @ @ @ @ @ @ @ @ @ @~@ @7*H ¡@@ @ @+ b@@ F&* Ì@@ @ @ @ @ @ @D @@ c@ @~@ @{@ @J b@@ E Ì@@ = b@@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @:H P ¡@@ @ @ @ @ @ @ :H @@ @ 9x@@ @ < b@@ @ @ @ @ @ @ @ @ @ @ @ @ @ 0*H4* *x@@ @ . x@@ ~@ @9b@@ 0H ¤@@ ~@ @9b@@ E t@M @ Eb@@ ~@ @7 b@@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @:H P ¡@@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @D* x@@ ~@ @6 @@ < b@@ J&°* h@@ @ @0 @@+ @@ @ @ @ @ @ @ @ @ ©*H @@ -b@@ g@ @~@ @7 v@@ J*5 @@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @/ P Hy@@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ J ° v@@ @ @ @ @ @ @ J*5 v@@ ¸ v@@ Q @ @1H Áb@@ @ @ @ @ @ @ + Ì@@ 1 v@@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ J*5 b@@ CH b@@ @ @+ P ¡@@ @ @ @ @ @ @~@ @{@ @D*H @@ c@ @ @ @ @ @ @ @ @ @p@ @ @ @ @ @ @ @´* @@ £@ @ @ @A 45 @@ + ¢@@ @ @g@ @<*H v@@ @ @ @ @ @ @ @ @ @ @ @ @ J*5 y@@ @ @D* b@@ @ @ @ @ @ @ @ @ ~@ @z@ @C P ¡@@ @ @ @ @ @ @ @ @ @ @A @@ D¡@@ @ @ @ @ @ @ @ @AH Ì@@ = v@@ @ @ @ @ @ @ @ @ @ @ J*5H v@@ Jb@@ @ @ @ @ @ @ C 2b@@ ¸°* @@ E rM x@@ @ @ @ @ @ @ @ @ @ @ ~@ @8 b@@ N @ @+P P ¡@@ @ @ @ 0 @@ @ @ @ @ @ @ @ C 4¡@@ @ g@ D* b@@ @ @ @ @ @ @ @ Fv@@ Gb@@ ~@ 7H b@@ @ Fx@@ @ s@ @ @ g@ @ @ A*H @@ @ @ @ @ @ @ @ @ @ @ + b@@ @ @ @ @ @ @ @ £@ @ @ Gb@@ @ +H P ¡@@ @ @ @ G3 *v@@ @ @ @ ¸ b@@ @ @ @ F2É@@ @ @ @ c@ @ @ @ @ D @@ @ @ @ ~@ @ @ @ @ 64 v@@ @ @ @ @g@ @ @D*H ¤@@ @ ~@ @ @}@ @ @Â x@@ @ ³* H b@@ @ ~@ @ @}@ @ @E P ¡@@ @ @ @ @ ~@ @ @|@ @ @ @ @ @D* x@@ @ E ¢@@ @ @ @ @ @ @ @< b@@ @ @ @ @ @ @ @A*x@@ @ J b@@ @ @Jb@@ @ @ @ @ @ ´* @@ @ @~@ @ @ {@ @ @ < @@ @ @:¡@@ @ @D* H2 @@ @ @EH P ¡@@ @ @ @ @ @ @ @ @ @ - ¥2É@@ @ @ @ @+ f@@ @ @ @ @J*4H i¡@@ @ @ @ @ @ @ @ @ @ ¿ v@@ @ @ @ @ @ @ @ @ @J*5 b@@ @ @£@ @ @ @ @ @ D °¡@@ @ @D* b@@ @ @ @ @ @ @ @ @ @Jw@@ @ @ @ @ @ P ¡@@ @ @ @ @ @ @ @ @ @ @ @ 05 ·*¡@@ @ @ @ @ @FH b@@ @ @ @ @ @/4 ¡@@ @ @ @ @ @05 Ì@@ @ cC b@@ @ - 2 b£B ¤@A b@@ @ @ g . ¡@@ @ p@ @ @D* b@@ @ @ @ @ @ @£Q @ @ @ @ @ @~@ 7 2¡@@ @ @ @ @ @ @ @ @ @D* b@@ £@ @ <

baytelshear ‫اﻟﺸﻌﺮ‬ ِ ‫ﺑﻴﺖ‬

‫ﺟﺮﻣﺎن اﻻﺣﺒﺎﺑﻲ‬ @jarman12378

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‫ﺳﻌﻴﺪ ﺑﻦ ﻏﻤﺎض اﻟﺮاﺷﺪي‬ @ l_kroo

‫ﺛﻮﺑﻚ ﻧﻬﺎر اﻟﻌﻴﺪ‬ v@@£@ ~@ |@ B ¤@@ @ @ @ E v@@ @£@ @ @ @ D* 4b@@ @ @ @ @F @@ @ +¡@@ @ . @@~@ 6b@@£@ B @@ @z@ @ c@ @ D*H @@£@ ~@ |@ @ - b@@ @ g@ @ ~@ |@ A v@@ @Jv@@ @/ @@ @~@ @ 9¡@@ @E *¡@@ @ @ Db@@ @ @ + 5x@@ @ @ @ @ @ EH @@~@ 6b@@c@ D @@ @ JQ y@@ @ E ¡@@ @ G @@ @ @~@ @8H @@ @~@ @ 7° v@@ Jx@@ A ¤@@ -b@@ @ @ =b@@ J @@ @Jb@@ @~@ @ 8¡@@ @D* @@ £@ @ A @@~@ 6b@@~@ 6 d@@ @£@ @ : @@ @ @E @@ @ @J5b@@ @ @J @@ @ @.4¡@@ @ @E v@@£@ c@ < y@@ @£Q @ @ E b@@ @ @~@ @ @ 8H&* b@@ @ @ @ < Ñ*H @@ @~@ @ 6*4 h@@ @ @ @ @ @ A4H ¡@@ @ Jy@@ @ ´b@@ @ J @@ @ Jy@@ @ Db@@ @ + v@@ @ @J4H x@@ <b@@ ~@ @{@ @E @@ @ E x@@ <b@@ ~@ @7 *¡@@ @ @ @ @J @@~@ 6b@@FH @@ @ @ G* @@ @. @@~@ |@ s@ ~@ 7 d@@ p@ @ JH v@@ @Jx@@ @- @@ c@ @ @ @ @ @+ ¤@@ @ @ @ D* @@ @ 0 v@@ @ @~@ @6b@@ J @@~@ 6b@@~@ z@ 0 x@@<b@@~@ {@ E @@ @E @@c@ @ @ + @@ c@ « v@@ @ Jy@@ @ J Ñ*H v@@ @ @ @ ~@ @ 6 v@@ @ @ Jy@@ @ @ J Ñ* @@ ~@ @6b@@ E rb@@ @ @-x@@ @ @E e¡@@ @c@ @ p@ @ ´b@@ @J *2b@@ @ @ @ @ @ E v@@£@ @ E @@ @ @ / ib@@ @ @£@ @ @ +&°* b@@ @ @F* @@ @ Jv@@ @ G&* @@~@ 6É@@C ¯ ¤@@ c@ @0b@@ ~@ @8b@@ J b@@ @ @g@ @Jw@@ 1b@@ E

2018 ‫ ﺳﺒﺘﻤﺒﺮ‬، 70 ‫اﻟﻌﺪد‬

‫ﻣﻠﻚ‬ ‫ﻣﻠﻮﻛﻴﺎ إﱃ ﺣﺪ ﻛﺒري‪ ،‬ﻓﻀﺠﺖ أروﻗﺔ اﳌﻠﻮك ﺑﻪ‪ ،‬وﺳﻌﻰ ﻏ ُري ﻣﺎ ٍ‬ ‫إﱃ اﺳﺘﻌامل اﻟﺸﻌﺮاء وﺗﻘﺮﻳﺒﻬﻢ ﻣﻦ ﻫﺎﻟﺘﻪ ﺣﺘﻰ َﻳ ْﺴ َﻠ َﻢ أن متﺰ َﻗﻪ‬ ‫أﻟﺴﻨﺘُﻬﻢ‪ ،‬وﺣﺘﻰ َﻳ ْﺴﺘ َْﻤ ِﻨ َﻊ ﺑﻬﻢ ﻣﻦ َ‬ ‫دون أﻋﺪاﺋﻪ ﰲ اﻟﻮﻗﺖ ﻋﻴﻨﻪ‪..‬‬ ‫ﺻﺎر ﺟﻤﻬﻮر اﻟﺸﻌﺮ ﺿﻴﻘﺎً ﺑﺤﺠﻢ ﺧﺎﺻﺔ اﻟﻘﻮم و ِﻋ ْﻠ َﻴ ِﺘ ِﻬﻢ واﺑﺘﻌﺪ‬ ‫ﺑﺎﻟﺘﺪرﻳﺞ ﻋﻦ ﻫﻤﻮم اﻟﻌﺎﻣﺔ وﻣﻌﺎﻧﺎﺗﻬﻢ؛ وﺑﻘﻲ ﻋﲆ ﻫﺬه اﻟﺤﺎل‬ ‫دﻫﺮاً ﻳﻨﻌﻢ ﰲ ﺑﺤﺒﻮﺣﺔ اﻟﻌﻴﺶ ورﻏﺪ اﳌﻘﺎم ﰲ أﻓﻴﺎء اﳌﻠﻮك‪..‬‬ ‫واﻣﺘﺪ اﻟﺰﻣﻦ ﺑﺎﻟﺸﻌﺮ ﺣﺘﻰ ﻫﺠﺮه اﳌﻠﻮك وﻧﺨﺒﺔ اﻟﻘﻮم ﰲ ﻋﴫﻧﺎ ﻫﺬا‬ ‫إﻻ ﻗﻠﻴ َﻠﻬﻢ ‪-‬إذا أردﻧﺎ أن ﻧﻜﻮن ﻋﺎدﻟني ﰲ اﻻﺳﺘﺜﻨﺎء‪ -‬ﻓﺤﺎول اﻟﺸﻌﺮ‬ ‫اﻻرﺗﺪاد إﱃ ﻋﺎﻣﺔ اﻟﻨﺎس؛ ﻓﻮﺟﺪﻫﻢ ﻣﺴﺤﻮﻗني ﻣﻘﻬﻮرﻳﻦ ﻳﺘﻬﺎﻓﺘﻮن‬ ‫ﻋﲆ "رﻏﻴﻒ اﻟﻌﻴﺶ" ﻋﻘﺐ ﻣﺎ ﺧﻠﻔﺘﻪ ﺗﻮاﱄ ﺳﻨﻮات اﻻﺳﺘﻌامر‬ ‫اﻟﺨﺎرﺟﻲ واﻟﺪاﺧﲇ ﻣﻦ أزﻣﺎت اﺟﺘامﻋﻴﺔ وﻫﺰاﺋﻢ ﻧﻔﺴﻴﺔ‪ ..‬وﺑﺘﻌﺒري‬ ‫ﺑﺴﻴﻂ؛ مل ﻳﻌﺪ ﻟﻠﺸﻌﺮ ﻣﻦ ﺟﻤﻬﻮر ﺳﻮى ﻗﻠﻴﻞ ﻣﻤﻦ ﻳﺮاﺑﻂ ﰲ‬ ‫ﺛﻜﻨﺎت اﻷدب ﻣﻦ اﻟﺠﺎﻣﻌﻴني واﻟﺼﺤﺎﻓﻴني‪ ،‬وﻗﻠﺔ ﻣﻤﻦ ﻳﺒﺪﻋﻮن ﰲ‬ ‫ﻓﻨﻮن اﻟﻜﺘﺎﺑﺔ ﻳﻄﻠﻮن ﻋﲆ ﺑﻘﻴﺔ اﻷﻧﻮاع اﻟﻜﺘﺎﺑﻴﺔ ﻣﻦ ﺑﺎب واﺟﺐ‬ ‫ﺻﻠﺔ اﻟﺮﺣﻢ اﻷدﺑﻴﺔ‪ ،‬اﻟﺘﻲ ﻻ ﺗﻠﺰﻣﻬﻢ ﺑﺈﻋامر اﻷﻣﺴﻴﺎت اﻟﺸﻌﺮﻳﺔ‪،‬‬ ‫ﻛام ﻻ ﺗﻠﺰم ﻛرثة اﻟﻨﻘﺎد ﺑﺎﻻﻧﺨﺮاط ﰲ ﺣﺮﻛﺔ ﻧﻘﺪﻳﺔ ﻣﺘﺠﺮدة ﻋﻦ‬ ‫أﻫﻮاء "اﻟﺸﻠﻠﻴﺎت" اﻟﺘﻲ ﻳﺘﴪب ﻣﻦ ﺧﻼﻟﻬﺎ أﻏﻠﺐ ﻣﺪﻋﻲ اﻟﺸﻌﺮ‪..‬‬ ‫ﻓﻤﻦ ﻫﻢ ﻣﺪﻋﻮ اﻟﺸﻌﺮ؟؟‬ ‫إﻧﻬﻢ ﰲ ﻛﺜري ﻣﻦ اﻷﺣﻴﺎن وﺑﺤﺴﺐ اﻵﻳﺔ اﻟﻜﺮميﺔ‪ :‬ﱡ‬ ‫)اﻟﺸ َﻌ َﺮا ُء َﻳ ﱠﺘ ِﺒ ُﻌ ُﻬ ُﻢ‬ ‫ا ْﻟ َﻐﺎ ُو َ‬ ‫ون(‪7‬؛ ﻫﻢ اﻟﻐﺎوون اﻟﺬﻳﻦ اﻏﱰوا ﺑﻜﺎرزﻣﻴﺔ اﻟﺸﺎﻋﺮ واﻧﺘﻘﻠﻮا‬ ‫ﻣﻦ اﻟﺘﺠﻤﻬﺮ ﻟﻠﺸﻌﺮ إﱃ ﻗﻮﻟﻪ؛ وﻫﺬه ﻫﻲ ﻧﻜﺴﺔ اﻟﺸﻌﺮ اﻟﻜﱪى‪..‬‬ ‫ﺷﻌﺮاء ﺗﺘﻀﺎءل أﺻﻮاﺗﻬﻢ ﺑني أﺻﻮات ﺟﻤﻬﻮرﻫﻢ‪ ،‬وﰲ ﻇﻞ ﻏﻴﺎب‬ ‫اﻟﻮازع اﻷﺧﻼﻗﻲ واﳌﻮاﻛﺒﺔ اﻟﻨﻘﺪﻳﺔ اﻟﺘﻲ ﺗﻐﺮﺑﻞ اﻟﺬﻫﺐ ﻣﻦ اﻟﱰاب‪،‬‬ ‫اﻧﺘﴩت أﻣﺴﻴﺎت وأﺻﺒﻮﺣﺎت ﺷﻌﺮﻳﺔ ﰲ ﻛﻞ ﻣﻜﺎن ﻣﻦ أﺻﻘﺎع‬

‫‪ ơȃōƓǶ ǛǙ ƉƚƪǕŌ Ōƅǥ ǣş ƩŨǘŨǿ ōǘǙ ǗƯƉǕŌ ǻǔƫ‬‬ ‫‪ ǗǿƃǂǕŌ ƉƪƖǕŌ ōǤş ƥżǿ ǗǕ ǳǙƃǂŨǙ ǳǾŵǷǕǷǜǈũ‬‬ ‫‪ ǽƳ ȍ ǳşǷƪƛ ƃŴǿ ǣǝŐ ȍŒ ɐǢƈǷƚƫ Ǔǉ ǽƳ‬‬ ‫‪ ǽƳ Ǔş ɐǣǾƳ ƩƓǷŨǕŌǶ ƂǷŵǷǙ ƈǷǤǘŵ ǀŌƉŨƁŌ‬‬ ‫‪ōǤȃōǾŽŒǶ ƈǷǤǘŴǕŌ ǲƉǉŌƄ ūƪş‬‬

‫اﻟﻮﻃﻦ اﻟﻌﺮيب؛ ﺗﺠﺪ ﻓﻴﻬﺎ ﻋﺪد اﻟﺸﻌﺮاء ‪-‬ﰲ أﻏﻠﺐ اﻷﺣﻴﺎن‪ -‬ﻫﻮ‬ ‫ﻋﺪد اﻟﺠﻤﻬﻮر ﻧﻔﺴﻪ ﻻ ﻳﻨﻘﺺ أو ﻳﺰﻳﺪ‪ ..‬ﻛﺜرياً ﻣﺎ رأﻳﻨﺎ وﺳﻤﻌﻨﺎ‬ ‫ﺑﺄﻣﺴﻴﺎت ﺣﴬﻫﺎ وأﺣﻴﺎﻫﺎ اﻟﺸﻌﺮا ُء اﻟﺠﻤﻬﻮ ُر !!‬ ‫وﻣﻊ أﻧﻨﺎ أﻛﺪﻧﺎ ﰲ اﻟﺒﺪاﻳﺔ ﻋﲆ أن اﻟﺸﻌﺮ ﻟﻴﺲ ﻫﻮ اﻟﺸﺎﻋﺮ –ﺣﴫا‪-‬‬ ‫ﺑﻞ ﻫﻮ‪) :‬اﻟﺸﺎﻋﺮ واﻟﻨﺺ واﳌﺘﻠﻘﻲ( ﻓﺈﻧﻨﺎ ﻧﻘﺼﺪ اﻟﺸﺎﻋﺮ اﻟﺬي‬ ‫اﻟﻀﻤﻨﻲ" أﺛﻨﺎء ﻛﺘﺎﺑﺘﻪ ﻟﻨﺼﻪ؛ وﻣﺜﺎل ذﻟﻚ ﻗﻮل‬ ‫"اﳌﺘﻠﻘﻲ‬ ‫ﻳﺴﺘﺤﴬ‬ ‫َ‬ ‫ﱠ‬ ‫اﳌﺘﻨﺒﻲ‪:‬‬ ‫@¡‪b@@ @ GN 2P 4P *N¡@ @ @~@@N @ 7 R @@ @ @ <N Á‬‬ ‫*&‪O $ @R @ @ @ @ PE O b@@ @ @ @ F‬‬ ‫‪P @ @ O @ @ @/ N‬‬ ‫‪N R xO @ @ N @ @~@R@ z@ @JN HN‬‬ ‫ ‪ O @ ~@@P |@ gN @ Rs@@ JN HN b@@ @ GN *xS @ @ /‬‬ ‫ *‪N @O @ @ R @ @ ³‬‬

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‫وﻻ ﻧﻘﺼﺪ ﺑﺄي وﺟﻪ ﻛﺎن اﳌﺘﻠﻘﻲ اﻟﺬي ﻳﺮﻏﺐ ﰲ أن ﻳﺼري ﺷﺎﻋﺮاً‬ ‫ﺑﺎﻟﻘﻮة‪.‬‬ ‫وﻋﲆ اﻟﺮﻏﻢ ﻣام ﻳﺘﻤﺘﻊ ﺑﻪ ﻫﺬا اﻟﻌﴫ ﻣﻦ وﺳﺎﺋﻂ ﺗﻜﻨﻮﻟﻮﺟﻴﺔ‬ ‫ﻣﺘﻘﺪﻣﺔ مل ﻳﺤﻆ ﺑﻬﺎ اﻟﺸﻌﺮ اﻟﻘﺪﻳﻢ ﰲ ﻛﻞ ﻋﺼﻮره‪ ،‬إﻻ أﻧﻪ ﻳﺠﺪ‬ ‫ﺻﻌﻮﺑﺔ ﻻ ﰲ اﺧﱰاق ﺟﻤﻬﻮر ﻣﻮﺟﻮد واﻟﺘﻮﺳﻊ ﻓﻴﻪ‪ ،‬ﺑﻞ ﰲ ﺑﻌﺚ‬ ‫ذاﻛﺮة اﻟﺠﻤﻬﻮر وإﺣﻴﺎﺋﻬﺎ‪ ،‬وﺗﺬﻛريه مبﻜﺎﻧﻪ اﻟﺤﻘﻴﻘﻲ ﻣﻦ ﻣﻨﻈﻮﻣﺔ‬ ‫اﻷدب اﻟﺘﻲ ﻳﺨﺘﻞ ﺗﻮازﻧﻬﺎ اﻟﻄﺒﻴﻌﻲ إذا ﺗﺸﺎﻋﺮ اﻟﺠﻤﻬﻮر‪.‬‬

‫ﻻﺋﺤﺔ اﻟﻤﺼﺎدر واﻟﺸﺮوح‪:‬‬ ‫)‪ ( 1‬اﻟﻨﻬﺮواين‪ ،‬أﺑﻮ اﻟﻔﺮج اﳌﻌﺎﰲ ﺑﻦ زﻛﺮﻳﺎ‪ ،‬اﻟﺠﻠﻴﺲ اﻟﺼﺎﻟﺢ اﻟﻜﺎﰲ واﻷﻧﻴﺲ اﻟﻨﺎﺻﺢ اﻟﺸﺎﰲ‪ ،‬دراﺳﺔ وﺗﺤﻘﻴﻖ ﻣﺤﻤﺪ ﻣﺮﳼ اﻟﺨﻮﱄ‪ ،‬ط‪ ،1‬ج‪ ،1‬ﻋﺎمل اﻟﻜﺘﺐ‪،‬‬ ‫ﺑريوت‪-‬ﻟﺒﻨﺎن‪ ،1993 ،‬ص ص ‪.554-553‬‬ ‫)‪ (2‬اﻷزﻫﺮي‪ ،‬أﺑﻮ ﻣﻨﺼﻮر ﻣﺤﻤﺪ ﺑﻦ أﺣﻤﺪ‪ ،‬ﺗﻬﺬﻳﺐ اﻟﻠﻐﺔ‪ ،‬ﻋﻤﺮ ﺳﻼﻣﻲ وﻋﺒﺪ اﻟﻜﺮﻳﻢ ﺣﺎﻣﺪ‪ ،‬ط‪ ،1‬ج‪ ،9‬دار إﺣﻴﺎء اﻟﱰاث اﻟﻌﺮيب‪ ،‬ﺑريوت‪-‬ﻟﺒﻨﺎن‪ ،2001 ،‬ص‬ ‫‪.184‬‬ ‫)‪ ( 3‬اﻟﺠﻮﻫﺮي‪ ،‬إﺳامﻋﻴﻞ ﺑﻦ ﺣامد‪ ،‬اﻟﺼﺤﺎح ﺗﺎج اﻟﻠﻐﺔ وﺻﺤﺎح اﻟﻌﺮﺑﻴﺔ‪ ،‬ﺗﺤﻘﻴﻖ أﺣﻤﺪ ﻋﺒﺪ اﻟﻐﻔﻮر ﻋﻄﺎر‪ ،‬ط‪ ،2‬ج‪ ،3‬دار اﻟﻌﻠﻢ ﻟﻠﻤﻼﻳني‪ ،‬ﺑريوت‪-‬ﻟﺒﻨﺎن‪،‬‬ ‫‪ ،1979‬ص ‪.1174‬‬ ‫)‪ (4‬أﺑﻮ إﺑﺮاﻫﻴﻢ إﺳﺤﺎق ﺑﻦ إﺑﺮاﻫﻴﻢ ﺑﻦ اﻟﺤﺴني اﻟﻔﺎرايب‪ ،‬ﻣﻌﺠﻢ دﻳﻮان اﻷدب‪ ،‬ﺗﺤﻘﻴﻖ أﺣﻤﺪ ﻣﺨﺘﺎر ﻋﻤﺮ‪ ،‬ط‪ ،1‬ج‪ ،1‬ﻣﺆﺳﺴﺔ دار اﻟﺸﻌﺐ ﻟﻠﺼﺤﺎﻓﺔ‬ ‫واﻟﻄﺒﺎﻋﺔ واﻟﻨﴩ‪ ،‬اﻟﻘﺎﻫﺮة‪-‬ﻣﴫ‪ ،2003 ،‬ص ‪.132‬‬ ‫)‪ (5‬اﻟﻌﺴﻘﻼين‪ ،‬أﺣﻤﺪ ﺑﻦ ﻋﲇ ﺑﻦ ﺣﺠﺮ‪ ،‬اﻹﺻﺎﺑﺔ ﰲ متﻴﻴﺰ اﻟﺼﺤﺎﺑﺔ‪ ،‬دراﺳﺔ وﺗﺤﻘﻴﻖ وﺗﻌﻠﻴﻖ ﻋﺎدل أﺣﻤﺪ ﻋﺒﺪ اﳌﻮﺟﻮد وﻋﲇ ﻣﺤﻤﺪ ﻣﻌﻮض‪ ،‬ط‪ ،1‬ج‪،5‬‬ ‫دار اﻟﻜﺘﺐ اﻟﻌﻠﻤﻴﺔ‪ ،‬ﺑريوت‪-‬ﻟﺒﻨﺎن‪ ،1995 ،‬ص ‪.500‬‬ ‫)‪ ( 6‬اﻟﻘريواين‪ ،‬اﺑﻦ رﺷﻴﻖ‪ ،‬اﻟﻌﻤﺪة ﰲ ﻣﺤﺎﺳﻦ اﻟﺸﻌﺮ وآداﺑﻪ‪ ،‬ﺗﺤﻘﻴﻖ وﺗﻌﻠﻴﻖ ﻣﺤﻤﺪ ﻣﺤﻴﻲ اﻟﺪﻳﻦ ﻋﺒﺪ اﻟﺤﻤﻴﺪ‪ ،‬ط‪ ،1‬ج‪ ،1‬ﻣﻄﺒﻌﺔ ﺣﺠﺎزي‪ ،‬اﻟﻘﺎﻫﺮة‪-‬ﻣﴫ‪،‬‬ ‫‪ ،1934‬ص ‪.10‬‬ ‫)‪ (7‬اﻟﺸﻌﺮاء‪ ،‬اﻵﻳﺔ‪.224 :‬‬ ‫)‪ (8‬اﳌﺘﻨﺒﻲ‪ ،‬دﻳﻮان‪ ،‬ﴍح ﻋﺒﺪ اﻟﺮﺣﻤﻦ اﻟﱪﻗﻮﻗﻲ‪ ،‬ط‪ ،3‬ج‪ ،4‬دار اﻟﻜﺘﺐ اﻟﻌﻠﻤﻴﺔ‪ ،‬ﺑريوت‪-‬ﻟﺒﻨﺎن‪ ،2011 ،‬ص ‪.63‬‬

‫اﻟﺸﻌﺮ ‪baytelshear‬‬ ‫ﺑﻴﺖ ِ‬

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‫‪ĜšĻŌ‬‬ ‫ﻣﺘﻠﻖ ﻋﺎدي( ﻟﻴﻘ ﱠﻴﻢ اﻟﻨﺎﻗﺪ ﺷﻌ َﺮه‬ ‫وﻣﺴﻤﻊ ﻣﻦ ﻋﺎﻣﺔ )اﻟﺠﻤﻬﻮر‪ٍ /‬‬ ‫وﻳﺸﻬﺪُ ﺟﻤﻬﻮر اﻟﺴﻮق ﻋﲆ ذﻟﻚ؛ واﻟﻬﺪف ﻫﻮ أن ﻳﻌﻮد إﱃ ﻗﺒﻴﻠﺘﻪ‬ ‫ﺑﺼﻚ اﻋﱰاف ﻣﻦ اﻟﻨﺎﺑﻐﺔ ﺑﻘﻴﻤﺔ اﻟﺸﻌﺮ وأﻫﻤﻴﺔ اﻟﺸﺎﻋﺮ؛ ﻫﻜﺬا‬ ‫ﻧﺘﺼﻮر اﻷﻣﺮ‪.‬‬ ‫وﻧﻌﺘﻘﺪ أن ﻣﺠﺎل اﻟﺴﻮق اﻟﺬي ﻋﺞ ﺑﺄﺻﻨﺎف اﻟﺴﻠﻊ اﻟﺤﻴﺔ وﻏري‬ ‫اﻟﺤﻴﺔ )اﻟﺤﻴﻮاﻧﻴﺔ(؛ ﺧﺎﺻﺔ اﻹﺑﻞ ﻣﻨﻬﺎ زودت اﻟﻨﻘﺪ اﻟﺸﻌﺮي‬ ‫اﻟﺠﺎﻫﲇ ﺑﺄﻫﻢ ﻣﻔﺎﻫﻴﻤﻪ اﻟﻨﻘﺪﻳﺔ؛ ﻓﺤﻴﺚ ﻛﺎن ﻣﻌﻴﺎر اﻟﺠﻮدة ﰲ‬ ‫اﻹﺑﻞ ﻓﺤﻮﻟﺘُﻬﺎ وﰲ اﻟﺨﻴﻮل وﺣﺸﻴﻬﺎ اﻟﺬي ﻳﺮود ﻓﻴام ﺑﻌﺪ؛ ﻓﺈن‬ ‫ﺗﴪب ﻫﺬﻳﻦ اﳌﻔﻬﻮﻣني اﻟﺤﻴﻮاﻧﻴني ‪-‬وﻏريﻫام‪ -‬إﱃ اﳌﺼﻄﻠﺤﻴﺔ‬ ‫اﻟﺸﻌﺮﻳﺔ ﻳﺆﺟﺞ اﻟﺸﻜﻮك ﺣﻮل ﺗﺄﺛري ﺑﻴﺌﺔ اﻟﺴﻮق وﻟﻐﺔ اﻟﺠﻤﻬﻮر‬ ‫ﰲ اﳌﺼﻄﻠﺤﺎت اﻟﻨﻘﺪﻳﺔ اﻟﺸﻌﺮﻳﺔ اﻷوﱃ؛ وﻻ ﺑﺄس أن ﻧﺬﻛﺮ ﺑﺒﻌﺾ‬ ‫اﻟﻜﺘﺐ اﻟﻨﻘﺪﻳﺔ اﻟﻘﺪميﺔ اﻟﺘﻲ ﺣﻤﻠﺖ ﻫﺬا اﻟﺘﺄﺛري وﻧﴩﺗﻪ أﺑﻌﺪ‬ ‫ﺣﺘﻰ ﻣﻦ اﻟﺸﻌﺮ؛ أي ﰲ اﻟﻠﻐﺔ واﻷﻣﺜﺎل وﻏري ذﻟﻚ ﻣﻦ ﺗﺸﻌﺒﺎت‬ ‫اﻷدب؛ ﻣﺜﻞ‪:‬‬ ‫ﻃﺒﻘﺎت ﻓﺤﻮل اﻟﺸﻌﺮاء ﻻﺑﻦ ﺳﻼم اﻟﺠﻤﺤﻲ؛‬ ‫ﻓﺤﻮﻟﺔ اﻟﺸﻌﺮاء ﻟﻸﺻﻤﻌﻲ؛‬ ‫اﻟﻮﺣﺸﻴﺎت أو ﻣﺎ ﻳﻌﺮف ﺑﺎﻟﺤامﺳﺔ اﻟﺼﻐﺮى ﻷيب متﺎم؛‬ ‫ﺟﻤﻬﺮة أﺷﻌﺎر اﻟﻌﺮب ﻷيب اﻟﺨﻄﺎب اﻟﻘﺮﳾ؛‬ ‫ﺟﻤﻬﺮة اﻟﻠﻐﺔ ﻻﺑﻦ درﻳﺪ؛‬ ‫ﺟﻤﻬﺮة أﻧﺴﺎب اﻟﻌﺮب ﻻﺑﻦ ﺣﺰم اﻷﻧﺪﻟﴘ؛‬ ‫ﺟﻤﻬﺮة اﻷﻣﺜﺎل ﻷيب ﻫﻼل اﻟﻌﺴﻜﺮي‪.‬‬ ‫إن اﳌﺜري ‪-‬ﰲ ﻫﺬا اﻟﺘﺼﻮر اﻟﺬي ﻧﻄﺮﺣﻪ ﻷول ﻣﺮة‪ -‬ﻫﻮ أن اﻟﺸﻌﺮ‬ ‫ﻛﺎن َﻣ َﺸﺎﻋﺎً ﺑني ﻋﺎﻣﺔ اﻟﻨﺎس؛ ﻟﻘﺪ ﻛﺎن ﺣﻘﺎً ﻋﻤﻮﻣﻴﺎً إﱃ درﺟﺔ‬ ‫ﺗﺪاوﻟﻪ وﺗﻨﺎوﻟﻪ ﰲ اﻷﺳﻮاق اﻟﺸﻌﺒﻴﺔ!!‬ ‫ﻫﺬه ‪-‬ﰲ اﻋﺘﻘﺎدﻧﺎ ‪ -‬ﻛﺎﻧﺖ ﻃﺒﻴﻌﺔ اﻟﺸﻌﺮ ﺑﺎﻟﻨﻈﺮ إﱃ اﻟﻈﺮوف‬ ‫اﳌﻌﻴﺎرﻳﺔ اﻷوﱃ اﻟﺘﻲ ﻃﺮﺣﻨﺎﻫﺎ‪) :‬اﻟﺒﻴﺌﺔ واﳌﺘﻠﻘﻲ( واﻟﺘﻲ أﻛﺪﻧﺎ ﻋﲆ‬ ‫ﻃﺎﺑﻌﻬﺎ اﳌﺆﻗﺖ‪..‬‬ ‫ﺣﻈﻲ ﺑﻬﺎ اﻟﺸﺎﻋﺮ اﻟﺠﺎﻫﲇ ﻫﻲ ﻣﻨﺼﺔ‬ ‫وإذا ﻛﺎﻧﺖ أﻫﻢ "ﻣﻨﺼﺔ"‬ ‫َ‬ ‫اﻟﺴﻮق؛ ﺑﻜﻞ ﺿﻮﺿﺎﺋﻬﺎ وﺗﻌﺎﱄ ﻏﺒﺎرﻫﺎ وﺗﺪاﺧﻞ أﺻﻮات اﻟﺒﺎﺋﻌني ﻣﻊ‬ ‫أﺻﻮات اﻟﺸﻌﺮاء؛ ﻣﺎ ﻳﻌﻨﻲ أن ﻃﺒﻴﻌﺔ اﻟﺸﻌﺮ ﻧﻔﺴﻪ ﻛﺎﻧﺖ ﻫﺎﺋﺠﺔ‬ ‫ﻣﺎﺋﺠﺔ؛ ﻓﺈن اﻧﺘﻘﺎﻟﻪ ﻣﻊ دﺧﻮل اﻹﺳﻼم إﱃ ِﺣﻀﻦ اﳌﺴﺠﺪ ﺟﻌﻠﻪ‬ ‫ﻳﺼري أﻛرث ﻫﺪوءاً؛ ﻓﺘﻤﺘﻊ ﺑﺴﻜﻮن وروﺣﺎﻧﻴﺔ اﻹﺳﻼم اﻟﺘﻲ أﺧﻀﻌﺖ‬ ‫ﻣﻌﺎﻧﻴﻪ اﳌﺘﻘﻠﺒﺔ وﺧﻔﻔﺖ ﻣﻦ ﻃﺒﻴﻌﺘﻪ اﳌﺘﻤﺮدة‪ .‬ﻛﺎد ‪-‬ﺣﻴﻨﺌﺬ‪ -‬ﻣﻨﱪ‬ ‫اﻟﺨﻄﻴﺐ أن ﻳﺠﻌﻞ ﻣﻦ اﻟﺸﺎﻋﺮ ﻛﺎﺋﻨﺎً ﺗﺎﺑﻌﺎً ﻣﻜﻤ ًﻼ ﻟﻠﺨﻄﺒﺔ اﳌﻨﱪﻳﺔ‪.‬‬ ‫اﳌﻼﺋﻢ ﻟﻘﻮل اﻟﺸﻌﺮ إﻻ أﻧﻪ‬ ‫وﻣﻊ أن اﳌﻨﱪ "اﳌﺴﺠﺪي" ﻣﻨﺢ اﻟﺠ ﱠﻮ‬ ‫َ‬ ‫مل ﻳﺼﺪره إﻻ ﻟﺨﺪﻣﺔ اﻟﺬاﺋﻘﺔ اﻟﺪﻳﻨﻴﺔ اﻟﺘﻲ ﻋ ّﻤﺖ إﺑﺎن ﻇﻬﻮر‬ ‫ﻗﺎﻧﺖ اﻋﺘﻘﺪ ﻣﻌﻈﻤﻪ‬ ‫اﻹﺳﻼم واﻧﺘﺸﺎره‪ ..‬وﻫﻨﺎ ﻧﺘﺤﺪث ﻋﻦ ﺟﻤﻬﻮر ٍ‬

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‫اﻟﻌﺪد ‪ ، 70‬ﺳﺒﺘﻤﺒﺮ ‪2018‬‬

‫ب"ﺣﺮﻣﺎﻧﻴﺔ" اﻟﺸﻌﺮ ﻓﺎﺑﺘﻌﺪ ﻋﻨﻪ ﻗﺪر اﳌﺴﺘﻄﺎع؛ وأﻗﺒﻞ ﻋﲆ اﻟﻘﺮآن‬ ‫أﺷﺪ ﻣﺎ ﻳﻜﻮن ﰲ إﻗﺒﺎل اﳌﺘﻠﻬﻒ ﻋﲆ اﻟﴚء !!‬ ‫وﻟﻴﺲ أدل ﻋﲆ ﻫﺬا اﳌﺰﻋﻢ ﻣﻦ ﻗﺼﺔ ﻟﺒﻴﺪ اﻟﺸﺎﻋﺮ؛ اﻟﺘﻲ ﻧﺴﻮﻗﻬﺎ‬ ‫ﻋﻦ اﺑﻦ ﺣﺠﺮ اﻟﻌﺴﻘﻼين اﻟﺬي ﻳﻘﻮل ﻋﻨﻪ‪" :‬ﻛﺎن ﻓﺎرﺳﺎً ﺷﺠﺎﻋﺎً‬ ‫ﺷﺎﻋﺮاً ﺳﺨﻴﺎً‪ ،‬ﻗﺎل اﻟﺸﻌﺮ ﰲ اﻟﺠﺎﻫﻠﻴﺔ دﻫﺮاً‪ ،‬ﺛﻢ أﺳﻠﻢ‪ ،‬وﳌﺎ ﻛﺘﺐ‬ ‫واﻷﻏﻠﺐ اﻟﻌﺠ ﱠ‬ ‫ﲇ ﻣﺎ أﺣﺪﺛﺎ ﻣﻦ‬ ‫ﻋﻤﺮ إﱃ ﻋﺎﻣﻠﻪ ﺑﺎﻟﻜﻮﻓﺔ‪َ :‬ﺳ ْﻞ ﻟﺒﻴﺪا‬ ‫َ‬ ‫اﻟﺸﻌﺮ ﰲ اﻹﺳﻼم‪ ،‬ﻓﻘﺎل ﻟﺒﻴﺪ‪ :‬أﺑﺪﻟﻨﻲ اﻟ ﱠﻠﻪ ﺑﺎﻟﺸﻌﺮ ﺳﻮرة اﻟﺒﻘﺮة‬ ‫وآل ﻋﻤﺮان"‪5‬؛ وﻧﻌﺠﺐ ﻛﻞ اﻟﻌﺠﺐ إذا ﻛﺎﻧﺖ ﻫﺬه ﺣﺎل اﻟﺸﻌﺮاء‬ ‫ﻓﻜﻴﻒ ﺗﻜﻮن ﺣﺎل ﻋﺎﻣﺔ اﻟﺠﻤﻬﻮر؟؟‬ ‫ﰲ اﻋﺘﻘﺎدي ﺳﺎدت ﻇﺮﻓﻴﺔ ﺣﺴﺎﺳﺔ ﻗﻞ ﻓﻴﻬﺎ اﻻﻫﺘامم ﺑﺎﻟﺸﻌﺮ‪ ،‬إﺑﺎن‬ ‫اﻧﺘﺸﺎر اﻹﺳﻼم اﻟﺬي ﻗﻨﱠﻦَ ﺣامﺳﺔ اﻟﺸﻌﺮاء وأدﺧﻠﻬﻢ ﰲ ﺣﺎﻟﺔ ﻣﻦ‬ ‫اﻟﺪروﺷﺔ واﻟﺘﺒﺘﻞ؛ ﺣﺘﻰ ﻛﺴﺪت ﺑﻀﺎﻋﺘﻬﻢ ومل ﻳﻌﺪ ﻟﻬﺎ ﻗﻴﻤﺔ‪ ..‬ﻛﺎن‬ ‫اﻟﺸﻌﺮ ﰲ اﻟﺠﺎﻫﻠﻴﺔ اﺑﻦ ﺳﻮق‪ ،‬وﺟﻤﻬﻮره ﺟﻤﻬﻮر ﺳﻮق؛ وﺻﺎر‬ ‫ﻣﻊ ﻣﻄﻠﻊ اﻹﺳﻼم َﺣ ِﻀ َ‬ ‫ني اﳌﺴﺠﺪ ﻻ ﻳﺨﺮج ﻋﻦ ﺣ ﱟﺪ وﻻ ﻳﺘﻤﺮد ﻋﲆ‬ ‫ﴍع‪ .‬ﻏري أﻧﻪ وﰲ ﻓﱰة وﺟﻴﺰة ﺑﺪأ ﻳﺴﺘﻌﻴﺪ ﺣﻴﺎﺗﻪ وﺣﻴﻮﻳﺘﻪ إﺑﺎن‬ ‫ﻏﺮوب ﺷﻤﺲ اﻟﺨﻼﻓﺔ اﻟﺮاﺷﺪة وﻧﺠﻮم اﳌﻠﻜﻴﺔ ﻣﻊ ﺑﻨﻲ أﻣﻴﺔ وﺑﻨﻲ‬ ‫اﻟﻌﺒﺎس ﻣﻦ ﺑﻌﺪﻫﻢ‪.‬‬ ‫ﰲ ﻫﺬه اﻟﻔﱰة اﻷﻣﻮﻳﺔ اﻟﻌﺒﺎﺳﻴﺔ ﺗﻨﻔﺲ اﻟﺸﻌﺮ ﻫﻮاء اﻟﺒﻼﻃﺎت‪،‬‬ ‫ﺗﺤﺮر واﺳﺘﻨﻔﺮ ﻓﺠﺮى ﰲ ﺣﻠﺒﺎت اﳌﻠﻮك‪ ،‬ﻛﺎﻧﺖ ﻫﺬه اﳌﻨﺼﺔ‬ ‫اﻟﺠﺪﻳﺪة‪) :‬ﻣﻨﺼﺔ اﳌﻠﻮﻛﻴﺔ( ﻣﻨﺎﺳﺒﺔ ﻟﺘﻄﻠﻌﺎت اﻟﺸﻌﺮاء؛ ﻓﻬﻢ‬ ‫مل ﻳﻜﻮﻧﻮا َ‬ ‫رﺟﺎل ﺻﻨﻌﺔ‪ ،‬وﻛﺎﻧﺖ ﻣﻨﺎﺳﺒﺔ ﻟﻠﺸﻌﺮ ﻷﻧﻪ اﺣﺘﺎج إﱃ‬ ‫ﺳﻜﻴﻨﺔ اﳌﺴﺠﺪ اﻟﺘﻲ ﺗﻮﻓﺮت ﰲ ﻣﺠﺎﻟﺲ اﳌﻠﻮك ﻣﻊ ﺗﺤﺮر ﻫﺬه‬ ‫اﳌﺠﺎﻟﺲ وﻋﺪم ﺣﺠﺮ اﳌﻠﻮك أو ﺣﴫﻫﻢ ﻟﺤامﺳﺔ ومتﺮد اﻟﺸﻌﺮاء‬ ‫إﻻ ﰲ اﻟﻨﺎدر‪ .‬وﻫﻨﺎ ﻳﺤﺪﺛﻨﺎ اﺑﻦ رﺷﻴﻖ اﻟﻘريواين ﻋﻦ ﻋﻠﻮ اﳌﻜﺎﻧﺔ‬ ‫اﻟﺘﻲ ﺑﻠﻐﻬﺎ اﻟﺸﺎﻋﺮ ﰲ ﻫﺬه اﻟﺒﻼﻃﺎت وﻳﻘﻮل‪" :‬وﻣﻦ ﻓﻀﻞ اﻟﺸﺎﻋﺮ‬ ‫أن ﻳﺨﺎﻃﺐ اﳌﻠﻚ ﺑﺎﺳﻤﻪ‪ ،‬وﻳﻨﺴﺒﻪ ﻷﻣﻪ‪ ،‬وﻳﺨﺎﻃﺒﻪ ﺑﺎﻟﻜﺎف ﻛام‬ ‫ﻳﺨﺎﻃﺐ أﻗﻞ اﻟﺴﻮﻗﺔ‪ ،‬ﻓﻼ ﻳﻨﻜﺮ ذﻟﻚ ﻋﻠﻴﻪ‪ ،‬ﺑﻞ ﻳﺮاه أَ ْو َﻛ َﺪ ﰲ اﳌﺪح‬ ‫وأﻋﻈﻢ اﺷﺘﻬﺎراً ﻟﻠﻤﻤﺪوح"‪ .6‬ﰲ ﻇﻞ ﻫﺬه اﻟﺤﺮﻳﺔ ﺻﺎر اﻟﺸﻌﺮ‬

‫وﺑﺎﻟﻨﻈﺮ إﱃ ﻣﺎ ﺳﺒﻖ؛ ﻓﺈﻧﻨﺎ ﻋﻨﺪﻣﺎ ﻧﺘﺤﺪث ﻋﻦ ﻃﺒﻴﻌﺔ اﻟﺸﻌﺮ‬ ‫اﻟﻌﺮيب ﻧﻜﻮن أﻣﺎم ﻣﻌﱰك إﺷﻜﺎﻻت ﻣﺘﻨﺎﺳﻠﺔ‪) :‬ﻃﺒﻴﻌﺔ اﻟﺸﻌﺮ ﰲ‬ ‫ﺗﺤﻮﻟﻪ اﻟﺰﻣﺎين واﳌﻜﺎين‪ ،‬وﻃﺒﻴﻌﺔ اﻟﺸﻌﺮ ﰲ ﻋﻼﻗﺘﻪ ﺑﺤﺪود اﳌﺘﻠﻘﻲ‬ ‫ﺑﻜﻞ أﻧﻮاﻋﻪ(‪ ،‬وميﻜﻦ إﻋﺎدة ﺻﻴﺎﻏﺔ ﻫﺬﻳﻦ اﻹﺷﻜﺎﻟني ﰲ ﺳﺆاﻟني ﻋﲆ‬ ‫ﺑﺴﺎﻃﺘﻬام ﻫام ﰲ ﻏﺎﻳﺔ اﻟﺘﻌﻘﻴﺪ‪ :‬أﻳﻦ ُﻳ َ‬ ‫ﻨﺸﺪ اﻟﺸﻌﺮ؟؟ وﳌﻦ ﻳﻨﺸﺪ؟؟‬ ‫وﰲ ﻣﺨﺎﺗﻠﺔ ﻧﻘﺪﻳﺔ أﺧرية ﺗﺠﻤﻊ ﺑني اﻟﺴﺆاﻟني اﻷﺧريﻳﻦ ﻣﻌﺎ‪ :‬ﻛﻴﻒ‬ ‫ميﻜﻦ ﻟﻠﻤﻘﺎم‪/‬اﳌﻜﺎن أن ﻳﺤﺪد ﻃﺒﻴﻌﺔ اﳌﻘﺎل‪/‬اﻟﺸﻌﺮ؟؟‬ ‫ﻳﺨﺘﺰل اﺑﻦ ﻋﺮيب اﻹﺟﺎﺑﺔ ﰲ ﺗﺄﻧﻴﺜﻪ ﻟﻠﻤﻜﺎن ﺣﺘﻰ ﻳﺼري ﻣﻜﺎﻧﺔ؛‬ ‫مبﻌﻨﻰ أن اﻟﺸﻌﺮ ﻫﺬا اﻟﻜﺎﺋﻦ )اﻟﴪايب( ﻳﻜﺘﺴﺐ ﻣﻜﺎﻧﺘﻪ ﺑﺤﺴﺐ‬ ‫اﳌﻜﺎن واﻟﺰﻣﺎن اﻟﺬي ﻳﻠﻘﻰ ﻓﻴﻪ؛ إﻧﻪ أﺷﺒﻪ ﻣﺎ ﻳﻜﻮن ﺑﺎﳌﺎء ﻻ ﺷﻜﻞ‬ ‫ﻟﻪ‪ ،‬وﻟﻜﻨﻪ ﻳﺘﺸﻜﻞ ﺑﺤﺴﺐ اﻟﻮﻋﺎء اﻟﺬي ﻳﺤﺘﻮﻳﻪ‪ ..‬وﻫﻮ أﺷﺒﻪ ﻣﺎ‬ ‫ﻳﻜﻮن ﺑﺎﳌﺎء ﻻ ﻃﻌﻢ ﻟﻪ‪ ،‬وﻟﻜﻨﻪ ُﻳ ْﺴﺘ َْﻄ َﻌ ُﻢ ﻣﻦ ﻗﺒﻞ اﳌﺘﻠﻘﻲ اﻟﺬي‬ ‫ﻳﺘﺬوﻗﻪ ﺑﻜﻞ ﺟﻮارﺣﻪ‪..‬‬ ‫وإذن؛ ﻓﺎﻟﺸﻌﺮ –ﻛام ﻧﻌﺘﻘﺪ‪ -‬ﻳﺤﺘﻜﻢ إﱃ اﻟﺒﻴﺌﺔ واﳌﺘﻠﻘﻲ ﰲ ﺗﺤﺪﻳﺪ‬ ‫ﻃﺒﻴﻌﺘﻪ وإن ﺑﺸﻜﻞ آين ﻣﺆﻗﺖ‪ ،‬ﻓﺈذا ﺗﺤﺪﺛﻨﺎ ﻋﻦ اﻟﺸﻌﺮ اﻟﺠﺎﻫﲇ‬ ‫أﻣﻜﻨﻨﺎ أن ﻧﺘﺤﺪث ﻋﻦ ﻣﺮﺣﻠﺔ ﺣﺴﺎﺳﺔ ﻛﺎن ﻓﻴﻬﺎ اﻟﺸﻌﺮ "اﺑﻦ‬ ‫أﺳﻮاق"؛ !!‬ ‫أي ﻧﻌﻢ‪ ،‬ﻛﺎن اﻟﺸﻌﺮ ﻳﻠﻘﻰ ﰲ اﻷﺳﻮاق؛ وﻷﻧﻬام اﺷ ُﺘ ﱠﻘﺎ ﻣﻦ ﺟﺬر‬ ‫ﺪت اﻟﻌﻼﻗ ُﺔ‬ ‫"اﻟﺴﻮ َﻗ ُﺔ" واﻋ ُﺘ ِﻘ ِ‬ ‫ﻟﻐﻮي واﺣﺪ َ‬ ‫"ﺳ َﻮ َق" اﺷﺘﻬﺮ ﻣﻔﻬﻮم ﱡ‬ ‫اﻟﺪﻻﻟﻴﺔ ﺑني اﻟﺴﻮق واﻟﺴﻮﻗﺔ ﰲ ﻣﻌﻈﻢ ﻣﺎ اﻃﻠﻌﻨﺎ ﻋﻠﻴﻪ ﻣﻦ‬ ‫ﻣﺼﺎدر؛ ﺑﻞ واﻋ ُﺘ ِﻘﺪ أن ﺟﻤﻬﻮر اﻟﺴﻮق ﻋﲆ اﻋﺘﺒﺎر أﻧﻪ ﻣﻦ ﻋﺎﻣﺔ‬ ‫اﻟﻨﺎس ميﻜﻦ أن ﻳﻄﻠﻖ ﻋﻠﻴﻪ ﻣﻔﻬﻮم اﻟﺴﻮﻗﺔ‪ .‬ﻏري أن اﻟﺼﻮاب ﻫﻮ‬ ‫ﻣﺎ اﻗﺘﻔﻴﻨﺎه ﻋﻨﺪ اﻟﻨﻬﺮواين اﻟﺬي ﻳﺴﻮق ﻛﻼم اﻟﻘﺎﴈ وﻫﻮ ﻳﺼﺤﺢ‬ ‫ﻋﲆ اﺑﻦ ﺣامد؛ ﻳﻘﻮل‪" :‬اﺑﻦ ﺣامد‪) :‬ﻣﻦ ﺳﻮﻗﺘﻬﻢ وﺳﻔﻠﺘﻬﻢ(‪ ،‬ﻳﺪل‬ ‫ﻋﲆ أﻧﻪ ﻛﺎن ﻳﻈﻦ أن اﻟﺴﻮﻗﺔ أﻫﻞ اﻷﺳﻮاق‪ ،‬ومل ﻳﻌﻠﻢ أن اﻟﺴﻮﻗﺔ‬ ‫ﻫﻢ اﻟﺬﻳﻦ ﻳﺴﻮﻗﻬﻢ اﳌﻠﻮك ﺑﺴﻴﺎﺳﺘﻬﻢ‪ ،‬وأن اﻟﻨﺎس ﻣﻠﻮك وﺳﻮﻗﺔ‬ ‫أي رﻋﻴﺔ‪ ،‬ﻛام ﻗﺎل زﻫري‪:‬‬

‫‪ Ǔǉ ǽƳ ǳǿƉƪƗ ŦōŽǷŞƛŐǶ ŦōǾƒǙŐ ŦƉƖŨǝŌ‬‬ ‫‪ Ƃƃƫ ōǤǾƳ ƃŴũ ɑǽşƉƪǕŌ ǛƣǷǕŌ ƨōǂƛŐ ǛǙ ǚōǈǙ‬‬ ‫‪ ƈǷǤǘŴǕŌ Ƃƃƫ Ƿǥ ǚōǾŽȏŌ ŝǔƯŐ ǽƳ ŋŌƉƪƖǕŌ‬‬ ‫‪ ƃǿƋǿ ǶŐ ƙǂǜǿ ȍ ǣƒƲǝ‬‬ ‫ ‪ ōǤǾƳ ơƒŞǿ ǽŨǕŌ ǽǝōǾşƅǕŌ ǳƮşōǜǕŌ ǳǘǾƁ ŧǝōǉ‬‬ ‫‪ɳ‬‬ ‫‪ ǳƛƈǷŞş ǚǷǈũ ōǙ ǣŞƗŐ ǗǥƈōƪƗŐ ŋŌƉƪƖǕŌ‬‬ ‫‪ɑǲƉƮƚǙ ǗǾǃ‬‬

‫اﻷﺳﻮاق ﺑﺄﻧﻬﻢ ﺟﺰء ﻣﻦ اﻟﺮﻋﻴﺔ؛ و ُﻧ َﺠ ﱢﻮ ُز ُه ﻋﻠﻴﻬﻢ –أﻳﻀﺎ‪ -‬ﻷن ﻣﻔﻬﻮم‬ ‫اﻟﺴﻮﻗﺔ ﻳﺤﻤﻞ ﰲ ﻃﻴﺎﺗﻪ دﻻﻟﺔ اﻻﻧﺴﻴﺎق‪ ،‬وﻫﺬا ﻣﺎ ﻳﺴﻌﻰ إﻟﻴﻪ‬ ‫ﻛﻞ ﺷﺎﻋﺮ ﰲ ﻣﺤﺎوﻻﺗﻪ اﻟﺘﺄﺛري ﻋﲆ ﻣﺘﻠﻘﻴﻪ وإﺛﺎرة دﻫﺸﺘﻪ؛ ﻳﻘﻮل‬ ‫ﻮﺳﻬﺎ اﳌ َﻠﻚ‪ُ ،‬ﺳ ﱡﻤﻮا ﺳﻮﻗ ًﺔ‬ ‫"اﻟﺴﻮﻗﺔ ِمبَ ْﻨ ِﺰﻟَﺔ اﻟ ﱠﺮﻋ ﱠﻴﺔ ا ﱠﻟ ِﺘﻲ َﻳ ُﺴ ُ‬ ‫اﻷزﻫﺮي‪ :‬ﱡ‬ ‫ﱠ‬ ‫ﻷن ا ْﻟ ُﻤ ُﻠﻮك ﻳﺴﻮﻗﻮﻧﻬﻢ ﻓﻴﻨﺴﺎﻗﻮن ﻟَ ُﻬﻢ"‪.2‬‬ ‫ﻟﻘﺪ ﻛﺎن أﺷﻬﺮ ﻣﺤﻔﻞ ﻟﻠﺸﻌﺮ ﰲ اﻟﺠﺎﻫﻠﻴﺔ ﻣﺜﻼ َﻳﻨ ُْﺠ ُﻢ ﰲ ﺧﻴﻤ ٍﺔ‬ ‫ﺗﺘﻮﺳﻂ ﺳﻮق ﻋﻜﺎظ؛ ﺗﻠﻚ اﻟﺴﻮق اﻟﺘﻲ ﻻ ميﻜﻦ أن ﺗﺘﺨﻴﻠﻬﺎ‬ ‫ﺳﻮﻗﺎً ﻟـ) ِﻋ ْﻠ َﻴ ِﺔ اﻟﻘﻮم‪ ،‬ﺧﺎﺻﺘﻬﻢ‪ ،‬ﻧﺨﺒﺘﻬﻢ‪ ،‬وأﴍاﻓﻬﻢ‪(..‬؛ ﺑﻞ ﺳﻮﻗﺎ‬ ‫اﻟﺴﻮﻗ ُﺔ ﻣﻦ ﻛﺎﻓﺔ اﻟﻄﺒﻘﺎت واﻟﻔﺌﺎت اﻟﻘﺒﻠﻴﺔ‪ .‬ﻫﻞ ﻛﺎن‬ ‫ﺟﻤﻬﻮ ُرﻫﺎ ﱡ‬ ‫اﻟﺸﻌﺮ –إذن‪ -‬ﺳﻠﻌﺔ ﺷﺒﻴﻬﺔ مبﺎ ﻳﺒﺎع وﻳﺸﱰى ﰲ اﻷﺳﻮاق؟؟‬ ‫ﻳﺬﻫﺐ اﻟﺠﻮﻫﺮي ﰲ ﺻﺤﺎﺣﻪ إﱃ أن‪" :‬ﻋﻜﺎظ‪ :‬اﺳﻢ ﺳﻮق ﻟﻠﻌ َﺮب‬ ‫ﺑﻨﺎﺣﻴﺔ ﻣ ﱠﻜﺔ‪ ،‬ﻛﺎﻧﻮا َﻳﺠﺘﻤﻌﻮن ﺑﻬﺎ ﰲ ﻛﻞ ﺳﻨﺔ‪ ،‬ﻓﻴﻘﻴﻤﻮن ﺷﻬ ًﺮا‬ ‫وﻳﺘﺒﺎﻳﻌﻮن‪ ،‬وﻳﺘﻨﺎﺷﺪون ﺷﻌ ًﺮا وﻳﺘﻔﺎﺧﺮون‪ .‬ﻗﺎل أﺑﻮ ذؤﻳﺐ‪:‬‬ ‫@‪ b‬‬ ‫@‪M @ @ @ N @ @ @ <O ¢@@ @ @N @ @ @ <N eb‬‬ ‫‪O @ @ @cN @ @ @ P @ @ @ D* ¤@N @ @ @ P @ @ @ @+O *3N (*P‬‬ ‫ ‪O @ @ @ @ @ @ DO O&°* N @ @ @ N @ @ @ gN @ @ @ /*R HN O @ @ £R @ @ cN @ @ D* N b@@ @ @ @ @ @BN HN‬‬ ‫@¡ ‬

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‫ﻋﻜﺎظ اﻟﺸﻌﺮ مل ﻳﻜﻦ ﻏري ﻋﻜﺎظ اﻹﺑﻞ واﻟﺨﻴﻞ واﻟﻮﺣﴚ ﻣﻦ‬ ‫اﻟﺤﻴﻮاﻧﺎت اﻟﻨﺎدرة‪ ،‬واﻟﺜﻤﺮ واﻟﺴﻤﻦ واﻷﻗﻂ وﻏري ذﻟﻚ ﻣﻦ اﻟﺴﻠﻊ‬ ‫‪f@@ £@ @G*v@@ + @@ @ @ @ @E Í@RN @ @ @ @ @ @ @ @ @ @EN 4R O&* ° 4b@@ @ @ 0 b@@ @ J‬‬ ‫‪ @O @ @ E °H ¤@@ @ @c@ @B fL @ @ B¡@@ @~@ @ 6 b@@ @ N @ @ N @ @ R @ @ JN µ‬اﻟﺘﻲ ﻛﺎﻧﺖ ﺗﺴﺘﻘﻄﺐ ﺣﺎﺟﺔ ﺟﻤﻬﻮر اﻟﺴﻮق وﻣﺮﺗﺎدﻳﻪ !! ﻫﻲ‬ ‫ﺣﺎﺟﺎت اﻟﺨﻴﻤﺔ اﻟﻘﺒﻠﻴﺔ اﻟﺒﺪوﻳﺔ اﻟﺘﻲ ﻻ َﻣ ِﺤﻴ َﺪ ﻋﻦ اﺳﺘﻌامﻟﻬﺎ‪،‬‬ ‫وﻫﻲ اﻟﺤﺎﺟﺎت اﻷﺳﺎس اﻟﺘﻲ ذﻛﺮﻫﺎ اﻣ ُﺮؤ اﻟﻘﻴﺲ ﰲ ﺑﻴﺘﻪ اﻟﺸﻬري‪:‬‬ ‫وﻗﺎﻟﺖ ُﺣﺮﻗﺔ ﺑﻨﺖ اﻟﻨﻌامن ﺑﻦ اﳌﻨﺬر‪:‬‬ ‫‪b@@ FxO @ @E&* xO @ @ @ @ E&°*H @@6b@@ @ D* @O @6¡@@~@O @z@ FN b@@ N @ £R @ cN @ AN‬‬ ‫‪O‬‬ ‫‪ ~|g F‬‬ ‫ *(‪ fL @ @ @BO ¡@@ @ ~@@O @ 6 @@ @ @£@ @A @@ p@ @F *3‬‬

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‫@‪Kb@ @ @ @ R @ @ ~@N@ @6HN Kb@ @ @ @ @ @ @ @ @ @BP &*N b@@ @ N @ @ @gN @ @ @£R @ @ @+N OÉ‬‬ ‫‪& N @ @ @ R @ @ @ @gN @ @ @ @AN‬‬ ‫‪4‬‬ ‫‪T¥N4HN L @ @ cN @ @ ~@@P @7 ¢@K @ @ @ @ P= R @@ @ @ PE @N @ @ cO @ @ ~@@R @ z@ @ 0N HN‬‬

‫وﻋﲆ اﻟﺮﻏﻢ ﻣﻦ ذﻟﻚ‪ ،‬ﻓﻴﻤﻜﻨﻨﺎ أن ﻧﺴﺘﻌﻤﻞ ﻣﻔﻬﻮم اﻟﺴﻮﻗﺔ ﻋﲆ وﺿﻤﻦ ﻫﺬا اﻹﻃﺎر ﻛﺎﻧﺖ ﺧﻴﻤﺔ اﻟﻨﺎﺑﻐﺔ اﻟﺬﺑﻴﺎين اﻟﺘﻲ ﻳﺒﺴﻂ ﻓﻴﻬﺎ‬ ‫أﻧﻪ ﻳﻌﻜﺲ ﻣﻔﻬﻮم اﻟﺮﻋﻴﺔ ﺑﻐﺾ اﻟﻨﻈﺮ ﻋﻦ ﻣﺮﺗﺒﺘﻬﻢ أو ﻣﻜﺎﻧﺘﻬﻢ اﻟﺸﻌﺮاء أﺷﻌﺎ َرﻫﻢ أﺷﺒﻪ ﻣﺎ ﺗﻜﻮن "ﺑﺒﻮرﺻﺔ ﻗﻴﻢ" ﻣﺼﻐﺮة؛ ﺑﺤﻴﺚ‬ ‫ﻣﺘﻠﻖ ﺧﺒري( ﻋﲆ ﻣﺮأى‬ ‫اﻟﻄﺒﻘﻴﺔ أو اﻟﻘﺒﻠﻴﺔ؛ وﻧﺤﻦ ُﻧ َﺠ ﱢﻮ ُز إﻃﻼق ﻣﻔﻬﻮم اﻟﺴﻮﻗﺔ ﻋﲆ رواد ﻳﻄﺮح اﻟﺸﺎﻋﺮ ﻗﺼﻴﺪﺗﻪ أﻣﺎم )ﻧﺎﻗﺪ ﻣﺤﱰف‪ٍ /‬‬ ‫اﻟﺸﻌﺮ ‪baytelshear‬‬ ‫ﺑﻴﺖ ِ‬

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‫‪ĜšĻŌ‬‬ ‫‪Ĝ‬‬

‫ﺗﺤﺪﻳﺪ ﻃﺒﻴﻌﺔ اﻟﺸﻌﺮ‪..‬‬ ‫وﺗﺮﺳﻴﻢ ﺣﺪود اﻟﺠﻤﻬﻮر‬ ‫د'ﻳﺎﺳﻴﻦ ﺣﺰﻛﺮ‬

‫ﻣﺜﻘﻒ؛ ﻛﺎن أﻛﺎدميﻴﺎً أو ﻏري أﻛﺎدميﻲ‪ ،‬أن ﻳﻀﻊ إﺻﺒﻌﻪ ﻋﲆ ﺣﻘﻴﻘﺔ اﻟﺸﻌﺮ‪ ،‬أو ﻳﺤﺪد ﻃﺒﻴﻌﺘﻪ ﺗﺤﺪﻳﺪاً دﻗﻴﻘﺎً‪ .‬وأي ﻣﺤﺎوﻟﺔ‬ ‫ﻳﺼﻌﺐ ﻋﲆ أيﱢ‬ ‫ٍ‬ ‫ﻟﻠﺨﻮض ﰲ ﺟﻮﻫﺮه ﺗﺒﻘﻰ ﻗﺎﴏة ﻣﻬام ﻛﺎن ﺻﺎﺣﺒﻬﺎ ﻣﺠﺘﻬﺪاً ﰲ ﺑﺤﺜﻪ‪..‬‬ ‫"ﴎا ِﺑ ﱠﻴﺘُﻪ" أﻣﺎم ﻋﻄﺶ‬ ‫ﻏري أﻧﻨﺎ ‪-‬وﻣﻦ ﺑﺎب اﳌﺨﺎﺗﻠﺔ اﻟﻨﻘﺪﻳﺔ‪ -‬ﻧﺘﻔﻖ وإﻳﺎﻛﻢ ﻋﲆ أن ﺣﻘﻴﻘﺔ اﻟﺸﻌﺮ اﻟﻮﺣﻴﺪة اﻟﺘﻲ ميﻜﻦ أن ﻧﻘﺒﺾ ﻋﻠﻴﻬﺎ ﻫﻲ َ َ‬ ‫اﻟﺴﺆال وإﻟﺤﺎح متﻠﻚ اﳌﻌﺮﻓﺔ !!‬ ‫ﻧﻘﻮل‪ :‬إن ﺣﻘﻴﻘﺘﻪ ﴎاﺑﻴﺔ ﻛﻮﻧﻪ داﺋﻢ اﻟﺘﻐري؛ وذﻟﻚ ﺑﺎﻟﻨﻈﺮ إﱃ ﻋﺪة اﻋﺘﺒﺎرات‪:‬‬ ‫• ﻣﺒﺪﺋﻴﺎ اﻟﺸﻌﺮ ﻟﻴﺲ ﻫﻮ اﻟﺸﺎﻋﺮ إمنﺎ ﻫﻮ‪) :‬اﻟﺸﺎﻋﺮ واﻟﻨﺺ واﳌﺘﻠﻘﻲ(؛‬ ‫)ﻣﺘﻠﻖ ﺧﺒري‪ ،‬وﻣﺘﻠﻖ ﻋﺎد‪ ،‬وﻣﺘﻠﻖ ﺿﻤﻨﻲ(؛‬ ‫• ﺛﻢ إن اﳌﺘﻠﻘﻲ ﺑﺪوره ﻳﺘﺸﻈﻰ ﰲ ﺗﻌﺎﻃﻴﻪ ﻣﻊ ﻧﺺ اﻟﺸﺎﻋﺮ ‪-‬ﺑﺤﺴﺐ ﻧﻈﺮﻳﺔ اﻟﺘﻠﻘﻲ‪ -‬إﱃ‪:‬‬ ‫ٍ‬ ‫• وأﺧريا ﻓﺎﻟﺒﻴﺌﺔ اﻟﺘﻲ ﻳﻨﺸﺄ ﻓﻴﻬﺎ أي ﺷﺎﻋﺮ ﺗﺘﺤﻜﻢ ﰲ ﺷﻌﺮﻳﺘﻪ ﻣﻦ ﺧﻼل ﻗﻮﺗني ﻣﺘﻘﺎﻃﻌﺘني إﱃ اﻷﺑﺪ‪) :‬اﻟﺰﻣﺎن واﳌﻜﺎن(‪.‬‬

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‫اﻟﻌﺪد ‪ ، 70‬ﺳﺒﺘﻤﺒﺮ ‪2018‬‬

‫داﺧﻞ اﻟﻐﺮف ﻣﺎ ميﺴﺢ ﺑﻌﻤﻠﻴﺔ ﺗﱪﻳﺪ أﻛرث‬ ‫ﻓﺎﻋﻠﻴﺔ‪ ،‬وﻗﺪ ﺗﻢ ﺑﻨﺎء ﻫﺬه اﻟﻐﺮف ﻟﺘﻜﻮن‬ ‫ﻣﻠﺠﺄ ﻟﻠﻨﺎس وﻗﺖ اﻟﺤﺮب‪.‬‬ ‫أﻣﺎ اﻷﺑﺮاج ﻓﺘﻌﻠﻮﻫﺎ ﻓﺘﺤﺎت ﻹﻃﻼق اﻟﻨﺎر‬ ‫وﴍﻓﺎت ﻣﺜﻠﺜﺔ اﻟﺸﻜﻞ ﻣﻊ ﻓﺴﺤﺎت ﻧﻈﺎﻣﻴﺔ‬ ‫وﺛﻐﺮات ﺗﻢ إدراﺟﻬﺎ ﺑﺎﻟﺠﺪران‪ ،‬ﻣام ﻳﺠﻌﻞ‬ ‫ﻣﻦ ﻗﻠﻌﺔ ﻣﺰﻳﺪ أﺣﺪ أﻛرث اﳌﺒﺎين اﳌﺤﺼﻨﺔ‪.‬‬ ‫مل ﺗﺤﺎﻓﻆ ﻋﻤﻠﻴﺔ ﺗﺮﻣﻴﻢ ﻗﻠﻌﺔ ﻣﺰﻳﺪ ﻋﲆ‬ ‫ﻣﺰرﻋﺔ اﻟﻨﺨﻴﻞ ﻓﺤﺴﺐ وإمنــﺎ ﺣﺎﻓﻈﺖ‬ ‫ﻋﲆ اﻻﻧﻄﺒﺎع اﻟﺤﻘﻴﻘﻲ ﻟﻔﻦ اﻟﻌامرة ﻋﱪ‬ ‫اﺳﺘﺨﺪاﻣﻬﺎ ﻟﻠﻄﻮب اﻟﻄﻴﻨﻲ‪.‬‬ ‫ﺗﻮﱄ اﻟﺠﻬﺎت اﳌﺨﺘﺼﺔ ﻋﻨﺎﻳﺔ ﻛﱪى ﺑﻬﺬه‬ ‫اﻟﻘﻼع‪ ،‬ﺣﻴﺚ إن ﻋﻤﻠﻴﺎت اﻟﱰﻣﻴﻢ ﺗﺘﻢ ﺑﺸﻜﻞ‬ ‫ﻣﺴﺘﻤﺮ ودوري ﰲ ﻛﻞ اﻟﻘﻼع‪ ،‬وذﻟﻚ ﻛﻮن‬ ‫اﻟﻄني وﺟﺬوع اﻟﻨﺨﻴﻞ ﻣﻮاد ﺗﺘﺄﺛﺮ ﺑﺎﻟﻌﻮاﻣﻞ‬ ‫اﻟﺠﻮﻳﺔ‪ ،‬ﻛﺎﻷﻣﻄﺎر‪ ،‬ﻓﺎﻟﺼﻴﺎﻧﺔ ﻣﺴﺘﻤﺮة‪ ،‬ﻟﻬﺬه‬ ‫اﻟﻘﻠﻌﺔ وﻏريﻫﺎ ﻣﻦ اﻟﻘﻼع ﰲ ﻣﺪﻳﻨﺔ اﻟﻌني‬ ‫وإﻣﺎرة أﺑﻮﻇﺒﻲ ﺑﺸﻜﻞ ﻋﺎم‪.‬‬ ‫وﻧﻈﺮاً ﻷﻫﻤﻴﺔ اﻟﻘﻠﻌﺔ وﻣﺤﻴﻄﻬﺎ ﻓﻘﺪ ﺗﻢ‬

‫ﺗﺴﺠﻴﻞ اﳌﻨﻄﻘﺔ ﺿﻤﻦ ﻗﺎمئﺔ اﻟﱰاث اﻟﻌﺎﳌﻲ‬ ‫ﻛﺈﺣﺪى اﳌﻨﺎﻃﻖ ﰲ ﻣﺪﻳﻨﺔ اﻟﻌني‪ ،‬وﻫﺬه‬ ‫اﳌﻨﻄﻘﺔ ﺗﺤﻮي اﻟﻌﺪﻳﺪ ﻣﻦ اﻟﻘﻴﻢ ﻣﺜﻞ ﺟﺒﻞ‬ ‫ﺣﻔﻴﺖ واﳌﺪاﻓﻦ اﻟﻘﺪميﺔ‪ ،‬وﻫــﺬا ﻳﺴﺠﻞ‬ ‫ﻗﻴﻤﺔ إﺿﺎﻓﻴﺔ ﻟﻬﺬه اﳌﻨﻄﻘﺔ وﻳﺪل ﺑﺄن ﻫﺬه‬ ‫اﻟﻘﻠﻌﺔ ﻟﻴﺴﺖ ﻣﻬﻤﺔ ﻟﺪوﻟﺔ اﻹﻣﺎرات اﻟﻌﺮﺑﻴﺔ‬ ‫اﳌﺘﺤﺪة ﻓﺤﺴﺐ‪ ،‬ﺑﻞ ﻟﻠﻌﺎمل ﻛﻠﻪ‪.‬‬ ‫ﰲ ﻫﺬه اﻟﻘﻠﻌﺔ ﺗﺴﺘﺸﻌﺮ ﺳﻜﻴﻨﺔ وﻫﺪوءاَ ﻗﻞ‬

‫ﻧﻈريﻫام‪ ،‬وﺗﺸﻢ ﻓﻴﻬﺎ ﻋﺒﻖ اﳌﺎﴈ‪ ،‬ﺗﺘﻄﺎﻳﺮ‬ ‫أﻣﺎم ﻧﺎﻇﺮﻳﻚ آﻻف اﻟﺼﻮر واﳌﺸﺎﻫﺪ ﳌﺌﺎت‬ ‫اﻟﺴﻨﻮات ﻣﻦ اﻟﺒﻄﻮﻟﺔ واﻟﻨﻀﺎل‪ ،‬وﺗﺤيك ﻟﻚ‬ ‫ﻏﺮﻓﻬﺎ اﻷرﺑﻌﻮن ﻗﺼﺺ اﻟﻌﻮاﺋﻞ اﻟﺘﻲ ﻋﺎﺷﺖ‬ ‫ّ‬ ‫اﻟﺘﻔﺖ‬ ‫واﺣﺘﻤﺖ ﰲ أرﺟﺎء اﻟﻘﻠﻌﺔ‪ ،‬ﻛﻴﻔام‬ ‫ﺗﻜﺎد ﺗﺴﻤﻊ أﺻﻮات اﻟﻨﺎس اﻟﺬﻳﻦ ﻋﺎﺷﻮا‬ ‫ﰲ ﻫﺬا اﻟﴫح اﻟﻌﻈﻴﻢ‪ ،‬ﻳﺒﺜﻮن ﻓﻴﻚ روح‬ ‫اﻻﺳﺘﻤﺮار‪ ،‬واﳌﴤ ﻗﺪﻣﺎً ﰲ ﻃﺮﻳﻖ اﳌﺠﺪ‪.‬‬ ‫اﻟﺸﻌﺮ ‪baytelshear‬‬ ‫ﺑﻴﺖ ِ‬

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‫‪ĘŐŖŒ ĮľŃ‬‬

‫‪ ǽŴǾũŌƉŨƓŌ ƩǃǷǙ‬‬

‫ﻣﺎ ﻟﻔﺖ اﻧﺘﺒﺎﻫﻲ ﰲ ﻣﻮﻗﻊ اﻟﻘﻠﻌﺔ أﻧﻬﺎ ﺗﻘﻊ‬ ‫ﻋﲆ اﻟﺠﻬﺔ اﻟﴩﻗﻴﺔ ﻟﺠﺒﻞ ﺣﻔﻴﺖ‪ ،‬وﻫﻲ‬ ‫اﻟﺠﻬﺔ اﻟﺘﻲ مل أﻋﺘﺪ اﻟﻮﺻﻮل إﻟﻴﻬﺎ‪ ،‬ﺧﺼﻮﺻﺎً‬ ‫أين ﻣﻦ اﻟﺮواد اﻟﺪامئني ﻟﺠﺒﻞ ﺣﻔﻴﺖ واﳌﺒﺰرة‬ ‫اﻟﺨﴬاء اﻟﺘﻲ ﺗﻘﻊ ﻋﲆ ﺳﻔﺤﻪ‪.‬‬

‫‪ ǓǾƢŨƒǘǕŌ ŋōǜŞǕŌ ƃŨǘǿ‬‬ ‫‪ ǳŽōƒǙ ǻǔƫ ǓǈƖǕŌ‬‬ ‫ ‪ƩşƉǙ ƉŨǙ 3600 Ŝƈōǂũ‬‬ ‫ ‪ ǳŞǃŌƉǙ ŲŌƉşőş ƠōżǙ ǷǥǶ‬‬ ‫‪ ǓǈƖǕŌ ǳǾǝŌǷƢƓŐ ǳƪƲũƉǙ‬‬ ‫‪ōǿŌǶƊ ŪȎŭ ǻǔƫ‬‬

‫ﰲ اﻟﻄﺮﻳﻖ إﱃ اﻟﻘﻠﻌﺔ ﻳﻄﻞ ﻣﻦ ﺑﻌﻴﺪ ﺟﺒﻞ‬ ‫ﺣﻔﻴﺖ ﺑﺸﻤﻮﺧﻪ اﳌﻬﻴﺐ‪ ،‬وﻛﺄﻧﻪ ﺣﺎرس ﻋﻈﻴﻢ‬ ‫ﻳﺤﻤﻲ اﻟﻘﻠﻌﺔ ﺑﺸﻜﻞ ﺧﺎص واﳌﺪﻳﻨﺔ ﺑﺸﻜﻞ‬ ‫ﻋﺎم‪ ،‬ﺗﺎﺑﻌﺖ ﰲ ﻃﺮﻳﻘﻲ ﻣﺘﺒﻌﺎً إرﺷــﺎدات‬ ‫ﻧﻈﺎم اﳌﻼﺣﺔ اﻟﻌﺎﳌﻲ‪ ،‬إﱃ أن اﻧﺘﻬﻰ اﻟﻄﺮﻳﻖ‬ ‫اﳌﻌﺒﺪ‪ ،‬ﻷﺑﺪأ اﻟﺴري ﻓﻮق ﻃﺮﻳﻖ رﻣﲇ‪ ،‬وﺑﻌﺪ‬ ‫اﻧﻌﻄﺎﻓني ﻻﺣﺖ ﱄ اﻟﻘﻠﻌﺔ ﰲ اﻷﻓﻖ‪ ،‬وﻛﺄن‬ ‫اﻟﻄﺮﻳﻖ اﻟﺮﻣﲇ ﺟﺰء ﻣﻦ ﺗﺤﺼﻴﻨﺎﺗﻬﺎ‪.‬‬

‫ ‪ ǽǔƁŌƃǕŌ ŋōǜŞǕŌ ƱǕőŨǿ‬‬ ‫ ‪ǛǙ ƉŬǉŐ ǛǙ ǳƪǔǂǔǕ‬‬ ‫ ‪ ƑǿƈōŨǙ ōǤşǶ ǳƳƉƯ ǛǾƪşƈŐ‬‬ ‫‪ ƈōŨǙŐ ǳƪşƈŐ ƨōƲũƈōş‬‬

‫‪ōǤƀǿƈōũǶ ǳƪǔǂǕŌ ǗǾǘƚũ‬‬

‫ﺗﻘﻊ ﻗﻠﻌﺔ ﻣﺰﻳﺪ ﻛام ذﻛﺮﻧﺎ ﺳﺎﺑﻘﺎً ﻋﲆ ﺳﻔﺢ‬ ‫ﺟﺒﻞ ﺣﻔﻴﺖ ﰲ اﻟﻌني وﻗــﺪ ﺗﻢ ﺗﺮﻣﻴﻤﻬﺎ‬ ‫ﺣﺘﻰ ﻳﺘﺴﻨﻰ ﻟﻠﺰوار اﻟﺘﻌﺮف ﻋﲆ إﺣﺪى‬ ‫أﻛﱪ اﻟﻘﻼع ﰲ اﳌﻨﻄﻘﺔ‪ .‬ومت ﱢﻜﻦ أﺑﺮاج اﻟﻘﻠﻌﺔ‬ ‫اﻟﺸﺎﻫﻘﺔ اﻟﺰوار ﻣﻦ اﻟﺘﻤﺘﱡﻊ ﺑﺎﳌﻨﻈﺮ اﻟﺮاﺋﻊ‬

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‫اﻟﻌﺪد ‪ ، 70‬ﺳﺒﺘﻤﺒﺮ ‪2018‬‬

‫ ‪ ǳǂǿƉƢǕōş ưƉƮǕŌ ŧǾǜş‬‬ ‫‪ Ǣƅǥ ƋǾǘŨũǶ ɐǳǿƃǾǔǂŨǕŌ‬‬ ‫‪ ōǤǝŌƈƃŵ ǳǉōǘƒş ưƉƮǕŌ‬‬ ‫‪ Ɲƪş ǽƳ ƉŨǘǔǕ Ǔƚũ ǽŨǕŌ‬‬ ‫ ‪ƱǂƒǕŌ ōǙŐ ɐǚōǾŽȏŌ‬‬ ‫ ‪ ǓǾƀǜǕŌ ƨǶƅŵ ǛǙ ǽǜŞǙ‬‬ ‫ ‪ ŋōǾƗȏŌ ǓǉǶ‬‬ ‫‪ ƂŌǷǘǕŌ ǛǙ ǳǙƃƀŨƒǘǕŌ‬‬ ‫‪ǳǾǔżǘǕŌ ǳǾǕǶȏŌ‬‬

‫ﳌﺰارع اﻟﻨﺨﻴﻞ واﻟﺴﻬﻞ اﻟﴩﻗﻲ‪ .‬ﻳﻌﻮد ﺗﺎرﻳﺦ‬ ‫ﺑﻨﺎء اﻟﻘﻠﻌﺔ إﱃ اﻟﻘﺮن اﻟﺘﺎﺳﻊ ﻋﴩ‪ ،‬ﻏري أن‬ ‫ﻻ أﺣﺪ ﻳﻌﻠﻢ ﺣﺘﻰ اﻵن ﻣﻦ ﻗﺎم ﺑﺒﻨﺎﺋﻬﺎ‪ .‬ميﺘﺪ‬ ‫اﻟﺒﻨﺎء اﳌﺴﺘﻄﻴﻞ اﻟﺸﻜﻞ ﻋﲆ ﻣﺴﺎﺣﺔ ﺗﻘﺎرب‬ ‫‪ 3600‬ﻣﱰ ﻣﺮﺑﻊ وﻫﻮ ﻣﺤﺎط ﺑﺄﺑﺮاج ﻣﺮاﻗﺒﺔ‬ ‫ﻣﺮﺗﻔﻌﺔ أﺳﻄﻮاﻧﻴﺔ اﻟﺸﻜﻞ ﻋﲆ ﺛﻼث زواﻳﺎ‪.‬‬ ‫وﻳﺤﻴﻂ ﺑﺎﻟﺴﺎﺣﺔ اﻟﺘﻲ ﻳﻮﺟﺪ ﻓﻴﻬﺎ ﻣﺰرﻋﺔ‬ ‫ﻧﺨﻴﻞ‬ ‫ﻳﺘﺄﻟﻒ اﻟﺒﻨﺎء اﻟﺪاﺧﲇ ﻟﻠﻘﻠﻌﺔ ﻣﻦ أﻛرث ﻣﻦ‬ ‫أرﺑﻌني ﻏﺮﻓﺔ وﺑﻬﺎ ﻣﺘﺎرﻳﺲ ﺑﺎرﺗﻔﺎع أرﺑﻌﺔ‬ ‫أﻣﺘﺎر‪ .‬وﻗﺪ أﺳﻬﻤﺖ ﻣﺨﺎزن اﻟﻘﻠﻌﺔ وﻣﺴﺎﺣﺘﻬﺎ‬ ‫اﻟﻜﺒرية ﺑﺸﻜﻞ ﻓ ﱠﻌﺎل ﰲ اﺳﺘﻴﻌﺎب وﺗﻘﺪﻳﻢ‬ ‫اﻟﺪﻋﻢ ﻟﻠﺠﻴﺶ وﺗﻮﻓري اﳌﺄوى ﻟﻠﻌﺎﺋﻼت ﰲ‬ ‫اﳌﻨﻄﻘﺔ ﺧﻼل أوﻗﺎت اﻟﺤﺼﺎر‪ .‬ﻫﺬا ﺑﺎﻹﺿﺎﻓﺔ‬ ‫إﱃ أﻧﻬﺎ ﻛﺎﻧﺖ ﻣﻘﺮاً ﻟﻼﺟﺘامﻋﺎت اﻟﻌﺎﻣﺔ‪.‬‬ ‫ﺑﻨﻴﺖ اﻟﻐﺮف ﺑﺎﻟﻄﺮﻳﻘﺔ اﻟﺘﻘﻠﻴﺪﻳﺔ‪ ،‬وﺗﺘﻤﻴﺰ‬ ‫ﻫﺬه اﻟﻐﺮف ﺑﺴامﻛﺔ ﺟﺪراﻧﻬﺎ اﻟﺘﻲ ﺗﺼﻞ‬ ‫ﻟﻠﻤﱰ ﰲ ﺑﻌﺾ اﻷﺣﻴﺎن‪ ،‬أﻣﺎ اﻟﺴﻘﻒ ﻣﺒﻨﻲ‬ ‫ﻣﻦ ﺟﺬوع اﻟﻨﺨﻴﻞ وﻛﻞ اﻷﺷﻴﺎء اﳌﺴﺘﺨﺪﻣﺔ‬ ‫ﻣﻦ اﳌﻮاد اﻷوﻟﻴﺔ اﳌﺤﻠﻴﺔ‪ ،‬ﻫﺬه اﳌﻮاد ﺗﻌﻄﻲ‬ ‫ﻧﻮﻋﺎً ﻣﻦ اﻟﱪودة ﺑﺎﻹﺿﺎﻓﺔ إﱃ ﻓﺘﺤﺎت اﻟﺘﻬﻮﻳﺔ‬ ‫اﻟﺘﻲ ﺻﻤﻤﺖ ﺑﻄﺮﻳﻘﺔ ﺗﺴﻤﺢ ﺑﺪوران اﻟﻬﻮاء‬

‫ﻣﺼﻄﻔﻰ ﺟﻨﺪي‬

‫ﻗﻠﻌﺔ ﻣﺰﻳﺪ‬

‫‪ɰ‬‬ ‫‪ɰ‬‬ ‫ ‪ ȎƳōŽ‬‬ ‫ ‪ōƀǿƈōũ ǽǈżũ‬‬ ‫‪ǳǕōƛȏŌǶ ƃŴǘǕōş‬‬

‫ﻳﻌﺘﻘﺪ اﻟﺒﻌﺾ أن ﻋﻤﺮ ﺣﻀﻮر اﻹﻣــﺎرات‬ ‫ﻛﻼﻋﺐ ﻗﻮي ﰲ اﳌﺸﻬﺪ اﻟﻌﺎﳌﻲ ﻻ ﻳﺘﻌﺪى‬ ‫ﺧﻤﺴﺔ ﻋﻘﻮد ﻫﻲ ﻋﻤﺮ اﺗﺤﺎدﻫﺎ اﳌﺠﻴﺪ‪،‬‬ ‫وﰲ ﻫﺬا اﻻﻋﺘﻘﺎد ﻇﻠﻢ ﳌﺌﺎت اﻟﺴﻨﻮات ﻣﻦ‬ ‫اﻟﺤﻀﺎرة اﻟﺘﻲ ﻋﺎﺷﺘﻬﺎ اﻹﻣﺎرات‪.‬‬ ‫ﻻ ﻳﻨﻜﺮ أﺣﺪ اﻟﺪور اﻟﻜﺒري اﻟﺬي ﻟﻌﺒﻪ اﻻﺗﺤﺎد‬ ‫ﰲ اﻟﻨﻬﻀﺔ اﻟﺤﻀﺎرﻳﺔ اﻟﺘﻲ ﺗﺸﻬﺪﻫﺎ اﻟﺪوﻟﺔ‪،‬‬ ‫ﻟﻜﻦ ﻫﺬا ﻻ ﻳﻌﻨﻲ أن ﻧﻨﻜﺮ اﻟﺘﺎرﻳﺦ اﳌﴩف‬ ‫ﻟﻺﻣﺎرات واﻟﺬي ﺗﺤﺮص ﻗﻴﺎدﺗﻨﺎ اﻟﺤﻜﻴﻤﺔ‬ ‫واﻟﺠﻬﺎت اﳌﺨﺘﺼﺔ ﻋﲆ ﺣامﻳﺘﻪ وﺗﺴﻠﻴﻂ‬ ‫اﻟﻀﻮء ﻋﻠﻴﻪ‪ ،‬وﺗﺬﺧﺮ ﻣﺪﻳﻨﺔ اﻟﻌني مبﻌﺎمل‬ ‫ﺗﺎرﻳﺨﻴﺔ ﺷﺎﻣﺨﺔ‪ ،‬ﺗﺜﺒﺖ ﻟﻠﻘﺎﴆ واﻟﺪاين أن‬ ‫ﻋﻤﺮ اﻟﺪوﻟﺔ ﻫﻮ ﻣﻦ ﻋﻤﺮ اﻟﺒﴩﻳﺔ‪ ،‬ﻓﺄﻳﻨام‬ ‫ﺗﻮﺟﻬﺖ ﰲ ﻣﺪﻳﻨﺔ اﻟﻌني ﺳــﱰى اﻟﻘﻼع‬ ‫واﻟﺤﺼﻮن واﻵﺛــﺎر اﻟﺘﻲ ﺑﻨﺎﻫﺎ أﺟﺪادﻧﺎ‬ ‫ﰲ ﻣﺨﺘﻠﻒ اﻟﻌﺼﻮر واﳌ ـﺮاﺣــﻞ اﻟﺰﻣﻨﻴﺔ‬ ‫ﻟﺘﺴﻴري ﺷﺆون ﺣﻴﺎﺗﻬﻢ وﺣامﻳﺔ ﺗﺠﺎرﺗﻬﻢ‬ ‫وﻣﺤﺎﺻﻴﻠﻬﻢ‪.‬‬ ‫وﰲ ﻫﺬا اﻟﻌﺪد ﻧﺴﻠﻂ اﻟﻀﻮء ﻋﲆ واﺣﺪة‬ ‫ﻣﻦ أﻫﻢ اﻟﻘﻼع وأﻛﱪﻫﺎ ﰲ ﻣﺪﻳﻨﺔ اﻟﻌني‪،‬‬ ‫واﻟﺘﻲ ﻧﻌﺘﻘﺪ ﺑﺄﻧﻬﺎ مل ﺗﺄﺧﺬ ﻣﺎ ﺗﺴﺘﺤﻖ ﻣﻦ‬ ‫ﺗﻐﻄﻴﺔ إﻋﻼﻣﻴﺔ‪ ،‬وﻫﻲ ﻗﻠﻌﺔ ﻣﺰﻳﺪ‪ ،‬واﻟﺘﻲ‬ ‫ﺗﻘﻊ ﰲ ﻣﻨﻄﻘﺔ ﻣﺰﻳﺪ ﺟﻨﻮب ﻣﺪﻳﻨﺔ اﻟﻌني‬ ‫ﻋﲆ اﻟﺤﺪود اﻹﻣﺎراﺗﻴﺔ اﻟﻌامﻧﻴﺔ‪ ،‬ﺣﻴﺚ‬ ‫ﻻ ﺗﺒﻌﺪ ﻫﺬه اﻟﻘﻠﻌﺔ ﻋﻦ اﳌﺮﻛﺰ اﻟﺤﺪودي‬ ‫اﻹﻣﺎرايت ﺳﻮى أﻣﺘﺎر ﻗﻠﻴﻠﺔ‪.‬‬ ‫‪ɒƃǿƋǙ ŌƄōǘǕ‬‬

‫ﺧﻼل ﺑﺤﺜﻲ ﻋﻦ أﻣﺎﻛﻦ ﺟﺪﻳﺪة وﻣﻤﻴﺰة ﰲ‬ ‫دوﻟﺔ اﻹﻣﺎرات اﻟﻌﺮﺑﻴﺔ ﻷﻛﺘﺐ ﻋﻨﻬﺎ‪ ،‬اﺳﱰﻋﻰ‬ ‫اﻧﺘﺒﺎﻫﻲ اﺳﻢ ﻫﺬه اﻟﻘﻠﻌﺔ‪ ،‬وﻓﺎﺟﺄين وﺟﻮد‬ ‫ﻣﺜﻞ ﻫﺬا اﳌﻌﻠﻢ اﻟﱰايث اﻟﻀﺨﻢ ﻣﻦ دون أن‬ ‫أﺳﻤﻊ ﺑﻪ ﻣﻦ ﻗﺒﻞ‪ ،‬وﻣﻦ ﻫﻨﺎ ﻋﻘﺪت اﻟﻌﺰم‬ ‫ﻋﲆ اﻟﺘﻮﺟﻪ إﱃ اﻟﻘﻠﻌﺔ واﻟﺘﻌﺮف ﻋﻠﻴﻬﺎ‬ ‫واﻟﻜﺘﺎﺑﺔ ﻋﻨﻬﺎ‪ ،‬وﻫﻲ رﺣﻠﺔ ﻣﺤﺒﺬة إ ﱠﱄ‪ ،‬ﳌﺎ‬ ‫ﺗﺤﺘﻠﻪ ﻣﺪﻳﻨﺔ اﻟﻌني ﺑﺠﺒﺎﻟﻬﺎ وواﺣﺎﺗﻬﺎ ﻣﻦ‬ ‫ﻣﻜﺎﻧﺔ ﰲ ﻗﻠﺒﻲ‪.‬‬ ‫اﻟﺸﻌﺮ ‪baytelshear‬‬ ‫ﺑﻴﺖ ِ‬

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‫‪ĘŐŖŒ ĮľŃ‬‬

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‫اﻟﻌﺪد ‪ ، 70‬ﺳﺒﺘﻤﺒﺮ ‪2018‬‬

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baytelshear ‫اﻟﺸﻌﺮ‬ ِ ‫ﺑﻴﺖ‬

‫اﺣﻤﺪ اﻟﻬﺰاع‬ @ahmedal_hazza

┬Ц─Ш─▒─Ш┼Х

тАл ╪зя╗Яя╗Дя╗ая║дя╗▓тАмKтАля╗Ля║Тя║к╪зтАм @ talhi_abdullah

тАля║зя╗┤я║о ╪зя╗Яя║к╪▒┘И╪итАм e┬б@@ ┬г@ @ ┬Й@ @ D* 4*x@@ @ @ @~@ @ @ @ 6&* ┬Щ@@ ┬Х@ @ ┬Ж@ @ - ┬д@@ @┬Х@ @ Db@@ @J ├Сb@@ @ @ @J b@@┬А@ ~@ 6 ┬д@@ c@ @┬Х@ @B ┬в@@ @┬Х@ @ < ┬д@@ @ ┬ШQ @ @ @G b@@ @ @ @ @ F&*H ┬У@@ g@ @┬г@ @/ e┬б@@c@ ┬Ю@ D* ┬Ц@@ j@ @E h@@~@ }@ E ┬д@@ @┬Х@ @ D* ,b@@ @┬г@ @ ┬▓* ┬Щ@@ @G b@@ @┬А@ @ 1H q@@ @ @~@ @ @ 8 b@@ @ ┬Ю@ @ @g@ @ @┬Ж@ @ @┬ШQ @ @ @/ b@@ @ @ ┬Ю@ @ @ Db@@ @ @ ┬Ш@ @ @ <&* e┬б@@ @ @-&*H ┬З@@ @ @ @/4*H b@@┬А@ s@ ┬Х@ D ┬З@@ @ @ @ /4&*H e┬б@@ @ @ @ -&* b@@ ┬А@ =H ├Ж@@ ~@ @6 ┬п ┬У@@ g@ @┬Ш@ @04 ┬Ь@@ @ E @@ @{@ @ ┬г@ @ <&*H e┬б@@ ┬г@ @< ┬д@@ @ ┬ХQ @ @ @C b@@ @ @ @ @ @F&*H ├Б├Ж@@ @~@ @ z@ @ - h@@ @ @ @D5 b@@ @ @E b@@ ┬А@ @c@ @D* ┬Щ@@ @ @ @=4 b@@ ┬Ю@ @ ┬Ж@ @ ~@ @ 9H ├М@Q @ @ @ @ @ @=&* h@@ @ @ @ @ @ @J45&* e┬б@@ ┬Ы@ @┬▒b@@ AH ┬Чb@@ ┬Ш@ @~@ @{@ @Db@@ A rx@@ @ @ ~@ @ @ @6&*H ┬Щ@@ @ ┬г@ @ @G&* b@@ @:┬б@@ @Db@@ @A ┬аxQ @ @ @ @ @ @ @ EH f@@ @ ┬Ш@ @ @┬П@ @ @D* ┬в@@ @ ┬Х@ @ @< ┬аxQ @ @ @ @ @ @ E e┬б@@ ~@ |@ ┬Ы@ D* xQ @ @ @ @= ┬п ┬С*├Д@Q @ @ @ @ @ @D* ┬в@@ ┬Х@ @< ┬д@@ ┬Ы@ @┬г@ @< O * h@@ ┬г@ @jQ @ @0 ┬С├Д@@ @ @ D* ┬О┬б@@ @ ~@ @ @7&* ┬Ъ┬б@@ @ J ┬Ь@@ @E b@@ ┬А@ @┬│ eHx@@ @ @GH ┬Ъb@@ @ @ @ @ @GH&*H ┬Ъ├Й@@ @ @ @ 0&* eH4v@@ @ @ @ @ @D* ┬Ц@@ @C b@@ ┬А@ @┬Ж@ @D* ┬Чy@@ @ @ @ / b@@ @ @J ┬Фb@@ @ @~@ @ @ 94 ┬Р@@ @ Jx@@ @ : ┬░(* eH4v@@ @ @ @ @D* ├М@@ @ @1 ┬в@@ @┬Х@ @ < ┬д@@ @┬Ы@ @ Jv@@ @┬Ю@ @ - e4 b@@ @ @J b@@┬А@ ┬П@ D* e*x@@ @ @ ~@ @ @ @6&*H ┬Ц@@ p@ @┬Ы@ @D* h@@ @Jv@@ @G ┬Ь@@ @Eb@@ @J e┬б@@ @ Fw@@ @ D* ┬Э*x@@ @ @ ┬М@ @ @ @=H f@@ @ +┬б@@ @ g@ @ D* ┬д@@ @ @ @┬Ы@ @ @ @ B54*H b@@ :H *v@@ ┬г@ @c@ @D* ┬в@@ ┬Х@ < ┬Ь@@ @E ┬Ц@@ ~@ @}@ @A&* f@@ <b@@ ┬М@ ~@ 7H

2018 тАл я║│я║Тя║Шя╗дя║Тя║отАм╪М 70 тАл╪зя╗Яя╗Мя║к╪птАм

‫اﳌﺤﺒﻮب‪ ،‬وﺳﻬﺮ اﻟﺸﺎﻋﺮ وﻫﻮ ﻳﺮاﻗﺐ أﺣﻮال اﳌﺤﺒﻮب‪ ،‬وﻟﻜﻦ ذﻟﻚ ﻻ‬ ‫ميﻨﻌﻪ ﻣﻦ اﻟﺘﻐﺰل ﺑﺎﻟﺠامل وإدراج أوﺻﺎف اﳌﺤﺒﻮب‪:‬‬ ‫‪ @@ c@ @ @ @ @ @p@ @ @ @ @ @ @ @ @ @D* x@@ @ @ Jv@@ @ @ @ @ @ @ = @@ @ g@ @ @£@ @ @ @ @ @D‬‬ ‫‪¤@@ @ @ ; @@ @ @z@ @ @ @ @ @ ~@ @ @ {@ @ @ D* @@ @ @ @ @ < @@ @ @ @ @ -w@@ @ @ @ @ 1H‬‬ ‫‪¥Ì@@ @ @ @ @~@ @9 @@ @ @ @ @ @ @ @~@ @ @8H *4 · H‬‬ ‫ @ @ @ @ @ @ @ @ @ @ @ @ @@ <@ @ @ @ @ @ @‪¤@@ @ @ @ @E&* H @@ @ @F¡@@ @ @£‬‬‫‪¤@@ @Bb@@ @+ h@@ @ @ @ @ @ @ @ @ @C *3(* ¤@@ @ @ @ c@ @ @ @ @~@ @ z@ @ p@ @ A‬‬ ‫‪¤@@ @ @ @ @ @ ~@ 7 H @@ @ Db@@ @ @ @ @ @ @ @/ ¤@@ @ j@ @ @Jv@@ @ @ @ @ 0‬‬ ‫‪ ·b@@ £@ @ @ @ @ @ @ @ @ @ @ @ @ @D* ib@@ @ c@ @ @ @ @ @ @ @ @Jb@@ @ @ @ @ F @@ @ @ @ @ @ @ < H‬‬ ‫‪¤@@ @ @ @ @ @ @ @ G&*H ¤@@ @ @ @ @ @ @ @ @ 0Hx@@ @ @ @ + @@ @ @ g@ @ @ @Jv@@ @ @ @ @ @ @ A‬‬ ‫ﻻ ﻳﻜﻮن اﺳﺘﺨﺮاج اﳌﻌﺎين اﻟﺤﻘﻴﻘﻴﺔ‪ ،‬وﺗﺄوﻳﻞ اﻷﺑﻴﺎت ﺑﺘﻠﻚ اﻟﺒﺴﺎﻃﺔ‬ ‫واﻟﺴﻬﻮﻟﺔ اﻟﺘﻲ ﻧﺠﺪﻫﺎ ﰲ اﳌﺪرﺳﺔ اﻟﺮوﻣﺎﻧﺴﻴﺔ اﻟﺘﻲ ﺗﻬﺘﻢ ﺑﺎﳌﺸﺎﻋﺮ؛‬ ‫ﻓﺸﺎﻋﺮﻧﺎ ﻳﻨﺘﻬﺞ اﳌﺪرﺳﺔ اﻟﻮاﻗﻌﻴﺔ أو اﳌﺪرﺳﺔ اﻟﺘﻲ ﺗﻬﺘﻢ ﺑﺎﻟﻨﺺ‬ ‫اﻟﺸﻌﺮي‪ ،‬وﺗﻀﻌﻪ ﰲ أوﱃ أوﻟﻮﻳﺎﺗﻬﺎ؛ ﻟﺬﻟﻚ ﻧﺠﺪ أن أﺑﻴﺎﺗﺎً ﻛﺜرية ﻗﺪ‬ ‫متﺮ ﺑني أﻳﺪﻳﻨﺎ‪ ،‬وﻗﺪ ﺗﺤﻤﻞ إﺿﺎﻓﺎت ﻣﻬﻤﺔ ﻟﻠﻨﺺ اﻟﺸﻌﺮي‪ ،‬وﻻ ﺗﺤﻤﻞ‬ ‫إﺿﺎﻓﺎت ﻣﻬﻤﺔ ﻟﻠﻤﻮﺿﻮع‪ ،‬ﻓﻌﲆ ﺳﺒﻴﻞ اﳌﺜﺎل‪ ،‬اﻟﻘﺼﻴﺪة اﻟﺴﺎﺑﻘﺔ ﻧﺠﺪ‬ ‫ﻓﻴﻬﺎ أرﺑﻌﺔ أﺷﻄﺮ ﺗﺨﺘﴫ اﳌﻮﺿﻮع ﻛﻠﻪ‪ ،‬واﻷﺷﻄﺮ ﻫﻲ‪) :‬ﺣﻨﺎﻧﻴﻚ‬ ‫إن ﺻﺤﺖ ّ‬ ‫ﺧﲇ( و ﺷﻄﺮ )وﻃﺮﰲ ﻟﻚ اﻟﻠﻴﻞ ﺳﺎﻫﺮ( واﻟﺒﻴﺖ اﻷﺧري‬ ‫ﺑﺸﻄﺮﻳﻪ )وﻋﻦ ﻧﺎﻳﺒﺎت اﻟﻠﻴﺎﱄ ﻓﺪﻳﺘﻚ ﺑﺮوﺣﻲ وأﻫﲇ(‪ .‬ﻓﺎﻟﻘﺼﻴﺪة‬ ‫ﰲ اﳌﺪرﺳﺔ اﻟﻮاﻗﻌﻴﺔ أﺻﺒﺤﺖ ﻣﺨﺘﺰﻟﺔ ﰲ ﻓﻜﺮة ﺑﻌﺪ أن ﻛﺎﻧﺖ ﺗﺨﺘﺰل‬ ‫ﰲ ﻣﻮﺿﻮع ﻛﺎﻣﻞ ﰲ اﳌﺪرﺳﺔ اﻟﺮوﻣﺎﻧﺴﻴﺔ‪ ،‬ﻟﺬا ﻧﺠﺪ اﻟﺸﺎﻋﺮ اﻟﻮاﻗﻌﻲ‬ ‫ﻳﺒﺪأ ﺑﺘﻄﻮﻳﺮ أدواﺗﻪ ﰲ ﺳﺒﻴﻞ رﻓﻊ ﻣﺴﺘﻮى ﻧﺼﻮﺻﻪ اﻟﺸﻌﺮﻳﺔ ﰲ اﻟﺒﺪء‪،‬‬ ‫وﻳﻨﺘﺒﻪ إﱃ أﻫﻤﻴﺔ اﺻﻄﻴﺎد اﻟﻔﻜﺮة ﺑﻌﺪ ذﻟﻚ ﻛﻮن اﻟﻔﻜﺮة اﳌﻤﻴﺰة ﺗﻔﺘﺢ‬ ‫آﻓﺎﻗﺎً ﺟﺪﻳﺪة أﻣﺎم إﺑﺪاع اﻟﺸﺎﻋﺮ ﻗﺼﻴﺪة ﺑﻌﺪ أﺧﺮى‪.‬‬ ‫وﺑﺎﻟﻌﻮدة إﱃ ﻣﻮﺿﻮع اﻻﺳﺘﻌﺎرات اﻟﺪﻳﻨﻴﺔ اﻟﺘﻲ ﺗﺼﺎﺣﺐ ﻟﻴﺎﱄ اﻟﺸﺎﻋﺮ‬ ‫وذﻛﺮى اﳌﺤﺒﻮب أو ﺣﻀﻮره‪ ،‬ﻻﺣﻈﻨﺎ ﻗﺪﺳﻴﺔ اﳌﺮأة ﻋﻨﺪ اﻟﺸﺎﻋﺮ‬ ‫وﻣﻘﺎﻣﻬﺎ اﻟﺴﺎﻣﻲ اﻟﺬي وﺿﻌﻪ ﻟﻬﺎ‪ ،‬واﻟﺬي مل ﻳﻜﻦ ﳌﻦﱟ ﻣﻦ اﻟﺸﺎﻋﺮ ﺑﻞ‬ ‫ﻻﺣﺘﻴﺎﺟﻪ إﱃ اﻟﻨﺼﻒ اﻵﺧﺮ اﻟﺬي ﻻ ﻳﻜﺘﻤﻞ إﻻ ﺑﻪ ﻛام أﺷﺎر إﱃ ذﻟﻚ‬ ‫ﰲ )ﻟﻘﻴﺘﻚ ﻏﺪﻳﺮ اﳌﺤﺒﻪ( وﳌﺸﺎرﻛﺔ اﳌﺤﺒﻮب اﻟﻔﺎﻋﻠﺔ ﰲ ﺣﻴﺎة اﻟﺸﺎﻋﺮ‬ ‫ﰲ ﻣﻌﻨﻰ )وﺧﺬﺗﻚ ﻣﻦ اﻟﺸﻤﺲ ّ‬ ‫ﻇﲇ(‪ ،‬وﻟﻜﻦ ﺑﻠﻮغ اﻟﻜامل ﻻ ﻳﻜﻮن‬ ‫ﺑﺘﻼﺣﻢ ﻧﺼﻒ ﻣﻊ ﻧﺼﻔﻪ اﻵﺧﺮ؛ ﻓﻬﺬا اﻟﻜامل ﻛامل ﻣﺆﻗﺖ ﻻ ﻳﺴﺘﻤﺮ‬ ‫أﺑﺪاً؛ إذ ﻫﻨﺎك اﺳﺘﺪاﻣﺔ ﻛﱪى ﰲ ﺗﻼﺣﻢ اﻟﺸﺎﻋﺮ واﳌﺤﺒﻮب ﺣﺘﻰ وﻟﻮ‬ ‫ﻋﻴﻨﻲ اﻟﺸﺎﻋﺮ ﻛام ﻳﻘﻮل ﰲ ﻗﺼﻴﺪة‬ ‫ﺗﺪﺧﻞ اﻟﻘﺪر واﻧﻄﻔﺄت ﺷﻤﻌﺔ ّ‬ ‫"ﻗﺎﴈ اﳌﺸﻴﺐ"‪:‬‬ ‫· ‪d@@£@ ~@ {@ @ @´* ¤@@ @~@ @ 9b@@ @B b@@ @ @£@ @+ b@@ @ @E b@@ ~@ @}@ @B‬‬ ‫‪¤@@+ b@@ £@ ~@ }@ D* Í@@ @ @ @ D* ,¡@@ @ @ @ E b@@ @J ¢@@ @ @ @ @F*H‬‬ ‫‪d@@£@ @ ´* @@z@ @ ~@ 7 b@@ @ @EÉ@@ 0b@@ + h@@ @p@ @ @ @ /*H‬‬ ‫*‪¤@@+b@@£@ @ @= ¤@@ @ @ @ @D* H b@@ @ @ @ @Eb@@ @ J&* ¥x@@ @ @ @ @ @ @ @ C3‬‬ ‫‪d@@£@ c@ 0 ¤@@ @~@ @ 9b@@ @´* f@@ @ ~@ @ @ 9H4 ¯ @@ @ D b@@ @ @ C‬‬ ‫‪¤@@+b@@p@ J ° H *¡@@ @ @ @G ¤@@ @ @ @ @ A ¥4b@@ @ @ @Â b@@ @ E‬‬

‫‪d@@£@ : @@c@ @ ~@ z@ J ¢@@ @/v@@ @D* @@ J¡@@ ~@ }@ J ¡@@ @ @J‬‬ ‫‪¤@@ @ +*Hx@@ @ D* x@@ @ @ @ @+ xN @ @ ~@ @ {@ @ - Md@@ £@ @ @ @D b@@ @ J‬‬

‫ﻣﺤﺒﻮب ﻓﻘﺪ ﺣﺒﻴﺒﺎً ﻻ ﻳﺴﺎوم‬ ‫إن ذﻛﺮ اﻟﺸﺎﻋﺮ ﺳﻴﻈﻞ ﻣﺘﻘﺪاً ﰲ وﺟﺪان‬ ‫ٍ‬ ‫وﻻ ﻳﻬﺎدن ﰲ ﻣﺤﺒﺘﻪ‪ ،‬وﺣﻖ ﻟﺬﻟﻚ أن ﻳﺒﻘﻰ دامئﺎً ﻣﻊ ﻧﺼﻔﻪ اﻵﺧﺮ‪ ،‬وإن‬ ‫أﺧﺬﺗﻪ ﻳﺪ اﻷﻗﺪار وﻟﻜﻦ اﻟﺸﺎﻋﺮ ﻻ ﻳﺮﴇ أن ﻳﺒﻘﻰ ﻛﺬﻛﺮﻳﺎت ﻻ ﺗﻠﻤﺲ‬ ‫اﻟﻮاﻗﻊ‪ ،‬ﻟﻬﺬا ﻧﺠﺪه ﻳﺘﺠﺪد ﰲ اﺑﻨﻪ "أﺣﻤﺪ"‪:‬‬ ‫*‪d@@£@ m@ J v@@ @ @ @ @ @ 0&* ¯ @@ @~@ @ z@ @ ²* @@ @£@ @ D&b@ @ ~@ @ 6‬‬ ‫*( ‪¤@@ +*w@@ @ @ < @@ @ @£@ @ @ @< ¤@@ @ @ A @@ £@ @ @ @ D* *3‬‬ ‫*´ @ @ @ @ @ @@‪d@@ £@ m@ @ D* x@@ p@ @ ~@ @ z@ @ D* H @@ @ @ @ E Áb‬‬ ‫‪¤@@+b@@c@~@7 "v 0&*" ¯ ¡@@ @ @²* eb@@ c@ ~@ {@ D*H‬‬ ‫ﻓﻬﻮ ﻳﺼﻒ ﺟامل اﳌﺤﺒﻮب ﻣﺮة أﺧﺮى ﰲ أوﺻﺎف "أﺣﻤﺪ" اﻟﻈﺎﻫﺮﻳﺔ‪،‬‬ ‫وﺳﻮاد ﻋﻴﻨﻴﻪ ﻫﻮ اﻟﺴﻮاد اﻟﺬي ﻳﺘﻌﺬب اﻟﺸﺎﻋﺮ ﰲ ﺳﺤﺮه‪ ،‬وﻳﻀﻴﻒ‬ ‫إﱃ أوﺻﺎﻓﻪ َ‬ ‫اﻟﺨﻠﻘﻴﺔ أوﺻﺎﻓﺎ ُﺧﻠﻘﻴﺔ ﰲ "اﳌﻌﺎين ﻣﻨﻚ"‪ ،‬وﻳﺮﻳﺪ ﺑﺬﻟﻚ‬ ‫أن ﻳﺴﺘﻤﺮ ﻋﻨﻔﻮان اﻟﺸﺒﺎب ﰲ ﻧﻔﺲ اﳌﺤﺒﻮب‪ ،‬يك ﻳﺸﻌﻞ ﻓﻴﻪ ﻟﻬﻴﺐ‬ ‫اﻟﺤﺐ‪ ،‬وﻻ ﻳﺘﺄﺛﺮ ﺑﺘﻘﺎدم اﻟﻌﻤﺮ أو اﻧﺘﻬﺎﺋﻪ ﺑﻞ ﻳﺮﺳﻢ ﻧﻔﺴﻪ ﰲ ﻋﻴﻨﻲ‬ ‫اﳌﺤﺒﻮب ﻓﺎرﺳﺎً ﻋﲆ ﺻﻬﻮة ﺳﻨني اﻟﺸﺒﺎب ﻛام ﺟﺎء ﰲ ﻣﻌﻨﺎه اﻟﺤﻘﻴﻘﻲ‬ ‫"واﻟﺸﺒﺎب اﻟﺤﻠﻮ ﰲ أﺣﻤﺪ ﺷﺒﺎيب"‪ ،‬ﻓﻬﻜﺬا ﻳﻮد اﻟﺸﺎﻋﺮ اﻟﺨﻠﻮد واﻟﺒﻘﺎء‬ ‫ﺣني ﻳﻨﺘﻘﻞ ﻣﻦ ﺟﻴﻞ إﱃ ﺟﻴﻞ‪ ،‬وﻳﺒﻘﻰ ﰲ ﻧﺴﻠﻪ ﺣﻴﺎً وﰲ ﻧﺼﻪ ﺣﻴﺎ ًة‬ ‫ﺗﻨﺒﺾ إﱃ اﻷﺑﺪ‪:‬‬ ‫‪b@@ @ @ @ @ @ c@ @ @ 0 @@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @s@ @ @ @ £@ @ @ @ + x@@ @ @ @ @ @ @ @ @ @ @ @ @ @ @+‬‬ ‫‪eb@@ @ @ @ g@ @ @ @ @CR 4v@@ @ @ @ @~@ @ @ @ @ |@ @ @ @ @ R @ @ @ @ @ @A @@ @ @ @~@ @ @ @ |@ @ @ @ @ @ @ @ @B‬‬ ‫ﻗﺪ ﻳﻜﻮن اﳌﻌﻨﻰ اﻟﺤﻘﻴﻘﻲ ﻫﻮ ﺧﻠﻮد ﻗﺼﺺ اﻟﺤﺐ ﰲ ﻗﺎﻟﺐ ﻛﺘﺎب‪،‬‬ ‫وﻣﺎ اﻷﺳﻄﻮرة ﻟﻴﻠﻴﺚ ووﺟﻮﻫﻬﺎ اﳌﺨﺘﻠﻔﺔ إﻻ ﻣﺤﺎوﻟﺔ ﺟﺎدة ﻣﻦ‬ ‫اﻟﺸﺎﻋﺮ ﻻﻛﺘﺸﺎف ﻋﺎمل اﻷﻧﺜﻰ‪ ،‬وﻣﺎ ﻫﺬه اﻷﻃﻮار اﻟﻜﺜرية ﰲ اﳌﺠﻤﻮﻋﺔ‬ ‫اﻟﺸﻌﺮﻳﺔ إﻻ ﻗﺼﺺ ﻣﺨﺘﻠﻔﺔ ﺑﻄﻠﻬﺎ ﺷﺎﻋﺮ اﳌﺠﻤﻮﻋﺔ اﻟﺸﻌﺮﻳﺔ "رﻓﻴﻖ‬ ‫اﻟﻠﻴﻞ" اﻟﺬي ﻻ ﻳﺮﴇ ﺑﺄﻗﻞ ﻣﻦ ﺗﺨﻠﻴﺪ اﺳﻤﻪ ﻣﻦ ﺧﻼل ﺷﻌﺮه‪.‬‬ ‫اﻟﺸﻌﺮ ‪baytelshear‬‬ ‫ﺑﻴﺖ ِ‬

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‫ ‪ ĘńĴ şŉ Įı‬‬ ‫وﻏريﻫﺎ ﻣﻦ اﻟﻮﺟﻮه اﻟﺘﻲ رﺳﻤﺘﻬﺎ اﻷﺳﺎﻃري اﳌﺨﺘﻠﻔﺔ ﰲ ﻗﻠﻖ وﻏرية ﻟﺬا ﻓﺈن ﻏﻴﺎب اﻟﺸﻤﺲ ﻟﻴﺲ ﺳﻮى ﻏﻴﺎب وﺟﻪ اﻟﺤﺒﻴﺐ أو اﻟﺤﺐ‬ ‫واﻧﺘﻘﺎم‪ .‬ﻓﻨﺠﺪ اﻟﺸﺎﻋﺮ ﻳﺮاﻫﺎ ﻣﻠﻜﺔ ﻟﻴﺎﻟﻴﻪ وﻣﻮﺿﻮع ﺳﻬﺮه اﻷول ﰲ اﻟﻨﺎﺑﺾ ﺑني اﻟﺸﺎﻋﺮ ورﻓﻴﻘﺔ ﻟﻴﻠﻪ ﻛام ﺟﺎء ﰲ ﻗﺼﻴﺪة "ﻗﺎﴈ اﳌﺸﻴﺐ"‪:‬‬ ‫‪d@@£@ @ ´* @@ z@ @ ~@ 7 b@@ @ @EÉ@@ 0b@@ + h@@ @p@ @ @ @ /*H‬‬ ‫ﺷﻮاﻫﺪ ﻛﺜرية‪ ،‬وﻣﻨﻬﺎ ﰲ ﻣﻄﻠﻊ ﻗﺼﻴﺪة ”رﺣﻴﻢ"‪:‬‬ ‫*‪¤@@+b@@£@ @ @= ¤@@ @ @ @ @ @ @D* H b@@ @ @ @ @ @ @ @ @Eb@@ J&* ¥x@@ @ @ @ @ C3‬‬ ‫‪·b@@ @ £@ @ @ @ @ @ @ @ @D* @@ @ @}@ @ @ £@ @ @ + Ñ* ¢@@ @ @ @ @ @ @ @ @ @ @ @ ~@ @ 6‬‬ ‫‪ @@ @£@ @ @ @ < 2¡@@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @D* rx@@ @ @ @ @ @ @ ~@ @ @ @ @ @ @ @8H‬‬ ‫ﻛﺎﻧﺖ "ﻟﻴﻠﻴﺚ" ﰲ اﳌﻌﺘﻘﺪات اﻟﺴﻮﻣﺮﻳﺔ اﻟﻘﺪميﺔ وﺳﻴﻠﺔ ﻟﺠﺬب‬ ‫وﻣﻄﻠﻊ ﻗﺼﻴﺪة "ﺣامﻣﺔ ﺷﻮق"‪:‬‬ ‫اﻟﺮﺟﺎل وإﻏﻮاﺋﻬﻢ واﺳﺘﺪراﺟﻬﻢ إﱃ اﳌﻌﺒﺪ ﺣﻴﺚ ﺗﻘﺎم ﻃﻘﻮس‬ ‫*&‪ @@ @ £@ D H @@ c@ @£@ @ @ @: H @@ F¡@@ £@ @ @ @< 4b@@ @ @ @ @ @ A‬‬ ‫اﻹﺧﺼﺎب اﳌﻘﺪﺳﺔ‪ ،‬وﻫﺬا اﻟﺘﻘﺪﻳﺲ ﻟﻌﻼﻗﺔ اﳌﺮأة واﻟﺮﺟﻞ ﻣﻦ ﻧﺎﺣﻴﺔ‪،‬‬ ‫‪e¡@@g@ @ E @@ £@ @ A b@@ @ @ @ @ @ D*H b@@ @ @ @ @+&* e¡@@ g@ @ @ @ E‬‬ ‫واﻟﺴﻴﻄﺮة اﻷﻧﺜﻮﻳﺔ ﻋﲆ اﻟﺒﻘﺎء وﺗﺨﻠﻴﺪ اﻟﺒﴩﻳﺔ ﻣﻦ ﻧﺎﺣﻴﺔ أﺧﺮى ﻗﺪ‬ ‫ﻳﻜﻮن ﻏﺮﻳﺒﺎً ﻋﲆ اﳌﺠﺘﻤﻊ اﳌﺤﺎﻓﻆ‪ ،‬وﻫﻜﺬا ﻫﻮ اﻟﺤﺎل ﻣﻊ ﺷﺎﻋﺮﻧﺎ‬ ‫ﺑﺎﻹﺿﺎﻓﺔ إﱃ ﻣﻄﺎﻟﻊ ﻗﺼﺎﺋﺪ أﺧﺮى‪ ،‬ﻛﻠﻬﺎ ﺗﺪل ﻋﲆ ﻧﻬﺎر ﻣﺰدﺣﻢ‬ ‫ﻓﺼﻮرة ﻏﻼف اﳌﺠﻤﻮﻋﺔ اﻟﺸﻌﺮﻳﺔ وﻋﻨﻮاﻧﻬﺎ ﻛﺎﻧﺎ ﻛﺴﺎﻟﻒ ﻣﺠﻤﻮﻋﺎﺗﻪ‬ ‫ﺑﺎﻟﻌﻤﻞ اﻟﺪؤوب واﻻﻧﺸﻐﺎل واﻟﺤﺮﻛﺔ‪ ،‬ﻓﻴﻌﺪ اﻟﺸﺎﻋﺮ دﻗﺎﺋﻘﻪ يك ﻳﻬﺠﻊ‬ ‫اﻟﺸﻌﺮﻳﺔ ﺣﻤﻼ أﻓﻜﺎراً ورؤى ﺟﺪﻳﺪة مل ﺗﻜﻦ ﻣﺄﻟﻮﻓﺔ ﰲ أوﺳﺎط‬ ‫إﱃ ﻣﺄواه وﻣﻼذه؛ ﻟﺬا ﻓﺈﻧﻚ ﺗﺠﺪ اﻟﻈﻞ ﺗﻌﺒرياً وﺗﺸﺒﻴﻬﺎً ﳌﺤﺒﻮب‬ ‫اﻟﺸﻌﺮ اﻟﺸﻌﺒﻲ أو اﳌﺠﺘﻤﻊ ﰲ ﺗﻠﻚ اﻷﻳﺎم‪ ،‬ومل ﻳﻜﻦ ﻟﻬﺬا اﳌﻘﺎل أن‬ ‫اﻟﺸﺎﻋﺮ ﻛام ﺟﺎء ﰲ ﻗﺼﻴﺪة "ﺳﺪرة اﳌﻨﺘﻬﻰ"‪:‬‬ ‫ﻳﻘﻨﻊ أي ﻗﺎرئ‪ ،‬وﻟﻜﻦ اﻟﺤﻘﻴﻘﺔ اﻟﺘﻲ ﺗﺜريين ﰲ ﻫﺬا اﻟﺴﻴﺎق ﻟﻴﺴﺖ‬ ‫‪ @@ @z@ @ @ @ ~@ @ {@ @ D* @@ @ @ @ < v@@ @ @ @ @ @ ¹ f@@ @ @ @ Q @ @ @ @ ; b@@ @ @ @ J‬‬ ‫‪ b@@ Gb@@ £@ @~@ @9 H Í@@ @ @ @ @ @ @ @ @ @ @D* Iv@@ @ @ @ / b@@ @ @ J @@ @ @ +‬أﺟﻮاء اﻟﻠﻴﻞ واﻟﺴﻬﺮ ﰲ ﻫﺬه اﳌﺠﻤﻮﻋﺔ ﺑﻞ ﺗﻘﺎرن ﻫﺬه اﻷﺟﻮاء ﻣﻊ‬ ‫ﺣﻀﻮر اﳌﺤﺒﻮب وﺑﻌﺾ اﻻﺳﺘﻌﺎرات اﻟﺪﻳﻨﻴﺔ ﻟﺘﻌﻄﻲ ﻟﻬﺬا اﻟﻠﻘﺎء ﺗﻠﻚ‬ ‫وﻻ ﺗﺠﺪ اﻟﻐﺮوب ﻛام درﺟﺖ اﻟﻌﺎدة ﻛﻠﺤﻈﺔ اﻧﺘﻘﺎل ﻣﻦ ﺣﺎل إﱃ ﺣﺎل اﻟﻘﺪﺳﻴﺔ اﻟﺘﻲ ﻛﺎﻧﺖ "ﻟﻴﻠﻴﺚ" ﺗﻨﺸﺪﻫﺎ ﰲ اﻟﺤﻔﻠﺔ اﳌﻘﺪﺳﺔ ﻟﻨﻼﺣﻆ‬ ‫آﺧﺮ‪ ،‬ﺑﻞ ﺗﺠﺪ اﻟﻐﺮوب زﻣﻨﺎً ﻣﺨﺘﻠﻔﺎً ﻳﺘﻌﺎﻳﺶ ﻣﻌﻪ اﻟﺸﺎﻋﺮ‪ ،‬وﻳﺘﻬﻴﺄ ﺑﻪ ﻫﺬا اﳌﻌﻨﻰ ﰲ ﻗﺼﻴﺪة "ﻓﺮﴈ وﻧﻔﲇ"‪:‬‬ ‫ﻟﻠﻮﻟﻮج إﱃ ﻋﺎمل ﺟﺪﻳﺪ ﻻ ﻳﻈﻬﺮ إﻻ ﰲ وﺟﻪ اﳌﺤﺒﻮب وﺟامﻟﻪ ﻛام ﰲ ‪¤@@ @ @ Q @ @ @ 1 h@@ @ @p@ @ @ @ @ @ @~@ @ @ 8 * @@ @ @ £@ @ @ @Fb@@ @ @ @ @ @ @0‬‬ ‫‪¤@@ @ @ @ @ @ F H @@ @ @ Db@@ @ @ c@ @ @ @ @ @ @ @B ¤@@ @ @ ~@ @ @ @9x@@ @ @ @ @ @ @ A‬‬ ‫ﻗﺼﻴﺪة "رﺧﺎم"‪:‬‬ ‫‪x@@ @ Gb@@ @ ~@ @ @6 @@ @ @ £@ @ @ @ @ @ @ @D* @@ @ @ @ @ D ¯x@@ @ @ @ @ @ @ @ @ : H‬‬ ‫‪d@@£@ m@ < Mk@@ @ @Jv@@ @ @0 @@ @ @ @ £@ @ <H ¤@@ @ @£@ @< Í@@ @ @+‬‬ ‫‪¤@@ @ @j@ @E @@ @ @ £@ @ @ @ @ @ @ @D* x@@ @ @ @ @ @ @ ~@ @ z@ @ J @@ @ @ @ @ E H‬‬ ‫‪e¡@@ @ @ @ @ @ @ @ D* @@ @ @ @ @1 H b@@ @ @ @ @D* b@@ @ @ @E5 ¤@@ @ @ A‬‬ ‫‪d@@£@ @ @ @ @ @ @Db@@+ h@@ @ @ @ @ F3%* b@@ @ @ @ E @M @ z@ @ @ @ @ @ ~@ {@ D b@@ @ J‬‬ ‫‪ e¡@@ @£@ @ :H e¡@@ @ £@ @ @: b@@ @ @~@ @z@ @Db@@ + h@@ @ @Dy@@ @ @=* H‬ﻓﻬﺬا ﻫﻮ اﻟﻠﻴﻞ واﻟﺴﻬﺮ ﻣﺮة أﺧﺮى‪ ،‬وﻗﺪ ﻳﻮﺣﻲ اﻟﺴﻴﺎق إﱃ ﻣﺮض‬

‫‪ ǲƉǾŬǈǕŌ ƈŌǷƣȏŌ Ǣƅǥ ōǙ‬‬ ‫‪ ǳǿƉƪƖǕŌ ǳƫǷǘŴǘǕŌ ǽƳ‬‬ ‫‪ ǳƲǔŨƀǙ ƙƚǃ ȍŒ‬‬ ‫‪ ǳƫǷǘŴǘǕŌ ƉƫōƗ ōǤǔƢş‬‬ ‫‪ mǓǾǔǕŌ ǁǾƳƈ} ǳǿƉƪƖǕŌ‬‬ ‫‪ ǛǙ Ǔǃőş ǻƟƉǿ ȍ ǼƅǕŌ‬‬ ‫‪ ǒȎƁ ǛǙ ǣǘƓŌ ƃǾǔƀũ‬‬ ‫‪ ǢƉƪƗ‬‬

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‫اﻟﻌﺪد ‪ ، 70‬ﺳﺒﺘﻤﺒﺮ ‪2018‬‬

‫وﻟﻜﻦ ﻗﺒﻞ ذﻟﻚ‪ ،‬ﺳﻨﺴﺄل ﻋﻦ ﺣﺎل اﻟﺸﺎﻋﺮ ﰲ ﻓﺮاق اﳌﺤﺒﻮب ﺑﺪﻻً‬ ‫ﻣﻦ ﺗﺤﺮي ﻟﻴﻠﺔ ﻟﻘﺎء اﳌﺤﺒﻮب‪ ،‬ﻛﻮﻧﻪ ﰲ اﻷﺑﻴﺎت اﻟﺘﺎﻟﻴﺔ ﻳﺼ ّﻮر اﻧﺘﻈﺎره‬ ‫‪ ōǝōǉ ōǤǝŌǷǜƫǶ ǳǿƉƪƖǕŌ ǳƫǷǘŴǘǕŌ ưȎƯ ǲƈǷƛ‬‬ ‫ﺑﻌﺪ ﻟﻴﻠﺔ اﻟﻮﺻﺎل اﻧﺘﻈﺎراً أﺑﺪﻳﺎً أو اﻧﺘﻈﺎراً ﻃﻮﻳ ًﻼ ﻳﺘﻌ ّﺪى ﺣﺪود اﻟﺰﻣﻦ‬ ‫‪ɰ‬‬ ‫‪ ŌƈōǈƳŐ ǚȎǘżǿ ǳǿƉƪƖǕŌ ǣũōƫǷǘŴǙ ƱǕōƒǉ‬‬ ‫اﻟﻘﺎﺑﻞ ﻟﻠﺤﺴﺎب؛ ﻓﻬﻞ ﻳﺤﺘﻤﻞ أن اﻟﺸﺎﻋﺮ ﻳﱰﻗﺐ وﺻﺎل اﳌﺤﺒﻮب‬ ‫‪ ƠōƓǶŐ ǽƳ ǳƳǷǕőǙ Ǜǈũ ǗǕ ǲƃǿƃŵ ǺǸƈǶ‬‬ ‫ﻋﻤﺮاً وﻫﻮ ﻟﻮ ﻧﻈﺮﻧﺎ إﻟﻴﻪ ﻛﺈﻧﺴﺎن ﻋﺎدي ﻗﺪ ﻳﻜﻮن ﻣﺨﺘﻠﻒ اﻷﻃﻮار‬ ‫‪ǖōǿȏŌ Ǉǔũ ǽƳ ƩǘŨŴǘǕŌ ǶŐ ǽŞƪƖǕŌ ƉƪƖǕŌ‬‬ ‫وﻣﺘﻘﻠﺐ اﳌﺰاج؟ إذن ﻓﻜﻴﻒ ﻳﺒﻘﻰ ﰲ اﻧﺘﻈﺎره ﻣﺴﺘﻤﺘﻌﺎً وﻣﺘﺸﻮﻗﺎً‬ ‫ﰲ ﺳﺒﻴﻞ اﻟﺤﺼﻮل ﻋﲆ ﻗﻤﺔ ﻧﺸﻮﺗﻪ اﻟﻮﺟﺪاﻧﻴﺔ و"ﻣﻨﻮة اﻟﻨﻔﺲ" ﻛام‬ ‫‪ ǽƳ ǣũŌǶƂŐ ƉǿǷƢŨş ŐƃŞǿ ǽƪǃŌǷǕŌ ƉƫōƖǕŌ ƃŴǝ‬‬ ‫ﻳﻘﻮل ﰲ ﻗﺼﻴﺪة "ﺳﺪرة اﳌﻨﺘﻬﻰ"‪:‬‬ ‫‪ ɐŋƃŞǕŌ ǽƳ ǳǿƉƪƖǕŌ ǣƛǷƚǝ ǺǷŨƒǙ ƩƳƈ ǓǾŞƓ‬‬ ‫‪ @@ @z@ @ @ @ ~@ @ {@ @ D* @@ @ @ @ < v@@ @ @ @ @ @ ¹ f@@ @ @ @ Q @ @ @ @ ; b@@ @ @ @ J‬‬ ‫‪b@@ Gb@@ £@ ~@ 9 H Í@@ @ @ @ @ @ D* Iv@@ @ @ @ @/ b@@ @ @ @J @@ @ @ @+‬‬ ‫‪ ǇǕƄ ƃƪş ǲƉǈƲǕŌ ƂōǾƢƛŌ ǳǾǘǥŐ ǻǕŒ ǣŞŨǜǿǶ‬‬ ‫‪ @@ @ z@ @ @ E&* b@@ @ @ @ @-b@@ @ <b@@ @ ~@ @ @6 h@@ @ ~@ @ @}@ @ @ @ @ @F* b@@ @ @ @ @ C‬‬ ‫‪ɰ‬‬ ‫‪ ǖōǙŐ ǲƃǿƃŵ ōǃōƳŔ ŻŨƲũ ǲƋǾǘǘǕŌ ǲƉǈƲǕŌ ǚǷǉ‬‬ ‫‪b@@ @ G*w@@ @ ~@ @ @7 ¤@@ @ @ @ +¡@@ @ @ @ . ¯ *5 b@@ @ @ @ @ @ E‬‬ ‫‪ ƉƫōƖǕŌ ƨŌƃşŒ‬‬ ‫‪ @@ z@ @ @ @ @ @D* ,¡@@ @ @ @ @ @ E @@ @ @Db@@ @ @~@ @ @ 8H ¤@@ @ @ @ @Db@@ @ J‬‬ ‫‪b@@ Gb@@ @ @ g@ @ @ @ E ,4v@@ @ @ @ @~@ @ @ @ @ 6 H ¤@@ @ @~@ @ @ 9¡@@ @ @ @ @ @ 0‬‬ ‫رمبﺎ ﻗﻠﺔ ﻣﻦ اﻟﺸﻌﺮاء ﻳﴫح ﺑﻄﻠﺐ ﺻﺪاﻗﺔ اﳌﺤﺒﻮب‪ ،‬وﻟﻜﻦ ﺷﺎﻋﺮﻧﺎ‬ ‫ﻛام ﰲ اﻟﺒﻴﺖ اﻟﺘﺎﱄ ﻣﻦ ﻗﺼﻴﺪة "رﻓﻴﻖ اﻟﻠﻴﻞ" ذﻛﺮ ذﻟﻚ ﺑﻜﻞ ﺑﺴﺎﻃﺔ‪،‬‬ ‫وﻟﻜﻦ ﰲ ﺳﻴﺎق اﻋﱰاﺿﻪ ﻋﲆ ﺗﺬﻟﻴﻞ ﻗﻠﺒﻪ ﰲ ﻃﻠﺐ وﺻﺎل اﳌﺤﺒﻮب‪،‬‬ ‫واﻛﺘﻔﺎﺋﻪ ﺑﺈرﺿﺎء ﻧﻔﺴﻪ ﻣﻦ ﺧﻼل ﻟﻘﺎء اﳌﺤﺒﻮب ﻟﻘﺎ ًء أﻗﻞ ﺣﻤﻴﻤﻴﺔ‬ ‫ﺗﻜﺴﻮه اﻟﺼﺪاﻗﺔ‪:‬‬ ‫‪ @@ @ Jv@@~@ 8 @@ @ Jv@@ ~@ 8 b@@ @J @@ @A¡@@ @~@ @ 7&* ¤@@ @ @ J‬‬ ‫‪eÉ@Q @ @: ib@@ @ + I¡@@ @ @ @ D* ¯ Md@@ @ @B @@ 7b@@ < °‬‬ ‫وﺑﺎﻟﻌﻮدة إﱃ ﺳﻴﺎق ﻗﺼﻴﺪة "رﻓﻴﻖ اﻟﻠﻴﻞ" ﻧﺠﺪ اﻟﺸﺎﻋﺮ ﻳﻌﻠﻞ ذﻟﻚ‬ ‫ﺑﻌﺪم ﻣﻮاﻻة اﳌﺤﺒﻮب‪ ،‬وﻋﺪم ﺗﺒﺎدل اﳌﺸﺎﻋﺮ ﺑﻴﻨﻬام‪ ،‬أو رمبﺎ ﻟﱪود‬ ‫اﳌﺤﺒﻮب ﺑﻌﺪ ﻓﻮرة ﻣﻦ ﻏﻠﻴﺎن اﻟﻌﻮاﻃﻒ‪:‬‬ ‫‪ @@ @ £@ .¡@@D* 2¡@@ @ @ @ @ @ @D* @@ @ @ J3 ¥x@@ @ @ @ @ @ @- °‬‬ ‫‪e*v@@ @ @G° @@ £@ @A h@@ @BxQ @ @ + · b@@ @ ~@ z@ D* b@@ @ @C‬‬ ‫‪ @@ @ £@ @ ~@ {@ @ @D* @@£@ @ ~@ 7 f@@ @ @£@ @+ I¡@@ @ @ @ @D* b@@ @ @+‬‬ ‫‪Q @ @E‬‬ ‫@‪eb@@ c@ @0° x@@ @ @< @@ @E ib@@ @ A b@@ @E @@ @D 4 b‬‬ ‫‪ @@ @ £@ @ ²* @@ Jx@@ @ @ @ @- ° @@ @ @ @ @E&* b@@ @ @ J °‬‬ ‫<@ @ @@‪Q @ @ @ @= ¡@@ @~@ @ {@ @ D*H b@@ @ gQ @ @ B ¢@@ @ ~@ @ @6&°* x‬‬ ‫‪eÉ‬‬ ‫وﻗﺪ ﺗﺘﻐري أﻃﻮار اﻟﺸﺎﻋﺮ ﻛﺄي إﻧﺴﺎن ﻋﺎدي ﻛام أﺳﻠﻔﻨﺎ‪ ،‬وﻟﻜﻦ ﻻ‬ ‫ﻣﺤﺒﻮب ﻳﺘﻌ ّﻤﺪ إذﻻل اﳌﺤﺐ‪ ،‬ﻓﻨﺠﺪ اﻟﺸﺎﻋﺮ‬ ‫ﻳﻜﻮن ﺑﻬﺬا اﻟﻬﺪوء أﻣﺎم‬ ‫ٍ‬ ‫ﰲ ﻗﺼﻴﺪة ﻣﺨﺘﴫة ﺑﻌﻨﻮان "ﻋﻨﻮد" ﻳﻘﻄﻊ اﻟﻈﻦ ﺑﺎﻟﻴﻘني‪:‬‬ ‫‪2¡@@ @ @< b@@ @ @J 2Hv@@ @ @ ~@ @ @ @8 ¤@@ @ @ @ A @@ @ @ @ ; b@@ @ @ @C‬‬ ‫*&‪ 4b@@ ~@ @z@ @ @ @ @ @³* H @@ @ Dw@@ @ ´b@@ @ + ¡@@ @ @D @@ @c@ @ @ @ @ @ @:‬‬ ‫‪2¡@@ @ @J Ñ* H b@@ @ @ @ E Ñ* @@ @ @ @ @ @ 0H °‬‬ ‫‪ 4*x@@ @ @ @ ´* @@ @6b@@ @C I¡@@ @ @ @ @D* ¯ xQ @ @ @ @ © @@ @ E‬‬ ‫ﻣﺤﺒﻮب ﰲ ﺣﻴﺎة اﻟﺸﺎﻋﺮ‪ ،‬واﺳﺘامﻋﻪ‬ ‫ﻓﻬﺬه اﻷﺑﻴﺎت ﺗﺪل ﻋﲆ وﺟﻮد‬ ‫ٍ‬

‫ﺗﻐري اﳌﺤﺒﻮب ﺑﻌﺪ ﻟﻴﻠﺔ اﻟﻮﺻﺎل‬ ‫ﻟﻬﺬه اﻟﻘﺼﺎﺋﺪ‪ ،‬وﻟﻜﻦ ﺗﺆﻛﺪ ﻛﺬﻟﻚ ﻋﲆ ّ‬ ‫ﺑﻴﻨام ﻳﺴﺘﻤﺮ اﻟﺸﺎﻋﺮ ﰲ اﻟﺘﻤﺴﻚ ﺑﺤﺒﻞ اﻟﻮد وﻃﻠﺐ ﻗﺮب اﳌﺤﺒﻮب‪،‬‬ ‫وﻟﻜﻦ ﻋﻮدة اﻟﺸﺎﻋﺮ ﻟﻦ ﺗﻜﻮن إﻻ ﺑﴩوط وﺿﻮاﺑﻂ ﺟﺪﻳﺪة‪ ،‬وأوﻟﻬﺎ‬ ‫ﺣﻔﻆ ﻣﻜﺎﻧﺘﻪ‪ ،‬وﻋﺪم اﺳﺘﻐﻼل ﺿﻌﻔﻪ ﰲ ﻃﻠﺐ اﳌﺤﺒﻮب ﻛام أﺷﺎر إﱃ‬ ‫ذﻟﻚ ﰲ اﻟﺒﻴﺖ اﻷول "ﻛﺎن ﻇﻨّﻚ ﰲ ﺻﺪودك‪."...‬‬ ‫وﻗﺪ ﻳﻜﻮن اﳌﺤﺒﻮب ﺻﻮرة ﻣﺸﺎﺑﻬﺔ ﻟﺼﻮرة "ﻟﻴﻠﻴﺚ" اﻟﺘﻲ ﺟﺎءت ﻋﲆ‬ ‫ﻏﻼف اﳌﺠﻤﻮﻋﺔ اﻟﺸﻌﺮﻳﺔ ﻟﻠﺮﺳﺎم "داﻧﺘﻲ ﻏﺎﺑﺮﻳﻴﻞ روﺳﺘﻲ وأﻇﻦ أن‬ ‫ﻋﻼﻗﺘﻬﺎ ﺑﻨﺼﻮص اﳌﺠﻤﻮﻋﺔ اﻟﺸﻌﺮﻳﺔ "رﻓﻴﻖ اﻟﻠﻴﻞ" ﻋﻼﻗﺔ ﻣﺒﺎﴍة‪،‬‬ ‫وﻟﻜﻦ ﻟﺘﻌﺪد وﺟﻮه أﺳﻄﻮرة "ﻟﻴﻠﻴﺚ" ﻓﺈن اﻟﻮﺟﻪ اﻷﻗﺮب إﱃ اﻟﻨﺼﻮص‬ ‫ﻫﻲ ﺻﻮرة اﳌﺮأة اﻟﺠﻤﻴﻠﺔ اﻟﻔﺎﺗﻨﺔ‪ ،‬وﻳﻜﻔﻴﻨﺎ اﺳﺘﺪﻻﻻً ﻋﲆ ذﻟﻚ أﻧﻪ‬ ‫اﺧﺘﺎر ﻟﻮﺣﺔ ﻣﻤﻴﺰة ﻟـ"ﻟﻴﻠﻴﺚ" ﻓﻬﻲ ﰲ ﻫﺬه اﻟﻠﻮﺣﺔ ﺗﻠﺒﺲ ﻣﻼﺑﺲ‬ ‫ﻋﴫﻳﺔ وﺗﻨﻈﺮ ﰲ اﳌﺮآة ﻣﺘﺄﻣﻠﺔ ﺟامﻟﻬﺎ وﻫﺎدﺋﺔ ﻣﺴﺘﻘﺮة ﻋﲆ ﺧﻠﻔﻴﺔ‬ ‫ﻣﻦ ﺑﺴﺎﺗني وورود ﺗﴪح ﺷﻌﺮﻫﺎ‪ ،‬وﻫﻲ ﺑﻌﻴﺪة ﻛﻞ اﻟﺒﻌﺪ ﻋﻦ ﺻﻮرﺗﻬﺎ‬ ‫ﰲ ﻟﻮﺣﺎت أﺧﺮى ﺗﺄﺛﺮت ﺑﻘﺼﺺ اﻟﺨﻠﻖ وأﺳﺎﻃري اﻟﺠﻦ واﻟﺸﻴﺎﻃني‬ ‫اﻟﺸﻌﺮ ‪baytelshear‬‬ ‫ﺑﻴﺖ ِ‬

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‫ ‪ ĘńĴ şŉ Įı‬‬

‫ﻣﺤﻤﺪ أﺣﻤﺪ اﻟﺴﻮﻳﺪي‬ ‫ﻣﻊ »رﻓﻴﻖ اﻟﻠﻴﻞ«‬ ‫‪ưǷǕőǘǕŌ Ǜƫ ŲƉƀũ ƈōǈƳŐǶ ǲƃǿƃŵ ǺǸƈ‬‬ ‫ ‪ƨŌƃşȑŌ ǽƳ‬‬ ‫ﻣﺤﻤﺪ ﻧﻮر اﻟﺪﻳﻦ‬

‫ﺻﺪرت ﻣﺠﻤﻮﻋﺔ "رﻓﻴﻖ اﻟﻠﻴﻞ" اﻟﺸﻌﺮﻳﺔ ﻟﻠﺸﺎﻋﺮ ﻣﺤﻤﺪ أﺣﻤﺪ اﻟﺴﻮﻳﺪي‬ ‫ﰲ ﻋﺎم ‪ 1996‬وﻫﻲ ﻣﺠﻤﻮﻋﺔ اﻣﺘﺎزت ﺑﺎﻟﺘﺠﺪﻳﺪ ﰲ اﻷﺳﻠﻮب واﳌﻮﺿﻮع‬ ‫وﻛﺎن ﻏﺮض اﻟﻐﺰل ﻫﻮ اﻟﻐﺮض اﻟﺮﺋﻴﺲ ﻓﻴﻬﺎ‪ ،‬وﰲ ﻫﺬا اﳌﻘﺎل ﺳﻨﺄﺧﺬ ﺟﻮﻟﺔ‬ ‫ﰲ اﻟﻄﺮح اﳌﻮﺿﻮﻋﻲ اﻟﺠﺪﻳﺪ اﻟﺬي ﻗﺪﻣﻪ اﻟﺴﻮﻳﺪي‪ ،‬ﺣﻴﺚ ﺟﺎل ﺑﻨﺎ ﰲ‬ ‫ﻗﺼﺎﺋﺪ اﳌﺠﻤﻮﻋﺔ ﺑﺄﺣﺎﺳﻴﺲ وﻣﺸﺎﻋﺮ ﻣﺨﺘﻠﻔﺔ ﻳﺠﻤﻊ ﺑﻴﻨﻬﺎ ﺷﺎﻋﺮ واﺣﺪ‬ ‫ورمبﺎ ﻣﺤﺒﻮب واﺣﺪ ﻧﺠﻮب ﰲ أرﺟﺎء اﻷﺑﻴﺎت ﺑﺤﺜﺎً ﻋﻨﻪ‪:‬‬

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‫اﻟﻌﺪد ‪ ، 70‬ﺳﺒﺘﻤﺒﺮ ‪2018‬‬

‫ ‪ĮńĴŝŊŘ‬‬

‫}‪mŜƉƪǕŌ ǲōŨƳ‬‬

‫‪1920ǖōƫ‬‬

‫وﻟﺪت ﻓﻲ ﻗﺼﺮ اﻟﻤﻮﻳﺠﻌﻲ‬ ‫ﻓﻲ ﻣﺪﻳﻨﺔ اﻟﻌﻴﻦ‪T‬‬

‫‪ōǤŞƒǝ‬‬ ‫ﻫﻲ اﻟﺸﺎﻋﺮة اﻹﻣﺎراﺗﻴﺔ ﻋﺎﺋﺸﺔ ﺑﻨﺖ ﺧﻠﻴﻔﺔ‬ ‫اﻟﺴﻮﻳﺪي‪T‬‬ ‫ﺑﻦ أﺣﻤﺪ ﺑﻦ ﺧﻠﻴﻔﺔ‬ ‫ّ‬

‫‪2009ǖōƫ‬‬ ‫ﻧﺎﻟﺖ »ﺟﺎﺋﺰة أﺑﻮﻇﺒﻲ«‬ ‫ﻓﻲ دورﺗﻬﺎ اﻟﺨﺎﻣﺴﺔ ﺗﻘﺪﻳﺮ ًا‬ ‫ﻟﻤﻮﻫﺒﺘﻬﺎ وﻋﻄﺎﺋﻬﺎ اﻟﺸﻌﺮي‪،‬‬

‫‪1989 ǖōƫ‬‬ ‫أﻃﻠﻖ ﻋﻠﻴﻬﺎ ﺻﺎﺣﺐ اﻟﺴﻤﻮ‬ ‫اﻟﺸﻴﺦ ﻣﺤﻤﺪ ﺑﻦ راﺷﺪ آل‬ ‫ﻣﻜﺘﻮم ﻟﻘﺐ »ﻓﺘﺎة اﻟﻌﺮب«‪،‬‬ ‫ﺑﻌﺪ ﺗﻜﺮﻳﻤﻬﺎ وﺗﻘﻠﻴﺪﻫﺎ وﺳﺎم‬ ‫إﻣﺎرة اﻟﺸﻌﺮ ﻓﻲ ﻋﺎﻟﻢ اﻟﺸﻌﺮ‬ ‫اﻟﺸﻌﺒﻲ ‪T‬‬

‫‪ŦōǿƈōŴǙ‬‬ ‫ﺟﺎرت ﻛﺒﺎر اﻟﺸﻌﺮاء‪ ،‬ﻣﻨﻬﻢ‬ ‫اﻟﻤﻐﻔﻮر ﻟﻪ اﻟﺸﻴﺦ زاﻳﺪ ﻃﻴﺐ‬ ‫ا‪ Y‬ﺛﺮاه‪ ،‬وﺻﺎﺣﺐ اﻟﺴﻤﻮ اﻟﺸﻴﺦ‬ ‫ﻣﺤﻤﺪ ﺑﻦ راﺷﺪ آل ﻣﻜﺘﻮم‪،‬‬ ‫وأﺣﻤﺪ ﺑﻦ ﻋﻠﻲ اﻟﻜﻨﺪي وﻋﻤﻴﺮ ﺑﻦ‬ ‫راﺷﺪ وﺳﻌﻴﺪ ﺑﻦ ﻫﻼل اﻟﻈﺎﻫﺮي‬

‫‪ǳǿƉƪƖǕŌ ōǤƟŌƉƯŐ‬‬ ‫ﻛﺘﺒﺖ ﻓﻲ ﻣﺨﺘﻠﻒ ﻣﺠﺎﻻت‬ ‫اﻟﺸﻌﺮ ﻛﺎﻟﻐﺰل واﻟﻨﻘﺪ اﻻﺟﺘﻤﺎﻋﻲ‬ ‫واﻟﻤﺪح واﻹﺳﻼﻣﻴﺎت‪ ،‬وﺗﺄﺛﺮت‬ ‫ﺑﺎﻟﻤﺎﺟﺪي ﺑﻦ ﻇﺎﻫﺮ واﻟﻤﺘﻨﺒﻲ‪T‬‬

‫‪ōǤũōƳǶ‬‬ ‫اﻧﺘﻘﻠﺖ إﻟﻰ رﺣﻤﺔ ا‪ Y‬ﺗﻌﺎﻟﻰ‬ ‫ﻳﻮم اﻟﺠﻤﻌﺔ اﻟﻤﻮاﻓﻖ ‪27‬‬ ‫ﻳﻮﻟﻴﻮ ‪ 2018‬ﻓﻲ ﻣﺪﻳﻨﺔ دﺑﻲ‪T‬‬ ‫اﻟﺸﻌﺮ ‪baytelshear‬‬ ‫ﺑﻴﺖ ِ‬

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ĘıĘŕ

‫در ﺻﺎﻓﻲ‬ Ì@@j@g@~@z@J x@@ @ ~@ {@ @ D @@ @ @ @ @ @ ~@ 6* x@@ @ @ @ @ @ E b@@ @ @ @ @ @ E @@ @C Ì@@ @ ´* rb@@ @ @ @ @ @ @ @ c@ ~@ |@ Db@@C ¤@@ @ @ @ @ @ @ @ g@ Jv@@= Ñ* v@@ @ ~@ {@ J Ì@@ @- @@ c@ @p@ @´* @@ @ @G* e¡@@ @ @ B 4¡@@ @ @ @ @ @ @ @ F ¡@@ @ @ @ @ A Ì@@c@C @@ @ ~@ 6b@@+ 4b@@ @ ~@ 8 @@Fb@@ @ @ @ @ @ @ @ @ ´* Ì@@ @ ~@ 8 ¡@@ @D Ì@@ @~@7 @@ @ ~@ 6* 4b@@ @ @ @ @ @ @~@ 8H q@@ Jv@@ @EH h@@£@ ~@ 8 b@@ @ F x@@Jv@@/ Hb@@ @ @ @ @ @ @ @ ²b@@+ b@@Fb@@ @ @ @ @ @ @ @E @@g@ £@ ~@ 8 4b@@ ~@ @8 x@@Jy@@= v@@ @ < ¡@@ @ @ @ @ @ @ @ @ @A x@@ @ @ @ @ @ @ @ @ A eb@@ @ @ @ @ @ @C4 24¡@@ @ @ @F Ì@@ @ ~@ }@ D* @@£@ @ ~@ 8 ¯ ¯b@@ @ @ @ @ @ @~@ 8 42 @@~@ {@ g@ @ J Ì@@ @F @@ Db@@ E h@@ @ ~@ 7 @@ @ @ @ @ ~@ 6b@@+ 4b@@ @ @ @ @ @ @ @ @ + ¡@@ D Ì@@~@{@1 @@ JÉ@@ ³* ¤@@ @ @ @ @ A v@@ @ @ @ @ @ @ F Ñ* v@@ @ ~@ {@ J Ì@@~@ 6* q@@ c@ @~@ @8*H b@@ @ @ @G x@@ @ @ @ @ @ @ ~@ {@ + d@@ @ B @@ @ CH Ì@@ @ ~@ z@ D* b@@~@ {@ 0 ¤@@ @ @ @ @ @ A @@D¡@@ @ @ @ @ @ @ @ @ @- v@@ @ @ @ 0*H @@ @C Ì@@E* @@ @ D3 ¡@@ @ A b@@ @ @ @ @ @ @ @ @ @~@ }@ J*H ex@@ @ @ D* @@ 64b@@ A Ì@@c@1 @@ Jb@@ Ex@@ D* ¯ @@ @ @ @ @ E*2 d@@£@ ~@ |@ J b@@ E @@£@ C Ì@@ @1 4b@@ @ @ @ @ @ @ @ @ @ @ @ @D µb@@ @ @ @ @ @ ~@ z@ E @@EÉ@@~@ z@ @ D x@@Jw@@ @ D* 4w@@ @ @F ¡@@ D @@ @ @ @ @ @ 0 H2 @@ @ @ @ @ @ @ @ @ @ @ /4b@@E Ì@@s@g@~@z@J @@ @ @ @ @ @ @ @ @ @c@ Db@@: *w@@ @ @ @ @ @ @ @ GH *w@@ @ @ @ @ @ @G Í@@ @ +H x@@Jv@@ @ D* @@9b@@£@ A @@ E @@ +b@@ ±* v@@ @ @ @ @ @ @~@8 @@g@ / Ì@@~@{@+ @@ +¡@@ ~@ 8 5 x@@Jb@@ @ @ @ @ ~@ {@ c@ D* ¤@@ @ @<*4 ¡@@ @ G

e2°* @@6b@@ @ @ @ @ @ @ @ @ @~@ 6* b@@ @ JH ex@@ @ @ @ @ @ @ @ @ @ @ D* ,b@@ @ @ @ g@ Ab@@ J ex@@ @ D* @@ @C Í@@ @+ x@@ @ @ @ @ @ @ @ £@ c@ @ D* b@@ @ @ @ @ @ @ @ @ @ @ @ @ @ -x@@<b@@~@ 7 ex@@ =b@@ E b@@ ~@ @{@ @0° b@@ @ @ @ @ @ @ @ @ @ @ @ £@ @ < x@@ @ @ @ @ @ @ @ ~@ 7* ¡@@ @ @J ex@@~@ 7 @@~@ 9b@@£@ A @@ @E ex@@ @ @ @ @ BH &*x@@ @ @ @ @ @ @ @ @ @© @@ @E d@@~@z@C @@-b@@£@ 0 ¤@@ @ @ @ @ @A Ì@@ ~@ 6 @@ 1 @@c@ - @@ @EH d@@~@z@ @Db@@+ @@£@Eb@@ @ @ @ @ @ @~@6 v@@ @ @ @£@ ~@ |@ B ¯ @@ºb@@~@ 7 d@@c@~@6 ¤@@-x@@ @ @ @ @ @ @ @ @ @ @ ~@ 8H ° Áb@@ @ @ @ ´* b@@ Fw@@ 1 @@ @ E d@@j@C @@ @< x@@ @ @F H* x@@ @ @~@ @7 ¯ @@ @ @ - @@ @ EH d@@m@< @@ @ @CH ° ¤@@ g@ @F* x@@ @ @ @ @ @ @ @ ~@ |@ < ,y@@ @ @ @ @ @ @m@ @ E d@@j@C @@ < v@@ Gb@@ ~@ @7H b@@ @ @ @ @ @ @D ¡@@ G @@ E v@@ @ ~@ 6 ev@@ @ GH @@ @{@ @ E4 Í@@ @ + @@ @ @ @ @ @ @ @ @ @c@ p@ ´* ¯ @@ Dy@@ @ @E d@@ @²* e¡@@ @ @ @ @ @ @ D*H v@@ @ @ @ @ @ @ @£@~@|@ @D* @@Jv@@B¡@@d@@s@g@ @J v@@ @ @ 0*H ¤@@ @ @ @ @ @ @ @ @ ~@ z@ ´* *v@@ @ @ @ @ @ @ @ G @@ @ EH d@@~@ z@ 0b@@E ¡@@ @D eb@@ @ @ @ @ @ @ @ @ @~@ 8 ¤@@ @Ex@@ @JH v@@ @ ¹ ¡@@ @G d@@.H @@ @ J¡@@ @ @ DH x@@ @ @ @ @ @ @ @ £@ ~@ |@ @ D* ¡@@ @ @ @A @@ @ @6*2 d@@ @1 ·b@@ @ @ @ D @@ Ey@@ @ + v@@ @ @ @ @ @ @ @ @ @~@ 7*4 @@ @ @ @ @ @ ~@ z@ F d@@ @D @@ @ @C ¡@@ @ @ AH Áb@@ @ @ @ @ @ @ @ @ E @@ @ @ @ @ @ @ @ @ @ @ C ¡@@ @ @A d@@ @~@{@D* k@@ Jv@@ 0 @@ < ¤@@B*¡@@~@ z@ D* h@@ @ @ @ @ D&b@ ~@ 6 ¡@@ D ex@@ @ D* ,b@@ g@ @A @@ @ @ @ @ @ @ @ @ @F* @@ @ £@ @ < @@ @ @ @ @ @ @ @ @ :* ¡@@ @ J

‫راﺷﺪ ﺷﺮار‬ @sharar688

2018 ‫ ﺳﺒﺘﻤﺒﺮ‬، 70 ‫اﻟﻌﺪد‬

ƉƪƖǕŌ ǳǙōǃ

@@ @ £@ @ @ D* x@@ @ @~@ @{@ @D* f@@ @Eb@@ @B Ñ* @@ @0x@@ @J @@ @ @:HH x@@ @ @~@ @7 h@@ @~@ @ z@ @ ~@ @ 6&* ¤@@ @ @ @ @D* @@ @~@ @ 7¡@@ @< @@ @ £@ B ¥* @@ @Db@@ @E x@@ @ @~@ @{@ @D* b@@ @ @c@ @ @ @< @@ @ E y@@ @ @ @²* Ì@@ @ @ @= b@@ @ @ @ @D b@@ @ @ @E b@@ @ Gv@@ @ @ @ @+ b@@ @ @ @ @EH @ali_alkaabi_uae

‫ﻋﻠﻲ ﺑﻦ ﺷﻤﻴﻞ اﻟﻜﻌﺒﻲ‬ ơŞǜǕŌ ǖŐ

r*4 rHx@@ @ @ @ @ @ @D* e*x@@ @ @ @ @ @- ¯ b@@ @ @ @ B 4w@@ @ @ @ + b@@ @ @ J q@@£@ ~@ {@ J b@@ @ @ @ @ @ < v@@ @ @ 0 b@@ @ @ E @@ @Cb@@ @~@ @ z@ @ E ¶* rb@@ c@ @g@ @~@ @z@ @-O Áb@@ @ @ @ @ @ ´* @@ @£@ @ A @@ @c@ @ / f@@ @~@ @ 7¡@@ @< q@@£@ ~@ |@ @ D* h@@ @ @ 1*H x@@ @ @ @ @D* h@@ @ @+ @@ c@ @ @ @D* * @almayidiya

‫اﻟﻤﺎﻳﺪﻳﺔ رﻳﺎﻧﺔ اﻟﻌﻮد‬ ƉƪƗ Ǜǉƈ

@@ @ @ :Hb@@ @ @ J b@@ @ @ @ @ @ @< r*4 Mx@@ @ @ @ @ @ @~@ @ @ @7 @@ @ @ @ @ @ @ C4 ¡@@ ~@ @ {@ @ - @@ @ @F¡@@ @ @£@ @ @ <H t@@ @ @ J4b@@ @ @ g@ @ @ @D* x@@ @ @ @ ~@ @ 6 v@@ @ c@ @ @D* r*4 ¡@@ @ @ @ @ DH @@ @ ~@ @ @7¡@@ @ < @@ @ ~@ @ @{@ @ @Jb@@ @ < Hx@@ @ @ @ ²b@@ @ @ @ + v@@ @ @ @ Jx@@ @ @ @ A My@ @ @ @ @ @ @ @ @ @C @@ @ @ @ @ C4b@@ @ @ @ @ - @@ @ @ @ ~@ @ 6H h@@ @ @£@ @ @ + b@@ @ @ @ @ @ D @@ @ @ @ @ @ @ @ ±* b@@ @ @ @ @ @ @ @ J ¡@@ @ @ @ @ @ D* h@@ @ @ @£@ @ @ @ F*2 Ì@@ @ @ @ @1H É@@ @ @ @ @; ¯ @9weeb

‫ﻧﺎﺻﺮ ﺑﻦ ﻳﺮوان اﻟﻨﻴﺎدي‬

ǣƗǷƫ ƃƪş ǛǙ

@@ Dy@@ /H @@ g@ c@ £@ GH 2¡@@ @ @ @ < ¤@@ @ @ J x@@ @ ~@ {@ D* b@@ @ @ @ @~@ @|@ @ @ @- @@ @ @£@ @ @ C x@@ @ @<b@@ @ @~@ @ @ {@ @ @ ´* 42 Ñ jE @@E b@@ @ D* x@@ 0 ¡@@ @ @ E @@j@ E E b@@ @ @ @~@|@J @@ @E @@ @AHx@@ @0 @@ ~@ @7¡@@ < v@@ @ @+ @@ @E @abuhamed7

‫ﻟﺸ‬ bayteelshear ‫اﻟﺸﻌﻌﺮ‬ baytelshear ِ ‫ﺑﻴﺖ‬

‫ﺳﻴﻒ ﻛﻤﻴﺪش‬

ĬŠĮŇĞ

ƉƪƖǕŌ ŧǾş ǼŌƉƛ

@@£@ Q @ G Í@@ @ < b@@ @ J @@ @ Ev@@ @ D* ¤@@ @ Q @ @ G Í@@ @ < b@@ @ J Áb@@ @ @ @ @´*H x@@ @ @ @ ~@Q@ @{@ @ D* &* *x@@ @ @ @ @A ¢@@ @ @ @ < @@JvQ @ m@ J @@ @E x@@ @ @ D* b@@ @ B b@@ @ c@ @ < @@ @E Áb@@A 4b@@ ~@ @8 v@@ B x@@ @ ~@ {@ D* h@@£@ + ¥*x@@ @~@ @ 8H @qasaed21

‫ﺷﻴﺨﺔ اﻟﺠﺎﺑﺮي‬

ƉƪƖǕŌ ǳǝŌƂ

¤@@ @ @ @ @D* N É@@ @ @ @ @E b@@ @ @ @ @J Ñ* f@@ @ @ @ @ @ @ @ 04 @@ @ @-b@@ @ @F*2 x@@ @ @ R @ @ @ ~@@Q @ @{@ @ @ D* @P @ @ @ @ @ @ E R Ph@@ @ @ N @ @ @ @ @ @ @ @FP ¤@@ Q @ @~@ @z@ @ @ @- rP HxQ @ @ @ @ @ @ @ @ @ @ @ @ @D*H h@@ @ @ ~@@ @N @ }@ @ @ PE ¡@@ @ @ @D @@ @ -b@@ @ ~@ @ @}@ @ @c@ @ @F Hv@@ @ @ @ @ @g@ @ @ @ @ @ + b@@ @ @ Gx@@ @ @ @ @ @ @~@ @ @ @7 @Bent555Almur

‫ﺣﻤﺪة اﻟﻤﺮ‬

ǽǝōƪǘǕŌǶ ƉƪƖǕŌ ǖŐ

Áb@@ @ @ @ ´*H x@@ @ @~@ @{@ @D* &*H x@@ @ @~@ @7 f@@ @ Eb@@ @ B i¡@@ @ @´* b@@ @ @ @ + ¢@@ @ @ Q @ @ @ BH b@@ @ @ @ g@ @ Q @ @ 1H h@@ @ @ @ @0*4 Áb@@ A @@ ~@ @7 É@@ @ + b@@ @£@ @ Fv@@ @D* ¯ ¤@@ ~@ @7 @@ @ C Q i¡@@ Â @@ @ @ @ F&* b@@ @ @¹ @@ ~@ @7¡@@ < x@@ @ ~@ 7 °(* @AliAlkhawar

‫ﻋﻠﻲ اﻟﺨﻮار‬ ƈŌƂ ǲƃǾǂƳ

4*2 ,v@@ @ @ @ £@ @ @ @ @ @ @ @ A @@ @ @ @ @F* ¤@@ @ @g@ @ @ E3 ¯ 4b@@ @ ~@ 7* H x@@ @ ~@ 7 @@ @ E f@@ @ @ @DH2 b@@ @ J ¤@@ @ g@ @ @F(* @@ ~@ @7¡@@ < b@@ @ @ J @@ @ @ @ @GH x@@ @ @ @ ~@ @ {@ @ D* ,v@@ @£@ @ @ @ A 4b@@ @ @ @ D* ¡@@ @ @ @ @ @ @ - 4b@@ @ @ @ @ @ D* d@@ ~@ @{@ @- h@@ @ -b@@ @ + x@@ ~@ |@ < ,v@@ @ @Jx@@ @ @A b@@ @ @J ¤@@ @ @ @+4 @@ @ @ @ 0x@@ @J 4b@@ @£@ @ 1° @@ @ ~@ @ @6H @@ @ @ @ @±* b@@ @~@ @ z@ @ <H 4*2 ,v@@ £@ @ @ @A ¤@@ @.x@@ @J $b@@ ~@ @z@ @ @ @D* x@@ @ @~@ @7H 4*v@@ @ @ @D* ¥w@@ @ @ @G x@@ @s@ @ A f@@ @ @£@ @ @ @1 f@@ @~@ @ 7¡@@ @< @Molaaf

‫ﻣﻮﻻف‬ 20 8 ‫ﺳﺒﺘﻤﺒﺮ‬ 2018 ‫ ﺳﺒﺒﺘﻤﺒﺮ‬، 70 7 ‫اﻟﻌﺪد‬

‫‪ ĬŠĮŇĞ‬‬

‫ ‪ ŜƉƪǕŌ ǲōŨƳ‬‬ ‫‪ŋŌƉƪƖǕŌ ŦŌƃǿƉƮũ ǽƳ‬‬ ‫ﻣﺮﻳﻢ اﻟﻨﻘﺒﻲ‬

‫ﺗﺤﺖ وﺳﻢ )ﻓﺘﺎة اﻟﻌﺮب ﰲ ذﻣﺔ اﻟﻠﻪ(‪ ،‬ﻧﻌﻰ ﺷﻌﺮاء اﻹﻣﺎرات اﻟﺸﺎﻋﺮة اﻟﺮاﺣﻠﺔ ﻋﻮﺷﺔ ﺑﻨﺖ ﺧﻠﻴﻔﺔ اﻟﺴﻮﻳﺪي ﺑﻘﺼﺎﺋﺪ وﺗﻐﺮﻳﺪات‬ ‫وﺻﻔﺘﻬﺎ ﺑـ‪ :‬رﻛﻦ اﻟﺸﻌﺮ وأم اﻟﻨﺒﻂ وﻏريﻫﺎ ﻣﻦ اﻷﻟﻘﺎب ﻓﻬﻲ واﺣﺪة ﻣﻦ أَﻋﻼم ّ‬ ‫اﻟﺸﻌﺮ اﻟﺬي ﺗﻮارﺛﺘﻪ اﻷﺟﻴﺎل‪ ،‬وﺗﻐﻨّﺖ ﺑﻪ اﻷﻟﺴﻦ‪،‬‬ ‫وﺗﻨﺎدﻣﺖ ﺑﻪ اﻟﻘﻠﻮب‪ ،‬وﺣﻔﻈﺘﻪ اﻟﺼﺪور‪ّ .‬‬ ‫وﺣﻖ ﻋﲆ اﻟﺸﻌﺮاء أن َﻳﺬﻛﺮوﻫﺎ ﺑﺄﺑﻴﺎﺗﻬﻢ رﺛﺎ ًء وﺗﻜﺮميﺎً ﳌﺴريﺗﻬﺎ اﻟﺸﻌﺮﻳﺔ اﳌﻠﻬﻤﺔ‪.‬‬ ‫‪ǣƗǷƫ‬‬

‫*‪ 4b@@ Q @ ~@ 7H @@ ~@ @7¡@@ < b@@ J @@£@ @ c@ J x@@ @ ~@Q @{@ D‬‬ ‫ ‪ b -Ä< @@ @-* £ < @@J*x@@~@{@D* @@6H4 H‬‬ ‫‪ 4*HQ 2 q@@ @JxQ @ @ D* b@@ @ £@ A q@@£@ Jb@@ @ ´* @@ @ J3 H‬‬ ‫ ‪ b@@ @ -x@@A5 @@£@ @ D* b@@ @- 2¡@@ @ @³* x@@ . ¤ ~z-‬‬ ‫@‪4b E x@@ @ J @@£@ @~@6 b‬‬ ‫ ‪M @ B £ cJH‬‬ ‫ ‪ b@@ @ @-x@@ Cy@@ - @@ @M @ @ @ 6H4 b@@ @ @ @ D Áb@@ @ @ @ @ @ ´* ¡@@ @ @ @J‬‬ ‫ ‪ 4b@@ -H* h@@ +*3 v@@p@£@E @@Jv@@J* ¯ 2¡ D*H‬‬ ‫ ‪b@@ @ -x@@ @ ~@ 6 b@@ @Bx@@ @A v@@ @ @ + 4b@@ @~@ @ |@ @ - b@@ @ @ @ @C‬‬

‫ﺳﻴﻒ اﻟﻤﻨﺼﻮري‬

‫‪@Bu_Salem00‬‬

‫‪ ƉƪƖǕŌ ǳƀǾƗ‬‬

‫ ‪¢ + bE x ~{D* fs£~7 bJ ex D* ,bgA‬‬ ‫‪ @@ @ J*y@@/ ¡@@ @ ~@ z@ - x@@ @0 ¤@@ g@ @04 ¡@@ @J @@ E‬‬ ‫‪ ¢@@ @~@7 ¯ r¡@@ @ @ @ -* @@ @ @FH2 v@@Jb@@~@ |@ @ D* @@ @C‬‬ ‫‪ @@ @ Jb@@~@ 6 y@@ @ @ @ ²* f@@ @ @£@ @D ¯ b@@ @ @ @ @<¡@@ @ E2H‬‬ ‫‪ b@@ @D É@@ A v@@ @ @+ *x@@ @ @A *2H @@ @ @ <*2H‬‬ ‫*(‪ @@ @ @Jb@@ ~@ @}@ @A ¤@@ @ @ @ @ @ E e4 f@@ @ @ @ m@ @ + °‬‬ ‫<@‪ ¢ - @@ DH y@@ @ E @@ 6H2x@@ @ @D* @@ D ¢@@~@z‬‬ ‫¯ ‪ @@ @Jb@@ @1 h@@ Db@@ E x@@ @ G5H d@@~@ {@ < @@ @ 9H4‬‬

‫ﻋﺘﻴﻖ اﻟﻜﻌﺒﻲ‬

‫‪@ateq_alkabi‬‬

‫اﻟﺸﻌﺮ‬ ‫ﻟﺸ‬ ‫ﻌﺮ ‪bayteelshear‬‬ ‫‪baytelshear‬‬ ‫ﺑﻴﺖ ِ‬

‫‪35‬‬ ‫‪35‬‬

‫‪ Įŏ ĭŒ ŗŕ‬‬

‫ ‪ ƔōŞƯ ǳƪǾƳƈ Ƃ ŧǂŭǶ‬‬ ‫‪ ǽƳ ŜƉƪǕŌ ǲōŨƳ ǳşƉŴũ‬‬ ‫‪ ǳƲǾǔƁ ŧǜş ǳƗǷƫ ŜōŨǉ‬‬ ‫‪ ǒōǘƫȏŌ ĳ ǼƃǿǷƒǕŌ‬‬ ‫‪ ǳǾũŌƅǕŌ ǲƉǾƒǕŌǶ ǳǔǙōǈǕŌ‬‬ ‫ ‪ ǲŐƉǘǕŌ ƱżŨǙ ƜƉƪǿ‬‬ ‫‪ ŧǾş ƱǕŐ ǽŨȃōǙ ǽşƃş‬‬ ‫‪ ǲƉǾƒǙ ƙƀǔũ ɐƉƪƖǕŌ ǛǙ‬‬ ‫ ‪ ǳǿƉƪƖǕŌ ŜƉƪǕŌ ǲōŨƳ‬‬

‫وﺑﺪأت ﻏﺒﺎش ﰲ ﻛﺘﺎﺑﻬﺎ ﻣﻦ ﻧﺸﺄة اﻟﺸﺎﻋﺮة إﱃ أن ﺗﻮﻓﺖ واﻟﺪﺗﻬﺎ ﰲ‬ ‫ﻋﻤﺮ ﻣﺒﻜﺮ‪ ،‬وﻣﻦ ﺛﻢ زواﺟﻬﺎ ﻣﻦ اﺑﻦ ﻋﻤﻬﺎ وﺗﻨﻘﻠﻬﺎ ﺑني اﻟﻌني وأﺑﻮﻇﺒﻲ‬ ‫وﻣﻦ ﺛﻢ اﺳﺘﻘﺮارﻫﺎ ﰲ ديب‪ ،‬ﻣﺴﺘﻌﺮﺿﺔ ﺑني ﻛﻞ ﻫﺬه اﳌﻌﻠﻮﻣﺎت‪ ،‬ﻛﻴﻒ‬ ‫أﺛﺮت اﻟﺒﻴﺌﺔ ﻋﲆ اﻟﺸﺎﻋﺮة‪ ،‬وﻛﻴﻒ ﺗﻔﺎﻋﻠﺖ ﻣﻌﻬﺎ ﻣﻦ ﺧﻼل ﻗﺼﺎﺋﺪﻫﺎ‬ ‫اﻟﻨﺒﻄﻴﺔ واﺻﻔﺔ ﰲ أﺑﻴﺎﺗﻬﺎ اﻟﺒﻴﺌﺎت اﻟﺠﻐﺮاﻓﻴﺔ اﳌﺨﺘﻠﻔﺔ ﰲ اﻹﻣﺎرات‪،‬‬ ‫ﻛام ذﻛﺮت اﻟﺸﺎﻋﺮة ﻋامرة ديب ﰲ اﻟﻌﺪﻳﺪ ﻣﻦ ﻗﺼﺎﺋﺪﻫﺎ‪ ،‬وﺑﻴﻨﺖ ﰲ‬ ‫ﻗﺼﺎﺋﺪ أﺧﺮى اﻟﻌﺪﻳﺪ ﻣﻦ اﻟﺼﺪاﻗﺎت اﻟﺘﻲ رﺑﻄﺘﻬﺎ ﺑﺸﺨﺼﻴﺎت ﰲ ديب‪.‬‬ ‫وﰲ ﻓﺼﻞ آﺧﺮ ﺗﻨﺎوﻟﺖ ﻏﺒﺎش ﻣﺮﺣﻠﺔ اﳌﺴﺎﺟﻼت اﻟﺸﻌﺮﻳﺔ اﻟﺘﻲ ﻛﺎﻧﺖ‬ ‫ﰲ ﻓﱰة اﻟﺜامﻧﻴﻨﻴﺎت‪ ،‬واﺳﺘﻌﺮﺿﺖ ﻣﺴﺎﺟﻼت اﻟﺸﺎﻋﺮة ﻣﻊ ﺻﺎﺣﺐ‬ ‫اﻟﺴﻤﻮ اﻟﺸﻴﺦ ﻣﺤﻤﺪ ﺑﻦ راﺷﺪ‪ ،‬وأوﺿﺤﺖ أﻫﻤﻴﺔ ﻫﺬه اﳌﺴﺠﻼت‬ ‫وﻣﺎ ﺗﺮﻛﺘﻪ ﻣﻦ أﺛﺮ ﻛﺒري ﻋﲆ اﻟﺤﺮاك اﻟﺜﻘﺎﰲ ﰲ اﳌﻨﻄﻘﺔ‪ ،‬ﳌﺎ ﺗﺘﻤﻴﺰ ﺑﻪ‬ ‫ﻣﻦ ﻏﺰارة ﺷﻌﺮﻳﺔ وﻋﺬوﺑﺔ اﳌﻌﻨﻰ واﻟﺒﻼﻏﺔ اﳌﺘﻔﺮدة‪.‬‬ ‫‪ ŦōǘǿƉǈũ‬‬

‫ﻓﺘﺎة اﻟﻌﺮب )‪ (2018-1920‬اﻻﺳﻢ اﳌﺴﺘﻌﺎر ﻟـ ﻋﻮﺷﺔ ﺑﻨﺖ‬ ‫ﺧﻠﻴﻔﺔ اﻟﺴﻮﻳﺪي‪ ،‬اﻟﺘﻲ أﺛﺮت اﻟﺴﺎﺣﺔ اﻟﺸﻌﺮﻳﺔ مبﺎ ﻳﻘﺎرب اﳌﺎﺋﺘﻲ‬ ‫ﻗﺼﻴﺪة‪ ،‬ﻗﺒﻞ اﻋﺘﺰاﻟﻬﺎ ﰲ أواﺧﺮ اﻟﺘﺴﻌﻴﻨﻴﺎت‪ ،‬ﺣﻈﻴﺖ اﻟﺸﺎﻋﺮة‬ ‫ﺑﺎﻟﻌﺪﻳﺪ ﻣﻦ اﻟﺘﻜﺮميﺎت ﺣﻴﺚ ﻛﺮﻣﻬﺎ ﺻﺎﺣﺐ اﻟﺴﻤﻮ اﻟﺸﻴﺦ‬ ‫ﻣﺤﻤﺪ ﺑﻦ راﺷﺪ آل ﻣﻜﺘﻮم ﻧﺎﺋﺐ رﺋﻴﺲ اﻟﺪوﻟﺔ رﺋﻴﺲ ﻣﺠﻠﺲ‬ ‫اﻟﻮزراء ﺣﺎﻛﻢ ديب‪ ،‬ﺑﻴﻮم ﺗﻜﺮﻳﻢ ﺟﻤﻴﻊ اﻷﻣﻬﺎت ﰲ اﻟﺪوﻟﺔ ﻋﺎم‬ ‫‪ 2012‬ووﺻﻔﻬﺎ ﺑﺎﻷم اﻻﺳﺘﺜﻨﺎﺋﻴﺔ‪ ،‬ﻛام ﻛﺮﻣﻬﺎ ﺻﺎﺣﺐ اﻟﺴﻤﻮ‬ ‫اﻟﺸﻴﺦ ﻣﺤﻤﺪ ﺑﻦ زاﻳﺪ آل ﻧﻬﻴﺎن وﱄ ﻋﻬﺪ أﺑﻮﻇﺒﻲ‪ ،‬ﻧﺎﺋﺐ اﻟﻘﺎﺋﺪ‬ ‫اﻷﻋﲆ ﻟﻠﻘﻮات اﳌﺴﻠﺤﺔ‪ ،‬ﰲ ﺟﺎﺋﺰة أﺑﻮﻇﺒﻲ ﻋﺎم ‪ ،2010‬وﰲ‬ ‫‪ 2011‬اﺧﺘﺎرﺗﻬﺎ ﺟﺎﺋﺰة اﻟﻌﻮﻳﺲ ﺷﺨﺼﻴﺔ اﻟﻌﺎم اﻟﺜﻘﺎﻓﻴﺔ‪.‬‬

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‫اﻟﻌﺪد ‪ ، 70‬ﺳﺒﺘﻤﺒﺮ ‪2018‬‬

‫ﻛام ذﻛﺮت اﳌﺆﻟﻔﺔ اﻟﻘﺼﺎﺋﺪ اﻟﺘﻲ ﻛﺘﺒﺘﻬﺎ "ﻓﺘﺎة اﻟﻌﺮب" ﺑﺎﳌﻐﻔﻮر ﻟﻪ‬ ‫اﻟﺸﻴﺦ زاﻳﺪ ﺑﻦ ﺳﻠﻄﺎن آل ﻧﻬﻴﺎن‪ ،‬وﻗﺼﺎﺋﺪ أﺧﺮى ﻛﺘﺒﺘﻬﺎ ﰲ ﺻﺎﺣﺐ‬ ‫اﻟﺴﻤﻮ اﻟﺸﻴﺦ ﺧﻠﻴﻔﺔ ﺑﻦ زاﻳﺪ آل ﻧﻬﻴﺎن رﺋﻴﺲ اﻟﺪوﻟﺔ "ﺣﻔﻈﻪ اﻟﻠﻪ"‬ ‫ﺑﺠﺎﻧﺐ ﻋﺪد ﻣﻦ ﻗﺼﺎﺋﺪ اﳌﺪح واﻟﻨﻘﺪ وﻏريﻫام‪ ،‬وﻫﻮ ﻣﺎ ﻋﻜﺲ‬ ‫ﻛام أﻛﺪت ﻏﺒﺎش "ﺗﻨﻮﻋﺎً ﰲ ﻗﺼﺎﺋﺪﻫﺎ ﻣﻦ ﻧﺎﺣﻴﺔ اﳌﻀﻤﻮن واﻟﺒﺤﻮر‬ ‫اﻟﺸﻌﺮﻳﺔ"‪.‬‬ ‫واﺣﺘﻮى اﻟﻜﺘﺎب أﻳﻀﺎً ﻋﲆ ﻋﺪد ﻣﻦ ﻗﺼﺎﺋﺪ اﻟﺸﺎﻋﺮة اﻟﺘﻲ مل ﺗﻨﴩ‬ ‫ﻣﻦ ﻗﺒﻞ‪ .‬وﺗﻢ ﺗﺨﺼﻴﺺ ﺻﻔﺤﺎت ﻣﻦ اﻟﻜﺘﺎب ﻟﻠﺸﻬﺎدات اﻟﺘﻲ ﻗﻴﻠﺖ‬ ‫ﻋﻦ "ﻓﺘﺎة اﻟﻌﺮب" ﻣﻨﻬﺎ ﻣﻘﺎل ﻟﻠﺪﻛﺘﻮرة ﺣﺼﺔ ﻟﻮﺗﺎه ﺷﺒﻬﺖ ﻓﻴﻪ‬ ‫اﻟﺸﺎﻋﺮة ﺑـ "اﻟﻨﺨﻠﺔ اﻟﺒﺎﺳﻘﺔ"‪.‬‬ ‫واﺧﺘﺘﻤﺖ ﻏﺒﺎش ﻛﺘﺎﺑﻬﺎ ﻫﺬا ﺑﻘﺼﻴﺪة "ﻳﺎ واﺳﻊ اﻟﻐﻔﺮان" اﻟﺘﻲ‬ ‫ﻧﴩﺗﻬﺎ ﰲ ﺻﺤﻴﻔﺔ اﻟﺒﻴﺎن ‪ 2‬ﻣﺎرس ﻣﻦ اﻟﻌﺎم ‪ 1996‬وﻫﻲ آﺧﺮ ﻗﺼﺎﺋﺪ‬ ‫اﻟﺸﺎﻋﺮة‪ ،‬وﻛﺎن ﻗﺪ ﺗﻨﺎول أﺣﻤﺪ ﺣﺴﻦ ﻣﺤﻤﺪ ﻫﺬه اﻟﻘﺼﻴﺪة ﺑﺪراﺳﺔ‬ ‫ﻧﻘﺪﻳﺔ ﺗﺤﻠﻴﻠﺔ‪.‬‬ ‫وﺳﺒﻖ ﻫﺬا اﻟﻜﺘﺎب اﻟﺼﺎدر ﰲ اﻟﻌﺎم ‪ 2011‬ﺻﺪور ﻋﺪة ﻛﺘﺐ ودواوﻳﻦ‬ ‫ﻟﻠﺸﺎﻋﺮة أﺷﻬﺮﻫﺎ "دﻳﻮان ﻓﺘﺎة اﻟﻌﺮب" اﻟﺼﺎدر ﻋﺎم ‪ 1991‬ﻣﻦ ﺟﻤﻊ‬ ‫وإﻋﺪاد اﻷدﻳﺐ اﻟﺮاﺣﻞ ﺣﻤﺪ ﺧﻠﻴﻔﺔ ﺑﻮﺷﻬﺎب‪.‬‬ ‫أﻣﺎ آﺛﺎر ﺗﺠﺮﺑﺘﻬﺎ اﳌﻬﻤﺔ‪ ،‬ﻓﺘﺠﺘﻤﻊ ﰲ ﻣﺘﺤﻒ اﳌﺮأة ﰲ ديب‪ ،‬واﻟﺬي‬ ‫ﺧﺼﺺ ﻗﺎﻋﺔ ﻟـ "ﻓﺘﺎة اﻟﻌﺮب" وﻓﻴﻬﺎ ﻋﺮﺿﺖ أﺑﺮز ﻗﺼﺎﺋﺪ اﻟﺸﺎﻋﺮة‬ ‫اﻟﻘﺪﻳﺮة‪ ،‬واﻟﺘﻲ وﺻﻠﺖ إﱃ ﻣﺎﺋﺘﻲ أﻟﻒ ﺑﻴﺖ ﻣﻦ اﻟﺸﻌﺮ‪ ،‬ﺗﻠﺨﺺ‬ ‫ﻣﺴريﺗﻬﺎ اﻟﺸﻌﺮﻳﺔ‪ ،‬و ُﻛﺘﺒﺖ ﺗﻠﻚ اﻟﻘﺼﺎﺋﺪ اﳌﻌﺮوﺿﺔ‪ ،‬ﺑﺨﻂ اﻟﺜﻠﺚ‪،‬‬ ‫اﳌﻘﺼﻮص ﺑﺎﻟﻠﻴﺰر ﻋﲆ اﻟﺨﺸﺐ‪ ،‬وﻟﺼﻘﺖ ﻋﲆ ﺟــﺪران اﻟﻘﺎﻋﺔ‬ ‫اﳌﺼﻤﻤﺔ ﻋﲆ ﺷﻜﻞ ﺻﺤﺮاء اﻹﻣﺎرات‪ ،‬ﻛام ﺿﻤﺖ اﻟﻘﺎﻋﺔ إﱃ ﺟﺎﻧﺐ‬ ‫اﻷﺷﻌﺎر‪ ،‬ﻣﺘﺤﻔﺎً ﻣﺼﻐﺮاً ﻳﻮﺛﻖ ﳌﺴريﺗﻬﺎ اﻟﺸﻌﺮﻳﺔ‪ ،‬ﺑﺠﺎﻧﺐ ﻫﺬا وﻓﺮ‬ ‫اﳌﺘﺤﻒ ﻟﺰوار اﻟﻘﺎﻋﺔ أن ﻳﺴﺘﻌﻤﻮا إﱃ أي ﻗﺼﻴﺪة ﻣﻦ اﻟﻘﺼﺎﺋﺪ‪،‬‬ ‫ﻣﺴﺠﻠﺔ ﺑﺼﻮت اﻟﺸﺎﻋﺮة اﻟﺮاﺣﻠﺔ ﻣﻦ ﺧﻼل ﺟﻬﺎز "اﻵﻳﺒﺎد"‪.‬‬

‫‪ ǲƉǈŞǙ ŦōǿŌƃş‬‬

‫اﺳﺘﻄﺎﻋﺖ "ﻓﺘﺎة اﻟﻌﺮب" ﻣﻦ ﺧﻼل ﻗﺼﺎﺋﺪﻫﺎ اﻟﻮﺻﻮل إﱃ أﻋامق‬ ‫ﻣﺤﺒﻲ اﻟﺸﻌﺮ‪ ،‬ﻓﺨﻼل ﻋﻘﻮد ﻣﻦ اﻟﺰﻣﻦ‪ ،‬أﺛﺮت اﻟﺴﺎﺣﺔ اﻟﺸﻌﺮﻳﺔ‪،‬‬ ‫ﺑﻌﺪد ﻛﺒري ﻣﻦ اﻟﻘﺼﺎﺋﺪ اﻟﺘﻲ ﺗﻨﺎوﻟﺖ ﻓﻴﻬﺎ ﻣﻮاﺿﻴﻊ ﻣﺨﺘﻠﻔﺔ‪.‬‬ ‫و"ﻓﺘﺎة اﻟﻌﺮب" ﻫﻮ اﻻﺳﻢ اﳌﺴﺘﻌﺎر ﻟﻠﺸﺎﻋﺮة ﻋﻮﺷﺔ ﺑﻨﺖ ﺧﻠﻴﻔﺔ ﺑﻦ‬ ‫أﺣﻤﺪ ﺑﻦ ﺧﻤﻴﺲ ﺑﻦ ﻳﻌﺮوف اﻟﺴﻮﻳﺪي‪ ،‬وﻟﺪت ﰲ ﻣﻨﻄﻘﺔ اﳌﻮﻳﺠﻌﻲ‬ ‫ﰲ اﻟﻌني ﻋﺎم ‪ 1920‬وﺗﻨﻘﻠﺖ ﺑني اﻟﻌني وأﺑﻮﻇﺒﻲ‪ ،‬إﱃ أن اﺳﺘﻘﺮت ﰲ‬ ‫ديب‪.‬‬ ‫ﻇﻬﺮت ﻣﻮﻫﺒﺘﻬﺎ اﻟﺸﻌﺮﻳﺔ وﻫﻲ ﰲ اﻟﺜﺎﻧﻴﺔ ﻋﴩة ﻣﻦ ﻋﻤﺮﻫﺎ‪ ،‬وﻗﺪ‬ ‫ﺳﺎﻋﺪﻫﺎ ﰲ ﺻﻘﻞ ﻫﺬه اﳌﻮﻫﺒﺔ إﻧﻬﺎ ﺗﺮﺑﺖ ﰲ ﺑﻴﺖ ﺗﻮﻓﺮ ﻟﻬﺎ ﻓﻴﻪ‪،‬‬ ‫ﻗﺮاءة أﺷﻌﺎر اﳌﺎﺟﺪي ﺑﻦ ﻇﺎﻫﺮ وراﺷﺪ اﻟﺨﻼوي واﳌﺘﻨﺒﻲ وأﺑﻮﻓﺮاس‬ ‫اﻟﺤﻤﺪاين‪ ،‬وﻏريﻫﻢ اﻟﻜﺜري‪.‬‬ ‫وﺧﻼل ﻃﻔﻮﻟﺘﻬﺎ ﺣﻠﻤﺖ أن اﻟﻘﻤﺮ ﻗﺪ اﻗﱰب ﻣﻨﻬﺎ واﺑﺘﻠﻌﺘﻪ‪ ،‬وﻫﻮ ﻣﺎ‬ ‫ﺟﻌﻞ اﳌﻔﴪﻳﻦ ﺣﻴﻨﻬﺎ ﻳﻘﻮﻟﻮن ﺑﺄﻧﻬﺎ ﺳﺘﻜﻮن اﻣﺮأة ذات ﺷﺄن ﻋﻈﻴﻢ‬ ‫وﻣﻜﺎﻧﺔ ﻛﺒرية‪ ،‬وﺟﺎءت اﻷﻳﺎم ﻟﺘﱪﻫﻦ ﻋﲆ ﻣﺎ ﺗﻨﺒﺄوا ﻟﻬﺎ ﺑﺎﻟﻔﻌﻞ‪.‬‬ ‫و"ﻓﺘﺎة اﻟﻌﺮب" اﻟﺘﻲ ﻋﺮف ﻋﻨﻬﺎ ﺑﺄﻧﻬﺎ ﻛﺘﺒﺖ ﻣﺎﺋﺔ ﻗﺼﻴﺪة ﰲ ﺷﻬﺮ‬ ‫واﺣﺪ‪ ،‬ﳌﺎ متﺘﻌﺖ ﺑﻪ ﻣﻦ ﺛﻘﺎﻓﺔ واﺳﻌﺔ وإﻃﻼع ﻛﺒري‪ ،‬ﺑﻘﻴﺖ ﺗﻜﺘﺐ‬ ‫وراء ﻟﻘﺒﻬﺎ اﳌﺴﺘﻌﺎر اﻟﺬي أﻃﻠﻘﻪ ﻋﻠﻴﻬﺎ ﺻﺎﺣﺐ اﻟﺴﻤﻮ اﻟﺸﻴﺦ ﻣﺤﻤﺪ‬ ‫ﺑﻦ راﺷﺪ آل ﻣﻜﺘﻮم‪ ،‬ﺑﻌﺪ أن ﻛﺎﻧﺖ ﺗﻨﴩ ﺑﺎﺳﻢ "ﻓﺘﺎة اﻟﺨﻠﻴﺞ" ﻟﻐﺎﻳﺔ‬ ‫اﻟﻌﺎم ‪ 1989‬و ﺑﻌﺪ أن أرﺳﻞ ﺳﻤﻮه إﻟﻴﻬﺎ دﻳﻮاﻧﺎً ﻛﺘﺐ ﻋﲆ ﺻﻔﺤﺘﻪ‬ ‫اﻷوﱃ‬ ‫*&‪ b@@ ~@ {@ D* ·b@@ @ @< b@@ @ J *¡@@ @ @ @ J2 @@ @ D h@@ @ @ @ ~@ @ 64‬‬ ‫‪ b@@ @G2v@@ @~@ @ 6 @@ @ Jb@@ @ j@ @ @´* @@ @ @ E @@ @ £@ @ A *¡@@ @ @ @ @ @ @J2‬‬ ‫‪ *5 @@ E @@ @ C @@ E b@@ j@ @E&°* ¢@@ @ < ¥¡@@p@ J‬‬ ‫‪ b@@ Gv@@ ~@ @}@ @F 2¡@@ @ @ @ @ @ @< ¯ 42 @@ @ @ C @@ @ @ @ @EH‬‬ ‫‪ *¡@@ @ @< Ì@@ @1 b@@ @ @D ¡@@ @g@ @ F*H ex@@ @ @ @ D* ,b@@ @g@ @ A‬‬ ‫‪ b@@Gv@@~@ {@ F Áb@@ @ @ E v@@~@ |@ @ + @@ CÌ@@ = @@ @ @EH‬‬

‫‪ @@ @ @ @ @ @ AH I¡@@ @ @ @ @ @ @ @ @ @ @D* 2¡@@ @ @ @ @ @ @ < @@ @ @ @ @ @ @ C4 b@@ @ @ @ @ J‬‬ ‫‪ ¯b@@ @ @ ~@ @ @ @8¡@@ @ @ Db@@ @ @ + @@ @ @ @ @ @ @£@ @ @ @/ ¤@@ @ @ @ @ @ @Bb@@ @ @ ~@ @ @ @7‬‬ ‫‪ @@ @ @ @ @ @ m@ @ @ ~@ @ @ {@ @ @ E&* · IH4 @@ @ @ @ £@ @ @ @ @:‬‬ ‫‪ ¤@@ @ BÉ@@ @ g@ @ @D @@ @ @ @ @ @ @ @ @ @ @ @ ²*H @@ @ @ @ @ @+ @@ @ @ @~@ @ @ @ 7‬‬

‫وردت ﻋﻠﻴﻪ ﻓﺘﺎة اﻟﻌﺮب ﻗﺎﺋﻠﺔ‪:‬‬ ‫*‪ f@@ @ @ @ @ @ ~@ @ @ 6 ¤@@ @ @ @ @ @ @ @ g@ @ @ @ @ @ @ @ @ @ @ @ 0 I¡@@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @D‬‬ ‫‪ ¯b@@ @ @ @ ~@ @ 6 b@@ @ @ @ J @@ @ @ @ @ @ @ @ D* @@ @ @ @ @ @ @ @ @6&*4 h@@ @ @ @ @ @ @ @ @F&*H‬‬ ‫@ @ @ @ @ @ @ @ @ @‪ @@ @ @ @ @ @ @ @ @ @ @E @@ @ @ @ @ @ @ @ @ @ @ @ @ ²*H w@@ @ @ @ @ @ @ @ @ 1&b‬‬‫‪ ¯b@@ @ @ @ @ @ ±* ¤@@ @ @ @ @ @ @ @ @ @ @E Ì@@ @ @ @ @ @ @ @ @= ¡@@ @ @ @ @ @ @ @ @J‬‬

‫وﻫﺬه اﳌﻮﻫﺒﺔ اﻟﻨﺎدرة ﺗﻌﻮد ﻟﺒﻨﺖ ﺧﻠﻴﻔﺔ اﻟﺴﻮﻳﺪي اﻟﺬي ﻛﺎن ﻳﺘﻤﺘﻊ‬ ‫مبﻮﻫﺒﺔ ﺷﻌﺮﻳﺔ‪ ،‬ﻛام ﻛﺎن ﺟﺪﻫﺎ ﻷﻣﻬﺎ أﺣﻤﺪ ﺑﻦ ﺧﻠﻒ اﻟﻌﺘﻴﺒﺔ ﺷﺎﻋﺮاً‬ ‫ﻗﺒﻞ أن ﻳﻜﻮن ﺗﺎﺟﺮ ﻟﺆﻟﺆ‪.‬‬ ‫ﻛﺘﺒﺖ وﻻﻗﺖ اﻫﺘامم اﻟﻨﻘﺎد ﺣﺘﻰ أﻧﻬﻢ اﻋﺘﱪوﻫﺎ ﻣﻦ أﺑﺮز اﻟﻘﺮاﺋﺢ‬ ‫وﻣﻦ ذﻟﻚ اﻟﻴﻮم أﺻﺒﺤﺖ ﺗﻌﺮف ﺑـ "ﻓﺘﺎة اﻟﻌﺮب" وﻫﺬا اﻟﻠﻘﺐ اﻟﺬي اﻟﻨﺴﻮﻳﺔ ﰲ اﻟﺸﻌﺮ اﻟﻨﺒﻄﻲ‪ ،‬وإﱃ ﺟﺎﻧﺐ ﻫﺬا ﻛﺎﻧﺖ ﺗﺘﻤﺘﻊ مبﻜﺎﻧﺔ‬ ‫ﻋﺮﻓﺖ ﺑﻪ مبﺴﺎﺟﻼﺗﻬﺎ اﻟﺸﻌﺮﻳﺔ ﻣﻊ ﺻﺎﺣﺐ اﻟﺴﻤﻮ اﻟﺸﻴﺦ ﻣﺤﻤﺪ ﺑﻦ اﺟﺘامﻋﻴﺔ وأدﺑﻴﺔ ﻣﺮﻣﻮﻗﺔ ﰲ اﻟﺨﻠﻴﺞ‪ ،‬وﻏﻨﻰ ﻣﻦ ﻗﺼﺎﺋﺪﻫﺎ اﻟﻌﺪﻳﺪ‬ ‫راﺷﺪ‪ ،‬ﻣﻨﺤﻬﺎ اﻟﺸﻬﺮة‪ ،‬واﳌﺘﺎﺑﻌﺔ اﻟﺠامﻫريﻳﺔ اﻟﻮاﺳﻌﺔ‪.‬‬ ‫ﻣﻦ اﳌﻐﻨني‪.‬‬

‫‪ ǽƢŞǜǕŌ ƉƪƖǕŌ ǲƃȃŌƈ‬‬

‫‪ ǳǾƫŌƃşŒ ǳǂǾŭǶ‬‬

‫ﺗﻌﺘﱪ "ﻓﺘﺎة اﻟﻌﺮب" ﻋﻮﺷﺔ ﺑﻨﺖ ﺧﻠﻴﻔﺔ ﻣﻦ أواﺋﻞ رواد اﻟﺸﻌﺮ‬ ‫اﻟﻨﺒﻄﻲ‪ ،‬وﻣﻮﻫﺒﺘﻬﺎ اﻟﻔﺬة وﺗﺠﺮﺑﺘﻬﺎ اﳌﻬﻤﺔ‪ ،‬وإﻧﺘﺎﺟﻬﺎ اﻟﻐﺰﻳﺮ‪ ،‬ﻛﺎﻧﺖ‬ ‫وراء ﺗﻜﺮميﻬﺎ ﻣﻦ ﻗﺒﻞ ﺻﺎﺣﺐ اﻟﺴﻤﻮ اﻟﺸﻴﺦ ﻣﺤﻤﺪ ﺑﻦ راﺷﺪ ﰲ اﻟﻌﺎم‬ ‫‪ 1989‬ﺣﻴﺚ ﻗﻠﺪﻫﺎ وﺳﺎم إﻣﺎرة اﻟﺸﻌﺮ‪ ،‬ﰲ ﻋﺎمل اﻟﺸﻌﺮ اﻟﺸﻌﺒﻲ‪.‬‬ ‫ﻛام ﻛﺎن "اﳌﻐﻔﻮر ﻟﻪ" اﻟﺸﻴﺦ زاﻳﺪ ﺑﻦ ﺳﻠﻄﺎن آل ﻧﻬﻴﺎن ﻣﻌﺠﺒﺎً‬ ‫ﺑﺸﻌﺮﻫﺎ‪ ،‬وأرﺳﻞ إﻟﻴﻬﺎ ذات ﻣﺮة ﻣﺸﻜﺎة ﻗﺎل ﻓﻴﻬﺎ‪:‬‬

‫ﺗﺠﺮﺑﺔ "ﻓﺘﺎة اﻟﻌﺮب" اﻟرثﻳﺔ دﻓﻌﺖ اﻟﺒﺎﺣﺜﺔ اﻟﺪﻛﺘﻮرة رﻓﻴﻌﺔ ﻏﺒﺎش‬ ‫رﺋﻴﺴﺔ ﻣﺘﺤﻒ اﳌﺮأة ﰲ ديب‪ ،‬ﻟﺘﺄﻟﻴﻒ ﻛﺘﺎب "ﻋﻮﺷﺔ ﺑﻨﺖ ﺧﻠﻴﻔﺔ‬ ‫اﻟﺴﻮﻳﺪي – اﻷﻋامل اﻟﻜﺎﻣﻠﺔ واﻟﺴرية اﻟﺬاﺗﻴﺔ" وﻓﻴﻪ اﺳﺘﻌﺮﺿﺖ‬ ‫ﻣﺴريﺗﻬﺎ اﻟﺸﻌﺮﻳﺔ‪ ،‬ﺑﻌﺪ أن اﻧﺘﻈﺮت زﻣﻨﺎً ﻟﻠﻮﺻﻮل إﻟﻴﻬﺎ واﻟﺤﺼﻮل‬ ‫ﻋﲆ ﻓﺮﺻﺔ ﻟﻘﺎﺋﻬﺎ ﳌﺪة ﺳﺘﺔ أﺷﻬﺮ‪ ،‬ﻟﺘﺨﺮج ﺑﻌﺪﻫﺎ ﺑﻬﺬا اﻟﻜﺘﺎب اﻟﺬي‬ ‫ﻳﻌﺪ مبﺜﺎﺑﺔ وﺛﻴﻘﺔ أدﺑﻴﺔ ﻣﻬﻤﺔ ﻟﺸﺎﻋﺮة ﻣﺘﻤﻴﺰة‪.‬‬ ‫اﻟﺸﻌﺮ ‪baytelshear‬‬ ‫ﺑﻴﺖ ِ‬

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‫‪ Įŏ ĭŒ ŗŕ‬‬

‫»ﻓﺘﺎة اﻟﻌﺮب«‬ ‫ ‪ŋǽƞũ ǽŨǕŌ ǲƃǾƚǂǕŌ‬‬ ‫ ‪ȁƲƢǜũ ȍǶ‬‬

‫إﻋﺪاد‪ :‬ﺑﺸﺮى ﻋﺒﺪا‪K‬‬

‫أﻣﺴﻜﺖ "ﻓﺘﺎة اﻟﻌﺮب" ﺑﺨﻴﻮط اﻟﺸﻌﺮ اﳌﻠﻮﻧﺔ‪ ،‬ﻟﺘﻄﺮﻳﺰ ﻗﺼﺎﺋﺪﻫﺎ ﺑﺈﺑﺪاع وﺣﺮﻓﻴﺔ‪ .‬واﺳﺘﻄﺎﻋﺖ ﺑﺘﻔﺮدﻫﺎ أن ﺗﺤﻔﺮ اﺳﻤﻬﺎ ﺑﻘﻮة‪ ،‬وﺻﺎر‬ ‫ﻻ ﺑﺪ ﻣﻦ ذﻛﺮ ﺗﺠﺮﺑﺘﻬﺎ ﺣني ﻳﺬﻛﺮ اﻟﺸﻌﺮ ﰲ اﻹﻣﺎرات‪.‬‬ ‫وﻟﻌﻤﻖ اﻷﺛﺮ اﻟﺬي ﺗﺮﻛﺘﻪ ﻛﺎن ﻟﺮﺣﻴﻠﻬﺎ ﰲ اﻟﺴﺎﺑﻊ واﻟﻌﴩﻳﻦ ﻣﻦ ﻳﻮﻟﻴﻮ اﳌﺎﴈ‪ ،‬ﺻﺪى ﺗﺮدد ﰲ اﺳﺘﺤﻀﺎر ﻗﺼﺎﺋﺪﻫﺎ وﻣﺴريﺗﻬﺎ اﻟﺸﻌﺮﻳﺔ‪،‬‬ ‫ﻟﺘﺜﺒﺖ ﺑﻬﺬه اﻟﻘﺼﺎﺋﺪ إﻧﻬﺎ ﺗﺠﺎوزت اﻟﺮﺣﻴﻞ‪ ،‬وﺑﻘﻴﺖ اﻟﺸﺎﻋﺮة اﻷوﱃ اﻟﺘﻲ ﻋﺮﻓﺘﻬﺎ اﻹﻣﺎرات‪ ،‬واﻟﺘﻲ اﺳﺘﻄﺎﻋﺖ ﺑﻔﺮادة ﺷﻌﺮﻫﺎ وﻋﺬوﺑﺘﻪ‬ ‫أن ﺗﺼﻞ ﳌﺠﺎرة "اﳌﻐﻔﻮر ﻟﻪ" اﻟﺸﻴﺦ زاﻳﺪ ﺑﻦ ﺳﻠﻄﺎن آل ﻧﻬﻴﺎن‪ ،‬وﺻﺎﺣﺐ اﻟﺴﻤﻮ اﻟﺸﻴﺦ ﻣﺤﻤﺪ ﺑﻦ راﺷﺪ آل ﻣﻜﺘﻮم ﻧﺎﺋﺐ رﺋﻴﺲ‬ ‫اﻟﺪوﻟﺔ‪ ،‬رﺋﻴﺲ ﻣﺠﻠﺲ اﻟﻮزراء‪ ،‬ﺣﺎﻛﻢ ديب‪ ،‬ﻛام ﺟﺎرت ﻛﺒﺎر ﺷﻌﺮاء اﻟﻨﺒﻂ ﻣﻨﻬﻢ ﻋﻤري ﺑﻦ راﺷﺪ‪ ،‬وأﺣﻤﺪ اﻟﻜﻨﺪي وﻏريﻫام‪.‬‬

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‫اﻟﻌﺪد ‪ ، 70‬ﺳﺒﺘﻤﺒﺮ ‪2018‬‬

‫أم اﻟﺸﻌﺮ‬ ib@@ c@ @j@ @D* @@ @ DR &b@ @ @~@ @ @6&*H Ä@R @ ~@ @|@ @D* Ñ* &b@ @ @~@ @ @6&* @@ @ £@ @ @D&°* d@@ @ @~@ @|@ @D* @@ @m@ @ @ @ ´* eb@@ @~@ @ |@ @ ´b@@ @< i*x@@ @<b@@ @~@ @ {@ @ D* * H x@@ @ @~@ @{@ @D* * @@ ~@ @7¡@@ < @@ £@ @ @ @< Mv@@ @ @ @ @A b@@ @Gv@@ @ @ @ A @@ @ @ @ @ @ @ FQ P(* v@@ @ @ @ ~@ @ 7* ib@@ @ @ @ Jb@@ @ @ @ D* @@ @ @ @ 6H4 N ¢@@ @ Bx@@ @ - ,x@@ @<b@@ @~@ @ 7 @@£@ @ ~@ z@ D* n@@ @ @ @ @ D* ¢@@ @ @ < °(* Rh@@ @~@N@ @{@ @ E b@@ @ E ib@@ @ @±* @@ @C @@ @E x@@ @ ~@ {@ D* ¡@@ @~@ @ 7* h@@ @ C Ãv@@ @ @ @ D* h@@ @ B¡@@ @ D* @@ @ E b@@ @ @£@ @A @@ c@ @ -x@@ E i*2x@@ @ @ @ @ @ ´* ¢@@ @ @ @ 0&b@ @ + 4b@@ @ @ @ @~@ @ @7&°* h@@ =b@@ ~@ @8 Ãv@@ @ @ @ @ < 42b@@ @ @ @ @F b@@ @ @ @ @ @ @ @ j@ E ¤@@ @ @ @ @ @ @ BÉ@@ -b@@ E ib ~|D* ewR @ @ @ @<N R @ @ @E x@@ @ ~@ {@ D* b@@ @ @ @ F @@ C @@£@ @ 0 @@ @ @ @ @²* 24¡@@ @ @ @ E @@ @ E @@ @ @F @@ @ @ CH ib@@ @g@ @ ~@ @ 7 b@@ @ @ @ @£@ @ @Fb@@ @ E&* H b@@ @ @ £@ @ @ @ @@ @ @ C H @@ £@ @ @ @ @ @D* @@ @ @ @ @ 6H4 ¢@@ @ @ @ < b@@ @ @ £@ @ A ¤@@ @ @g@ @ @ @F ib@@c@ J @@ @ @£@ @ @ @D* I¡@@ @ @ @ @ @ D* 2¡@@ @ @ < @@ @ @C4b@@ @ @J

@@ £@ @p@ @/ @@ @c@ @ @ @ B ¯H @@ @ @cQ @ @ @ 0 @@ @ @ E @@ @ @ C ib@@ @ @ @ ´* v@@ @ @ @ + @@ @ @E x@@ @ @~@ @{@ @D* 2¡@@ @ @ < 4b@@ @ ~@ @ @8 £~{ DbC q@@ @c@ @ ~@ @ 8&*H q@@ @ Jx@@ @ D* d@@ @ @E ¯ i*x@@ @<b@@ @~@ @ {@ @ D* &* H x@@ @ @~@ @{@ @D* * ¤@@ @ g@ @ @F* @@ £@ @ @ @ @ @D* ib@@ @ @ @ NQ @ @ @ @ / *¡@ @ @ @j@ @ @ E ¢@@ ~@ @z@ @< b@@ @ @J N ib@@ @c@ @ j@ @ D* @@ @D&b@ @ ~@ @ z@ @ F ¡@@ @ @ @ @ @ D* @@ @ @ @ @D(* b@@ @ @ @JH @@ @£@ @ D&°* v@@ @ @ @ @ @ D*H d@@ @ @~@ @|@ @D* *x@@ @ @ @ @ @ D* (

‫ﺳﺠﺎﻳﺎ_اﻟﺮوح‬# ) ‫ﻣﺮﻳﻢ_اﻟﻨﻘﺒﻲ‬ @sjaya_maryam

baytelshear ‫اﻟﺸﻌﺮ‬ ِ ‫ﺑﻴﺖ‬

ĘıĘŕ

‫ﻣﺰن اﻟﺪﻣﻊ‬ ¤@@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ 0H4 i4b@@ @ @ @ @ @ @ @ @ @ @ @ @ @.H ¤@@ @ @ @ @ @g@ @ @ @ @ @ 04 b@@ @ @ @ @ @ @ @ @ @ @ @ @ @- IÈ@@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ D* 4v@@ @ @ @ @ @ @ @ @ @ @ @ @0 ¤@@ @ @ 0Hx@@ @ @ ~@@ @R @ 8 ib@@ @ @ ~@ @ @ @}@ @ @ @ @ @ @ @FR d@R @ @ @ @ @ @ @ @ @< b@@ @ @ @ @ @ @ @ @Â v@@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ ~@ @ @ @ 6¡@@ @ @ @g@ @ @ @ E ¤@@ @ @ @0Hy@@ @ @ @ @ @ @ @ E @@ @ @ @ @ @ @ Ev@@ @ @ @ @ @ @ D* y@@ @ @ @ @ @ @ @ @ @E É@@ @ @ @ @ @ = @@ @ @ @ @ @ @ @ @ @E @@ @ @ @ @ @ JN x@@ @ @ @ @ @ @ @ @ @ @ @ @g@ @ @ @ @ @ @J ¤@@ @ @ 0¡@@ @ @ @ @ @ @: ¤@@ @ @ @ @ @ @ @+ ¤@@ @ @ @ @ @ @ @ @ @ -v@@ @ @ @ @ @ @ @ @ @ BH&* b@@ @ @ @ @ @ @ @ @ @ @ N @ @ @ @ @ @§ R ¥x@@ @ @ @ @ @ @ @ @ @ @~@ @ @ @ @ @8 @@ @ @ @ @ @ @ @E ¤@@ @ @ 0¡@@ @ @ ~@ @ @ @|@ @ @ @D* rb@@ @ @ @ @ @ @ @ @ + ¡@@ @ @ @ @ @ @ @£@ @ @ @ @ @ @ @ D*H *¡@@ @ @ @ @ @~@ @ @ @ @ @ z@ @ @ @ @ @ D b@@ @ @ @ @ @ @ @ @ @ +b@@ @ @ @ @ @ @ @ @ @ E · ¤@@ @ @ @0¡@@ @ @ @F ¤@@ @ @ @ @ @ @ @EHy@@ @ @ @ @ @ @ @< v@@ @ @ @ @ @ @ @JN x@@ @ @ @ @ @ @ @+ b@@ @ @ @ @ @ @Bx@@ @ @ @ @ @ @A ¢@@ @ @ @ @ @ @ @ @ @ @ @ @ @ < Áy@@ @ @ @ @ @ @ @ @ @ @ @ @ @ 0 ¤@@ @ @ @0¡@@ @ @ @ @ @ @ @ @ @ @ @ D* yR @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ ´* @@ @ @ @ @ @ @ @ @ @ J *¡@@ @ @ @ @ @ j@ @ @ @ @ @ E ¢@@ @ @ @ @ @ @ @ @ @ @ @ < ¤@@ @ @ @ @ @ @ @ @ @ @ @ R @ @ @ @ @ @ J ¤@@ @ @ 0¡@@ @ @ @ @ @ @~@ @ @ @6 e4 X f@@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ 04H É@@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @g@ @ @ - x@@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @´*H ‫ﻫﻨﺪ ﺑﻨﺖ ﻫﻼل‬ @Hind__Aldhaheri

2018 ‫ ﺳﺒﺘﻤﺒﺮ‬، 70 ‫اﻟﻌﺪد‬

‫ ‪ ĮľĵŒ «¯ ĜľōŘ‬‬

‫‪ ŜƉƪǕŌ ǲōŨƳ‬‬

‫ﻣﺤﻤﺪ ﻧﻮر اﻟﺪﻳﻦ‬

‫‪@khaligalb‬‬

‫ﻋﻼﻗﺎيت ﻣﻊ ﺷﻌﺮ "ﻓﺘﺎة اﻟﻌﺮب" أو اﻟﺸﺎﻋﺮة ﻋﻮﺷﺔ ﺑﻨﺖ ﺧﻠﻴﻔﺔ ﺗﻌﻮد إﱃ أول ﻗﺮاءة ﻧﻘﺪﻳﺔ ﻛﺘﺒﺘﻬﺎ‬ ‫ﰲ اﻟﺸﻌﺮ اﻟﻨﺒﻄﻲ‪ ،‬وﻛﺎن ذﻟﻚ ﰲ ﺑﺪاﻳﺔ اﻟﺘﺴﻌﻴﻨﻴﺎت‪ ،‬ومل ﺗﻜﻦ اﻟﺪراﺳﺔ ﺑﺎﻟﻨﺴﺒﺔ ﱄ ﻋﺎدﻳﺔ ﰲ ﺗﻠﻚ‬ ‫اﻷﻳﺎم ﻛﻮين ﻛﻨﺖ أﻣﻴﻞ ﻟﻠﻜﺘﺎﺑﺔ واﻟﻘﺮاءة ﰲ اﻟﺸﻌﺮ اﻟﻌﺮيب اﻟﻔﺼﻴﺢ ﻣﻌﻈﻢ اﻟﻮﻗﺖ‪ ،‬وﻏﺎرق ﺑﻌﻤﻖ ﰲ‬ ‫ﻣﴩوع ﻗﺼﻴﺪة اﻟﻨرث واﻟﺤﺪاﺛﺔ اﻟﺸﻌﺮﻳﺔ‪ ،‬ومل ﻳﻜﻦ اﻟﺸﻌﺮ اﻟﻨﺒﻄﻲ ﺑﺎﻟﻨﺴﺒﺔ ﱄ ﺳﻮى ﻧﺼﻮص ﻏﻨﺎﺋﻴﺔ‬ ‫أﺗﺬوﻗﻬﺎ ﺑﺴﻄﺤﻴﺔ ﻣﻦ دون اﻟﺘﻔ ّﻜﺮ ﰲ ﺟﻮاﻧﺒﻬﺎ اﻹﺑﺪاﻋﻴﺔ‪ ،‬ﻫﺬا ﺑﺎﻟﺮﻏﻢ ﻣﻦ أين ﻛﻨﺖ أﻛﺘﺐ ﻛﺜريا ﻣﻦ‬ ‫اﻟﻘﺼﺎﺋﺪ ﰲ اﻟﺸﻌﺮ اﻟﻨﺒﻄﻲ أﻳﻀﺎً؛ ﺧﻼﺻﺔ اﻟﻘﻮل إين رأﻳﺖ ﰲ ﺷﻌﺮ ﻋﻮﺷﺔ ﺑﻨﺖ ﺧﻠﻴﻔﺔ ﺟﺎﻧﺒني ﻣﻬﻤني‬ ‫ﰲ ﺗﻠﻚ اﻟﻔﱰة‪ ،‬ﻣﺎ ﻛﺎن ﻷراﻫام ﰲ ﺗﺠﺮﺑﺔ ﺷﺎﻋﺮ آﺧﺮ‪ ،‬اﻟﺠﺎﻧﺐ اﻷول ﻳﺘﻌﻠﻖ ﺑﺎﻟﺪاﻓﻊ ﰲ ﺗﻨﺎول ﺷﻌﺮﻫﺎ‬ ‫ودراﺳﺘﻪ ﻛﺸﻌﺮ ﻧﺒﻄﻲ ﺧﺎﻟﺺ _أو ﺷﻌﺒﻲ ﻛام ﻳﺼﻄﻠﺢ ﰲ اﻹﻣﺎرات_ ﺑﻴﻨام ﻛﻨﺖ أﺟﺪ ﰲ ﻧﺼﻮص‬ ‫اﻟﺸﻌﺮاء اﻵﺧﺮﻳﻦ وأﻧﺎ ﻣﻨﻬﻢ اﻧﺰﻳﺎﺣﺎً ﻧﺤﻮ اﻟﺸﻌﺮ اﻟﻔﺼﻴﺢ ﺳﻮاء ﻣﻦ ﻧﺎﺣﻴﺔ اﳌﻔﺮدة واﻷﺧﻴﻠﺔ واﻷﺳﻠﻮب‬ ‫واﻟﺼﻴﺎﻏﺔ؛ أو ﺳﻮاء ﻣﻦ ﻧﺎﺣﻴﺔ اﳌﺴﺘﻮى اﻹﺑﺪاﻋﻲ‪ ،‬ﻟﺬﻟﻚ ﻛﺎﻧﺖ ﻧﺼﻮﺻﻬﺎ ﺑﺎﻟﻨﺴﺒﺔ ﱄ ﻧﺼﻮﺻﺎً ﻣﻐﺮﻳﺔ‬ ‫ﺗﻮﺣﻲ ﱄ ﺑرثاء ﺟامﱄ‪ ،‬ﻣﺎ ﻳﺠﻌﻞ ﻧﴢ اﻟﻨﻘﺪي اﳌﻘﺎﺑﻞ ﺛﺮ ّﻳﺎ ﻛﺬﻟﻚ‪ ،‬وﻟﻜﻦ مل ﻳﻜﻦ ﻫﺬا ﻫﻮ اﻟﺠﺎﻧﺐ أو‬ ‫اﻟﺴﺒﺐ اﻟﻮﺣﻴﺪ‪.‬‬ ‫ﻓﺎﻟﺠﺎﻧﺐ أو اﻟﺴﺒﺐ اﻵﺧﺮ ﺑﺎﻟﻨﺴﺒﺔ ﱄ متﺜﻞ ﰲ ﻛﻤﻴﺔ اﻟﺸﺤﻦ اﻟﺘﻲ ﻛﻨﺖ ُأﺷﺤﻦ ﺑﻬﺎ ﺟﺮاء اﺳﺘامﻋﻲ‬ ‫أو ﻗﺮاءيت ﻟﻘﺼﺎﺋﺪﻫﺎ‪ ،‬ﻷين ﻛﻨﺖ أﺟﺪ ﻧﻔﴘ أﻣﺎم وﺟﺒﺔ ﺷﻌﺮﻳﺔ دﺳﻤﺔ ﻻ أﻋﺮف ﻛﻴﻒ أﺗﺬوق ﺟﻤﻴﻊ‬ ‫أﺑني ﻣﻮاﻃﻦ اﻟﺠامل اﻟﻜﺜرية واﳌﱰاﻛﻤﺔ ﰲ ﻣﺎ أﺗﻨﺎول ﻣﻦ أﺑﻴﺎت ﻟﻬﺎ‪،‬‬ ‫ﻟﺬاﺗﻬﺎ‪ ،‬ﻟﺬا ﻛﺎن ﻣﻦ اﳌﻬﻢ أن ّ‬ ‫وﻫﺬه ﺻﻔﺔ ﻗﺪ ﻻ ﺗﺠﺪﻫﺎ ﰲ ﻛﺜري ﻣﻦ اﻷﺷﻌﺎر ‪ ،‬ﻓﻤﻦ ﺷﻌﺮ ﻋﻮﺷﺔ ﺑﻨﺖ ﺧﻠﻴﻔﺔ ﺗﺨﺮج اﻟﺠامﻟﻴﺎت‬ ‫وﺗﺼﻞ إﻟﻴﻚ وﺣﺪﻫﺎ ﻣﻦ دون ﺗﺤﻤﻞ ﻋﻨﺎء اﻟﺘﻔﺤﻴﺺ واﻟﺘﺄﻣﻞ‪ ،‬ﺑﻴﻨام ﺗﺤﺘﺎج إﱃ أن ﺗﻐﻮص ﰲ أﺷﻌﺎر‬ ‫اﻵﺧﺮﻳﻦ يك ﺗﺴﺘﺨﺮج ﻣﻮاﻃﻦ اﻟﺠامل وﺗﻔﴪﻫﺎ ﻟﻠﻘﺮاء‪ ،‬وﻫﺬه دﻻﻟﺔ واﺿﺤﺔ ﻋﲆ وﺟﻮد ﺑﺼﻤﺔ ﺧﺎﺻﺔ‬ ‫ﻟﻜﻠامﺗﻬﺎ اﻟﺘﻲ ﺗﻼﻣﺲ اﻟﻮﺟﺪان وﺗﺴﺤﺮ اﻷﻟﺒﺎب‪.‬‬ ‫ﺑﺮﺣﻴﻞ ﻓﺘﺎة اﻟﻌﺮب ﻋﻦ دﻧﻴﺎﻧﺎ اﻟﻔﺎﻧﻴﺔ‪ ،‬ﻓﺈﻧﻨﺎ ﻧﻄﻮي ﺻﻔﺤﺔ ﻣﻬﻤﺔ ﻣﻦ ﺗﺎرﻳﺦ اﻟﺸﻌﺮ اﻟﺸﻌﺒﻲ ﰲ‬ ‫اﻹﻣﺎرات‪ ،‬وﻫﻲ ﺻﻔﺤﺔ ﺿ ّﻤﺖ ﻛﺒﺎر ﺷﻌﺮاء اﻟﻘﺮن اﻟﻌﴩﻳﻦ اﻟﺬﻳﻦ رﺳﺨﻮا أﻗﺪام اﻟﺸﻌﺮ اﻹﻣﺎرايت ﰲ‬ ‫اﻷدب اﻟﺸﻌﺒﻲ‪ ،‬وﻛﺎن ذﻟﻚ ﰲ ﻟﻴﻠﺔ ﻧﺎﻣﺖ ﻓﻴﻬﺎ ﻋﻮﺷﺔ ﺑﻨﺖ ﺧﻠﻴﻔﺔ ﺗﺤﺖ اﻟرثى وﺣﺰن اﻟﻘﻤﺮ ﺑﺨﺴﻮﻓﻪ‬ ‫وﻫﻮ اﻟﻘﻤﺮ ﻧﻔﺴﻪ اﻟﺬي ﺣﻠﻤﺖ ﻋﻮﺷﺔ أﻧﻬﺎ اﺑﺘﻠﻌﺘﻪ ذات ﺣﻠﻢ‪ ،‬ﻛﺘﺒﺖ ﺑﻌﺪﻫﺎ ﻗﺼﺎﺋﺪ ﻟﻦ ﺗﻨﻤﺤﻲ ﻣﻦ‬ ‫ذاﻛﺮة اﻟﺸﻌﺮ اﻟﺸﻌﺒﻲ ﰲ اﻹﻣﺎرات‪.‬‬ ‫اﻟﺸﻌﺮ ‪baytelshear‬‬ ‫ﺑﻴﺖ ِ‬

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‫ ‪¥ũľğı‬‬ ‫‪ ǳƮǕōŞǕŌ ǳǘǈżǕŌ‬‬

‫وﻳﻘﻮل اﻟﻜﺎﺗﺐ واﻟﺸﺎﻋﺮ اﻹﻣــﺎرايت ﻋﲇ‬ ‫اﻟﻌﺒﺪان‪ :‬ﰲ رﺣﻴﻞ "ﻓﺘﺎة اﻟﻌﺮب" ﻋﻮﺷﻪ‬ ‫ﺑﻨﺖ ﺧﻠﻴﻔﺔ ﺑﻦ أﺣﻤﺪ اﻟﺴﻮﻳﺪي ﻻ‬ ‫ميﻠﻚ اﳌﺮء إﻻ أن ﻳﺪﻋﻮ اﻟﻠﻪ ﻟﻬﺎ ﺑﺎﻟﺮﺣﻤﺔ‬ ‫واﳌﻐﻔﺮة ‪ ،‬وأن ُﻳﺜﻴﺒﻬﺎ اﻟﻠﻪ ﻋﲆ ﻣﺎ ﻗﺪﻣﺖ‬ ‫ﻟﻮﻃﻨﻬﺎ وﻣﺠﺘﻤﻌﻬﺎ ﻣﻦ اﻟﺤﻜﻤﺔ اﻟﺒﺎﻟﻐﺔ‪،‬‬ ‫واﻷدب اﻟﺮﻓﻴﻊ‪ ،‬وﺟﻤﻴﻞ اﻟﺨﻄﺎب‪،‬‬ ‫ﻛﻴﻒ ﻻ وﻗﺼﺎﺋﺪﻫﺎ ﺗﺠﻤﻊ ﺑني ﻓﺨﺎﻣﺔ‬ ‫اﻷﻟﻔﺎظ وﺟﺰاﻟﺘﻬﺎ‪ ،‬وﺑني اﻟﺮﻗﺔ واﻟﻌﺎﻃﻔﺔ‬ ‫اﻟﺠﻴﺎﺷﺔ اﳌﺼﻄﺒﻐﺔ ﺑﺎﻟﺸﺠﻦ اﻟﺠﻤﻴﻞ‬ ‫ﰲ ﻣﻌﺎﻧﻴﻬﺎ وﻣﻮﺿﻮﻋﺎﺗﻬﺎ‪ ،‬وميﺘﺎز ﺗﻨﺎوﻟﻬﺎ‬ ‫اﻷديب ﳌﺨﺘﻠﻒ اﻟﻘﻀﺎﻳﺎ ﺑﺎﻟﺒﺼري ِة واﻟﺮزاﻧﺔ‬ ‫ﻣﻦ دون إﻏﻔﺎلٍ ﻟﻨﻐﻤﺔ اﻟﻠﻔﻆ ورﻧني‬ ‫اﻷوزان واﻟــﻘــﻮاﰲ‪ ،‬وﰲ رأﻳــﻲ اﻟﺨﺎص‬ ‫أﻋﺘ ُﱪ ﻋﻮﺷﻪ ﺑﻨﺖ ﺧﻠﻴﻔﺔ اﻟﺴﻮﻳﺪي ﻣﻦ‬ ‫أﻓﻀﻞ ﺷﺎﻋﺮات اﻹﻣﺎرات ﰲ ﺳﺒﻚ ﻣﻄﺎﻟﻊ‬ ‫اﻟﻘﺼﺎﺋﺪ ﺑﺎﻷﻟﻔﺎظ اﻟﺠﻤﻴﻠﺔ واﳌﻌﺎين‬ ‫ﻗﺪرة ٌ‬ ‫اﻟﺠﻠﻴﻠﺔ‪ ،‬وﻛﺎن ﻟﻬﺎ رﺣﻤﻬﺎ اﻟﻠﻪ ٌ‬ ‫ﺑﺎرﻋﺔ‬ ‫ﻋﲆ ُﺣﺴﻦ ا ُﳌﺸﺎﻛﺎ ِة وا ُﳌﺠﺎراة‪ ،‬وﻻ أﺷﻬ َﺮ‬ ‫ﻣﻦ ُﻣﺴﺎﺟﻼﺗﻬﺎ اﻟﺸﻌﺮﻳﺔ ﻣﻊ ﺻﺎﺣﺐ‬ ‫‪ǣǾƳ ŧƗōƫ Ɖƚƫ ǻǔƫ ƃǥōƗ‬‬

‫وﻳﺆﻛﺪ اﻟﺸﺎﻋﺮ واﻟﺮاوي ﺳﻴﻒ ﺑﻮ ﺳﻠﻴامن‬ ‫أن اﻟﺸﺎﻋﺮة اﻹﻣﺎراﺗﻴﺔ ﻋﺎﺋﺸﺔ ﺑﻨﺖ ﺧﻠﻴﻔﺔ‬ ‫ﻫﻲ اﻟﺸﺎﻋﺮة اﻟﺘﻲ اﻧﻘﺎدت ﻟﻬﺎ ﻋﺼ ّﻴﺎت‬ ‫اﻷﻟﻔﺎظ اﳌﺴ ّﻮﻣﺔ وﺳﻠﺲ ﻟﻬﺎ ﻗﻴﺎد اﳌﻌﺎين‬ ‫اﳌﺤﻜﻤﺔ‪ ،‬ﻛﺎﻧﺖ ﺗﻌﺮف ﺳﺎﺑﻘﺎً ﺑﻠﻘﺐ "ﻓﺘﺎة‬ ‫اﻟﺨﻠﻴﺞ"‪ ،‬واﺧﺘﺎر ﻟﻬﺎ ﻟﻘﺐ "ﻓﺘﺎة اﻟﻌﺮب"‬ ‫ﺻﺎﺣﺐ اﻟﺴﻤﻮ اﻟﺸﻴﺦ ﻣﺤﻤﺪ ﺑﻦ راﺷﺪ آل‬ ‫ﻣﻜﺘﻮم ﺑﻌﺪ ﺗﻜﺮميﻬﺎ وﺗﻘﻠﻴﺪﻫﺎ وﺳﺎم إﻣﺎرة‬ ‫اﻟﺸﻌﺮ ﰲ ﻋﺎمل اﻟﺸﻌﺮ اﻟﺸﻌﺒﻲ ﰲ ﻋﺎم‬ ‫‪ .1989‬وﻫﻲ رﺣﻤﻬﺎ اﻟﻠﻪ ﻣﻦ رواد اﻟﺸﻌﺮ‬ ‫اﻟﻨﺒﻄﻲ ﰲ اﻹﻣﺎرات‪ ،‬وﻛﺎﻧﺖ ﻣﻮﻟﻌﺔ ﺑﺄﺷﻌﺎر‬ ‫اﻟﺸﻌﺮاء اﻟﻨﺒﻄﻴني وﻋﲆ رأﺳﻬﻢ اﺑﻦ ﻇﺎﻫﺮ‬ ‫اﳌﺎﺟﺪي ﺷﺎﻋﺮ اﻹﻣﺎرات وراﺷﺪ اﻟﺨﻼوي‬ ‫ﺷﺎﻋﺮ اﻟﺠﺰﻳﺮة اﻟﻌﺮﺑﻴﺔ وﺗﺤﺐ ﻣﻦ اﻷﺷﻌﺎر‬

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‫اﻟﻌﺪد ‪ ، 70‬ﺳﺒﺘﻤﺒﺮ ‪2018‬‬

‫اﻟﺴﻤﻮ اﻟﺸﻴﺦ ﻣﺤﻤﺪ ﺑﻦ راﺷﺪ آل ﻣﻜﺘﻮم‬ ‫رﻋﺎه اﻟﻠﻪ اﻟﺘﻲ ُﺗ َﻌﺪ اﻵن ذﺧري ًة ﺟﺎﻣﻌ ًﺔ‬ ‫ﻵداب اﻟﺸﻌﺮ واﻟﺨﻄﺎب اﻟﺮﻓﻴﻊ‪ ،‬وﻋﺰاؤﻧﺎ‬ ‫ﺑﻌﺪ ﻫﺬا اﻟﻔﻘﺪ اﳌﺆمل ﰲ ﺣﻔﻆ وﺗﻮﺛﻴﻖ‬ ‫ودراﺳــﺔ ﻗﺼﺎﺋﺪ "ﻓﺘﺎة اﻟﻌﺮب" دراﺳ ًﺔ‬ ‫ﻧﺨﺮج ﺑﺎﻟ ِﻘ َﻴﻢ اﻟﺠامﻟﻴﺔ‬ ‫ﺗﺬوﻗ ّﻴ ًﺔ ﺟﺎدّة‪ ،‬يك‬ ‫َ‬ ‫واﻷدﺑﻴﺔ اﻟﺘﻲ ﺣﺮﺻﺖ اﻟﺸﺎﻋﺮة رﺣﻤﻬﺎ‬ ‫اﻟﻠﻪ ﻋﲆ اﻟﺘﻌﺒري ﻋﻨﻬﺎ وﺳﺒﻜﺖ اﻷﻟﻔﺎظ‬ ‫ُ‬ ‫إﻳﺼﺎل ﻫﺬا‬ ‫ﺑﺎﳌﻌﺎين ﰲ ﺳﺒﻴﻞ ذﻟﻚ‪ ،‬وﻋﻠﻴﻨﺎ‬ ‫اﻟﺬوق اﻟﺮﻓﻴﻊ ﰲ ﺗﻠﻚ اﻟ ِﻘ َﻴﻢ اﻷدﺑﻴﺔ إﱃ‬ ‫اﻷﺟﻴﺎل اﻹﻣﺎراﺗﻴﺔ اﻟﺠﺪﻳﺪة‪ ،‬وﻫﺬا ﻫﻮ‬ ‫ُ‬ ‫اﻷﻏﻨﻰ واﻷﺟﻤﻞ‪.‬‬ ‫اﻹرث‬ ‫ٰ‬ ‫اﻟﺸﻌﺮ اﻟﻔﺼﻴﺢ وﻗﺮأت دواوﻳﻦ اﳌﺘﻨﺒﻲ‬ ‫وأيب متﺎم وأيب ﻓﺮاس اﻟﺤﻤﺪاﻧـﻲ ‪.‬‬ ‫ورﻏﻢ اﻟﻈﺮوف اﻟﺘﻲ ﻛﺎﻧﺖ متﺮ ﺑﻬﺎ اﳌﺮأة‬ ‫ﰲ ذﻟﻚ اﻟﺰﻣﻦ إﻻ أﻧﻬﺎ متﻜﻨﺖ ﻣﻦ ﺗﻌﻠﻢ‬ ‫اﻟﻘﺮاءة واﻟﻜﺘﺎﺑﺔ وﻗــﺮأت ﺑﻔﻬﻢ وذﻛﺎء‪،‬‬ ‫وﻛﺎن ﺑﻴﺖ اﻟﻌﺎﺋﻠﺔ ﻫﻮ ﻣﺪرﺳﺘﻬﺎ اﻷوﱃ‬ ‫ﻷﻧﻬـﺎ ﻧﺸﺄت ﰲ ﺑﻴﺖ ﻋﻠﻢ وﺛﻘﺎﻓﺔ‪ .‬وﻗﺪ‬ ‫ﺗﺮﻛﺖ ﻟﻨﺎ إرﺛﺎً ﻛﺒرياً ﻣﻦ اﻷدب واﻟﺸﻌﺮ‬ ‫اﻟﺸﻌﺒﻲ اﻟــﺬي ﺳﻴﻈﻞ ﻳــﺪرس وﻳــﺆرخ‬ ‫ﻛﻨﻤﻮذج أديب ﺛــﺮي ﺷﺎﻫﺪ ﻋﲆ ﻋﴫ‬ ‫ﻋﺎﺷﺖ ﻓﻴﻪ‪ .‬ﻓﺎﺳﺘﺤﻘﺖ ﺑﺤﻖ أن ﺗﻜﻮن‬ ‫أم اﻟﺸﺎﻋﺮات ﰲ اﻹﻣــﺎرات وراﺋــﺪة أوﱃ‬ ‫ﻣﻦ رواد اﻟﺸﻌﺮ اﻟﺸﻌﺒﻲ اﻹﻣﺎرايت‪ ،‬رﺣﻤﻬﺎ‬ ‫اﻟﻠﻪ وأﺳﻜﻨﻬﺎ ﻓﺴﻴﺢ ﺟﻨﺎﺗﻪ وأﻟﻬﻢ ذوﻳﻬﺎ‬ ‫وأﻟﻬﻤﻨﺎ اﻟﺼﱪ واﻟﺴﻠﻮان‪.‬‬

‫‪ ƙȃōƚƁ ōǥƃȃōƚǃ ŧǔǘŽ‬‬ ‫‪ ǳǿǷƮǔǕŌ ǳƯōǾƚǕŌ‬‬

‫ﻳﻘﻮل اﻟﻜﺎﺗﺐ واﻟﺸﺎﻋﺮ ﺣﻤﻴﺪ‬ ‫اﻟــﺮﺋــﻴــﴘ‪ :‬ﻋــﻮﺷــﺔ ﺑﻨﺖ ﺧﻠﻴﻔﺔ‬ ‫رﺣﻤﻬﺎ اﻟﻠﻪ ﺗﻌﺪ ﻋﻼﻣﺔ ﻣﻀﻴﺌﺔ ﰲ‬ ‫ﺗﺎرﻳﺦ اﻷدب اﻟﺸﻌﺒﻲ اﻹﻣﺎرايت‪ ،‬ﻓﻼ‬ ‫ﻳﺬﻛﺮ اﻟﺸﻌﺮ اﻟﻨﺒﻄﻲ ﰲ اﻻﻣﺎرات‬ ‫إﻻ وﻳﺬﻛﺮ اﺳﻤﻬﺎ ﻣﻌﻪ‪ ،‬ﻓﺎﻟﺮاﺣﻠﺔ‬ ‫ﻣﻦ أواﺋﻞ اﻟﺸﺎﻋﺮات اﻟﻼيئ ﺣﻤﻠﻦ‬ ‫ﻗﺼﺎﺋﺪﻫﻦ ﺧﺼﺎﺋﺺ اﻟﺼﻴﺎﻏﺔ‬ ‫اﻟﻠﻐﻮﻳﺔ وﺣﺴﻦ اﻟﺴﺒﻚ وﻋﻤﻖ‬ ‫اﳌﻌﺎين اﻟﻐﻨﻴﺔ اﳌﺸﺘﻤﻠﺔ ﻋﲆ ﺛﻘﺎﻓﺔ‬ ‫ﻏﺰﻳﺮة واﻃﻼع واﺳﻊ‪ ،‬اﺷﺘﻬﺮ ﺷﻌﺮﻫﺎ‬ ‫ﺑﺎﻟﺤﻜﻤﺔ‪ ،‬وأﺟــﺎدت ﰲ اﻟﻮﺻﻒ‬ ‫واﻟﻮﺟﺪاﻧﻴﺎت واﻻﺟﺘامﻋﻴﺎت‪ .‬وﰲ‬ ‫ﻧﺘﺎﺟﻬﺎ اﻟﺸﻌﺮي ﺗﻮﺛﻴﻖ ﻣﺘﻘﻦ‬ ‫ﻟﻠﻬﺠﺎت اﳌﺤﻠﻴﺔ واﻷﻣﻜﻨﺔ واﳌﻈﺎﻫﺮ‬ ‫اﻟﺤﻴﺎﺗﻴﺔ اﻻﺟﺘامﻋﻴﺔ اﳌﻌﱪة ﻋﻦ‬ ‫روح وأﺻﺎﻟﺔ اﻟﻬﻮﻳﺔ اﻹﻣﺎراﺗﻴﺔ‪ .‬رﺣﻢ‬ ‫اﻟﻠﻪ اﻟﻔﻘﻴﺪة وأﻟﻬﻢ ذوﻳﻬﺎ اﻟﺼﱪ‬ ‫واﻟﺴﻠﻮان‪.‬‬

‫‪ ǚōǙƋǕŌ ƂǷŴǿ ǚŐ ŝƪƛ‬‬ ‫‪ōǤǔŬǘş‬‬

‫‪ ǲƃǕōƀǕŌ ƉƪƖǕŌ ǳǝǷǂǿŐ‬‬

‫ﻳﻘﻮل اﻟﺸﺎﻋﺮ اﻹﻋﻼﻣﻲ راﺷﺪ ﴍار‪ :‬ﺣني‬ ‫ﻧﺴﺘﺤﴬ ﰲ ﺣﺪﻳﺜﻨﺎ أﻳﻘﻮﻧﺔ اﻟﺸﻌﺮ اﻟﺨﺎﻟﺪة‪،‬‬ ‫وﺟﻮﻫﺮة اﻟﺜﻘﺎﻓﺔ اﻹﻣﺎراﺗﻴﺔ وأم اﻟﺸﻌﺮ‬ ‫اﻟﻨﺒﻄﻲ ﰲ اﻹﻣــﺎرات‪ ،‬اﻟﺸﺎﻋﺮة اﻟﺮاﺣﻠﺔ‬ ‫ﻋﻮﺷﺔ ﺑﻨﺖ ﺧﻠﻴﻔﺔ اﻟﺴﻮﻳﺪي رﺣﻤﻬﺎ اﻟﻠﻪ‬ ‫ﺗﻌﺎﱃ )ﻓﺘﺎة اﻟﻌﺮب(‪ ،‬واﻟﺘﻲ ﻛﺮﻣﻬﺎ ﺻﺎﺣﺐ‬ ‫اﻟﺴﻤﻮ اﻟﺸﻴﺦ اﻟﺪﻛﺘﻮر ﺳﻠﻄﺎن ﺑﻦ ﻣﺤﻤﺪ‬ ‫اﻟﻘﺎﺳﻤﻲ ﺿﻤﻦ اﻟﺮواد اﳌﻜﺮﻣني ﰲ ﻣﻬﺮﺟﺎن‬ ‫اﻟﺸﺎرﻗﺔ ﻟﻠﺸﻌﺮ اﻟﺸﻌﺒﻲ ﻋﺎم ‪2010‬م‪ ،‬ﺗﻄﻞ‬ ‫ﻋﻠﻴﻨﺎ إﻧﺠﺎزاﺗﻬﺎ اﻟﺨﺎﻟﺪة وإﺳﻬﺎﻣﺎﺗﻬﺎ اﻟﻜﺒرية‬ ‫اﻟﻔﺎﻋﻠﺔ واﻟﺘﻲ ﺗﺮﻛﺖ أﺛﺮاً ﻋﻤﻴﻘﺎً ﰲ ﺗﻄﻮﻳﺮ‬ ‫اﻟﺸﻌﺮ اﻟﻨﺒﻄﻲ ﻋﲆ وﺟﻪ اﻟﺨﺼﻮص‪ ،‬وذﻟﻚ‬ ‫ﻣﻦ ﺧﻼل ﻟﻐﺘﻬﺎ اﻟﺸﻌﺮﻳﺔ اﻟﺤﻴﺔ اﻟﺮﺷﻴﻘﺔ‬ ‫واﻟﻌﻤﻴﻘﺔ‪ ،‬ﻫﺬه اﻹﻧﺠﺎزات اﻟﺘﻲ وﺻﻠﺖ‬ ‫آﺛﺎرﻫﺎ وﻇﻼﻟﻬﺎ أرﺟﺎء اﻟﻌﺎمل اﻟﻌﺮيب ﻛﻠﻪ‪،‬‬ ‫ﻣﺘﺠﺎوزة ﺣــﺪود ﺧﻠﻴﺠﻨﺎ اﻟﻌﺮيب‪ ،‬ﻣام‬ ‫ﺟﻌﻠﻬﺎ ﻣﺤﻂ إﻋﺠﺎب وﺗﻘﺪﻳﺮ اﳌﻔﻜﺮﻳﻦ‬ ‫واﻷدﺑﺎء واﻟﻨﻘﺎد اﻟﻌﺮب‪ ،‬ﻋﻼوة ﻋﲆ أﺛﺮﻫﺎ‬

‫اﻟﻜﺒري اﻟﺬي مل ﻳﻘﺘﴫ ﻋﲆ اﻟﺠﺎﻧﺐ اﻷديب‬ ‫واﻟﻔﻜﺮي واﻟﺜﻘﺎﰲ ﻓﺤﺴﺐ‪ ،‬ﺑﻞ ﺗﺠﺎوزه‬ ‫إﱃ اﻟﺠﺎﻧﺐ اﻻﺟﺘامﻋﻲ واﻹﻧﺴﺎين‪ ،‬ﻣﻦ‬ ‫ﺧــﻼل ﻃﺒﻴﻌﺔ اﳌﻮﺿﻮﻋﺎت اﻟﻮﺟﺪاﻧﻴﺔ‬ ‫واﻹﻧﺴﺎﻧﻴﺔ اﻟﻜﺜرية اﻟﺘﻲ ﺗﻀﻤﻨﺘﻬﺎ إﺑﺪاﻋﺎﺗﻬﺎ‬ ‫اﻟﺸﻌﺮﻳﺔ‪ ،‬ﻫﺬا اﻟﻜﻢ اﻟﻬﺎﺋﻞ ﻣﻦ اﻻﻣﺘﻴﺎزات‬ ‫واﻹﻣﻜﺎﻧﺎت واﳌﻨﺠﺰات اﻟﺮاﺋﺪة اﻟﺘﻲ ﺗﺮﻛﺘﻬﺎ‬ ‫اﻟﺮاﺣﻠﺔ اﻟﺸﺎﻋﺮة ﻋﻮﺷﺔ‪.‬‬

‫‪ɶ‬‬ ‫‪ƉƪƖǕŌ ǖȎƫ‬‬ ‫‪Őɳ‬‬

‫وﺗﻘﻮل اﻟﺸﺎﻋﺮة ﺳﻠﻴﻤﺔ اﳌﺰروﻋﻲ ﻣﺪﻳﺮة‬ ‫ﺑﻴﺖ اﻟﺸﻌﺮ اﻟﺘﺎﺑﻊ ﻟﺠﻤﻌﻴﺔ اﻟﻔﺠرية‬ ‫اﻻﺟﺘامﻋﻴﺔ اﻟﺜﻘﺎﻓﻴﺔ‪ :‬اﻟﺸﺎﻋﺮة ﻋﻮﺷﺔ‬ ‫ﺑﻨﺖ ﺧﻠﻴﻔﺔ اﻟﺴﻮﻳﺪي أﺣﺪ أَﻋﻼم ّ‬ ‫اﻟﺸﻌﺮ‬ ‫اﻟﺬي ﺗﻮارﺛﺘﻪ اﻷﺟﻴﺎل‪ ،‬وﺗﻐﻨّﺖ ﺑﻪ اﻷﻟﺴﻦ‪،‬‬ ‫وﺗﻨﺎدﻣﺖ ﺑﻪ اﻟﻘﻠﻮب‪ ،‬وﺣﻔﻈﺘﻪ اﻟﺼﺪور‪.‬‬ ‫ﺳﻴﻈﻞ اﻟﺘﺎرﻳﺦ اﻻﻣــﺎرايت ﻳﺬﻛﺮ وﻳﺨﻠﺪ‬ ‫ﻫﺬه اﻟﺸﺨﺼﻴﺔ ﺣﺘﻰ ﻳﺘﻌﺮف ﻋﻠﻴﻬﺎ ﻣﻦ‬ ‫ﻻ ﻳﻌﺮﻓﻬﺎ وﻳﺼﺒﺢ اﳌﺄﺛﻮر ﻣﻦ ﻗﻮﻟﻬﺎ ﰲ‬ ‫ﺗﺎرﻳﺦ اﻟﻮﻃﻦ ﻷﻧﻬﺎ اﺑﻨﺔ اﻟﻮﻃﻦ وﻋﻄﺎﺋﻪ‬ ‫وﻗﻴﻤﺔ ﻋﺮاﻗﺘﻪ وﻣﺎﺿﻴﻪ‪ .‬وﺳﻴﺴﻬﻢ ﻧﺘﺎﺟﻬﺎ‬ ‫اﻹﺑﺪاﻋﻲ ﰲ اﻟﺘﻌﺮﻳﻒ ﺑﺎﳌﻔﺮدة اﻹﻣﺎراﺗﻴﺔ‬ ‫واﻟﺘﻌﻤﻖ ﰲ ﻣﻔﺎﻫﻴﻤﻬﺎ اﻟﺠامﻟﻴﺔ اﳌﻮﻇﻔﺔ‬ ‫ِﺷﻌﺮاً ﻋﲆ ﻟﺴﺎن "ﺷﺎﻋﺮة" وﻫــﺬه ﻣﻦ‬ ‫اﻟﻨﻮادر اﻟﺘﻲ ﻗﻠام ﺗﺤﺪث ﰲ اﳌﻨﻄﻘﺔ‪،‬‬ ‫ﻛام أن ﻫﻨﺎك ﻗﺼﺎﺋﺪ ﻟﻠﺸﺎﻋﺮة ﺗﻮ ّﺛﻖ‬

‫وﻳﻘﻮل ﻣﺤﻤﺪ اﻟﻘﺼري ﻣﺪﻳﺮ اﻹدارة‬ ‫اﻟﺜﻘﺎﻓﻴﺔ ﺑﺪاﺋﺮة اﻟﺜﻘﺎﻓﺔ ﺑﺎﻟﺸﺎرﻗﺔ‪:‬‬ ‫اﻟﺸﺎﻋﺮة‪ ،‬اﻟﺘﻲ ُوﻟﺪت ﰲ اﳌﻮﻳﺠﻌﻲ‬ ‫ﺑﺎﻟﻌني ﰲ اﻹﻣﺎرات‪ ،‬واﻋﺘﺰﻟﺖ اﻟﺸﻌﺮ‬ ‫ﰲ اﻟﺘﺴﻌﻴﻨﻴﺎت‪ ،‬رﺣﻠﺖ ﺑﻌﺪ أن ﻣﻸت‬ ‫اﻟﻮﺟﺪان واﻟﻘﻠﻮب واﻷﺳامع ﺑﻘﻮاف‬ ‫ﻣﻦ اﻟﺼﻌﺐ أن ﻳﺠﻮد اﻟﺰﻣﺎن مبﺜﻠﻬﺎ‪،‬‬ ‫ﻓﻜﺎن رﺣﻴﻠﻬﺎ ﺧﺴﺎر ًة ﻛﺒرية‪ ،‬ﻟﻴﻔﻘﺪ‬ ‫اﻟﻮﺳﻂ اﻟﺸﻌﺮي اﻹﺑﺪاﻋﻲ راﺋﺪ ًة ﻣﻦ‬ ‫ر ّواد اﻟﻜﻠﻤﺔ وﻓﺎرﺳ ًﺔ ﻛﺒرية ﻗﺪّﻣﺖ‬ ‫ّ‬ ‫وﺳﺘﻈﻞ ﻛﻠامﺗﻬﺎ ﺗﱰدد ﻋﲆ‬ ‫ﻛﺜرياً‪،‬‬ ‫اﻷﻟﺴﻨﺔ ﻣﺎ ﺑﻘﻴﺖ اﻟﺤﻴﺎة وﺑﻘﻲ اﻟﻮﻓﺎء‬ ‫ﻟﻬﺆﻻء اﻟــﺮ ّواد اﻟﻜﺒﺎر اﻟﺬﻳﻦ ﺻﻨﻌﻮا‬ ‫ﻋﺎﳌﺎً ﻣﻦ اﻹﺑﺪاع ﻣﺎ ﻧﺰال ﻧﺘﻔ ّﻴﺄ ﻇﻼﻟﻪ‬ ‫اﻟﻴﻮم‪ .‬ﻟﻘﺪ اﺷﺘﻐﻠﺖ اﻟﺸﺎﻋﺮة ﻋﻮﺷﻪ‬ ‫ﻋﲆ اﳌﻌﻨﻰ وإﺑﺮاز اﻟﺼﻮرة اﻟﺸﻌﺮ ّﻳﺔ‬ ‫اﻟﻔﻄﺮﻳﺔ واﻟﺪﻓﻘﺎت اﻟﺤﺎرة اﻟﻘﻮ ّﻳﺔ‪،‬‬ ‫ﻓﻬﻲ ﺗﺸﺘﻐﻞ ﻋﲆ ﻫــﺬه اﳌﺴﺎﺣﺔ‬ ‫اﻟﻔﻨ ّﻴﺔ‪ ،‬ﺑﺒﺴﺎﻃﺔ‪ ،‬ﻷ ّﻧﻬﺎ ﻻ ﺗﺴﺘﻄﻴﻊ‬ ‫أن ﺗﺨﺘﺎر ﻟﻬﺠ ًﺔ ﻏري ﻟﻬﺠﺘﻬﺎ‪ ،‬أو‬ ‫ﺗﺒﺪل أﻟﻔﺎﻇﺎً ﺑﺄﻟﻔﺎظ ﺣﺪاﺛ ّﻴﺔ‪ ،‬أو أن‬ ‫ﺗﺼﻄﻨﻊ‪ ،‬ﻟﻜﻨّﻬﺎ اﺳﺘﻄﺎﻋﺖ أن ﺗﺒﺪع ﰲ‬ ‫ﻣﺴﺎﺣﺔ واﺳﻌﺔ وﻗ ّﻮة ﻓﻨ ّﻴﺔ ﺑﱰاﻛﻴﺐ‬ ‫ﻟﻔﻈ ّﻴﺔ ﻗﺪميﺔ‪ ،‬ﻓﺎﺳﺘﺤﻘﺖ أن ﺗﻜﻮن‬ ‫أم اﻟﺸﻌﺮ ﰲ اﻹﻣﺎرات‪.‬‬

‫ﻟﻔﱰات زﻣﻨﻴﺔ ﻣﻌﻴﻨﺔ‪ ،‬ﻧﺴﺘﺸﻒ ﻣﻦ‬ ‫ﺧﻼﻟﻬﺎ أﺣﺪاﺛﺎً‬ ‫وﻣﻮاﺿﻴﻊ أﺛﺮت ﺑﺎﳌﺠﺘﻤﻊ‬ ‫َ‬ ‫زﻣﻦ ﻣﺎ‪ ،‬ﻓﻬﺬه اﻟﺘﺪارﺳﺎت‬ ‫اﻹﻣــﺎرايت ﰲ ٍ‬ ‫واﻷﺑﺤﺎث ﻫﻲ ﺗﻮﺛﻴﻖ ﺗﺎرﻳﺨﻲ ﳌﺎ ﻋﺎﴏﺗﻪ‬ ‫وﺷﻬﺪﺗﻪ اﻟﺸﺎﻋﺮة "ﻓﺘﺎة اﻟﻌﺮب" ﻣﻦ ﺧﻼل‬ ‫ﻗﺼﺎﺋﺪﻫﺎ‪ ،‬وإﺑ ـﺮاز ﻟﺠامﻟﻴﺎت وﻃﺒﻴﻌﺔ‬ ‫اﻟﺒﻴﺌﺎت اﳌﺠﺘﻤﻌﻴﺔ اﳌﺨﺘﻠﻔﺔ ﰲ اﳌﺎﴈ‪.‬‬ ‫اﻟﺸﻌﺮ ‪baytelshear‬‬ ‫ﺑﻴﺖ ِ‬

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‫ ‪¥ũľğı‬‬ ‫واﻟﺘﺬﻟﻞ‪ ،‬وﻳﺤﻔﻆ ﻟﻬﺎ ﻛﺮاﻣﺔ ﻧﻔﺴﻬﺎ‪ ،‬وﻫﺬا ﻣﺎ أﺟﺪه ﻛﺜرياً ﰲ ﻗﺼﺎﺋﺪ‬ ‫اﻟﺸﺎﻋﺮة ”اﳌﻴﺎﺳﺔ“‪ ،‬اﻟﺬي ﻳﺤﻤﻞ ﻣﻦ اﳌﻌﻨﻰ‪ ،‬ﻣﺎ ﻳﺮﺗﻔﻊ ﺑﻪ‪ ،‬وﻳﺴﻤﻮ‬ ‫ﻋﻦ رديء اﻟﺸﻌﺮ وﺿﻌﻴﻔﻪ‪.‬‬ ‫ووﺟﻬﺖ اﻟﺸﺎﻋﺮة ﻓﺘﺎة اﻟﻌﺮب إﱃ ﺷﻌﺮاء اﻹﻣﺎرات اﻟﺸﺒﺎب ﻛﻠﻤﺔ‬ ‫ﻗﺎﻟﺖ ﻓﻴﻬﺎ ‪ :‬أمتﻨﻰ ﻟﻜﻢ اﻟﺘﻮﻓﻴﻖ ﰲ ﻣﺴﻌﺎﻛﻢ‪ ،‬مبﺎ ﻳﺨﺪم أدب ﻫﺬه‬ ‫اﳌﻨﻄﻘﺔ وﺗﺮاﺛﻬﺎ‪ ،‬ﻛام أوﺻﺖ ﺷﻌﺮاءﻫﺎ إذا ﻣﺎ ﻧﻈﻤﻮا ﻗﺼﺎﺋﺪﻫﻢ أن‬ ‫ﻳﺒﺘﻌﺪوا ‪ -‬ﻗﺪر اﻹﻣﻜﺎن ‪ -‬ﻋﻦ ﺗﺮدﻳﺪ ﻣﺎ ﻗﺎﻟﻪ ﻣﻦ ﺳﺒﻘﻮﻫﻢ ﺑﻨﻔﺲ‬ ‫اﻷﻟﻔﺎظ إذ ﻳﻘﻮل ﺣﺴﺎن ﺑﻦ ﺛﺎﺑﺖ‪:‬‬ ‫‪ *¡@@ @ @ @ @F b@@ @ @ E $*x@@ @ @ @ @ @ ~@ @ @ {@ @ @ D* x@@ @ @ @ ~@ @ @ @ @6&* °‬‬ ‫*(‪ ¥x@@ @ @ @ ~@ @ 7 @@ @ Gx@@ @ @ @ @~@ @ @7 @@ @ @ @ A*¡@@ @ @ @ J ° 3‬‬ ‫ﻟﺬا ﻓﺈن ﺗﺠﻨﺐ إدﺧﺎل ﻣﺎ ﻳﻌﺪ اﻗﺘﺒﺎﺳﺎ ﻛﺎﻣﻼ ﻷﺑﻴﺎت ﺳﺒﻖ وﻗﺎﻟﻬﺎ ﻗﺒﻠﻬﻢ‬ ‫ﺷﻌﺮاء آﺧﺮون ﻳﻘﺮب اﻟﺸﺎﻋﺮ ﻣﻦ ﻣﻮاﻗﻊ اﻹﺑﺪاع واﻟﺘﻄﻮر ﳌﺎ ﻓﻴﻪ ﺛﺒﺎت‬ ‫ﻫﺬا اﻟﻨﻮع ﻣﻦ اﻷدب واﻧﺘﺸﺎره‪.‬‬ ‫وﻟﻠﺸﺎﻋﺮة ﻋﻮﺷﺔ ﻗﺼﺎﺋﺪ ﻛﺜرية ﺗﻨﻮﻋﺖ وﺗﻌﺪدت ﰲ ﻣﻮﺿﻮﻋﺎﺗﻬﺎ‬ ‫وﺻﻮرﻫﺎ‪ ،‬ﰲ اﻹﺳﻼﻣﻴﺎت واﳌﺪح واﻟﺮد واﻟﻬﺠﺎء واﻟﻐﺰﻟﻴﺎت‪ ،‬ﺗﻐﻨﻰ ﺑﺒﻌﻀﻬﺎ‬

‫ﻛﺒﺎر ﻣﻄﺮيب اﻹﻣﺎرات ﻣﻦ أﻣﺜﺎل ﺟﺎﺑﺮ ﺟﺎﺳﻢ‪ ،‬ﻣﻴﺤﺪ ﺣﻤﺪ وﻏريﻫﻢ‪.‬‬ ‫ﻫﻜﺬا ﻛﺎﻧﺖ ﻋﻮﺷﻪ رﺣﻤﻬﺎ اﻟﻠﻪ ﻣﺘﺎﺑﻌﺔ وﻣﺘﻔﺎﻋﻠﻪ ﺑﺸﻐﻒ وﺣﺮص‬ ‫ﻣﻊ اﻟﺴﺎﺣﺔ اﻟﺸﻌﺮﻳﺔ اﻟﺸﻌﺒﻴﺔ اﻹﻣﺎراﺗﻴﺔ؛ ﻓﻠﻴﺲ ﻋﺠﻴﺒﺎً‪ ،‬إذن‪ ،‬أن‬ ‫ﻳﺼﻞ ﺷﻌﺮ ﻋﻮﺷﻪ اﻟﺴﻮﻳﺪي‪ ،‬اﻟﺨﻠﻴﺞ اﻟﻌﺮيب ﻛ ّﻠﻪ‪ ،‬ﻓﺘﻠ ّﻘﺐ ﺑـ"ﻓﺘﺎة‬ ‫اﻟﺨﻠﻴﺞ"‪ .‬ﻓﻘﺪ ﻛﺎﻧﺖ ﻣﻮرداً ﻻ ﻳﻨﺘﻬﻲ ﻣﻦ اﻟﺸﻌﺮ واﻟﻘﺼﺎﺋﺪ اﻟﺘﻲ ﺗﺄيت‬ ‫ﻋﲆ اﻟﺴﺠ ّﻴﺔ ﺑﺎﻧﻔﻌﺎﻻت ﺗﻠﻘﺎﺋ ّﻴﺔ ﺗﺰﻳﺪ أﺷﻌﺎرﻫﺎ ﺟامﻻً‪ ،‬ﻷﻧﻬﺎ ﺷﺎﻋﺮة‬ ‫ﻣﻄﺒﻮﻋﺔ‪ ،‬ﻧﺸﺄت واﺛﻘ ًﺔ وﺗﺄﻟﻘﺖ ﺑﻼ ﺧﻮف ﰲ ﺷﻌﺮ ﻧﺴﺎيئ ﺟﻬﺮت ﺑﻪ‪،‬‬ ‫ﰲ ﻇﺮوف ﻗﺪميﺔ ﻛﺎن ﺷﻌﺮ اﳌﺮأة ﻓﻴﻬﺎ ﺷﺒﻪ ﻣﺤ ّﺮم‪ ،‬ﻓﻜﺎﻧﺖ ﻣﺠﺎراﺗﻬﺎ‬ ‫ﻟﻠﺸﻌﺮاء اﻟﻜﺒﺎر ﰲ اﻹﻣﺎرات‪ ،‬ﺳﺒﺒﺎً ﰲ ﺛﻘﺘﻬﺎ اﻟﻌﺎﻟﻴﺔ‪.‬‬ ‫اﻟﺸﺎﻋﺮة اﻟﺘﻲ ﺣﻠﻤﺖ ﺑﺄ ّﻧﻬﺎ اﺑﺘﻠﻌﺖ اﻟﻘﻤﺮ ذات ﻃﻔﻮﻟﺔ‪ ،‬ﻫﺎ ﻫﻮ اﻟﻘﻤﺮ‬ ‫ﻛﻞ ﻫﺬه اﻵﻓﺎق اﻟﻮاﺳﻌﺔ‪ ،‬وﻣﺪّﺗﻪ ّ‬ ‫اﻟﻴﻮم ﻳﻮدّﻋﻬﺎ ﺑﻌﺪ أن ﻓﺘﺤﺖ ﻟﻪ ّ‬ ‫ﺑﻜﻞ‬ ‫أﺳﺒﺎب اﻟﻌﺬوﺑﺔ‪ ،‬وأﻧﺎرت ﻟﻪ ّ‬ ‫ﻛﻞ اﻟﴩﻓﺎت اﻟﺘﻲ ﻛﺎﻧﺖ ﰲ اﺳﺘﻘﺒﺎﻟﻪ‪،‬‬ ‫ﻓﺎﺳﺘﺤﻘﺖ أن ﺗﻜﻮن ﺗﺠﺮﺑﺔ إﺑﺪاع ﻣﺘﻔﺮدة‪ ،‬ﻣﻦ ﺣﻖ اﻟﻘﺎرئ أن ﻳﻌﺮﻓﻬﺎ‬ ‫وﻳﻜﺘﺴﺐ ﻣﻨﻬﺎ اﻟﺪروس واﻟﺴامت واﻟﺘﺠﺮﺑﺔ‪ ،‬وﻫﺬا ﻣﺎ ﻋﱪ ﻋﻨﻪ ﺑﻌﺾ‬ ‫اﳌﺜﻘﻔني واﻟﺸﻌﺮاء وأﻫﻞ اﻟﻔﻜﺮ ﺧﻠﻴﺠﻴني وﻋﺮﺑﺎً ﰲ ﻫﺬا اﻻﺳﺘﻄﻼع‪:‬‬

‫‪ ǼƉǈƳ ǚǶƋƀǙ‬‬ ‫‪ƋǾǘǙ ǽŞǾǉƉũ ǁƒǝǶ‬‬

‫اﻟﺪﻛﺘﻮرة رﻓﻴﻘﻪ ﺑﻦ رﺟﺐ أﺳﺘﺎذ اﻟﺒﻼﻏﺔ‬ ‫واﻟﻨﻘﺪ اﻷديب ﻣﻤﻠﻜﺔ اﻟﺒﺤﺮﻳﻦ ﻗﺎﻟﺖ‪ :‬ﻛﻢ‬ ‫ﻛﺎن ﻟﻮﻓﺎة اﻟﺸﺎﻋﺮة ﻋﻮﺷﻪ اﻷﺛﺮ اﻟﻌﻤﻴﻖ ﰲ‬ ‫ﻗﻠﻮب ﺷﺨﺼﻴﺎت ﻟﻬﺎ ﺑﺼامﺗﻬﺎ ذات اﻟﻄﺎﺑﻊ‬ ‫اﻟﺘﺼﺎﻋﺪي واﳌﺨﺰون اﻟﻔﻜﺮي واﻟﻨﺴﻖ‬ ‫اﻟﱰﻛﻴﺒﻲ اﳌﻤﻴﺰ‪ ،‬ﻓﻘﺪ ﻧﻌﺎﻫﺎ ﺻﺎﺣﺐ اﻟﺴﻤﻮ‬ ‫اﻟﺸﻴﺦ ﻣﺤﻤﺪ ﺑﻦ زاﻳــﺪ آل ﻧﻬﻴﺎن وﱄ‬ ‫ﻋﻬﺪ أﺑﻮﻇﺒﻲ ﻧﺎﺋﺐ اﻟﻘﺎﺋﺪ اﻷﻋﲆ ﻟﻠﻘﻮات‬ ‫ﻻﺷﻚ وﻣﻮﻗﻌﻬﺎ اﻟﺘﻮاﺻﲇ ﺑﻜﻞ ﺧﻄﻮاﺗﻪ‬ ‫اﳌﺴﻠﺤﺔ ﻋﻨﺪﻣﺎ ﻗﺎل‪ :‬ﻓﻘﺪت اﻹﻣﺎرات ﻗﺎﻣﺔ‬ ‫وﻣﺮﺟﻌﻴﺎﺗﻪ اﻟﺤﻀﺎرﻳﺔ اﳌﺘﺒﺎﻳﻨﺔ‪ ،‬واﻟﺘﻲ‬ ‫أدﺑﻴﺔ ﺷﺎﻣﺨﺔ وﻋﻼﻣﺔ ﻓﺎرﻗﺔ ﰲ اﻟﺸﻌﺮ‬ ‫ﺗﻨﺎﻏﻤﺖ ﻣﻊ اﳌﺄﺛﻮرات اﻟﺘﻲ ﻋﱪت ﻋﻦ‬ ‫اﻟﻨﺒﻄﻲ‪.‬‬ ‫ﻣﺨﺰون ﻣﺎ ﻟﺪﻳﻬﺎ ﻣﻦ درر أﺳﺴﺖ ﻣﻦ ﺧﻼﻟﻬﺎ‬ ‫ﻛام ﻧﻌﺎﻫﺎ ﺳﻤﻮ اﻟﺸﻴﺦ ﺣﻤﺪان ﺑﻦ ﻣﺤﻤﺪ ﻟﻠﺬاﻛﺮة اﻟﺨﻠﻴﺠﻴﺔ وﻧﺘﺎﺋﺠﻬﺎ اﻟﻠﻮﺟﺴﺘﻴﺔ‬ ‫ﺑﻦ راﺷﺪ آل ﻣﻜﺘﻮم وﱄ ﻋﻬﺪ ديب ﻋﻨﺪﻣﺎ اﻟﺘﻲ ﺗﻌﺘﻤﺪ ﻋﲆ اﻟﻮﻋﻲ اﻟﺘﺄوﻳﲇ ﺑﻄﺎﻗﺘﻪ‬ ‫ﻗﺎل‪ :‬ﻓﻘﺪت اﻟﺴﺎﺣﺔ اﻟﺸﻌﺮﻳﺔ واﺣﺪة ﻣﻦ اﻷﺳﻠﻮﺑﻴﺔ اﳌﱰاﻣﻴﺔ اﻷﻃﺮاف ﺑﺪون ﺣﻮاﺟﺰ‪،‬‬ ‫ﺣﺘﻰ اﺳﺘﻄﺎﻋﺖ اﻟﻌﺒﻮر ﺑﺄﻟﻔﺎﻇﻬﺎ اﳌﺘﻤﻴﺰة‬ ‫أﻛﱪ اﻟﺸﺎﻋﺮات ﰲ دوﻟﺘﻨﺎ‪.‬‬ ‫واﺳﺘﻤﺮت ﻣﻨﻈﻮﻣﺔ اﻟﻨﻌﻲ واﻟﺤﺰن ﻣﻦ وﻋﺒﺎراﺗﻬﺎ اﻟﺠﺰﻟﺔ اﱃ اﻷﻧﺴﺎق اﻟﻔﻜﺮﻳﺔ‬ ‫ﺧﻼل اﻟﺸﻌﺮاء اﻟﺬﻳﻦ ﻧﻈﻤﻮا ﰲ رﺛﺎﺋﻬﺎ واﻟﻘﺮاءة اﻟﻔﻠﺴﻔﻴﺔ ﻣﻦ دون ﺗﻌرث‪.‬‬ ‫اﻟﻌﺪﻳﺪ ﻣﻦ اﻟﻘﺼﺎﺋﺪ اﻟﻐﺮاء اﻟﺘﻲ ﺗﺘﻨﺎﺳﺐ اﻧﻬﺎ متﻠﻚ ﺣﺴﺎً وذوﻗﺎً ﻳﺘﻮاءم ﻣﻊ ذﻫﻨﻴﺔ‬

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‫اﻟﻌﺪد ‪ ، 70‬ﺳﺒﺘﻤﺒﺮ ‪2018‬‬

‫اﻟــﻘــﺎرئ اﻟــﺬي ﻳﺨﻀﻊ دوﻣـــﺎً ﻟﺨﺮﻳﻄﺔ‬ ‫اﻟﻨﻈﺮﻳﺎت اﻟﺒﻌﻴﺪة ﻋﻦ اﻟﻨﻤﻄﻴﺔ اﻟﺘﻘﻠﻴﺪﻳﺔ‪.‬‬ ‫ﻧﻌﻢ أﺟﺪ ﻧﻔﴘ ﰲ ﻏﺒﻄﺔ ﻣﺘﻨﺎﻫﻴﺔ وأﻧﺎ‬ ‫أﻗﺮأ ﻟﻬﺎ ﺗﻠﻚ اﻟﻜﻠامت ﻣﻦ ذوي اﻟﻘﻤﻢ‬ ‫واﻟﺸﻤﻮخ واﻟﺬﻳﻦ ﻳﺸﺎر إﻟﻴﻬﻢ ﺑﺎﻟﺒﻨﺎن‪،‬‬ ‫ﻓﻬﺎ ﻫﻮ ﺻﺎﺣﺐ اﻟﺴﻤﻮ اﻟﺸﻴﺦ ﻣﺤﻤﺪ ﺑﻦ‬ ‫راﺷﺪ آل ﻣﻜﺘﻮم ﻳﻀﻴﻒ ﻟﺴريﺗﻬﺎ ﻗﺎﺋ ًﻼ‪" :‬ﻟﻘﺪ‬ ‫ﺣﺒﺎﻫﺎ اﻟﻠﻪ ﻓﺼﺎﺣﺔ اﻟﻠﺴﺎن وﺑﻼﻏﺔ اﻟﻜﻼم‪".‬‬ ‫وﻗﺪ وﺛﻘﺖ اﻟﺒﺎﺣﺜﺔ اﻟﺪﻛﺘﻮرة رﻓﻴﻌﺔ ﻏﺒﺎش‬ ‫رﺋﻴﺴﺔ ﻣﺘﺤﻒ اﳌــﺮأة ﰲ ديب ﰲ ﻛﺘﺎﺑﻬﺎ‬ ‫ﻋﻮﺷﺔ ﺑﻨﺖ ﺧﻠﻴﻔﺔ اﻟﺴﻮﻳﺪي اﻷﻋامل‬ ‫اﻟﻜﺎﻣﻠﺔ واﻟﺴرية اﻟﺬاﺗﻴﺔ ﻟﻠﺸﺎﻋﺮة ﻓﺘﺎة‬ ‫اﻟﻌﺮب‪ ،‬اﺳﺘﻌﺮﺿﺖ ﻓﻴﻬﺎ ﺗﺠﺮﺑﺘﻬﺎ اﻟﺸﻌﺮﻳﺔ‬ ‫اﻟﻔﺮﻳﺪة ﺗﻘﺪﻳﺮاً ﻟﺸﺨﺼﻴﺘﻬﺎ أوﻻ وﺗﺮاﺛﻬﺎ‬ ‫اﻟﺸﻌﺮي اﻷﺻﻴﻞ وإﺣﺴﺎﺳﻬﺎ ﺑﺎﳌﺴﺆوﻟﻴﺔ‬ ‫ﺛﺎﻧﻴﺎً‪.‬‬ ‫ﻓﺸﺨﺼﻴﺘﻬﺎ ﺗﻌﺪ ارﺗﺒﺎﻃﺎً وﺛﻴﻘﺎً ميﺜﻞ ﻗﻄﺐ‬ ‫اﻟﻌﻤﻠﻴﺔ اﻟﺘﺤﻠﻴﻠﻴﺔ اﻟﺘﻲ اﺳﺘﻄﺎﻋﺖ أن‬ ‫ﺗﺨﱰق ﺑﻮﻋﻴﻬﺎ اﻟﻌﻮامل اﳌﺘﺄرﺟﺤﺔ ﺑني اﻟﻮاﻗﻊ‬ ‫واﻟﺨﻴﺎل‪ ،‬ﺑﺈﴍاﻗﺎت وﺗﺠﻠﻴﺎت ﺗﺤﻤﻞ اﻟﺴﻤﺔ‬ ‫اﻟﻮﻇﻴﻔﻴﺔ ﻣﻦ دون ﺗﻘﺎﻃﻌﺎت أو ﺗﺠﺎوزات‪.‬‬

‫إﻟﻴﻬﺎ دﻳﻮان ﺷﻌﺮ‪ ،‬ﻛﺘﺐ ﻋﲆ ﺻﻔﺤﺘﻪ اﻷوﱃ إﻫﺪاءه ﺑﺎﻷﺑﻴﺎت اﻟﺘﺎﻟﻴﺔ‪:‬‬ ‫*&‪ b@@~@ {@ D* ¶b@@ @ @ < b@@ @J *¡@@ @ @ @ J2 @@ @D h@@ @ @ @ @~@ @64‬‬ ‫‪b@@ G2v@@ @ @ @ ~@ 6 @@ @Jb@@ @ @ @ j@ @ ´* @@ @ E @@ @£@ @ A *¡@@ @ @ @ @ @ J2‬‬ ‫‪ *5 b@@ E @@ C @@ E b@@ @j@ @ E°* ¢@@ @ < I¡@@ @ p@ J‬‬ ‫‪b@@ Gv@@ ~@ }@ F 2¡@@ @ @ @ @ @ @ @< ¯ 4X 2 @@ @ @C @@ @ @ @ @ EH‬‬ ‫إﱃ أن ﻳﻘﻮل‪:‬‬ ‫‪ *¡@@ @ < Ì@@ @ 1 b@@ @ D *¡@@ @g@ @ F*H ex@@ @ @ D* ,b@@ @ g@ A‬‬ ‫‪ b@@Gv@@~@ {@ F Áb@@ @ @E v@@~@ |@ @ + @@ CÌ@@ @ = @@ @ @ EH‬‬

‫ﺑﺎﻟﻨﺴﺒﺔ ﻟﻬﺎ ﻫﻮ ﻣﺪرﺳﺘﻬﺎ اﻷوﱃ ﻓﻬﻮ ﺑﻴﺖ ﻋﻠﻢ وﺛﻘﺎﻓﺔ‪ ،‬ﻛام ﻛﺎﻧﺖ‬ ‫اﳌﺠﺎﻟﺲ اﳌﻨﺘﴩة ﰲ ذاك اﻟﻮﻗﺖ ﰲ ﻛﻞ ﺑﻴﺖ وﻓﺮﻳﺞ واﻟﺘﻲ ﻳﺄيت‬ ‫إﻟﻴﻬﺎ اﻟﻌﻠامء واﳌﺜﻘﻔﻮن واﻷدﺑﺎء ذات أﺛﺮ ﺑﺎﻟﻎ ﰲ ﺗﺸﻜﻴﻞ ﺷﺨﺼﻴﺔ‬ ‫اﻟﺸﺎﻋﺮة‪ ،‬ﺑﺎﻹﺿﺎﻓﺔ إﱃ ﺗﺸﺠﻴﻊ اﻷﻫﻞ رﻏﻢ اﻟﻈﺮوف اﻟﺘﻲ ﻛﺎﻧﺖ متﺮ‬ ‫ﺑﻬﺎ اﳌﺮأة ﰲ ذﻟﻚ اﻟﺰﻣﻦ ‪.‬‬ ‫وﻣﻊ ﺗﻄﻮر أدوات اﻟﺸﺎﻋﺮة ومتﻜﻨﻬﺎ ﰲ اﻟﺘﻌﺒري ﻋﻦ ﻣﻠﻜﺘﻬﺎ اﻹﺑﺪاﻋﻴﺔ‪،‬‬ ‫ﺗﻔﺎﻋﻠﺖ اﻟﺸﺎﻋﺮة ﻣﻊ ﻣﺠﺘﻤﻌﻬﺎ‪ ،‬ﻓﺄﺧﺬت ﺗﻨﻈﻢ ﻣﺎ ﻳﺤﺐ اﻟﻨﺎس‬ ‫ﺳامﻋﻪ‪ ،‬ﺑﻘﺼﺎﺋﺪ متﺘﺎز ﺑﺎﻟﺘﻔﺎؤل واﻟﻔﺮح‪ ،‬ﻻ ﺗﺨﻠﻮ ﻣﻦ اﻟﺜﻨﺎء ﻋﲆ ﻣﻦ‬ ‫ﺗﺸﻌﺮ أﻧﻬﻢ ﻳﺴﺘﺤﻘﻮن ذﻟﻚ ﻟﺨﺼﺎﻟﻬﻢ اﻟﺤﻤﻴﺪة وأﺧﻼﻗﻬﻢ اﻟﻄﻴﺒﺔ‪،‬‬ ‫ﻛﺎﻧﺖ ﰲ اﻟﺒﺪاﻳﺔ ﺗﻨﻈﻢ ﻗﺼﻴﺪﺗني أو ﺛﻼﺛﺎً ﰲ اﻟﺴﻨﺔ ﻟﻜﻨﻬﺎ زادت‬ ‫ﻗﺼﺎﺋﺪﻫﺎ ﻣﺆﺧﺮاً ﺣﺘﻰ أﺻﺒﺤﺖ ﺗﻨﻈﻢ ‪ 6‬ﻗﺼﺎﺋﺪ ﰲ اﻟﻌﺎم أو أﻛرث ‪.‬‬ ‫وﻗﺪ ﺑﺪأت ﻗﺼﺎﺋﺪ اﻟﺸﺎﻋﺮة ﺗﻮﻗﻊ ﺑﺎﺳﻢ "ﻓﺘﺎة اﻟﻌﺮب" ﺑﻌﺪ أن ﻛﺎﻧﺖ‬ ‫ﺗﻮﻗﻊ ﺑﺎﺳﻢ ﻓﺘﺎة اﻟﺨﻠﻴﺞ وﺗﺮى أن اﺳﻢ ﻓﺘﺎة اﻟﻌﺮب إﺣﺴﺎن ﺟﺎد ﺑﻪ‬ ‫ﻋﻠﻴﻬﺎ ﺻﺎﺣﺐ اﻟﺴﻤﻮ اﻟﺸﻴﺦ ﻣﺤﻤﺪ ﺑﻦ راﺷﺪ آل ﻣﻜﺘﻮم ﻋﻨﺪﻣﺎ أرﺳﻞ‬

‫وﻛﺎﻧﺖ اﻟﺸﺎﻋﺮة ﻋﻮﺷﺔ اﻟﺴﻮﻳﺪي ﻣﻮﻟﻌﺔ ﺑﺄﺷﻌﺎر اﻟﺸﻌﺮاء اﻟﻨﺒﻄﻴني‬ ‫وﻋﲆ رأﺳﻬﻢ ﺑﻦ ﻇﺎﻫﺮ اﳌﺎﺟﺪي ﺷﺎﻋﺮ اﻹﻣﺎرات وراﺷﺪ اﻟﺨﻼوي‬ ‫ﺷﺎﻋﺮ اﻟﺠﺰﻳﺮة اﻟﻌﺮﺑﻴﺔ‪ ،‬وﺗﺤﺐ ﻣﻦ اﻷﺷﻌﺎر اﻟﺸﻌﺮ اﻟﻔﺼﻴﺢ‪ ،‬وﻗﺮأت‬ ‫دواوﻳﻦ اﳌﺘﻨﺒﻲ وأيب متﺎم وأيب ﻓﺮاس اﻟﺤﻤﺪاين‪.‬‬ ‫وﻋﻦ اﻟﺸﻌﺮ اﻟﺤﺪﻳﺚ ﻗﺎﻟﺖ ﻋﻮﺷﺔ ﺑﻨﺖ ﺧﻠﻴﻔﺔ اﻟﺴﻮﻳﺪي أﻧﺎ ﻻ أؤﻣﻦ‬ ‫مبﺎ ﻳﺴﻤﻰ ﺑﺎﻟﺸﻌﺮ اﻟﺤﺪﻳﺚ ‪ ..‬اﻟﺸﻌﺮ ﰲ رأﻳﻲ ﻫﻮ اﳌﻮزون اﳌﻘﻔﻰ‪،‬‬ ‫ﻗﻮي اﻟﻜﻠامت‪ ،‬ﺳﻠﻴﻢ اﻟﻌﺒﺎرة‪.‬‬ ‫أﻳﻀﺎً ﻗﺮأت اﻟﺸﺎﻋﺮة ﻟﻜﻞ اﻟﺸﻌﺮاء‪ ..‬ﺑﺪون ﺗﺤﺪﻳﺪ إذ ﻛﺎن ﻳﺸﺪﻫﺎ إﱃ‬ ‫اﻟﻘﺼﻴﺪة دامئﺎً‪ ،‬ﻣﺎ ﺗﺘﻀﻤﻨﻪ ﻣﻦ ﻣﻌﺎن وأﻟﻔﺎظ أﻛرث ﻣﻦ اﺳﻢ ﻗﺎﺋﻠﻬﺎ‪ .‬إﻻ‬ ‫أﻧﻬﺎ ﻛﺜرياً ﻣﺎ ﻗﺮأت ﻟﻠﻤﺘﻨﺒﻲ‪ ،‬وﻷﻣري اﻟﺸﻌﺮاء أﺣﻤﺪ ﺷﻮﻗﻲ‪ ،‬ووﺟﺪت‬ ‫ﰲ ﻗﺼﺎﺋﺪﻫام ﻣﺎ ميﻜﻦ ﺗﺴﻤﻴﺘﻪ ﺑﺄﺻﺎﻟﺔ اﻟﺸﻌﺮ وارﺗﻘﺎء اﻟﺬوق وﻛﺎﻧﺖ‬ ‫ﺗﺮى أن ﻣﺎ ﻧﴩ ﻟﺼﺎﺣﺐ اﻟﺴﻤﻮ اﻟﺸﻴﺦ ﻣﺤﻤﺪ ﺑﻦ راﺷﺪ آل ﻣﻜﺘﻮم‬ ‫ﻣﻦ ﻗﺼﻴﺪ‪ ،‬ﻏﻴﺾ ﻣﻦ ﻓﻴﺾ‪ ،‬وﺳﻤﻮه ﻫﻮ ﺷﻴﺦ اﻟﻘﺼﻴﺪ‪.‬‬ ‫وﻋﻦ ﺣﻤﺪ ﺑﻦ ﺧﻠﻴﻔﺔ ﺑﻮ ﺷﻬﺎب ﻗﺎﻟﺖ ﻋﻮﺷﻪ‪ :‬ﺑﻮﺷﻬﺎب ﻗﺎﻣﻮس‬ ‫اﻟﺸﻌﺮ وﻣﺮﺟﻌﻪ‪ ،‬وﰲ ﻗﺼﻴﺪه ﻣﻦ ﻛﻞ ﻓﻦ ﻣﺴﺘﻈﺮف‪ ،‬وﻗﺪ متﻴﺰ ﻗﺼﻴﺪه‬ ‫ﺑﺎﻟﺒﻼﻏﺔ وﺣﻼوة اﻟﻠﻔﻆ وﺣﺴﻦ اﻟﺴﺒﻚ‪.‬‬ ‫وﻋﻦ راﺷﺪ ﺳﺎمل اﻟﺨﴬ ﻗﺎﻟﺖ‪ :‬ﻗﺼﻴﺪ اﻟﺨﴬ‪ ،‬ﺟﻮاﻫﺮ رﺗﺒﻬﺎ ﰲ ﻋﻘﺪ‬ ‫اﻷدب‪ ،‬ﺻﺎﺋﻎ ﻣﺎﻫﺮ ﻓﺎﻟﺨﴬ ﻳﺄيت ﺑﺎﻟﺠﻤﻴﻞ ﻣﻦ اﳌﻌﺎين‪ ،‬اﻟﺘﻲ مل ﻳﻄﺮﻗﻬﺎ‬ ‫ﻛﺜري ﻣﻤﻦ ﺳﺒﻘﻮه‪ .‬ﻓﺘﺸﻌﺮ ﻋﻨﺪﻣﺎ ﺗﺘﺬوق ﻣﻌﺎين ﻗﺼﺎﺋﺪه اﻧﻪ ﺷﺎﻋﺮ‬ ‫ﺑﺤﻖ‪.‬‬ ‫وﻋﻦ ﻣﺤﻤﺪ ﺑﻦ أﺣﻤﺪ اﻟﺴﻮﻳﺪي ﻗﺎﻟﺖ‪ :‬ﻣﺤﻤﺪ ﺷﺎﻋﺮ ﺟﻴﺪ‪ .‬وﻷﻧﻪ اﺑﻦ‬ ‫أﺧﻲ‪ ،‬أﻓﻀﻞ أن اﺗﺮك اﻟﺮأي ﻟﻶﺧﺮﻳﻦ ﰲ ﻗﺼﺎﺋﺪه‪.‬‬ ‫وﻋﻦ رﺑﻴﻊ ﺑﻦ ﻳﺎﻗﻮت ﻗﺎﻟﺖ‪ :‬ﺗﻜرث ﰲ أﺷﻌﺎره اﻟﻘﺼﺎﺋﺪ اﻻﺟﺘامﻋﻴﺔ ‪..‬‬ ‫وﻗﺪ متﻴﺰ ﻛﺜري ﻣﻨﻬﺎ وﺗﺪاوﻟﻪ اﻟﻨﺎس ‪.‬‬ ‫وﻋﻦ اﻟﺸﻌﺮ اﻟﻨﺴﺎيئ ﰲ اﻹﻣﺎرات ﻣﻦ ﺧﻼل اﻷﺳامء اﻟﻌﺪﻳﺪة اﻟﺘﻲ‬ ‫ﻇﻬﺮت ﻋﲆ ﺻﻔﺤﺎت اﻟﺸﻌﺮ اﻟﺸﻌﺒﻲ ﰲ اﻟﺼﺤﻒ واﳌﺠﻼت ﻗﺎﻟﺖ‪:‬‬ ‫اﻟﺸﻌﺮ اﻟﻨﺴﺎيئ ﰲ اﻹﻣﺎرات ﻳﺘﻄﻮر ﻛﻠام زاد ﻋﺪد اﻟﺸﺎﻋﺮات اﳌﺠﻴﺪات‬ ‫ﰲ ﻧﻈﻤﻬﻦ‪ ،‬إﻻ أﻧﻨﻲ أﺟﺪ ‪ -‬أﺣﻴﺎﻧﺎ ‪ -‬ﺑﻌﺾ اﻷﺷﻌﺎر اﻟﺘﻲ ﺗﺨﺠﻞ‬ ‫اﳌﺮأة ﻣﻦ ﻛﺘﺎﺑﺘﻬﺎ‪ ،‬أو ﺣﺘﻰ ﺳامﻋﻬﺎ ﻣﻦ اﻣﺮأة أﺧﺮى‪ ،‬إذ أن أﻓﻀﻞ‬ ‫اﻟﺸﻌﺮ ﺣني ﺗﻨﻈﻤﻪ اﳌﺮأة ﻣﺎ ﺗﺴﻤﻮ ﺑﻪ‪ ،‬وﻳﺮﻓﻌﻬﺎ ﻋﻦ ﻣﺮاﺗﺐ اﻹﺳﻔﺎف‬ ‫اﻟﺸﻌﺮ ‪baytelshear‬‬ ‫ﺑﻴﺖ ِ‬

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‫ ‪¥ũľğı‬‬

‫‪ ǼƃǿǷƒǕŌ ǳƲǾǔƁ ŧǜş ǳƗǷƫ‬‬

‫»ﻓﺘﺎة اﻟﻌﺮب«‬ ‫‪ɶ‬‬ ‫‪ ōǤƫƂǷǿ ƉƪƖǕŌ Ɖǘǃ Ƿǥ ōǥ‬‬

‫ﻣﺤﻤﺪ ﻋﺒﺪاﻟﺴﻤﻴﻊ‬

‫اﻟﺸﺎﻋﺮة ﻋﻮﺷﺔ ﺑﻨﺖ ﺧﻠﻴﻔﺔ ﺑﻦ أﺣﻤﺪ ﺑﻦ ﺧﻠﻴﻔﺔ اﻟﺴﻮﻳﺪي اﳌﺴامة‬ ‫"ﺑﻔﺘﺎة اﻟﻌﺮب"‪ ..‬ﺷﺎﻛﺎﻫﺎ اﻟﺸﻴﺦ زاﻳﺪ ﺑﻦ ﺳﻠﻄﺎن آل ﻧﻬﻴﺎن "رﺣﻤﻪ‬ ‫اﻟﻠﻪ" ﰲ إﺣﺪى ﻗﺼﺎﺋﺪه ﻓﻮﺻﻔﻬﺎ ﺑﺄﻧﻬﺎ رﻛﻦ ﻣﻦ أرﻛﺎن اﻟﺸﻌﺮ ﺑﻘﻮﻟﻪ‪:‬‬ ‫‪ @@ @ @ @Q @ @ @ @ @ AH I¡@@ @ @ @ @ @ @ @ D* 2¡@@ @ @ @ @ @ @ < @@ @ @ @ @ @ @ C4 b@@ @ @ @ J‬‬ ‫‪¯b@@ @ @ @ @ ~@ @ @8¡@@ @ Db@@ @ + @@ @ @ @ @ @ @ @£@ @ @/ ¤@@ @ @ @ @ @ @ @Bb@@ @ @ @ @ ~@ @ @7‬‬ ‫‪ @@ @ @Q @ @ @ @m@ @ @ @ @ @~@ @{@ @E* · b@@ @ @ @ @ @ @ @ JH4 @@ @ @ @ @ @ @ @ @ £@ @ :‬‬ ‫‪¯É@@ @ @ @ @ @ @g@ @ D @@ @ @ @ @ @ @ @ @ @ @ @ ²*H @@ @ @ @ @+ @@ @ @ @ @ @ ~@ @ @ 7‬‬ ‫وﻟﺪت ﰲ ﻣﻨﻄﻘﺔ اﳌﻮﻳﺠﻌﻲ ﰲ اﻟﻌني ﰲ ﺑﻴﺖ ﻳﺰﺧﺮ ﺑﺎﻟﺸﻌﺮ واﻟﺸﻌﺮاء‪،‬‬ ‫واﻟﺪﻫﺎ اﻟﺴﻴﺪ ﺧﻠﻴﻔﺔ ﺑﻦ أﺣﻤﺪ ﺷﺎﻋﺮ‪ ،‬وأﺑﻮﻫﺎ ﻷﻣﻬﺎ ﻫﻮ اﻟﺴﻴﺪ أﺣﻤﺪ‬ ‫ﺑﻦ ﺧﻠﻒ اﻟﻌﺘﻴﺒﺔ ﺷﺎﻋﺮ وﺗﺎﺟﺮ ﻟﺆﻟﺆ ﻣﻌﺮوف‪.‬‬ ‫أﻗﺎﻣﺖ ﺑﻌﺪ ذﻟﻚ ﰲ ديب‪ ،‬وﻋــﺎﴏت ﻓﱰة ﻣﺎ ﻗﺒﻞ اﻟﻨﻔﻂ "زﻣﺎن‬ ‫اﻟﻐﻮص"‪ ،‬وﰲ ﺗﻠﻚ اﻟﻔﱰة ﻛﺎن ﻣﻦ اﻟﺼﻌﺐ ﻋﲆ اﻟﻔﺘﺎة أو اﳌﺮأة ﺑﺸﻜﻞ‬ ‫ﻋﺎم أن ﺗﻘﺮض اﻟﺸﻌﺮ وﺗﻠﻘﻴﻪ‪ ،‬وﻟﻜﻦ ﺷﺎﻋﺮﺗﻨﺎ مل ﺗﺴﺘﻄﻊ أن ﺗﻜﺒﺢ‬

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‫اﻟﻌﺪد ‪ ، 70‬ﺳﺒﺘﻤﺒﺮ ‪2018‬‬

‫ﺟامح ﻣﺎ وﻫﺒﻬﺎ اﻟﻠﻪ ﻣﻦ درر اﻟﻘﻮل وﺳﺤﺮه‪ ،‬ﻓﺄﺧﺬت ﺗﺼﻮل وﺗﺠﻮل‬ ‫ﰲ ﺑﺤﻮره ﺣﺘﻰ رﺳﺖ ﰲ أﺟﻤﻞ ﺷﻮاﻃﺌﻪ ‪.‬‬ ‫ﰲ اﻟﺒﺪاﻳﺔ مل ﺗﻜﻦ اﻟﺸﺎﻋﺮة ﻋﻮﺷﺔ ﺑﻨﺖ ﺧﻠﻴﻔﺔ اﻟﺴﻮﻳﺪي ﻣﻮﻟﻌﺔ‬ ‫ﺑﺎﻟﺸﻌﺮ‪ ،‬ﻟﻜﻦ ﺑﺪء اﻫﺘامﻣﻬﺎ ﺑﺎﻟﺸﻌﺮ ﻋﻨﺪﻣﺎ ﺑﻠﻐﺖ اﻟﺜﺎﻧﻴﺔ ﻋﴩة ﻣﻦ‬ ‫ﻋﻤﺮﻫﺎ‪ .‬وﻋﻦ ﺑﺪاﻳﺎﺗﻬﺎ ﺗﻘﻮل اﻟﺸﺎﻋﺮة ‪ :‬ﰲ ﺑﺪاﻳﺔ رﺣﻠﺘﻲ ﻣﻊ اﻟﺸﻌﺮ‬ ‫ﻧﻈﻤﺖ ﺧﻼل ‪ 32‬ﻳﻮﻣﺎً ﺣﻮاﱄ ‪ 100‬ﻗﺼﻴﺪة ﻣﻦ اﻟﺸﻌﺮ اﻟﻨﺒﻄﻲ”اﳌﻮزون‬ ‫واﳌﻘﻔﻰ ”‪.‬‬ ‫وﻗﺎﻟﺖ إن اﳌﻮﻫﺒﺔ ﻻ ﺗﻜﻔﻲ وﻣﻦ اﻟﴬوري أن ﻳﻜﻮن اﻟﺸﺎﻋﺮ ﻣﺘﻤﻜﻨﺎً‬ ‫ﻣﻦ اﻟﻠﻐﺔ اﻟﻌﺮﺑﻴﺔ وإﻻ أﻓﺴﺪ ﻣﺎ ﻗﺎل وأﺻﺒﺢ ﻗﻮﻻً ﻻ ﺷﻌﺮاً‪ ،‬وﻟﻜﻦ‬ ‫اﻷﻣﺮ ﻳﺨﺘﻠﻒ ﻋﻨﺪﻫﺎ‪ ،‬ﻓﻌﲆ اﻟﺮﻏﻢ ﻣﻦ ﻋﺪم ذﻫﺎﺑﻬﺎ إﱃ اﳌﺪرﺳﺔ إﻻ‬ ‫أﻧﻬﺎ متﻜﻨﺖ ﻣﻦ ﺗﻌﻠﻢ اﻟﻘﺮاءة واﻟﻜﺘﺎﺑﺔ ومل ﺗﻘﻊ ﻋﻴﻨﺎﻫﺎ ﻋﲆ ﳾء‬ ‫إﻻ ﺣﺎوﻟﺖ اﻟﺘﻌﺮف ﻋﻠﻴﻪ‪ ،‬وﻛﺎن اﻟﺘﻌﻠﻴﻢ ﰲ اﻟﺴﺎﺑﻖ ﻳﻘﺘﴫ ﻋﲆ‬ ‫ﺗﻌﻠﻢ اﻟﻘﺮآن اﻟﻜﺮﻳﻢ‪ ،‬وﻗﺪ متﻜﻨﺖ اﻟﺸﺎﻋﺮة ﰲ ﺗﻠﻚ اﻟﻔﱰة وﰲ ﻇﻞ‬ ‫ﻫﺬه اﻟﻈﺮوف أن ﺗﺪرس وﺗﺘﻌﻠﻢ وﺗﺘﻌﺮف ﻋﲆ ﺟﻮاﻧﺐ ﻋﺪﻳﺪة ﻣﻦ‬ ‫اﻟﻌﻠﻮم اﻹﺳﻼﻣﻴﺔ واﻟﻔﻘﻬﻴﺔ‪ ،‬ﺳﺎﻋﺪﻫﺎ ﻋﲆ ﻫﺬا ﺑﻴﺖ اﻷﴎة اﻟﺬي ﻛﺎن‬

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baytelshear ‫اﻟﺸﻌﺮ‬ ِ ‫ﺑﻴﺖ‬

‫زﻳﻨﺐ اﻟﺒﻠﻮﺷﻲ‬ @ZainabIAB

ĘıĘŕ

‫ﻋﻬﻮد وﻣﻮاﺛﻴﻖ‬ ‫راﺷﺪ ﺑﻦ ﻗﻄﻴﻤﺎ‬ @ RashidAlqutima

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2018 ‫ ﺳﺒﺘﻤﺒﺮ‬، 70 ‫اﻟﻌﺪد‬

‫‪ǳǾƛǶ‬‬ ‫ﻛﺎن اﻟﻔﻦ ﺳﻠﻮﺗﻪ‪ ..‬واﻟﺤﺐ ﺗﻐﺮﻳﺒﺘﻪ‪.‬‬ ‫ﻳﺤﺎول ﴏف اﻟﻨﻈﺮ ﻋﻦ اﻟﻔﺤﻴﺤﻴﻞ‪ ..‬ﻓﻴﻮﻫﻢ ان اﻟﺤﺒﻴﺒﻪ ﰲ اﻟﺼﺎﻟﺤﻴﺔ‬ ‫ﰲ وﺳﻂ ﻣﺪﻳﻨﺔ اﻟﻜﻮﻳﺖ‪:‬‬ ‫‪¤@@ @~@94b@@< I¡@@ @ D* 2x@@ : @@E iy@@ / b@@E @@C‬‬ ‫< @@‪ @@£@ ²b@@~@ |@ D* @@ @ @~@ @6 ¯ b@@ @ @ @F*H ¤@@ @ @~@ @94b‬‬ ‫‪¤@@ @ @E4 2¡@@ @ @ @ @ @ @´*H @@ @c@ @ p@ @ ´* ¡@@ @ @ @ ~@ @ 6 @@ @ @E‬‬ ‫‪ £ < @@}@ @ @- ¤@@ @ D* @@Âv@@ @ D* rHx@@ @ @ ±*H‬‬ ‫‪¤@@ @ @ @ @<2*H @@ @ @ @ @BH x@@ @ @ @E ¡@@ @ @ @J @@ @ @g@ @£@ @D‬‬ ‫‪ @@ J¡@@ ²* @@ @Jx@@ @0b@@ @F v@@ @ ~@ z@ E ¢@@ @ @B ¡@@ @ @ J‬‬ ‫*´ @ @ @ @ @@‪¤@@ @ @+w@@ < @@ @ +x@@ @ Db@@ @ J @@ @ @ G*¡@@ @ @ G ¯ b‬‬ ‫‪ @@£@ @ G M,b@@ @ @ £@ @ @ @0 ¤@@ @ @ @ @ @ A¡@@ @J ¤@@ @ @ @ +4 @@ @ @ @ /‬‬ ‫اﺣﺘﺞ اﳌﺠﺘﻤﻊ‪ :‬اﺧﻨﻘﻮا ﺻﻮﺗﻪ‪ ،‬ﺻﺎﺣﺖ اﻟﻘﺒﻴﻠﺔ‪ :‬ﻣﻤﻨﻮع اﻟﻐﻨﺎء‪..‬ﻓﻜﺎن‬ ‫رده‪:‬‬ ‫‪¤@@ @ @ @ @ @ E @@ @ @ @ @ @ @ @ @ @ £@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ ~@ @ @ @ @ 7* @@ @ @ @ @ @ z@ @ @ @ @ @ @+‬‬ ‫‪ ¤@@ @ @ @ @ @ @ @ @ @ @ @ +H ¤@@ @ @ @ @ @ @ @ @ + @@ @ @ @ @ @ @ @ @ @ @ @ @D @@ @ @ @ @ @ @ @ @ @ @ @ 7H‬‬ ‫‪¤@@ @ @ @ @ @ @ @ @ @ @ =* 4¡@@ @ @ @ @ @ @ @ @ c@ @ @ @ @ @ @ @ @ @¸ @@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ Â‬‬ ‫‪ b@@ @ @ @ @ @ @ @ @ @ <b@@ @ @ @ @c@ @ @ @ @ : ¤@@ @ @ @ @ @ @ @ @ @Gb@@ @ @ @ @ @ @ @ @ @E ¡@@ @ @ @ @ @ @ @ @ @ @ @D‬‬ ‫‪·b@@ @ @ @ @~@ @ @ @ @ 6 @@ @ @ @ @ @ @ @ @ @ CÈ@@ @ @ @ @ @ @ @ @ @ C* @@ @ @ @ @ @ @ @ @ @ @ @ @ @ Â‬‬ ‫‪·b@@ @ @ @ 0 @@ @ @ @ @ @ @< ¤@@ @ @ @ ~@ @ @ @ @7 ¥4v@@ @ @ @ @ @ @ @ @ @ @ J b@@ @ @ @ @ @ @E‬‬ ‫ﻫﻮ ﻣﻦ ﴐب اﻟﺒﺪع وﺧﻴﺎﻻت اﻟﺸﻌﺮاء اﻟﺠﻤﻴﻠﺔ‪ ..‬ﻓﻘﺪ ﺣﺰم أﻣﺮه‬ ‫أن ﻳﺒﺘﻌﺪ ﻋﻦ اﻟﻄﺮب وأﺳﺒﺎﺑﻪ‪ ..‬وﻳﻘﱰب ﻣﻦ اﻟﺪﻳﻦ‪ ..‬ﺣﻴﺚ اﻷﻣﺎن‬ ‫واﻟﺮاﺣﺔ اﻟﺮوﺣﻴﺔ‪ ..‬ﻣﺜﻠام أﺣﺲ ﺑﺎﻷﻣﺎن ﻋﻨﺪﻣﺎ ﻋﺎد ﻷﺣﻀﺎن اﻟﺤﺒﻴﺒﺔ‬ ‫اﻟﺘﻲ ﻗﺎل ﻟﻬﺎ‪:‬‬ ‫‪ b@@ @ @ @ @ @ @ @ @ @ ~@ @ @ @ @ 8&* lÉ@@ @ @ @ @ @ @ @ @ . @@ @ @ @ @ @ @ D ¤@@ @ @ @ @c@ @ @ @ @ 0‬‬ ‫*&‪ b@@ @ @ @ @ @ @ @ @ @ @ @1*H @@ @ @ @ @ @ @ @ @m@ @ @ @ @ @ @ @ @ 1*H @@ @ @ @ @ @ @ @ @ @ @ @ @ @ @0‬‬ ‫‪ É@@ @ @ @ @ @ @0* lÉ@@ @ @ @ @ @ @ @ @. @@ @ @ @ @ @ @D @@ @ @ @ @ @ @ @ @ @ @ @ @ @ 0*H‬‬ ‫*‪I4&* @@ @ @ @ @ @ @ @ @ @E ¢@@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @=* @@ @ @ @ @ @ @ @ @ @ @ @ @ F‬‬ ‫ﺗﻠﻚ اﻷم اﻟﺘﻲ ﺣﺮم ﻣﻦ ﺣﻀﻨﻬﺎ وﻫﻮ اﺑﻦ ﺷﻬﺮﻳﻦ‪ ..‬ﺣﻴﺚ ﻓﺎرﻗﻬﺎ‬ ‫ﻧﺘﻴﺠﺔ ﺧﻼﻓﺎت أﴎﻳﺔ ﺑﻴﻨﻬﺎ وﺑني واﻟﺪه‪ ..‬وﻷن اﻟﻮاﻟﺪ ﻫﻮ ﺻﺎﺣﺐ‬ ‫اﻟﺼﻮت اﻷﻗﻮى ﺳﺤﺒﻪ ووﺿﻌﻪ ﺑني ﻳﺪي ﺟﺪﺗﻪ‪ ..‬ﻳﻘﻮل ﺣﺠﺎب‪ :‬ﺳﺎﻣﺢ‬ ‫اﻟﻠﻪ واﻟﺪي وﻏﻔﺮ ﻟﻪ‪ ..‬أﺧﺬين ﻣﻦ واﻟﺪيت وأﻋﻄﺎين ﻟﻮاﻟﺪﺗﻪ اﻟﺘﻲ مل‬ ‫ﺗﻜﻦ ﺗﻬﺘﻢ يب ﻷﻧﻬﺎ ﻛﺎﻧﺖ ﻣﺸﻐﻮﻟﺔ ﺑﺄﻣﻮرﻫﺎ وﺗﺠﺎرﺗﻬﺎ وﻏﻨﻤﻬﺎ وإﺑﻠﻬﺎ‪..‬‬ ‫وﻛﺎن اﻟﻨﺴﺎء ﻣﻦ ﺣﻮﻟﻨﺎ ﻛﻠام رأوين ﻳﺴﺄﻟﻮن ﻋﻦ أﻣﻲ‪ ..‬ﺣﺘﻰ ﺳﻤﻌﺖ‬ ‫ﻣﻨﻬﻢ ﻋﻨﺪﻣﺎ ﺑﻠﻐﺖ اﻟﺴﺎدﺳﺔ ﻣﻦ اﻟﻌﻤﺮ اﺳﻢ "اﻟﻔﻮارة" اﻟﻘﺮﻳﺔ اﻟﺘﻲ‬ ‫ﺗﻌﻴﺶ ﺑﻬﺎ واﻟﺪيت ﰲ اﻟﻘﺼﻴﻢ‪..‬‬ ‫وﺻﺎدف أن ﻛﻨﺎ ﰲ ﻗﺎﻓﻠﺔ ﻣﺮت ﺑﺎﻟﻘﺮب ﻣﻦ ﺗﻠﻚ اﻟﻘﺮﻳﺔ‪ ..‬ﻓﻘﻔﺰت ﻣﻦ‬ ‫ﻓﻮق اﻟﻨﺎﻗﺔ وﻫﺮﺑﺖ ﺑﺎﺗﺠﺎه ﺗﻠﻚ اﻟﻘﺮﻳﺔ‪ ..‬أﺗﻮق ﻟﺮؤﻳﺔ أم ﺣﺮﻣﺖ ﻣﻨﻬﺎ‬ ‫ﺳﻨﻮات اﻟﻄﻔﻮﻟﺔ اﻟﺒﻜﺮ‪.‬‬

‫ﺧﺘﻤﻬﺎ اﻟﺨﺘﺎم اﳌﻔﱰض ﺣﻴﺚ رىث ﻧﻔﺴﻪ ﺑﺼﻮﺗﻪ اﻟﺸﺠﻲ اﻟﺒﺎﻟﻎ‬ ‫ﺳﺒﻌني ﻋﺎﻣﺎً‪..‬‬ ‫ﺻﻮت داﻓﺊ مل ﺗﺒﻠﻐﻪ اﻟﺸﻴﺨﻮﺧﺔ‪ ..‬أﺣﺲ ﺑﺎﳌﻮت ﻳﻘﱰب ﻓﻘﺎل‬ ‫ﻳﻮﴆ اﺑﻨﺘﻪ‪:‬‬ ‫‪ @@ @ @ @ Â&°* ¤@@ @c@ @ @ @ / ¢@@ @ @ @ < Á¡@@ @ @ @ ~@ @ 9‬‬ ‫*(‪¤@@ @ p@ @ J &* @@ ~@ @z@ @±* @@ @}@ @ A4 *3‬‬ ‫‪ @@£@ @ F @@ @£@ @ @ @ B M @@ @£@ @ @ @ < Ä@@ @ @ @ @+‬‬ ‫‪ @@ @ @~@ @z@ @J µH v@@ @ @ Jv@@ @ @ / Ì@@ @ ~@ @ @ |@ @ @ B‬‬ ‫‪4¡@@ @ @ D*v@@c@ < Ä@@ @ @D* ¢@@ @ < *¡@@ @ @ @ 1H‬‬ ‫‪¤@@ @ @ D*v@@c@ < @@ @z@ @ E&°b@@ @+ h@@ @ @C (*H‬‬ ‫‪ ¡@@ @ @ @ @© b@@ @ @ ´ M ¡@@ @ ~@ @ @{@ @ @+ h@@ ~@ @ z@ @ @ @ A‬‬ ‫‪ @@ @ @ @ @ @ @ @ @.&°* °H Í@@ @ @ @ @j@ @ @ @ @ @D °H‬‬ ‫‪$b@@ @ @c@ @D* ¡@@ @ @ : h@@ £@ @ @ @E h@@ @ @ C (*H‬‬ ‫‪ ¤@@ @ @ @ @ @ @ @ @ E @@ @ @ @ @ @ @ @ @ @ @ @ @ @ @F&* b@@ @ @ @ @ @§x@@ @ @ @ @ @ @ @ @ @ @ @ A‬‬ ‫‪ @@£@ 0x@@D* h@@ @ BH b@@ @ 0 (* ¤@@g@ @ + b@@£@ A‬‬ ‫*(‪¤@@ @ @ @ Av@@ @E ¶(* Á¡@@ @ @ @ @ @ @ @ /H *3‬‬ ‫‪2Hv@@ @ @ @ ³* @@ @ @ @ @D b@@ @ @ @ @ @ @J(* b@@ @ @ @J(b@ @ @ @ A‬‬ ‫‪Áy@@ @ « &* ¤@@ @g@ @ @ @ + b@@ @ @ J b@@ @ @ @ @ @ @ @ J(*H‬‬ ‫« @ @ @ @@‪$b@@ @ @ /x@@ @ @ D*H b@@ @ @£@ @ @ ²* Í@@ @ @ + iÌ‬‬ ‫‪Áv@@ @ @ J2 b@@ @ @ @/x@@ @ @ @D*H b@@ @ @£@ @ @ ²* @@ @ @ @ ;H‬‬ ‫ﻃﺮﻗﺖ أول ﺑﺎب ﺻﺎدﻓﻨﻲ ﰲ اﻟﻘﺮﻳﺔ‪ ..‬ﻓﺘﺤﺖ ﱄ اﻣﺮأة ﻗﻠﺖ ﻟﻬﺎ‪ :‬أﻧﺖ‬ ‫أﻣﻲ!‬ ‫ﻗﺎﻟﺖ‪ :‬وﻣﻦ أﻧﺖ ﺣﺘﻰ أﻛﻮن أﻣﻚ؟‬ ‫ﻗﻠﺖ ﻟﻬﺎ‪ :‬أﻧﺎ ﺣﺠﺎب ﺑﻦ ﻧﺤﻴﺖ‬ ‫ﻓﺄﴎﻋﺖ يب إﱃ ﺑﻴﺖ ﻗﺮﻳﺐ‪ ..‬ﻫﻨﺎك ﺻﺎدﻓﺖ ﺛﻼث ﻧﺴﺎء ﻛﻠﻬﻦ‬ ‫أﺧﺬﻧﻨﻲ ﺑﺎﻷﺣﻀﺎن‬ ‫ﺳﺄﻟﺖ‪ :‬أﻳﻜﻦ واﻟﺪيت؟‬ ‫وﺑﺼﻮت ﻣﺨﺘﻠﻂ ﺑﺎﻟﺪﻣﻮع ﻋﺮﻓﺘﻬﺎ وارمتﻴﺖ ﺑﺄﺣﻀﺎﻧﻬﺎ‪...‬‬ ‫ﺣﺠﺎب ﺑﻦ ﻧﺤﻴﺖ‪ ..‬ﺣﻜﺎﻳﺔ إﻧﺴﺎن أﺣﺐ اﻟﺤﻴﺎة واﻟﻐﻨﺎء واﻟﺤﺐ‬ ‫واﻟﺸﻌﺮ واﻟﺼﻮت اﻟﺠﻤﻴﻞ وأﺣﺐ اﻹﻧﺴﺎن‪ ..‬ﻓﺪاﻓﻊ ﻋﻨﻪ ﺑﻜﻞ اﻟﻮﺳﺎﺋﻞ‪.‬‬ ‫اﻟﺸﻌﺮ ‪baytelshear‬‬ ‫ﺑﻴﺖ ِ‬

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‫‪ŗšœħ ĮŒ Ĭħ‬‬

‫ ‪ǖǷŨǈǘǕŌ ǗƮǜǕŌǶ ŝżǕŌǶ ǚōǙƉżǕŌ‬‬

‫ﺣﺠﺎب ﺑﻦ ﻧﺤﻴﺖ‪ ..‬رﺛﺎﺋﻴﺔ اﻟﻘﻠﺐ اﻟﻤﺘﻔﺎﺋﻞ‬ ‫ﻋﻠﻲ اﻟﻤﺴﻌﻮدي‬

‫ﺷﺎﺳﻊ ﻫﺬا اﻟﺤﺰن ﻳﺎﺻﺪﻳﻘﻲ‪..‬‬ ‫واﻟﺤﺐ ﻣﺜﻞ اﻟﺮﺣﻴﻞ‪ ..‬ﻗﺼﺔ ﺣﺰن ﺗﻈﻨﻬﺎ ﺗﺨﺘﻔﻲ ﰲ اﻟﺮوح‪ ..‬ﻟﻜﻨﻬﺎ‬ ‫ﻻﺗﻐﻴﺐ ﺑﻞ ﺗﺨﺘﺒﺊ ﻓﻘﻂ‬ ‫ﺣﺴﻨﺎ أﻧﺖ ﺗﻌﺮف أن ﻫﺬه اﻷﺑﻴﺎت ﻟﺤﺠﺎب ﺑﻦ ﻧﺤﻴﺖ‪:‬‬ ‫· ‪ H4v@@ @ J @@ 6b@@ @ @D* È@@ @ C* b@@ @ @ < Mf@ @~@ @|@ @B‬‬ ‫‪h@@ +x@@ @ @ @ @- Á¡@@ @ @ @ @ @ +b@@ @ @B ° µ‬‬ ‫‪M b@@ @ @ @ @ @ < @@ @ @ @E‬‬ ‫‪ ¡@@~@ {@ Â ¡@@ ~@ @z@ @D* @@ @E *Hx@@ @ @E b@@ £@ @D* @M @ @6b@@ @F‬‬ ‫*‪h@@c@~@z@D* @@ E $b@@.É@@j@ D* x@@ @ <* b@@ E @@£@ ~@ 9‬‬ ‫*‪ ¡@@~@ z@ @ - @@ @ 0 @@ @ @ Db@@ E *¡@@ g@ @£@ @~@ @z@ @F ¤@@ @ @ @ D‬‬ ‫‪h@@ c@ @£@ @ @ @- Á&° Á¡@@ @ g@ @ @£@ @ @~@ @ @z@ @ @F ¤@@ @ @ @ @ @ @ @J‬‬ ‫*= @ @‪ ¡@@c@ £@ @ J ¤@@ @ @j@ @E @@ @6b@@ @ @ @ D* @@ @ @ CH d@@ @£‬‬ ‫‪h@@c@ ³b@@+ @@ 6b@@ F @@ @ D @M @ 6b@@ F Ix@@ @ @Db@@ + @@ C‬‬ ‫‪ Hv@@ ~@ |@ J 2b@@ @ @ < d@@ @ @²* @@ @ @ G*H h@@ Jv@@ ~@ @8‬‬ ‫‪h@@ c@ F Mh@@ @ @ +b@@ @ @ F @@ @ @ @ +¡@@ @ @ @ @ @ + É@@ @ @ @ @ @ D* ¡@@ @ @ D‬‬ ‫ﻓﺎﺗﺒﻌﻨﻲ اذن‪..‬‬ ‫ً‬ ‫ﺗﻌﺮف ﻫﺬا اﻟﺴﻮق ﻃﺒﻌﺎ؟ إﻧﻪ ﺳﻮق اﻟﻔﺤﻴﺤﻴﻞ اﻟﺸﻬري ﰲ ﺟﻨﻮب‬ ‫اﻟﻜﻮﻳﺖ‪ ..‬اﻟﺴﻮق اﻟﺬي ﺷﻬﺪ اﻟﺨﻔﻘﺎت اﻷوﱃ ﻟﺤﺠﺎب ﺑﻦ ﻧﺤﻴﺖ‪..‬‬ ‫ﻓﻬﻨﺎ ﻋﺎش رﺑﻴﻊ اﻟﺤﺐ واﻟﻮﻟﻪ‪ ..‬وأﺟﻤﻞ ﺣﻜﺎﻳﺎت اﻟﺸﻌﺮ‪ ..‬ﺗﻠﻚ‬ ‫اﻣﺮأة ﺷﺎﻣﻴﺔ ﺷﻘﺮاء ﺗﻘﺪم ﺑﻬﺎ اﻟﺴﻦ ﻛﺜرياً‪ ..‬ﻛﺎﻧﺖ ﻓﻴﻪ ﺗﻠﻚ اﻟﺠﺪران‬ ‫اﳌﺘﻬﺎﻟﻜﺔ‪.‬‬ ‫ً‬ ‫ً‬ ‫ً‬ ‫ﺗﻠﻚ اﻟﺠﺪران ﻛﺎﻧﺖ ﻳﻮﻣﺎ ﻣﺎ ﻗﺒﻞ ﺧﻤﺴني ﻋﺎﻣﺎ دﻛﺎﻧﺎ ﻟﻸﻗﻤﺸﺔ ﺗﺒﻴﻊ‬ ‫ﺑﻪ ﺗﻠﻚ اﻟﺸﺎﻣﻴﺔ اﻟﺠﻤﻴﻠﺔ‪ ..‬ﺗﺸﺒﻪ اﻟﻜﺜري ﻣﻦ اﻟﺘﻮاﺻﻴﻒ اﻟﺘﻲ ﺳﻜﻨﺖ‬ ‫ﻗﺼﺎﺋﺪ ﺣﺠﺎب‪ ..‬ﻗﺼﺎﺋﺪه اﻟﺒﻜﺮ ﺣﻴﺚ اﻟﺸﺒﺎب واﻟﻘﻠﻖ واﻟﻘﻠﺐ ﻳﺨﻔﻖ‬ ‫ﺑﺎﻟﺘﻤﺮد وﺣﺐ اﻟﺤﻴﺎة واﻟﻘﻔﺰ ﻋﲆ اﳌﻐﺎﻣﺮة‪.‬‬ ‫ﻛﺎن ﻳﻨﺸﺪ‪:‬‬ ‫‪¥b@@ @ @ @ @ @ @ @ @ @ =H Áb@@ @ @ @ @ @ @ @ @ @ @ @ @ @ ²*H ¥x@@ @ @ @ @ @ @ @ @ @ ~@ @ @ @ @ 7‬‬ ‫*‪¥v@@ @ @ @ @ @ @ @ @ @ J*H ¥4b@@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @A* ob@@ @ @ @ @ @ @ @g@ @ @ @ @ @ @ @ F‬‬ ‫ﻓﻬﻮ ﻣﺼﻨﻊ ﻣﺴﺘﻘﻞ ﻟﻺﺑﺪاع‪..‬‬ ‫ﻣﻦ ﻫﻨﺎ ﻣﺮ ﺣﺠﺎب‪ ..‬ﺗﺮك أﻏﻨﻴﺎﺗﻪ وﺣﺰﻧﻪ وﺣﺒﻪ وﺣﴪاﺗﻪ ورﺣﻞ ﻋﻦ‬ ‫اﻟﻜﻮﻳﺖ‪ ..‬مل ﻳﻜﻦ ﻓﺮاق واﻟﺪﺗﻪ ﺳﻬ ًﻼ‪ ..‬ﻓﻬﻮ مل ﻳﺮﻫﺎ أﺻ ًﻼ‪..‬‬

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‫اﻟﻌﺪد ‪ ، 70‬ﺳﺒﺘﻤﺒﺮ ‪2018‬‬

ĮńĵŒ şŉ

.. ‫ﻗﺼﺎﺋﺪ ﻗﺼﻴﺮة‬

‫ﻣﻬﻞ‬ ٍ ‫ﻋﻠﻰ‬

‫اﻟﻘﺼﻴﺪة‬

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‫ﻋﺒﺪا! أﺑﻮﺑﻜﺮ‬ @abdabubaker1

‫ﻓﻲ اﻟﺼّ ﻮرة‬ ‫ﺷﻴْﺐ‬ O ¥x < ~|F ¯ ix~6 bEv < P Q OhJ&*4 ¤ < ¤ c- fN D¡ D* S fK cN D Rv PmJ µ (* N bC ¥wD* OhJ&*4 fP Jv²* ¯ S m£D Jv£D* Q R cN B Æ vE P O ¥x < ~|F ¯ ix~6 bEv < P O EQvD* ¢ + Q O D*H N ,O $*ÄD* O g G4&* ¥wD* *3 6&P *xD* ¢ < Tv J 4N b~8 R cN £R ~7N

baytelshear ‫اﻟﺸﻌﺮ‬ ِ ‫ﺑﻴﺖ‬

,P 4¡~|D* ¯ Á%*4 bC ,P %*x´* P /H ¯ N vQ 0 Nh Q O K*v~z/ I&*4H Bb~zgJ O 0*ygJ 2¡~6&* M4bc + I&ÉE ,K xC*3 2R *xmC N xM ~|N +N É+ PÍ £< O Q Kb AH z Db+ È gJ R YbF&* P £A d)* O wQ D* *wG GZ 2O ÄD* O x~8b0 vBH N bB Q £ Q C ¯ h+*3H z R ~{D* P

‫‪ ĬńŒ ŝħ‬‬ ‫ﺑﺤﻀﻮر اﻷﻣﺴﻴﺔ واﻟﺘﻜﺮﻳﻢ ﺳﻌﺎدة اﻟﺪﻛﺘﻮر‬ ‫ﻋﻴﴗ اﻷﻧﺼﺎري اﻷﻣــني اﻟﻌﺎم اﳌﺴﺎﻋﺪ‬ ‫ﻟﻘﻄﺎع اﻟﺜﻘﺎﻓﺔ ﺑﺎﳌﺠﻠﺲ اﻟﻮﻃﻨﻲ ﻟﻠﺜﻘﺎﻓﺔ‬ ‫واﻟﻔﻨﻮن واﻵداب‪ ،‬وﻣﺪﻳﺮ اﳌﻬﺮﺟﺎن اﻷﺳﺘﺎذ‬ ‫ﻣﺤﻤﺪ رﺿﺎ‪ ،‬واﻟﻔﻨﺎن اﻟﻘﺪﻳﺮ اﻟﺪﻛﺘﻮر ﺣﺒﻴﺐ‬ ‫ﻏﻠﻮم اﻟﻌﻄﺎر‪ ،‬وﻋﺪد ﻣﻦ اﻟﺸﻌﺮاء واﻷدﺑﺎء‪.‬‬ ‫ﻣﺎ أﻫﻤﻴﺔ اﳌﺸﺎرﻛﺎت واﳌﻠﺘﻘﻴﺎت ﺑﺎﻟﻨﺴﺒﺔ‬ ‫ﻟﻠﺸﺎﻋﺮ؟‬ ‫■ ﻻ ﺷﻚ أﻧﻬﺎ ﻣﻬﻤﺔ‪ ،‬ﻓﺈﺿﺎﻓﺔ إﱃ إﻳﺼﺎل‬ ‫ﺻﻮت اﻟﺸﺎﻋﺮ ﰲ اﳌﺤﺎﻓﻞ اﻷدﺑﻴﺔ اﻟﻜﺒرية‪،‬‬ ‫ﻓــﺈن اﻟــﺘــﻮاﺟــﺪ ﻣــﻊ اﻟــﺸــﻌـﺮاء واﻷدﺑـــﺎء‬

‫واﻹﻋﻼﻣﻴني ﻳﻀﻴﻒ اﻟﻜﺜري ﻟﻠﺸﺎﻋﺮ وﻳﻘﻮي‬ ‫ﺑﺎﻟﺘﺎﱄ ﻋﻼﻗﺎﺗﻪ وﻳﻮﺳﻊ داﺋــﺮة ﻣﻌﺮﻓﺘﻪ‬ ‫وﻣﻌﺎرﻓﻪ‪ ،‬ﻛام ﻳﺰﻳﺪ ﻣﻦ اﻟﺘﺂﻟﻒ ﺑني اﻷﺷﻘﺎء‬ ‫ﺣني ﺗﻜﻮن اﻷﻣﺴﻴﺎت ﻣﺸﱰﻛﺔ ﺑني ﻋﺪد ﻣﻦ‬ ‫اﻟﺪول‪.‬‬ ‫ﳌﻦ ﺗﻘﺮأﻳﻦ ﻣﻦ اﻟﺸﻌﺮاء وﻣﺎ اﻟﺬي ﻳﻌﺠﺒﻚ‬ ‫ﰲ أﺷﻌﺎرﻫﻢ؟‬ ‫■ ﺗﻌﺠﺒﻨﻲ اﻟﻜﻠﻤﺔ واﻟﻔﻜﺮة اﳌﻤﻴﺰة ﺳﻮاء‬ ‫ﻛﺎﻧﺖ ﺷﻌﺮاً أم ﻧرثاً‪ ،‬وأﻗﺮأ ﳌﻬﻨﺪس اﻟﻜﻠﻤﺔ‬ ‫اﻷﻣــري اﻟﺸﺎﻋﺮ ﺑــﺪر ﺑﻦ ﻋﺒﺪاﳌﺤﺴﻦ‪،‬‬ ‫واﻷﻣري ﺧﺎﻟﺪ اﻟﻔﻴﺼﻞ‪ ،‬وﻋﺒﺪاﻟﺮﺣﻤﻦ ﺑﻦ‬

‫ﻣﺴﺎﻋﺪ‪ ،‬وﻣﺘﻌﺐ اﻟﱰيك‪ ،‬واﻟﺮاﺣﻠني ﻣﺴﺎﻋﺪ‬ ‫اﻟﺮﺷﻴﺪي‪ ،‬وﻃﻼل اﻟﺮﺷﻴﺪ "رﺣﻤﻬام اﻟﻠﻪ"‬ ‫وﻏريﻫﻢ اﻟﻜﺜري‪ ،‬ﻣﻦ اﻟﺸﻌﺮاء اﳌﻌﺎﴏﻳﻦ‬ ‫اﻟﺬﻳﻦ ﻻ ﻳﺘﺴﻊ اﳌﺠﺎل ﻟﺬﻛﺮﻫﻢ واﻟﺬﻳﻦ‬ ‫ﻳﻜﺘﺒﻮن اﻟﺸﻌﺮ ﻟﻠﺸﻌﺮ‪ .‬إذ ﻛﺎﻧﺖ اﻧﻄﻼﻗﺘﻲ‬ ‫اﻟﺤﻘﻴﻘﻴﺔ ﻣﻦ ﻋﺎمل اﳌﻨﺘﺪﻳﺎت اﻟﺬي أﺣﺪث‬ ‫ﻧﻘﻠﺔ ﻧﻮﻋﻴﺔ وﻓــﺎرﻗــﺔ ﰲ وﻗﺘﻪ وﺧﺪم‬ ‫اﻟﺸﻌﺮ ﺑﺸﻜﻞ ﻛﺒري وﺧــﺮج ﻣﻨﻪ ﻣﻌﻈﻢ‬ ‫اﻟﺸﻌﺮاء اﳌﺘﻮاﺟﺪﻳﻦ ﰲ اﻟﺴﺎﺣﺔ ﺣﺎﻟﻴﺎً‪،‬‬ ‫وﻛﻨﺖ ﻣﺘﺎﺑﻌﺔ ﺣﺜﻴﺜﺔ ﻟﺸﻌﺮاء اﳌﻨﺘﺪﻳﺎت‬ ‫واﺳﺘﻔﺪت ﻣــﻦ اﻟﻜﺜري ﻣــﻦ اﻟﺘﺠﺎرب‬ ‫اﻟﺸﻌﺮﻳﺔ ﻓﻴﻬﺎ‪.‬‬

‫ٌ‬ ‫ﻋﺎرض ُﻣﻤﻄﺮﻧﺎ‬ ‫*&‪ @@ ~@ @}@ @£@ @ @ @g@ @~@ @z@ @´* ¡@@ @ @ @ @Ev@@ @ @ @ @D* b@@ @ @ @ £@ @ @ @ s@ @ - @@ +b@@ £@ @= H x@@ @ p@ @ c@ @ D* H @@ @ £@ @ @ @ D* H b@@ @ @ @ @ F‬‬ ‫‪ @@~@ }@ £@ @ @ + h@@ @ @ @ ~@ @ |@ @ D* ,x@@ @ @ @ @ @ @+N @@ @ g@ @ @ @ @ @FH @@ @+*x@@ @- Ix@@ @ @ Cw@@ @ @ D* ¤@@ @j@ @ p@ @ FP b@@ @ @ @ gR @ @ +P H‬‬ ‫ @ @ @ @ @ @ @@‪f@@ ~@ }@ £@ @ 1 Á¡@@ @ @£@ @ @ < @@ @ @ < @@ @ @ -P *x@@ @ @ @ @ @ @ FH @@ @+b@@ @g@ @ CP f@@ @ @~@ @ @ {@ @ @ <4N @@ @ @ gP @ @ @ @ @ @ BHN ¥4*v‬‬‫‪f@@ ~@ @}@ @Jx@@ A ¤@@ @c@ @ @ @ @ @ + @@ @ c@ @ @0 y@@ @ @ @ @ @ @ @ @ F&* H @@ @ +*¡@@ @ / @@ @ Q @ @ @~@ @ @6 ¥w@@ @ @ @ @ @ @ @D*H @@ @ @gP @ @ @ D&b@ @ @ ~@ @ @ 6‬‬ ‫ @ @ @ @@‪f@@~@ }@ £@ @ EN ¤@@ @ @ @ B°&* b@@ @ E @@ @~@@R @8¡@@ @D* @@ }@ @£@ @BH @@ @ @ @ +*x@@ @~@ @ 6 2x@@ @ @ @ @ @ @ @ @ :&* b@@ @ @ @ @ @ @ F&*H ¤@@ @ @ @ c@ @ -b‬‬‫‪f@@ ~@ }@ Jx@@ <N @@ @F*x@@ @m@ @ G h@@ @ @ @F*H ¤@@ @ @~@ @{@ @- H @@ +b@@ + iRv@ @ @ @ @ ~@ @ @ @ @ 8H&* ¡@@ @ @ @ J ¡@@ @ @ @ @ @ @ @´* @@ @ @ E‬‬ ‫‪ @@~@ }@ £@ ~@ }@ 0 @@ @ @E x@@ @ @ @ Jb@@ @. b@@ @ @Cx@@ @ @+ @@ @ N @ @ @0 @@ @ @ @ @ +b@@ @ G3 f@@ @ @ @ @ @ @² ¯ %°* Ãy@@ @ @ @ @ @ G‬‬ ‫‪f@@ ~@ @}@ @ @ @Jx@@ E h@@ @ -b@@ @ E ¤@@ @g@ @ 0x@@ @A f@@ @ @ @ @ @ : H @@ @+b@@ @g@ @ < °(* ¢@@ @ @ @ @ @ + b@@ @ @ @ @ @ EH h@@ @ £@ @ @~@ @ @{@ @ @E‬‬ ‫*&‪ @@ ~@ @}@ @£@ @~@ @}@ @EN ¯Hx@@ @ @ @ @ @ @ 0 ¤@@ @ @Bb@@ @ @+ @@ @ @ @ @ @ @ @ @+&*H @@ @ +*x@@ @ @ @ P0 f@@ @ @ @ @ @ @: H ¤@@ @ @ @ @ @ @E°%* @@ @ £@ @ @~@ @ @7‬‬ ‫‪f@@ @~@ @ }@ @ Jx@@ @< M É@@ @ @ @ @ @ @ @ @ @ 0&* ¡@@ @ @ @ @ @ @ A x@@ @ ~@@Q @ z@ @ @ @ @ @- @@ @+b@@ @p@N @ @~@ @ 6 @@ @ @ @ @cN @ @ @ @ @ B&* b@@ @ @ @ @ @ @ @C x@@ @ @ @ @ P:b@@ @ @ @ @1H‬‬

‫ﺑﺘﻮل آل ﻋﻠﻲ‬

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‫اﻟﻌﺪد ‪ ، 70‬ﺳﺒﺘﻤﺒﺮ ‪2018‬‬

‫ﺑﺎﻟﻔﺼﺤﻰ‪.‬إذ ﻳﺒﻘﻰ ﻟﻠﺸﻌﺮ اﻟﻔﺼﻴﺢ روﻧﻘﻪ‬ ‫اﻟﺨﺎص وﺧﺼﻮﺻﺎً اﳌﺪرﺳﺔ اﻟﺘﻘﻠﻴﺪﻳﺔ ﻓﻴﻪ‬ ‫واﻟﺘﻲ أﺣﺒﺬ اﻟﻘﺮاءة واﻟﻜﺘﺎﺑﺔ ﻓﻴﻬﺎ‬ ‫‪ ǼǷŬǝŐ ŦǷƛ‬‬

‫ﻣﺎ اﻟﺬي ﺗﻌﺘﱪﻳﻦ أﻧﻪ ميﻴﺰك ﻛﺸﺎﻋﺮة‪ ،‬وﻣﺎ‬ ‫اﻟﺬي ﺗﻄﻤﺤني ﺑﺎﻟﻮﺻﻮل إﻟﻴﻪ ﻳﻮﻣ ًﺎ ﻣﻦ ﺧﻼل‬ ‫ﻗﺼﺎﺋﺪك؟‬ ‫■ أﻧﺎ ﺟﺌﺖ ﻷﻋــﺮض ﺗﺠﺮﺑﺘﻲ اﻟﺸﻌﺮﻳﺔ‪،‬‬ ‫وﻷﺿﻴﻒ ﻟﻠﺴﺎﺣﺔ ﺻﻮﺗﺎً أﻧﺜﻮﻳﺎً ﺟﺪﻳﺪاً‪ ،‬ﻟﻌﻠﻪ‬ ‫ﻳﺸﻜﻞ ﺣﻴﺰاً ذا ﻗﻴﻤﺔ ﰲ ﻳﻮم ﻣﺎ‪ ،‬ﺟﺌﺖ ﻷﻗﻮل‬ ‫ﻟﻠﻤﺸﻜﻜني إن اﳌﺮأة ﻗﺎدرة ﻋﲆ اﳌﻨﺎﻓﺴﺔ‬ ‫وﻋﲆ اﻟﻜﺘﺎﺑﺔ وإن اﻟﻮرق ﻟﻴﺲ ﺣﻜﺮاً ﻋﲆ‬ ‫اﻟﺮﺟﻞ‪ ،‬ﺷﺎء ﻣﻦ ﺷﺎء وأىب ﻣﻦ أىب‪.‬‬

‫ﻫﻞ ﺗﻌﺘﱪﻳﻦ ﻫﺬه اﳌﺮﺣﻠﺔ ﻫﻲ ﻓﱰة ازدﻫﺎر‬ ‫اﻟﺸﻌﺮ اﻟﻨﺒﻄﻲ ﰲ اﻹﻣﺎرات؟‬ ‫■ ﻫﺬه اﳌﺮﺣﻠﺔ ﻫﻲ ﻣﺮﺣﻠﺔ ﻛﺜﺎﻓﺔ ﺷﻌﺮﻳﺔ‪،‬‬ ‫وﻟﻜﻨﻬﺎ ﻟﻴﺴﺖ ﻣﺮﺣﻠﺔ ازدﻫــﺎر‪ ،‬ﻷﻧﻨﺎ ﻣﻊ‬ ‫ﻫﺬه اﻟﻜﺜﺎﻓﺔ ﻧﺤﻦ ﻧﻔﺘﻘﺪ ﻟﻠﻘﻴﻤﺔ اﻟﺤﻘﻴﻘﻴﺔ‬ ‫ﻟﻠﺸﻌﺮ‪ ،‬وﻧﻔﺘﻘﺪ أﻳﻀﺎً ﻟﻠﻨﺎﻗﺪ اﻟﻮاﻋﻲ اﻟﺬي‬ ‫ﻳﺼﻘﻞ ﻫــﺬا اﻟﻜﻢ اﻟﻬﺎﺋﻞ ﻣﻦ اﻷﺷﻌﺎر‬ ‫وﻳﻐﺮﺑﻠﻬﺎ ﻟرنﺗﻘﻲ ﺑﺬاﺋﻘﺔ اﳌﺘﻠﻘﻲ اﻟﺬي ﻻ‬ ‫ﻳﻔﺮق ﺑني اﻟﻐﺚ واﻟﺴﻤني‪.‬‬

‫ﻛﻴﻒ ﻛﺎﻧﺖ ﻣﺸﺎرﻛﺘﻚ اﻷﺧرية ﰲ »ﻣﻬﺮﺟﺎن‬ ‫ﺻﻴﻔﻲ ﺛﻘﺎﰲ« ﰲ اﻟﻜﻮﻳﺖ؟‬ ‫■ ﻗﺒﻞ ﻛﻞ ﳾء أﻗﺪم ﺷﻜﺮي إﱃ اﳌﺠﻠﺲ‬ ‫اﻟﻮﻃﻨﻲ ﻟﻠﺜﻘﺎﻓﺔ واﻟﻔﻨﻮن واﻵداب‪ ،‬ﻋﲆ‬ ‫اﺧﺘﻴﺎري ﻷﻛﻮن أﺣﺪ رواد ﻣﻬﺮﺟﺎن »ﺻﻴﻔﻲ‬ ‫ﻣﺘﻰ ﺗﻘﺮرﻳﻦ أن ﺗــﺼــﺪري ﻣﺠﻤﻮﻋﺘﻚ ﺛﻘﺎﰲ« ﰲ دورﺗﻪ اﻟﺜﺎﻟﺜﺔ ﻋﴩة‪ ،‬واﻟﺬي أﻗﻴﻢ‬ ‫اﻟﺸﻌﺮﻳﺔ اﻷوﱃ؟‬ ‫ﰲ دوﻟﺔ اﻟﻜﻮﻳﺖ اﻟﺤﺒﻴﺒﺔ‬ ‫■ ﻗﺮﻳﺒﺎً »ﺑﺈذن اﻟﻠﻪ«‪.‬‬ ‫ﻟﻘﺪ ﻛﺎﻧﺖ ﺗﺠﺮﺑﺔ ﻣﻤﻴﺰة ﺑﺤﻖ‪ ،‬ﺧﺼﻮﺻﺎً‬

‫‪ ƉƪƖǕŌ ǳşōŨǉ ǻǕŒ ŧǔǂŨǝŌ‬‬ ‫‪ ōǥƈōŞŨƫōş ɐǳǾǙōƪǕŌ ǳŴǤǔǕōş‬‬ ‫‪ ǒǶƂ ǽƳ ǽǂǔŨǘǕŌ ǀǶƅǕ ŜƉǃȏŌ‬‬ ‫‪ ųǾǔƀǕŌ‬‬ ‫‪ ƉƪƖǕōş ǳǿƃŴǜǕŌ ǳƓƈƃǘǕōş ŦƉŭőũ‬‬ ‫‪ɰ‬‬ ‫‪ ōǤŨŞǔƮǕǶ ƐōǜǔǕ ōǤǕǷƛǷǕ ŌƉƦǝ‬‬ ‫‪ ŋōƞǾŞǕŌ ǳŴǤǔǕŌ ǻǔƫ‬‬ ‫ ‪ ǲŐƉǘǕŌ ǚŒ ǛǾǈǈƖǘǔǕ ǒǷǃŐ‬‬ ‫‪ ǳşōŨǈǕŌǶ ɐǳƒƳōǜǘǕŌ ǻǔƫ ǲƈƂōǃ‬‬ ‫‪ɰ‬‬ ‫‪ ǓŵƉǕŌ ǻǔƫ ŌƉǈŽ ƑǾǕ ǀƈǷǕŌǶ‬‬

‫وأﻧﻬﺎ أﻣﺴﻴﺘﻲ اﻟﻌﺎﻣﺔ اﻷوﱃ‪ ،‬ﺑﻌﺪ أن ﻛﺎﻧﺖ‬ ‫ﻛﻞ أﻣﺴﻴﺎيت ﻗﺒﻞ ذﻟﻚ ﻧﺴﺎﺋﻴﺔ‪.‬‬ ‫وﻗﺪ ﻛﻨﺖ ﺑﺮﻓﻘﺔ زﻣــﻼيئ اﻟﺸﻌﺮاء ﻓﻮاز‬ ‫اﻟﺰﻧﺎيت وﻣﺤﻤﺪ اﻟﺨﻄﻴﻤﻲ‪ ،‬ﰲ اﻷﻣﺴﻴﺔ اﻟﺘﻲ‬ ‫ﻗﺪﻣﻬﺎ اﻟﺸﺎﻋﺮ ﻃﺎﻟﺐ اﻟﴩﻳﻒ‪ .‬ﻛام ﴍﻓﻨﺎ‬ ‫اﻟﺸﻌﺮ ‪baytelshear‬‬ ‫ﺑﻴﺖ ِ‬

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‫‪ ĬńŒ ŝħ‬‬ ‫اﻟﺼﻐﺮ‪ ،‬ﺣﻴﺚ وﺟﺪﺗﻨﻲ ﻓﻴﻪ وﻛﺎﻧﺖ ﺗﺸﺪين‬ ‫اﻟﻜﻠامت وﺗﺴﺤﺮين اﻷﻟــﺤــﺎن‪ ،‬وأﻋﺸﻖ‬ ‫اﻟﻐﻮص ﻓﻴﻬﺎ واﻟﺒﺤﺚ ﻋﻨﻬﺎ وﺣﻔﻈﻬﺎ‬ ‫واﻻﺣﺘﻔﺎظ ﺑﻬﺎ‪ ،‬وﻛﺎﻧﺖ ﺑﺪاﻳﺘﻲ اﻟﺸﻌﺮﻳﺔ‪،‬‬ ‫ﺑﻜﺘﺎﺑﺔ اﻟﺸﻌﺮ اﻟﻔﺼﻴﺢ‪ ،‬وﺑﻌﺪ ذﻟﻚ اﻧﺘﻘﻠﺖ‬ ‫إﱃ ﻛﺘﺎﺑﺔ اﻟﺸﻌﺮ ﺑﺎﻟﻠﻬﺠﺔ اﻟﻌﺎﻣﻴﺔ‪ ،‬ﺑﺎﻋﺘﺒﺎرﻫﺎ‬ ‫اﻟﻠﻬﺠﺔ اﻷﻗﺮب إﱃ ذوق اﳌﺘﻠﻘﻲ ﰲ دول‬ ‫اﻟﺨﻠﻴﺞ اﻟﻌﺮيب ﻋﲆ وﺟﻪ اﻟﺨﺼﻮص‪.‬‬ ‫وﻋﻨﺪﻣﺎ وﻟﺠﻨﺎ إﱃ ﻋﺎمل اﳌﻨﺘﺪﻳﺎت‪ ،‬وﺑﺪأت‬ ‫ﺑﻘﺮاءة اﻟﺸﻌﺮ اﻟﻨﺒﻄﻲ ﺑﺸﻜﻞ ﻣﻮﺳﻊ‬ ‫وﻣﻜﺜﻒ ﺣﺘﻰ اﺗﺠﻬﺖ إﻟﻴﻪ‪ ،‬وﺗﺄﺛﺮت ﻛﺜرياً‬ ‫ﺑﺎﳌﺪرﺳﺔ اﻟﻨﺠﺪﻳﺔ ﰲ اﻟﺸﻌﺮ اﻟﻨﺒﻄﻲ ﻧﻈﺮاً‬ ‫ﻟﺴﻼﺳﺘﻬﺎ وﴎﻋﺔ وﺻﻮﻟﻬﺎ ﻷﻛﱪ ﴍﻳﺤﺔ ﻣﻦ‬ ‫اﻟﻨﺎس‪ ،‬ﻓﻬﻲ اﻟﻐﺎﻟﺒﺔ ﻋﲆ اﻟﻠﻬﺠﺔ اﻟﺒﻴﻀﺎء‪،‬‬ ‫اﻟﺘﻲ ﻳﻨﺘﻬﺠﻬﺎ اﻟﺸﻌﺮاء ﰲ وﻗﺘﻨﺎ اﻟﺮاﻫﻦ‪.‬‬

‫ﻋﻨﺪ ﻛﺘﺎﺑﺔ اﻟﻘﺼﻴﺪة‪ .‬ﻛام أن اﳌﺮأة ﺑﻄﺒﻴﻌﺔ‬ ‫‪ ǽƢŞǜǕŌǶ ŻǾƚƲǕŌ ǛǾş‬‬ ‫ﻫﻞ ﺗﻌﺘﻘﺪﻳﻦ ﺑﻮﺟﻮد ﻓﺮوﻗﺎت ﺑني ﺷﻌﺮ اﻟﺤﺎل ﺗﺸﺎﻫﺪ ﻛﻞ ﻣﻮﺿﻮع ﺣﺴﺐ ﻧﻈﺮﺗﻬﺎ‬ ‫اﻟﺮﺟﻞ واﳌﺮأة‪ ،‬وﻣﺎ ﻫﻲ؟‬ ‫اﻟﺨﺎﺻﺔ وﺣﺴﺐ ﺛﻘﺎﻓﺘﻬﺎ وﻳﻨﻌﻜﺲ ذﻟﻚ‬ ‫■ اﻟﻔﺮق ﻳﻮﺟﺪ ﻣﻦ ﺧﻼل اﻟﺒﻴﺌﺔ اﻟﺘﻲ ﻋﲆ أﺳﻠﻮﺑﻬﺎ ﰲ اﻟﻜﺘﺎﺑﺔ وﻛﺬﻟﻚ ﺑﺎﻟﻨﺴﺒﺔ‬ ‫ﻳﻌﻴﺸﻬﺎ ﻛﻞ ﻣﻨﻬام‪ ،‬واﻻﺧﺘﻼف ﰲ ﻃﺮﻳﻘﺔ ﻟﻠﺮﺟﻞ‪.‬‬ ‫اﻟﺘﻔﻜري‪ ،‬وﰲ ﻛﻴﻔﻴﺔ ﻧﻈﺮﺗﻬﻢ ﻟﻸﻣﻮر‪،‬‬ ‫ﻋﻤﻠﺖ‬ ‫ﺑﺪأت ﻛﺘﺎﺑﺔ اﻟﺸﻌﺮ‪ ،‬وﻛﻴﻒ‬ ‫ِ‬ ‫ﺑﺎﻹﺿﺎﻓﺔ إﱃ اﳌﻌﺠﻢ اﻟﻠﻐﻮي اﻟﺨﺎص ﺑﻜﻞ ﻣﻨﺬ ﻣﺘﻰ ِ‬ ‫ﻣﻨﻬام‪ ،‬وأﻋﺘﻘﺪ أن ﻛﻞ ذﻟﻚ ﻳﺸﻜﻞ ﻓﺎرﻗﺎً ﰲ ﻋﲆ ﺗﻄﻮﻳﺮ ﺗﺠﺮﺑﺘﻚ؟‬ ‫أﺳﻠﻮب اﻟﻄﺮح‪ ،‬وﰲ ﻃﺮﻳﻘﺔ ﺗﻨﺎول اﳌﻮﺿﻮع ■ ﻇﻬﺮت ﻫﻮاﻳﺘﻲ ﺑﻜﺘﺎﺑﺔ اﻟﺸﻌﺮ ﻣﻨﺬ‬

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‫اﻟﻌﺪد ‪ ، 70‬ﺳﺒﺘﻤﺒﺮ ‪2018‬‬

‫ﺗﺄﺛﺮت ﺧﻼل ﺗﺠﺮﺑﺘﻚ اﻟﺸﻌﺮﻳﺔ ﺑﺄﺣﺪ‬ ‫ﻫﻞ‬ ‫ِ‬ ‫اﻟﺸﻌﺮاء؟‬ ‫■ ﻗﺮأت ﻟﻠﻌﺪﻳﺪ ﻣﻦ اﻟﺸﻌﺮاء‪ ،‬ﺑﺪءاً ﻣﻦ‬ ‫ﺷﻌﺮاء اﻟﺠﺎﻫﻠﻴﺔ واﳌﻌﻠﻘﺎت واﻣﺮئ اﻟﻘﻴﺲ‬ ‫واﳌﺘﻨﺒﻲ وﻏريﻫﻢ‪ .‬ﻣﻦ اﻟﺸﻌﺮاء اﻟﺬﻳﻦ‬ ‫ﺷﻜﻠﺖ ﻗﺼﺎﺋﺪﻫﻢ أﻣﻬﺎت اﻟــﺪواوﻳــﻦ‬ ‫اﻟﺸﻌﺮﻳﺔ‪.‬‬ ‫ﻛام ﻗﺮأت ﻟﺸﻌﺮاء دوﻟﺔ اﻹﻣﺎرات‪ ،‬وﺗﺄﺛﺮت‬ ‫ﻛﺜرياً ﰲ ﺑﺪاﻳﺎيت ﺑﺎﻟﺸﺎﻋﺮ اﻟﺪﻛﺘﻮر ﻣﺎﻧﻊ‬ ‫ﺳﻌﻴﺪ اﻟﻌﺘﻴﺒﺔ‪ ،‬واﺣﺘﻔﻈﺖ ﰲ ذﻟﻚ اﻟﻮﻗﺖ‬ ‫ﺑﻜﻞ دواوﻳﻨﻪ اﻟﺸﻌﺮﻳﺔ‪ ،‬إﱃ أن وﺻﻠﺖ إﱃ‬ ‫اﳌﺮﺣﻠﺔ اﻟﺠﺎﻣﻌﻴﺔ‪ ،‬واﺗﺠﻬﺖ إﱃ اﻟﺸﻌﺮ‬ ‫اﻟﻨﺒﻄﻲ‪.‬‬ ‫ﻫﻞ ﺗﻜﺘﻔني اﻵن ﺑﻜﺘﺎﺑﺔ اﻟﻘﺼﻴﺪة اﻟﻨﺒﻄﻴﺔ‪،‬‬ ‫أم ﻗﺪ ﺗﻜﺘﺒني اﻟﻘﺼﻴﺪة اﻟﻔﺼﺤﻰ أﺣﻴﺎﻧ ًﺎ؟‬ ‫■ ﻛام ذﻛﺮت ﺳﺎﺑﻘﺎً‪ ،‬ﻓﺈن ﺑﺪاﻳﺎيت ﻛﺎﻧﺖ‬ ‫ﺑﻜﺘﺎﺑﺔ اﻟﻘﺼﻴﺪة اﻟﻔﺼﻴﺤﺔ ﺟﻤﻠ ًﺔ وﺗﻔﺼﻴ ًﻼ‪،‬‬ ‫ﻟﻜﻨﻨﻲ ﻣﻨﺬ اﺗﺠﻬﺖ ﻟﻠﺸﻌﺮ اﻟﻨﺒﻄﻲ ﻻﺣﻘﺎً‪،‬‬ ‫اﺑﺘﻌﺪت ﻋﻦ ﻛﺘﺎﺑﺔ اﻟﺸﻌﺮ اﻟﻔﺼﻴﺢ‪ ،‬ﻣﻊ‬ ‫اﻟﻌﻠﻢ ﺑﺄن ﻟﺪيﱠ ﻋﺪداً ﻣﻦ اﻟﻘﺼﺎﺋﺪ اﳌﻜﺘﻮﺑﺔ‬

‫‪ ǻǕŒ ǒǷƛǷǕŌ ŧƪƢŨƓŌ‬‬ ‫‪ ǚǶƂ ǛǙ ƩşŌƉǕŌ ƋǉƉǘǕŌ‬‬ ‫‪ ɐǽŵƈōƁ ŧǿǷƚũǶ ǗƫƂ‬‬ ‫‪ ǗǤǙ ƊōŴǝŒ ŌƅǥǶ‬‬ ‫ ‪ ŦōǿƃżŨǕŌǶ ƑƳōǜŨǕŌ Ƿŵ‬‬ ‫‪ɴ‬‬ ‫‪ ɐǳǂǥƉǙ ŦōƣǷƮƞǕŌǶ‬‬ ‫‪ɴ‬‬ ‫‪ ōǙ ǓƞƳŐ ŲƉƀũ ōǤǜǈǕ‬‬ ‫‪ ƉƫōƖǕŌ Ǘǔǃ ǽƳ‬‬ ‫ ‪ ǳȂǾŞǕŌ ǽƳ ưȎŨƁȍŌ‬‬ ‫‪ ǓŵƉǕŌ ōǤƖǾƪǿ ǽŨǕŌ‬‬ ‫‪ɰ‬‬ ‫‪ ōǃƈōƳ ǓǈƖǿ ɐǲŐƉǘǕŌǶ‬‬ ‫‪ ǲƃǾƚǂǕŌ ǳşōŨǉ ƃǜƫ‬‬

‫ﻛﻨﺖ أول ﺷﺎﻋﺮة إﻣﺎراﺗﻴﺔ ﰲ ﺗﺎرﻳﺦ ﻣﺴﺎﺑﻘﺔ‬ ‫"ﺷﺎﻋﺮ اﳌﻠﻴﻮن" ﺗﺼﻞ إﱃ اﳌﺮﻛﺰ اﻟﺮاﺑﻊ‪،‬‬ ‫ﻓﻜﻴﻒ ﻛﺎن ﺻﺪى ﻫﺬا اﻟﻔﻮز؟‬ ‫■ﺑﺪاﻳﺔ »اﻟﺤﻤﺪﻟﻠﻪ رب اﻟﻌﺎﳌني« أن وﻓﻘﻨﻲ‬ ‫ﺑﺎﻟﻮﺻﻮل إﱃ ﻫﺬا اﳌﺮﻛﺰ‪ ،‬ﺣﻴﺚ ﻛﻨﺖ ﰲ‬ ‫ﺗﺤ ٍﺪ داﺋﻢ ﻣﻊ ﻧﻔﴘ ﻟﺘﺤﻘﻴﻖ ﻣﺎ مل ﺗﺤﻘﻘﻪ‬ ‫ﺷﺎﻋﺮة ﻣﻦ ﻗﺒﻞ‪ ،‬ﻣﻊ اﻟﻌﻠﻢ أﻧﻨﻲ اﺳﺘﻄﻌﺖ‬ ‫اﻟﻮﺻﻮل إﱃ ﻫﺬا اﳌﺮﻛﺰ ﻣﻦ دون أي دﻋﻢ‬ ‫أو ﺗﺼﻮﻳﺖ ﺧﺎرﺟﻲ وﻳﻌﺘﱪ ﻫﺬا ﺑﺤﺪ ذاﺗﻪ‬ ‫إﻧﺠﺎزاً ﻣﻬ ًام‪.‬‬ ‫أﻧﺎ أﻧﺠﺰت ﻣﺎ مل ﺗﻨﺠﺰه ﺷﺎﻋﺮة ﻣﻦ ﻗﺒﻞ‪،‬‬ ‫وﻟﻜﻨﻲ مل أﺣﻘﻖ ﺣﻠﻤﻲ ﺑﺄن أﻛــﻮن أول‬ ‫ﺷﺎﻋﺮة ﺗﺤﺼﻞ ﻋﲆ اﻟﺒريق‪ ،‬ﻣﻊ ذﻟﻚ أﻧﺎ‬ ‫راﺿﻴﺔ ﻋﻦ اﻟﻨﺘﻴﺠﺔ وﻫﻲ ﺗﻮاﻓﻴﻖ ﻣﻦ رب‬ ‫اﻟﻌﺎﳌني أوﻻً وأﺧرياً‪ ،‬وﻳﻜﻔﻴﻨﻲ ﴍﻓﺎً اﻷﺻﺪاء‬ ‫اﻟﺠﻤﻴﻠﺔ اﻟﺘﻲ ﺣﺼﺪﺗﻬﺎ واﻟﻘﻠﻮب اﻟﻨﻘﻴﺔ‬ ‫اﻟﺘﻲ ﺷﺪت ﻋﲆ أزري ﻃﻮال ﻓﱰة ﻣﺸﺎرﻛﺘﻲ‬ ‫ﰲ اﻟﱪﻧﺎﻣﺞ‪.‬‬ ‫‪ ƑƳōǜŨǕŌ ŋŌǷŵŐ‬‬

‫ﻫﻞ ﺗﻌﺘﱪﻳﻦ ﺣﻴﺎﺗﻚ ﻣﺨﺘﻠﻔﺔ ﺑﻌﺪ ﻫﺬا‬

‫اﻟﻔﻮز‪ ،‬وﻛﻴﻒ ﻳﺒﺪو ﻫﺬا اﻻﺧﺘﻼف؟‬ ‫ﻟﻬﻢ ﻣﺎ ﺣﻴﻴﺖ ﺷﻜﺮاً ﻟﻠﺪﻛﺘﻮر ﻏﺴﺎن‬ ‫■اﳌﺨﺘﻠﻒ ﺑﻌﺪ ﻫﺬه اﻟﺘﺠﺮﺑﺔ‪ ،‬أن داﺋﺮة اﻟﺤﺴﻦ‪ ،‬ﺷﻜﺮاً ﻟﻸﺳﺎﺗﺬة ﺳﻠﻄﺎن اﻟﻌﻤﻴﻤﻲ‪،‬‬ ‫وﻧﻄﺎق اﳌﻌﺎرف واﳌﺸﺎرﻛﺎت ﻳﺘﺴﻊ أﻛرث‪ ،‬ﺣﻤﺪ اﻟﺴﻌﻴﺪ‪ ،‬ﺑﺪر ﺻﻔﻮق‪ ،‬وﺗﺮيك اﳌﺮﻳﺨﻲ‪.‬‬ ‫وﻫﻮ اﺧﺘﻼف ﺻﺤﻲ ﺑﻼ ﺷﻚ‪ ،‬إذا ﻛﺎن‬ ‫ﻫﻞ واﺟﻬﺘﻚ ﺻﻌﻮﺑﺎت ﺧــﻼل ﺣﻠﻘﺎت‬ ‫ﻣﺪروﺳﺎً وﻣﺨﻄﻄﺎً ﻟﻪ ﺑﺸﻜﻞ ﺟﻴﺪ‪.‬‬ ‫اﺳﺘﻄﻌﺖ اﻟﺘﻐﻠﺐ ﻋﻠﻴﻬﺎ؟‬ ‫أﻣﺎ ﺣﻴﺎيت اﻟﺨﺎﺻﺔ ﻓامزﻟﺖ ﻣﺤﺘﻔﻈﺔ ﺑﻬﺎ اﻟﱪﻧﺎﻣﺞ‪ ،‬وﻛﻴﻒ‬ ‫ِ‬ ‫ﻛام ﻫﻲ‪ ،‬وﺣﺎوﻟﺖ ﻗﺪر اﻹﻣﻜﺎن أن ﻻ ﺗﺆﺛﺮ ■ ﺑﺎﻟﺘﺄﻛﻴﺪ ﰲ ﻛﻞ ﻣﺮﺣﻠﺔ‪ ،‬ﻛﺎن ﻫﻨﺎك ﺗﺤ ٍﺪ‬ ‫ﺟﺪﻳﺪ وﻣﻨﺎﻓﺴﺔ ﻣﺨﺘﻠﻔﺔ ﻋﻦ ﻣﺎ ﻗﺒﻠﻬﺎ‪،‬‬ ‫ﻫﺬه اﳌﺸﺎرﻛﺔ ﺑﺸﻜﻞ ﺳﻠﺒﻲ ﻋﻠﻴﻬﺎ‪.‬‬ ‫وﺗﺘﻠﺨﺺ ﰲ اﻟﺒﺤﺚ ﻋﻦ ﻓﻜﺮة ﺟﺪﻳﺪة وﺑﺤﺮ‬ ‫ﻛﻴﻒ ﺗﻨﻈﺮﻳﻦ إﱃ ﺗﺠﺮﺑﺘﻚ ﰲ ﻣﺴﺎﺑﻘﺔ ﻣﺨﺘﻠﻒ وﻗﺼﻴﺪة ﻓﺎرﻗﺔ‪ ،‬ﺧﻼل ﻓﱰة ﺗﺘﻘﻠﺺ‬ ‫"ﺷﺎﻋﺮ اﳌﻠﻴﻮن" وﻣﺎ اﻟﻔﺎﺋﺪة اﻟﺘﻲ ﳌﺴﺘﻴﻬﺎ ﻣﻊ ﻛﻞ ﻣﺮﺣﻠﺔ‪ ،‬ﻓﺬﻟﻚ ﻟﻴﺲ ﺑﺎﻷﻣﺮ اﻟﻴﺴري‪،‬‬ ‫ﺑﻮﺟﻮدك ﺑني اﻟﺸﻌﺮاء وﺑني ﻟﺠﻨﺔ اﻟﺘﺤﻜﻴﻢ؟ ﺑﺎﻹﺿﺎﻓﺔ إﱃ ﺗﺤ ٍﺪ ﻣﺨﺘﻠﻒ ﰲ ﻛﻞ ﻣﺮﺣﻠﺔ‬ ‫■ ﰲ ذﻟﻚ اﻟﻮﻗﺖ ﻛﺎن اﻟﻨﺎﻗﺪ اﻟﺬايت ﰲ أوج ﻣﻊ ﺿﻴﻖ اﻟﻮﻗﺖ‪ ،‬ﻛﻞ ذﻟﻚ ﻛﺎن ميﺜﻞ ﻋﺘﺒﺔ‬ ‫ﻟﻴﺎﻗﺘﻪ‪ ،‬ﺑﺎﻹﺿﺎﻓﺔ إﱃ ﻫﺬا ﻓﺈن ﺟﻮ اﻟﺘﻨﺎﻓﺲ ﺟﺪﻳﺪة ﻛﺎن ﻋ َ‬ ‫ﲇ اﺟﺘﻴﺎزﻫﺎ ﺑﱪاﻋﺔ‪.‬‬ ‫واﻟﺘﺤﺪﻳﺎت واﻟﻀﻐﻮﻃﺎت وإن ﻛﺎﻧﺖ اﻟﺠﺪﻳﺮ ﺑﺎﻟﺬﻛﺮ أن اﻟﻀﻐﻂ واﳌﻨﺎﻓﺴﺔ اﻟﺘﻲ‬ ‫ُﻣﺮﻫﻘﺔ‪ ،‬إﻻ أﻧﻬﺎ ﺗﺨﺮج أﻓﻀﻞ ﻣﺎ ﰲ ﻗﻠﻢ ﺗﻀﻌﻚ ﻋﲆ اﳌﺤﻚ ﺳﺘﻜﺘﺸﻒ ﻻﺣﻘﺎ أﻧﻬﺎ‬ ‫اﻟﺸﺎﻋﺮ وﺗﺤﻔﺰه أﻳﻀﺎً ﻋﲆ اﻟﻜﺘﺎﺑﺔ واﻹﺑﺪاع‪ .‬ﺗﺨﺮج أﻓﻀﻞ ﻣﺎ ﻓﻴﻚ‪ ،‬وﻣﻊ ﻛﻞ ﻣﺮﺣﻠﺔ‬ ‫أﻣﺎ ﻟﺠﻨﺔ اﻟﺘﺤﻜﻴﻢ‪ ،‬وﻣﺎ أدراك ﻣﺎ ﻟﺠﻨﺔ ﺳﺘﻔﺎﺟﻰء ﻧﻔﺴﻚ ﺑﺄﻧﻚ ﻗﺎدر ﻋﲆ اﻟﻜﺘﺎﺑﺔ‬ ‫اﻟﺘﺤﻜﻴﻢ‪ ،‬ﻟﻜﻞ ﻋﻀﻮ ﻣﻦ اﻟﻠﺠﻨﺔ ﻓﻀﻞ ﺿﻤﻦ ﻣﻌﺎﻳري ﻋﺎﻟﻴﺔ ﻣﺨﺘﻠﻔﺔ ﻋﻦ اﳌﺘﺪاوﻟﺔ‬ ‫ﺧﺎص ﻋ ﱠ‬ ‫ﲇ‪ ،‬وﻋﲆ ﺻﻘﻞ ﻗﻠﻤﻲ ﻣﻨﺬ اﻧﻄﻼﻗﺔ ﺑني ﻋﺎﻣﺔ اﻟﻨﺎس‪ ،‬ﻣﻌﺎﻳري ﺧﺎﺻﺔ ﺑﺎﻟﺸﻌﺮ‬ ‫اﻟﱪﻧﺎﻣﺞ وﺣﺘﻰ ﻣﺸﺎرﻛﺘﻲ‪ ،‬وﺳﺄﺑﻘﻰ ﻣﻤﺘﻨﺔ ﻓﻘﻂ‪.‬‬ ‫اﻟﺸﻌﺮ ‪baytelshear‬‬ ‫ﺑﻴﺖ ِ‬

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‫‪ ĬńŒ ŝħ‬‬

‫‪ɷ‬‬ ‫‪mǚǷǾǔǘǕŌ ƉƫōƗ} ǽƳ ƩşŌƉǕŌ ƋǉƉǘǕŌ ǻǔƫ ŧǔƚŽ‬‬

‫ﻟﻜﻨﻲ أﻧﺠﺰت‬ ‫ﻲ‬ ‫‪ :ǽ‬ﻟﻢ أﺣﺼﻞ ﻋﻠﻰ اﻟﺒﻴﺮق‬ ‫‪ǽǔƫ ǒŔ ǒǷŨş‬‬ ‫ﻣﺎ ﻟﻢ ﺗﻨﺠﺰه ﺷﺎﻋﺮة ﻗﺒﻠﻲ‬ ‫ﺣﻮار‪ :‬ﺑﺸﺮى ﻋﺒﺪا‪K‬‬ ‫ﺗﺼﻮﻳﺮ‪ :‬ﻣﺼﻄﻔﻰ اﻟﺠﻨﺪي‬

‫ﺗﻌﺘﱪ اﻟﺸﺎﻋﺮة ﺑﺘﻮل آل ﻋﲇ‪ ،‬أول‬ ‫إﻣﺎراﺗﻴﺔ ﺗﺤﺼﻞ ﻋﲆ اﳌﺮﻛﺰ اﻟﺮاﺑﻊ‬ ‫ﰲ ﺗﺎرﻳﺦ ﻣﺴﺎﺑﻘﺔ "ﺷﺎﻋﺮ اﳌﻠﻴﻮن"‬ ‫ﻧﺎﻓﺴﺖ واﺳﺘﻄﺎﻋﺖ ﺑﺈﺑﺪاﻋﻬﺎ‬ ‫اﻟﺸﻌﺮي أن ﺗﺼﻞ ﻟﻬﺬا اﳌﺮﻛﺰ‪،‬‬ ‫ﺧﻼل اﳌﻮﺳﻢ اﻟﺜﺎﻣﻦ ﻣﻦ ﻫﺬه‬ ‫اﳌﺴﺎﺑﻘﺔ‪ ،‬ﻟﺘﱪﻫﻦ ﺑﻬﺬا اﻟﻨﺠﺎح ﻋﲆ‬ ‫أن اﻟﺸﺎﻋﺮات ﻗﺎدرات ﻋﲆ اﳌﻨﺎﻓﺴﺔ‬ ‫واﻟﺘﻤﻴﺰ‪.‬‬ ‫واﻟﺸﺎﻋﺮة ﺑﺘﻮل ﺧﺮﻳﺠﺔ ﻛﻠﻴﺔ‬ ‫اﻟﻌﻠﻮم‪ ،‬ﺗﺨﺼﺺ ﺟﻴﻮﻟﻮﺟﻴﺎ‬ ‫ﻣﻦ ﺟﺎﻣﻌﺔ اﻹﻣﺎرات‪ ،‬مل ميﻨﻌﻬﺎ‬ ‫ﺗﺨﺼﺼﻬﺎ اﻟﻌﻠﻤﻲ ﻣﻦ ﻣﺘﺎﺑﻌﺔ‬ ‫ﻣﺴريﺗﻬﺎ اﻟﺸﻌﺮﻳﺔ‪ ،‬ﻓﻌﺎﺷﺖ اﻟﺘﺤﺪي‬ ‫ﻣﻊ ﻧﻔﺴﻬﺎ ﰲ "ﺷﺎﻋﺮ اﳌﻠﻴﻮن"‪،‬‬ ‫ﻟﺘﺤﻘﻖ ﺑﺘﻤﻴﺰ ﺷﻌﺮﻫﺎ‪ ،‬ﻣﺎ مل ﺗﺤﻘﻘﻪ‬ ‫ﺷﺎﻋﺮة إﻣﺎراﺗﻴﺔ ﰲ ﻫﺬا اﻟﱪﻧﺎﻣﺞ‪،‬‬ ‫وﺗﺤﺼﺪ إﱃ ﺟﺎﻧﺐ ﻫﺬا ﺟامﻫريﻳﺔ‬ ‫واﺳﻌﺔ ﰲ أﻧﺤﺎء اﻟﻌﺎمل اﻟﻌﺮيب‪.‬‬ ‫ﻋﻦ ﺗﻔﺎﺻﻴﻞ ﻫﺬه اﻟﺘﺠﺮﺑﺔ ﺗﺤﺪﺛﺖ‬ ‫ﺑﺘﻮل ﻟـ )ﺑﻴﺖ اﻟﺸﻌﺮ( ﻛام ﻛﺸﻔﺖ‬ ‫ﻋﻦ ﻣﺸﺎرﻛﺘﻬﺎ اﻟﺸﻌﺮﻳﺔ‪ ،‬وﻃﻤﻮﺣﻬﺎ‬ ‫اﳌﺴﺘﻘﺒﲇ ﻣﻦ ﺧﻼل اﻟﺤﻮار اﻟﺘﺎﱄ‪:‬‬

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‫ﺳﺒﺘﻤﺒﺮ ‪2018‬‬ ‫ﻤﺒﺮ‬ ‫ﺒﺘﻤﻤﺒﺒ‬ ‫ااﻟﻌﺪد ‪ ، 70‬ﺳﺒﺘ‬

‫}‪ǗǕōƪǕŌ ǽƳ ǚōǈǙ 100 ǗƦƫŐ ǛǘƟ ǽŞƧǷşőş mƉƳǷǔǕŌ}Ƕ mƉǝƈŌǶ ǗǕōƫ‬‬

‫اﺧﺘﺎرت ﻣﺠﻠﺔ »ﺗﺎﻳﻢ« اﻷﻣريﻛﻴﺔ ﻣﺘﺤﻒ »اﻟﻠﻮﻓﺮ أﺑﻮﻇﺒﻲ« واﳌﺪﻳﻨﺔ‬ ‫اﻟﱰﻓﻴﻬﻴﺔ »ﻋﺎمل وارﻧﺮ ﺑﺮاذرز أﺑﻮﻇﺒﻲ« ﺿﻤﻦ ﻗﺎمئﺘﻬﺎ ﻷﻋﻈﻢ ‪100‬‬ ‫ﻣﻜﺎن ﰲ اﻟﻌﺎمل ﻟﻠﻌﺎم اﻟﺠﺎري ‪ .2018‬وأﺻــﺪرت »ﺗﺎﻳﻢ« ﻗﺎمئﺘﻬﺎ‪،‬‬ ‫وﺗﻄﺮﻗﺖ ﻓﻴﻬﺎ إﱃ ﻣﺘﺤﻒ »اﻟﻠﻮﻓﺮ أﺑﻮﻇﺒﻲ« ﻓﺬﻛﺮت أن دوﻟﺔ‬ ‫اﻹﻣﺎرات ﻗﺪ ﺿﺨﺖ ﺟﺰءاً ﻣﻦ ﺛﺮوﺗﻬﺎ ﻟﺘﺸﻴﻴﺪ ﴏوح ُﻣﺒﻬﺮة‪ ،‬ﺟﺰر‬ ‫اﺻﻄﻨﺎﻋﻴﺔ وﻧﺎﻃﺤﺎت ﺳﺤﺐ ﻓﺮﻳﺪة‪ ،‬وﻳﻨﻄﺒﻖ ﻫﺬا اﻷﻣﺮ ﻋﲆ ﻣﺘﺤﻒ‬ ‫»اﻟﻠﻮﻓﺮ أﺑﻮﻇﺒﻲ«‪ .‬وأﺿﺎﻓﺖ »ﺗﺎﻳﻢ« أن اﻹﻣﺎرات أﻧﺸﺄت ﻫﺬا اﳌﺘﺤﻒ‬

‫ُﺑﻐﻴﺔ ﺗﺤﻮﻳﻞ أﺑﻮﻇﺒﻲ إﱃ ﻋﺎﺻﻤﺔ ﺛﻘﺎﻓﻴﺔ‪ .‬وذﻛﺮت أن ﻛﻠﻔﺔ إﻧﺸﺎء‬ ‫اﳌﺘﺤﻒ ﺑﻠﻐﺖ ﻣﻠﻴﺎر دوﻻر‪ ،‬وأﻧﻪ ﻳﻀﻢ ﺗﺤﻔﺎً ورواﺋﻊ ﻓﻨﻴﺔ ﻣﻦ إﺑﺪاع‬ ‫ﻛﺒﺎر اﻟﻔﻨﺎﻧني اﻟﻌﺎﳌﻴني اﻟﺮاﺣﻠني‪.‬‬ ‫وﻗﺪ ﺿﻤﺖ ﻗﺎمئﺔ »ﺗﺎﻳﻢ« ﻟﻬﺬا اﻟﻌﺎم ﺛﻼﺛﺔ أﻣﺎﻛﻦ ﻋﺮﺑﻴﺔ أﺧﺮى‪،‬‬ ‫ﻫﻲ ﻣﻜﺘﺒﺔ اﻟﻘﺮوﻳني مبﺪﻳﻨﺔ ﻓﺎس اﳌﻐﺮﺑﻴﺔ‪ ،‬وﻣﺮﻛﺰ اﳌﻠﻚ ﻋﺒﺪاﻟﻌﺰﻳﺰ‬ ‫ﻟﻠﺜﻘﺎﻓﺔ اﻟﻌﺎﳌﻴﺔ ﺑﺎﻟﺴﻌﻮدﻳﺔ‪ ،‬وﻓﻨﺪق ﻣﺎرﻳﻮت ﻣﻴﻨﺎ ﻫﺎوس ﺑﺎﻟﺠﻴﺰة‬ ‫مبﴫ‪.‬‬ ‫اﻟﺸﻌﺮ ‪baytelshear‬‬ ‫ﺑﻴﺖ ِ‬

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‫ ‪ ĬŒ ĘěĪ‬‬

‫‪ǗǕōƪǕŌ ǽƳ ƈōƢǙ ƉŞǉŐ ǆȎŨǙŌ Ƿżǝ ǽşƂ‬‬ ‫ذﻛﺮ ﻣﻮﻗﻊ »إﻳﺮ ﺗﺮاﻧﺴﺒﻮرت وورﻟﺪ« اﻟﺸﺒيك اﻷﻣرييك‪ ،‬أن ديب متﴤ‬ ‫ﻗﺪﻣﺎً ﻧﺤﻮ اﻣﺘﻼك أﻛﱪ ﻣﻄﺎر ﰲ اﻟﻌﺎمل ﻣﻦ ﺣﻴﺚ اﳌﺴﺎﺣﺔ واﻟﻄﺎﻗﺔ‬ ‫اﻻﺳﺘﻴﻌﺎﺑﻴﺔ ﻟﻌﺪد اﳌﺴﺎﻓﺮﻳﻦ‪ ،‬وﻫﻮ ﻣﻄﺎر آل ﻣﻜﺘﻮم اﻟﺪوﱄ ﰲ »ديب‬ ‫وورﻟﺪ ﺳﻨﱰال«‪ .‬وﻧﴩ اﳌﻮﻗﻊ اﳌﺘﺨﺼﺺ ﰲ ﺷﺆون اﻟﻄريان واﻟﻨﻘﻞ‬ ‫اﻟﺠﻮي ﺣﻮل اﻟﻌﺎمل ﺗﻘﺮﻳﺮاً‪ ،‬ﻋﻦ »ديب وورﻟﺪ ﺳﻨﱰال«‪ ،‬وذﻛﺮ أﻧﻪ‬ ‫ﺣﺎﻟﻴﺎً ﰲ ﻃﻮر اﻟﺘﺸﻐﻴﻞ‪ ،‬وﻣﻦ اﳌﻘﺮر ﺣﺎل اﻛﺘامﻟﻪ ﻗﺒﻴﻞ ﻣﻌﺮض‬ ‫‪ƈōǘŬŨƓȍŌ Ŝƅŵ ǽƳ ǲƃȃŌƈ ŦŌƈōǙȑŌ‬‬ ‫أﻛﺪ ﺗﻘﺮﻳﺮ ﻧﴩﺗﻪ‪ ،‬ﴍﻛﺔ »ﻣﻮﻧﺪاك« اﻟﻌﺎﳌﻴﺔ اﳌﺘﺨﺼﺼﺔ ﰲ اﻻﺳﺘﺸﺎرات‬ ‫اﻟﻘﺎﻧﻮﻧﻴﺔ أن اﻹﻣﺎرات ﺣﺮﻳﺼﺔ ﻋﲆ اﻻﺣﺘﻔﺎظ ﺑﺮﻳﺎدﺗﻬﺎ اﻹﻗﻠﻴﻤﻴﺔ ﰲ‬ ‫اﺳﺘﻘﻄﺎب اﻻﺳﺘﺜامر اﻷﺟﻨﺒﻲ اﳌﺒﺎﴍ‪ .‬وذﻛﺮ اﻟﺘﻘﺮﻳﺮ أن اﻹﻣﺎرات ﻟﻄﺎﳌﺎ‬ ‫ُو ِﺻ َﻔﺖ ﰲ وﺳﺎﺋﻞ اﻹﻋﻼم اﻟﻐﺮيب وﰲ ﺗﻘﺎرﻳﺮ واﺳﺘﻔﺘﺎءات ﺗﻨﺎﻓﺴﻴﺔ‬ ‫ﺗﺤﻈﻰ مبﺘﺎﺑﻌﺔ ﻋﺎﻟﻴﺔ ﺑﺄﻧﻬﺎ ﺑﻠﺪ ﺻﺪﻳﻖ ﻟﻼﺳﺘﺜامر‪ .‬وأﺿﺎف أن اﻹﻣﺎرات‬ ‫أﻋﻠﻨﺖ ﰲ ﻏﻀﻮن اﻟﺸﻬﺮﻳﻦ اﳌﺎﺿﻴني ﻋﻦ ﻣﻮﺟﺔ ﻣﻦ اﻹﺟــﺮاءات‬ ‫واﳌﺒﺎدرات اﻟﺮﺳﻤﻴﺔ اﻟﺘﻲ ﺗﻬﺪف إﱃ ﺗﻌﺰﻳﺰ ﻣﻜﺎﻧﺔ أﺑﻮﻇﺒﻲ وديب ﻛﻮﻧﻬام‬ ‫وﺟﻬﺘني ﺟﺎذﺑﺘني ﻟﻼﺳﺘﺜامرات‪ ،‬وﻣﻜﺎﻧني ﻣﺜﺎﻟﻴني ﻟﻠﻌﻴﺶ وﺑﺪء اﻷﻋامل‬ ‫اﻟﺘﺠﺎرﻳﺔ ﺑﺄرﺧﺺ ﻛﻠﻔﺔ ﻣﻤﻜﻨﺔ‪ .‬وﺗﻄﺮق ﺗﻘﺮﻳﺮ »ﻣﻮﻧﺪاك« إﱃ ﻫﺬه‬ ‫اﻹﺟﺮاءات‪ ،‬ﻓﺬﻛﺮ أﻧﻬﺎ ﺑﺪأت ﰲ ﻣﺎﻳﻮ اﳌﺎﴈ ﻋﻨﺪﻣﺎ أﻋﻠﻨﺖ اﻟﺪوﻟﺔ ﻋﻦ‬ ‫ﻣﺠﻤﻮﻋﺔ ﻣﻦ اﻟﺘﻐﻴريات ﰲ ﻗﻮاﻧني إﻗﺎﻣﺔ اﻟﻮاﻓﺪﻳﻦ ﺑﻬﺎ‪ ،‬وأﻳﻀﺎً اﻟﺴامح‬ ‫ﺑﺎﻣﺘﻼك اﻷﺟﺎﻧﺐ ﴍﻛﺎﺗﻬﻢ اﻟﻌﺎﻣﻠﺔ ﰲ اﻹﻣﺎرات ﺑﻨﺴﺒﺔ ‪ .%100‬وﺑﻌﺪ‬ ‫ذﻟﻚ إﻋﻼن »اﻗﺘﺼﺎدﻳﺔ ديب« ﺧﻼل اﻟﺸﻬﺮ ﻧﻔﺴﻪ ﻋﻦ إﻋﻔﺎء اﻟﴩﻛﺎت‬ ‫اﻟﻌﺎﻣﻠﺔ ﰲ اﻹﻣﺎرة ﻣﻦ ﺳﺪاد ﻛﻞ ﻏﺮاﻣﺎت اﻟﺘﺄﺧري اﳌﻔﺮوﺿﺔ ﻋﻠﻴﻬﺎ‪،‬‬ ‫وذﻟﻚ ﺑﻐﺮض اﻟﺘﺴﻬﻴﻞ ﻋﻠﻴﻬﺎ ﻋﻨﺪ ﺗﺠﺪﻳﺪ ﺗﺮاﺧﻴﺼﻬﺎ‪ .‬وﰲ ﺳﻴﺎق ﻣﺘﺼﻞ‪،‬‬ ‫ﻧﴩت »ﻣﻮﻧﺪاك« أﻳﻀﺎً‪ ،‬ﺗﻘﺮﻳﺮاً آﺧﺮ ﻋﻦ ﻣﺪﻳﻨﺔ ﻋﺠامن اﻹﻋﻼﻣﻴﺔ اﻟﺤﺮة‪،‬‬ ‫وﺻﻔﻬﺎ ﺑﺄﻧﻬﺎ واﺣﺪة ﻣﻦ أﺣﺪث اﳌﺮاﻛﺰ اﻻﺳﺘﺜامرﻳﺔ ﰲ اﻹﻣﺎرات‪.‬‬

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‫اﻟﻌﺪد ‪ ، 70‬ﺳﺒﺘﻤﺒﺮ ‪2018‬‬

‫»إﻛﺴﺒﻮ ديب ‪ «2020‬أن ﻳﺘﻀﻤﻦ أﻛﱪ ﻣﺠﻤﻊ ﻣﻄﺎرات ﰲ اﻟﻌﺎمل‪.‬‬ ‫وأوﺿﺢ اﻟﺘﻘﺮﻳﺮ‪ ،‬أﻧﻪ ﺑﺈﻧﺸﺎء »ديب وورﻟﺪ ﺳﻨﱰال«‪ ،‬ﺻﺎرت ديب‬ ‫ﺗﺒﺴﻂ ذراﻋني ﻟﻠﻨﻘﻞ اﻟﺠﻮي‪ ،‬وﻫام ﻣﻄﺎر ديب اﻟﺪوﱄ‪ ،‬واﻟﺬي ﻳﻌﺪ‬ ‫أﻛرث ﻣﻄﺎر ﰲ اﻟﻌﺎمل ازدﺣﺎﻣﺎً ﻣﻦ ﺣﻴﺚ ﻋﺪد اﳌﺴﺎﻓﺮﻳﻦ اﻟﺪوﻟﻴني؛‬ ‫وﻣﻄﺎر آل ﻣﻜﺘﻮم اﻟﺪوﱄ‪ .‬وأﺿﺎف اﻟﺘﻘﺮﻳﺮ‪ ،‬أن »ديب وورﻟﺪ ﺳﻨﱰال«‬ ‫ﺳﻴﻜﻮن مبﺜﺎﺑﺔ دﻋﺎﻣﺔ ﺟﺪﻳﺪة وﻗﻮﻳﺔ ﻟﻨﻤﻮ ديب‪.‬‬

‫‪ōǥƈǶƂ ǓƛŌǷũ ǳǿƂǷƪƒǕŌ ƃǿŌƊ Ǜş ƃǘżǙ‬‬ ‫‪ǳǙȏŌ ōǿōƞǃǶ ŲōŴżǕŌ ǳǙƃƁ ǽƳ‬‬ ‫أﻛﺪ ﺻﺎﺣﺐ اﻟﺴﻤﻮ اﻟﺸﻴﺦ ﻣﺤﻤﺪ ﺑﻦ‬ ‫زاﻳﺪ آل ﻧﻬﻴﺎن‪ ،‬و ّﱄ ﻋﻬﺪ أﺑﻮﻇﺒﻲ ﻧﺎﺋﺐ‬ ‫اﻟﻘﺎﺋﺪ اﻷﻋــﲆ ﻟﻠﻘﻮات اﳌﺴﻠﺤﺔ‪ ،‬أن‬ ‫اﻟﺪﻳﺎر اﳌﻘﺪﺳﺔ ﺳﺘﺒﻘﻰ ﻣﻬﻮى أﻓﺌﺪة‬ ‫اﳌﺴﻠﻤني ﺟﻤﻴﻌﺎً وﺳﺘﻮاﺻﻞ اﻟﺴﻌﻮدﻳﺔ‬ ‫اﻟﺸﻘﻴﻘﺔ دورﻫﺎ اﻟﺘﺎرﻳﺨﻲ واﻟﺤﻀﺎري‬ ‫ّ‬ ‫اﳌــﴩف ﰲ ﺧﺪﻣﺔ ﺿﻴﻮف اﻟﺮﺣﻤﻦ‬ ‫وﻗﻀﺎﻳﺎ اﻷﻣﺔ اﻹﺳﻼﻣﻴﺔ‪ .‬وﺑﺎرك ﺳﻤﻮه‬ ‫ﻟﺨﺎدم اﻟﺤﺮﻣني اﻟﴩﻳﻔني اﳌﻠﻚ ﺳﻠامن‬ ‫اﻟﻨﺠﺎح اﻟﻜﺒري‬ ‫ﺑﻦ ﻋﺒﺪاﻟﻌﺰﻳﺰ آل ﺳﻌﻮد‪،‬‬ ‫َ‬ ‫واﻟﻼﻓﺖ اﻟﺬي ﺣﻘﻘﺘﻪ ﻣﻨﻈﻮﻣﺔ اﻟﺠﻬﻮد‬

‫اﳌﺨﻠﺼﺔ ﰲ إدارة وﺗﻨﻈﻴﻢ ﻣﻮﺳﻢ اﻟﺤﺞ‬ ‫ﻟﻬﺬا اﻟﻌﺎم‪ .‬وﻗــﺎل ﺳﻤﻮه ﰲ ﺗﻐﺮﻳﺪة‬ ‫ﻋﲆ ﺗﻮﻳﱰ‪» :‬ﻧﺒﺎرك ﻟﺨﺎدم اﻟﺤﺮﻣني‬ ‫اﻟﴩﻳﻔني اﻟﻨﺠﺎح اﻟﻜﺒري واﻟﻼﻓﺖ اﻟﺬي‬ ‫ﺣﻘﻘﺘﻪ ﻣﻨﻈﻮﻣﺔ اﻟﺠﻬﻮد اﳌﺨﻠﺼﺔ ﰲ‬ ‫إدارة وﺗﻨﻈﻴﻢ ﻣﻮﺳﻢ اﻟﺤﺞ ﻟﻬﺬا اﻟﻌﺎم‪..‬‬ ‫ﺳﺘﺒﻘﻰ اﻟﺪﻳﺎر اﳌﻘﺪﺳﺔ ﻣﻬﻮى أﻓﺌﺪة‬ ‫اﳌﺴﻠﻤني ﺟﻤﻴﻌﺎً وﺳﺘﻮاﺻﻞ اﻟﺴﻌﻮدﻳﺔ‬ ‫اﻟﺸﻘﻴﻘﺔ دورﻫﺎ اﻟﺘﺎرﻳﺨﻲ واﻟﺤﻀﺎري‬ ‫ّ‬ ‫اﳌــﴩف ﰲ ﺧﺪﻣﺔ ﺿﻴﻮف اﻟﺮﺣﻤﻦ‬ ‫وﻗﻀﺎﻳﺎ اﻷﻣﺔ اﻹﺳﻼﻣﻴﺔ«‪.‬‬

‫‪ǳǾǘǕōƫ ǲƋȃōŴş mƈƃǃŐ} ųǙōǝƉş ƊǷƳ ǆƈōŞǿ ƃǿŌƊ Ǜş ƱǾƓ‬‬ ‫أﻛﺪ اﻟﻔﺮﻳﻖ ﺳﻤﻮ اﻟﺸﻴﺦ ﺳﻴﻒ ﺑﻦ زاﻳﺪ‬ ‫آل ﻧﻬﻴﺎن ﻧﺎﺋﺐ رﺋﻴﺲ ﻣﺠﻠﺲ اﻟــﻮزراء‬ ‫وزﻳــﺮ اﻟﺪاﺧﻠﻴﺔ‪ ،‬أن ﺗﻮﺟﻴﻬﺎت اﻟﻘﻴﺎدة‬ ‫اﻟﺮﺷﻴﺪة دﻓﻌﺖ اﻟﱪاﻣﺞ اﻹﻣﺎراﺗﻴﺔ إﱃ‬ ‫اﻟﻌﺎﳌﻴﺔ‪ ،‬وﺣﺼﺪت ﺟﻮاﺋﺰ ﻧﻮﻋﻴﺔ ﺑني‬ ‫ﻣﻨﺎﻓﺴني دوﻟﻴني‪ ،‬ﻣﺒﺎرﻛﺎً ﺳﻤﻮه ﻓﻮز ﺑﺮﻧﺎﻣﺞ‬ ‫ﺧﻠﻴﻔﺔ ﻟﻠﺘﻤﻜني »أﻗﺪر« ﺑﺠﺎﺋﺰة ‪CIO100‬‬ ‫ﻣﺪراء ﺗﻜﻨﻮﻟﻮﺟﻴﺎ اﳌﻌﻠﻮﻣﺎت اﻟﺘﻨﻔﻴﺬﻳني‬ ‫ﻟﻌﺎم ‪ 2018‬ﰲ ﻣﺠﺎل اﺳﱰاﺗﻴﺠﻴﺎت إدارة‬ ‫ﺗﻜﻨﻮﻟﻮﺟﻴﺎ اﳌﻌﻠﻮﻣﺎت‪ .‬وﻗﺎل ﺳﻤﻮه ﰲ‬

‫ﺗﺪوﻳﻨﺔ ﻋﱪ ﺣﺴﺎﺑﻪ ﰲ ﻣﻮﻗﻊ اﻟﺘﻮاﺻﻞ‬ ‫اﻻﺟﺘامﻋﻲ »ﺗــﻮﻳــﱰ«‪» :‬ﺑﻬﺪي رؤﻳﺘﻜﻢ‬ ‫ﺳﻴﺪي اﻟﻘﺎﺋﺪ وﺻﻠﺖ اﻟﱪاﻣﺞ اﻹﻣﺎراﺗﻴﺔ‬ ‫ﻟﻠﻌﺎﳌﻴﺔ وﺑﺘﻮﺟﻴﻬﺎﺗﻜﻢ ﺳﻴﺪي ﺗﺮﺗﻘﻲ‬ ‫ﻳﻮﻣﺎً ﺑﻌﺪ ﻳﻮم‪ ،‬وﺣﺼﺪت ﺟﻮاﺋﺰ ﻧﻮﻋﻴﺔ‬ ‫ﺑني ﻣﻨﺎﻓﺴني دوﻟﻴني‪ ..‬ﻣﱪوك ﻓﻮز ﺑﺮﻧﺎﻣﺞ‬ ‫ﺧﻠﻴﻔﺔ ﻟﻠﺘﻤﻜني )أﻗﺪر( ﺑﺠﺎﺋﺰة ‪CIO100‬‬ ‫ﻣﺪراء ﺗﻜﻨﻮﻟﻮﺟﻴﺎ اﳌﻌﻠﻮﻣﺎت اﻟﺘﻨﻔﻴﺬﻳني‬ ‫ﻟﻌﺎم ‪ 2018‬مبﺠﺎل اﺳﱰاﺗﻴﺠﻴﺎت إدارة‬ ‫ﺗﻜﻨﻮﻟﻮﺟﻴﺎ اﳌﻌﻠﻮﻣﺎت«‪.‬‬ ‫اﻟﺸﻌﺮ ‪baytelshear‬‬ ‫ﺑﻴﺖ ِ‬

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‫ ‪ ĬŒ ĘěĪ‬‬ ‫‪ɰ‬‬ ‫‪ ōǙǷƓƉǙ ƈƃƚǿ ǳǕǶƃǕŌ ƑǾȃƈ‬‬ ‫‪ŦōǙǷǔƪǘǕŌ ǳǾǜǂũ ǗȃŌƉŵ ǳżƳōǈǙ ǚǷǝōǃ ǓǿƃƪŨş‬‬ ‫أﺻﺪر ﺻﺎﺣﺐ اﻟﺴﻤﻮ اﻟﺸﻴﺦ ﺧﻠﻴﻔﺔ ﺑﻦ‬ ‫زاﻳﺪ آل ﻧﻬﻴﺎن رﺋﻴﺲ اﻟﺪوﻟﺔ "ﺣﻔﻈﻪ اﻟﻠﻪ"‬ ‫اﳌﺮﺳﻮم ﺑﻘﺎﻧﻮن اﺗﺤﺎدي رﻗﻢ ‪ /2/‬ﻟﺴﻨﺔ‬ ‫‪ 2018‬ﺑﺎﺳﺘﺒﺪال ﻧﺼﻮص اﳌﻮاد )‪ ،(26‬و‬ ‫)‪ ،(28‬و)‪ (42‬ﻣﻦ اﳌﺮﺳﻮم ﺑﻘﺎﻧﻮن اﺗﺤﺎدي‬ ‫رﻗﻢ ‪ /5/‬ﻟﺴﻨﺔ ‪ 2012‬ﰲ ﺷﺄن ﻣﻜﺎﻓﺤﺔ‬ ‫ﺟﺮاﺋﻢ ﺗﻘﻨﻴﺔ اﳌﻌﻠﻮﻣﺎت ﺑﺎﳌﻮاد اﻟﺘﺎﻟﻴﺔ‪.‬‬ ‫وﻧﺺ اﳌﺮﺳﻮم ﻋﲆ أن ﺗﺴﺘﺒﺪل اﳌﺎدة‬ ‫)‪ (26‬ﺑﺎﻟﻨﺺ اﻟﺘﺎﱄ ‪ :‬ﻳﻌﺎﻗﺐ ﺑﺎﻟﺴﺠﻦ ﻣﺪة‬ ‫ﻻ ﺗﻘﻞ ﻋﻦ ﻋﴩ ﺳﻨﻮات وﻻ ﺗﺰﻳﺪ ﻋﲆ‬ ‫ﺧﻤﺲ وﻋﴩﻳﻦ ﺳﻨﺔ واﻟﻐﺮاﻣﺔ اﻟﺘﻲ ﻻ‬ ‫ﺗﻘﻞ ﻋﻦ ﻣﻠﻴﻮين درﻫﻢ وﻻ ﺗﺠﺎوز أرﺑﻌﺔ‬ ‫ﻣﻼﻳني درﻫﻢ ﻛﻞ ﻣﻦ أﻧﺸﺄ أو أدار ﻣﻮﻗﻌﺎً‬ ‫إﻟﻜﱰوﻧﻴﺎً أو أﴍف ﻋﻠﻴﻪ أو ﻧﴩ ﻣﻌﻠﻮﻣﺎت‬ ‫ﻋﲆ اﻟﺸﺒﻜﺔ اﳌﻌﻠﻮﻣﺎﺗﻴﺔ أو وﺳﻴﻠﺔ ﺗﻘﻨﻴﺔ‪..‬‬ ‫ﻣﻌﻠﻮﻣﺎت وذﻟــﻚ ﻟﺠامﻋﺔ إرﻫﺎﺑﻴﺔ أو‬ ‫ﻣﺠﻤﻮﻋﺔ أو ﺟﻤﻌﻴﺔ أو ﻣﻨﻈﻤﺔ أو ﻫﻴﺌﺔ‬ ‫ﻏري ﻣﴩوﻋﺔ ﺑﻘﺼﺪ ﺗﺴﻬﻴﻞ اﻻﺗﺼﺎل‬ ‫ﺑﻘﻴﺎداﺗﻬﺎ أو أﻋﻀﺎﺋﻬﺎ أو ﻻﺳﺘﻘﻄﺎب ﻋﻀﻮﻳﺔ‬ ‫ﻟﻬﺎ أو ﺗﺮوﻳﺞ أو ﺗﺤﺒﻴﺬ أﻓﻜﺎرﻫﺎ أو متﻮﻳﻞ‬ ‫أﻧﺸﻄﺘﻬﺎ أو ﺗﻮﻓري اﳌﺴﺎﻋﺪة اﻟﻔﻌﻠﻴﺔ ﻟﻬﺎ‪ ،‬أو‬

‫ﺑﻘﺼﺪ ﻧﴩ أﺳﺎﻟﻴﺐ ﺗﺼﻨﻴﻊ اﻷﺟﻬﺰة اﻟﺤﺎرﻗﺔ‬ ‫واﳌﺘﻔﺠﺮات أو أي أدوات أﺧﺮى ﺗﺴﺘﺨﺪم‬ ‫ﰲ اﻷﻋــامل اﻹرﻫﺎﺑﻴﺔ‪ .‬وﺗﻜﻮن اﻟﻌﻘﻮﺑﺔ‬ ‫اﻟﺤﺒﺲ ﻣﺪة ﻻ ﺗﺰﻳﺪ ﻋﲆ ﺧﻤﺲ ﺳﻨﻮات‬ ‫واﻟﻐﺮاﻣﺔ اﻟﺘﻲ ﻻ ﺗﻘﻞ ﻋﻦ ﺧﻤﺴامﺋﺔ‬ ‫أﻟﻒ درﻫﻢ وﻻ ﺗﺠﺎوز ﻣﻠﻴﻮن درﻫﻢ ﳌﻦ‬ ‫ﺣﻤﻞ ﻣﺤﺘﻮى أي ﻣﻦ اﳌــﻮاﻗــﻊ اﳌﺸﺎر‬ ‫إﻟﻴﻬﺎ ﰲ اﻟﻔﻘﺮة اﻷوﱃ ﻣﻦ ﻫﺬه اﳌﺎدة أو‬ ‫أﻋﺎد ﺑﺜﻬﺎ أو ﻧﴩﻫﺎ ﺑﺄي وﺳﻴﻠﺔ ﻛﺎﻧﺖ أو‬ ‫ﺗﻜﺮر دﺧﻮﻟﻪ إﻟﻴﻬﺎ ﳌﺸﺎﻫﺪﺗﻬﺎ أو ﻧﴩ أي‬ ‫ﻣﺤﺘﻮى ﻳﺘﻀﻤﻦ اﻟﺘﺤﺮﻳﺾ ﻋﲆ اﻟﻜﺮاﻫﻴﺔ‪.‬‬ ‫واﺳﺘﺒﺪﻟﺖ اﳌــﺎدة )‪ (28‬ﺑﺎﻟﻨﺺ اﻟﺘﺎﱄ ‪:‬‬ ‫ﻳﻌﺎﻗﺐ ﺑﺎﻟﺴﺠﻦ اﳌﺆﻗﺖ واﻟﻐﺮاﻣﺔ اﻟﺘﻲ ﻻ‬ ‫ﺗﺠﺎوز ﻣﻠﻴﻮن درﻫﻢ ﻛﻞ ﻣﻦ أﻧﺸﺄ أو أدار‬ ‫ﻣﻮﻗﻌﺎً إﻟﻜﱰوﻧﻴﺎً أو أﴍف ﻋﻠﻴﻪ أو اﺳﺘﺨﺪم‬ ‫ﻣﻌﻠﻮﻣﺎت ﻋﲆ اﻟﺸﺒﻜﺔ اﳌﻌﻠﻮﻣﺎﺗﻴﺔ أو‬ ‫وﺳﻴﻠﺔ ﺗﻘﻨﻴﺔ ﻣﻌﻠﻮﻣﺎت ﺑﻘﺼﺪ اﻟﺘﺤﺮﻳﺾ‬ ‫ﻋﲆ أﻓﻌﺎل أو ﻧﴩ أو ﺑﺚ ﻣﻌﻠﻮﻣﺎت أو‬ ‫أﺧﺒﺎر أو رﺳﻮم ﻛﺮﺗﻮﻧﻴﺔ أو أي ﺻﻮر أﺧﺮى‬ ‫ﻣﻦ ﺷﺄﻧﻬﺎ ﺗﻌﺮﻳﺾ أﻣﻦ اﻟﺪوﻟﺔ وﻣﺼﺎﻟﺤﻬﺎ‬ ‫اﻟﻌﻠﻴﺎ ﻟﻠﺨﻄﺮ أو اﳌﺴﺎس ﺑﺎﻟﻨﻈﺎم اﻟﻌﺎم أو‬

‫اﻻﻋﺘﺪاء ﻋﲆ ﻣﺄﻣﻮري اﻟﻀﺒﻂ اﻟﻘﻀﺎيئ أو‬ ‫أي ﻣﻦ اﳌﻜﻠﻔني ﺑﺘﻨﻔﻴﺬ أﺣﻜﺎم اﻟﻘﺎﻧﻮن‪.‬‬ ‫واﺳﺘﺒﺪﻟﺖ اﳌﺎدة )‪ (42‬ﺑﺎﻟﻨﺺ اﻟﺘﺎﱄ‪ :‬ﻣﻊ‬ ‫ﻣﺮاﻋﺎة ﺣﻜﻢ اﻟﻔﻘﺮة اﻟﺜﺎﻧﻴﺔ ﻣﻦ اﳌﺎدة‬ ‫‪ /121/‬ﻣــﻦ ﻗــﺎﻧــﻮن اﻟﻌﻘﻮﺑﺎت ﺗﻘﴤ‬ ‫اﳌﺤﻜﻤﺔ ﺑﺈﺑﻌﺎد اﻷﺟﻨﺒﻲ اﻟﺬي ﻳﺤﻜﻢ ﻋﻠﻴﻪ‬ ‫ﰲ أي ﻣﻦ اﻟﺠﺮاﺋﻢ اﻟﻮاﻗﻌﺔ ﻋﲆ اﻟﻌﺮض‬ ‫أو ﻳﺤﻜﻢ ﻋﻠﻴﻪ ﺑﻌﻘﻮﺑﺔ اﻟﺠﻨﺎﻳﺔ ﰲ أي ﻣﻦ‬ ‫اﻟﺠﺮاﺋﻢ اﳌﻨﺼﻮص ﻋﻠﻴﻬﺎ ﰲ ﻫﺬا اﳌﺮﺳﻮم‬ ‫ﺑﻘﺎﻧﻮن وذﻟﻚ ﺑﻌﺪ ﺗﻨﻔﻴﺬ اﻟﻌﻘﻮﺑﺔ اﳌﺤﻜﻮم‬ ‫ﺑﻬﺎ‪ .‬وﻳﻠﻐﻲ ﻛﻞ ﻧﺺ أو ﺣﻜﻢ ﻳﺨﺎﻟﻒ‬ ‫أﺣﻜﺎم ﻫﺬا اﳌﺮﺳﻮم ﺑﻘﺎﻧﻮن اﳌﻨﺸﻮر ﰲ‬ ‫اﻟﻌﺪد اﻷﺧري ﻣﻦ اﻟﺠﺮﻳﺪة اﻟﺮﺳﻤﻴﺔ‪.‬‬

‫‪ ǚōǈƓȒǕ ƃǿŌƊ ƃƗŌƈ Ǜş ƃǘżǙǶ ǳƲǾǔƁ ŦōǤǾŵǷŨş‬‬ ‫‪ǗƫƃǕŌ ǽǂżŨƒǙ ǛǙ ǛǾǜƣŌǷǙ 707 ƃǘŨƪǿ‬‬ ‫أﻋﻠﻦ ﺑﺮﻧﺎﻣﺞ اﻟﺸﻴﺦ زاﻳﺪ ﻟﻺﺳﻜﺎن اﻋﺘامد‬ ‫أﺳامء ‪ 707‬ﻣﻮاﻃﻨني ﻣﻦ ﻣﺴﺘﺤﻘﻲ اﻟﺪﻋﻢ‬ ‫اﻟﺴﻜﻨﻲ ﺑﻘﻴﻤﺔ ‪ 554‬ﻣﻠﻴﻮن درﻫﻢ‪ ،‬وذﻟﻚ‬ ‫ﺗﻨﻔﻴﺬاً ﻟﻠﺘﻮﺟﻴﻬﺎت اﻟﺴﺎﻣﻴﺔ ﻟﺼﺎﺣﺐ‬ ‫اﻟﺴﻤﻮ اﻟﺸﻴﺦ ﺧﻠﻴﻔﺔ ﺑﻦ زاﻳﺪ آل ﻧﻬﻴﺎن‬ ‫رﺋﻴﺲ اﻟﺪوﻟﺔ‪ ،‬ﺣﻔﻈﻪ اﻟﻠﻪ‪ ،‬وأﺧﻴﻪ ﺻﺎﺣﺐ‬

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‫اﻟﻌﺪد ‪ ، 70‬ﺳﺒﺘﻤﺒﺮ ‪2018‬‬

‫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 .‬ﺟﺎء‬ ‫ذﻟﻚ ﺧﻼل اﺟﺘامع ﻣﺠﻠﺲ إدارة اﻟﱪﻧﺎﻣﺞ ﰲ‬

‫ﺣﻲ اﻟﺘﺴﺎﻣﺢ اﻟﺴﻜﻨﻲ ﺑﺪيب‪ ،‬ﻗﺒﻞ ﺣﻠﻮل ﻋﻴﺪ‬ ‫اﻷﺿﺤﻰ اﳌﺒﺎرك اﳌﺎﴈ‪ .‬وﺗﺨﻠﻞ اﻻﺟﺘامع‬ ‫ﺟﻮﻟﺔ ﺗﻔﻘﺪﻳﺔ ﻷﻋــﻀــﺎء ﻣﺠﻠﺲ إدارة‬ ‫اﻟﱪﻧﺎﻣﺞ ﰲ ﺣﻲ اﻟﺘﺴﺎﻣﺢ اﻟﺴﻜﻨﻲ ﻟﻠﻮﻗﻮف‬ ‫ﻋﲆ أﻋامل اﻟﺒﻨﺎء ﰲ اﻟﺤﻲ اﻟﺴﻜﻨﻲ وﻣﺮاﺣﻞ‬ ‫اﻹﻧﺸﺎء وﺗﻔﺎﺻﻴﻞ اﻟﻨامذج اﻟﺴﻜﻨﻴﺔ‪.‬‬

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‫ﺷﻌﺮاء اﻟﻌﺪد‬ ‫راﺷﺪ ﺑﻦ ﻗﻄﻴﻤﺎ‬ ‫زﻳﻨﺐ اﻟﺒﻠﻮﺷﻲ‬ ‫ﻫﻨﺪ ﺑﻨﺖ ﻫﻼل‬ ‫ﻣﺮﻳﻢ اﻟﻨﻘﺒﻲ‬ ‫راﺷﺪ ﺷﺮار‬

‫ﻋﺒﺪا‪ K‬اﻟﻄﻠﺤﻲ‬ ‫اﺣﻤﺪ اﻟﻬﺰاع‬ ‫ﺳﻌﻴﺪ ﺑﻦ ﻏﻤﺎض‬ ‫ﺟﺮﻣﺎن اﻻﺣﺒﺎﺑﻲ‬ ‫ﻣﻄﻠﻖ ﺑﻦ ﺷﻮﻳﻪ‬

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‫اﻟﻌﺪد ‪ - 70‬ﺳﺒﺘﻤﺒﺮ ‪2018‬‬

‫رﺋﻴﺲ اﻟﺘﺤﺮﻳﺮ‬

‫ﻣﻨﺼﻮر ﺳﻌﻴﺪ اﻟﻤﻨﺼﻮري‬ ‫ﻧﻮاف اﻟﺘﺮﻛﻲ‬ ‫ﺟﺎﺑﺮ ﺑﻦ ﻋﻠﻮش‬ ‫ﻣﺤﻤﺪ ﺑﻦ ﻗﺬﻟﻪ‬ ‫ﺟﻤﺎل ﺑﻨﺪر‬ ‫ﺧﻠﻴﻔﺔ اﻟﻜﻌﺒﻲ‬

‫اﻹﺷﺮاف اﻟﻌﺎم‬

‫زﺑﻦ ﺑﻦ ﻋﻤﻴﺮ‬ ‫‪@zabin2011‬‬ ‫ﻣﺴﺘﺸﺎر اﻟﺘﺤﺮﻳﺮ‬

‫ﻋﻠﻲ اﻟﻤﺴﻌﻮدي‬ ‫‪@allmasoudi‬‬ ‫ﻣﺪﻳﺮ اﻟﺘﺤﺮﻳﺮ‬

‫ﻋﺒﺪا‪ K‬أﺑﻮﺑﻜﺮ‬ ‫‪@abdabubaker1‬‬ ‫اﻹﺧﺮاج اﻟﻔﻨﻲ & ﺳﻜﺮﺗﺎرﻳﺔ اﻟﺘﺤﺮﻳﺮ‬

‫ﺳﻌﺎد ﺣﺴﻨﺔ‬ ‫‪@HasnaSuad‬‬ ‫ﻣﺴﺆول اﻟﺘﻮزﻳﻊ‬ ‫أﺣﻤﺪ ﻋﺒﺎس‬

‫‪marketing@sbzc.ae‬‬ ‫ﻋﻨﻮان اﻟﻤﺠﻠﺔ~‬ ‫اﻹﻣﺎرات اﻟﻌﺮﺑﻴﺔ اﻟﻤﺘﺤﺪة‪ -‬أﺑﻮﻇﺒﻲ‬ ‫ﻫﺎﺗﻒ~ ‪009712-6666130‬‬ ‫ﻓﺎﻛﺲ~ ‪009712-6663088‬‬

‫ُﻛ ّﺘﺎب اﻟﻌﺪد‬ ‫ﻋﻠﻲ اﻟﻤﺴﻌﻮدي‬ ‫ﻋﺒﺪا‪ K‬أﺑﻮﺑﻜﺮ‬ ‫ﻣﺤﻤﺪ ﻧﻮر اﻟﺪﻳﻦ‬

‫ﺻﻔﻴﺔ اﻟﺸﺤﻲ‬ ‫ﺑﺎﺳﻞ ﻋﺒﺪاﻟﻌﺎل‬ ‫ﻣﺤﻤﺪ أﺑﻮﻋﺮب‬

‫د'ﻳﺎﺳﻴﻦ ﺣﺰﻛﺮ‬ ‫ﻋﺰة ﺣﺴﻴﻦ‬ ‫ﻣﺤﻤﺪ ﻋﺒﺪاﻟﺴﻤﻴﻊ‬

‫ص'ب~ ‪ 6420‬أﺑﻮﻇﺒﻲ إ'ع'م‬

‫‪baitshir@sbzc.ae‬‬ ‫‪@bait_alshe3r‬‬

‫‪@baytelshear‬‬

‫اﻟﺸﻌﺮ ‪baytelshear‬‬ ‫ﺑﻴﺖ ِ‬

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‫ ‪ ĘŠŝğĨŖŒ‬‬

‫‪24‬‬ ‫‪40‬‬ ‫‪66‬‬ ‫‪70‬‬ ‫‪74‬‬ ‫‪78‬‬ ‫‪90‬‬ ‫‪94‬‬

‫»ﻓﺘﺎة اﻟﻌﺮب« ‪TT‬ﻫﺎ ﻫﻮ ﻗﻤﺮ اﻟﺸﻌﺮ ﻳﻮ ّدﻋﻬﺎ‬ ‫ﻣﺤﻤﺪ أﺣﻤﺪ اﻟﺴﻮﻳﺪي ﻣﻊ »رﻓﻴﻖ اﻟﻠﻴﻞ«‬ ‫رؤى ﺟﺪﻳﺪة وأﻓﻜﺎر ﺗﺨﺮج ﻋﻦ اﻟﻤﺄﻟﻮف ﻓﻲ اﻹﺑﺪاع‬ ‫ﻛﻮﺛﺮ ﻣﺼﻄﻔﻰ ‪TT‬ﺿﻤﻴﺮ اﻟﻐﺎﺋﺒﺔ ﻓﻲ »ﺑﻠﺪ اﻟﺒﻨﺎت«‬ ‫أﻧﺸﻮدة »اﻟﻜﺮﻧﻚ« ﻷﺣﻤﺪ ﻓﺘﺤﻲ‪TT‬‬ ‫ﻫﺪﻳﺔ اﻟﻤﻨﻔﻰ اﻟﺘﻲ ﺧﻠﺪت »ﻗﺼﺔ اﻷﻣﺲ«‬ ‫» ﻳﻮم ﻛﺴﺮت اﻟﻤﺮآة« ﻟ‪ ,‬ﻋﺒﻠﺔ ﺟﺎﺑﺮ ‪TT‬‬ ‫ﺣﺴﻴﻦ اﻟﺤﻮﺳﻨﻲ‪ r‬أﻃﻤﺢ أن أرد اﻟﺠﻤﻴﻞ ﻟﻮﻃﻨﻲ اﻹﻣﺎرات‬ ‫اﻟﻌﺎزي‪ TT‬ﻓﻦ إﻣﺎراﺗﻲ أﺻﻴﻞ‬ ‫اﻟﻤﻮروﺛﺎت اﻷوزﺑﻜﻴﺔ‪TT‬‬ ‫ﻓﻨﻮن ﺗﻀﻲء زﻓﺎف ﻋﺮوس آﺳﻴﺎ اﻟﻮﺳﻄﻰ‬ ‫اﻻﺷﺘﺮاﻛﺎت‬ ‫ﻟﻼﺷﺘﺮاك ﺑﺎﻟﺒﺮﻳﺪ داﺧﻞ اﻟﺪوﻟﺔ ‪ 90‬درﻫﻢ اﺷﺘﺮاك ‪ VIP‬داﺧﻞ اﻟﺪوﻟﺔ ‪ 120‬درﻫﻢ ﺳﻨﻮﻳ ًﺎ اﻟﻤﻤﻠﻜﺔ اﻟﻌﺮﺑﻴﺔ اﻟﺴﻌﻮدﻳﺔ ‪ 300‬درﻫﻢ ﺳﻨﻮﻳ ًﺎ‬ ‫ﺑﺎﻗﻲ اﻟﺪول ‪ 130‬دوﻻر أﻣﺮﻳﻜﻲ ﺳﻨﻮﻳ ًﺎ‬

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‫اﻟﻌﺪد ‪ ، 70‬ﺳﺒﺘﻤﺒﺮ ‪2018‬‬

‫»ﻧﻘ ّﺪر دور اﻟﺸﻌﺮ ﻓﻲ اﺳﺘﻨﻬﺎض اﻟﺮوح‬ ‫اﻟﻮﻃﻨﻴﺔ‪ ،‬وﺧﺪﻣﺔ ﻗﻀﺎﻳﺎ اﻟﻤﺠﺘﻤﻊ‪ ،‬وﻧﺤﺮص‬ ‫ﻋﻠﻰ ﺗﺸﺠﻴﻊ اﻟﺸﻌﺮاء ﻟﻼﺳﺘﻤﺮار ﻓﻲ‬ ‫اﻟﻜﺘﺎﺑﺔ وإﺑﺪاع أﺟﻤﻞ اﻟﻘﺼﺎﺋﺪ اﻟﻤﻤﻴﺰة‬ ‫واﻟﻬﺎدﻓﺔ«‪T‬‬ ‫‪ ŻǉƍƴŢ ǃƹƈ ƲŢǃƬŘ ƻƸ‬‬ ‫‪ ƺţǉǁƼ ƲŖ ſǈŢƄ ƻŦ ƺţƙƵƈ‬‬ ‫‪ņŢ ƿƝƩŸ‬‬ ‫اﻟﺸﻌﺮ ‪baytelshear‬‬ ‫ﺑﻴﺖ ِ‬

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‫ ‪¬ũŐŒ ęś‬‬

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‫اﻟﻌﺪد ‪ ، 70‬ﺳﺒﺘﻤﺒﺮ ‪2018‬‬

‫»ﻧﺤﻦ ﻧﺴﺘﺨﺪم اﻟﺜﺮوة اﻟﻨﻔﻄﻴﺔ‬ ‫ﻟﺨﺪﻣﺔ اﻹﻧﺴﺎن وﺑﻨﺎء اﻟﻤﺪارس‬ ‫واﻟﺠﺎﻣﻌﺎت واﻟﻤﺴﺘﺸﻔﻴﺎت‬ ‫واﻟﻄﺮق واﻟﺘﺸﺠﻴﺮ وإﻗﺎﻣﺔ اﻟﻤﺰارع‬ ‫واﻟﻤﺼﺎﻧﻊ اﻟﺘﻲ أﺻﺒﺤﺖ ﺗﻨﺘﺞ اﻟﻜﺜﻴﺮ‬ ‫ﻣﻤﺎ ﻳﺤﺘﺎﺟﻪ اﻟﺸﻌﺐ ﻣﻦ ﻏﺬاء«‬ ‫‪ ƿƴ ƂǃƩƥƹƴŢ‬‬ ‫‪ƺţǉǁƼ ƲŖ ƺţƙƵƈ ƻŦ ſǈŢƄ ŻǉƍƴŢ‬‬ ‫‪Ò‬‬ ‫ ‪ ƾŢƃŰ ņŢ ťǉƘ‬‬ ‫اﻟﺸﻌﺮ ‪baytelshear‬‬ ‫ﺑﻴﺖ ِ‬

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‫‪ ĮńŒ ŔšŐħ‬‬

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‫اﻟﻌﺪد ‪ ، 70‬ﺳﺒﺘﻤﺒﺮ ‪2018‬‬

ŝĸŒ ŝķ

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‫ﻣﺤﻤﺪ اﻟﻤﻐﻴﺮﻓﻲ‬

baytelshear ‫اﻟﺸﻌﺮ‬ ِ ‫ﺑﻴﺖ‬

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