bayt alshier_71_Oct_2018

‫ﺟﺪﻳﺪ إﺻﺪارات‬ ‫ﻣﺮﻛﺰ ﺳﻠﻄﺎن ﺑﻦ زاﻳﺪ‬

‫‪www.sbzc.ae‬‬

‫‪sbzc.ae‬‬

‫‪2018‬‬

‫‪@sbzc_ad‬‬

‫اﻟﻤﺠﻼت اﻟﺸﻬﺮﻳﺔ اﻟﺼﺎدرة ﻋﻦ‬

‫ﻣﺮﻛﺰ ﺳﻠﻄﺎن ﺑﻦ زاﻳﺪ‬

‫ﻳﻤﻜﻨﻜﻢ اﻻﻃﻼع ﻋﻠﻰ أرﺷﻴﻒ ﺟﻤﻴﻊ اﻟﻤﺠﻼت ﻋﺒﺮ اﻟﻤﻮﻗﻊ اﻹﻟﻜﺘﺮوﻧﻲ ‬

‫‪www.mags.ae‬‬ ‫اﻟﺸﻌﺮ ‪baytelshear‬‬ ‫ﺑﻴﺖ ِ‬

‫‪97‬‬

‫ ‪ ĮńĵŒ şʼn‬‬

‫ﻋﺒﺪا أﺑﻮﺑﻜﺮ‬

‫‪DzƃǾƚǂǕŌ dzǘǾǃ‬‬ ‫ﻣﻦ ﻳﺘﺎﺑﻊ ﻛﺘﺎﺑﺎت ﺷﻌﺮاء اﻟﻘﺼﻴﺪة اﻟﺸﻌﺒﻴﺔ‪ ،‬ﻳﺴﺘﻄﻴﻊ أن ﻳﺘﻠﻤﺲ ذﻟﻚ اﻷﺛﺮ اﻟﺬي‬ ‫ﺗﱰﻛﻪ ﻫﺬه اﻟﻘﺼﻴﺪة ﰲ ﻧﻔﻮس اﻟﻨﺎس‪ ،‬وميﻜﻨﻪ ﻛﺬﻟﻚ أن ﻳﻔﻬﻢ ﴎ ﻗﻴﻤﺔ ﻫﺬه‬ ‫اﻟﻘﺼﻴﺪة اﻟﺘﻲ ﺑﺎﻹﻣﻜﺎن أن ﺗﻠﻌﺐ دوراً ﻋﻈﻴ ًام ﰲ ﺗﻮﺟﻴﻪ رؤى اﻟﺸﻌﻮب وﺗﻌﺰﻳﺰ‬ ‫ﻗﻴﻢ اﻟﻮﻻء واﻻﻧﺘامء ﻟﻸوﻃﺎن وﻗﻴﺎداﺗﻬﺎ‪.‬‬ ‫ﻫﻲ ﻟﻴﺴﺖ ﻣﺠﺮد ﺣﱪ ﻋﲆ ورق‪ ،‬ﺑﺄوزان وﻣﻔﺮدات ﺷﻌﺒﻴﺔ ﺗﺨﺘﻤﻬﺎ اﻟﻘﻮاﰲ ﰲ ﻛﻞ‬ ‫ﺷﻄﺮ‪ .‬إمنﺎ ﻫﻲ رﺳﺎﻟﺔ ﺗﺤﻤﻞ ﰲ ﻃﻴﺎﺗﻬﺎ ﻛﻞ ﻣﺎ ﻣﻦ ﺷﺄﻧﻪ أن ﻳﺨﺪم اﳌﺠﺘﻤﻊ وأن‬ ‫ﻳﺤﻘﻖ ﻟﻪ ﻣﺎ أﻣﻜﻦ ﻣﻦ ﺧري وﺗﻮﺟﻴﻪ وﺗﻮﻋﻴﺔ مبﺘﻄﻠﺒﺎت اﻟﺤﻴﺎة‪.‬‬ ‫ﻛﺜري ﻣﻦ اﻟﺸﻌﺮاء اﻟﺸﻌﺒﻴني‪ ،‬ﻛﺘﺒﻮا ﰲ اﻟﻐﺰل‪ ،‬وﰲ اﻟﺬات‪ ،‬وﺗﺄﻣﻠﻮا اﻟﻌﺎمل ﻣﻦ ﺣﻮﻟﻬﻢ‬ ‫ﺣﺴﺐ ﻣﺎ ﻳﺮوﻧﻪ وﻳﺘﺨﻴﻠﻮﻧﻪ‪ ،‬ﻟﻜﻨﻬﻢ ﻛﺬﻟﻚ‪ ،‬ﻛﺘﺒﻮا ﰲ اﻟﻬﻤﻮم اﻟﺠﻤﻌﻴﺔ‪ ،‬وﰲ اﻟﻮﻃﻦ‪،‬‬ ‫ﻓﺘﻘﺪﻣﻮا اﻟﺼﻔﻮف ﺑﺄﺑﻴﺎﺗﻬﻢ وﻗﺼﺎﺋﺪﻫﻢ اﻟﺘﻲ وﺻﻠﺖ ﺣﺘﻰ إﱃ ﺳﺎﺣﺎت اﻟﺤﺮب‪ ،‬ﻟﺘﻤﺪ‬ ‫ﻳﺪﻫﺎ إﱃ اﻟﺠﻨﻮد اﻟﺬﻳﻦ زﻳﻨﻮا ﻗﺼﺎﺋﺪ اﻟﺸﻌﺮاء ﺑﺒﻄﻮﻻﺗﻬﻢ وأﺳامﺋﻬﻢ وﺗﻀﺤﻴﺎﺗﻬﻢ‬ ‫اﻟﻜﱪى واﻟﻐﺎﻟﻴﺔ‪.‬‬ ‫ﻫﻜﺬا‪ ،‬ﻛﺎﻧﺖ اﻟﻘﺼﻴﺪة اﻟﺸﻌﺒﻴﺔ ﺣﺎﴐة‪ ،‬ومل ﺗﻨﺤﴫ ﰲ ذاﺗﻴﺔ ﺿﻴﻘﺔ‪ ،‬ﻻ ﺗﺘﺠﺎوز‬ ‫ﻣﺴﺎﺣﺔ اﻟﻔﺮد اﻟﻮاﺣﺪ‪ /‬اﻟﺸﺎﻋﺮ‪ .‬وﻫﻜﺬا أﻛﺪت ﻋﲆ ﻛﻮﻧﻬﺎ رﺳﺎﻟﺔ ﺗﺘﻀﻤﻦ اﻟﻜﺜري ﻣﻦ‬ ‫اﻟﻘﻴﻢ‪ ،‬وﺗﺼﻞ إﱃ اﻟﺠﻤﻴﻊ‪ ،‬ﰲ ﻛﻞ ﻣﻜﺎن وزﻣﺎن‪.‬‬ ‫ﻟﻘﺪ أدت اﻟﻘﺼﻴﺪة )اﻟﻔﺼﻴﺤﺔ واﻟﺸﻌﺒﻴﺔ( دوراً ﻛﺒرياً ﰲ ﺣﻴﺎة اﳌﺠﺘﻤﻌﺎت اﻟﻌﺮﺑﻴﺔ‪،‬‬ ‫ﻓﻜﺎﻧﺖ ﺗﺎرة وﺛﻴﻘﺔ ﺗﺎرﻳﺨﻴﺔ‪ ،‬وﺗﺎرة أﺧﺮى ﻧﺸﻴﺪاً وﻃﻨﻴﺎً‪ ،‬وﻗﺪ ﺗﻌﺪدت أدوارﻫﺎ‪،‬‬ ‫وﺗﺠﺎوزت ﺣﺪود اﻷوراق اﻟﺘﻲ ﺗﺤﻤﻠﻬﺎ‪ ،‬ﻟﺘﺴﻜﻦ ﰲ اﻟﻌﻘﻮل وﰲ اﻟﻜﺘﺐ‪ ،‬وﰲ ﺣﻨﺎﺟﺮ‬ ‫اﳌﻼﻳني‪.‬‬

‫‪96‬‬

‫اﻟﻌﺪد ‪ ، 71‬أﻛﺘﻮﺑﺮ ‪2018‬‬

‫‪@abdabubaker1‬‬

‫ﺗﻜﻮن ﺗﻠﻚ اﻟﺮﻗﺼﺎت ﺑﺘﺸﻜﻴﻼت وأمنﺎط‬ ‫ﻣﻌﻘﺪة ﻣﺜﻞ اﻟﻨﺠﻮم واﻷﺷﻜﺎل اﻟﻬﻨﺪﺳﻴﺔ‪.‬‬ ‫وﺗﺸﻤﻞ اﻟﺨﻄﻮات اﳌﺘﺸﺎﺑﻜﺔ واﻟﺠﺮي‬ ‫وﻧﻘﺮ اﻷرض ﺑﺎﻟﻜﻌﻮب‪ .‬ومتــﺎرس اﻟﺮﻗﺼﺔ‬ ‫ﰲ اﻻﺣﺘﻔﺎﻻت اﻟﻜﱪى‪ ،‬وﺗﻘﺘﴫ ﺣﺎﻟﻴﺎً ﻋﲆ‬ ‫اﻟﻔﺮق اﻻﺳﺘﻌﺮاﺿﻴﺔ اﻻﺣﱰاﻓﻴﺔ‪.‬‬ ‫ﻇﻬﺮت رﻗﺼﺔ اﻟـ " ‪ "Kujawiak‬ﰲ ﻣﻨﻄﻘﺔ‬ ‫ﻛﻮﻳﺎﻓﻴﺎ " ‪ "Kuyavia‬ﰲ اﻟﻘﺮن اﻟﺘﺎﺳﻊ ﻋﴩ‪.‬‬ ‫وﺑﺴﺒﺐ ﺑﺴﺎﻃﺘﻬﺎ اﻧﺘﴩت ﰲ ﺟﻤﻴﻊ أﻧﺤﺎء‬ ‫ﺑﻮﻟﻨﺪا ﰲ وﻗﺖ ﻗﺼري‪ .‬متﺜﻞ اﻟﺮﻗﺼﺔ ﻓﻨﻮن‬ ‫"اﻟﺘﺠﺴﻴﺪ"‪ ،‬وﺗﻨﻄﻮي ﻋﲆ أمنــﺎط ﺣﺮﻛﺔ‬ ‫ﺛﻨﺎﺋﻴﺔ ﻟﺮﺟﻞ واﻣﺮأة ﺗﺠﻤﻊ ﺑني أمنﺎط اﻟﺤﺮﻛﺔ‬ ‫اﻟﴪﻳﻌﺔ واﻟﺒﻄﻴﺌﺔ‪ ،‬ﻟﺬا ﻓﻬﻲ ﺗﻌﺒريﻳﻪ ﺑﺸﻜﻞ‬ ‫ﻛﺒري‪ .‬وﻣﺎرس اﻟﺮﻗﺼﺔ اﻟﻘﺮوﻳﻮن واﻟﻨﺒﻼء ﻋﲆ‬ ‫ﺣﺪ ﺳﻮاء‪ ،‬وﻛﻼ اﻟﻄﺒﻘﺘني اﻟﻔﻘرية واﻟﻐﻨﻴﺔ‬ ‫ﻳﺘﺼﺎرﻋﺎن ﺣﻮل ﻧﺸﺄة اﻟﺮﻗﺼﺔ‪ .‬وﻟﻜﻦ رﻗﺼﺔ‬ ‫اﻟـ " ‪ "Oberek‬ﻫﻲ ﻗﺮوﻳﺔ ﺑﺎﻣﺘﻴﺎز‪ ،‬ﺣﻴﺚ‬ ‫ﻇﻬﺮت ﺧﻼل اﻟﻘﺮن اﻟﺴﺎﺑﻊ ﻋﴩ ﰲ إﻗﻠﻴﻢ‬ ‫ﻣﺎزوﻓﻴﺎ‪ .‬وﻳﺘﻢ ﻣامرﺳﺘﻬﺎ ﺑﻮاﺳﻄﺔ ﻓﺮق ﻗﺮوﻳﺔ‬ ‫ﺻﻐرية وﻳﺘﻢ أداؤﻫﺎ ﺟامﻋﻴﺎً ﻣﻊ اﻟﻌﺰف ﻋﲆ‬ ‫آﻟﺔ اﻟﻜامن‪ ،‬إﱃ ﺟﺎﻧﺐ اﻷﻛﻮردﻳﻮن واﻟﻄﺒﻞ‪.‬‬ ‫متﺜﻞ " ‪ "Polonez‬رﻗﺼﺔ اﻟﻨﺒﻼء‪ ،‬وﻫﻲ ﻓﺮﻳﺪة‬ ‫وﻳﺘﻢ ﻣامرﺳﺘﻬﺎ ﻣﻦ اﻟﻘﺮن اﻟﺴﺎﺑﻊ ﻋﴩ‪.‬‬ ‫وﺗﻨﻄﻮي ﻋﲆ رﻗﺺ ﺛﻨﺎيئ‪ ،‬ﻻ ﻳﻨﻈﺮ ﺧﻼﻟﻪ‬

‫اﻟﺮاﻗﺼﺎن إﱃ وﺟﻮه ﺑﻌﻀﻬﻢ ﺑﻌﻀﺎً‪ ،‬وﻟﻜﻦ‬ ‫ﻳﺘﻢ أداؤﻫﺎ ﺑﺈﻳﻘﺎع ﻣﻨﺘﻈﻢ ودﻗﻴﻖ‪ ،‬وﻳﻨﺒﻐﻲ‬ ‫أن ﻳﻜﻮن اﻟﺮاﻗﺼﻮن ﻣﻦ اﳌﺤﱰﻓني إذ ﻻﺑﺪ‬ ‫أن ﻳﺒﻘﻮا ﻋﲆ ﻣﻈﻬﺮﻫﻢ ﻓﺨ ًام ﻃﻮال اﻟﻮﻗﺖ‪.‬‬ ‫وﻋﺎدة ﻣﺎ ﻳﺘﻢ أداء ﺗﻠﻚ اﻟﺮﻗﺼﺔ ﺑﻌﺪ ارﺗﺪاء "‬ ‫‪ "Kontusze‬اﻟﺬي ﻳﻌﺪ زﻳﺎً ﻟﻠﻨﺒﻼء‪.‬‬ ‫‪dzƪǾŞƢǕŌ ǛǙ ǻŽǷŨƒǙ ſŞƢǘǕŌ‬‬

‫ﻳﺘﺄﺛﺮ اﳌﻄﺒﺦ اﻟﺒﻮﻟﻨﺪي ﺑﺸﻜﻞٍ ﻛﺒري ﰲ اﻟﺒﻼد‬ ‫اﳌﺠﺎورة ﻟﻠﺪوﻟﺔ‪ ،‬واﻟﺘﻲ ﻣﻦ أﻫﻤﻬﺎ‪ :‬دوﻟﺘﺎ‬ ‫أﳌﺎﻧﻴﺎ وروﺳﻴﺎ‪ ،‬وﻫﺬا ﻣﺎ ﺟﻌﻠﻬﺎ ﺗﻌﺘﻤﺪ ﻋﲆ‬ ‫اﻟﻘﻤﺢ واﻟﺸﻌري ﺑﺸﻜﻞٍ ﻛﺒري ﰲ ﺗﺤﻀري‬ ‫أﻃﺒﺎﻗﻬﺎ اﳌﺨﺘﻠﻔﺔ‪ ،‬ﺑﺎﻹﺿﺎﻓﺔ إﱃ اﺣﺘﻼل اﻟﻠﺤﻮم‬ ‫ﻣﻜﺎﻧﺔ ﻣﻬﻤﺔ ﰲ اﳌﻄﺒﺦ اﻟﺒﻮﻟﻨﺪي‪ ،‬وﻣﻦ‬ ‫ّ‬ ‫اﳌﺤﴬة ﻓﻴﻪ ﻫﻲ ﺷﻮرﺑﺔ‬ ‫أﻫﻢ اﻟﺸﻮرﺑﺎت‬ ‫اﻟﺸﻤﻨﺪر‪ ،‬ﻛام ﻳﺘﻤ ّﻴﺰ ﺑﺎﺳﺘﺨﺪاﻣﻪ أﻧﻮاﻋﺎً‬ ‫ﻣﺨﺘﻠﻔﺔ ﻣﻦ اﳌﻌﻜﺮوﻧﺔ أﻫﻤﻬﺎ "‪."kluski‬‬ ‫ﻛﻞ ﻳﻮم ﻫﻮ ﻳﻮم اﻟﺒريوﺟﻲ ﰲ ﺑﻮﻟﻨﺪا ﻟﻜﻦ‬ ‫اﻟﻴﻮم اﻟﺜﺎﻣﻦ ﻣﻦ أﻛﺘﻮﺑﺮ ﻫﻮ ﻣﻮﻋﺪ اﻻﺣﺘﻔﺎل‬ ‫ﺑﺎﻟﺒريوﺟﻲ‪ ،‬اﻟ َﺒ ْ ُريوﺟﺎت أﻛﻠﺔ ﺑﻮﻟﻨﺪﻳﺔ و ُﺗﻌﺘﱪ‬ ‫اﻟﺨﺎﺻﺔ ﺑﴩق أوروﺑﺎ‪ ،‬ﻟﻴﺴﺖ ﻓﻘﻂ‬ ‫اﻟﺰﻻﺑﻴﺔ‬ ‫ّ‬ ‫ﻋﺒﺎرة ﻋﻦ ﻋﺠﻴﻨﺔ ﻧﺺ داﺋﺮﻳﺔ ﻣﺤﺸﻮة‬ ‫ﺑﺤﺸﻮات ﻟﺬﻳﺬة وﻟﻜﻨﻬﺎ ﻣﻦ أﻫﻢ اﻷﻛﻼت‬ ‫اﻟﺘﻲ متﻴﺰ ﺑﻮﻟﻨﺪا ﻣﻨﺬ اﻟﻘﺮن اﻟـ ‪ 13‬وﺑﻌﺾ‬

‫دول ﴍق أوروﺑــﺎ‪ ،‬و ُﻳﻘﺎل إ ﱠﻧﻬﺎ ﺟﺎءت ﻣﻦ‬ ‫اﻟﺼني واﻧﺘﴩت ﰲ اﻟﻘﺮن اﻟﺴﺎﺑﻊ ﻋﴩ ﰲ‬ ‫ﺟﻤﻴﻊ اﻟﻄﺒﻘﺎت اﻻﺟﺘامﻋﻴﺔ‪ .‬وﻫﻲ ﻣﻦ أﻫﻢ‬ ‫اﻷﻃﺒﺎق اﳌﻮﺟﻮدة ﰲ اﻷﻋﻴﺎد واﻷﻓﺮاح وﺟﺰء‬ ‫ﻣﻦ اﻟﻌﺎدات ﺣﺘﻰ ﻳﻮﻣﻨﺎ ﻫﺬا‪.‬‬ ‫ﺗﻌﺪ ﺑﻮﻟﻨﺪا ﻣﻦ أﻏﻨﻰ دول اﻟﻌﺎمل ﺑﺎﳌﻨﺘﺠﺎت‬ ‫اﻟﻄﺒﻴﻌﻴﺔ‪ ،‬وﻫﻲ ﺧﺎﻣﺲ ﺑﻠﺪ ﰲ اﻟﻌﺎمل ﻣﻦ‬ ‫ﺣﻴﺚ اﻧﺘﺎج اﻻﻋــﺸــﺎب اﻟﱪﻳﺔ واﻻزﻫــﺎر‬ ‫وﻣﻤﻠﻜﺔ اﻟﻔﻄﺮ واﻟﻄﻴﻮر ﺑﻔﻀﻞ ﻏﺎﺑﺎﺗﻬﺎ‪ .‬ﻟﺬا‬ ‫ﻧﺮى اﻻﻫﺘامم اﻟﺒﺎﻟﻎ ﺑﺎﳌﻨﺘﺠﺎت اﻟﱪﻳﺔ ﰲ‬ ‫اﳌﻄﺒﺦ اﻟﺒﻮﻟﻨﺪي ﻣﻦ ﺧﻼل وﺻﻔﺎت وأﻛﻼت‬ ‫ﺑﺴﻴﻄﺔ وﻟﻜﻨﻬﺎ ﻏﻨﻴﺔ ﺑﺎﻣﺘﻴﺎز‪ .‬وﻻزال اﻻﻫﺘامم‬ ‫ﺑﺎﻟﺨﴬاوات اﳌﺰروﻋﺔ ﺑﻄﺮﻳﻘﺔ ﺗﻘﻠﻴﺪﻳﺔ ﻳﺰﻳﺪ‬ ‫ﺑﺎﺳﺘﻤﺮار‪ ،‬ﺧﺼﻮﺻﺎ ﰲ أوﺳﺎط اﻟﺸﺒﺎب‪ ،‬اﱃ‬ ‫درﺟﺔ ان اﳌﻨﺘﺠﺎت اﻟﻌﻀﻮﻳﺔ واﻟﱪﻳﺔ ﻋﺎدة ﻣﺎ‬ ‫ﺗﻨﻔﺪ ﰲ اﻷﺳﻮاق‪.‬‬ ‫ميﺘﻠﻚ ﻛﻞ إﻗﻠﻴﻢ ﺑﻮﻟﻨﺪي ﻻﺋﺤﺔ اﻟﻄﻌﺎم‬ ‫اﳌﺤﻠﻴﺔ اﻟﺨﺎﺻﺔ ﺑﻪ‪ .‬ﻓﻤﺜﻼ ًﰲ إﻗﻠﻴﻢ ﻣﺎزوﻓﺸﻪ‬ ‫ﻓﺈن اﻟﻄﻌﺎم ﻣﺘﻨﻮع وﻳﺘﻢ إﻋــﺪاده ﺑﺸﻜﻞ‬ ‫ﻣﺨﺘﻠﻒ ّ‬ ‫ﻋام ﻫﻮ ﻋﻠﻴﻪ ﰲ اﻷﻗﺎﻟﻴﻢ اﻷﺧﺮى‪.‬‬ ‫اﻟﻄﻌﺎم اﳌﺤﲇ ﻫﻮ متﺜﻴﻞ ﻟﺘﻘﺎﻟﻴﺪ اﻟﻄﺒﺦ‬ ‫اﻟﺒﻮﻟﻨﺪﻳﺔ اﻟﻘﺪميﺔ‪ .‬وﺑﺎﻟﻨﻈﺮ ﻟﻜﺜﺎﻓﺔ اﻟﻐﺎﺑﺎت‬ ‫واﳌﺴﺎﺣﺎت اﻟﺨﴬاء اﻟﱪﻳﺔ ﰲ ﻣﺎزوﻓﺸﻪ‪ ،‬ﻓﺈن‬ ‫اﳌﻄﺒﺦ ﻳﻌﺘﻤﺪ ﻋﲆ اﻟﻔﻮاﻛﻪ وﻋﲆ اﻟﻠﺤﻮم‪.‬‬ ‫اﻟﺸﻌﺮ ‪baytelshear‬‬ ‫ﺑﻴﺖ ِ‬

‫‪95‬‬

‫‪ Ęġ¯ ŝŕ‬‬

‫اﻟﻴﻮم ﰲ اﻟﻴﻮم اﻟﺘﺎﱄ ﻟﻌﻴﺪ اﻟﻔﺼﺢ‪ .‬ووﻓﻘﺎً‬ ‫ﻷﺳﺎﻃري ﻗﺪميﺔ‪ ،‬ﻳﺠﺐ أن ﺗﺮش اﳌﺎء ﻋﲆ‬ ‫أﺣﺒﺎﺋﻚ ﻛﺮﻣﺰ ﻟﻠﺘﻄﻬري واﻟﻨﻘﺎء واﻟﺨﺼﻮﺑﺔ‪،‬‬ ‫وأﺻﺒﺤﺖ ﻟﻌﺒﺔ ﻣﻤﺘﻌﺔ ﺑني اﻟﺸﺒﺎب واﻟﺒﻨﺎت‬ ‫ﻹﻏﺮاق ﺑﻌﻀﻬﻢ ﺑﻌﻀﺎً ﺑﺎﳌﺎء‪ .‬وﻳﻌﻮد اﻻﺣﺘﻔﺎل‬ ‫إﱃ اﻟﻘﺮون اﻟﻮﺳﻄﻰ‪ ،‬وﺗﻄﻮر إﱃ أن أﺻﺒﺢ‬ ‫اﻟﺠﻤﻴﻊ ﻳﺸﺎرﻛﻮن ﻓﻴﻪ مبﺨﺘﻠﻒ اﻷدوات‬ ‫واﻷﻟﻌﺎب اﳌﺎﺋﻴﺔ‪.‬‬ ‫ﺗﻌﺪ ﺣﻔﻞ " ‪ "poprawiny‬ﻣﻦ أﻫﻢ وأﻣﺘﻊ‬ ‫اﻟﻄﻘﻮس اﻟﱰاﺛﻴﺔ اﻟﺒﻮﻟﻨﺪﻳﺔ واﻟﻔﺮﻳﺪة أﻳﻀﺎً‪،‬‬ ‫وﻫﻲ ﺣﻔﻞ راﻗﺺ ﻳﺘﻢ ﺗﻨﻈﻴﻤﻪ ﰲ اﻟﻴﻮم اﻟﺘﺎﱄ‬ ‫ﻟﺤﻔﻼت اﻟﺰﻓﺎف ﻟﻴﻤﺘﺪ ﺑﺬﻟﻚ اﻟﺰﻓﺎف ﻟﻴﻮﻣني‪،‬‬ ‫وﻋﺎدة ﻣﺎ ﻳﻜﻮن ﺣﻔﻞ " ‪ "poprawiny‬أﻃﻮل‬ ‫ﻣﻦ اﻟﺰﻓﺎف وﻳﺴﺘﻤﺮ ﺣﺘﻰ ﻣﻄﻠﻊ اﻟﻔﺠﺮ‪.‬‬

‫وﻻﺑــﺪ ﻣﻦ ﻣﺸﺎرﻛﺔ اﻟﻌﺮﻳﺲ وﻋﺮوﺳﻪ ﰲ‬ ‫اﻟﺤﻔﻞ‪ ،‬وﻟﻜﻦ ﻟﻔﱰة ﻗﺼرية ﻓﻘﻂ‪ ،‬ﻟﻴﺴﺘﻤﺮ‬ ‫اﻟﺤﻀﻮر ﰲ اﻻﺣﺘﻔﺎل ﻃﻴﻠﺔ اﻟﻠﻴﻞ‪ ،‬وﻳﻌﻨﻰ‬ ‫ذﻟﻚ اﻟﺤﻔﻞ إﺿﻔﺎء اﻟﺒﻬﺠﺔ ﻋﲆ اﻟﻌﺮوﺳني‪،‬‬ ‫وإﺿﺎﻓﺔ ﺑﻬﺠﺔ ﻗﺒﻞ اﻟﺰواج )ﺣﻔﻞ اﻟﺰﻓﺎف(‬ ‫وﺑﻌﺪه أﻳﻀﺎً‪.‬‬ ‫ﻳﻀﻊ اﻟﺒﻮﻟﻨﺪﻳﻮن اﻟﻘﺶ ﺗﺤﺖ ﻣﻔﺮش اﳌﺎﺋﺪة‬ ‫ﻋﺸﻴﺔ ﻋﻴﺪ رأس اﻟﺴﻨﺔ‪ ،‬ﻻرﺗﺒﺎﻃﻬﺎ ﺑﺎﻟﻄﺒﻴﻌﺔ‬ ‫وﻛﺄﻧﻬﻢ ﻳﺘﻨﺎوﻟﻮن اﻟﻌﺸﺎء ﻣﻊ اﻟﻄﺒﻴﻌﺔ‪.‬‬ ‫وﰲ ﺑﻌﺾ اﳌﻨﺎزل اﻟﻘﺮوﻳﺔ‪ ،‬ﻳﻐﻄﻲ ﺑﻌﺾ‬ ‫اﻟﺴﻜﺎن ﻛﻞ أرﺿﻴﺔ اﳌﻨﺰل ﺑﺎﻟﻘﺶ ﻟﻠﺘﻮﺣﺪ ﻣﻊ‬ ‫اﻟﻄﺒﻴﻌﺔ‪.‬‬ ‫ﻳﻌﺪ ﺗﺒﺎدل اﻟﺒﺴﻜﻮت اﳌﺤﲆ ﻣﻦ أﻫﻢ ﻣﺎ‬ ‫ميﻴﺰ اﳌﺠﺘﻤﻊ اﻟﺒﻮﻟﻨﺪي‪ ،‬ﻓﻤﺜﻞ اﻟﺪول اﻟﻌﺮﺑﻴﺔ‬

‫ﻳﺤﺮص اﻟﺒﻮﻟﻨﺪﻳﻮن ﻋﲆ ﺻﻨﻊ اﻟﺒﺴﻜﻮت‬ ‫اﳌﺤﲆ اﳌﻨﺰﱄ‪ ،‬وﻣﻦ ﺛﻢ إﻫﺪاﺋﻪ ﻟﻠﺠريان‬ ‫واﻷﻗــﺎرب‪ .‬وﺗﻌﺪ ﺻﻨﺎﻋﺔ اﻟﺒﺴﻜﻮت اﳌﺤﲆ‬ ‫ﻣﻦ ﺷﻴﻢ رﺑﺎت اﳌﻨﺎزل‪ ،‬وﻻﺑﺪ ﻟﻜﻞ ﻓﺘﺎة أن‬ ‫ﺗﺘﻌﻠﻢ إﻋــﺪاده ﻗﺒﻞ اﻟــﺰواج‪ .‬وﻋﺪم إﺗﻘﺎﻧﻪ‬ ‫ميﺜﻞ وﺻﻤﺔ ﻋﺎر ﰲ اﻷﴎة ﺑﺄﻛﻤﻠﻬﺎ‪.‬‬ ‫متﺜﻞ اﻷﺳﺎﻃري ﺟــﺰءاً ﻛﺒرياً ﰲ اﳌﻮروﺛﺎت‬ ‫اﻟﺒﻮﻟﻨﺪﻳﺔ وﺗﺮﺗﺒﻂ ﻋﺎدة ﺑﺎﳌﺪن واﻟﻌامرة‬ ‫اﻟﺒﻮﻟﻨﺪﻳﺔ‪ ،‬ﻓﻌﲆ ﺳﺒﻴﻞ اﳌﺜﺎل ﻳﻐﻠﺐ ﻋﲆ‬ ‫ﻣﺪﻳﻨﺔ ﻛﺮاﻛﻮف اﻟﺒﻮﻟﻨﺪﻳﺔ ﻃﺎﺑﻊ ﺑﻨﺎء ﻋﴫ‬ ‫اﻟﻨﻬﻀﺔ‪ ،‬وﻓﻴﻬﺎ أﺑﻨﻴﺔ ﻣﻬﻤﺔ متﺜﻞ ﻣﺮاﺣﻞ‬ ‫اﻟﻌﺼﻮر اﻟﻼﺣﻘﺔ‪ .‬وﺗﻘﻮل اﻷﺳﺎﻃري إن ﺗﻨﻴﻨﺎً‬ ‫ﻳﻨﻔﺚ اﻟﻨﺎر ﺳﻜﻦ ﰲ ﻣﻐﺎرة ﺗﺤﺘﻬﺎ‪ ،‬وذﻟﻚ‬ ‫ﺑﺴﺒﺐ ﻫﻴﺒﺔ اﳌﺪﻳﻨﺔ وﻣﺒﺎﻧﻴﻬﺎ‪ ،‬اﻟﺬي ﺟﻌﻞ‬ ‫أﻫﻠﻬﺎ ﻳﻈﻨﻮن أن ﻫﻨﺎك ﺗﻨﻴﻨﺎً ﺿﺨ ًام ﻳﺤﻤﻴﻬﺎ‬ ‫وﻳﺤﺮﺳﻬﺎ‪ .‬وﻗﺪ ﺻﻨﻊ متﺜﺎل ﺑﺮوﻧﺰي ﻟﺘﻨني‬ ‫ﻳﺨﺮج ﻣﻦ ﻓﻤﻪ اﻟﻠﻬﺐ‪ ،‬ووﺿﻊ ﻋﻨﺪ ﺿﻔﺔ ﻧﻬﺮ‬ ‫اﻟﻔﺴﺘﻮﻻ أﺳﻔﻞ إﺣﺪى ﻗﻼع اﳌﺪﻳﻨﺔ‪.‬‬ ‫‪DzōǾŽ ŜǷǔƓŐ ƙǃƉǕŌ‬‬

‫ميﺎرس اﻟﺒﻮﻟﻨﺪﻳﻮن اﻟﻌﺪﻳﺪ ﻣﻦ ﻓﻨﻮن اﻟﺮﻗﺺ‬ ‫اﻟﺘﻲ ﻳﻐﻠﺐ ﻋﻠﻴﻬﺎ اﻟﻄﺎﺑﻊ اﻟﺠامﻋﻲ‪ ،‬وذﻟﻚ‬ ‫ﻷﻧﻬﻢ اﺟﺘامﻋﻴﻮن ﺑﺎﻟﻔﻄﺮة وﻳﻌﺸﻘﻮن‬ ‫اﻟﺤﻴﺎة واﻟﻄﺒﻴﻌﺔ واﻟﺘﻌﺎون ﰲ ﻛﻞ ﳾء‪.‬‬ ‫ﺗﻌﺪ رﻗﺼﺔ " ‪ " Krakowiak‬ﻣﻦ أﺷﻬﺮ‬ ‫اﻟﺮﻗﺼﺎت اﻟﺠامﻋﻴﺔ‪ .‬ﰲ ﻛﺜري ﻣﻦ اﻷﺣﻴﺎن‬

‫‪94‬‬

‫اﻟﻌﺪد ‪ ، 71‬أﻛﺘﻮﺑﺮ ‪2018‬‬

‫متﺘﺰج ﻣﻼﻣﺢ ﺣﻴﺎة ﺳﻜﺎن ﺑﻮﻟﻨﺪا ﺑﺎﻟﺠﻠﻴﺪ‬ ‫اﻟﺬي ﻳﻜﺴﻮ ﻣﻌﺎﳌﻬﺎ وأرﺿﻬﺎ ﻏﺎﻟﺒﻴﺔ اﻟﻌﺎم‪،‬‬ ‫ﻣام ﻳﺠﻌﻞ أي ﻧﺸﺎط ﻋﻠﻴﻬﺎ ﻳﻈﻬﺮ ﰲ أﺑﻬﻰ‬ ‫ﺻﻮره‪ ،‬وﻟﻌﻞ أﺑﺮز ﺗﻠﻚ اﻷﻧﺸﻄﺔ ﻫﻲ اﻟﺰراﻋﺔ‬ ‫وﺗﺮﺑﻴﺔ اﻟﺤﻴﻮاﻧﺎت واﻻﻫﺘامم ﺑﺎﻷﻟﻮان اﻟﺘﻲ‬ ‫ﺗﺰﻳﻦ أﻳﻀﺎً ﺑﴩﺗﻬﻢ ﻧﺎﺻﻌﺔ اﻟﺒﻴﺎض‪ .‬ﻳﺘﺴﻢ‬ ‫اﻟﺸﻌﺐ اﻟﺒﻮﻟﻨﺪي أﻳﻀﺎً ﺑﺎﻟﺒﺴﺎﻃﺔ واﻻﻧﻄﻼق‬ ‫وﺣﺐ اﻟﻄﺒﻴﻌﺔ واﻻﻋﺘﺰاز ﺑﺠامﻟﻬﺎ وإﺑﺮاز‬ ‫أﻟﻮاﻧﻬﺎ داﺧﻞ ﺑﻴﻮﺗﻬﻢ اﻟﻘﺮوﻳﺔ وﻣﻼﺑﺴﻬﻢ وﻛﻞ‬ ‫ﻧﻮاﺣﻲ اﻟﺤﻴﺎة ﻣﻦ ﺧﻼل ﻣﻬﺮﺟﺎﻧﺎت ﺻﺎﺧﺒﺔ‬ ‫وﺑﺴﻴﻄﺔ ﺗﺠﻤﻊ أﻓﺮاد اﻟﻘﺮﻳﺔ اﻟﻮاﺣﺪة ﰲ‬ ‫رﻗﺼﺎت ﺑﺎﻫﺮة وﻣﻮﺳﻴﻘﻰ ﻫﺎدﺋﺔ ﻋﺬﺑﺔ ﺑني‬ ‫اﳌﺮوج اﻟﺨﴬاء ﰲ اﻟﺮﺑﻴﻊ واﻟﺼﻴﻒ‪.‬‬ ‫‪dzŴǤŞǕŌ ǚŌǷǜƫ dzǝǷǔǘǕŌ ƑşȎǘǕŌ‬‬

‫متﺜﻞ اﳌﻼﺑﺲ اﻟﻘﺮوﻳﺔ اﳌﻠﻮﻧﺔ أﻫﻢ ﻣﺎ ميﻴﺰ‬ ‫اﻟﺸﻌﺐ اﻟﺒﻮﻟﻨﺪي اﻟﺬي ﻻ ﻳﺘﺨﲆ إﻃﻼﻗﺎً ﻋﻦ‬ ‫ﻣﻼﺑﺴﻪ اﻟﺘﻘﻠﻴﺪﻳﺔ اﻟﺘﻲ ﻃﺎﳌﺎ ﻛﺎﻧﺖ ﺷﻌﺎره‬ ‫وﻫﻮﻳﺘﻪ‪ .‬ﻳﺘﺠﲆ ذوق اﻟﻘﺮوﻳني اﻟﺮﻓﻴﻊ ﰲ‬ ‫ﺑﻮﻟﻨﺪا ﰲ اﺑﺘﻜﺎر واﻧﺘﻘﺎء اﻟﺘﺼﻤﻴامت‬ ‫ﰲ اﳌﻼﺑﺲ اﻟﺘﻘﻠﻴﺪﻳﺔ اﳌﻔﻌﻤﺔ ﺑﺎﻷﻟﻮان‬ ‫اﳌﺒﻬﺠﺔ واﻟﺘﻲ ﺗﻨﺎﺳﺐ اﻟﺒﴩة اﻟﻔﺎﺗﺤﺔ‪،‬‬ ‫وﺗﻄﻮرت اﳌﻼﺑﺲ اﻟﺒﻮﻟﻨﺪﻳﺔ ﻣﻨﺬ اﻟﻘﺪم‬ ‫مبﺮور اﻟﺤﻘﺒﺎت اﳌﺨﺘﻠﻔﺔ وﺗﻄﻮر اﻟﺨﺎﻣﺎت‬ ‫اﳌﺴﺘﺨﺪﻣﺔ‪ ،‬وﻟﻜﻨﻬﺎ وﻃــﻮال ﺗﻠﻚ اﻟﻔﱰة‬ ‫ﺣﺎﻓﻈﺖ ﻋﲆ ﻫﻮﻳﺘﻬﺎ اﻷﺳﺎﺳﻴﺔ ﰲ اﺳﺘﺨﺪام‬ ‫اﻟﺰﻳﻨﺔ واﻟﺘﻄﺮﻳﺰات اﻟﺮاﺋﻌﺔ وﻣﺰج اﻷﻟﻮان‬ ‫اﳌﻔﻌﻤﺔ ﺑﺎﻟﺤﻴﺎة‪ ،‬وﻻزال ﻳﺘﻢ ﺗﺼﻨﻴﻊ ﺗﻠﻚ‬ ‫اﳌﻼﺑﺲ ﻳﺪوﻳﺎً داﺧــﻞ اﻟﻘﺮى‪ ،‬وﻋــﺎدة ﻣﺎ‬ ‫ﺗﺼﻨﻊ ﻣﻼﺑﺲ اﻟﺮﺟﺎل ﻣﻦ ﺟﻠﻮد اﳌﺎﻋﺰ اﻟﺘﻲ‬ ‫ﻳﺘﻢ أﻳﻀﺎً ﺗﻄﺮﻳﺰﻫﺎ‪ ،‬وﻳﺮﺗﺪي اﻟﺮﺟﺎل ﻋﺎدة‬ ‫ال "ﻛﻮﻧﺘﻮﺳﺰ"‪ ،‬وﻫﻮ رداء ﻃﻮﻳﻞ ﻳﺼﻞ إﱃ‬ ‫ﻣﺎ ﺗﺤﺖ اﻟﺮﻛﺒﺔ ﻣﻊ ﺗﺰﻳﻴﻨﻪ ﺑﺒﻌﺾ اﻷزرار‬ ‫اﳌﺰﺧﺮﻓﺔ‪ ،‬ﻛام ﺗﺘﻨﺘﴩ ﰲ اﳌﻨﺎﺳﺒﺎت ﴎاوﻳﻞ‬ ‫ال "اﻟــﺰوﺑــﺎن" و"اﻟــﺸــﺎروﻓــﺎري" اﻟﻄﻮﻳﻠﺔ‬ ‫واﻟﻮاﺳﻌﺔ‪ ،‬ﺣﻴﺚ ﻛﺎﻧﺖ ﺗﺴﺘﺨﺪﻣﻪ ﻗﺪميﺎً‬ ‫اﻟﻄﺒﻘﺔ اﻷرﺳﺘﻘﺮاﻃﻴﺔ ﰲ اﳌﻨﺎﺳﺒﺎت اﻟﻌﺎﻣﺔ‪.‬‬ ‫أﻣــﺎ ﺑﺎﻟﻨﺴﺒﺔ ﻟﻠﻨﺴﺎء ﻓﻴﻤﺜﻞ رداء ال‬ ‫"ﻓﺎﻳﺸﻴﻔﺎﻧﻜﺎ" رﻣﺰاً ﻟﻸزﻳﺎء اﻟﻨﺴﺎﺋﻴﺔ اﻟﺘﻘﻠﻴﺪﻳﺔ‬

‫واﻟﻌﴫﻳﺔ ﰲ اﻟﻮﻗﺖ ﻧﻔﺴﻪ‪ ،‬ﺣﻴﺚ أﺻﺒﺢ‬ ‫رﻣــﺰاً ﻟﻠﻤﺮأة اﻟﺒﻮﻟﻨﺪﻳﺔ وﻣــﱪزاً ﻟﺠامﻟﻬﺎ‬ ‫وﻧﻀﺎرﺗﻬﺎ ﰲ اﳌﻨﺎﺳﺒﺎت واﻻﺣﺘﻔﺎﻻت ﻛﺎﻓﺔ‪.‬‬ ‫وﻳﺘﻜﻮن اﻟﻔﺎﻳﺸﻴﻔﺎﻧﻜﺎ ﻣﻦ ﻗﻤﻴﺺ ﻳﺤﺘﻮي‬ ‫ﻋﲆ ﳌﺴﺎت ﻣﻦ اﻟﺘﻄﺮﻳﺰ واﻟﺰﺧﺎرف‪ ،‬ﻛام‬ ‫ﻳﺨﺘﻠﻒ ﺗﺼﻤﻴﻤﻪ ﺑﺎﺧﺘﻼف اﻟﻘﺮى واﻷﻗﺎﻟﻴﻢ‬ ‫اﻟﺒﻮﻟﻨﺪﻳﺔ‪ ،‬وﻋﺎدة ﻣﺎ ﻳﺼﻨﻊ ﻣﻦ اﻟﻜﺘﺎن اﳌﺤﲇ‬ ‫وﻳﺘﻢ ﺗﺰﻳﻴﻨﻪ ﺑﺸﻜﻞ ﻳﺪوي ﺑﻮاﺳﻄﺔ اﻟﺰﺧﺎرف‬ ‫واﻟﺘﻄﺮﻳﺰات واﻷﻟﻮان اﳌﺒﻬﺠﺔ ﻟﻴﺘﻢ ارﺗﺪاؤﻫﺎ‬ ‫ﰲ ﻣﺎ ﺑﻌﺪ ﰲ اﻻﺣﺘﻔﺎﻻت واﳌﻬﺮﺟﺎﻧﺎت‬ ‫اﻟﻌﺎﻣﺔ‪ .‬وﻳﺮﺗﺒﻂ اﻟﻔﺎﻳﺸﻴﻔﺎﻧﻜﺎ ﺑﻌﺪد ﻣﻦ‬ ‫اﻷﺳﺎﻃري‪ ،‬ﻓﺒﺤﺴﺐ اﳌﻌﺘﻘﺪات اﻟﻘﺪميﺔ ﻳﺘﻢ‬ ‫ﺗﻄﺮﻳﺰ اﻷﻛــامم وﻣﻨﻄﻘﺔ اﻟﺮﻗﺒﺔ واﻟﻜﺘﻔني‬ ‫ﺑﺸﻜﻞ ﻣﻌني ﻳﺒﻌﺪ اﻷرواح اﻟﴩﻳﺮة ﻣﻦ إﻳﺬاء‬ ‫اﻟﺠﺴﺪ‪.‬‬ ‫ﺗﻠﻌﺐ أﻛﺎﻟﻴﻞ اﻟــﺰﻫــﻮر واﻷﻋــﺸــﺎب اﻟﺘﻲ‬

‫ﺗﺮﺗﺪﻳﻬﺎ اﻟﻔﺘﻴﺎت دوراً ﺣﻴﻮﻳﺎً ﰲ اﻟﺜﻘﺎﻓﺔ‬ ‫اﻟﺒﻮﻟﻨﺪﻳﺔ‪ ،‬وﻣﻜﻮﻧﺎً أﺳﺎﺳﻴﺎً ﻟﻠﻤﻈﺎﻫﺮ اﻟﱰاﺛﻴﺔ‬ ‫واﻟﻔﻠﻜﻠﻮرﻳﺔ ﺑﺨﺎﺻﺔ ﰲ ﺣﻴﺎة اﻟﻘﺮوﻳني‪،‬‬ ‫ﺣﻴﺚ ﺗﺘﻔﻨﻦ اﻟﻔﺘﻴﺎت ﰲ ﺗﺰﻳني ﺗﻠﻚ اﻷﻛﺎﻟﻴﻞ‬ ‫ﰲ ﺗﻜﻮﻳﻦ ﻣﺎ ﻳﺴﻤﻰ ﺑﺄﻛﺎﻟﻴﻞ "ﺣﻮرﻳﺔ اﻟﺒﺤﺮ"‬ ‫اﻟﺘﻲ ﺗﺘﺰﻳﻦ ﺑﻬﺎ اﻟﻌﺮوس ﻳﻮم اﻟﺰﻓﺎف ﺑﻮاﺳﻄﺔ‬ ‫ﻧﺒﺎت اﻟــﻘـﺮاص اﻷﺧــﴬ واﻟــﺮﻳــﺤــﺎن‪ ،‬ﻛام‬ ‫أﺻﺒﺤﺖ ﺗﺴﺘﺨﺪم ﺗﻠﻚ اﻷﻛﺎﻟﻴﻞ ﰲ اﻟﻴﺪﻳﻦ‬ ‫وﺣﻮل اﻟﻌﻨﻖ مبﺮور اﻟﻮﻗﺖ ﳌﻈﻬﺮ أﻛرث إﺑﻬﺎراً‬ ‫وﺗﺄﻟﻘﺎً‪.‬‬ ‫‪DzƃǿƉƳ ŦŌƂōƫ‬‬

‫ﺣﻴﻨام ﺗﻜﻮن ﰲ ﺑﻮﻟﻨﺪا‪ ،‬ﻻ ﺗﻨﺪﻫﺶ ﺣﻴﻨام‬ ‫ﻳــﺄيت ﻳــﻮم اﻻﺛﻨني اﳌﻮاﻓﻖ ‪ 22‬أﺑﺮﻳﻞ ﻣﻦ‬ ‫ﻛﻞ ﻋﺎم ﻟﱰى اﻟﻨﺎس ﻳﱰاﺷﻘﻮن ﺑﺎﳌﻴﺎه ﰲ‬ ‫اﻟﺸﻮارع‪ ،‬ﺣﻴﺚ ﻳﺤﺘﻔﻞ اﻟﺒﻮﻟﻨﺪﻳﻮن ﺑﻬﺬا‬ ‫اﻟﺸﻌﺮ ‪baytelshear‬‬ ‫ﺑﻴﺖ ِ‬

‫‪93‬‬

‫‪ Ęġ¯ ŝŕ‬‬

‫‪dzǿƉŞǕŌ dzǘƪƣȏŌ ǻǔƫ ǺƅƮŨũǶ ŋōǘǕŌ ŝLjƓ ǺǷǤũ‬‬

‫اﻟﻤﻮروﺛﺎت اﻟﺒﻮﻟﻨﺪﻳﺔ‬ ‫‪ ǽƟōǘǕŌ ŋōǘƓ ǽƳ ǁǔżũ ƉǾƣōƓŐ‬‬

‫ﻣﺤﻤﺪ دروﻳﺶ‬

‫ﰲ ﺑﻼد ﻳﻜﺴﻮﻫﺎ ﺑﻴﺎض اﻟﺜﻠﻮج ﻃﻴﻠﺔ اﻟﻌﺎم‪ ،‬ﺗﺒﺰغ اﻟﺜﻘﺎﻓﺔ اﻟﺒﻮﻟﻨﺪﻳﺔ ﺑﺄﻟﻮاﻧﻬﺎ اﻟﺰاﻫﻴﺔ ﺗﺘﺤﺪى ﻗﺴﻮة اﻟﻄﺒﻴﻌﺔ وﺗﻌﱪ ﻋﻦ ﺷﻌﺐ ﻗﺮوي‬ ‫وﻣﺘﻄﻮر ﻋﺎﺷﻖ ﻟﻠﺤﻴﺎة ﺑﻜﻞ ﻣﺎ ﺗﺤﻤﻠﻪ ﻣﻦ ﺗﻔﺎﺻﻴﻞ ﺗرثي ﺣﻴﺎﺗﻪ‪ .‬ﻓﺤﻴﻨام ﺗﺮى ﻣﻬﺮﺟﺎﻧﺎت ﻗﺮوﻳﺔ ﻣﻠﻮﻧﺔ ﺗﻬﻮى اﻟﻄﺒﻴﻌﺔ ﺑﺄﺑﺴﻂ ﻣﻌﺎﻧﻴﻬﺎ‬ ‫ووﺟﻮه اﻟﻔﺘﻴﺎت اﻟﺒﺎﺳﻤﺔ ﺗﺰﻳﻨﻬﺎ أﻛﺎﻟﻴﻞ اﻟﺰﻫﻮر‪ ،‬ميﻜﻨﻚ ﺣﻴﻨﻬﺎ أن ﺗﺘﻌﺮف ﻋﲆ ﻣﻼﻣﺢ ﺗﺮاث ﻋﺮﻳﻖ وﺗﺴﺘﻨﺸﻖ ﻋﺒري ﻣﻜﻮﻧﺎﺗﻪ اﻟﺜﻘﺎﻓﻴﺔ‬ ‫اﳌﻤﺰوﺟﺔ ﺑﺎﻟﻄﺒﻴﻌﺔ ﰲ أﺑﻬﻰ ﺻﻮرﻫﺎ‪.‬‬

‫‪92‬‬

‫اﻟﻌﺪد ‪ ، 71‬أﻛﺘﻮﺑﺮ ‪2018‬‬

ĮńĵŒ ­ŝšŃ ŗŕ

َ ‫َدع‬ ُ َ ‫ﺎم َﺗ‬ َ ‫اﻷ ّﻳ‬ ‫ﺸﺎء‬ ‫ﻔﻌ ُﻞ ﻣﺎ َﺗ‬ ِ ‫اﻹﻣﺎم اﻟﺸﺎﻓﻌﻲ‬ $O b@@ @~@ @ }@ @ N @ @ D* N @ @ @ @ N @ @ @ @0N *3P(* Kb@ @ ~@ @ z@ @ @ @ FN d@@ @ @ @ @ @ P:HN N P @ @ @ @ @ @ @ AN $O b@@ @ @ @ @ @ @ +N b@@ @ @ @£@ @ @ @ FvO @ @ @ @ D* PlP2*¡@@ @ @ @ @ @ @ @ @ @ @ @ @ @ @² b@ $O b@@ @ @ @ @A¡N @ @ @ @ @ D*HN fO @ @ @0b@ N @ @ @ @ @~@@N @ z@ @ @D* @N @ @ gO @ @ @ N @ @ @£@ @ @~@ @ @7HN $O b@@ @ @ @ @ @ P= b@@ @ @ @ @ @ DN N ¡@@ @ @ @ @ @ @ @ JN N&* N xS @ @ @ @ @ @ ~@@ @ N@ @ @ @6HN $O b@@ @ @s@ @ @ ~@@N @ @z@ @ @ D* N @ @ @ @ £@ @ @ @ B b@@ @ @ @ @ @ @ CN P @ @ @ @ £@ @ @ @ @Q @ @ @ N @ @ @ @ JO $O É@@ @ @ @ @ @+N *v@@ @ @ @ @ @ @ @ @ @ @ @<N&°* fN @ @ @ @-N b@@ @ @ @ @ @ @~@@N @ @ 7 S (bP @ @ @ @ @ @ @ @ @ @ @ @ AN $O b@@ @ @ @ E P %b@ @ @ @ @ @ @ @ @N @ @ @ @ @ @ @ @ DP P4b@@ @ @ @ @ @ @ @ @ @ D* ¯ b@@ @ @ @ @ @ @AN $O b@@ @ @ @ @ N @ @ @D* P 5Px@ @ @ @ @ @ @ @ @D* ¯ Ov@ @ @ @ Jy@@ @ @ JN @N @ @ @z@ @ @ £@ @ @ DN HN $O b@@ @ @ @ @ @ @14N °HN @N @ @ @ £@ @ @ @ N @ @ @ @ <N @@ @L @ @ @ 6'¡@ @ @ @ @ @+O °HN $O *¡@@ @ @ ~@@N @ @ 6 b@@ @ @ £@ @ @ @FvO @ @ @ @D* @O @ @ @ @ @ DP b@@ @ @ @ @ EHN Nh@@ @ @ @ @ FN&b@ @ @ @ @ @AN $O b@@ @ @ @ @ @ ~@@N @ @6 °HN P @ @ @ @£@ @ @ @ @ @ @ @-N @@ @ @ @ @L @ @ @ @ @ @ 94N&* É@@ @ @ @ @ AN $O b@@ @~@ @ }@ @ N @ @ D* N b@@ @ @~@ @ @ 9 b@@ @~@ @ }@ @ N @ @ D* N yN @ @ @ @ @ @ @ FN *3(*P $O *HNv@ @ @ @ @ @ @ @ @ D* Pi¡@@ @ @ @ @ @ @ @ @N ´* @P @ @ @ @ @ @ <N ¤@@ @ @ @ @ @ @ @JO b@@ @ @ @ @ @ AN ‫ أي اﻟﺨﻠﻖ‬،‫ اﳌﻔﺮد اﻟﱪ ّﻳﺔ‬/‫( اﻟﱪاﻳﺎ‬3) ‫ أي اﳌﻮت‬،‫ اﳌﻔﺮد اﳌﻨﻴﺔ‬:‫( اﳌﻨﺎﻳﺎ‬4)

91

baytelshear ‫اﻟﺸﻌﺮ‬ ِ ‫ﺑﻴﺖ‬

$O b@@ @ ~@ @ @ {@ @ @ -N b@@ @ @ @E O @ @ @ @ N @ @ @ @ @ @ @ @-N N b@@ @ @ @ @ @ @ @ @ @ @ @ @ @JQ N&°* P 2N ·b@@ @ @£@ @ @ N @ @ @ D* Pf@ @ @ @ @ @ @ .N 2P b@@ @ @ @ @ @ @²P 1 yN @ @ @ @ @ @ @ @ @ @ ©N °HN K*v@@ @ @ @ / N 2 P *¡@@ @ @ @ @ @ @ @ @ GN&°* ¢@@ @ @ @ <N É@K @ @ @ @ @ @/O 4N @@ @ @ @ @CO HN 3 N O @ @ @ @ @ @ @CN P(*HN bJ*ÄD* N ¯ @N @ @ @+O ¡@@ @ @£@ @ @ <O iÈ@ Md@@ @ £@ @ @<N @T @ @ @ @ O @ @ @ @ @AN P$b@@ @ @s@ @ @ ~@@N @ @z@ @ @ Db@@ @ @+P Æ@S @ @ @ ~@@N @ @ z@ @ @ @-N °K Q 3O @T @ @ @ @ @ @ @ BN ¥2b@@ @ @ @ @ @ @ <N&É@ @ @ @ @ @ @ @DP Px@ @ @ @ @ @ @ @-O °HN M @@ @£@ @ s@ @ +N @@ @ @ @ PE fN @ @ @0b@ N @ @ @ @ @~@@N @ z@ @ @D* oO x@@ @ @ @ @ @ -N °HN ÁN&b@ @ @ @ gN @ @ @ @ D* O @ @ ~@@O @|@ @ P @ @ @ @ JO @N @ @ z@ @ £@ @ DN @N @ @ @ @ @ @ @ @ @ @BO 5P4HN L @ @ @ @ @ @ @ @ @ 0O °HN 4L Hx@@ @ @ @ ~@@ @O @ @ 6 °HN O Hv@@ @ @ @ @ @ @ @ @ @ @JN y@ M ¡@@ @ @ @ @ @ @ BN Md@@ @ @ @ @ @ @ @ @BN *3 Nh@@ @ @ @ @ @ @ @ @CO b@@ @ @ @ E *3P(* 4 bJb N´* P @ @ @ gP @ @ @ 0b@ N @ @ ~@ @ @ z@ @ @ +P h@@ @ @ @ DN yN @ @ @ @ @FN @@ @ @ @ @ @ @EN HN N @@ @ @ @ @ @ O@ @ @ @ @ @ @ @94N&*HN @@ @ @ @ P @ @ @ @ DN HN fL @ @ @ @ @ N @ @ @ @ @~@@ @P @ @ 6*H PÑ* Í@M @ @ @ @ P0 S @ @ @ @ @ @ @ CO 4O Pv@@ @ @ @ @ @ @ @ @ @ @ -N N b@@ @ @ @ @ @ @ @ @ @ @ @ @ @ JQ N&°* P 2N ‫ ﺗﻔﻘﺪ اﻟﺼﱪ ﻋﲆ ﻣﺎ أﺻﺎﺑﻚ‬:‫( ﺗﺠﺰع‬1) ‫ أي اﻟﻔﺰع‬،‫ ﻣﻔﺮد ﻫﻮل‬:‫( اﻷﻫﻮال‬2)

‫‪şĺĘŖŒ ŗŕ‬‬ ‫اﻟﺠﺰﻳﺮة اﻟﻌﺮﺑﻴﺔ‪ ،‬وارﺗﺒﻂ اﻛﺘﺸﺎﻓﻬﺎ ﺑﻘﺼﺺ‬ ‫وﺣﻜﺎﻳﺎت وأﺳﺎﻃري ﻣﺨﺘﻠﻔﺔ«‪.‬‬ ‫وﺣﻮل أﻧﻮاع اﻟﺪﻻل اﳌﺴﺘﺨﺪﻣﺔ ﰲ ﺗﺤﻀريﻫﺎ‬ ‫وﺗﻘﺪميﻬﺎ‪ ،‬ﻗــﺎل‪» :‬ﺗﻨﻘﺴﻢ اﻟــﺪﻻل ﺣﺴﺐ‬ ‫ﺧﻄﻮات إﻋﺪاد اﻟﻘﻬﻮة إﱃ ﺛﻼث دﻻل رﺋﻴﺴﺔ‪،‬‬ ‫وﻫﻲ »اﻟﺨﻤﺮة واﳌﻠﻜﻤﺔ واﳌﺰﻟﺔ«‪ ،‬ﺣﻴﺚ‬ ‫ﺗﺨﻤﺮ اﻟﻘﻬﻮة ﰲ »اﻟﺨﻤﺮة« وﻫﻲ ﻛﺒرية اﻟﺤﺠﻢ‬ ‫وﺗﻮﺿﻊ دامئﺎً ﻓﻮق اﻟﺠﻤﺮ ﻋﲆ »اﻟﻜﻮار« ﻣﻜﺎن‬ ‫ﺗﺤﻀري اﻟﻘﻬﻮة‪ ،‬وﻓﻴﻬﺎ اﳌﺎء اﻟﺴﺎﺧﻦ وﻣﺎ ﺗﺒﻘﻰ‬ ‫ﻣﻦ ﺑﻘﺎﻳﺎ اﻟﻬﻴﻞ واﻟنب‪ ،‬أﻣﺎ »اﳌﻠﻜﻤﺔ«‪ ،‬ﻓﻴﺘﻢ‬ ‫ﻓﻴﻬﺎ ﻏﲇ اﻟﻘﻬﻮة ﻣﻊ ﺟﺰء ﻣﻦ اﳌﺎء اﻟﺴﺎﺧﻦ‬ ‫اﳌﺼﻔﻰ ﻣﻦ »اﻟﺨﻤﺮة«‪ ،‬وأﺧرياً ﺗﻄﺒﺦ اﻟﻘﻬﻮة‬ ‫ﰲ د ّﻟﺔ أﺻﻐﺮ وﻫﻲ »اﳌﺰﻟﺔ«‪ ،‬ﺣﻴﺚ ﻳﺼﺐ ﻓﻴﻬﺎ‬ ‫ﺻﺎﰲ اﻟﻘﻬﻮة وﻳﻀﺎف ﻟﻬﺎ اﻟﻬﻴﻞ أو اﻟﺰﻋﻔﺮان‪،‬‬ ‫وﻣﻦ ﺛﻢ ﺗﺼﺒﺢ ﺟﺎﻫﺰة ﻟﻠﻀﻴﻮف«‪.‬‬ ‫وﻟﺼﻮت دق اﻟﻘﻬﻮة وﺳﺤﻘﻬﺎ ﻳﺪوﻳﺎً دﻻﻟﺔ‬ ‫رﻣﺰﻳﺔ ﻣﺘﻌﺎرف ﻋﻠﻴﻬﺎ ﻋﻨﺪ اﻟﻨﺎس ﻗﺪميﺎً‪،‬‬ ‫ﻓﻌﻨﺪﻣﺎ ﻛﺎن ﺻﺎﻧﻌﻬﺎ ﻳﺪﻗﻬﺎ ﺑﺎﻟﻬﺎون‪ ،‬ﻳﺠﺘﻤﻊ‬ ‫اﻟﻨﺎس ﰲ اﳌﻨﺰل اﻟﻜﺒري اﺳﺘﻌﺪاداً ﻟﴩﺑﻬﺎ‬ ‫وﺗﺒﺎدل اﻷﺣﺎدﻳﺚ ﺑني أﻫﻞ اﻟﺤﻲ‪ ،‬ﻓﻼ ﻳﺨﻠﻮ‬

‫‪90‬‬

‫اﻟﻌﺪد ‪ ، 71‬أﻛﺘﻮﺑﺮ ‪2018‬‬

‫ﻣﺠﻠﺲ ﻣﻨﻬﺎ وﺣﺘﻰ اﻟﻴﻮم ﻻ ﺗﺰال اﻟﻘﻬﻮة‬ ‫ﺗﺠﻤﻊ اﻟﻨﺎس ﻣﻊ ﺑﻌﻀﻬﻢ ﺑﻌﻀﺎً ﰲ أﺟﻮاء ﺗﻠﻔﻬﺎ‬ ‫اﻷﻟﻔﺔ واﻻﻧﺴﺠﺎم‪.‬‬ ‫‪ōǤǘǿƃǂũ ŜŌƂŔ‬‬

‫وﻋﻦ آداب ﺗﻘﺪميﻬﺎ‪ ،‬ﻓﻴﻘﺎل ﻗﺪميﺎً »اﻟﻘﻬﻮة‬ ‫ﺑﻨﺖ ﺣﻤﺼﺘﻬﺎ«‪ ،‬وﻫــﺬا ﻳﻌﻨﻲ ﻛﻠام ﻛﺎﻧﺖ‬ ‫ﻃﺎزﺟﺔ وﻣﻄﺒﻮﺧﺔ ﺑﺎﻟﻄﺮﻳﻘﺔ اﳌﻨﺎﺳﺒﺔ وﺑﺪرﺟﺔ‬ ‫ﺗﺤﻤﻴﺺ ﻣﻌﻴﻨﺔ ﺗﻜﻮن اﻟﻨﺘﻴﺠﺔ راﺋﻌﺔ‪ ،‬وﻣﻦ‬ ‫اﳌﻬﻢ اﻟﺘﺄﻛﺪ ﻣﻦ ﺗﺤﻤﻴﺼﻬﺎ ﻋﲆ اﻟﻨﺎر ﺑﺸﻜﻞ‬ ‫ﻣﺘﺠﺎﻧﺲ‪ ،‬ﻓﺤﺒﺔ واﺣﺪة ﻏري ﻧﺎﺿﺠﺔ ﺗﺆﺛﺮ ﰲ‬ ‫ﻃﻌﻤﻬﺎ‪ ،‬ومتﻴﺰت ﺑﺂداب ﺣﻔﺮت ﰲ اﻷذﻫﺎن ومل‬ ‫ﻳﻐريﻫﺎ اﻟﺰﻣﻦ وﻣﺎ ﻣﻦ ﺗﻬﺎون ﻓﻴﻬﺎ ﻛﺄن ﺗﻘﺪم‬ ‫ﰲ دﻟﺔ ﻧﺤﺎﺳﻴﺔ‪ ،‬وﻳﻘﺪﻣﻬﺎ اﳌﻘﻬﻮي وﻫﻮ واﻗﻒ‬ ‫وﻳﺒﺪأ ﻣﻦ اﻟﻀﻴﻒ اﻟﻜﺒري ﻣﺮوراً ﺑﺎﻵﺧﺮﻳﻦ‪،‬‬ ‫ﻛام ﻻﺑﺪ أن متﺴﻚ اﻟﺪﻟﺔ ﺑﺎﻟﻴﺴﺎر وﻳﻘﺪم‬ ‫اﻟﻔﻨﺠﺎن ﺑﺎﻟﻴﺪ اﻟﻴﻤﻨﻰ‪ ،‬ﻋﲆ أن ميﺴﻚ اﻟﻔﻨﺠﺎن‬ ‫ﻣﻦ اﻷﺳﻔﻞ ﻋﻨﺪ اﻟﺘﻘﺪﻳﻢ‪ ،‬وﺗﻮﺿﻊ ﻓﻴﻪ ﻛﻤﻴﺔ‬ ‫ﻗﻠﻴﻠﺔ ﻣﻦ اﻟﻘﻬﻮة رﺷﻔﺔ أو رﺷﻔﺘني‪ ،‬وﻳﺴﺘﻤﺮ‬ ‫اﳌﻘﻬﻮي ﺑﺼﺐ اﻟﻘﻬﻮة إﱃ أن ﻳﻬﺰ اﻟﻀﻴﻒ‬ ‫اﻟﻔﻨﺠﺎن‪ ،‬وﻫﺬا ﻳﻌﻨﻲ أﻧﻪ اﻛﺘﻔﻰ وﻳﻨﺘﻘﻞ إﱃ‬ ‫اﻟﺬي ﻳﻠﻴﻪ‪ ،‬وإن ﻓﻌﻞ اﻟﻌﻜﺲ ﻳﻌﺪ ﻫﺬا‬ ‫ﻋﻴﺒﺎً ﻳﺨﺎﻟﻒ اﻟﻌﺎدات واﻟﺘﻘﺎﻟﻴﺪ اﻟﻌﺮﺑﻴﺔ‬ ‫اﻹﻣﺎراﺗﻴﺔ‪.‬‬ ‫وﻻ ﺗﻘﺘﴫ ﻣﻜﺎﻧﺘﻬﺎ ﻋﲆ اﻟﻀﻴﺎﻓﺔ ﺑﻞ‬ ‫ﻟﻬﺎ ﻣﻌﺎن ﻛﺜرية ارﺗﺒﻂ ﺑﻬﺎ أﻫﻞ اﻟﺒﺎدﻳﺔ‪،‬‬ ‫وﻳﺮددﻫﺎ اﻟﻨﺎس ﺑني ﻋﺒﺎراﺗﻬﻢ ﻛﺈﺷﺎرة‬ ‫إﱃ اﻟـﱰاﴈ واﻟﻘﺒﻮل ﺑني اﻷﻓـﺮاد‪،‬‬

‫ﺣﻴﺚ ﻛﺎﻧﺖ ﺗﺴﻬﻞ اﻟﺼﻠﺢ واﻟــﺴــﻼم ﺑني‬ ‫اﳌﺘﺨﺎﺻﻤني‪ ،‬وﺑني اﻟﻘﺒﺎﺋﻞ وﻳﻘﺎل ﻻ أﴍب‬ ‫ﻗﻬﻮﺗﻚ ﻣﻦ دون أن ﺗﻠﺒﻲ ﱄ ﻃﻠﺒﻲ‪ ،‬أو أن‬ ‫ﺗﺴﺎﻣﺢ ﻓﻼﻧﺎً‪ ،‬وﻣﺎ ﺷﺎﺑﻪ ذﻟﻚ ﻣﻦ أﻣﻮر ﻳﻜرث‬ ‫ﻓﻴﻬﺎ اﻟﺨﺼﺎم واﳌﺸﻜﻼت ﺑني أﻓﺮاد اﻟﻘﺒﻴﻠﺔ‪،‬‬ ‫وﺑﺬﻟﻚ ﻛﺎﻧﺖ اﻟﻘﻬﻮة ﺗﺠﻤﻊ اﳌﺘﺤﺎﺑني«‪.‬‬ ‫ومل ﺗﻔﺎرق اﻟﻘﻬﻮة ﺣﻴﺎة اﻷوﻟــني ﰲ ﺣﻠﻬﻢ‬ ‫وﺗﺮﺣﺎﻟﻬﻢ‪ ،‬ﻓﻬﻲ ﻣﺮﺗﺒﻄﺔ ﺑﺘﻔﺎﺻﻴﻞ اﻟﺤﻴﺎة‬ ‫وﻛرثة ﺗﻨﻘﻼت اﻟﻨﺎس ﰲ اﳌﺎﴈ‪ ،‬وﺑﺎﻟﺮﻏﻢ ﻣﻦ‬ ‫ﻫﺬا ﻓﻜﺎن ﻟﻬﺎ ﻃﺮق ﺧﺎﺻﺔ ﺑﺎﻟﺘﺤﻀري وﻃﻘﻮس‬ ‫ﻣﻴﺰت أﻫﻞ اﻹﻣﺎرات‪ ،‬ﻋﻦ ﻏريﻫﻢ ﻣﻦ اﳌﻨﺎﻃﻖ‬ ‫اﻟﻌﺮﺑﻴﺔ‪.‬‬ ‫‪ƈǷƢŨǕŌ Ɖƚƫ‬‬

‫ﻃــﺮأت ﺗﻐريات ﻛﺜرية ﻋﲆ ﺻﻨﺎﻋﺔ اﻟﻘﻬﻮة‬ ‫وﺧﺼﻮﺻﺎً ﺑﻌﺪ أن دﺧــﻞ ﻋــﴫ اﻟﺘﻄﻮر‪،‬‬ ‫ﺣﻴﺚ أﺻﺒﺤﺖ ﻫﻨﺎك ﻃﺮق ﻛﺜرية ﻟﺼﻨﺎﻋﺘﻬﺎ‬ ‫وﺑﻨﻜﻬﺎت ﻣﺨﺘﻠﻔﺔ‪ ،‬ﻓﻘﺪ اﺳﺘﺒﺪﻟﺖ أدوات‬ ‫اﻟﺘﺤﻤﻴﺺ »اﻟﺘﺎوه واﳌﺤامس« ﺑﺎﳌﺤﻤﺼﺔ‬ ‫اﻟﻜﻬﺮﺑﺎﺋﻴﺔ ذات اﻷﺷﻜﺎل اﳌﺘﻨﻮﻋﺔ واﻟﺘﻘﻨﻴﺎت‬ ‫اﳌﺨﺘﻠﻔﺔ‪ ،‬وﺣﻠﺖ اﳌﻄﺤﻨﺔ اﻟﻜﻬﺮﺑﺎﺋﻴﺔ اﻟﺘﻲ‬ ‫متﻨﺤﻚ اﻟﺤﺠﻢ اﳌﻄﻠﻮب ﻣﻦ ﻧﺎﻋﻢ وﺧﺸﻦ‬ ‫ﻟﺘﺄﺧﺬ دور »اﻟــﻬــﺎون«‪ ،‬وﺑﺮﻏﻢ ﻛﻞ ذﻟﻚ‬ ‫ﺗﺒﻘﻰ ﺻﻨﺎﻋﺔ اﻟﻘﻬﻮة ﻳﺪوﻳﺎً ﺑﻮاﺳﻄﺔ اﻷدوات‬ ‫اﻟﻘﺪميﺔ ﻟﻬﺎ ﻃﺎﺑﻌﻬﺎ وﻣﺬاﻗﻬﺎ اﻟﺨﺎص‪ ،‬ﺣﻴﺚ‬ ‫ﻳﺴﺘﻤﺘﻊ اﻟﺸﺨﺺ ﺑﺮاﺋﺤﺔ اﻟنب اﳌﻄﻌﻢ ﺑﺎﻟﻬﻴﻞ‬ ‫واﻟﺰﻋﻔﺮان وﻫﻲ ﺗﻔﻮح ﺑﺄرﺟﺎء اﳌﻜﺎن ﻋﻨﺪ‬ ‫إﻋﺪاد اﻟﻘﻬﻮة اﻟﻌﺮﺑﻴﺔ‪.‬‬

‫‪ DzǷǤǂǕŌ ǒŌƋũ ȍ ǖǷǾǕŌ ǻŨŽ‬‬ ‫‪ ǗǤƞƪş ƩǙ ƐōǜǕŌ ƩǘŴũ‬‬ ‫‪ɰ‬‬ ‫‪ ōǤƲǔũ ŋŌǷŵŐ ǽƳ ōƞƪş‬‬ ‫‪ǖōŴƒǝȍŌǶ dzƲǕȏŌ‬‬

‫‪ dzǕƃǕŌ LJƒǘũ ǚŐ ƃşȍ‬‬ ‫‪ ǚōŴǜƲǕŌ ǖƃǂǿǶ ƈōƒǾǕōş‬‬ ‫‪ ǚŐ ǻǔƫ ɐǻǜǘǾǕŌ ƃǾǕōş‬‬ ‫‪ ǛǙ ǚōŴǜƲǕŌ LJƒǘǿ‬‬ ‫‪ ɐǗǿƃǂŨǕŌ ƃǜƫ ǓƲƓȏŌ‬‬ ‫‪ dzǔǾǔǃ dzǾǘlj ǣǾƳ ƩƟǷũǶ‬‬ ‫‪ ǶŐ dzƲƗƈ DzǷǤǂǕŌ ǛǙ‬‬ ‫‪ǛǾŨƲƗƈ‬‬ ‫‪ ŻǔƚǕŌ ǓǤƒũ ŧǝōlj‬‬ ‫‪ ɐǛǾǘƛōƀŨǘǕŌ ǛǾş ǖȎƒǕŌǶ‬‬ ‫‪ ȍ ǒōǂǿǶ ǓȃōŞǂǕŌ ǛǾşǶ‬‬ ‫‪ ǚŐ ǚǶƂ ǛǙ LJũǷǤǃ ŜƉƗŐ‬‬ ‫‪ǽŞǔƣ ǽǕ ǽŞǔũ‬‬ ‫‪dzǿƃǾǔǂũ ǀƉƣ‬‬

‫وﻣﻦ اﻷﻓﻀﻞ أن ﻳﺘﻢ ﺗﺤﻀري اﻟﻘﻬﻮة اﻟﻌﺮﺑﻴﺔ‬ ‫ﺑﺎﻟﻄﺮق اﻟﺘﻘﻠﻴﺪﻳﺔ اﻟﻘﺪميﺔ‪ ،‬ﺣﻴﺚ ﻳﺘﻢ ﺗﺤﻤﻴﺺ‬ ‫ﺣﺒﺎت اﻟنب ﺑﺎﺳﺘﺨﺪام »اﻟﺘﺎوه« اﳌﺼﻨﻮع ﻣﻦ‬ ‫اﻟﺤﺪﻳﺪ أو اﻟﻨﺤﺎس ذي اﻟﺤﺠﻢ اﳌﺘﻮﺳﻂ‬ ‫واﻟﺬي ﻳﺸﺒﻪ اﳌﻘﻼة‪ ،‬وﻟﻜﻦ ﻟﻪ ﻳﺪ ﻳﺼﻞ ﻃﻮﻟﻬﺎ‬ ‫إﱃ ﻧﺤﻮ ‪ 100‬ﺳﻨﺘﻴﻤﱰ‪ ،‬وﺗﻘﻠﺐ ﺣﺒﻮب اﻟنب‬ ‫ﺑﺎﺳﺘﺨﺪام »اﳌﺤامس« وﻫﻮ ﻋﺒﺎرة ﻋﻦ ﻗﻄﻌﺔ‬ ‫ﻃﻮﻳﻠﺔ ﻣﻦ اﻟﺤﺪﻳﺪ أو اﻟﻨﺤﺎس ﺗﺸﺒﻪ اﳌﻠﻌﻘﺔ‬ ‫»اﻟﺨﺎﺷﻮﻗﺔ«‪ ،‬وﻟﻜﻦ ﻟﻬﺎ ﻳﺪ ﻃﻮﻳﻠﺔ ﺑﻄﻮل‬ ‫ﻳﺪ »اﻟﺘﺎوه«‪ ،‬وﻣﻦ ﺛﻢ ﻳﺘﻢ ﻃﺤﻦ اﻟنب ﺑﻌﺪ‬ ‫ﺗﺤﻤﻴﺼﻪ ﻣﻦ ﺧﻼل وﺿﻌﻪ ﰲ اﳌﻨﺤﺎز أو ﻣﺎ‬ ‫ﻳﻌﺮف ب»اﻟﻬﺎون« واﻟﺬي ﻳﺼﻨﻊ ﻋﺎدة ﻣﻦ‬ ‫اﻟﺨﺸﺐ أو اﻟﺤﺪﻳﺪ أو اﻟﻨﺤﺎس‪.‬‬ ‫واﻟﻘﻬﻮة ﻻ ﺗﺰال ﺣﺘﻰ وﻗﺘﻨﺎ ﻫﺬا‪ ،‬رﻓﻴﻘﺔ اﻟﻌﺮب‬ ‫اﻟﺪاﺋﻢ وزوادﺗﻬﻢ اﻟﺘﻲ ﻻ ﺗﻔﺎرق ﻣﺠﺎﻟﺴﻬﻢ أو‬ ‫ﺣﺘﻰ رﺣﻼت ﺗﻨﻘﻠﻬﻢ ﰲ اﻟﱪ واﻟﺒﺤﺮ‪ ،‬ﻓﻜﺎﻧﺖ‬

‫اﻟﻘﻬﻮة اﻟﻌﺮﺑﻴﺔ وﻻ زاﻟﺖ أﺳﻠﻮب ﺿﻴﺎﻓﺔ أﺻﻴ ًﻼ‬ ‫ﻟﺪى أﺑﻨﺎء اﻹﻣﺎرات‪ ،‬وﻟﻄﺎﳌﺎ ارﺗﺒﻄﺖ مبﻨﺎﺳﺒﺎت‬ ‫ﻛﺜرية ﰲ ﻣﺠﺘﻤﻌﻨﺎ‪ ،‬ﻣﺜﻞ ﻣﻮاﺋﺪ اﻷﻋﻴﺎد ووﺟﺒﺔ‬ ‫اﻹﻓﻄﺎر ﻛﻞ ﺻﺒﺎح‪.‬‬ ‫وﺗﻌﺘﱪ اﻟﻘﻬﻮة اﻹﻣﺎراﺗﻴﺔ ﻣﻦ أﺳﺎﺳﻴﺎت‬ ‫اﻟﻀﻴﺎﻓﺔ ورﻣﺰاً ﻟﻠﻜﺮم وﺣﺴﻦ اﻻﺳﺘﻘﺒﺎل‪ ،‬ﻓﻼ‬ ‫ﻳﻮﺟﺪ زاﺋﺮ أو ﺿﻴﻒ إﻻ وﻳﺘﻢ ﺗﻘﺪﻳﻢ اﻟﻘﻬﻮة‬ ‫ﻟﻪ‪ ،‬وﺗﺨﺘﻠﻒ اﻟﻘﻬﻮة ﺑﺄﻟﻮاﻧﻬﺎ وأﻧﻮاﻋﻬﺎ وﻣﺬاﻗﻬﺎ‬ ‫ﻣﻦ ﺑﻠﺪ اﱃ آﺧــﺮ‪ ،‬ﻣﺜﻞ اﻟﻘﻬﻮة اﻟﺼﻔﺮاء‪،‬‬ ‫واﻟﻘﻬﻮة اﻟﺤﻤﺮاء‪ ،‬وﻫﻨﺎك ﻧﻮع ﻳﻘﱰب ﻟﻮﻧﻪ‬ ‫ﻣﻦ اﻟﻐﺎﻣﻖ إﱃ اﻷﺳﻮد‪.‬‬ ‫وﻋﻦ ﻃﺮﻳﻘﺔ إﻋﺪاد اﻟﻘﻬﻮة‪ ،‬ﻓﻬﻲ ﺗﺤﺘﺎج إﱃ‬ ‫ﻣﺎء ﻣﻘﺪار اﻟﺪﻟﺔ اﳌﺨﺼﺼﺔ ﻹﻋﺪادﻫﺎ‪ ،‬ﻣﻊ‬ ‫ﻓﻨﺠﺎن وﻧﺼﻒ ﺗﻘﺮﻳﺒﺎً ﻣﻦ ﻣﺴﺤﻮق اﻟﻘﻬﻮة‬ ‫ﺳﻮاء ﻛﺎن ﻣﻄﺤﻮﻧﺎً أو ﺧﺸﻨﺎً‪ ،‬إﺿﺎﻓﺔ إﱃ ﻗﻠﻴﻞ‬ ‫ﻣﻦ ﺧﻴﻮط اﻟﺰﻋﻔﺮان‪ ،‬وﻣﻠﻌﻘﺔ ﺻﻐرية ﻫﻴﻞ‪،‬‬ ‫وﻣﻘﺪار ‪ 0.5‬ﻓﻨﺠﺎن ﻣﺎء ورد‪ ،‬ﺛﻢ ﻳﻮﺿﻊ إﺑﺮﻳﻖ‬

‫اﻟﻘﻬﻮة ﻋﲆ اﻟﻨﺎر وﻧﻀﻴﻒ ﻟﻪ اﳌﺎء‪ ،‬وﻋﻨﺪ ﺑﺪء‬ ‫اﻟﻐﻠﻴﺎن ﻧﻀﻴﻒ ﻟﻪ ﻓﻨﺠﺎن اﻟنب‪ ،‬وﻳﱰك ﻟﻴﻐﲇ‬ ‫دﻗﺎﺋﻖ ﺛﻢ ﻧﺨﻔﺾ ﺣﺮارة اﻟﻐﺎز وﻳﱰك ﻋﲆ‬ ‫ﻧﺎر ﻫﺎدﺋﺔ ﳌﺪة ‪ 5‬دﻗﺎﺋﻖ‪ ،‬وﺑﻌﺪ إﻃﻔﺎء اﻟﻨﺎر‬ ‫ﻧﱰك اﻹﺑﺮﻳﻖ ‪ 3‬دﻗﺎﺋﻖ ﻟﻴﻬﺪأ‪ ،‬ﺛﻢ ﻧﺼﺒﻪ ﺑﺎﻟﺪﻟﺔ‪،‬‬ ‫واﻟﺘﻲ ﻳﻜﻮن ﰲ ﻗﺎﻋﻬﺎ ﻧﺼﻒ ﻓﻨﺠﺎن ﻣﺎء ورد‬ ‫وﻫﻴﻞ وﺧﻴﻮط ﻣﻦ اﻟﺰﻋﻔﺮان اﻷﺻﲇ‪.‬‬ ‫‪DzǷǤǂǕŌ DzőƖǝ‬‬

‫وﻋﻦ أﺳﺎس ﻧﺸﺄة اﻟﻘﻬﻮة وارﺗﺒﺎﻃﻬﺎ ﺑﺄﺣﺎدﻳﺚ‬ ‫اﻷوﻟــني‪ ،‬ﺣﺴﺒام ﻗﺎل ﻋﺒﺪاﻟﻠﻪ ﺑﻦ ﺧﺪوم‪،‬‬ ‫اﻟﺒﺎﺣﺚ ﰲ اﻟﱰاث اﻹﻣﺎرايت »ﺗﺒﺎرى اﻟﺸﻌﺮاء‬ ‫ﰲ وﺻﻔﻬﺎ ﻓﻬﻲ ﺗﺸﻜﻞ رﻣﺰ اﻟﻜﺮم اﻟﻌﺮيب‪ ،‬ﻛام‬ ‫ﺗﺮىب أﻫﻞ اﻟﺒﺎدﻳﺔ ﰲ ﺣﻴﺎﺗﻬﻢ اﻟﻘﺪميﺔ ﻋﻠﻴﻬﺎ‬ ‫ﺣﻴﺚ ﻛﺎﻧﺖ ﺗﺴﺘﻬﻮي اﻟﻨﺎس وﺗﺠﻤﻌﻬﻢ ﻋﲆ‬ ‫ﴍﺑﻬﺎ ﻣﻊ ﴎ اﻷﺣﺎدﻳﺚ واﻷﺧﺒﺎر‪ ،‬وﻫﻲ ﰲ‬ ‫اﻷﺳﺎس ﻧﺸﺄت ﰲ اﻟﻴﻤﻦ واﻧﺘﻘﻠﺖ إﱃ أﻧﺤﺎء‬ ‫اﻟﺸﻌﺮ ‪baytelshear‬‬ ‫ﺑﻴﺖ ِ‬

‫‪89‬‬

‫‪şĺĘŖŒ ŗŕ‬‬

‫اﻟﻘﻬﻮة اﻟﻌﺮﺑﻴﺔ‪..‬‬

‫‪dzǾũŌƈōǙȑŌ dzƳōǾƞǕŌǶ ǖƉLjǕŌ ƋǙƈ‬‬ ‫ﻣﺤﻤﺪ ﺳﻠﻄﺎن‬

‫ﺗﻌﻜﺲ ﻃﻘﻮس إﻋﺪاد وﴍب اﻟﻘﻬﻮة اﻟﻌﺮﺑﻴﺔ واﺣﺪاً‬ ‫ﻣﻦ أﻫﻢ ﻣﻼﻣﺢ اﻟﻬﻮﻳﺔ اﻹﻣﺎراﺗﻴﺔ اﻟﺘﻲ ﺗﺘﻮارﺛﻬﺎ‬ ‫اﻷﺟﻴﺎل ﻋﱪ اﻟﺰﻣﻦ‪ ،‬ﺑﺮاﺋﺤﺘﻬﺎ اﻟﺰﻛﻴﺔ اﳌﻤﺰوﺟﺔ‬ ‫ﻣﻊ راﺋﺤﺔ اﻟﺤﻄﺐ واﻟﺒﺨﻮر‪ .‬وﻳﺴﻤﻰ اﻟﺮﻛﻦ‬ ‫اﳌﺨﺼﺺ ﻹﻋﺪاد اﻟﻘﻬﻮة ﺑـ»اﻟﻘﻨﺎد«‪ ،‬ﺣﻴﺚ ﻳﺘﻢ‬ ‫ﻏﻠﻴﻬﺎ وﺗﻘﺪميﻬﺎ ﻟﻠﻀﻴﻮف ﻣﻊ ﺣﺒﺎت اﻟﺘﻤﺮ واﻟﺮﻃﺐ‬ ‫واﻟﺨﺒﻴﺺ وﺑﻌﺾ أﻧﻮاع اﻟﺤﻠﻮى اﻹﻣﺎراﺗﻴﺔ‪.‬‬ ‫و»اﻟﻘﻨﺎد« ﻛﻠﻤﺔ إﻣﺎراﺗﻴﺔ ﻗﺪميﺔ ﺗﻄﻠﻖ ﻋﲆ‬ ‫اﻹﺿﺎﻓﺎت اﻟﺘﻲ ﻳﺘﻢ ﻣﺰﺟﻬﺎ ﺑﺎﻟﻘﻬﻮة اﻟﻌﺮﺑﻴﺔ‪ ،‬واﻟﺘﻲ‬ ‫متﻨﺤﻬﺎ اﳌﺬاق اﻟﺠﻤﻴﻞ واﳌﻤﻴﺰ‪ ،‬وﻫﻮ ﻣﺘﻨﻮع وﻣﻨﻪ‬ ‫اﻟﻬﻴﻞ‪ ،‬واﻟﺰﻋﻔﺮان‪ ،‬واﻟﻘﺮﻧﻔﻞ وﻏريﻫﺎ‪ ،‬وميﻜﻦ ُﳌﻌﺪ‬ ‫اﻟﻘﻬﻮة أن ﻳﻀﻊ ﺑﻌﺾ ﻫﺬا اﻟﺠﻨﺎد ﻣﻤﺘﺰﺟﺎً ﻣﻊ‬ ‫ﺑﻌﻀﻪ‪ ،‬أو ﻳﻀﻌﻪ ﻣﻨﻔﺼ ًﻼ ﰲ اﻟﺪﻟﺔ‪ ،‬ﺑﺤﺴﺐ اﳌﺬاق‬ ‫اﻟﺬي ﻳﻔﻀﻠﻪ ﺷﺎرب اﻟﻘﻬﻮة‪ ،‬إﻻ أن ﻫﻨﺎك ارﺗﺒﺎﻃﺎً‬ ‫وﺛﻴﻘﺎً ﺑني ﺗﻨﺎول اﻟﻘﻬﻮة اﻟﻌﺮﺑﻴﺔ و»اﻟﺘﻤﺮ«‪ ،‬واﻟﺬي‬ ‫ﻻ ميﻜﻦ أن ﻳﺴﺘﻐﻨﻲ ﻋﻨﻪ أي ﺷﺎرب ﻟﻠﻘﻬﻮة‪.‬‬

‫‪88‬‬

‫اﻟﻌﺪد ‪ ، 71‬أﻛﺘﻮﺑﺮ ‪2018‬‬

‫اﻵﻧﻴﺔ ﻣﻊ إﺑﻘﺎء ﺟﻮﻫﺮﻫﺎ‪ ،‬وﻟﻬﺬا ﻛﺎن ﻳﺮى ﰲ‬ ‫اﻟﻘﻮاﻧني اﻟﻘﺪميﺔ واﻷدﻳﺎن أﺳﺎﺳﺎً ﻷي ﻋﺪاﻟﺔ أو‬ ‫ﻗﺎﻧﻮن ﺑﴩي‪ .‬وﻫﻮ ﻣﺎ ﻳﻔﴪ أﻧﻪ ﻋﺎش ﻣﺪاﻓﻌﺎً‬ ‫وﺷﺎرﺣﺎً ﻋﻦ اﻹﺳﻼم دﻳﺎﻧﺔ وﺗﺎرﻳﺨﺎً وﻗﺎﻧﻮﻧﺎً‪،‬‬ ‫وأﻧﻪ أﺧﺬ ﻋﲆ ﻋﺎﺗﻘﻪ ﴍح وﺗﻮﺿﻴﺢ ﻣﺎ ﻗﺪ‬ ‫ﻳﺮى ﻓﻴﻪ ﻣﻦ ﺛﻐﺮات وﻣﻦ ذﻟﻚ ﻗﻮﻟﻪ‪" :‬إن‬ ‫اﳌﺴﺘﻮى اﻷﺧﻼﻗﻲ اﻟﺮﻓﻴﻊ اﻟﺬي ﻳﺴﻢ اﻟﺠﺎﻧﺐ‬ ‫اﻷﻛﱪ ﻣﻦ اﻟﴩﻳﻌﺔ اﻹﺳﻼﻣﻴﺔ ﻗﺪ ﻋﻤﻞ ﻋﲆ‬ ‫ﺗﻄﻮﻳﺮ وﺗﺮﻗﻴﺔ ﻣﻔﺎﻫﻴﻤﻨﺎ اﻟﻌﴫﻳﺔ وﻫﻨﺎ ﻳﻜﻤﻦ‬ ‫ﻓﻀﻞ ﻫﺬه اﻟﴩﻳﻌﺔ اﻟﺒﺎﻗﻴﺔ ﻋﲆ ﻣﺮ اﻟﺪﻫﻮر‪،‬‬ ‫ﻓﺎﻟﴩﻳﻌﺔ اﻹﺳﻼﻣﻴﺔ أﻟﻐﺖ اﻟﻘﻴﻮد اﻟﺼﺎرﻣﺔ‬ ‫واﳌﺤﺮﻣﺎت اﳌﺨﺘﻠﻔﺔ اﻟﺘﻲ ﻓﺮﺿﺘﻬﺎ اﻟﻴﻬﻮدﻳﺔ‬ ‫ﻋﲆ اﺗﺒﺎﻋﻬﺎ‪ ،‬وﻧﺴﺨﺖ اﻟﺮﻫﺒﺎﻧﻴﺔ اﳌﺴﻴﺤﻴﺔ‬ ‫وأﻋﻠﻨﺖ رﻏﺒﺘﻬﺎ اﻟﺼﺎدﻗﺔ ﰲ ﻣﺴﺎﻳﺮة اﻟﻄﺒﻴﻌﺔ‬ ‫اﻟﺒﴩﻳﺔ واﻟﻨﺰول إﱃ ﻣﺴﺘﻮاﻫﺎ‪ ،‬واﺳﺘﺠﺎﺑﺖ‬ ‫إﱃ ﺟﻤﻴﻊ ﺣﺎﺟﺎت اﻹﻧــﺴــﺎن اﻟﻌﻤﻠﻴﺔ ﰲ‬ ‫اﻟﺤﻴﺎة ﺗﻠﻚ ﻫﻲ اﳌﻴﺰات اﻟﺘﻲ ﺗﺘﺴﻢ اﻟﴩﻳﻌﺔ‬ ‫اﻹﺳﻼﻣﻴﺔ ﰲ ﻛﺒﺪ ﺣﻘﻴﻘﺘﻬﺎ وﻧﺠﺮؤ ﻋﲆ وﺿﻌﻬﺎ‬ ‫ﰲ أرﻓﻊ ﻣﻜﺎن وﺗﻘﻠﻴﺪﻫﺎ ّ‬ ‫أﺟﻞ ﻣﺪﻳﺢ ﻋﻠامء‬ ‫اﻟﻘﺎﻧﻮن وﻫﻮ ﺧﻠﻴﻖ ﺑﻬﺎ"‪.‬‬ ‫‪ǣǕōǘƫŐǶ ǣũōƓŌƈƂ‬‬

‫ﺑﻌﺪ ﻋﻮدﺗﻪ ﻟﺘﻮﻧﺲ ﺿﻤﻦ ﻟﺠﻨ ٍﺔ ﻓﺮﻧﺴﻴ ٍﺔ ﻟﻮﺿﻊ‬ ‫ﻗﺎﻧﻮن ﺗﻮﻧﺲ ﺗﺤﺖ اﻻﺣﺘﻼل اﻟﻔﺮﻧﴘ‪1881‬م‪،‬‬ ‫ﺗﻮﱃ دﻳﻔﻴﺪ ﻣﻘﺎرﺑﺔ اﻟﺪﻳﻦ ﻣﻊ اﻟﻘﺎﻧﻮن ووﺿﻊ‬

‫ﻣﺎ ﻳﺠﺐ أن ﻳﻜﻮن ﻟﻠﺘﻮﻧﺴﻴني ﻣﻦ ﻋﻼﻗﺎت‬ ‫ﴍﻋﻴﺔ ﻗﺎﻧﻮﻧﻴﺔ ﺟﺪﻳﺪة‪ ،‬ﻣﺎ ﻧﺘﺞ ﻋﻨﻪ ﺑﻌﺪ ﻋﻤﻞ‬ ‫دام ﺛﻼث ﺳﻨﻮات ﻛﺘﺎب‪" :‬اﻟﻘﺎﻧﻮن اﳌﺪين‬ ‫واﻟﺘﺠﺎري اﻟﺘﻮﻧﴘ" واﳌﻜﻮن ﻣﻦ أﻟﻒ ﺻﻔﺤﺔ‪،‬‬ ‫واﻟــﺬي ﻣﺎ زال أﺣــﺪ اﳌﺮاﺟﻊ اﻷوﱃ ﺣﺘﻰ‬ ‫اﻟﻠﺤﻈﺔ ﻟﻘﺎﻧﻮن ﺗﻮﻧﺲ‪ .‬وﻳﺘﻀﻤﻦ اﻟﻜﺘﺎب‬ ‫‪ 2479‬ﻣﺎدة ﻗﺎم ﺳﺎﻧﺘﻴﻼ ﺑﺼﻴﺎﻏﺘﻬﺎ ﻣﻘﺎرﻧﺎً‬ ‫وﻣﻘﺎرﺑﺎً إﻳﺎﻫﺎ ﻣﻊ اﻟﻘﻮاﻧني اﻷوروﺑﻴﺔ اﻟﺤﺪﻳﺜﺔ‪،‬‬ ‫ﻣﺒﻴﻨﺎً ﻣﺼﺎدرﻫﺎ وﻣﻌﺪداً ﻣﺤﺎﺳﻨﻬﺎ وﻣﺜﺎﻟﺒﻬﺎ‪،‬‬ ‫وﻗﺪ ّ‬ ‫ﻣﺴﺘﻘﺺ‬ ‫ﺑﺎﺣﺚ‬ ‫ﺗﻜﺸﻒ ﻫﺬا اﻟﻌﻤﻞ ﻋﻦ ٍ‬ ‫ٍ‬ ‫دﻗﻴﻖ وﻋﺒﻘﺮي‪ .‬وﰲ ﻫﺬا اﻟﻌﻤﻞ ﻳﺴﺘﺨﻠﺺ‬ ‫دﻳﻔﻴﺪ ﻗﻮﻟﻪ‪" :‬ﻋﻨﺪﻣﺎ ﻳﻨﻔﺪ اﳌﺮء إﱃ دﻗﺎﺋﻖ‬ ‫اﻷﻣﻮر وﻋﻤﻘﻬﺎ وأﺻﻮﻟﻬﺎ‪ ،‬ﺳﻴﻨﺪﻫﺶ ﺣني ﻳﺮى‬ ‫اﻟﻨﻈﺎﺋﺮ اﻟﻮﺛﻴﻘﺔ ﺑني ﻛﺒﺎر اﻟﻔﻘﻬﺎء اﳌﺴﻠﻤني‬ ‫ﰲ اﳌﺪﻳﻨﺔ واﻟﻜﻮﻓﺔ وﻗﺮﻃﺒﺔ ﻣﻦ ﺟﻬﺔ‪ ،‬وﺑﻴﻨﻨﺎ‬ ‫ﻧﺤﻦ اﻷوروﺑﻴني ﻣﻦ ﺟﻬﺔ أﺧﺮى"‪.‬‬ ‫وإﱃ ﺟﺎﻧﺐ ﻋﻼﻗﺘﻪ اﻟﻌﻤﻴﻘﺔ ﺑﺎﻟﻔﻘﺔ اﻹﺳﻼﻣﻲ‪،‬‬ ‫واﳌﺎﻟيك ﺑﺎﻟﺬات‪ ،‬ﻓﻘﺪ ﻋﺮف ﻋﻨﻪ أﻧﻪ ﻛﺎن‬ ‫ﻣﻮﻟﻌﺎً ﺑــﺪراﺳــﺔ اﻟﺘﺼﻮف اﻹﺳــﻼﻣــﻲ‪ ،‬ﻛام‬ ‫ﻛﺎن ﺑﺎﺣﺜﺎً ﰲ اﻟﺘﺼﻮف اﻟﻴﻮﻧﺎين اﻷﻓﻼﻃﻮين‬ ‫واﻟﺘﺼﻮف اﳌﺴﻴﺤﻲ‪ ،‬وﻗﺪ ﺟﻤﻊ ﻟﻬﺬا اﻟﺒﺤﺚ‬ ‫اﻟﻜﺜري ﻣﻦ اﻟــﺪﻻﺋــﻞ واﳌـــﻮاد‪ ،‬وأﻟﻘﻰ ﺑﻬﺎ‬ ‫ﻣﺤﺎﴐات ﰲ ﻏري دوﻟــﺔ‪ ،‬ﻛﻤﴫ وإﻳﻄﺎﻟﻴﺎ‪،‬‬ ‫إﻻ أﻧﻬﺎ مل ﺗﺠﻤﻊ‪ .‬وﺣﺮﻣﻨﺎ ﻣﻦ اﻹﻃﻼع ﺑﺸﻜﻞ‬ ‫واﺿﺢ ﻋﲆ اﻟﺮﻏﻢ ﻣﻦ أن ﻫﻨﺎﻟﻚ ﻣﺨﻄﻮﻃﺎت‬

‫ﻣﻨﻬﺎ ﰲ ﻣﻜﺘﺒﺔ ﺟﺎﻣﻌﺔ اﻟﻘﺎﻫﺮة "ﺣﻴﺚ د ّرس‬ ‫ﺳﺎﻧﺘﻴﻼ ﻓﱰة وﻛﺎن ﻳﺸري إﻟﻴﻬﺎ اﻟﺸﻴﺦ اﻟﺠﻠﻴﻞ‬ ‫اﳌــﻌــﺮوف ﻣﺼﻄﻔﻰ ﻋﺒﺪاﻟﺮزاق وﻳﻌﺪﻫﺎ‬ ‫ﻣﺮﺟﻌﺎً واﺳﺘﻌﺎن ﺑﻬﺎ ﰲ ﻛﺘﺎﺑﻪ اﻟﺸﻬري "اﻟﺘﻤﻬﻴﺪ‬ ‫ﻟﺘﺎرﻳﺦ اﻟﻔﻠﺴﻔﺔ اﻹﺳﻼﻣﻴﺔ"‪.‬‬ ‫ﻟﻘﺪ ﺗﺮك ﺳﺎﻧﺘﻴﻼ ﻋﺪداً ﻣﻦ اﻟﻜﺘﺐ ﺧﻼل‬ ‫ﺣﻴﺎﺗﻪ اﻟﺘﻲ ﻛﺮﺳﻬﺎ ﻟﻠﻌﻠﻢ واﻟﻘﺎﻧﻮن‪ ،‬ﻣﺜﻞ‬ ‫ﻛﺘﺎب اﻟﻘﺎﻧﻮن اﻟﺘﺠﺎري اﻟﺘﻮﻧﴘ وﻣﺜﻠﻪ أﻳﻀﺎً‬ ‫ﰲ ﻟﻴﺒﻴﺎ ﺣﻴﻨام ﻛﻠﻒ أﻳﻀﺎً ﻣﻦ ﻗﺒﻞ اﻟﺤﻜﻮﻣﺔ‬ ‫اﻹﻳﻄﺎﻟﻴﺔ اﻟﺘﻲ ﻛﺎﻧﺖ ﺗﺤﺘﻞ ﻟﻴﺒﻴﺎ ﺑﺎﻟﻌﻤﻞ‬ ‫ﻋﲆ ﻋﺪة ﻣﺸﺎرﻳﻊ ﺑﺤﺜﻴﺔ‪ ،‬وذﻟﻚ ﻟﺮﻓﻊ اﻟﺼﻠﺔ‬ ‫واﻻﻫﺘﺎم ﺑﺎﻟﺪراﺳﺎت اﻟﻌﺮﺑﻴﺔ واﻹﺳﻼﻣﻴﺔ وﻓﻬﻢ‬ ‫ﻃﺒﻴﻌﺔ اﻟﺸﻌﺐ اﻟﻠﻴﺒﻲ أﻛرث‪ ،‬وﻣﻦ ﻫﻨﺎ ﻛﻠﻔﺘﻪ‬ ‫وزارة اﳌﺴﺘﻌﻤﺮات اﻹﻳﻄﺎﻟﻴﺔ وﻣﻌﻪ اوﺟﻨﺘﺴﻴﻮ‬ ‫ﺟﻮﻳﺪي ﺑﱰﺟﻤﺔ "ﻣﺨﺘﴫ ﺧﻠﻴﻞ" ﰲ اﻟﻔﻘﻪ‬ ‫اﳌﺎﻟيك وﻫــﻮ ﻣﺨﺘﴫ ﻣﻌﺘﻤﺪ ﰲ ﻛﻞ ﺑﻼد‬ ‫اﳌﻐﺮب واﳌﴩق ﻟﺪراﺳﺔ اﻟﻔﻘﻪ اﳌﺎﻟيك‪ ،‬ﻓﱰﺟﻢ‬ ‫ﻟﻺﻳﻄﺎﻟﻴﺔ واﻟﻔﺮﻧﺴﻴﺔ ﻛﺬﻟﻚ‪.‬‬ ‫وﻳﻈﻞ ﻛﺘﺎﺑﻪ "ﻧﻈﻢ اﻟﴩﻳﻌﺔ اﻹﺳﻼﻣﻴﺔ‬ ‫ﺑﺤﺴﺐ ﻣﺬﻫﺐ ﻣﺎﻟﻚ" درة أﻋامل ﺳﺎﻧﺘﻴﻼ‬ ‫وأﻛرثﻫﺎ ﺷﻬﺮة‪ ،‬ﺣﻴﺚ ﻧــﴩه ﻋﲆ ﺟﺰءﻳﻦ‬ ‫ﺧﺮج اﻟﺠﺰء اﻟﺜﺎين ﺑﻌﺪ ﻣﻮﺗﻪ واﺳﺘﻔﺎد ﻣﻨﻪ‬ ‫ﻛﺒﺎر اﳌﺴﺘﴩﻗني ﻣﻤﻦ أﺗــﻮا ﺑﻌﺪه وﻧﻬﻠﻮا‬ ‫ﻣﻦ ﻣﻨﻬﺠﻴﺘﻪ ودﻗﺘﻪ وﺑﺮاﻋﺘﻪ ﰲ اﻟﺮﺑﻂ ﺑني‬ ‫اﻟﻘﻮاﻧني اﻟﻐﺮﺑﻴﺔ واﻟﻔﻘﻪ اﻹﺳﻼﻣﻲ‪.‬‬ ‫‪ Ǔlj ǽƳ ƉƳōƒǿ ƃǾƳŌƂ ǚōlj‬‬ ‫‪ ǽŨǕŌ ōǙǶƈ ǻǕŒ ƂǷƪǿ Ǘŭ ƂȎŞǕŌ‬‬ ‫‪ dzǾƫŌƃşȑŌ ǣŨǕōƟ ōǤǾƳ ƃŵǶ‬‬ ‫‪dzǾǜǤǘǕŌǶ dzǾƳōǂŬǕŌǶ‬‬ ‫‪ dzƪǿƉƖǕŌ ǗƦǝ} ǣşōŨlj ǓƦǿ‬‬ ‫‪ ŝǥƅǙ ŝƒżş dzǾǙȎƓȑŌ‬‬ ‫‪ ȎǾŨǝōƓ ǒōǘƫŐ DzƈƂ mLJǕōǙ‬‬ ‫‪ ǢƉƖǝ ūǾŽ ɐDzƉǤƗ ōǥƉŬljŐǶ‬‬ ‫‪ ǽǝōŬǕŌ ŋƋŴǕŌ ŲƉƁ ǛǿŋƋŵ ǻǔƫ‬‬ ‫‪ ƈōŞlj ǣǜǙ ƂōƲŨƓŌǶ ǣũǷǙ ƃƪş‬‬ ‫‪ǛǾǃƉƖŨƒǘǕŌ‬‬

‫اﻟﺸﻌﺮ ‪baytelshear‬‬ ‫ﺑﻴﺖ ِ‬

‫‪87‬‬

‫‪ ĮŇŒ ŗŕ‬‬

‫داﻓﻴﺪ دي ﺳﺎﻧﺘﻴﻼ‬ ‫‪ ǽşǶƈǶȏŌ ǽLjǕōǘǕŌ ǣǾǂƲǕŌ‬‬ ‫ﻫﺎﻧﻲ ﻧﺪﻳﻢ‬

‫ﰲ ﺗﻮﻧﺲ‪ ،‬ﰲ ﺣﻮارﻳﻬﺎ اﻟﻀﻴﻘﺔ وﺟﺪراﻧﻬﺎ‬ ‫اﳌﻠﺴﺎء ُوﻟﺪ ٌ‬ ‫ﻃﻔﻞ أول اﻟﺼﻴﻒ ﻣﻦ ﻋﺎم ‪1855‬‬ ‫ﻟﻴﻌﻴﺪ ﺗﺸﻜﻴﻞ اﳌﻜﺎن ﻻﺣﻘﺎً ﻣﻦ وﺟﻬﺔ ﻧﻈﺮ‬ ‫ﻣﺨﺘﻠﻔﺔ‪ ،‬ﺗﺮﻛﺖ ﺑﺎﻟﻎ اﻷﺛﺮ ﺣﺘﻰ ﻫﺬا اﻟﻴﻮم‪.‬‬ ‫ٌ‬ ‫ﻃﻔﻞ ﻣﻠﺘﺒﺲ اﻟﺠﻨﺴﻴﺔ واﻟﻌﺮق إﻻ أﻧﻪ ﺑﺎﻟﻎ‬ ‫اﻟﻮﺿﻮح ﰲ اﻟﺘﻔﻜري واﳌﻨﻬﺞ!‪ ،‬داﻓﻴﺪ دي‬ ‫ﺳﺎﻧﺘﻴﻼ اﺑﻦ ﻋﺎﺋﻠﺔ إﺳﺒﺎﻧﻴﺔ ﻟﺠﺄت إﱃ ﺗﻮﻧﺲ‬ ‫ﻗﺒﻞ وﻻدﺗﻪ‪ ،‬ﺑﺠﻮازات ﺳﻔﺮ ﺑﺮﻳﻄﺎﻧﻴﺔ‪ ،‬اﻷﻣﺮ‬ ‫اﻟﺬي ﻳﻔﴪ أن أﺑﺎه ﻋُ ني ﰲ ﻣﺮﺣﻠﺔ ﻻﺣﻘﺔ‬ ‫ﻗﻨﺼ ًﻼ ﻟﱪﻳﻄﺎﻧﻴﺎ اﻟﻌﻈﻤﻰ ﰲ ﺗﻮﻧﺲ‪.‬‬ ‫وﻷن ﻟﻠﻌﺒﻘﺮﻳﺔ ﺳامت وﻟﻠﻨﺒﻮغ أﻣﺎرات‪ ،‬ﺑﺎﻛﺮاً‬ ‫ﻇﻬﺮ ﺗﻔﻮق داﻓﻴﺪ ﻋﲆ أﻗﺮاﻧﻪ‪ ،‬ﻓﻌني ﺳﻜﺮﺗرياً‬ ‫ﻟﻠﺠﻨﺔ اﻟﺪوﻟﻴﺔ ﻟﺸﺆون ﺗﻮﻧﺲ اﳌﺎﻟﻴﺔ وﻫﻮ مل‬ ‫ﻳﺒﻠﻎ اﻟﺴﺎدﺳﺔ ﻋﴩة ﺑﻌﺪ‪ ،‬واﻟﻠﻄﻴﻒ ﰲ اﻷﻣﺮ‬ ‫أﻧﻪ اﺳﺘﻘﺎل ﻣﻦ ﻣﻨﺼﺒﻪ ﺗﻀﺎﻣﻨﺎً ﻣﻊ ﻣﺪﻳﺮه‬ ‫اﻟﺬي ﺗﻌﺮض ﳌﻜﻴﺪة ﺳﻴﺎﺳﻴﺔ‪.‬‬ ‫اﻧﺘﻘﻞ داﻓﻴﺪ إﱃ ﻟﻨﺪن ﺑﻌﺪ ﻫﺬا وﺗﻘﺪم‬ ‫ﳌﺴﺎﺑﻘﺔ ﻋﻤﻞ ﰲ اﻟﺴﻠﻚ اﻟﺪﺑﻠﻮﻣﺎﳼ‪ ،‬إﻻ أن‬ ‫ﻣﻮت أﺑﻴﻪ اﺿﻄﺮه ﻟﻠﻌﻮدة إﱃ ﺗﻮﻧﺲ وﺗﻮﱄ‬ ‫ﺷــﺆون إﺧﻮﺗﻪ وواﻟﺪﺗﻪ‪ .‬ﻟﻘﺪ أﺣﺐ داﻓﻴﺪ‬ ‫ﺗﻮﻧﺲ اﻟﺴﺎﺣﺮة وﺗﻌﻠﻖ ﺑﻬﺎ أميﺎ ﺗﻌﻠﻖ‪ ،‬وأراد‬ ‫أن ﻳﺤﻘﻖ ﻃﻤﻮﺣﻪ اﻟﻌﻠﻤﻲ ﰲ أوروﺑﺎ ﻣﻦ دون‬ ‫أن ﻳﻔﻘﺪ ﺻﻠﺘﻪ ﺑﻬﺎ‪ ،‬ﻓﺎﻟﺘﺤﻖ ﺑﻜﻠﻴﺔ اﻟﺤﻘﻮق‬ ‫ﰲ ﺟﺎﻣﻌﺔ روﻣﺎ‪ ،‬اﻷﻗﺮب إﱃ ﺗﻮﻧﺲ‪ ،‬ﻟﻴﻈﻞ‬ ‫ﻗﺮﻳﺒﺎً‪ ،‬وﻷﻧﻪ ﻳﺘﻘﻦ اﻟﻠﻐﺔ اﻹﻳﻄﺎﻟﻴﺔ وﻳﺘﺤﺪﺛﻬﺎ‬ ‫ﺑﻄﻼﻗﺔ‪ ،‬ﻣﺎ ﺳﻬﻞ اﳌﻬﻤﺔ ﻋﻠﻴﻪ وﺳﺎﻋﺪه وأﴎﺗﻪ‬ ‫ﺑﺎﻟﺤﺼﻮل ﻋﲆ اﻟﺠﻨﺴﻴﺔ اﻹﻳﻄﺎﻟﻴﺔ ﺑﺎﻟﺘﻮازي‬ ‫ﻣﻊ ﺣﺼﻮﻟﻪ ﻋﲆ ﺷﻬﺎدة اﻟﻠﻴﺴﺎﻧﺲ ﰲ اﻟﺤﻘﻮق‬ ‫ﻣﻦ ﺟﺎﻣﻌﻪ روﻣﺎ‪.‬‬ ‫وﻛﺬﻟﻚ اﻷﻣــﺮ‪ ،‬ﻓﻘﺪ ﻧﺒﻎ ﰲ دراﺳﺘﻪ ﻫﻨﺎك‬ ‫ﺑﻄﺒﻴﻌﺔ اﻟﺤﺎل ﻣﺎ ﺟﻌﻠﻪ ﻣﺤﻂ اﻷﻧﻈﺎر‬ ‫واﻻﻫﺘامم‪ ،‬وﻧﺘﻴﺠﺔ ﻟﺬﻟﻚ ﻋني ﻣﺴﺘﺸﺎراً ﻟﻠﻬﻴﺌﺔ‬

‫‪86‬‬

‫اﻟﻌﺪد ‪ ، 71‬أﻛﺘﻮﺑﺮ ‪2018‬‬

‫اﻟﻘﺎﻧﻮﻧﻴﺔ اﳌﻮﻛﻞ إﻟﻴﻬﺎ اﻟﺪﻓﺎع ﻋﻦ أﺣﻤﺪ ﻋﺮايب‬ ‫ﺑﺎﺷﺎ أﺛﻨﺎء ﻣﺤﺎﻛﻤﺘﻪ وﻫﻮ ﻣﺎ زال ﻃﺎﻟﺒﺎً‪ ،‬ﻛﻮﻧﻪ‬ ‫ﻳﺠﻴﺪ اﻟﻌﺮﺑﻴﺔ ﻛﺘﺎﺑﺔ وﺗﺤﺪﺛﺎً وﻳﻔﻬﻢ اﻟﴩﻳﻌﺔ‬ ‫اﻹﺳﻼﻣﻴﺔ ﺟﻴﺪاً ﻛام أﻧﻪ ﺑﺮﻳﻄﺎين وﻋﻤﻞ ﺳﺎﺑﻘﺎً‬ ‫ﰲ اﻟﺴﻠﻚ اﻟﺪﺑﻠﻮﻣﺎﳼ‪ ،‬اﳌﺤﺎﻛﻤﺔ اﻟﺘﻲ رﻓﻌﺖ‬ ‫ﻣﻦ ﻗﺒﻞ اﻟﺤﻜﻮﻣﺔ اﻟﱪﻳﻄﺎﻧﻴﺔ وﺷﻜﻠﺖ ﻋﻘﺐ‬ ‫اﺣﺘﻼل ﻣﴫ ﻋﺎم ‪ 1882‬ﻣﻴﻼدي‪ ،‬أﺻﺪرت‬ ‫ﺣﻜﻤﻬﺎ ﻛام ﻫﻮ ﻣﻌﻠﻮم ﺑﺈﻋﺪام ﻋﺮايب ورﻓﺎﻗﻪ‪.‬‬ ‫‪ƱƮƖǕŌǶ dzǾǙȎƓȑŌ dzƪǿƉƖǕŌ‬‬

‫ﻛﺎن داﻓﻴﺪ ﻳﺴﺎﻓﺮ ﰲ ﻛﻞ اﻟﺒﻼد ﺛﻢ ﻳﻌﻮد‬ ‫إﱃ روﻣﺎ اﻟﺘﻲ وﺟﺪ ﻓﻴﻬﺎ ﺿﺎﻟﺘﻪ اﻹﺑﺪاﻋﻴﺔ‬ ‫واﻟﺜﻘﺎﻓﻴﺔ واﳌﻬﻨﻴﺔ‪ ،‬ﻓﻜﺎن ﻳﻌﻤﻞ ﺑﺎﳌﺤﺎﻣﺎة‬

‫وﻳﻌﻜﻒ ﻋﲆ ﻣﻜﺘﺒﺎﺗﻬﺎ ﻳﻘﺮأ وﻳﺒﺤﺚ وﻳﺪون‪،‬‬ ‫وﻗــﺪ ﺷﻐﻒ ﺑــﺪراﺳــﺔ اﻟﺘﺎرﻳﺦ واﻟﴩﻳﻌﺔ‬ ‫اﻹﺳﻼﻣﻴﺔ أميﺎ ﺷﻐﻒ ﺑﻌﺪ ﻣﺤﺎﻛﻤﺔ ﻋﺮايب‪،‬‬ ‫وأراد أن ﻳﻔﻬﻢ ﻛﻴﻒ ﻳﻔﻜﺮ اﳌﺴﻠﻤﻮن‪ ،‬ﺧﺎﺻ ًﺔ‬ ‫وأﻧﻪ رﺟﻞ ﻗﺎﻧﻮن‪ ،‬ﻓﺄوﻏﻞ مبﺮاﺟﻌﺔ اﻟﺘﺎرﻳﺦ‬ ‫وﺳﻦّ اﻟﻘﻮاﻧني وﻛـ ّﺮس ﺣﻴﺎﺗﻪ ﻟﻔﻬﻢ ﻗﻮاﻧني‬ ‫اﻷرض واﻟــﺴــامء‪ ،‬وﻣــﻦ ﻫﻨﺎ أﺻﺒﺢ داﻓﻴﺪ‬ ‫ﻣﺪاﻓﻌﺎً ﻣﻨﺎﻓﺤﺎً ﻋﻦ اﻹﺳﻼم وﻫﻮ اﳌﻨﺤﺪر ﻣﻦ‬ ‫أﴎة ﻳﻬﻮدﻳﺔ!‪.‬‬ ‫ﺣﺴﺒام ﻧﺴﺘﺨﻠﺺ ﻣﻦ ﺳــرية داﻓﻴﺪ‪ ،‬ﻓﻘﺪ‬ ‫ﺗﻮﺻﻞ إﱃ أن اﻟﻘﻮاﻧني اﻟﻮﺿﻌﻴﺔ ﻋﱪ اﻟﺘﺎرﻳﺦ‬ ‫إمنﺎ ﺗﻮﻃﺄت واﻃأمﻧﺖ ﳌﺎ وﺻﻞ ﻣﻦ اﻷدﻳﺎن‬ ‫اﻟﺴاموﻳﺔ‪ ،‬وﺣ ّﺮﻛﺘﻬﺎ ﺑﺤﺴﺐ اﳌﻘﺘﻀﻴﺎت‬

‫ ‪ĮńĴŝŊŘ‬‬

‫‪ɶ‬‬ ‫}‪mǣǝǷǕŌ ƉƫōƗ‬‬ ‫‪ǣރǝ‬‬ ‫ﺣﻤﺪ ﺑﻦ ﻋﺒﺪا‪ I‬اﻟﻌﻮﻳﺲ اﻟﺸﺎﻣﺴﻲ‬

‫‪1905ǖōƫ‬‬

‫وﻟﺪ ﻓﻲ ﺑﻠﺪة‬ ‫»اﻟﺤﻴﺮه« ﻣﻦ ﻣﺪﻳﻨﺔ‬ ‫اﻟﺸﺎرﻗﺔ‪2‬‬

‫‪ƉƪƖǕŌ ǚǷǜƳ‬‬ ‫ﺗﻌﺮض ﻟﺠﻤﻴﻊ ﻓﻨﻮن اﻟﺸﻌﺮ‬ ‫وأﻟﺤﺎﻧﻪ ﺑﺮﻏﻢ ﺳﻴﻄﺮة ﺷﻌﺮ‬ ‫اﻟﻮﻧﻪ ﻋﻠﻰ ﻣﻌﻈﻢ ﺷﻌﺮه‬ ‫ﻓﻘﺪ ﻗﺎل ﻓﻲ اﻟﺮدح واﻟﻤﻘﺎﻟﺔ‬ ‫واﻟﻘﺼﺎﺋﺪ اﻟﻤﺜﻠﻮﺛﺔ ﻣﻦ ﺷﻌﺮ‬ ‫اﻟﻮﻧﻪ‪2‬‬

‫‪ǼƉƪƖǕŌ ǣşǷǔƓŐ‬‬

‫ﺻﺎغ ﺷﻌﺮه ﺑﺄﺳﻠﻮب ﺗﻤﺎزج‬ ‫ﻓﻴﻪ ﺳﻬﻮﻟﺔ اﻟﺘﺮﻛﻴﺐ ﺑﺠﺰاﻟﺔ‬ ‫اﻟﺘﻬﺬﻳﺐ‪ ،‬ﻓﻲ ﻧﻔﺜﺎت ﺷﻌﺮه‬ ‫ﻋﻔﺔ اﻟﺒﺪاوة وﻗﺪ ﺷﺬﺑﺖ‬ ‫ﺑﺮﻗﺔ اﻟﺤﻀﺎرة‪2‬‬

‫‪ŦōǿƈōŴǙ‬‬

‫‪ǣǿƉƪƖǕŌ ǣƟŌƉƯŐ‬‬

‫ﻟﻪ اﻟﻌﺪﻳﺪ ﻣﻦ اﻟﺮدﻳﺎت‬ ‫واﻟﻤﺠﺎرﻳﺎت أﻏﻠﺒﻬﺎ ﻣﻊ‬ ‫اﻟﺸﺎﻋﺮ ﺑﻦ ﻋﺘﻴﺞ اﻟﻬﺎﻣﻠﻲ‪2‬‬

‫‪ǣũōƳǶ‬‬ ‫اﻧﺘﻘﻞ إﻟﻰ رﺣﻤﺔ ا‪ I‬ﺗﻌﺎﻟﻰ‬ ‫ﻋﺎم ‪ 1991‬ﻓﻲ ﻣﺪﻳﻨﺔ اﻟﺸﺎرﻗﺔ‪2‬‬

‫ﻳﻄﻐﻰ اﻟﻐﺰل ﻋﻠﻰ اﻷﻏﺮاض‬ ‫اﻟﺸﻌﺮﻳﺔ اﻟﺘﻲ ﺗﻄﺮق ﻟﻬﺎ‪ ،‬وﻟﻪ‬ ‫ﻓﻲ اﻟﻤﺪح واﻟﻮﻃﻨﻴﺎت واﻛﺘﻔﻰ‬ ‫ﺑﻤﺪح اﻟﻤﻐﻔﻮر ﻟﻪ اﻟﺸﻴﺦ‬ ‫زاﻳﺪ ﻓﺄﺛﻨﻰ ﻋﻠﻴﻪ وﻋﻠﻰ ﻗﻴﺎم‬ ‫اﻻﺗﺤﺎد‪2‬‬

‫اﻟﺸﻌﺮ ‪baytelshear‬‬ ‫ﺑﻴﺖ ِ‬

‫‪85‬‬

‫ ‪şœśĘĥŒ‬‬ ‫ومتﺴﻜﺎً اﻧﺘﺤﺎرﻳﺎً ﺑﺎﻟﺜﺄر وﻋﺪم ﻗﺒﻮل اﻟﺪﻳﺔ ﰲ دم ﻓﻠﺬات أﻛﺒﺎدﻫﻢ‪.‬‬ ‫اﻟﻌﺮف واﻟﺒﻴﺌﺔ‬ ‫ﻧﻘﻮل‪ :‬إﻧﻪ إﺣﺴﺎس ﺑﺎﻟﺮﻗﺔ ﻣﻦ ﻗﺒﻞ رﺟﺎل مل ﻳﺴﻤﺢ ﻟﻬﻢ ُ‬ ‫ﺑﺎﻟﺘﻌﺒري ﻋﻦ أﻧﻔﺴﻬﻢ ﺑﻬﺬه اﻟﻄﺮق إﻻ ﻣﻊ أﺷﻌﺎر ﺗﺮﻗﻴﺺ اﻷﻃﻔﺎل‪.‬‬ ‫وﻛام أَ ْﺳ َﻤ ْﻌﻨَﺎ أﺻﻮات اﻟﺮﺟﺎل ﰲ اﻟﱰﻗﻴﺼﺎت اﻟﺴﺎﺑﻘﺔ‪ ،‬ﻓﻠﻠﻨﺴﺎء ﺻﻮت‬ ‫أﺳﺎس ﺗﺮﻗﻴﺺ اﻷﻃﻔﺎل ﰲ اﻟﺸﻌﺮ‬ ‫ﻣﻮا ٍز ﻻ ﻳﻘﻞ أﻫﻤﻴﺔ ﻋﻨﻬﻢ‪ ،‬ﺑﻞ ﻟﻌﻠﻪ ُ‬ ‫ً‬ ‫أﻗﺮب ﻣﻦ اﻷم ﻻﺑﻨﻬﺎ؟ وﻣﻦ ﻳﻘﴤ ﺷﻄﺮا ﻣﻦ‬ ‫اﻟﻌﺮيب ﻋﻤﻮﻣﺎً؛ ﻓﻤﻦ ُ‬ ‫ﻋﻤﺮه ﻟﺼﻴﻘﺎ ﺑﺎﳌﻮاﻟﻴﺪ اﻟﺠﺪد؟‬ ‫ُ‬ ‫َ‬ ‫إﻧﻬﺎ اﻷم دون أدىن ﺷﻚ‪ ،‬وﰲ اﻟﺬﻛﺮ اﻟﺤﻜﻴﻢ ﻋﱪة مل ﻳﻌﺘﱪ‪َ :‬‬ ‫)ﺣ َﻤﻠ ْﺘ ُﻪ أ ﱡﻣ ُﻪ ﺛﻢ ﺗﺤﻮﻟﺖ ﻋﻦ ﻫﺬا اﻟﺮوي ﻓﻘﺎﻟﺖ‪:‬‬ ‫ُﻛ ْﺮﻫً ﺎ َو َو َﺿ َﻌ ْﺘ ُﻪ ُﻛ ْﺮﻫً ﺎ َو َﺣ ْﻤ ُﻠ ُﻪ َو ِﻓ َﺼﺎ ُﻟ ُﻪ َﺛـ َﻼ ُﺛ َ‬ ‫ﻮن َﺷ ْﻬ ًﺮا(‪.8‬‬ ‫‪ R vU @ @ @ @ @ @ @ @ FP @@ @ @ @ < ,v@@ @ @ @ @ @ @ @ @ D*H h@@ @ ~@ @ @}@ @ @ @ @ @F b@@ @ @ @ E‬‬ ‫*&‪ R Pv@@ @ @ @ @ @ @ @ @ 0R HN nO @ @ @£@ @ @~@ @ @z@ @ @F ¡@@ @ @ @ @ @ @ @+ O HN 4‬‬ ‫وإن ﻛﻨﺎ ﻟﻦ ﻧﺰﻳﺪ ﻣﻦ اﻟﻨﺎﺣﻴﺔ اﳌﻮﺿﻮﻋﻴﺔ اﻟﺘﻴامﺗﻴﺔ ﻋﲆ ﻣﺎ ﺳﺒﻖ‬ ‫ﱠ‬ ‫َ‬ ‫وذﻛﺮﻧﺎه )اﻟﺘﻜﻬﻦ‪ ،‬اﻟﺤﺐ‪ ،‬اﻟﺘﻮﻗﻊ‪ ،‬اﻷﻣﻞ‪ ،‬اﻟﻔﺮح(؛ ﻛام ﻟﻦ ﻧﺰﻳﺪ ﺛﻢ إن اﻟﴪور ْاﺳﺘَﺨﻔ َﻬﺎ‪ ،‬ﻓﻬﺘﻔﺖ ﺑﺄﻋﲆ ﺻﻮﺗﻬﺎ ﻛام ﺗﻬﺘﻒ اﻟﻨﺴﺎء‬ ‫أﺣﻤﻘﺖ؟‬ ‫ﻣﻦ اﻟﻨﺎﺣﻴﺔ اﻟﺸﻜﻠﻴﺔ اﻟﺘﻲ ﺗﺮﺗﻬﻦ ﺑﻨﻤﻂ ﺷﺒﻪ ﻣﻮﺣﺪ ﻋﲆ ﻗﴫ ﻋﻨﺪ اﻟﻔﺮح‪ ،‬ودﺧﻞ أﺑﻮ ﻗﺤﺎﻓﺔ ﻓﻘﺎل‪ :‬ﻣﺎ ﺑﺎﻟﻚ ﻳﺎ ﺳﻠﻤﻰ؟‬ ‫ِ‬ ‫اﳌﻘﻄﻮﻋﺎت وﴎﻋﺔ اﻹﻳﻘﺎﻋﺎت واﻧﺪﻓﺎﻋﻬﺎ ﻧﺤﻮ اﻟﻐﻨﺎﺋﻴﺔ اﳌﻄﻠﻘﺔ‪ ..‬إﻻ ﻓﺄﺧﱪﺗﻪ‪ ،‬مبﻘﺎﻟﻪ‪ ،‬ﻓﻘﺎل‪ :‬أﺗﻌﺠﺒني ﻣﻦ ﻫﺬا‪ ،‬ﻓﻮ اﻟﺬي ﻛﺎن ﻳﺤﻠﻒ ﺑﻪ‬ ‫أﻧﻨﺎ ﻧﻌﺘﻘﺪ أن ﺗﺮﻗﻴﺼﺎت اﻷﻣﻬﺎت ﺗﺒﻘﻰ اﻷﻓﻀﻞ واﻷﺑﻠﻎ أﺛﺮاً ﰲ ﻧﻔﺲ ﻗﺤﺎﻓﺔ‪ ،‬ﻣﺎ ﻧﻈﺮت إﱃ اﺑﻨﻚ ﻫﺬا ﻗﻂ إﻻ َﺗ َﺒ ﱠﻴﻨ ُْﺖ اﻟﺴﺆد َد ﰲ ﺣامﻟﻴﻖ‬ ‫اﳌﺘﻠﻘﻲ اﻟﺼﻐري؛ وﻣﻊ أﻧﻪ –وﻳﺎ ﻟﻸﺳﻒ‪ -‬مل ميﺘﻠﻚ اﻟﻌﺎمل اﻟﻘﺪﻳﻢ –ﻛﻠﻪ‪ -‬ﻋﻴﻨﻴﻪ"‪.9‬‬ ‫َ‬ ‫وﺳﺎﺋﻞ ﺗﺤﻔﻆ اﻟﺼﻮت ﺣﺘﻰ ﺗﺴﺠﻞ ﺻﻠﻮاﺗﻬﻢ أﻏﺎﻧﻴﻬﻢ وأدﻋﻴﺘﻬﻢ إن ﻫﺬه اﳌﺮأة اﻟﺘﻲ َﻧ ﱠﻮﻋ ْ‬ ‫ﻗﻮاف وأروﻳﺔ ﻣﺨﺘﻠﻔﺔ ﺣﺘﻰ اﺳﺘﺨﻔﻬﺎ‬ ‫َﺖ ﻋﲆ ٍ‬ ‫وﻣﺴﺎﻣﺮاﺗﻬﻢ وأﻧﺎﺷﻴﺪﻫﻢ‪ ..‬إﻻ أن ﺻﻮت اﳌﺮأة ﰲ ﺗﺮﻗﻴﺺ أﻃﻔﺎﻟﻬﺎ اﻟﴪور وﺑﻠﻐﺖ ﻣﺒﻠﻐﺎً ﻋﻤﻴﻘﺎً ﻣﻦ اﻟﻔﺮح وﻫﻲ ﺗﺮﻗﺺ ﻃﻔﻠﻬﺎ؛ ﻻ ميﻜﻦ‬ ‫ﻻ ميﻜﻦ أن ُﻳﻀﺎﻫﻰ ﺑﺼﻮت اﻟﺮﺟﻞ؛ ﺧﺎﺻﺔ أن اﻟﻄﻔﻞ ﻳﺮﺗﺒﻂ ﺑﺄﻣﻪ أن ﻧﻀﺎﻫﻲ ﻓﺮﺣﺘﻬﺎ ﺑﻔﺮﺣﺔ اﻟﺮﺟﻞ؛ ذﻟﻚ أﻧﻬﺎ ميﻜﻦ أن ﺗﺘﺤﻮل ﻫﻲ‬ ‫ﻣﻦ ﺧﻼل اﻟﺼﻮت واﳌﻠﻤﺲ؛ وﻫام اﻟﺤﺎﺳﺘﺎن اﳌﺴﺘﻌﻤﻠﺘﺎن ﺑﻘﻮة ﰲ ﻧﻔﺴﻬﺎ إﱃ ﻃﻔﻠﺔ ﻋﻨﺪ ﻣﺪاﻋﺒﺔ وﻟﺪﻫﺎ وﺗﺮﻗﻴﺼﻪ ﻣﻦ أﺟﻞ اﻟﺘﻨﻔﻴﺲ ﻋﻦ‬ ‫أﺷﻌﺎر ﺗﺮﻗﻴﺺ اﻷﻃﻔﺎل‪ .‬وﻟﻨﺎ أن ﻧﺘﺨﻴﻞ ﻫﺬا اﻟﺼﻮت ﺑﺮﻗﺘﻪ وﺷﺠﺎه ﻣﻊ ﻃﻔﻮﻟﺘﻬﺎ اﳌﻜﺘﻮﻣﺔ داﺧﻠﻬﺎ‪ ،‬ﻣﻦ ﻫﻨﺎ؛ ﻳﺒﺪو ﺳﺆال أيب ﻗﺤﺎﻓﺔ اﺳﺘﻐﺮاﺑﺎً‬ ‫أﻋﺮاﺑﻴﺔ ﺗﺪﻋﻰ ﺳﻠﻤﻰ ﺟﻌﻠﺖ ﺗﺮﻗﺺ ﻃﻔﻠﻬﺎ ﻓﻘﺎﻟﺖ‪:‬‬ ‫ﻣﻦ ﻃﻔﻮﻟﺔ اﳌﺮأة ﻧﻔﺴﻬﺎ؛ ﻛﻮﻧﻬﺎ ﺑﺎﻟﻐﺖ ﰲ ﻣﻀﺎﺣﻜﺔ اﺑﻨﻬﺎ ﺣﺘﻰ ﻓﻘﺪت‬ ‫‪fc D* vc< e4 bJ‬‬ ‫اﺗﺰاﻧﻬﺎ؛ وﻫﺬا ﻫﻮ اﻟﺤﺪ اﻟﺬي ﻻ ميﻜﻦ أن ﻳﺘﺠﺎوزه اﻟﺮﺟﺎل ﰲ ﺗﺮﻗﻴﺺ‬ ‫*&‪ R +4 bJ + gE‬‬ ‫أﺑﻨﺎﺋﻬﻢ؛ أي اﻟﻠﺤﻈﺔ اﻟﺘﻲ ﻳﺴﺘﻌﻴﺪون ﻓﻴﻬﺎ ﻃﻔﻮﻟﺘﻬﻢ وﻳﻔﻘﺪون‬ ‫‪R‬‬ ‫ ‬ ‫&‪c~7‬‬ ‫‪* xs~|+ ¡ A‬‬ ‫اﺗﺰاﻧﻬﻢ؛ ﻟﺤﻈﺔ‪" :‬اﻟﺤﻤﻖ" –اﻟﺠﻤﻴﻞ‪ -‬ﻛام ﻳﺮى أﺑﻮ ﻗﺤﺎﻓﺔ !!‬ ‫ﺛﻢ ﺗﺤﻮﻟﺖ ﻋﻦ ﻫﺬا اﻟﺮوي ﻓﻘﺎﻟﺖ‪:‬‬ ‫< @ @ @ @ @ @ @ @‪R @@ @ @ @ @ @ £@ @ @ @ @ @ @g@ @ @ @ @ @ @< b@@ @ @ @ @ @ @ @ @ @ @ @ @ @ J @@ @ @ @ @ @ @ @£@ @ @ @ @ @ @ @ g‬‬ ‫‪R @@ @ @ @ @ @ @ @ @ @ @ @£@ @ @ @ @ @ @ @ @ @ @ @ F&°* x@@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ ´* H‬‬ ‫‪R @@ @ @ @ @ @ @ @ £@ @ @ @ @ @ @ @ @Dv@@ @ @ @ @ @ @ @ D* ¡@@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ ´*H‬‬ ‫‪R @@ @ @ @ @ £@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @D* d@@ @ @ @ @ @ @ @ @ @ @ @ ~@ @ @ @ @ @ |@ @ @ @ @ @ ´b@@ @ @ @ @ @C‬‬ ‫‪ @@ @ @ @ @ @ @ @ @J4 @@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ E h@@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ ~@ @ @ @ @ @ @ @ @ 74‬‬ ‫‪R @@ @ @ @ @ £@ @ @ @ @ @g@ @ @ @ @ @ @ @ @ @ @ @D* d@@ @ @ @ @ @ @ @ @ @F4y@@ @ @ @ @ @ @ @ @ @Db@@ @ @ @ @ @ @ @ @ @C‬‬

‫اﻟﻤﺼﺎدر واﻟﻤﺮاﺟﻊ‪:‬‬

‫)‪» (1‬ﻗﻮﻟﻪ‪ :‬ﺿﺎع اﻟﺪﺑﺮ؛ أي أﺳﻠﻢ اﻟﻘﻮم أدﺑﺎرﻫﻢ‪ ،‬ومل ﻳﻜﻦ ﻟﻬﻢ ﺣﺎﻓﻆ‪.‬‬ ‫وﻗﻮﻟﻪ‪ :‬ﻳﱰع اﻟﺴﺠﻞ‪ :‬ﻫﺬا ﻣﺜﻞ ﴐﺑﻪ ﻟﻐﻨﺎﺋﻪ ﰲ اﻟﺤﺮب‪ ،‬وﻛﺸﻔﻪ اﻟﻜﺮب‪،‬‬ ‫واﻟﺴﺠﻞ‪ :‬اﻟﺪﻟﻮ ﰲ اﳌﺎء‪.‬‬ ‫ﻗﻮﻟﻪ‪ :‬إذا اﻟﻴﻮم اﻗﻤﻄﺮ؛ أي اﺷﺘﺪ ﺣﺮه‪.‬‬ ‫وﻗﻮﻟﻪ‪ :‬ﺳﺒﺄ اﻟﺰق‪ ،‬ﻳﻘﺎل ﺳﺒﺄ اﻟﺮﺟﻞ اﻟﺨﻤﺮة إذا اﺷﱰاﻫﺎ ﻟﻠﴩاب‪ ،‬ﻻ ﻟﻠﺒﻴﻊ‪،‬‬ ‫واﻟﻌﺮب ﻛﺎﻧﺖ ﺗﺘﻤﺪح ﺑﺬﻟﻚ‪ ،‬وﻫﻮ ﻋﻨﺪﻫﻢ اﻟﺴﺨﺎء اﻟﻜﺒري«؛ اﻧﻈﺮ‪ :‬أﺑﻮ‬ ‫ﺑﻜﺮ ﺑﻦ ﻋﺒﺪ اﻟﻠﻪ ﺑﻦ أﻳﺒﻚ اﻟﺪواداري‪ ،‬ﻛﻨﺰ اﻟﺪرر وﺟﺎﻣﻊ اﻟﻐﺮر‪ ،‬ﺗﺤﻘﻴﻖ‬ ‫ﺟﻮﻧﻬﻴﻠﺪ ﺟﺮاف ‪ -‬ارﻳﻜﺎ ﺟﻼﺳِ ﻦ‪ ،‬ج‪ ،2‬ﻋﻴﴗ اﻟﺒﺎيب اﻟﺤﻠﺒﻲ‪ ،1994 ،‬ص‬ ‫‪.136‬‬ ‫)‪ (2‬اﻟﺪواداري )ت ﺑﻌﺪ ‪736‬ﻩ(‪ ،‬ﻛﻨﺰ اﻟﺪرر‪ ،‬ج‪ ،2‬ص ‪.136‬‬ ‫)‪ (3‬أﺑﻮ اﻟﻘﺎﺳﻢ ﺟﺎر اﻟﻠﻪ ﻣﺤﻤﻮد ﺑﻦ ﻋﻤﺮ ﺑﻦ أﺣﻤﺪ اﻟﺰﻣﺨﴩي‬ ‫)‪538-427‬ﻩ(‪،‬رﺑﻴﻊ اﻷﺑﺮار وﻧﺼﻮص اﻷﺧﺒﺎر‪ ،‬ﺗﺤﻘﻴﻖ ﻋﺒﺪ اﻷﻣري ﻣﻬﻨﺎ‪ ،‬ج‪،4‬‬

‫‪84‬‬

‫اﻟﻌﺪد ‪ ، 71‬أﻛﺘﻮﺑﺮ ‪2018‬‬

‫ﻣﻨﺸﻮرات اﻷﻋﻠﻤﻲ ﻟﻠﻤﻄﺒﻮﻋﺎت‪ ،‬ﺑريوت‪-‬ﻟﺒﻨﺎن‪ ،‬ط‪ ،1992 ،1‬ص ‪.266‬‬ ‫)‪ (4‬أﺑﻮ ﻣﺤﻤﺪ ﻋﺒﺪ اﻟﻠﻪ ﺑﻦ ﻋﺒﺪ اﳌﺠﻴﺪ ﺑﻦ ﻣﺴﻠﻢ ﺑﻦ ﻗﺘﻴﺒﺔ اﻟﺪﻳﻨﻮري‬ ‫)‪276-213‬ﻩ(‪ ،‬ﻋﻴﻮن اﻷﺧﺒﺎر‪ ،‬ج‪ ،4‬دار اﻟﻜﺘﺎب اﻟﻌﺮيب‪ ،‬ﺑريوت‪-‬ﻟﺒﻨﺎن‪،‬‬ ‫ﻃﺒﻌﺔ ﻣﺼﻮرة ﻋﻦ ﻃﺒﻌﺔ دار اﻟﻜﺘﺐ اﳌﴫﻳﺔ ﺳﻨﺔ ‪ ،1925‬ص ‪.30‬‬ ‫)‪ (5‬اﻟﻜﻬﻒ‪ :‬اﻵﻳﺔ ‪.46‬‬ ‫)‪ (6‬اﻟﺸﺤﻴﺢ‪ :‬اﻟﺒﺨﻴﻞ‪.‬‬ ‫)‪ (7‬ﻣﺤﻤﺪ ﺑﻦ اﻟﺤﺴﻦ ﺑﻦ ﻣﺤﻤﺪ ﺑﻦ ﻋﲇ ﺑﻦ ﺣﻤﺪون )‪562-495‬ﻩ(‪،‬‬ ‫اﻟﺘﺬﻛﺮة اﻟﺤﻤﺪوﻧﻴﺔ‪ ،‬ﺗﺤﻘﻴﻖ إﺣﺴﺎن ﻋﺒﺎس وﺑﻜﺮ ﻋﺒﺎس‪ ،‬ج‪ ،2‬دار ﺻﺎدر‪،‬‬ ‫ﺑريوت‪-‬ﻟﺒﻨﺎن‪ ،‬ط‪ ،1996 ،1‬ص ‪ .388‬وﰲ‪ :‬اﺑﻦ ﻗﺘﻴﺒﺔ )ت ‪276‬ﻩ(‪ ،‬ﻋﻴﻮن‬ ‫اﻷﺧﺒﺎر‪ ،‬ج‪ ،3‬ص ‪.99‬‬ ‫)‪ (8‬اﻷﺣﻘﺎف‪ :‬اﻵﻳﺔ ‪.15‬‬ ‫)‪ (9‬اﻟﺪواداري )ت ﺑﻌﺪ ‪736‬ﻩ(‪ ،‬ﻛﻨﺰ اﻟﺪرر‪ ،‬ج‪ ،2‬ص ‪.153‬‬

‫‪Ä‬‬ ‫‪R @ @ @ CN R (* ¤@@ @cP @ @ £@ @ cP @ @ 0N @@ @ 6b@@ @ cS @ @ @ N @ @ @+P ¤@@ @ @ U @ @ @ ;N‬‬ ‫‪xR @ @ @ +O Tv@@ @ @D* N b@@ @ @~@@ @N @9 *3N (* N ¡R @ @ @ @ N @ @ @ @ D* O @ @ @ @ N @ @ @ @Â‬‬ ‫‪RN‬‬ ‫‪xQR @ @ @ @ @ @B* ¡@@ @£@ @ D* *3(* N @ @ m@R @ ~@S@ z@ @ D* Æ@R @ @ @ @ @JO H‬‬ ‫‪1‬‬ ‫‪xR @ @ @ Pm@@ @ N @ @ @ R @ @ @O´* @@ £@ @ @ @ @ @D* U yQ @ @ @ @ @ @ D* N&b@ @ @ cR @ @ @ ~@@N @ @6H‬‬ ‫‪O * O @ @ ~@@ P@|@ @ R @ @ JN H‬‬ ‫@‪Ä‬‬ ‫‪QR P @ @ @ @ @O´* P ¡@@ @ @£@ @ @ D* ¯ fN @ @ @ @S @ @ @ ³‬‬ ‫‪N * *3(* d@N @ @ @R @ @ ³‬‬ ‫‪N * @O @ ~@P@ {@ @ @ @JH‬‬ ‫‪xR @ @ F d@K @ @ @R @ @ ³‬‬ ‫ ‪xR @ @ @m@O @ @ 0H‬‬ ‫*&‪O M É@N @ @ @ @ @ @ CN Pv@@ @ @cR @ @ @ <N R @@ @ @ @ PE O @ @ @ @ @ N @ @ @ @ @CR N‬‬ ‫‪2‬‬ ‫@¡ ‪R N @ N @ @ P @@ /‬‬ ‫@‪xR @ @~@O @ {@ @ O @ @D* O @ @ @ @E b@@ N @ @ O @ @cR @ @JN µ b‬‬ ‫‪O @ @D‬‬

‫وﻋﲆ ﻗﴫ ﻫﺬه اﳌﻘﻄﻮﻋﺔ اﻟﺸﻌﺮﻳﺔ ﰲ ﺗﺮﻗﻴﺺ اﻷﻃﻔﺎل إﻻ أﻧﻬﺎ‬ ‫ﺗﺨﺘﺰل ﻛﻞ ﻣﺎ ﺳﺒﻖ وذﻛﺮﻧﺎه‪ :‬اﻟﺘﻮﻗﻊ ﻣﻦ ﺧﻼل ﻟﻔﻈﺔ‪) :‬ﻇﻨﻲ( اﻟﺴﺆدد‬ ‫ﻣﻦ ﺧﻼل أﻟﻔﺎظ )ميﻨﻊ‪ ،‬ﻳﱰع‪ ،‬ﻳﻔﺼﻞ‪ ،‬ﻳﻜﺸﻒ(‪ ،‬واﳌﻔﺎﺿﻠﺔ ﻣﻦ‬ ‫ﺧﻼل ﺻﻴﻐﺔ اﳌﺒﺎﻟﻐﺔ أﻓﻌﻞ ﰲ )أﻛﻤﻞ(‪ ..‬ﻟﻜﻦ أﻛرث ﻣﺎ ﻳﺸﺪ ﰲ ﻫﺬه‬ ‫"اﻟﱰﻗﻴﺼﺔ" ﻫﻲ ﺗﻠﻚ اﻟﻠﻔﻈﺔ اﻟﺒﺎﻟﻐﺔ اﻟﻮﻗﻊ اﻟﻌﻤﻴﻘﺔ اﻷﺛﺮ اﻟﺘﻲ مل‬ ‫ﻧﺘﻌﻮدﻫﺎ ﰲ اﻟﺸﻌﺮﻳﺔ اﻟﻌﺮﺑﻴﺔ إﻻ إن ﺧﺮﺟﺖ ﻣﻦ ﻓﻢ اﻣﺮأة ﻣﻌﱪة ﻋﻦ‬ ‫ﺷﻐﻔﻬﺎ ﺑﺮﺟﻞ ﻣﺎ؛ ﻟﻔﻈﺔ‪) :‬ﺣﺒﻴﺒﻲ( اﻟﺘﻲ ﺗﻈﻬﺮ رﻗﺔ وﺣﻘﻴﻘﺔ اﻹﻧﺴﺎن‬ ‫اﻟﻌﺮيب اﻟﻘﺪﻳﻢ اﻟﺘﻲ اﻧﻄﻤﺴﺖ أﻣﺎم أﻫﻮال اﻟﺼﺤﺮاء وإﻛﺮاﻫﺎت‬ ‫اﻟﻌﻴﺶ؛ ﻫﺬه اﻟﻠﻔﻈﺔ اﻟﺘﻲ ﺗﻨﺴﺦ ومتﺴﺦ ﻣﻘﻮﻟﺔ اﻟﺰﻳﺮ اﳌﻬﻠﻞ )ﻟﻨﺤﻦ‬ ‫أﻏﻠﻆ أﻛﺒﺎد ﻣﻦ اﻹﺑﻞ(‪ .‬وﻣﻦ اﻟﻌﺠﻴﺐ ﻛﻴﻒ أن ﻫﺬه اﻟﻠﻔﻈﺔ ﺗﻜﺮرت‬ ‫ﻏري ﻣﺎ ﻣﺮة ﰲ ﻣﻘﻄﻮﻋﺎت ﺷﻌﺮﻳﺔ أﺧﺮى ﺳﻨﺄيت ﻋﲆ ذﻛﺮﻫﺎ‪ ..‬وﻣﻊ ﻋﺒﺪ‬ ‫اﳌﻄﻠﺐ ﻣﺮة أﺧﺮى ﻧﻘﻒ ﻋﲆ ﺗﺮﻗﻴﺼﺔ ﻓﺮﻳﺪة ﻣﻦ ﺑﻴﺖ واﺣﺪ؛ ﺣﻴﺚ‬ ‫ﻳﻌﱪ ﻓﻴﻬﺎ اﻷب ﻋﻦ ﻣﻄﻤﺤﻪ اﻟﻨﻔﴘ اﻟﺪﻓني ﰲ أن ﻳﺘﺴﻴﺪ اﺑﻨﻪ ﻋﺒﺪ‬ ‫اﻟﻠﻪ ﻋﻨﺪﻣﺎ ﻳﻜﱪ‪ ،‬وﻳﻌﻘﺪ وﺟﻪ اﻟﺸﺒﻪ ﺑﻴﻨﻪ وﺑني ﺳﻴﺪ ﻗﺮﻳﺶ ﻋﴫﺋﺬ‬ ‫ﻗﻴﺲ ﺑﻦ ﻋﺪي؛ ﰲ ﻗﻮﻟﻪ‪:‬‬ ‫‪¥v@@ @ < @@ @ @ @+ @@ @ z@ @ @£@ @ @B y@@ @ @ @ @ @ @D* ¯ @@ @ @ @F&b@ @ @ @ C‬‬ ‫*(¶ ‪¥v@@ @ @ @ @ @ D* ¤@@ @ @ @ -&b@ @ @ @ @J @@ @ g@ @ @£@ @ @+ @@ @ @ @ ¹‬‬ ‫ﻳﺮﻳﺪ ﻗﻴﺲ ﺑﻦ ﻋﺪي ﺑﻦ ﺳﻌﺪ ﺑﻦ ﺳﻬﻢ ﺑﻦ ﻋﻤﺮو ﺑﻦ ﻫﺼﻴﺺ ﺑﻦ‬ ‫ﻛﻌﺐ ﺑﻦ ﻟﺆي ﺑﻦ ﻏﺎﻟﺐ‪ ،‬وﻛﺎن ﺳﻴﺪ ﻗﺮﻳﺶ ﰲ وﻗﺘﻪ‪.3‬‬ ‫وإذن؛ ﻓﺄﺷﻌﺎر ﺗﺮﻗﻴﺺ اﻷﻃﻔﺎل ﺗﻘﻒ ﻋﲆ ﻫﻀﺒﺔ اﻟﺘﻮﻗﻊ واﻟﺘﻤﻨﻲ‬ ‫اب اﻟﺪﻋﺎء واﻟﺘﱪﻳﻚ‬ ‫اﳌﺴﺘﻘﺒﲇ ﻛام ﺳﺒﻖ وذﻛﺮﻧﺎ؛ ﻛام أﻧﻬﺎ ُﺗﻄﺎول أﴎ َ‬ ‫واﻟﺮﺟﺎء؛ وﺗﺘﺰﻳﻦ ﺑﺄﻟﻔﺎظ ﻗﺮﻳﺒﺔ ﻗﺮﻳﻨﺔ ﺑﺎﻟﻐﺰل ﻣﻨﻬﺎ إﱃ اﳌﺪح‪ ،‬ﻛام ﰲ‬ ‫ﻗﻮل أﺣﺪ اﻷﻋﺮاب وﻫﻮ ﻳﺮﻗﺺ اﺑﻨﻪ‪:‬‬ ‫‪ R @ @ @ £@ @ @ A 4b@@ @ @ @ @ @ @ @ @ @ + @@ @ @ @ @ Db@@ @ @ @ @ E e4‬‬ ‫‪S b@@ @ @ @ @ @ J‬‬ ‫‪R‬‬ ‫‪ R @ @ @ @ £@ @ @ @ Fv@@ @ @ @JH @@ @ @ c@ @ @ @p@ @ @ @J @@ @ @ @ @ @´ 4b@@ @ @ @ @ @ @ @ @ @ @ @ +‬‬ ‫‪O @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ F b@@ @ @ @ @ @ @ @´ Áx@@ @ @ @ @ @ @ @ @ @ @ @ @ C3‬‬ ‫@‪ R @ @ @ @ £@ @ @ @ A ix‬‬ ‫*&‪ R @ @ @ @ @ @ £@ @ @ @ @ @ 1*H&* Rh@@ @ @ @ @+x@@ @ @ @ @= 4¡@@ @ @ @ @ @ F y@@ @ @ @ @ @ @ @ @ @/‬‬ ‫‪ @@ @ £@ @ @0*¡@@ @ F Rh@@ @ @ @ Bx@@ @ @ @ ~@ @ @ @ 7&* b@@ @ @ @ ´ @@ @ @ @ @/¡@@ @ @ @ @D*H‬‬ ‫‪4‬‬ ‫‪ R @ @ @ @ @ JÄ@@ @ @ @ @- Mv@@ @ @ @ @£@ @ @ @ @ + Í@P @ @ @ @ @ @ @ @ < 4b@@ @ @ @ @ @ @ @ @ @ @ @ J2‬‬

‫‪ ƩǃǷŨǕŌǶ ǚǷǜƦǕŌǶ ŦōǜǤLjŨǕōş dzǔǘżǙ ƈōƪƗŐ‬‬ ‫‪ ǼƃƒŴǕŌ ƱƛǷǕŌ dzƦżǕ ǛǙ ǓǂŨǜũ ɑǒōǙȓŌǶ‬‬ ‫‪ ǒƋƮǕŌ ŝǕŌǷǃ ƃǾƪş ƃŽ ǻǕŒ ǣŞƖǿ ǼƅǕŌ‬‬ ‫‪ƂǷǕǷǘǕōş dzǔƟōƲǘǕŌǶ DzƉƁōƲǘǕŌ ǻǕŒ DzƈǷǤƖǘǕŌ‬‬ ‫‪ dzŞƞǥ ǻǔƫ Ʊǂũ ǒōƲƣȏŌ ƙǾǃƉũ ƈōƪƗŐ‬‬ ‫‪ ɑōǝƉljƄǶ ǁŞƓ ōǘlj ǽǔŞǂŨƒǘǕŌ ǽǜǘŨǕŌǶ ƩǃǷŨǕŌ‬‬ ‫‪ɴ‬‬ ‫‪ɳ‬‬ ‫‪ŋōŵƉǕŌǶ LJǿƉŞŨǕŌǶ ŋōƫƃǕŌ ŜŌƉƓŐ ǒǶōƢ‬‬ ‫‪ũ ōǤǝŐ ōǘlj‬‬ ‫ ‪ ǓƞƳȏŌ ǻǂŞũ ŦōǤǙȏŌ ŦōƚǾǃƉũ ǚŐ ƃǂŨƪǝ‬‬ ‫‪ɰ‬‬ ‫‪ɑƉǾƮƚǕŌ ǽǂǔŨǘǕŌ ƑƲǝ ǽƳ ŌƉŭŐ ƭǔşȏŌǶ‬‬

‫ﻻ ﻳﻀﺎﻫﻴﻪ ﰲ ﺣﻴﺎة اﻹﻧﺴﺎن اﳌﺎدﻳﺔ إﻻ ﺣﺐ اﳌﺎل؛ وﻫﻨﺎ ﻧﺮى ﻛﻴﻒ‬ ‫ﺟﻌﻞ اﻷﻋﺮايب وﺟﻪ اﺑﻨﻪ ﰲ ﳌﻌﺎﻧﻪ واﺳﺘﺪارﺗﻪ أﺷﺒﻪ ﺑﺪﻳﻨﺎر ذﻫﺒﻲ‬ ‫ﻳﻘﺒﺾ ﻋﻠﻴﻪ اﻟﻘﺎﺑﺾ َﻳ ْ ِﱪﻳ ِﻪ وﻳﻠﻤﻌﻪ وﻳﺘﺨﺬه ذﺧﺮاً ﳌﺴﺘﻘﺒﻞ أﻳﺎﻣﻪ؛‬ ‫ﻫﺬه اﳌﺸﺎﺑﻬﺔ ‪-‬ﰲ اﻋﺘﻘﺎدﻧﺎ‪ -‬ﺷﺪﻳﺪة اﻟﻐﺮاﺑﺔ إﻻ أﻧﻬﺎ ﺗﺮﺗﺒﻂ ﺑﺎﻟﺘﺼﻮﻳﺮ‬ ‫اﻟﻮاﻗﻌﻲ ﰲ أﺑﺴﻂ ﻣﺤﺎﻛﺎة ﻟﻪ؛ ووﺟﻪ اﻟﺸﺒﻪ ﻓﻴﻬﺎ ﻫﻮ أن ﺣﻨﻮ اﻵﺑﺎء‬ ‫ﻋﲆ أﺑﻨﺎﺋﻬﻢ وﻣﺪاﻋﺒﺘﻬﻢ ﻟﻬﻢ وﺗﺮﺑﻴﺘﻬﻢ ﻋﲆ أﻛﺘﺎﻓﻬﻢ وﺗﻠﻤﺴﻬﻢ‬ ‫ﻟﻮﺟﻮﻫﻬﻢ ﻫﻮ أﺷﺒﻪ ﺑﺘﻠﻤﺲ وﺟﻮه اﻟﺪﻧﺎﻧري؛ ﻓﺈذا ﻛﺎﻧﺖ اﻟﺪﻧﺎﻧري ﻗﺎدرة‬ ‫ﻋﲆ اﺳﺘﺪرار ﻋﺎﻃﻔﺔ اﻟﺮﺟﻞ اﻟﻌﺮيب ﻓﺄوﱃ ﺑﻌﺎﻃﻔﺘﻪ ﺗﺠﺎه وﻟﺪه أن‬ ‫ﺗﻜﻮن أﻛرث ﺗﺄﺟﺠﺎً وﻫﻴﺎﺟﺎً‪.‬‬ ‫ﻻ ﺷﻚ أﻧﻪ ﻟﻴﺲ ﻫﻨﺎك ﺗﻜﺎﻓﺆ ﺑني ﻗﻴﻤﺔ اﻟﻮﻟﺪ وﻗﻴﻤﺔ اﳌﺎل؛ وﻣﻦ‬ ‫مثﺔ ﻓﺈن اﳌﺸﺎﺑﻬﺔ اﻟﺘﻲ ذﻛﺮﻧﺎﻫﺎ ﻻ ﺗﻘﻮم ﻋﲆ أﺳﺎس اﳌﻄﺎﺑﻘﺔ ﰲ‬ ‫اﻟﻘﻴﻤﺔ وإمنﺎ ﻋﲆ أﺳﺎس اﳌﻘﺎرﺑﺔ ﰲ اﻟﺘﺼﻮﻳﺮ‪ ..‬وﻟﻮﻻ وﺟﻮد ﻫﺬه‬ ‫اﳌﺸﺎﺑﻬﺔ ﺑﺎﻟﻘﻮة واﻟﻔﻌﻞ ﳌﺎ اﻟﺘﻘﻄﻬﺎ اﻟﺬﻛﺮ اﻟﺤﻜﻴﻢ ووﻇﻔﻬﺎ ﺑﺸﻜﻞ‬ ‫أﻛرث ﺗﻌﻤﻴ ًام ورﻫﻨﻬﺎ ﺑﺎﻟﺰﻳﻨﺔ؛ ﰲ ﻗﻮﻟﻪ ﻋﺰ وﺟﻞ‪) :‬ا ْﻟ َام ُل َوا ْﻟ َﺒﻨ َ‬ ‫ُﻮن ِزﻳ َﻨ ُﺔ‬ ‫ا ْﻟ َﺤ َﻴﺎ ِة اﻟﺪﱡ ْﻧ َﻴﺎ(‪ ..5‬وﻟﻮﻻ وﺟﻮدﻫﺎ ﳌﺎ اﻧﺘﴩت ﰲ أﺷﻌﺎر ﺗﺮﻗﻴﺺ اﻷﻃﻔﺎل‬ ‫ﻓﺼﺎدﻓﻨﺎ ﻣﻨﻬﺎ ﻏري ﻣﺎ منﻮذج ﻳﻜﺮس ﻫﺬا اﻟﺘﺤﻠﻴﻞ اﻟﺬي ﻧﺰﻋﻤﻪ؛ ﻳﻘﻮل‬ ‫أﻋﺮايب آﺧﺮ وﻗﺪ رﻗﺺ اﺑﻨﺎً ﻟﻪ‪:‬‬ ‫‪6‬‬ ‫‪ R DN bNE q£p~{D* d0 O‬‬ ‫*&‪S c0‬‬ ‫‪ R DN bFN . x D* : *3 vB‬‬ ‫‪7‬‬ ‫*(‪ R DN *Nv+N O DN wR +N 2*4&* *3‬‬

‫إن ﻫﺬا اﻹﺣﺴﺎس اﳌﻀﺎﻋﻒ ﺑﺎﻷﺑﻮة ﻋﻨﺪ اﻹﻧﺴﺎن اﻟﻌﺮيب اﻟﻘﺪﻳﻢ‪،‬‬ ‫إن اﻟﺒﻴﺖ اﻷﺧري ﻣﻦ ﻫﺬه اﻟﱰﻗﻴﺼﺔ ﻳﺸﺪد ﻋﲆ ﺣﺐ اﻟﻮﻟﺪ اﻟﺬي وﺑﻬﺬه اﻟﺮﻗﺔ اﻟﺘﻲ رأﻳﻨﺎﻫﺎ‪ ،‬ﻫﻮ ﻣﺎ ﻧﻌﺘﻘﺪه ﻗﺪ َﻓ ﱠﺠ َﺮ ِﻏ ْﻠ َﻈ ًﺔ ﻣﻮازﻳﺔ‬ ‫اﻟﺸﻌﺮ ‪baytelshear‬‬ ‫ﺑﻴﺖ ِ‬

‫‪83‬‬

‫ ‪şœśĘĥŒ‬‬

‫اﻟﻔﺮﺣﺔ اﻟﻤﻐﻤﻮرة‬ ‫ﻓﻲ اﻟﺘﺮاث اﻟﺸﻌﺮي اﻟﺠﺎﻫﻠﻲ!‬ ‫إن اﻟﺸﻌﺮﻳﺔ اﻟﺠﺎﻫﻠﻴﺔ اﻟﺘﻲ ُوﺻﻔﺖ ﻣﻦ ِﻗ َﺒﻞِ ﺑﺸﺎر ﺑﻦ ﺑﺮد وﻫﻮ‬ ‫د>ﻳﺎﺳﻴﻦ ﺣﺰﻛﺮ‬ ‫ﻋﺒﺎﳼ ﺑﻘﻮﻟﻪ‪:‬‬ ‫اﻟﴪاب اﻟﺬي ﻳﺤﻤﻞ *(‪fK @ @ JS xP @ @ ~@@N @}@ @ EO f@@ c@ @~@ @}@ @= b@@ @ c@ ~@ }@ = b@@ @ E *3‬‬ ‫ﰲ َﺻ َﻬﺪ اﻟﺼﺤﺮاء اﻟﻘﺎﺣﻠﺔ؛ ﺣﻴﺚ ﻻ أﻓﻖ ﻏري ﱠ‬ ‫‪b@@Ev@@D* x@@ @ @- H&* @@z@ @~@{@D* eb@@m@ 0 b@@ @ @g@G‬‬ ‫وﻋﺪاً ﻛﺎذﺑﺎً ﺑﺎﳌﺎء‪ ،‬وﻳﻌﺪ ُﺑﻬﺘﺎﻧﺎ ﺑﺎﻟﻜﻸ ﻟﻠﺪواب اﻟﺘﻲ ﺗﻌﻮدت اﻟﻨﺰر‬ ‫اﻟﻴﺴري ﻣام ُﻳﺒﻘﻴﻬﺎ وﻻ ُﻳﺴﻤﻨﻬﺎ‪ ..‬ﰲ ﻫﺬه اﻟﻌﺰﻟﺔ اﻟﺘﻲ ﻛﺮﺳﺖ ﻗﻄﻴﻌﺔ‬ ‫اﻹﻧﺴﺎن اﻟﻌﺮيب اﻟﻘﺪﻳﻢ واﺧﺘﺼﺎم اﻟﺨﻴﺎم ﻣﻊ ﺑﻌﻀﻬﺎ ﺣﺪ اﻟﺘﺸﺘﺖ ﻻ ﺗﻨﺒﺌﻚ إﻻ ﺑﺎرﺗﻔﺎع ﻣﺴﺘﻮى اﻟﻐﻀﺐ ﰲ ﺻﺪور اﻟﻌﺮب‪ ..‬ﺣﺪ أن‬ ‫ﰲ أﺻﻘﺎع اﻷرض‪ ..‬وﺣﻴﺚ ﻳﺼﻌﺐ ﺑﻘﺎء اﻟﻘﺒﻴﻠﺔ ﰲ وﺣﺪﺗﻬﺎ اﻟﻜﻠﻴﺔ ُﻣ َﻬ ْﻠ ِﻬ ًﻼ أﺷﻬﺪ ﻧﻔﺴﻪ ﻋﻠﻴﻪ ﺑﻐﻠﻈﺔ اﻟﻜﺒﺪ وﻗﺴﺎوة اﻟﺮوح ﰲ ﻗﻮﻟﻪ‪:‬‬ ‫ﺑﺎﻟﻨﻈﺮ إﱃ ﺣﺎﺟﺘﻬﺎ "اﻟﺠامﻋﻴﺔ" ﻣﻦ اﳌﺎء واﻟ ـﺰاد‪ ،‬ﺣﻴﺚ ﻛﻞ ﻫﺬا ‪Mv@@ @ @ 0N N&* ¢@@ @ @<N ¤@@ P @ @cR @ @FN °HN b@@ N @ @£R @ @N @ @<N ¢@@ N @ @cR @ @JO‬‬ ‫‪N‬‬ ‫‪P @@ @ @ @ +P P(°* N @@ @ @ PE K*2b@@ @ @ @cN @ @ @ @ CR &* @O @ @ @ N @ @ @ @=R N&* O @@ @p@R @ @ N @ @ DN‬‬ ‫وأﻛرث‪ ..‬اﻧﻄﺒﻌﺖ ﺳﻠﻮﻛﻴﺎت اﻟﺬات اﻟﻌﺮﺑﻴﺔ ﺑﴚء ﻣﻦ اﻟﻨﻔﻮر ﻣﻦ اﻵﺧﺮ‬ ‫واﻟﺤﺬر اﻟﺪاﺋﻢ واﳌﺴﺘﻤﺮ ﻣﻦ ﻏﺰوات اﻟﻘﺒﺎﺋﻞ ﻋﲆ ﺑﻌﻀﻬﺎ وﻫﺠامت‬ ‫‪ ...‬ﻫﺬه اﻟﺸﻌﺮﻳﺔ اﻟﻐﺎﺿﺒﺔ مل ُﺗﺘﺢ اﳌﺴﺎﺣﺔ اﻟﻜﺎﻓﻴﺔ ﻟﻠﺸﻌﺮﻳﺔ اﻟﻔﺮﺣﺔ‬ ‫اﻟﺼﻌﺎﻟﻴﻚ اﳌﺒﺎﻏﺜﺔ؛ ﺣﺪ اﺣﺘﻔﺎظ اﻟﺮﺟﻞ ﺑﺴﻴﻔﻪ ﻻ ﻳﺒﻌﺪه ﻋﻨﻪ ﺗﺤﺖ‬ ‫ﺑﺎﻟﻈﻬﻮر؛ ذﻟﻚ أﻧﻬﺎ اﺳﺘﺄﺛﺮت ﺑﺎﻟﺒﺤﻮر اﻟﻜﺜرية اﳌﻘﺎﻃﻊ واﻷﻏﺮاض‬ ‫أي ﻇﺮف ﻛﺎن‪ ،‬وﺣﺪ ﺗﻘﺮﻳﺐ اﻟﺨﻴﻮل ﻗﺪر اﳌﻤﻜﻦ ﻟﺘﻜﻮن ﺟﺎﻫﺰة ﻋﻨﺪ‬ ‫اﳌﺘﺰﻧﺔ اﻟﺮزﻳﻨﺔ‪ ،‬ﻓﻴام رﻛﺒﺖ أﺷﻌﺎر ﺗﺮﻗﻴﺺ اﻷﻃﻔﺎل ﺑﺤﻮراً ﴎﻳﻌﺔ‬ ‫أي ﺧﻄﺮ‪ ،‬وﻣﻦ ذﻟﻚ ﻧﺠﺪ ﻗﻮل ﻟﻴﲆ اﻷﺧﻴﻠﻴﺔ‪:‬‬ ‫ﻗﻠﻴﻠﺔ اﳌﻘﺎﻃﻊ ﺗﺘامﳽ ﻣﻊ ﻏﻨﺎﺋﻴﺘﻬﺎ‪ ..‬ﻛام اﺳﺘﺄﺛﺮت اﻷوﱃ مبﺤﺎﻓﻞ‬ ‫‪ @@ @ -¡@@ £@ + @@ @ ~@ @ @6H @@ @ £@ @ @³* b@@ @ @ @ @+4 ¡@@ @ @ @B‬‬ ‫‪ b@@ @ E¡@@ @ ½ @@ @ @ @ @ s@ @ @ J 45‬اﻟﻘﻮل أﻣﺎم اﻟﺮﺟﺎل ﻧﻈﺮاً ﻟﺮﺻﺎﻧﺔ اﻟﻘﻮل ﻓﻴﻬﺎ‪ ،‬وﺑﻘﻴﺖ اﻟﺜﺎﻧﻴﺔ رﻫﻴﻨﺔ‬ ‫‪L fL @ @ @ @ @ @ @ @ @ @ ~@ @ @ @ @ 6&*H‬‬ ‫اﻟﺨﻴﺎم ﻻ ﺗﺘﻌﺪى ﻣﺴﺎﻣﻊ اﻷﻃﻔﺎل اﻟﺬﻳﻦ ﺗﻠﻘﻰ ﻋﲆ ﻣﺴﺎﻣﻌﻢ ﰲ ﻏﻴﺎب‬ ‫ِ‬ ‫إن ﻫﺬه اﻟﺒﻴﺌﺔ اﳌﺸﺤﻮﻧﺔ ﺑﺎﻟﺘﻮﺗﺮ ﻫﻲ اﻟﺘﻲ أﺳﻬﻤﺖ ﰲ ﺧﻠﻖ أﺷﻬﺮ وﻋﻴﻬﻢ ﺑﻬﺎ‪.‬‬ ‫اﻟﺤﺮوب اﻟﻌﺮﺑﻴﺔ اﻟﺘﻲ اﻣﺘﺪت ﰲ اﻟﺰﻣﺎن إﱃ درﺟﺔ ﻗﻄﻌﺖ داﺑﺮ ﺑﻌﺾ‬ ‫اﻟﻌﻮاﺋﻞ ﻓﻠﻢ ﻳﺒﻖ ﻟﻬﻢ َﻋ ِﻘ ٌﺐ ُﻳﺬﻛﺮ‪ ،‬وﻫﻲ اﻟﺘﻲ ﺟﻌﻠﺖ اﻟﺬات اﻟﻌﺮﺑﻴﺔ وﻋﲆ اﻟﺮﻏﻢ ﻣﻦ ذﻟﻚ ﻓﻬﻲ ﺗﻌﱪ ﻋﻦ ﺣﺎﻟﺔ إﻧﺴﺎﻧﻴﺔ ﻧﺎدرة‪ ،‬وﻟﺤﻈﺔ‬ ‫ﻣﴩﻗﺔ ﻣﻦ ذاﻛﺮة اﻟﻌﺎﻃﻔﺔ اﻟﻌﺮﺑﻴﺔ اﻟﺠﺎﻫﻠﻴﺔ؛ ﻫﻲ أﺷﻌﺎر ﻣﺤﻤﻠﺔ‬ ‫ﺗﺒﻘﻰ ﻋﲆ ﺷﻔري اﻟﻐﻀﺐ اﻟﺬي ﻻ ﻳﺤﻤﺪ ﻋﻘﺒﺎه‪.‬‬ ‫ﻣﺎ ﻳﺴﻌﻨﺎ أن ﻧﻘﻮﻟﻪ ﻣﻦ ﺧﻼل ﻫﺬا اﻟﺘﻘﺪﻳﻢ؛ ﻫﻮ أن "ﺟﺎﻫﻠﻴﺔ" اﻹﻧﺴﺎن ﺑﺎﻟﺘﻜﻬﻨﺎت واﻟﻈﻨﻮن واﻟﺘﻮﻗﻊ واﻵﻣﺎل؛ ﺗﻨﺘﻘﻞ ﻣﻦ ﻟﺤﻈﺔ اﻟﻮﺻﻒ‬ ‫اﻟﻌﺮيب ﻛﺎﻧﺖ ﺟﺎﻫﻠﻴﺔ ﺣﺰﻳﻨﺔ إﱃ ﺣﺪ ﺑﻌﻴﺪ‪ ،‬مل ﺗﻘﺘﺤﻤﻬﺎ اﺑﺘﺴﺎﻣﺎت اﻟﺠﺴﺪي اﻟﺬي ﻳﺸﺒﻪ إﱃ ﺣﺪ ﺑﻌﻴﺪ ﻗﻮاﻟﺐ اﻟﻐﺰل اﳌﺸﻬﻮرة إﱃ‬ ‫اﳌﻔﺎﺧﺮة واﳌﻔﺎﺿﻠﺔ ﺑﺎﳌﻮﻟﻮد؛ وﻟﻜﻨﻬﺎ ﻛﻠﻬﺎ ﺗﻘﻒ ﻋﻨﺪ ﻟﺤﻈﺔ ﻋﻘﺪ‬ ‫اﻟﻔﺮح إﻻ ﻟِ َامﻣﺎً‪.‬‬ ‫وأﻧﺖ ﺗﻘﺮأ ﻟﻬﺬه اﻟﺠﺎﻫﻠﻴﺔ ﰲ ﺻﺪور اﻷﻣﻬﺎت ﺳﺘﺤﺲ ﺑﻬﺬا اﻟﺘﻮﺗﺮ‪ ،‬اﻵﻣﺎل ﻋﲆ ﻫﺬا اﳌﻮﻟﻮد ومتﻨﻲ ﻣﺴﺘﻘﺒﻞ زاﺧﺮ ﻟﻪ ﻣﲇء ﺑﺎﻟﺴﺆدد‬ ‫اﻟﺼ َﻬﺪ‪ ..‬ﻏري أﻧﻚ ﻟﻮ ﺻﺎدﻓﺖ واﻟﺴﻴﺎدة؛ وﻗﺪ "روي أن ﻋﺒﺪ اﳌﻄﻠﺐ ﺑﻦ ﻫﺸﺎم أﺗﺘﻪ اﻣﺮأﺗﻪ َﻧ ِﺘﻴ َﻠﺔ‬ ‫وﺳ َﺘﺘ َ ﱠ‬ ‫َﴩ ُب ﻫﺬا اﻟﺤﺰن‪ ،‬وﺳﻴﺤﺮﻗﻚ ذﻟﻚ ﱠ‬ ‫َ‬ ‫ﺑﻌﺾ ﻣﻘﻄﻮﻋﺎت "ﺷﻌﺮ ﺗﺮﻗﻴﺺ اﻷﻃﻔﺎل" ﺳﺘﺤﺲ ﺑﻔﺮﺣﺔ ﻣﻔﺎﺟﺌﺔ اﻟﻨُﻤﺮﻳﺔ ﺑﻮﻟﺪه اﻟﻌﺒﺎس وﻫﻮ رﺿﻴﻊ ﻓﻘﺎﻟﺖ‪ :‬ﻳﺎ أﺑﺎ اﻟﺤﺎرث‪ ،‬ﻗﻞ ﰲ ﻫﺬا‬ ‫اﻟﻐﻼم ﻣﻘﺎﻟﺔ واﺣﺪة‪ ،‬ﻓﺠﻌﻞ ﻳﺮﻗﺼﻪ‪ ،‬وﻳﻘﻮل‪:‬‬ ‫واﺑﺘﺴﺎﻣﺔ ﺗﺘﻠﺒﺴﻚ ﻣﻦ ﺣﻴﺚ ﻻ ﺗﺪري‪.‬‬

‫‪82‬‬

‫اﻟﻌﺪد ‪ ، 71‬أﻛﺘﻮﺑﺮ ‪2018‬‬

‫‪ PR x@ @ @ @ @ @ R @ @ @ @ @ @-N N @ @ @ @ @ @ @ @ @ JxP @ @ @ @ @ @ @ @ @ +R (°* Px@ @ @ @ @ @ @O @ @ @ @ @ FR b@@ @ @ @ @ AN‬‬ ‫‪·b@@ @ @ @ @ N @ @ @ @ @ EN ¯P ¤@@ @ @ @ @BP vR @ @ @ @ @ ~@@ @ @P @ @8 N @ @ @ @ ~@@ @ R@ @ }@ @ @ @ AN‬‬ ‫@‪ O vR @ @ @ @ @ @ @ @ @ @ @ @ © ¤‬‬ ‫‪P N @ @ @ @ @ @ @ P/b@@ @ @ @ @ @ @-N Ä@R P @ @ @ @ @ @ @ @ @ @ @ gN @ @ @ @ @ @ @ @ @ @ @ R<*NH‬‬ ‫‪P É@N @ @ @ @ @ @ @ P @ @ @ @ @ @ @ @D* oN b@@ @ @ @ @ @ @ @ @ @ @ @ @-N Kb@ @ @ @ @ @ @ @ @ @ cP @ @ @ @ @ ~@@ @R @ @ {@ @ @ @ @ EO‬‬ ‫‪ @M @ @ @ R @ @ @ EO @O @ @ @z@ @ @ R @ @ @ ~@@N @ @7 7xM @ @ @ @ ~@@ @R @ @|@ @ @ @ FN @O @ @ @ @ @ @ @ @ @ @ +R *NH‬‬ ‫‪P b@@ @ @ @ @ @ @ @ @ @ @ N @ @ @ @ @ @ @ @ @ @ @ N/NH M$b@@ @ @ @ @ @ @ @ £N @ @ @ @ @ @ @ @ @~@@ @ @ @ @P @ @ @ 9 ¯P‬‬ ‫‪M R&b@ @ @ @ @ @ @ @ ~@@ @ @ N@ @ @ @ 7 Pf@ @ @ @ @ @ @ @ @ @ N @ @ @ @ @ @ @ @ @ @ AR 4P ¯P N *N2‬‬ ‫‪8‬‬ ‫*‪P *NHyS @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ D* Nh@@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ BR HN Kb@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ PE%‬‬

‫إن اﻟﺘﻄﻮر اﻟﺤﻀﺎري اﻟﺬي ﻋﺮﻓﺘﻪ اﻷﻧﺪﻟﺲ‪ ،‬واﻟﺒﺬخ ﰲ اﻟﻌﻴﺶ؛ ﺟﻌﻼ‬ ‫ﻣﻦ اﻟﺮﻏﺒﺔ اﻹﻧﺴﺎﻧﻴﺔ واﻟﺮؤﻳﺔ اﻟﺠامﻟﻴﺔ ﺗﺘﺠﻪ ﻧﺤﻮ اﺳﺘﺨﺪام اﻷﺷﻴﺎء‬ ‫وإﻋﻄﺎﺋﻬﺎ أﻟﺴﻨﺔ ﺣﺘﻰ ﺗﻘﻮل ﻣﻦ ﰲ ﺧﻮاﻃﺮ أﺻﺤﺎﺑﻬﺎ‪ ..‬إﻧﻬﺎ ﻋﻤﻠﻴﺔ أﺷﺒﻪ‬ ‫ﺑﺈﺣﻴﺎء اﻟﺠﻮاﻣﺪ وﺑﺚ اﻟﺮوح ﰲ ﻛﻞ ﻣﺎ ﻟﻴﺲ ﻓﻴﻪ روح؛ وﻋﲆ اﳌﺴﺘﻮى‬ ‫اﻟﺸﻌﺮي ﻛﺎﻧﺖ ﻫﺬه اﻟﻌﻤﻠﻴﺔ ﺗﻌﺰز ﻣﻦ ﻣﺴﺘﻮى اﻻﺳﺘﻌﺎرات اﻟﺒﻼﻏﻴﺔ؛‬ ‫وﻗﺪ ﻛﺎﻧﺖ ُﺗ َﻮ ﱠﻇ ُﻒ ﺑﺎﻟﺘﻨﺎﺳﺐ ﻣﻊ أﻏﺮاض ﻣﺨﺘﻠﻔﺔ وﺗﺘﻠﺒﺲ ﺻﻔﺎت ﻫﺬه‬ ‫اﻷﻏﺮاض‪ ،‬وﻟﻌﻠﻨﺎ ﻧﺬﻛﺮ اﻟﻨﺘﻔﺔ اﻟﺴﺎﺋﺮة اﻟﺘﻲ أﻟﻘﺘﻬﺎ وﻻدة ﺑﻨﺖ اﳌﺴﺘﻜﻔﻲ‪،‬‬ ‫وﻧﻘﺸﺘﻬﺎ ﻋﲆ ﻃﺮف وﺷﺎﺣﻬﺎ‪:‬‬ ‫*&‪·b@@ @ @ @ @ @ @ @ @ @ @D q@@ @ @ @ @ @ @ @ @ ~@ @ @ @ @ 8&* Ñ*H b@@ @ @ @ @ @ @ @ @ @F‬‬ ‫‪b@@ @ @£@ @- @@ @ @ @ @£@ @ @ @ @ -&*H ¤@@ @g@ @ £@ @ ~@ @ {@ @ E ¤@@ @ @ @~@ @ @ @ {@ @ @ @ E&*H‬‬ ‫*& ‪¥v@@ @1 @@ p@ @ ~@ @ 8 @@ @ @E ¤@@ @ @ @ ~@ @ 7b@@ @< @O @ @ @ @ U @ @ @ @ @ EN‬‬ ‫‪b@@ @ @£@ @ @ @g@ @~@ @{@ @J @@ @ @ @E ¤@@ @ g@ @ @ @ @ @c@ @ @BO ¤@@ @ @ @ @ @ @ @ @ @ <&*H‬‬ ‫ﻟﻘﺪ ﺣﻤﻠﺖ اﳌﺒﺎﻫﺎة أﺣﻼم وآﻣﺎل أﺻﺤﺎﺑﻬﺎ ﺣﺘﻰ ﺑﻌﺪ وﻓﺎﺗﻬﺎ ﺑﻘﺮون‬ ‫ﻋﺪﻳﺪة؛ ﻣﺎزاﻟﺖ ﺗﺤﻔﻞ ﺑﺎﻟﺤﻴﺎة واﻟﺤﺮﻛﻴﺔ‪ ،‬ﺣﺪ أﻧﻚ إذا ﻋﱪت ﺳﺎﺋﺤﺎً‬ ‫ﻣﻦ ﻗﴫ ﻏﺮﻧﺎﻃﺔ ﻣﺜ ًﻼ‪ ،‬ﺳﺘﺠﺪ اﺑﻦ زﻣﺮك وﻟﺴﺎن اﻟﺪﻳﻦ ﺑﻦ اﻟﺨﻄﻴﺐ‬ ‫ﻳﻨﺎدﻳﺎﻧﻚ ﻣﻦ ﻛﻞ ﻗﻮس وﻃﺎق‪ ،‬وﺳﺘﺠﺪ أرواﺣﺎً ﻻ ﻣﺘﻨﺎﻫﻴﺔ ﻣﻦ اﻟﺸﻌﺮاء‬ ‫ﻣﺤﻠﻘﺔ ﰲ أﻗﺒﻴﺘﻬﺎ وأروﻗﺘﻬﺎ‪ ..‬ﺣﻴﺚ ﻳﺘﻌﺎﻧﻖ اﻟﻨﻘﺶ ﺑﺎﻟﺘﻮرﻳﻘﺎت وﻳﻘﺪﻣﺎن‬ ‫ﻟﻠﻌﺎمل ﻓﺎﻛﻬﺔ اﻟﺸﻌﺮ اﳌﻘﻄﻮﻓﺔ ﻣﻦ ﺟﻨﺔ ﺧﻠﺪ اﻟﺸﻌﺮاء‪.‬‬

‫اﻟﻤﺼﺎدر واﻟﻤﺮاﺟﻊ‪:‬‬

‫)‪ (1‬ﺗﺼﻮل‪ :‬ﺗﻬﺠﻢ‪.‬‬ ‫)‪ (2‬رﻣﺎة اﻟﺴﻬﺎم‪.‬‬ ‫)‪ (3‬اﺑﻦ اﻟﺤﺪاد‪ ،‬دﻳﻮان‪ ،‬ﺗﺤﻘﻴﻖ وﺟﻤﻊ وﴍح ﻳﻮﺳﻒ ﻋﲇ اﻟﻄﻮﻳﻞ‪ ،‬دار‬ ‫اﻟﻜﺘﺐ اﻟﻌﻠﻤﻴﺔ‪ ،‬ﺑريوت‪ ،‬ط‪ ،1990 ،1‬ص ‪.155‬‬ ‫)‪ (4‬اﺑﻦ زﻣﺮك‪ ،‬دﻳﻮان‪ ،‬ﺟﻤﻊ اﳌﻠﻚ ﻳﻮﺳﻒ اﻟﺜﺎﻟﺚ‪ ،‬ﺗﺤﻘﻴﻖ ﻣﺤﻤﺪ ﺗﻮﻓﻴﻖ‬

‫اﻟﻨﻴﻔﺮ‪ ،‬دار اﻟﻐﺮب اﻹﺳﻼﻣﻲ‪ ،‬ﺑريوت‪ ،‬ط‪ ،1997 ،1‬ص ‪.125‬‬ ‫)‪ (5‬اﳌﺼﺪر ﻧﻔﺴﻪ‪ ،‬ص ص ‪.26-25‬‬ ‫)‪ (6‬ﻛﻨﺎﻳﺔ ﻋﻦ اﻟﻨﺎﻓﺬة‪.‬‬ ‫)‪ (7‬اﺑﻦ ﻧﴫ ﻣﻠﻚ ﻏﺮﻧﺎﻃﺔ‪.‬‬ ‫)‪ (8‬اﺑﻦ زﻣﺮك‪ ،‬ﻣﺼﺪر ﺳﺎﺑﻖ‪ ،‬ص ‪.155‬‬

‫اﻟﺸﻌﺮ ‪baytelshear‬‬ ‫ﺑﻴﺖ ِ‬

‫‪81‬‬

‫ ‪ ĘšIJŒĬŘ‬‬

‫اﻟﺬات اﻟﺸﺎﻋﺮة ُﺗ َﻘﻨ ُﱢﻊ ﺧﻄﺎﺑﻬﺎ وﺗﻨﻘﻞ ﺿﻤري أﻧﺎﻫﺎ إﱃ اﻟﻄﺒﻴﻌﺔ ﰲ ﻟﺤﻈﺔ‬ ‫ﺣﻠﻮلٍ اﺳﺘﺜﻨﺎﺋﻴﺔ ﺛﻢ ﺗﺠﻤﻊ ﻛﻞ ﻣﺎ ﺳﺒﻖ وﺗﺘﺨﻠﺺ إﱃ اﳌﺪح أي اﻵﺧﺮ؛‬ ‫ﻓﺘﺘﺤﻮل اﳌﺒﺎﻫﺎة إﱃ ﻓﺨﺮ ﺑﺎﻻﻧﺘامء إﱃ اﳌﻤﺪوح‪ .‬وﺑﻘﺮاءة ﻫﺬﻳﻦ اﻟﺒﻴﺘني‪:‬‬ ‫*&‪O b@@+ Oh@@p@R @cN @~@@R8N&* Rv@ BN @O @9HR xS @ D* b@@ FN N‬‬ ‫‪b@@£N @DP b@@ N0 @P @~@R@z@²‬‬ ‫‪b@@ £N @ DP b@@ N0 NrxR @ @ ~@@N @ 7 Rv@ @ P @ @gN @ @~@R @ z@ @-N ·b@P @ @ N @ @ N/ @R @ @ ES N&b@ @ @ -N‬‬ ‫@‪ Mv@@ @ S @ @ ¹ b‬‬ ‫*& ‪N O @ @ @ @ @ E(°* ¶RN ¡@ @ @ @ @ @ @N ´R * @N @ @ @ @ PE ¤@@ @ @ PGb@@ @ @ +N‬‬ ‫‪4‬‬ ‫‪b£N ~9bN‬‬ ‫ ‪P E N b@@ @ CN R @@ @ @EN HN ¤@@ @-P N&b@ @ JN R @@ @EN P xN @ @ @CR N&b@ @ @+P‬‬ ‫ﻗﺪ ﻧﻨﺪﻓﻊ ﰲ اﻟﻘﻮل‪ :‬إﻧﻬام ﻣﻦ اﻟﻔﺨﺮ ﻛام ﻗﺪ ﻻ ﻧﻘﺒﻞ اﻟﺠﺪل ﰲ ذﻟﻚ‪،‬‬ ‫وﻗﺪ ﻧﺴﺘﻌني ﺑﻀﻤري اﳌﺘﻜﻠﻢ "أﻧﺎ" اﻟﻮارد ﰲ اﻟﺒﻴﺘني ﻟﻨﺆﻛ َﺪ ﺻﺤﺔ زﻋﻤﻨﺎ‪،‬‬ ‫إﻻ أن ﻫﺬا اﻻﻧﺪﻓﺎع‪ ،‬ﰲ اﻟﺤﻘﻴﻘﺔ‪ ،‬ﻗﺪ ﻳﻮﻗﻌﻨﺎ ﰲ ﻓﺦ اﻟﻐﺮﺿﻴﺔ اﻷﻗﺮب‬ ‫اﻟﺘﻲ ﻧﻌﺮ ُﻓﻬﺎ وﺗﺨﻄﺮ ﺑﺒﺎﻟﻨﺎ‪ ،‬وﻫﻲ ﻏﺮﺿﻴﺔ اﻟﻔﺨﺮ‪ ،‬ﰲ ﺣني أن اﻟﻐﺮﺿﻴﺔ‬ ‫اﻟﺤﻘﻴﻘﻴﺔ ﻫﻲ ﻣﺎ ﻧﻄﻠﻖ ﻋﻠﻴﻪ‪ :‬اﳌﺒﺎﻫﺎة‪.‬‬ ‫ﻟﻘﺪ أﺑﺪع ﺷﻌﺮاء اﻷﻧﺪﻟﺲ ﻏﺮﺿﺎً ﺳ ّﻤﻮه‪) :‬اﻟﻨﻘﺸ ّﻴﺎت( وﻧﺠﺪﻫﺎ ﰲ أﻏﻠﺐ‬

‫‪80‬‬

‫اﻟﻌﺪد ‪ ، 71‬أﻛﺘﻮﺑﺮ ‪2018‬‬

‫اﻟﺪواوﻳﻦ اﻟﺸﻌﺮﻳﺔ اﻟﺘﻲ ﻛﺎن أﺻﺤﺎﺑﻬﺎ ﻣﻦ ﻣﺮاﻓﻘﻲ اﻟﺴﻠﻄﺎن ﻣﺜﻞ‪) :‬اﺑﻦ‬ ‫اﻟﺨﻄﻴﺐ واﺑﻦ ﻓﺮﻛﻮن واﺑﻦ زﻣﺮك‪ .(..‬وﻗﺪ ورد ﰲ ﻣﻘﺪﻣﺔ دﻳﻮان اﺑﻦ‬ ‫زﻣﺮك ﻟﻠﻤﺤﻘﻖ‪" :‬وﻣﻦ ﻫﺬه اﻟﻌﻼﻣﺎت أﺷﻌﺎر اﻟﻨﻘﻮش ﻋﲆ ﻗﴫ اﻟﺤﻤﺮاء‬ ‫وﻗﺪ أﺣﺼﻴﻨﺎ ﻣﻨﻬﺎ ﰲ اﻟﺪﻳﻮان اﳌﺨﻄﻮط ﺗﺴﻌﺎً وﻋﴩﻳﻦ ﻣﻘﻄﻌﺔ ﻧﻘﺸﺖ‬ ‫ُ‬ ‫أﺣﺼﻴﺖ‪ ،‬ﺑ َﻨ ْﻔ ِﴘ‪،‬‬ ‫ﻋﲆ ﻃﺎق أو ﻗﻮس أو ﺑﺎب أو ُﺧ ﱠﺼﺔ أو ﺑﺮﻃﻞ"‪ .5‬وﻗﺪ‬ ‫ﻣﻦ اﻟﻨﻘﺸﻴﺎت ﻣﺎ ُﻧﻘﺶ ﻋﲆ‪) :‬اﻟﺴﻴﻒ أو ﺣامﻟﺔ اﻟﺴﻴﻒ واﻟﺴﻬﻢ وﻗﻨﺎة‬ ‫اﻟﺮﻣﺢ واﻟﺴﻜﺎﻛني ُ‬ ‫وأﴎ ِة‬ ‫اﻟﻜ ﱢﻤ ﱠﻴﺔ واﳌﻨﺎﺑﺮ وﺑﺮادات اﳌﺎء ُ‬ ‫وﺳ ْﻔ َﺮات اﻟﻄﻌﺎم ِ ﱠ‬ ‫ﴎ ٍج‬ ‫اﻟﺨﺸﺐ وﻣﺮاوح وﺣﻮاﳾ اﳌﺮاﻳﺎ(‪ .‬وﻛﺬﻟﻚ ﻣﺎ ﻃﺮز ﻋﲆ‪) :‬ﻇﻬﺮ ْ‬ ‫أو ﻃﺮف وﺷﺎح أو ﻋامﻣﺔ(‪ .‬وﻛﻠﻬﺎ ﺗﺘﻘﺎﻃﻊ ﰲ ﻏﺮض اﳌﺒﺎﻫﺎة وﺟﻠﻬﺎ‬ ‫ﺗﺴﺘﻌﻤﻞ ﺿﻤري اﳌﺘﻜﻠﻢ "أﻧﺎ" وأﻗﻠﻬﺎ ﻣﺎ ﻻ ﻧﺠﺪ ﻓﻴﻬﺎ ﺻﻴﻐﺔ ﻓﻌﻞ اﻷﻣﺮ‪.‬‬ ‫وﻣﻦ منﺎذج اﳌﺒﺎﻫﺎة ﻧﺠﺪ ﻣﺒﺎﻫﺎة ﻧﻘﺸﺖ "ﻋﲆ إﺣﺪى اﻟﻄﺎﻗﺘني ﺑﺒﺎب‬ ‫اﻟﺒﻴﺖ‪:‬‬ ‫‪6‬‬ ‫@‪ @@ @ @M @ @ @ @ @ 6HxO @ @ @ @ @ @ @ @ @ <N ,O É@N @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ ¸ b‬‬ ‫*&‪R P @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ FN N‬‬ ‫‪P b@@ @ @ @ @ @ @ @ @ @ N @ @ @ @ @ @ @ @ @ @ CN HN @M @ @ @ @ @ @ ~@@ @ @R @ @ @ z@ @ @ @ @ @ @ O0 Pi*3N‬‬

79

baytelshear ‫اﻟﺸﻌﺮ‬ ِ ‫ﺑﻴﺖ‬

‫ ‪ ĘšIJŒĬŘ‬‬

‫‪dzǾżǕŌ ŦŌƅǕōş ơŞũƉǘǕŌ ƉƀƲǕŌ Ǜƫ ƉƁŕş ǶŐ ǓLjƖş ƨƉƲŨũ‬‬

‫اﻟﻤﺒﺎﻫﺎة ﻓﻲ اﻟﺸﻌﺮ اﻷﻧﺪﻟﺴﻲ‪..‬‬ ‫ﻋﻨﺪﻣﺎ ﺗﺘﻜﻠﻢ اﻷﺷﻴﺎء!‬ ‫د>ﻳﺎﺳﻴﻦ ﺣﺰﻛﺮ‬

‫ﻛﺜري ٌة ﻫﻲ اﻷﻏﺮاض اﻟﺸﻌﺮﻳﺔ اﻷﻧﺪﻟﺴﻴﺔ اﻟﺘﻲ ﺗﻢ إﻫامﻟﻬﺎ ﺑﺴﺒﺐ ﻋﺪم‬ ‫اﳌﻘﺪرة ﻋﲆ ﺗﺼﻨﻴﻔﻬﺎ ﻣﻦ ﻗﺒﻞ اﻟﻨﻘﺎد واﻟﺪارﺳني اﻟﻌﺮب؛ وذﻟﻚ ﻧﻈﺮاً‬ ‫ﻟﺘﺸﺎﺑﻬﻬﺎ ﻣﻊ أﻏﺮاض أﺧﺮى ﺣﺪ اﻟﺘامﻫﻲ؛ وﻣﻦ ﺿﻤﻦ ﻫﺬه اﻷﻏﺮاض‬ ‫ﻧﺬﻛﺮ ﻏﺮض اﳌﺒﺎﻫﺎة اﻟﺬي اﺳﺘﻄﻌﻨﺎ ﺗﺘﺒﻊ ﺧﺼﺎﺋﺼﻪ اﳌﻤﻴﺰة وﻋﺰﻟﻪ‬ ‫ﻛﻐﺮض ﻣﺴﺘﻘﻞ‪ .‬وﻟﻌﻞ ﻣﻦ أﻗﺪم اﳌﻘﻄﻮﻋﺎت اﻟﺸﻌﺮﻳﺔ اﻟﺘﻲ ورد ﻓﻴﻬﺎ‬ ‫ﻏﺮض اﳌﺒﺎﻫﺎة ﻧﺠﺪ ﻗﻮل اﺑﻦ اﻟﺤﺪاد اﻷﻧﺪﻟﴘ ﰲ ﻋﴫ اﻟﻄﻮاﺋﻒ‪:‬‬ ‫‪2‬‬ ‫‪ ,O b@@ @ @ EN xT @ @ @ @D* ¤N @ @ @ @+P 1 N ¡@@ @ ~@@ O@ |@ @ @-N R N&* @L @ @£@ @ P @ @ N0‬‬ ‫‪,O b@@ @ @ N @ @ @ O @ @ @ DR * ¤N @ @ @gP @ @ @DN ¡R @ @ @~@@ N@ |@ @ @DP ¡@@ @ O @ @ @ R @ @ @-N R N&*HN‬‬ ‫*( ‪Kb@ @ @ @ R @ @~@N @ 6 P b@@ @ @ @ @ @N @ @ @ @ @ +R N&°* ¯P Oh@@ @ @ @BR ¡S @ @ @ @ AN *3N‬‬ ‫‪O @ @ N @ @ +P b@@ @ ~@@S @ z@ @ D* O HO4 Tv@@ @ @ @ @ @ @ @ @ D* ¤@@ @ P @ @ @ R @ @ @-O b@@ @ @ N @ @ @ AN‬‬ ‫@‪ib‬‬ ‫‪ M$É@N @ @ @ @ @ gP @ @ @ @ @ R<* ¯P P,xS @ @ @ @ @ @ Nm@@ @ @ @ @ N ´R b@@ @ @ @ @ CN Á(U *HN‬‬ ‫‪3‬‬ ‫‪,O *Nv@ @ @ @ O @ @ @ @D* @T @ @ @ @ @ @ ±‬‬ ‫‪P *NH d@O @ @ R @ @ ~@@T @{@ @ D* ¤@@ @ P @ @ @cR @ @ @FN H‬‬ ‫ﻗﺪ ﻳﺘﴪع اﻟﻘﺎرئ ﰲ ﻇﻦ ﻫﺬه اﳌﻘﻄﻮﻋﺔ اﻟﺸﻌﺮﻳﺔ ﻓﺨﺮاً؛ ﻟﻜﻨﻬﺎ ﻟﻴﺴﺖ‬ ‫ﻛﺬﻟﻚ !!‬ ‫ً‬ ‫اﳌﺘﻜﻠﻢ ﰲ اﳌﻘﻄﻮﻋﺔ‬ ‫واﻟﺤﻘﻴﻘﺔ؛ ﻟﻴﺴﺖ ﻫﺬه اﳌﻘﻄﻮﻋﺔ ﻓﺨﺮا ﺑﺎﻟﺬات إ ِذ‬ ‫ُ‬ ‫ﻫﻲ "ﻗﻮس" ﺗﺘﻜﻠﻢ اﻟﺬات اﻟﺸﺎﻋﺮة ﺑﻠﺴﺎﻧﻬﺎ‪ ،‬وﺗﺤﻤﻠﻬﺎ ﻣﺸﺎﻋﺮ إﻧﺴﺎﻧﻴﺔ‬ ‫وﺻﻔﺎت ﺑﴩﻳﺔ ﺗﺠﻌﻞ اﻷﻣﺮ ﻳﻠﺘﺒﺲ ﻋﲆ ﻛﻞ ﻣﻦ ﻳﻘﺮأﻫﺎ‪ ،‬وﻫﺬا ﻫﻮ ﻋني‬ ‫اﳌﺒﺎﻫﺎة وأﺳﺎس اﻟﺘامﻳﺰ ﺑﻴﻨﻬﺎ واﻟﻔﺨﺮ ﻣﺎ ﻳﺄﺧﺬﻧﺎ إﱃ اﻟﻘﻮل‪ :‬إن اﳌﺒﺎﻫﺎة‬ ‫ﻏﺮض ﺗﻔﺮع ﺑﺸﻜﻞ أو ﺑﺂﺧﺮ ﻋﻦ اﻟﻔﺨﺮ اﳌﺮﺗﺒﻂ ﺑﺎﻟﺬات اﻟﺤﻴﺔ‪.‬‬ ‫إن ﻣﻨﺤﻰ اﳌﺒﺎﻫﺎة ﻻ ميﻜﻨﻪ‪ ،‬ﺑﺄي وﺟﻪ ﻛﺎن‪ ،‬أن ﻳﺼﺪر ﻋﻦ اﻟﺬات ﰲ‬ ‫اﻟﻄﺒﻴﻌﺔ؛ ﻓﺎﻟﺸﺎﻋﺮ ﻻ ﻳﺼﻒ ﻗﻮﺳﺎً إمنﺎ ُﻳ َﺆ ْﻧ ِﺴﻦُ ﻫﺬه اﻟﻘﻮس وﻳﺠﻌﻠﻬﺎ‬ ‫ﺗﺘﺒﺎﻫﻰ ﺑﺠامﻟﻬﺎ؛ ﻣﺎ ﻳﺠﻌﻠﻨﺎ ﻧﻘﻒ ﻋﻨﺪ ﻣﻨﺤﻰ ﺟﺪﻳ ٍﺪ ﳌﻨﺎﺣﻲ اﳌﻘﺎﺻﺪ‬ ‫اﻟﺸﻌﺮﻳﺔ اﻟﻌﺮﺑﻴﺔ ﻏري‪:‬‬ ‫• )اﻟﺬات ﻧﺤﻮ اﻟﺬات‪ :‬اﻟﻔﺨﺮ(؛‬ ‫• و)اﻟﺬات ﻧﺤﻮ اﻵﺧﺮ‪ :‬اﳌﺪح‪ ،‬اﻟﻐﺰل‪ ،‬اﻟﺮﺛﺎء‪ ،‬اﻟﻬﺠﺎء(؛‬ ‫• و)اﻟﺬات ﻧﺤﻮ اﻟﻄﺒﻴﻌﺔ‪ :‬ﺷﻌﺮ اﻟﻄﺒﻴﻌﺔ‪ ،‬اﻟﺰﻫﺪ‪ ،‬اﻟﺘﺼﻮف‪.(..‬‬ ‫إﻧﻨﺎ أﻣﺎم ﻣﻨﺤﻰ ﻳﻜﴪ اﻟﻌﻼﻗﺔ اﻟﺜﻨﺎﺋﻴﺔ اﻟﺘﻲ أﻟﻔﻨﺎﻫﺎ ﰲ ﻫﺬه اﳌﻨﺎﺣﻲ؛‬ ‫ﻷﻧﻪ ﻣﻨﺤﻰ اﺳﺘﺜﻨﺎيئ رﺑﺎﻋﻲ اﻷﺑﻌﺎد‪ ،‬إذا ﺻﺤﺖ اﻟﻌﺒﺎرة‪ ،‬ﻧﻄﻠﻖ ﻋﻠﻴﻪ‪:‬‬ ‫)ﻣﻨﺤﻰ ﻣﻦ اﻟﺬات اﳌﻘﻨﻌﺔ ﺑﺎﻟﻄﺒﻴﻌﺔ ﻧﺤﻮ اﻟﺬات‪/‬اﻵﺧﺮ( ﻣﺎ ﻳﻔﴪ أن‬

‫‪78‬‬

‫اﻟﻌﺪد ‪ ، 71‬أﻛﺘﻮﺑﺮ ‪2018‬‬

‫رﺑﻄﺔ اﻟﻄﻴﺮ ﻋﻠّﻪ‬ Hx@@ @ @ @- H Ì@@ @ @ @1 ¢@@ @ @ @ @< b@@ @ @ @ @Jv@@ @ @ @ @J Ñ* @@ @ < Ì@@ @ @ @ @D* f@@ @ @ @ @ @ +4H 4¡@@ @ @ @ ~@ @ 7 f@@ @ @c@ @~@ @6 ¡@@~@z@J *x@@ @- @@~@ 6¡@@E @@£@ B @@ E b@@£@ D ¢@@ @ ~@ z@ J @@ @C @@{@ Jx@@D* @@~@ 6b@@=H @@ 8É@@ 1 @@z@ Fx@@B H ¡@@ @< @@ @ @p@ @ @ @J ° ¡@@ @ @~@ @ @ 7* @@ @£@ @ D Í@@ g@ @~@ @6 @@ @ @p@ @ @ @A @@ @ @ @6¡@@ @ @ @E @@ @ @ @ C Ä@@ @ @m@ @ @ J Í@@ @ @ @ @ @D* ¡@@~@ z@ D* H iÉ@@ p@ @´b@@ < @@ @ 9xQ @ @ @<* 2b@@ @ < °H @@D 4b@@ @ @ @ @< b@@ @ @ @F* H uM x@@ @ @ @ @A ¡@@ @ @G ¡@@ @ @ @J @@ @ @E ¡@@ g@ J f@@ £@ @ @ @g@ @D* ¤@@ @ @< Ã*2 *w@@ @ @ C @@ @ @c@ @: @@ @ @0 ¯ @@ @ @ B¡@@ @ @ - Ñb@@ @ @ @ @ + @@ @ ~@ @ @z@ @ @B @@ @ @ @ @ @ D ¡@@ @² v@@ @ @ @ @< °H 24b@@ @ ~@ @ @ {@ @ @ D* rHQ 4 ° @@ @ 1 É@@ @ @A ¥ v@@ £@ @~@ @|@ @D* ¤@@ @Ex@@ @- 2b@@ @ @ < ° Hv@@ @ ~@ 8 @@ @C H @@F¡@@g@ @ ~@ 6 @@~@ {@ A x@@ @ @ 13* @@ @ 1 v@@ @ <*¡@@ @ ~@ @ @ 6 ¯ ¤@@ @ @ @ @D* ¤@@ @ E*x@@ @ Db@@ @ J ¡@@p@ @ E v@@ £@ @~@ @|@ @D* H @@ ~@ @7 ¡@@ @ @- q@@ c@ @~@ @|@ @D* @@ Q @ / H @@ @ @B2 v@@ £@ @~@ @|@ @D* e*w@@ @ @ @< ¥v@@ @ @ @ < H ¡@@ g@ @ EH @@ @ @ @ A* @@ @ @6&*x@@ @ @D* @@ Jv@@ ~@ @8 Ì@@ @ : @@ D M,2b@@ @ @ @ @ @ @ @ @ @ @+ °H 2x@@ @ @ @ @ @ @ @D* x@@ @ @ @ @ @ Jb@@ @ @E ¡@@c@ ~@ 6 @@ £@ @ @ @1x@@ E H @@£@ @ @ g@ @ D x@@ @ @ @ @1*3 @@ @ Q @ @ =H ¥4b@@ @ @c@ @ @ ²b@@ @ @< v@@ @ @ @ @0 Ä@@ @ Cb@@ @ J H ¡@@~@ z@ D* ¢@@ @ < y@@ @ < h@@ @ @/H b@@ @E @@ @ JH @@ @E @@ @ ; b@@ @ @ @ @D* H @@ @ @ @ /H ¯ @@ z@ @ @ @~@ @{@ @D* ¡@@ ~@ {@ D* @@ @ @ @ JHb@@ @:H eb@@ @ c@ @ @0* *2H @@ @ @C @@ @ @ @ ~@ @ 6H @@ @ £@ @ @~@ @ @6 @@ @ @ @ @ @B4 °* Ñ*H ° ¡@@ @ @- H b@@ @ @ @ @- @@ @g@ @ « x@@ @ @ -*¡@@ @ @ ´* @@ @ @C H @@ Dv@@ J v@@ @ @ @0* °H x@@ @ @ @ + 2b@@ @ @ @ @ < b@@ @ @ @ @ @ @D*H Hx@@ @ @< @@ @ J4*¡@@ @ ~@ @ @6 H @@ @ ~@ @ 9b@@ @ +4 ¯ e¡@@ @ @ @F @@ @ @ @ @ @ G°* ib@@ @ @~@ @ @ 6¡@@ @ @ @ @ @ E °* @@ @ c@ @ ~@ @ {@ @ -b@@ @ E ¡@@ @ E5 @@£@ ~@ 6b@@C H q@@Jb@@: @@ @ ~@ 6 e¡@@ @F H @@ @ ¹ Í@@ @ + @@ }@ @£@ @ @ @D* d@@ @ @< @@ £@ @~@ @z@ @D* H

77

baytelshear ‫اﻟﺸﻌﺮ‬ ِ ‫ﺑﻴﺖ‬

‫ﻫﺰاع ﺑﻦ ﺳﻤﺮه‬ @Hazzaalqahtani5

ĘıĘŕ

‫ﻋﺘﻴﻖ ﺧﻠﻔﺎن اﻟﻜﻌﺒﻲ‬ @ateq_alkabi

‫ﻣﻮاﻋﻴﺪ‬ A¡~{J ¢ Q gJH v£<*¡E d~zpJ z / E xJ*HvD* Qv P JR HP ¥b´* ¯ xR mN 0 ¤ExJ E jE N AHx; ¥xJv -H -b = Í+ ¥x < b~9 xJb~z³* °S (* h£ / b@@E Á(Q * Ñ*H Jb D*H A¡ 0 ¤ -xQ =H -b N R C d£ + h<vsF* xJb ~}D* h« E ¡AvE 4R Pv N D* (* hJ42 bEH A¡£~6 ¥4v~8 ¯H ¤ g+b~8 d D* ¯ PR g P R : xJb ~zD* 4bF ¢ < ¤<¡ ~9R HP vc D* ¯ x ±*H N A¡ C ¤0x/ EH ¤EQ 2 E hcR ~}S 1 bE v + xJb~8 2b< 7(* ¡ - Rv P~{ - ¤ g£/ p£~}A bJ AHx0 ~z F /° bGxAQ HN 4w D* v£ J bE xJbg~zD* 1 E d D* v£© bE ° ~7bC A¡~8H ¡ 0 ¡DH x ­ bE £~8 f+bp~6 bJ xJb~{+ @R @ P @@« b@@E *Hx@@~@7 £~6b D* e¡ D* A¡£~9 x@@ @- °H rx@@© @@-2b@@< f Q ~6 *2 xJbc D* h@@J¡Q @~@N @6 eb@@c@ 0&°b@@+ ¡@@J @@E¡@@D&* b@@E

2018 ‫ أﻛﺘﻮﺑﺮ‬، 71 ‫اﻟﻌﺪد‬

76

‫ﺗﻢ اﺧﺘﻴﺎرك ﺳﻔرية اﻟﻨﻮاﻳﺎ اﻟﺤﺴﻨﺔ‪ ،‬ﰲ اﻟﻌﺎم‬ ‫‪ 2015‬ﻓﻜﻴﻒ ﻛﺎﻧﺖ ﺗﻠﻚ اﻟﺘﺠﺮﺑﺔ‪ ،‬وﻣﺎ اﻷﺛﺮ‬ ‫اﻟﺬي ﺗﺮﻛﺘﻪ ﰲ ﻧﻔﺴﻚ؟‬ ‫■ اﻟﻨﻮاﻳﺎ اﻟﺤﺴﻨﺔ ﻧــﺎ ٍد ﻋﺎﳌﻲ‪ ،‬ذو ﻧﺸﺎط‬ ‫إﻧﺴﺎين ﺗﺤﺖ ﻣﻈﻠﺔ ورﻋﺎﻳﺔ اﻷﻣﻢ اﳌﺘﺤﺪة‪،‬‬ ‫مبﺎ أن اﻟﻌﺎمل ﻗﺮﻳﺔ ﺻﻐرية ﻓﻬﻮ ﺑﺤﺎﺟﺔ إﱃ‬ ‫ﺗﻮاﺻﻞ اﻹﻧﺴﺎن ﻣﻊ أﺧﻴﻪ اﻹﻧﺴﺎن‪ ،‬ﺳﻮا ًء‬ ‫ﰲ ﻣﺤﻴﻄﻪ اﻟﻘﺮﻳﺐ أو اﻟﺒﻌﻴﺪ‪ ،‬ﻟﻜﻨﻪ ﺗﻮاﺻﻞ‬ ‫ﺑﺎﻟﺘﻀﺎﻣﻦ واﻟﺘﻌﺎرف اﻹﻧﺴﺎين‪ ،‬وﺗﻐﻠﻴﺐ وازع‬ ‫اﻟﺨري واﻟﻀﻤري واﻟﻌﻤﻞ اﻟﺼﺎﻟﺢ ﻋﲆ ﻧﻮازع‬ ‫اﻻﻧﺤﺮاف واﻟﴩ‪ ،‬ﻻﺳﻴام ﰲ أوﺳﺎط اﻟﺸﺒﺎب‬ ‫اﻟﺬﻳﻦ ﻳﺤﺘﺎﺟﻮن دامئﺎً إﱃ اﻟﺮﻋﺎﻳﺔ واﻟﺘﻮﺟﻴﻪ‪.‬‬ ‫ﻫــﺬا »اﳌﻨﺼﺐ« ﻳﻌﺘﱪ ﺗﻜﻠﻴﻔﺎً ﻗﺒﻞ أن‬ ‫ﻳﻜﻮن ﺗﴩﻳﻔﺎً‪ ،‬وواﺟﺒﻲ أن أﻋﱪ ﻋﻦ وﻃﻨﻲ‬ ‫اﻹﻣــﺎرات‪ ،‬اﳌﻌﺮوﻓﺔ ﺑﺄﻳﺎدﻳﻬﺎ اﻟﺒﻴﻀﺎء ﻛﻞ‬ ‫ﺗﻌﺒري ﺻﺎﻟﺢ‪ ،‬وﻫﻮ ﺟﺰء ﻣﻦ اﻧﺘاميئ وﻋﺮﻓﺎين‬ ‫ووﻓﺎيئ ﻟﻘﻴﺎدﺗﻨﺎ اﻟﺤﻜﻴﻤﺔ‪.‬‬ ‫ﺗﺘﻤﺘﻌني ﺑﺸﺨﺼﻴﺔ ﻗﻮﻳﺔ ﻟﻬﺎ ﺣﻀﻮرﻫﺎ‪ ،‬ﻓام‬ ‫اﺷﺘﻐﻠﺖ ﻋﻠﻴﻬﺎ ﻟﺒﻨﺎء ﻫﺬه‬ ‫اﻷﺳﺲ اﻟﺘﻲ‬ ‫ِ‬ ‫اﻟﺸﺨﺼﻴﺔ؟‬ ‫■ ﻗﻮيت ﺟﺎءت ﻣﻦ ﻋﺪة ﻋﻮاﻣﻞ ﺷﻜﻠﺘﻨﻲ‪،‬‬ ‫ﺑﺪءاً ﻣﻦ اﻷﴎة واﻟﺠﺎﻣﻌﺔ‪ ،‬وﻣﻦ ﻣﻮﻫﺒﺘﻲ‬

‫ ‪ ǻǔƫ ǓƞƳȏŌ ǗǿƃǂŨş ŝƯƈŐ‬‬ ‫‪ ƉǾŭőũ ǣǕ ŻǙōǝƉş ǓljǶ ɐdzƗōƖǕŌ‬‬ ‫‪ ǽƳƃǥ Ƿǥ ǽƟōǿƉǕŌ ƨƈōƖǕŌ ǻǔƫ‬‬

‫اﻟﻌﺪﻳﺪ ﻣﻦ اﻟﻘﻀﺎﻳﺎ اﻟﺘﻲ ﺗﺸﻐﻞ اﻟﺸﺎرع‬ ‫اﻟﺮﻳﺎﴈ وأمتﻨﻰ أن أﻛﻮن ﺑﻘﺪر اﻟﺜﻘﺔ اﻟﺘﻲ‬ ‫ﻣﻨﺤﺖ ﱄ‪.‬‬

‫أﻧﺖ أﻛرث ﺷﺨﺼﻴﺔ إﻋﻼﻣﻴﺔ رﻳﺎﺿﻴﺔ ﻃﺎﻟﻬﺎ‬ ‫ ‪ dzǜƒżǕŌ ōǿŌǷǜǕŌ DzƉǾƲƓ ǼƈōǾŨƁŌ‬اﻻﻧﺘﻘﺎد‪ ..‬ﻓﻬﻞ أﺛﺮ ذﻟﻚ ﰲ ﺣﻴﺎﺗﻚ؟‬ ‫‪ɰ‬‬ ‫‪ ■ ǓŞǃ ōƲǾǔLjũ ƉŞŨƪǿ 2015 ǖōƪǕŌ ǽƳ‬ﻧﻌﻢ‪ ،‬أﻧﺎ أﻛرث ﺷﺨﺼﻴﺔ إﻋﻼﻣﻴﺔ ﻣﻨﺘﻘﺪة‪،‬‬ ‫‪ɰ‬‬ ‫‪ ōƲǿƉƖũ ǚǷLjǿ ǚŐ‬‬ ‫ﻛﻮين أول إﻣﺎراﺗﻴﺔ دﺧﻠﺖ اﳌﺠﺎل اﻟﺮﻳﺎﴈ‬ ‫اﻟﺬي ﻛﺎن ﺣﻜﺮاً ﻋﲆ اﻟﺮﺟﺎل‪ ،‬ومل أﺟﺪ ﺗﻘﺒ ًﻼ‬ ‫ ‪ ɐǽǜƣǶ Ǜƫ ƉǾŞƪŨǕŌ ǽŞŵŌǶ‬‬ ‫‪ ǷǤƳ ɐŋōƞǾŞǕŌ ǣǿƂōǿőş ưǶƉƪǘǕŌ‬ﺧﺎﺻﺔ ﰲ ﻣﻨﺎﻗﺸﺔ ﻗﻀﺎﻳﺎ ﺗﺨﺺ اﻟﺮﺟﻞ‪،‬‬ ‫دﺧﻠﺖ ﺑﻘﻮة وﺑﺪﻋﻢ ذايت ﻣﻦ ﻧﻔﴘ‪ ،‬ﻓﺄﻧﺎ‬ ‫‪ ǽȃōƳǶǶ ǽǝōƳƉƫǶ ǽȃōǘŨǝŌ‬‬ ‫ﻋﺎﺷﻘﺔ ﻟﻠﺘﺤﺪي وﺗﻘﺒﻠﺖ اﻻﻧﺘﻘﺎد اﻹﻳﺠﺎيب‬ ‫‪ dzǘǾLjżǕŌ ōǜũƂōǾǂǕ‬‬ ‫وﻧﺎﻗﺸﺘﻪ وﺳﻌﻴﺖ ﻟﺘﻌﺪﻳﻠﻪ‪ ،‬أﻣﺎ اﻟﺴﻠﺒﻲ ﻓﻠﻢ‬ ‫وأدوايت اﻟﺘﻲ أﻣﺘﻠﻜﻬﺎ ﰲ ﻓﻦ اﻟﺤﻮار واﻟﺘﻌﺎﻣﻞ ﻳﺆﺛﺮ يب ﺑﻞ زادين ﻗﻮة وإﴏاراً‪.‬‬ ‫ﻣﻊ اﻵﺧﺮﻳﻦ واﻟﻔﻬﻢ واﻹدراك‪ ،‬وﻣﻦ ﻻ ميﻠﻜﻬﺎ‬ ‫ﻣﻦ اﳌﺬﻳﻌني ﻓﻬﻮ ﻳﺪﺧﻞ ﺣﺮﺑﺎً ﺧﺎﴎة‪ ،‬ﻓﺎﻟﺜﻘﺔ ﻫﻞ ﺗﺨﺸني ﻣﻦ ﻏرية اﻟﻨﺴﺎء ﻣﻬﻨﻴ ًﺎ؟‬ ‫ﺑﺎﻟﻨﻔﺲ ﻣﻄﻠﺐ ﻣﻬﻢ‪ ،‬وﻋــﲆ ﻛﻞ إﻧﺴﺎن ■ ﻏرية اﻟﺴﻴﺪات ﻣﻀﺤﻜﺔ وﻣﺤﺼﻮرة ﰲ‬ ‫ﻣﻌﺮﻓﺔ ﺣﺪود إﻣﻜﺎﻧﻴﺎﺗﻪ ﺣﺘﻰ ﻻ ﻳﺘﺠﺎوزﻫﺎ‪" .‬اﻟﻘﻴﻞ واﻟﻘﺎل"‪ ،‬إمنﺎ ﻏرية اﻟﺮﺟﺎل ﻗﺎﺗﻠﺔ‪،‬‬ ‫وﻟﻜﻨﻬﺎ مل ﺗﻘﺘﻠﻨﻲ ﺑﻞ ﺟﻌﻠﺘﻨﻲ أﻗﻮى‪.‬‬ ‫ﻣﺎ ﻫﻮ ﺟﺪﻳﺪك ﰲ ﻣﺠﺎل اﻹﻋﻼم ﰲ اﻟﻔﱰة‬ ‫اﳌﻘﺒﻠﺔ؟‬ ‫أﺻﻌﺐ ﻣﻮﻗﻒ ﻣﺮ ﰲ ﺣﻴﺎﺗﻚ؟‬ ‫■ ﺟﺪﻳﺪي ﺑﺮﻧﺎﻣﺞ ﺣﻮاري ﻣﻊ ﺷﺨﺼﻴﺎت ■ وﻫﻞ ﻫﻨﺎك أﻣﺮ ﻣﻦ اﻟﻔﻘﺪ واﻟﻐﻴﺎب‪...‬‬ ‫رﻳﺎﺿﻴﺔ ﻣﺤﻠﻴﺔ ﺧﻠﻴﺠﻴﺔ وﻋﺮﺑﻴﺔ‪ ،‬ﻧﻄﺮح ﻓﻴﻪ وﻓﺎة واﻟﺪي اﻟﺘﻲ ﻻ أﺳﺘﻮﻋﺒﻬﺎ ﺣﺘﻰ اﻟﻴﻮم‪.‬‬ ‫اﻟﺸﻌﺮ ‪baytelshear‬‬ ‫ﺑﻴﺖ ِ‬

‫‪75‬‬

‫‪ĶřŒ ĘĪ‬‬ ‫ﻣﻦ ﻋﻤﻠﻴﺎت دﻣﺞ ﻟﻸﻧﺪﻳﺔ واﻟﺮﻗﺎﺑﺔ ﻋﲆ ﺳﺒﺤﺎﻧﻪ وﺗﻌﺎﱃ" ﺑﺠﺎﻧﺐ إدارة ﺗﺪﻋﻢ‪ ،‬وﻓﺮﻳﻖ‬ ‫ﻣﻴﺰاﻧﻴﺎت اﻷﻧﺪﻳﺔ‪ ،‬وﻣﺎ داﻣــﺖ اﳌﺸﺎﻛﻞ ﻋﻤﻞ ﻣﺨﻠﺺ وﻣﻦ ﺛﻢ اﻟﺘﺰاﻣﻲ ﺗﺠﺎه رﺳﺎﻟﺘﻲ‬ ‫ﻣﻮﺟﻮدة ﻧﺤﻦ ﻣﻮﺟﻮدون ﻟﺘﺼﺤﻴﺢ اﻟﻮﺿﻊ‪ ،‬اﻹﻋﻼﻣﻴﺔ اﻟﺘﻲ ﻳﺠﺐ أن أﻗﺪﻣﻬﺎ ﺑﺄﻛﻤﻞ وﺟﻪ‪.‬‬ ‫ﻓﺎﻹﻋﻼم ﴍﻳــﻚ اﻟﻨﺠﺎح ﰲ ﻛﻞ ﻣﺠﺎﻻت‬ ‫ﻷي ﻣﺪى ﺗﺘﺪﺧﻠني ﰲ إﻋﺪاد ﺑﺮاﻣﺠﻚ‪ ،‬وﻣﺎ‬ ‫اﻟﺤﻴﺎة‪.‬‬ ‫أﻛرث ﳾء ﺗﺤﺮﺻني ﻋﻠﻴﻪ؟‬ ‫ﺑﺮاﻣﺠﻚ اﻟﺘﻲ ﺗﻘﺪﻣﻴﻨﻬﺎ ﻋﲆ ﻗﻨﺎة ديب ■ ﻣﻦ اﻷﻟــﻒ إﱃ اﻟﻴﺎء‪ ،‬أﺗﺪﺧﻞ ﰲ أدق‬ ‫اﻟﺮﻳﺎﺿﺔ ﻣﺜﻞ "اﻟــﺮأي اﻵﺧــﺮ" و"اﻟﱪﳌﺎن اﻟﺘﻔﺎﺻﻴﻞ ﻓﺄﻧﺎ أﴍف ﻋﲆ ﻋﻤﲇ ﺑﺎﻟﻜﺎﻣﻞ‬ ‫اﻟﺮﻳﺎﴈ" وﻏريﻫﺎ‪ ،‬ﺣﻘﻘﺖ ﻧﺠﺎﺣ ًﺎ ﻛﺒري ًا ﻗﺒﻞ أن ﻳﻈﻬﺮ ﻋﲆ اﻟﺸﺎﺷﺔ‪ ،‬وأﻧﺎ ﻣﻦ ﻳﺘﺤﻤﻞ ﻣﻦ ﻫﻮ اﻟﻀﻴﻒ اﻟﺬي ﺗﺮﻓﻀني وﺟﻮده ﰲ‬ ‫ﻣﺴﺆوﻟﻴﺔ اﻟﻌﻤﻞ‪ ،‬وأﻛرث ﻣﺎ أﺣﺮص ﻋﻠﻴﻪ أن ﺑﺮﻧﺎﻣﺠﻚ؟‬ ‫وﻣﺘﺎﺑﻌﺔ واﺳﻌﺔ‪ ،‬ﻣﺎ ﺳﺒﺐ ﻫﺬا اﻟﻨﺠﺎح؟‬ ‫■ اﻟﻀﻴﻒ اﻟﺪﺑﻠﻮﻣﺎﳼ اﳌﺠﺎﻣﻞ‪ ،‬اﻟﺬي ﻳﻀﻴﻊ‬ ‫■ اﻟﻨﺠﺎح أوﻻً ﻧﺘﻴﺠﺔ ﺗﻮﻓﻴﻖ ﻣﻦ "اﻟﻠﻪ ﻳﻜﻮن ﻫﻨﺎك ﺗﺄﺛري إﻳﺠﺎيب ﳌﺎ ﺗﻢ ﻃﺮﺣﻪ‪.‬‬ ‫وﻗﺖ اﳌﺸﺎﻫﺪ‪.‬‬

‫ﻣﺎ ﺗﻘﻴﻴﻤﻚ ﻟﺘﺠﺮﺑﺘﻚ ﰲ "اﻟﱪﳌﺎن اﻟﺮﻳﺎﴈ"؟‬ ‫■ اﻟﱪﻧﺎﻣﺞ ﻓﺮﺻﺔ ﳌﻌﺮﻓﺔ وﺗﻠﻤﺲ اﻟﻘﻀﺎﻳﺎ‬ ‫اﻟﺮﻳﺎﺿﻴﺔ ﻋﻦ ﻗﺮب‪ ،‬ﻛام ﻳﻄﺮح اﻟﻘﻀﻴﺔ ﻣﻦ‬ ‫زواﻳﺎ ﻣﺨﺘﻠﻔﺔ ورؤى ﻧﺎﻗﺪة‪ ،‬وﻋﻨﺪﻣﺎ ﻳﺪﱄ‬ ‫اﻟﺨﱪاء ﺑﺂراﺋﻬﻢ ﻧﺨﺮج مبﺤﺼﻠﺔ ﻣﻴﺪاﻧﻴﺔ‬ ‫ﺗﻄﺒﻴﻘﻴﺔ‪ ،‬وﻣﻦ ﻫﻨﺎ ﻳﻜﻮن اﻟﻨﻘﺎش ﺟﺰءاً ﻣﻦ‬ ‫اﻟﺘﺠﺮﺑﺔ وﻣﻌﱪاً ﻋﻦ اﻟﻮاﻗﻊ‪.‬‬

‫ﻫﻞ ﻫﻨﺎك ﺧﺼﻮﺻﻴﺔ ﰲ اﻟﻌﻤﻞ اﻹﻋﻼﻣﻲ‬ ‫ﺳﻮاء اﻟﺮﻳﺎﴈ أو ﻏريه؟‬ ‫■ اﻟﺨﺼﻮﺻﻴﺔ ﺗﺘﻤﺜﻞ ﰲ اﻟﺮوح اﻟﺮﻳﺎﺿﻴﺔ وﻫﻲ‬ ‫ﻣﺼﺪر اﻹﻟﻬﺎم ﻟﻠﻌﻤﻞ اﻟﺠامﻋﻲ‪ ،‬وإﻧﺘﺎج ﺑﻄﻞ‬ ‫ﰲ اﻟﺮﻳﺎﺿﺔ ﻳﺘﻄﻠﺐ ﻋﻤ ًﻼ ﺟامﻋﻴﺎً وإدارﻳﺎً‬ ‫وﻓﻨﻴﺎً دؤوﺑﺎً‪ ،‬ﻛﺬﻟﻚ اﻟﱪﻧﺎﻣﺞ اﻟﺮﻳﺎﴈ اﻟﻨﺎﺟﺢ‬ ‫ﻳﺘﻄﻠﺐ ﺗﻌﺎوﻧﺎً ﻣﺜﻤﺮاً ﺑني ﻓﺮﻳﻖ اﻟﻌﻤﻞ‪.‬‬ ‫ﻣﺎ اﻟﱪﻧﺎﻣﺞ اﻟﺬي ﺗﺤﻠﻤني ﺑﺘﻘﺪميﻪ وﳌﺎذا؟‬ ‫■ ﻛﻞ ﺑﺮﻧﺎﻣﺞ ﻧﺎﺟﺢ ﻳﺨﺪم اﻟﻮﺳﻂ اﻟﺮﻳﺎﴈ‬ ‫ﻫﻮ ﻃﻤﻮﺣﻲ‪ ،‬وﻛﻞ ﺑﺮﻧﺎﻣﺢ ﻟﻪ ﺗﺄﺛري ﻋﲆ‬ ‫اﻟﺸﺎرع اﻟﺮﻳﺎﴈ ﻫﻮ ﻫﺪﰲ ﻷين ﻻ أرﻏﺐ إﻻ‬ ‫ﺑﺘﻘﺪﻳﻢ اﻷﻓﻀﻞ ﻋﲆ اﻟﺸﺎﺷﺔ ‪.‬‬

‫ﺳرية‪:‬‬ ‫اﻹﻋﻼﻣﻴﺔ ﺣﺼﺔ اﻟﺮﻳﺎﳼ اﻟﺤﺎﺻﻠﺔ ﻋﲆ ﻣﺎﺟﺴﺘري ﰲ اﻟﻘﺎﻧﻮن اﻟﺮﻳﺎﴈ‪ ،‬ﻣﻘﺪﻣﺔ ﺑﺮاﻣﺞ ﰲ‬ ‫ﻗﻨﺎة "ديب اﻟﺮﻳﺎﺿﻴﺔ‪ ،‬ﻗﺪﻣﺖ اﻟﻌﺪﻳﺪ ﻣﻦ اﻟﱪاﻣﺞ ﻣﻨﻬﺎ "وﻳﻚ آﻧﺪ‪ ،‬اﻟﻄﺮﻳﻖ إﱃ اﳌﻮﻧﺪﻳﺎل‪،‬‬ ‫اﻟﱪﳌﺎن اﻟﺮﻳﺎﴈ‪ ،‬اﻟﺮأي اﻵﺧﺮ"‪.‬‬ ‫وﻫﻲ ﻣﺴﺘﺸﺎرة إﻋﻼﻣﻴﺔ ﻟـ "اﺗﺤﺎد اﻹﻣﺎرات ﻟﻠﺸﻄﺮﻧﺞ" ﻣﻨﺬ اﻟﻌﺎم ‪ .2005‬ﺣﺼﻠﺖ ﻋﲆ‬ ‫ﺟﺎﺋﺰة "ﺳﻴﺪيت ﻟﻠﺘﻤﻴﺰ واﻹﺑﺪاع" ﻋﺎم ‪ 2016‬ﻛام اﺧﺘريت ﰲ اﻟﻌﺎم ‪ 2015‬ﺳﻔرية اﻟﻨﻮاﻳﺎ‬ ‫اﻟﺤﺴﻨﺔ‪.‬‬

‫‪74‬‬

‫اﻟﻌﺪد ‪ ، 71‬أﻛﺘﻮﺑﺮ ‪2018‬‬

‫ﻛﻴﻒ ﺗﺠﺪﻳﻦ اﻟﻮﺳﻂ اﻹﻋﻼﻣﻲ ﺑﺸﻜﻞ ﻋﺎم؟‬ ‫■ اﳌﺠﺎل اﻹﻋﻼﻣﻲ أﻇﻨﻪ اﳌﺠﺎل اﻟﺬي ﻻ‬ ‫ﻳﺤﺘﻤﻞ اﳌﺠﺎﻣﻼت‪ ،‬ﻓﻬﻮ ﻣﺠﺎل إﻧﺘﺎج وأﺣﺪاﺛﻪ‬ ‫ﴎﻳﻌﺔ ﺟﺪاً‪ ،‬ووﻗﻌﻪ ﴎﻳﻊ وﻻ ﳾء ﻳﻨﺘﻈﺮ‪،‬‬ ‫وإذا ﻣﺎ أﺧﻠﻴﺖ اﳌﻜﺎن ﺧﻄﻔﻪ ﻏريك‪ ،‬إن‬ ‫"ﻛﻴﻜﺔ" اﻹﻋﻼم ﴎﻳﻌﺔ اﻟﺘﺂﻛﻞ‪ ،‬وﻳﺠﺐ ﺗﻮﻓﺮ‬ ‫ﻣﻬﺎرات ﻟﻴﻜﻮن ﻟﻚ ﻧﺼﻴﺐ ﻣﻨﻬﺎ‪.‬‬ ‫‪ dzǾƚƀƗ ǓǾƛōƲũ‬‬

‫ﻣﺎ أﻛرث اﻟﺮﻳﺎﺿﺎت اﻟﺘﻲ ﺗﺘﺎﺑﻌﻴﻨﻬﺎ ﻋﻦ ﺣﺐ؟‬ ‫■ اﻟﺮﻳﺎﺿﺔ منﻂ ﺣﻴﺎة‪ ،‬أﺣﺐ رﻳﺎﺿﺔ اﻟﺘﻨﺲ‬ ‫واﻟﺨﻴﻞ‪.‬‬

‫‪ ƃŽŌǶ dzǾǕǶǹƒǘǕŌ ƑŽ‬‬ ‫‪ ǶŐ ǽȃƉǘǕŌ ǖȎƫȑŌ ǽƳ ŋŌǷƓ‬‬ ‫‪ɰ‬‬ ‫‪ ƨǷǘƒǘǕŌ ǶŐ ŋǶƉǂǘǕŌ‬‬ ‫ ‪ ǽƳ źōŴǜǕŌ LJǿƉƗ ǖȎƫȑŌ‬‬ ‫‪ ŧǙŌƂ ōǙǶ DzōǾżǕŌ ŦȍōŴǙ Ǔlj‬‬ ‫‪ ǛżǜƳ DzƂǷŵǷǙ ǓljōƖǘǕŌ‬‬ ‫‪ ƩƟǷǕŌ ŻǾżƚŨǕ ǚǶƂǷŵǷǙ‬‬ ‫ ‪ ɐǽŴǙŌƉş dzǾǕǶǹƒǙ ǓǘżũŐ‬‬ ‫‪ džōǜǥ ǚǷLjũ ǚŐ ƘƉŽŐǶ‬‬ ‫‪ Ǘũ ōǘǕ ǽşōŴǿŒ ƉǾŭőũǶ dzŴǾŨǝ‬‬ ‫‪ ǣŽƉƣ‬‬

‫ﺗﻌﻤﻠني ﰲ اﻹﻋﻼم اﻟﺮﻳﺎﴈ‪ ،‬وﻫﻮ ﻣﺠﺎل ﺑﻘﻲ‬ ‫ﻟﺴﻨﻮات ﻃﻮﻳﻠﺔ ﻣﻘﺘﴫًا ﻋﲆ اﻟﺮﺟﺎل‪ ،‬ﻓﻠامذا‬ ‫اﺧﱰﺗﻴﻪ؟‬ ‫■ اﻟﺤﻘﻞ اﻹﻋﻼﻣﻲ اﻟﺮﻳﺎﴈ‪ ،‬ﻣﺨﺘﻠﻒ ﻋﻦ‬ ‫ﺑﺎﻗﻲ اﳌﺠﺎﻻت‪ ،‬ﺧﻂ ﻣﻤﻴﺰ اﺳﺘﺜﻨﺎيئ ﻛﺎن‬ ‫ﺣﻜﺮاً ﻋﲆ اﻟﺠﻨﺲ اﻵﺧﺮ‪ ،‬ﻓﺪﺧﻠﺖ اﳌﺠﺎل‬ ‫اﻟﺮﻳﺎﴈ ﻷﻧﻨﻲ أﺗﻄﻠﻊ ﻟﻠﺘﻤﻴﺰ دامئﺎً‪ ،‬وﻛﻨﺖ‬ ‫أول اﻋﻼﻣﻴﺔ إﻣﺎراﺗﻴﺔ ﰲ اﻹﻋﻼم اﻟﺮﻳﺎﴈ‪،‬‬ ‫ﻟﻚ دﻓﻌﻨﻲ ﻟﺨﻮض‬ ‫ﺣﺒﻲ ﻟﻠﺘﻤﻴﺰ ﻛام أﺳﻠﻔﺖ ِ‬ ‫ﻏامر اﳌﻨﺎﻓﺴﺔ ﰲ ﻣﺠﺎل ﻋﺮف ﻋﻨﻪ اﺣﺘﻜﺎر‬ ‫اﻟﺮﺟﺎل ﻟﻪ‪.‬‬ ‫‪ ƈŌǷżǕŌ dzŞǥǷǙ‬‬

‫درﺳﺖ اﻟﺼﺤﺎﻓﺔ ﻗﺒﻞ ﻋﻤﻠﻚ‪ ،‬ﻓﻜﻴﻒ دﻋﻢ‬ ‫ِ‬ ‫ﺗﺠﺮﺑﺘﻚ ﰲ ﻣﺠﺎل اﻹﻋﻼم اﳌﺮيئ؟‬ ‫ﻫﺬا‬ ‫ِ‬ ‫■ ﻧﻌﻢ أﻧﺎ ﺻﺤﺎﻓﻴﺔ ومل أﻣﺎرس ﻣﻬﻨﺔ اﻟﺼﺤﺎﻓﺔ‪،‬‬ ‫وﻟﻜﻦ ﰲ اﻹﻋﻼم اﳌﺮيئ أو اﳌﻘﺮوء أو اﳌﺴﻤﻮع‬ ‫ﺣﺲ اﳌﺴﺆوﻟﻴﺔ واﺣــﺪ‪ ،‬وإذا ﺗﻢ اﻣﺘﻼك‬ ‫اﻷﺳﺲ اﳌﻬﻨﻴﺔ ﰲ اﻹﻋﻼم ﻣﻦ ﺛﻘﺎﻓﺔ وﺟﺮأة‬ ‫وﻗﻮة وﺛﻘﺔ وﻓﻦ اﻟﺤﻮار وﻛﺎرﻳﺰﻣﺎ وﴎﻋﺔ‬ ‫ﺑﺪﻳﻬﺔ‪ ،‬ﺗﻜﻮن ﻫﻨﺎك ﻗﺪرة ﻋﲆ اﻹﺑﺪاع ﰲ‬ ‫ﻣﺠﺎﻻت اﻹﻋﻼم اﳌﺘﻌﺪدة‪.‬‬

‫ﺣﺼﻠﺖ أﻳﻀ ًﺎ ﻋﲆ ﻣﺎﺟﺴﺘري ﰲ اﻟﻘﺎﻧﻮن‬ ‫ِ‬

‫اﻟﺮﻳﺎﴈ‪ ،‬ﻣﺎ اﻷﺳﺒﺎب اﻟﺘﻲ دﻓﻌﺘﻚ ﻟﻬﺬا ﻣﺜﻞ ﻓﺮس ﺗﻘﻔﺰ ﻓﻮق اﳌﺘﺎرﻳﺲ‪.‬‬ ‫اﻟﺘﺨﺼﺺ‪ ،‬وﻛﻴﻒ ﺗﺴﺘﺜﻤﺮﻳﻦ اﳌﻌﻠﻮﻣﺎت‬ ‫اﻟﺘﻲ ﺗﻮﻓﺮت ﻟﻚ ﻣﻦ ﺧﻼل ﻫﺬه اﻟﺪراﺳﺔ وﻣﺎ أﻫﻢ ﻣﻴﺰات اﳌﺤﺎور اﻟﺘﻠﻔﺰﻳﻮين؟‬ ‫ﰲ ﺑﺮاﻣﺠﻚ؟‬ ‫■ اﳌﺤﺎور اﻟﺘﻠﻔﺰﻳﻮين‪ ،‬ﻳﺠﺐ أن ﻳﻜﻮن‬ ‫■ اﻹﻧﺴﺎن ﺑﺤﺎﺟﺔ دامئﺎً إﱃ ﺗﻄﻮﻳﺮ ﻣﻌﺎرﻓﻪ ﻣﻮﻫﻮﺑﺎً ﰲ اﻟﺤﻮار‪ ،‬مبﻌﻨﻰ أن ﻳﺴﺘﻄﻴﻊ أن‬ ‫وﺗﻄﻮﻳﺮه ﻟﺬاﺗﻪ وﺗﻨﻤﻴﺔ ﻗﺪراﺗﻪ‪ ،‬وﺟﺎءت ﻫﺬه ﻳﻨﺴﺞ ﻣﻦ اﻟﺮد ﺳﺆاﻻً‪.‬‬ ‫اﻟﺪراﺳﺔ ﻟﺘﺨﺪﻣﻨﻲ أﻛرث ﰲ ﺗﻘﺪميﻲ ﻟﻨﻮﻋﻴﺔ‬ ‫اﻟﱪاﻣﺞ اﻟﺘﻲ أﻗﺪﻣﻬﺎ وﻫﻲ اﻟﻘﻀﺎﻳﺎ اﻟﺮﻳﺎﺿﻴﺔ‪ ،‬ﻣﺎذا أﺿﻔﺖ إﱃ اﻟﺤﻮار اﻟﺘﻠﻔﺰﻳﻮين‪ ،‬وﻣﺎذا‬ ‫ﻓﺎﻟﻘﺎﻧﻮن اﻟﺮﻳﺎﴈ ﻳﻮﺿﺢ ﺣﺪود اﻹﻃﺮوﺣﺎت أﺿﺎف ﻟﻚ؟‬ ‫اﻟﻼزﻣﺔ وﺳﻴﺎﺳﺎﺗﻬﺎ‪ ،‬أﻣﺎ اﳌﻨﺎﻗﺸﺎت ﻓﻬﻲ ■ ﻻ أﻋﺘﻘﺪ أﻧﻨﻲ أﺿﻔﺖ ﺷﻴﺌﺎً أﻛرث ﻣﻦ‬ ‫ﺗﻔﺼﻞ ﺗﻠﻚ اﻟﺴﻴﺎﺳﺎت وﺗﺼﻨﻔﻬﺎ ﰲ ﻣﻜﺎﻧﻬﺎ ﻣﻮﻫﺒﺔ ﻋﻘﻞ ﻳﺤﺎور‪ ،‬أﻣﺎ اﻟﺤﻮار اﻟﺘﻠﻔﺰﻳﻮين‬ ‫وﺗﻔﴤ إﱃ اﻟﻨﺘﺎﺋﺞ اﳌﺮﺟﻮة‪ ،‬وﻧﺤﻦ ﻧﻘﺪم ﻓﺄﺿﺎف ﱄ اﻻﺳﻢ ﻋﻨﺪ اﻟﻨﺎس‪.‬‬ ‫ﺗﻮﺻﻴﺎت‪ ،‬ﻷن اﻻﺗﺤﺎدات اﳌﻌﻨﻴﺔ ﺑﺸﺆون‬ ‫اﻟﻔﺮق واﻟﻼﻋﺒني ﻫﻲ اﻟﺘﻲ ﺗﺘﺨﺬ اﻟﻘﺮارات ‪ dzǾǙȎƫŒ dzǕōƓƈ‬‬ ‫وﻓﻘﺎً ﻟﻺﻣﻜﺎﻧﻴﺎت واﻟــﻈــﺮوف واﻟﻘﻮاﻧني‬ ‫أﺛﺮت اﻟﻌﺪﻳﺪ ﻣﻦ اﻟﻘﻀﺎﻳﺎ اﻟﺴﺎﺧﻨﺔ اﻟﺘﻲ ﻻ‬ ‫ِ‬ ‫اﻟﻨﺎﻓﺬة‪.‬‬ ‫ﻳﺘﺠﺮأ اﻟﺒﻌﺾ ﻋﲆ إﺛﺎرﺗﻬﺎ ﻣﺜﻞ "إﻫﺪار اﳌﺎل‬ ‫اﻟﺮﻳﺎﴈ" ﻛﻴﻒ ﻛﺎﻧﺖ ردود اﻟﻔﻌﻞ ﻋﲆ‬ ‫ﻣﺎ اﻟﺼﻌﻮﺑﺎت اﻟﺘﻲ واﺟﻬﺘﻚ ﰲ ﺑﺪاﻳﺎت ﻫﺬا‪ ،‬وﻫﻞ ﻣﺎ زﻟﺖ ﺗﻨﻮﻳﻦ ﻃﺮح ﻗﻀﺎﻳﺎ ﺗﻬﻢ‬ ‫ﺣﻴﺎﺗﻚ اﳌﻬﻨﻴﺔ؟‬ ‫اﻟﺴﺎﺣﺔ؟‬ ‫■ واﺟﻬﺘﻨﻲ ﺑﻌﺾ اﻟﺼﻌﻮﺑﺎت‪ ،‬ﻣﻦ ﻋﻘﻠﻴﺔ ■ اﻟﺤﻘﻴﻘﺔ ﻋﻨﺪﻣﺎ ﻧﺘﻜﻠﻢ ﻋﻦ إﻫﺪار اﳌﺎل‪،‬‬ ‫ﺑﻌﺾ اﻟﺬﻳﻦ ﻳﺴﺒﻘﻮﻧﻨﻲ ﰲ اﻟﻌﻤﺮ‪ ،‬واﻟﺤﺴﺪ ﻓﻨﺤﻦ ﻧﺘﻜﻠﻢ ﻋﻦ أﻣﻮال ﴏﻓﺖ ﺑﻼ ﻧﺘﻴﺠﺔ‪،‬‬ ‫ﺣني ﻳﻜﻮن أﺳﻠﻮب اﻹﻧﺴﺎن أﺟﻤﻞ ﻣﻦ وﻣﺎ ﺣﺪث ﻗﺪ ﺣﺪث‪ ،‬ﻟﻦ ﻧﺒيك ﻋﲆ اﻟﻠنب‬ ‫أﺳﻠﻮب ﻣﻦ ﻫﻢ ﻗﺒﻠﻪ ﰲ اﳌﻬﻨﻪ ﺑﺴﻨﻮات‪ ،‬اﳌﺴﻜﻮب‪ ،‬وﻛﻨﺖ دامئﺎً أﻃﺎﻟﺐ ﺑﺄن ﺗﻜﻮن‬ ‫ﻟﻜﻦ ﻫﺬه اﻟﺼﻌﻮﺑﺎت اﺳﺘﻄﻌﺖ ﺗﺠﺎوزﻫﺎ ﻫﻨﺎك رﻗﺎﺑﺔ ﺻﺎرﻣﺔ وﻫﺬا ﻣﺎ ﻳﺤﺪث اﻵن‪،‬‬ ‫اﻟﺸﻌﺮ ‪baytelshear‬‬ ‫ﺑﻴﺖ ِ‬

‫‪73‬‬

‫‪ĶřŒ ĘĪ‬‬

‫ ‪dzƳōlj DzōǾżǕŌ ŦȍōŴǙ ǽƳ LJǿƉƗ ǖȎƫȑŌ ǚŐ ǺƉũ‬‬

‫ﺣﺼﺔ اﻟﺮﻳﺎﺳﻲ‪ :‬أﻧﺎ أﻛﺜﺮ إﻋﻼﻣﻴﺔ ُﻣ َ‬ ‫ﻨﺘ َﻘﺪة!‬

‫ﺣﻮار ﺑﺸﺮى ﻋﺒﺪا‪:D‬‬

‫ﺗﻌﺘﱪ ﺣﺼﺔ اﻟﺮﻳﺎﳼ أول إﻋﻼﻣﻴﺔ‬ ‫إﻣﺎراﺗﻴﺔ‪ ،‬ﺗﻜﴪ اﺣﺘﻜﺎر اﻹﻋﻼم اﻟﺮﻳﺎﴈ‬ ‫ﻣﻦ ﻗﺒﻞ اﻟﺮﺟﺎل‪ ،‬ﻋﻤﻠﺖ ﺑﻪ وﻧﺎﻓﺴﺖ‬ ‫وﺣﻘﻘﺖ اﻟﺘﻤﻴﺰ‪.‬‬ ‫ﺗﻜﺘﻒ ﺑﺤﺼﻮﻟﻬﺎ ﻋﲆ‬ ‫وﺣﺼﺔ اﻟﺘﻲ مل ِ‬ ‫ﺑﻜﺎﻟﻮرﻳﺲ ﰲ ﻣﺠﺎل اﻹﻋﻼم‪ ،‬ﺗﺎﺑﻌﺖ‬ ‫ﻟﻠﺤﺼﻮل ﻋﲆ اﳌﺎﺟﺴﻴﱰ ﰲ اﻟﻘﺎﻧﻮن‬ ‫اﻟﺮﻳﺎﴈ ﻣﻦ اﻟﺠﺎﻣﻌﺔ اﻷﻣﺮﻳﻜﻴﺔ ﰲ‬ ‫اﻹﻣﺎرات‪ ،‬وﻫﻮ ﻣﺎ زاد ﻣﻦ أدواﺗﻬﺎ‬ ‫اﻹﻋﻼﻣﻴﺔ‪ ،‬وﺟﻌﻠﻬﺎ ﺗﺤﻘﻖ اﻟﻨﺠﺎح ﰲ‬ ‫ﺑﺮاﻣﺠﻬﺎ اﻟﺤﻮارﻳﺔ اﳌﺘﺨﺼﺼﺔ ﰲ اﳌﺠﺎل‬ ‫اﻟﺮﻳﺎﴈ‪ ،‬ﻋﲆ ﻗﻨﺎة ديب اﻟﺮﻳﺎﺿﻴﺔ‪.‬‬ ‫واﻟﻨﺠﺎح اﻟﺬي ﺣﻘﻘﺘﻪ ﺣﺼﺔ‪ ،‬ﺟﺎء‬ ‫مبﺘﺎﺑﻌﺘﻬﺎ ﻷدق ﺗﻔﺎﺻﻴﻞ ﻋﻤﻠﻬﺎ‪ ،‬ﺧﺎﺻﺔ‬ ‫وأﻧﻬﺎ متﺘﻠﻚ اﻹﺣﺴﺎس اﻟﻌﺎﱄ ﺑﺎﳌﺴﺆوﻟﻴﺔ‬ ‫اﻟﺬي ﻳﻨﻘﻠﻬﺎ ﻣﻦ متﻴﺰ إﱃ آﺧﺮ‪ ،‬وﻫﻮ ﻣﺎ‬ ‫ﺗﺠﲆ ﰲ اﻟﺼﺪى اﻟﺬي ﺣﻘﻘﺘﻪ ﻣﻦ ﺧﻼل‬ ‫إﺛﺎرﺗﻬﺎ ﺑﻌﺾ اﻟﻘﻀﺎﻳﺎ اﳌﻬﻤﺔ اﳌﺘﻌﻠﻘﺔ‬ ‫ﺑﺎﻟﺸﺄن اﻟﺮﻳﺎﴈ‪.‬‬ ‫ﻋﻦ ﺗﻔﺎﺻﻴﻞ ﺗﺠﺮﺑﺘﻬﺎ اﻹﻋﻼﻣﻴﺔ وﻃﻤﻮﺣﻬﺎ‬ ‫اﳌﺴﺘﻘﺒﲇ‪ ،‬ﺗﺤﺪﺛﺖ ﺣﺼﺔ اﻟﺮﻳﺎﳼ إﱃ‬ ‫"ﺑﻴﺖ اﻟﺸﻌﺮ" ﻣﻦ ﺧﻼل اﻟﺤﻮار اﻟﺘﺎﱄ‪:‬‬

‫‪72‬‬

‫اﻟﻌﺪد ‪ ، 71‬أﻛﺘﻮﺑﺮ ‪2018‬‬

‫اﻹﺿﺎءة ﺑﺸﻜﻞ ﻛﺒري‪ ،‬ﻟﻴﺘﻄﻮر ﻣﻌﻲ اﻷﻣﺮ ﻓﻴام‬ ‫ﺑﻌﺪ إﱃ اﻟﺘﺼﻮﻳﺮ اﻟﺨﻴﺎﱄ‪ ،‬ﺣﻴﺚ ﻛﻨﺖ أرى‬ ‫اﻟﺸﺨﺼﻴﺎت ﰲ اﻷﻓﻼم اﻟﻌﺎﳌﻴﺔ واﻟﺤﻜﺎﻳﺎت‬ ‫ﻣﺜﻞ اﻟﻘﺮاﺻﻨﺔ‪ ،‬واﳌﻬﺮﺟني وﻏريﻫﻢ ﻣﻦ‬ ‫اﻟﺸﺨﺼﻴﺎت اﻟﺨﻴﺎﻟﻴﺔ‪ ،‬ورﺣﺖ أﺗﺤﺪى ﻧﻔﴘ‬ ‫ﺑﺘﺼﻮﻳﺮ ﺷﺨﺼﻴﺎت ﻣامﺛﻠﺔ‪ ،‬وﻫﻮ أﻣﺮ ﻣﻌﻘﺪ‬ ‫ﻳﺘﻀﻤﻦ ﻣﻜﻴﺎﺟﺎً ﻣﺘﻘﻨﺎً وﺛﻴﺎﺑﺎً ﻧﺎدرة وﺧﻠﻔﻴﺎت‬ ‫ﻏري ﺗﻘﻠﻴﺪﻳﺔ‪ ،‬ﺑﺎﻹﺿﺎﻓﺔ ﻟﻺﻛﺴﺴﻮارات‬ ‫واﻟﺪﺧﺎن وﻏريﻫﺎ ﻣﻦ اﳌﺆﺛﺮات"‪.‬‬ ‫وﻳﺮى ﻋﺒﺪ اﻟﻠﻪ اﻟﻬﺎﺷﻤﻲ ﺑﺄن اﻟﺘﺼﻮﻳﺮ ﻣﺠﺎل‬ ‫ﻣﺮﺑﺢ ﻣﺎدﻳﺎً‪ ،‬إذا ﻣﺎ ﻋﺮف اﻹﻧﺴﺎن ﻛﻴﻒ‬

‫ﻳﺘﻌﺎﻣﻞ ﻣﻌﻪ‪ ،‬وﻳﺸري إﱃ أن اﳌﺸﻜﻠﺔ اﻷﻛﱪ‬ ‫اﻟﺘﻲ ﺗﻮاﺟﻪ اﳌﺼﻮرﻳﻦ ﻫﻲ ﻋﺪم ﺗﻘﺪﻳﺮ‬ ‫اﳌﺤﻴﻄني ﺑﻬﻢ ﻷﻋامﻟﻬﻢ‪ ،‬ﻳﻘﻮل اﻟﻬﺎﺷﻤﻲ‪:‬‬ ‫"ﻻ ميﻜﻦ ﻟﻚ أن ﺗﺬﻫﺐ إﱃ ﻣﻄﻌﻢ ﺻﺪﻳﻘﻚ‬ ‫وﺗﻄﻠﺐ ﻣﺎ ﺗﺮﻳﺪ‪ ،‬ﺛﻢ ﺗﻐﺎدر ﻣﻦ دون أن‬ ‫ﺗﺪﻓﻊ اﻟﻔﺎﺗﻮرة‪ ،‬ﻛام ﻻ ميﻜﻦ ﻟﻚ أن ﺗﺰور أﺣﺪ‬ ‫ﻣﺤﻼت اﻟﺜﻴﺎب اﻟﺘﻲ ﺗﻌﻮد ﻷﺣﺪ ﻣﻌﺎرﻓﻚ‪،‬‬ ‫ﻓﱰﺗﺪي ﻣﺎ ﻳﻨﺎﺳﺒﻚ وﺗﺨﺮج ﻣﻦ دون أن‬ ‫متﺮ ﻋﲆ ﺻﻨﺪوق اﳌﺤﺎﺳﺐ‪ ،‬ﻓﻠامذا ﻳﺨﺘﻠﻒ‬ ‫اﻷﻣﺮ ﻋﻨﺪﻣﺎ ﻳﺘﻌﻠﻖ اﳌﻮﺿﻮع ﺑﺎﻟﺘﺼﻮﻳﺮ؟‬ ‫ﻫﺬا اﻟﺴﺆال اﻟﺬي ﺑﺤﺜﺖ ﻟﻪ ﻋﻦ ﺟﻮاب ﻣﻦ‬

‫دون ﻓﺎﺋﺪة‪ ،‬ﳌﺎذا ﻻ ﻳﺪرك ﻣﻦ ﻳﺤﻴﻂ ﺑﻨﺎ أن‬ ‫اﻟﺘﺼﻮﻳﺮ ﻫﻮ ﻣﻬﻨﺔ ﻛﻐريﻫﺎ ﻣﻦ اﳌﻬﻦ‪ ،‬ﳌﺎذا ﻻ‬ ‫ﻳﺪرﻛﻮن أن ﻣﻌﺪات اﻟﺘﺼﻮﻳﺮ ﺑﺎﻫﻈﺔ اﻟﺜﻤﻦ‪،‬‬ ‫وﺑﺄن وﻗﺖ اﳌﺼﻮر ﻟﻴﺲ ﺑﺄﻗﻞ أﻫﻤﻴﺔ ﻣﻦ‬ ‫أوﻗﺎﺗﻬﻢ‪ ،‬ﳌﺎذا ﻻ ﻳﺸﻌﺮون ﺑﺎﻟﺤﺮج ﻋﻨﺪﻣﺎ‬ ‫ﻳﺪﻋﻮن اﳌﺼﻮر ﻣﻊ آﻟﺔ ﺗﺼﻮﻳﺮه إﱃ ﺣﻔﻼﺗﻬﻢ‬ ‫وأﻋﺮاﺳﻬﻢ وﻣﻨﺎﺳﺒﺎﺗﻬﻢ اﻟﺨﺎﺻﺔ"‪.‬‬ ‫وﻳﺆﻛﺪ اﻟﻬﺎﺷﻤﻲ أن اﺣﱰاﻣﻪ ﳌﻬﻨﺔ اﻟﺘﺼﻮﻳﺮ‬ ‫ﺟﻌﻠﻪ ﻻ ﻳﺸﻌﺮ ﺑﺎﻟﺤﺮج ﻣﻦ ﻃﻠﺐ اﻷﺟﺮة‬ ‫ﻋﻨﺪ ﺗﺼﻮﻳﺮه أي ﻣﻨﺎﺳﺒﺔ ﻓﻴﻘﻮل‪" :‬ﻫﻨﺎك أﻫﻞ‬ ‫وأﺧﻮة ﻣﻘﺮﺑﻮن ﻻ أﺗﺮدد ﺑﺘﺼﻮﻳﺮ ﻣﻨﺎﺳﺒﺎﺗﻬﻢ‬ ‫ﻣﺠﺎﻧﺎً‪ ،‬ﻛﻨﻮع ﻣﻦ اﻹﻫــﺪاء‪ ،‬ﻟﻜﻦ دامئ ـﺎً ﻣﺎ‬ ‫أﺣﺮص ﻋﲆ أن أﺗﻔﻖ ﻋﲆ اﻷﺳﻌﺎر ﻣﻊ ﻣﻦ‬ ‫ﻳﻄﻠﺐ ﻣﻨﻲ اﻟﺘﺼﻮﻳﺮ‪ ،‬ﻗﺪ أﻗﺪم ﺳﻌﺮاً ﻣﺨﻔﻀﺎً‪،‬‬ ‫ﻟﻜﻨﻲ ﻻ أﻋﻤﻞ ﻣﺠﺎﻧﺎً‪ ،‬وذﻟﻚ ﺗﻘﺪﻳﺮاً ﻣﻨﻲ ﳌﻬﻨﺔ‬ ‫اﻟﺘﺼﻮﻳﺮ‪ ،‬ﻓﻬﻲ ﻟﻴﺴﺖ أﻗﻞ ﺷﺄﻧﺎً ﻣﻦ ﻏريﻫﺎ‬ ‫ﻣﻦ اﳌﻬﻦ‪ ،‬وﻟﻴﺴﺖ أوﻗﺎت اﳌﻬﻨﺪس واﻟﺪﻛﺘﻮر‬ ‫واﳌﻌﻠﻢ واﻟﺤﺮﰲ ﺑﺄمثﻦ ﻣﻦ وﻗﺖ اﳌﺼﻮر"‪.‬‬ ‫ﻳﺤﻠﻢ ﻋﺒﺪ اﻟﻠﻪ اﻟﻬﺎﺷﻤﻲ ﺑﺎﻟﻮﺻﻮل إﱃ‬ ‫اﻟﻌﺎﳌﻴﺔ وﻗﺪ ﺑﺪأ ﻣﺴريﺗﻪ اﻟﻌﺎﳌﻴﺔ ﻣﻦ ﺧﻼل‬ ‫ﺗﻘﺪﻳﻢ ﻋﺪد ﻣﻦ اﻟﻮرﺷﺎت اﻟﺘﺪرﻳﺒﻴﺔ ﰲ دول‬ ‫ﻣﺠﻠﺲ اﻟﺘﻌﺎون اﻟﺨﻠﻴﺠﻲ‪ ،‬وﻫﻮ ﻳﺴﻌﻰ ﻷن‬ ‫ﻳﺴﺘﻤﺮ ﰲ ﻋﺎمل ﺗﺪرﻳﺐ اﻟﺘﺼﻮﻳﺮ إﱃ أن ﻳﺼﻞ‬ ‫إﱃ ﻣﺴﺘﻮى اﳌﺼﻮرﻳﻦ اﻟﻌﺎﳌﻴني اﻟﺬﻳﻦ ﺗﻌﻠﻢ‬ ‫ﻣﻨﻬﻢ‪.‬‬ ‫اﻟﺸﻌﺮ ‪baytelshear‬‬ ‫ﺑﻴﺖ ِ‬

‫‪71‬‬

‫‪­ŝŃĬěŕ‬‬ ‫‪ dzǾǘǕōƪǕŌ ǻǕŒ ǒǷƛǷǕōş Ǘǔżǿ‬‬

‫ﻋﺒﺪ اﻟﻠﻪ اﻟﻬﺎﺷﻤﻲ‪ ŝƢǕŌ ǛǤǙ Ǜƫ dzǾǘǥŐ Ǔǂũ ȍ dzǜǤǙ ƉǿǷƚŨǕŌ :‬‬ ‫‪dzƓƃǜǤǕŌǶ‬‬ ‫ﻣﺼﻄﻔﻰ أﺣﻤﺪ‬

‫ﰲ أي ﻣﺠﺎل ﻻﺑــﺪ ﻣﻦ اﻻﺳﺘﺜامر اﻟﺠﻴﺪ‬ ‫ﻟﻠﻨﺠﺎح‪ ،‬ﻓﻬﻨﺎك ﻣﻦ ﻳﺴﺘﺜﻤﺮ ﰲ اﻟﻮﻗﺖ‪،‬‬ ‫وﻫﻨﺎك ﻣﻦ ﻳﺴﺘﺜﻤﺮ ﰲ اﳌــﺎل‪ ،‬وﻏريﻫﺎ ﻣﻦ‬ ‫أﺷﻜﺎل اﻻﺳﺘﺜامرات‪ ،‬ﻟﻜﻦ أﻏﻠﺐ ﻣﻦ ﻳﺪﺧﻞ‬ ‫ﻣﺠﺎل اﻟﺘﺼﻮﻳﺮ ﻳﺴﺘﺜﻤﺮون إﻣــﺎ ﰲ ﴍاء‬ ‫اﻟﻜﺎﻣريات اﻟﺤﺪﻳﺜﺔ‪ ،‬أو اﻟﻌﺪﺳﺎت ﺑﺎﻫﻈﺔ‬ ‫اﻟﺜﻤﻦ‪ ،‬أو اﳌﻌﺪات اﳌﺴﺎﻋﺪة واﻹﺿــﺎءات‪،‬‬ ‫ﻟﻜﻦ ﻣﺒﺪﻋﻨﺎ ﰲ ﻫﺬا اﻟﻌﺪد ﺧﺮج ﻋﻦ اﻟﺸﻜﻞ‬ ‫اﻟﻄﺒﻴﻌﻲ ﻻﺳﺘﺜامرات اﳌﺼﻮرﻳﻦ‪ ،‬وﺻﺐ ﺟﻞ‬ ‫اﻫﺘامﻣﻪ ﻋﲆ اﻟﺘﻌﻠﻢ‪ ،‬ﻓﻜﺎﻧﺖ اﻟﻨﺘﻴﺠﺔ أن ﻗﻔﺰ‬ ‫ﻗﻔﺰات ﻧﻮﻋﻴﺔ ﰲ ﻫﺬا اﳌﺠﺎل‪ ،‬ﺟﻌﻠﺘﻪ ﺧﻼل‬ ‫ﺑﻀﻊ ﺳﻨﻮات ﻣﻦ اﳌﺼﻮرﻳﻦ اﻹﻣﺎراﺗﻴني اﻟﺬﻳﻦ‬ ‫ﻳﺸﺎر ﻟﻬﻢ ﺑﺎﻟﺒﻨﺎن‪ ،‬إﻧﻪ اﳌﺼﻮر اﻹﻣﺎرايت ﻋﺒﺪ‬ ‫اﻟﻠﻪ اﻟﻬﺎﺷﻤﻲ‪ ،‬وﻣﻌﻪ ﻛﺎن ﻟﻨﺎ ﻫﺬا اﻟﻠﻘﺎء‪:‬‬ ‫ﺑﺪاﻳﺔ ﻋﺒﺪ اﻟﻠﻪ اﻟﻬﺎﺷﻤﻲ ﻣﻊ اﻟﺘﺼﻮﻳﺮ ﻛﺎﻧﺖ‬ ‫ﻋﲆ ﻏري اﳌﻌﺘﺎد‪ ،‬ﺣﻴﺚ ﻛﺎن ﻳﺮﻏﺐ ﰲ إﻳﺠﺎد‬ ‫ﻣﻦ ﻳﻠﺘﻘﻂ ﻟﻪ ﺻــﻮراً ﻓﺒﺎت ﻳﻠﺘﻘﻂ ﺻﻮراً‬ ‫ﳌﻦ ﻳﺮﻏﺐ ﰲ أن ﻳﺘﺼﻮر‪ ،‬ﻳﻘﻮل اﻟﻬﺎﺷﻤﻲ‪:‬‬ ‫"ﺣﻜﺎﻳﺘﻲ ﺑــﺪأت ﻣﻊ اﻟﺘﺼﻮﻳﺮ ﻣﻨﺬ ﻋﺪة‬ ‫ﺳﻨﻮات‪ ،‬ﺣﻴﺚ ﻛﻨﺖ أﺑﺤﺚ ﻋﻤﻦ ﻳﻠﺘﻘﻂ ﱄ‬ ‫ﺻﻮراً ﺷﺨﺼﻴﺔ‪ ،‬ﻟﻜﻨﻲ ﻛﻨﺖ أﺟﺪ ﺻﻌﻮﺑﺔ ﰲ‬ ‫ذﻟﻚ‪ ،‬ﻣﺎ دﻓﻌﻨﻲ إﱃ ﴍاء آﻟﺔ ﺗﺼﻮﻳﺮ اﺣﱰاﻓﻴﺔ‬ ‫مبﺴﺎﻋﺪة أﺣﺪ اﻷﺻﺪﻗﺎء‪ ،‬ﺑﻬﺪف اﻟﺘﺨﻠﺺ‬ ‫ﻣﻦ ﻫﺬه اﳌﻌﺎﻧﺎة‪ ،‬ﻟﻜﻨﻨﻲ ﺗﻔﺎﺟﺄت ﺑﺄن اﻷﻣﺮ‬ ‫ﻟﻴﺲ ﺑﺎﻟﺴﻬﻞ‪ ،‬وﻋﺮﻓﺖ أن اﻟﺘﺼﻮﻳﺮ ﻟﻴﺲ‬ ‫ﻣﺠﺮد ﺿﻐﻄﺔ ﻋﲆ زر‪ ،‬ﺑﻞ ﻫﻮ أﻛرث ﻣﻦ ذﻟﻚ‬ ‫ﺑﻜﺜري‪ ،‬ﻫﻮ ﻣﺠﻤﻮﻋﺔ ﻣﻌﻘﺪة ﻣﻦ اﻟﻌﻤﻠﻴﺎت‬ ‫اﻟﺤﺴﺎﺑﻴﺔ واﻟﻘﻮاﻋﺪ اﻟﺘﻲ ﻳﺠﺐ اﻻﻟﺘﺰام ﺑﻬﺎ‬ ‫ﻟﻠﺤﺼﻮل ﻋﲆ ﺻﻮرة ﺟﻴﺪة‪ ،‬وﻣﻦ ﻫﻨﺎ أﺧﺬت‬ ‫اﻷﻣﺮ مبﺤﻤﻞ اﻟﺠﺪ ورﺣﺖ أﺑﺤﺚ ﻋﻦ ﻛﻞ‬

‫‪70‬‬

‫اﻟﻌﺪد ‪ ، 71‬أﻛﺘﻮﺑﺮ ‪2018‬‬

‫اﳌﻌﻠﻮﻣﺎت اﻟﺨﺎﺻﺔ ﺑﺎﻟﺘﺼﻮﻳﺮ اﻟﻀﻮيئ ﻟﺘﻄﻮﻳﺮ‬ ‫ﻣﺴﺘﻮاي"‪.‬‬ ‫مل ﻳﻌﻤﺪ إﱃ اﻟﻴﻮﺗﻴﻮب وﻏريه ﻣﻦ اﳌﻮاﻗﻊ‬ ‫اﳌﺠﺎﻧﻴﺔ ﺑﻬﺪف اﻟﺤﺼﻮل ﻋﲆ اﳌﻌﻠﻮﻣﺎت‪،‬‬ ‫ﺑﻞ أراد أن ﻳﺤﺼﻞ ﻋﲆ اﳌﻌﻠﻮﻣﺔ اﻟﺼﺤﻴﺤﺔ‬ ‫اﳌﺘﻜﺎﻣﻠﺔ ﻣﻦ ﻣﺼﺪرﻫﺎ اﳌــﺒــﺎﴍ‪ ،‬ﻳﻘﻮل‬ ‫اﻟﻬﺎﺷﻤﻲ‪" :‬ﻳﺤﺘﻮي اﻟﻴﻮﺗﻴﻮب ﻋﲆ ﻛﻢ ﻫﺎﺋﻞ‬ ‫ﻣﻦ اﻟﺪروس اﻟﺨﺎﺻﺔ ﺑﺎﻟﺘﺼﻮﻳﺮ اﻟﻀﻮيئ‪ ،‬ﻟﻜﻨﻬﺎ‬ ‫ﺗﺘﺼﻒ ﺑﺎﻟﻌﺸﻮاﺋﻴﺔ وﻋﺪم اﻟﺪﻗﺔ‪ ،‬ﻓﻠﻠﺤﺼﻮل‬ ‫ﻋﲆ ﻣﻌﻠﻮﻣﺔ ﻣﺎ ﻋﻠﻴﻚ أن ﺗﺒﺤﺚ ﻛﺜرياً ﻣﻦ‬ ‫دون ﺟــﺪوى‪ ،‬وﻫﻨﺎ ﻻ أﺗﻜﻠﻢ ﻋﻦ ﻣﺒﺎدئ‬ ‫اﻟﺘﺼﻮﻳﺮ‪ ،‬ﺑﻞ أﺗﻜﻠﻢ ﻋﻦ اﳌﺮﺣﻠﺔ اﳌﺘﻘﺪﻣﺔ‬ ‫ﰲ ﻫﺬا اﻟﻌﻠﻢ واﻟﻔﻦ‪ ،‬وﻣﻦ ﻫﻨﺎ ﻗﺮرت أن‬ ‫اﺷﱰي دروﺳﺎً اﺧﺘﺼﺎﺻﻴﺔ ﻳﻘﺪﻣﻬﺎ ﻣﺼﻮرون‬ ‫ﻋﺎﳌﻴﻮن وﻓﻖ أﺳﻠﻮب ﺗﺪرﻳﺐ ﺣﺪﻳﺚ‪ ،‬ﻛﺎﻧﺖ‬ ‫ﻫﺬه اﻟﺪروس ﻏﺎﻟﻴﺔ اﻟﺜﻤﻦ‪ ،‬ﻟﻜﻨﻲ ﻛﻨﺖ أﻋﺘﱪ‬ ‫أين اﺳﺘﺜﻤﺮ ﰲ ﻫﺬا اﻷﻣﺮ‪ ،‬واﻟﺤﻤﺪ ﻟﻠﻪ ﻛﺎن‬ ‫اﺳﺘﺜامراً ﻧﺎﺟﺤﺎً‪ ،‬ﻓﺨﻼل ﻣﺪة ﻗﺼرية ﺑﺎت ﻟﺪي‬ ‫ﻣﺨﺰون ﻛﺒري ﻣﻦ اﳌﻌﻠﻮﻣﺎت واﳌﻌﺎرف ﺣﻮل‬ ‫اﻟﺘﺼﻮﻳﺮ اﻟﻔﻮﺗﻐﺮاﰲ"‪.‬‬ ‫ﻗﴣ ﻋﺒﺪ اﻟﻠﻪ اﻟﻬﺎﺷﻤﻲ ﺳﻨﺘﻪ اﻷوﱃ ﰲ ﴍاء‬ ‫دروس ﺗﻌﻠﻴﻤﻴﺔ واﻟﺘﺪرب ﻋﲆ ﻣﺎ ﺗﺤﺘﻮﻳﻪ‪ ،‬مل‬ ‫ﻳﻜﻦ ﻟﺪﻳﻪ ﺧﻼﻟﻬﺎ أي اﺧﺘﻼط ﺑﻌﺎمل اﳌﺼﻮرﻳﻦ‪،‬‬ ‫ﻛﺎن اﻫﺘامﻣﻪ ﻣﻨﺼﺒﺎً ﻋﲆ ﺟﻤﻊ اﳌﻌﻠﻮﻣﺎت‪،‬‬

‫وﺣﻞ اﳌﺸﺎﻛﻞ اﻟﺘﻲ ﻛﺎﻧﺖ ﺗﻮاﺟﻬﻪ ﺧﻼل‬ ‫ﺗﻌﻠﻢ اﻟﺘﺼﻮﻳﺮ‪ ،‬ﻳﻘﻮل اﻟﻬﺎﺷﻤﻲ‪" :‬ﺑﻌﺪ أن‬ ‫أﺗﻘﻨﺖ اﻟﺘﺼﻮﻳﺮ إﱃ ﺣﺪ ﻛﺒري‪ ،‬رﺣﺖ اﺧﺘﻠﻂ‬ ‫ﻣﻊ اﳌﺼﻮرﻳﻦ ﺑﻬﺪف ﺗﺒﺎدل اﳌﻌﻠﻮﻣﺎت‪،‬‬ ‫اﺳﺘﻔﺪت ﻛﺜرياً ﻣﻦ ﻫﺬه اﻟﻠﻘﺎءات‪ ،‬ﺳﻮاء ﻣﻦ‬ ‫ﺧﻼل اﺳﺘﻔﺎديت ﻣﻦ ﺗﺠﺎرب اﻵﺧﺮﻳﻦ‪ ،‬أو ﻣﻦ‬ ‫ﺧﻼل اﻓﺎديت ﻟﻐريي مبﺎ ﻟﺪيﱠ ﻣﻦ ﻣﻌﻠﻮﻣﺎت"‪.‬‬ ‫ﻳﻌﺘﱪ اﻟﻬﺎﺷﻤﻲ أن اﻟﻌﻠﻢ ﻣﻠﻚ ﻟﻠﺠﻤﻴﻊ‪،‬‬ ‫وﻟﻴﺲ ﻣﻦ ﺣﻖ أﺣــﺪ أن ﻳﺤﺘﻜﺮه‪ ،‬وﻣﻦ‬ ‫ﻫﻨﺎ ﺣﺮص ﻋﲆ ﺗﺒﺎدل اﳌﻌﻠﻮﻣﺎت ﻣﻊ ﻣﻦ‬ ‫ﺣﻮﻟﻪ‪ ،‬ومل ﻳﻜﻦ ﻳﺒﺨﻞ ﻋﲆ أﺣﺪ مبﺎ ﻳﻌﺮﻓﻪ‪،‬‬ ‫ﺣﻴﺚ ﻳﻘﻮل‪" :‬دﻓﻌﻨﻲ إميﺎين ﺑﺄﻫﻤﻴﺔ ﺗﺸﺎرك‬ ‫اﳌﻌﻠﻮﻣﺎت إﱃ اﻟﺒﺪء ﺑﺘﺼﻮﻳﺮ ﻓﻴﺪﻳﻮﻫﺎت‬ ‫وﻧﴩﻫﺎ ﻋﲆ اﻟﻴﻮﺗﻴﻮب‪ ،‬ﻟﻜﻨﻲ ﺗﻮﻗﻔﺖ ﻋﻦ‬ ‫ﻫﺬا اﻷﻣﺮ‪ ،‬وذﻟﻚ ﻷﻧﻬﺎ ﺗﺤﺘﺎج إﱃ ﺟﻬﺪ ﻛﺒري‬ ‫ووﻗﺖ ﻃﻮﻳﻞ‪ ،‬وأرﺟﻮ أن أﺟﺪ ﻣﻦ ﻳﺴﺎﻋﺪين‬ ‫ﰲ ﻫﺬا اﻟﻌﻤﻞ ﺣﺘﻰ أرﺟﻊ ﻹﻧﺘﺎج ﻫﺬه اﻷﻓﻼم‬ ‫اﻟﺘﻌﻠﻴﻤﻴﺔ"‪.‬‬ ‫ﻛﺎﻧﺖ ﺑﺪاﻳﺔ اﻟﻬﺎﺷﻤﻲ ﰲ اﻟﺒﺤﺚ ﻋﻤﻦ‬ ‫ﻳﺘﻘﻦ ﺗﺼﻮﻳﺮ اﻟﺒﻮرﺗﺮﻳﻪ‪ ،‬وﻣﻦ ﻫﻨﺎ اﻧﺼﺐ‬ ‫اﻫﺘامﻣﻪ ﻋﲆ إﺗﻘﺎن ﻫﺬا اﻟﻨﻮع ﻣﻦ اﻟﺘﺼﻮﻳﺮ‪،‬‬ ‫ﻳﻘﻮل اﻟﻬﺎﺷﻤﻲ‪" :‬أﺣﺒﺒﺖ ﺗﺼﻮﻳﺮ اﻟﻮﺟﻮه‪،‬‬ ‫وﻣﻦ ﻫﻨﺎ ﺑﺪأت اﻫﺘﻢ ﺑﻜﻞ ﳾء ﻳﺮﻓﻊ ﻣﻦ‬ ‫ﻣﺴﺘﻮى أﻋامﱄ‪ ،‬ﻣﺎ ﺟﻌﻠﻨﻲ أﻫﺘﻢ ﺑﺘﻘﻨﻴﺎت‬

‫اﻟﺸﻮق واﻟ ُﺒﻌﺪ‬ hF&* JH Í D* {J4&* bJ 2¡/H |BbF @@ £@ D3b@@ ~@ 7 ¤@@ @ @E ex@@ ~@ @{@ @- b@@ @ @G @@ g@ @£@ @D h@@ @G É@@ A *¡@@ Db@@ BH *¡@@ Db@@ B ¡@@ D @@ 6b@@ @ @D*H @@ £@ @ @ @+b@@ B b@@ @ @ @ @~@ @ @6¡@@ @ @ @ @F* Í@@ @ @ @+ *2b@@ @ @ @ @ @ @ E h + ¢@@g@E b@@Gx@@ @ FH Í@@ @ D* b@@~@z@E v@@ @~@z@ @@£@ @ +b@@c@ D* I¡@@ @ @D* i*$b@@ ~@ @z@ @E v@@ @ ~@ 6* b@@ J h PD ¢@@g@E ¤@@B¡@@ @1 ¯ ¢ ~{J o¡@@E @@D @@£@ @ 0b@@~@ z@ D* b@@ @ @ Fb@@ ²&* r¡@@ c@ @- ¤@@ @ @ @0H4H h@@F5 $b@@ @ @ Db@@A ¢@@g@ E @@ @~@z@g@~@z@J x@@ @ ~@ {@ D* @@ £@ @ @ @ +*¡@@ D* @@ @ @D @@ @ p@ @ @JH*x@@ @ E ¤@@ @ 1x@@ @ h C b@@ E @@ JH Iv@@ @ @D* @@£@ ~@ 6b@@C 24H b@@ J @@ £@ @ @ @1*2 É@@ @ @ @ Db@@ @+ ¯b@@ @ ~@ @ @8 @@ @c@ @ F @@ @ @D h ~8 @@ DH @@F¡@@~@|@J Md@@ @ B @@E *¡@@ @ G&* @@£@ @ :b@@c@ D* b@@ @ @:H @@ @< ·b@@ @ @< @@ ~@ {@ <b@@ J h@@ @+b@@J ¡@@~@ 7 x@@ @ ~@ z@ D* ib@@ @ @ ~@ 7 @@£@ @c@ @@ £@ @ @ @-b@@ B b@@ @ @ @ @D @@ @-b@@ @ @ @ @ @ : v@@ @ @ @ @ @ cO @ @ @ D*H

69

baytelshear ‫اﻟﺸﻌﺮ‬ ِ ‫ﺑﻴﺖ‬

‫ﻣﺤﻤﺪ اﻟﻤﺼﻌﺒﻲ‬

ĘıĘŕ

‫اﻟﻤﺤ ّﺒﻪ ﺗﻮاﻓﻴﻖ‬ @@£@ ~@ }@ D* ,yQ @ @ @ @ @ 0 y@@ @ @ @ @ @ @F*H Áx@@ @ m@ @ @G ¤@@ @ @ @ @D* @@ @ @-x@@ @ @C3b@@ @ @E b@@ @ @ @ @ @ @ @ F&*H ¤@@ @ @ @ @c@ @ @J ¤@@ @ @ g@ @ @ @E3 ¯ @@ @ J4*¡@@ @ @ @ @D* y@@ @ @ @ / @@ @£@ @ A @@ @ @ @ @ @ -O *x@@ @ @ @ @ 0 @@ -x@@ @ @0 @@ @ @ @ £@ @ : eb@@ @ @ @ / @@ @ @ @ E° x@@ @ @ @ @ @ @ @D*H @@ £@ @F*v@@ E h@@ @ Q @ @ @/ d@@ @ @ @²* ¡@@ @~@ @ |@ @ = ¥w@@ @ @ @G @@ @ -4w@@ @ < ¢@@ @ ~@ @ @7É@@ @ - @@ @ @ @ F* ¡@@ @ @ @ J ¡@@ @ @~@ @ @ {@ @ @ D*H @@ @ £@ @ @A*¡@@ @ - @@ @ @ @cQ @ @ @ @ p@ @ @ @ ´*H ¤@@ @ @ @Q @ @ @ 0 h@@ @ @ Ax@@ @ @ < @@ -x@@ ~@ z@ 1 ¤@@ @ @ @ @ @ D*H @@ @ @ @ @ ²* h@@ @£@ @ @ @ + °H @@ £@ @ G*¡@@ ~@ @ {@ @ D* ib@@ @ £@ @ @Db@@ @ < Áb@@ @ @ @ @ E xQ @ @ @ @ @ @ @ @ 0O @@ -x@@ @ @ F @@ @ @ @ /*¡@@ @ @ @ ´* eH42 @@ @ @ @E ¤@@ @c@ @ @ @ B @@ £@ Db@@ @ E M ¡@@ @ @ @ @B @@ @ @ @ @6H4 @@ @ @E Mf@ @ 1¡@@ @ @ @ @ @ E @@-Ä@@g@ <b@@E ¥2x@@ @ @ @ @D* ¢@@ g@ @0 ¤@@ g@ @s@ @ @ @: @@ @ E @@ @£@ @ .*¡@@ @EH v@@ @ @ @ < x@@ @ @ @ ~@ @ {@ @ D* Í@@ @ @ @ +H ¤@@ @ @ £@ @ + @@ -x@@ @ @~@ @6 @@ @ @ @J*y@@ @ @ @±* @@ @ @ @ F ¯ @@ @ £@ @ D @@ @ @ C @@ J¡@@ : @@ c@ @~@ @{@ @J Mv@@ @ @Jb@@ @ @C ¤@@ @ @ @ G b@@ @ @ @ C ¡@@ @ @ @ DH @@ @-È@@ @F @@ @ @ @ £@ @ @ @ @ @ D* b@@ @ @ @ @ @ @ @ @E%°* x@@ @ p@ @ @+ ¯ @@ @ £@ @ Db@@ @ s@ @ ´* e4 v@@ @ @ @ @ @ < ¤@@ @ @ @ @ @ @ B54 *v@@ @ @ @ @ @ @ E @@ -x@@ @ @~@ @7 ¤@@ @ @ @ @ E*2 É@@ @ @ @ @ @ 1* ¤@Q @ @ @ @ @ @ < É@@ @ @ @ A ‫ﻋﺰﻳﺰه آل ﺛﺎﻣﺮ‬ @jnonal9mmt

2018 ‫ أﻛﺘﻮﺑﺮ‬، 71 ‫اﻟﻌﺪد‬

68

‫‪Ĝšřņ ¯ ĬšĸŌ‬‬ ‫ﻷول ﻣﺮ ٍة ﺑﻘﺼﺔ ﻗﺼﻴﺪة " ِﻋﺶ أﻧﺖ" ﻣﻦ‬ ‫ﺻﺪﻳﻘﻪ اﻟﺘﺎرﻳﺨﻲ ﺟﻮرج إﺑﺮاﻫﻴﻢ اﻟﺨﻮري‪،‬‬ ‫رﺋﻴﺲ ﺗﺤﺮﻳﺮ ﻣﺠﻠﺔ اﻟﺸﺒﻜﺔ اﻟﻠﺒﻨﺎﻧﻴﺔ‪ ،‬واﻧﻔﻌﻞ‬ ‫ﺑﻬﺎ وﺗﺤﻤﺲ ﻟﻬﺎ ﻓﺮﻳﺪ ﻛﺜرياً ﻷﻧﻬﺎ‪ ،‬ﺑﺤﺴﺐ‬ ‫ﻣﺎ أورده ﺟــﻮرج اﻟــﺨــﻮري ﰲ ﻣﺬﻛﺮاﺗﻪ‪،‬‬ ‫أﺣﺎﻟﺘﻪ ﻟﺘﺠﺮﺑﺔ ﺻﺪﻳﻘﻪ اﻟﺮاﺣﻞ اﻟﺸﺎﻋﺮ ﻛﺎﻣﻞ‬ ‫اﻟﺸﻨﺎوي‪ ،‬وﻗﺼﺎﺋﺪه اﻟﺘﻲ ﻛﺘﺒﻬﺎ ﰲ ﺣﺒﻴﺒﺘﻪ‬ ‫اﳌﻄﺮﺑﺔ ﻧﺠﺎة اﻟﺼﻐرية ﻣﻦ واﻗﻊ ﻗﺼﺔ ﺣﺒﻪ‬ ‫ﻟﻪ وأﺷﻬﺮﻫﺎ ﻗﺼﻴﺪة "ﻻ ﺗﻜﺬيب" و "ﻋﺪت ﻳﺎ‬ ‫ﻳﻮم ﻣﻮﻟﺪي"‪.‬‬ ‫ﻗﺒﻞ أن ﺗﻨﺘﻬﻲ رﺣﻠﺔ ﻓﺮﻳﺪ ﺑﺒريوت‪ ،‬ﻛﺎن‬ ‫اﺳﺘﻄﺎع ﺑﺼﺤﺒﺔ ﺻﺪﻳﻘﻪ اﳌﻌﺮوف ﺑﻘﺮﺑﻪ ﻣﻦ‬ ‫ﻛﺎﻓﺔ أﻫﻞ اﻟﻔﻦ واﻟﺸﻌﺮ ﰲ اﻟﻌﺎمل اﻟﻌﺮيب‪،‬‬ ‫اﻟﺤﺼﻮل ﻋﲆ ﻗﺼﻴﺪة اﻷﺧﻄﻞ‪ ،‬وﻛﺎﻧﺖ ﺗﻠﻚ‬ ‫ﺗﺠﺮﺑﺘﻪ اﻟﺜﺎﻟﺜﺔ ﰲ ﻏﻨﺎء ﻗﺼﺎﺋﺪ اﻟﺸﺎﻋﺮ اﻟﺮاﺣﻞ‪،‬‬ ‫إذ ﺳﺒﻘﺘﻬﺎ وﺗﺰاﻣﻨﺖ ﻣﻌﻬﺎ ﻗﺼﺎﺋﺪ أﺧﺮى ﻫﻲ‬ ‫"أﺿﻨﻴﺘﻨﻲ ﺑﺎﻟﻬﺠﺮ" ﻋﺎم ‪ ،1967‬و "ورد ُة ﻣﻦ‬ ‫دﻣﻨﺎ" اﻟﺘﻲ ﻟﺤﻨﺖ ﻣﺎ ﺑني ﻋﺎﻣﻲ ‪1969‬و‪،1970‬‬ ‫وﻗﺪﻣﻬﺎ ﻓﺮﻳﺪ ﺑﻌﺪ اﻧﺘﺼﺎر أﻛﺘﻮﺑﺮ ‪،1973‬‬ ‫واﻷﺧرية ﻛﺎﻧﺖ ﺳﺒﺒﺎً ﰲ ﻣﻌﺮﻛﺔ ﻣﻜﺘﻮﻣ ٍﺔ ﺑني‬ ‫ﻓﺮﻳﺪ اﻷﻃﺮش وأم ﻛﻠﺜﻮم‪ ،‬ﺑﺴﺒﺐ ﺗﺮاﺟﻌﻬﺎ‬ ‫ﻋﻦ ﻏﻨﺎﺋﻬﺎ ﺑﻌﺪﻣﺎ اﺗﻔﻘﺖ ﻣﻊ ﻓﺮﻳﺪ ﻋﲆ أن‬ ‫ﺗﻜﻮن ﺗﻠﻚ ﺗﺠﺮﺑﺘﻬﺎ اﻷوﱃ ﻣﻊ أﻟﺤﺎﻧﻪ‪ ،‬وﺗﻌﻠﻠﻬﺎ‬ ‫ﻟﻪ ﺑﺄﻧﻬﺎ ﺗﺮﻏﺐ ﰲ أﻏﻨﻴﺔ ﻋﺎﻃﻔﻴﺔ ﻷن اﻷﻏﺎين‬ ‫اﻟﻮﻃﻨﻴﺔ ﻋﻤﺮﻫﺎ ﻗﺼري‪.‬‬ ‫وﺑﺎﻟﻌﻮدة ﻟﻘﺼﺔ ﻗﺼﻴﺪة " ِﻋﺶ أﻧﺖ" وﺟﺪ‬ ‫اﳌﻠﺤﻦ أن ﺧﺼﻮﺻﻴﺘﻬﺎ اﻧﻌﻜﺴﺖ ﻋﲆ ﻟﻐﺘﻬﺎ‬ ‫وأﻟﻔﺎﻇﻬﺎ اﻟﺸﻌﺮﻳﺔ‪ ،‬ﻛام ﰲ اﻟﺒﻴﺖ اﻟﺬي ورد‬ ‫ﻓﻴﻪ اﻟﺘﺸﺒﻴﻪ اﻟﺬي اﺳﺘﻔﺰ ﻓﺮﻳﺪ اﻷﻃﺮش ﻓﻬﺮع‬ ‫إﱃ ﺻﺪﻳﻘﻪ ﺟــﻮرج اﻟﺨﻮري ﻟﻠﺘﻔﺎوض ﻣﻊ‬ ‫اﻟﺸﺎﻋﺮ ﻋﲆ اﺳﺘﺒﺪال ﻟﻔﻆ اﻟﻘﺮآن ﰲ اﻟﺒﻴﺖ‬ ‫ﺑﻠﻔﻆ آﺧﺮ‪ ،‬ﻣﺸﺪدًا ﻋﲆ أن ﻫﺬا اﻟﻠﻔﻆ ﻟﻦ‬ ‫ﻳﻜﻮن ﻣﻘﺒﻮﻻً رﻗﺎﺑﻴﺎً وﻻ اﺟﺘامﻋﻴﺎً ﰲ ﻣﴫ‪،‬‬ ‫ورمبﺎ ﻳﺘﺴﺒﺐ ﰲ ﻣﻨﻊ اﻷﻏﻨﻴﺔ ﻣﻦ اﻷﺳﺎس‪،‬‬ ‫وﺑﺎﻟﻔﻌﻞ ﺗﻢ اﻟﺘﻮاﻓﻖ ﻋﲆ اﺳﺘﺒﺪال ﻟﻔﻆ‬ ‫اﻟﻘﺮآن ﺑﺎﻹميﺎن‪ ،‬ﻛام اﺳﺘﺒﺪل ﻟﻔﻆ " ُﺑﻌﺪك" ﰲ‬ ‫ﺑـ"ﺻﺪّك" ﻋﲆ اﻟﻨﺤﻮ اﻟﺘﺎﱄ‪:‬‬ ‫ﻣﻄﻠﻊ اﻟﻘﺼﻴﺪة َ‬ ‫ِﻋﺶ أﻧﺖ إين ِﻣ ﱡﺖ َﺑﻌﺪَك‪ /‬وأﻃﻞ إﱃ ﻣﺎ ﺷﺌﺖ‬ ‫ﺻﺪّك‪ ،‬ﻛام ﺗﻢ اﺳﺘﺒﺪال ﻋﻨﻮان اﻟﻘﺼﻴﺪة اﻟﺬي‬

‫‪66‬‬

‫اﻟﻌﺪد ‪ ، 71‬أﻛﺘﻮﺑﺮ ‪2018‬‬

‫ورد ﰲ دﻳﻮان "اﻟﻬﻮى واﻟﺸﺒﺎب" " ِﻣ ﱡﺖ ﺑﻌﺪك"‬ ‫ﺑـ" ِﻋﺶ أﻧﺖ"‪.‬‬ ‫اﻟﻄﺮﻳﻒ أن أﺣﻤﺪ اﻟﻔﻘﺶ اﺑﻦ أواﺧﺮ اﻟﻘﺮن‬ ‫اﻟﺘﺎﺳﻊ ﻋﴩ )‪ (1973-1900‬ﻛﺎن أﻛرث ﺟﺮأ ًة‬ ‫ﻣﻦ ﻓﺮﻳﺪ اﻷﻃــﺮش‪ ،‬ﻓﻘﺪم اﻷﻏﻨﻴﺔ ﻛام ﻫﻲ‬ ‫ومل ﻳﻐري أﻳ ًــﺎ ﻣﻦ أﻟﻔﺎﻇﻬﺎ‪ ،‬ﺑﻞ إن اﻟﺒﻴﺖ‬ ‫اﻟﺬي ﻳﺤﺘﻮي اﻟﻠﻔﻆ ﻣﺤﻞ اﻟﺠﺪل "اﻟﻘﺮآن"‬ ‫ﺗﻌﺎﻣﻞ ﻣﻌﻪ اﻟﻔﻘﺶ ﺑﺸﻜﻞ أدايئ وﻟﺤﻨﻲ‬ ‫ﺧﺎص وﺑﺤﺴﺎﺳﻴﺔ ﺗﻄﺮﻳﺒﻴﺔ ﺧﻄﻔﺖ أﻟﺒﺎب‬ ‫ﻣﺴﺘﻤﻌﻴﻪ ﰲ ذﻟﻚ اﻟﻮﻗﺖ‪ ،‬وﻫﻮ ﻣﺎ ﻇﻬﺮ ﰲ‬ ‫اﻟﺘﺴﺠﻴﻞ اﻟﻨﺎدر ﻟﻸﻏﻨﻴﺔ ﺣﻴﺚ ﻳﻜﺮر اﳌﻄﺮب‬ ‫اﻟﺒﻴﺖ أﻛرث ﻣﻦ ﻣﺮ ٍة ﻓﻴام ﻳﺼﻴﺢ اﳌﺴﺘﻤﻌﻮن‬ ‫"ﻳﺎ روﺣﻲ ﻋﻠﻴﻚ ﻳﺎ أﺣﻤﺪ‪ ..‬ﻳﺎ روﺣﻲ"!‪.‬‬ ‫وﺑﺨﻼف ﺗﻠﻚ اﻟﺠﺮأة اﻟﻔﻨﻴﺔ اﻟﺘﻲ ميﻜﻦ ردﻫﺎ‬ ‫إﱃ أن زﻣﻦ أﻏﻨﻴﺔ اﻟﻔﻘﺶ ﻛﺎن ﺑﻪ ﺑﻌﺾ ﻣﻦ‬ ‫رﺣﻴﻖ اﻟﺤﺮﻛﺔ اﻟﻔﻜﺮﻳﺔ اﻟﺘﻨﻮﻳﺮﻳﺔ اﻟﺘﻲ ﻧﺸﺄت‬ ‫وازدﻫﺮت ﰲ اﻟﻔﱰة ﻣﻦ أواﺧﺮ اﻟﻘﺮن اﻟﺘﺎﺳﻊ‬ ‫ﻋﴩ واﻟﻌﻘﻮد اﻷوﱃ ﻣﻦ اﻟﻘﺮن اﻟﻌﴩﻳﻦ‪،‬‬ ‫ﺑﻴﻨام ﻇﻬﺮت ﻧﺴﺨﺔ ﻓﺮﻳﺪ ﰲ ذروة اﻟﺮدة‬ ‫اﻟﻔﻜﺮﻳﺔ واﻻﺟﺘامﻋﻴﺔ اﻟﺘﻲ ﻗﺎدﺗﻬﺎ اﻟﺠامﻋﺎت‬ ‫اﻟﺮﺟﻌﻴﺔ‪ ،‬ﺑﺨﻼف ﺗﻠﻚ اﻟﺠﺮأة ﻓﺈن اﳌﻘﺎرﻧﺔ ﰲ‬ ‫ﺻﺎﻟﺢ ﻟﺤﻦ وأداء ﻓﺮﻳﺪ اﻷﻃﺮش اﻟﺒﺪﻳﻊ‪ ،‬اﻟﺬي‬ ‫ﻏﻨﻰ ﻫﺬه اﻟﻘﺼﻴﺪة ﺑﺈﺣﺴﺎس وﺛﻘﺔ وﺗﻨﺎﻏﻢ‬ ‫ﻣﻊ آﻟﺔ اﻟﻌﻮد ﻏري ﻣﺴﺒﻮﻗني وﻛﺄمنﺎ ﻳﻐﻨﻲ‬ ‫ﻵﺧﺮ ﻣﺮ ٍة ﰲ ﺣﻴﺎﺗﻪ‪ .‬وﻫﻨﺎك واﻗﻌﺔ ﺧﺮﺟﺖ‬ ‫ﻣﻦ ﻛﻮاﻟﻴﺲ ﺑﺮوﻓﺎت ﻫﺬه اﻷﻏﻨﻴﺔ ﺑﺎﻹذاﻋﺔ‬

‫اﳌﴫﻳﺔ أواﺋﻞ اﻟﺴﺒﻌﻴﻨﻴﺎت ﺗﻘﻮل إن ﻓﺮﻳﺪ‬ ‫اﻷﻃﺮش ﺷﻮﻫﺪ وﻫﻮ ﻳﺒيك أﺛﻨﺎء أداء ﺑﻌﺾ‬ ‫ﻓﻮاﺻﻞ ﻫﺬه اﻷﻏﻨﻴﺔ ﻋﲆ اﻟﻌﻮد‪ ،‬وﻋﻨﺪﻣﺎ ُﺳﺌﻞ‬ ‫ﻋﻦ ﺳﺒﺐ دﻣﻮﻋﻪ ﻗﺎل "ﻫﺬا اﻟﻠﺤﻦ ﻫﻮ ﻣﺴﺎر‬ ‫ﻋﻤﺮي ﺑﻜﺎﻣﻠﻪ وﻟﻘﺪ وﺻﻠﺖ إﱃ اﻟﻨﻬﺎﻳﺔ"‪.‬‬ ‫وﻛﺎن ﺣﻔﻞ إﻃﻼق "ﻋﺶ أﻧﺖ" ﰲ ﻋﻴﺪ اﻟﺮﺑﻴﻊ‬ ‫إﺑﺮﻳﻞ ‪ ،1972‬ﺣﺪﺛﺎً ﻓﻨﻴﺎً ﺟﻠ ًﻼ‪ ،‬ﻗﺪﻣﻪ وﻗﺘﻬﺎ‬ ‫ﺷﺨﴢ ﻣﻦ‬ ‫ﺑﻄﻠﺐ‬ ‫اﻟﺸﺎﻋﺮ ﻓــﺎروق ﺷﻮﺷﺔ‬ ‫ٍ‬ ‫ٍ‬ ‫ﻓﺮﻳﺪ اﻷﻃﺮش‪ ،‬وأﻫﺪاﻫﺎ ﻓﺮﻳﺪ ﻟﻠﻌﻨﺪﻟﻴﺐ ﻋﺒﺪ‬ ‫اﻟﺤﻠﻴﻢ ﺣﺎﻓﻆ اﻟﺬي ﻏﺎب ﻋﻦ ﺣﻔﻞ رﺑﻴﻊ ذﻟﻚ‬ ‫اﻟﻌﺎم ﻟﻈﺮوف ﻣﺮﺿﻪ وﻋﻼﺟﻪ ﺧﺎرج ﻣﴫ‪،‬‬ ‫وﻫﻮ اﻹﻫــﺪاء اﻟﺬي ﺻﺎﺣﺒﺘﻪ ﺗﺄوﻳﻼت ﺑﺄن‬ ‫ﻓﺮﻳﺪ ﻳﺘﻨﺒﺄ ﺑﺮﺣﻴﻠﻪ اﻟﻘﺮﻳﺐ ﻓﻴام ﺗﻨﺘﻈﺮ اﻟﺤﻴﺎة‬ ‫ﺻﺪﻳﻘﻪ اﻟﻠﺪود ﻋﺒﺪ اﻟﺤﻠﻴﻢ ﺣﺎﻓﻆ‪ ،‬وأﻳﻀﺎً أن‬ ‫ﻫﺬا اﻟﻠﺤﻦ ذاﺗﻪ ﻛﺎن اﺳﺘﻌﺮاﺿﺎً ﻹﻣﻜﺎﻧﺎت‬ ‫ﻓﺮﻳﺪ اﻟﻔﻨﻴﺔ أﻣﺎم ﻋﺒﺪ اﻟﺤﻠﻴﻢ اﻟﺬي مل ميﻨﺢ‬ ‫ﻓﺮﻳﺪ أي ﻓﺮﺻﺔ ﻟﻠﺘﻠﺤني ﻟﻪ واﻟﻮﺻﻮل ﻟﻠﻨﺎس‬ ‫ﻋﱪ أﻟﺤﺎﻧﻪ وﻛﺬﻟﻚ ﻓﻌﻠﺖ أم ﻛﻠﺜﻮم‪ ،‬ﻣﺎ ﺳﺒﺐ‬ ‫ﻟﻪ ﻣﺮارة ﻛﺒرية أﻛﺪت ﻟﻪ أﻧﻪ ورث ﻛﺮاﻫﻴﺔ أم‬ ‫ﻛﻠﺜﻮم ﻷﺧﺘﻪ اﳌﻄﺮﺑﺔ أﺳﻤﻬﺎن‪.‬‬ ‫ﻫﻜﺬا ﺣﻘﻘﺖ أﻏﻨﻴﺔ ﻓﺮﻳﺪ واﻷﺧﻄﻞ اﻟﺼﻐري‬ ‫ﻧﺠﺎﺣﺎً ﻛﺒرياً‪ ،‬وﻛﺎﻧﺖ ﺣﺪﻳﺚ اﻷوﺳﺎط اﻟﻔﻨﻴﺔ‬ ‫واﻟﺼﺤﺎﻓﻴﺔ اﻟﻌﺮﺑﻴﺔ‪ ،‬ﻗﺒﻞ أن ﻳﻀﻤﻬﺎ ﻓﻴام ﺑﻌﺪ‬ ‫ﻓﻴﻠﻢ ﻋﺮض‬ ‫ﻓﻴﻠﻤﻪ اﻟﺠﻤﻴﻞ "زﻣﺎن ﻳﺎ ﺣﺐ" آﺧﺮ ٍ‬ ‫ﻟﻪ ﺧﻼل ﺣﻴﺎﺗﻪ‪ ،‬إذ ﺗﻮﰱ أواﺧﺮ دﻳﺴﻤﱪ ‪،1974‬‬ ‫ﻓﻴام ﺗﻮﰱ اﻟﺸﺎﻋﺮ ﺑﺸﺎرة اﻟﺨﻮري ﻗﺒﻞ ﻫﺬا‬ ‫اﻟﺘﺎرﻳﺦ ﺑﺴﺖ ﺳﻨﻮات ﻧﻬﺎﻳﺔ ﻳﻮﻟﻴﻮ ‪ ،1968‬ﻣﻦ‬ ‫دون أن ﻳﺸﻬﺪ اﻟﻠﺤﻦ اﻟﺬي ﺧﻠﺪ ﻗﺼﺔ ﺣﺒﻪ‪.‬‬ ‫وﰲ ﻋﺎم ‪ 2016‬أدت اﳌﻄﺮﺑﺔ اﻟﺸﺎﺑﺔ رﺷﺎ‬ ‫وﺗﻮزﻳﻊ‬ ‫ﻧﺎﺟﺢ ﻗﺼﻴﺪة "ﻋﺶ أﻧﺖ" ﺑﻠﺤﻦ‬ ‫ٍ‬ ‫ﺟﺪﻳﺪﻳﻦ ﻋﲆ اﻟﻄﺮﻳﻘﺔ اﻟﺼﻮﻓﻴﺔ‪ ،‬ﺿﻤﻦ أﻟﺒﻮم‬ ‫ﻏﻨﺎيئ ﺣﻤﻞ اﺳﻢ "ﻗﻮاﻋﺪ اﻟﻌﺸﻖ ﻟﻠﻮاﺻﻠني"‪،‬‬ ‫ِ‬ ‫اﻋﺘﻤﺪت ﻓﻴﻬﺎ ﻧﺴﺨﺔ اﻟﻘﺼﻴﺪة اﻟﺘﻲ ﻏﻨﺎﻫﺎ‬ ‫ﻓﺮﻳﺪ اﻷﻃﺮش‪ ،‬ﺑﻨﻔﺲ ﺗﻐﻴرياﺗﻬﺎ‪ ،‬إﱃ ﺟﺎﻧﺐ‬ ‫ﻋﺪد ﻣﻦ اﻟﻘﺼﺎﺋﺪ اﻟﱰاﺛﻴﺔ اﻟﺼﻮﻓﻴﺔ اﻷﺧﺮى‪،‬‬ ‫وﻫﻲ اﻟﺘﺠﺮﺑﺔ اﻟﺘﻲ ﻋﲆ ﻣﺤﺪودﻳﺔ اﻧﺘﺸﺎرﻫﺎ‬ ‫ﻣﻘﺎرﻧ ًﺔ ﺑﺘﺠﺮﺑﺔ ﻓﺮﻳﺪ اﻷﻃـــﺮش‪ ،‬ﻣﻨﺤﺖ‬ ‫اﻟﻘﺼﻴﺪة ﺑﺮاﺣﺎً ﺗﺄوﻳﻠﻴﺎً ﺟﺪﻳﺪاً ﻛﺸﻒ ﺛﺮاءﻫﺎ‬ ‫وﺗﻌﺪد أوﺟﻬﻬﺎ‪.‬‬

‫أﺷﻌﺎر ﺷﻮﻗﻲ ﰲ ‪ 6‬ﺳﻨﻮات‪ ،‬ﻣﻨﻬﺎ مثﺎين ﻗﺼﺎﺋﺪ‬ ‫وﻋﴩ أﻏﻨﻴﺎت ﻣﻦ ﺷﻌﺮ اﻟﻌﺎﻣﻴﺔ‪ ،‬وﻫﺬه‬ ‫ﻣﺼﺎدﻓﺔ ﻗﺪرﻳﺔ أﺧﺮى ﺗﺠﻤﻊ ﺑني ﺷﻌﺮ ﺷﻮﻗﻲ‬ ‫وﺑﺸﺎرة اﻟﺨﻮري‪.‬‬ ‫وﻟﺴﻨﻮات ﻇﻠﺖ اﻟﻘﺼﻴﺪة ﺗﻌﺮف ﺑﺄﻧﻬﺎ أول‬ ‫ٍ‬ ‫ﻗﺼﻴﺪة ﻣﻐﻨﺎ ٍة ﻣﻦ ﺷﻌﺮ اﻷﺧﻄﻞ اﻟﺼﻐري‪،‬‬ ‫وﻣﻦ ﺑﻌﺪﻫﺎ ﻏﻨﻰ ﻋﺒﺪ اﻟﻮﻫﺎب ﻣﻦ ﺷﻌﺮه‬ ‫ﻗﺼﻴﺪﺗﻪ اﻟﺸﻬرية "ﺟﻔﻨﻪ ﻋﻠﻢ اﻟﻐﺰل"‪ ،‬ﺛﻢ‬ ‫"اﻟﺼﺒﺎ واﻟﺠامل" ﻋﺎم ‪ ،1940‬وﺻﻮﻻً ﻷﻏﻨﻴﺘﻪ‬ ‫اﻟﺸﻬرية اﻟﺘﻲ ﺻﻨﻊ ﻓﻴﻬﺎ اﳌﺰج اﻟﻨﺎدر ﻣﺎﺑني‬ ‫اﻟﻔﺼﺤﻰ واﻟﻌﺎﻣﻴﺔ "ﻳــﺎورد ﻣني ﻳﺸﱰﻳﻚ"‪،‬‬ ‫وﺣني ُﺳﺌﻞ اﻟﺸﺎﻋﺮ ﻋﻦ ﻫﺬه اﻟﺘﺠﺮﺑﺔ‪ ،‬رد‬ ‫ﺑﻘﻮﻟﻪ‪ :‬ﺳﺎﻣﺤﻪ اﻟﻠﻪ )ﻋﺒﺪ اﻟﻮﻫﺎب(‪ ..‬ﺟﻌﻞ‬ ‫ﻣﻨﻲ زﺟﺎﻻً!‪.‬‬ ‫ﻟﻜﻦ اﳌﻔﺎﺟﺄة اﻟﺘﻲ ﻛﺸﻒ ﻋﻨﻬﺎ اﻟﺒﺎﺣﺚ‬ ‫واﳌﺆرخ اﻟﺴﻮري ﺳﻌﺪ اﻟﻠﻪ أﻏﺎ اﻟﻘﻠﻌﺔ أن أول‬ ‫ﻗﺼﺎﺋﺪ اﻷﺧﻄﻞ اﳌﻐﻨﺎة ﻫﻲ ﻗﺼﻴﺪة " ِﻋﺶ‬ ‫أﻧﺖ" اﻟﺘﻲ اﺷﺘﻬﺮت وذاع ﺻﻴﺘﻬﺎ ﺑﺼﻮت‬ ‫وﻟﺤﻦ اﳌﻮﺳﻴﻘﺎر ﻓﺮﻳﺪ اﻷﻃﺮش ﻋﺎم ‪،1972‬‬ ‫وﺿﻤﻬﺎ ﻓﻴﻠﻤﻪ ﻗﺒﻞ اﻷﺧري "زﻣﺎن ﻳﺎ ﺣﺐ"‬ ‫ﻋﺎم ‪ ،1973‬وﺑﺎﻟﻄﺒﻊ ﻟﻴﺴﺖ ﻫﺬه اﻟﻨﺴﺨﺔ‬ ‫اﳌﻘﺼﻮدة‪ ،‬إذ ﻳﻔﺼﻞ زﻣﻦ ﻏﻨﺎﺋﻬﺎ ﻋﻦ ﺗﺎرﻳﺦ‬ ‫ﻏﻨﺎء "اﻟﻬﻮى واﻟﺸﺒﺎب" أﻛرث ﻣﻦ أرﺑﻌني ﻋﺎﻣﺎً‪.‬‬ ‫وﺑﺤﺴﺐ ﻣﺎ أورده أﻏﺎ اﻟﻘﻠﻌﺔ ﰲ إﺣﺪى‬ ‫ﺳﻼﺳﻞ ﻛﺘﺎﺑﻪ اﳌﻮﺳﻴﻘﻲ اﻟﺸﻬري "ﻛﺘﺎب اﻷﻏﺎين‬ ‫اﻟﺜﺎين" ﻛﺎﻧﺖ ﺗﺠﺮﺑﺔ اﻟﻐﻨﺎء اﻷوﱃ ﻟﻘﺼﻴﺪة‬ ‫" ِﻋــﺶ أﻧــﺖ" ﻋﺎم ‪ ،1928‬ﻣﻠﺤﻨ ًﺔ وﻣــﺆداة‬ ‫ﺑﺼﻮت اﳌﻄﺮب اﻟﺴﻮري اﻟﻘﺪﻳﻢ أﺣﻤﺪ‬

‫‪ ōǤǜƫ ƱƖlj ǽŨǕŌ DzőŵōƲǘǕŌ‬‬ ‫‪ ƃƪƓ ǼƈǷƒǕŌ žƈǹǘǕŌǶ ūŽōŞǕŌ‬‬ ‫‪ ƃȃōƚǃ ǒǶŐ ǚŐ dzƪǔǂǕŌ ōƯŐ ǣǔǕŌ‬‬ ‫‪ DzƃǾƚǃ ǽǥ DzōǜƮǘǕŌ ǓƢƁȏŌ‬‬ ‫}‪ ƨŌƄǶ ŦƉǤŨƗŌ ǽŨǕŌ mŧǝŐ ƕƫ‬‬ ‫‪ɵ‬‬ ‫‪ ƈōǂǾƓǷǘǕŌ ǛżǕǶ ŦǷƚş ōǤŨǾƛ‬‬ ‫‪ƔƉƣȏŌ ƃǿƉƳ‬‬ ‫‪ ƐōƒŽœş DzƃǾƚǂǕŌ Ǣƅǥ ǻǜƯ‬‬ ‫‪ ƉǾƯ ƂǷƪǕŌ dzǕŔ ƩǙ ǗƯōǜũǶ dzǂŭǶ‬‬ ‫‪ ƉƁȓ ǽǜƮǿ ōǘǝőljǶ ǛǾǃǷރǙ‬‬ ‫‪ǣũōǾŽ ǽƳ DzƉǙ‬‬ ‫‪ɲ‬‬

‫أﻓﻨﺪي اﻟﻔﻘﺶ‪ ،‬وﻣﺴﺠﻠﺔ ﻟﺼﺎﻟﺢ اﺳﻄﻮاﻧﺎت‬ ‫أودﻳﻮن ﺑﺎﻟﻘﺎﻫﺮة‪.‬‬ ‫وﻗﺪ وردت اﻟﻘﺼﻴﺪة ﻷول ﻣﺮة ﺿﻤﻦ أﺣﺪ‬ ‫أﻋﺪاد ﻣﺠﻠﺔ ﺑريوﺗﻴﺔ ﻧــﺎدرة ﻛﺎﻧﺖ ﺗﺪﻋﻰ‬ ‫"ﻣﺠﻠﺔ اﻷﺣ ـﺮار اﳌﺼﻮرة"‪ ،‬ﺻــﺪرت ﻣﺎ ﺑني‬ ‫ﻋﺎﻣﻲ ‪ 1926‬و‪ ،1927‬ﻣﻮﻗﻌﺔ ﺑﺎﻟﺤﺮﻓني‪ :‬أ‪.‬‬ ‫ص‪ .‬أي اﻷﺧﻄﻞ اﻟﺼﻐري‪ ،‬ﻓﺎﻟﺘﻘﻄﻬﺎ ﻣﻌﻠﻢ‬ ‫اﳌﻮﺷﺤﺎت اﻟﺤﻠﺒﻴﺔ أﺣﻤﺪ اﻟﻔﻘﺶ وﺳﺠﻠﻬﺎ‬ ‫ﺑﻌﺪﻫﺎ ﺑﻌﺎم‪ ،‬ومل ﺗﻨﴩ اﻟﻘﺼﻴﺪة ﻣﺮ ًة ﺛﺎﻧﻴﺔ‬ ‫ﺳﻮى ﰲ دﻳﻮان "اﻟﻬﻮى واﻟﺸﺒﺎب" ﻋﺎم ‪،1953‬‬ ‫أي ﺑﻌﺪ رﺑﻊ ﻗﺮنٍ ﻣﻦ ﺗﺎرﻳﺦ ﻏﻨﺎﺋﻬﺎ أول ﻣﺮة‪.‬‬ ‫ﺑﻬﺬا ميﻜﻦ اﻟﺠﺰم ﺑﺄن ﻗﺼﻴﺪة "ﻋﺶ أﻧﺖ"‬ ‫ﺑﺼﻮت اﻟ َﻔﻘﺶ ﻛﺎﻧﺖ أول ﻗﺼﻴﺪة ﻣﻐﻨﺎة‬

‫ﻵﺧﺮ أﻣ ٍري ﻟﻠﺸﻌﺮاء‪ ،‬ﻛام ميﻜﻦ اﻋﺘﺒﺎر اﻷﻏﻨﻴﺔ‬ ‫ﰲ ﻧﺴﺨﺘﻬﺎ اﻟﺜﺎﻧﻴﺔ ﺑﺼﻮت ﻓﺮﻳﺪ اﻷﻃﺮش‬ ‫آﺧﺮ أﻏﻨﻴ ٍﺔ‪ ،‬أو ﺿﻤﻦ أواﺧﺮ اﻷﻏﻨﻴﺎت اﻟﺘﻲ‬ ‫ﻗﺪﻣﻬﺎ اﻟﺸﺎﻋﺮ ﻟﻠﻐﻨﺎء ﰲ ﺣﻴﺎﺗﻪ‪ ،‬إذ ﻃﻠﺒﻬﺎ ﻣﻨﻪ‬ ‫ﻓﺮﻳﺪ اﻷﻃﺮش ﻋﺎم ‪ ،1966‬أي ﻗﺒﻞ ﻋﺎﻣني ﻣﻦ‬ ‫رﺣﻴﻠﻪ‪ ،‬وﻛﺎن وﻗﺘﻬﺎ ﰲ ﻋﻘﺪه اﻟﺘﺎﺳﻊ ﺣﺘﻰ أﻧﻪ‬ ‫مل ﻳﺘﺬﻛﺮ اﻷﻏﻨﻴﺔ ﺑﺴﻬﻮﻟ ٍﺔ‪ ،‬رﻏﻢ ﻣﻔﺎرﻗﺔ ﻛﻮﻧﻬﺎ‬ ‫اﻷﻏﻨﻴﺔ اﻟﺘﻲ ﺳﺠﻠﺖ ﻗﺼﺔ ﺣﺒﻪ اﳌﺴﺘﺤﻴﻞ!‪.‬‬ ‫‪ǓǾżŨƒǙ ŝŽ‬‬

‫واﻟﻘﺼﺔ ﻛام وردت ﰲ أﻛرث ﻣﻦ ﻣﺼﺪر‪ ،‬أن‬ ‫اﻟﺸﺎﻋﺮ أﺣﺐ ﰲ ﺑﻮاﻛري ﺣﻴﺎﺗﻪ ﻓﺘﺎ ًة ﻣﺴﻠﻤﺔ‪،‬‬ ‫وﻫﻮ ﻣﺴﻴﺤﻲ اﻟﺪﻳﺎﻧﺔ‪ ،‬ﻣﺎ ﺣﺎل ﻣﻦ دون‬ ‫اﺳﺘﻤﺮار ﻗﺼﺘﻬام‪ ،‬إذ آﺛﺮت اﻟﺤﺒﻴﺒﺔ اﻻﻧﺴﺤﺎب‬ ‫رﻏﻢ ﻣﺒﺎدﻟﺘﻬﺎ إﻳﺎه اﻟﺤﺐ‪ ،‬ﻹدراﻛﻬﺎ أﻻ أﻣﻞ‬ ‫ﰲ اﻛﺘامﻟﻬﺎ‪ ،‬وﺧﺸﻴﺔ اﻟﺼﺪام اﻟﺬي ﻻ ﺗﺤﻤﺪ‬ ‫ﻋﻮاﻗﺒﻪ‪ ،‬ﻓﻜﺘﺐ اﻟﺸﺎﻋﺮ ﻫﺬه اﻟﻘﺼﻴﺪة‪ ،‬اﻟﺘﻲ‬ ‫اﺟﺘﻤﻌﺖ ﻓﻴﻬﺎ أﻏﻠﺐ ﺳامت ﺷﻌﺮ اﻷﺧﻄﻞ‬ ‫اﻟﺼﻐري اﻟﻐﺰﱄ‪ ،‬ﻣﻦ رﻗﺔ وروﻣﺎﻧﺴﻴﺔ وﻟﻐﺔ‬ ‫ﺗﺼﻮﻳﺮﻳﺔ ﻋﺬﺑﺔ‪ ،‬وﻣﻮﺳﻴﻘﻰ داﺧﻠﻴﺔ‪ ،‬وﺧﻴﺎل‬ ‫ﺧﺼﺐ وﺗﻌﺒريﻳﺔ‪ ،‬وﻛﻠﻬﺎ ﺳامت ﻣﻨﺤﺘﻪ رﻳﺎدة‬ ‫ﻏﺰﻟﻴﺎت اﻟﻘﺮن اﻟﻌﴩﻳﻦ‪ ،‬وﺟﻌﻠﺖ ﻗﺼﺎﺋﺪه‬ ‫ﺗﻌﺮف ﻃﺮﻳﻘﻬﺎ ﺑﺴﻬﻮﻟ ٍﺔ ﳌﺠﺎل اﻟﻐﻨﺎء‪ ،‬ﻣﺎ ﺣﺬا‬ ‫ﺑﺎﳌﻮﺳﻴﻘﺎر ﻣﺤﻤﺪ ﻋﺒﺪ اﻟﻮﻫﺎب أن ﻳﻌﻠﻦ‬ ‫ذات ﻣﺮة أﻧﻪ ﻻ ﻳﺒﺬل ﺟﻬﺪاً ﻳﺬﻛﺮ ﰲ ﺗﻠﺤني‬ ‫ﻗﺼﺎﺋﺪ اﻷﺧﻄﻞ اﻟﺼﻐري‪ ،‬ﻷﻧﻬﺎ ﺗﺄﺗﻴﻪ ﻣﻠﺤﻨ ًﺔ‬ ‫ﻣﻦ ﻗﻠﺐ وﻧﻈﻢ ﺷﺎﻋﺮﻫﺎ‪.‬‬ ‫أﻣﺎ ﻓﺮﻳﺪ اﻷﻃﺮش ﻓﻜﺎن ﰲ ﻟﺒﻨﺎن ﻋﻨﺪﻣﺎ ﺳﻤﻊ‬ ‫اﻟﺸﻌﺮ ‪baytelshear‬‬ ‫ﺑﻴﺖ ِ‬

‫‪65‬‬

‫‪Ĝšřņ ¯ ĬšĸŌ‬‬

‫‪ŦōǾǜƯȏŌ ƊƉşŐ ǛǙ DzƃŽŌǶ ƉŞŨƪũ‬‬ ‫ ‪ōǥƉƚƫ ǽƳ‬‬

‫»ﻋﺶ أﻧﺖ«‬ ‫ِ‬ ‫‪ ƔƉƣȏŌ ƃǿƉƳ ƂǷǔƁ ǛżǕǶ ǓǾżŨƒǘǕŌ ǓƢƁȏŌ ŝŽ‬‬ ‫ﻋﺰة ﺣﺴﻴﻦ‬

‫ﻋﺎم ‪ 1961‬ﺑﻮﻳﻊ اﻟﺸﺎﻋﺮ اﻟﻠﺒﻨﺎين اﻟﺸﻬري‬ ‫ﺑﺸﺎرة اﻟﺨﻮري أﻣرياً ﻟﻠﺸﻌﺮاء ﺧﻠﻔﺎً ﻟﻠﺸﺎﻋﺮ‬ ‫أﺣﻤﺪ ﺷﻮﻗﻲ ﺑﻌﺪ رﺣﻴﻠﻪ وﻣﻦ وراﺋﻪ ﻋﺒﺎس‬ ‫ﻣﺤﻤﻮد اﻟﻌﻘﺎد‪ .‬ﻳﻮﻣﻬﺎ اﻛﺘﺴﺐ اﻟﺨﻮري‬ ‫اﻟﺬي ﻛﺎن ﻗﺪ أﺗﻢ اﻟﺨﺎﻣﺴﺔ واﻟﺴﺒﻌني‪ ،‬ﻟﻘﺒﺎً‬ ‫ﻣﻀﺎﻓﺎً ﻟﻠﻘﺒﻪ اﻟﺘﺎرﻳﺨﻲ "اﻷﺧﻄﻞ اﻟﺼﻐري"‬ ‫ﺗﻴﻤﻨﺎً ﺑﺄﺧﻄﻞ اﻟﻌﴫ اﻷﻣﻮي‪ ،‬وﻷﻟﻘﺎﺑﻪ‬ ‫اﳌﺼﻜﻮﻛﺔ ﻣﻦ ﻋﻴﻮن ﺷﻌﺮه ﻛﺸﺎﻋﺮ اﻟﻬﻮى‬ ‫واﻟﺸﺒﺎب‪ ،‬وﺷﺎﻋﺮ اﻟﺼﺒﺎ واﻟﺠامل‪ ،‬وﻛﻠﺘﺎﻫام‬ ‫ﻋﻨﺎوﻳﻦ ﻗﺼﺎﺋﺪ ﻟﺤﻨﻬﺎ وﻏﻨﺎﻫﺎ اﳌﻮﺳﻴﻘﺎر‬ ‫ﻣﺤﻤﺪ ﻋﺒﺪ اﻟﻮﻫﺎب وﺣﻘﻘﺖ ﻧﺠﺎﺣﺎً ﻛﺒرياً‪.‬‬ ‫ﻛﺎن ﺣﻔ ًﻼ ﻣﻬﻴﺒﺎً أﻗﻴﻢ ﺑﻜﱪى ﻗﺎﻋﺎت ﻗﴫ‬ ‫اﻷوﻧﺴﻜﻮ ﺑﺒريوت‪ ،‬دﻋﻤﺘﻪ اﻟﺤﻜﻮﻣﺔ اﻟﻠﺒﻨﺎﻧﻴﺔ‬ ‫ﺑﺄﻋﲆ ﻣﺴﺘﻮﻳﺎت اﻟﺘﻤﺜﻴﻞ اﻟﺴﻴﺎﳼ واﻹﺑﺪاﻋﻲ‪،‬‬ ‫وﺷﻬﺪه ﻧﺨﺒﺔ ﻣﻦ ﻛﺒﺎر ﺷﻌﺮاء اﻟﺪول اﻟﻌﺮﺑﻴﺔ‪،‬‬ ‫ﻣــﻦ ﻣــﴫ وﺳــﻮرﻳــﺎ وﻓﻠﺴﻄني واﻟــﻌ ـﺮاق‪،‬‬ ‫ﺗﺮﺗﻴﺐ ﻣﺴﺒﻖ ﰲ‬ ‫اﻟﺬﻳﻦ ﺗﻀﺎﻣﻨﻮا ﻣﻦ دون‬ ‫ٍ‬ ‫ً‬ ‫ﺟﻌﻞ ﺗﻜﺮﻳﻢ اﻟﺨﻮري ﻣﻨﺎﺳﺒﺔ ﳌﺒﺎﻳﻌﺘﻪ أﻣرياً‬ ‫ﻟﻠﺸﻌﺮاء‪ .‬رﻏﻢ ذﻟﻚ مل ﻳﻜﻦ ﻟﻬﺬا اﻟﺤﺪث ﻣﺎ‬ ‫ﻛﺎن ﳌﺒﺎﻳﻌﺔ ﺷﻮﻗﻲ ﻣﻦ ﺑﺮﻳﻖ ﻋﺎم ‪1927‬؛ ﻣﺮة‬ ‫ﻷن اﻟﺘﺠﺪﻳﺪ اﻟﺬي ﺣﻞ ﺑﺎﻟﺸﻌﺮ اﻟﻌﺮيب ﺟﻌﻞ‬ ‫ﻣﻦ ﻓﻜﺮة اﻹﻣﺎرة ﻧﻔﺴﻬﺎ ﻓﻜﺮة ﻋﺒﺜﻴﺔ‪ ،‬وﻣﺮة‬ ‫ﻷن اﻟﻜﺜريﻳﻦ ﻣﻦ ﻣﻌﺎﴏي اﻟﺨﻮري ﻛﺎﻧﻮا‬ ‫ﻳﺮون أﻧﻬﻢ ﻳﺴﺘﺤﻘﻮﻧﻬﺎ ﻛام ﻳﺴﺘﺤﻘﻬﺎ ﻫﻮ‪،‬‬ ‫ﻛﺄﻣني ﻧﺨﻠﺔ وﺳﻌﻴﺪ ﻋﻘﻞ ﰲ ﻟﺒﻨﺎن وﻋﻤﺮ أﺑﻮ‬

‫‪64‬‬

‫اﻟﻌﺪد ‪ ، 71‬أﻛﺘﻮﺑﺮ ‪2018‬‬

‫رﻳﺸﺔ وﺑﺪوي اﻟﺠﺒﻞ ﰲ ﺳﻮرﻳﺎ واﻟﺠﻮاﻫﺮي‬ ‫ﰲ اﻟﻌﺮاق وﻏريﻫﻢ‪ ،‬ﻓﺒﺤﺴﺐ اﻟﺸﺎﻋﺮ اﻟﺮاﺣﻞ‬ ‫ﻓﺎروق ﺷﻮﺷﺔ مل ﺗﻜﻦ اﳌﺴﺎﻓﺔ ﺑﻴﻨﻬﻢ وﺑني‬ ‫ﺑﺸﺎرة اﻟﺨﻮري ﻛﺒرية ﻛﺎﳌﺴﺎﻓﺔ اﻟﺘﻲ ﻛﺎﻧﺖ‬ ‫ﺑني ﺷﻮﻗﻲ وﻏــريه ﻣﻦ ﺷﻌﺮاء زﻣﺎﻧﻪ‪ .‬ﻛام‬ ‫رد ﻫــﺆﻻء ﻣﺎ ﻧﺎﻟﻪ ﺷﻌﺮ اﻷﺧﻄﻞ اﻟﺼﻐري‬ ‫ﻣﻦ ﺷﻌﺒﻴﺔ وﻣﻜﺎﻧﺔ إﱃ اﻟﻐﻨﺎء اﻟﺬي ﺟﻌﻞ‬ ‫ﻛﺜ ًريا ﻣﻦ ﺷﻌﺮه ﻳﱰدد ﺑﺄﺻﻮات ﻣﺤﻤﺪ ﻋﺒﺪ‬ ‫اﻟﻮﻫﺎب وأﺳﻤﻬﺎن وﻓﺮﻳﺪ اﻷﻃﺮش وﻓريوز‬ ‫وآﺧﺮﻳﻦ‪ .‬وﻛﺎن ﻫﺬا ﺑﺮأي ﺷﻮﺷﺔ "اﻟﺪرس‬ ‫اﻟﺬي اﺳﺘﻮﻋﺒﻪ ﺑﺸﺎرة ﻣﻦ ﺷﻮﻗﻲ‪ ،‬واﺳﺘﻮﻋﺒﻪ‬ ‫ﻣﻦ ﺑﻌﺪه ﻧﺰار ﻗﺒﺎين؛ ﻓﺒﺎﻟﻐﻨﺎء اﺳﺘﻄﺎع اﻟﺜﻼﺛﺔ‬ ‫أن ﻳﺤﻘﻘﻮا ﻷﺷﻌﺎرﻫﻢ أﻓﻘﺎً أرﺣﺐ ودوراﻧﺎً ﻻ‬ ‫ﻳﺘﻮﻗﻒ ﻟﻴﻞ ﻧﻬﺎر"!‪.‬‬

‫‪ŋōǜƮǕŌ dzżǜǙ‬‬

‫وﻟﻠﻨﻘﻄﺔ اﻷﺧرية اﻟﺘﻲ أﺛﺎرﻫﻬﺎ ﻓﺎروق ﺷﻮﺷﺔ‬ ‫ﻓﻴام ﻳﺘﻌﻠﻖ ﺑﺎﻟﻐﻨﺎء اﻟﻜﺜري ﻣﻦ اﻟﺪﻻﺋﻞ؛ ﻓﻌﺎم‬ ‫‪ 1953‬ﻋﻨﺪﻣﺎ أراد اﻟﺨﻮري إﺻﺪار أول دواوﻳﻨﻪ‬ ‫اﻟﺸﻌﺮﻳﺔ اﺧﺘﺎر ﻟﻪ اﺳﻢ "اﻟﻬﻮى واﻟﺸﺒﺎب"‪ ،‬ﰲ‬ ‫اﺳﺘﻐﻼلٍ ﻣﴩوع ﻟﻨﺠﺎح وذﻳﻮع ﻗﺼﻴﺪﺗﻪ اﻟﺘﻲ‬ ‫ﻏﻨﺎﻫﺎ ﻣﺤﻤﺪ ﻋﺒﺪ اﻟﻮﻫﺎب ﺑﻬﺬا اﻻﺳﻢ ﻋﺎم‬ ‫‪ .1931‬وﻫﻮ ﺑﺎﳌﻨﺎﺳﺒﺔ اﻟﺪﻳﻮان اﻟﻮﺣﻴﺪ اﻟﺬي‬ ‫ﺣﻤﻞ ﻋﻨﻮاﻧﺎً ﺷﻌﺮﻳﺎً‪ ،‬ﻷن دﻳﻮاﻧﻪ اﻟﺜﺎين واﻷﺧري‬ ‫ﺣﻤﻞ ﻋﻨﻮان "دﻳﻮان اﻷﺧﻄﻞ اﻟﺼﻐري"‪.‬‬ ‫ﻛﺎﻧﺖ "اﻟﻬﻮى واﻟﺸﺒﺎب" أول ﻗﺼﻴﺪة ﻳﻐﻨﻴﻬﺎ‬ ‫ﻋﺒﺪ اﻟﻮﻫﺎب ﻟﺸﺎﻋﺮ ﻏري أﺣﻤﺪ ﺷﻮﻗﻲ‪ ،‬ﺑﻌﺪ‬ ‫ﺳﻨﻮات ﻣﻦ ﺗﺼﺪر ﺷﻌﺮ ﺷﻮﻗﻲ ﻟﻘﺼﺎﺋﺪ ﻋﺒﺪ‬ ‫ٍ‬ ‫ً‬ ‫اﻟﻮﻫﺎب‪ ،‬ﻏﻨﻰ ﺧﻼﻟﻬﺎ مثﺎﻧﻴﺔ ﻋﴩ ﻟﺤﻨﺎ ﻣﻦ‬

‫ﻣﺠﻠﺔ ﺷﻬﺮﻳﺔ ﺷﺎﻣﻠﺔ‬

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

‫اﻟﺸﻌﺮ ‪ /‬اﻟﻌﺪد ‪62‬‬ ‫ﺑﻴﺖ ِ‬

‫‪@bait_alshe3r‬‬

‫‪Insta‬‬

‫‪@baytelshear‬‬ ‫اﻟﺸﻌﺮ ‪baytelshear‬‬ ‫ﺑﻴﺖ ِ‬

‫‪63‬‬

‫‪şĚĮŃ şěńĴ‬‬

‫‪ƤǷƲżǙ ŝǾŴǝ dzǘljōżǙ‬‬

‫إن اﳌﺘﺘﺒﻊ ﻟﺘﺠﺮﺑﺔ اﻟﺸﺎﻋﺮ ﻓﺆاد ﺣﺠﺎج ﻳﺠﺪ‬ ‫ﻓﻴﻬﺎ ﺗﺠﻠﻴﺎً ﻛﺒرياً ﻟﻔﻜﺮة ﺗﺂزر اﻟﻔﻨﻮن‪ ،‬ﺣﻴﺚ‬ ‫ﺗﺘامﻫﻰ اﻟﻔﻮاﺻﻞ ﻣﺎﺑني اﻷﺟﻨﺎس اﻷدﺑﻴﺔ‪،‬‬ ‫ﻧﺺ ﺑﺤﻠﻮلٍ وﺣﻀﻮر ﻷﻧﻮاع‬ ‫ﻓﻴام ﻳﺤﻔﻞ ﻛﻞ ٍ‬ ‫أدﺑﻴﺔ ﻣﺨﺘﻠﻔﺔ‪ .‬وﻗﺪ دﻓﻌﺘﻪ روح اﻟﴪد‬ ‫اﻟﺘﻲ ﺗﺘﻠﺒﺲ ﺷﻌﺮه‪ ،‬إﱃ إﻧﺘﺎج أﻧﻮاع أدﺑﻴﺔ‬ ‫ﻣﺨﺘﻠﻄﺔ ﻛﺎﻟﺪراﻣﺎ اﻟﺸﻌﺮﻳﺔ وﻣﺜﻠﻬﺎ ﻧﺺ‬ ‫"ﻳﻮﻣﻴﺎت ﻋﺒﺪ اﻟﻌﺎل" اﻟــﺬي ﺻﺪر ﻣﻨﻪ‬ ‫ﻣﺆﺧﺮاً ﺟﺰء ﺛﺎن ﺑﻌﻨﻮان "ﻏﺮﺑﺔ وﻃﻦ" وﺑني‬ ‫اﻟﺠﺰءﻳﻦ ﺛﻼﺛﻮن ﻋﺎﻣﺎً‪ ،‬ﻓﻀ ًﻼ ﻋﻦ اﻟﻘﺼﺺ‬ ‫اﻟﺸﻌﺮﻳﺔ‪ ،‬واﳌﴪﺣﻴﺎت‪ ،‬وﻛﺘﺐ اﻷﻃﻔﺎل‪،‬‬ ‫ﺑﺎﻹﺿﺎﻓﺔ إﱃ ﺗﻌﺎﻣﻠﻪ اﻟﻨﺎدر اﻟﺸﻐﻮف ﻣﻊ‬ ‫أﻋامل أدﻳﺐ ﻧﻮﺑﻞ ﻧﺠﻴﺐ ﻣﺤﻔﻮظ‪.‬‬ ‫وﻣﺤﻔﻮظ ﻣﺤﻄﺔ ﺷﺪﻳﺪة اﻷﻫﻤﻴﺔ ﰲ‬ ‫ﺗﺠﺮﺑﺔ ﻓﺆاد ﺣﺠﺎج‪ ،‬ﺑﺪأ اﻟﺸﺎﻋﺮ ﻣﻘﺎرﺑﺘﻬﺎ‬ ‫ﻋﻘﺐ ﺣﺼﻮﻟﻪ ﻋﲆ ﺟﺎﺋﺰة ﻧﻮﺑﻞ ﻋﺎم‬ ‫‪ ،1988‬ﺑﺘﻘﺪﻳﻢ ﻛﺘﺎﺑﻪ اﻷول ﻋﻨﻪ "ﻣﺤﺎﻛﻤﺔ‬ ‫ﺷﺨﺼﻴﺎت ﻧﺠﻴﺐ ﻣﺤﻔﻮظ" ﰲ ﻧﺺ دراﻣﻲ‬ ‫ﺷﻌﺮي ﺳــامه ﻗﺼﻴﺪة دراﻣــﻴــﺔ‪ ،‬أﻋﻴﺪت‬ ‫ﻃﺒﺎﻋﺘﻪ أﻛرث ﻣﻦ ﻣﺮة‪ .‬وﺑﻌﺪ ﻋﴩﻳﻦ ﻋﺎﻣﺎً‬ ‫اﺳﺘﻌﺎد اﻟﺸﺎﻋﺮ ﻧﺠﻴﺐ ﻣﺤﻔﻮظ ﻣﺮة ً ﺛﺎﻧﻴﺔ‬ ‫ﻋﺎم ‪ ،2008‬ﰲ ﻋﻤﻞ ﻣﴪﺣﻲ ﺑﻌﻨﻮان "ﻛﺎن‬ ‫ﻟﻴﻪ ﻳﺎ ﻋﻢ ﻧﺠﻴﺐ؟"‪ ،‬ﺗﺤﺎور ﻓﻴﻪ ﻣﻊ ﻋﻮامل‬ ‫وﺷﺨﺼﻴﺎت ﻣﺤﻔﻮظ واﺷﺘﺒﻚ ﻣﻌﻬﺎ‪ ،‬ﻗﺒﻞ‬ ‫أن ﻳﻘﺮر اﺳﺘﻠﻬﺎم ﻧﺼﻮﺻﻪ ﰲ ﺷﻜﻞ أديب‬ ‫ﺟﺪﻳﺪ ﻋﱪ ﺗﺤﻮﻳﻞ رواﻳﺘﻪ "زﻗﺎق اﳌﺪق"‬

‫‪62‬‬

‫اﻟﻌﺪد ‪ ، 71‬أﻛﺘﻮﺑﺮ ‪2018‬‬

‫اﻟﺸﻬرية إﱃ أوﺑﺮﻳﺖ ﻏﻨﺎيئ ﻋﺎم ‪،2015‬‬ ‫وﺟﺎت اﻟﺘﺠﺮﺑﺔ اﻷﺧــرية رداً ﻋﲆ ﺗﻬﺠﻢ‬ ‫ﻧﺎﺋﺐ ﺑﺮﳌﺎين ﻋﲆ ﻣﺤﻔﻮظ ووﺻﻒ إﺑﺪاﻋﻪ‬ ‫ﺑﺎﻟﺨﺎدش ﻟﻠﺤﻴﺎء‪ ،‬ﻟﻜﻨﻬﺎ أﻛــﺪت ﺣﺎﻟﺔ‬ ‫اﻟﻌﺸﻖ واﻟﺘامﻫﻲ ﻣﻊ أدب اﻟﺴﺎرد اﻷﻫﻢ‬ ‫ﻋﲆ ﻣﺪى اﻟﻘﺮن اﻟﻌﴩﻳﻦ‪.‬‬ ‫وﻫﻨﺎ ﺗﺠﺪر اﻹﺷﺎرة إﱃ أن ﻣﺤﻔﻮظ ﻣﺜﻞ‬ ‫ﻟﻔﺆاد ﺣﺠﺎج أﻳﻀﺎً ﻣﺎ ﻳﺸﺒﻪ متﻴﻤﺔ اﻟﺤﻆ‪،‬‬ ‫ﻓﻌﻨﺪﻣﺎ ﴍع اﻟﻜﺎﺗﺐ واﻟﺴﻴﻨﺎرﻳﺴﺖ‬ ‫اﻟﻘﺪﻳﺮ ﻣﺤﺴﻦ زاﻳــﺪ ﰲ ﺗﺤﻮﻳﻞ رواﻳــﺔ‬ ‫"ﺣﺪﻳﺚ اﻟﺼﺒﺎح واﳌﺴﺎء" ﻟﺴﻴﻨﺎرﻳﻮ دراﻣﻲ‪،‬‬ ‫وﻗﻊ اﺧﺘﻴﺎره ﻓﻮراً ﻋﲆ ﻓﺆاد ﺣﺠﺎج ﻟﻴﻜﺘﺐ‬ ‫ﻛﻠامت ﻣﻘﺪﻣﺔ ﻫﺬا اﻟﻌﻤﻞ‪ ،‬وﻛﺎن ﻗﺪ ﻗﺮأ‬ ‫ﻗﺒﻞ ﻛﺘﺎﺑﻪ "ﻣﺤﺎﻛﻤﺔ ﺷﺨﺼﻴﺎت ﻧﺠﻴﺐ‬ ‫ﻣﺤﻔﻮظ" وﻳﻌﻠﻢ ﻣﺪى وﻟﻌﻪ ﺑﻪ‪ .‬ورﻏﻢ‬ ‫اﺳﺘﺼﻌﺎب اﻟﺸﺎﻋﺮ ﻟﻠﻔﻜﺮة ﻛﻮن اﻟﺮواﻳﺔ‬ ‫ﻣﺮﻛﺒﺔ وﻗﺎمئﺔ ﻋﲆ ﺑﻄﻮﻟﺔ اﻟﺸﺨﺼﻴﺎت ﻣﻦ‬ ‫دون وﺟﻮد "ﺣﻜﺎﻳﺔ ﻣﺮﻛﺰﻳﺔ أو ﺣﺪوﺗﺔ‬ ‫ﺗﺘﻔﺮع ﻣﻨﻬﺎ اﻷﺣﺪاث‪ ،‬ﺷﺠﻌﻪ زاﻳﺪ‪ ،‬وأﺧﺬ‬ ‫ﻳﺮﺳﻞ ﻟﻪ ﺣﻠﻘﺎت اﳌﺴﻠﺴﻞ ﺗﺒﺎﻋﺎً ﻓﻮر‬ ‫ﻛﺘﺎﺑﺘﻬﺎ‪ ،‬ﺣﺘﻰ ﺟــﺎءت اﻟﺤﻠﻘﺔ اﻟﻌﺎﴍة‬ ‫ﻟﺘﻠﻬﻢ اﻟﺸﺎﻋﺮ ﺑﻔﻠﺴﻔﺔ ﻫﺬا اﻟﻌﻤﻞ اﻟﻘﺎﺋﻢ‬ ‫ﻋﲆ ﺗﺠﺎور اﻟﺤﻴﺎة واﳌﻮت اﻟﺘﻲ ﻋﱪ ﻋﻨﻬﺎ‬ ‫ﺑﺠﻤﻠﺔ "ﻟﺤﻈﺔ ﻣﻴﻼد اﻟﻔﺮح‪ /‬ﻛﺎن ﻓﻴﻪ‬ ‫ﺣﺒﻴﺐ راﻳﺢ"‪ ،‬واﻟﺘﻲ ﻣﺎ إن ﻧﻄﻖ ﺑﻬﺎ ﺣﺘﻰ‬ ‫ﺟﻦ ﺟﻨﻮن اﳌﺆﻟﻒ ﻷن اﻟﺸﺎﻋﺮ اﺳﺘﻄﺎع أن‬ ‫"ﻳﻌﴫ" ‪ 1000‬ﺻﻔﺤ ٍﺔ ﰲ ﺳﻄﺮﻳﻦ‪.‬‬

‫أﻧﺠﺰ ﺣﺠﺎج اﻷﻏﻨﻴﺔ ﺧﻼل أﺳﺒﻮع وﻋﻨﺪﻣﺎ‬ ‫وﺻﻠﺖ اﳌﻮﺳﻴﻘﺎر اﻟﻜﺒري ﻋامر اﻟﴩﻳﻌﻲ‬ ‫اﻧﻔﻌﻞ ﺑﻬﺎ ﻛﺜرياً‪ ،‬وﻋﻬﺪ ﺑﻬﺎ ﻷﻧﻐﺎم اﻟﺘﻲ‬ ‫ﺧﺎﻓﺖ ﻣﻨﻬﺎ ﰲ اﻟﺒﺪاﻳﺔ‪ ،‬ﻗﺒﻞ أن ﺗﺘﺤﻮل‬ ‫اﻷﻏﻨﻴﺔ ﻟﻌﻼﻣﺔ ﰲ ﻣﺸﻮار ﺛﻼﺛﺘﻬﻢ‪ ،‬وﺑﺎﻷﺧﺺ‬ ‫اﻟﺸﺎﻋﺮ ﻓﺆاد ﺣﺠﺎج اﻟﺬي أﻧﺼﻔﺘﻪ وأزاﺣﺖ‬ ‫اﻟﺴﺘﺎر ﻋﻦ ﺗﺠﺮﺑﺘﻪ اﻟﺸﻌﺮﻳﺔ اﻟرثﻳﺔ‪ ،‬ﻛام‬ ‫أﻟﻬﻤﺘﻪ ﻓﻜﺮة ﺗﻮﺳﻴﻂ اﻟﻐﻨﺎء ﺑني ﺷﻌﺮه‬ ‫واﻟﺠﻤﻬﻮر‪.‬‬ ‫ﻟﺬا ﻛﺜرياً ﻣﺎ أﳌﺢ ﺣﺠﺎج أن ﻛﻠامت ﻫﺬه‬ ‫اﻷﻏﻨﻴﺔ ﻫﻲ ﻧﺼﻪ اﻟﺬي ﺣﺎول ﻛﺘﺎﺑﺘﻪ ﻣﻨﺬ‬ ‫أول ﻣﺮة ﻋﺮف اﻟﺸﻌﺮ‪ ،‬ﻣﺸرياً إﱃ أﻧﻬﺎ‬ ‫ﺧﺮﺟﺖ ﻣﻦ رﺣﻢ ﻗﺼﻴﺪﺗﻪ اﻷوﱃ "ﴏﺧﺔ‬ ‫ﺟﻨني" اﻟﺘﻲ ﺻﺪرت ﺿﻤﻦ ﺑﺎﻛﻮرة دواوﻳﻨﻪ‬ ‫اﻟﺸﻌﺮﻳﺔ "وادي اﻟﺨﻮف" ﻋﺎم ‪،1971‬‬ ‫وﺟﺎءت ﻧﺘﻴﺠﺔ اﻧﻔﻌﺎلٍ ﻓﻮري ﺑﺨﱪ ﺳﻘﻮط‬ ‫ﺷﻬﻴﺪ ﻣﻦ ﺟـريان اﻟﺸﺎﻋﺮ ﻋﻘﺐ ﻧﻜﺴﺔ‬ ‫‪ 1967‬ﰲ ﻧﻔﺲ اﻟﻠﺤﻈﺔ اﻟﺘﻲ وﺿﻌﺖ‬ ‫زوﺟﺘﻪ ﻣﻮﻟﻮداً وﻛﺄن روح اﻷب ﻗﺪ اﻧﺘﻘﻠﺖ‬ ‫ﻟﻼﺑﻦ‪ ،‬ﰲ اﻟﺘﻘﺎء ﺟﲇ ﻟﻠﻤﻮت ﻣﻊ اﻟﺤﻴﺎة‪.‬‬ ‫وﻫﻲ اﻟﻔﻜﺮة اﻟﺘﻲ ﺗﻜﺮرت ﰲ دﻳﻮان ﺣﺠﺎج‬ ‫"ﻓﺘﺎﻓﻴﺖ اﻟﺠﻤﺮ" ﰲ ﻗﺼﻴﺪة "ﻧﻘﻮش ﻋﲆ‬ ‫اﻟﺠﺪار اﻟﻘﺪﻳﻢ"‪ :‬ﻣﻦ ﻳﻮم ﻣﺎـ ﺷﻔﺖ اﻟريﻗﺔ‬ ‫‪ ...‬ﺗﺘﺤﻮل ﻓﺮاﺷﺔ‪ /‬اﻟﺤرية ﺟﺮﻳﺖ ﰱ اﻟﺒﺪن‬ ‫‪ .....‬وﻣﺠﺮﺟﺮاين ﻟﺴﺆال ﻳﺎﺧﺪين ‪ ...‬ﻳﺮدّين ‪...‬‬ ‫و ّﻳﺎ اﻧﺪﻫﺎﺷﺔ‪ /‬ﻫﻞ روﺣﻲ ﺑﻌﺪ اﳌﻮت ‪....‬‬ ‫ﺑﺘﺎﺧﺪ ﺷﻜﻞ ﺗﺎين؟‬

‫ﻛﺘﺐ ودواوﻳﻦ‪ ،‬ﺧﺎﺻ ًﺔ وﻇﺮوف ﻧﴩ اﻟﺸﻌﺮ‬ ‫اﻟﺸﻌﺒﻲ ﻣﺎ ﻳﺰال ﻳﺤﻜﻤﻬﺎ ﻣﺎ ﻳﺤﻜﻤﻬﺎ ﻣﻦ‬ ‫وﺗﻬﻤﻴﺶ ﰲ ﻣﴫ واﻟﻌﺎمل اﻟﻌﺮيب‪.‬‬ ‫ﺗﻌﺎلٍ‬ ‫ٍ‬ ‫ﻫﺬه اﻟﺤﻘﻴﻘﺔ ﺑﺎﻹﺿﺎﻓﺔ ﻟﺒﻘﻴﺔ اﳌﻔﺎرﻗﺎت‬ ‫ﻛﺘﺄوﻳﻞ ﻟﻠﻈﻠﻢ‬ ‫اﳌﺮﺗﺒﻄﺔ ﺑﻔﺆاد ﺣﺠﺎج ﺗﻜﻔﻲ‬ ‫ٍ‬ ‫اﻟﺘﺎرﻳﺨﻲ اﻟﺬي ﺗﻌﺮض ﻟﻪ ﻫﺬا اﻟﺸﺎﻋﺮ‬ ‫وآﺧﺮون‪ ،‬ﺑﺪﻟﻴﻞ أن أﻛرث ﻟﺤﻈﺎت ﺗﻮﻫﺠﻪ‬ ‫واﻧﺘﺸﺎره ﻛﺎﻧﺖ ﻋﻘﺐ إﻧﺘﺎج ﺗﱰ "ﺣﺪﻳﺚ‬ ‫اﻟﺼﺒﺎح واﳌﺴﺎء"‪ ،‬وﺣﺘﻰ ﻫﺬا اﻟﻨﺠﺎح ذاﺗﻪ مل‬ ‫ﻳﺸﻔﻊ ﻟﻠﺸﺎﻋﺮ ﻟﺘﻜﺮار ﺗﺠﺮﺑﺔ ﻛﺘﺎﺑﺔ اﻷﻏﻨﻴﺎت‬ ‫ﺑﺨﻼف ﻛﺘﺎﺑﺔ ﺗﱰات ﻣﺴﻠﺴﻞ "راﺟﻌﻠﻚ ﻳﺎ‬ ‫إﺳﻜﻨﺪرﻳﺔ" ورﺑﺎﻋﻴﺎﺗﻪ اﻟﺪاﺧﻠﻴﺔ اﻟﺘﻲ ﻏﻨﺎﻫﺎ‬ ‫ﻋﲇ اﻟﺤﺠﺎر وأﻋامل أﻗﻞ ﺷﻬﺮة‪ ،‬ﻣﺮة ﺑﺴﺒﺐ‬ ‫إﺑﺪاﻋﻲ ﻣﻦ‬ ‫ﻣﺎ أﺻﺎب ﻓﻦ اﻷﻏﻨﻴﺔ ﻛﻮﺳﻴﻂٍ‬ ‫ٍ‬ ‫أﻣﺮاض اﻟﺨﻔﺔ واﻻﺳﺘﻬﻼك واﻻﺑﺘﺬال أﺣﻴﺎﻧﺎً‪،‬‬ ‫وأﺧــﺮى ﻻﻋﺘامد اﻷﺻــﻮات اﻟﺠﻴﺪة ﻋﲆ‬ ‫أﺳامء ﻣﻌﺘﺎدة وﻣﻜ ّﺮﺳﺔ ﻻﺳﺘﺜامر رﺻﻴﺪﻫﺎ‬ ‫اﳌﺘﺤﻘﻖ ﻓﻌﻠ ًﻴﺎ ﻟﺪى اﻟﺠامﻫري‪.‬‬ ‫‪dzƓǶƉżǘǕŌ ǽƳ ǗƖƫ‬‬

‫وإذا ﻛﺎن ﻓﺆاد ﺣﺠﺎج اﺳﺘﻄﺎع أن ﻳﻨﺠﻮ‬ ‫ﻣﻦ أﺛﺮ ﻣﺎ ﺗﺨﻠﻔﻪ ﺗﺠﺎرب وﺧﱪات ﻛﻬﺬه‬ ‫ﻣﻦ ﻣﺮارة‪ ،‬ﻓﺒﺪا ﻋﲆ اﻟﺪوام ﳌﻦ ﻳﻌﺮﻓﻮﻧﻪ‬ ‫أﻛرث رﺿﺎً وﺗﺴﺎﻣﺤﺎً وﺗﻔﺎؤﻻً ﺣﺘﻰ أﻧﻪ ﻳﺼﻒ‬ ‫ﺑـ"ﻧﻮع ﻣﻦ‬ ‫اﻟﺨﻠﻂ ﺑﻴﻨﻪ وﺑني ﺷﻌﺮاء آﺧﺮﻳﻦ‬ ‫ٍ‬ ‫ﻓﻄﻦ إﱃ أن اﻟﻜﺘﺐ‬ ‫اﳌﺪح اﻟﻠﻄﻴﻒ"‪ ،‬ﻓﺈﻧﻪ ِ‬ ‫ً‬ ‫اﳌﻨﺸﻮرة ﻻ ﺗﻜﻔﻲ وﺣﺪﻫﺎ وﺳﻴﻄﺎ ﻟﻠﺸﻌﺮ‪،‬‬ ‫ﰲ ﻣﺠﺘﻤﻊ ﺷﻔﺎﻫﻲ اﻟﺜﻘﺎﻓﺔ‪ ،‬وﺗﺘﻮﻏﻞ اﻷﻣﻴﺔ‬ ‫اﻟﻘﺮاﺋﻴﺔ واﻟﺜﻘﺎﻓﻴﺔ ﺑني ﻧﺼﻒ أﻓﺮاده ﻋﲆ‬ ‫أﻗﻞ ﺗﻘﺪﻳﺮ‪ .‬ﻟﺬا ﻛ ّﻮن ﻣﻊ ﺻﺪﻳﻘﻪ اﳌﻄﺮب‬ ‫ﻓﺎﻳﺪ ﻋﺒﺪ اﻟﻌﺰﻳﺰ ﺛﻨﺎﺋﻴﺎً إﺑﺪاﻋﻴﺎً اﺳﺘﺪﻋﻰ ﻣﻦ‬ ‫ﺧﻼﻟﻪ ﺗﺠﺮﺑﺔ اﻟﺜﻨﺎيئ اﻟﺮاﺣﻞ اﻟﺸﺎﻋﺮ أﺣﻤﺪ‬ ‫ﻓﺆاد ﻧﺠﻢ واﳌﻄﺮب اﻟﺸﻴﺦ إﻣﺎم ﻋﻴﴗ‪،‬‬ ‫وﻛﺬﻟﻚ ﺗﺠﺮﺑﺔ اﻷﺑﻨﻮدي ﻣﻊ رواة اﻟﺴرية‬ ‫اﻟﻬﻼﻟﻴﺔ‪ ،‬وﺗﺠﺮﺑﺔ اﻟﺸﺎﻋﺮ ﺳﻤري ﻋﺒﺪاﻟﺒﺎﻗﻲ‬ ‫واﳌﻄﺮب ﻋﺪﱄ ﻓﺨﺮي‪ ،‬وﻫﻲ اﻟﺘﺠﺎرب اﻟﺘﻲ‬ ‫ﻣﻐﻦ‬ ‫ﺗﺤﻮل ﻓﻴﻬﺎ اﻟﺸﺎﻋﺮ ﻟﺮا ٍو ﺷﻌﺒﻲ أو ٍ‬

‫‪ ɐƥżǕŌ ŋǻǾƓ ƉƫōƖǕōş ǢǷƲƛǶ‬‬ ‫‪ ƩǙ ǣǘƓŌ ǣşōƖũ ǣǘǔƧ ǼƅǕŌ‬‬ ‫‪ ƉǤƗŐ ŝƒǝ ōǘǾƳ ɐƂŌƃŽ ƂŌǹƳ‬‬ ‫‪ ǢƉǾƯ ƉƫōƖǕ ǣǕōǘƫŐ‬‬ ‫‪ ǣǝǷƳƉƪǿ ǛǘǕ ǖŌǶƃǕŌ ǻǔƫ ŌƃŞƳ‬‬ ‫‪ɰ‬‬ ‫‪ɰ‬‬ ‫‪ɰ‬‬ ‫ ‪ ȍǸōƲũǶ‬‬ ‫‪ōżǙōƒũǶ ō‬‬ ‫‪Ɵƈ ƉŬljŐ‬‬ ‫‪ ǣǜǾş ơǔƀǕŌ Ʊƚǿ ǣǝŐ ǻŨŽ‬‬ ‫‪ ǛǙ ƨǷǝ}Ȍş ǛǿƉƁŔ ŋŌƉƪƗ ǛǾşǶ‬‬ ‫‪ɲ‬‬ ‫‪mƱǾƢǔǕŌ źƃǘǕŌ‬‬ ‫‪ɶ‬‬ ‫‪ ŜƉƢǘǕŌ ǣǂǿƃƛ ƩǙ ǚǷlj‬‬ ‫‪ɰ‬‬ ‫‪ɰ‬‬ ‫ ‪ ōǾƫŌƃşŒ‬‬ ‫‪ōǾȃōǜŭ ƋǿƋƪǕŌ ƃŞƫ ƃǿōƳ‬‬ ‫‪ dzşƉŴũ ǣǕȎƁ ǛǙ ǻƫƃŨƓŌ‬‬ ‫‪ ƃǘŽŐ ƉƫōƖǕŌ ǓŽŌƉǕŌ ǽȃōǜŬǕŌ‬‬ ‫‪ ſǾƖǕŌ ŜƉƢǘǕŌǶ ǗŴǝ ƂŌǹƳ‬‬ ‫‪ǻƒǾƫ ǖōǙŒ‬‬

‫ﺷﻌﺒﻲ‪ ،‬ﻳﺘﻐﻨﻰ ﺑﺘﺠﺎرب اﻟﺴﺎﺑﻘني وﻳﺤﺮس‬ ‫ﺗﺎرﻳﺦ وﻃﻨﻪ ﰲ إﺳﻘﺎط ﻋﲆ اﻟﺤﺎﴐ‪ ،‬أو‬ ‫اﻻﺷﺘﺒﺎك ﻣﺒﺎﴍ ًة ﻣﻊ ﻫﺬا اﻟﺤﺎﴐ ﻛﺘﺠﺮﺑﺔ‬ ‫ﻧﺠﻢ‪ /‬إﻣﺎم‪.‬‬ ‫ﺗﺠﺮﺑ ًﺔ ﻛﻬﺬه أﻟﺰﻣﺖ اﻟﺸﺎﻋﺮ أن ﻳﺤﺘﺸﺪ‬ ‫ﻟﻬﺎ ﺑﺮﺻﻴﺪه اﻟﺸﻌﺮي ﻛــﻠــﻪ‪ ،‬ﻓﺎﺧﺘﲆ‬ ‫ﺑﺪواوﻳﻨﻪ اﻟﺘﻲ ﺗﻮاﺗﺮت ﻋﲆ ﻣﺪى أرﺑﻌﺔ‬ ‫ﻋﻘﻮد ﺑــﺪأت ﺑﺪﻳﻮاﻧﻪ "وادي اﻟﺨﻮف"‬ ‫‪ 1971‬ﻣــﺮوراً ﺑــﺪواوﻳــﻦ‪" :‬ﰲ اﳌﺤﻜﻤﺔ"‬ ‫‪" ،1973‬ﻏﻨﺎوي اﻟﻘﻠﺐ" ) دﻳﻮان ﻣﺸﱰك (‬ ‫‪" ،1980‬ﻳﻮﻣﻴﺎت ﻋﺒﺪ اﻟﻌﺎل" ‪" ،1984‬ﻧﻮر‬ ‫اﻟﻨﺎر"‪" 1989 ،‬ﻣﺤﺎﻛﻤﺔ ﺷﺨﺼﻴﺎت ﻧﺠﻴﺐ‬ ‫ﻣﺤﻔﻮظ" )ﻗﺼﻴﺪة دراﻣﻴﺔ ( ‪" ،2003‬ﻏﻨﻮة‬ ‫اﳌــﻄــﺮ"‪ 2003‬وﺻــﻮﻻً ﻟﺪﻳﻮان "ﻓﺘﺎﻓﻴﺖ‬ ‫اﻟﺠﻤﺮ" ‪.2004‬‬ ‫ﻃﺎﻟﻊ ﺣﺠﺎج ﻫﺬه اﻟﺪواوﻳﻦ ﻛﻤﻦ ﻳﺘﻔﺤﺺ‬ ‫وﺛﺎﺋﻖ‪ ،‬ﻓﻮﺟﺪ أﻧﻪ ﻃﻮال ﻫﺬه اﻟﺴﻨﻮات‬ ‫ﻛﺎن ﻋﱪ ﻧﺼﻮﺻﻪ ﺷﺎﻫﺪاً ﻋﲆ اﻟﻌﴫ‪ ،‬وأن‬ ‫اﻟﺒﺪاﻳﺔ مل ﺗﻜﻦ ﺗﺴﺘﺤﻖ ﻫﺬه اﻟﻨﻬﺎﻳﺔ ﻋﲆ‬

‫اﻹﻃﻼق‪ ،‬واﻟﺸﻌﺐ اﻟﺬي ﺣﻠﻢ واﻧﺨﺮط ﰲ‬ ‫اﻟﺒﻨﺎء ﰲ اﻟﺴﺘﻴﻨﻴﺎت‪ ،‬مل ﻳﻜﻦ ﻳﺴﺘﺤﻖ ﺑﻌﺪ‬ ‫ﻣﻜﺎﺑﺪاﺗﻪ أن ﻳﺒﺎع ﰲ ﺗﺤﺎﻟﻔﺎت واﻧﻔﺘﺎﺣﺎت‬ ‫اﻟﺴﺒﻌﻴﻨﻴﺎت‪ ،‬وﻻ أن ﻳﻮﺻﻞ ﺑﻪ إﱃ ﺣﺎﻓﺔ‬ ‫اﻻﻧﻔﺠﺎر ﰲ اﻟﻌﻬﺪ اﻟﺘﺎﱄ‪ ،‬اﻧﻄﻼﻗﺎً ﻣﻦ‬ ‫ﻫﺬه اﻟﺮؤﻳﺔ ﺻﻨﻊ اﻟﺸﺎﻋﺮ ﻣﻦ ﻣﻘﺘﻄﻔﺎت‬ ‫دواوﻳﻨﻪ ﻧﺼﺎً ﺷﻌﺮﻳﺎً ﻃﻮﻳ ًﻼ ﻳﺴﺠﻞ اﳌﻠﺤﻤﺔ‬ ‫أو اﻟﺘﻐﺮﻳﺒﺔ اﳌﴫﻳﺔ ﻋﲆ ﻣﺪى اﻟﻌﻘﻮد‬ ‫اﻷﺧرية‪ ،‬ﻧﺺ ﻣﻄﻌﻢ ﺑﺮوح اﻟﴪد وﻛﺜري ﻣﻦ‬ ‫ﺗﻘﻨﻴﺎت اﻟﺪراﻣﺎ‪ ،‬ﻣﻮﻇﻔﺎً ﻋﱪه ﺧﱪﺗﻪ اﻟﻄﻮﻳﻠﺔ‬ ‫ﰲ ﻛﺘﺎﺑﺔ ﻓﻦ اﳌﴪح اﻟﺸﻌﺮي اﳌﻨﺤﺎز ﻟﻪ‪،‬‬ ‫ﻣﺎ ﺧﻠﻖ ﺗﻠﻘﻴﺎً ﻣﺒﻬﺮاً ﻓﺎﺟﺄ اﻟﺸﺎﻋﺮ واﳌﻐﻨﻲ‪،‬‬ ‫وﺟﻌﻞ اﻟــﺪﻋــﻮات ﺗﻨﻬﺎل ﻋﻠﻴﻬام ﻹﻟﻘﺎء‬ ‫ﺗﺠﺮﺑﺘﻬام ﰲ أﻏﻠﺐ ﻣﺤﺎﻓﻈﺎت وﺿﻮاﺣﻲ‬ ‫ﻣﴫ‪ ،‬ﻣﻘﱰﺑني ﻣﻦ رﻗﻢ اﳌﺎﺋﺔ وﻋﴩﻳﻦ‬ ‫أﻣﺴﻴﺔ وﻟﻘﺎء‪.‬‬ ‫ﺣﻤﻠﺖ ﺗﺠﺮﺑﺔ ﺣﺠﺎج وﻓﺎﻳﺪ ﻋﻨﺪ ﺗﻘﺪميﻬﺎ‬ ‫أول ﻣﺮ ٍة ﻋﺎم ‪ 2008‬اﺳﻢ "ﺣﺒﺔ ﻋﺸﻢ ﰲ‬ ‫اﳌﺤﺮوﺳﺔ"‪ ،‬وﰲ ‪ 2015‬اﺳﺘﻌﺎد اﻟﺜﻨﺎيئ ﻫﺬه‬ ‫اﻟﺘﺠﺮﺑﺔ ﰲ ﺟﺰء ﺗﺎلٍ أو اﻣﺘﺪاد ﻟﻬﺎ ﺣﻤﻞ‬ ‫اﺳﻢ "آه ﻳﺎ وﻃﻦ"‪ ،‬وﻓﻴﻪ اﺗﺴﻌﺖ رﻗﻌﺔ ﻫﻤﻪ‬ ‫اﻟﺸﻌﺮي ﻟﺘﺸﻤﻞ اﻟﻬﻢ اﻟﻌﺮيب ﺟﻨﺒﺎً إﱃ اﻟﻬﻢ‬ ‫اﳌﴫي‪ ،‬ﺑﻨﻔﺲ اﻟﺘﻜﻨﻴﻚ اﻟﺪراﻣﻲ اﻟﺴﺎﺑﻖ‬ ‫وﻋﱪ ﺗﻔﻜﻴﻚ أﺳﺌﻠﺔ اﻟﻬﻮﻳﺔ واﻟﺤﻠﻢ‪ ،‬واﻟﻨﻘﺪ‬ ‫اﳌﺤﺮض ﻋﲆ ﺗﻐﻴري اﻟﻮاﻗﻊ ﻋﱪ اﺳﺘﺪﻋﺎء‬ ‫أﻣﺠﺎد اﳌﺎﴈ وﻣﻘﺎرﻧﺘﻬﺎ ﺑﺈﺧﻔﺎﻗﺎت اﻟﺤﺎﴐ‬ ‫وﺗﻨﺎﻗﻀﺎﺗﻪ‪ ،‬ﻣﻊ ﺣﺮص ﻋﲆ ﻋﺪم إﻇﻼم‬ ‫اﳌﺸﻬﺪ متﺎ ًﻣﺎ أواﻟﻮﺻﻮل ﺑﺎﳌﺘﻠﻘﻲ ﻟﺤﺎﻓﺔ‬ ‫اﻟﻴﺄس‪" :‬وﻛﻞ ﻣﺎ اﻋﻮز أﻗﻮل اﻵه‪ ..‬ﺗﺎﺧﺪين‬ ‫اﻵه ﰲ ﻣ ﱠﻮاﱄ أﻏﻨﻲ ﻳﺎﻟﻴﻞ‪ُ ..‬‬ ‫ﻳﺎﺧﺪين اﻟﻠﻴﻞ ﺑﻼ‬ ‫ﻓﺮﺣﺔ‪ ..‬واﻗﻮل ﻳﺎ ﻋني‪ ..‬دﻣﻮﻋﻬﺎ متﲆ ‪100‬‬ ‫ﺻﻔﺤﺔ‪ ..‬واﻧﺎ ف ﻋﺸﻘﻚ ﺑﺎﻗﻮم واﺻﺤﻰ‪..‬‬ ‫ﺳﺎﻣﺤﻪ ‪..‬ﺑﻼﻫﺎ اﻵه ‪....‬‬ ‫واﻗﻮﻟﻚ ﻳﺎ ام روح َ‬ ‫أﺣﻠﻒ ﺑﻨﻮر اﻟﺸﻤﺲ ﰲ اﻟﺼﺒﺤ ﱠﻴــﺔ‪ /‬وﻧﺴﻤﺔ‬ ‫ﺻﺎﻓﻴﺔ ﺗﻔﻮت ﻣﻊ اﻟﻌﴫﻳـﺔ‪ /‬إن اﻟﻨﻬﺎر‬ ‫اﻟﺠﺎي ﻣﺶ ﺣﺎﻳﻌــ ﱠﻮق‪ /‬واﻟﻐﻨﻮة ﺗﺮﺟﻊ‬ ‫ﻟﻠﻘﻠﻮب ﻣﴫﻳــﺔ"‪.‬‬ ‫اﻟﺸﻌﺮ ‪baytelshear‬‬ ‫ﺑﻴﺖ ِ‬

‫‪61‬‬

‫‪şĚĮŃ şěńĴ‬‬

‫‪mƉǘŴǕŌ ŧǾƳōŨƳ} ǻǔƫ ƝşōǂǕŌ ŲōŴŽ ƂŌǹƳ‬‬

‫»ﺣﺪﻳﺚ اﻟﺼﺒﺎح واﻟﻤﺴﺎء«‬ ‫‪ǣǘljōŽ ǼƅǕŌ ƉƫōƖǔǕ ƤǷƲżǙ ŝǾŴǝ dzǿƃǥ‬‬

‫‪60‬‬

‫وﺗﺸﺎرك ﻣﻌﻬﺎ ﺑﻄﻮﻟﺔ اﳌﻘﺪﻣﺎت اﳌﻮﺳﻴﻘﻴﺔ‬ ‫ﻋﺰة ﺣﺴﻴﻦ‬ ‫واﻟﻐﻨﺎﺋﻴﺔ‪ ،‬اﻟﺘﻲ أﺑﺪﻋﻬﺎ أﺳﺎﻃني ﺷﻌﺮ‬ ‫"‪uM*4 ÕH ¦f 6|H ¬f/ f¡ªD ÕH‬‬ ‫اﻟﻌﺎﻣﻴﺔ ﻛﺎﻷﺑﻨﻮدي وﺳﻴﺪ ﺣﺠﺎب وﻧﺠﻢ‬ ‫ ‪ uM*4 hªg0 · £fF v| G* 2ѪH j º‬وآﺧﺮون‪ ،‬واﻟﺘﺤﻤﺖ ﺑﺄوﺗﺎر وأﺻﻮات ﻛﺒﺎر‬ ‫‪ |-K ± fH /|I fM uM*K|G* §+* fM‬ﻣﻠﺤﻨﻲ وﻣﻄﺮيب ﻫﺬه اﻟﻔﱰة‪ ،‬اﻟﺘﻲ ﻛﺎﻧﺖ‬ ‫*‪ f¤ªD | gG* mfMf 0 ¨ - ¢CCH~CCG‬ﻓﺼ ًﻼ ﺷﺒﻪ أﺧري ﰲ اﻟﻌﴫ اﻟﺬﻫﺒﻲ ﻟﻺﺑﺪاع‬ ‫<‪"v2f 8 Ì G* Ôg‬‬ ‫اﻟﺪراﻣﻲ‪.‬‬ ‫ﻳﺼﻌﺐ ﺗﺬﻛﺮ رواﻳﺔ اﻷدﻳﺐ اﻟﻌﺎﳌﻲ ﻧﺠﻴﺐ‬ ‫ﻣﺤﻔﻮظ "ﺣﺪﻳﺚ اﻟﺼﺒﺎح واﳌﺴﺎء" ﻣﻦ ‪ƥżǕŌ ŋǻǾƓ ƉƫōƗ‬‬ ‫دون اﺳﺘﺪﻋﺎء اﻟﻌﻤﻞ اﻟﺪراﻣﻲ اﳌﺄﺧﻮذ ﻋﻨﻬﺎ ﻣﺘﺄﺧﺮاً ﻧﺴﺒﻴﺎً اﻟﺘﺤﻖ اﻟﺸﺎﻋﺮ ﻓﺆاد ﺣﺠﺎج‬ ‫وﺑﻄﻠﻪ اﻟﺴﻴﻨﺎرﻳﺴﺖ اﻟﻜﺒري ﻣﺤﺴﻦ زاﻳﺪ‪ ،‬ﺑﻜﻞ ﻫــﺆﻻء‪ّ ،‬‬ ‫ودﺷﻨﺘﻪ ﻛﻠامت ﻣﻘﺪﻣﺔ‬ ‫اﻟﺬي ﻣﺎرس ﻋﲆ اﻟﻨﺺ ﻣﺎ ﻳﺸﺒﻪ إﻋﺎدة "ﺣﺪﻳﺚ اﻟﺼﺒﺎح واﳌﺴﺎء" ﺷﺎﻋﺮاً ﺟامﻫريﻳﺎً‪،‬‬ ‫ﺷﻌﺮي‬ ‫اﻟﺨﻠﻖ‪ ،‬ﺻﺎﻧ ًﻌﺎ ﻣﻨﻪ ﺗﺤﻔ ًﺔ دراﻣﻴ ًﺔ ﻣﻮازﻳﺔ‪ ،‬ﺑﻌﺪ ﻗﺮاﺑﺔ أرﺑﻌﺔ ﻋﻘﻮد ﻣﻦ ﻋﻄﺎ ٍء‬ ‫ٍ‬ ‫وﺑﺎﻟﺘﺒﻌﻴﺔ اﺳﺘﺪﻋﺎء اﳌﻘﺪﻣﺔ اﻟﻐﻨﺎﺋﻴﺔ ﻣﺎﺋ ٍﺰ‪ ،‬ﻣﺤﺘﻘﻦ وﻣﻬﻤﻮم ﺑﺄﺳﺌﻠﺔ اﻟﻮﺟﻮد‬ ‫اﻟﺒﺪﻳﻌﺔ اﻟﺘﻲ ﻗﺪﻣﻬﺎ ٌ‬ ‫ﻛﻞ ﻣﻦ اﻟﺸﺎﻋﺮ اﳌﴫي واﻟــﻮﻃــﻦ واﻟﺒﴩ اﻟﻌﺎدﻳني‪ ،‬مل ﻳﻠﻖ ﻣﺎ‬ ‫ً‬ ‫ﻓﻔﻀﻼ ﻋﻦ اﻟﻐنب‬ ‫اﻟﻜﺒري ﻓﺆاد ﺣﺠﺎج‪ ،‬واﳌﻮﺳﻴﻘﺎر اﻟﺮاﺣﻞ ﻳﺴﺘﺤﻘﻪ ﻣﻦ ﺗﻘﺪﻳﺮ‪.‬‬ ‫ﻋامر اﻟﴩﻳﻌﻲ ﻋﱪ ﺻﻮت أﻧﻐﺎم ﺑﻜﻞ ﻣﻨﺤﻪ اﻟﺘﺎرﻳﺨﻲ اﻟــﺬي ﺻﺎﺣﺐ ﺷﻌﺮ وﺷﻌﺮاء‬ ‫وﻋﻄﺎءاﺗﻪ‪ ،‬ورمبﺎ ﺳﺒﻘﺖ اﻷﻏﻨﻴﺔ اﻟﻌﻤﻠني اﻟﻌﺎﻣﻴﺔ ﻣﻨﺬ ﺑﺰوﻏﻪ‪ ،‬اﻧﻔﺮد ﺣﺠﺎج ﺑﺒﻌﺾ‬ ‫اﻟـــﺮوايئ واﻟــﺪراﻣــﻲ ﰲ ﻟﻌﺒﺔ اﻻﺳﺘﺪﻋﺎء اﳌﻔﺎرﻗﺎت اﻟﻘﺪرﻳﺔ اﻟﺘﻲ أﺛﺮت ﻋﲆ ﺗﻠﻘﻴﻪ‬ ‫واﻹﺣﺎﻟﺔ‪.‬‬ ‫وﺷﻌﺮه‪ ،‬أﻫﻤﻬﺎ اﻟﺘﺸﺎﺑﻪ اﻟﻜﺒري ﺑني اﺳﻤﻪ‬ ‫ٌ‬ ‫ﻣﻨﺬ اﻧﻄﻼﻗﻪ ﻋﺎم ‪ 2001‬أرﺷﻒ اﳌﺴﻠﺴﻞ واﺳﻢ ﻓﺆاد ﺣﺪاد راﺋﺪ اﻟﺸﻌﺮ اﻟﻌﺎﻣﻲ وواﻟﺪ‬ ‫إﺑﺪاﻋﻴﺎً ﺿﻤﻦ رواﺋﻊ اﻟﺪراﻣﺎ اﳌﴫﻳﺔ اﻟﺘﻲ اﻟﺸﻌﺮاء‪ ،‬ﺣﺘﻰ أن ﺳرية اﻷﺧري ﺗﺘﺼﺪر ﻧﺘﺎﺋﺞ‬ ‫ازدﻫﺮت ﻓﱰة اﻟﺘﺴﻌﻴﻨﻴﺎت‪ ،‬ﻛﻠﻴﺎﱄ اﻟﺤﻠﻤﻴﺔ اﻟﺒﺤﺚ ﻋﻦ ﻓﺆاد ﺣﺠﺎج ﻋﲆ ﻛﺎﻓﺔ ﻣﺤﺮﻛﺎت‬ ‫واﻟﺸﻬﺪ واﻟﺪﻣﻮع‪ ،‬وأراﺑﻴﺴﻚ واﻟﻮﺗﺪ‪ ،‬واﳌﺎل اﻟﺒﺤﺚ ﻋﲆ اﻹﻧﱰﻧﺖ‪.‬‬ ‫واﻟﺒﻨﻮن وأﺑﻮ اﻟﻌﻼ اﻟﺒﴩي وﻏريﻫﻢ ‪ -‬رﻏﻢ أﻳﻀﺎً ﻛﺜرياً ﻣﺎ ﺗﻨﺴﺐ أﻋامل ﻓﺆاد ﺣﺠﺎج‬ ‫ﺣﺪاﺛﺘﻪ زﻣﺎﻧﻴﺎً ﻋﻦ ﻛﻞ ﻫﺬه اﻷﻋــامل‪ -‬ﻟﺸﺎﻋﺮ اﻟﻌﺎﻣﻴﺔ اﻟﻜﺒري ﺳﻴﺪ ﺣﺠﺎب‪ ،‬رمبﺎ‬ ‫اﻟﻌﺪد ‪ ، 71‬أﻛﺘﻮﺑﺮ ‪2018‬‬

‫ﻟﻠﻤﺠﺎﻳﻠﺔ واﺗﺤﺎد اﻟﻬﻢ واﻟﺮؤﻳﺔ‪ ،‬وﺗﺸﺎﺑﻪ‬ ‫اﻟﻠﻐﺔ وﻇـــﺮوف اﻟﻨﺸﺄة ﰲ ﻣﺤﺎﻓﻈﺘني‬ ‫ﻣﺘﺠﺎورﺗني ﺑﺪﻟﺘﺎ ﻣــﴫ‪ ،‬واﻻﺗــﻜــﺎء ﻋﲆ‬ ‫اﳌﻮﺳﻴﻘﻰ ورﺻﻴﺪ ﻣﻦ اﻟﻨﻈﺮة اﻟﻔﻠﺴﻔﻴﺔ‬ ‫ﺑﻔﺎﺋﺾ‬ ‫اﻟﺘﻲ ﺑﻄﻨﺖ ﺗﺠﺮﺑﺘﻴﻬام اﻟﺸﻌﺮﻳﺔ‬ ‫ِ‬ ‫ﻣﻦ اﻟﺤﻜﻤﺔ‪ .‬وﻟﻠﻴﻮم ﻳﺮﺗﺒﻂ ﺗﱰ "ﺣﺪﻳﺚ‬ ‫اﻟﺼﺒﺎح واﳌﺴﺎء" ﰲ أذﻫﺎن اﻟﻐﺎﻟﺒﻴﺔ ﺑﺎﺳﻢ‬ ‫ﺳﻴﺪ ﺣﺠﺎب ﻇﻨﺎً ﻣﻨﻬﻢ أﻧﻪ ﻣﻦ ﻛﺘﺐ ﻫﺬه‬ ‫اﻟﻜﻠامت‪ ،‬أﻣﺎ اﻟﺬﻳﻦ ﻳﻌﺮﻓﻮن أن ﻣﺆﻟﻔﻪ ﻫﻮ‬ ‫ﻓﺆاد ﺣﺠﺎج ﻓﻄﺎﳌﺎ وﺻﻔﻮه ﺑﺎﻟﺸﺎﻋﺮ ﺳﻴﻰء‬ ‫اﻟﺤﻆ‪ ،‬اﻟﺬي ﻇﻠﻤﻪ ﺗﺸﺎﺑﻪ اﺳﻤﻪ ﻣﻊ ﻓﺆاد‬ ‫ﺣــﺪاد‪ ،‬ﻓﻴام ﻧﺴﺐ أﺷﻬﺮ أﻋامﻟﻪ ﻟﺸﺎﻋﺮ‬ ‫ﻏريه‪.‬‬ ‫ُ‬ ‫ﻟﺴﺖ ﻣﻤﻦ ﻳﺤﻠﻮ ﻟﻬﻢ ﺗﺤﻤﻴﻞ اﻟﻜﺎﺗﺐ أو‬ ‫اﳌﺒﺪع ﻣﺴﺆوﻟﻴﺔ ﻋﺪم اﻧﺘﺸﺎره أو ﺗﺤﻘﻘﻪ‪،‬‬ ‫وﺟﻌﻠﻬام ﻣــﺪﺧ ـ ًﻼ ﻟﻠﺘﺸﻜﻚ ﰲ ﻗﻴﻤﺔ‬ ‫وﺟــﻮدة إﺑــﺪاﻋــﻪ؛ ﺧﺎﺻ ًﺔ ﰲ ﻇﻞ ﺳﺎﺣﺔ‬ ‫َ‬ ‫أدﺑﻴﺔ ﻣﺤﻜﻮﻣﺔ ﺑﺘﻌﺪد ﺑﻞ ﻏﻴﺎب اﳌﻌﺎﻳري‪.‬‬ ‫وﺑﺎﻻﻟﺘﻔﺎت ﻟﺤﻘﻴﻘﺔ أن ﺷﻌﺮ اﻟﻌﺎﻣﻴﺔ مبﺎ ﻟﻪ‬ ‫ﻣﻦ ﺧﺼﻮﺻﻴﺔ وﺑﺈرﺛﻪ ﻣﻦ اﻟﻈﻠﻢ اﳌﻨﻬﺠﻲ‬ ‫وﻏري اﳌﱪر‪ ،‬مل ﻳﻌﺮف اﻻﻧﺘﺸﺎر واﻟﺠامﻫريﻳﺔ‬ ‫ﺳﻮى ﻋﱪ وﺳﻴﻂ اﻟﻐﻨﺎء أو اﻷداء اﻟﺸﻔﺎﻫﻲ‪،‬‬ ‫ﻳﺼﻌﺐ اﳌــﺴــﺎواة ﺑني اﻟﺸﻌﺮاء اﻟﺬﻳﻦ‬ ‫اﻟﺘﺤﻤﻮا ﻣﻨﺬ ﺑﻮاﻛريﻫﻢ ﺑﺄوﺳﺎط اﻟﻐﻨﺎء‬ ‫واﻟﺴﻴﻨام ﺑﺠﻐﺮاﻓﻴﺘﻬام اﳌﺮﻛﺰﻳﺔ ﰲ اﻟﻌﺎﺻﻤﺔ‪،‬‬ ‫واﻟﺸﻌﺮاء اﻟﺬﻳﻦ اﻛﺘﻔﻮا ﺑﻨﴩ أﻋامﻟﻬﻢ ﰲ‬

тАля╗Ыя╗Фя╗о┘Б ╪зя╗Яя╗ия║к╪з┘И┘КтАм ┬еH*v@@ @ @┬Ы@ @ @ D* ┬О┬б@@ @ @┬М@ @ @ CH ┬С┬б@@ @ ~@ @ @{@ @ @D*H ┬З@@ @ @Dv@@ @ @D* ├Сb@@ @ + ┬Ц@@ @ @ ┬Т@ @ @ @D*H ┬О├Ж@@ @ @ @ @ @D* ib@@ @ @ @Q @ @ @ @ +4 ┬Щ@@ @ ┬Х@ @ @0 ┬еH*v@@ @Jb@@ @E *├М@@ ┬Ш@ @~@ @z@ @D* ┬д@@ 0┬б@@ + ┬в@@ ┬Ы@ @/ ┬б@@ @ DH ┬Я@@ ┬ХQ @ @< ┬Н@@ @ @ @ D&* ┬д@@ @ @+ k@@ @┬Ж@ @ + ┬е4v@@ @~@ @ |@ @ + rM x@@ @ @ @ / ┬еH*┬б@@ @ @ @G ┬У@@ c@ @┬г@ @┬Х@ @B H rHx@@ @ @ @ @ @ D* ├М@@ @~@ @ z@ @ Cb@@ @J ┬в@@ @┬ХQ @ @ ~@ @ 8H ├Д@Q @ @ @ @ @C ┬░ d@@ @ ┬Х@ @ @┬П@ @ @D* d@@ @ ~@ @ @z@ @ @┬л┬░ ┬еHb@@ @ @B ┬С*┬б@@ @ @ @~@ @ @ @ 7┬░* ┬в@@ @ ┬Х@ @ @<H ┬еH*v@@ @ @ @ @ @J ┬Я@@ @ @ @F* ┬Я@@ ┬ХQ @ ┬Ж@ D ┬Я@@ @ @┬ХQ @ @ @ BH ┬в@@ ~@ @z@ @< H ├С*H ┬░H ┬░ ┬еHb@@ @F ┬Э*x@@ m@ ┬Ю@ ┬Х@ D ┬С┬б@@ ~@ @{@ @D* ┬д@@ <b@@ ~@ 6 ┬Эb@@ @ @ CH ┬Я@@ @┬ХQ @ @ Pp@@ @P @ @ + ┬Я@@ @ ┬Х@ @ @1 I┬б@@ @ @ ┬Ю@ @ @ @D* eb@@ @ @g@ @ @ C ┬Я@@ @Q @ @ @ ┬Х@ @ @B ┬еHb@@ @ @ = d@@ @┬Х@ @ ┬П@ @ + ┬в@@ @ ┬ЫQ @ @ @┬Ж@ @ @┬┤* ┬Щ@@ @ ┬Х@ @ @┬▓* ┬Я@@ @ ┬Х@ @ @BH ┬Я@@ ┬ХQ @ @~@ @6 ├Д@@ ~@ @ |@ @ Db@@ + ┬Я@@ @c@ @ 0b@@ @~@ @ 8H i┬б@@ @ @├Вb@@ @ @E ┬еH*x@@ @ @ @ < ┬Я@@ @ @ C*┬б@@ @ @ ~@ @ @ @7*H 4b@@ @ cQ @ @ @~@ @ @8 ┬в@@ @ @ ┬Ы@ @ @ @┬┤*H ┬Я@@ ┬ХQ @ @0 H ┬а2┬б@@ @┬П@ @ ┬Ж@ @ E ├Д@@ @~@ @ |@ @ D* ┬Ь@@ @Jv@@ @┬г@ @ +R H ┬еHb@@ @ 1 @@ @6b@@ @┬г@ @ D* d@@ @ ┬Х@ @ BH ├Сb@@ @ @ + b@@ @ @/x@@ @ @D*H ┬Я@@ ┬ХQ @ @┬Й@ @+ ┬д@@ @┬М@ @ ~@ @ {@ @ J ┬Ц@@ @ @ @ @ @ @ @E&┬░* ┬Чb@@ @ @ ┬Ш@ @ @ G ┬Ъ*2 ┬еH*3 d@@ ┬Х@ @ ┬П@ @ + ┬еHb@@ @ ┬П@ @ @┬Ю@ @ @Db@@ @ + ┬Ц@@ ┬Х@ @ ┬Ж@ @ - ┬░H ├С*H ┬░ ┬Ц@@ @ @ @B ┬░Q (*H b@@ @ @ G├Д@@ @ @ ┬й b@@ @ @ @ @ @ @E(* ┬еH*v@@ @ E ┬У@@ 0x@@ ┬▒b@@ E rHx@@ @ @ @D* d@@ @Jx@@ @=b@@ @JH ┬Я@@ ┬ХQ @ @+ rx@@ @ @ @ @ ┬▒* ├Н@@ @ @ : 2*5 ┬У@@ @ @0┬б@@ @ @+ ┬Ъ*2 ┬еHb@@ < ┬Эb@@0x@@~@ z@ D* ┬З@@ E ┬У@@~@ 6b@@~@ z@ 0*H h@@┬г@ / ┬Я@@┬ХQ @ E ├М@@ = ┬Ь@@ E ┬д@@~@ }@ ┬Й@ D* ┬Щ@@ ┬Х@ @┬▓*H h@@ @04 H ┬еHb@@ @ @┬Ы@ @ @ ┬┤* ┬Ь@@ @ @ @Jv@@ @ @ @J*H ┬С┬б@@ @ @ @ @ @ @┬┤*H ┬З@@ @ @ @D┬б@@ @ @ @D*H ┬Я@@ ┬ХQ @ @; H ┬Я@@ @~@ @ 6b@@ @~@ @ z@ @ 0*H ┬Щ@@ ┬Х@ @p@ @┬Х@ @D b@@ ┬Ю@ @┬Ы@ @┬г@ @< ┬еHb@@ @ @ @/4 ┬Я@@ @ @+ ┬д@@ @c@ @ ┬Х@ @ BH ┬Щ@@ @ @┬Ю@ @ @ J4b@@ @ @+&* h@@ @┬Ш@ @ B ┬Я@@ @┬ХQ @ @ p@ @ J ┬а├М@@ @ @ @ @ = ┬░H ├Сb@@ @ @ @ @ + b@@ @ @ @ @/x@@ @ @ @ @D*H тАля╗ля╗ия║к ╪зя╗Яя╗Фя╗мя╗┤я║ктАм @Amaasi

59

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

ĘıĘŕ

‫ﻗﻠﻮب اﻷﺷ ّﺪه‬ v@@ @ @ @ ~@ @ @ @ 7&°* e¡@@ @ @ @ @ @ @B @@ @ @ @ E d@@ @ @ @ @ @ B · h@@ @ @£@ @ @ D ¥4*v@@ @ @ @ @Jb@@ @ @ @ @EH Q @@ @ @z@ @ @ m@ @ @ Jb@@ @ @EH Q @@ @ z@ @ @p@ @ @Jb@@ @ E 2¡@@ @ @ @ @ @ @ @ @ @´*H @@ @ @ c@ @ @ @p@ @ @ @´b@@ @ @ + @@ @ @ @ @Db@@ @ @ @ @E @@ @ @ @ @ @ ~@ @ @ 8 ¥4b@@ @ @: *¡@@ @ @ @ ~@ @ @ @ @7°* ¢@@ @ @ @ < yQ @ @ @ @ @ @G b@@ @ @ E @@ @ @ @ / Qv@ @ @ @ g@ @ ~@ @ z@ @ E @@ @~@ @ z@ @ @ @ F Ä@@ @ @ @ @ @ D* Hv@@ @ ~@ @ @|@ @ @ @ @ @D ¥4*Hw@@ @ @ @ @ @ D* @@ @~@ @ |@ @ < @@ @ @ E y@@ @ g@ @ @G*b@@ @ E @@M @ @ 6b@@ @ @ B Qv@ @ @~@ @ @9 h@@ @ @ @B¡@@ @ @ @D* ¡@@ @ @ @D b@@ @ @ @ @ E b@@ @ @ @E t@M @ @ @Eb@@ @ @~@ @ @ 7 ¥4*¡@@ @ ~@ @ @}@ @ @D* @@ @ @ ~@ @ 6 ¢@@ @ @ @ < @@ @ @ @ @~@ @6 @M @ @ {@ @ @Jb@@ @ < Qv@ @ @ @ p@ @ @ @ Jb@@ @ @ @EH d@@ @ £@ @ @ @ @ @ J b@@ @ @ @ @ @ EH d@@ @ @£@ @ @ @ @ @ Jb@@ @ @E ¥4b@@ @ @~@ @ @ z@ @ @ ´* v@@ @ @ @ @ @ < @@ @ g@ @ @m@Q @ @ ~@ @ @6 °* É@@ @ s@ @ @ @ @ @D Qv@ @ ~@ @ |@ @ E @@ @ @ @ £@ @ <H b@@ @£@ @ @ @ D* @@ @ @ E @@ £@ @ ~@ @ }@ @ Jb@@ E ¥4*¡@@ @ @ @ @ @ @ @ ´* v@@ @ @ @ @ @ @< ¤@M @ @ @ @ @Cb@@ @ @ @ @+ @@ @ @ @ @BQ ¡@@ @ @ @ @J °H v@@ @ @/ Í@@ @ @ @ @ @+H ¡@@ @ @ @ @ @ @ 1* Í@@ @ @ @ @ @+H ¡@@ @ @ @ @ @ @ +* Í@@ @ @ @ + ¥4*¡@@ @ @ @ @ @ @: @@ @ @ @GÌ@Q @ @ @ @ @ @ @ @ -b@@ @ @ @E @M @ @ @ @ @ @ @ @ @+4 Í@@ @ @ @ @ @ @+H Q2x@@ @ @ @ @ @ @ @ - ¤@@ @ @ @ @ @ @ @ @D ¤@@ @ @ @ @ -Hy@@ @ @ @ @ <b@@ @ @ @ @ J ¤@@ @ @ @ @ -y@@ @ @ @ @ < ¥4b@@ @ @/ @@ @ @Ev@@ @ @D* b@@ @ @ @ @ E 4v@@ @~@ @ |@ @ Db@@ @A M,Ä@@ @ @ @ @ < Qv@ @ @ E eb@@ @ @ @ = ¤@@ @ @ @ @D* ·b@@ @ @ @ @ @ D* ¢@@ ~@ @z@ @ @ @J h@@ @£@ @ D ¥4*2 h@@ @ @ @ @C b@@ @ @ @ @ @ + ib@@ @ Q @ @ @~@ @ @|@ @ @+ ¤@@ @ @ @ g@ @ £@ @ DH Qv@ @ @ @ @ @G*H ¤@@ @ @ @ @ @ 0 x@@ @ p@ @ c@ @ D* @@ @£@ @ ~@@P @z@ @ + ¤@@ @ @ @ @ @ +* ¥4*¡@@ @ ~@ @ @z@ @ @D* @@ @ @ @ @ 6H4 ¯ b@@ @ @ @ @ @ @ E%°* @@ @ @ @ @~@ @ @8*H Q Hb@@ @ @ @ @ @ @ @ @ J Q2x@@ @ @ @ @ @ - ° v@@ @ @ @c@ @ @ @ < @@ @ @ 7x@@ @ @ @ @ @ @D* · ¥4b@@ ~@ @|@ @g@ @F* b@@ @ @~@ @ @ 94*H h@@ ~@ @{@ @<b@@ E ¤@@ @ @ @ ~@ @ 94*H ‫ﻧﺎﻳﻠﻪ اﻻﺣﺒﺎﺑﻲ‬ @ NaylaUae

2018 ‫ أﻛﺘﻮﺑﺮ‬، 71 ‫اﻟﻌﺪد‬

58

‫ﻣﻼﺑﺲ ﰲ ﻗﴫﻫﺎ ﺗﺮﻳﺪ أﺧﺬﻫﺎ‪ ،‬ﻓﺮﻓﺾ اﻟﺨﺎدم ﰲ اﻟﺒﺪاﻳﺔ وﻟﻜﻦ ﻓﺘﻠﻘﺘﻬﻢ ﻫﻲ ووﺻﻴﻔﺘﻬﺎ ﺟﻠﺪاً ﺑﺎﻟﺴﻴﻮف واﺣﺪاً ﺗﻠﻮ اﻵﺧﺮ ﺣﺘﻰ‬ ‫ﻗﻀﻮا ﻧﺤﺒﻬﻢ ﺟﻤﻴﻌﺎً‪ ،‬ومتﺖ اﻟﻌﻤﻠﻴﺔ ﻛام ﺧﻄﻄﺖ اﻟﻌﺮﻓﺠﻴﺔ‪،‬‬ ‫ﺑﻌﺪ إﴏار وإﻏﺮاء ﺑﺎﳌﺎل واﻓﻖ‪.‬‬ ‫وﺣﻜﺘﻪ اﻷﺟﻴﺎل وﺗﻨﺎﻗﻠﻪ اﻟﺮواة ﻣﺬﻫﻮﻟني ﻣﻦ اﻣﺮأة ﻓﻌﻠﺖ ﻛﻞ ذﻟﻚ‪.‬‬ ‫ﻓﻠام ﻓﺘﺢ اﻟﺒﺎب ﺑﺎﻏﺘﺘﻪ ﺑﴬﺑﺔ ﻓﺼﻠﺖ ﻓﻴﻬﺎ رأﺳﻪ ﻋﻦ ﺟﺴﺪه ‪ ،‬ﺛﻢ ﻳﻘﻮل اﻷﻣري ﻋﺒﺪاﻟﻠﻪ ﺑﻦ ﻋﲇ ﺑﻦ رﺷﻴﺪ ﻣﻦ ﺿﻤﻦ ﻗﺼﻴﺪة ﻟﻪ‪:‬‬ ‫ﺗﻮﺟﻬﺖ إﱃ ﻣﺴﺘﻮدع اﻟﺪﻳﻨﺎﻣﻴﺖ‪ ،‬ﻓﺄﴐﻣﺖ ﺑﻪ اﻟﻨﺎر‪ ،‬ﺛﻢ ﺗﻮﺟﻬﺖ ‪2*2H @@ 6b@@ @ @D* @@ @E · ¤@@ @ @ @ D* b@@ @J @@ £@ @Gb@@ J‬‬ ‫‪ @@£@ D ¤@@ @ -Hy@@ @ <b@@ @ J b@@ @ @ @ @²* ¡@@ @ @ @ 0x@@ @-b@@ @E‬‬ ‫إﱃ ﺳﻠﻢ اﻟﺴﻄﺢ )ﺣﻴﺚ ﻛﺎن ﺳﻜﺎن اﻟﻘﴫ ﻧﺎمئني ﰲ اﻟﺴﻄﺢ(‬ ‫‪2*v@@ @ @+* @@ @ @ @ E2 *v@@ @ @= ¤@@ @ @ @ D* ¡@@ @ @ 0x@@ -b@@ E‬‬ ‫ﻓﻮﻗﻔﺖ ﰲ ﻧﺎﺣﻴﺔ ووﺻﻴﻔﺘﻬﺎ ﰲ ﻧﺎﺣﻴﺔ أﺧﺮى ﺣﺘﻰ ﻻﻳﺨﺮج أﺣﺪ‬ ‫‪ @@ Jv@@ 1 @@ @ @Ev@@ @ @D* x@@ @ @ @0 M b@@ @ @ @ @ @E5 @@ @ @D v@@ @ @B‬‬ ‫ﻣﻨﻬﻢ‪ ،‬ﺣﺘﻰ ﺗﻔﺠﺮ اﳌﺨﺰن ﻣﺤﺪﺛﺎً دوﻳﺎً ﻫﺎﺋ ًﻼ أﻳﻘﻆ أﻫﻞ ﺑﺮﻳﺪة *( ‪2*v@@ @~@ @ 9°* 2 @@ @E @@ @JHx@@ @- b@@ @E b@@ @ @C‬‬ ‫‪ @@ @ £@ @ « @@ @£@ @ m@ @ Ax@@ @ @ @ D* à H2H‬‬ ‫ﻣﺬﻫﻮﻟني ﻣﺬﻋﻮرﻳﻦ‪ ،‬وﻫﻲ واﻗﻔﺔ ووﺻﻴﻔﺘﻬﺎ ﺑﻌﺰميﺔ وإﴏار ﻣﻦ‬ ‫دون وﺟﻞ أو ﺧﻮف وﻫﻲ ﺗﺤﻤﻞ ﻛﻞ أﺣﻘﺎدﻫﺎ ﻋﲆ ﻣﻦ ﻗﺘﻞ وﻟﺪﻫﺎ ‪2b@@ @ @ F b@@ @ @ @ @D ex@@ @ @ @²* ¡@@ @ @ @ J @@ @ ~@ z@ E‬‬ ‫*‪ @@£@Fb@@0 @@£@ D ¡@@G @@£@ ~@ z@ D* ¥¡@@~@ z@ E v@@~@ {@ F‬‬ ‫ﻏﺪراً‪ .‬ومتﻨﻊ اﳌﻮﺟﻮدﻳﻦ ﻣﻦ اﻟﺨﺮوج ﺣﺘﻰ ﻳﻘﺘﻠﻬﻢ اﻟﺤﺮﻳﻖ‪.‬‬ ‫‪2°H°b@@ @ @ @ @+ Æ@@ @ =y@@ @ J x@@ @ @E b@@ @ @E b@@ @ @ @C (*H‬‬ ‫ﻣﺎذا أﺣﺪث اﻻﻧﻔﺠﺎر؟ ﻗﺘﻞ أرﺑﻌﺔ ﻋﲆ اﻟﻔﻮر‪ ،‬وﺣﺎول اﻟﺒﻘﻴﺔ اﻟﻔﺮار‬ ‫@ @ @@‪ @@ @ @ @£@ ~@ 8¡@@E ¤@@ @ @ D* @@ @ ~@ z@ J ¢@@ ~@ @8¡@@ ´* Ix‬‬‫اﻟﺸﻌﺮ ‪baytelshear‬‬ ‫ﺑﻴﺖ ِ‬

‫‪57‬‬

‫‪ ĬšĸŌ ĜĸŌ‬‬

‫‪ƃǾƗƈ ǛşŌ DzƃǾƚǃ ǣŨǂŭǶ ǖōǂŨǝŌǶ ǖŌƉƯ‬‬

‫اﻟﻌﺮﻓﺠﻴﺔ‪..‬‬ ‫ﻗﺼﺔ اﻗﺘﺤﺎم ﺑﻄﻮﻟﻴﺔ‬ ‫إﻣﺎرة ﺑﺮﻳﺪة‪.‬‬ ‫ﻋﻠﻲ اﻟﻤﺴﻌﻮدي‬ ‫وﻗﻴﻞ إن ﻋﻤﺮ اﻟﻌﺮﻓﺠﻴﺔ ﻋﻨﺪﻣﺎ ﻏﺎدر زوﺟﻬﺎ إﱃ اﳌﺪﻳﻨﺔ ﻛﺎن أرﺑﻌني‬ ‫ﻫﻲ ﻗﺼﻴﺪة ﺑﻄﻮﻟﺔ ﻟﻮﻟﻮه ﺑﻨﺖ ﻋﺒﺪاﻟﺮﺣﻤﻦ اﻟﻌﺮﻓﺞ‪ ،‬ﻣﻦ أﻫﻞ ﺳﻨﺔ‪ ،‬وﻛﺎﻧﺖ ذات ﺑﻨﻴﺔ ﻗﻮﻳﺔ ﺻﻠﺒﺔ اﻟﻌﻮد‪ ،‬وذات إﻗﺪام‪.‬‬ ‫اﻟﻘﺼﻴﻢ ﻣﻦ أﻣﺮاء اﻟﻌﻨﺎﻗﺮ ﻣﻦ ﻗﺒﻴﻠﻪ ﺑﻨﻲ متﻴﻢ‪ ،‬اﻟﺘﻲ ﺗﺰوﺟﻬﺎ أﻣري اﺧﺘﺎرت ﻣﻦ وﺻﻴﻔﺎﺗﻬﺎ وﺻﻴﻔﺔ ذﻛﻴﺔ وﻧﺒﻴﻬﺔ وﺟﺮﻳﺌﺔ‪ ،‬ﻓﺪرﺑﺘﻬﺎ ﻋﲆ‬ ‫ﺑﺮﻳﺪة ﺣﺠﻴﻼن ﺑﻦ ﺣﻤﺪ وﻫﻲ ﺷﺎﺑﻪ ‪ ،‬ﻓﺄﻧﺠﺒﺖ ﻣﻨﻪ اﺑﻨﺎً واﺣﺪاً ﻫﻮ اﻟﻘﺘﺎل ﺑﺎﻟﺴﻴﻒ وﻏريه وﻋﲆ ﻓﻨﻮن اﻻﻗﺘﺤﺎم‪ ،‬وأﺧﱪﺗﻬﺎ أﻧﻬﺎ ﻋﺎزﻣﺔ‬ ‫)ﻋﺒﺪاﻟﻠﻪ(‪.‬‬ ‫ﻋﲆ ﺗﻨﻔﻴﺬ ﻋﻤﻠﻴﺔ ﺟﺮﻳﺌﺔ ﺗﻘﻮم ﻣﻦ ﺧﻼﻟﻬﺎ ﺑﺄﺧﺬ ﺛﺄر اﺑﻨﻬﺎ‪.‬‬ ‫مل ﺗﻄﻞ أﻳﺎم اﻟﻬﺪوء واﻟﺮاﺣﺔ ﰲ ﺣﻴﺎة اﻟﺰوﺟﺔ ﻓﻘﺪ ﻗﺎم اﻟﻮاﱄ اﻟﱰيك‬ ‫اﺑﺮاﻫﻴﻢ ﺑﺎﺷﺎ ﺑﺈﻟﻘﺎء اﻟﻘﺒﺾ ﻋﲆ اﻷﻣري ﺣﺠﻴﻼن واﻗﺘﺎده ﺑﻌﺪ ﺳﻘﻮط ﺑﻌﺪ ﻣــﺮور ﺷﻬﺮ ﻋﲆ ﻣﻘﺘﻞ وﻟﺪﻫﺎ اﺳﺘﺨﺮﺟﺖ أم ﻋﺒﺪاﻟﻠﻪ‬ ‫اﻟﺪرﻋﻴﺔ إﱃ اﳌﺪﻳﻨﺔ اﳌﻨﻮرة ﺣﻴﺚ ﺗﻮﰱ ﻫﻨﺎك‪.‬‬ ‫)اﻟﻌﺮﻓﺠﻴﺔ( ﻣﻔﺘﺎح ﻏﺮﻓﺔ اﻟﺪﻳﻨﺎﻣﻴﺖ اﻟﺘﻲ ﺗﻌﺮف ﻣﻜﺎﻧﻬﺎ ﺟﻴﺪاً ﰲ‬ ‫ً‬ ‫ﺗﻮﱃ اﻟﺸﺎب ﻋﺒﺪاﻟﻠﻪ إﻣﺎرة ﺑﺮﻳﺪة ﺧﻠﻔﺎ ﻟﻮاﻟﺪه‪..‬‬ ‫ﻗﴫ اﻹﻣﺎرة ﺛﻢ أﺧﻔﺖ ﰲ ﻣﻼﺑﺴﻬﺎ ﺳﻴﻔﺎ ﻳﻔﻠﻖ اﻟﺤﺠﺮ‪ ،‬ﺗﺪرﺑﺖ‬ ‫أﻳﻀﺎ مل ﺗﺪم أﻳﺎم اﻟﴪور ﰲ ﻗﻠﺐ اﻷم اﳌﻮﺟﻮﻋﺔ ﺑﻔﻘﺪ زوﺟﻬﺎ‪ ،‬ﻓﻘﺪ ﻋﻠﻴﻪ ﺟﻴﺪاً ﺛﻢ ﺗﺴﻠﻠﺖ ﻣﻊ وﺻﻴﻔﺘﻬﺎ اﻟﺘﻲ ﻓﻌﻠﺖ اﻟﴚء ﻧﻔﺴﻪ‬ ‫ﻗﺘﻞ اﻷﻣري اﻟﺸﺎب ﻋﲆ ﻳﺪ أﺑﻨﺎء ﻋﻤﻮﻣﺘﻪ ﻏﺪراً ‪ ،‬اﻟﺬﻳﻦ اﺳﺘﻮﻟﻮ ﻋﲆ إﱃ ﺑﻮاﺑﺔ اﻟﻘﴫ‪ ،‬وﻃﻠﺒﺖ ﻣﻦ اﻟﺤﺎرس ﻓﺘﺢ اﻟﺒﺎب ﻣﺪﻋﻴﺔ أن ﻟﻬﺎ‬

‫‪56‬‬

‫اﻟﻌﺪد ‪ ، 71‬أﻛﺘﻮﺑﺮ ‪2018‬‬

‫ﻫﻤﻮم‬ @@ @ Q @ @ G v@@ @ @ @ @ @ @0*H @@ @ @ @ @ CH @@ @ @ @ G @@ @ @£@ @ @ @ @ @ D* ¡@@ @ @G Hv@@ @ @ @ @ + µb@@ @ @ @ @ @ D* d@@ ~@ @ z@ @ « ° @@ @ < @@ @ @ + I42 °H i¡@@ @ @ @ @Â *w@@ @ @ @ @G ¡@@ @ @D* ¥4v@@ @ @ - q@@ £@ @ J @@ c@ @B *w@@ @ @ @ GH @@ @ C @@ @ /*x@@ @ @ @ @ @ @ @D x@@ @ Q @ @ ~@ @ {@ @ J *w@@ @ @ @ @ @ GH ¡@@ @ @ @ @ E *3H *w@@ @ @ @ @ G @@ @ @ @ @; *w@@ @ @ @ @ @ GH @@ @ E*H ¡@@ @ @ @ +* v@@ @ @ @ A @@ @ @E ¢@@ @ @ @ + *w@@ @ @ @ GH ¡@@ @ - @@ @ @ @ @ @ E2 @@ @ @ C @@ @ @ @ £@ @ < ib@@ @ @ @ @ @ @ @ E2H @@ @ E4 2*'¡@ @ @ @ @ @ @ @ @ A @@ @ @ @ @D @@ @ c@ @ @/ *w@@ @ @ @ @ @ GH ¡@@ @ c@ @ @D* @@ @ j@ @ @E b@@ @ @ @ @ @ @ @J&°* @@ g@ @ @ @ ~@ @ 8 * @@ @ @E %*4H d@@p@ ~@ z@ J I¡@@ ~@ @9 *w@@ @ @ GH ¡@@ @ @ @ @ JH @@ @ @ @ ~@ @ }@ @ @ @ ´* @@ @ s@ @ @ J *w@@ @ @ @ @ @ @GH @@ @ ~@ 6 @@ @ +b@@ @ F h@@ @ @ « H b@@ @ @ @ @ J *w@@ @ @ @ @ GH ¡@@ @ @ @ + ¢@@ @ @ @ @ @ J @@ @ £@ @ @C @@ @ @ @ £@ @ @ @ J Ñ* @@ @ @ D* °* H @@ 7¡@@ +x@@ @ @D* x@@ @ @ @ J ° Hx@@ @ ¹ ¢@@ @ @~@ @}@ @D* ¤@M @ @ @ @ = @@ @ E @@ @ C @@Â @@ @ E ¡@@ @ @DH @@ @ D ¤@@ @ -&b@ @ - *54°*H ¡@@ @~@ @ z@ @ @ @ ´* @@ @ @ @ D @@ @ @ @ @ @+4 d@@ @ @g@ @ @ C *3* @@ Ew@@ E @@ £@ @ @ @< b@@ @ @E @@ @ g@ @ @BH w@@ @ @ @- °H ¡@@ £@ @D* @@ £@ @C ib@@ <b@@ ~@ @z@ @D* @@ @ ~@ }@ - b@@ @E @@ Q @ @ @ @D* q@@ @ Jy@@ @ J @@ @ @ @+4 Ix@@ @ @ @- Ä@@ @ ~@ @ @8* ¡@@ £@ @ @ @D* $b@@ @ @ @ ~@ @ z@ @ D* @@ @ @E q@@ @ Jy@@ @ J b@@ @ @ @ C @@ @G b@@ @ @E @@ @C H ·b@@ £@ @ @ @D* ¤@@~@ }@ ­ H Hv@@ @ @ @ GH @@ @ @~@ @ @ 64v@@ @ @EH b@@ @ @ £@ @ @ @<H h@@ @£@ @ +

55

baytelshear ‫اﻟﺸﻌﺮ‬ ِ ‫ﺑﻴﺖ‬

‫ﺣﻤﺪ اﻟﺒﻠﻮﺷﻲ‬ @hamadska

‫‪Ĭ§ō§§§Ř‬‬

‫ﻳﺄﺧﺬ ﻃﺮﻳﻘﻪ ﰲ ﻣﺴﺎر ﺟﺪﻳﺪ ﻣﻊ اﻗﱰاب اﻟﻨﺺ اﳌﺤيك ﻣﻦ اﻟﻨﺺ اﻟﺸﻌﺒﻲ اﳌﻌﺎﴏ‪ ،‬ﺣﻴﺚ ﻳﻜﺘﺐ ﴍار ﰲ ﻣﺪح ورﺛﺎء اﳌﻐﻔﻮر ﻟﻪ‬ ‫اﳌﻜﺘﻮب ﺧﻼل اﻟﻌﻘﻮد اﻷرﺑﻌﺔ اﻷﺧرية‪ ،‬إذ ﺗﻈﻬﺮ اﳌﻔﺮدات اﳌﺤﻜﻴﺔ اﻟﺸﻴﺦ زاﻳﺪ ﺑﻦ ﺳﻠﻄﺎن آل ﻧﻬﻴﺎن‪:‬‬ ‫ﰲ ﺳﻴﺎﻗﺎت ﺟﺪﻳﺪة أﻗﺮب إﱃ اﻟﻔﺼﻴﺤﺔ‪ ،‬وﻫﻮ ﻣﺎ ميﻜﻦ ﺗﻠﻤﺴﻪ ﰲ ‪ *Æ@@ 0*H @@ @C d@@ ²*H b@@A¡@@D* b E t£~7‬‬ ‫‪ ¡~8&°*H fEb ~{D*H fE*x D* b E Kb~}J&*H‬‬ ‫ﻗﺼﻴﺪة اﻟﺸﺎﻋﺮ ﺳﺎمل اﻟﺠﻤﺮي اﻟﺬي ﻋﺎﻳﺶ ﻃﻔﺮة اﻟﻨﻔﻂ واﻟﺘﺤﻮﻻت‬ ‫‪ b ´* bC ¡p~|D* bC ~zD* bC :¡D* bC‬‬ ‫اﻟﺒﻨﻴﻮﻳﺔ ﰲ اﳌﺠﺘﻤﻊ اﻹﻣﺎرايت‪ ،‬إذ ﻳﻘﻮل‪:‬‬ ‫‪b@@ @ @ @ @Jv@@ @ +&* ¡@@ @ @ @ J b@@ @ @ @ @0x@@ @ Db@@ @ + h@@ £@ @ @ @ ~@ @ 6‬‬ ‫‪b@@ @ @ @ @Jv@@ @ ~@ @ @z@ @ @J&* Í@@ @ @ A4b@@ @ @ @ @ @ @ @ @ D @@ @ @ Jb@@ @ @ j@ @ @ E‬‬ ‫‪b@@ @g@ @B @@ @E ¤@@ @ @ @ J&* @@ Eb@@ ~@ z@ D* b@@ @ D ex@@ @ @J‬‬ ‫‪ b@@ @ @ @ £@ @ A b@@ @ @ @ @ @ @ @§H b@@ @ @ @ £@ @ @ @ @Fv@@ @ @ @ D* @@ @ @ @ @ @j@ @ @ @ @ @ E*H‬‬ ‫*&‪ b@@ @ @ @ c@ @ @ @ @ @ F* x@@ @ @ @ @ @ @EH b@@ @ @ @ @c@ @ @ @ @ @ @ @ @- b@@ @ @ @ @ @ @ @ @ @ J‬‬ ‫‪b@@ @ @ @ @ @ £@ @ @ <*4 @@ @ @£@ @ @ @ @ @ g@ @ @ E @@ @ @ @ £@ @ @ @ @ F2 b@@ @ @ @ £@ @ @ @ @ F2‬‬ ‫‪b@@ @ ~@ |@ D* ,*w@@ @ @ @ @+ @@ @ D x@@ @ 1y@@ @ - ¤@@ @ G ¡@@ @ D‬‬ ‫‪ b@@ @ @ @ £@ @ Ab@@ @~@ @ 8 ,4v@@ @ @ @ @ @ @ @C b@@ @ @ @ Eb@@ @ @ @ JH b@@ @ @ @ E b@@ @ @ @ J‬‬ ‫‪ w@@ @ @ @ D* @@ @g@ @ @ @ < &* b@@ @ @ @ @ @ @+&* @@ @ Eb@@ @ - °‬‬ ‫@ @ @ @ @ @ @ @@‪ b@@ @ @ @ Jv@@ @£@ @ + b@@ @ @ @ @ @ @ @0 w@@ @ @ @ @1&b@ @ @ @ @ -H ¤‬‬‫@ @ @ @@‪ v@@ @ £@ @ @ @ @ @+* @@ @ @ @ @ @ @<H b@@ @ @ @E°b@@ @ @ @+ @@ @ @ @JHx‬‬‫‪b@@ @ @£@ @EÉ@@ g@ @+ b@@ @ @ @ @ C ¡@@ @ @ @ D @@ @ @ @ + v@@ @ @~@ @ @ |@ @ @ -H‬‬

‫وﰲ ﺗﺠﺮﺑﺔ ﻣامﺛﻠﺔ ﺗﺘﺠﺴﺪ ﰲ اﻟﺸﺎﻋﺮ راﺷﺪ ﴍار ﺗﻈﻬﺮ ﺻﻮرة‬ ‫اﻟﺸﻌﺮ اﻟﺸﻌﺒﻲ اﳌﺤيك واﳌﺴﻤﻮع ﰲ ﻗﻮاﻟﺐ ﺗﻘﱰب ﻣﻦ اﳌﻜﺘﻮب‬ ‫ﻋﲆ اﳌﺴﺘﻮى اﻟﻠﻐﻮي‪ ،‬وﰲ اﻟﻮﻗﺖ ﻧﻔﺴﻪ ﺗﻜﺸﻒ اﻟﺘﺤﻮﻻت اﻟﺘﻲ‬ ‫أﺻﺎﺑﺖ اﻟﻠﻬﺠﺔ اﻹﻣﺎراﺗﻴﺔ‪ ،‬وﺗﻈﻬﺮ اﻟﻘﺎﻣﻮس اﻟﻠﻐﻮي ﻟﻠﺸﺎﻋﺮ‬

‫‪54‬‬

‫اﻟﻌﺪد ‪ ، 71‬أﻛﺘﻮﺑﺮ ‪2018‬‬

‫‪ ¡£´* ~9¡D* A*H °H b ³* d ~{ D b: bE‬‬

‫ﻣﺎ ﺗﻜﺸﻔﻪ اﻟﻌﻼﻗﺔ ﺑني اﳌﺴﻤﻮع واﳌﻜﺘﻮب ﰲ اﻟﺸﻌﺮ اﻟﺸﻌﺒﻲ‬ ‫اﻹﻣﺎرايت ﻻ ﻳﻈﻬﺮ ﻋﲆ ﻣﺴﺘﻮى اﻟﻠﻐﺔ واﳌﻀﺎﻣني وﺣﺴﺐ‪ ،‬وإمنﺎ‬ ‫ﻳﻈﻬﺮ ﻛﺬﻟﻚ ﰲ دﺧﻮل اﻟﻜﺜري ﻣﻦ اﻟﺸﻌﺮاء اﻟﺸﻌﺒﻴني إﱃ ﻣﺴﺎﺣﺔ‬ ‫اﻟﻜﺘﺎب اﳌﻄﺒﻮع‪ ،‬وإﺻﺪار ﻣﺆﻟﻔﺎت ﺗﺠﻤﻊ أﺷﻌﺎرﻫﻢ‪ ،‬ﰲ اﻟﻮﻗﺖ‬ ‫اﻟﺬي ﻇﻠﺖ ﻧﺼﻮﺻﻬﻢ اﻟﺸﻌﺮﻳﺔ ﻟﺴﻨﻮات ﻗﺮﻳﺒﺔ ﻣﺘﺎﺣﺔ ﰲ ﺻﻴﻐﺘﻬﺎ‬ ‫اﳌﺴﻤﻮﻋﺔ‪ ،‬وﻳﺘﻠﻘﺎﻫﺎ اﳌﺴﺘﻤﻊ ﻣﺴﺠﻠﺔ‪ ،‬وﻫﻮ ﻣﺎ ﻳﱪر أن ﺷﺎﻋﺮاً‬ ‫ﻣﺜﻞ راﺷﺪ ﴍار رﻏﻢ ﺗﺠﺮﺑﺘﻪ اﻟﻜﺒرية ﻇﻞ ﺑﻼ ﻣﺆﻟﻔﺎت ﻣﻄﺒﻮﻋﺔ إﱃ‬ ‫ﺳﻨﻮات ﻗﻠﻴﻠﺔ‪.‬‬ ‫ﻳﺒﻘﻰ ﺳﺆال اﻟﻌﻼﻗﺔ ﺑني اﳌﺴﻤﻮع واﳌﻜﺘﻮب ﻣﴩﻋﺎً‪ ،‬وﻳﺜري أﺳﺌﻠﺔ‬ ‫اﻟﺘﻠﻘﻲ ﰲ اﻟﺘﺠﺮﺑﺔ اﻟﺸﻌﺮﻳﺔ اﻹﻣﺎراﺗﻴﺔ اﻟﺸﻌﺒﻴﺔ ﺑﺼﻮرة ﺧﺎﺻﺔ‪،‬‬ ‫واﻟﻌﺮﺑﻴﺔ ﺑﺼﻮرة ﻋﺎﻣﺔ‪ ،‬ﰲ اﻟﻮﻗﺖ اﻟﺬي ﻳﻘﻮد اﳌﺘﻠﻘﻲ ﻋﺮﺑﺔ اﻹﺑﺪاع‬ ‫وﻓﻖ ﺣﺠﻢ اﺳﺘﺠﺎﺑﺘﻪ ﻟﺘﺤﻮﻻت اﻟﻌﴫ اﻟﺮاﻫﻦ وﻗﺪرﺗﻪ ﻋﲆ ﺗﻜﻴﻴﻒ‬ ‫ذاﺋﻘﺘﻪ ﻣﻦ ﺟﺪﻳﺪ ﻣﻊ اﻟﻨﺺ اﻟﺸﻌﺮي‪.‬‬

‫ﺗﺤﻤﻞ ﺧﺼﻮﺻﻴﺎت ﻋﺪﻳﺪة ﻟﻴﺲ ﻋﲆ ﻣﺴﺘﻮى اﻟﻠﻬﺠﺔ اﳌﻜﺘﻮﺑﺔ‬ ‫ﻓﻴﻬﺎ وﺣﺴﺐ‪ ،‬وإمنﺎ ﻋﲆ ﻣﺴﺘﻮى وﺗﺎرﻳﺦ اﻟﻠﻐﺔ اﳌﺒﻨﻴﺔ ﻓﻴﻬﺎ‪ ،‬وﻧﻮع‬ ‫‪ ƈōŞŨƫŌ ǻǕŒ ƂōǂǜǕŌ ǛǙ ƉǾŬLjǕŌ ǽƳ ƃżǕŌ ǓƛǶ‬‬ ‫‪ɰ‬‬ ‫اﳌﻀﺎﻣني اﳌﻄﺮوﺣﺔ داﺧﻠﻬﺎ‪.‬‬ ‫‪ ǛǿƃljǹǙ ɐǼƉƪƖǕŌ ƙǜǕŌ ƩƳŌǶƈ ǛǙ ŌƃŽŌǶ ŋōǂǕȑŌ‬‬ ‫‪ ǗǤƓŐ dzƲǾƪƞǕŌǶ dzǔǿƋǤǕŌ ƘǷƚǜǕŌ ǛǙ ƉǾŬLjǕŌ ǚŐ‬‬ ‫‪ ƈǷƞŽ ǁǾǂżũ ǽƳ ōǤȃōǂǕŒ ǶŐ ōǥƂōƖǝŌ ŜǷǔƓŐ‬‬ ‫‪ōǤǕ‬‬

‫ﺗﻘﺪم ﻫﺬه اﻷﺳﺌﻠﺔ اﳌﺘﻠﻘﻲ ﻛﻤﺤﻮر ﻣﺤﺮك ﰲ اﻟﻌﻤﻠﻴﺔ اﻹﺑﺪاﻋﻴﺔ‬ ‫اﻟﺸﻌﺮﻳﺔ‪ ،‬ﺣﻴﺚ ﻳﺠﺪ اﳌﻌﺎﻳﻦ أن ﺑﻨﺎء اﻟﻨﺺ اﻟﺸﻌﺮي مبﺨﺘﻠﻒ‬ ‫أﺷﻜﺎﻟﻪ مل ﻳﻜﻦ ﻳﻮﻣﺎً ﻣﻌﺰوﻻً ﻋﻦ ﺟﻤﻬﻮره‪ ،‬ﺳﻮاء ﻋﲆ ﻣﺴﺘﻮى‬ ‫اﳌﺤﻤﻮل اﻟﺠامﱄ اﻟﻈﺎﻫﺮ ﰲ اﳌﻀﺎﻣني‪ ،‬أو ﻋﲆ ﻣﺴﺘﻮى اﻟﻠﻐﺔ ‪ dzǾŞƪƖǕŌ DzƃǾƚǂǕŌ ǛǙ ƉǾƁȏŌǶ ǒǶȏŌ ƃƚǂǕŌ ǓƧ‬‬ ‫‪ɰ‬‬ ‫‪ɰ‬‬ ‫ ‪ dzƫǷǘƒǙ ōǥƃǿƂƉũǶ ōǤȃōǂǕŒ ǽƳ ŌƃƒŴŨǙ‬‬ ‫‪ōǾƀǿƈōũ‬‬ ‫اﳌﺘﻔﺎوﺗﺔ واﳌﻨﻘﺴﻤﺔ ﺑني اﳌﺤﻜﻴﺔ واﻟﻔﺼﻴﺤﺔ‪.‬‬ ‫‪dzşǷŨLjǙ ŧƒǾǕǶ‬‬

‫ﻳﻄﺮح اﻟﺒﺎﺣﺚ واﻟﻨﺎﻗﺪ ﻣﻨﺼﻮر ﻗﻴﺴﻮﻣﺔ ﻫﺬه اﻷﺳﺌﻠﺔ ﰲ ﻛﺘﺎﺑﻪ‬ ‫اﻟﺼﺎدر ﻋﻦ اﻟﺪار اﻟﺘﻮﻧﺴﻴﺔ ﻟﻠﻜﺘﺎب "ﻣﺪﺧﻞ إﱃ ﺟامﻟﻴﺔ اﻟﺸﻌﺮ‬ ‫اﻟﻌﺮيب اﻟﺤﺪﻳﺚ" ﺣﻴﺚ ﻳﻘﻮل‪" :‬ﻣﻦ ﺳﻠﺒﻴﺎت اﻟﺸﻌﺮ اﻟﻌﺮيب‬ ‫اﻟﺤﺪﻳﺚ أﻳﻀﺎً أﻻ ﻳﻮازن ﺑني اﻟﻜﺘﺎﺑﺔ واﻹﻧﺸﺎد وﺑﻌﺾ ﻧﺼﻮﺻﻪ‬ ‫ﺗﺴﺘﻤﺪ ﺷﻬﺮﺗﻬﺎ وﻗﻴﻤﺘﻬﺎ وﺻﻴﺘﻬﺎ ﻣﻦ إﻟﻘﺎﺋﻬﺎ وإﻧﺸﺎدﻫﺎ‪ ،‬وﻗﺪ‬ ‫اﺳﺘﻄﺎع أﺻﺤﺎﺑﻬﺎ أن ﻳﺆﺳﺴﻮا ﻟﺠامﻟﻴﺔ اﻹﻟﻘﺎء واﻹﻧﺸﺎد‪ ،‬ﻓﺎﺣﺘﻔﻰ‬ ‫ﺑﻬﻢ اﻟﺴﺎﻣﻌﻮن واﳌﺘﺄﺛﺮون ﺑﻄﺮق اﻟﻘﺮاءة واﻹﻧﺸﺎد واﻟﺘﻤﺜﻴﻞ‪ ،‬رﻏﻢ‬ ‫ﺿﻌﻒ ﻧﺼﻮﺻﻬﻢ اﳌﻜﺘﻮﺑﺔ‪ ،‬ﻓﻜﺄن اﻟﺸﻌﺮ ﺻﺎر إﺧﺮاﺟﺎً ﻳﺘﺠﺎوز‬ ‫اﳌﻜﺘﻮب‪ ،‬وﻛﺄن اﻟﺸﻌﺮ ﻳﺴﺘﻤﺪ اﻟﱪﻫﻨﺔ ﻋﲆ ﻋﺒﻘﺮﻳﺘﻪ اﻟﺸﻌﺮﻳﺔ ﻻ‬ ‫ﻣﻦ اﻟﻨﺺ اﻟﺸﻌﺮي ذاﺗﻪ‪ ،‬وﻻ ﻣﻦ ﻣﻘﻮﻣﺎﺗﻪ اﻟﻔﻨﻴﺔ اﻟﺘﻲ ﺗﻀﻤﻦ ﻟﻪ‬ ‫إﺑﺪاع اﻟﻜﺘﺎﺑﺔ‪ ،‬وإمنﺎ ﻣﻦ ﻃﺎﻗﺎت أﺧﺮى ﻗﺪ ﺗﺘﺠﺎوز اﻟﻄﺎﻗﺎت اﻷوﱃ‬ ‫إﱃ ﻃﺎﻗﺎت ﻏري ﻣﻌﻬﻮدة ﰲ ﻣﻘﺎرﺑﺔ اﻟﺸﻌﺮ ﻣﺜﻞ اﻹﺧﺮاج اﻟﺬي ﻳﺘﻢ‬ ‫ﻋﻦ ﻃﺮﻳﻖ اﻟﺼﻮرة اﳌﺒﺜﻮﺛﺔ‪ ،‬أو ﻋﻦ ﻃﺮﻳﻖ اﻟﺮواج اﳌﻘﺼﻮد ﻟﺴﺒﺐ‬ ‫ﻣﻦ اﻷﺳﺒﺎب‪ ،‬وﻟﻐﺎﻳﺔ ﻣﻦ اﻟﻐﺎﻳﺎت"‪.‬‬ ‫ﰲ ﺗﺠﺮﺑﺔ اﻟﺸﻌﺮ اﻟﺸﻌﺒﻲ اﻹﻣﺎرايت ﺗﻈﻬﺮ اﳌﻌﺎدﻟﺔ ﰲ ﺳﻴﺎق ﻣﺨﺘﻠﻒ‪،‬‬ ‫ﺣﻴﺚ ﻇﻞ اﻟﻘﺼﺪ اﻷول واﻷﺧري ﻣﻦ اﻟﻘﺼﻴﺪة اﻟﺸﻌﺒﻴﺔ ﺗﺎرﻳﺨﻴﺎً‬ ‫ﻣﺘﺠﺴﺪاً ﰲ إﻟﻘﺎﺋﻬﺎ وﺗﺮدﻳﺪﻫﺎ ﻣﺴﻤﻮﻋﺔ وﻟﻴﺴﺖ ﻣﻜﺘﻮﺑﺔ‪ ،‬اﻷﻣﺮ‬ ‫اﻟﺬي ﻳﺠﻌﻞ ﻣﻦ اﻹﻟﻘﺎء أو اﻹﻧﺸﺎد واﺣﺪاً ﻣﻦ اﻟﻌﻨﺎﴏ اﻷﺳﺎﺳﻴﺔ‬ ‫ﻟﻠﻨﺺ اﻟﺸﻌﺮي‪ ،‬ﺧﺎﺻﺔ وأن اﻟﺸﺎﻋﺮ اﻟﺸﻌﺒﻲ ﻛﺎن ﻳﻘﺪم ﻧﺼﻮﺻﻪ‬ ‫ﰲ اﳌﺠﺎﻟﺲ واﻟﺠﻤﻌﺎت واﻟﻠﻘﺎءات وﻳﻌﻮل ﻋﲆ اﻟﺬاﺋﻘﺔ اﻟﺴﻤﻌﻴﺔ‬ ‫ﻟﻠﺠامﻫري ﻟﻠﻮﺻﻮل إﱃ ﺟامﻟﻴﺎت ﻧﺼﻪ‪.‬‬

‫‪ ŜǷŨLjǘǕŌǶ ƨǷǘƒǘǕŌ ǛǾş dzǃȎƪǕŌ ǒŌǹƓ ǻǂŞǿ‬‬ ‫‪ɰ‬‬ ‫‪ dzşƉŴŨǕŌ ǽƳ ǽǂǔŨǕŌ dzǔȂƓŐ ƉǾŬǿǶ ɐōƫƉƖǙ‬‬ ‫‪ ɐdzƛōƁ DzƈǷƚş dzǾŞƪƖǕŌ dzǾũŌƈōǙȑŌ dzǿƉƪƖǕŌ‬‬ ‫‪dzǙōƫ DzƈǷƚş dzǾşƉƪǕŌǶ‬‬

‫اﻟﺸﻌﺮي‪ ،‬وذﻟﻚ ﻋﲆ ﻋﻜﺲ ﻣﺎ ﻛﺎن ﰲ ﻣﺪوﻧﺔ اﻟﺸﻌﺮ اﻟﺸﻌﺒﻲ‬ ‫اﻹﻣﺎرايت اﻟﻘﺪميﺔ‪.‬‬ ‫ﻳﻈﻬﺮ ﻫﺬا ﺑﺘﺘﺒﻊ منﺎذج ﻣﻦ ﺷﻌﺮاء ﻟﻴﺴﻮا ﻣﻌﺎﴏﻳﻦ‪ ،‬وآﺧﺮﻳﻦ‬ ‫ﻣﻌﺎﴏﻳﻦ‪ ،‬ﻓﻔﻲ ﺗﺠﺮﺑﺔ اﻟﺸﺎﻋﺮ اﳌﺎﺟﺪي ﺑﻦ ﻇﺎﻫﺮ ﺗﻈﻬﺮ اﳌﺤﻜﻴﺔ‬ ‫ﻃﺎغ ﻋﲆ اﻟﻨﺺ أﻛرث ﻣام ﻫﻲ اﻟﻠﻐﺔ اﳌﺤﻜﻴﺔ‬ ‫اﻹﻣﺎراﺗﻴﺔ ﻛﺼﻮت ٍ‬ ‫اﻟﺒﻴﻀﺎء واﻟﻘﺮﻳﺒﺔ إﱃ اﻟﻔﺼﻴﺤﺔ‪ ،‬وذﻟﻚ ﻋﲆ اﻟﺮﻏﻢ ﻣﻦ أن اﻟﻜﺜري ﻣﻦ‬ ‫ﻣﻔﺮدات اﻹﻣﺎراﺗﻴﺔ اﳌﺤﻜﻴﺔ ﺗﻌﻮد ﺟﺬورﻫﺎ إﱃ اﻟﻔﺼﻴﺤﺔ اﻷﺻﻴﻠﺔ‪،‬‬ ‫وإﱃ ﻟﻬﺠﺎت ﻗﺪميﺔ ﻣﻦ ﻟﻐﺎت اﻟﻌﺮب‪ ،‬ودﻟﻴﻞ ذﻟﻚ ﻗﻮل اﳌﺎﺟﺪي‪:‬‬

‫‪ b@@ @£@ @ @ @ D* @@ @ @ 0 (*H ¡@@ @ ~@ @ @{@ @ @D* @@ @£@ @ @ @ /‬‬ ‫*(‪ ¤@@ @+b@@ @0 @@ @ £@ @ @ @ @ @E5 ¢@@ @ @ @ @< °(* ¡@@ @ @ @ @ @ @ @ @ J‬‬ ‫‪ @@ £@ @ @ @ < ¤@@ @ @ @ E¡@@ @ @ @ - ¡@@ @ @ @ @ @ @DH x@@ @ @ @ @ @ @ @ @ J °H‬‬ ‫‪ ¤@@ @ @ @ +*¡@@ @ @ @ ±* 24b@@ @ @ @ @ @ @ @ @ E h@@ @ @ @ @ J2b@@ @ @ @ @ F ¡@@ @ @ @ @ @ @ DH‬‬ ‫‪ib@@ @ @ @p@ @ @ @ Fb@@ @ @ @±* ¤@@ @ @ @ @ @ : Í@@ @ @ @ @ @ + ·b@@ @ @ @ @ £@ @ @ @ @ D‬‬ ‫‪ ¤@@ @ @ @ +*2 @@ @ @ @ @ @ @ @ @ D* *¡@@ @ @ @ ~@ @ @ @ 6 b@@ @ @ @ @ @ @+* @@ @ @ @ @ @ D‬‬ ‫‪ib@@ @ @£@ @ @ ~@ @ @ 9É@@ @ @D* @@ @ @ £@ @ @ @A @@ @ @ @ @ C Md@@ @ @ @ @ @ @ @ @ @ @BH‬‬ ‫‪ ¤@@ @ @+b@@ @ @ @ @ @ ´* ¤@@ @ @ @ @ @ @¹ @@ @ @ j@ @ @ @E i*¡@@ @ @ @ @ ~@ @ @ @ @ 7‬‬ ‫‪ ¡@@ @ @ F w@@ @ @ @Jw@@ @ @ @D ¡@@ @ @ @ @ @ @ @ @ @ @ @ D* ¤@@ @ @ @ @ @ @ @ -v@@ @ @ @<H‬‬ ‫اﻟﻴﻮم وﻣﻊ ﺗﺤﻮل آﻟﻴﺎت اﻟﺘﻠﻘﻲ ﰲ ﻣﺠﺘﻤﻊ ﺗﻐريت ﻓﻴﻪ وﺳﺎﺋﻞ‬ ‫*&‪¤@@ +b@@ £@ @ @ @ D* ¤@@ @ @ g@ @ @ @E(* ¡@@ @m@ @ @ @ @ @ D ¤@@ @ @ @ @ @ @ @<*4‬‬ ‫اﻟﻮﺻﻮل ﻟﻠﻨﺺ اﻟﺸﻌﺮي ﺗﻘﻒ اﻟﻘﺼﻴﺪة اﻟﺸﻌﺒﻴﺔ أﻣﺎم إﺷﻜﺎﻟﻴﺔ *&‪x@@ @ @E É@@ @ @ @ @ @ @ @+(* x@@ @ @ @ » b@@ @ @ £@ @ @ @Fv@@ @ @ D* I4‬‬ ‫‪¤@@ @+b@@ @Gw@@ @D* b@@ @ @ Gx@@ @ @ 1%* r*H4&°* I4*H‬‬ ‫اﳌﻜﺘﻮب واﳌﺴﻤﻮع ﺑﻜﺎﻣﻞ ﺣﻀﻮرﻫﺎ‪ ،‬إذ ﻳﺠﺪ اﳌﻌﺎﻳﻦ أن اﻟﻜﺜري‬

‫ﻣﻦ اﻟﻨﺼﻮص اﻟﺸﻌﺮﻳﺔ اﻟﺸﻌﺒﻴﺔ ﺑﺪأت ﺗﺄﺧﺬ ﺳﻴﺎﻗﻬﺎ ﻋﲆ ﻣﺴﺘﻮى‬ ‫اﻟﻠﻐﺔ‪ ،‬ﰲ إﻃﺎر ميﻜﻦ ﻓﻴﻪ اﳌﺰاوﺟﺔ ﺑني اﳌﻜﺘﻮب واﳌﺴﻤﻮع‪ ،‬ﻓﻠﻢ ﺗﻈﻬﺮ اﻟﻠﻬﺠﺔ اﻹﻣﺎراﺗﻴﺔ اﻟﻘﺪميﺔ ﰲ ﻗﺼﻴﺪة اﳌﺎﺟﺪي ﺑﻦ ﻇﺎﻫﺮ‬ ‫ﺗﻌﺪ اﳌﺤﻜﻴﺔ اﻟﺨﺎﻟﺼﺔ ﺗﻜ ّﻮن اﻟﻨﺺ اﻟﺸﻌﺮي ﺑﻜﺎﻣﻞ اﻟﺤﺮﻳﺔ‪ ،‬وإمنﺎ ﺑﻮﺻﻔﻬﺎ ﻣﺤﺮك اﻟﻘﺼﻴﺪة وﻋﻨﴫﻫﺎ اﻟﺠﻮﻫﺮي اﻟﺬي ﻳﻜﺸﻒ‬ ‫ﺑﺎﺗﺖ اﻟﻠﻬﺠﺔ اﻟﺒﻴﻀﺎء أو اﻷﻗﺮب إﱃ اﻟﻔﺼﻴﺤﺔ ﺗﻨﺴﺎق إﱃ اﻟﻨﺺ ﻫﻮﻳﺘﻬﺎ وﻳﻌﱪ ﻋﻦ ﺻﻮرة اﻟﺜﻘﺎﻓﺔ واﳌﺠﺘﻤﻊ اﻹﻣــﺎرايت‪ ،‬وﻫﻮ ﻣﺎ‬

‫اﻟﺸﻌﺮ ‪baytelshear‬‬ ‫ﺑﻴﺖ ِ‬

‫‪53‬‬

‫‪Ĭ§ō§§§Ř‬‬

‫‪ ǼƉƪƖǔǕ ƙǜǔǕ dzƪƳŌƈ ƉŞŨƪũ‬‬

‫ﺟﻤﺎﻟﻴﺎت اﻟﺘﻠﻘﻲ‬ ‫ﺑﻴﻦ اﻟﻤﺴﻤﻮع‬ ‫واﻟﻤﻜﺘﻮب‬

‫ﻓﺬﻫﺐ اﻟﺒﻌﺾ إﱃ أن إﻟﻘﺎء اﻟﻨﺺ ﻗﺪ ﻳﺸﻜﻞ إﺿﺎﻓﺔ ﺟامﻟﻴﺔ ﻟﻪ‪،‬‬ ‫ﻣﺤﻤﺪ أﺑﻮ ﻋﺮب‬ ‫واﻋﺘﱪ اﻟﺒﻌﺾ أن اﻟﺸﻌﺮ ﻛﺘﺐ ﻟﻴﻠﻘﻰ ﻻ ﻟﻴﻘﺮأ‪ ،‬ﻓﻴام وﺿﻊ اﻟﻨﻘﺎد‬ ‫ﻳﻔﺘﺢ اﻟﺸﻌﺮ اﻟﺸﻌﺒﻲ اﻹﻣﺎرايت اﻟﺒﺎب ﻛﺎﻣ ًﻼ ﻋﲆ اﻟﻌﻼﻗﺔ ﺑني اﻟﺸﻌﺮ اﳌﻌﺎﴏون ﺻﻴﻐﺎً ﺟﺪﻳﺪة ﺗﺴﺘﻨﺪ إﱃ ﻧﻮع اﻟﻘﺼﻴﺪة ﻣﻨﻄﻠﻘني ﻣﻦ‬ ‫اﳌﺴﻤﻮع واﳌﻜﺘﻮب‪ ،‬وﻳﺜري أﺳﺌﻠﺔ اﻟﺘﻠﻘﻲ ﻛﺎﻣﻠﺔ‪ ،‬ﻓﻬﻞ ﻳﺸﻜﻞ إﻟﻘﺎء ﻓﺮﺿﻴﺔ أن ﻗﺼﻴﺪة اﻟﻨرث ﻗﺎمئﺔ ﰲ ﺻﻮرﺗﻬﺎ ﻋﲆ اﳌﻜﺘﻮب‪ ،‬ﻓﻴام ﻗﺼﻴﺪة‬ ‫اﻟﻘﺼﻴﺪة إﺿﺎﻓﺔ ﺟامﻟﻴﺔ إﱃ اﻟﻨﺺ اﻟﺸﻌﺮي؟ وﻣﺎ ﺣﺠﻢ اﳌﻨﻘﻮص اﻟﺘﻔﻌﻴﻠﺔ واﻟﻌﻤﻮدﻳﺔ ﺗﺤﺘﺎج إﱃ اﻹﻟﻘﺎء ﻟﻴﻜﺘﻤﻞ أﺛﺮﻫﺎ‪.‬‬ ‫ﻣﻦ اﻟﻘﺼﻴﺪة ﰲ ﺣﺎل اﻗﺘﺼﺎرﻫﺎ ﻋﲆ ﺗﺠﺮﺑﺔ اﻟﻜﺘﺎﺑﺔ؟ وﻫﻞ ﻟﻠﺸﻌﺮ‬ ‫أﺷﻜﺎل ميﻜﻦ ﺗﻘﺴﻴﻤﻬﺎ ﺑني اﳌﺴﻤﻮع واﳌﻜﺘﻮب؟‬ ‫ووﺻﻞ اﻟﺤﺪ ﰲ اﻟﻜﺜري ﻣﻦ اﻟﻨﻘﺎد إﱃ اﻋﺘﺒﺎر اﻹﻟﻘﺎء واﺣﺪاً ﻣﻦ‬ ‫أﺳﺌﻠﺔ ﻛﺜرية ﻳﺜريﻫﺎ اﻟﺸﻌﺮ اﻟﺸﻌﺒﻲ اﳌﺤﲇ ﻃﺮﺣﻬﺎ اﻟﻨﻘﺪ اﳌﻌﺎﴏ رواﻓﻊ اﻟﻨﺺ اﻟﺸﻌﺮي‪ ،‬ﻣﺆﻛﺪﻳﻦ أن اﻟﻜﺜري ﻣﻦ اﻟﻨﺼﻮص اﻟﻬﺰﻳﻠﺔ‬ ‫ﻋﲆ اﻟﺸﻌﺮ اﻟﻌﺮيب ﺑﺼﻮرة ﻋﺎﻣﺔ‪ ،‬إذ مل ﻳﺘﻮﻗﻒ اﻟﺤﺪﻳﺚ ﻋﻦ واﻟﻀﻌﻴﻔﺔ أﺳﻬﻢ أﺳﻠﻮب اﻧﺸﺎدﻫﺎ أو إﻟﻘﺎﺋﻬﺎ ﰲ ﺗﺤﻘﻴﻖ ﺣﻀﻮر ﻟﻬﺎ‬ ‫اﻟﻘﺼﻴﺪة اﻟﻌﺮﺑﻴﺔ ﰲ ﺑﻌﺪﻳﻬﺎ اﳌﻘﺮوء واﳌﺴﻤﻮع‪ ،‬ﻓﺎﻟﻜﺜري ﻣﻦ اﻟﻨﻘﺎد ﺑني اﻟﻘﺮاء‪ ،‬اﻷﻣﺮ اﻟﺬي ﻳﺠﻌﻞ ﺑﺎب اﻟﻨﻘﺎش ﰲ اﻟﻘﺼﻴﺪة اﻟﺸﻌﺒﻴﺔ‬ ‫ﻗﺪﻣﻮا اﻟﻨﺺ اﻹﺑﺪاﻋﻲ اﻟﺸﻌﺮي مبﺴﺘﻮﻳني ﻗﺎمئني ﻋﲆ آﻟﻴﺎت ﺗﻠﻘﻴﻪ‪ ،‬ﻣﴩﻋﺎً ﻋﲆ ﻣﴫاﻋﻴﻪ‪ ،‬ﺧﺎﺻﺔ وأن اﻟﻘﺼﻴﺪة اﳌﺤﻜﻴﺔ اﻹﻣﺎراﺗﻴﺔ‬

‫‪52‬‬

‫اﻟﻌﺪد ‪ ، 71‬أﻛﺘﻮﺑﺮ ‪2018‬‬

‫ﺷﻲ ﺛﺎﻧﻲ‬ x@@ ~@ @}@ @E @@ g@ @£@ @Db@@ - e42 ¯ ¤@@ @ @ +* @@ @ {@ @ JH Á*x@@ ~@ @7 x@@ @ @ <b@@ E d@@ @ @B ¥x@@ @~@ @ {@ @ +&* @@ £@ @C x@@ @ @E @@ {@ @£@ @ @ @+ b@@ @ @ @ @F*H ¤@@ ~@ @{@ @Â x@@ @ @ @ @ @ @ @D*H Áb@@ @ . x@@ @ @ @ @< @@ ~@ @{@ @£@ @ @ @+ Mx@@ @ @ @ @ @ < I4Hb@@ @ @ @ @ @ @E x@@~@ {@ g@ J ¡@@ @ @ : ¢@@ @ @ @ < ¤@@ @ @ @ @D* d@@ @£@ @ c@ @ ²*H Áb@@ @ @ @ <b@@ @ EH Ì@@ @j@ @ @ @ D* ¤@@ @ @ @ E *w@@ @ @ @1 @@ @ @C x@@ @ @0 Ì@@ @ @ @=H ¡@@ @ @ @1 Ì@@ @ @= Áb@@ @ @ @ @<b@@ @ E ÁÉ@@ @ @ @ @+ Ñ*H @@ @ @ @+x@@ @ @ @B ¤@@ @ @ @ @ @ @ @ D* Ñ* x@@ ~@ z@ @ @ D @@ @~@ @ 6b@@ @ @ @ g@ @ D* @@ @ E @@ £@ @ @ @g@ @0* Áb@@~@ z@ D @@ @ E @@ @ @ @ @C @@ @ C ¢@@ @ @0b@@ E @@ j@ @E x@@ @ @/H ¤@@ <¡@@ @ @~@ @9 @@ @ E ¤@@ c@ @ B *w@@ @ @1 @@ @ E Áb@@ @ @ @ D Mv@@ @ @ @ @¹H @@ @Jb@@ @~@ @ 9 Á* ¥42*H x@@ @ @ @ @ @ +*H @@ @ @ @ @ @ @ @ /*H d@@ @ @ @0 @@ @ @ c@ @ @ @0* h@@ @ @ @ @C Áb@@ @ @ g@ @ E*H ¤@@ c@ @ @ @B v@@ @ ~@ @ @8H ¥b@@ @ @ @ AH @@ @ E xQ @ @ @ @ @=H xQ @ @ @ @ @= @@ @ @ @Ey@@ @ @ @D*H Æ@@ @ @ =* @@ @ @ D Áb@@ @ A Ñ* Ì@@ @ = ¤@@ ~@ @7 @@ @ C * I42b@@ @ @ @ @E ,x@@ @ B rb@@ @ @ @ :H d@@ £@ @c@ @0 ¤@@ @ @£@ @< @@ @ E rb@@ @ @ : Áb@@ @. ¤@@ @~@ @ 7 ¥v@@ @ @ @ @< 4b@@ @ @~@ @ @ 8H ¤@@ @~@ @ 7 b@@ @ @ @C

51

baytelshear ‫اﻟﺸﻌﺮ‬ ِ ‫ﺑﻴﺖ‬

‫ﺳﻌﻮد اﻟﻄﺎﺛﻮب‬ @suodaltathob

ĘıĘŕ

‫ﻗﻠﻮب اﻟﻨﺸﺎﻣﻰ‬ ¢@@Eb@@~@ {@ @ D* e¡@@ @ @B ¯ @@ @D @@ @{@ @ J(*H y@@ @0b@@ @J ¯¡@@ @ @ @BH @@ @ @ @ /*¡@@ @ @ @ ´* È@@ @ @ @C ¢@@ @ @ @ @< @@ @ @ @ @ @ ~@ @ 7 b@@ Eb@@ ~@ @{@ @0 @M @ @ @ @ @ @ +4 *¡@@ @ @ @ @ @ @ @ @ @B&°* ,Ì@@ @ @ @ @1 @@ @ @ E ¯¡@@ @ @ ~@ @ {@ @ D* x@@ @ @ Jx@@ @ @ ²* @@ @ j@ @ @E @@ @ @ @ @+¡@@ @ @ @ @BH b@@ @ @ E*y@@ @ @ ³*H @@ @ @ @ @ @ D* d@@ @ £@ @ : @@ @ @ @ @ @ @ @ @ @ 0*H4&* ¯¡@@ @ @ @ @D* Áb@@ @ @ ¹ @@ @ E ¤@@ ~@ {@ @ J k@@ @£@ @ @ @ D*H b@@ @Eb@@ @~@ @ z@ @ @ @ D*2*5H b@@ @ £@ @ Fv@@ @ D* h@@ @Bb@@ @~@ @ 9 (*H ¯¡@@ @g@ @ @ @ D* @@ @ @ @ @0 q@@ @ @ Jy@@ @ @ - @@ @ @ @ -b@@ @ @ @ p@ @ ~@ @ 9 b@@ @ E*v@@ @ @ @ @D*H I2x@@ @ @ @ @ @ @D @@ @ @ @ @ @ / @@ @£@ @ ~@ @ 9b@@ @J ¯¡@@ @g@ @ ²* @@ @ Jw@@ @ D @@ @ @ @ @/ @@ @ @ @ @£@ @~@ @9b@@ JH b@@Eb@@ @ - 4v@@ @ ~@ @ @8 ib@@ @ @£@ @~@ @9 @@ @ @ EH x@@ ~@ |@ c@ E ¯¡@@ @ @g@ @ @ @ @ @ D*H @@ @ @ @ ~@ @ }@ @ @ @ ´* 4b@@ @ @ c@ @ @ @ @ @ @ @D* @@ @ @ @ < b@@ Eb@@ @ @- @@ @6¡@@ @ @ @ @ @ D* ¯ ¤@@ @ @ @ @ D* f@@ @ @ £@ @ ~@ @ {@ @ D* ¯Hx@@ ~@ @ |@ @ Db@@ + x@@ @ @Gv@@ @ @D* b@@ @ @ @E ¶(* h@@ c@ @j@ @b@@ E*v@@ g@ @0* ¡@@ @ @~@ @|@ @D* Í@@ @+ @@~@ |@ 0 b@@ @£@ @ D*H ¯¡@@ @ @~@ @|@ @D*v@@ p@ @J ¤@@ @ @ @ D* b@@ m@ @ ~@ @ {@ @ D* ¢@@ @ @ @ @b@@ @E*y@@ @ @ @ F* ¡@@ @~@ @ {@ @ - @@ ~@ @z@ @ @ @F @@ @ @ @ 1 Ñ*b@@ @ @ @ E ¯¡@@ @ @ @ @²* @@ @ @ @ ~@ @ 8 b@@ @ ~@ @ @z@ @ @D e43 Ãx@@ @ @ @ C b@@ E*y@@ 0 v@@ @J*v@@ @~@ @ {@ @ D* ¯H Hx@@ @ @ @ @ @ D* t@@ £@ @~@ @7 ¯¡@@ @ @J d@@ @ @ @£@ @ @ @ /*¡@@ @ @ @´* ¯ @@ @ @ @ @ @ @ @F(* Ñ*y@@ @ @ @ @ @ @ @< b@@ @Eb@@ @ @ @ ~@ @ 6 @@ @ @ @ @£@ @ @ @ @ @+ ¤@@ @ @ @ @ -*¡@@ @ @ @ @ <2 e4b@@ @ @ @ @ @ @ @J ¯Hx@@ @ @ @ @ - 2*'¡@ @ @ @ @ @ @ @ @ @ @ @ @ A ¯ @@ @ @ @ @ @ @G q@@ @ @ @ Jy@@ @ @ @ ‫ﺑﺮوق اﻟﺴﺮاة‬ @ broog_alsarat

2018 ‫ أﻛﺘﻮﺑﺮ‬، 71 ‫اﻟﻌﺪد‬

50

‫وﻻأﻇﻦ ﻫﺬه ﻣﻌﺎدﻟﺔ ﺿﺪ ذﻳﺐ ﺑﻞ ﻫﻲ ﻣﻦ ﻣﻤﻴﺰاﺗﻪ ﻛﺸﺎﻋﺮ ﻗﺎدر‬ ‫ﻋﲆ اﻟﺘﺄﻗﻠﻢ ﻣﻊ اﳌﻮﻗﻒ واﻟﺤﺎﻟﺔ ﻛام ﻳﺠﺐ‪ ..‬ﻓﻬﻮ ﻟﻴﺲ اﻟﺤﺎوي‬ ‫اﻟﺬي ﻳﻈﻬﺮ اﻟﺒﻼﻟني واﻷراﻧﺐ ﻣﻦ ﺟﻴﺒﻪ ﻟﻴﺒﻬﺮ اﳌﺘﻔﺮﺟني‪ ..‬ﺑﻞ ﻫﻮ‬ ‫ذﻟﻚ اﻟﺸﺎﻋﺮ اﳌﻔﻜﺮ اﻟﺘﻲ ﻳﺴﺘﺨﺮج اﻟﻘﻄﻊ اﻟﺒﺎﻟﻴﺔ ﻣﻦ اﻟﻌﻘﻮل‬ ‫وﻳﻌﺮﺿﻬﺎ ﻷﺻﺤﺎﺑﻬﺎ ﰲ ﺷﻌﺮه ﻟﻴﻔﺎﺟﺌﻬﻢ ﺑﺄﻧﻔﺴﻬﻢ‪..‬‬ ‫أﻣﻮاج ﻣﺘﻼﻃﻤﺔ ﻳﴬب ﺑﻌﻀﻬﺎ ﺑﻌﻀﺎً‪ ..‬ﺗﺬﻫﺐ ﺑﺎﻟﺴﻔﻴﻨﺔ إﱃ ﻏﺮﻳﺐ‬ ‫اﻟﺸﻮاﻃﺊ‪..‬‬ ‫ذﻳﺐ ﺣﺎﻟﺔ ﺷﻌﺮﻳﺔ ﺧﺎﺻﺔ ﻏﺮﻳﺒﺔ ﻣﺜﻞ ﺑﺎدﻳﺔ اﻟﻜﻮﻳﺖ‪ ..‬ﻋﻤﻴﻘﺔ ﻣﺜﻞ‬ ‫اﻟﺠﻬﺮاء‪ ..‬وراﺳﺨﺔ ﻣﺜﻞ ﻗﺒﻴﻠﺔ ﺷﻤﺮ‪ ..‬وﺣﺰﻳﻨﺔ ﻣﺜﻞ ﺗﻴامء‪.‬‬ ‫ﻳﻬﺠﺲ ﺑﻬﺬا اﻟﺒﻴﺖ اﻟﺬي ﻳﻠﺨﺺ اﻟﺸﻌﺮ واﻟﺸﻌﻮر ﺗﺠﺎه ﺣﺎﻟﺔ‬ ‫اﻏﱰاب ﻣﺰﻣﻨﺔ ﻳﺮﻣﻲ ﺑﻬﺎ إﱃ اﻟﺨﻴﺎل يك ﻳﺘﺨﻠﺺ ﻣﻦ اﻟﻮاﻗﻊ‪:‬‬ ‫*‪¥2b@@ @ @< @@ |@ @s@ @~@ @7 ¤@@ @ @ @ @0 Áb@@ @ @ @ @E5 b@@ @ @ @F‬‬ ‫‪2b@@ @ @ @ +&*H *v@@ @ @ @ @G&* b@@ @ @D ¤@@ -b@@ 0¡@@ @ @: °*H‬‬

‫ﻳﻬﺮول اﻟﺬﻳﺐ ﺛﻢ ﻳﻌﺪو ﺑﺄﻗﴡ ﻣﺎﻳﻘﺘﻀﻴﻪ اﻟﺠﻮع وﻣﺎﻳﻔﱰﺿﻪ‬ ‫اﻟﺨﻮف‪ ..‬ﺑﺎﺣﺜﺎً ﻋﻦ ﻟﻘﻤﺔ ﻏﻔﻞ ﻋﻨﻬﺎ اﻻﻗﻄﺎﻋﻴﻮن ﰲ اﻟﺼﺤﺮاء اﻟﺬﺋﺐ أﺷﺪ ﻗﺴﻮة‪ ..‬ومل ﺗﻌﺪ اﻷﻧﻴﺎب ﻗﺎدرة ﻋﲆ اﻗﺘﺼﺎص اﻟﺤﻖ‪..‬‬ ‫ميﻸ اﻟﻠﻴﻞ ﺑﺎﻟﻌﻮاء‪:‬‬ ‫اﻟﺨﴬاء‪.‬‬ ‫*‪d£ D* G* E ¤ Q C °H d Q /*H d£ D* ¡~7‬‬ ‫وﻫﻮ اﻟﺬي اﻧﺸﻐﻞ ﻋﻦ اﻟﺤﺐ ﺑﺎﻟﺤﻴﺎة واﻟﻌﻴﺶ واﻷﺧﻼﻗﻴﺎت‪ ..‬ﻓﻼ‬ ‫‪ D*H y@@ @D* v - ¤ D* Hx@@ @D* ebc~6* @@E‬‬

‫ﻧﺪري ﻫﻞ أﻛﻞ اﻟﺬﺋﺐ ﻟﻴﲆ أم ﻫﻲ اﻟﺘﻲ اﻟﺘﻬﻤﺘﻪ؟‬ ‫ﻓﻠﻢ ﻳﻌﺪ ﻛﻼم اﻟﺤﺐ ﻳﺒﻠﻞ اﻟﺸﻔﺎه إﻻ ﻧﺎدراً‪:‬‬

‫ﻫﻮ اﻟﻠﻴﻞ اﻟﺬي ﻳﺤﺒﻪ اﻟﺬﺋﺐ وﻳﻌﺘﱪه رﻓﻴﻖ اﻟﻌﺪو اﻟﻄﻮﻳﻞ‪..‬‬ ‫‪¥42 b@@ E ¤@@ @ Q @ <H ¤@@ @ Q @ @ : @@ E Ñ* q@@Eb@@~@ 6‬‬ ‫‪ x@m 1 dp~zJ d D* @@E gJ2bF Í@@D‬واﻟﻐﻨﺎﺋﻢ اﻟﺒﺎذﺧﺔ واﻟﻐﺎرات اﻟﺨﺎﻃﻔﺔ‪ ..‬ﻟﻜﻦ إﺿﺎءات اﳌﺪﻳﻨﺔ ﻏريت‬ ‫ﻃﺒﺎع اﻟﻠﻴﻞ ﻛﺜرياً‪..‬‬ ‫‪4*x@@~@ 6°* @@ @ 0 @@< y@@m@ < @@+b@@~@ 8 @@£@ Db@@J‬‬ ‫ﻻ ﺑﺄس‪ ،‬ﺳﻨﺘﺠﺎوز ﺗﻠﻚ اﻟﻄﻌﻨﺔ اﻟﻌﺎﺑﺮة‪ ..‬ﻓﻄﻌﻨﺎت اﻟﺠﻮع ﰲ ﺟﺴﺪ‬ ‫‪¤@@ /¡@@ D¡@@ @ @ g@ D* µb@@ @ @ @ @D* @@ £@ @ @ @< ¢@@ ~@ @}@ @B‬‬ ‫ ‪ ƉƫōƖǕŌ ŦōǾşŐ ǛǙ‬‬

‫‪¥2b@@ @ @ @ @ c@ @ @ @ @ @´*H @@ @ @ £@ @ @ @ @ @ @ @D* rÉ@@ @ @ @ @ ~@ @ @ @ @ @8* f@@ @ @ Q @ @ @ @ @ @ @ @E‬‬

‫ *‪rÉ@@ @ @ ~@ @ @ @8(°* ib@@ @ @ @ @ @ E @@ @ @ E @@ @ Q @ @ @ @ E d@@ @ @ @ ~@ @ 8‬‬

‫‪ttt‬‬ ‫*‪ @@ @ @ £@ @ @ @.*4H @@ @ @ @ ~@ @ |@ @ + ob@@ @ @ @g@ @ @ @ 0* b@@ @ @ @E @@ @ @ @ @ /4 b@@ @ @ @ @ F‬‬

‫ *‪b@@ @ @ @ @Gb@@ © b@@ @ @ @E b@@ @ @ @ @ @ F*H ¤@@ @ @ @ @Ax@@ @ @ @ @- @@ @ @ @ @ @ @ @94°‬‬

‫‪ttt‬‬ ‫‪ 4w@@ @ @ @ @ @ @ @ @D*H ry@@ @ @ @ ´b@@ @ @ @ + ¤@@ @ @ @ © v@@ @ @ @ @ @ @ @/*H i°5‬‬

‫‪¥4v@@ @~@ @ 8 @@ |@ @ @ @Bb@@ J x@@ Jb@@ @ @~@ @|@ @Db@@ + @@ @ @ @ g@ @ «°‬‬

‫‪ttt‬‬ ‫‪ ¡@@ @ @ m@ @1 ¤@@ @ @ @ Fb@@ @E Hx@@ @ @ @ @ @ @´* @@ @ @E Á(* Ñ*H‬‬

‫*< @ @ @ @ @ @@‪b@@ @ @ @ @ @ @Fb@@ Â(* @@ @ @ @ @ @ @ @ @J ¤@@ @g@ @ 0 @@ @ 6b@@ @ @ @ @D* ¤‬‬

‫‪ttt‬‬ ‫‪ @@6b@@:x@@B @@ £@ @~@ @{@ @D*H @@ 6b@@ :x@@ B *Hv@@ @ @ @ D* x@@ ~@ @ 8‬‬ ‫‪ @@ @J2 ¤@@ @ @ @ < b@@ @ @ E Æ@@ @ @ @ @ <* h@@ @ @ @ B ¤@@ @ @ @ = ¡@@ @ Db@@ @ B‬‬

‫ ‪ @@ £@ @Dv@@ £@ @~@ @|@ @D* H @@ @ @ @ @c@ @ @D* Í@@ @ @+ b@@ @g@ @ ~@ @ 7H‬‬ ‫ ‪d@@ @J*x@@ @B ¥v@@ @ @ @ @< h@@ @ @ @ @ @ B *v@@ @ @ @ @ <&* @@ @ @D *¡@@ @ @Db@@ @ @B‬‬ ‫اﻟﺸﻌﺮ ‪baytelshear‬‬ ‫ﺑﻴﺖ ِ‬

‫‪49‬‬

‫ ‪ ĮńĵŒ ŗšĽĘı‬‬

‫‪dzƢǔǂǕŌ ưƉŨŽŌǶ DzƃƫōǂǕŌ Ɖƒlj ǼƅǕŌ ǼƉǘƖǕŌ‬‬

‫ذﻳﺐ‪ ..‬ﻳﻌﺪو ﻓﻲ ﻣﺪن‬ ‫اﻟﺸﻌﺮ واﻟﺤﺰن‬ ‫ﻋﻠﻲ اﻟﻤﺴﻌﻮدي‬

‫ﻻأدري إن ﻛﺎﻧﺖ ﻋﺒﺎريت اﻟﺘﺎﻟﻴﺔ ﺗﻌﺠﺐ ذﻳﺐ اﻟﺸﻤﺮي أم ﺗﻐﻀﺒﻪ‪..‬‬ ‫ﻟﻜﻨﻬﺎ ﺣﻘﻴﻘﺔ ﺗﻔﻜري ﻳﺸﻐﻠﻨﻲ ﰲ ﺗﻠﻚ اﻻزدواﺟﻴﺔ اﻟﺸﻌﺮﻳﺔ اﻟﺘﻲ ﻳﻌﻴﺸﻬﺎ‬ ‫ﻫﺬا اﻟﺸﺎﻋﺮ‪ ..‬وﻛﺄﻧﻪ ﺻﻮرة ﻧﺎﻃﻘﺔ ﻟﻐﺮاﺋﺒﻴﺔ زﻣﻦ ﻳﺤﻤﻞ وﺟﻬني‪ ..‬وﺟﻪ‬ ‫ﻧﺎﻋﻢ‪ ،‬ﻣﱰف‪ ،‬أﻧﻴﻖ‪ ..‬ووﺟﻪ ﻣﺘﺠﻬﻢ‪ ،‬ﻣﺘﺤﻔﺰ‪ ،‬ﻣﻨﻬﻚ!‬ ‫ﻓﺒﻴﻨام ﻳﻈﻬﺮ ذﻳﺐ اﻟﺸﻤﺮي ﰲ ﻣﻴﺎدﻳﻦ اﳌﺤﺎورة ﺧﺼ ًام ﻋﻨﻴﺪاً ﳌﻨﺎوﺋﻴﻪ‬ ‫ﻣﻦ اﻟﺸﻌﺮاء ﻳﻔﻠﻖ رؤوﺳﻬﻢ ﺑﺄﺑﻴﺎت ﻛﺄﻧﻬﺎ اﻟﺼﺨﺮ ﻳﺤﺸﻮﻫﺎ مبﺎدة ﴎﻳﺔ‬ ‫ﻣﻦ اﳌﺘﻔﺠﺮات‪ ..‬وﻳﻀﻊ ﰲ ﻗﻮاﻓﻴﻬﺎ اﻷﻟﻐﺎم‪ ..‬وﻳﺪس ﰲ ﻛﻞ ﻣﻌﻨﻰ "ﻟﺤﻤﺔ‬ ‫ﺿﺐ"‪ ..‬ﻳﻬﻤﺰ وﻳﻌﺎﻳﺮ وﻳﻌﺒﺚ ﺑﺎﻟﺘﻔﺎﺻﺴﻞ‪ ،‬ﻓﺈﻧﻪ ﻳﺒﺪو ﻋﲆ اﻟﻨﻘﻴﺾ‬ ‫ﻣﻦ ذﻟﻚ متﺎﻣﺎً ﻛﺸﺎﻋﺮ ﻧﻈﻢ‪ ..‬ﻳﻈﻬﺮ رﻗﻴﻘﺎً ﺣﺰﻳﻨﺎً ﺣﻜﻴ ًام ﺳﻮاء ﻛﺎﻧﺖ‬ ‫ﻗﺼﻴﺪﺗﻪ ﻣﺘﺼﺎﻟﺤﺔ ﻣﻊ اﻟﺤﻴﺎة أو ﻏﺎﺿﺒﺔ ﻣﻨﻬﺎ‪ ..‬ﻳﻜﺘﺐ ﻟﻺﻧﺴﺎن وﻟﻸﻟﻔﺔ‬ ‫وﻟﻠﺘﺴﺎﻣﺢ وﻟﺤﺐ اﻟﺤﻴﺎة واﻵﺧﺮ وﻗﺒﻮﻟﻪ ﺑﻜﻞ ﻣﺎﻓﻴﻪ ﻣﻦ ﻋﻴﻮب‪ ..‬وأول‬ ‫ﻋﻴﻮب ﻳﺘﺤﺪث ﻋﻨﻬﺎ ﻫﻲ ﻋﻴﻮب ﻧﻔﺴﻪ‪.‬‬

‫‪48‬‬

‫اﻟﻌﺪد ‪ ، 71‬أﻛﺘﻮﺑﺮ ‪2018‬‬

‫اﻟﻔﺮاق‬ b@@ Bx@@ A d@@ @ @ < x@@ @ @~@ @z@ @D* @@ £@ @ D ¢@@ @ @ < Ñ* 2¡Q @ @ @ GH ¢@@ Eb@@ ~@ @z@ @- ¤@@ @ @ @ D* 4¡@@ @ @~@ @{@ @D* ¢@@ @ @ @ <H %°*H y@@ @ @ @ @ ²* f@@ @ Bx@@ @ 0 @@ c@ @ @ @< h@@ @ Jx@@ @ / 2¡@@ @ g@ J 4¡@@ @ @~@ @{@ @D* Iv@@ @ @ @E* b@@ @ E ¡@@ @ @GH *w@@ @ @G b@@ @ @ @E° ¡@@ @ @ @ @~@ @ @ @ @ 7*H b@@ @ @ @ Jx@@ @ @ @ : Áx@@ @ @ @ @Â 2¡@@ @ @ @©H Ì@@ @ @ @ @ @ @ @ D* @@ @ @ DHb@@ @ @ @ @ @ @- M @@ @ @ @c@ @ @ @ 0 b@@ J*¡@@ ~@ @6 I¡@@ @ @~@ @ @ 6H ¤@@ @ g@ @ @BH ¤@@ @ @ @ <b@@ @:b@@ @E 2¡Q @ @ ~@ @ 6 Í@@ @ D @@ @ @Eb@@ @ @+ ¥4¡@@ @ @ @ @~@ @ @7 v@@ @ Q @ @ / b@@ @ @ @ @ @J*H5 @@ @ @ @ @j@ @ @- Md@@ @ @ @ @ @ @ @ B b@@ @ @ @ @ @F*H @@ @ @ @ c@ @ B 2Hy@@ @g@ @ J ,b@@ @ @ £@ @ ²b@@ @ @ @ @ + @M @ @ @ @ @ @ G @@ @ @ @C @@ @ @ @E b@@ @ ~@ {@ E Ì@@ @ @= ¢@@ @ @ @ < @@ @ @ @ @/H ¯ @@ £@ @ @ @J 2¡Q @ @ @ @<H 4¡@@ @ @ @ @ J2 @@ @ G @@ @ D @@ ~@ @|@ @0 b@@ @ E *H b@@£@ ¹ x@@ ~@ @7b@@ c@ @- M @ @ @ @ @ /H b@@ @ @ @ @F*H f@@ c@ @ @ @<H 2Hy@@ @ @ @ -H b@@ @ @ @ @g@ @ @~@ @ @6*H @@ @ @ @ £@ @ c@ @ / IQv@ @ @ @ @ @ @F b@@ @ @ ±*H b@@ @ @ @´* ¤@@ @ @ @ @- ¤@@ @ @ @ @D* b@@ @ J e4b@@ @ @ @J 2¡Q @ @ @ @m@ @ @ @´* Í@@ @ @ g@ @ @ @´* @@ @ @ c@ @ @ @²* @@ @ @ @ @ @ @ @- ° ‫ﻋﻴﻮن اﻟﻤﻬﺎ‬ @bentalobia2

47

baytelshear ‫اﻟﺸﻌﺮ‬ ِ ‫ﺑﻴﺖ‬

‫‪ ĮŌ‬‬ ‫ﻟﻴﺴﺖ ﻫﺬه اﻟﻘﺼﻴﺪة إﻻ ﺗﻌﺒرياً واﺿﺤﺎً‪ ،‬ﻋﻦ ﺣﺎﻟ ِﺔ اﻻﻏﱰاب اﻟﺘﻲ‬ ‫ﻫﺎﻣﺶ اﻟﺤﺮب اﻷﺧري "‪،‬‬ ‫ﻧﻌﻴﺸﻬﺎ ﰲ ﻋﺎﳌﻨﺎ‪ ،‬ﻻﺳﻴام‪ ،‬ﻋﻨﺪ ﻗﻮﻟ ِﻪ‪ ":‬ﰲ‬ ‫ِ‬ ‫ميﴤ إﻳﺎد ﰲ ﻫﺬا اﻟﺘﺠﺴﻴﺪ اﻟﺸﻌﺮي اﻟﺮاﺋﻊ اﻟﺬي ﻳﻠﺘﻘﻂ اﻟﻮاﻗﻊ‬ ‫ﻣﻦ اﻷﻋامق‪ّ ،‬ﺛﻢ‪ ،‬ﻳﻐﻮص ﰲ ﺗﻔﺎﺻﻴﻠﻪ‪ ،‬وﻻ ﻧﺠﺪ رﻣﺰاً ﻟﻴﺲ ﰲ ﻣﻜﺎﻧ ِﻪ‬ ‫اﻟﺼﺤﻴﺢ‪ ،‬ﺑﻞ‪ ،‬اﺷﺘﻐﻞ ﻋﲆ اﻟﻨﺺ ﺑﻜﺎﻣﻞ روﺣ ِﻪ‪ ،‬وﻫﻮ ﻳﺘﻠﻤﺲ ﻣﻄﺎرﺣﻪ‬ ‫ﺑﺨﻮف وﺑﺮاءة وﺣﺬر‪ ،‬ﻛام ﻗﺎل ﻋﻨﻪ ﻣﺤﻤﺪ ﻋﲇ ﺷﻤﺲ اﻟﺪﻳﻦ‪ :‬ﻻ‬ ‫ﻳﻜﺸﻒ أﴎار اﻟﻨﺺ ﻋﺎد ًة‪ ،‬ﻟﻜ ّﻨﻪُ‪ ،‬ﻳﱰك ﻓﻀﺎ ًء رﺣﺒﺎً ﻟﻠﺘﺄوﻳﻞ‪ ،‬وﻋﻠﻴﻚ‬ ‫أن ﺗﺤ ّﻠﻖ يك متﺴﻚ ﺑﺄﻃﺮاف اﻟﺸﻤﺲ اﻟﺴﺎﻃﻌﺔ‪ ،‬ﻳﺘﺎﺑﻊ ‪:‬‬

‫ ‪ ǛǿƃǕŌ ƑǘƗ ǽǔƫ ƃǘżǙ ǣǜƫ ǒōǃ‬‬ ‫‪ɶ‬‬ ‫‪ɰ‬‬ ‫ ‪ ŋōƞƳ džƉŨǿ‬‬ ‫‪ǣɴ ǜLjǕ ɐ‬‬ ‫ ‪DzƂōƫ ƙǜǕŌ ƈŌƉƓŐ ƱƖLjǿ ȍ‬‬ ‫‪ɰ‬‬ ‫‪ɰ‬‬ ‫‪ǓǿǶőŨǔǕ ōŞŽƈ‬‬ ‫‪ɶ‬‬ ‫‪ ƐƉŵ ǀƂ ǼƅǕŌ ǼƉƪƖǕŌ ǀŌƉŨŽȍŌ Ƿǥ Ōƅǥ‬‬ ‫ ‪ǖƂōǃ‬‬ ‫‪ƉƢƁ Ǜƫ ǣŞǜǿ ǽLjǕ ɐƈŌƅǝȑŌ‬‬ ‫‪ɲ‬‬ ‫‪ɲ‬‬ ‫‪ɰ‬‬ ‫‪ ɐǼƉƪƖǕŌ ǒǸōƒŨǕŌ ǗŽƈ ǛǙ ŌƈŌƉǙ ƂōǿŒ ƃǕǷǿ‬‬ ‫‪ɴ‬‬ ‫‪DzƃǾƚǂǕŌ ǻǕŒ ǣƪǔƟ ƃǜƒǿǶ‬‬

‫*&‪O @ @ @ @ @ @ <&* b@@ @ @ @ F‬‬ ‫@‪ @@ @ @ @ @+P *¡@@ @ +&* @@ @ E N$b@@ @ @+x@@ @ @ O @ @ @ D* x‬‬ ‫‪*¡@@ @ @ @ @-HO&* °(Q * P @ @£@ @~@ @}@ @D* ¤@@ <b@@ ~@ @6 Pi&b@ @ @ @ @ J µ‬‬ ‫‪ @@ P @ @Ab@@ @ @ P @ @+ R @ @ @ O @ @ @ -N ¡@@ @ B @O@ @}@ @ Jb@@ @ @ @ J Rv@ @ @ @ @ @ DH‬‬ ‫‪K @ @ @ @ @ @ @ @ @ @ @0*4NH‬‬ ‫‪ P @ @ @-2b@@ @ @ @ @C Ix@@ @ @ @ @ @ @ @ @ 1O&* ,K xS @ @ @ @ @ @ @ @ E É‬‬ ‫‪O‬‬ ‫@¡‪i‬‬ ‫@‬ ‫@‬ ‫ ‬ ‫@‬ ‫@‬ ‫‪D‬‬ ‫ *‬ ‫@‬ ‫@‬ ‫ ‬ ‫@‬ ‫@‬ ‫@‬ ‫ ‬ ‫@‬ ‫@‬ ‫@‬ ‫‪D‬‬ ‫ *‬ ‫@ ‬ ‫@‬ ‫@‬ ‫‪z‬‬ ‫@‬ ‫@‬ ‫‪E‬‬ ‫@ ‬ ‫‪@ @ < O ¡@@ @~@ @ |@ @ £N @ @ A‬‬ ‫@‪P b‬‬ ‫‪N U‬‬ ‫‪ O @ @ @ -Q 2¡@@ @ @< oO b@@ @ g@ @ @p@ @ @JN Rv@ @ @ @ O @ @ @ @JN µ K*v@@ @ @ @ )P b@@ @ @ @ <HN‬‬ ‫‪¶O&°* @@ @ @ @P @ @ @ @ 94&°* P w@@ @ @ @ @G *¡@@ @ @ @ £Q @ @ @ @ @E2%* @@ @ @ @GO‬‬ ‫*&‪O @ @ @ @ O @ @ @ @ FO P$b@@ @ @ £@ @ @ c@ @ @ F&É@ @ @ D R @ @ @ @ @GO O'Hb@@ @ @ @ @ @ @ @ @~@ @ @ @ @6‬‬ ‫@¡‪i‬‬

‫ﻫُ ﻨﺎ‪ ،‬ﺗﺄﻛﻴﺪ ﻋﲆ اﻻﻧﺘام ِء ﻟﻬﺬه اﻟﻐﺮﺑﺔ اﻟﺘﻲ أرﻏﻤﻨﺎ ﻋﻠﻴﻬﺎ‪ ،‬وﻻ ﻣﻔ ّﺮ‬ ‫ﻣﻨﻬﺎ‪ ،‬ﻟﻜﻨّﻨﺎ آدﻣ ّﻴﻮ ﻫﺬه اﻷرض ‪ /‬اﻟﺒﻼد اﻟﻄﻴﺒﺔ ﺑﺎﻟﺨري‪ ،‬ﺑﻼد اﻷﻧﺒﻴﺎء‬ ‫واﻟﺮﺳﻞ‪ ،‬وأﺳامؤﻧﺎ ﻟﻬﻢ ُ‬ ‫ﻧﻌﻮت‪ ،‬ﻛام ﻳﻘﻮل‪ ،‬ﻓﻜﻴﻒ ﻻ ﻧﺴﻌﻰ ﻟيك ﻧﺼﻠﺢ‬ ‫ﺣﺎﻟﻨﺎ؟ ﻛﻴﻒ ﻧﱰك أﺑﻮاﺑﻨﺎ ﻣﴩﻋﺔ ﻟﻠﺨﺮاب؟ ﻟﻜﻦ‪ ،‬ﰲ اﻟﻨﻬﺎﻳﺔ ﻧﺤﻦ‬ ‫ُ‬ ‫وﻳﻌﺮف‬ ‫ﺿﺤﺎﻳﺎ ﻫﺬه اﻟﻐﺮﺑﺔ‪ ،‬ﻣﻊ إﴏار اﻟﺸﺎﻋﺮ ﻋﲆ أ ّﻧ ُﻪ ﻳﻌﺮ ُﻓﻬﻢ‬ ‫ﺣﺰﻧﻬﻢ‪ ،‬ﻷ ّﻧ ُﻪ‪ ،‬ﺑﺎﺧﺘﺼﺎر‪ ،‬ﺟﺰء ﻻ ﻳﺘﺠﺰأ ﻣﻦ ﻣﻨﻈﻮﻣﺔ ﻫﺬا اﳌﺠﺘﻤﻊ‪،‬‬ ‫ﻳﺄت ﻣﻦ ﻣﻨﻄﻘﺔ ﻣﻐﱰﺑﺔ يك ﻳﻜﺘﺐ‬ ‫واﺑﻦ ﺟﺮﺣ ِﻪ اﳌﻔﺘﻮح‪ ،‬ﻓﺎﻟﺸﺎﻋﺮ مل ِ‬ ‫اﻟﺒﻴﺖ‪ ،‬ﻟﺬﻟﻚ‪ ،‬ﻫﻲ ﺣﺎﻟﺔ اﻋﱰاف‬ ‫ﻋﻨﻬﺎ‪ ،‬ﺑﻞ ﻛﺘﺐ اﻟﺤﺮب اﳌﺸﺘﻌﻠﺔ ﰲ ِ‬ ‫أﻳﻀﺎً‪ ،‬وﻧﻘﺪ ﻟﻠﺬات‪ ،‬ﺑﻌﺪ اﻛﺘﺸﺎف اﻟﺪاء‪ ،‬ﺗﺄيت ﻣﺮﺣﻠﺔ اﺧﺘﻴﺎر اﻟﺪواء‪.‬‬ ‫‪ɶ‬‬ ‫‪ɴ‬‬ ‫ ‪ǽƓōǜǕŌ ƃǕǷǕŌ‬‬ ‫‪ŦȍōǘŨljŌ‬‬

‫‪K*x@@ @ @ g@ @ @ @ EO @@ @ 7b@@ @ < Md@@ @ @Jx@@ @ @= U @ @ @ @ @ CO @@ @ j@ @ @EH‬‬ ‫‪N @ @ @ @ @ EH‬‬ ‫@‪ O @ @ gN @ @ +x@@ @= O P b@@ @£@ @ ~@ @ z@ @ @ @ D* ¯ @@ @ @ @ @ @ JO ib‬‬

‫ُﻳﻜﻤﻞ اﻟﻐﺮﻳﺐ ﻧﺴﻴﺎﻧ ُﻪ ﰲ ﻏﺮﺑﺘ ِﻪ اﻟﺘﻲ ﻫﻲ ﻣﺼري ُه اﻷﺧري‪ ،‬و ُﻳﻜﻤﻞ‬ ‫إﻳﺎد اﻟﺤﻜﻤﻲ ﻧﺸﻴﺪ ُه ﰲ ﺣﴬة اﻟﻐﺮﺑﺎء وأﺣﺰاﻧﻬﻢ‪ ،‬ﺣﻴﺚ ﱠإن اﻟﻮﺟﻊ‬ ‫ّ‬ ‫مل ﻳﻨﺘﻪ‪ّ ،‬‬ ‫واﻟﺘﺨﲇ ﻋﻦ‬ ‫ﻷن اﻟﻨﺴﻴﺎن ﻳﺸري ﻫُ ﻨﺎ‪ ،‬إﱃ ﺣﺎﻟ ِﺔ اﻟﻔﻘﺪ‪،‬‬ ‫اﳌﻮﺿﻮع اﻷﺳﺎﳼ‪ ،‬اﻟﺬي ﻳﺴﻌﻰ إﻟﻴ ِﻪ اﳌﻨﻔﻲ ﻟﻠﻌﻮدة إﱃ ذاﺗ ِﻪ اﻷوﱃ‪.‬‬ ‫واﻟﻨﺴﻴﺎن ﻧﻘﻴﺾ اﻟﺘﺬ ّﻛﺮ ﰲ اﻟﻐﺮﺑﺔ‪ ،‬ﻓﺎﻟﺘﻤﺴﻚ ﺑﺎﻟﺬاﻛﺮة‪ ،‬ﻳﻌﻨﻲ أن‬ ‫ﺗﺘﻤﺴﻚ ﺑﺎﻟﺤﻖ‪ ،‬أن ﺗﺤﻔﺮ ﻗﺼﻴﺪﺗﻚ وﺷ ًام ﻋﲆ ﺟﺴﺪك‪ ،‬ﻣﺜﻠام ﻳﻔﻌﻞ‬ ‫إﻳﺎد اﻵن‪ ،‬ﻟﻜﻦّ ﻫﺬا اﻟﻌﺎﺋﺪ اﳌﺼﺎب ﺑﺪا ِء اﻟﻨﺴﻴﺎن‪ ،‬مل ﻳﻌﺪ ﻳﺤﺘﺎج‬ ‫ﻋﻮدﺗﻪ‪ ،‬ﻛام ﻗﺎل ‪:‬‬

‫ﻣﺎذا ﻟﻮ مل ﻧﻌﺪ ﻧﺤﺘﺎج اﻟﻌﻮدة إﱃ ذواﺗﻨﺎ؟‪ ،‬أﻟﻴﺲ ﻫﻮ اﻧﺘﺼﺎر اﻟﻨﺴﻴﺎن‬ ‫ﻋﲆ اﻟﺬاﻛﺮة ﻓﻴﻨﺎ؟‪ ،‬واﳌﺎدي ﻋﲆ اﻟﻌﺎﻃﻔﻲ‪ ،‬ﻟﻸﺳﻒ؟‪ ،‬أو أن ﻻ ﻧﻜﺘﺐ‬ ‫ﻗﺼﺎ ِﺋﺪﻧﺎ إﻻ ﺑﺤ ِﱪ اﻟﺪﻣﻮع؟‪ ،‬إذن‪ ،‬ﻫﺬا ﻫﻮ اﻻﺣﱰاق اﻟﺸﻌﺮي اﻟﺬي‬ ‫ّ‬ ‫ـﺎدم‪ ،‬ﻗﺪ ﻳﺼﻴﺐ وﻋﻴﻨﺎ‬ ‫دق ﺟﺮس اﻹﻧــﺬار‪ ،‬ﻟيك ﻳﻨﺒﻪ ﻋﻦ ﺧﻄ ٍﺮ ﻗـ ٍ‬ ‫ﺑﺤﺎﴐﻧﺎ وﻣﺴﺘﻘﺒﻠﻨﺎ‪ ،‬وﻣﺎ ﻣﻌﻨﻰ أن ﻧﻜﻮن ﻏﺮﺑﺎء ﰲ ﻋﻮاﳌﻨﺎ؟‪ ،‬أن‬ ‫ﻧﻨﺼﺖ إﱃ ﻧﺪاء اﻟﺮوح‪ ،‬ﻗﺒﻞ أيﱢ ﳾ ٍء آﺧﺮ‪ ،‬ﰲ ﻣﺨﺘﱪ اﻟﻐﺮﺑﺔ‪ ،‬واﻗﺘﺒﺎس‬ ‫اﻟﺸﺎﻋﺮ ﳌﻘﻮﻟﺔ اﺑﻦ ﻋﺮيب ﻛﺎﻓﺘﺘﺎﺣﻴﺔ ﻟﻠﻘﺴﻢ اﻷﺧري‪ ،‬ﻳﻘﻮل‪َ ":‬ﻛﺎﻧﺖ‬ ‫ﴏﻳﺢ ّ‬ ‫ﻋام ﺳﻮف‬ ‫اﻷرﺣﺎ ُم أوﻃﺎﻧﻨﺎ‪ ،‬ﻓﺎﻏﱰﺑﻨﺎ ﻋﻨﻬﺎ ﺑﺎﻟﻮﻻدة"‪ ،‬ﻫﻮ ﺗﺄﻛﻴﺪٌ‬ ‫ٌ‬ ‫ﻳﺒﻮح ﺑ ِﻪ ﺷﻌﺮ ّﻳﺎً‪.‬‬ ‫ﻳﻮﻟﺪ إﻳﺎد ﻣـﺮاراً ﻣﻦ رﺣﻢ اﻟﺘﺴﺎؤل اﻟﺸﻌﺮي‪ ،‬وﻳﺴﻨﺪ ﺿﻠﻌ ُﻪ إﱃ‬ ‫اﻟﻘﺼﻴﺪة‪ ،‬ﻳﺬﻫﺐ ﻋﻤﻴﻘﺎً ﰲ ﻣﺮاﻳﺎ اﻟﺤﻘﻴﻘﺔ‪ ،‬ﻫﻞ ﻫﻲ أوراق اﻟﻌﺮيب‬ ‫اﻷﺧري؟‪ ،‬أم اﻟﻮﻟﺪ اﻟﻨّﺎﳼ؟‪ ،‬ﻛام ﺟﺎء ﰲ اﻟﻌﻨﻮان اﻟﺮﺋﻴﺲ؟ ﻻ ﻧﺠﺪ ﻓﺮﻗﺎً‬ ‫ﻧﺸﻢ رﺣﻴﻖ اﻟﻮردة ﰲ‬ ‫ﺑني اﻻﺛﻨني‪ ،‬ﻟﻜﻨﱠﻨﺎ ﻧﺒﺤﺮ ﻋﻤﻴﻘﺎً ﰲ ﺷﻬﺪ اﻟﺸﻌﺮ‪ ،‬ﱡ‬ ‫ورمبﺎ‪،‬‬ ‫اﻟﻠﻐﺔ اﻟﺤﻴﺔ‪ ،‬ﻧﻨﺘﺸﻞ ذواﺗﻨﺎ ﻣﻦ ﻗﺎع اﻟﺤﻀﻴﺾ إﱃ ﻗ ّﻤﺔ اﻟﻮﻋﻲ‪ّ ،‬‬ ‫ﻫﻮ اﻟﻌﻜﺲ ﰲ اﻟﻘﺼﺪ ‪ /‬اﻟﺮﻣﺰ اﻟﺸﻌﺮي‪ ،‬ﻫﻮ اﻟﻮﻟﺪ ‪ /‬اﻟﺸﺎﻋﺮاﻟﺬي‬ ‫‪L ~7x~7‬‬ ‫‪L‬‬ ‫ ¯ *‪ M : Pf c± b ±‬‬ ‫ =‪ 4b‬‬ ‫ﻳﻜﺘﺐ يك ﻻ ﻳﻨﴗ‪ ،‬ﻳﻘﻮل ‪:‬‬ ‫‪P‬‬ ‫‪O J‬‬ ‫‪R v0 N £ D* bsN‬‬ ‫‪ P$*y< ¯ fL £ =&*H M$¥x+ M$¤ + P4bpgF° fL O0 cD* S‬‬ ‫‪R‬‬ ‫ *‪ cD‬‬ ‫*‪P bc±‬‬

‫ﻣﺼﻄﻠﺤﺎت اﻟﻐﺮﺑﺔ‬ ‫َﻳﺘﺒﻠﻮر اﳌﺸﻬﺪ ﰲ ﺧﻴﺎﻟﻨﺎ اﻟﺴﺎﺑﺢ ﰲ اﻟﻘﺼﻴﺪة‪ ،‬وﰲ‬ ‫ِ‬ ‫اﻟﺮاﻫﻨﺔ‪ ،‬وﻣﻮﻟﺪﻫﺎ اﳌﻨﻔﻲ‪ ،‬ﻣﺜﻞ‪ " :‬اﻟﻄﻔﻞ‪ /‬اﻟﻠﻴﻞ‪ /‬اﻻﻧﺘﺤﺎر‪ /‬اﻟﺠﺒﺎن‪/‬‬ ‫اﻟﺒﻄﻞ"‪ ،‬ﻫﺬا اﻻرﺗﺒﺎك اﻟﺬي ﱠ‬ ‫ﺣﻞ ﺑﻪ‪ ،‬أﻳﻀﺎً‪ ،‬ﺟﺰء ﻣﻦ ﺣﺎﻟ ِﺔ اﻟﺨﻮف‬ ‫اﻟﺘﻲ ﻧﻌﻴﺶ‪ ،‬ﻟﻜﻦ‪ ،‬ﴎﻋﺎن ﻣﺎ ﺗﺨﻄﻔﻨﺎ راﺋﺤﺔ اﻷﻣﻞ اﻟﺬي ﻻ ﻳﻨﻜﴪ‪،‬‬ ‫‪ @M @ @ @/HN @@ @E P @ @£@ @ @ @s@ @JO b@@ @E N @ @ @ @ =4O K*x@@ @<b@@ @~@ @ 7H‬‬ ‫ﻷن اﻟﺠﺒﺎن‪ ،‬ﺳﻴﻤﴘ ﺑﻄ ًﻼ ّ‬ ‫ّ‬ ‫ﻋام ﻗﺮﻳﺐ‪ ،‬وﻳﺴ ّﻤﻰ ﰲ ﻗﺼﻴﺪة اﻟﺸﺎﻋﺮ‪،‬‬ ‫‪N v@@ £@ @~@ @|@ @B °(Q * P @ @ @ @ @ @ E2 @@ @ @E Pv@@ @ @c@ @ @ JO µN‬‬ ‫‪O‬‬ ‫ ‬ ‫@‬ ‫@‬ ‫‬‫"اﻟﻌﺎﺋﺪ إﱃ ﻫُ ﻨﺎك"‪.‬‬

‫‪46‬‬

‫اﻟﻌﺪد ‪ ، 71‬أﻛﺘﻮﺑﺮ ‪2018‬‬

‫اﳌﻄﻠﻊ ﺑﻌﻤﻖ ّ‬ ‫ﻋام ﻳﺪور ﰲ ﻫﺬا اﻟﻔﻠﻚ اﻟﺸﻌﺮي اﻟﺮﺣﺐ‪ ،‬ﻳﻠﺤﻆ‬ ‫اﻟﺒﻌﺪ اﳌﺎورايئ اﻟﺬي ﺟﺴﺪﺗ ُﻪ اﻟﻘﺼﻴﺪة‪ ،‬ﺑﺤﺜﺎً ﻋﻦ ﺣﺎﺟﺔ اﻷﺿﻼع إﱃ‬ ‫روح اﻟﻮردة إﱃ رﺋ ِﺔ اﻟﻌﺎﺷﻖ ‪/‬‬ ‫اﻟﺴﻼم اﻟﺪاﰱء‪ ،‬إﱃ اﻟﻬﻮاء اﻟﺼﺎﻋﺪ ﻣﻦ ِ‬ ‫اﻟﺸﺎﻋﺮ‪ .‬ﻳﻘﻮل ﰲ ﻗﺼﻴﺪ ٍة أﺧﺮى ‪:‬‬

‫ﻗﺼﺎﺋﺪ اﻟﺤﻜﻤﻲ ﻣﺸﺤﻮﻧﺔ ﺑﺎﳌﻌﺎين اﻟﻜﺒرية‪ ،‬واﻟﺜﻘﺎﻓﺔ اﻟﻌﺎﻟﻴﺔ‪ ،‬واﻟﻠﻐﺔ‬ ‫اﻟﺸﻌﺮﻳﺔ اﻟﺤﺪﻳﺜﺔ اﻟﺘﻲ ﺗﺠﺪد روح اﻟﻨﺺ‪ ،‬وﻧﻼﺣﻆ أﻳﻀﺎً‪ ،‬ﻗﺪرة‬ ‫اﻟﺸﺎﻋﺮ ﰲ اﻟﻮﺻﻮل إﱃ ﻣﻨﻄﻘﺔ ﻧﺎدرة ﻣﻦ اﻟﻨﻀﺞ‪ ،‬واﻟﺠامل اﻟﺸﻌﺮي‪،‬‬ ‫ﻛام ﻗﺎل ﻋﻨ ُﻪ ” ﻣﺤﻤﺪ اﻟﻀﺒﻊ“ ﻛﺸﻬﺎدة ﻣﻨﻪُ‪ ،‬وﺿﻌﺖ ﻋﲆ اﻟﻐﻼف‬ ‫@ @ @@‪¤@@ @ A Peb@@ @ @c@ @ @ + °K *Q¡@ @ @ @ @ @ @ E P @@ @ @ @ ~@ @ 6° Oh@@ @ @Cx‬‬‫اﻟﺨﻠﻔﻲ ﻟﻠﺪﻳﻮان‪.‬‬

‫‪K Q @ @ @ @ ; S @ @ @ @ D‬‬ ‫@‪Iv@@ ~@ @8 S @ @ @ @ D H&* ¡@@ @ p@ £@ ~@ 6 É‬‬ ‫‪L @ @ @ @ @ @ @ @ @¸ Ph@@ @ @ @ @ @ @ F&* Ph@@ @ @ @ @ @ @ @ @F&*H‬‬ ‫@‪,L x@@ @ Ab@@ @ ~@ @ z@ @ E i*5b‬‬ ‫‪ɱ‬‬ ‫‪DzƂƈǷǕŌ ƃƒŴǕ ŦȍōǘŨŽŌ‬‬ ‫‪L‬‬ ‫‪*v@@ @ @ @ g@ @ +*H Nr° Me*x@@ @ @ ~@ @ @ @6 @@ @ @E f@ @ ~@ @ }@ @ c@ @ BH‬‬ ‫ﻳﺒﺪأ إﻳﺎد اﻟﺤﻜﻤﻲ ﺑﻜﺸﻒ ﺟامل اﻟﻮردة ‪ /‬اﻟﺤﺒﻴﺒﺔ اﻟﺘﻲ ﻫﻲ دم *&‪µ P @@ @ @ 1 q@P @J¡@@ @ g@ D* @@ E Kb@ +x@@ ~@ 6 Oh@@ @ @ @ @:‬‬ ‫اﺣﺘامﻻت‬ ‫اب‪ ،‬اﳌﻔﺘﻮح ﻋﲆ‬ ‫‪*2v@@ @ E Rv@ @ m@ @ J H&* K$b@@ @ @ @ ~@ @ 6 P @@ @ Jv@@ @ D @@ @ @c@ @J‬‬ ‫ٍ‬ ‫اﻟﺸﻌﺮ‪ ،‬وﺳﺤﺮ ﺟﺴﺪﻫﺎ اﳌﺠﺒﻮل ﺑﻨﺪى اﻟﱰ ِ‬

‫ورمبﺎ‪ ،‬اﺧﺘﻴﺎر اﻟﺸﺎﻋﺮ ﻣﻘﻮﻟﺔ "ﻋﺪﻧﺎن اﻟﺼﺎﺋﻎ" ﻛﺎﻓﺘﺘﺎح رﺋﻴﺲ‬ ‫ﻛﺜري ٍة ‪ّ ،‬‬ ‫ُ‬ ‫ٌ‬ ‫ﻟﻬﺬا اﻟﻌﻨﻮان ﻟﻪ دﻻﻟﺘ ُﻪ اﻟﻌﻤﻴﻘﺔ " ُﻣ ٌ‬ ‫ﺻﻌﺒﺔ أن أﺑﺪ َّل ُﺣﻠ ًام‬ ‫ﻌﺎدﻟﺔ‬ ‫ُ‬ ‫وأﺳﺄل ‪ :‬أﻳﻦ اﻟﻄﺮﻳﻖ؟ "‪ ،‬ﻫﻲ‬ ‫ﺑﻮﻫﻢ‪ُ ،‬وأﻧﺜﻰ ﺑﺄﺧﺮى‪ ،‬وﻣﻨﻔﻰ مبﻨﻔﻰ‪،‬‬ ‫ٍ‬ ‫ﺣﺎﻟﺔ اﻟﻜﺸﻒ ﻋﻦ اﳌﺴﺘﻮر‪ ،‬اﻗﺘﺤﺎم ﺷﻌﺮي ﻟﺠﺴ ِﺪ وردي اﳌﻼﻣﺢ‪،‬‬ ‫ﻳﻘﻮل‪:‬‬

‫أيﱡ ورد ٍة ﻳﻠﻴﻖ ﺑﻬﺎ ﻫﺬا اﻟﺴﻤ ّﻮ؟‪ ،‬إ ّﻧﻬﺎ ﻣﺠﺎز ٌ‬ ‫ات ﻣﺴﺎﻓﺮ ٌة ﻛام ﻗﺎل ﻋﻨﻬﺎ‪،‬‬ ‫ﻟﻜ ّﻨﻪُ‪ ،‬ﺳﻴﻈﻞ ﻳﻄﻠﻖ اﻟﺘﻠﻮﻳﺢ ﺧﻠﻔﻬﺎ‪ ،‬يك ميﺘﻠﻜﻬﺎ ﻛﺎﻣﻠ ًﺔ‪ٌ ،‬‬ ‫رؤﻳﺔ ﻣﺨﻤﻮرة‬ ‫ﺑﺎﳌﻌﺎين‪ ،‬ﻧﺠﺰم ﺑﺄ ّﻧﻬﺎ ﺣﻘﻴﻘﺔ اﻟﺸﻌﺮ اﳌﺤ ّﻠﻖ ﻋﺎﻟﻴﺎً‪ ،‬وإن أردت أن ﺗﺒﻠﻎ‬ ‫وﺻﻌﺐ‪ ،‬ﺑﻞ‬ ‫ﻫﺬا اﻟﺼﻌﻮد‪ ،‬ﻋﻠﻴﻚ أن ﺗﺤ ّﻠﻖ ﻣﻌﻪ‪ ،‬ﻟﻴﺲ ﻷ ّﻧ ُﻪ ﻏﺎﻣﺾ‬ ‫ٌ‬ ‫ﻧﺎﺿﺞ وﻣﺮﺗﻔﻊ‪.‬‬ ‫ﻷ ّﻧ ُﻪ ٌ‬

‫=@ @ @‪ @R @ @ +b@@ @ £@ @ @= R @@ @ @ @ @ @E O @ @ @ @ @ @ @ @/H&b@ @ @ @ @ @ @ @A ¤@@ @ c@ @ @£‬‬ ‫* ‪ @R @ @ @ +P b@@ @ @ c@ @ @ @ + @@ @ @ O @ @ @ @ @ @ @ @ E ¤@@ @ @ @ @ @ @ @ @ @ @ ­4&* &R‬‬ ‫*(‪b@@ @ @ @ @ @ @ @ Db@@ @ ~@ @ @ 9&* ¢@@ @ @ @ @ @ @< Í@@ @ @ @ @ @ cO @ @ @ @ @ @ - 3‬‬ ‫‪ǛȃōLjǕŌ ŦōǤǿƉũƈǷş R‬‬ ‫‪ @@ @ @ @ @ @ @ @ +P I¡@@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ D* O @ @ @ @ @ @ @ @ 02y@@ @ @ @ @ @ @ £@ @ @ @ @ @ @ @ A‬‬ ‫ﻓﺄﺻﺒﺢ ﻣﻦ أﺗﺒﺎع اﻟﻘﺎﺑﻀني ﻋﲆ ﺟﻤﺮ ِة‬ ‫اﻟﻜﺎﺋﻦ اﻟﺬي ﻧﻬﺸﺘ ُﻪ اﻟﻐﺮﺑﺔ‪،‬‬ ‫َ‬ ‫‪v@@ @ @ @£@ @ @ @ C4H&°* @N @ @ @z@ @ @ Q @ @ @ @ @ @ -&* &* N¥*¡@@ @ @ @ @ @ @ @ @ GHN‬‬ ‫ﻫﻢ اﻟﺬﻳﻦ ﻧﺰﻟﻮا دروب اﻟﻨّﺎر‪ ،‬ﻛام ذﻛﺮ اﻟﺸﺎﻋﺮ‪.‬‬ ‫‪ @R @ @ @ @ @ @ @ @ @ @ @ @ +b@@ @ @ @ @ @ @ @ @ @ @ @ 04P ¯ ¥v@@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ 0H‬اﻻﻧﺘﻈﺎر‪ ،‬ﻫﻢ اﻟﻐﺮﺑﺎء‪ُ ،‬‬

‫ٌ‬ ‫ﺣﺎﻟﺔ ﺗﺄﺧﺬﻧﺎ إﱃ زﻣﻦ اﻟﻨﻜﻮص اﻟﺬي ﺣﻞ ﺑﻨﺎ‪ ،‬ﻫﻨﺎ وﻫﻨﺎك‪ّ ،‬رمبﺎ‪ ،‬ﻧﺤﻦ‬ ‫ٌ‬ ‫ٌ‬ ‫ﺗﺄوﻳﻞ آﺧ ٍﺮ‪ ،‬ﺣني ﻳﺘﻄﺎﺑﻖ اﳌﻌﻨﻰ ﻋﲆ اﻟﻐﺮﺑﺎء ﻋﻦ ﺣﺎﴐﻧﺎ وﻣﺎﺿﻴﻨﺎ‪ ،‬وﻣﺎ ارﺗﻜﺒﻨﺎ ﻣﻦ أﺧﻄﺎء ﺑﺤﻖ ﻟﻐﺘﻨﺎ‬ ‫ﻣﻔﺘﻮﺣﺔ ﻋﲆ‬ ‫اﺣﺘامﻻت‬ ‫ٍ‬ ‫اﳌﻌﻨﻰ‪ ،‬ﺗﺄﺧﺬﻧﺎ وردة اﻷورﻛﻴﺪ إﱃ ﻋﻮامل اﻷﻧﺜﻰ‪ ،‬أﻟﻴﺴﺖ اﻟﻮردة أﻧﺜﻰ وﻣﺴﺘﻘﺒﻠﻨﺎ‪ ،‬ﻳﻘﻮل‪:‬‬ ‫ﺗﺴﺘﺤﻢ ﺑﻨﺪى اﻟﺴامء؟‪ ،‬ﻓﻴﺘﻨ ّﻔﺴﻬﺎ اﻟﺸﺎﻋﺮ يك ﻳﺤﻴﺎ ﺑﻬﺎ ﺣ ّﺮاً ﻧﺎﺑﻀﺎً ‪wO @ @ E O4b@@ @ @ Q @ @ @ @ D* @@ @ @£@ @ @ D(* @@ O @ @ @ @cP @ @~@ @z@ @- h@@ @£@ @ + °‬‬ ‫ﱞ‬ ‫‪O @ @£@ @ + ¤N @ @ @ @ @ @GH 4b@@ @ @ @ Q @ @ @ @ D* eHO42O *¡@@ @ @ @Dy@@ @ @ @FN‬‬ ‫@¡‪i‬‬ ‫ﺑﺤﻠﻢ‪ ،‬ﻟﻜ ّﻨ ُﻪ ﻫُ ﻨﺎ‪ ،‬ﻟﻦ ﻳﺴﺄل‪ :‬أﻳﻦ اﻟﻄﺮﻳﻖ؟‪ّ ،‬‬ ‫ﻷن‬ ‫ﺑﺎﻟﺤﻴﺎة‪ ،‬ﻳﺒﺪ ُّل ﺣﻠ ًام ٍ‬ ‫‪b@@ @ @ @ @CO O @ @ @ Q @ @ @ @ @ @ / h@@ @ @ @ @ ~@ @ 7 b@@ @ @ E N ¡@@ @ @ @ Bb@@ @ @ @ +‬‬ ‫ﻣﺎﺗﻊ‪،‬‬ ‫ﻃﺮﻳﻖ إﻳﺎد ﻣﻸى ﺑﺎﻟﻮرود واﻟﺸﻌﺮ اﻟﺬي ُﻳﺮﺷﺪُ اﻟﻨﻔﺲ إﱃ ﻓﻀﺎ ٍء ٍ‬ ‫‪N &* I2b@@ @ @ @ @ @ F O ¡@@ @ @ @ @ <x@@ @ @ @ @ AN‬‬ ‫· *´@ @ @ @ @ @ @ @ ‪O‬‬ ‫@¡‪i‬‬ ‫ﻓﻬﺬا اﻟﻜﺸﻒ ﻫﻮ اﻟﴩارة اﻷوﱃ أو اﻟﺸﻬﻮة اﻷوﱃ اﻟﺘﻲ ﻳﻔﺘﺘﺢ ﺑﻬﺎ ¯ ‪ R @ G2¡@@ @ ~@@O 8 Ì@P @ @ @ @ 1&°* Pex@@ @ @ ²* @P @ {@ @Eb@@ G‬‬ ‫‪O @ @ @g@ @ @ R @ @ @ E R @ @ @ @ @ @ @ @ @ @ @ @ @ @<H4O2 N$*4H Lv@ @ @ @c@ @ @ @C‬‬ ‫@¡‪i‬‬ ‫اﺣﺘامﻻﺗﻪ ﻟﺠﺴ ِﺪ اﻟﻮردة‪.‬‬ ‫اﻟﺸﻌﺮ ‪baytelshear‬‬ ‫ﺑﻴﺖ ِ‬

‫‪45‬‬

‫‪ ĮŌ‬‬

‫‪ɴ‬‬ ‫}‪ɴ ưƉƫŐ ȍ‬‬ ‫‪ɴ‬‬ ‫‪ɴ ưƉƫŐ ŋōşƉ‬‬ ‫ ‪ ǽǘLjżǕŌ Ƃōǿȑ mǗǤǝƋŽ‬‬ ‫ ‪ƮǕŌ‬‬

‫ﻧﺸﻴﺪ اﻟﺤﺰن واﻟﻐﺮﺑﺎء‬ ‫ﺑﺎﺳﻞ ﻋﺒﺪ اﻟﻌﺎل‬

‫أﻋﺮف اﻟﻐﺮﺑﺎء ُ‬ ‫ﻳﻘﻊ دﻳﻮان ” ﻻ ُ‬ ‫أﻋﺮف ﺣﺰﻧﻬُﻢ ” ﻟﻠﺸﺎﻋﺮ‬ ‫اﻟﺴﻌﻮدي إﻳﺎد اﻟﺤﻜﻤﻲ ﰲ ‪ 144‬ﺻﻔﺤﺔ ﻣﻦ اﻟﻘﻄﻊ‬ ‫اﳌﺘﻮﺳﻂ‪ ،‬وﻫﻮ اﻟﺪﻳﻮان اﻟﺮاﺑﻊ ﻟﻠﺸﺎﻋﺮ‪ ،‬ﻳﻀﻢ ﺣﻮاﱄ‬ ‫‪ 35‬ﻗﺼﻴﺪة ﻣﺘﻨﻮﻋﺔ اﻷﻏﺮاض اﻟﺸﻌﺮﻳﺔ‪ ،‬ﺑني اﻟﻌﺎﻣﻮدي‬ ‫واﻟﺘﻔﻌﻴﻠﺔ‪ ،‬ﺗﻨﺎوﻟﻬﺎ اﻟﺸﺎﻋﺮ ﺑﺸﻜﻞ ﻣﺘﺴﻠﺴﻞ ﺿﻤﻦ ﺛﻼﺛﺔ‬ ‫ٌ‬ ‫اﺣﺘامﻻت ﻟﺠﺴﺪ اﻟﻮردة‪،‬‬ ‫ﻋﻨﺎوﻳﻦ رﺋﻴﺴﺔ وﻫﻲ ‪” :‬‬ ‫ُ‬ ‫اﻛﺘامﻻت اﻟﻮﻟﺪ اﻟﻨّﺎﳼ“‪.‬‬ ‫ﺑﻮرﺗﺮﻳﻬﺎت اﻟﻜﺎﺋﻦ‪،‬‬

‫‪44‬‬

‫اﻟﻌﺪد ‪ ، 71‬أﻛﺘﻮﺑﺮ ‪2018‬‬

‫وﻳﺮوى أن اﻟﺤﺴني رﴈ اﻟﻠﻪ ﻋﻨﻪ ﻗﺎل ﰲ اﻣﺮأﺗﻪ اﻟﺮﺑﺎب واﺑﻨﺘﻪ ‪I¡@@ @ @D* @@ @E @@ @ @< h@@ @ @E ¤@@ @ £@ c@ ~@ z@ « °‬‬ ‫‪¥2b@@ @ @ @ + $b@@ @ @ A¡@@ @ @ D* O xR @ @ @ @ @ @ - b@@ @ @E ib@@ @ @ @ @£@ @ @G‬‬ ‫ﺳﻜﻴﻨﺔ وﻗﺪ ﻋﺎﺗﺒﻪ أﺧﻮه اﻟﺤﺴﻦ ﻋﻠﻴﻪ اﻟﺴﻼم ﰲ اﻣﺮأﺗﻪ‪:‬‬ ‫‪K*4*2 d@@ @ @ @ @ @ @ @ @ 0&° ¤@@ @ @ @ @ @ @ @ @ @ @F(* x@@ @ @ @ @ @ @ @ @ @ @D‬‬ ‫« @ @ @ @ @@ ‪ eb@@ @ @ @ @ +x@@ @ @ @ @ D*H f@@ @ @ @ @£@ @ @ @ @ @~@ @ @6 b@@ @ @ @ @ @ @ +‬ومل ﻳﻜﻦ ﰲ ﺷﻌﺮ اﳌﺎزين ﻧﺼﻴﺐ ﻟﻘﺮﻳﻨﺘﻪ‪ ،‬ﻟﻜﻨﻪ ﳌﺎ ﻫﺠﺮ اﻟﺸﻌﺮ ﻛﺎن‬ ‫*&‪·b@@ @ @ E @@ @ @ @ @ / w@@ @ @ @ @ @ @ @ @ @ @ @ @ +&*H b@@ @ @ @ @ @ @ @ @ @ @ c@ @ @ @ 0‬‬ ‫ﻟﻬﺎ ﻣﻦ ﻧرثه أﻛﱪ ﻧﺼﻴﺐ‪ .‬وﻫﻮ ﻣﻊ ﻫﺬا ﻳﻘﻮل ﻋﻦ ﻧﻔﺴﻪ‪ . . .) :‬وﻣﻦ‬ ‫‪eb@@ @ g@ @ @< ¥v@@ @ @ @ @ @ @ @ < ¤@@ @ @ @ @ @ )É@@ @ @D @@ @ @z@ @ @ £@ @ @ DH‬‬

‫ﻣﺘﻨﺎﻗﻀﺎيت أين ﻋﲆ ﺣﻴﺎيئ أراين ﰲ ﻛﺜري ﻣﻦ اﻷﺣﻴﺎن ﺛﻘﻴﻞ اﻟﴫاﺣﺔ(‪.‬‬ ‫أﻣﺎ ﻗﺼﻴﺪة )ﻟﻴﻠﺔ اﻟﺰﻓﺎف( ﻹﺑﺮاﻫﻴﻢ اﻟﻌﺮﻳﺾ‪ ،‬ﻓﻬﻲ ﻗﺼﻴﺪة )ﻣﻦ‬ ‫وﻗﺎل اﻟﺤﺴﻦ ﺑﻦ ﻫﺎﻧﺊ ﻳﺤيك ﻋﻦ زوﺟﺘﻪ‪:‬‬ ‫وراء اﻟﺴﺘﺎر( ﻛام وﺻﻔﻬﺎ‪ ،‬ﻓﻘﺪ ﻓﺼﻞ ﻓﻴﻬﺎ ﺗﻔﺼﻴ ًﻼ ﺧﺘﻤﻪ ﺑﻘﻮﻟﻪ‪:‬‬ ‫ @ @ @ @@¡ *‪¤@@c@ Cx@@E @@ @ 1 b@@ @ g@ £@ + @@ @ E ¤@@ @g@ @ D‬‬‫‪) Ì‬ﻓﻀﻤﻬﺎ ﺷﻮﻗﺎً ﻷﺣﺸﺎﺋﻪ(‪ ..‬واﻷرﺟﺢ أﻧﻪ ﻳﺼﻒ ﺗﺠﺮﺑﺘﻪ اﻟﺸﺨﺼﻴﺔ‬ ‫@‬ ‫@‬ ‫~‬ ‫@‬ ‫@‬ ‫‪z‬‬ ‫@‬ ‫@‬ ‫‬‫@‪ *x‬‬ ‫@‬ ‫@‬ ‫@‬ ‫@‬ ‫@‬ ‫@‬ ‫@‬ ‫‪F‬‬ ‫& ‬ ‫*‬ ‫@‪ b‬‬ ‫@‬ ‫@‬ ‫ ‬ ‫@‬ ‫@‬ ‫< @ @ @@‪£@ @ @ @ < y@@ @ @ Jy‬‬ ‫‪O‬‬ ‫وإﺣﺴﺎﺳﻪ ﰲ اﻟﻠﻴﻠﺔ اﻷوﱃ ﻟﻠﺰواج‪.‬‬ ‫‪42*¡@@ @ @ @ + b@@ @ @ g@ @ @ @ m@ @ @ @ g@ @ ~@ @ 6*H b@@ @ @ @ @D h@@ @ @ @ @ @ A‬‬ ‫‪Ì‬‬ ‫‪O @ @ c@ @ < @@ @ @ @ @Jx@@ @ / ¯ Ix@@ @ @ m@ @ @ A ix@@ @ @ @ @ /‬‬

‫أﻣﺎ ﻣﺮايث اﻟﺰوﺟﺎت ﻓﺈﻧﻪ ﻣﻦ ﺑﺎب اﻟﻐﺰل اﻟﺤﺰﻳﻦ‪.‬‬ ‫ﻗﺎل اﻟﻮزﻳﺮ اﻟﺸﺎﻋﺮ ﻣﺤﻤﺪ ﺑﻦ ﻋﺒﺪ اﳌﻠﻚ اﻟﺰﻳﺎت ﰲ رﺛﺎء زوﺟﺘﻪ‪:‬‬

‫وﺟﺎء ﰲ ﻗﺼﻴﺪة )ﻋﻴﺪ ﻣﻴﻼد ﺳﻌﻴﺪ( ﻟﻠﻌﻮﴈ اﻟﻮﻛﻴﻞ ﻗﺎل ﻓﻴﻬﺎ‪:‬‬

‫‪¤@@ @ @ @ @E&* b@@ @ @ J ¥*¡@@ @ @ @ @ @ @G b@@ @ @ J ¤@@ @ @ @g@ @ @ @ /H5 b@@ @ @ J‬‬ ‫‪b@@ GÄ@@ B i45 ¡@@ @ D É@@ @ @ @ @ ³* · ¡@@ @ @ @ J‬‬ ‫‪2¡@@ @~@ @ {@ @ ¹ b@@ @ @ @ @ @ ~@ @ @ 6 ¢@@ @ @ @ @ @ @ @§ ¤@@ @ c@ @ @ @ @ @B‬‬ ‫‪,v@@ @ @ @ @ 0*H Ì@@ @ @ @= @@ @ Jx@@ @ ~@ @ @{@ @ @< w@@ @ @ @ @E @@ @ @ @E "Ä@O @ @B b@@ @ @D 2*'¡@ @ @ @ @ @ D* Ì@@ @= @@ @ GH h@@ @ @ @ @A‬‬ ‫<@ @ @@‪b@@GÄ@@B @@ @ @/&b@ @A lv@@ @ @ @0&* µ Í@@ @0 ¢‬‬ ‫‪2¡@@ @ @ /¡@@ @ @ E @@ @ @ £@ @ @ @A @@ @ @ @ @ @ @ @ @D* v@@ @ @ @ @ @ @ @ @ @ @EH‬‬ ‫‪Ä@O @~@ |@ D* b@@ @ @ E ¤@@ g@ @D* @@ ~@ @z@ @D* @@ @ @ @ +&* µH‬‬

‫وﻗﺎل ﺟﺮﻳﺮ ﰲ ﻗﺮﻳﻨﺘﻪ‪ :‬اﻟﺘﻲ ﻓﺎرﻗﻬﺎ ﻗﺼﻴﺪة ﻣﻦ أﺟﻤﻞ ﻣﺎﻗﻴﻞ ﰲ‬ ‫رﺛﺎء اﻟﺰوﺟﺎت وﻣﻨﻬﺎ اﻟﺒﻴﺖ اﻟﺸﻬري‪:‬‬ ‫‪4O b@@ @c@ @ @ @ g@ @ ~@ @ 6* ¤@@ @ @ @ /b@@ @ @ @ D $b@@ @ @ £@ @ @ @²* °¡@@ @ @ @ D‬‬ ‫‪4O *y@@ @ @ @ @ J d@@ @ @ £@ @ @ @c@ @ @ @²*H Ä@@ @ @ @ @ B i4y@@ @ @ @ @ @ @ @ DH‬‬

‫واﻟﺸﻌﺮ اﻟﻌﺮيب اﻟﺤﺪﻳﺚ ﻗﴫ ﰲ ﻫﺬا اﻟﺒﺎب‪ .‬وﻫﺎﻫﻢ أوﻻء ﺟﻞ‬ ‫أﻋﻼﻣﻪ اﳌﺘﺰوﺟني‪ :‬اﻟﺒﺎرودي وﺻﱪي وﺷﻮﻗﻲ وﺣﺎﻓﻆ ووﱄ اﻟﺪﻳﻦ‬ ‫واﻟﺰﻫﺎوي وﺷﻜﺮي واﳌﺎزين ﻗﺪ ﺧﻠﺖ دواوﻳﻨﻬﻢ ﻣﻦ ﺷﻌﺮ اﻟﺰواج‬ ‫اﻟﺸﺨﴢ‪ ..‬أﻣﺎ اﻟﺠﻮاﻫﺮي ﻓﺄﻧﺸﺪ ﻣﻦ أﺟﻤﻞ اﻟﻘﺼﺎﺋﺪ ﰲ ﻫﺬا اﻟﺒﻴﺖ‬ ‫ﰲ زوﺟﺘﻪ أم ﻓﺮات وﻣﻨﻬﺎ‪:‬‬ ‫‪v@@ @ @ @ @ @ @ /&* b@@ @ @ @ @ @ @ @ @ @EH ¢@@ @ @ @ @ @ @ @ @ @ @ @ @ @ @D&* b@@ @ @ @ @ @ @ E Ñ‬‬ ‫*&‪v@@ @ c@ @ @C &* ,x@@ @ @ @ @s@ @ @ @ @ ~@ @ @ @ @ 8 w@@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ G‬‬

‫أﻣﺎ اﻟﺒﺎرودي ﻓﻘﺪ ارﺗﺒﻂ ﺑﺰوﺟﺘني ﻣﺮﺗني مل ﺗﻨﺎﻻ ﻣﻦ ﻗﺮﻳﻀﻪ ﺷﻴﺌﺎً‬ ‫ﰲ ﺣﻴﺎﺗﻬام‪ ،‬ومل ﻳﱰﻧﻢ ﺑﺎﻟﺰوﺟﺘني ﺑﻌﺪ ذﻟﻚ‪ .‬وﻟﻜﻨﻪ رىث اﻷوﱃ رﺛﺎ ًء‬ ‫ﻛﺄﻧﻪ ﻏﺰل ﺣﺰﻳﻦ‪ ،‬وﻫﺬه أﺑﻴﺎت ﻣﺠﻤﻮﻋﺔ ﻣﻨﻬﺎ‪:‬‬ ‫‪¥v@@ @J °H 2*'¡@ @ @ @ @ @ @ @ @ @D* v@@ @ @ @ - ¤@@ @g@ @ <¡@@ @D °‬‬ ‫ @ @ @ @ @ @@¡‪¥2b@@ @ @ @ @ @ D* d@@ @ £@ @ @c@ @ @²* 24 ¢@@ @ @ @ @< I‬‬‫@‪ O xN @ @ @ @ @ @ @ @ < ¤@@ @ @ @ @ @ ­ ¥2b‬‬ ‫‪QM @ @ @ @ @ @ @ @ @ @ @< Í@@ @ @ @ @+ @@ @ @ @ @C‬‬ ‫‪"2É@@ @ @ £@ @ @ @´* Pf@ @ @ j@ @ @ Jv@@ @ @0 Í@@ @ @ @ @ +H Kb@ @ @ c@ @ @ @ @ @ 0‬‬ ‫‪¥w@@ @ @D* Ä@@ @ @ @ @D* @@ @ @ c@ @ A @@ £@ @~@ @z@ @F b@@ @ @J x@@ @~@ @ 6‬‬ ‫‪¥2*2HH ¤@@ @g@ @ £@ @ « b@@ @ @ @ @ @ @ @ @ E(°* ¢@@ @ @ @ p@ @ +‬‬

‫وﻗﺎل اﻟﺸﺎﻋﺮ اﻟﺸﻌﺒﻲ ﺣﺴﻦ اﻟﺤﺎج اﳌﻨﺎﻋﻲ ﰲ زوﺟﺘﻪ‪:‬‬ ‫‪¥2Hv@@ ~@ @ 6 h@@ @0b@@ @+H ¤@@ @ @E 4v@@ ~@ @|@ @D* b@@ ~@ @ 9‬‬ ‫‪ x@@~@ {@ @ D d@@ @ @ D* f@@ E¡@@ . h@@ @ @0*4 ¡@@ @ J @@ @E‬‬ ‫‪¥2¡@@ @ <¡@@ @ Db@@ @ + h@@ @ @ @ @ @ @ @1&* ¤@@ @ @ @ @D* Ñ*H °‬‬ ‫‪ x@@~@ 7 @@ @ E ¥b@@ @ @/ b@@ @ @ @ @DH5 ¢@@ @ /x@@ @ -* b@@ @ @ @F*H‬‬ ‫‪¥2Hv@@~@ |@ Db@@+ b@@Gv@@~@ 8 ¡@@ G @@~@ z@ @ D* ¥4v@@ @ E‬‬ ‫‪ x@@ + b@@ @ @D ¥5b@@ @ @ @F 2É@@ @ c@ @ @D* ¢@@ @ @< ¤@@ @ G ¡@@ @ D‬‬ ‫*&‪¥2¡@@ @ @ @ @±* @@ @£@ @ j@ @ /¡@@ @+ b@@ @ @J b@@ @ @ @ g@ @ ~@ @ {@ @ 0H‬‬ ‫‪ x@@ @0 x@@ @p@ @ g@ @ E b@@ @~@ @ z@ @ » ¢@@ @ @ @ < b@@ @ @ @ @ @F&*H‬‬ ‫‪¥2HÄ@@ @ @ @ Db@@ @ @ @ + v@@ @ @ @ @ @ @ @ @J*5H @@ @ @ J¡@@ @ @ : @@ @ @£@ @ @ D‬‬ ‫‪ x@@A b@@ @+ I4*w@@ @ @D* ¡@@~@ 7 * v@@ @ ~@ 7&* b@@ @F&*H‬‬ ‫‪¥2¡@@ @ @J b@@ @ E ¢@@ ~@ @}@ @E ¤@@ @ @ @ D* @@ £@ @D @@ @ < b@@ @ J‬‬ ‫‪ x@@ @A b@@ @ @ @ D @@ @Bx@@ @ @ @ J b@@ @ @E ¤@@ @ @ @ 1 @@ @ @< b@@ @ @ JH‬‬ ‫‪¥2¡@@ ~@ @}@ @ @ @D*H b@@ ~@ @{@ @²* Í@@ @ + b@@ @ ~@ 6 @@ c@ @0‬‬ ‫‪ Ä@@ @D* b@@ @ C @@ -x@@ @ F @@ @E · x@@p@ @ E ¡@@ @+‬‬ ‫<@ @ @ @ @@‪¥2¡@@ @ @ @ @ @ D* ¤@@ @c@ @ ; @@ c@ @~@ @{@ @- b@@ @£@ @ G ¥v‬‬ ‫ @‪ x@@A b@@ @ D 2H5 i*x@@ @ @³* ¢@@ @ < b@@ @ D w@@ 1&b‬‬‫< @ @ @ @@‪¥2¡@@ @ @ @B4 ,w@@ @ @ @D h@@ @ @ @ @<H b@@ @ @ @ @ @ D* h‬‬ ‫‪ x@@~@ 7 h@@ Ax@@ ~@ @7 f@@ @J¡@@ @G h@@ @ @~@ @7 ¡@@ @ @ J @@ @ E‬‬ ‫‪¥2¡@@ @ < Hy@@ @ @ @ @D* @@ @ E b@@ @ @ ~@ 7 °H h@@ @Db@@ @B‬‬ ‫‪ x@@ @0 b@@ @ @ @ @C b@@ @ @ @ <¡@@ @ E2 ¢@@ @~@ @ {@ @ ­* ib@@ @ @ @/‬‬ ‫‪¥2¡@@ @~@ @ z@ @ ²b@@ @+ °H @@ @Eb@@ @ @ @ @ @ + ¤@@ @ @ G °‬‬ ‫*‪ @@ @ @³* ·*H Æ@@ @~@ @ z@ @ D* b@@ @ @£@ @ @ @ @ @J Ñ‬‬ ‫‪¥2¡@@ @ @ < y@@ @ @g@ @ @ G* b@@ @ @ E v@@ @ @ < ¤@@ @ @ @ @+4 ,É@@ @ @~@ @ @ 8‬‬ ‫<@ @ @@‪ x@@ ~@ @{@ @D*H ex@@ @ @ @ @D* v@@ £@ @~@ @6 v@@ @ @¹ ¢‬‬ ‫اﻟﺸﻌﺮ ‪baytelshear‬‬ ‫ﺑﻴﺖ ِ‬

‫‪43‬‬

‫‪ĜšĻŌ‬‬

‫‪ǗǤũōŵǶƊ ǽƳ Ǘǥƃȃōƚǃ ǚŐ ŌǷǜǔƫŐ ǛǿƅǕŌ ǚōƪŴƖǕŌ ŋŌƉƪƖǕŌ LJȂǕǶŐ ǚǷǔǾǔǃ‬‬

‫اﻟﺰوﺟﺔ ﻓﻲ اﻟﺸﻌﺮ‪..‬‬ ‫ﺣﺒﻴﺒﺔ ﻣﺘﻮارﻳﺔ ﺧﻠﻒ اﻟﻤﺸﺎﻋﺮ‬

‫ﻋﻠﻲ اﻟﻤﺴﻌﻮدي‬

‫ﻳﺄﺧﺬ اﻟﻐﺰل ﻣﺴﺎﺣﺔ واﺳﻌﺔ ﺑﻞ ﻫﻲ اﻷوﺳﻊ ﰲ ﻣﺠﺎل اﻟﺸﻌﺮ‬ ‫اﻟﻌﺮيب‪ ،‬وﻳﻌﻄﻲ اﻟﺸﺎﻋﺮ ﰲ اﻟﻐﺰل واﻟﺤﺐ واﻟﻬﻴﺎم واﻟﻮﺟﺪ ﻣﺎﻻ‬ ‫ﻳﻌﻄﻴﻪ ﰲ ﺳﺎﺋﺮ أﻏﺮاض "دﻳﻮان اﻟﻌﺮب"‪.‬‬ ‫وﺑﻴﻨام اﺷﺘﻬﺮت ﺑﻌﺾ اﻟﺤﺒﻴﺒﺎت ﰲ اﻟﺸﻌﺮ ﻣﺜﻞ وﻻدة وﻋﺰة وﻟﻴﲆ‬ ‫وﻋﻨﻴﺰة ﰲ اﻟﻔﺼﻴﺢ‪ ..‬وﻧﻮت وﻗﻮت وﻣﻲ ﰲ اﻟﺸﻌﺮ اﻟﺸﻌﺒﻲ‪ ..‬إﻻ أن‬ ‫ﺑﻘﻴﺔ ﺣﺒﻴﺒﺎت اﻟﺸﻌﺮاء اﺧﺘﻔﺖ أﺳامؤﻫﻦ وﺑﻘني ﻋﺎﳌﺎً ﻣﺠﻬﻮﻻً ﻳﺴري‬ ‫ﰲ ﺑﺤﺮ ﻣﺘﻼﻃﻢ ﻣﻦ اﻟﺸﻌﺮ اﻟﻌﺮيب اﳌﲇء ﺑﺎﻷوﺻﺎف واﻟﺨﻴﺎﻻت‬ ‫واﻟﻠﻮﻋﺎت وﺗﻔﺎﺻﻴﻞ اﻟﺤﺒﻴﺒﺔ رﺳ ًام وﺟﺴ ًام وﺻﻮﺗﺎً وﻗﺎﻣﺔ وﺿﻮءاً‪..‬‬ ‫ﻷﻧﺜﻰ ﻋﺸﻴﻘﺔ أو ﺣﺒﻴﺒﺔ ﺟﺎﻓﻴﺔ‪.‬‬

‫‪42‬‬

‫اﻟﻌﺪد ‪ ، 71‬أﻛﺘﻮﺑﺮ ‪2018‬‬

‫ﻋﲆ اﻟﺠﺎﻧﺐ اﻵﺧﺮ ﺗﻮارت اﻟﺰوﺟﺔ ﻋﻦ ﻫﺬا اﻟﻌﺎمل ومل ﺗﺤﴬ إﻻ‬ ‫ﻧﺎدراً ﻛﻤﻮﺻﻮﻓﺔ ﻣﺤﺒﻮﺑﺔ ﰲ ﻋﺎمل اﻟﺸﻌﺮ‪..‬‬ ‫ﻗﻠﺔ ﻗﻠﻴﻠﺔ أوﻟﺌﻚ اﻟﺸﻌﺮاء اﻟﺸﺠﻌﺎن اﻟﺬﻳﻦ ﻗﺎﻟﻮا ﺷﻌﺮاً ﻏﺰﻟﻴﺎً‬ ‫ﰲ زوﺟﺎﺗﻬﻢ‪ ..‬ووﺻﻮﻓﻬﺎ مبﺎ ﺗﻮﺻﻒ ﺑﻪ اﻟﺤﺒﻴﺒﺔ ﻣﻦ ﺟامل وﺟﻪ‬ ‫ورﺷﺎﻗﺔ ﻗﺪ وﻧﺼﺎﻋﺔ ﺧﺪ وﺗﻨﺎﺳﻖ ﻗﻮام‪ ..‬وﻣﺜﻠﻬﻢ أوﻟﺌﻚ اﻟﺬﻳﻦ ﻋﱪوا‬ ‫ﻟﺰوﺟﺎﺗﻬﻢ ﺷﻌﺮاً مبﺎ ﰲ ﻗﻠﻮﺑﻬﻢ ﻣﻦ ﺣﺐ ووﻟﻪ وﻋﺪم ﻗﺪرة ﻋﲆ‬ ‫اﻟﺤﻴﺎة ﻣﻦ دوﻧﻬﻦ‪..‬‬ ‫وﻻﻧﺪري ﻫﻞ واﺻﻞ ﻋﻨﱰة ﺑﻦ ﺷﺪاد ﻏﺰﻟﻪ ﺑﻌﺒﻠﺔ ﺑﻌﺪ أن ﺗﺰوﺟﻬﺎ‪..‬‬ ‫أم أﻧﻪ اﻛﺘﻔﻰ مبﺸﺎﻋﺮ اﻟﺸﻮق اﻟﻘﺪميﺔ ﻗﺒﻞ اﻻﺟﺘامع؟‬ ‫أﻣﺎ ﻛﻌﺐ ﺑﻦ زﻫري ﻓﺎﻋﱰف أن ﺳﻌﺎد‪ ..‬اﻟﻬﻴﻔﺎء اﻟﺘﻲ ﻓﺎرﻗﺘﻪ وﺗﺮﻛﺖ‬ ‫ﻗﻠﺒﻪ ﻣﺘﺒﻮﻻً ﻫﻲ زوﺟﺘﻪ‪.‬‬

‫اﻟﻤﺤ ّﺒﺔ‬ @@ @ @ 0 ¡@@ @ @£@ @ @ A h@@ @ @Ax@@ @ @< b@@ @ @ E @@ @ c@ @ @0 y@@ @ @ @ @D ·b@@ @ @ @ + @@ @ @c@ @ @ B @@ @ @ @ @p@ @ @+ ¤@@ @ c@ @ @ @ @ @B É@@ @ @ @g@ @ @ @ +* @@ @ @ @ E H d@@ @ @ Gw@@ @ @ E b@@ @ @ @ @ @ D b@@ @ @ @ E @@ @ @c@ @ @ p@ @ @ ´* ·b@@ @ = @@ @ @ @B4b@@ @ @ @A v@@ @ @ @ @ + ·b@@ @ @ @ @ = h@@ @ @ @+wQ @ @ @ @ < @@ @ @ @ @ @ @~@ @z@ @´* *x@@ @ @ @ @ @ @ @ @ @ D* b@@ @ @ @ @ @ @ J* h@@ @ @ @ @ @ @ 0*4 ·b@@ @ £@ @ @³*H x@@ @ m@ @ @G Ì@@ @ @= · ¢@@ @ @ @ + b@@ @ @E @@ @ @ D2 b@@ @ m@ @ @ @ A · v@@ @ @ E ¢@@ @ @ @ @ @ D* @@ @ @ @ £@ @ : ·b@@ @ @ ² ÁÉ@@ @ @ @ @ @ @ @1H b@@ @ @Fx@@ @ @Eb@@ @ @~@ @ @ z@ @ @ - @@ @ @ @ @C @@ @ @¹ ¯ ¤@@ @ B¡@@ @ ~@ @ @7H @@ @B¡@@ @~@ @ {@ @ + ¥42* ·É@@ @ D* v@@ @J5¡@@ @+* ¡@@ ~@ @7 H $b@@ £@ @ < ¡@@ ~@ @7 @@ @ DQ ¡@@ @ -Q * ¤@@ @~@ @ 9b@@ @´* ¢@@ @ @< Ix@@ @ Cw@@ @ D* f@@ @ @ @ E2 ·*y@@ @ @ @- ° ¤@@ @ @ @ £@ @ @ @ A f@@ @ @ @ @ @ E2 @@ @ @ @E *H @@ @ 1 2H @@ @ |@ @ @1x@@ @ J @@ @ @ @ @ @ ³ P * @@ @ @ @ @- ° ·b@@ @ @ - v@@ @ @ 0 °H ·HQ &°* @@ @ g@ @ @ F* @@ @ g@ @ @ F* @@ @ m@ ~@ 6 ¯ d@@ @ -b@@ @ C v@@ @ @ @ @ @ @ @D*H $b@@ @ @ A¡@@ @ @ D* ·b@@ @ @£@ @ @ @ @ @ D* x@@ @ @ @J2b@@ @ @ @ @ @ @ @ E b@@ @ @ FÌ@@ @ @ @ @ @ @- b@@ @ @ @ @E

41

baytelshear ‫اﻟﺸﻌﺮ‬ ِ ‫ﺑﻴﺖ‬

‫ﺧﻤﻴﺲ ﻣﻄﺮ اﻟﻜﺘﺒﻲ‬ @kalketbii1

ĘıĘŕ

‫ﻟﻐﺔ اﻻﺣﺴﺎس‬ ‫ﺣﻤﻮد ﺑﻦ وﻫﻘﻪ‬ @ bn_whga

@@ 6b@@ @ @D* Ì@@ @ @ @ @D ¤@@ @ @ @ D* 4b@@ @ @ @ g@ @ F°* $b@@ ~@ @z@ @E @@E¡@@ @ @ G x@@ @ @ ~@ 8* @@ Q @ @ @ @< @@6b@@ @ @ D* eb@@ @ @ @£@ = @@ 6É@Q @ @ @ ±* ¤@@ @ @c@ @JH v@@ @£@ @ 0H @@ F¡@@ c@ ~@ z@ p@ J @@ @ E¡@@ @ 0y@@ @ E @@6b@@ @ @ D* @@ @ E @@ -x@@ @ @ C*3 ¡@@ @ @ GH @@6b@@ Q @ @1 ¡@@ @ @ E @@ @ ~@ 6*¡@@ @ ~@ 6H @@z@ @ + @@6¡@@ @ ~@ 6¡@@J E¡@ J 4v@@ @ @ @ @ @ J b@@ @E @@ @ @ @ @ @ @J° @@ Dw@@ @ @ D @@6b@@~@ z@ 0°* f@@ @ @ D ¤@@ @ @ @ @ - @@ @7* @@ @ @ J @@ @ F&° @@E¡@@ @ @ @ @ E @@ 6b@@ @ @ @ D f@@ @ @ @ @ D b@@ @ @ @ @ @ @/Æ@@ JH 6b@ ~z@ D* @@ @ E h@@cQ @ @ @G *3* x@@JHb@@ @ ~@ |@ @@E¡@@ @ @ @ @ E Ì@@ @ ~@ |@ - b@@ @ @ @ Ey@@ @D* 4Hx@@ @ @ @ E @@ @E @@6b@@ @ £@ D* @@ @ E v@@D¡@@ @ - ¤@@ @ @D* x@@ @ @ D* d@Q @ p@ @J @@E¡@@ @ ~@ |@ @ E v@@£@ @ @ g@ D* @@ @ @ < ¤@N @ @ @ @ G*H ¤@@ @© @@6b@@~@Q @z@ @ @D* @@ @ £@ <&* h@@ @p@ @- b@@ @ @ @EHv@@ @ B b@@ @ JQ x@@ @@ @ EHv@@ @ B d@@ @ Bx@@ - v@@ @ £@ @ @ 0H @@ @ @ @ @ j@ E ¤@@ @ GH @@6*xQ @ @ @C @@ @ @ @B y@@ Q @ @ @ @/ v@@ @ <¡@@ @ E x@@ @ :b@@³ @@ EHv@@ @ @ @ G @@ @ @ @ @ .Q 4 f@@ @Bb@@ @ @ @ @ @ @F°* È@@ @ @ C @@ @ @ @ EH @@6b@@ @D* ¤@@ @Â ¡@@~@ {@ D*H Ä@@~@|@D* @@6b@@C v@@ @F @@EHy@@ @ < i¡Q @ @ @ @ @ @-H @@g@ @ @ @ @ @£@ ~@ 9 @@ @E ex@@ ~@ @7 6b F $b@@~@ z@ @ @´* eb@@ @ ~@ 8 b@@ E Í@@ D b@@ J x@@ @ ~@ 6 E¡F @@ @ E q@@c@ @ @~@ |@ D* b@@ @ @ B Í@@ D b@@ J x@@ @ ~@ 6 @@6b@@+ ° Ä@Q @ @ ~@ |@ J b@@ @ Ey@@ @ D* ¡@@ @ @ : x@@ @ ~@ 6 E¡@~8 v@@ @ @+ x@@ @ @£@+ Ãb@@ @ ~@ |@ D* Ì@@~@|@E

2018 ‫ أﻛﺘﻮﺑﺮ‬، 71 ‫اﻟﻌﺪد‬

40

‫‪ ƉǾŞLjǕŌ ƃǿŌƊ ſǾƖǕŌ ƩǙōŵ ǓŬǘǿ‬‬ ‫‪ ɐǖȎƒǕŌǶ ǗǔƒǔǕ dzǝǷǂǿŐ‬‬ ‫‪ DzƈōǘƪǕŌ dzǘƦƫ ǣǾƳ ƃƒŴŨũǶ‬‬ ‫‪dzǾǙȎƓȑŌ‬‬ ‫‪ dzƲǾǔƁ ŲƉş ǚőş ǒǷǂǕŌ ōǜǜLjǘǿ‬‬ ‫‪ dzƫǷǘŴǙ Ǜƫ DzƈōŞƫ Ƿǥ ǽşƂ ǽƳ‬‬ ‫‪dzǾƓōǾǂǕŌ ǖōǃƈȏŌ ǛǙ‬‬ ‫ ‪ dzǃƈōƖǕŌ ŝƪǔǙ } ǗƞǝŒ‬‬ ‫‪ dzƫǷƓǷǙ ǻǕŒ } ŧǾLjǿƉLjǔǕ‬‬ ‫‪ ƩŵƉǙ ǗǥŐ ƃƪũ ǽŨǕŌ ƑǾǜǾŵ‬‬ ‫‪ǗǕōƪǕŌ ǽƳ dzǾƓōǾǂǕŌ ǖōǃƈȐǕ‬‬

‫ﻓﻀ ًﻼ ﻋﻦ اﻣﺘﻼﻛﻬﺎ إﺣﺪى أﺿﺨﻢ اﻟﺘﺠﻬﻴﺰات‬ ‫اﻟﻜﻬﺮوﺿﻮﺋﻴﺔ ﰲ ﻣﻨﻄﻘﺔ اﻟﴩق اﻷوﺳﻂ‪.‬‬ ‫‪ǽşƂ ǶƉŨǙ‬‬

‫مبﺴﺎر ﻳﺰﻳﺪ ﻋﲆ ‪ 52‬ﻛﻴﻠﻮﻣﱰاً‪ ،‬ﻳﻌﺪ ﻣﱰو ديب‬ ‫أﻃﻮل ﻣﱰو ﺑﺪون ﺳﺎﺋﻖ ﰲ اﻟﻌﺎمل‪ ،‬وﻫﻮ ﻣﻦ‬ ‫أﺣﺪث أﻧﻈﻤﺔ اﻟﺴﻜﻚ اﻟﺤﺪﻳﺪﻳﺔ ﺑﺨﻄﻴﻪ‬ ‫اﻷﺣﻤﺮ واﻷﺧﴬ‪.‬‬ ‫ﺗﺤﻔﺔ ﻓﻨﻴﺔ ﺗﺘﺰﻳﻦ ﺑﻬﺎ إﻣﺎرة ديب‪ ،‬وﻳﻮﻓﺮ‬ ‫اﳌــﱰو ﻟﺴﻜﺎن ديب ﺑﺎﻗﺔ ﻣﻦ اﻟﺨﺪﻣﺎت‬ ‫اﳌﻤﻴﺰة ﺑﻠﻤﺴﺔ ﻣﻦ اﻟﺮﻓﺎﻫﻴﺔ‪ ،‬ﻣﺜﻞ ﻣﺘﺎﺟﺮ‬ ‫اﻟﺘﺠﺰﺋﺔ و ﺧﺪﻣﺔ اﻹﻧﱰﻧﺖ اﳌﺠﺎين‪ ،‬وأﺟﻬﺰة‬ ‫اﻟﴫاف اﻵﱄ‪ ،‬ﻛام ﻳﻮﻓﺮ ﺳﻬﻮﻟﺔ اﻟﻮﺻﻮل‬ ‫ﻟﺬوي اﻹﻋﺎﻗﺔ‪ ،‬ﻣﺮﺑﻮﻃﺎً ﺑﺸﺒﻜﺔ واﺳﻌﺔ ﻣﻦ‬ ‫اﻟﺤﺎﻓﻼت اﻟﻌﺎﻣﺔ واﻟﱰام‪.‬‬ ‫ﺳﻠﻄﻨﺎ اﻟــﻀــﻮء ﻋــﲆ ﺑﻌﺾ اﳌﻨﺠﺰات‬ ‫اﻟﻌﻤﺮاﻧﻴﺔ اﻟﺘﻲ ﺗﺘﺰﻳﻦ ﺑﻬﺎ اﻹﻣﺎرات وﻛﺎن‬ ‫ﻟﻬﺎ ﺷﺄن ﻛﺒري ﻋﲆ ﻣﺴﺘﻮى اﻟﻌﺎمل‪ ،‬ﻟﻜﻨﻨﺎ إذا‬ ‫ﻣﺎ أردﻧﺎ اﻟﺤﺪﻳﺚ ﻋﻦ اﻷرﻗﺎم اﻟﻘﻴﺎﺳﻴﺔ اﻟﺘﻲ‬ ‫ﺣﻘﻘﺘﻬﺎ اﻟﺪوﻟﺔ ﰲ ﻣﺠﺎﻻت اﻟﻌﻠﻮم واﻟﺘﻌﻠﻴﻢ‬ ‫واﻹدارة واﳌﺒﺎدرات اﻹﻧﺴﺎﻧﻴﺔ وﻏريﻫﺎ ﻣﻦ‬ ‫اﳌﺠﺎﻻت اﳌﺎدﻳﺔ وﻏري اﳌﺎدﻳﺔ‪ ،‬ﳌﺎ اﺳﺘﻄﻌﻨﺎ‬ ‫ﺣﴫﻫﺎ ﰲ ﻛﺘﺎب‪ ،‬وﻟﻮﻗﻔﻨﺎ ﻋﺎﺟﺰﻳﻦ أﻣﺎم‬ ‫ﻣﺎ ﺗﻢ ﺗﺤﻘﻴﻘﻪ‪ ،‬ﺧﺎﺻﺔ وأن دوﻟﺔ اﻹﻣﺎرات‬ ‫اﻟﻌﺮﺑﻴﺔ ﺗﺤﻄﻢ رﻗ ًام ﻗﻴﺎﺳﻴﺎً وﺗﺤﻘﻖ إﻧﺠﺎزاً‬ ‫ﻓﺮﻳﺪاً ﻣﻊ ﻛﻞ ﻣﻄﻠﻊ ﺷﻤﺲ‪.‬‬ ‫اﻟﺸﻌﺮ ‪baytelshear‬‬ ‫ﺑﻴﺖ ِ‬

‫‪39‬‬

‫‪­ĘŐŖŒ ĮľŃ‬‬ ‫ﺑﺪرﺟﺔ ‪ 18‬درﺟﺔ‪.‬‬ ‫وﻳﻀﻢ ﻫﺬا اﻟﺒﻨﺎء واﺣﺪاً ﻣﻦ أﻫﻢ اﻟﻔﻨﺎدق‬ ‫ﰲ اﻟﻌﺎمل وﻫﻮ ﻓﻨﺪق ﺣﻴﺎة ﻛﺎﺑﻴﺘﺎل ﺟﺖ‪.‬‬ ‫‪ŧǾLjǿƉLjǔǕ dzǃƈōƖǕŌ ŝƪǔǙ‬‬

‫اﻧﻀﻢ " ﻣﻠﻌﺐ اﻟﺸﺎرﻗﺔ ﻟﻠﻜﺮﻳﻜﻴﺖ " إﱃ‬ ‫ﻣﻮﺳﻮﻋﺔ ﺟﻴﻨﻴﺲ اﻟﺘﻲ ﺗﻌﺪ أﻫﻢ ﻣﺮﺟﻊ‬ ‫ﻟﻸرﻗﺎم اﻟﻘﻴﺎﺳﻴﺔ ﰲ اﻟﻌﺎمل ﺑﻌﺪ أن وﺻﻞ‬ ‫ﻋﺪد اﳌﺒﺎرﻳﺎت اﻟﺪوﻟﻴﺔ ﰲ اﻟﻴﻮم اﻟﻮاﺣﺪ‬ ‫اﻟﺘﻲ اﺳﺘﻀﺎﻓﻬﺎ إﱃ ‪ 200‬ﻣﺒﺎراة وﻫﻮ ﻣﺎ مل‬ ‫ﻳﺤﻘﻘﻪ أي ﻣﻠﻌﺐ آﺧﺮ‪.‬‬

‫‪ ǒǷǙ ǽşƂ‬‬

‫ﻳﻌﺘﱪ ﻣﻮل ديب أﻛﱪ ﻣﺠﻤﻊ ﺗﺠﺎري ﰲ اﻟﻌﺎمل‬ ‫ﺑﺈﺟامﱄ ﻣﺴﺎﺣﺔ ﺗﺒﻠﻊ ‪ 1124000‬ﻣﱰ ﻣﺮﺑﻊ‪،‬‬ ‫وﻳﻀﻢ أﻛﱪ أﻛﻮارﻳﻮم ﰲ اﻟﻌﺎمل‪ ،‬وأﻛﱪ ﻣﺘﺠﺮ‬ ‫ﺣﻠﻮﻳﺎت ﰲ اﻟﻌﺎمل‪ ،‬وﺣﻘﻖ اﳌﻮل رﻗ ًام ﻗﻴﺎﺳﻴﺎً‬ ‫ﰲ ﻋﺪد اﻟﺰوار ﻛﺄﻛرث ﻣﺮﻛﺰ ﺗﺴﻮق ووﺟﻬﺔ‬ ‫ﺗﺮﻓﻴﻪ ﰲ اﻟﻌﺎمل‪.‬‬

‫‪ƈƃƚǙ dzǜǿƃǙ‬‬

‫ﺗﺄﺳﺴﺖ "ﻣﺪﻳﻨﺔ ﻣﺼﺪر" ﻋــﺎم ‪،2008‬‬ ‫وﺧﺎﺿﺖ رﺣﻠﺔ ﺟﺮﻳﺌﺔ ﻧﺤﻮ ﺗﻄﻮﻳﺮ اﳌﺪﻳﻨﺔ‬ ‫اﻟﺒﻴﺌﻴﺔ اﻷﻛرث اﺳﺘﺪاﻣﺔ ﰲ اﻟﻌﺎمل‪ .‬وﻣﻦ ﺧﻼل‬ ‫اﺳﺘﺜامراﺗﻬﺎ اﻟﺬﻛ ّﻴﺔ‪ ،‬ﺗﺘﺒﻮأ ﻣﺪﻳﻨﺔ "ﻣﺼﺪر"‬ ‫ﻣﺮﺗﺒﺔ اﻟﻄﻠﻴﻌﺔ ﰲ ﺗﻮﻓري ﺑﺼﻤﺔ ﺧﴬاء‬ ‫ﻳﺤﺘﺬى ﺑﻬﺎ ﳌﺪن اﳌﺴﺘﻘﺒﻞ ﻻﺳﺘﻴﻌﺎب‬ ‫اﻟﺘﻮﺳﻊ اﻟﺤﴬي اﻟﴪﻳﻊ وﺧﻔﺾ اﺳﺘﻬﻼك‬ ‫اﻟﻄﺎﻗﺔ واﳌﻴﺎه واﻟﺤﺪ ﻣﻦ اﻟﺘﻠﻮث واﻟﻨﻔﺎﻳﺎت‪.‬‬ ‫وﻳﺠﺴﺪ ﺗﺼﻤﻴﻢ اﳌﺪﻳﻨﺔ ﻣﺰﻳﺠﺎً ﻣﺘﻨﺎﻏ ًام‬ ‫ﺑني ﻓﻨﻮن اﻟﻌامرة اﻟﻌﺮﺑﻴﺔ اﻟﺘﻘﻠﻴﺪﻳﺔ‬ ‫واﻟﺘﻜﻨﻮﻟﻮﺟﻴﺎ اﻟﻌﴫﻳﺔ‪ ،‬ﻛام ﺗﺴﺘﻔﻴﺪ ﻣﻦ‬ ‫ﺣﺮﻛﺔ ﻣﺮور اﻟﻬﻮاء اﳌﻨﻌﺶ ﻓﻴﻬﺎ ﻟﺘﻮﻓري‬ ‫ﺑﺮودة ﻃﺒﻴﻌﻴﺔ ﺗﻀﻤﻦ أﺟﻮا ًء ﻣﺮﻳﺤﺔ ﺧﻼل‬ ‫ارﺗﻔﺎع درﺟﺎت اﻟﺤﺮارة ﺻﻴﻔﺎً‪.‬‬ ‫وﺗﺴﺘﻔﻴﺪ ﻣﺪﻳﻨﺔ "ﻣــﺼــﺪر" ﻣﻦ أﺷﻌﺔ‬ ‫اﻟﺸﻤﺲ أﻳﻀﺎً‪ ،‬ﺣﻴﺚ ﻳﺘﻢ ﺗﻮﻟﻴﺪ اﻟﻄﺎﻗﺔ‬ ‫اﻟﻜﻬﺮﺑﺎﺋﻴﺔ اﻟﻨﻈﻴﻔﺔ ﺑﺎﺳﺘﺨﺪام ﺗﻜﻨﻮﻟﻮﺟﻴﺎ‬ ‫اﻷﻟﻮاح اﻟﺸﻤﺴﻴﺔ اﳌﺜ ّﺒﺘﺔ ﻋﲆ أﺳﻄﺢ اﳌﺒﺎين‪،‬‬

‫‪38‬‬

‫اﻟﻌﺪد ‪ ، 71‬أﻛﺘﻮﺑﺮ ‪2018‬‬

‫‪ 83‬ﻣﱰاً و ﺗﺰن أﻟﻒ ﻃﻦ‪ ،‬ﺻﻤﻤﻬﺎ ﻓﻨﺎﻧﻮن‬ ‫ﻣﻐﺎرﺑﺔ ﺑﺰﺧﺎرف ﻧﺒﺎﺗﻴﺔ وﻣﺰﺧﺮﻓﺔ ﻣﻦ‬ ‫اﻟﺪاﺧﻞ ﺑﺂﻳﺎت ﻗﺮآﻧﻴﺔ ‪ .‬واﻟﻘﺒﺎب ﰲ اﳌﺴﺠﺪ‬ ‫ﻣﻜﺴﻮة ﺟﻤﻴﻌﻬﺎ ﻣﻦ اﻟﺨﺎرج ﺑﺎﻟﺮﺧﺎم‬ ‫اﻷﺑﻴﺾ اﻟﻔﺎﺧﺮ وﻣﻦ اﻟﺪاﺧﻞ ﺑﺎﻟﺰﺧﺎرف‬ ‫اﻟﺮاﺋﻌﺔ‪ .‬وﻳﻮﺟﺪ ﰲ اﳌﺴﺠﺪ أﻛﱪ ﺳﺠﺎدة‬ ‫ﰲ اﻟﻌﺎمل‪ ،‬ﺗﺒﻠﻎ ﻣﺴﺎﺣﺘﻬﺎ ‪ 5‬آﻻف و‪ 70‬ﻣﱰاً‬ ‫ﻣﺮﺑﻌﺎً ﻣﻦ اﻟﺴﺠﺎد اﻟﻴﺪوي اﻟﺬي ﺻﻨﻊ ﰲ‬ ‫إﻳﺮان ﺣﻴﺚ ﻋﻤﻞ ﻋﲆ إﻧﺘﺎج ﺗﻠﻚ اﻟﺴﺠﺎدة‬ ‫‪ 1200‬ﺣﺎﺋﻚ‪.‬‬ ‫ﻛام ﻳﻀﻢ اﻟﺠﺎﻣﻊ ﺳﺖ ﺛﺮﻳﺎت‪ ،‬وﺗﻌﺘﱪ اﻟرثﻳﺎ‬ ‫اﳌﻮﺟﻮدة ﰲ اﻟﻘﺎﻋﺔ اﻟﺮﺋﻴﺴﺔ أﻛﱪ ﺛﺮﻳﺎً ﰲ‬ ‫اﻟﻌﺎمل ﺣﻴﺚ ﻳﺒﻠﻎ ارﺗﻔﺎﻋﻬﺎ ‪ 15‬ﻣﱰاً وﺗﺰن‬ ‫‪ 9.5‬ﻃﻦ‪.‬‬ ‫‪ƃǿŌƊ ſǾƖǕŌ ƩǙōŵ‬‬

‫ميﺜﻞ ﺟﺎﻣﻊ اﻟﺸﻴﺦ زاﻳﺪ اﻟﻜﺒري أﻳﻘﻮﻧﺔ ﻟﻠﺴﻠﻢ‬ ‫واﻟﺴﻼم‪ ،‬وﺗﺘﺠﺴﺪ ﻓﻴﻪ ﻋﻈﻤﺔ اﻟﻌامرة‬ ‫اﻹﺳﻼﻣﻴﺔ‪ ،‬وﻫﺬه اﻟﻌامرة ﺗﺘﺠﺴﺪ ﻣﻦ ﺧﻼل‬ ‫ﻋﺪة أرﻗــﺎم ﻗﻴﺎﺳﻴﺔ ﺣﻘﻘﻬﺎ ﻫﺬا اﳌﻌﻠﻢ‬ ‫اﻟﺤﻀﺎري اﳌﻬﻢ‪ ،‬ﺣﻴﺚ ﺗﻌﺪ اﻟﻘﺒﺔ اﻟﺮﺋﻴﺴﺔ‬ ‫ﻟﻠﻤﺴﺠﺪ أﻛﱪ ﻗﺒﺔ ﰲ اﻟﻌﺎمل وﻳﺒﻠﻎ ارﺗﻔﺎﻋﻬﺎ‬

‫‪dzƲǾǔƁ ŲƉş‬‬

‫ميﻜﻨﻨﺎ اﻟﻘﻮل ﺑﺄن ﺑﺮج ﺧﻠﻴﻔﺔ ﰲ ديب ﻫﻮ‬ ‫ﻋﺒﺎرة ﻋﻦ ﻣﺠﻤﻮﻋﺔ ﻣﻦ اﻷرﻗﺎم اﻟﻘﻴﺎﺳﻴﺔ‪،‬‬ ‫إذ ﻳﺒﻠﻎ ارﺗﻔﺎﻋﻪ ‪ 828‬ﻣﱰاً ﻟﻴﻜﻮن أﻃﻮل ﺑﻨﺎء‬ ‫ﰲ اﻟﻌﺎمل‪ ،‬ﻣﻊ أﻛﱪ ﻋﺪد ﻣﻦ اﻟﻄﻮاﺑﻖ ﻋﲆ‬ ‫ﻣﺴﺘﻮى أﺑﺮاج اﻟﻌﺎمل‪ ،‬ﺣﻴﺚ ﻳﺘﻜﻮن ﻣﻦ ‪163‬‬

‫ﻃﺎﺑﻘﺎً‪ .‬وﻳﻀﻢ اﻟﱪج أﻋﲆ ﴍﻓﺔ ﻣﺮاﻗﺒﺔ ﰲ‬ ‫اﻟﻌﺎمل وﺗﺮﺗﻔﻊ ‪ 556‬ﻣﱰاً‪ ،‬ﺑﺎﻹﺿﺎﻓﺔ إﱃ أﻋﲆ‬ ‫ﻣﺠﻤﻊ ﺷﻘﻖ ﺳﻜﻨﻴﺔ‪ ،‬ﺣﻴﺚ ﺗﻮﺟﺪ اﻟﺸﻘﻖ‬ ‫ﻋﲆ ارﺗﻔﺎع ‪ 385‬ﻣﱰاً‪ ،‬ﻛام ﻳﻌﺪ ﻣﺼﻌﺪ اﻟﱪج‬ ‫أﻋﲆ ﻣﺼﻌﺪ‪ ،‬وﻳﻘﻮم ﻫﺬا اﳌﺼﻌﺪ ﺑﺎﻟﺼﻌﻮد‬ ‫ﳌﺴﺎﻓﺔ ‪ 504‬أﻣﺘﺎر ﰲ اﳌﺮة اﻟﻮﺣﺪة‪ ،‬وﺗﻜﻮن‬ ‫ﴎﻋﺔ ﺣﺮﻛﺘﻪ ‪ 64‬ﻛﻢ ﰲ اﻟﺴﺎﻋﺔ‪ ،‬ﻛام ﻳﻀﻢ‬ ‫اﻟﱪج أﻋﲆ ﻣﻄﻌﻢ ﰲ اﻟﻌﺎمل‪ ،‬وﻳﻘﻊ اﳌﻄﻌﻢ‬ ‫ﰲ اﻟﻄﺎﺑﻖ ‪ 122‬ﻋﲆ ارﺗﻔﺎع ‪ 441‬ﻣﱰاً‪.‬‬ ‫وﻋﲆ ﻣﻘﺮﺑﺔ ﻣﻦ اﻟﱪج ﺗﻘﻊ ﻧﺎﻓﻮرة ديب‬ ‫وﻫﻲ أﻛﱪ ﻧﺎﻓﻮرة اﺳﺘﻌﺮاﺿﻴﺔ ﰲ اﻟﻌﺎمل‪.‬‬ ‫وﻟﻴﺲ ﺑﺒﻌﻴﺪ ﻋﻦ ﺑﺮج ﺧﻠﻴﻔﺔ ﻳﻘﻊ أﻋﲆ‬ ‫أو أﻃﻮل ﻓﻨﺪق ﰲ اﻟﻌﺎمل‪ :‬ﻫﻮ ﻓﻨﺪق ﺟﺎي‬ ‫دﺑﻠﻴﻮ ﻣﺎرﻳﻮت ﻣﺎرﻛﻴﺰ‪ ،‬ﻳﺘﺄﻟﻒ اﻟﻔﻨﺪق ﻣﻦ‬ ‫ﻣﺒﻨﻴني ﺑﻌﻠﻮ ‪ 355‬ﻣﱰاً و‪ 77‬ﻃﺎﺑﻘﺎً‪ ،‬وﻫام‬ ‫اﻷﻋﲆ ﰲ اﻟﻌﺎمل‪.‬‬ ‫‪ dzǘƛōƪǕŌ dzşŌǷş ŧǾŵ ǒōŨǾşōlj‬‬

‫ﻳﻘﻊ ﻫﺬا اﻟﺒﻨﺎء اﳌﻤﻴﺰ ﻋﲆ ﺷﺎرع اﻟﺨﻠﻴﺞ‬ ‫اﻟﻌﺮيب ﺑﺎﻟﻘﺮب ﻣﻦ ﻣﺮﻛﺰ اﳌﻌﺎرض‪ ،‬وﻳﻌﺘﱪ‬ ‫ﻫﺬا اﻟﺒﻨﺎء اﻷﻛرث ﻣﻴ ًﻼ ﰲ اﻟﻌﺎمل‪ ،‬ﺣﻴﺚ ميﻴﻞ‬ ‫اﻟﺸﻌﺮ ‪baytelshear‬‬ ‫ﺑﻴﺖ ِ‬

‫‪37‬‬

‫‪­ĘŐŖŒ ĮľŃ‬‬

‫اﻹﻣﺎرات‪..‬‬

‫ﻛﻨﺰ ﻣﻦ اﻷرﻗﺎم‬ ‫اﻟﻘﻴﺎﺳﻴﺔ‬

‫ﻣﺼﻄﻔﻰ أﺣﻤﺪ‬

‫ﺗﻘﺎس ﻋﻈﻤﺔ اﻷﻣﻢ ﺑﺈﻧﺠﺎزاﺗﻬﺎ وﺑﻨﻴﺘﻬﺎ اﻟﺘﺤﺘﻴﺔ وﺳﻌﺎدة أﺑﻨﺎﺋﻬﺎ‪ ،‬وإذا ﻣﺎ أردﻧﺎ اﻟﺘﺤﺪث ﻋﻦ اﻹﻣﺎرات ﻟﻮﺟﺪﻧﺎ أن إﻧﺠﺎزاﺗﻬﺎ أﻛرث ﻣﻦ أن‬ ‫ﺗﻌﺪ‪ ،‬ﻟﻴﺲ ذﻟﻚ ﻓﺤﺴﺐ‪ ،‬ﺑﻞ إن ﴏوﺣﻬﺎ اﳌﻌامرﻳﺔ أﺻﺒﺤﺖ ﻣﻌﺎمل ﻓﺮﻳﺪة ﻋﲆ ﻣﺴﺘﻮى اﻟﻌﺎمل‪ ،‬ﻣﺤﻄﻤﺔ أرﻗﺎﻣﺎً ﻗﻴﺎﺳﻴﺔ ﻛﺎﻧﺖ ﺻﺎﻣﺪة‬ ‫ﻟﺴﻨﻮات ﻃﻮﻳﻠﺔ‪ ،‬وﰲ ﻫﺬا اﻟﻌﺪد ﺳﻨﺠﻮل ﰲ إﻣﺎرات اﻟﺪوﻟﺔ ﻣﺴﻠﻄني اﻟﻀﻮء ﻋﲆ ﺑﻌﺾ اﳌﻌﺎمل اﳌﻌامرﻳﺔ اﻟﺘﻲ وﺟﺪت ﻟﻨﻔﺴﻬﺎ ﻣﻜﺎﻧﺎً ﰲ‬ ‫ﻛﺘﺐ اﻷرﻗﺎم اﻟﻘﻴﺎﺳﻴﺔ‪:‬‬

‫‪36‬‬

‫اﻟﻌﺪد ‪ ، 71‬أﻛﺘﻮﺑﺮ ‪2018‬‬

‫‪ɰ‬‬ ‫‪ ǖōǙŐ ōƲǾƪƟ ƉƫōƖǕŌ ƉǤƦǿ ōǜǥ‬‬ ‫‪ɰ‬‬ ‫‪ ōŬŽōş ŋōǘƒǕŌ ǻǕŒ ōǤŴŨǙǶ ǖōǿȏŌ‬‬ ‫‪ dzǿŌƃş ǽƳ ǚōlj ōǙƃƪş ūǾƮǕŌ Ǜƫ‬‬ ‫‪ɰ‬‬ ‫‪ɰ‬‬ ‫‪ɰ‬‬ ‫ ‪ ōŬŽōş ƜƈȏŌ‬‬ ‫ ‪ŌƉƳōŽ‬‬ ‫‪ōǿǷǃ DzƃǾƚǂǕŌ‬‬ ‫‪ǢƃƫōƓ DzǷǂş ŋōǘǕŌ Ǜƫ‬‬ ‫‪ ǛǙ ǓǂŨǜŨƓ ǣũƃǾƚǃ ǚŐ Ǘǔƪǿ‬‬ ‫‪ Ǔƚũ ǚŐ ǻǕŒ ƨōǘƓŐ ǻǕŒ ǢŌǷƳŐ‬‬ ‫‪ ųŨǜŨƒǿǶ ɑŜǷŞżǘǕŌ ƩǙōƒǙ ǻǕŒ‬‬ ‫‪ ǒōŽ ōǤǾǝōƪǙ ǒȎƁ ǛǙ ŜǷŞżǘǕŌ‬‬ ‫‪ƉƫōƖǕŌ‬‬

‫ﻳﴫح ﺑﻀﻌﻔﻪ‪ ،‬وﻟﻜﻦ مل‬ ‫ﺑ ّﻴﻨﻬﺎ ﰲ اﻟﻘﺼﻴﺪة ﻓﺘﺤﺖ أﻣﺎﻣﻪ اﳌﺠﺎل يك ّ‬ ‫ﻳﴫح ﺑﺬﻟﻚ ﻣﺨﺎﻃﺒﺎً إﻻ اﻟﺴامء وﻫﻮ ميﺰج ﻣﺎء دﻣﻌﻪ اﳌﺎﻟﺢ مبﺎء‬ ‫اﳌﻄﺮ اﻟﺤﻠﻮ وﻫﻮ ﻳﺪﻋﻮ ﻟﺪار اﳌﺤﺒﻮب ﻻ ﻟﻨﻔﺴﻪ يك ﻳﺤﻔﻆ اﳌﺤﺒﻮب‬ ‫ﻣﻦ اﻟﻀﻴﻖ أو اﻟﻜﺪر اﻟﺬي ﻗﺪ ﻳﺴﺒﺐ ﻓﻴﻪ اﻟﻮﺷﺎة‪ ،‬ﺣﻴﺚ أﺑﺪع ﺑﺘﺸﺒﻴﻪ‬ ‫اﻟﻮﺷﺎة ﺑﺎﻟﺮﻳﺢ أو اﻟﴩﺗﺎ وﻫﺬا اﳌﻌﻨﻰ ﻧﺠﺪه ﰲ " ﻛﻠﻪ ﻣﻦ اﻟﴩﺗﺎ‬ ‫ﻳﻮاﳾ ﺑﻴﻨﻬﻢ" وﻟﻜﻦ ﻻﺑﺪ ﻣﻦ ﻫﻄﻮل اﳌﻄﺮ ﰲ اﻟﻨﻬﺎﻳﺔ وارﺗﻮاء اﻷرض‬ ‫ﻣﻬام زﻋﺰﻋﺖ اﻟﺮﻳﺎح _أي اﻟﻮﺷﺎة_ ﻣﻦ دون ﺟﺪوى‪:‬‬ ‫@ @ @ @ @@‪ @@ @F*¡@@ @C b@@ @ c@ @ @/ @@ @ @E ¥4*w@@ @ @ @ @ @ @ @ D* ¢‬‬‫‪P @@ @ @ Q @ @ @ +O @@ @ @ @B*Ä@@ @ @ @D* 4¡@@ @g@ @ ~@ @ z@ @ E @@ @ @~@ @{@ @ @ @J‬‬ ‫‪b@@ @ @ D* b@@ @ @ < @@~@ {@ C *3(* 2Hv@@ @ @ ³* b@@ @ @+H‬‬ ‫‪¤@@ @ m@ @ J @@ @Jb@@ @ @ @ @ @ D* @@ @ @ @ < b@@ @ @ @ A @M @ @ @ @ @ :‬‬ ‫‪ @@ @ @ £@ + b@@ @ @ E ¤@@ @ @ @ Jb@@ @p@ @ F 4b@@ @ @£@ @ @ 1 ¶(*H‬‬ ‫‪P @@ @ @ J @@ @ Jb@@ @ +x@@ @ D* @@ @ @ @ / @@ @ @< @@ @Jy@@ @Db@@ @+‬‬ ‫‪¥x@@ @:b@@ @1 f@@ @c@ @ @ @ :H ¤@@ @ @£@ @< ¢@@ @ @g@ @ @ @E b@@ @ @J‬‬ ‫‪P Hb@@ @ @ @ g@ @ E ¥w@@ @ @ @ @D* ¤@@ @ @ @ G É@@ @ @/ @@ @ @E b@@ @ @J‬‬ ‫‪ @M @ @ @ @ @ E Í@@ @ @ @ @ @ @ @D* ¡@@ @ @ @ @ J b@@ @ @ @ @D b@@ @ @ Fv@@ @ @ J‬‬ ‫<@ @ @ @ @ @ @@‪P v@@ @ @ @ @ @ < n@@ @ @ @ @A*x@@ @ @ @ @´* o¡@@ @ @ @ @ @ @ @ @ E *Ì‬‬ ‫‪¤@@~@ z@ C ¶(* b@@ @ @ @ ±b@@ @+ ¤@@ @ Gy@@ @ JH ¥x@@ @ @ @ J‬‬ ‫@ ‪P Qv@ @ @ @ @ @ @ @ @ @ E‬‬ ‫‪R @ @ £@ @ @c@ @ @ @ @ @ @ @ @E ·*¡@@ @ @ @ @ @ @ @ 0 yX @ @ @ @ @ @ @ +‬‬ ‫· ‪b@@ @+ *v@@ @0 ¡@@ @ @ D* ¥2b@@ @ 0 @@ @ ~@ 6 @@ E‬‬ ‫‪·¡@@ @ @D* b@@ @ @ @ JH Ì@Q @ @ @~@ @ @ z@ @ @ E* Ì@@ @~@ @ z@ @ ´* @@ @ @ @ J5‬‬ ‫‪b@@ @ @£Q @ @ @ @0 ¤@@ @~@ @ z@ @ CH ¤@@ @ @G °(* @@ @ B¡@@ @ A b@@ @ @E‬‬ ‫‪P @@ @ Q @ @ j@ @ E @@ @ @Jv@@ @ @J ew@@ @ @m@ @ @ J b@@ @ @ E eb@@ @ @ c@ @ @ @GH‬‬ ‫ﰲ ﻫﺬه اﻷﺑﻴﺎت ﻳﺒﺎﴍ اﳌﺎﺟﺪي ﻣﺮة أﺧﺮى وﺻﻔﻪ ﻟﻠﻤﺤﺒﻮب ﺑﻌﺪ أن‬ ‫ﻳﻨﺘﻘﻴﻪ ﻣﻦ ﺑني اﻟﺒﻨﺎت اﻟﺠﻤﻴﻼت وﻣﺤﺒﻮﺑﻪ ﻻ ﻳﻔﻮق ﺑﺎﻟﺠامل ﻓﻘﻂ‬ ‫وإمنﺎ ﺑﺎﳌﻘﺎم أﻳﻀﺎً‪ ،‬ﺣﻴﺚ ﻳﺮﺗﺤﻞ ﻋﲆ ﺧﻴﺎر اﻹﺑﻞ ﻛام ﻳﺮد ﻫﺬا اﳌﻌﻨﻰ‬ ‫ﰲ اﻟﺒﻴﺖ اﻟﺬي ﻳﻘﻮل "ﻳﺪﻧﺎ ﻟﻬﺎ ﻳﻮم ‪ ،"..‬وﻋﲆ أﺟﻤﻞ اﻟﻬﻮادج اﳌﺰﻳﻨﺔ‬ ‫ﻛام ﻳﺮد ﻫﺬا اﳌﻌﻨﻰ ﰲ اﻟﺒﻴﺖ اﻟﺬي ﻳﻘﻮل ﻓﻴﻪ "ﺑ ﱟﺰ ﺣﻮاﱄ ﻣﻨﻜﺒﻴﻪ ‪،"...‬‬

‫وأﺧرياً ﻳﻜﻮن اﳌﺤﺒﻮب مبﻌﻴﺔ أﻗﺮب أﻗﺮﺑﺎﺋﻪ ﻣﻌﺰزاً وﻣﻜﺮﻣﺎً‪ ،‬وﻫﺬه‬ ‫ﻛﻠﻬﺎ دﻻﻻت ﻋﲆ زﻣﻦ ﻛﺎن ﻓﻴﻪ اﻟﺨري واﻟﻨﻌﻤﺔ اﻟﻮاﻓﺮة ﻟﺪى ﺑﻌﺾ ﻣﻦ‬ ‫ﻋﺎﻣﺔ اﻟﻨﺎس‪ ،‬أﻣﺎ ﰲ ﺗﺎﱄ اﻷﺑﻴﺎت ﻓﻴﺸري اﻟﺸﺎﻋﺮ ﻗﺒﻞ اﻟﺨﺘﺎم إﱃ وﺿﻌﻪ‬ ‫اﻟﺤﺎﱄ ﺑﻌﺪ رﺣﻴﻞ اﳌﺤﺒﻮب‪:‬‬ ‫‪b@@g@ ~@ {@ D* *¡@@ @ @ @ @ F&* ib@@ @ @ @ JH *¡@@ @ @ @ F° h@@ @ BxQ @ @ @ @ @ @-H‬‬ ‫‪P ¡Q @ @ @ @ @ @:H 4b@@ @ @ @ @ @ @ @D* @@ @ @ @ E R yQ @ @ @ @ @E @@ @ £@ @ @ @ @ @D*H‬‬ ‫‪ x@@ Jb@@ ~@ @{@ @+ h@@ @ @/ @@ }@ @£@ @ @ @D* É@@ @ @ @< ¢@@ @g@ @ 0‬‬ ‫‪P @@ @ Jb@@ @ : M b@@ @ @ p@ @ @ @+ *¡@@ @ @ @ @ @ @A*4 °H *H4b@@ @ @ @~@ @ @ @ 6‬‬ ‫*( *‪e4b@@ @ @ @ @E d@@ @ £@ @ @ @ @ @´* @@ @ @ E d@@ @ £@ @ @Bx@@ @ D‬‬ ‫‪P @@ @0x@@ @- b@@ @ J*x@@ @ @ @ @D* v@@ @ @ E @@ @ @< Hv@@ @ @ c@ @ @ @D*H‬‬ ‫‪ @@ @G*v@@ @E b@@ @ £@ @ @ @ @ @D* ib@@ @ @ @ @Jy@@ @ + *Hv@@ @ @ @ @ @ @ @ +&*H‬‬ ‫‪P @@ @ @ p@ @ @ C&°* eb@@ @c@ @ ~@ @ {@ @ D* b@@ @ @ Jx@@ @ @ + *¡@@ @ @ @ @ @ @BH‬‬ ‫‪v@@ @ ¹ b@@ @ @ J*Ä@@ @ @ D* Ì@@ @ @1 ¢@@ @ @ @ < *¡@@ @ @ @ @~@ @ @8H‬‬ ‫‪¤@@ @ g@ @ E M2¡@@ @ @ @ @ @< ¡@@ @ @ @ @A MÌ@ @ @ @ @ : rb@@ @ @ @ @F b@@ @ @ E‬‬ ‫وﺑﻌﺪ أن ﻣﴣ ﻋﲆ ﺳﻔﺮ اﳌﺤﺒﻮب ﺷﻬﻮراً ﺗﺤ ّﻮل ﻓﻴﻬﺎ ﻣﻨﺎخ اﻟﺼﻴﻒ‬ ‫ودﺧﻞ اﻟﺸﺘﺎء ﺑﻠﻴﺎﻟﻴﻪ اﻟﻄﻮﻳﻠﺔ واﻟﺜﻘﻴﻠﺔ ﻋﲆ ﻗﻠﺐ اﻟﺸﺎﻋﺮ إﱃ أن‬ ‫ﻋﺎدت أﺷﻬﺮ اﻟﺼﻴﻒ ﺛﺎﻧﻴﺔ‪ ،‬وﺑﺪأت رﺣﻠﺔ اﻟﺒﺪو إﱃ اﻟﻮاﺣﺎت ﻣﺒﺘﻌﺪﻳﻦ‬ ‫ﻋﻦ ﻟﻔﺤﺎت اﻟﻘﻴﻆ واﻟﺤﺮ‪ ،‬ﻧﺠﺪ أن ﻫﺬا اﳌﻨﻈﺮ ﻫﻴﺾ ﻣﺸﺎﻋﺮ اﳌﺎﺟﺪي‬ ‫وﺑﺪأ ﻳﺸﻜﻮ ﻣﻦ ﻃﻮل اﻧﺘﻈﺎره وﺗﺮﻗﺒﻪ ﻟﺮﺟﻮع اﳌﺤﺒﻮب اﻟﺬي زاد ﻏﻴﺎﺑﻪ‬ ‫ﻋﻦ ﺣﻮل ﻛﺎﻣﻞ واﻧﻘﻄﻌﺖ أﺧﺒﺎره ﻋﻨﻪ؛ ﻫﻨﺎ رأى اﻟﺸﺎﻋﺮ أﻧﻪ أوﺷﻚ‬ ‫وﺑني ﻫﺬا اﳌﻌﻨﻰ يك ﻳﺼﻞ إﱃ ﻣﺴﺎﻣﻊ‬ ‫ﻋﲆ اﻟﻬﻼك دون اﳌﺤﺒﻮب‪ّ ،‬‬ ‫اﳌﺤﺒﻮب وﻫﻮ ﻳﻘﻮل" إن اﻟﺮﻗﻴﺐ ﻣﻦ اﳌﻐﻴﺐ ﻣﻘﺎرب" وﻗﺪ ﻳﻜﻮن ﻫﺬا‬ ‫اﻟﴪ اﳌﻬﻢ اﻟﺬي ﻳﴫح ﺑﻪ اﻟﺸﺎﻋﺮ وﻳﻮ ّد أن ﻳﻌﺮﻓﻪ اﳌﺤﺒﻮب ﻓﻠﻴﺲ‬ ‫أﻣﺎم اﻟﺸﺎﻋﺮ إﻻ اﻟﻘﺼﻴﺪة وﻫﻮ ﻳﻌﻠﻢ أن ﻗﺼﻴﺪﺗﻪ ﺳﺘﻨﺘﻘﻞ ﻣﻦ أﻓﻮاه‬ ‫إﱃ أﺳامع إﱃ أن ﺗﺼﻞ إﱃ ﻣﺴﺎﻣﻊ اﳌﺤﺒﻮب؛ وﻳﺴﺘﻨﺘﺞ اﳌﺤﺒﻮب ﻣﻦ‬ ‫ﺧﻼل ﻣﻌﺎﻧﻴﻬﺎ ﺣﺎل اﻟﺸﺎﻋﺮ وﻧﺪاﺋﻪ اﻷﺧري ﻗﺒﻞ أن ﻳﺄﺧﺬ اﻟﻬﺠﺮ ﻣﻨﻪ‬ ‫ﻗﻮة ﺻﱪه وﺗﺤﻤﻠﻪ‪.‬‬ ‫اﻟﺸﻌﺮ ‪baytelshear‬‬ ‫ﺑﻴﺖ ِ‬

‫‪35‬‬

‫ ‪ ĘńĴ şʼn Įı‬‬ ‫ﻋﻘﻞ ﻳﻬﻤﺶ ﺑﺴﺒﺐ ﻓﻘﺮه‪ ،‬واﻟﺸﺎﻋﺮ ﻳﺮﻳﺪ أن ﻳﻀﻊ ﺑﻬﺬه اﻷﺑﻴﺎت‬ ‫ﻣﻨﻌﻪ ﻣﻦ اﺳﺘﻘﺒﺎﻟﻬﻢ‪ ،‬ﻷن ﻣﺎ ﺑني ﻳﺪﻳﻪ ﻗﻠﻴﻞ ﻣﻦ اﳌﺎل" )ص‪:(122‬‬ ‫*( *‪b@@ @ @ @ -b@@ @Bx@@ @E f@@ @c@ @ @ @ ~@ @ 8 @@ @ @Jb@@ @ @ @ @ @ ±‬‬ ‫اﻷﻣﻮر ﰲ ﻧﺼﺎﺑﻬﺎ اﻟﺼﺤﻴﺢ وأن ﻳﺮﻓﻊ ﻣﻦ ﺷﺄن ﻣﻦ ﻳﺴﺘﺤﻖ اﻟﺮﻓﻌﺔ‪ ،‬يك‬ ‫@‬ ‫@‬ ‫‪c‬‬ ‫@‬ ‫@‬ ‫‪F‬‬ ‫@‪v‬‬ ‫@‬ ‫@‬ ‫‪D‬‬ ‫@‪* b‬‬ ‫@‬ ‫@‬ ‫@‬ ‫‪G‬‬ ‫@‪b‬‬ ‫@‬ ‫@‬ ‫@‬ ‫‪B‬‬ ‫@‪4 b‬‬ ‫@‬ ‫ ‬ ‫@‬ ‫@‬ ‫‪g‬‬ ‫@‬ ‫@‬ ‫‪+‬‬ ‫@¡‬ ‫‪@ @ @~@ @8 b@@ @ @E ¡@@ @ @D‬‬ ‫@ ‪P‬‬ ‫ﻻ ﻳﺴﺘﺨﻒ ﺑﺸﺄﻧﻪ وأن ﻳﺤﻂ ﻣﻦ ﺷﺄن ﻣﻦ رﻓﻊ ﺑﺴﺒﺐ ﺧﺎﻃﺊ‪ ،‬يك ﻻ‬ ‫‪b@@ @F2 ¶(* b@@ @ @ @ @ @ D* ¯ Mx@ @ @ @ @ @A x@@ @ @ @ @ @ D*H‬‬ ‫ﻳﻘﺪر دون ﺷﺄن‪:‬‬ ‫@‬ ‫‪J‬‬ ‫@‪x‬‬ ‫@‬ ‫«‬ ‫@‪ b‬‬ ‫@‬ ‫@‬ ‫ ‬ ‫@‬ ‫@‬ ‫ ‬ ‫@‬ ‫@‬ ‫‪D‬‬ ‫(¶ *‬ ‫*‬ ‫@‪ b‬‬ ‫‪@ @ @ @ @ @ D* ¤@@ @ @c@ @J‬‬ ‫@ ‪P‬‬ ‫*‪eb@@ @c@ @ ~@ @ {@ @ D* b@@ @ @ @ @ @ @ JQ 4 4*2 ¤@@ @ @ @ ~@ @ z@ @ J Ñ‬‬ ‫‪ @@ @ @~@ @ @ 6*4 ¤@@ @ @ @ @ @ JHv@@ @ @ @ @ @ D @@ @ @ Ax@@ @ @ J b@@ @ @ @ @ @ @ @ ´*H‬‬ ‫‪¤@@ @ @ D* @@ @ @ @ 6H4 b@@ @ @ @ Fb@@ @A¡@@ @: Mf@ @ @ Fy@@ @ @E @@ @ @E‬‬ ‫@‬ ‫@‬ ‫ ‬ ‫@‬ ‫@‬ ‫ ‬ ‫@‬ ‫@‬ ‫‪g‬‬ ‫@‬ ‫@‬ ‫´‬ ‫@‪* ¢‬‬ ‫@‬ ‫@‬ ‫‪g‬‬ ‫@‬ ‫@‬ ‫ ‬ ‫@‬ ‫@‬ ‫‪D‬‬ ‫@‪b‬‬ ‫@‬ ‫@‬ ‫‪+‬‬ ‫@‪ ¤‬‬ ‫@‬ ‫@‬ ‫‪c‬‬ ‫@‬ ‫‪@ @ @ J x@@ @ @ @ @ @ @ @ @ D*H‬‬ ‫@ ‪P‬‬ ‫‪b@@ @ @ @ @ @ /H5H Hy@@ @ @ @ @ @ @´* b@@ @ Gb@@ @ ~@ @ @6*x@@ @ - h@@ @ @-b@@ @ @+‬‬ ‫‪i4¡@@ £@ @~@ @7 @@ @ @ G*4v@@ @ @ D* ¶¡@@ @ @ - ¡@@ @ D y@@ @ @ @ @ @ D*H‬‬ ‫‪ @@ @ @m@ @J H v@@ @ @ @ @ @ @Jb@@ @ @ + b@@ @ @ @ @£@ @ @ @ @ @< M 54‬‬ ‫@‬ ‫@‬ ‫@‬ ‫ ‬ ‫@‬ ‫@‬ ‫@‬ ‫´‬ ‫@ *‬ ‫@‬ ‫@‬ ‫@‬ ‫@‬ ‫@‬ ‫‪J‬‬ ‫@‪H Hx‬‬ ‫@‬ ‫@‬ ‫@‬ ‫@‬ ‫@‬ ‫@‬ ‫‪B‬‬ ‫@‪ b‬‬ ‫‪@ @ @ @ @ J b@@ @ @ @ @ @ @ @ JH‬‬ ‫@‪P y‬‬ ‫‪b@@ @ @c@ @ @ @D b@@ @ @ @ @ @ @ @E 4v@@ @ @ @ @ @ @ @ @ @ D*H M,4b@@ @ @ @c@ @ @ @ ~@ @ @ @ 8‬‬ ‫‪b@@ @ Eb@@ ­ i*y@@ @ /b@@ @ @ @ @ D* b@@ @£@ @ ~@ @ 7° 4b@@ @ @ £@ @ @ 1*H‬‬ ‫ @ @‪ @@ @ @ @ - ¡@@ @ @ @ Ev@@ @ @ @ D* *x@@ @ @ @ @ @ @ @ :*H q@@ @~@ @ z‬‬‫@‬ ‫@‬ ‫@‬ ‫‪E‬‬ ‫@‪b‬‬ ‫@‬ ‫@‬ ‫@‬ ‫@ ¸‬ ‫@‬ ‫@‬ ‫‪£‬‬ ‫@‬ ‫@‬ ‫ ‬ ‫@‬ ‫@‬ ‫<‬ ‫@‪ b‬‬ ‫@‬ ‫@‬ ‫@‬ ‫‪E‬‬ ‫ ‬ ‫@ ‬ ‫@‬ ‫@‬ ‫@‬ ‫@ ‪P‬‬ ‫‪R‬‬ ‫‪M @ @ @ ; x@@ @ @ @ @ @ @ @D*H‬‬ ‫‪ @@ @ @ £@ + ¤@@ @ ~@ @ @7*¡@@ @ J b@@ @-x@@ @~@ @ {@ @ D* @@ @ @E @@ @ @ @ C‬‬ ‫‪P @@ @p@ @ » 2*H @@ @ @ @C b@@ @ @ Gb@@ @ @ § h@@ @ @ @ @ @ ~@ @ @ 6*H‬‬ ‫وأﺿﺎف إﱃ ﻣﻌﺎﻧﺎة اﻟﺸﺎﻋﺮ ﺗﺪﺧﻞ اﻟﺴﻔﻬﺎء ﰲ اﳌﻮﺿﻮع وﻳﺼﻔﻬﻢ ‪É@@ ´* f@@~@ }@ Jb@@A *4v@@ @ @ @ @ D* b@@ @ @+ h@@ p@ @~@ @9*H‬‬ ‫اﻟﺸﺎﻋﺮ ﻫﻨﺎ ﰲ واﺣﺪ ﻣﻦ أﺷﻬﺮ أﺑﻴﺎﺗﻪ ﺑـ "اﻟﺪﻧﺒﻞ" وﻫﻮ اﻟﻜﺒﺶ‬ ‫‪ @@ ~@ @7¡@@ ´* eb@@ @p@ @ ~@ @ z@ @ D* b@@ @ @ @ @G 2H5 @@ @ @E‬‬ ‫اﻟﺴﻤني اﻟﺬي ﻻ ﻳﺴﺘﻄﻴﻊ أن ﻳﺮﺗﻘﻲ اﻟﻘﻤﻢ‪ ،‬وﻫﻮ ﺗﺸﺒﻴﻪ ﻟﻠﺸﺨﺺ‬ ‫اﻟﻐﻨﻲ اﻟﺬي ﻳﻔﺘﻘﺮ إﱃ اﻟﺮأي اﻟﺼﺎﺋﺐ ﺑﺎﻟﺮﻏﻢ ﻣﻦ إن اﻟﻨﺎس ﻳﻠﺠﺄون ﻫﻨﺎ ﻳﻈﻬﺮ اﻟﺸﺎﻋﺮ ﺿﻌﻴﻔﺎً أﻣﺎم اﻷﻳﺎم وﻣﺘﺠﻬﺎ إﱃ اﻟﺴامء ﺑﺎﺣﺜﺎً ﻋﻦ‬ ‫إﻟﻴﻪ اﺣﱰاﻣﺎ ﳌﺎﻟﻪ وﻟﻴﺲ ﻟﻌﻘﻠﻪ‪ ،‬ﻛام أﺷﺎر إﱃ ﻫﺬا اﳌﻌﻨﻰ ﰲ "واﻟﻌﻨﺰ اﻟﻐﻴﺚ ﺑﻌﺪﻣﺎ ﻛﺎن ﰲ ﺑﺪاﻳﺔ اﻟﻘﺼﻴﺪة ﻗﻮﻳﺎً ﺣﺎﻓﺮاً اﻷرض ﺑﺎﺣﺜﺎً ﻋﻦ‬ ‫ﻟﻮ ﺗﻮﱃ اﻟﺪراﻫﻢ ﺷﻴﻮرت" وﻫﺬا اﻷﻣﺮ ﻳﺴﺒﺐ ﻇﻠام ﻓﺎدﺣﺎ ﻟﻜﻞ راﺟﺢ اﳌﺎء ﺑﻘﻮة ﺳﺎﻋﺪه‪ ،‬وﻗﺪ ﺗﻜﻮن اﳌﻌﺎين اﻟﺘﻲ أوردﻫﺎ وأوﺿﺎﻋﻪ اﻟﺘﻲ‬

‫‪34‬‬

‫اﻟﻌﺪد ‪ ، 71‬أﻛﺘﻮﺑﺮ ‪2018‬‬

‫وﻣﺆﺛﺮ‪:‬‬ ‫*‪ @@ 0É@@ C @@ £@ @ @ @ < d@@ @ /¡@@ @ - b@@ @ @E @@ @£@ @ ~@ @ }@ @ D‬‬ ‫‪·¡Q @ @ @ @ E @@ £@ @ @ @ < ¡@@ @ @G @@ @£@ @ ~@@Q@}@ @ J ¤@@ @ @ @ @ @ D*H‬‬ ‫‪ @@ @ @E*Qv@ @ @ B b@@ @ @ § ¥4v@@ @ @ @ @ J b@@ @ @ E @@ @ £@ @ ~@ @ }@ @ D*H‬‬ ‫· < @ @ @@‪P y@@ @ @ @ ´* ¤@@ @ @ @<*4 h@@ @ @ @ @F&*H ¤@@ ~@ @8b@@ F 2b‬‬ ‫‪b@@~@ 9x@@D* ¢@@ @ @< 4¡@@ £@ @ @ @Db@@ + @@g@ £@ ~@ |@ F @@ @ £@ D‬‬ ‫‪P ¡@@ @ @ @ @E b@@ @ ~@ @ @{@ @ @< b@@ @ @ @ £@ @ E ¡@@ @ @ @ DH Ä@@ @~@ @ |@ @ J‬‬ ‫‪x@@~@ 9b@@p@ + @@ @£@ @ © * °(* xQ @ @ @ @g@ @~@ @z@ @J b@@ @ @E‬‬ ‫‪P @@ @ @ g@ ~@ z@ J ¤@@ @m@ @ J v@@ @ @B b@@ @ @E ¢@@ @ @ @ < ¢@@ @g@ @ 0‬‬ ‫ﰲ ﻫﺬه اﻷﺑﻴﺎت ﻳﺴﻬﺐ اﻟﺸﺎﻋﺮ ﰲ وﺻﻒ ﺣﺎﻟﺔ اﻟﻀﻴﻒ واﳌﺴﺆوﻟﻴﺔ‬ ‫اﻟﻜﺒرية اﳌﻠﻘﺎة ﻋﲆ ﻋﺎﺗﻖ اﳌﻀﻴﻒ‪ ،‬وﻫﺬا ﻳﺆﻛﺪ ﻋﲆ اﻻﻫﺘامم ﺑﺎﻷﻗﻮال‬ ‫ومت ّﻌﻦ أﺛﺮﻫﺎ ﻋﲆ اﻵﺧﺮﻳﻦ ﻛام أﴍﻧﺎ ﺳﺎﺑﻘﺎً‪ ،‬وﻟﻜﻦ ﻣﻦ ﻧﺎﺣﻴﺔ أﺧﺮى‬ ‫ﻓﺈن اﻟﺸﺎﻋﺮ ﻳﺸري إﱃ أﻧﻪ ﻗﺪ ﻗﺎل ﻣﺎ ﻳﺮﻳﺪ أن ﻳﻘﻮﻟﻪ‪ ،‬وﺟﺎء اﻵن‬ ‫دور اﳌﺤﺒﻮب ﰲ اﻟﺮد ﻷﻧﻪ اﻟﻀﻴﻒ وﻻ ﻳﺪري ﻣﺎ ﺗﺨﺒﺊ ﻟﻪ اﻷﻳﺎم ﻣﻦ‬ ‫أﺣﺪاث وﻣﺼﺎﺋﺮ‪ ،‬ﻛام ﻫﻮ ﺣﺎل اﻟﻀﻴﻒ اﻟﺬي ﻻ ﻳﻌﻠﻢ ﻣﺎ ﺳﻴﻘﺪم ﻟﻪ‬ ‫اﳌﻀﻴﻒ‪ ،‬وﻳﺘﻌ ّﻤﻖ ﰲ ﻫﺬا اﻟﺘﺸﺒﻴﻪ ﺣﻴﻨام ﻳﺼﻮر اﻟﻀﻴﻒ ﻣﺘﺄﺧﺮاً ﰲ‬ ‫اﻟﻮﺻﻮل ﺣﻴﺚ وﺻﻞ ﰲ وﻗﺖ "اﻟﻬﻴﻮر" وﻗﺪ ﻓﺎﺗﻪ وﻗﺖ اﻟﻐﺪاء وأﻣﺎﻣﻪ‬ ‫وﻗﺖ ﻃﻮﻳﻞ ﻟﻠﻌﺸﺎء وﻫﻮ ﻣﺤﺮج ﺟﺪاً ﰲ ﻃﻠﺐ اﻟﻄﻌﺎم ﻣﺎ ﻳﺠﻌﻞ‬ ‫اﻟﺼﱪ أﻣﺮاً ﻣﺘﻌﺒﺎً ﺑﺎﻟﻨﺴﺒﺔ إﻟﻴﻪ ﻛﻀﻴﻒ‪ ،‬وﻗﺪ ﻳﻜﻮن ﻫﺬا ﺣﺎل اﻟﺸﺎﻋﺮ‬ ‫ﺑﻌﺪ أن أراد اﻟﺘﻘﺪم إﱃ اﳌﺤﺒﻮب‪ ،‬وﻟﻜﻦ ﺣﺎل أﻣﺮ أدى إﱃ ﺗﺄﺟﻴﻞ‬ ‫ﻣﻮﺿﻮﻋﻪ ‪-‬ورﺣﻴﻞ اﳌﺤﺒﻮب ﻋﻨﻪ ﻛام ﺳﻴﺄيت ﰲ ﺗﺎﱄ اﻷﺑﻴﺎت ‪ -‬وأﺻﺒﺢ‬ ‫اﻟﺼﱪ اﻟﻄﻮﻳﻞ رﻣﺰاً ﻟﻠﻤﻌﺎﻧﺎة واﻟﺘﻌﺐ واﳌﺤﻨﺔ وﻳﻮرد اﻟﺸﺎﻋﺮ ﺳﺎمل‬ ‫أﺑﻮﺟﻤﻬﻮر ﰲ ﻛﺘﺎﺑﻪ "أﻣﺎﺛﻴﻞ اﳌﺎﺟﺪي ﺑﻦ ﻇﺎﻫﺮ" رواﻳﺔ ﺷﻌﺒﻴﺔ ﰲ‬

‫‪ ǛǾǂǔŨǘǕŌ ǖōǤƳŐ ǻǕŒ ǣǕŌǷǃőş ųǔǿ ǽlj ǼƃŵōǘǕŌ‬‬ ‫‪DzƉǾŬlj ŦōǾşőş LJǕƄ ǓŞǃ ǒōŴǘǕŌ ȁǾǤǿ‬‬ ‫‪ ǣƒƲǝ ƉƫōƖǕŌ ǣŞƖǿ ŦŌƈōǾƀǕŌ Ǣƅǥ ǛǾş‬‬ ‫‪ ǚŐ ǒŌǷŽȏŌ Ǔlj ǽƳ ǣǾǔƫ ŝŴǿ ǼƅǕŌ ƱǾƞǘǕōş‬‬ ‫‪ɰ‬‬ ‫‪ɰ‬‬ ‫ ‪ dzǾǔƒũ Ǜƫ ŧljōƓ ƉǾƯ ōŭƃżŨǙǶ‬‬ ‫‪ōƗǷƖş ǚǷLjǿ‬‬ ‫‪ǣş ǣǙōǘŨǥŌ ƈōǤƧŒǶ ǣƲǾƟ‬‬

‫‪ɰ‬‬ ‫‪ɰ‬‬ ‫ ‪ Ǔǂƫ ŻŵŌƈ ǓLjǕ ōŽƂōƳ‬‬ ‫‪ōǘǔƧ ŝރǿ ƉǙȏŌ Ōƅǥ‬‬ ‫‪ Ʃƞǿ ǚŐ ƃǿƉǿ ƉƫōƖǕŌǶ ɐǢƉǂƳ ŝރş ƕǘǤǿ‬‬ ‫‪ŻǾżƚǕŌ ōǤşōƚǝ ǽƳ ƈǷǙȏŌ ŦōǾşȏŌ ǢƅǤş‬‬

‫ﻫﺬه اﻷﺑﻴﺎت وﻳﻘﻮل‪":‬ﻳﻘﺎل إن اﺑﻦ ﻇﺎﻫﺮ ﻗﺪ أﺗﺎه ﺿﻴﻮف ﻻ ﺿﻴﻒ‬ ‫واﺣﺪ‪ ،‬ﻓﺴﺄﻟﻮه ﻋﻦ اﺑﻦ ﻇﺎﻫﺮ‪ ،‬ﻓﺄﺷﺎر إﱃ ﺑﻴﺖ اﺑﻦ ﻋﻤﻪ اﻟﺬي ﻳﺪﻋﻰ‬ ‫أﻳﻀﺎً اﺑﻦ ﻇﺎﻫﺮ‪ ،‬وﻣﺎ ﻛﺎن ﻛﺎذﺑﺎً ﰲ ذﻟﻚ‪ ،‬ﺑﻞ ﻫﻮ ﻋﻠﻢ أﻧﻪ اﳌﻘﺼﻮد‪،‬‬ ‫وﻟﻜﻦ ﻟﻌﺪم ﻣﻘﺪرﺗﻪ ﻋﲆ اﺳﺘﻀﺎﻓﺘﻬﻢ ﺗﺨﻠﺺ ﻣﻦ اﺳﺘﻀﺎﻓﺘﻬﻢ ﺗﺨﻠﺼﺎً‬ ‫ﻇﺮﻳﻔﺎً‪ ،‬ﻓﺬﻫﺒﻮا إﱃ ﺑﻴﺖ اﺑﻦ ﻋﻤﻪ اﻟﺬي اﺳﺘﻀﺎﻓﻬﻢ‪ ،‬وﻟﻜﻨﻬﻢ ﻓﻮﺟﺌﻮا‬ ‫ﺑﻌﺪ ذﻟﻚ ﺑﺄن اﻟﺬي د ّﻟﻬﻢ إﱃ ﺑﻴﺖ اﳌﻀﻴﻒ ﻫﻮ اﻟﺸﺎﻋﺮ‪ ،‬واﳌﻀﻴﻒ‬ ‫ﻫﻮ اﺑﻦ ﻋﻤﻪ‪ ،‬وﻋﻨﺪﻣﺎ ﺣﴬ اﻟﺸﺎﻋﺮ اﺑﻦ ﻇﺎﻫﺮ ﻋﺎﺗﺒﻮه ﺑﺄﺑﻴﺎت ﻣﻦ‬ ‫ﺑﺄﺑﻴﺎت ﻣﻦ اﻟﺸﻌﺮ ﺗ ّﱪر ﺗﴫﻓﻪ‪ ،‬وﻫﻮ أن اﻟﻔﻘﺮ‬ ‫اﻟﺸﻌﺮ‪ ،‬ﻓﺮد ﻋﻠﻴﻬﻢ‬ ‫ٍ‬

‫اﻟﺸﻌﺮ ‪baytelshear‬‬ ‫ﺑﻴﺖ ِ‬

‫‪33‬‬

‫ ‪ ĘńĴ şʼn Įı‬‬

‫اﻟﻤﺎﺟﺪي ﺑﻦ ﻇﺎﻫﺮ‬ ‫‪ dzżǾƚǜǕŌǶ dzǘLjżǕŌ ǛǾş‬‬ ‫‪ŜǷŞżǘǕŌ ŋōǂǕǶ‬‬ ‫ﻣﺤﻤﺪ ﻧﻮر اﻟﺪﻳﻦ‬

‫‪ ¢@@ @ + ¤@@ @ @ @ D* ¥v@@ @ @/b@@ @ @´* @@ £@ @ @ @ @ @D* ¡@@ @ @ @ J‬‬ ‫‪P @@ @ m@ @ @<&°b@@ @ + b@@ @ @ @ @ @ + ¤@@ @ @ @ @ <b@@ ~@ @ z@ @ J M v@@ @ @ @ @ @+‬‬ ‫‪fM @ @ @ J2b@@ @ @ = @@ @ @ @E @@ @ @ £@ @ @ ±* v@@ @ @ @ @ + h@@ @ @ +x@@ @ @ :‬‬ ‫‪P Hv@@ @ @ @ @ ±* É@@ @ @ @ 1 b@@ @ @Gb@@ @ @E Mf@ @ A¡@@ @~@ @ {@ @ @ @ E‬‬

‫ﻫﻲ ﻗﺼﻴﺪة ﻣﻦ اﻟﻘﺼﺎﺋﺪ اﳌﻌﺮوﻓﺔ ﻟﻠﺸﺎﻋﺮ اﻹﻣﺎرايت اﻟﻜﺒري اﳌﺎﺟﺪي‬ ‫ﺑﻦ ﻇﺎﻫﺮ ﻳﺒﺪأ ﻓﻴﻬﺎ ﺑﺘﺸﺒﻴﻪ إﻧﺸﺎد اﻟﻘﺼﻴﺪة ﺑﺤﻔﺮ ﺑﱤ ووﺻﻮﻟﻪ إﱃ‬ ‫اﳌﺎء‪ ،‬وﻳﻌﺮج ﰲ أﺑﻴﺎت ﻻﺣﻘﺔ إﱃ ﻣﻘﺎﺑﻠﺔ اﳌﺤﺒﻮب ﰲ وﻗﺖ ذﻫﺎﺑﻪ‬ ‫ﻟﻠﱰوي – اﺣﻀﺎر اﳌﺎء ﻣﻦ اﻟﺒﱤ ﻟﺴﺪ اﺣﺘﻴﺎﺟﺎت اﳌﻨﺰل‪-‬؛ وﺑﻌﺪ ذﻟﻚ‬ ‫ﻳﻔﺘﺢ ﺑﺎﺑﺎً ﻣﻦ أﺑﻮاب اﻟﺤﻜﻤﺔ وﻳﻨﺼﺢ اﳌﺮأة ﺑﺎﺗﺒﺎع ﻣﺸﻮرة اﻟﺮﺟﺎل‪،‬‬ ‫ﻟﻜﻦ ﺑﻌﺪ أن أﺳﻬﺐ ﰲ وﺻﻒ اﳌﺤﺒﻮب وﻣﺪﺣﻪ يك ﻳﻬﻴﺊ اﳌﺠﺎل‬ ‫ﻟﺘﻘﺒﻞ اﻟﺤﻜﻤﺔ واﻟﻨﺼﻴﺤﺔ‪ ،‬وﻫﻮ أﻳﻀﺎ أﺳﻠﻮب ﻻﺳﺘﻌﺪاد اﳌﺘﻠﻘﻲ‬ ‫وﻟﻴﺲ اﳌﺤﺒﻮب ﻓﻘﻂ ﻟﺘﻘﺒﻞ اﻟﻨﺼﺢ‪ ،‬ﻓﺎﻹﻧﺴﺎن ﻋﺎدة ﻣﺎ ﻳﻘﺎوم أﻣﺎم‬ ‫اﻷواﻣﺮ ﺑﺤﻴﻞ دﻓﺎﻋﻴﺔ ﻣﺘﻨﻮﻋﺔ ﺑﺎﻟﺮﻏﻢ ﻣﻦ أن اﻟﻨﺎﺻﺢ ﻻ ﻳﺼﺪر أواﻣﺮ‬ ‫ﺑﻞ ﻳﺪﻋﻮ إﱃ ﻃﺮﻳﻖ اﻟﺼﻼح واﻹﺻﻼح‪ .‬واﳌﺎﺟﺪي يك ﻳﻠﺞ ﺑﺄﻗﻮاﻟﻪ إﱃ‬ ‫أﻓﻬﺎم اﳌﺘﻠﻘني ﻳﻬﻴﺊ اﳌﺠﺎل ﻗﺒﻞ ذﻟﻚ ﺑﺄﺑﻴﺎت ﻛﺜرية ﻛام ﺟﺮى اﻷﻣﺮ ﰲ‬ ‫ﻫﺬه اﻟﻘﺼﻴﺪة ﺑﻌﺪ أﻛرث ﻣﻦ ﺛﻼﺛني ﺑﻴﺘﺎً ﻟﻴﻘﻮل ﺑﻌﺪﻫﺎ‪:‬‬ ‫‪I2x@@ @ D* @@ @C @@ @< b@@ ~@ @|@ @JR ° @@ 9x@@ @ @D*H‬‬ ‫‪P @@ B *3(* Í@@ c@ @ Fb@@ ±* ¤@@ ~@ @9b@@ E @@£@ ~@ z@ Db@@C‬‬ ‫‪ @@ @ @ Bb@@ F @@ @ @ @+ b@@ @ @ @ @ G5 b@@ @ @ @E ·*¡@@ @ @ @ @ @ J b@@ @ @ E¡@@ @ @ D‬‬ ‫‪¤@@ @ 0 *3(* ¡@@ @ £@ @ @ @ @ @D* v@@ @ Gy@@ @ g@ @ @A °(*H‬‬ ‫*(‪É@@ @ ´* Í@@ @ @ @+ b@@ @ @ @E 4b@@ @ @ @ @ @ @ @ @ @ F&°* ¢@@ @ @ @ @< °‬‬ ‫‪P @@ @ @ @ @ @ @ /4&°* ¥&b@ @ @ @ @ @ @+ ¥4v@@ @ @ @ @ @ J b@@ @ @ @ @A °(*H‬‬

‫ﺣني ﻳﺘﺠﲆ وﻳﻬﺘﺰ أﻣﺎم اﻟﻌﻴﺎن‪ ،‬ﻓﺈن ﻫﺬا اﻟﺴﻴﻒ ﻳﺤﺘﺎج إﱃ ﻏﻤﺪ‬ ‫ﺷﺨﺺ‬ ‫ﻳﺤﺎﻓﻆ ﻋﻠﻴﻪ وميﻨﻊ ﻋﻨﻪ اﻟﺼﺪأ‪ ،‬أي أن اﻟﺴﻴﻒ ﻳﺤﺘﺎج إﱃ‬ ‫ٍ‬ ‫وﺷﺨﺺ ﻳﺴﺘﺨﺪﻣﻪ ﺑﺎﻟﻄﺮﻳﻘﺔ اﳌﺜﲆ‪ ،‬أي رﺟﻞ ﻣﻜﺘﻤﻞ اﻟﻌﻘﻞ‬ ‫ﻳﻬﺘﻢ ﺑﻪ‬ ‫ٍ‬ ‫واﻟﺸﺨﺼﻴﺔ وﻫﻲ دﻻﻟﺔ ﻋﲆ ﺧﺮوج اﳌﺮأة مبﻌﻴﺔ ﻣﻦ ﻳﻌﺰ ﻣﻦ ﺷﺄﻧﻬﺎ‬ ‫وﻳﺤﻔﻆ ﻛﺮاﻣﺘﻬﺎ‪ ،‬وﻻ أﻇﻦ أن ﻫﺬه اﻟﻨﺼﻴﺤﺔ ﺗﺄيت اﻋﺘﺒﺎﻃﺎً ﻟﻠﻤﺤﺒﻮب‪،‬‬ ‫وأﻏﻠﺐ اﻟﻈﻦ أن اﻟﺸﺎﻋﺮ ﻳﺮﻳﺪ اﻟﻘﻮل إن ارﺗﺒﺎط اﳌﺤﺒﻮب ﺑﻪ ﺳريﻓﻊ‬ ‫ﻣﻦ ﺷﺄﻧﻪ‪ ،‬ﻷﻧﻪ ﺣﻜﻴﻢ ﻳﻜﻦ ﻟﻪ ﺟﻤﻴﻊ اﻟﻨﺎس اﻻﺣﱰام واﻟﺘﻘﺪﻳﺮ‪ ،‬وإذ‬ ‫مل ﻳﺸﺄ اﻟﺸﺎﻋﺮ أن ميﺪح ﻧﻔﺴﻪ ﰲ اﻟﻘﺼﻴﺪة‪ ،‬ﻧﺠﺪه ﻳﻠﺠﺄ إﱃ اﺳﺘﺨﺪام‬ ‫ﻏﺮض اﻟﻨﺼﺢ ﻟﻴﺪرج ﻫﺬه اﳌﻌﺎين اﻟﺴﺎﻣﻴﺔ؛ وﻗﺪ ﻳﻜﻮن اﻟﺠﺰء اﻟﺘﺎﱄ‬ ‫أﺻﺪق دﻟﻴﻞ ﻋﲆ ﻫﺬا اﳌﻌﻨﻰ‪:‬‬ ‫‪ 2b@@ @ @ @ AH h@@ @£@ @ @ @ < ° H h@@ @ @0v@@ @ @E *3(*H‬‬ ‫‪P @@ @ @ @ @g@ @+ @@ @ £@ @ C 2b@@ @ @ @ < H É@@ @ @ @ @ ´* b@@ @ @~@ @ @ 9‬‬ ‫‪ @@ Bb@@ @ @+ h@@ @ Fb@@ @ E ix@@ @ ~@ @ @ 8 h@@ @ @ @ »3 *3(*H‬‬ ‫‪¤@@ @ g@ » @@M @}@ @ £@ @ = É@@ @ @ @ @ @J(* h@@ @ @~@ @6 ¶(*H‬‬ ‫‪¥w@@ @D* @@ @/¡@@ @D* @@ @E Ì@@ @ @ 1&* @Q @ {@ @c@ @´* @@ @ /H‬‬ ‫‪P v@@ @ @ @ @= M Hv@@ @ @ @ @ @ @ = @@M @ @ 9b@@ @ @ Q @ @ @ + @@ £@ @~@ @}@ @ @ @D‬‬

‫ﻓﻔﻲ ﻫﺬه اﻷﺑﻴﺎت ﻳﺆﻛﺪ اﻟﺸﺎﻋﺮ أﻧﻪ ﻻﺑﺪ ﻟﻪ أن ﻳﻌﺮف ﺑﻨﻔﺴﻪ ﺑﺄﻓﻀﻞ‬ ‫أﺳﻠﻮب أي أﻻ ﻳﺘﺨﺬ أﺳﻠﻮب اﳌﺎدح ﻟﻨﻔﺴﻪ يك ﻻ ﻳﻼم ﻋﲆ ﻏﺮوره‪،‬‬ ‫وأﻻ ﻳﺬم اﻵﺧﺮﻳﻦ يك ﻳﺘﻬﻢ ﺑﻌﺪم رﺟﺎﺣﺔ اﻟﻌﻘﻞ‪ ،‬وأﻻ ﻳﺴﻜﺖ يك‬ ‫ﻳﻬﻀﻢ ﺣﻖ أو ُﺗﺨﻔﻰ ﺣﻘﻴﻘﺔ ﻣﻦ اﻟﺤﻘﺎﺋﻖ‪ ،‬وﺑني ﻫﺬه اﻟﺨﻴﺎرات ﻳﺸﺒﻪ‬ ‫اﻟﺸﺎﻋﺮ ﻧﻔﺴﻪ ﺑﺎﳌﻀﻴﻒ اﻟﺬي ﻳﺠﺐ ﻋﻠﻴﻪ ﰲ ﻛﻞ اﻷﺣﻮال أن ﻳﻜﻮن‬ ‫ﺑﺸﻮﺷﺎً وﻣﺘﺤﺪﺛﺎً ﻏري ﺳﺎﻛﺖ ﻋﻦ ﺗﺴﻠﻴﺔ ﺿﻴﻔﻪ وإﻇﻬﺎر اﻫﺘامﻣﻪ ﺑﻪ‪،‬‬ ‫وﻫﻲ إﺷﺎرة إﱃ أن اﳌﺘﺤ ّﺪث ﻳﺴﺘﻀﻴﻒ اﳌﺴﺘﻤﻌني ﰲ ﻣﺠﻠﺲ أﻗﻮاﻟﻪ‬ ‫وﻳﻘﺪم ﻟﻬﻢ أﺟﻤﻞ وأﻓﻀﻞ ﻣﺎ ﻟﺪﻳﻪ‪ .‬وﻫﺬه دﻻﻟﺔ واﺿﺤﺔ ﻋﲆ اﻫﺘامم‬ ‫ﺗﺤﺼﻦ اﻟﺸﺎﻋﺮ ﺑﺎﳌﺨﺎﻃﺐ وﻣﻌﺮﻓﺘﻪ ﺑﺤﺴﺎﺳﻴﺔ اﺳﺘﻘﺒﺎل اﻟﺤﺪﻳﺚ‪ ،‬ﻟﺬﻟﻚ ﻳﻬﺘﻢ‬ ‫ﰲ اﻟﺒﺪء ﻳﺪﻋﻮ اﳌﺎﺟﺪي إﱃ اﻟﺤﺸﻤﺔ واﻟﺤﺠﺎب ﻣﻦ ﺧﻼل ّ‬ ‫اﻟﻨﺴﺎء ﺑﺎﻟﺮﺟﺎل وﻳﺸﺒﻪ ذﻟﻚ ﺑﺎﻟﺴﻴﻒ اﳌﺼﻘﻮل اﻟﱪاق ﻣﻦ اﻟﺠﺎﻧﺒني ﺟﺪاً ﺑﺎﻟﻜﻠامت اﻟﺼﺎدرة ﻋﻨﻪ يك ﺗﺼﻞ إﱃ اﳌﺘﻠﻘﻲ ﺑﺸﻜﻞ ﺻﺤﻴﺢ‬

‫‪32‬‬

‫اﻟﻌﺪد ‪ ، 71‬أﻛﺘﻮﺑﺮ ‪2018‬‬

‫ﻧﺺ اﻟﻤﺮاﺟﻞ‬ ex@@ @ - @@ j@ @ ´* ¡@@ @ B ¢@@ @ < @@ @/*x@@ @´* @@|@ F @@0b@@c@~@|@ PE 4¡@@ @F ¤@@ @ @/4&* h@@c@ @ - d@@0b@@~@ 8b@@J ex@@ @- @@~@ 6&É@ D @@~@z@ @~@7H ¥4v@@ @+ h@@B¡@@D* Q @Ey@@D* 4Nv@ @ @ P= ¥4v@@ @E @@ 0*4 ¥¡@ @ 1 °*H @ N ex@@~@ {@ EN b@@ @Gx@@ @EO ·b@@ £@ @ @ @ D*H @@ @ +P h@@ @ JxQ @ @ EN @@0*x@@/ b@@ @ @ +42 ¯ @@~@ z@ g@ @ F ¤@@ @ @-v@@ Gb@@ <H exN @ @B* h@@£@ @+ ¡@@ DH v@@£@ @+ @@~@Q @z@ 0* ¡@@ £@ @D*H @@0É@@E* ,¡@@ @ =H @@£@p@´* h@@ @~@8 @@£@ @ /&* ex@@ @ @ @ @-%*H @@£@ @ £@ < ¤@@ @ @ @/&* ,Ì@@ @c@ @ C Ñ*H @@0b@@J4 ¤@@+ @@~@|@ @- @@Ey@@D* h@@Cx@@- @@g@£@D ePx@ @ @ @J ¢@@ @ N @ @ @GN ° 2*v@@ @ @ @ E *x@@ @ @ J @@g@ £@ / Q @ @ @ @ @ @J @@ @ 0*xQ @ @ @~@ @ @7 Q @ @ @ @ @ @ BP @@ @ @ @ Q @ @ @ @ @ @ @ @ @ @J 4X 2O y@ ex@@ @ /&°* @@ B*¡@@ D* q@@~@ }@ @ D @@ Ax@@ 0 i4w@@ @ @FP @@0b@@~@z@­ ¡@@ Ev@@ + @@<v@@s@ J @@ Ey@@ D* b@@ £Q @ @< ex@@~@}@E @@j@ @ @D q@@c@~@|@J Í@@ D @@ @AP yP @ @ F* b@@ @ +&* @@ 0b@@ J4 @@ ~@ @|@ @ @ @-H @@ £@ @g@ @ @ @D* @@ @ @/H Q @ @ @ @ J ex@@ @ EO x@@ @-H @@ E o¡@@ @ = ¡@@ Gb@@ E x@@ @ ~@ {@ D*H @@0b@@E4 ¤@@ @ @ E*2H rHx@@ @ @ ±* @@ @ /H x@@ @ ~@ {@ D* eÈ@@J h@@0¡Q @ D H v£~| D* ~|F h@@£@ Q @~@N @6 @@ 0b@@ Q @ @: v@@ @m@ @ @ @ @ @ D Mf@ @ @ @ @ @ EO @@ @ + x@@ @ P @ @ @ -P

31

baytelshear ‫اﻟﺸﻌﺮ‬ ِ ‫ﺑﻴﺖ‬

‫ﻋﻮض ﺑﻦ ﺣﺎﺳﻮم اﻟﺪرﻣﻜﻲ‬ @AwadAldarmaki

ĘıĘŕ

‫زﺣﻤﺔ اﻟﺘﻔﻜﻴﺮ‬ ‫ﻓﻬﺪ ﻏﺮاب اﻟﻤﺮي‬ @ fagalmarri

Ì= @@Eb@@ @E ¥Ì@@ @~@9 ¯ 2b@@ < H ¤ cg+ D ¤@@ 0H4 H ¤@@c@ @B H ¤@@ @ @< b@@ F*H ¤@@ @c@- H Ì~| gD* ¢@@ @< ¤@@ @£@DH b@@J K*4w@@ @< H ¤@@ @£@DH @@ @£@~@8*¡@@E @@< ¤@@g@ @£@~@7 ¤@@ @ -v@@0 @@E ¶(* Ì@@~@z@ @- b@@ @ D b@@ E b@@ @ ~@ }@ @ + @@ @B*¡@@ @´* &* ¡@@ D @@ @£@ @« H x@@ @ @A H @@F¡@@£@ < d@@ @ g@ - É@@ A Ì@@ @J 2*¡@@ @ @ @ D* @@ @C @@ @J4b@@ @: ¤@@ @+ x@@ @E ¶&* D ¥x@@ ~@ @6&* H @@6b@@ @ D* @@ E ¤@@ @Jx@@~@z@J @@ @ CH Ì gD* f@@ @05 ¯ h@@ @~@|@D* e¡@@ @ @D* e*w@@ < @@ @£@G*v@@E v@@Gb@@~@{@- ¤@@ @ D* ¡@@£@ @ D* e*w@@ @< H Ìc gD* @@E g E ¤@@ @D* v£~| D* e*w@@ <H £~8b¹ h@@ @B ¡@@ J @@E I¡@@ @ D* e*w@@ @<H Ìs+ v@@B 6b D* @@E p~}J @@E @@C É@@A D ¤@@ @~@{@J 2b@@ @< b@@ E *¡@@ @ ~@ 7 @@ @ B @@ @ F&* ¡@@ D Ì@@£@ @g@D* @@ E ¢@@ @ c@ - h@@ @ F*H ·b@@ £@ @ D* 4Hv@@ @ @@ @Jv@@c@- h@@ B¡@@ D* @@ E · ¥4b@@ @ : e¡@@ @G °H Ì@@.&b@ g@ D*H @@ @~@{@D* 42b@@ @F @@+b@@£@ = * ¡@@ ~@ @7&* @@ @ J2¡@@E iÉ@@ @ J2¡@@ @ ´* Í@@ @+ 4v@@ @ F b@@ @E @@ j@ @E x@@Jv@@ @ - @@ @ DH Iv@@ c@ @E ¤@@c@ @ B ¯ h@@ @ D5 É@@ A D ¤@@ <*x@@ - ¤@@ @ £@ <H @@ + @@z@ /¡@@ @ J ¤@@c@ @ BH

2018 ‫ أﻛﺘﻮﺑﺮ‬، 71 ‫اﻟﻌﺪد‬

30

o*x@@ ~@R@ 6 ¤@@ g@ @F&b@ @ @ @AN ¤@@ <4P b@@ ~@ @ 6 b@@ £Q @ @G v@@m@ @ @ D f@@Ây@@ @ @ @+ @@ {@ @£@ @ @ @J 4¡@@ @ @ @ @F @@ @c@ @ - ° @@ @ @E ob@@ <5(* $*v@@ @ <&* @@E b@@/ ¡@@D ¤@@ @ @ @- H f@@ Âv@@ B ,2b@@ @ @ @ @< 2¡@@ @ @ @ ~@ @ 6 %° x@@ @~@ @ |@ @ @ @ D* @saeed_tumeishan

‫ﺳﻌﻴﺪ ﺑﻦ ﻃﻤﻴﺸﺎن‬

*x@@ @ @ @ D* @@ @ Db@@ @ ½* ¶(* v@@ @ @ @J*5 v@@ @ @< @@ @ E f@@ @ Cx@@ @ +R v@@ @ @ @ @ @ @< b@@ @ @ @ @D f@@ @ @J2¡@@ @ @ @ @ @ ~@ @ @ z@ @ @ D*H b@@ @ @ @ @ @ ´b@@ @ @+ ¡@@ @ @ @D f@@ @ @ @ @ @ @ @ @ @ @´* @@ @ z@ @ @ Âb@@ @ E f@@ @ @ @ @ @ @ ´* @@ @ @z@ @ @ Â b@@ @ @ @ E @@ @c@ @ @ @ ~@ @ 7 @@ @ @z@ @ @ E *y@@ @ @ @0 b@@ @ @ @ @ 0 @@ @ @ @ @ @ @DH 42 b@@ @ @ @ @ D @@ @ @ @G @@ @ C4v@@ @ F $¡@@ @ ~@ @ @z@ @ @D* @@ @ @ @ @C4v@@ @ J ° @@ @ c@ @ B @lazarooni

‫أﺣﻤﺪ اﻟﺰرﻋﻮﻧﻲ‬

b@@ @ @ ~@ 6 b@@ @£@ @ <H b@@ @ @ ~@ 6 $b@@ ~@ @z@ @E v@@ @ ~@ z@ J @@ @ @+*4w@@ @ @D*H @@ @ @ @ @/x@@ @ ´*H x@@ @s@ @ @ @ D* @@ @ @ @ G* b@@~@z@0°* 2É@@ +H b@@~@ z@ 0°* $b@@~@z@E v@@ @~@z@JH @@ @ +b@@ @ 0x@@ @ D*H v@@ @ Jb@@ @ ~@ @ 6 @@ @ @£@ @ @ @~@ @z@ @D* @@ @ @ @JH b@@ @ °*H @@ @ Jx@@~@ {@ D* @@6b@@~@ 6 ¤@@ @0H @@c@ @ E @@ +b@@ p@ ~@ |@ D*H ¤@@ @c@ @ @ @ D* b@@ @ @£@ @A b@@ @ @ @+4 M4*2

‫ﻣﺼﺒﺢ اﻟﻜﻌﺒﻲ‬

@MusabehBinAli

@@~@6b@@FH @@Ey@@0 @@~@{@ @FH @@+*x@@- @@~@{@ @F @@£@ @c@E d@@£@ @ D*H ¢@@ @A¡@@ @D*H v@@ @ @D* ¢@@ @ < @@~@ 6*4 ¤@@ @p@ @J b@@ E @@ @ < b@@ J @@~@z@B @@~@z@ @F @@J2¡@@ @ ~@ 6 @@ J2¡@@ @ ~@ z@ D* ¢@@ @ c@ - @@ @ /* @@ @E @kamaialkutbi

29

‫ﺑﻴﺖ اﻟ ِﺸ‬ ‫ﻟﺸ‬ ‫ﺑﻴﺖ‬ baytellshhear ‫اﻟﺸﻌﻌﺮ‬ baytelshear

‫ﺧﻤﻴﺲ ﺑﻦ ﺑﻠﻴﺸﻪ‬

ĬŠĮŇĞ

ŦŌƈōǙȑŌ ŋŌƉƪƗ 88 ȌǕŌ ōǥƃǾƫ ǽƳ dzLjǔǘǘǕōş ǚǷƲŨżǿ

*y@@ @ @ p@ @ @ @D*H b@@Fv@@ @ @ @ @~@ 6 4¡@@ @ @ @ @ F ¡@@ @ @ @ @ 1* 4*2 v@@£@ @~@}@ @< ,v@@~@ {@ @ @Db@@ @ +H f@@ @ @ ~@ z@ @ + rx@@ @ @ @Db@@ @ + *x@@ @ @ @²* h@@ £@ @c@ @ @ @D d@@ @ @ @²* Q @ @ @ @ @ 0 *2 v@@ @ @ @ @ @ @J4HH @@}@ @ @ c@ @ @ F @@ @ @ @ @ @ @ @ @ @D b@@ @ @ @ @ @ @ C @Bent555Almur

‫ﺣﻤﺪة اﻟﻤﺮ‬

@@ £@ @ @ @ @ @ D* v@@ @ @ @ m@ @ @ @ ´*H y@@ @ @ @ @ @ @ @D ¤@@ @ @ <4b@@ @ @ ~@ @ @ @6 @@ @ C4v@@ @ J @@ @ @ @ j@ @ E v@@ @m@ @ @ @ @ @ D ¢@@ @ @ @ ~@ @ 6 @@ @ @ E Ãx@@ @ C Md@@ @ @ @ ~@ @ 7 @@ @ @ E 2¡@@ @ @ @ @ D* É@@ @ @~@ @ @ 6 @@ @ @ D @@ @ @ @ @ @ @ @ @ D b@@ @ @ @ @ A¡@@ @ @ @ @ D* i*4b@@ @ @ @ @ @ @ @ @ @ @ @ @ @ E(* @@ @ @ @ @ E @theyab_poet

‫ذﻳﺎب ﻏﺎﻧﻢ اﻟﻤﺰروﻋﻲ‬ 20018 2018 1 ‫أﻛﺘﻮﺑﺮ‬ ‫ﻛﺘﻮﺑﺮ‬ ‫ أﻛﻛﺘﺘﻮﺑ‬، 71 ‫اﻟﻌﺪد‬

28

‫ ‪ ­ĘğľōŘ‬‬

‫ﻗﻠﻖ »دو ﺑﻮﺗﻮن«‬

‫ﺻﻔﻴﺔ اﻟﺸﺤﻲ‬

‫‪@safiaalshehi‬‬

‫اﳌﻮﻗﻊ اﻟﻘﺎﻧﻮين واﳌﻬﻨﻲ ﻟﻸﺷﺨﺎص ﰲ ﻣﺠﺘﻤﻌﺎﺗﻬﻢ واﳌﻜﺎﻧﺔ اﻟﺘﻲ متﻨﺢ ﻟﻬﻢ وﻓﻖ اﻋﺘﺒﺎرات ﻣﻌﻴﻨﺔ ﺗﺘﺒﺎﻳﻦ ﻟﺘﻘﺪﻳﺮات ﻗﺪ‬ ‫ﺗﺮﺗﺒﻂ ﺑﺎﻟﻘﻮة اﻟﺒﺪﻧﻴﺔ أو وﻓﺮة اﳌﺎل أو اﻻﺗﻘﺎن اﻟﺤﺮﰲ‪ ،‬واﻟﻘﺪرة اﻻﺳﺘﺜﻨﺎﺋﻴﺔ اﻟﺘﻲ ميﺘﻠﻜﻬﺎ ﻫﺬا اﻟﻨﻮع ﻣﻦ اﻟﻘﻠﻖ اﻟﺬي‬ ‫ﺗﻔﺮزه اﻷﻣﻮر اﻵﻧﻔﺔ اﻟﺬﻛﺮ واﳌﻌﺮوف ﺑﻘﻠﻖ اﳌﻜﺎﻧﺔ ﻫﻲ أﻟﻌﺎب ذﻫﻨﻴﺔ ﻳﺠﻴﺪ ﺣﺒﻜﻬﺎ ﻓﻴﻠﺴﻮف اﻟﺤﻴﺎة اﻟﻴﻮﻣﻴﺔ آﻻن دو‬ ‫ﺑﻮﺗﻮن ﺑﻔﻄﻨﺔ وﻇﺮف ﻣﺴﺘﻄﻠﻌﺎً ﺗﺎرﻳﺨﻨﺎ اﻻﺟﺘامﻋﻲ ﰲ إﺣﺎﻻت ﻣﺮﺣﺔ إﱃ اﻷدب واﻟﻔﻠﺴﻔﺔ اﻟﻌﻈﻴﻤﺔ اﻟﺘﻲ ﺗﻔﺘﻖ ﻋﻨﻬﺎ‬ ‫ذﻫﻦ اﻟﺒﴩﻳﺔ ﻋﲆ ﻣﺪار ﻗﺮون‪.‬‬ ‫اﻟﺴﺆال اﻟﺠﻮﻫﺮي ﻳﺘﻌﻠﻖ ﺑﺎﻟﻘﻠﻖ اﻟﺬي ﻳﺸﻌﺮ ﺑﻪ اﳌﺮء إزاء اﻟﺘﺼﻨﻴﻒ واﻟﻄﺒﻘﺔ واﳌﻜﺎﻧﺔ‪ ،‬وﻳﻨﻄﻠﻖ ﻣﻦ ﻓﻜﺮة اﻟﺤﺐ ﰲ ﺣﻴﺎة‬ ‫اﻷﺷﺨﺎص‪ ،‬واﻟﺬي ﻳﻨﻘﺴﻢ إﱃ ﻗﺼﺘني اﻷوﱃ اﻟﻌﺎﻃﻔﻴﺔ اﳌﺤﺘﻔﻰ ﺑﻬﺎ اﺟﺘامﻋﻴﺎً‪ ،‬واﻟﺜﺎﻧﻴﺔ ﺣﺐ اﻟﻨﺎس ﻟﻨﺎ وﻫﻲ اﳌﺨﺠﻠﺔ واﻷﺷﺪ‬ ‫ﴎﻳﺔ واﻟﺘﻲ ﻻ ﺗﻘﻞ ﺗﻌﻘﻴﺪاً أو أﻫﻤﻴﺔ ﻋﻦ اﻷوﱃ‪.‬‬ ‫)أن ﻧﻜﻮن ﺗﺤﺖ أﻧﻈﺎر اﻵﺧﺮﻳﻦ( ﻛام ﻳﻘﻮل آدم ﺳﻤﻴﺚ ﰲ ﻧﻈﺮﻳﺔ " اﳌﺸﺎﻋﺮ اﻷﺧﻼﻗﻴﺔ " ﻟﻬﻲ ﻣﺰﻳﺔ ﻧﺴﺘﻤﺪﻫﺎ ﻣﻦ ﻇﺮوﻓﻨﺎ‬ ‫اﻟﺘﻲ ﻧﺴﻌﻰ ﻟﺘﺤﺴﻴﻨﻬﺎ ﻋﲆ اﻟﺪوام ﻻ ﻟﺘﻮﻓري ﴐورات اﻟﻄﺒﻴﻌﺔ إذ أن أﺟﺮ ﻋﺎﻣﻞ ﻳﺪوي ﻳﻜﻔﻲ ﻟﺘﺤﻘﻴﻖ ذﻟﻚ‪ ،‬وإمنﺎ ﻟﺘﺘﻢ‬ ‫ﻣﻼﺣﻈﺘﻨﺎ واﻟﺘﻌﺎﻃﻒ ﻣﻌﻨﺎ‪ ،‬واﻟﻔﻜﺮة ﻣﻦ وراء ذﻟﻚ ﻻ ﺗﻜﻤﻦ ﰲ ﻣﺮاﻛﻤﺔ اﳌﺎل وإمنﺎ اﻻﺳﺘﺤﺴﺎن ﻣﻦ اﻵﺧﺮ‪ ،‬أﻻ ﻳﻌﻜﺲ‬ ‫ذﻟﻚ ﻛﻢ ﻧﺤﻦ ﺟﻮﻋﻰ ﻋﺎﻃﻔﻴﺎً ﻟﻠﻤﻨﺰﻟﺔ اﻟﺴﺎﻣﻴﺔ ﺣﺘﻰ ﻟﻮ ﻛﺎن ذﻟﻚ ﻣﻘﺎﺑﻞ أرﻗﺎم وﻫﻤﻴﺔ – ﻛام ﻳﺤﺪث ﻟﻨﺎ اﻵن ﰲ ﺷﺒﻜﺎت‬ ‫اﻟﺘﻮاﺻﻞ اﻻﺟﺘامﻋﻲ – وﻳﻌﺪ ﻫﺬا اﻻﻫﺘامم ﴐورﻳﺎً ﻷﻧﻨﺎ ﻣﺒﺘﻠﻮن ﻛام ﻳﻘﻮل دو ﺑﻮﺗﻮن "ﺑﺎﻧﻌﺪام اﻟﻴﻘني ﻧﺤﻮ ﻗﻴﻤﺘﻨﺎ اﻟﺨﺎﺻﺔ‬ ‫" ﻣﺎ ﻳﺴﻤﺢ ﻟﺘﻘﻴﻴﻢ اﻵﺧﺮﻳﻦ ﻟﻨﺎ ﺑﺄن ﻳﻠﻌﺐ دوراً ﺣﺎﺳ ًام ﰲ اﻟﻄﺮﻳﻘﺔ اﻟﺘﻲ ﻧﺮى ﺑﻬﺎ أﻧﻔﺴﻨﺎ‪.‬‬ ‫اﻟﻐﻄﺮﺳﺔ ﻫﻲ ﺳﺒﺐ آﺧﺮ ﻟﻬﺬا اﻟﻘﻠﻖ‪ ،‬ﻛام أﻧﻬﺎ ﻣﺒﻨﻴﺔ ﻋﲆ اﻟﺘﻤﻴﻴﺰ اﻟﻄﺒﻘﻲ ﻓﺮمبﺎ ﻧﺘﺤﲆ ﺑﺎﻟﺤﻜﻤﺔ واﻟﺬﻛﺎء واﻟﺠامل‬ ‫اﻟﺪاﺧﲇ إن ﺷﺌﺘﻢ‪ ،‬ﻟﻜﻦ ﻳﺒﺪو أن ذﻟﻚ ﻻ ﻳﻜﻔﻲ إذا مل ﻧﻨﻞ ﻋﻼﻣﺎت ﻣﻌﱰف ﺑﻬﺎ اﺟﺘامﻋﻴﺎً وﺳﻮف ﻳﺒﻘﻰ وﺟﻮدﻧﺎ ﺑﻼ ﻗﻴﻤﺔ‬ ‫ﰲ ﻧﻈﺮ اﻵﺧﺮﻳﻦ "اﳌﺘﻐﻄﺮﺳني" اﻟﺬي ﻳﻘﺘﴫ اﻫﺘامﻣﻬﻢ ﻋﲆ اﻟﺼﻴﺖ واﳌﻨﺠﺰ اﻟﺬي ﻳﺆﺛﺮ ﰲ ﻗﻮاﺋﻢ أﺻﺪﻗﺎﺋﻪ‪ .‬ﰲ ﻋﺎم ‪1848‬‬ ‫وﻫﻮ اﻟﻌﺎم اﻟﺬي ﻧﴩ ﻓﻴﻪ ﻛﺘﺎب " اﳌﺘﻐﻄﺮﺳﻮن " ﻃﺮح ﺗﺴﺎؤل ﻋﻦ اﻟﻜﻴﻔﻴﺔ اﻟﺘﻲ ميﻜﻦ أن ﻳﺘﺨﻠﺺ ﻓﻴﻬﺎ اﳌﺮء ﻣﻦ اﻟﻨﻔﺎق‬ ‫اﻻﺟﺘامﻋﻲ إذا ﻛﺎن ﻫﺬا اﻟﻠﻐﻮ ﺣﻮل ﻣﺎ ﻳﺮﺗﺪﻳﻪ اﻟﻨﺎس وﻣﻦ ﻳﺼﺎﺣﺒﻮن ﻣﻌﺮوﺿﺎً أﻣﺎم ﻋﻴﻨﻴﻪ ﰲ اﻟﺼﺤﺎﻓﺔ "ﻗﺎﻃﺮة اﻟﻐﻄﺮﺳﺔ‬ ‫وﻧﺎﴍة اﻟﻨﻔﺎق " ‪ -‬وﻳﺒﺪو ﱄ أن اﻷﻣﺮ ﻳﺘﻜﺮر ﰲ اﻷﻟﻔﻴﺔ اﻟﺠﺪﻳﺪة ﺑﺼﻮرة اﻓﱰاﺿﻴﺔ أﻛرث واﻗﻌﻴﺔ ﻣﻦ واﻗﻌﻨﺎ‪ ،‬وميﻜﻦ ﳌﺘﺄﻣﻞ‬ ‫اﻟﺸﺒﻜﺎت اﻻﺟﺘامﻋﻴﺔ ﻗﺮاءة اﻟﺬﻋﺮ اﻟﺬي ﻳﺸﻌﺮ ﺑﻪ ﻛرث ﳌﺠﺮد اﻧﺨﻔﺎض ﻧﺴﺒﺔ اﻹﻋﺠﺎب أو ﺗﺮاﺟﻊ ﻧﺴﺒﺔ اﳌﺘﺎﺑﻌني‪ ،‬ﻛام ميﻜﻦ‬ ‫رﺻﺪ أﻧﻮاع ﺟﺪﻳﺪة ﻣﻦ اﳌﺘﻐﻄﺮﺳني اﻹﻟﻜﱰوﻧﻴني واﻟﺬﻳﻦ ﻳﻮﻗﻌﻮن اﻟﻜﺜري ﻣﻦ ﺿﻌﺎف اﻟﺜﻘﺔ ﰲ ﻗﻴﻤﻬﻢ اﻟﺬاﺗﻴﺔ ﰲ ذات داﺋﺮة‬ ‫اﻟﻘﻠﻖ – إن اﻟﺘﻘﺪم اﳌﺎدي ﺧﻠﻖ ﻟﻨﺎ ﺗﺒﻌﻴﺎت ﺟﺪﻳﺪة وﺗﻘﺎرﺑﺎً ﺷﺪﻳﺪاً ﺑني اﻟﻄﺒﻘﺎت اﻻﺟﺘامﻋﻴﺔ ﻣام وﻟﺪ ﻟﻨﺎ ﺣﺴﺪاً ﻳﺮى أن‬ ‫اﻟﺘﻔﺎوت ﺑني ﻣﻦ ﻳﺸﺒﻬﻨﺎ ﰲ اﻟﻨﻮع واﻟﻌﻤﺮ واﻟﻄﺒﻘﺔ ﻫﻮ ﻏري ﻋﺎدل ﺧﺎﺻﺔ ﰲ زﻣﻦ "إﻟﻐﺎء اﻻﻣﺘﻴﺎزات " ﺣﻴﺚ ﻟﻠﺠﻤﻴﻊ ﻓﺮص‬ ‫ﻣﺘﺴﺎوﻳﺔ ﻟﻼﻧﻄﻼق اﻟﻌﻈﻴﻢ ‪ ،‬وﴎﻋﺎن ﻣﺎ ﻳﻨﻘﻠﺐ ذﻟﻚ إﱃ وﻫﻢ ﻋﻈﻴﻢ وﻛﺂﺑﺔ ﻏﺎﻟﺒﺎً ﻣﺎ ﺗﺴﺘﺤﻮذ ﻋﲆ أﺑﻨﺎء زﻣﻦ اﻟﻮﻓﺮة‪.‬‬ ‫ﻟﻌﻼج ذﻟﻚ اﻟﻘﻠﻖ اﻟﺠﻤﻌﻲ ﻳﻘﺪم آﻻن دو ﺑﻮﺗﻮن ﻣﻦ ﺧﻼل ﻛﺘﺎﺑﻪ " ﻗﻠﻖ اﻟﺴﻌﻲ إﱃ اﳌﻜﺎﻧﺔ " اﳌﴪح واﻟﺒﻮﻫﻴﻤﻴﺔ ﻛﻌﻼج‬ ‫ﻟﺪاء اﻟﻄﻤﻮﺣﺎت اﻟﺮاﺋﺠﺔ واﻟﺠﺸﻊ‪ ،‬ﻣﻦ دون أن ﻧﻨﴗ اﳌﻮﺳﻴﻘﻰ "اﻷداة اﻟﻌﻈﻤﻰ" ﻟﺘﺴﻮﻳﺔ اﻟﺘﻔﺎوﺗﺎت وﺟﻌﻞ ﺣﺮﻛﺔ اﻟﺮوح‬ ‫اﻟﺠامﻋﻴﺔ ﻣﺴﻤﻮﻋﺔ أو اﻟﺸﻌﺮ اﻟﺬي أﻋﻠﻦ ﺷﺎرل ﺑﻮدﻟري أﻧﻪ اﻻﺳﺘﺜﻨﺎء ﰲ ﺣني أن ﻛﻞ اﻟﻮﻇﺎﺋﻒ اﻷﺧﺮى ﻣﺪﻣﺮة ﻟﻠﺮوح‪.‬‬ ‫اﻟﺸﻌﺮ ‪baytelshear‬‬ ‫ﺑﻴﺖ ِ‬

‫‪27‬‬

‫ ‪¥ũľğı‬‬ ‫اﻟﺨﺎﺻﺔ رؤﻳﻮﻳﺎً أو ﻣﻌﺮﻓﻴﺎً‪ ،‬وإمنﺎ ﻫﻲ ﻧﺼﻮص‬ ‫ﺗﻜﺘﺐ ﺧﺼﻴﺼﺎً ﻟﺤﺎﻟﺔ اﻹﻧﺸﺎد أو )اﻟﻘﻮاﻟﺔ(‬ ‫ﻛام ﻳﺤﻠﻮ ﻟﺸﻌﺮاء اﻟﻌﺎﻣﻴﺔ ﺗﺴﻤﻴﺘﻬﺎ ‪.‬‬ ‫اﻟﻴﻮم؛ أﺻﺒﺢ اﻟﺸﻌﺮ ﻣﴩوﻋﺎً ﺗﺠﺎر ّﻳﺎً‪ ،‬وﻧﺸﺎﻃﺎً‬ ‫إﻧﺴﺎﻧ ّﻴﺎً ﻳﻬﺪف ﻟﻠﺮﺑﺢ‪ ،‬وﻟﻴﺲ ﻣامرﺳﺔ إﺑﺪاﻋﻴﺔ‬ ‫ﻣﺘﺠﺮدة ُﺑﻐﻴﺔ اﻹﺿﺎﻓﺔ إﱃ اﳌﻨﺠﺰ اﻟﺠامﱄ‬ ‫ﻟﻠﻌﺎﻣﻴﺔ اﳌﴫﻳﺔ‪ ،‬ﻓﺨﻠﻒ ﻛﻞ واﺣــﺪ ﻣﻦ‬ ‫اﻟﺸﻌﺮاء اﳌﺘﺤﻘﻘني اﻟﻴﻮم ﺑﻬﺬا اﻟﺸﻜﻞ ﻳﻘﻒ‬ ‫ﻃﺎﺑﻮر ﻃﻮﻳﻞ ﻣﻦ ﺷﺒﺎب اﻟﺸﻌﺮاء؛ ﻟﻴﻜﻮﻧﻮا‬ ‫ﻣﺜﻞ ﻫﺬا )اﻟﻨﺠﻢ( أو ذاك ﻳﻮﻣﺎً ﻣﺎ‪ .‬ﺧﺎﺻ ًﺔ‬ ‫ﻋﻨﺪﻣﺎ ﻧﻌﻠﻢ أن ﻫﺬا اﻟﻨﺠﻢ أو ذاك أﺻﺒﺢ‬ ‫ﻳﻘﺪم ﻋﺪداً ﻣﻦ اﻟﺸﻌﺮاء اﻟﺸﺒﺎب ﰲ ﺣﻔﻠﺘﻪ‪،‬‬ ‫ﻣﻦ ﺑﺎب زﻳﺎدة اﻟﺮواج وﻓﺮض اﻷﺳﺘﺎذﻳﺔ‪ ،‬وﻣﺪ‬ ‫ﻳﺪ اﻟﻔﻀﻞ ﻟﺠﻴﻞ ﻗﺎدم؛ مبﻌﺎﻳريه اﻟﻔﻨﻴﺔ اﻟﺘﻲ‬ ‫ﻳﺘﺒﻨﺎﻫﺎ ﻫﻮ ﺗﻄﺒﻴﻘﺎً ﺑﺎﻟﻄﺒﻊ‪.‬‬ ‫ ‪ ǽǝǶƉŨLjǕȑŌ ƉƖǜǕŌ‬‬

‫وﺗﺮى اﻟﺸﺎﻋﺮة اﻟﺴﻌﻮدﻳﺔ وﺻﺎﻳﻒ ﺗﻬﺎﻣﻴﺔ أن‬ ‫اﻟﻌﻼﻗﺔ ﺑني اﻟﺸﺎﻋﺮ ﻋﲆ اﻷﺧﺺ ﰲ اﻟﺸﻌﺮ‬ ‫اﻟﺸﻌﺒﻲ ودور اﻟﻨﴩ ﺗﻜﺎد ﺗﻜﻮن ﻣﻨﻌﺪﻣﺔ‪،‬‬ ‫إﻻ ﻓﻴام ﻳﺘﻌﻠﻖ مبﺎ ﺗﺘﺒﻨﺎه ﻣﺆﺳﺴﺎت راﻋﻴﺔ‬ ‫ﻟﻠﺸﻌﺮ اﻟﺸﻌﺒﻲ و ﺳﺘﻜﻮن وﺳﻴﻄﺎً ﺑني اﻟﺸﺎﻋﺮ‬ ‫ودار اﻟﻨﴩ وﺗﺘﻮﱃ اﻟﺠﻬﺔ دﻓﻊ ﺗﻜﺎﻟﻴﻒ‬ ‫ﺑﺎﻫﻈﻪ ﺗﺮﴈ ﻧﻬﻢ دار اﻟﻨﴩ‪ ،‬ﻛام ﺗﺘﻮﱃ ﻫﺬه‬ ‫اﻟﺠﻬﺎت اﻟﺘﻮزﻳﻊ ﻟﻬﺬه اﻟﺪواوﻳﻦ ﰲ ﻣﻌﺎرﺿﻬﺎ‬

‫‪26‬‬

‫اﻟﻌﺪد ‪ ، 71‬أﻛﺘﻮﺑﺮ ‪2018‬‬

‫وﻣﻬﺮﺟﺎﻧﺎﺗﻬﺎ اﻟﺨﺎﺻﺔ‪ .‬أﻣﺎ ﻋﻦ ﻣﺴﺄﻟﺔ ﻛﺮاﻫﻴﺔ‬ ‫دور اﻟﻨﴩ ﻟﻠﺸﻌﺮ اﻟﺸﻌﺒﻲ ﻓﻼ أﻇﻦ أن‬ ‫ﻫﺬه اﻟﺪور ﺗﺤﺐ أو ﺗﻜﺮه ﻫﻲ ﺗﺘﺒﻊ ﻛﻞ‬ ‫ﻣﺎ ﻳﺤﻘﻖ أﻫﺪاﻓﻬﺎ اﳌﺎدﻳﺔ وﻳﺤﻘﻖ ﻧﺴﺒﺔ‬ ‫أرﺑﺎح أﻋﲆ‪ .‬وﻟﻨﻜﻦ ﻣﻨﺼﻔني ﻣﻦ ﺟﻬﺔ ﻧﺸﺎط‬ ‫اﻟﺸﺎﻋﺮ اﻟﺸﻌﺒﻲ واﻫﺘامﻣﻪ ﺑﺘﺠﻤﻴﻊ ﻗﺼﺎﺋﺪه‬ ‫ﰲ دﻳﻮان وﺗﻘﺪميﻪ ﻟﺪور اﻟﻨﴩ ﻓﺎﻟﻐﺎﻟﺐ‪،‬‬ ‫ﻓﺎﻵن ﻣﻊ اﻧﺘﺸﺎر ﻣﻮاﻗﻊ اﻟﺘﻮاﺻﻞ اﻻﺟﺘامﻋﻲ‬ ‫واﻟﺘﻄﺒﻴﻘﺎت اﻟﺤﺪﻳﺜﺔ واﻟﺘﻲ وﺟﺪ ﻓﻴﻬﺎ‬ ‫اﻟﺸﻌﺮاء ﺿﺎﻟﺘﻬﻢ واﻛﺘﻔﻮا ﺑﺎﻟﻨﴩ اﻻﻟﻜﱰوين‬ ‫اﻟﺬي ﺣﻘﻖ ﻟﻬﻢ أﻛﱪ ﻧﺴﺒﺔ ﻣﺘﺎﺑﻌني واﻟﺘﻲ ﻣﻦ‬ ‫ﺧﻼﻟﻬﺎ ﺗﻌﺮﻓﺖ ﻋﻠﻴﻬﻢ ﺟﻬﺎت ﻣﻬﺘﻤﺔ ﺑﺎﻟﺸﻌﺮ‬ ‫وﻋﻦ ﻃﺮﻳﻘﻬﺎ ﺗﻠﻘﻮا دﻋﻮات ﳌﺸﺎرﻛﺎت ﺛﻘﺎﻓﻴﻪ‬ ‫ﺑﺪون أن ﻳﺘﻜﺒﺪ اﻟﺸﺎﻋﺮ ﻋﻨﺎء اﻟﺒﺤﺚ ﻋﻦ‬ ‫دار ﻧﴩ أو ﻳﻘﺪم أي ﺗﻜﺎﻟﻴﻒ ﻣﺎدﻳﺔ‪ .‬وﻋﻦ‬ ‫ﻛﻮن اﻟﺸﺎﻋﺮ اﻟﺸﻌﺒﻲ آﺧﺮ اﻫﺘامﻣﺎت دور‬ ‫اﻟﻨﴩ ﻓﺎﻟﻨﴩ اﻹﻟﻜﱰوين مل ﻳﺠﻌﻞ دور اﻟﻨﴩ‬ ‫ﺿﻤﻦ اﻫﺘامﻣﺎت اﻟﺸﺎﻋﺮ اﻟﺸﻌﺒﻲ ﻻ أوﻟﻪ و‬ ‫ﻻ آﺧﺮه‪.‬‬ ‫‪ dzȌȌǾȌȌƫǷȌȌǝ ŜƈōȌȌȌŴȌȌȌũ ǖōȌȌȌȌƫ ǓȌȌȌlj ǖƃȌȌǂȌȌǝ‬‬ ‫‪Dzƃǿƃŵ ŝǥŌǷǙǶ‬‬

‫أﻣﺎ اﻟﻘﺎص واﻟﻨﺎﴍ أﺣﻤﺪ ﻣﻬﻨﺎ أﺣﺪ ﻣﺴﺆوﱄ‬ ‫اﻟﻨﴩ ﰲ دار "د ّون" اﻟﺸﺒﺎﺑﻴﺔ ﻓﻴﻘﻮل"‪ :‬ﻋﲆ‬ ‫ﻣﺪار ﺳﻨني ﻃﻮﻳﻠﺔ وﻣﻨﺬ ﻧﺸﺄة اﻟﺪار وﻧﺤﻦ‬

‫ﻧﻬﺘﻢ ﺑﻨﴩ اﻟﺸﻌﺮ ﺑﺸﻜﻞ ﻛﺒري‪ ،‬وﻗﺪﻣﻨﺎ‬ ‫ﻟﻠﺴﺎﺣﺔ ﻣﺸﺎرﻳﻊ ﻣﻬﻤﺔ ﺟﺪاً‪ ..‬ﻣﴩوع ﺷﻌﺮاء‬ ‫"اﻟﺼﺤﺒﺠﻴﺔ" وﻫﻲ ﺗﺠﺮﺑﺔ ﻣﻬﻤﺔ وﻧﺎدرة‪،‬‬ ‫وﻗﺪﻣﻨﺎ دواوﻳﻦ ﻣﻬﻤﺔ ﻓﺎزت ﺑﺠﺎﺋﺰة اﻟﺸﺎﻋﺮ‬ ‫أﺣﻤﺪ ﻓﺆاد ﻧﺠﻢ ﻟﺪورات ﻣﺘﺘﺎﺑﻌﺔ‪ ،‬ﻓﺎز ﺑﻬﺎ‬ ‫اﻟﺸﺎﻋﺮ أﺣﻤﺪ اﻟﻨﺠﺎر ﻋﻦ دﻳﻮان "ﻛﺎﻣﻮﻓﻼج"‪،‬‬ ‫وﻓﺎزت ﺑﻬﺎ اﻟﺸﺎﻋﺮة اﻳﺮﻳﻦ ﻳﻮﺳﻒ ﻋﻦ دﻳﻮان‬ ‫"آﺧﺮ ﺷﻮﻳﺔ ﻟﻴﻞ"‪ ،‬ﻛام ﺗﺮﺷﺢ ﻟﻠﻘﺎمئﺔ اﻟﻘﺼرية‬ ‫ﻟﺠﺎﺋﺰة أﺣﻤﺪ ﻓــﺆاد ﻧﺠﻢ ﻋﺪد ﻛﺒري ﻣﻦ‬ ‫ﺷﻌﺮاء دﻋﻤﺘﻬﻢ وﻗﺪﻣﺘﻬﻢ دار "د ّون" وﻫﻲ‬ ‫ﻓﺨﻮرة مبﴩوﻋﻬﻢ‪ ،‬ﻣﺜﻞ‪ :‬اﻟﺸﺎﻋﺮ ﻋﻤﺮو أﺑﻮ‬ ‫زﻳﺪ واﻟﺸﺎﻋﺮ ﻣﺤﻤﺪ اﻟﺴﻴﺪ واﻟﺸﺎﻋﺮ ﺧﻠﻒ‬ ‫ﺟﺎﺑﺮ واﻟﺸﺎﻋﺮة زﻳﻨﺐ أﺣﻤﺪ وﻏريﻫﻢ‪ .‬اﻟﺪار‬ ‫ﺗﻬﺘﻢ ﺑﻨﴩ اﻟﺸﻌﺮ اﻟﺸﻌﺒﻲ واﻟﻔﺼﻴﺢ‪ ،‬ﺑﺸﻜﻞ‬ ‫ﻣﻬﻢ‪ ،‬وﻣﻦ أﺟﻞ ذﻟﻚ ﻧﴩﻧﺎ دﻳﻮاﻧني وﻫام‬ ‫دﻳــﻮان "ﻛﻴﻒ ﺣﺎﻟﻚ ﺟــﺪاً" ﻟﻠﺸﺎﻋﺮ ﺳﻴﺪ‬ ‫اﻟﻌﺪﻳﴘ ودﻳــﻮان "إﻋــﺎدة ﺗﺪوﻳﺮ اﻟﺨﻴﺒﺔ"‬ ‫ﻟﻠﺸﺎﻋﺮ واﻟﻜﺎﺗﺐ ﻋﻤﺮو ﺻﺒﺤﻲ‪ ،‬وﺳﺒﻖ ﻧﴩ‬ ‫دﻳﻮان "ﻧﺒﻲ ﺑﻼ أﺗﺒﺎع" ﺑﺎﻟﻔﺼﺤﻰ ﻟﻠﻔﻨﺎن‬ ‫ﺧﺎﻟﺪ اﻟﺼﺎوي‪.‬‬ ‫إن دار "د ّون" ﻋﲆ ﻣﺪار ﻋﻤﺮﻫﺎ اﻫﺘﻤﺖ‬ ‫ﺑﺸﻜﻞ ﻛﺒري ﺑﺈﻧﺘﺎج اﻟﺸﻌﺮ وﻛﻨﺎ رواداً ﰲ‬ ‫ﺗﺠﺮﺑﺔ ﻧﴩ اﻟﺸﻌﺮ ﰲ ﻣﴫ وﻻزﻟﻨﺎ ﻧﻬﺘﻢ ﺑﻪ‬ ‫ﺑﺸﻜﻞ ﻛﺒري‪ ،‬وﻧﻘﺪم ﻛﻞ ﻋﺎم ﺗﺠﺎرب ﻧﻮﻋﻴﺔ‬ ‫وﻣﻮاﻫﺐ ﺟﺪﻳﺪة‪.‬‬

‫اﻟﺸﻌﺒﻴني‪ ،‬ﺳﻮاء اﻟﺰﺟﻞ أو اﻟﺸﻌﺮ اﻟﻨﺒﻄﻲ‬ ‫أو ﺷﻌﺮ اﻟﻌﺎﻣﻴﺔ‪ ،‬وﻛﺄن ﻫﺬه اﻹﺑﺪاﻋﺎت ﻻ‬ ‫ﺗﺮﻗﻰ ﻷن ﺗﺼﻞ إﱃ ﻣﺴﺘﻮى اﻟﺸﻌﺮ اﻟﻔﺼﻴﺢ‬ ‫اﻟﺬي ميﺜﻞ ﺻﻮت اﻟﻨﺨﺒﺔ اﳌﺜﻘﻔﺔ‪ ،‬وﺗﺴﺘﺸﻬﺪ‬ ‫ﺑﺄﻧﻪ ﻟﻮﻗﺖ ﻗﺮﻳﺐ مل ﻳﻜﻦ اﻟﺸﻌﺮاء اﻟﺸﻌﺒﻴﻮن‬ ‫أﻋﻀﺎء ﰲ اﳌﺠﻠﺲ اﻷﻋﲆ ﻟﻠﺜﻘﺎﻓﺔ اﳌﴫﻳﺔ‪،‬‬ ‫ومل ﺗﻘﻢ ﻣﻬﺮﺟﺎﻧﺎت ﻟﻠﺸﻌﺮ اﻟﺸﻌﺒﻲ‪ .‬ورمبﺎ‬ ‫رﺳﺦ أﻗﺪاﻣﻪ ﰲ اﻟﺜﻘﺎﻓﺔ‬ ‫ﺷﻌﺮ اﻟﻌﺎﻣﻴﺔ اﳌﴫﻳﺔ ّ‬ ‫اﳌﴫﻳﺔ ﻧﺘﻴﺠﺔ ﻟﺪور ﺷﻌﺮاء ﻋﻈﺎم أﻣﺜﺎل ﺑريم‬ ‫اﻟﺘﻮﻧﴘ وﻓﺆاد ﺣﺪاد وﺻﻼح ﺟﺎﻫني وﻋﺒﺪ‬ ‫اﻟﺮﺣﻤﻦ اﻷﺑﻨﻮدي وﺳﻴﺪ ﺣﺠﺎب وأﺣﻤﺪ ﻓﺆاد‬ ‫ﻧﺠﻢ‪ ،‬ﻟﻜﻦ ﺑﻘﻴﺔ أﺻﻨﺎف اﻟﺸﻌﺮ اﻟﺸﻌﺒﻲ ﻣﺜﻞ‬ ‫ﻓﻦ "اﻟﻮاو" واﻟﺸﻌﺮ اﻟﻨﺒﻄﻲ واﻟﺰﺟﻞ‪ ،‬ﻓﻬﻮ ﻻ‬ ‫ﻳﺠﺪ ﻣﺴﺎﺣﺎت ﻣﻦ اﻻﻫﺘامم ﻣﻦ ﻗﺒﻞ وزارة‬ ‫اﻟﺜﻘﺎﻓﺔ اﳌﴫﻳﺔ‪ ،‬وﻻ ﺗﻘﺎم ﻟﻪ ﻣﻬﺮﺟﺎﻧﺎت ﺗﻠﻴﻖ‬ ‫ﺑﺄﻫﻤﻴﺘﻪ ﻛﻨﻮع ﻣﻦ اﻟﺘﻌﺒري اﻟﺸﻌﺒﻲ اﻟﺬي‬ ‫ﻳﻘﱰب أﻛرث ﻣﻦ اﻟﻮﻋﻲ اﻟﺠﻤﻌﻲ ﻟﻠﺸﻌﺐ‪،‬‬ ‫ﺑﻞ ﻫﻮ أﻗﺮب ﻟﺼﻮت اﻟﺸﻌﺐ‪ ،‬ﻳﻔﻬﻤﻪ اﻟﻌﺎﻣﺔ‬ ‫وﻳﺘﻔﺎﻋﻠﻮن ﻣﻌﻪ أﻛرث ﻣﻦ ﺑﻘﻴﺔ أﺟﻨﺎس وأﻧﻮاع‬ ‫اﻹﺑﺪاع اﻷﺧﺮى‪ .‬وﺗﺮى أن اﻷﻣﺮ ﻳﺤﺘﺎج إﱃ‬ ‫ﻋﻨﺎﻳﺔ اﳌﺆﺳﺴﺎت اﻟﺮﺳﻤﻴﺔ‪ ،‬ﻓﺎﻟﻨﺎﴍ اﻟﺨﺎص‬ ‫ﻟﻦ ﻳﻐﺎﻣﺮ ﺑﻨﻘﻮده ﻣﻦ أﺟﻞ ﻧﴩ دواوﻳﻦ ﻟﻦ‬ ‫ﻳﺘﻤﻜﻦ ﻣﻦ ﺗﺴﻮﻳﻘﻬﺎ واﻟﱰ ّﺑﺢ ﻣﻦ وراﺋﻬﺎ‪.‬‬ ‫وﺗﺮى ﺻﺎﻟﺢ أن ﻣﻘﻮﻟﺔ " زﻣﻦ اﻟﺮواﻳﺔ" اﻟﺘﻲ‬ ‫اﺳﺘﴩت ﰲ ﻋﻤﻮم اﳌﺸﻬﺪ اﻟﺜﻘﺎﰲ اﻟﻌﺮيب‬ ‫واﻟﺠﻮاﺋﺰ اﻟﻜﱪى اﻟﺘﻲ ﺧﺼﺼﺖ ﻟﻠﴪد‪ ،‬رواﻳﺔ‬ ‫وﻗﺼﺔ ﺟﻌﻠﺖ اﻟﻨﺎﴍﻳﻦ ﻳﱰددون ﻗﺒﻞ أن‬ ‫ﻳﻨﴩوا دواوﻳﻦ اﻟﺸﻌﺮ اﻟﺸﻌﺒﻲ‪ ،‬ﻓﻠﻦ ﻳﻨﺎﻟﻮا‬ ‫ﻣﻜﺎﺳﺐ أو ﺟﻮاﺋﺰ ﻣﻦ ﻧﴩه ﻣﺜﻠام ﻳﺤﺪث‬ ‫ﺣﻴﻨام ﻳﻨﴩون اﻟﺮواﻳﺔ واﻟﻘﺼﺔ‪.‬‬

‫اﻟﻔﺼﻴﺢ واﻟﺮواﻳﺔ واﻟﻘﺼﺔ‪ ،‬وإذا ذﻫﺒﺖ إﱃ‬ ‫ﻧﺎﴍ ﺧﺎص ﻟﻦ ﻳﻨﴩ ﻟﻚ دﻳﻮاﻧﻚ‪ ،‬ﻷﻧﻪ ﻳﺴﺄل‬ ‫ﻋﻤﻦ ﺳﻴﺸﱰي ﻫﺬا اﻟﺪﻳﻮان‪ ،‬وﻋﺪد اﻟﺠﻤﻬﻮر‬ ‫واﳌﺘﻠﻘني اﻟﺬﻳﻦ ميﻜﻦ أن ﻳﺪﻓﻌﻮا ﻧﻘﻮداً ﰲ‬ ‫ﺳﺒﻴﻞ اﻗﺘﻨﺎﺋﻪ‪ .‬وﻳﻄﺎﻟﺐ أﺑﻮ ﻧﻮرة أن ﺗﻘﻮم‬ ‫اﻟﺪوﻟﺔ مبﺴﺆوﻟﻴﺘﻬﺎ ﰲ ﺳﺒﻴﻞ اﻻﻋﺘﻨﺎء ﺑﺸﻌﺮاء‬ ‫اﻟﻨﺒﻂ وﺗﻮﻓري اﻟﺪﻋﻢ اﻟﻼزم ﻟﻬﻢ‪.‬‬ ‫‪DzƂƉŴŨǙ dzǾƫŌƃşŒ dzƓƈōǘǙ ƑǾǕ‬‬

‫أﻣﺎ اﻟﺸﺎﻋﺮ اﳌﴫي اﻟﺸﺎب ﻋﻤﺮو اﻟﻌﺰاﱄ اﻟﺬي‬ ‫أﺻﺪر ﰲ اﻟﺴﻨﻮات اﻷﺧرية ﺛﻼﺛﺔ دواوﻳﻦ‬ ‫ﺷﻌﺮﻳﺔ ﺑﺎﻟﻌﺎﻣﻴﺔ اﳌﴫﻳﺔ ﻫﻲ‪" :‬ﻣﻮاﻟﻴﺪ‬ ‫ﻗﺼﻴﺪة اﻟﻨرث" و"ﺷﻴﺰﻟﻮﻧﺞ ﻣﺤﻔﻮر ﺑﺄﺳﺎﻣﻴﻬﻢ"‬ ‫و "ﻛﺸﻜﻮل ﺗﺤﻀري" ﻓريى أن اﻷزﻣﺔ مل ﺗﻌﺪ‬ ‫ﰲ إﻣﻜﺎﻧﻴﺔ ﻧﴩ اﻟﺸﻌﺮ اﻟﺸﻌﺒﻲ‪ ،‬ﻓﺎﻟﻬﻴﺌﺎت‬ ‫اﻟﺮﺳﻤﻴﺔ واﻟﺨﺎﺻﺔ اﻟﺘﻲ ﺗﻨﴩ اﻟﺸﻌﺮ ﻛﺜرية‪،‬‬ ‫إمنﺎ اﻷزﻣﺔ ﰲ ﺟﺪوى اﻟﻨﴩ‪ ،‬ﺧﺎﺻﺔ ﰲ ﻇﻞ‬ ‫اﺧﺘﻼف ﻃﺮق آﻟﻴﺎت اﻟﻨﴩ‪ ،‬ﻓﻠﻢ ﻳﻌﺪ اﻟﻜﺘﺎب‬ ‫اﻟﻮرﻗﻲ ﰲ ﺷﻌﺮ اﻟﻌﺎﻣﻴﺔ ﻫﻮ اﻟﺒﻄﻞ‪ ،‬ﰲ ﻇﻞ‬ ‫وﺟــﻮد ﻣﻨﺘﺞ إﺑﺪاﻋﻲ ﻣــﻮا ٍز ﻳﺘﻢ اﻟﺘﺪﺷني‬ ‫ﻻﻧﺘﺸﺎره ﻋﱪ آﻟﻴﺎت أﺧــﺮى ﻛﺎﻟﺤﻔﻼت‬ ‫اﻟﺸﻌﺮﻳﺔ )‪ ،(EVENTS‬مبﻔﺮدات ﺗﻮﺻﻴﻠﻴﺔ‬

‫أﺧــﺮى ‪ /‬اﳌﺆﺛﺮات اﻟﺼﻮﺗﻴﺔ واﻟﻀﻮﺋﻴﺔ ‪/‬‬ ‫اﳌﻮﺳﻴﻘﻰ دامئﺎً ‪ /‬إﻧﺸﺎد وﻏﻨﺎء ﺑﻌﺾ اﳌﻘﺎﻃﻊ‬ ‫أﺣﻴﺎﻧﺎً ‪ ....‬إﻟﺦ( ﻟﺘﺤﻘﻴﻖ ﻏﺎﻳﺎت أﺧﺮى ﺗﺼﺐ‬ ‫ﻣﻌﻈﻤﻬﺎ ﰲ ﻣﻨﻄﻘﺔ اﻟﺮﺑﺢ اﳌﺎدي‪ ،‬وذﻟﻚ ﻋﱪ‬ ‫ﺗﺤﻘﻴﻖ ﺣﺎﻟﺔ ﺗﻠﻘﻲ ﺳامﻋﻴﺔ ﺑﺎﻣﺘﻴﺎز‪ ،‬ﺣﺘﻰ‬ ‫وإن ﻛﺎن ﻻ ﻳﻌﺪو اﻟﺘﺄﺛﺮ ﺑﻬﺎ ﻣﺪة اﻟﺤﻔﻠﺔ‬ ‫ذاﺗﻬﺎ ﻓﻘﻂ ﻻ ﻏري‪.‬‬ ‫ﻫﺬا اﻟﺠﻴﻞ ﻣﻦ اﻟﺸﻌﺮاء ﰲ ﻣﻌﻈﻤﻪ ﻟﻴﺲ‬ ‫ﻣﺨﻠﺼﺎً ﻟﺘﺤﻘﻴﻖ رﻳﺎدة ﻓﻨﻴﺔ‪ ،‬وإمنﺎ ﺗﺤﻘﻴﻖ‬ ‫رﻳــﺎدة اﻧﺘﺸﺎر اﻟﻔﻌﻞ اﻟﺸﻌﺮي )ﺗﻠﻘﻴﺎً‬ ‫وﻣامرﺳﺔ( ﺑني ﻗﻄﺎﻋﺎت ﻛﺒرية ﻣﻦ اﻟﺸﺒﺎب‬ ‫اﻟﺬي ﻳﺮﻳﺪ اﻻﻃﻼع ﻋﲆ ﻣﻨﺠﺰ ﺷﻌﺮ اﻟﻌﺎﻣﻴﺔ‬ ‫اﳌﴫﻳﺔ‪ ،‬ﺑﻌﺪ ﺟﻴﻠني ﻣﻦ اﻟﺮواد ﻛﺎن ﻣﻨﻬﻢ‬ ‫اﻟﻜﺜري ﻣﻦ اﻷﺳامء اﻟﻼﻣﻌﺔ إﻋﻼﻣﻴﺎً ﻣﺜﻞ ﺻﻼح‬ ‫ﺟﺎﻫني واﻷﺑﻨﻮدي وﻧﺠﻢ وﺳﻴﺪ ﺣﺠﺎب ‪....‬‬ ‫إﻟﺦ ‪ .‬ﻫﺬا اﻟﺠﻴﻞ ﻣﻦ اﻟﺸﺒﺎب مل ﻳﻜﻦ ﻣﻦ‬ ‫اﻟﻴﺴري ﻋﻠﻴﻪ اﻟﺘﻮاﺻﻞ ﻣﻊ ﺗﺠﺎرب ﻣﺎﺟﺪ‬ ‫ﻳﻮﺳﻒ وﻣﺠﺪي اﻟﺠﺎﺑﺮي وﻣﺴﻌﻮد ﺷﻮﻣﺎن‬ ‫وﻣﺪﺣﺖ ﻣﻨري وﺣﺎﺗﻢ ﻣﺮﻋﻲ وﻏريﻫﻢ ‪....‬إﻟﺦ‪،‬‬ ‫إﱃ أن وﺟﺪوا ﺿﺎﻟﺘﻬﻢ ﰲ ﺣﻔﻼت اﻟﺸﻌﺮ‪،‬‬ ‫ﺧﺎﺻﺔ وأن ﺷﻌﺮاء ﻫﺬه اﻟﺤﻔﻼت ﻻ ﻳﺮاﻫﻨﻮن‬ ‫ﻋﲆ اﻟﺘﺪﺷني ﻟﻨﺼﻮص ﺗﺤﻤﻞ ﺑﺼامﺗﻬﻢ‬

‫‪ǖƊȎǕŌ ǗƫƃǕŌ ƉǾƳǷũ‬‬

‫اﻟﺸﺎﻋﺮ اﻟﻨﺒﻄﻲ ﺳﻼﻣﺔ اﻷﺣﻴﻮي اﳌﻌﺮوف ﺑـ‬ ‫)أﺑﻮ ﻧﻮرة( واﻟﺬي ﺷﺎرك ﰲ ﻋﺪة ﻣﻬﺮﺟﺎﻧﺎت‬ ‫ﰲ اﻟﺸﻌﺮ اﻟﻨﺒﻄﻲ ﺧﺎرج ﻣﴫ‪ ،‬وﻫﻮ رﺋﻴﺲ‬ ‫ﻟﺠﻨﺔ اﻟﱰاث واﻟﺜﻘﺎﻓﺔ ﰲ اﻻﺗﺤﺎد اﳌﴫي‬ ‫ﻟﻠﻬﺠﻦ‪ ،‬ﻳﺮى أن اﻟﺸﻌﺮ اﻟﻨﺒﻄﻲ ﻣﻈﻠﻮم ﰲ‬ ‫ﻣﴫ‪ ،‬وأﻧﻪ ﻻ ﻳﺘﻢ اﻻﻋﺘﻨﺎء ﺑﺸﻌﺮاﺋﻪ‪ ،‬وﻻ‬ ‫ﺗﻔﺮد ﻟﻪ اﳌﻬﺮﺟﺎﻧﺎت واﻟﻔﻌﺎﻟﻴﺎت ﻣﺜﻞ اﻟﺸﻌﺮ‬ ‫اﻟﺸﻌﺮ ‪baytelshear‬‬ ‫ﺑﻴﺖ ِ‬

‫‪25‬‬

‫ ‪¥ũľğı‬‬

‫ﻋﻦ ﻣﻌﻮﻗﺎت ﻧﴩ اﻟﺸﻌﺮ اﻟﺸﻌﺒﻲ ﰲ اﳌﻐﺮب‬ ‫ﻳﺮى أن ﺗﻠﻚ اﳌﻌﻮﻗﺎت ﻛﺜرية وﻣﺘﻨﻮﻋﺔ ﻣﻨﻬﺎ‬ ‫ﻣﺎ ﻳﺮﺗﺒﻂ ﺑﺎﻟﺰﺟﺎﻟني أﻧﻔﺴﻬﻢ وﻣﻨﻬﺎ ﻣﺎ ﻳﺮﺗﺒﻂ‬ ‫ﺑﻐﻴﺎب دﻋﻢ اﻟﺠﻬﺎت اﻟﺮﺳﻤﻴﺔ ﻣﻦ وزارة‬ ‫وﻣﺠﺎﻟﺲ ﻣﻨﺘﺨﺒﺔ‪ ،‬وﻣﻨﻬﺎ ﻣﺎ ﻳﺮﺗﺒﻂ ﺑﺘﻮﺟﺲ‬ ‫اﻟﻨﺎﴍﻳﻦ ﻣﻦ اﻹﺑﺪاع ﻋﻤﻮﻣﺎً وﺧﺎﺻﺔ ﻣﻨﻪ‬ ‫اﻟﺸﻌﺮ اﻟﻌﺎﻣﻲ‪ /‬اﻟﺰﺟﻞ‪ ،‬وﻣﻨﻬﺎ ﻣﺎ ﻳﺮﺗﺒﻂ‬ ‫ﺑﻌﺪم اﻋ ـﱰاف اﳌﺆﺳﺴﺔ اﻟﺠﺎﻣﻌﻴﺔ ﺑﻬﺬا‬ ‫اﻟﺠﻨﺲ اﻹﺑﺪاﻋﻲ‪.‬‬ ‫‪ɳ‬‬ ‫‪ dzǿǷƮǕ ƂƈŌǷȌȌȌ‬‬ ‫‪ȌǙ ǽŞƪƖǕŌ ƉƪƖǔǕ‬‬ ‫‪dzǾƀǿƈōũǶ dzǾƳōǂŭǶ‬‬

‫أﻣﺎ اﻟﻨﺎﻗﺪ اﻟﻌﺮاﻗﻲ ﺣﺴﻦ ﴎﺣــﺎن ﻓريى‬ ‫أن ﻟﻠﺸﻌﺮ اﻟﺸﻌﺒﻲ ﻳﺤﺘﻞ ﻣﻜﺎﻧﺎً ﻣﻤﻴﺰاً ﰲ‬ ‫اﻟﻜﺜري ﻣﻦ ﺑﻠﺪاﻧﻨﺎ اﻟﻌﺮﺑﻴﺔ واﳌﴩﻗﻴﺔ ﻣﻨﻬﺎ‬ ‫ﺑــﺎﻟــﺬات‪ ،‬وﻟﻌﻞ اﻷﻣــﺮ راﺟــﻊ ﰲ ذﻟــﻚ اﱃ‬ ‫ﻃﺒﻴﻌﺔ اﻟﺒﻨﻴﺔ اﻟﺴﻮﺳﻴﻮ‪/‬ﺛﻘﺎﻓﻴﺔ ﻟﺸﻌﻮب‬ ‫اﳌﻨﻄﻘﺔ وﺧﺼﻮﺻﻴﺔ اﳌﺨﻴﺎل اﻟﻌﺎم اﻟﺬي‬ ‫ﺻﺎﻏﺘﻪ اﻟﺒﻴﺌﺔ وأ ّﺛﺮ ﰲ ﺗﻜﻮﻳﻨﻪ‪ ،‬ﺑﺸﻜﻞ رﺋﻴﺲ‪،‬‬ ‫ُ‬ ‫اﳌﻮروث اﻟﺸﻔﺎﻫﻲ اﻟرثي‪ ،‬اﻟﻐﺰﻳﺮ واﳌﺘﻨﻮع‬ ‫ﻟﻠﺴﻜﺎن‪ .‬ﻟﻴﺲ اﳌﺰاج اﻟﻌﺎم وﺣﺪه ﻫﻮ اﻟﺬي‬ ‫ﻳﺠﻌﻞ اﻟﺸﻌﺮ اﻟﺸﻌﺒﻲ ﻣﻤﻜﻨﺎً ﻋﲆ اﻟﺪوام‬ ‫ﰲ ﺑﻠﺪاﻧﻨﺎ اﻟﻌﺮﺑﻴﺔ‪ ،‬ذﻟــﻚ ان ﻫــﺬا اﻟﻔﻦ‬ ‫ﻳﺴﺘﻤﺪ اﺳﺘﻤﺮارﻳﺔ وﺟﻮده أﻳﻀﺎً ﻣﻦ ﺳﻤﺔ‬ ‫اﻟﺤﺮﻳﺔ اﻟﻘﺎ ّرة ﰲ ﺳﻠﻮﻛﻪ اﻟﻠﻐﻮي اﻟﺬي ﻳﻘ ّﺮب‬ ‫اﻟﻌﺎﻣﻲ ﻣﻦ اﻟﻔﺼﻴﺢ وﻳﺰاوج ﺑﻴﻨﻬام ﺑﺨﻔﺔ‬ ‫ﱠ‬ ‫ورﺷﺎﻗﺔ‪ .‬اﻟﺤﻘﻴﻘﺔ اﻟﺘﻲ ﻳﺠﺐ أن ﻧﻌﱰف ﺑﻬﺎ‪،‬‬

‫‪24‬‬

‫اﻟﻌﺪد ‪ ، 71‬أﻛﺘﻮﺑﺮ ‪2018‬‬

‫ﻫﻨﺎ‪ ،‬ﻫﻲ أن ﻟﻠﺸﻌﺮ اﻟﺸﻌﺒﻲ ﻣﻮار َد ﻟﻐﻮﻳﺔ‬ ‫وﺛﻘﺎﻓﻴﺔ وﺗﺎرﻳﺨﻴﺔ ﺗﺘﻴﺢ ﻟﻪ ﻣﺠﺎراة ﺑﻞ ﺣﺘﻰ‬ ‫اﻟﺘﻔﻮق ﻋﲆ اﻟﺸﻌﺮ اﻟﻔﺼﻴﺢ ﻣﻦ ﺣﻴﺚ‬ ‫اﻟﺘﺄﺛري وﻗﻮة اﻟﺤﻀﻮر واﻟﻘﺪرة ﻋﲆ ﺻﻴﺎﻏﺔ‬ ‫وﺗﻮﺟﻴﻪ اﻟﺨﻄﺎب اﻟﺠامﻫريي اﻟﻌﺎم‪ .‬إن وﻋﻲ‬ ‫اﻟﻨﺎﴍﻳﻦ ﺑﻬﺬه اﳌﺴﺄﻟﺔ وإدراﻛﻬﻢ ﻟﻠﻘﻴﻤﺔ‬ ‫اﻟﺠامﻟﻴﺔ واﻟﺘﺄﺛريﻳﺔ ﻟﻬﺬا اﻟﻨﻤﻂ اﻟﺘﻌﺒريي‬ ‫ﻳﺠﻌﻠﻬﻢ ﻻ ﻳﱰددون أﻣﺎم ﻧﴩ ﻣﺎ ﻳﺼﻞ إﻟﻴﻬﻢ‬ ‫ﻣﻦ ﺷﻌﺮ ﺷﻌﺒﻲ ﻳﺤﻮز ﺣﺪاً أدىن ﻣﻦ اﳌﻼﻣﺢ‬ ‫اﻟﻔﻨﻴﺔ‪ .‬ﻻ ﻳﻨﺒﻐﻲ أن ُﻳﻔﻬﻢ ﻫﺬا اﳌﻴﻞ ﻣﻦ‬ ‫ﺟﺎﻧﺐ اﻟﻨﺎﴍﻳﻦ ﻋﲆ أﻧﻪ متﺠﻴﺪ ﻟﻼﺳﺘﻬﻼيك‬ ‫واﻟﻨﻤﻄﻲ ﻋﲆ ﺣﺴﺎب اﻟﻨﺨﺒﻮي واﳌﱰﻓﻊ‪.‬‬ ‫ﺷﺨﺼﻴﺎً أﻓﻬﻤﻪ ﻋﲆ أﻧﻪ اﻋﱰاف ﺑﺪور اﻟﺸﻌﺮ‬ ‫اﻟﺸﻌﺒﻲ ﰲ ﻣﺠﺘﻤﻌﺎﺗﻨﺎ اﻟﺮاﻫﻨﺔ اﻟﺘﻲ أﺧﺬت‬ ‫ذاﺋﻘﺘﻬﺎ اﻟﻔﻨﻴﺔ متﻴﻞ أﻛــرث ﻓﺄﻛرث ﺑﺎﺗﺠﺎه‬ ‫اﺳﺘﻬﻼك ﻣﺎ ﺗﻨﺘﺠﻪ اﻟﺜﻘﺎﻓﺔ اﻟﺠامﻫريﻳﺔ‬ ‫واﻋﺘﺒﺎر ﻫﺬه اﻷﺧرية اﻟﻘﻴﻤﺔ اﳌﺮﻛﺰﻳﺔ اﻷﻛرث‬ ‫ﺗﻌﺒرياً ﻋﻦ روح اﻟﻌﴫ‪.‬‬

‫اﳌﺸﻬﺪ ﺑﺪاﺋﻞ ﻛﺜرية وﻣﻦ ﺿﻤﻨﻬﺎ وﺳﺎﺋﻞ‬ ‫اﻟﺘﻮاﺻﻞ اﻻﺟﺘامﻋﻲ اﻟﺘﻲ اﻗﺘﺤﻤﺖ ﻛﻞ ﻣﻨﺰل‬ ‫وأﺻﺒﺤﺖ ﰲ ﻛﻞ ﻫﺎﺗﻒ وﺑﺮز ﻟﺪﻳﻨﺎ اﻟﻜﺜري‬ ‫ﻣﻦ اﻟﺸﻌﺮاء‪ ،‬ﻟرنى وﻧﺘﺎﺑﻊ ﻛﻞ ﻣﺎ ﻫﻮ ﺟﺪﻳﺪ‬ ‫ﻋﱪ ﺗﻠﻚ اﻟﻮﺳﺎﺋﻞ اﻟﺤﺪﻳﺜﺔ واﻟﴪﻳﻌﺔ‪ .‬اﻟﺸﻌﺮ‬ ‫مل ﻳﺘﻐري ﺑﻞ ﺗﻐريت اﻟﻮﺳﺎﺋﻞ اﻟﺘﻲ ﺗﻮﺻﻠﻨﺎ اﱃ‬ ‫اﻟﺸﻌﺮ‪ ،‬وأﺻﺒﺤﺖ اﻷﻣﺴﻴﺎت اﻟﺸﻌﺮﻳﺔ ﺧﺎﻟﻴﺔ‬ ‫ﻣﻦ اﻟﺠﻤﻬﻮر أو ﺣﻀﻮرﻫﺎ ﻳﻜﻮن ﻗﻠﻴ ًﻼ ﺟﺪاً‪،‬‬ ‫وﰲ اﻟﻮﻗﺖ ذاﺗﻪ اﺑﺘﻌﺪت دور اﻟﻨﴩ ﻋﻦ‬ ‫ِ‬ ‫ﻃﺒﺎﻋﺔ دواوﻳﻦ اﻟﺸﻌﺮاء ﻣﺎﻋﺪا ﺗﻠﻚ اﻟﺠﻬﺎت‬ ‫اﻟﺘﻲ وﻣﺎزاﻟﺖ ﺗﺪﻋﻢ اﻟﺸﻌﺮ وأﻏﻠﺒﻬﺎ ﺣﻜﻮﻣﻴﺔ‬ ‫وﺗﺨﺪم ﻣﺠﺎل اﻟﺸﻌﺮ‪.‬‬ ‫ﻟﻬﺬا أﺻﺒﺢ اﻟﻨﺎﴍ ﻳﺒﺤﺚ ﻋﻦ ﻣﺎ ﻫﻮ ﺑﺪﻳﻞ‬ ‫ﻟﻠﺪواوﻳﻦ اﻟﺸﻌﺮﻳﺔ ﻓﻴﻠﺠﺄ اﱃ ﻣﺎ ﻳﻘﺮأه‬ ‫اﻟﺠﻤﻬﻮر ﻣﻦ ﻛﺘﺐ ﻏري اﻟﺸﻌﺮ ﻷن ﺗﻠﻚ‬ ‫اﻟﻜﺘﺐ أو ﺗﻠﻚ اﳌﺎدة ﻏري ﻣﺘﺎﺣﻪ ﻟﻠﺠﻤﻬﻮر‬ ‫ﻋﱪ وﺳﺎﺋﻞ اﻟﺘﻮاﺻﻞ اﻻﺟﺘامﻋﻲ ﺑﺸﻜﻞ ﻛﺒري‬ ‫ﻣﺜﻞ اﻟﺸﻌﺮ‪ ،‬وﻻ ﻧﻨﴗ ﰲ ﻧﻬﺎﻳﺔ اﳌﻄﺎف أن‬ ‫ﻫﺬي اﻟﺪواﺋﺮ ﻫﺪﻓﻬﺎ ﻣﺎدي ﻗﺒﻞ اﳌﻌﻨﻮي‪.‬‬

‫أﻣــﺎ اﻟﺸﺎﻋﺮ اﻹﻣـــﺎرايت ﺣﻤﺪ ﺑﻦ ﺷﺎﻣﺲ‬ ‫اﳌﺰروﻋﻲ ﻓريى ان اﻟﺴﺒﺐ اﻟﺮﺋﻴﺲ ﻫﻮ‬ ‫اﻟﺠﻤﻬﻮر‪ ،‬وﺑﻌﺪﻫﺎ وﺳــﺎﺋــﻞ اﻟﺘﻮاﺻﻞ‬ ‫اﻻﺟﺘامﻋﻲ‪ ،‬ﻓﻔﻲ اﳌﺎﴈ ﻛﺎﻧﺖ اﻷﻣﺴﻴﺎت‬ ‫واﻟﻔﻌﺎﻟﻴﺎت اﻟﺸﻌﺮﻳﺔ ﺗﻌﺞ ﺑﺎﻟﺠﻤﻬﻮر‪ ،‬وﰲ‬ ‫اﻟﻮﻗﺖ ذاﺗﻪ ﻛﺎﻧﺖ دور اﻟﻨﴩ ﺗﺘﺴﺎﺑﻖ ﰲ‬ ‫ﻃﺒﺎﻋﺔ دواوﻳﻦ اﻟﺸﻌﺮاء‪ .‬ﻟﻜﻦ اﻟﻴﻮم‪ ،‬ﻏﺰت‬

‫‪ ŋŌƈǶ ǺƉŞLjǕŌ ƋȃŌǷŴǕŌǶ dzǿŌǶƉǕŌ ǛǙƊ‬‬ ‫‪ ǽŞƪƖǕŌ ƉƪƖǕŌ ƉƖǝ ƩŵŌƉũ‬‬

‫‪DzƉǾŬlj ǓȃŌƃş ƃǤƖǘǕŌ ŦƋƯ‬‬

‫ﰲ ﺣني ﺗﺮى اﻷﻛﺎدميﻴﺔ ﻫﻮﻳﺪا ﺻﺎﻟﺢ أن‬ ‫أﺳﺒﺎب ﺗﺮاﺟﻊ ﻧﴩ اﻟﺸﻌﺮ اﻟﺸﻌﺒﻲ ﻳﻌﻮد‬ ‫إﱃ ﻋﺪة ﺳﻴﺎﻗﺎت اﺟﺘامﻋﻴﺔ وﺛﻘﺎﻓﻴﺔ‪ ،‬ﻣﻨﻬﺎ‬ ‫اﻟﻨﻈﺮة اﻟﺪوﻧﻴﺔ اﻟﺘﻲ ﻳﻨﻈﺮ ﺑﻬﺎ اﻟﺒﻌﺾ إﱃ‬ ‫اﳌﺤﻜﻴﺎت اﻟﺼﻐﺮى وﻹﺑﺪاﻋﺎت اﻟﺸﻌﺮاء‬

‫ﺣﻤﺪ ﺷﺎﻣﺲ اﳌﺰروﻋﻲ‬

‫ﺻﺎﻟﺢ اﻟﻌﻨﺰي‬

‫أﺣﻤﺪ رزﻳﻖ‬

‫ﺑﺎﻟﺨﺘﺎم ﻛﻞ اﻷﻃﺮاف ﺗﺘﺤﻤﻞ ﻓﺘﻮر اﻟﻜﻠﻤﺔ‪،‬‬ ‫‪ǣŵǷŨǕŌ dzƲǔŨƀǙ dzǾǜǙƊ dzŞǂŽ‬‬ ‫ﺑﺴﺆال اﻟﺸﺎﻋﺮة اﻟﻜﻮﻳﺘﻴﺔ أﻓﺮاح اﻟﻘﺼﻴﺪ ﻋﻦ وﻋــﺪم وﻻدة دواوﻳـــﻦ ﺷﻌﺮﻳﻪ ﻳﻌﺪﻫﺎ‬ ‫ﻓﺮص اﻟﺸﻌﺮ اﻟﺸﻌﺒﻲ ﰲ اﻟﻨﴩ ﻗﺎﻟﺖ‪ :‬ﻋﲆ اﻟﺠﻤﻬﻮر ﻣﺮﺟﻌﺎً ﻟﻺﺑﺪاع‪ ،‬وﻳﺒﻘﻰ اﻷﻣﻞ ﰲ‬ ‫ﻣﺮ اﻟﻌﺼﻮر واﻷزﻣﻨﺔ مل ﻳﻐﺐ ﺟامل اﻟﺸﻌﺮ أﺟﻴﺎل ﻗﺎدﻣﺔ ﺗﺤﻤﻞ ﻟﻮاء اﻟﺸﻌﺮ ﻣﺠﺪداً‪.‬‬ ‫واﻻﻫﺘامم ﺑﺎﳌﻔﺮدة أﺑﺪاًـ ﺳﻮاء ﻋﲆ ﻣﺴﺘﻮى‬ ‫اﻟﺸﺎﻋﺮ أو اﳌﺘﻠﻘﻲ‪ ،‬وﻟﻄﺎﳌﺎ ﻛﺎن اﻟﺸﻌﺮ رﻓﻴﻘﺎً ‪ ŝŨlj DzŋŌƉȌȌǃ Ǜƫ ǛǿƉǾŬLjǕŌ ưǶƋȌȌƫ‬‬ ‫ﻟﻠﻤﺠﺘﻤﻊ ﰲ ﻛﻞ ﺣﺎﻻت ﻣﺸﺎﻋﺮه‪ ،‬ﻓﺒﺎﻟﻔﺨﺮ ‪ƉƪƖǕŌ‬‬ ‫ﺗﺠﺪ اﻟﺸﻌﺮ ﺣﺎﴐاً‪ ،‬وﺑﺎﻟﺤﺰن ﺗﺠﺪ اﻟﺸﻌﺮ أﻣﺎ اﻟﺸﺎﻋﺮ اﻟﺴﻌﻮدي ﺻﺎﻟﺢ ﻣﺤﻤﺪ اﻟﻌﻨﺰي‬ ‫ﻣﻮاﺳﻴﺎً ‪ ،‬وﺑﺎﻟﺤﺮب ﺗﺠﺪ اﻟﺸﻌﺮ ﺳﻼﺣﺎً‪ ،‬ﻟﺬﻟﻚ ﻓﻴﻘﻮل‪ :‬اﻟﺸﻌﺮ اﻟﺸﻌﺒﻲ ﻣﻦ اﻟﻔﻨﻮن اﻟﺘﻲ‬ ‫ﻛﺎن ﻫﻮ اﳌﻠﺠﺄ اﻟﺘﻌﺒريي اﻷول دامئﺎً واﺑﺪاً ‪ .‬ﻟﻬﺎ اﻧﺘﺸﺎرﻫﺎ وﺟﻤﻬﻮرﻫﺎ ﰲ اﻟﺨﻠﻴﺞ اﻟﻌﺮيب‪،‬‬ ‫وﻟﻜﻦ ﻻ ﻳﺨﻔﻰ ﻋﲆ أﺣــﺪ أﻧﻨﺎ ﰲ ﺣﻘﺒﺔ وﻫــﻮ ﻛﻐريه ﻣــﻦ اﻟﻔﻨﻮن ﻣﺘﻰ ﻣــﺎ وﺟﺪ‬ ‫زﻣﻨﻴﺔ ﻣﺨﺘﻠﻔﺔ اﻟﺘﻮﺟﻪ‪ ،‬وﺑﻌﻘﻠﻴﺔ ﻣﺘﺸﺒﻌﺔ اﻟﺪﻋﻢ اﻹﻋﻼﻣﻲ ﻛﺎﻻﻫﺘامم ﺑﺎﻟﺸﻌﺮاء وﻧﴩ‬ ‫وﻣﺰدﺣﻤﺔ ﺑﺎﻟﺘﻠﻘﻲ‪ .‬ﻓﻠﻢ ﻳﻌﺪ اﻟﻘﺎرئ ﻳﻨﺸﺪ ﻗﺼﺎﺋﺪﻫﻢ‪ ،‬ﻓﺈن ﻫﺬا اﻷﻣﺮ ﻳﺼﺐ ﰲ ﺻﺎﻟﺤﻪ‬ ‫دور اﻟﻨﴩ ﻟﻘﺮاءة اﻟــﺪواوﻳــﻦ اﻟﺸﻌﺮﻳﺔ‪ ،‬وﻳﺰﻳﺪ ﰲ ﺗﻄﻮره‪ ،‬وﻫﺬا اﻟﺪور اﻟﺬي ﻳﺠﺐ أن‬ ‫ﻓﻬﻮ ميﺘﻠﻚ ﻣﻨﱪ اﻟﺸﺎﻋﺮ ﻧﻔﺴﻪ ﻋﲆ ﻣﻮاﻗﻊ ﻳﺤﻈﻰ ﺑﻪ اﻟﺸﻌﺮ ﻣﻦ دور اﻟﻨﴩ وﻏريﻫﺎ ﻣﻦ‬ ‫اﻟﺘﻮاﺻﻞ اﻻﺟﺘامﻋﻲ‪ ،‬وﻳﺴﺘﻄﻴﻊ أن ﻳﺘﺸﺒﻊ اﻟﻮﺳﺎﺋﻞ اﻹﻋﻼﻣﻴﺔ واﻟﺘﻌﺮﻳﻔﻴﺔ‪.‬‬ ‫ﺷﻌﺮﻳﺎً ﺳﻮاء ﺑﻘﺮاءة اﻟﻨﺼﻮص أو ﻣﺸﺎﻫﺪة أرى أن ﻋﺪم ﺗﻔﺎﻋﻞ دور اﻟﻨﴩ ﻣﻊ اﻟﺸﻌﺮ‬ ‫اﻟﻔﻴﺪﻳﻮﻫﺎت اﻟﺸﻌﺮﻳﺔ اﳌﺼﻤﻤﺔ واﻟﻘﺮﻳﺒﺔ اﻟﺸﻌﺒﻲ ﻳﺮﺟﻊ ﻟﻌﺪة أﺳﺒﺎب ﻣﻨﻬﺎ‪ :‬ﻏﺎﻟﺒﻴﺔ‬ ‫دور اﻟﻨﴩ ﺗﺴﻌﻰ ﻟﻠﺮﺑﺢ اﳌــﺎدي وﻟﻴﺲ‬ ‫ﻟﻌني وﻗﻠﺐ اﳌﺘﻠﻘﻲ‪.‬‬ ‫ﺑني ﻫﺬا وذاك ﻟﻦ ﻧﺼﺐ ﺟﺎم اﻟﻠﻮم ﻋﲆ دور ﻟﻠامدة اﳌﻨﺸﻮرة‪ ،‬ﻓﻬﻲ ﺗﺘﺠﻪ ﻟﻠﺮواﻳﺔ ﻣﺜﻼ ﻷن‬ ‫اﻟﻨﴩ اﻟﺘﻲ أﺻﺒﺤﺖ ﺗﻔﺘﻘﺮ ﻷﺳﻠﻮب اﻟﻄﺮح اﻧﺘﺸﺎرﻫﺎ ﻋﲆ اﳌﺴﺘﻮى اﻟﻌﺮيب أﻛﱪ‪ ،‬إﺿﺎﻓﺔ‬ ‫ووﻗﻌﺖ ﰲ ﺟﻮ اﻟﺮﺗﺎﺑﺔ واﻟﺠﻤﻮد‪ ،‬ومل ﺗﻌﺪ إﱃ أن اﻧﺘﺸﺎر اﻟﺸﻌﺮ اﻟﺸﻌﺒﻲ ﻋﱪ وﺳﺎﺋﻞ‬ ‫ﺗﺴﺘﻄﻴﻊ ﻣﺠﺎراة ﻃﻤﻮح اﻟﺸﺎﻋﺮ‪ ،‬ومل ﺗﻌﺪ اﻟﺘﻮاﺻﻞ اﻻﺟﺘامﻋﻲ واﻟﺪواوﻳﻦ اﻟﺼﻮﺗﻴﺔ أدى‬ ‫ﺗﺘﻤﻜﻦ ﻣﻦ ﺟﺬب اﻧﺘﺒﺎه اﻟﺠﻤﻬﻮر‪ ،‬ﻓﺎﻟﺨﻄﺄ اﱃ ﻋﺰوف اﻟﻜﺜريﻳﻦ ﻋﻦ ﻗﺮاءة ﻛﺘﺐ اﻟﺸﻌﺮ‪.‬‬ ‫ﻳﻘﻊ أﻳﻀﺎً ﻋﲆ اﻟﺸﻌﺮاء اﻟﺬﻳﻦ اﻧﺠﺮﻓﻮا‬ ‫ﻟﻠﴪﻋﺔ واﻻﺳﺘﻌﺠﺎل‪ ،‬ﻓﻠﻢ ﻧﻌﺪ ﻧﺮى ﻧﺼﺎً ‪dzƫǷǜŨǙǶ DzƉǾŬlj ŦōǃǷƪǘǕŌ‬‬ ‫ﺷﻌﺮﻳﺎً واﻋﻴﺎً ﻣﺘﻜﺎﻣ ًﻼ ﻳﻨﻢ ﻋﻦ ﻧﻀﺞ اﻟﺘﺠﺮﺑﺔ وﻳﺮى اﻟﺸﺎﻋﺮ واﻟﺰﺟﺎل اﳌﻐﺮيب أﺣﻤﺪ رزﻳﻖ‬ ‫اﻟﺸﻌﺮﻳﺔ وﻋﺒﻘﺮﻳﺔ اﳌﻮﻫﺒﺔ‪ ،‬ﻣام أدى أﻧﻪ ﻻ ﺑﺪ ﻣﻦ اﻹﺷﺎرة إﱃ أن إﻗﺪام اﻟﺰﺟﺎﻟني‬ ‫ﻻﻧﺨﻔﺎض ﺗﻮﻗﻊ اﻟﺠﻤﻬﻮر واﺣﺒﺎط ﺗﻌﻄﺸﻪ ﻋﲆ ﻧﴩ أزﺟﺎﻟﻬﻢ ﻗﺪ ﻇﻞ ﻣﺤﻔﻮﻓﺎً ﺑﻜﺜري ﻣﻦ‬ ‫اﻟﺘﺤﻔﻆ‪ ،‬ﻻﻋﺘﻘﺎد ﻏري ﺳﻠﻴﻢ ﺑﺄن ﻣﺎ ﻳﺒﺪﻋﻮﻧﻪ‬ ‫اﻟﺸﻌﺮي ‪...‬‬

‫ﺣﺴﻦ ﴎﺣﺎن‬

‫ﻗﺪ ﻻ ﻳﺮﻗﻰ إﱃ اﻟﻨﺼﻮص اﻟﺸﻌﺮﻳﺔ اﻟﻔﺼﻴﺤﺔ‪،‬‬ ‫أو أن ﻓﻌﻞ اﻟﺘﻮﺛﻴﻖ واﻟﻨﴩ ﻻ ﻳﻨﺒﻐﻲ أن‬ ‫ﻳﺸﻤﻞ اﻹﺑﺪاع اﻟﺸﻌﺒﻲ اﳌﺘﻤﺜﻞ ﰲ اﻟﺰﺟﻞ‪،‬‬ ‫ﺑﻞ إن ﻛﺜرياً ﻣﻤﻦ ﻛﺎﻧﻮا ﻳﺒﺪﻋﻮن ﺿﻤﻦ ﻫﺬه‬ ‫اﻟﺪاﺋﺮة اﻹﺑﺪاﻋﻴﺔ اﻟﺸﻌﺒﻴﺔ مل ﻳﻜﻮﻧﻮا أﻧﻔﺴﻬﻢ‬ ‫ﻣﻘﺘﻨﻌني ﺑﺎن ﻣﺎ ﻳﺒﺪﻋﻮﻧﻪ ﻣﻦ زﺟﻞ ﻫﻮ ﻣﻜﻮن‬ ‫ﻣﻦ ﻣﻜﻮﻧﺎت اﳌﺸﻬﺪ اﻹﺑﺪاﻋﻲ اﳌﻐﺮيب‪،‬‬ ‫ﺑﻞ ﻗﺪ ﻳﱪز اﻟﻔﺼﻴﺢ وﻳﺘﺠﺎوزه ﰲ ﺳﻴﺎﻗﺎت‬ ‫ﻣﺘﻨﻮﻋﺔ وﻣﺨﺘﻠﻔﺔ‪ ،‬ﻟﻬﺬه اﻷﺳﺒﺎب وﻟﻐريﻫﺎ‬ ‫ﻣام ﻻ ﻳﺘﺴﻊ اﳌﻘﺎم ﻻﺳﺘﻘﺼﺎﺋﻪ‪ ،‬ﺗﺄﺧﺮ ﻧﴩ‬ ‫دواوﻳﻦ اﻟﺰﺟﻞ اﳌﻐﺮيب إذ ﺳﺠﻠﺖ ﺳﻨﺔ ‪1976‬‬ ‫ﻇﻬﻮر أول ﻣﺠﻤﻮﻋﺔ زﺟﻠﻴﺔ ﺑﺎﳌﻐﺮب وﻫﻲ‬ ‫)اﻟﺮﻳﺎح اﻟﺘﻲ ﺳﺘﺄيت ( ﻟﻠﺰﺟﺎل أﺣﻤﺪ ﳌﺴﻴﺢ‪،‬‬ ‫وﻫﺬا اﻟﺘﺎرﻳﺦ ﻣﺘﺄﺧﺮ ﺟﺪاً ﻣﻘﺎرﻧﺔ ﺑﻈﻬﻮر أول‬ ‫ﻣﺠﻤﻮﻋﺔ ﺷﻌﺮﻳﺔ ﻓﺼﻴﺤﺔ)‪ .(1936‬ﻟﻴﺘﻮاﱃ‬ ‫اﻟﻨﴩ ﺑﻌﺪ ذﻟﻚ ﺑﻮﺗرية ﺑﻄﻴﺌﺔ ﺟﺪاً‪ .‬ﻟﻜﻦ‬ ‫ﻣﺎ ﻳﻼﺣﻈﻪ اﳌﺘﺘﺒﻊ ﻟﻬﺬا اﻟﺠﻨﺲ اﻹﺑﺪاﻋﻲ‬ ‫اﻟﺸﻌﺒﻲ ﻫﻮ اﻧﻌﺪام ﻓﺮص اﻟﻨﴩ‪ ،‬ذﻟﻚ أن ﻣﺎ‬ ‫ﻳﺰﻳﺪ ﻋﻦ ‪ % 99‬ﻣام ﻳﻨﴩ اﻟﻴﻮم إمنﺎ ﻳﻨﴩ‬ ‫ﻋﲆ ﻧﻔﻘﺔ اﻟﺰﺟﺎﻟني‪ ،‬اﻟﺬﻳﻦ ﻳﺆدون ﻓﺎﺗﻮرة‬ ‫ﺗﻢ‬ ‫ﻧﴩ أزﺟﺎﻟﻬﻢ ﻣﻦ ﻗﻮت أﺑﻨﺎﺋﻬﻢ‪ .‬وﺣني ّ‬ ‫ﺳﺆاﻟﻪ ﻋﻦ أﺳﺒﺎب ﺗﻮﺟﻪ اﻟﻨﺎﴍﻳﻦ إﱃ ﻧﴩ‬ ‫اﻟﺸﻌﺮ اﻟﻔﺼﻴﺢ واﻟﺮواﻳﺔ واﻟﻘﺼﺔ‪ ،‬راى أﻧﻪ‬ ‫إذا ﻛﺎﻧﺖ وزارات اﻟﺜﻘﺎﻓﺔ ﺑﺒﻠﺪاﻧﻨﺎ اﻟﻌﺮﺑﻴﺔ‬ ‫ﻻ ﺗﺪﻋﻢ ﻧﴩ اﻟﺸﻌﺮ اﻟﺸﻌﺒﻲ وﺷﻌﺮاﺋﻪ‪،‬‬ ‫ﻓﻠﻦ ﻧﻨﺘﻈﺮ ﺑﺎﻟﴬورة ﻣﻦ اﻟﻨﺎﴍ اﻟﺨﺎص أن‬ ‫ﻳﻘﻮم ﺑﻬﺬا اﻟﺪور‪ ،‬ﻣﻦ ﺛﻢ ﻓﺈن اﻟﻨﺎﴍ ﻳﻔﻀﻞ‬ ‫ﻧﴩ اﻟﻔﺼﻴﺢ واﻟﴪد واﻟﻨﻘﺪ ﺧﺎﺻﺔ إذا ورد‬ ‫اﳌﻨﺘﻮج اﻷديب ﻣﻦ أﺳامء ﻣﺮﻣﻮﻗﺔ ﻟﻦ ﻳﻜﻠﻒ‬ ‫ﻃﺒﻊ ﻋﻤﻠﻬﺎ ﺧﺴﺎرة ﺟﻠﺪ اﻟﻨﺎﴍ‪ .‬وﺣني ُﺳﺌﻞ‬ ‫اﻟﺸﻌﺮ ‪baytelshear‬‬ ‫ﺑﻴﺖ ِ‬

‫‪23‬‬

‫ ‪¥ũľğı‬‬

‫‪ǽşƉƪǕŌ ǺǷŨƒǘǕŌ ǻǔƫ ǖōǘŨǥȍŌ ƱƪƟ ǽǝōƪǿ‬‬

‫اﻟﺸﻌﺮ اﻟﺸﻌﺒﻲ‬ ‫‪ ƃǿƃŴǕŌ ǓƛŌǷŨǕŌ ŦŌǶƋƯǶ ƉƖǜǕŌ ƈǶƂ ƨōǘƣŐ dzǤŵŌǷǙ ǽƳ‬‬

‫ﺗﺤﻘﻴﻖ ﻣﺤﻤﺪ ﻋﺒﺪ اﻟﺴﻤﻴﻊ‬

‫ﻳﻌﺎين اﻟﺸﻌﺮ اﻟﺸﻌﺒﻲ ﰲ اﻟﺒﻠﺪان اﻟﻌﺮﺑﻴﺔ ﻣﻦ ﺗﺠﺎﻫﻞ اﻟﻨﺎﴍﻳﻦ ﻟﻪ‪ ،‬ﺗﺤﺖ دﻋﺎوى ﻋﺪم ﺗﺤﻘﻴﻖ اﳌﻜﺎﺳﺐ اﳌﺎدﻳﺔ وﻋﺪم اﻟﻘﺪرة ﻋﲆ‬ ‫اﻟﺘﺴﻮﻳﻖ وﺗﺤﻘﻴﻖ اﻟﺮﺑﺢ ﻟﻠﻨﺎﴍﻳﻦ؛ ﻣﻦ أﺟﻞ ذﻟﻚ ﻳﱰدد اﻟﻨﺎﴍون ﰲ ﻗﺒﻮل ﻧﴩه‪ ،‬ﺑﻞ ﺗﱰاﺟﻊ اﻟﻜﺜري ﻣﻦ اﳌﺆﺳﺴﺎت اﻟﺜﻘﺎﻓﻴﺔ اﻟﻌﺮﺑﻴﺔ‬ ‫ﻋﻨﺪ ﻃﺮح ﻣﺴﺄﻟﺔ اﻻﻫﺘامم ﺑﺸﻌﺮاﺋﻪ‪ ،‬ﺑﻞ ﻻ ﻧﻜﺎد ﻧﺮى ﻣﻬﺮﺟﺎﻧﺎت أو ﻓﻌﺎﻟﻴﺎت ﻋﺮﺑﻴﺔ ﺗﻘﺎم ﻟﻪ ﻣﺜﻠام ﻳﺤﺪث ﰲ ﺑﻘﻴﺔ اﻷﺟﻨﺎس واﻷﻧﻮاع‬ ‫اﻹﺑﺪاﻋﻴﺔ اﻷﺧﺮى ﻣﺜﻞ اﻟﺸﻌﺮ اﻟﻔﺼﻴﺢ واﻟﻘﺼﺔ واﻟﺮواﻳﺔ‪ .‬وﻣﻦ أﺟﻞ ذﻟﻚ ﺣﺎوﻟﺖ "ﺑﻴﺖ اﻟﺸﻌﺮ" أن ﺗﺴﺘﺠﲇ آراء ﺷﻌﺮاء وﻧﻘﺎد‬ ‫وﻧﺎﴍﻳﻦ ﺣﻮل وﺿﻊ اﻟﺸﻌﺮ اﻟﺸﻌﺒﻲ وإﻣﻜﺎﻧﻴﺔ اﻻﻫﺘامم ﺑﻪ وﺑﺸﻌﺮاﺋﻪ‪.‬‬

‫‪22‬‬

‫اﻟﻌﺪد ‪ ، 71‬أﻛﺘﻮﺑﺮ ‪2018‬‬

‫اﻟﻤﺸﺎﻋﺮ ﻋﻨﻴﺪه‬ @@ 6*x@@ @ D @@ @ 6*x@@ @ D* @@ @ E ·b@@ @ @ @ D* b@@ @ J @@ £@ c@ D v@@ @£@ @ @ @ + f@@ @ @Ab@@ @ @~@ @ @ z@ @ @ ´* * ¡@@ @ @ @ @ @DH ¢@@ @ @g@ @ @ 0 @@6b@@~@ z@ 0°b@@+ r2b@@ @ @ @ - @@ @ D ¤@@ c@ @ B Hx@@ @ @ @< v@@ @ Jx@@ @ @ @ D* *x@@ @ @ @ @ @ @ @ D* 4b@@ @ @ @ @~@ @ @7* y@@ @ @ Q @ @ @ @«H @@ 6b@@ /¡@@ G x@@ @ @ @ @ D* @@ @ + ¤@@ @ @ Â b@@ @ E @@ @ @ @ 1%* v@@£@~@|@ @D* @@}@c@ @+ ¤@@~@6b@@~@z@0* @@D d@@g@ C* H @@ @ 6b@@ @ @ @ @F°*H Áb@@ @ @p@ @ @ ´* Í@@ @ @+ b@@ @ @E h@@ @ Jx@@ @ E v@@ @ @ @ @ J4H H 2*¡@@ @ @ @ @ @ @ @ @D* 2 @@ @ @ @E ¥x@@ @ @ @ @ © @@ 6*x@@ /°* 2 @@j@ E ¤@@~@}@c@F ¯ @@ @ @ ~@ 6*H v@@ @£@ @ @ @ + v@@ @ @ @ @ @ c@ @ @ A M @@ @ @£@ @ @ Db@@ @ @ @ @ @ E ¤@@ @ @£@ @ @ « @@6b@@~@ z@ 0 @@ @~@ @ 9¡@@ @D*H *¡@@ @ ~@ @ @ 7°* ¤@@ @ @ @ s@ v@@ @£@ @ @ @ < x@@ @ @ <b@@ @ @ ~@ @ @ @{@ @ @ @´*H x@@ @ @ @ +b@@ @ @ @ C* b@@ @ @ @ @ @ @ F*H @@6b@@£@ D* b@@ @ + @@ £Q @ @1 @@z@ @ F f@@ @E*x@@ @C Áw@@ @ 1 v@@£@ ~@ 6 b@@ ~@ @z@ @F* b@@ @ F* v@@£@ ~@ 6 ¤@@ @ E @@ @ 1 H @@6b@@ @ ~@ z@ F @@ @ C @@ @ E ¤@@ @ @ @ @-%°* x@@ ~@ @}@ @p@ @g@ @~@ @6*H v@@ £@ @ @ @~@ @6 ¤@@ @+x@@ @ @ @ @ @ @A @@ @ @ Eb@@ @ @ J* @@ @ £@ @ @s@ @ @-*H

21

baytelshear ‫اﻟﺸﻌﺮ‬ ِ ‫ﺑﻴﺖ‬

‫ﻫﺎدي اﻟﻤﻨﺼﻮري‬ @HadiAlMns

ĘıĘŕ

‫ﻳﺎ ورد‬ ‫ﺳﻬﻴﻞ ﺑﻦ ﻓﺮج اﻟﻤﺰروﻋﻲ‬ @ ShlBinfaraj

@@£@ ~@ 7b@@~@ {@ @ @ D *v@@ @ @ @ @ @ - ¤@@ @ @ @ @D* b@@ @ @J 24H b@@ @ @J ¥H*w@@ @ @ +R ¡@@ Gb@@ @E 4v@@ ~@ @|@ @D* h@@ c@ @ FH @@ @ @+w@@ @ @ @@ @ J4Q ¡@@ @ - @@ @ @D b@@ @ @~@ @z@ @D* v@@ @c@ @ C ¯H @@ @z@ @ Jb@@ @E ¥H*¡@@ @ @ @ @ @ @ @ D* e42 b@@ @ ~@ @ @{@ @ @ @ @ @D* @@ @ @ @ @ @ E H @@ JxQ @ @ @ @g@ @D* ,b@@ @ @ @ ~@ @ 6 @@ @ E d@@ @~@ @ 6b@@ @0 24H b@@ @ J ¥Hb@@ @ ~@ @ 9H r4b@@ @ ~@ @ @6 b@@ @ @ @ @ @ J&°* @@ @ E d@@ @ ~@ @ @z@ @ @0&*H @@ £@ @.*¡@@ E M Hx@@ @ @ @ @ < @@ @ D ¤@@ @ Q @ @ @D* @@ z@ @Ab@@ @ @- ° ¥Hb@@ @ @ @ @ @ ´* b@@ @ @ @ A¡@@ @~@ @ 7 @@ |@ @ s@ @ c@ @ - Í@@ @ @ @ @ @ D* @@ £@ @A*¡@@ g@ @D* ¡@@ @ @ @ 0 f@@ @ @~@ @z@ @B ¯ 24H b@@ @ J ¥Hb@@ @ @1 2¡@@ @ @Db@@ @ @E d@@ @ @ @ @ @ BHR d@@ @J¡@@ @~@ @ 8 Md@@ @ @ @ @B @@ @£@ @ F*x@@ @ @ @ D* H2 e*¡@@ @ @ @ @ @ @ @ +&° @@ @ @ @ @ Q @ @ @ @ @ @EH ¥H*v@@ @ @ @ @J ¯*¡@@ @ @s@ @ @ @ @ @ D @@ @ @ E @@ @ @ < Ì@@ @ @ = b@@ @ @ J @@ @£@ @ Db@@ @s@ @ ´* H2 *¡@@ @ @ @ @ @ @½ ¯ Ì@@ @ ~@ @ @{@ @ @1 ¥Hb@@ @ @ @ J b@@ @ @E ¥x@@ @ @:b@@ @ @1 f@@ @ Q @ @ ~@ @ {@ @ DR ¡@@ @ @G · @@ £@ @Db@@ @ @´* eH4v@@ @ @ @Db@@ @ @ @A @@ @ @+ ix@@ @ @:b@@ @ @1 b@@ @ @E ¥Hb@@ @ @<v@@ @ @D* @@ @ @ @ @ G&*H ¥*x@@ @ @ @ @ D* k@@ £@ @c@ @1 f@@ @ £Q @ @ @F @@ £@ @Ab@@ @ @´* @@ }@ @ @ @+ i*¡@@ @ @ @ @G @@ @ < @@ £@ @~@ @{@ @0 ¥Hb@@ @ @ @<2 @@ ~@ @7¡@@ @ @- b@@ @ @E Md@@ @ £@ @ @: @@ @ @ @ @6*4 @@ @ @E @@£@ Db@@ @ E Me*¡@@ @ @ @ @ @ @ +&* @@ @ @D @@ @B¡@@ @~@ @ 6 24H b@@ @ @J ¥Hb@@ @ @ @ @G HR ¡@@ @ @ @ @~@ @ @6 Á4wQ @ @ @ @ @ @ @ @ @ @ - b@@ @ @ @ @ @ @ @F&*H @@ @£@ @ 0*¡@@ @D @@ @ <¡@@ @ c@ @ @- MeÉ@Q @ @ @ @ @ @ @ @: @@ @ @ @C ¡@@ @ @ @ @ DH ¥H*v@@ @ @ @ @ F b@@ @ @ Q @ @ @ @E b@@ @ @ @ @ @ @ @ @ J&°* h@@ @~@ @ |@ @ p@ @ + b@@ @ @ @E @@£@ ~@ 7b@@~@ {@ @ D* @@ g@ @ @ @~@ @6 M24H b@@ @ J *¡@@ @~@ @ {@ @ F ¥H*3 e¡@@ @ @ @Gb@@ @ @ @E 2 @@ @g@ @ £@ @ @ @ ~@ @ 6 ¥24H

2018 ‫ أﻛﺘﻮﺑﺮ‬، 71 ‫اﻟﻌﺪد‬

20

‫ ‪ ĮľĵŒ «¯ ĜľōŘ‬‬

‫‪ ǽǝōŭ ƃƗŌƈ ƃǘŽŐ‬‬

‫ﻣﺤﻤﺪ ﻧﻮر اﻟﺪﻳﻦ‬

‫‪@khaligalb‬‬

‫"اﳌﴪﺣﻲ أﺣﻤﺪ راﺷﺪ ﺛﺎين‪ ...‬إﺑﺤﺎر ﰲ اﻟﺘﺠﺮﻳﺐ واﻟﺤﺪاﺛﺔ" ﻫﻮ ﻋﻨﻮان ﻟﻜﺘﺎب ﺟﺪﻳﺪ ﻟﻠﺪﻛﺘﻮر‬ ‫ﻫﻴﺜﻢ ﻳﺤﻴﻰ اﻟﺨﻮاﺟﺔ أﺣﺪ أﻫﻢ اﻟﺒﺎﺣﺜني ﰲ اﳌﴪح اﻟﻌﺮيب ﺑﺸﻜﻞ ﻋﺎم واﳌﴪح اﻹﻣﺎرايت‬ ‫ﺑﺸﻜﻞ ﺧﺎص‪ ،‬واﻟﺬي ﻳﻌﻤﻞ ﺑﺠﺪ ﻣﻨﺬ ﻋﻘﻮد وﻗﺪ ﺻﺪر ﻟﻪ ﺑﺎﻹﺿﺎﻓﺔ إﱃ إﺳﻬﺎﻣﺎﺗﻪ ﰲ أدب‬ ‫اﻟﻄﻔﻞ ﺣﻮاﱄ ‪ 80‬ﻛﺘﺎﺑﺎً‪ ،‬وﻫﻮ ﺑﻬﺬا اﻟﻜﺘﺎب اﻟﺬي ﺗﴩﻓﺖ مبﺘﺎﺑﻌﺔ ﻧﴩه ﻳﺆﻛﺪ ﻋﲆ دور اﳌﺜﻘﻒ‬ ‫اﻟﻮاﻋﻲ اﻟﺬي ﻳﻌﻲ أﻫﻤﻴﺔ ﻣﺎ ﻳﺮﻓﺪ ﻣﻦ إﻧﺘﺎج ﻟﻠﻤﻜﺘﺒﺔ اﻟﻌﺮﺑﻴﺔ ﺑﻌﻜﺲ اﻵﺧﺮﻳﻦ اﻟﺬﻳﻦ ﻳﺮون أن‬ ‫ﻫﺬا اﻟﺪور ﻫﻮ ﻣﻦ أدوار اﳌﺆﺳﺴﺎت اﻟﺮﺳﻤﻴﺔ اﳌﻌﻨﻴﺔ ﺑﺎﻟﺜﻘﺎﻓﺔ‪ ،‬وﻟﻜﻦ ﺗﺒﻘﻰ ﻫﺬه اﻹﺻﺪارات‬ ‫ﺗﺎرﻳﺨﻴﺔ وﻣﻬﻤﺔ ﻷﻧﻬﺎ ﺗﻮﺛﻖ ﺗﺠﺮﺑﺔ أﺣﺪ أﻫﻢ اﻷﺳامء اﻹﻣﺎراﺗﻴﺔ ﰲ اﻟﺜﻘﺎﻓﺔ واﻟﱰاث وﻫﻮ‬ ‫اﻟﺸﺎﻋﺮ اﻟﺮاﺣﻞ "أﺣﻤﺪ راﺷﺪ ﺛﺎين"‪.‬‬ ‫ﻻ أﺳﺘﻄﻴﻊ وأﻧﺎ أﻛﺘﺐ ﻫﺬه اﻟﺴﻄﻮر أن أﻧﴗ ﻟﻘﺎيئ اﻷﺧري ﺑـ أﺣﻤﺪ راﺷﺪ ﺛﺎين وأﻧﺎ أﻧﺘﻈﺮ‬ ‫ﻣﻘﺎﺑﻠﺔ ﺳﻌﺎدة ‪ /‬ﺟﻤﻌﺔ اﻟﻘﺒﻴﴘ ﰲ اﳌﺠﻤﻊ اﻟﺜﻘﺎﰲ ﺑﺄﺑﻮﻇﺒﻲ ﰲ ﻋﺎم ‪ 2009‬ﺣﻴﺚ اﻟﺘﻘﻴﺘﻪ‬ ‫ﻫﻨﺎك وأﻫﺪﻳﺘﻪ ﻛﺘﺎيب "دروس ﰲ أوزان اﻟﺸﻌﺮ اﻟﺸﻌﺒﻲ" اﻟﺬي ﺗﻨﺎوﻟﻪ وﺗﺼﻔﺤﻪ ﺑﴪﻋﺔ أﻣﺎﻣﻲ‬ ‫وأﺧﺬ ﻳﺜﻨﻲ ﺑﻌﺾ ﺻﻔﺤﺎﺗﻪ أﻣﺎﻣﻲ يك ﻳﺮﺟﻊ إﻟﻴﻬﺎ ﻻﺣﻘﺎً وﻳﻨﺎﻗﺸﻨﻲ ﰲ ﺑﻌﺾ اﻟﺒﺤﻮر واﻷوزان‪.‬‬ ‫وﻫﺬا اﻻﻫﺘامم مل ﻳﻜﻦ ﺑﻐﺮﻳﺐ ﻋﲆ ﻣﺜﻘﻒ ﻣﻮﺳﻮﻋﻲ ﻣﺜﻞ أﺣﻤﺪ راﺷﺪ ﺛﺎين اﻟﺬي ﺻﺪﻣﻨﺎ‬ ‫ﺑﺮﺣﻴﻠﻪ ﰲ ﻣﻄﻠﻊ ﻋﺎم ‪ 2012‬ﻟﺘﻔﻘﺪ اﻟﺴﺎﺣﺔ اﻟﺜﻘﺎﻓﻴﺔ أﺣﺪ أﻫﻢ رﺟﺎﻟﻬﺎ‪ ،‬وﻗﺪ اﻃﻠﻌﺖ ﰲ‬ ‫ﺣﻴﻨﻬﺎ ﻋﲆ ﺑﻌﺾ اﳌﺨﻄﻮﻃﺎت اﻟﺘﻲ مل ﺗﺮ اﻟﻨﻮر وﻗﺪ ﻧﴩت ﺑﻌﻀﻬﺎ ﺑﻌﺪ وﻓﺎﺗﻪ وﻻ زال ﺑﻌﺾ‬ ‫اﳌﺨﻄﻮﻃﺎت مل ﺗﻨﴩ إﱃ اﻵن وﻣﻨﻬﺎ ﻣﴪﺣﻴﺔ "أﺳﻨﺎن اﳌﺸﻂ" اﻟﺬي أﺿﺎف اﻟﺪﻛﺘﻮر ﻫﻴﺜﻢ‬ ‫اﻟﺨﻮاﺟﺔ ﻗﺮاءﺗﻪ ﻟﻬﺬه اﳌﴪﺣﻴﺔ ﰲ ﻛﺘﺎﺑﻪ يك ﺗﺒﻘﻰ ذﻛﺮ اﳌﺨﻄﻮﻃﺔ‪ ،‬ﻟﺌﻼ ﻳﻀﻴﻊ أي ﻧﺺ ﻣﻦ‬ ‫اﻟﻨﺼﻮص اﻟﺘﻲ أﺑﺪﻋﻬﺎ اﻟﺮاﺣﻞ اﻟﻜﺒري‪.‬‬ ‫ﻳﻔﺼﻞ ﺑﻴﻨﻨﺎ اﻟﻴﻮم وﺑني ﺗﺎرﻳﺦ وﻓﺎة أﺣﻤﺪ راﺷﺪ ﺛﺎين ﺣﻮاﱄ ﺳﺖ ﺳﻨﻮات وﻧﺼﻒ‪ ،‬وأمتﻨﻰ‬ ‫أن ﺗﺠﻤﻊ أﻋامﻟﻪ ﰲ ﻣﺠﻤﻮﻋﺎت أﺳﻮة ﺑﺄﻋامﻟﻪ اﻟﺸﻌﺮﻳﺔ اﻟﺘﻲ ﺻﺪرت ﻋﻦ اﳌﺆﺳﺴﺔ اﻟﻌﺮﺑﻴﺔ‬ ‫ﻟﻠﺪراﺳﺎت واﻟﻨﴩ ﺑﺒريوت ﻗﺒﻴﻞ وﻓﺎﺗﻪ‪ ،‬ﻟﻨﻀﻢ إﱃ ﳌﻜﺘﺒﺔ اﻟﻌﺮﺑﻴﺔ أﻋامﻟﻪ اﳌﴪﺣﻴﺔ وأﻋامﻟﻪ‬ ‫اﻟﺸﻌﺒﻴﺔ ﺑﺎﻹﺿﺎﻓﺔ إﱃ ﻧﴩ ﻣﺨﻄﻮﻃﺎﺗﻪ اﻟﺘﻲ مل ﺗﻨﴩ إﱃ اﻵن‪ ،‬واﻟﻌﻤﻞ أﻳﻀﺎً ﻋﲆ ﺗﺮﺟﻤﺔ‬ ‫أﻋامﻟﻪ ﺑﺎﻟﺘﻨﺴﻴﻖ ﻣﻊ أﺻﺤﺎب ﺣﻘﻮق اﳌﻠﻜﻴﺔ اﻟﻔﻜﺮﻳﺔ يك ﺗﻌﻲ اﻷﺟﻴﺎل اﻟﻘﺎدﻣﺔ أﻫﻤﻴﺔ‬ ‫اﳌﺜﻘﻒ ودوره ﰲ ﺗﻜﻮﻳﻦ اﻟﺤﻀﺎرة‪ ،‬وﺗﺜﻤني اﳌﺠﺘﻤﻊ ﻟﺪوره ﺣﺘﻰ ﺑﻌﺪ رﺣﻴﻠﻪ‪.‬‬ ‫اﻟﺸﻌﺮ ‪baytelshear‬‬ ‫ﺑﻴﺖ ِ‬

‫‪19‬‬

‫‪ ĬńŒ ŝħ‬‬ ‫ووﻃﻨﻨﺎ اﻟﻐﺎﱄ ﻓﺈن مل ﻳﺘﻮاﺟﺪ اﻟﺸﺎﻋﺮ ﰲ‬ ‫ﻣﺜﻞ ﻫﺬه اﻟﻈﺮوف‪ ..‬إذاً ﻣﺘﻰ ﻳﺘﻮاﺟﺪ؟؟!‬ ‫ﰲ ﻫﺬه اﳌﺮﺣﻠﺔ ﻳﺘﻮﺟﺐ ﻋﲆ اﻟﺸﻌﺮاء‬ ‫ﺑﺬل ﻛﻞ ﺟﻬﺪ ﰲ ﺗﻘﺪﻳﻢ أﻋامل ﻣﻦ ﺷﺄﻧﻬﺎ‬ ‫دﻋﻢ ﻣﻮﻗﻒ اﻟﺪوﻟﺔ واﻟﺸﺪ ﻣﻦ أزر أﺑﻄﺎﻟﻨﺎ‬ ‫اﳌﺮاﺑﻄني ﻋﲆ اﻟﺠﺒﻬﺎت"‪.‬‬ ‫وﻳﺆﻛﺪ ﺳﺎمل اﻟﻜﻌﺒﻲ ﻋﲆ أﻫﻤﻴﺔ ﻣﻮاﻛﺒﺔ‬ ‫اﻟﺸﻌﺮاء ﻟﻠﻨﻬﻀﺔ اﻟﺤﻀﺎرﻳﺔ اﻟﺘﻲ ﺗﻌﻴﺸﻬﺎ‬ ‫اﻟﺪوﻟﺔ‪ ،‬ﺣﻴﺚ ﻳﻘﻮل‪" :‬دامئﺎً ﻣﺎ ﻛﺎن اﻟﺸﻌﺮ‬ ‫اﻧﻌﻜﺎﺳﺎً ﻟﺤﻀﺎرة ﺑﻠﺪه‪ ،‬وﺑﻄﺒﻴﻌﺔ اﻟﺤﺎل‬ ‫اﳌﻜﻮث ﰲ اﳌﺎﴈ ﻻ ﻳﺤﺮك ﺳﺎﻛﻨﺎً‪ ،‬وأرى‬ ‫أن اﻟﺘﺠﺪﻳﺪ وﻣﻮاﻛﺒﺔ اﻷﺣﺪاث ﻫﻮ اﳌﺴﺎر‬ ‫اﻟﺼﺤﻴﺢ ﻟﻠﺸﺎﻋﺮ‪ ،‬واﻟــﺬي ﻋﲆ ﺟﻤﻴﻊ‬ ‫اﻟﺸﻌﺮاء اﺗﺒﺎﻋﻪ"‪.‬‬ ‫ﰲ ﻇﻞ ﺟامل وروﻋﺔ اﻟﻘﺼﺎﺋﺪ اﻟﺘﻲ ﻗﺪﻣﻬﺎ‬ ‫ﺳﺎمل اﻟﻜﻌﺒﻲ وﺗﻌﺪد أﻏﺮاﺿﻬﺎ وﺣﺪاﺛﺔ‬

‫ﻣﻔﺮداﺗﻬﺎ وأﻓﻜﺎرﻫﺎ‪ ،‬ﻛﺎن ﻣﻦ اﻟﻄﺒﻴﻌﻲ‬ ‫أن ﺗﺘﺤﻮل إﱃ أﻏﺎنٍ وأﻧﺎﺷﻴﺪ‪ ،‬ﺣﻴﺚ ﻳﺸري‬ ‫اﻟﻜﻌﺒﻲ إﱃ أن اﻟﻌﺪﻳﺪ ﻣﻦ ﻗﺼﺎﺋﺪه‪ ،‬ﺗﻢ‬ ‫ﻏﻨﺎؤﻫﺎ ﺑﺄﺻﻮات ﻣﻄﺮﺑني وﻓﺮق إﻣﺎراﺗﻴﺔ‪،‬‬ ‫وﻫﻮ ﻣﺴﺘﻤﺮ ﰲ ﻫﺬا اﻟﻨﻬﺞ ﻟﺘﻘﺪﻳﻢ اﳌﺰﻳﺪ‬ ‫ﻣﻦ اﻷﻋامل اﻟﻔﻨﻴﺔ‪.‬‬

‫أﻣﺎ ﻋﻦ ﺟﻤﻊ ﻗﺼﺎﺋﺪه ﰲ دﻳﻮان‪ ،‬ﻓﻴﻘﻮل‪:‬‬ ‫"اﻟﺪواوﻳﻦ اﻟﺸﻌﺮﻳﺔ اﻹﻣﺎراﺗﻴﺔ ﻣﺘﻮﻓﺮة‬ ‫ﺑﻜرثة ودور اﻟﻨﴩ ﰲ اﻹﻣــﺎرات ﻣﺴﺘﻤﺮة‬ ‫ﰲ اﻟﺴﻌﻲ ﻧﺤﻮ ﻃﺒﺎﻋﺔ ﻫﺬه اﻟﺪواوﻳﻦ‪،‬‬ ‫وﻋﻦ ﻧﻔﴘ ﻓﺈن ﻓﻜﺮة إﻧﺸﺎء دﻳﻮان ﺷﻌﺮي‬ ‫ﻣﻮﺟﻮدة وﻟﻜﻨﻲ أﻧﺘﻈﺮ اﻟﻮﻗﺖ اﳌﻨﺎﺳﺐ"‪.‬‬

‫ﺣﺒﻞ اﻟﻮﺻﻞ‬ ‫*&‪,Qv@ @ E @@ @E $b@@ @£@ @ ~@ @ 7&* @@£@ @ < @@ @0É@@ @E b@@ @ @ F‬‬ ‫‪x@@~@@Q |@ @ E @@ @ @D x@@ ~@@Q |@ @ @ @E @@ @ FQ b@@ @ + ¡@@ @ @B b@@ @ E‬‬ ‫*&‪¤~6b~z0* E ~6b~z0* d~} J ° ¡@@/4‬‬ ‫*‪¥4v@@ @-b@@ @E ix@@ @~@ @ 8 @@ @ FQ b@@ @ + @@ @ @Ax@@ @ @<&* ¤@@ @ @ @ D‬‬ ‫‪ @@ @D @@ CÆ@@ + b@@ @E ¥v@@ @ J ¯ @@ ~@ @8¡@@ D* @@ c@ 0‬‬ ‫‪ @@Db@@ @ G* ¢@@ @ < 2¡@@ @ g@ - h@@ B¡@@ D* @@ E @@ Jb@@ 1‬‬ ‫‪b@@Fx@@<b@@~@ {@ E x@@~@ z@ s@ F b@@ @ E b@@ ~@ @{@ @ @ @< Hb@@ @ @ @0‬‬ ‫‪ @@ @ 1 @@ @ @<Q y@@ £@ @+ d@@ g@ @ @ @D* *w@@ @ @ G b@@ @ @ C *H‬‬ ‫‪¤@@-b@@« ° @@c@ -b@@ @ J Hb@@ @ @ 0 ¡@@ @D d@@ @ @ @ @D*H‬‬

‫‪ 2Q 4%* d@@ -b@@ @ @J v@@ @Jx@@ @J b@@ @ E @@ @ C d@@ @ @ @ @ @ D*H‬‬ ‫*&‪ 2Q H °H @@ @ <y@@ @ J b@@ @c@ @ J @@ @ @ E @@ @j@ @ E b@@ @ @ @ @ F‬‬ ‫*‪ Qv@ @ ~@ @ 9 °H @@ @ Ax@@ @ ; @@ @ @E ° Ix@@ @ @ @- b@@ @ @ @F‬‬ ‫‪ Qv@ @ @G* b@@ @ @ F*H v@@ @ @ @ +O @@ @ @ ~@ |@ J My@ @ /b@@ @0 @@ @C‬‬ ‫*&‪ v@@ @~@ @ 7*H @@ £@ @1x@@ J @@ @ C h@@ @ B¡@@ @ D* ¤@@ @ @c@ @ @ @-‬‬ ‫‪ v@@ @ @+° @@ @£@ @ A ¤@@ @~@ @ 6b@@ @~@ @ 6&* ¤@X @ @ ~@ @ @7 Ì@@ @~@ @ |@ @ JH‬‬ ‫‪ v@@ ~@ 6 ¢@@ @ @< 4v@@ @ @ @ F b@@ @ E eb@@ @ @ + q@@g@ @ @ J @@ @ .‬‬ ‫‪ 2¡@@ @ @FH *¡@@ @ @ @ F @@ @ E @@ @~@ @ 9H ¢@@ @ @< Ä@@ ~@ |@ F‬‬ ‫*‪ 2Æ@@ @ @ + *¡@@ @ @ @ @ @~@ @ @ @ @ @ 7&°*H 2¡@@ @ @ @ @ @ @ D*H v@@ @ @ @ @ @ @ @D‬‬

‫ﺳﺎﻟﻢ اﻟﻜﻌﺒﻲ‬

‫‪18‬‬

‫اﻟﻌﺪد ‪ ، 71‬أﻛﺘﻮﺑﺮ ‪2018‬‬

‫أرى أن ﻣﺎ ﻳﺨﻠﺪ اﻟﻘﺼﻴﺪة ﻫﻲ ﻓﻜﺮﺗﻬﺎ‬ ‫وﻗﺪرة اﻟﺸﺎﻋﺮ ﻋﲆ ﺣﺒﻚ ﻣﻌﺎﻧﻴﻬﺎ‪ ،‬وﺑﺬﻟﻚ‬ ‫ﻳﺼﺒﺢ ﻟﻠﻘﺼﻴﺪة ﺗﻮاﺟﺪ داﺋﻢ ﰲ أي ﻣﻜﺎن‬ ‫وزﻣــﺎن‪ ،‬وﻧﺮى اﻟﻜﺜري ﻣﻦ اﻟﻘﺼﺎﺋﺪ اﻟﺘﻲ‬ ‫ﻛﺘﺒﺖ ﻣﻦ اﻟﺰﻣﻦ اﳌﺎﴈ ﻻزاﻟﺖ ﻣﺘﻮاﺟﺪة‬ ‫ﰲ وﻗﺘﻨﺎ اﻟﺤﺎﱄ‪ ،‬وﻣﻨﻬﺎ ﻣﺎ ﻳﺼﻞ ﻋﻤﺮه إﱃ‬ ‫ﻣﺌﺎت اﻟﺴﻨني"‪.‬‬ ‫‪ǽƫōǘŨŵȍŌ ǓƛŌǷŨǕŌ‬‬

‫ﻣﻌﺎين وأﻓﻜﺎراً ﺟﺪﻳﺪة‪ ،‬وﰲ ﻧﻔﺲ اﻟﻮﻗﺖ‬ ‫ﻋﲆ اﻹﻋــﻼم اﻻﻫــﺘــامم ﺑﺈﻳﺠﺎد اﻟﺸﺎﻋﺮ‬ ‫اﳌﻠﻬﻢ‪ ،‬وإﻳﺼﺎﻟﻪ إﱃ ﺟﻤﻬﻮر اﻟﺸﻌﺮ‪ ،‬وﺑﻜﻞ‬ ‫ﻣﻮﺿﻮﻋﻴﺔ أﻗــﻮل ﺑﺄن اﻹﻋــﻼم اﳌﺤﲇ مل‬ ‫ﻳﺪﺧﺮ ﺟﻬﺪاً ﰲ ﺗﺴﻠﻴﻂ اﻟﻀﻮء ﻋﲆ اﻟﺸﺎﻋﺮ‬ ‫اﻹﻣــﺎرايت‪ ،‬وﻫﺬا ﺟﲇ ﻣﻦ ﺧﻼل اﻟﱪاﻣﺞ‬ ‫اﻟﺘﻠﻔﺰﻳﻮﻧﻴﺔ اﳌﺨﺘﺼﺔ ﺑﺎﻟﺸﻌﺮ أو ﺗﻠﻚ‬ ‫اﻟﺘﻲ ﺗﻔﺮد ﺑني ﺟﻨﺎﺣﻴﻬﺎ ﻣﺴﺎﺣﺎت واﺳﻌﺔ‬ ‫ﻟﻠﺸﻌﺮ‪ ،‬ﺗﺴﺘﻀﻴﻒ ﻣﻦ ﺧﻼﻟﻬﺎ اﻟﺸﻌﺮاء‬ ‫اﳌﺤﻠﻴني‪ ،‬وﺗﻨﺎﻗﺶ ﻣﻌﻬﻢ أﻫﻢ اﻟﻘﻀﺎﻳﺎ‬ ‫اﻟﺸﻌﺮﻳﺔ وﺗﺴﺘﻌﺮض آﺧﺮ اﻧﺘﺎﺟﺎﺗﻬﻢ"‪.‬‬

‫‪dzǿƉƪƗ ƜŌƉƯŐ‬‬

‫وﻳﺸﺒﻪ اﻟﺸﺎﻋﺮ ﺳﺎمل اﻟﻜﻌﺒﻲ اﻷﻏـﺮاض‬ ‫اﻟﺸﻌﺮﻳﺔ ﺑﺎﻟﻮاﺣﺎت‪ ،‬وﺣﻴﺚ ﻣﺎ ﻳﺴﺘﺄﻧﺲ‬ ‫اﻟﺸﺎﻋﺮ ﻳﻘﻴﻢ ﻣﻀﺎرﺑﻪ‪ ،‬وﻳﺮى ﻧﻔﺴﻪ ﰲ‬ ‫واﺣﺎت اﻟﻐﺰل واﻟﻔﺨﺮ واﻟﺤﻜﻤﺔ‪ ،‬وﻫﻲ‬ ‫اﻷﻏﺮاض اﻟﺘﻲ ﻗﺪم ﻣﻦ ﺧﻼﻟﻬﺎ ﻋﺪداً ﻣﻦ‬ ‫أﺟﻤﻞ وأﻗﻮى ﻗﺼﺎﺋﺪه‪ ،‬أﻣﺎ ﻋﻦ اﻟﻘﺼﻴﺪة‬ ‫اﻟﺨﺎﻟﺪة‪ ،‬واﻷﺳﺒﺎب اﻟﺘﻲ ﺗﺆدي إﱃ ﺧﻠﻮدﻫﺎ‬ ‫ﻓﻴﻘﻮل‪" :‬ﻫﻨﺎك ﻣﻦ ﻳﺮى أن ﻏﺮض اﻟﻘﺼﻴﺪة‬ ‫ﻫﻮ ﻣﻦ ﻳﺨﻠﺪﻫﺎ‪ ،‬وﻫﻨﺎك ﻣﻦ ﻳــﺮى ﰲ‬ ‫ﺗﻮﻗﻴﺘﻬﺎ ﺳﺒﺒﺎً ﻟﺨﻠﻮدﻫﺎ‪ ،‬ﻣﻦ وﺟﻬﺔ ﻧﻈﺮي‬

‫ﻻ ﻳﺨﺘﻠﻒ اﺛﻨﺎن ﻋﲆ أن ﻣﻮاﻗﻊ اﻟﺘﻮاﺻﻞ‬ ‫اﻻﺟﺘامﻋﻲ ﺑﺎت ﻟﻬﺎ دور ﻛﺒري ﰲ ﺣﻴﺎة‬ ‫اﻟﻨﺎس‪ ،‬ﻓﻜﻞ ﺷﺨﺺ ﻳﺴﻌﻰ ﻟﻠﻨﺠﺎح ﻳﺤﺎول‬ ‫ﺑﺸﺘﻰ اﻟﻄﺮق اﺳﺘﺜامر ﺗﻠﻚ اﳌﻮاﻗﻊ ﰲ‬ ‫اﻟﺘﻌﺮﻳﻒ مبﺎ ﻳﻘﺪﻣﻪ‪ ،‬وﻛـ ّ‬ ‫ـﻞ ﻟﻪ ﺳﻴﺎﺳﺘﻪ‬ ‫وأﺳﻠﻮﺑﻪ ﰲ اﻟﺘﻌﺎﻣﻞ ﻣﻌﻬﺎ‪ ،‬ﻓﻤﻨﻬﻢ ﻣﻦ‬ ‫ﻳﺒﻘﻰ ﺣﺎﴐاً ﻋﲆ ﻫﺬه اﳌﻮاﻗﻊ‪ ،‬وﻣﻨﻬﻢ ﻣﻦ‬ ‫ﻳﻄﻴﻞ اﻟﻐﻴﺎب وﻻ ﻳﻌﻮد إﻻ وﻫﻮ ﺣﺎﻣﻞ ﻣﺎ‬ ‫ﻳﻌﺘﻘﺪ ﺑﺄﻧﻪ ﺳﻴﺼﻨﻊ ﻓﺮﻗﺎً وﻳﱰك أﺛﺮاً‪ ،‬وﻋﻦ‬ ‫ﻋﻼﻗﺘﻪ مبﻮاﻗﻊ اﻟﺘﻮاﺻﻞ اﻻﺟﺘامﻋﻲ ﻳﻘﻮل‬ ‫ﺳﺎمل اﻟﻜﻌﺒﻲ‪" :‬ﻣﻮاﻗﻊ اﻟﺘﻮاﺻﻞ اﻻﺟﺘامﻋﻲ‬ ‫وﺳﻴﻠﺔ ﻗﻮﻳﺔ وﺳﻬﻠﺔ ﻟﻠﻮﺻﻮل واﻟﺘﻮاﺻﻞ‬ ‫ﻣﻊ اﻟﺠﻤﻬﻮر‪ ،‬وﺗﻮاﺟﺪ اﻟﺸﺎﻋﺮ ﻓﻴﻬﺎ ﻣﻬﻢ‬ ‫ﺟﺪاً ﻟﻄﺮح أﻓﻜﺎره‪ ،‬واﳌﺸﺎرﻛﺔ ﺗﺼﺒﺢ أﺣﻴﺎﻧﺎً‬ ‫ﴐورﻳﺔ ﳌﺎ ﻟﻠﻜﻠﻤﺔ ﻣﻦ ﺗﺄﺛري ﻋﲆ اﳌﺠﺘﻤﻊ‪،‬‬ ‫وأﻧﺎ أرى ﻧﻔﴘ ﻋﻀﻮاً ﻧﺸﻄﺎً وﻓﻌﺎﻻً ﰲ‬ ‫ﻫﺬا اﳌﺠﺎل وأﺣﺮص دامئﺎً ﻋﲆ اﻟﺘﻮاﺟﺪ‬ ‫واﳌﺸﺎرﻛﺔ"‪.‬‬ ‫‪ɰ‬‬ ‫‪ȍǶŐ ǛƣǷǕŌ‬‬

‫وﻳﺆﻛﺪ ﺳﺎمل اﻟﻜﻌﺒﻲ ﻋﲆ أن دوﻟﺔ اﻹﻣﺎرات‬ ‫متﺮ ﺣﺎﻟﻴﺎً مبﺮﺣﻠﺔ ﺗﺎرﻳﺨﻴﺔ‪ ،‬وﻫﻨﺎ ﻳﺠﺐ ﻋﲆ‬ ‫اﻟﺸﻌﺮاء أن ﻳﻘﻮﻣﻮا ﺑﻮاﺟﺒﻬﻢ ﺗﺠﺎه اﻟﻮﻃﻦ‬ ‫وﻗﻴﺎدﺗﻪ وﺷﻌﺒﻪ‪ ،‬ﻓﻴﻘﻮل‪" :‬دور اﻟﺸﺎﻋﺮ‬ ‫ﰲ ﻣﺜﻞ ﻫــﺬه اﳌﺮﺣﻠﺔ ﻳﺪﺧﻞ ﰲ إﻃﺎر‬ ‫اﻟﻮاﺟﺐ اﻟﻮﻃﻨﻲ واﳌﺴﺆوﻟﻴﺔ واﻟﻮﻃﻨﻴﺔ‪،‬‬ ‫وﺗﻮاﺟﺪه وﻇﻬﻮره ﻫﻮ ﺗﴩﻳﻒ وﺗﻜﻠﻴﻒ‪،‬‬ ‫وﺟــﺰء ﻣﻦ رد اﻟﺠﻤﻴﻞ ﻟﺒﻠﺪﻧﺎ اﳌﻌﻄﺎء‬ ‫اﻟﺸﻌﺮ ‪baytelshear‬‬ ‫ﺑﻴﺖ ِ‬

‫‪17‬‬

‫‪ ĬńŒ ŝħ‬‬ ‫واﳌﺤﺮك اﻷﺳﺎﳼ‪ ،‬ﻓام ﺗﻨﺘﺠﻪ ﻗﺮﻳﺤﺘﻚ ﻣﻦ‬ ‫أﺷﻌﺎر‪ ،‬ﻫﻮ ﻧﺘﺎج ﻣﺎ ﻳﺪور ﰲ ﻋﻘﻠﻚ ﻣﻦ‬ ‫أﻓﻜﺎر‪ ،‬ﺣﺐ اﻟﻘﺮاءة واﻻﻃــﻼع واﳌﻌﺮﻓﺔ‬ ‫ﻫﻮ ﻣﺎ ﻳﻐﺬي ﻋﻘﻠﻚ وﻳﻨﻤﻲ ﻣﻬﺎرات‬ ‫اﻟﺘﻌﺒري ﻟﺪﻳﻚ‪ ،‬وﻳﺮﻓﺪ ﻣﺨﺰوﻧﻚ مبﻔﺮدات‬ ‫وﺗﻌﺎﺑري ﺟﺪﻳﺪة‪ ،‬ﻛام ﻛﺎﻧﺖ ﺑﺮاﻣﺞ اﻟﺸﻌﺮ‬ ‫اﻟﺘﻠﻔﺰﻳﻮﻧﻴﺔ ﻓﻘﺮة اﺳﺘﻤﺘﺎع ﺑﺎﻟﻨﺴﺒﺔ ﱄ‬ ‫وﻛﺬﻟﻚ ﻗﺮاءة اﳌﺠﻼت واﳌﻼﺣﻖ اﻟﺸﻌﺮﻳﺔ‪،‬‬ ‫ﻛﻞ ﻫﺬه اﳌﺼﺎدر ﻛﺎن ﻟﻬﺎ دور ﻛﺒري ﰲ‬ ‫ﻣﺴرييت اﻟﺸﻌﺮﻳﺔ"‪.‬‬ ‫ﻳﺘﺄﺛﺮ اﻟﺸﺎﻋﺮ مبﻦ ﺣﻮﻟﻪ وﻳﺆﺛﺮ ﻓﻴﻬﻢ‪ ،‬وﺣﺐ‬ ‫ﺷﺎﻋﺮﻧﺎ ﻟﻠﻤﻌﺮﻓﺔ واﻟﻘﺮاءة واﻻﻃﻼع ﺟﻌﻠﻪ‬ ‫ﻳﻨﻜﺐ ﻋﲆ ﻧﺘﺎﺟﺎت اﻟﺸﻌﺮاء اﻵﺧﺮﻳﻦ‪،‬‬ ‫وﻋﻦ اﻟﺸﻌﺮاء اﻟﺬﻳﻦ أﺛﺮوا ﻓﻴﻪ ﻳﻘﻮل‪" :‬‬ ‫ﻣﻦ ﺷﻌﺮاء اﻟﻔﺼﺤﻰ أرى ﻧﻔﴘ دامئﺎً‬ ‫ﰲ ﻗﺼﺎﺋﺪ اﻹﻣﺎم اﻟﺸﺎﻓﻌﻲ‪ ،‬أﻣﺎ ﰲ ﻣﺠﺎل‬ ‫اﻟﺸﻌﺮ اﻟﻨﺒﻄﻲ ﻓﺘﻠﻬﻤﻨﻲ دامئ ـﺎً أﺷﻌﺎر‬

‫‪ ƨȎƣȍŌǶ DzŋŌƉǂǕŌ ŝŽ‬‬ ‫‪ LJǔǂƫ ǼƅƮǿ ōǙ Ƿǥ dzƳƉƪǘǕŌǶ‬‬ ‫‪LJǿƃǕ ƉǾŞƪŨǕŌ ŦŌƈōǤǙ ǽǘǜǿǶ‬‬ ‫‪ dzǔŽƉǙ ǚǷǾǔǘǕŌ ƉƫōƗ ųǙōǝƉş‬‬ ‫‪ ɐƉƫōƖǕŌ DzƉǾƒǙ ǽƳ dzǾǔƚƲǙ‬‬ ‫‪ dzżǿƉƗ ǻǕŒ ōǤǕȎƁ ǛǙ Ǔƚǿ‬‬ ‫‪ ǶŐ ƉƪƖǕŌ ƈǷǤǘŵ ǛǙ ƉŞljŐ‬‬ ‫‪ ǻǔƫ ƉŞljȏŌ dzżǿƉƖǕŌ Żƛȏōş‬‬ ‫‪ǽşƉƪǕŌ ǛƣǷǕŌ ǺǷŨƒǙ‬‬ ‫‪ ǒƅş ŋŌƉƪƖǕŌ ǻǔƫ ŝŵǷŨǿ‬‬ ‫‪ ǒōǘƫŐ Ǘǿƃǂũ ǽƳ ƃǤŵ Ǔlj‬‬ ‫‪ ƱǃǷǙ ǗƫƂ ōǤǝőƗ ǛǙ‬‬ ‫‪ ōǜǕōƢşŐ ƈƊŐ ǛǙ ƃƖǕŌǶ dzǕǶƃǕŌ‬‬ ‫‪ŦōǤŞŴǕŌ ǻǔƫ ǛǾƢşŌƉǘǕŌ‬‬ ‫‪ ǽƫōǘŨŵȍŌ ǓƛŌǷŨǕŌ ƩǃŌǷǙ‬‬ ‫‪ ǒǷƛǷǔǕ dzǔǤƓǶ dzǿǷǃ dzǔǾƓǶ‬‬ ‫‪ƈǷǤǘŴǕŌ ƩǙ ǓƛŌǷŨǕŌǶ‬‬

‫واﻟﺪي اﳌﻐﻔﻮر ﻟﻪ اﻟﺸﻴﺦ زاﻳﺪ ﺑﻦ ﺳﻠﻄﺎن‬ ‫آل ﻧﻬﻴﺎن ﻃ ّﻴﺐ اﻟﻠﻪ ﺛﺮاه وأﺷﻌﺎر ﺻﺎﺣﺐ‬ ‫اﻟﺴﻤﻮ اﻟﺸﻴﺦ ﻣﺤﻤﺪ ﺑﻦ راﺷﺪ آل ﻣﻜﺘﻮم‬ ‫ﻧﺎﺋﺐ رﺋﻴﺲ اﻟﺪوﻟﺔ رﺋﻴﺲ ﻣﺠﻠﺲ اﻟﻮزراء‬ ‫ﺣﺎﻛﻢ ديب رﻋﺎه اﻟﻠﻪ"‪.‬‬ ‫‪dzǿƉƪƗ ŦōƢżǙ‬‬

‫ﻛﺜرية ﻫﻲ اﳌﺤﻄﺎت اﻟﺘﻲ ميﺮ ﺑﻬﺎ اﻟﺸﺎﻋﺮ‬ ‫اﻟﻌﺮيب‪ ،‬ﻣﺤﻄﺎت ﺗﺆﺛﺮ ﰲ ﻣﺴريﺗﻪ‪ ،‬وﺗﻜﻮن‬ ‫ﺳﺒﺒﺎً ﰲ اﻻﺳﺘﻤﺮار أو ﺗﻐﻴري اﳌﺴﺎر‪ ،‬وﻗﺪ‬ ‫ﺷﻜﻞ ﺑﺮﻧﺎﻣﺞ ﺷﺎﻋﺮ اﳌﻠﻴﻮن ﻣﺤﻄﺔ ﻣﻬﻤﺔ‬ ‫ﰲ ﻣﺴرية ﻛﻞ اﻟﺸﻌﺮاء اﻟﻌﺮب اﻟﺬﻳﻦ ﺧﺎﺿﻮا‬ ‫ﻫﺬه اﻟﺘﺠﺮﺑﺔ‪ ،‬وﻣﻨﻬﻢ اﻟﺸﺎﻋﺮ ﺳﺎمل اﻟﻜﻌﺒﻲ‪،‬‬ ‫وﻋﻦ ﺗﺠﺮﺑﺘﻪ ﰲ ﺷﺎﻋﺮ اﳌﻠﻴﻮن‪ ،‬ﻳﻘﻮل‪:‬‬ ‫"ﺑﺮﻧﺎﻣﺞ ﺷﺎﻋﺮ اﳌﻠﻴﻮن ﻣﺮﺣﻠﺔ ﻣﻔﺼﻠﻴﺔ ﰲ‬ ‫ﻣﺴرية اﻟﺸﺎﻋﺮ‪ ،‬ﻳﺼﻞ ﻣﻦ ﺧﻼﻟﻬﺎ إﱃ ﴍﻳﺤﺔ‬ ‫أﻛﱪ ﻣﻦ ﺟﻤﻬﻮر اﻟﺸﻌﺮ أو ﺑﺎﻷﺻﺢ اﻟﴩﻳﺤﺔ‬ ‫اﻷﻛﱪ ﻋﲆ ﻣﺴﺘﻮى اﻟﻮﻃﻦ اﻟﻌﺮيب‪ ،‬ﺑﺎﻟﺘﺎﱄ‬ ‫ﺗﻜﱪ اﳌﺴﺆوﻟﻴﺔ ﻣﻦ ﻧﺎﺣﻴﺔ اﻟﺘﻮاﺟﺪ اﳌﺴﺘﻤﺮ‬ ‫واﻹﺑﺤﺎر ﰲ ﻣﺤﻴﻄﺎت اﻟﺠﺰاﻟﺔ اﻟﺘﻲ ﺗﻌﻜﺲ‬ ‫ﻗﻮة اﻟﺸﺎﻋﺮ‪ ،‬ﺷﻜﻠﺖ ﻫﺬه اﻟﺘﺠﺮﺑﺔ ﺑﺎﻟﻨﺴﺒﺔ‬ ‫ﱄ داﻓﻌﺎً ﻗﻮﻳﺎً ﻟﻠﻜﺘﺎﺑﺔ‪ ،‬وﺧﻄﻮة ﴎﻳﻌﺔ‬ ‫ﰲ اﻟﻈﻬﻮر‪ ،‬ﻓﻤﻦ ﺧﻼﻟﻬﺎ ﺗﻌﺮف اﻟﺠﻤﻬﻮر‬ ‫اﻟﻌﺮيب ﻋﲆ ﺳﺎمل اﻟﻜﻌﺒﻲ‪ ،‬ﺳﻤﻌﻮا ﻗﺼﺎﺋﺪي‬ ‫وﺷﺎﻫﺪوا أﺳﻠﻮيب"‪.‬‬

‫‪ǖȎƫȑŌ ƈǶƂ‬‬

‫وﻳﺜﻤﻦ اﻟﺸﺎﻋﺮ اﻟﻜﻌﺒﻲ دور اﻹﻋﻼم اﻹﻣﺎرايت‬ ‫ﰲ ﻣﺴرية أي ﺷﺎﻋﺮ إﻣﺎرايت‪ ،‬ﺣﻴﺚ ﺗﻨﻮﻋﺖ‬ ‫اﻟﱪاﻣﺞ واﻟﻔﻘﺮات اﻟﺘﻲ ﺗﺴﺘﻀﻴﻒ اﻟﺸﻌﺮاء‬ ‫وﺗﻌﺮض آﺧﺮ ﻧﺘﺎﺟﺎﺗﻬﻢ وﺣﻮل ﻫﺬه اﻟﻨﻘﻄﺔ‬ ‫ﻳﻘﻮل اﻟﻜﻌﺒﻲ‪" :‬اﻟﻈﻬﻮر اﻹﻋﻼﻣﻲ ﻋﻤﻠﻴﺔ‬ ‫ﻣﺸﱰﻛﺔ ﺑني وﺳﺎﺋﻞ اﻻﻋﻼم واﻟﺸﺎﻋﺮ‪ ،‬وﻋﲆ‬ ‫اﻟﻄﺮﻓني أن ﻳﺸﺎرﻛﺎ ﰲ ﺗﻘﺪﻳﻢ ﻣﺎدة ﻗﻴﻤﺔ‬ ‫ﺗﺴﺘﺤﻖ اﻟﻌﺮض واﻟﻈﻬﻮر‪ ،‬ﻓﻌﲆ اﻟﺸﺎﻋﺮ‬ ‫اﻻﺳﺘﻤﺮار ﰲ ﻛﺘﺎﺑﺔ اﻟﻘﺼﻴﺪة اﻟﺘﻲ ﺗﻌﱪ‬ ‫ﻋﻦ اﻟﻮاﻗﻊ اﳌﻌﺎش‪ ،‬اﻟﻘﺼﻴﺪة اﻟﺘﻲ ﺗﺤﻤﻞ‬

‫‪16‬‬

‫اﻟﻌﺪد ‪ ، 71‬أﻛﺘﻮﺑﺮ ‪2018‬‬

‫ﺣﻮار وﺗﺼﻮﻳﺮ‪ :‬ﻣﺼﻄﻔﻰ أﺣﻤﺪ‬

‫اﳌﺒﺪع ﻫﻮ ﻣﻦ ﻳﺤ ّﻮل أﻓﻜﺎره إﱃ‬ ‫أﻣﺮ ﻣﻠﻤﻮس ﻣﺤﺴﻮس‪ ،‬ﻳﺴﺘﻔﻴﺪ ﻣﻨﻪ‬ ‫اﻟﻨﺎس‪ ،‬وﺗﺮﻗﻰ ﺑﻪ اﻷوﻃﺎن‪.‬‬ ‫ﻣﻦ اﳌﺒﺪﻋني ﻣﻦ ﻳﺄيت إﺑﺪاﻋﻪ رﺳ ًام‪،‬‬ ‫وﻣﻨﻬﻢ ﻣﻦ ﻳﺄيت إﺑﺪاﻋﻪ ﻫﻨﺪﺳﺔ‪،‬‬ ‫وﻫﻨﺎك ﻣﻦ ﻳﺄيت إﺑﺪاﻋﻪ ﺷﻌﺮاً‪ .‬وﺗﺘﻌﺪد‬ ‫أﺷﻜﺎل اﻹﺑﺪاع ﻟﻜﻨﻬﺎ ﺗﺠﺘﻤﻊ ﰲ أﻧﻬﺎ‬ ‫ﺗﱰك أﺛﺮﻫﺎ ﰲ اﳌﺠﺘﻤﻊ‪ ،‬ﺗﺴﺎﻫﻢ ﰲ‬ ‫ﻧﻘﻠﻪ إﱃ اﻷﻣﺎم‪ ،‬وﺗﻜﻮن ﺳﺒﺒﺎً ﰲ ﻧﴩ‬ ‫اﻟﺴﻌﺎدة ﰲ ﻛﻞ ﻣﻜﺎن‪ ،‬وﰲ ﻋﺪدﻧﺎ ﻫﺬا‬ ‫ﻧﻠﺘﻘﻲ مبﺒﺪع ﺷﺎب‪ ،‬مل ﻳﺸﺄ ﻷﻓﻜﺎره‬ ‫أن ﺗﺒﻘﻰ ﺣﺒﻴﺴﺔ‪ ،‬ﻓﺘﺢ ﻟﻬﺎ اﻟﺒﺎب‪،‬‬ ‫ﻓﺮاﺣﺖ ﺗﻨﻬﻤﺮ ﻣﻄﺮاً ﻣﻦ ﺷﻌﺮ‪ ،‬ﺳﻘﻰ‬ ‫ﺷﻐﻔﻨﺎ ﻟﻘﺼﺎﺋﺪ ﺗﻌﱪ ﻋام ﻳﺪور ﺣﻮﻟﻨﺎ‪،‬‬ ‫ﻗﺼﺎﺋﺪ ﻣﻔﻌﻤﺔ ﺑﺎﻟﺤﻜﻤﺔ‪ ،‬ﻗﺼﺎﺋﺪ‬ ‫ذاﺧﺮة ﺑﺎﻟﺼﻮر واﻟﺘﻌﺎﺑري واﳌﻔﺮدات‬ ‫اﻟﺘﻲ ﺗﺮﻛﺖ أﺛﺮﻫﺎ ﻓﻴﻨﺎ‪ ،‬ﺣﺮﻛﺘﻨﺎ ﻣﻦ‬ ‫اﻟﺪاﺧﻞ‪ ،‬ﺟﻌﻠﺘﻨﺎ ﻧﻨﻈﺮ إﱃ اﻷﻣﻮر‬ ‫ﺑﺸﻜﻞ ﻣﺨﺘﻠﻒ وﻣﻦ زاوﻳﺔ ﺟﺪﻳﺪة‪،‬‬ ‫إﻧﻪ اﻟﺸﺎﻋﺮ اﻹﻣﺎرايت اﻟﺸﺎب ﺳﺎمل‬ ‫ﻣﺤﻤﺪ اﻟﻜﻌﺒﻲ‪ ،‬اﻟﺬي اﻟﺘﻘﻴﻨﺎه ﰲ‬ ‫ﻣﻨﺰل أﺣﺪ اﻷﺻﺪﻗﺎء‪ ،‬ﺣﻴﺚ ﻛﺎن ﻣﻦ‬ ‫اﳌﻘﺮر أن ﻳﻜﻮن ﻟﻘﺎؤﻧﺎ ﻣﻊ اﻟﺸﺎﻋﺮ‬ ‫ﺳﺎمل اﻟﻜﻌﺒﻲ ﰲ ﻣﻨﺰﻟﻪ اﻟﻮاﻗﻊ ﰲ‬ ‫ﻣﻨﻄﻘﺔ ﻣﺎ ﺑني اﻟﺠﴪﻳﻦ ﰲ أﺑﻮﻇﺒﻲ‪،‬‬ ‫ﻟﻜﻦ ﰲ اﻟﻠﺤﻈﺔ اﻷﺧرية ﺗﻐري ﻣﻜﺎن‬ ‫اﻟﻠﻘﺎء ﻟﻴﻜﻮن ﰲ ﻣﻨﺰل أﺣﺪ اﻷﺧﻮة‬ ‫اﻟﺬي أﴏ ﻋﲆ اﺳﺘﻀﺎﻓﺔ اﻟﺸﺎﻋﺮ‬ ‫اﻟﻜﻌﺒﻲ ﰲ ﺗﻠﻚ اﻷﻣﺴﻴﺔ‪ ،‬وﻛﺎن ﻫﺬا‬ ‫اﻟﺘﻐﻴري ﻓﺮﺻﺔ ﺟﻤﻴﻠﺔ ﻟﻠﻘﺎء ﻋﺪد ﻣﻦ‬ ‫اﻟﺸﺒﺎب اﻹﻣﺎراﺗﻴني اﳌﻤﻴﺰﻳﻦ‪ ،‬اﻟﺬﻳﻦ‬ ‫ﻳﺠﺘﻤﻌﻮن ﺑﺸﻜﻞ ﻣﺴﺘﻤﺮ‪ ،‬ﻳﺘﺴﺎﻣﺮون‬ ‫وﻳﺘﺤﺪﺛﻮن‪ ،‬وﻳﺨﺮﺟﻮن ﺑﺄﻓﻜﺎر ﺟﺪﻳﺪة‪،‬‬ ‫ﻣﺴﺘﻨريﻳﻦ ﺑﺈرﺷﺎدات وﺗﻮﺟﻴﻬﺎت‬ ‫اﻟﻘﻴﺎدة اﻟﺮﺷﻴﺪة‪ ،‬وﻣﻊ ﺳﺎمل اﻟﻜﻌﺒﻲ‬ ‫ﻛﺎن ﻟﻨﺎ ﻫﺬا اﻟﻠﻘﺎء‪:‬‬

‫ﻻ ﻳﺠﺘﻤﻊ اﳌﺒﺪﻋﻮن ﺑﺎﻟﻄﺮﻳﻘﺔ اﻟﺘﻲ ﺑﺪأوا‬ ‫ﻓﻴﻬﺎ رﺣﻠﺘﻬﻢ ﻣﻊ اﻹﺑﺪاع‪ ،‬ﻓﻤﻨﻬﻢ ﻣﻦ ﻳﻮﻟﺪ‬ ‫ﻣﺒﺪﻋﺎً‪ ،‬وﻣﻨﻬﻢ ﻣﻦ ﻳﻜﺘﺸﻒ ﻣﻮﻫﺒﺘﻪ ﰲ‬ ‫ﺳﻦ ﻣﺘﺄﺧﺮة‪ ،‬ﻓﻴﻨﻤﻴﻬﺎ وﻳﺨﺮج ﺑﻬﺎ ﻟﻠﻌﻠﻦ‪،‬‬ ‫أو ﻳﺒﻘﻴﻬﺎ دﻓﻴﻨﺔ دﻓﺎﺗﺮه ﺑﺤﺠﺔ أﻧﻪ مل ﻳﻌﺪ‬ ‫ﰲ اﻟﻌﻤﺮ ﻣﺎ ﻳﺴﺘﺤﻖ اﻟﻌﻨﺎء‪ ،‬أﻣﺎ ﺷﺎﻋﺮﻧﺎ‬ ‫ﺳﺎمل اﻟﻜﻌﺒﻲ ﻓﻴﻘﻮل ﻋﻦ ﺑﺪاﻳﺎﺗﻪ ﰲ ﻋﺎمل‬ ‫اﻟﺸﻌﺮ اﻟﻨﺒﻄﻲ‪" :‬ﺑﺪاﻳﺔ اﻟﺸﺎﻋﺮ ﻫﻲ ﻣﺮﺣﻠﺔ‬ ‫اﻛﺘﺸﺎف اﳌﻮﻫﺒﺔ واﻹميﺎن ﺑﻬﺎ واﻻﻧﻄﻼق‬ ‫ﻧﺤﻮ ﺻﻘﻠﻬﺎ ﺑﺎﳌامرﺳﺔ واﻟﺨﻮض ﰲ ﺗﺠﺎرب‬ ‫اﻟﻜﺘﺎﺑﺔ‪ ،‬ﻫﻜﺬا ﺑــﺪأت وآﻣﻨﺖ أن ﺛﻘﺔ‬ ‫اﻟﺸﺨﺺ مبﻮﻫﺒﺘﻪ ﻫﻲ أﺳــﺎس إﺑﺪاﻋﻪ‬ ‫واﳌﺮﺗﻜﺰ اﻟﺮﺋﻴﺲ واﻟﺪاﻓﻊ ﻧﺤﻮ اﻟﺘﺤﻠﻴﻖ‬ ‫ﰲ ﻓﻀﺎء اﻟﺸﻌﺮ‪ ،‬ﻛﺘﺒﺖ اﻟﻘﺼﻴﺪة ﺑﺸﻜﻠﻬﺎ‬ ‫اﻟﻜﺎﻣﻞ ﰲ أواﺧﺮ اﻟﻌﻘﺪ اﻟﺜﺎين ﻣﻦ ﻋﻤﺮي‬

‫وﻻزﻟﺖ ﻣﺴﺘﻤﺮاً ﰲ اﻟﺘﻌﺒري ﻋﻦ ﻛﻞ ﻓﻜﺮة‬ ‫ﺗﺴﺘﺤﻮذ ﻋﲆ إﻋﺠﺎيب‪ ،‬اﻟﺸﻌﺮ ﻫﻮ اﻟﻨﺎﻓﺬة‬ ‫اﻟﺘﻲ أﻃﻞ ﻣﻦ ﺧﻼﻟﻬﺎ ﻋﲆ ﻣﻦ ﺣﻮﱄ‪ ،‬ﻧﺎﻓﺬة‬ ‫أرﻳﺪﻫﺎ ﻣﻔﺘﻮﺣﺔ دامئﺎً‪ ،‬ﻧﺎﻓﺬة أﺣﺮص ﻋﲆ‬ ‫أن ﺗﻜﻮن ﺳﺒﺒﺎً ﰲ وﺻﻮل اﻟﻨﻮر واﻟﻨﺴﻴﻢ‬ ‫اﻟﻌﻠﻴﻞ إﱃ ﻛﻞ ﺑﻘﻌﺔ ﰲ ﻫﺬا اﻟﻮﻃﻦ اﻟﻐﺎﱄ"‪.‬‬ ‫دامئﺎً ﻣﺎ ﻳﻜﻮن ﻟﻠﺒﻴﺌﺔ اﳌﺤﻴﻄﺔ دور رﺋﻴﺲ‬ ‫ﰲ ﻣﺴرية اﳌﺒﺪﻋني ﺑﺸﻜﻞ ﻋﺎم‪ ،‬واﻟﺸﻌﺮاء‬ ‫ﻋﲆ وﺟﻪ اﻟﺨﺼﻮص‪ ،‬ﻓﻬﻲ إﻣﺎ أن ﺗﻜﻮن‬ ‫ﺑﻴﺌﺔ ﻣﺤﻔﺰة‪ ،‬ﺗﺤﺘﻀﻦ اﻟﺸﻌﺮ واﻟﺸﻌﺮاء‪،‬‬ ‫أو ﺑﻴﺌﺔ ﻣﻨﻔﺮة‪ ،‬وﻋﻦ ﺗﺄﺛري اﻟﺒﻴﺌﺔ اﳌﺤﻴﻄﺔ‬ ‫ﻳﻘﻮل اﻟﺸﺎﻋﺮ ﺳــﺎمل اﻟﻜﻌﺒﻲ‪" :‬اﻟﺒﻴﺌﺔ‬ ‫اﳌﺤﻴﻄﺔ ﻟﻬﺎ ﺗﺄﺛري ﺟﲇ ﻋﲆ ﻃﺮﻳﻘﺔ اﻟﺸﺎﻋﺮ‬ ‫ﰲ ﻛﺘﺎﺑﺔ اﻟﻘﺼﻴﺪة‪ ،‬وﻟﻜﻨﻲ أﻋﺘﻘﺪ وأؤﻣﻦ‬ ‫ﺑﺄن اﻟﻌﺎمل اﻟــﺬي ﰲ داﺧﻠﻚ ﻫﻮ اﳌﺆﺛﺮ‬ ‫اﻟﺸﻌﺮ ‪baytelshear‬‬ ‫ﺑﻴﺖ ِ‬

‫‪15‬‬

ĬńŒ ŝħ

dzǘLjżǕŌǶ ƉƀƲǕŌǶ ǒƋƮǕŌ ŦōŽŌǶ ǽƳ ǣƒƲǝ ǺƉǿ

:‫ﺳﺎﻟﻢ اﻟﻜﻌﺒﻲ‬ ǽǕǷŽ ǛǙ ǻǔƫ ōǤǕȎƁ ǛǙ ǓƣŐ DzƅƳōǝ ƉƪƖǕŌ

2018 ‫ أﻛﺘﻮﺑﺮ‬، 71 ‫اﻟﻌﺪد‬

14

‫‪ɰ‬‬ ‫‪ǽƫōǘŨŵȍŌ ǖƃǂŨǕŌ ƉƗǹǙ ǻǔƫ ōǾǘǾǔǃŒ ǻǕǶȏŌ ŦŌƈōǙȑŌ‬‬

‫ﺗﻘﺪﻣﺖ اﻹﻣـــﺎرات ﻋــﲆ ﻣــﺆﴍ اﻟﺘﻘﺪم‬ ‫اﻻﺟﺘامﻋﻲ ﻟﺘﺤﺘﻞ اﻟﺼﺪارة ﻋﲆ اﻟﺼﻌﻴﺪ‬ ‫اﻹﻗﻠﻴﻤﻲ‪ ،‬واﳌﺮﺗﺒﺔ ال ‪ 45‬ﻋﺎﳌﻴﺎً ﻟﻠﻌﺎم‬ ‫‪ ،2018‬ﺑﺘﺤﻘﻴﻘﻬﺎ ‪ 74.34‬ﻣﻦ أﺻﻞ ‪100‬‬ ‫ﻧﻘﻄﺔ‪ ،‬وﻫﻮ اﳌﺆﴍ اﻟﺬي ﺗﺼﺪره ﻣﺆﺳﺴﺔ‬ ‫»ﺳﻮﺷﻴﺎل ﺑﺮوﺟﺮس اﻣﺒرياﺗﻴﻒ« اﻷﻣﺮﻳﻜﻴﺔ‬ ‫اﻟﺘﻲ ﺗﺘﺨﺬ ﻣﻦ واﺷﻨﻄﻦ ﻣﻘﺮاً ﻟﻬﺎ‪ ،‬وﻳﻌﻨﻰ‬ ‫ﺑﻘﻴﺎس اﻟﻌﻨﺎﴏ اﻟﺘﻲ ﺗﻌﻜﺲ ﻣﺴﺘﻮى اﻟﺘﻄﻮر‬ ‫اﻻﺟﺘامﻋﻲ اﻟﺬي ﺗﺘﻤﺘﻊ ﺑﻪ اﻟﺪول‪ ،‬ورﻓﺎﻫﻴﺔ‬ ‫ﺳﻜﺎﻧﻬﺎ‪ .‬وﺳﺠﻠﺖ اﻹﻣﺎرات ﻧﻘﺎﻃﺎً ﻣﺘﻘﺪﻣﺔ‬

‫ﰲ اﻟﻌﻨﺎﴏ اﻟﺨﺎﺻﺔ ﺑﺎﳌﺆﴍ‪ ،‬ﺣﻴﺚ ﺣﻘﻘﺖ‬ ‫‪ 88.65‬ﻣﻦ أﺻــﻞ ‪ 100‬ﻧﻘﻄﺔ ﰲ ﻋﻨﴫ‬ ‫اﻻﺣﺘﻴﺎﺟﺎت اﻷﺳﺎﺳﻴﺔ اﻟﺮﺋﻴﺲ‪ ،‬واﺣﺘﻠﺖ‬ ‫ﻣﺮاﺗﺐ ﻣﺘﻘﺪﻣﺔ ﰲ ﻣﺆﴍات ﺳﻬﻮﻟﺔ اﻟﺤﺼﻮل‬ ‫ﻋﲆ اﳌﺎء واﳌﺴﻜﻦ‪ ،‬ﻣﺤﺘﻠﺔ اﻟﺼﺪارة ﻋﺎﳌﻴﺎً‬ ‫ﰲ ﺳﻬﻮﻟﺔ اﻟﺤﺼﻮل ﻋﲆ اﻟﻜﻬﺮﺑﺎء‪ ،‬وﺟﻮدة‬ ‫اﻹﻣﺪاد اﻟﻜﻬﺮﺑﺎيئ‪ .‬وﰲ ﻣﺎ ﻳﺘﻌﻠﻖ مبﺆﴍ اﻷﻣﻦ‬ ‫اﻟﺸﺨﴢ‪ ،‬اﺣﺘﻠﺖ اﻟﺪوﻟﺔ اﳌﺮﺗﺒﺔ اﻟﺜﺎﻣﻨﺔ‬ ‫ﻋﺎﳌﻴﺎً ﻣﻦ ﺣﻴﺚ اﻧﺨﻔﺎض ﻣﻌﺪل اﻟﺠﺮميﺔ‪،‬‬ ‫واﳌﺮﺗﺒﺔ اﻟﺘﺎﺳﻌﺔ ﻣﻦ ﺣﻴﺚ اﻧﺨﻔﺎض ﻧﺴﺐ‬

‫اﻻﻧﺘﺤﺎر‪ .‬وﺳﺠﻠﺖ أﻋﲆ اﻟﻨﻘﺎط ﰲ ﻣﺆﴍات‬ ‫اﻟﺘﻌﻠﻴﻢ اﻷﺳﺎﳼ‪ ،‬إﺿﺎﻓﺔ إﱃ ﻣﺆﴍات ﺳﻬﻮﻟﺔ‬ ‫اﻟﺤﺼﻮل ﻋﲆ اﳌﻌﻠﻮﻣﺎت واﻻﺗﺼﺎﻻت‪ ،‬وﻧﺴﺒﺔ‬ ‫ﻣﺴﺘﺨﺪﻣﻲ اﻹﻧﱰﻧﺖ واﻟﺤﻜﻮﻣﺔ اﻹﻟﻜﱰوﻧﻴﺔ‪،‬‬ ‫وﻫﻮ اﻟﻌﻨﴫ اﻟﺬي اﺣﺘﻠﺖ ﻓﻴﻪ اﻟﺪوﻟﺔ اﳌﺮﻛﺰ‬ ‫ال‪ 16‬ﻋﲆ ﻣﺴﺘﻮى اﻟﻌﺎمل‪ .‬واﺣﺘﻠﺖ اﻹﻣﺎرات‬ ‫اﳌﺮﺗﺒﺔ اﻟﺜﺎﻧﻴﺔ ﻋﺎﳌﻴﺎً ﰲ ﺗﻨﺎﻓﺴﻴﺔ اﻟﻮﻇﺎﺋﻒ‪،‬‬ ‫واﳌﺮﺗﺒﺔ ال ‪ 11‬ﰲ ﻧﺴﺒﺔ اﻟﺘﻤﻴﻴﺰ اﳌﻮﺟﻪ ﺿﺪ‬ ‫اﻷﻗﻠﻴﺎت‪ ،‬واﳌﺮﻛﺰ اﻟـ ‪ 20‬ﻣﻦ ﺣﻴﺚ اﻧﺨﻔﺎض‬ ‫ﻣﻌﺪﻻت اﻟﻔﺴﺎد‪.‬‬ ‫اﻟﺸﻌﺮ ‪baytelshear‬‬ ‫ﺑﻴﺖ ِ‬

‫‪13‬‬

‫ ‪ ĬŒ ĘěĪ‬‬

‫‪ DzƉƗōƪǕŌ DzƈǶƃǕŌ ǽƳ džƈōƖǿ ƃǿŌƊ Ǜş ǚōƢǔƓ ƋljƉǙ‬‬ ‫‪ŜōŨLjǔǕ ǛǾƪǕŌ ƜƉƪǘǕ‬‬ ‫ﻳﺸﺎرك ﻣﺮﻛﺰ ﺳﻠﻄﺎن ﺑﻦ زاﻳﺪ ﰲ ﻓﻌﺎﻟﻴﺎت اﻟﺪورة اﻟﻌﺎﴍة ﳌﻌﺮض‬ ‫اﻟﻌني ﻟﻠﻜﺘﺎب اﻟﺘﻲ اﻧﻄﻠﻘﺖ ﻳﻮم ‪ 23‬ﺳﺒﺘﻤﱪ اﳌﺎﴈ ﰲ ﻣﺮﻛﺰ اﻟﻌني‬ ‫ﻟﻠﻤﺆمتﺮات وﺗﺴﺘﻤﺮ ﺣﺘﻰ اﻟﺜﺎين ﻣﻦ أﻛﺘﻮﺑﺮ‪ .‬وﻗﺎل ﺳﻌﺎدة ﻣﻨﺼﻮر‬ ‫ﺳﻌﻴﺪ ﻋﻤﻬﻲ اﳌﻨﺼﻮري ﻧﺎﺋﺐ ﺳﻤﻮ ﻣﺪﻳﺮ ﻋﺎم اﳌﺮﻛﺰ‪ ،‬إن ﻫﺬه‬ ‫اﳌﺸﺎرﻛﺔ ﺗﺄيت ﰲ إﻃﺎر ﺗﻮﺟﻴﻬﺎت ﺳﻤﻮ اﻟﺸﻴﺦ ﺳﻠﻄﺎن ﺑﻦ زاﻳﺪ آل‬ ‫ﻧﻬﻴﺎن ﻣﻤﺜﻞ ﺻﺎﺣﺐ اﻟﺴﻤﻮ رﺋﻴﺲ اﻟﺪوﻟﺔ رﺋﻴﺲ اﳌﺮﻛﺰ وﺣﺮص ﺳﻤﻮه‬

‫ﻋﲆ ﻣﺸﺎرﻛﺔ اﳌﺮﻛﺰ اﻹﻳﺠﺎﺑﻴﺔ ﰲ اﻟﻔﻌﺎﻟﻴﺎت اﻟﺜﻘﺎﻓﻴﺔ داﺧﻞ اﻟﺪوﻟﺔ‬ ‫وﺧﺎرﺟﻬﺎ ودﻋﻢ اﳌﺒﺎدرات اﻟﻮﻃﻨﻴﺔ ﻹﺛﺮاء اﳌﻌﺮﻓﺔ وﻧﴩﻫﺎ ﰲ أﺟﻮاء‬ ‫ﺛﻘﺎﻓﻴﺔ ﺗﻨﺘﻤﻲ إﱃ اﳌﺎﴈ اﻟﻌﺮﻳﻖ وﺗﺴﺘﴩف اﳌﺴﺘﻘﺒﻞ‪ .‬وأوﺿﺢ ان‬ ‫اﳌﺮﻛﺰ ﻳﺸﺎرك ﰲ اﳌﻌﺮض ﺑﻌﺪد ﻣﻦ إﺻﺪاراﺗﻪ اﻟﺠﺪﻳﺪة إﺿﺎﻓﺔ اﱃ‬ ‫ﻋﺮض أﻋﺪاد ﻣﻦ اﳌﺠﻼت اﻟﺘﻲ ﻳﺼﺪرﻫﺎ و ﻳﴩف ﻋﻠﻴﻬﺎ وﻫﻲ ﺑﻴﺖ‬ ‫اﻟﺸﻌﺮ وﻣﺠﻠﺔ اﻹﻣﺎرات اﻟﺜﻘﺎﻓﻴﺔ وﻣﺠﻠﺔ اﻹﺑﻞ وﻣﺠﻠﺔ ﺗﺮاث‪.‬‬

‫‪ɶ‬‬ ‫‪DzŐƉǘǕŌ ǛǾLjǘũ ǗƫƃǕ ŦōŽƉŨǂǙ ǖƃǂũ dzǾũŌƈōǙȑŌ dzǾǝōǘǕƉŞǕŌ dzŞƪƖǕŌ‬‬

‫اﻟﺘﻘﺖ ﻣﻌﺎﱄ اﻟﺪﻛﺘﻮرة أﻣﻞ اﻟﻘﺒﻴﴘ‬ ‫رﺋﻴﺴﺔ اﳌﺠﻠﺲ اﻟﻮﻃﻨﻲ اﻻﺗﺤﺎدي ﻫﺎﻟﺔ‬ ‫اﻷﻧﺼﺎري اﻷﻣني اﻟﻌﺎم ﻟﻠﻤﺠﻠﺲ اﻷﻋﲆ‬ ‫ﻟﻠﻤﺮأة ﰲ ﻣﻤﻠﻜﺔ اﻟﺒﺤﺮﻳﻦ ﻋﲆ ﻫﺎﻣﺶ‬ ‫أﻋامل اﳌﻨﺘﺪى اﻟﻨﺴﺎيئ اﻷورو آﺳﻴﻮي‬ ‫اﻟﺜﺎين اﻟﺬي اﻧﻌﻘﺪ مبﺪﻳﻨﺔ ﺳﺎﻧﺖ ﺑﻄﺮﺳﱪغ‬

‫‪12‬‬

‫اﻟﻌﺪد ‪ ، 71‬أﻛﺘﻮﺑﺮ ‪2018‬‬

‫ﰲ روﺳﻴﺎ‪ ،‬وﺗــﻢ ﺧــﻼل اﻟﻠﻘﺎء ﻣﻨﺎﻗﺸﺔ‬ ‫أوﺟﻪ ﺗﻌﺰﻳﺰ اﻟﺘﻌﺎون ﺑني دوﻟﺔ اﻹﻣﺎرات‬ ‫وﻣﻤﻠﻜﺔ اﻟﺒﺤﺮﻳﻦ ﰲ ﻣﺨﺘﻠﻒ ﻗﻀﺎﻳﺎ‬ ‫اﳌﺮأة‪ ،‬ﻓﻴام ﺗﻘﺪم وﻓﺪ اﻟﺸﻌﺒﺔ اﻟﱪﳌﺎﻧﻴﺔ‬ ‫اﻹﻣﺎراﺗﻴﺔ ﻟﻠﻤﺠﻠﺲ اﻟﻮﻃﻨﻲ اﻻﺗﺤﺎدي‬ ‫ﺧﻼل ﻣﺸﺎرﻛﺘﻪ ﰲ ﻓﻌﺎﻟﻴﺎت اﳌﻨﺘﺪى اﻷورو‬

‫آﺳﻴﻮي اﻟﺜﺎين ﻟﻠﻤﺮأة مبﻘﱰﺣﺎت ﻋﺪة ﻣﻨﻬﺎ‬ ‫ﺣﺚ اﻟﱪﳌﺎﻧﺎت ﻋﲆ إﺻﺪار اﻟﺘﴩﻳﻌﺎت‬ ‫واﻟﻘﻮاﻧني واﻟﻠﻮاﺋﺢ اﻟﺘﻲ ﺗﺪﻋﻢ متﻜني اﳌﺮأة‬ ‫وﻣﺮاﺟﻌﺔ ﺗﺒﻨﻲ دول اﻟﻌﺎمل ﳌﻘﺮرات ﻣﺆمتﺮ‬ ‫ﺑﻜني اﻟﺬي ﻋﻘﺪ ﻋﺎم ‪ 1995‬ﺑﺸﺄن ﺣﻘﻮق‬ ‫اﳌﺮأة ومتﻜﻴﻨﻬﺎ‪.‬‬

‫‪ ǛǾƲǿƉƖǕŌ ǛǾǙƉżǕŌ ǖƂōƁ ȁǜǤǿ ƃǿŌƊ Ǜş ǚōƢǔƓ‬‬ ‫‪dzLjǔǘǘǔǕ ǽǜƣǷǕŌ ǖǷǾǕōş‬‬ ‫ﺑﻌﺚ ﺳﻤﻮ اﻟﺸﻴﺦ ﺳﻠﻄﺎن ﺑﻦ زاﻳﺪ آل‬ ‫ﻧﻬﻴﺎن ﻣﻤﺜﻞ ﺻﺎﺣﺐ اﻟﺴﻤﻮ رﺋﻴﺲ اﻟﺪوﻟﺔ‪،‬‬ ‫ﺑﺮﻗﻴﺔ ﺗﻬﻨﺌﺔ إﱃ ﺧﺎدم اﻟﺤﺮﻣني اﻟﴩﻳﻔني‬ ‫اﳌﻠﻚ ﺳﻠامن ﺑﻦ ﻋﺒﺪاﻟﻌﺰﻳﺰ آل ﺳﻌﻮد‪،‬‬ ‫ﻣﻠﻚ اﳌﻤﻠﻜﺔ اﻟﻌﺮﺑﻴﺔ اﻟﺴﻌﻮدﻳﺔ‪ ،‬مبﻨﺎﺳﺒﺔ‬ ‫اﻟﻴﻮم اﻟﻮﻃﻨﻲ اﻟـ ‪ 88‬ﻟﻠﻤﻤﻠﻜﺔ‪.‬‬ ‫وأﻋــﺮب ﺳﻤﻮه‪ ،‬ﰲ اﻟﱪﻗﻴﺔ ﻋﻦ ﺗﻬﺎﻧﻴﻪ‬ ‫اﻟﺤﺎرة‪ ،‬ﺳﺎﺋ ًﻼ اﻟﻠﻪ ﻋﺰ وﺟﻞ أن ﻳﻌﻴﺪ‬ ‫ﻫﺬه اﳌﻨﺎﺳﺒﺔ اﻟﻮﻃﻨﻴﺔ اﻟﻐﺎﻟﻴﺔ ﻋﲆ ﺧﺎدم‬ ‫اﻟﺤﺮﻣني اﻟﴩﻳﻔني واﻟﺸﻌﺐ اﻟﺴﻌﻮدي‬ ‫اﻟﻜﺮﻳﻢ ﺑﺎﻟﺨري واﻟﻴﻤﻦ واﻟﱪﻛﺎت‪ ،‬وأن‬

‫ﻳﺪﻳﻢ ﻋﲆ ﺟﻼﻟﺘﻪ وﻋﲆ اﳌﻤﻠﻜﺔ اﻟﺸﻘﻴﻘﺔ‬ ‫وﺷﻌﺒﻬﺎ اﻟﺨري واﻟﻌﺰة واﻟﺮﻓﻌﺔ‪.‬‬ ‫و ّمثﻦ ﺳﻤﻮ اﻟﺸﻴﺦ ﺳﻠﻄﺎن ﺑﻦ زاﻳﺪ آل‬ ‫ﻧﻬﻴﺎن‪ ،‬ﰲ ﺑﺮﻗﻴﺘﻪ‪ ،‬ﻣﻮاﻗﻒ وﺟﻬﻮد ﺧﺎدم‬ ‫اﻟﺤﺮﻣني اﻟﴩﻳﻔني اﳌﻠﻚ ﺳﻠامن ﺑﻦ‬ ‫ﻋﺒﺪاﻟﻌﺰﻳﺰ آل ﺳﻌﻮد‪ ،‬ﰲ ﺧﺪﻣﺔ وﻃﻨﻪ‬ ‫واﳌﻨﻄﻘﺔ واﻷﻣﺘني اﻟﻌﺮﺑﻴﺔ واﻹﺳﻼﻣﻴﺔ ﰲ‬ ‫ﺷﺘﻰ اﳌﺠﺎﻻت‪.‬‬ ‫ﻛام ﺑﻌﺚ ﺳﻤﻮ اﻟﺸﻴﺦ ﺳﻠﻄﺎن ﺑﻦ زاﻳﺪ‬ ‫آل ﻧﻬﻴﺎن‪ ،‬ﺑﺮﻗﻴﺔ ﺗﻬﻨﺌﺔ ﻣامﺛﻠﺔ إﱃ ﺻﺎﺣﺐ‬ ‫اﻟﺴﻤﻮ اﳌﻠيك اﻷﻣري ﻣﺤﻤﺪ ﺑﻦ ﺳﻠامن ﺑﻦ‬

‫ﻋﺒﺪاﻟﻌﺰﻳﺰ آل ﺳﻌﻮد‪ ،‬وﱄ اﻟﻌﻬﺪ وزﻳﺮ‬ ‫اﻟﺪﻓﺎع اﻟﺴﻌﻮدي ﺑﻬﺬه اﳌﻨﺎﺳﺒﺔ‪.‬‬

‫‪ DzƋǿƋƫ dzŞƓōǜǙ ǼƂǷƪƒǕŌ ǽǜƣǷǕŌ ǖǷǾǕŌ ƃǿŌƊ Ǜş ƨŌƋǥ‬‬ ‫‪ǽŴǾǔƁǶ ǽşƉƫ Ǔlj ǻǔƫ‬‬ ‫أﻛﺪ ﺳﻤﻮ اﻟﺸﻴﺦ ﻫﺰاع ﺑﻦ زاﻳﺪ آل ﻧﻬﻴﺎن‬ ‫ﻧﺎﺋﺐ رﺋﻴﺲ اﳌﺠﻠﺲ اﻟﺘﻨﻔﻴﺬي ﻹﻣــﺎرة‬ ‫أﺑﻮﻇﺒﻲ أن اﻟﻴﻮم اﻟﻮﻃﻨﻲ ﻟﻠﻤﻤﻠﻜﺔ اﻟﻌﺮﺑﻴﺔ‬ ‫اﻟﺴﻌﻮدﻳﺔ اﻟﺸﻘﻴﻘﺔ ﻣﻨﺎﺳﺒﺔ ﻋﺰﻳﺰة ﻋﲆ ﻛﻞ‬ ‫ﺧﻠﻴﺠﻲ وﻋﺮيب‪ ،‬ﻣﻨﻮﻫﺎً إﱃ أﺳﻤﻰ ﻣﻌﺎين‬ ‫اﻷﺧﻮة واﻟﻮﺣﺪة واﻟﺘﺎرﻳﺦ اﳌﺸﱰك ﺑني دوﻟﺔ‬ ‫اﻹﻣــﺎرات واﳌﻤﻠﻜﺔ‪ .‬وﻫﻨﺄ ﺳﻤﻮه اﳌﻤﻠﻜﺔ‬ ‫ﻗﻴﺎدة وﺷﻌﺒﺎً ﺑﻴﻮﻣﻬﺎ اﻟﻮﻃﻨﻲ اﻟـ ‪ ،88‬ﻣﻌﱪاً‬ ‫ﻋﻦ أﺻــﺪق اﻷﻣﻨﻴﺎت ﺑﺄن ﻳﺤﻔﻆ اﳌﻮﱃ‬ ‫ﻋﺰ وﺟﻞ‪ ،‬ﺧﺎدم اﻟﺤﺮﻣني اﻟﴩﻳﻔني اﳌﻠﻚ‬ ‫ﺳﻠامن ﺑﻦ ﻋﺒﺪاﻟﻌﺰﻳﺰ آل ﺳﻌﻮد وﺻﺎﺣﺐ‬

‫اﻟﺴﻤﻮ اﳌﻠيك اﻷﻣري ﻣﺤﻤﺪ ﺑﻦ ﺳﻠامن ﺑﻦ‬ ‫ﻋﺒﺪاﻟﻌﺰﻳﺰ وﱄ اﻟﻌﻬﺪ ﻧﺎﺋﺐ رﺋﻴﺲ ﻣﺠﻠﺲ‬ ‫اﻟــﻮزراء وزﻳــﺮ اﻟﺪﻓﺎع اﻟﺴﻌﻮدي‪ .‬وﻗﺎل‬ ‫ﺳﻤﻮه "ﻧﺒﺎرك ﻟﻠﻤﻤﻠﻜﺔ اﻟﻌﺮﺑﻴﺔ اﻟﺴﻌﻮدﻳﺔ‬ ‫اﻟﺸﻘﻴﻘﺔ ﻗﻴﺎدة وﺷﻌﺒﺎً ﻳﻮﻣﻬﺎ اﻟﻮﻃﻨﻲ‬ ‫اﻟـ‪ ،88‬ﻣﻨﺎﺳﺒﺔ ﻋﺰﻳﺰة ﻋﲆ ﻗﻠﺐ ﻛﻞ ﺧﻠﻴﺠﻲ‬ ‫وﻋــﺮيب‪ ،‬وﰲ اﻹﻣـــﺎرات‪ ..‬ﺗﺘﺠﲆ ﰲ ﻫﺬا‬ ‫اﻟﻴﻮم اﻟﻐﺎﱄ أﺳﻤﻰ ﻣﻌﺎين اﻷﺧﻮة واﻟﻮﺣﺪة‬ ‫واﻟﺘﺎرﻳﺦ واﳌﺼري اﳌﺸﱰك ﺣﻴﺚ ﺗﺨﻔﻖ‬ ‫اﻟﻘﻠﻮب ﺑﺄﺻﺪق اﻷﻣﻨﻴﺎت ﺑﺄن ﻳﺤﻔﻆ اﻟﻠﻪ‬ ‫اﳌﻤﻠﻜﺔ وﻣﻠﻜﻬﺎ ووﱄ ﻋﻬﺪه اﻷﻣني"‪.‬‬ ‫اﻟﺸﻌﺮ ‪baytelshear‬‬ ‫ﺑﻴﺖ ِ‬

‫‪11‬‬

‫ ‪ ĬŒ ĘěĪ‬‬

‫‪ɶ‬‬ ‫‪ ǖōLjżǕŌǶ ƃǿŌƊ Ǜş ƃǘżǙǶ ƃƗŌƈ Ǜş ƃǘżǙǶ dzƲǾǔƁ‬‬ ‫‪ǽǜƣǷǕŌ ǖǷǾǕōş ǛǾǙƉżǕŌ ǖƂōƁ ǚǷȂǜǤǿ‬‬ ‫ﺑﻌﺚ ﺻﺎﺣﺐ اﻟﺴﻤﻮ اﻟﺸﻴﺦ ﺧﻠﻴﻔﺔ ﺑﻦ‬ ‫زاﻳــﺪ آل ﻧﻬﻴﺎن رﺋﻴﺲ اﻟــﺪوﻟــﺔ‪ ،‬ﺣﻔﻈﻪ‬ ‫اﻟﻠﻪ‪ ،‬ﺑﺮﻗﻴﺔ ﺗﻬﻨﺌﺔ إﱃ أﺧﻴﻪ ﺧﺎدم اﻟﺤﺮﻣني‬ ‫اﻟﴩﻳﻔني اﳌﻠﻚ ﺳﻠامن ﺑﻦ ﻋﺒﺪ اﻟﻌﺰﻳﺰ آل‬ ‫ﺳﻌﻮد ﻣﻠﻚ اﳌﻤﻠﻜﺔ اﻟﻌﺮﺑﻴﺔ اﻟﺴﻌﻮدﻳﺔ‬ ‫اﻟﺸﻘﻴﻘﺔ‪ ،‬وذﻟﻚ مبﻨﺎﺳﺒﺔ اﻟﻴﻮم اﻟﻮﻃﻨﻲ‬ ‫اﻟـ‪ 88‬ﻟﻠﻤﻤﻠﻜﺔ‪ .‬ﻛام ﺑﻌﺚ ﺻﺎﺣﺐ اﻟﺴﻤﻮ‬

‫اﻟﺸﻴﺦ ﻣﺤﻤﺪ ﺑﻦ راﺷﺪ آل ﻣﻜﺘﻮم ﻧﺎﺋﺐ‬ ‫رﺋﻴﺲ اﻟﺪوﻟﺔ رﺋﻴﺲ ﻣﺠﻠﺲ اﻟﻮزراء ﺣﺎﻛﻢ‬ ‫ديب‪ ،‬رﻋﺎه اﻟﻠﻪ‪ ،‬وﺻﺎﺣﺐ اﻟﺴﻤﻮ اﻟﺸﻴﺦ‬ ‫ﻣﺤﻤﺪ ﺑﻦ زاﻳﺪ آل ﻧﻬﻴﺎن وﱄ ﻋﻬﺪ أﺑﻮﻇﺒﻲ‬ ‫ﻧﺎﺋﺐ اﻟﻘﺎﺋﺪ اﻷﻋــﲆ ﻟﻠﻘﻮات اﳌﺴﻠﺤﺔ‬ ‫ﺑﺮﻗﻴﺘﻲ ﺗﻬﻨﺌﺔ ﻣامﺛﻠﺘني إﱃ ﺧﺎدم اﻟﺤﺮﻣني‬ ‫اﻟﴩﻳﻔني اﳌﻠﻚ ﺳﻠامن ﺑﻦ ﻋﺒﺪ اﻟﻌﺰﻳﺰ آل‬

‫ﺳﻌﻮد‪ .‬ﻛام ﺑﻌﺚ أﺻﺤﺎب اﻟﺴﻤﻮ ﺣﻜﺎم‬ ‫اﻹﻣﺎرات‪ ،‬وأوﻟﻴﺎء اﻟﻌﻬﻮد‪ ،‬ﺑﺮﻗﻴﺎت ﺗﻬﻨﺌﺔ‬ ‫إﱃ ﺧﺎدم اﻟﺤﺮﻣني اﻟﴩﻳﻔني وذﻟﻚ مبﻨﺎﺳﺒﺔ‬ ‫اﻟﻴﻮم اﻟﻮﻃﻨﻲ اﻟـــ‪ 88‬ﻟﻠﻤﻤﻠﻜﺔ‪ .‬وﻫﻨﺄت‬ ‫ﺣﻜﻮﻣﺔ دوﻟﺔ اﻹﻣــﺎرات اﻟﻌﺮﺑﻴﺔ اﳌﺘﺤﺪة‬ ‫اﻟﺸﻌﺐ اﻟﺴﻌﻮدي اﻟﺸﻘﻴﻖ مبﻨﺎﺳﺒﺔ اﻟﻴﻮم‬ ‫اﻟﻮﻃﻨﻲ اﻟﺴﻌﻮدي اﻟـ‪.88‬‬

‫‪ɰ‬‬ ‫‪ɰ‬‬ ‫ ‪ŜƉƪǔǕ DzǷǃǶ ŌƉƁƄǶ‬‬ ‫‪ŌƃǜƓ ǓƦŨƓ dzǿƂǷƪƒǕŌ ƃǿŌƊ Ǜş ƃǘżǙ‬‬ ‫أﻋﺮب ﺻﺎﺣﺐ اﻟﺴﻤ ّﻮ اﻟﺸﻴﺦ ﻣﺤﻤﺪ ﺑﻦ زاﻳﺪ آل ﻧﻬﻴﺎن ﻋﻦ ﺳﻌﺎدﺗﻪ‬ ‫ﺑﺘﻮاﺟﺪه ﻋﲆ أرض اﳌﻤﻠﻜﺔ وﻫﻲ ﺗﺤﺘﻔﻲ ﺑﺎﻟﻴﻮم اﻟﻮﻃﻨﻲ اﻟﺴﻌﻮدي‬ ‫اﻟـ‪ ،88‬وأﻛﺪ ﺳﻤﻮه ﺧﻼل ﺣﻀﻮره واﻷﻣري ﻣﺤﻤﺪ ﺑﻦ ﺳﻠامن ﺑﻦ‬ ‫ﻋﺒﺪاﻟﻌﺰﻳﺰ آل ﺳﻌﻮد‪ ،‬وﱄ اﻟﻌﻬﺪ‪ ،‬ﻧﺎﺋﺐ رﺋﻴﺲ ﻣﺠﻠﺲ اﻟﻮزراء‪،‬‬ ‫وزﻳﺮ اﻟﺪﻓﺎع ﰲ اﻟﺴﻌﻮدﻳﺔ اﻟﺸﻘﻴﻘﺔ‪ ،‬اﻟﺤﻔﻞ اﻟﺨﺘﺎﻣﻲ ﻟﻔﻌﺎﻟﻴﺎت‬ ‫»ﻣﻬﺮﺟﺎن ﻣﺤﻤﺪ ﺑﻦ ﺳﻠامن ﻟﻠﻬﺠﻦ«‪ ،‬أن ﻣﺴرية اﻟﺨري واﻹﻧﺠﺎزات‬ ‫واﻟﺒﻨﺎء اﻟﺘﻲ ﻳﻘﻮدﻫﺎ ﺧﺎدم اﻟﺤﺮﻣني اﻟﴩﻳﻔني ﺳﺘﻈﻞ ﺳﻨﺪاً وذﺧﺮاً‬ ‫وﻗﻮة ﻟﻠﻌﺮب وﻧﴫة ﻟﻘﻀﺎﻳﺎﻫﻢ‪ .‬وأﺷﺎد ﺳﻤﻮه ﺑﺎﻫﺘامم ﻗﻴﺎدة‬ ‫اﳌﻤﻠﻜﺔ اﻟﺤﻜﻴﻤﺔ ﺑﺮﻳﺎﺿﺎت اﻟﻬﺠﻦ ﺑﻬﺪف ﺗﺄﺻﻴﻞ وإﺑﺮاز ﻫﺬا‬ ‫اﳌﻮروث اﻟﻌﺮﻳﻖ ﰲ اﻟﺜﻘﺎﻓﺔ اﻟﺴﻌﻮدﻳﺔ واﻟﺨﻠﻴﺠﻴﺔ واﻟﻌﺮﺑﻴﺔ‪ ،‬ﻣﺸرياً‬ ‫ﺳﻤﻮه إﱃ أن ﺳﺒﺎﻗﺎت اﻟﻬﺠﻦ ﺗﻌﺪ ﻣﻦ اﻟﺮﻳﺎﺿﺎت اﻟﱰاﺛﻴﺔ اﻟﺨﻠﻴﺠﻴﺔ‬ ‫واﻟﻌﺮﺑﻴﺔ اﻷﺻﻴﻠﺔ‪ ،‬وأﻛﺪ ﺳﻤ ّﻮه ﺷﻌﺒﻴﺔ ﻫﺬه اﻟﺮﻳﺎﺿﺔ وﻣﺎ متﺜﻠﻪ‬ ‫ﻣﻦ أﺻﺎﻟﺔ وإرث ﺗﺎرﻳﺨﻲ ﻟﻠﻤﻨﻄﻘﺔ اﻟﻌﺮﺑﻴﺔ ﺗﺘﻮارﺛﻪ اﻷﺟﻴﺎل ﻋﲆ‬

‫‪10‬‬

‫اﻟﻌﺪد ‪ ، 71‬أﻛﺘﻮﺑﺮ ‪2018‬‬

‫ﻣﺮ اﻟﻌﺼﻮر‪ .‬وﻏﺮد ﺳﻤﻮه ﻋﲆ »ﺗﻮﻳﱰ«‪» :‬وﻧﺤﻦ ﻧﺘﻮاﺟﺪ ﻋﲆ أرض‬ ‫اﳌﻤﻠﻜﺔ ﻧﻌﱪ ﺑﺒﺎﻟﻎ اﻻﻋﺘﺰاز ﻋﻦ ﺳﻌﺎدﺗﻨﺎ وﻓﺮﺣﺘﻨﺎ مبﺸﺎرﻛﺔ اﻟﺸﻌﺐ‬ ‫اﻟﺴﻌﻮدي اﻟﺸﻘﻴﻖ اﺣﺘﻔﺎﻻﺗﻪ ﺑﺎﻟﻴﻮم اﻟﻮﻃﻨﻲ اﻟـ ‪ ..88‬واﺛﻘﻮن ﺑﺄن‬ ‫ﻣﺴرية اﻟﺨري واﻹﻧﺠﺎزات واﻟﺒﻨﺎء اﻟﺘﻲ ﻳﻘﻮدﻫﺎ ﺧﺎدم اﻟﺤﺮﻣني‬ ‫اﻟﴩﻳﻔني ﺳﺘﻈﻞ ﺳﻨﺪاً وذﺧﺮاً وﻗﻮة ﻟﻠﻌﺮب وﻧﴫة ﻟﻘﻀﺎﻳﺎﻫﻢ‪.‬‬

‫‪40 55‬‬

‫‪20‬‬

‫‪30‬‬

‫‪28‬‬

‫‪77‬‬

‫ﺷﻌﺮاء اﻟﻌﺪد‬ ‫ﺳﻬﻴﻞ ﺑﻦ ﻓﺮج اﻟﻤﺰروﻋﻲ‬ ‫ﻫﺎدي اﻟﻤﻨﺼﻮري‬ ‫ﻓﻬﺪ اﻟﻤﺮي‬ ‫ﻋﻮض ﺑﻦ ﺣﺎﺳﻮم اﻟﺪرﻣﻜﻲ‬ ‫ﺣﻤﺪ اﻟﺒﻠﻮﺷﻲ‬ ‫ﺣﻤﻮد ﺑﻦ وﻫﻘﻪ‬

‫اﻟﻌﺪد ‪ - 71‬أﻛﺘﻮﺑﺮ ‪2018‬‬

‫رﺋﻴﺲ اﻟﺘﺤﺮﻳﺮ‬

‫ﻣﻨﺼﻮر ﺳﻌﻴﺪ اﻟﻤﻨﺼﻮري‬ ‫ﺧﻤﻴﺲ ﻣﻄﺮ اﻟﻜﺘﺒﻲ‬ ‫ﻋﻴﻮن اﻟﻤﻬﺎ‬ ‫ﺑﺮوق اﻟﺴﺮاة‬ ‫ﺳﻌﻮد اﻟﻄﺎﺛﻮب‬ ‫ﻧﺎﻳﻠﻪ اﻻﺣﺒﺎﺑﻲ‬ ‫ﻫﻨﺪ اﻟﻔﻬﻴﺪ‬

‫ﻣﺤﻤﺪ اﻟﻤﺼﻌﺒﻲ‬ ‫ﻋﺰﻳﺰه آل ﺛﺎﻣﺮ‬ ‫ﻋﺘﻴﻖ ﺧﻠﻔﺎن اﻟﻜﻌﺒﻲ‬ ‫ﻫﺰاع ﺑﻦ ﺳﻤﺮه‬

‫اﻹﺷﺮاف اﻟﻌﺎم‬

‫زﺑﻦ ﺑﻦ ﻋﻤﻴﺮ‬ ‫‪@zabin2011‬‬ ‫ﻣﺴﺘﺸﺎر اﻟﺘﺤﺮﻳﺮ‬

‫ﻋﻠﻲ اﻟﻤﺴﻌﻮدي‬ ‫‪@allmasoudi‬‬ ‫ﻣﺪﻳﺮ اﻟﺘﺤﺮﻳﺮ‬

‫ﻋﺒﺪا‪ D‬أﺑﻮﺑﻜﺮ‬ ‫‪@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 ‫ﻋﺒﺪا‪ D‬أﺑﻮﺑﻜﺮ‬ ‫ﻣﺤﻤﺪ ﻧﻮر اﻟﺪﻳﻦ‬ ‫ﺻﻔﻴﺔ اﻟﺸﺤﻲ‬

‫ﺑﺎﺳﻞ ﻋﺒﺪاﻟﻌﺎل‬ ‫ﻣﺤﻤﺪ أﺑﻮﻋﺮب‬ ‫د>ﻳﺎﺳﻴﻦ ﺣﺰﻛﺮ‬

‫ﻋﺰة ﺣﺴﻴﻦ‬ ‫ﻣﺤﻤﺪ ﻋﺒﺪاﻟﺴﻤﻴﻊ‬ ‫ﻣﺼﻄﻔﻰ أﺣﻤﺪ‬

‫ص>ب ‪ 6420‬أﺑﻮﻇﺒﻲ إ>ع>م‬

‫‪baitshir@sbzc.ae‬‬ ‫‪@bait_alshe3r‬‬

‫‪@baytelshear‬‬

‫اﻟﺸﻌﺮ ‪baytelshear‬‬ ‫ﺑﻴﺖ ِ‬

‫‪9‬‬

‫ ‪ ĘŠŝğĨŖŒ‬‬

‫‪28‬‬ ‫‪32‬‬ ‫‪36‬‬ ‫‪44‬‬ ‫‪52‬‬ ‫‪56‬‬ ‫‪78‬‬ ‫‪82‬‬ ‫‪86‬‬ ‫‪88‬‬ ‫‪96‬‬

‫ﺷﻌﺮاء اﻹﻣﺎرات‪ 22‬ﻳﺤﺘﻔﻮن ﺑﺎﻟﻤﻤﻠﻜﺔ ﻓﻲ ﻋﻴﺪﻫﺎ اﻟ‪88 a‬‬

‫اﻟﻤﺎﺟﺪي ﺑﻦ ﻇﺎﻫﺮ‪22‬ﺑﻴﻦ اﻟﺤﻜﻤﺔ واﻟﻨﺼﻴﺤﺔ وﻟﻘﺎء اﻟﻤﺤﺒﻮب‬ ‫اﻹﻣﺎرات‪22‬ﻛﻨﺰ ﻣﻦ اﻷرﻗﺎم اﻟﻘﻴﺎﺳﻴﺔ‬ ‫ﻧﺸﻴﺪ اﻟﺤﺰن واﻟﻐﺮﺑﺎء‬ ‫ﺟﻤﺎﻟﻴﺎت اﻟﺘﻠﻘﻲ ﺑﻴﻦ اﻟﻤﺴﻤﻮع واﻟﻤﻜﺘﻮب‬ ‫اﻟﻌﺮﻓﺠﻴﺔ‪ 22‬ﻗﺼﺔ اﻗﺘﺤﺎم ﺑﻄﻮﻟﻴﺔ‬ ‫اﻟﻤﺒﺎﻫﺎة ﻓﻲ اﻟﺸﻌﺮ اﻷﻧﺪﻟﺴﻲ‪22‬ﻋﻨﺪﻣﺎ ﺗﺘﻜﻠﻢ اﻷﺷﻴﺎء!‬ ‫اﻟﻔﺮﺣﺔ اﻟﻤﻐﻤﻮرة ﻓﻲ اﻟﺘﺮاث اﻟﺸﻌﺮي اﻟﺠﺎﻫﻠﻲ!‬ ‫داﻓﻴﺪ دي ﺳﺎﻧﺘﻴﻼ ‪22‬اﻟﻔﻘﻴﻪ اﻟﻤﺎﻟﻜﻲ اﻷوروﺑﻲ!‬ ‫اﻟﻘﻬﻮة اﻟﻌﺮﺑﻴﺔ‪22‬رﻣﺰ اﻟﻜﺮم واﻟﻀﻴﺎﻓﺔ اﻹﻣﺎراﺗﻴﺔ‬ ‫ﻗﻴﻤﺔ اﻟﻘﺼﻴﺪة‬ ‫اﻻﺷﺘﺮاﻛﺎت‬ ‫ﻟﻼﺷﺘﺮاك ﺑﺎﻟﺒﺮﻳﺪ داﺧﻞ اﻟﺪوﻟﺔ ‪ 90‬درﻫﻢ اﺷﺘﺮاك ‪ VIP‬داﺧﻞ اﻟﺪوﻟﺔ ‪ 120‬درﻫﻢ ﺳﻨﻮﻳ ًﺎ اﻟﻤﻤﻠﻜﺔ اﻟﻌﺮﺑﻴﺔ اﻟﺴﻌﻮدﻳﺔ ‪ 300‬درﻫﻢ ﺳﻨﻮﻳ ًﺎ‬ ‫ﺑﺎﻗﻲ اﻟﺪول ‪ 130‬دوﻻر أﻣﺮﻳﻜﻲ ﺳﻨﻮﻳ ًﺎ‬

‫‪8‬‬

‫اﻟﻌﺪد ‪ ، 71‬أﻛﺘﻮﺑﺮ ‪2018‬‬

‫»ﻧﺆﻣﻦ ﻓﻲ دوﻟﺔ اﻹﻣﺎرات اﻟﻌﺮﺑﻴﺔ اﻟﻤﺘﺤﺪة‬ ‫ﺑﺪور اﻟﺸﺒﺎب وﻣﻜﺎﻧﺘﻬﻢ‪ ،‬وﻧﺒﺎدر داﺋﻤ ًﺎ‬ ‫ﺑﺘﻘﺪﻳﻢ ﻛﻞ أﺷﻜﺎل اﻟﺪﻋﻢ ﻟﻬﻢ‪ ،‬ﺣﺮﺻ ًﺎ ﻋﻠﻰ‬ ‫ﺑﻨﺎء ﻣﺠﺘﻤﻊ ﻓ ِﺘﻲ ﻗﺎدر ﻋﻠﻰ اﻟﺘﻄ ّﻮر واﻟﺘﻘﺪم‬ ‫وﻣﻮاﻛﺒﺔ اﻟﻌﺼﺮ«‪2‬‬ ‫‪ ŻljƍƴŢ ǃƹƈ ƲŢǃƬŘ ƻƸ‬‬ ‫‪ ƺţljǁƼ ƲŖ ſLjŢƄ ƻŦ ƺţƙƵƈ‬‬ ‫‪ņŢ ƿƝƩŸ‬‬ ‫اﻟﺸﻌﺮ ‪baytelshear‬‬ ‫ﺑﻴﺖ ِ‬

‫‪7‬‬

‫ ‪¬ũŐŒ ęś‬‬

‫‪6‬‬

‫اﻟﻌﺪد ‪ ، 71‬أﻛﺘﻮﺑﺮ ‪2018‬‬

‫»إﻧﻨﺎ ﻧﺤﺮص ﻋﻠﻰ اﻟﺘﻤﺴﻚ ﺑﺎﻟﺘﻘﺎﻟﻴﺪ‬ ‫اﻷﺻﻴﻠﺔ واﻟﺘﺮاث ﻣﻬﻤﺎ ﺧﻄﻮﻧﺎ ﻓﻲ‬ ‫ﻣﻴﺎدﻳﻦ اﻟﺤﻀﺎرة واﻟﺮﻗﻲ‪ ،‬وإن اﻟﺼﻴﺪ‬ ‫ﺑﺎﻟﺼﻘﻮر رﻳﺎﺿﺔ ﻣﻬﻤﺔ ووﺳﻴﻠﺔ ﺗﻌﻠﻢ‬ ‫اﻟﺼﺒﺮ واﻟﺠﻠﺪ‪ ،‬وﻫﻲ ﻣﻔﻴﺪة ﻧﻔﺴﻴ ًﺎ‬ ‫وﺟﺴﺪﻳ ًﺎ‪ ،‬ورﻳﺎﺿﺔ اﺟﺘﻤﺎﻋﻴﺔ ﺗﺠﻤﻊ ﺑﻴﻦ‬ ‫رﻓﺎق اﻟﺮﺣﻠﺔ وﺗﺴﻮدﻫﺎ روح اﻟﺠﻤﺎﻋﺔ«‪2‬‬ ‫‪ ƿƴ ƂǃƩƥƹƴŢ‬‬ ‫‪ƺţljǁƼ ƲŖ ƺţƙƵƈ ƻŦ ſLjŢƄ ŻljƍƴŢ‬‬ ‫‪Ò‬‬ ‫ ‪ ƾŢƃŰ ņŢ ťljƘ‬‬ ‫اﻟﺸﻌﺮ ‪baytelshear‬‬ ‫ﺑﻴﺖ ِ‬

‫‪5‬‬

‫‪ ĮńŒ ŔšŐħ‬‬

‫‪4‬‬

‫اﻟﻌﺪد ‪ ، 71‬أﻛﺘﻮﺑﺮ ‪2018‬‬

ŝĸŒ ŝķ

b ²* JvG E ¥4v~8 b~9 f04bcD* @cN D vJx±* @@6H4 ¢ < ¤ D* @@+4&°* É D* b £ < ¤ D* ¡EvDb+ gJ4b/ ÅJ ¤ D* 7H ¥4vE bF*H /b0 QÅJ *x@@ = · ® M b@@ @ @CH d@@£@ c@ 0 · M 4b@@ @ @ E Å= vJy- ¢Bx D*H ££pJ ~8¡D*H

‫ﻣﺤﻤﺪ اﻟﺴﻜﺮان‬

3

baytelshear ‫اﻟﺸﻌﺮ‬ ِ ‫ﺑﻴﺖ‬

‫ان‬ ‫ﻴـﺪ‬ ‫ﻣـ‬ ‫ﺎﻳــ‬ ‫ﺻــ‬ ‫ا ‬ ‫ﻞ‬

‫زاﻳ‬

‫‪AN‬‬ ‫‪LT‬‬

‫نﺳ‬ ‫‪AL‬‬ ‫‪ED HERITAGE FESTIV‬‬

‫‪ZAY‬‬

‫‪SU‬‬

‫ــ ﺪ ا ﻟ ﺘ ﺮ اﺛ ﻲ‬

‫ﻣﻬ‬

‫ــ ﺮ ﺟ ــ ﺎ‬

‫ﻠﻄﺎ‬

‫ن ﺑـ‬

‫ﻦ‬

‫‪N‬‬

‫‪BI‬‬

‫ﺗﺪﻋﻮ اﻟﻠﺠﻨﺔ اﻹﻋﻼﻣﻴﺔ اﻟﻤﻨﻈﻤﺔ ﻟ‪wa‬‬

‫»ﻣﻬﺮﺟﺎن ﺳﻠﻄﺎن ﺑﻦ زاﻳﺪ اﻟﺘﺮاﺛﻲ«‬ ‫اﻟﻨﺴﺨﺔ ‪13‬‬

‫اﻟﺴﺎدة ﻣﺆﻟﻔﻲ وﻣﺨﺮﺟﻲ اﻟﻤﺴﺮﺣﻴﺎت اﻟﺮاﻏﺒﻴﻦ ﻓﻲ اﻟﻤﺸﺎرﻛﺔ ﻓﻲ اﻟﻤﻬﺮﺟﺎن‬ ‫اﻟﺬي ﻳﻨﻄﻠﻖ ﻓﻲ ‪ 20‬ﻳﻨﺎﻳﺮ ﺣﺘﻰ ﺗﺎرﻳﺦ ‪ 2‬ﻓﺒﺮاﻳﺮ ‪2019‬‬

‫ﺷﺮوط اﻟﻤﺴﺮﺣﻴﺔ‪w‬‬ ‫أن ﺗﺤﺘﻮي اﳌﴪﺣﻴﺔ ﻋﲆ ﻣﺒﺎدئ ﻗﻴﻤﺔ ذات ﻃﺎﺑﻊ أﺧﻼﻗﻲ‪.‬‬ ‫أن ﺗﺒﺘﻌﺪ اﳌﴪﺣﻴﺔ ﻋﻦ اﻷﻟﻔﺎظ واﻟﺘﴫﻓﺎت اﳌﻨﺎﻓﻴﺔ ﻟﻘﻴﻢ اﳌﺠﺘﻤﻊ اﻹﻣﺎرايت‪.‬‬ ‫أن ﻻﻳﺤﺘﻮي اﻟﻨﺺ اﳌﴪﺣﻲ ﻋﲆ ﺗﻮﺟﻪ دﻳﻨﻲ أو ﺳﻴﺎﳼ‪.‬‬ ‫أن ﺗﺤﺚ ﻋﲆ اﳌﻮروث اﻹﻣﺎرايت واﻟﻌﺎدات واﻟﺘﻘﺎﻟﻴﺪ اﻹﻣﺎراﺗﻴﺔ‪.‬‬ ‫ﻳﺠﺐ إرﺳﺎل ﻓﻴﺪﻳﻮﻫﺎت ﻗﺼرية ﻋﻦ اﻟﻌﺮوض اﳌﴪﺣﻴﺔ‪.‬‬ ‫إرﺳﺎل ﻛﺘﺎب ﻣﻦ إدارة اﻟﻔﺮﻗﺔ اﳌﴪﺣﻴﺔ وﺑﻪ ﻃﻠﺐ اﳌﺸﺎرﻛﺔ ﺑﺎﳌﻬﺮﺟﺎن‬ ‫وﺗﻜﺎﻟﻴﻒ اﻟﻌﺮض اﻟﻮاﺣﺪ‪ ،‬وﻳﺮﻓﻖ ﻣﻌﻪ ُﻧﺒﺬه ﻋﻦ اﻟﻨﺺ اﳌﴪﺣﻲ‪.‬‬

‫آﺧﺮ ﻣﻮﻋﺪ ﻻﺳﺘﻼم اﻟﻤﺸﺎرﻛﺎت ‬ ‫‪ 15‬أﻛﺘﻮﺑﺮ ‪2018‬‬ ‫‪swaihaan.ae‬‬

‫‪swaihaan‬‬

‫‪sbzc.ae‬‬

‫‪@sbzc_ad‬‬

‫ﻟﻤﺰﻳﺪ ﻣﻦ اﻟﻤﻌﻠﻮﻣﺎت ﻳﻤﻜﻨﻜﻢ اﻟﺘﻮاﺻﻞ ﻣﻌﻨﺎ ﻋﻠﻰ اﻟﺮﻗﻢ اﻟﺘﺎﻟﻲ ‪+971 56 773 9047‬‬