Bayt alshier_73_December 2018 by SBZC Mags

‫ﺟﺪﻳﺪ إﺻﺪارات‬ ‫ﻣﺮﻛﺰ ﺳﻠﻄﺎن ﺑﻦ زاﻳﺪ‬

‫‪www.sbzc.ae‬‬

‫‪sbzc.ae‬‬

‫‪2018‬‬

‫‪@sbzc_ad‬‬

‫ﻣﻦ‬

‫ﺑﻴﺖ اﻟ ِﺸ‬ ‫ﺑﻴﻴﺖ‬ ‫‪baytelshear‬‬ ‫اﻟﺸﻌﻌﺮ ‪shear‬‬

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‫ ‪ ĮšĪ‬‬

‫‪ɰ‬‬ ‫‪ōǙōƫ 47 ǽƳ ŦŌƈōǙȑŌ‬‬ ‫‪ƊōŴǝŒǶ ǲƂŌƈŒǶ ƂōżũŌ‬‬ ‫ﻋﺎﻣﺎً ﺑﻌﺪ ﻋﺎم‪ ،‬ﺗﺤﺘﻔﻞ دوﻟﺔ اﻹﻣﺎرات اﻟﻌﺮﺑﻴﺔ اﳌﺘﺤﺪة ﺑﻴﻮﻣﻬﺎ اﻟﻮﻃﻨﻲ‪ ،‬ﻳﻮم اﺗﺤﺎدﻫﺎ‬ ‫وﻣﻴﻼدﻫﺎ‪ ،‬ﻓﺘﺠ ﱢﺪد اﻟﻌﻬﺪ‪ ،‬وﺗﺮﻓﻊ راﻳﺔ اﻟﻮﻻء واﻟﻮﻓﺎء ﻟﺮﻣﺰ ﻫﺬا اﻻﺗﺤﺎد وﻣﺆﺳﺴﻪ‬ ‫اﳌﻐﻔﻮر ﻟﻪ اﻟﺸﻴﺦ زاﻳﺪ ﺑﻦ ﺳﻠﻄﺎن آل ﻧﻬﻴﺎن رﺣﻤﻪ اﻟﻠﻪ‪ ..‬اﻟﻘﺎﺋﺪ واﳌﻌ ّﻠﻢ واﳌﻠﻬﻢ‬ ‫وﺣﻜﻴﻢ اﻟﻌﺮب‪.‬‬ ‫وﺗﻌﻈﻢ ﰲ ﻣﺴﺎﺣﺎت‬ ‫ﻧﺤﺘﻔﻞ ﻧﺤﻦ أﺑﻨﺎء اﻹﻣﺎرات‪ ،‬ﺑﺈﻧﺠﺎزاﺗﻨﺎ اﻟﺘﻲ ﻛﱪت وﻻ ﺗﺰال ﺗﻜﱪ‬ ‫ُ‬ ‫اﳌﺠﺪ واﻟﻔﺨﺮ‪ ،‬وﺗﺘﻘﺎﻓﺰ ﻋﺎﻟﻴﺎً ﻓرياﻫﺎ أﻫﻞ اﻷرض ﻣﻦ ﺟﻤﻴﻊ ﺟﻬﺎﺗﻬﺎ‪ .‬ﻛﻴﻒ ﻻ‪ ..‬وﻫﺎ‬ ‫ﻫﻲ اﻹﻣﺎرات ﺟﻮﻫﺮة ﰲ ﻋني ﻛﻞ إﻧﺴﺎن‪ ،‬وﺳﺎﺣﺔ ﻋﺎﳌﻴﺔ ﻟﻠﻤﻌﺮﻓﺔ واﻟﺜﻘﺎﻓﺔ واﻷدب‬ ‫واﻟﻌﻠﻢ‪ ،‬وﻃﺮﻳﻖ ﻻ ﺗﻨﺘﻬﻲ وﻫﻲ ﺗﻌﱪ اﳌﺴﺘﺤﻴﻞ‪ ،‬وﺗﻌﻠﻦ ﻋﻦ ﻧﻔﺴﻬﺎ وﻫﻲ ﺗﺘﻘﺪم‬ ‫وﺗﺤﻘﻖ اﻟﺼﺪارة ﰲ ﺟﻤﻴﻊ اﻷوﻗﺎت واﳌﻴﺎدﻳﻦ‪.‬‬ ‫ﺳﺒﻌﺔ وأرﺑﻌﻮن ﻋﺎﻣﺎ‪ ،‬واﻟﺒﻨﺎء ﻳﻌﻠﻮ‪ ،‬واﻟﻮﻻء ﻳﺘﺄ ّﻛﺪُ ‪ ،‬واﻟﻮﻓﺎء ﻳﺘّﺴﻊ ﰲ ﻗﻠﺐ ﻛﻞ إﻣﺎرايت‬ ‫أﺣﺐ اﻟﺒﻼد وﺳﻌﻰ أن ﻳﻜﻮن وﻃﻨﻪ أﺟﻤﻞ وأﻧﻘﻰ‪ ،‬متﺎﻣﺎً ﻛام أراد ﻟﻪ زاﻳﺪ أن ﻳﻜﻮن‪..‬‬ ‫ﻓﻜﺎن‪ ،‬وﺻﺎر أﻓﻀﻞ اﻷوﻃﺎن وﻋﻨﻮاﻧﺎً ﻋﺮﻳﻀﺎً ﻟﻠﺘﻘﺪم واﻟﺘﻄﻮر‪.‬‬ ‫ﻧﺘﺬﻛﺮ ﰲ ﻫﺬه اﳌﻨﺎﺳﺒﺔ اﻟﻮﻃﻨﻴﺔ اﻟﻐﺎﻟﻴﺔ‪ ،‬ﻣﺎ ﻗﺪﻣﻪ ﻗﺎدة اﻟﻮﻃﻦ‪ ،‬ﻣﻦ دﻋﻢ وإﴏار‬ ‫ﻋﲆ اﻹﻧﺠﺎز‪ ،‬وإرادة واﻋﻴﺔ ﻳﺪﻓﻌﻬﺎ اﻹميﺎن ﺑﻘﺪرات وإﻣﻜﺎﻧﻴﺎت ﺷﻌﺐ اﻹﻣﺎرات‪،‬‬ ‫اﻟﺬي ﺳﺎر ﻣﻊ ﻗﻴﺎدﺗﻪ ﺧﻄﻮة ﺑﺨﻄﻮة‪ ،‬ﻣﺤﻘﻘﺎً أﻓﻀﻞ ﻣﺎ ميﻜﻦ‪ ،‬وﻣﺠﺪداً اﻷﻣﻞ‬ ‫ﺑﺎﻟﻮﺻﻮل إﱃ أﺑﻌﺪ ﻣﺴﺎﻓﺔ ﻣﻤﻜﻨﺔ ﻋﲆ ﺧﺮﻳﻄﺔ اﻻزدﻫﺎر واﻟﺘﻨﻤﻴﺔ‪.‬‬ ‫ﻧﺒﺎرك ﻟﺴﻴﺪي ﺻﺎﺣﺐ اﻟﺴﻤﻮ اﻟﺸﻴﺦ ﺧﻠﻴﻔﺔ ﺑﻦ زاﻳﺪ آل ﻧﻬﻴﺎن رﺋﻴﺲ اﻟﺪوﻟﺔ ﺣﻔﻈﻪ‬ ‫اﻟﻠﻪ‪ ،‬وﻣﻌﻪ ﺣﻜﺎم دوﻟﺔ اﻹﻣﺎرات وﻗﻴﺎداﺗﻬﺎ‪ ،‬مبﻨﺎﺳﺒﺔ ﻫﺬا اﻟﻴﻮم اﻟﻮﻃﻨﻲ اﻟﻌﻈﻴﻢ‪،‬‬ ‫اﻟﺬي ميﺮ ﻋﻠﻴﻨﺎ وﻧﺤﻦ ﺑﺄﻓﻀﻞ اﻷﺣﻮال‪ ،‬ﺑﻔﻀﻞ ﺣﻜﻤﺘﻬﻢ وﻣﺤﺒﺘﻬﻢ‪ ،‬وﻗﻴﺎدﺗﻬﻢ‬ ‫اﻟﺮﺷﻴﺪة اﻟﺘﻲ رﻓﻌﺖ ﺷﻌﺎر اﻟﻮﻃﻦ أوﻻً‪ ،‬ﺛﻢ أوﻻً ﺛﻢ أوﻻً‪.‬‬

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‫اﻟﻌﺪد ‪ ، 73‬دﻳﺴﻤﺒﺮ ‪2018‬‬

‫د‪%‬ﻋﺒﻴﺪ ﻋﻠﻲ راﺷﺪ اﻟﻤﻨﺼﻮري‬ ‫د ﻋﺒﻴﺪ‬

‫رﺋﻴﺲ اﻟﺘﺤﺮﻳﺮ‬

‫ﻣﻨﻬﻢ ّ‬ ‫ﺑﺄن ﻫﺬه اﻟﺨﻄﻮة ﺗﺠﻠﺐ اﻟﺨﺼﻮﺑﺔ‬ ‫إﱃ ﺣﻴﺎة اﻟﺰوﺟني‪.‬‬ ‫ﻳﺒﺪأ ﻳﻮم اﻟﺰﻓﺎف ﺑﺎﻟﻨﺴﺒﺔ ﻟﻠﻌﺮﻳﺲ ﺑﺤﻼﻗﺔ‬ ‫ذﻗﻨﻪ‪ ،‬وﻟﻜﻦ ﰲ اﻟﻬﻮاء اﻟﻄﻠﻖ ﻋﲆ أن ﺗﺘﻢ‬ ‫ﻋﲆ ﻳﺪ ﺻﺪﻳﻖ أو أخ‪ .‬ﺗﻌﻮد ﺗﻠﻚ اﻟﻌﺎدة إﱃ‬ ‫آﻻف اﻟﺴﻨني‪ ،‬ﺣﻴﺚ ﻛﺎن ﻳﻌﺘﻘﺪ أن اﻟﻌﺮﻳﺲ‬ ‫ميﻜﻦ أن ﻳﻜﻮن ﻣﺘﻮﺗﺮاً وﻳﺠﺮح وﺟﻬﻪ أﺛﻨﺎء‬ ‫اﻟﺤﻼﻗﺔ‪ ،‬وﺗﺘﻢ ﰲ اﻟﻬﻮاء اﻟﻄﻠﻖ ﺣﺘﻰ ﻳﺘﺴﻨﻰ‬ ‫ﻟﻠﺠﻤﻴﻊ ﻣﻌﺮﻓﺔ اﻟﺰﻓﺎف وﻣﺒﺎرﻛﺔ اﻟﻌﺮﻳﺲ‬ ‫ﻣﻦ ﻗﺒﻞ اﳌﺎرة‪ .‬وﻋﺎدة ﻣﺎ ﺗﺘﻢ اﻵن ﺑﺸﻜﻞ‬ ‫ﻓﻜﺎﻫﻲ ﺑﻮاﺳﻄﺔ أدوات ﻗﺪميﺔ ﻟﻠﺤﻼﻗﺔ‪.‬‬ ‫وﻣــﻦ اﳌﺘﻌﺎرف ﻋﻠﻴﻪ أن ﺗــﺮش اﻟﻌﺮوس‬ ‫اﻟﺴﻜﺮ اﻷﺑﻴﺾ داﺧﻞ ﻗﻔﺎزاﺗﻬﺎ ﻟﻴﻜﻮن زواﺟﻬﺎ‬

‫ﺣﻠﻮاً ﻛﺎﻟﺴﻜﺮ وﻻ ﺗﺮﻣﻲ اﻟﻌﺮوس اﻟﻔﺘﻴﺎت‬ ‫اﻟﻌﺰﺑﺎوات ﺑﺒﺎﻗﺔ اﻟﻮرد ﻓﻘﻂ ﺑﻞ إﻧﻬﺎ ﺗﺮش‬ ‫ﻋﻠﻴﻬﻦ ﺣﺒﻮب اﻟﺮﻣﺎن ﻟﺠﻠﺐ اﻟﺤﻆ اﻟﺠﻴﺪ‬ ‫ﻟﻬﻦ‪ .‬أﻣﺎ ﺧﻼل اﻻﺣﺘﻔﺎل ﻳﻜﴪ اﳌﺪﻋﻮون‬ ‫اﻟﺼﺤﻮن ﻋﲆ ﺣﻠﺒﺔ اﻟﺮﻗﺺ ﻟﺠﻠﺐ اﻟﺤﻆ‬ ‫اﻟﺠﻴﺪ‪ ،‬وﻳﺒﺪأ واﺣﺪ ﻣﻦ أﻫﻞ اﻟﻌﺮﻳﺲ ﺑﺎﻷﻣﺮ‬ ‫وﻳﺘﺒﻌﻪ اﻟﺠﻤﻴﻊ‪ .‬وﻣﻦ اﳌﺘﻌﺎرف ﻋﻠﻴﻪ أﻳﻀﺎً‬ ‫أن ﻳﺸﺒﻚ ﻛﻞ ﻣﺪﻋﻮ إﱃ اﻟﺤﻔﻞ اﳌﺎل ﰲ‬ ‫ﺛﻴﺎب اﻟﻌﺮوﺳني أو ﰲ ﻋﻘﺪ ﺧﺎص ﻳﻠﺒﺴﻪ‬ ‫ﻛﻞ ﻣﻦ اﻟﻌﺮوﺳني وﻫام ﻳﺮﻗﺼﺎن اﻟﺮﻗﺼﺔ‬ ‫اﻟﺘﻘﻠﻴﺪﻳﺔ‪ .‬وﻣﻦ اﻟﺘﻘﺎﻟﻴﺪ اﻟﻘﺪميﺔ أن ﺗﻘﻮم‬ ‫ﻓﺘﺎة ﻋﺰﺑﺎء ﻣﻦ أﻫﻞ اﻟﻌﺮوس ﺑﺈﻋﺪاد ﺧﺒﺰ‬ ‫داﺋﺮي ﺿﺨﻢ ﻳﺘﻢ ﺟﻠﺒﻪ ﻟﻠﺰﻓﺎف‪ ،‬ﺛﻢ ﻳﺤﻤﻠﻪ‬

‫ﺟﺪ اﻟﻌﺮﻳﺲ أو اﻟﻌﺮوس ﻓﻮﻗﻬام ﺑﻴﻨام‬ ‫ﻳﺮﻗﺼﺎن رﻗﺼﺔ ﺗﻘﻠﻴﺪﻳﺔ‪ ،‬وﺑﻌﺪ اﻧﺘﻬﺎء اﻟﺮﻗﺼﺔ‬ ‫ﻳﻀﻌﻪ ﺑني أﻳﺪي اﻟﻌﺮوﺳني ﻟﺘﺒﺪأ ﻣﻨﺎﻓﺴﺔ‬ ‫ﻓﻜﺎﻫﻴﺔ ﻻﻧﺘﺰاع اﻟﺨﺒﺰ‪ ،‬وﻣﻦ ﻳﻨﺘﺰع اﻟﺠﺰء‬ ‫اﻷﻛﱪ ﻳﻜﻮن ﻋﻼﻣﺔ ﻋﲆ ﻧﺴﺒﺔ ﺳﻴﻄﺮﺗﻪ ﻋﲆ‬ ‫اﻟﺤﻴﺎة اﻟﺰوﺟﻴﺔ‪.‬‬ ‫وﺑﻌﺪ اﻻﻧﺘﻬﺎء ﻣﻦ اﻻﺣﺘﻔﺎل ﺗﺮﻣﻲ اﻟﻌﺮوس‬ ‫ﺑﺰﺟﺎﺟﺔ ﻣﻦ اﳌﻴﺎه‪ ،‬رﻣ ـﺰاً إﱃ أن ﺳﻨﻮات‬ ‫اﻟﺤﻴﺎة اﻟﺰوﺟﻴﺔ ﺳﺘﺘﺪﻓﻖ ﻛﺎﳌﺎء‪ .‬ﻳﺬﻫﺐ‬ ‫اﻷﻫــﻞ واﻷﺻــﺤــﺎب إﱃ ﺑﻴﺖ اﻟﻌﺮوﺳني‪،‬‬ ‫وﺣﻴﻨﻬﺎ ﺗﺮﻣﻲ اﻟﻌﺮوس ﻗﻄﻌﺔ ﺣﺪﻳﺪﻳﺔ ﻋﲆ‬ ‫ﺳﻄﺢ اﳌﻨﺰل دﻟﻴ ًﻼ ﻋﲆ ﻗﻮة وﺻﻼﺑﺔ ﻋﻼﻗﺘﻬﺎ‬ ‫ﺑﺰوﺟﻬﺎ‪.‬‬ ‫اﻟﺸﻌﺮ ‪baytelshear‬‬ ‫ﺑﻴﺖ ِ‬

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‫‪ Ęġ¯ ŝŕ‬‬

‫‪ǲōǾżǕŌ ƨōǂǿœş ƝŞǜũ ǻǂǾƓǷǘǕŌ‬‬

‫ﻳﻌﱪ اﳌﻘﺪوﻧﻴﻮن ﻋﻦ ﻋﺸﻘﻬﻢ ﻟﻠﺤﻴﺎة‬ ‫ﺑﺎﻟﺮﻗﺺ واﳌﻮﺳﻴﻘﻰ‪ .‬وميﺜﻞ اﻟﺮﻗﺺ أﺳﻠﻮب‬ ‫ﺣﻴﺎة ﺑﺨﺎﺻﺔ ﻋﻨﺪ أﻫﻞ اﻟﺮﻳﻒ‪ ،‬ﺣﻴﺚ ﺗﻄﻮر‬ ‫ﻛﻞ ﻗﺮﻳﺔ ﺗﻘﺮﻳﺒﺎً رﻗﺼﺘﻬﺎ اﻟﺨﺎﺻﺔ أو منﻄﺎً‬ ‫ﺧﺎﺻﺎً ﻣﻦ رﻗﺼﺎت ﻗﻮﻣﻴﺔ ﻟﺘﻜﻮن ﻣﻤﻴﺰة ﺑﻬﺎ‪،‬‬ ‫ﻓﻬﻮ أﻣﺮ أﺷﺒﻪ ﺑﺎﻟﺘﻨﺎﻓﺲ ﺑني أﺑﻨﺎء اﻟﺸﻌﺐ‬ ‫اﻟﻮاﺣﺪ‪ .‬وﻟﻌﻞ رﻗﺼﺔ "ﺗﺴﻮراﺑﻴﺎ" اﻟﺸﻬرية‬ ‫أﻫﻢ رﻗﺼﺎت ﻣﻘﺪوﻧﻴﺎ وﻫﻲ ﻧﺘﺎج ﻣﺰﻳﺞ ﻣﻦ‬ ‫اﻟﱰاث اﻟﻌﺜامين واﻟﺒﻴﺰﻧﻄﻲ وﺗﻄﻮرت ﻋﱪ‬ ‫ﻗﺮون ﻣﻦ اﻟﺰﻣﻦ وﺗﺴﺘﻤﺪ أﻏﺎﻧﻴﻬﺎ وإﻳﻘﺎﻋﺎﺗﻬﺎ‬ ‫ﻣﻦ اﳌـــﻮروث اﻟﺜﻘﺎﰲ اﳌــﻘــﺪوين‪ .‬ﻓﺤﻴﻨام‬ ‫ﻳﻘﻒ اﻟﺮﺟﺎل واﻟﻨﺴﺎء ﰲ داﺋﺮة وﻳﺘامﻳﻠﻮن‬ ‫ﺑﺈﻳﻘﺎﻋﺎت أرﺟﻠﻬﻢ ﻋﲆ اﻷرض‪ ،‬ﻳﺮﺳﻤﻮن‬ ‫ﻟﻮﺣﺔ ﺛﻘﺎﻓﻴﺔ ﻣﻦ أﺳﺎﻃري ﻋﺎﺷﺘﻬﺎ اﻟﺒﻼد ﻋﻦ‬ ‫ﻃﺮﻳﻖ أﻧﺎﺷﻴﺪ ﻗﺪميﺔ ﺗﺮوي ﻗﺼﺺ ﺑﻄﻮﻻت‬ ‫اﻟﺸﻌﺐ اﳌﻘﺪوين وﻓﻨﻮﻧﻪ وأﺻﺎﻟﺘﻪ وﻋﻼﻗﺎﺗﻪ‬ ‫اﻻﺟﺘامﻋﻴﺔ‪ .‬وﻟﻠﻤﺮأة دور رﺋﻴﺲ ﰲ ﺗﺮاث‬ ‫اﻟﺮﻗﺺ واﳌﻮﺳﻴﻘﻰ اﳌﻘﺪوين‪ ،‬ﺣﻴﺚ ﻻ ميﻜﻦ‬ ‫أن ﻧــﺮى رﻗﺼﺔ واﺣــﺪة ﻣﻦ ﺿﻤﻦ ﻣﺌﺎت‬ ‫اﻟﺮﻗﺼﺎت ﻻ ﺗﻜﻮن اﳌــﺮأة ﻗﺎﺋﺪﺗﻬﺎ‪ .‬وﻟﻌﻞ‬ ‫رﻗﺼﺔ اﻟﱰاﻳﺴﻴﻨﻴﻜﺎ أﻛﱪ ﻣﻌﱪ ﻋﻦ ﻣﻜﺎﻧﺔ‬ ‫اﳌﺮأة اﳌﻘﺪوﻧﻴﺔ‪ ،‬ﻓﻔﻲ اﻟﺮﻗﺼﺔ ﻳﺘﺠﻤﻊ ﻋﺪد‬ ‫ﻣﻦ اﻟﻨﺴﺎء ﰲ دواﺋﺮ أو ﺻﻔﻮف ﻣﺴﺘﻘﻴﻤﺔ‬ ‫ﻣﺘﻮازﻳﺔ ﺗﺸﺒﻪ ﻣﻮاﻛﺐ اﻟﻔﺨﺮ ﺑﺤﺮﻛﺎت‬ ‫دﻗﻴﻘﺔ ﻣﺘﻮازﻧﺔ وﻳﻨﺸﺪون ﺣﻜﺎﻳﺎت ﺷﻌﺒﻴﺔ‬

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‫اﻟﻌﺪد ‪ ، 73‬دﻳﺴﻤﺒﺮ ‪2018‬‬

‫اﻟﺼﻴﺎﻏﺔ واﻟﺘﻄﻮﻳﺮ ﻣﻊ اﻻﻟﺘﺰام ﺑﺎﻷﺻﻮل‬ ‫اﻟﺘﺎرﻳﺨﻴﺔ‪ .‬وﺗﺘﻐﻨﻰ اﻷﻧﺎﺷﻴﺪ ﺑﺎﻟﻄﺒﻴﻌﺔ‬ ‫واﻹﻧﺴﺎن واﻷﻃﻔﺎل وﺣﺐ اﻟﻄﺒﻴﻌﺔ‪.‬‬ ‫ﻋـــﺎدة ﻣــﺎ ﺗﺘﺤﻮل اﻟــﺮﻗــﺼــﺎت واﻷﻏـــﺎين‬ ‫واﳌﻮﺳﻴﻘﻰ اﻟﻔﻠﻜﻠﻮرﻳﺔ إﱃ ﺳﻬﺮات‪ ،‬وﻫﻮ ﻣﺎ‬ ‫أدى إﱃ ﻇﻬﻮر اﻟﻌﺪﻳﺪ ﻣﻦ اﻟﻔﺮق اﻟﻔﻠﻜﻠﻮرﻳﺔ‬ ‫اﻟﺘﻲ ﺗﺒﻬﺮ اﻟﺠﻤﻬﻮر ﺑﺄداﺋﻬﺎ‪ .‬وﻟﻌﻞ أﻫﻢ ﺗﻠﻚ‬ ‫اﻟﻔﺮق اﻟﺘﺎﻧﻴﻚ " ‪ "Tanec‬اﻟﻘﺪميﺔ واﻟﺸﻬرية‪،‬‬ ‫وﺗﻌﺘﱪ ﺳﻔرية ﻟﻠﻔﻮﻟﻜﻠﻮر اﳌﻘﺪوين ﰲ ﺟﻤﻴﻊ‬ ‫أﻧﺤﺎء اﻟﻌﺎمل‪ .‬وﻫﻲ ﻓﺮﻗﺔ وﻃﻨﻴﺔ ﺗﻢ ﺗﺄﺳﻴﺴﻬﺎ‬ ‫ﻣﻦ ﻗﺒﻞ اﻟﺤﻜﻮﻣﺔ ﻋﺎم ‪ ،1949‬وذﻟﻚ ﺑﻬﺪف‬ ‫اﻟﺤﻔﺎظ ﻋﲆ اﻟﻔﻮﻟﻜﻠﻮر اﳌﻘﺪوين وﺗﻘﺪميﻪ‬ ‫ﻣﻦ ﺧــﻼل اﻷﻏــﺎين اﻟﺸﻌﺒﻴﺔ واﻟﺮﻗﺼﺎت‬ ‫اﻟﺸﻌﺒﻴﺔ واﻷدوات اﻟﺸﻌﺒﻴﺔ واﻷزﻳﺎء اﻟﻮﻃﻨﻴﺔ‬ ‫وﻣــﺎ إﱃ ذﻟــﻚ‪ .‬وﺧــﻼل ﻋﻘﻮد ﻃﻮﻳﻠﺔ ﻣﻦ‬ ‫وﺟﻮدﻫﺎ‪ ،‬ﺷﺎرﻛﺖ "ﺗﺎﻧﻴﻚ" ﰲ أﻛرث ﻣﻦ ‪3500‬‬ ‫ﺣﻔﻞ وﻣﻬﺮﺟﺎﻧﺎت ﰲ ﺟﻤﻴﻊ أﻧﺤﺎء اﻟﻌﺎمل مبﺎ‬ ‫ﰲ ذﻟﻚ اﻟﻮﻻﻳﺎت اﳌﺘﺤﺪة‪ ،‬وﻛﻨﺪا‪ ،‬وأﺳﱰاﻟﻴﺎ‪،‬‬ ‫واﻟﻴﺎﺑﺎن‪ ،‬واﻟﺪول اﻷوروﺑﻴﺔ‪ ،‬واﻟﻌﺪﻳﺪ ﻣﻦ‬ ‫اﻟﺪول اﻟﻌﺮﺑﻴﺔ ﻣﺜﻞ اﻟﻜﻮﻳﺖ وﻣﴫ‪ ،‬ﺣﺘﻰ ﰲ‬ ‫أﻓﺮﻳﻘﻴﺎ ﰲ ﻧﻴﺠريﻳﺎ وﻣﺎﱄ واﻟﺴﻨﻐﺎل واﻟﻜﻮﻧﻐﻮ‬ ‫اﻟﺪميﻘﺮاﻃﻴﯩﺔ‪ ،‬ﻓﻀ ًﻼ ﻋﻦ اﻟﺤﻔﻼت اﳌﻮﺳﻴﻘﻴﺔ‬ ‫ﰲ ﺟﻤﻬﻮرﻳﺔ ﻳﻮﻏﻮﺳﻼﻓﻴﺎ اﻻﺗﺤﺎدﻳﺔ‬ ‫اﻻﺷﱰاﻛﻴﺔ اﻟﺴﺎﺑﻘﺔ‪ .‬وﺣﺎزت اﻟﻔﺮﻗﺔ اﻷﻳﻘﻮﻧﺔ‬ ‫ﻋﲆ اﻟﻌﺪﻳﺪ ﻣﻦ اﻟﺠﻮاﺋﺰ اﳌﺤﻠﻴﺔ واﻟﺪوﻟﻴﺔ‬ ‫وﻗﺼﺺ ﻣﻮروﺛﺔ ﺣﻮل اﳌﺠﺘﻤﻊ واﻷﻃﻔﺎل اﳌﺮﻣﻮﻗﺔ أﻫﻤﻬﺎ اﻟﺠﺎﺋﺰة اﻷوﱃ ﰲ اﳌﻬﺮﺟﺎن‬ ‫وﻣﻜﺎﻧﺔ اﳌﺮأة ﻣﻨﺬ اﻟﻘﺪم‪ .‬أﻣﺎ ﻋﲆ ﺻﻌﻴﺪ اﻟﺪوﱄ ﻟﻠﻔﻨﻮن اﻟﱰاﺛﻴﺔ ﰲ ﺑﻠﺪة ﻟﻴﺎﻧﺠﻮﻟني‬ ‫اﻵﻻت اﳌﻮﺳﻴﻘﻴﺔ‪ ،‬ﻓﻴﻮﺟﺪ ﻧﻮﻋﺎن ﻳﻨﺘﻤﻴﺎن اﻟﱪﻳﻄﺎﻧﻴﺔ ﻋﺎم ‪.1950‬‬ ‫إﱃ اﳌﻮﺳﻴﻘﻰ اﻟﻐﺮﺑﻴﺔ وﺗﺘﻤﺜﻞ ﰲ اﻟﺠﻴﺘﺎر‬ ‫واﻟﻜامن واﻟﻜﻼرﻧﻴﺖ‪ ،‬وﻳﻮﺟﺪ اﻟﺘﻴﺎر اﻟﺒﻠﻘﺎين ‪ŦōǿōǈŽǶ ŦŌƂōƫ ưōƳƋǕŌ‬‬ ‫اﳌﺘﺄﺛﺮ ﺑﺎﻟﴩق وآﻻﺗــﻪ اﻟﻄﻨﺒﻮر وﻣﺰﻣﺎر ﻳﻘﺪس اﳌﻘﺪوﻧﻴﻮن اﻟﺰواج ﺑﺎﻋﺘﺒﺎره ﻟﻘﺎء ﺑني‬ ‫اﻟﻜﺎﻓﺎل وﻗﺮﺑﺔ اﻟﺠﺎﻳﺪا اﻟﺘﻘﻠﻴﺪﻳﺔ اﳌﻘﺪوﻧﻴﺔ روﺣني ﻳﻌﻴﺸﺎن ﻃﻮال اﻟﺤﻴﺎة ﰲ اﺳﺘﻘﺮار‬ ‫اﻟﺘﻲ ﺗﻄﻠﻖ ﺻﻴﺤﺎت ﻣﻤﻴﺰة‪ ،‬ﻓﻀ ًﻼ ﻋﻦ وﺣﺐ وﻣــﻮدة‪ ،‬وميﺎرس اﳌﻘﺪوﻧﻴﻮن ﺣﺘﻰ‬ ‫اﻟﻄﺒﻮل وآﻟﺔ اﻟﻌﻮد‪ .‬وﻟﻌﻞ اﻟﻄﻨﺒﻮر اﳌﻘﺪوين اﻟﻴﻮم ﺗﻘﻠﻴﺪاً ميﻴﺰﻫﻢ ﻋﻦ ﻏريﻫﻢ ﻣﻦ اﻟﺸﻌﻮب‬ ‫ﻫﻮ اﻷﺷﻬﺮ ﻫﻨﺎك‪ ،‬ﻛﻮﻧﻪ ﻳﺼﺪر أﻋﲆ اﻷﺻﻮات ﰲ ﻛﻞ زﻓﺎف‪ ،‬وﻫﻮ ﺟﻠﺐ أﻃﻔﺎل اﻷﺻﺪﻗﺎء‬ ‫اﻟﻨﺎﺗﺠﺔ ﻋﻦ اﻵﻻت اﻟﻮﺗﺮﻳﺔ واﻷﻛرث ﻣﻨﺎﺳﺒﺔ وأﻓﺮاد اﻟﻌﺎﺋﻠﺔ إﱃ ﴎﻳﺮ اﻟﺰوﺟني ﻟﻴﻠﻌﺒﻮا‬ ‫ﻟﻠﻤﻮﺳﻴﻘﻰ واﻟﺮﻗﺺ اﳌﻘﺪوين‪ .‬أﻣﺎ اﻷﻏﺎين ﺳﻮﻳﺎً ﺑﺴﻌﺎدة‪ .‬وﻳﺘﻢ ﺗﺰﻳني اﻟﴪﻳﺮ ﻗﺒﻞ‬ ‫اﻟﺘﻲ ﺗﺼﺎﺣﺐ اﻟﻌﺮوض اﻟﻔﻠﻜﻠﻮرﻳﺔ ﻓﻬﻲ وﺻﻮل اﻷﻃﻔﺎل ﺑﺄوراق اﻟﺰﻫﻮر واﻟﺴﻜﺎﻛﺮ‬ ‫ﻣﺘﻮارﺛﺔ ﻋﱪ اﻷﺟﻴﺎل وﺑﻌﻀﻬﺎ ﻳﺘﻌﺮض ﻹﻋﺎدة اﻟﺘﻘﻠﻴﺪﻳﺔ اﳌﻌﺮوﻓﺔ ﺑﺈﺳﻢ "ﻛﻮﻓﻴﺘﺎ" إميﺎﻧﺎً‬

‫ﻳﺮﺗﺒﻂ اﳌﻘﺪوﻧﻴﻮن ﺑﺎﻟﻄﺒﻴﻌﺔ واﻟﺤﻴﺎة إﱃ‬ ‫ﺣﺪ ﻏري ﻣﻌﻘﻮل‪ ،‬وﻫﻮ ﻣﺎ ﻳﺘﺠﲆ ﰲ ﻗﺪرﺗﻬﻢ‬ ‫اﻟﻜﺒرية ﻋﲆ اﻹﺑﺪاع ﺳﻮاء ﰲ اﻟﻔﻨﻮن اﻟﺘﻲ‬ ‫ﺗﻌﺘﻤﺪ ﻋﲆ اﻷﻟﻮان اﳌﺴﺘﻤﺪة ﻣﻦ اﻟﻄﺒﻴﻌﺔ‪،‬‬ ‫أو إﻳﻘﺎﻋﺎت اﻟﺮﻗﺺ واﳌﻮﺳﻴﻘﻰ اﻟﺘﻲ ﺗﻌﱪ ﻋﻦ‬ ‫ﻋﺸﻘﻬﻢ اﻻﻧﻄﻼق ﻣﻦ ﻫﻤﻮم اﻟﺤﻴﺎة وﺳﻂ‬ ‫وﻓﺮة ﻣﻦ اﻟﺨري اﻟﺬي أﻧﻌﻢ اﻟﻠﻪ ﺑﻪ ﻋﻠﻴﻬﻢ‪.‬‬ ‫ﻧﺴﺘﻄﻴﻊ أن ﻧﻠﻤﺲ وﺟــﻮد اﻟﺤﺲ اﻟﻔﻨﻲ‬ ‫ﻣﻦ ﺧﻼل اﻟﺘﻄﺮﻳﺰات اﻟﻴﺪوﻳﺔ اﻟﺬي ﻳﻌﻜﺲ‬ ‫ﺟامﻟﻴﺎت اﳌﺠﺘﻤﻊ اﳌﻘﺪوين‪ ،‬وﺗﻌﱪ ﻋﻦ روح‬ ‫اﻟﺸﻌﺐ اﻟﻌﺎﺷﻘﺔ ﻟﻠﺤﻴﺎة‪ .‬واﻟﺘﻄﺮﻳﺰ ﻫﻮ ﺗﺮاث‬ ‫ﺛﻘﺎﰲ ﺗﻘﻠﻴﺪي ﻳﺘﻢ ﺗﻘﺪميﻪ ﻣﻦ ﺧﻼل اﻟﺘﻌﺒري‬ ‫اﳌﺮيئ ﺑﺎﺳﺘﺨﺪام اﳌﻨﺴﻮﺟﺎت‪ .‬ﻛﺎن ﻟﻬﺬا اﻟﻔﻦ‬ ‫واﻟﻌﻤﻞ اﻟﺮوﺣﻲ اﻟﻐﻨﻲ دور أﺳﺎﳼ ﰲ رﺳﻢ‪،‬‬ ‫ﻟﻴﺲ ﻓﻘﻂ ﻣﻼﻣﺢ اﻷزﻳﺎء اﻟﺸﻌﺒﻴﺔ اﳌﻘﺪوﻧﻴﺔ‪،‬‬ ‫وإمنﺎ اﻟﱰاث اﻟﺜﻘﺎﰲ ﳌﻘﺪوﻧﻴﺎ ﺑﺄﻛﻤﻠﻬﺎ‪ .‬وﺗﻌﺘﱪ‬ ‫اﳌــﺮأة ﺣﺎﻣﻠﺔ ﻟــﻮاء اﻟﺘﻄﻮﻳﺮ واﻹﺑــﺪاع ﰲ‬ ‫ﺻﻨﺎﻋﺔ اﳌﻼﺑﺲ واﻟﺘﻄﺮﻳﺰ‪ ،‬ﻓﻬﻲ ﻣﻦ ارﺗﻘﺖ‬ ‫ﺑﺎﻟﺠامﻟﻴﺎت اﻟﺘﻲ ﺗﻈﻬﺮ ﻋﻠﻴﻬﺎ اﻟﺘﻄﺮﻳﺰات‬ ‫اﳌﻘﺪوﻧﻴﺔ ﺣﺘﻰ اﻵن‪ .‬ﺗﺰﺧﺮ ﻓﻨﻮن اﻟﺘﻄﺮﻳﺰ‬ ‫اﳌﻘﺪوﻧﻴﺔ ﺑﺄﻛرث ﻣﻦ ‪ 70‬ﻧﻮﻋﺎً‪ ،‬وﺗﻨﻘﺴﻢ اﻷزﻳﺎء‬ ‫اﳌﻘﺪوﻧﻴﺔ اﻟﺘﻘﻠﻴﺪﻳﺔ إﱃ ﻧﻮﻋني رﺋﻴﺴني‬ ‫ﻫام اﻷزﻳﺎء اﳌﻘﺪوﻧﻴﺔ اﻟﻐﺮﺑﻴﺔ واﳌﻘﺪوﻧﻴﺔ‬ ‫اﻟﴩﻗﻴﺔ‪ ،‬وذﻟــﻚ ﺑﺴﺒﺐ اﺧﺘﻼف اﻷﻋـﺮاق‬ ‫واﻟﻌﺎدات واﻟﺜﻘﺎﻓﺎت‪ ،‬وﻟﻜﻨﻬﺎ ﺗﺘﻔﻖ ﺿﻤﻨﻴﺎً‬ ‫ﰲ ﻏﻨﻰ اﻟﺘﻄﺮﻳﺰات وأمنﺎﻃﻬﺎ اﻟﻔﻨﻴﺔ اﻟﺘﻲ‬ ‫متﻴﺰﻫﺎ ﰲ اﳌﻨﻄﻘﺔ‪ .‬ومتﺜﻞ ﻣﻨﻄﻘﺔ ﻣﺎرﻳﻮﻓﻮ‬ ‫"‪ "Mariovo‬اﳌﻘﺪوﻧﻴﺔ ﻣﻮﻃﻨﺎً ﻷﻏﻠﺐ‬ ‫ﻓﻨﻮن اﻟﺘﻄﺮﻳﺰ‪ ،‬ﺣﻴﺚ ﺗﻨﻘﺴﻢ ﻫﻨﺎك ﻣﺪارس‬ ‫اﻟﺘﻄﺮﻳﺰ ﺑﺤﺴﺐ اﻷودﻳﺔ ﻛﻮن اﳌﻨﻄﻘﺔ ﺟﺒﻠﻴﺔ‬ ‫وﺳﺎﺣﺮة اﳌﻨﺎﻇﺮ اﻟﻄﺒﻴﻌﻴﺔ‪ .‬ﻓﻔﻲ وادي "‬ ‫‪ "Prilep‬ﻋﲆ ﺳﺒﻴﻞ اﳌﺜﺎل ﻳﺴﻴﻄﺮ اﻟﻠﻮﻧﺎن‬ ‫اﻷﺣﻤﺮ واﻷﺻﻔﺮ ﻋﲆ اﻟﺘﻄﺮﻳﺰات‪ ،‬أﻣﺎ ﰲ‬ ‫وادي " ‪ "Bitola‬ﻓﻴﺴﻴﻄﺮ اﻟﻠﻮﻧﺎن اﻷﺻﻔﺮ‬ ‫اﻟﺪﻣﻮي واﻷﺳﻮد‪ .‬وﺗﺘﻤﻴﺰ ﺗﻄﺮﻳﺰات ﻣﻨﻄﻘﺔ‬ ‫ﻣﺎرﻳﻔﻮ ﺑﺎﻟﺘﻄﺮﻳﺰات اﳌﻌﺪﻧﻴﺔ وﺧﺮز اﻟﺤﲇ‪،‬‬ ‫وﻫﻮ ﻣﺎ ﺟﻌﻞ اﳌﻨﻄﻘﺔ ﻫﻲ اﻷوﻓــﺮ ﺣﻈﺎً‬ ‫واﻷﻣﻬﺮ ﰲ ﺗﺼﻤﻴامت ﻓﺴﺎﺗني اﻷﻋﺮاس ﺳﻮاء‬ ‫اﻟﺘﻘﻠﻴﺪﻳﺔ أو اﻟﺤﺪﻳﺜﺔ‪ .‬ﻛام ﺗﺘﺄﻟﻖ ﺗﻄﺮﻳﺰات "‬

‫‪ "vrteshkki‬اﻟﺘﻲ ﺗﺰﻳﻦ اﻷﻛامم ﰲ إﺑﺪاﻋﺎت‬ ‫داﺋﺮﻳﺔ ﻣﻤﻴﺰة‪ .‬ﻋﲆ اﻟﺠﺎﻧﺐ اﻵﺧﺮ ﻳﺮﺗﺪي‬ ‫اﻟﺮﺟﺎل ﻗﻤﻴﺺ " ‪ "rubina‬اﻷﺑﻴﺾ أو اﻷﺳﻮد‬ ‫ﻣﺰﻳﻨﺎً ﺑﺤﺰام " ‪ "sukman‬اﻟﺸﻬري اﻟﺬي‬ ‫ﻳﻌﱪ ﻋﻦ ﻣﻜﺎﻧﺔ ﺻﺎﺣﺒﻪ اﻻﺟﺘامﻋﻴﺔ‪ ،‬ﺣﻴﺚ‬ ‫ﻳﺼﻨﻊ ﻣﻦ اﻟﻘﻄﻦ أو اﻟﺤﺮﻳﺮ اﻟﻄﺒﻴﻌﻲ أو‬ ‫اﻟﺼﻮف اﻟﻔﺎﺧﺮ‪ .‬ﻛام ﻳﺮﺗﺪي اﻟﺮﺟﺎل ﺳﱰات "‬ ‫‪ "chakshiri‬اﳌﻄﺮزة واﻟﺘﻲ أﺑﺪﻋﻬﺎ ﻣﺼﻤﻤﻮ‬ ‫ﻣﻨﻄﻘﺔ ﻣﺎرﻳﻔﻮ "‪ "Mariovo‬وﻻزاﻟــﺖ‬ ‫ﺗﺼﻤﻴامﺗﻬﺎ ﻣﺘﻮاﺟﺪة ﰲ ﻣﻼﺑﺲ اﻟﺮﺟﺎل‬ ‫اﻟﻌﴫﻳﺔ ﺧﻼل اﳌﻨﺎﺳﺒﺎت اﻟﻌﺎﻣﺔ واﻷﻓﺮاح‪.‬‬ ‫وﻣﻦ اﳌﻤﻜﻦ أن ﻧﺮى ﺗﺄﺛري اﻷﻟﻮان ورﻣﺰﻳﺘﻬﺎ‬ ‫ﰲ اﻟﺸﻌﺎر اﻟﻮﻃﻨﻲ اﳌﻘﺪوين وﻫﻮ اﻟﻌﻠﻢ‬ ‫اﻟﻮﻃﻨﻲ ﻟﺠﻤﻬﻮرﻳﺔ ﻣﻘﺪوﻧﻴﺎ اﻟﺬي ﻳﺼﻮر‬ ‫اﻟﺸﻤﺲ اﻟﺼﻔﺮاء ﻣﻨﻤﻨﻤﺔ ﻋﲆ ﺣﻘﻞ أﺣﻤﺮ‪،‬‬ ‫ﻣﻊ مثﺎﻧﻴﺔ اﺷﻌﺎﻋﺎت متﺘﺪ ﻣﻦ اﳌﺮﻛﺰ إﱃ‬ ‫اﻟﺤﺎﻓﺔ‪ .‬وﻳﻌﺘﱪ دامئﺎً اﻷﺣﻤﺮ واﻷﺻﻔﺮ اﻟﻠﻮﻧني‬ ‫اﻟﺮﺋﻴﺴني اﻟﻠﺬﻳﻦ ميﺜﻼن ﻣﻘﺪوﻧﻴﺎ‪ ،‬ﺣﻴﺚ ﻳﺮﻣﺰ‬

‫اﻟﻠﻮن اﻷﺻﻔﺮ إﱃ اﻟﺸﻤﺲ اﻟﺘﻲ ﺗﻀﻔﻲ‬ ‫ﺑﺄﺷﻌﺘﻬﺎ اﻟﺬﻫﺒﻴﺔ اﻟﺤﻴﺎة ﻋﲆ أرض ﻣﻘﺪوﻧﻴﺎ‬ ‫اﻟﺨﺼﺒﺔ‪ .‬ﻛام ﻳﻮﺟﺪ ﺷﻌﺎر ﻣﻘﺪوﻧﻴﺎ اﻟﺬي‬ ‫ﺗﻜﻮن اﻟﺸﻤﺲ اﻟﺬﻫﺒﻴﺔ ﺑﺄﺷﻌﺘﻬﺎ ﺣﺎﴐة‬ ‫ﻓﻴﻪ أﻳﻀﺎً‪ ،‬وﻳﺘﻜﻮن ﻣﻦ ﻗﺮص اﻟﺸﻤﺲ اﻟﺬي‬ ‫ﻣﻨﺤﻦ ﻣﻦ ﺳﻨﺎﺑﻞ اﻟﻘﻤﺢ‬ ‫ﻳﺤﻴﻄﻪ أﻛﻠﻴﻞ‬ ‫ٍ‬ ‫اﻟﺼﻔﺮاء وأوراق اﻟﺘﺒﻎ واﻟﻔﻮاﻛﻪ ﰲ إﻃﺎر‬ ‫ﺑﻴﻀﺎوي ﻳﺘﺼﺪره ﺟﺒﻞ ﺧﻠﻒ ﺑﺤرية وﺗﴩق‬ ‫اﻟﺸﻤﺲ ﻣﻦ وراﺋﻪ‪ .‬ﻧﺴﺘﻄﻴﻊ أن ﻧﺮى ﺗﻮﻏﻞ‬ ‫اﻟﻌﻨﺎﴏ اﻟﻄﺒﻴﻌﻴﺔ إﱃ ﻛﺎﻓﺔ ﻣﻈﺎﻫﺮ ﺣﻴﺎة‬ ‫اﳌﻘﺪوﻧﻴني وﻫﻮ ﻣﺎ ﻳﻨﻌﻜﺲ ﰲ ﺷﻌﺎراﺗﻬﻢ‬ ‫وأزﻳﺎﺋﻬﻢ ودﻳﻜﻮرات اﳌﻨﺎزل‪ .‬ﺣﺘﻰ إن ﺷﻌﺎر‬ ‫اﻟﻨﺒﺎﻟﺔ ﳌﻘﺪوﻧﻴﺎ اﻟــﺬيب ﺗﻢ اﻋﺘامده ﺑﻌﺪ‬ ‫اﻻﺳﺘﻘﻼل ﻣﻦ اﻻﺗﺤﺎد اﻟﻴﻮﻏﻮﺳﻼﰲ ﻛﺎن ﻳﺮﻣﺰ‬ ‫إﱃ أﻟﻮان ﻣﻘﺪوﻧﻴﺎ اﻷﺣﻤﺮ واﻷﺻﻔﺮ ﻣﻦ ﺧﻼل‬ ‫أﻳﻘﻮﻧﺔ اﻷﺳﺪ اﻟﺤﺎرس ﺑﻠﻮﻧﻪ اﻷﺣﻤﺮ اﻟﻨﺎري‬ ‫واﻟﺬي ﻳﻘﻊ ﻋﲆ ﺧﻠﻔﻴﺔ ﺻﻔﺮاء ﻗﺎمتﺔ‪ ،‬دﻟﻴﻞ‬ ‫ﻋﲆ اﻟﻘﻮة واﻟﺨري ﻣﻌﺎً‪.‬‬ ‫اﻟﺸﻌﺮ ‪baytelshear‬‬ ‫ﺑﻴﺖ ِ‬

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‫‪ Ęġ¯ ŝŕ‬‬

‫‪ǳƪǾŞƢǕŌ ǁƖƪũǶ ŦŌƋǿƉƢŨǕōş ǛǿƋŨũ‬‬

‫اﻟﻤﻮروﺛﺎت اﻟﻤﻘﺪوﻧﻴﺔ‬ ‫ ‪ōǈǾǜǾƒǿŌƉŨǕŌ ƉƀƳ ŝǉŌǷǙ ǻǔƫ ǲōǾżǕōş ƝŞǜũ‬‬

‫ﻣﺤﻤﺪ دروﻳﺶ‬

‫ﰲ ﻣﻨﻄﻘﺔ ﺗﺘﻤﺘﻊ ﺑﺜﻘﺎﻓﺎت ﻣﺘﻨﻮﻋﺔ ﺗﺠﻤﻊ ﺑني ﺗﺮاث اﻟﴩق وﺷﻌﻮب اﻟﺒﺤﺮ اﻷﺑﻴﺾ اﳌﺘﻮﺳﻂ وﺗﻄﻮر اﻟﻐﺮب‪ ،‬وﰲ ﻓﻮاﺻﻞ زﻣﻨﻴﺔ‬ ‫ﺗﺮﻛﺖ ﺑﺼﻤﺘﻬﺎ ﰲ اﳌﺠﺘﻤﻊ‪ ،‬ﺗﻨﻔﺮد اﳌﻮروﺛﺎت اﳌﻘﺪوﻧﻴﺔ ﺑﺘﻨﻮع ﻫﺎﺋﻞ ﻧﻈﺮاً ﻟﻠﺘﺤﻮﻻت اﻟﻜﺒرية اﻟﺘﻲ ﺷﻬﺪﺗﻬﺎ ﺗﻠﻚ اﳌﻨﻄﻘﺔ ﺧﻼل اﻟﻘﺮون‬ ‫اﳌﺎﺿﻴﺔ ﻟﺘﻜﻮن اﻧﻌﻜﺎﺳﺎً ﻣﺰدﻫﺮاً ﻟﻌﺪة ﺛﻘﺎﻓﺎت وأﻋﺮاق ﺿﺎرﺑﺔ ﰲ ﺟﺬور اﻟﺘﺎرﻳﺦ ﺑﻌﺪ أن ﺟﻤﻌﺖ أﺻﺎﻟﺔ ﺑﻼد اﻟﺒﻠﻘﺎن وﻃﺒﻴﻌﺘﻬﺎ‬ ‫اﻟﺒﺴﻴﻄﺔ ﰲ أمنﺎط اﻟﺤﻴﺎة‪ ،‬ﻣﻊ اﻟﻌﺎدات اﻟﻐﺮﺑﻴﺔ واﻷوروﺑﻴﺔ اﻟﺘﻲ ﺗﻨﺎﻏﻤﺖ ﺑﺸﺪة ﻟﱰﺳﻢ ﻣﻼﻣﺢ اﻟﺜﻘﺎﻓﺔ اﳌﻘﺪوﻧﻴﺔ اﻟﻌﺮﻳﻘﺔ‪ ،‬ﻓﺒﺪءاً‬ ‫ﻣﻦ ﻓﻨﻮن اﻟﺘﻄﺮﻳﺰ اﻟﺮﻓﻴﻌﺔ إﱃ اﳌﻮﺳﻴﻘﻰ وأمنﺎط اﻟﺮﻗﺺ اﻟﺘﻲ ﻻ ﺣﴫ ﻟﻬﺎ وﺳﻂ اﻟﻄﺒﻴﻌﺔ اﻟﺴﺎﺣﺮة‪ ،‬ﻻ ﻧﺰال ﻧﺮى اﳌﻘﺪوﻧﻴني ﻳﺮﻗﺼﻮن‬ ‫اﻟﱰاﻳﺴﻴﻨﻴﻜﺎ ﰲ ﻣﻮاﻛﺐ اﻟﻔﺨﺮ ﻋﲆ أﻧﻐﺎم "اﻟﺠﺎﻳﺪة" اﻟﺘﻲ ﺗﻨﺒﺾ ﺑﺈﻳﻘﺎع اﻟﺤﻴﺎة‪.‬‬

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‫اﻟﻌﺪد ‪ ، 73‬دﻳﺴﻤﺒﺮ ‪2018‬‬

‫أﺷﻬﺮ اﻟﻜﺘﺐ اﻟﺘﻲ ﺗﻨﺎوﻟﺖ اﻟﻌﺮب وﻫام‪:‬‬ ‫"ﺷﻤﺲ اﻟﻌﺮب ﺗﺴﻄﻊ ﻋﲆ اﻟﻐﺮب" وﻛﺘﺎب‬ ‫"اﻟﻠﻪ ﻟﻴﺲ ﻛﻤﺜﻠﻪ ﳾء"‪.‬‬ ‫ﺳﺎﻓﺮت ﻣﻊ زوﺟﻬﺎ إﱃ اﳌﻐﺮب ﺑﻌﺪ ﺳﻘﻮط‬ ‫أﳌﺎﻧﻴﺎ ﰲ اﻟﺤﺮب اﻟﻌﺎﳌﻴﺔ اﻟﺜﺎﻧﻴﺔ ﳌﺪة ﻋﺎﻣني‪،‬‬ ‫وﺗﻌﻠﻤﺖ اﻟﻠﻐﺔ اﻟﻌﺮﺑﻴﺔ وأﺗﻘﻨﺘﻬﺎ وﺗﺠﻮﻟﺖ‬ ‫ﰲ ﻛﺘﺐ اﻟﺘﺎرﻳﺦ اﻟﻌﺮيب وﺧﺎﺻ ًﺔ اﻷﻧﺪﻟﴘ‬ ‫ﻟﺘﻜﻮن ﻟﺼﻴﻘﺔ ﺑﺘﻔﺎﺻﻴﻞ ارﺗﻘﺎء اﻟﻌﺮب ﰲ‬ ‫وﻗﺖ ﻣﻦ اﻷوﻗﺎت إﱃ ﺳﺪة اﻟﻌﺎمل‪ ،‬وﻫﻮ ﻣﺎ‬ ‫أﺑﻬﺮﻫﺎ وداﻓﻌﺖ ﻋﻨﻪ ﺑﴩاﺳﺔ أواﺧﺮ ﺣﻴﺎﺗﻬﺎ‪.‬‬ ‫ﰲ ﻓﱰة ﻣﺎ ﺑﻌﺪ اﻟﺤﺮب اﻟﻌﺎﳌﻴﺔ‪ ،‬ﻃﻐﺖ اﻟﺮوح‬ ‫اﻷﳌﺎﻧﻴﺔ اﻟﻨﺎزﻳﺔ ﻣﺠﺪداً ﻋﲆ اﻟﺴﻄﺢ ﻛﺮدة‬ ‫ﻓﻌﻞ ﻟﻠﻤﻮاﻃﻨني اﻷﳌﺎن اﻟﺨﺎرﺟني ﻣﻦ ﻛﺎرﺛﺔ‬ ‫دﻣﺮت ﻓﻴﻬﺎ اﻟﺒﻼد ﻋﲆ آﺧﺮﻫﺎ‪ ،‬ﻣﺎ ﺟﻌﻞ ﻣﻦ‬ ‫ﻫﻮﻧﻜﻪ ﻣﻌﺮض إﺳﺎءة وﺣﻤﻼت أذى داﺋﻢ‬ ‫ﻷﻧﻬﺎ ﺗﻜﺘﺐ ﻋﻦ ﺛﻘﺎﻓﺔ اﻟﻌﺮب واﳌﺴﻠﻤني‪،‬‬ ‫ﻣام اﺿﻄﺮﻫﺎ أن ﺗﻨﻀﻢ إﱃ ﺑﻌﺾ اﻟﺠﻤﻌﻴﺎت‬ ‫اﻟﻮﻃﻨﻴﺔ اﻷﳌﺎﻧﻴﺔ ﻟﻜﻒ اﻷذى ﻋﻨﻬﺎ‪.‬‬ ‫‪ ǽǘǔƪǕŌ ōǥƋŴǜǙ‬‬

‫ﺗﺮﻛﺖ ﻫﻮﻧﻜﻪ اﻟﻌﺪﻳﺪ ﻣــﻦ اﳌﺆﻟﻔﺎت‬ ‫واﻟﺒﺤﻮث واﳌﻘﺎﻻت اﳌﻨﺸﻮرة‪ ،‬وﻣﻦ أﻫﻤﻬﺎ‪،‬‬ ‫"أﺛﺮ اﻷدب اﻟﻌﺮيب ﰲ اﻵداب اﻷوروﺑﻴﺔ"‬ ‫وﻛﺘﺎﺑﻬﺎ اﻟﺸﻬري "اﻟﺮﺟﻞ واﳌﺮأة" وﻓﻴﻪ ﺟﺎﻧﺐ‬ ‫ﻣﻦ اﻟﺜﻘﺎﻓﺔ اﻟﻌﺮﺑﻴﺔ واﻟﺤﻀﺎرة اﻹﺳﻼﻣﻴﺔ‪،‬‬ ‫إﺿﺎﻓ ًﺔ إﱃ "ﺷﻤﺲ اﻟﻌﺮب ﺗﺴﻄﻊ ﻋﲆ‬ ‫اﻟﻐﺮب" وﻛﺘﺎب "اﻟﻠﻪ ﻟﻴﺲ ﻛﻤﺜﻠﻪ ﳾء"‪.‬‬ ‫ﻛام أﻧﻬﺎ أﻋﺪت ﺑﺮاﻣﺞ إذاﻋﻴﺔ ﺗﺘﻨﺎول اﻟﺜﻘﺎﻓﺔ‬ ‫اﻟﻌﺮﺑﻴﺔ وﺗﻌﻤﻤﻬﺎ ﻋﲆ اﳌﺘﻜﻠﻤني ﺑﺎﻷﳌﺎﻧﻴﺔ‪.‬‬ ‫وﻻ ﺑﺪ ﻟﻨﺎ أن ﻧﻘﻒ وﻗﻔ ًﺔ ﺧﺎﺻﺔ ﻋﻨﺪ ﻛﺘﺎب‬ ‫ﺷﻤﺲ اﻟﻌﺮب ﺗﺴﻄﻊ ﻋﲆ اﻟﻐﺮب اﻟﺬي ﻛﺘﺒﺘﻪ‬ ‫ﻫﻮﻧﻜﻪ أول اﻟﺴﺘﻴﻨﻴﺎت وﺻﺪر ﺑﺎﻟﻌﺮﺑﻴﺔ‬ ‫ﻷول ﻣﺮة ﻋﺎم ‪ ،1964‬ﻓﻘﺪ أﻋﺎد ﻫﺬا اﻟﻜﺘﺎب‬ ‫وﺑني ﻣﺎ ﺧﻔﻲ‬ ‫ﺗﺼﺪﻳﺮ ﻋﻠامﺋﻨﺎ ﻟﻨﺎ ﻣﻦ ﺟﺪﻳﺪ‪ّ ،‬‬ ‫ﻣﻦ اﺳﺘﻔﺎدة اﻟﻐﺮب ﻣﻦ ﻋﻠﻮﻣﻨﺎ‪ .‬ومل ﻳﻘﺘﴫ‬ ‫أﻣﺮ ﺷﻬﺮﺗﻪ واﻧﺘﺸﺎره ﻋﲆ اﻟﻌﺮب وﺣﺴﺐ‪،‬‬ ‫ﺑﻞ اﻧﺘﴩ ﰲ أﳌﺎﻧﻴﺎ ﺑﺬات اﻟﺴﻮﻳﺔ‪ ،‬وﺗﻠﻘﻔﻪ‬ ‫اﻟﻌﻠامء ﻫﻨﺎك ﺑني ﻣﺆﻳﺪ وﻣﺴﺘﻨﻜﺮ‪ .‬وﺗﺮﺟﻢ‬ ‫إﱃ ﻋﺪة ﻟﻐﺎت ﺣﺎل ﺻﺪوره‪.‬‬

‫وﻗﺪ دﻋﻴﺖ ﻫﻮﻧﻜﻪ ﻣﻦ ﺟﻬﺎت ﻋﺮﺑﻴﺔ ﻛﺜرية‬ ‫وﻛﺮﻣﺘﻬﺎ أﻛرث ﻣﻦ دوﻟﺔ‪ ،‬ﻓﻔﻲ ﺻﻴﻒ ‪1961‬‬ ‫ﻗﺪﻣﺖ ﻟﻬﺎ اﻟﺤﻜﻮﻣﺔ اﻟﻌﺮاﻗﻴﺔ دﻋﻮ ًة ﻟﺰﻳﺎرة‬ ‫ﺑﻐﺪاد ﻫﻲ وزوﺟﻬﺎ‪ ،‬اﻷﻣﺮ اﻟﺬي ﺗﻜﺮر ﻣﻦ‬ ‫اﻟﺠﻤﻬﻮرﻳﺔ اﻟﻌﺮﺑﻴﺔ اﳌﺘﺤﺪة آﻧﺬاك ﺑﻌﺪ‬ ‫ﻋــﺎم‪ ،‬وﻗــﺪ زارت ﻫﻮﻧﻜﻪ ﻣﴫ وﻋــﺎدت‬ ‫مبﺒﺎﺣﺚ وﻣﺮاﺟﻊ ﺟﺪﻳﺪة‪.‬‬ ‫ﻧﺎﻟﺖ ﻫﻮﻧﻜﻪ اﻟﻌﺪﻳﺪ ﻣﻦ اﻟﺠﻮاﺋﺰ اﻷﻛﺎدميﻴﺔ‬ ‫واﻟﺘﻘﺪﻳﺮﻳﺔ‪ .‬وﻗــﺎم اﻟﻜﺜري ﻣﻦ اﻟﺮؤﺳﺎء‬ ‫واﻷﻣﺮاء اﻟﻌﺮب ﺑﺪﻋﻮﺗﻬﺎ وﺗﻜﺮميﻬﺎ‪ .‬ﻛام ﻳﻘﺎل‬ ‫أﻧﻬﺎ أﺳﻠﻤﺖ ﰲ آﺧﺮ ﻋﻤﺮﻫﺎ ﻗﺒﻞ ﻋﺎم أو ﻋﺪة‬ ‫أﻋﻮام ﻣﻦ وﻓﺎﺗﻬﺎ‪ .‬ﻛﺎﻧﺖ وﻓﺎﺗﻬﺎ ﰲ ﻫﺎﻣﺒﻮرغ‬ ‫ﻋﺎم ‪1999‬م‪.‬‬ ‫‪ǣǈǝǷǥ ǒŌǷǃŐ ǛǙ‬‬

‫"ﻻ إﻛﺮاه ﰲ اﻟﺪﻳﻦ‪ :‬ﺗﻠﻚ ﻫﻲ ﻛﻠﻤﺔ اﻟﻘﺮآن‬ ‫اﳌﻠﺰﻣﺔ‪ ،‬ﻓﻠﻢ ﻳﻜﻦ اﻟــﻬــﺪف أو اﳌﻐﺰى‬ ‫ﻟﻠﻔﺘﻮﺣﺎت اﻟﻌﺮﺑﻴﺔ ﻧﴩ اﻟﺪﻳﻦ اﻹﺳﻼﻣﻲ‪،‬‬ ‫وإمنﺎ ﺑﺴﻂ ﺳﻠﻄﺎن اﻟﻠﻪ ﰲ أرﺿــﻪ‪ ،‬ﻓﻜﺎن‬ ‫ﻟﻠﻨﴫاين أن ﻳﻈﻞ ﻧﴫاﻧﻴﺎً‪ ،‬وﻟﻠﻴﻬﻮدي أن‬ ‫ﻳﻈﻞ ﻳﻬﻮد ًﻳﺎ ﻛام ﻛﺎﻧﻮا ﻣﻦ ﻗﺒﻞ‪ ،‬ومل ميﻨﻌﻬﻢ‬ ‫أﺣﺪٌ أن ﻳﺆدوا ﺷﻌﺎﺋﺮ دﻳﻨﻬﻢ‪ ،‬ومل ﻳﻜﻦ أﺣﺪ‬ ‫ﻟِ ُﻴﻨ ِﺰل أذى أو ﴐراً ﺑﺄﺣﺒﺎرﻫﻢ أو ﻗﺴﺎوﺳﺘﻬﻢ‬ ‫وﻣﺮاﺟﻌﻬﻢ‪ ،‬و ِﺑ َﻴ ِﻌﻬﻢ وﺻﻮاﻣﻌﻬﻢ وﻛﻨﺎﺋﺴﻬﻢ"‬ ‫*****‬ ‫"مل ﻳﻌﻤﻞ اﻟﻌﺮب ﻋﲆ إﻧﻘﺎذ ﺗﺮاث اﻟﻴﻮﻧﺎن‬ ‫ﻣﻦ اﻟﻀﻴﺎع واﻟﻨﺴﻴﺎن ﻓﻘﻂ‪ ،‬وﻫﻮ اﻟﻔﻀﻞ‬ ‫اﻟﻮﺣﻴﺪ اﻟﺬي ﺟﺮت اﻟﻌﺎدة اﻻﻋﱰاف ﺑﻪ ﻟﻬﻢ‬

‫ﺣﺘﻰ اﻵن‪ ،‬ومل ﻳﻘﻮﻣﻮا مبﺠ ﱠﺮد ﻋﺮﺿﻪ وﺗﻨﻈﻴﻤﻪ‬ ‫وﺗﺰوﻳﺪه ﺑﺎﳌﻌﺎرف اﻟﺨﺎﺻﺔ‪ ،‬وﻣﻦ َﺛ ﱠﻢ إﻳﺼﺎﻟﻪ‬ ‫إﱃ أوروﺑــﺎ ﺑﺤﻴﺚ إن ﻋﺪداً ﻻ ﻳﺤﴡ ﻣﻦ‬ ‫اﻟﻜﺘﺐ اﻟﺘﻌﻠﻴﻤﻴﺔ اﻟﻌﺮﺑﻴﺔ ﺣﺘﻰ اﻟﻘﺮﻧني‬ ‫‪ 17-16‬ﻗﺪﻣﺖ ﻟﻠﺠﺎﻣﻌﺎت أﻓﻀﻞ ﻣﺎدة‬ ‫ﻣﻌﺮﻓﻴﺔ‪ ،‬ﻓﻘﺪ ﻛﺎﻧﻮا ‪-‬وﻫﺬا أﻣﺮ ﻗﻠام ﻳﺨﻄﺮ‬ ‫اﳌﺆﺳﺴني ﻟﻠﻜﻴﻤﻴﺎء‬ ‫ﻋﲆ ﺑﺎل اﻷوروﺑﻴني‪-‬‬ ‫ﱢ‬ ‫واﻟﻔﻴﺰﻳﺎء اﻟﺘﻄﺒﻴﻘﻴﺔ واﻟﺠﱪ واﻟﺤﺴﺎب‬ ‫ﺑﺎﳌﻔﻬﻮم اﳌﻌﺎﴏ‪ ،‬وﻋﻠﻢ اﳌﺜﻠﺜﺎت اﻟﻜﺮوي‪،‬‬ ‫وﻋﻠﻢ ﻃﺒﻘﺎت اﻷرض‪ ،‬وﻋﻠﻢ اﻻﺟﺘامع‪ ،‬وﻋﻠﻢ‬ ‫اﻟﻜﻼم"‬ ‫*****‬ ‫"وﺣــني متﻜﻦ ﺻــﻼح اﻟﺪﻳﻦ اﻷﻳــﻮيب ﻣﻦ‬ ‫اﺳﱰداد ﺑﻴﺖ اﳌﻘﺪس اﻟﺘﻲ ﻛﺎن اﻟﺼﻠﻴﺒﻴﻮن‬ ‫ﻗﺪ اﻧﺘﺰﻋﻮﻫﺎ ﻣﻦ ﻗﺒﻞ )ﺑﻌﺪ أن ﺳﻔﻜﻮا‬ ‫ٌ‬ ‫ﻣﺬﺑﺤﺔ‬ ‫دﻣﺎء أﻫﻠﻬﺎ ﰲ ﻣﺬﺑﺤﺔ ﻻ ﺗﺪاﻧﻴﻬﺎ‬ ‫وﺣﺸﻴ ًﺔ وﻗﺴﻮ ًة‪ ،‬ﻓﺈﻧﻪ مل ﻳﺴﻔﻚ دم ﺳﻜﺎﻧﻬﺎ‬ ‫ﻣﻦ اﻟﻨﺼﺎرى اﻧﺘﻘﺎﻣﺎً ﻟﺴﻔﻚ دم اﳌﺴﻠﻤني‪،‬‬ ‫ﺑﻞ إﻧﻪ ﺷﻤﻠﻬﻢ مبﺮوءﺗﻪ‪ ،‬وأﺳﺒﻎ ﻋﻠﻴﻬﻢ ﻣﻦ‬ ‫ُﺟــﻮ ِده ورﺣﻤﺘﻪ‪ ،‬ﺿﺎرﺑﺎً اﳌﺜﻞ ﰲ اﻟﺘﺨﻠﻖ‬ ‫ﺑﺮوح اﻟﻔﺮوﺳﻴﺔ اﻟﻌﺎﻟﻴﺔ‪ ،‬وﻋﲆ اﻟﻌﻜﺲ ﻣﻦ‬ ‫اﳌﺴﻠﻤني‪ ،‬مل ﺗﻌﺮف اﻟﻔﺮوﺳﻴﺔ اﻟﻨﴫاﻧﻴﺔ أي‬ ‫اﻟﺘﺰام ﺧﻠﻘﻲ ﺗﺠﺎه ﻛﻠﻤﺔ اﻟﴩف أو اﻷﴎى‪..‬‬ ‫ﻓﺎﳌﻠﻚ رﻳﺘﺸﺎرد ﻗﻠﺐ اﻷﺳﺪ اﻟﺬي أﻗﺴﻢ‬ ‫ﺑﴩﻓﻪ ﻟﺜﻼﺛﺔ آﻻف أﺳري ﻋﺮيب أن ﺣﻴﺎﺗﻬﻢ‬ ‫آﻣﻨﺔ‪ ،‬إذ ﻫﻮ ﻓﺠﺄة ﻣﺘﻘﻠﺐ اﳌ ـﺰاج ﻳﺄﻣﺮ‬ ‫ﺑﺬﺑﺤﻬﻢ ﺟﻤﻴﻌﺎً"‪.‬‬ ‫*****‬ ‫اﻟﺸﻌﺮ ‪baytelshear‬‬ ‫ﺑﻴﺖ ِ‬

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‫‪ ĮŇŒ ŗŕ‬‬

‫‪ǣǈǝǷǥ ƃǿƉƮǾƓ ǳǃƉƖŨƒǘǕŌ‬‬ ‫ﺷﻤﺲ أﻟﻤﺎﻧﻴﺎ اﻟﺘﻲ ﻻ ﺗﻨﻄﻔﺊ!‬ ‫ﻫﺎﻧﻲ ﻧﺪﻳﻢ‬

‫"ﻫﻞ ﱄ ﻳﺎ ﺳﻴﺪيت اﻟﻔﺎﺿﻠﺔ أن أدﻋﻮك إﱃ‬ ‫دﺧﻮل ﻫﺬا اﳌﻘﻬﻰ)'‪ ،(Cafe‬وﻫﻞ ﻟﻚ أن‬ ‫ﺗﻨﺰﻋﻲ ﻋﻨﻚ ﺟﺎﻛﺘﺘﻚ )‪ (Jacket‬وأن ﺗﺄﺧﺬي‬ ‫ﻟﻚ ﻣﻜﺎﻧﺎً ﻋﲆ اﻟﺼ ّﻔﺔ )‪ (Sofa‬ذات اﳌﺮﺗﺒﺔ‬ ‫اﻟﺤﻤﺮاء اﻟﻘﺮﻣﺰﻳﺔ )‪(Karmin‬؟! ورﺟﺎيئ‬ ‫أن ﺗﺨﻠﺪي ﻳﺎ ﺻﺪﻳﻘﺘﻲ إﱃ اﻟﺮاﺣﺔ ﻋﲆ ﻫﺬا‬ ‫اﻟﺪﻳﻮان)‪ (Diwan‬وأن ﺗﺘﴫﰲ وﻛﺄﻧﻚ ﰲ‬ ‫ﺑﻴﺘﻚ‪ ،‬واﻋﻠﻤﻲ أن ﻛﻞ ﻣﺎ ﻳﺤﻴﻂ ﺑﻚ ﻫﻨﺎ ﻣﻦ‬ ‫أﺷﻴﺎء‪ ،‬وﺗﺤﻒ‪ ،‬وﻛﻞ ﻣﺎ ﻗﺪﻣﺘﻪ ﻟﻚ ﻣﻦ ﻣﺄﻛﻞ‬ ‫وﻣﴩب‪ ،‬ﻗﺪ أﺿﺤﻰ أﻣﺮاً ﻃﺒﻴﻌﻴﺎً ﰲ ﺣﻴﺎﺗﻨﺎ‬ ‫اﻟﻴﻮﻣﻴﺔ ﻣﻨﺬ زﻣﻦ ﺑﻌﻴﺪ‪ ،‬وﻫﻮ ﻳﻌﻮد ﰲ اﻟﻮاﻗﻊ‬ ‫إﱃ ﻋﺎمل ﻗﺪﻳﻢ ﻏﺮﻳﺐ أﻻ وﻫﻮ ﻋﺎمل اﻟﻌﺮب‪،‬‬ ‫ﻓﺎﻟﻘﻬﻮة اﻟﺘﻲ ﺗﻨﻌﺸﻮن ﺑﻬﺎ ﺣﻴﺎﺗﻜﻢ اﻟﻴﻮﻣﻴﺔ‬ ‫وﺣﺐ اﻟنب‪ ،‬ﻛﺬﻟﻚ اﻟﻄﺎﺳﺔ اﻟﺘﻲ ﺗﺘﻨﺎوﻟﻮن‬ ‫ّ‬ ‫ﺑﻬﺎ اﻟﻘﻬﻮة اﳌﻐﻠﻴﺔ‪ ،‬واﻟﺴﻜﺮ اﻟﺬي ﻻ ﺗﻜﺎد‬ ‫ﺗﺨﻠﻮ ﻣﻨﻪ أي ﻻﺋﺤﺔ ﻃﻌﺎم ﰲ اﳌﻄﻌﻢ‪،‬‬ ‫وﻋﺼري اﻟﻠﻴﻤﻮن واﻟﻐ ّﺮاﻓﺔ واﻟﻘﺒﺎء واﻟﺴﱰة‬ ‫واﻟﻘﻠﻨﺴﻮة‪ ،‬واﳌﺮﺗﺒﺔ‪ ،‬ﻛﻞ ﻫﺬه اﻷﺷﻴﺎء إمنﺎ‬ ‫أﺧﺬﻧﺎﻫﺎ ﻋﻦ اﻟﻌﺮب‪ ،‬وأﺧﺬﻧﺎ ﻣﻌﻬﺎ ﺣﺎﺟﺎت‬ ‫أﺧﺮى ﻻ ﺗﺰال ﺗﺤﺘﻔﻆ ﺑﺄﺳامﺋﻬﺎ اﻟﻌﺮﺑﻴﺔ‬

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‫اﻟﻌﺪد ‪ ، 73‬دﻳﺴﻤﺒﺮ ‪2018‬‬

‫اﻷﺻﻠﻴﺔ ﰲ ﻛﻞ أﻧﺤﺎء اﻟﻌﺎمل اﳌﺘﺤﴬ"‪.‬‬ ‫ﺑﻬﺬا اﳌﺪﺧﻞ اﻟﻬﺎﺋﻞ ﺗﺼﻌﻖ اﳌﺴﺘﴩﻗﺔ‬ ‫ ‪ ǳǾǝōǘǕȏŌ ǳǃƉƖŨƒǘǕŌ ǁƪƚũ‬‬ ‫اﻷﳌﺎﻧﻴﺔ ﺳﻴﻐﺮﻳﺪ ﻫﻮﻧﻜﻪ اﻟﻐﺮب ﰲ ﻛﺘﺎﺑﻬﺎ‬ ‫‪ ǽƳ ŜƉƮǕŌ ǣǈǝǷǥ ƃǿƉƮǾƓ‬‬ ‫‪ ŜƉƪǕŌ ƑǘƗ} ƉǤƗȏŌ ōǤşōŨǉ‬‬ ‫اﻷﺷﻬﺮ "ﺷﻤﺲ اﻟﻌﺮب ﺗﺴﻄﻊ ﻋﲆ اﻟﻐﺮب"‬ ‫‪ ŜōŨǈǕŌ mŜƉƮǕŌ ǻǔƫ ƩƢƒũ‬‬ ‫اﻟﻜﺘﺎب اﻟﺮاﺋﺪ ﰲ ﺗﻮﺻﻴﻒ اﻟﻌﻼﻗﺔ ﺑني‬ ‫‪ ǛǾş ǳǃȎƪǕŌ ƱǾƛǷũ ǽƳ ƃȃŌƉǕŌ‬‬ ‫اﻟﻌﺮب واﻟﻐﺮب وﺗﺼﺤﻴﺢ ﻣﺴﺎرﻫﺎ ﰲ وﻗﺖ‬ ‫‪ŜƉƮǕŌǶ ŜƉƪǕŌ‬‬ ‫ﻛﺎﻧﺖ ﻫﻨﺎﻟﻚ ﻃﻐﻤﺔ ﻏﺮﺑﻴﺔ وازدراء ﺑﺎﻟﻎ‬ ‫ﻟﻠﺜﻘﺎﻓﺔ اﻟﻌﺮﺑﻴﺔ وﻣﻜﻮﻧﺎﺗﻬﺎ وﻣﻨﺘﺠﺎﺗﻬﺎ‪ .‬ﺗﻠﻚ‬ ‫ ‪ ǛǙ ƃǿƃƪǕŌ ǣǈǝǷǥ ŧǉƉũ‬‬ ‫اﳌﺴﺘﴩﻗﺔ اﻟﺘﻲ ﻏﺎﺑﺖ وﺗﻮارت وراء ﻫﺬا‬ ‫‪ ŦȍōǂǘǕŌǶ ŪǷżŞǕŌǶ ŦōƲǕǹǘǕŌ‬‬ ‫اﻟﻜﺘﺎب اﻟﻌﻈﻴﻢ ﻓﻠﻢ ﺗﺄﺧﺬ ﺣﻘﻬﺎ اﻟﺒﺤﺜﻲ ﻛام‬ ‫‪ ŜƂȏŌ ƉŭŐ} ɐōǤǘǥŐ ǛǙǶ ɐǲƈǷƖǜǘǕŌ‬‬ ‫ﻓﻌﻞ ﻛﺘﺎﺑﻬﺎ اﻟﺬي ﻃﺒﻊ ﺣﺘﻰ اﻟﻴﻮم ﻣﻼﻳني‬ ‫‪ mǳǾşǶƈǶȏŌ ŜŌƂȓŌ ǽƳ ǽşƉƪǕŌ‬‬ ‫اﻟﻨﺴﺦ ﺑﻌﴩات اﻟﻠﻐﺎت‪ .‬وﻧﻘﺪم ﻣﻠﻤﺤﺎً‬ ‫‪mǲŐƉǘǕŌǶ ǓŵƉǕŌ} ƉǾǤƖǕŌ ōǤşōŨǉǶ‬‬ ‫ﻋﺎﻣﺎً ﻋﻨﻬﺎ اﻟﻴﻮم ﻋ ّﻠﻪ ﻳﻘﺘﺢ آﻓﺎﻗﺎً ﺑﺤﺜﻴﺔ ﺣﻮل‬ ‫ﺷﺨﺼﻴﺔ ﻋﻠﻤﻴﺔ ﻣﻨﻬﺠﻴﺔ وﻗﻮﻳﺔ اﻟﺸﺨﺼﻴﺔ‬ ‫ﻟﻠﻐﺎﻳﺔ‪.‬‬ ‫اﻟﻜﺒري اﻟﺪﻛﺘﻮر ﻓﺪرﻳﻚ ﺷﻮﻟﺘﺰا اﳌﻌﺮوف‬ ‫ﺑﺎﻋﺘﺪاﻟﻪ وﺗﻌﻤﻘﻪ ﰲ ﻋﻠﻮم اﻹﺳﻼم اﻷوﱃ‪.‬‬ ‫وﺗﻨﻮع ﺑﺤﺜﻬﺎ ﺑني ﻋﻠﻮم أﺻــﻮل اﻷدﻳــﺎن‬ ‫‪ŲƈƃŨǕŌǶ ŦōǿŌƃŞǕŌ‬‬ ‫وﻟﺪت ﺳﻴﻐﺮﻳﺪ ﻫﻮﻧﻜﻪ ﰲ ﻣﺪﻳﻨﺔ ﻛﻴﻞ ﻗﺮب وﻣﻘﺎرﻧﺔ اﻷدﻳﺎن واﻟﻔﻠﺴﻔﺔ وﻋﻠﻢ اﻟﻨﻔﺲ‬ ‫ﻫﺎﻣﺒﻮرغ ﺑﺄﳌﺎﻧﻴﺎ ﻋﺎم ‪ 1913‬وﻧﺸﺄت ﰲ واﻟﺼﺤﺎﻓﺔ‪.‬‬ ‫ﻣﻜﺘﺒﺔ أﺑﻴﻬﺎ ﻫﺎﻳرنﻳﺶ ﻫﻮﻧﻜﻪ اﻟﻨﺎﴍ اﻷﳌﺎين وﻣﻊ ﺗﻄﻮرﻫﺎ اﻟﻌﻠﻤﻲ واﺳﺘﻘﺮارﻫﺎ اﳌﻨﻬﺠﻲ‪،‬‬ ‫اﳌﻌﺮوف؛ ﻧﺎﻟﺖ اﻟﺪﻛﺘﻮراه ﰲ أﺻﻮل اﻷدﻳﺎن ﺑﺪأت ﻫﻮﻧﻜﻪ ﺑﺎﻟﺪﻓﺎع ﻋﻦ اﻟﺜﻘﺎﻓﺔ اﻟﻌﺮﺑﻴﺔ‬ ‫ﻋﺎم ‪ 1941‬وﺗﺰوﺟﺖ ﻣﻦ اﳌﺴﺘﴩق اﻷﳌﺎين وﻋﻠﻮم اﻟﻌﺮب ﰲ ﻛﺘﺎﺑني ﻳﻌﺪان اﻟﻴﻮم ﻣﻦ‬

‫ﻛﻞ اﻟﺨﻴﺎرات ﺗﺨﺘﺎرك‬ 4w - ¤c- bE ¤ D* EvD* d ~|E bJ 4*x D* 3bs-* E eHx D* °* c~{- bE R x~{+ ix~z1H b@@ J&°* @@/H ¯ h BH 4b~|gF°* c~{- £ / xJb~z³* } + x D* }=* r¡ ´* /H < ¡ ~7H 4bE hF*H ¤g<b~6 e4b < BU H* ¡ ~7H xm ´* £~6 AQ v- Hb@@B* ¡ ~7H 4b£1 · °H 4bgs- i*4b@@£@³* @@C x<&* bE GxC&* ¤ £c- c0&* Px<&* 4b~|g1°* xC*H Db:(°* d0* b E x- b +vG ¯ ¤ D* F¡£ @D bg~{E 4bBHH u¡ ~7 ¤ ´* ~6b~z0° bg~{E xpF* 4b~z´* 2Hv0 < ¤ D* 2¡ @DH 4b~z´* 2Hv0 x1%* x<* ÍD vg J ° Æ@@ <* ¤@@ @ cQ @ « 2b@@ @ < N H&* ¤@@ @ @cQ @ @« 4b£g1°* fJx0 D xE°* fJb FR ¯ xR - gF*H g£R / x gF*H D bg~7* 4b gF°* P bg~{´* ¢ < &b@ @ +&* ¤@Q @~@7 °

baytelshear ‫اﻟﺸﻌﺮ‬ ِ ‫ﺑﻴﺖ‬

‫ﻓﻬﺪ ﺑﻦ ﺷﻮﻳﻤﻲ‬ @bn_Shwimy

ĘıĘŕ

‫أﺣ ّﺒﻚ‬ ‫ﻓﻬﺪ ﻣﻔﻠﺢ‬ @ fahed9113

b~{ < x . $b´* Íc P/ cQ B bE ÈPC cQ 0&* bGxJb D h Q 0 $b~}A f ~zF bE ÈPC cQ 0*H b /°* 4b: ¤<¡E2 h Q + bE ÈPC cQ 0*H b@@Gx@@J*y@@<H b@@Bx@@A Q @ G ¥Qv@ 1 2x@@ P/ @@£Q @~@6HR *xm D* E Q P1 ¢ ~7 ~7b< bE ÈPC cQ 0&*H Q bGxJb< xQ @ E 2*¡@@ D @@ Q @~@6 °N H f £~}D* @ @E b £B ¢ < ¤+ D¡~zE bJ £Q ¸ ,HPx P0 bF&* bGxJ*5 hF*H p N DP ~{J b A¡~7 ¤ £<H b~|=&R ÉD qc~|D* 4¡£: h Q = bE Qv P< + ÉG Q b@@Gx@@Jb@@ @~@9 Mf@ £@ Ab@@~@ 8 b@@~@Q @{@ <È@@CHR v@@J4b@@ @ É³* ,x@@J2P ¤+ ¢ D xM < v + bJ ¤c£c0 bGxJb~{< ¤ Gb© Me¡@@ @ BR ¢ < ¤ £Q ~9H b £ D* ,2b@@m@Q @~@P @6 ¢@@ @< @M @£@=È@@C ¤@@ @B¡Q @~@{@bGxJbc< Q gE q£~7 B¡~{J +H vm P~6 bcD* £c~7 bJ ¥4*¡: cQ g~{E £A ¤~6¡mG bGxJb~zC E b c ²* x / x.&* ~7H b *x ~6 bF*H £: b £~9 ·b£D ,x ~6 b E bGxJb~|+ ¤ £Q ~}- ,¡ G ~zDb/ E ¶(* b@@Ex@@ P0 É@@ @ @D ¤@@ @c@GH b@@E M¯H b@@J ¤c£c0 bGxJbc< @D* r¡+ ¥xmp§ ¡EQ R v D © ° b£0&* ¤gA¡~7 vFb J Ax; ¢ + ¡DHR b bGxJb~{+ · 2Qv@ © P Q E ¤@@©4&* <b~6 ¯ b D¡D* ¥4v~|+R Í ²* yN< ÈPC + rx +&* bGxJbg~6 bBxA v + D h Q A bE M ¡ ~9 ¢ < 2018 ‫ دﻳﺴﻤﺒﺮ‬، 73 ‫اﻟﻌﺪد‬

‫ ‪ĮńĴŝŊŘ‬‬

‫}‪mǛǾǔǾŴǕŌ ƉƫōƗ‬‬ ‫‪ǒŌƅŞǕŌ ƃƗƉǙ‬‬

‫‪ǢƂȎǾǙǶ ǣŞƒǝ‬‬ ‫ﻣﺮﺷﺪ ﺳﻌﺪ ﺑﻦ ﺑ ﱠﺬال اﻟﺮﺷﻴﺪي‪ ،‬وﻟﺪ ﻓﻲ‬ ‫اﻟﻜﻮﻳﺖ ﻋﺎم ‪1910‬م وﺗﻮﻓﻰ ﻋﺎم ‪1990‬م ‬ ‫‪ǼƉƪƖǕŌ ǣşǷǔƓŐ‬‬

‫ﻋﺎﻟﺞ ﺑﺸﻌﺮه ﻣﺨﺘﻠﻒ ﺷﺆون‬ ‫اﻟﺤﻴﺎة ﻣﺠﺴﺪ ًا ﺑﺬﻟﻚ دور‬ ‫اﻟﺸﺎﻋﺮ ﻓﻰ ﺧﺪﻣﺔ ﻣﺠﺘﻤﻌﻪ‬ ‫وﻛﺎﻧﺖ ﻟﻪ ﻧﻈﺮﺗﻪ اﻟﺨﺎﺻﺔ‬ ‫اﻟﻨﺎﻓﺬة وﻟﻪ ﻓﻠﺴﻔﺘﻪ ﺑﺎﻟﻨﻘﺪ‬ ‫اﻻﺟﺘﻤﺎﻋﻲ اﻟﺒ ّﻨﺎء ووﺿﻊ‬ ‫اﻟﺤﻠﻮل اﻟﻤﻨﺎﺳﺒﺔ ﻟﻠﻤﻮﺿﻮع‬ ‫ﻗﻴﺪ اﻟﻤﻌﺎﻟﺠﺔ‪ ،‬ﻛﻤﺎ ﻛﺎن‬ ‫ﻣﺒﺘﻜﺮ ًا ﻣﺠﺪد ًا ﻓﻲ اﻟﻤﻔﺮدات‬ ‫اﻟﺸﻌﺮﻳﺔ ‬

‫‪ǣũōǾşŐ ǛǙ‬‬

‫*‪ @@ @ @ @J4b@@ @ @ @ @ @ @ @ g@ @ @ @ D* 4b@@ @ @ @ @ @ @ @ @ @ @F Iy@@ @ @ @ @ @ m@ @ @ @ @ @ @J° Ñ‬‬ ‫‪ @@ @ @£@ @ @ Db@@ @ @ @ @ @ ´* @@ @ @ {@ @ @ @ « @@ @ @ @ @ -b@@ @ @ @ @ FH * k@@ @ @ £@ @ @ @ 0‬‬ ‫‪ @@ @£@ @ :* ° b@@ @ @ @E 2¡@@ @ @ @ @ @ @ @´* @@ @ @ @ @0 @@ @ @ @E h@@ @ @ @ @ @ F‬‬ ‫*‪ @@ @ Jb@@ @ ~@ @ @}@ @ @E ¯ Mx@@ @ @ @ Jb@@ @ @ @ ~@ @ @ @ @8 rM x@@ @ @ @ @ @ @ @ @ / d@@ @ @ @ @ @ @ ²‬‬ ‫*‪ @@ @£@ @ Ab@@ @~@ @ {@ @ ´* e¡@@ @ @ @ @ @ @ @ @ @ @D* b@@ @ @ @ +x@@ @ @ @ = Hv@@ @ @ @ c@ @ @ @ @ D‬‬

‫‪ǢƈōŭŔ‬‬ ‫ﺻﺪرت ﻟﻪ‬ ‫ﺳﺘﺔ دواوﻳﻦ ﺿﻤﺖ‬ ‫اﻟﻜﺜﻴﺮ ﻣﻦ رواﺋﻊ‬ ‫اﻟﺸﻌﺮ اﻟﻨﺒﻄﻲ ‬

‫‪ǳǿƉƪƖǕŌ ǣƟŌƉƯŐ‬‬ ‫اﻟﺤﻜﻤﺔ واﻟﺤﺚ ﻋﻠﻰ اﻟﻔﻀﺎﺋﻞ ﻛﺎﻧﺖ‬ ‫ﻓﻲ ﻣﻘﺪﻣﺔ اﻷﻏﺮاض اﻟﺸﻌﺮﻳﺔ‪،‬‬ ‫ﻛﻤﺎ ﺑﺮع ﻓﻲ اﻟﻐﺰل واﻟﻤﺮاﺛﻲ ‬ ‫‪ǛǾǔǾŴǕŌ ƉƫōƗ‬‬

‫ﻛﺎن ﻓﻲ ﻣﻘﺪﻣﺔ ﺷﻌﺮاء‬ ‫ﺟﻴﻠﻪ‪ ،‬وﻋﺎﺻﺮ ﺷﻌﺮاء اﻟﺠﻴﻞ‬ ‫اﻟﺤﺪﻳﺚ ﻣﺤﺎﻓﻈ ًﺎ ﻋﻠﻰ ﻣﻮﻗﻌﻪ‬ ‫ﻓﻲ اﻟﻤﻘﺪﻣﺔ‪ ،‬ﺣﻴﺚ ﻗﺪم ﻧﺘﺎﺟ ًﺎ‬ ‫ﺷﻌﺮﻳ ًﺎ ﻟﻢ ﻳﺴﺒﻖ ﻟﺸﺎﻋﺮ ﻗﺪﻳﻢ‬ ‫أو ﻣﺤﺪث أن ﻗﺪم ﻣﺎ ﻳﻤﺎﺛﻠﻪ ﻣﻦ‬ ‫ﺣﻴﺚ اﻟﻜﻢ واﻟﺠﻮدة ‬ ‫‪Á¡@@ @ @£@ @ @ < 4v@@ @ @ @ @ @ @ @ @ @ J @@ @ @ @ @ @ @ @F* k@@ @ @ @£@ @ @ @ 0 Ì@@ @ @ @ @³b@@ @ @ @ @+‬‬ ‫‪Á¡@@ @ ~@ @ @|@ @ @ @ @ @D* ib@@ @ @ @ @ @ @£@ @ @ @D d@@ @ @ @Db@@ @ @ @s@ @ @ @ ´* @@ @ @ {@ @ @ @0‬‬ ‫‪Á¡@@ @ @ @ @ @ @ @ @ @ @Jb@@ @ E @@ @ @ @ 6b@@ @ @ @ @ @ @ @ @D*H @@ @ @ @ @1v@@ @ g@ @ @~@ @ @z@ @ @E‬‬ ‫‪Á¡@@ @ @ @ ; @@ @ @-b@@ @ @£@ @ @ 0 ¤@@ @ @ @ @ @ @D* @@ @ @ }@ @ @ @Jx@@ @ @ ´* @@ @ @j@ @ @ E‬‬ ‫‪Á¡@@ @ @ c@ @ @ @ @ @ @ @-*H @@ @ @ @ @ @ @AÉ@@ @ @ 1 h@@ @ @ @ Jv@@ @ @ @ < b@@ @ @ @ Eb@@ @ @ @ J‬‬

‫اﻟﺸﻌﺮ ‪baytelshear‬‬ ‫ﺑﻴﺖ ِ‬

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‫ ‪şœśĘĥŒ‬‬ ‫ﻋﻮامل ﺧﻔﻴﺔ وﻗﻮى ﻗﻬﺮﻳﺔ ﻻ ﺗﺪرﻛﻬﺎ اﻟﻌني ﻧﻔﺴﻬﺎ؛ ﻫﺬه اﻟﻌني اﻟﺘﻲ‬ ‫وﺻﻔﺖ وﺻﻨﻔﺖ ﰲ رﺗﺒﺔ اﻟﺴﺤﺮ ﻧﻔﺴﻪ ﰲ اﳌﻘﻮﻟﺔ اﻟﺸﻬرية‪) :‬اﻟﻌني‬ ‫ﺣﻖ واﻟﺴﺤﺮ ﺣﻖ(‪.‬‬ ‫ومتﺘﺪ ﻗﻮة اﻟﻌني ﻫﺬه إﱃ ﻣﺎ ﻗﺒﻞ اﻷﻃﺮوﺣﺔ اﻟﺪﻳﻨﻴﺔ اﻹﺳﻼﻣﻴﺔ؛ ﺣﻴﺚ‬ ‫ﻛﺎن اﻟﻌﺮب ﻳﻌﺘﻘﺪون ﺑﺎﻟﻘﻮة اﻟﺨﺎرﻗﺔ ﻟﻠﻌني‪ ،‬ﻫﺬه اﻟﻘﻮة اﻟﺘﻲ ﺻﻨﻔﺖ‬ ‫ﺑﻜﻮﻧﻬﺎ ﻗﻮة ﻣﺪﻣﺮة ﻻ ﻳﻔﻬﻤﻬﺎ اﻹﻧﺴﺎن اﻟﻌﺮيب ﻟﻜﻨﻪ ﻻ ﻳﺴﺘﻄﻴﻊ اﻟﻐﺾ‬ ‫اﻟﻄﻘﻮﳼ؛ وﺗﺄيت اﻟﻄﻘﻮﺳﻴﺔ ﻫﻨﺎ ﻟﺤامﻳﺔ‬ ‫ﻋﻨﻬﺎ أو ﻋﺪم اﺣﱰام ُﺑﻌﺪﻫﺎ‬ ‫ّ‬ ‫اﻟﺮﺟﻞ وﻣﻤﺘﻠﻜﺎﺗﻪ ﻣﻦ اﻟﴩور اﳌﺒﺜﻮﺛﺔ ﰲ ﺻﺪر اﻟﻐﻴﺐ؛ ﻣﻦ ذﻟﻚ‬ ‫ﻃﻘﺲ ﻛﺎن ﻳﻌﺮف ﻋﻨﺪﻫﻢ ب"اﻟﺘﻔﻘﺌﺔ" وﻫﻮ ﻣﻘﺪﻣﺔ ﻟﻄﻘﺲ آﺧﺮ‬ ‫ﻳﻌﺮف ب"اﻟﺘﻌﻤﻴﺔ"؛ ف " َﻛ َﺎن اﻟﺮﺟﻞ إِذا ﺑﻠﻐﺖ إ ِﺑﻠﻪ أﻟﻔﺎ َﻓ َﻘﺄَ ﻋني‬ ‫ا ْﻟ َﻔ ْﺤﻞ‪َ ،‬ﻳ ُﻘﻮل‪ :‬إِن َذﻟِﻚ ﻳﺪْﻓﻊ َﻋ ْﻨ َﻬﺎ ا ْﻟﻌني واﻟﻐﺎرة َو ِﻫﻲ اﻟﺘﻔﻘﺌﺔ َﻗ َﺎل‪:‬‬ ‫‪ b@@ @ @ @ @g@ @ @E* H3O h@@ @ @ @ @ @ @ @ @ @ @ @ @FN&*HN b@@ @ @ @ @ @ gN @ @ @ c@ @ @ GH‬‬ ‫ ‪ *x@@ @ @ @ @ @ c@ @ @ D* Í@O @ @ @ @ @ @ @ @ <&* b@@ @ @ N @ @ @ @£@ @ @ @AP &b@ @ @ @ @ @ @ @ @ -‬‬

‫ﻳﺒﺪو ﻣﻦ ﻇﺎﻫﺮﻫﺎ‪ ،‬ﻟﻜﻨﻬﺎ ﻋﻤﻠﻴﺔ ﺣﺠﺐ ﻣﻦ اﻟﴩور ومتﻨﻴﻊ ﺿﺪ‬ ‫اﳌﺠﻬﻮل؛ وﺗﻀﺤﻴﺔ ﺗﺮﴈ ﻗﻨﺎﻋﺎﺗﻬﺎ اﻟﺪﻳﻨﻴﺔ ﻋﴫﺋﺬ‪ ،‬وإن مل ﻳﺘﺒﻖ‬ ‫اﻟﻴﻮم ﻣﻦ ﻫﺬه اﻟﻄﻘﻮس ﻣﺎ ﻳﺸﻬﺪ ﻋﲆ ﺑﺸﺎﻋﺘﻬﺎ ﻓﺈن اﻷﺑﻴﺎت اﻟﻨﺎدرة‬ ‫اﻟﺘﻲ ﺗﺨﻠﻠﺖ ﺑﻌﺾ اﻟﻘﺼﺎﺋﺪ اﻟﻘﺪميﺔ ﺗﺸﻬﺪ ﻋﲆ ﺟامﻟﻴﺔ اﻻﻟﺘﻘﺎط‬ ‫اﻟﺸﻌﺮي ﻟﻬﺬه اﻟﻄﻘﻮﺳﻴﺎت اﻟﺨﺮاﻓﻴﺔ اﻟﺘﻲ أوﻗﺪت اﻷﺧﻴﻠﺔ وﻓﻌﻠﺖ‬ ‫اﻻﺳﺘﻌﺎرات‪.‬‬

‫ني ْ ُ‬ ‫اﻷ ْﺧ َﺮى َو ِﻫﻲ اﻟﺘﻌﻤﻴﺔ َﻗ َﺎل‬ ‫َﻓﺈِذا َزادَت ْ ِ‬ ‫اﻹ ِﺑﻞ ﻋﲆ ْاﻷﻟﻒ ﻋﻤﻮه ِﺑﺎ ْﻟﻌ ِ‬ ‫ﱠ‬ ‫اﻟﺸﺎ ِﻋﺮ ﻳﻨﻌﻲ َﻋ َﻠ ْﻴ ِﻬﻢ َذﻟِﻚ‪:‬‬ ‫‪Ë@P @ @ @ ´* v@@ @ @ R @ @ @ P< R¡@ @ @ @ @ N @ @ @ @ @ DR * x@@ @ @ @ ~@ @ 7 N b@@ @ @ @ N @ @ @ @ @AN‬‬ ‫‪5‬‬ ‫*‪"PÍ R<N°‬‬ ‫‪& R $ @@ @ @ @AH ib@@ p@ £@ p@ ~@ |@ D* ¤@T @ @ @C‬‬ ‫وإن ﻛﺎن ﻫﺬا اﻟﻄﻘﺲ ﻳﻌﱪ ﻋﻦ ﻧﻮع ﻣﻦ اﻟﻌﻨﻒ اﻟﱰايث ﺗﺠﺎه ذﻟﻚ‬ ‫اﻟﻜﺎﺋﻦ اﻟﺠﻤﻴﻞ )اﻟﺠﻤﻞ( اﻟﺬي واﻛﺐ ﺑﺪاﻳﺎت اﻹﻧﺴﺎن اﻟﻌﺮيب ﻓﻜﺎن‬ ‫ﺟﺰءاً ﻣﻦ ﺗﺎرﻳﺨﻪ اﻟﻘﺒﲇ واﻻﺟﺘامﻋﻲ واﻟﺴﻴﺎﳼ واﻷديب‪ ،‬إﻻ أن‬ ‫اﻟﺤﻤﻮﻟﺔ اﻻﻋﺘﻘﺎدﻳﺔ اﻟﺘﻲ ﻛﺎﻧﺖ ﺗﺪﻓﻊ ﺑﺎﻹﻧﺴﺎن اﻟﻌﺮيب إﱃ ﺗﺸﻮﻳﻪ‬ ‫أﺣﺪ ﺟامﻟﻪ اﻷﻟﻒ وإﻋﺎﻗﺘﻪ؛ ِﺑ َﻔﻖْ ِء إﺣﺪى ﻋﻴﻨﻴﻪ ﰲ اﻟﺒﺪاﻳﺔ وﺗﻌﻤﻴﺘﻪ‬ ‫ﰲ اﻟﻨﻬﺎﻳﺔ‪ ،‬ﺗﺠﺪ ﻣﱪراﺗﻬﺎ ﰲ اﻟﺘﺠﻤﻌﺎت اﻟﻘﺒﻠﻴﺔ اﻟﺒﺪاﺋﻴﺔ اﻟﺘﻲ مل ﺗﻜﻦ‬ ‫ﺗﺠﺎدل ﰲ إرﺛﻬﺎ اﻹﻧﺴﺎين ﻣﻬام ﻛﺎن ﺑﺸﻌﺎً‪.‬‬ ‫إن اﻟﺘﻌﻤﻴﺔ ﻟﻠﺒﻌري ﻟﻴﺴﺖ ﻣﺠﺮد ﻋﻤﻠﻴﺔ ﺣﺮﻣﺎن ﻣﻦ اﻟﺒﴫ ﻛام ﻗﺪ‬ ‫اﻟﻤﺼﺎدر واﻟﻤﺮاﺟﻊ‪:‬‬

‫)‪ (1‬ﻟﻴﺴﺖ ﻫﺬه اﻟﻔﻜﺮة ﻗﺎﻋﺪة ﻣﻄﻠﻘﺔ‪ ،‬ﻓﻘﺪ ﻧﺠﺪ ﺑﻌﺾ أروع اﻷﻋامل اﻷدﺑﻴﺔ ﰲ ﺑﻴﺌﺔ ﻣﺘﻘﺪﻣﺔ ﻋﻠﻤﻴﺎً‪.‬‬ ‫)‪ (2‬أﺑﻮ ﺳﻌﻴﺪ ﻧﺸﻮان اﻟﺤﻤريي )ت ‪573‬ه(‪ ،‬ﺷﻤﺲ اﻟﻌﻠﻮم ودواء ﻛﻼم اﻟﻌﺮب ﻣﻦ اﻟﻜﻠﻮم‪ ،‬ﺗﺤﻘﻴﻖ ﺣﺴني ﺑﻦ ﻋﺒﺪ اﻟﻠﻪ اﻟﻌﻤﺮي وﻣﻄﻬﺮ ﺑﻨﻌﲇ‬ ‫اﻹرﻳﺎين وﻳﻮﺳﻒ ﻣﺤﻤﺪ ﻋﺒﺪ اﻟﻠﻪ‪ ،‬ج‪ ،2‬دار اﻟﻔﻜﺮ اﳌﻌﺎﴏ ﺑريوت‪-‬ﻟﺒﻨﺎن‪ ،‬ودار اﻟﻔﻜﺮ دﻣﺸﻖ‪-‬ﺳﻮرﻳﺔ‪ ،‬ط‪ ،1999 ،1‬ص ‪.1077‬‬ ‫)‪ (3‬أﺑﻮ ﺳﻬﻞ ﻣﺤﻤﺪ ﺑﻦ ﻋﲇ ﺑﻦ ﻣﺤﻤﺪ اﻟﻬﺮوي )‪372-433‬ه(‪ ،‬إﺳﻔﺎر اﻟﻔﺼﻴﺢ‪ ،‬دراﺳﺔ وﺗﺤﻘﻴﻖ أﺣﻤﺪ ﻳﻦ ﺳﻌﻴﺪ ﺑﻦ ﻣﺤﻤﺪ ﻗﺸﺎش‪ ،‬ج‪،2‬‬ ‫اﻟﺠﺎﻣﻌﺔ اﻹﺳﻼﻣﻴﺔ‪ ،‬اﳌﺪﻳﻨﺔ اﳌﻨﻮرة‪-‬اﳌﻤﻠﻜﺔ اﻟﻌﺮﺑﻴﺔ اﻟﺴﻌﻮدﻳﺔ‪ ،‬ط‪1420 ،1‬ه‪ ،‬ص ‪.672‬‬ ‫)‪ (4‬أﺑﻮ ﻋﲇ إﺳامﻋﻴﻞ ﺑﻦ اﻟﻘﺎﺳﻢ اﻟﻘﺎﱄ )‪288-356‬ه(‪ ،‬اﻷﻣﺎﱄ‪ ،‬إﻋﺪاد ﻣﺤﻤﺪ ﻋﺒﺪ اﻟﺠﻮاد اﻷﺻﻤﻌﻲ‪ ،‬ج‪ ،3‬دار اﻟﻜﺘﺐ اﻟﻌﻠﻤﻴﺔ‪ ،‬ﺑريوت‪-‬ﻟﺒﻨﺎن‪،‬‬ ‫ط‪ ،1‬د ت‪ ،‬ص ‪ .30‬وأﻳﻀﺎ‪ :‬ﻋﲇ ﺻﺪر اﻟﺪﻳﻦ ﺑﻦ ﻣﻌﺼﻮم )‪1052-1120‬ه(‪ ،‬أﻧﻮار اﻟﺮﺑﻴﻊ ﰲ أﻧﻮاع اﻟﺒﺪﻳﻊ‪ ،‬ﺗﺤﻘﻴﻖ ﺷﺎﻛﺮ ﻫﺎدي ﺷﻜﺮ‪ ،‬ج‪ ،5‬ﻣﻄﺒﻌﺔ‬ ‫اﻟﻨﻌامن‪ ،‬اﻟﻨﺠﻒ‪ ،‬ط‪ ،1969 ،1‬ص ‪.334‬‬ ‫)‪ (5‬أﺑﻮ ﺳﻌﺪ ﻣﻨﺼﻮر ﺑﻦ اﻟﺤﺴني اﻵيب )ت ‪421‬ه(‪ ،‬ﻧرث اﻟﺪر ﰲ اﳌﺤﺎﴐات‪ ،‬ﺗﺤﻘﻴﻖ ﺧﺎﻟﺪ ﻋﺒﺪ اﻟﻐﻨﻲ ﻣﺤﻔﻮظ‪ ،‬ج‪ ،6‬دار اﻟﻜﺘﺐ اﻟﻌﻠﻤﻴﺔ‪،‬‬ ‫ﺑريوت‪-‬ﻟﺒﻨﺎن‪ ،‬ط‪ ،2004 ،1‬ص ‪ .199‬وأﻳﻀﺎ‪ :‬اﺑﻦ ﻃﺒﺎﻃﺒﺎ اﻟﻌﻠﻮي )ت ‪322‬ه(‪ ،‬ﻋﻴﺎر اﻟﺸﻌﺮ‪ ،‬ﴍح وﺗﺤﻘﻴﻖ ﻋﺒﺎس ﻋﺒﺪ اﻟﺴﺎﺗﺮ‪ ،‬دار اﻟﻜﺘﺐ‬ ‫اﻟﻌﻠﻤﻴﺔ‪ ،‬ﺑريوت‪-‬ﻟﺒﻨﺎن‪ ،‬ط‪ ،1982 ،1‬ص ‪.39‬‬

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‫اﻟﻌﺪد ‪ ، 73‬دﻳﺴﻤﺒﺮ ‪2018‬‬

‫ﰲ ﻣﺜﻞ ﻫﺬه اﻟﺒﻴﺌﺔ‪ 1‬ﻋﻠﻤﻴﺎً ﻳﻨﺸﻂ اﻟﺨﻴﺎل اﻷديب وﻳﻔﺘﺢ ﻟﻠﺸﻌﺮاء‬ ‫اﻋﻲ اﻻﺳﺘﻌﺎرات وﻋﻮامل اﳌﺠﺎز؛ وﻳﻐﻴﺐ اﻟﻌﻘﻞ ﰲ ﺣﻀﻮر ﺑﺪاﺋﻞ‬ ‫ﻣﴫ ْ‬ ‫ﻧﻔﺴﻴﺔ وﺷﻌﻮرﻳﺔ ﻣﺴﺘﻨﻔﺮة ﺣﺘﻰ أﻗﴡ درﺟﺎت اﻹﺑﺪاع‪.‬‬ ‫وﰲ ﻫﺬا اﳌﻘﺎل ﺳﻨﺤﺎول رﺻﺪ ﺑﻌﺾ ﻫﺬه اﻟﺨﺮاﻓﺎت واﻷﺳﺎﻃري‬ ‫واﻟﺘﻤﺜﻼت اﻟﺘﻲ ﻳﺴﺘﻨﺪ إﻟﻴﻬﺎ اﻟﺒﻨﺎء اﻟﺨﻴﺎﱄ ﻟﺒﻌﺾ أﺷﻬﺮ وأَ ْﺳ َ ِري اﻷﺑﻴﺎت‬ ‫اﻟﺸﻌﺮﻳﺔ اﻟﻘﺪميﺔ‪.‬‬ ‫َ‬ ‫"واﻟﺠﺰْعُ ﺑﻔﺘﺢ‬ ‫"اﻟﺠﺰْعَ "؛ َ‬ ‫وﻧﺒﺪأ ﻣﻦ ﻋﻨﺪ اﻣﺮئ اﻟﻘﻴﺲ اﻟﺬي َو َﺻﻒ َ‬ ‫اﻟﺠﻴﻢ‪َ :‬‬ ‫اﻟﺨ َﺮ ُز اﻟﻴام ﱡين ا ُﳌ َﺠﺰﱠعُ ﺑﺎﻷﻟﻮان اﳌﺨﺘﻠﻔﺔ‪ ،‬أي اﳌﻘﻄﻊ‪ .‬وﻫﻮ‬ ‫‪2‬‬ ‫ﺟﻨﺲ‪ ،‬واﻟﻮاﺣﺪة ﻣﻨﻪ َﺟﺰﻋﺔ" ؛ وذﻟﻚ ﰲ ﻗﻮﻟﻪ‪:‬‬ ‫‪b@@ @ )P b@@c@ P1 N ¡R @ @ @ @ @0 N @P @ @{@ @ 0NR ¡@ @ D* N ¡@@ @ £O @ @ @<O &b@ @ @ @C‬‬ ‫‪S‬‬ ‫‪N‬‬ ‫‪N‬‬ ‫‪N‬‬ ‫‪R‬‬ ‫‪Pd@@ S @ @j@ @JO µ ¥w@@ @ @ @ D* O yR @ @ @ @ @ @±* b@@ @ @ @ @ @ P @ @ @ 0O 4R N&*H‬‬ ‫ﻳﻌﻘﺪ ﻫﺬا اﻟﺒﻴﺖ ﺗﺸﺒﻴﻬﺎً ﻣﻨﻄﻘﻴﺎً ﺑني ﺷﻜﻞ اﻟﺠﺰع ﻏري اﳌﺜﻘﺐ وأﻋني‬ ‫اﻟﻮﺣﺶ اﻟﺘﻲ ﺣﻮل ﺧﺒﺎء اﻟﺸﺎﻋﺮ؛ ﻋﲆ ﻣﺎ ﻳﺘﻔﻖ ﰲ ﺗﻔﺼﻴﻞ ﴍﺣﻪ‬ ‫اﻟﻘﺎﱄ واﺑﻦ ﻣﻌﺼﻮم ﻛﻞ واﺣﺪ ﰲ ﻛﺘﺎﺑﻪ‪" :‬ﺷﺒﻪ ﻋﻴﻮن اﻟﻮﺣﺶ ﺣﻮل‬ ‫ﺧﺒﺎﺋﻬﻢ وأرﺣﻠﻬﻢ ﺑﺎﻟﺠﺰع –وﻫﻮ ﺑﺎﻟﻔﺘﺢ‪ -‬اﻟﺨﺮز اﻟﻴامين اﻟﺬي ﻓﻴﻪ‬ ‫واف ﺑﺎﻟﻐﺮض ﻣﻦ اﻟﺘﺸﺒﻴﻪ‪ ،‬ﻟﻜﻨﻪ‬ ‫ﺳﻮاد وﺑﻴﺎض ﺗﺸﺒﻪ ﺑﻪ اﻟﻌﻴﻮن‪ ،‬وﻫﻮ ٍ‬ ‫أىت ﺑﻘﻮﻟﻪ‪ :‬مل ﻳﺜﻘﺐ‪ ،‬إﻳﻐﺎﻻً وﺗﺤﻘﻴﻘﺎً ﻟﻠﺘﺸﺒﻴﻪ‪ ،‬ﻷن اﻟﺠﺰع إذا ﻛﺎن ﻏري‬ ‫ﻣﺜﻘﻮب ﻛﺎن أﺷﺒﻪ ﺑﺎﻟﻌﻴﻮن"‪.3‬‬ ‫وﻧﻌﺘﻘﺪ أن اﻟﻜﻨﺎﻳﺔ اﻟﺨﻔﻴﺔ اﻟﺘﻲ ﻳﻐﻤﺰ إﻟﻴﻬﺎ اﻟﺸﺎﻋﺮ ﺑﻄﺮف ﺗﺸﺒﻴﻬﻪ‪،‬‬ ‫ﻫﻲ ﻛﻨﺎﻳﺔ ﺑﻌﻴﺪة ﻋﻦ ﻣﺘﺪارك اﻟﻔﻬﻢ اﻟﺴﻄﺤﻲ ﻟﻠﺼﻮرة اﻟﺸﻌﺮﻳﺔ؛‬ ‫ذﻟﻚ أن اﻟﺨﺮز اﻟﺬي ﻓﻴﻪ ﺳﻮاد وﺑﻴﺎض ﻳﻜﻮن ﻗﺮﻳﺒﺎً ﻣﻦ اﻟﻠﻤﻌﺎن ﰲ‬ ‫واﺿﺤﺔ اﻟﻨﻬﺎر وﻫﻮ ﻣﻬ ًام ﻛﺎن ﻻﻣﻌﺎً ﻻ ﻳﻈﻬﺮ ﰲ اﻟﻠﻴﻞ‪ ،‬ﺛﻢ إن ﻋﻴﻮن‬ ‫اﻟﻮﺣﺶ ﻻ ﺗﻈﻬﺮ ﺑﺎﻟﻨﻬﺎر ﻛام ﺻﻮرﻫﺎ اﻟﺸﺎﻋﺮ ﻋﲆ أﻧﻬﺎ ﺧﺮز؛ إمنﺎ ﺗﻈﻬﺮ‬ ‫ﻟﻴ ًﻼ ﻋﻨﺪ اﻧﻌﻜﺎس ﺿﻮء اﻟﻘﻤﺮ ﻋﻠﻴﻬﺎ‪ .‬إﻧﻨﺎ أﻣﺎم ﺗﻮﺻﻴﻒ ﻣﺒﻄﻦ ﻟﻮﻗﺖ‬ ‫ﻇﻬﻮر ﻋﻴﻮن اﻟﻮﺣﺶ؛ أي ﰲ ﻟﻴﻠﺔ ﻟﻴﻼء ﻳﺘﻮﺳﻄﻬﺎ ﺑﺪر ﺳﺎﻃﻊ‪.‬‬ ‫وﻧﺴﺘﻄﻴﻊ أن ﻧﻐﻤﺰ إﱃ ﻣﻌﻨﻰ آﺧﺮ ﺑﻌﻴﺪ ﰲ ﻫﺬا اﻟﺒﻴﺖ؛ وﻫﻮ ﻣﻌﻨﻰ‬ ‫اﻟﺨﻮف واﻟ ﱠﺘ َﻬ ﱡﻤﻢ؛ وذﻟﻚ إذا ﻋﻜﺴﻨﺎ اﻟﺘﺸﺒﻴﻪ‪) :‬ﻛﺄن اﻟﺠﺰع ﻋﻴﻮن‬ ‫اﻟﻮﺣﺶ( واﻋﺘﱪﻧﺎ أن اﻟﺠﺰع ﻫﻮ )ﻣﺎ‪/‬ﻣﻦ( ﻛﺎن ﻳﱰﺑﺺ ﺣﻮل ﺧﺒﺎء‬ ‫اﻟﺸﺎﻋﺮ؛ ﻗﺪ ﻳﺒﺪو ﻫﺬا اﻟﻌﻜﺲ ﻏري ﻣﻨﻄﻘﻲ‪ ،‬إﻻ أن ﻓﻬﻢ اﻟﺤﻤﻮﻟﺔ‬ ‫اﻟﻠﻐﻮﻳﺔ اﻟﺘﻲ ﻳﻜﺘﺴﻴﻬﺎ "اﻟﺠﺰع" ﻋﲆ اﻋﺘﺒﺎر أﻧﻪ ﻣﻦ ﻣﺮادﻓﺎت اﻟﺨﻮف‪،‬‬ ‫وﻓﻬﻢ ﺣﻤﻮﻟﺘﻪ اﻟﺨﺮاﻓﻴﺔ –ﻛﺬﻟﻚ‪ -‬ﺗﺠﻌﻠﻨﺎ ﻧﻘﱰب أﻛرث ﻣﻦ ﻣﻌﻨﻰ‬ ‫أن‪) :‬ﻋﻴﻮن اﻟﺨﻮف ﻧﻔﺴﻪ( ﻛﺎﻧﺖ ﺗﻨﻈﺮ ﻟﻠﺸﺎﻋﺮ ﻣﻦ ﺣﻮل اﻟﺨﺒﺎء؛‬ ‫وﻳﺘﺄﻛﺪ ﻫﺬا اﳌﺰﻋﻢ ﰲ ﻗﻮل ﻧﺸﻮان اﻟﺤﻤريي‪َ :‬‬ ‫اﻟﺠﺰْع ﻳﺎﺑﺲ‬ ‫"وﻃ ْﺒﻊ َ‬ ‫ُ‬ ‫ﺣﺴﻨﻬﺎ‪ ،‬وإِذا ﻋُ ﱢﻠﻖ‬ ‫وﺟ ِﻠﻴﺖ ﺑﻪ‬ ‫ﰲ اﻟﺪرﺟﺔ اﻷوﱃ‪ ،‬إِذا ُﺳ ِﺤﻖ ُ‬ ‫اﻟﻴﻮاﻗﻴﺖ ﱠ‬ ‫ﻋﲆ اﻷﻃﻔﺎل ُﻛرث ُ‬ ‫ﺳﻴﻞ ُﻟﻌﺎب أَﻓﻮاﻫﻬﻢ‪ .‬وﻳﻘﺎل‪ :‬إِ ﱠن ﻣﻦ ﺗﻘ ﱠﻠﺪ ﺷﻴﺌﺎً ﻣﻨﻪ‬ ‫َ‬ ‫أو َﺗ َﺨﺘﱠﻢ ﺑﻪ ُﻛرثت ﻫﻤﻮ ُﻣﻪ وأﺣﻼ ُﻣﻪ ﰲ اﻟﻨﻮم ورأى اﻷﺣﻼ َم اﳌﻔﺰﻋﺔ‬ ‫اﻟﺠﺰَع‪ .‬وﻟﺬﻟﻚ‬ ‫وﻛرث اﻟﻜﻼ ُم ﺑﻴﻨﻪ وﺑني اﻟﻨﺎس‪ .‬وﻳﻘﺎل‪ :‬إِن اﺷﺘﻘﺎﻗﻪ ﻣﻦ َ‬

‫‪ ƉǾƣōƓȏŌǶ ŦōƳŌƉƀǕŌ Ǣƅǥ Ɲƪş ƃƛƈ ǒǶōżǝ‬‬ ‫‪ ƝƪŞǕ ǽǕōǾƀǕŌ ŋōǜŞǕŌ ōǤǾǕŒ ƃǜŨƒǿ ǽŨǕŌ ŦȎŬǘŨǕŌǶ‬‬ ‫‪ɳ‬‬ ‫‪ǳǘǿƃǂǕŌ ǳǿƉƪƖǕŌ ŦōǾşȏŌ Ɖɵ Ǿɳ Ɠɷ ŐǶ ƉǤƗŐ‬‬ ‫‪ Ǣƅǥ ɐǛǾƪǔǕ ǳǃƈōƀǕŌ ǲǷǂǕōş ǚǶƃǂŨƪǿ ŜƉƪǕŌ ǚōǉ‬‬ ‫‪ǲƉǙƃǙ ǲǷǃ ōǤǝǷǈş ŧƲǜƛ ǽŨǕŌ ǲǷǂǕŌ‬‬

‫اﻟﺠﺰْع ﺧﺰاﺋﻨَﻬﺎ وﻻ َﺗ َﻘ ﱠﻠﺪُ ﺷﻴﺌﺎً‬ ‫ﻛﺎﻧﺖ ﻣﻠﻮك ﺣﻤري ﻻ ﺗﺪﺧﻞ ﺷﻴﺌﺎً ﻣﻦ َ‬ ‫ﻣﻨﻪ وﻻ َﺗﺘ ََﺨﺘ ُﱠﻢ ﺑﻪ"‪.4‬‬ ‫ﻗﺪ ﻧﺬﻫﺐ إﱃ أﺑﻌﺪ ﻣﻦ ﻫﺬه اﻟﺘﺄوﻳﻼت اﻟﺘﻲ ﻧﺒﻨﻴﻬﺎ ﻣﺴﺘﻨﺪﻳﻦ إﱃ‬ ‫ﻧﺼﻮص ﻗﺪميﺔ؛ وذﻟﻚ ﺑﻌﻘﺪ اﻟﺼﻠﺔ ﺑني "اﻟﻌني واﻟﺠﺰع"؛ أو مبﻌﻨﻰ‬ ‫أﺑﺴﻂ ﺑني ﻗﻮة اﻟﻌني وﺗﺄﺛريﻫﺎ اﻟﻨﻔﴘ اﻟﺬي ﻗﺪ ﻳﺼﻞ إﱃ درﺟﺔ إﺛﺎرة‬ ‫اﻟﺨﻮف‪.‬‬ ‫ﻳﻘﻮل اﺑﻦ ﺣﺰم اﻷﻧﺪﻟﴘ ﰲ ﻛﺘﺎﺑﻪ ﻃﻮق اﻟﺤامﻣﺔ‪" :‬اﻟﻌني ﺷﺎرع‬ ‫اﻟﻨﻔﺲ"‪ ،‬وﻳﻘﺼﺪ ﺑﺬﻟﻚ أﻧﻬﺎ ﺑﻮاﺑﺔ ﻟﻜﻞ ﻣﺎ ﻳﻌﻠﻖ ﰲ اﻟﻨﻔﺲ ﻣﻦ أﺷﻴﺎء‬ ‫إﻳﺠﺎﺑﻴﺔ أو ﺳﻠﺒﻴﺔ؛ ﻓﺎﻟﻌني اﻟﺘﻲ ﺗﻨﻈﺮ اﻷﺷﻴﺎ َء ﻗﺪ ﺗﻨﻘﻞ إﱃ اﻟﻨﻔﺲ‬ ‫ﻗﻮاﻫﺎ اﳌﺆﺛﺮة ﻣﻦ ﻓﺮح أو ﺧﻮف؛ ﻋﲆ ﻧﺤﻮ ﻗﻮل ﺟﺮﻳﺮ اﻟﺸﺎﻋﺮ اﻷﻣﻮي‪:‬‬ ‫*( *‪4L ¡@@ @ @0 b@@ @ @ @ Ax@@ @: ¯ ¤@@ @ g@ @ @D* ¡@@ @ £@ @ @ @ D‬‬ ‫‪b@@ @FÉ@@ @g@ @ B Í@@ @ £@ @ @p@ @ @J µ @@ @ @ @ . b@@ @ @ @ @ @ @ @ g@ @ B‬‬ ‫وﰲ ﻛﺜري ﻣﻦ اﻷﺣﻴﺎن ﺗﻜﻮن ﻧﻈﺮة اﻟﻌني إﱃ ﻋني أﺧﺮى ﻫﻲ ﻧﻔﺴﻬﺎ‬ ‫ﺻﺎﺣﺒﺔ ﻫﺬا اﻟﺘﺄﺛري ﺑﻌﻴﺪاً ﻋﻦ اﻷﺷﻴﺎء مبﻘﺎﺑﺤﻬﺎ وﺟامﻟﻴﺎﺗﻬﺎ؛ وﻣﻦ مثﺔ‬ ‫ذﻫﺒﺖ اﻷﻃﺮوﺣﺔ اﻟﺪﻳﻨﻴﺔ إﱃ اﻟﻘﻮل ﺑﻬﺬا اﻟﺘﺄﺛري اﻟﺬي ﻳﺴﺘﻨﺪ إﱃ‬ ‫اﻟﺸﻌﺮ ‪baytelshear‬‬ ‫ﺑﻴﺖ ِ‬

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‫ ‪şœśĘĥŒ‬‬

‫‪ ǛǾǕǶȏŌ ƉǾƣōƓŐ‬‬

‫ﻣﻦ اﻟﺨﺮزة إﻟﻰ اﻟﻌﻴﻦ‬

‫د‪%‬ﻳﺎﺳﻴﻦ ﺣﺰﻛﺮ‬

‫أﻗﺎﺻﻴﺼﻬﺎ‪ ،‬ﺧﺮاﻓﺎﺗﻬﺎ‪ ،‬أﺳﺎﻃ ُري أ ﱠوﻟﻴﻬﺎ‪ .‬وﻛﻠام ﻛﺎﻧﺖ ﻫﺬه اﻟ ﱡﻨ ُﻘ ُ‬ ‫ﻮل اﻟﻼﻋﻘﻠﻴﺔ ﻣﺘﻤﻜﻨﺔ ﻣﻦ اﻟﻮﻋﻲ اﻟﺠﻤﻌﻲ اﻟﺬي مل ﻳُﺠﺎوز‬ ‫ﻟﻜﻞ أﻣﺔ مت ﱡﺜﻼﺗﻬﺎ‪،‬‬ ‫ُ‬ ‫أﻛ ُﱪ َﺗ َﺠ ْﻤ ُﻬ ٍﺮ ﻟﻪ ﺟامﻋﺔ اﻟﻘﺒﻴﻠﺔ ﰲ اﻟﺘﺎرﻳﺦ اﻟﻌﺮيب اﻟﻘﺪﻳﻢ‪ ،‬ﻛﺎن اﻹﺣﺴﺎس ﺑﺎﻟﻈﻮاﻫﺮ اﻟﻄﺒﻴﻌﻴﺔ ﻣﻀﺎﻋﻔﺎً إﱃ درﺟﺎت "ﻫﺴﺘريﻳﺔ" ﻣﻦ اﻟﺨﻴﺎل؛‬ ‫ﺣﻴﺚ ﻳﻌﻴﺶ اﳌﺮء ﺗﺤﺖ وطء ﻣﺨﺎوﻓﻪ اﳌﺘﻮارﺛﺔ وﻏري اﳌﱪرة؛ ﻓﻴﺨﺎف ﻣﻦ اﻟﻐﻮل واﻟﻌﻨﻘﺎء‪ .‬وﺣﻴﺚ ﻳﺮﻓﻊ رأس آﻣﺎﻟﻪ وﻣﻄﺎﻣﺤﻪ ﰲ آﻓﺎق‬ ‫ﻛﻬﻨﻮﺗﻴﺔ؛ ﻓﻴﺴﺘﺒﴩ ﺑﺎﻷزﻻم وﻛﻼم اﻟﻌﺮاﻓﺎت و ُﻗ ﱠﺮا ِء اﻟﻄﺎﻟﻊ‪.‬‬

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‫‪2018‬‬ ‫دﻳﺴﻤﺒﺮ‪2018‬‬ ‫‪ ، 72‬ﻧﻮﻓﻤﺒﺮ‬ ‫اﻟﻌﺪد ‪73‬‬

‫‪ĮńĵŒ ŝšŃ ŗŕ‬‬

‫َﺷ َﻤ ْﻤ ُﺖ ُﺗ ْﺮ َﺑ ِﻚ ﻻ ُز ْﻟﻔﻰ وﻻ َﻣ َﻠﻘﺎ‬ ‫اﻟﺸﺎﻋﺮ اﻷﻛرث ﻣﺤﺎﻛﺎة ﻟﻠﻮاﻗﻊ اﻟﺬي ﻳﺼﻒ ﺑﻠﺪاً ﺑﻌني ﻣﺠﺮدة ﻻ ﺗﺮﺑﻄﻪ ﺑﻬﺎ وﺷﺎﺋﺞ اﳌﻮﻟﺪ أو اﻟﻨﺸﺄة‪.‬‬ ‫اﻟﺸﺎﻋﺮ اﻟﻌﺮاﻗﻲ اﻟﻜﺒري ﻣﺤﻤﺪ ﻣﻬﺪي اﻟﺠﻮاﻫﺮي اﻟﺬي وﻟﺪ ﰲ اﻟﻨﺠﻒ ﻋﺎم ‪1900‬م ﻟﻌﺎﺋﻠﺔ ﻋﺮﻓﺖ ﺑﺜﻘﺎﻓﺘﻬﺎ اﻟﻮاﺳﻌﺔ‪ ،‬ﺣﻴﺚ درس اﻟﻌﻠﻮم‬ ‫اﻹﺳﻼﻣﻴﺔ وﺣﻔﻆ ﻗﺴﻄﺎً واﻓﺮاً ﻣﻦ اﻟﺸﻌﺮ اﻟﻌﺮيب اﻟﻘﺪﻳﻢ‪ ،‬واﻫﺘﻢ ﺑﺎﳌﺘﻨﺒﻲ واﺿﻄﺮ أن ﻳﻌﻴﺶ ﻣﻌﻈﻢ ﺣﻴﺎﺗﻪ ﰲ اﳌﻨﻔﻰ‪ ،‬ورمبﺎ ﻳﻌﺘﱪ اﻟﺠﻮاﻫﺮي‬ ‫آﺧﺮ ﻋامﻟﻘﺔ اﻟﺸﻌﺮ اﻟﻜﻼﺳﻴيك‪ ،‬ﻓﻬﻮ ﺷﺎﻋﺮ ﻣﺘﻤﻜﻦ ﺗﻨﻘﻠﻨﺎ ﻗﺼﺎﺋﺪه إﱃ اﻟﻌﴫ اﻟﺬﻫﺒﻲ ﻟﻠﺸﻌﺮ اﻟﻌﺮيب‪ ،‬وﻗﺪ ﺗﻜﻮن ﻗﺼﻴﺪﺗﻪ ﻫﺬه أروع ﻣﺎ ﻗﻴﻞ‬ ‫ﰲ دﻣﺸﻖ واﻟﺘﻲ ﺟﺎءت ﻋﲆ أوزان اﻟﺒﺤﺮ اﻟﺒﺴﻴﻂ‪ .‬وﻣامﺟﺎء ﻓﻴﻬﺎ ‪:‬‬

‫‪b@@ @ @N @ @EN °H ¢@@ @ @ @ @ @ DR 5O ° P @@ @ @ @+N xR @ @ @ @ -O Oh@@ @ R @ @ N @ @ ~@@N @ 7‬‬ ‫‪ Kb@ @ @ @ @N @ N @ @ R @ @ EO P b@@ @ £@ @ @ R @ @ @DO ¶(* iRO v@ @ @ @ @ @ @ @ /N HN b@@ @ @ EH‬‬ ‫‪ O @ @ @ @<O 5P b@@ @ @ @ @ @ @-O MHb@@ @ @ @ @ G ¶(* N @ @ @ @Jx@@ @ @ @S @ @ @ D* Ph@@ @ @ @ @ @ C‬‬ ‫‪¤@@ @-xN @ @ ~@@ P@8b@@ @+ P b@@ @ @ @ @ @ @ @ @ J'H4O ¶(* ¤@@ c@ @ @ @B b@@ @ @ @ @CH‬‬ ‫‪O @ @g@ @ ~@@R @6N&* P @@ @ +N xR @ @ @-O Oh@@ R @ @ N @ @~@N @ 7‬‬ ‫@‪ Kb@ @ 0xP @ @ EN b@@c@ ~@@U |@ D* b‬‬ ‫‪K*v@@ @ N @ @ @+N ¤@@ @ @gN @ @~@R@ {@ @O ´b@@ C ° P Nv@ @ @~@@ R@ |@ @ @BN iO xR @ @ @ @~@@ P@ @ 6H‬‬ ‫‪ b@@ @G Oh@@ @ @ A L2*v@@ @ @ R @ @ @ @+N H @O @ @ ~@@R @ {@ @ @EN 2P *¡@@ @Db@@ @B‬‬ ‫@‪ b@@ @ P @@/ v‬‬ ‫‪O @ B @P @ @JR vN @ @ R @ @ EN R @@ @ @ @ PEN&* " N ¡@@ c@ @m@N @ R @ @-N b@@ E‬‬ ‫*&‪Kb@ @ @ @EN Ì@N @ @ ~@ @ |@ @ N ´* P b@@ @ @ @ +S xO @ @ @ @ JN @P @ @ JR vN @ @ @ PEb@@ @ ~@ @ @8 N‬‬

‫‪b@@ @B Pw@@ @EN °H Kb@ @ @ cQ @ @ @ P1 ° P Nv@ @ @~@@ @R |@ @ @BN iO xR @ @ @ @~@@ P@ @ 6H‬‬ ‫(* ‪N N @ @ @ R @ @ @ EO Oh@@ @ @ @ £R @ @ @ @ @ N @ @ @ @ @DR N&* °H @P @ @ @ @ @ £@ @ @ @ @ @D(* °Q‬‬ ‫@‪b@@ @ @BÆ‬‬ ‫‪b@@ @ BxO @ @ @ @T @ @ D* b@@ @ @ @ @ @ @FN H2 P @ @ £@ @ @ @ < Tv@@ @ ~@@O @ z@ @ @-N @L @ @z@ @ @ @ F‬‬ ‫‪N *H Í@N @ @ @ @ @D* P @@ £@ @ @ @< Oh@@ @ R @ @ @ N @ @ @-S * ¢@@ g@ @0‬‬ ‫‪b@@ @ BvN @ @ @ ²‬‬ ‫‪b@@ @ @ P @ @-N '¡R @ @EO Ov@ @ R @ @ P @ @ D*H Kb@ @ @ @ @ @ P @ @ @-N '¡R @ @ @EO O @ @ R @ @ ~@S@ @{@ @ D*H‬‬ ‫‪b@@ @ ~@P @{@ <N @@ @ @EN N @ @ @ @ @ /R HN ¢@@ Q @ @~@N @ {@ @gN @ @JN R @@ @ N @ @ @CN R @@ @ @ D‬‬ ‫‪b@@ @ jN @ cN @ FR * b@@ @ @ P @ @£R @ @~@N @ z@ @ER N&* @@ @ PE Pv@@ @ N @ @ D* ¢@@ @ < xL @ @ m@R @ @AN‬‬ ‫*&‪b@@ @ @ N @ @-S * b@@ @ @ @ P @ @ JR vN @ @ R @ @ <N ¢@@ @ @< Í@PR @ @ @ @ @ EN N&*¡R @ @ @ @ @ -N N‬‬ ‫‪b@@ @ BxN @ @ N @ @ D*H @N @ @ @ @ @ @ @ ER N&°* P b@@ @ @ @ ~@@P @z@ @ gN @ @ R @ @ JN H Kb@ @ @ cS @ @ @ 0O‬‬

‫اﻟﺸﻌﺮ ‪baytelshear‬‬ ‫ﺑﻴﺖ ِ‬

‫‪81‬‬

‫ ‪ ĘšĲŒĬŘ‬‬ ‫وﻗﺪ ﻳﻠﺘﺒﺲ ﻋﲆ اﻟﻘﺎرئ ﰲ اﻟﺸﻌﺮ اﻷﻧﺪﻟﴘ اﻟﺘﻤﻴﻴﺰ ﺑني اﻟﻘﺼﻴﺪة‬ ‫اﻟﺒﻴﺘﻴﺔ واﻟﻘﺼﻴﺪة اﻟﺤﺴﻴﻨﻴﺔ ﻧﻈﺮاً ﻟﻜﻮﻧﻬام ﻣﻌﺎً ﺗﺘﻄﺮﻗﺎن ﻟﺬﻛﺮ آل‬ ‫اﻟﺒﻴﺖ‪ ،‬ﻏري أن ﻣﺎ ميﻴﺰ اﻷوﱃ ﻫﻮ أﻧﻬﺎ ﺗﻜﻮن ﻣﺪﺣﺎً؛ ﻗﺪ ﻻ ميﻨﻌﻬﺎ‬ ‫ﻣﻘﺎم اﳌﺪح ﻣﻦ ذﻛﺮ اﻟﺤﺴني ﻣﺎ ﻗﺪ ﻳﺜري ﻣﻌﻬﺎ ﺷﻴﺌﺎً ﻣﻦ ﻣﺄﺳﺎﺗﻪ ﻟﻜﻨﻬﺎ‬ ‫ﻻ ﺗﻘﻒ ﻋﻨﺪ ﻫﺬا اﻷﻣﺮ ﻃﻮﻳ ًﻼ وإﻻ ﺗﺤﻮﻟﺖ ﺑﺒﺴﺎﻃﺔ إﱃ ﻗﺼﻴﺪة‬ ‫ﺣﺴﻴﻨﻴﺔ‪ .‬أﻣﺎ اﻟﻘﺼﻴﺪة اﻟﺤﺴﻴﻨﻴﺔ؛ ﻓﻬﻲ ﻗﺼﻴﺪة ﺗﺴﺘﻐﺮق ﰲ ﻣﺄﺳﺎة‬ ‫اﻟﺤﺴني وﻫﻲ ﻗﺼﻴﺪة ﺑﻴﺘﻴﺔ ﺑﺸﻜﻞ أو ﺑﺂﺧﺮ وﻛﺎن ميﻜﻨﻨﺎ ﺗﻔﺮﻳﻌﻬﺎ ﻣﻨﻬﺎ‬ ‫ﺑﺴﻬﻮﻟﺔ‪ ،‬وﻟﻘﺪ ﻫَ َﻤ ْﻤﻨَﺎ ﺑﺬﻟﻚ‪ ،‬ﻟﻮﻻ أن رأﻳﻨﺎ ﺑﺮﻫﺎن اﳌﻘﺼﺪ اﳌﺨﺘﻠﻒ؛‬ ‫ﻓﻤﻘﺼﺪ ﻣﺪح آل اﻟﺒﻴﺖ ﻃﺮيب أﻣﺎ ﻣﻘﺼﺪ رﺛﺎء اﻟﺤﺴني ﻓﺸﺠﻲ‪.‬‬ ‫وﻟﻌﻞ ﻣﻦ أﻗﺪم اﻟﻘﺼﺎﺋﺪ اﻟﺒﻴﺘﻴﺔ اﻟﺘﻲ اﻃﻠﻌﻨﺎ ﻋﻠﻴﻬﺎ ﺗﻌﻮد ﻟﻠﻌﴫ‬ ‫اﳌﻮﺣﺪي وﻫﻲ ﻣﻮﺟﻮدة ﰲ دﻳﻮان اﺑﻦ ﺷﻜﻴﻞ اﻷﻧﺪﻟﴘ؛ ﻳﻘﻮل ﻓﻴﻬﺎ‪:‬‬ ‫‪K*v@@ @~@@N @84N *HxO @ @ @ N @ @ @ FR N&* Kb@ @ E¡R @ @ BN PÑ* ¯ P Oh@@ @ JR 2N b@@ @ <N‬‬ ‫‪9‬‬ ‫‪O * ¥P3 Ph@@£R @cN @D* P @@ RG&*N Ì‬‬ ‫‪dP mO ²‬‬ ‫ ‪N @ P @ @R @-N @P @JvU @ @DP‬‬ ‫@‪¤@@ +P xN @ 0 ¢‬‬ ‫‪N @ N @ @N @~@@R |@ O ´* ¤@U @ cP @ S @ D* Ph@@ £R @ @+N N @ @ @ @ RGN&* b@@ JN‬‬ ‫‪N‬‬ ‫»@ @ @@ ‪¤@@ +P xN @ @0 N R @ @ @ @ CO 4P *Nv@ @ @ @ BR &* R @@ @ PE @O @ }@ U @ s@N @ JO R‬‬ ‫‪SP‬‬ ‫‪R N R @@ @ @EN‬‬ ‫‪ O @ P @ U @ CO @P @ 6b@@ S @ @D* Ì@N R @ @ @ 1N S (* @R @ @ O @ @ JN µ‬‬ ‫‪N‬‬ ‫‪N‬‬ ‫‪N‬‬ ‫‪O‬‬ ‫*& ‪PePw@ @ Db@@+P P Rv@ @~@@U |@ @D* Neb@@ @ +N Sv@ ~@N @6 Rv@ @ N @ @A R @ @ g@ @ FR‬‬

‫‪O‬‬ ‫*‪ O @ @ @ @cN @ @ @ @GN 3R &*N 10 @N @ @ @z@ @ @ /R xU @ @ @ D*H R @ @ @CO xN @ @ @ S @ @ @:N Ñ‬‬ ‫‪d@P @gO @ O @ D* ¯ P @P @ 7xR @ @ N @ @D* UeN4 ,O 2N b@@ N @ @~@N @ 7 R @ @ O @ @ R @ @<N‬‬ ‫‪N M @@ @ @ )P b@@ @ @ BN HN‬‬ ‫ ‪N R @@ @ @ <N Kb@ @ @ +*N¡@ @ @ /‬‬ ‫ ‪ R @ @ O @ @ -P 4N b@@ @ N @ @ :‬‬ ‫ ‪N °‬‬ ‫‪R N N b@@ @ @ @ CN (R * b@@ @ N @ @ P @ @ )P b@@ @ N @ @ DP @L @ @ @ @ @ JR HN‬‬ ‫‪d@P @ @gO @ @ JN µ‬‬ ‫*&‪R @@EN O xN @ @ @CR N&* PÍ@R @ @N @cR @ ~@U @z@ D* ¡@@ @+O N&* P ¡@@~@O @6xS @ D* ¡@@ @1O N‬‬ ‫ ‪T N <N ¢@@BN xR @JN HR N&* d@P @-R xT @D* ¢N <N ¤ P~{RÂ‬‬ ‫‪dOP ~{D* ¢‬‬ ‫‪N‬‬ ‫‪¯ @N @ @DN @R @ @GN Peb@@ ~@N @ z@ @ FR N&°b@@ +P xO @ @ P1b@@ N @ @JO R @@ @EN b@@ JN‬‬ ‫@‪¤@@cP @ ~@N @z@ 0 ¢‬‬ ‫‪N @ N @ @N @~@@R |@ O ´* ¤@U @ cP @ @ S @ @D* d@T @ p@O @ AN Mx@ @s@R @ AN‬‬ ‫@‪ @M @ ~@N @ z@ @0 ¢‬‬ ‫‪N @ @ ~@@ N@ }@ @ @-N xR @ @ @O ´*HN Mf@ @ @ N @ @ @ P:b@@ @ AN d@T @ @ @ @ @ 0O HN‬‬ ‫‪PeNx@ @ @ O @ @ @ D* P @@ @ ~@@P @ 7b@@ @ CN ¤@X @ @ @ @ P @ @ @ @ <N HN P ¡P @ @ @ @ R @ @ @ @~@@ @P @ 8HN‬‬ ‫‪¯HN 12 P *NHxN @ @ R @ @ NQ @ @ D* N ¡R @ @ @ @JN HN 11Ì@P @ P @ @cN @ @D* N ¡R @ @ @ JN‬‬ ‫‪N U ~8P‬‬ ‫‪d@P @~@@O}@ O @Db@@+P @P @ JvU @ D* ,N b@@ N @ ~@O @7 IHN *N2 13Í‬‬ ‫@‪ @M @~@N @z@ 0 ¤‬‬ ‫‪N @ @ @ @+P N&* ¯ P Kb@ @ Q @ @~@N @ 7 O @ @ @ N @ @ @ /R N&* Oh@@ @ R @ @ CO b@@ @ EN‬‬ ‫‪14‬‬ ‫@‪PeNx@ @ N @ @ D*H P @ m@R @ O @ D* O @ £@ P @ / ¤‬‬ ‫‪N @ P @ @gR @ @EN 4N ¡R @ @ @ DN HN‬‬

‫وﺗﺨﺘﻠﺞ اﻟﺒﻴﺘﻴﺎت ﻣﺸﺎﻋﺮ اﻟﻮﻓﺎء ﻟﺮﺳﻮل اﻟﻠﻪ ﰲ آل ﺑﻴﺘﻪ‪ ،‬ﰲ ﺣني أن‬ ‫اﳌﻘﺼﺪ اﻟﻨﻬﺎيئ ﻟﻬﺎ ﻫﻮ اﻟﺘﻘﺮب ﻟﻠﻪ وﺗﻜﺮﻳﻢ أوﻟﻴﺎﺋﻪ‪ .‬وﻫﻮ اﻷﻣﺮ ﻧﻔﺴﻪ‬ ‫اﻟﺬي ﺗﺴﻌﻰ إﱃ ﺗﺤﻘﻴﻘﻪ ﺳﺎﺋﺮ اﻟﻘﺼﺎﺋﺪ اﻟﺘﻲ ﺗﺴﺒﺢ ﰲ ﻓﻠﻚ اﳌﺪﻳﺢ‬ ‫اﻟﻨﺒﻮي‪.‬‬

‫اﻟﻤﺼﺎدر واﻟﻤﺮاﺟﻊ‪:‬‬

‫)‪ (1‬اﺑﻦ اﻟﺼﺒﺎغ اﻟﺠﺬاﻣﻲ‪ ،‬دﻳﻮان‪ ،‬ﺗﺤﻘﻴﻖ ﻣﺤﻤﺪ زﻛﺮﻳﺎ ﻋﻨﺎين و أﻧﻮر )‪ (11‬ﻳﻮم اﻟﺒﻌري‪ :‬روي‪ :‬أن »ﺟﺎﺑﺮ ﻣﻦ ﻏري وﺟﻪ أﻧﻪ ﻛﺎن ﻣﻊ اﻟﻨﺒﻲ ﺻﲆ‬ ‫اﻟﻠﻪ ﻋﻠﻴﻪ وﺳﻠﻢ ﰲ ﺳﻔﺮ ﻓﺒﺎع ﺑﻌريه ﻣﻦ اﻟﻨﺒﻲ ﺻﲆ اﻟﻠﻪ ﻋﻠﻴﻪ وﺳﻠﻢ‬ ‫اﻟﺴﻨﻮﳼ‪ ،‬دار اﻷﻣني‪ ،‬ﻣﴫ‪ ،‬ط‪ ،1999 ،1‬ص )ج(‪.‬‬ ‫)‪ (2‬اﺑﻦ زﻣﺮك‪ ،‬دﻳﻮان‪ ،‬ﺟﻤﻊ اﳌﻠﻚ ﻳﻮﺳﻒ اﻟﺜﺎﻟﺚ‪ ،‬ﺗﺤﻘﻴﻖ ﻣﺤﻤﺪ واﺷﱰط ﻇﻬﺮه إﱃ اﳌﺪﻳﻨﺔ ﻳﻘﻮل ﺟﺎﺑﺮ ﻟﻴﻠﺔ ﺑﻌﺖ ﻣﻦ اﻟﻨﺒﻲ ﺻﲆ اﻟﻠﻪ‬ ‫ﺗﻮﻓﻴﻖ اﻟﻨﻴﻔﺮ‪ ،‬دار اﻟﻐﺮب اﻹﺳﻼﻣﻲ‪ ،‬ﺑريوت‪ ،‬ط‪ ،1997 ،1‬ص ‪ .479‬ﻋﻠﻴﻪ وﺳﻠﻢ اﻟﺒﻌري اﺳﺘﻐﻔﺮ ﱄ ﺧﻤﺴﺎ وﻋﴩﻳﻦ ﻣﺮة وﻛﺎن ﺟﺎﺑﺮ ﻗﺪ‬ ‫ﻗﺘﻞ أﺑﻮه ﻋﺒﺪ اﻟﻠﻪ ﺑﻦ ﻋﻤﺮو ﺑﻦ ﺣﺮام ﻳﻮم أﺣﺪ وﺗﺮك ﺑﻨﺎت‬ ‫)‪ (3‬ا‪ .‬ص‪ .‬اﻟﺠﺬاﻣﻲ‪ ،‬ﻣﺼﺪر ﺳﺎﺑﻖ‪ ،‬ص ‪.72‬‬ ‫ﻓﻜﺎن ﺟﺎﺑﺮ ﻳﻌﻮﻟﻬﻦ وﻳﻨﻔﻖ ﻋﻠﻴﻬﻦ وﻛﺎن اﻟﻨﺒﻲ ﺻﲆ اﻟﻠﻪ ﻋﻠﻴﻪ وﺳﻠﻢ‬ ‫)‪ (4‬اﻟﻮرى‪ :‬اﻟﺨﻠﻖ‪.‬‬ ‫ﻳﱪ ﺟﺎﺑﺮا وﻳﺮﺣﻤﻪ ﺑﺴﺒﺐ ذﻟﻚ ﻫﻜﺬا روي ﰲ ﺣﺪﻳﺚ ﻋﻦ ﺟﺎﺑﺮ ﻧﺤﻮ‬ ‫)‪ (5‬اﻟﺘﺒﺨﱰ‪ :‬ﻫﻮ اﻟﺘﺨﺎﻳﻞ ﰲ اﳌﺸﻴﺔ‪.‬‬ ‫)‪ (6‬اﻷﻫﻠﺔ‪ :‬ﻣﻮاﻗﻴﺖ ﻓﻠﻜﻴﺔ ﺗﺤﺪد ﺑﺪاﻳﺔ اﻟﺸﻬﺮ وﻧﻬﺎﻳﺘﻪ وﺗﺤﺘﻜﻢ ﻫﺬا«‪.‬‬ ‫)‪ (12‬ﻳﻮم اﻟﻨﻬﺮوان‪ :‬ﻣﻌﺮﻛﺔ إﺳﻼﻣﻴﺔ ﻗﺪميﺔ‪.‬‬ ‫ﻟﺮؤﻳﺔ اﻟﻬﻼل ﻣﻦ ﻋﺪﻣﻪ‪.‬‬ ‫)‪ (7‬أﺳﻔﺮ‪ :‬اﻹﺳﻔﺎر اﻟﻮﺿﻮح‪.‬‬ ‫)‪ (13‬ﺻﻔني‪ :‬وﻗﻌﺔ ﺑني ﺟﻴﺶ ﻋﲇ وﺟﻴﺶ ﻣﻌﺎوﻳﺔ رﴈ اﻟﻠﻪ ﻋﻠﻴﻬام‪.‬‬ ‫)‪ (14‬اﺑﻦ ﺷﻜﻴﻞ‪ ،‬أﺑﻮ اﻟﻌﺒﺎس أﺣﻤﺪ‪ ،‬دﻳﻮان‪ ،‬ﺗﺤﻘﻴﻖ وﺗﻘﺪﻳﻢ ﺣﻴﺎة‬ ‫)‪ (8‬ا‪ .‬ص‪ .‬اﻟﺠﺬاﻣﻲ‪ ،‬ﻣﺼﺪر ﺳﺎﺑﻖ‪ ،‬ص ص ‪.72-73‬‬ ‫ﻗﺎرة‪ ،‬اﳌﺠﻤﻊ اﻟﺜﻘﺎﰲ‪ ،‬أﺑﻮ ﻇﺒﻲ‪ ،‬ط‪ ،1998 ،1‬ص ‪.38‬‬ ‫)‪ (9‬ذي اﻟﺤﺠﺐ‪ :‬أﺻﺤﺎب اﻟﻬﻴﺒﺔ واﻟﻮﻗﺎر‪.‬‬ ‫)‪ (10‬اﻟﺮﺟﺲ‪ :‬اﻟﻨﺠﺎﺳﺔ‪.‬‬

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‫اﻟﻌﺪد ‪ ، 73‬دﻳﺴﻤﺒﺮ ‪2018‬‬

‫ﻛام أﻧﻬﺎ ﻗﺼﻴﺪة ﺗﺴﺘﻐﺮق ﻣﻦ ﺣﻴﺚ ﻣﻌﻨﺎﻫﺎ اﻷول ﰲ ذﻛﺮ ﻣﻨﺎﺳﺒﺔ‬ ‫اﳌﻮﻟﺪ اﻟﻨﺒﻲ مبﺎ ﻳﺤﻤﻠﻪ ﻣﻌﻪ ﻣﻦ إﻋﺠﺎز ﻣﺼﺎﺣﺐ ﻟﻪ‪ .‬وﻣﻦ مثﺔ؛ ﻓﻬﻲ‬ ‫ﻣﺨﺘﻠﻔﺔ ﻋﻦ اﻟﻘﺼﻴﺪة اﻟﻨﺒﻮﻳﺔ اﻟﺠﺎﻣﺤﺔ ﻣﻦ ﺣﻴﺚ ﻣﻌﺎﻧﻴﻬﺎ اﻟﺜﻮاين‪.‬‬ ‫وﻏﺎﻟﺒﺎً ﻣﺎ ﺗﺘﻀﻤﻦ اﻟﻘﺼﻴﺪة اﳌﻮﻟﺪﻳﺔ ذﻛﺮاً ﻟﻠﻤﻮﻟﺪ اﻟﻨﺒﻮي ﻧﺴﺘﺪل ﺑﻪ‬ ‫ﻋﻠﻴﻬﺎ ﰲ ﺗﺼﻨﻴﻔﻬﺎ إن مل ﺗﻜﻦ ﻣﺮﻓ َﻘﺔ ﺑﺨﱪ ﻳﺬﻛﺮ ذﻟﻚ؛ واﻟﻘﺼﻴﺪة اﻟﺘﻲ‬ ‫ﺳﻨﻮردﻫﺎ ﺗﺠﻤﻊ اﻷﻣﺮﻳﻦ ﻣﻌﺎً؛ أي ﺧﱪ اﳌﻮﻟﺪ اﻟﻨﺒﻮي ﺳﻴﺎﻗﻴﺎً وﺑﻨﻴﻮﻳﺎً‪.‬‬ ‫"ﻓﻤﻦ ﻧﻈﻤﻪ ﻋﻔﺎ اﻟﻠﻪ ﺗﻌﺎﱃ ﻋﻨﻪ ﰲ ﺷﻬﺮ رﺑﻴﻊ اﻷ َﺑﺮ وﻣﻮﻟﺪ رﺳﻮل اﻟﻠﻪ‬ ‫ﺻﲆ اﻟﻠﻪ ﻋﻠﻴﻪ وﺳﻠﻢ اﻷﻏﺮ"‪:3‬‬ ‫‪N @ @ @ @ @ @ @ @ @ -N N&* Rv@ @ @ @ @ BN L @ @ @ @ £@ @ @ @ +P 4N *wN @ @ @ @ @ @ GN‬‬ ‫@‪ *xN @ @ ~@@U @ {@ @ cN @ @ EO b‬‬ ‫‪IÈ@N S @ @ D* `N @ @ @ P:NH R @@ @ EN PÌ@R @ @ 1 N Pv@@ @DP ¡R @ @ EN P HOv@ @ O @ @ +P‬‬ ‫‪ P @ @ @ P @ @ @~@@ R@ }@ @ @AN ¯P O @ @ @ @ @ @ @ @ @ @FS N&* P @ @ @ @£@ @ @ @AP @S @ @ @ ~@@N @ @ 7 °N‬‬ ‫‪4‬‬ ‫‪I4N ¡N @ @ @ D* ¯ NP v@ @ N @ @ 0R N&* P @@jR @ P @ CN P4¡@@ O @ ~@T @{@ D* Í@PR @ @ +N‬‬ ‫‪N @ @ @ @ @ @ @AN *HN‬‬ ‫@‪N R @ @ @ @ +N ¡@@ @ @GO yR @ @ @ JN b‬‬ ‫@‪ P @ @ @ PEb@@ @ <N Px@ @ @ O @ @ @ ~@@R @ @7N&* Í‬‬ ‫‪5‬‬ ‫‪K @ @ @ @ DU vN @ @ @ @ gN @ @ @ @ EO É‬‬ ‫‪K @ @ @ U @ @ @ N @ @ @ gN @ @ @ EO‬‬ ‫‪*Æ@N P @ @ @s@R @ @ @cN @ @ @ gN @ @ @ EO É‬‬ ‫‪ fM @ @ @ JS ¡P @ @ @ cN @ @ @ FN Mf@ @ @N @ @ @ £@ @ @N @ @ @ +P 4N ¡@@ @ @ O @ @ @ ~@@T @ @{@ @ @ D* xN @ @ @ @ N @ @ @ @ +N‬‬ ‫‪N‬‬ ‫‪*xN @ @ @ N @ @ @cR @ @ @JO R &* b@@ @ @ N @ @ @ @-O b@@ @ @ JN %* O @ @ @ @ @DN Rh@@ @ N @ @ P @ @ ~@@N @ 9‬‬ ‫*&‪ *R ¯P S &bN @ @ @ @ N @ @ @ @AN P xP @ @ @ @ CR wP @ @ @ @ +P O b@@ @ @ EN yS @ @ @ @D* oN 4P N‬‬ ‫*&‪*xN @ @ @ @ @ @ @ AN 3R N&* Kb@ @ @ @~@R@ z@ @ PE O *xN @ @ @ @ @ @ @ @CR 3P R @@ @ @ PE P *N¡@ @ @ @ @ @ @ @ @AR N‬‬ ‫‪ fM @ @ @ @ JN *Nv@ @ @ @ PG P4vR @ @ @ @ @ @ @ @+N 4O ¡@@ @ @ @ @ @ FO O @ @ @ O @ @ @ @R @ @ @-N P @ @ @ £@ @ @ AP‬‬ ‫‪N‬‬ ‫‪N‬‬ ‫‪*xN @ @ @ @ @@ @ @ @1R &*HN O É@N @ @ @ @ @ <O b@@ N @ @ ~@N @ 6 S @ @ @ @ @ @ /N N&* b@@ @ @EN b@@ @ @JN‬‬ ‫‪ O @ @ N @ @ £@ @ P @ @ gR @ @ -N I4N ¡N @ @ @ @ @ @ @ D* TeN4 ¢@@ @~@@N @}@ @ BN L4¡@@ @ @ @ @ FO‬‬ ‫‪*4N vS @ @ @ @ @ @ @BN HN P,*v@@ @ @ O @ @ @ @ D* P @ @ @ @ @ @ =R 4N ¢@@ @ N @ @ @<N Kb@ @ @ @ gR @ @ 0N‬‬ ‫‪& P L xN @ @ @ ~@@N @ @7‬‬ ‫ ‪ O @ @ O @ @£@ @ P @@ R @ @-N ¢@@ @ @ @ @-N N&* Rv@ @ @ @BN Nv@ @ @ @ N @ @ @ @ 0R N°‬‬ ‫‪S‬‬ ‫‪N‬‬ ‫‪S‬‬ ‫‪*xN @ @ @@ @~@N@ @z@ @ EO Peb@@ @ g@ @ @ P @ @ @ D* ¥%P * ¯P @P@ @|@ @ @ @ Db@@ @+P‬‬ ‫‪6‬‬ ‫‪N @ @ @EN O °N ¡R @ @ @ @ @ @ @ DN‬‬ ‫@‪ Mf@ @ @ @ S @ @ @ @ PGN&* 4O HOv@ @ @ @ @ @ +O Rh@@ @ N @ @ N @ @ : b‬‬ ‫‪7‬‬ ‫‪*xN @ @ @ @ N @ @ @ @~@@R @ @ 6N&*HN N$b@@ @ @ @~@@ @N @ @9N&* Lq@ @ cR @ @ ~@@O @8 °N HN É@S @ @ @ @CN‬‬ ‫‪ K*x@@ @~@U@ @{@ @ cN @ @ EO HN K*v@@ @ PGb@@ @ ~@@N @ 7 N @ @ @ @ ~@@ @P @ 64R &* P @@ @ R @ @ s@N @ @ R @ @ DP‬‬ ‫‪N @ @ @ @cP @ @ @ @FP wR @ @ @ @O ´* ¯P Kb@ @ @ @ U @ @ ~@@N @ {@ @ EO HN‬‬ ‫‪*4N wP @ @ @ @ @ R @ @ @ @ @EO HN Í‬‬ ‫¸@ @ @ @ @ @ @ @ @ @‪ L vU @ @ @ @ @ N @ @ @ @ @ gN @ @ @ @ @ EN O xO @ @ @ @ @ @ @ s@R @ @ @ @ @ @ @ AN Lv‬‬ ‫‪R N PÑ‬‬ ‫‪8‬‬ ‫‪N‬‬ ‫‪N‬‬ ‫‪*xN @ @ @ 1U &b@ @ @ gN @ @ @ EO ¢@@ @ @ @ @ -N &* (R *HN Pi*N¡@ @ @ @ O @ @ @ @ R @ @ @ @N´* ¯P‬‬

‫‪ ǲƃǾƚǃ ōǤǝǷǈş ƋǾǘŨũ ǳǿƃǕǷǘǕŌ‬‬ ‫‪ ƉŞŨƀǙ ǲƃǾƚǃ ōǤǝŐ ǼŐ ɐǳǾũōŞƓōǜǙ‬‬ ‫‪ɳ ũɴ‬‬ ‫‪ɼ‬‬ ‫ ‪ ƃǕǷǘǕŌ ǳǔǾǕ ǽƳ ǻǂǔŨǕ ǳɲ ǿǶƉş‬‬ ‫‪ŝɴ Ũǈ‬‬ ‫‪ǼǷŞǜǕŌ‬‬

‫‪ ǽŨǕŌ ǳǾŨǾŞǕŌ ƃȃōƚǂǕŌ ǖƃǃŐ ǛǙ‬‬ ‫‪ ǼƃŽǷǘǕŌ ƉƚƪǔǕ ƂǷƪũ ōǤǾǔƫ ōǜƪǔƣŌ‬‬ ‫‪ ǛşŌ ǚŌǷǿƂ ǽƳ ǲƂǷŵǷǙ ǽǥǶ‬‬ ‫‪ǽƒǕƃǝȏŌ ǓǾǈƗ‬‬

‫إن اﳌﻮﻟﺪﻳﺎت ﻏﺮض ﻳﻬﺘﻢ مبﺪح اﻟﻨﺒﻲ ﻳﻮم اﳌﻮﻟﺪ اﻟﻨﺒﻮي‪ .‬وﻣﻦ‬ ‫ﺧﺼﺎﺋﺼﻪ اﳌﻬﻤﺔ أن اﻟﺸﺎﻋﺮ إمنﺎ ميﺪح ﻗﺼﺪ اﻟﺘﻘﺮب إﱃ اﻟﻠﻪ ﺑﺈﻇﻬﺎر‬ ‫ﺣ ﱢﺒﻪ ﻟﻨﺒﻴﻪ ﰲ ﻟﻴﻠﺔ اﳌﻮﻟﺪ اﻟﻨﺒﻮي ﺑﺬﻛﺮ اﳌﻮﻟﺪ اﻟﻨﺒﻮي ﻧﻔﺴﻪ‪ ..‬وﻗﺪ‬ ‫اﺑﺘﻌﺪ ﻫﺬا اﳌﺪح إﱃ ﺗﺒﺠﻴﻞ ﻛﻞ ﻣﺘﻌﻠﻘﺎت اﻟﻨﺒﻲ؛ ﺣﻴﺚ ﻛﺎن ﺑﻌﺾ‬ ‫اﻟﺼﺤﺎﺑﺔ ﻗﺪميﺎً ﻳﺤﺘﻔﻈﻮن ﺑﻘﺼﺎﺻﺎت ﻣﻦ ﺷﻌﺮ اﻟﺮﺳﻮل أو ﻗﻼﻣﺎت‬ ‫ﻣﻦ أﻇﺎﻓﺮه أو ُﺑ ْﺮدَا ِﺗﻪ أو ﺣﺘﻰ ﻣﺎ ﻛﺎن ﻳﻨﺘﻌﻠﻪ‪.‬‬ ‫وﻣﻦ اﻷﻏ ـﺮاض اﻟﺪﻳﻨﻴﺔ اﻟﺘﻲ ﺗﺘﻌﻠﻖ ﺑﺎﳌﺪﻳﺢ اﻟﻨﺒﻮي أﻳﻀﺎً‪ ،‬ﻧﺠﺪ‬ ‫اﻟﺒﻴﺘﻴﺎت؛ وﻣﺎ ﻧﻘﺼﺪ ﺑﻪ ﻣﻦ ﺧﻼل ﻣﻔﻬﻮم اﻟﻘﺼﻴﺪة اﻟﺒﻴﺘﻴﺔ ﰲ اﻟﺸﻌﺮ‬ ‫اﻷﻧﺪﻟﴘ ﻻ ﱡ‬ ‫ميﺖ ﺑﺼﻠﺔ ﻟﻠﻤﻔﻬﻮم اﻟﺤﺪﻳﺚ ﻟﻘﺼﻴﺪة اﻟﺒﻴﺖ اﻟﺬي‬ ‫ﻳﻌﻜﺲ اﻟﺘﺼﻮرات اﻟﻌﺮوﺿﻴﺔ اﻟﺸﻜﻠﻴﺔ ﻟﻌﻤﻮد اﻟﺸﻌﺮ‪ .‬إن ﻗﺼﺪﻧﺎ‬ ‫ﻳﺴﺘﻤﺪ ﺗﺼﻮراﺗﻪ ﻣﻦ اﳌﺮﺟﻌﻴﺎت اﻟﺪﻳﻨﻴﺔ ﻻ اﳌﺮﺟﻌﻴﺎت اﻟﻌﺮوﺿﻴﺔ‪.‬‬ ‫وﺑﺬﻟﻚ؛ ﻓﺈن اﻟﻘﺼﻴﺪة اﻟﺒﻴﺘﻴﺔ ﻫﻲ اﻟﻘﺼﻴﺪة اﻟﺘﻲ ﻳﻜﻮن ﻏﺮﺿﻬﺎ ﻣﺪح‬ ‫آل ﺑﻴﺖ اﻟﺮﺳﻮل ﻣﻦ دون اﻟﺨﻮض ﰲ ﻣﺄﺳﺎة ﻗﺘﻞ اﻟﺤﺴني‪ .‬ومل ﻧﺠﺪ‬ ‫ﻟﻬﺎ ﻣﻦ اﻷﺳامء اﻟﺘﻲ ﺗﻜﻮن ﻗﺮﻳﺒﺔ ﻣﻦ دﻻﻟﺘﻬﺎ ﻏري ﻫﺬا اﻻﺳﻢ‪.‬‬

‫اﻟﺸﻌﺮ ‪baytelshear‬‬ ‫ﺑﻴﺖ ِ‬

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‫ ‪ ĘšĲŒĬŘ‬‬

‫‪ǼǷŞǜǕŌ ŻǿƃǘǕŌǶ ǳǾǜǿƃǕŌ ǲƃǾƚǂǕŌ‬‬

‫اﺣﺘﻔﺎء ﺑﻤﻴﻼد اﻟﺮﺳﻮل وﺳﻴﺮﺗﻪ‬ ‫د‪%‬ﻳﺎﺳﻴﻦ ﺣﺰﻛﺮ‬

‫ﻋﻨﺪ اﻟﺤﺪﻳﺚ ﻋﻦ اﻟﻘﺼﺎﺋﺪ اﳌﻮﻟﺪﻳﺔ ﰲ اﻟﺸﻌﺮ اﻷﻧﺪﻟﴘ ﻓﺈن‬ ‫اﻟﺒﺎﺣﺚ ﻳﺠﺪ ﻧﻔﺴﻪ ﰲ ﻣﺤﺮﺟﺔ ﻣﻦ أﻣﺮه‪ ،‬ﺧﺎﺻﺔ إذا أراد اﻟﺘﻘﻌﻴﺪ‬ ‫ﻟﻺرﻫﺎﺻﺎت اﻷوﱃ ﻟﻈﻬﻮر ﻫﺬا اﻟﻐﺮض اﻟﺸﻌﺮي اﻟﺮوﺣﺎين ﺑﻌﻴﺪاً‬ ‫أﻗﴡ ﻣﺎ ﻳﻜﻮن ﰲ اﻟﺒﻌﺪ ﻋﻦ ﻛﻌﺒﺔ اﳌﺴﻠﻤني‪.‬‬ ‫ً‬ ‫وﻣﻦ مثﺔ؛ ﻓﻨﺤﻦ مل ﻧﺼﺎدف ﻗﺼﻴﺪة ﻣﻮﻟﺪﻳﺔ ﰲ أي دﻳﻮان ﻗﺒﻞ‬

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‫اﻟﻌﺪد ‪ ، 73‬دﻳﺴﻤﺒﺮ ‪2018‬‬

‫دﻳﻮان اﺑﻦ اﻟﺼﺒﺎغ )آﺧﺮ ﺷﻌﺮاء اﻟﺪوﻟﺔ اﳌﻮﺣﺪﻳﺔ(؛ ذﻟﻚ أن‬ ‫"اﳌﻴﻼدﻳﺎت مل ﺗﺒﺪأ إﻻ ﺳﻨﺔ )‪ 647‬ﻫـ( ﻋﻨﺪﻣﺎ أوﺣﻰ اﻟﻌﺰﰲ إﱃ‬ ‫اﳌﺮﺗﴣ ﺑﺎﻻﺣﺘﻔﺎل مبﻮﻟﺪ اﻟﻨﺒﻲ"‪ .1‬ﻟﺬﻟﻚ؛ ﻓﺎﳌﻮﻟﺪﻳﺔ ﺗﺘﻤﻴﺰ ﺑﻜﻮﻧﻬﺎ‬ ‫ﻗﺼﻴﺪة ﻣﻨﺎﺳﺒﺎﺗﻴﺔ‪ ،‬أي أﻧﻬﺎ ﻗﺼﻴﺪة ﻣﺨﺘﱪ ُﺗﻜﺘ َُﺐ ﺑﺮو ﱠﻳ ٍﺔ ﻟﺘﻠﻘﻰ ﰲ‬ ‫ﻟﻴﻠﺔ اﳌﻮﻟﺪ اﻟﻨﺒﻮي‪ .‬وﻳﺆﻛﺪ ذﻟﻚ اﺑﻦ زﻣﺮك ﰲ ﻗﻮﻟﻪ‪:‬‬ ‫‪ fM @ @N @ @£R @ @N @ @+P P ¡@@ @ ~@@O @ 6xS @ @ @D* N2É@N @ @ £@ @ @ PE Nh@@ @ R @ @ @BN N&b@ @ @AN‬‬ ‫‪2‬‬ ‫*&‪É£cP ~6N P2b@@ N @ @ Pm@@ R @ @DP b@@ N @ £@ AP Nh@@ @ p@R @ @ ~@@N @ 9HR N‬‬

‫ﻋﻠﻤﺘﻨﻲ ﺣﻴﺎﺗﻲ‬ d@@ @ Jx@@ @ @ @ @Db@@ @ + @@ @ .&* b@@ @ E ¤@@ @ -b@@ @ £@ @ @0 ¤@@ @ @ @ @g@ @ @ @ @ @ @ @ @< x@@ @ @ @ @ @ @ @ @~@ @ @ @ @6 f@@ @ @ @ J*v@@ @ @ @ + H&* ¤@@ @ @ @ ~@ @ @ @ @6*x@@ @ @ @ E Á*¡@@ @ @ @ ´*H d@@ @ £@ @ @ @ J b@@ @ E ex@@ @ ~@ @ {@ @ @ @ D q@@ @ Db@@ @ E H2 x@@ @ p@ @ c@ @ D*H 4v@@ @ = @@ @ C x@@ @ ~@ @ @{@ @ @c@ @ @Db@@ @ +H @@ @ c@ @ @0&°b@@ @ + 4v@@ @ = @@ @ C d@@ @ @ £@ @ @ @c@ @ @ @: Md@@ @ @ £@ @ @ @c@ @ @ @0 @@ @ @ E rM x@@ @ @ ± 4Hv@@ @ @ F b@@ @ @ E x@@ @ @ @ @ @ Db@@ @+ @@ @ @ @ /¡@@ @E d@@ @J*x@@ @ @ @ D* ¡@@ @ @ @ : @@ @z@ @ + d@@ £@ @ @ @J 4v@@ ~@ @8 @@ ~@ @6H I¡@@ @ @- b@@ C @@ E @@ @ @: x@@ @ @ @ @ @ ~@ @ @ 6 IH*v@@ @ @ ´*H @@ @ @ /É@@ @ @ < ¢@@ @ @ @ @ @ @ @ @ - @@ @ @ @ @ @ E d@@ Jx@@ E ¤@@ @ @~@ @9H @@ . @@ @ @~@ @9H rb@@ ~@ @8 b@@ J @@ £@ @0 x@@ @ @ @ @~@ @ @8 ¤@@ @ @ @ @J2(* ¡@@ @ J ¯b@@ @ m@ @ @´* @@ @ £@ @ @1v@@ @ D* b@@ @ @ J d@@ @£@ @ c@ @ ²* ib@@ @ @ @ ~@ @ 8 @@ @E b@@ @Gb@@ @ @ @ ~@ @ 8 b@@ @Fb@@ @ @ @ ~@ @ 6 ° x@@ @ @ @ F ¢@@ @ @ @ ~@ @ 8* ¢@@ @ @ @ < b@ M @ @£@ @ ~@ @ |@ @ EH @M @ @£@ @ ~@ @ 8 @@ @C d@@ £@ @~@ @8 ib@@ +b@@ ~@ @z@ @²b@@ + ¤@@ @ @~@ @|@ @- ¤@@ @ @Db@@ J h@@ F*H x@@ @ @´*H d@@ ~@ @{@ @ @ @D* ° @@ -b@@ @ @~@ @8 @@ E ¡@@ @ @ @ @D* ° d@@ @ £@ @ @ @ @ @´* r¡@@ @ @ @ @~@ @ @z@ @ @Db@@ @ + @@ @ Jb@@ @ c@ @ @ @ @ @D* 2¡@@ @ © @@ @ C x@@ @ @ .&°* h@@ @ @ @ @ @ @c@ @ @ @- b@@ @ @ E rM x@@ @ @ / h@@ @ @ @ @ @ @ Q @ @ @ @1 h@@ @ @ F*H d@@ @£@ @ @ @ : ¤@@ @ @ @ j@ @ E ¡@@ @J @@ @ @ @ j@ @ E b@@ @C @@ @E @@ @JR HN Ä@@ @ @~@ @ @ 8 É@@ @ @+ v@@ @ @ @ @ @ < IHb@@ @ @~@ @ @ z@ @ @ - @@ @ @+b@@ @ @~@ @ @ 8&°* d@@ @ @£@ @ @ @ @ @ J ¡Q @ @ @ / @@ @ @. ¥¡Q @ @ @ / ¡@@ @ @1 b@@ @ @ @J @@ @ @ @< x@@ @ @ @ 1 ¯ x@@ @ @ @ 1 @@ @E @@ @ @ @ ~@ @ 9HH ¤@@ @ @ @ ~@ @ 9H °

baytelshear ‫اﻟﺸﻌﺮ‬ ِ ‫ﺑﻴﺖ‬

‫ﺧﺎﻟﺪ اﻟﺸﻌﻴﺒﻲ‬

ĘıĘŕ

‫ﻋﻠﻲ اﻟﻬﺎﻣﻠﻲ‬ @ ASalhameli

‫ﺷﺎﻋﺮ ﻣﺘﻮ ّﻟﻊ ْﺑﺨﻴﻞ اﻟﺠﻤﺎل‬ ٍ b@@ @ @ @ @ ±* @@ @ £@ @ @ s@ @ @ +R @@ @ @DQ ¡@@ @ @g@ @ @ E xM @ @ @ <b@@ @ @~@ @ @ 7 @@ 6x@@ A µb@@ @ @ @ @ @ D* @@ @ @ E @@ @c@ @ @ @ B iw@@ @ @ @ 1 b@@ @ @ E °v@@ @ @ @D* H @@ @ JxR @ @ @ N @ @ @gQ @ @ @Db@@ @ + x@@ @ @ @ @E Ì@@ @ @= @@ @6x@@ @ @ @ F* ¡@@ @ @ £@ @ @ @D* @@ @ @ @ @ 1*2 ¯ b@@ @ @ @ @ @ ¹4 b@@ @ E *w@@ @ @ @ <w@@ @ @ @ D* @@ @ @ E @@M @ @|@ @ @ = b@@ @ @ G2¡@@ @ @ < @@ @ @ @64H @@ @ @ @ @ @ @D* @@ @ @E M b@@ @ @ p@ @ @ @J4 q@@ @ @ @J4 H b@@ g@ @ @ @ @ @D h@@ @ @ @ ~@ @ 8 2¡@@ @ @ @ @ @ / @@ @ @ 7¡@@ @ @ Ex@@ @ @ D*H @@ @6Æ@@ @0* i¡@@ @ @ @ @ @´* @@ @ @< b@@ @Gx@@ @;b@@ @ @ @ J @@ @ @E *5 @@ @ @ @ @ @ @ @ @ D*H b@@ @ @ @ Ab@@ @~@ @ 7 @@ @ @ @ @ @ @ 64*2 Q @ @ @ @ @ C @@ @ @ @ 642 b@@ @ @ @ E °* @@ @ @ Q @ @ @ @C @@ @ @ @ @ @ @ @< b@@ @ @ ~@ @ @ @9 b@@ @ c@ @ @²b@@ @ + b@@ @ @ @G¡@@ @ @ @~@ @ @ @ 9H4 b@@ @ @ @ E M,x@@ @ @ @ @ @ @ @ @E @@ @ 6x@@ @ ±* i¡@@ @ @~@ @ @ 8 ¢@@ @ @ @ < @@ @ @ @ © Mx@@ @ @ @ @ @ @J*3 b@@ @¸ @@ @ £@ ~@ }@ @ D 2b@@ @ @ @< b@@ @ @E h@@ @ @+x@@ @ @B* ° @@ 6Æ@@ A* d@@ @ @ D* ¢@@ @ < ¤@@ @ G iv@@ @ @ @ +* °H b@@ @ ~@ @ @8¡@@ @ @ @ @D @@ @ @:b@@ @ @ @ @ @ + Áb@@ @ @ @ @ @ E b@@ @ @ @ @ @ @ @< @@ @6x@@ @²b@@ @+ n@@ @ @ /v@ Q @ @ @ E @M @ @ m@ @ @~@ @ @6 *4H ¡@@ @ @ D

2018 ‫ دﻳﺴﻤﺒﺮ‬، 73 ‫اﻟﻌﺪد‬

‫ ‪ ĘğľōŘ‬‬

‫ﻧﻨﻘﺬﻫﺎ ﻓﺘﻨﻘﺬﻧﺎ‬

‫ﺻﻔﻴﺔ اﻟﺸﺤﻲ‬

‫‪@safiaalshehi‬‬

‫"ﻓﻠﻨﻨﻘﺬ اﻟﺜﻘﺎﻓﺔ‪ ،‬وﺳﺘﻨﻘﺬﻧﺎ اﻟﺜﻘﺎﻓﺔ " ‪ ..‬ﻫﻜﺬا ﻳﻘﺎل‪ .‬وﻷن اﻟﺜﻘﺎﻓﺔ ﻓﻌﻞ ﺣﻴﺎة‪ ،‬ﻓﺎﻟﴫﺧﺔ اﻟﺘﻲ ﻳﱰدد ﺻﺪاﻫﺎ‬ ‫ﻫﻨﺎ ﻫﻲ ﻹﻧﻘﺎذ اﻟﺤﻴﺎة ﰲ اﻟﻌﻤﻖ اﻹﻧﺴﺎين وﻋﲆ اﻟﺘﺨﻮم‪ ،‬ﺣﻴﺚ اﻟﺘﺠﺮﺑﺔ ﻣﻊ اﻟﻜﻠﻤﺔ واﻟﺼﻮت واﻟﺨﻂ واﻟﻠﻮن‬ ‫وﻛﻞ أﺷﻜﺎل اﻟﺘﻌﺒري اﻷﺧﺮى ﻫﻲ دﻟﻴﻞ ﻋﲆ متﺴﻜﻨﺎ ﺑﺤﻘﻨﺎ ﰲ اﻟﺘﻨﻔﺲ وﺗﺒﺎدل اﻷﻧﻔﺎس ﻣﻊ اﻷرض واﻟﻔﻀﺎء‬ ‫ﰲ آن‪.‬‬ ‫وﻟﺮمبﺎ ﻗﺪﻣﺖ اﻹﻣﺎرات ﰲ اﻟﺴﻨﻮات اﻟﻘﻠﻴﻠﺔ اﻷﺧرية دﻟﻴ ًﻼ ﺣﻴﺎً ﻋﲆ ﻧﺠﺎح اﻟﺮﻫﺎن ﰲ ﻣﺤﻮر ﻳﺒﺪو اﻟﻌﻤﻞ ﻓﻴﻪ‬ ‫ﻋﺒﺜﻴﺎً ﰲ ﻇﻞ ﻋﴫ اﻟﺘﻘﺎﻧﺔ اﻟﺬي ﻗﺪ ﺗﻨﻈﺮ ﻟﻪ ذﻫﻨﻴﺔ اﻟﻌﺮيب أﺣﻴﺎﻧﺎً ﺑﺠﻤﻮد ﺧﺎل ﻣﻦ اﻟﻔﻜﺎﻫﺔ واﻟﻌﺎﻃﻔﺔ‪ ،‬ﻟﻜﻦ‬ ‫ﻣﻦ ﻗﺎل إن ﻋﺎﳌﺎً ﺳﻤﺘﻪ ﺗﻠﻚ‪ ،‬ﻻ ميﻠﻚ ﺣﺲ اﻟﻘﻔﺰ ﺿﺤﻜﺎً؟ ﻓﺮوح اﻟﺘﻌﺪاد اﻟﺘﻲ ﻟﻔﻈﺘﻬﺎ اﻟﻔﻠﺴﻔﺔ ﻣﻨﺬ زﻣﻦ‬ ‫ﻃﻮﻳﻞ ﺑﺤﺠﺔ "اﻟﺮﻫﺎب " ﺗﻔﺮض ذاﺗﻬﺎ ﺑﴚء ﻣﻦ اﻟﻀﺤﻚ اﻟﺨﺎرج ﻋﻦ اﳌﺄﻟﻮف‪ ،‬ﺑﻞ وﺗﺴﻬﻢ ﰲ ﺗﺤﻘﻴﻖ اﻧﺘﺼﺎر‬ ‫اﻟﺜﻘﺎﻓﺔ ﻛﻤﴩوع وﻃﻦ ﻣﺆﻣﻦ ﺑﺄن ﻟﻜﻞ زﻣﻦ أدواﺗﻪ‪.‬‬ ‫وﰲ ﻋﴫ ﺿﺎج ﺑﻔﻮﴇ اﻟﻔﻌﺎﻟﻴﺎت واﻟﺠﻮاﺋﺰ واﻷﺧﺒﺎر‪ ،‬ﺣﻔﻆ اﳌﺜﻘﻒ اﻹﻣﺎرايت ‪-‬اﻟﻘﺎﺋﺪ ﰲ ﻣﺠﺎﻟﻪ ‪ -‬اﻟﺴﻠﻄﺔ‬ ‫اﻟﺮﻣﺰﻳﺔ اﻟﺘﻲ ﻛﺎدت أن ﺗﺘﻔﻠﺖ ﻣﻦ ﺑني اﻷﺻﺎﺑﻊ ﺑﻔﻌﻞ اﻟﺘﺠﻮﻳﻊ اﻟﺬي ميﺎرﺳﻪ اﳌﺎل ﻋﲆ ﺷﻜﻞ ﴏاﻋﺎت‬ ‫ﺳﻴﺎﺳﻴﺔ واﻗﺘﺼﺎدﻳﺔ ﰲ ﻫﺬه اﻟﺮﻗﻌﺔ اﳌﻨﻜﻮب ﻣﻌﻈﻤﻬﺎ ﻣﻦ اﻟﻌﺎمل‪.‬‬ ‫ﻓﻠﻠﻜﻠﻤﺔ ﻋﻼ ﺻﻮت ﺟﺪﻳﺪ ﺷﺎب وﻣﺤﺐ ﰲ أﻛﱪ اﻷﺣﺪاث وأﻫﻤﻬﺎ‪ ،‬ﻓﻜﺎﻧﺖ رواﻳﺎت ﻗﺪت ﻣﻦ ﻋﻤﻖ اﻟﻨﻔﺲ‬ ‫اﻟﺒﴩﻳﺔ وﻣﺨﺎﺿﻬﺎ ﻋﱪ اﻟﺠﻐﺮاﻓﻴﺎ واﻟﺘﺎرﻳﺦ‪ ،‬وﻛﺎن ﺷﻌﺮ ﺑﺠﻨﺎﺣﻲ ﻋﻨﻘﺎء وﻗﻠﺐ ﻓﺮاﺷﺔ ﻳﺤﻤﻞ ﻣﴩوﻋﺎً ﺷﺎرﻗﻲ‬ ‫اﻟﻬﻮى إﱃ ﺑﻴﻮت ﻧﻮاﻓﺬﻫﺎ ﻣﻦ ﺻﺨﺮ وﺑﺤﺮ‪ ،‬وﻛﺎﻧﺖ اﻟﻠﻐﺔ ﺟﺎﻣﻌﺔ ﻟﴩق اﻷرض وﻏﺮﺑﻬﺎ‪ ،‬ﻣﱰﺟﻤﺔ ﻟﻠﻄﻘﻮس‬ ‫واﳌﻮاﻗﻒ واﳌﺬاﻫﺐ واﻟﺤﺐ ﻋﲆ أدﻳﺎن أﻗﻮام مل ﻧﺴﻤﻊ ﻋﻨﻬﺎ ﻣﻦ ﻗﺒﻞ‪ ،‬ﻛام ﻛﺎﻧﺖ اﳌﻮﺳﻴﻘﻰ ﺗﻌﻴﺪ إﻧﺘﺎج ذاﺗﻬﺎ‬ ‫ﻛﻤﺒﻌﻮث ﺳﻼم وﻋﻄﺎء ﻋﲆ ﻣﺴﺎرح ﻋﺎﺻﻤﺔ اﻟﻮﻃﻦ اﻹﻣﺎرايت وﻗﺒﻠﺔ اﻟﻔﻦ واﻟﺸﻌﺮ واﻟﻔﻜﺮ أﺑﻮﻇﺒﻲ‪.‬‬ ‫أﻟﻴﺴﺖ ﺗﻠﻚ روح زاﻳﺪ؟ ﺗﻌﻮد وﺗﺤﻤﻠﻨﺎ ﻣﻌﻬﺎ ﰲ ﻛﻞ ﻣﻮﻗﻒ ﻧﺘﺬﻛﺮ ﻓﻴﻪ ﻣﻦ أﻳﻦ ﺟﺌﻨﺎ وإﱃ أﻳﻦ ﴏﻧﺎ؟ ﰲ‬ ‫اﻹﻣﺎرات ﺗﻌﻠﻤﻨﺎ أن اﻟﻌﺮب ﻓﺮوﺳﻴﺔ وﻧﺮﺟﻮ أن ﻧﻜﻮن ﻧﺤﻦ ﺣﻤﻠﺔ راﻳﺘﻬﺎ ﻻ ﻓﻀ ًﻼ ﺑﻞ ﻋﺸﻘﺎً ﻟﺒﻼد اﻟﻌﺮب‪،‬‬ ‫وﺣﻔﻈﺎ ﻟﻜﻨﻮزﻫﺎ ﻣﻦ أدب ﻧﻬﻠﻨﺎ ﻣﻨﻪ وﻓﻜﺮ ﺗﻬﺬﺑﻨﺎ ﺑﻪ وﺷﻌﺮ ﻏﻨﻴﻨﺎه‪ ،‬ﻫﻜﺬا ﻧﺮﺟﻮ وﻧﺤﻦ ﻧﺴﺘﻘﺒﻞ اﻟﻌﺎمل ﻛﻠﻪ‬ ‫ﻛﻜﺘﺎب ﻣﻔﺘﻮح ﻋﲆ اﻟﺤﻜﺎﻳﺔ ﰲ ‪ ،2019‬وﻛﺄﻛﱪ ﻣﴪح ﺗﺤﻞ ﻋﻠﻴﻪ ﺛﻘﺎﻓﺎت اﻟﻌﺎمل ﺿﻴﻔﺔ ﰲ ‪ ،2020‬وﺑﻌﺪ‪ :‬ﻫﻞ‬ ‫ﻧﺆﻣﻦ ﺑﺄن ﺟﻴﻠﻨﺎ اﻟﺠﺪﻳﺪ ﻳﻘﺪر اﻟﺤﻜﻤﺔ اﻟﻌﺮﺑﻴﺔ ﺣﻖ ﻗﺪرﻫﺎ؟ ﻧﻌﻢ‪ ،‬ﻓﺬﻟﻚ اﻟﺬي ﻳﺴﺘﻌﺪ ﻟﻔﺘﺢ ﺟﺪﻳﺪ ﻋﲆ ﺑﻌﺪ‬ ‫ﻣﻼﻳني اﻟﺴﻨﻮات اﻟﻀﻮﺋﻴﺔ ﻻ ﻳﻨﻜﺮ ﺟﺬوره اﻷرﺿﻴﺔ وﻻ ﻳﻨﻈﺮ ﻣﻦ ﻋﻠﻴﺎﺋﻪ إﻻ ﺑﻔﺨﺮ ﻵﺑﺎﺋﻪ اﻟﻜﺒﺎر‪.‬‬ ‫اﻟﺜﻘﺎﻓﺔ ﻋﻤﻞ ﻻ ﺟﺰيئ ﻓﺂﻟﻴﺎت إﻧﺘﺎﺟﻪ ﺗﻘﺒﻊ ﰲ ﺑﻄﻦ اﻟﺤﻴﺎة اﻟﺤﺪﻳﺜﺔ وﻣﺘﻐرياﺗﻬﺎ‪ ،‬وﻫﻲ ﻛﺬﻟﻚ ﰲ روح‬ ‫اﻟﻮﺣﺪة ﻋﻨﺪﻣﺎ ﻳﺘﻜﺎﺗﻒ اﻟﺠﻤﻴﻊ ﻟﻠﺘﺨﻄﻴﻂ اﻟﺼﺤﻴﺢ واﺳﺘﴩاف ﻣﺴﺘﻘﺒﻞ اﻟﻌﻤﻞ اﻟﺜﻘﺎﰲ‪ ،‬ﻓﻼ ﺗﻜﻔﻲ ﻋﺎﻃﻔﺔ‬ ‫"ﺑﻼد اﻟﻌﺮب " وﺣﺪﻫﺎ ﻟﻠﺴري ﺟﻨﺒﺎً إﱃ ﺟﻨﺐ ﻣﻊ ﺛﻮرة ﻏريت ﻣﻔﻬﻮم اﻹﻧﺴﺎﻧﻴﺔ ﻋﻤﻮﻣﺎً ﺑﻞ ﻳﺠﺐ أن ﻳﺴﺒﻖ‬ ‫ذﻟﻚ وﻳﻠﻴﻪ ﺗﻈﺎﻓﺮ ﻟﻠﺠﻬﻮد ﻓﻜﺮاً ودراﺳﺔ وﻋﻄﺎء ﺣﺘﻰ ﻳﺘﺤﻘﻖ ﻣﴩوع اﻟﺜﻘﺎﻓﺔ اﻟﺸﺎﻣﻞ اﻟﺬي ﻧﻄﻤﺢ ﻧﺤﻦ‬ ‫اﻹﻣﺎراﺗﻴني أن ﻧﻨﻘﺬه ﻓﻴﻨﻘﺬﻧﺎ‪.‬‬ ‫اﻟﺸﻌﺮ ‪baytelshear‬‬ ‫ﺑﻴﺖ ِ‬

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‫‪Ĝšřņ ¯ ĬšĸŌ‬‬ ‫"اﻷوﺑﻮا" ﻋﺒﺪ اﻟﺤﻠﻴﻢ ﺷﺒﺎﻧﺔ‪ ،‬وﻛﺎﻧﺖ أول‬ ‫أﻏﺎﻧﻴﻪ ﺑﻌﺪ ﻗﺒﻮﻟﻪ ﺑﺎﻹذاﻋﺔ‪.‬‬ ‫وﻓﻖ ﻛﺜ ٍري ﻣﻦ ﻣﺆرﺧﻲ اﳌﻮﺳﻴﻘﻰ مل ﺗﺤﻘﻖ‬ ‫أﻏﻨﻴﺔ "ﻟﻘﺎء" وﻗﺖ إذاﻋﺘﻬﺎ ﻧﺠﺎﺣﺎً ﻛﺒرياً‪،‬‬ ‫ﻣﺜﻠﻬﺎ ﻣﺜﻞ أﻏﻨﻴﺘﻪ "ﺻﺎﻓﻴﻨﻲ ﻣــﺮة"‪ ،‬إذ‬ ‫ﻛﺎﻧﺖ ﺟﺪﻳﺪة ﻋﲆ ﺟﻤﻬﻮر ﺗﻠﻚ اﻟﻔﱰة‪،‬‬ ‫ﻟﻜﻨﻬﺎ أﺳﺴﺖ ﻟﺘﺸﻜﻴﻞ ﻣﻼﻣﺢ اﻟﺸﺨﺼﻴﺔ‬ ‫اﻟﻐﻨﺎﺋﻴﺔ واﳌﻮﺳﻴﻘﻴﺔ ﻟﻌﺒﺪ اﻟﺤﻠﻴﻢ ﺣﺎﻓﻆ‪،‬‬ ‫ﻛام أﺳﻬﻤﺖ ﺑﺤﺴﺐ اﳌﺆرخ اﳌﻮﺳﻴﻘﻲ‬ ‫ﺳﻌﺪ اﻟﻠﻪ أﻏﺎ اﻟﻘﻠﻌﺔ ﰲ ﺗﺸﻜﻴﻞ ذاﺋﻘ ٍﺔ‬ ‫ﻣﻮﺳﻴﻘﻴ ٍﺔ ﺟﺪﻳﺪ ٍة ﻟﺠﻤﻬﻮ ٍر ﺟﺪﻳﺪ وﻗﺘﻬﺎ‪،‬‬ ‫أﺻﺒﺢ ﻓﻴام ﺑﻌﺪ "ﺟﻤﻬﻮر ﻋﺒﺪ اﻟﺤﻠﻴﻢ"‪.‬‬ ‫ﻛﺎﻧﺖ اﻟﻘﺼﻴﺪة ﻋﺎﻃﻔﻴﺔ ﺗﻘﻠﻴﺪﻳﺔ ﻣﻨﺎﺳﺒﺔ‬ ‫ﻟﻠﻐﻨﺎء‪ ،‬ﺗﺸﺒﻪ اﻟﻘﺼﺎﺋﺪ اﻟﺮوﻣﻨﺎﺗﻴﻜﻴﺔ‬ ‫ﻟﺸﻌﺮاء ﻣﺪرﺳﺔ أﺑﻮﻟﻠﻮ‪ :‬إﺑﺮاﻫﻴﻢ ﻧﺎﺟﻲ‪،‬‬ ‫وﻋــﲇ ﻣﺤﻤﻮد ﻃــﻪ‪ ،‬وﺻــﺎﻟــﺢ ﺟــﻮدت‬ ‫وﻏريﻫﻢ‪ ،‬وودع ﻋﺒﺪ اﻟﺼﺒﻮر ﺑﻌﺪﻫﺎ‬ ‫اﻟﺸﻜﻞ اﻟﻘﺪﻳﻢ ﻟﻠﻘﺼﻴﺪة‪ ،‬ﻟﻴﺘﺠﻪ ﻟﺘﺄﺳﻴﺲ‬ ‫ﻣﺎ ﻋﺮف ﺑﺎﻟﺸﻌﺮ اﻟﺤﺮ‪ ،‬اﻟﺬي ﺟﺮ ﻋﻠﻴﻪ‬ ‫اﻟﻜﺜري ﻣﻦ اﻟﻬﺠﻮم واﻟﺨﺼﻮﻣﺔ ﻣﻊ أﺳﺎﻃني مبﻜﺎﻧﺔ ﺧﺎﺻﺔ‪ ،‬وﻇﻬﺮت ﻓﻴﻬﺎ ﻣﻼﻣﺢ‬ ‫ﺧﺼﻮﺻﺎ اﻟﻜﺎﺗﺐ واﳌﻔﻜﺮ اﻧﺸﻐﺎﻻﺗﻪ اﻟﻮﺟﻮدﻳﺔ‪ ،‬واﺗﻜﺎﺋﻪ ﻋﲆ اﻟﱰاث‬ ‫اﻟﺘﻴﺎرات اﻷﻗﺪم‬ ‫ً‬ ‫اﻟﺬي ﻛﺎن أول ﻣﻜﻮﻧﺎت ﺛﻘﺎﻓﺘﻪ وذاﺋﻘﺘﻪ‪،‬‬ ‫اﻟﺮاﺣﻞ ﻋﺒﺎس ﻣﺤﻤﻮد اﻟﻌﻘﺎد‪.‬‬ ‫وﻛﺬا ﺗﺄﺛﺮه ﺑﺄﺳﺘﺎذه يت إس إﻟﻴﻮت‪ ،‬ﻛام‬ ‫ﺗﺠﲆ اﻧﺤﻴﺎزه ﻟﻠﺪراﻣﺎ ﰲ ﻣﻘﺎﺑﻞ اﻟﻐﻨﺎء‪.‬‬ ‫‪ƈǷŞƚǕŌ ƃŞƫ źƉƒǙ‬‬ ‫ﺑــﺪءاً ﻣﻦ ﻋــﺎم ‪ 1954‬ﻧﴩ ﺻــﻼح ﻋﺒﺪ وﻻ ﻳــﺰال ﻣــﴪح ﺻــﻼح ﻋﺒﺪ اﻟﺼﺒﻮر‬ ‫اﻟﺼﺒﻮر ﻗﺼﺎﺋﺪه ﰲ ﺻﺤﻒ ﺗﻠﻚ اﻟﻔﱰة‪ ،‬ﺑﺄﺳﺌﻠﺘﻪ ورﻣـــﻮزه‪ ،‬واﺳﺘﻠﻬﺎﻣﺎﺗﻪ ﻣﺜرياً‬ ‫ﻟﻜﻦ أول دواوﻳﻨﻪ "اﻟﻨﺎس ﰲ ﺑﻼدي" ﻟﻼﻫﺘامم واﻟﺸﻐﻒ‪ ،‬وﻳﻌﺎد ﺗﺠﺴﻴﺪه ﺣﺘﻰ‬ ‫ﺻﺪر ﻋﺎم ‪ ،1957‬وﻣﻦ وراﺋﻪ "أﻗﻮل ﻟﻜﻢ" اﻵن ﻋﲆ اﳌﺴﺎرح اﳌﴫﻳﺔ واﻟﻌﺮﺑﻴﺔ‪ ،‬وﻣﻦ‬ ‫و"أﺣﻼم اﻟﻔﺎرس اﻟﻘﺪﻳﻢ"‪ ،‬و"ﺗﺄﻣﻼت ﰲ ذﻟﻚ ﻣﴪﺣﻴﺘﻪ "ﻣﺴﺎﻓﺮ ﻟﻴﻞ" اﻟﺘﻲ ﺗﻌﺮض‬ ‫اﻟﺰﻣﻦ اﻟﺠﺮﻳﺢ"‪ ،‬و"ﺷﺠﺮ اﻟﻠﻴﻞ" و"اﻹﺑﺤﺎر ﺣﺎﻟﻴﺎً مبﴪح اﻟﻬﻨﺎﺟﺮ ﺑﺎﻷوﺑﺮا اﳌﴫﻳﺔ‪،‬‬ ‫ﰲ اﻟﺬاﻛﺮة"‪ ،‬وﺑﺎﻟﺘﻮازي ﻣﻊ ﻫﺬه اﻟﺪواوﻳﻦ ﻟﻜﻦ ﻛﺎﻧﺖ ﻣﴪﺣﻴﺔ "ﻣﺄﺳﺎة اﻟﺤﻼج" اﻟﺘﻲ‬ ‫وﻓﻴام ﺑﻴﻨﻬﺎ‪ ،‬أﺻﺪر ﻋﺒﺪ اﻟﺼﺒﻮر ﺧﻤﺲ ﻋﺮﺿﺖ أﻛرث ﻣﻦ ﻣﺮة مبﻌﺎﻟﺠﺎت وﻣﻤﺜﻠني‬ ‫ﻣﴪﺣﻴﺎت ﺷﻌﺮﻳﺔ‪ ،‬ﻣﻨﺤﺘﻪ رﻳﺎدة اﻟﺘﺠﺪﻳﺪ وﻣﺨﺮﺟني ﻣﺨﺘﻠﻔني‪ ،‬أﺑﺮزﻫﻢ اﻟﻘﺪﻳﺮ ﺳﻤري‬ ‫ﰲ اﳌﴪح اﻟﺸﻌﺮي اﻟﺬي ﻇﻬﺮ ﰲ ﻣﴫ اﻟﻌﺼﻔﻮري ﻣﺤﻄﺔ ﺟﺪﻳﺪة‪ ،‬ﻋﺎﻧﻘﺖ ﻓﻴﻬﺎ‬ ‫ﻋﲆ أﻳﺪي اﻟﺸﻌﺮاء أﺣﻤﺪ ﺷﻮﻗﻲ‪ ،‬وﻋﺰﻳﺰ ﻛﻠامت ﻋﺒﺪ اﻟﺼﺒﻮر ﻓﻦ اﻟﻐﻨﺎء‪ ،‬إذ ﺗﻀﻤﻨﺖ‬ ‫اﳌﴪﺣﻴﺔ أﻏﻨﻴﺘني ﻟﻠﻤﻄﺮب ﻋﲇ اﻟﺤﺠﺎر‬ ‫أﺑﺎﻇﺔ وﻋﺒﺪ اﻟﺮﺣﻤﻦ اﻟﴩﻗﺎوي‪.‬‬ ‫وﺣﻈﺖ ﻣﴪﺣﻴﺘﻪ اﻷﺷﻬﺮ "ﻣﺄﺳﺎة اﻟﺤﻼج" ﻣﻦ ﻗﺼﺎﺋﺪ ﻋﺒﺪ اﻟﺼﺒﻮر ﺑﻨﺺ اﳌﴪﺣﻴﺔ‪،‬‬

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‫اﻟﻌﺪد ‪ ، 73‬دﻳﺴﻤﺒﺮ ‪2018‬‬

‫ﻫام‪" :‬ﻗﺪ ﻛﻨﺖ ﻋﻄﺮاً" اﳌﻨﻈﻮﻣﺔ ﻋﲆ‬ ‫ﻟﺴﺎن اﻟﺸﺒﲇ ﺻﺪﻳﻖ اﻟﺤﻼج اﳌﺘﺼﻮف‬ ‫اﻟــﺬي ﻧﻜﺺ ﻋﻦ ﻣﺴﺎﻧﺪﺗﻪ‪ ،‬واﻷﺧــﺮى‬ ‫"ﺻ ّﻔﻮﻧﺎ ﺻﻔﺎً"‪ ،‬واﻻﺛﻨﺘﺎن ﻟﺤﻨﻬام اﳌﻮﺳﻴﻘﺎر‬ ‫أﻣري ﻋﺒﺪ اﳌﺠﻴﺪ‪.‬‬ ‫وﻟﻌﻞ ﻫﺬه اﻟﻌﻮدة وإﻋــﺎدة اﻻﻛﺘﺸﺎف‬ ‫اﻟﺪاﺋﻢ ﻟﻌﺒﺪ اﻟﺼﺒﻮر‪ ،‬وﳌﴪﺣﻪ اﻟﺸﻌﺮي‬ ‫اﻟﺬي وازى إﻧﺘﺎﺟﻪ اﻟﺜﻮري ﺑﻪ ﻣﺎ أﺣﺪﺛﻪ‬ ‫ﺷﻌﺮه ﰲ اﳌﺪوﻧﺔ اﻟﺸﻌﺮﻳﺔ اﻟﻌﺮﺑﻴﺔ‪،‬‬ ‫وﺗﻔﻮق ﻋﻠﻴﻪ‪ ،‬ﺗﻜﺸﻒ إﱃ أي ﻣﺪى ﻛﺎن‬ ‫ﻫﺬا اﻟﺮﺟﻞ ﻓﺮﻳﺪاً‪ ،‬وﻣﺜرياً ﻟﻠﺪﻫﺸﺔ ﺳري ًة‬ ‫وإﺑﺪاﻋﺎً‪ ،‬ﺗﺠﺎوزا ﺣﻴﺎﺗﻪ اﻟﻘﺼرية‪ ،‬واﻟﺘﻲ‬ ‫اﻧﺘﻬﺖ ﺑﻄﺮﻳﻘﺔ دراﻣﻴ ٍﺔ إﺛﺮ ﻛﻠﻤ ٍﺔ ﺟﺎرﺣﺔ‪،‬‬ ‫ﻛﺄن ﻫﺬه اﻟﺤﻴﺎة ﻛﺎﻧﺖ ﻹﺣﺪى أﺑﻄﺎل‬ ‫ﻣﴪﺣﻴﺎﺗﻪ اﻟﱰاﺟﻴﺪﻳني‪ ،‬ﻫﻮ اﻟﺬي ﻃﺎﳌﺎ‬ ‫ﻛﺘﺐ ﻋﻦ أﺛﺮ اﻟﻜﻠﻤﺔ‪ /‬اﻟﻠﻔﻆ‪ ،‬واﺧﺘﴫ‬ ‫أﺷﻬﺮ ﻣﴪﺣﻴﺎﺗﻪ "ﻣﺄﺳﺎة اﻟﺤﻼج" ﰲ‬ ‫ﻓﺼﻠني‪ /‬ﻟﻔﻈني ﻫام "اﻟﻜﻠﻤﺔ" و "اﳌﻮت"‪.‬‬

‫اﺷﺘﺠﺮا‪ ..‬وﻻ ﻫﺬي وﻻ َ‬ ‫ﺗﻠﻚ وﻻ اﻟﺪﻧﻴﺎ وﻣﺎ‬ ‫ﻓﻴﻬﺎ‪ /‬ﺗﺴﺎوي ﻣﻠﺘﻘﻰ اﻟﻨﻴﻠني ﰲ اﻟﺨﺮﻃﻮم‬ ‫ﻳﺎ ﺳﻤﺮا‪..‬‬ ‫ﻻ ﺗﺸﺒﻪ "ﺳﻤﺮاء" ﺷﻌﺮ ﺻﻼح ﻋﺒﺪ اﻟﺼﺒﻮر‪،‬‬ ‫ﻛام ﻻ ﺗﺸﺒﻪ ﻛﻠامت أﻏﻨﻴﺎت ﺗﻠﻚ اﻟﻔﱰة‪،‬‬ ‫ﻟﻜﻨﻬﺎ ﻣﺎ إن وﻟﺪت ﺣﺘﻰ ﺗﻠﻘﻔﻬﺎ ﻣﻄﺮب‬ ‫اﻟﺴﻮدان اﻟﺸﻬري‪ ،‬اﻟﺬي وﻟﺪت ﻧﺠﻮﻣﻴﺘﻪ‬ ‫ﰲ ﻣﴫ أواﺋﻞ اﻟﺨﻤﺴﻴﻨﻴﺎت‪ ،‬ﺑﻌﺪﻣﺎ ﻗﺪﻣﻪ‬ ‫ﻟﻠﺠﻤﻬﻮر اﻟﻔﻨﺎن ﻳﻮﺳﻒ وﻫﺒﻲ‪ ،‬ﻓﻠﻢ‬ ‫‪ ƈǷŞƚǕŌ ƃŞƫ źȎƛ ǲƃǾƚǃ‬‬ ‫ﺗﻨﻘﻄﻊ ﻋﻼﻗﺘﻪ ﺑﺎﻟﻘﺎﻫﺮة وﻓﻨﺎﻧﻴﻬﺎ ﻣﻨﺬ ذﻟﻚ‬ ‫ ‪ ƈŌƊ ɐǲƈƂōǝ‬‬ ‫‪ǳƳƃƛ ǲƃǾǕǶ ŧǝōǉ‬‬ ‫‪ɲ‬‬ ‫‪ɲ‬‬ ‫اﻟﻮﻗﺖ وﺣﺘﻰ رﺣﻴﻠﻪ‪ ،‬ﺧﺼﻮﺻﺎً اﻟﻔﻨﺎن ﻋﺒﺪ‬ ‫‪ ǖǷƣƉƀǕŌ ǳǜǿƃǙ ƉƫōƖǕŌ ōǤǕȎƁ‬‬ ‫اﻟﺤﻠﻴﻢ ﺣﺎﻓﻆ‪.‬‬ ‫ﻛﺎن ﺳﻴﺪ ﺧﻠﻴﻔﺔ ﻣﺘﺤﻤﺴﺎً ﻟﻜﻞ ﻣﺎ ﻫﻮ‬ ‫ﺳﻮداين وﻗﻮﻣﻲ‪ ،‬وﻛﺎن ﺻﺎﺣﺐ روح وأدا ٍء‬ ‫ﻧﺺ ﻳﺆدﻳﻪ‬ ‫ﻣﴪﺣﻲ ﻣﻤﻴﺰﻳﻦ‪ ،‬ﻳﺨﻠﻠﻬام ﻷي ٍ‬ ‫ٍ‬ ‫ﻓﻴﺒﺪو وﻛﺄﻧﻪ ﻧﺺ إﻓﺮﻳﻘﻲ ﻣﻘﺪس‪ ،‬ﻓﻼ‬ ‫ﺗﻌﻮد متﻴﺰ ﻫﻞ ﻣﺎ ﻳﻐﻨﻴﻪ ﻛﻠامت ﻋﺎﻣﻴﺔ أم‬ ‫ﻓﺼﻴﺤﺔ أم ﻛﻠامت ﻣﻦ ﻟﻐﺔ أﺧﺮى‪.‬‬ ‫وﻋﺒﺪ اﻟﺼﺒﻮر مل ﻳﻜﻦ ﺷﺎﻋﺮ اﻟﻔﺼﺤﻰ‬ ‫اﻟﻮﺣﻴﺪ اﻟﺬي ﻏﻨﻰ ﺳﻴﺪ ﺧﻠﻴﻔﺔ ﻗﺼﺎﺋﺪه‪،‬‬ ‫إذ ﺳﺒﻘﻪ وﺗﻼه ﻛﻞ ﻣﻦ اﻟﺸﻌﺮاء‪ :‬إدرﻳﺲ‬ ‫ﺟامع وإﺳامﻋﻴﻞ ﺧﻮرﺷﻴﺪ وﻋﺒﺪ اﳌﻨﻌﻢ‬ ‫ﻋﻮاد وﻣﺤﻤﺪ اﻟﻔﻴﺘﻮري وآﺧــﺮون‪ ،‬ﻟﻜﻨﻪ‬ ‫اﻛﺘﺴﺐ ﻣﻜﺎﻧ ًﺔ ﻣﻀﺎﻓ ًﺔ ﰲ وﺟﺪان اﻟﺸﻌﺐ‬ ‫اﻟﺴﻮداين ﻣﻨﺬ ﺗﻐﻨﻴﻪ ﺑﺎﻟﺨﺮﻃﻮم و َﻣﻌﻠﻤﻬﺎ‬ ‫اﻷﺟﻤﻞ واﻷﻛرث ﺧﻠﻮداً "ﻣﻘﺮن اﻟﻨﻴﻠني"‪ ،‬ﻣﺎ‬ ‫أﻏﺮى ﻓﺮﻗﺔ "ﻋﻘﺪ اﻟﺠﻼد" اﻟﺘﻲ ﺗﺄﺳﺴﺖ‬ ‫ﻣﻨﺘﺼﻒ اﻟﺜامﻧﻴﻨﻴﺎت ﺑﻐﻨﺎء إﺣــﺪى‬ ‫ﻗﺼﺎﺋﺪه‪ ،‬واﺧﺘﺎروا ﻟﻪ ﻣﻘﻄﻌﺎً ﻣﺒﻬﺠﺎً ﻣﻦ‬ ‫ﻗﺼﻴﺪة "اﻟﻨﺎس ﰲ ﺑــﻼدي" اﻟﺘﻲ ﺣﻤﻞ‬ ‫ﻋﻨﻮاﻧﻬﺎ دﻳﻮاﻧﻪ اﻷول اﻟﺼﺎدر ﻋﺎم ‪،1957‬‬ ‫ﺻﺎر أﻧﺸﻮد ًة دامئﺔ ﰲ ﻛﻞ ﺣﻔﻼﺗﻬﻢ‪.‬‬

‫‪ ǽƓōǙǷǔşƂ ƃƳǶ ǛǘƟ‬‬ ‫‪ɲ‬‬ ‫‪ɲ‬‬ ‫‪ ƉǘũǹǙ ƈǷƞżǕ ǽƳōǂŭǶ‬‬ ‫‪ɲ‬‬ ‫}‪ ƝǥōǜǘǕŌ mŪȎŬǕŌ ŦŌŋȎǕŌ‬‬ ‫‪1967 ǳƒǈǝ ŝǂƫ ǓǾȃŌƉƓȑ‬‬

‫‪ ǲƉǾƒǙ ǚŐ ƕǥƃǘǕŌ‬‬ ‫‪ ŦŐƃş ǳǿƉƪƖǕŌ ƈǷŞƚǕŌƃŞƫ‬‬ ‫‪ mŋōǂǕ} ǣũƃǾƚǂƳ ɐŋōǜƮǕōş‬‬ ‫‪ ǒōǘǉ ƈōǂǾƓǷǘǕŌ ōǤǜżǕ ǽŨǕŌ‬‬ ‫‪ ǗǾǔżǕŌ ƃŞƫ ōǥōǜƯǶ ǓǿǷƢǕŌ‬‬ ‫‪ ŦōǾǜƯŐ ǻǕǶŐ ŧǝōǉ ƥƳōŽ‬‬ ‫‪ǳƫŌƄȑōş ǣũƊōŵŒ ƃƪş ŝǾǕƃǜƪǕŌ‬‬

‫إﺧﻀﺎع ﻛﻠامﺗﻪ ﻟﻠﻐﻨﺎء‪ ،‬ﻫﻮ اﻟﺬي ﻛﺎن‬ ‫ﺟﻮﻫﺮ ﻣﴩوﻋﻪ اﻟﺸﻌﺮي واﳌﴪﺣﻲ‬ ‫اﻟﺘﺨﻠﺺ ﻣﻦ اﻟﻐﻨﺎﺋﻴﺔ ﻟﺼﺎﻟﺢ اﻟﺪراﻣﺎ‪،‬‬ ‫واﻟﺘﺤﺮر ﻣﻦ أﻛرث أوزان اﻟﺸﻌﺮ اﻟﻘﺪﻳﻢ‬ ‫وﻗﻮاﻓﻴﻪ‪ ،‬وﻫــام أﻫــﻢ ﴍوط ﻧﺼﻮص‬ ‫اﻟﻐﻨﺎء‪ ،‬ﺣﺘﻰ أن اﻟﻌﻘﺎد ﰲ ﻣﻮﺿﻊ ﻫﺠﻮﻣﻪ‬ ‫ﻋﲆ اﻟﺸﻌﺮ اﻟﺤﺮ اﳌﻨﺴﻮب ﻟﻌﺒﺪ اﻟﺼﺒﻮر‪،‬‬ ‫وﺻﻔﻪ ﺑﺄﻧﻪ ﻛﺎﻟﻐﻨﺎء ﺑﻼ أﻧــﻐــﺎم‪ .‬ﻟﻜﻦ‬ ‫اﳌﺪﻫﺶ أن ﻣﺴرية ﻋﺒﺪاﻟﺼﺒﻮر اﻟﺸﻌﺮﻳﺔ‬ ‫ﺑﺪأت ﺑﺎﻟﻐﻨﺎء‪ ،‬ﻓﻘﺼﻴﺪﺗﻪ "ﻟﻘﺎء" اﻟﺘﻲ‬ ‫‪ǗǾǔżǕŌ ƃŞƫ ŋōǂǕ‬‬ ‫ﻫﻜﺬا أﺻﺒﺢ ﻋﺒﺪ اﻟﺼﺒﻮر ﺟﺰءاً ﻣﻦ ﺗﺮاث ﻟﺤﻨﻬﺎ اﳌﻮﺳﻴﻘﺎر ﻛامل اﻟﻄﻮﻳﻞ وﻏﻨﺎﻫﺎ‬ ‫اﻷﻏﻨﻴﺔ اﻟﻮﻃﻨﻴﺔ اﻟﺴﻮداﻧﻴﺔ‪ ،‬رﻏﻢ ﺻﻌﻮﺑﺔ ﻋﺒﺪ اﻟﺤﻠﻴﻢ ﺣﺎﻓﻆ ﻣﺎ ﺑني ﻋﺎﻣﻲ ‪1951‬‬

‫و‪ ،1952‬وﻛﺎﻧﺖ أوﱃ أﻏﻨﻴﺎت اﻟﻌﻨﺪﻟﻴﺐ‬ ‫ﺑﻌﺪ إﺟﺎزﺗﻪ ﺑﺎﻹذاﻋﺔ‪ ،‬ﻛﺎﻧﺖ أﺳﺒﻖ ﻣﻦ‬ ‫ﻗﺼﻴﺪة "ﺷﻨﻖ زﻫــﺮان" أوﱃ ﻗﺼﺎﺋﺪه‬ ‫اﳌﻨﺸﻮرة ﺑﺎﻟﺼﺤﻒ ﻋﺎم ‪ ،1954‬وﺑﺎﻛﻮرة‬ ‫إﻧﺘﺎﺟﻪ ﰲ اﻟﺸﻌﺮ اﻟﺤﺮ‪ ،‬اﻟﺘﻲ ﻟﻔﺘﺖ إﻟﻴﻪ‬ ‫اﻷﻧﻈﺎر ووﺷﺖ ﺑﻜﺜ ٍري ﻣﻦ ﻣﻼﻣﺢ ﺗﻴﺎره‬ ‫واﺗﺠﺎﻫﻪ اﻟﺸﻌﺮي اﻟﺠﺪﻳﺪ‪.‬‬ ‫وﺗﺨﺘﻠﻒ اﻟﺮواﻳﺎت ﺣﻮل ﻃﺮﻳﻘﺔ وﺻﻮل‬ ‫ﻫﺬه اﻟﻘﺼﻴﺪة ﻟﻌﺒﺪ اﻟﺤﻠﻴﻢ‪ ،‬إذ ﻳﺮد ﺿﻤﻦ‬ ‫ﺳرية ﺻﻼح ﻋﺒﺪ اﻟﺼﺒﻮر ﻋﲆ اﻹﻧﱰﻧﺖ‪ ،‬أن‬ ‫اﳌﻄﺮب اﻟﺬي ﻛﺎن وﻗﺘﻬﺎ ﰲ ﺑﺪاﻳﺔ ﻣﺸﻮاره‪،‬‬ ‫ﻛﺎن ﻳﻠﺘﻘﻲ ﺑﺼﺪﻳﻘﻴﻪ وﺑﻠﺪﻳﺎﺗﻪ اﻟﺸﺎﻋﺮﻳﻦ‬ ‫ﺻﻼح ﻋﺒﺪ اﻟﺼﺒﻮر وﻣﺮﳼ ﺟﻤﻴﻞ ﻋﺰﻳﺰ‬ ‫ﻋﲆ ﻣﻘﻬﻰ اﻟﻄﻠﺒﺔ مبﺪﻳﻨﺔ اﻟﺰﻗﺎزﻳﻖ‪،‬‬ ‫ﻓﻄﻠﺐ ﻋﺒﺪ اﻟﺤﻠﻴﻢ ﻣﻦ ﻋﺒﺪ اﻟﺼﺒﻮر‬ ‫ﻗﺼﻴﺪ ًة ﻳﺘﻘﺪم ﺑﻬﺎ ﻟﻺذاﻋﺔ وﺳﻴﻠﺤﻨﻬﺎ ﻟﻪ‬ ‫ﻛامل اﻟﻄﻮﻳﻞ ﻓﻤﻨﺤﻪ "ﻟﻘﺎء"‪.‬‬ ‫ﻗﺪﻳﻢ‬ ‫ﺗﻠﻴﻔﺰﻳﻮين‬ ‫ﺣﺪﻳﺚ‬ ‫ﺑﻴﻨام ﺟﺎء ﰲ‬ ‫ٍ‬ ‫ٍ‬ ‫ٍ‬ ‫ﻋﲆ ﻟﺴﺎن اﻹذاﻋﻲ اﻟﺮاﺣﻞ ﺣﺎﻓﻆ ﻋﺒﺪ‬ ‫اﻟﻮﻫﺎب اﻟﺬي ﺗﺒﻨﻰ ﻋﺒﺪ اﻟﺤﻠﻴﻢ وﻣﻨﺤﻪ‬ ‫اﺳﻤﻪ "ﺣﺎﻓﻆ" وﻛــﺎن اﺳﻤﻪ ﻗﺒﻞ ﻋﺒﺪ‬ ‫اﻟﺤﻠﻴﻢ ﺷﺒﺎﻧﺔ‪ ،‬أن ﻛامل اﻟﻄﻮﻳﻞ ﻫﻮ ﻣﻦ‬ ‫ﺗﻘﺪم ﺑﻘﺼﻴﺪة ﻋﺒﺪ اﻟﺼﺒﻮر ﻟﻺذاﻋﺔ ﻟﺘﺠﻴﺰ‬ ‫ﻟﻪ ﺗﻠﺤﻴﻨﻬﺎ‪ ،‬ﻓﺎﺷﱰط ﻋﻠﻴﻪ ﺣﺎﻓﻆ ﻋﺒﺪ‬ ‫اﻟﻮﻫﺎب أن ﻳﻘﻮم ﺑﻐﻨﺎﺋﻬﺎ ﻋﺒﺪ اﻟﺤﻠﻴﻢ‪،‬‬ ‫اﻟﺬي اﻋﺘﻤﺪﺗﻪ اﻹذاﻋــﺔ ﻣﻄﺮﺑﺎً‪ ،‬ﺑﻌﺪﻣﺎ‬ ‫أﺣﺴﻦ أداء أﻏﻨﻴﺔ "ﻳﺎ ﺗﱪ ﺳﺎﻳﻞ ﻋﺎﻟﺸﻄني‬ ‫ﻳﺎ ﺣﻠﻮ ﻳﺎ أﺳﻤﺮ" أﻣﺎم اﻟﻠﺠﻨﺔ اﻟﺘﻲ ﻛﺎن‬ ‫ﻣﻦ ﺑني أﻋﻀﺎﺋﻬﺎ أم ﻛﻠﺜﻮم وﻋﺒﺪ اﻟﻮﻫﺎب‪،‬‬ ‫واﻟﻘﺼﺒﺠﻲ واﻟﺴﻨﺒﺎﻃﻲ وأﺷـــﺎدوا ﺑﻪ‬ ‫ﻣﺘﻮﻗﻌني ﻟﻪ ﻣﺴﺘﻘﺒ ًﻼ ﻋﻈﻴ ً‬ ‫ام‪.‬‬ ‫اﻟﺮواﻳﺔ اﻟﺜﺎﻟﺜﺔ ﺗﻌﺰز رواﻳﺔ ﺣﺎﻓﻆ ﻋﺒﺪ‬ ‫اﻟــﻮﻫــﺎب‪ ،‬وﺗــﻘــﻮل إن اﻷﻏﻨﻴﺔ ﻟﺤﻨﻬﺎ‬ ‫اﳌﻮﺳﻴﻘﺎر ﻛامل اﻟﻄﻮﻳﻞ ووزﻋﻬﺎ ﻓﺆاد‬ ‫اﻟﻈﺎﻫﺮي ﻟﺘﻐﻨﻴﻬﺎ ﻣﻄﺮﺑﺔ ﰲ ذﻟﻚ اﻟﻮﻗﺖ‬ ‫ﺗﺴﻤﻰ ﻣﺪﻳﺤﺔ ﻋﺒﺪ اﻟﺤﻠﻴﻢ‪ ،‬ﻟﻜﻨﻬﺎ ﻓﺸﻠﺖ‬ ‫ﰲ أداﺋﻬﺎ متﺎﻣﺎً‪ ،‬ﻓﺂﻟﺖ اﻷﻏﻨﻴﺔ ﻟﻌﺎزف‬ ‫اﻟﺸﻌﺮ ‪baytelshear‬‬ ‫ﺑﻴﺖ ِ‬

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‫‪Ĝšřņ ¯ ĬšĸŌ‬‬

‫‪ǳǾǜƣǷǕŌ ǣũƂǷƖǝŐ ǚŌƂǷƒǕŌ ŧżǜǙǶ ŝǾǕƃǜƪǕŌ ǁǿƉƣ ŧǘƓƈ‬‬

‫»ﻟﻘﺎء« و«ﺳﻤﺮاء« أﻏﻨﻴﺎت ﻣﻨﺴﻴﺔ ﻟﺼﻼح ﻋﺒﺪ اﻟﺼﺒﻮر‬ ‫ﻋﺰة ﺣﺴﻴﻦ‬

‫"ﻣﺎﻣﺒﻮ إﻳﺘﺎﻟﻴﺎﻧﻮ"‪.‬‬ ‫وﻗﺘﻬﺎ ﺷﻌﺮ ﺧﻠﻴﻔﺔ أن ﻫﺬه اﳌﻮﺳﻴﻘﻰ‬ ‫إﻓﺮﻳﻘﻴﺔ‪ ،‬ﺳﻮداﻧﻴﺔ ﺑــﺎﻷﺳــﺎس‪ ،‬ﺗﻨﺘﻤﻲ‬ ‫ﻟﻠﺠﻨﻮب وﻟﺼﺨﺐ إﻳﻘﺎﻋﺎﺗﻪ أﻛرث ﻣﺎ ﺗﻨﺘﻤﻲ‬ ‫ﻷي ﻣﻜﺎنٍ آﺧﺮ ﺑﺎﻟﻌﺎمل‪ .‬وﺑﻠﻐﺔ ﺗﻘﺮﻳﺮﻳﺔ‬ ‫واﺿﺤﺔ ﺗﺮﺟﻢ ﺻﺪﻳﻘﻪ اﻟﺸﺎﻋﺮ ﻋﺒﺪ اﳌﻨﻌﻢ‬ ‫ﻋﺒﺪ اﻟﺤﻲ ﻫﺬه اﻟﻔﻜﺮة ﰲ اﻷﻏﻨﻴﺔ اﻟﺘﻲ‬ ‫ﺟﺎء ﻣﻄﻠﻌﻬﺎ‪" :‬اﳌﺎﻣﺒﻮ ده ﺳﻮداين‪ /‬اﳌَﺎ ْﻣ ُﺒﻮ‬ ‫ﰲ ِﻛ َﻴ ِﺎين‪ /‬ﰲ ﻋُ ﻮ ِدي و َﻛ َام ِين"‪.‬‬ ‫أﻣﺎ ﻗﺼﻴﺪة ﺻﻼح ﻋﺒﺪ اﻟﺼﺒﻮر ﻓﻜﺎﻧﺖ‬ ‫وﻟﻴﺪة ﺻﺪﻓ ٍﺔ ﻧﺎدر ٍة‪ ،‬زار ﺧﻼﻟﻬﺎ اﻟﺸﺎﻋﺮ‬ ‫دﺑﻠﻮﻣﺎﳼ‬ ‫ﻣﺪﻳﻨﺔ اﻟﺨﺮﻃﻮم ﺿﻤﻦ وﻓ ٍﺪ‬ ‫ٍ‬ ‫وﺛﻘﺎﰲ ﻟﺤﻀﻮر ﻣﺆمتﺮ "اﻟﻼءات اﻟﺜﻼث"‬ ‫ٍ‬ ‫اﳌﻨﺎﻫﺾ ﻹﴎاﺋﻴﻞ ﻋﻘﺐ ﻧﻜﺴﺔ ‪.1967‬‬

‫اﻟﺬﻳﻦ ﺷﺎﻫﺪوا اﳌﻄﺮب اﻟﺴﻮداين اﻟﺸﻬري‬ ‫ﺳﻴﺪ ﺧﻠﻴﻔﺔ أو اﺳﺘﻤﻌﻮا إﻟﻴﻪ‪ ،‬أول ﻣﺮ ٍة‪،‬‬ ‫ﻳﺆدي أﻏﻨﻴﺘﻪ اﻟﺠﻤﻴﻠﺔ "ﻳﺎ ﺳﻤﺮا"‪ ،‬مل ﻳﺪر‬ ‫ﺑﺨﻠﺪﻫﻢ أﻧﻪ ﻳﻨﺸﺪ أﻏﻨﻴ ًﺔ وﻃﻨﻴ ًﺔ‪ ،‬ﻣﺆﻟﻔﻬﺎ‬ ‫أﺣــﺪ أﻫــﻢ رواد اﻟﺤﺪاﺛﺔ اﻟﺸﻌﺮﻳﺔ ﰲ‬ ‫ﻣﻨﺘﺼﻒ اﻟﻘﺮن اﳌﺎﴈ؛ اﻹﻳﻘﺎع اﻟﺮاﻗﺺ‬ ‫واﻷداء اﳌﴪﺣﻲ اﳌﺘﻔﺮد اﻟﺬي ﺻﺎﺣﺐ‬ ‫ﻛﻠامت ﻣﻦ ﻗﺒﻴﻞ "اﻟﺴﺎﻣﺒﺎ‪ ،‬واﻟﺮوﻣﺒﺎ‪،‬‬ ‫واﻟﺘﺎﻧﺠﻮ‪ ،‬وﺳﻮﻳﻨﺠﻮ" ﺟﻌﻼ اﻟﻘﺼﻴﺪة اﻟﺘﻲ‬ ‫ﻛﺘﺒﻬﺎ اﻟﺸﺎﻋﺮ اﳌﴫي ﺻﻼح ﻋﺒﺪ اﻟﺼﺒﻮر‪،‬‬ ‫وﺷﺪا ﺑﻬﺎ ﺳﻴﺪ ﺧﻠﻴﻔﺔ أواﺧﺮ اﻟﺴﺘﻴﻨﻴﺎت‪،‬‬ ‫ﺗﺒﺪو ــ أول وﻫﻠ ٍﺔ ــ ﻛﺄﻧﻬﺎ اﻣﺘﺪاد ﻷﻏﻨﻴﺔ‬ ‫ﺳﻴﺪ أو متﻴﻤﺔ ﺷﻬﺮﺗﻪ واﻋﺘامده ﺑﺎﻹذاﻋﺔ‬ ‫اﳌﴫﻳﺔ أواﺋﻞ اﻟﺨﻤﺴﻴﻨﻴﺎت "اﳌﺎﻣﺒﻮ"‪žƊƉŞǕŌ ǲƃǾƚǃ ،‬‬ ‫واﻟﺘﻲ ﻧﺒﺘﺖ ﻓﻜﺮﺗﻬﺎ ﺑﻌﺪ ﻣﺸﺎﻫﺪﺗﻪ ﻣﻦ ﻣﺠﻠﺴﻪ ﰲ ﺳﺎﺣﺔ ﻓﻨﺪق "ﺟﺮاﻧﺪ‬ ‫ﻟﻠﻔﻴﻠﻢ اﻹﻳﻄﺎﱄ "‪ "Anna‬ﻋﺎم ‪ ،1951‬أوﺗﻴﻞ" اﻟﻌﺮﻳﻖ‪ ،‬ﺗﺄﻣﻞ ﻋﺒﺪ اﻟﺼﺒﻮر أﻣﻮاج‬ ‫وﻏﻨﺎء ﺑﻄﻠﺘﻪ ﺳﻴﻠﻔﺎﻧﺎ ﻣﺎﻧﺠﺎﻧﻮ ﻷﻏﻨﻴﺔ اﻟﻨﻴﻞ اﻷزرق اﻟﻘﺎدﻣﺔ ﻣﻦ أﻗﴡ ﴍق‬

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‫اﻟﻌﺪد ‪ ، 73‬دﻳﺴﻤﺒﺮ ‪2018‬‬

‫اﻟﻘﺎرة اﻹﻓﺮﻳﻘﻴﺔ‪ ،‬ﺑﺎﺗﺠﺎه ﻣﻘﺮن اﻟﻨﻴﻠني‪،‬‬ ‫ﺣﻴﺚ ﺗﻠﺘﻘﻲ ﻣﻴﺎه اﻟﻨﻴﻞ اﻷﺑﻴﺾ ﻗﺎدﻣ ًﺔ‬ ‫ﻣﻦ ﺑﺤرية ﻓﻴﻜﺘﻮرﻳﺎ اﻟﻌﻈﻤﻰ ﰲ ﻧﻘﻄ ًﺔ‬ ‫ﺗﺤﻤﻞ ﺑﺪورﻫﺎ اﺳ ًام ﺷﺎﻋﺮﻳﺎً ﻫﻮ اﻟﱪزخ‪،‬‬ ‫ﻓﻴﻤﺘﺰﺟﺎن ﻟﻴﻜﻮﻧﺎ ﻧﻬﺮ اﻟﻨﻴﻞ اﻟﻌﻈﻴﻢ‪.‬‬ ‫ﻣﺸﻬﺪٌ ﺑﻜﻞ ﻫﺬه اﻟﺒﻬﺠﺔ واﻟﺸﺎﻋﺮﻳﺔ‪،‬‬ ‫ﻣﻔﻌﻢ ﺑﺎﻟﻮﺟﺪ واﻟﺤﺮﻛﺔ واﻟﺪراﻣﺎ‪ ،‬اﺳﺘﺜﺎر‬ ‫ﻣﺸﺎﻋﺮ ﺻﺎﺣﺐ "ﻣﺄﺳﺎة اﻟﺤﻼج" ﻓﻜﺘﺐ‬ ‫ﻗﺼﻴﺪة "ﺳﻤﺮاء"‪ :‬ﻻ اﻟﺴﺎﻣﺒﺎ وﻻ اﻟﺮوﻣﺒﺎ‬ ‫ﺗﺴﺎوﻳﻬﺎ‪ /‬وﻻ اﻟﺘﺎﻧﺠﻮ وﻻ اﻟﺴﺎﻧﺠﻮ ﻳﺪاﻧﻴﻬﺎ‪/‬‬ ‫وﻻ ﻃﺒﻞ ﻟﺪى اﻟﻌﺮﺑﺎن ﻳﻮم اﻟﺜﺄر‪ /‬وﻻرﻗﺺ‬ ‫اﻟﻬﻨﻮد اﻟﺤﻤﺮ ﺣﻮل اﻟﻨﺎر‪ /‬وﻻ ﻫﺬي وﻻ‬ ‫ﺗﻠﻚ ﺗﺴﺎوي رﻗﺼﺔ اﻟﺨﺮﻃﻮم ﻳﻮم اﻟﻨﴫ‬ ‫ﻳﺎﺳﻤﺮا‪..‬‬ ‫ﻫام ﻧﻬﺮان ﰲ ﻣﺠﺮى‪ /‬ﺗﺒﺎرك ذﻟﻚ اﳌﺠﺮى‪/‬‬ ‫ﻓﻴﻤﻨﺎه ﻋﲆ اﻟﻴﴪى‪ /‬وﻳﴪاه ﻋﲆ اﻷﺧﺮى‪..‬‬ ‫وﻫﺬا اﻷزرق اﻟﻌﺎيت ﺗﺪﻓﻖ ﺧﺎﻟﺪاً ﺣﺮا‪/‬‬ ‫وذاك اﻷﺑﻴﺾ اﻟﻬﺎدي ﻳﻀﻢ اﻷزرق اﻟﺼﺪرا‪/‬‬ ‫ﻓام اﻧﻔﺼﻼ وﻻ اﻧﺤﴪا‪ /‬وﻻ اﺧﺘﻠﻔﺎ وﻻ‬

‫ﺛﻢ ﺑﺎع ﻣﻜﺘﺒﺘﻪ‬ ‫ﺛﻢ ﻳﺮﻓﻊ ﺻﻮﺗﻪ ﰲ ﻋﺒﺎرة ﻻميﻞ ﻣﻦ ﺗﻜﺮارﻫﺎ‪:‬‬ ‫"ﺑﻴﺖ ﺑﻼ ﻣﻜﺘﺒﺔ ﺻﺤﺮاء ﻗﺎﺣﻠﺔ"‬ ‫وﻋﲆ اﻟﺮﻏﻢ ﻣﻦ ﻛرثة اﳌﻜﺘﺒﺎت ﰲ ﺷﺎرع اﳌﺘﻨﺒﻲ إﻻ أن اﻟﺸﻄﺮي ﻛﺎن‬ ‫ﻳﺘﻤﻴﺰ وﺳﻂ اﻟﺠﻤﻴﻊ مبﺰاده اﻟﻌﻠﻨﻲ اﻷﺳﺒﻮﻋﻲ اﻟﺬي ﻳﻘﻮل إﻧﻪ أﺧﺬ‬ ‫ﻓﻜﺮﺗﻪ ﻣﻦ اﻟﻨﺠﻔﻴني‪.‬‬ ‫ﻳﻘﻮل اﻟﺸﻄﺮي‪ :‬ﻣﺰادي اﻷول ﻋﻨﺪﻣﺎ ﺑﺪأ أول ﻣﺮة ﻛﺎن أﻋﺠﻮﺑﺔ ﺑني‬ ‫اﻟﻨﺎس‪.‬‬ ‫ومل ﻳﺘﻮﻗﻒ ﻧﺸﺎط اﻟﺸﻄﺮي ﻋﻨﺪ ﺣﺪود ﺑﻴﻊ وﴍاء اﻟﻜﺘﺐ‪ ،‬وإمنﺎ‬ ‫ﺟﺮب أﻛرث ﻣﻦ ﻣﺮة أن ﻳﻜﻮن ﻧﺎﴍاً‪.‬‬ ‫وﻓﻀ ًﻼ ﻋﻦ اﻣﺘﻬﺎﻧﻪ ﻟﺘﺠﺎرة اﻟﻜﺘﺐ ﻓﺈن اﻟﺸﻄﺮي ﻗﺎرئ ﻧﻬﻢ‪..‬‬ ‫اﺳﺘﻤﺮ اﻟﺸﻄﺮي ﰲ ﺑﻴﻊ اﻟﻜﺘﺐ ﺣﺘﻰ وﻓﺎﺗﻪ ﻋﺎم ‪ ،2012‬وﻛﺎن ﻳﻠﻘﺐ‬ ‫ﺑـ ) ﺑﻠﺒﻞ ﺷﺎرع اﳌﺘﻨﺒﻲ (‪.‬‬ ‫أوﴅ ﺑﺄن ﻳﺘﻢ ﺗﺸﻴﻴﻌﻪ ﰲ ﺷﺎرع اﳌﺘﻨﺒﻲ وﻟﻴﺲ ﰲ أي ﻣﻜﺎن آﺧﺮ‪ ،‬وﻗﺪ‬ ‫ﺟﻌﻞ اﻟﻨﺎس ﻳﺤﻔﻈﻮن ﻋﻨﻪ ﻫﺬا اﻟﺒﻴﺖ‪:‬‬ ‫‪b@@ @ @ @ @ @ £@ @ +&b@ @ ~@ @ 6 ¤@@ @ @ @ @ @ @ @ F* ¤@@ @ @ @ @ @ ; b@@ @ @ @ @Cb@@ @ @ @ @E‬‬ ‫‪Á¡@@ @ @ J2 ¡@@ @m@ @ ~@ @ z@ @ Db@@ @+ ¤@@ @ @ @ -v@@ @ @ @ 1 (*H‬‬

‫اﻟﺸﻌﺮ ‪baytelshear‬‬ ‫ﺑﻴﺖ ِ‬

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‫ ‪ĮńĵŒ ŗšĽĘı‬‬

‫‪ǽŞǜŨǘǕŌ ƨƈōƗ ǓŞǔş‬‬

‫اﻟﺸﻄﺮي‪ :‬ﺑﻴﺖ ﺑﻼﻣﻜﺘﺒﺔ ﻫﻮ ﺻﺤﺮاء ﻗﺎﺣﻠﺔ‬ ‫ﻋﻠﻲ اﻟﻤﺴﻌﻮدي‬

‫ﻣﺎت وﻫﻮ ﻳﺤﻤﻞ ﺑﻴﺪه ﻛﺘﺎﺑﺎً وﻋﺒﺎرة ﻣﻜﺒﻮﺗﺔ ﰲ ﻗﻠﺒﻪ‬ ‫ﻫﻮ ﻣﺰﻳﺞ ﻣﻦ ﺷﺎﻋﺮ وﻛﺎﺗﺐ وﻧﺎﴍ‪ ..‬ﻟﻜﻨﻪ أﻗﺪم اﻟﻮ ّراﻗني وأﺷﻬﺮ ﺑﺎﺋﻊ‬ ‫ﻛﺘﺐ ﰲ ﻫﺬا اﻟﺸﺎرع اﻟﺬي ﻛﺎن ﻋﻼﻣﺔ ﻓﺎرﻗﺔ ﻣﻦ ﻋﻼﻣﺎﺗﻪ وﺣﺎﻧﻮﺗﻪ‬ ‫اﻟﺼﻐري اﻟﺬي ﺻﺎر ﻗﺒﻠﺔ اﻟﺒﺎﺣﺜني ﻋﻦ اﻟﻜﺘﺎب واﻟﺜﻘﺎﻓﺔ واﻟﻄﺒﻌﺎت‬ ‫اﻟﻨﺎدرة‪.‬‬ ‫ميﺎزﺣﻪ اﻟﺤﺎﴐون ﺑﺒﻴﺖ ﺷﻌﺮ ﻣﻦ ﻓﻦ اﻟﺪارﻣﻲ اﻟﻌﺮاﻗﻲ اﳌﻌﺮوف‪:‬‬ ‫‪ e*w@@ @ C h@@ @ @ F* @@ @ @ C @@ @ @ J5 @@ @ @ @ @J @@ @ E @@ @ C‬‬ ‫*‪ eb@@g@ C @@ Jb@@ + b@@ @E ¡@@ c@ @~@ @6* 4b@@ ~@ @8 ¥x@@ @ ~@ {@ D‬‬ ‫ﻛﻤﻴﺔ ﻣﱰاﻛﻤﺔ ﻣﻦ اﻟﻜﺘﺐ‪ ،‬أوراق ﺻﻔﺮاء‪ ،‬أﻣﻬﺎت ﻛﺘﺐ‪ ،‬ﻣﺠﻠﺪات‬ ‫ﻣﺘﺂﻛﻠﺔ‪ ،‬ﰲ ﻓﻨﻮن وﻣﺠﺎﻻت ﺷﺘﻰ‪ ..‬ﻳﺘﺤﻠﻖ ﺣﻮﻟﻬﺎ اﻟﻨﺎس‪ ..‬ﰲ ﺷﺎرع‬ ‫ﻣﺘﻔﺮع ﻣﻦ ﺷﺎرع اﻟﺮﺷﻴﺪ ﰲ ﺑﻐﺪاد‪ ..‬ذاك ﻫﻮ ﺷﺎرع اﳌﺘﻨﺒﻲ‪ ،‬وﻳﻨﻬﺾ‬ ‫ﻓﻮق اﻟﻜﺘﺐ رﺟﻞ ﻛﺎن ﻫﻮ اﻷﺷﻬﺮ ﻋﲆ ﻣﺪى ﺧﻤﺴني ﻋﺎﻣﺎً‪ ..‬ﺣﺘﻰ‬ ‫أﺻﺒﺢ ﻋﻼﻣﺔ ﻣﻦ ﻋﻼﻣﺎت ﺗﺠﺎرة اﻟﻜﺘﺎب ﰲ اﻟﻌﺮاق‪ ..‬ذﻟﻚ ﻫﻮ‬ ‫"أﺑﻮرﺑﻴﻊ" ﻧﻌﻢ اﻟﺸﻄﺮي" )ﻧﺴﺒﺔ اﱃ اﻟﺸﻄﺮة إﺣﺪى أﻗﻀﻴﺔ ﻣﺪﻳﻨﺔ‬ ‫اﻟﻨﺎﴏﻳﺔ" ‪ ..‬ﻳﺼﺪح ﺑﺼﻮﺗﻪ اﻟﻌﺬب اﻟﺰﻳﻦ‪ ..‬ﺷﻄﺮ ﺑﻴﺖ‪:‬‬ ‫)ﻃﻮىب ﳌﻦ ﻛﺎن ﺳﻤري ﺣﻴﺎﺗﻪ اﻟﻜﺘﺎب(‬ ‫وﻳﺤﻤﻞ ﺑني ﻳﺪﻳﻪ ﻛﺘﺎب‪..‬‬ ‫ﺗﺒﺪو ﰲ وﺟﻬﻪ ﻣﻼﻣﺢ ﺗﻌﺐ وﺣﺰن‪ ..‬وﰲ ﺻﻮﺗﻪ ﺗﺨﺘﺒﺊ آﻻف اﻟﻘﺼﺎﺋﺪ‬ ‫اﻟﻌﺮﺑﻴﺔ‪.‬‬ ‫إﻧﻪ ﻣﺰاد أﺑﻮ رﺑﻴﻊ اﻷﺳﺒﻮﻋﻲ ﻟﻠﻜﺘﺐ اﳌﺴﺘﻌﻤﻠﺔ‪ ،‬اﻟﺬي أﺻﺒﺢ أﺣﺪ‬ ‫أﺑﺮز ﻣﻌﺎمل ﺷﺎرع اﳌﺘﻨﺒﻲ‪ ،‬ﺷﺎرع اﻟﺜﻘﺎﻓﺔ واﻷدب وﺳﻂ ﺑﻐﺪاد ‪ ..‬ﻫﺬا‬ ‫اﻟﺸﺎرع ﻛﺎن ﺟﺰءاً ﻣﻦ روﺣﻪ‪ ،‬وﻫﻮ ﻳﻘﻮل‪:‬‬ ‫ﻫﺬا اﻟﺸﺎرع ﻧﺸﺄ ﺑﻌﺪ اﻟﺤﺼﺎر‪ ،‬أﻧﺎ اﻟﺬي أوﺟﺪﺗﻪ‪ ،‬وﻛﺜري ﻣﻦ اﻟﻌﻠامء‬ ‫واﳌﺜﻘﻔني ﻣﻘﺮﻫﻢ ﻫﺬا اﻟﺸﺎرع‪.‬‬ ‫اﺑﻦ اﻟﻨﺎﴏﻳﺔ اﳌﻠﻮح ﺑﺎﻟﻜﺘﺐ ﻟﻠامرة‪ :‬ﺑﻔﻠﺲ ﺑﻔﻠﺴني؟؟‬ ‫‪..‬‬ ‫ﻣﻌﺎﻧﺎة ﻛﺒرية ﻣﻊ اﻟﻜﺘﺎب وﺑﺮﻓﻘﺘﻪ ﺧﺎﺿﻬﺎ ذﻟﻚ اﻟﺮﺟﻞ اﻟﻨﺎدر‪ ..‬وﻛﺎن‬ ‫ﻳﺪﻋﻮ اﻟﻨﺎس ﻟﻠﻘﺮاءة أﻛرث ﻣام ﻳﺪﻋﻮﻫﻢ ﻟﻠﴩاء‪ ..‬ﺣﺘﻰ أﻧﻪ وﻫﻮ ﻳﻘﻒ‬ ‫ﻓﻮق أﻛﻮام اﻟﻜﺘﺐ ﻳﺘﻌﺎﻣﻞ ﻣﻊ اﻟﺰﺑﺎﺋﻦ‪ ..‬ﻳﻠﻤﺢ أﺣﺪﻫﻢ ميﺪ ﻳﺪه‬ ‫وﻳﴪق ﻛﺘﺎﺑﺎً‪ ..‬ﻓﻴﺘﻐﺎﻓﻞ ﻋﻨﻪ اﻟﺸﻄﺮي‪ ..‬ﺗﺸﺠﻴﻌﺎً ﻣﻨﻪ ﻋﲆ اﻟﻘﺮاءة‬ ‫وﺗﻘﺪﻳﺮاً ﻟﻈﺮوف اﻟﺴﺎرق‪.‬‬

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‫اﻟﻌﺪد ‪ ، 73‬دﻳﺴﻤﺒﺮ ‪2018‬‬

‫ﺑﺪأت ﺣﻜﺎﻳﺔ اﻟﺸﻄﺮي ﻣﻊ اﻟﻜﺘﺐ ﻣﻨﺬ اﻟﻄﻔﻮﻟﺔ‪ ،‬ﺣني ﺗﺮك ﻣﺪﻳﻨﺘﻪ‬ ‫اﻟﺠﻨﻮﺑﻴﺔ اﻟﺼﻐرية اﻟﺸﻄﺮة إﱃ أﺳﻮاق اﻟﻜﺘﺐ ﰲ ﺑﻐﺪاد واﻟﺒﴫة‬ ‫واﻟﻨﺠﻒ ‪...‬‬ ‫ﻟﺘﺒﺪأ ﻋﻼﻗﺘﻪ ﺑﺎﳌﻜﺘﺒﺎت ﻣﻦ ﻣﺪﻳﻨﺔ اﻟﻨﺠﻒ ﻣﺪﻳﻨﺔ اﻟﺸﻌﺮاء‪ ،‬اﻟﺘﻲ‬ ‫ﻗﺎدﺗﻪ اﱃ ﺳﻮق اﻟﻜﺘﺒﻴني اﻟﺒﻐﺪادي‪.‬‬ ‫اﻧﺘﻘﻞ اﻟﺸﻄﺮي إﱃ اﻟﻌﺎﺻﻤﺔ ﺑﻐﺪاد ﺑﺪاﻳﺔ ﺳﺘﻴﻨﻴﺎت اﻟﻘﺮن اﳌﺎﴈ‬ ‫واﻓﺘﺘﺢ ﻣﻜﺘﺒﺘﻪ ﰲ ﺷﺎرع اﳌﺘﻨﺒﻲ ﻋﺎم ‪.1966‬‬ ‫وﻋﺮف ﻋﻦ اﻟﺸﻄﺮي ﻧﺸﺎﻃﻪ اﻟﻴﺴﺎري وﻣﺴﺎﻫامﺗﻪ ﰲ ﻃﺒﺎﻋﺔ وﻧﴩ‬ ‫ﻛﺘﺐ ﻣﻤﻨﻮﻋﺔ‪.‬‬ ‫وﻳﻌﺪ ﺷﺎرع اﳌﺘﻨﺒﻲ اﳌﺘﻔﺮع ﻣﻦ ﺷﺎرع اﻟﺮﺷﻴﺪ ﺑﺎﺗﺠﺎه ﻧﻬﺮ دﺟﻠﺔ‪،‬‬ ‫اﻣﺘﺪاداً ﻟﺴﻮق اﻟﻜﺘﺒﻴني ﰲ ﺑﻐﺪاد اﻟﻌﺒﺎﺳﻴﺔ ‪ ..‬وﻗﺪ ﻋﺮف ﰲ اﻟﻌﻬﺪ‬ ‫اﻟﻌﺜامين ﺑﺎﺳﻢ ﺷﺎرع )اﻛﻤﻚ ﺧﺎﻧﻪ( أي ﺷﺎرع اﳌﺨﺒﺰ اﻟﻌﺴﻜﺮي إﻻ‬ ‫اﻧﻪ اﺳﺘﻌﺎد ﻫﻮﻳﺘﻪ ﻣﻊ ﺑﺪاﻳﺎت ﺗﺸﻜﻞ اﻟﺪوﻟﺔ اﻟﻌﺮاﻗﻴﺔ اﻟﺤﺪﻳﺜﺔ ﺑﻌﺪ‬ ‫اﻟﺤﺮب اﻟﻌﺎﳌﻴﺔ اﻷوﱃ‪ ،‬ﺣﻴﺚ ﻛﺎن ﻗﺒﻠﻬﺎ‪ ،‬ﻳﺠﺎور ﻣﻌﻈﻢ ﻣﺆﺳﺴﺎت‬ ‫اﻟﺪوﻟﺔ اﻟﺴﻴﺎﺳﻴﺔ واﻟﻌﺴﻜﺮﻳﺔ آﻧﺬاك ﰲ ﻣﻘﺪﻣﺘﻬﺎ ﴎاي اﻟﺤﻜﻮﻣﺔ‪.‬‬ ‫ﻳﺮدد ﻧﻌﻴﻢ اﻟﺸﻄﺮي اﳌﻘﻮﻟﺔ اﳌﺸﻬﻮرة‪ :‬إن اﻟﻘﺎﻫﺮة ﺗﻜﺘﺐ وﺑريوت‬ ‫ﺗﻄﺒﻊ وﺑﻐﺪاد ﺗﻘﺮأ‪ ،‬ﻳﻘﻮل اﻟﺸﻄﺮي إن اﻟﻌﺮاق ﰲ زﻣﻦ ﻣﻦ اﻷزﻣﺎن‬ ‫ﺟﻤﻊ أﻃﺮاف ﻫﺬه اﳌﻌﺎدﻟﺔ ‪ ..‬ﻟﻜﻨﻪ ﰲ اﻟﺰﻣﻦ اﻷﺧري ﺗﺨﲆ ﻋﻦ ﻣﺠﺪه‬ ‫ﻫﺬا‪ ..‬وﺑﺪأ اﻟﻨﺎس ﻳﺒﻴﻌﻮن ﻣﻜﺘﺒﺎﺗﻬﻢ ﻟﺸﺪة اﻟﻔﻘﺮ‪.‬‬ ‫ﻳﻐﺎﻟﺐ دﻣﻌﺘﻪ‪ ..‬ﻟﻜﻨﻪ ﻻﻳﺴﺘﻄﻴﻊ‪ ،‬ﻳﺠﻬﺶ ﰲ اﻟﺒﻜﺎء وﻫﻮ ﻳﻘﻮل‪:‬‬ ‫اﻟﻌﺮاﻗﻲ ﺑﺎع اﻷواين‬ ‫ﺑﺎع ﻣﻼﺑﺴﻪ‬

‫أﻫﻞ اﻟﺸﻬﺎده‬ 2b@@ @ @ @ ~@ @ {@ @ D* @@ @ @ @ G* b@@ @ @J @@ @ @6H2x@@ @ @ @ @ @ D* f@@ @ @ @ / ¯ 2b@@ @ @ @ ~@ @ 7°* @@ @ @ @ @ 6H4 ¢@@ @ @ @ < *¡@@ g@ @ @ @ £@ @ c@ @ - ¤@@ @ @ @ Db@@ @J 2b@@ @ @ £@ @ @ @ BH e¡@@ @ @ @ @ @ @~@ @ @ @7H 4*2 @@ @ @ @ @ @ + x@@ @ s@ @ @ @ @ @ 2É@@ @£@ @ E v@@ @ @ m@ @ @ @´* ¢@@ @ @ @ @< *¡@@ @ g@ @ @ @ @ @gQ @ @ @0 y@@ @ @ @ @Db@@ @ + 2b@@ @ @ @ ~@ @ @ @ @ 7(°* @@ @p@ @ g@ @ ~@ @ z@ @ - ¤@@ @ @ @ @ @ @D* b@@ @ @ F2¡@@ @ @ @ @ @ @/H 2b@@ @ @g@ @ @ <*H 42 @@ @ @ :¡@@ @ @ D* H2 @@ @ @ @ @ @ @ @ @ @ 0*H4&* 2b@@ @ @ @ @ @ @< ¯ ¢@@ @ @ @ @ @ @: ¤@@ @ @ @ @ @ @ @ @D* ¡@@ @ @ @<¡@@ @ @ @ @ @ @ @ J 2b@@ @ @ @ @ @ - H2 @@ @ @ @ @ @ D b@@ @ £@ @ @ @ @ @ @ @ @D* @@ @ @ @ @ @J*x@@ @ @ @ @ @D*H 2b@@ @ @ @< @@ @ z@ @ @£@ @ @E*¡@@ @ @ @ @D* d@@ @ ~@ @ z@ @ C ¢@@ @ @ @ @< @@ @ @ @ @D 2*v@@ @ @ @/°* 4¡@@ @~@ @ |@ @ < ¤@ R @ ~@ @9b@@ E @@ @ E @@ @ @D 2b@@ @ @ @< 2b@@ @ @ @ JQ x@@ @ @ @ D* rHx@@ @ @ @ ~@ @ @ @ @8* ¡@@ @ @ Q @ @ @ @< b@@ @ @ @A¡@@ @ @ @D* @@ @ @ @E 2*HQ 4 @@ @ @ @ @ @ @ @ @ D*H v@@ @m@ @ @ @ @ @ D *Hv@@ @ @ @ @ @ @= ¢@@ @ g@ @ @ 0 2b@@ @ @ @ B Ì@@ @ @ @ 1 n@@ @ @ @ @ @ F v@@ @ @ @ @ @ @ J*5 n@@ @ @ @ @ @ F ¢@@ @ @ @ @ @ @ @ <H 2b@@ @ @ @ @ @ @¸°* v@@ @ @ £@ @ @ @ @ @ @ @FH t@@ @ @ @ J4b@@ @ @ @ g@ @ @ @ @D* 2v@@ @ @ @ @ @ @½ ,2*4(°*H y@@ @ @ @ @ @ @ @ @ @ @ @ D*H ¤@@ @ @ @ @ @ @+4 ¡@@ @ @ @ @ @ @ @ @ @ @+H 2b@@ @ @£@ @E ¡@@ @ @ @ @J ¤@@ @ @ @ @ @ ±* x@@ @~@ @ |@ @ @ @ D* @@ @ @ E b@@ @ @ @ @D ‫ﻧﺎﻳﻠﻪ اﻷﺣﺒﺎﺑﻲ‬ @ NaylaUae

baytelshear ‫اﻟﺸﻌﺮ‬ ِ ‫ﺑﻴﺖ‬

ĘıĘŕ

‫ِﻗﺒﻠﺔ اﻟﻄﻴﺒﻴﻦ‬ x@@ @s@ @ @ @D* O*H x@@ @ £@ @ @s@ @ @D* 2É@@ @ @ + b@@ @ @ @J ¤@@ @ C4b@@ @ c@ @ @Í@@ @~@z@D* ¡@@ @ @+ b@@Fx@@1b@@ @ J ¤@@ @ @ @D* v@@£@ @ @< ¯ x~|p J b@@ E d@@£@ @ @ @D*H x@@~@|@p@ @ @J b@@ E v@@m@ @ @D* Í@@ @ @ @ @+4&°* b@@ @ @ @B¡@@ @ A H Í@@ @ @ @ @ @ @+4&°* i2*5 ¡@@ @ D x@@ @ @ @ @D* q@@ @ @ ~@ z@ @ D @@ @ ~@ 8b@@ @ - Mf@ @ @ @ @J*4 b@@ @ @ @ @D b@@ @ @ @ @0 Í@@~@|@ @0 @M @~@ |@ @ @0 y@@ @ @D*H v@@Gb@@ @ ~@ 7 b@@ @ Db@@ @ @ @A*H x@@~@}@0H Hv@@ + i°b@@ @ @D* ¢@@ @ < ¤@@ @ D* b@@F2É@@+ b@@ @ J @@Jv@@Bx@@ @ @ D* b@@F2b@@m@ @ @E* y@@ @ @ @ + b@@ @ @ @ @ ~@ 8H ¢@@ @ g@ @ 0 x@@~@z@ @ @F b@@ @ E @@~@ |@ @ @D* b@@c@ m@ @ @D* b@@ @g@p@ @F b@@ @ @ @ E Í@@ @ @- b@@ @E d@@ N @ ~@ |@ @ @D* ¯ f@@ J¡@@ @ B M Hy@@ @ @ @ < b@@ @ @ @0 x@@p@ @ c@ @ D* b@@ @ @+ b@@ @ @ @£@ @ @A q@@ @ c@ @ @~@ 6 v@@ @ J*5 b@@ @ £@ @ @< Í@@ @. ·b@@ £@ @ @ @D* x@@ E ¢@@ @ < ¤@@ @ @D* b@@ @ + ox@@ @ @ @ 1*H x@@m@ ²* @@ ~@@O 8 @@j@ E @@ @ @ J*2 x@@ @ @O´* ¢@@ @ < @@c@ @ @ @~@ 7 Í@@ @ @J ¤@@ @Q @ @ +4H b@@£@ @ @Fv@@ @ D* b@@ @ @ @ Db@@ @ E%* y@@ @ @ @ @- b@@ @E 4v@@~@ |@ D* ¡@@m@ + b@@Gb@@ @ @ @ 0 H 2É@@c@ @ @D* b@@ Q @ @ @~@ 8 @@ @£@ @< @@ @C v@@ @ @ @ @ @ ~@ 6 b@@ Gx@@ @ .%b@ @ @ E @@ @ @ @£@ @ @ @ @ @. 4Q 2 x < ¡@@ @ @:&* @@ E ¡@@ @ :* Ì@@c@ @ C rM ¡@@ @ @: b@@ @£@ @A @@Jy@@Gb@@/ b@@ @ D Qv@ @~@ @{@ @D*H v@@ m@ @´* @@ E @@ @ @<*H x@@ @E b@@GÉ@@ @ = ¤@@ @ A b@@ Fb@@ @ E2 ¤@@ @ @ @D* b@@ F2É@@ @ + b@@ @ J Í@@c@ £@ @ @ @ D* f@@ @ @ @c@ @ @B b@@ @ J ¥v@@ @ @ @ @ ~@ 6*H ¤@@ C4b@@ @ c@ ‫ﻓﺘﺎة ﺗﻬﺎﻣﺔ‬ @ ftat_t

2018 ‫ دﻳﺴﻤﺒﺮ‬، 73 ‫اﻟﻌﺪد‬

‫ ‪Ri¡@@g@D* O b@@ @ P~@@7 O x@@ @U @ @- ¢@@ @ @´* xO @ Q @~@O @6 P @@ @FQ &°‬‬ ‫‪O‬‬ ‫@¡*‪ b O<xmJ £ D* *wGH ¤g£AbB e‬‬ ‫‪O @C&* Rhp~8N‬‬

‫ُ‬ ‫وﺗﻘﺮأ‬ ‫واﻟﴪ اﻟﺬي ﻓﻴﻬﺎ‪ ،‬وأﻧﺖ ﺗﺤﺪ ُّق‬ ‫ﻻ ﻣﻔ ﱡﺮ ﻣﻦ ﺟﻤﺮ ِة اﳌﺮآة‪،‬‬ ‫ّ‬ ‫ﰲ اﻟﻮﺟ ِﻪ اﻟﺬي ﻳﺨﺘﻔﻲ ﰲ اﳌﻌﺎين اﻟﻜﺜرية‪ ،‬ﻳﻨﺘﺎﺑﻚ ﺷﻌﻮ ٌر آﺧ ٌﺮ‪ ،‬ﻫﻮ‬ ‫اﻟﺬي ﻛﺘﺒ ُﻪ ﺷﺎﻋﺮﻧﺎ ﻣﺤ ّﻤﺪ اﻟﻌﺰّام‪ ،‬ﻟﻜﻨّﻨﺎ ﻧﺘﺴﺎءل ﻫُ ﻨﺎ‪ :‬ﳌﺎذا دﻫﺸﺔ‬ ‫اﳌﺮآة؟‪ ،‬وﻫﻞ ﰲ اﳌﺮآة ﻣﺎ ﻳﺪﻫﺶ اﻟﻴﻮم؟ ﰲ اﻟﺤﻴﺎ ِة اﻟﺘﻲ ﻻ اﻧﺪﻫﺎش‬ ‫ﻓﻴﻬﺎ‪ ،‬واﻟﺘﻲ ﻓﻘﺪت دﻫﺸﺘﻬﺎ ﻣﻨﺬ ارﺗﻜﺐ ﻓﻴﻬﺎ اﻧﺴﺎﻧﻬﺎ ﺟﺒ ًﻼ ﻣﻦ‬ ‫اﻟﺨﻄﺎﻳﺎ‪ ،‬ﻟﺬﻟﻚ ﻧﻌﻮد إﱃ ﻣﺎ أﺳﻠﻔﻨﺎهُ‪ّ ،‬رمبﺎ‪ ،‬ﻧﻘﻒ أﻣﺎم "اﻟﺪﻫﺸﺔ‬ ‫" ﻟﻨﻔﺘﺢ ﻟﻬﺎ ﺗﺄوﻳ ًﻼ آﺧﺮ‪ ،‬ﻋﻜﺴﺘ ُﻪ ﻣﺮآة اﻟﺸﻌﺮ‪ ،‬ﻳﺨﺘﻢ دﻫﺸﺘ ُﻪ ‪/‬‬ ‫ﺻﺪﻣﺘ ُﻪ ب ‪:‬‬ ‫‪K*v£0HN‬‬ ‫ ‪Ri¡²* É; ¯ ¥2b JO 3(* zF¡J jE‬‬ ‫‪N‬‬ ‫‪ b O ~zJN ¡@@~@6 Kb@ @+Q 4 P b@@/H&É@ D &Q * @O @BP ¡@@JHN‬‬ ‫‪ǻƲǜǘǕŌ ǽƳ‬‬

‫ﻳﺼﻞ اﳌﻐﱰب إﱃ ﻣﻜﺎنٍ ﻻ ﻳﻌﺮﻓﻪُ‪ ،‬ﻛﺮواﻳ ِﺔ اﻟﺸﺨﺺ اﳌﺠﻬﻮل اﻟﺬي‬ ‫ﻟﻔﻈ ُﻪ اﻟﺒﺤﺮ إﱃ ﻳﺎﺑﺴ ٍﺔ ﺑﻌﻴﺪ ٍة‪ ،‬ﻳﺼﺤﻮ ﺑﻼ ﻫﻮ ّﻳ ٍﺔ ﺗﺪ ﱡﻟ ُﻪ ﻋﲆ ذاﺗ ِﻪ‪ ،‬ﻻ‬ ‫ﳾء إﻻ اﳌﻨﻔﻰ أﻣﺎم اﻟﺒﺤﺮ‪ ،‬ﻳﺼﻞ ﺷﺎﻋﺮﻧﺎ إﱃ ﻣﻨﻔﺎهُ‪ ،‬وﻳﻘﻮل‪:‬‬ ‫‪ P @ @ @ @ @ @ 0O fO @ @ m@ @ @ @ @ @ C iÄ@O @ @ @ @ @ @ CN *3(* ¢@@ @g@ @ 0‬‬ ‫‪K‬‬ ‫*&‪ O @ @ T @ @~@ @z@ @JN rN *4H b@ @ ~@ @ 6¡@@ @B ¤@@ @ @ @ -O xR @ @ - H‬‬ ‫@¡* ‪ M,x@@ @ @ @ @ @ EO Ph@@ @ T @ @ @ @ @ @ - @@ @ @ E‬‬ ‫‪M @ @ @ @ @ @ @B ¤@@ @c@ @ @ @ B‬‬ ‫‪O @ @ @ Ey@@ @ @ D* b@@ @ @ @ @ @ @ @ /&* $b@@ ~@ @}@ @£@ @+‬‬ ‫@‪ O @ @ @ @~@ @|@ @FH b‬‬ ‫‪ @@Jx@@ @ D* @N @ ~@ @|@ @g@ @F* *3(* ¤@@ @ @ O @ @ @U @ JO ¤@@c@ @ B‬‬ ‫‪ Q‬ﻋﻦ اﻷﺧﻮة اﻷﻋﺪاء‪ ،‬ﰲ اﻟﺰﻣﻦ اﻟﺬي ﻛرثت ﻓﻴ ِﻪ اﻟﺬﺋﺎب اﻟﺸﺎردة‪.‬‬ ‫‪S‬‬ ‫‪ O @ @ @ @ ; °(* @ @ @ @ @; ° 3(* Oh@@ @ @ @ @ @ @ @ -HN‬‬

‫ﻟﻮﻻ اﻟﻴﺎﺑﺴﺔ ‪ /‬اﳌﻨﻔﻰ اﻟﺬي ﻇ ّﻠﻞ اﻟﺠﺴﺪ ﻣﻦ اﻟﺘﻴ ِﻪ‪ ،‬وأﺧﺬ ُه إﱃ‬ ‫آﻣﻦ‪ ،‬ﻟﻜﺎﻧﺖ اﻟﺮﻳﺎح ﺗﻌﺒﺚ ﺑﻪ ﻃﻮال اﻟﻮﻗﺖ‪ ،‬اﳌﻨﻔﻰ ﻟﻴﺲ‬ ‫ﻣﻜﺎنٍ ٍ‬ ‫أﺻﺒﺢ ﻣﻼذاً ﻧﺴﺒ ّﻴﺎً ‪ ،‬ﰲ ّ‬ ‫ﻇﻞ اﻟﻀﻴﺎع اﻟﻜﺎﻣﻞ‬ ‫ﺑﺪﻳ ًﻼ ﻋﻦ اﻟﻮﻃﻦ‪ ،‬ﻟﻜ ّﻨ ُﻪ َ‬ ‫ﻟﻺﻧﺴﺎن‪ .‬أن ﺗﺠﺪ اﻟﻴﺎﺑﺴﺔ‪ ،‬أﻓﻀﻞ ﻣﻦ أن ﺗﻘﻴﻢ ﻋﲆ اﳌﺎء اﻷزرق‪،‬‬ ‫ﻫﺬا ﻣﺎ أراد ُه اﻟﺸﺎﻋﺮ ﰲ اﺳﺘﺒﻴﺎﻧﻪ ﻟﺤﺎﻟﺔ اﻟﻈﻞ اﻟﺬي ﻳﺪﺛﺮ اﻟﻘﻠﺐ‬ ‫ﻣﻦ ﻧﺎر اﻟﺸﻤﺲ اﻟﺤﺎرﻗﺔ‪ ،‬ﻋﲆ أرض اﻷﺷﺒﺎح اﻟﺨﻔﻴﺔ‪.‬‬ ‫‪ŝȃƅǕŌ ǲƉƞŽ ǽƳ‬‬

‫‪ P @ @ @ @ £@ @ @ @ 1&* P ¡@@ @ @ @ £@ @ @ @ @< ¯ d@L @ @ @ @ @ @ @ @)3 b@@ @ @ @ @ @ @ T @ @ @ @CO‬‬ ‫* ‪b@@ @ @J*x@@ @ @´* ¯ @L @ @ @ @ PEb@@ @ @ @ C d@O @ @ @ @ )w@@ @ @ @ D* b@@ @ @ @ @ @ @ ¿(S‬‬

‫ﻛﺄ ّﻧ ُﻪ ﻓﺘﺢ اﻟﺴﺘﺎﺋﺮ ﻋﲆ ﻗﺼﻴﺪﺗ ِﻪ‪ ،‬ﻟﻴﻜﺸﻒ ذاك اﻟﻀﻮء اﻟﺬي ﻛﺎن‬ ‫اﻟﴩﻓﺎت‪ ،‬ﻳﻨﺘﻈﺮ ﻟﺤﻈﺔ اﻟﺴامح ﺑﺎﻟﺪﺧﻮل ﻟﻴﺸﻊ‪ ،‬ﰲ‬ ‫ﻧﺎمئﺎً ﻋﲆ‬ ‫ِ‬ ‫ﺣﴬة اﻟﺬﺋﺐ‪ /‬اﻟﻌﺪو‪ ،‬وﻟﺤﻈﺔ اﻧﻜﺸﺎف اﳌﺴﺘﻮر‪ ،‬وﺳﻘﻮط اﻷﻗﻨﻌﺔ‬

‫وﻗﺪ ﺷ ّﻜ ْ‬ ‫ﻣﺼﻄﻠﺤﺎت د ّﻟﺖ ﻋﲆ ﻣﻌﻨﺎﻫﺎ‪،‬‬ ‫ﻠﺖ ﻗﺎﻓﻴﺔ " اﻟﻴﺎء" ﻓﻴﻬﺎ‬ ‫ٍ‬ ‫ﻣﺜﻞ‪ :‬ﻣﺮاﻳﺎ‪ ،‬ﻋﺮاﻳﺎ‪ ،‬ﺑﻘﺎﻳﺎ‪ ،‬ﺳﻮاﻳﺎ‪ ،‬ﺷﻈﺎﻳﺎ‪ ،‬ﺳﺒﺎﻳﺎ‪ ،‬ﺿﺤﺎﻳﺎ‪ ،‬ﻳﻘﻮل‪:‬‬

‫‪ É@K @ c@ B Oh@@ @ @ @ ~@@ P @9 v@@ @ B Oh@@ @ @ @ C N¥b@@ @ @Jb@@ @ @ @ @ @ +H‬‬ ‫*( ‪b@@ @Jb@@ @ @ @ c@ @ Db@@ @+ ¤@@ @ @ @ @ @ g@ @ @ 0&* N %°* ¤@@ @ @ @ @ @ @ @ @FQ‬‬ ‫‪Kb@ @ @ @ Jx@@ @ : · I4&* ° ¯S L @ @ @ )b@@ @ @~@ @ @ 9‬‬ ‫‪ b@@ @ @ J*¡@@ @ @ ~@ @ @ @6 ¯S ¤@S @ @ @ @ @ @ @< ¤@@ @ @ @ @ @ £@ @ @ D2 @@ @ @ @ G‬‬ ‫‪Pd@@ )w@@ D* P,x@@ ~@ @}@ @0 ¯ U¥Æ@@ p@ @c@ @Db@@ C Oh@@ @ @C‬‬ ‫*&‪b@@ @ @J*x@@ @ @< b@@ @ @ @ @ @ @ @ @ BH v@@ @ @ @ @ @ @ BHN b@@ @ @ @ @ @ @ @ @ @ F*4‬‬

‫ﰲ ﻧﻬﺎﻳﺔ اﳌﻄﺎف‪ ،‬ﻳﺘﻀﺢ وﺟﻪ اﻟﺬﺋﺐ اﻟﺤﻘﻴﻘﻲ‪ ،‬ﺣﺘﻰ أﻣﴗ اﻟﻌﺮاء‬ ‫ﰲ ﱢ‬ ‫ﻛﻞ ﳾ ٍء‪ .‬اﻵن وﺟﺪﻧﺎ اﻟﺠﻮاب ﻋﻦ اﻟﺴﺆال اﻷول‪ ،‬ﳌﺎذا ﻻ ﻳﺮﻳﺪ‬ ‫ﻣﺤ ّﻤﺪ اﻟﻌﺰّام أن ﻳﻨﺘﻈﺮ أﺣﺪاً؟ ّرمبﺎ‪ ،‬ﻷ ّﻧ ُﻪ أدرك ﱠ‬ ‫ﺑﺄن اﻻﻧﺘﻈﺎر ﻻ‬ ‫ﻳﻮﺻﻞ إﱃ ﳾ ٍء‪َ ،‬وﻣﻦْ ﻳﻨﺘﻈﺮ ﰲ ﺣﴬ ِة اﻟﺬﺋﺎب اﻟﺸﺎردة؟‪ ،‬اﻟﺠﻮاب‬ ‫ﱠ‬ ‫ﻳﻈﻞ اﻟﴪ اﳌﱰوك ﻋﲆ رﺻﻴﻒ ﻫﺬا اﻻﻧﺘﻈﺎر‪ ،‬ﺣﺘﻰ ﻳﺠﺪ اﻟﻘﺎرىء‬ ‫اﻟﺠﻮاب‪ ،‬أو ﻳﺠﻴﺐ ﻧﻴﺎﺑ ًﺔ ﻋﻦ اﻟﺸﺎﻋﺮ ﻧﻔﺴﻪُ‪ ،‬يك ﻳﺆﻛﺪ ﺻﺪﻗﻴﺔ‬ ‫اﻟﺸﺎﻋﺮ ﰲ ﻣﺎ ﻗﺎل‪ ،‬وﻳﻘﻮل‪ :‬ﻻ ﺟﺪوى ﻣﻦ اﻧﺘﻈﺎر اﻟﻌﺪم‪.‬‬ ‫اﻟﺸﻌﺮ ‪baytelshear‬‬ ‫ﺑﻴﺖ ِ‬

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‫‪ ĮŌ‬‬ ‫‪ɰ‬‬ ‫‪ɶ‬‬ ‫‪ɶ‬‬ ‫‪ ǖŌƋƪǕŌ ƃ‬‬ ‫ ‪ǘżǘǕ m‬‬ ‫} ‪ŌƃŽŐ ƉƦŨǜũ ȍ‬‬

‫ﻣﻮﺳﻴﻘﻰ ﻻﻧﺘﻈﺎر اﻟﻌﺪم‬

‫اﻟﺬي ﻓﻘﺪ اﻟﺠﻨّﺔ‪ ،‬ﻟﻨﺠﺪ أﻧﻔﺴﻨﺎ أﻣﺎم ذاك اﻹﻧﺴﺎن ‪:‬‬

‫ﺑﺎﺳﻞ ﻋﺒﺪاﻟﻌﺎل‬ ‫§ @ @ @@‪" R @ @ @ @+P b@@ £@ @= @@ @E ,K $¡@@ @ ~@ @ @6 ¥4*HO&* *3b‬‬ ‫‪¢ ´* Px@m@~@7 @@E rP Hx@@ @D* ¯ b@@E @S @ / v@@ BHN‬‬ ‫ﻳﻘﻊ دﻳﻮان ” ﻻ ﺗﻨﺘﻈﺮ أﺣﺪاً“ ﻟﻠﺸﺎﻋﺮ اﻷردين ﻣﺤ ّﻤﺪ اﻟﻌﺰّام ﰲ‬ ‫‪ ¤@@g@ +x@@= O @@P @ @ 94&* ¯ Pib@@ @ Q @ @ ±* @@ E Oh@@ @R @c@ G‬‬ ‫‪ 146‬ﺻﻔﺤﺔ ﻣﻦ اﻟﻘﻄﻊ اﳌﺘﻮﺳﻂ ‪ ،‬وﻫﻮ اﻟﺪﻳﻮان اﻟﺜﺎﻟﺚ ﻟﻠﺸﺎﻋﺮ‪،‬‬ ‫@ ‪b@@ Fy@@ 0‬‬ ‫‪O @ @ O @ @ @DN Th@@ @c@ @ F M$*x@@ @p@ @ ~@ @ 8 U @ @ @ C ¯HN‬‬

‫ﻳﻀﻢ ﺣﻮاﱄ ‪ 32‬ﻗﺼﻴﺪة ﻣﺘﻨﻮﻋﺔ اﻷﻏﺮاض اﻟﺸﻌﺮﻳﺔ ﺑني اﻟﻌﺎﻣﻮدي‬ ‫ﱡ‬ ‫ﻣﺘﺴﻠﺴﻞ ﺿﻤﻦ أرﺑﻌﺔ ﻋﻨﺎوﻳﻦ‬ ‫واﻟﺘﻔﻌﻴﻠﺔ‪ ،‬ﺗﻨﺎوﻟﻬﺎ اﻟﺸﺎﻋﺮ ﺑﺸﻜﻞ‬ ‫ٍ‬ ‫رﺋﻴﺴﺔ ﻫﻲ‪ ” :‬آدم ﺑﻼ ﺟﻨﺘ ِﻪ‪ ،‬دﻫﺸﺔ اﳌﺮآة‪ ،‬ﰲ اﳌﻨﻔﻰ‪ ،‬ﰲ ﺣﴬة‬ ‫اﻟﺬﺋﺐ“‪.‬‬ ‫ﻟﻐﺔ اﻟﻌﺰّام ﺗﺠﺮي ﰲ اﻟﻨﻔﺲ ﺟﺮﻳﺎن اﳌﺎء اﻟﻌﺬب‪ ،‬إﱃ ﺣ ﱟﺪ أ ّﻧ َﻚ ﺣني‬ ‫ﺗﻘﺮأﻫﺎ‪ ،‬ﺗﻨﺴﺠﻢ ﻣﻊ ﻫﺬا اﻻﻧﺴﻴﺎب اﻟﻬﺎدىء ﻫﺪوء اﻟﻔﻜﺮة‪ ،‬ﻳﻮاﺻﻞ‬ ‫ﺻﺎﺣﺐ ”ﻻ ﺗﻨﺘﻈﺮ أﺣﺪاً“ ﻣﻌﺮﻛﺘ ُﻪ ﻣﻊ اﻻﻧﺘﻈﺎر‪ ،‬ﻟﻴﺸﻌﻞ ﻓﻴﻨﺎ اﻟﺴﺆال‬ ‫اﻟﻜﺒري‪ ،‬ﳌﺎذا ﻻ ﻳﺮﻳﺪ أن ﻳﻨﺘﻈﺮ أﺣﺪاً؟‪ ،‬ﰲ ﻫﺬه اﻟﻘﺮاءة‪ ،‬ﺳﻨﺤﺎول‬ ‫اﻟﺒﺤﺚ ﻟﻠﻌﺜﻮر ﻋﲆ اﻟﺠﻮاب اﻟﺨﻔﻲ‪.‬‬

‫اﻟﺤﻴﺎ ُة ﺑﻌﻴﺪة ﻋﻦ اﻟﺤﻴﺎ ِة‪ ،‬ﻫﻮ ﻣﺎ ﻧﻌﻴﺸ ُﻪ اﻟﻴﻮم ﻣﻦ ﻛرث ِة ﺳﻮءا ِﺗﻨﺎ‬ ‫اﻟﺮوح‬ ‫اﻟﺘﻲ ﻻ ﺗﻨﺘﻬﻲ‪ ،‬ذﻫﺒﺖ اﻟﺤﻴﺎة إﱃ ﻣﻜﺎنٍ آﺧﺮ‪ ،‬ﻓﻴﻪ ﺟﻔﺎف‬ ‫ِ‬ ‫واﳌﻌﻨﻰ اﻟﺤﺰن ﻛام ﻗﺎل‪ ،‬ﻫُ ﻨﺎ ﺗﻜﻤﻦ اﻟﺼﻮرة ﰲ ﻣﺎ أﺳﻠﻔﻨﺎهُ‪ ،‬ﻳﺨﺘﻢ‪:‬‬ ‫*(‪¤@@-4b@@c@ < h@@ Bb@@ ~@ @9 N¥b@@ @ @ @ @ J'H4 Rh@@ @ @~@ @z@ @-* *3‬‬ ‫‪O‬‬ ‫@¡* ‪ b@@ Q @CO b@@ GHN @@ @1 i*3‬‬ ‫‪@F¡@@C @@£@B Rv@ @BHN‬‬ ‫‪ǲŔƉǘǕŌ ǳƖǥƂ‬‬

‫ﺑﻌﺪ اﻟﺨﺮوج ﻣﻦ اﳌﻜﺎن ‪ /‬اﻟﺠﻨّﺔ‪ ،‬ﻳﺴﻘﻂ ﻣﻦ أﻋﲆ إﱃ أﺳﻔﻞ‪ ،‬ﻟﻴﺠﺪ‬ ‫ﻧﻔﺴ ُﻪ أﻣﺎم اﳌﺮآة‪ ،‬ﻳﺒﺤﺚ ﻓﻴﻬﺎ ﻋﻦ دﻫﺸ ٍﺔ ﻣﺎ‪ ،‬أو ﺻﺪﻣ ٍﺔ ﻣﺎ‪ ،‬رﻣﺰ‬ ‫‪ǣŨǜŵ Ȏş ǖƂŔ‬‬ ‫‪ɵ‬‬ ‫ﻳﻐﺮق ﰲ ﻣﻌﻨﻴني‪ ،‬ﺣﺎﻟﺔ اﻻﺳﺘﻐﺮاب ﺗﻠﻚ‪ ،‬ﻗﺪ ﺗﺆدّي إﱃ ﺣﺎﻟ ٍﺔ أﺧﺮى‪،‬‬ ‫ﻳﻔﺘﺘﺢ اﻟﺪﻳﻮان ﺑﻌﺒﺎرة راﻣﺒﻮ " اﻟﺤﻴﺎة دامئﺎً ﰲ ﻣﻜﺎنٍ آﺧﺮ"‪ ،‬ﱠ‬ ‫ﺛﻢ ﺗﺄﺧﺬ اﻟﻮﺟﻪ اﻟﻀﺎﺋﻊ ﰲ اﻻﺑﺘﺴﺎﻣﺔ إﱃ ﺳﺨﺮﻳ ٍﺔ ﻣﻮﺟﻌﺔ‪.‬‬ ‫ﻳﻌﺮج ﺷﺎﻋﺮﻧﺎ إﱃ آدﻣ ُﻪ اﻟﺬي ﻏﺎدر اﻟﺠﻨّﺔ‪ ،‬ﻷ ّﻧ ُﻪ ارﺗﻜﺐ ﻓﻴﻬﺎ ﺧﻄﻴﺌﺔ ‪Ri¡Bb£D* ¯ xP ±* xW ~6 ,%*x@@´* fO ~{G2 @P @FQ &°‬‬ ‫ُ‬ ‫<‪ b O N E £ £‬‬ ‫‪ ¤ g~{J fO Jv´* P @@DO HP b@@«O‬‬ ‫‪P‬‬ ‫اﻟﺘ ّﻔﺎﺣﺔ‪ ،‬ﻧﻘﻒ ﻫُ ﻨﺎ يك ﻧﺘﺄ ّﻣﻞ ﻋﺒﺎرة راﻣﺒﻮ ﻋﻦ اﻟﺤﻴﺎة‪ ،‬وﺑني آدم‬

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‫اﻟﻌﺪد ‪ ، 73‬دﻳﺴﻤﺒﺮ ‪2018‬‬

‫‪ ǳǿƉƪƖǕŌ ƈǷƚǕŌ ǛǙ ƃǿƃƪǕōş ǲƃǾƚǂǕŌ ŦƉƁƊ‬‬

‫‪ ōǤǾǕŌ őŴǕ ǽŨǕŌ ŦŌƈōƪŨƓȍŌ ǛǙ ƃǿƃƪǕŌǶ ǲƃǿƃŴǕŌ‬‬ ‫‪ǽǜƲǕŌ ōǤȃōǜş ǽƳ ƉƫōƖǕŌ‬‬

‫‪ ŧǕǶōǜũ ǽŨǕŌ ǳǾƢŞǜǕŌ ƘǷƚǜǕŌ ǽƳ ǲƈƃǝ ǆōǜǥ‬‬ ‫‪ ǶŐ ǗǿƉǈǕŌ ǣƚƀƖş ǁǾǔǿ ōǘǉ ɐǒǷƓƉǕŌ ǲƉǾƓ‬‬ ‫‪Ɖǿƃǂũ ǓǃŐ ǻǔƫ ƉƪƖǕōş ǁǾǔǿ ōǘǉ‬‬

‫‪ ǲƃǿƉƳ ǳǙƃǂǘş ǣũƃǾƚǃ ǓǤŨƓŌ ǽǝōƢżǂǕŌ‬‬

‫‪ ōǥƃǃǷǿ ǼƅǕŌ ǽȃōƢǕŌ ǗũōŽ ƈōǜş ǚǷǈũ ōǙ ǣŞƗŐ‬‬ ‫‪ɰ‬‬ ‫‪ȎǾǕ ǣƳǷǾƟ ōǤş ǒƃŨƒǾǕ‬‬

‫ﻫﻨﺎ ﻗﺪ ﺗﺠﺎوز اﻟﺸﺎﻋﺮ اﳌﻤﻜﻦ‪ ،‬وﺟﻨﺢ ﺑﺎﻟﺸﻌﺮ ﺑﻌﻴﺪاً اﱃ أن وﺿﻌﻪ‬ ‫ﰲ ﻣﻮﺿﻊ اﳌﺴﺘﻤﻊ وﻛﺄن اﻟﺸﻌﺮ ﻧﻔﺴﻪ أﺻﺒﺢ ﻣﻦ ﺟامﻫري ﻋﲇ‪ ،‬وﻟَﻢ‬ ‫ﻳﻜﺘﻔﻲ ﻋﻨﺪ ﻫﺬا اﻟﺤﺪ ﺑﻞ ﻣﻨﺢ اﻟﻄﺮس آذاﻧﺎً ﺗﺼﻐﻲ وﺟﻌﻞ اﻟﺤﱪ‬ ‫ﻳﺘﻜﻠﻢ‪ ،‬وﻫﻮ أﺳﻠﻮب ﺑﺪﻳﻊ وﻏري ﻣﺴﺒﻮق‪:‬‬ ‫*‪ É@@~@|@D* @@£@ @< @@ @~@8H ¯ 4b@@g@p@J x@@ @~@{@D‬‬ ‫* ‪4w@@< v@@ @ < q@@~@7 *H 4w@@ < v@@ @ < 2b@@ /‬‬ ‫وﻣﻦ ﻫﺬا اﻟﺒﻴﺖ ﻧﻠﺤﻆ إدراك اﻟﺸﺎﻋﺮ أﻫﻤﻴﺔ اﳌﻮﺿﻮع وﻣﻜﺎﻧﺔ‬ ‫ُ‬ ‫أﺟﺪت ﻓﲇ أﺟﺮان‪ ،‬وإﻻ‬ ‫اﳌﻤﺪوح ﻓﻬﻮ ﻛﻤﻦ ﻳﻘﻮل‪ :‬ﺳﺄﺟﺘﻬﺪ‪ ،‬ﻓﺈن‬ ‫ﻓﲇ أﺟﺮ اﻻﺟﺘﻬﺎد ﻋﲆ اﻷﻗﻞ‪.‬‬ ‫*‪ b@@c@< b@@ @g@£@ @ @E ¡@@ ~@ 6x@@ D* @@c@ B @@ @ @94°‬‬ ‫‪x ; ¤ D* E ÈC&* b £A D* E ¤ s‬‬‫‪ b@@£@ ²* b@@ @ £@ @ < È@@ @ g@ ~@ z@ J v@@ £@ @D*¡@@ ´* b@@ @ C‬‬ ‫‪x@@Cw@@D* b@@ c@ @J b@@ J @@£@ 0 h@@ @ c@ D* @@ Av@@ - b@@ J‬‬ ‫ﻫﻨﺎ ﺑﻴﺖ ﻋﻈﻴﻢ ﰲ ﺗﺸﺒﻴﻪ ﺣﺎل اﻷرض وأﻫﻠﻬﺎ‪ ،‬ﺗﺤﺪﻳﺪاً ﻗﺒﻞ اﻟﺒﻌﺜﺔ‬ ‫اﻟﻨﺒﻮﻳﺔ‪ ،‬ﺣﻴﺚ ﻛﺎن اﻟﻈﻠﻢ ﻣﻨﺘﴩاً‪ ،‬وﰲ اﻟﻘﺼﻴﺪة ﺣﺪﻳﺚ ﻋﻦ ﻣﻈﺎﻫﺮ‬ ‫اﻟﺤﻴﺎه ﺳﺎﺑﻘﺎً ﺣﻴﺚ ﻛﺎﻧﺖ ﻣﻦ اﻟﻈﻮاﻫﺮ اﳌﻌﺮوﻓﺔ ﻟﺪى اﻟﻌﺮب آﻧﺬاك‬ ‫ﺑﻴﻊ اﻟﺮﻗﻴﻖ ووأد اﻟﺒﻨﺎت واﻟﺘﻲ ﺣﺎرﺑﻬﺎ اﻹﺳﻼم ﺣﺘﻰ اﺧﺘﻔﺖ متﺎﻣﺎً‪،‬‬ ‫واﻟﺸﺎﻋﺮ وﺻﻔﻬﺎ ﺑﺎﻣﺮأة ﻳﺮاﻫﺎ اﻟﻨﺎس ﻗﺒﻴﺤﺔ‪ ،‬وﺑﺎﻟﺮﻏﻢ ﻣﻦ ﻛﻮﻧﻬﺎ‬ ‫ﺗﺘﺴﱰ ﺑﻌﺒﺎءﺗﻬﺎ إﻻ أﻧﻬﺎ أﻗﺒﺢ ﻣام ﻳﺮاﻫﺎ اﻟﺠﻤﻴﻊ ﰲ اﻟﻮاﻗﻊ‪ ،‬وﻫﺬا‬ ‫ﺑﻨﻈﺮي ﻫﻮ اﻟﺒﻴﺖ اﳌﺤﻮري ﰲ اﻟﻘﺼﻴﺪة‪ .‬أي أن اﻟﻘﺼﻴﺪة اﺗﺠﻬﺖ‬ ‫ِﻣﻦ ﺑﻌﺪ ﻫﺬا اﻟﺒﻴﺖ اﱃ ﴍح اﻟﺘﻐريات اﻟﺘﻲ ﻃﺮأت ﻋﲆ ﺣﺎل‬ ‫اﳌﺴﻠﻤني ﺑﻌﺪ اﻟﻨﺒﻲ ﻣﻦ اﻧﺘﺸﺎر ﻟﻠﻌﺪل و اﳌﺴﺎوة ﺑني اﻟﺠﻤﻴﻊ و‬ ‫اﻧﺤﺴﺎر اﻟﻔﻘﺮ‪.‬‬ ‫زﺧﺮت اﻟﻘﺼﻴﺪة ﺑﺎﻟﻌﺪﻳﺪ ﻣﻦ اﻟﺼﻮر اﻟﺸﻌﺮﻳﺔ اﻟﺠﺪﻳﺪة واﻟﻌﺪﻳﺪ‬

‫ﻣﻦ اﻻﺳﺘﻌﺎرات اﻟﺘﻲ ﻟﺠﺄ إﻟﻴﻬﺎ اﻟﺸﺎﻋﺮ ﰲ ﺑﻨﺎﺋﻬﺎ اﻟﻔﻨﻲ‪ ،‬ﻛام اﻣﺘﺎزت‬ ‫ﺑﻠﻐﺔ ﻗﻮﻳﺔ وﺑﺪا واﺿﺤﺎً دﻻﻟﺔ وﺗﻌﺒري اﳌﻔﺮدات واﻷﻟﻔﺎظ اﻟﺘﻲ‬ ‫اﻋﺘﻤﺪ ﻋﻠﻴﻬﺎ‪ ،‬ﺑﺎﻹﺿﺎﻓﺔ إﱃ ﺑﻌﺾ اﻟﻜﻨﺎﻳﺎت واﻟﺘﻨﺎص واﻟﺘﺼﻮرات‬ ‫اﻟﺘﻲ اﺳﺘﺎﻗﻬﺎ ﻣﻦ اﻟﻘﺮآن اﻟﻜﺮﻳﻢ واﻟﺴرية اﻟﻨﺒﻮﻳﺔ ﻟﺘﺒﺪو ﻣﺘﻨﺎﺳﻘﺔ‬ ‫وﻣﻨﺴﺠﻤﺔ ﻣﻊ روح اﻟﻨﺺ‪.‬‬ ‫‪ Ég<* 4Hx@@~@z@D*H @@D ~zgcE b ~zD* @@/H‬‬ ‫‪x@@ @. b@@ @ D @@ Db@@ 1 ¤@@ @ +4 @@ @C b@@ ~@ @9x@@ D* @@ @E‬‬ ‫وﻫﻨﺎ ﻳﺘﺤﺪث ﻋﻦ ﻋﻈﻢ ﺷﺄن اﻟﺮﺳﻮل‪ ،‬وأن اﻟﻜﻮن وﻣﻦ ﻓﻴﻪ مل ﻳﻌﺪ‬ ‫ﻛام ﻛﺎن ﺑﻌﺪ ﻗﺪوﻣﻪ‪ ،‬وﻛﺄﻧﻪ ﻳﺸري ﺑﻬﺬا اﻟﺒﻴﺖ اﱃ ﺣﺎدﺛﺔ اﻧﺸﻘﺎق‬ ‫اﻟﻘﻤﺮ اﻟﺸﻬرية أو ﺣﺎدﺛﺔ اﻹﴎاء واﳌﻌﺮاج‪ ،‬وﻫﻮ أﺣﺪ أﺟﻤﻞ أﺑﻴﺎت‬ ‫اﻟﻘﺼﻴﺪة اﻟﺬي اﺷﺘﻖ ﻣﻨﻪ ﻋﻨﻮان ﻗﺼﻴﺪﺗﻪ ﻫﺬه )وﺟﻪ اﻟﺴامء(‪:‬‬ ‫‪ *24 °H @@-2x@@+ @@E z ~{D* b£~9 ¥4v@@E‬‬ ‫*‪x D* b £A 24 H @@94°* @@/H ¢ < ¢ D‬‬ ‫ﻳﺨﺘﻢ ﻋﲇ ﺑﻬﺬا اﻟﺒﻴﺖ وﻛﺄﻧﻪ ﻳﻘﻮل إن اﻷرض ﻛﺎﻧﺖ ﻋﻤﻴﺎء إﱃ‬ ‫أن أﻧﺎر اﻟﻠﻪ ﺑﺼريﺗﻬﺎ ﺑﻘﺪوم ﺳﻴﺪ اﻟﺨﻠﻖ ﺻﲆ اﻟﻠﻪ ﻋﻠﻴﻪ وﺳﻠﻢ‪،‬‬ ‫ﻣﺴﺘﺪﻋﻴﺎً إﱃ اﻟﺬﻫﻦ ﻗﺼﺔ ﺳﻴﺪﻧﺎ ﻳﻌﻘﻮب ﻋﻨﺪﻣﺎ ﻋﺎد إﻟﻴﻪ ﻧﻈﺮه ﺑﻌﺪ‬ ‫أن أﻟﻘﻮا ﻋﲆ وﺟﻬﻪ ﻗﻤﻴﺺ اﺑﻨﻪ ﻳﻮﺳﻒ‪.‬‬ ‫وﰲ اﻟﺨﺘﺎم أو ّد أن أﻟﻔﺖ اﻻﻧﺘﺒﺎه اﱃ ﻧﻘﻄﺔ ﻣﻬﻤﺔ‪ ،‬وﻫﻲ أن اﻟﻘﺼﻴﺪة‬ ‫مل ﺗﻜﻦ ﻣﻦ اﻟﻘﺼﺎﺋﺪ اﻟﻄﻮﻳﻠﺔ اﻟﺘﻲ ﻗﺪ ﺗﺼﻴﺐ اﻟﻘﺎرئ مبﻠﻞ أو ﻗﺪ‬ ‫ﺗﺘﻤﺮد ﻋﲆ ﻛﺎﺗﺒﻬﺎ ﰲ أﺣﺪ أﺟﺰاﺋﻬﺎ ﻓﺘﻀﻌﻒ ﺑﻨﻴﺘﻬﺎ أو ﻳﻜرث ﺑﻬﺎ‬ ‫اﻟﺤﺸﻮ‪ ،‬واﻻﻋﺘﺪال ﰲ ﻃﻮل اﻟﻘﺼﻴﺪة وﻋﺪم اﻹﺳﻬﺎب ﰲ ﻋﺪد أﺑﻴﺎﺗﻬﺎ‬ ‫ﺑﻌﺪ أن ﺗﺴﺘﻮﰲ ﻓﻜﺮﺗﻬﺎ ﻫﻮ ﻣﻦ أﺳﺎﺳﻴﺎت اﻟﺒﻨﺎء اﻟﻔﻨﻲ أو ﻛام ﻳﻄﻠﻖ‬ ‫ﻋﻠﻴﻪ ﺷﻌﺒﻴﺎً "اﳌﺒﻨﻰ" وﻫﻮ أﻣﺮ ﻣﻬﻢ وﻻ ﻳﻘﻞ أﻫﻤﻴﺔ ﻋﻦ اﳌﻌﻨﻰ‪.‬‬ ‫اﻟﺸﻌﺮ ‪baytelshear‬‬ ‫ﺑﻴﺖ ِ‬

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‫ ‪ Ęĺ‬‬

‫‪2018 ǲƂƉŞǕŌ ǚōŵƉǤǙ ǽƳ ǒǶȏŌ ƋǉƉǘǕōş ŦƊōƳ‬‬

‫ﻗﺼﻴﺪة »وﺟﻪ اﻟﺴﻤﺎء« ﻟـ ﻋﻠﻲ اﻟﻘﺤﻄﺎﻧﻲ ‪..‬‬ ‫ﻟﻐﺔ ﺷﻌﺮﻳﺔ ﻋﺎﻟﻴﺔ ﺗﻠﻴﻖ ﺑﺴﻴﺮة اﻟﺮﺳﻮل‬

‫ﻧﺎﺻﺮ اﻟﺸﻔﻴﺮي‬

‫ﻋﻨﺪﻣﺎ ﺑﺪأت ﰲ ﻛﺘﺎﺑﺔ ﻫﺬه اﳌﻘﺎﻟﺔ‪ ،‬اﺣﱰت ﰲ اﺧﺘﻴﺎر اﻟﻘﺼﻴﺪة‬ ‫اﻷوﱃ اﻟﺘﻲ ﺳﺄﻓﺘﺘﺢ ﺑﻬﺎ ﻫﺬه اﻟﺰاوﻳﺔ اﻟﺸﻬﺮﻳﺔ‪ ،‬وﺳﺘﻜﻮن ﻛﻄﺎوﻟﺔ‬ ‫ﻧﻘﺪﻳﺔ ﻧﻔﺮد ﻋﻠﻴﻬﺎ ﻗﺼﻴﺪة ﻣﻊ ﻣﻄﻠﻊ ﻛﻞ ﺷﻬﺮ ﻟﻴﺼﺎﻓﺤﻬﺎ وﻳﺘﺼﻔﺤﻬﺎ‬ ‫ﻗﺮاء ﻣﺠﻠﺔ ﺑﻴﺖ اﻟﺸﻌﺮ‪ ،‬وارﺗﺄﻳﺖ ﺑﻌﺪ ذﻟﻚ أن ﺗﻜﻮن اﻻﻓﺘﺘﺎﺣﻴﺔ ﻣﻊ‬ ‫ﻗﺼﻴﺪة )وﺟﻪ اﻟﺴامء( ﻟﻠﺸﺎﻋﺮ ﻋﲇ ﺑﻦ اﻟﺸﺎﻳﺐ اﻟﻘﺤﻄﺎين‪ ،‬وﻫﻲ‬ ‫اﻟﻘﺼﻴﺪة اﻟﺘﻲ ﺗﺘﺤﺪث ﻋﻦ ﺷﺨﺼﻴﺔ اﻟﺮﺳﻮل اﻟﻜﺮﻳﻢ ﺻﲆ اﻟﻠﻪ ﻋﻠﻴﻪ‬ ‫وﺳ ّﻠﻢ‪ ،‬و ﻗﺪ ﻛﺎﻧﺖ اﻟﻘﺼﻴﺪة اﻟﻔﺎﺋﺰة ﺑﺎﳌﺮﻛﺰ اﻷول ﰲ ﺟﺎﺋﺰة ﻣﻬﺮﺟﺎن‬ ‫اﻟﱪدة ﻋﲆ ﻣﺴﺘﻮى اﻟﻮﻃﻦ اﻟﻌﺮيب‪ ،‬وﻫﻨﺎ ﻻ ﻳﻔﻮﺗﻨﻲ اﳌﺒﺎرﻛﺔ ﻟﺸﺎﻋﺮﻫﺎ‬ ‫اﳌﺒﺪع ﻫﺬا اﻹﻧﺠﺎز‪.‬‬ ‫اﺳﺘﻨﺎداً إﱃ ﻣﺴرييت اﳌﻬﻨﻴﺔ ﻛﺈﻋﻼﻣﻲ وﻣﻦ ﺧﻼل ﻗﺮيب ﻣﻦ اﻟﺸﻌﺮ‬ ‫اﻟﻨﺒﻄﻲ ﻛﻮين ﺷﺎﻋﺮاً ﺑﺎﻷﺳﺎس‪ ،‬أﺳﺘﻄﻴﻊ اﻟﻘﻮل إن ﻫﻨﺎك ﻧﺪرة ﰲ‬ ‫اﻟﻨﺼﻮص اﻟﻨﺒﻄﻴﺔ اﻟﺘﻲ ﺗﻨﺎوﻟﺖ ﺳرية اﻟﺮﺳﻮل‪ ،‬ﻛام ﻳﻠﻴﻖ ﺑﺸﺨﺼﻪ‬

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‫اﻟﻌﺪد ‪ ، 73‬دﻳﺴﻤﺒﺮ ‪2018‬‬

‫اﻟﻜﺮﻳﻢ أو ﻛام ﻳﻠﻴﻖ ﺑﺎﻟﺸﻌﺮ ﻋﲆ أﻗﻞ ﺗﻘﺪﻳﺮ‪ ،‬ﻋﲆ ﻋﻜﺲ ﻣﺎ ﻫﻮ‬ ‫اﻟﺤﺎل ﰲ اﻟﺸﻌﺮ اﻟﻔﺼﻴﺢ اﻟﺬي ﻳﺰﺧﺮ ﺑﺎﻟﻌﺪﻳﺪ ﻣﻦ اﻟﻨﺼﻮص اﻟﺨﺎﻟﺪة‬ ‫ﺑﺪءاً ﻣﻦ ﺑﺮدة ﻛﻌﺐ وﻣﺮوراً ﺑﱪدة اﻟﺒﻮﺻريي وﻣﺎ ﻧﻈﻢ أﺣﻤﺪ ﺷﻮﻗﻲ‬ ‫واﻟﱪدوين وﻏريﻫام ﻣﻦ ﻓﻄﺎﺣﻠﺔ اﻟﺸﻌﺮ إﱃ وﻗﺘﻨﺎ ﻫﺬا‪.‬‬ ‫أﻋﺘﻘﺪ أن ﻋﲇ اﻟﻘﺤﻄﺎين ﻗﺪ ُو ّﻓﻖ ﰲ ﻫﺬه اﻟﻘﺼﻴﺪة‪ ،‬ﺣﻴﺚ اﺑﺘﻌﺪ‬ ‫ﻋﻦ اﻷﺳﻠﻮب اﻟﴪدي اﳌﻤﻞ‪ ،‬وﺗﻌﺎﻣﻞ ﻣﻊ اﳌﻮﺿﻮع ﻛﺸﺎﻋﺮ ﻳﻌﱪ ﻋﻦ‬ ‫ﻓﻴﺾ ﻣﺸﺎﻋﺮه‪ ،‬وﻟَﻢ ﻳﺘﻨﺎوﻟﻪ ﻛﻘﺎص ﻳﻮﺛﻖ ﻋﻼﻣﺎت اﻟﻨﺒﻮءة أو ﻳﻌﺪد‬ ‫ﻏﺰوات اﻟﺮﺳﻮل و ﻣﻌﺠﺰاﺗﻪ ﻛام ﻳﻔﻌﻞ اﻟﻜﺜري ﻣﻦ اﻟﻨﺒﻄﻴني ﻟﻸﺳﻒ‪.‬‬ ‫اﻟﻘﺤﻄﺎين اﺳﺘﻬﻞ ﻗﺼﻴﺪﺗﻪ مبﻘﺪﻣﺔ ﻓﺮﻳﺪة أﺷﺒﻪ ﻣﺎ ﺗﻜﻮن ﺑﻨﺎر ﺣﺎﺗﻢ‬ ‫اﻟﻄﺎيئ اﻟﺬي ﻳﻮﻗﺪﻫﺎ ﻟﻴﺴﺘﺪل ﺑﻬﺎ ﺿﻴﻮﻓﻪ ﻟﻴ ًﻼ أو ﻛﻠﻮﺣﺔ ﻓﻨﻴﺔ‬ ‫ﺗﺴﺘﻮﻗﻒ ﺟﻤﻴﻊ ﻣﻦ ميﺮ ﺑﻬﺎ‪ ،‬وذﻟﻚ ﻟﻴﺠﻌﻞ اﻟﻘﺎرئ واﳌﺴﺘﻤﻊ ﰲ‬ ‫ﺗﺮﻗﺐ وﺗﺸﻮق ﳌﺎ ﺳﻴﻘﻮل‪:‬‬ ‫*‪ b@@c@ g@ F°* ÁÌ@@ @ J d@@~@|@= x@@ @~@{@D* f@@ @£@ @D‬‬ ‫‪Ä²* ¢CbpgJH ~6 6x D* · ¤1xJH‬‬ ‫‪ b ~7 v)b~| D* £/H ¢ < ¥v£+ h ~64‬‬ ‫‪x ~7 @@E ¢ + ¤ D* hJw1 b g ~zD&* @@EH‬‬

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b OG N + xM p+H Mxp+ Í M sFH M sFH K x - N O $*xp~8H ÉE4 xR Jx²bC b K <bF *xK m~7 I4&* Ä JH O O O $¤~}JO M$¤~7 S CO I4&* O Mf ½ R PE J fK ½ Ì R j D* P £ D* ¯ I4&*H I4&* fP Jv´* $b ~6 ¯ b K Db< *xK )b: S x R ~6 N N ¡A ,K xG5 H&* P Jx D* P ¤ £< S O ¡U -O b K £B4 *xK p+ $P *¡ D* ¯ O gN B45O O U JO I4&* O < O *x- bE xP Ab~zO´* ¡£O T JO Í N 0 Mv£ +N R PE P g£+ ¢ < Ì R ~z´* N £ JO ° ¤C O x~z£O A b G N + xM p+H Mxp+ Í M 0H M 0H xO F&*H Ì O ~6&* N °* N ~6H&* bE 94& N O b B¡A M 4b~7 ¯ ix~6 b S C ¤gDS * ¢ gF*H O Ì R 1&°* ¡ J °

‫‪ ĘŘĘĤĮŜŕ‬‬

‫‪ ǓŞǂŨƒũ ǆƈōŞǙ ŧǜş ǳǘƣōƳ‬‬ ‫‪ ŦōǉƈōƖǘǕŌ‬‬

‫وزﻳــﺮة اﻟﺜﻘﺎﻓﺔ وﺗﻨﻤﻴﺔ اﳌﻌﺮﻓﺔ‪ ،‬ﰲ ﻛﻠﻤﺔ‬ ‫أﻟﻘﺘﻬﺎ ﰲ اﻓﺘﺘﺎﺣﻴﺔ اﳌﻬﺮﺟﺎن‪ ،‬إﱃ أن ﺟﺎﺋﺰة‬ ‫اﻟﱪدة‪ ،‬ﺗﺄﺳﺴﺖ ﰲ اﻟﻌﺎم ‪ .2004‬وﻗﺎﻟﺖ‪ :‬ﻫﻲ‬ ‫ﺳﻨﺔ رﺣﻴﻞ اﻟﻮاﻟﺪ اﳌﺆﺳﺲ اﳌﻐﻔﻮر ﻟﻪ اﻟﺸﻴﺦ‬ ‫زاﻳﺪ ﺑﻦ ﺳﻠﻄﺎن آل ﻧﻬﻴﺎن‪ ،‬ﻟﺘﻜﻮن اﻟﱪدة‬ ‫رﺳﺎﻟﺔ زاﻳﺪ اﻟﺘﻲ ﺗﺤﻤﻞ ﻗﻴﻢ زاﻳﺪ‪ ،‬وﺗﻮاﺻﻞ‬ ‫ﻣﺴرية زاﻳــﺪ‪ ،‬ﰲ ﺗﻌﺰﻳﺰ ﺛﻘﺎﻓﺔ اﳌﺤﺒﺔ ﺑني‬ ‫ﻣﺨﺘﻠﻒ اﻟﺤﻀﺎرات واﻟﺸﻌﻮب‪.‬‬ ‫وأوﺿﺤﺖ ﻣﻌﺎﻟﻴﻬﺎ ﰲ ﻛﻠﻤﺔ أﺧﺮى أﻟﻘﺘﻬﺎ‬ ‫ﰲ ﺣﻔﻞ ﺗﻮزﻳﻊ اﻟﺠﻮاﺋﺰ إﱃ أن ﺟﻮاﺋﺰ‬ ‫اﻟــﱪدة وﻧﺠﺎﺣﺎﺗﻬﺎ اﳌﺘﺘﺎﻟﻴﺔ ﻋﲆ ﻣﺪار‬ ‫ﺧﻤﺴﺔ ﻋﴩ ﻋﺎﻣﺎً متﺜﻞ منﻮذﺟﺎً ﻟﻠﺮﻳﺎدة‬ ‫اﻟﻮﻃﻨﻴﺔ ﰲ اﺣﺘﻀﺎن اﻟﻔﻨﻮن واﺳﺘﻘﻄﺎب‬ ‫اﳌﺒﺪﻋني وإﺳﻬﺎﻣﺎً إﻣﺎراﺗﻴﺎً ﰲ إﺣﻴﺎء اﻟﻔﻨﻮن‬ ‫اﻹﺳﻼﻣﻴﺔ ﰲ اﳌﺠﺘﻤﻌﺎت‪ .‬وأﺿﺎﻓﺖ‪ :‬ﺗﺤﻔﺰ‬ ‫اﻟﺠﺎﺋﺰة روح اﳌﻨﺎﻓﺴﺔ اﻻﻳﺠﺎﺑﻴﺔ ﺑني اﻟﻔﻨﺎﻧني‬ ‫ﻻﺑﺘﻜﺎر ﻣــﺪارس ﻓﻨﻴﺔ ﺟﺪﻳﺪة ﺗرثي اﻟﻔﻦ‬ ‫اﻹﺳﻼﻣﻲ وﺗﺮﺳﻢ ﻣﻼﻣﺢ اﳌﺴﺘﻘﺒﻞ ﻟﻬﺬه‬ ‫اﻟﻔﻨﻮن اﻟﻌﺮﻳﻘﺔ مبﺎ ﻳﺪﻋﻢ ﻣﻨﻈﻮﻣﺔ اﻻﻗﺘﺼﺎد‬ ‫اﻹﺑﺪاﻋﻲ اﻹﺳﻼﻣﻲ‪.‬‬ ‫وﻗﺎﻟﺖ اﻟﻜﻌﺒﻲ‪ :‬ﺗﺤﺘﻔﻞ اﻹﻣﺎرات ﻫﺬا اﻟﻌﺎم‬ ‫"ﺑﻌﺎم زاﻳــﺪ" وﻧﺴﺘﺬﻛﺮ ﻣﺤﻄﺎت ﻣﻀﻴﺌﺔ‬ ‫ﻣﻦ ذﻛﺮﻳﺎت اﻟﻮاﻟﺪ اﳌﺆﺳﺲ‪ ،‬وﻧﺤﻴﻲ إرﺛﻪ‬ ‫ﰲ اﻟﺤﻔﺎظ ﻋﲆ ﺗﺮاﺛﻨﺎ وﺛﻘﺎﻓﺘﻨﺎ وﺣﻀﺎرﺗﻨﺎ‪،‬‬ ‫وﻧﺴﻠﺘﻬﻢ ﻣﻦ ﻋﻄﺎﺋﻪ ﻣﴩوﻋﺎت ﻃﻤﻮﺣﺔ‬ ‫ﺗﺮﺳﺦ دوﻟﺘﻨﺎ ﻣﺮﻛﺰاً ﺣﻀﺎرﻳﺎً وﻣﻠﺘﻘﻰ ﻟﻠﻔﻦ‬

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‫اﻟﻌﺪد ‪ ، 73‬دﻳﺴﻤﺒﺮ ‪2018‬‬

‫واﻟﺜﻘﺎﻓﺔ واﻹﺑﺪاع‪.‬‬ ‫ﻛام ﺷــﺪدت ﻧــﻮرة اﻟﻜﻌﺒﻲ ﻋﲆ أﻫﻤﻴﺔ‬ ‫ﺗﻮﻇﻴﻒ اﻟﺘﻜﻨﻮﻟﻮﺟﻴﺎ واﻟﺘﻄﺒﻴﻘﺎت اﻟﺤﺪﻳﺜﺔ ﰲ‬ ‫اﺑﺘﻜﺎر ﻣﺪارس وأﻋامل ﻓﻨﻴﺔ ﺗﻈﻬﺮ ﺟامﻟﻴﺎت‬ ‫اﻟﻔﻨﻮن اﻹﺳﻼﻣﻴﺔ‪ ،‬وأﻋﻠﻨﺖ ﻣﻌﺎﻟﻴﻬﺎ ﻋﻦ إﺟﺮاء‬ ‫وزارة اﻟﺜﻘﺎﻓﺔ وﺗﻨﻤﻴﺔ اﳌﻌﺮﻓﺔ‪ ،‬أول دراﺳﺔ‬ ‫ﻣﻦ ﻧﻮﻋﻬﺎ ﰲ اﳌﻨﻄﻘﺔ اﻟﻌﺮﺑﻴﺔ ﺑﺎﺳﺘﺨﺪام‬ ‫ذﻛﺎء »اﻟﴪب اﻻﺻﻄﻨﺎﻋﻲ«‪ ،‬مبﺸﺎرﻛﺔ ‪30‬‬ ‫ﺧﺒرياً ﻣﻦ ﻗﻄﺎع اﻟﺜﻘﺎﻓﺔ واﻟﻔﻨﻮن‪.‬‬ ‫وأﻋﻠﻨﺖ اﻟﻜﻌﺒﻲ ﻋﻦ إﻃﻼق ﻣﻨﺤﺔ‪ ،‬ﺗﻘﺪم‬ ‫ﻟﻌﴩة ﻓﻨﺎﻧني ﻣﻦ ﺟﻤﻴﻊ أﻧﺤﺎء اﻟﻌﺎمل‪.‬‬ ‫وﻗﺎﻟﺖ‪ :‬ﻳﺘﻢ ﺗﻜﻠﻴﻒ اﻟﻔﻨﺎﻧني اﻟﻔﺎﺋﺰﻳﻦ مبﻨﺤﺔ‬ ‫اﻟﱪدة‪ ،‬ﺑﺈﻧﺠﺎز أﻋامل ﻓﻨﻴﺔ وﻋﺮﺿﻬﺎ ﺑﺸﻜﻞ‬ ‫داﺋــﻢ أﻣــﺎم اﻟﺠﻤﻬﻮر ﰲ ﻣﻮاﻗﻊ ﻣﺤﺪدة‬ ‫ﺑﺎﻟﺪوﻟﺔ‪ ،‬وذﻟﻚ ﺗﺤﻔﻴﺰاً ﻟﻠﻔﻨﻮن اﳌﺠﺘﻤﻌﻴﺔ‪،‬‬ ‫وذﻛﺮت‪ :‬ﺗﻨﻈﻢ ﻣﻨﺤﺔ اﻟﱪدة ﺑﺮاﻣﺞ اﻹﻗﺎﻣﺔ‬ ‫اﻟﻔﻨﻴﺔ داﺧﻞ اﻟﺪوﻟﺔ‪ ،‬وﺗﺴﺘﻘﻄﺐ اﳌﻬﺎرات‬ ‫واﻟﻜﻔﺎءات اﻟﻔﻨﻴﺔ اﻟﻌﺎﳌﻴﺔ‪.‬‬ ‫وﻛﺎن ﻣﻬﺮﺟﺎن اﻟﱪدة ﻗﺪ اﺳﺘﻀﺎف ﻧﺨﺒﺔ ﻣﻦ‬ ‫واﳌﺨﺘﺼني ﻣﻦ ﺣﻮل اﻟﻌﺎمل ﺷﺎرﻛﻮا ﰲ‬ ‫اﻟﺨﱪاء‬ ‫ّ‬ ‫‪ 18‬ﺟﻠﺴﺔ ﺣﻮارﻳﺔ‪ ،‬وورﺷﺔ ﻋﻤﻞ‪ ،‬وﻋﺮوض‬ ‫ﺣﻴﺔ‪ ،‬ﻃﺮﺣﻮا ﺧﻼﻟﻬﺎ أﻓﻜﺎرﻫﻢ وﺧﱪاﺗﻬﻢ‬ ‫ﺣﻮل ﺳﺒﻞ إﺑﺮاز اﻟﺼﻮرة اﻹﻳﺠﺎﺑﻴﺔ اﻟﻨﺎﺻﻌﺔ‬ ‫ﻟﻠﺜﻘﺎﻓﺔ اﻹﺳﻼﻣﻴﺔ‪.‬‬ ‫وﻧــﺎﻗــﺶ ﺑﺮﻧﺎﻣﺞ اﳌﻬﺮﺟﺎن اﻟﻌﺪﻳﺪ ﻣﻦ‬ ‫اﳌﻮﺿﻮﻋﺎت اﳌﺘﻌﻠﻘﺔ ﺑﺎﻟﻔﻨﻮن واﻟﺜﻘﺎﻓﺔ‬

‫مبﻨﺎﺳﺒﺔ اﻧــﻄــﻼق ﻣﻬﺮﺟﺎن اﻟـــﱪدة‪،‬‬ ‫اﺳﺘﻘﺒﻠﺖ ﺳﻤﻮ اﻟﺸﻴﺨﺔ ﻓﺎﻃﻤﺔ ﺑﻨﺖ‬ ‫ﻣﺒﺎرك‪ ،‬رﺋﻴﺴﺔ اﻻﺗﺤﺎد اﻟﻨﺴﺎيئ اﻟﻌﺎم‬ ‫رﺋﻴﺴﺔ اﳌﺠﻠﺲ اﻷﻋﲆ ﻟﻸﻣﻮﻣﺔ واﻟﻄﻔﻮﻟﺔ‬ ‫اﻟﺮﺋﻴﺲ اﻷﻋﲆ ﳌﺆﺳﺴﺔ اﻟﺘﻨﻤﻴﺔ اﻷﴎﻳﺔ‪،‬‬ ‫ﺑﻘﴫ اﻟﺒﺤﺮ‪ ،‬ﻋــﺪداً ﻣﻦ اﳌﺸﺎرﻛﺎت‬ ‫ﺑﺎﳌﻬﺮﺟﺎن‪.‬‬ ‫ورﺣﺒﺖ ﺳﻤﻮﻫﺎ ﺑﺎﻟﻮﻓﻮد اﳌﺸﺎرﻛﺔ ﰲ‬ ‫ﻣﻬﺮﺟﺎن اﻟﱪدة‪ ،‬ﻣﺆﻛﺪة ﺣﺮص اﻹﻣﺎرات‬ ‫ﺑﻘﻴﺎدة أﺻﺤﺎب اﻟﺴﻤﻮ اﻟﺸﻴﻮخ ﻋﲆ‬ ‫ﺗﺮﺳﻴﺦ اﻻﻫﺘامم واﻟﻌﻨﺎﻳﺔ ﺑﺎﻟﺜﻘﺎﻓﺔ‬ ‫واﻟ ـﱰاث اﻟﻮﻃﻨﻲ‪ ،‬وﺧﺎﺻﺔ اﻹﺳﻼﻣﻲ‪،‬‬ ‫ﻹﺑـــﺮاز ﻋﻈﻤﺔ اﻟــﺤــﻀــﺎرة اﻹﺳﻼﻣﻴﺔ‬ ‫وإﻧﺴﺎﻧﻴﺘﻬﺎ وﻗﺪرﺗﻬﺎ ﻋﲆ اﻹﺑﺪاع‪.‬‬ ‫وﻗﺎﻟﺖ ﺳﻤﻮﻫﺎ‪ :‬ﻋﻠﻴﻨﺎ أن ﻧﺄﺧﺬ ﻣﻦ ﻣﻨﻬﺞ‬ ‫"اﳌﻐﻔﻮر ﻟﻪ" اﻟﺸﻴﺦ زاﻳﺪ ﺑﻦ ﺳﻠﻄﺎن آل‬ ‫ﻧﻬﻴﺎن‪ ،‬اﻟﺬي ﻛﺎن ﻳﻘﻮل دامئﺎً‪" :‬ﻣﻦ ﻟﻴﺲ‬ ‫ﻣﺎض ﻟﻴﺲ ﻟﻪ ﺣﺎﴐ" ﻛام أﻛﺪت‬ ‫ﻟﻪ ٍ‬ ‫ﺳﻤﻮﻫﺎ ﻋﲆ ﴐورة ﺗﻮﺿﻴﺢ دور اﳌﺮأة‬ ‫ﰲ اﻟﻔﻦ اﻹﺳﻼﻣﻲ‪ ،‬وﻋﲆ أﻫﻤﻴﺔ ﺗﺮﻣﻴﻢ‬ ‫اﳌﻮاﻗﻊ اﻟﺜﻘﺎﻓﻴﺔ اﻹﺳﻼﻣﻴﺔ‪.‬‬ ‫اﻹﺳﻼﻣﻴﺔ أﺑﺮزﻫﺎ‪" :‬اﳌﺆﺳﺴﺎت اﻟﺜﻘﺎﻓﻴﺔ‬ ‫ﰲ اﻟﻌﴫ اﻟﺮﻗﻤﻲ – اﳌﺘﺎﺣﻒ" و"ﻣﻦ ﻫﻮ‬ ‫ﺟﻤﻬﻮر اﻟﻔﻦ اﻹﺳــﻼﻣــﻲ" وﻏــري ذﻟــﻚ ﻣﻦ‬ ‫ﻗﻀﺎﻳﺎ‪.‬‬

‫اﻷﺟﻨﺒﻴﺔ واﻟﻌﺮﺑﻴﺔ اﳌﺸﺎرﻛﺔ مبﻬﺮﺟﺎن اﻟﱪدة‪.‬‬ ‫وأﺷــﺎد ﺳﻤﻮ اﻟﺸﻴﺦ ﻋﺒﺪاﻟﻠﻪ ﺑﻦ زاﻳﺪ آل‬ ‫ﻧﻬﻴﺎن ﺑﺎﻟﻨﺠﺎﺣﺎت اﳌﻤﻴﺰة اﻟﺘﻲ ﺣﻘﻘﺘﻬﺎ‬ ‫ﺟﺎﺋﺰة اﻟﱪدة ﻃﻮال ﻣﺴريﺗﻬﺎ اﳌﻤﺘﺪة ﻋﲆ‬ ‫ﻣــﺪار ﺧﻤﺴﺔ ﻋﴩ ﻋﺎﻣﺎً‪ ،‬ﻟﺘﺼﺒﺢ ﻋﻨﻮاﻧﺎً‬ ‫ﻟﻠﻔﻨﺎﻧني واﳌﺒﺪﻋني ﰲ ﻣﺠﺎﻻت اﻟﺨﻂ واﻟﺸﻌﺮ‬ ‫واﻟﺰﺧﺮﻓﺔ‪.‬‬ ‫وﻗﺎل ﺳﻤﻮه‪ :‬رﺳﺨﺖ ﺟﺎﺋﺰة اﻟﱪدة ﻣﻜﺎﻧﺘﻬﺎ‬ ‫ﻋﲆ ﺧﺮﻳﻄﺔ اﻟﻔﻌﺎﻟﻴﺎت اﻟﺜﻘﺎﻓﻴﺔ واﻟﻔﻨﻴﺔ‬ ‫اﳌﻌﻨﻴﺔ ﺑﺎﻟﻔﻦ اﻹﺳــﻼﻣــﻲ‪ ،‬ﺣﻴﺚ ﻳﺤﺮص‬ ‫اﻟﻔﻨﺎﻧﻮن واﻟﺸﻌﺮاء ﻣﻦ ﺟﻤﻴﻊ دول اﻟﻌﺎمل‬ ‫ﻋﲆ اﳌﺸﺎرﻛﺔ ﻓﻴﻬﺎ ﻹﺑﺮاز ﻓﻨﻮﻧﻬﻢ واﺑﺪاﻋﺎﺗﻬﻢ‪.‬‬ ‫وأوﺿﺢ ﺳﻤﻮه‪ :‬ﺗﻌﻜﺲ ﺟﺎﺋﺰة اﻟﱪدة اﻟﺪور‬ ‫اﻟﺮاﺋﺪ اﻟــﺬي ﺗﻘﻮم ﺑﻪ دوﻟــﺔ اﻹﻣــﺎرات ﰲ‬ ‫رﻋﺎﻳﺔ ودﻋﻢ اﻟﻔﻨﻮن اﻹﺳﻼﻣﻴﺔ اﻧﻄﻼﻗﺎً ﻣﻦ‬ ‫اﺳﱰاﺗﻴﺠﻴﺘﻬﺎ اﻟﺮاﻣﻴﺔ إﱃ ﺗﻌﺮﻳﻒ اﳌﺠﺘﻤﻌﺎت‬

‫ﻛ ًﻼ ﻣﻦ ﻣﺤﻔﻮظ أﺣﻤﺪ وﻋﲇ إﺣﺴﺎن وﻋﺒﺪ‬ ‫اﳌﺤﺴﻦ ﻧﺼﺎر وﻋــﲇ رﺿــﺎ وﺳــﺎرة ﻋﻄﺎر‬ ‫ﰲ ﻓﺌﺔ اﻟﺨﻂ اﻟﻌﺮيب اﻟﺘﻘﻠﻴﺪي‪ ،‬وﺷﻴامء‬ ‫أﻛﻮر وﻳﻮﻣﻴﺪا ﺳﻮروﻓﺎ وﻋﺴﻜﺮ وﻣﻌﺼﻮﻣﺔ‬ ‫وﻣﺤﺴﻦ ﻣﺮادي ﰲ ﻓﺌﺔ اﻟﺰﺧﺮﻓﺔ‪ ،‬وﻋﻘﻴﻞ‬ ‫أﺣﻤﺪ وإﺑﺮاﻫﻴﻢ اﻟﺤﺴﻮن وإميﺎن اﻟﺠﴚ‬ ‫وﻓﺎدي اﻟﻌﻮﻳﺪ وآﺑﻮس ﺳﻮروﻓﺎ وﺣﺴﺎم ﻋﺒﺪ‬ ‫اﻟﻮﻫﺎب ﰲ ﻓﺌﺔ اﻟﺤﺮوﻓﻴﺎت )اﻟﺨﻂ اﻟﺤﺪﻳﺚ(‬ ‫أﻣﺎ ﻓﺌﺔ اﻟﺸﻌﺮ ﻓﻘﺪ ﺗﻀﻤﻨﺖ ﻓﻮز ﻛﻞ ﻣﻦ‬ ‫ﺧﺎﻟﺪ ﺣﺴﻦ وأﺣﻤﺪ ﺑﺼﻞ وآﻣﻨﺔ ﺣﺰﻣﻮن‬ ‫وﻣﺤﻤﺪ ﻳﻌﻘﻮب ﰲ ﻓﺌﺔ اﻟﺸﻌﺮ اﻟﻔﺼﻴﺢ‬ ‫ﺑﻴﻨام ﻓﺎز ﰲ ﻓﺌﺔ اﻟﺸﻌﺮ اﻟﻨﺒﻄﻲ ﻛﻞ ﻣﻦ ﻋﲇ‬ ‫اﻟﻘﺤﻄﺎين وزاﻳــﺪ اﻟﻀﻴﻒ وﺳﻌﻮد اﳌﺤﻤﺪ‬ ‫وﻣﺰﻧﺔ ﻣﺒﺎرك‪.‬‬

‫اﻟﻌﺎﳌﻴﺔ ﺑﻬﺬه اﻟﻔﻨﻮن وﺻﻮن اﻟﱰاث اﻟﻔﻨﻲ‬ ‫ﻟﻠﺤﻀﺎرة اﻹﺳﻼﻣﻴﺔ وإﻇﻬﺎر اﻟﺼﻮرة اﳌﴩﻗﺔ‬ ‫ﻟﻠﺜﻘﺎﻓﺔ اﻹﺳﻼﻣﻴﺔ اﳌﺒﻨﻴﺔ ﻋﲆ اﻟﺘﺴﺎﻣﺢ‬ ‫واﳌﺤﺒﺔ‪.‬‬ ‫وﻗﺎم ﺳﻤﻮ اﻟﺸﻴﺦ ﻋﺒﺪاﻟﻠﻪ ﺑﻦ زاﻳﺪ آل ﻧﻬﻴﺎن‬ ‫وزﻳﺮ اﻟﺨﺎرﺟﻴﺔ واﻟﺘﻌﺎون اﻟﺪوﱄ وﻣﻌﺎﱄ ﻧﻮرة‬ ‫ﺑﻨﺖ ﻣﺤﻤﺪ اﻟﻜﻌﺒﻲ وزﻳﺮة اﻟﺜﻘﺎﻓﺔ وﺗﻨﻤﻴﺔ‬ ‫اﳌﻌﺮﻓﺔ ﺑﺘﻜﺮﻳﻢ وﺗﻘﺪﻳﻢ اﻟﺪروع ﻟﻠﻔﺎﺋﺰﻳﻦ ﰲ‬ ‫ﻓﺌﺎت اﻟﺠﺎﺋﺰة اﻟﺜﻼث وﻫﻲ اﻟﺸﻌﺮ‪ ،‬واﻟﺨﻂ‬ ‫واﻟﺤﺮوﻓﻴﺔ اﻟﻌﺮﺑﻴﺔ‪ ،‬واﻟﺰﺧﺮﻓﺔ‪.‬‬ ‫وﺗﻀﻤﻨﺖ ﺟﺎﺋﺰة اﻟﱪدة ﰲ دورﺗﻬﺎ اﻟﺨﺎﻣﺴﺔ‬ ‫ﻋﴩة ﻣﺸﺎرﻛﺎت ﻣﻦ ﻋﺪد ﻛﺒري ﻣﻦ اﻟﺪول‬ ‫اﻟﻌﺮﺑﻴﺔ ﻣﻨﻬﺎ اﳌﻤﻠﻜﺔ اﻟﻌﺮﺑﻴﺔ اﻟﺴﻌﻮدﻳﺔ‬ ‫وﺳﻠﻄﻨﺔ ﻋــامن وﻣــﴫ واﻟــﻌـﺮاق وﺳﻮرﻳﺎ‬ ‫واﻟﺠﺰاﺋﺮ إﺿﺎﻓﺔ إﱃ اﻹﻣﺎرات‪.‬‬ ‫وﺷﻤﻠﺖ ﻗﺎمئﺔ اﻟﻔﺎﺋﺰﻳﻦ اﻷرﺑﻌﺔ واﻟﻌﴩﻳﻦ ‪ ǳǾƳōǂŭ ƈǷƒŵ‬‬ ‫ﻛﺎﻧﺖ وزارة اﻟﺜﻘﺎﻓﺔ وﺗﻨﻤﻴﺔ اﳌﻌﺮﻓﺔ ﻗﺪ‬ ‫أﻃﻠﻘﺖ ﺟﺎﺋﺰة اﻟــﱪدة ﻷول ﻣﺮة ﰲ اﻟﻌﺎم‬ ‫‪ 2004‬اﺣﺘﻔﺎء ﺑﺬﻛﺮى اﳌﻮﻟﺪ اﻟﻨﺒﻮي اﻟﴩﻳﻒ‬ ‫ﻣﻦ ﺧﻼل اﻟﺸﻌﺮ واﻟﺨﻂ واﻟﺰﺧﺮﻓﺔ اﻟﻌﺮﺑﻴﺔ‪. .‬‬ ‫وﻛﺮﻣﺖ اﻟﺠﺎﺋﺰة ﺣﺘﻰ اﻟﻴﻮم ‪ 292‬ﻣﺸﺎرﻛﺎً‬ ‫ﺣﻮل اﻟﻌﺎمل ﺣﻴﺚ ﺿﻤﺖ أﺑﺮز اﻟﺪول اﳌﺸﺎرﻛﺔ‬ ‫دوﻟﺔ اﻹﻣﺎرات اﻟﻌﺮﺑﻴﺔ اﳌﺘﺤﺪة‪ ،‬واﳌﻤﻠﻜﺔ‬ ‫اﻟﻌﺮﺑﻴﺔ اﻟﺴﻌﻮدﻳﺔ وﻣﴫ واﻷردن وﺳﻮرﻳﺎ‬ ‫واﻟﻌﺮاق واﻟﺠﺰاﺋﺮ واﻟﺴﻮدان وﺑﺎﻛﺴﺘﺎن‬ ‫وأوزﺑﻜﺴﺘﺎن وأﻧﺪوﻧﻴﺴﻴﺎ وﺑﺮﻳﻄﺎﻧﻴﺎ وأﳌﺎﻧﻴﺎ‬ ‫وﻛﻨﺪا‪.‬‬ ‫وأﺷﺎرت ﻣﻌﺎﱄ ﻧﻮرة ﺑﻨﺖ ﻣﺤﻤﺪ اﻟﻜﻌﺒﻲ‪،‬‬ ‫اﻟﺸﻌﺮ ‪baytelshear‬‬ ‫ﺑﻴﺖ ِ‬

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‫‪ ĘŘĘĤĮŜŕ‬‬ ‫‪ơƀǕŌǶ ǳƳƉƁƋǕŌǶ ƉƪƖǕŌ ǒǷǂŽ ŧǜǘƞũ‬‬

‫ ‪ǚōŵƉǤǘǕŌ ǀȎƢǝŌ ƃǤƖǿ ƃǿŌƊ Ǜş ƱǾƓ‬‬ ‫ ‪ mǲƂƉŞǕŌ}Ȍş ǛǿƋȃōƲǕŌ ǖƉǈǿ ƃǿŌƊ Ǜş ǣǔǕŌƃŞƫǶ‬‬

‫ﺑﺸﺮى ﻋﺒﺪا‪:B‬‬

‫أﻛﺪ اﻟﻔﺮﻳﻖ ﺳﻤﻮ اﻟﺸﻴﺦ ﺳﻴﻒ ﺑﻦ زاﻳﺪ‬ ‫آل ﻧﻬﻴﺎن‪ ،‬ﻧﺎﺋﺐ رﺋﻴﺲ ﻣﺠﻠﺲ اﻟــﻮزراء‬ ‫وزﻳــﺮ اﻟﺪاﺧﻠﻴﺔ‪ ،‬ﰲ ﺗﻐﺮﻳﺪة ﻧﴩﻫﺎ ﻋﲆ‬ ‫ﺣﺴﺎب ﺳﻤﻮه اﻟﺮﺳﻤﻲ ﻋﲆ "ﺗﻮﻳﱰ" ﻋﲆ‬ ‫أن "ﻣﻬﺮﺟﺎن اﻟﱪدة اﺣﺘﻔﺎﻟﻴﺔ ﻓﺮﻳﺪة ﺗﺆﻛﺪ‬ ‫ﺣﺮص اﻹﻣﺎرات ﻋﲆ إﺑﺮاز اﻹﺑﺪاﻋﺎت اﻟﻔﻨﻴﺔ‬ ‫ﻟﻠﺤﻀﺎرة اﻹﺳﻼﻣﻴﺔ‪ ،‬ﺑﻮﺻﻔﻬﺎ رﻛﻨﺎً رﺋﻴﺴﺎً ﻣﻦ‬ ‫اﻟﺤﻀﺎرة اﻹﻧﺴﺎﻧﻴﺔ‪ ،‬ﳌﺪ اﻟﺠﺴﻮر وﺗﺮﺳﻴﺦ‬ ‫ﺛﻘﺎﻓﺔ اﻟﺤﻮار ﺑني ﻣﺨﺘﻠﻒ ﺷﻌﻮب اﻟﻌﺎمل‬ ‫وإﻋﻼء ﻗﻴﻤﺔ اﻹﻧﺴﺎن وﻫﻮﻳﺘﻪ"‪.‬‬ ‫ﻛام أﺷﺎر ﺳﻤﻮه إﱃ ﺳﻌﺎدﺗﻪ ﺑﺤﻀﻮر اﻧﻄﻼق‬ ‫اﳌﻬﺮﺟﺎن‪ .‬وﻗﺪ ﻛﺎن اﻟﻔﺮﻳﻖ ﺳﻤﻮ اﻟﺸﻴﺦ‬ ‫ﺳﻴﻒ ﺑﻦ زاﻳﺪ‪ ،‬ﻗﺪ ﺷﻬﺪ اﻧﻄﻼق ﻓﻌﺎﻟﻴﺎت‬ ‫اﻟﺪورة اﻷوﱃ ﻣﻦ "ﻣﻬﺮﺟﺎن اﻟﱪدة" اﻟﺬي‬ ‫ﻧﻈﻤﺘﻪ وزارة اﻟﺜﻘﺎﻓﺔ وﺗﻨﻤﻴﺔ اﳌﻌﺮﻓﺔ‪ ،‬ﺻﺒﺎح‬ ‫اﻷرﺑﻌﺎء ‪ 14‬ﻧﻮﻓﻤﱪ اﳌــﺎﴈ‪ ،‬ﰲ "ﻣﻌﺮض‬

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‫اﻟﻌﺪد ‪ ، 73‬دﻳﺴﻤﺒﺮ ‪2018‬‬

‫‪ "421‬ﰲ ﻣﻴﻨﺎء زاﻳﺪ ﺑﺄﺑﻮﻇﺒﻲ‪.‬‬ ‫‪ ǛǿƋȃōƲǕŌ ǗǿƉǈũ‬‬

‫اﻃﻠﻊ اﻟﻔﺮﻳﻖ ﺳﻤﻮ اﻟﺸﻴﺦ ﺳﻴﻒ ﺑﻦ زاﻳﺪ‬ ‫آل ﻧﻬﻴﺎن‪ ،‬ﻋﲆ اﳌﻌﺮض اﻟﻔﻨﻲ اﳌﺼﺎﺣﺐ‬ ‫ﻟﻠﻤﻬﺮﺟﺎن ﰲ ﻣﻌﺮض ‪ ،421‬واﻟﺬي ﻳﺸﻤﻞ‬ ‫أﻋــامﻻً ﻓﻨﻴﺔ ﻟﻠﻔﺎﺋﺰﻳﻦ ﺑﺠﺎﺋﺰة اﻟــﱪدة ﰲ‬ ‫دورﺗﻬﺎ اﻟﺨﺎﻣﺴﺔ ﻋﴩة‪ ،‬وراﻓﻖ ﺳﻤﻮه ﰲ‬ ‫اﻟﺠﻮﻟﺔ ﻣﻌﺎﱄ ﻧــﻮرة ﺑﻨﺖ ﻣﺤﻤﺪ اﻟﻜﻌﺒﻲ‬ ‫وزﻳﺮة اﻟﺜﻘﺎﻓﺔ وﺗﻨﻤﻴﺔ اﳌﻌﺮﻓﺔ‪ ،‬وﻣﻌﺎﱄ زيك‬ ‫أﻧﻮر ﻧﺴﻴﺒﺔ وزﻳﺮ دوﻟﺔ‪ ،‬وﻣﻌﺎﱄ اﻟﺸﻴﺨﺔ ﻣﻲ‬ ‫ﺑﻨﺖ ﻣﺤﻤﺪ آل ﺧﻠﻴﻔﺔ رﺋﻴﺴﺔ ﻫﻴﺌﺔ اﻟﺒﺤﺮﻳﻦ‬ ‫ﻟﻠﺜﻘﺎﻓﺔ واﻵﺛــﺎر‪ ،‬وﻣﻌﺎﱄ ﻣﺤﻤﺪ اﳌﺮ رﺋﻴﺲ‬ ‫ﻣﺠﻠﺲ إدارة ﻣﻜﺘﺒﺔ ﻣﺤﻤﺪ ﺑﻦ راﺷﺪ‪.‬‬ ‫‪ǛǿƋȃōƲǕŌ ǖƉǈǿ ƃǿŌƊ Ǜş ǣǔǕŌƃŞƫ‬‬

‫ﻛام ﻛﺮم ﺳﻤﻮ اﻟﺸﻴﺦ ﻋﺒﺪاﻟﻠﻪ ﺑﻦ زاﻳﺪ آل‬ ‫ﻧﻬﻴﺎن وزﻳــﺮ اﻟﺨﺎرﺟﻴﺔ واﻟﺘﻌﺎون اﻟﺪوﱄ‬

‫اﻟﻔﺎﺋﺰﻳﻦ ﺑﺠﺎﺋﺰة اﻟﱪدة ﰲ دورﺗﻬﺎ اﻟﺨﺎﻣﺴﺔ‬ ‫ﻋﴩة‪ ،‬ﰲ ﻋﴫ ذات اﻟﻴﻮم ﺧﻼل ﺣﻔﻞ أﻗﻴﻢ‬ ‫ﰲ ﻣﺮﻛﺰ اﻟﻔﻨﻮن اﻟﺘﺎﺑﻊ ﻟﺠﺎﻣﻌﺔ ﻧﻴﻮﻳﻮرك‬ ‫أﺑﻮﻇﺒﻲ‪ .‬ﺑﺤﻀﻮر ﻣﻌﺎﱄ اﻟﺸﻴﺦ ﻧﻬﻴﺎن ﺑﻦ‬ ‫ﻣﺒﺎرك آل ﻧﻬﻴﺎن وزﻳﺮ اﻟﺘﺴﺎﻣﺢ‪ ،‬واﻟﺸﻴﺦ زاﻳﺪ‬ ‫ﺑﻦ ﺳﻠﻄﺎن ﺑﻦ ﺧﻠﻴﻔﺔ آل ﻧﻬﻴﺎن رﺋﻴﺲ ﻣﺠﻠﺲ‬ ‫إدارة ﻣﺆﺳﺴﺔ اﻟﺸﻴﺦ اﻟﺪﻛﺘﻮر ﺳﻠﻄﺎن ﺑﻦ‬ ‫ﺧﻠﻴﻔﺔ آل ﻧﻬﻴﺎن اﻹﻧﺴﺎﻧﻴﺔ واﻟﻌﻠﻤﻴﺔ‪ ،‬وﻣﻌﺎﱄ‬ ‫ﺣﺴني ﺑﻦ إﺑﺮاﻫﻴﻢ اﻟﺤامدي وزﻳﺮ اﻟﱰﺑﻴﺔ‬ ‫واﻟﺘﻌﻠﻴﻢ وﻣﻌﺎﱄ ﻧﻮرة ﺑﻨﺖ ﻣﺤﻤﺪ اﻟﻜﻌﺒﻲ‬ ‫وزﻳــﺮة اﻟﺜﻘﺎﻓﺔ وﺗﻨﻤﻴﺔ اﳌﻌﺮﻓﺔ‪ ،‬وﻣﻌﺎﱄ‬ ‫اﻟﺪﻛﺘﻮر ﺛﺎين ﺑﻦ أﺣﻤﺪ اﻟﺰﻳﻮدي وزﻳﺮ اﻟﺘﻐري‬ ‫اﳌﻨﺎﺧﻲ واﻟﺒﻴﺌﺔ وﻣﻌﺎﱄ ﺣﺼﺔ ﺑﻨﺖ ﻋﻴﴗ‬ ‫ﺑﻮ ﺣﻤﻴﺪ وزﻳﺮة ﺗﻨﻤﻴﺔ اﳌﺠﺘﻤﻊ‪ .‬وﻣﻌﺎﱄ زيك‬ ‫أﻧﻮر ﻧﺴﻴﺒﺔ وزﻳﺮ دوﻟﺔ وﻣﻌﺎﱄ أﺣﻤﺪ ﺑﻦ ﻋﲇ‬ ‫ﻣﺤﻤﺪ اﻟﺼﺎﻳﻎ وزﻳﺮ دوﻟﺔ‪ ،‬وﻣﻌﺎﱄ إﻳﻨﺎس‬ ‫ﻋﺒﺪ اﻟﺪاﻳﻢ وزﻳﺮة اﻟﺜﻘﺎﻓﺔ ﰲ ﺟﻤﻬﻮرﻳﺔ ﻣﴫ‬ ‫اﻟﻌﺮﺑﻴﺔ وﻋﺪد ﻛﺒري ﻣﻦ اﳌﺴﺆوﻟني واﻟﻮﻓﻮد‬

‫ﻗﻠﺐ اﻷ ّﻣﺔ‬ @@ @ @ EQ °* d@@ @ @ @ B @@ @ E b@@ @ A¡@@ @ D* i*4b@@ @ @ @ @ @ @ E(* @@ @ E @@ Eb@@ <y@@ D* @@ @ @ @ 94* x@@ s@ @ @ @D* @@ @£@ @ +*x@@ @E @@ @ E @@ Q @ @ B v@@ m@ @ @ @ @ @ D h@@ @ p@ @ @c@ @ @~@ @ @8&* M2É@@ @ @ @ @ @+ @@ @ @ E @@ @Eb@@ @G yQ @ @ @ @ @ @ @ @ D* ¡@@ @ @ @ @ @ AH yQ @ @ @ @ @ @ @ @ @D Mf@ @ @ @ Eb@@ @ @ @G @@ Q @ @~@ @7 *¡@@ @ @ @ @ @ @1° d@@ ~@ @z@ @g@ @ @ @- M4b@@ @ @ @ @ @ @J2 @@ @ @ E @@ Eb@@ @ @E @@ @ @ @ @ @ ±* ¢@@ @~@ @ z@ @ <b@@ @J v@@ @ @ @ @ @J*5 4*2 @@ @ @ @ @E2H @ Q @ @c@ @ @ @ B b@@ @ @ @ @~@ @z@ @/ ¯ @@ @ @ @ @04 ¡@@ @ @ D @@ @EÉ@@ @< @@ @ @ @D b@@ @ @ @ £@ @ A @@ @ @ @ @ E4 f@@ @ c@ @ @0 @@ @ @ @C @@ @ @ Q @ @ @ GH @@ @ @ @ @ @ @ @p@ @ @+ b@@ @ @ @ F2b@@ @ @ @ B ¤@X @ @ @ +x@@ @ @ @ @ @ @J @@EÉ@@~@ z@ D* ¢@@ ~@ @6x@@ § h@@ @ ~@ @ @64* @@ @ £@ @ ~@ z@ D*H @@ Q @ @< 4¡@@ @ @ @ @Db@@ @ + v@@ @ @ @B ¢@@ @ :¡@@ @ E @@ @ @D @@ @ @ @JH @@ @E*x@@ @ @ @ D*H y@@ @ @ @ @ @ ´* @@ z@ @ @ @~@ @7 h@@ @ Bx@@ @ ~@ @ @7*H @@ @ Q @ @ @ @ ´* @@ @m@ @ @ @ F ¢@@ @ @ @ < @@ @ @ @ C @@ @ @ @ @ @ @³*H @@ @Eb@@ @ @ @ ~@ @ 6H y@@ @ @ @ @ @ D* Ì@@ @ @ @ @+ @@ @ @ @ £@ @ @ @ 1 *3 @@ Q @ G d@@ @ @~@ @{@ @D* Q @ @ @ @G b@@ @ @ @ @~@ @6 ¡@@ @ + @@ @7b@@ @< @@ @EÉ@@ @0 i*Ì@@ @ @ @j@ @ @ @ C x@@ @ @ p@ @ @ + b@@ @ @ @ @ @ @ @ @ D*H @@ Q @ @~@ @8 b@@ @ @ c@ @ @ / v@ R @ @ @ @ J @@ @ @ Ey@@ @ @ 0H @@ @ Ey@@ @ < @@ @ E*x@@ @ E @@ @ @ @ @« @@ @ g@ @ c@ @ £@ @ GH Í@@ @ @ @ @J b@@ @ @ @E @@ @ @ @ EQ 3 b@@ @ @ £@ @ @ @ @ @ @ @FR f@@ @ @ @ @ @ +° b@@ @ @ @ @£@ @ @A 4*2H @@ @Eb@@ @£@ @ @ @ D* ¡@@ @ @ @ @ J ¶(* b@@ @ @£@ @ @ Fv@@ @ @D* f@@ @ @ @ @/ @@ Q @ ~@ 9 d@@ @ @ @ @ @ D* b@@ @ GÉ@@ @ = ¤@@ @ @ @ -*4b@@ @ @ @ E(* ¤@@ @ @G @@ Eb@@ ~@ @6H ¥4v@@ @ ~@ @ @8 ¢@@ @ @< Mx@@ @s@ @ A b@@ @ @ @ @~@ @6*H @@ Q @ @ ~@ @ 7* x@@ @ @ @ < b@@ @ @ G*x@@ @ @ .H d@@ @ @0 b@@ @ @~@ @}@ @c@ @F @@Eb@@~@ z@ E @@ |@ @1x@@ J b@@ @ @ @ @FH2 @@ @ E x@@ @ @ @ @ @ D*H @@ Q @ @g@ @- @@ @ 0x@@ @ @ @ @Db@@ @ + ¡@@ @ @ @ @ @ £@ @ @ ´* b@@ @ Gv@@ @ £@ @ @< @@ @ Eb@@ @ <y@@ @ D* i*4b@@ @ @ @ @ @ @ @ @ @E(* b@@ @ @ J @@ @ Eb@@ @ <y@@ @ Db@@ @ +

baytelshear ‫اﻟﺸﻌﺮ‬ ِ ‫ﺑﻴﺖ‬

‫ﺣﻤﺪان اﻟﺴﻤﺎﺣﻲ‬ @ hamdanalsamahi

ĘıĘŕ

‫ﻋﺘﻴﻖ ﺧﻠﻔﺎن اﻟﻜﻌﺒﻲ‬ @ ateq_alkabi

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‫وﻃﻦ اﻟﺸﻤﻮخ‬ b£@²* xmA @~zg@c@J v@£@< ¡@@ @J ¯ @@:H b@@J *¡@@G @@D y@@ @J r*4 x@@Jb@@ @~@}@D* ¯ Md @@B @@ @CH b E ¢@@ @=&* @@:H b@@J Ab~7 v@~|D* bJ*x@E ¯H b@@<2 @@~94&° | 1*H Q £- E4 x@ : E b@c@/ @AxF pF Ä ~zJ2 Í .* rbc@~8 ¤@A Q - ¤@@ @-*4b@@ @E(* b@@J b@@ £@~9 w@@ @ @1H u¡@@ @~{Db@+ q@~7¡@ b@@ @g@cE f@@ @Jb@@ @= b@@ F @@ @m@ @ @FH v@@ @ @ J*5 @@c@ - @@E b~|< h@ @1 b@@E @JH x@@G5&* x@ @ Db+ ~|@ @D* b@ 1 b cgJ 4b~6 f £ 1 vJ*5 v + EH *v@@ @ F ¤@@c@ @ @J @@D v@@~@7*4 @@+* v@@ @¹

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2018 ‫ دﻳﺴﻤﺒﺮ‬، 73 ‫اﻟﻌﺪد‬

‫‪ ƕƪǜǘǕŌ ŝŽ ǓǾƛōƲũǶ ǼƃǿǷǤǕŌ ǚōǘǾǔƓ‬‬

‫ﺣﻜﺎﻳﺔ ﺑﺮﻗﻊ‪ ..‬وﺣﻜﺎﻳﺔ ﻏﺰال ﻓﻲ اﻟﻤﺪﻳﻨﺔ!‬ ‫‪ C @@ Jy@@ D* @@ Q @ / @@ 7H ¤@@c@ @ D* ,É@@~@ 8 b@@ J‬‬ ‫ﻋﻠﻲ اﻟﻤﺴﻌﻮدي‬ ‫‪f@@ @ £@ @ : @@ @Jb@@ @~@ @ 8°b@@ @+ @@ @ @ C @@ £@ @ @ @p@ @+ ¡@@ @ D‬‬ ‫ﻟﻴﺲ ﻟﻬﺬه اﻟﻘﺼﻴﺪة ﻗﺼﺔ ﻣﺤﺪدة‪ ..‬ﺑﻞ ﻫﻲ ﺣﻜﺎﻳﺎت وﺟامﻟﻴﺎت ‪ @@ @ @ g@ ~@ z@ - ¤@@ @ @GH ¯b@@ ~@ @ |@ @ D* @@ @ @ @ J5 M @@ @ Eb@@ @ C‬‬ ‫‪ @@ @£@ @A @@ ~@ @6b@@ p@ @´*H @@ @ .¡@@ @ F°*H @@ @ @ Db@@+‬‬ ‫ﺗﻨﺘﴩ ﰲ اﳌﻌﺎين واﻟـــﺪﻻﻻت‪ ..‬ﺣﻴﺚ ﻧﺴﺘﻠﻬﻢ ﻗــﺮاءة ﻟﻠﺤﺮاك < @‪ @@ @ @E M2H2H @@ A¡@@ ~@ @7 ¢@@ @ @< ¤@@ @ @D* ¤@@ @ £‬‬ ‫اﻻﺟﺘامﻋﻲ وذﻟﻚ اﻟﺘﻐﻠﻐﻞ اﻟﺘﺪرﻳﺠﻲ ﺑني ﻋﺎدات اﻟﺒﺎدﻳﺔ واﳌﺪﻳﻨﺔ‪..‬‬ ‫‪f £mA q@@c@~@|@-H ¤@@~@z@ b@@ @ @ @/ b@@ @ = b@@E‬‬ ‫واﻟﺸامل واﻟﺠﻨﻮب ﺑﺤﻴﺚ ﻳﺬوب اﻟﻔﺮد ﰲ اﳌﺠﻤﻮع وﻳﺄﺧﺬ ﻣﻦ‬ ‫ﻃﺒﺎﻋﻪ وﻋﺎداﺗﻪ وﺗﻘﺎﻟﻴﺪه وﻗﻮاﻧﻴﻨﻪ‪ ..‬وﻳﺘﻢ اﻟﺘﺒﺎدل اﻷﻳﺪﻳﻮﻟﻮﺟﻲ ﻫﻮ ﺷﺎﻋﺮ ﻳﺤﻮل اﻟﻜﻠﻤﺔ إﱃ ﺻــﻮرة‪ ..‬ﻓﺘﺼﺒﺢ اﻷﺣــﺮف ﻛﺎﺋﻨﺎت‬ ‫ﻣﱰﺟﺎً ﰲ اﻟﺰﻣﻦ‪ ..‬ﻛﺄمنﺎ ﻳﺠﺘﺎﺣﻚ اﳌﺎء ﺑﻬﺪوء وﺑﻂء ﺷﺪﻳﺪ ﻻﺗﺘﻮﻗﻊ ﺣﻴﺔ ﺗﻌﱪ ﺗﻌﺒرياً ﺣﺮﻛﻴﺎً‪ ،‬ﻓﻴﺴﻤﻊ اﳌﺘﻠﻘﻲ ﺻﻮﺗﻬﺎ وﻳﺮى ﺗﺤﻮﻻﺗﻬﺎ‪،‬‬ ‫ارﺗﻔﺎﻋﻪ ﻓﺈذا ﺑﻪ ﻳﻔﺮض وﺟﻮده‪..‬‬ ‫وﻳﺴﺘﻨﺸﻖ ﻋﻄﺮﻫﺎ‪..‬‬ ‫ﻣﺠﺘﻤﻊ اﻟﺨﻠﻴﺞ ﰲ اﻟﺴﺒﻌﻴﻨﻴﺎت وﺑﺪاﻳﺔ اﻟﺜامﻧﻴﻨﻴﺎت‪ ..‬ﺣﻴﺚ ﺗﺘﻮاﻓﺪ‬ ‫اﻟﺒﻴﻮت وﺗﺘﺠﺎور اﳌﺴﺎﻛﻦ ﰲ ﺗﺮﻛﻴﺒﺔ ﺟﺪﻳﺪة مل ﺗﺘﻌﻮدﻫﺎ اﳌﻨﻄﻘﺔ‪..‬‬ ‫ﺣﻴﺚ ﺑﺪأت ﺗﻨﺰع ﻟﺒﺎس اﻻﻧﻌﺰال‪ ..‬وأﺧﺬت ﺗﺆﻣﻦ ﺑﺎﻻﻧﺪﻣﺎج ﰲ‬ ‫اﻵﺧﺮ‪..‬‬ ‫وﻣﻦ ﻫﻨﺎ ﻧﺸﺄت ﻋﻮاﻃﻒ وﺟامﻟﻴﺎت إﺣﺴﺎس ﺟﺪﻳﺪة‪ ،‬ﻣﻊ اﻛﺘﺴﺎب‬ ‫ﻋﺎدات رمبﺎ ﻃﺎرﺋﺔ ‪ ..‬ورمبﺎ دامئﺔ‪ ،‬وﰲ اﻟﺤﺐ اﳌﻨﻌﺶ‪ ..‬ﺗﻄﻔﻮ ﻋﲆ‬ ‫ﺳﻄﺢ اﻟﺸﻌﺮ ﺗﻠﻚ ﻋﻮاﻃﻒ ﺷﻮق ﻣﺨﺘﻠﻄﺔ ﺑﺤﺰن‪.‬‬ ‫ﺗﺒﺪأ اﻟﻘﺼﻴﺪة ﺑﺨﱪ‪ ..‬ﻳﻄﻠﻘﻪ اﻟﺸﺎﻋﺮ ﻋﻦ ﺣﺎﻟﺔ ﺟﺪﻳﺪة ﺗﺪﺧﻠﻬﺎ‬ ‫اﻟﺤﺒﻴﺒﺔ‪:‬‬ ‫‪ D ,2b@@ < ¤@@G b@@E @@BÄ@@D* zc J ¤@@c@0b@@~@8‬‬ ‫‪ £c: i4b@@~@ 8H @@F*Ì@@/ @@ @~@6 w@@ 1* Ì@@E‬‬

‫وﻫﺬا اﻟﺒﻴﺖ ﻫﻮ ﻣﺎﺗﺒﻨﻰ ﻋﻠﻴﻪ ﺑﻘﻴﺔ اﻷﺣــﺪاث‪ ..‬ﳌﻌﺎﻟﺠﺔ اﻟﺤﺎﻟﺔ‬ ‫اﻟﺸﻌﻮرﻳﺔ ﻟﻠﺸﺎﻋﺮ‪ ..‬وﻣﺎﺗﻔﱰﺿﻪ ﻋﻠﻴﻪ ﺗﻠﻚ اﻟﺤﺎﻟﺔ ﻣﻦ وﺻﺎﻳﺎ اﳌﺤﺐ‬ ‫اﻟﺬي ﻳﺒﺤﺚ ﻋﻦ ﻛﻞ اﻟﻄﺮق ﻟﺘﱪﻳﺮ اﻟﻔﻌﻞ أوﻻً‪ ..‬ﺛﻢ اﻟﺘﻐﺰل ﺑﺎﻟﺤﺒﻴﺐ‬ ‫ﺛﺎﻧﻴﺎً‪:‬‬ ‫ﻗﺼﻴﺪة ﺗﻘﺮأ ﻓﻴﻬﺎ ﻣﻼﻣﺢ ﻣﺠﺘﻤﻊ وﻗﺼﺔ ﻋﻤﺮ وﻓﻜﺮ‪ ..‬وﻃﺮﻳﻘﺔ ﺣﺐ‪:‬‬ ‫‪ @@D2 3¡@@ 1 @@:¡@@D* h@@£@ /° b@@ B @@E @@j@ E‬‬ ‫‪ £: h@@B¡@@D* <b:bE *H 6b D* xJb~6‬‬ ‫‪ @@D @M @ @Bx@@ @+ ¢@@ @ @< @@ @ @ @ @ E ¤@@ @ @Db@@ J @@ £@ @G‬‬ ‫‪ @@ @£@~@6H @@F¡@@£@ < Ix@@ @ - @@g@ ~@ 9x@@B *¡@@ @ @~@ @6H‬‬ ‫‪ @@ @ Â b@@ @ @E @@ @ <b@@ @ F x@@ @ Jx@@ @ 0 @@ @ @D *¡@@ @ @~@ @|@ @A‬‬ ‫‪ @@ @Jx@@~@6 x@@.&b@ g@ Db@@ + 2Hv@@ @ @ 1 ,x@@~@ {@ + k@@£@ 0‬‬ ‫‪ D Mf@ /x@@G ¢@@ @ < @@ @~@{@- ox@@ @G° ¤@@c@0b@@~@8‬‬ ‫‪ @@ @£@c@J @@ /x@@ G @@ C @@ EÉ@@ C ,HÉ@@ @ @0 @@ E‬‬ ‫‪ @@ @ @´* @@7¡@@Ex@@D*H x@@/b@@p@ ´* ¡@@~@ 7* ¡@@ J‬‬ ‫‪ @@ @ £@ Ax@@D* *y@@ @ @ @ @D* f@@ c@ @ B4 @@ @ @C M @@ @ -b@@ @ <H‬‬ ‫اﻟﺸﻌﺮ ‪baytelshear‬‬ ‫ﺑﻴﺖ ِ‬

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‫‪ ĬšĸŌ ĜĸŌ‬‬

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‫اﻟﻌﺪد ‪ ، 73‬دﻳﺴﻤﺒﺮ ‪2018‬‬

‫د ّرة اﻷرض‬ i*4b@@ @ @ @ @ @ E°* b@@ @ @J x@@ @s@ @ A f@@ @ @ @ @DH2 b@@ @ @J 4b@@ @ @ @ @< b@@ Gb@@ @ @ 0 ¤@@ @ @ @ @+4 @@ @ @ @ @ @ @ @94°* ¯ M,42 b@@ @ @ @J ib@@ @Eb@@ @G ¡@@ @ @A @@ @E ¡@@ @Ax@@ @E @@ @ @ @ @D* yQ @ @ @ < b@@ Gb@@ c@ @- ¥2b@@ @ @ @ @ @ @ @ @<&°* @@ @ @ @ @ 6H4 @@ @ @ @ B ¢@@ @ @ @ < i*Hx@@ @ @ @ @ ´* 4*2 d@@ @ @~@ @7 f@@ @ @ @ ²H @@ ~@ @}@ @ @ @F b@@ Gb@@ @ @+ ¡@@ @ @ G @@ @ @ E @@ @ @ @ @ @ 6*4 ,y@@ @ @ @ @< @@ @ @£@ @ @ D2 ib@@ @A Mh@@ @ @Jb@@ @ @A b@@ @ @ @ @ @ Fb@@ @ @C4* ib@@ @g@ @ ~@ @ 7 @@ @ Q @ @ @/ b@@ G*¡@@ g@ @~@ @z@ @E @@ @ @E 2*5H b@@ @ £@ @ @C @@ @ z@ @ ~@ @ 6*H ib@@ @ @E °H v@@ @ @ @ º t@M @ @£@ @ ~@ @ 7 b@@ @ @J ¡@@ @ @0x@@ @ @E b@@ @ @ @G*v@@ @ @ @E Mv@@ @ @£@ @ @ @ @ @ + ¢@@ @ @ @ @ @ j@ @ @ ´* @@ @ @D¡@@ @ @ @ @ @ A i°¡@@ @ @c@ @D* @@ @6b@@ @~@ @ 6&* ¡@@ @G v@@ @ @ @ J*5H v@@ @ @ J*5 b@@ G*v@@ ~@ @8 @@ @ Jb@@ @ + Í@@ @ @ @²* Í@@ @ @D @@ -b@@ @ @ @ @ C ib@@ @ @ @ @ @ @ @ @D Mv@@ @ @ Jb@@ @ @ B @@ @ @+Hx@@ @ @ @ @ @ D* x@@ @ s@ @ @A b@@ Gb@@ @ @B ¤@@ @ @ @ @D* ixQ @ @ @ ~@ @ @ 6 @@ @ @ £@ @ Â f@@ @ @~@ @|@ @+ ib@@ @+ ° @@ @ @ @ ²* @@ @ B¡@@ @ - M4*x@@ @ @ @ @ @ 0 @@ @ Q @ @ @1 b@@ @ @ @ G*43 ¯ d@@ @ @ @ @~@ @ @{@ @ @D*H Hv@@ @ @ @ @ @A 4*v@@ @ @ @ @ @ @D

baytelshear ‫اﻟﺸﻌﺮ‬ ِ ‫ﺑﻴﺖ‬

‫ﺳﺎﻟﻢ اﺑﻦ ﺧﺮﻣﺎن اﻟﻌﺠﻤﻲ‬ Insta : S.9j

ĘıĘŕ

‫َﺗﺠﻠﻲ و ﻣﻴﻼد‬ Í@@ @ @ @ @ @0b@@ @ @ @ @ @J4H 4¡@@ @ @ @ @ @ @ @ @ @ @ G5 f@@ @ @ @ @ @Bb@@ @ @ @ @ @+ ¤@@ @ @ @ @ @ @c@ @ @ @ @ @ @ @2É@@ @ @ £@ @ @ @EH Ix@@ @ @ @ @ @ @ @ C3 ¡@@ @ @ @ @ @ J ¯ ¤@@ @ @ c@ @ @ @;¡@@ @ @ + b@@ @ @ @ @J @@ @ @JHb@@ @ @ @ @ @ < b@@ @ @£@ @ @ @ @ @ + b@@ @ @ @ @ @ @ @ @ @ @~@ @ @ @64* ¤@@ @ @c@ @ @ @ @ @ B @@ @ @ @ @E 2b@@ @ @ @ £@ @ E H2 b@@ @ @ @ @ @ D Ä@@ @ @ @ @ ~@ @ @ z@ @ @ J2 Í@@ @ @ @ @ @ @ @ .* H @@ @ @ @J5*¡@@ @ @ @´* q@@ @ @ £@ @ @ @/4 v@@ @ @ @ @0¡@@ @ @ @ @D* @@ @ @ @ @ @ @<* ¡@@ @ @ @ @ J 2b@@ ~@ @6 H @@ @ @ @ £@ @ A b@@ @ @ @ @~@ @ @6HR i*4b@@ @ @ @ @ @ @ @ @ @ E(°* @@ @ ~@ @ 6b@@ @ + @@ @ @ @JH*Hv@@ @ @ @D* v@@ £@ @~@ @|@ @ @ @Db@@ + Ix@@ @ @ @ @ .* @@ @ @ E v@@ @ @ @ @ J*5 2*x@@ @ @ @ E @ R @ @ @ @ @~@ @ @8¡@@ @ +R @@ @ @ @ c@ @ J ° b@@ @ @ @ @j@ @ @D* b@@ @ @£@ @ @ <* H Í@@D @@ @ @ @ @ @ @ @D* k@@ @ p@ @ @g@ @ @~@ @ @6*H b@@ @ ~@ @ @{@ @ @F&* H ¢@@ @ @ @~@ @ @ @ 64&* 2*4 b@@ @ @ @ @ @ C ¤@@ @ @ @ @ +4 $b@@ @ @ ~@ @ @ @7 b@@ @ @ @ E v@@ @ @ @ @ @ + @@ @ @ @ D h@@ @ @ @ / @@ @ @ J2b@@ @ @ £@ @ @ @´* @@ @ @£@ @ @ @ @ @ / ¯ ¢@@ @ @ @ Q @ @ @ @ @C H ¢@@ @ @ @ @ @ @ @ @AQ H 2b@@ @ / v@@ @ @ @B @@ @ £@ @ @A ¥w@@ @ @ @Db@@ @ @ @+ @@ @ Db@@ @ £@ @ @< *H2b@@ @ @ @ @ @ @ @ @ @ /HR Í@@ @ £@ @ @Fb@@ @ E5 @@ @ @ @ Fb@@ @ @ @ E5 ¯ @@ @ @ @ @ @ £@ @ @ @ @ @ 1 @@ @ @ @ @ @ 0 2b@@ 0 b@@ @ E b@@ @ @~@ @ @ 8H* @@ @ + ¤@@ @ @ @ D* ¡@@ @ @ @ +* n@@ @ @ F @@ @ @ @ <HR Í@@ @ @ Db@@ +H v@@ @J*v@@ @~@ @ {@ @ Db@@ @+ v@@ @ @ @ @ @ ¹ v@@ @ ~@ @ @}@ @ @<H 2b@@ @ @ @ @ @ F* H *v@@ @ @ @ @ @ @« @@ @ @ @ E @@ @ @ @ D t@@ @ @ ~@ @ @ @94 ¤@@ @ @ @ @ @ @D* Í@@ @Eb@@ @£@ @ E xM @ @ @ @ @ @= @@ @£@ @ @ @ ~@ @ 6 *3 ¥v@@ @ @ @ @ @ @±* *w@@ @ @ @ @ G 2b@@ @ @ @ @ @ BQ H yQ @ @ @ @ @ @ @ @ @ @ D* b@@ @ @ @ @ @ ~@ @ @ 6 ¯ @@ @ @ @ @ @ @ @ @ E @@ @ @ @ @ @ @ @ D* Í@@ @ @0b@@ @ @J4 H 4¡@@ @ @ @ @ @ @ @G5 f@@ @ @ @Bb@@ @ @ @+ @@ @ @ @ @ @ D @@ @ @ @ @ @ @ @ @ A4&* 2b@@ @ @ @ £@ @ E @@ @ z@ @ @ @ @ @F ¯ 4*v@@ @ @ @ @ @ @ @ D* @@ @ @ @ @ @ @ G°H M4v@@ @ @ @ @ @ @ B Í@@ @JÉ@@ @E @@ @ @ @ @ @ @ @ D&* H @@ @ @ @ @ @ @G3* 2b@@ @ @ @ @ @ @«* Ix@@ @ @ @ @ @ @C3 2b@@ @ @ @ @¸°* iÉ@Q @ @ @m@ @ @ ~@ @ @ 6 @@ @ @ @+ x@@ @s@ @ @ @ - H ¢@@ @ @Gy@@ @ @Í@@ @ @c@ @~@ @6 H v@@ @ @ @ @ @ @ 0*H H @@ @ £@ @ @ @ @ @ ~@ @ z@ @ -H @@ @ @ @ @ @D* 2É@@ @ @ £@ @ @ @E H ¤@@ @ @ @ Q @ @ @ @ ©N Ä@@ @ @ @ @~@ @ @z@ @ @J2 Í@@ @ @ @ @ @ @.* ‫أﺳﻤﺎ اﻟﺒﺮاﻫﻴﻢ‬

2018 ‫ دﻳﺴﻤﺒﺮ‬، 73 ‫اﻟﻌﺪد‬

‫‪ Ŕœħ ęŒĘĽ Įŏĭŕ‬‬

‫ﻋﻠﻲ اﻟﻤﺴﻌﻮدي‬

‫‪@allmasoudi‬‬ ‫اﻟﻨﺎﻗﺪ واﻟﻤﻨﻘﻮد‪(1) ..‬‬ ‫ميﺮ اﳌﺸﻬﺪ اﻟﺸﻌﺮي ﺑﺤﺎﻟﺔ ﻏﻴﺎب أو ﺗﻐﻴﻴﺐ ﻟﻠﻨﻘﺪ‪ ..‬ﺑﺤﺚ أﺻﺒﺤﺖ ﻣﻌﺎﻳري اﻟﺘﻘﻴﻴﻢ ﻏري واﺿﺤﺔ‪،‬‬ ‫ودﻻﻻﺗﻬﺎ ﻏري ﻣﻔﻬﻮﻣﺔ‪ ..‬وﺻﺎرت ﻋﻤﻠﻴﺔ ﺗﺼﺪﻳﺮ اﻟﻨﺎﻗﺪ ﻋﻤﻠﻴﺔ ﻋﺸﻮاﺋﻴﺔ ﻻﺗﺤﻜﻤﻬﺎ ﻗﻮاﻋﺪ ﺳﻮى‬ ‫وﺟﻬﺔ ﻧﻈﺮ ﻣﺴﺆول ﻳﻄﻠﺐ ﻣﻨﻪ أن ﻳﺨﺘﺎر ﻣﺠﻤﻮﻋﺔ أﺳامء ﺗﻘﻠﺐ اﻟﻘﺼﺎﺋﺪ وﺗﻄﻠﻖ ﺣﻜﻤﻬﺎ ﻣﻊ‬ ‫اﻟﺸﻐﻞ واﻟﻨﻔﺎذ!‬ ‫ﻣﻦ ﻫﻮ اﻟﻨﺎﻗﺪ‬ ‫ﻛﻴﻒ ﻳﻜﻮن‬ ‫ﻣﺘﻰ أﻗﺒﻠﻪ وﻣﺘﻰ أرﻓﻀﻪ‬ ‫ﺣﺘﻰ ﻟﻮ ﻛﺎن ﻧﺎﻗﺪاً ﺟﻴﺪاً وﺣﻘﻴﻘﻴﺎً ﻫﻞ ﻳﺠﺐ أن أﻧﺼﺎع ﻷواﻣﺮه وﻧﻮاﻫﻴﻪ؟‬ ‫ﻻ أدري إن ﻛﻨﺖ ﻣﺆﻫ ًﻼ ﻷﺿﻊ ﻗﻮاﻋﺪ وﻧﻈﺮﻳﺎت ﰲ ﻫﺬا اﻟﺸﺄن‪ ..‬ﻟﻜﻦ ﻣﺎدام اﻟﺤﺎل ﻓﻮﴇ‪ ..‬ﻣﺎ‬ ‫اﳌﺎﻧﻊ أن أﻗﻮل رأﻳﻲ وأﻃﺮح أﻓﻜﺎري‪ ..‬ﺑﻌﺪ ﺧﱪة ﻋﻤﻞ ﻣﻴﺪاﻧﻴﺔ ﰲ ﻋﺎمل اﻟﺜﻘﺎﻓﺔ ﻋﻤﻮﻣﺎً واﻟﺸﻌﺮ‬ ‫ﺧﺼﻮﺻﺎً‪ ..‬واﻟﺸﻌﺮ اﻟﺸﻌﺒﻲ ﺑﺨﺼﻮﺻﻴﺔ أﻛﱪ ﺗﺠﺎوزت اﻟﺜﻼﺛني ﻋﺎﻣﺎً‪ ..‬ﻟﻌﻞ ﻗﺎرﺋﻬﺎ ﻳﺠﺪ ﻓﻴﻬﺎ ﻓﺎﺋﺪة‬ ‫ﻣﺎ‪ ..‬ﻋﱪة ﻣﺎ‪:‬‬ ‫اﻟﺤﺐ‬ ‫اﻟﻘﺒﻮل‬ ‫اﻟﺜﻘﺎﻓﺔ‬ ‫اﻟﺨﱪة‬ ‫اﳌﻌﺎﻳﺸﺔ‬ ‫اﻟﻮﻋﻲ‬ ‫اﻟﺬاﺋﻘﺔ‬ ‫اﻷﻧﺼﺎف‬ ‫اﻟﺤﺮﻳﺔ‬ ‫ﺑﻌﺾ ﻣﺒﺎﺿﻊ اﻟﻨﻘﺪ اﻟﺘﻲ ميﻜﻦ ﻣﻦ ﺧﻼﻟﻬﺎ إﺟﺮاء ﻋﻤﻠﻴﺔ ﻧﻘﺪﻳﺔ ﻧﺎﺟﺤﺔ‪ ،‬ﺗﻔﺘﺢ ﻣﻦ ﺧﻼﻟﻬﺎ ﻧﺎﻓﺬة‬ ‫ﻋﲆ اﻟﻌﺎﻓﻴﺔ اﻟﺸﻌﺮﻳﺔ‪ ..‬ﺣﻴﺚ ﺗﻬﺐ ﻧﺴامت اﻟﺼﺤﺔ‪ ..‬وﻳﺒﺪأ اﻟﻨﻘﺎش اﻷديب ﻳﺄﺧﺬ ﺷﻜﻠﻪ اﳌﻔﱰض‬ ‫ﰲ اﻟﺼﺪ واﻟﺮد واﻟﺘﻠﻘﻲ واﻟﻘﺒﻮل وﺻﻮﻻً إﱃ ﺣﺎﻟﺔ ﺟﻴﺪة وإﻳﺠﺎﺑﻴﺔ‪.‬‬

‫اﻟﺸﻌﺮ ‪baytelshear‬‬ ‫ﺑﻴﺖ ِ‬

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‫‪ĜŠĮńĴ ĜšĻŌ‬‬ ‫وﺗﺮﺻﺪ ﺑﺨﻮت اﳌﺮﻳﺔ اﻟﺘﻐري اﻟﺬي ﻃﺮأ ﻋﲆ اﻟﺤﻴﺎة‪ ..‬ﺛﻢ ﺗﻨﺘﺒﻪ ﻟﻈﻌﻮن‬ ‫اﻟﺮاﺣﻠني‪ ..‬ﻟﻘﺪ أﺧﺬوا ﻗﻄﻌﺔ ﻣﻦ اﻟﻘﻠﺐ‪ ...‬وﺧﻠﻔﻮا ﻫﺬا اﻟﺸﺠﻦ‪..‬‬ ‫‪Í@@ @0*4 @@ @ F&* ¢@@ @< *¡@@g@J¡@@F &*H @@<b@@ @/ b@@J‬‬ ‫= @ @} @~@@¡‪b@@ @ A¡@@~@ 7 ° @@ CÌ@@ Gb@@ @ E @@ @< Á‬‬ ‫‪Í@@ D5b@@ F @@ @ +4 ¡@@ ~@ @9 b@@ @ ~@ 6 ¥4v@@ @~@ @ 8 ¯ @@ @C‬‬ ‫‪b@@ @ A¡@@ @ - e¡@@ @ c@ @ @ @ @ @D*H É@@ @ ³b@@ @ + b@@ @ G¡@@ @ @ @ DH‬‬ ‫‪Q‬‬ ‫‪Í@@ @ J d@@ @ @B °H @@ @ @ @ 04 @@ @ @7° M2¡@@ @ @ @< H‬‬ ‫< @@ ‪b@@ @A¡@@~@{@- h@@ @ @F*H ¡@@ @ B x@@p@ F ¯ 2H3‬‬ ‫< @ @‪ @@Jv@@£@ @ E @@ Jx@@ @ @D*H É@@ ³b@@ + ¤@@ @+ *Hv@@ @£‬‬ ‫‪b@@ @A¡@@ @C eb@@~@ }@ ³b@@+ h@@~@ {@ @ F* *4w@@ @ < @@ @CH‬‬ ‫‪Í@@c@ G*w@@D* @@ @ ~@ 8 2¡@@ @ C @@ @ @ G4*2 ex@@ @ @J b@@ E‬‬ ‫‪b@@ @ A¡@@ @ + ,b@@ @ ~@ 8 @@ @E b@@ @ Ey@@ < *x@@ @ @0 2¡@@ @ C‬‬ ‫‪Í@@ @ @D* ib@@ @ ³ @@c@~@{@J @@ J¡@@ D* Í@@ @ 0 @@ C‬‬ ‫‪b@@ @ AHx@@/ b@@ @ @: @@ @E v@@ @ @Db@@ + @@ D¡@@ F ¡@@ @D‬‬

‫‪¤@@ @ @ @ J4 b@@ @ @ @ @ @ @ @E b@@ @ @ @ @: °* Ñ*H °‬‬ ‫*‪ b@@ @Jx@@ @ @ @ + b@@ @ @ @ @ @ @~@ @6 b@@ @ @E *Hx@@ @ @ @ @E Hy@@ @ @ @ @ @ D‬‬ ‫< @ @ @ @‪¤@@ @ @ @ @J43 4w@@ @ @ @ @ @J Í@@ @ @ @ @ @ D* @@ @ @ @ @E2 @@ @£‬‬ ‫‪ b@@ @ /b@@ @ E b@@ @ @ @ @/ b@@ @ @ @ @ @ @ @D* d@@ @ @ @ @B Ã°b@@ @ @ @ @ @ J‬‬ ‫‪ ¤@@ @ £@ @ @ D* ib@@ c@ @~@ @|@ @ @ @E @@ @ @ G* b@@ @ J Hx@@ @ @ @ @ EO‬‬ ‫‪ b@@ @ @ =H @@ m@ @ @ @ D* @@ @ A*x@@ @ E d@@ p@ @ J @@ j@ @£@ @0‬‬ ‫‪¤@@ @ Jx@@³* d@@ @ @< @@ ~@ @6¡@@ D* b@@ Gb@@ @ ~@ 6 4*2‬‬ ‫‪ b@@~@ |@ @ - @@ @Jb@@ @c@ @ @ @ D* b@@ s@ @£@ @~@ @7 * ¢@@ @g@ @ 0‬‬

‫أﻣﺎ ﻟﻮﻋﺔ ﻫﺬه اﻟﺸﺎﻋﺮة اﻟﻌﺘﻴﺒﻴﺔ ﻓﺘﺨﺘﻠﻒ ﻋﻦ ﻛﻞ ﻣﺎﺳﺒﻖ‪ ..‬إذ‬ ‫ﻛﺎن اﻟﺬﺋﺐ ﺣﺎﴐاً ﻋﻨﺪﻣﺎ ﴎق ﻣﻨﻬﺎ ﺷﻴﺌﺎً ﻏﺎﻟﻴﺎً ﻋﺰﻳﺰاً‪ ..‬أﺛﺎر ﺷﺠﻨﻬﺎ‬ ‫ﻓﻔﺎﺿﺖ ﻗﺮﻳﺤﺘﻬﺎ ﺗﺮيث "اﻟﺸﺎة" اﻟﻔﻘﻴﺪة‪:‬‬ ‫‪ xJ2b D* @@ @ / ,b@@~@ {@ D* @@6¡@@ @ @ D* *v@@ @ J‬‬ ‫‪¤@@ @-b@@ @ @ @ ~@ @ 7Hx@@ @EH b@@ @ £@ @ @ @ @ @0 ¯ b@@ @ @ @ @C ¡@@ @ @ D‬‬ ‫‪Ì@@ ~@ @ 9b@@ s@ @ ´b@@ + Å@@ @ @ @ @ @ D* f@@ @ c@ @ @Db@@ @ 0 h@@ @ @£@ @ @ .4‬‬ ‫‪¤@@ @-b@@ @c@ @ . @@ @ @ @ @ @ @J54 @@ @ @ @ @ @ @ @< @@ @ @ @E 2¡@@ @ @ @Cb@@ @ @ @J‬‬ ‫وﺑﺨﻮت ﻣﺘﺨﺼﺼﺔ ﰲ ﺻﻨﺎﻋﺔ اﻟﺤﺰن‪ ..‬ﰲ ﺣﺰ ورﻳﺪ اﻟﺸﺠﻦ‪ ..‬ﰲ ﺣﺮث‬ ‫‪Ì@@<*¡@@~@ {@ D* @@£@ @ / @@ @E @@ ~@ @|@ @14 h@@c@ @ :‬‬ ‫اﻷرض اﳌﻄﻤﻮرة ﻋﲆ ﻛﻞ ﻣﺎﻓﻴﻬﺎ ﻣﻦ رﻓﺎت أﺣﺎﺳﻴﺲ ﻗﺪميﺔ‪..‬‬ ‫‪¤@@-b@@~@ 7 d@@ £@ @ : @@ @ E v@@ @ @ < °* @@ g@ @ @ @B b@@ @ E‬‬ ‫ﻟﻜﻦ ﻣﻮﴈ اﻟﱪازﻳﺔ ﺗﺘﺄمل ﻣﻦ ﻣﻮﻗﻒ ﻳﺒﺎﻟﻎ ﰲ اﻟﺤﺰن إﱃ ﺣﺪ اﻹﻫﺎﻧﺔ‪..‬‬ ‫*‪x@@ @J3b@@ @ @ @ ´b@@ @+ @@ @ @ @ @D ¤@@ @ ~@ @ @{@ @ @E* Í@@ @c@ @ £@ @ @ @ D‬‬ ‫وﺗﺬﻫﺐ ﺳﻜﻴﻨﺔ إﱃ أﺑﻌﺪ ﻣﻦ اﻟﺤﺰن‪ ..‬إﱃ اﻟﻜﺮاﻣﺔ اﻹﻧﺴﺎﻧﻴﺔ وﻫﻨﺎك‬ ‫@‪¤@@ @-*¡@@ @~@@O @|@ @ 0 b‬‬ ‫‪R @ @ @ @ . @@ @ @ @ @ D(* Í@@ @ c@ @ @Jb@@ @ ³*H‬‬ ‫ﺗﻔﻌﻞ اﻷﺷﺠﺎن ﻓﻌﻠﻬﺎ ﺣني ﺗﻌﺮﺿﺖ ﻟﻠﴬب ﺑﺴﺒﺐ ﻏﻨﺎﺋﻬﺎ ﺛﻢ ﺳﻤﻌﺖ‬ ‫اﻟﺤامﻣﻪ ﺗﺸﺪو ﻓﻘﺎﻟﺖ ﻟﻬﺎ‪:‬‬ ‫‪ @@ Eb@@ @ @²b@@ J ex@@ @ @ @ Db@@ @+ @@ @ @£@ @< v@@ @ @~@ @6b@@ J‬‬ ‫‪Í@@ @ @- v@@ @ J*x@@ @ ±* x@@~@ }@ 1 ¢@@ @ @< ¤@@ @ @ @ D* b@@ @J‬‬ ‫<@ @ @@‪ @@ EÉ@@ ~@ 6 @@ @ + I42 *H @@ @ £@ @ D ¥y‬‬ ‫‪ Í@@ @F¡@@ @- @@ @ Eb@@ @ @ @ @²* b@@ @ @J ¤@@ @ @ j@ @ E É@@ @ @ @ 1‬‬ ‫‪ @@ Eb@@ @ @< Ñ* x@@ @~@ @ z@ @ C ¤@@ @ Eb@@ @ @ @ @< x@@ @~@ @ z@ @ C‬‬ ‫‪Í@@+b@@m@ ²b@@+ @@ @ 0¡@@~@ 7 e4b@@ ~@ @}@ @E ¯¡@@ ~@ @ 7‬‬ ‫‪ @@ @Eb@@ @ @ @ < @@ @ @ @ @ £@ @ @ 0Hx@@ @ E ¡@@ @ @ @ @ @ @J Áb@@ @ @ @ @ /‬‬ ‫*‪Í@@ @ @ @ D*x@@ @ @ @ ~@ @ 8° M,x@@ @ @ @ @ @ @ @J2 ex@@ @ @ s@ @ @ J Ñ‬‬ ‫*( ‪ @@ EÉ@@ ~@ @z@ @D*H ex@@ @ @ @ Db@@ @+ 2H b@@ @ @ C‬‬ ‫<@ @ @ @‪"Í<*2¡D*" 4b@@ @ @ @ J2 @@ <x@@ @ @ Db@@ + @@ £‬‬ ‫@ @ @ @ @ @ @ @‪ @@ @ @Eb@@ @ @ @ @ @ ±* @@ @ @ @ @ @ @- @M @ @ @ @ @ @ @ @ +4 ¥x@@ @ @ p‬‬‫‪Í@@ @ @ @ D*H x@@ @~@ @ z@ @ @ @ Db@@ @+ i°b@@ @ @ @ @ @ @ @ D* f@@ @ Cb@@ @ @ @ A‬‬ ‫‪ @@Eb@@~@ 9 @@ @ @ ²* ¢@@ @ @ < Mv@@ @ @ 0 b@@ @ E @@ @ @ @ @£@ @12‬‬ ‫‪ @@ J2 @@ @ p@ @ Jb@@E b@@ @ @ ²* @@£@ @ ~@ 9 ¡@@ @G¡@@ @D‬‬ ‫وﻷن ﻣﻮت اﻟﺸﺠﺎع‪ ..‬ﻣﺜﻠﻪ ﺷﺠﺎع‪ ،‬ﻓﺈن ﺳﻘﻮﻃﻪ ﻫﻮ ﺳﻘﻮط ﻟﺮﻣﺰﻳﺔ‬ ‫اﻟﺤﺐ‪ ..‬رﻣﺰﻳﺔ اﻟﻔﺮوﺳﻴﺔ ﰲ ﻗﻠﺐ اﻷﻧﺜﻰ‪ ..‬ﻟﺘﺒﻘﻰ رﻣﺰﻳﺔ ﺣﻀﻮره ﰲ‬ ‫اﻟﺸﻌﺮ ﻣﴩﻗﺔ ﻣﺸﻌﺔ‪ ..‬ﻧﺎدرة اﻟﻮﻟﻪ ﰲ ﻗﻠﺐ ﻫﺬه اﻟﺸﺎﻋﺮة ﻣﻦ ﻣﻄري‪..‬‬ ‫وﻫﻲ ﺗﻌﺮف متﺎﻣﺎً ﻣﺎذا ﻛﺎن ﻳﺤﺐ‪" ..‬ﻛﺎن ﻳﺤﺐ ﺣﺪاء اﻻﺑﻞ‪ ..‬واﻟﺴﻔﺮ‬ ‫ﺑﻬﺎ‪ ..‬ﻣﺜﻠام ﺗﺤﺐ ﻫﻲ اﻟﺤﺪﻳﺚ ﻋﻨﻪ‪:‬‬ ‫*‪¤@@ @ @£@ @DH b@@ @ @ @ @ @ @~@ @6 b@@ @ @ E b@@ @ @F¡@@ @ @/ Hv@@ @ @ c@ @ @ @D‬‬ ‫‪ *x@@ @ @ @ E d@@ @ @ Db@@ @ @ = v@@ @ @ @ < 2*¡@@ @ @ @ @ / ¥w@@ @ @ G‬‬

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‫اﻟﻌﺪد ‪ ، 73‬دﻳﺴﻤﺒﺮ ‪2018‬‬

‫اﻟﻜﺜري ﻣﻦ اﳌﺘﺎﻋﺐ ﰲ ﻣﺠﺘﻤﻊ ﻻﻳﺮﺣﻢ‪ ..‬ﻓﻘﺎﻟﺖ ﻓﻴام ﻳﺸﺒﻪ ﻣﺬﻛﺮة‬ ‫اﻟﺪﻓﺎع‪:‬‬ ‫‪ r¡@@ @ @ ~@ @ |@ @ E Í@@ @ c@ @ @p@ @ @´* Í@@ @ @ @ @ g@ @ + ·b@@ @ @ @ E‬‬ ‫‪b@@ @ @ @ @ @ J42b@@ @ @E *w@@ @ @ @ @ @C @@ @ @ @ < °H x@@ @ @ Cw@@ @ @ Db@@ @ @ +‬‬ ‫‪ rHy@@ @ @ @ EH @@ £@ @.b@@ @ @g@ @D* ¡@@ @ @ F ¢@@ @ @ @ < @@ g@ @ @ @B‬‬ ‫‪b@@ @ @£@ @~@ @{@ @E *w@@ @ @ @ @ @ @D °H Ì@@ @~@ @ {@ @ < · b@@ @ @ @E‬‬ ‫‪r¡@@g@ @ E @@ 6b@@ @ @ @ @D @@ ~@ @{@ @ @ @D* eb@@ @ @+ b@@ @ @C ¡@@ @ D‬‬ ‫‪ b@@ @ @£@ @ @ @< M b@@ @ @ @ @ @ /4 @@ @ @ E b@@ @ @ @ Ax@@ @~@ @ 7 ¤@@ @ @ p@ @ F‬‬ ‫ﻟﻜﻦ ﻗﻠﺐ اﻟﺸﺎﻋﺮة ﻧﺎﻓﻌﺔ ﻣﻦ ذوي ﻋﻮن‪ ..‬ﻳﻨﺨﻠﻊ ﻣﻦ ﻣﻜﺎﻧﻪ ﻟﺴﺒﺐ‬ ‫آﺧﺮ ﻟﻴﺲ ﺑﺒﻌﻴﺪ ﻋام ﺣﺮك ﻗﻠﺐ ﺣﺼﺔ‪ ..‬ﻓﺎﻟﺬﻳﻦ ﻣﺮوا راﻛﺒني ﻇﻬﻮر‬ ‫اﻟﻨﻮق )وﺳﻖ ﻣﴫﻣﺎت اﻟﻠﻮاﺣﻲ(‪ ..‬ﻛﺎن ﻣﻦ ﺑﻴﻨﻬﻢ‪ ..‬ﻣﻌﻨﻰ ﻣﺎ‪ ..‬رﺟﻞ‬ ‫ﻣﺎ‪..‬‬ ‫ﻫﻮ اﻹﺣﺴﺎس ذاﺗﻪ‪ ..‬ﺑﺸﻜﻞ آﺧﺮ‪ ..‬ﺑﺤﺰن آﺧﺮ‪..‬‬ ‫‪x@@ E Mv@@ @ @ @ @ @ @ @0*H @@ @ @ @E x@@ @ @ @/ ¤@@ @c@ @ @ @ B x@@ @ @ /b@@ @ @ J‬‬ ‫< @ @ @ @@‪¤@@ @ 0*¡@@ @ @ @ D* ib@@ @ Ex@@ @ ~@ @ |@ @ E ¡@@ @ @ ~@ @ @ @6H ¢‬‬ ‫‪x@@1 b@@ @ @ @ @ @ E2 @@ g@ @Ab@@ ~@ @7 ¤@@ @ @£@ @< Í@@ @ 0 @@ @ E‬‬ ‫‪¤@@ 0*¡@@ ~@ @9 2¡@@ @ @ @ @F @@ @ 0*x@@ @ § @@ @ 7¡@@ @ c@ @ @D*H‬‬ ‫‪Ä@@ Db@@ + Ì@@ @ @ @ @ D* f@@ @c@ @ @ @ D ¤@@ c@ @ @ @ @ @+ d@@ @ @ @ @ @ J‬‬ ‫*‪rb@@ @ @ Jx@@ @ @ D* e¡@@ @ @ c@ @ @ @G @@ @ @ @ + ¤@@ @ @ E¡@@ @ @ - ¤@@ @ @ @ @ @ @D‬‬

‫‪ ŦōƦżǕ ǽƳ ǗǿƃǂǕŌ ǳǿƂōŞǕŌ ƉƪƗ ǛǙ ŦȍōŽ‬‬ ‫‪ǲƉƓŔ ǀƃƛǶ ŦŌƅǕŌ ƩǙ ǓŴũ‬‬ ‫‪ ŧǔŽƈ ǽŨǕŌ ǢǶŌƃŞǕŌ ǻǔƫ ƃŵǷŨũ ǣǿƉǘǕŌ ŦǷƀş‬‬

‫‪ŻǙȎǘǕŌ ǛǙ ƉǾŬǈǕŌ ƉǾƯǶ ǳƫƉƒş ƉǙ ǼƅǕŌ ǛǙƋǕŌǶ‬‬ ‫‪ ǛǙ Ǔş ǓŵƉǕŌ Ǔŵȏ ǗǕőŨũ ǗǕ ǣǾƪǾŞƒǕŌ ǼƊōŴǕŌ‬‬ ‫‪ǣŞŞƒşǶ ǓŵƉǕŌ‬‬

‫أﻣﺎ اﻟﺸﺎﻋﺮة اﻟﺸﻤﺮﻳﺔ ﻓﺤﺒﻬﺎ وﺣﺰﻧﻬﺎ وﺷﻮﻗﻬﺎ وﺟﺮأﺗﻬﺎ وأوﺻﺎﻓﻬﺎ‬ ‫وﻃﻠﺒﺎﺗﻬﺎ ﺗﺨﺘﻠﻂ ﻟﺘﻜﻮن ﻫﺬا اﻟﺤﺐ اﻟﻌﻨﻴﻒ اﻟﺸﻔﻴﻒ اﻟﺨﻔﻴﻒ‪..‬‬ ‫وﺗﻨﺒﺖ أﻣﻨﻴﺔ واﺣﺪة‪ ..‬أﻣﻨﻴﺔ ﻣﻮارﺑﺔ‪ ..‬ﻻﺗﻔﺼﺢ متﺎﻣﺎً‪ ..‬وﻻﺗﺨﺘﻔﻲ‬ ‫متﺎﻣﺎً‪ ..‬ﻣﺜﻞ ﺑﺮﻋﻢ ﺣﺰن ﰲ ﻋﻤﻖ وردة‪:‬‬ ‫وﻫﺬه اﻷﺑﻴﺎت ﻟﺸﺎﻋﺮة ﻣﻦ ﺷﻤﺮ ﻗﺎﻟﺘﻬﺎ ﰲ رﺟﻞ أﺣﺒﺘﻪ‪:‬‬ ‫‪ @@ @ F¡@@ @ £@ @ @ @ @ @+ 2¡@@ @ @ @ @ @ @ @ C @@ @ @ @ @/4b@@ @ @ @ @ @ @ @ @ @ - b@@ @ @ @ @ @ E‬‬ ‫*(‪·b@@ @ @ @ + ¢@@ @ @ @ @ @ @ @ @< @@ @ @ @ @ @ /x@@ @ @ @ @ @ GH ox@@ @ @ @ @ @ @ @ @ @ @ @ @G‬‬ ‫*( ‪ @@ 0b@@ £@ @c@ @D* @@ @~@ @ 6¡@@ @+ Á¡@@ @ @ @ @0 h@@ @ @E‬‬ ‫* ‪ @@ @ @F¡@@ @ @Dw@@ @ @ @ @ @ J @@ @ @ @ @ @ @ @ £@ @ @ @ G* b@@ @ @ @ @ @ @ @ C‬‬ ‫‪ b@@ @:b@@ @- Ì@@ @ Gb@@ @ @ @ @´* e42 ¢@@ @ @ @ < ¥Ä@@ @ @ @ B‬‬ ‫*‪ · ¢@@ @ @ @ @ @ p@ @ @ J @@ @ @£@ @ @ ~@ @ @ z@ @ @ D* Ix@@ @ @ @ @ @ @- b@@ @ @ @ @ @ @F‬‬ ‫‪ @@ @ @ @ @ @ @ @ @ FH24 2¡Q @ @ @ @ @ @ @ @ @ @ @ @ / @@ @ @ @ @ @ @E h@@ @ @ @ £@ @ @ @ @Db@@ @ @ @ J‬‬ ‫‪ ·b@@ @ @ @ @ @ @ @ @ @ @ @/%°* b@@ @ @ @~@ @ @ @ |@ @ @ @ B @@ @ @ @c@ @ @ @ B @@ @ @ @ @ @E‬أﻣﺎ ﺑﺨﻮت اﳌﺮﻳﺔ ﻓﺘﺘﻮﺟﺪ ﻋﲆ اﻟﺒﺪاوة اﻟﺘﻲ رﺣﻠﺖ‪ ..‬واﻟﺰﻣﻦ اﻟﺬي‬ ‫ﻣﺮ ﺑﴪﻋﺔ وﻏري اﻟﻜﺜري ﻣﻦ اﳌﻼﻣﺢ‪ ..‬ﻓﻠﻢ ﺗﻌﺪ اﻟﺤﻴﺎة ﻫﻲ اﻟﺤﻴﺎة‪ ،‬وﻻ‬ ‫ﻟﻜﻦ اﻟﺠﺎزي اﻟﺴﺒﻴﻌﻴﺔ مل ﻳﻜﻦ ﻷﺟﻞ اﻟﺮﺟﻞ‪ ..‬ﺑﻞ ﻣﻦ اﻟﺮﺟﻞ‪ ،‬وﺑﺴﺒﺒﻪ‪ ..‬اﻟﺘﻔﺎﺻﻴﻞ ﻫﻲ اﻟﺘﻔﺎﺻﻴﻞ‪ ..‬مل ﻳﻌﺪ ﺳﻮى أﺷﺠﺎر اﻟﺤﺰن ﺗﻨﻤﻮ‪ ..‬وﺗﺘﻜﺎﺛﺮ‬ ‫ﻣﻦ اﻟﺬي دﻓﻌﻬﺎ إﱃ اﳌﻮت‪ ..‬وﻣﻦ ﻗﺎم ﺑﻘﺘﻠﻬﺎ‪ .‬ﻋﻨﺪﻣﺎ زوﺟﻬﺎ ﻋﻤﻬﺎ أﻣري ومتﻸ اﳌﻜﺎن‪:‬‬ ‫اﳌﺠﻤﻌﺔ ﻓﻜﺮﻫﺖ اﻟﺤﻴﺎة وﻗﻴﻞ إﻧﻬﺎ أﻗﺪﻣﺖ ﻋﲆ اﳌﻮت ﺣﺘﻰ ﺗﺘﻤﻨﻰ ‪Í D* h£+ d < x ~{D* h£+ ¢ < ¥2¡@@/H‬‬ ‫‪ È@@g@ @ E Ì@@ -b@@ @ @´* ¡@@ ~@ @7 ¢@@ @ @< ¥2¡@@ @ @ @/H‬‬ ‫ﻗﱪاً ﻋﲆ درب اﻹﺑﻞ ﺗﻄﺄه ﺑﺄﻗﺪاﻣﻬﺎ‪:‬‬ ‫‪Í@@ @ @ ´* x@@ @-¡@@ @´* @@ @G ,¡@@ @ 1 ¢@@ @ < ¥2¡@@ @ @ @/H‬‬ ‫‪ @@ @ @ @0*4 @@ @ @ <b@@ @ @ J @@ @ ~@ @ @z@ @ @D* @@ @ @ Cb@@ @ @ + h@@ @£@ @ @ @ D‬‬ ‫‪ x@@²* *4H @@E ~zD* ¡~7 ¢ < ¥2¡@@/H‬‬ ‫*&‪ b@@ @ EÉ@@ @ + Ç@@ @ £@ @ @ @ + M @@ @ @ @ @ @ @/4 @@ @ @ @E Ì@@ @ @ @ @ @ @1‬‬ ‫‪Íg£+ ¢@@ @ < *H4b@@ ~@ @ 8H *Hv@@ c@ @ D* *¡@@ @ 0 b@@£@ D‬‬ ‫‪ @@ @0b@@ @£@ @ : ·b@@ @ @ @g@ @ @ @ J ¤@@ @ @ @ £@ @ c@ @ ~@ @ 6 ¤@@ @ @ @ @~@ @ @7‬‬ ‫‪ x@@ = b@@ @ E *3 @@ @ E @@ @ 1 @@ @ D b@@ @ @ C @@ @ @ EH‬‬ ‫*&‪ b@@ @ c@ EH x@@ @ ~@ z@ < @@ +*x@@ ~@ @|@ @B @@ E Ì@@ @ @ 1‬‬ ‫اﻟﺸﻌﺮ ‪baytelshear‬‬ ‫ﺑﻴﺖ ِ‬

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‫‪ĜŠĮńĴ ĜšĻŌ‬‬ ‫‪mŝȃƄ ōǤƓƉŨƳŌ ǲōƗ}Ƕ ǳƫōŴƖǔǕ ǛƣǷǔǕ ŝǾŞżǔǕ ǀǷƖǔǕ‬‬

‫دﻣﻮع اﻟﺸﺎﻋﺮات‪ ŦŌƉŞƪǕŌ ǓǤũǶ ŝǈƒǜũ ōǙƃǜƫ ..‬‬

‫ﻣﺎﻗﺒﻞ ﻫﻄﻮل اﻷمل‪.‬‬ ‫ﻋﻠﻲ اﻟﻤﺴﻌﻮدي‬ ‫وﻋﻨﺪﻣﺎ ﻳﺴﻜﻦ ﻫﺬا اﻹﺣﺴﺎس ﰲ ﻗﻠﺐ اﻷﻧﺜﻰ‪ ..‬ﺗﺼﺒﺢ اﻟﺼﻮرة ﻣﺮﻛﺒﺔ‪..‬‬ ‫ﰲ رﺣﻠﺔ أيب اﻟﻌﻼء اﻟﺒﴩي‪ ..‬ﺗﺘﻘﺪم ﺗﻠﻚ اﻟﻜﻠامت اﻟﻨﺎﻋﻤﺔ اﻟﻐﺎﺋﺮة واﳌﻐﺎرة ﺑﻌﻴﺪة‪ ..‬وﻳﺪ اﻟﺸﺠﻦ متﺘﺪ إﱃ أﻗﴡ ﻋﻤﻖ ﺳﻨني اﻟﻘﻠﺐ‪..‬‬ ‫ﰲ ﺣﺰﻧﻬﺎ‪:‬‬ ‫ﺗﺬﻫﺐ إﱃ ﻋﻤﻖ اﻟﻄﻔﻮﻟﺔ واﻟﱪاءة‪ ..‬وﻫﻨﺎك ﺗﻨﻀﻐﻂ ﺑﻌﻨﻒ‪ ،‬ﺗﻌﴫ‬ ‫‪ @@ @ Bv@@~@ 8 @@ < Í@@ B2b@@ ~@ @|@ @D* @@7¡@@ @ @ b@@ E‬‬ ‫وﺗﻬﴫ ﺛﻢ ﺗﺠﺮ أﺿﺎﻓﺮﻫﺎ ﰲ اﻟﻠﺤﻢ‪..‬‬ ‫‪ @@ @ @~@{@< @@ @E Í@@ @ ~@ 7b@@ @ D* @@ @7¡@@ @Ex@@ @«°H‬‬ ‫اﻟﺬﻛﺮى‪ ،‬اﻟﺤﺐ‪ ،‬اﻟﻔﺮاق‪ ،‬اﻟﻮﺣﺪة‪ ،‬اﻟﻐﺮﺑﺔ‪ ..‬واﳌﺮأة‬ ‫ﺧﺮﻳﻄﺔ اﻟﻄﺮﻳﻖ اﻟﻄﻮﻳﻠﺔ‪ ..‬اﻟﺘﻲ ﺗﻨﺴﻜﺐ ﰲ اﻟﻜﺘﺎﺑﺔ رﻏام ﻋﻨﻬﺎ‪..‬‬ ‫وﰲ ﺗﱰ ﻟﻴﺎﱄ اﻟﺤﻠﻤﻴﺔ‪ ..‬ﻳﺄيت ﺻﻮت اﻟﺤﺰن ﻫﺠﻮﻣﻴﺎً‪ ..‬ﻛﻌﺰف ﺟامﻋﻲ‬ ‫ﻫﻨﺎ ﻟﻘﻄﺎت ﻟﺘﻠﻚ اﻟﺤﺎﻻت ﻣﻦ ﺷﻌﺮ اﻟﺒﺎدﻳﺔ اﻟﻘﺪﻳﻢ‪ ..‬ﻓﻔﻲ ﻟﺤﻈﺔ‬ ‫ﻋﲆ أوﺗﺎر اﻟﻘﻠﺐ اﳌﻮﺟﻌﺔ‬ ‫ﺗﺠﻞ ﻣﻊ اﻟﺬات‪ ..‬وﻟﺤﻈﺔ ﺻﺪق آﴎة‪ ..‬اﻧﺴﻜﺒﺖ ﻣﺸﺎﻋﺮ اﻟﺸﺎﻋﺮة‬ ‫‪ m~{D* ¤m£J Í EHZ‬‬ ‫ﺣﺼﺔ‪:‬‬ ‫‪ EyD* Ég1* E‬‬ ‫‪rHx@@ @ @ D rHx@@ @ @Db@@ @ @+ rHx@@ @ @ @ @ D* @@ @ @ 84 ¡@@ @ @ 0b@@ J‬‬ ‫‪ :¡D* rH2 ¯ rHxD* 4b~z F* E‬‬ ‫‪b@@ @ @ @ @ £@ @ @ @ @ @ +° @@ @ @ @ @ @ @ @ @ @ @C Í@M @ @ @ @ @ @ @ @ @ @ D*¡@@ @ @ @ @g@ @ @ @ @ E‬‬ ‫‪ vcD* m~6 ¯ ¡~{D* 4b~}g0* ¤mJ‬‬ ‫ﻫﻜﺬا اﻟﺤﺰن‪ ..‬ﻳﻌﺒﺊ اﻟﺮوح ﺑﻠﻮﻧﻪ اﻟﺪاﻛﻦ‪ ..‬ﻣﺎﺑﻌﺪ ﻏﺮوب اﻟﺪﻣﻌﺔ‪ ،‬ﻟﻜﻨﻬﺎ اﻧﺘﺒﻬﺖ أن ﻣﺜﻞ ﻫﺬا اﻟﺒﻴﺖ اﻟﺬي ﻳﻜﺸﻒ اﻷﺣﺎﺳﻴﺲ ﻗﺪ ﻳﺠﻠﺐ‬

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‫اﻟﻌﺪد ‪ ، 73‬دﻳﺴﻤﺒﺮ ‪2018‬‬

‫أﺳﺘﻄﻊ رﺳﻤﻪ‪.‬‬

‫ﻣﻦ اﻷﻗﺮب إﱃ ﻗﻠﺒﻚ ﰲ ﻣﺤﻴﻄﻚ‪ ،‬وﻫﻞ ﻟﻪ‬ ‫ﺗﺄﺛري ﰲ ﺷﻌﺮك أو ﻓﻨﻚ؟‬ ‫■ اﻷﻗﺮب إﱃ ﻗﻠﺒﻲ واﻟﺪي ‪ -‬رﺣﻤﺔ اﻟﻠﻪ‬ ‫ﻋﻠﻴﻪ ‪ ..‬ﻧﻌﻢ‪ ،‬إن ﺗﺄﺛريه ﻛﺒري ﻋﲆ ﺣﻴﺎيت ﻛﻜﻞ‬ ‫ﻟﻴﺲ ﻓﻘﻂ ﺑﺎﻟﺸﻌﺮ أو اﻟﻔﻦ‪.‬‬ ‫أيب ﻫﻮ ﻣﻠﻬﻤﻲ وﻣﻮﺟﻬﻲ وﻣﻨﺒﻊ اﻟﺮﺟﻮﻟﺔ‬ ‫اﻟــﺬي اﻋﺘﻤﺪت ﻋﻠﻴﻪ ﰲ ﺻﻘﻞ ﻣﻮاﻫﺒﻲ‬ ‫وﺷﺨﺼﻴﺘﻲ‪ ،‬وﺷﺨﺼﻴﺘﻪ ﻫﻲ اﻟﺘﻲ ﺟﻌﻠﺖ‬ ‫ﻣﻨﻲ ﺷﺎﻋﺮاً وﻓﻨﺎﻧﺎً ﺗﺸﻜﻴﻠﻴﺎً‪.‬‬

‫ﻣﺎذا ﺗﻘﻮل ﻋﻦ ﻋﻼﻗﺎت اﻟﺸﻌﺮاء ﻣﻊ ﺑﻌﻀﻬﻢ‬ ‫ﺑﻌﻀ ًﺎ‪ ،‬وﻫﻞ ﻫﻨﺎك ﺗﻮاﺻﻞ ﺑﻴﻨﻬﻢ؟‬ ‫■ ﻋﻼﻗﺎت اﻟﺸﻌﺮاء ﻣﺘﻨﻮﻋﺔ‪ ،‬ﻣﻨﻬﺎ أﺧﻮﻳﺔ‬ ‫وﻣﻨﻬﺎ ﺗﻨﺎﻓﺴﻴﺔ‪ ،‬ﻓﺎﻷوﱃ ﺗﺠﻤﻊ ﺑني اﻟﺸﻌﺮاء‬ ‫واﻟﺜﺎﻧﻴﺔ رمبﺎ ﺗﺒﻨﻲ ﺣﺎﺟﺰاً ﻛﻤﻴﺪان ﻟﻠﺘﺤﺪي‪.‬‬ ‫وأﻧﺎ ﻛﺸﺎﻋﺮ أﻋﻠﻢ ﻣﻦ ﻫﻮ اﻷخ ﱄ‪ ،‬وﻣﻦ ﻫﻮ‬ ‫اﳌﺘﺤﺪي‪ ،‬ﻟﻜﻦ ﻫﺬا ﻻ ميﻨﻊ ﻣﻦ أن أﺟﻌﻞ‬ ‫ﻋﻼﻗﺘﻲ ﻗﻮﻳﺔ ﻣﻊ ﺟﻤﻴﻊ اﻟﺸﻌﺮاء اﻟﻘﺮﻳﺐ‬ ‫ﻛﻠﻤﺔ أﺧري مبﻨﺎﺳﺒﺔ اﻟﻴﻮم اﻟﻮﻃﻨﻲ‪ ،‬وﻋﻼﻗﺔ‬ ‫ﻣﻨﻬﻢ واﻟﺒﻌﻴﺪ‪.‬‬

‫ﻫﺬه اﳌﻨﺎﺳﺒﺔ ﺑﺎﻟﺸﻌﺮ اﻟﺸﻌﺒﻲ ﻛام ﺗﺮاﻫﺎ ؟‬ ‫■ ﻫﻨﺎك ارﺗﺒﺎط وﺛﻴﻖ ﺑني اﻟﻴﻮم اﻟﻮﻃﻨﻲ‬ ‫واﻟﺸﻌﺮ اﻟﺸﻌﺒﻲ‪ ،‬ﻓﺎﻟﻴﻮم اﻟﻮﻃﻨﻲ ﻣﻨﺎﺳﺒﻪ‬ ‫ﻣﻠﻬﻤﺔ ﻟﺠﻤﻴﻊ اﻟﺸﻌﺮاء اﻟﺬﻳﻦ ﻳﺸﺎﻃﺮون‬ ‫اﻟﻮﻃﻦ أﻓﺮاﺣﻪ وإﻧﺠﺎزاﺗﻪ وآﻣﺎﻟﻪ ﻣﻦ‬ ‫ﺧﻼل ﴎد ﻗﺼﺎﺋﺪﻫﻢ اﻟﺘﻲ ﺗﺸﺪو ﺑﺤﺐ‬ ‫ﻫﺬا اﻟﻮﻃﻦ اﻟﺠﻤﻴﻞ‪ ،‬وﻳﻈﻬﺮ ذﻟﻚ ﺟﻠﻴﺎً‬ ‫ﰲ اﻟﺘﺰام اﻟﺸﻌﺮاء ﺑﺎﻟﻘﺼﺎﺋﺪ اﻟﻮﻃﻨﻴﺔ وﰲ‬ ‫اﺧﺘﻴﺎرﻫﻢ ﺗﻮﻗﻴﺖ اﻟﻴﻮم اﻟﻮﻃﻨﻲ ﻟﻼﺣﺘﻔﺎء‬ ‫ﺑﺎﻟﻮﻃﻦ ﺷﻌﺮاً وﺷﻌﻮراً وﻛﻞ ﻋﺎم واﻟﻮﻃﻦ‬ ‫ﺑﺄﻟﻒ ﺧري‪.‬‬

‫ﻛﻮخ اﻟﻐﺮام‬ ‫‪e¡@@ @ @ @ @ @ @ @ @ D* rx@@ @ @ @ @ @ / ¢@@ @ @ @ @< ¤@@ @ @ @ c@ @ -b@@ @ @ @ @ @ -°‬‬ ‫*‪e¡@@ @ @ @ -&* b@@ @ @E @@ @ c@ @ @ @ @ @0* ¡@@ @ @ @J @@ c@ @£@ @~@ @|@ @ @ @ @ @D‬‬ ‫‪ eHx@@ @ @ @ @ @ @ @D* Áx@@ @ @ @ @ CQ w@@ @ J ¢@@ @ ~@ @ @z@ @ @F&* b@@ @ @ @ @ @ @C‬‬ ‫ @ @ @ @@‪e¡@@ @ c@ @ 0H @@ @ @ @ @ @ E4 @@ @ @ E *¡@@ @ @ @ @ @ @ @ ~@ @ @ @ 7&°* f‬‬‫*‪e¡@@ @ @ ~@ @8 @@ @ @ C b@@ @ @ @ g@ @ @ @ @<2 ¤@@ @ @ @ @ @ D* 2H4¡@@ @ @ @ @ @ @ @ @D‬‬ ‫‪e¡@@ @ m@ J @M @ @6b@@ @~@ @ z@ @ 0*H @@ @£@ @ @ @ D*H x@@ @ @~@ @z@ @D*H‬‬ ‫‪eHx@@ @ @ @ @ : @@ @ @ + q@@ @c@ @ @ @ @~@ @ 8* @@ @ c@ @ @g@ @ @C* b@@ @ @ @ @ @ C‬‬ ‫‪eH3&*H *¡@@ @ @ @ @ @ @ @ @ G&* Á(* @@ @ @ + ¤@@ @g@ @ @ @ @<¡@@ @D‬‬ ‫‪e¡@@ c@ @ @ @ @ @ @ @+R b@@ @g@ @ @ @ @s@ @ - b@@ @ @ @ @ @ D¡@@ @ @D* ,x@@ @ @ @ ~@ @ 6‬‬ ‫‪eH4v@@ @ @ @ @ @ D @@ @ @ @ @ @ @/4&* ¡@@ @ @ @ @ @ @ @D* @Q @ @ @ @ @ @ @ @ D&* ¡@@ @ @ D‬‬ ‫*‪e¡@@ £@ @ @ @< @@ @ @ @ @Bv@@ @ ~@ @ @8&*H ¤@@ @c@ @ £@ @ < @@ @ @ <y@@ @ @ D‬‬ ‫*‪e¡@@ @ @ F&* ¤@@ c@ @ @ @ @ @B @@ @ < b@@ @ @ @ @ F%*H È@@ @ @ @ C* @@ @ ~@ @ @ 6%‬‬ ‫‪e¡@@ @ @ @ @ ±*H ·b@@ @ @ @ @ @ @~@ @ 7 ¯ @@ @ @ c@ @ @ @0&* h@@ @ @ @ B‬‬ ‫*‪e¡@@ @ @ @ B i4b@@ @ @ @ @ @ ~@ @ @ 8 @@ @ @ @ @ @ @ @ @ @ +4&°* ib@@ @ @ @ @ @ @ @ @ @±‬‬

‫‪ É@@ @ @ ; @@ A¡@@ @ @ ~@ @7 É@@ @ + q@@ @c@ @ ~@ @ 8* 4b@@ @ @ @ @ @ @ @D*H‬‬ ‫‪ *x@@ @ @J ° ¤@@ @B¡@@ @~@ @ 7 @@ @ @ @ @0H e¡@@ @ @ @ @-* @@ @£@ @ C‬‬ ‫‪ *x@@ @ @ @ @ @ @ @D* u¡@@ @ @ @ @ @ C ¯ *x@@ @ @ @ @ @ @ @ C3 @@ @ ~@ @ @ z@ @ @ ´*H‬‬ ‫‪ É@@ @E ¢@@ @ @ @ ~@ @ 9x@@ @- b@@ @ @ E @@ @ @ @ @ E4 f@@ @c@ @ @ @ @0 @@ @ @ @ C‬‬ ‫@ @‪ *x@@ @ @ @ 0 b@@ @ @ @ @£@ @ @ @ @ @~@ @ @9*4&* h@@ @ @ @ / @@ @ @E ¤@@ @ @c‬‬‫*&‪ b@@ @ @ @ F&°* Q 2 ¤@@ @ @ @ A @@ z@ @ @ @0 @@ @ g@ @ @J* q@@ @c@ @ @ @ @~@ @ 8‬‬ ‫*&‪ b@@ @ ¤@@ @ @ @ +x@@ @ @ @ - ¡@@ @ ~@ @ 7 @@ @ D ex@@ @ @ @ @ @ F‬‬ ‫‪ b@@ @ ~@ z@ + h@@ c@ @ ~@ @ 8 b@@ @ @ @ @ F&* @@ @ Q @ @ @E d@@ @c@ @ ~@ @ z@ @ D*H‬‬ ‫@ @ @ @‪ b@@ @ @ @ @ @ @D* ¡@@ @ @ @ A b@@ @ @F¡Q @ @ @ / ¤@@ @ @ @ A x@@ ~@ @{@ @g‬‬‫*‪ É@@ @ @ ~@ @z@ @Db@@ + b@@ @ @ @ -¡@@ @ @ @ 0 ¤@@ @ @ @ @ @ D* eH4v@@ @ @ @ @ @ @ @ @ D‬‬ ‫*&‪ *Æ@@ @ @ @ @ 0* *¡@@ @ @ @ @ @ @ G*H ¥4v@@ @ @ @ @ - @@ @ @ @0x@@ @ @ @/‬‬ ‫*( ‪ É@@ @ C ¤@@ @ @ £@ @ @ @ < ¯ v@@ @ @ @ @c@ @ @D* *w@@ @ @ @ @ @ @ 1‬‬ ‫‪R @ @ E Iv@@ @ @ @ @ G&* Hx@@ @ ~@ @ @{@ @ @D*H‬‬ ‫@ =@ @ @@‪ b@@ @ )H @@ @ @+Hx‬‬ ‫‪ b@@ @ @ @ @ @ @ @ @D* ¢@@ @g@ @ @ @ @0 Á4*5 @@ @c@ @ @ @ @0 *2‬‬

‫د‪.‬ﺳﻴﻒ اﻟﻈﺎﻫﺮي‬ ‫اﻟﺸﻌﺮ ‪baytelshear‬‬ ‫ﺑﻴﺖ ِ‬

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‫ ‪ ĘĵńŒ ŞœŃ ŝŃ‬‬ ‫اﻟﺸﻌﺮ اﻟﻔﺼﻴﺢ وأﻧــﺎ ﰲ ﻣﺮﺣﻠﺔ ﺗﺠﻤﻴﻊ‬ ‫ﻟﻘﺼﺎﺋﺪ اﻟﻔﺼﺤﻰ ﻟﻴﺘﺴﻨﻰ ﱄ ﻃﺮح دﻳﻮان‬ ‫ﻟﻴﺲ ﻗﺒﻞ ﻋﺎﻣني‪ ،‬وﻻ أﻧــﴗ أن ﻫﻨﺎك‬ ‫ﺟﻤﻬﻮراً ﻣﻦ اﻟﺠﺎﻟﻴﺔ اﻟﻌﺮﺑﻴﺔ وﻳﺤﺒﺬ ﺗﻮاﺟﺪ‬ ‫ﺷﻌﺮي ﺑﺎﻟﻔﺼﺤﻰ‪ ،‬إﱃ ﺟﺎﻧﺐ أﻳﻀﺎً ﺟﻤﻬﻮر‬ ‫أي ﺷﺎﻋﺮ ﻧﺒﻄﻲ اﻟــﺬي ﺑﺤﺎﺟﺔ ﻟﻠﺸﻌﺮ‬ ‫اﻟﻔﺼﻴﺢ ﻛﺬﻟﻚ‪.‬‬ ‫ﻣﺎ اﻟﺠﺪﻳﺪ ﰲ ﻛﺘﺎﺑﻚ اﻟﺜﺎين‪ ،‬وﳌــﺎذا ﻏﻼﻓﻪ‬ ‫ﻟﻮﺣﺔ ﻣﻦ إﺣﺪى ﻟﻮﺣﺎﺗﻚ ؟‬ ‫■ أﻋﺘﱪه رﺳﺎﺋﻞ ﻏﺮاﻣﻴﺔ اﻧﺒﻌﺜﺖ ﻣﻦ ﻗﻠﺒﻲ‪،‬‬ ‫أردت ﺗﺪوﻳﻨﻬﺎ ﰲ ﻛﺘﻴﺐ ﺻﻐري وﺑﺄﺳﻠﻮب‬ ‫ﻣﺨﺘﴫ‪ ،‬يك ﻳﻠﺘﻔﺖ إﱃ ﻋﻤﻖ اﳌﻌﻨﻰ ﺑﺪﻻً‬ ‫ﻣﻦ ﻇﺎﻫﺮه‪ ،‬وأرﺳﻠﺖ ﻫﺬه اﻟﺮﺳﺎﺋﻞ ﻣﻊ‬ ‫ﻟﻮﺣﺔ اﻟﺨﻴﻞ‪ ،‬ﻟﻴﻤﴤ ﰲ درﺑﻪ وﻳﺴﺎﺑﻖ ﺑﺎﻗﻲ‬ ‫اﻟﺨﻴﻮل‪...‬‬ ‫دراﺳﺔ اﻟﺪﻛﺘﻮراه ﻣﺎذا أﺿﺎﻓﺖ ﻟﺸﻌﺮ ﺳﻴﻒ‬ ‫اﻟﻈﺎﻫﺮي ؟‬ ‫■ أﺿﺎﻓﺖ ﻣﻜﺎﻧﺔ ﻋﻠﻤﻴﺔ وأدﺑﻴﺔ ﺟﻤﻴﻠﺔ‬ ‫وزادت ﰲ ﻋﻤﻖ اﻟﺘﻔﻜري ﻟﺪﻳﻪ وﺻﻘﻠﺖ‬ ‫ﺗﺠﺮﺑﺘﻪ اﻟﺸﻌﺮﻳﺔ ﺑﻌﺪ أن وﺿﻌﺖ ﻣﺴﺆوﻟﻴﺔ‬ ‫ﺣﺮف "د" ﻗﺒﻞ اﺳﻤﻪ‪.‬‬ ‫ﺗﺘﻤﻴﺰ ﺑﻠﻐﺔ اﻟﺸﻌﺮﻳﺔ ﻗﺮﻳﺒﺔ ﻣﻦ اﻟﺸﺒﺎب ومل‬ ‫ﻳﺴﺘﻄﻊ اﻟﺰﻣﻦ ﺗﻐﻴري ﻟﻐﺘﻚ اﻟﺸﻌﺮﻳﺔ‪ ،‬ﻣﺎذا‬ ‫ﺗﻘﻮل ﻋﻦ ﻫﺬه اﻟﻈﺎﻫﺮة ﰲ ﺗﺠﺮﺑﺘﻚ ؟‬ ‫■ اﻟﺸﻌﺮ ﻻ ﻳﺸﻴﺐ‪ ،‬ﺑﻞ ﺗﺘﺴﻊ ﻣﻌﺎﻧﻴﻪ ﻛﻠام‬ ‫ﻛﱪت‪ ،‬اﻟﻐﺰل ﻣﻄﻠﻮب ﻟﻜﻞ زﻣﺎن وﻣﻜﺎن‬ ‫وﻛﺬﻟﻚ أﻏﺮاض اﻟﺸﻌﺮ اﻷﺧــﺮى‪ ،‬واﻟﺴﻬﻞ‬ ‫اﳌﻤﺘﻨﻊ ﻫﻮ اﻷﻗﺮب إﱃ ﻗﻠﺒﻲ وﺷﺎﻋﺮﻳﺘﻲ‪.‬‬ ‫ﻣﺎ رأﻳﻚ ﰲ اﳌﺴﺎﺑﻘﺎت اﻟﺸﻌﺮﻳﺔ وﻣﺎ أﺛﺮﻫﺎ‬ ‫ﻋﲆ اﻟﺸﻌﺮ ؟‬ ‫■ اﳌﺴﺎﺑﻘﺎت اﻟﺸﻌﺮﻳﺔ ﺟﻤﻴﻠﺔ وﻣﺸﺠﻌﺔ‪،‬‬ ‫ﻟﻜﻨﻬﺎ ﻟﻴﺴﺖ ﻣﻘﻴﺎﺳﺎً ﻟﻠﺸﻌﺮاء‪ ،‬وﻋﻤﻮﻣﺎً‬ ‫ﻳﺠﺐ أن ﺗﻜﻮن ﻟﻬﺎ أﻫﺪاف واﺿﺤﺔ وﻣﺒﺎﴍة‬

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‫اﻟﻌﺪد ‪ ، 73‬دﻳﺴﻤﺒﺮ ‪2018‬‬

‫ﻋﻠﻴﻬﺎ ﻛﺒري ﺧﺼﻮﺻﺎً أن ﻛﻮﻛﺒﺔ ﻣﻦ ﺷﻌﺮاء‬ ‫وﺑﻌﻴﺪة اﳌﺠﺎﻣﻼت‪.‬‬ ‫اﻟﺨﻠﻴﺞ واﻟﻌﺮب ﺗﺮﺑﻄﻬﻢ ﻋﻼﻗﺔ وﻃﻴﺪة‬ ‫أﻧﺖ ﺷﺎﻋﺮ ﰲ أﻏ ـﺮاض ﻣﺘﻨﻮﻋﺔ ﻛﺎﻟﻐﺰل ﺑﺴﺎﺣﺘﻨﺎ ﻣﺎ ﺟﻌﻠﻬﻢ ﻣﺘﻮاﺟﺪﻳﻦ ﻣﻌﻨﺎ ﰲ ﻛﻞ‬ ‫واﻟﻔﻜﺎﻫﺔ واﻻﺟﺘامﻋﻴﺎت‪ ،‬أﻳﻦ ﺗﺠﺪ ﻧﻔﺴﻚ ﻣﻨﺎﺳﺒﺔ ﻷن اﳌﻨﺎﻓﺴﺔ ﴍﻳﻔﺔ‪ ،‬وﻫﻨﺎك ﺗﻘﺪﻳﺮ‬ ‫ﺑني ﻫﺬه اﻷﻏﺮاض اﻟﺸﻌﺮﻳﺔ ؟‬ ‫ﻛﺒري وﺻﺎدق ﰲ ﺳﺎﺣﺘﻨﺎ ﻗﻞ ﻣﺎ ﻧﺠﺪه ﰲ‬ ‫■ أﺟﺪ ﻧﻔﴘ ﰲ ﻛﻞ ﻣﻨﺎﺳﺒﺔ ﺗﺘﻄﻠﺐ أن ﺳﺎﺣﺎت ﺷﻌﺮﻳﺔ أﺧﺮى‪.‬‬ ‫أرﺧﻲ ﻋﻨﺎن ﺷﻌﺮي‪ ،‬ﻓﺄﻧﺎ أﺳﺎﺑﻖ دﻣﻌﻲ ﰲ‬ ‫اﻟﺤﺰن‪ ،‬وأﺗﺤﺪى ﺑﺴﻤﺘﻲ ﰲ اﻟﻔﺮح‪ ،‬وأﻧﺎﻓﺲ ﻣــﺎ ﻫــﻮ اﻷﻗـــﺮب ﻟﻘﻠﺐ اﻟــﺪﻛــﺘــﻮر ﺳﻴﻒ‬ ‫ﻧﺠﺎﺣﻲ ﰲ اﻟﺘﺤﺪي واﳌﺴﺎﺑﻘﺔ‪.‬‬ ‫اﻟﻈﺎﻫﺮي‪ ،‬اﻟﺮﺳﻢ أم اﻟﺸﻌﺮ ؟‬ ‫■ ﺑﺎﻟﻨﺴﺒﺔ ﱄ‪ ،‬ﻛﻼﻫام ﻗﺮﻳﺐ ﻣﻦ ﻗﻠﺒﻲ‪،‬‬ ‫ﻛﻴﻒ ﺗﺮى اﻟﺴﺎﺣﺔ اﻟﺸﻌﺮﻳﺔ ﰲ اﻹﻣﺎرات ؟ وﻟﻜﻦ أﺣﻴﺎﻧﺎً أﺟــﺪ ﻧﻔﴘ أﻣﻴﻞ ﻟﻠﺸﻌﺮ‬ ‫■ ﺳﺎﺣﺘﻨﺎ اﻟﺸﻌﺮﻳﺔ ﺳﺎﺣﺔ ﻣﻤﻴﺰة أﺿﺎﻓﺖ وأﺣﻴﺎﻧﺎً أﺧﺮى أﻣﻴﻞ ﻟﻠﺮﺳﻢ‪ .‬ﰲ اﻟﻮاﻗﻊ ﻫﻨﺎك‬ ‫ﻟﻠﺸﻌﺮ متﻴﺰاً ﺧﺎﺻﺎً ﺳﻮاء ﻛﺎن ﰲ اﻟﻠﻬﺠﺔ ارﺗﺒﺎط ﻛﺒري ﺑﻴﻨﻬام ﻟﺪيﱠ ‪ ،‬ﻓﺎﻟﺮﺳﻢ ﻳﻜﻤﻞ ﻣﺎ‬ ‫اﻹﻣﺎراﺗﻴﺔ أو ﻣﻦ ﺧﻼل اﻷﺳامء‪ ،‬واﻹﻗﺒﺎل مل أﺳﺘﻄﻊ ﻗﻮﻟﻪ‪ ،‬واﻟﺸﻌﺮ ﻳﺰﻳﺪ ﺟامل ﻣﺎ مل‬

‫ﺳﻴﻒ اﻟﻈﺎﻫﺮي رﺟﻊ إﱃ اﻟﺴﺎﺣﺔ ﺑﻌﺪ ﻏﻴﺒﺔ‬ ‫ﻃﻮﻳﻠﺔ ﺑﺪﻳﻮان ﻋﻨﻮاﻧﻪ ﺟﻮ ﺷﺎﻋﺮي‪ ،‬أﻳﻦ‬ ‫اﺧﺘﻔﻰ ﰲ اﻷﻟﻔﻴﺔ اﻟﺠﺪﻳﺪة ؟‬ ‫اﺧﺘﻒ‪ ،‬ﻛﻨﺖ ﻣﻮﺟﻮداً ﺑني أﺳﻄﺮ‬ ‫■ أﻧﺎ مل‬ ‫ِ‬ ‫أﺑﻴﺎيت وﰲ ﺟﻮف اﻟﻠﻴﻞ اﳌﲇء ﺑﺎﻷﺣﺎﺳﻴﺲ‪،‬‬ ‫ﻛﻨﺖ أراﻗــﺐ أﻧــﻮار اﻟــﺸــﻮارع وأﺻــﻮات‬ ‫اﻟﻌﺼﺎﻓري وﺑﺰوغ اﻟﻔﺠﺮ‪.‬‬ ‫اﻟﺸﻌﻮر ﻻ ﻳﺨﺘﻔﻲ‪ ،‬ﻟﻜﻦ ﻳﺘﻄﻠﺐ أﺣﻴﺎﻧﺎً ﻣﻦ‬ ‫اﻹﻧﺴﺎن اﳌﴤ ﻧﺤﻮ اﳌﺴﺘﻘﺒﻞ ﺑﻬﺪوء‪ ،‬ﻓﻜﻨﺖ‬ ‫ﻣﺸﻐﻮﻻ ًﰲ ﺣﻴﺎيت ﺑﺎﻟﺪراﺳﺎت اﻟﻌﻠﻴﺎ‪ ،‬وﻗﺪ‬ ‫أﻧﻬﻴﺖ دراﺳﺔ اﳌﺎﺟﺴﺘري وﻛﺬﻟﻚ اﻟﺪﻛﺘﻮراه‬ ‫اﻟﺘﻲ زادت ﻣﻦ ﺣﺠﻢ أﻓﻘﻲ اﻟﺸﻌﺮي‪.‬‬ ‫مل أﺑﺘﻌﺪ ﻋﻦ اﻟﺸﻌﺮ ﻛﻨﺖ أدون ﻗﺼﺎﺋﺪي‬ ‫وأﺟﻤﻌﻬﺎ ﺟﻤﻊ اﻟﺰﻫﻮر ﰲ ﺑﺎﻗﺔ ﺟﻤﻴﻠﺔ‬ ‫ﻟﻴﺘﻜﻮن ﻋﻨﺪي دﻳﻮاين اﻟﺬي ﺻﺪر ﻣﺆﺧﺮاً‬ ‫»ﺟﻮ ﺷﺎﻋﺮي«‪ ،‬وارﺗﺄﻳﺖ أن ﻳﻜﻮن اﻟﻐﻼف‬ ‫ﻧﺎﺑﻌﺎً ﻣﻨﻲ وﻣﻦ رﻳﺸﺘﻲ اﳌﻠﻮﻧﺔ ﻋﲆ ﻟﻮﺣﺎيت‬ ‫اﻟﻔﻨﻴﺔ ﻓﺎﺧﱰت ﻣﺎ ميﺜﻞ إﺣﺴﺎﳼ ووﺿﻌﺘﻪ‬ ‫ﻋﲆ اﻟﻐﻼف ﻟﻴﻀﻢ ﻗﺼﺎﺋﺪي‪.‬‬ ‫ﻛﻨﺖ ﻣﻦ اﻟﺸﻌﺮاء اﻟﺬﻳﻦ أﺳﻬﻤﻮا ﰲ اﻧﺘﺸﺎر‬ ‫اﻟﺪﻳﻮان اﳌﺴﻤﻮع‪ ،‬ﺣﺪﺛﻨﺎ ﻋﻦ ﻫﺬه اﻟﺘﺠﺮﺑﺔ؟‬ ‫■ اﻟﺪﻳﻮان اﳌﺴﻤﻮع ﻛﺎن أﻛرث ﺗﺄﺛرياً ﻋﲆ‬ ‫ﺟﻤﻬﻮري ﻣــﻦ ﺗﺄﻟﻴﻒ دﻳـــﻮان ﻣﻘﺮوء‪،‬‬ ‫ﺧﺼﻮﺻﺎً ﻟﻌﺪم ازدﺣﺎم اﻟﺴﺎﺣﻪ ﺑﺄﺻﻮات‬ ‫اﻟﺸﻌﺮاء‪ ،‬أي أﻧﻬﻢ مل ﻳﻜﻮﻧﻮا ﻛرثاً ﺣﻴﻨﻬﺎ‪،‬‬ ‫إﱃ ﺟﺎﻧﺐ أن ﺗﻠﻚ اﻟﻔﱰه ﺷﻬﺪت أﺳﺎﻟﻴﺐ‬ ‫ﺟﺪﻳﺪة ﻟﻺﻟﻘﺎء‪ ،‬وﻇﻬﻮر ﺷﻌﺮاء ووﺟﻮه‬ ‫ﺷﺒﺎﺑﻴﻪ ﺟﺪﻳﺪة‪ ،‬ﻓﻜﻨﺖ أﻣﻴﺰ ﻧﻔﴘ ﺑني‬ ‫اﻟﺸﻌﺮاء ﻟﻴﻜﻮن ﱄ ﻇﻬﻮر ﺻﻮيت وﻣﺮيئ أﻛرث‬ ‫ﻣﻦ اﻟﻜﺘﺎيب‪ ،‬وأﺻﺒﺢ ﻫﺬا ﺳﺒﺒﺎً ﰲ اﻧﺘﺸﺎر‬ ‫أﻣﺴﻴﺎيت اﻟﺸﻌﺮﻳﻪ داﺧــﻞ اﻟﺪوﻟﺔ واﻟﺘﻲ‬ ‫ﻧﴩت ﺑﻌﻀﻬﺎ ﰲ دواوﻳﻦ رﺳﻤﻴﺔ ﻣﺴﻤﻮﻋﺔ‪.‬‬

‫‪ ǚǶƂŐ ŧǜǉ ƉƪƖǕŌ Ǜƫ ƃƪŨşŐ ǗǕ‬‬ ‫‪ ƈǷǥƋǕŌ Ʃǘŵ ōǤƪǘŵŐǶ Ǽƃȃōƚǃ‬‬ ‫‪ Ǽƃǜƫ ǚǷǈŨǾǕ ǳǔǾǘŵ ǳǃōş ǽƳ‬‬ ‫‪ɰ‬‬ ‫‪ Ƿŵ} ŌƉƁǹǙ ƈƃƛ ǼƅǕŌ ǽǝŌǷǿƂ‬‬ ‫‪mǼƉƫōƗ‬‬

‫‪ ɐǚƋżǕŌ ǽƳ ǽƪǙƂ ǁşōƓŐ‬‬ ‫‪ ɐźƉƲǕŌ ǽƳ ǽŨǘƒş ǺƃżũŐǶ‬‬ ‫‪ ǼƃżŨǕŌ ǽƳ ǽŽōŴǝ ƑƳōǝŐǶ‬‬ ‫‪ ǳǂşōƒǘǕŌǶ‬‬ ‫‪ɰ‬‬ ‫‪ ŌƉǾŭőũ ƉŬǉŐ ǚōǉ ƨǷǘƒǘǕŌ ǚŌǷǿƃǕŌ‬‬ ‫‪ ǚŌǷǿƂ ƱǾǕőũ ǛǙ ǼƈǷǤǘŵ ǻǔƫ‬‬ ‫‪ŋǶƉǂǙ‬‬ ‫‪ ǚōǈǙǶ ǚōǙƊ ǓǈǕ ŜǷǔƢǙ ǒƋƮǕŌ‬‬ ‫‪ ɐǺƉƁȏŌ ƉƪƖǕŌ ƜŌƉƯŐ ǇǕƅǉǶ‬‬ ‫‪ ŜƉǃȏŌ Ƿǥ ƩǜŨǘǘǕŌ ǓǤƒǕŌǶ‬‬ ‫‪ǽŨǿƉƫōƗǶ ǽŞǔǃ ǻǕŒ‬‬

‫ﺗﻄﺒﻴﻘﺎت اﻟﺘﻮاﺻﻞ اﻻﺟﺘامﻋﻲ؟‬ ‫■ ﺑﺤﻜﻢ دراﺳﺘﻲ ﰲ اﻟﺠﺎﻣﻌﺎت اﻟﺤﺪﻳﺜﻪ‬ ‫ﻛﻜﻠﻴﺔ اﻟﺘﻘﻨﻴﺔ أو ﺟﺎﻣﻌﺔ زاﻳــﺪ‪ ،‬أﺻﺒﺢ‬ ‫اﻟﻜﻤﺒﻴﻮﺗﺮ ﺻﺪﻳﻘﺎً ﱄ‪ ،‬واﺳﺘﻄﻌﺘﺖ ﺑﺸﻜﻞ‬ ‫ﺷﺨﴢ ﻋﻤﻞ ﻣﻮﻗﻌﻲ اﻹﻟﻜﱰوين ﻟﻴﻜﻮن ﱄ‬ ‫ﻫﻮﻳﺔ ﺷﻌﺮﻳﺔ دامئﺔ ﻋﲆ اﻟﺸﺒﻜﺔ اﳌﻌﻠﻮﻣﺎﺗﻴﺔ‬ ‫اﻟﻌﺎﳌﻴﺔ‪ ،‬وﻷﻣﻜﻦ اﻟﺠﻤﻬﻮر ﻣﻦ اﻟﻮﺻﻮل إ ﱠﱄ‬ ‫ﻛﺸﺎﻋﺮ واﻟﺘﻌﺮف ﻋ ﱠ‬ ‫ﲇ ﻋﻦ ﻗﺮب واﻻﺳﺘامع‬ ‫اﱃ ﻗﺼﺎﺋﺪي وﺣﻔﻈﻬﺎ‪.‬‬ ‫وﻻ ﺷﻚ أين أﺳﺘﺨﺪم ﻫﺬا اﳌﻮﻗﻊ اﻟﺸﻌﺮي‬ ‫اﻟﺨﺎص يب ﻛﻨﻮع ﻣﻦ اﻟﺪﻋﺎﻳﺔ واﻻﻧﺘﺸﺎر‪،‬‬ ‫وﻣﻦ ﺧﻼﻟﻪ اﺳﺘﻄﻌﺖ أن أﺳﺘﺤﻮذ ﻋﲆ‬ ‫أﻣﺴﻴﺎت ﻛﺒرية وﻛﺜرية وﻓﺘﺢ أﻣﺎﻣﻲ آﻓﺎق‬ ‫اﻟﺘﻮﺳﻊ واﻻﻧﺘﺸﺎر ﺑني اﻟﺠﻤﻬﻮر ‪.‬‬

‫ﻫﺪوءه ﰲ ﻣﻘﺎﺑﻞ ﺗﺴﻮﻳﻖ ﺷﻌﺮه ﰲ ﻫﺬه‬ ‫اﻟﺘﻄﺒﻴﻘﺎت؟‬ ‫■ ﻟﺪيﱠ ﺣﺴﺎب إﻧﺴﺘﻐﺮام ﺧــﺎص وﻫﻮ‬ ‫‪ @drsaif_uae‬وأﻧﺎ وﻟﻠﻪ اﻟﺤﻤﺪ ﻓﻌﺎل وأﻗﻮم‬ ‫وﺑﺸﻜﻞ دوري ﺑﺘﻨﺰﻳﻞ أﺣﺪث ﻗﺼﺎﺋﺪي إﱃ‬ ‫ﺟﺎﻧﺐ اﺳﺘﺨﺪاﻣﻲ وﺳﺎﺋﻞ أﺧﺮى ﻛﺎﻟﻮﺗﺴﺎب‬ ‫واﻟﺴﻨﺎب وﺑﴫاﺣﺔ‪ ،‬اﻋﺘﱪ ﻫﺬه اﻟﻮﺳﺎﺋﻞ‬ ‫ﻋﺎﻣ ًﻼ ﻣﺴﺎﻋﺪاً ﻟﻼﻧﺘﺸﺎر واﻟﺘﻮاﺟﺪ ﺑني‬ ‫ﺻﻔﺤﺎت اﻟﺤﻴﺎة‪ ،‬وﻟﻜﻨﻬﺎ ﻗﺪ ﺗﻜﻮن ﺳﺒﺒﺎً‬ ‫ﻟﻠﻨﺠﺎح واﻻﻧﺘﺸﺎر إذا ﻛﺎن اﻟﺸﺎﻋﺮ ﻣﻤﻴﺰاً‬ ‫وﻳﺴﺘﺤﻖ اﻟﺸﻬﺮة وإﻻ ﻗﺪ ﺗﻜﻮن اﻟﻌﻜﺲ‪،‬‬ ‫ﻓﻬﻲ ﺳﻼح ذو ﺣﺪﻳﻦ‪.‬‬

‫أﺻﺪرت ﻳﺎ ﺳﻴﺪ اﻟﻌﺸﺎق ﺑﺎﻟﻔﺼﺤﻰ ﻣﺎ ﴎ‬ ‫ﻫﺬا اﻟﺘﺤﻮل؟‬ ‫ﻣﻮﻗﻌﻚ اﻹﻟﻜﱰوين ﻛﺎن ﻣﻦ أول اﳌﻮاﻗﻊ‬ ‫اﻹﻟﻜﱰوﻧﻴﺔ ﻟﻠﺸﻌﺮاء‪ ،‬ﳌﺎذا ﻓﻘﺪت ﻣﻮاﻗﻊ أﻳﻦ ﺳﻴﻒ اﻟﻈﺎﻫﺮي ﻣﻦ ﻣﻌﻤﻌﺔ اﻟﺘﻄﺒﻴﻘﺎت ■ أﻋﺸﻖ اﻟﺸﻌﺮ اﻟﻔﺼﻴﺢ‪ ،‬وأﺻﺪرت دﻳﻮاين‬ ‫اﻟﺸﻌﺮاء اﻹﻟﻜﱰوﻧﻴﺔ ﻣﻜﺎﻧﻬﺎ ﺑﻌﺪ ﻇﻬﻮر اﻻﺟﺘامﻋﻴﺔ‪ ،‬وﻫﻞ ﻳﺴﺘﻄﻴﻊ اﻟﺸﺎﻋﺮ أن ﻳﱰك ﻧرثاً وﻟﻴﺲ ﺷﻌﺮاً‪ ،‬واﻵن ﺗﺤﻮل ﺗﺮﻛﻴﺰي إﱃ‬ ‫اﻟﺸﻌﺮ ‪baytelshear‬‬ ‫ﺑﻴﺖ ِ‬

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‫ ‪ ĘĵńŒ ŞœŃ ŝŃ‬‬

‫‪ ǼƉƫōƗ Ƿŵ Ȍş ƂǷƪǾǕ ōǾǔƪǕŌ ŦōƓŌƈƃǕŌ ǣũƃƪşŐǶ ƉƪƖǕŌ ŝŨǉ‬‬

‫د‪.‬ﺳﻴﻒ اﻟﻈﺎﻫﺮي‪ɾ :‬‬ ‫‪ ŝǾƮǿ ȍ ƉƫōƖǕŌǶ ŝǾƖǿ ȍ ƉƪƖǕŌ‬‬ ‫ﺣﺎوره‪ :‬ﻣﺤﻤﺪ ﻧﻮر اﻟﺪﻳﻦ‬ ‫ﺗﺼﻮﻳﺮ‪ :‬ﻣﺼﻄﻔﻰ اﻟﺠﻨﺪي‬

‫ﺷﺎﻋﺮ إﻣﺎرايت ﺣﻘﻖ ﺟامﻫريﻳﺔ ﻛﺒرية‪،‬‬ ‫مل ﺗﺴﺘﻄﻊ اﻧﺸﻐﺎﻻﺗﻪ ﰲ اﻟﺪراﺳﺎت‬ ‫اﻟﻌﻠﻴﺎ أن ﺗﺤﺠﺒﻬﺎ‪ ،‬ﻋﻨﺪﻣﺎ ﻋﺎد ﻟﺠﻤﻬﻮره‬ ‫ﺑﺪﻳﻮان ﺟﺪﻳﺪ‪.‬‬ ‫ﻳﻜﺘﺐ اﻟﺸﻌﺮ اﻟﺸﻌﺒﻲ‪ ،‬وﻳﺒﺪع ﻛﺬﻟﻚ‬ ‫ﰲ ﻛﺘﺎﺑﺔ ﺷﻌﺮ اﻟﻔﺼﺤﻰ‪ ،‬وﻳﺠﺪ ﻧﻔﺴﻪ‬ ‫ﰲ ﻛﻞ ﻣﻨﺎﺳﺒﺔ ﺗﺘﻄﻠﺐ أن ﻳﺮﺧﻲ ﻋﻨﺎن‬ ‫ﺷﻌﺮه‪.‬‬ ‫ﻳﺆﻛﺪ أن اﻟﺴﺎﺣﺔ اﻟﺸﻌﺮﻳﺔ اﻹﻣﺎراﺗﻴﺔ‬ ‫ﺳﺎﺣﺔ ﻣﻤﻴﺰة أﺿﺎﻓﺖ ﻟﻠﺸﻌﺮ متﻴﺰاً‬ ‫ﺧﺎﺻﺎً ﺳﻮاء ﻛﺎن ﰲ اﻟﻠﻬﺠﺔ اﻹﻣﺎراﺗﻴﺔ‬ ‫أو ﻣﻦ ﺧﻼل اﻷﺳامء‪ ،‬واﻹﻗﺒﺎل ﻋﻠﻴﻬﺎ‬ ‫ﻛﺒري‪ ،‬ﺧﺼﻮﺻﺎً أن ﻛﻮﻛﺒﺔ ﻣﻦ ﺷﻌﺮاء‬ ‫اﻟﺨﻠﻴﺞ واﻟﻌﺮب ﺗﺮﺑﻄﻬﻢ ﻋﻼﻗﺔ وﻃﻴﺪة‬ ‫ﺑﻬﺎ ﻣﺎ ﺟﻌﻠﻬﻢ ﻣﺘﻮاﺟﺪﻳﻦ ﻓﻴﻬﺎ ﻛﻞ‬ ‫ﻣﻨﺎﺳﺒﺔ ﻷن اﳌﻨﺎﻓﺴﺔ ﴍﻳﻔﺔ‪ ،‬ﻣﺸرياً‬ ‫أن ﻫﻨﺎك ﺗﻘﺪﻳﺮاً ﻛﺒرياً وﺻﺎدﻗﺎً ﰲ‬ ‫ﻫﺬه اﻟﺴﺎﺣﺔ ﻗﻞ ﻣﺎ ﻧﺠﺪه ﰲ ﺳﺎﺣﺎت‬ ‫ﺷﻌﺮﻳﺔ أﺧﺮى‪.‬‬ ‫اﻟﺸﺎﻋﺮ اﻟﺪﻛﺘﻮر ﺳﻴﻒ اﻟﻈﺎﻫﺮي ﻛﺎن‬ ‫ﺿﻴﻒ ﻣﺠﻠﺔ ﺑﻴﺖ اﻟﺸﻌﺮ ﰲ أوﱃ‬ ‫ﻟﻘﺎءاﺗﻪ ﻣﻊ ﻋﻮدﺗﻪ ﰲ دﻳﻮاﻧﻪ اﻟﺠﺪﻳﺪ‪،‬‬ ‫وﻣﻌﻪ ﻛﺎن ﻫﺬا اﻟﺤﻮار‪:‬‬

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‫اﻟﻌﺪد ‪ ، 73‬دﻳﺴﻤﺒﺮ ‪2018‬‬

‫ﺸﺎف‬ ‫اﺧﺘﻔﻰ ﺑﻮﺷﻬﺎب ﻣﺎ ْﻳ‬ ِ ǚōǾǤǝ ǒŔ ǚōƢǔƓ Ǜş ƃǿŌƊ ſǾƖǕŌ ŜƉƮǘǕŌ ƠōşƉǕŌ 1996/11/10

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ّ ‫ﺳﺎل‬ ‫اﻻﺷﺮاف‬ ‫ﻋﻨﻲ ﻓﺨﺮ‬ ِ ǼƃǿǷƒǕŌ ǳƲǾǔƁ ƃǘŽŐ ǽǕōƪǙ

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baytelshear ‫اﻟﺸﻌﺮ‬ ِ ‫ﺑﻴﺖ‬

*x@ P @ @ @ @ @ ~@ @ @ @ @ @7°* x@@ @ @s@ @ @ A ¤@@ @ @ @ Q @ @ @ @ < b@@ @ @ @~@ @ @ @ 6 ¯b@@ @ ~@ @ @8 Mx@@ @ @ @ G¡@@ @ @ @ m@ @ @ @ @+R @@ @ @ £@ @ @ @ @ @ @ @ @ @ @ @«*H ¯b@@ @ @~@ @ @ 9 ¤@M @ @ @ @ Eb@@ @ @ @ ~@ @ @ @ @6 M b@@ @ @ @ @ @ @~@ @ @ @ @ @ @ 6H *3 ¯b@@ @ @ @ @ @ @ @ JR @@ @ @ @ @ @ ~@ @ @ }@ @ @ @ @ @ +R Ãx@@ @ @ @ @ @ @ @ @ @ @ @ @ D*H ¯b@@ @ @ @ @ @ @ @ @ ³*H ¡@@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @´* x@@ @ @ @ @ @ @ @ @ @ @ ¯*¡@@ @ @ @ @ @D* @@ @ |@ @ @ @ @ @s@ @ @´* @@ @ @ £@ @ @ @<y@@ @ @ D* b@@ @ @ @ J b@ P @ @ ~@ @ @{@ @ @ @ @ @J 4v@@ @ @ @ @ c@ @ @ @ @ @D* 4¡@@ @ @ @ @ @ @ F @@ @ @ j@ @ @ @E b@ P @ @ @ @ ~@ @ z@ @ E H2 @@ @ @ @ D x@@ @ @ @ @ @ @ @ @E&°* ¯ ¯b@@ @ @~@ @ @ {@ @ @ D* @@ @ @ @ @ @ @ @ @ @ @´* Ñ* v@@ @ @ @ @ @ p@ @ @ F b@ P @ @ @ @ ~@ @ @ @ @94* f@@ @ @ @ c@ @ ~@ @ 6 @@ @ @ @ + b@@ @ @c@ @ @ 0x@@ @ @E b@ P @ @ @ ~@@ Q@ @ {@ @ @ @ C 4¡@@ @ @ @ @ @ @ F b@@ @ @ Gb@@ @ @ ~@ @ @ {@ @ @ = @@ @ @ @ @ + ¯b@@ @ @ @ @ @ @ @ @ D* Ñ*H b@@ @ @ @ @ @GÉ@@ @ @ @ @ @0 b@@ @ @ @ @ @ @E b@ P @ @ @ @ gQ @ @ @ @ @G d@Q @ @ @ @ @ @ @G @@ @ @ @ @D d@@ @ @ @ @ @ @~@ @ @ @{@ @ @ @D*H ¯*¡@@ @ @ @ @ D* b@@ @ @ @J d@@ @ @ @ @~@ @ @{@ @ @D* d@@ @ £@ @ c@ @ 0 b@@ @ @ @J

‫ ‪ ĘńĴ şŉ Įı‬‬ ‫@‪ b‬‬ ‫¯ *‪P @ @ @ @ @~@ @ @z@ @ @E H2 @@ @ @ @ @D x@@ @ @ @ @ @ @ @ @ @ E&°‬‬ ‫‪R‬‬ ‫‪ @@ @ @Jb@@ @ @ @ @ @ C x@@ @ @ @ @ @ @ @ @ @ E*H @@ @ @ @ @ + ¥v@@ @ @ g@ @ @ @ @ @ @ @F‬‬

‫ﰲ ﻫﺬه اﻷﺑﻴﺎت ﻳﺆﻛﺪ اﻟﺴﻮﻳﺪي ﻋﲆ أن اﻹﺧﻼص واﻟﻮﻓﺎء ﻣﻦ ﺳامت‬ ‫اﻟﺸﻴﺦ زاﻳﺪ‪ ،‬أي أﻧﻪ ﻟﻮ ﻛﺎن ﻣﺨﻠﺼﺎً ووﻓﻴﺎً ﻛام ﻗﺎل ﻋﻨﻪ ﺳﺎﺑﻘﺎً ﰲ‬ ‫ﻗﺼﻴﺪﺗﻪ‪ ،‬ﻓﺈن رﻓﻘﺔ اﻟﺸﻴﺦ زاﻳﺪ ﻳﺴﺘﺪﻋﻲ أن ﻳﺘﻌﻠﻢ ﻣﻨﻪ ﻛﻞ اﳌﺮاﻓﻘني‬ ‫اﻟﺼﻔﺎت اﻟﺤﻤﻴﺪة وأن ﻳﻘﺘﺪوا ﺑﻪ ﻛام ﺗﻘﺘﺪي اﻟﻨﺎس ﺑﺎﻟﻨﻮر ﰲ اﻟﻠﻴﻠﺔ‬ ‫اﻟﻈﻠامء وﻫﺬا اﳌﻌﻨﻰ ﻧﺠﺪه ﰲ "ﺳﻤﻌﺘﻚ ﺑﺎﻟﺨري ﻣﻄﺮاﻳﻪ ‪ ...‬ﻣﺜﻞ ﻧﻮر‬ ‫ّ‬ ‫اﻟﺘﺤﲇ ﺑﻬﺬه اﻟﺼﻔﺎت ﺑﺎﻟﻨﺘﻴﺠﺔ إﱃ ﺑﻠﻮغ‬ ‫اﻟﺒﺪر ﻳﻨﺸﺎف"‪ .‬وﻳﺆدي‬ ‫اﻟﻐﺎﻳﺎت اﳌﻨﺸﻮدة ﻛام ﺣﻘﻖ اﻟﺸﻴﺦ زاﻳﺪ ﻟﺸﻌﺒﻪ ﻛﻞ ﻣﺎ ﻳﺘﻤﻨﻰ‬ ‫اﻟﺸﻌﺐ‪.‬‬ ‫وأﻣﺎ اﻟﺴﻮﻳﺪي ﻓﺈﻧﻪ ﺣﺎﴐ ﰲ أﻣﺮ اﻟﺸﻴﺦ زاﻳﺪ وﻣﻄﻴﻊ ﻟﻪ وﻳﻠﺒﻲ ﻛﻞ‬ ‫ﻣﺎ ﻳﻄﻠﺐ ﻣﻨﻪ‪ ،‬أي أﻧﻪ ﻳﻘﻮل ﻣﺘﻮاﺿﻌﺎً إن رأﻳﻪ مل ﻳﻜﻦ ﻳﺤﻈﻰ ﺑﺄﻫﻤﻴﺔ‬ ‫‪ǗǿƉǈŨǕŌ Ōƅǥ Ǔǉ ǁżŨƒǿ ȍ ǣǝŐ ǼƃǿǷƒǕŌ ǒǷǂǿ‬‬ ‫ﻟﻮﻻ أﻣﺮ اﻟﺸﻴﺦ زاﻳﺪ ﺑﺈدﻻء اﻟﺮأي ﳌﻌﺮﻓﺔ وﺟﻬﺔ ﻧﻈﺮ اﻟﺴﻮﻳﺪي ﰲ ﻣﺎ‬ ‫ ‪ ȁƳōǈǿ ǣǙƉǈş ƃǿŌƊ ſǾƖǕŌ ǚŐ ȍŒ ƃǿŌƊ ſǾƖǕŌ ǛǙ‬‬ ‫ﻳﻄﻠﺒﻪ ﻣﻦ ﻣﺸﻮرة‪:‬‬ ‫‪ɰ‬‬ ‫‪ǚǷǂżŨƒǿ ōǘǙ ƉŬǉőş ǣǜǙ ȎƞƲũ ƐōǜǕŌ‬‬ ‫‪¯b@@ @ @ ~@ @ @ @{@ @ @ @D* @@ @ @ @ @ @ @ @ @ @ @ @ ´* Ñ* v@@ @ @ @ @ @ @p@ @ @ @F‬‬ ‫‪ @@ @ @ @ Jb@@ @ @ @ @ @ @ @ <H‬‬ ‫· ‪R @@ @ @ @ @ @ @ @ @ @ @+ b@@ @ @ @ @ @ @ @ @ @ <4‬‬ ‫‪¯b@@ @ @ ~@ @ @ @9 ¤@M @ @ @ @ @ Eb@@ @ @ @ @ ~@ @ @ @ @ 6 M b@@ @ @ @ @ @ @ @~@ @ @ @ @ @ @ @ 6H *3‬‬ ‫@‪ b‬‬ ‫‪P @ @ @ @ @~@ @ @ @ @ 94* f@@ @ @ @ @c@ @ @~@ @ @6 @@ @ @ @ @+ b@@ @ @ c@ @ @ @0x@@ @ @ E‬‬ ‫@ ‬ ‫@‬ ‫@‬ ‫@‬ ‫‪J‬‬ ‫@‪b‬‬ ‫@‬ ‫@‬ ‫@‬ ‫ ‬ ‫@‬ ‫@‬ ‫@‬ ‫@‪E f‬‬ ‫@‬ ‫@‬ ‫@‬ ‫@‬ ‫‪J‬‬ ‫@‪b‬‬ ‫@‬ ‫@‬ ‫@‬ ‫@‬ ‫=‬ ‫@‪ ¥v‬‬ ‫@‬ ‫@‬ ‫@‬ ‫@‬ ‫‪ @ @ @ @ @< @@ @ @ @ @ @ @ @ @E‬‬ ‫‪R‬‬ ‫‪ @@ @ @ @ J*xQ @ @ @ @ @~@ @ @ @ @6 2¡@@ @ @ @ @ @ @ @ @ J 4*2 @@ @ @ @ @ @ @ @ @J‬‬ ‫ﻳﻘﻮل اﻟﺴﻮﻳﺪي ﰲ ﻣﻄﻠﻊ ﻗﺼﻴﺪﺗﻪ إن اﻷﴍاف ﺗﻔﺨﺮ ﺑﺎﻟﺸﻴﺦ زاﻳﺪ‪،‬‬ ‫أي أن ﺳﺆال اﻟﺸﻴﺦ زاﻳﺪ ﻋﻨﻪ ﻓﺨﺮ وﴍف ﻻ ﻳﻀﺎﻫﻴﻪ ﴍف‪ ،‬ﻓﻜﻴﻒ‬ ‫إن أﻧﺸﺪ ﰲ ذﻟﻚ ﻗﺼﻴﺪة‪ .‬وﺷ ﱠﺒﻪ اﻟﺴﻮﻳﺪي اﻟﻘﺼﻴﺪة ﺑﺎﻟﺠﻮﻫﺮة اﻟﺘﻲ‬ ‫ﻳﺆىت ﺑﻬﺎ ﻣﻦ أﻋامق اﻟﺒﺤﺎر‪ ،‬وﻫﺬا اﻟﺠﻮﻫﺮ اﻟﺜﻤني ﺗﻘ ﱠﻠﺪه ﻛﻮﺳﺎم ﴍف‬ ‫مل ﻳﻜﻦ ﻟﻴﺤﻠﻢ ﺑﻪ ﻛام أﺷﺎر إﱃ ذﻟﻚ ﰲ ﻋﺒﺎرة "ﻏﺎﻳﺔ ﻣﻨﺎﻳﻪ" أي أن‬ ‫ذﻟﻚ ﻣﻦ أﻗﴡ أﻣﻨﻴﺎﺗﻪ إن ﺟﺎز ﻟﻪ أن ﻳﺘﻤﻨﻰ‪ ،‬وﻗﺪ ﻣﻨﺤﻪ إﻳﺎه اﻟﺸﻴﺦ‬ ‫زاﻳﺪ ﻣﻦ دون أن ﻳﻄﻠﺐ ﻣﻨﻪ ذﻟﻚ‪ ،‬ﻟﻴﺴ ّﻮغ ذﻟﻚ ﰲ اﻷﺑﻴﺎت اﻟﺘﻲ ﺗﲇ‪:‬‬ ‫‪¯b@@ @ @ @ @ @ @ @ @JR @@ @ @ @ @ @ @~@ @ @ @}@ @ @ @ @ @ @ @+R Ãx@@ @ @ @ @ @ @ @ @ @ @ @ @ @ @D*H‬‬ ‫· ‪ @@ @ Jb@@ @ ~@ @ @|@ @ @B* 4b@@ @ @ @ @ @ @ @ < @@ @ @ @-*x@@ @ @ @~@ @ @ @ 7‬‬ ‫@ @ @ @ @ @ @ @ @ @ @ @ @@‪¯b@@ @ @ @ @ @ @ @ @ @ ³*H ¡@@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ ´* x‬‬‫@‪ @@ @ @ @ @ @ J*4 4b‬‬ ‫‪M @ @ @ @ @ @ @ @ @ @ @ @ < ¤@@ @ @ @ @-*x@@ @ @ @ @~@ @ @ @ @ 7 ·H‬‬ ‫ﻫﻨﺎ ﻳﻘﻮل اﻟﺴﻮﻳﺪي إﻧﻪ ﻻ ﻳﺴﺘﺤﻖ ﻛﻞ ﻫﺬا اﻟﺘﻜﺮﻳﻢ ﻣﻦ اﻟﺸﻴﺦ‬ ‫زاﻳﺪ إﻻ أن اﻟﺸﻴﺦ زاﻳﺪ ﺑﻜﺮﻣﻪ ﻳﻜﺎﻓﺊ اﻟﻨﺎس ﺗﻔﻀ ًﻼ ﻣﻨﻪ ﺑﺄﻛرث ﻣام‬ ‫ﻳﺴﺘﺤﻘﻮن‪ ،‬وﻳﺘﻮاﺿﻊ اﻟﺴﻮﻳﺪي ﰲ ﻫﺬا اﳌﻘﺎم وﻳﻘﻮل إن رأﻳﻪ رأي‬ ‫ﻣﺘﻮاﺿﻊ وإن اﻟﺸﻴﺦ زاﻳﺪ ﻟﻪ ﻧﻈﺮة ﺛﺎﻗﺒﺔ وﻓﻬﻢ ﻋﻤﻴﻖ ﻳﺴﺘﻄﻴﻊ أن‬ ‫ﻳﺘﺪﺑﺮ اﻷﻣﻮر ﺧري ﺗﺪﺑري‪.‬‬ ‫‪¯*¡@@ @ @ @ @ @ @D* @@ @ @|@ @ @ @ @ @ s@ @ @ ´* @@ @ @ @£@ @ @ @ <y@@ @ @ @D* b@@ @ @ @ @J‬‬ ‫‪ @@ @ @ J*x@@ @ @ @ @ @ @E Ì@@ @ @ @ @ ³b@@ @ @ @ @ + @@ @ @g@ @ @ @ @ @ @ @ @ ~@ @ @ 6‬‬ ‫@‪ b‬‬ ‫‪P @ @ @~@ @ @ {@ @ @ @ @ @ J 4v@@ @ @ @ @ @c@ @ @ @ @ @ D* 4¡@@ @ @ @ @ @ @ @F @@ @ @ @j@ @ @ @ E‬‬ ‫‪ @@ @ @ Jb@@ @ @ @ @ @ @D* @@ @ @ @ @ @ @ @ 0 @@ @ @c@ @ @ @ @ @ ~@ @ @ {@ @ @ D ·H‬‬

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‫اﻟﻌﺪد ‪ ، 73‬دﻳﺴﻤﺒﺮ ‪2018‬‬

‫ﰲ ﻫﺬه اﻷﺑﻴﺎت ّ‬ ‫ﻳﺘﻀﺢ أن اﻟﺴﻮﻳﺪي ﺳﺒﻖ اﻟﺸﻴﺦ زاﻳﺪ إﱃ اﻹﻣﺎرات‬ ‫ﻟﺘﺠﻬﻴﺰ ﻣﺮاﺳﻢ اﺳﺘﻘﺒﺎﻟﻪ ﺑﻌﺪ ﻧﻬﺎﻳﺔ رﺣﻠﺔ اﻟﻌﻼج ﻷن اﻟﺸﻌﺐ‬ ‫ﺑﺄﻛﻤﻠﻪ ﻳﻮد اﺳﺘﻘﺒﺎل اﻟﺸﻴﺦ زاﻳﺪ ورؤﻳﺘﻪ ﺳﺎﳌﺎً ﻣﻌﺎﰱ ﺑﻌﺪ أن ﻣﻦ‬ ‫اﻟﻠﻪ ﻋﻠﻴﻪ ﺑﻠﻄﻔﻪ وﻋﻨﺎﻳﺘﻪ ﻟﻴﻌﻮد إﱃ أرض اﻟﻮﻃﻦ ﺑﻌﺪ أرﺑﻌﺔ ﺷﻬﻮر‬ ‫ﻗﻀﺎﻫﺎ ﺧﺎرج اﻟﺪوﻟﺔ‪ ،‬وﻳﺼﻒ اﻟﺴﻮﻳﺪي ﻋﻮدة اﻟﺸﻴﺦ زاﻳﺪ ﰲ ﺧﻴﺎﻟﻪ‬ ‫اﻟﺸﺎﻋﺮي ﺑﺎﻷﺑﻴﺎت اﻟﺘﺎﻟﻴﺔ‪:‬‬ ‫@‪ b‬‬ ‫‪P @ @ @ @ ~@@ @Q @ @ {@ @ @ @ C 4¡@@ @ @ @ @ @ @ @ F b@@ @ @ Gb@@ @ @ ~@ @ @ @{@ @ @ @= @@ @ @ @ @ @ +‬‬ ‫‪ @@ @ @Jb@@ @ @ @ @ @ @ @ @ E 4Q 2 h@@ @ @ @ p@ @ @ @ @ c@ @ @ @ @ ~@ @ @ @ @ 8*H‬‬ ‫‪¯b@@ @ @ @ @ @ @ @ @ @ @D* Ñ*H b@@ @ @ @ @ @ GÉ@@ @ @ @ @ @ 0 b@@ @ @ @ @ @ @ @E‬‬ ‫‪ @@ @ @ Jb@@ @ @ @ @ @ @c@ @ @ @E yQ @ @ @ @ @ @ @ @ @ @ @ @ @ @Db@@ @ @ @ @ @ + Mf@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @DH2‬‬ ‫@‪ b‬‬ ‫‪P @ @ @ @ @gQ @ @ @ @ @ G d@Q @ @ @ @ @ @ @ @G @@ @ @ @ @ @D d@@ @ @ @ @ @ @ @ ~@ @ @ @ {@ @ @ @ D*H‬‬ ‫‪Q‬‬ ‫‪ @@ @ @Jb@@ @ @~@@ @ @{@ @ @ @ @ @ E M2¡@@ @ @ @ @ @ @ @ @ @ @1 h@@ @ @ @ @ @ @ 0x@@ @ @ @ @ @ @ A*H‬‬ ‫‪¯*¡@@ @ @ @ @ @ D* b@@ @ @ @ J d@@ @ @ @ @ ~@ @ @ {@ @ @ D* d@@ @ £@ @ @c@ @ @0 b@@ @ @ @ J‬‬ ‫*‪ @@ @ Jb@@ @ @ @ @ c@ @ @ E @@ @ @ @ @ @ @ @ @E @@ @ @ @0¡@@ @ @ @ @ @ @ @ ~@ @ @ @ z@ @ @ @ D‬‬ ‫وأﻣﺎ أﺣﻤﺪ ﺧﻠﻴﻔﺔ اﻟﺴﻮﻳﺪي ﻧﺠﺪه ﰲ ﻧﻬﺎﻳﺔ اﻟﻘﺼﻴﺪة ﻣﻌﺘﺬراً ﻋﻦ‬ ‫ﻏﻴﺎﺑﻪ وﻣﺴﺘﺴﻤﺤﺎً وﻻمئﺎً ﻧﻔﺴﻪ ﻟﺒﻌﺪه ﻋﻦ اﻟﺸﻴﺦ زاﻳﺪ وﻟﻜﻦ ﻗﺒﻞ‬ ‫ذﻟﻚ ﻧﺠﺪه واﺻﻔﺎً ﺳﻌﺎدة اﻟﺸﻌﺐ وﺟامل اﻹﻣﺎرات اﻟﺘﻲ ﺗﺰ ّﻳﻨﺖ‬ ‫َﻓ ِﺮ َﺣ ًﺔ ﺑﻌﻮدة زاﻳﺪ إﱃ أرض اﻟﻮﻃﻦ وﻫﻲ ﰲ أﺣﲆ ﺣ ّﻠﺘﻬﺎ وأﺑﻬﺞ‬ ‫ﺣﺎﻟﺘﻬﺎ‪ ،‬وﻫﻮ ﺑﻬﺬا ﻳﺆرخ ﻟﻴﻮم ﻣﻬﻢ ﺟﺪاً ﻣﻦ ﺗﺎرﻳﺦ اﻹﻣﺎرات وﻫﻮ ﻳﻮم‬ ‫ﻋﺎﻧﻖ ﻓﻴﻪ اﻟﺸﻌﺐ واﻟﺪه اﻟﻌﺎﺋﺪ ﺑﺎﳌﺤﺒﺔ واﻟﻮﻓﺎء‪.‬‬

‫‪ ƩǔƢǙ ǽƳ ǼƃǿǷƒǕŌ ǒǷǂǿ‬‬ ‫‪ ƉƀƲũ ưŌƉƗȏŌ ǚŒ ǣũƃǾƚǃ‬‬ ‫‪ ǒŌǹƓ ǚŐ ǼŐ ɐƃǿŌƊ ſǾƖǕōş‬‬ ‫‪ ưƉƗǶ ƉƀƳ ǣǜƫ ƃǿŌƊ ſǾƖǕŌ‬‬ ‫‪ ưƉƗ ǣǾǥōƞǿ ȍ‬‬

‫‪ɼ‬‬ ‫‪ ǲƃǾƚǂǕŌ ǼƃǿǷƒǕŌ ǣŞƗ‬‬ ‫‪ ǛǙ ōǤş ǻũǹǿ ǽŨǕŌ ǲƉǥǷŴǕōş‬‬ ‫‪ ƉǥǷŴǕŌ ŌƅǥǶ ɐƈōżŞǕŌ ǀōǘƫŐ‬‬ ‫‪ɼ‬‬ ‫‪ưƉƗ ǖōƓǷǉ Ǣƃǔǂũ ǛǾǘŬǕŌ‬‬

‫ﻗﺼرية ﻻ ﺗﺘﺠﺎوز اﻷﺳﺒﻮﻋني‪ ،‬وﻟﻜﻦ اﻟﺸﻴﺦ زاﻳﺪ ﻳﺮى أن ﻫﺬه اﳌﺪة‬ ‫ﻃﻮﻳﻠﺔ ﺟﺪاً ﺑﺎﻟﻨﺴﺒﺔ إﻟﻴﻪ ﻟﻌﺪة أﺳﺒﺎب‪ ،‬وﻟﻜﻨﻪ ﻳﻮرد ﺳﺒﺒﺎً وﺣﺪاً وﻫﻮ‬ ‫أﻧﻪ ﻳﻌﺘﻤﺪ ﻋﲆ ﻣﺴﺘﺸﺎره اﻟﺴﻮﻳﺪي ﻟﻜﻮﻧﻪ ﻳﺄيت ﺑﺎﻟﺮأي اﻟﺼﺎﺋﺐ دامئﺎً‪،‬‬ ‫وﻟﻜﻦ ﻧﺠﺪ دﻻﻻت أﺧﺮى ﰲ ﺳﻴﺎق اﻟﻘﺼﻴﺪة ﺗﻮﺣﻲ أن اﻟﺸﻴﺦ زاﻳﺪ‬ ‫ﺗﺮﺑﻄﻪ مبﺴﺘﺸﺎره ﻋﻼﻗﺔ ﺧﺎﺻﺔ ﺟﺪاً ﻛام ﰲ اﻟﺸﻄﺮ "ﱄ ﴍاﺗﻪ ﺑﻴﻌﻨﻲ‬ ‫ﺣﺎﰲ" أي أن اﻟﺴﻮﻳﺪي ﺳﻴﺘﺠ ّﻠﺪ ﻣﻌﺎﻧﺎة اﻟﺤﻀﻮر ﺑﺎﳌﴚ ﺣﺎﻓ ّﻴﺎ ﻟﺘﻠﺒﻴﺔ‬ ‫ﻣﻬامت اﻟﺸﻴﺦ زاﻳﺪ؛ إﻻ أﻧﻪ ﻗﺪ ﻳﻌﻮﻗﻪ ﻫﺬه اﳌﺮة أﻣﺮ ﻣﻬﻢ آﺧﺮ‬ ‫وأﻏﻠﺐ اﻟﻈﻦ أﻧﻪ ﰲ ﻣﻬﻤﺔ أﺧﺮى و ّﻛﻠﻪ اﻟﺸﻴﺦ زاﻳﺪ ﺑﻬﺎ‪ ،‬ﻣﺎ أدى إﱃ‬ ‫ﺑﺮوز ﻓﺮاغ ﻛﺒري ﻗﺪ ﻻ ﻳﺴﺘﻄﻴﻊ أﺣﺪ أن ميﻸه؛ ﻟﺬﻟﻚ ﻳﺴﻬﺐ اﻟﺸﻴﺦ‬ ‫زاﻳﺪ ﻳﺮﺣﻤﻪ اﻟﻠﻪ ﻣﺎدﺣﺎً‪:‬‬ ‫@‪ b‬‬ ‫‪P @ @ @ @ ~@ @ @ @ @|@ @ @ @ @F*H @@ @ @ @ @ @ @ @ @ @ AH @@ @ @ @ @ @ @ @ < @@ @ @ @£@ @ @ @ A‬‬ ‫‪ @@ @ @ @ Jb@@ @ @ @ @ @ @ @ @CR @@ @ @ @ @ @ @ @ @ @ @ @ @ @J*4 v@@ @ @ @ @ @ @ @ @ @ @¹¡@@ @ @ @ @ +‬‬ ‫‪¯b@@ @ @ @ @1 ·H Í@Q @ @ @ @ @ @ @ c@ @ @ @ @ @ @ D* xQ @ @ @ @ @ @ @ @ @ @ @ @ @ @ J‬‬ ‫‪ @@ @ @ @J*Hx@@ @ @ @~@ @ @ @ 7 Qv@ @ @ @ @ @ @ @ 0 @@ @ @ @Ax@@ @ @ @ @ @ @ @ J b@@ @ @ @ @ @ @ @EH‬‬

‫ﻟﺪرﺟﺔ أﻧﻪ ﻳﺠﺰم أﻻ أﺣﺪ ﻳﻌﺮف اﻟﺴﻮﻳﺪي ﻛام ﻳﻌﺮﻓﻪ اﻟﺸﻴﺦ زاﻳﺪ‬ ‫وﻫﺬا اﳌﻌﻨﻰ ﻧﺠﺪه ﰲ "ﻣﺎ ﻳﻌﺮﻓﻪ ﺣﺪ ﴍواﻳﻪ"‪ ،‬ﻟﺬﻟﻚ ﻳﺴﺘﻄﺮد ﺑﺈﺿﺎﻓﺔ‬ ‫ﺻﻔﺎت أﺧﺮى‪:‬‬ ‫‪¯*HH @@ @ @ @ |@ @ @ @ @ @ @ @ @ @º v@@ @ @ @ @ @ @ @ @ @ @¹¡@@ @ @ @ @ +‬‬ ‫¯ *‪ @@ @ @ Jb@@ @ @ ²* iSv@ @ @ @ @ @ @ @ @+ · x@@ @ @ ~@ @ @ @z@ @ @ @ @ @ @ @D‬‬ ‫@‪ b‬‬ ‫‪P @ @ @ ~@ @ @ @{@ @ @ @ @ @ @ @J y@@ @ @ @ @ @ @ @ @ / M @@ @ @ @ @ @ @ @ @ @ @ @ 0 @@ @ @ @ @ @ @C‬‬ ‫‪ @@ @ @ Jb@@ @ @ F ¯ ¡@@ @ @ @ @ @ @ @ @ @G ¡@@ @ @ @ @ @ @ D @@ @ @ @ @ @ @ +xQ @ @ @ @ @ @ @ @B‬‬ ‫@‪ É‬‬ ‫‪P @ @ @ @ @ @ @ @ @ @ @ @ @ ³*H @@ @ @ @ -b@@ @ @ @ c@ @ @ @ @ @ @ @ ~@ @ @ @ 8 @@ @ @ @ @ @ @ @C‬‬ ‫‪ @@ @ @ @ @ @ @ @ @ @ @ J*4R2 v@@ @ @ @ @ @ @ @ @ @ @ @ @ @ <H b@@ @ @ @ @ @ @ @ @ @ @ @ C @@ @ @ @ @ @ @+‬‬

‫ﻫﻨﺎ ﻳﺒني اﻟﺸﻴﺦ زاﻳﺪ أن اﻟﺴﻮﻳﺪي ﻣﺨﻠﺺ أي أﻧﻪ ﻳﻌﻤﻞ ﻣﻦ دون‬ ‫رﻳﺎء وﻻ ﻷﺟﻞ ﻣﻘﺎﺑﻞ ﻛﻮﻧﻪ ﻳﺆدي ﻋﻤ ًﻼ ﻷﺟﻞ وﻃﻨﻪ؛ وﻛﺬﻟﻚ ﻳﺒني‬ ‫اﻟﺸﻴﺦ زاﻳﺪ أن اﻟﺴﻮﻳﺪي "واﰲ" أي أﻧﻪ ﻳﻨﺠﺰ أﻋامﻟﻪ ﺑﺄﻛﻤﻞ وﺟﻪ‬ ‫أو إﻧﻪ "وﰲ" ﻣﺘﻤﺴﻚ ﺑﻌﻼﻗﺘﻪ ﺑﺎﻟﺸﻴﺦ زاﻳﺪ‪ ،‬وﻳﻈﻬﺮ ذﻟﻚ ﰲ أﺻﻌﺐ‬ ‫اﳌﻮاﻗﻒ "ﰲ اﻟﻌﴪ ﱄ ﺑ ّﺪت اﻟﺤﺎﺟﺔ" وﺣﻴﻨﻬﺎ ﻳﻌﺮف أﻫﻤﻴﺔ ﺣﻀﻮر‬ ‫ﻫﻨﺎ ﻳﺴ ّﻮغ اﻟﺸﻴﺦ زاﻳﺪ ﻣﺪﺣﻪ‪ ،‬ﻓﺎﻟﺴﻮﻳﺪي ﻻ ﻳﺤﻈﻰ ﺑﻬﺬه اﳌﻨﺰﻟﺔ إﻻ اﻟﺴﻮﻳﺪي ﻷﻧﻪ ﻳﺰﻳﻞ اﻟﺼﻌﺎب وﻳﺴﻬﻠﻬﺎ ﺑﺤﻨﻜﺘﻪ ودراﻳﺘﻪ‪ ،‬ووﺟﻮده‬ ‫ﻷﺳﺒﺎب ﻣﻬﻤﺔ ﺟﺪاً وﻫﻲ ﻛام أﺷﺎر ﰲ اﻟﺸﻄﺮ اﻷول‪" :‬اﻟﻌﻠﻢ واﻟﻔﻬﻢ ﻳﻜﻔﻲ ﻋﻦ وﺟﻮد ﻛﺜري ﻣﻦ اﻟﺬﻳﻦ ﻻ ﻳﺮى اﻟﺸﻴﺦ زاﻳﺪ ﰲ آراﺋﻬﻢ ﺗﻠﻚ‬ ‫واﻹﻧﺼﺎف" ﻓﺒﺎﻟﻌﻠﻢ ﻳﺄيت رأي اﻟﺴﻮﻳﺪي ﻣﺒﻨ ّﻴﺎً ﻋﲆ أﺳﺎس ﺻﻠﺐ‪ ،‬اﻟﻔﺎﺋﺪة اﳌﺮﺟﻮة‪.‬‬ ‫وﺑﺎﻟﻔﻬﻢ ﻳﻜﻮن رأﻳﻪ ﻣﻦ وﺟﻬﺔ ﻧﻈﺮ ﻣﻤﻴﺰة ﻳﻠﻢ وﻳﺮاﻋﻲ ﻓﻴﻬﺎ ﻛﻞ‬ ‫اﻷﻃﺮاف وﻛﻞ اﻟﺤﻴﺜﻴﺎت‪ ،‬وأﻣﺎ ﺑﺎﻹﻧﺼﺎف ﻓﺈﻧﻪ ﻻ ﻳﻈﻠﻢ ﰲ رأﻳﻪ أﺣﺪاً واﳌﻼﺣﻆ أﻳﻀﺎً ﰲ ﻫﺬه اﻟﻘﺼﻴﺪة أن اﻟﺸﻴﺦ زاﻳﺪ ﻳﺨﺎﻃﺐ اﻟﺴﻮﻳﺪي‬ ‫وﻻ ﻳﺘﺨﺬ ﻣﻮﻗﻔﺎً ﻳﺤﺎيب ﻓﻴﻬﺎ ﺟﺎﻧﺒﺎً ﻣﻦ دون اﻵﺧﺮ‪ ،‬وﻫﺬه اﻟﺼﻔﺎت "ﺑﻮﻣﺤﻤﺪ" ﻧﺴﺒﺔ إﱃ أﻛﱪ أﺑﻨﺎﺋﻪ ﺑﺪﻻً ﻣﻦ ﻛﻨﻴﺔ "ﺑﻮﺷﻬﺎب" ﻛام ﺑﺪأ‬ ‫ﻣﻦ اﻟﺼﻌﺐ أن ﺗﺠﺘﻤﻊ ﰲ ﺷﺨﺼﻴﺔ واﺣﺪة‪ ،‬ﻟﺬﻟﻚ ﻳﻜﻮن رأﻳﻪ ﻛﺎﻓﻴﺎً اﻟﻘﺼﻴﺪة وﻫﺬه دﻻﻟﺔ ﻣﻬﻤﺔ ﻋﲆ اﻟﺘﻘﺪﻳﺮ اﻟﻜﺒري اﻟﺬي ﻳﻜﻨﻪ اﻟﺸﻴﺦ‬ ‫ﺑﺎﻟﻨﺴﺒﺔ ﻟﻠﺸﻴﺦ زاﻳﺪ‪ ،‬وﻻ ﻳﺤﺘﺎج إﱃ آراء ﻛﺜرية ﻟﺤﺴﻢ اﳌﻮاﺿﻴﻊ زاﻳﺪ ﳌﺴﺘﺸﺎره اﻟﺬي ﻫﻮ ﰲ اﳌﻘﺎﺑﻞ ﻳﺠﺎوﺑﻪ ﺑﺎﻟﻘﺼﻴﺪة اﻟﺘﺎﻟﻴﺔ‪:‬‬ ‫@‪ *x‬‬ ‫اﳌﻬﻤﺔ؛ ﻟﺬﻟﻚ ﻳﻜﻮن رأي اﻟﺴﻮﻳﺪي ﻋﻠﻴﻪ اﻻﻋﺘامد وﻳﺤﻈﻰ ﺑﺄﻫﻤﻴﺔ ‪P @ @ @ @ @ @~@ @ @ @ @ @ 7°* x@@ @ @ s@ @ @ @A ¤@@ @ @ @ Q @ @ @ @ @< b@@ @ @ @ ~@ @ @ @ @6‬‬ ‫‪ @@ @ @ @ @ J*x@@ @ @ @ @ D* @@ @ @ @ @ Eb@@ @ @ @ @ 0 @@ @ @ @ @ @ @£@ @ @ @ @ @ @ @1¡@@ @ @ +‬‬ ‫ﺧﺎﺻﺔ ﺟﺪاً‪.‬‬ ‫‪¯b@@ @ @~@ @ @ 8 xM @ @ @ @ @ @G¡@@ @ @ @ @ m@ @ @ @ @ @+R @@ @ @ @£@ @ @ @ @ @ @ @ @ @ @ @ «*H‬‬ ‫وﺑﻌﺪ ذﻟﻚ ﻳﺆﻛﺪ اﻟﺸﻴﺦ زاﻳﺪ أن ﻋﻼﻗﺘﻪ ﺑﺎﻟﺴﻮﻳﺪي ﻋﻼﻗﺔ وﻃﻴﺪة‬ ‫‪ @@ @ @ Jb@@ @ @ E 4y@@ @ @ @ @ @ @ @ @ = @@ @ @ @ @ @ @E @@ @ @ @ Q @ @ @ @ @ @ @ @ g@ @ @ @ @ @ @ @ E‬‬ ‫اﻟﺸﻌﺮ ‪baytelshear‬‬ ‫ﺑﻴﺖ ِ‬

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‫ ‪ ĘńĴ şŉ Įı‬‬

‫ ‪ſǾƖǕŌ ǣżǜǙ ōǙƃǜƫ‬‬ ‫ ‪ƉƪƖǕŌ ǖōƓǶ ƃǿŌƊ‬‬

‫‪ ƂƉǿ ǼƃǿǷƒǕŌ ǳƲǾǔƁ ƃǘŽŐ‬‬

‫ﻳﻨﺸﺎف‬ ‫»ﻣﺜﻞ ﻧﻮر اﻟﺒﺪر‬ ‫ِ‬ ‫وﻟﻲ ﻟﺸﻌﺒﻪ ﺣﻘﻖ‬ ‫اﻟﻐﺎﻳﻪ«‬

‫ﻣﺤﻤﺪ ﻧﻮر اﻟﺪﻳﻦ‬

‫اﻟﻄﻴﺒﺔ وﻗﺒﻞ ﻣﴤ أﻗﻞ ﻣﻦ أﺳﺒﻮع أﺟﺮى ﻋﻤﻠﻴﺔ ﺟﺮاﺣﻴﺔ ﺗﻜﻠﻠﺖ‬ ‫ﺑﺎﻟﻨﺠﺎح ووﺻﻞ ﺑﻌﺪ ﺷﻬﺮ ﻣﻦ ذﻟﻚ اﻟﺘﺎرﻳﺦ إﱃ ﻣﺪﻳﻨﺔ ﻣﻠﻘﺎ ﺑﺈﺳﺒﺎﻧﻴﺎ‬ ‫وﻛﺎن ﻣﻌﺎﱄ أﺣﻤﺪ ﺧﻠﻴﻔﺔ اﻟﺴﻮﻳﺪي ﻣﻦ ﺿﻤﻦ ﻣﺮاﻓﻘﻴﻪ ﰲ إﺳﺒﺎﻧﻴﺎ‪،‬‬ ‫وﻣﻦ ﺛﻢ اﻧﺘﻘﻞ إﱃ اﳌﻤﻠﻜﺔ اﳌﻐﺮﺑﻴﺔ ﻣﺴﺘﻘﺮاً ﻫﻨﺎك ﺣﻮاﱄ ﻋﴩة أﻳﺎم‬ ‫وﻗﺎل اﻟﻘﺼﻴﺪة اﻟﺘﺎﻟﻴﺔ ﰲ اﻟﻌﺎﺻﻤﺔ اﻟﺮﺑﺎط وﰲ آﺧﺮ ﻳﻮم ﻗﺒﻞ ﻋﻮدﺗﻪ‬ ‫إﱃ أرض اﻟﻮﻃﻦ‪:‬‬ ‫@‪ b‬‬ ‫*‪P @ @ @~@ @ @ {@ @ @ JR b@@ @ @ @ E eb@@ @ @ @ @ @ ~@ @ @ 7¡@@ @ @+ ¢@@ @ @ @ @ @ g@ @ @ 1‬‬ ‫‪ @@ @ @ @ @ @ @J*4 v@@ @ @ @ @ @ @ @ g@ @ @ @ @ @ @ @ FH 4b@@ @ @ ~@ @ @ @{@ @ @ @g@ @ @ @~@ @ @ @z@ @ @ @E‬‬ ‫· ‪¯b@@ @ @ @ @0 ¤@@ @ @ @ @ @ @ @ @ @ @£@ @ @ @+ @@ @ @ @ @ -*x@@ @ @ @ @ ~@ @ @ @ @ @ 7‬‬ ‫‪ @@ @ @ Jb@@ @ @ @ @ @ @+R b@@ @ @ @ @ @ @ @ D ¤@@ @ @ @ @£@ @ @ @ @ +H b@@ @ @ @ @ @ @+¡@@ @ @ ~@ @ @ @8‬‬ ‫‪¯b@@ @ @ ~@ @ @ @8 · ¥*x@@ @ @ @ @ @ @ @ @ @ @ @ @ @ D* d@@ @ @ @ @£@ @ @ @ @ Jb@@ @ @ @ @+‬‬ ‫· ‪ @@ @ @ @ @ @J*¡@@ @ @ @ @ @GH b@@ @ @ @ @ @ @ @ @ @ c@ @ @ @ @ F @@ @ @ @ @p@ @ @ @ @ F‬‬

‫ﺗﺮﺑﻂ اﳌﻐﻔﻮر ﻟﻪ اﻟﺸﻴﺦ زاﻳﺪ ﺑﻦ ﺳﻠﻄﺎن آل ﻧﻬﻴﺎن ﻃﻴﺐ اﻟﻠﻪ ﺛﺮاه‬ ‫ﻋﻼﻗﺎت أﺧﻮﻳﺔ ﻣﺘﻴﻨﺔ ﻣﻊ ﻣﺮاﻓﻘﻴﻪ ورﺟﺎل اﻟﺪوﻟﺔ‪ ،‬وﺑﻔﻀﻞ ﺗﻠﻚ‬ ‫اﻟﻌﻼﻗﺎت ﻛﺎن اﻟﻘﺎﺋﺪ ميﴤ واﺛﻘﺎً ﻣﻊ ﻓﺮﻳﻖ ﻋﻤﻠﻪ ﻣﺘﻘﺪّﻣﺎ رﻛﺐ اﻟﺪول‬ ‫اﻟﻔﺘﻴﺔ‪ ،‬وﻣﻦ ﻫﺆﻻء اﻟﺮﺟﺎل ﻧﺬﻛﺮ ﻣﻌﺎﱄ‪ /‬أﺣﻤﺪ ﺧﻠﻴﻔﺔ اﻟﺴﻮﻳﺪي‬ ‫اﻟﺮﺟﻞ ذا اﻟﻨﻈﺮة اﻟﺜﺎﻗﺒﺔ واﻟﺮأي اﻟﺴﺪﻳﺪ؛ ﻓﻬﻮ رﺟﻞ ﺳﻴﺎﺳﺔ واﻗﺘﺼﺎد‬ ‫وأدب‪ ،‬ﺣﻴﺚ أﺳﻬﻢ ﰲ إﻧﺸﺎء ﴏح اﺗﺤﺎد اﻹﻣــﺎرات‪ ،‬وﻗﺮأ ﺑﻴﺎﻧﻬﺎ‬ ‫اﻷول ﻋﺎم ‪1971‬م‪ ،‬وﺷﻐﻞ ﻣﻨﺼﺐ أول وزﻳ ٍﺮ ﻟﻠﺨﺎرﺟﻴﺔ ﰲ اﻟﺪوﻟﺔ‪،‬‬ ‫ﺑﺎﻹﺿﺎﻓﺔ إﱃ ﻛﻮﻧﻪ أﺣﺪ أﻫﻢ رﺟﺎل اﳌﻐﻔﻮر ﻟﻪ اﻟﺸﻴﺦ زاﻳﺪ ﺑﻦ ﺳﻠﻄﺎن‬ ‫ﻣﻨﺎﺻﺐ ﻣﺨﺘﻠﻔ ٍﺔ ﻛﺮﺋﻴﺲ ﻟﻠﺪﻳﻮان اﻷﻣريي‬ ‫آل ﻧﻬﻴﺎن‪ ،‬ﺣﻴﺚ ﺷﻐﻞ‬ ‫َ‬ ‫وﻣﺴﺘﺸﺎ ٍر ﻟﺮﺋﻴﺲ اﻟﺪوﻟﺔ ﺑﻌﺪ ذﻟﻚ؛ أﻣﺎ ﻗﺼﺔ ﻫﺬه اﻟﻘﺼﻴﺪة ﻓﺘﺒﺪأ‬ ‫ﺑﻌﺪ ﺗﺎرﻳﺦ ‪ 23‬ﺳﺒﺘﻤﱪ ‪ 1996‬ﺣﻴﺚ ﻏﺎدر اﻟﺸﻴﺦ زاﻳﺪ اﻟﺮﺑﺎط ﻣﺘﺠﻬﺎً ﻫﺬه اﻷﺑﻴﺎت ﺗﻮﺣﻲ أن أﺣﻤﺪ ﺧﻠﻴﻔﺔ اﻟﺴﻮﻳﺪي ﻏﺎﺋﺐ ﻣﻨﺬ ﻓﱰة‬ ‫إﱃ ﻣﺪﻳﻨﺔ روﺗﺸﻴﺴﱰ ﰲ اﻟﻮﻻﻳﺎت اﳌﺘﺤﺪة ﻹﺟﺮاء ﺑﻌﺾ اﻟﻔﺤﻮﺻﺎت ﻃﻮﻳﻠﺔ‪ ،‬وﻟﻜﻦ ﻛام أﺳﻠﻔﻨﺎ ﻓﺈن ﻣﻦ اﻟﻮاﺿﺢ أﻧﻪ مل ﻳﻐﺐ ﺳﻮى ﳌﺪة‬

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‫اﻟﻌﺪد ‪ ، 73‬دﻳﺴﻤﺒﺮ ‪2018‬‬

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‫ﻧﻮرة اﻟﺴﺒﻴﻌﻲ‬ @ apt_nora

baytelshear ‫اﻟﺸﻌﺮ‬ ِ ‫ﺑﻴﺖ‬

ĘıĘŕ

‫ﺳﻴﻮف اﻟﻌﺰ‬ Áb@@ @ ~@ @ @z@ @ @²* 4v@@ @ @ @ Db@@ @ @ @ J @@ @ @ ~@ @ @ @8¡@@ @ @ D* @@ @ @ Jv@@ @ @ + Áb@@ @ @ @ @ @ @ @ @ @ @´*H v@@ @ @ @ @J*x@@ @ @ @ @ @ @ @ @ @ Db@@ @ @ @ @J ¤@@ @ @ @ Gb@@ @ @ @ c@ @ @ @ @Á*2 y@@ @ @ @ @ @ @ @ ´* ¡@@ @ @ @ @ @ @ @ @0 @@ @ @ @ @ E ¢@@ @ @ Eb@@ @ @ @ @ @ @- @@ @ Bb@@ @ ~@ @ @6 Ñ* ¡@@ @ @ @ @ @ @J k@@ @ @ £@ @ @ @ @ @ @ @Db@@ @ @ + É@@ @ @ @ @ G Áb@@ @ ~@ @ @z@ @ @D @@ @ @ @ @ @ @ @ @ E b@@ @ @ @ A¡@@ @ @ @ Db@@ @ @ @ + @@ @ @ @ Q @ @ @ @ @© @@ @ g@ @ c@ @ @ @ : ¤@@ @ @ @ @ @ @+4b@@ @ @ @ @ @ @J Ñ* b@@ @ @ @ @ @ @J °&* Áb@@ @ @p@ @ @ ´* Í@@ @ @ @ + @@ @ @ @ @~@ @ @6 ¤@@ @ @ @ @ @ @ @ D* ¡@@ @ @ @ @~@ @ @z@ @ @+ b@@ @ @ @ @ @ @ @ @ -*H ¥x@@ @ @ @ @ @ @~@ @ @ @7 Hx@@ @ @ @ @ @ @ @ @0 h@@ @ @ @ @ @ @ @ @ F Áb@@ @ @ @ @ <2 b@@ @ @ @ @ @ @g@ @ @ @cQ @ @ @ @¹ @@ @ @ @ @ E ¥x@@ @ @ @ @ @ @ @ @~@ @ @ @ @7H v@@ @ @ @ ~@ @ {@ @ J Ñ*H b@@ @ @ ~@ @ @ @{@ @ @ @²b@@ @ @ + b@@ @ @ @ @GÉ@@ @ @ @ @= Áb@@ @ £@ @ C @@ @ :¡@@ @ g@ @ @~@ @ @z@ @ @- e¡@@ @ @ @ @ @ @~@ @ @ @7H @@ @ @ @ @ @:H x@@ @ <b@@ @ ~@ @ @{@ @ @´* @@ @ @ @ @C @@ @ @ @ @< Ì@@ @ @ @ @= x@@ @ @<b@@ @ @~@ @ @ {@ @ @ E Áb@@ @ @ @ @ @ @g@ @ @ @E*H ¥x@@ @ @ @ @ s@ @ @ @ @ @AH ¥x@@ @ @ @ @Jv@@ @ @ @ @ @ @ @ @ @ -H @@ @ @ @ @ £@ @ @ @ @ @+&°* i*4b@@ @ @ @ @ @ @ @ @ @E(É@ @ @ @ @ @ @ @ @ @ D ¤@@ @ @ @ EÉ@@ @ @ @ ~@ @ @ @ @6 Á*2H ¤@@ @ @ ~@ @ @ @8b@@ @ @ B b@@ @ @ @ @ @ ~@ @ {@ @ @ @ + ¢@@ @ @ Q @ @ @ @ @ @ @ @- @@ @ @ @ @DH2 @@ @ @ @ @C @@ @ @ @ @< @@ @ @ @ @B4b@@ @ @ @ @A @@ @ @ @ @ @ @ @ DH2 b@@ @ @ @ @J Áb@@ @ @ @ @- @@ @ @ @ @ @ @ @ /&b@ @ @ @ + @@ @ @ Cv@@ @ @ £@ @ @ @< 4b@@ @ @ @ @c@ @ @ @ @ - @@ @Db@@ @~@ @ 64 4¡@@ @ @ @ @ @F ¡@@ @ @ @ @ @ @ @ @ @ @1* 4*2 @@ @ @ E @@ @ @ @ @D R @ @ @ @J @@ @ @ @ @ @ @ @ 0*x@@ @ @ @A* Hv@@ @ @ @ @ @ @Áb@@ @ @ @ @ £@ @ @ D* *¡@@ @ @ @ @ @ @ @ @ @:H v@@ @ @ @m@ @ @ @ ´* 5¡@@ @ @ @ @ @ @ @ E4 v@@ @ @ @J*5 b@@ @ @ @£@ @ @ @ < b@ ÁÉ@@ @ @ @ <H x@@ @ @ @ ~@ @ @ @ @6 @@ @ @£@ @ @ Eb@@ @ @~@ @ @ 6 @@ @ @ @ @B*¡@@ @ @ @ @E Hx@@ @ @ @ @ @ @ EH i°¡@@ @ @ @ @ @ @ @ @ @ @ @ @+H d@@ @ @ £@ @ @ @: @@ @ @ @ @ G Áb@@ @ @ £@ @ @ @DH x@@ @ @~@ @ @ z@ @ @ < ¯ y@@ @ @ @ @ @ @ @ @D* ¡@@ @ @ £@ @ @ @~@ @ @ @6 b@@ @£@ @ p@ @ ´* Í@@ @ p@ @ @ @ ~@ @ 6 @@ @ @6b@@ @ @~@ @ @ z@ @ @ D* *x@@ @ @ @ @ @ @ C Á*¡@@ @ @ @ @ @ D* ¢@@ @ ~@ @ @9x@@ @ J b@@ @ @ E d@@ @ @ @ ~@ @ 7 ,¡Q @ @ @ @ @ @ @ @ 1*H @@ @ @c@ @ @ ¹H 4*¡@@ @ @ @ @ @ @ @ @ @ @ @ @/H @@ @ @ @ @ @ @ @ J2 b@@ @ @ @ @ @ @ @ @ @ @ @ / Áb@@ @ @ @ @-H @@ @ @ @8É@@ @ @ @1H u¡@@ @ @ @ @ @ ~@ @ @ 7H $°H v@@ @ @ @0*H d@@ @ @ @ @ B @@ @ @ @ @ D @@ @ @ 6b@@ @ @ @ @ @ /* @@ @{@ @ £@ @ @ @ F Á*¡@@ @ @ @ @ @ @ @ @D* @@ @ @ @ @ @ @F b@@ @ @ @ @ J y@@ @ @ @ @ @ @ @ @D* ¡@@ @ @ @ @ @ @ @ @BH b@@ @ @ @ £@ @ s@ @ g@ @ F* ¡@@ @ @ @ @ @J $b@@ @ @ @A¡@@ @ @ @Db@@ @ @ @+ *¡@@ @ @ g@ @ @ @ @ @ @ @BH Áb@@ @ @ @Ey@@ @ @ @D* ¡@@ @ @ @ @ @ : b@@ @ @ @ @Fx@@ @ @ @ @13 @@ @ @ @ @g@ @ @ @ @ E2H x@@ @ @ 1b@@ @ @ @ @ @ @g@ @ @ @FH @@ @ @ @ @ @ Cb@@ @ @ @ @ @ AH ¯ ¥4b@@ @ @ @ @ @ @ @ @ @ @¿ (‫ﺻﻤﺖ اﻟﻤﺸﺎﻋﺮ )اﻟﻮاﻳﻠﻴﻪ‬ @ alwaelyh

2018 ‫ دﻳﺴﻤﺒﺮ‬، 73 ‫اﻟﻌﺪد‬

‫وﺟﻮﻫﻬﻦ أﺣﻴﺎﻧﺎً ﺑﺎﻟﺸﻌﺮ اﻟﻄﻮﻳﻞ أﺛﻨﺎء متﺎﻳﻞ‬ ‫رؤوﺳﻬﻦ‪.‬‬ ‫وﻳﱰاوح ﻋﻤﺮ »اﻟﻨﻌﺎﺷﺎت« ﺑني ‪ 8‬و‪ 10‬ﺳﻨﻮات‪،‬‬ ‫وﺗﺤﺘﺎج اﻟﻔﺘﻴﺎت إﱃ اﻟﻘﻮة ﰲ أداء ﺣﺮﻛﺎﺗﻬﻦ‬ ‫اﻟﱰاﺛﻴﺔ اﻟﺠﻤﻴﻠﺔ‪ ،‬ﻛﻮﻧﻬﺎ ﺗﺘﻄﻠﺐ ﻗﻮة ﺗﺤﻤﻞ ﰲ‬ ‫اﻟﻮﻗﻮف‪ ،‬ﻃﻮال ﻓﱰة أداء ﻓﻦ »اﻟﻌﻴﺎﻟﺔ«‪ ،‬إذ‬ ‫ﺗﺆدي اﻟﻔﺘﻴﺎت اﻟﺤﺮﻛﺎت اﻧﺴﺠﺎﻣﺎً ﻣﻊ إﻳﻘﺎع‬ ‫اﳌﻮﺳﻴﻘﻰ اﻟﺘﻘﻠﻴﺪﻳﺔ اﻟﺼﺎدرة ﻋﻦ »اﻟﻌﻴﺎﻟﺔ«‪،‬‬ ‫وﺗﻘﻒ ﻣﺠﻤﻮﻋﺔ ﻣﻦ اﻟﻔﺘﻴﺎت »اﻟﻨﻌﺎﺷﺎت«‬ ‫ﻋﲆ ﻣﺴﺎﻓﺔ ﻗﺮﻳﺒﺔ ﻟﺘﺤﺮﻳﻚ رؤوﺳﻬﻦ ﻟﺮﺳﻢ‬ ‫ﻟﻮﺣﺔ ﺗﺮاﺛﻴﺔ ﰲ ﻏﺎﻳﺔ اﻟﺠامل‪.‬‬ ‫وأﺑﺮز ﻣﺎ ﺗﺮﺗﺪﻳﻪ اﻟﻔﺘﺎة أﺛﻨﺎء أداء ﻫﺬه اﻟﻠﻮﺣﺔ‬ ‫اﻟﱰاﺛﻴﺔ اﻻﺳﺘﻌﺮاﺿﻴﺔ‪ ،‬اﻟﺜﻮب اﻟﻘﺪﻳﻢ اﻟﺬي‬ ‫ﻳﻄﻠﻖ ﻋﻠﻴﻪ »اﳌﺨﻮر«‪ ،‬واﻟﺬي ﻳﺘﻤﻴﺰ ﺑﱪﻳﻖ‬ ‫اﻟﺘﻄﺮﻳﺰ اﻟﺴﺎﻃﻊ‪ ،‬ﻣام ﻳﺜري اﻧﺘﺒﺎه اﻟﺤﺎﴐﻳﻦ‬ ‫وﻫــﻮ ﻳﻌﻜﺲ اﻟﻠﻮن اﻟﺬﻫﺒﻲ اﻟــﺬي ُﻳﺮى‬ ‫ﻣﻦ ﻣﺴﺎﻓﺔ ﺑﻌﻴﺪة‪ ،‬أﻣﺎ أﻛرث أﻧﻮاع اﻟﺬﻫﺐ‬ ‫أو اﻟﺤﲇ اﳌﺴﺘﺨﺪﻣﺔ ﰲ أداء ﻫﺬا اﻟﻔﻦ‪،‬‬ ‫ﻓﻬﻲ‪» :‬اﳌﺮﺗﻌﺸﺔ« أو »اﳌﺮﻳﺔ« وﺧﻼﻓﻬﺎ ﻣﻦ‬ ‫إﻛﺴﺴﻮارات اﻟﺬﻫﺐ‪ ،‬إﱃ ﺟﺎﻧﺐ اﺳﺘﺨﺪام‬ ‫اﻟﻜﺤﻞ ﻟﺰﻳﺎدة ﺟامل اﻟﻌﻴﻨني ووﺿﻊ اﻟﺰﻋﻔﺮان‬ ‫أﺳﻔﻞ اﻷذن‪ .‬وﰲ اﺣﺘﻔﺎﻻت اﻟﺪوﻟﺔ ﺑﺎﻟﻴﻮم‬ ‫اﻟﻮﻃﻨﻲ‪ ،‬ﻻ ﺗﺰال ﻣﺪارس ﻛﺜرية ﺗﺤﺎﻓﻆ ﻋﲆ‬ ‫ﻫﺬا اﻟﻔﻦ‪ ،‬ﻋﱪ ّ‬ ‫ﺣﺚ اﻟﻄﺎﻟﺒﺎت ﻋﲆ ارﺗﺪاء‬

‫اﻟــﺰي اﻹﻣــﺎرايت اﻟﻘﺪﻳﻢ‪ ،‬وﻣامرﺳﺔ اﻟﻔﻨﻮن‬ ‫اﻟﺘﻘﻠﻴﺪﻳﺔ‪.‬‬ ‫‪ǳǾŭŌƉũ ŋōǿƊŐ‬‬

‫ﺧﻼل اﺣﺘﻔﺎﻻت اﻹﻣــﺎرات ﺑﺎﻟﻴﻮم اﻟﻮﻃﻨﻲ‪،‬‬ ‫ﻳﻈﻬﺮ اﻻﻫــﺘــامم اﻟﻜﺒري ﺑــﺎﻷزﻳــﺎء اﻟﱰاﺛﻴﺔ‬ ‫ﺑﺎﻋﺘﺒﺎرﻫﺎ ﻋﻨﻮان اﻟﻬﻮﻳﺔ اﻟﻮﻃﻨﻴﺔ‪ ،‬ﺣﻴﺚ ﺗﻌﺘﺰ‬ ‫اﻹﻣــﺎرات ﺑﺈرﺛﻬﺎ‪ ،‬ﻣام ﻳﺸﻜﻞ ﻫﺬا اﻻﻋﺘﺰاز‬ ‫ﺑﺎﻟﻔﺨﺮ ﺑﺎﻋﺘﺒﺎره ﻣﻮروﺛﺎً ﺛﻘﺎﻓﻴﺎً واﺟﺘامﻋﻴﺎً‬ ‫ﻏﺮﺳﻪ اﻷﺟــﺪاد ﰲ اﻷﺑــﻨــﺎء‪ ،‬ﻷﻧــﻪ ﺟــﺰء ﻣﻦ‬ ‫ﺗﺮاث اﻟﺪوﻟﺔ وﻋﺎداﺗﻬﺎ وﺗﻘﺎﻟﻴﺪﻫﺎ اﻟﺠﻤﻴﻠﺔ‪.‬‬ ‫ورﻏﻢ ﺧﻄﻮط اﳌﻮﺿﺔ واﻟﺤﺪاﺛﺔ ﻣﺎ زاﻟﺖ‬ ‫اﳌﺮأة اﻹﻣﺎراﺗﻴﺔ ﻣﺘﻤﺴﻜﺔ ﺑﺰﻳﻬﺎ اﻟﱰايث واﻟﺘﻲ‬ ‫ﺣﺎﻓﻈﺖ ﻋﻠﻴﻪ ﻣﻦ اﻻﻧﺪﺛﺎر‪ ،‬ومل ﺗﻠﺤﻖ رﻛﺐ‬ ‫اﻟﺘﻐري واﻟﺤﺪاﺛﺔ‪ ،‬ﻓﻘﺪميﺎً ﻛﺎﻧﺖ ﺗﺤﻴﻚ ﻣﻼﺑﺴﻬﺎ‬ ‫ﺑﻴﺪﻫﺎ وﺗﺨﺘﺎر زﻳﻬﺎ ﺑﻨﻔﺴﻬﺎ‪ ،‬وﻣﻊ ﻣﺮور‬ ‫اﻟﺴﻨني ﻣﺎ زاﻟﺖ ﺗﻌﺸﻖ زﻳﻬﺎ اﻟﱰايث اﻟﺬي‬ ‫ﻳﺘﻤﻴﺰ ﺑﺎﻟﺒﺴﺎﻃﺔ واﻟﺠامﻟﻴﺔ اﻟﻔﺮﻳﺪة‪ ،‬وروﻋﺔ‬

‫اﻟﺬوق واﻟﺘﻨﺎﺳﻖ ﰲ اﻷﻟﻮان‪.‬‬ ‫ومل ﻳﻘﺘﴫ ﺗﻮﺛﻴﻖ زي اﳌﺮأة اﻹﻣﺎراﺗﻴﺔ اﻟﺘﻘﻠﻴﺪي‬ ‫ﻋﲆ اﻟﻜﺘﺐ‪ ،‬وإمنﺎ اﺷﺘﻤﻞ اﳌﺘﺎﺣﻒ اﳌﻨﺘﴩة‬ ‫ﰲ أرﺟﺎء اﻟﺪوﻟﺔ‪ ،‬واﻟﺘﻲ أوﻟﺖ اﻫﺘامﻣﺎً ﻛﺒرياً‬ ‫ﺑﺬﻟﻚ اﻷﻣﺮ‪ ،‬ﻓﻼ ﻳﻜﺎد أي ﻣﺘﺤﻒ ﻣﺘﺨﺼﺺ‬ ‫ﺑﺘﻮﺛﻴﻖ اﻟﺤﻴﺎة ﰲ اﻹﻣﺎرات‪ ،‬أن ﻳﺨﻠﻮ ﻣﻦ رﻛﻦ‬ ‫ﻳﻌﻜﺲ ﻃﺒﻴﻌﺔ ﻣﻀﻤﻮن وﺳامت أزﻳﺎء اﳌﺮأة‬ ‫اﻹﻣﺎراﺗﻴﺔ واﻟﺮﺟﻞ اﻹﻣﺎرايت وﻃﺮﻳﻘﺔ ﺣﻴﺎﻛﺘﻬﺎ‬ ‫وأﻧﻮاﻋﻬﺎ‪ ،‬ﺣﻴﺚ ﺗﻌﺮض ﺑﺸﻜﻞ ﺟﻤﻴﻞ ﻗﺎدر‬ ‫ﻋﲆ إﻳﺼﺎل اﻟﺮﺳﺎﻟﺔ إﱃ زاﺋﺮ اﳌﺘﺤﻒ‪ ،‬ﻏري ذﻟﻚ‬ ‫ﺗﺘﻀﻤﻦ اﳌﺘﺎﺣﻒ ﻣﻌﻠﻮﻣﺎت ﻛﺎﻓﻴﺔ وواﻓﻴﺔ ﻋﻦ‬ ‫اﻟﺰي اﻟﱰايث ﻟﻠﺮﺟﻞ واﳌﺮأة ﰲ اﻹﻣﺎرات‪.‬‬ ‫وأﻫــﻢ ﻣﺎ ميﻴﺰ اﻷزﻳــﺎء اﻟﱰاﺛﻴﺔ اﻹﻣﺎراﺗﻴﺔ‪،‬‬ ‫ارﺗﺒﺎﻃﻬﺎ ﺑﺒﻴﺌﺘﻬﺎ اﳌﺤﻴﻄﺔ‪ ،‬ومتﺎﺷﻴﻬﺎ ﻣﻊ‬ ‫اﻟﻌﺎدات واﻟﺘﻘﺎﻟﻴﺪ‪ ،‬وﻗﺪ اﻧﻌﻜﺲ ذﻟﻚ ﻋﲆ‬ ‫ﺷﻜﻞ وﻟــﻮن وﻃﺒﻴﻌﺔ ﻫﺬه اﻷزﻳــﺎء‪ ،‬ﺣﻴﺚ‬ ‫اﺗﺴﻤﺖ ﺑﺄﻟﻮاﻧﻬﺎ اﻟﺠﻤﻴﻠﺔ اﻟﺘﻲ ﺗﻼﺋﻢ ﻣﺨﺘﻠﻒ‬ ‫اﻷذواق‪.‬‬

‫اﻟﺸﻌﺮ ‪baytelshear‬‬ ‫ﺑﻴﺖ ِ‬

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‫‪şĺĘŖŒ ŗŕ‬‬ ‫ﻣﺮﺗﺤﻠني ﻣﻦ ﻣﻜﺎن إﱃ آﺧﺮ‪ ،‬أو ﻣﺴﺎﻓﺮﻳﻦ‬ ‫ﰲ رﺣﻠﺔ ﺗﺠﺎرة‪ ،‬ﺑﻴﻨام اﻟﻨﻮق ﺗﺨﺐ أو ﺗﻬﺮول‬ ‫وﻫﺬه ﺗﺴﻤﻰ ﺑﺘﻐﺮودة اﻟﺒﻮش ﺣﻴﺚ اﻟﺼﻮرة‬ ‫اﻟﻨﻔﺴﻴﺔ ﻟﻠﻐﻨﺎء اﻟﺠامﻋﻲ ﺛﺎﺑﺘﺔ وﻻ ﺗﺘﻐري‬ ‫ﺑﺘﻐﻴري اﳌﻜﺎن‪ ،‬وﺗﺘﻤﻴﺰ ﺑﺎﺳﺘﻄﺎﻟﺔ ﺣﺮوف‬ ‫اﳌﺪ ﰲ ﻣﻮﺟﺔ ﻧﻐﻤﻴﺔ ﻣﺘﻤﻴﺰة ﻫﻲ اﻟﺼﻮرة‬ ‫اﳌﺴﻤﻮﻋﺔ ﻟﺤﺮﻛﺔ ﺳري اﻟﺮﻛﺎب‪.‬‬ ‫وﻫﺎك أﻳﻀﺎً »ﺗﻐﺮودة« ﺗﺆدى ﻋﲆ ﻇﻬﻮر‬ ‫اﻟﺨﻴﻞ وﺗﺴﻤﻰ ﺑﺘﻐﺮودة اﻟﺨﻴﻞ ووﻇﻴﻔﺘﻬﺎ‬ ‫اﻷﺳﺎﺳﻴﺔ ﻫﻲ ﺣﺚ اﻟﺨﻴﻞ ﻋﲆ اﻹﴎاع‬ ‫وﺗﺤﻤﻴﺲ راﻛﺒﻴﻬﺎ ﻣﻦ اﻟﻔﺮﺳﺎن وﺗﺰﺧﺮ‬ ‫»ﺷــﻼت« ﺗﻐﺮودة اﻟﺨﻴﻞ مبﻌﺎين اﻟﺸﺠﺎﻋﺔ‬ ‫واﻹﻗﺪام واﻟﺸﻬﺎﻣﺔ‪.‬‬ ‫‪ǳǾǔŞŵ ǚǷǜƳ‬‬

‫ﺗﻌﺘﱪ اﻟﻔﻨﻮن اﻟﺠﺒﻠﻴﺔ ﻣﻦ اﻟﻔﻨﻮن اﻟﻘﺪميﺔ‪،‬‬ ‫ومتــﺎرس ﻋﲆ إﻳﻘﺎع ﻧﺸﻴﺪ ﻳﺘﻀﻤﻦ اﻟﻐﺰل‬ ‫واﳌــﺪح‪ ،‬وﺗﺘﻜﻮن اﻟﻔﺮﻗﺔ ﻣﻦ اﻟﺮﺋﻴﺲ أو‬ ‫»اﻷﺑــﻮ« وﻋــﺪد ﻣﻦ اﻟﺮﺟﺎل اﻟﺬﻳﻦ ﻳﻘﺪر‬ ‫ﻋﺪدﻫﻢ ﺑﺨﻤﺴني رﺟ ًﻼ أو أﻛرث‪ ،‬وﻳﺄيت ﻫﺬا‬ ‫اﻟﻔﻦ ﺑﻌﺪ اﻻﻧﺘﻬﺎء ﻣﻦ ﻓﻦ »اﻟﻌﻴﺎﻟﺔ« ﺣﻴﺚ‬ ‫ﻳﺠﻠﺲ اﳌﻨﺸﺪون ﻟﺘﺄدﻳﺔ ﻫﺬا اﻟﻔﻦ‪.‬‬ ‫أﻣﺎ »رزﻳﻒ اﻟﺸﺤﻮح«‪ ،‬ﻓﻬﻮ ﻓﻦ ﺗﻨﻔﺮد ﺑﻪ ﻣﻦ‬ ‫ﻏريﻫﺎ ﻣﻦ دول اﳌﻨﻄﻘﺔ إﻣﺎرة رأس اﻟﺨﻴﻤﺔ‪،‬‬ ‫ﺣﻴﺚ ﻳﺆدﻳﻪ أﺑﻨﺎء ﻗﺒﻴﻠﺔ اﻟﺸﺤﻮح‪ ،‬وﺗﺘﻜﻮن‬ ‫اﻟﻔﺮﻗﺔ اﻟﺘﻲ ﺗــﺆدي ﻫــﺬا اﻟﻔﻦ ﻣﻦ ﺳﺘني‬ ‫إﱃ ﺳﺒﻌني رﺟـ ًـﻼ ﻳﻜ ّﻮﻧﻮن ﺻﻔني ﻣﺘﻘﺎﺑﻠني‬ ‫وﻳﺘﻮﺳﻄﻬﻢ ﺣﺎﻣﻠﻮ اﻟﻄﺒﻮل‪ ،‬وﻋﺪدﻫﻢ ﻳﱰاوح‬ ‫ﺑني ﺧﻤﺴﺔ إﱃ مثﺎﻧﻴﺔ‪ ،‬وﻳﺸﺎرك ﻋﺪد ﻣﻦ‬ ‫ﻻﻋﺒﻲ اﻟﺴﻴﻮف واﻟﺒﻨﺎدق ﺿﻤﻦ اﻟﺮﻗﺼﺔ‪،‬‬ ‫وﻳﺮدد اﻟﺠﻤﻴﻊ اﻷﻧﺎﺷﻴﺪ اﻟﺤﺮﺑﻴﺔ واﻟﺤامﺳﻴﺔ‬ ‫واﻟﻌﺎﻃﻔﻴﺔ‪.‬‬ ‫‪ǳƟƉƪǕŌ‬‬

‫اﻟﻌﺮﺿﺔ »ﻛﺎﻟﻌﻴﺎﻟﺔ«‪ ،‬ﻓﻬﻲ ﺗﺤﺎﻛﻴﻬﺎ إﱃ ﺣﺪ‬ ‫ﻛﺒري‪ ،‬إﻻ أن آﻻﺗﻬﺎ وإﻳﻘﺎﻋﺎﺗﻬﺎ ﺗﺨﺘﻠﻒ ﻋﻦ آﻻت‬ ‫وإﻳﻘﺎﻋﺎت »اﻟﻌﻴﺎﻟﺔ«‪ ،‬وﺗﺆدّى اﻟﻌﺮﺿﺔ »ﻋﻨﺪ‬ ‫اﻟﺤﴬ ﻓﻘﻂ‪ ،‬وﻟﻜﻨﻬﺎ ﺗﺆدى ﰲ ﻧﻔﺲ اﳌﻨﺎﺳﺒﺎت‬ ‫اﻟﺘﻲ ﺗ ّﺆدى ﻓﻴﻬﺎ »اﻟﻌﻴﺎﻟﺔ«‪ ،‬وﻫﻲ ﻣﺸﺎﺑﻬﺔ‬

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‫اﻟﻌﺪد ‪ ، 73‬دﻳﺴﻤﺒﺮ ‪2018‬‬

‫ﻣﻦ ﺣﻴﺚ ﻧﻈﺎم اﻹﻧﺸﺎد ووﻗﻮف اﳌﻨﺸﺪﻳﻦ‬ ‫ﰲ ﺻﻔني‪ ،‬وﻧﻈﺎم دﺧﻮل ﺣﻤﻠﺔ اﻟﺴﻴﻮف إﻻ‬ ‫أن أﻟﺤﺎﻧﻬﺎ ﺗﺆدى ﺛﻼﺛﻴﺔ اﻹﻳﻘﺎع واﳌﻤﻴﺰات‪،‬‬ ‫وﻫﻨﺎك آﻻت ﺧﺎﺻﺔ ﺗﺼﺎﺣﺐ اﻹﻧﺸﺎد ﰲ‬ ‫اﻟﻌﺮﺿﺔ وﺗﺸﻤﻞ »اﻟﻜﺎﴎ‪ ،‬اﻟﺮﺣامين‪ ،‬اﻟﺪﻓﻮف‪،‬‬ ‫اﻟﻄﺎرات‪ ،‬واﻵﻻت اﻟﻨﺤﺎﺳﻴﺔ«‪ .‬واﻟﻜﺎﴎ ﻳﺸﺒﻪ‬ ‫اﻟﺪف إﱃ ﺣﺪ ﺑﻌﻴﺪ‪ ،‬إﻻ أﻧﻪ ﻣﻐﻄﻰ ﺑﺮﻗﻌﺔ ﻣﻦ‬ ‫اﻟﺠﻠﺪ ﻋﲆ ﺟﺎﻧﺒﻴﻪ‪ ،‬وﻳﺴﺘﺨﺪم اﻟﻌﺎزف ﻋﺼﺎ‬ ‫ﻗﺼرية ﻟﻴﺪق ﺑﻬﺎ ﻋﲆ ﺟﺎﻧﺒﻪ اﻷميﻦ‪ ،‬ﻛام أن‬ ‫دوره أﺛﻨﺎء اﻹﻧﺸﺎد ﻻ ﻳﺨﺮج ﻋﻦ دور ﻋﺎزف‬ ‫اﻟﻄﺒﻞ – اﻟﺮأس ﰲ ﻋﺮوض اﻟﻌﻴﺎﻟﺔ‪ ،‬ﺣﻴﺚ‬ ‫ﻣﻌني‬ ‫ﻳﻌﻔﻲ ﻧﻔﺴﻪ ﻣﻦ اﻻﻟﺘﺰام ﺑﻌﺰف إﻳﻘﺎع ّ‬ ‫ﻃﻮال اﻟﻮﻗﺖ‪.‬‬ ‫وﻳﺘﻨﻮع اﻹﻳﻘﺎع اﻟﺬي ﻳﺆدﻳﻪ ﻋﺎزف اﻟﻜﺎﴎ‬ ‫ﺑني وﻗﺖ وآﺧﺮ‪ .‬أﻣﺎ »اﻟﺮﺣامين« ﻓﻬﻲ ﻃﺒﻮل‬ ‫ﻛﺒرية اﻟﺤﺠﻢ أﺳﻄﻮاﻧﻴﺔ اﻟﺸﻜﻞ ﻳﻐﻄﻴﻬﺎ ﺟﻠﺪ‬ ‫اﻟﺒﻘﺮ أو اﻟﺜﻮر ﻣﻦ اﻟﺠﺎﻧﺒني‪ ،‬وﻳﺘﺤﻜﻢ اﻟﻌﺎزف‬

‫ﰲ ﺷﺪﻫﺎ‪ ،‬ﺑﺎﺳﺘﺨﺪام ﺣﺒﺎل ﺷﺪ ﻣﺘﻴﻨﺔ ﻋﲆ‬ ‫اﻟﺠﺎﻧﺒني ﰲ وﻗﺖ واﺣﺪ‪ ،‬وﻳﺴﺘﺨﺪم اﻟﻌﺎزف‬ ‫ﻳﺪه اﻟﻴﻤﻨﻰ ﻣﺒﺎﴍة ﻟﻠﺪق ﻋﲆ ﺟﺎﻧﺒﻬﺎ اﻷميﻦ‪.‬‬ ‫أﻣﺎ اﻟﻄﺎرات واﻟﻄﻮس ﻓﻬﻲ ﻧﻔﺲ اﻵﻻت‬ ‫اﳌﺴﺘﺨﺪﻣﺔ ﰲ »اﻟﻌﻴﺎﻟﺔ« وﻫﻲ ﺗﺼﺎﺣﺐ‬ ‫اﻹﻧﺸﺎد ﰲ اﻟﻌﺮﺿﺔ ﺑﺈﻳﻘﺎع واﺣﺪ ﻻ ﻳﺘﻐري‪.‬‬ ‫}‪ mŦōƗōƪǜǕŌ‬‬

‫اﻟﻨﻌﺎﺷﺎت‪ ،‬ﻣﻦ اﻟﻔﻨﻮن اﻟﺸﻌﺒﻴﺔ اﻟﺘﻲ متﻴﻞ إﱃ‬ ‫اﻻﻧﻘﺮاض ﻧﺴﺒﻴﺎً‪ ،‬ﺑﻌﺪ أن ﻇﻠﺖ ﻣﻠﻤﺤﺎً ﺗﺮاﺛﻴﺎً‬ ‫ﺟﻤﻴ ًﻼ ﰲ اﳌﺎﴈ‪ ،‬ﻋﱪ اﺻﻄﻔﺎف ﻣﺠﻤﻮﻋﺔ‬ ‫ﻣﻦ اﻟﻔﺘﻴﺎت‪ ،‬واﻟﺘامﻳﻞ ﺑﺎﻟﺮأس ميﻴﻨﺎً وﻳﺴﺎراً‬ ‫ﺑﺎﻧﺴﺠﺎم‪ ،‬وﺗﺤﺮص ﻛﻞ ﻓﺘﺎة »ﻧﻌﺎﺷﺔ« ﻋﲆ‬ ‫ارﺗﺪاء اﻟﺜﻮب اﳌﺤﲇ ذي اﻷﻟﻮان اﳌﺰرﻛﺸﺔ‪،‬‬ ‫وأﺷﻜﺎل أﺧﺮى ﻣﻦ اﻟﺬﻫﺐ اﻟﺘﻘﻠﻴﺪي‪ ،‬وﺗﺘﻤﻴﺰ‬ ‫»اﻟﻨﻌﺎﺷﺎت« ﺑﻄﻮل اﻟﺸﻌﺮ ﺑﺎﻋﺘﺒﺎره ﻋﻨﴫاً‬ ‫ﻣﻬ ًام ﰲ أداء ﻫﺬا اﻟﻔﻦ‪ ،‬إذ ﺗﻐﻄﻲ اﻟﻔﺘﻴﺎت‬

‫ﰲ اﻻﺗﺠﺎه اﳌﻌﺎﻛﺲ‪ ،‬وﺗﺘﻀﻤﻦ »اﻟﻌﻴﺎﻟﺔ« ﻓﻨﻮﻧﺎً‬ ‫ﺣﺮﻛﻴﺔ وﻏﻨﺎﺋﻴﺔ ﻣﺘﻨﻮﻋﺔ ﻓﻌﺪا اﻟﻌﺰف واﻟﺮﻗﺺ‬ ‫اﳌﺼﺎﺣﺐ ﻟﻠﻐﻨﺎء اﻟﺠامﻋﻲ ﻫﻨﺎك إﻃﻼق‬ ‫اﻷﻋرية اﻟﻨﺎرﻳﺔ واﻟﺘﻠﻮﻳﺢ ﺑﺎﻟﺴﻴﻮف اﻟﻼﻣﻌﺔ‬ ‫واﻟﺨﻨﺎﺟﺮ اﳌﻌﻘﻮﻓﺔ‪ ،‬وﻛﻞ ذﻟﻚ ﰲ ﻋﺮض‬ ‫ﺑﺪﻳﻊ ﻟﻠﻘﻮة واﻟﺮﺟﻮﻟﺔ واﻟﻔﺮوﺳﻴﺔ‪ ،‬ﺗﻠﻚ اﻟﻘﻴﻢ‬ ‫اﳌﺴﺘﻤﺪة ﻣﻦ ﺣﻴﺎة اﻟﺒﺪاوة واﻟﺼﺤﺮاء‪.‬‬ ‫‪mǳƳƊƉǕŌ} ǛƳ‬‬

‫ﻛام ﺗﺘﻀﻤﻦ اﻻﺣﺘﻔﺎﻻت ﰲ ﻫﺬا اﻟﻴﻮم ﻓﻦ‬ ‫»اﻟﺮزﻓﺔ«‪ ،‬وﻫﻮ ﻣﻦ أﺑﺮز وأﻫﻢ اﻟﻔﻨﻮن ﰲ‬ ‫اﻟﺨﻠﻴﺞ اﻟﻌﺮيب وﻳﻨﺒﻊ ﻣﻦ أﺻﺎﻟﺔ اﻹﻧﺴﺎن‬ ‫اﻟﺨﻠﻴﺠﻲ وﺗﺎرﻳﺨﻪ‪ ،‬وﻫﻮ ﻳﻌﺘﱪ ﻣﻦ ﻓﻨﻮن‬ ‫اﻟﺒﺎدﻳﺔ‪ ،‬وﻳﺆدى ﻫﺬا اﻟﻔﻦ ﰲ أﻋﺮاس اﻟﺒﺪو‪،‬‬ ‫وﻏريﻫﺎ ﻣﻦ اﳌﻨﺎﺳﺒﺎت‪ .‬وﻣﻦ ﻣﻤﻴﺰات ﻫﺬا‬ ‫اﻟﻔﻦ أﻧﻪ ﻻ ﻳﺼﺎﺣﺒﻪ أي ﻟﺤﻦ ﻣﻮﺳﻴﻘﻲ‪،‬‬ ‫ﺑﻞ ﻫﻮ »رزﻳﻒ«‪ ،‬أي ﻳﺮزﻓﻪ اﳌﺆدون ﺑﺪون‬ ‫إﻳﻘﺎﻋﺎت أو آﻻت ﻣﺼﺎﺣﺒﺔ‪ ،‬وﺗﻘﱰب ﻟﻐﺔ‬ ‫اﻟﺮزﻳﻒ وﻫﺰﺟﻪ ﻣﻦ اﻟﻔﺼﻴﺢ‪ ،‬وﻫﺬا اﻟﻔﻦ‬ ‫ﻣﻦ اﻟﻔﻨﻮن اﻟﺠامﻋﻴﺔ اﻟﺘﻲ ﺗﺆدى ﺑﻄﺮﻳﻘﺔ‬ ‫ﺣامﺳﻴﺔ‪ ،‬وﻳﻐﻠﺐ ﻋﲆ أداء ﻫﺬه اﻟﺮﻗﺼﺔ‬ ‫اﻷداء اﻟﺠامﻋﻲ‪ ،‬وﺗﺮدد ﰲ اﻟﺮزﻳﻒ ﻗﺼﺎﺋﺪ‬ ‫اﻟﻔﺨﺮ واﻟﻨﺨﻮة‪ ،‬وﺑﻌﻀﻬﺎ ﻳﺤﺘﻮي ﻋﲆ أﻏﺎين‬ ‫اﻟﺤﺐ‬ ‫}‪mǳǕǷǾǕŌ‬‬

‫أﻣﺎ »اﻟﻴﻮﻟﺔ« ﻓﻬﻲ ﺗﺴﺘﻬﻮي ﺟﻴ ًﻼ ﻣﻦ اﻟﺼﻐﺎر‬ ‫واﻟﺸﺒﺎب ﰲ اﻹﻣﺎرات‪ ،‬واﺷﺘﻘﺖ ﻣﻦ اﻟﺮﻗﺼﺔ‬ ‫اﻟﱰاﺛﻴﺔ اﻟﻘﺪميﺔ اﻟﺘﻲ ﺗﺴﻤﻰ »اﻟﻌﻴﺎﻟﺔ«‪،‬‬ ‫واﻟﺘﻲ ﻛﺎﻧﺖ ﺗﺪل ﻋﲆ اﻟﺸﺠﺎﻋﺔ واﻟﻔﺮوﺳﻴﺔ‬ ‫واﺳﺘﻌﺮاض اﻟﻘﻮة‪ ،‬وﻗﺪ ﻗﺎم ﺟﻴﻞ ﻣﻦ اﻟﺸﺒﺎب‬ ‫ﻣﻦ اﻟﺬﻳﻦ أﺣﺒﻮا ﻣامرﺳﺔ اﻟﻴﻮﻟﺔ ﻋﲆ ﺗﺤﺪﻳﺜﻬﺎ‬ ‫ﻟﺘﺼﺒﺢ رﻗﺼﺔ اﺳﺘﻌﺮاﺿﻴﺔ متﺎرس مبﺮاﻓﻘﺔ‬ ‫ﺑﻨﺪﻗﻴﺔ ﻋﲆ أﻧﻐﺎم اﳌﻮﺳﻴﻘﻰ واﻹﻳﻘﺎﻋﺎت‬ ‫اﻟﺤﺪﻳﺜﺔ واﻷﻏــﺎين اﻟﺤامﺳﻴﺔ‪ .‬وﻳﺤﻈﻰ ﻓﻦ‬ ‫اﻟﻴﻮﻟﺔ اﻟﺬي ميﺜﻞ ﻟﻮﻧﺎً ﺷﻌﺒﻴﺎً ﻟﺤﻴﺎة اﻟﺒﺪو‬ ‫اﻷﺻﻴﻠﺔ ﺑﺎﻫﺘامم ﻛﺒري ﻣﻦ ﻗﺒﻞ ﺟﻤﻴﻊ ﻓﺌﺎت‬ ‫اﳌﺠﺘﻤﻊ اﻹﻣﺎرايت ﺣﻴﺚ ﻳﻈﻬﺮ ﻓﻴﻬﺎ اﳌﺘﺴﺎﺑﻖ‬ ‫إﺑﺪاﻋﺎﺗﻪ وﻣﻬﺎراﺗﻪ ﰲ ﺣﻤﻞ اﻟﺴﻼح ورﻣﻴﻪ‬

‫واﻟﺘﻘﺎﻃﻪ وأداء ﺣﺮﻛﺎت ﻓﻠﻜﻠﻮرﻳﺔ ﺟﻤﻴﻠﺔ اﻟﺒﻨﺎدق ﻣﻦ ﺧﻠﻔﻪ ﻋﺒﺎرات ﺧﺎﺻﺔ أو ﺟﻤ ًﻼ‬ ‫وﺷﻴﻘﺔ‪.‬‬ ‫ﺷﻌﺮﻳﺔ ﻣﻌﺮوﻓﺔ‪ ،‬وذﻟﻚ ﺑﻌﺪ ﻛﻞ ﺑﻴﺘني ﻣﻦ‬ ‫أﺑﻴﺎت اﻟﻘﺼﻴﺪة‪ ،‬وﻳﺘﻤﻴﺰ »اﻟﻌﺎزي« ﺑﺄن ﻛﻞ‬ ‫‪mǼƊōƪǕŌ} ǛƳ‬‬ ‫ﻣﻘﻄﻊ ﻣﻦ ﻣﻘﺎﻃﻌﻪ ﻳﺆدى ﺑﺄﻧﻐﺎم ﻣﺨﺘﻠﻔﺔ‬ ‫وﻫﻮ اﺣﺘﻔﺎل أو ﻏﻨﺎء ﻳﻘﺎم ﰲ ﻧﻬﺎﻳﺔ اﻟﻌﺮس واﻟﻌﺎزي ﻣﻦ »اﻟﻌﺰوة« أي اﻟﻌﺰة واﻟﻘﻮة‬ ‫اﻟﺒﺪوي أو ﻧﻪ ﻳﺮﻣﺰ إﱃ ﻧﻬﺎﻳﺔ اﻟﻌﺮس‪ ،‬وﺑﻌﺪ واﻟﻐﻠﺒﺔ واﳌﻨﻌﺔ‪.‬‬ ‫أن ﺗﻜﻒ اﻟﻄﺒﻮل ﻋﻦ اﻟﻘﺮع وﻳﺴﻜﺖ اﻟﻘﻮم‬ ‫ﻋﻦ اﻟﻐﻨﺎء وﻳﺘﻮﻗﻒ إﻃﻼق اﻷﻋرية اﻟﻨﺎرﻳﺔ‬ ‫‪mǲƂǶƉƮŨǕŌ} ǛƳ‬‬ ‫ﰲ اﻟﻔﻀﺎء‪ ،‬ﻳﺠﺘﻤﻊ اﳌﺤﺘﻔﻠﻮن ﻋﲆ ﺷﻜﻞ‬ ‫داﺋــﺮة ﻳﺘﻮﺳﻄﻬﺎ »اﻟــﻌــﺎزي«‪ ،‬وﻫﻮ اﻟﺸﺎﻋﺮ ﺗﻌﺘﱪ اﻟﺘﻐﺮودة‪ ،‬ﻣﻦ اﻟﻔﻨﻮن اﻟﺸﻌﺒﻴﺔ اﻷﺻﻴﻠﺔ‪،‬‬ ‫اﻟﺬي ميﺘﺎز ﺑﺠامل اﻟﺼﻮت‪ ،‬وﻗﻮة اﻟﺤﺠﺔ ﻓﻬﺬا اﻟﻔﻦ ﻳﺤﻮي ﻗﺼﺎﺋﺪ ﻣﻐﻨﺎة ﻳﱰﻧﻢ ﺑﻬﺎ‬ ‫وﻫﻮ ﻳﺤﻤﻞ ﺑﻴﺪﻳﻪ ﺳﻴﻔﺎً وﺗﺮﺳﺎً وﻳﺘﺒﻌﻪ ﻧﻔﺮ اﻟﻔﺮد وﻳﺤﺎول اﳌﻨﺸﺪ ﻓﻴﻬﺎ أن ﻳﺮﻓﻊ ﺻﻮﺗﻪ‬ ‫ﻣﻦ اﻟﺮﺟﺎل اﻟﺬﻳﻦ ﻳﺤﻤﻠﻮن اﻟﺒﻨﺎدق ﺑﺄﻳﺪﻳﻬﻢ‪ ،‬وﻳﻄﺮب ﻋﲆ ﺗﻐﺮﻳﺪه اﻟﻌﺬب ﺑﻨﻔﺴﻪ وﻣﻌﻪ‬ ‫واﻟﻜﻞ ﻳﺪورون داﺧﻞ اﻟﺪاﺋﺮة‪ ،‬ﺑﻴﻨام ﻳﻠﻘﻲ ﻣﺠﻤﻮﻋﺔ ﻣﻦ اﳌﺴﺘﻤﻌني‪ ،‬وﻳﻨﺸﺪ اﻟﻘﻮم‬ ‫اﻟﺸﺎﻋﺮ ﻗﺼﺎﺋﺪ اﻟﻔﺨﺮ واﻟﺤامﺳﺔ وﻳﺮدد ﺣﻤﻠﺔ أﻏﺎين »اﻟﺘﻐﺮودة« وﻫﻢ ﻋﲆ ﻇﻬﻮر اﻟﻬﺠﻦ‬ ‫اﻟﺸﻌﺮ ‪baytelshear‬‬ ‫ﺑﻴﺖ ِ‬

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‫‪şĺĘŖŒ ŗŕ‬‬

‫ﻓﻨﻮن ﺷﻌﺒﻴﺔ وﺗﺮاﺛﻴﺔ‪..‬‬ ‫ﺗﺘﻐﻨﻰ ﺑﺎﻟﻴﻮم اﻟﻮﻃﻨﻲ‬ ‫ﻣﺤﻤﺪ ﺳﻠﻄﺎن‬ ‫اﻹﻣﺎرايت‪ ،‬واﻟﺬي إذا أراد ﺷﻴﺌﺎً‪ ،‬ﻟﻦ ﻳﻮﻗﻔﻪ أي‬ ‫ﻣﻊ اﺣﺘﻔﺎﻻت دوﻟﺔ اﻹﻣﺎرات اﻟﻌﺮﺑﻴﺔ اﳌﺘﺤﺪة ﻣﺴﺘﺤﻴﻞ‪..‬‬ ‫ﺑﺎﻟﻴﻮم اﻟﻮﻃﻨﻲ اﻟـــ‪ ،47‬ﺗﻄﻔﻮ ﻋﲆ اﻟﺴﻄﺢ‬ ‫اﻟﻔﻨﻮن اﻟﺸﻌﺒﻴﺔ اﻟﺘﻲ ﺗﻌﱪ ﻋﻦ أﺻﺎﻟﺔ اﳌﺎﴈ‪mǳǕōǾƪǕŌ} ǛƳ ،‬‬ ‫وﻋﺮاﻗﺔ اﳌﻮروث‪ ،‬وﻫﻮﻳﺔ اﻟﻮﻃﻦ اﻟﺘﻲ ﺗﺘﻤﺴﻚ ﰲ ﻫﺬا اﻟﻴﻮم ﻳﺒﺘﻬﺞ ﺳﻜﺎن اﻹﻣــﺎرات ﻣﻦ‬ ‫ﺑﻬﺎ اﻷﺟﻴﺎل ﺟﻴ ًﻼ ﺑﻌﺪ ﺟﻴﻞ‪ ،‬ﻓﻴﻮم اﻟﺜﺎين ﻣﻦ ﻣﻮاﻃﻨني وﻣﻘﻴﻤني ﺑﺄﻟﻮان ﻋﺪة ﻣﻦ اﻟﻔﻨﻮن‬ ‫دﻳﺴﻤﱪ ﻫﻮ اﻟﻴﻮم اﻟﺬي ﺷﻬﺪ ﻗﻴﺎم اﻻﺗﺤﺎد‪ ،‬اﻟﺸﻌﺒﻴﺔ وﻣﻨﻬﺎ »اﻟﻌﻴﺎﻟﺔ«‪ ،‬ﻫﺬا اﻟﻔﻦ اﻟﻌﺮيب‬ ‫ﻋﲆ ﻳﺪ ﺑﺎﻧﻴﻪ وﻣﺆﺳﺴﻪ اﳌﻐﻔﻮر ﻟﻪ اﻟﺸﻴﺦ اﻷﺻﻴﻞ واﻟﻌﺮﻳﻖ‪ ،‬واﻟﻌﻴﺎﻟﺔ ﻋﺒﺎرة ﻋﻦ ﻓﻦ‬ ‫زاﻳﺪ ﺑﻦ ﺳﻠﻄﺎن آل ﻧﻬﻴﺎن‪ ،‬ﻃﻴﺐ اﻟﻠﻪ ﺛﺮاه‪ ،‬ﺟامﻋﻲ ﻳﺘﻀﻤﻦ رﻗﺼﺎً وﻏﻨﺎء ﺟامﻋﻴﺎً‪ ،‬وﺗﺆدّى‬ ‫واﻟﺬي أﺧﺬ ﻋﲆ ﻋﺎﺗﻘﻪ ﺑﻨﺎء دوﻟﺔ ﺗﺄﺳﺴﺖ ﰲ ﻛﻞ اﳌﻨﺎﺳﺒﺎت اﻻﺟﺘامﻋﻴﺔ واﻟﻮﻃﻨﻴﺔ‪،‬‬ ‫ﻋﲆ اﻟﻘﻴﻢ واﳌﺂﺛﺮ‪ ،‬ﻟﺘﺒﺪأ أوﱃ ﺧﻄﻮاﺗﻬﺎ ﻧﺤﻮ ﺑﺎﻋﺘﺒﺎرﻫﺎ اﻟﻔﻦ اﻷﻛــرث ﺗﺠﺴﻴﺪاً ﻟﺘﺎرﻳﺦ‬ ‫اﻟﻨﻬﻀﺔ واﻟﺘﻄﻮر‪ ،‬ﻋﲆ اﳌﺴﺘﻮﻳﺎت ﻛﺎﻓﺔ‪ ،‬وﺧﺼﺎﺋﺺ اﻟﺪوﻟﺔ‪ .‬و»اﻟﻌﻴﺎﻟﺔ« ﻫﻲ رﻗﺼﺔ‬ ‫ﻟﺘﺘﺒﻮأ ﻣﻜﺎﻧﺔ ﻣﺮﻣﻮﻗﺔ ﺑني دول اﻟﻌﺎمل ﺧﻼل اﻟﺤﺮب اﻟﻌﺮﺑﻴﺔ أو ﺑﺘﻌﺒري أﺻﺢ رﻗﺼﺔ اﻻﻧﺘﺼﺎر‬ ‫ﻋﻘﻮد ﻣﻌﺪودة‪ ،‬ﺗﺆﻛﺪ إرادة وﺗﺤﺪي اﳌﻮاﻃﻦ ﺑﻌﺪ اﻟﺤﺮب‪ ،‬وﺗﺴﻤﻰ »ﺑﺎﻟﺮﻗﺼﺔ اﻟﴩﻳﻔﺔ« أي‬

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‫اﻟﻌﺪد ‪ ، 73‬دﻳﺴﻤﺒﺮ ‪2018‬‬

‫ﻻ ﻳﺆدﻳﻬﺎ إﻻ اﻟﻌﺮب اﻟﴩﻓﺎء‪ .‬ﻳﺸﱰك ﰲ أداء‬ ‫»اﻟﻌﻴﺎﻟﺔ« اﻟﻔﺮﻗﺔ اﳌﺤﱰﻓﺔ واﻟﻬﻮاة أﻳﻀﺎً ﻣﻦ‬ ‫اﳌﺪﻋﻮﻳﻦ واﻟﺤﻀﻮر‪ ،‬وﻏﺎﻟﺒﺎً ﻣﺎ ﺗﻜﻮن ﻓﺮﻗﺔ‬ ‫اﻟﻌﻴﺎﻟﺔ ﻣﻘﺼﻮرة ﻋﲆ اﻟﻌﺎزﻓني ﻋﲆ اﻟﻄﺒﻮل‬ ‫واﻟﺪﻓﻮف واﻟﻄﻮﻳﺴﺎت »اﻵﻻت اﻟﻨﺤﺎﺳﻴﺔ«‬ ‫وﺑﻌﺾ اﳌﻨﺸﺪﻳﻦ واﻟﺮاﻗﺼني وﻳﺸﺎرﻛﻬﻢ ﰲ‬ ‫اﻹﻧﺸﺎد واﻟﺮﻗﺺ ﺑﻌﺾ اﻟﺤﻀﻮر اﻟﺬﻳﻦ ﻳﺤﺒﻮن‬ ‫وﻳﻌﺸﻘﻮن ﻫﺬا اﻟﻔﻦ‪.‬‬ ‫وﺗﺒﺪأ اﻟﺮﻗﺼﺔ ﺣني ﻳﻌﻄﻲ ﻗﺎﺋﺪ اﻟﻔﺮﻗﺔ إﺷﺎرة‬ ‫اﻟﺒﺪء‪ ،‬ﻓﻔﻲ ﻫﺬه اﻟﻠﺤﻈﺔ ﻳﺄﺧﺬ ﺣﻤﻠ ُﺔ اﻟﻄﺒﻮل‬ ‫ﺑﺎﻟﴬب ﺑﺸﺪة ﻋﲆ ﻃﺒﻮﻟﻬﻢ‪ ،‬وﻳﺒﺪأ اﻟﺼﻔﺎن‬ ‫ﺑﺎﻟﺮﻗﺺ واﻟﺤﺮﻛﺔ اﳌﺴﺘﻤﺮة ﻟﻔﱰة ﻃﻮﻳﻠﺔ‪ ،‬وﰲ‬ ‫أﺛﻨﺎء اﻟﺮﻗﺺ ﻳﺘﺤﺮك ﺣﻤﻠﺔ اﻟﻄﺒﻮل ﰲ اﺗﺠﺎه‬ ‫اﻟﺼﻒ اﳌﻮاﺟﻪ ﺑﻴﻨام ﻳﺘﺤﺮك ﺣﻤﻠﺔ اﻟﺴﻴﻮف‬

‫ﻋﻴﺸﻲ ﻳﺎ ﺑﻼدي‬

‫ﺳﺎﻟﻢ ﺑﻦ ﺣﻤﺎد اﻟﻜﻌﺒﻲ‬ @ b_hammad

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baytelshear ‫اﻟﺸﻌﺮ‬ ِ ‫ﺑﻴﺖ‬

ĘıĘŕ

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‫اﻹﻣﺎرات‪ ،‬وﻗﺎل‪ :‬ﻻﻗﻰ ﻫﺬا اﳌﴩوع اﻫﺘامﻣﺎً‬ ‫ﻛﺒرياً ﻣﻦ زﻋامء اﻟﺪول اﻟﻌﺮﺑﻴﺔ ﺣﺘﻰ أن ﻣﻠﻚ‬ ‫اﳌﻐﺮب ﻣﺤﻤﺪ اﻟﺴﺎدس ﻫﻨﺄ اﻟﻄﻔﻠﺔ اﳌﻐﺮﺑﻴﺔ‬ ‫ﻣﺮﻳﻢ أﻣﺠﻮن اﻟﻔﺎﺋﺰة ﺑﻠﻘﺐ ﺑﻄﻞ ﺗﺤﺪي‬ ‫اﻟﻘﺮاءة اﻟﻌﺮيب ﻟﻠﻌﺎم ‪.2018‬‬ ‫‪ ŦŌƈƂōŞǙǶ ŦŌƊōŴǝŒ‬‬

‫‪ ŦŌƈōǙȑŌ ŧżŞƛŐ ǽǃǶƊƉǘǕŌ ƃǾǕǶ‬‬ ‫‪ ǳƞǤǜǕōş ǗǤƒũ ŦŌƈƂōŞǙ ǳŞŽōƛ‬‬ ‫‪ ɐǽşƉƪǕŌ ǗǕōƪǕŌ ŋōżǝőş ǳǾƳōǂŬǕŌ‬‬ ‫‪ Ǽƃżũ ƨǶƉƖǙ ōǥƊƉşŐ ǛǙ‬‬ ‫‪ ǲŋŌƉǂǕŌ‬‬

‫وﺗﻮﺟﻴﻪ ﻛﺎﻓﺔ اﻹﻣﻜﺎﻧﻴﺎت ﻟﺮﻋﺎﻳﺘﻬﻢ ودﻋﻤﻬﻢ‬ ‫ﺑﺸﺘﻰ اﻷﺷــﻜــﺎل ﻣــﻦ ﻣﺴﺎﺑﻘﺎت وﻧﴩ‬ ‫وﺗﺤﻔﻴﺰ ﻋﲆ ﺻﻌﻴﺪ اﳌﺪارس واﻟﺠﺎﻣﻌﺎت‪،‬‬ ‫ﺑﻞ واﻣﺘﺪ اﻟﺘﺸﺠﻴﻊ ﻟﻴﺸﻤﻞ اﻟﺨﻠﻴﺞ واﻟﻌﺎمل‬ ‫اﻟﻌﺮيب‪ .‬وأﺿﺎﻓﺖ‪ :‬إن اﻻﻫﺘامم ﺑﺪور اﻟﻨﴩ‬ ‫وﻣﻌﺎرض اﻟﻜﺘﺐ ﻣﻦ أﻫﻢ اﻧﺠﺎزات اﻻﺗﺤﺎد‬ ‫اﻟﺘﻲ ﺗﺸﻜﻞ واﺟﻬﺔ ﺛﻘﺎﻓﻴﺔ ﻣﻬﻤﺔ ﻟﻠﺪوﻟﺔ‪،‬‬ ‫واﺳﺘﻘﻄﺎﺑﻬﺎ ﻟﺪور اﻟﻨﴩ اﻟﻌﺎﳌﻴﺔ وﻟﻠﻜﺘﺎب‬ ‫واﻷدﺑﺎء ﰲ ﻫﺬه اﳌﺤﺎﻓﻞ‪ ،‬ﺑﺎﻹﺿﺎﻓﺔ ﻟﱰﻛﻴﺰﻫﺎ‬ ‫ﻋﲆ اﻟﱰﺟﻤﺔ ﻣﻦ وإﱃ اﻟﻌﺮﺑﻴﺔ ﻟﻬﻮ دﻋﻢ ﻛﺒري‬ ‫ﻟﻠﻤﺸﻬﺪ اﻟﺜﻘﺎﰲ اﻹﻣﺎرايت‪.‬‬ ‫ً‬ ‫ً‬ ‫وأوﺿﺤﺖ‪ :‬ﺑﺘﻨﺎ ﻧﺸﻬﺪ ﻇﻬﻮرا ومنﻮا ﻟﺪور‬ ‫ﻧﴩ إﻣﺎراﺗﻴﺔ‪ ،‬ﻟﻬﺎ ﻧﺸﺎﻃﻬﺎ اﳌﻠﺤﻮظ‪ ،‬إذ‬ ‫ﺣﻘﻘﺖ إﻗﺒﺎﻻً واﺳﻌﺎً ﻣﻦ ﻗﺒﻞ اﻟﺸﺒﺎب‪ ،‬وﻛﻞ‬ ‫ذﻟﻚ ﺑﻔﻀﻞ اﻟﺪﻋﻢ اﻟﺬي وﻓﺮﺗﻪ ﻟﻨﺎ دوﻟﺘﻨﺎ‬ ‫اﻟﺤﺒﻴﺒﺔ‪.‬‬ ‫‪ ǳǾũŌƈōǙŒ ŦŌƈƂōŞǙ‬‬

‫وﻟﻴﺪ اﳌﺮزوﻗﻲ اﻟﻜﺎﺗﺐ واﳌﺬﻳﻊ ﰲ ﻗﻨﺎة "ﺳام‬ ‫ديب" أﺷﺎر ﰲ ﺑﺪاﻳﺔ ﺣﺪﻳﺜﻪ إﱃ أن اﻟﺘﻄﻮر‬ ‫اﻟﻌﻤﺮاين واﻟﻌﻠﻤﻲ واﻻﻗﺘﺼﺎدي ﻗﺪ ﺗﺮاﻓﻖ‬ ‫ﻣﻊ اﻟﺘﻄﻮر اﻟﺜﻘﺎﰲ‪ .‬وﻗﺎل‪ :‬ﻗﺒﻞ ﻗﻴﺎم اﻻﺗﺤﺎد‪،‬‬

‫‪ ǛǙ ǣǂǂżǝ ōǙ ƱƓǷǾǕŌ ǚōǘǿŒ‬‬ ‫‪ ɐƃǿŌƊ ſǾƖǕŌ ǳǿǸƈ ǗŵƉŨǿ ŦŌƊōŴǝŒ‬‬ ‫‪ ǒǶŐ ǛǙǶ ɐǣƓƉƯ ŲōŨǝ ǛżǜƳ‬‬ ‫‪ ǳǿǸƉǕ ƃżŨǙ ƃŽŌǶ ơƁ Ǜżǝ ǖǷǿ‬‬ ‫‪ ǳǘǾǈŽ‬‬

‫ﻛﺎن ﻳﻨﺪر وﺟﻮد أﺷﺨﺎص ﻳﻘﺮؤون‪ ،‬وﻟﻬﺬا مل‬ ‫ﻳﻜﻦ ﻫﻨﺎك اﻟﻌﺪﻳﺪ ﻣﻦ اﻟﻜﺘﺎب ﻋﲆ اﻟﺴﺎﺣﺔ‪،‬‬ ‫وﺑﻌﺪ ﻗﻴﺎم اﻻﺗﺤﺎد ﻓﺮزت اﻟﺴﺎﺣﺔ اﻟﺜﻘﺎﻓﻴﺔ‬ ‫اﻟﻜﺜري ﻣﻦ ُ‬ ‫اﻟﻜﺘَﺎب واﻟﺸﻌﺮاء‪ .‬وأﺿــﺎف‪:‬‬ ‫إﱃ ﺟﺎﻧﺐ ﻫــﺬا اﻫﺘﻤﺖ اﻟﺪوﻟﺔ ﺑﺈﻳﺠﺎد‬ ‫ﻣﺆﺳﺴﺎت ﺛﻘﺎﻓﻴﺔ ﰲ أﻧﺤﺎء اﻹﻣﺎرات‪ ،‬ﻣﺜﻞ‬ ‫داﺋﺮة اﻟﺴﻴﺎﺣﺔ واﻟﺜﻘﺎﻓﺔ – أﺑﻮﻇﺒﻲ‪ ،‬وﻫﻴﺌﺔ‬ ‫ديب ﻟﻠﺜﻘﺎﻓﺔ واﻟﻔﻨﻮن‪ .‬وﻗﺎل‪ :‬إﱃ ﺟﺎﻧﺐ إﻗﺎﻣﺔ‬ ‫اﻟﻔﻌﺎﻟﻴﺎت اﻟﺜﻘﺎﻓﻴﺔ وﻣﻌﺎرض اﻟﻜﺘﺐ ﻣﺜﻞ‬ ‫ﻣﻌﺮض اﻟﺸﺎرﻗﺔ اﻟﺪوﱄ ﻟﻠﻜﺘﺎب‪ ،‬وﻣﻌﺮض‬ ‫أﺑﻮﻇﺒﻲ اﻟــﺪوﱄ ﻟﻠﻜﺘﺎب‪ ،‬وﻫﻮ ﻣﺎ أﺳﻬﻢ‬ ‫ﰲ إﻳﺠﺎد وﻋﻲ ﺛﻘﺎﰲ‪ .‬وإﻳﺠﺎد ﻣﺠﺘﻤﻊ ﻣﻦ‬ ‫ُ‬ ‫اﻟﻜﺘَﺎب واﻟﻔﻨﺎﻧني اﻟﺘﺸﻜﻴﻠﻴني‪.‬‬ ‫وﻗﺎل اﳌﺮزوﻗﻲ‪ :‬مل ﻳﻘﺘﴫ دور اﻹﻣــﺎرات‬ ‫ﻋﲆ اﺳﺘﻀﺎﻓﺔ اﳌﺒﺪﻋني ﻣﻦ أﻧﺤﺎء اﻟﻌﺎمل‬ ‫اﻟﻌﺮيب واﻟﻌﺎمل‪ ،‬ﺑﻞ أﺻﺒﺤﺖ اﻹﻣﺎرات ﺻﺎﺣﺒﺔ‬ ‫ﻣﺒﺎدرات ﺗﺴﻬﻢ ﺑﺎﻟﻨﻬﻀﺔ اﻟﺜﻘﺎﻓﻴﺔ ﰲ أﻧﺤﺎء‬ ‫اﻟﻌﺎمل اﻟﻌﺮيب‪ .‬وأﺿﺎف‪ :‬ﻣﻦ أﺑﺮزﻫﺎ ﻣﴩوع‬ ‫ﺗﺤﺪي اﻟﻘﺮاءة اﻟﻌﺮيب‪ ،‬اﻟﺬي أﻃﻠﻘﻪ ﺻﺎﺣﺐ‬ ‫اﻟﺴﻤﻮ اﻟﺸﻴﺦ ﻣﺤﻤﺪ ﺑﻦ راﺷﺪ آل ﻣﻜﺘﻮم‪،‬‬ ‫ﻧﺎﺋﺐ رﺋﻴﺲ اﻟﺪوﻟﺔ‪ ،‬رﺋﻴﺲ ﻣﺠﻠﺲ اﻟﻮزراء‬ ‫ﺣﺎﻛﻢ ديب‪ .‬واﻋﺘﱪ اﳌﺮزوﻗﻲ ﻫﺬا اﻟﺘﺤﺪي ﻧﻮر‬

‫ﻗﺎﻟﺖ اﻟﺮواﺋﻴﺔ إميﺎن اﻟﻴﻮﺳﻒ‪ :‬ﻧﺤﺘﻔﻞ ﻫﺬا‬ ‫اﻟﻌﺎم ﺑﺎﻟﺬﻛﺮى اﻟﺴﺎﺑﻌﺔ واﻷرﺑﻌني ﻟﻘﻴﺎم‬ ‫اﻻﺗﺤﺎد‪ ،‬وﻫﻲ اﳌﺪة اﻟﺘﻲ ﺗﻘﻞ ﻋﻦ ﻧﺼﻒ‬ ‫ﻗــﺮن‪ ،‬وﻻ ﺷﻚ أن ﻛﻤﻴﺔ اﻹﻧــﺠــﺎزات اﻟﺘﻲ‬ ‫ﺗﻮاﻛﺐ دوﻟﺔ ﺑﻬﺬا اﻟﺤﺠﻢ‪ ،‬ﺑﻌﺪد ﻗﻠﻴﻞ ﻣﻦ‬ ‫اﻟﺴﻨﻮات ﺗﺠﺮﺑﺔ ﺗﺴﺘﺤﻖ اﻟﺪراﺳﺔ واﻟﺘﺄﻣﻞ‪.‬‬ ‫وﻓﴪت‪ :‬ﻷﻧﻬﺎ ﺗﺠﺮﺑﺔ ﻻ ﺗﺘﺸﺎﺑﻪ ﻣﻊ أي دوﻟﺔ‬ ‫ﰲ اﻟﻌﺎمل‪ ،‬ﻛﻮﻧﻬﺎ دوﻟــﺔ اﺧﺘﴫت ﻋﴩات‬ ‫اﻟﺴﻨني ﰲ ﺛﻮانٍ ﻗﻠﻴﻠﺔ‪ .‬وأوﺿﺤﺖ‪ :‬ﻣﺎ ﻧﺤﻘﻘﻪ‬ ‫ﻣﻦ إﻧﺠﺎزات ﻋﻤﺮاﻧﻴﺔ واﻗﺘﺼﺎدﻳﺔ وﺛﻘﺎﻓﻴﺔ‬ ‫ﻫﻮ ﺗﺮﺟﻤﺔ ﻟﺮؤﻳﺔ اﻟﺸﻴﺦ زاﻳﺪ "رﺣﻤﻪ اﻟﻠﻪ"‬ ‫ﻓﻨﺤﻦ أﺑﻨﺎء زاﻳﺪ وﻧﺘﺎج ﻏﺮﺳﻪ‪.‬‬ ‫وأﺷــﺎرت اﻟﻴﻮﺳﻒ إﱃ أﻫﻤﻴﺔ ﻣﺎ ﺗﻄﻠﻘﻪ‬ ‫اﻹﻣـــﺎرات ﻣﻦ ﻣــﺒــﺎدرات ﺛﻘﺎﻓﻴﺔ ﻣﺤﻠﻴﺔ‬ ‫وﻋﺮﺑﻴﺔ‪ .‬وﻗﺎﻟﺖ‪ :‬ﻣﻦ ﺑﻴﻨﻬﺎ ﻣﴩوع ﺗﺤﺪي‬ ‫اﻟﻘﺮاءة اﻟﻌﺮيب‪ ،‬اﻟﺬي ﺣﻘﻖ ﺻﺪى ﻋﺮﺑﻴﺎً‬ ‫وﻋﺎﳌﻴﺎً‪ .‬وأﺿﺎﻓﺖ‪ :‬ﻫﺬا اﻟﻨﻬﺞ اﻟﺬي متﴚ‬ ‫ﻋﻠﻴﻪ دوﻟﺔ اﻹﻣــﺎرات‪ ،‬ﰲ ﻣﺒﺎدراﺗﻬﺎ ﺧﺎرج‬ ‫ﺣﺪود اﻟﺠﻐﺮاﻓﻴﺔ ﰲ اﻹﻣــﺎرات ﻧﻔﺴﻬﺎ إﱃ‬ ‫اﻟﻌﺎمل اﻟﻌﺮيب ودول اﻟﻌﺎمل اﻷﺧــﺮى‪ ،‬أدى‬ ‫ﻟﺤﺼﻮﱄ ﻋﲆ اﻟﺰﻣﺎﻟﺔ اﻟﻔﺨﺮﻳﺔ ﰲ اﻟﻜﺘﺎﺑﺔ‬ ‫اﻹﺑﺪاﻋﻴﺔ‪ .‬وذﻛﺮت ﺣﺼﻠﺖ ﻋﻠﻴﻪ ﻣﻦ ﺑﺮﻧﺎﻣﺞ‬ ‫اﻟﻜﺘﺎﺑﺔ اﻟﺪوﱄ وﻫﻮ اﻷﻋﺮق ﻋﺎﳌﻴﺎً‪ ،‬ﺑﺪأ ﰲ‬ ‫اﻟﻌﺎم ‪ 1967‬ﰲ ﺟﺎﻣﻌﺔ "أﻳــﻮا" اﻷﻣﺮﻳﻜﻴﺔ‪.‬‬ ‫وأوﺿﺤﺖ‪ :‬ﺑﻘﻴﺖ ﻫﻨﺎك ﻗﺮاﺑﺔ اﻟﺜﻼﺛﺔ أﺷﻬﺮ‪،‬‬ ‫ﰲ ﻫﺬا اﻟﱪﻧﺎﻣﺞ اﻻﻧﺘﻘﺎيئ ﻋﻦ ﻃﺮﻳﻖ اﻟﱰﺷﻴﺢ‪،‬‬ ‫ﻓﻤﻦ ﺑني ﻣﺌﺎت اﻟﻜﺘﺎب ﻳﺨﺘﺎرون ‪ 27‬وﻛﻨﺖ‬ ‫أول ﻛﺎﺗﺒﺔ ﻣﻦ اﻹﻣﺎرات أﻣﺜﻞ ﺑﻠﺪي‪ .‬وذﻛﺮت‬ ‫اﻟﻴﻮﺳﻒ‪ :‬أﺗﻜﻠﻢ ﻋﻦ ﻫﺬا اﻹﻧﺠﺎز ﻟﻴﺲ ﻷين‬ ‫ﻓﺨﻮرة ﻓﻘﻂ مبﺎ ﺣﻘﻘﺖ‪ ،‬ﺑﻞ ﻷين أﻣﺜﻞ ﺑﻠﺪي‬ ‫اﻹﻣﺎرات‪ ،‬وﻷﻧﻨﺎ اﻟﻴﻮم ﻧﻌﻴﺶ ﰲ دوﻟﺔ ﺑﻬﺬا‬ ‫اﻟﺤﺠﻢ اﻟﻌﻤﻼق‪.‬‬ ‫اﻟﺸﻌﺮ ‪baytelshear‬‬ ‫ﺑﻴﺖ ِ‬

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‫‪ŋšōĨĞ‬‬ ‫وآرت أﺑﻮﻇﺒﻲ" وﻫﻨﺎك ﻣﺘﺎﺣﻒ اﻓﺘﺘﺤﺖ‬ ‫ﻣﺜﻞ ﻣﺘﺤﻒ اﻟﻠﻮﻓﺮ أﺑﻮﻇﺒﻲ اﻟﺬي ﻳﺴﺘﻘﻄﺐ‬ ‫اﻟﻨﺎس ﻟﺰﻳﺎرﺗﻪ‪.‬‬ ‫ورأت اﻟﺠﺎﺑﺮي إن ﻣﺎ ﺣﻘﻘﺘﻪ اﻹﻣــﺎرات‬ ‫ﻣﻦ ﻗﻔﺰات ﻫﺎﺋﻠﺔ‪ ،‬ﺗﻌﺠﺰ ﻋﻨﻪ دول ﻛﺜرية‬ ‫ﻣﻮﺟﻮدة ﻣﻦ ﺳﻨني ﻃﻮﻳﻠﺔ‪ .‬وﻗﺎﻟﺖ‪ :‬ﺑﻮﺟﻮد‬ ‫اﳌﻨﻄﻘﺔ اﻟﺜﻘﺎﻓﻴﺔ ﺑﺠﺰﻳﺮة اﻟﺴﻌﺪﻳﺎت ﰲ‬ ‫أﺑﻮﻇﺒﻲ‪ ،‬واﻟﻜﺜري ﻣﻦ اﳌﺆﺳﺴﺎت اﻟﺜﻘﺎﻓﻴﺔ‬ ‫ﰲ اﻹﻣﺎرات ﺳﻴﻜﻮن ﻫﻨﺎك ﺟﻴﻞ أﻗﻮى وأﻛرث‬ ‫إﺑﺪاﻋﺎً‪.‬‬ ‫‪ ǳǾƳōǂŬǕŌ ǳǿǷǤǕŌ‬‬

‫ﻗﺎل اﻟﻜﺎﺗﺐ واﻟــﺮوايئ ﺳﻌﻴﺪ اﻟﺒﺎدي‪ :‬ﻣﻨﺬ‬ ‫اﻟﺒﺪاﻳﺔ وﺿﻊ اﻟﻮاﻟﺪ اﳌﺆﺳﺲ "اﳌﻐﻔﻮر ﻟﻪ"‬ ‫اﻟﺸﻴﺦ زاﻳﺪ ﺑﻦ ﺳﻠﻄﺎن آل ﻧﻬﻴﺎن‪ ،‬اﻹﻧﺴﺎن‬ ‫ﰲ أوﻟــﻮﻳــﺔ اﻟﺒﻨﺎء ﻛﻮﻧﻪ اﻟــﺬي ﺳﻴﺤﻤﻞ‬ ‫ﻣﺴﺆوﻟﻴﺔ ﺑﻨﺎء ﻫﺬا اﻟﻮﻃﻦ‪ ،‬ووﺿﻊ "ﻃﻴﺐ‬ ‫اﻟﻠﻪ ﺛﺮاه" اﻟﺜﻘﺎﻓﺔ ﻣﻮﺿﻊ اﻫﺘامﻣﻪ ﺷﺨﺼﻴﺎً‪.‬‬ ‫ﻓﻘﺪ ﻛﺎن ﻳﺆﻣﻦ ﺑﺄن اﻟﻬﻮﻳﺔ اﻟﺜﻘﺎﻓﻴﺔ ﻗﻀﻴﺔ‬ ‫اﻧﺘامء ووﻻء‪ ،‬ﺗﺮﺗﺒﻂ ﺑﺘﻔﺎﺻﻴﻞ ﺣﻴﺎة اﻟﺸﻌﺐ‬ ‫ﻣﺎﺿﻴﺎً‪ ،‬وﺣﺎﴐاً‪ ،‬وﻣﺴﺘﻘﺒ ًﻼ‪ ،‬ﻛام أﻧﻬﺎ ﻣﺴﺄﻟﺔ‬ ‫ﻣﺮﺗﺒﻄﺔ ﺑﺎﻟﻮﺟﻮد واﻟﺒﻘﺎء‪.‬‬ ‫وأوﺿــﺢ اﻟــﺒــﺎدي‪ :‬ﰲ ﻇﻞ ذﻟــﻚ اﻻﻫﺘامم‬ ‫ﺑﺎﻹﻧﺴﺎن‪ ،‬واﺣﱰام ﻛﻴﻨﻮﻧﺘﻪ وإﺑﺪاﻋﻪ وﻓﻜﺮه‪،‬‬ ‫منﺖ وﺗﻄﻮرت اﻟﺤﻴﺎة اﻟﺜﻘﺎﻓﻴﺔ‪ ،‬ﻓﻜﺎن‬ ‫اﻻﻫﺘامم ﺑﺎﻟﱰاث وﴐورة اﳌﺤﺎﻓﻈﺔ ﻋﲆ‬ ‫اﳌﻮروث اﻟﺜﻘﺎﰲ‪ ،‬وﺗﻔﻌﻴﻞ وﺗﻨﺸﻴﻂ اﻟﺤﺮﻛﺔ‬ ‫اﻟﺜﻘﺎﻓﻴﺔ‪ ،‬وإﺑ ـﺮاز اﻹﺑــﺪاع اﻹﻣــﺎرايت ﻋﺮﺑﻴﺎً‬ ‫وﻋﺎﳌﻴﺎً‪ .‬وأﺿﺎف‪ :‬ﻫﻜﺬا منﺖ اﻟﺤﺮﻛﺔ اﻟﺜﻘﺎﻓﻴﺔ‬ ‫وزادت ﻣــﻌــﺎرض اﻟﻜﺘﺐ‪ ،‬ودور اﻟﻨﴩ‬ ‫وﺗﻄﻮرت ﺣﺮﻛﺔ اﻟﺘﺄﻟﻴﻒ واﻹﺑــﺪاع‪ .‬وﺗﺎﺑﻊ‪:‬‬ ‫ﻣﻦ ﻛﺎﺗﺐ روايئ أو اﺛﻨني ﰲ ﺑﺪاﻳﺔ اﻻﺗﺤﺎد‬ ‫إﱃ ﻣﺎ ﻳﻘﺎرب ﻣﺌﺔ ﻛﺎﺗﺐ وﻣﺆﻟﻒ اﻟﻴﻮم‪،‬‬ ‫وﻧﺤﻮ ﺳﺘامﺋﺔ ﺻﺤﻔﻲ وﻣﺜﻠﻬﻢ ﻣﻦ اﻟﻌﺎﻣﻠني‬ ‫ﰲ اﻟﺤﻘﻞ اﻟﺜﻘﺎﰲ واﻹﻋﻼﻣﻲ وﻏريﻫﻢ ﻣﻦ‬ ‫اﻷﻛﺎدميﻴني واﳌﻔﻜﺮﻳﻦ واﳌﺒﺪﻋني اﻹﻣﺎراﺗﻴني‪.‬‬ ‫وأﺷﺎر اﻟﺒﺎدي إﱃ ان اﻟﻌﺪد ﻟﻴﺲ ﻣﻬ ًام مبﻘﺪار‬ ‫أﻫﻤﻴﺔ اﻹﺑــﺪاع ﰲ ﻛﻞ اﳌﺠﺎﻻت اﻟﺜﻘﺎﻓﻴﺔ‬ ‫واﻟﻔﻜﺮﻳﺔ واﻟﻔﻨﻴﺔ‪ .‬وﻗﺎل‪ :‬ﻫﻮ ﻣﺎ ﻧﺮاه اﻟﻴﻮم‪،‬‬

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‫اﻟﻌﺪد ‪ ، 73‬دﻳﺴﻤﺒﺮ ‪2018‬‬

‫‪ ǼƂōŞǕŌ ƃǾƪƓ‬‬ ‫‪ ǚőş ǛǙǹǿ ƃǿŌƊ ſǾƖǕŌ ǚōǉ‬‬ ‫‪ ŋōǘŨǝŌ ǳǾƞǃ ǳǾƳōǂŬǕŌ ǳǿǷǤǕŌ‬‬ ‫‪ ǳƢŞũƉǙ ǳǕőƒǙǶ ɐŋȍǶǶ‬‬ ‫‪ ŋōǂŞǕŌǶ ƂǷŵǷǕōş‬‬

‫اﻹﻣﺎرات ﺗﺘﺼﺪر اﳌﺸﻬﺪ ﺳﻮاء ﻋﲆ اﳌﺴﺘﻮى‬ ‫اﻟﺜﻘﺎﰲ أو اﻹﻋﻼﻣﻲ ﺑﻞ ﰲ ﻛﻞ اﳌﺠﺎﻻت‪ ،‬ومل‬ ‫ﻳﻜﻦ ﺗﺮﻛﻴﺰﻫﺎ ﻋﲆ اﻹﻧﺴﺎن اﻻﻣﺎرايت ﻓﻘﻂ‪،‬‬ ‫ﺑﻞ أﻃﻠﻘﺖ ﻓﻌﺎﻟﻴﺎت ﺛﻘﺎﻓﻴﺔ ﻋﲆ اﳌﺴﺘﻮى‬ ‫اﻟﻌﺮيب ﺑﻞ واﻟﻌﺎﳌﻲ ﻟﻜﻞ اﻟﻨﺎﻃﻘني ﺑﺎﻟﻌﺮﺑﻴﺔ‬ ‫ﰲ اﻟﻌﺎمل ﻣﻦ ﺧﻼل ﺑﺮﻧﺎﻣﺞ ﺗﺤﺪي اﻟﻘﺮاءة‬ ‫اﻟﻌﺮيب‪ .‬وﻣﻦ ﺧﻼل اﻟﺠﻮاﺋﺰ اﻟﺜﻘﺎﻓﻴﺔ اﻟﺘﻲ‬ ‫ﺧﺼﺼﻬﺎ ﻟﻠﺠﺎﻧﺐ اﻟﺜﻘﺎﰲ ﻣﺜﻞ ﺟﺎﺋﺰة اﻟﺸﻴﺦ‬ ‫زاﻳﺪ ﻟﻠﻜﺘﺎب وﺟﻮاﺋﺰ اﻟﺒﻮﻛﺮ وﺟﻮاﺋﺰ اﻟﺸﺎرﻗﺔ‬ ‫اﻟﺜﻘﺎﻓﻴﺔ وﻏريﻫﺎ‪ .‬وأﺿــﺎف‪ :‬ﻫﻨﺎك أﻳﻀﺎً‬ ‫ﻣﺒﺎدرات وﻣﺸﺎرﻳﻊ ﺛﻘﺎﻓﻴﺔ‪ ،‬ﻣﺜﻞ ﻣﺘﺤﻒ زاﻳﺪ‬ ‫اﻟﻮﻃﻨﻲ‪ ،‬وﻣﺘﺤﻒ اﻟﻠﻮﻓﺮ أﺑﻮﻇﺒﻲ‪ ،‬وﻣﺘﺤﻒ‬ ‫ﺟﻮﺟﻨﻬﺎﻳﻢ ودار ديب ﻟﻸوﺑﺮا وﻏريﻫﺎ اﻟﻜﺜري‪.‬‬ ‫وﺷﺪد اﻟﺒﺎدي ﻋﲆ أن ﻛﻞ ﻫﺬا ﺗﺤﻘﻴﻖ ﻟﻔﻜﺮ‬ ‫زاﻳﺪ ﰲ ﺑﻨﺎء اﻹﻧﺴﺎن ﺑﻐﺾ اﻟﻨﻈﺮ ﻋﻦ ﻋﺮﻗﻪ‬ ‫أو ﺟﻨﺴﻴﺘﻪ أو ﻟﻮﻧﻪ‪ .‬وأوﺿﺢ‪ :‬ﺳﻮا ًء أﻛﺎن‬ ‫ﻋﲆ ﻫﺬه اﻷرض اﻟﻄﻴﺒﺔ أو ﺧﺎرﺟﻬﺎ ﻓﺎﻟﻬﺪف‬ ‫ﻳﻈﻞ ﺳﺎﻣﻴﺎً ﻷﺟﻞ اﳌﺸﺎرﻛﺔ ﰲ ﺑﻨﺎء اﻟﺤﻀﺎرة‬ ‫اﻹﻧﺴﺎﻧﻴﺔ‪.‬‬ ‫‪ ƋǾǘŨǕŌ ǳŽōƓ‬‬

‫ﻗﺎﻟﺖ اﻟﺸﺎﻋﺮة ﺑﺘﻮل آل ﻋﲇ‪ :‬ﻳﺒﺪو اﳌﺸﻬﺪ‬

‫‪ ƂōżũȍŌ ǓƦş ǽǔƫ ǒŔ ǒǷŨş‬‬ ‫‪ ƨŌǷǝȏ ǳƫƉƖǙ ŜŌǷşȏŌ ŧżŞƛŐ‬‬ ‫‪ɴ‬‬ ‫‪ɶ‬‬ ‫‪ ŧżŨƳǶ ɐǗ‬‬ ‫‪ǾǂǕŌ ƉǈƲǕŌǶ ŜƂȏŌ‬‬ ‫‪ ǲŐƉǘǕŌ ǛǾǈǘŨǕ ǳƛōƁ ŜŌǷşŐ‬‬ ‫‪ ǓŵƉǕŌ ŝǝōŴş ōǤŨƳōǂŭ ƉƖǝǶ‬‬

‫اﻟﺜﻘﺎﰲ ﺑﺪوﻟﺔ اﻹﻣﺎرات‪ ،‬ذا وﺗرية ﻣﺘﺼﺎﻋﺪة‬ ‫وﰲ ﺳﺒﺎق داﺋﻢ ﻣﻊ اﻟﺰﻣﻦ‪ ،‬ﻣام ﺟﻌﻞ ﻣﻨﻪ‬ ‫وﺟﻬﺔ ﻟﻠﻤﺜﻘﻔني واﻟﻔﻨﺎﻧني واﻟﺸﻌﺮاء واﻷدﺑﺎء‬ ‫وﺻﻮﺗﺎً ﻣﺴﻤﻮﻋﺎً ﰲ اﳌﺤﺎﻓﻞ اﳌﺤﻠﻴﺔ واﻟﻌﺎﳌﻴﺔ‪.‬‬ ‫وأﺿﺎﻓﺖ‪ :‬اﻟﺴﺎﺣﺔ اﻟﺜﻘﺎﻓﻴﺔ اﻹﻣﺎراﺗﻴﺔ ﺑﺎﺗﺖ‬ ‫ﺳﺎﺣﺔ ﺧﺼﺒﺔ ﻟﻠﺒﺎﺣﺜني ﻋﻦ اﻟﺘﻤﻴﺰ واﻟﻈﻬﻮر‬ ‫وﻋﻦ ﻧﴩ ﺛﻘﺎﻓﺎﺗﻬﻢ وإﻧﺘﺎﺟﻬﻢ اﻟﻔﻨﻲ واﻷديب‬ ‫اﻧﻄﻼﻗﺎً ﻣﻦ رؤﻳﺔ اﻟﺸﻴﺦ زاﻳﺪ "رﺣﻤﻪ اﻟﻠﻪ"‬ ‫ﺑﺄﻫﻤﻴﺔ ﻫﺬا اﻟﺠﺎﻧﺐ‪ ،‬واﻟﺬي ﻏﺮس ﺑﺬرﺗﻪ‬ ‫اﻷوﱃ ﺑﻴﺪﻳﻪ ﰲ ﺑﺴﺎﺗني اﻟﺜﻘﺎﻓﺔ واﻷدب‬ ‫واﻟﻌﻠﻢ‪ ،‬واﻣﺘﺪاداً مبﺎ أوﻻه ﺣﻜﺎم اﻹﻣﺎرات‬ ‫ﻣﻦ ﺑﻌﺪه ﻣﻦ أﻫﻤﻴﺔ ودﻋﻢ ورﻋﺎﻳﺔ ﻣﺸﻬﻮداً‬ ‫ﻟﻬﺎ ﰲ اﻟﻌﺎمل أﺟﻤﻊ‪.‬‬ ‫وأوﺿﺤﺖ‪ :‬ﰲ ﻇﻞ اﻻﺗﺤﺎد أﺻﺒﺤﺖ اﻷﺑﻮاب‬ ‫ﻣﴩﻋﺔ ﻟﺸﺘﻰ أﻧﻮاع اﻷدب واﻟﻔﻜﺮ اﻟﻘ ّﻴﻢ‪،‬‬ ‫وﻓﺘﺤﺖ أﺑـــﻮاب ﺧﺎﺻﺔ ﻟﺘﻤﻜني اﳌــﺮأة‬ ‫ورﻋﺎﻳﺘﻬﺎ وﻧﴩ ﺛﻘﺎﻓﺘﻬﺎ ﺟﻨﺒﺎً إﱃ ﺟﻨﺐ ﻣﻊ‬ ‫اﻟﺮﺟﻞ‪ ،‬ﻓﻠﻢ ﻳﻌﺪ اﻟﺮﺟﻞ ﻣﺘﺴﻴﺪاً ﻋﲆ اﳌﺸﻬﺪ‬ ‫اﻟﺜﻘﺎﰲ‪ ،‬وﻇﻬﺮت ﻟﻨﺎ منﺎذج ﻣﴩﻓﺔ ﺗﺮﻓﻊ ﻣﻦ‬ ‫ﻗﻴﻤﺔ اﻟﺜﻘﺎﻓﺔ اﻹﻣﺎراﺗﻴﺔ وﺗﺰﻳﺪﻫﺎ وﻫﺠﺎً‬ ‫وﻧﻮراً‪.‬‬ ‫وذﻛﺮت آل ﻋﲇ‪ :‬زاد اﻻﻫﺘامم ﺑﻨﺘﺎج اﻟﺸﺒﺎب‪،‬‬

‫‪ ǽƳōǂŭ ǗǉŌƉũ‬‬

‫ﻗﺎﻟﺖ اﻟﻔﻨﺎﻧﺔ اﻟﺘﺸﻜﻴﻠﻴﺔ ﺧﻠﻮد اﻟﺠﺎﺑﺮي‪ :‬إن‬ ‫ﻣﺎ ﻳﺤﺪث ﻣﻦ ﺗﺮاﻛﻢ ﰲ اﳌﺸﻬﺪ اﻟﺜﻘﺎﰲ‪ ،‬ﻫﻮ‬ ‫مثﺎر ﻣﺎ زرﻋﻪ "اﳌﻐﻔﻮر ﻟﻪ" اﻟﺸﻴﺦ زاﻳﺪ ﺑﻦ‬ ‫ﺳﻠﻄﺎن آل ﻧﻬﻴﺎن ﻣﺆﺳﺲ دوﻟﺔ اﻹﻣﺎرات‪،‬‬ ‫ﻓﺎﻟﺸﻴﺦ زاﻳﺪ ﻛﺎن ﻣﺤﺒﺎً ﻟﻠﺠامل واﻟﻄﺒﻴﻌﺔ‬ ‫وﻫــﻮ ﻣﺎ اﻧﻌﻜﺲ ﻋﲆ ﺷﻌﺐ اﻹﻣــﺎرات‪.‬‬ ‫وأﺿﺎﻓﺖ‪ :‬اﻟﺬي زرﻋﻪ اﻟﺸﻴﺦ زاﻳﺪ ﰲ أﻧﺠﺎﻟﻪ‬ ‫وﺷﻌﺒﻪ ﻳﺄيت ﺑﺜامره ﻳﻮﻣﺎً ﺑﻌﺪ آﺧﺮ‪ .‬وﻧﺠﺪ‬ ‫ﻫﺬا ﻣﻦ ﺧﻼل ﺗﺸﺠﻴﻊ واﻫﺘامم أﺻﺤﺎب‬ ‫اﻟﺴﻤﻮ ﺣﻜﺎم اﻹﻣﺎرات ﺑﺎﳌﺸﻬﺪ اﻟﺜﻘﺎﰲ‪.‬‬ ‫وأوﺿــﺤــﺖ اﻟــﺠــﺎﺑــﺮي‪ :‬ﻛﻨﺖ أرﺳــﻢ ﻣﻨﺬ‬ ‫ﻃﻔﻮﻟﺘﻲ ﰲ ﻓﱰة اﻟﺴﺒﻌﻴﻨﻴﺎت‪ ،‬ومل ﺗﻜﻦ‬ ‫ﻫﻨﺎك اﻹﻣﻜﺎﻧﻴﺎت اﻟﺘﻲ ﺗﺘﻮﻓﺮ اﻵن ﻟﻠﻔﻨﺎﻧني‬ ‫اﻟﺸﺒﺎب‪ ،‬وﻛﻨﺖ أﺗﻮاﺻﻞ ﻣﻊ اﻟﻌﺪﻳﺪ ﻣﻦ‬ ‫اﻟﻔﻨﺎﻧني اﻟﺘﺸﻜﻴﻠﻴني اﻟﺨﻠﻴﺠﻴني ﻋﻦ ﻃﺮﻳﻖ‬ ‫اﻟﺮﺳﺎﺋﻞ اﻟﺘﻘﻠﻴﺪﻳﺔ‪ ،‬وﻛﺎن اﻟﻔﻨﺎن ﻋﺒﺪاﻟﻠﻪ‬ ‫اﳌﺤﺮﻗﻲ ﻳﻜﺘﺐ ﱄ وﻳﺤﻔﺰين ﻋﲆ ﻣﺘﺎﺑﻌﺔ‬

‫ﻗﺼﺎﺻﺔ ﻓﻴﻬﺎ ﻟﻮﺣﺔ ﻛﻨﺖ أﺷﻌﺮ أين ﻣﻠﻜﺖ‬ ‫اﻟﺪﻧﻴﺎ‪.‬‬ ‫وﻗﺎﻟﺖ اﻟﺠﺎﺑﺮي‪ :‬ﻧﺤﻦ ﻣﻦ اﻟﺠﻴﻞ اﻟﺬي ﺗﻌﺐ‬ ‫ﻋﲆ ﻧﻔﺴﻪ واﺟﺘﻬﺪ‪ ،‬ﰲ وﻗﺖ مل ﻳﻜﻦ ﻓﻴﻪ‬ ‫إﻻ ﺟﺎﻣﻌﺔ واﺣﺪة‪ ،‬وﻛﺎﻧﺖ اﻟﻔﺘﺎة اﻹﻣﺎراﺗﻴﺔ‬ ‫ﺗﻌﺎين ﺑﺴﺒﺐ ﻋﺪم ﺗﻘﺒﻞ اﳌﺠﺘﻤﻊ ﻟﻌﻤﻠﻬﺎ‪،‬‬ ‫ﻟﻜﻨﻨﺎ اﺟﺘﻬﺪﻧﺎ وﺣﻔﺮﻧﺎ ﺑﺎﻟﺼﺨﺮ‪ ،‬وﻣﻊ ﻛﻞ ﻣﺎ‬ ‫ﺣﻘﻘﻨﺎه ﻣﺎ زﻟﻨﺎ ﻧﺸﻌﺮ ﺑﺄﻧﻨﺎ ﻧﺮﻳﺪ أن ﻧﺘﻌﻠﻢ‬ ‫وﻧﺠﺘﻬﺪ‪ .‬وأﺿﺎﻓﺖ‪ :‬ﻫﺬا اﻟﺠﻴﻞ ﻣﺤﻈﻮظ‬ ‫‪ ŦŌƈōǙȑŌ ŧżŞƛŐ ǼƉşōŴǕŌ ƂǷǔƁ‬ﻷﻧﻪ وﺟﺪ دوﻟﺔ اﻹﻣﺎرات ﻣﻜﺘﻤﻠﺔ ﻳﺘﻮاﺟﺪ‬ ‫‪ ǛǾǝōǜƲǔǕ ǳǾǘǕōƫ ǳƢżǙ‬‬ ‫ﻓﻴﻬﺎ ﺳﻮق ﻛﺒري ﻣﻦ اﻟﻔﻦ اﻟﺘﺸﻜﻴﲇ‪ ،‬وﻫﻨﺎك‬ ‫‪ ǛǙ ǣŨǂǂŽ ōǙǶ ɐǛǾǾǔǾǈƖŨǕŌ‬‬ ‫ﻣﻘﺘﻨﻮن‪ ،‬ﰲ وﻗﺖ مل ﻧﻜﻦ ﻧﺴﺘﻄﻴﻊ ﺳﺎﺑﻘﺎً‬ ‫‪ ǒǶƂ ǣǜƫ ƋŴƪũ ɐǳǔȃōǥ ŦŌƋƲǃ‬‬ ‫رؤﻳﺔ اﻟﻠﻮﺣﺎت اﻷﺻﻠﻴﺔ‪ .‬وذﻛــﺮت‪ :‬أﻣﺘﻠﻚ‬ ‫‪ǲƉǾŬǉ‬‬ ‫اﻟﻨﺎس اﻵن وﻋﻴﺎً ﻛﺒرياً وﻫﻨﺎك ﻣﻘﺘﻨﻮن‪،‬‬ ‫ﺧﺎﺻﺔ وإن اﻹﻣــﺎرات ﻗﺪ أﺻﺒﺤﺖ ﻣﺤﻄﺔ‬ ‫اﻟﺮﺳﻢ‪ ،‬وﻛﻨﺖ أﺣﺘﻔﻆ ﺑﺎﻟﺼﺤﻒ ﻛﻤﻦ ﻋﺎﳌﻴﺔ ﻟﻠﻔﻨﺎﻧني‪ ،‬ﺑﻌﺪ أن ﻛﻨﺎ ﻧﺴﺎﻓﺮ ﻟﺮؤﻳﺔ‬ ‫ﻳﺤﺘﻔﻆ ﺑﻜﻨﺰ‪ .‬وﻓﴪت‪ :‬ﻷن اﻟﻔﻦ مل ﻳﻜﻦ اﻟﻔﻨﺎﻧني ﰲ اﻟﻌﺎمل‪ .‬وﺗﺎﺑﻌﺖ‪ :‬أﺻﺒﺢ ﻫﺆﻻء‬ ‫ﻣﺘﻮاﺟﺪاً ﰲ ﻣﺠﺘﻤﻌﻨﺎ وﻟﺬﻟﻚ ﻋﻨﺪﻣﺎ أﺟﺪ اﻟﻔﻨﺎﻧﻮن ﻳﺤﻠﻤﻮن ﺑﺎﳌﺸﺎرﻛﺔ ﰲ "آرت ديب"‬ ‫اﻟﺸﻌﺮ ‪baytelshear‬‬ ‫ﺑﻴﺖ ِ‬

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‫اﻟﻨﻬﻀﺔ اﻹﻣﺎراﺗﻴﺔ‬

‫إﺑﺪاع ﻳﻀﻲء اﻟﻤﺸﻬﺪ اﻟﺜﻘﺎﻓﻲ اﻟﻌﺎﻟﻤﻲ‬ ‫اﺳﺘﻄﻼع ﺑﺸﺮى ﻋﺒﺪا‪:B‬‬

‫مل ﺗﻘﺘﴫ ﻧﻬﻀﺔ اﻹﻣﺎرات اﻟﻌﺮﺑﻴﺔ اﳌﺘﺤﺪة ﻋﲆ ﺟﺎﻧﺐ واﺣﺪ‪ ،‬ﺑﻞ راﻓﻘﺖ اﻟﻨﻬﻀﺔ اﻟﺴﻴﺎﺳﻴﺔ واﻻﻗﺘﺼﺎدﻳﺔ واﻟﻌﻤﺮاﻧﻴﺔ‪،‬‬ ‫ﻧﻬﻀﺔ ﺛﻘﺎﻓﻴﺔ ﺗﺠﻠﺖ ﰲ ﺟﻮاﻧﺐ ﻋﺪة‪ ،‬ﻛﻮﻧﻬﺎ مل ﺗﻘﺘﴫ ﻣﻨﺬ اﻟﺒﺪاﻳﺔ ﻋﲆ اﻹﺑﺪاع اﻟﻔﺮدي‪ ،‬ﺑﻞ اﻫﺘﻤﺖ اﻟﺪوﻟﺔ ﻣﻨﺬ‬ ‫ﺗﺄﺳﻴﺴﻬﺎ ﺑﺎﳌﺆﺳﺴﺎت اﻟﺜﻘﺎﻓﻴﺔ وﺑﺘﻨﻈﻴﻢ اﻟﻌﺪﻳﺪ ﻣﻦ ﻣﻌﺎرض اﻟﻜﺘﺐ واﳌﻌﺎرض اﻟﺘﺸﻜﻴﻠﻴﺔ واﻟﻔﻌﺎﻟﻴﺎت اﻟﺜﻘﺎﻓﻴﺔ‪،‬‬ ‫وﻃﺮﺣﺖ اﻟﻌﺪﻳﺪ ﻣﻦ اﻟﺠﻮاﺋﺰ اﻟﺘﻲ ﺗﻘﺪر اﳌﺒﺪع ﰲ ﻣﺠﺎﻻت ﻋﺪة‪ ،‬ﻓﺠﺎء اﳌﺸﻬﺪ اﻟﺜﻘﺎﰲ ﻣﺘﻨﺎﻏ ًام وﻣﻜﻤ ًﻼ ﳌﺎ ﺗﻘﻮم ﺑﻪ‬ ‫دوﻟﺔ اﻹﻣﺎرات ﻣﻦ ﺑﻨﺎء ﰲ اﻹﻧﺴﺎن وﰲ اﻟﻌﻤﺮان‪.‬‬ ‫واﻵن‪ ،‬واﻹﻣﺎرات ﺗﺤﺘﻔﻞ ﺑﺎﻟﺬﻛﺮى اﻟﺴﺎﺑﻌﺔ واﻷرﺑﻌني ﻻﺗﺤﺎدﻫﺎ‪ ،‬أﺟﻤﻊ اﳌﺒﺪﻋﻮن ﰲ ﻣﺠﺎﻻت ﻋﺪة ﻋﲆ أن ﻣﺎ‬ ‫ﺗﺤﻘﻖ ﻋﲆ اﻟﺴﺎﺣﺔ اﻟﺜﻘﺎﻓﻴﺔ ﻛﺎن ﻗﻔﺰة ﻧﻮﻋﻴﺔ‪ .‬وﺑﻴﻨﻮا ﻣﻦ ﺧﻼل ﺣﺪﻳﺜﻬﻢ ﻟـ "ﺑﻴﺖ اﻟﺸﻌﺮ" ﻣﺎ ﻛﺎن ﻋﻠﻴﻪ اﻟﺤﺎل ﰲ‬ ‫اﳌﺎﴈ اﻟﻘﺮﻳﺐ‪ ،‬وﻛﻴﻒ ﺗﻄﻮر ووﺻﻞ إﱃ اﻟﻌﺎﳌﻴﺔ‪ ،‬وﻛﻴﻒ ﺗﻔﺎﻋﻠﻮا ﻛﻤﺒﺪﻋني ﻣﻊ اﳌﺸﻬﺪ اﻟﺜﻘﺎﰲ اﳌﺘﺠﺪد‪ ،‬اﻟﺬي ﻳﻠﻘﻰ‬ ‫اﻫﺘامﻣﺎً ﻣﺒﺎﴍاً ﻣﻦ أﺻﺤﺎب اﻟﺴﻤﻮ اﻟﺸﻴﻮخ‪ ،‬وﻳﱰﺟﻢ ﻫﺬا ﻣﻦ ﺧﻼل اﳌﺸﺎرﻳﻊ اﻟﺜﻘﺎﻓﻴﺔ اﻟﻌﻤﻼﻗﺔ اﻟﺘﻲ ﺗﺘﺒﻨﺎﻫﺎ دوﻟﺔ‬ ‫اﻹﻣﺎرات‪.‬‬

‫‪30‬‬

‫اﻟﻌﺪد ‪ ، 73‬دﻳﺴﻤﺒﺮ ‪2018‬‬

‫ﻳﺒﺸﺮ ْﺑ َﺴﻌﺪه‬ ¡@@ A É@@ @ @ @ @ @ <°* ¤@@ @ @ @ @ @ @ @ @ @ @A4* i*4b@@ @ @ @ @ @ @ @ E°* b@@ @ @ J ¼&°* Í@@ @+ @@ @ @ @ E @ R @ @ Db@@ @ @ @£@ @ @ @ @ @ @ @ + ¥x@@ @ @ @ @ s@ @ @ @ @ @A*H Hv@@ @ @ @ @ @ @ ~@ @8 Mv@@ @ @ @ @<H v@@ @ @ @ @ @<*H ¤@@ @ @ @ @D* @@ c@ @ @ @~@ @7 @@ ~@ @z@ @ @ @D*H ¾H2 rHx@@ @ @ @ @ @ @ @ D* @@ @ @ @£@ @ @ @ c@ @ @ @ J ¡@@ @ @ @ @ @ @ D ¡@@ @ s@ @ @D* &°* b@@ @ J @@ @ @ @£@ @ @ @ A Hb@@ @ @ @~@ z@ @ @ @ F b@@ @ @ @ E @@ @ F f@@ @ @ @ @ @ @ @ @ +H b@@ @ @ @ @ @ @ ~@ @9x@@ @ @ @ @ + ¥x@@ @ @ @ @ @ @ ~@ @{@ @ @ @ @ @+* ¡@@ @ @- b@@ @ @ @g@ @ @ @ c@ @ @ @ p@ @ @ @ E @@ @ @ @ @ D ¥2É@@ @ @ @ @ @ @+ b@@ @ @ @ @ @ @ J @@~@ }@ J b@@ @ @EH É@@ @ @ @ @D* @@ @ £@ @ @ @ @ @~@@Q 8¡@@ @ @ @ @ @ @- @@ @ @ @ @ @ @< ¡@@ @ @- b@@ @ @E @@ @ @£@ @c@ @~@ @6 ¯ 2b@@ @ @ @ @ @ @ @ @ @ @ @ @~@ @{@ @ @ @ @ @D*H @@ @ ~@ 7 b@@ Gw@@ @ @ 1b@@ @ @ @ @ F y@@ @ @ @ @ @ @ @ @ D* eH42 ¤@@ @ @ @ @ @ @ A ¡@@ @ @0 b@@ @ @ ~@ z@ @ @ @ @ @ @ J b@@ @ @ @ @ @ @ E @@ @ @ @ @ /*x@@ @ @ @ @ @ @ @ @ @ @D* @@ @ @ ~@ z@ @ @ B ¤@@ @ @ @ @ @ @ @ c@ @ @J b@@ @ E @@ @£@ @ CH Ñ* f@@ @ ~@ z@ B ¡@@ ~@ @6 @@ @ @ @ @+ É@@ @ @ @ @ @ @ ~@ @z@ @ @ @ @ @ @ @D M,b@@ @ @ @ @ @ @ @ @ @<2 @@ @ @ @ @ 0 y@@ @ DH ¡@@ @ ~@ @ @8 b@@Fv@@ @ @ @ @ @ @ @ < @@ @ @ @B*v@@ @ @ @ @ ~@ |@ @ @ @ @ @DH ¡@@ @ @ @ ~@ @ 7H ux@@ @ @~@ @ @ 7 b@@ @ @c@ @ @ @/ ¯ *v@@ @ @ @ @ + (*H v@@ @ / ¤@@ @ @ @ @ @ D* b@@ @ @ @c@ @ @ @ ²* @@ @ |@ @ @B b@@ @ @ @ ~@@Q @|@ @ @ @ F ¡@@ @ @²b@@ @ @ @ @ @ @ + MÌ@ @m@ @g@ @~@ @z@ @E b@@ @ @ @ @ F*y@@ @ @ @ @ @ @ < (*H @@ @ ~@ 6 Ñ* x@@ @ Eb@@ @ +H v@@ @ @ @ @ ~@ z@ @ @ @ +R x@@ @ @ @~@ {@ @ @ @ c@ @ @ @ J ¡@@ @Av@@ @D* ¥b@@ @ @ @ @´*H b@@ @ A¡@@ @ @ @ D* b@@ @ @ @ @C ¤@@ m@ @ @ @ F @@ @ @²* @@ @ @ 6Hv@@ @ @ FH b@@ @ @ CÄ@@ @ @ D* @@ z@ @ @ @ @ @<v@@ @ @ @ @ @ @ F ¡@@c@ F *v@@ @ @ +* °H b@@ @ +b@@p@ @ @ @ ~@ 8* ¡@@ @ @ @s@ @ @ @ F b@@ @ @ @E ¼w@@ @ @D* ¯¡@@ @ @ @ F v@@ @ <¡@@ @ Db@@ @ + b@@ @ @ @ @ Fv@@ @ @ @ @ <H (*H ¡@@ @< @@ @ @C ¥H*v@@ @ @ @ @ @F b@@ @ @ @ @ @ @-2b@@ @ @ @ @ B x@@ @ @ @ @ @ @ Eb@@ @ @ @ @ @ @ + @@ @ ~@ @ @ 8&°*H @@ @ @ @ @ +°* oÉ@@ @ @ @ @ @ @< @ R @ @ @ @ @ £@ @ @ @ @ @A4b@@ @ @ @ @ < ¡@@c@ @ @ @ ~@ 6 t@M @ @£@ @ ~@ @ 7 @@ @ /x@@ @ @ @ @ @ @ @ @ @ @ @ @ D b@@ @ @ @ @ F2b@@ @ @ @ @ B @@ @ @´* Ì@@ @ @= b@@ @ @ @ @ @ @D b@@ @ @ @ @ E @@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @D*H ¡@@ @² 24b@@ @ @ @ @ E @@ @ @ @ D v@@ @ @ @ @ @ @Db@@ @1 ¡@@ @ @ @ + @@ @ @ @ @ j@ @ @ @ @ @E @@ @/4 @@ @ @~@ @ @ 6*4 @@ @ @ @94&°b@@ @ @ @+ @@ @ @ @ @ @ @~@ @6 ¡@@ @ @ @ @ D

baytelshear ‫اﻟﺸﻌﺮ‬ ِ ‫ﺑﻴﺖ‬

‫ﻫﺎدف اﻟﺪرﻋﻲ‬

ĘıĘŕ

‫ﻣﺘﻮﺣﺪﻳﻦ ﺑﻴﻮت واﻓﺮاح وآﻫﺎت‬

‫ﻋﺒﻴﺪ ﺑﻦ ﺧﺼﻴﻒ اﻟﻜﻌﺒﻲ‬ @ obaidalkabi

i*4*5¡@@ @ @ @ @ @ @ @ @ @ D* @@ @ @ @gR @ @ @ @ cN @ @ @ @ gN @ @ @ @ CR * b@@ @ @ @ E b@@ @ @ @ @ @ @ F°H b@@ @ @ @ @p@ @ @F b@@ @ @ @ @ @ Ey@@ @ @D b@@ @ @ @ @ @ @ @ @ @ @ F°H ,È@@ @ @ @ @ @ @ @ @ C ¯ Qv@ @ @ @ @ @ @ @ @ @0 b@@ @ @ @ @ @ @E i*3 Iv@@ @ @ @~@ @ @ @ 8 @@ @ @ @ @E @M @ @ @ @ @+b@@ @ @ @ @F b@@ @ @ @ @ @ @ @ F°H b@@ @ @ @ @ @ p@ @ @ F b@@ @ @ @ @ @ @ »3 ¥w@@ @ @ @ @ @ @ @ @ @ @ @ GH b@@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ B*¡@@ @ @ @ @E ¥w@@ @ @ @ @ @ @ @ @ @G ib@@ @+¡@@ @ @ @ ~@ @ 8H v@@ @ £@ @ @C h@@ @ @ B¡@@ @ @ D* v@@ @ @Jy@@ @ @J b@@ @ @ E @@ @ @ @ @CH b@@ @ @ @ @ @ @ @ @ p@ @ @ g@ @ @ D*H x@@ @ @ @ @ @ @ @ @ @ @ @ @ E&°* ,°¡R @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @DP 2x@@ @ @ @ @ @ @ @ @F ib@@ @ @ @ @ @ @ BH*H Hx@@ @ @ @ @ @ @ @ @+ 4*v@@ @ @ @ @ @ @ @ D* d@@ @ @ @ 0 2*5 b@@ @ @ @ E b@@ @ @ @ Ey@@ @g@ @ 0* b@@ @ Fx@@ @ @ @ @~@ @ @8 ¯ @@ @ @ @+ @@ @ @ @:¡@@ @ @ @D* d@@ @ @ @0 ib@@ @ @ <b@@ @ @ :H Kb@ @ @ @ @ @ @ @ @~@ @ @6 b@@ @ @ @ @ @ @ @~@ @ @6 ¡@@ @ @ @+ b@@ @ @ @J x@@ @ @ @ @ @ @E%* b@@ @ @ @ @ @ Ey@@ @ @< b@@ @ @ @ @ @ @ @ @Ey@@ @ @ @ < b@@ @ @ @ @ Q @ @ @ @ @ @E *3(* b@@ @ @ @ @ @ @ @ @ @ @0* i*4*x@@ @ @ @ @ @ @ B *¡@@ @ @ @-w@@ @ @ @s@ @ @ @ -* *3* @@ @ @ @ F&b@ @ @ @ @+ @@ @ @ @ E'¡@ @ @ @ @F b@@ @ @ @ @Ey@@ @ g@ @ @D* 2¡@@ @ @ @ @ @ c@ @ @ Db@@ @ @+ H ¥*4 v@@ @ @ @ @ @ < @@ @ @ @ @< ib@@ @ @ @ @£@ @ @GH Kb@ @ @ @ @ @£@ @ @ @ @ @/ b@@ @ @ @ @£@ @ @~@@ Q@ 8¡@@ @ E v@@ @ @ @ @ @ @ J*5 b@@ @ @ @ @ ~@ @ z@ @ @ @ F* b@@ @ @ @ E ¥v@@ @ @£@ @ @ ~@ @ @ 6 b@@ @ @ @ J @@ @ @ @ @ @ @ @ @J*4 @@ @ @ @ < ib@@ @ @ @ @ @ @ @ @ ´* ¡@@ @ @ @ £@ @ @ @ @+ v@@ @ @ @ Db@@ @ @ @ 1 ¡@@ @ @ @ @ + b@@ @ @ @ @ J b@@ @ @ @ Fw@@ @ @ @ 1 b@@ @ @ @ @ @ @ @ G @@ @ @ +b@@ @ @ ~@ @ @ z@ @ @ - @@ @ @ @ @ @ @ @ @/° b@@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @0*H4&* i*4b@@ @ @ @~@ @ @ @ {@ @ @ @ c@ @ @ @ D* ¡@@ @ @ @~@ @ @ @ z@ @ @ @ F b@@ @ @ @ @ @ @ @ @EyQ @ @ @ @ @« *3(* b@@ @ @ @ @ @ @~@ @6 b@@ @ @ Fw@@ @ @ 1 4b@@ @ @ @ j@ @ @ @ @D* w@@ @ @ @ @ @1H ¡@@ @ @ @ @ @A @@ @ @ @ E i*4b@@ @ @ ~@ @ @ |@ @ @ g@ @ @ F°* ¢@@ @ @ @ @ @ < b@@ @ @ @ ~@ @ z@ @ Ab@@ @ @ @ J v@@ @ @ @ 0 b@@ @ @ @ E b@@ @ @ @ @ @ £@ @ B @@ @ @ @ @ @E ,v@@ @ @ @ @ @ @ @ @ @ @ 0*H °* b@@ @ @ @ @ @ @ @ Q @ @ @ @ C b@@ @ @ @ @ @E ib@@ @ @ @ @ @ @ @ @G%*H r*x@@ @ @ @ @ @ @ @ @ @ @ @ A*H i¡@@ @ @ @ £@ @ @ @ @+ @@ @ @ Jv@@ @ @ 0¡@@ @ @ g@ @ @ @E b@@ @ @ @ @ @ @´&b@ @ @ @+ Í@@ @ @ @ @ @ @F¡@@ @ @ @ @ @ @D* b@@ @ @ @ @ @ @ @ @ ~@ @ @ 6b@@ @ @ @ @ @ - ¢@@ @ @ @g@ @ @ @ 0 i*4b@@ @ @ @ @ @ @ @ @ @ E(°* @@ @ @ @ @ @ @ G&* b@@ @ @ @ J b@@ @ @ @ @ @ @0* x@@ @~@ @ |@ @ g@ @ s@ @ ´b@@ @+ b@@ @ @ @ @ @ @ @ @ @ @< *w@@ @ @ @ @ @ @ @ @ @ @ @ @ GH v@@ @ @ @ @ @ @ @ @ @ @ @ @ 0H Mf@ @ @ @ @ @ @ @ @ @£@ @ @ @ @c@ @ @ @ @B

2018 ‫ دﻳﺴﻤﺒﺮ‬، 73 ‫اﻟﻌﺪد‬

‫ ‪ ǽǕōǙ ƐŌƈ ǛƣǷǕŌ ŧǔǃ ǛƣǷǕŌ ŌǷǕōǃ‬‬

‫ﻳﻘﻮل اﻟﺸﺎﻋﺮ ﻣﺼﺒﺢ ﺑﻦ ﻋﲇ اﻟﻜﻌﺒﻲ‪ :‬اﻟﻴﻮم اﻟﻮﻃﻨﻲ ﻳﻠﺨﺺ ﻛﻞ اﻟﻘﻴﻢ‬ ‫اﻟﻮﻃﻨﻴﺔ وﻳﺠﺴﺪ اﺳﻤﻰ ﻣﻌﺎين اﻻﻧﺘامء إﱃ اﻷرض ﻳﺪﻏﺪغ اﳌﺸﺎﻋﺮ‬ ‫وﻳﻔﻴﺾ ﺑﻬﺎ ﻟﻨﻌﱪ ﻋام ﰲ اﻟﻮﺟﺪان ﻣﻦ وﻓﺎء ووﻻء ﻟﻮﻃﻨﻨﺎ اﻹﻣﺎرات‪.‬‬ ‫واﻟﻜﺘﺎﺑﺔ ﻋﻦ اﻟﻮﻃﻦ‪ ،‬أﺷﺒﻪ ﺑﺘﻄﻮاف أﻧﻴﻖ ﺣﻮل ﺳــاموات اﻟﻔﺮح‬ ‫وﻓﻀﺎءات اﻷﻟﻖ‪ ،‬ﻷﻧﻬﺎ ﻧﱪة ﺣﺮف ﺷﺠﻲ ﺗﻨﺴﺞ ﺻﻔﺤﺎت اﳌﺠﺪ اﳌﱰﻋﺔ‬ ‫ﺑﻌﺸﻖ اﻟﱰاب اﻟﺬي ﺻﻨﻊ "ﻣﻠﺤﻤﺔ وﻃﻦ ﻳﻌﺸﻖ اﻟﺨﻠﻮد"‪ .‬ﻳﻮم اﻟﻮﻃﻦ‬ ‫ﻳﻮم ﴍف وﻓﺨﺮ واﻋﺘﺰاز ﻧﺘﺬﻛﺮ ﻓﻴﻪ اﻵﺑﺎء واﻷﺟﺪاد وﺟﻬﺪﻫﻢ اﻟﺠﺒﺎر‬ ‫ﻟﻘﻴﺎم ﻫﺬي اﻟﺪوﻟﺔ اﻟﻔﺘﻴﻪ‪ .‬ﻳﻮم ﻧﺤﺲ ﻓﻴﻪ ﺑﺎﻟﱰاﺑﻂ واﻟﺘﻼﺣﻢ وﻳﺰﻳﺪﻧﺎ‬ ‫ﻗﻮه ﻟﻼرﺗﻘﺎء ﺑﻬﺬا اﻟﻮﻃﻦ اﻟﻐﺎﱄ‪.‬‬ ‫ ‪·b@@ E @@ @ @ 6*4 @@ @:¡@@ @D* h@@ @ B @@ @:¡@@ @D* *¡@@ @Db@@ @B‬‬ ‫‪ @@ @Fb@@ @ @ @ EH b@@ @ @£@ @ @ C ·b@@ @ @ @ @E @@ @ @ :¡@@ @ @ D* H2‬‬ ‫* <@ @ @@‪·b@@ @ @ @ @´* ¡@@ @ @£@ @ @ < ¯ b@@ @ @ @ ~@ @ {@ @ < @@ @ @7b‬‬ ‫‪ @@ @Fb@@ @ @ @ ´* ¡@@ @ £@ @ @ < ¯ b@@ @ @ @ @~@ @9 b@@ @ ~@ @ @ 9 *H‬‬

‫‪ ōǝƈǶƃƛ ǻǔƫ ǖōƓǶ‬‬

‫‪ŧǝŐǶ ōǝŐ Ƿǥ ǛƣǷǕŌ‬‬

‫اﻟﺸﺎﻋﺮ اﻟﺪﻛﺘﻮر أﻛﺮم ﺟﻤﻴﻞ ُﻗﻨﺒﺲ )ﺳﻮرﻳﺎ( أﻛﺪ أن اﻟﻴﻮم‬ ‫اﻟﻮﻃﻨﻲ ﻳﻮم ﻧﺠﺪد ﻓﻴﻪ اﻟﻌﻬﺪ ﺑﺎﻟﻮﻓﺎء ﳌﺴرية ﻫﺬا اﻟﻮﻃﻦ‬ ‫وﻧﺠﺪد ﻓﻴﻪ اﻟﻌﻬﺪ ﻋﲆ أن ﻧﻜﻮن ﺣﺮﻳﺼني ﻋﲆ اﻻﺣﺘﻔﺎء‬ ‫ﺑﻪ أﺻﺎﻟﺔ وﺣﻀﺎرة وﺗﻘﺪﻣﺎً ﻳﺴﺘﻠﺰم ﻣﻨﺎ ﺑﺬل اﻟﺠﻬﻮد‬ ‫اﳌﺨﻠﺼﺔ ﻟﺮﻓﻌﺘﻪ وﺣامﻳﺘﻪ ورﻗﻴﻪ‪ .‬واﻟﻴﻮم اﻟﻮﻃﻨﻲ وﺳﺎم‬ ‫ﻋﲆ ﺻﺪورﻧﺎ وﻧﻘﺶ ﻋﲆ أﻛﺒﺎدﻧﺎ ﻻ ميﻜﻦ اﻟﺘﻨﺎزل ﻋﻨﻪ‬ ‫أو ﺗﺸﻮﻳﻪ ﺻﻮرﺗﻪ ﻣﻬام ﻛﺎﻧﺖ اﻟﻈﺮوف‪.‬‬ ‫اﻟﻮﻃﻦ ﻫﻮ اﻟﺮوح اﻟﺜﺎﻧﻴﺔ اﻟﺘﻲ ﺗﻨﺒﺾ ﺑﻘﻠﺐ ﻛﻞ إﻧﺴﺎن‬ ‫ﻳﺤﺐ وﻃﻨﻪ ﺑﺈﺧﻼص ﻣﻨﻘﻄﻊ اﻟﻨﻈري‪.‬‬ ‫‪ @M @ P:¡@@ E ¯ R @ @ @ GO $N b@@ @ @E2P N ¡@@ @ @+Q &b@ @g@ @J‬‬ ‫‪xO @ P @@j@ JO K*x@@ ~@ @|@ @FH Kb@ @Ey@@ < O @ @ @DN *¡@@ @ g@ G‬‬ ‫‪¤@@g@ cQ @ 0&* Oh@@ £@ + PexR @ @ O @ @ D* nO @ £@ @ 1 *w@@ @G‬‬ ‫‪xO @ m@Q @ @ g@ J b@@ @A¡@@ @D* O @ @ c@ @ F P @ @ P @ @ ~@R@ @{@ @ @ @ +P HN‬‬

‫وﻗﺎﻟﺖ اﻟﺸﺎﻋﺮة أﻣﺎين ﺳﻴﺪ ﻣﺤﻔﻮظ )ﻣﴫ( إن اﻟﻮﻃﻦ ﻛﻠﻤﺔ‬ ‫ﺗﺘﺴﻊ ﻋﲆ ﻣﻦ ﻳﻌﺮﻓﻮن ﻣﻌﻨﺎﻫﺎ وﺗﻀﻴﻖ ﻋﲆ ﻣﻦ ﻳﺠﻬﻠﻬﺎ‪.‬‬ ‫ﻓﺎﻟﻮﻃﻦ ﻫﻮ اﻟﺤﻀﻦ اﻟﺬي ﻧﺸﺘﺎق إﻟﻴﻪ إذا ﻣﺎ أﺧﺬﻧﺎ اﻟﺴﻔﺮ‬ ‫ﺣﺘﻰ ﻟﻮ ﻷﻳﺎم‪ .‬وﻫﻮ اﳌﻼذ‪ ،‬اﻷﻣﺎن‪ ،‬واﻷﻣﻞ‪ .‬وﻣﺎ ﻓﺎت وﻛﻞ ﻣﺎ‬ ‫ﺳﻴﺄيت‪ .‬اﻟﻮﻃﻦ ﻫﻮ أﻧﺎ وأﻧﺖ وﻫﻲ وﻧﺤﻦ ﺟﻤﻴﻌﺎً‪ ،‬ﺑﺪوﻧﻪ ﻻ‬ ‫ﻫﻮﻳﺔ ﻷﺣﺪ؛ ﻻ ﺣﻴﺎة ﻷﺣﺪ؛ وﻻ أﺣﺪ ﻷﺣﺪ‪.‬‬ ‫‪ v@@ £@ @ @ @+ h@@ @ @ @ @ @ C b@@ @ @ @ @ @ @ @E @@ @ c@ @ @p@ @ @+‬‬ ‫‪ @@ -Ì@@ ~@ @6 d@@ @ @£@ @ @ /* b@@ @ @ ´ rb@@ @ @ @ -x@@ @ @ @ +H‬‬ ‫‪ v@@£@ < @@ @ @ @ : rx@@ @ @ @ @+ @@ @ @ z@ @ @ 0*H‬‬ ‫*‪ @@-4¡@@~@ 8 ¡@@ @~@ @ 7* f@@ +x@@ @ @D* *3‬‬ ‫*&‪ @@ @ £@ F ¢@@ @ @ @ @< @@ @ £@ @ @ @ @ @D* ¡@@ @ @ @ ~@ @ @ @ @7‬‬ ‫‪ @@ @ @£@ @c@ @/ x@@ @ @p@ @ @ c@ @ @ D* @@ @ @ ~@ @ @ @7H‬‬ ‫‪ @@6¡@@Fb@@A f@@ @ ~@ 9b@@0 f@@ @ J5 @@ E 4¡@@ @ FH‬‬ ‫‪ @@ @ @£@ @ @ @ @ @- @@ @ @ @ @~@ @ @6b@@ @ + @@ @ @ @ 6b@@ @ @ @ FH‬‬ ‫اﻟﺸﻌﺮ ‪baytelshear‬‬ ‫ﺑﻴﺖ ِ‬

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‫ ‪¥ũľğı‬‬ ‫‪ǀōǘƫȏŌ ǽƳ ǛƣǷǕŌ‬‬

‫أﻣﺎ اﻟﺸﺎﻋﺮة ﻣﻬﺮة اﻟﻴﺎﳼ )اﻹﻣــﺎرات( ﻓﺘﻘﻮل‪":‬ﰲ ﺣﻀﺎرة‬ ‫اﻟﺸﻌﺮ وﰲ ﻗﺎﻣﻮس اﻟﺸﻌﺮاء مل ﻧﺘﻐﻦَ ﺳﻮى ﺑﺸﻴﺌني ﻫام‪:‬‬ ‫)اﻟﺤﺐ واﻟﻮﻃﻦ(‪ .‬وﻣﻦ ﻋﺎدة اﻟﺸﺎﻋﺮ أن ﻻ ﻳﻨﺴﺞ ﺣﺮوﻓﻪ‬ ‫أﺷﻌﺎراً وﻗﺼﺎﺋﺪاً إﻻ وﻗﺪ ﺗﺄﺻﻠﺖ ﻣﺤﺒﺔ ﻫﺬا اﻟﻮﻃﻦ ﰲ‬ ‫أﻋامﻗﻪ‪ ،‬واﺷﺘﻌﻠﺖ اﻟﻘﺮﻳﺤﺔ ﻟﺘﻔﺮغ ﻣﺎ ﺑﺠﻮﻓﻬﺎ ﻣﻦ ﻣﺸﺎﻋﺮ‬ ‫ﻋﱪ ﻋﻦ اﻟﻮﻃﻦ ‪...‬‬ ‫ﻓﻴﺎﺿﻪ‪ ،‬وﻣﻬام ﻛﺘﺐ اﻟﺸﺎﻋﺮ وﻣﻬام ّ‬ ‫ﺗﺠﺪه ﻻﻳﺰال ﻣﺘﻌﻄﺸﺎً ﻟﻴﻜﺘﺐ اﳌﺰﻳﺪ‪ ،‬وﻻ ﻳﺴﺘﻄﻴﻊ أن‬ ‫ﻳﻌﱪ ﻋام ﺗﺨﺎﻟﺠﻪ ﻣﻦ ﻣﺸﺎﻋﺮ‪ .‬ﻓﻴﺪرك أن اﻟﻮﻃﻦ أﻛﱪ ﻣﻦ‬ ‫وﺻﻔﻪ وﺗﻌﺒريه ﺑﺤﺮوف وأﺷﻌﺎر"‪.‬‬

‫ ‪ǳƪǾŞǕŌǶ‬‬ ‫ ‪ŋȍǷǔǕ‬‬ ‫‪ƋǿƋƪũ‬‬ ‫‪ɵ‬‬ ‫‪ɵ‬‬ ‫‪ɵ‬‬

‫ﺑﺪورﻫﺎ ﻗﺎﻟﺖ اﻟﺸﺎﻋﺮة رﺣﺎب ﻳﻮﺳﻒ اﻟﺒﺤﺮﻳﻦ )إﺣﺴﺎس‬ ‫ٌ‬ ‫ﻣﻨﺎﺳﺒﺔ ﻋﺰﻳﺰة ﻋﲆ اﻟﻘﻠﻮب‪،‬‬ ‫اﻟﺒﺤﺮﻳﻦ( إن اﻟﻴﻮم اﻟﻮﻃﻨﻲ‬ ‫ﻋﺎم ﻟِ ُﺘ َﺬ ِﻛﺮ ﻛﻞ ﻣﻦ ﻋﺎش ﻋﲆ أرﺿﻪ اﻟﻄﻴﺒﺔ‪،‬‬ ‫ﺗﺘﻜﺮ ُر ُﻛ َﻞ ٍ‬ ‫وزرع اﻟﺤﺐ واﳌﺤﺒﺔ واﻟﻘﻴﻢ وﺣﺐ اﻟﺨري‪ ،‬مبﺎ ﻗﺪﻣﺘﻪ ﻟﻪ‪ ،‬ومبﺎ‬ ‫ﻳﻘﺪﻣﻪ ﻫﻮ ﻟﻬﺎ‪.‬‬ ‫وﰲ اﻟﻴﻮم اﻟﻮﻃﻨﻲ ﺗﻌﺰﻳ ِﺰ ﻟﻠﻮﻻ ِء واﻟﺒﻴﻌ ِﺔ ﺑني اﻟﻘﻴﺎدة‬ ‫واﻟﺸﻌﺐ‪ ،‬وﺗﺄﻛﻴ ِﺪ ﻋﲆ اﻟﻮﺣﺪة اﻟﻮﻃﻨﻴﺔ ووﺣﺪة اﻟﺼﻒ‬ ‫واﻟ ُﻠﺤﻤ ِﺔ واﻟﱰاﺑﻂِ اﻻﺟﺘامﻋﻲ‪.‬‬ ‫اﻟﻴﻮم اﻟﻮﻃﻨﻲ ﰲ ﺑﻼدﻧﺎ ﻫﻮ وﻻدة ﻟﻌﴫ ﺟﺪﻳﺪ وﻟﺤﻴﺎة‬ ‫أﻓﻀﻞ‪..‬‬

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‫اﻟﻌﺪد ‪ ، 73‬دﻳﺴﻤﺒﺮ ‪2018‬‬

‫‪ɴ‬‬ ‫ ‪ ǽũŌƈōǙŒ ǽǝǷǉ ǻǔƫ ǽşƈ ŦƃǘŽ‬‬

‫اﻟﺸﺎﻋﺮ ﻋﺒﺪاﻟﻠﻪ اﻟﻬﺪﻳﻪ )اﻹﻣﺎرات( أﻛﺪ ﺑﺪوره أن اﻟﻮﻃﻦ ﻫﻮ ﺗﻠﻚ‬ ‫اﻟﻘﺼﻴﺪة اﻟﺘﻲ ﻛﻠام ﻇﻨﻨﺖ ﺑﺄﻧﻚ ﻗﺪ ﺻﻐﺘﻬﺎ ﺑﺄﺑﻬﻰ ذاﺋﻘﺔ وأﺟﻤﻞ‬ ‫ﺻﻮرة وﺟﺪت أﻧﻚ مل ﺗﺘﻤﻜﻦ ﻣﻦ ﻣﻄﻠﻌﻬﺎ ﻓﱰﻓﻊ ﻳﺪﻳﻚ إﱃ اﳌﻮﱃ‬ ‫ﺳﺒﺤﺎﻧﻪ وﺗﻌﺎﱃ وﺗﺤﻤﺪه ﻋﲆ ﻧﻌﻤﺔ اﻹﻣﺎرات وأﻧﺖ ﺗﺴﺘﻨﺸﻖ ﺑﻜﻞ‬ ‫ﻣﺘﻌﺔ واﻣﺘﻨﺎن ﻧﻌﻤﺔ اﻹﻣﺎرات اﻟﺤﺒﻴﺒﺔ وﻗﻴﺎدﺗﻬﺎ اﻟﺤﻜﻴﻤﺔ ‪.‬‬ ‫اﻟﻮﻃﻦ ﰲ اﻟﺸﻌﺮ ﺣﺎﻟﺔ ﻣﻦ اﻟﺠامل واﻟﺴﻌﺎدة واﻟﺨﻴﺎل وﻫﻮ اﻷﻣﺲ‬ ‫واﻟﻮاﻗﻊ واﻟﺮؤﻳﺔ وﺑﺼﻔﺔ أﺟﻤﻞ ﻫﻮ اﻟﻐﺪ اﻷﻧﻘﻰ دامئﺎً‪.‬‬ ‫اﻟﻮﻃﻦ أﺟﻤﻞ ﻗﺼﻴﺪة ﻳﻘﺮأﻫﺎ اﻟﺸﺎﻋﺮ ﻗﺒﻞ أن ﺗﺠﺴﺪﻫﺎ ﺣﺮوﻓﻪ‬ ‫وأروع ﻗﺼﻴﺪة ﻳﺮاﻫﺎ اﻟﺸﺎﻋﺮ ﺑﺒﴫه وﺑﺼريﺗﻪ وﻳﻌﻴﺶ ﻛﻞ ﺗﻔﺎﺻﻴﻠﻬﺎ‬ ‫اﳌﺴﻜﻮﻧﺔ ﺑﺤﺒﻪ اﻟﺨﺎﻟﺪ ﻗﺒﻞ أن ﻳﻨﺴﺠﻬﺎ ﺣﺮوﻓﺎً وﻳﻘﻄﻔﻬﺎ ﻗﺮاءة ﻣﻦ‬ ‫ﻋﺬوق ﻧﺨﻠﺔ اﻹﺑﺪاع ‪.‬‬ ‫اﻟﻮﻃﻦ أﻛﺴﺠني ﺷﺎﻋﺮﻳﺔ اﻟﺸﺎﻋﺮ وﺣﺎﻟﺔ ﺗﻨﺎص ﻣﻊ روﺣﻪ ومتﺎﻫﻲ‬ ‫ﻣﻊ ذاﺗﻪ‪ .‬وﻗﺼﻴﺪة اﻟﻮﻃﻦ ﻣﻠﻬﻤﺔ ﻻ ﺗﻀﺎﻫﻰ وﻫﻲ ﺳﻴﺪة اﻹﻟﻬﺎم‬ ‫ﻟﻜﻞ أﻏﺮاض اﻟﻘﺼﺎﺋﺪ اﻷﺧﺮى‪ ،‬ﻓﻬﻲ وﺣﺪﻫﺎ اﻟﺘﻲ ﺗﺘﺠﲆ ﺑﺘﺎج اﻟﺴﻤﻮ‬ ‫وﻓﺴﺘﺎن اﻟﺠامل اﻟﺪاﺋﻢ وﻏﺎﻳﺔ اﻟﻄﻤﻮح اﻟﺬي ﻻ ﻳﺤﺪ‪ ،‬وﻋﺬوﺑﺔ‬ ‫اﳌﻮﺳﻴﻘﻰ اﻟﺘﻲ ﺗﺴﻜﻦ اﻷرواح وﺗﻘﻄﻦ اﻟﻘﻠﻮب‪.‬‬ ‫اﻟﺸﺎﻋﺮ ﺣني ﻳﻜﺘﺐ اﻟﻮﻃﻦ ﻳﺠﺪ اﻟﻮﻃﻦ ﻳﻜﺘﺒﻪ ﻣﻦ ﺣﻴﺚ ﻳﺪري‬ ‫وﻻ ﻳﺪري ﻓﺮﺣﺎً وﻃﺮﺑﺎً‪ ،‬ﺛﻢ ﻳﺠﺪ ﻧﻔﺴﻪ ﺻﻔﺤﺔ ﻣﻦ ﺻﻔﺤﺎت ﺷﻌﺮ‬ ‫اﻟﻮﻃﻦ‪ ،‬إن مل ﻳﻜﻦ ﺑﻴﺘﺎً أو ﻧﺘﻔﺔ ﻛﻮن اﻟﻮﻃﻦ دﻳﻮاﻧﺎً ﻻ ﺗﺤﴡ‬ ‫ﺻﻔﺤﺎﺗﻪ‪ ،‬وﻫﻮ ﺣﺐ أﺑﺪي أﺟﻤﻞ أﻏﺮاﺿﻪ اﻟﻮﻻء واﻻﻧﺘامء‪.‬‬ ‫ومبﻨﺎﺳﺒﺔ اﻟﻴﻮم اﻟﻮﻃﻨﻲ ﻟﺪوﻟﺘﻲ وﻣﻮﻻيت اﻹﻣﺎرات اﻟﻌﺮﺑﻴﺔ اﳌﺘﺤﺪة‬ ‫أدﻋﻮ اﻟﻠﻪ ﺳﺒﺤﺎﻧﻪ وﺗﻌﺎﱃ وأﻧﺎ أﺣﻤﺪه وأﻣنت إﻟﻴﻪ ﺑﻨﻌﻤﺔ اﻹﻣﺎرات‬ ‫واﻟﻘﻴﺎدة اﻟﺮﺷﻴﺪة أن ﻳﺪﻳﻢ ﻫﺬه اﻟﻨﻌﻤﺔ اﻟﻐﺎﻟﻴﺔ وأن ﻳﺤﻘﻖ ﻟﻨﺎ‬ ‫رؤﻳﺘﻨﺎ ﺑﺄن ﺗﻜﻮن دوﻟﺔ اﻹﻣﺎرات ﻣﻦ أﻓﻀﻞ دول اﻟﻌﺎمل‪ .‬وﺑﻬﺬه‬ ‫اﳌﻨﺎﺳﺒﺔ أﻗﻮل‪:‬‬ ‫*(‪ b@@ @ @ @ @ c@ @ =&* @@ @ @ . ¤@@ ~@ @ z@ @ @ @ F `@@ @ @ @ @ @ @G&* Á‬‬ ‫< @ @ @ @@‪ Pib@@ @ @Eb@@ @ @<y@@ @ @D* @@ @ @6*Ä@@ @ @F f@@ @ @£@ @ @ @1 ¢‬‬ ‫‪ ¥x@@ @ F ¯ ¡@@ @ @ @ D* b@@ @ @: Í@@ @0 ¤@@ @ @ @ @F&*H‬‬ ‫‪O @ @ @ @ @ 0‬‬ ‫@‪¤@@ @ @-*4b@@ @ @E(* Á¡@@ @ @ C ¢@@ @ @ @ < ¤@@ @ @ +4 iv‬‬

‫‪ƂōżũȍŌ ǓǾƛōƲũ‬‬

‫ﺗﻘﻮل اﻟﺸﺎﻋﺮة زﻳﻨﺐ اﻟﺮﻓﺎﻋﻲ )اﻹﻣــﺎرات( إن‬ ‫اﻟﻮﻃﻦ ﻫﻮ ﻛﻞ اﻟﻘﺼﺎﺋﺪ اﻟﺘﻲ ُﻛﺘﺒﺖ واﻟﺘﻲ مل‬ ‫ُﺗﻜﺘﺐ ﺑﻌﺪ‪ ،‬ﻛﻞ اﻷراﴈ اﻟﺘﻲ ﻗﺪ ﻻ ﻧﺴﻜﻨﻬﺎ‬ ‫ﻟﻜﻨﻬﺎ ﺗﺴﻜﻨﻨﺎ‪ ،‬ﻫﻮ ﻛﻞ اﻟﺘﻔﺎﺻﻴﻞ اﻟﻴﻮﻣﻴﺔ اﳌﺮﺗﺒﻄﺔ‬ ‫ﺑﺎﻟﺰﻣﺎن واﳌﻜﺎن‪ ،‬وﻫﻮ ﻛﻞ اﳌﺸﺎﻋﺮ اﻟﺘﻲ ﻧﺤﻤﻠﻬﺎ‬ ‫اﺗﺠﺎه اﻷﺷﻴﺎء واﻷﺷﺨﺎص‪ .‬ﻫﻮ اﳌﺎﴈ اﻟﺬي ﻣﺮ‬ ‫ﴎﻳﻌﺎً ومل ﻧﺴﺘﻮﻋﺒﻪ ﻛﻠﻪ وﻫﻮ اﳌﺴﺘﻘﺒﻞ اﻟﺬي‬ ‫ﺳﺎﻋﺎت ﻣﻦ اﻟﻴﻮم‪ .‬إﻧﻪ اﻟﻘﻴﺪ‬ ‫ﻳﻘﻒ ﻋﲆ ﺷﻔﺎ‬ ‫ٍ‬

‫اﻷﺷﻬﻰ اﻟﺬي ﻧﺤﺒﻪ ﻧﺤﻦ أﻫﻞ اﻟﺸﻌﺮ‪.‬‬ ‫ً‬ ‫وﻃﻨﻲ ﺗﻜﱪ اﻷوﻃﺎن ﻋﺎﻣﺎ‪ ،‬وﺑﺎﻟﺮﻏﻢ‬ ‫ﻳﻮم‬ ‫ﰲ ﻛﻞ ٍ‬ ‫ٍ‬ ‫ﻣﻦ أﻧﻨﺎ ﻧﺴﺘﺎء ﻣﻦ ﻓﻜﺮة اﻟﻜﱪ واﻟﺘﻘﺪم ﺑﺎﻟﻌﻤﺮ‬ ‫ﻷﻧﻬﺎ ﻗﺪ ﺗﺮﺗﺒﻂ ﺑﻘﻠﺔ اﻟﺠامل واﻟﻘﻮة‪ ،‬إﻻ أن ﻫﻨﺎك‬ ‫ﻣﻦ ﻳﺰداد ﺟامﻻً وﺳﻼﻣﺎً‪ ،‬ﻗﺪراً وﻣﻜﺎﻧ ًﺔ ‪ ..‬ﻣﺜﻞ ﻫﺬا‬ ‫اﻟﻮﻃﻦ !‬ ‫ﰲ ﻣﺜﻞ ﻫﺬا اﻟﻴﻮم اﺗﺤﺪت ﻣﺸﺎﻋﺮﻧﺎ واﺗﺤﺪت‬ ‫رؤاﻧــﺎ ﻓﻜﺎن ﻫﺬا اﻟﺘﺎرﻳﺦ ﻳﻮم وﻻدة ﺟﺪﻳﺪة‬ ‫ﳌﺮﺣﻠﺔ ﺟﺪﻳﺪة ﻫﺎ ﻧﻌﻴﺶ ﺗﻔﺎﺻﻴﻠﻬﺎ ﻛﻞ ﻳﻮم ‪!..‬‬

‫ ‪ ƈǷƀƳ ǣǘƓōş ǣŞŨǈǝ ưƉŽ Ǔǉ‬‬

‫‪ǣǔǾŞƓ ǽƳ ƑƲǜǕōş ǳǾżƞŨǕŌ‬‬

‫ﺣﻤﺪان اﻟﺴامﺣﻲ )اﻹﻣﺎرات( ﻳﻘﻮل إن اﻟﻮﻃﻦ ﻳﻌﻨﻲ اﻟﻜﺜري‬ ‫واﻟﻜﺜري‪ ،‬ﻳﻌﻨﻲ اﻟﺤﻴﺎة واﻟﻮﺟﻮد‪ ،‬اﻟﻮﻃﻦ ﻧﺒﺾ اﻹﺣﺴﺎس‬ ‫واﳌﺸﺎﻋﺮ‪ ،‬اﻟﺘﻲ ﺗﺴﻜﻦ ﻗﻠﻮب اﻟﻨﺎس‪ .‬واﻟﻮﻃﻦ روح اﻟﻘﺼﻴﺪة‬ ‫ﻟﻠﺸﺎﻋﺮ وﺑﺤﺮﻫﺎ وﻟﺤﻨﻬﺎ اﻟﺬي ﻳﺘﻐﻨﻰ ﺑﻪ‪ .‬إﻧﻪ ﺣﺐ ﻻ ﻳﻨﺘﻬﻲ‬ ‫وﻳﺒﻘﻰ ﻣﺎ ﺑﻘﻴﺖ أرواﺣﻨﺎ ﺣﻴﻪ‪ .‬وﻫﻮ ﻗﺼﻴﺪة اﻟﺸﺎﻋﺮ وﺣﺮوﻓﻬﺎ‬ ‫ﻧﺒﺾ ﻗﻠﺒﻪ‪ ،‬وﻣﻬام ﻛﺘﺐ ﻻ ﻳﻮﰲ ﺗﻌﺒريه ﺣﺐ اﻟﻮﻃﻦ‪.‬‬ ‫*‪v@@£@~@|@ @D*H x@@<b@@~@{@´* @@}@c@F @@:¡@@D‬‬ ‫*‪4¡@@ @ ~@ 7H @@z@ 0 b@@ @ +¡@@ @ B @@ :¡@@ D‬‬ ‫‪v@@£@ ~@ {@ F @@ @ + ¤@@ @ @ @ @FH @@ @ ² @@ Ay@@ @ @F‬‬ ‫‪4¡@@s@ A @@ @ ~@ 6b@@+ @@c@ g@ @ F x@@ @ 0 @@ @C‬‬

‫اﻟﺸﺎﻋﺮة اﻟﺪﻛﺘﻮرة ﻓﺎﻃﻤﺔ اﻟﺤﺎي )اﻹﻣﺎرات( رأت أن ﺣﺐ‬ ‫اﻟﻮﻃﻦ ﺷﻌﻮر وﺟﺪاين وإﺣﺴﺎس ﻧﻔﴘ ﻧﺎﺑﻊ ﻣﻦ ﺧﻠﺠﺎﺗﻨﺎ‪،‬‬ ‫ﻳﱰﺟﻤﻪ اﻟﻌﻤﻞ وﻳﺒﻠﻮره اﻟﻮﻋﻲ إﱃ ﺗﺠﺴﻴﺪات ﻋﻤﻠﻴﺔ ﺗﻌﱪ‬ ‫ﻋﻦ اﻟﺘﻀﺤﻴﺔ ﺑﺎﻟﻨﻔﺲ ﰲ ﺳﺒﻴﻠﻪ‪ ،‬واﻹﺧﻼص ﻟﻪ‪ ،‬واﻟﻌﻤﻞ ﻣﻦ‬ ‫أﺟﻞ رﻗﻴﻪ وﻋﺰﺗﻪ وﺗﻘﺪﻣﻪ ﻟﻴﻜﻮن ﻣﻔﺨﺮة ﻟﻜﻞ ﻣﻮاﻃﻦ ﺣﻘﻴﻘﻲ‬ ‫ﻳﺸﻌﺮ ﺑﺎﻟﻮﻻء واﻹﻧﺘامء ﻟﻬﺬه اﻷرض اﻟﻄﻴﺒﺔ‪.‬‬ ‫واﻟﺸﺎﻋﺮ ﻟﺴﺎن أﻣﺘﻪ ﻳﻨﻄﻖ ﺑﻔﺮﺣﻬﺎ ووﺟﻌﻬﺎ‪ ،‬ﻣﺮﺗﺒﻂ ارﺗﺒﺎﻃﺎً‬ ‫ﻋﻀﻮﻳﺎً ﺑﺸﻌﺒﻪ وأﻣﺘﻪ وأرﺿﻪ وﺑﺎﻟﺘﺎﱄ ﻓﻬﻮ ميﻨﺢ ﻣﻦ اﻟﻮﺟﺪان‬ ‫اﻟﻌﺎم ﻟﻴﻌﻴﺪ ﻣﺎ ﻳﻨﺘﺠﻪ إﱃ اﻟﻮﺟﺪان اﻟﻌﺎم‪.‬‬ ‫ﺣﺐ اﻟﻮﻃﻦ ﻳﻌﻨﻲ أن ﻧﻜﻮن ﺻﻮرة ﻣﴩﻗﺔ ُﺗﱪز ﻣﻨﻈﻮﻣﺔ‬ ‫اﻟﻘﻴﻢ واﻷﺧﻼﻗﻴﺎت واﻟﺴﻠﻮﻛﻴﺎت اﻟﺠﻤﻴﻠﺔ اﻟﺘﻲ زرﻋﻬﺎ ﻓﻴﻨﺎ‬ ‫اﳌﺆﺳﺲ اﻟﺸﻴﺦ زاﻳﺪ وﻗﺎدة وﻃﻨﻨﺎ اﻷوﻓﻴﺎء‪.‬‬ ‫ﺣﺐ اﻟﻮﻃﻦ ﻳﻌﻨﻲ أن ﻧﻮاﺟﻪ ﺑﺤﺰم وﴐاوة ﻛﻞ ﻣﻦ ُﻳﺮﻳﺪ‬ ‫اﻟﻌﺒﺚ مبﻘﺪراﺗﻨﺎ واﻟﻨﻴﻞ ﻣﻦ وﺣﺪﺗﻨﺎ اﻟﻮﻃﻨﻴﺔ وزرع اﻟﻔﺘﻨﺔ‬ ‫ﺑﻴﻨﻨﺎ‪ ،‬ﻷن اﻟﻮﻃﻦ ﻫﻮ ﺳﻔﻴﻨﺘﻨﺎ اﻟﺘﻲ ﺳﺘُﺒﺤﺮ ﺑﻨﺎ ﺟﻤﻴﻌﺎً ﻟﺸﻮاﻃﺊ‬ ‫اﻷﻣﺎن واﻻﺳﺘﻘﺮار واﻟﻨامء‪.‬‬

‫أﻣﺎ اﻟﻴﻮم اﻟﻮﻃﻨﻲ ﻓﻬﻮ ﻳﻮم ﻣﻴﻼد وﻃﻨﻲ‪ ،‬ﻟﻪ ﻓﺮﺣﺘﻪ اﻟﻌﻈﻴﻤﺔ‪،‬‬ ‫وﻫﻮ اﻟﻌﺰ واﻟﻔﺨﺮ واﳌﺠﺪ وروح اﻻﺗﺤﺎد‪ ،‬اﻟﻨﺒﺾ اﻟﺨﺎﻟﺪ ﰲ‬ ‫ﻗﻠﻮب اﻟﺸﻌﺐ وﺣﺒﻬﻢ ﻟﻠﻘﻴﺎدة اﻟﺮﺷﻴﺪة ‪..‬‬ ‫*‪2¡@@ @ @ /HH b@@ @£@ @ 0 Ä@@ @ @~@ @z@ @J2 Í@@ @ @ @ .‬‬ ‫‪ @@:¡@@D* 2*¡@@ @ @A @@ @ E @@}@ c@ F @@ E¡@@ J‬‬

‫اﻟﺸﻌﺮ ‪baytelshear‬‬ ‫ﺑﻴﺖ ِ‬

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‫ ‪¥ũľğı‬‬

‫‪ɴ‬‬ ‫}‪mǽũŌƈōǙŒ ǽǝǷǉ ǻǔƫ ǽşƈ ŦƃǘŽ ǼƉƦǝ ǽƳ ǚǷǈǕŌ ưōƣ ǛǾŽ ǽǜǝŐǶ‬‬

‫‪b‬‬ ‫‪b‬‬ ‫ﺷﻌﺮاء‪ :‬اﻟﻮﻃﻦ ﻋﻨﻮان اﻟﺸﻌﺮ وأﺟﻤﻞ اﻟﻨﻌﻢ‬ ‫ﺗﺤﻘﻴﻖ ﻣﺤﻤﺪ ﻋﺒﺪ اﻟﺴﻤﻴﻊ‬

‫اﻟﻮﻃﻦ ﻳﻌﻨﻲ اﻻﺣﺘﻮاء واﻟﺴﻜﻴﻨﺔ‪ ،‬واﻟﺸﻌﺮاء ﻳﻌﺸﻘﻮن اﻟﻮﻃﻦ وﻳﺘﻐﻨﻮن ﺑﺤﺒﻪ دامئﺎً ﰲ ﺷﺘﻰ اﻟﺼﻮر‪.‬‬ ‫ﻫﻮ اﻟﺤﻴﺎة ﺑﻜﻞ ﻣﻌﺎﻧﻴﻬﺎ‪ ،‬دفء اﻟﺮوح وﺳﻜﻴﻨﺔ اﻷﺣﺮف‪ ،‬وﻫﻮ اﻟﻘﺼﺎﺋﺪ اﻟﺘﻲ ﺷﻜﻠﺖ وﺟﺪان اﻟﺸﻌﻮب وﻋﺰزت ﻓﻴﻬﻢ ﻗﻴﻢ‬ ‫اﻟﻮﻓﺎء واﻻﻧﺘامء ﻟﻪ‪.‬‬ ‫واﻟﻮﻃﻦ أﻳﻘﻮﻧﺔ اﻟﻜﻠامت ﰲ ﻋﻴﻮن اﻟﺸﻌﺮاء‪ ،‬واﻟﺤﺪﻳﺚ ﻋﻨﻪ ﻳﺸﺒﻪ اﻟﺤﺪﻳﺚ ﻋﻦ اﻟﺤﻴﺎة ﺑﺎﻣﺘﺪادﻫﺎ ﻷن ﻣﻦ اﻟﺼﻌﺐ اﺧﺘﺼﺎره‬ ‫ﰲ ﻣﺴﺎﺣﺔ أو ﻛﻠﻤﺔ؛ ﻧﻈ ًﺮا ﻻﺗﺴﺎع ﻣﻌﻨﺎه اﻟﺸﺎﺳﻊ‪.‬‬ ‫ﰲ ﻫﺬه اﻷﻳﺎم اﳌﻀﻴﺌﺔ ﺑﺘﺎرﻳﺦ ﻋﻨﻮاﻧﻪ اﳌﺠﺪ‪ ،‬ﻣﺎ أﺣﻮﺟﻨﺎ ﻻﺑﺘﻜﺎر أﻟﻮان وأﺳﺎﻟﻴﺐ ﺟﺪﻳﺪة وﻣﺨﺘﻠﻔﺔ ﻟﻠﺘﻌﺒري ﻋﻦ ﺣﺒﻨﺎ وﻋﺸﻘﻨﺎ‬ ‫ووﻓﺎﺋﻨﺎ ﻟﻠﻮﻃﻦ وأرض اﻹﻣﺎرات اﻟﻄﻴﺒﺔ اﻟﺘﻲ ﻧﻔﺨﺮ ﺑﻬﺎ وﻧﻌﺘﺰ ﺑﺎﻻﻧﺘامء إﻟﻴﻬﺎ‪ .‬ﻓﻴﻬﺎ ﺗﻌﻠﻤﻨﺎ ﻛﻴﻒ ﻧﻘﺮأ وﻧﺤﺐ‪ ،‬وﻓﻴﻬﺎ ﻧﺸﺄﻧﺎ‬ ‫وﻓﻬﻤﻨﺎ ﻣﻌﻨﻰ اﻟﺘﺴﺎﻣﺢ واﻟﺴﻼم‪.‬‬ ‫ﰲ ﻫﺬا اﻟﺘﺤﻘﻴﻖ ﻛﻮﻛﺒﺔ ﻣﻦ اﻟﺸﻌﺮاء اﻹﻣﺎراﺗﻴني واﻟﻌﺮب ﻳﺴﺠﻠﻮن ﻣﺸﺎﻋﺮﻫﻢ ﺣﻮل ﻣﻨﺎﺳﺒﺔ اﻟﻴﻮم اﻟﻮﻃﻨﻲ‪..‬‬

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‫اﻟﻌﺪد ‪ ، 73‬دﻳﺴﻤﺒﺮ ‪2018‬‬

‫رﻣﺰ اﻟﻌﺰ‬ 2b@@ @ @ @ @ @ @«°* v@@ @ @ £@ @ @ @< v@@ @ @ @ @m@ @ @ @ @ ´*H ¥v@@ @ @ @ @£U @ @ @ @ @ < 2¡@@ @ @~@ @7 µb@@ @ @ @ @ @ Db@@ @ @G ¡@@ @ @ £@ @ @ @ <H ¥v@@ @ @ £U @ @ @ @ < 2*¡@@ @ ±* x@@ @ @; ¢@@ @ @< Yv@@ @ @ @ @J*5Z oxN @ @ ~@ @ 6 @@ @E 2Hv@@ @ @0 @@ @ @£@ @< ¯ v@@ m@ @ @ @ @ @D Iv@@ @ @ @ @ P= b@@ @ @E 2*5H *v@@ @ @£@ @ @ c@ @ @ A @@ @ @ Q @ @ @ @/ b@@ @ @ @ @g@ @ @p@ @ @FP ¡@@ @ @ @ G 2¡@@ @ /¡@@ @ D* ¡@@ @ @ @ A @@ @ @ @ -b@@ @A i4b@@ @ @ ~@ @ @ @8 Í@@ @ @ D 2*x@@ @ @ ´* @@ @ @ @ @+* i4b@@ @ @~@ @ @ 8 4¡OQ @ @ @ @ @ @ gNQ @ @ @ Db@@ @ @+ 2H4¡@@ @ @ @ Db@@ @ @ @ + @@ @ @£@ @ @ @ @ @ =N @@ @ @ @ ~@ @ @ @ @9H4 b@@ @ @ @ @ @ @ QP @ @ @ @C 2*¡@@ @ @ @ @ @ D* d@Q @ @ @ @ @ @ DP b@@ @ @ @ @ @ /*x@@ @ @+b@@ @ @+ h@@ @ @ @ D5N b@@ @ @ @ = 2¡@@ @ @~@ @8 ¯ b@@ @ @ @ JÈ@NQ @ @ @ @ D* i4b@@ @ @ ~@ @ @ @8 Í@@ @ @ D 2b@@ @ C¡@@ @ D* ¡@@ @ @ @ @ @ D* w@@ @ 1 Y @@ @ @ @ £@ @ @ @ 1Z b@@ @ J 2¡@@ @ @/ b@@ @Gb@@ @ @ @ 0 @@ @ @< x@@ @ @~@@P @ @{@ @ @ +&* °¡N @ @ @ @Db@@ @ @ + 2*2H ¢@@ @ @ @ =&* d@@ N @ @~@ @{@ @D* ¡@@ @£@ @ < @@ @ A @@ @ g@ @ @F(* 2¡@@ @ ~@ |@ D* 4b@@ @ @ @ @~@@R @ 7H y@@ @ @ @ D* y@@ @ @ E4 @@ @ g@ @ @F*H 2b@@ @ @ ~@ @ @ 74H @@ @ @ @ @ @ P0 ¯ Ì@@ @ @ ³b@@ @ @ + b@@ @ @ @ @-v@@ @ B 2¡@@ m@ ~@ z@ D* ¯ b@@ @ @Fb@@ @ @<2P @@ p@ ~@ |@ + @@ @ @ @ @ @ JP H 2b@@ ~@ 8 ib@@ @ Eb@@ @ @ @ D* Yv@@ @ @~@ @ @ 7*4¡@@ @ @+Z @@ @c@ @ Jb@@ @FH 2¡@@ @ ±* k@Q @ @p@N @ @+ ¤@@ ~@ {@ Â N @@m@ @ F d@@ ~@P@ z@ @0N Q HP @@ @ DH 2b@@~@ 6 ib@@ @Eb@@ @ @ @ D* Y Z v@@ @ @ N @ @D* · 2¡@@ @ @³* ¡@@ @ @J ¶(* y@@ @ @E4 @@ @ @ @ ~@ @ 6*P @@ @ @~@ @6* 2b@@ @ @ @ ±* ¡@@ @ @ @ J ¯ @@ @ 6¡@@ @ Eb@@ @ @ @ @D* @@ @ @ @ ~@ @ 6* 2¡@@ @ @C¡P @ @ @ Db@@ @ @+ ¤@@ @ @ @ @+4 Ì@@ @c@ @ @ @ - v@@ @ @ N @ @ @ @ +N @@ @ @ E 2b@@ ~@ |@ ²* ¯ Yv@@ @ @ @ @¹Z v@@ @Db@@ @1¡@@ @+* *3 2¡@@ @ @ ~@ @ @ @6&°* @@ @ @ C v@@ @ @ ~@ @ @ @6&* @@ @ @ @ @ @ D* ¤@@ @ @ @ m@ @ JN

baytelshear ‫اﻟﺸﻌﺮ‬ ِ ‫ﺑﻴﺖ‬

‫ﻧﺎﺻﺮ ﻳﺮوان اﻟﻨﻴﺎدي‬ @ 9weeb

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‫ﻣﺠﺪ زاﻳﺪ‬ ‫ﻫﺎدي اﻟﻤﻨﺼﻮري‬ @ HadiAlMns

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‫ميﺘﻠﻜﻪ ﻣﻦ ﻫﻴﺒﺔ اﻷب وﻣﻦ ﻣﻮدة ورﺣﻤﺔ‪،‬‬ ‫ﻓﺒﻘﻴﺖ ﰲ ذﻟﻚ اﻟﻠﻘﺎء أﺳﺘﻤﻊ إﱃ ﻛﻼﻣﻪ‬ ‫وﻧﱪة ﺻﻮﺗﻪ اﳌﻤﻴﺰة وﺣﺮﻛﺎت ﻳﺪﻳﻪ‪.‬‬ ‫ﻣﺎ اﻟﺬي ﺗﺒﻘﻰ ﻟﻚ ﻣﻦ ذاﻛﺮة ذﻟﻚ اﻟﻠﻘﺎء‬ ‫اﻷول؟‬ ‫■ ﺑﻘﻲ اﻧﻄﺒﺎع اﻷب اﻟﺤﻨﻮن اﻟﴫﻳﺢ‬ ‫اﻟﺼﺎدق‪.‬‬ ‫ﰲ ذﻟﻚ اﻟﻠﻘﺎء اﻷول وﰲ اﳌﺮات اﻷﺧﺮى‬ ‫اﻟﺘﻲ اﻟﺘﻘﻴﺘﻪ ﻓﻴﻬﺎ ﰲ اﳌﺠﺎﻟﺲ اﻟﻌﺎﻣﺔ‪ ،‬ﻣﺎ‬ ‫اﻟﺤﺪﻳﺚ اﻟﺬي ﻛﺎن ﻳﺪور ﰲ ﺗﻠﻚ اﳌﺠﺎﻟﺲ؟‬ ‫■ ﻟﻘﺪ ﻛﺎﻧﺖ ﺗﻠﻚ اﻟــﺰﻳــﺎرات ﻟﻠﺴﻼم‪،‬‬ ‫واﻟﺤﺪﻳﺚ ﻳــﺪور ﺣﻴﻨﻬﺎ ﻋﻦ اﻷﻣﻄﺎر‬ ‫واﻟﺰراﻋﺔ واﻟﺘﺠﺪﻳﻒ‪ ،‬وﺳﺒﺎﻗﺎت اﻟﻬﺠﻦ‪،‬‬ ‫واﻟﺨﻴﻮل واﻟﺼﻘﻮر‪ ،‬وﻋــﻦ أﻫــﻞ اﻟﺒﺤﺮ‬ ‫وأﻫﺎزﻳﺠﻬﻢ‪.‬‬ ‫‪ ƃǿŌƊ ǖōƫ‬‬

‫ﻣﺎ أﻫﻤﻴﺔ ﺗﺨﺼﻴﺺ ﺻﺎﺣﺐ اﻟﺴﻤﻮ اﻟﺸﻴﺦ‬ ‫ﺧﻠﻴﻔﺔ ﺑﻦ زاﻳﺪ آل ﻧﻬﻴﺎن رﺋﻴﺲ اﻟﺪوﻟﺔ‬ ‫"ﺣﻔﻈﻪ اﻟﻠﻪ" اﻟﻌﺎم ‪" 2018‬ﻋﺎم زاﻳﺪ" وﻫﻮ‬ ‫ﻋﺎم ﻳﺘﺰاﻣﻦ ﻣﻊ اﻻﺣﺘﻔﺎل ﺑﺎﻟﺬﻛﺮى اﳌﺌﻮﻳﺔ‬ ‫ﳌﻴﻼده؟‬ ‫■ إن اﻟﺸﻴﺦ زاﻳــﺪ ﻳﺘﻮاﺟﺪ ﰲ اﻷﺳــﺎس‪،‬‬ ‫ﰲ ﺣﻴﺎة دوﻟﺔ اﻹﻣــﺎرات اﻟﻌﺮﺑﻴﺔ‪ ،‬وﻟﻜﻦ‬ ‫أﻫﻤﻴﺔ ﻫﺬا اﻟﻌﺎم ﻫﻲ اﻟﱰﻛﻴﺰ ﺑﺸﻜﻞ أﻛﱪ‬ ‫ﻋﲆ ﺣﻴﺎﺗﻪ وﺳريﺗﻪ وﻋﻤﻠﻪ وﻛﻞ ﻣﺎ ﻳﺘﻌﻠﻖ‬ ‫مبﺴريﺗﻪ اﻟﻌﻄﺮة‪.‬‬ ‫ﻛﻴﻒ ﺗﺼﻒ ﺧﻠﻮد زاﻳﺪ ﰲ ذاﻛﺮة وﻗﻠﺐ‬ ‫اﻹﻣﺎرات؟‬ ‫■ إن ﺑﻘﺎء اﺗﺤﺎد دوﻟــﺔ اﻹﻣـــﺎرات‪ ،‬ﻫﻮ‬ ‫ﺑﻘﺎء اﻟﺸﻴﺦ زاﻳﺪ‪ ،‬وﺑﻘﺎء اﻵﺑﺎء اﳌﺆﺳﺴني‪،‬‬ ‫ﻓﻬﺬه ﻫﻲ "روح اﻻﺗﺤﺎد" ﻣﺘﻤﺜﻠﺔ ﺑﺎﻟﺤﻜﺎم‬ ‫اﻟﺴﺒﻌﺔ "رﺣﻤﺔ اﻟﻠﻪ ﻋﲆ أرواﺣﻬﻢ" ﻓﻬﻢ‬ ‫ﺑﺎﻗﻮن ﰲ أﻫﻢ إﻧﺠﺎز‪.‬‬

‫‪ ŦŌƈōǙȑŌ ǽŽǶ ǛǙ‬‬ ‫رﺟﺎل‪ ،‬وﻫﻢ اﻟﺮﺟﺎل اﻟﺬﻳﻦ ﻳﻌﺘﱪون آﺧﺮ‬ ‫ﻗﺪﻣﺖ إﺻﺪارات ﻛﺜرية ﻣﻦ وﺣﻲ ﺗﺎرﻳﺦ ﻣﻦ ﻋﻤﻠﻮا ﺑﻬﺬا اﻟﻄﺮﻳﻘﺔ ﻣﻦ اﻟﺴﻘﻲ‪،‬‬ ‫اﻹﻣﺎرات ﻓام اﻟﺬي ﻛﻨﺖ ﺗﻬﺪف إﻟﻴﻪ ﻣﻦ وﻗﻤﻨﺎ ﺑﺘﺴﺠﻴﻞ ﺷﻬﺎداﺗﻬﻢ واﺳﺘﺨﻠﺼﻨﺎ‬ ‫ﺧﻼل ﻫﺬه اﻹﺻﺪارات؟‬ ‫اﻷداء اﻟﻔﻨﻲ واﻟﻌﻤﲇ واﻟﺤﺮﰲ ﻟﻌﻤﻠﻬﻢ‪،‬ﰲ‬ ‫■ ﺑﺎﻟﻔﻌﻞ أﺻﺪرت ﻟﻐﺎﻳﺔ اﻵن ﺛﻼﺛني ﻛﺘﺎﺑﺎً‪ ،‬ﻫﺬا اﻟﻜﺘﺎب اﻟﺬي ﺳﻴﺼﺪر ﻗﺮﻳﺒﺎً‪.‬‬ ‫ﺗﻨﺎوﻟﺖ ﻓﻴﻬﺎ اﻟﺘﺎرﻳﺦ اﻟﻘﺪﻳﻢ ﰲ اﻵﺛﺎر وﰲ‬ ‫اﻟﺘﺎرﻳﺦ اﻟﺸﻔﺎﻫﻲ ﻣﻦ ﺧﻼل ﻣﻘﺎﺑﻼت ﻫﻞ ﻟﺪﻳﻚ ﻣﺸﺎرﻳﻊ أﺧﺮى؟‬ ‫ﺗﻢ إﺟﺮاؤﻫﺎ ﻣﻊ ﻛﺒﺎر اﻟﺴﻦ‪ ،‬وﻣﻦ ﺧﻼﻟﻬﺎ ■ راﺟﻌﺖ وﻛﺘﺒﺖ ﻣﻘﺪﻣﺔ ﻟﺒﻌﺾ اﻟﻜﺘﺐ‬ ‫ﺗﻢ اﻟﱰﻛﻴﺰ ﻋﲆ ﻣﻌﺎﻧﺎة اﻵﺑﺎء واﻷﺟﺪاد‪ ،‬اﻟﺘﺎرﻳﺨﻴﺔ‪ ،‬ﰲ اﳌﺼﺎدر اﻟﻼﺗﻴﻨﻴﺔ واﻟﻴﻮﻧﺎﻧﻴﺔ‬ ‫ﰲ اﻟﺤﻴﺎة وﰲ اﻟﺴﻔﺮ وﻛﺪﻫﻢ وﺗﺤﻤﻠﻬﻢ واﻟﺤﺪﻳﺜﺔ ﰲ اﻟﺤﺼﻦ‪ ،‬ﺑﺎﳌﺸﺎرﻛﺔ ﻣﻊ ﺣﻨﺎن‬ ‫اﻟﻜﺜري ﰲ ﻃﻠﺐ اﻟﺮزق‪ ،‬وﺻﱪﻫﻢ وﺷﻈﻒ اﻟﻬﺎﺷﻤﻲ‪ ،‬وﻋﻠﻘﺖ ﻋﲆ ﺑﻌﺾ اﻟﱰﺟامت‬ ‫ﻣﻦ اﻟﻠﻐﺔ اﻹﻧﺠﻠﻴﺰﻳﺔ ﺑﺠﺎﻧﺐ ﻣﺮاﺟﻌﺘﻲ‬ ‫اﻟﻌﻴﺶ اﻟﺬي ﻛﺎﻧﻮا ﻳﻌﺎﻧﻮن ﻣﻨﻪ‪.‬‬ ‫ﻟﺒﻌﺾ اﳌﺼﺎدر اﻟﻼﺗﻴﻨﻴﺔ واﻟﻌﺮﺑﻴﺔ‪.‬‬ ‫ﻣﺎ اﳌﻮاﺿﻴﻊ اﻟﺘﻲ ﺗﻌﻤﻞ ﻋﻠﻴﻬﺎ اﻵن ﰲ‬ ‫ﻣﺆﻟﻔﺎﺗﻚ؟‬ ‫ﻫﻞ ﻫﻨﺎك ﻣﺸﺎرﻳﻊ ﻣﺴﺘﻘﺒﻠﻴﺔ‪.‬‬ ‫■ أﻋﻤﻞ ﻋﲆ "اﻟﻴﺎزرة" وﻫﻲ اﻟﺴﻘﻲ ﻋﻦ ■ ﻫﻨﺎك ﻋﺪة ﻣﺸﺎرﻳﻊ ﺗﺤﺘﺎج إﱃ دﻋﻢ ﻣﻦ‬ ‫ﻃﺮﻳﻖ اﻟﺜريان‪ ،‬وﻳﺘﻢ اﻟﻌﻤﻞ ﻋﲆ ﻫﺬا ﺑﻌﺾ اﻟﺠﻬﺎت‪ ،‬مبﺎ ﰲ ذﻟﻚ اﻟﺪﻋﻢ اﻟﻌﻠﻤﻲ‪،‬‬ ‫اﻟﻜﺘﺎب ﺑﺎﳌﺸﺎرﻛﺔ ﻣﻊ اﻟﺒﺎﺣﺚ ﻋﺒﺪاﻟﻠﻪ ﺣﻴﺚ أﻋﻤﻞ ﻋﲆ ﻣﻌﺠﻢ اﻟﱰاث اﻟﻌﻤﺮاين‬ ‫اﻟﻬﺎﻣﻮر ﻣﻦ اﻟﻔﺠرية‪ ،‬ﺣﻴﺚ ﻗﺎﺑﻠﻨﺎ مثﺎﻧﻴﺔ ﻟﻺﻣﺎرات‪.‬‬

‫اﻟﺸﻌﺮ ‪baytelshear‬‬ ‫ﺑﻴﺖ ِ‬

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‫‪ ĬńŒ ŝħ‬‬ ‫‪ǲƉǾƓ‬‬

‫ﺷﺒﻪ اﻟﺠﺰﻳﺮة‪ ،‬ﻳﺮﺑﻂ ﻗﺎرة أوروﺑﺎ ﺑﻘﺎريت‬ ‫آﺳﻴﺎ وأﻓﺮﻳﻘﻴﺎ‪ ،‬وﻫﻮ ﻣﺎ اﻧﻌﻜﺲ ﻋﲆ ﺣﺮﻛﺔ‬ ‫اﳌﻮاﺻﻼت وﺻﺎدرات اﳌﻨﺘﺠﺎت اﻟﻨﻔﻄﻴﺔ‬ ‫اﻟﺘﻲ ﺗﻨﺘﺠﻬﺎ اﻹﻣﺎرات‪ ،‬وﻻ ﻧﻨﴗ أن وﺟﻮد‬ ‫اﻹﻣــﺎرات ﺑني اﻟﻌﺎمل اﻵﺳﻴﻮي واﻷورويب‬ ‫واﻷﻓــﺮﻳــﻘــﻲ‪ ،‬وﻣﺸﺎرﻛﺘﻬﺎ اﻻﻗﺘﺼﺎدﻳﺔ‬ ‫واﻟﺴﻴﺎﺳﻴﺔ اﻟﺘﻲ ﺗﺴﻬﻢ ﺑﺘﻄﻮرﻫﺎ‪ ،‬وﺗﻄﻮر‬ ‫ﺻﻮرة ﻣﻮﻗﻌﻬﺎ اﳌﺘﻤﻴﺰ ﻋﲆ ﻣﺮ اﻟﺘﺎرﻳﺦ‪،‬‬ ‫وﻫﻮ ﻣﺎ ﻧﻘﻄﻒ مثﺎره اﻵن‪.‬‬ ‫ﻣﺆﺛﺮاً ﻣﻦ ﺷﺨﺼﻴﺘﻪ‪ ،‬ﺣﺘﻰ ﰲ اﻷﺟﻴﺎل‬ ‫‪ ǳƞǤǜǕŌ ŦōǙǷǂǙ‬‬ ‫اﻟﺠﺪﻳﺪة اﻟﺬﻳﻦ مل ﻳﺮوه وﻗﺪ وﻟﺪوا ﻣﻦ‬ ‫ﻣﺎ ﻫﻲ اﳌﻘﻮﻣﺎت اﻟﺘﻲ ﺳﺎﻫﻤﺖ ﰲ ﻧﻬﻀﺔ ﺑﻌﺪ وﻓﺎﺗﻪ ﻟﻜﻨﻬﻢ ﻳﺤﺒﻮﻧﻪ‪.‬‬ ‫دوﻟﺔ اﻹﻣــﺎرات اﻟﻌﺮﺑﻴﺔ اﳌﺘﺤﺪة‪ ،‬واﻟﺘﻲ‬ ‫رﻛﺰت ﻋﻠﻴﻬﺎ ﰲ ﻣﺤﺎﴐة أﻟﻘﻴﺘﻬﺎ اﻟﺸﻬﺮ ﰲ اﳌﺆمتﺮ اﻟﺨﻠﻴﺠﻲ اﻟﺨﺎﻣﺲ ﻟﻠﱰاث‬ ‫اﳌﺎﴈ ﰲ ﻣﻨﺎرة اﻟﺴﻌﺪﻳﺎت ﰲ أﺑﻮﻇﺒﻲ‪ ،‬واﻟﺘﺎرﻳﺦ اﻟﺸﻔﻬﻲ‪ ،‬اﻟﺬي ﻧﻈﻤﺘﻪ داﺋﺮة‬ ‫ﺑﻌﻨﻮان "زاﻳﺪ وﻣﻘﻮﻣﺎت اﻟﻨﻬﻀﺔ"؟‬ ‫اﻟﺜﻘﺎﻓﺔ واﻟﺴﻴﺎﺣﺔ – أﺑﻮﻇﺒﻲ اﻟﻌﺎم ‪2017‬‬ ‫■ ﻫﻨﺎك ﻣﻘﻮﻣﺎت إﻧﺴﺎﻧﻴﺔ‪ ،‬وﻫﻲ ﺟﺎﻧﺐ ﺑﻌﻨﻮان "اﻟﱰﺑﻴﺔ اﻷﺧﻼﻗﻴﺔ ﺗﺮاث ﺧﻠﻴﺠﻲ‬ ‫ﻣﻦ ﺟﻮاﻧﺐ ﺷﺨﺼﻴﺔ "اﳌﻐﻔﻮر ﻟﻪ" اﻟﺸﻴﺦ أﺻﻴﻞ" ﺗﺤﺪﺛﺖ ﻋﻦ اﻟﺠﻮاﻧﺐ اﻹﻧﺴﺎﻧﻴﺔ ﰲ‬ ‫زاﻳﺪ ﺑﻦ ﺳﻠﻄﺎن آل ﻧﻬﻴﺎن‪ ،‬اﳌﺘﺴﺎﻣﺤﺔ ﺷﺨﺼﻴﺔ اﻟﺸﻴﺦ زاﻳﺪ وﻏﺮﺳﻪ ﻟﻘﻴﻢ اﻷﺧﻼق‬ ‫اﳌﻌﻄﺎء‪ ،‬واﻟﻘﻴﺎدﻳﺔ ﰲ ﻧﻔﺴﻪ اﻹﻧﺴﺎﻧﻴﺔ‪.‬‬ ‫ﰲ اﻷﺟﻴﺎل‪ ،‬واﻗﱰﺣﺖ ﻣﴩوﻋ ًﺎ ﻟﺘﻮﺛﻴﻖ ﻫﺬا‬ ‫واﳌﻘﻮم اﻟﺜﺎين ﻫﻮ اﳌﻘﻮم اﻷﺧﻼﻗﻲ‪ ،‬مبﺎ ﰲ ﻓﺄﻳﻦ وﺻﻠﺘﻢ ﺑﻬﺬا اﳌﴩوع؟‬ ‫ﺷﺨﺼﻴﺔ اﻟﺸﻴﺦ زاﻳﺪ ﻣﻦ ﺻﺪق وإﺣﺴﺎس ■ إن ﻓﻜﺮة اﳌﴩوع ﻣﺎ زاﻟﺖ ﻗﺎمئﺔ‪ ،‬ﻟﻜﻦ‬ ‫ووﻓﺎء وإﺧﻼص‪ .‬واﳌﻘﻮم اﻟﺜﺎﻟﺚ واﻷﺧري اﳌﴩوع ﺿﺨﻢ‪ ،‬وﻣﻦ اﻟﺼﻌﺐ أن ﻳﻘﺘﴫ‬ ‫ﻫﻮ اﳌﻘﻮم اﻟﱰﺑﻮي‪ ،‬إذ ﻛﺎن اﻟﺸﻴﺦ زاﻳﺪ ﻣﺜﻞ ﻫﺬا اﳌﴩوع ﻋ ﱠ‬ ‫ﲇ‪ ،‬ﻓﻬﻮ ﻳﺤﺘﺎج إﱃ‬ ‫ﻳﺮيب أﺟﻴﺎل اﻻﺗﺤﺎد‪ ،‬وﻫﻮ ﺟﺎﻧﺐ ﻣﺎزال ﻣﺴﺎﻋﺪة وﺟﻬﺪ ﻣﻦ أﺷﺨﺎص ﻣﺘﺨﺼﺼني‬

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‫اﻟﻌﺪد ‪ ، 73‬دﻳﺴﻤﺒﺮ ‪2018‬‬

‫اﻟﺒﺎﺣﺚ اﻷﺳﺘﺎذ اﻟﺪﻛﺘﻮر ﺣﻤﺪ ﺑﻦ‬ ‫ﴏاي أﺳﺘﺎذ اﻟﺘﺎرﻳﺦ اﻟﻘﺪﻳﻢ ﺑﻜﻠﻴﺔ‬ ‫اﻟﻌﻠﻮم اﻹﻧﺴﺎﻧﻴﺔ واﻻﺟﺘامﻋﻴﺔ ﰲ‬ ‫ﺟﺎﻣﻌﺔ اﻹﻣـــﺎرات‪ ،‬أﺻــﺪر أﻛــرث ﻣﻦ‬ ‫ﺳﺘني ﻛﺘﺎﺑﺎً ﻣﻦ ﺑﻴﻨﻬﺎ "ﺗﺎرﻳﺦ ﺷﺒﻪ‬ ‫اﻟﺠﺰﻳﺮة اﻟﻌﺮﺑﻴﺔ اﻟﻘﺪﻳﻢ" و"ﻋﻤﻼت‬ ‫ﻣﺎ ﻗﺒﻞ اﻹﺳــﻼم اﳌﻜﺘﺸﻔﺔ ﰲ ﴍﻗﻲ‬ ‫ﺷﺒﻪ اﻟﺠﺰﻳﺮة اﻟﻌﺮﺑﻴﺔ" و"اﻟﻌﻼﻗﺎت‬ ‫اﻟﺤﻀﺎرﻳﺔ ﺑني ﺷﺒﻪ اﻟﺠﺰﻳﺮة اﻟﻌﺮﺑﻴﺔ‬ ‫واﻟﺴﺎﺣﻞ اﻟﴩﻗﻲ ﻷﻓﺮﻳﻘﻴﺎ ‪ :‬ﻣﻦ اﻟﻘﺮن‬ ‫اﻟﺜﺎﻟﺚ ﻗﺒﻞ اﳌﻴﻼد إﱃ اﻟﻘﺮن اﻟﺴﺎﺑﻊ‬ ‫اﳌﻴﻼدي" و"ﻣﻨﻄﻘﺔ اﻟﺨﻠﻴﺞ اﻟﻌﺮيب‬ ‫ﺑني ﻓــﺎرس وﺑﻴﺰﻧﻄﺔ‪ :‬رؤﻳــﺔ ﺗﺎرﻳﺨﻴﺔ‬ ‫ﻟﻠﺴﻴﺎﺳﺔ اﻟﺪوﻟﻴﺔ اﻟﻘﺪميﺔ ﺑني اﻟﻘﺮﻧني‬ ‫اﻟﺜﺎﻟﺚ واﻟﺴﺎﺑﻊ اﳌﻴﻼدﻳني‪ :‬دراﺳﺔ"‬ ‫ﻓﺎز ﻛﺘﺎﺑﻪ "اﻹﺑﻞ ﰲ ﺑﻼد اﻟﴩق اﻷدىن‬ ‫اﻟﻘﺪﻳﻢ وﺷﺒﻪ اﻟﺠﺰﻳﺮة اﻟﻌﺮﺑﻴﺔ" ﺑﺠﺎﺋﺰة‬ ‫أﻓﻀﻞ ﻛﺘﺎب إﻣﺎرايت ﰲ ﻣﻌﺮض اﻟﺸﺎرﻗﺔ‬ ‫ﻟﻠﻜﺘﺎب ﻋﺎم ‪.2012‬‬ ‫مبﺠﺎﻻت اﻟﺘﺎرﻳﺦ واﻟﺠﻐﺮاﻓﻴﺎ واﻟﱰﺑﻴﺔ وﻋﻠﻢ‬ ‫اﻹﻧﺴﺎن وﻏري ذﻟﻚ‪.‬‬ ‫ﻷن اﻟﺠﻮاﻧﺐ اﻷﺧﻼﻗﻴﺔ اﻟﺘﻲ اﻣﺘﻠﻜﻬﺎ‬ ‫اﻟﺸﻴﺦ زاﻳــﺪ "رﺣــﻤــﻪ اﻟــﻠــﻪ" ﻣﺘﻌﺪدة‬ ‫وﻣﺘﻨﻮﻋﺔ‪ ،‬وﻋﻠﻴﻨﺎ ﺗﺘﺒﻊ ﺟﻠﺴﺎﺗﻪ وﻣﻘﺎﺑﻼﺗﻪ‬ ‫وأﴎﺗﻪ اﻟﻜﺮميﺔ وﻧﺠﻤﻊ ﻫﺬه اﳌﻮاد ﰲ ﻛﻞ‬ ‫ﻣﺮاﺣﻠﻬﺎ‪.‬‬ ‫ﻣﺘﻰ اﻟﺘﻘﻴﺖ "اﳌﻐﻔﻮر ﻟﻪ" اﻟﺸﻴﺦ زاﻳﺪ ﺑﻦ‬ ‫ﺳﻠﻄﺎن آل ﻧﻬﻴﺎن ﻟﻠﻤﺮة اﻷوﱃ‪ ،‬وﻣﺎ اﻟﺸﻌﻮر‬ ‫اﻟﺬي أﺣﺴﺴﺖ ﺑﻪ ﺣﻴﻨﻬﺎ؟‬ ‫■ أول ﻟﻘﺎء رأﻳﺖ ﻓﻴﻪ اﻟﺸﻴﺦ زاﻳﺪ "ﻃﻴﺐ‬ ‫اﻟﻠﻪ ﺛﺮاه" ﰲ رأس اﻟﺨﻴﻤﺔ‪ ،‬ﻋﺎم ‪1995‬‬ ‫وﻛﻨﺖ ﺣﻴﻨﻬﺎ ﻃﺎﻟﺒﺎً ﰲ اﻟﺠﺎﻣﻌﺔ‪ ،‬وﺷﻌﺮت‬ ‫ﻋﻨﺪﻣﺎ اﻟﺘﻘﻴﺘﻪ ﻛﺄﻧﻪ ﻟﻘﺎء ﻣﻊ اﻷب‪ ،‬ﳌﺎ‬

‫ﺑﺼﻔﺘﻚ ﺑﺎﺣﺜ ًﺎ ﺑﺎﻟﺘﺎرﻳﺦ واﻟﱰاث اﻹﻣﺎرايت‪،‬‬ ‫وﻟﺪﻳﻚ اﳌﻌﺮﻓﺔ اﻟﻮاﻓﻴﺔ ﺑﻜﻞ ﺗﻔﺎﺻﻴﻞ‬ ‫اﻟﺤﻴﺎة ﰲ دوﻟﺔ اﻹﻣﺎرات اﻟﻌﺮﺑﻴﺔ اﳌﺘﺤﺪة‬ ‫ﰲ اﳌﺎﴈ اﻟﻘﺮﻳﺐ‪ ،‬ﻓﻜﻴﻒ ﺗﻨﻈﺮ ﺑﺎﳌﻘﺎرﻧﺔ‬ ‫ﺑني اﻷﻣﺲ واﻟﻴﻮم إﱃ اﻟﻘﻔﺰة اﻟﺘﻲ ﺣﻘﺘﺘﻬﺎ‬ ‫اﻹﻣﺎرات ﺧﻼل ﻓﱰة ﻗﺼرية؟‬ ‫■ﻛﺎﻧﺖ اﻹﻣﺎرات ﻣﺘﻔﺮﻗﺔ ﺳﻴﺎﺳﻴﺎً وإدارﻳﺎً‪،‬‬ ‫وﻛﺎﻧﺖ اﻟﺴﻠﻄﺔ اﻟﱪﻳﻄﺎﻧﻴﺔ ﻣﺘﻮاﺟﺪة ﰲ‬ ‫ﻣﻨﻄﻘﺔ اﻟﺨﻠﻴﺞ اﻟﻌﺮيب‪ ،‬وﻛﺎﻧﺖ ﺗﺪﻳﺮ ﻛﻞ‬ ‫ﻣﺎ ﻟﻪ ﻋﻼﻗﺔ ﺑﺎﻹﻣﺎرات داﺧﻠﻴﺎً‪.‬‬ ‫وﻟﻜﻦ ﺑﻌﺪ إﻋﻼن دوﻟﺔ اﻻﺗﺤﺎد ﰲ اﻟﺜﺎين‬ ‫ﻣــﻦ دﻳﺴﻤﱪ ﰲ اﻟــﻌــﺎم ‪ 1971‬ﺧﻄﺖ‬ ‫اﻹﻣﺎرات ﺧﻄﻮات ﺟﻴﺪة وواﺛﻘﺔ وﻣﺘﻤﻜﻨﺔ‬ ‫وﻏري ﻣﻬﺰوزة‪ ،‬وﺑﺎﻟﺘﺎﱄ ﺗﺸﻜﻞ ﺟﻴﺶ واﺣﺪ‬ ‫وﻫﻮ ﺟﻴﺶ اﻻﺗﺤﺎد‪ ،‬ﻛام ﺣﺪﺛﺖ ﻧﻘﻼت‬ ‫ﻧﻮﻋﻴﺔ ﰲ ﺟﻮاﻧﺐ اﻟﺤﻴﺎة اﳌﺨﺘﻠﻔﺔ ﻣﺜﻞ‬ ‫اﻟﺤﻴﺎة اﻟﺴﻴﺎﺳﻴﺔ واﻻﻗﺘﺼﺎدﻳﺔ واﻟﻌﻤﺮان‬ ‫واﻟﺘﻌﻠﻴﻢ واﻹﻋﻼم‪ ،‬وﻏري ذﻟﻚ اﻟﻜﺜري‪.‬‬ ‫‪ ǖƋƫǶ ǲƂŌƈŒ‬‬

‫‪ ɐǳǂŭŌǶ ŦŌǷƢƁ ŦŌƈōǙȑŌ ŧƢƁ‬‬ ‫‪ ŧŭƃŽŐǶ ɐƂōżũȍŌ ǖōǾǃ ƃƪş‬‬ ‫‪ ǲōǾżǕŌ ŝǝŌǷŵ ǽƳ ǳǾƫǷǝ ŦȎǂǝ‬‬ ‫‪ ǳƲǔŨƀǘǕŌ‬‬

‫ﻋــﺎﴏت ﻋﻬﺪﻳﻦ ﻣﻦ ﺗﺎرﻳﺦ اﻹﻣــﺎرات‪،‬‬ ‫ﺑﺎﳌﻘﺎرﻧﺔ ﺑﻴﻨﻬام ﻛﻴﻒ ميﻜﻦ اﻟﺤﺪﻳﺚ ﻋﻦ‬ ‫اﻟﺘﻄﻮر اﻟﺬي ﺣﺪث ﺑﺰﻣﻦ ﻗﻴﺎﳼ؟‬ ‫■ ﰲ اﻟﺴﺘﻴﻨﻴﺎت ﻣﻦ اﻟﻘﺮن اﳌﺎﴈ‪ ،‬ﻛﺎﻧﺖ‬ ‫اﻟﺴﻨﻮات ُﻣﺘ َﻌﺒﺔ ﰲ اﻟﻔﺮﻗﺔ اﻟﺴﻴﺎﺳﻴﺔ وﰲ‬ ‫اﻟﺘﻌﻠﻴﻢ وﰲ ﻧﻮاﺣﻲ اﻟﺤﻴﺎة اﳌﺨﺘﻠﻔﺔ‪ ،‬إﱃ‬ ‫أن ﻗﺎم اﻻﺗﺤﺎد ﰲ اﻟﻌﺎم ‪ 1971‬وأﺣﺪث‬ ‫ﻧﻘﻠﺔ ﻧﻮﻋﻴﺔ‪ ،‬وﻫﺬه اﻟﻨﻘﻠﺔ اﻟﺠﻤﻴﻠﺔ ﺗﺸﻌﺮﻧﺎ‬ ‫ﺑﻠﺬة اﻻﺗﺤﺎد وﻣﺘﻌﺔ اﻟﻮﺣﺪة واﻟﺴﻼم‪ ،‬إذ‬ ‫أﺻﺒﺢ اﻻﻧﺘﻘﺎل ﻣﻦ إﻣﺎرة ﻹﻣﺎرة ﺑﺠﻮاز‬ ‫ﺳﻔﺮ واﺣﺪ‪ ،‬ﺑﻌﺪ أن ﻛﺎﻧﺖ ﻫﻨﺎك ﺣﺪود‬ ‫ﺑني اﻹﻣﺎرات اﻟﺴﺒﻊ‪.‬‬ ‫ﺑﻌﺪ ﻗﻴﺎم اﻻﺗﺤﺎد ﺗﻐريت اﻹﻣﺎرات‪ ،‬وﺗﻢ‬ ‫اﻻﻫــﺘــامم ﺑﻜﻞ اﻷﺳــﺲ ﻣﺜﻞ اﻻﻫﺘامم‬ ‫ﺑﺎﳌﺪارس واﻟﺘﺪرﻳﺲ‪ ،‬وﻏري ذﻟﻚ ﻣﻦ أﺷﻴﺎء‬ ‫ﺗﺆﻛﺪ ﻟﻨﺎ ﺟﻤﻴﻌﺎً ﻋﲆ ﻗﻴﻢ اﻻﺗﺤﺎد‪.‬‬

‫ﻣﺎ اﻷﺳﺒﺎب اﻟﺘﻲ ﺗﻘﻒ وراء ﻧﺠﺎح اﺗﺤﺎد‬ ‫دوﻟﺔ اﻹﻣﺎرات اﻟﻌﺮﺑﻴﺔ؟‬ ‫‪ ƋǾǘŨǘǕŌ ǽƀǿƈōŨǕŌ ŦŌƈōǙȑŌ ƩǃǷǙ‬‬ ‫■ اﻹرادة واﻟﻌﺰم اﻟﺘﻲ متﺘﻊ ﺑﻬام اﻵﺑﺎء‬ ‫‪ ǽşǶƈǶȏŌǶ ǼǷǾƓȏŌ ǗǕōƪǕŌ ǛǾş‬‬ ‫اﳌﺆﺳﺴﻮن )رﺣﻤﻬﻢ اﻟﻠﻪ( ﺑﻘﻴﺎدة »اﳌﻐﻔﻮر‬ ‫‪ ǚȓŌ Ǣƈōǘŭ ƱƢǂǝ ɐǽǂǿƉƳȏŌǶ‬‬ ‫ﻟﻪ« اﻟﺸﻴﺦ زاﻳﺪ ﺑﻦ ﺳﻠﻄﺎن آل ﻧﻬﻴﺎن‪ ،‬ﻓﻘﺪ‬ ‫ﻛﺎﻧﺖ ﻟﺪﻳﻬﻢ اﻟﺮﻏﺒﺔ ﺑﺎﻟﻌﻤﻞ اﻟﺼﺎدق‪،‬‬ ‫‪ ƃǿŌƊ ſǾƖǕŌ ǳǾƚƀƗ ŦōǙǷǂǙ‬‬ ‫واﻟــﻮﻓــﺎء ﺑﺎﻟﻮﻋﺪ اﻟــﺬي ﻗﻄﻌﻮه ﻋﲆ‬ ‫‪ ɐǳǿǷşƉŨǕŌǶ ǳǾǃȎƁȏŌǶ ǳǾǝōƒǝȑŌ‬‬ ‫أﻧﻔﺴﻬﻢ‪ ،‬ﰲ وﻗﺖ مل ﻳﻜﻦ ﻫﻨﺎك وﺟﻮد ‪ ŦŌƈōǙȑŌ ǳǕǶƂ ǳƞǤǝ ǽƳ ŧǘǤƓŐ‬‬ ‫ﻟﻠﺨﻼف‪ ،‬ﺑﻞ ﻛﺎن اﻟﻮﻓﺎق‪ ،‬ﰲ ﻇﻞ وﺟﻮد‬ ‫ﻇﺮوف ﺳﻴﺎﺳﻴﺔ ﻣﻨﺎﺳﺒﺔ‪ ،‬وﰲ ﻣﺜﻞ ﻗﻴﺎم‬ ‫‪ ɐƐōƓȏōş ƃŵŌǷŨǿ ƃǿŌƊ ſǾƖǕŌ‬‬ ‫ﻫﺬه اﻟﻮﺣﺪة‪ ،‬ﻫﻨﺎك اﻋﱰاف ﺑﺎﳌﺤﱰﻓني‬ ‫‪ ǖōƫ} ǳǾǘǥŐǶ ɐŦŌƈōǙȑŌ ǲōǾŽ ǽƳ‬‬ ‫اﻷﻗﻮﻳﺎء وﻟﻴﺲ ﺑﺎﳌﺘﻔﺮﻗني‪.‬‬ ‫‪ ǣũōǾŽ ǻǔƫ ƉŬǉŐ ƋǾǉƉŨǕōş mƃǿŌƊ‬‬ ‫ﻛام ﻛﺎن ﻷﻫﻞ اﻹﻣﺎرات دور ﻛﺒري ﰲ ﻗﻴﺎم‬ ‫‪ ǣũƉǾƒǙǶ‬‬ ‫ﻛﻨﺖ ﻗﺪ رﻛــﺰت ﰲ أﺑﺤﺎﺛﻚ‪ ،‬ﻋﲆ ﻓﻜﺮة‬ ‫ﻫﺬه اﻟﻮﺣﺪة‪ ،‬ﻓﻘﺪ ﺗﻌﺰزت ﺑﻴﻨﻬﻢ اﻟﻮﺣﺪة‬ ‫أﻫﻤﻴﺔ اﳌﻜﺎن اﻟﺠﻐﺮاﰲ‪ ،‬ﻓﻴام وﺻﻠﺖ إﻟﻴﻪ‬ ‫واﻟﻮﺋﺎم واﻟﻌﻼﻗﺎت اﳌﺠﺘﻤﻌﻴﺔ‪ ،‬وﻛﻞ ﻫﺬا ‪ ǳǉƈōƖǘǕōş mǲƈƊōǾǕŌ} ŜōŨǉ ƈƃƛőƓ‬‬ ‫دوﻟﺔ اﻹﻣﺎرات اﻵن‪ ،‬ﻓام اﳌﻘﺼﻮد ﺑﻬﺬا؟‬ ‫‪ ǻǔƫ ǓǘƫŐǶ ɐƈǷǙōǤǕŌ ǣǔǕŌƃŞƫ ƩǙ‬‬ ‫أﺳﻬﻢ ﰲ ﺗﻌﺰﻳﺰ اﺳﺘﻤﺮارﻳﺔ وﺣﺪة اﻹﻣﺎرات‬ ‫■ إن ﻣﻮﻗﻊ دوﻟﺔ اﻹﻣــﺎرات اﻟﻌﺮﺑﻴﺔ ﰲ‬ ‫‪ ŦŌƈōǙȒǕ ǽǝŌƉǘƪǕŌ ŪŌƉŨǕŌ ǗŴƪǙ‬‬ ‫اﻟﺴﺒﻊ‪.‬‬ ‫ﺷﺒﻪ اﻟﺠﺰﻳﺮة ﰲ ﻏﺮب آﺳﻴﺎ وﺑني أﻗﻠﻴﻢ‬

‫اﻟﺸﻌﺮ ‪baytelshear‬‬ ‫ﺑﻴﺖ ِ‬

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‫‪ ĬńŒ ŝħ‬‬

‫‪ǛǾƪşƈȏŌǶ ƩşōƒǕŌ ǽǜƣǷǕŌ ǖǷǾǕŌ ǳŞƓōǜǘş Ūƃżũ‬‬

‫د‪.‬ﺣﻤﺪ ﺑﻦ ﺻﺮاي‪ ſǾƖǕŌ ŋōǂş Ƿǥ ŦŌƈōǙȑŌ ƂōżũŌ ŋōǂş :‬‬ ‫‪ ǛǾƒƓǹǘǕŌ ŋōşȓŌǶ ƃǿŌƊ‬‬ ‫ﺣﻮار ﺑﺸﺮى ﻋﺒﺪا‪:B‬‬

‫ﻛﻞ ﻋﺎم ميﺮ ﻋﲆ دوﻟﺔ اﻹﻣﺎرات اﻟﻌﺮﺑﻴﺔ اﳌﺘﺤﺪة‪ ،‬ﻳﻌﻨﻲ ﺗﺤﻘﻴﻖ اﳌﺰﻳﺪ ﻣﻦ اﻟﻨﺠﺎح واﻟﺘﻘﺪم‪ ،‬وﻣﻮاﻛﺒﺔ ﻵﺧﺮ ﻣﺎ ﺗﻮﺻﻞ إﻟﻴﻪ‬ ‫اﻟﻌﴫ ﻣﻦ ﺗﻄﻮرات ﻋﻠﻤﻴﺔ وﺣﻀﺎرﻳﺔ ﺗﺰﻳﺪ ﻣﻦ ﻣﻜﺎﻧﺔ اﻹﻣﺎرات ﺑني اﻷﻣﻢ واﻟﺪول اﳌﺘﺤﴬة ﰲ اﻟﻌﺎمل‪.‬‬ ‫وﻳﻌﻮد ﻫﺬا إﱃ اﻷﺳﺎس اﻟﺬي ﺑﻨﻴﺖ ﻋﻠﻴﻪ اﻟﺪوﻟﺔ‪ ،‬ﺑﻘﻴﺎدة "اﳌﻐﻔﻮر ﻟﻪ" اﻟﺸﻴﺦ زاﻳﺪ ﺑﻦ ﺳﻠﻄﺎن آل ﻧﻬﻴﺎن‪ ،‬وإﺧﻮاﻧﻪ ﺣﻜﺎم‬ ‫اﻹﻣﺎرات‪ ،‬ﺣﻴﺚ أﻋﻠﻦ "ﻃﻴﺐ اﻟﻠﻪ ﺛﺮاه" اﺗﺤﺎد دوﻟﺔ اﻹﻣﺎرات ﰲ ‪ 2‬دﻳﺴﻤﱪ ﻣﻦ اﻟﻌﺎم ‪ ،1971‬وﻣﻨﺬ ذﻟﻚ اﻟﺘﺎرﻳﺦ واﻹﻣﺎرات‬ ‫ﺗﺤﻘﻖ ﰲ ﻛﻞ ﻳﻮم ﻣﺎ ﻫﻮ ﺟﺪﻳﺪ‪ ،‬ﻳﺤﺴﺐ ﰲ ﺳﺠﻠﻬﺎ ﻛﺪوﻟﺔ ﺣﺪﻳﺜﺔ اﺳﺘﻄﺎﻋﺖ أن ﺗﻘﻔﺰ ﺑﺜﻘﺔ إﱃ ﻣﺼﺎف اﻟﺪول اﳌﺘﻘﺪﻣﺔ‪،‬‬ ‫ﻣﺜﻠام اﺳﺘﻄﺎﻋﺖ أن ﺗﻜﻮن ﻣﺆﺛﺮة ﰲ اﳌﺠﺎل اﻹﻗﻠﻴﻤﻲ واﻟﻌﺮيب واﻟﺪوﱄ‪.‬‬ ‫وﻳﺄيت اﺣﺘﻔﺎل اﻹﻣﺎرات ﰲ ﻫﺬا اﻟﻌﺎم ﺑﺎﻟﺬﻛﺮى اﻟﺴﺎﺑﻌﺔ واﻷرﺑﻌني ﻟﻘﻴﺎم اﻻﺗﺤﺎد‪ ،‬ﻣﺘﺰاﻣﻨﺎً ﻣﻊ ﻗﺮار ﺻﺎﺣﺐ اﻟﺴﻤﻮ اﻟﺸﻴﺦ‬ ‫ﺧﻠﻴﻔﺔ ﺑﻦ زاﻳﺪ آل ﻧﻬﻴﺎن رﺋﻴﺲ اﻟﺪوﻟﺔ "ﺣﻔﻈﻪ اﻟﻠﻪ" ﺑﺄن ﻳﻜﻮن اﻟﻌﺎم ‪ 2018‬ﻫﻮ "ﻋﺎم زاﻳﺪ" وﻫﻮ اﺣﺘﻔﺎﻟﻴﺔ مبﺮور ﻣﺎﺋﺔ ﻋﺎم‬ ‫ﻋﲆ ﻣﻴﻼد ﻫﺬا اﻟﻘﺎﺋﺪ اﻟﺬي زرع ﺑﺬور اﻻﺗﺤﺎد‪ ،‬ﻟﻴﺼﺒﺢ ﺷﺠﺮة وارﻓﺔ اﻟﻈﻼل‪ ،‬ﺗﺨﻴﻢ ﻋﲆ ﻛﻞ اﻷﺟﻴﺎل اﳌﻮﺟﻮدة واﻟﺘﻲ ﺳﺘﺄيت‬ ‫ﻓﻴام ﺑﻌﺪ‪.‬‬ ‫ﻋﻦ أﻫﻤﻴﺔ اﺗﺤﺎد دوﻟﺔ اﻹﻣﺎرات اﻟﻌﺮﺑﻴﺔ‪ ،‬واﻟﻔﺮق اﻟﺬي أدى إﱃ ﻧﻘﻠﺔ ﻧﻮﻋﻴﺔ ﻳﺤﺴﺐ ﰲ ﺗﺎرﻳﺨﻬﺎ‪ ،‬ﺗﺤﺪث اﻟﺪﻛﺘﻮر ﺣﻤﺪ ﺑﻦ‬ ‫ﴏاي اﻷﺳﺘﺎذ ﰲ ﻗﺴﻢ اﻟﺘﺎرﻳﺦ واﻵﺛﺎر ﰲ ﻛﻠﻴﺔ اﻟﻌﻠﻮم اﻹﻧﺴﺎﻧﻴﺔ واﻻﺟﺘامﻋﻴﺔ ﰲ ﺟﺎﻣﻌﺔ اﻹﻣﺎرات ﰲ ﻣﺪﻳﻨﺔ اﻟﻌني إﱃ "ﺑﻴﺖ‬ ‫اﻟﺸﻌﺮ" ﻣﻦ ﺧﻼل اﻟﺤﻮار اﻟﺘﺎﱄ‪:‬‬

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‫اﻟﻌﺪد ‪ ، 73‬دﻳﺴﻤﺒﺮ ‪2018‬‬

‫ ‪ ĮľĵŒ «¯ ĜľōŘ‬‬

‫‪ ƂōżũȍŌ ŝǉƈ ǽƳ ƉƪƖǕŌ‬‬

‫ﻣﺤﻤﺪ ﻧﻮر اﻟﺪﻳﻦ‬

‫‪@khaligalb‬‬

‫أﺻﺒﺤﺖ اﻟﺘﺠﺮﺑﺔ اﻟﺸﻌﺮﻳﺔ اﻟﺸﻌﺒﻴﺔ ﰲ اﻹﻣﺎرات ﰲ ﻣﺮﺣﻠﺔ ﻣﺎ ﺑﻌﺪ اﻻﺗﺤﺎد ﺗﺤﻈﻰ ﺑﺎﻫﺘامم ورﻋﺎﻳﺔ ﻣﻦ أﻋﲆ‬ ‫اﳌﺴﺘﻮﻳﺎت‪ ،‬وﻗﺪ أوﻻﻫﺎ اﳌﻐﻔﻮر ﻟﻪ اﻟﺸﻴﺦ زاﻳﺪ ﺑﻦ ﺳﻠﻄﺎن آل ﻧﻬﻴﺎن اﻫﺘامﻣﺎً ﻛﺒرياً‪ ،‬وﻛﺎن أﻫﻢ ﻣﺆﴍات‬ ‫ذﻟﻚ ﻫﻮ ﺗﺸﻜﻴﻞ ﻣﺠﺎﻟﺲ اﻟﺸﻌﺮاء ﰲ ﻛﻞ ﻣﻨﺎﻃﻖ اﻟﺪوﻟﺔ وﺑﺮوز اﻟﺸﻌﺮ اﻟﺸﻌﺒﻲ ﰲ اﻹذاﻋﺔ واﻟﺘﻠﻔﺰﻳﻮن؛ ﻓﻠﻮ‬ ‫راﺟﻌﻨﺎ اﻟﻘﻨﻮات اﻹﻋﻼﻣﻴﺔ ﻓﺈﻧﻨﺎ ﻧﺠﺪ ﰲ اﻹﻋﻼم اﳌﺮيئ ﻇﻬﻮر اﻟﺸﻌﺮاء ﻋﲆ ﺷﺎﺷﺔ اﻟﺘﻠﻔﺎز ﻣﻦ ﺧﻼل ﻧﻘﻞ ﺑﺮاﻣﺞ‬ ‫ﺷﻌﺮاء اﻟﻘﺒﺎﺋﻞ ﺑﺪءاً ﻣﻦ ﻧﻬﺎﻳﺔ اﻟﺴﺒﻌﻴﻨﻴﺎت وﻗﺪ ﻛﺎن ذﻟﻚ ﻣﻦ أﻫﻢ اﻷﺳﺒﺎب اﻟﺘﻲ أدت إﱃ اﻧﺘﺸﺎر اﻟﺸﻌﺮ‬ ‫اﻟﺸﻌﺒﻲ واﻻﻫﺘامم ﺑﻪ‪ ،‬وﰲ اﻹﻋﻼم اﳌﺴﻤﻮع ﻧﺠﺪ اﻟﱪاﻣﺞ اﻟﺸﻌﺮﻳﺔ اﻟﱰاﺛﻴﺔ ﻣﻦ إذاﻋﺔ أﺑﻮﻇﺒﻲ ﺑﺪءاً ﻣﻦ‬ ‫اﻟﺜامﻧﻴﻨﻴﺎت ﺣﺘﻰ ﺑﺪاﻳﺔ اﻟﻘﺮن اﻟﺤﺎدي واﻟﻌﴩﻳﻦ ﺣﺘﻰ أﺻﺒﺤﺖ ﺟﺰءاً ﻣﻬ ًام ﻣﻦ ﺣﻴﺎة اﳌﻮاﻃﻨني – اﳌﻬﺘﻤني‬ ‫ﺑﺎﻟﺸﻌﺮ اﻟﺸﻌﺒﻲ‪ -‬اﻟﻴﻮﻣﻴﺔ‪ .‬وﺗﺰاوﺟﺖ اﻟﻘﺼﺎﺋﺪ اﻟﺸﻌﺒﻴﺔ ﻣﻊ اﻷﻟﺤﺎن ﰲ ﻫﺬه اﻟﻔﱰة أﻳﻀﺎ ﺑﺸﻜﻞ واﺳﻊ ﺟﺪا‬ ‫ﺣﺘﻰ أﺻﺒﺤﺖ اﻷﻏﻨﻴﺔ اﻟﺸﻌﺒﻴﺔ اﻹﻣﺎراﺗﻴﺔ دﻳﻮاﻧﺎً ﻣﻔﺘﻮﺣﺎً ﻣﻦ ﺧﻼل ﺣﻨﺎﺟﺮ ﻣﻄﺮﺑني ﻛﺒﺎر ﻛﻌﲇ ﺑﻦ روﻏﺔ‬ ‫وﻣﻴﺤﺪ ﺣﻤﺪ وﺟﺎﺑﺮ ﺟﺎﺳﻢ اﻟﺬﻳﻦ أوﺟﺪوا ﻷﻧﻔﺴﻬﻢ ﻣﻮﻃﺊ ﻗﺪم ﰲ ﺳﺎﺣﺔ اﻷﻏﻨﻴﺔ اﻟﺸﻌﺒﻴﺔ ﰲ اﳌﻨﻄﻘﺔ ﺑﻌﺪ‬ ‫أن ﺗﺘﻠﻤﺬوا ﻋﲆ أﻟﺤﺎن اﳌﺮﺣﻮم ﺣﺎرب ﺣﺴﻦ اﻟﺬي اﻋﺘﺰل اﻟﻐﻨﺎء ﰲ ﻋﺎم ‪1976‬م‪.‬‬ ‫أﻣﺎ ﻋﲆ ﺻﻌﻴﺪ اﻹﻋﻼم اﳌﻘﺮوء ﻓﺈن اﻟﻄﺒﺎﻋﺔ أﺻﺒﺤﺖ ﺟﺰءا ﻣﻦ اﻟﺤﺮﻛﺔ اﻟﺜﻘﺎﻓﻴﺔ ﺑﻌﺪ أن ﺑﺪأت ﻣﺮﺣﻠﺔ‬ ‫اﻟﺘﺪوﻳﻦ ﺑﻄﺒﺎﻋﺔ أول دﻳﻮان ﻟﻠﺸﺎﻋﺮ اﳌﺎﺟﺪي ﺑﻦ ﻇﺎﻫﺮ ﰲ ‪1963‬م ﰲ اﳌﻄﺒﻌﺔ اﻟﻌامﻧﻴﺔ ﺑﺪيب ﺑﻌﺪﻣﺎ ﻛﺎن‬ ‫اﻟﺸﻌﺮ اﻟﺸﻌﺒﻲ ﻣﺤﻔﻮﻇﺎً ﰲ اﳌﺨﻄﻮﻃﺎت ﻛﻤﺨﻄﻮﻃﺔ اﺑﻦ ﻗﻨﱪ واﺑﻦ ﻗﻄﺎﻣﻲ وﻏريﻫام‪ ،‬وﺑﻌﺪ ذﻟﻚ اﺳﺘﻤﺮت‬ ‫اﻟﺤﺮﻛﺔ اﻟﺜﻘﺎﻓﻴﺔ ﺑﻈﻬﻮر ﺣﺮﻛﺔ اﻟﻨﴩ ﺑﻌﺪ اﻟﻄﺒﺎﻋﺔ ﺣﻴﺚ ﺣﻮﻟﺖ اﳌﺨﻄﻮﻃﺎت إﱃ ﻛﺘﺐ ﻣﺘﺪاوﻟﺔ‪ ،‬ﺑﺎﻹﺿﺎﻓﺔ‬ ‫إﱃ ﻇﻬﻮر ﻛﺘﺐ اﻟﺪراﺳﺎت اﻻﺳﺘﻘﺮاﺋﻴﺔ ﻛﺎﻟﺸﻌﺮ اﻟﺸﻌﺒﻲ ﰲ ﻧﺸﺄﺗﻪ وﺗﻄﻮره ﻟﻠﺪﻛﺘﻮر أﺣﻤﺪ أﻣني اﳌﺪين ﺳﻨﺔ‬ ‫‪ ،1967‬وﻛﺘﺐ اﻟﺠﻤﻊ واﻟﺘﺤﻘﻴﻖ ﻛﱰاﺛﻨﺎ ﻣﻦ اﻟﺸﻌﺮ اﻟﺸﻌﺒﻲ ﻟﺤﻤﺪ ﺑﻮﺷﻬﺎب ‪ ،1980‬وﻛﺘﺐ اﻟﺪراﺳﺎت اﻟﻌﻠﻤﻴﺔ‬ ‫ﻛﺎﻟﺸﻌﺮ اﻟﻨﺒﻄﻲ ﰲ اﻟﺨﻠﻴﺞ واﻟﺠﺰﻳﺮة اﻟﻌﺮﺑﻴﺔ ﻟﻐﺴﺎن اﻟﺤﺴﻦ ﺳﻨﺔ ‪ ،1990‬وﻗﺪ أﺳﻬﻢ ﻧﴩ وﻗﺮاءة اﻟﻘﺼﺎﺋﺪ‬ ‫ﰲ ﺗﻐﻴري ﺷﻜﻞ اﻟﻘﺼﻴﺪة اﻟﺸﻌﺒﻴﺔ ﰲ اﻹﻣﺎرات ﺑﺸﻜﻞ ﴎﻳﻊ ﺟﺪاً ﺣﺘﻰ أﺻﺒﺤﺖ ﻓﱰة اﻟﺜامﻧﻴﻨﻴﺎت أي ﺑﻌﺪ‬ ‫ﻋﻘﺪ واﺣﺪ ﻣﻦ اﻻﺗﺤﺎد ﻣﻦ أﻫﻢ اﻟﻌﻘﻮد اﳌﺰدﻫﺮة ﰲ ﺗﺎرﻳﺦ اﻟﺸﻌﺮ اﻟﺸﻌﺒﻲ ﰲ اﻹﻣﺎرات ﺑﻈﻬﻮر أول ﺟﻴﻞ‬ ‫ﻣﻦ أﺟﻴﺎل ﺷﻌﺮاء اﻻﺗﺤﺎد اﻟﺬﻳﻦ أﺳﻬﻤﻮا ﺑﺪورﻫﻢ ﰲ ﺗﻘﺪﻳﻢ منﺎذج ﺷﻌﺮﻳﺔ ﻣﺨﺘﻠﻔﺔ ﺑﺮﻫﻨﺖ ﻋﲆ أن اﻟﺪوﻟﺔ‬ ‫اﻻﺗﺤﺎدﻳﺔ اﺳﺘﻄﺎﻋﺖ ﺗﻨﻤﻴﺔ اﻟﺤﺮﻛﺔ اﻟﺸﻌﺮﻳﺔ ﺗﻨﻤﻴﺔ ﻣﺴﺘﺪاﻣﺔ‪ ،‬ﺣﺘﻰ أﺻﺒﺤﻨﺎ ﻧﺠﻨﻲ مثﺎرﻫﺎ ﺟﻴ ًﻼ ﺑﻌﺪ ﺟﻴﻞ‪،‬‬ ‫وﻧﺤﻦ ﻣﻄﻤﺌﻨﻮن أﻧﻨﺎ منﴤ ﰲ اﻟﻄﺮﻳﻖ اﻟﺼﺤﻴﺢ‪ ،‬ﺑﻔﻀﻞ اﻟﺮؤﻳﺔ اﻟﺜﺎﻗﺒﺔ ﻟﻠﻘﺎﺋﺪ اﳌﺆﺳﺲ اﻟﺬي رﺳﻢ ﻟﻠﺸﻌﺮ‬ ‫ﻃﺮﻳﻘﻪ ﻧﺤﻮ اﻟﱪوز واﻟﺘﺄﻟﻖ‪.‬‬ ‫اﻟﺸﻌﺮ ‪baytelshear‬‬ ‫ﺑﻴﺖ ِ‬

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‫‪Ĭō§§§§§§§§Ř‬‬ ‫اﻻﺗﺤﺎد ﺗﻜﺸﻒ ﻓﻴﻬﺎ ﻋﻦ أﺷﻜﺎل وأﺳﺎﻟﻴﺐ ﺟﺪﻳﺪة ﰲ ﺗﻄ ّﻮر اﻟﻨﺺ واﻟﻌﺎﻃﻔﻲ ﰲ ﺑﻨﺎء ﺟﻤﻠﺘﻬﺎ اﻟﺸﻌﺮﻳﺔ‪.‬‬ ‫اﻟﺸﻌﺮي اﻟﺸﻌﺒﻲ‪ ،‬إذ ﺗﻘﻮل ﻓﻴﻬﺎ‪:‬‬ ‫‪Q‬‬ ‫@‪v‬‬ ‫@‬ ‫‪£‬‬ ‫@‬ ‫~‬ ‫@‬ ‫{‬ ‫@‬ ‫ ‬ ‫@‬ ‫‪D‬‬ ‫@¡‪* i‬‬ ‫‪@~@ 8 INv@ @~@@N 8 @@ P @@~@R @6b@@+ @@ @ -P xR @ J‬‬ ‫ً‬ ‫وﺗﺤﻤﻞ ﺻﻮر اﻟﺮﻣﻮز اﻟﻮﻃﻨﻴﺔ واﻟﻴﻮم اﻟﻮﻃﻨﻲ ﻟﻼﺗﺤﺎد أﺷﻜﺎﻻ دﻻﻟﻴﺔ‬ ‫*‪R @ @ @ @ 94R &°* rH4 ¤@@ g@ @F‬‬ ‫@ ‪ 2b@@ @ ±* @@ 6b@@ ~@ @z@ @0*H‬ﻟﻠﻤﻨﺎﺳﺒﺔ اﻻﺣﺘﻔﺎﻟﻴﺔ‪ ،‬ﻻ ﺗﻌﱪ ﻋﻦ اﻟﻌﺰة واﻟﻔﺨﺮ وﺣﺴﺐ‪ ،‬وإمنﺎ ﺗﻌﱪ‬ ‫‪v@@£@ @ ~@Q @{@ D*H v@@ @ @ @ J*5 Q @ @~@ @9 @@ @ ~@ }@ P0 Q @@ @ D‬‬ ‫ﻋﻦ اﻟﻔﺮح اﻟﺬي ﻳﺘﺠﺴﺪ ﰲ ﺣﻀﻮر ﺻﻮرة اﻟﻌﻴﺪ اﻻﺟﺘامﻋﻴﺔ ﰲ‬ ‫ ‪2b@@ / d@Q @ @ @ @ @²*H b@@ @A¡@@ @Db@@ @+P ¤@@ @ Q @ @ @D* v@@ @ @ @ @ J*5‬‬ ‫اﳌﺠﺘﻤﻊ اﳌﺤﲇ‪ ،‬إذ اﻻﺗﺤﺎد ﺑﺎﻟﻨﺴﺒﺔ ﻟﻠﺪوﻟﺔ ﻣﻮﻋﺪ ﻟﻼﺣﺘﻔﺎل واﻟﺘﻐﻨﻲ‬ ‫· ‪v@@J4P¡@ D* @@ ~@R @6H ixN @ @~@N @ 6 @@ @ ~@ 6* Hx@@ @ 0‬‬ ‫‪O‬‬ ‫ ‪ 2b@@ @ J H&* 4xQ @ @ @ N @ @ @gP @ @ @JR b@@ @ @ EN ¤@@ @ Q @ @ @D* v@@ @ @ @ @ J*5‬ﺑﺄﻣﺠﺎد اﻟﻮﻃﻦ‪.‬‬ ‫ﻳﻈﻞ اﻟﻮﻃﻦ ﺑﻜﺎﻣﻞ رﻣﻮزه ﻣﻮﺿﻮﻋﺎً ﺟﻮﻫﺮﻳﺎً ﰲ اﻟﻨﺺ اﻟﺸﻌﺮي‬ ‫ميﺘﺰج اﻻﺷﺘﻐﺎل ﻋﲆ اﻟﺮﻣﺰ اﻟﻮﻃﻨﻲ ﰲ اﻟﻬﻮﻳﺔ اﻟﺨﺎﺻﺔ ﻟﻠﺸﺎﻋﺮ‪ ،‬اﻟﻌﺮيب‪ ،‬وﻳﻈﻞ اﻟﻴﻮم اﻟﻮﻃﻨﻲ ﻟﻼﺗﺤﺎد ﻣﻨﺎﺳﺒﺔ ﺗﻜﺸﻒ اﻟﻌﻼﻗﺔ‬ ‫ﻟﻴﺘﺠﲆ ﺑﻠﻐﺔ ﺟﺪﻳﺪة وأﺳﻠﻮب ﻣﺨﺘﻠﻒ وﻓﻖ ﺧﺼﻮﺻﻴﺔ ﻛﻞ ﺷﺎﻋﺮ‪ ،‬اﻟﺠامﻟﻴﺔ ﺑني اﻷرض‪ ،‬واﳌﻨﺠﺰ‪ ،‬واﻟﻔﺨﺮ‪ ،‬وﺻﻮرة اﻟﻘﺎﺋﺪ‪ ،‬ﻟﺘﺬﻛﺮ ﻣﻊ ﻛﻞ‬ ‫ﻓﻔﻲ اﻟﻮﻗﺖ اﻟﺬي ﻳﺬﻫﺐ اﻟﺸﺎﻋﺮ راﺷﺪ ﴍار إﱃ اﻟﻮﻃﻨﻴﺔ اﻟﺼﺎﻓﻴﺔ ﻋﺎم مبﺎ ﻗﻄﻌﺘﻪ دوﻟﺔ اﻹﻣﺎرات اﻟﻌﺮﺑﻴﺔ اﳌﺘﺤﺪة ﻣﻦ ﺷﻮط ﰲ ﻣﺴرية‬ ‫اﳌﻨﺤﺎزة إﱃ اﻟﺮﻣﺰ‪ ،‬ﺗﺬﻫﺐ اﻟﺸﺎﻋﺮة ﺣﻤﺪة اﳌﺮ إﱃ اﻟﻮﺟﺪاين ﻧﻬﻮﺿﻬﺎ وﺗﻄﻮرﻫﺎ‪.‬‬

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‫اﻟﻌﺪد ‪ ، 73‬دﻳﺴﻤﺒﺮ ‪2018‬‬

‫راﺷﺪ ﴍار‬

‫إﻳﺎد اﳌﺮﻳﴘ‬

‫ﻗﺪم اﺗﺤﺎد اﻟﺪوﻟﺔ ﺻﻮراً ﺟامﻟﻴﺔ ﻟﻌﻼﻗﺔ اﻟﺸﺎﻋﺮ اﻟﺸﻌﺒﻲ ﺑﺄرﺿﻪ‪،‬‬ ‫وﺷﻌﺒﻪ‪ ،‬وﺷﺨﺼﻴﺎﺗﻪ اﻟﻮﻃﻨﻴﺔ‪ ،‬ﺣﻴﺚ راح اﳌﻮﺿﻮع ُﻳﻜﺘﺐ وﻳﺮدد‬ ‫ﺑﺄﻗﻼم وﺗﺠﺎرب إﺑﺪاﻋﻴﺔ إﻣﺎراﺗﻴﺔ ﻛﺒرية‪ ،‬ﺣﻮﻟﺖ اﳌﻨﺎﺳﺒﺔ إﱃ ﻣﻨﻔ ٍﺬ‬ ‫وﺑﺎب ﻻﻣﺘﺪاح‬ ‫ﻟﻠﻜﺸﻒ ﻋﻦ ﺣﻀﻮر اﻟﻮﻃﻦ ﰲ ﻧﺼﻮﺻﻬﻢ اﻟﺸﻌﺮﻳﺔ‪ٍ ،‬‬ ‫ﺑﺎين اﻟﺪوﻟﺔ‪ ،‬وﻣﺎ أﺣﺪﺛﻪ ﻣﻦ ﻃﻔﺮة‪ ،‬إﱃ ﺟﺎﻧﺐ ﻣﻨﺎﺳﺒﺘﻪ ﻛﺤﺪث ميﻜﻦ‬ ‫ﻣﻦ ﺧﻼﻟﻪ اﻻﻃﻼﻟﺔ ﻋﲆ اﳌﺴرية اﻟﺘﻲ اﺳﺘﻜﻤﻠﻬﺎ ﻗﺎدة وﺷﻴﻮخ اﻟﺪوﻟﺔ‪.‬‬ ‫ميﻜﻦ ﻗﺮاءة ﺣﻀﻮر ﻣﻨﺎﺳﺒﺔ اﻟﻴﻮم اﻟﻮﻃﻨﻲ ﻟﻼﺗﺤﺎد ﰲ اﻟﻘﺼﻴﺪة‬ ‫اﻟﺸﻌﺒﻴﺔ اﻹﻣﺎراﺗﻴﺔ ﻣﻦ ﻋﺪة ﻣﺤﺎور‪ ،‬ﻣﻨﻬﺎ أﺛﺮ اﻟﺘﻐريات اﻟﺴﻴﺎﺳﻴﺔ‬ ‫واﻻﺟﺘامﻋﻴﺔ واﻻﻗﺘﺼﺎدﻳﺔ ﻋﲆ اﻟﻨﺼﻮص اﻹﺑﺪاﻋﻴﺔ ﻟﻠﺸﻌﺮاء‪ ،‬وﺗﺄﺛﺮﻫﺎ‬ ‫ﺑﺎﻷﺣﺪاث اﳌﻔﺎرﻗﺔ‪ ،‬وﻣﻨﻬﺎ ﺻﻮرة اﻟﺪوﻟﺔ ﻛﻮﻃﻦ ورﻣﺰ ﻣﻌﱪ ﻋﻦ‬ ‫أﺷﻜﺎل اﻻﻧﺘامء ﰲ اﻟﻘﺼﻴﺪة اﳌﺤﻠﻴﺔ‪ ،‬إﱃ ﺟﺎﻧﺐ ﻗﺪرة اﻟﺸﻌﺮاء ﻋﲆ‬ ‫اﺳﺘﻨﻬﺎض ﻣﻔﺮدات اﻟﻌﺰة واﻟﻔﺨﺮ واﻟﺜﻨﺎء ﺑﺄﺷﻜﺎل وﻗﻮاﻟﺐ ﺟامﻟﻴﺔ‬ ‫ﺟﺪﻳﺪة ﺗﺘﺠﺎوز اﻟﺴﺎﺋﺪ واﳌﺴﺘﻬﻠﻚ‪.‬‬ ‫وﻳﻀﺎف إﱃ ﺗﻠﻚ اﳌﺤﺎور ﻣﺎ ميﻜﻦ ﺗﻠﻤﺴﻪ ﻣﻦ ﺗﺤﻮﻻت ﺟﺎرﻳﺔ ﻋﲆ‬ ‫اﻟﻨﺺ اﻟﺸﻌﺮي اﻟﺸﻌﺒﻲ ﺑﺘﻌﺎﻗﺐ اﻷﺟﻴﺎل اﻟﺘﻲ ﺗﻨﺎوﻟﺖ ﻣﻔﻬﻮﻣﻪ‬ ‫ورﻣﺰﻳﺘﻪ ﺧﻼل اﻟﻌﻘﻮد اﳌﺎﺿﻴﺔ‪ ،‬إذ ﻳﺠﺪ اﳌﻌﺎﻳﻦ ﻟﻠﻜﺜري ﻣﻦ ﺗﺠﺎرب‬ ‫اﻟﺸﻌﺮاء‪ ،‬أن اﻟﺮﻣﺰﻳﺎت اﻟﺜﻼث اﻟﺮﺋﻴﺴﺔ ﻟﻼﺗﺤﺎد ﻇﻠﺖ ﻫﻲ اﻟﺸﺎﻏﻞ‬ ‫اﻟﺮﺋﻴﺲ واﻟﺠﻮﻫﺮي ﰲ ﻗﺼﺎﺋﺪﻫﻢ اﻟﺸﻌﺒﻴﺔ‪ ،‬ومتﺜﻠﺖ ﰲ )اﻻﺗﺤﺎد‪،‬‬ ‫واﻟﺸﻴﺦ زاﻳﺪ‪ ،‬وﺷﻴﻮخ اﻹﻣﺎرات وﻣﺎ اﺳﺘﻜﻤﻠﻮه ﻣﻦ ﻣﺴريه(‪.‬‬

‫ﺣﻤﺪة اﳌﺮ‬

‫أﻣﺎ ﻋﲆ ﻣﺴﺘﻮى ﺻﻮرة اﻟﺪوﻟﺔ ﻛﻮﻃﻦ ورﻣﺰ وﻣﻌﱪ ﻋﻦ أﺷﻜﺎل‬ ‫اﻻﻧﺘامء ﰲ اﻟﻘﺼﻴﺪة اﳌﺤﻠﻴﺔ‪ ،‬ﻓﺎﻟﺸﻮاﻫﺪ ﻛﺜرية ﻋﲆ ﺣﻀﻮره‪ ،‬ﻓﻴﻤﻜﻦ‬ ‫ﻗﺮاءة ﺻﻮرة اﳌﻐﻔﻮر ﻟﻪ اﻟﺸﻴﺦ زاﻳﺪ ﻣﺆﺳﺲ اﻟﺪوﻟﺔ ﰲ ﻧﺼﻮص ﻋﺪة‪،‬‬ ‫إذ ﻳﻘﻮل اﻟﺸﺎﻋﺮ راﺷﺪ ﴍار ﰲ ﻗﺼﻴﺪة ﺑﻌﻨﻮان "ﻫﺬا ﺧﻠﻴﻔﺔ"‪:‬‬ ‫‪f@@ @ £@ @ 1 v@@ @ @ @ @ @ J*5 d@@ @ @ @ @< b@@ @ @ @ @ @ @ @ 0 4*2‬‬ ‫@ @‪,2b@@ @ @ @ ~@ @ z@ @ D*H b@@ @ @ @ @ @ D* @@ 6¡@@ c@ @ @ @§ x@@ ~@ @{@ @c‬‬‫‪ @@ @ £@ ~@ }@ J v@@ @ @ @J*5 d@@ £@ @ D f@@ @ £@ @ 1 f@@ c@ £@ :‬‬ ‫‪ 2É@@ @ @ @+ ¯ b@@ @ s@ @ @ ~@ @ @ z@ @ @ D*H f@@ @ c@ @ @ p@ @ @ ´* v@@ @ @ @E‬‬ ‫ﺗﺘﺸﻜﻞ ﺻﻮرة اﳌﻐﻔﻮر ﻟﻪ اﻟﺸﻴﺦ زاﻳﺪ ﰲ ﻧﺺ اﻟﺸﺎﻋﺮ راﺷﺪ ﴍار‬ ‫ﺑﻮﺻﻔﻪ ﻋﻼﻣﺔ ورﻣﺰاً ﻳﺤﻤﻞ ﻣﻦ اﻟﺨﺼﺎل اﻟﻨﺒﻴﻠﺔ ﻣﺎ ﻳﺠﻌﻠﻪ ﻣﺜﺎﻻً‬ ‫ﻳﺤﺘﺬى ﺑﻪ‪ ،‬وميﻠﻚ ﻣﻦ اﻟﺪﻻﻟﺔ ﰲ اﻟﺬﻫﻨﻴﺔ اﻹﻣﺎراﺗﻴﺔ ﻣﺎ ﻳﺠﻌﻠﻪ‬ ‫ﻳﺘﺠﺎوز ﺣﻀﻮره ﻛﻘﺎﺋﺪ ورﻣﺰ وﻃﻨﻲ إﱃ ﻣﻜﺎن اﻟﺼﻔﺔ ﰲ ﺳﻴﺎق‬ ‫اﳌﺪﻳﺢ‪ ،‬وﻛﺄﻧﻪ ﻳﻜﻔﻲ اﻟﻘﻮل‪ :‬إﻧﻚ ﻣﺜﻞ زاﻳﺪ‪.‬‬

‫وﺗﺘﺠﺴﺪ ﻗﻴﻤﺔ اﻟﺸﻴﺦ زاﻳﺪ ﺑﺎرﺗﺒﺎﻃﻪ ﺑﺎﳌﻔﺎﻫﻴﻢ اﻟﻮﻃﻨﻴﺔ ﻛﻠﻬﺎ‬ ‫ﻟﻠﻤﺠﺘﻤﻊ اﻹﻣﺎرايت‪ ،‬وﻛﺄﻧﻪ ﺑﺎت ﻳﻌﺪ ﻣﻌﺎدﻻً ﻣﻮﺿﻮﻋﻴﺎً ﻟﺮﻣﺰﻳﺔ اﻟﻮﻃﻦ‪،‬‬ ‫إذ ﻳﻘﻮل اﻟﺸﺎﻋﺮ إﻳﺎد اﳌﺮﻳﴘ ﰲ ﻗﺼﻴﺪة ﻟﻪ مبﻨﺎﺳﺒﺔ اﻻﺗﺤﺎد‪:‬‬ ‫‪b@@ Q @ < r*4 @@ @ E x@@ @ £@ @ @ 1 v@@ @ @ @ @ @J*5 4b@@ @ Jv@@ @ D‬‬ ‫*‪b@@ @ Jw@@1 @@c@ @ @£@ :H @@ @ <b@@ @ c@ @ @:* @@ @ @ E ¤@@ @ @ @ @D‬‬ ‫*‪¢@@ Q @ © H&* @@ @ @ @ @; b@@ @ @ E ¤@@ @ @ @ @D* 2b@@ @ @ @ @ @ @ @ @D‬‬ ‫*‪b@@ @ £@ @ / b@@ @ @ Q @ @ @ @0H x@@ @ @ @ £@ @ @ @ 1 45 ¤@@ @ @ @ @ @ @D‬‬ ‫ﻋﲆ ﻣﺴﺘﻮى أﺛﺮ اﻟﺘﻐريات اﻟﺴﻴﺎﺳﻴﺔ واﻻﻗﺘﺼﺎدﻳﺔ ﻟﻠﺪوﻟﺔ ﻋﲆ اﻟﻨﺺ ‪¢@@ Q @ @+H v@@ @ £Q @ @ @ ~@ 7 v@@ @ £@ @ @ @ < 2b@@ @ @ @ @ p@ @ @ @-* ¡@@ @ @J‬‬ ‫‪b@@ @ J¡@@g@ p@ J x@@ @s@ @ @ @ @ @ @ D*H ,yQ @ @ @ @ @ @ @ @ @ ´* h@@ @ @ @ £@ @ @ +‬‬ ‫اﻹﺑﺪاﻋﻲ‪ ،‬ﻳﺼﻞ اﻟﺒﺎﺣﺚ ﰲ ﻣﺪوﻧﺔ اﻟﺸﻌﺮ اﻟﺸﻌﺒﻲ إﱃ ﺣﻘﻴﻘﺔ‬ ‫أن ﻣﺠﻤﻞ اﻟﺸﻌﺮاء اﻟﺬﻳﻦ ﻋﺎﻳﺸﻮا اﻻﺗﺤﺎد وﻣﻦ ﺗﻼﻫﻢ ﻣﻦ أﺟﻴﺎل‬ ‫ﺷﻌﺮﻳﺔ‪ ،‬ﻛﺘﺒﻮا ﻗﺼﺎﺋﺪ ﺑﻬﺬه اﳌﻨﺎﺳﺒﺔ‪ ،‬وﺗﻐﻨﻮا ﺑﺮﻣﺰﻳﺘﻬﺎ‪ ،‬وﻋﺮﺿﻮا ﻣﻦ وﻳﺘﺠﲆ ذﻛﺮ اﳌﻐﻔﻮر ﻟﻪ اﻟﺸﻴﺦ زاﻳﺪ ﰲ ﻫﺬا اﳌﻘﺎم ﺿﻤﻦ ﺳﻴﺎﻗﺎت‬ ‫ﺧﻼﻟﻬﺎ ﺻﻮر ﻓﺨﺮﻫﻢ مبﺎ ﺣﻘﻘﺘﻪ ﺑﻼدﻫﻢ ﻣﻦ وﺣﺪة‪ ،‬اﻷﻣﺮ اﻟﺬي ﻳﻌﻴﺪ ﻣﺘﻌﺪدة‪ ،‬ﻓﻼ ﻳﻨﺤﴫ ﻋﲆ ﺟﻴﻞ ﺷﻌﺮي ﺑﻌﻴﻨﻪ ﻛﺎﻧﻮا ﺷﻬﻮداً ﻋﲆ‬ ‫ﻃﺮح اﻟﻌﻼﻗﺔ ﺑني اﻟﺸﺎﻋﺮ واﳌﺘﻐريات ﻣﻦ ﺣﻮﻟﻪ‪ ،‬وﻗﺪرة اﻟﻘﺼﻴﺪة ﻋﲆ ﺗﺠﺮﺑﺔ اﻻﺗﺤﺎد‪ ،‬وﻣﺎ أﺣﺪﺛﻪ ﻟﻠﺪوﻟﺔ وﺣﺴﺐ‪ ،‬وإمنﺎ ﻳﺘﻌﺪاه إﱃ أﺟﻴﺎل‬ ‫ﺷﺎﺑﺔ وﺟﺪﻳﺪة‪ ،‬ﺣﻴﺚ ﺗﻜﺘﺐ اﻟﺸﺎﻋﺮة ﺣﻤﺪة اﳌﺮ ﻗﺼﻴﺪة ﰲ ﻋﻴﺪ‬ ‫ﺗﺤﻮﻳﻞ اﳌﻨﺎﺳﺒﺎت واﻷﺣﺪاث واﳌﻮاﻗﻒ إﱃ ﻣﻔﺎﻫﻴﻢ ﺟامﻟﻴﺔ‪.‬‬ ‫اﻟﺸﻌﺮ ‪baytelshear‬‬ ‫ﺑﻴﺖ ِ‬

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‫‪Ĭō§§§§§§§§Ř‬‬

‫‪ǣƢǾżǙ ƩǙ ƙǜǕŌ ǓƫōƲũ ƉǤƦũǶ ǢƂȎŞş ƉƫōƖǕŌ ǳǃȎƫ ƱƖǈũ‬‬

‫اﺗﺤﺎد اﻹﻣﺎرات‬ ‫ﻓﻲ اﻟﻘﺼﻴﺪة اﻟﺸﻌﺒﻴﺔ‪..‬‬ ‫‪ƃȃōǂǕŌǶ ǛƣǷǔǕ ǳǾǕōǘŵ ǳǿƋǙƈǶ ƉƀƲǔǕ ǳǾȃōǜƯ‬‬ ‫ﻛﺘﺐ – ﻣﺤﻤﺪ أﺑﻮ ﻋﺮب‬

‫ﻣﺜﻠام ﻟﻠﻴﻮم اﻟﻮﻃﻨﻲ ﻻﺗﺤﺎد دوﻟﺔ اﻹﻣﺎرات‬ ‫اﻟﻌﺮﺑﻴﺔ اﳌﺘﺤﺪة ﺳرية ﻣﻦ اﻟﻨﻬﻮض اﻟﺤﻀﺎري‬ ‫واﻻﻗﺘﺼﺎدي اﻟﺬي ﺷﻬﺪﺗﻪ اﻟﺪوﻟﺔ ﻃﻮال أﻛرث‬ ‫ﻣﻦ أرﺑﻌﺔ ﻋﻘﻮد‪ ،‬ﻟﻪ أﻳﻀﺎً ﺳرية ﻣﺤﻔﻮﻇﺔ‬ ‫ﰲ ذاﻛﺮة اﻟﻨﺺ اﻟﺸﻌﺮي اﻟﺸﻌﺒﻲ اﳌﺤﲇ‪،‬‬ ‫إذ ﺷﻜﻞ اﺗﺤﺎد اﻹﻣﺎرات ورﻣﻮزه اﻟﻮﻃﻨﻴﺔ‬ ‫ﻣﻮﺿﻮﻋﺎً واﺳﻌﺎً ﰲ اﻟﻨﺘﺎج اﻹﺑﺪاﻋﻲ اﻟﺸﻌﺒﻲ‪،‬‬ ‫ﺗﺠﲆ ﰲ ﻋﺪ ٍد ﻣﻦ اﻟﻘﺼﺎﺋﺪ واﻟﺪواوﻳﻦ اﻟﺘﻲ‬ ‫ﺗﺘﻮﻗﻒ ﻋﻨﺪ اﻟﻮﻃﻦ وﻣﻔﻬﻮﻣﻪ‪ ،‬وﺻﻮرة‬ ‫اﻟﻮﺣﺪة ورﻣﺰﻳﺘﻬﺎ‪ ،‬وﺷﺨﺼﻴﺔ اﳌﻐﻔﻮر ﻟﻪ‬ ‫اﻟﺸﻴﺦ زاﻳﺪ ﺑﻦ ﺳﻠﻄﺎن آل ﻧﻬﻴﺎن ﻃﻴﺐ اﻟﻠﻪ‬ ‫ﺛﺮاه‪.‬‬

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‫اﻟﻌﺪد ‪ ، 73‬دﻳﺴﻤﺒﺮ ‪2018‬‬

‫‪ƃǙȏŌ ǳǔǿǷƣ ŦŌƉǾƗőŨǕŌ ƈŌƉǃ ƃǘŨƪǿ ŋŌƈƊǷǕŌ ƑǔŴǙ‬‬ ‫اﻋﺘﻤﺪ ﻣﺠﻠﺲ اﻟــــﻮزراء ﻗـــﺮار ﺗﺄﺷرية‬ ‫اﳌﺴﺘﺜﻤﺮﻳﻦ ورواد اﻷﻋـــامل وأﺻﺤﺎب‬ ‫اﳌﻮاﻫﺐ اﻟﺘﺨﺼﺼﻴﺔ واﻟﺒﺎﺣﺜني ﰲ ﻣﺠﺎﻻت‬ ‫اﻟﻌﻠﻮم واﳌﻌﺮﻓﺔ واﻟﻄﻼب اﳌﺘﻔﻮﻗني ﺑﻬﺪف‬ ‫ﺗﺴﻬﻴﻞ ﻣﺰاوﻟﺔ اﻷﻋامل‪ ،‬وﺧﻠﻖ ﺑﻴﺌﺔ اﺳﺘﺜامرﻳﺔ‬ ‫ﺟﺎذﺑﺔ وﻣﺸﺠﻌﺔ ﻋﲆ منﻮ وﻧﺠﺎح اﻷﻋامل‬ ‫ﻟﻠﻤﺴﺘﺜﻤﺮﻳﻦ ورﺟﺎل اﻷﻋامل واﳌﻮﻫﻮﺑني‪.‬‬ ‫وﺗﻀﻤﻦ ﻗﺮار اﳌﺠﻠﺲ اﻟــﻮزراء ﻗﺒﻞ أﺷﻬﺮ‬ ‫ﻣﻨﺢ اﳌﺴﺘﺜﻤﺮﻳﻦ ﺗــﺄﺷـريات إﻗﺎﻣﺔ ﺗﺼﻞ‬ ‫ﻟﻌﴩ ﺳﻨﻮات ﻟﻬﻢ وﻟﺠﻤﻴﻊ أﻓـﺮاد أﴎﻫﻢ‬

‫ﺑﺎﻹﺿﺎﻓﺔ ﳌﻨﺢ ﺗﺄﺷريات إﻗﺎﻣﺔ ﺗﺼﻞ ﻟﻌﴩة‬ ‫أﻋــﻮام ﻟﻠﻜﻔﺎءات اﻟﺘﺨﺼﺼﻴﺔ ﰲ اﳌﺠﺎﻻت‬ ‫اﻟﻄﺒﻴﺔ واﻟﻌﻠﻤﻴﺔ واﻟﺒﺤﺜﻴﺔ واﻟﺘﻘﻨﻴﺔ وﻟﻜﺎﻓﺔ‬ ‫اﻟﻌﻠامء واﳌﺒﺪﻋني ﻣﻦ أﻫﻞ اﻟﺜﻘﺎﻓﺔ واﻟﻔﻨﻮن‬ ‫ﺑﻬﺪف اﺳﺘﻘﻄﺎب أﻛﱪ ﻟﻼﺳﺘﺜامرات اﻷﺟﻨﺒﻴﺔ‪،‬‬ ‫وﺗﺤﻔﻴﺰ اﻹﻧﺘﺎج اﳌﺤﲇ وﺗﺤﺴني ﺑﻴﺌﺔ اﻷﻋامل‪،‬‬ ‫وﺟﻌﻠﻬﺎ أﻛرث ﻛﻔﺎءة وﺟﺎذﺑﻴﺔ وﺗﻄﻮﻳﺮ اﻟﻘﺪرة‬ ‫اﻟﺘﻨﺎﻓﺴﻴﺔ ﻟﱰﺳﻴﺦ ﻣﻜﺎﻧﺔ دوﻟﺔ اﻹﻣﺎرات ﻋﲆ‬ ‫اﻟﺴﺎﺣﺔ اﻟﻌﺎﳌﻴﺔ‪ .‬وﺗﻀﻤﻦ اﻟﻘﺮار ﴍوط‬ ‫وأﺣــﻜــﺎم اﻟﺤﺼﻮل ﻋﲆ ﺗــﺄﺷـريات ﻃﻮﻳﻠﺔ‬

‫اﻷﻣﺪ ﻟﻜﻞ ﻣﻦ اﳌﺴﺘﺜﻤﺮﻳﻦ‪ ،‬ورواد اﻷﻋامل‪،‬‬ ‫وأﺻﺤﺎب اﳌﻮاﻫﺐ اﻟﺘﺨﺼﺼﻴﺔ واﻟﺒﺎﺣﺜني ﰲ‬ ‫ﻣﺠﺎﻻت اﻟﻌﻠﻮم واﳌﻌﺮﻓﺔ واﻟﻄﻼب اﳌﺘﻔﻮﻗني‬ ‫ﻻﺳﺘﻘﻄﺎب اﻟﻜﻔﺎءات واﳌﻮاﻫﺐ ﰲ ﻛﺎﻓﺔ‬ ‫اﻟﻘﻄﺎﻋﺎت اﻟﺤﻴﻮﻳﺔ ﻟﻼﻗﺘﺼﺎد اﻟﻮﻃﻨﻲ وﺗﺸﻤﻞ‬ ‫ﻛﺬﻟﻚ اﻟﺰوج واﻟﺰوﺟﺔ واﻷﺑﻨﺎء ﻟﻀامن ﺗﻮﻓري‬ ‫ﺑﻴﺌﺔ ﻣﺘامﺳﻜﺔ أﴎﻳ ًــﺎ واﺟﺘامﻋﻴﺎً وﻣﺤﻔﺰة‬ ‫ﻟﻸﻋامل واﻻﺑﺘﻜﺎر ﰲ اﻟﻮﻗﺖ ذاﺗﻪ وﺗﺸﻤﻞ‬ ‫اﻟﻘﺮارات ﻛﺎﻓﺔ اﻟﺘﻔﺎﺻﻴﻞ واﻟﴩوط واﳌﺰاﻳﺎ‬ ‫ﻟﻜﻞ ﻓﺌﺔ مبﺎ ﻳﻀﻤﻦ ﺳﻼﺳﺔ ﺗﻄﺒﻴﻖ اﻟﻘﺮارات‪.‬‬ ‫اﻟﺸﻌﺮ ‪baytelshear‬‬ ‫ﺑﻴﺖ ِ‬

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‫ ‪ ĬŒ ĘěĪ‬‬

‫‪mǽşƂ 2020 ǷŞƒǉŒ} ǽƳ ǓŞǂŨƒǘǕŌ Ʃǜƚũ ǳǕǶƂ 190‬‬ ‫أﻛﺪت ‪ 190‬دوﻟﺔ ﻣﺸﺎرﻛﺘﻬﺎ ﰲ ﻣﻌﺮض إﻛﺴﺒﻮ ‪ 2020‬ديب‪ ،‬ﻟﺘﺆﻛﺪ‬ ‫ﻣﻜﺎﻧﺘﻪ ﺑﻮﺻﻔﻪ وﺟﻬﺔ ﻋﺎﳌﻴﺔ ﺗﺠﻤﻊ اﻟﺪول واﻟﺸﻌﻮب ﺗﺤﺖ ﺷﻌﺎر‬ ‫»ﺗﻮاﺻﻞ اﻟﻌﻘﻮل وﺻﻨﻊ اﳌﺴﺘﻘﺒﻞ«‪ .‬وﺑﻬﺬا ﺗﻜﻮن اﻹﻣﺎرات ﻗﺪ ﺗﺠﺎوزت‬ ‫اﻟﺮﻗﻢ اﳌﺴﺘﻬﺪف ﳌﺸﺎرﻛﺎت اﻟﺪول‪ ،‬واﻟﺬي اﻟﺘﺰﻣﺘﻪ ﰲ ﻣﻠﻒ اﻟﱰﺷﻴﺢ‬ ‫ﻻﺳﺘﻀﺎﻓﺔ إﻛﺴﺒﻮ اﻟﺪوﱄ‪ ،‬وذﻟﻚ ﻗﺒﻞ ﻣﺎ ﻳﻘﺮب ﻣﻦ ﻋﺎﻣني ﻣﻦ اﻧﻄﻼق‬ ‫ﻓﻌﺎﻟﻴﺎﺗﻪ‪ .‬ﺟﺎء ﻫﺬا اﻹﻋﻼن ﺑﺎﻟﺘﺰاﻣﻦ ﻣﻊ اﻧﻄﻼق ﻓﻌﺎﻟﻴﺎت اﻟﻴﻮم اﻷول‬ ‫ﻻﺟﺘامع اﳌﺸﺎرﻛني اﻟﺪوﻟﻴني اﻟﺜﺎﻟﺚ ﰲ إﻛﺴﺒﻮ ‪ 2020‬ديب‪ ،‬واﻟﺬي ﺷﻬﺪ‬ ‫ﻣﺸﺎرﻛﺔ ﻣﺌﺎت اﳌﻤﺜﻠني ﻋﻦ اﻟﺪول اﳌﺸﺎرﻛﺔ ﻳﺠﺘﻤﻌﻮن ﰲ ديب ﻟﻼﻃﻼع‬

‫ﻋﲆ أﺣﺪث اﳌﺴﺘﺠﺪات ﰲ ﻣﺴرية اﻟﺘﺤﻀري ﻻﺳﺘﻀﺎﻓﺔ اﻟﺤﺪث اﻟﺪوﱄ‬ ‫اﻷﻛﱪ ﰲ ﺗﺎرﻳﺦ اﳌﻨﻄﻘﺔ واﻟﻌﺎمل اﻟﻌﺮيب‪ ،‬وﺗﻌﺘﱪاﺳﺘﺜامرات اﳌﺸﺎرﻛني ﰲ‬ ‫اﳌﻌﺮض ﺷﻬﺎدة ﺛﻘﺔ ﺑﺪيب وإﻣﻜﺎﻧﺎﺗﻬﺎ اﻟﻮاﻋﺪة‪ .‬وﻣﻦ ﺟﺎﻧﺒﻬﺎ اﻋﺘﻤﺪت‬ ‫اﻟﺤﻜﻮﻣﺔ اﻟﻴﺎﺑﺎﻧﻴﺔ اﳌﻴﺰاﻧﻴﺔ اﻟﺨﺎﺻﺔ ﺑﺎﻟﺠﻨﺎح اﻟﻴﺎﺑﺎين ﺑﻘﻴﻤﺔ ‪ 50‬ﻣﻠﻴﻮن‬ ‫دوﻻر أو ﻣﺎ ﻳﻌﺎدل أﻛرث ﻣﻦ ‪ 5.6‬ﻣﻠﻴﺎرا ﻳﻦ ﻳﺎﺑﺎين وﺑﺎﻧﺘﻈﺎر ﺗﻮﻗﻴﻊ‬ ‫اﻟﻌﻘﺪ ﻣﻊ إﻛﺴﺒﻮ ﺧﻼل اﻟﻴﻮﻣني اﳌﻘﺒﻠني‪ .‬وﻓﺎزت ﻣﺪﻳﻨﺔ أوﺳﺎﻛﺎ‬ ‫اﻟﻴﺎﺑﺎﻧﻴﺔ ﺑﺤﻖ اﺳﺘﻀﺎﻓﺔ ﻣﻌﺮض »إﻛﺴﺒﻮ ‪ «2025‬ﺑﻌﺪ أن ﺗﻐﻠﺒﺖ ﻋﲆ‬ ‫ﻣﺪﻳﻨﺘﻲ اﻳﻜﺎﺗﺮﻳﻨﱪج اﻟﺮوﺳﻴﺔ وﺑﺎﻛﻮ اﻷذرﺑﻴﺠﺎﻧﻴﺔ‪.‬‬

‫‪2020 ǽƳ ǳǕǶƃǕōş ƩǃǷŨǘǕŌ ƉƗōŞǘǕŌ ǽŞǜŵȏŌ ƈōǘŬŨƓȍŌ ǗǥƈƂ ƈōǾǔǙ 50‬‬

‫ﺗﻮﻗﻌﺖ ﺗﻘﺎرﻳﺮ ﻣﺆﺳﺴﺎت ﻋﺎﳌﻴﺔ‪ ،‬ﻣﻨﻬﺎ‬ ‫»ﺗﺮﻳﺪﻳﻨﺞ إﻛﻨﻮﻣﻴﻜﺲ« ارﺗﻔﺎع إﺟامﱄ‬ ‫اﻻﺳﺘﺜامر اﻷﺟﻨﺒﻲ اﳌﺒﺎﴍ ﰲ اﻟﺪوﻟﺔ‬ ‫إﱃ ‪ 50‬ﻣﻠﻴﺎر درﻫﻢ ﰲ ﻋﺎم ‪ ،2020‬ﰲ‬ ‫اﻧﻌﻜﺎس ﻟﺪور ﻗﺎﻧﻮن اﻻﺳﺘﺜامر اﻷﺟﻨﺒﻲ‬

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‫اﻟﻌﺪد ‪ ، 73‬دﻳﺴﻤﺒﺮ ‪2018‬‬

‫اﻟﺼﺎدر ﰲ ﺷﻬﺮ أﻛﺘﻮﺑﺮ اﳌﺎﴈ‪ ،‬واﻟﺬي‬ ‫ﻋﺰز ﻣﻦ ﺗﻨﺎﻓﺴﻴﺔ اﻟﺪوﻟﺔ‪ ،‬ورﻓــﻊ ﻣﻦ‬ ‫ﺟﺎذﺑﻴﺘﻬﺎ ﻟﺠﻬﺔ اﺳﺘﻘﻄﺎب اﳌﺰﻳﺪ ﻣﻦ‬ ‫اﻻﺳﺘﺜامرات ﺧﻼل اﻟﻌﺎﻣني اﳌﻘﺒﻠني‪.‬‬ ‫وﻛﺎﻧﺖ ﻗﻴﻤﺔ اﻻﺳﺘﺜامرات اﻷﺟﻨﺒﻴﺔ‬

‫اﳌﺒﺎﴍة ﰲ اﻹﻣــﺎرات ﺑﻠﻐﺖ ‪ 33‬ﻣﻠﻴﺎر‬ ‫درﻫــﻢ ﰲ ‪ 2017‬ﺑﻨﻤﻮ ‪ .%10‬وﺗﻮﻗﻊ‬ ‫اﻟﺨﱪاء أن ﻳﺴﻬﻢ اﻟﻘﺎﻧﻮن ﰲ ارﺗﻔﺎع وﺗرية‬ ‫اﻻﺳﺘﺜامرات اﻷﺟﻨﺒﻴﺔ اﳌﺒﺎﴍة إﱃ اﻟﺪوﻟﺔ‬ ‫ﺧﻼل اﻟﻔﱰة اﳌﻘﺒﻠﺔ‪.‬‬

‫‪ǚōǾǤǝ ǒŔ ƃǿŌƊ Ǜş ǚōƢǔƓ ſǾƖǕŌ ǷǘƓ ǳǘǔǉ‬‬

‫‪ ǣǔǕŌ ǣƦƲżǿ ǳǕǶƃǕŌ ƑǾȃƈ ǷǘƒǕŌ ŝŽōƛ ǓŬǘǙ‬‬ ‫‪ 2018 ƉŞǘƳǷǝ 30 ƃǾǤƖǕŌ ǖǷǿ ǳŞƓōǜǘş‬‬

‫اﻟﻴﻮم ‪..‬‬ ‫ﻳﻮم اﻟﺸﻬﻴﺪ ‪ ..‬ﻳﻮم اﻟﻌ ّﺰ واﻟﻔﺨﺮ واﻹﺑﺎء ‪..‬‬ ‫ﻓﻴﻪ ُﺗﻜ ّﺮم دوﻟﺔ اﻹﻣﺎرات اﻟﻌﺮﺑﻴﺔ اﳌﺘﺤﺪة‬ ‫أﺑﻨﺎءﻫﺎ اﻟﺒﻮاﺳﻞ اﻟﺬﻳﻦ ﻟﺒﻮا ﻧﺪاء اﻟﻮاﺟﺐ‬ ‫ﻓﺠﺎدوا ﺑﺄرواﺣﻬﻢ اﻟﺰﻛﻴﺔ اﻟﻄﺎﻫﺮة ﰲ‬ ‫ﺳﺒﻴﻞ رﻓﻌﺔ اﻟﻮﻃﻦ وﻋﺰﺗﻪ ‪..‬‬ ‫ﺳﻴﺒﻘﻰ اﻟﺸﻬﺪاء ﺧﺎﻟﺪﻳﻦ ﺑﺬﻛﺮاﻫﻢ ﻣﺪى‬ ‫اﻟﺪﻫﺮ ‪ ..‬ﻛﻮاﻛﺐ ﺗﻨﻴـﺮ ﺳامء اﻟﻮﻃﻦ ‪..‬‬ ‫وﻗــﻮ ًة ﺗﺸﺤﺬ اﻟﻬﻤﻢ ‪ ..‬وﻗــﺪو ًة ﺗﺒﻌﺚ‬ ‫اﻟﻌﺰميﺔ ﰲ اﻟﻨﻔﻮس ‪.‬‬ ‫ﻳﻌﱪ ﻋﻨﻪ أﺑﻨﺎء اﻹﻣــﺎرات ﺟﻤﻴﻌﺎً‬ ‫إن ﻣﺎ ّ‬ ‫ﰲ ﻫﺬا اﻟﻴﻮم ‪ ،‬ﻳﻮم اﻟﺸﻬﻴﺪ‪ ،‬إمنﺎ ﻳﺆﻛﺪ‬ ‫أن اﻟﻮﻃﻦ ﻻ ﻳﻨﴗ أﺑﻨﺎءه اﻟﺬﻳﻦ ﺑﺬﻟﻮا‬ ‫أرواﺣﻬﻢ اﻟﻄﺎﻫﺮة دﻓﺎﻋﺎً ﻋﻨﻪ ﰲ ﺳﺎﺣﺎت‬ ‫اﻟﻌﺰ واﻟﴩف ‪.‬‬ ‫اﻟﻴﻮم ﻳﻘﻒ اﻟﺠﻤﻴﻊ ‪ ..‬ﺟﻤﻴﻊ ﻣﻦ ﰲ ﻫﺬا‬ ‫اﻟﻮﻃﻦ ‪ ..‬ﻗﺎد ًة وﻣﻮاﻃﻨني ‪ ..‬ﻧﺴﺎ ًء ورﺟﺎﻻً ‪..‬‬ ‫ﺻﻐﺎراً وﻛﺒﺎراً ‪ ..‬ﺟﻨﻮداً وﻣﺪﻧﻴني ‪ ..‬ﻳﻘﻔﻮن‬ ‫ﻛﺎﻟﺒﻨﻴﺎن اﳌﺮﺻﻮص ‪ ..‬ﻳﺸﺪ ﺑﻌﻀﻬﻢ أزر‬ ‫ﺑﻌﺾ‪ ،‬ﻟﺘﺒﻘﻰ راﻳﺔ اﻟﻮﻃﻦ ﺧ ّﻔﺎﻗ ًﺔ ﻋﺎﻟﻴﺔ‪.‬‬ ‫إن دوﻟــﺔ اﻹﻣـــﺎرات اﻟﻌﺮﺑﻴﺔ اﳌﺘﺤﺪة‬ ‫ﻣﻠﺘﺰﻣﺔ ﺑﺎﻟﻮﻓﺎء مبﺴﺆوﻟﻴﺎﺗﻬﺎ اﻟﻘﻮﻣﻴﺔ‬ ‫واﻷﺧﻼﻗﻴﺔ واﻹﻧﺴﺎﻧﻴﺔ‪ ،‬ﻓﻬﻲ ﺗﻘﻒ دامئﺎً‬

‫إﱃ ﺟﺎﻧﺐ اﻟﺸﻌﻮب اﳌﻈﻠﻮﻣﺔ اﳌﺪاﻓﻌﺔ‬ ‫ﻋﻦ ﺣﻘﻬﺎ ﰲ اﻟﻌﻴﺶ اﻟﻜﺮﻳﻢ‪ ،‬ﺗﺴﺎﻧﺪ‬ ‫اﳌﻈﻠﻮم وﺗﺪﻋﻮ إﱃ إرﺳﺎء اﻟﺤﻖ واﻟﻌﺪل‬ ‫واﻟﺴﻼم ﰲ اﻟﻌﺎمل أﺟﻤﻊ‪.‬‬ ‫رﺣﻢ اﻟﻠﻪ ﺷﻬﺪاءﻧﺎ اﻷﺑــﺮار وأﺳﻜﻨﻬﻢ‬ ‫ﻓﺴﻴﺢ ﺟﻨﺎﺗﻪ‪ ،‬وﺟﺰى أﻫﻠﻬﻢ وذوﻳﻬﻢ‬ ‫ﺧرياً‪ ،‬وﺑﻬﺬه اﳌﻨﺎﺳﺒﺔ أﺗﻮﺟﻪ ﺑﺎﻟﺸﻜﺮ إﱃ‬ ‫أﻣﻬﺎت اﻟﺸﻬﺪاء وآﺑﺎﺋﻬﻢ وأﺑﻨﺎﺋﻬﻢ اﻟﺬﻳﻦ‬ ‫ﺑﺮﻫﻨﻮا ﻋﲆ إراد ٍة ﺻﻠﺒﺔ‪ ،‬وﺻ ٍﱪ ﻋﻈﻴﻢ‬ ‫وﺣﺐ ﻟﻠﻮﻃﻦ‪ .‬إن ﺷﻬﺪاءﻧﺎ اﻟﺬﻳﻦ ﺟﺎدوا‬ ‫ﱟ‬ ‫ﺑﺄرواﺣﻬﻢ ﺳﻴﺒﻘﻮن أﺣﻴﺎء ﻋﻨﺪ رﺑﻬﻢ‬ ‫ﻳﺮزﻗﻮن‪ ،‬وﺳﻴﺒﻘﻰ اﻟﻮﻃﻦ ﻳﻔﺨﺮ ﺑﻬﻢ‪.‬‬

‫وﰲ اﻟﺨﺘﺎم ‪ ،‬أود ﺑﻬﺬه اﳌﻨﺎﺳﺒﺔ اﻟﺠﻠﻴﻠﺔ‬ ‫أن أﺗﻮﺟﻪ ﺑﺎﻟﺸﻜﺮ أﻳﻀﺎً إﱃ ﻗﻮاﺗﻨﺎ‬ ‫اﳌﺴﻠﺤﺔ اﻟﺒﺎﺳﻠﺔ‪ ،‬ﻓﻬﻲ درع اﻟﻮﻃﻦ‬ ‫وﺳﻴﺎﺟﻪ اﻟﺤﺼني‪ ،‬واﻟﺘﻲ ﺗﻠﺒﻲ ﻣﻦ دون‬ ‫ﺗــﻮانٍ ﻧــﺪاء اﻟــﻮاﺟــﺐ ﰲ ﺳﺒﻴﻞ رﻓﻌﺔ‬ ‫دوﻟﺔ اﻹﻣﺎرات اﻟﻌﺮﺑﻴﺔ اﳌﺘﺤﺪة وﻋﺰﺗﻬﺎ‪.‬‬ ‫وﻟﺮﺟﺎلٍ ﺻﺪﻗﻮا اﻟﻠﻪ واﻟﻮﻃﻦ ﻣﺎ ﻋﺎﻫﺪوا‬ ‫ﻋﻠﻴﻪ ﺑﺄن ﺗﻈﻞ راﻳﺔ ﻫﺬا اﻟﻮﻃﻦ ﺧ ّﻔﺎﻗ ًﺔ‬ ‫دوﻣﺎً ‪ ،‬وأن ﺗﻜﻮن دوﻟﺔ اﻹﻣﺎرات اﻟﻌﺮﺑﻴﺔ‬ ‫وأﻣﻦ وأﻣﺎن‬ ‫اﳌﺘﺤﺪة واﺣﺔ رﺧﺎ ٍء وازدﻫﺎ ٍر ٍ‬ ‫ﻷﺑﻨﺎﺋﻬﺎ وﻟﺠﻤﻴﻊ اﳌﻘﻴﻤني ﻋﲆ أرﺿﻬﺎ‪،‬‬ ‫وﺗﻈﻞ ﻣﻨﺎر ًة ﻟﻠﺨري واﻟﻌﻄﺎء‪ ،‬ﺳﻨﺪاً وﻋﻮﻧﺎً‬ ‫ﻟﻠﺸﻘﻴﻖ واﻟﺼﺪﻳﻖ‪.‬‬ ‫اﻟﺮﺣﻤﺔ ﻟﺸﻬﺪاﺋﻨﺎ اﻷﺑﺮار‪ ..‬واﻟﻌﺰة واﻟﺮﻓﻌﺔ‬ ‫ﻟﻮﻃﻨﻨﺎ اﻟﻐﺎﱄ دوﻟﺔ اﻹﻣــﺎرات اﻟﻌﺮﺑﻴﺔ‬ ‫اﳌﺘﺤﺪة‪.‬‬ ‫اﻟﺸﻌﺮ ‪baytelshear‬‬ ‫ﺑﻴﺖ ِ‬

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‫ ‪ ĬŒ ĘěĪ‬‬ ‫ ‪ ŲŌƉƳȑōş ƉǙőǿ ǳǕǶƃǕŌ ƑǾȃƈ‬‬ ‫‪ɰ‬‬ ‫‪ǳŞƓōǜǘş ōǜǾŴƓ 785 Ǜƫ‬‬ ‫ ‬ ‫ ‪ǽǜƣǷǕŌ ǖǷǾǕŌ‬‬

‫أﻣﺮ ﺻﺎﺣﺐ اﻟﺴﻤﻮ اﻟﺸﻴﺦ ﺧﻠﻴﻔﺔ ﺑﻦ زاﻳﺪ‬ ‫آل ﻧﻬﻴﺎن رﺋﻴﺲ اﻟﺪوﻟﺔ "ﺣﻔﻈﻪ اﻟﻠﻪ"‪،‬‬ ‫ﺑﺎﻹﻓﺮاج ﻋﻦ ‪ 785‬ﺳﺠﻴﻨﺎً ﻣﻤﻦ ﺻﺪرت‬ ‫ﺑﺤﻘﻬﻢ أﺣﻜﺎم ﰲ ﻗﻀﺎﻳﺎ ﻣﺨﺘﻠﻔﺔ‪ ..‬وذﻟﻚ‬ ‫مبﻨﺎﺳﺒﺔ اﻟﻴﻮم اﻟﻮﻃﻨﻲ اﻟـــ ‪ 47‬ﻟﺪوﻟﺔ‬ ‫اﻹﻣﺎرات اﻟﻌﺮﺑﻴﺔ اﳌﺘﺤﺪة‪ .‬وﺗﻜﻔﻞ ﺳﻤﻮه‬ ‫ﺑﺘﺴﺪﻳﺪ اﻟﻐﺮاﻣﺎت اﳌﺎﻟﻴﺔ اﻟﺘﻲ ﺗﺮﺗﺒﺖ‬ ‫ﻋﻠﻴﻬﻢ ﺗﻨﻔﻴﺬاً ﻟﺘﻠﻚ اﻷﺣﻜﺎم‪ .‬وﻳﺄيت أﻣﺮ‬ ‫اﻹﻓﺮاج ﻋﻦ اﻟﺴﺠﻨﺎء ﰲ إﻃﺎر ﺣﺮص ﺻﺎﺣﺐ‬ ‫اﻟﺴﻤﻮ رﺋﻴﺲ اﻟﺪوﻟﺔ ﻋﲆ إﻋﻄﺎﺋﻬﻢ ﻓﺮﺻﺔ‬ ‫ﻟﺒﺪء ﺣﻴﺎة ﺟﺪﻳﺪة واﻟﺘﺨﻔﻴﻒ ﻣﻦ ﻣﻌﺎﻧﺎة‬ ‫أﴎﻫﻢ‪.‬‬

‫‪ ǚōǘǔƓ Ǜş ƃǘżǙǶ ƃǿŌƊ Ǜş ƃǘżǙǶ ƃƗŌƈ Ǜş ƃǘżǙ‬‬ ‫‪1 ȍǷǙƈǷƲǕŌ ǀōŞƓ ǖōŨƁ ǚǶƃǤƖǿ‬‬ ‫ﺷﻬﺪ 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 اﻷﻋﲆ ﻟﻠﻘﻮات اﳌﺴﻠﺤﺔ‪ ،‬واﻷﻣري ﻣﺤﻤﺪ ﺑﻦ ﺳﻠامن آل ﺳﻌﻮد‪،‬‬ ‫وﱄ اﻟﻌﻬﺪ ﻧﺎﺋﺐ رﺋﻴﺲ ﻣﺠﻠﺲ اﻟﻮزراء وزﻳﺮ دﻓﺎع اﳌﻤﻠﻜﺔ اﻟﻌﺮﺑﻴﺔ‬ ‫اﻟﺴﻌﻮدﻳﺔ‪ ،‬ﺑﺤﻀﻮر رؤﺳﺎء اﻟﻮﻓﻮد ﻣﻦ اﻟﺪول اﻟﺸﻘﻴﻘﺔ واﻟﺼﺪﻳﻘﺔ‬

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‫اﻟﻌﺪد ‪ ، 73‬دﻳﺴﻤﺒﺮ ‪2018‬‬

‫ﺿﻴﻮف اﻟﺪوﻟﺔ‪ ،‬وﺳﻤﻮ أوﻟﻴﺎء اﻟﻌﻬﻮد واﻟﺸﻴﻮخ‪ ،‬ﻣﻨﺎﻓﺴﺎت ﺟﻮﻟﺔ‬ ‫أﺑﻮﻇﺒﻲ ﻟﺒﻄﻮﻟﺔ اﻟﻌﺎمل ﻟﺴﺒﺎﻗﺎت اﻟﻔﻮرﻣﻮﻻ ‪ 1‬ﰲ ﻣﻮﺳﻢ ‪ 2018‬ﺟﺎﺋﺰة‬ ‫اﻻﺗﺤﺎد ﻟﻠﻄريان اﻟﻜﱪى‪ ،‬وذﻟﻚ ﻋﲆ ﻣﻀامر ﺣﻠﺒﺔ ﻣﺮﳻ ﻳﺎس ﰲ‬ ‫أﺑﻮﻇﺒﻲ‪ .‬ومتﻜﻦ اﳌﺘﺴﺎﺑﻖ ﻟﻮﻳﺲ ﻫﺎﻣﻴﻠﺘﻮن ﺳﺎﺋﻖ ﻣﺮﺳﻴﺪس‬ ‫اﻟﱪﻳﻄﺎين ﻣﻦ اﻟﻔﻮز ﰲ ﺟﻮﻟﺔ ﺳﺒﺎق أﺑﻮﻇﺒﻲ‪ ،‬ﺣﻴﺚ ﻗﺎم ﺳﻤﻮ اﻟﺸﻴﺦ‬ ‫ﻧﻬﻴﺎن ﺑﻦ زاﻳﺪ آل ﻧﻬﻴﺎن‪ ،‬ﺑﺘﻜﺮﻳﻢ اﻟﻔﺎﺋﺰﻳﻦ ﺑﺎﳌﺮاﻛﺰ اﻟﺜﻼﺛﺔ اﻷوﱃ‪.‬‬

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‫اﻟﻌﺪد ‪ - 73‬دﻳﺴﻤﺒﺮ ‪2018‬‬

‫رﺋﻴﺲ اﻟﺘﺤﺮﻳﺮ‬

‫د‪ %‬ﻋﺒﻴﺪ ﻋﻠﻲ راﺷﺪ اﻟﻤﻨﺼﻮري‬ ‫اﻹﺷﺮاف اﻟﻌﺎم‬

‫زﺑﻦ ﺑﻦ ﻋﻤﻴﺮ‬ ‫‪@zabin2011‬‬

‫ﻋﻠﻲ اﻟﻤﺴﻌﻮدي‬

‫ﺷﻌﺮاء اﻟﻌﺪد‬ ‫ﻫﺎدي اﻟﻤﻨﺼﻮري‬ ‫ﻧﺎﺻﺮ ﻳﺮوان اﻟﻨﻴﺎدي‬ ‫ﻋﺒﻴﺪ ﺑﻦ ﺧﺼﻴﻒ اﻟﻜﻌﺒﻲ‬ ‫ﻫﺎدف اﻟﺪرﻋﻲ‬ ‫ﺳﻌﺪ ﻣﺮزوق اﻻﺣﺒﺎﺑﻲ‬ ‫ﺳﺎﻟﻢ ﺑﻦ ﺣﻤﺎد اﻟﻜﻌﺒﻲ‬

‫ﻣﺴﺘﺸﺎر اﻟﺘﺤﺮﻳﺮ‬

‫ﺻﻤﺖ اﻟﻤﺸﺎﻋﺮ )اﻟﻮاﻳﻠﻴﻪ(‬ ‫ﻧﻮرة اﻟﺴﺒﻴﻌﻲ‬ ‫أﺳﻤﺎ اﻟﺒﺮاﻫﻴﻢ‬ ‫ﺳﺎﻟﻢ اﺑﻦ ﺧﺮﻣﺎن اﻟﻌﺠﻤﻲ‬ ‫ﻋﺘﻴﻖ ﺧﻠﻔﺎن اﻟﻜﻌﺒﻲ‬ ‫ﺣﻤﺪان اﻟﺴﻤﺎﺣﻲ‬

‫ﻓﺘﺎة ﺗﻬﺎﻣﺔ‬ ‫ﻧﺎﻳﻠﻪ اﻷﺣﺒﺎﺑﻲ‬ ‫ﻋﻠﻲ اﻟﻬﺎﻣﻠﻲ‬ ‫ﺧﺎﻟﺪ اﻟﺸﻌﻴﺒﻲ‬ ‫ﻓﻬﺪ ﻣﻔﻠﺢ‬ ‫ﻓﻬﺪ ﺑﻦ ﺷﻮﻳﻤﻲ‬

‫‪@allmasoudi‬‬ ‫ﻣﺪﻳﺮ اﻟﺘﺤﺮﻳﺮ‬

‫ﻋﺒﺪا‪ B‬أﺑﻮﺑﻜﺮ‬ ‫‪@abdabubaker1‬‬ ‫اﻹﺧﺮاج اﻟﻔﻨﻲ & ﺳﻜﺮﺗﺎرﻳﺔ اﻟﺘﺤﺮﻳﺮ‬

‫ﺳﻌﺎد ﺣﺴﻨﺔ‬ ‫‪@HasnaSuad‬‬ ‫ﻣﺴﺆول اﻟﺘﻮزﻳﻊ‬ ‫أﺣﻤﺪ ﻋﺒﺎس‬

‫‪marketing@sbzc.ae‬‬ ‫ﻋﻨﻮان اﻟﻤﺠﻠﺔ‪j‬‬ ‫اﻹﻣﺎرات اﻟﻌﺮﺑﻴﺔ اﻟﻤﺘﺤﺪة‪ -‬أﺑﻮﻇﺒﻲ‬ ‫ﻫﺎﺗﻒ‪009712-6666130 j‬‬ ‫ﻓﺎﻛﺲ‪009712-6663088 j‬‬

‫ُﻛ ّﺘﺎب اﻟﻌﺪد‬ ‫د‪%‬ﻋﺒﻴﺪ ﻋﻠﻲ اﻟﻤﻨﺼﻮري‬ ‫ﻋﻠﻲ اﻟﻤﺴﻌﻮدي‬ ‫ﻋﺒﺪا‪ B‬أﺑﻮﺑﻜﺮ‬

‫ﻣﺤﻤﺪ ﻧﻮر اﻟﺪﻳﻦ‬ ‫ﺻﻔﻴﺔ اﻟﺸﺤﻲ‬ ‫ﻧﺎﺻﺮ اﻟﺸﻔﻴﺮي‬

‫ﻣﺤﻤﺪ أﺑﻮﻋﺮب‬ ‫د‪%‬ﻳﺎﺳﻴﻦ ﺣﺰﻛﺮ‬ ‫ﻋﺰة ﺣﺴﻴﻦ‬

‫ص‪%‬ب‪ 6420 j‬أﺑﻮﻇﺒﻲ إ‪%‬ع‪%‬م‬

‫‪baitshir@sbzc.ae‬‬ ‫‪@bait_alshe3r‬‬

‫‪@baytelshear‬‬

‫اﻟﺸﻌﺮ ‪baytelshear‬‬ ‫ﺑﻴﺖ ِ‬

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‫ ‪ ĘŠŝğĨŖŒ‬‬ ‫‪ 17‬اﻟﺸﻌﺮ ﻓﻲ رﻛﺐ اﻻﺗﺤﺎد‬ ‫‪ 30‬اﻟﻨﻬﻀﺔ اﻹﻣﺎراﺗﻴﺔ إﺑﺪاع ﻳﻀﻲء اﻟﻤﺸﻬﺪ اﻟﺜﻘﺎﻓﻲ اﻟﻌﺎﻟﻤﻲ‬ ‫‪ 46‬د ﺳﻴﻒ اﻟﻈﺎﻫﺮي‪ q‬ﱢ‬ ‫اﻟﺸﻌﺮ ﻻ ﻳﺸﻴﺐ واﻟﺸﺎﻋﺮ ﻻ ﻳﻐﻴﺐ!‬ ‫‪ 50‬دﻣﻮع اﻟﺸﺎﻋﺮات ﻋﻨﺪﻣﺎ ﺗﻨﺴﻜﺐ وﺗﻬﻞ اﻟﻌﺒﺮات!‬ ‫‪ 56‬ﺣﻜﺎﻳﺔ ﺑﺮﻗﻊ وﺣﻜﺎﻳﺔ ﻏﺰال ﻓﻲ اﻟﻤﺪﻳﻨﺔ!‬ ‫‪ 64‬ﻗﺼﻴﺪة »وﺟﻪ اﻟﺴﻤﺎء« ﻟ‪ u‬ﻋﻠﻲ اﻟﻘﺤﻄﺎﻧﻲ ﻟﻐﺔ ﺷﻌﺮﻳﺔ‬ ‫ﻋﺎﻟﻴﺔ ﺗﻠﻴﻖ ﺑﺴﻴﺮة اﻟﺮﺳﻮل‬ ‫‪ 70‬اﻟﺸﻄﺮي‪ q‬ﺑﻴﺖ ﺑﻼﻣﻜﺘﺒﺔ ﻫﻮ ﺻﺤﺮاء ﻗﺎﺣﻠﺔ‬ ‫‪ 82‬أﺳﺎﻃﻴﺮ اﻷوﻟﻴﻦ ﻣﻦ اﻟﺨﺮزة إﻟﻰ اﻟﻌﻴﻦ‬ ‫‪ 88‬ﺳﻴﻐﺮﻳﺪ ﻫﻮﻧﻜﻪ ﺷﻤﺲ أﻟﻤﺎﻧﻴﺎ اﻟﺘﻲ ﻻ ﺗﻨﻄﻔﺊ!‬

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

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‫اﻟﻌﺪد ‪ ، 73‬دﻳﺴﻤﺒﺮ ‪2018‬‬

‫واﻷﺧــ ِﺬ ﺑﻜﺎ ّﻓﺔ وﺳﺎﺋﻞ اﻟﺘﻘﺪم واﻟﺮﻗﻲ‬ ‫واﻟﺘﻮاﺻﻞ ﺑني اﻷﻣﻢ ‪.‬‬ ‫ُ‬ ‫ﻳﻼﺣﻆ ﺑﻮﺿﻮح‬ ‫اﳌﺘﺘﺒﻊ ﳌﺴرية اﻻﺗﺤﺎ ِد‬ ‫ّإن‬ ‫َ‬ ‫َ‬ ‫اص اﻧﻄﻼﻗﺎً ﻣﻦ اﻟﻘﺎﻋﺪة‬ ‫ﻫﺬا‬ ‫اﻟﺒﻨﻴﺎن اﳌﱰ ّ‬ ‫اﻷﺳﺎﺳﻴﺔ ﰲ ﺑﻨﺎء اﻟﺪوﻟﺔ إﱃ ﺑﻨﺎء اﻟﺮواﺑﻂ‬ ‫اﳌﺘﻴﻨﺔ ﻣﻊ دول اﻟﺠﻮار ودول اﻟﻌﺎمل‪.‬‬ ‫ﻓﻌﲆ اﻟﺼﻌﻴﺪ اﻟــﺪاﺧــﲇ‪ ،‬ﺳﻌﺖ دوﻟﺔ‬ ‫اﻹﻣﺎرات اﻟﻌﺮﺑﻴﺔ اﳌﺘﺤﺪة وﻋﲆ ﻣﺨﺘﻠﻒ‬ ‫ﻣﺮاﺣﻠﻬﺎ إﱃ متﻜني اﻟﻌﻨﴫ اﻟﺒﴩي ﻛﺄﺣﺪ‬ ‫أﻫــﻢ ﺛﺮواﺗﻬﺎ اﻟﺤﻘﻴﻘﻴﺔ وأﻫــﻢ أدواﺗﻬﺎ‬ ‫اﻷﺳﺎﺳﻴﺔ ﰲ ﺳﺒﻴﻞ ﺗﻌﺰﻳﺰ ﻣﺴرية اﻟﻮﻃﻦ‪.‬‬ ‫ُ‬ ‫َ‬ ‫اﻹميﺎن ّ‬ ‫ﺑﺎﻟﻌﻠﻢ‬ ‫اﻹﻧﺴﺎن اﳌﺘﺴ ّﻠ َﺢ‬ ‫ﺑﺄن‬ ‫ﻓﻜﺎن‬ ‫ِ‬ ‫واﻷﺧــﻼقِ ﻫﻮ اﻟ ّﻠ ِﺒﻨ ُﺔ اﻷﺳﺎﺳﻴ ُﺔ اﻟﺼﺎﻟﺤ ُﺔ‬ ‫ﺗﺨﺼﻴﺺ‬ ‫ﻗﻮي ﺻﺎﻟﺢ‪ .‬ﻓﻘﺪ ﺗﻢ‬ ‫ﻟﺒﻨﺎء‬ ‫ُ‬ ‫ٍ‬ ‫ﻣﺠﺘﻤﻊ ٍ‬ ‫ﺟﺰ ٍء ﻛﺒ ٍري ﻣﻦ ْ‬ ‫دﺧ ِﻞ اﻟﺪوﻟ ِﺔ ﻟﻠﺘﻌﻠﻴﻢ وﺑﻨﺎء‬ ‫اﳌﺆﺳﺴﺎت اﻹدارﻳﺔ واﻻﺟﺘامﻋﻴﺔ واﻟﺜﻘﺎﻓﻴﺔ‬ ‫واﻟﻌﻠﻤﻴﺔ واﻟﻔﻨﻴﺔ واﻟﺼﺤﻴﺔ واﻟﻌﺴﻜﺮﻳﺔ‪،‬‬ ‫وﻟﻌﻞ متﻜني اﳌﺮأة ﰲ اﻟﺤﻴﺎة اﻻﺟﺘامﻋﻴﺔ‬ ‫واﻟﺜﻘﺎﻓﻴﺔ واﻟﺴﻴﺎﺳﻴﺔ واﻻﻗﺘﺼﺎدﻳﺔ ﻳﻌﺪ‬ ‫إﻧﺠﺎزاً ﺣﻘﻴﻘﻴﺎً وﻣﻬ ًام ﻛﴩﻳﻚ ﰲ اﻟﺒﻨﺎء‬ ‫واﻟﺘﻨﻤﻴﺔ‪ .‬ﻓﺎﺳﺘﻄﺎﻋﺖ دوﻟــﺔ اﻹﻣــﺎرات‬ ‫ﺗﺼﺒﺢ دوﻟ ًﺔ ﻋﴫﻳ ًﺔ ﰲ ﻓﱰ ٍة‬ ‫ﺑﻌﻮن اﻟﻠﻪ أن‬ ‫َ‬ ‫ﻣﴬب اﻷﻣﺜﺎل‪.‬‬ ‫زﻣﻨﻴ ٍﺔ ﻗﻴﺎﺳ ّﻴﺔ ‪ ،‬وأﺻﺒﺤﺖ‬ ‫َ‬ ‫ﱠإن َﻣﻦْ زا َر اﻹﻣﺎرات ﻗﺒﻞ اﻻﺗﺤﺎ ِد وﻳﺰورﻫﺎ‬ ‫ُ‬ ‫ﻳﻨﺪﻫﺶ ﺣ ٍّﻘﺎ؛ ﻓﺎﻟﺼﺤﺮا ُء اﻟﺠﺪﺑﺎ ُء‬ ‫اﻟﻴﻮم‬ ‫وﺑﻴﻮت ﻛﺎ ّﻓﺔ اﻟﺜﻘﺎﻓﺎت‪ .‬و ُﺗ َﻌﺪﱡ اﻟﺪوﻟﺔ اﻟﻴﻮم ﺣﺎﺿﻨﺔ‬ ‫ُ‬ ‫اﳌﻘﻔﺮ ُة ﺗﺤﻮﻟﺖ إﱃ ﺣﺪاﺋﻖَ ﻏﻨّﺎ َء ‪،‬‬ ‫واﻟﻨﺨﻴﻞ ﺗﺤﻮﻟﺖ إﱃ ﻣﺒﺎنٍ ﺷﺎﻣﺨ ٍﺔ ﻟﻘﻴﻢ اﻟﺘﺴﺎﻣﺢ واﻟﺴﻠﻢ واﻟﺘﻌﺪدﻳﺔ اﻟﺜﻘﺎﻓﻴﺔ‬ ‫اﻟﺴﻌﻒ‬ ‫ِ‬ ‫ِ‬ ‫واﻟﺘﻌﺎﻳﺶ ﺑني ﻣﺨﺘﻠﻒ اﻟﺜﻘﺎﻓﺎت واﻷدﻳﺎن‬ ‫ﺗﻨﺎﻃﺢ اﻟﺴﺤﺎب‪.‬‬ ‫ُ‬ ‫وﻛﻔﻠﺖ ﻗﻮاﻧﻴﻨُﻬﺎ اﻻﺣﱰا َم واﻟﺘﻘﺪﻳﺮ ﻟﻠﺠﻤﻴﻊ‬ ‫ـﺎﴏت دوﻟ ُﺔ وﺟ ﱠﺮﻣﺖ اﻟﻜﺮاﻫﻴ َﺔ واﻟﺘﻌﺼﺐ وأﺳﺒﺎب‬ ‫وﻋﲆ اﻟﺼﻌﻴ ِﺪ اﻟﺨﺎرﺟﻲ‪ ،‬ﻧـ ْ‬ ‫ات اﻟﻘﻀﺎﻳﺎ اﻟﻌﺮﺑﻴ َﺔ واﻹﺳﻼﻣﻴ َﺔ اﻟﻔﺮﻗﺔ واﻻﺧﺘﻼف واﻟﻌﻨﻒ واﻟﺘﻄﺮف‪،‬‬ ‫اﻹﻣـــﺎر ِ‬ ‫اﻟﻌﺎدﻟ َﺔ‪ ،‬وﺷﺎرﻛﺖ ﰲ ﻣﺤﺎرﺑﺔ اﻹرﻫﺎب ﺣﺘﻰ ﺑﺎﺗﺖ منﻮذﺟﺎً ﰲ اﻟﺘﺴﺎﻣﺢ واﻟﺘﻌﺎﻳﺶ‬ ‫ﻓﻜﺮاً وﻋﻤ ًﻼ‪ ،‬وﻗ ّﺪﻣﺖ اﳌﺴﺎﻋﺪات اﻹﻧﺴﺎﻧﻴﺔ واﻻﻧﻔﺘﺎح‪.‬‬ ‫ﻟﻠﺸﻌﻮب اﻟﻔﻘرية وﻋـــﺰّزت ﻋﻼﻗﺎﺗﻬﺎ ﺑﺎﻟ ّﺮﻏﻢ ﻣــام ﻣ ـ ﱠﺮ وميــ ﱡﺮ ﺑــﻪ اﻟــﻌــﺎ ُمل ﻋﲆ‬ ‫اﻟﺴﻴﺎﺳﻴﺔ واﻻﻗﺘﺼﺎدﻳﺔ واﻟﺜﻘﺎﻓﻴﺔ ﻣﻊ ﻣﻌﻈﻢ اﳌﺴﺘﻮﻳني اﻹﻗﻠﻴﻤﻲ واﻟﻌﺎﳌﻲ ﻣﻦ ﻣﺸﺎﻛﻞ‬ ‫دول اﻟﻌﺎمل ﻣﻦ دون متﻴﻴﺰ‪ .‬واﻧﻔﺘﺤﺖ ﻋﲆ واﺿﻄﺮاﺑﺎت‪ ،‬أﻣﻨﻴﺔ واﻗﺘﺼﺎدﻳﺔ واﺟﺘامﻋﻴﺔ‪،‬‬

‫ﻧﺮى دوﻟﺔ اﻹﻣﺎرات ﺗﻨﻌﻢ ﺑﺎﻷﻣﻦ واﻷﻣﺎن‬ ‫ﺑﻔﻀﻞ اﻟﻠﻪ أوﻻً ﺛــﻢ ﺑﻔﻀﻞ اﻟﺘﻼﺣﻢ‬ ‫ﺑني اﻟﻘﻴﺎدة واﻟﺸﻌﺐ‪ ،‬ﻓﻬام اﻟﺮﻛﻴﺰﺗﺎن‬ ‫اﻷﺳﺎﺳﻴﺘﺎن ﻻﺳﺘﻘﺮار اﻷوﻃــﺎن وأﻣﻨﻬﺎ‬ ‫وازدﻫﺎرﻫﺎ أﻳﻀﺎً‪.‬‬ ‫وﺑﻬﺬه اﳌﻨﺎﺳﺒﺔ اﻟﺠﻠﻴﻠﺔ‪ ،‬أﺗﻘ ﱠﺪم ﺑﻮاﻓﺮ‬ ‫اﻟﺸﻜﺮ واﻟﺘﻘﺪﻳﺮ إﱃ ﻗﻮاﺗﻨﺎ اﳌﺴ ﱠﻠﺤﺔ اﻟﺒﺎﺳﻠﺔ‪،‬‬ ‫ﻓﻬﻲ درع اﻟﻮﻃﻦ وﺳﻴﺎﺟﻪ اﻟﺤﺼني‪ ،‬اﻟﺘﻲ‬ ‫مل ﺗﺪﱠﺧﺮ ﺟﻬﺪاً ﰲ ﺗﻠﺒﻴﺔ ﻧﺪاء اﻟﻮاﺟﺐ ﰲ‬ ‫ﺳﺒﻴﻞ رﻓﻌﺔ دوﻟﺔ اﻹﻣﺎرات وﻋﺰّﺗﻬﺎ‪.‬‬ ‫واﻟﺴﻼم ﻋﻠﻴﻜﻢ ورﺣﻤﺔ اﻟﻠﻪ وﺑﺮﻛﺎﺗﻪ ‪،،،‬‬ ‫اﻟﺸﻌﺮ ‪baytelshear‬‬ ‫ﺑﻴﺖ ِ‬

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‫ ‪¬ũŐŒ ęś‬‬

‫‪ ǣǔǕŌ ǣƦƲŽ ǚōǾǤǝ ǒŔ ƃǿŌƊ Ǜş ǚōƢǔƓ ſǾƖǕŌ ǷǘƓ ǳǘǔǉ‬‬ ‫‪ ǳǕǶƃǕŌ ƑǾȃƈ ǷǘƒǕŌ ŝŽōƛ ǓŬǘǙ‬‬ ‫ ‪ǲƃżŨǘǕŌ ǳǾşƉƪǕŌ ŦŌƈōǙȑŌ ǳǕǶƃǕ ǛǾƪşƈȏŌǶ ƩşōƒǕŌ ǽǜƣǷǕŌ ǖǷǾǕŌ ǳŞƓōǜǘş‬‬ ‫ﻧﺤﺘﻔﻞ ﰲ اﻟﻴﻮم اﻟﺜﺎين ﻣﻦ ﺷﻬﺮ دﻳﺴﻤﱪ‬ ‫‪ 2018‬ﺑﺎﻟﺬﻛﺮى اﻟﺴﺎﺑﻌﺔ واﻷرﺑﻌني ﻋﲆ‬ ‫ﺗﺄﺳﻴﺲ دوﻟﺔ اﻹﻣــﺎرات اﻟﻌﺮﺑﻴﺔ اﳌﺘﺤﺪة‬ ‫ﺣﻴﺚ اﻟﺘﻘﺖ إرادات ﻗﺎدة آﻣﻨﻮا ﺑﺎﻟﻠﻪ‪،‬‬ ‫وﺑﺎﻟﺸﻌﺐ ﻋﲆ إﻗﺎﻣﺔ دوﻟﺔ ﻗﻮﻳﺔ اﻷرﻛﺎن‬ ‫اﳌﺼﺎﻋﺐ‬ ‫ﺷﺎﻣﺨﺔ اﻟﺒﻨﻴﺎن‪ ،‬مل ﺗنث ﻋﺰميﺘَﻬﻢ‬ ‫ُ‬ ‫ُ‬ ‫واﻟﺘﺤﺪﻳﺎت اﻟﺘﻲ ﻛﺎﻧﺖ ﺗﻌﺼﻒ ﺑﺎﳌﻨﻄﻘﺔ‪،‬‬ ‫وﻻ ﺻﻌﻮﺑ ُﺔ اﻷﺣﻮال اﻻﻗﺘﺼﺎدﻳﺔ واﻟﺴﻴﺎﺳﻴﺔ‬ ‫واﻻﺟﺘامﻋﻴﺔ اﻟﺘﻲ ﻛﺎﻧﺖ ﺗﻜﺘﻨﻒ اﻹﻣﺎرات‬ ‫ﰲ ﻧﻬﺎﻳﺔ ﺳﺘﻴﻨﻴﺎت اﻟﻘﺮن اﳌﺎﴈ‪ ،‬ﺣﻴﺚ مل‬ ‫ﻳﺘﻮﻗﻊ ﻛﺜري ﻣﻦ اﻟﺨﱪاء واﻟﺴﻴﺎﺳﻴني‪ ،‬ﺣﺘﻰ‬ ‫ﻧﺠﺎح إﻗﺎﻣﺔ اﺗﺤﺎد ﺑني‬ ‫اﻟﱪﻳﻄﺎﻧﻴني ﻣﻨﻬﻢ‪َ ،‬‬

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‫اﻟﻌﺪد ‪ ، 73‬دﻳﺴﻤﺒﺮ ‪2018‬‬

‫اﳌﺴ ّﻠﺤﺔ ﺣﻔﻈﻪ اﻟﻠﻪ وإﺧﻮاﻧ ِﻪ أﺻﺤﺎب‬ ‫اﻟﺴﻤﻮ اﻟﺸﻴﻮخ‪ ،‬أﻋﻀﺎء اﳌﺠﻠﺲ اﻷﻋﲆ‬ ‫ﻟﻼﺗﺤﺎد ﺣﻜﺎم اﻹﻣﺎرات‪ ،‬وﺑﺴﻮاﻋ ِﺪ أﺑﻨﺎﺋﻬﺎ‬ ‫ﺗﻨﺎﻓﺲ‬ ‫اﳌﺨﻠﺼني ﰲ ﺑﻨﺎء دوﻟ ٍــﺔ ﻋﴫﻳ ٍﺔ‬ ‫ُ‬ ‫َ‬ ‫اﻟﺪول اﳌﺘﻘﺪﻣ َﺔ ﰲ ﺟﻤﻴﻊ اﳌﺠﺎﻻت‪ ،‬واﻟﺘﻲ‬ ‫ﺣ ّﻘﻘﺖ ﻣﻜﺎﻧ ًﺔ رﻓﻴﻌ ًﺔ ﺑني اﻷﻣﻢ‪ .‬وﺗﺸﻬﺪُ‬ ‫ﻋﲆ ﻫﺬا اﻟﺘﻤ ّﻴﺰ اﻟﺘﻘﺎرﻳ ُﺮ اﻟﻌﺎﳌﻴ ُﺔ اﻟﺼﺎدر ُة‬ ‫ﻣﻨﻈامت ﻋﺎﳌﻴ ٍﺔ رﻓﻴﻌ ِﺔ اﳌﺴﺘﻮى‪.‬‬ ‫ﻋﻦ‬ ‫ٍ‬

‫اﻹﻣﺎرات‪.‬‬ ‫وﻟﻜﻦ اﻹرادة واﻟﻌﺰميﺔ واﻟﺼﺪق واﻹميﺎن‬ ‫ﺑﺎﻟﻮﺣﺪة‪ ،‬ﻗﻴﺎد ًة وﺷﻌﺒﺎً‪ ،‬ﺣ ّﻘﻖ ﻣﺎ ﻛﺎن‬ ‫ﻣﺴﺘﺤﻴ ًﻼ‪ .‬ﻫــﺬه اﳌــﺴــري ُة اﻟﺘﻲ أرﳻ‬ ‫اﳌﺆﺳﺲ ﻟﻠﺪوﻟﺔ اﳌﻐﻔﻮ ُر‬ ‫اﻷب‬ ‫ﻗﻮاﻋﺪَﻫﺎ ُ‬ ‫ُ‬ ‫ﻟﻪ اﻟﺸﻴﺦ زاﻳــﺪ ﺑﻦ ﺳﻠﻄﺎن آل ﻧﻬﻴﺎن‬ ‫أﺻﺤﺎب اﻟﺴﻤﻮ‬ ‫ﻃﻴﺐ اﻟﻠﻪ ﺛﺮاه‪ ،‬وإﺧﻮا ُﻧﻪ‬ ‫ُ‬ ‫اﻟﺸﻴﻮخ أﻋﻀﺎء اﳌﺠﻠﺲ اﻷﻋﲆ ﻟﻼﺗﺤﺎد‬ ‫ﺣـ ّﻜــﺎم اﻹﻣــــﺎرات‪ ،‬متــﴤ اﻟــﻴــﻮم ﺑﺨﻄﻰ‬ ‫راﺳﺨ ٍﺔ وﻗﻮﻳ ٍﺔ ﺑﻜﻞ ﺣﻜﻤ ٍﺔ وﻋﺰمي ٍﺔ ﺑﻘﻴﺎد ِة‬ ‫ّإن ﻣﺎ مي ّﻴﺰ ﺗﺠﺮﺑﺔ دوﻟﺔ اﻹﻣــﺎرات ﻫﻮ‬ ‫اﻟﺘﻤﺴ ِﻚ ﺑﺄﺻﺎﻟﺘﻬﺎ‬ ‫ﺻﺎﺣﺐ اﻟﺴﻤﻮ اﻟﺸﻴﺦ ﺧﻠﻴﻔﺔ ﺑﻦ زاﻳﺪ آل ﻧﺠﺎﺣﻬﺎ ﰲ اﻟﺘﻜ ّﻴ ِﻒ ﺑني‬ ‫ّ‬ ‫ِ‬ ‫ﻧﻬﻴﺎن رﺋﻴﺲ اﻟﺪوﻟﺔ اﻟﻘﺎﺋﺪ اﻷﻋﲆ ﻟﻠﻘﻮات وﺗﻘﺎﻟﻴﺪﻫﺎ وأﻋﺮاﻓﻬﺎ وﺗﺎرﻳﺨﻬﺎ وﺛﻘﺎﻓﺘﻬﺎ‪،‬‬

‫»إن اﻻﺗﺤﺎد ﻣﺎ ﻗﺎم إﻻ ﺗﺠﺴﻴﺪ ًا ﻋﻤﻠﻴ ًﺎ ﻟﺮﻏﺒﺎت‬ ‫وأﻣﺎﻧﻲ وﺗﻄﻠﻌﺎت ﺷﻌﺐ اﻹﻣﺎرات اﻟﻮاﺣﺪ ﻓﻲ‬ ‫ﺑﻨﺎء ﻣﺠﺘﻤﻊ ﺣﺮ ﻛﺮﻳﻢ‪ ،‬ﻳﺘﻤﺘﻊ ﺑﺎﻟﻤﻨﻌﺔ واﻟﻌﺰة‬ ‫وﺑﻨﺎء ﻣﺴﺘﻘﺒﻞ ﻣﺸﺮق«‬ ‫»ﻟﻘﺪ أﻛﺪت اﻟﺴﻨﻮات اﻟﻤﺎﺿﻴﺔ أﻫﻤﻴﺔ اﻻﺗﺤﺎد‬ ‫وﺿﺮورﺗﻪ ﻟﺘﻮﻓﻴﺮ اﻟﺤﻴﺎة اﻷﻓﻀﻞ ﻟﻠﻤﻮاﻃﻨﻴﻦ‪،‬‬ ‫وﺗﺄﻣﻴﻦ اﻻﺳﺘﻘﺮار ﻓﻲ اﻟﺒﻼد‪ ،‬وﺗﺤﻘﻴﻖ آﻣﺎل‬ ‫ﺷﻌﺒﻨﺎ ﻓﻲ اﻟﺘﻘﺪم واﻟﻌﺰة واﻟﺮﺧﺎء« ‬ ‫اﻟﻤﻐﻔﻮر ﻟﻪ اﻟﺸﻴﺦ‬

‫زاﻳﺪ ﺑﻦ ﺳﻠﻄﺎن آل ﻧﻬﻴﺎن‬ ‫‪Ò‬‬

‫ﻃﻴﺐ اﻟﻠﻪ ﺛﺮاه ‪-‬‬‫اﻟﺸﻌﺮ ‪baytelshear‬‬ ‫ﺑﻴﺖ ِ‬

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‫‪ ĮńŒ ŔšŐħ‬‬

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‫اﻟﻌﺪد ‪ ، 73‬دﻳﺴﻤﺒﺮ ‪2018‬‬

ŝĸŒ ŝķ

äGhÉª°ùdG ™Ñ°S â– »°VGQCG á©Ñ°S f+bg D* 2*v@@E @@< x~| J x@@p@R @c@D*H i*4b@@ E* @@cR @~@6 @@-4v@@ @+ b / Ñ* f+b04 i2*5 ¡@@ @D* £~}J bE C ‫ﻣﺤﻤﺪ اﻟﻮﺑﻴﺮ اﻟﺸﻤﺮي‬

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