bayt alshier_74_Jan_2019 بيت الشعر يناير

13

ŘģŮƄǭǩ Żšĝʺ řś Řģƥǣƒ ȋˎĝʽņǤĝ

ũLjƃơƍƴŢ ũƭŦţƉƹƴŢ

swaihaan

www.swaihaan.ae

‫اﻟﻤﺠﻼت اﻟﺸﻬﺮﻳﺔ اﻟﺼﺎدرة ﻋﻦ‬

‫ﻣﺮﻛﺰ ﺳﻠﻄﺎن ﺑﻦ زاﻳﺪ‬

‫ﻳﻤﻜﻨﻜﻢ اﻻﻃﻼع ﻋﻠﻰ أرﺷﻴﻒ ﺟﻤﻴﻊ اﻟﻤﺠﻼت ﻋﺒﺮ اﻟﻤﻮﻗﻊ اﻹﻟﻜﺘﺮوﻧﻲ ‬

‫‪www.mags.ae‬‬ ‫اﻟﺸﻌﺮ ‪baytelshear‬‬ ‫ﺑﻴﺖ ِ‬

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‫ ‪ ĮšĪ‬‬

‫اﻹﻣﺎرات‪..‬‬ ‫‪džƉŨƖǘǕŌ ƕǾƪǕŌǶ ŻǙōƒŨǕŌ dzǕǶƂ‬‬ ‫اﻟﺼﻌﺪ‬ ‫ﻧﻔﺨﺮ ﻛﺈﻣﺎراﺗﻴني‪ ،‬ﺑﻜﻞ ﻣﺎ ﺗﻢ إﻧﺠﺎزه ﰲ دوﻟﺔ اﻹﻣﺎرات اﻟﻌﺮﺑﻴﺔ اﳌﺘﺤﺪة‪ ،‬ﻋﲆ ُ‬ ‫ﺟﻤﻴﻌﻬﺎ‪ ،‬ﺛﻘﺎﻓﻴﺎً واﺟﺘامﻋﻴﺎً واﻗﺘﺼﺎدﻳﺎً وﺳﻴﺎﺳﻴﺎً‪ ،‬وﻗﺪ أﺻﺒﺤﻨﺎ ﻗﺪوة ﻟﺸﻌﻮب اﳌﻨﻄﻘﺔ‪،‬‬ ‫وأﺻﺒﺤﺖ اﻹﻣﺎرات اﻟﻨﻤﻮذج اﻷﻣﺜﻞ ﰲ ﺑﻨﺎء اﻟﺪوﻟﺔ اﻟﺤﺪﻳﺜﺔ اﳌﻮاﻛﺒﺔ ﳌﺘﻐريات اﻟﺤﻴﺎة‪،‬‬ ‫واﳌﺤﺎﻓﻈﺔ ﻋﲆ ﻫﻮﻳﺘﻬﺎ وإرﺛﻬﺎ اﻷﺻﻴﻞ‪.‬‬ ‫دوﻟﺔ اﻹﻣﺎرات اﻟﺘﻲ أﺛﺒﺘﺖ ﻟﻠﻌﺎمل‪ ،‬اﺣﱰاﻣﻬﺎ ﻟﻠﻘﻴﻤﺔ اﻹﻧﺴﺎﻧﻴﺔ‪ ،‬ووﺿﻌﺘﻬﺎ رﻛﻴﺰة‬ ‫أﺳﺎﺳﻴﺔ ﻟﺘﻘﺪّم اﳌﺠﺘﻤﻊ و ِرﻓﻌﺘﻪ‪ ،‬ﻓﺸﻬﺪ ﻟﻬﺎ اﻟﻌﺎمل ﺑﺬﻟﻚ‪ ،‬وﻗ ِﺪﻣﺖ إﻟﻴﻬﺎ ﻣﻼﻳني‬ ‫اﻟﺒﴩ ﻟﺘﻌﻴﺶ ﻋﲆ أرﺿﻬﺎ وﺑني ﻧﺎﺳﻬﺎ‪ ،‬ﻣﺪرﻛني أن ﻫﺬه اﻟﻘﻴﻤﺔ اﻹﻧﺴﺎﻧﻴﺔ اﻟﻌﺎﻟﻴﺔ‬ ‫ﰲ اﻹﻣﺎرات ﻫﻲ ﻣﺴﺎﺣﺔ اﻟﻌﻴﺶ اﻷﻓﻀﻞ‪ ،‬واﻷﻛرث رﺣﺎﺑﺔ وﺗﺤﻘﻴﻘﺎً ﻟﻶﻣﺎل واﻟﺮﻓﺎﻫﻴﺔ‪.‬‬ ‫ﻛﻞ ذﻟﻚ ﻣﺎ ﻛﺎن ﻟﻴﺘﺤﻘﻖ‪ ،‬ﻟﻮﻻ وﻋﻲ ﻗﻴﺎدﺗﻨﺎ اﻟﺮﺷﻴﺪة ﺑﺤﺎﺟﺘﻨﺎ إﱃ أﻧﻈﻤﺔ وﻗﻮاﻧني‬ ‫وﺗﴩﻳﻌﺎت‪ُ ،‬ﺗﻨﻈﻢ ﺣﻴﺎة اﳌﺠﺘﻤﻊ‪ ،‬وﺗﺪﻋﻮ إﱃ ﺗﻘﺒﻞ اﻵﺧﺮ‪ ،‬وﺗﺤﺮص ﻋﲆ ﺗﻜﺮﻳﺲ ﻗﻴﻢ‬ ‫اﻟﺘﺴﺎﻣﺢ واﻟﺘﻌﺎﻳﺶ اﳌﺸﱰك‪.‬‬ ‫ﻣﻦ ﻫﻨﺎ‪ ،‬ﺟﺎءت ﻗﻮاﻧني متﻨﻊ اﻟﺘﻤﻴﻴﺰ‪ ،‬وﺗﺪﻋﻮ إﱃ اﺣﱰام اﳌﻌﺘﻘﺪ واﻟﻬﻮﻳﺎت‪ ،‬ﻓﻨﻀﺠﺖ‬ ‫ﺻﻮرة اﻹﻣﺎرات اﻟﻌﺎﳌﻴﺔ‪ ،‬ﻋﱪ ﻫﺬه اﻟﺤﺎﻟﺔ اﳌﺘﻘﺪﻣﺔ ﻣﻦ اﻟﺘﻌﺎﻳﺶ واﻟﺘﺴﺎﻣﺢ‪ ،‬ﺑﺎﻟﺮﻏﻢ‬ ‫ﻣﻦ وﺟﻮد دوﻟﺘﻨﺎ ﰲ ﻣﺤﻴﻂ ﺗﻀﺞ ﺑﻪ اﻟﴫاﻋﺎت واﻟﻨﺰاﻋﺎت‪ .‬ﻓﻜﺎن ﻣﺎ ﻳﺤﺴﺐ ﻟﻺﻣﺎرات‬ ‫ﺣﻘﺎً‪ ،‬ﻫﻮ اﻧﻔﺮادﻫﺎ ﺑﻬﺬه اﻟﺤﺎﻟﺔ اﻟﺘﻲ ﺗﺠﻤﻊ وﻻ ﺗﻔﺮق‪ ،‬وﺗﺆﻛﺪ ﴐورة اﻟﻌﻴﺶ ﺗﺤﺖ‬ ‫ﺳﻘﻒ اﻟﻘﺎﻧﻮن واﻟﺤﻴﺎة اﻟﻮاﺳﻌﺔ اﻟﺘﻲ ﻻ ﺗﺤﺎﴏﻫﺎ اﻷﻓﻜﺎر اﻟﺠﺎﻣﺪة واﳌﺘﻄﺮﻓﺔ‪.‬‬ ‫وﻣﺎ إﻋﻼن ﺻﺎﺣﺐ اﻟﺴﻤﻮ اﻟﺸﻴﺦ ﺧﻠﻴﻔﺔ ﺑﻦ زاﻳﺪ آل ﻧﻬﻴﺎن رﺋﻴﺲ اﻟﺪوﻟﺔ ﺣﻔﻈﻪ‬ ‫اﻟﻠﻪ ﻋﻦ اﺧﺘﻴﺎر ﻋﺎم ‪ 2019‬ﻋﺎﻣﺎً ﻟﻠﺘﺴﺎﻣﺢ‪ ،‬إﻻ إﺷﺎرة واﺿﺤﺔ إﱃ وﻋﻲ اﻹﻣﺎرات‬ ‫اﻟﻜﺒري ﺑﻘﻴﻤﺔ اﻹﻧﺴﺎن وﴐورة اﻟﺘﺼﺎﻟﺢ واﻟﺘﺴﺎﻣﺢ ﻣﻦ أﺟﻞ اﺳﺘﻤﺮار اﻟﺘﻘ ّﺪم وﺗﻄﻮر‬ ‫اﳌﺠﺘﻤﻌﺎت اﻟﺒﴩﻳﺔ اﻟﺘﻲ ﻻ ﻣﻜﺎن ﻟﻠﺘﻔﺮﻗﺔ واﻟﻜﺮاﻫﻴﺔ ﺑني أﺑﻨﺎﺋﻬﺎ‪.‬‬ ‫ﻧﺒﺎرك ﻟﺪوﻟﺔ اﻹﻣــﺎرات اﻟﻌﺮﺑﻴﺔ اﳌﺘﺤﺪة وﻫﻲ ﺗﺪﺧﻞ اﻟﻌﺎم اﻟﺠﺪﻳﺪ ﻣﻦ أوﺳﻊ‬ ‫ّ‬ ‫وﻣﴩﻓﺔ ﺗﻌﺰز اﳌﺒﺎدئ واﻟﻘﻴﻢ اﻟﺘﻲ أﻛﺪ‬ ‫اﻷﺑﻮاب‪ ،‬اﻟﺘﻲ ﺗﻔﴤ إﱃ ﻣﺴﺎﺣﺎت ﻣﴩﻗﺔ‬ ‫ﻋﻠﻴﻬﺎ اﳌﻐﻔﻮر ﻟﻪ اﻟﺸﻴﺦ زاﻳﺪ ﺑﻦ ﺳﻠﻄﺎن آل ﻧﻬﻴﺎن ﻣﺆﺳﺲ دوﻟﺔ اﻹﻣﺎرات‪ ،‬ﻣﻨﺎرة‬ ‫اﻹﻧﺠﺎزات وﺻﺎﺣﺒﺔ اﻟﺼﻮرة اﻷﺟﻤﻞ واﻷﻧﻘﻰ ﰲ ﻋﴫﻧﺎ اﻟﺤﺪﻳﺚ‪.‬‬

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‫اﻟﻌﺪد ‪ ، 74‬ﻳﻨﺎﻳﺮ ‪2019‬‬

‫د‪/‬ﻋﺒﻴﺪ ﻋﻠﻲ راﺷﺪ اﻟﻤﻨﺼﻮري‬

‫رﺋﻴﺲ اﻟﺘﺤﺮﻳﺮ‬

‫ﻣﺮﺣﺒـﺎ ﺑﺎﻟﻬﺎﺗﻒ ّ‬ ‫اﻟﻠﻲ ﻓﻴﻪ ﻫﻤﺴﻲ‬ ‫‪ @@ @ @ @ Jy@@ @ ²* rHx@@ @ @ @ @ @ @ @ D* ¤@@ @ @ @ c@ @ J @@ @ <b@@ @ @ @ @g@ @ @~@ @ @6* ¤@@~@ z@ @ G @@ @£@ @ A ¤@@ @ @ Q @ @ @ D* @@ @-b@@ @ @ @ Db@@ @+ b@@ @ @ c@ @ 0x@@ E‬‬ ‫‪ @@ @ @£@ @Av@@ D* @@ @ @ @ @ @ @ 94&°*H ¡@@ @ @ @ @ @ D* *¡@@ @ @ @ @0 b@@ @ @ @EH ¤@@ ~@ @z@ @ÂH q@@ @c@ @ ~@ @ |@ @ J b@@ @ @ E Qv@ @ @ @ @ < @@ @ @ + b@@ @ c@ @ @0x@@ @ E‬‬ ‫‪ @@ @ @ @ £@ @ @ @ ~@ @ 6*4 @@M @ @ @ 6b@@ @ @ @ F ¡@@ @ @ @ @ ~@ @ @ z@ @ @ J @@ @ @ @ @ @ Q @ @ @ < ¤@@ ~@ @6x@@ : eb@@ @ @ @ @/H É@@ @ ~@ @ @z@ @ @D* eb@@ @ @ @/ ¥w@@ @ @Db@@ @ @+‬‬ ‫@¡ ‪ @@ @ @£@ @< i*yQ @ @ @ @ @ @ @ @ 1 @@ @ @ @E d@@ @ @ @ @ @ @ @D* e*w@@ @ @ @ @ @ @ @ @ <*H ¤@@~@ z@ R @ 0 Å@@ @ @D* @@ z@ @ @ @0 2*¡@@ @ @ R @ @ @ D @@ @z@ @ N @ @ 0‬‬ ‫‪N @@D‬‬ ‫‪ @@ @ £@ Â ¯ @@ @ @-É@@ @ @0 b@@ @ @ @J 1 m m~zD*H ¤@@ ~@ @6x@@ s@ @g@ @~@ @z@ @´* @@ @ Jv@@ @ @ @ @ D* 2¡@@ @ @ @ @ @ @D* ¤@@ @ @ @ @ @<*4‬‬ ‫<@ @ @ ‪ @@ @ @ @ @J5x@@ @ D* @@ @ z@ @ @ @ @ @ @ @ @D*H v@@ @ @ @ @ @D* @@ @£@ @ @ @ 1 b@@ @ @ J ¤@@ ~@ @6x@@ - @@ @ @ @ @JH v@@ @ @ @ @~@ @ @6 b@@ @ @ @ @ @ @ @ @J&°* b@@ @ @ @ @ Q‬‬ ‫*‪ @@ @ £@ G4 v@@ @ @ @ @< ¢@@ @g@ @ @ @ D* rH4 h@@ @p@ @ c@ @ ~@@ R@8*H ¤@@~@ z@ @ 1 ¡@@ @ @ Jy@@ @ @ ´* b@@ @ @J d@@ @ @ @ @ @ D* h@@ ~@ @z@ @ @ @g@ @1‬‬ ‫‪ @@ @ @ @ £@ @ A5 ¤@@ @ @ @ @~@ @ @z@ @ @J M 4b@@ @ @ @ @ @ @ @ @ + Meb@@ @ @ @ £@ @ @ @ @0 @@ @ @ @ E ¤@@~@ z@ @ 1 ¤@@ @ @~@ @6¡@@ D* 4*2 ¤@@ @ ~@ z@ J @@ @ @/‬‬ ‫ @ @@‪ @@ @ @ @ £@ @ @ @ ~@ @ 6b@@ @JH 4¡@@ @ @ @Gy@@ @ @ @Db@@ @ @ @+ 5xQ @ @ @ @ @ @ @ @ @ @E · ¤@@ ~@ @6x@@ < e¡@@ @ @ @. @@ @z@ @ c@ @ @ @ -H @@ @ @ DHv@@ @ @ D* ¤@@ @ Gy‬‬‫‪ @@ @ £@ @ < ¯ ¡N @ @ @ @ @ DR v@@ @ @ @ @+ ¤@@ @ @Ex@@ @ @J b@@ @ @ ~@ @ @ 7x@@ @ @ D*H ¤@@ @~@ @ z@ @ F*H ib@@ @ @ @ @ @ @0*4 ¯ ¡@@ @ ~@ @ @z@ @ @Â Hv@@ @ @ @c@ @ @ @ D*H‬‬ ‫‪2‬‬

‫@‪ J5 @@ @ J5 b@@ @J Y¥v@@ @<b@@ @~@ @ z@ @ D*ZH Y¥x@@ @ @ @ @ ±*ZH Y¤@@ ~@ @z@ @E4Z b@@ @c@ @ / Í‬‬ ‫‪R @ @D Y4b@@ @ @ @ @;Z 2Hv@@ @ @ 0 @@ @E‬‬

‫‪3‬‬

‫‪ £A2 @@ @ @E x@@ @ @ @ @J 4*v@@ @ @ @ @ @D* d@@ ~@ @{@ @< Í@@ @ @D ¤@@ @~@ @ 6x@@ @1 e¡@@ @ @ @ @ . b@@ @ @ @ £@ @ ~@ @ z@ @ g@ @ @ @ J @@ @ @ @Eb@@ @ @ @ @ @ @ @ ´*H‬‬

‫‪ @@ @ @£@ @c@ @-b@@ C ¤@@ @ @ @ @ Q @ @ @ @ @ D*H t@@ @ @ J4b@@ @ @ g@ @ @ @ D* v@@ @ @ @ ~@ @ {@ @ J ¤@@ ~@ @6x@@ C v@@ @ @m@ @ @ ´* ¯ @@ @ @ @ @D M b@@ @ s@ @ @£@ @ @~@ @ @7 4*2‬‬ ‫‪4‬‬

‫‪ £ J Ñ* I¡@@ @ @ @ @ @ @ @ Db@@ @ @ @+ @@ @ @ @ @ Q @ @ @ @ @ E4 · ¤@@~@ z@ R @ F b@@ @ @ @J4* b@@ @ £@ A Yv@@ @ @Jw@@ @ @D*ZH Y¤@R @ @ @ @ @ @ D*ZH‬‬ ‫‪ưƉŨǙ Ǜş dzƲǾǔƁ‬‬ ‫‪1‬‬

‫اﻟﺴﺠﻨﺠﻞ‪ :‬ﺳﺒﺎﺋﻚ ُﺗﻠﺒﺲ ﻟﻠﻨﺴﺎء‪.‬‬

‫‪ 2‬ﺟﺒﺎل رﻣﺲ‪ :‬أي ﺟﺒﺎل اﻟﺮﻣﺲ وﻫﻲ ﻗﺮﻳﺔ ﺳﺎﺣﻠﻴﺔ ﺗﻘﻊ ﰲ أﻗﴡ ﺳﻮاﺣﻞ رأس اﻟﺨﻴﻤﺔ ﻣﻦ ﻧﺎﺣﻴﺔ اﻟﺸامل وﻳﺴﻜﻨﻬﺎ اﻟﺸﺤﻮح وﺑﻌﺾ اﻟﻔﻴﺎﰲ اﻷﺧﺮى‪.‬‬ ‫اﻟﺠﺮي واﻟﺴﺎﻋﺪي‪ :‬اﳌﻘﺼﻮد ﺑﻪ ﺳﻴﺢ اﻟﺠﺮي ﰲ رأس اﻟﺨﻴﻤﺔ وﻳﻘﻊ ﺟﻨﻮب ﻣﺪﻳﻨﺔ رأس اﻟﺨﻴﻤﺔ ﺑﺤﻮاﱄ ‪ 30‬ﻛﻢ‪ ،‬وميﺘﺪ ﴍﻗﺎً وﻏﺮﺑﺎً وﺟﻨﻮﺑﺎً ﺣﺘﻰ ﺣﺪود‬ ‫إﻣﺎريت اﻟﺸﺎرﻗﺔ وأم اﻟﻘﻴﻮﻳﻦ‪ ،‬وﻫﻮ ﻣﻦ اﳌﺮاﻋﻲ اﳌﺸﻬﻮرة ﰲ اﻟﺪوﻟﺔ‪ .‬وﺗﻘﻊ ﺑﻪ ﻗﺮﻳﺔ اﻟﺴﺎﻋﺪي ‪.‬‬ ‫‪3‬‬

‫اﳌﻨﺎﻣﻪ‪ :‬ﻗﺮﻳﺔ ﺗﺎﺑﻌﺔ ﻹﻣﺎرة ﻋﺠامن ﺗﻘﻊ ﰲ اﻟﺸامل اﻟﴩﻗﻲ ﻣﻦ اﻟﺬﻳﺪ وﺗﺒﻌﺪ ﻋﻨﻬﺎ ﺣﻮاﱄ ‪ 25‬ﻛﻢ‪.‬‬

‫‪ 4‬اﻟﻔﲇ‪ :‬ﻫﻲ ﻓﻠﺞ اﳌﻌﻼ اﻟﻘﺮﻳﺔ اﳌﻌﺮوﻓﺔ وﻫﻲ ﺗﺎﺑﻌﺔ ﻹﻣﺎرة أم اﻟﻘﻴﻮﻳﻦ‪ ،‬وﺗﻘﻊ ﰲ اﳌﻨﻄﻘﺔ اﻟﻮﺳﻄﻰ ﻣﻦ اﻟﺪوﻟﺔ وﺗﺒﻌﺪ ‪ 50‬ﻛﻢ ﺟﻨﻮﺑﺎً ﻣﻦ أم اﻟﻘﻴﻮﻳﻦ إﱃ‬ ‫اﻟﺪاﺧﻞ وﺗﺒﻌﺪ ﻋﻦ ﻣﺪﻳﻨﺔ اﻟﺬﻳﺪ ﺑﺤﻮاﱄ ‪ 6‬ﻛﻢ إﱃ اﻟﺸامل ﻣﻨﻬﺎ‪.‬‬

‫اﻟﺸﻌﺮ ‪baytelshear‬‬ ‫ﺑﻴﺖ ِ‬

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‫ ‪ĮńĴŝŊŘ‬‬

‫}‪mǚǷǿƋǘǕŌǶ ƉŞǕŌ ƉƫōƗ‬‬ ‫‪ǼƉşōŴǕŌ ưƉŨǙ Ǜş dzƲǾǔƁ‬‬ ‫}‪mǁǾǘƪǕŌ ƩŞǜǕŌ‬‬

‫‪ǢƂȎǾǙǶ ǣރǝ‬‬ ‫ﺧﻠﻴﻔﺔ ﺑﻦ ﻣﺤﻤﺪ ﺑﻦ ﺣﻤﻴﺪ ﺑﻦ ﻫ ّﺰاع ﺑﻦ ﻣﺘﺮف‬ ‫اﻟﺠﺎﺑﺮي‪ ،‬وﻟﺪ ﻓﻲ ﻣﻨﻄﻘﺔ ﻫﻴﻠﻲ ﻓﻲ ﻣﺪﻳﻨﺔ‬ ‫اﻟﻌﻴﻦ ﻋﺎم ‪1939‬م ﺗﻘﺮﻳﺒ ًﺎ ‬ ‫‪ǼƉƪƖǕŌ ǣşǷǔƓŐ‬‬

‫ﻏﻴﺮ ﻣﺘﻜﻠّﻒ‪ ،‬ﻳﺰﺧﺮ ﺑﺎﻟﻌﺎﻃﻔﺔ‬ ‫اﻟﺼﺎدﻗﺔ اﻟﻔ ّﺬة‪ ،‬وﻗﺪ ﺗﻌﺮض‬ ‫اﺑﻦ ﻣﺘﺮف ﻏﺎﻟﺒ ًﺎ ﻟﻠﺠﻮاﻧﺐ‬ ‫اﻟﺒﻴﺌﻴﺔ ﻓﻲ ﺷﻌﺮه ﻓﻘﺪ‬ ‫أدﺧﻞ اﻟﺒﻴﺌﺔ ﻓﻲ ﻗﺼﺎﺋﺪه‬ ‫وﺧﺎﺻﺔ اﻟﺒﺮ ورﻣﺎﻟﻪ وأﻋﺸﺎﺑﻪ‬ ‫وﺷﻌﺎﺑﻪ ‬ ‫ﻛﻤﺎ أﺗﻰ ﻋﻠﻰ ذﻛﺮ اﻹﺑﻞ ﻓﻲ‬ ‫أﻏﻠﺐ ﻗﺼﺎﺋﺪه ﻛﻮﻧﻬﺎ ﺟﺰء ًا‬ ‫ﻣﻦ اﻟﺘﺮاث ﻓﻮﻇ ّﻔﻬﺎ ﻓﻴﻬﺎ‬ ‫ﺧﻴﺮ ﺗﻮﻇﻴﻒ ‬

‫ﺻﺪر ﻟﻪ دﻳﻮان ﻋﺎم‬ ‫‪2008‬م ﻋﻦ ﻧﺎدي ﺗﺮاث‬ ‫اﻹﻣﺎرات ﺑﻌﻨﻮان »اﻟﻨﺒﻊ‬ ‫اﻟﻌﻤﻴﻖ«‪ ،‬ﺷﻤﻞ ﻣﻌﻈﻢ‬ ‫ﻧﺘﺎﺟﻪ اﻟﺸﻌﺮي ‬

‫‪dzǿƉƪƖǕŌ ǣƟŌƉƯŐ‬‬ ‫ﻛﺘﺐ ﻓﻲ اﻟﻐﺰل وﺑﺮع ﻓﻴﻪ‪،‬‬ ‫ﻛﻤﺎ ﻛﺘﺐ ﻓﻲ اﻟﻤﺪح واﻟﺮﺛﺎء‬ ‫واﺑﺘﻌﺪ ﻋﻦ اﻟﻬﺠﺎء واﻟﺬم ‬

‫‪2006‬‬

‫اﻧﺘﻘﻞ إﻟﻰ رﺣﻤﺔ ا‪ Z‬ﺗﻌﺎﻟﻰ‬ ‫ﺣﺎدث أﻟﻴﻢ وﻗﻊ ﻟﻪ‬ ‫إﺛﺮ ٍ‬ ‫ﻓﻲ اﻟﺬﻳﺪ ﻋﺎم ‪2006‬م ‬

‫‪ǣũōǾşŐ ǛǙ‬‬ ‫*‪Q @@ @ @ E b@@ @ @ J %‬‬ ‫‪ Hx@@ @p@ @ @ @ @ @ @ @ @ @E*R @@ @ @ @ @ @ @ @ @ @ @ ±*H H‬‬ ‫‪ ¡@@ @ @ @ @ @ @ @ @~@ @z@ @D* 4b@@ @ @ @ @F b@@ @ ~@ @ @{@ @ @²* @@ @ @~@ @ @ 6H ¯ @@ @ @ @C‬‬ ‫‪ ¡@@ @ @Cx@@ @ @D* @@ @ @ Jv@@ @ @ D* @@ @ @ E ¤@@ @~@ @ z@ @ @ @ F h@@ @ @ @ ~@ @ 7 b@@ @ @ E‬‬ ‫‪ ¡@@ @ @ @ @ @ @ @ @D* d@Q @ @ p@ @ @ @ @ @ D* f@@ @ @ @ £@ @ D @@ @ @ E ¤@@ @ -¡N @ @ @ R @ @ @~@ @ @7‬‬

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‫اﻟﻌﺪد ‪ ، 74‬ﻳﻨﺎﻳﺮ ‪2019‬‬

‫‪ b@@ @ @ @ @ @ @ @ @ @ @´b@@ + ¤@@ @ @ @ @ @ @ @ @ @ @ ~@@Q }@ @ @ @J b@@ @ @ E @@ @ +*¡@@ @ ~@ @ @ 8 @@ @ @ E‬‬ ‫ @ @ @ @ @ @@¡‪ b@@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @D* k@Q @ @ @ @ @ @ @ c@ @ @ @-R H É@@ @ @ @ ~@ @ @ @ @9°* ¥‬‬‫‪ b@@ @ @ @ @ @ @ @ @ @ @ @ @~@R@ 6* @@ @ @ @Q @ @ @ @ @ @ @ D* @@ @ @ E ¤@@ @ @ ~@ @ {@ @ - °H °‬‬ ‫· ‪ b@@ @ @ @ @ @ @ @ @0 b@@ @ @Bx@@ @ @ @ @ @ D* @@ @ @ @E ¤@@ @ @ @ @ @ 0H4 b@@ @ @ @ @ <2‬‬

‫ﻋﲆ أﻧﻐﺎم ﻣﺘﻌﺪدة وﻗﺪ ﺗﺼﻞ ﺑﺬﻟﻚ درﺟﺔ‬ ‫اﺧﺘﻼط اﳌﻮﺳﻴﻘﻰ ﺑﺄﺧﺮى ﻟﺘﻜﻮن ﻣﺰﻳﺠﺎً‬ ‫ﻣﻮﺳﻴﻘﻴﺎً ﺑﺎﻣﺘﻴﺎز‪ .‬وﺛﺎين اﻟﻌﻨﺎﴏ ﻛﺎﻧﺖ ﻓﻦ‬ ‫اﻟﻜﺘﺎﺑﺔ ﻋﲆ اﻟﺠﺪران "اﻟﺠﺮاﻓﻴﺘﻲ" اﻟﺬي اﺟﺘﺎح‬ ‫اﻟﻌﺎمل وﺑﺪا أداة ﻟﻠﺘﻌﺒري ﻋﻦ اﻵراء واﻟﺤﺮﻳﺔ‬ ‫ﰲ ﻣﺠﺎﻻت اﻟﻔﻦ واﻟﺴﻴﺎﺳﺔ‪ ،‬ﺣﻴﺚ أﺻﺒﺤﺖ‬ ‫ﺗﺠﺴﺪ أﻳﻘﻮﻧﺎت ﺛﻮرﻳﺔ ﰲ ﻣﺨﺘﻠﻒ اﻟﺒﻠﺪان‬ ‫ﺣﻮل اﻟﻌﺎمل‪ ،‬ووﺳﻴﻠﺔ ﻟﺘﺠﻤﻴﻞ اﳌﺪن‪ .‬وﺛﺎﻟﺜﺎً‬ ‫رﻗﺺ "اﻟﱪﻳﻚ داﻧﺲ" اﻟﺘﻲ ميﻜﻦ ﺗﺄدﻳﺘﻬﺎ ﻋﲆ‬ ‫ﻣﻮﺳﻴﻘﻰ اﻟﻬﻴﺐ ﻫﻮب وﺗﻄﻮرت ﺑﺎﻋﺘﺒﺎرﻫﺎ‬ ‫ﺟﺰءاً ﻣﻦ ﺛﻘﺎﻓﺔ اﻟﻬﻴﺐ ﻫﻮب‪.‬وأﺻﺒﺢ اﻵن‬ ‫اﻟﺮﻗﺺ ﰲ اﻟﺸﻮارع ﺑﺮﻳﻚ داﻧﺲ ﻟﻪ ﻣﻨﺎﻓﺴﺎت‬ ‫وﻣﺴﺎﺑﻘﺎت ﰲ أﻣﺮﻳﻜﺎ وﺧﺎرﺟﻬﺎ‪ .‬ﻣﻮﺳﻴﻘﻰ‬ ‫اﻟﺮاب ﻫﻲ اﻟﻌﻨﴫ اﻷﺳﺎﳼ ﰲ ﺛﻘﺎﻓﺔ اﻟﻬﻴﺐ‬ ‫ﻫﻮب‪ .‬واﻟﺮاب ﺗﻘﺮﻳﺒﺎً ﰲ ﻣﺮﺣﻠﺔ ﻣﺘﻮﺳﻄﺔ ﻣﺎ‬ ‫ﺑني اﻟﻜﻼم واﻟﻨرث واﻟﺸﻌﺮ واﻟﻐﻨﺎء‪ .‬وميﻜﻦ أن‬ ‫ﻳﻜﻮن ﺑﺈﻳﻘﺎع أو ﺑﺪون‪ .‬وﺑﺎﺧﺘﺼﺎر ﻧﺴﺘﻄﻴﻊ‬ ‫ﺗﻌﺮﻳﻒ اﻟﺮاب ﺑﺄﻧﻪ ﻣﻮﺳﻴﻘﻰ ﻏﻨﺎﺋﻴﺔ ﴎﻳﻌﺔ‬ ‫ﻳﻘﻮم ﻣﺆدﻳﻬﺎ ﺑﱰدﻳﺪ )وﻟﻴﺲ ﻏﻨﺎء( إﻳﻘﺎﻋﻲ‬ ‫ﴎﻳــﻊ ﻟﻜﻠامت اﻷﻏﻨﻴﺔ اﳌﻜﻮﻧﺔ ﻣﻦ ﻋﺪد‬

‫ﻛﺒري ﻣﻦ اﻟﻘﻮاﰲ ﺗﻌﺎﻟﺞ ﻋﺪداً ﻣﻦ اﳌﻮاﺿﻴﻊ‬ ‫واﻟﺘﻲ ﻗﺪ ﺗﻜﻮن ﺷﺨﺼﻴﺔ أو اﺟﺘامﻋﻴﺔ أو‬ ‫ﻋﺎﻃﻔﻴﺔ أو ﺳﻴﺎﺳﻴﺔ وﻏﺎﻟﺒﺎً ﻣﺎ ﺗﻜﻮن ﻣﺜرية‬ ‫ﻟﻠﺠﺪل وﻣﺘﺤﺮرة إﱃ ﺣﺪ ﻛﺒري ﻓﻬﻨﺎك ﺟﺮأة ﰲ‬ ‫اﺳﺘﺨﺪام أي ﻟﻔﻆ ﺑﺪون أي ﺗﺤﻔﻆ‪ .‬إن ﻣﺆدي‬ ‫اﻟﺮاب ﻻ ﻳﻐﻨﻲ ﻛﻠامت اﻷﻏﻨﻴﺔ ﺑﻞ ﻳﺮددﻫﺎ‬ ‫وﺟامل ﺻﻮﺗﻪ ﻳﻌﺪ ﻋﺎﻣ ًﻼ‪ .‬ﻓﻴﻤﻜﻦ ﻷي ﺷﺨﺺ‬ ‫أن ﻳﻐﻨﻲ اﻟﺮاب وﻟﻬﺬا اﻟﺴﺒﺐ ﻻ ﻳﺴﻤﻰ ﻣﻐﻨﻴﺎً‬ ‫ﺑﻞ ﻣﺆدي راب أو راﺑﺮ ‪.Rapper‬‬ ‫اﺳﺘﻄﺎﻋﺖ ﻣﻮﺳﻴﻘﻰ "اﻟـــﺮوك آﻧــﺪ رول"‪،‬‬

‫ﺗﻐﻴري وﺟﻪ اﻟﻌﺎمل اﳌﻮﺳﻴﻘﻲ‪ ،‬وﻟﻌﻞ اﻟﺴﺒﺐ‬ ‫ﻳﻜﻤﻦ ﰲ ﺗﺤﺮرﻫﺎ‪ ،‬ﻟﻴﺲ ﻋﲆ ﺻﻌﻴﺪ ﻛﻠامﺗﻬﺎ‬ ‫وﺣﺴﺐ‪ ،‬وإمنﺎ ﰲ إﻳﻘﺎﻋﺎﺗﻬﺎ أﻳﻀﺎً‪ ،‬ﻓﻀ ًﻼ ﻋﻦ‬ ‫أﻧﻬﺎ ﺗﺤﻤﻞ ﺑني ﻃﻴﺎﺗﻬﺎ‪ ،‬ﻗــﺪرة ﻻﻓﺘﺔ ﻋﲆ‬ ‫ﺗﺤﺮﻳﻚ اﻟﺠﺴﻢ وﺗﺤﻔﻴﺰه ﻋﲆ اﻟﺮﻗﺺ‪ ،‬وﻫﻮ‬ ‫ﻣﺎ ﺟﻌﻞ ﺑﻌﻀﻬﻢ ﻳﻌﺘﱪﻫﺎ مبﺜﺎﺑﺔ ﺣﺮﻛﺔ ﻓﻜﺮﻳﺔ‪.‬‬ ‫إن أﻛرث ﻣﺎ ميﻴﺰ ﻣﻮﺳﻴﻘﻰ اﻟــﺮوك آﻧﺪ رول‪،‬‬ ‫وﺿﻮح ﻣﻼﻣﺤﻬﺎ اﻟﺘﺎرﻳﺨﻴﺔ‪ ،‬وﻟﺬﻟﻚ ﻓﻬﻲ ﺗﻌﺪ‬ ‫أﺣﺪ أﻧﻮاع اﳌﻮﺳﻴﻘﻰ اﻟﺸﻌﺒﻴﺔ اﻟﺘﻲ ﻇﻬﺮت‬ ‫ﺑﺼﻮرة ﺟﻠﻴﺔ ﻣﻊ ﺑﺪاﻳﺔ اﻟﺴﺘﻴﻨﻴﺎت ﰲ اﻟﻮﻻﻳﺎت‬ ‫اﳌﺘﺤﺪة وﺑﺮﻳﻄﺎﻧﻴﺎ‪ ،‬رﻏﻢ أن ﺟﺬورﻫﺎ ﺗﻌﻮد‬ ‫إﱃ اﻷرﺑﻌﻴﻨﻴﺎت‪ .‬وﺣﺴﺐ اﳌﺮاﺟﻊ اﻟﺘﺎرﻳﺨﻴﺔ‬ ‫اﳌﺘﺨﺼﺼﺔ‪ ،‬ﻓﻨﺸﺄة اﻟﺮوك ﻛﺎﻧﺖ ﻧﺘﻴﺠﺔ ﺗﺪاﺧﻞ‬ ‫ﻣﺠﻤﻮﻋﺔ ﻣﻦ اﻷمنــﺎط اﳌﻮﺳﻴﻘﻴﺔ اﻟﺴﺎﺋﺪة‬ ‫آﻧﺬاك‪ ،‬ﻣﺜﻞ اﻟﺒﻠﻮز واﻟﻜﺎﻧﱰي واﻟﻔﻮﻟﻚ‪ .‬وﻳﻌﺘﱪ‬ ‫ﺑﻌﺾ اﳌﺘﺨﺼﺼني اﻟــﺮوك ﺣﺮﻛﺔ ﺛﻘﺎﻓﻴﺔ‪،‬‬ ‫وﻇﺎﻫﺮة اﺟﺘامﻋﻴﺔ ﺗﺠﺎوزت ﻋﺘﺒﺎت اﳌﻮﺳﻴﻘﻰ‬ ‫ﻟﺘﺸﻤﻞ أﺑﻌﺎداً ﺛﻘﺎﻓﻴﺔ وﻓﻨﻴﺔ واﺟﺘامﻋﻴﺔ أﺧﺮى‪.‬‬ ‫وﻳﻌﺘﻘﺪ أن ﻫﺬا اﻟﺴﺒﺐ اﻟﺮﺋﻴﺲ اﻟﺬي ﺳﺎﻋﺪ‬ ‫اﻟﺮوك ﰲ ﺧﻠﻖ ﻗﺎﻋﺪة ﺷﻌﺒﻴﺔ ﻟﻬﺎ ﺗﺄﺛري ﻋﺎﳌﻲ‪.‬‬ ‫اﻟﺸﻌﺮ ‪baytelshear‬‬ ‫ﺑﻴﺖ ِ‬

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‫‪ Ęġ¯ ŝŕ‬‬ ‫‪DzōǾŽ ŜǷǔƓŐ ŜǷǥ ŝǾǤǕŌ‬‬

‫وﺑﺎﻗﻲ اﻟﻮﻻﻳﺎت اﻷﻣﺮﻳﻜﻴﺔ ﰲ اﻟﺬﻛﺮى اﻟـ ‪300‬‬ ‫ﻟﻮﺻﻮل ﻛﻮﻟﻮﻣﺒﻮس واﻛﺘﺸﺎﻓﻪ اﻟﻌﺎمل اﻟﺠﺪﻳﺪ‪.‬‬ ‫ﻛام وأن اﻟﺮﺋﻴﺲ ﺑﻨﺠﺎﻣني ﻫﺎرﻳﺴﻮن دﻋﺎ‬ ‫اﻟﺸﻌﺐ اﻷﻣﺮﻳيك ﻟﻼﺣﺘﻔﺎل ﺑﻴﻮم ﻛﻮﳌﺒﻮس‬ ‫ﰲ اﻟــﺬﻛــﺮى اﻟـــ ‪ 400‬ﻟــﻪ‪ .‬وﺧــﻼل اﻟﺬﻛﺮى‬ ‫اﳌﺌﻮﻳﺔ اﻟﺮاﺑﻌﺔ ﰲ ﻋﺎم ‪ ،1892‬ﻗﺎم اﳌﻌﻠﻤﻮن‬ ‫واﻟﺨﻄﺒﺎء واﻟﺸﻌﺮاء واﻟﺴﻴﺎﺳﻴﻮن ﺑﺎﺳﺘﻐﻼل‬ ‫ﻫﺬا اﻟﻴﻮم ﻟﱰﺳﻴﺦ اﻟﻘﻴﻢ اﻟﻮﻃﻨﻴﺔ اﻟﺘﻲ متﺜﻠﺖ‬ ‫ﰲ ﻋﺪة ﻣﻮاﺿﻴﻊ ﻛﺎﻟﺤﺪود وواﺟﺒﺎت اﳌﻮاﻃﻨني‬ ‫وأﻫﻤﻴﺔ اﻟــﻮﻻء ﻟﻠﻮﻃﻦ واﻻﺣﺘﻔﺎل ﺑﺎﻟﺘﻘﺪم‬ ‫اﻻﺟﺘامﻋﻲ‪ .‬ﻳﺤﺘﻔﻞ اﻟﻜﺜري ﻣﻦ اﻹﻳﻄﺎﻟﻴني‬ ‫اﻷﻣﺮﻳﻜﻴني ﺑـ )ﻳﻮم ﻛﻮﳌﺒﻮس( ﺑﺎﻋﺘﺒﺎره اﺣﺘﻔﺎﻻً‬

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‫اﻟﻌﺪد ‪ ، 74‬ﻳﻨﺎﻳﺮ ‪2019‬‬

‫ﺑﱰاﺛﻬﻢ‪ .‬ﻳﺨﺘﻠﻒ اﻻﺣﺘﻔﺎل اﻟﻔﻌﲇ ﰲ أﺟﺰاء‬ ‫ﻣﺨﺘﻠﻔﺔ ﻣﻦ اﻟﻮﻻﻳﺎت اﳌﺘﺤﺪة‪ ،‬ﻣﻦ ﻣﺴريات‬ ‫وﻓﻌﺎﻟﻴﺎت وﻋﺪم اﻟﺘﻘﻴﺪ مبﺮاﺳﻢ ﻣﻌﻴﻨﺔ‪ .‬ﻣﻌﻈﻢ‬ ‫اﻟﻮﻻﻳﺎت ﺗﺤﺘﻔﻞ ﺑﻴﻮم ﻛﻮﳌﺒﻮس ﰲ ﻣﻮاﻛﺐ‬ ‫ﺿﺨﻤﺔ ﺗﺘﻘﺪﻣﻬﺎ اﻟﺮاﻗﺼﺎت وﻳﺮﺗﺪي ﺧﻼﻟﻬﺎ‬ ‫اﻟﺠﻤﻬﻮر أزﻳــﺎء ﻣﺴﺘﻮﺣﺎة ﻟﻠﺒﺤﺎرة ﺑﺮﻓﻘﺔ‬ ‫ﻛﻮﳌﺒﻮس‪ .‬ﺗﻔﺨﺮ وﻻﻳﺔ ﺳﺎن ﻓﺮاﻧﺴﺴﻜﻮ ﺑﺄﻧﻬﺎ‬ ‫أﻗﺪم ﺷﻌﺐ ﻣﻮﺟﻮد واﻟﺬي ﻳﺤﺘﻔﻞ ﺑﺎﺳﺘﻤﺮار‬ ‫ﺑﺮﻓﻘﺔ اﳌﺠﺘﻤﻊ اﻹﻳﻄﺎﱄ اﻷﻣﺮﻳيك ﺑﺎﺳﺘﻌﺮاض‬ ‫ﻋﺴﻜﺮي ﰲ ﻳﻮم ﻛﻮﳌﺒﻮس ﺳﻨﻮﻳﺎً ﻛام وﺗﻔﺘﺨﺮ‬ ‫وﻻﻳﺔ ﻧﻴﻮﻳﻮرك ﺑﺄﻛﱪ ﻋﺮض وﻣﻮﻛﺐ ﻋﺴﻜﺮي‬ ‫ﺗﻘﻠﻴﺪي‪.‬‬

‫ﻳﻌﺸﻖ اﻟﺸﻌﺐ اﻷﻣﺮﻳيك اﳌﻮﺳﻴﻘﻰ واﻟﺮﻗﺺ‬ ‫ﺑﺸﻜﻞ ﺟﻨﻮين‪ ،‬وﻣﻨﻬﺎ ﻣﻮﺳﻴﻘﺎ اﻟﺠﺎز اﻟﺘﻲ‬ ‫ﺗﺸﺘﻬﺮ ﺑﻬﺎ ﻣﺪﻳﻨﺔ ﻧﻴﻮ أورﻟﻴﻨﺰ‪ ،‬وﻣﻮﺳﻴﻘﻰ‬ ‫اﻟــﺮوك أﻧﺪ رول‪ ،‬واﻟــﺮوك‪ ،‬واﻟﻬﻴﺐ ﻫﻮب‪،‬‬ ‫وﻣﻮﺳﻴﻘﻰ اﻟﺮاب اﻟﺘﻲ ﻳﺘﺒﺎرى ﺑﻬﺎ اﻟﺸﺒﺎب‬ ‫ﺑﻌﻀﻬﻢ ﺑﻌﻀﺎً ﰲ اﻻﺣﺘﻔﺎﻻت اﻟﻌﺎﻣﺔ وﺣﺘﻰ‬ ‫ﻋﲆ أرﺻﻔﺔ اﻟﻄﺮﻗﺎت‪ ،‬إذ ﺗﺘﻄﻠﺐ ﻣﻬﺎرة‬ ‫ﻋﺎﻟﻴﺔ ﰲ اﻟﻘﺪرة ﻋﲆ اﻟﻐﻨﺎء ﻋﲆ وﺗرية واﺣﺪة‬ ‫وارﺗﺠﺎل ﻛﻠامت ﻣﺘﻨﺎﺳﻘﺔ ورﺷﻴﻘﺔ‪ ،‬ﺗﺘامﳽ‬ ‫ﻣﻊ ﻧﻔﺲ ﻟﺤﻦ ﻣﻮﺳﻴﻘﺎ اﻟﺮاب‪ ،‬وﻟﻜﻦ ﺑﴩط‬ ‫أن ﺗﻜﻮن ﻣﻨﻄﻘﻴﺔ‪ ،‬وﰲ ﺳﻴﺎق اﳌﻮﺿﻮع اﻟﺬي‬ ‫ﻳﺘﺤﺪث ﻓﻴﻪ اﳌﺘﻨﺎﻓﺴﺎن‪ ،‬واﻟﺨﺎﴎ ﰲ ﺗﻠﻚ‬ ‫اﳌﻨﺎﻓﺴﺔ‪ ،‬ﻫﻮ ﻣﻦ ﻳﺘﻠﻌﺜﻢ وﻳﻔﺸﻞ ﰲ ﻣﺠﺎراة‬ ‫اﻷﻣﻮر‪ ،‬ﻟﺬا ﻓﺘﺘﻄﻠﺐ ﺣﻀﻮراً ذﻫﻨﻴﺎً ﺷﺪﻳﺪاً‬ ‫وﻗﺪرة ﻓﺎﺋﻘﺔ ﻋﲆ اﻻرﺗﺠﺎل مبﻬﺎرة‪.‬‬ ‫ﺗﻨﺒﺜﻖ ﻛﻞ اﻷمنــﺎط اﳌﻮﺳﻴﻘﻴﺔ ﻣﻦ ﺛﻘﺎﻓﺔ‬ ‫اﻟـ "ﻫﻴﺐ ﻫﻮب" اﻟﺘﻲ ﺗﻌﺪت ﻛﻮﻧﻬﺎ ﻧﻮﻋﺎً‬ ‫ﻣﻦ اﳌﻮﺳﻴﻘﻰ واﻟﺮﻗﺺ وأﺻﺒﺤﺖ ﺗﻌﱪ ﻋﻦ‬ ‫اﻟﻬﻮﻳﺔ اﻟﺸﺒﺎﺑﻴﺔ اﻷﻣﺮﻳﻜﻴﺔ وأﺳﻠﻮﺑﻬﻢ ﰲ‬ ‫ﻣﻮاﺟﻬﺔ اﻟﺤﻴﺎة وﻇﺮوﻓﻬﺎ اﻟﻘﺎﺳﻴﺔ أﺣﻴﺎﻧﺎً‪.‬‬ ‫ﺗﻌﺘﱪ اﻟﻬﻴﺐ ﻫﻮب ﺣﺮﻛﺔ ﺛﻘﺎﻓﻴﺔ ﻟﻠﺴﻮد أو‬ ‫اﻷﻣﺮﻳﻜﻴني اﻷﻓﺎرﻗﺔ‪ .‬ﻧﺸﺄت اﻟﻬﻴﺐ ﻫﻮب‬ ‫ﻣﻄﻠﻊ اﻟﺴﺒﻌﻴﻨﻴﺎت‪ .‬وﻗــﺪ اﻧﺘﴩت ﺧﻼل‬ ‫اﻟﻌﻘﻮد اﻷﺧرية ﺛﻘﺎﻓﺔ اﻟﻬﻴﺐ ﻫﻮب ﰲ ﺟﻤﻴﻊ‬ ‫أﻧﺤﺎء اﻟﻌﺎمل ﺑني ﻓﺌﺔ اﻟﺸﺒﺎب وﺧﺼﻮﺻﺎً ﻣﻦ‬ ‫ﻟﻪ أﺻﻮل أﻓﺮﻳﻘﻴﺔ‪ ،‬ﺣﻴﺚ ﺳﺠﻠﺖ ﺑﺼﻤﺘﻬﺎ ﰲ‬ ‫أوروﺑﺎ وإﻓﺮﻳﻘﻴﺎ وآﺳﻴﺎ‪ ،‬وﻛﺎﻧﺖ اﻟﻬﻴﺐ ﻫﻮب‬ ‫أﺣﺪ أﻫﻢ اﻷﺳﺒﺎب ﻟﻨﻔﻮذ اﻟﺜﻘﺎﻓﺔ اﻷﻣريﻛﻴﺔ‬ ‫ﰲ ﺟﻤﻴﻊ أﻧﺤﺎء اﻟﻌﺎمل‪ ،‬ﺣﻴﺚ ﻛﺎﻧﺖ ﺣﺎﴐة‬ ‫وﻳﺘﻢ إﻋﻄﺎؤﻫﺎ ﻟﺸﻌﻮب اﻟﻌﺎمل ﺑﺸﻜﻞ ﻣﺒﺘﻜﺮ‬ ‫ﻣﻦ ﺧﻼل اﻟﺴﻴﻨام أو وﺳﺎﺋﻞ اﻹﻋﻼم اﳌﺨﺘﻠﻔﺔ‪،‬‬ ‫ﻛام أن اﻟﻬﻴﺐ ﻫﻮب ﻳﻌﻄﻲ اﻟﺸﺒﺎب ﺣﺮﻳﺔ ﰲ‬ ‫اﻟﺘﻌﺒري ﻟﻴﺴﺖ ﻣﻮﺟﻮدة ﰲ أي ﻓﻦ آﺧﺮ وﻛﺬﻟﻚ‬ ‫اﻟﺴﻬﻮﻟﺔ ﺑﺤﻴﺚ ﻳﺴﺘﻄﻴﻊ أي راﺑﺮ )ﻣﻐﻨﻲ‬ ‫اﻟﺮاب( ﻛﺘﺎﺑﺔ ﻛﻠامت ووﺿﻊ ﻣﻮﺳﻴﻘﻰ ﻋﻠﻴﻬﺎ‬ ‫ﻣﻦ ﺧﻼل ﺑﺮاﻣﺞ ﻛﻤﺒﻴﻮﺗﺮ ﺟﺎﻫﺰة‪ .‬وﻋﻨﺎﴏ‬ ‫اﻟﻬﻴﺐ ﻫﻮب اﻟﺨﻤﺴﺔ ﻫﻲ اﻟﺪي ﺟﻲ‪ ،‬وﻫﻮ‬ ‫ﻓﻦ ﺗﺸﻐﻴﻞ اﻷﻗﺮاص اﳌﻮﺳﻴﻘﻴﺔ واﻟﺘﻼﻋﺐ ﺑﻬﺎ‬

‫ﺣﻴﻨام ﻧﺘﺤﺪث ﻋﻦ اﳌﻮروﺛﺎت اﻷﻣﺮﻳﻜﻴﺔ‪،‬‬ ‫ﻧﺪرك أﻧﻬﺎ ﺣﺪﻳﺜﺔ اﻟﻌﻬﺪ‪ ،‬وﻟﻜﻨﻬﺎ ﺑﺎﻟﻐﺔ اﻟﺘﺄﺛري‬ ‫ﻛﻮﻧﻬﺎ ﻣﺴﺘﻤﺪة ﻣﻦ اﻟﻌﺪﻳﺪ ﻣﻦ اﻟﺜﻘﺎﻓﺎت‬ ‫واﻷﻋــﺮاق‪ ،‬وﺗﺒﻠﻮرت ﻟﺘﺼﺒﺢ ﻣﺤﻂ اﻫﺘامم‬ ‫اﻟﻨﺎس وﻳﺴﻌﻰ إﻟﻴﻬﺎ اﻟﻘﺎﴆ واﻟﺪاين ﳌﻌﺎﻳﺸﺘﻬﺎ‬ ‫ﻋﲆ اﻟﻮاﻗﻊ‪ .‬ﻓﻤﻦ ارﺗﺪاء اﻟﺠﻴﻨﺰ إﱃ اﻣﺘﻄﺎء‬ ‫اﻟﺨﻴﻮل ﰲ أمنﺎط اﻟﻜﺎوﺑﻮي اﻟﺨﺸﻨﺔ وارﺗﺠﺎل‬ ‫أﺷﻌﺎر اﻟ ـﺮاب ﻋﲆ أﻧﻐﺎم اﻟــﺮوك آﻧﺪ رول‬ ‫واﻟﺘﺤﻠﻴﻖ ﻣﻊ اﻟﻘﻮى اﻟﺨﺎرﻗﺔ ﰲ ﺳامء ﻫﻮﻟﻴﻮود‬ ‫واﻻﺳﺘﻤﺘﺎع ﺑﻮﺟﺒﺔ ﻫﻮت دوج ﴎﻳﻌﺔ ﰲ أزﻗﺔ‬ ‫ﻧﻴﻮﻳﻮرك‪ ،‬ﻧﺮى أﻧﻨﺎ اﻧﻐﻤﺴﻨﺎ ﰲ ﺛﻘﺎﻓﺔ ﻣﺘﺸﻌﺒﺔ‬ ‫اﺳﺘﻄﺎﻋﺖ ﺧــﻼل ﻓــﱰة وﺟﻴﺰة أن ﺗﻨﻬﺾ‬ ‫ﺑﺜﻘﺎﻓﺎت اﻟﻌﺎمل ﻣﻦ اﻟﺴﻬﻮل إﱃ ﻗﻤﻢ ﻧﺎﻃﺤﺎت‬ ‫اﻟﺴﺤﺎب‪ .‬متﺜﻞ ﻣﻮروﺛﺎت اﻟﺸﻌﺐ اﻷﻣﺮﻳيك‬ ‫منﻮذﺟﺎً ﺣﻴﺎً ﳌﺰﻳﺞ اﻟﺜﻘﺎﻓﺔ اﻟﻐﺮﺑﻴﺔ ﻣﻊ ﻣﺨﺘﻠﻒ‬ ‫ﺟﻤﻴﻊ ﺛﻘﺎﻓﺎت اﻟﻌﺎمل‪ ،‬ﻓﺎﻟﻮﻻﻳﺎت اﳌﺘﺤﺪة ﺑﻠﺪ‬ ‫ﻣﱰاﻣﻲ اﻷﻃــﺮاف‪ ،‬وﺗﻌﺪ ﻗــﺎرة ﺑﺤﺪ ذاﺗﻬﺎ‪،‬‬ ‫ﺗﺠﻤﻊ آﻻف اﻟﺜﻘﺎﻓﺎت اﳌﻤﺘﺰﺟﺔ اﳌﺴﺘﻘﺎة ﻣﻦ‬ ‫اﳌﻬﺎﺟﺮﻳﻦ ﻋﲆ ﻣﺪار ﻗﺮون‪ ،‬إﱃ أن أﺻﺒﺤﺖ‬ ‫ﻣﺘﻮامئﺔ وﻣﻨﺴﺠﻤﺔ‪ ،‬وﻳﻌﺪ اﻟﺸﻌﺐ اﻷﻣﺮﻳيك‬ ‫أﻛرث ﺷﻌﻮب اﻟﻌﺎمل ﺟﻨﻮﻧﺎً واﻧﻄﻼﻗﺎً وﺣﺮﻳﺔ‪،‬‬ ‫وﻳﻨﻌﻜﺲ ذﻟﻚ ﺑﺸﺪة ﰲ ﺣﺐ اﻟﻐﻨﺎء واﻟﺮﻗﺺ‬ ‫واﳌﻐﺎﻣﺮة‪ ،‬ﻛام ﻳﺸﻜﻞ اﻟﺨﻴﺎل ﺟﺎﻧﺒﺎً واﺳﻌﺎً‬ ‫ﻣﻦ اﻟﺜﻘﺎﻓﺔ اﻷﻣﺮﻳﻜﻴﺔ‪ ،‬وﻫﻮ ﻣﺎ ﻳﻈﻬﺮ ﺟﻠﻴﺎً ﰲ‬ ‫اﻷدب واﻷﻓﻼم اﻟﺴﻴﻨامﺋﻴﺔ اﻟﺘﻲ ﺗﺤﻠﻖ ﺑﻨﺎ ﻣﻊ‬ ‫اﻟﻘﻮى اﻟﺨﺎرﻗﺔ ﻣﺜﻞ ﺑﺎمتﺎن وﺗﺠﻌﻠﻨﺎ ﻧﺘﺤﺪث‬ ‫ﻣﻊ اﻟﻔﺄر ﻣﻴيك ﻣﺎوس وﻧﻨﺘﻘﻞ ﰲ ﻃﺮﻓﺔ ﻋني‬ ‫ﺑني اﳌﺠﺮات واﻟﻜﻮاﻛﺐ اﻟﺒﻌﻴﺪة‪.‬‬ ‫‪ǚōƓƉƲǕŌ DzōǾŽ ǼǷşǶōLjǕŌ‬‬

‫ﻳﺒﻘﻰ منﻂ "اﻟﻜﺎوﺑﻮي" ﻧﺘﺎﺟﺎً أﺻﻴ ًﻼ ﺗﺤﻮل إﱃ‬ ‫ﺛﻘﺎﻓﺔ ﻋﺎﳌﻴﺔ ﻻ ﺗﻨﺪﺛﺮ مبﺮور اﻟﺴﻨني‪ ،‬ﺣﻴﺚ‬ ‫ﺗﺮﺗﺒﻂ ﺑﺸﺨﺼﻴﺔ اﻟﻔﺮﺳﺎن رﻋﺎة اﻟﺒﻘﺮ ذوات‬ ‫منﻂ اﻟﺤﻴﺎة اﻟﺮﺟﻮﻟﻴﺔ اﻟﺨﺸﻨﺔ‪ ،‬وﻛﺬﻟﻚ ارﺗﺒﻂ‬ ‫ﺑﺎﻟﻠﺼﻮص ورﺟﺎل اﻟﻌﺼﺎﺑﺎت وﻗﺎﻃﻌﻲ اﻟﻄﺮق‬ ‫ﰲ اﻟﺼﺤﺮاء ﻣﻦ أﺻﺤﺎب اﳌﻬﺎرات اﻟﻔﺎﺋﻘﺔ ﰲ‬ ‫اﻣﺘﻄﺎء اﻟﺨﻴﻮل واﻟﻘﺒﺾ ﻋﲆ اﳌﺎﺷﻴﺔ ﺑﺎﻟﺮﻛﺾ‬ ‫وراﺋﻬﺎ وأﴎﻫﺎ ﺑﻮاﺳﻄﺔ اﻟﺤﺒﺎل ﻣﻦ ﻣﺴﺎﻓﺎت‬ ‫ﺑﻌﻴﺪة‪ ،‬ﺑﺎﻹﺿﺎﻓﺔ إﱃ اﳌﻬﺎرة اﻟﺨﺎﺻﺔ ﺑﺘﺼﻮﻳﺐ‬

‫اﻟــﺮﺻــﺎص اﻟﺨﺎﻃﻒ ﺑﻜﻞ دﻗــﺔ وﺑـﺮاﻋــﺔ ﰲ‬ ‫ﻣﺒﺎرزات ﺗﻌﺘﻤﺪ ﻋﲆ اﻟﴪﻋﺔ ﻟﻘﺘﻞ اﻷﻋﺪاء‪،‬‬ ‫ﻟﺘﺪل ﺑﺬﻟﻚ ﻋﲆ ﻗﻮة اﻷﻋﺼﺎب واﻟﺠﺮأة وﻋﺪم‬ ‫اﻟﺨﻮف ﻣﻦ اﳌﻮت‪ .‬ﻃﻐﺖ ﺛﻘﺎﻓﺔ اﻟﻜﺎوﺑﻮي‬ ‫اﻟﻌﺎمل أﺟﻤﻊ ﺑﺨﺎﺻﺔ اﻟــﻮﻻﻳــﺎت اﳌﺘﺤﺪة‬ ‫واﳌﻜﺴﻴﻚ وﻛﻨﺪا وﺑﻌﺾ اﻟــﺪول اﻟﻼﺗﻴﻨﻴﺔ‪،‬‬ ‫وﺗﺤﻈﻰ ﺷﺨﺼﻴﺔ اﻟﻜﺎوﺑﻮي اﻟﻔﻘرية ﺑﺈﻋﺠﺎب‬ ‫واﻫﺘامم اﻟﺸﺒﺎب واﻟﺮﺟﺎل ﰲ اﻟﻌﺎمل‪ ،‬وﻻ‬ ‫زاﻟﺖ ﺑﺎرزة ﺑﺮوﺣﻬﺎ اﻟﻔﺮﻳﺪة وﻧﺴﺠﻬﺎ ﻟﻘﺼﺺ‬ ‫اﻟﺸﺠﺎﻋﺔ اﻟﺘﻲ ﰲ ﺑﻌﺾ اﻷﺣﻴﺎن ﺗﺘﻌﺪى ﺣﺪود‬ ‫اﳌﻨﻄﻖ وﺗﻘﱰب ﻣﻦ اﻷﺳﺎﻃري ﰲ ﴎد ﻣﻐﺎﻣﺮات‬ ‫ﻓﺮﺳﺎن اﻟﻜﺎوﺑﻮي ﰲ اﻟﺼﺤﺮاء‪ ،‬وﺗﻨﺘﴩ ﻣﻼﺑﺴﻬﺎ‬ ‫اﻟﺘﻲ ﻳﺄيت ﻋﲆ رأﺳﻬﺎ ﻗﺒﻌﺔ اﻟﻜﺎوﺑﻮي ﰲ أرﻗﻰ‬ ‫ﻣﺘﺎﺟﺮ اﳌﻼﺑﺲ ﺑﺄﺷﻜﺎل وﺗﺼﻤﻴامت ﻣﺘﻨﻮﻋﺔ‬ ‫ﻟﻴﺘﻢ ارﺗﺪاؤﻫﺎ ﺿﻤﻦ ﻣﻼﺑﺲ اﻟﺸﻮارع أو ﺣﺘﻰ‬ ‫ﻋﲆ اﻟﺒﺬات اﻟﺮﺳﻤﻴﺔ اﻟﺴﻮداء‪.‬‬ ‫وﻳﻘﺎم ﻛﻞ ﻋﺎم ﻣﺴﺎﺑﻘﺎت ﻟﺮﻋﺎة اﻟﺒﻘﺮ داﺧﻞ‬ ‫ﺣﻠﺒﺔ اﻟﻌﺪﻳﺪ ﻣﻦ اﳌﺪن اﻷﻣﺮﻳﻜﻴﺔ‪ ،‬ﺣﻴﺚ‬ ‫ﻳﺘﺒﺎرى ﺧﻼﻟﻬﺎ ﻓﺮﺳﺎن اﻟﻜﺎوﺑﻮي ﻹﻇﻬﺎر‬ ‫ﻣﻬﺎراﺗﻬﻢ وﻗﺪراﺗﻬﻢ اﻟﺨﺎرﻗﺔ ﻋﲆ ﺗﺮوﻳﺾ‬

‫اﻟﺨﻴﻮل اﻟﱪﻳﺔ اﻟﺘﻲ ﺗﻢ ﺟﻤﻌﻬﺎ ﻣﻦ اﻟﺼﺤﺮاء‪،‬‬ ‫وﻛﺬﻟﻚ ﻣﻬﺎرﺗﻬﻢ اﻟﻔﺎﺋﻘﺔ ﰲ اﻹﻣﺴﺎك واﺻﻄﻴﺎد‬ ‫اﳌﺎﺷﻴﺔ ﺑﺎﻟﺤﺒﺎل ﻣﻦ ﻓﻮق ﻇﻬﻮر اﻟﺨﻴﻮل‪ ،‬وﰲ‬ ‫ﻣﺤﺎﻛﺎة ﺑﺪﻳﻌﺔ ﳌﺼﺎرﻋﺔ اﻟﺜريان اﻹﺳﺒﺎﻧﻴﺔ‪،‬‬ ‫ﻳﻔﻀﻞ ﻓﺮﺳﺎن اﻟﻜﺎوﺑﻮي اﻷﻣﺮﻳﻜﻴني اﻣﺘﻄﺎء‬ ‫ﻇﻬﺮ اﻟﺜريان اﻟﻬﺎﺋﺠﺔ وﻳﻔﻮز ﺧﻼﻟﻬﺎ ﻣﻦ‬ ‫ﻳﺴﺘﻄﻴﻊ اﳌﻜﻮث ﻋﲆ ﻇﻬﻮر ﺗﻠﻚ اﻟﺜريان ﺑﺎﻟﻐﺔ‬ ‫اﻟﻌﻨﻒ واﻟﺪﻣﻮﻳﺔ أﺣﻴﺎﻧﺎً‪.‬‬ ‫‪ƐǷŞǘǕǷlj ǖǷǿ‬‬

‫ﻳﻮم ﻛﻮﳌﺒﻮس ﻫﻮ إﺟﺎزة وﻃﻨﻴﺔ ﰲ اﻟﻮﻻﻳﺎت‬ ‫اﳌﺘﺤﺪة اﻻﻣﺮﻳﻜﻴﺔ‪ ،‬ﻛام ﻳﺤﺘﻔﻞ ﺑﻪ ﺑﻌﺾ اﻟﺪول‬ ‫اﻟﻼﺗﻴﻨﻴﺔ‪ .‬ﺣﻴﺚ ﻳﻘﺎم اﺣﺘﻔﺎل ﺳﻨﻮي مبﻨﺎﺳﺒﺔ‬ ‫اﻛﺘﺸﺎف اﻹﻳﻄﺎﱄ ﻛﺮﻳﺴﺘﻮﻓﺮ ﻛﻮﳌﺒﻮس ﻟﻘﺎريت‬ ‫أﻣﺮﻳﻜﺎ اﻟﺸامﻟﻴﺔ وأﻣﺮﻳﻜﺎ اﻟﺠﻨﻮﺑﻴﺔ ﻷول ﻣﺮة‬ ‫ﰲ ‪ 12‬أﻛﺘﻮﺑﺮ ‪ .1492‬أﺻﺒﺢ "ﻛﻮﳌﺒﻮس داي"‬ ‫)ﻳﻮم ﻛﻮﳌﺒﻮس( إﺟﺎزة رﺳﻤﻴﺔ ﻷول ﻣﺮة ﰲ‬ ‫وﻻﻳﺔ ﻛﻮﻟﻮرادو اﻷﻣﺮﻳﻜﻴﺔ ﻋﺎم ‪ ،1906‬ﺛﻢ‬ ‫أﺻﺒﺢ إﺟﺎزة ﻣﻌﺘﻤﺪة ﰲ اﻟﻮﻻﻳﺎت اﳌﺘﺤﺪة ﻋﺎم‬ ‫‪ .1937‬وﰲ ﻋﺎم ‪ 1792‬اﺣﺘﻔﻠﺖ وﻻﻳﺔ ﻧﻴﻮﻳﻮرك‬ ‫اﻟﺸﻌﺮ ‪baytelshear‬‬ ‫ﺑﻴﺖ ِ‬

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‫‪ Ęġ¯ ŝŕ‬‬

‫اﻟﻤﻮروﺛﺎت اﻷﻣﺮﻳﻜﻴﺔ‪..‬‬ ‫‪dzǿƂǶǷǾǕǷǥ dzǂũǷş ǽƳ ƉǤƚǜũ dzǘƫōǝ DzǷǃ‬‬

‫ﻣﺤﻤﺪ دروﻳﺶ‬

‫ﺗﻨﺘﴩ اﻟﺜﻘﺎﻓﺎت واﻷﻓﻜﺎر ﻣﺴﺘﺨﺪﻣﺔ أﺟﻨﺤﺘﻬﺎ اﳌﻤﺘﺪة ﻟﺘﺠﻮب اﻟﻌﺎمل وﺗﻌﱪ اﳌﺤﻴﻄﺎت واﻟﺠﺒﺎل وﺗﺤﻂ رﺣﺎﻟﻬﺎ ﰲ ﻛﻞ ﺑﻠﺪ‬ ‫ﻳﻌﺸﻖ ﺗﺮاﺛﻬﺎ ﻟريﺗﺸﻒ ﻣﻨﻬﺎ أﻫﻠﻬﺎ رﺣﻴﻘﻬﺎ وﻳﺴﺘﻨﺸﻘﻮن ﺑﻌﻀﺎً ﻣﻦ ﻋﺒريﻫﺎ‪ ،‬وﻟﻜﻦ ﻣﻊ اﻟﺸﻌﺐ اﻷﻣﺮﻳيك اﻟﺬي ﻳﺘﻜﻮن ﻣﻦ‬ ‫ﻣﺰﻳﺞ ﻫﺎﺋﻞ ﻣﻦ اﻷﻋﺮاق واﻟﻌﺎدات‪ ،‬ﺣﻄﺖ ﺗﻠﻚ اﻟﺜﻘﺎﻓﺎت اﻟﻌﺮﻳﻘﺔ رﺣﺎﻟﻬﺎ ﻣﻦ دون ﻣﻐﺎدرة ﻟﺘﻜﻮن ﺗﻠﻚ اﻷراﴈ اﻟﺸﺎﺳﻌﺔ‬ ‫ﻣﱰاﻣﻴﺔ اﻷﻃﺮاف ﻣﻬﺪاً ﳌﻮروﺛﺎت وﺛﻘﺎﻓﺎت اﺳﺘﺜﻨﺎﺋﻴﺔ وﻣﻮﻃﻨﺎً ﻟﻌﺎدات وﺗﻘﺎﻟﻴﺪ ﻋﺮﻳﻘﺔ اﻧﺼﻬﺮت ﻃﻮاﻋﻴﺔ داﺧﻞ ﺑﻮﺗﻘﺘﻬﺎ‬ ‫واﻣﺘﺰﺟﺖ ﻟﺘﺄيت ﻟﻨﺎ ﺑﱰاث أورويب ﻻﺗﻴﻨﻲ أﻓﺮﻳﻘﻲ ميﺘﺪ ﻵﻻف اﻟﺴﻨني اﺧﺘﺎر أﻻ ﻳﱪح اﻟﺪوﻟﺔ اﻟﺤﺪﻳﺜﺔ ﻟﻴﻨﺒﺜﻖ ﻣﻨﻬﺎ إﺷﻌﺎﻋﺎً‬ ‫ﺛﻘﺎﻓﻴﺎً ﻣﺨﺘﻠﻒ اﻷﻃﻴﺎف ﻳﻨري ﻣﺎ ﺣﻮﻟﻪ ﻣﻦ اﻷﻣﻢ وﻳﺼﺒﺢ أﻗﻮى ﺛﻘﺎﻓﺔ ﺗﺤﻮﻟﺖ إﱃ ﻗﻮى ﻧﺎﻋﻤﺔ ﺗﻬﻴﻤﻦ ﻋﲆ ﻋﻘﻮل ﺷﻌﻮب‬ ‫اﻟﻌﺎمل‪.‬‬

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‫اﻟﻌﺪد ‪ ، 74‬ﻳﻨﺎﻳﺮ ‪2019‬‬

‫‪ĮńĵŒ ­ŝšŃ ŗŕ‬‬

‫‪ ŋōǜƒżǕŌ dzljƉŞǕŌ‬‬ ‫‪ɵ‬‬ ‫ﻋﻠﻲ اﻟﻤﺴﻌﻮدي‬

‫ﺗﺄﻣﻞ ﺷﺎﻋﺮ اﻟﻮﺻﻒ اﻟﺒﺪﻳﻊ اﻟﺒﺤﱰي ﺑﺮﻛﺔ اﻟﺨﻠﻴﻔﺔ اﻟﻌﺒﺎﳼ‬ ‫اﳌﺘﻮﻛﻞ اﻟﺘﻲ ﻛﺎﻧﺖ أﻋﺠﻮﺑﺔ ﻣﻦ ﻋﺠﺎﺋﺐ ﻣﺪﻳﻨﺔ "ﴎ ﻣﻦ‬ ‫رأى" ﰲ اﻟﻌﺮاق‪ ..‬ﻓﻘﺎل ﻫﺬه اﳌﻘﻄﻮﻋﺔ اﻟﺸﻌﺮﻳﺔ اﻟﻮﺻﻔﻴﺔ‬ ‫اﻟﺠﻤﻴﻠﺔ ﻋﲆ اﻟﺒﺤﺮ اﻟﺒﺴﻴﻂ وﻫﻲ ﻣﻘﺪﻣﺔ ﻃﻮﻳﻠﺔ ميﺪح‬ ‫ﺑﻬﺎ اﻟﺨﻠﻴﻔﺔ‪ ،‬ﻓﻮﺻﻒ اﻟﺒﺤرية ﺗﺤﻔﻬﺎ "اﻵﻧﺴﺎت"‪ :‬ﺟﻤﻊ‬ ‫آﻧﺴﺔ‪ ،‬وﻫﻲ اﻟﺠﺎرﻳﺔ اﻟﻄﻴﺒﺔ‪ ،‬اذا ﻻﺣﺖ ﻣﻐﺎﻧﻴﻬﺎ‪ :‬أي‬ ‫ﻣﻨﺎزﻟﻬﺎ‪ ،‬ﻳﻌﻨﻲ ﻣﻘﺎﺻري اﻟﻨﺴﺎء‪ ،‬ﻓﻜﺄﻧﻬﺎ اﻟﻐريى‪ :‬اﻟﺘﻲ ﺗﻐﺎر‬ ‫وﺗﻨﺎﻓﺲ دﺟﻠﺔ وﺗﺒﺎﻫﻴﻬﺎ وﺗﻔﺎﺧﺮﻫﺎ ﺑﺎﻟﺤﺴﻦ‪.‬‬ ‫واﻟﺒﺤﱰي )‪ 820‬م ‪ 897 -‬م(‪ :‬ﻫﻮ أﺑﻮ ﻋﺒﺎدة اﻟﻮﻟﻴﺪ ﺑﻦ‬ ‫ﻋﺒﻴﺪ ﺑﻦ ﻳﺤﻴﻰ اﻟﺘﻨﻮﺧﻲ اﻟﻄﺎيئ‪ ،‬أﺣﺪ أﺷﻬﺮ اﻟﺸﻌﺮاء‬ ‫اﻟﻌﺮب ﰲ اﻟﻌﴫ اﻷﻧﺪﻟﴘ‪.‬‬ ‫ﻳﻘﺎل ﻟﺸﻌﺮه ﺳﻼﺳﻞ اﻟﺬﻫﺐ‪ ،‬وﻫﻮ أﺣﺪ اﻟﺜﻼﺛﺔ اﻟﺬﻳﻦ‬ ‫ﻛﺎﻧﻮا أﺷﻌﺮ أﺑﻨﺎء ﻋﴫﻫﻢ‪ ،‬اﳌﺘﻨﺒﻲ وأﺑﻮ متﺎم واﻟﺒﺤﱰي‪،‬‬ ‫ﻗﻴﻞ ﻷيب اﻟﻌﻼء اﳌﻌﺮي‪ :‬أي اﻟﺜﻼﺛﺔ أﺷﻌﺮ؟ ﻓﻘﺎل ‪ :‬اﳌﺘﻨﺒﻲ‬ ‫وأﺑﻮ متﺎم ﺣﻜﻴامن وإمنﺎ اﻟﺸﺎﻋﺮ اﻟﺒﺤﱰي‪.‬‬

‫‪b@@ @ gO @ J'H4 N$b@@ @ ~@ z@ ²* f@@ CÄ@@ D* I&*N 4N @@ @EN b@@ @JN‬‬ ‫‪b@@ @ @g@ @c@ @-4O @@ @~@ @ }@ @ A ¯ b@@ @ @ @ @ @ F&* b@@ @ @c@ @~@ @z@ @p@N @ +‬‬ ‫‪b@@ @ ~@O @z@ Ab@@ @ - IÌ@@ @ @ @ Db@@ @C fN @ @ @ @ @ @ /2 b@@ @ @ + b@@ @ E‬‬ ‫@ @ @ @|@ @~ @ ‪fK @ @ @ @ Pm@@ @ @EO $b@@ @ @ @ ´* O2¡@@ @ @ @ @ AH b@@ @ @£@ @A d@T‬‬‫‪fK @ @ @ @)b@@ ~@ @6 O$b@@ @~@ @ }@ @ £@ @ c@ @ D* fO @ @ ~@@S @}@ @ @ @ D* b@@ @ @ ¿&S b@ @ @ @CN‬‬ ‫*(‪b@@ @ @c@ @F*¡@@ / ¯ i$*x@@ @ @ @ @ @ - O ¡@@ @ @m@ @ @ @ @ @ D* *3‬‬ ‫‪b@@ @ gN @ Jb@@= 4O ¡@@ ~@ @ |@ @ p@ @ ´* @O @ @ @~@ @z@ @D* O @ @ @ @c@ @J °‬‬ ‫‪f@@ p@ @ @ @¸ b@@ @ @ @ ~@ @ @ @ 6H&b@ @ @ @ + b@@ @ @ @ @£@ @ @A @@ @ @ @ @ @ @ @J‬‬ ‫‪b@@ @ @ @ @ @ Ab@@ @~@ @ 6&* ¯ d@@ @ @£@ @ @ 04 @@ @p@ @ ~@ @ 8 @@ @ @ @ @D‬‬ ‫‪b@@ @ ~@ z@ F'¡@ J Í@@ @ @ Dv@@ D* ,4¡@@ @ ~@ @ 8 ¶(* 4¡@@ @~@ @ 8‬‬ ‫‪Ix@@ @ - *y@@ @ @ @ @ @- ° @@ @ @9b@@ @ @Jx@@ @ @+ f@@ @ A¡@@ @ @ @ @¹‬‬ ‫‪iv@@ @ = Í@@ @ Jx@@ @ @ @ @~@ @ @{@ @ @D* @@ @j@ @ @ @ C Í@@ @ @ g@ @ @ @C2H‬‬ ‫*(‪iv@@ @+ Í@@ @ @ @ @E'¡@ @ @´* Ì@@ @ @ @ @E&* ¤@@ <b@@ ~@ @ z@ @ E *3‬‬

‫‪b@@ @ @£@ @Fb@@ @ @E h@@ @ @ @ @ @0°‬‬ ‫‪N *3(* Pib@@ @ @ @ ~@ @ @ @ @z@ @ @ @ @F%°*H‬‬ ‫‪b@@ @ @ £@ @ Fb@@ . x@@ @ @ p@ @ @ @c@ @ @ @D*H ,K v@@ @ @ @ @ @ @ @ @ @0*H Tv@@ @ @ @ @ @ @ @ @-O‬‬ ‫¯ *‪b@@ @ £@ Gb@@c@ - K*4*¡@@ @ @ @ @ @ :&*H K*4¡@@ @ @ @ : @@ ~@ @z@ @²‬‬ ‫‪b@@ @ Jx@@¸ O P @@ c@ @0 @@ @ PE fK @ @ @ /4P b@@ @ @1 N P @@ £@ @³b@@ C‬‬ ‫‪b@@ @ @J4b@@ ¸ ¯ ¥x@@ @ @ © P @@ @)b@@ @c@ @ ~@ @ z@ @ D* @@ @ @ PE‬‬ ‫‪K @ @ @£@ @ @D‬‬ ‫‪b@@ @ £@ A h@@ @ @ c@ @ @ @CQ 4O $K b@@ @ @ @ @~@ @ @6 Nh@@ c@ @ ~@ @ z@ @ 0 É‬‬ ‫‪N @ @ @ @ @+ b@@ @ @ E v@@ @ @ @ cO @ @ D‬‬ ‫‪b@@ @ @ @ £@ @ F*2H b@@ @ @ £@ @ ~@ @ 8b@@ B Í‬‬ ‫‪b@@ @ @£@ @A*¡@@ 1 ¡@@ @ @ / ¯ @@ }@ @ @ @ @ @- Ì@@ @ @ @ Db@@ @C‬‬ ‫*(‪b@@ @ @ @ £@ @ Db@@ @<&* ¯ ¡L @ @ @ @ @ @ +H @@ @ @ @ @ @ p@ @ F* *3‬‬ ‫‪b@@ @ @ @ @ @ J5*¡@@ @ @J @@ @£@ @ @ @ £@ @ @ @ + $*Hy@@ @ @ @ @ @ @ @ @ @ F* @@ @ @ @ @ @ E‬‬ ‫‪b@@ @ £@ @ p@ JH @@ £@ @ @ @« @@ @z@ @ JH*¡@@ @ @ @ D* @@ @{@ @ J4‬‬ ‫*(‪b@@ @ £@ Eb@@~@ z@ - Ix@@ @ @ @ @ @ 1&°* *5(b@ @ @ @ @ @+ b@@ @ @ @ @G*v@@ @ 0‬‬ ‫‪b@@ @ @ @ £@ @ F*v@@ @J @@ @ @~@ @ @ 8H É@@ @ @ A Í@@ @ @ @ ~@ @ 8*¡@@ @ @ @ D‬‬

‫اﻟﺒﺤﺘﺮي‬ ‫اﻟﺸﻌﺮ ‪baytelshear‬‬ ‫ﺑﻴﺖ ِ‬

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‫‪ ĘŘĘĤĮŜŕ‬‬

‫ﻹﻗﺎﻣﺔ اﻟﻌﺮوض اﻟﻌﺎﳌﻴﺔ اﻟﻜﱪى‪ .‬وﺗﻌﺮض ﻛﻞ‬ ‫دوﻟﺔ ﰲ ﺟﻨﺎﺣﻬﺎ ﻣﺠﻤﻮﻋﺔ ﻏﻨﻴﺔ ﻣﻦ ﻣﻨﺘﺠﺎﺗﻬﺎ‬ ‫اﳌﺤﻠﻴﺔ‪ ،‬وﻳﺴﺘﻄﻴﻊ اﻟﺰاﺋﺮ ﺧﻼل ﺗﺠﻮاﻟﻪ‬ ‫ﰲ اﳌﻬﺮﺟﺎن اﻟﺘﻌﺮف ﻋﲆ ﺗﺮاث اﻟﺪول وﻣﺎ‬ ‫ﺗﺸﺘﻬﺮ ﺑﻪ ﻣﻦ ﻣﻨﺘﺠﺎت وﻣﻠﺒﻮﺳﺎت وأﻛﻼت‪،‬‬ ‫وﻣﻨﻬﺎ ﻳﺴﺘﻄﻴﻊ اﺧﺘﻴﺎر ﻣﺎ ﻳﻌﺠﺒﻪ‪ ،‬وﻻ ﻳﺘﻮﻗﻒ‬ ‫اﻷﻣــﺮ ﻋــﲆ اﻟﺘﻌﺮف ﻋــﲆ اﻟـــﱰاث اﳌــﺎدي‬ ‫ﻓﺤﺴﺐ‪ ،‬ﺑﻞ أﻋﻄﻰ اﳌﻬﺮﺟﺎن ﺣﻴﺰاً واﺳﻌﺎً‬ ‫ﻣﻦ اﻻﻫﺘامم ﻟﻠﱰاث اﻟﻼﻣﺎدي ﻣﺜﻞ اﻟﺮﻗﺼﺎت‬ ‫اﻟﺸﻌﺒﻴﺔ واﳌﻮﺳﻴﻘﺎ‪ ،‬ﺣﻴﺚ ﻳﺴﺘﻌﺮض ﻛﻞ ﺑﻠﺪ‬ ‫ﻧﺘﺎج ﺛﻘﺎﻓﺘﻪ أﻣﺎم ﺣﺸﻮد اﻟﺰوار‪.‬‬ ‫ﻛام ﻳﺸﻬﺪ اﳌﻬﺮﺟﺎن ﻳﻮﻣﻴﺎً ﻣﺴرية ﺿﺨﻤﺔ‬ ‫ﳌﺨﺘﻠﻒ اﻟﻔﺮق اﻟﻔﻠﻜﻠﻮرﻳﺔ ﺗﺠﻮب اﳌﻬﺮﺟﺎن‬ ‫ﺑﺄﻫﺎزﻳﺞ ﺗﺮاﺛﻴﺔ ﺷﻌﺒﻴﺔ ﻣﻦ ﻣﺨﺘﻠﻒ دول‬ ‫اﻟﻌﺎمل ﻟﺘﻌﱪ ﻋﻦ روح اﳌﻬﺮﺟﺎن اﻟﺬي ﻳﺠﻤﻊ‬ ‫ﻣﺨﺘﻠﻒ ﺣﻀﺎرات اﻟﻌﺎمل ﻋﲆ أرض اﻹﻣﺎرات‪.‬‬ ‫ﻛام ﻳﺴﺘﻀﻴﻒ اﳌﻬﺮﺟﺎن اﻟﻜﺜري ﻣﻦ اﳌﻌﺎرض‪،‬‬ ‫ﻣﻨﻬﺎ ﻣﻌﺮض "اﻟﺨﻴﻞ" اﻟﺬي ﻳﱪز اﻫﺘامﻣﺎت‬ ‫اﻟﺸﻴﺦ زاﻳﺪ "رﺣﻤﻪ اﻟﻠﻪ" ﺑﺎﻟﺨﻴﻞ وﻣﺴرية‬ ‫ﻣﻬﺮﺟﺎن ﺳﻤﻮ اﻟﺸﻴﺦ ﻣﻨﺼﻮر ﺑﻦ زاﻳﺪ آل‬ ‫ﻧﻬﻴﺎن اﻟﻌﺎﳌﻲ ﻟﻠﺨﻴﻮل اﻟﻌﺮﺑﻴﺔ اﻷﺻﻴﻠﺔ‪،‬‬ ‫وﻣﻌﺮض " اﻟﻬﺠﻦ" اﻟﺬي ﻳﻮﺿﺢ ﻋﻼﻗﺔ اﻟﺸﻴﺦ‬ ‫زاﻳﺪ ﺑﺎﻟﻬﺠﻦ اﻟﻌﺮﺑﻴﺔ اﻷﺻﻴﻠﺔ واﻫﺘامﻣﻪ ﺑﻬﺎ‬ ‫ﻛام ﻳﻘﺪم ﻋﺮﺿﺎً ﻟﺴرية أﻓﻀﻞ ﻣﻄﺎﻳﺎ ﻫﺠﻦ‬ ‫اﻟﺮﺋﺎﺳﺔ‪.‬‬

‫ﺑﺎﻟﻄﺎﺟني اﳌﻐﺮيب ﰲ ﺟﻨﺎح اﳌﻤﻠﻜﺔ اﳌﻐﺮﺑﻴﺔ‪،‬‬ ‫وﺑﺄﺷﻬﻰ أﻧﻮاع اﳌﺜﻠﺠﺎت ﰲ اﻟﺠﻨﺎح اﻟﱰيك‪،‬‬ ‫وﻏريﻫﺎ اﻟﻜﺜري‪ ،‬ﻛام ﺧﺼﺺ اﳌﻬﺮﺟﺎن ﳌﺤﺒﻲ‬ ‫اﻷﻛﻼت اﻟﴪﻳﻌﺔ ﺟﻨﺎﺣﺎً ﻣﻤﻴﺰاً ﺗﺤﺖ ﻣﺴﻤﻰ‬ ‫)أﻗﺮب( ﻳﻀﻢ ﻣﺠﻤﻮﻋﺔ ﻣﻦ ﺷﺎﺣﻨﺎت اﻟﻄﻌﺎم‬ ‫اﻟﺘﻲ ﺗﻘﺪم ﺗﺸﻜﻴﻠﺔ ﻏﻨﻴﺔ ﻣﻦ اﻟﻮﺟﺒﺎت‪.‬‬

‫وﻋــﺮوض ﻟﻴﺰر ﻣﺒﻬﺮة ﺻﻤﻤﺖ وﺑﺮﻣﺠﺖ‬ ‫ﻟﺘﺼﺎﺣﺐ ﻣﺨﺘﻠﻒ اﳌﻌﺰوﻓﺎت اﳌﻮﺳﻴﻘﻴﺔ‬ ‫واﻷﻏﺎين اﻟﻮﻃﻨﻴﺔ ﰲ ﺗﺸﻜﻴﻼت ﻏﻨﻴﺔ ﻣﺘﻨﻮﻋﺔ‪،‬‬ ‫ﺑﺎﻹﺿﺎﻓﺔ إﱃ ﻣﻤﴙ اﻹﻣﺎرات اﳌﺰﻳﻦ ﺑﺘﺸﻜﻴﻠﺔ‬ ‫ﺿﻮﺋﻴﺔ ﻣﺒﺘﻜﺮة ﺑﺄﻟﻮان ﻋﻠﻢ اﻹﻣــﺎرات‪ ،‬وﰲ‬ ‫ﻋﻄﻠﺔ ﻧﻬﺎﻳﺔ اﻷﺳﺒﻮع ﺗﻀﺎء ﺳامء اﳌﻬﺮﺟﺎن‬ ‫ﺑﺄﺟﻤﻞ ﻋﺮوض اﻷﻟﻌﺎب اﻟﻨﺎرﻳﺔ‪ ،‬ﻣﺸﻜﻠﺔ‬ ‫ﻟﻮﺣﺔ ﻓﻨﻴﺔ راﺋﻌﺔ‪.‬‬ ‫‪ǒōƲƣȏŌ Ǜljƈ‬‬ ‫وأوﻟــﺖ اﻟﻠﺠﻨﺔ اﳌﻨﻈﻤﺔ اﻫﺘامﻣﺎً ﺧﺎﺻﺎً‬ ‫ﺑﺎﻷﻃﻔﺎل ﺣﻴﺚ ﺧﺼﺼﺖ ﻗﺮﻳﺔ ﺗﺮاﺛﻴﺔ ﻋﲆ‬ ‫‪ǚōLjǙ ǛǾǃŌǶƅǔǕǶ‬‬ ‫ﺑﻌﺪ ﺟﻮﻟﺔ ﻣﻄﻮﻟﺔ ﰲ أﺟﻨﺤﺔ اﳌﻬﺮﺟﺎن‪ ،‬ﻳﺤني ﻣﺴﺎﺣﺔ ﻛﺒرية ﺑﺎﻟﺘﻌﺎون ﻣﻊ ﻗﻨﺎة ﻣﺎﺟﺪ‬ ‫وﻗﺖ اﻟﻄﻌﺎم‪ ،‬وﻫﻮ اﻷﻣﺮ اﳌﺘﻮﻓﺮ ﺑﻜرثة ﰲ ﻟﻠﱰﻓﻴﻪ‪ ،‬ﺗﻘﺪم اﻟــﱰاث ﰲ ﻗﺎﻟﺐ ﺗﺮﻓﻴﻬﻲ‬ ‫اﳌﻬﺮﺟﺎن‪ ،‬ﺣﻴﺚ ﻳﻀﻢ اﳌﻬﺮﺟﺎن ﻋﺪداً ﻣﻦ ﻣﺘﻤﺜﻠﺔ ﺑﺎﳌﴪح اﻟﺸﻌﺒﻲ وﺳﻴﻨام ﻣﻔﺘﻮﺣﺔ‬ ‫اﳌﻄﺎﻋﻢ اﻟﺸﻌﺒﻴﺔ اﻹﻣﺎراﺗﻴﺔ اﻟﺘﻲ ﺗﻘﺪم أﺷﻬﻰ وأﻟﻌﺎب ﺗﺤﺎيك اﻷﻟﻌﺎب اﻟﺸﻌﺒﻴﺔ وﺣﻴﺎة‬ ‫اﳌﺄﻛﻮﻻت اﻹﻣﺎراﺗﻴﺔ اﻟﺸﻌﺒﻴﺔ ﻣﺜﻞ اﻟﻬﺮﻳﺲ اﻷﻃﻔﺎل ﻗﺪميﺎً ﰲ أﺟﻮاء ﺗﺄﺧﺬﻫﻢ ﻟﻠامﴈ‬ ‫‪dzǔǥƅǙ ƜǶƉƫ‬‬ ‫وﻳﺰداد اﳌﻬﺮﺟﺎن أﻟﻘﺎً مبﺎ ﻳﻘﺪﻣﻪ ﻣﻦ ﻋﺮوض واﳌﴬوﺑﺔ واﻟﻠﻘﻴامت‪ ،‬ﻛام ﺗﻘﺪم ﺑﺎﻗﻲ اﻟﺪول اﻟﺠﻤﻴﻞ واﻟﺒﻴﺌﺔ اﻻﺟﺘامﻋﻴﺔ اﻟﻘﺪميﺔ مبﺎ ﻓﻴﻬﺎ‬ ‫ﺗﻘﻨﻴﺔ ﻣﺬﻫﻠﺔ‪ ،‬وﻣﻨﻬﺎ ﻋﺮوض ﻣﺎﺋﻴﺔ ﺿﻮﺋﻴﺔ ﻣﺄﻛﻮﻻﺗﻬﺎ اﻟﺸﻌﺒﻴﺔ‪ ،‬ﺣﻴﺚ ميﻜﻦ ﻟﻠﺰوار اﻟﺘﻤﺘﻊ ﻣﻦ ﺑﺴﺎﻃﺔ وروح اﻟﺘﻌﺎون واﻷﻟﻔﺔ‪.‬‬

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‫اﻟﻌﺪد ‪ ، 74‬ﻳﻨﺎﻳﺮ ‪2019‬‬

‫ﺗﺸﻜﻞ اﻟﺘﻄﻮرات واﻟﻔﻌﺎﻟﻴﺎت اﻟﺠﺪﻳﺪة اﻟﺘﻲ‬ ‫أﺿﻴﻔﺖ إﱃ اﻟﺪورة اﻟﺤﺎﻟﻴﺔ إﺿﺎﻓﺔ ﻣﺘﻤﻴﺰة‬ ‫ﺗرثي اﳌﺨﺰون اﻟﱰايث واﳌﻌﺮﰲ ﻟﺪى اﻟﺠﻤﻬﻮر‬ ‫وﺗﺆﺻﻞ ﺣﺐ اﻟ ـﱰاث ﰲ ﻧﻔﻮس اﻷﻃﻔﺎل‬ ‫واﻟﺸﺒﺎب ﻣﻦ اﻷﺟﻴﺎل اﻟﺠﺪﻳﺪة‪.‬‬ ‫وﺷﻬﺪت ﻣﻨﻄﻘﺔ اﳌﻬﺮﺟﺎن ﺗﻮﺳﻌﺔ ﻛﱪى‬ ‫وإﺿﺎﻓﺎت أرﻛﺎن وأﺟﻨﺤﺔ ﺟﺪﻳﺪة‪ ،‬ﺣﻴﺚ‬ ‫ﻳﺄﺧﺬ اﳌﻬﺮﺟﺎن ﻫﺬا اﻟﻌﺎم ﺑﻌﺪاً ﺟﺪﻳﺪاً ﰲ‬ ‫إﺿﺎﻓﺎﺗﻪ اﻟﻨﻮﻋﻴﺔ اﻟﺘﻲ ﺗﺸﻤﻞ ﺷﻮاﻫﺪ ﻣﻦ‬ ‫ﺣﻀﺎرة اﻹﻣﺎرات وﻣﻌﺎمل رﻣﺰﻳﺔ ﻣﻦ ﺛﻘﺎﻓﺎت‬ ‫اﻟﺸﻌﻮب وﺣﻀﺎراﺗﻬﺎ ﻣﻦ ﻣﺨﺘﻠﻒ ﻣﻨﺎﻃﻖ‬ ‫اﻟﻌﺎمل‪ ،‬ﺗﺆﻛﺪ أن اﻹﻣﺎرات ﻣﻠﺘﻘﻰ اﻟﺤﻀﺎرات‬ ‫وﺗﺮﺳﺦ رؤﻳــﺔ اﻟﺸﻴﺦ زاﻳــﺪ ﰲ ﺑﻨﺎء دوﻟﺔ‬ ‫ﺣﻀﺎرﻳﺔ ﺗﻨﴩ ﺛﻘﺎﻓﺔ اﻟﺘﺴﺎﻣﺢ واﻟﺴﻼم ﰲ‬ ‫اﻟﻌﺎمل‪.‬‬ ‫وﰲ دورة ﻫﺬا اﻟﻌﺎم ﻳﺴﺘﻌﺮض اﳌﻬﺮﺟﺎن‬ ‫ﺟﻮاﻧﺐ ﻣﺘﻌﺪدة ﻣﻦ ﺣﻀﺎرة اﻹﻣــﺎرات‬ ‫وﺷﻮاﻫﺪﻫﺎ اﻟﺘﺎرﻳﺨﻴﺔ وآﺛﺎرﻫﺎ اﳌﻤﺘﺪة ﰲ‬ ‫ﻣﺨﺘﻠﻒ ﻣﻨﺎﻃﻖ اﻟﺪوﻟﺔ‪ ،‬ﻣﺆﻛﺪاً ﻋﲆ أن‬ ‫إﻧﺴﺎن اﻹﻣﺎرات ﻣﻨﺬ اﻟﻘﺪم ﺗﻮاﺟﺪ ﻋﲆ ﻫﺬه‬ ‫اﻷرض وﻋﻤﻞ ﻓﻴﻬﺎ وﺳﻌﻰ وﻛ ّﻮن ﻣﺠﺘﻤﻌﺎت‬ ‫ﺗﻄﻮرت وازدﻫﺮت‪ ،‬وﻣﺎ ﻧﺮاه اﻟﻴﻮم ﻣﻦ ﺛﺮاء‬ ‫اﻟﱰاث اﻹﻣﺎرايت ﻫﻮ ﻧﺘﺎج ﻟﺬﻟﻚ‪.‬‬ ‫ﻛام ﻳﺄﺧﺬ ﻣﻬﺮﺟﺎن ﻫﺬه اﻟﺴﻨﺔ ﺑﻌﺪاً ﺟﺪﻳﺪاً‬ ‫ﰲ إﺿﺎﻓﺎﺗﻪ اﻟﻨﻮﻋﻴﺔ اﻟﺘﻲ ﺗﺸﻤﻞ ﺷﻮاﻫﺪ ﻣﻦ‬ ‫ﺣﻀﺎرة اﻹﻣﺎرات وﻣﻌﺎمل رﻣﺰﻳﺔ ﻣﻦ ﺛﻘﺎﻓﺎت‬ ‫اﻟﺸﻌﻮب وﺣﻀﺎرات اﻟﺸﻌﻮب ﻣﻦ ﻣﺨﺘﻠﻒ‬ ‫ﻣﻨﺎﻃﻖ اﻟﻌﺎمل‪ ،‬ﻣﺆﻛﺪ ًة ﻋﲆ أن اﻹﻣــﺎرات‬ ‫ﻣﻠﺘﻘﻰ اﻟﺤﻀﺎرات وﻣﺮﺳﺨ ًﺔ رؤﻳﺔ اﻟﺸﻴﺦ‬ ‫زاﻳﺪ ﰲ ﺑﻨﺎء دوﻟﺔ ﺣﻀﺎرﻳﺔ ﺗﻨﴩ ﺛﻘﺎﻓﺔ‬ ‫اﻟﺘﺴﺎﻣﺢ واﻟﺴﻼم ﰲ اﻟﻌﺎمل‪.‬‬ ‫‪dzƫǷǜŨǙ dzżǜŵŐ‬‬

‫ﻳﺤﺘﻀﻦ اﳌﻬﺮﺟﺎن ﻋﺪداً ﻛﺒرياً ﻣﻦ اﻷﺟﻨﺤﺔ‪،‬‬ ‫ﺣﻴﺚ ﻳﻀﻢ اﳌﻬﺮﺟﺎن ‪ 500‬ﻣﺤﻞ ﺗﻘﺪم‬ ‫ﻣﻨﺘﻮﺟﺎت ﺗﻘﻠﻴﺪﻳﺔ ﻣﻦ ﺣﻮل اﻟﻌﺎمل وﻳﺸﻬﺪ‬ ‫أﻛرث ﻣﻦ ‪ 1500‬ﻓﻌﺎﻟﻴﺔ ﺗﺮاﺛﻴﺔ ﺛﻘﺎﻓﻴﺔ ﻋﲆ‬ ‫ﻣﺴﺎرح اﻷﺣﻴﺎء واﻷﺟﻨﺤﺔ‪ ،‬وﻛﺬﻟﻚ ﺧﺸﺒﺔ‬ ‫اﳌﴪح اﻟﻀﺨﻢ اﻟﺠﺪﻳﺪ اﻟﺬي ﺗﻢ ﺗﺸﻴﻴﺪه‬ ‫اﻟﺸﻌﺮ ‪baytelshear‬‬ ‫ﺑﻴﺖ ِ‬

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‫‪ ĘŘĘĤĮŜŕ‬‬

‫‪ɶ‬‬ ‫‪ǽƳƉƪǘǕŌǶ ǽŭŌƉŨǕŌ ǚǶƋƀǘǕŌ ǼƉŬũ dzƳōƟŒ ǓLjƗ‬‬

‫ﻣﻬﺮﺟﺎن اﻟﺸﻴﺦ زاﻳﺪ اﻟﺘﺮاﺛﻲ‬ ‫‪ŦŌƈōǙȑŌ ƜƈŐ ǻǔƫ ǗǕōƪǕŌ ŪƈŒ‬‬

‫اﻟﺨري‪ ،‬زاﻳﺪ اﻟﺬي ﻗﻬﺮ رﻣﺎل اﻟﺼﺤﺮاء‪ ،‬وأ ّﻟﻒ‬ ‫ﻣﺼﻄﻔﻰ أﺣﻤﺪ‬ ‫ﺑني اﻟﻘﻠﻮب‪ ،‬وﺟﻤﻊ اﻷﺧــﻮة ﺗﺤﺖ ﺳﻘﻒ‬ ‫”اﻹﻣﺎرات ﻣﻠﺘﻘﻰ اﻟﺤﻀﺎرات“‪..‬ﻫﻮ اﻟﺸﻌﺎر واﺣﺪ‪ .‬وﻫﻮ اﻟﺬي ﻓﺘﺢ أﺑﻮاﺑﻪ ﻟﻠﺠﻤﻴﻊ‪ ،‬ﻓﻜﺎن‬ ‫اﻟﺬي ﺗﺒﻨﺎه ﻣﻬﺮﺟﺎن اﻟﺸﻴﺦ زاﻳﺪ ﻣﻨﺬ اﻧﻄﻼﻗﻪ‪ ،‬وﻣﺎ زال رﻣﺰاً ﻟﻺﻧﺴﺎﻧﻴﺔ واﳌﺤﺒﺔ‪.‬‬ ‫ﻋﺎﻛﺴﺎً ﻗﻴﻤﺔ ﻣﻦ ﻗﻴﻢ اﳌﺠﺘﻤﻊ اﻹﻣﺎرايت اﻟﺬي‬ ‫ﻳﻘﻮم ﻋﲆ اﻟﺴﻼم واﳌﺤﺒﺔ واﻟﺘﺴﺎﻣﺢ‪ .‬ﻣﺠﺘﻤﻊ ‪ƉǘŨƒǙ ƃǿƃŴũ‬‬ ‫ﻳﺘﻤﻴﺰ ﺑﺎﻟﺘﻨﻮع‪ ،‬ﻳﻠﺘﻘﻲ ﺑﻪ اﻹﻧﺴﺎن ﺑﺄﺧﻴﻪ ﻛﻌﺎدﺗﻪ وﻣﻨﺬ اﻧﻄﻼﻗﻪ ﻳﺸﻬﺪ ﻣﻬﺮﺟﺎن اﻟﺸﻴﺦ‬ ‫اﻹﻧﺴﺎن ﻟﺨﺪﻣﺔ اﻹﻧﺴﺎن ﰲ ﻛﻞ ﻣﻜﺎن‪.‬‬ ‫زاﻳﺪ ﺗﻄﻮراً ﻛﺒرياً دورة إﺛﺮ دورة وﻋﺎﻣﺎً ﺑﻌﺪ‬ ‫ﰲ دورة ﻫﺬا اﻟﻌﺎم ﻳﻄﻞ ﻋﻠﻴﻨﺎ اﳌﻬﺮﺟﺎن ﻋﺎم‪ ،‬ﻓﺒﻌﺪ أن ﻛﺎن ﻣﻬﺮﺟﺎﻧﺎً ﺗﺮاﺛﻴﺎً ﻣﺤﻠﻴﺎً‪ ،‬ﺑﺎت‬ ‫ﺑﻮﺟﻪ ﺟﺪﻳﺪ‪ ،‬وﺟﻪ أﻛرث إﴍاﻗﺎ وﺑﻬﺎء‪ ،‬ﻛﻴﻒ اﻟﻴﻮم ﻛﺮﻧﻔﺎﻻً ﻋﺎﳌﻴﺎً ﻳﺤﺘﻔﻲ ﺑﺎﻟﱰاث اﻟﻌﺎﳌﻲ‬ ‫ﻻ ودورة ﻫﺬا اﻟﻌﺎم ﺗﺰاﻣﻨﺖ ﻣﻊ ﻋﺎم زاﻳﺪ ﺑﻜﺎﻓﺔ أﺷﻜﺎﻟﻪ‪ ،‬ﻳﺤﻴﻲ ﻛﻞ اﻟﺘﻘﺎﻟﻴﺪ واﻟﺸﻌﺎﺋﺮ‬

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‫اﻟﻌﺪد ‪ ، 74‬ﻳﻨﺎﻳﺮ ‪2019‬‬

‫اﻟﺪاﻋﻴﺔ إﱃ اﳌﺤﺒﺔ واﻟﺘﻼﻗﻲ‪ ،‬وﻳﻬﺪم اﻟﺤﻮاﺟﺰ‬ ‫اﻟﻔﻜﺮﻳﺔ اﻟﺘﻲ ﺗﻔﺼﻞ ﻣﺎ ﺑني اﻟﺸﻌﻮب‪.‬‬ ‫وﺗﻬﺪف رﺳﺎﻟﺔ اﳌﻬﺮﺟﺎن اﻟﻌﺎﳌﻴﺔ إﱃ اﻟﺤﻔﺎظ‬ ‫ﻋﲆ اﻟ ـﱰاث اﻹﻣــﺎرايت واﻟﻌﺎﳌﻲ وﻧﻘﻠﻪ إﱃ‬ ‫اﻷﺟﻴﺎل اﻟﻘﺎدﻣﺔ ﺑﻄﺮق ووﺳﺎﺋﻞ ﻣﺘﻨﻮﻋﺔ‪،‬‬ ‫ﳌﺎ ﻟﻠﱰاث ﻣﻦ أﺛﺮ ﰲ ﻓﻬﻢ اﻵﺧﺮ وﻧﴩ ﻗﻴﻢ‬ ‫اﻟﺘﺴﺎﻣﺢ ﺑني اﻟﺸﻌﻮب‪.‬‬ ‫وﻳﺤﺮص اﳌﻬﺮﺟﺎن ﻋﲆ ﻋﺮض اﻟﱰاث اﻹﻣﺎرايت‬ ‫واﻟﱰاث اﻟﻌﺎﳌﻲ ﰲ ﺻﻴﻐﺔ ﺗﻌﻠﻴﻤﻴﺔ ﺗﺸﻮﻳﻘﻴﺔ‬ ‫ﺗﺤﺚ اﻷﺟﻴﺎل اﻟﻨﺎﺷﺌﺔ ﻋﲆ اﺳﺘﻜﺸﺎﻓﻪ‬ ‫واﻟﺘﻔﺎﻋﻞ ﻣﻌﻪ وﺗﺄﺻﻴﻠﻪ ﰲ ﻧﻔﻮﺳﻬﻢ‪ ،‬ﺣﻴﺚ‬

‫ﻛﻞ ﻋﻠﻰ ﻓ ّﻨﻪ‬ ٍ ‫ﺧﻤﻴﺲ ﻣﻄﺮ اﻟﻜﺘﺒﻲ‬ @kalketbii1

b@@ @ @c@ @B*¡@@ < ¢@@ ~@ @{@ @s@ @F b@@ @ @ @ +¡@@ @F3 H @@ g@ @ @ @ 04 b@@ @ c@ @ @ F i*xQ @ @ @ @ @ @ EH b@@ @ @ D x@@ @ @ E @@ z@ @ @ @ @ @D* H b@@ @ +4b@@~@ {@ E ¤@@ @ ~@ |@ - b@@ @ @Eb@@ J&* ¢@@~@ z@ < Ñ* b@@ @J b@@ @ c@ Jb@@m@ < @@ @ E b@@ @ @ @ @~@ @7H b@@ @ @~@ @{@ @< @@ @ C b@@ @ J b@@ @c@Db@@s@§ @@~@ 7v@@s@ - v@@ @ ²* @@ E @@~@z@ @F H b@@ @ c@ Db@@ @ E ¤@@ ~@ @}@ @ @ @- Mf@ @ @ /b@@ @ @0 @@ @ @D v@@ @ @+ ° b@@ @ c@ 0b@@~@ |@ - @@ @ @F* Í@@ @ D d@@ £@ @ Fb@@ /* @@ 6b@@ @ @ D* b@@ @ +w@@ @ J @@ @ @AHx@@ @ @0 2b@@ @ @ c@ @ @ @D* ¢@@ @ @ @ < y@@ @ @ @ @J

81

baytelshear ‫اﻟﺸﻌﺮ‬ ِ ‫ﺑﻴﺖ‬

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ĘıĘŕ

‫ﻧﺼﻴﺤﺔ‬ ‫ﻋﺘﻴﻖ اﻟﻘﺒﻴﺴﻲ‬

*¡@@ @ @ @ J @@ @ Jy@@ @ + Ì@@ @ @ @ =H Hv@@ @ @~@ @ @ 8 Mv@@ @ @ @ @ 0&* b@@ @ Q @ @ @ N @ @ @ E ¯ @ @ @ P @ @ @ P @ @ @ @ @ @JP *w@@ @ @ @ G v@@ @ @ £@ @ @ @C&* R *v@@<* x@@ @N @1&* ¡@@G Ì@@= d@@0b@@~@8 @@c@ P~@@z@« P É@@ @ G°* Ì@@ @= @@ @D @@£@ ~@ 9x@@J b@@ @E 2¡@@ ~@ @z@ @ P0 b@@ @ @ @ @´ ¤@@ @ Q @ @ @ @ J @@ @Ab@@ @~@ @ 7 ¡@@ @ @D @@ @ Jy@@ @ Db@@ @ +H b@@ @ 0 ¯H 4v@ @ @~@ @ 8 @@ ~@ @6H @@ S @ @1 xQR @ @ ~@U@ @z@ @ D* R b@@ <x@@ - v@@ @ @ @ @D* @@ @ D h@@ @ @ @ @<&* *3(* ¤@@ @ @ @ D* b@@£@ F2 @@ JyP @ @-H @@ -xN @ @~@ @{@ @ P< @@ D ¡@@~@ |@ -H b@@ @ @c@ @E *2 Mh@@ @ @+b@@ @ @. @@ ~@ @ 6b@@ ~@ @ 6 b@@ @ @ @C · É@@ @ @ A°* H42 ¯ @@ @ R @ @ @<N @@ Eb@@ @ @E @@ @ @ @ A4* b@@ @ Â v@@ @ @ PE b@@ @ @ @ @D* @@ @ @ ±H @@ @ @ @+ d@@ @ @ @04 Q b@@ @<* ¤@@ @D* ¡@@G *x@@- @@g@£@ @<* @@ U @ @- °H R @ ~@ @|@ @B(* @M @ Jb@@ ~@ @7 Me42 @@ @C @@ @ <H b@@ @ @1 x@ *x@@ @ C3 d@@ £@ @:H @@ @ @ A ¢@@ @ c@ JH d@@ @ GN w@@ @ -P b@@ £@ @F2 2Hv@@ @ @ @< @@ @ E ¯b@@ @~@@Q @|@ @ D* ¯b@@ @~@@Q @|@ @ Db@@ @+ Q N °*H @ b@@ / b@@ @E ¡@@ @ @ BH @@ @ Q @ @ 1 @ @ R @ @ @ PE w@@ @ P1

@@6b@@ @ /&* @@ 6b@@ Q @ @D* @@ @E x@@ ~@N @ 7b@@ < ¥w@@ @ @D* b@@ @ B @@ @6b@@ @EQ 4N @@ 6b@@ Q @ @D* ¢@@ @ B ¯ ¤@@ @ @D* @@ @EN b@@ @- ° @@ 6*¡@@ ~@ @6HP b@@ ~@ @z@ @F* ,4w@@ @ @G @@ S @ @~@N @ z@ @-P 4w@@ @ @ 0*H @@6b@@ @ ¹ l P ¡R @ @ @ 0 @ N @ @ @1*2 ¯H @@ D @@p@~@}@J @@6b@@+ ° h@@ c@ @ P= · @@|@ s@ ~@ {@ D @@ P @ gP @ ~@ z@ -P °H @@6b@@ @ D* @@ E Ì@@ @ D 4*x@@ @~@ @ 6* ¤@@ @ @ - °H @@6b@@ @ /°* iÉ@@ £@ @~@ @8&* @@~@ {@ <* h@@ @ ~@ {@ < *3*H @@6*x@@D* @@+ @@Ax@@-H @@~@ 9x@@< @@< 2Hw@@ @ -H @@ 6b@@ ~@Q @ z@ @D* h@@ @+b@@ @. ¢@@ @ @< ¤@@ @ @ @ +* h@@ £@ @ + *3*H @@6b@@~@ z@ 0* @@ @+b@@ @E M @@ @Gb@@ @m@ @ + h@@ £@ @ @ @g@ @+* *3*H @@6b@@£@ D* Qv@ @ @ 0 Mf@ @/b@@ 0 d@@0b@@~@ 8 h@@ @ ~@ 7 *H @@ 6b@@ c@ D*H @@ @ N @ @ D* ¤@@ @ © v@@ @ @ @ < @@ g@ /b@@ 0 @@6b@@ Q @D* ¯ Ì@@s@+ ¤@@~@{@E(* ¤@@~@ 7b@@E h@@ @C *H @@6b@@ @ F* f@@ @ ~@ }@ + ¢@@ g@ @ D* x@@ @ < *x@@ @ - @@ @ @ @ <*H 6b D* ¤ E*H É@@ P @D* v~|0N ¢ < 8Px0bA @@ @6b@@ @FH @M@ @ @6b@@ @ @F x@@ @ @ @< ¤@@ @ @ @ @D* É@@ @ @ @C *w@@ @ @ @G

2019 ‫ ﻳﻨﺎﻳﺮ‬، 74 ‫اﻟﻌﺪد‬

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‫اﻟﺴﻨني ﻋﲆ اﻟﻄﺮﻳﻘﺔ اﻟﺮوﻣﺎﻧﻴﺔ‪ ،‬ﻓﻔﻲ ﻋﺎم‬ ‫‪ 1225‬أوﺟﺪ ﻟﻴﻮﻧﺎردو ﻃﺮﻗﺎً ﻣﺒﺘﻜﺮة ﻟﺤﻞ‬ ‫ﻣﻌﺎدﻻت اﻟﺪرﺟﺔ اﻷوﱃ واﻟﺜﺎﻧﻴﺔ ﺑﻨﺎ ًء ﻋﲆ‬ ‫ﻧﻈﺎم اﻟﺤﺴﺎب اﻟﻌﴩي‪ .‬اﻷﻣﺮ اﻟﺬي ﺟﻌﻞ‬ ‫اﻟﺮﻳﺎﺿﻴني اﻷوروﺑﻴني ﻳﻀﺠﻮن ﺑﺘﻠﻚ اﻟﻄﺮﻳﻘﺔ‬ ‫اﻟﺘﻲ ﻗﻀﺖ ﻋﲆ ﺑﺤﻮﺛﻬﻢ ﻗﻀﺎ ًء ﻣﱪﻣﺎً‪ ،‬وﰲ‬ ‫ذات اﻟﻌﺎم رأس ﻓﺮدرﻳﻚ اﻟﺜﺎين ﻣﻬﺮﺟﺎﻧﺎً‬ ‫رﻳﺎﺿﻴﺎً ﰲ ﻣﺪﻳﻨﺔ ﺑﻴﺰا ووﺿﻊ ﻓﻴﻪ اﻟﺮﻳﺎﴈ‬ ‫اﻟﺸﻬري ﻳﻮﺣﻨﺎ ﺑﺎﻟﺮﻣﻮ ‪John Palermo‬‬ ‫ﻣﺴﺎﺋﻞ ﻣﺨﺘﻠﻔﺔ إﻻ أن ﻓﻴﺒﻮﻧﺎﺗﴚ ﺣ ّﻠﻬﺎ‬ ‫ﺟﻤﻴﻌﻬﺎ‪.‬‬ ‫‪ǽƖũōǝǷŞǾƳ dzǾǕōŨŨǙ‬‬

‫إن اﺳﺘﺒﺪال ﻧﻈﺎم اﻷرﻗﺎم اﻟﺮوﻣﺎﻧﻴﺔ وﻃﺮﻳﻘﺘﻪ‬ ‫اﻟﻘﺪميﺔ ﰲ اﻟﺘﻜﺎﺛﺮ‪ ،‬واﺳﺘﺨﺪام اﻟﻌﺪاد‬ ‫اﻟﻌﴩي ﻟﻠﺤﺴﺎب‪ ،‬ﻣﻊ ﻧﻈﺎم اﻷرﻗﺎم اﻟﻬﻨﺪو‪-‬‬ ‫اﻟﻌﺮيب ﻛﺎن ﺗﻘﺪﻣﺎً ﰲ ﺟﻌﻞ اﻟﺤﺴﺎﺑﺎت‬ ‫اﻟﺘﺠﺎرﻳﺔ أﺳﻬﻞ وأﴎع‪ ،‬ﻣام أدى إﱃ منﻮ‬ ‫اﻷﻋامل اﳌﴫﻓﻴﺔ واﳌﺤﺎﺳﺒﺔ ﰲ أوروﺑﺎ‪.‬‬ ‫وﻗــﺪ ﴍح ﻓﻴﺒﻮﻧﺎﺗﴚ ﻣﺮوﻧﺔ اﺳﺘﺨﺪام‬ ‫اﻷرﻗــﺎم اﻟﻬﻨﺪوﺳﻴﺔ اﻟﻌﺮﺑﻴﺔ ﰲ اﻷﻋامل‬ ‫اﻟﺘﺠﺎرﻳﺔ ﻣﺜﻞ ﺗﺤﻮﻳﻞ اﻟﻌﻤﻼت اﳌﺨﺘﻠﻔﺔ‬ ‫وﺣﺴﺎب اﻟﺮﺑﺢ واﻟﻔﻮاﺋﺪ اﻟﺘﻲ ﻛﺎﻧﺖ ﰲ ﻏﺎﻳﺔ‬ ‫اﻷﻫﻤﻴﺔ ﺑﺎﻟﻨﺴﺒﺔ ﻟﻠﺼﻨﺎﻋﺔ اﳌﴫﻓﻴﺔ اﳌﺘﻨﺎﻣﻴﺔ‬ ‫ﰲ اﻟﻌﺎمل‪.‬‬ ‫ورﻏﻢ أن رﻳﺎدة اﻟﺘﻌﺎﻟﻴﻢ اﻟﺠﱪﻳﺔ وﺗﻌﻤﻴﻤﻬﺎ‬ ‫ٌ‬ ‫ﻣﺴﺄﻟﺔ ﺗﺠﺪ ﺧﻼﻓﺎً ﻋﲆ ﻣﻦ‬ ‫ﻋﲆ أوروﺑــﺎ‬ ‫ﻗﺪﻣﻬﺎ أوﻻً‪ ،‬ﻓﻴﺒﻮﺗﺸﻴﻨﻲ أم ﺟريﺑري دورﻳﻼك‪.‬‬ ‫إﻻ أﻧﻪ ﻣﻦ اﻟﺤﺘﻤﻲ أن ﺗﻨﺎول ﻓﻴﺒﻮﺗﺸﻴﻨﻲ‬ ‫ﻟﻠامدة اﻟﻌﺮﺑﻴﺔ اﻟﺨﺎم وﺗﻄﺒﻴﻘﺎﺗﻬﺎ ﻋﲆ ﻋﻠﻮم‬ ‫اﻟﺤﺴﺎب اﻷوروﺑﻴﺔ ﻛﺎن أوﺿﺢ وأﻛرث ﺗﺒﻴﺎﻧﺎً‪،‬‬ ‫ﻓﻘﺪ ﺗﻨﺎول اﻷﻋﺪاد ﻏري اﳌﻨﻄﻘﻴﺔ واﻷﻋﺪاد‬ ‫اﻷوﻟﻴﺔ‪ .‬واﺳﺘﺒﺪل اﻷرﻳﺜامﻃﻴﻘﻴﺔ ﰲ اﻟﻌﻤﻞ‬ ‫ﻋﲆ ﺣﺴﺎب اﳌﺮاﺑﻴﺢ وﺗﺤﻮﻳﻞ اﻟﻌﻤﻼت‬ ‫وﺗﺤﻮﻳﻞ اﻷوزان واﳌﻘﺎﻳﻴﺲ وﺣﺴﺎب‬ ‫اﻟﻔﺎﺋﺪة وﻏريﻫﺎ ﻣﻦ اﻟﺘﻄﺒﻴﻘﺎت‪ .‬مبﺎ ﻳﻌﺮف‬ ‫اﻟﻴﻮم ﺑـ "ﻣﺘﺘﺎﻟﻴﺔ ﻓﻴﺒﻮﻧﺎﺗﴚ" ﺗﻠﻚ اﻟﻨﻈﺮﻳﺔ‬ ‫اﻟﺘﻲ مل ﺗﻘ ّﺮ وﺗﺘﻮﺿﺞ إﻻ ﺑﻌﺪ ﻣﻮﺗﻪ‪ .‬إذ ﺗﺒني‬ ‫ﻟﻌﻠامء درﺳﻮا ﻟﻴﻮﻧﺎردو ﻻﺣﻘﺎً أﻧﻪ ﺳﺘﺨﺪم‬

‫وﻗﺪ ﺑني ﻟﻴﻮﻧﺎردو ﰲ ﻣﺘﺘﺎﻟﻴﺘﻪ ﻣﺎ ﻛﺎن ﻣﻌﻤﻮﻻً‬ ‫‪ ǼƅǕŌ ǽƖũōǝǷŞǾƳ ǶƂƈōǝǷǾǕ ŲƉƁ‬ﻓﻴﻪ ﻟﺪى اﻟﻬﻨﻮد واﻟﻌﺮب ﻣﻦ اﻟﻘﺮون اﻟﻘﺪميﺔ‬ ‫‪ ǚōlj ŝƓōżǙ Ŝȏ ɑ1180 ǖōƫ ƃǕǶ‬وذﻟﻚ ﺑﺴﺒﺐ وﺟﻮد اﻟﺼﻔﺮ ﰲ أرﻗﺎﻣﻬﻢ‪،‬‬ ‫‪ɲ‬‬ ‫‪ɰ‬‬ ‫‪ɰ‬‬ ‫ ‪ ŌƉŵōũǶ ŌƋǾş ǀŌǷƓŐ ǻǔƫ‬ﻛﻘﻴﻤﺔ‪ ،‬ﻓﺄوﺿﺢ أن ﻛﻞ رﻗﻢ ﰲ اﳌﺘﺘﺎﻟﻴﺎت‬ ‫‪ōƳƉƖǙ‬‬ ‫ﻫﻮ ﻣﺠﻤﻮع اﻟﺮﻗﻤني اﻟﺴﺎﺑﻘني‪ .‬وﻟﻜﻨﻪ ﻗﺎم‬ ‫‪ƂȎŞǕŌ ŋōŵƈŐ ǽƳ‬‬ ‫ﺑﺤﺬف "‪ "0‬اﳌﺘﻀﻤﻦ اﻟﻴﻮم‪ ،‬وﺑﺪأ اﻟﺘﺴﻠﺴﻞ‬ ‫ﺑـ ‪ ،2 ،1 ، 1‬وﻫﻜﺬا‪.‬‬ ‫‪dzǾşƉƪǕŌ ŦōǾƟōǿƉǕŌ ǖǷǔƫ ſƓƈ‬‬ ‫ ‪ ŜƉƓǶ ǛǾǾşǶƈǶȏŌ ǚōǥƄŐ ǽƳ‬ﻣﺜﺎل‪34 ، 21 ، 13 ، 8 ، 5 ، 3 ، 2 ، 1 ، 1 :‬‬ ‫‪ɶ‬‬ ‫‪.377 ، 233 ، 144 ، 89 ، 55 ، dzşōŨLjǕŌǶ ŜōƒżǕŌ dzǘƦǝŐ ǗǤǾǕŒ‬‬ ‫ﻟﻘﺪ أﻗﺮت أوروﺑﺎ واﻟﻌﺎمل ﺑﻌﺒﻘﺮﻳﺔ ﻓﻴﺒﻮﺗﺸﻴﻨﻲ‬ ‫‪ŜōƒżǕŌ ǖǷǔƫ ǽƳ dzǾşƉƪǕŌ‬‬ ‫ً‬ ‫وأﺻﺒﺢ آﺧﺮ ﺣﻴﺎﺗﻪ ﺿﻴﻔﺎ ﻋﲆ اﻹﻣﱪاﻃﻮر‬ ‫ﻓﺮﻳﺪرﻳﻚ اﻟﺜﺎين اﳌﻮﻟﻊ ﺑﺎﻟﺮﻳﺎﺿﻴﺎت واﻟﻌﻠﻮم‪،‬‬ ‫‪ ǗŴƪǙ ŝŽōƛ ǣƲƛǶ‬‬ ‫وﰲ ﻋــﺎم ‪ 1240‬ﻛﺮﻣﺖ ﺟﻤﻬﻮرﻳﺔ ﺑﻴﺰا‬ ‫‪ ǽƟōǿƈ ǣǝőş ǛǾǃƉƖŨƒǘǕŌ‬‬ ‫‪ɱ‬‬ ‫‪ ǽƳ ǽƟōǿƈ ǗǕōƫ ƉŞljŐǶ ǗǾƦƫ‬ﻓﻴﺒﻮﻧﺎﺗﴚ ﻣﻦ ﺧﻼل ﻣﻨﺤﻪ راﺗ ًﺒﺎ ﰲ ﻣﺮﺳﻮم‬ ‫أﻗﺮ ﺑﻪ ﻟﻠﺨﺪﻣﺎت اﻟﺘﻲ ﻗﺪﻣﻬﺎ ﻟﻠﻤﺪﻳﻨﺔ‬ ‫‪ơǾƓǷǕŌ ƉƚƪǕŌ‬‬ ‫ﻛﻤﺴﺘﺸﺎر ﰲ ﻣﺴﺎﺋﻞ اﳌﺤﺎﺳﺒﺔ واﻟﺘﺪرﻳﺲ‪.‬‬ ‫وﻻ ﻳﻌﺮف ﺗﺎرﻳﺦ وﻓﺎة ﻓﻴﺒﻮﻧﺎﳾ ﺑﺎﻟﺘﺤﺪﻳﺪ‬ ‫ﻃﺮاﺋﻖ رﻳﺎﺿﻴﺔ ﻫﺎﺋﻠﺔ ﻟﺤﺴﺎﺑﺎت ﻣﺘﻌﺪدة إﻻ أن اﻟﺘﻘﺪﻳﺮات ﺗﺸري إﱃ أﻧﻪ ﺗﻮﰲ ﺑني‬ ‫وﻣﺎ زاﻟﺖ ﺗﺴﺘﺨﺪم ﺣﺘﻰ اﻟﻴﻮم ﰲ ﺑﻌﺾ اﻟﻌﺎم ‪ 1240‬و‪1250‬م‪ .‬ﺗﺎرﻛﺎً ﻟﻨﺎ وﻟﻠﻐﺮب ﻣﻦ‬ ‫ﺟﻮاﻧﺐ اﻟﺒﻮرﺻﺔ )اﻟﺘﺤﻠﻴﻞ اﻟﺘﻘﻨﻲ(‪.‬‬ ‫اﻟﻌﻠﻮم اﻟﺮﻳﺎﺿﻴﺔ ﻣﺎ ﻻ ميﻜﻦ ﺗﺠﺎوزه‪.‬‬

‫اﻟﺸﻌﺮ ‪baytelshear‬‬ ‫ﺑﻴﺖ ِ‬

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‫‪ ĮŇŒ ŗŕ‬‬

‫ ‪ǛǾǾşǶƈǶȏŌ ǚōǥƄŐ ǽƳ dzǾşƉƪǕŌ ŦōǾƟōǿƉǕŌ ǖǷǔƫ ſƓƈ‬‬

‫اﻟﺮﻳﺎﺿﻲ اﻹﻳﻄﺎﻟﻲ ﻳﻮﻧﺎردو ﻓﻴﺒﻮﻧﺎﺗﺸﻲ‬

‫‪ɰ‬‬ ‫‪ŝǂƫ ǻǔƫ ōƓŐƈ ōşǶƈǶŐ ŝ‬‬ ‫‪ǔȌɳ ǃɳ‬‬ ‫ﻫﺎﻧﻲ ﻧﺪﻳﻢ‬

‫ﻣﻦ ﻛــﺎن ﻳﻘﻮل إن اﺑــﻦ ﻣﻮﻇﻒ اﻟﺠامرك‬ ‫اﻹﻳﻄﺎﱄ ﰲ "ﺑﺠﺎﻳﺔ" ﺑﺎﻟﺠﺰاﺋﺮ ﺳﻮف ﻳﻐري‬ ‫اﻟﻌﺎمل ﺑﺄﴎه وﻳﻌﻴﺪ ﻃﺮﻳﻘﺔ ﺣﺴﺎﺑﻬﻢ ﻟﻸرﻗﺎم‬ ‫وﻳﺒﺪﻟﻮن أﺳﺎﻟﻴﺐ ﺗﻌﺎﻣﻼﺗﻬﻢ اﻟﺘﺠﺎرﻳﺔ اﻟﺘﻲ‬ ‫اﺳﺘﻤﺮت آﻻف اﻷﻋﻮام؟ ﻋﲆ اﻟﻌﻤﻮم‪ ،‬ﻳﻌﻠﻤﻨﺎ‬ ‫اﻟﺘﺎرﻳﺦ دوﻣﺎً رﻏﻢ ﺗﻜﺮره أﻧﻪ ﻣﻔﺎﺟﺊٌ وﻳﺄﺗﻴﻨﺎ‬ ‫ﻣﻦ ﺣﻴﺚ ﻻ ﻧﺘﻮﻗﻊ!‬ ‫ﺣﺘﻰ اﻟﻌﺎم ‪1200‬م‪ ،‬ﻛﺎﻧﺖ أوروﺑــﺎ ﻻ ﺗﺰال‬ ‫ﺗﺴﺘﺨﺪم ﻃﺮﻳﻘﺔ اﻟﺤﺴﺎب اﻟﻴﻮﻧﺎين واﻷرﻗﺎم‬ ‫اﻟﻴﻮﻧﺎﻧﻴﺔ‪ ،‬وﻛﺎﻧﺖ ﺑﻴﺰا ﰲ إﻳﻄﺎﻟﻴﺎ‪" ،‬ﺟﻤﻬﻮرﻳﺔ‬ ‫ﺑﻴﺰا آﻧﺬاك"‪ ،‬ﺗﻌﺘﱪ ﻣﻨﺠ ًام ﻟﻌﺒﺎﻗﺮة اﻟﺮﻳﺎﺿﻴﺎت‬ ‫وﻋﻠامﺋﻬﺎ‪ ،‬وﻣﻨﻬﺎ ﺧﺮج ﻟﻴﻮﻧﺎردو ﻓﻴﺒﻮﻧﺎﺗﴚ‬ ‫ﻷب ﻣﺤﺎﺳﺐ ﻛﺎن‬ ‫اﻟﺬي وﻟﺪ ﻓﻴﻬﺎ ﻋﺎم ‪1180‬؛ ٍ‬ ‫ﻣﴩﻓﺎً ﻋﲆ أﺳﻮاق ﺑﻴﺰا وﺗﺎﺟﺮاً ﰲ أرﺟﺎء اﻟﺒﻼد‪،‬‬ ‫ﺣﻴﺚ اﺳﺘﻘﺮ ﺑﻪ اﻷﻣﺮ ﰲ اﻟﺠامرك اﻟﺠﺰاﺋﺮﻳﺔ‬ ‫مبﺪﻳﻨﺔ "ﺑﺠﺎﻳﺔ" ﰲ ﴍﻛﺔ ﺧﺎﺻﺔ‪ ،‬ﻣﻜﺎن ﻣﺎ ﻧﺸﺄ‬ ‫ﻟﻴﻮﻧﺎردو وﺗﻌ ّﻠﻢ ﻋﻠﻮﻣﻪ اﻷوﱃ‪.‬‬ ‫ﮔﻮﻟﻴﻴﻠﻤﻮ ﺑﻮﻧﺎﺗﴚ‪ ،‬واﻟﺪ ﻟﻴﻮﻧﺎردو‪ ،‬ﻛﺎن ﺗﺎﺟﺮاً‬ ‫ﻣﻮﻟﻌﺎً ﺑﺎﻷرﻗﺎم وﻃﺮق اﻟﺤﺴﺎب واﻟﴩاﻛﺎت‬ ‫واﻟﺘﺼﻔﻴﺎت واﻟﴬاﺋﺐ‪ ،‬وﺗﻌ ّﻠﻖ ﺑﻪ اﺑﻨﻪ ﺟﺪاً‬ ‫ﺣﺘﻰ ﻋﺮف ﻻﺣﻘﺎً ﺑـ" ﻓﻴﺒﻮﻧﺎﺗﴚ" أي "اﺑﻦ‬ ‫أﺑﻴﻪ"‪ ،‬وأﺧﺬ ﻣﻨﻪ ﺷﻐﻒ اﻟﺮﻳﺎﺿﻴﺎت وﻫﻮ‬ ‫ﻃﻔﻞ‪ ،‬وﺷﺐ ﰲ ﻣﺪﻳﻨﺔ ﺑﺠﺎﻳﺔ وﺗﻌﻠﻢ ﻋﲆ‬ ‫ﻳﺪ أﺳﺘﺎذ ﻣﺴﻠﻢ أﺳﺎﺳﻴﺎت اﻟﺤﺴﺎب اﻟﻌﺮيب‪،‬‬ ‫وﺗﺎﺟﺮ ﺑني اﻟﺒﻠﺪان ﻳﺎﻓﻌﺎً ﻓﺰار ﻣﴫ‪ ،‬واﻟﻴﻮﻧﺎن‬ ‫واﻟﺸﺎم وﺻﻘﻠﻴﺔ‪ ،‬وﺗﻌﺎﻣﻞ ﻣﻊ أمنﺎط ﻣﺘﻌﺪدة‬ ‫ﻣﻦ اﻟﺘﺠﺎر‪ ،‬وﺗﻌﻠﻢ ﻃﺮﻳﻘﺔ اﻟﻌﺪ "ﺑﻮﺳﻴﻠﺔ‬ ‫ﻋﺠﻴﺒﺔ اﺳﺘﺨﺪم ﻓﻴﻬﺎ أرﻗﺎم اﻟﻬﻨﻮد اﻟﺘﺴﻌﺔ"‬ ‫ﻛام وﺻﻒ ﰲ ﻛﺘﺎﺑﻪ ﻛﺘﺎب اﻟﻌ ّﺪ ‪،Libre abaci‬‬

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‫اﻟﻌﺪد ‪ ، 74‬ﻳﻨﺎﻳﺮ ‪2019‬‬

‫اﻟﺬي أﺻﺪره وﻟﻪ ﻣﻦ اﻟﻌﻤﺮ‬ ‫‪ 22‬ﻋﺎﻣﺎً ﻓﻘﻂ‪.‬‬ ‫اﺳﻤﻪ اﻷﺻﲇ ﻫﻮ‪Leonardo :‬‬ ‫‪ Gulielmi‬إﻻ أن اﳌﺆرخ اﻟﻔﺮﻧﴘ‬ ‫اﻹﻳﻄﺎﱄ "ﻏﻴﻮم ﻟﻴﺒﻲ" ﻫﻮ ﻣﻦ أﻃﻠﻖ‬ ‫ﻋﻠﻴﻪ اﺳﻢ "ﻓﻴﺒﻮﻧﺎﺗﴚ" ﻋﺎم ‪ 1838‬اﺧﺘﺼﺎراً‬ ‫ﻟـ "‪ "Filius Bonacci‬أي اﺑــﻦ ﺑﻮﻧﺎﳾ‬ ‫"واﻟﺪه" اﻟﺬي ﻛﺎن ﻟﻴﻮﻧﺎردو ﻣﻮﻟﻌﺎً ﺑﻪ‪ .‬ﻛام‬ ‫أﻧﻪ ﻣﻌﺮوف ﺑني اﻟﻌﻠامء أﻳﻀﺎً ﺑـ‪ :‬ﻟﻴﻮﻧﺎردو‬ ‫ﺑﻮﻧﺎﳼ‪ ،‬ﻟﻴﻮﻧﺎردو ﺑﻴﺰا‪ ،‬أو ﻟﻴﻮﻧﺎردو ﺑﻴﻐﻮﻟﻮ أو‬ ‫اﳌﺴﺎﻓﺮ‪ .‬ووﺻﻔﻪ ﺻﺎﺣﺐ ﻣﻌﺠﻢ اﳌﺴﺘﴩﻗني‬ ‫ﺑﺄﻧﻪ رﻳـ ٌ‬ ‫ـﺎﴈ ﻋﻈﻴﻢ‪ .‬وأﻛــﱪ ﻋﺎمل رﻳــﺎﴈ ﰲ‬ ‫اﻟﻌﴫ اﻟﻮﺳﻴﻂ‪ .‬ذﻟﻚ اﻟﻠﻴﻮﻧﺎردو اﻟﺬي ﻇﻞ‬ ‫ﺣﺪﻳﺚ أوروﺑﺎ واﻟﻌﺎمل ﺣﺘﻰ ﻳﻮﻣﻨﺎ ﻫﺬا ﻛﻮﻧﻪ‬ ‫أول ﻣﻦ ﻣﺰج ﻫﻨﺪﺳﺎت اﻟﻴﻮﻧﺎن اﻟﺮﻳﺎﺿﻴﺔ‬ ‫وﻃﺮاﺋﻖ اﻟﺤﺴﺎب اﻟﻌﺮﺑﻴﺔ‪ ،‬وﺳﻴﺴﺘﻤﺮ ﻓﻀﻠﻪ‬ ‫ﻋﲆ اﻟﺒﴩﻳﺔ ﺑﺄﴎﻫﺎ إﱃ أن ﻳﺮث اﻟﻠﻪ اﻷرض‬ ‫وﻣﺎ ﻋﻠﻴﻬﺎ‪.‬‬ ‫ ‪ǽƟōǿƉǕŌ ŜȎǂǝȍŌ‬‬

‫ﻗﺒﻞ ﻟﻴﻮﻧﺎردو‪ ،‬ﻛﺎﻧﺖ اﻷرﻗــﺎم اﻟﻬﻨﺪﻳﺔ ﰲ‬ ‫ﺑﺪاﻳﺔ ﺗﺎرﻳﺨﻬﺎ اﻷورويب ﻻ ﺗﺴﺘﺨﺪم ﰲ ﻋﻠﻮم‬ ‫اﻟﺤﺴﺎب ﻟﺪﻳﻬﻢ وﻣﻬﻤﻠﺔ ﻟﺼﺎﻟﺢ اﻟﺮﻳﺎﺿﻴﺎت‬ ‫اﻟﺮوﻣﺎﻧﻴﺔ واﻟﻴﻮﻧﺎﻧﻴﺔ وﻃــﺮق اﻟﺤﺴﺎب‬ ‫اﻟﻘﺪميﺔ‪ .‬وﻷن ﻟﻴﻮﻧﺎدرو ﺗﻌﻠﻢ اﻟﻠﻐﺔ اﻟﻴﻮﻧﺎﻧﻴﺔ‬ ‫ﻛام ﺗﻌﻠﻢ اﻟﻌﺮﺑﻴﺔ؛ ﻓﻘﺪ أمل متﺎم اﻹﳌﺎم‬ ‫ﺑﺮﻳﺎﺿﻴﺎت أرﺧﻤﻴﺪس‪ ،‬وإﻗﻠﻴﺪس‪ ،‬وﻫريون‪،‬‬ ‫ودﻳﻮﻓﺎﻧﺘﺲ ‪ .Diophantus‬وﻧﴩ ﻛﺘﺎﺑﻪ‬ ‫اﻟﺸﻬري "اﻟﻌﺪّ" ﻋﺎم ‪1202‬م واﻟﺬي ﻳﻌﺘﱪ‬ ‫أول ﻋﺮض أورويب ﻛﺎﻣﻞ ﻟﻸرﻗﺎم اﻟﻬﻨﺪﻳﺔ‪،‬‬ ‫وﻟﻠﺼﻔﺮ‪ ،‬وﻃﺮﻳﻘﺔ اﻟﺤﺴﺎب اﻟﻌﴩﻳﺔ‪،‬‬

‫وﻋﺮض ﰲ ﻣﺤﺘﻮاه اﻟﺠﱪ اﻟﻌﺮيب ﺑﻄﺮﻳﻘﺔ‬ ‫ﺑ ّﻴﻨﺔ وﺳﻬﻠﺔ ﻋﲆ أوروﺑﺎ ﻷول ﻣﺮة‪ ،‬اﻷﻣﺮ‬ ‫اﻟﺬي أﺣﺪث ﺧﻠﺨﻠ ًﺔ ﰲ اﻟﺜﻮاﺑﺖ واﻟﻌﻠﻮم‬ ‫اﻟﺮﻳﺎﺿﻴﺔ اﳌﺘﺪاوﻟﺔ ﰲ أوروﺑﺎ‪ ،‬ﺧﺎﺻ ًﺔ وأﻧﻪ‬ ‫أدﺧﻞ ﻷول ﻣﺮة اﻟﺤﺮوف ﺑﺪﻻً ﻣﻦ اﻷرﻗﺎم‪،‬‬ ‫وذﻟﻚ ﻟﺘﻌﻤﻴﻢ اﳌﻌﺎدﻻت اﻟﺠﱪﻳﺔ واﺧﺘﺰاﻟﻬﺎ‪.‬‬ ‫ﻛام اﺳﺘﺨﺪم ﻟﻴﻮﻧﺎردو اﻟﺠﱪ اﻟﻌﺮيب ﰲ‬ ‫ﻛﺘﺎﺑﻪ اﻟﻬﻨﺪﺳﺔ اﻟﺘﻄﺒﻴﻘﻴﺔ "‪Practica‬‬ ‫‪ "geometrica‬اﻟﺬي أﺻــﺪره ﻋﺎم ‪1220‬‬ ‫ﰲ ﺣﻞ اﻟﻨﻈﺮﻳﺎت اﻟﻬﻨﺪﺳﻴﺔ‪ .‬وﻳﻮﺿﺢ ﻫﺬا‬ ‫اﻟﻜﺘﺎب ﺗﺄﺛﺮ ﻓﻴﺒﻮﻧﺎﺗﴚ ﺑﺎﻟﻌﻠﻮم اﻟﻌﺮﺑﻴﺔ‬ ‫إذ ﻗﺎم ﺑﺘﺤﺮﻳﺮ ﺟﺰء ﻣﻨﻪ ﻣﻦ اﻟﻴﻤني إﱃ‬ ‫اﻟﻴﺴﺎر‪ .‬وﻣﻊ ﻇﻬﻮر ﻫﺬا اﻟﻜﺘﺎب ﺑﻌﺪ ‪18‬‬ ‫ﻋﺎﻣﺎً ﻣﻦ ﻛﺘﺎﺑﻪ اﻷول‪ ،‬ﻳﻜﻮن ﻓﻴﺒﻮﻧﺎﺗﴚ ﻗﺪ‬ ‫رﺳﺦ ﻋﻠﻮم اﻟﺮﻳﺎﺿﻴﺎت اﻟﻌﺮﺑﻴﺔ ﰲ أذﻫﺎن‬ ‫ﴎب إﻟﻴﻬﻢ أﻧﻈﻤﺔ اﻟﺤﺴﺎب‬ ‫اﻷوروﺑﻴني و ّ‬ ‫واﻟﻜﺘﺎﺑﺔ اﻟﻌﺮﺑﻴﺔ ﰲ ﻋﻠﻮم اﻟﺤﺴﺎب‪ .‬ذﻟﻚ أن‬ ‫ﻫﺬا اﻟﻨﻈﺎم ﻳﻔﻮق مبﺮاﺣﻞ اﻟﻨﻈﺎم اﻟﺮوﻣﺎين‬ ‫اﳌﻌﺘﻤﺪ آﻧﺬاك ﰲ أوروﺑﺎ‪ ،‬إﻻ أﻧﻪ وﺟﺪ ﻋﻨﺎداً‬ ‫ورﻓﻀﺎً ﻛﺒرياً ﳌﺎ أﻃﻠﻘﻪ ﻛﻮن ﺗﻠﻚ اﻟﻌﻠﻮم‬ ‫ﺟﺎءت ﻣﻦ اﻟﻌﺮب‪ ،‬إمنﺎ اﻧﺘﴩ اﻧﺘﺸﺎراً ﻋﻈﻴ ًام‬ ‫ﺑﻌﺪ ﻫﺬا اﻟﻜﺘﺎب ﻟﺴﻬﻮﻟﺘﻪ ودﻗﺘﻪ‪.‬‬ ‫ورﻏﻢ ﻫﺬا اﻻﻧﺘﺸﺎر واﻟﺘﻌﻤﻴﻢ‪ ،‬ﻇﻞ اﻟﻨﻈﺎم‬ ‫اﻟﺠﺪﻳﺪ اﻟﺬي اﺟﺘﺎح أوروﺑــﺎ ﻣﺒﻌﺚ ﺷﻚ‬ ‫ﻟﻠﻜﺜري ﻣﻦ اﻟﺮﻳﺎﺿﻴني اﻟــﺬي ﻗﻀﻮا آﻻف‬

‫‪ v@@ @ @ D ¤@@ @ @ @ @ @ +&* 'Hx@@ @ @ @ @ ´* h@@ @ @ @ F&° ¥x@@ @ @ @ @ @ D‬‬ ‫اﻟﱰدﻳﺪ ﻣﻊ ﻛﻞ ﻣﻔﺼﻞ ﻣﻦ ﻣﻔﺎﺻﻠﻬﺎ؛ وﻣﻦ مثﺔ ﻧﺤﺼﻞ ﻋﲆ أرﺑﻌﺔ‬ ‫‪27‬‬ ‫*(‪ @@ @ -É@@ @ g@ @ @D* Í@@ @ @p@ @ @ @´b@@ + iÈ@@ @ @ @C *3‬ﺗﺮدﻳﺪات ﺗﺘﻜﺮر ﻣﻨﻮﻋﺔ‪ ،‬وﻫﻲ‪:‬‬ ‫*&‪b@@ @ Q @ C e¡@@ @ @ - b@@ @ J @@ @ 6b@@ @ Q @ @ D* Q 3 @@ @ D ¢@@ @ @ @ +‬‬ ‫‪h@@ @ g@ D* *3(* h@@ @ C e¡@@ @ - b@@ @J ¢@@g@ @ D* @@ @ @ D‬‬ ‫‪L @ @ @ @ @ @ @ @ @ ¹ 4L ¡@@ @ @ @ @ @ @ @ @E&* ix@@ @ @ @ @ @ C3‬‬ ‫@‪ @@ @ E*¡@@ @ C ib‬‬ ‫‪ v@@ @ @ @ @D ¤@@ @ @ @ @ @ +&* $x@@ @ @ @ @´* h@@ @ @ @ @F&° ¥x@@ @ @ @ @ @ D‬‬ ‫*&‪b@@ @ Q @ C e¡@@ @ @ - b@@ @ J @@ @ 6b@@ @ Q @ @ D* Q 3 @@ @ D ¢@@ @ @ @ +‬‬ ‫*&‪b@@ @ Q @ C e¡@@ @ @ - b@@ @ J @@ @ 6b@@ @ Q @ @ D* Q 3 @@ @ D ¢@@ @ @ @ +‬‬ ‫‪b@@ @ @ @ ¿(Q * e¡@@ @ @ @ - b@@ @ @ J Ñ* @@ @Fv@@ @ @ @ c@ @ J É@@ @ @ A‬‬ ‫‪ @@ @ @ @ @E*4&°* IH&b@ @ @ @ @ - Í@@ @ 0 rL b@@ @ @ @ ~@ @ 6 ix@@ @ @ @ C3‬‬ ‫‪b@@ @ @ @ ¿(Q * e¡@@ @ @ @ - b@@ @ @ J Ñ* @@ @Fv@@ @ @ @ c@ @ J É@@ @ @ A‬‬ ‫‪ @@ /b@@ < i¡@@ @ @ @ @ @´*H i¡@@ @ @ @ @´* b@@ @ @ N @ @ @ @ P0 h@@ £@ @ @ @D‬ﺛﻢ ﺗﺘﻨﻮع أﻋﺠﺎز اﻟﻘﺼﻴﺪة ﰲ ﺗﻌﺪﻳﺪات ﻛﻠﻬﺎ ﻣﺨﺘﻠﻔﺔ ﻻ ﺗﺘﺸﺎﺑﻪ ﻣﻊ‬ ‫‪b@@ @ @ @ @¿(Q * e¡@@ @ @ @ @- b@@ @ @ J Ñ* @@ @Fv@@ @ @ @ c@ @ J °H‬‬ ‫ﺑﻌﻀﻬﺎ ﺑﻌﻀﺎً؛ وﺗﺒﺼﻢ ﻋﲆ اﻟﺨﺼﻮﺻﻴﺔ اﻟﺘﻲ اﻣﺘﺎزت ﺑﻬﺎ ﺗﻌﺪﻳﺪات‬ ‫‪28‬‬ ‫‪ @@ @ @ @ /%*H iÉ@@ @ @ /b@@ @ @ < b@@ @ @ Jb@@ @ @ @ @ @ @´* *w@@ @ @ @ @ C‬اﻟﻌﴫ اﻷﻣــﻮي‪ ،‬ﻣﻦ دون أن ﺗﻘﻄﻊ ﻣﻊ اﻟﻨﻤﻮذج اﻷم ﰲ اﻟﺸﻌﺮ‬ ‫‪h@@ @ @g@ @D*H e¡@@ @ @ - b@@ @ J Ñ* @@ Fv@@ @ @c@ @J °H‬‬ ‫اﻟﻘﺪﻳﻢ‪ ..‬وﻣﻦ اﻟﻌﺠﻴﺐ ﻛﻴﻒ أن ﺗﺘﺒﻌﻨﺎ ﻟﻬﺬا اﻻﻣﺘﺪاد أﺧﺬﻧﺎ إﱃ‬ ‫‪30‬‬ ‫‪29‬‬ ‫<@ @‪ :*¡ D* ib@@ @ /v@@´* ¥2*¡@@ @ @D* @@£‬اﻛﺘﺸﺎف ﻛﻴﻒ أن اﻟﺘﻌﺪﻳﺪات اﻟﻘﺪميﺔ اﻟﺘﻲ اﺧﺘﺺ ﺑﻬﺎ ﻏﺮض اﻟﺮﺛﺎء‬ ‫ﺗﴪﺑﺖ إﱃ اﻷﻏﺮاض اﻟﻘﺮﻳﺒﺔ ﻣﻨﻬﺎ ﻣﺜﻞ اﻟﻐﺰل واﳌﺪح ﻓﺒﺪأت ﺗﻈﻬﺮ‬ ‫إن ﻫﺬه اﻟﻘﺼﻴﺪة اﻟﺘﻲ ﻧﻌﺘﱪﻫﺎ اﻣﺘﺪاداً ﻟﻠﺮﺛﺎﺋﻴﺎت اﻟﺘﻌﺪﻳﺪﻳﺔ اﻟﻘﺪميﺔ‪ ،‬ﻣﺘﺠﺪدة أﻛرث ﻣﻊ اﻟﺸﻌﺮﻳﺔ اﻟﻌﺒﺎﺳﻴﺔ‪ ...‬ﻛﺸﻮﻓﺎت ﻻ ميﻜﻨﻨﺎ أن ﻧﺤﺼ َﻴﻬﺎ‬ ‫ﻛﴪت ﻣﺤﻮر اﻻﺳﺘﺒﺪال اﻟﻮاﺣﺪ وﻧﻮﻋﺖ ﻓﻴﻪ؛ ﺑﺤﻴﺚ ﻧﻮﻋﺖ ﰲ ﺟﻤﻠﺔ ﻋﺪداً ﰲ ﻫﺬا اﳌﻘﺎل اﳌﻘﻴﺪ ﺑﴩط اﻻﺧﺘﺼﺎر‪.‬‬ ‫اﻟﻤﺼﺎدر واﻟﻤﺮاﺟﻊ‪:‬‬

‫)‪ (1‬ﻟﻴﺖ ﺷﻌﺮي‪ :‬ﻟﻴﺘﻨﻲ أﻋﻠﻢ‪.‬‬ ‫)‪ (2‬ﻣﴫﻋﻲ‪ :‬ﻣﻘﺘﲇ‪.‬‬ ‫أﺑﻘﻲ ﺣﻴﺎ‪.‬‬ ‫)‪ (3‬ﱢأﺧ َﺮ‪َ :‬‬ ‫)‪ (4‬ﳌﺎ ﺑﺮﺣﺖ‪ :‬ﳌﺎ ﺗﻮﻗﻔﺖ‪.‬‬ ‫)‪ (5‬ﻗ ﱠﺮ‪ :‬ﺑﺮد؛ واﳌﻌﻨﻰ ﻫﻨﺎ ﻟﻌﻠﻬﺎ ﺗﺸﻌﺮ ﺑﺎﻟﺴﻼم‪.‬‬ ‫)‪ (6‬ﻏري ﻧﻜﻮل‪ :‬ﻻ ﻳﻨﻜﻞ أي ﻻ ﻳﺒﺎﻟﻎ ﰲ اﻟﻘﺘﻞ‪.‬‬ ‫)‪ (7‬ﴏوم‪ :‬ﺷﺪﻳﺪ اﻟﴫاﻣﺔ ﻣﺜﻞ اﻟﺴﻴﻒ‪.‬‬ ‫)‪ (8‬اﻟﺸﻔﺮﺗني‪ :‬ﻛﻨﺎﻳﺔ ﻋﲆ اﻟﺴﻴﻒ‪.‬‬ ‫)‪ (9‬ﺻﻘﻴﻞ‪ :‬ﻣﺼﻘﻮل أي ﺷﺪﻳﺪ اﻟﻠﻤﻌﺎن ﻣﻦ ﻛرثة ﺷﺤﺬه‪.‬‬ ‫)‪ (10‬اﻟﴪاج‪ ،‬أﺑﻮ ﻣﺤﻤﺪ ﺟﻌﻔﺮ ﺑﻦ أﺣﻤﺪ ﺑﻦ اﻟﺤﺴني )‪417-500‬ﻫـ(‪،‬‬ ‫ﻣﺼﺎرع اﻟﻌﺸﺎق‪ ،‬ﺗﻘﺪﻳﻢ ﻛﺮم اﻟﺒﺴﺘﺎين‪ ،‬ج‪ ،1‬دار ﺻﺎدر‪ ،‬ﺑريوت‪-‬ﻟﺒﻨﺎن‪،‬‬ ‫د ت‪ ،‬ص ص ‪.50-51‬‬ ‫)‪ (11‬ﻳﻘﺼﺪ ﻫﻨﺎ ﻗﻮﻟﻪ‪َ » :‬وا ْﻟ َﺤ ﱡﺐ ُذو ا ْﻟ َﻌ ْﺼ ِﻒ َواﻟ ﱠﺮ ْﻳ َﺤ ُﺎن )‪َ (12‬ﻓ ِﺒﺄَيﱢ آﻻ ِءَ‬ ‫ﻧﺴ َﺎن ِﻣﻦ َﺻ ْﻠ َﺼﺎلٍ َﻛﺎ ْﻟ َﻔ ﱠﺨﺎ ِر )‪َ (14‬و َﺧ َﻠﻖَ‬ ‫اﻹ َ‬ ‫َر ﱢﺑ ُﻜ َام ُﺗ َﻜ ﱢﺬﺑَﺎنِ )‪َ (13‬ﺧ َﻠﻖَ ْ ِ‬ ‫ا ْﻟ َﺠ ﱠﺎن ِﻣﻦ ﱠﻣﺎ ِر ٍج ﱢﻣﻦ ﱠﻧﺎ ٍر )‪َ (15‬ﻓ ِﺒﺄَيﱢ َآﻻ ِء َر ﱢﺑ ُﻜ َام ُﺗ َﻜ ﱢﺬﺑَﺎنِ )‪َ (16‬ر ﱡب‬ ‫ني )‪َ (17‬ﻓ ِﺒﺄَيﱢ َآﻻ ِء َر ﱢﺑ ُﻜ َام ُﺗ َﻜ ﱢﺬﺑَﺎنِ )‪َ (18‬ﻣ َﺮ َج‬ ‫ا ْﻟ َﻤ ْ ِ‬ ‫ني َو َر ﱡب ا ْﻟ َﻤ ْﻐ ِﺮ َﺑ ْ ِ‬ ‫ﴩ َﻗ ْ ِ‬ ‫َ‬ ‫ا ْﻟ َﺒ ْﺤ َﺮ ْﻳ ِﻦ َﻳ ْﻠ َﺘ ِﻘ َﻴﺎنِ )‪َ (19‬ﺑ ْﻴ َﻨﻬ َُام َﺑ ْﺮ َز ٌخ ﱠﻻ َﻳ ْﺒ ِﻐ َﻴﺎنِ )‪َ (20‬ﻓ ِﺒﺄيﱢ َآﻻ ِء َر ﱢﺑ ُﻜ َام‬ ‫ُﺗ َﻜ ﱢﺬﺑَﺎنِ )‪َ (21‬ﻳ ْﺨ ُﺮ ُج ِﻣ ْﻨﻬ َُام اﻟ ﱡﻠ ْﺆ ُﻟ ُﺆ َوا ْﻟ َﻤ ْﺮ َﺟ ُﺎن )‪َ (22‬ﻓ ِﺒﺄَيﱢ َآﻻ ِء َر ﱢﺑ ُﻜ َام‬ ‫ُﺗ َﻜ ﱢﺬﺑَﺎنِ )‪َ (23‬وﻟَ ُﻪ ا ْﻟ َﺠ َﻮا ِر ا ْﻟ ُﻤ َ‬ ‫ﻨﺸ ُ‬ ‫ﺂت ِﰲ ا ْﻟ َﺒ ْﺤ ِﺮ َﻛ ْﺎﻷَ ْﻋ َﻼ ِم )‪َ (24‬ﻓ ِﺒﺄَيﱢ َآﻻ ِء‬ ‫َر ﱢﺑ ُﻜ َام ُﺗ َﻜ ﱢﺬﺑَﺎنِ )‪ُ (25‬ﻛ ﱡﻞ َﻣﻦْ َﻋ َﻠ ْﻴ َﻬﺎ َﻓﺎنٍ )‪َ (26‬و َﻳ ْﺒ َﻘ ٰﻰ َو ْﺟ ُﻪ َر ﱢﺑ َﻚ ُذو‬ ‫اﻹ ْﻛ َﺮ ِام )‪َ (27‬ﻓ ِﺒﺄَيﱢ َآﻻ ِء َر ﱢﺑ ُﻜ َام ُﺗ َﻜ ﱢﺬﺑَﺎنِ )‪َ (28‬ﻳ ْﺴﺄَ ُﻟ ُﻪ َﻣﻦ ِﰲ‬ ‫ا ْﻟ َﺠ َﻼلِ َو ْ ِ‬ ‫َ‬ ‫ْ‬ ‫َ‬ ‫ْ‬ ‫ات َواﻷ ْر ِض ُﻛ ﱠﻞ َﻳ ْﻮ ٍم ﻫُ َﻮ ِﰲ َﺷﺄنٍ )‪َ (29‬ﻓ ِﺒﺄيﱢ َآﻻ ِء َر ﱢﺑ ُﻜ َام ُﺗ َﻜ ﱢﺬﺑَﺎنِ «‬ ‫اﻟﺴ َام َو ِ‬ ‫ﱠ‬ ‫ﺳﻮرة اﻟﺮﺣامن‪ ،‬اﻵﻳﺎت ‪.13-29‬‬

‫)‪ (12‬اﳌﺮﺗﴣ‪ ،‬ﻋﲇ ﺑﻦ اﻟﺤﺴني اﳌﻮﺳﻮي )‪355-436‬ﻫـ(‪ ،‬أﻣﺎﱄ اﳌﺮﺗﴣ‬ ‫)ﻏﺮر اﻟﻔﻮاﺋﺪ ودرر اﻟﻘﻼﺋﺪ(‪ ،‬ﺗﺤﻘﻴﻖ ﻣﺤﻤﺪ أﺑﻮ اﻟﻔﻀﻞ إﺑﺮاﻫﻴﻢ‪ ،‬ج‪،2‬‬ ‫دار إﺣﻴﺎء اﻟﻜﺘﺐ اﻟﻌﺮﺑﻴﺔ‪ ،‬اﻟﻘﺎﻫﺮة‪-‬ﻣﴫ‪ ،‬ط‪ ،1954 ،1‬ص ‪.123‬‬ ‫)‪ (13‬اﻟﺠﺰور‪ :‬ﻫﻲ اﻷﺿﺤﻴﺔ اﳌﺠﺰورة ﻟﻠﻤﺴﺎﻛني‪.‬‬ ‫)‪ (14‬اﻟﻀﻴﻢ« اﻟﻈﻠﻢ‪.‬‬ ‫)‪ (15‬اﳌﺠري‪ :‬ﻫﻮ اﻟﺸﺨﺺ اﻟﺬي ﻳﻔﺮض ﺣامﻳﺘﻪ ﻋﲆ ﺷﺨﺺ ﻫﺎرب‬ ‫ﻣﻄﻠﻮب ﺑﺪم‪ ،‬وﻳﻘﻒ ﻣﻦ دون ﻣﻦ ﻳﱰﺑﺺ ﺑﻪ‪.‬‬ ‫)‪ (16‬رﺟﻒ‪ :‬ﺧﺎف‪.‬‬ ‫)‪ (17‬اﻟﻌﻀﺎه‪ :‬ﱡ‬ ‫ﻛﻞ ﺷﺠﺮ ﻳﻌﻈﻢ وﻟﻪ ﺷﻮك‪.‬‬ ‫ﻳﺢ‪ :‬ﻫ ّﺒﺖ ﻣﻦ اﳌﻐﺮب ‪ ،‬وﻫﻲ اﻟﺪّﺑﻮر‪.‬‬ ‫)‪ (18‬د َﺑ ِ‬ ‫ﺮت اﻟ ﱢﺮ ُ‬ ‫)‪ (19‬ﻣﺨﺒﺄة اﻟﺨﺪور‪ :‬اﳌﺮأة اﳌﺤﺠﺒﺔ ﰲ ﺧﺪرﻫﺎ‪.‬‬ ‫)‪ (20‬اﻟﻨﺠﻮى‪ :‬أﴎار اﻟﻨﻔﺲ‪.‬‬ ‫)‪ (21‬اﻟﺒﻠﺒﻠﺔ‪ :‬اﻟﴚء اﻟﺠﻠﻞ‪.‬‬ ‫)‪ (22‬اﳌﺮﺗﴣ )‪355-436‬ﻫـ(‪ ،‬أﻣﺎﱄ اﳌﺮﺗﴣ‪ ،‬ج‪ ،2‬ص ‪.124‬‬ ‫)‪ (23‬ﺗﻮب‪ :‬ﺗﺤﺮﻳﻒ ﺗﻮﺑﺔ وﻫﻮ اﻟﺮﺟﻞ اﻟﺬي أﺣﺒﺘﻪ ﻟﻴﲆ اﻷﺧﻴﻠﻴﺔ‪.‬‬ ‫)‪ (24‬ﺻﺪور اﻟﻌﻮاﱄ‪ :‬اﻷﺣﺼﻨﺔ‪.‬‬ ‫)‪ (25‬اﻷﺳﺎﻓﻞ‪ :‬اﻷﻋﺪاء‪.‬‬ ‫)‪ (26‬اﻟﻌﺎذﻟﺔ اﻟﻼمئﺔ‪.‬‬ ‫)‪ (27‬اﻟﺮﺟﺎل اﻟﻐﻼظ اﻟﺴامن‪.‬‬ ‫)‪ (28‬اﳌﻴﺔ‪ :‬اﳌﻮت‪.‬‬ ‫)‪ (29‬اﻟﻐﻮادي‪ :‬اﻟﺴﺤﺎب‪.‬‬ ‫)‪ (30‬اﳌﺮﺗﴣ )‪355-436‬ﻫـ(‪ ،‬أﻣﺎﱄ اﳌﺮﺗﴣ‪ ،‬ج‪ ،2‬ص ‪.124‬‬ ‫اﻟﺸﻌﺮ ‪baytelshear‬‬ ‫ﺑﻴﺖ ِ‬

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‫ ‪şœśĘĥŒ‬‬ ‫"اﻟﺘﻌﺪﻳﺪﻳﺔ"؛ ﻏري أن اﻧﺘﺸﺎر ﻫﺬه اﻟﻨﺼﻮص ﻣﻘﱰﻧﺔ ﺑﺎﻟﺸﻌﺮﻳﺔ‬ ‫اﻟﻨﺴﺎﺋﻴﺔ ﺟﻌﻠﻨﺎ ﻧﺮﺗﻘﻲ ﺑﻬﺎ إﱃ درﺟﺔ اﻋﺘﺒﺎرﻫﺎ ﻇﺎﻫﺮة ﺷﻌﺮﻳﺔ ﺗﺠﺪر‬ ‫دراﺳﺘﻬﺎ واﺳﺘﻨﺒﺎط ﻗﻮاﻋﺪﻫﺎ ووﺿﻊ ﻣﻌﻴﺎرﻳﺔ ﻟﺠامﻟﻴﺎﺗﻬﺎ ﺿﻤﻦ ﻧﺴﻘﻬﺎ‬ ‫اﳌﻘﺎﺻﺪي اﻷﻛﱪ‪" :‬اﻟﺮﺛﺎء"‪.‬‬ ‫ﻏري أن اﻧﺘﻔﺎء اﻟﺼﺪﻓﺔ ﳾء ﻣﺆﻛﺪ ﺣﻴﺚ ﻳﺜﺒﺖ ﻟﻨﺎ اﻟﻨﻘﺪ اﻟﻘﺪﻳﻢ إﱃ أن‬ ‫ﻫﺬه اﻟﻈﺎﻫﺮة اﻟﺘﻲ درﺳﻬﺎ ﻣﻦ ﺑﺎب "اﻟﺘﻜﺮار" ﻫﻲ ﻇﺎﻫﺮة ﺷﺎﻋﺖ ﰲ‬ ‫اﳌﺮايث اﻟﻘﺪميﺔ؛ ﺑﻞ واﻣﺘﺪ ﺻﺪاﻫﺎ ﺑﻘﻮة ﰲ اﻟﻘﺮآن اﻟﻜﺮﻳﻢ "ﻓﺄﻣﺎ اﻟﺘﻜﺮار‬ ‫ﰲ ﺳﻮرة اﻟﺮﺣﻤﻦ‪ 11‬ﻓﺈمنﺎ ﺣﺴﻦ ﻟﻠﺘﻘﺮﻳﺮ ﺑﺎﻟﻨﻌﻢ اﳌﺨﺘﻠﻔﺔ اﳌﻌ ﱠﺪدَة‪،‬‬ ‫ﻓﻜﻠام ذﻛﺮ ﻧﻌﻤﺔ أﻧﻌﻢ ﺑﻬﺎ ﻗﺮر ﻋﻠﻴﻬﺎ‪ ،‬ووﺑﺦ ﻋﲆ اﻟﺘﻜﺬﻳﺐ ﺑﻬﺎ‪ ،‬ﻛام‬ ‫ﻳﻘﻮل اﻟﺮﺟﻞ ﻟﻐريه‪ :‬أمل أﺣﺴﻦ إﻟﻴﻚ ﺑﺄن ﺧﻮﻟﺘﻚ اﻷﻣﻮال؟ أمل أﺣﺴﻦ‬ ‫إﻟﻴﻚ ﺑﺄن ﺧﻠﺼﺘﻚ ﻣﻦ اﳌﻜﺎره؟ أمل أﺣﺴﻦ إﻟﻴﻚ ﺑﺄن ﻓﻌﻠﺖ ﺑﻚ ﻛﺬا‬ ‫وﻛﺬا؟ ﻓﻴﺤﺴﻦ ﻣﻨﻪ اﻟﺘﻜﺮﻳﺮ ﻻﺧﺘﻼف ﻣﺎ ﻳﻘﺮره ﺑﻪ‪ ،‬وﻫﺬا ﻛﺜري ﰲ ﻛﻼم‬ ‫اﻟﻌﺮب وأﺷﻌﺎرﻫﻢ‪"12‬؛ وﻣﻦ ذﻟﻚ ﻗﻮل ُﻣ َﻬ ْﻠ ِﻬ ٍﻞ ﻳﺮيث أﺧﺎه ُﻛ َﻠ ْﻴﺒﺎً‪:‬‬ ‫‪Md@@ @£R @ @ N @ @ CO @@ @ @E °K v@@ @ @ @ < @@ z@ @£@ @D R &* ¢@@ @ @N @ @ @ <N‬‬ ‫‪13‬‬ ‫*(‪N * @P @ @ @ @<N O @ @ £@ @ gP @ @ £N @ @ D* N2xP @ @ @ @ @ @:O *3‬‬ ‫‪4P HyO @ @ @ @ @ @ @ ±‬‬ ‫‪K @ @ @ @ @ < @@ @z@ @ £@ @ D &* ¢@@ @ @ N @ @ @ @<N‬‬ ‫@‪d@@£@ @ C @@ @ @ E °v‬‬ ‫‪15‬‬ ‫*(‪O @ @ @ @ / 14 N @ @ @£@ @ @~@@ P@ 9 b@@ @ E *3‬‬ ‫@‪Ì@P @ @ @ Pm@@ @ @O ´* *Ì‬‬ ‫‪d@@£@ @ C @@ @ @ E °K v@@ @ @ @ @ < @@ @z@ @ £@ @ D &* ¢@@ @ @ N @ @ @ @<N‬‬ ‫‪18‬‬ ‫*(‪4¡@@ +vQ @ @D* @@ E 17O b@@ ~@@N }@ @ P @ @D* 16 @@ @ /4 *3‬‬ ‫‪d@@£@ @ C @@ @ @ E °K v@@ @ @ @ @ < @@ @z@ @ £@ @ D &* ¢@@ @ @ N @ @ @ @<N‬‬ ‫‪19‬‬ ‫*(‪N O h@@ @ /x@@ @ 1 *3‬‬ ‫‪4Hv@@ @ @ @ @ @ ³* ,O N&b@ @ @ @ @ @ cS @ @ @ @ @ @ º‬‬ ‫‪d@@£@ @ C @@ @ @ E °K v@@ @ @ @ @ < @@ @z@ @ £@ @ D &* ¢@@ @ @ N @ @ @ @<N‬‬ ‫‪20‬‬ ‫*(‪4¡@@ @ @ @ @ E&°* I¡@@ @ @ @ @ @ ½ h@@ @ @ @ @ @ @ @<&* b@@ @ @E *3‬‬ ‫‪d@@£@ @ C @@ @ @ E °K v@@ @ @ @ @ < @@ @z@ @ £@ @ D &* ¢@@ @ @ N @ @ @ @<N‬‬ ‫@¡ ‪4¡@@ @ @ @ j@ @ D* @@ @ @ E‬‬ ‫*(‪P @ @ @ @ @ s@O @ @ @ @ @N ´* @@ @ £@ @ @1 *3‬‬ ‫‪d@@£@ @ C @@ @ @ E °K v@@ @ @ @ @ < @@ @z@ @ £@ @ D &* ¢@@ @ @ N @ @ @ @<N‬‬ ‫=@ @ @ @ @ @ @@‪Ì@@ @c@ @ @ @ D* x@@ @ @ @ @ @ @ @ E&°* 21 @@ @ @ @ @+É@@ @ @ @ @+ ,*v‬‬ ‫‪d@@£@ @ C @@ @ @ E °K v@@ @ @ @ @ < @@ @z@ @ £@ @ D &* ¢@@ @ @ N @ @ @ @<N‬‬ ‫‪22‬‬ ‫*(‪Ì@@ @m@ @ g@ @ ~@ @ z@ @ ´* 4b@@ @ @ @ @ / b@@ @ @ @ @ 1 b@@ @ @ @E *3‬‬ ‫إﻧﻪ ﻋﲆ ﻏﺮار ﻣﺎ ﺳﺒﻖ وأﺛﺒﺘﻨﺎه ﺗﺘﺤﺮك اﻟﻘﺼﻴﺪة داﺧﻞ منﻂ وزين ﺧﻠﻴﲇ‬ ‫ﻣﻮﺣﺪ؛ وﻫﻮ‪" :‬ﺑﺤﺮ اﻟﻮاﻓﺮ" وﻟﻜﻦ مبﻮﺳﻴﻘﻰ ﻣﺨﺘﻠﻔﺔ ﺑني اﻟﺼﺪر واﻟﻌﺠﺰ؛‬ ‫ﻣﻮﺳﻴﻘﻰ اﻟﱰدﻳﺪ اﻷﺷﺒﻪ ُ‬ ‫"ﺑﻜﻮ َرالٍ " ﻳﻘﻮل ﺑﺼﻮت ﺟامﻋﻲ ﻣﻮﺣﺪ‪" :‬ﻋ َ​َﲆ‬ ‫أن ﻟﻴﺲ ﻋﺪﻻً ﻣﻦ ﻛﻠﻴﺐ"‪ ،‬وﻣﻮﺳﻴﻘﻰ ﺗﻌﺪد ﻣﻨﺎﻗﺐ اﻟﻬﺎﻟﻚ وﺗﻌﺪد ﻣﻌﻬﺎ‬ ‫اﻟﺼﻮر اﻟﺸﻌﺮﻳﺔ واﻷوﺻﺎف اﻷﺧﻼﻗﻴﺔ اﳌﺘﺒﺎﻳﻨﺔ‪.‬‬ ‫وﻋﲆ اﻟﺮﻏﻢ ﻣﻦ أن اﳌﺼﻄﻠﺢ اﻟﻨﻘﺪي ﰲ اﻟﺪراﺳﺎت اﻟﻐﺮﺑﻴﺔ اﻟﺤﺪﻳﺜﺔ‬ ‫ﻳﻄﻠﻖ ﻋﲆ ﻣﺜﻞ ﻫﺬه اﻟﻌﻤﻠﻴﺔ "ﻣﺤﻮر اﻻﺳﺘﺒﺪال"؛ أي اﺳﺘﻌامل ﺑﻨﻴﺔ‬ ‫إﻳﻘﺎﻋﻴﺔ ﺛﺎﺑﺘﺔ وﻣﺘﻜﺮرة ﻋﲆ ﻃﻮل ﺟﺴﺪ ﻗﺼﻴﺪة ﻣﺎ؛ إﻻ أﻧﻪ مل ﻳﻌﺘﻤﺪ‬ ‫منﺎذج ﻗﺪميﺔ ﻹﺛﺒﺎت اﻟﻈﺎﻫﺮة وﻣﺮﺟﻌﻴﺔ اﳌﺼﻄﻠﺢ‪ ،‬ﺑﻞ إن اﻟﻨﻘﺪ اﻟﻐﺮيب‬ ‫اﺳﺘﻨﺪ إﱃ اﻟﺸﻌﺮﻳﺔ اﻟﻐﺮﺑﻴﺔ اﻟﺤﺪﻳﺜﺔ ﻹﺛﺒﺎت ﺟﺪة اﳌﺼﻄﻠﺢ ﻧﻔﺴﻪ‪ ،‬ﻏ َري‬

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‫اﻟﻌﺪد ‪ ، 74‬ﻳﻨﺎﻳﺮ ‪2019‬‬

‫ُﻣ ﱠﻄ ِﻠ ٍﻊ ﻋﲆ ﻣﺎ ﺧﺒﺄه اﻟﺸﻌﺮ اﻟﻘﺪﻳﻢ ﰲ ﻣﺠﻤﻞ ﻋﺼﻮره اﻟﺒﺎﺋﺪة‪.‬‬ ‫وﻳﻜﻔﻲ أﻧﻨﺎ اﻃﻠﻌﻨﺎ ﻋﲆ ﻋﺪة ﻧﺼﻮص ﺗﻈﻬﺮ ﻣﻦ ﺧﻼﻟﻬﺎ ﻗﺪم ﻫﺬه‬ ‫اﻟﻈﺎﻫﺮة واﻣﺘﺪادﻫﺎ اﻟﺬي ﻳﻐﻨﻲ ﺑﻬﺎ أن ﻇﺎﻫﺮة ﺟامﻟﻴﺔ ﻓﺮﻳﺪة‪ ،‬ﺗﺘﻔﺠﺮ‬ ‫أﻗﴡ ﻃﺎﻗﺘﻬﺎ ﻣﻊ اﻟﺼﻮت اﻟﻨﺴﺎيئ ﻣﻦ دون أن ﻳﺘﺨﺎذل اﻟﺸﻌﺮاء اﻟﺮﺟﺎل‬ ‫ﻋﻦ اﻹﺟﺎدة ﻓﻴﻬﺎ ﻛام رأﻳﻨﺎ ﻣﻊ ﻣﻬﻠﻬﻞ‪.‬‬ ‫ﻏري أن وﺻﻔﻨﺎ "اﻟﱰدﻳﺪ واﻟﺘﻌﺪﻳﺪ" ﺑﻜﻮﻧﻬام ﻇﺎﻫﺮة ﺟامﻟﻴﺔ اﻧﺘﴩت ﰲ‬ ‫اﻟﺸﻌﺮ اﻟﻘﺪﻳﻢ؛ ﻓﺈن ﻣﻦ متﺎم اﻟﺘﺄﻛﻴﺪ ﻋﲆ ذﻟﻚ‪ ،‬ﻫﻮ رﺻﺪ اﻣﺘﺪادﻫﺎ ﰲ‬ ‫ﻋﺼﻮر ﻻﺣﻘﺔ ﻣﻊ أﺻﻮات أﺧﺮى‪ ،‬ﺑﻞ ﻣﻦ متﺎم اﻟﺘﺄﻛﻴﺪ ﻋﲆ ﻫﺬه اﻟﻈﺎﻫﺮة‬ ‫ﻫﻮ رﺻﺪﻫﺎ ﰲ منﻮذج ﻣﻦ منﺎذﺟﻬﺎ اﳌﺘﻄﻮرة؛ ﺗﻘﻮل ﻟﻴﲆ اﻷﺧﻴﻠﻴﺔ‪:‬‬ ‫‪h@@ @g@D* *3(* h@@ @ C 23e¡@@ @ - b@@ J ¢@@g@ @ D* @@ @ @D‬‬ ‫‪25‬‬ ‫‪ Ab~6&°* b@@~@{@g@~@6*H 24·*¡@@ @ D* 4Hv@@~@ 8‬‬ ‫‪ @@ @- µH h@@ @ @C e¡@@ @ @- b@@ @J ¢@@ g@ @ @ @D* @@ @ @ FH‬‬ ‫‪ Hb@@ @ @ © @@ @ £@ @ @A h@@ @ @ @ @C Kb@ @ @ @E¡@@ @ @ J @@ c@ @~@ @z@ @g@ @D‬‬ ‫‪Kb@ @EvQ @ @ @ @E h@@ @ @C e¡@@ @ @ - b@@ @ J ¢@@ g@ @ @ @D* @@ @ @ @ FH‬‬ ‫<@ @ @@‪ 5b@@ @ @ @ ´* @@ @ @ @ FH b@@ @ £@ ~@ }@ ­ @@ @£@ @ ³* ¢‬‬ ‫‪ @@ )b@@ ³ h@@ @ @ C e¡@@ @ @ - b@@ @ J ¢@@ g@ @ @ @ D* @@ @ @ @ FH‬‬ ‫*&‪ @@ Eb@@ m@ @´* @@ @ @ @ FH ¢@@ @ @ p@ @ J ¤@@ @ @ D b@@ @ @ @ @ -‬‬ ‫‪Kb@ c@ 0b@@~@ 8H K*4b@@ @ @ / e¡@@ @ - b@@ @J ¢@@ g@ @ D* @@ @ @FH‬‬ ‫‪ @@~@ 9b@@ @ - Í@@ @ 0 e¡@@ @ @ - b@@ @ J ¢@@ g@ @ @ @D* @@ @ @ @ FH‬‬ ‫‪ v@@ @ @ D ¤@@ @ @ @ @ @ +&* $x@@ @ @ @ @´* h@@ @ @ @ @F&° ¥x@@ @ @ @ @ @ D‬‬ ‫‪ @@ @ @ @ @ @ )*H&* ° @@ @ @ @D ¥v@@ @£@ @ @ @ ~@ @ {@ @ - È@@ @ @ @ @ @ @JH‬‬ ‫‪ v@@ @ @ D ¤@@ @ @ @ @ @ +&* 'Hx@@ @ @ @ @ ´* h@@ @ @ @ F&° ¥x@@ @ @ @ @ @ D‬‬ ‫‪26‬‬ ‫‪ 3*¡@@ @ @ @ @ @ @D* @@ £@ @ @ @< h@@ @ @ E° ¡@@ @ @ DH Xv@ @ m@ @ +‬‬ ‫‪ v@@ @ @ D ¤@@ @ @ @ @ @ +&* 'Hx@@ @ @ @ @ ´* h@@ @ @ @ F&° ¥x@@ @ @ @ @ @ D‬‬ ‫‪ @@Gb@@/ ¥&*x@@ @ @ @ @ D* @@ |@ @Bb@@ F @@ £@ @A ° ¡@@ @ @ DH‬‬

‫مل أﻋرث ﻓﻴام ﻗﺮأﺗﻪ واﻃﻠﻌﺖ ﻋﻠﻴﻪ ﻣﻦ دراﺳﺎت وأﻃﺮوﺣﺎت ﻋﲆ دراﺳﺔ‬ ‫أو ﺑﺤﺚ ﺗﺘﻄﺮق إﱃ ﻫﺬا اﳌﻔﻬﻮم ﺗﴫﻳﺤﺎً أو ﺗﻠﻤﻴﺤﺎً؛ ﻋﲆ اﻟﺮﻏﻢ ﻣﻦ‬ ‫ﺷﻴﻮع ﻫﺬا اﳌﻔﻬﻮم ﺑﺤﻤﻮﻻت دﻻﻟﻴﺔ ﺷﻌﺒﻴﺔ ﰲ ﻃﻘﻮﺳﻴﺎت اﻟﺠﻨﺎﺋﺰ‬ ‫ﰲ ﺻﻌﻴﺪ ﻣﴫ ﺧﺎﺻﺔ؛ ﻗﺪ ﺗﺼﻞ إﱃ ﺣﺪ "ﺗﻌﺪﻳﺪ اﳌﺠﺎﻣﻠﺔ"؛ ﺣﻴﺚ‬ ‫ﺗﺸﺎرك اﻟﻨﺴﺎء اﳌﻌﺪدات ﰲ ﺟﻨﺎﺋﺰ اﻟﺠريان واﻷﻗﺎرب ﺑﺘﻌﺪﻳﺪاﺗﻬﻦ ﻣﻦ‬ ‫ﺑﺎب اﳌﺠﺎﻣﻠﺔ وﻣﺸﺎرﻛﺔ اﻷﺣﺰان‪ ،‬وﺣﺘﻰ إﱃ ﺣﺪ "اﻟﺘﻌﺪﻳﺪ ﺑﺎﳌﺆاﺟﺮة"؛‬ ‫ﺣﻴﺚ ﺗﺘﻘﺎﴇ اﳌﻌﺪدة أﺟﺮاً ﻋﲆ ﺗﻌﺪﻳﺪﻫﺎ ﻣﺎ ﻳﺒﺪد ذﻟﻚ اﻟﺒﻌﺪ‬ ‫اﻹﻧﺴﺎين ﰲ ﻣﺸﺎرﻛﺔ أﻫﻞ اﻟﻬﺎﻟﻚ أﺣﺰاﻧﻬﻢ‪..‬‬ ‫وﻋﲆ اﻟﺮﻏﻢ أن ﻣﻔﻬﻮم "اﻟﺘﻌﺪﻳﺪ" اﻟﺬي أﺳﺘﻌﻤﻠﻪ –اﻵن‪ -‬اﺳﺘﻨﺪ‬ ‫ﻓﻴﻪ إﱃ ﻧﺼﻮص رﺛﺎﺋﻴﺔ ﻗﺪميﺔ اﻣﺘﺪت ﻗﺒﻞ اﻹﺳﻼم وﺑﻌﺪه‪ ،‬إﻻ أﻧﻨﻲ‬ ‫ﻻ أﺳﺘﺒﻌﺪ أﻧﻪ اﻣﺘﺪ أﻛرث ﻣﺒﺘﻌﺪاً ﻋﻦ اﻟﻨﺼﻮص اﻟﺸﻌﺮﻳﺔ اﻟﻔﺼﻴﺤﺔ‬ ‫ﻟﻴﺬوب ﰲ ﺛﻘﺎﻓﺔ اﳌﺮايث اﻟﺸﻌﺒﻴﺔ اﻟﺘﻲ ﺗﺤﻔﻞ ﺑﻬﺎ ﻃﻘﻮﺳﻴﺎت اﻟﺘﻌﺰﻳﺔ‬ ‫ﰲ ﻣﴫ‪.‬‬ ‫وﻧﺆﴍ ﻣﺒﺪﺋﻴﺎً ﻋﲆ أن ﻫﺬه "اﻟﺜﻴﻤﺔ" اﳌﻌﺰوﻟﺔ ﻣﻦ ﻣﻘﺼﺪﻳﺎت اﻟﺮﺛﺎء‬ ‫اﻟﻘﺪﻳﻢ ﻇﻠﺖ ﻟﺼﻴﻘﺔ ﺑﺎﳌﺮأة ﻋﲆ اﻷﻏﻠﺐ ﻣﻊ ﺣﻀﻮر ﺧﺎﻓﺖ ﻟﻠﺼﻮت‬ ‫اﻟﺬﻛﻮري؛ واﻣﺘﺪت ﰲ ﺻﻴﻐﺘﻬﺎ اﻟﺸﻌﺒﻴﺔ اﻟﻴﻮم ﻣﻊ اﳌﺮأة اﻟﺸﻌﺒﻴﺔ‬ ‫ﺣﴫاً‪ ..‬وإذن؛ ﻛﻴﻒ ﺗﺘﻤﻈﻬﺮ ﻫﺬه اﻟﺘﻌﺪﻳﺪات ﻧﺼﻴﺎً؟ وﻫﻞ ﻫﻲ‬ ‫ﺑﺎﻟﻮﻓﺮة اﻟﻜﺎﻓﻴﺔ ﺣﺘﻰ ﺗﺸﻜﻞ ﻇﺎﻫﺮة ﺷﻌﺮﻳﺔ ﺑ ﱢﻴﻨﺔ‪ ،‬أو منﻄﺎً ﻛﺘﺎﺑﻴﺎً ﻟﻪ‬ ‫ﻗﻮاﻋﺪه اﻟﺠامﻟﻴﺔ اﻟﺨﺎﺻﺔ؟؟‬ ‫ﻟﻌﻞ اﻹﺟﺎﺑﺔ ﺗﺨﺘﺰل ﰲ ﻫﺬا اﻟﺨﱪ ﰲ ﻛﺘﺎب "ﻣﺼﺎرع اﻟﻌﺸﺎق"؛ ﻳﻘﻮل‬ ‫ﻓﻴﻪ اﳌﺆﻟﻒ‪ " :‬ﻗﺎل‪ :‬ﺗﺰوج ﻣﺎﻟﻚ ﺑﻦ ﻋﻤﺮو اﻟﻐﺴﺎين ﺑﺎﺑﻨﺔ ﻋﻢ اﻟﻨﻌامن‬ ‫ﺑﻦ ﺑﺸري ﻓﺸﻐﻒ ﻛﻞ واﺣﺪ ﻣﻨﻬام ﺑﺼﺎﺣﺒﻪ‪ ،‬وﻛﺎن ﻣﺎﻟﻚ ﺷﺠﺎﻋﺎً‪،‬‬ ‫ﻓﺎﺷﱰﻃﺖ ﻋﻠﻴﻪ أن ﻻ ﻳﻘﺎﺗﻞ إذا ﻟﻘﻲ‪ ،‬ﺷﻔﻘ ًﺔ ﻋﻠﻴﻪ وﺿﻨﺎً ﺑﻪ‪ ،‬وإﻧﻪ ﻏﺰا‬ ‫ﺣﻴﺎً ﻣﻦ ﻟﺨﻢ‪ ،‬ﻓﺒﺎﴍ اﻟﻘﺘﺎل‪ ،‬ﻓﺄﺻﺎﺑﺘﻪ ﺟﺮاح ﻓﻘﺎل‪ ،‬وﻫﻮ ﻣﺜﻘﻞ ﻣﻨﻬﺎ‪:‬‬ ‫*&‪ @@gO @ Cx@@- M *y@@ @ @ @= @@ @< 1¥x@@ @ @ @ ~@@P @7 Nh@@ £@ @D °‬‬ ‫*(‪" O @ N @ ~@@R |@ JN @N @£@ C 2¤<x~|E O b@@ @ @-&* b@@ E *3‬‬ ‫‪ O vN @ @ @ @ @ @+N 3 xN @ @ @ @ 1'S ¡@ @ @ @ O ´* Oh@@ @ @ @ C ¤@@ @ @ @ @ @ FQ &* ¡R @ @ @ N @ @ @ AN‬‬ ‫‪ O @ @ Q @ @ @N @ @-N @@ @£@ @ N @ @ <N ¤@@~@ z@ @ F 4 Rh@@ @ @ 0PN x@ @ @ @+N b@@ @ @´N‬‬ ‫وإﻧﻪ َﻣ َﻜ َﺚ ﻳﻮﻣﺎً وﻟﻴﻠ ًﺔ ﺛﻢ ﻣﺎت ﻣﻦ ﺟﺮاﺣﻪ‪ ،‬ﻓﻠام وﺻﻞ ﺧﱪه إﱃ‬ ‫زوﺟﺘﻪ ﺑﻜﺘﻪ ﺳﻨ ًﺔ‪ ،‬ﺛﻢ اﻋﺘﻘﻞ ﻟﺴﺎﻧﻬﺎ ﻓﺎﻣﺘﻨﻌﺖ ﻣﻦ اﻟﻜﻼم‪ ،‬وﻛرث‬ ‫ﺧﻄﺎﺑﻬﺎ‪ ،‬ﻓﻘﺎل ﻋﻤﻮﻣﺘﻬﺎ ووﻻة أﻣﺮﻫﺎ‪ :‬ﻧﺰوﺟﻬﺎ ﻟﻌﻞ ﻟﺴﺎﻧﻬﺎ ﻳﻨﻄﻠﻖ‪،‬‬ ‫وﻳﺬﻫﺐ ﺣﺰﻧﻬﺎ‪ ،‬ﻓﺈمنﺎ ﻫﻲ ﻣﻦ اﻟﻨﺴﺎء‪ .‬ﻓﺰوﺟﻮﻫﺎ ﺑﻌﺾ أﺑﻨﺎء اﳌﻠﻮك‬ ‫ﻓﺴﺎق إﻟﻴﻬﺎ أﻟﻒ ﺑﻌ ٍري‪ ،‬ﻓﻠام ﻛﺎن ﰲ اﻟﻠﻴﻠﺔ اﻟﺘﻲ أﻫﺪﻳﺖ إﻟﻴﻪ ﻓﻴﻬﺎ‬ ‫ﻗﺎﻣﺖ ﻋﲆ ﺑﺎب اﻟﻘﺒﺔ ﺛﻢ ﻗﺎﻟﺖ‪:‬‬ ‫‪N‬‬ ‫@¡ ‪L @ @ @ @ @ @ @ @/4P‬‬ ‫‪O @ @ @ @ @ @ J‬‬ ‫‪Q‬‬ ‫@‪b@@ @ N @ @ @ @ N @ @ D b@@ @ @ @ @GN ¡@@ @ @ @ @/HU 5N b‬‬ ‫‪5‬‬ ‫‪P @@ £@ @ P @ @ s@N @ + O vN @ @ @ @ @ @ @ @+ ¢@@ @ ~@ @ @9xR @ @ @-H xT @ @ @ @ @ N @ @ @ @ @-N‬‬ ‫‪b@@GvN @ @+ @N @z@ £@ D ¤@@g@ D* @P @z@ @ Q @ D* ¯ Oh@@£@ N @ 1&b@ A‬‬ ‫‪O @ @~@@Q @|@ @ D*H @@ @ @D L$b@@ @ @ @ /4N‬‬ ‫@‪P @@ £@ @BP O @ @ ~@@N @}@ @ A&* v‬‬

‫‪ ǼƃǂǜǕŌ ŻǔƢƚǘǕŌ ǚŐ ǛǙ ǗƯƉǕŌ ǻǔƫ‬‬ ‫‪ ǁǔƢǿ dzŬǿƃżǕŌ dzǾşƉƮǕŌ ŦōƓŌƈƃǕŌ ǽƳ‬‬ ‫‪ ɑmǒŌƃŞŨƓȍŌ ƈǷżǙ} dzǾǔǘƪǕŌ Ǣƅǥ ǓŬǙ ǻǔƫ‬‬ ‫‪ DzƈƉLjŨǙǶ dzŨşōŭ dzǾƫōǂǿŒ dzǾǜş ǒōǘƪŨƓŌ ǼŐ‬‬ ‫‪ ŦōŞŭȑ dzǘǿƃǃ ŲƄōǘǝ ƃǘŨƪǿ ǗǕ ǣǝŐ ȍŒ‬‬ ‫‪DzƉǥōƦǕŌ‬‬ ‫‪ dzǿƉƪƖǕōş dzǝƉŨǂǙ ƘǷƚǜǕŌ Ǣƅǥ ƈōƖŨǝŌ‬‬ ‫‪ dzŵƈƂ ǻǕŒ ōǤş ǽǂũƉǝ ōǜǔƪŵ dzǾȃōƒǜǕŌ‬‬ ‫‪ ōǤŨƓŌƈƂ ƈƃŴũ dzǿƉƪƗ DzƉǥōƧ ōǥƈōŞŨƫŌ‬‬ ‫‪ōǥƃƫŌǷǃ ƠōŞǜŨƓŌǶ‬‬ ‫‪ ƜƉƯ ōǤş ƙŨƁŌ ǽŨǕŌ dzǘǿƃǂǕŌ ŦŌƃǿƃƪŨǕŌ‬‬ ‫‪ ōǤǜǙ dzŞǿƉǂǕŌ ƜŌƉƯȏŌ ǻǕŒ ŧşƉƒũ ŋōŭƉǕŌ‬‬ ‫‪źƃǘǕŌǶ ǒƋƮǕŌ ǓŬǙ‬‬

‫‪Kb@ @ @ @ DP b@@ @E &Q * O @ @ @ +O b@@ @ @p@ @ @ ~@@ @R @8&* ¤@@ @ @ @ @ @ @.N vQ @ @ @ @0N HN‬‬ ‫*&‪P @@ @ £@ @ @0xN @ @ @+P O @ @ @cN @ @ @p@N @ @ ~@@ N@ 8 IN2b@@ @ @ @ @ @ @FH N b@@ @ @ @ @ @ @ @B‬‬ ‫‪Kb@ @ @ @ DP b@@ @E &Q * O @ @ @ +O b@@ @ @p@ @ @ ~@@ @R @8&* ¤@@ @ @ @ @ @ @.N vQ @ @ @ @0N HN‬‬ ‫‪6‬‬ ‫‪ P ¡@@ @ @F Ì‬‬ ‫‪L xO @ @ ~@@N @9‬‬ ‫‪O @ @ = @P @£@ ~@ z@ D* P @@~@@R |@ N @ +P eH‬‬ ‫‪Kb@ @ @ @ DP b@@ @E &Q * O @ @ @ +O b@@ @ @p@ @ @ ~@@ @R @8&* ¤@@ @ @ @ @ @ @.N vQ @ @ @ @0N HN‬‬ ‫‪P @@£@ @ .N Ì‬‬ ‫‪O @ @ @ = Pl*v@@ @ @ @ @ @ @ 0&R °* ¢@@ @ @< @L @ @£@ @ P @ @ 1N‬‬ ‫‪Kb@ @ @ @ DP b@@ @E &Q * O @ @ @ +O b@@ @ @p@ @ @ ~@@ @R @8&* ¤@@ @ @ @ @ @ @.N vQ @ @ @ @0N HN‬‬ ‫‪9‬‬ ‫‪8‬‬ ‫‪P £ ~8N PÍ@-xN @ @~@Q @{@D* ¤~9b C 7 L Hx@@~@ 8‬‬

‫وأﺧﱪﻧﺎ أﺑﻮ ﻣﺤﻤﺪ اﻟﺠﻮﻫﺮي ﻗﺎل‪ :‬أﺧﱪﻧﺎ أﺑﻮ ﻋﻤﺮ ﻣﺤﻤﺪ ﺑﻦ اﻟﻌﺒﺎس‬ ‫ﺑﻦ ﺣﻴﻮﻳﻪ ﻗﺎل‪ :‬ﺣﺪﺛﻨﺎ ﻣﺤﻤﺪ ﺑﻦ ﺧﻠﻒ ﻗﺎل‪ :‬أﺧﱪﻧﺎ أﺑﻮ ﺑﻜﺮ اﻟﻌﺎﻣﺮي‬ ‫ﻗﺎل‪ :‬ﺣﺪﺛﻨﻲ ﻋﻤﺮو ﺑﻦ ﻣﺤﻤﺪ اﻟﻌﺒﻘﺮي ﻗﺎل‪ :‬أﺧﱪين ﺷﻴﺦ أﺛﻖ ﺑﻪ‪،‬‬ ‫وذﻛﺮ اﻟﺤﺪﻳﺚ‪ ،‬وزاد ﻓﻴﻪ‪ :‬ﻓﻠام ﻓﺮﻏﺖ ﻣﻦ اﻟﺸﻌﺮ ﺷﻬﻘﺖ ﺷﻬﻘ ًﺔ‬ ‫ﻓامﺗﺖ"‪.10‬‬ ‫إن ﻣﺎ ﻳﻬﻤﻨﺎ ﰲ ﻫﺬا اﻟﺨﱪ ﻫﻮ ﺻﺪر اﻟﺒﻴﺖ اﻟﺬي ﺗﻜﺮر ﺣﺘﻰ ﺻﺎر‬ ‫أﺻﺤﺎ ُﺑ ُﻪ ّأن ﻣﺎﻟِﻜﺎً(؛ وﻇﻴﻔﺔ ﻫﺬه‬ ‫ﻻزﻣﺔ إﻳﻘﺎﻋﻴﺔ رﻧﺎﻧﺔ‪َ ) :‬و َﺣ ّﺪ َﺛﻨﻲ ْ‬ ‫اﻟﻼزﻣﺔ ﻫﻲ اﻟﱰدﻳﺪ ﻟﴚء ﺛﺎﺑﺖ ﰲ اﻟﻠﻔﻆ واﻹﻳﻘﺎع ﺣﺘﻰ ﻳﺸﺪ اﻧﺘﺒﺎه‬ ‫اﳌﺘﻠﻘﻲ إﱃ ﺻﻔﺔ ﺗﻘﺮﻳﺮﻳﺔ ﺛﺎﺑﺘﺔ ﰲ اﳌﺮيث؛ وﻣﻦ مثﺔ ﻳﺄيت ﻋﺠﺰ اﻟﺒﻴﺖ ﰲ‬ ‫ﺑﻨﻴﺘﻪ اﳌﺨﺘﻠﻔﺔ اﻟﺘﻲ ﺗﻜﴪ ﺛﺒﻮﺗ ﱠﻴﺔ اﻟﺼﺪر وﺗﻘﺮﻳﺮ ﱠﻳﺘﻪ ﻣﻦ أﺟﻞ ﺗﻌﺪﻳﺪ‬ ‫ﻗﻴﻢ أﺧﻼﻗﻴﺔ ﺟﺪﻳﺪة ﻳﺘﻤﻴﺰ ﺑﻬﺎ اﳌﺮيث؛ وﻫﻜﺬا ﺗﺘﺤﺮك اﻟﻘﺼﻴﺪة ﺑني‬ ‫ﺛﺎﺑﺖ إﻳﻘﺎﻋﻲ وﻣﺘﺤﻮل ﻗﻴﻤﻲ أﺧﻼﻗﻲ‪..‬‬ ‫ﻗﺪ ﺗﺒﺪو ﻫﺬه اﻻﺳﱰاﺗﻴﺠﻴﺔ ﻣﺠﺮد ﺻﺪﻓﺔ ﻻ ميﻜﻦ أن ﺗﺘﺤﻘﻖ ﰲ ﻧﺺ‬ ‫آﺧﺮ‪ ،‬ﺧﺎﺻﺔ إذا ﺿﻴﻘﻨﺎ ﻣﺠﺎل اﻟﺒﺤﺚ ﻓﻴام أﻃﻠﻘﻨﺎ ﻋﻠﻴﻪ ﺑﺎﻟﻨﺼﻮص‬ ‫اﻟﺸﻌﺮ ‪baytelshear‬‬ ‫ﺑﻴﺖ ِ‬

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‫ ‪şœśĘĥŒ‬‬

‫اﻟﺘﺮدﻳﺪ واﻟﺘﻌﺪﻳﺪ ﻓﻲ اﻟﺮﺛﺎء‬ ‫اﻟﻌﺮﺑﻲ اﻟﻘﺪﻳﻢ ‪..‬‬ ‫‪dzǾǃȎƁȏŌ ǗǾǂǕŌ ƑǿƉLjũǶ dzǾƫōǂǿȑŌ dzǙƊȎǕŌ ƈŌƉLjũ‬‬ ‫د‪/‬ﻳﺎﺳﻴﻦ ﺣﺰﻛﺮ‬

‫ﻣﻘﺎﻻت ﻋﺪﻳﺪة ‪-‬ﻏري ﻫﺬه اﻟﺘﻲ ﻧﴩع ﰲ ﺗﺤﺒريﻫﺎ‪ -‬ﻏﺮض اﻟﺮﺛﺎء‬ ‫ﺗﺪاوﻟﻨﺎ ﰲ ﻣﻘ‬ ‫اﻟﺸﻌﺮ ﻌﺮ‬ ‫ﰲ ﺸ‬ ‫اﻟﻌﺮيب اﻟﻘﺪﻳﻢ )ﻗﺒﻞ اﻹﺳﻼﻣﻲ‪/‬ﺣﺘﻰ ﻻ ﻧﻘﻮل اﻟﺠﺎﻫﲇ(‪ ،‬ﻣﻦ زواﻳﺎ‬ ‫ﻣﺨﺘﻠﻔﺔﺔ رمب‬ ‫ﻣﺨﺘﻠ‬ ‫رمبﺎ ﺗﺠﺰﻳﺌﻴﺔ ﳌﻘﺎﺻﺪ اﻟﺮﺛﺎء اﻟﻜﱪى اﻟﺘﻲ ﺗﺘامﳽ ﻣﻊ ﺻﻔﺎت ﺷﺨﺼﻴﺔ‬ ‫ﱟ‬ ‫ﻣﺮيث ﻋﲆ ﺣﺪة‪ ..‬ﻏري أﻧﻨﺎ –ﰲ اﻟﺤﻘﻴﻘﺔ‪ -‬مل ﻧﴩ ﻣﻦ ﻗﺮﻳﺐ أو ﺑﻌﻴﺪ‬ ‫ﻛﻞ ﻣﺮ‬ ‫ﻛﻞ‬ ‫ﻇﺎﻫﺮة ﺟامﻟﻴﺔ ﻓﺮﻳﺪة ﻳﺘﻤﻴﺰ ﺑﻬﺎ اﻟﺮﺛﺎء اﻟﻘﺪﻳﻢ وﻫﻲ ﻇﺎﻫﺮة "اﻟﱰدﻳﺪ‬ ‫إﱃ ﻇﻇﺎﻫ ة‬ ‫واﻟﺘﻌﺪﻳﺪ"؛؛ أﺳ‬ ‫ﺘﻌﺪﻳﺪ"‬ ‫أﺳﻤﻴﻬﺎ ﻫﻜﺬا‪ ،‬ﻋﻠام أﻧﻬﺎ ﺷﺎﻋﺖ أﻛرث ﰲ اﻟﺜﻘﺎﻓﺔ اﻟﺸﻌﺒﻴﺔ ﺑﺎﻟﺘﻌﺪﻳﺪ‬ ‫ﻣﻔﺮدا‪ً.‬‬

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‫اﻟﻌﺪد ‪ ، 74‬ﻳﻨﺎﻳﺮ ‪2019‬‬

‫اﻟﻘﻠﺐ ﻣﺸﺘﺎق‬ ‫ﺷﻮاﻫﻖ ﻧﺠﺪ‬ @shawahg

@@ g@ @Jx@@ ~@ @6 M @@ @ £@ @ @ D b@@ @ @ @ @ :H eb@@ @ £@ @ @ @ @ @D* b@@ @ @ @ : @@ @g@ @ J4 2b@@ @ @ @ <b@@ @ @ @ E q@@ @ @~@ @ @ 7 @@ @ @Db@@ @ @£@ @ @ 1 ¢@@ @ @g@ @ @ 0 @@ g@ £@ @ + b@@ @ @ @ @ @ @ F&*H Ä@@ @ ~@ @ @8 ¤@@ @ +b@@ @ £@ @ @= ¤@@ @ @ @ c@ @ J @@ g@ @£@ @ @ @/ ¥v@@ @ @ @£@ @ @ @ + M d@@ @ @ @ @ F3 ¢@@ @ @ @ @< @@ @g@ @ £@ @ D @@g@ £@ @ 0 b@@ @ @E¡@@ @ @D *x@@ @ @ @ @ @ @J ¤@@ @ @ @ Ab@@ @~@ @ 7 @@ @ @ E @@g@ £@ @ ~@ 7 b@@ @ @E b@@ @ @ @ @ F&*H @@ @ @ @ G @@ @ @E rb@@ @ @ -4b@@ @ @ E @@g@ £@ @ + b@@ @ E ¤@@ m@ @J ¡@@ @ D @@ @ @ @ @ DH5 Ì@@ @ @= @@ @ D @@g@ Jx@@~@ 7 ¤@@ @ 0Hx@@ @ + ¤@@ @Bb@@ @+ $b@@ @ A¡@@ @ D* v@@ @ @ @ <H @@g@ £@ ~@ z@ g@ 0&* b@@ @ @ @ @E x@@ @ @ ´* e*w@@ @ @ @ @ @ D* @@ @ 6b@@ @ C @@ g@ @£@ @E4 @@ g@ @£@ @ @ @+ b@@ @ @ E ¡@@ @ @ D É@@ @ @ @ @ D* h@@ @ £@ @ @ DH

73

baytelshear ‫اﻟﺸﻌﺮ‬ ِ ‫ﺑﻴﺖ‬

b@@g@~@{@E d@@ @ @ D* Ix@@ @- @@A¡@@~@ {@ + ¤@@ @ p@ c@ ~@ 8 b@@ @ @~@ @7(°* eb@@ @£@ @ =H q@@c@ ~@ 8 @@ g@ @£@ @/4 b@@ Eb@@ J *4H&°* i¡@@ @ E v@@ @ + @@ @ @B*H x@@m@ ~@ {@ D* ib@@ @ E *x@@ @ @0 d@@ @~@ @ |@ @ D* f@@ @ @ @ @/H ¯ Ix@@ @ @ / @M @ @ @ @ E2 *v@@ @ @ @ @ @0&°* Í@@ @ @+ ¢@@ @ @ @ @ @ @-4*H Í@Q @ @ @ @+ y@@ @ @ @ @²* *¡@@ @ @- b@@ @ @ @ @ @J&* @@ @ @E ¤@@ c@ @ @ @B (* Ñ*H ¥&* ° b@@ @E h@@ @ @F&* *¡@@ @~@ @ 6 °H @@£@ @ / ¥Ä@@ ~@ @8 b@@~@z@ @J @@ 6b@@ ~@ @z@ @0(°* @@ @ < @@ E @@ D d@@ @²* *¡@@ @ ~@ @ 7&°* @@ ~@ 7 ¢@@ @ < Ix@@ @ Cw@@ @ D* Áw@@ @1b@@ @ *x@@ @ @ @ @AH d@@ @ @ @0 @@ @ @ @ @1b@@ @ E ¤@@ @ @ @ @+4 h@@ @ £@ @ @Db@@ @ J

ĘıĘŕ

‫ﻫﺬي اﻟﻜﺘﺎﺑﺔ‬ ‫ﺣﺎﻣﺪ اﻟﻬﺎﺷﻤﻲ‬ @7amedAlHashmi

b +b Q 0N f N P ´* 6b @+ d pR JN bE cR B E N *H b@@ @+*¡@@+&*H xR @ P @~@U @{@D* i¡@@£@ +R H b@@cQ @~@Q @{@D*H x@@ R @ ± b +b£Q =HR bG4b~}S p@O +R ·b@@c@JR b@@E x@@ N @N ´* ¥4b@@~@9 RP b +bc~6&* @@z@½ H fc£ D* b@ @J z+ xGb: ¥b@ @´* Q b +bBxE PR x N -R ¤ D* ebJwD* jR E b D N xR N J b@@ @ +*x@@=&* Rh@@ @ N @ @ :Q HN f@@ @ Jv@@´* Í@@c@ Jx@@ @ D* È@@ C b +*x¹ <H f0b~zD* < f 0xD* ¤c - bE b@@ @+*wQ @C Nv@ ~@@P8 ,xQ @ @E H b@@ @ @JvQ @~@@P8 eR wN @ @ CN ,xQ @ @E "b@@ @+b@@ @JR b@@ @£@A @@-R vN @ 0¡@@ @ +R @@z@Fb@@J ¤@@ @D @@£@ CH "b +*¡mg~6* ¢ < R Pv@@ R @ JN b D vGb~{ D £CH R b +b~z0 N dR ~zN P0 bE }Bb gD* ¢g0 g A E b +b£:&* r¡@@ @-O HR b@@ @gR @-N ¡@@E v@@ R @+ h@@ N @cR @J ¡@@ @D* b@@ @+b@@cQ @~@7 *¡@@~@ 7 @@ 1*v@@ D* @@ E @@ @ D b@@ A2 f@@cS @ ~@ 7 b@@ @+b@@ @Q @0 f@@ N @ P @ @ ´* @@6b@@ @ @+ @@g@ R @ - b@@ @ @B*4H&* H

R ~}R P0 ¯ eb~{1&°* Rh@@+N 4 @M @CR 4 bJ b xNG2N xN ~zD* *4H&* H 2¡~zD* T 8b~8N xS D* ÉB&* oxsg~zJ R @J xN D* 5R HN ¢ < dg JHR 4b ~7&* 4¡p+ O Æ@ xR N : ° f~6bm D 4wR @JN Í D* ¥bEH z mR JN O 0H z R BN ¡A ¡D R gN ; D¡ xR D* ¡½ mR JN O xN ; v@@ @< b@@E Íp D f@@JHb@@ @D* *4H ~zR xN ~7 b@@ @ -vQ @ EO i*w@@ @ D R @ gN @ @ 04 (* ¡@@D @@ C4 b@@J N b@CN xQ @ P~@@6 H ¥4v@@J b@@ @DN HN ¥4v@@J b +*x¹ xN ± xN g~7* b £A Ég1* ° ¤ D £C DH ,¡N 1 x@@ N @c@F* b@@GvR @~@@N |@B ° b@@ @£@A {£ J ¤@@ @D @@£@ CH xN E fDy D* x~7b< ¤ D* @@E @M @CR 4 b@@J hJw1 xNGyN D* i¡ @DR c~{J MÄ@0 i¡@@E ¯ ¤-Ì0 bJ x@@ N @BN @@£Q @ @ » H N @_@£@+ R N oR 4b@@ @ ³* @@E f@@£Q @ Db@@ N @ / f@ xN ~|F* x@@0N HR jQ N -R x R AP Í+ f+bg D* ¥wG

2019 ‫ ﻳﻨﺎﻳﺮ‬، 74 ‫اﻟﻌﺪد‬

72

‫&‪R N Á‬‬ ‫‪N S b@ @ @ @ @ @ @ CN‬‬ ‫‪Mv@@ @ S @ @ @¹‬‬ ‫@‪N O eb‬‬ ‫‪N @ @ @ gN @ @ @ @CP R @ @ @ N @ @ @ ~@@R @ @6N&* µ‬‬ ‫‪S‬‬ ‫‪S‬‬ ‫@‪xP @ /R y@ D* @N @ @ PE P @ £@ AP P @@JyP @ R @ g@ D* ¯ NP $b@@ @/ b‬‬ ‫‪N @ @EN HN‬‬ ‫‪N P @ @ @ N @ @ @ CN‬‬ ‫@‪ P @ @ +P *¡@@ @ cO @ @ Pm@@ @ <&R * ¥ Pw@@ @ @ D* U @ @ @ CO R @@ @ @ PE Áb‬‬ ‫‪18‬‬ ‫@‪ Px@ R @ S @ D* @N @ @ PE · ¢‬‬ ‫‪P @ N @ gN @ ~@R @z@ -O M$b@@ @ EN fO @ N @ £R @ N @ BO‬‬

‫ﻋﲆ أن ﺑني ﺷﻌﺮ اﻟﺰﻫﺪ وﺷﻌﺮ اﻟﺤﻜﻤﺔ َﺷ ْﻌ َﺮ ًة رﻓﻴﻌ ًﺔ وﺣ ّﺪاً دﻗﻴﻘﺎً‬ ‫ﻳﺠﺐ اﻻﻧﺘﺒﺎه إﻟﻴﻪ ﺣﺘﻰ ﻻ ﺗﻠﺘﺒﺲ اﻟﺤﻜﻤﺔ ﺑﺎﻟﺰﻫﺪ واﻟﺰﻫﺪ ﺑﺎﻟﺤﻜﻤﺔ‬ ‫ﻧﻮﺿﺢ اﻟﻔﺮق ﺑني ﺷﻌﺮ‬ ‫ﻋﲆ اﳌﺘﻠﻘﻲ‪" ،‬وﻧﺤﻦ ﻧﺤﺐ ﻣﻨﺬ اﻟﺒﺪاﻳﺔ أن‬ ‫َ‬ ‫اﻟﺤﻜﻤﺔ وﺷﻌﺮ اﻟﺰﻫﺪ ﻋﲆ اﻟﺮﻏﻢ ﻣﻦ اﻟﺘﻘﺎﺋﻬام ﰲ ﻧﺎﺣﻴﺔ أو أﻛرث إﻻ‬ ‫أﻧﻬام ﻳﻔﱰﻗﺎن اﻓﱰاﻗﺎً واﺿﺤﺎً؛ ﻓﺎﻟﺰﻫﺪ ﻣﺬﻫﺐ ﰲ اﻟﺤﻴﺎة ﻟﻪ ﻗﻮاﻋﺪه‬ ‫ورﺳﻮﻣﻪ اﻟﺨﺎﺻﺔ‪ ،‬وﻟﻪ ﻣﻼﺑﺴﻪ وﻓﺮاﺋﻀﻪ اﳌﻌﻴﻨﺔ‪ ،‬و َﻳ ْﻔ َ ِﱰ ُض ﰲ ﻣﺘﱠﺒﻌﻲ‬ ‫ﻫﺬا اﳌﺬﻫﺐ أن ﻳﺘﺠﺮدوا ﻟﻠﻪ وﻳﻌﻜﻔﻮا ﻋﲆ ﺻﻠﻮاﺗﻬﻢ ﰲ ﺧﻠﻮة ﻣﻦ‬ ‫اﻟﺒﴩ ﻣﺘﺠﺮدﻳﻦ ﻣﻦ اﻟﱰف وزﺧﺮف اﻟﺪﻧﻴﺎ‪ ،‬ﻻ ﻳﺒﺘﻐﻮن ﻋﺮﺿﺎً ﻣﻦ‬ ‫أﻋﺮاﺿﻬﺎ‪ ،‬وﻻ ﻣﻄﻠﺒﺎً ﻣﻦ ﻣﻄﺎﻟﺐ اﻟﺤﻴﺎة اﳌﺎدﻳﺔ اﻟﺘﻲ ﻳﻘﺒﻞ ﻋﻠﻴﻬﺎ‬ ‫ﻣﺬﻫﺐ‬ ‫اﻹﻧﺴﺎن اﻟﻌﺎدي‪ ،‬أﻣﺎ اﻟﺤﻜﻤﺔ؛ ﻓﻬﻲ‪ ،‬إن مل ﺗﻜﻦ ﺗﺠﺮﺑﺔ ذاﺗﻴﺔ‪،‬‬ ‫ٌ‬ ‫ﰲ اﻟﺸﻌﺮ ﻻ ﰲ اﻟﺤﻴﺎة ﻳﻨﻈﻢ ﻓﻴﻪ ﺻﺎﺣﺒﻪ ﺑﺘﺄﺛري ﻧﻈﺮة ﻓﻠﺴﻔﻴﺔ ﻟﻠﻜﻮن‬ ‫وﺣﻘﺎﺋﻖ اﻷﺷﻴﺎء ﻓﻴﻪ ﺑﺤﻜﻢ ﺛﻘﺎﻓﺘﻪ أو ﺗﻜﻮﻳﻨﻪ اﻟﻔﻜﺮي‪ ،‬ﻓﻼ ﻳﻄﻠﺐ‬ ‫ﻣﻨﻪ ﳾء ﻣﻦ وراء ذﻟﻚ‪ ،‬وﻟﻴﺲ ﻫﻨﺎك ﻗﻮاﻋﺪُ وﻻ رﺳﻮم ﻟﻠﺸﻌﺮاء‬ ‫اﻟﺤﻜامء‪ ،‬ﻛام ﻟﻴﺲ ﻫﻨﺎك ﻓﺮاﺋﺾ ﻋﻠﻴﻬﻢ أداؤﻫﺎ‪ ،‬وﻻ أي ﺗﻘﻠﻴﺪ آﺧﺮ‬ ‫ﻣﺜﻠام ﻳﻔﱰض ﰲ اﻟﺰﻫﺪ؛ ﻟﻬﺬا ﻻ ﻧﺴﺘﻐﺮب إن وﺟﺪﻧﺎ ﻣﻦ اﻟﺸﻌﺮاء اﻟﺬي‬

‫ميﻠﺆون ﺷﻌﺮﻫﻢ ﺑﺎﻟﺤﻜﻤﺔ واﻷﻣﺜﺎل واﳌﻮاﻋﻆ زﻧﺪﻳﻘﺎً أو ﻓﺎﺳﻘﺎً"‪،19‬‬ ‫ﺑﺎﻟﺨﺼﻮص إذا أرﻫﺒﻬﻢ اﳌﻮت وأﻟﻮت ﻋﻠﻴﻬﻢ اﻟﺤﻴﺎة اﻟﻘﺼرية‪:‬‬ ‫‪N 4N b@@ ~@@N |@ @BO‬‬ ‫ ‪ M,Ì@N @~@@P |@ BN M,b@@ £N @ @0‬‬ ‫* ‪N ¯ P É@K @ R @ @/N 20‬‬ ‫‪N‬‬ ‫*& ‪2O HS yN @ @ @ @ gN @ @ @ @ -N b@@ @ @ @EN @N @ @ z@ @ @_R @ @ @+P *¡@@ @ @ @ @ P: M b@@ @ @ @ @ @ @ @ EN‬‬ ‫‪21‬‬ ‫‪N @£N @ p@R @§ O‬‬ ‫‪ON‬‬ ‫@‪ IN2xS @ @ D* ¢@@N @ <N ·b@P @£N @ S @ D* b‬‬ ‫©@ @@¡‪N P 2‬‬ ‫‪N‬‬ ‫‪N‬‬ ‫‪N‬‬ ‫‪N‬‬ ‫‪2O ¡N @ @ @ @ @/R &* @P @ @JvU @ @ Db@@ @+P b@@ @ @£N @ @ @ FR 2O ¢@@ @ @<N Nh@@ @ @ @ @ @FR &*HN‬‬ ‫‪RiNv@ @ @ @ @ @ <N 4R N&*HN b@@ JN b@@ N @ @N ´* b@@ N @ £@ AP Rh@@ @ @BN xN @ @ @ +R &*N Rv@ @ N @ @ DN‬‬ ‫‪2O xS @ @ @N @ @EO P ¡@@ @ @ OGw@T @ @ @D* P ¡@@ @ @ : O R @@ @ @<N @N @ @ @DN b@@ @ @EN HN‬‬ ‫© @ @ @ @ @ ‪N S * @N @ @ @FS (b@ @ @ AN b@@ @£N @ @ FR Tv@@ @D* @N @ @ @ PE 22 R2xS‬‬ ‫‪NN‬‬ ‫(¿@ @ @@‪b‬‬ ‫‪24 23‬‬ ‫ ¸ @ @ ‪ O2xS‬‬ ‫‪N O Nh@@ @ FR &*N HN b@@£N @ FR Tv@@D* ¶(N * Nh@@/R xN @ 1N‬‬ ‫ﻟﻘﺪ اﺳﺘﻘﺮ اﻟﺰﻫﺪ ﰲ اﻟﺸﻌﺮﻳﺔ اﻷﻧﺪﻟﺴﻴﺔ ﻣﺎ ﺷﺎء ﻟﻪ اﻟﻠﻪ أن ﻳﺴﺘﻘﺮ‬ ‫أﻗﻄﺎب زﻫﺎ ٍد ﻣﻦ اﻟﺸﻌﺮاء‪ ،‬ﻧﻌﺘﻘﺪ أﻧﻬﻢ ﻧﻔﺤﻮا اﳌﻐﺮب‬ ‫وﻋﺮف‬ ‫َ‬ ‫واﻷﻧﺪﻟﺲ ﻋﲆ ﺣﺪ ﺳﻮاء ﺑﺘﻠﻚ اﻟﻨﻔﺤﺔ اﻟﺪﻳﻨﻴﺔ اﻟﺘﻲ متﺴﻜﺖ ﺑﺤﺒﻞ‬ ‫اﻟﺪﻳﻦ واﺳﺘﻮﺛﻘﺖ اﻟﺰﻫ َﺪ ﺧﻼﺻﺎً ﻟﻠﺬات ﰲ اﻟﺪﻧﻴﺎ واﻵﺧﺮة‪ .‬وﻟﻌﻞ‬ ‫ﻫﺬا أﻷﻣﺮ ﻫﻮ اﻟﺬي ﻧﴩ ﰲ ﺑﻼد اﳌﻐﺮب ﺧﺎﺻﺔ اﻟﺰﻫﺪ وﻃﻮرت‬ ‫ﰲ اﺗﺠﺎﻫﺎت دﻳﻨﻴﺔ ﺗﺨﻒ وﺗﺸﺘﺪ ﺑﺤﺴﺐ اﻟﻌﺼﻮر‪ .‬ﻏري أﻧﻬﺎ ﰲ‬ ‫اﻋﺘﻘﺎدﻧﺎ ﺧﻠﻔﺖ ذﺧرية ﺷﻌﺮﻳﺔ ﺻﺎدﻗﺔ وﻣﺨﺘﻠﻔﺔ أﺟﻮدﻫﺎ ﺗﻠﻚ‬ ‫اﻟﺘﻲ اﻧﺘﴩت ﰲ أﺷﻌﺎر اﻟﺼﻮﻓﻴني وأﺿﻌﻔﻬﺎ ﺗﻠﻚ اﻟﺘﻲ اﻧﺘﴩت ﰲ‬ ‫أﺷﻌﺎر اﻟﻔﻘﻬﺎء‪.‬‬

‫اﻟﻤﺼﺎدر واﻟﻤﺮاﺟﻊ‪:‬‬

‫)‪ (1‬اﺑﻦ ﻣﻨﻈﻮر‪ ،‬ﻟﺴﺎن اﻟﻌﺮب‪ ،‬ج‪ ،3‬دار ﺻﺎدر‪ ،‬ﺑريوت‪-‬ﻟﺒﻨﺎن‪ ،‬ص ‪.196‬‬ ‫)‪ (2‬اﳌﺼﺪر ﻧﻔﺴﻪ‪ ،‬ص ‪.196‬‬ ‫)‪ (3‬اﳌﺼﺪر ﻧﻔﺴﻪ‪ ،‬ص ‪.197‬‬ ‫)‪ (4‬اﳌﺼﺪر ﻧﻔﺴﻪ‪ ،‬ص ‪.197‬‬ ‫)‪ (5‬اﳌﺼﺪر ﻧﻔﺴﻪ‪ ،‬ص ‪.197‬‬ ‫)‪ (6‬ﻧﻴﺘﺸﻪ ﻓﺮﻳﺪرﻳﻚ‪ ،‬إﻧﺴﺎن ﻣﻔﺮط ﰲ إﻧﺴﺎﻧﻴﺘﻪ‪ ،‬ﻛﺘﺎب اﻟﻌﻘﻮل اﻟﺤﺮة‪،‬‬ ‫ﺗﺮﺟﻤﺔ ﻣﺤﻤﺪ اﻟﻨﺎﺟﻲ‪ ،‬ج‪ ،1‬أﻓﺮﻳﻘﻴﺎ اﻟﴩق‪ ،1998 ،‬ص ‪.56‬‬ ‫)‪ (7‬رﻳﻜﻮر ﺑﻮل‪ ،‬ﴏاع اﻟﺘﺄوﻳﻼت‪ ،‬دراﺳﺔ ﻫريﻣﻴﻨﻮﻃﻴﻘﻴﺔ‪ ،‬ﺗﺮﺟﻤﺔ ﻣﻨﺬر‬ ‫ﻋﻴﺎش‪ ،‬ﻣﺮاﺟﻌﺔ ﺟﺮورج زﻳﻨﺎيت‪ ،‬ط‪ ،1‬دار اﻟﻜﺘﺎب اﻟﺠﺪﻳﺪ اﳌﺘﺤﺪة‪،‬‬ ‫ﺑريوت‪ ،2005 ،‬ص ص ‪.518-519‬‬ ‫)‪ (8‬اﻟﴩﻳﻒ اﻟﺠﺮﺟﺎين‪ ،‬اﻟﺘﻌﺮﻳﻔﺎت‪ ،‬ط‪ ،1‬دار اﻟﻔﻜﺮ ﻟﻠﻄﺒﺎﻋﺔ واﻟﻨﴩ‪،‬‬ ‫ﺑريوت‪ ،2005 ،‬ص ‪.73‬‬ ‫)‪ (9‬أﺣﻤﺪ ﺑﻦ ﻋﺒﺪ اﻟﺮﺣﻤﻦ ﺑﻦ ﻗﺪاﻣﺔ اﳌﻘﺪﳼ‪ ،‬ﻣﺨﺘﴫ ﻣﻨﻬﺎج‬ ‫اﻟﻘﺎﺻﺪﻳﻦ‪ ،‬ﻣﻜﺘﺒﺔ دار اﻟﺒﻴﺎن‪ ،‬دﻣﺸﻖ‪ -‬ﺑريوت‪ ،1978 ،‬ص ‪.324‬‬ ‫)‪ (10‬إﺣﺴﺎن ﻋﺒﺎس‪ ،‬ﺗﺎرﻳﺦ اﻷدب اﻷﻧﺪﻟﴘ ﻋﴫ اﻟﻄﻮاﺋﻒ واﳌﺮاﺑﻄني‪،‬‬ ‫دار اﻟﺜﻘﺎﻓﺔ‪ ،‬ﺑريوت‪ ،‬ص ‪.130‬‬ ‫)‪ (11‬ﻣﻘﻮدي ‪ :‬زﻣﺎﻣﻲ وﻧﻔﴘ‪.‬‬

‫)‪ (12‬أﺻري ﻣﻄﻴﺔ ورﻛﻮﺑﺔ‪.‬‬ ‫)‪ (13‬ﻳﺆﺛﺮ‪ :‬ﻳﻔﻀﻞ‪.‬‬ ‫)‪ (14‬اﻟﻴﻬﻮدي‪ :‬ﻛﻨﺎﻳﺔ ﻋﻦ اﻟﺨﻤﺮ ﻷن اﻟﻴﻬﻮد ﻛﺎﻧﺖ ﺗﺒﻴﻊ اﻟﺨﻤﺮ ﰲ‬ ‫اﻷﻧﺪﻟﺲ‪.‬‬ ‫)‪ (15‬اﻟﻬﺠﻮع‪ :‬اﻻﻧﴫاف ﻟﻠﻨﻮم‪.‬‬ ‫)‪ (16‬وﺳﻮس ﻟﻪ‪.‬‬ ‫)‪ (17‬اﻟﻌﻠﺞ‪ :‬اﻷﺟﻨﺒﻲ اﻟﺮوﻣﻲ‪.‬‬ ‫)‪ (18‬ﻳﺤﻴﻰ ﺑﻦ ﺣﻜﻢ اﻟﻐﺰال‪ ،‬دﻳﻮان‪ ،‬ﺗﺤﻘﻴﻖ ﻣﺤﻤﺪ رﺿﻮان اﻟﺪاﻳﺔ‪،‬‬ ‫ط‪ ،1‬دار اﻟﻔﻜﺮ اﳌﻌﺎﴏ ودار اﻟﻔﻜﺮ‪ ،‬ﺑريوت ودﻣﺸﻖ‪ ،1993 ،‬ص ‪.57‬‬ ‫)‪ (19‬ﻣﺤﻤﺪ ﻣﺼﻄﻔﻰ ﻫﺪارة‪ ،‬اﺗﺠﺎﻫﺎت اﻟﺸﻌﺮ اﻟﻌﺮيب ﰲ اﻟﻘﺮن اﻟﺜﺎين‬ ‫اﻟﻬﺠﺮي‪ ،‬دار اﳌﻌﺎرف‪ ،‬ﻣﴫ‪ ،‬ص ‪.448‬‬ ‫)‪ (20‬ﻳﻜﻔﻴﻚ ﺟﻬﻼ‪.‬‬ ‫)‪ (21‬اﻟﺮدى‪ :‬اﳌﻮت‪.‬‬ ‫)‪ (22‬ﻫﻲ مبﻌﻨﻰ اﺑﺘﻌﺪ‪.‬‬ ‫)‪ (23‬ﻫﻲ مبﻌﻨﻰ ﻋﺎرﻳﺎ‪.‬‬ ‫)‪ (24‬اﺑﻦ اﻷﺑﺎر‪ ،‬دﻳﻮان‪ ،‬ﻗﺮاءة وﺗﻌﻠﻴﻖ ﻋﺒﺪ اﻟﺴﻼم اﻟﻬﺮاس‪ ،‬وزارة‬ ‫اﻷوﻗﺎف واﻟﺸﺆون اﻹﺳﻼﻣﻴﺔ‪ ،‬اﳌﻤﻠﻜﺔ اﳌﻐﺮﺑﻴﺔ‪ ،1999 ،‬ص ‪.192‬‬ ‫اﻟﺸﻌﺮ ‪baytelshear‬‬ ‫ﺑﻴﺖ ِ‬

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‫ ‪ ĘšIJŒĬŘ‬‬ ‫‪ ǗǕōƫ ǛƣǷŨƒǾǕ ƃǥƋǕŌ ǓǂŨǝŌ‬‬ ‫‪ ǣƪǙ ǓǂǝǶ ƑǕƃǝȏŌ ǽƳ ŦŌƅǔǘǕŌ‬‬ ‫‪ ǣǝŐ ƃǂŨƪǝǶ ɐdzǂşōƒǕŌ DzōǾżǕŌ ŻǿǶŌƉũ‬‬ ‫‪ɰ‬‬ ‫‪ǽŽǶƉǕŌ ǚƊŌǷŨǕŌ ǛǙ ōƫǷǝ ǁǔƁ‬‬ ‫ ‪ǛǾǾƒǕƃǝȏŌ ǺƃǕ‬‬ ‫‪ dzǘLjżǕŌ ƉƪƗǶ ƃǥƋǕŌ ƉƪƗ ǛǾş‬‬ ‫‪ɰ‬‬ ‫‪ɰ‬‬ ‫‪ɶ‬‬ ‫ ‪ ŝŴǿ ōǂǾǃƂ‬‬ ‫ ‪Ōɰ ƃŽǶ‬‬ ‫ ‪dzƪǾƳƈ‬‬ ‫‪Dzɰ Ɖɳ ƪɷ Ɨɳ‬‬ ‫‪ƑŞŨǔũ ȍ ǻŨŽ ǣǾǕŒ ǢōŞŨǝȍŌ‬‬ ‫ ‪ ƃǥƋǕŌǶ ƃǥƋǕōş dzǘLjżǕŌ‬‬ ‫‪ǽǂǔŨǘǕŌ ǻǔƫ dzǘLjżǕōş‬‬ ‫‪ɴ‬‬ ‫‪ɳ‬‬ ‫‪ dzǾƒƲǝ Ɖ‬‬ ‫ ‪ũɺ Ƿɳ Ũɳ ũ ƃǥƋǕŌǶ dzŞƯƉǕŌ ǛǾş‬‬ ‫‪ ƉǂŨƒŨǕ ŜƉƢƞũǶ ǚōƒǝȑŌ‬‬ ‫‪ƃŽŌǶ ųǤǜǙ ǻǔƫ dzǿōǤǜǕŌ ǽƳ‬‬

‫اﻟﱰﻫﻴﺐ واﻟﱰﻏﻴﺐ؛ "ﻓﺎﻟﻘﻮة اﻹﻟﻬﻴﺔ ﺗﻬﺪد وﺗﺤﻤﻲ‪ ،‬وﻫﻲ اﻟﺨﻄﺮ‬ ‫اﻷﻗﴡ وأﻗﴡ اﻟﺤامﻳﺔ‪ ،‬وﰲ ﻋﻠﻮم اﻟﻼﻫﻮت اﻷﻛرث ﺑﺪاﺋﻴﺔ‪ ،‬اﻟﺘﻲ‬ ‫ﻧﺠﺪ آﺛﺎراً ﻟﻬﺎ ﰲ اﻟﻌﻬﺪ اﻟﻘﺪﻳﻢ‪ ،‬ﻓﺈن ﻫﺬﻳﻦ اﻟﻮﺟﻬني‪ ،‬ﻟﻸﻟﻮﻫﺔ ﻗﺪ‬ ‫ﻛﺎﻧﺎ ﻣﺮﺗﺒﻄني ﺑﺼﻮرة ﻋﻘﻼﻧﻴﺔ‪ ،‬ﺗﺘﻤﺜﻞ ﰲ ﻗﺎﻧﻮن اﻟﺜﻮاب‪ ،‬ﻓﺎﻟﻠﻪ اﻟﺬي‬ ‫ُ‬ ‫اﻷﺧﻼق‪ :‬إﻧﻪ ﻳﺼﺤﺢ اﻟﻔﻮﴇ اﻟﻈﺎﻫﺮة ﻟﺘﻮزﻳﻊ‬ ‫ﻳﻬﺐ اﻟﺤامﻳﺔ ﻫﻮ اﻟﻠﻪ‬ ‫اﻷﻗﺪار‪ ،‬وذﻟﻚ إذ ﻳﺮﺑﻂ اﻷمل ﺑﺎﻟﺨﺒﺚ‪ ،‬واﻟﺴﻌﺎدة ﺑﺎﻟﻌﺪل‪ ،‬وﺑﻔﻀﻞ‬ ‫ﻗﺎﻧﻮن اﻟﺜﻮاب ﻫﺬا‪ ،‬ﻓﺈن اﻟﻘﻮة اﻹﻟﻬﻴﺔ اﻟﺘﻲ ﺗﻬﺪد‪ ،‬واﻟﻠﻪ اﻟﺬي ﻳﺤﻤﻲ‬ ‫ﻳﻌﺪان واﺣﺪاً وﻳﻌﺪان اﻟﻠﻪ ﻧﻔﺴﻪ‪ ،‬وإن ﻫﺬا اﻹﻟﻪ ﻫﻮ إﻟﻪ اﻷﺧﻼق"‪.7‬‬ ‫وإذا ﻛﺎن ﻣﻔﻬﻮم اﻟﺘﻌﺒﺪ ﻳﺮﺗﺒﻂ ﺑﺎﻟﻔﺮاﺋﺾ واﻟﺼﻠﻮات اﻟﺘﻲ ﻳﺘﻘﺮب‬ ‫ﺑﻬﺎ اﻹﻧﺴﺎن إﱃ رﺑﻪ ﰲ أوﻗﺎت ﻣﻌﻴﻨﺔ ﺣﺴﺐ ﻛﻞ دﻳﺎﻧﺔ ﻓﺈن اﻟﺘﺰﻫﺪ‬ ‫ﻳﺸﻤﻞ ﻫﺬا اﻟﺘﻌﺮﻳﻒ‪ ،‬إﻻ أﻧﻪ ﻳﺼري ﺳﻠﻮﻛﺎً ﺣﻴﺎﺗﻴﺎً ﺑﺤﻴﺚ ﻳﺘﻌﺒﺪ اﻟﺰاﻫﺪ‬ ‫ﰲ ﻛﻞ وﻗﺘﻪ ﻻ ﰲ أوﻗﺎت ﻣﻌﻴﻨﺔ؛ ﻟﺬﻟﻚ ﻗﻴﻞ اﻟﺰﻫﺪ "ﰲ اﺻﻄﻼح أﻫﻞ‬ ‫اﻟﺤﻘﻴﻘﺔ‪ :‬ﻫﻮ ُﺑ ْﻐ ُﺾ اﻟﺪﻧﻴﺎ واﻹﻋﺮاض ﻋﻨﻬﺎ‪ ،‬وﻗﻴﻞ ﻫﻮ ﺗﺮك راﺣﺔ اﻟﺪﻧﻴﺎ‬ ‫ﻃﻠﺒﺎً ﻟﺮاﺣﺔ اﻵﺧﺮة‪ ،‬وﻗﻴﻞ ﻫﻮ أن ﻳﺤﻠ َﻮ ﻗﻠﺒﻚ ﻣام ﺧﻠﺖ ﻣﻨﻪ ﻳﺪك"‪.8‬‬ ‫ﻏري أﻧﻪ ﻳﺠﺐ ْأن ُﻧ َﻔ ﱢﺮ َق ﺑني درﺟﺎت اﻟﺰﱡﻫﱠ ﺎ ِد ﺣﺴﺐ ﻗﺪراﺗﻬﻢ اﻟﺘﻌﺒﺪﻳﺔ‬ ‫وأﻫﺪاﻓﻬﻢ ﻣﻦ وراء اﻟﺰﻫﺪ؛ ف "ﻗﺪ ﺟﺮت اﻟﻌﺎدة ﺑﺘﺨﺼﻴﺺ اﺳﻢ‬ ‫اﻟﺰاﻫﺪ مبﻦ ﺗﺮك اﻟﺪﻧﻴﺎ‪ ،‬وﻣﻦ زﻫﺪ ﰲ ﻛﻞ ﳾء ﺳﻮى اﻟﻠﻪ ﺗﻌﺎﱃ‪ ،‬ﻓﻬﻮ‬ ‫اﻟﺰاﻫﺪ اﻟﻜﺎﻣﻞ‪ ،‬وﻣﻦ زﻫﺪ ﰲ اﻟﺪﻧﻴﺎ ﻣﻊ رﻏﺒﺘﻪ ﰲ اﻟﺠﻨﺔ وﻧﻌﻴﻤﻬﺎ‪ ،‬ﻓﻬﻮ‬ ‫أﻳﻀﺎً زاﻫﺪ‪ ،‬وﻟﻜﻨﻪ دون اﻷول"‪.9‬‬ ‫اﳌﻘﱰن ﺑﺎﻟﺰﻫﺪ‪ ،‬ﺷﻌﺮ اﻟﺰﻫﺪ أو ﻏﺮض اﻟﺰﻫﺪ‬ ‫وﺑﺎﻻﻟﺘﻔﺎت إﱃ اﻟﺸﻌﺮ َ ِ‬ ‫ﺑﺎﻟﺘﺨﺼﻴﺺ؛ ﻓﺈن ﻫﺬا اﻟﺸﻌﺮ ﻳﺠﺐ أن ﻳﻌﻜﺲ ﺳﻠﻮﻛﺎ ﺣﻴﺎﺗﻴﺎ ﻟﺪى‬

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‫اﻟﻌﺪد ‪ ، 74‬ﻳﻨﺎﻳﺮ ‪2019‬‬

‫اﻟﺸﺎﻋﺮ ﺑﺤﻴﺚ ﻳﺴﻤﻰ ﻋﲆ إﺛﺮه ﺷﺎﻋﺮاً زاﻫﺪاً‪ .‬وﻻ َﻏ ْﺮ َو ْأن ﻗﺪ "أﺻﺒﺢ‬ ‫ً ‪10‬‬ ‫َ‬ ‫وﺗﺤﻮل اﻟﺸﻌﺮ‬ ‫اﻟﺰﻫﺪ ﻟﺪى ﺑﻌﺾ أﺻﺤﺎﺑﻪ ﻣﺬﻫﺒﺎً أدﺑﻴﺎً أﺧﻼﻗﻴﺎً ﻣﻌﺎ"‬ ‫إﱃ َﻣ ِﻄ ﱠﻴ ٍﺔ ﻷدﻋﻴ ِﺔ اﻟﺸﺎﻋﺮ اﻟﺰاﻫﺪ و َﻣ ْﺮﻛﺒﺎ ﻟﺘﻨﺴﻜﻪ؛ وﻫﺬا أﻣﺮ ﻧﺎدر ﰲ‬ ‫اﻟﺸﻌﺮاء وﻟﻴﺲ ﻣﻦ ﻃﺒﻴﻌﺘﻬﻢ اﳌﺘﻤﺮدة اﻟﻬﺎمئﺔ وﻻ ﻣﻦ ﻃﺒﻴﻌﺔ اﻟﺸﻌﺮ‬ ‫ﻧﻔﺴﻪ‪ .‬واﻟﻐﺎﻟﺐ أن ﻳﻌﻴﺶ اﻟﺸﺎﻋﺮ ﺣﻴﺎﺗﻪ ﻃﻮﻻً وﻋﺮﺿﺎً ﺑﻄﺮﻳﻘﺔ‬ ‫"أﺑﻴﻘﻮرﻳﺔ" ُﻣ ْﻘ ِﺒ ًﻼ ﻋﲆ اﻟﻠﺬات أو ﻣﻌﺘﺪﻻً ﻓﻴﻬﺎ وأﻗﺼﺎه أن َﺗ ْﻠ َﻤ َﻊ ﰲ‬ ‫ﺑﻌﺾ أﺷﻌﺎره ﳌﺤﺎت ﺧﺎﻓﺘﺔ ﻣﻦ اﻟﺰﻫﺪ أﺛﻨﺎء ﺷﺒﺎﺑﻪ ﻣﻘﱰﻧﺔ مبﻮت أو‬ ‫اف ﻟﻠﻐﺪ وﻗ ْﺪ ﺗﺰﻳﺪ ﺣ ﱢﺪ ُة ﻫﺬا اﻟﺰﻫﺪ‬ ‫ﺻﺤﻮة ﺿﻤري ﻣﺆﻗﺘﺔ أو اﺳﺘﴩ ٍ‬ ‫ﰲ ﺷﻌﺮه ﻣﻊ ﺷﻴﺨﻮﺧ ِﺘﻪ؛ ﻋﲆ ﻧﺤﻮ ﺗﻘﻴﻴﻢ اﻟﺸﺎﻋﺮ اﻟﻐﺰال ﳌﺮﺣﻠﺔ ﺷﺒﺎﺑﻪ‬ ‫وﻫﻮ ﺷﻴﺦ ﰲ ﻗﺼﻴﺪة ﻫﻲ ﻣﻦ أوﱃ وأﻗﺪم اﻟﻘﺼﺎﺋﺪ اﻟﺰﻫﺪﻳﺔ ﰲ اﻟﺸﻌﺮ‬ ‫اﻷﻧﺪﻟﴘ؛ ﻳﻘﻮل ﻓﻴﻬﺎ‪:‬‬ ‫‪11‬‬ ‫‪b@@cN @~@@U |@D* N¥P2¡N @ @ R @ @ PE Oh@@ R @ N Q @ EN b@@ EN N¥Px@ @ R @ @ N @ @DN‬‬ ‫‪xP @ @<NR ¡@ @D*H P @@ R @ ~@S @z@ D* ¯ P Pi*wS @ @ @ @DP 12 N¡@ @ @O @ ER N&b@ @AN‬‬ ‫@‪ O @ cO @ R @ BN N¡@ @ R @ @ S @ @D* 13 xO @ @ @.P '¡@ @R @JO b@@ @ » b‬‬ ‫‪S P @ @ @ @FN N&* °N HN‬‬ ‫‪xP @ R @ ~@O @6 ¯ P qN @ @ cP @ @ ~@@ R @8&*H Mx@@ R @ @~@O @ 6 ¯ P ¤@N @ ~@P@ z@ @E&R b@ @A‬‬ ‫@‪ Kb@ @ PG¡@@ EO 14 U¥P2¡@@ @ O @ @ £N @ @ D* eb‬‬ ‫‪N @ @ @ +N L 4P b@@ @ @ @ BN °N HN‬‬ ‫‪15‬‬ ‫‪N * P,¡N @ R @ ~@N @7 R @@ PE O *¡S @ T @ D* N @ m@N @GN Rv@ @ BN HN‬‬ ‫‪xP @ R @ ³‬‬ ‫‪O @ @N @£R @ ~@S @{@ D* 16 O @ @ @ N @ @ @ -N HR N&*HN‬‬ ‫ ‪ O 4N b@@ @ ~@@N @ 8N&* ¢@@ gS @ @0‬‬ ‫@‪N b‬‬ ‫‪xP @ p@R @cN @ D* @N @ @ PE S @ @ ~@@N @9N&* Mx@@ p@R @ +N ¯ P ¤@U @ N @ @D* @N @ @ PE‬‬ ‫*&‪ *HxO @ @ N @ @FR N&* eO xR @ ~@S @{@ D* *3N (* b@@ N @ £@ AP IxN @ ~@T @z@ D* w@T @ @ =O N‬‬ ‫‪xP mR O D* @N @ PE ¤@@+P ¡R @ .N 17 n@P @ R @ P @DR * Nv@ R @ P< ¤@N @ P @ RGN4HN‬‬

‫د‪/‬ﻳﺎﺳﻴﻦ ﺣﺰﻛﺮ‬

‫ﺑﺼ ﱢﻚ اﻟﻔﺘﻮﺣﺎت اﻹﺳﻼﻣﻴﺔ‬ ‫أﻣﺎم أرض ﺧﺼﺒﺔ متﻠﻜﻬﺎ اﻟﻌﺮب اﳌﺴﻠﻤﻮن َ‬ ‫ﰲ أﻗﺎﴆ ﺷامل أوروﺑﺎ‪ ،‬أرض اﻷﻧﺪﻟﺲ؛ ﺟﻨﺔ اﻟﻠﻪ ﰲ اﻷرض‪ .‬ﻛﺎن ﻻ‬ ‫ﺑﺪ ﻣﻦ أن ﺗﺼﻄﺪم اﻟﻌﺰميﺔ اﻟﺪﻳﻨﻴﺔ مبﺴﺘﻮى اﳌﻌﻴﺸﺔ اﻟﺒﺎذخ واﻟﱰف‬ ‫اﳌﺒﺎﻟﻎ ﻓﻴﻪ‪ ،‬وﻟﻌﻞ ﻣﺠﺎﺑﻬﺔ ﺗﻴﺎر ﺟﺎرف ﺑﺄﻧﻮاع اﳌﻠﺬات واﻟﺸﻬﻮات مل‬ ‫ﻳﻜﻦ ﺑﺎﻟﴚء اﻟﺴﻬﻞ ﻋﲆ رﺟﺎل ﺗﺴﺘﺨﻔﻬﻢ اﻟﺤﻴﺎة اﻟﻨﺎﻋﻤﺔ ﺑﻜﻞ ﻣﺎ‬ ‫أوﺗﻴﺖ ﻣﻦ إﻏﺮاء‪.‬‬ ‫ﻻ ميﻜﻦ أن ﻧﻠﻮم اﻹﻧﺴﺎن اﻟﻌﺮيب ﻫﻨﺎ ﰲ ﺣﺎل اﺳﺘﺴﻼﻣﻪ وﻫﻮ ﻳﻮﺿﻊ‬ ‫ﺗﺤﺖ ﺿﻐﻂ ﻫﺬه اﻟﺤﻴﺎة اﻟﺠﺪﻳﺪة‪ ،‬ﺑﻌﻴﺪاً ﻋﻦ اﻟﺠﺰﻳﺮة اﻟﻌﺮﺑﻴﺔ‬ ‫ﺣﻴﺚ ﺻﻬﺪ اﻟﺼﺤﺮاء اﻟﺘﻲ ﻛﺎﻧﺖ ﺗﺤﺖ ﺣﻜﻢ اﻷﻣﻮﻳني‪ .‬ﻏري أﻧﻪ ﺻﻼﺑﺔ‬ ‫اﳌﻮﻗﻒ اﻟﺪﻳﻨﻲ اﻟﺬي اﻧﺘﻘﻞ ﻣﻬﺎﺟﺮاً ﰲ ﺻﺪور اﻟﻔﺎﺗﺤني ﻣﻦ أﻗﴡ‬ ‫ﺷﺒﻪ اﻟﺠﺰﻳﺮة اﻟﻌﺮﺑﻴﺔ إﱃ أﻗﴡ ﺷﺒﻪ اﻟﺠﺰﻳﺮة اﻷﻳﺒريﻳﺔ‪..‬‬ ‫ﻟﻘﺪ اﻧﺘﻘﻞ اﻟﺰﻫﺪ ﻟﻴﺴﺘﻮﻃﻦ ﻋﺎمل اﳌﻠﺬات ﰲ اﻷﻧﺪﻟﺲ وﻧﻘﻞ ﻣﻌﻪ‬ ‫ﺗﺮاوﻳﺢ اﻟﺤﻴﺎة اﻟﺴﺎﺑﻘﺔ‪ ،‬وﻧﻌﺘﻘﺪ أﻧﻪ ﺧﻠﻖ ﻧﻮﻋﺎً ﻣﻦ اﻟﺘﻮازن اﻟﺮوﺣﻲ‬ ‫ﻟﺪى اﻷﻧﺪﻟﺴﻴني‪ ،‬وأوﺟﺪ رﻗﺎﺑﺔ ﻋﲆ اﻻﻧﺪﻓﺎع اﻟﻨﻔﴘ ﻧﺤﻮ ﻣﺘﻊ اﻟﺤﻴﺎة؛‬ ‫ﰲ ﻫﺬه اﻟﺴﻴﺎﻗﺎت اﻟﺘﺎرﻳﺨﻴﺔ ﻓﺘﺢ اﻟﺰﻫﺪ ﻋﻴﻨﻴﻪ وأﺑﴫ اﻟﺤﻴﺎة ﺑﺒﺼرية‬ ‫ﻧﺎﻗﺪة‪ ..‬وﻧﻌﺘﻘﺪ أن ﻧﺸﺄة اﻟﺰﻫﺪ وﺗﻄﻮره ﰲ اﻟﺸﻌﺮ اﻷﻧﺪﻟﴘ ﻻ ميﻜﻦ‬ ‫رﺻﺪﻫام ﰲ ﻣﻘﺎل ﻗﺼري ﻣﺜﻞ ﻫﺬا‪ ،‬وﻟﻜﻦ ﰲ اﳌﻘﺎﺑﻞ ﻧﺴﺘﻄﻴﻊ ﺗﺤﺪﻳﺪ‬ ‫اﳌﻔﺎﻫﻴﻢ اﻟﻜﱪى ﻟﻠﺰﻫﺪ ورﺻﺪ ﺑﻌﺾ أﺑﺪع منﺎذﺟﻪ اﳌﴩﻗﺔ‪.‬‬ ‫ﰲ اﺳﺘﻘﺼﺎء ﻣﻌﻨﻰ اﻟﺰﻫﺪ ﻟﻐﺔ ﻧﺠﺪ أﻧﻪ ﻫﻮ "اﻟﺰﻫﺪ واﻟﺰﻫﺎدة ﰲ‬ ‫اﻟﺪﻧﻴﺎ‪ ،‬وﻻ ﻳﻘﺎل اﻟﺰﻫﺪ إﻻ ﰲ اﻟﺪﻳﻦ ﺧﺎﺻﺔ"‪1‬؛ اﻟﺰﻫﺪ‪ ،‬إذن‪ ،‬ﻣﺮﺗ ِﺒ ٌﻂ‬ ‫ﺑﺎﻟﺪﻳﻦ ُﻣ َﺆ ﱠﻃﺮ ﺑﻪ ﻋﲆ اﻋﺘﺒﺎر أن اﳌﻘﻮﻻت اﻟﻜﱪى ﻟﻠﺪﻳﻦ ﻫﻲ ﺗﺮﻏﻴﺐ‬ ‫ﰲ ﻣﺘﺎع اﻵﺧﺮة وﺗﺰﻫﻴﺪ ﰲ ﻣﺘﺎع اﻟﺪﻧﻴﺎ ﰲ ﻣﻘﺎرﻧ ٍﺔ ﺑني ﺣﻴﺎﺗني إﺣﺪاﻫام‬ ‫ٌ‬ ‫ﻣﺆﺟﻠﺔ ﻏري ﻣﺮﺋﻴ ٍﺔ ﰲ‬ ‫ﺧﺎﻟﺪة واﻷﺧﺮى ﻓﺎﻧﻴﺔ وﰲ ﻣﻔﺎرﻗ ِﺔ أن اﻟﺨﺎﻟﺪ َة‬ ‫ﻣﻌﻠﻮﻣﺔ ٌ‬ ‫ٌ‬ ‫ﻣﺮﺋﻴﺔ‪ .‬وﻫﺬا ﻣﺎ ﻳﺠﻌﻞ اﻟﺰﻫﺪ ﻣﺬﻫﺒﺎً‬ ‫ﺣﻜﻢ اﳌﺠﻬﻮل واﻟﻔﺎﻧﻴﺔ‬ ‫ﺻﻌﺒﺎً وﺳﻠﻮﻛﺎً ُﻣ َﻮ ﱠﺟﻬﺎً "ﺿﺪ اﻟﺮﻏﺒﺔ واﻟﺤﺮص ﻋﲆ اﻟﺪﻧﻴﺎ‪ ،‬واﻟﺰﻫﺎدة ﰲ‬ ‫اﻷﺷﻴﺎء ﻛﻠﻬﺎ‪."2‬‬ ‫وﺑني اﻟﺮﻏﺒﺔ واﻟﺰﻫﺪ َﺗ َﺘ َﻮ ﱡﺗﺮ ﻧﻔﺴﻴ ُﺔ اﻹﻧﺴﺎن وﺗﻀﻄﺮب ﻟﺘﺴﺘﻘﺮ ﰲ‬ ‫اﻟﻨﻬﺎﻳﺔ ﻋﲆ ﻣﻨﻬﺞ واﺣﺪ "واﻟﺘﺰﻫﻴﺪ ﰲ اﻟﴚء وﻋﻦ اﻟﴚء ﺧﻼف‬ ‫اﻟﱰﻏﻴﺐ ﻓﻴﻪ"‪3‬؛ واﻟﺘﺰﻫﻴﺪ ﰲ اﻟﴚء ﻳﻜﻮن ﺑﺎﻟﻘﻨﺎﻋﺔ أﻣﺎ اﻟﺘﺰﻫﻴﺪ ﻋﻦ‬ ‫اﻟﴚء ﻓﺒﺎﻻﺑﺘﻌﺎد ﻋﻨﻪ‪" ،‬وﰲ ﺣﺪﻳﺚ اﻟﺰﻫﺮي ﺳﺌﻞ ﻋﻦ اﻟﺰﻫﺪ ﰲ اﻟﺪﻧﻴﺎ‬ ‫ﻓﻘﺎل‪ :‬ﻫﻮ أن ﻻ ﻳﻐﻠﺐ اﻟﺤﻼل ﺷﻜﺮه وﻻ اﻟﺤﺮام ﺻﱪه‪ ،‬أراد أن ﻻ‬ ‫ﻳﻌﺠﺰ وﻳﻘﴫ ﺷﻜﺮه ﻋﲆ ﻣﺎ رزﻗﻪ اﻟﻠﻪ ﻣﻦ اﻟﺤﻼل‪ ،‬وﻻ ﺻﱪه ﻋﻦ ﺗﺮك‬ ‫ﻣﻔﻬﻮﻣﻲ‪ :‬اﻟﺤﻼل اﻟﺤﺮام‬ ‫اﻟﺤﺮام"‪ .4‬وﺑﺎﻟﺘﺎﱄ؛ ﺗﻨﺘﻘﻞ ﺑﻨﺎ اﳌﻌﺎدﻟﺔ ﺑني‬ ‫ْ‬ ‫إﱃ اﳌﻘﺎرﺑﺔ اﻟﺴﺎﺑﻘﺔ ﺑني‪ :‬اﻟﺪﻧﻴﺎ واﻵﺧﺮة اﻟﺘﻲ ﺗﺘﻀﻤﻦ ﺛﻨﺎﺋﻴﺎت ﻣﻦ‬ ‫ﻗﺒﻴﻞ‪ :‬اﻟﻌﻘﺎب واﻟﺠﺰاء واﻟﺠﺤﻴﻢ واﻟﻨﻌﻴﻢ‪ .‬ﻣﻦ مثﺔ؛ ﻓﺎﻟﺰﻫﺪ واﻟﺘﺰﻫﺪ‬ ‫اﻟﻌﺒﺎد ُة "وﻓﻼن ﻳﺘﺰﻫﺪ ﻳﺘﻌﺒﺪ"‪5‬واﻟﺘﻌﺒﺪ ﻫﻨﺎ ﻣﻘﺎﺑﻞ ﻟﻠﺘﺨﻠﻖ ﺣﻴﺚ‬ ‫"ﻳﺠﻌﻞ اﻟﺰاﻫﺪ ﻣﻦ اﻟﻔﻀﻴﻠﺔ ﺷﻴﺌﺎ ﻻزﻣﺎ"‪6‬؛ واﻟﺘﺨﻠﻖ ﻳﻨﺒﻨﻲ ﻋﲆ ﺛﻨﺎﺋﻴﺔ‬ ‫اﻟﺸﻌﺮ ‪baytelshear‬‬ ‫ﺑﻴﺖ ِ‬

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‫ ‪ ĘšIJŒĬŘ‬‬

‫‪ɰ‬‬ ‫‪ǽŽǶƉǕŌ ǚƊŌǷŨǕŌ ǛǙ ōƫǷǝ ǁǔƁ‬‬

‫ﻧﺸﺄة اﻟﺰﻫﺪ وﺗﻄﻮره ﻓﻲ اﻟﺸﻌﺮ اﻷﻧﺪﻟﺴﻲ‬

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‫اﻟﻌﺪد ‪ ، 74‬ﻳﻨﺎﻳﺮ ‪2019‬‬

‫ﻫﻞ ﺗﻨﻮﻳﻦ اﻻﺳﺘﻤﺮار مبﻮﺿﻮع اﻟﺴﻴﺎﺣﺔ‬ ‫اﻟﻌﻼﺟﻴﺔ؟‬ ‫■ ﻣﺎزﻟﺖ ﻣﺆﻣﻨﺔ ﺑﺎﻟﻔﻜﺮة وﻣﺴﺘﻤﺮة ﺑﻬﺎ‪،‬‬ ‫وذﻟﻚ ﻷين ﻣﺘﻔﺮدة ﺑﻬﺬا اﻟﺨﻂ وﻟﺪيّ أﻓﻜﺎر‬ ‫ﻋﺪﻳﺪة‪ ،‬أﺷﺎرك ﺑﻬﺎ اﻟﻘﻄﺎع اﻟﻄﺒﻲ‪ ،‬ﺑﺠﺎﻧﺐ‬ ‫ﻛﻮين ﺳﻌﻴﺪة مبﺎ أﻗﺪم‪ ،‬وﻫﺬا اﻷﻫﻢ‪ ،‬ﻓﺄﻧﺎ‬ ‫ﺿﺪ أن ﻳﻜﻮن ﻟﺪيّ ﺻﻔﺤﺔ أﺿﻊ ﻓﻴﻬﺎ ﻓﻘﻂ‬ ‫ﺻﻮري ﻣﻦ دون أن أﻋﻮد ﺑﺎﻟﻔﺎﺋﺪة ﻋﲆ ﻣﻦ‬ ‫ﻳﺘﺎﺑﻌﻨﻲ‪ ،‬ﻓﺈﺻﻼح وﺗﻄﻮر أي ﻣﺠﺘﻤﻊ ﻻﺑﺪ‬ ‫أن ﻳﺒﺪأ ﺑﺎﻻﻫﺘامم ﺑﺎﻟﺼﺤﺔ واﻟﺘﻌﻠﻴﻢ ﺑﺸﻜﻞ‬ ‫أﺳﺎﳼ‪.‬‬

‫‪ dzǾǙȎƫŒ dzşƉŴũ‬‬

‫ﺑﺪأت دﻳﻨﺎ آل ﴍف ﺑﺎﻟﻌﻤﻞ اﻹﻋﻼﻣﻲ ﻣﻨﺬ اﻟﻌﺎم ‪ 2003‬ﻗﺪﻣﺖ ﺧﻼﻟﻬﺎ اﻟﻌﺪﻳﺪ ﻣﻦ‬ ‫اﻟﱪاﻣﺞ ﻣﺜﻞ "ﺑﻨﺖ اﻟﺨﻠﻴﺞ" و"ﺻﺤﺘﻬﺎ" و"اﳌﺮأة اﻟﺨﻠﻴﺠﻴﺔ" اﻟﺬي ﺣﻘﻖ ﺟﻤﻬﻮراً ﻧﺴﺎﺋﻴﺎً‬ ‫ﻛﺒرياً ﻣﻦ اﻟﻌﺎمل اﻟﻌﺮيب‪ ،‬وﺑﻌﺪ ‪ 11‬ﺳﻨﺔ ﻣﻦ اﻟﺘﻘﺪﻳﻢ‪ ،‬اﺗﺠﻬﺖ دﻳﻨﺎ ﻹﻧﺘﺎج اﻟﱪاﻣﺞ‬ ‫اﻟﺘﻠﻔﺰﻳﻮﻧﻴﺔ ﻣﺜﻞ "ﻧﻠﺘﻘﻲ" ﻣﻊ ﺑﺮوﻳﻦ ﺣﺒﻴﺐ وﻏريﻫﺎ‪ ،‬وﻣﻦ ﺛﻢ ﺧﺎﺿﺖ ﺗﺠﺮﺑﺔ ﺗﻘﺪﻳﻢ‬ ‫ﺑﺮﻧﺎﻣﺞ "اﻟﺴﻴﺎﺣﺔ اﻟﻌﻼﺟﻴﺔ" ﻋﲆ ﻗﻨﺎة "ﻳﻮﺗﻴﻮب"‪.‬‬

‫ﻣﺎ اﻟﻔﺮق ﺑني ﻋﺮض اﻟﱪﻧﺎﻣﺞ ﻋﲆ اﻟﺘﻠﻔﺰﻳﻮن‪،‬‬ ‫وﺑني ﻋﺮﺿﻪ ﻋﲆ "اﻟﻴﻮﺗﻴﻮب"؟‬ ‫■ اﻟﻔﺮق ﰲ اﳌﺪة اﻟﺰﻣﻨﻴﺔ‪ ،‬ﻓﺮﺳﺎﻟﺔ ﻣﻮاﻗﻊ‬ ‫اﻟﺘﻮاﺻﻞ اﻻﺟﺘامﻋﻲ ﺗــﱰواح ﻣﺪﺗﻬﺎ ﺑني‬ ‫دﻗﻴﻘﺔ وﺧﻤﺲ دﻗﺎﺋﻖ‪ ،‬وﰲ ﺑﻌﺾ ﻣﻘﺎﻃﻊ‬ ‫اﻟﻴﻮﺗﻴﻮب ﻗﺪ ﺗﺰﻳﺪ ﻫﺬه اﳌــﺪة‪ ،‬وﻟﻜﻦ‬ ‫ﺗﺮﻛﻴﺰ اﳌﻌﻠﻮﻣﺔ ﰲ ﻣﺪة ﻗﺼرية ﺗﺴﻬﻞ‬ ‫ﺗﺪاوﻟﻬﺎ وﺗﺴﻬﻞ ﻋﲆ اﳌﺘﺎﺑﻊ اﻟﺘﻨﻘﻞ ﺑني‬ ‫ﻛﻢ أﻛرث ﰲ وﻗﺖ أﻗﴫ‪ ،‬ﺑﻴﻨام ﺗﻜﻮن ﻣﺪة‬ ‫ﺑﺮاﻣﺞ اﻟﺘﻠﻔﺰﻳﻮن أﻃﻮل وﻣﺮﺗﺒﻄﻪ ﺑﺎﳌﻜﺎن‪،‬‬ ‫أﻣﺎ ﻣﻮاﻗﻊ اﻟﺘﻮاﺻﻞ ﻓﻴﻤﻜﻦ ﻣﺘﺎﺑﻌﺘﻬﺎ ﻣﻦ‬ ‫اﻷﺟﻬﺰة اﻟﺼﻐرية اﳌﺘﻨﻘﻠﺔ ﻛﺎﻟﻬﺎﺗﻒ وﻏريه‪.‬‬ ‫اﻟﻜﺜري ﻣﻦ اﻹﻋﻼﻣﻴﺎت اﺗﺠﻬﻦ إﱃ اﻟﺘﻤﺜﻴﻞ‬ ‫ﻓﻬﻞ ﺗﻮاﻓﻘني ﻟﻮ ﻋﺮض ﻋﻠﻴﻚ اﻟﺘﻤﺜﻴﻞ وﺑﺄي‬ ‫ﴍوط؟‬ ‫■ إذا ﻛﻨﺖ أﻣﻠﻚ اﳌﻮﻫﺒﺔ ﺳﺄواﻓﻖ وإن ﻛﺎن‬ ‫اﻷﻣﺮ ﻣﻦ ﺑﺎب "اﳌﻮﺿﺔ" ﻛام ﺣﺎل اﻟﻜﺜري‬ ‫ﻣﻦ اﻹﻋﻼﻣﻴﺎت اﻟﻠﻮايت اﺗﺠﻬﻦ ﻟﻠﺘﻤﺜﻴﻞ‪،‬‬ ‫ﻓﺒﺎﻟﺘﺄﻛﻴﺪ ﻟﻦ أواﻓﻖ اﺑﺪاً‪ ،‬ﻓﺄﻧﺎ ﺿﺪ أن أﺗﺒﻊ‬ ‫ﻏريي ﳌﺠﺮد اﻟﺘﻘﻠﻴﺪ‪.‬‬ ‫ﻛﻴﻒ ﺗﻨﻈﺮﻳﻦ ﻟﺘﺠﺮﺑﺔ اﳌﺮأة اﻹﻣﺎراﺗﻴﺔ ﰲ‬ ‫ﻣﺠﺎل اﻹﻋﻼم؟‬ ‫■ إذا ﻗﺎرﻧﺎ ﺑني ﻓﱰة ﺑﺪاﻳﺎيت ﰲ اﻟﻌﺎم ‪2003‬‬

‫وﻟﻐﺎﻳﺔ اﻵن‪ ،‬ﻧﺠﺪ أﻧﻪ ﻗﺪ ﺗﻐري ﻓﻜﺮ اﳌﺮأة‬ ‫ﻋﻦ اﻹﻋــﻼم‪ ،‬وأﺻﺒﺢ ﻣﻦ اﳌﺠﺎﻻت اﻟﺘﻲ‬ ‫ﺗﺸﻬﺪ ﻣﻨﺎﻓﺴﺔ ﻛﺒرية ﺣﺎﻟﻴﺎً‪ ،‬وﻫﻨﺎك أﺳامء‬ ‫إﻣﺎراﺗﻴﺔ ﰲ ﻣﺠﺎﻻت ﻣﺨﺘﻠﻔﺔ ﰲ اﻹﻋﻼم‬ ‫ﻧﻔﺨﺮ ﺑﻬﺎ‪.‬‬

‫ﻣﺎ ﻫﻲ ﻣﺸﺎرﻳﻌﻚ اﻹﻋﻼﻣﻴﺔ ﻟﻠﻔﱰة اﻟﻘﺎدﻣﺔ؟‬ ‫■ ﻫﻨﺎك ﻋﻤﻞ ﻳﺘﻢ دراﺳﺘﻪ ﻣﻊ إﺣﺪى‬ ‫اﻟﺠﻬﺎت ﰲ ﻣﻀﻤﻮن ﻣﺎ أﻧﺘﺠﻪ وأﻗﺪﻣﻪ ﻋﲆ‬ ‫ﻣﻮاﻗﻊ اﻟﺘﻮاﺻﻞ اﻻﺟﺘامﻋﻲ‪ ،‬وأمتﻨﻰ أن ﻳﺘﻢ‬ ‫ﺗﻨﻔﻴﺬه‪.‬‬ ‫اﻟﺸﻌﺮ ‪baytelshear‬‬ ‫ﺑﻴﺖ ِ‬

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‫‪ĶřŒ ĘĪ‬‬ ‫ﻣﺎ اﻟﺼﻌﻮﺑﺎت اﻟﺘﻲ ﺗﻮاﺟﻬﻚ ﻋﺎدة وﻛﻴﻒ‬ ‫ﺗﺘﻐﻠﺒني ﻋﻠﻴﻬﺎ؟‬ ‫■ ﺑﺤﺴﺐ ﻧﻮع اﻟﱪﻧﺎﻣﺞ ﻗﺪ ﺗﻜﻮن ﻫﻨﺎك‬ ‫ﺻﻌﻮﺑﺎت ﰲ إﻧﺠﺎز اﻟﻌﻤﻞ وﺗﺴﻠﻴﻢ ﺣﻠﻘﺎﺗﻪ‬ ‫ﺣﺴﺐ اﻟﺠﺪول اﳌﺘﻔﻖ ﻋﻠﻴﻪ‪ ،‬وﻧﻮاﺟﻪ‬ ‫ﺻﻌﻮﺑﺎت ﰲ ﺣﺎل اﻋﺘﺬار اﻟﻀﻴﻮف اﳌﺘﻜﺮر‪،‬‬ ‫وﰲ ﺣﺎل اﻋﺘامد اﻟﱪﻧﺎﻣﺞ ﻋﲆ اﻟﺴﻔﺮ‪،‬‬ ‫ﻓﺘﻨﻘﻞ ﻓﺮﻳﻖ اﻟﻌﻤﻞ وﺗﺄﻣني اﻟﺘﺼﻮﻳﺮ‬ ‫اﻟﺨﺎرﺟﻲ ﻳﻌﺘﱪ ﻣﻦ اﻟﺼﻌﻮﺑﺎت‪ ،‬ﻟﺬ ﻻﺑﺪ‬ ‫أن ﻳﻜﻮن ﻟﺪى اﳌﻨﺘﺞ ﺧﻄﻂ أﺧﺮى ﻟﺘﺪارك‬ ‫أي ﻣﻮﻗﻒ‪ ،‬وأن ﻳﺘﻤﺘﻊ ﺑﴪﻋﺔ اﻟﺒﺪﻳﻬﺔ وأن‬ ‫ﻳﺘﻌﻠﻢ ﻣﻦ ﺧﱪات اﻵﺧﺮﻳﻦ‪ ،‬وﻣﻦ ﻛﻞ ﳾء‬ ‫ﺣﻮﻟﻪ‪.‬‬ ‫‪ ƋljƉǙ ǺǷŨżǙ‬‬

‫اﺗﺠﻬﺖ إﱃ ﺗﻘﺪﻳﻢ ﺑﺮاﻣﺞ ﺧﺎﺻﺔ ﺑﻚ‬ ‫ﳌﺎذا‬ ‫ِ‬ ‫ﻋﲆ ﻗﻨﺎة "ﻳﻮﺗﻴﻮب"؟‬ ‫■ أﺻﺒﺢ اﳌﺸﺎﻫﺪ ﻣﺘﻮﺟﻬﺎً ﻟﻘﻨﻮات اﻟﺘﻮاﺻﻞ‬ ‫اﻻﺟﺘامﻋﻲ أﻛرث ﻣﻦ اﻟﺸﺎﺷﺎت‪ ،‬ﺑﺴﺒﺐ ﻗﴫ‬ ‫ﺣﺠﻢ اﳌﺎدة وﺗﺮﻛﻴﺰ ﻣﺤﺘﻮاﻫﺎ ﰲ ﻣﺸﺎﻫﺪ أو‬ ‫ﺟﻤﻞ ﺑﺴﻴﻄﺔ‪ ،‬وﻫﺬا ﻳﺘامﳽ ﻣﻊ اﻟﴪﻋﺔ‬ ‫ ‪ ǚǷǿƋƲǔŨǕŌ ųǙŌƉş DzƃǙ‬‬ ‫‪ ǣƢŞũƉǙ ōǤũƃǥōƖǙǶ dzǔǿǷƣ‬‬ ‫‪ ǓƛŌǷŨǕŌ ƩǃŌǷǙ ōǙŐ ɐǚōLjǘǕōş‬‬ ‫‪ DzƋǤŵȏŌ ǛǙ ōǤŨƪşōŨǙ ǛLjǘǾƳ‬‬ ‫‪dzǕōǂǜǕŌ‬‬ ‫ ‪ ǽƳ DzƉǾŞlj dzƒƳōǜǙ džōǜǥ‬‬ ‫‪ ƉǤƧŐ ǼƅǕŌ ɐǖȎƫȑŌ ǒōŴǙ‬‬ ‫‪ ǛǤş ƉƀƲǝ ŦōǾũŌƈōǙŒ ŦōǾǙȎƫŒ‬‬ ‫‪ ɐDzŐƉǘǕŌ ǗǕōƫ ǛǙ ŧşƉŨǃŌ‬‬ ‫‪ ŧŬżşǶ ōǤũōŵōǾŨŽŌ ŧǘǤƳǶ‬‬ ‫‪ ōǤǙƃǃȏ ɐōǥƃǾƲũ ƩǾƟŌǷǙ Ǜƫ‬‬ ‫‪ǽŴǙŌƉş ƉŞƫ‬‬

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‫اﻟﻌﺪد ‪ ، 74‬ﻳﻨﺎﻳﺮ ‪2019‬‬

‫اﻟﺘﻲ ﻧﻌﻴﺸﻬﺎ‪.‬‬ ‫وﰲ رأﻳﻲ اﻵن أن اﻟﺘﺤﺪي اﻷﻛﱪ ﻳﻜﻤﻦ ﰲ‬ ‫إﻳﺠﺎد وارﺗﺒﺎط اﳌﺘﺎﺑﻊ ﺑﺎﻟﺸﺨﺺ‪ ،‬وﻫﻮ ﺑﻌﻴﺪ‬ ‫ﻋﻦ دﻋﻢ ﺷﺎﺷﺔ اﻟﺘﻠﻔﺰﻳﻮن‪ ،‬ﻓﺒﻌﺪ اﻧﻘﻄﺎﻋﻲ‬ ‫ﻋﻦ اﻟﺸﺎﺷﺔ ﻗﺮرت اﻟﺒﺤﺚ ﻋﻦ ﻣﺎدة أﻗﺪﻣﻬﺎ‬ ‫ﳌﺘﺎﺑﻌﻲ ﺗﻔﻴﺪﻫﻢ وﻳﺮون ﻓﻴﻬﺎ ﺟﺎﻧﺒﺎً ﺟﺪﻳﺪاً‬ ‫ﱠ‬ ‫ً‬ ‫مل أمتﻜﻦ ﻣﻦ ﻃﺮﺣﺔ ﺳﺎﺑﻘﺎ ﻋﲆ اﻟﺸﺎﺷﺔ‪.‬‬ ‫وﻫﻞ ﺗﺘﻤﻨني ﺗﻘﺪميﻬﺎ ﻋﲆ اﻟﺘﻠﻔﺰﻳﻮن؟‬ ‫■ ﺑﺎﻟﻔﻌﻞ أمتﻨﻰ أن ﻳﺘﻢ ﺗﻘﺪﻳﻢ ﺷﻴﺊ ﻣﺸﺎﺑﻪ‬ ‫ﻋﲆ ﺷﺎﺷﺎت اﻟﺘﻠﻔﺰﻳﻮن‪.‬‬ ‫ﺟﻌﻠﺘﻚ ﺗﺨﺘﺎرﻳﻦ ﻣﻮﺿﻮع‬ ‫ﻣﺎ اﻷﺳﺒﺎب اﻟﺘﻲ‬ ‫ِ‬ ‫اﻟﺴﻴﺎﺣﺔ اﻟﻌﻼﺟﻴﺔ‪ ،‬ﰲ ﺑﺮاﻣﺠﻚ ﻋﲆ‬ ‫"ﻳﻮﺗﻴﻮب" وﻫﻞ ﺳﺎﻋﺪﺗﻚ دراﺳﺘﻚ ﻟﻠﻄﺐ‬ ‫ﰲ ﺗﻨﺎول ﻫﻜﺬا ﻣﻮﺿﻮع؟‬ ‫■ أﺗﻮﻗﻊ أن ﻫﺬا اﻟﺸﻐﻒ اﻟــﺬي ﻣﺎزال‬ ‫ﻣﻮﺟﻮداً ﺑﺪاﺧﲇ ﳌﺠﺎل اﻟﻄﺐ‪ ،‬ﻓﺮﻏﻢ ﻋﺪم‬ ‫إﻛامﱄ دراﺳﺘﻪ إﻻ أين ﻣﺎزﻟﺖ أﺗﺎﺑﻊ وأﻗﺮأ‬ ‫ﰲ اﳌﺠﺎل‪ ،‬وﻛﺎن اﻟﺠﺪال دامئﺎً‪ ،‬ﻳﺪور ﺣﻮل‬ ‫رﻏﺒﺎت أﻏﻠﺐ اﳌﺮﴇ ﺑﺎﻟﻌﻼج ﺧﺎرج اﻟﺪوﻟﺔ‬

‫رﻏﻢ اﻹﻣﻜﺎﻧﻴﺎت اﳌﻮﺟﻮدة‪ ،‬وﺧﻼل ﺑﺤﺜﻲ‬ ‫ﻗﺮأت ﻋﻦ ﺗﻮﺟﻴﻬﺎت ﺳﻤﻮ اﻟﺸﻴﺦ ﺣﻤﺪان‬ ‫ﺑﻦ ﻣﺤﻤﺪ آل ﻣﻜﺘﻮم وﱄ ﻋﻬﺪ ديب‪ ،‬ﻟﺪﻋﻢ‬ ‫اﻟﺴﻴﺎﺣﺔ اﻟﻌﻼﺟﻴﺔ‪ ،‬ﻓﻮﺿﻌﺖ اﻟﻔﻜﺮة ﻋﲆ‬ ‫اﻟــﻮرق وﺑــﺪأت ﺑﺘﻨﻔﻴﺬﻫﺎ وﺑــﺪأت أﺗﻜﻠﻢ‬ ‫ﻋﻦ أﻫﻢ اﳌﺮاﻛﺰ اﻟﻄﺒﻴﺔ ﰲ دوﻟﺔ اﻹﻣﺎرات‪،‬‬ ‫وﻣﻮاﻗﻌﻬﺎ وأﻫــﻢ اﳌﺮاﻓﻖ اﳌﺤﻴﻄﺔ ﺑﻬﺎ‪،‬‬ ‫وﺗﻜﻠﻔﺔ اﻟﻌﻼج ﰲ ﺑﻌﺾ اﻟﻔﻴﺪﻳﻮﻫﺎت‪،‬‬ ‫وﻣﺎزﻟﺖ أرى أن اﻧﺘﺸﺎر ﻫﺬا اﻟﻨﻮع ﻣﻦ‬ ‫اﻟﱪاﻣﺞ ﺻﻌﺐ ﺧﻼل ﻓﱰة زﻣﻨﻴﺔ ﺑﺴﻴﻄﺔ‪،‬‬ ‫وﻟﻜﻦ اﻻﺳﺘﻤﺮارﻳﺔ ﺳﺘﺨﺪم ﻫﺬا اﳌﺠﺎل‪،‬‬ ‫ﻓﻠﻴﺲ ﻫﻨﺎك ﻣﻦ ﻳﻘﺪم ﻫﺬا اﻟﻨﻮع ﻣﻦ‬ ‫اﻟﱪاﻣﺞ ﻋﲆ ﻣﻮاﻗﻊ اﻟﺘﻮاﺻﻞ اﻻﺟﺘامﻋﻲ‪.‬‬ ‫‪ ƃǿƃŵ ǺǷŨżǙ‬‬

‫ﻗﺪﻣﺖ ﻟﻐﺎﻳﺔ اﻵن‪ ،‬وﻛﻴﻒ‬ ‫ﻛﻢ ﺣﻠﻘﺔ‬ ‫ِ‬ ‫وﺟﺪت اﻟﺼﺪى اﻟﺠامﻫريي ﻟﻬﺬه اﻟﺤﻠﻘﺎت؟‬ ‫ِ‬ ‫■ ﻗﺪﻣﺖ أﻛرث ﻣﻦ ﺧﻤﺲ ﻋﴩة ﺣﻠﻘﺔ‪،‬‬ ‫وﻣﺪة اﻟﺤﻠﻘﺎت ﺑني دﻗﻴﻘﺘني إﱃ ﺧﻤﺲ‬ ‫دﻗﺎﺋﻖ واﳌﺘﺎﺑﻌﺔ ﺗﻌﺘﱪ ﻣﻤﺘﺎزة ﻟﱪﻧﺎﻣﺞ‬ ‫ﺟﺪﻳﺪ ﰲ ﻣﺤﺘﻮاه‪.‬‬

‫ﻗﺪﻣﺖ ﺑﺮاﻣﺞ ﻋﺪة ﻋﲆ ﻗﻨﺎة ديب‪ ،‬ﻓام اﻟﺬي‬ ‫ِ‬ ‫ﺧﺮﺟﺖ ﺑﻪ ﻣﻦ ﺗﺠﺮﺑﺔ اﻟﺘﻘﺪﻳﻢ‪ ،‬واﻟﺘﻨﻮع ﰲ‬ ‫ﻗﻤﺖ ﺑﺘﻘﺪميﻬﺎ؟‬ ‫اﻟﱪاﻣﺞ اﻟﺘﻲ ِ‬ ‫■ أﺻﺒﺢ ﻟﺪيّ اﻟﻘﺪرة ﻋﲆ ﺗﻘﺪﻳﻢ اﻟﱪاﻣﺞ‬ ‫اﻟﺤﻮارﻳﺔ ﺳــﻮا ًء ﻣﺴﺠﻠﺔ أو ﻣﻨﻘﻮﻟﺔ ﻋﲆ‬ ‫اﻟﻬﻮاء ﻣﺒﺎﴍة‪ ،‬ﻛام أﺻﺒﺤﺖ ﻗﺎدرة ﻋﲆ‬ ‫إدارة اﻟﺤﻮار ﰲ ﺣﺎل وﺟﻮد أﻛرث ﻣﻦ زﻣﻴﻞ‬ ‫ﻣﻌﻲ ﰲ اﻟﱪﻧﺎﻣﺞ‪.‬‬ ‫واﺳﺘﻄﻌﺖ أﻳﻀﺎً ﻣﻦ ﺧــﻼل اﳌﻮاﺿﻴﻊ‬ ‫اﳌﻄﺮوﺣﺔ‪ ،‬أن أﻛﻮن ﻗﺮﻳﺒﺔ ﻣﻦ اﳌﺮأة ﻋﲆ‬ ‫اﺧﺘﻼف ﻣﻮاﻗﻌﻬﺎ ﺳﻮا ًء أﻛﺎﻧﺖ ﻃﺎﻟﺒﺔ أو‬ ‫ﻣﻮﻇﻔﺔ أو أﻣﺎ‪ ،‬وﻫﻮ ﻣﺎ ّمنﻰ ﺑﺪاﺧﲇ اﻟﺤﺮص‬ ‫ﻋﲆ ﻓﻬﻢ اﺣﺘﻴﺎﺟﺎﺗﻬﺎ وأﺳﻠﻮب ﺗﻔﻜريﻫﺎ‪،‬‬ ‫واﻟﺒﺤﺚ ﻋﻦ ﻣﻮاﺿﻴﻊ ﺗﻔﻴﺪﻫﺎ ﻷﻗﺪﻣﻬﺎ ﻣﻦ‬ ‫ﺧﻼل اﻟﱪاﻣﺞ‪.‬‬ ‫‪ ǽǜǤǙ ǻǜżǜǙ‬‬

‫ﻛﻨﺖ ﺗﻌﻤﻠني ﰲ اﻹﻋــﻼم ﻗﺒﻞ اﻻﻟﺘﺤﺎق‬ ‫ﺑﺪراﺳﺘﻪ أﻛﺎدميﻴ ًﺎ‪ ،‬ﻓﻬﻞ اﻹﻋﻼم ﻳﻌﺘﻤﺪ ﻋﲆ‬ ‫اﳌﻮﻫﺒﺔ أﻛرث ﻣﻦ اﻟﺪراﺳﺔ‪ ،‬وﻛﻴﻒ ميﻜﻦ‬ ‫ﺗﻄﻮﻳﺮ ﻫﺬه اﳌﻮﻫﺒﺔ؟‬ ‫■ ﻓﻌ ًﻼ ﻋﻤﻠﺖ ﰲ ﻣﺠﺎل اﻹذاﻋﺔ وﺑﻌﺪﻫﺎ‬ ‫اﻟﺘﻠﻔﺰﻳﻮن ﻣﻦ دون دراﺳﺔ‪ ،‬وﺗﻢ اﺧﺘﻴﺎري‬ ‫ﺑﻨﺎ ًء ﻋﲆ ﻣﻮﻫﺒﺘﻲ ﻓﻘﻂ وﻗــﺪريت ﻋﲆ‬ ‫اﻟﺘﻘﺪﻳﻢ دون ﺣﺼﻮﱄ ﻋﲆ ﺗﺪرﻳﺐ ﻣﺴﺒﻖ‪،‬‬ ‫وأﻧﺎ أرى اﻹﻋﻼم ﻛﺎﻟﻔﻦ ﻫﻮ ﻣﻮﻫﺒﺔ ﻻﺑﺪ أن‬ ‫ﺗﺼﻘﻞ ﺑﺎﻟﺪراﺳﺔ ﻓﺄي ﻣﻮﻫﺒﺔ ﺗﺤﺘﺎج ﻟﺘﻮﺟﻴﻪ‪،‬‬ ‫ﻛﺸﺨﺺ ﻳﻬﻮى اﻟﺮﺳﻢ وﻟﻜﻦ ﺑﺈﻣﻜﺎﻧﻪ ﻣﻦ‬ ‫ﺧﻼل اﻟﺪراﺳﺔ ﺗﻌﻠﻢ ﺧﻠﻂ اﻷﻟﻮان واﻟﺮﺳﻢ‬ ‫ﺑﻄﺮق أﺧﺮى ﻋﲆ ﺧﺎﻣﺎت ﻣﺨﺘﻠﻔﺔ‪ ،‬ﻟﻴﻄﻮر‬ ‫ﻣﻮﻫﺒﺘﻪ وﺗﺄﺧﺬ ﻣﻨﺤﻨﻰ ﻣﻬﻨﻴﺎً أﻛرث‪.‬‬ ‫ﻫﻞ رﻏﺒﺘﻚ ﺑﺘﻄﻮﻳﺮ ﻣﻬﺎرﺗﻚ اﻹﻋﻼﻣﻴﺔ ﻛﺎﻧﺖ‬ ‫اﻟﺴﺒﺐ وراء ﻋﺪم ﻣﺘﺎﺑﻌﺘﻚ ﻟﺪراﺳﺔ اﻟﻄﺐ‬ ‫واﺳﺘﺒﺪاﻟﻬﺎ ﺑﺎﻹﻋﻼم؟‬ ‫■ ﻗﻤﺖ ﺑﺎﻟﺘﻨﺎزل ﻋﻦ دراﺳﺔ اﻟﻄﺐ‪ ،‬ﺑﺴﺒﺐ‬ ‫اﻧﺸﻐﺎﱄ ﺑﺎﻹﻋﻼم ﻓﻘﺪ ﺗﺄﺛﺮ أدايئ اﻟﺪراﳼ‬

‫ ‪ ǚŐ ƃşȍ dzŞǥǷǙ ǛƲǕōlj ǖȎƫȑŌ‬‬ ‫‪ ōǥōżǜǙ ƅƁőŨǕ ɐdzƓŌƈƃǕōş Ǔǂƚũ‬‬ ‫‪ ǽǜǤǘǕŌ‬‬ ‫ ‪ ŧǿŐƈǶ ɐŝƢǕŌ dzƓŌƈƂ Ǜƫ ŧǕƊōǜũ‬‬ ‫‪ ǛLjǕǶ ɐǖȎƫȑōş ǽǔŞǂŨƒǙ‬‬ ‫‪ɰ‬‬ ‫‪ ŌƂǷŵǷǙ ǒŌƊōǙ ŝƢǕōş ǽƲƮƗ‬‬ ‫ ‪ DzƉLjƲǕŌ dzƓŌƈƂ ųŨǜǘǕŌ ǻǔƫ‬‬ ‫‪ ŋƋŵ ǓǘƪǕŌ dzƖǃōǜǘƳ ɐōǥƈǷƢũǶ‬‬ ‫‪ ǣǔƖƳ ǶŐ ǣŽōŴǝ ǽƳ ǗǤǙ‬‬ ‫ }‪ ǣǙƃǃŐ ųǙōǝƉş mdzǾŵȎƪǕŌ dzŽōǾƒǕŌ‬‬ ‫‪ mŜǷŨǿǷǾǕŌ} ǻǔƫ ƃǿƃŵ źƉƢş‬‬ ‫‪ ǽƪşōŨǙ ǻǔƫ DzƃȃōƲǕōş ƂǷƪǾǕ‬‬ ‫‪ɶ‬‬

‫ﺑﺴﺒﺐ ﻃﻮل ﺳﺎﻋﺎت اﻟﻌﻤﻞ ﺑني اﻹذاﻋﺔ‬ ‫واﻟﺘﻠﻔﺰﻳﻮن‪ ،‬وﻛﺬﻟﻚ ﻗﺪوم ﻃﻔﲇ اﻷول‪،‬‬ ‫ﻓﺮأﻳﺖ أن ﻣﺴﺘﻘﺒﲇ ﺑﺎﻹﻋﻼم أﻓﻀﻞ ﻟﺬﻟﻚ‬ ‫ﻗﻤﺖ ﺑﺪراﺳﺘﻪ أﻛﺎدميﻴﺎً‪ ،‬ﻷﻛﻤﻞ ﻣﺴرييت ﰲ‬ ‫ﻫﺬا اﳌﺠﺎل وﻟﻜﻦ ﺷﻐﻔﻲ ﺑﺎﻟﻄﺐ ﻣﺎزال‬ ‫ﻣﻮﺟﻮداً‪.‬‬ ‫اﺗﺠﻬﺖ إﱃ إﻧﺘﺎج اﻟﱪاﻣﺞ ﺑﻌﺪ ﺗﺠﺮﺑﺔ‬ ‫ﳌﺎذا‬ ‫ِ‬ ‫اﻟﺘﻘﺪﻳﻢ؟‬ ‫■ أﻛﻤﻠﺖ ‪ 11‬ﻋﺎﻣﺎً ﰲ ﻣﺠﺎل اﻟﺘﻘﺪﻳﻢ‪،‬‬ ‫وﰲ آﺧﺮ ﻣﻮﺳﻢ ﻣﻦ ﺑﺮﻧﺎﻣﺞ "ﻋﺒﺎﻳﺎ" ﻗﻤﺖ‬ ‫ﺑﺄول ﺗﺠﺮﺑﺔ ﱄ ﺑﺎﻹﻧﺘﺎج وﺗﻘﺪﻳﻢ اﻟﱪﻧﺎﻣﺞ‪،‬‬ ‫وﺑﻌﺪ ذﻟﻚ ﻋﻤﻠﺖ ﰲ ﻣﺠﻤﻮﻋﺔ ﻣﻦ اﻟﱪاﻣﺞ‬ ‫ﻛﻤﻨﺘﺞ وﻛﺎﻧﺖ رؤﻳﺔ إدارة اﻟﻘﻨﺎة ﺑﺄﻧﻬﺎ ﻣﻦ‬ ‫اﳌﻬﺎم اﻟﺘﻲ ميﻜﻦ أن أﻗﻮم ﺑﻬﺎ وأﺗﺤﻤﻞ‬ ‫ﻣﺴﺆوﻟﻴﺘﻬﺎ‪.‬‬

‫ﻣﻊ اﻹﻋﻼﻣﻲ راﺷﺪ اﻟﺨﺮﺟﻲ‪ ،‬ﺛﻢ ﺑﺮﻧﺎﻣﺞ‬ ‫"اﻟــﺮاوي" ﻣﻊ ﺟامل ﺑﻦ ﺣﻮﻳﺮب اﳌﺪﻳﺮ‬ ‫اﻟﺘﻨﻔﻴﺬي ﳌﺆﺳﺴﺔ ﻣﺤﻤﺪ ﺑﻦ راﺷــﺪ آل‬ ‫ﻣﻜﺘﻮم ﻟﻠﻤﻌﺮﻓﺔ‪ ،‬و"ﻧﻠﺘﻘﻲ" ﻣﻊ اﻟﺪﻛﺘﻮرة‬ ‫ﺑﺮوﻳﻦ ﺣﺒﻴﺐ‪ .‬إذ ﺟــﺮت اﻟﻌﺎدة ﺧﻼل‬ ‫اﻟﺴﻨﻮات اﻷﺧــرية‪ ،‬ﻋﲆ ﺗﺮﺷﻴﺢ اﳌﻨﺘﺠني‬ ‫وﺗﻮزﻳﻌﻬﻢ ﻋﲆ اﻟﱪاﻣﺞ ﻣﻦ ﻗﺒﻞ اﻹدارة‪،‬‬ ‫وﻣﻦ اﻟﺠﻤﻴﻞ وﺿﻌﻲ ﰲ إﻧﺘﺎج ﻣﺠﻤﻮﻋﺔ ﻣﻦ‬ ‫أﻫﻢ اﻟﱪاﻣﺞ‪ ،‬واﻟﻌﻤﻞ ﻣﻊ ﻣﻘﺪﻣﻲ ﺑﺮاﻣﺞ‬ ‫ﻣﻤﻴﺰﻳﻦ ﰲ ﻣﺠﺎﻻت ﻣﺨﺘﻠﻔﺔ‪.‬‬

‫ﻫﻞ ﺗﻌﺘﱪﻳﻦ ﻋﻤﻠﻴﺔ اﻹﻧﺘﺎج ﻫﻲ اﻟﺴﺒﺐ‬ ‫اﻟﺬي ﻳﻘﻒ وراء ﻧﺠﺎح أو ﻓﺸﻞ اﻟﱪﻧﺎﻣﺞ؟‬ ‫■ ﺧﻄﺔ اﻹﻧﺘﺎج ﻫﻲ ﺟﺰء ﻣﻦ اﻟﻌﻤﻞ‪ ،‬وﻋﲆ‬ ‫اﳌﻨﺘﺞ دراﺳــﺔ اﻟﻔﻜﺮة وأﻫﻤﻴﺘﻬﺎ وﻧﻘﺎط‬ ‫اﻟﻘﻮة واﻟﻀﻌﻒ وﺗﻄﻮر اﻟﻔﻜﺮة ﰲ ﺣﺎل‬ ‫اﺳﺘﻤﺮ اﻟﱪﻧﺎﻣﺞ ﻷﻛرث ﻣﻦ ﻣﻮﺳﻢ‪ ،‬وﻣﻨﺎﻗﺸﺔ‬ ‫‪ ǽǝǷǿƋƲǔũ ŲōŨǝŒ‬‬ ‫اﻹدارة ﺑﻜﺎﻣﻞ اﻟﺠﻮاﻧﺐ ﻟﻴﺘﻢ وﺿﻊ اﳌﻴﺰاﻧﻴﺔ‬ ‫ﻣﺎ اﻟـﱪاﻣــﺞ اﻟﺘﻲ ﺗﻘﻮﻣني ﺑﺈﻧﺘﺎﺟﻬﺎ ﻋﲆ وﺗﺮﺷﻴﺢ ﺑﺎﻗﻲ ﻓﺮﻳﻖ اﻟﻌﻤﻞ‪ ،‬وﺗﻌﺪ دراﺳﺔ‬ ‫ﺗﻠﻔﺰﻳﻮن ديب؟‬ ‫وﻣﻨﺎﻗﺸﺔ اﻟﻌﻤﻞ ﺟﺰءاً ﻫﺎﻣﺎً ﰲ ﻧﺠﺎﺣﻪ أو‬ ‫■ ﻗﻤﺖ ﺑﺈﻧﺘﺎج ﺑﺮﻧﺎﻣﺞ "اﻟﺒﺚ اﳌﺒﺎﴍ" ﻓﺸﻠﻪ‪.‬‬ ‫اﻟﺸﻌﺮ ‪baytelshear‬‬ ‫ﺑﻴﺖ ِ‬

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‫‪ĶřŒ ĘĪ‬‬

‫‪ ŲōŨǝȑŌ ǻǕŒ ŧǤŴũŌǶ ųǙŌƉŞǕŌ ǛǙ ƃǿƃƪǕŌ ŧǙƃǃ‬‬

‫دﻳﻨﺎ آل ﺷﺮف‪ǛƲǕōlj ǖȎƫȑŌ :‬‬ ‫ ‪dzŞǥǷǘǕŌ ǣǂǔƀũ‬‬ ‫ﺣﻮار ﺑﺸﺮى ﻋﺒﺪا‪:Q‬‬

‫ﺗﺘﻤﻴﺰ ﺗﺠﺮﺑﺔ اﻹﻋﻼﻣﻴﺔ اﻹﻣﺎراﺗﻴﺔ‬ ‫دﻳﻨﺎ آل ﴍف ﺑﺎﻟﺘﻌﺪدﻳﺔ‪ ،‬ﻓﻤﻦ‬ ‫ﻣﻘﺪﻣﺔ ﻟﻠﻌﺪﻳﺪ ﻣﻦ اﻟﱪاﻣﺞ ﻋﲆ‬ ‫ﻗﻨﺎة ديب اﻟﻔﻀﺎﺋﻴﺔ‪ ،‬ﻣﺜﻞ "إﻟﻴﻚ"‬ ‫و"ﺣﻠﻘﺔ وﺻﻞ" إﱃ ﻣﻨﺘﺠﺔ ﻷﺷﻬﺮ‬ ‫اﻟﱪاﻣﺞ اﻟﺘﻲ ﺗﻌﺮض ﻋﲆ ذات‬ ‫اﻟﻘﻨﺎة ﻣﺜﻞ ﺑﺮﻧﺎﻣﺞ "ﻧﻠﺘﻘﻲ"‬ ‫ﻣﻊ اﻟﺪﻛﺘﻮرة ﺑﺮوﻳﻦ ﺣﺒﻴﺐ‪،‬‬ ‫و"اﻟﺮاوي" وﻏريﻫﺎ ﻣﻦ ﺑﺮاﻣﺞ‪،‬‬ ‫زادت ﻣﻦ ﺧﱪة دﻳﻨﺎ ﰲ اﳌﺠﺎل‬ ‫اﻹﻋﻼﻣﻲ‪ ،‬اﻟﺬي ﺗﻮﺟﺘﻪ ﺑﺘﻘﺪﻳﻢ‬ ‫ﺑﺮﻧﺎﻣﺞ "اﻟﺴﻴﺎﺣﺔ اﻟﻌﻼﺟﻴﺔ" ﻋﲆ‬ ‫ﻗﻨﺎة "ﻳﻮﺗﻴﻮب" وﻓﻴﻪ ﺗﺮﺗﻜﺰ ﻋﲆ‬ ‫ﻋﺪد ﻣﻦ اﳌﻌﻠﻮﻣﺎت اﻟﺘﻲ ﺑﻘﻴﺖ‬ ‫ﻣﻦ دراﺳﺘﻬﺎ ﻟﻠﻄﺐ‪ ،‬ﻗﺒﻞ أن‬ ‫ﻳﺠﺬﺑﻬﺎ ﺑﺮﻳﻖ اﻹﻋﻼم وﺗﺘﺤﻮل إﱃ‬ ‫دراﺳﺘﻪ أﻛﺎدميﻴﺎً‪ ،‬وﺗﺜﺒﺖ ﻧﻔﺴﻬﺎ‬ ‫ﺑﺄﻛرث ﻣﻦ ﻣﺠﺎل إﻋﻼﻣﻲ‪.‬‬ ‫ﻓﺎﻹﻋﻼم ﻛام ﺗﺮاه دﻳﻨﺎ ﻫﻮ ﻣﻮﻫﺒﺔ‬ ‫أو ًﻻ‪ ،‬وﺗﺄيت اﻟﺪراﺳﺔ ﻟﺘﺼﻘﻞ ﻫﺬه‬ ‫اﳌﻮﻫﺒﺔ‪ ،‬اﻟﺘﻲ ﺗﺤﻮﻟﺖ إﱃ اﺣﱰاف‬ ‫ﰲ ﻣﺴريﺗﻬﺎ‪ ،‬وﻫﻮ ﻣﺎ ﻳﺠﻌﻠﻬﺎ‬ ‫ﺗﻄﻤﺢ ﰲ ﻛﻞ ﻣﺮﺣﻠﺔ إﱃ ﺗﺠﺮﺑﺔ‬ ‫ﻣﺎ ﻫﻮ ﺟﺪﻳﺪ‪ ،‬ﻟﺘﻌﻜﺲ ﻣﻦ ﺧﻼﻟﻪ‬ ‫أﻓﻜﺎرﻫﺎ اﻟﺘﻲ ﻻ ﺗﻘﻒ ﻋﻨﺪ ﺣﺪ‬ ‫ﻣﻌني‪ ،‬ﻋﻦ ﻫﺬا ﺗﺤﺪﺛﺖ دﻳﻨﺎ إﱃ‬ ‫"ﺑﻴﺖ اﻟﺸﻌﺮ" ﻣﻦ ﺧﻼل اﻟﺤﻮار‬ ‫اﻟﺘﺎﱄ‪:‬‬

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‫ﻟﺸ‬ ‫ﺑﻴﻴﺖ‬ ‫اﻟﺸﻌﻌﺮ ‪baytelshear‬‬ ‫ﺑﻴﺖ ِ‬

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‫‪Ĝšřņ ¯ ĬšĸŌ‬‬ ‫ﻗﴫ اﻟﻨﻴﻞ ﻛﺎن ﺣﺪﺛﺎً ﺑﻬﻴﺠﺎً‪ ،‬أﻛﺪ اﺳﺘﻤﺮار‬ ‫ﻋﻄﺎء ﺳﻴﺪة اﻟﻐﻨﺎء اﻟﻌﺮيب وأﻟﻘﻬﺎ رﻏﻢ ﺗﻘﺪم‬ ‫اﻟﻌﻤﺮ واﺷﺘﺪاد اﳌﺮض‪ ،‬ﻛام أﻛﺪ ﻧﺠﺎح ﺗﺠﺮﺑﺔ‬ ‫اﻟﺘﻌﺎون اﻟﺜﻨﺎيئ ﺑني أم ﻛﻠﺜﻮم وﻋﺒﺪ اﻟﻮﻫﺎب‬ ‫اﻟﺬي ﻛﺎن ﻗﺪ ﺗﺄﺧﺮ ﻛﺜرياً‪ ،‬إﱃ أن اﺳﺘﺤﺜﻪ ﻋﺒﺪ‬ ‫اﻟﻨﺎﴏ ﻋﻨﺪﻣﺎ أﻋﺮب ﻋﻦ أﻣﻨﻴﺘﻪ ﺑﺄن ﻳﺴﺘﻤﻊ‬ ‫ﻷﻏﻨﻴ ٍﺔ ﺑﺼﻮت أم ﻛﻠﺜﻮم وﻟﺤﻦ ﻋﺒﺪ اﻟﻮﻫﺎب‬ ‫ﻓﻜﺎﻧﺖ أﻏﻨﻴﺔ "اﻧﺖ ﻋﻤﺮي" ﻋﺎم ‪ 1964‬اﻟﺘﻲ‬ ‫ﻋﺮﻓﺖ وﻗﺘﻬﺎ ﺑﺎﺳﻢ ﻟﻘﺎء اﻟﺴﺤﺎب‪ ،‬وﺗﻮاﻟﺖ‬ ‫ﺑﻌﺪﻫﺎ اﻷﻟﺤﺎن اﻟﻨﺎﺟﺤﺔ ﺑﻴﻨﻬام ﻓﻘﺪﻣﺎ ﻣﻌﺎً‬ ‫أﻏﻨﻴﺎت ﺧﻼل ﺗﺴﻊ ﺳﻨﻮات‪ ،‬ﻋﻮﺿﻮا ﺑﻬﺎ‬ ‫ﻋﴩ‬ ‫ٍ‬ ‫زﻣﻦ اﻟﺠﻔﺎء واﻟﻘﻄﻴﻌﺔ اﻟﺬي اﻣﺘﺪ ﳌﺎ ﻳﻘﺮب‬ ‫ﻣﻦ ‪ 40‬ﻋﺎﻣﺎً‪.‬‬ ‫‪DzƈǷƢƓȏŌ dzǜƪǕ‬‬

‫وﺑﺎﻟﻌﻮدة ﻟﻘﺼﻴﺪة اﻟﻬﺎدي آدم اﻟﺘﻲ ﺻﺎرت‬ ‫ﻣﻨﺬ ﻏﻨﺎء أم ﻛﻠﺜﻮم ﻟﻬﺎ ﺑﻠﺤﻦ ﻋﺒﺪ اﻟﻮﻫﺎب‬ ‫ﺑﻴﻀﺘﻪ اﻟﺬﻫﺒﻴﺔ وﴎ ﺷﻬﺮﺗﻪ وﺷﻌﺒﻴﺘﻪ اﻟﻜﺒرية‪،‬‬ ‫ﻓﻘﺪ دﺣﻀﺖ رواﻳﺘﻪ ﻟﻈﺮوف ﺧﺮوﺟﻬﺎ وﻛﻮﻧﻬﺎ‬ ‫إﺣﺪى ﻗﺼﺎﺋﺪ دﻳﻮان ﻣﻨﺸﻮر ﻟﻪ ﻗﺒﻞ زﻳﺎرة‬ ‫أم ﻛﻠﺜﻮم ﺑﻨﺤﻮ ﺳﺖ ﺳﻨﻮات‪ ،‬رواﻳﺔ أﺧﺮى‬ ‫ﺑﺎﻟﻐﺖ ﰲ ﺗﺼﻮﻳﺮ اﻧﻔﻌﺎل اﻟﺸﺎﻋﺮ ﺑﻄﻠﺐ أم‬ ‫ﻛﻠﺜﻮم ﻏﻨﺎء ﻗﺼﻴﺪة ﻟﻪ‪ ،‬إﱃ ﺣﺪ أﻧﻪ ﻛﺘﺐ‬ ‫ﻗﺼﻴﺪﺗﻪ "اﻟﻐﺪ" اﺳﺘﺒﺎﻗﺎً ﻟﻠﻘﺎﺋﻪ ﺑﺎﳌﻄﺮﺑﺔ‬ ‫ﻧﻔﺴﻬﺎ‪ ،‬ﻓﺄﻋﻄﺎﻫﺎ ﻗﺼﻴﺪﺗﻪ اﻟﺘﻲ اﺧﺘﺎرﻫﺎ‬ ‫ﻟﺘﻐﻨﻴﻬﺎ وﻗﺼﻴﺪﺗﻪ اﻷﺧﺮى اﻟﺘﻲ ﻛﺘﺒﻬﺎ اﻧﻔﻌﺎﻻً‬ ‫ﺑﺎﻟﻠﻘﺎء اﳌﺮﺗﺠﻰ!‪.‬‬ ‫وﻟﻸﺳﻒ ﺗﺬﻛﺮ ﻫﺬه اﻟﴪدﻳﺔ وﺗﻜﺘﺐ ﻋﲆ‬ ‫ﻟﺴﺎن ﺑﻌﺾ اﻟﻜﺘﺎب واﻟﺼﺤﺎﻓﻴني ﺣﺘﻰ اﻵن‪،‬‬ ‫وﺗﻨﴩ ﰲ ﻣﺠﻼت أدﺑﻴﺔ ﻣﻦ دون أي ﺟﻬ ٍﺪ‬ ‫ﻳﺬﻛﺮ ﰲ اﻟﺘﺤﺮي واﻟﺘﺄﻛﺪ ﻣﻦ ﺻﺤﺘﻬﺎ‪.‬‬ ‫ﺻﺤﻴﺢ أن اﻟﻬﺎدي آدم ﻧﻔﺴﻪ ﺗﺄﺛﺮ ﻛﺜرياً ﺑﻐﻨﺎء‬ ‫ﻗﺼﻴﺪﺗﻪ وﻣﺎ ﺗﻼ ذﻟﻚ ﻣﻦ ﺷﻬﺮ ٍة وذﻳﻮع ﰲ‬ ‫ﻣﺨﺘﻠﻒ أﻧﺤﺎء اﻟﻌﺎمل اﻟﻌﺮيب‪ ،‬واﺻﻔﺎً إﻳﺎﻫﺎ‬ ‫ﺑﺄﻧﻬﺎ ﻛﺎﻧﺖ "ﻓﺘﺤﺎً" ﺑﺎﻟﻨﺴﺒﺔ ﻟﻪ‪ ،‬ﻟﻜﻦ ﻣﴤ‬ ‫اﻟﺴﻨﻮات‪ /‬اﻟﻌﻘﻮد واﺧﺘﺰال ﺗﺠﺮﺑﺘﻪ اﻹﺑﺪاﻋﻴﺔ‬ ‫ﻣﺠﻤﻮﻋﺎت ﺷﻌﺮﻳﺔ‬ ‫اﻟﺘﻲ ﺗﻮزﻋﺖ ﻋﱪ ﺛﻼث‬ ‫ٍ‬

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‫اﻟﻌﺪد ‪ ، 74‬ﻳﻨﺎﻳﺮ ‪2019‬‬

‫‪ ōǤŨŞżǙ Ǜƫ ƉǾŞƪŨǕŌ ǖǷŬǔlj ǖŐ ŦƂŌƈŐ‬‬ ‫‪ ŦőũƈŌǶ ǽǝŌƂǷƒǕŌ ŝƪƖǔǕ ōǤǝōǜŨǙŌǶ‬‬ ‫‪ɰ‬‬ ‫‪ ǽǜƮũ ǚŐ ǽǥ LJǕƅǕ dzǔǾƓǶ ǓƞƳŐ ǚŐ‬‬ ‫‪ɰ‬‬ ‫ ‪ǽǝŌƂǷƓ ƉƫōƖǕ‬‬ ‫‪DzƃǾƚǃ‬‬ ‫‪ɲ‬‬ ‫‪ɲ‬‬ ‫‪ɰ‬‬ ‫ ‪ ŋōǜƮş ŌƉǾŬlj Ɖŭőũ ǣƒƲǝ ǖƂŔ ǼƂōǤǕŌ‬‬ ‫‪ DzƉǤƗ ǛǙ LJǕƄ Ȏũ ōǙǶ ǣũƃǾƚǃ‬‬ ‫‪ɲ‬‬ ‫‪ ǗǕōƪǕŌ ŋōżǝŐ ƱǔŨƀǙ ǽƳ ƨǷǿƄǶ‬‬ ‫‪ɰ‬‬ ‫‪ ŧǝōlj ōǤǝőş ōǥōǿŒ ōƲƛŌǶ ɐǽşƉƪǕŌ‬‬ ‫‪ɰ‬‬ ‫}‪ǣǕ dzރǜǕōş mōżŨƳ‬‬

‫‪ ǓǾŽƉǕŌ ŝރş DzƃǾƚǂǕŌ ŦƉƁőũ‬‬ ‫‪ ƉƛōǜǕŌ ƃŞƫ ǒōǘŵ ƑǾȃƉǔǕ ȁŵōƲǘǕŌ‬‬ ‫‪ ǖŐ ǻǔƫ ǛǿƋżǕŌ ǢƉŭŐǶ ɐ1970 ǖōƫ‬‬ ‫‪ ƨŌƃşȑŌ ưŌƉƣŐ ǛǙ ōǥƉǾƯǶ ǖǷŬǔlj‬‬ ‫‪ǽȃōǜƮǕŌ‬‬

‫وﻣﴪﺣﻴ ٍﺔ دراﻣﻴ ٍﺔ ﰲ ﻛﻮﻧﻪ اﻟﺸﺎﻋﺮ اﻟﺬي ﻏﻨﺖ‬ ‫أم ﻛﻠﺜﻮم إﺣﺪى ﻗﺼﺎﺋﺪه‪ ،‬ﺟﻌﻞ ﺗﻠﻚ اﳌﺤﻄﺔ‬ ‫ﺗﺮﺗﺒﻂ ﻟﺪﻳﻪ ﺑﻜﺜ ٍري ﻣﻦ اﳌﺮارة‪ ،‬ﻷن أي ﻣﺒﺪع‬ ‫ﻻ ﻳﺮﺿﻴﻪ أن ﻳﺘﻢ اﻹﺷﺎرة ﻟﻪ ﻋﱪ آﺧﺮﻳﻦ ﻣﻬام‬ ‫ﻛﺎﻧﺖ ﻣﻜﺎﻧﺘﻬﻢ اﻹﺑﺪاﻋﻴﺔ‪ ،‬ﻟﺬا ﻛﺜرياً ﻣﺎ ﺗﻬﺮب‬ ‫اﻟﺸﺎﻋﺮ ﻣﻦ ﻣﻼﺣﻘﺔ ﻫﺬه اﻟﻘﺼﻴﺪة ﻟﻪ ﻛﻠﻌﻨ ٍﺔ‪،‬‬ ‫إﱃ ﺣﺪ اﻟﺘﻨﺒﻴﻪ ﻋﲆ اﻟﺼﺤﺎﻓﻴني اﻟﺬﻳﻦ ﻳﻄﻠﺒﻮن‬ ‫ﻣﺤﺎورﺗﻪ ﺑﻌﺪم اﻟﺘﻄﺮق ﻟﺬﻛﺮﻫﺎ‪ ،‬أو ﺟﻌﻠﻬﺎ‬ ‫ﻣﺤﻮر اﻟﺤﺪﻳﺚ‪ .‬ﻛام أﻋﺎد اﻟﻬﺎدي آدم ﻧﴩ‬ ‫اﻟﻘﺼﻴﺪة ﺿﻤﻦ أﻋامﻟﻪ اﻟﻜﺎﻣﻠﺔ ﺑﺎﺳﻤﻬﺎ اﻷول‬ ‫"اﻟﻐﺪ" وﻟﻴﺲ أﻏﺪاً أﻟﻘﺎك"‪ ،‬وﺗﺠﺎﻫﻞ اﻹﺷﺎرة‬ ‫إﻟﻴﻬﺎ ﰲ ﻣﻘﺪﻣﺔ ﻛﺘﺎﺑﻪ أو ﻣﻨﺤﻬﺎ أي متﻴﻴﺰ‪ ،‬ﺑﻞ‬ ‫إﻧﻪ ﺷﻜﺎ أواﺧﺮ ﺣﻴﺎﺗﻪ ﻣﻦ ﺗﺼﺪرﻫﺎ اﻟﺘﻌﺮﻳﻒ‬ ‫ﺑﻪ وأﻧﻬﺎ ﻇﻠﻤﺖ ﺗﺠﺮﺑﺘﻪ اﻹﺑﺪاﻋﻴﺔ وﴐﺑﺖ‬ ‫ﺣﻮﻟﻬﺎ ﻣﺎ وﺻﻔﻪ ﺑﺎﻟﺤﺠﺎب اﻟﺬي ﺣﺎل ﻣﻦ‬ ‫دون ﻗﺮاءة ﺑﻘﻴﺔ أﻋامﻟﻪ اﻟﺘﻲ ﺗﺠﺎوزت ﻣﺎﺋﺔ‬ ‫ﻗﺼﻴﺪة‪ ،‬ﻛﺎﻧﺖ "اﻟﻐﺪ" ﻣﺠﺮد واﺣــﺪ ٍة ﻣﻨﻬﺎ‬ ‫وﻟﻴﺴﺖ أﻫﻤﻬﺎ أو أﺟﻤﻠﻬﺎ‪.‬‬ ‫ﺗﺒﻘﻰ اﻹﺷــﺎرة إﱃ أن ﻫﺬه اﻟﻘﺼﻴﺪة ﻋﻨﺪ‬ ‫ﻏﻨﺎﺋﻬﺎ ﺧﻀﻌﺖ ﻟﻜﻢ ﻛﺒ ٍري ﻣﻦ ﻋﻤﻠﻴﺎت اﻟﺘﻐﻴري‬

‫واﻟﺘﺒﺪﻳﻞ ﰲ ﻛﻠامﺗﻬﺎ‪ ،‬ﻟﺪرﺟ ٍﺔ ﺟﻌﻠﺘﻬﺎ ﻣﴬﺑﺎً‬ ‫ﻟﻸﻣﺜﺎل ﰲ اﻟﺘﺪﻟﻴﻞ ﻋﲆ ﺣﺮﻛﺔ اﻟﻨﺺ ﺑني‬ ‫اﻟﻜﺘﺎﺑﺔ واﻟﻐﻨﺎء‪ ،‬وﺟﻌﻠﺖ اﻟﻬﺎدي آدم ﻧﻔﺴﻪ‬ ‫منﻮذﺟﺎً ﻷﻗﴡ درﺟﺎت اﳌﺮوﻧﺔ اﻟﺘﻲ ميﻜﻦ أن‬ ‫ﻳﺒﺪﻳﻬﺎ ﻛﺎﺗﺐ ﺗﺠﺎه ﻧﺼﻪ‪ ،‬وﻫﻲ وإن ﻛﺎﻧﺖ‬ ‫ﻣﺮوﻧ ًﺔ ﻻ ﺗﻌﻴﺒﻪ‪ ،‬وﻗﺪ أﺑﺪاﻫﺎ ﻗﺒﻠﻪ أدﻳﺐ ﻧﻮﺑﻞ‬ ‫ﻧﺠﻴﺐ ﻣﺤﻔﻮظ ﺗﺠﺎه ﻧﺼﻮﺻﻪ اﻟﺮواﺋﻴﺔ اﻟﺘﻲ‬ ‫ﻷﻓﻼم ﺳﻴﻨامﺋﻴﺔ ﻣﻐﺎﻳﺮة ﻛﺜرياً ﳌﺘﻨﻬﺎ‬ ‫ﺗﺤﻮﻟﺖ ٍ‬ ‫اﳌﻜﺘﻮب‪ ،‬إﻻ أﻧﻪ ﻻ ميﻜﻦ اﺳﺘﺒﻌﺎد أن ﻳﻜﻮن‬ ‫ﻫﺬا اﻟﺘﻐﻴري اﻟﻜﺒري اﻟﺬي ﻟﺤﻖ ﺑﻨﺼﻪ اﻟﺸﻌﺮي‬ ‫ﻋﲆ ﻳﺪ أم ﻛﻠﺜﻮم وﻣﺴﺘﺸﺎرﻳﻬﺎ ﺿﻤﻦ أﺳﺒﺎب‬ ‫ﻧﻘﻤﺘﻪ ﻋﻠﻴﻪ‪ ،‬إذ ﺑﺪا وﻛﺄﻧﻪ مل ميﻠﻚ ﺣﻴﻨﻬﺎ‬ ‫رﻓﺎﻫﻴﺔ اﻟﺮﻓﺾ اﻟﺘﻲ اﻣﺘﻠﻜﻬﺎ آﺧﺮون ﻏﻨﺖ‬ ‫ﻟﻬﻢ أم ﻛﻠﺜﻮم ﻛﺎﻟﺸﺎﻋﺮ ﺟﻮرج ﺟﺮداق ﻣﺜﻼ‪،‬‬ ‫ﻓﻤﻨﺤﺘﻪ اﻟﺴﻨﻮات وﻗﺘﺎً ﻃﻮﻳ ًﻼ ﻟﻠﻨﺪم‪.‬‬ ‫واﳌﻄﺎﻟﻊ ﻟﺪﻳﻮان اﻟﻬﺎدي آدم ﻳﺠﺪ أن اﻟﺘﻐﻴري‬ ‫اﻟﺬي ﻃﺎل ﻗﺼﻴﺪﺗﻪ ﺑﺪأ ﻣﻦ ﻋﻨﻮاﻧﻬﺎ اﻟﺬي‬ ‫ﺗﺒﺪل ﻣﻦ "اﻟﻐﺪ" إﱃ "أﻏــﺪاً أﻟﻘﺎك" ﻣﺮوراً‬ ‫ﺑﺎﻟﺒﻴﺖ اﻷول اﻟﺬي زﻳﺪ ﻓﻴﻪ ﺣﺮف اﻷﻟﻒ‬ ‫ﻗﺒﻞ ﺟﻤﻠﺔ "ﻏــﺪاً أﻟــﻘــﺎك"‪ ،‬ﻟﺘﺼﺒﺢ "أﻏــﺪاً‬ ‫أﻟﻘﺎك"‪ ،‬وﺗﻢ ﺗﻐﻴري ﻛﻠﻤﺔ ﻳﺎ "ﻟﻬﻒ" ﻓﺆادي‬ ‫ﻣﻦ ﻏﺪي إﱃ ﻳﺎ "ﺧــﻮف"‪ ،‬وﺗﻐﻴري اﻟﺸﻄﺮ‬ ‫اﻟﺜﺎين ﻣﻦ اﻟﺒﻴﺖ ﻧﻔﺴﻪ ﺑﺤﻴﺚ أﺻﺒﺢ ﻳﻘﻮل‪:‬‬ ‫ﻳﺎ ﻟﺸﻮﻗﻲ واﺣﱰاﻗﻲ ﰲ اﻧﺘﻈﺎر اﳌﻮﻋﺪ‪ ..‬ﺑﺪﻻً‬ ‫ﻣﻦ" وأﺣﻴﻴﻚ وﻟﻜﻦ ﺑﻔﺆادي أم ﻳﺪي"‪ً ،‬‬ ‫ﻓﻀﻼ‬ ‫ﻋﻦ ﺗﺠﺎﻫﻞ ﻋﺪد ﻣﻦ اﻷﺑﻴﺎت اﻟﺘﺎﻟﻴﺔ ﻟﻬﺬا‬ ‫أﺑﻴﺎت ﺗﺎﻟﻴﺔ‪ ،‬مل ﻳﻨﺞ أﻏﻠﺒﻬﺎ‬ ‫اﻟﺒﻴﺖ‪ ،‬واﺧﺘﻴﺎر ٍ‬ ‫ﻣﻦ اﻟﺘﻐﻴري واﻻﺳﺘﺒﺪال‪ ،‬اﻟﺬي مل ﻳﺴﺘﺸﻌﺮه‬ ‫اﻟﺠﻤﻬﻮر اﻟﺬي اﺳﺘﻤﻊ إﱃ اﻷﻏﻨﻴﺔ وﻫﺎم ﺑﻬﺎ‬ ‫أول اﻟﺴﺒﻌﻴﻨﻴﺎت‪ ،‬ﻟﻜﻮن ﻣﻦ ﻗﺎﻣﻮا ﺑﻪ إﱃ‬ ‫ﺟﺎﻧﺐ اﻟﺸﺎﻋﺮ ﺛﻼﺛﺔ ﻣﻦ أﺻﺤﺎب اﻟﺬاﺋﻘﺔ‬ ‫اﻷدﺑﻴﺔ اﻟﺮﻓﻴﻌﺔ‪ ،‬وأن اﻟﻬﺪف ﻣﻦ ﻫﺬا اﻟﺘﻐﻴري‬ ‫مل ﻳﻜﻦ ﻣﺎ اﻋﺘﱪه اﻟﺒﻌﺾ دﻛﺘﺎﺗﻮرﻳﺔ أﺻﻴﻠ ًﺔ‬ ‫اﺷﺘﻬﺮت ﺑﻬﺎ أم ﻛﻠﺜﻮم ﺑﻘﺪر ﻣﺎ ﻫﻮ ﻣﺤﺎوﻟﺔ‬ ‫اﻟﺘﻮاﺻﻞ اﻟﺸﻔﺎﻫﻲ اﻷﻣﺜﻞ ﻣﻊ اﻟﺠﻤﻬﻮر‪،‬‬ ‫ﺑﻮﺻﻔﻪ ﺗﺠﺮﺑ ًﺔ ﺗﺨﺘﻠﻒ ﻛﺜرياً ﻋﻦ اﻟﺘﻮاﺻﻞ‬ ‫اﻟﻜﺘﺎيب أو اﳌﺪون‪.‬‬

‫مبﺰﻳﺞ ﻣﻦ ﺟﺮﻋﺎت اﻟﺨﻴﺎل‪ ،‬ﻟﻜﻨﻬﺎ ﺟﺮﻋﺎت‬ ‫ٍ‬ ‫أﻗﻞ ﻛﺜرياً ‪-‬ﻋﲆ أي ﺣﺎلٍ ‪ -‬ﻣﻦ ﺗﻠﻚ اﻟﺘﻲ‬ ‫ﻗﺎﻟﺖ مبــﻮت اﻟﺸﺎﻋﺮ ﰲ رﻳﻌﺎن ﺷﺒﺎﺑﻪ‪،‬‬ ‫ﺧﺎﺻﻤ ًﺔ ﻣﻦ ﻋﻤﺮه ‪ 50‬ﻋﺎﻣﺎً ﻋﲆ اﻷﻗﻞ!‪.‬‬ ‫ﰲ ﻣﻘﺎلٍ ﻟﻪ ﻧﴩ مبﺠﻠﺔ اﳌﺼﻮر اﻟﺘﻲ ﻛﺎن‬ ‫ﻳــﺮأس ﺗﺤﺮﻳﺮﻫﺎ ﰲ اﻟﺴﺒﻌﻴﻨﻴﺎت‪ ،‬ﻛﺘﺐ‬ ‫اﻟﺸﺎﻋﺮ اﻟﺮاﺣﻞ ﺻﺎﻟﺢ ﺟﻮدت‪ ،‬ﻳﻘﻮل إن أم‬ ‫ﻛﻠﺜﻮم ﺗﺄﺛﺮت ﺟﺪاً ﺑﺄﺟﻮاء زﻳﺎرﺗﻬﺎ ﻟﻠﺴﻮدان‬ ‫ﺿﻤﻦ ﺟﻮﻟﺘﻬﺎ اﻟﻔﻨﻴﺔ ﰲ اﻟﺪول اﻟﻌﺮﺑﻴﺔ ﻟﺪﻋﻢ‬ ‫اﳌﺠﻬﻮد اﻟﺤﺮيب ﻋﻘﺐ ﻧﻜﺴﺔ ‪ .1967‬ﻓﻘﺪ‬ ‫ﻛﺎن اﺳﺘﻘﺒﺎﻟﻬﺎ ﻫﻨﺎك أواﺧﺮ ﻋﺎم ‪ 1968‬ﻣﻬﻴﺒﺎً‬ ‫وﻣﻔﻌ ًام مبﺸﺎﻋﺮ اﻟﻮد واﻟﱰاﺑﻂ‪ :‬وﻋﻠﻘﺖ ﻋﲆ‬ ‫ذﻟﻚ ﺑﻘﻮﻟﻬﺎ‪ :‬إن اﻟﺒﻼد اﻟﻌﺮﺑﻴﺔ ﺟﻤﻴﻌﺎً ﺗﻌﻴﺶ‬ ‫ﻣﻊ ﻣﴫ ﰲ ﻣﺤﻨﺔ اﻟﻨﻜﺴﺔ‪ ،‬وﻟﻜﻦ أﻋﻤﻘﻬﻢ‬ ‫ﺷﻌﻮراً ﺑﻬﺎ ﻫﻢ أﻫﻞ اﻟﺴﻮدان‪ .‬وإن ﻣﺴﺘﻮى‬ ‫اﻷمل ﰲ اﻟﻨﻔﺲ اﻟﺴﻮداﻧﻴﺔ ﻫﻮ ﻧﻔﺲ ﻣﺴﺘﻮاه‬ ‫ﰲ اﻟﻨﻔﺲ اﳌﴫﻳﺔ‪ ،‬ﻟﻘﺪ ﻛﻨﺖ أدﺧﻞ ﺑﻴﻮﺗﻬﻢ‬ ‫ﻓﺄﺣﺲ أﻧﻨﻲ ﰲ ﺑﻴﺘﻲ وأﻟﺘﻘﻲ ﺑﻬﻢ ﻓﺄﺷﻌﺮ‬ ‫ﺑﺄﻧﻨﻲ ﺑني أﻫﲇ وﻋﺸرييت‪".‬‬ ‫وﻓﻘﺎً ﻟﺠﻮدت ﻓﻘﺪ أرادت أم ﻛﻠﺜﻮم اﻟﺘﻌﺒري‬ ‫ﻋﻦ ﻣﺤﺒﺘﻬﺎ واﻣﺘﻨﺎﻧﻬﺎ ﻟﻠﺸﻌﺐ اﻟﺴﻮداين‬ ‫ﺑﻌﺪ ﻫﺬه اﻟﺰﻳﺎرة‪ ،‬وارﺗﺄت أن أﻓﻀﻞ وﺳﻴﻠ ًﺔ‬ ‫ﺳﻮداين‪،‬‬ ‫ﻟﺬﻟﻚ ﻫﻲ أن ﺗﻐﻨﻲ ﻗﺼﻴﺪ ًة ﻟﺸﺎﻋ ٍﺮ‬ ‫ٍ‬ ‫وأوﻛﻠﺖ ﻟﺠﻮدت ﻧﻔﺴﻪ ﻣﻬﻤﺔ اﻟﺒﺤﺚ ﻋﻦ‬ ‫ﻫﺬه اﻟﻘﺼﻴﺪة‪ ،‬ﻳﻘﻮل‪ :‬اﺗﻔﻘﻨﺎ ﻋﲆ أن ﻧﺒﺤﺚ‬ ‫ﻋﻦ اﻟﻘﺼﻴﺪة اﳌﻨﺸﻮدة‪ ،‬وﻃﻔﺖ مبﻜﺘﺒﺎت‬ ‫اﻟﻘﺎﻫﺮة واﺳﺘﻌﻨﺖ ﺑﺎﻷﺻﺪﻗﺎء ﻓﺘﺠﻤﻌﺖ‬ ‫ﻟﺪيّ ﺳﺒﻌﺔ دواوﻳﻦ ﻟﺴﺒﻌﺔ ﺷﻌﺮاء‪ ،‬وﻣﻀﻴﺖ‬ ‫أدرﺳﻬﺎ ﺛﻢ اﺧﱰت ﻣﻦ ﻛﻞ ﻣﻨﻬﺎ ﻗﺼﻴﺪة ﺗﺘﻮﻓﺮ‬ ‫ﻓﻴﻬﺎ اﻟﺼﻼﺣﻴﺔ اﻟﻐﻨﺎﺋﻴﺔ‪ ،‬وأرﺳﻠﺖ اﻟﻘﺼﺎﺋﺪ‬ ‫اﻟﺴﺒﻊ ﻷم ﻛﻠﺜﻮم ﻟﺘﻔﺎﺿﻞ ﺑﻴﻨﻬﺎ‪.‬‬ ‫وﺑﻌﺪ أﻳﺎم ﺳﺄﻟﺘﻨﻲ أم ﻛﻠﺜﻮم أﻳﻬﻢ أﻓﻀﻞ‬ ‫ﻗﻠﺖ‪ :‬ﻟﻘﺪ ﺗﺮﻛﺖ ﻟﻚ ﻣﻬﻤﺔ اﳌﻔﺎﺿﻠﺔ‪ ،‬ﺣﺘﻰ‬ ‫ﻻ أﻛﻮن ﻣﻨﺤﺎزاً ﻟﺸﺎﻋﺮ ﻣﻦ دون آﺧﺮ‪ ،‬ﻗﺎﻟﺖ‬ ‫ُ‬ ‫اﺧﱰت واﺣﺪ ًة ﻣﻨﻬﺎ ﺑﺎﻟﻔﻌﻞ وﻟﻜﻦ ﻟﻦ‬ ‫ﻟﻘﺪ‬ ‫أذﻛﺮﻫﺎ ﻟﻚ ﺣﺘﻰ أﻋﺮف رأﻳــﻚ‪ ..‬ﻗﻠﺖ‪ :‬إذا‬ ‫ﻛﻨﺖ ﺗﴫﻳﻦ ﻓﺈﻧﻨﻲ أﻓﻀﻞ ﻗﺼﻴﺪة اﻟﻬﺎدي‬

‫ﻟﺘﺤﺮﻳﺮ ﻣﺠﻠﺔ )اﳌﺼﻮر(‪ ،‬وﻫﻨﺎك اﺳﺘﻘﺒﻠﺘﻨﺎ‬ ‫ﺳﻴﺪة اﻟﻐﻨﺎء اﻟﻌﺮيب ﺑﺒﺸﺎﺷﺘﻬﺎ اﳌﻌﻬﻮدة‪،‬‬ ‫وﺑﻌﺪ دﻗﺎﺋﻖ دﺧﻞ ﻋﺒﺪ اﻟﻮﻫﺎب وﻛﺎن ﻳﺰﻣﻊ‬ ‫اﻟﺴﻔﺮ اﱃ ﺑريوت ﻋﻦ ﻃﺮﻳﻖ اﻟﺒﺤﺮ‪ ،‬ودار‬ ‫ﻧﻘﺎش ﺣﻮل اﻟﻘﺼﻴﺪة ﺛﻢ ﺑﻌﺪ ذﻟﻚ ﺣﻤﻠﻬﺎ‬ ‫ﻋﺒﺪ اﻟﻮﻫﺎب ﻣﻌﻪ إﱃ ﻟﺒﻨﺎن وﺑﺪأ ﺑﺘﻠﺤﻴﻨﻬﺎ"‪.‬‬ ‫‪ŜōżƒǔǕ ƃǿƃŵ ŋōǂǕ‬‬

‫آدم ﻓﻬﻲ أﺻﻠﺤﻬﺎ ﻟﻠﻐﻨﺎء‪ ..‬ﻗﺎﻟﺖ ﺑﺨﻔﺔ ﻇﻠﻬﺎ‬ ‫اﳌﻌﻬﻮد‪ :‬ﺑﺮاﻓﻮ ﻋ ّ‬ ‫ﲇ أﻧﺎ ﻓﻬﺬه ﻫﻲ اﻟﻘﺼﻴﺪة‬ ‫اﻟﺘﻲ اﺧﱰﺗﻬﺎ ﺑﺎﻟﻔﻌﻞ"‪.‬‬ ‫ﺑﻘﻴﺔ اﻟﺘﻔﺎﺻﻴﻞ رواﻫﺎ اﻟﺸﺎﻋﺮ اﻟﻬﺎدي آدم‬ ‫ﻗﺒﻞ رﺣﻴﻠﻪ ﻣﺆﻛﺪاً ﻋﲆ رواﻳﺔ ﺟﻮدت‪ ،‬ﻣﺸرياً‬ ‫إﱃ أن أم ﻛﻠﺜﻮم اﻟﺘﻲ ﻛﺎﻧﺖ أﺷﺒﻪ ﺑﺴﻔري ٍة‬ ‫ﺷﻌﺒﻴ ٍﺔ ﰲ ﺗﻠﻚ اﻟﻔﱰة‪ ،‬أرادت اﻟﺘﻌﺒري ﻋﻦ‬ ‫ﺣﺒﻬﺎ ﻟﺸﻌﺐ اﻟﺴﻮدان ﻟﺤﺴﻦ اﺳﺘﻘﺒﺎﻟﻪ‬ ‫ﻟﻬﺎ وﻣﺸﺎﻋﺮه اﻟﻔﻴﺎﺿﺔ ﺑﺎﳌﺤﺒﺔ واﻟﺘﻌﺎﻃﻒ‬ ‫ﻣﻊ ﻣﴫ ﰲ ﻣﺤﻨﺘﻬﺎ‪ ،‬ﻓﻜﻠﻔﺖ اﻟﺸﺎﻋﺮ ﺻﺎﻟﺢ‬ ‫ـﻮداين‪،‬‬ ‫ﺟــﻮدت ﺑﺎﺧﺘﻴﺎر ﻗﺼﻴﺪة ﻟﺸﺎﻋ ٍﺮ ﺳـ ٍ‬ ‫ﻓﺎﻟﺘﻘﻰ اﺧﺘﻴﺎرﻫام ﻋﻨﺪ ﻧﻔﺲ اﻟﻘﺼﻴﺪة‬ ‫"اﻟﻐﺪ" ﻣﻦ دﻳﻮاﻧﻪ اﻷول "ﻛﻮخ اﻷﺷــﻮاق"‬ ‫اﳌﻨﺸﻮر ﺑﺈﺣﺪى اﻟﺪور اﻟﺴﻮداﻧﻴﺔ ﺑﺎﻟﻘﺎﻫﺮة‬ ‫ﻋﺎم ‪.1962‬‬ ‫وذﻛﺮ آدم ﰲ ﺣﻮا ٍر ﺻﺤﺎﰲ ﻟﻪ أﻧﻪ ﺑﻌﺪ اﺧﺘﻴﺎر‬ ‫ﻫﺬه اﻟﻘﺼﻴﺪة اﻟﺘﻲ َﻧﻘﻞ ﻋﻦ أم ﻛﻠﺜﻮم وﺻﻔﻬﺎ‬ ‫ﻟﻬﺎ ﺑﺄﻧﻬﺎ‪ ":‬ﺧﺎﻟﻴﺔ ﻣﻦ اﳌﻮاﺻﻔﺎت اﻟﺤﺴﻴﺔ‬ ‫وﺗﻌﱪ ﻋﻦ ﻗﻠﺐ إﻧﺴﺎن ﻣﻦ ﺟﻨﻮب اﻟﻮادي"‪،‬‬ ‫ﻋﺮﺿﺘﻬﺎ اﻟﺴﻴﺪة ﻋﲆ اﳌﻮﺳﻴﻘﺎر ﻣﺤﻤﺪ ﻋﺒﺪ‬ ‫اﻟﻮﻫﺎب اﻟﺬي رﺣﺐ ﺑﺎﻟﻔﻜﺮة ﻓﺎﺗﺼﻠﺖ ﺑﻪ أم‬ ‫ﻛﻠﺜﻮم ﰲ اﻟﺨﺮﻃﻮم ﻋﻦ ﻃﺮﻳﻖ وزﻳﺮ اﻟﺜﻘﺎﻓﺔ‬ ‫واﻹﻋــﻼم اﻟﺴﻮداين وﻃﻠﺒﺖ ﻣﻨﻪ اﻟﺤﻀﻮر‬ ‫إﱃ اﻟﻘﺎﻫﺮة‪" :‬ذﻫﺒﺖ إﻟﻴﻬﺎ ﺑﺮﻓﻘﺔ اﻟﺼﺪﻳﻖ‬ ‫اﳌﻐﻔﻮر ﻟﻪ ﺻﺎﻟﺢ ﺟﻮدت اﻟﺬي ﻛﺎن رﺋﻴﺴﺎً‬

‫ﻗﺒﻞ اﻟﻠﻘﺎء اﻟﺮﺑﺎﻋﻲ اﻟــﺬي ﺟﻤﻊ اﻟﺸﺎﻋﺮ‬ ‫ﺑﺄم ﻛﻠﺜﻮم وﻣﻌﻬام اﻟﺸﺎﻋﺮ ﺻﺎﻟﺢ ﺟﻮدت‬ ‫واﳌﻮﺳﻴﻘﺎر ﻣﺤﻤﺪ ﻋﺒﺪ اﻟﻮﻫﺎب ﻛﺎﻧﺖ أم‬ ‫ﻛﻠﺜﻮم ﻗﺪ ﺑﻌﺜﺖ ﻟﻌﺒﺪ اﻟﻮﻫﺎب ﺑﺎﻟﺪواوﻳﻦ‬ ‫اﻟﺘﻲ ﺟﺎء ﺑﻬﺎ ﺟﻮدت‪ ،‬ﻣﻮﺻﻴ ًﺔ إﻳﺎه أن ﻳﺨﺘﺎر‬ ‫ﻣﻦ ﺑﻴﻨﻬﺎ ﻗﺼﻴﺪ ًة ﺗﻐﻨﻴﻬﺎ ﺑﺄﻟﺤﺎﻧﻪ‪ ،‬ﻏﺎب ﻋﺒﺪ‬ ‫اﻟﻮﻫﺎب ﺷﻬﻮراً‪ ،‬ﻻﺣﻘﺘﻪ ﺧﻼﻟﻬﺎ ﻛﻮﻛﺐ اﻟﴩق‬ ‫ﺑﺎﻟﺴﺆال دامئﺎً ﻋام إذا ﻛﺎن ﻗﺪ وﺟﺪ اﻟﻘﺼﻴﺪة‬ ‫اﳌﻨﺎﺳﺒﺔ‪ ،‬إﱃ أن ﺟﺎء إﱃ ﺑﻴﺘﻬﺎ ﻳﻮﻣﺎً وﻣﻌﻪ‬ ‫ﻋﻮده ﺗﺤﺖ ذراﻋــﻪ‪ ،‬وﺑﻴﻨام ﻫﻲ ﺗﺴﺘﻘﺒﻠﻪ‬ ‫ﺑﺎﻏﺘﻬﺎ ﺑﺎﻟﺴﺆال‪ :‬أﻏﺪاً أﻟﻘﺎك؟‪ ،‬ﻓﻔﻬﻤﺖ أﻧﻪ‬ ‫ﻗﺪ اﺧﺘﺎر اﻟﻘﺼﻴﺪة اﻟﺘﻲ ﺳﺒﻖ واﻧﺘﺨﺒﺘﻬﺎ‬ ‫ﻫﻲ وﺻﺎﻟﺢ ﺟﻮدت ﻣﻦ ﺑني دواوﻳﻦ اﻟﺸﻌﺮ‬ ‫اﻟﺴﻮداين اﻟﺴﺒﻌﺔ اﻟﺘﻲ ﻃﺎﻟﻌﻮﻫﺎ‪ ،‬وأﻧﻪ ﻟﺤﻨﻬﺎ‬ ‫وﺟﺎء ﺑﺎﻟﻌﻮد ﻟﻴﺴﻤﻌﻬﺎ اﻟﻠﺤﻦ‪ ،‬ﻓﺮدت ﺑﴪﻋﺔ‬ ‫ﺑﺪﻳﻬﺘﻬﺎ‪ :‬ومل ﻟﻴﺲ اﻵن؟‪.‬‬ ‫ﻛﺎن ﻗﺪ ﻣﺮ أﻛرث ﻣﻦ ﻋﺎﻣني ﺑني ﻋﻮدة أم ﻛﻠﺜﻮم‬ ‫ﻣﻦ اﻟﺨﺮﻃﻮم ﻋﺎم ‪ ،1968‬وﺧﺮوج اﻟﻘﺼﻴﺪة‬ ‫ﻟﻠﻐﻨﺎء ﰲ ﻣﺎﻳﻮ ﻣﻦ ﻋﺎم ‪ ،1971‬وﻓﻀ ًﻼ ﻋﻦ‬ ‫ﻃﻮل ﻣﻜﻮث اﻟﻨﺺ ﺑني ﻳﺪي ﻋﺒﺪ اﻟﻮﻫﺎب‬ ‫ﻣﺴﺒﻮﻗﺎً ﺑﺰﻣﻦ ﺑﺤﺚ اﻟﺸﺎﻋﺮ اﻟﺬي ﻛﻠﻔﺘﻪ أم‬ ‫ﻛﻠﺜﻮم ﺑﺠﻤﻊ اﻟﺪواوﻳﻦ اﻟﺴﻮداﻧﻴﺔ وﻣﺸﺎرﻛﺘﻬﺎ‬ ‫اﻻﺧﺘﻴﺎر ﻣﻦ ﺑﻴﻨﻬﺎ‪ ،‬ﻓﻘﺪ ﺗﺄﺧﺮت اﻟﻘﺼﻴﺪة‬ ‫ﺑﺴﺒﺐ اﻟﺮﺣﻴﻞ اﳌﻔﺎﺟﺊ ﻟﻠﺮﺋﻴﺲ ﺟامل ﻋﺒﺪ‬ ‫اﻟﻨﺎﴏ ﻋﺎم ‪ ،1970‬وأﺛﺮه اﻟﺤﺰﻳﻦ ﻋﲆ أم‬ ‫ﻛﻠﺜﻮم وﻏريﻫﺎ ﻣﻦ أﻃﺮاف اﻹﺑﺪاع اﻟﻐﻨﺎيئ ﰲ‬ ‫ﻫﺬه اﻟﻔﱰة اﻟﺬي اﺷﺘﺒﻜﺖ ﻓﻴﻪ اﻟﺴﻴﺎﺳﺔ ﻣﻊ‬ ‫اﻟﻔﻦ واﻷدب ﺑﺸﻜﻞ مل ﻳﻜﻦ ﻣﻌﻬﻮداً ﻣﻦ ﻗﺒﻞ‪.‬‬ ‫وﻳﻮم أن ﺷﺪَت ﺑﻬﺎ أم ﻛﻠﺜﻮم ﻋﲆ ﻣﴪح ﺳﻴﻨام‬ ‫اﻟﺸﻌﺮ ‪baytelshear‬‬ ‫ﺑﻴﺖ ِ‬

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‫‪Ĝšřņ ¯ ĬšĸŌ‬‬

‫‪ɶ‬‬ ‫‪ǖǷŬǔlj ǖŐ ōǤŨǜƯǶ ǖƂŔ ǼƂōǤǕŌ ǽǝŌƂǷƒǕŌ ƉƫōƖǕŌ ōǤŞŨlj‬‬

‫ً‬ ‫»أﻏﺪا أﻟﻘﺎك« ‪..‬ﻗﺼﺔ ﻧﻌﻴﻢ وﻋﺬاب !‬ ‫ﻋﺰة ﺣﺴﻴﻦ‬

‫ﺗﻘﻮل اﻷﺳﻄﻮرة إن ﺷﺎﺑﺎً ﺳﻮداﻧﻴﺎً ﻛﺎن‬ ‫ﻳــﺪرس اﻟﻠﻐﺔ اﻟﻌﺮﺑﻴﺔ ﺑﺎﻟﻘﺎﻫﺮة أواﺧــﺮ‬ ‫اﻷرﺑﻌﻴﻨﻴﺎت‪ ،‬أﺣﺐ زﻣﻴﻠﺔ دراﺳﺘﻪ وﻫﺎم‬ ‫ﺑﻬﺎ‪ ،‬وﻋﻨﺪﻣﺎ ﺗﻘﺪم ﻟﺨﻄﺒﺘﻬﺎ رﻓﺾ أﻫﻠﻬﺎ‬ ‫ﺗﺰوﻳﺠﻬام ﻓﺎﻧﻜﴪ ﻗﻠﺒﻪ‪ ،‬وﻋﺎد ﻟﺒﻠﺪﺗﻪ ﺣﺰﻳﻨﺎً‬ ‫ﻳﺘﻠﻬﻰ ﺑﺎﻟﺸﻌﺮ واﻟﺬﻛﺮﻳﺎت‪ .‬وﻻ ﻧﻌﻠﻢ ﻛﻢ‬ ‫ﻣﻦ اﻟﻮﻗﺖ ﻣﺮ ﻗﺒﻞ أن ﻳﺴﺘﺪﻋﻴﻪ ﻫﺎﺗﻒ‬ ‫ﻳﺨﱪه ﺑﺄن أﻫﻞ ﺣﺒﻴﺒﺘﻪ ﻗﺪ رﺿﺨﻮا أﺧرياً‬ ‫ﻟﺮﻏﺒﺔ اﺑﻨﺘﻬﻢ وﻳﻄﻠﺒﻮن ﻟﻘﺎءه ﻹمتﺎم اﻟﺰواج‪..‬‬ ‫وﻷن اﻟﺪراﻣﺎ اﻟﻌﺮﺑﻴﺔ أﻋﻘﺪ ﻣﻦ ﻧﻈرياﺗﻬﺎ ﰲ‬ ‫أي ﻣﻜﺎن‪ ،‬وﻻ ُﻳﺨﻤﺪ ﻧﺎرﻫﺎ ﺳﻮى ﻓﺪﻳ ٍﺔ أو‬ ‫ﻗﺮﺑﺎن‪ ،‬ﻻ ُﻳﺴﻤﺢ ﻟﻬﺬا اﳌﺸﻬﺪ اﻟﺴﻌﻴﺪ أن‬ ‫ﻳﻘﻔﻞ ﻋﲆ اﻟﺒﻄﻞ اﻟﺸﺎﻋﺮ ﻣﺴﺘﻈ ًﻼ ﺑﺸﺠﺮﺗﻪ‬ ‫اﳌﻔﻀﻠﺔ ﻳﻜﺘﺐ ﻣﻦ ﻓﺮط ﻟﻬﻔﺘﻪ ﻗﺼﻴﺪ ًة ﻋﻦ‬ ‫اﻟﻐﺪ اﻟﺴﻌﻴﺪ اﻟﺬي ﺳﻴﻠﺘﻘﻲ ﻓﻴﻪ ﺣﺒﻴﺒﺘﻪ‪،‬‬ ‫ﻳﺴﺘﻨﻄﻘﻪ وﻳﻘﱰض ﻣﻦ ﻣﺴﺘﻘﺒﻠﻪ اﻟﻘﺮﻳﺐ‬ ‫ﻣﻤﻜﻦ ﻣﻦ اﳌﺸﺎﻫﺪ اﻟﺠﻤﻴﻠﺔ اﻟﺘﻲ‬ ‫أﻛﱪ ﻗﺪ ٍر‬ ‫ٍ‬ ‫ﺗﺸﻌﻞ اﻷﺷﻮاق أﻛرث ﻣام ﺗﻄﻔﺌﻬﺎ؛ إذ ميﻮت‬

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‫اﻟﻌﺪد ‪ ، 74‬ﻳﻨﺎﻳﺮ ‪2019‬‬

‫اﻟﺒﻄﻞ ﻣﻦ ﻓﺮط ﺳﻌﺎدﺗﻪ أو ﺷﻮﻗﻪ‪ ،‬وﺗﺒﻘﻰ‬ ‫ﺷﺎب‬ ‫ﺑﻘﻠﺐ ٍ‬ ‫ﻗﺼﻴﺪﺗﻪ اﻟﺸﻬرية ﺳري ًة ووﺷﺎﻳ ًﺔ ٍ‬ ‫ﻗﺘﻠﻪ اﻟﺤﺐ‪ ،‬إﱃ أن ﺗﻌﺮف ﺑﻘﺼﺘﻬﺎ اﳌﻄﺮﺑﺔ‬ ‫اﻟﻜﺒرية وﺗﻘﺮر ﻏﻨﺎءﻫﺎ ﻣﺎﻧﺤ ًﺔ إﻳﺎﻫﺎ ﺧﻠﻮداً‬ ‫ﻋﲆ ﺧﻠﻮد!‪.‬‬ ‫ﻋﻘﻮدٌ وﻫﺬه اﻟﻘﺼﺔ اﻟﺘﻲ اﺧﺘﻠﻘﺘﻬﺎ اﳌﺨﻴﻠﺔ‬ ‫اﻟﻌﺮﺑﻴﺔ ﻋﻦ اﻟﺸﺎﻋﺮ اﻟــﺴــﻮداين اﻟﺮاﺣﻞ‬ ‫اﻟﻬﺎدي آدم ﺗﺘﺪاول وﺗﻨﻘﻞ ﺑﺄدق ﺗﻔﺎﺻﻴﻠﻬﺎ‪،‬‬ ‫ﺑﺸﻜﻞ‬ ‫وﺗﺴﺘﺪﻋﻰ وﺗﺮوى وﻛﺄﻧﻬﺎ ﺣﻘﻴﻘﺔ‪،‬‬ ‫ٍ‬ ‫ﻳﺠﻌﻠﻚ ﺗﺘﺴﺎءل إذا ﻛﺎن ﻫﺬا ﻫﻮ اﻟﺤﺎل ﻣﻊ‬ ‫اﻷﺣﺪاث واﻟﻮﻗﺎﺋﻊ اﻟﺘﻲ مل ﺗﺘﺠﺎوز ‪ 50‬ﻋﺎﻣﺎً‬ ‫ﻓام ﺑﺎﻟﻨﺎ ﺑﺎﻟﱰاث اﻟﻌﺮيب اﻟﺬي ميﺘﺪ ﻵﻻف‬ ‫اﻷﻋــﻮام!‪ ،‬وإذا ﻛﺎن ﻫﺬا ﻳﺠﺮي ﻣﻊ ﺷﺎﻋﺮ‬ ‫ﻣﻌﺮوف إﱃ ﺣ ٍﺪ ﻛﺒ ٍري‪ ،‬ﻋﺎش ﺑﻌﺪ ﻗﺼﻴﺪﺗﻪ‬ ‫ٍ‬ ‫اﻟﺘﻲ اﺧﺘﺎرﺗﻬﺎ ﺳﻴﺪة اﻟﻐﻨﺎء اﻟﻌﺮيب أم ﻛﻠﺜﻮم‬ ‫ﻗﺮاﺑﺔ ﻧﺼﻒ ﻗــﺮنٍ ‪ ،‬ومل ميﺾ ﻋﲆ رﺣﻴﻠﻪ‬ ‫أﻛرث ﻣﻦ اﺛﻨﻰ ﻋﴩ ﻋﺎﻣﺎً‪ ،‬ﻓام ﺑﺎﻟﻨﺎ ﺑﺸﻌﺮاء‬ ‫اﻟﺠﺎﻫﻠﻴﺔ واﻟﻌﺼﻮر اﻟﺘﺎﻟﻴﺔ ﻟﻬﻢ!‪.‬‬ ‫وﺑﺎﺳﺘﺪﻋﺎء ﻣﺎ ﻗﺎﻟﻪ روﻻن ﺑﺎرت ﺣﻮل ﻧﺰوع‬ ‫اﻟﺒﴩ إﱃ أﺳﻄﺮة ﺣﻴﺎﺗﻬﻢ اﻟﻴﻮﻣﻴﺔ وإن‬

‫اﻷﺳﻄﺮة ﻟﻴﺴﺖ ﻗﺎﴏة ﻓﻘﻂ ﻋﲆ اﻷﺣﺪاث‬ ‫اﳌﺎﺿﻮﻳﺔ اﻟﺒﻌﻴﺪة أو اﻟﺘﺎرﻳﺦ‪ ،‬ﺗﺠﺪ أﻧﻪ ﻛﺎن‬ ‫ﻫﻨﺎك اﻟﻜﺜري ﻣﻦ اﻷﺳﺒﺎب واﻟﻮﺳﺎﺋﻞ اﻟﺘﻲ‬ ‫ﻳﻜﺘﺸﻒ ﺑﻬﺎ اﳌــﺮء ﻛﺬب ﻫﺬه اﻟﴪدﻳﺔ‪،‬‬ ‫ﺧﺼﻮﺻﺎ وﺣﺎل اﻟﺘﺪوﻳﻦ وﺷﻴﻮع اﳌﻌﻠﻮﻣﺎت‬ ‫ً‬ ‫ﰲ ذروﺗﻪ‪ ،‬ﻣﺎ ﻳﺠﻌﻞ اﻟﺘﻔﺴري اﻷﻗﺮب ﻟﻠﻮاﻗﻊ‬ ‫ﻫﻮ ﻛــﻮن اﳌﺘﻠﻘﻲ اﻟﻌﺮيب اﻧﺘﺨﺐ ﻫﺬه‬ ‫اﻟﺮواﻳﺔ وﻓﻀﻠﻬﺎ ﻋﲆ اﻟﺮواﻳﺔ اﻟﺤﻘﻴﻘﻴﺔ‬ ‫ﺑﻮﺻﻔﻬﺎ اﻷﻛرث روﻣﺎﻧﺘﻴﻜﻴ ٍﺔ ودراﻣﺎ‪ ،‬وﻫﻮ ﻣﺎ‬ ‫ميﻜﻦ اﻻﺳﺘﺪﻻل ﻋﻠﻴﻪ ﺑﺘﺄﻛﻴﺪ اﻟﺪﻛﺘﻮرة ﺳﻬري‬ ‫اﻟﻘﻠاموي ﰲ ﻛﺘﺎﺑﻬﺎ "أﻟﻒ ﻟﻴﻠﺔ وﻟﻴﻠﺔ" أﻧﻪ‬ ‫ُ‬ ‫اﻟﻘﺼﺺ واﻟﺨﻴﺎلِ ‪،‬‬ ‫اﻟﺘﺎرﻳﺦ ﻋﻦ‬ ‫"ﻛﻠام َﺑ ُﻌ َﺪ‬ ‫ِ‬ ‫ازداد ُﺑ ْﻌﺪ اﻟﻌﺎﻣﺔ ﻋﻦ ﺗﺬوﻗﻪ وﺗﻌﻠﻤﻪ"‪.‬‬ ‫‪ƃƮǕŌ dzƚǃ‬‬

‫أﻣﺎ اﻟﻘﺼﺔ اﻟﺤﻘﻴﻘﻴﺔ وراء ﺧﺮوج أﻏﻨﻴﺔ‬ ‫"اﻟﻐﺪ" اﻟﺘﻲ ﻗﺪﻣﺘﻬﺎ أم ﻛﻠﺜﻮم ﻣﻨﺘﺼﻒ ﻋﺎم‬ ‫‪ 1971‬إﱃ اﻟﻨﻮر‪ ،‬واﻟﺘﻲ ﺗﺤﻮل اﺳﻤﻬﺎ ﻣﻦ‬ ‫وﻗﺘﻬﺎ إﱃ "أﻏﺪاً أﻟﻘﺎك"‪ ،‬ﻓﻘﺪ رواﻫﺎ أﻃﺮاﻓﻬﺎ‬ ‫وﻧﻘﻠﺖ ﻋﻨﻬﻢ ﻛﺜرياً‪ ،‬ﻣﺮات ﻛام ﻫﻲ‪ ،‬وﻣﺮات‬

‫ ‪ ­ĘğľōŘ‬‬

‫ﺷﻜﻞ اﻟﻤﻜﺘﺒﺔ‬ ‫ﻻ أدري ﻣﺎاﻟﺬي متﺜﻠﻪ ﻟﻜﻢ اﳌﻜﺘﺒﺔ‪ ،‬ذﻟﻚ اﻟﺮﻛﻦ اﻟﺬي ﻳﺘﻤﺪد ﻃﺒﻴﻌﻴﺎً وﻣﻦ دون ﻗﺼﺪ ﻣﻦ ﺻﺎﺣﺒﻪ‪،‬‬ ‫أﻻ ﺗﺒﺪو ﻟﻜﻢ ﻛﺸﺠﺮة اﻟﻔﺎﺻﻮﻟﻴﺎء اﻟﻌﻤﻼﻗﺔ ﰲ اﻟﻘﺼﺔ اﻟﺘﻲ أﺻﺪرﻫﺎ اﻟﻨﺎﴍ اﻹﻧﺠﻠﻴﺰي ﺑﻨﻴﺎﻣني‬ ‫ﺗﺎﺑﺎرت ﻋﺎم ‪1907‬؟ وﻫﻲ ﰲ اﻷﺻﻞ ﺣﻜﺎﻳﺔ ﺧﺮاﻓﻴﺔ ﺗﺪور ﺣﻮل ﻣﻘﺎﻳﻀﺔ اﻟﻮاﻗﻊ ﺑﺎﻟﺴﺤﺮ‪ ،‬اﻟﺤﺠﺮ‬ ‫ﺑﺎﻟﻔﻜﺮة واﻟﺒﻘﺮة ﺑﺎﻟﻔﺎﺻﻮﻟﻴﺎء‪.‬‬ ‫ً‬ ‫ﻛﻢ ﻫﻲ ﻣﻠﻬﻤﺔ ﺧﺮاﻓﺎﺗﻨﺎ اﻟﺘﻲ ﻧﺘﻨﺎﻗﻠﻬﺎ ﺟﻴﻼ ﺑﻌﺪ ﺟﻴﻞ‪ ،‬وﻟﻜﺎﺗﺒﺔ ﺗﺪﻋﻲ أﻧﻬﺎ ﺗﺆﻣﻦ ﺑﺎﻟﺴﺤﺮ‬ ‫وﺗﺘﻌﺎﻃﺎه ﻣﻦ ﺧﻼل اﻟﻜﺘﺐ‪ ،‬ﺑﺪا ﱄ اﻷﻣﺮ أﺷﺒﻪ ﺑﺎﻟﻐﻀﺐ ﺛﻢ اﻟﺜﻮرة اﻟﺘﻲ ﺗﺤﺪﺛﻬﺎ ﻗﻠﺔ اﻟﺤﻴﻠﺔ‬ ‫أﻣﺎم ﻫﺬا اﻟﻌﺎمل اﳌﻐﻠﻖ مبﻔﺎﺗﻴﺢ اﺑﺘﻠﻌﻬﺎ اﳌﺎرد ﻗﺒﻞ أن ﻳﻐﻮص وﻳﺴﺘﻘﺮ ﰲ ﺑﻄﻦ اﳌﺤﻴﻂ‪ ،‬أو رمبﺎ‬ ‫ﺧﻄﻔﺘﻬﺎ ﻣﻦ أﻣﺎم اﻟﻮﻋﻲ اﻟﺸﺎرد ﺳﺎﺣﺮة ﺗﻨﺸﺪ اﻟﺸﺒﺎب اﻟﻐﺾ ﺑني اﻟﻐﻴﻮم‪.‬‬ ‫ﻫﻨﺎك ﻟﺤﻈﺔ ﻓﺎرﻗﺔ ﺑﻞ ﻟﺤﻈﺎت متﺮ ﺑﺎﻟﻮﻋﻲ اﻹﻧﺴﺎين‪ ،‬ﻓﺄن ﻳﺮﺳﻠﻚ اﻟﻐﻀﺐ ﺑﻔﻜﺮة ﻫﺰﻳﻠﺔ ﻟﺘﻘﻒ‬ ‫أﻣﺎم ﻓﻼح ﻳﻌﻴﺪك ﻣﺒﺘ ًﻼ ﺑﻨﺸﻮة اﻟﺤﺼﺎد‪ ،‬أو أن ﺗﻄﺮدك اﻟﺨﻴﺒﺔ إﱃ ﴎﻳﺮك ﻓﺘﺘﻘﻠﺐ ﻋﲆ ﺟﻤﺮ‬ ‫اﻟﺴﺆال‪ ،‬ﻟﺘﺴﺘﻴﻘﻆ ﺑﻌﺪ أن اﺧﺘﻤﺮت اﻟﺨﻄﺔ‪ ،‬وﺗﻜﺘﺸﻒ أن اﻟﺒﺬرة اﻟﺘﻲ أودﻋﺘﻬﺎ ﰲ ﺑﺎﻃﻨﻚ اﻟﻌﺎﻗﻞ‬ ‫متﺪدت ﻋﲆ ﺣني ﻏﻔﻠﺔ وأورﻗﺖ ذﻫﺒﺎ‪ ،‬ﺗﻠﻚ ﻫﻲ ﻗﻔﺰاﺗﻚ اﻟﺤﻘﻴﻘﻴﺔ ﺑني اﻟﺼﻔﺮ وﺧﻂ اﻟﻨﻬﺎﻳﺔ‪.‬‬ ‫وﻟﻜﻦ ﻣﻬﻼ‪ ..‬ﻫﻞ ﺗﻜﺘﻔﻲ ﺑﺎﻟﻔﺎﺻﻮﻟﻴﺎء أم ﺗﺒﺤﺚ ﻋﻦ ﻧﺨﻞ وورد؟ أﻟﻴﺲ ﻣﻦ ﺣﻘﻚ أن ﺗﺒﺘﺪع‬ ‫ﺧﻴﺎﻟﻚ اﻟﺨﺎص وﻓﻜﺮﺗﻚ اﻷﺛرية؟ ﻓﺘﻌﻮد إﱃ ﻣﻜﺘﺒﺘﻚ وﺗﺘﻌﺮﺑﺶ ﻋﲆ رﻓﻮﻓﻬﺎ‪ ،‬وﺗﻔﻜﺮ ﻣﺎ اﻟﺬي‬ ‫ﺗﺤﺘﺎﺟﻪ ﻟﺘﻮﻟﺪ ﻣﻦ ﺟﺪﻳﺪ؟ ﻫﻞ ﺗﻘﻠﻢ ﻛﺘﺒﻚ اﻟﻘﺪميﺔ‪ ،‬ﺗﻘﻄﻊ ﻏﺼﻨﺎً وﺗﻌﻴﺪ ﻏﺮﺳﻪ ﰲ ﻗﻠﺒﻚ‪ ،‬ﻫﻞ‬ ‫ﺗﻮدع ﻛﺘﺎب اﳌﺮاﺣﻞ اﻟﺘﺄﺳﻴﺴﻴﺔ أم ﺗﻮﺛﻖ اﻟﺮواﺑﻂ ﻟﺘﻔﻬﻢ أﴎارﻫﻢ اﻟﺘﻲ ﻛﺎﻧﺖ ﻋﺼﻴﺔ ﻋﲆ ﺑﻬﺠﺔ‬ ‫ﺻﺒﺎك؟‬ ‫وﻣﺎذا ﻟﻮ ﻛﻨﺖ ذا ﺑﺼﻤﺔ رﻗﻤﻴﺔ‪ ،‬ﻛﻴﻒ ﺗﻌﻴﺪ ﺗﺮﺗﻴﺐ أﺛﺎﺛﻚ اﻟﻮﻫﻤﻲ؟ ﻣﺎ ﻫﻲ ﻓﺮﺿﻴﺎﺗﻚ اﳌﺜﲆ‬ ‫أﻣﺎم ﻃﻮﻓﺎن آﻻف اﻟﺼﻔﺤﺎت ﰲ ﻣﺤﺾ ﺟﻬﺎز؟ أﻻ ﻳﻌﻴﺪك ﺳﺆال اﳌﻜﺘﺒﺔ اﻷول إﱃ ﺟﺪوى اﻟﺮﺣﻠﺔ‬ ‫اﻟﺴﺎﺣﺮة ﻣﻨﺬ اﻷﺳﺎس؟‬ ‫ﻫﺎ أﻧﺖ ﺗﻘﻒ ﺣﺎﺋﺮاً ﺑﻌﺪ أن اﺑﺘﻠﻌﺘﻚ اﻟﻮرﻃﺔ‪ ،‬ﻓﺤﻮﻟﻚ "ﻻ ﻗﺮاء " ﻳﺘﻜﺎﺛﺮون ﻛﺎﻟﻌﺸﺐ‪ ،‬وأﻧﺖ ﺿﻨني‬ ‫ﺑﺒﺬرﺗﻚ وﺟﺬرك " اﻟﱪوﺳﺘﻲ "‪ -‬ﻧﺴﺒﺔ إﱃ ﻣﺎرﺳﻴﻞ ﺑﺮوﺳﺖ ‪ -‬وﻟﻮ ﻛﻨﺖ ﺑﺮوﺳﺖ ﻧﻔﺴﻪ ﳌﺎ ﺗﻮرﻋﺖ‬ ‫ﻋﻦ اﻻﻧﻜﻔﺎء ﻋﲆ ﻣﻌﻄﻔﻚ وﴎﻳﺮك ﻟﺘﻜﺘﺐ ﻗﺼﻴﺪة ﺗﻔﱰش ﺛﻼﺛﺔ آﻻف ﺻﻔﺤﺔ‪ ،‬ﺗﺜﻘﻞ ﺑﻬﺎ ﻛﺎﻫﻞ‬ ‫اﻟﺠﺪوى ﺑﻜﻞ اﻋﱰاﻓﺎﺗﻚ‪.‬‬ ‫ً‬ ‫ً‬ ‫ﻫﻞ ﺗﺼﻠﺢ رواﻳﺔ ﻟﺘﺪاوي رﺷﺤﺎ ﻣﺤﺘﺎﻻ‪ ،‬ﻫﻞ ﺗﻨﻘﺬك ﻣﻦ ﻟﺺ ﺧﻔﻴﻒ اﻟﺮوح‪ ،‬أم ﻫﻞ ُﺗﺸﺒﻊ‬ ‫ﺣﺴﺎﺑﻚ اﳌﴫﰲ اﻟﻴﺘﻴﻢ؟ واﻷﺧرية ﻣﻤﻜﻨﺔ ﻟﻮ أﻧﻚ ﻛﺘﺒﺖ ﻋﻦ ﻣﺪرﺳﺔ ﺗﺨﺮج اﻟﺴﺤﺮ أو ﺑﻄﻞ‬ ‫ﻳﺤﻤﻞ اﻷرض ﻋﲆ ﻛﺘﻔﻪ وﻳﻨﻮء ﺗﺤﺖ ﺛﻘﻞ ﺣﻜﻤﺔ اﻟﺰﻣﻦ‪ ،‬ﻛﺎن ﻣﻤﻜﻨﺎ أن ﺗﺘﻜﺎﺛﺮ دراﻫﻤﻚ ﻟﻮ أﻧﻚ‬ ‫ﻓﺘﺤﺖ ﺣﺴﺎﺑﺎً اﺟﺘامﻋﻴﺎً ﻟﺒﻴﻊ اﻟﻨﺒﻮءات وﻟﻜﻨﻚ ﺑﺎﻟﻜﺎد ﺗﻠﻒ ورق اﻟﻘﺼﻴﺪة ﻋﲆ ﺟﺮﺣﻚ اﻟﻐﺎﺋﺮ‬ ‫وﺗﺘﻮﻛﺄ ﻋﲆ ﻃﺒﻴﺒﺘﻚ اﻟﺬاﻫﻠﺔ ﰲ ﺣﻮاري ﺳﺎراﻣﺠﻮ اﻟﻌﻤﻴﺎء‪ ،‬وﺑﻌﺪ ﻣﺎاﻟﺬي متﺜﻠﻪ اﳌﻜﺘﺒﺔ ﻟﻜﻢ ﰲ‬ ‫ﻋﴫ اﻟﺮﻗﻤﻨﺔ اﻟﻔﺎرﻋﺔ‪ ،‬ﺣﻴﺚ ﻻ ﻋﻨﺎوﻳﻦ ﺗﺤيك ﻟﻜﻢ ﻓﺤﻮى اﻟﺮﺳﺎﻟﺔ‪ ،‬وﻻ ﻣﻮﻃﺊ ﻗﺪم ﻟﺘﺠﺎر ﺣﺒﻮب‬ ‫اﻟﻔﺎﺻﻮﻟﻴﺎء اﻟﺴﺤﺮﻳﺔ؟‬

‫ﺻﻔﻴﺔ اﻟﺸﺤﻲ‬

‫‪@safiaalshehi‬‬

‫اﻟﺸﻌﺮ ‪baytelshear‬‬ ‫ﺑﻴﺖ ِ‬

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‫‪şĚĮŃ şěńĴ‬‬ ‫وﺑﻴﺰرﻋﻮك ﻳﺎ ﻗﻄﻦ وﻳﺎ اﻟﺴﻨﺎيك‪ /‬وﺑﻴﺰرﻋﻮك‬ ‫ﻳﺎ ﻗﻤﺢ زرﻋــﺔ ﻋﻠﻢ‪ /‬وﺑﻴﺪﺧﻠﻮيك ﻳﺎ ﺣﺮب‬ ‫ﻓﺤﻢ اﻟﺤﺮﻳﻘﺔ‪ /‬وﺑﻴﺰرﻋﻮيك ﻳﺎ ﻣﴫ ﺷﻤﺲ‬ ‫اﻟﺤﻘﻴﻘﺔ"‪.‬‬ ‫‪ŦǶƉǾş ǽǝōƯŐ‬‬

‫اﻟﺪﻳﻮان اﻟﺜﺎﻟﺚ ﺻﺪر ﰲ ﺑريوت ﻋﻘﺐ اﻟﺤﺮب‬ ‫اﻷﻫﻠﻴﺔ اﻟﻠﺒﻨﺎﻧﻴﺔ واﺟﺘﻴﺎح إﴎاﺋﻴﻞ ﻟﺠﻨﻮب‬ ‫ﻟﺒﻨﺎن ‪ .1982‬ﻛﺎن اﻟﺸﺎﻋﺮ ﻗﺪ ﻗﺮر اﻟﻌﻮدة‬ ‫ﳌﴫ‪ ،‬ﻟﻜﻦ ﻓﻮﺟﺊ ﺑﺎﻟﺮﺋﻴﺲ اﻟﻔﻠﺴﻄﻴﻨﻲ‬ ‫اﻟﺮاﺣﻞ ﻳــﺎﴎ ﻋﺮﻓﺎت ﻳﺴﺘﺪﻋﻴﻪ ﻟﺘﻨﺎول‬ ‫اﻹﻓﻄﺎر ﻣﻌﻪ‪ ،‬ﻓﺬﻫﺐ ﻟﻴﺠﺪ ﻋﻨﺪه أﺻﺪﻗﺎءه‪:‬‬ ‫ﻣﺤﻤﻮد دروﻳﺶ وﻣﻌني ﺑﺴﻴﺴﻮ وﻏريﻫام‪،‬‬ ‫ﻓﻴﺨﱪوه ﺑﺄن اﺳﻤﻪ ﺿﻤﻦ اﳌﻄﻠﻮﺑني ﻟﻼﻋﺘﻘﺎل‬ ‫ﻓﻴام ﻋــﺮف ﺑــﺄﺣــﺪاث ﺧﺮﻳﻒ اﻟﻐﻀﺐ‪،‬‬ ‫وﻋﻨﺪﻣﺎ رﺣﻞ اﻟﺴﺎدات‪ ،‬ﻛﺎن اﻟﺸﺎﻋﺮ ﻋﲆ‬ ‫وﺷﻚ اﻟﻌﻮدة ﻟﻠﻘﺎﻫﺮة ﻟﻜﻦ اﻧﺪﻟﻌﺖ اﻟﺤﺮب‬ ‫ﻓﺄﻃﻠﻖ ﻋﺒﺎرﺗﻪ اﻟﺸﻬرية‪" :‬ﻣني اﳌﺠﻨﻮن اﱄ‬ ‫ﻳﻼﻗﻲ ﺣﺮب وميﴚ!"‪.‬‬ ‫ﻫﻨﺎك ﻋﺎود زﻳﻦ اﻟﻐﻨﺎء اﻟﺬي ﻋﺮﻓﺘﻪ ﻗﺼﺎﺋﺪه‬ ‫ﻣﻊ اﻟﺸﻴﺦ إﻣﺎم؛ ﻛﺎن ﻳﻜﺘﺐ اﻟﻘﺼﺎﺋﺪ وﻳﻐﻨﻴﻬﺎ‬ ‫وﻳﻠﺤﻨﻬﺎ ﺻﺪﻳﻘﻪ اﳌﻄﺮب اﻟﺮاﺣﻞ واﳌﻨﺎﺿﻞ‬ ‫اﻟﺜﻮري ﻋﺪﱄ ﻓﺨﺮي‪ ،‬ﺑني ﺻﻔﻮف اﳌﻘﺎوﻣﺔ ﰲ‬ ‫ﻣﺨﺘﻠﻒ أﻣﺎﻛﻨﻬﺎ‪ ،‬اﻟﺘﺠﺮﺑﺔ اﻟﺘﻲ وﺟﺪت ﺻﺪى‬ ‫واﺳ ًﻌﺎ واﻟﺘﻔﺘﺖ إﻟﻴﻬﺎ ﻗﻨﻮات اﻟﺘﻠﻴﻔﺰﻳﻮن‬ ‫اﻟﻐﺮﺑﻴﺔ‪ ،‬ﻣﺎ دﻓﻊ أﺻﺪﻗﺎءه إﱃ اﳌﺒﺎدرة‬ ‫ﺑﺘﺠﻤﻴﻊ ﻗﺼﺎﺋﺪ ﻫﺬا اﻟﺪﻳﻮان وإﻣﻼﺋﻬﺎ ﻋﱪ‬ ‫اﻟﻬﺎﺗﻒ ﻟﺘﺼﺪر ﰲ ﺑﺎرﻳﺲ‪ ،‬ﻟﻴﻜﻮن "أﻏﺎين ﻣﻦ‬ ‫ﺑريوت" ﺛﺎﻟﺚ دواوﻳﻨﻪ اﻟﺘﻲ ﺗﺼﺪر ﰲ ﻣﻴﺎدﻳﻦ‬ ‫اﻟﻨﻀﺎل اﻟﺴﻴﺎﳼ‪.‬‬ ‫‪ǚŌƃǾǙ ǛƲǕŌ‬‬

‫ﺑﻌﺪ ﺛﻼﺛني ﻋﺎﻣﺎً ﻣﻦ ﻫﺬه اﻟﻮﻗﺎﺋﻊ‪ ،‬ﺗﺼﺎدف‬ ‫أن ﻛﺎن زﻳﻦ اﻟﻌﺎﺑﺪﻳﻦ ﻓﺆاد ﺑﺎﻟﻘﺎﻫﺮة وﻗﺖ‬ ‫ﺛﻮرة ﻳﻨﺎﻳﺮ‪ ،‬ﻓﺎﻟﺘﺤﻢ ﺑﻬﺎ وﻓﻮﺟﺊ ﺑﺄﻏﻨﻴﺎﺗﻪ‬ ‫ﻣﻊ اﻟﺸﻴﺦ إﻣﺎم ﺗﺴﺘﺪﻋﻰ وﻳﺮددﻫﺎ اﻟﺸﺒﺎب‬ ‫اﻟﺬﻳﻦ مل ﻳﻜﻦ أﻛرثﻫﻢ ﻳﻌﺮﻓﻪ ﻗﺒﻞ ذﻟﻚ‪ ،‬إذ‬ ‫ﻛﺜرياً ﻣﺎ ﻧﺴﺒﺖ أﻏﻨﻴﺎﺗﻪ اﻟﺘﻲ ﻏﻨﺎﻫﺎ اﻟﺸﻴﺦ‬ ‫إﻣــﺎم ﻟﻨﺠﻢ‪ ،‬رﻓﻴﻖ إﻣــﺎم وﺻﺎﺣﺐ أﺷﻬﺮ‬

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‫اﻟﻌﺪد ‪ ، 74‬ﻳﻨﺎﻳﺮ ‪2019‬‬

‫أﻏﻨﻴﺎﺗﻪ اﻟﺴﻴﺎﺳﻴﺔ ﰲ اﻟﺴﺒﻌﻴﻨﻴﺎت‪ ،‬ﻣﺎ ﺣﻔﺰه‬ ‫ﻋﲆ ﻓﻜﺮة ﺗﻨﻈﻴﻢ ﻣﺤﻔﻠﻪ اﻟﺸﻬﺮي اﻟﺬي‬ ‫ﺣﻤﻞ اﺳﻢ "اﻟﻔﻦ ﻣﻴﺪان"‪ ،‬واﻟﺬي أﺳﻬﻢ ﰲ‬ ‫ﺗﻘﺪﻳﻢ ﻋﺪد ﻣﻦ اﻟﻔﺮق اﻟﻐﻨﺎﺋﻴﺔ اﳌﺴﺘﻘﻠﺔ‬ ‫وﻓﻌﺎﻟﻴﺎت ﻣﻮﺳﻴﻘﻴﺔ وﻓﻦ ﺗﺸﻜﻴﲇ ﻟﻠﻜﺒﺎر‬ ‫واﻟﺼﻐﺎر‪ ،‬وﻫﻮ ﺻﺎﺣﺐ رﺻﻴﺪ وﺧﱪة ﺳﺎﺑﻘني‬ ‫ﰲ اﻟﱰﺑﻴﺔ واﻟﺘﻌﻠﻴﻢ ﺑﺎﻟﻔﻦ‪.‬‬ ‫وﰲ اﳌﻴﺪان ﻧﻀﺠﺖ ﻗﺼﺎﺋﺪ اﻟﺪﻳﻮان اﻟﺮاﺑﻊ‬ ‫ﻟﺰﻳﻦ اﻟﻌﺎﺑﺪﻳﻦ ﻓﺆاد اﻟﺬي ﺻﺪر ﻗﺒﻞ ﺛﻼﺛﺔ‬ ‫أﻋــﻮام ﺑﻌﻨﻮان "ﻗﻬﻮة اﻟﺼﺒﺤﻴﺔ"‪ ،‬ورﻏﻢ‬ ‫أﻧﻪ دﻳﻮان ﻣﻨﺴﻮج ﻣﻨﺬ إﻫﺪاﺋﻪ ﻷﺻﺪﻗﺎﺋﻪ‬ ‫اﻟﺮاﺣﻠني وﺷﻬﺪاء اﻟﺜﻮرات وﻣﻴﺎدﻳﻦ اﻟﻨﻀﺎل‪،‬‬ ‫إﻻ أﻧﻪ ﻧﺠﺎ ﻣﻦ ﻓﺦ اﻟﺴﻮداوﻳﺔ وإن مل ﻳﻐﺐ‬ ‫ﻋﻨﻪ اﻷﳻ اﻟﺸﻔﻴﻒ‪ .‬وﻫﻮ ﻳﻀﻢ ﺣﻮاﱄ ‪30‬‬ ‫ﻗﺼﻴﺪة‪ ،‬ﻣﻨﻬﺎ‪ :‬اﻟﻘﻠﺐ واﻷﺻﺤﺎب‪ ،‬ﻳﺮﺟﻊ‬ ‫اﻟﺒﻠﺸﻮن ﻳﻄري‪ ،‬ﻋﺪﻳﺪ ﻣﴫي ﻋﲆ ﺷﻬﻴﺪ‬ ‫ﻣﴫي‪ ،‬اﻟﺤﻜﻮايت‪ ،‬ﺷﻤﺲ اﻟﺼﺒﺤﻴﺔ‪ ،‬ﺣﻠﻤﻰ‬ ‫ﺳﺎمل ﻳﺮﺣﻞ ﰲ اﻷﻣﺎﻛﻦ‪ ،‬ﺑﺮاوﻳﺰ ﻟﻨﺎس ﰲ‬ ‫اﻟﻐﻴﺎب‪ ،‬اﻟﺴﻜﻦ ﺗﺤﺖ اﻟﺠﻠﺪ‪ ،‬ﺣﺪﻳﺚ ﺧﺎص‬ ‫ﻣﻊ ﻣﻴﻨﺎ داﻧﻴﺎل‪ ،‬ﺑﺴﻤﺔ ﺗﺘﻬﺠﻰ اﻟﺤﻴﺎة‪،‬‬ ‫ﺟﻮﺳﻠني‪ ،‬اﻟﻔﺮاﺷﺔ إﱃ ﻣﻴﻨﺎ داﻧﻴﺎل‪ ،‬ﺟﺮح‬ ‫اﻟﺒﺪن‪ ،‬وﻏريﻫﺎ ﻣﻦ اﻷﺳامء‪ ،‬ﺣﻴﺚ ﻳﺘﻀﻤﻦ‬ ‫إﻫــﺪاءه ﺣــﻮاﱄ ﻣﺎﺋﺔ اﺳﻢ ﻣﻦ أﺻﺪﻗﺎﺋﻪ‬ ‫اﻟﺮاﺣﻠني اﺳﺘﺪﻋﺎﻫﻢ اﻟﺸﺎﻋﺮ اﻟﺬي مل ﻳﻜﻦ‬ ‫أﻣﺎﻣﻪ ﻣﻊ ﺧﱪة اﻟﻔﻘﺪ اﳌﺒﻜﺮ واﳌﺘﻜﺮر ﺳﻮى‬ ‫اﻋﺘﺒﺎر اﳌﻮت ﻣﺠﺮد ﺳﻔﺮ واﻧﺘﻘﺎل ﻟﺮﺣﻠﺔ‬ ‫أﺧﺮى ﰲ ﻣﺪن ﺑﻌﻴﺪة ﺗﻄﻮﻳﻬﺎ اﻟﺬاﻛﺮة‪.‬‬ ‫ﺣﺎﻟﻴﺎً ورﻏﻢ ﺗﻮﻗﻒ ﻓﻌﺎﻟﻴﺎت "اﻟﻔﻦ اﳌﻴﺪان"‪،‬‬

‫ﻻ ﻳﺘﻮﻗﻒ ﻧﺸﺎط اﻟﺸﺎﻋﺮ زﻳﻦ اﻟﻌﺎﺑﺪﻳﻦ‬ ‫ﻓﺆاد‪ ،‬اﻟﺬي ميﴣ اﻟﻔﱰة اﻷﺧرية ﻣﺎﺑني ﺗﻮﻧﺲ‬ ‫وﺑريوت واﻟﻘﺎﻫﺮة‪ ،‬ﺣﻴﺚ ﺷﺎرك ﰲ اﻻﺣﺘﻔﺎل‬ ‫مبﺌﻮﻳﺔ "اﻟﺸﻴﺦ إﻣﺎم ﻋﻴﴗ" ﺑﺘﻮﻧﺲ‪ ،‬ﻗﺒﻞ أن‬ ‫ﻓﻴﻠﻢ‬ ‫ﻳﺬﻫﺐ إﱃ ﺑريوت ﻟﻠﻤﺸﺎرﻛﺔ ﰲ إﻋﺪاد ٍ‬ ‫ﻋﻦ اﳌﻄﺮب اﻟﺜﻮري اﻟﺮاﺣﻞ ﻋﺪﱄ ﻓﺨﺮي‪،‬‬ ‫رﻓﻴﻘﻪ ﰲ ﺣﺮب ﺑريوت‪ ،‬ﻓﻴام ﻳﻮاﺻﻞ اﻟﻌﻤﻞ‬ ‫ﻋﲆ ﻛﺘﺎب ﻋﻦ اﻟﻔﱰة اﻟﺘﻲ ﻗﻀﺎﻫﺎ ﰲ ﺑريوت‬ ‫ﻣﻊ ﻣﻨﻈﻤﺔ اﻟﺘﺤﺮﻳﺮ اﻟﻔﻠﺴﻄﻴﻨﻴﺔ وﻛﺘﺐ‬ ‫ﺧﻼﻟﻬﺎ دﻳﻮاﻧﻪ اﻟﺜﺎﻟﺚ "أﻏﺎين ﻣﻦ ﺑريوت"‪،‬‬ ‫ﻳﺤﻤﻞ اﻟﻜﺘﺎب "ﻋﻨﻮان ﻋﲆ ﺑﻮاﺑﺎت ﺑريوت"‪،‬‬ ‫وﻳﻐﻄﻲ اﻟﻔﱰة ﻣﻦ ‪ 1974‬إﱃ‪ ،1982‬وﻗﺪ‬ ‫ﻗﻄﻊ ﻓﻴﻪ اﻟﺸﺎﻋﺮ ﺷﻮﻃﺎً ﻛﺒرياً‪ ،‬وﻣﺜﻠﺖ‬ ‫ﺗﺠﺮﺑﺘﻪ ﺗﻌﻮﻳﻀﺎً ﻣﺆﻗﺘﺎً ﻋﻦ ﻓﻜﺮة ﻛﺘﺎﺑﺔ‬ ‫ﺳريﺗﻪ اﻟﺬاﺗﻴﺔ اﻟﺘﻲ ﻛﺎﻧﺖ راودﺗــﻪ ﻣﻨﺬ‬ ‫ﺳﻨﻮات‪ ،‬وﻫﻲ ﻓﻜﺮة ﺗﺤﺘﺎج ﻟﻠﻜﺜري ﻣﻦ‬ ‫اﻟﺠﻬﺪ واﻻﺣﺘﺸﺎد‪ ،‬ﻛﻮﻧﻬﺎ ﻋﻦ ﺳرية ﺷﺨﺺ‬ ‫اﻧﺨﺮط ﻣﺒﻜﺮاً ﰲ ﻣﻌﺮﻛﺔ اﻟﻜﺘﺎﺑﺔ واﻟﻨﻀﺎل‬ ‫اﻟﺴﻴﺎﳼ ﰲ ﻓــﱰة ﺷــﺪﻳــﺪة اﻟﺨﺼﻮﺻﻴﺔ‬ ‫واﻻﺷﺘﻌﺎل‪ .‬ﻛام أﻧﻪ ﻣﻦ اﳌﻤﻜﻦ اﺳﺘﻨﺘﺎج أن‬ ‫اﻟﺸﺎﻋﺮ ﻣﻦ أوﻟﺌﻚ اﻟﺬﻳﻦ ﻳﻔﻀﻠﻮن ﻣﻌﺎﻳﺸﺔ‬ ‫اﻟﺤﻴﺎة أﻛرث ﻣﻦ ﻛﺘﺎﺑﺘﻬﺎ‪ ،‬وﻫﻮ ﻣﺎﻳﴚ ﺑﻪ‬ ‫ﻋﺪم اﻧﺸﻐﺎﻟﻪ ﺑﻔﻜﺮة اﻟﻐﺰارة اﻟﻜﻤﻴﺔ‪ ،‬وﻛﺄن‬ ‫اﻟﻜﺘﺎﺑﺔ ﻟﺪﻳﻪ اﺑﻨ ًﺔ ﻟﻠﺘﺠﺮﺑﺔ‪ ،‬ﻣﺎ ﻋﱪ ﻋﻨﻪ ﻳﻮﻣﺎً‬ ‫ﺑﻘﻮﻟﻪ‪ :‬اﻟﻘﺼﺎﺋﺪ ﻻ ﺗﻜﺘﺐ ﻓﻘﻂ ﺑﺎﻷﻗﻼم ﻋﲆ‬ ‫اﻟﻮرق‪ ،‬ﻓﻬﻨﺎك ﻗﺼﺎﺋﺪ متﴚ ﻋﲆ اﻷرض‪...‬‬ ‫وﻫﻨﺎك ﻗﺼﺎﺋﺪ ﺗﺄﺧﺬ ﺷﻜﻞ اﻟﺒﴩ‪ ،‬وﺑﴩ‬ ‫ﻳﺄﺧﺬون ﺷﻜﻞ اﻟﻘﺼﻴﺪة"‪.‬‬

‫دواوﻳﻦ ﻫﺬا اﻟﺸﺎﻋﺮ ﻣﺮﺛﻴ ًﺔ ﻃﻮﻳﻠ ًﺔ‪ ،‬ﻟﻜﻨﻬﺎ مل‬ ‫ﺗﻜﻦ ﻛﺬﻟﻚ‪ ،‬ﺑﻞ ﻓﺎﺿﺖ ﻋﲆ اﻟﺪوام ﺑﺎﻷﻣﻞ‬ ‫واﻟﺤﺐ واﻟﺜﻮرة ﻣﻦ أﺟﻞ واﻗﻊ أﻓﻀﻞ‪:‬‬ ‫ﻗﻄﻌﺖ ﺣﺒﻞ اﻟﺨﻼص‪ /‬ودﺧﻠﺖ م ٌاﻟـّـﴪة‪..‬‬ ‫ﺣﻀﻨﺖ أﻣﻲ اﻟﲇ ﻧﻌﺴﺖ‪ /‬ﻗﺒﻞ ﻣﺎ ﺗﺴ ّﻤﻲ‪..‬‬ ‫ّ‬ ‫واﺧــﴬت اﻟﺒﺬرة‪ /‬وﰲ‬ ‫رﺿﻌﺖ ﻣﻦ دﻣﻬﺎ‬ ‫اﻟﴪﻳﺮ‪ /‬اﺗﺒﺪل ﺟﺴﻤﻲ وﺻﺎر ﺷﺠﺮة‪..‬‬ ‫ﻣﻊ ﻛﻞ ﺻﺎﺣﺐ ﻳــﺰورك‪ /‬ﺟﺴﻤﻲ ﺑﻴﻮ ّرق‪/‬‬ ‫ﺟﺴﻤﻲ اﻟﻨﺤﻴﻞ‪ ،‬اﻻزرق اﻟﻨﺎﻋﻢ‪.‬‬ ‫ﺧﻤﺴني ﺳﻨﺔ‪ ،‬واﻟﺸﺠﺮ ﺑﻴﺴ ّﻘﻂ اوراﻗﻪ‪ /‬واﻧﺖ‬ ‫رﺑﻴﻊ داﻳﻢ‪.‬‬ ‫ﻳﺪﻳﻦ ﻓﺆاد ﻟﻠﺸﻌﺮ ﺑﺄن أﻧﻘﺬه ﻣﻦ ﻗﺴﻮة‬ ‫اﻟﺤﻴﺎة اﻟﻴﻮﻣﻴﺔ؛ ﻓﻘﺪ ﺑﺪأ اﻟﻜﺘﺎﺑﺔ وﻧﴩ‬ ‫ﻗﺼﺎﺋﺪه ﺑﺎﻟﻔﺼﺤﻰ ﰲ ﺳــﻦ اﻟــﻌــﺎﴍة‪،‬‬ ‫ﻣﺘﺄﺛﺮاً ﺑﻘﺮاءة ﻣﺒﻜﺮة ﻟﺸﻌﺮ أﺣﻤﺪ ﺷﻮﻗﻲ‬ ‫وﻣﻦ وراﺋﻪ إﺑﺮاﻫﻴﻢ ﻧﺎﺟﻲ وﻋﲇ ﻣﺤﻤﻮد‬ ‫ﻃﻪ اﻟﻠﺬﻳﻦ ﺗﺄﺛﺮ ﺑﻬام ﻛﺜرياً وﻣﻨﺤﺎه أﺑﻮ ًة‬ ‫ﺷﻌﺮﻳ ًﺔ أوﱃ‪ .‬ﺑﻌﺪ ﻋﴩ ﺳﻨﻮات ﺗﺤﻮل إﱃ‬ ‫اﻟﻜﺘﺎﺑﺔ ﺑﺎﻟﻌﺎﻣﻴﺔ اﻟﺘﻲ اﺳﺘﺸﻌﺮ ﻓﻴﻬﺎ ﻃﺰاﺟﺔ‬ ‫وإﻧﺴﺎﻧﻴ ًﺔ وأﻧﺴﺎ ﻳﻨﺎﺳﺒﻮن أﻏﻨﻴﺎت اﻷﻣﻬﺎت‬ ‫ﻷﻃﻔﺎﻟﻬﻦ واﻟﻔﻼﺣني ﰲ اﻟﺤﻘﻮل‪ ،‬ﻣﺘﺄﺛﺮاً ﻫﺬه‬ ‫اﳌﺮة ﺑﻜﺘﺎب اﻟﻨﺎﻗﺪ واﳌﻔﻜﺮ ﻟﻮﻳﺲ ﻋﻮض‬ ‫اﻟﺠﺪﱄ "ﺑﻠﻮﺗﻮ ﻻﻧﺪ"‪ .‬وﺑﺤﻠﻮل ﻋﺎم ‪1964‬‬ ‫اﻧﺘﻬﻰ اﻟﻄﺎﻟﺐ اﻟﺠﺎﻣﻌﻲ اﻟﺬي ﻛﺎﻧﻪ ﻣﻦ أول‬ ‫دواوﻳﻨﻪ وأﺳامه "وش ﻣﴫ"‪ ،‬ﻟﺘﺒﺪأ ﻣﻌﺮﻛﺘﻪ‬ ‫ﻣﻊ اﻟﺮﻗﻴﺐ‪.‬‬ ‫ﻇﻞ دﻳﻮان زﻳﻦ ﻳﺮﻓﺾ ﻟﺴﺒﻊ ﺳﻨﻮات‪ ،‬وﻋﻨﺪﻣﺎ‬ ‫أﺟﺎزﺗﻪ اﻟﺮﻗﺎﺑﺔ ﻧﻬﺎﻳﺔ ﻋﺎم ‪ ،1971‬مل ﻳﻜﻦ‬ ‫ميﻠﻚ مثﻦ ﻃﺒﺎﻋﺘﻪ‪ ،‬ﻓﺎﺑﺘﻜﺮ ﻋﺪد ﻣﻦ ﺷﺒﺎب‬ ‫اﻟﺤﺮﻛﺔ اﻟﺜﻮرﻳﺔ اﻟﺘﻲ ﻛﺎﻧﺖ متﻸ اﻟﺠﺎﻣﻌﺎت‬ ‫ﰲ ذﻟﻚ اﻟﻮﻗﺖ‪ ،‬ﻃﺮﻳﻘﺔ ﻟﺠﻤﻊ ﺗﻜﻠﻔﺔ ﻃﺒﺎﻋﺔ‬ ‫اﻟﺪﻳﻮان‪ ،‬ﺑﺄن وزﻋﻮا "ﻛﻮﺑﻮﻧﺎت" ﻣﻘﺎﺑﻞ ﻣﺒﻠﻎ‬ ‫ﻣﻦ اﳌﺎل ﻫﻮ ﺳﻌﺮ اﻟﻨﺴﺨﺔ اﻟﺘﻲ ﺳﺘﻮزع‬ ‫ﻋﲆ ﺣﺎﻣﲇ ﺗﻠﻚ اﻟﻜﻮﺑﻮﻧﺎت ﺑﻌﺪ ﻃﺒﺎﻋﺘﻬﺎ‪،‬‬ ‫وﻋﺪدﻫﺎ ‪ 2800‬ﻧﺴﺨﺔ‪ ،‬ﻓﻜﺎن اﻟﺪﻳﻮان ﻛام‬ ‫ﻳﺼﻔﻪ ﺻﺎﺣﺒﻪ وأﺻﺪﻗﺎؤه‪" :‬أول دﻳﻮانٍ ﺗﻨﻔﺪ‬ ‫ﻧﺴﺨﻪ ﻗﺒﻞ أن ﻳﻨﺰل اﻟﺴﻮق"‪.‬‬ ‫دﻳﻮاﻧﻪ اﻟﺜﺎين ﺻﺪر ﻋﺎم ‪ 1978‬ﺧﻼل ﻓﱰة‬ ‫اﻋﺘﻘﺎﻟﻪ ﻣﻊ ﺷﺒﺎب اﻟﺤﺮﻛﺔ اﻟﻄﻼﺑﻴﺔ ﻋﲆ‬

‫‪ɰ‬‬ ‫‪ ǻǔƫ dzǂǾŭǶ ǣƒƲǝ Ƿǥ ƈōƛ‬‬ ‫‪ ǒōƞǜǕŌ ǛǙ ǚƉǃ Ʊƚǝ ǛǙ ƉŬljŐ‬‬ ‫‪ɲ‬‬ ‫‪ ǛƲǕŌǶ ƉƪƖǕōş‬‬ ‫‪ɰ‬‬ ‫‪ ǛǿǶŌǶƂ ŻŞƚũ ǚŐ ōƪǃǷŨǙ ǚōlj‬‬ ‫‪ɰ‬‬ ‫‪ɰ‬‬ ‫ ‪ ōǤǜLjǕ ɐdzǔǿǷƣ‬‬ ‫‪dzǾŭƉǙ ƉƫōƖǕŌ Ōƅǥ‬‬ ‫‪ ǻǔƫ ŧƟōƳ Ǔş ɐLJǕƅlj ǛLjũ ǗǕ‬‬ ‫‪ DzƈǷŬǕŌǶ ŝżǕŌǶ ǓǙȏōş ǖŌǶƃǕŌ‬‬

‫ ‪ ǢƅǂǝŐ ǚőş ƉƪƖǔǕ ƂŌǹƳ Ǜǿƃǿ‬‬ ‫‪ ƃǂƳ ɑdzǾǙǷǾǕŌ DzōǾżǕŌ DzǷƒǃ ǛǙ‬‬ ‫‪ Ǣƃȃōƚǃ ƉƖǝǶ dzşōŨLjǕŌ Őƃş‬‬ ‫‪ ɐDzƉƗōƪǕŌ ǛƓ ǽƳ ǻżƚƲǕōş‬‬ ‫‪ɰ‬‬ ‫‪ ƃǘŽŐ ƉƪƖǕ DzƉLjŞǙ DzŋŌƉǂş ŌƉŭőŨǙ‬‬ ‫‪ǽǃǷƗ‬‬

‫‪ ƩރǕ ƝƳƉǿ ǛǿƊ ǚŌǷǿƂ ǓƧ‬‬ ‫‪ dzşōǃƉǕŌ ǣũƊōŵŐ ōǙƃǜƫǶ ɐŦŌǷǜƓ‬‬ ‫‪ LJǔǘǿ ǛLjǿ ǗǕ ɐ1971 ǖōƫ dzǿōǤǝ‬‬ ‫‪ǣŨƫōŞƣ Ǜǘŭ‬‬

‫ﺧﻠﻔﻴﺔ اﻧﺘﻔﺎﺿﺔ اﻟﺨﺒﺰ ﻋﺎم ‪ ،1977‬ومتﻬﻴﺪاً‬ ‫ﻟﻠﺴﻴﻄﺮة ﻋﲆ اﻟﺸﺎرع اﻟﺴﻴﺎﳼ ﻗﺒﻴﻞ ﺗﻮﻗﻴﻊ‬ ‫ﻣﻌﺎﻫﺪة ﻛﺎﻣﺐ دﻳﻔﻴﺪ‪ ،‬ومل ﺗﻜﻦ ﻇﺮوف‬ ‫ﻧﴩه أﻗﻞ ﻣﻐﺎﻣﺮة ﻣﻦ ﻇﺮوف اﻟﺪﻳﻮان اﻷول‬ ‫إذ ﺗﻢ ﺗﻬﺮﻳﺐ ﻗﺼﺎﺋﺪه ﻣﻦ اﻟﺴﺠﻦ ﻣﻜﺘﻮﺑﺔ‬ ‫ﺑﺨﻂ اﻟﻴﺪ‪ ،‬وﻃﺒﻊ ﺑﺒريوت ﺑﻌﻨﻮان "اﻟﺤﻠﻢ ﰲ‬ ‫اﻟﺴﺠﻦ"‪ .‬وﻣﺮت ﻗﺮاﺑﺔ أرﺑﻌني ﻋﺎ ًﻣﺎ ﻗﺒﻞ أن‬ ‫ﻳﺘﻤﻜﻦ اﻟﺸﺎﻋﺮ ﻣﻦ ﻃﺒﺎﻋﺘﻪ ﺑﺎﻟﻘﺎﻫﺮة ﻋﺎم‬ ‫‪ 2012‬ﺑﻌﻨﻮان آﺧﺮ ﻫﻮ "ﻣني اﱄ ﻳﻘﺪر ﻳﺤﺒﺲ‬ ‫ﻣﴫ" ﻣﻘﺘﻄﻊ ﻣﻦ أﺷﻬﺮ ﻗﺼﺎﺋﺪه اﻟﺘﻲ ﻏﻨﺎﻫﺎ‬ ‫اﻟﺸﻴﺦ إﻣﺎم "اﺗﺠﻤﻌﻮا اﻟﻌﺸﺎق ﰲ ﺳﺠﻦ‬ ‫اﻟﻘﻠﻌﺔ" ﺑﻌﺪﻣﺎ أرﺳﻞ ﻟﻪ زﻳﻦ اﻟﻘﺼﻴﺪة ﻣﻦ‬ ‫زﻧﺰاﻧﺘﻪ‪.‬‬ ‫وإذا ﻛﺎﻧﺖ ﻛﻠامت زﻳﻦ ﺗﺪﻳﻦ ﻟﺼﻮت اﻟﺸﻴﺦ‬ ‫إﻣﺎم اﻟﺬي ﻧﻘﻠﻬﺎ ﻟﻠﺠامﻫري ﻋﱪ أﻛرث ﻣﻦ ‪20‬‬ ‫ﻗﺼﻴﺪة ﻛﺎن أﺷﻬﺮﻫﺎ "أﻏﻨﻴﺔ اﻟﻔﻼﺣني ﺑﻴﻐريوا‬ ‫اﻟﻜﺘﺎن ﺑﺎﻟﻜﺎيك"‪ ،‬ﻓﺈن إﻣﺎم ورﻓﻴﻘﻪ اﻟﺸﺎﻋﺮ‬ ‫أﺣﻤﺪ ﻓﺆاد ﻧﺠﻢ ﻳﺪﻳﻨﺎن ﻟﺰﻳﻦ ﺑﺄن ﻗﺪﻣﻬام‬ ‫ﻟﺠامﻫري اﻟﺠﺎﻣﻌﺔ اﳌﴫﻳﺔ أول ﻣﺮة‪ ،‬وﻛﺎﻧﺖ‬ ‫ﺣﻔﻼﺗﻬام ﻗﺒﻞ ﻗﺎﴏة ﻋﲆ ﺑﻴﻮت اﻟﻨﺨﺐ‬ ‫ﻓﺎﻧﺘﻘﻠﺖ ﻟﻴﺴﻤﻌﻬﺎ اﻵﻻف ﻗﺒﻞ أن ﺗﺨﺼﺺ‬ ‫ﻟﻬام اﻹذاﻋﺔ ﻓﻘﺮة ﺷﺒﻪ ﻳﻮﻣﻴﺔ ﺿﻤﻦ ﺑﺮاﻣﺠﻬﺎ‪.‬‬ ‫"اﻟﺤﺮب ﻟﺴﻪ ف أول اﻟﺴﻜﺔ‪ /‬اﻟﻔﻼﺣني ﺑﻴﻐريوا‬ ‫اﻟﻜﺘﺎن ﺑﺎﻟﻜﺎيك‪ /‬وﻳﻐريوا اﻟﻜﺎيك ﺑﻠﻮن اﻟﺪم‬ ‫اﻟﺸﻌﺮ ‪baytelshear‬‬ ‫ﺑﻴﺖ ِ‬

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‫‪şĚĮŃ şěńĴ‬‬

‫‪ ƈǷǤǘŴǔǕ ǗŴǝǶ ǖōǙŒ ſǾƖǕŌ ǖƃǃ‬‬ ‫‪ ŦǶƉǾş ŜƉżş ƕǿǶƈƂ ǁƳŌƈǶ‬‬

‫زﻳﻦ اﻟﻌﺎﺑﺪﻳﻦ ﻓﺆاد‪..‬‬ ‫اﻟﻤﻐﻨﻲ اﻟﺤﺎﻟﻢ‬

‫ﻋﺰة ﺣﺴﻴﻦ‬

‫ﺑﻴﻨام ﺗﻘﺮأ ﻗﺼﻴﺪ ًة ﻋﲆ ﺟﻤﻬﻮر واﺳﻊ‪ ،‬أو‬ ‫ﺣﺘﻰ ﰲ أذن ﺻﺪﻳﻖ‪ ،‬ﺗﺴﺘﻤﻊ أﻏﻨﻴ ًﺔ أو ﺗﺮدد‬ ‫ﻫﺘﺎﻓﺎً‪ ،‬ﻟﻦ ﻳﻔﺎﺟﺌﻚ ﻇﻬﻮر اﻟﺸﺎﻋﺮ اﳌﴫي‬ ‫اﻟﻜﺒري زﻳﻦ اﻟﻌﺎﺑﺪﻳﻦ ﻓــﺆاد‪ ،‬ﻳﺮ ﱠﺑﺖ ﻋﲆ‬ ‫ﻛﺘﻔﻚ ﻟري َﻳﻚ ﺻﻮرﺗﻚ وﻗﺪ ﺳﻜﻨﺖ ﻟﻠﺘﻮ ذاﻛﺮة‬ ‫اﻟﻜﺎﻣريا اﻟﺨﺎﺻﺔ ﺑﻪ‪ ،‬واﻟﺘﻲ ﺻﺎر ﻳﺤﻤﻠﻬﺎ‬ ‫ﺣﺪث ﻳﻨﺘﻤﻲ ﻟﻠﻔﻦ‬ ‫ﻋﲆ اﻟﺪوام‪ ،‬ﻣﻮﺛﻘﺎً ﻛﻞ‬ ‫ٍ‬ ‫واﻟﺸﻌﺮ واﻟﺴﻌﻲ ﻟﻠﺤﺮﻳﺔ‪.‬‬ ‫ﻓﺆاد اﻟﺬي ﺻﺎر ﻫﻮ ﻧﻔﺴﻪ وﺛﻴﻘ ًﺔ ﻋﲆ أﻛرث‬ ‫ﻣﻦ ﻧﺼﻒ ﻗﺮنٍ ﻣﻦ اﻟﻨﻀﺎل ﺑﺎﻟﺸﻌﺮ واﻟﻔﻦ‬ ‫ﺟﻨﺒﺎً إﱃ اﻟﺒﺎرود‪ ،‬ﰲ ﻣﴫ وﻟﺒﻨﺎن وﻓﻠﺴﻄني‬ ‫وﺗﻮﻧﺲ وﻏريﻫﺎ‪ ،‬وﺣﺘﻰ ﺧــﺎرج اﻟﺨﺮﻳﻄﺔ‬ ‫اﻟﻌﺮﺑﻴﺔ‪ ،‬وﺗﺴﺪﻳﺪ ﻛﻠﻔﺔ ذﻟﻚ أوﻻً ﺑﺄول‪،‬‬ ‫ﻫﻮ اﻟﻮﺟﻪ واﻟﻌﻼﻣﺔ اﻷﻛرث أﻟﻔ ًﺔ ﻋﲆ أﻧﻚ ﰲ‬

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‫اﻟﻌﺪد ‪ ، 74‬ﻳﻨﺎﻳﺮ ‪2019‬‬

‫اﳌﻜﺎن اﻟﺼﺤﻴﺢ‪ ،‬ﻣﻊ ﻣﻦ مل ﻳﻔﻘﺪوا ﺑﻮﺻﻠﺘﻬﻢ‬ ‫اﻟﺮوﺣﻴﺔ واﻹﺑﺪاﻋﻴﺔ‪ ،‬وﻳﺘﺤﺼﻨﻮن ﺑﻔﺎﺋﺾ ﻣﻦ‬ ‫وإرث ﻣﻦ ﺧﱪة اﳌﻴﺎدﻳﻦ‪.‬‬ ‫اﻷﻣﻞ ٍ‬ ‫ﻫــﺬه اﳌــﻴــﺎدﻳــﻦ اﻟﺘﻲ ﺧﱪﻫﺎ زﻳــﻦ ﻣﻨﺬ‬ ‫اﻟﺴﺘﻴﻨﻴﺎت وﻣﺎ ﻗﺒﻠﻬﺎ إﱃ اﻟﻴﻮم‪ ،‬ﻣﻊ رﻓﺎﻗﻪ‬ ‫ﻣﻦ ﺷﻌﺮاء وﻣﺜﻘﻔﻲ ﻣﴫ واﻟﻌﺮب‪ ،‬اﻟﺬﻳﻦ‬ ‫ﻣﺮ أﻏﻠﺒﻬﻢ ﻣﻦ ﺑﻮاﺑﺎت اﻟﺠﺎﻣﻌﺔ إﱃ ﻣﻴﺎدﻳﻦ‬ ‫اﻟﺜﻮرة وﺳﺎﺣﺎت اﻟﺴﺠﻮن‪ ،‬ﻣﺮوراً ووﺻﻮﻻً إﱃ‬ ‫ﻣﻴﺎدﻳﻦ اﻟﺤﺮب ﰲ ﻣﴫ ﺧﻼل اﻟﺴﺘﻴﻨﻴﺎت‬ ‫واﻟﺴﺒﻌﻴﻨﻴﺎت‪ ،‬وﰲ ﺑريوت وﻓﻠﺴﻄني أواﺋﻞ‬ ‫اﻟﺜامﻧﻴﻨﻴﺎت‪ ،‬وﺧــﺎرج اﻟﺤﺪود ﰲ ﻓﻨﺰوﻳﻼ‬ ‫وﻛﻮﻟﻮﻣﺒﻴﺎ وﺟﻨﻮب إﻓﺮﻳﻘﻴﺎ وﺑﺎرﻳﺲ‪ ،‬اﻗﺘﻔﻰ‬ ‫ﺧﻼﻟﻬﺎ أﺛﺮ ﺑﺎﺑﻠﻮ ﻧريودا وﻟﻮرﻛﺎ وأراﺟــﻮن‪،‬‬ ‫وﺷﻌﺮاء وﻣﻐﻨني‪ ،‬ﻛﺎﻧﺖ ﺳريﻫﻢ ﻗﺼﺎﺋﺪ‬ ‫ﻣﻮازﻳﺔ ﻟﺮﺻﻴﺪﻫﻢ اﻹﺑﺪاﻋﻲ‪.‬‬

‫‪dzǔȃōƪlj ƉƪƖǕŌ‬‬

‫ﻳﺆرخ ﳌﻴﻼد زﻳﻦ اﻟﻌﺎﺑﺪﻳﻦ ﻓﺆاد ﺑﻌﺎم ‪،1942‬‬ ‫وﻫﻮ ﺗﺎرﻳﺦ ﻳﺼﻌﺐ ﻣﻌﻪ ﺗﺼﻮر أن ﻫﺬا‬ ‫اﻟﺸﺎﻋﺮ اﻟﺬي ﺗﺄﺧﺬ ﺧﻄﻮﺗﻪ ﺳﻤﺔ اﻟﻮﺛﺐ‬ ‫ﺗﺠﺎوز ﻣﻨﺘﺼﻒ ﻋﻘﺪه اﻟﺜﺎﻣﻦ‪ ،‬ﰲ ﺣﻴﺎ ٍة‬ ‫ﺗﺨﻠﻠﺘﻬﺎ اﳌﻨﺎﰲ واﻟﺴﺠﻮن‪ ،‬ووﺳﻤﻬﺎ اﻟﻔﻘﺪ‬ ‫ﻣﻨﺬ ﴏﺧﺔ اﳌﻴﻼد‪.‬‬ ‫رﺣﻠﺖ واﻟــﺪﺗــﻪ ﻟﺤﻈﺔ ﻣﺠﻴﺌﻪ اﻟﺪﻧﻴﺎ‪،‬‬ ‫وﻓﺎرﻗﻪ أﺑــﻮه وﻫــﻮ ﰲ اﻟﻌﺎﴍة وﻟﺤﻘﻬام‬ ‫أﺧﻮه اﻷﻛﱪ ﺑﻌﺪﻫﺎ ﺑﺄﻋﻮام ﻗﻠﻴﻠﺔ ﰲ ﺣﺮب‬ ‫‪ ،1956‬ومل ﻳﺪﻋﻪ اﳌﻮت إﻻ وﻗﺪ اﺧﺘﻄﻒ‬ ‫زوﺟﺘﻪ اﻟﻔﻠﺴﻄﻴﻨﻴﺔ ﺑﺎﺳﻤﺔ ﺣﻼوة أواﺧﺮ‬ ‫اﻟﺴﺒﻌﻴﻨﻴﺎت‪ ،‬ﻓﻀ ًﻼ ﻋام ﻓﺮﺿﺘﻪ اﻟﺴﻨﻮات ﻣﻦ‬ ‫ﺗﻜﺮار ﻟﺘﺠﺮﺑﺔ ﻧﻌﻲ ووداع اﻷﺻﺪﻗﺎء ورﻓﺎق‬ ‫ﺑﺸﻜﻞ ﻛﺎن ﻣﺘﻮﻗﻌﺎً ﻣﻌﻪ أن ﺗﺼﺒﺢ‬ ‫اﻟﻨﻀﺎل‪،‬‬ ‫ٍ‬

‫ﻧﺠﻢ ﺳﻬﻴﻞ‬ ‫ﺳﻴﻒ اﻟﻤﻨﺼﻮري‬ @Bu_Salem00

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55

baytelshear ‫اﻟﺸﻌﺮ‬ ِ ‫ﺑﻴﺖ‬

¥2b@@ @ @ + ¡@@ @ @Gv@@ @ @B @@ @£@ @ @ @ ~@ @ 6 @@ @ @ ½ ¡@@ @ @ @ @ @ @¥2*5 @@ @ @ @ @ @F5H H @@ @ ~@ @ @6¡@@ @ E @@ @ @ @ @B4 Ì@@ @ @ @ @: ¥2b@@ @ @ G Ãb@@ @ @ @ @~@ @ @z@ @ @D* d@@ @ @ @ @< @@ @ @ E ¡Q @ @ @ @ @ @ @ ±*H ¥2b@@ @ . @@ @ @C q@@ @c@ @ ~@ @ |@ @ D* e*Æ@@ @ @ @ @D* @@ @ @ /H H ¥2b@@ @ @ @ -H h@@ ~@ @6 b@@ @~@ @ z@ @ D* ¡@@ @ @« @@ @ g@ @ @F*H ¥2*2y@@ @ @ @ J @@ @ D¡@@ @ D* H @@ c@ @ @ @B ¡@@ @ @~@ @{@ @E ¥2b@@ @ < b@@ @ @ @ @D(* i¡Q @ @ @~@ @ @6 @@ ~@ @6¡@@ m@ @G ¢@@ g@ @0 ¥2b@@ @ Bx@@ @ @ @ D eb@@ @ @ @ : @@ @ @ E ¤@@ @ @ @ J ¥x@@ @ ~@ @ z@ @ - H ¥2*5 * 2b@@ @ @ @ c@ @ Db@@ @A @@ 0¡@@ @ @~@ @z@ @D* h@@ @ @ @ @B ¥2b@@ @ @ @ D* v@@ £@ @~@ @|@ @ @ @D* x@@ @ @ : @@ ~@ @}@ @ @ @ @ @J b@@ @ E ¥2b@@ @ @ @ @ @ @ @ D* 2H4H °* @@ @ ~@ @ }@ @ @ @ @ @ J b@@ @ @ @ @E ¥2b@@ @ ~@ @ @8 ° ¤@@ @ g@ @ @0x@@ @ A @@ @A¡@@ @~@ @ {@ @ D rx@@ @ @ @ @ @A* ¥2b@@ @ @ @ @- d@@ @£@ @ @ @ @ @ @ @ DH Ì@@ @ ~@ @ @|@ @ @< i4b@@ @ @ @ @ @ @ F ¥2b@@ @ ±b@@ @ + x@@ @ @ @ @ @ D* Qv@ @ @ @ E ¢@@ @ @ @ < i4b@@ @ @ @ @ @ @:H ¥2*Ì@@ @ @ @ @ @ @ @ E M 24*H M x@@ @ @ @ @ @ @ @ B ix@@ @ @ @ @ @ @ @ @ @ @ @ ;*H ¥2b@@ @ @ = @@ @ @ E ¢@@ @ p@ @ @ g@ @ @ F*H b@@ @ @ @ B*Æ@@ @ @ @ J* b@@ @ @ @ B ¥2b@@ @ @ @ @ @ @ F*H @@ @ @ @ @ @ @ @~@ @ @8*H @@ @ @ Q @ @ @ E H @@ @ @ ² ¥2*¡@@ @ @ @ @ @ @D* 4v@@ @ @ ~@ @ @ @8 @Q @ @ @ ~@ @ @ @7 @@ @ @ @ @ @ @EQ 2 *2Q H ¥2b@@ ~@ @{@ @F* @@ £@ @A h@@ @ @~@ @6 @@ @ @ + ¤@@ g@ @0x@@ A @@ @ E ¥2b@@ @ @ + @@ @ @ @J°¡@@ @ @ @D* @@ @ @ ½ · ¡@@ @ @ @ @ @ @-* H

ĘıĘŕ

‫ﻻ ﺗﺠﺎﻣﻠﻨﻲ‬ ‫ﺣﻤﺪة اﻟﻤﺮ‬ @Bent555Almur

¤@@Âv@@F b@@ @J v@@Jb@@~@ |@ @ D* @@ @ @ @ @ £@ D x@@ @ . @@ @E ¤@@Âv@@B @@ @ E v@@ @ J*v@@ @ ±* @@£@ ~@ 8b@@ @ - w@@ @ 1 ¤@@ Âv@@ J @@ @ @ @ @;* °H *5¡@@ @ @ @ @ @±* b@@ @ @ @F* ° ¤ £ ~8 @@E ¤@@ @ D* h@@0b@@+ b@@E v@@~@|@Db@@A ¤@@ Âx@@ = b@@ @ @J b@@ @ FÄ@@ @ C @@ @ @ @ @DH @@ @ @ @ @ @ Â ¤@@ Ây@@ D ¤@@ @g@ @ £@ @ +H ·b@@ @ £@ @ @< ib@@ @ @ c@ @ @ @/*H H ¤@@Â2 b@@ @ @G ex@@ ~@ @7 ¡@@ @G ¡@@ @D I¡@@ @ @ -4* b@@ @E ¤@@ @ £@ ~@ {@ G @@ @ @ @+Q 4 °H ¤@@ c@ @ @ @ B @@ c@ @g@ @F* °

IQv@ @ @ @ @ @ @ - @@ @ @ DH i¡@@ @ @ - 2¡@@ @ @ @ @< ¤@@ @ p@ @ D Iv@@ @ @ @ @ @ @-Q * ¤@Q @ @ @ @ @ @ @ + °H ¤@@ @ @ @ @ @ @ @ @ @ @Eb@@ © ° *Qv@ @ @ @ @ @-* °H v@@ @ @ @ @ @ @ Jy@@ - b@@ @ @ E @@ @ @ Jb@@ @ @ B2 ¯ *2Q HH @@ @ @ @ @ Av@@~@ 8 ¯ eb@@ @ @/ (* É@@ @ @ @ @D* *Qv@ @ @ @ @ @ @ c@ @ E @@ @ @£@ @ @ )*v@@ @ @g@ @ @ +°* ¡@@ @ @ @ @~@ @ @8 ¯ *Qv@ @ @ @ @ @«*H v@@ Db@@ @ @ @ @ @ @ © X &* b@@ @ @ @ @ @ @ F&* ix@@ @~@ @ 8 I2Q x@@ @ @ @ -H ¤@@ @ R @ @ P; b@@Gv@@ @ @ @ @ @ @ @ <H @@ @ £@ D @@ @ @0 IQv@ @ @ @ @ @ @ - · M É@@ @ @ @ C 4v@@ @ ~@ @ @8 ¯ b@@ @ @ C

2019 ‫ ﻳﻨﺎﻳﺮ‬، 74 ‫اﻟﻌﺪد‬

54

‫ﻋﻠﻲ اﻟﻤﺴﻌﻮدي‬

‫ﻋﺎﺷﺖ ﻧﺠﺪ ﰲ ﻓﱰة ﺗﺘﺼﺎرع ﻓﻴﻬﺎ اﻟﻘﻮى اﻟﻘﺒﻠﻴﺔ ﻋﲆ اﳌﺮﻋﻰ‪..‬‬ ‫وﺗﺘﻘﺎﺗﻞ ﻋﲆ اﻹﺑﻞ‪ ،‬ﺣﺘﻰ ﻣﻦﱠ اﻟﻠﻪ ﺑﺎﻷﻣﻦ واﻹﺧﺎء ﺑني اﻟﻨﺎس‪..‬‬ ‫وﻟﻜﻦ ﺗﺒﻘﻰ اﻟﺤﻜﺎﻳﺎت اﻟﺠﻤﻴﻠﺔ ﰲ ﻣﻜﺎرم اﻷﺧﻼق واﻟﴫاع‬ ‫اﻟﻨﺒﻴﻞ‪ ..‬وﺗﺒﺎدل اﻟﻘﺼﺎﺋﺪ اﻟﺘﻲ ﺗﺘﻮﻋﺪ اﻟﺨﺼﻢ ﰲ وﻗﺖ ﺗﻨﺰﻟﻪ‬ ‫ﻣﻨﺰﻟﺘﻪ وﻫﺬه ﻗﺼﺔ وﻗﺼﻴﺪة ﻓﻴﻬﺎ اﻟﻜﺜري ﻣﻦ اﻟﻌﱪ واﻟﺤﻜﻤﺔ‬

‫‪ ¡@@ @ j@ 0 @@ £@ @³* @@ E ¥v@@ @ @< @@ E *y@@ @ /‬‬ ‫*‪ ¡@@ p@ @ E @@ @ £@ @ @³* H&b@ @ @ @ @ @+ ¤@@ @ ¹x@@ @ + b@@ @ @ F‬‬ ‫*‪ ¡@@ @G° @@ ~@ @{@ @D* ¢@@ @ @< i¡@@ @ @0 b@@ @ @C @@ @g@ @ F‬‬ ‫‪ ¡@@ @Ey@@ @EH M @@ @ J¡@@ @ : @M @ @ @~@ @9 b@@ @ @C @@ @ g@ @ @F*H‬‬ ‫‪ ¡@@ ²* x@@~@ z@ @ J x@@p@ c@ D* Ì@@ : b@@ @ C @@ g@ @F*H‬‬

‫واﻟﺸﺠﺎﻋﺔ واﻟﺸﻬﺎﻣﺔ ﻷﻣريﻳﻦ ﻳﺘﺤﻠﻴﺎن ﺑﺎﻟﺸﻬﺎﻣﺔ وﻣﻜﺎرم‬ ‫اﻷﺧﻼق ﻫام اﻟﺸﻴﺦ ﺗﺮيك ﺑﻦ ﺣﻤﻴﺪ واﻟﺸﻴﺦ ﻣﺤﻤﺪ ﺑﻦ ﻫﺎدي ﺑﻦ‬ ‫ﻗﺮﻣﻠﻪ اﻟﻘﺤﻄﺎين اﻟﺬي ﻛﺎن ﻳﻠﻘﺐ ﺑﺴﻠﻄﺎن ﻧﺠﺪ وﻛﺎن اﺑﻦ ﺣﻤﻴﺪ‬ ‫ﺗﺮﺑﻄﻪ ﻋﻼﻗﺔ و ّد ﺑﺎﺑﻦ ﻗﺮﻣﻠﺔ‪ ،‬وﻋﻨﺪﻣﺎ أراد اﻷول اﻟﻨﺰول ﰲ ﻧﺠﺪ‬ ‫وﺟﺎء ﺑﺮﺑﻌﻪ إﱃ ﻧﺠﺪ ودﺧﻞ إﻟﻴﻬﺎ ﺣﺪث ﺳﻮء ﺗﻔﺎﻫﻢ ﺑﻴﻨﻪ وﺑني‬ ‫ﺻﺎﺣﺒﻪ ﻋﲆ اﻟﻄﺮﻳﻘﺔ اﻟﺘﻲ ﻧﺰل ﺑﻬﺎ وﻛﺎدت ﺗﺜﻮر ﻣﻌﺮﻛﺔ ﻛﺒرية‬ ‫أرﺳﻞ ﻋﲆ إﺛﺮﻫﺎ اﺑﻦ ﺣﻤﻴﺪ ﻫﺬه اﻟﻘﺼﻴﺪة إﱃ اﺑﻦ ﻗﺮﻣﻠﺔ‪:‬‬

‫‪ @@ Q @ @ @ @ g@ ~@ z@ E 2Ä@@ @ @ @D* @@j@ @ @ @ @ @E Mf@ @ Fy@@ @ @ @ E @@ @ E‬‬ ‫‪ @@ Q @~@{@- 4b@@ ~@ @ 6 v@@ @ < @@ @ @ @ @ ¹4 h@@ @ @ F* °*H‬‬ ‫‪ @@ @ Q @ < @@ @ @ @ @ £@ @G*¡@@ @ @D b@@ @ @ @ @ @ @ @ @s@ @F* b@@ @ @ @ @ @ @0H‬‬ ‫‪ @@ Q @ G b@@ @ @ @ @ / b@@£@ @ @D @M @ @ @ @ @ @ @½ b@@ @ @ @ @ @ C b@@ @ @ @ 0H‬‬ ‫‪ @@ Q @ ; Ì@@ @ = @@ p@ @+w@@ Jb@@ E x@@ p@ @c@ @D* Ì@@ @ @:H‬‬

‫ﻓﺮد ﻋﻠﻴﻪ اﻟﻘﺤﻄﺎين ﺑﻬﺬه اﻷﺑﻴﺎت اﻟﻨﺎرﻳﺔ اﻟﺘﻲ ﺣﻔﻈﺘﻬﺎ اﻷﺟﻴﺎل وﺑني ﺳﻄﻮرﻫﺎ اﻟﻜﺜري ﻣﻦ اﻷﺣﺎدي واﳌﻌﺎين ‪:‬‬

‫* ‪ ¡@@p@ @ E @@ £@ @³* H&b@ @ @ @+ @@ @ ¹4 b@@ @ C‬‬ ‫‪ ¡@@ @ @ @ @+H b@@ @ c@ @ @g@ @ @< Í@@ @ @+b@@ @ @E @M @ @ ~@ @ @6¡@@ @ g@ @ @E‬‬ ‫‪ ¡@@ @ D* @@ @E @@ @ @ J @@ @ ²b@@+ b@@ @ Ab@@~@ 7 @@ @E‬‬ ‫‪ ¡@@J x@@~@ {@ < f@@~@ z@ @ 1 b@@c@ g@ @ D* ¢@@ @ < ¥v@@ @C‬‬ ‫‪ ¡@@ D @@ @ @E @@c@ £@ g@ < @@ ~@ @7b@@ = ¤@@ @ @+b@@ ~@ @6b@@ J‬‬

‫‪ @@ @ C v@@ @ @ ½ ¤@M @ @ @ Eb@@ @ @ 0 ¤@@ @ @¹x@@ @ @+ b@@ @ @ F&b@ @ @ @A‬‬ ‫ ‪ @@ @ Q @ @ /H @@ @ @ @ @~@ @6 2 @@ @ @< *42 Ñ*H‬‬ ‫‪ @@ @ @ p@ J @@ @ @ @ @+ @@ @ @ @ @Db@@ + b@@ @ @Ab@@ ~@ @7 @@ @ @ EH‬‬ ‫‪ @@D @@ @ @ @ @G ¤@@ @ g@ @ @£@ @ @+H M4b@@ @ @ @ @ @ @ @ @+H *v@@ @ @ @ @ @ @B‬‬ ‫‪ @@ @ C v@@ @ ½ ¢@@ ~@ @{@ @= b@@ @£@ @ D* @@ @£@ @ +x@@ @D* @@ j@ @E‬‬ ‫اﻟﺸﻌﺮ ‪baytelshear‬‬ ‫ﺑﻴﺖ ِ‬

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ĬšĸŌ ĜĸŌ

‫ ﺑﻤﻜﺎرم اﻟﺨﻠﻖ‬..‫ﺷﻌﺮ اﻟﻐﻀﺐ‬ ŦȍǷƢşǶ Ŧōǿƃżũ dzǿōLjŽ ƃǾǘŽ ǛşŌǶ dzǔǙƉǃ ǛşŌ

2019 ‫ ﻳﻨﺎﻳﺮ‬، 74 ‫اﻟﻌﺪد‬

52

‫اﻟﺸﺎﻋﺮة‪ ،‬وإمنﺎ ﺗﺮﺳﻤﻪ ﺑﺼﻮرة ﻣﺨﺘﻠﻔﺔ‪ ،‬ﻓﺤﻴﻨام ﻛﺎن اﻟﺪرﻣيك ﻳﻔﱰق‬ ‫ﻋﻦ ﻣﺤﺒﻮﺑﻪ وﻛﺄن اﳌﺤﺒﻮب ﺷﺠﺮة ﻣﺜﻤﺮة ﺗﺒﺘﻌﺪ ﺑﻐﻨﺞ ودﻻل ﻋﻨﻪ‪،‬‬ ‫ﻧﺠﺪ "ﻋﻮﺷﺔ" ﺗﺮﺳﻢ ﺻﻮرة اﻟﻌﻄﺸﺎن اﻟﺬي مل ﻳﺮﺗ ِﻮ ﻣﻦ اﻟﻨﺒﻊ وﺗﻔﺎﺟﺄ‬ ‫أن اﻟﺪﻟﻮ ﻗﺪ ﻃﻮﻳﺖ ﺣﺒﺎﻟﻪ‪ ،‬وأﺻﺒﺢ ﻣﺮﺗﻘﺒﺎ وﻳﺘﻤﻨﻰ رؤﻳﺔ ﻣﺎ ﻳﺮﺗﻮي‬ ‫ﻣﻨﻪ ﻋﲆ أﻗﻞ ﺗﻘﺪﻳﺮ‪ ،‬وﻫﺬا ﻣﺎ ﻫﻮ واﺿﺢ ﻣﻦ ﻣﻌﻨﻰ اﻟﺸﻄﺮ "آزم‬ ‫ﺷﻮﻓﻪ ﺷﻔﺎﻳﻒ" وﻫﻲ ﺻﻮرة ﻣﻦ ﻓﻘﺪ أﻳﺎم اﻟﻮﺻﺎل وﺑﺪأت أﻳﺎم اﻟﻬﺠﺮ‬ ‫ﺷﺎك ﻟﻬﻤﻮﻣﻪ‬ ‫ﻣﻌﻪ‪ ،‬وﺣ ّﺮي أن ﻳﻜﻮن اﳌﺤﺐ ﻣﺘامﺳﻜﺎً وﻣﺘﺤ ّﻤ ًﻼ ﻏري ٍ‬ ‫وآﻻﻣﻪ إﱃ أي ﻋﺎﻗﻞ ﻛام ﺗﺸري "ﻓﺘﺎة اﻟﻌﺮب" ﰲ اﻷﺑﻴﺎت اﻟﺘﺎﻟﻴﺔ‪:‬‬ ‫‪ @@ @ @ Jb@@ @ @ @ @ @ @1 @@ @ @ @ @ @ @ @+ ¤@@ @ @ @ @ @Cb@@ @ @ @ @ @~@ @ @ @ @ @ 7* b@@ @ @ @ @ @ @ @E‬‬ ‫‪ *v@@ @ @ @ @ @ @ @ @ @ @ @<* @@ @ @ @ @£@ @ @ @ @ @ @ @ @ @ < h@@ @ @ @ @ @ @ @ @ @ @ @ @ @ ~@ @ @ @ @ @ @ 7*H‬‬ ‫=@ @ @ @ @ @ @ @ @@‪ @@ @ @ @ @ @JÉ@@ @ @ @ @ @D* @@ @ @ @ @£@ @ @ @ @ ~@ @ @ @ @ z@ @ @ @ @ @ @ @ @ @ D* Ì‬‬ ‫‪ *v@@ @ @ @ @ @ @ @ @ @ @ @ @ @ / b@@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ Q @ @ @ @ @ @ @ @ @0b@@ @ @ @ @ @ @ @ +‬‬ ‫ﻧﺎﺣﻴﺔ أﺧﺮى‪ ،‬ﻟﺬﻟﻚ ﺗﺠﺪ أن ﻛﻞ اﻟﻨﺎس ﺗﺴﻌﻰ ﰲ اﻟﺤﺼﻮل ﻋﲆ رﺿﺎه‪ @@ @ @ @ @ @ @Jb@@ @ @ @ @ @ @~@ @ @ @ @ @ @ 94 Í@M @ @ @ @ @ @ @ @ @ @EÉ@@ @ @ @ @ @ @ @ @ @~@ @ @ @ @ @ @ @ @ @ 6 ،‬‬ ‫وﻫﺬه اﳌﻨﺰﻟﺔ ﻟﻴﺴﺖ ﻣﻜﺘﺴﺒﺔ ﻓﻘﻂ‪ ،‬وإمنﺎ ﻣﻜﺘﺴﺒﺔ وﻣﻮروﺛﺔ‪ ،‬ﻓﺎﻷﺻﻞ‬ ‫‪ *¡@@ @ @ @ @ @ @ @ @ @ @ @ @ 1* @@ @ @ @ @ @ @ @ £@ @ @ @ @ @ @ @ +4 @@ @ @ @ @ @ @ @ @ @E @@ @ @ @ @ @ @ @ @ @D‬‬ ‫اﻟﻄﻴﺐ واﻟﱰﺑﻴﺔ اﻟﻄﻴﺒﺔ ﻫام أﺳﺎس ﻫﺬه اﻟﺮﻓﻌﺔ اﻟﺘﻲ ﺗﻌﱪ ﻋﻨﻪ ﺑﻜﻞ‬ ‫ﺳﻬﻮﻟﺔ وﺑﺴﺎﻃﺔ ﰲ "ﻧﺎﻳﻒ وﻗﺪره ﻧﺎﻳﻒ" وﰲ ﺗﺎﱄ اﻷﺑﻴﺎت‪:‬‬ ‫وﻫﻨﺎ ﴎ اﳌﻌﺎرﺿﺔ اﻟﺸﻌﺮﻳﺔ ﺣﻴﺚ ﺧﻠﺼﺖ اﻟﺸﺎﻋﺮة إﱃ أن ﺷﻜﻮى‬ ‫*‪ @@ @ @Jb@@ @ @ @ @ @ ~@ @ @ 7 @@ @ @ @ A¡@@ @ @ @ ~@ @ @ @ @7 5%‬‬ ‫اﻟﺪرﻣيك ﻗﺪ ﺗﻔﺘﺢ ﺑﺎب ﺷامﺗﺔ اﻷﻋﺪاء وﻫﺬا ﻻ ﻳﻨﺎﺳﺐ ﻣﻘﺎم اﻟﺸﺎﻋﺮ‬ ‫‪ *¡@@ @ @ @ @ @ @ @: @@ @ @ @ @ @ @ @ @c@ @ @ @ @0 ¤@@ @ @ @ @ @ @ @ Q @ @ @ @ @ @ @ @ <H‬‬ ‫وﻻ ﻣﻘﺎم ﻣﺤﺒﻮﺑﻪ‪ ،‬وأن اﻟﻘﺼﻴﺪة اﻟﺘﻲ ﺷﻐﻠﺖ اﻟﺠامﻫري "ﴍﺗﺎ ﻋﻴﻞ‬ ‫‪ @@ @ @Jb@@ @ @ @ @ @ @ @ @ D* ¤@Q @ @ @ @ @ @ @ @: IHx@@ @ @ @ @ @~@ @ @ @ @ @ 7‬‬ ‫ﺑﺼﻼﻳﻒ" ﻛﺎﻧﺖ ﻣﻦ اﳌﻬﻢ أﻻ ﺗﻜﻮن واﺿﺤﺔ اﳌﻌﺎين ﻟﻠﺠﻤﻴﻊ يك ﻻ‬ ‫‪ °v@@ @ @ @ @ @ @ @+ b@@ @ @ @ @ @~@ @ @ @ @ @ 7x@@ @ @ @ @ @D* @@ @ @ @ @ c@ @ @ @ @ 0‬‬ ‫ﺗﻜﻮن ﰲ ﻣﺘﻨﺎوﻟﻬﻢ‪ ،‬ووﺳﻴﻠﺔ ﻟﺸامﺗﺔ اﻟﻌﺬال وﺗﻌﻤﻴﻖ ﺟﺮاح اﻟﺸﺎﻋﺮ‬ ‫‪ @@ @ @Jb@@ @ @~@ @ @ z@ @ @ ²* @@ @ @ @ @Gb@@ @ @ @ @Bx@@ @ @ @ @A‬‬ ‫أو اﳌﺤﺒﻮب‪ ،‬ﻟﻬﺬه اﻷﺳﺒﺎب ﺑﺪأت اﻟﺸﺎﻋﺮة ﻗﺼﻴﺪﺗﻬﺎ ﺑﺎﻟﺘﻌﺎﱄ واﻟﻔﺨﺮ‬ ‫‪ b@@ @ @ @ @ @ @ @ @= @@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ ~@ @ @ @ @ @ 8*¡@@ @ @ @ @ @EH‬‬ ‫ً‬ ‫"ﺑﺮﻗﻰ روس اﻟﴩاﻳﻒ" إﺷﺎرة إﱃ أن اﳌﺤﺐ ﻳﺠﺐ أن ﻳﻜﻮن ﻗﻮﻳﺎ ﰲ‬ ‫وأﻣﺎ اﻟﻔﺮاق اﻟﺬي أﺷﺎر إﻟﻴﻪ اﻟﺪرﻣيك ﰲ ﻗﺼﻴﺪﺗﻪ ﻓﻼ ﺗﻌﺎرﺿﻪ اﻟﻔﺮاق ﻣﻬام ﻛﺎن وﻗﻌﻪ ﻛﺒرياً وﻣﺆﳌﺎً‪.‬‬

‫اﻟﺸﻌﺮ ‪baytelshear‬‬ ‫ﺑﻴﺖ ِ‬

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‫ ‪ ĘńĴ şʼn Įı‬‬ ‫وﻣﻦ أﺟﻤﻞ ﻗﺼﺎﺋﺪ اﳌﺠﺎراة ﻛﺎﻧﺖ اﻟﻘﺼﻴﺪة اﻟﺘﺎﻟﻴﺔ ﻟﻠﺸﺎﻋﺮة "ﻓﺘﺎة‬ ‫اﻟﻌﺮب" ﻋﻮﺷﺔ ﺑﻨﺖ ﺧﻠﻴﻔﺔ اﻟﺴﻮﻳﺪي واﻟﺘﻲ ﺗﻘﻮل ﰲ ﻣﻄﻠﻌﻬﺎ‪:‬‬ ‫‪ @@ @ @J*x@@ @ @~@ @ @ {@ @ @ D* @@ @ @ @ @ @ @ @ 6H4 ¢@@ @ @ @ Bx@@ @ @ @ +‬‬ ‫‪ b@@ @ @ @ @ :¡@@ @ @ @ @ D* ¯ y@@ @ @ @ @ @ @ @ @ @ @ + b@@ @ @ @ @ @ @E‬‬ ‫‪ @@ @ @Jb@@ @ @ @ @ @ D* @@ @ @ @ J¡@@ @ @ @ @ @ @ @ @D* v@@ @ @ £@ @ @ @ 0‬‬ ‫· ¯ *‪ É@@ @ @ @ @0 x@@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ D‬‬ ‫ﻧﺠﺪ "ﻓﺘﺎة اﻟﻌﺮب" ﻻ ﺗﺴﺘﻬﻞ ﻗﺼﻴﺪﺗﻬﺎ ﺑﺎﳌﺠﺎراة ﻓﻘﻂ‪ ،‬ﺑﻞ ﺗﺬﻫﺐ‬ ‫أﺑﻌﺪ ﻣﻦ ذﻟﻚ وﺗﻘﺪم ﻗﺼﻴﺪة أﻗﺮب إﱃ ﻗﺼﺎﺋﺪ اﳌﻌﺎرﺿﺔ‪ ،‬وﻫﻲ ﺑﺬﻟﻚ‬ ‫ﻻ ﺗﺨﻔﻒ ﻣﻦ وﻃﺄة اﳌﻮﻗﻒ ﺑﻞ ﺗﺸﻌﻞ اﻟﻘﺼﻴﺪﺗني ﻣﻌﺎً‪ ،‬وﻛﺄﻧﻬﺎ ﺗﻌﻠﻢ‬ ‫أن ذﻟﻚ ﺳﻴﺴﻬﻢ ﰲ اﻧﺘﺸﺎر اﻟﻘﺼﻴﺪﺗني‪ ،‬أو أﻧﻬﺎ ﺗﻌﻠﻢ أن ﻫﻨﺎك ﻗﺼﺎﺋﺪ‬ ‫ﻣﺠﺎراة ﻛﺜرية ﻟﻬﺬه اﻟﻘﺼﻴﺪة ﻓﺄرادت أن ﺗﺘﻤﻴﺰ ﺑﺄﺳﻠﻮب ﻣﻐﺎﻳﺮ‪ ،‬ﻓﺒ ّﻴﻨﺖ‬ ‫اﺧﺘﻼﻓﺎت ﺑﻴﻨﻬﺎ وﺑني اﻟﻘﺼﻴﺪة اﻷﺻﻠﻴﺔ ﳌﺤﻤﺪ اﻟﺪرﻣيك‪ ،‬وأﻫﻤﻬﺎ أﻧﻬﺎ‬ ‫ٍ‬ ‫اﻧﻄﻠﻘﺖ ﻣﻦ ﻣﻜﺎن ﻣﺮﺗﻔﻊ وﻣﴩف ﻳﻔﺨﺮ ﻣﻦ ﻳﺘﻄﻠﻊ إﻟﻴﻪ‪ ،‬وذﻟﻚ‬ ‫ﻛﻨﺎﻳﺔ ﻋﻦ رﻓﻌﺔ ﻣﻘﺎم اﳌﺤﺒﻮب وﻋﻠﻮ ﺷﺄﻧﻪ‪ .‬ﻓﻤﻨﻄﻠﻖ ﻗﺼﻴﺪة اﻟﺪرﻣيك‬ ‫ﻛﺎن ﻣﻦ ﺑﺎﻃﻨﻪ ﻣﻌﱪاً ﻋﻦ ﻣﺸﺎﻋﺮه‪ ،‬ﺑﻴﻨام ﻣﻨﻄﻠﻖ ﻗﺼﻴﺪة ﻓﺘﺎة اﻟﻌﺮب‬ ‫ﺗﺄيت ﻣﻦ أﻋﲆ اﻟﻘﻤﻢ ومل َ‬ ‫ﺗﺮض اﻟﻨﺰول ﻛام أﺷﺎرت إﱃ ذﻟﻚ ﰲ "ﻣﺎ ﺑﻨﺰل‬ ‫ﰲ اﻟﻮﻃﺎه" ﻟﺘﺒﺪأ ﰲ وﺻﻒ اﳌﺤﺒﻮب اﳌﺜﺎﱄ ﺑﺄوﺻﺎف ﻣﺜﺎﻟﻴﺔ ﺗﴪدﻫﺎ‬ ‫اﻟﺸﺎﻋﺮة ﰲ وﺻﻒ ﻣﺨﺘﻠﻒ وﻣﻐﺎﻳﺮ‪:‬‬ ‫‪ @@ @ @Jb@@ @ @Gx@@ @ @D* @@ @ £@ @ @~@ @ @{@ @ @D* ¤@@ @ @ @ @ @ @ <*4‬‬ ‫· · ‪ *¡@@ @ @ @ @ @ @ @ @ G 2Sv@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ /‬‬ ‫· ‪ @@ @ @ JÉ@@ @ @ @ @ @ @Db@@ @ @ + @@ @ @ @ A¡@@ @ @ @ ~@ @ @ @ @7‬‬ ‫< @ @ @ @ @ @ @ @‪ b@@ @ @ @ @ @ @ @ g@ @ @ @ @ @ @ @ E ¥Hb@@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ £‬‬ ‫‪ @@ @ @ Jb@@ @ @ @ @ @ @ @ @ D* ¢@@ @ @ @ @ <x@@ @ @ @ @ J Ã‬‬ ‫‪M 4‬‬ ‫‪ *¡@@ @ @ @ @ @ G ¤@@ @ @ c@ @ @ @ @ @ @ @ B @@ @ @ @ @ @+N x@@ @ @ @ @ @~@@ @ N@ @ @ @7‬‬

‫<@ @ @ @ @ @ @@‪ @@ @ @ @ Jb@@ @ @ @ ³* 2¡@@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @D* Í‬‬ ‫‪ b@@ @ @ @ @ @ @ <H @@ @ @ @ g@ @ @ @ @ @ @ @ @ @ @ @ D* ¯ @@ @ @ @ @ @ @ D‬‬ ‫= @ @ @ @| @ @ @ @~ @ @ @ @ ‪ @@ @ @ @ @ @ J*5 @@ @ @ +b@@ @ @ c@ @ @ @ ~@ @ @ @ 7 @M‬‬ ‫‪ b@@ @ @ @ @ @ @~@ @ @ @8H @@ @ @ @ ~@ @ @ @ @z@ @ @ @ @0H ¡@@ @ @ @ @ @ @ @ D‬‬ ‫‪ @@ @ @Jb@@ @ @~@ @ @ |@ @ @ @ @ @ D* yQ @ @ @ @ @ @ @ @ @ @ g@ @ @ @ @ E‬‬ ‫‪ b@@ @ @ @ @ @ @ @ @ @ @BH 24H @@ @ @ @ @ g@ @ @ @ @ @C‬‬ ‫ﻧﻼﺣﻆ اﻟﺸﺎﻋﺮة أﻧﻬﺎ ﺗﻜﻤﻞ اﻟﺼﻮرة اﻟﺴﺎﺑﻘﺔ ﺑﺤﻀﻮر "اﻟﻌﻨﻮد" ﺑﻌﺪ‬ ‫"رﻳﻢ" وﻫام ﻣﻦ أﺳامء اﻟﻐﺰﻻن‪ ،‬وﻫﻲ ﻃﺮﻳﻘﺔ ذﻛﻴﺔ ﻟﻠﻮﺻﻒ ﻓﻜﺄﻧﻬﺎ‬ ‫ﺗﻮد اﻟﻘﻮل إن اﳌﺤﺒﻮب ﻳﺤﻤﻞ ﻛﻞ اﻟﺼﻔﺎت اﻟﺠﻤﻴﻠﺔ اﻟﺘﻲ ُﻳﻌﺮف ﺑﻬﺎ‬ ‫"اﻟﺮﻳﻢ" ﺑﺎﻹﺿﺎﻓﺔ إﱃ ﻛﻞ اﻟﺼﻔﺎت اﻟﺠﻤﻴﻠﺔ اﻟﺘﻲ ُﻳﻌﺮف ﺑﻬﺎ "اﻟﻌﻨﻮد"‪،‬‬ ‫وﻫﺬا دﻟﻴﻞ ﻋﲆ ﺣرية اﻟﺸﺎﻋﺮة ﰲ وﺻﻒ اﳌﺤﺒﻮب وأﺳﻠﻮب ﺟﻤﻴﻞ‬ ‫ﻟﻨﻘﻞ ﻫﺬه اﻟﺤرية إﱃ اﳌﺘﻠﻘﻲ‪.‬‬ ‫وﻧﻼﺣﻆ أن ﺛﻨﺎﺋﻴﺔ اﻟﺮﻳﻢ واﻟﻌﻨﻮد ﺑﻌﺪ أن ﺗﺠﺘﻤﻊ ﰲ ﻣﺤﺒﻮب واﺣﺪ‬ ‫ﻳﻘﺎﺑﻠﻬﺎ ﺛﻼﺛﻴﺔ اﻟﺼﻔﺎت واﻷﺳــامء‪ ،‬ﻓﻔﻲ ﺷﻄﺮ ﻧﺠﺪ ﺛﻼﺛﻴﺔ "ﻟﻮن‬ ‫وﺣﺴﻦ وﺻﻔﺎه" وﰲ ﺷﻄﺮ آﺧﺮ ﻧﺠﺪ ﺛﻼﺛﻴﺔ "ﻛﺘﻒ وردف وﻗﻄﺎه"‬ ‫وﻛﺎن ﻣﻦ اﻷوﱃ أن ﻳﻜﻮن ﺛﻨﺎﺋﻴﺎً ﻛام ﻣﻬ ّﺪت ﻟﻬﺎ اﻟﺸﺎﻋﺮة ﰲ اﻟﺸﻄﺮ‬ ‫اﻟﺬي ﺗﻘﻮل ﻓﻴﻪ "ﻣﺘﻌﺰّل م اﻟﻨﺼﺎﻳﻒ" ﻛﻮن اﻟﻨﺼﻒ ﻳﻘﺴﻢ اﻟﴚء إﱃ‬ ‫ﻗﺴﻤني وﻟﻴﺲ إﱃ ﺛﻼﺛﺔ أﻗﺴﺎم‪ ،‬وﻟﻜﻦ ﺟامل اﳌﺤﺒﻮب ﻛام أﺳﻠﻔﻨﺎ أدى‬ ‫إﱃ ﺣرية اﻟﺸﺎﻋﺮة ﰲ اﻟﻮﺻﻒ؛ وﻗﺒﻞ ذﻟﻚ ﻣﺤﺒﺔ اﳌﺤﺒﻮب أدت إﱃ‬ ‫ﺗﴩﺑﻚ ﰲ ﻣﺸﺎﻋﺮ اﻟﺸﺎﻋﺮة ﻟﺘﺨﺮج اﻟﺼﻮرة ﰲ ﻫﺬا اﻟﻠﻮﺣﺔ اﻟﺘﺸﻜﻴﻠﻴﺔ‬ ‫اﻟﺠﻤﻴﻠﺔ‪:‬‬ ‫‪ @@ @ @Jb@@ @ @~@ @ @ 8H @@ @ @ @ @ + @@ @ @ @cQ @ @ @ @ ~@ @ @ @ 7* b@@ @ @ @ @ E‬‬ ‫‪ *¡Q @ @ @ @ @ @ @ @ ~@ @ @ @ @ @ @ @ 6 ¥w@@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ D*H °‬‬ ‫‪ @@ @ @ Jb@@ @ @ F 4v@@ @ @ @ @ @ @ @ @ @ @ @ @ @ @BH @@ @ @ @ @ @ Jb@@ @ @ @ @ @ F‬‬ ‫‪ b@@ @ @ ~@ @ @ @ 9x@@ @ @ - ex@@ @ @ @ @ @ @ @ @ @ @ @ @ @ D* @@ @ @ @ @ @ @ @ @CH‬‬

‫ﺗﺒﺪأ ﻋﻮﺷﺔ ﺑﻮﺻﻒ اﳌﺤﺒﻮب ﻣﺨﺘﺎرة ﻟﻪ "اﻟﺸﻴﻞ" وﻫﻲ ﻏﻄﺎء اﻟﺮأس‬ ‫وﻳﺴﺘﺨﺪم ﻟﺘﻐﻄﻴﺔ اﻟﻮﺟﻪ أﻳﻀﺎً وﺗﺴﺘﺨﺪم ﻟﻪ وﺻﻒ "اﻟﺮﻫﺎﻳﻒ"‪،‬‬ ‫وﺗﻘﻮل أن اﳌﺤﺒﻮب ﻗﺪ ﺟﺪد ﻣﺤﺒﺘﻪ ﰲ ﻗﻮﻟﻬﺎ "ﱄ ﱄ ﺟﺪد ﻫﻮاه"‬ ‫وﻫﻮ اﳌﻌﻨﻰ اﻟﺼﺤﻴﺢ واﻷﻗﺮب‪ ،‬وﻟﻜﻦ اﻟﻌﺒﺎرة ﺗﺄيت مبﻌﻨﻰ آﺧﺮ ﺑﻌﻴﺪ‬ ‫وﻫﻮ ﺗﺠﺪد ﺣﺮﻛﺔ اﻟﻬﻮاء وﻫﺬا ﺗﻔﺮﺿﻪ اﻟﺼﻮرة اﻟﺨﻴﺎﻟﻴﺔ اﳌﺎﺿﻴﺔ ﰲ‬ ‫ﺳﻴﺎق "راﻋﻲ اﻟﺸﻴﻞ اﻟﺮﻫﺎﻳﻒ" وﻣﺤﺎﻛﺎة ﻟﻘﺼﻴﺪة اﻟﺪرﻣيك "ﴍﺗﺎ‬ ‫ﻋﻴﻞ ﺑﺼﻼﻳﻒ"؛ وﻫﻲ ﻛﻠﻬﺎ ﻣﻨﻈﻮﻣﺔ واﺣﺪة ﺗﺘﻨﺎﻏﻢ ﻟﺘﻔﺮز ﺟامﻟﻴﺎت‬ ‫ﻣﺘﺠﺪدة ﰲ اﻟﻘﺼﻴﺪة‪ ،‬وأﺻﺪق دﻟﻴﻞ ﻋﲆ ذﻟﻚ ﻫﻮ اﻟﺸﻄﺮ َ‬ ‫"ﴍ َﺑﻚ‬ ‫ﻗﻠﺒﻲ ﻫﻮاه" ﻷن اﳌﻌﻨﻰ اﻟﻘﺮﻳﺐ ﻫﻨﺎ ﻫﻮ "اﻟﻬﻮى" ﺑﻴﻨام "ﴍﺑﻚ" ﰲ‬ ‫ﺳﻴﺎق اﻟﺘﺨﻴﲇ ﻳﺴﺘﺪرﺟﻨﺎ إﱃ "اﻟﻬﻮاء" وﻫﻲ دﻻﻻت إﻳﺤﺎﺋﻴﺔ ﺗﻀﻔﻲ‬ ‫ﻋﲆ اﻟﻘﺼﻴﺪة وﺟﻮﻫﺎً ﻣﺘﻌﺪدة وﺳﻴﺎﻗﺎت ﻣﻌﻨﻮﻳﺔ وﺗﺼﻮﻳﺮﻳﺔ ﻣﻮازﻳﺔ‬ ‫ﻹﻣﺘﺎع اﳌﺘﻠﻘﻲ‪ ،‬ﺧﻼﺻﺔ اﻟﻘﻮل إن اﻟﻘﺼﻴﺪﺗني متﻀﻴﺎن ﰲ ﺗﺪﻓﻖ ﺷﻌﻮري وﺣﻖ ﻟﻬﺎ أﻻ ﺗﺸﺒﻪ ﻫﺬا اﳌﺤﺒﻮب ﺑﺄي ﺷﺨﺺ‪ ،‬ﻛام ﺗﺸري إﱃ ﻫﺬا‬ ‫وﺧﻴﺎﱄ ﻣﻮا ٍز وﻟﻜﻦ اﳌﻌﻨﻰ ميﴤ ﰲ ﺳﻴﺎق ﺣﻮاري ﺑني اﻷﺑﻴﺎت وﻫﺬه اﳌﻌﻨﻰ ﰲ "ﻣﺎ أﺷﺒﻪ ﺑﻪ وﺻﺎﻳﻒ"‪ ،‬ﻷﻧﻪ ﻣﺤﺒﻮب ﻣﺘﻔﺮد ﰲ اﻟﻮﺻﻒ‬ ‫اﻟﺤﻮار ﻗﺪ ﻻ ﻳﺴﺘﻮﻋﺒﻪ ﻣﻦ ﻻ ﻳﺴﺘﻄﻴﻊ إدراك ﻫﺬﻳﻦ اﻟﺘﺪﻓﻘني‪:‬‬ ‫ﻻ ﻳﺸﺒﻪ أي ﺷﺨﺺ ﻣﻦ ﻧﺎﺣﻴﺔ‪ ،‬وﻣﻨﺰﻟﺘﻪ أﻋﲆ ﻣﻦ أي ﺷﺨﺺ ﻣﻦ‬

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‫اﻟﻌﺪد ‪ ، 74‬ﻳﻨﺎﻳﺮ ‪2019‬‬

‫‪ ǚōƢǔƓ Ǜş ƃǘżǙ ǖǷŽƉǘǕŌ ƨƃşŐ ōǙƃǜƫ‬‬ ‫‪ ǛǾŭȎŭ ǛǙ ƉŬljŐ ƅǜǙ DzƃǾƚǂǕŌ Ǣƅǥ ǽLjǙƈƃǕŌ‬‬ ‫‪ɰ‬‬ ‫‪ dzżǿƉǃ džƉżŨƓ ōǤǝŐ ǣǕōŞş ƉƢƀǿ ǗǕ ɐōǙōƫ‬‬ ‫‪ǣũŌƈōŴǘǕ ŋŌƉƪƖǕŌ ŦŌƉƖƫ‬‬ ‫‪ ōǤũƃǾƚǃ ǓǤŨƒũ ȍ mŜƉƪǕŌ DzōŨƳ} ƃŴǝ‬‬ ‫‪ LJǕƄ ǛǙ ƃƪşŐ ŝǥƅũ Ǔş ɐơǂƳ DzŌƈōŴǘǕōş‬‬ ‫‪dzƟƈōƪǘǕŌ ƃȃōƚǃ ǻǕŒ ŜƉǃŐ DzƃǾƚǃ ǖƃǂũǶ‬‬ ‫‪ ǼƈǷƪƗ ǁƳƃũ ǽƳ ǚōǾƞǘũ ǚōũƃǾƚǂǕŌ‬‬ ‫‪ǽƞǘǿ ǻǜƪǘǕŌ ǛLjǕǶ ƊŌǷǙ ǽǕōǾƁǶ‬‬ ‫‪ɲ‬‬ ‫ ‬ ‫ ‪ ŦōǾşȏŌ ǛǾş ǼƈŌǷŽ ǀōǾƓ ǽƳ‬‬

‫‪ @@ @ @ @ Jb@@ @ @ @ FH @@ @ @ @ @ J¡@@ @ @ @ @ : b@@ @ @ @ @ @ @J b@@ @ @ @ @ @ @E‬‬ ‫@‪ É@@ @ @ @ @ @ @ @ @0 b‬‬ ‫<@ @ @ @ @ @ @ @ @ @ @ @ @ @ @@¡‪N @ @ @ @ @ @ @ Eb@@ @ @ @ @ @ @ J 2‬‬ ‫<@ @ @ @ @ @ @@¡‪N * @@ @ @z@ @ @ @ @ @ c@ @ @ D* 2‬‬ ‫‪ @@ @ @ @ @J*x@@ @ @ @ @³‬‬ ‫· ¯ = @ @ @ @ @ @‪ b@@ @ @ @ @ @ @+x@@ @ @ @ @ @ @EN @@ @ @ @ @ g‬‬ ‫ﻳﺒﺪأ ﰲ ﻫﺬه اﻷﺑﻴﺎت اﻟﺜﻼﺛﺔ ﰲ اﻟﻮﺻﻒ ﺑﺪءاً ﻣﻦ "ﺳﻤﺮ ﻋﻄﺎﻳﻒ"‬ ‫وﻫﻮ وﺻﻒ أﻗﺮب ﻟﺮﻣﻮش اﳌﺤﺒﻮب ﻣﻦ ﺟﺪاﻳﻠﻪ وﻟﻜﻦ اﻟﺴﻴﺎق‬ ‫ﻳﻨﻘﻠﻨﺎ ﺑﻌﺒﺎرة "ﻓﻮق ﻣﺘﻮﻧﻪ رﺿﺎﻳﻒ" إﻻ أن اﳌﻘﺼﻮد ﻗﺪ ﻳﻜﻮن ﺟﺪاﺋﻞ‬ ‫اﳌﺤﺒﻮب‪ ،‬وﻟﻜﻦ ﴎﻋﺎن ﻣﺎ ﻳﺘﺪارك اﻟﺸﺎﻋﺮ ﻫﺬا اﻻﻟﺘﺒﺎس ﰲ "أﺳﻤﺮ‬ ‫ﺟﺎين ﺳﺤﺎه" ﻓﺈﻋﺎدة "أﺳﻤﺮ" ﺑﻌﺪ "ﺳﻤﺮ" ﺑﺼﻴﻐﺔ اﳌﻔﺮد دﻟﻴﻞ ﻋﲆ‬ ‫ﺗﻮﺿﻴﺢ ذﻟﻚ ‪ -‬أي اﻟﺮﻣﻮش ﺑﺼﻴﻐﺔ اﻟﺠﻤﻊ واﻟﺸﻌﺮ ﺑﺼﻴﻐﺔ اﳌﻔﺮد‪-‬‬ ‫و"ﺳﺤﺎه" ﰲ ﻣﻘﺎﺑﻞ "ﻋﻄﺎﻳﻒ" ﺗﺄﻛﻴﺪ ﻋﲆ أن اﻟﺸﺎﻋﺮ ﻳﺘﺤﺪث ﻋﻦ‬ ‫ﺷﻌﺮ ﻧﺎﻋﻢ ﻏري ﻣﺠﻌﺪ ﻛام أوﺣﺖ "ﻋﻄﺎﻳﻒ" ﺑﺬﻟﻚ‪.‬‬ ‫وﰲ ﺗﺎﱄ اﻷﺑﻴﺎت ﻳﻨﺘﻘﻞ اﻟﺸﺎﻋﺮ إﱃ وﺻﻒ ﻗﻮام اﳌﺤﺒﻮب‪ ،‬ومل ﻳﺸﺄ أن‬ ‫ﻳﺒﺎﻟﻎ ﰲ وﺻﻒ ﻗﺎﻣﺔ ﻋﺎﻟﻴﺔ ﻛام درج ﻋﻠﻴﻪ اﻟﺸﻌﺮاء‪ ،‬وإمنﺎ ﺣﺎول أن‬ ‫ﻳﻜﻮن أﻛرث دﻗﺔ وأﻛرث ﻗﺮﺑﺎً ﻣﻦ اﻟﻮاﻗﻊ‪ ،‬وأﺷﺎر أن ﻣﺤﺒﻮﺑﻪ ﻟﻴﺲ ﻃﻮﻳ ًﻼ‬ ‫وإمنﺎ ذو ﻗﻮام ﺟﻤﻴﻞ‪ ،‬وﻫﻮ ﺑﺬﻟﻚ ﻳﺨﺮج اﻟﻮﺻﻒ ﻣﻦ اﳌﺘﻮﻗﻊ واﻟﺪارج‬ ‫ﰲ اﻟﺸﻌﺮ إﱃ وﺻﻒ ﺧﺎص أﻛرث ﺗﺠﺪﻳﺪاً ﰲ اﻟﺘﺼﻮﻳﺮ وأﻛرث وﻗﻌﺎً‬ ‫ﰲ اﻟﺨﻴﺎل؛ ﻛﻮن اﳌﺘﻠﻘﻲ اﺳﺘﻌﺪ ﻟﺘﺨﻴﻞ ﻧﻀﺞ اﳌﺤﺒﻮب ﻛام ﺗﻨﻀﺞ‬ ‫اﻟﺸﺠﺮة اﳌﺜﻤﺮة اﳌﺘامﻳﻠﺔ‪ .‬وﻫﻲ دﻻﻻت إﻳﺤﺎﺋﻴﺔ مل ﻳﺬﻛﺮﻫﺎ اﻟﺸﺎﻋﺮ‬ ‫وﻟﻜﻨﻪ أﺑﺪع ﰲ إرﺳﺎﻟﻬﺎ ﻟﺘﺴﺘﻘﺒﻠﻬﺎ ﻣﺨﻴﻠﺔ اﳌﺘﻠﻘني‪ ،‬ﺑﻴﻨام ﰲ اﻟﻮﻗﺖ‬ ‫ذاﺗﻪ وﰲ ﺧﻀﻢ ﻫﺬا اﻟﻮﺻﻒ اﻟﺴﺎﺣﺮ ﻳﺪرج ﻣﺄﺳﺎﺗﻪ ﰲ ﺑﻴﺘني‪:‬‬ ‫‪ @@ @ @ @Jb@@ @ @ @~@ @ @ @ z@ @ @ @ P0 ¯ ÁÉ@Q @ @ @ @ @ @ @ @ @ @ @ @ @1‬‬ ‫‪ b@@ @ @ @~@ @ @ @ 6b@@ @ @ @E d@@ @ @ @ @ @ @ @ @ @ < ¤@@ @ @ @ @ @ @ @ @ @ Q @ @ @ @ @ C‬‬

‫@ <@ @ @ @ @ @ @ @‪ @@ @ @ @ @ @ @ @ @ J*43 Á¡@@ @ @ @ @ @ @ £‬‬ ‫‪R @ @ @ @ @ @ @ @ @ E2‬‬ ‫‪ b@@ @ @ @ Bx@@ @ @ @ A @@ @ @ @ @ @ @ @ @g@ @ @ @ @0* b@@ @ @ @ @ @ E °‬‬ ‫ﻟﻜﻦ ﻫﺬه اﻷﳻ ﻻ ﻳﺸﻌﺮ ﺑﻪ اﳌﺘﻠﻘﻲ‪ ،‬ﻛﻮن اﻟﺸﺎﻋﺮ ﺗﻌ ّﻤﺪ ﺗﺨﻔﻴﻔﻪ‬ ‫ﺑـ "ﻛﻨّﻲ" وﻣ ّﺮ ﺑﻌﺪ ذﻟﻚ ﻣﺮوراً ﴎﻳﻌﺎً ﻋﲆ وﺻﻒ ﺣﺎﻟﺘﻪ اﻟﺤﺰﻳﻨﺔ‬ ‫اﻟﺒﺎﻛﻴﺔ اﺳﺘﻌﺪاداً ﻹﻛامل ﻣﺤﻮر اﻟﻮﺻﻒ‪ ،‬وﻟﻜﻦ ﻫﺬه اﳌﺮة ﻳﺄيت ﻣﺤﻮر‬ ‫اﻟﻮﺻﻒ ﻣﻤﻠﻮءاً ﺑﺄﺣﺰان اﻟﻔﺮاق وآﻻﻣﻪ ﻛﻮن اﳌﺘﻠﻘﻲ أﺻﺒﺢ ﻳﺸﻌﺮ‬ ‫ﺑﻬﻮل ﻫﺬه اﻟﺤﺎﻟﺔ‪:‬‬ ‫‪ @@ @ @Jb@@ @ @ @ @ @ D* *y@@ @ @ @ @ @ @ @ @ @ ²* ¤@@ @ @ @ @ @ @ @ @ @ <*4‬‬ ‫· =@ @ @ @ @ @ @ @ @ @ @ @ @ @@‪ b@@ @ @ ~@ @ @ @{@ @ @ @0 ¯ 4b‬‬ ‫‪ @@ @ @ @ Jb@@ @ @ @ F M2¡@@ @ @ @ @ @ @ @ @ @ @ @ @ @ < h@@ @ @ @ @ @ @<y@@ @ @ @ @ @ @G‬‬ ‫‪ *¡@@ @ @ @ @ @ @ @ @ G @@ @ @ @ @ @ @ @ @ E @@ @ @ @ @ @ @ @ @ Jb@@ @ @ @ @ @ @ @ @ ­H‬‬ ‫‪ @@ @ @ @ JÉ@@ @ @ @ N @ @ @ @ @Db@@ @ @ @ + Áb@@ @ @ @ @ @ @ @ @ @J b@@ @ @ @ @ @ @ E‬‬ ‫‪ b@@ @ @ @ ~@ @ @ @ @94 f@@ @ @ @c@ @ @ @ £@ @ @ @ : @@ @ @ @ @ @ @E b@@ @ @ @ @ @ @J‬‬ ‫ﻓﻨﻘﻄﺔ اﻻﻧﻔﺼﺎل اﻟﺴﺎﺑﻘﺔ ﻛﺎﻧﺖ أوﺻﺎف ﻗﻮام اﳌﺤﺒﻮب وأﺻﺒﺤﺖ‬ ‫ﻧﻘﻄﺔ اﻻﺗﺼﺎل ﰲ "راﻋــﻲ اﻟﺤﺰام اﻟﻬﺎﻳﻒ"‪ ،‬وﻫﻮ وﺻﻒ ﻟﺨﴫ‬ ‫اﳌﺤﺒﻮب وإﺷﺎرة إﱃ ﻋﻼﻗﺔ وﻃﻴﺪة ﺑﻪ‪ ،‬وﻳﺆﻛﺪ ذﻟﻚ "ﻫﺰﻋﺖ ﻋﻮ ٍد‬ ‫ﻧﺎﻳﻒ" وأﻳﻀﺎ "ﻳﺎ ﻣﻦ ﻃﻴﺒﺔ رﺿﺎه" أي أن اﳌﺤﺒﻮب ﻛﺎن ﰲ ﻣﻘﺎم‬ ‫اﳌﺤﺒﺔ ﻣﺸﺎرﻛﺎً ومل ﺗﻜﻦ اﳌﺤﺒﺔ ﻣﻦ ﺟﺎﻧﺐ واﺣﺪ ﻓﻘﻂ‪ ،‬وﻫﺬا ﻣﺎ‬ ‫ﻳﺰﻳﺪ أﺣﺰان اﻟﺸﺎﻋﺮ ﰲ اﻟﻔﺮاق وﻳﺴ ّﻮغ ﺟﻬﺪه ﰲ إﻳﺼﺎل اﻟﻘﺼﻴﺪة إﱃ‬ ‫ﻣﺴﺎﻣﻊ اﳌﺤﺒﻮب‪ ،‬ﺑﺎﻹﺿﺎﻓﺔ إﱃ اﻟﺪﻋﺎء ﻟﻪ ﰲ ﺧﺎمتﺔ اﻷﺑﻴﺎت‪:‬‬ ‫‪ @@ @ @Jb@@ @ @~@ @ @ 94 Md@@ @ @p@ @ @ @ @ @ @~@ @ @ 6 @@ @ @ @ @ @ @ @ @ /‬‬ ‫‪ b@@ @ @ @ @ @ @ @ @ ~@@N @ @6 @@ @ @ @ @ @ @ @ :H ¤@@ @ @ @ @ @ ~@ @ @ z@ @ @ J‬‬ ‫‪ @@ @ Jb@@ @ ~@ @ @z@ @ @ @ @ @D* @@ @ @ @ 6¡@@ @ @ @ C 4y@@ @ @ @ @ @ @ @ @E‬‬ ‫‪ b@@ @ @ @ @ @ £@ @ @ @ @ @ @D*H ¤@@ @ @ @ @ @ +x@@ @ @ @ @ @ @ @ @ @ @ @ @ N @ @ @ @ @ @ @D*H‬‬ ‫اﻟﺸﻌﺮ ‪baytelshear‬‬ ‫ﺑﻴﺖ ِ‬

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‫ ‪ ĘńĴ şʼn Įı‬‬

‫‪ŜƉƪǕŌ DzōŨƳǶ ǽLjǙƈƃǕŌ ǚōƢǔƓ Ǜş ƃǘżǙ‬‬

‫ﻣﺠﺎراة وﻣﻌﺎرﺿﺔ ﻟﻴﺴﺖ ﻓﻲ ﻣﺘﻨﺎول اﻟﺠﻤﻴﻊ!‬ ‫ﻣﺤﻤﺪ ﻧﻮر اﻟﺪﻳﻦ‬

‫‪ @@ @ JÉ@@ @ ~@ @ @ |@ @ @ +R @@ @ @ £@ @ @ @< Kb@ @ @ @ @-x@@ @ @ @ ~@ @ @ @ @7‬‬ ‫· ‪ *¡@@ @ @ @ @ @ @ @ G ¤@@ @ @ @ @ @ @ @ @~@ @ @ @ @}@ @ @ @ @£Q @ @ @ @ @G‬‬ ‫‪ @@ @ @ @ @J*w@@ @ @ @ @±b@@ @ @ @ @+ @@ @ @ @ @ @ @ @ £@ @ @ @ ~@ @ @ @ z@ @ @ @ FP‬‬ ‫‪ *w@@ @ @ @ @~@ @ @ @ @ 7 d@@ @ @ @ @ @ £Q @ @ @ @ @ @ @: @M @ @ @ @ @ @ @ @ @ @ @ @ @D‬‬ ‫ﻋﻨﺪﻣﺎ أﺑﺪع اﳌﺮﺣﻮم ‪ /‬ﻣﺤﻤﺪ ﺑﻦ ﺳﻠﻄﺎن اﻟﺪرﻣيك ﻫﺬه اﻟﻘﺼﻴﺪة‬ ‫ﻣﻨﺬ أﻛرث ﻣﻦ ﺛﻼﺛني ﻋﺎﻣﺎً‪ ،‬مل ﻳﺨﻄﺮ ﺑﺒﺎﻟﻪ أﻧﻬﺎ ﺳﺘﺤﺮك ﻗﺮﻳﺤﺔ ﻋﴩات‬ ‫اﻟﺸﻌﺮاء ﳌﺠﺎراﺗﻪ‪ ،‬وﻟﻜﻨﻬﺎ ﰲ ﻓﱰة ﻗﺼرية أﺛﺎرت ﻛﺜرياً ﻣﻦ اﻟﺸﻌﺮاء‪،‬‬ ‫وﺳﻨﻌﺮض ﻻﺣﻘﺎً إﺣﺪى ﺗﻠﻚ اﳌﺠﺎرﻳﺎت وﻟﻜﻦ ﻗﺒﻞ ذﻟﻚ ﺳﻨﺄﺧﺬ ﺟﻮﻟﺔ‬ ‫ﰲ أرﺟﺎء ﻗﺼﻴﺪة اﻟﺪرﻣيك وﻧﻜﻤﻞ أﺑﻴﺎﺗﻬﺎ‪:‬‬ ‫‪ @@ Jb@@ ~@ @7 @@ @g@ @ £@ @ D b@@ @ @ @J Yv@@ @ @p@ @ @ £@ @ @ EZ‬‬ ‫‪ b@@ @ p@ @ @ @ @ @~@@ O@ 9 x@@ @ @ @ @ @ @ £@ @ @ @1* N M ¡@@ @ @ @ @ @ @ @ J‬‬ ‫‪ @@ @ @ @ @J°¡@@ @ @ @ @D* v@@ @ @ £@ @ @ ~@ @ @ 6 b@@ @ @ @ @ @ @ @ @ @ @~@@ P@ @ 7‬‬ ‫· ¯ ‪ b@@ @ @ @ @ @ @ <2 @@ @ @ @ @ @F¡@@ @ @ @ @ @£@ @ @ @ @ @ <R‬‬ ‫وﻧﺠﺪ أن ﰲ اﻟﺒﻴﺖ اﻟﺜﺎﻟﺚ ﻳﺸﺎيك ﻓﻴﻬﺎ اﻟﻔﻨﺎن "ﻣﻴﺤﺪ ﺣﻤﺪ" وﻫﺬه‬ ‫ﻟﻴﺴﺖ مبﺸﺎﻛﺎة ﻋﺎدﻳﺔ ﻛام ﻫﻲ ﻣﻊ اﻟﺸﻌﺮاء‪ ،‬وإمنﺎ ﻳﺸﺎيك ﻫﻨﺎ‬ ‫ﻣﻄﺮﺑﺎً ﻣﻌﺮوﻓﺎً‪ ،‬وﻳﻌﺪ ﻫﺬا إﺳﻘﺎﻃﺎً ﻣﺒﻜﺮاً ﳌﺸﺎﻋﺮ اﻟﺸﺎﻋﺮ ﻋﲆ اﻟﻌﺎمل‬ ‫اﻟﺨﺎرﺟﻲ‪ ،‬ﻛﻮن اﻟﺸﺎﻋﺮ ﻳﻮد أن ﻳﻨﻘﻞ ﻣﺸﺎﻋﺮه اﻟﺪاﺧﻠﻴﺔ إﱃ ﺻﺪر‬ ‫اﳌﻄﺮب وﻳﻨﻘﻠﻬﺎ اﳌﻄﺮب ﺑﺪوره إﱃ اﻟﺠﻤﻬﻮر‪ ،‬وﺑﺬﻟﻚ ﻟﻦ ﻳﺼﻞ إﱃ‬ ‫ﻣﺴﺎﻣﻊ اﳌﺤﺒﻮب ﻓﻘﻂ وإمنﺎ ﺳﻴﺸﺎﻃﺮه ﺟﻤﻴﻊ اﳌﺴﺘﻤﻌني آﻻﻣﻪ‪،‬‬ ‫وﺳﻴﻜﻮن ذﻟﻚ ﻣﺪﻋﺎة ﻟﺘﺨﻔﻴﻒ ﺗﻠﻚ اﻵﻻم اﻟﺘﻲ ﻳﺸﻜﻮ ﻣﻨﻬﺎ‪.‬‬ ‫وﻫﺬا اﻟﻨﻮع ﻣﻦ اﻟﺘﺼﻌﻴﺪ اﻟﺠامﻫريي ﻳﺄيت ﻟﺒﻴﺎن ﻣﺪى ﻋﻈﻤﺔ ﻣﺎ‬ ‫ﻳﻌﺎين ﻣﻨﻪ اﻟﺸﺎﻋﺮ وﺑﻴﺎن ﻋﻈﻤﺔ ﻗﺪر اﳌﺤﺒﻮب ﻋﻨﺪه‪ ،‬وﻟﻜﻨﻪ ﰲ‬ ‫اﻟﻮﻗﺖ ﻧﻔﺴﻪ ﻻ ﻳﺮﻳﺪ اﻟﺸﺎﻋﺮ أن ﻳﻀﺎﻳﻖ اﳌﺤﺒﻮب ﺑﻌﺮض ﻣﻮﻗﻔﻪ‬ ‫اﻷﻟﻴﻢ‪ ،‬ﻟﺬﻟﻚ ﻳﺴﻬﺐ ﰲ وﺻﻒ اﳌﺤﺒﻮب يك ﻳﻐري ﻣﻦ أﺟﻮاء اﻟﻘﺼﻴﺪة‬ ‫وﻳﺠﻤﻠﻬﺎ ﰲ اﻷﺑﻴﺎت اﻟﺘﺎﻟﻴﺔ‪:‬‬ ‫‪ @@ @ @Jb@@ @ @ @ @ @ P< xM @ @ @ @ @ @ @ @ ~@@ @O @ @6 ¤@@ @ @ @ @ @ @ @ @ @ @ <*4‬‬ ‫‪ *x@@ @ @ @ @ @ @ @ @ @ @ @ @+N ·b@@ @ @ @ @ @ @ @ @ @ @ @ @0 Q2H‬‬ ‫@¡ ‪ @@ @ @ Jb@@ @ @ ~@ @ @ @94 @@ @ @ @ F¡@@ @ @ @ g@ @ @ @ @E‬‬ ‫‪R @ @ @ @ @ @ @ @A‬‬ ‫*&‪ b@@ @ p@ @ @ @ @ @~@ @ @6 Áb@@ @ @ @ @ @ @ @ / x@@ @ @ @ @ @ @ @ @ @ ~@ @ @ @ @ 6‬‬ ‫<@ @ @ @ @ @ @ @ @ @ @ @ ‪ @@ @ @ Jb@@ @ @ @ @ @ @D* 24HH xM‬‬ ‫¯ ‪ b@@ @ @ ~@ @ @ @{@ @ @ @0 @@ @ @ @ @ @ @DHv@@ @ @ @ @ @ @£@ @ @ @ @ @ @ EN‬‬

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‫اﻟﻌﺪد ‪ ، 74‬ﻳﻨﺎﻳﺮ ‪2019‬‬

‫ﻏﺎﺑﺖ اﻻﺑﺘﺴﺎﻣﺔ‬ ‫ اﻟﺒﻄﺤﺎﻧﻲ‬Q‫ﻋﺒﺪا‬ @A_ALB67ani

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2019 тАл я╗│я╗ия║Оя╗│я║отАм╪М 74 тАл╪зя╗Яя╗Мя║к╪птАм

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‫وﻫﻨﺎ ﻗﺼﻴﺪة ﻻﺑﻦ رﺑﻴﻌﺔ ﻳﺮد ﺑﻬﺎ ﻋﲆ رﺳﺎﻟﺔ وﺻﻠﺘﻪ ﻣﻦ اﻟﻜﻮﻳﺖ‬ :‫ ﻗﺎل اﻟﺸﺎﻋﺮ‬،‫ﻛﺘﺒﻬﺎ أﺧﻮه )زﻳﺪ( ﻳﻌﺎﺗﺒﻪ ﻋﲆ اﻧﻘﻄﺎﻋﻪ ﻋﻨﻬﻢ‬ °b@@ @p@ @ ´* @@ @ @ @ < Q @ @ @ @ @ @1H *x@@ @ @ @ @ @ - b@@ @ @ E w@@ @ @ 1 *¡@@ @ @ @ § f@@ @<b@@ @~@ @ 6 Q @ @ @ @ C ¤@@ @ @ @ Db@@ @J d@@ @ @ @ B b@@ @ @J °b@@ @ @ @ @ @ -Q * b@@ @ @ @ £@ @ @ @ < b@@ @ @ @E Áb@@ @ @ @ @ @ g@ @ @ D* d@Q @ @ @ @ @C Q ¯ @@ @ @ @ @BQ H @@ @ @ 7H " b@@ @ / b@@ @ @ D b@@ @ E Mf@ @ @ @ @± °b@@ ~@ @z@ @- ° b@@ @ ~@ @ @}@ @ @ @ @ @D* ¡@@ @g@ @ p@ @ ´ @@ @ Q @ @ ~@ @ 6 b@@ @0 @@ @ @E x@@ @ J2b@@ @ @ @ @´* ¤@Q @ @ @ @: h@@ @ @« b@@ @ Eb@@ @ J °b@@ @ @£@ @ @ @ @ @ D* iÉ@@ @ @ c@ @ @ @ @ @ @ @E ¯ ¤@@ @ @ @ @ @ g@ @ @ s@ @ @ ´* b@@m@ @ J @@ ~@ @ {@ @ D* @@ @ Bx@@ @ +H Í@@ @c@ @ J Ì@@ @ @ 1 °b@@ @ @~@ @7 · b@@ @ @ @ @< @M @ @ @£@ @ @ : b@@ @ @ @ @JH *w@@ @ @ @ @ @ G b@@±* x@@ @~@8* @@ @E ¡@@ @Db@@+ 4v@@~@ 8H 24H °° @@ @£@ @ G b@@ @ @J b@@ @ @ @ @B @@ @ @ @ @ @JQ 4 h@@ @ @ @ @B @@ @ @D É@@ @ @ D*H v@@ @ @ c@ @ D* r5b@@ @ @ @ F @@ @ @ @ £@ @ +H ¤@@ @ @£@ @+ °b@@ @E @@ @ @ @ @ 6*4 b@@ @ @ @ D ¡@@ @ @ G b@@ @ @ E b@@ @ @ @ Ab@@ @< @@ @ @ E É@@s@ + b@@ @ @ @ @+ Hv@@ @ @ Db@@ @ @ + b@@ @ @<b@@ + @@ @ @ EH °b@@ @ g@ @ @- b@@ @ @ @ @ @ @< Í@@ @ @ @ @ ~@ @ @ 6 lÉ@@ @ @ @ @ @ . ¥w@@ @ @ @ @ @ G b£< @@Db@@E @@ ² @@D b@@E @@ 04 @@+ b@@E °*¡@@ @ @ @ @ ²* Q @@ @ @ @ @ @ @ @ @ ~@ @ @ 7*H ¤@QM @ @ @ @ @ @ @ @ @ + @@ @ @ @ @ @ @ @ +4&* *¡Q @ @ @ @ @ 0 b@@ @ @ @ @ @ @ @ J°*H b@@ @ @ Q @ @ @ @ < @@ @g@ @ c@ @ £@ @ = ¯ ¶b@@ @ - Ñ* x@@ @ @ g@ ~@ 6*H @@ @ @ F ¥* h@@ @ @ B b@@ @ <°b@@ + @@c@ p@ J v@@ @ J5 b@@ @J @M @ z@ @/b@@ G @@ @E °b@@ @ £@ @ @ @ @ @D* *x@@ @ @ @ @ @ @A Áx@@ @ @ @ @CQ w@@ @ @ @ @- ¤@@ @ @ @ @ @ Db@@ @ @J b@@ @ @A°* @@Jv@@£@ @ 0 4b@@ @ @ @ E b@@ @ F* ¡@@ @Db@@ @E °°5 ex@@ @ ~@ @ @{@ @ @J b@@ @ @ @/x@@ @ @ @+ 24H ¤@@ @ @ @ @ @ D* b@@ c@ @p@ @+ 24HP ¡@@ @ @ @ @ @ @ @ D Hv@@ @ @ @ @ @ @ @ @´* ryQ @ @ @ @ @ @ @ @ @ @JH °*v@@ @ ±* @@ @ G* b@@ J h@@ @ @B @@ Q @ @ © *¡@@ @Db@@ @B b@@ gQ @ @B @@ £@ ~@ }@ D* b@@ @ @ j@ E @@ {@ @ @ @ @ @J yQ @ @ @ @D*

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‫وﻗﺪ ﻋﺎىن اﻟﺸﺎﻋﺮ ﻋﺒﺪاﻟﻠﻪ ﺑﻦ رﺑﻴﻌﺔ ﻣﻦ ﻓﺮاق أﻫﻠﻪ وأﻃﻔﺎﻟﻪ ﺑﻌﺪ‬ ،‫ﻣﺎ اﺿﻄﺮوا ﳌﻐﺎدرة ﺑﻠﺪﺗﻬﻢ اﻟﺰﺑري واﻟﺬﻫﺎب ﻟﻠﻌﻴﺶ ﰲ اﻟﻜﻮﻳﺖ‬ ‫ ﻛﺎن اﺑﻦ رﺑﻴﻌﺔ ﻳﻘﴤ وﻗﺘﺎً ﻃﻮﻳ ًﻼ‬،‫وﺑﺴﺒﺐ ﻋﻼﻗﺎﺗﻪ ﻣﻊ ﺷﻴﻮخ اﻟﻘﺒﺎﺋﻞ‬ (‫ﻋﻨﺪ اﻟﺸﻴﻮخ وﺧﺼﻮﺻﺎً ﻣﻤﺪوﺣﺔ اﻟﺸﻬري )ﺑﻨﺪر ﺑﻦ ﻣﺤﻤﺪ اﻟﺴﻌﺪون‬ .‫ﺷﻴﺦ ﻗﺒﻴﻠﺔ اﳌﻨﺘﻔﻖ‬ ‫ ﻛﺎن اﺑﻦ رﺑﻴﻌﺔ ﰲ إﺣﺪى‬..‫وﻣﻦ ﺣﻜﺎﻳﺎت ﺗﺄﺛري اﻟﻔﺮاق ﻋﲆ اﺑﻦ رﺑﻴﻌﺔ‬ ‫ وﻗﺪ ﴎح ﻓﻜﺮه ﰲ ﻫﻤﻮﻣﻪ وﻫﻮ ﻳﺘﺬﻛﺮ‬،‫اﻟﻠﻴﺎﱄ ﰲ ﻣﺠﻠﺲ اﻟﺸﻴﺦ ﺑﻨﺪر‬ ‫ ﻓﻮﻗﻒ اﻟﺠﻤﻴﻊ ﻋﺪا‬،‫ دﺧﻞ اﻟﺸﻴﺦ‬،‫أﴎﺗﻪ اﻟﺒﻌﻴﺪة وﰲ ﻫﺬه اﻷﺛﻨﺎء‬ ‫ وﳌﺎ ﻧﺒﻬﻪ أﺣﺪ اﻟﺤﻀﻮر )وﻳﻘﺎل إﻧﻪ‬،‫اﻟﺸﺎﻋﺮ اﻟﺬي مل ﻳﻨﺘﺒﻪ ﻟﻮﺻﻮﻟﻪ‬ (‫اﻟﺸﻴﺦ ﻓﻬﻴﺪ ﺑﻦ ﻣﺒﺎرك اﻟﺼﻴﻴﻔﻲ ﻣﻦ ﺷﻴﻮخ ﻗﺒﻴﻠﺔ ﺳﺒﻴﻊ اﳌﻌﺮوﻓني‬ :‫ﺗﻌﺬر اﺑﻦ رﺑﻴﻌﺔ ﺑﻬﺬه اﻷﺑﻴﺎت‬ eH4w@@ @ < h@@ @ ~@ 7 b@@ £@ @D ¤@@ @ @¹b@@ ~@ @6H 4w@@ @ @ @ @<(* @@+b@@~@ z@ 0 @@ z@ @C¡@@ @ @- ¤@@ @ @ @ @D* ¡@@ @ @ @ @- @@ @ Db@@ @ + e¡@@g@< ,x@@ @ J2 ¯ @@ 7¡@@ @ D*H ¢@@p@ ~@ 9 ¤@@+x@@= @@ +b@@ c@ @= @@ @ :É@@ @ - Mx@ @ @ p@ @ @ + @@ @ @ @ @ @ FH2 @@ @ @ @ EH eHw@@ @ ¸ @@ @ @ @ @D* @@ @ E ¤@@ @ @ @ D* q@@ JÆ@@ ~@ @z@ @´* @@ @+*2 Q @ @ @ @ D* Ix@@ @ - @@ Bb@@ < @@ @D h@@ @ ~@ 7 *H Q * e¡@@ @ D* @@ @ ~@ z@ J b@@ E @@ 6b@@ /¡@@ G @@ + 2 ( @@+b@@/ 4¡@@ @ @ @D* h@@ +b@@ / b@@ @E @@ @c@ @ g@ @ F* ¶*H e¡@@~@ 8 ¯ @@ @ @< @@ g@ @ @ @£@ @<H e¡@@ ~@ @|@ @+ ¤@@ @ @ @ D* @@+ b@@ @ E @@ £@ @c@ @ @ @J ¡@@ @ m@ @ @ @ @ @´* &b@ @ @~@ @ @z@ @ @- ° e¡@@ @ @ ´ ¤@@ @ @~@ @{@ @- e¡@@ @ £@ @ @ @ @ @´b@@ @ J b@@ @ @ C (* " @@+ *v@@ @ @ + @@p@ £@ c@ F ¤@@ @ Db@@+ @@g@ @ £@ 0 @@ @ 7H

‫ ‪ĮńĵŒ ŗšĽĘı‬‬

‫‪ŧǿǷLjǕŌǶ ƃŴǝǶ ƉǾşƋǕŌ ǛǾş ƨƊǷũ ŝǔǃ‬‬

‫ﻋﺒﺪ اﻟﻠﻪ ﺑﻦ رﺑﻴﻌﺔ‪..‬‬ ‫‪ǓǿǷƢǕŌ ǀŌƉƲǕŌ ǚƋŽ‬‬ ‫ﻋﻠﻲ اﻟﻤﺴﻌﻮدي‬

‫ﻋﺒﺪاﻟﻠﻪ ﺑﻦ ﻣﺤﻤﺪ ﺑﻦ رﺑﻴﻌﺔ ﺑﻦ وﻃﺒﺎن اﻧﺘﻘﻞ ﻣﻦ ﻧﺠﺪ وﻋﺎش ﰲ ﺑﻠﺪة‬ ‫اﻟﺰﺑري ﰲ وﻗﺖ ﻛﺎﻧﺖ أﺣﺪاث ﻣﺘﺴﺎرﻋﺔ واﺿﻄﺮاﺑﺎت ﺳﻴﺎﺳﻴﺔ ﻛﺜرية ﰲ‬ ‫اﳌﻨﻄﻘﺔ‪ ،‬وﻗﺪ زاﻣﻦ اﺑﻦ ﻟﻌﺒﻮن وﺟﺎوره وﺟﻤﻌﺘﻪ ﻣﻌﻪ اﻟﻜﺜري ﻣﻦ‬ ‫اﳌﻨﺎﻛﻔﺎت اﻟﺸﻌﺮﻳﺔ ﻧﺘﻴﺠﺔ اﺧﺘﻼف اﻟﺘﻮﺟﻬﺎت‪ ،‬ذاع ﺷﻌﺮه ﰲ اﻟﺤﺎﴐة‬ ‫واﻟﺒﺎدﻳﺔ ﻟﺨﻠﻮه ﻣﻦ اﻷﻟﻔﺎظ اﻟﺼﻌﺒﺔ واﳌﺼﻄﻠﺤﺎت اﳌﻌﻘﺪة ﻣﻊ ﻗﻮة‬ ‫ﺳﺒﻚ ووﺿﻮح ﻓﻜﺮة وﺳﻬﻮﻟﺔ ﻋﺒﺎرة‪ ..‬ورأى اﻟﻨﻘﺎد أن ﺷﻌﺮه ﰲ ﻏﺎﻳﺔ‬ ‫اﻟﺠﻮدة‪ ،‬وﻳﺘﺴﻢ ﺑﺎﻟﺠﺰاﻟﺔ واﻟﻔﺤﻮﻟﺔ واﻟﺒﻌﺪ ﻋﻦ اﻹﺳﻔﺎف وﻟﻜﻦ اﻟﻜﺜري‬ ‫ﻣﻦ ﺷﻌﺮه ﺿﺎع ﻟﻌﺪم وﺟﻮد ﻣﻦ ﻳﻬﺘﻢ ﺑﻪ‪.‬‬ ‫وﻗﻴﻞ إن اﺑﻨﻪ ﻣﺤﻤﺪ أﺣﺮق اﻟﻘﺼﺎﺋﺪ ﺑﻌﺪ وﻓﺎة أﺑﻴﻪ ﺧﻮﻓﺎً ﻋﻠﻴﻪ ﻣام‬ ‫ﻓﻴﻬﺎ ﻣﻦ ﻏﺰل‪.‬‬ ‫ﺗﻮﰱ ﰲ ﻣﺪﻳﻨﺔ اﻟﺰﺑري ﺳﻨﺔ ‪1273‬ﻫـ‪ .‬وﻫﺬه اﻟﻘﺼﻴﺪة ﻗﺎﻟﻬﺎ اﺑﻦ رﺑﻴﻌﺔ‬ ‫وﻫﻮ ﰲ اﻟﻌﺮاق ﻳﺘﻤﻨﻰ ﻧﺠﺪاً‪ ،‬وﻳﺸﺘﺎق إﱃ ﻣﺤﺒﻮﺑﺘﻪ‪:‬‬

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‫اﻟﻌﺪد ‪ ، 74‬ﻳﻨﺎﻳﺮ ‪2019‬‬

‫‪b@@ EÉ@@ ~@ @6 @@ @ @ £@ @ @ @ @ @ D* Q @@ @ @ ~@@N @ @ 6 @@ @ @ ´ ¤@@ @ @ Q @ @ @ E‬‬ ‫@‪eb‬‬ ‫‪R @ g@ @ @ @+ Hv@@ @ @ @ @­ · ¤@@ @ @ @ @D* b@@ @ @J HR 2T HN‬‬ ‫‪b@@ @ Eb@@ @ £@ @ @ @ D* *x@@ @ @ @ @ @ @ + M ¡@@ @ @ m@ @ @ @ @ @ @ @E É@@ @ @ ~@ @ @ @ 6‬‬ ‫‪eb@@ @ @/°*H @@E¡@@B Í@@ + @@ E @@ D¡@@ D* I45*H‬‬ ‫*¶ ‪b@@ @Eb@@ @ @ @ ²* i*2xQ @ @ @ @ @ @ @ @ @ @ RE Rh@@ @ @ R @ @ @ P @@ @ @~@@P @ @6‬‬ ‫‪N * Í@@ @ @ +H ¤@@ @ @£@ @+ I¡@@ @ @ @ @D* Q24N‬‬ ‫‪eb@@ + b@@ @ @£N @ @ @ ²‬‬ ‫‪b@@ Eb@@ £@ @F b@@ @ @J ¢@@ @ @ @/QN v@ @ @ @ D* qN @ @ @ @ R @ @ @ @ P/ R @ @ @ @ @ @£Q @ @ @ P @ @ @GN‬‬ ‫@‪eb‬‬ ‫‪N @ @ @ @ @D* ,w@@ @ @ D @@ @ < b@@ @ @D ¤@@ @ @£@ @<H‬‬ ‫@¡ ‪R @ @ m@S @ @ 0‬‬ ‫* ‪N * ¥ Pv@@ @ @ @ @ +R‬‬ ‫‪¢@@Eb@@ @ - ¤@@ @ @£@ @< ¡@@ @ @ @ @E2H v@@ @ N @ @ @ ±‬‬ ‫‪e*3 b@@ @ @~@@Q |@ @D* @@~@ |@ + ¡@@ @G ¡@@ @D Md@@ @ @ G° @@ @E‬‬ ‫*‪b@@ @ @Eb@@ @ @E* ¤@@ @ @ @ ~@ @ |@ @ @ @ @ @ D ¤@@ @ @ Q @ @ @ @ E d@@ @ @ @ @ @ @ @ @ D‬‬ ‫‪eÉ@@ ~@ @6°*H 4¡@@ ~@ @8 @@ Jx@@ Db@@ + ¢@@ @ + ¤@@ @ @D*H‬‬ ‫‪b@@ EÉ@@ @ @D* 2x@@ @ @ @J @@ @ @E b@@ @ @/ b@@ @ @E v@@ @ @½ @@ @ @E‬‬ ‫‪e*wQ @ @ @ @ @ @C b@@ @ @ @ @ C ¡@@ @ @ @ @ DH ¤@@ @ @ @ @ @ @ @ @ @ J @@ @ @ Eb@@ @ @ J‬‬ ‫‪b@@Eb@@ @ @ D* b@@ @m@ @ @ @ D* ¡@@ @ @ A @@ @ E d@@ @ @ C4 b@@ @ J‬‬ ‫‪e*x@@ @ @ G @@ @ @ Jx@@ @ @ D* @@ @ @ E *Hx@@ @ @ @ @ ~@ @ @7 Me4*H2‬‬

‫زوار ﰲ إﺣﺪى ﻗﺎﻋﺎت ﻗﴫ اﻟﺤﺼﻦ‬

‫ﺑﺮج اﳌﺮاﻗﺒﺔ اﻟﺘﺎرﻳﺨﻲ ﰲ ﻗﴫ اﻟﺤﺼﻦ‬

‫ﻗﺎﻋﺔ اﻟﺸﻴﺦ زاﻳﺪ اﻟﻜﺒري‬

‫ﻗﴫ اﻟﺤﺼﻦ ﺑﻌﺪ اﻟﱰﻣﻴﻢ‬

‫واﳌﺘﻨﻮﻋﺔ ﰲ اﳌﺸﻬﺪ اﻟﻔﻨﻲ اﻟﻐﻨﻲ ﰲ اﻟﺪوﻟﺔ‪،‬‬ ‫اﳌﺴﺘﻤﺮ ﻣﻨﺬ ﺑﺪاﻳﺎت اﻟﺜامﻧﻴﻨﻴﺎت ﻣﻨﺬ اﻟﻘﺮن‬ ‫اﳌﺎﴈ‪.‬‬ ‫ ‪ dzƫǷǜŨǙ ŦōǾǕōƪƳ‬‬

‫اﺣﺘﻔﺎﻻً ﺑﺎﻓﺘﺘﺎح ﻣﻨﻄﻘﺔ اﻟﺤﺼﻦ ‪ ،‬ﻧﻈﻤﺖ‬ ‫داﺋﺮة اﻟﺜﻘﺎﻓﺔ واﻟﺴﻴﺎﺣﺔ – أﺑﻮﻇﻲ‪ ،‬ﺳﻠﺴﻠﺔ‬ ‫ﻣﻦ اﻟﻔﻌﺎﻟﻴﺎت واﻟﻌﺮوض اﻟﻔﻨﻴﺔ ﻋﲆ ﻣﺪار‬ ‫أﺳﺒﻮع اﺑﺘﺪا ًء ﻣﻦ ‪ 7‬دﻳﺴﻤﱪ وﺣﺘﻰ ‪15‬‬

‫ﻣﻨﻈﺮ ﻣﻦ اﻟﺤﺼﻦ اﻟﺪاﺧﲇ‪ .‬ﻗﴫ اﻟﺤﺼﻦ‬

‫دﻳﺴﻤﱪ اﳌﺎﴈ‪ ،‬وﺷﻤﻠﺖ اﻟﻌﺪﻳﺪ ﻣﻦ اﻟﺠﻮﻻت‬ ‫واﻟﻌﺮوض اﳌﻮﺳﻴﻘﻴﺔ واﻟﻔﻌﺎﻟﻴﺎت اﻟﺘﻲ ﺗﺮﺣﺐ‬ ‫ﺑﻌﻤﻮم اﻟﺠﻤﻬﻮر‪ ،‬ﻛام أﻗﻴﻤﺖ اﻟﻌﺪﻳﺪ ﻣﻦ‬ ‫اﻟﻔﻌﺎﻟﻴﺎت اﻟﻔﻨﻴﺔ ﻣﻦ ذاﻛﺮة اﻷﻏﻨﻴﺔ اﻹﻣﺎراﺗﻴﺔ‬ ‫وأﺣﻴﺎ ﻫﺬه اﻟﺤﻔﻼت اﻟﻔﻨﺎن ﺧﺎﻟﺪ ﻣﺤﻤﺪ‬ ‫واﻟﻔﻨﺎﻧﺔ ﻓﺎﻃﻤﺔ زﻫﺮة اﻟﻌني‪ ،‬ﻛام ﻗﺪﻣﺖ ﻓﺮﻗﺔ‬ ‫اﻟﴩﻛﴘ" ﻋﺮﺿﻬﺎ واﺟﺘﻤﻊ‬ ‫"أﻟــﱪوز ﻟﻠﺮﻗﺺ‬ ‫ّ‬ ‫اﻟﻔﻨﺎن ﻧﺼري ﺷﻤﺔ وﻏﻠﻮﺑﻞ ﺑﺮوﺟﻴﻜﺖ ﰲ‬ ‫ﺣﻔﻞ ﻣﺸﱰك‪ ،‬ﻛام أﻗﻴﻤﺖ ﻓﻌﺎﻟﻴﺎت ﻣﻮﺟﻬﺔ‬

‫ﻟﻸﻃﻔﺎل‪ ،‬ﻋﻨﺪ اﺳﺘﻀﺎﻓﺔ ﻋﺪد ﻣﻦ ﺷﺨﺼﻴﺎت‬ ‫"اﻓﺘﺢ ﻳﺎ ﺳﻤﺴﻢ"‪.‬‬ ‫ً‬ ‫وﺿﻢ اﻟﱪﻧﺎﻣﺞ أﻳﻀﺎ ﻣﺠﻤﻮﻋﺔ ﻣﻦ اﻷﻧﺸﻄﺔ‬ ‫اﻟﺘﻲ ﺗﻌﻴﺪ ﺗﺴﻠﻴﻂ اﻟﻀﻮء ﻋﲆ ﺗﺎرﻳﺦ اﻹﻣﺎرات‬ ‫وﺛﻘﺎﻓﺘﻬﺎ اﻟﻐﻨﻴﺔ‪ ،‬ﺑﺪاﻳ ًﺔ ﻣﻦ اﻟﺤﺮف اﻹﻣﺎراﺗﻴﺔ‬ ‫اﻟﻴﺪوﻳﺔ ﻣﺜﻞ اﻟﺘﲇ )ﺗﻄﺮﻳﺰ( و)اﻟﺨﻮص( إﱃ‬ ‫ﺟﺎﻧﺐ اﻟﺘﻌ ّﺮف ﻋﲆ ﻛﻴﻔﻴﺔ ﺻﻨﺎﻋﺔ ﺷﺒﻜﺎت‬ ‫ﺻﻴﺪ اﻷﺳــامك وإﻧﺘﺎج اﻷﺳــامك اﳌﻤﻠﺤﺔ‪،‬‬ ‫وﻛﻴﻔﻴﺔ اﺳﺘﺨﺮاج اﻟﻠﺆﻟﺆ ﻣﻦ اﳌﺤﺎر‪.‬‬ ‫اﻟﺸﻌﺮ ‪baytelshear‬‬ ‫ﺑﻴﺖ ِ‬

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‫‪­ĘŐŖŒ ĮľŃ‬‬ ‫ﻋﲆ اﻟﺤﺮف اﻹﻣﺎراﺗﻴﺔ اﻟﻴﺪوﻳﺔ ﻣﺜﻞ اﻟﺴﺪو‬ ‫)اﻟﻨﺴﻴﺞ اﻟﺒﺪوي( واﻟﺨﻮص )ﺗﺠﺪﻳﻞ ﺳﻌﻒ‬ ‫اﻟﻨﺨﻞ( واﻟﺘﲇ )ﺗﻄﺮﻳﺰ(‪ ،‬مبﺎ ﻳﻀﻤﻦ ﻧﻘﻞ‬ ‫اﳌﻌﺎرف واﳌﻬﺎرات اﳌﺘﻌﻠﻘﺔ ﺑﻬﺎ ﻟﻸﺟﻴﺎل‬ ‫اﻟﻘﺎدﻣﺔ‪ .‬اﻟﺤﺮﻓﻴﺎت اﻹﻣﺎراﺗﻴﺎت ﺗﻮاﺟﺪن‬ ‫ﰲ ﻣﻨﻄﻘﺔ اﻟﺤﺼﻦ ﺧﻼل أﺳﺒﻮع اﻻﻓﺘﺘﺎح‬ ‫ﻳﴩﺣﻦ ﻟﻠﺰوار ﻋﻦ ﻃﺒﻴﻌﺔ ﻣﻬﻨﺘﻬﻦ وﻳﺠنب‬ ‫ﻋﲆ اﻷﺳﺌﻠﺔ اﻟﻜﺜرية‪ ،‬وﻳﺆﻛﺪن ﻋﲆ اﺳﺘﻤﺮارﻳﺔ‬ ‫اﻟﺤﻔﺎظ ﻋﲆ اﳌﻬﻦ اﻟﺘﻘﻠﻴﺪﻳﺔ اﻟﺘﻲ ﻛﺎﻧﺖ ﰲ‬ ‫اﻷﻣﺲ اﻟﻘﺮﻳﺐ‪.‬‬ ‫وﺗﺤﻘﻴﻘﺎً ﻟﻬﺬا اﻟﻬﺪف‪ ،‬ﺳﻴﺘﻢ ﺗﻨﻈﻴﻢ ﺑﺮﻧﺎﻣﺞ‬ ‫ﺧــﺎص ﻳﺴﺘﻤﺮ ﻋﲆ ﻣــﺪار اﻟﻌﺎم وﻳﺸﻤﻞ‬ ‫ﺗﻘﺪﻳﻢ ورش ﻋﻤﻞ وﺟﻠﺴﺎت ﺗﺪرﻳﺒﻴﺔ‬ ‫ﻣﻮﺟﻬﺔ ﻟﻠﺠﻤﻬﻮر‪ ،‬ﺑﻐﻴﺔ ﺗﻌﺰﻳﺰ ﺗﻮاﺟﺪ ﻫﺬه‬ ‫اﻟﺤﺮف ﺿﻤﻦ اﳌﻜﻮﻧﺎت اﻷﺳﺎﺳﻴﺔ ﻟﻸﻧﺸﻄﺔ‬ ‫اﻟﺜﻘﺎﻓﻴﺔ اﳌﻌﺎﴏة‪ ،‬ﻛام ﻳﻮﺟﺪ ﺧﻄﺔ ﻣﺴﺘﻘﺒﻠﻴﺔ‬ ‫ﻻﺳﺘﻀﺎﻓﺔ اﻟﻌﺪﻳﺪ ﻣﻦ اﻟﺤﺮف اﻟﺘﻲ ﻳﺘﻢ‬ ‫ﻣامرﺳﺘﻬﺎ ﰲ اﻟﺪول اﻟﻌﺮﺑﻴﺔ‪ ،‬ﺗﻌﺰﻳﺰاً ﻟﺪور‬ ‫اﳌﺸﻐﻮﻻت اﻟﻴﺪوﻳﺔ‪ ،‬اﻟﺘﻲ ميﻜﻦ ﻟﻠﺰاﺋﺮ أن‬ ‫ﻳﻘﺘﻨﻲ ﻣﻨﻬﺎ اﻟﻌﺪﻳﺪ ﻣﻦ اﻟﻘﻄﻊ‪.‬‬ ‫‪ ǽƳōǂŬǕŌ ƩǘŴǘǕŌǶ ǚǷǝōǜƲǕŌ‬‬

‫أرض اﻟﻮاﻗﻊ‪ ،‬ﻣﺜﻞ ﺗﺸﻴﻴﺪ اﻟﻌﺪﻳﺪ ﻣﻦ اﳌﺒﺎين اﻟﺘﻲ أﻓﻀﺖ إﱃ ﻗﻴﺎم دوﻟﺔ اﻻﺗﺤﺎد‪ ،‬ﻓﻘﺪ ﺗﻢ‬ ‫ﰲ اﻹﻣﺎرة وﻋﺪد آﺧﺮ ﻣﻦ اﳌﺸﺎرﻳﻊ اﻟﺘﻲ ﺗﻌﻮد اﻟﺤﻔﺎظ ﻋﻠﻴﻪ ﻛام ﻫﻮ وﻓﻴﻪ ﻳﻌﺮض ﻓﻴﺪﻳﻮ‬ ‫ﻟﺴﺒﻌﻴﻨﻴﺎت اﻟﻘﺮن اﳌﺎﴈ‪ ،‬واﻟﺘﻲ ﻛﺎن اﻟﺸﻴﺦ ميﺜﻞ ﺧﻄﺎب ﻗﺎﺋﺪ اﻻﺗﺤﺎد اﳌﻐﻔﻮر ﻟﻪ اﻟﺸﻴﺦ‬ ‫زاﻳﺪ ﺑﻦ ﺳﻠﻄﺎن آل ﻧﻬﻴﺎن‪.‬‬ ‫زاﻳﺪ ﻳﺘﺎﺑﻊ ﺗﻄﻮراﺗﻬﺎ ﺑﻨﻔﺴﻪ‪.‬‬ ‫ﻣﻦ ﺑﻌﺪ ﻫﺬه اﻟﻘﺎﻋﺔ ميﻜﻦ اﻟﻮﺻﻮل إﱃ‬ ‫ﺳﺎﺣﺔ اﻟﻘﴫ اﻟﺘﻲ وزﻋــﺖ ﺣﻮﻟﻬﺎ اﻟﻐﺮف ‪ ǛǾǾƳƉżǕŌ ŧǾş‬‬ ‫اﻟﺘﻲ ﻳﺼﻞ ﻋﺪدﻫﺎ ﻷﻛرث ﻣﻦ ‪ 20‬ﻏﺮﻓﺔ‪ ،‬وﰲ ﻳﻬﺪف أﺣــﺪث ﻣﺒﻨﻰ ﰲ ﻣﻨﻄﻘﺔ اﻟﺤﺼﻦ‬ ‫واف ﻋﻦ اﻷﻏـﺮاض اﻟﺜﻘﺎﻓﻴﺔ ﻣﻦ ﺧﻼل اﳌﻬﻦ اﻟﺘﻲ ﻳﺴﺘﻌﺮﺿﻬﺎ‬ ‫ﻛﻞ ﻏﺮﻓﺔ ﻳﻮﺟﺪ ﴍح ٍ‬ ‫اﻟﺘﻲ اﺳﺘﺨﺪﻣﺖ ﻣﻦ أﺟﻠﻬﺎ وﺑﻌﺾ اﳌﻘﺘﻨﻴﺎت إﱃ اﻹﺷﺎرة ﻟﺪوره اﻟﺮﻳﺎدي ﰲ ﺣامﻳﺔ وﺻﻮن‬ ‫اﻟﱰاث اﻹﻣﺎرايت‪ ،‬واﻟﱰوﻳﺞ ﻟﻪ‪ .‬وﺗﺤﻘﻴﻘﺎً ﻟﻬﺬا‬ ‫اﻟﺸﺨﺼﻴﺔ إن وﺟﺪت‪.‬‬ ‫أﻣــﺎ ﻣﺒﻨﻰ اﳌﺠﻠﺲ اﻻﺳﺘﺸﺎري اﻟﻮﻃﻨﻲ اﻟﻬﺪف‪ ،‬ﻳﻘﺪم ﺑﻴﺖ اﻟﺤﺮﻓﻴني ﺑﺮﻧﺎﻣﺠﺎً ﺷﺎﻣﻼً‬ ‫اﻟﻮﻃﻨﻲ‪ ،‬اﻟــﺬي ﻳﺠﺎور اﻟﺤﺼﻦ‪ ،‬واﻟــﺬي ﺗﺘﺨﻠﻠﻪ ﻣﺠﻤﻮﻋﺔ ﻣﻦ اﳌﻌﺎرض وورش اﻟﻌﻤﻞ‬ ‫ﻋﻘﺪت ﻓﻴﻪ اﳌﻔﺎوﺿﺎت واﳌﺤﺎدﺛﺎت اﻷوﱃ واﻟـﱪاﻣــﺞ اﻟﺘﺪرﻳﺒﻴﺔ اﻟﺘﻲ ﺗﺮﻛﺰ ﺟﻤﻴﻌﻬﺎ‬

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‫اﻟﻌﺪد ‪ ، 74‬ﻳﻨﺎﻳﺮ ‪2019‬‬

‫ﰲ أول ﻓﻌﺎﻟﻴﺔ ﻟﻪ ﺑﻌﺪ ﺳﻠﺴﻠﺔ ﻣﻦ أﻋامل‬ ‫اﻟﺘﺠﺪﻳﺪ واﻟﱰﻣﻴﻢ اﺳﺘﻀﺎف اﳌﺠ ّﻤﻊ اﻟﺜﻘﺎﰲ‬ ‫ﻣﻌﺮﺿﺎً ﺑﻌﻨﻮان "اﻟﻔﻨﺎﻧﻮن واﳌﺠ ّﻤﻊ اﻟﺜﻘﺎﰲ‪:‬‬ ‫اﻟﺒﺪاﻳﺎت" ورﻛﺰ اﳌﻌﺮض ﻋﲆ ﺗﺎرﻳﺦ اﳌﺠ ّﻤﻊ‬ ‫اﻟﺜﻘﺎﰲ ودوره ﰲ دﻋﻢ اﳌﺸﻬﺪ اﻟﺜﻘﺎﰲ واﻟﻔﻨﻲ‪.‬‬ ‫وﺿــﻢ اﳌﻌﺮض أﻛــرث ﻣﻦ ‪ 100‬ﻋﻤﻞ ﻓﻨﻲ‬ ‫ﻟﻌﺪد ﻣﻦ اﻟﻔﻨﺎﻧني اﻹﻣﺎراﺗﻴني اﻟﺬﻳﻦ ﺷﻬﺪوا‬ ‫اﻟﺒﺪاﻳﺎت اﻷوﱃ ﻟﻠﻤﺠ ّﻤﻊ اﻟﺜﻘﺎﰲ ﺧﻼل ﻓﱰة‬ ‫اﻟﺜامﻧﻴﻨﻴﺎت واﻟﺘﺴﻌﻴﻨﻴﺎت‪ .‬ﻣﺜﻞ ﻋﺒﺪاﻟﺮﺣﻴﻢ‬ ‫ﺳﺎمل واﻟﺪﻛﺘﻮرة ﻧﺠﺎة ﻣيك وﻣﺤﻤﺪ ﻣﻨﺪي‬ ‫وﺧﻠﻮد اﻟﺠﺎﺑﺮي وﺟﻼل ﻟﻘامن وﻏريﻫﻢ ﻣﻦ‬ ‫ﻓﻨﺎﻧني ﻳﻌﻜﺴﻮن ﺑﺄﻋامﻟﻬﻢ ﻣﺤﻄﺎت ﻣﻬﻤﺔ‬ ‫ﻣﻦ ﺗﺎرﻳﺦ اﳌﺠ ّﻤﻊ اﻟﺜﻘﺎﰲ‪ ،‬ودوره اﻟﺮﻳﺎدي‬ ‫ﻛﻮﺟﻬﺔ ﺣﺎﺿﻨﺔ ﻟﻠﻔﻦ وﻣﻨﺎرة ﻟﻺﺑﺪاع‪ .‬وإﱃ‬ ‫ﺟﺎﻧﺐ ﻫﺬا ﻳﻀﻢ اﳌﻌﺮض ‪ 7‬أﻋامل ﺗﻜﻠﻴﻒ‪،‬‬ ‫ﻟﺘﻌﻜﺲ ﻣﻊ ﻏريﻫﺎ ﻣﻦ اﻟﻠﻮﺣﺎت واﳌﻨﺤﻮﺗﺎت‬ ‫ﺗﺠﺴﺪ اﻷﺑﻌﺎد اﳌﺨﺘﻠﻔﺔ‬ ‫ﺗﺠﺮﺑﺔ اﺳﺘﺜﻨﺎﺋﻴﺔ‬ ‫ّ‬

‫‪ǛƚżǕŌ Ɖƚǃ DzőƖǝ‬‬

‫أﺳﺒﻮع ﺣﺎﻓﻞ ﺑﺎﻟﻔﻌﺎﻟﻴﺎت واﻷﻧﺸﻄﺔ اﻟﺜﻘﺎﻓﻴﺔ‪،‬‬ ‫راﻓﻖ اﻓﺘﺘﺎح ﻣﻨﻄﻘﺔ اﻟﺤﺼﻦ اﻟﺜﻘﺎﻓﻴﺔ‪ ،‬وﻳﻌﺪ‬ ‫اﻓﺘﺘﺎح ﻗﴫ اﻟﺤﺼﻦ ﻟﻠﺠﻤﻬﻮر ﺑﺸﻜﻞ داﺋﻢ‬ ‫ﻣﻦ أﺑﺮزﻫﺎ‪ ،‬ﻟﺨﺼﻮﺻﻴﺘﻪ اﻟﺘﻲ ﻳﻌﺘﱪ ﻣﻦ أﻫﻤﻬﺎ‬ ‫أﻧﻪ أﺑﺮز ﴏح ﺗﺎرﻳﺨﻲ ﰲ أﺑﻮﻇﺒﻲ وﻳﻀﻢ‬ ‫ﺑﻨﺎﺋني ﻣﻬﻤني‪ ،‬وﻫــام "اﻟﺤﺼﻦ اﻟﺪاﺧﲇ"‬ ‫وﻳﻌﻮد ﺗﺎرﻳﺦ ﺑﻨﺎﺋﻪ إﱃ ﻋﺎم ‪ 1795‬ﺗﻘﺮﻳﺒﺎً‪،‬‬ ‫وﻛﺎن ﻋﺒﺎرة ﻋﻦ ﺑﺮج ﻣﺮاﻗﺒﺔ ﻟﺘﻮﻓري اﻟﺤامﻳﺔ‬ ‫ﻟﻠﺘﺠ ّﻤﻊ اﻟﺴﻜﺎين ﻋﲆ ﺟﺰﻳﺮة أﺑﻮﻇﺒﻲ‪ .‬وذﻟﻚ‬ ‫ﻋﻨﺪﻣﺎ ﻗﺎم اﻟﺸﻴﺦ ذﻳﺎب ﺑﻦ ﻋﻴﴗ آل ﻧﻬﻴﺎن‪،‬‬ ‫ﺑﻘﻴﺎدة ﺷﻌﺒﻪ ﻣﻦ ﻣﻘﺮ إﻗﺎﻣﺘﻬﻢ ﰲ ﻟﻴﻮا إﱃ‬ ‫ﺟﺰﻳﺮة أﺑﻮﻇﺒﻲ‪ ،‬اﻟﺘﻲ ﻛﺎن ﻳﻨﻈﺮ إﻟﻴﻬﺎ ﻋﲆ‬ ‫أﻧﻬﺎ ﻣﻜﺎن ﻣﺜﺎﱄ ﻟﺮﺟﺎل ﻗﺒﻴﻠﺘﻪ‪ .‬وﻋﺮف ﻗﴫ‬ ‫اﻟﺤﺼﻦ ﰲ اﻟﻮﺛﺎﺋﻖ اﻟﱪﻳﻄﺎﻧﻴﺔ ﺑﺄﺳامء ﻋﺪة‪،‬‬ ‫ﻣﺜﻞ‪ :‬اﻟﻘﻠﻌﺔ‪ ،‬اﻟﺤﺼﻦ‪ ،‬ﻗﴫ اﻟﺤﺎﻛﻢ‪ ،‬دار‬ ‫اﻟﺤﻜﻮﻣﺔ‪.‬‬ ‫وﻳﺆﻛﺪ اﻟﺒﺎﺣﺜﻮن ﻋﲆ اﳌﻜﺎﻧﺔ اﻟﻜﺒرية ﻟﻘﴫ‬ ‫اﻟﺤﺼﻦ‪ ،‬ﺧﺼﻮﺻﺎً وأﻧﻪ ﺑﻘﻲ ﻣﻘﺮاً ﻟﻠﺤﻜﻢ ﻋﲆ‬ ‫ﻣﺪار ﻗﺮﻧني ﻣﻦ اﻟﺰﻣﺎن‪ ،‬ﺷﻬﺪ ﺧﻼﻟﻬام اﻟﻜﺜري‬

‫ﻣﻦ اﻷﺣﺪاث‪ ،‬ﺑﺪءاً ﻣﻦ اﻟﻌﺎم ‪ 1833‬إﱃ اﻟﻌﺎم‬ ‫‪ ،1855‬ﺣﻴﺚ ﻛﺎﻧﺖ أﺑﻮﻇﺒﻲ ﻫﻲ اﳌﺸﻴﺨﺔ‬ ‫اﻟﺮاﺋﺪة ﻋﲆ ﺳﺎﺣﻞ اﻟﺨﻠﻴﺞ اﻟﻌﺮيب‪.‬‬ ‫وﺗﺒني اﻟﺪراﺳﺎت ﺑﺄﻧﻪ ﺗﻢ ﺗﻮﺛﻴﻖ ﻧﺸﺄة ﻗﴫ‬ ‫اﻟﺤﺼﻦ ﻷول ﻣﺮة ﺧﻼل ﺳﺘﻴﻨﻴﺎت اﻟﻘﺮن‬ ‫اﻟﺜﺎﻣﻦ ﻋﴩ‪ ،‬ﺑﻴﻨام ﺗﻢ ﺑﻨﺎء "اﻟﻘﴫ اﻟﺨﺎرﺟﻲ"‬ ‫ﺧﻼل ﻓﱰة اﻷرﺑﻌﻴﻨﻴﺎت ﻣﻦ اﻟﻘﺮن اﳌﺎﴈ‪.‬‬ ‫واﻟﻴﻮم‪ ،‬ﺗﺤﻮل اﻟﻘﴫ إﱃ ﻣﺘﺤﻒ ﺑﻌﺪ اﻧﺘﻬﺎء‬ ‫أﻋامل اﻟﱰﻣﻴﻢ واﻟﺼﻴﺎﻧﺔ‪ ،‬ﻟﻴﴪد ﺗﻄﻮر أﺑﻮﻇﺒﻲ‬ ‫ﻣﻦ ﻣﻨﻄﻘ ٍﺔ ﻻﺳﺘﻘﺮار اﻟﻘﺒﺎﺋﻞ اﻟﺘﻲ اﻋﺘﻤﺪت‬ ‫ﻋﲆ ﺻﻴﺪ اﻟﺴﻤﻚ واﻟﻠﺆﻟﺆ ﰲ اﻟﻘﺮن ‪ 18‬إﱃ‬ ‫واﺣﺪة ﻣﻦ أروع اﳌﺪن اﻟﻌﺎﳌﻴﺔ اﻟﺤﺪﻳﺜﺔ‪.‬‬ ‫اﻟﺘﻌﺮف ﻋﲆ اﻟﺤﺼﻦ وﺗﺎرﻳﺨﻪ ﻳﺒﺪأ ﻋﱪ ﻗﺎﻋﺎت‬ ‫متﻜﻦ اﳌﺘﺠﻮل ﻣﻦ ﺧﻼل ﺗﺴﻠﺴﻠﻬﺎ اﻟﺘﺎرﻳﺨﻲ‬ ‫اﻟﺘﻌﺮف ﻋﲆ اﻟﺘﻄﻮر اﻟﺤﺎﺻﻞ ﺑﺪءاً ﻣﻦ اﻟﻘﺎﻋﺔ‬ ‫اﻷوﱃ اﻟﺘﻲ ُﺗﻈﻬﺮ ﻣﻦ ﺧﻼل اﻟﻌﺮض اﻟﺒﴫي‬ ‫وﺑﻌﺾ اﳌﻘﺘﻨﻴﺎت اﻷﺳﺒﺎب اﻟﺘﻲ دﻓﻌﺖ آل‬ ‫ﻧﻬﻴﺎن ﻟﻠﺨﺮوج ﻣﻦ ﻟﻴﻮا ﺑﻘﻴﺎدة اﻟﺸﻴﺦ ﻋﻴﴗ‬ ‫ﺑﻦ ذﻳــﺎب ﺑﺎﺗﺠﺎه أﺑﻮﻇﺒﻲ ﺑﺤﺜﺎً ﻋﻦ اﳌﺎء‬ ‫اﻟﻌﺬب واﻟﻠﺆﻟﺆ اﻟﻄﺒﻴﻌﻲ‪ ،‬واﺣﺘﻮت ﻫﺬه‬

‫اﻟﻘﺎﻋﺔ ﻋﲆ أﻗﺪم ﻗﻄﻌﺔ ﺗﺎرﻳﺨﻴﺔ ﰲ ﻣﺘﺤﻒ‬ ‫ﻗﴫ اﻟﺤﺼﻦ وﻫﻲ ﻋﺒﺎرة ﻋﻦ ﻧﻮاة "اﻟﻠﻴﺜﻴﻠﻚ"‬ ‫وﻫﻲ ﻗﻄﻌﺔ ﻣﻦ اﻟﺤﺠﺮ ﻳﺒﻠﻎ ﻋﻤﺮﻫﺎ ﺛﻼﺛﺔ‬ ‫آﻻف ﻋﺎم‪ .‬ﺗﻠﻴﻬﺎ ﻗﺎﻋﺔ زاﻳﺪ اﻷول اﻟﺬي اﺷﺘﻬﺮ‬ ‫ﺑﺤﻜﻤﺘﻪ‪ ،‬ووﺣﺪ ﺑني اﻟﻘﺒﺎﺋﻞ‪ ،‬وﻓﻴﻬﺎ ﻋﺮﺿﺖ‬ ‫ﺑﻌﺾ ﻣﻘﺘﻨﻴﺎﺗﻪ وﺻﻮر ﻣﻦ ﻣﺠﻠﺴﻪ وﺗﻌﺮﻳﻒ‬ ‫ﻣﻜﺘﻮب ﻳﺒني ﻛﻴﻒ ﻛﺎن اﻟﻘﺎﺋﺪ اﻟﺤﻜﻴﻢ وﻗﺎﻫﺮ‬ ‫اﻟﺼﻌﺎب‪ ،‬وإﻟﻴﻪ ﻳﻌﻮد اﻟﻔﻀﻞ ﺑﺘﻤﻬﻴﺪ اﻟﻄﺮﻳﻖ‬ ‫إﱃ أﺑﻮﻇﺒﻲ‪ .‬أﻣﺎ ﻗﺎﻋﺔ اﻟﺸﻴﺦ ﺷﺨﺒﻮط ﺑﻦ‬ ‫ﺳﻠﻄﺎن ﻓﻘﺪ ﺿﻤﺖ ﺑﻌﺾ ﻣﻘﺘﻨﻴﺎﺗﻪ ﻣﺜﻞ‬ ‫اﻟﺸﺎل اﳌﺼﻨﻮع ﻣﻦ اﻟﺼﻮف اﻟﻨﺎﻋﻢ‪.‬‬ ‫واﻟﺘﺴﻠﻞ اﻟﺘﺎرﻳﺨﻲ ﻟﻠﻌﺮض ﻳﻮﺻﻞ اﳌﺘﺠﻮل‬ ‫إﱃ ﻗﺎﻋﺔ "اﳌﻐﻔﻮر ﻟــﻪ" اﻟﺸﻴﺦ زاﻳــﺪ ﺑﻦ‬ ‫ﺳﻠﻄﺎن آل ﻧﻬﻴﺎن‪" ،‬ﻃﻴﺐ اﻟﻠﻪ ﺛﺮاه" ﻣﺆﺳﺲ‬ ‫دوﻟﺔ اﻹﻣﺎرات اﻟﻌﺮﺑﻴﺔ اﳌﺘﺤﺪة‪ ،‬وﺗﺘﻮﺳﻄﻬﺎ‬ ‫ﺻﻮرﺗﻪ‪ ،‬ﻛام ﺗﻌﺮض اﻟﻌﺪﻳﺪ ﻣﻦ ﻣﻘﺘﻨﻴﺎﺗﻪ‬ ‫اﻟﺸﺨﺼﻴﺔ ﻣﺜﻞ ﺟﻮاز اﻟﺴﻔﺮ اﻟﺨﺎص ﻟﻠﺸﻴﺦ‬ ‫زاﻳــﺪ‪ ،‬ﺑﺠﺎﻧﺐ ﺟﻮاز ﺳﻔﺮه اﻟﻌﺎدي‪ ،‬وﻋﺪد‬ ‫ﻣﻦ اﻟﻮﺛﺎﺋﻖ اﻹدارﻳﺔ ﰲ اﻹﻣﺎرة واﻟﺘﻲ ﺗﺒني‬ ‫اﻟﺼﻮر ﻣﺘﺎﺑﻌﺔ اﻟﺸﻴﺦ زاﻳﺪ‪ ،‬ﻟﺘﻨﻔﻴﺬﻫﺎ ﻋﲆ‬ ‫اﻟﺸﻌﺮ ‪baytelshear‬‬ ‫ﺑﻴﺖ ِ‬

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‫‪­ĘŐŖŒ ĮľŃ‬‬

‫ﻗﺼﺮ اﻟﺤﺼﻦ‬ ‫‪ ŦŌƈōǙȑŌ ſǿƈōũ ǛǙ ŦōżƲƛ ưōƖŨljȍ ǣşŌǷşŐ ŻŨŨƲǿ‬‬

‫ﺑﺸﺮى ﻋﺒﺪا‪Q‬‬

‫ﺗﺴﻜﻦ ﺗﻔﺎﺻﻴﻞ اﻟﺘﺎرﻳﺦ ﰲ ﺟﺪران ﻗﴫ اﻟﺤﺼﻦ‪ ،‬ﻟﱰوي ﰲ اﻟﻨﻬﺎﻳﺔ ﻗﺼﺔ ﻧﺸﻮء اﻟﻌﺎﺻﻤﺔ أﺑﻮﻇﺒﻲ وﺗﻄﻮرﻫﺎ‪ ،‬ﻓﻤﻊ ﻛﻞ ﻣﺮﺣﻠﺔ ﻣﻦ‬ ‫ﻣﺮاﺣﻞ ﺗﻄﻮر اﻟﺤﺼﻦ ﺗﺮاﻓﻘﻬﺎ ﻣﺮﺣﻠﺔ ﺟﺪﻳﺪة ﻣﻦ اﻟﺘﺎرﻳﺦ‪.‬‬ ‫وﻗﴫ اﻟﺤﺼﻦ اﻟﺬي ﺧﻀﻊ ﻟﻌﻤﻠﻴﺔ اﻟﱰﻣﻴﻢ‪ ،‬أﴍﻓﺖ ﻋﻠﻴﻪ داﺋﺮة اﻟﺜﻘﺎﻓﺔ واﻟﺴﻴﺎﺣﺔ – أﺑﻮﻇﺒﻲ‪ ،‬ﳌﺪة ﺗﺼﻞ إﱃ ﺣﻮاﱄ اﻟﻌﴩ ﺳﻨﻮات‪،‬‬ ‫ﻓﺘﺢ ﻳﻮم ‪ 7‬دﻳﺴﻤﱪ اﳌﺎﴈ أﺑﻮاﺑﻪ ﻟﻠﺠﻤﻬﻮر‪ ،‬ﻟﻴﺸﻜﻞ ﺑﺠﻮار‬ ‫اﳌﺠﻠﺲ اﻟﻮﻃﻨﻲ اﻻﺳﺘﺸﺎري‪ ،‬اﳌﺠﻤﻊ اﻟﺜﻘﺎﰲ‪ ،‬وﺑﻴﺖ اﻟﺤﺮﻓﻴني ﻣﻨﻄﻘﺔ اﻟﺤﺼﻦ اﻟﺜﻘﺎﻓﻴﺔ‪ ،‬وﻫﻮ ﻣﺎ ﻳﺤﺪث ﻓﺮﻗﺎً ﰲ اﻹﻣﺎرة‪ ،‬وﻳﺠﻌﻞ ﻣﻦ‬ ‫اﳌﻜﺎن وﺟﻬﺔ ﺛﻘﺎﻓﻴﺔ‪ ،‬ﺗﺤﺎور اﻟﻔﻨﻮن ﺑﺎﻟﻔﻦ واﻟﱰاث واﻟﺘﺎرﻳﺦ اﻟﻌﺮﻳﻖ‪.‬‬

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‫اﻟﻌﺪد ‪ ، 74‬ﻳﻨﺎﻳﺮ ‪2019‬‬

‫وﺑﺪاﻳﺔ ﻋﺎم‬// ‫ﻋﻠﻰ ﻧﻬﺎﻳﺔ ﻋﺎم‬ ‫ﻧﻮاف ﻣﺤﻤﺪ اﻟﺼﺨﺎﺑﺮة‬ @nawaf55885

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39

baytelshear ‫اﻟﺸﻌﺮ‬ ِ ‫ﺑﻴﺖ‬

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ĘıĘŕ

‫اﻟﻜﺮاﻣﺔ‬ ‫ﻧﺠﻢ ﺟﺰاع اﻻﺳﻠﻤﻲ‬ @nagim_2005

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2019 ‫ ﻳﻨﺎﻳﺮ‬، 74 ‫اﻟﻌﺪد‬

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‫ ‪ ĮľĵŒ «¯ ĜľōŘ‬‬

‫اﻟﻮﺟﻪ اﻷﻧﺜﻮي‬ ‫مل ﻳﻜﻦ ﻇﻬﻮر اﳌﺮأة ﻛﺸﺎﻋﺮة ﰲ اﻟﺸﻌﺮ اﻟﺸﻌﺒﻲ ﰲ اﻹﻣﺎرات ﻣﺘﺄﺧﺮاً ﺑﺎﻟﺮﻏﻢ ﻣﻦ ﻗﻠﺔ ﻋﺪد‬ ‫اﻟﻘﺼﺎﺋﺪ اﻟﺘﻲ وﺻﻠﺘﻨﺎ أو ﺗﻨﺎﻗﻠﺘﻬﺎ اﻟﺼﺪور إﱃ اﻟﻴﻮم‪ ،‬ﻓﺒﺪءاً ﻣﻦ اﻟﺸﺎﻋﺮة اﳌﺎﺟﺪﻳﺔ أو ﺳﻠﻤﻰ اﺑﻨﺔ‬ ‫اﻟﺸﺎﻋﺮ اﻟﻜﺒري اﳌﺎﺟﺪي ﺑﻦ ﻇﺎﻫﺮ وﻗﺼﻴﺪﺗﻬﺎ اﻟﻮﺣﻴﺪة ﻣﻨﺬ أﻛرث ﻣﻦ ﺛﻼمثﺎﺋﺔ ﺳﻨﺔ إﱃ ﻳﻮﻣﻨﺎ ﻫﺬا‪،‬‬ ‫ﻓﺈﻧﻨﺎ ﻧﺠﺪ أﺳامء ﻧﺴﺎﺋﻴﺔ ﻣﻬﻤﺔ ﰲ ﻣﺴرية اﻟﺸﻌﺮ اﻟﺸﻌﺒﻲ وﻛﻠﻬﺎ متﺜﻞ اﻟﻮﺟﻪ اﻷﻧﺜﻮي اﻟﺬي ﻻ‬ ‫ﻳﺴﺘﻄﻴﻊ أﺣﺪ إﻗﺼﺎءه أو ﺗﺠﺎﻫﻠﻪ‪ ،‬ﻓﺎﳌﺮأة ﻧﺼﻒ اﳌﺠﺘﻤﻊ وﻧﺼﻒ ﻃﺎﻗﺘﻪ وأﺣﺪ أرﻛﺎﻧﻪ‪ ،‬وأﻳﻀﺎ‬ ‫ﻫﻲ ﺟﺰء ﻣﻬﻢ ﻣﻦ اﻟﺜﻘﺎﻓﺔ واﻷدب وﻟﻜﻦ اﻹﺷﻜﺎﻟﻴﺔ ﻓﻘﻂ ﻛﺎﻧﺖ ﰲ ﻗﻠﺔ ﻋﺪد اﻟﺸﺎﻋﺮات وﻗﻠﺔ‬ ‫ﻋﺪد ﻗﺼﺎﺋﺪﻫﻦ ﻣﻘﺎرﻧﺔ ﺑﺈﺧﻮاﻧﻬﻦ اﻟﺸﻌﺮاء‪.‬‬ ‫وﻫﻨﺎ وﺟﺒﺖ دراﺳﺔ ﻫﺬه اﻟﻈﺎﻫﺮة اﳌﻬﻤﺔ اﻟﺘﻲ ﻗﺪ ﻻ ﺗﻜﻮن ﻣﻠﺤﻮﻇﺔ اﻟﻴﻮم ﰲ ﻋﴫ اﻟﺜﻮرة‬ ‫اﳌﻌﻠﻮﻣﺎﺗﻴﺔ‪ ،‬وﺻﻌﺒﺔ اﻟﺘﺘﺒﻊ ﻣﻦ ﻗﺒﻞ أي ﺟﻬﺔ‪ ،‬وﻟﻜﻨﻬﺎ ﻇﺎﻫﺮة ﻗﺪميﺔ ﻳﺴﺘﻄﻴﻊ اﻟﺒﺎﺣﺚ اﻟﺮﺟﻮع‬ ‫إﱃ اﳌﺎﴈ يك ﻳﺜﺒﺖ وﺟﻮدﻫﺎ وﻳﺘﺎﺑﻊ ﺗﻄﻮرﻫﺎ ﻣﻦ ﺟﻮاﻧﺐ ﻣﺨﺘﻠﻔﺔ‪ .‬ﻓﻌﲆ ﺳﺒﻴﻞ اﳌﺜﺎل وﻟﻴﺲ‬ ‫اﻟﺤﴫ ﻧﺠﺪ اﻟﺸﺎﻋﺮ "روﺿﺔ اﻟﻔﻼﺣﻴﺔ" وأﺑﻴﺎﺗﻬﺎ اﳌﻌﺪودة ﻋﲆ ﺑﺤﺮ اﻟﻮﻧﺔ‪:‬‬ ‫‪ CCCCCCCCCCM*K ¢CCCCCCCCCC+ £|CCCCCCCCCCCCCCCCCCC‬‬ ‫‪/ fCCCCCCCCC‬‬ ‫‪CM‬‬ ‫‪S‬‬ ‫‪Q‬‬ ‫‪ CCCCCCM*~CCCCCCJ «CCCCC¡CCCCCªCCCCCJ hCCCCCCCCCH §CCCCCCCCCG‬‬ ‫‪ CCCMfCCCgCCC CCC CCCG xCCCCCªCCCCC CCCCC7 i§CCCCCC‬‬ ‫‪C CCCCCCC8‬‬ ‫‪P‬‬ ‫‪ CCCCMfCCCC< ¢CCCCCCCCH CCCCCCCCCCCE2 fCCCCCCCCH fCCCCCCCCM‬‬

‫ﻣﺤﻤﺪ ﻧﻮر اﻟﺪﻳﻦ‬

‫‪@khaligalb‬‬

‫‪ CCCªCCC CCC CCC9 CCCCCªCCCCC CCCCC< «CCCCCgCCCCC CCCCCE‬‬ ‫‪ CCCCCCCCCCCCM24 ¿ CCCCCCkCCCCCCªCCCCCC CCCCCC0‬‬ ‫‪ CCCCCªCCCCCwCCCCC¼* ¢CCCCCCCCCCCCCCC+5 zCCCCCCCCCCCCCCCCCCM*5‬‬ ‫‪ CCCCCCªCCCCCC CCCCCCIU |CCCCCCCCCCCCCCCCCCC‬‬ ‫=‪CHK K~CCCCCCCCCCCCCCCC‬‬ ‫‪T‬‬

‫وﻣﻦ ﺧﻼل ﻫﺬه اﻷﺑﻴﺎت ﻳﺒﺪو ﻟﻨﺎ أﻧﻬﺎ ﻋﺎﺷﺖ ﰲ ﻓﱰة ﺣﻜﻢ اﻟﺸﻴﺦ زاﻳﺪ ﺑﻦ ﺧﻠﻴﻔﺔ آل ﻧﻬﻴﺎن‬ ‫اﳌﺘﻮﰱ ﺳﻨﺔ ‪ ،1909‬ومل أﺳﺘﻄﻊ أن أﺻﻞ إﱃ ﻗﺼﺎﺋﺪ أﺧﺮى ﻟﻬﺎ ﻟﺘﺼﺒﺢ ﻫﻲ أﻳﻀﺎً اﻟﺸﺎﻋﺮة اﻟﺜﺎﻧﻴﺔ‬ ‫اﻟﺘﻲ ﺗﺤﻤﻞ ﻟﻘﺐ ﺻﺎﺣﺒﺔ ﻗﺼﻴﺪة ﻳﺘﻴﻤﺔ‪ ،‬وﺑﻌﺪ ذﻟﻚ ﺗﺄيت أﺳامء أﺧﺮى ﻣﻬﻤﺔ ﰲ اﻷدب اﻟﺸﻌﺒﻲ‬ ‫ﰲ اﻹﻣﺎرات ﻛﺎﻟﺸﺎﻋﺮة ﻋﻔﺮاء ﺑﻨﺖ ﺳﻴﻒ واﻟﺸﺎﻋﺮة ﻫﺪاﻳﺔ اﻟﺴﺎﻛﻮب واﻟﺸﺎﻋﺮة ﻋﻮﺷﺔ ﺑﻨﺖ‬ ‫ﺷﻤﻼن‪ ،‬ﺗﺴﺘﺤﻖ ﻛﻞ واﺣﺪة ﻣﻨﻬﻦ أن ﻳﺘﻨﺎوﻟﻬﺎ اﻟﻨﻘﺎد ﺑﺎﻟﺒﺤﻮث واﻟﺪراﺳﺎت‪ ،‬وﻟﻜﻦ اﻹﺷﻜﺎﻟﻴﺔ‬ ‫اﳌﺬﻛﻮرة آﻧﻔﺎً ﺗﻈﻞ ﻗﺎمئﺔ ﺣﻴﺚ وﺻﻠﻨﺎ ﻋﺪد ﻗﻠﻴﻞ ﻣﻦ ﻗﺼﺎﺋﺪﻫﻦ‪ ،‬وﻫﺬا ﻣﺎ ﻳﺰﻳﺪ ﻣﻦ ﺻﻌﻮﺑﺔ‬ ‫اﳌﻬﻤﺔ‪ ،‬ﻟﺬﻟﻚ ﻛﻨﺖ وﻻزﻟﺖ أرى أن اﻟﺒﺤﺚ ﻋﻦ ﺳﺒﺐ وﺻﻮل ﻋﺪد ﻗﻠﻴﻞ ﻣﻦ اﻟﻘﺼﺎﺋﺪ ﻳﻌﺪ ﻣﻦ‬ ‫اﳌﻮاﺿﻴﻊ اﳌﻬﻤﺔ دراﺳﺘﻬﺎ ودﻋﻢ ﻧﺘﺎﺋﺠﻬﺎ ﺑﺎﻟﺤﻘﺎﺋﻖ واﻟﱪاﻫني ﻛﻮن أﻏﻠﺐ ﻣﺎ ﻧﺴﻮﻏﻪ ﻻ ﻳﺘﻌﺪى‬ ‫آراء ﺷﺨﺼﻴﺔ واﺳﺘﻨﺒﺎﻃﺎت ﻋﺎﻣﺔ‪.‬‬ ‫ً‬ ‫ً‬ ‫ً‬ ‫اﻟﺠﺪﻳﺮ ﺑﺎﻟﺬﻛﺮ أن ﻫﻨﺎك ﻟﻌﻔﺮاء ﺑﻨﺖ ﺳﻴﻒ دﻳﻮاﻧﺎ ﺷﻌﺮﻳﺎ ﺻﺪر ﻣﺆﺧﺮا ﻣﻦ أﻛﺎدميﻴﺔ اﻟﺸﻌﺮ‬ ‫وﻫﻨﺎك ﺑﻌﺾ اﻟﻘﺼﺎﺋﺪ ﻟﻠﺸﺎﻋﺮﺗني ﻫﺪاﻳﺔ اﻟﺴﺎﻛﻮب وﻋﻮﺷﺔ ﺑﻨﺖ ﺷﻤﻼن ﰲ دواوﻳﻦ ﻣﺸﱰﻛﺔ‬ ‫ومل ﻳﺴﺘﻄﻊ اﻟﺒﺎﺣﺜﻮن أن ﻳﺤﺼﻠﻮا ﻋﲆ ﻋﺪد ﻳﻜﻔﻲ ﻹﺻﺪار دﻳﻮان ﺷﻌﺮي ﻟﻜﻞ واﺣﺪة ﻣﻨﻬام‪.‬‬ ‫ﺑﻴﻨام ﻧﺠﺪ ﺑﻌﺪ ذﻟﻚ دﻳﻮاﻧﺎً ﻛﺒرياً ﻟﻠﺸﺎﻋﺮة ﻋﻮﺷﺔ ﺑﻨﺖ ﺧﻠﻴﻔﺔ اﻟﺴﻮﻳﺪي ﻣﻦ ﺟﻤﻊ اﻟﺒﺎﺣﺚ ﺣﻤﺪ‬ ‫ﺧﻠﻴﻔﺔ ﺑﻮﺷﻬﺎب ﰲ اﻟﺘﺴﻌﻴﻨﻴﺎت إﱃ دﻳﻮاﻧﻬﺎ اﻷﺿﺨﻢ اﻟﺬي ﺟﻤﻊ ﺑﺠﻬﻮد اﻷدﻳﺒﺔ رﻓﻴﻌﺔ ﻏﺒﺎش‬ ‫ﻟﺘﻜﻮن ﻇﺎﻫﺮة ﺟﺪﻳﺪة ﰲ اﻟﺸﻌﺮ اﻟﺸﻌﺒﻲ ﻣﻦ ﺣﻴﺚ اﻟﻜﻢ‪ ،‬وأﻣﺎ اﻟﻜﻴﻒ ﻓﺈن ﻗﻠﻢ اﻟﺸﺎﻋﺮات ﻛﺎن‬ ‫رﻣﺰا ﻟﻠﺠﻮدة ﻣﻨﺬ اﻟﻘﺼﻴﺪة اﻷوﱃ اﻟﺘﻲ أﺑﺪﻋﺘﻬﺎ ﺳﻠﻤﻰ ﺑﻨﺖ اﳌﺎﺟﺪي ﺑﻦ ﻇﺎﻫﺮ‪.‬‬

‫اﻟﺸﻌﺮ ‪baytelshear‬‬ ‫ﺑﻴﺖ ِ‬

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‫‪Ĭō§§Ř‬‬ ‫ﻏﺰﻟﻴﺔ‪:‬‬ ‫‪ @P @ @6É@@ @=&* P4¡@@ @ m@ @ @J2 ¯ P4v@@ @ c@ @ @D* fN @ @ @ @ @ @: b@@ @J‬‬ ‫ ‪ǽũŌǷǔǕŌ ŦōǘƪǜǘǕŌ ŦȎǾǘŴǕŌ ŋōƒǜǕŌ‬‬ ‫‪ @@P @ @ @ 6%°* @@ @ E @M @ ~@ @ |@ @ = ¢@@ @ @ < °K É@@ @ @ @ G b@@ @ @ JH‬‬ ‫ ‪ ɐǒōŵƉǕŌ ǻǔƫ ƈǷǤƦǕŌ ŦȎǾǔǃ Ǜlj DzƃǾƯƈ DzōǾŽ ǛƖƪǿ‬‬ ‫‪ ¤@@ @ @ <O @@ @c@ @ 0 ¯ h@@ @+x@@ @~@ @ 9 *3(* @@ @ E b@@ @ J‬‬ ‫‪ ƈƃŞǕŌ ǒōŽ Ƿǥ ōǘlj DzƂōŨƪǙ ŧƒǾǕ ǛǤŨǿǸƈ ǚŐ ǽǜƪǿ ōǙ‬‬ ‫‪¤@@ @ ~@ @ 6&*4 Kb@ @ <x@@ ~@ @ z@ @ E P @ @ @ £@ @ @ D(* °(* b@@ @ @ E b@@ @ E‬‬ ‫‪dzǾǜǙƋǕŌ ǣũƈǶƂ ǽƳ‬‬

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‫ﻳﺴﺘﻔﻴﺪ ﴍف اﻟﺪﻳﻦ ﰲ ﻗﺼﻴﺪﺗﻪ ﻣﻦ ﺣﻀﻮر اﻟﺒﺪر ﰲ اﻟﺬاﻛﺮة اﻟﻌﺮﺑﻴﺔ‪،‬‬ ‫ﻓﻬﻮ ﺗﺎرﻳﺨﻴﺎً وراﻫﻨﺎً ﻳﺄﺧﺬ اﻟﻘﺎرئ واﳌﺴﺘﻤﻊ إﱃ دﻻﻟﺔ اﻟﺠامل وﻟﻴﺲ‬ ‫ﺳﻮاﻫﺎ‪ ،‬ﺣﻴﺚ ﺗﺘﺸﻜﻞ ﰲ اﳌﺨﻴﺎل ﺻﻮرة اﻟﻮﺟﻪ اﳌﺴﺘﺪﻳﺮ اﳌﴤء ﰲ‬ ‫ﺑﻴﺎﺿﻪ‪ ،‬اﻟﺼﺎﰲ ﰲ ﻗﺴﺎﻣﺘﻪ‪ ،‬اﻟﺤﺴﻦ ﰲ ﺣﻀﻮره‪ ،‬وﻫﻮ ذاﺗﻪ ﻣﺎ ﻳﺆﻛﺪه‬ ‫ﻧﺺ اﻟﺸﺎﻋﺮ راﺷﺪ ﺑﻦ ﺳﺎمل اﻟﺨﴬ‪ ،‬اﻟﺬي ﻳﻘﻮل ﰲ ﻗﺼﻴﺪة ﻟﻪ ﺑﻌﻨﻮان‬ ‫"ﺷﻤﺲ اﻟﻀﺤﻰ"‪:‬‬ ‫; @ @ @ @‪ b@@ @ @ @ @ @ @ @ ´* @@ @ @ @ @ @ @ @ @ @ E%* @@ @ @ @ @ @ @ z@ @ @ @ @ @ @ F&°* ¤@@ @ @ @c‬‬ ‫‪b@@ @Eb@@ @ @ @ g@ @ D* 4v@@ @ @ @ @ + ¢@@ @ p@ @ @~@ @ @}@ @ @D* @@ @z@ @ @ @ ~@ @ 7‬‬

‫‪ɰ‬‬ ‫‪ ɐdzǘǿƃǂǕŌdzǾǜǿƃǕŌ ŦōǙǷƦǜǘǕŌ ǽƳ ŌƉƟōŽ ƉǘǂǕŌ ǓƧ‬‬ ‫‪ƉżŞǕŌǶ ƉŞǕŌ ŦȎŽƈ ǽƳ ǢƈǶƂ ǛǙ ǣŨƓŌƃǃ ƅƁŐǶ‬‬ ‫ ‬ ‫ ‪ƈǷƞŽ ǛǙ ǣũƃǾƚǃ ǽƳ ǛǿƃǕŌ ưƉƗ ƃǾƲŨƒǿ‬‬ ‫ ‬ ‫‪ɰ‬‬ ‫ ‪ ōǾƀǿƈōũ ǷǤƳ ɐdzǾşƉƪǕŌ DzƉljŌƅǕŌ ǽƳ ƈƃŞǕŌ‬‬ ‫ ‬ ‫‪ɰ‬‬ ‫‪ǒōǘŴǕŌ dzǕȍƂ ǻǕŒ ƩǘŨƒǘǕŌǶ ȀƈōǂǕŌ ƅƁőǿ ōǜǥŌƈǶ‬‬ ‫ ‪ōǥŌǷƓ ƑǾǕǶ‬‬

‫ﻳﺄﺧﺬ اﻟﺸﺎﻋﺮ ﴍف اﻟﺪﻳﻦ اﻟﻘﺎرئ إﱃ ﺗﻀﺎد اﻟﻌﻼﻗﺔ ﺑني اﻟﻌﺘﻤﺔ واﻟﻨﻮر‬ ‫ﰲ ﺗﻮﺻﻴﻔﻪ ﻟﺠامل ﻣﺤﺒﻮﺑﺘﻪ‪ ،‬ﻣﺸرياً إﱃ ﻃﻠﻌﺔ اﻟﺒﺪر ﻣﻦ ﻋﺰ اﻟﻈﻼم‬ ‫وﻟﻴﺲ إﱃ اﻟﺒﺪر ذاﺗﻪ‪ ،‬وﻛﺄﻧﻪ ﻳﻘﻮل إن ﺣﻀﻮر ﻣﺤﺒﻮﺑﺘﻪ ﻳﺸﺒﻪ اﻟﻀﻮء‬ ‫ﰲ اﻟﻌﺘﻤﺔ‪ ،‬ﻓﻴام ﻳﺬﻫﺐ ﺳﺎمل اﻟﺨﴬ إﱃ ﺻﻮرة اﻟﺒﺪر ﰲ ﺷﻜﻠﻪ‪ ،‬ﻣﻨﺒﻬﺎً‬ ‫إﱃ متﺎم اﻟﺒﺪر واﻛﺘامل ﺷﻜﻠﻪ ﰲ اﻻﺳﺘﺪارة‪ ،‬ﻟﻴﻌﻴﺪ اﻟﻘﺎرئ إﱃ اﻟﻌﻼﻗﺔ‬ ‫اﻟﺒﴫﻳﺔ اﻟﺘﻲ ﺗﺮﺑﻄﻪ ﺑﺎﻟﺒﺪر‪.‬‬ ‫وﻳﺘﻮاﺻﻞ اﻻﺷﺘﻐﺎل ذاﺗﻪ ﻋﲆ رﻣﺰﻳﺔ اﻟﺒﺪر ﰲ ﻗﺼﺎﺋﺪ ﻋﺪد ﻣﻦ اﻟﺸﻌﺮاء‬ ‫اﻟﺸﻌﺒﻴني‪ ،‬إذ ﻳﺠﺪ اﻟﺒﺎﺣﺚ ﰲ ﻣﺪوﻧﺔ اﻟﺸﻌﺮ اﻟﺸﻌﺒﻲ اﳌﺤﲇ أﻧﻪ أﻣﺎم‬ ‫منﺎذج ﻋﺪﻳﺪة ﻣﻨﻬﺎ ﻣﺎ ﻳﻘﺪﻣﻪ اﻟﺸﺎﻋﺮ إﺑﺮاﻫﻴﻢ ﺑﻦ ﻋﲇ اﻟﺪﻋﻠﻮج‪ ،‬ﰲ‬ ‫ﻗﺼﻴﺪة "ﺳﺒﺤﺎن ﺧﺎﻟﻖ ﻣﻦ اﻟﺼﻠﺼﺎل إﻧﺴﺎين"‪.‬‬

‫ﻳﺘﻌﺎﱃ ﺻﻮت اﻷﺑﻴﺎت ﰲ ﺗﻠﻚ اﻟﺴﻴﺎﻗﺎت واﳌﺴﺎرات اﻟﺠامﻟﻴﺔ‪ ،‬وﻻ‬ ‫ﻳﺘﻮﻗﻒ ﻋﻨﺪﻫﺎ‪ ،‬ﻓﻤﺜﻠام ﻟﻠﺒﺪر دﻻﻟﺘﻪ اﻟﺠامﻟﻴﺔ ورﻣﺰﻳﺘﻪ ﰲ ﺗﻮﺻﻴﻒ‬ ‫ﺣﺴﻦ اﳌﺮأة‪ ،‬ﻟﻪ أﻳﻀﺎً رﻣﺰﻳﺘﻪ اﻟﺰﻣﻨﻴﺔ اﻟﺘﻲ ﺗﺸري إﱃ اﻟﺮاﺑﻊ ﻋﴩ‬ ‫ﻣﻦ ﻛﻞ ﺷﻬﺮ‪ ،‬وﻫﻮ ﻣﺎ ميﻜﻦ ﻗﺮاءﺗﻪ ﰲ ﻗﺼﻴﺪة ﻛﺘﺒﻬﺎ اﻟﺸﺎﻋﺮ ﺣﺎﻓﻆ‬ ‫اﳌﺴﻜﺮي ﻳﻘﻮل ﻓﻴﻬﺎ‪:‬‬ ‫‪ 2¡@@ @ B¡@@ @ D* @@ @ @ @ @6H4 @@ @ @E 4*¡@@ @ @ @ @ @ @ F°* h@@ @ @ @0°‬‬ ‫‪ b@@ @ @ @ g@ @ D* 4v@@ @ @ @ @ + ¤@@ @ @ @-x@@ @ @ @J2 h@@ @ @ @ @ @ @ @g@ @ @~@ @ @6*H‬‬ ‫¯ ‪ 2H5 2*2y@@ @ @ @ @ @ @- b@@ @ @ E d@@ @ @£@ @ @ :H 4Hx@@ @ @ ~@ @ @ @6‬‬ ‫‪ b@@ @£@ @ ~@ @ |@ @ D* ib@@ @ @ @ @ @ @ @ @J5 v@@ @ @£@ @ @ < ¯ b@@ @ @ @ @ @ @ @C‬‬ ‫‪ 2¡@@ @ @~@ @6 @@ @ @ @+ 4v@@ @ @ @ @+ 2¡@@ @ @ @/¡@@ @ @ @+ f@@ @ @ @ @ @ @ @ E*5‬‬ ‫‪ É@@ @~@ @ z@ @ D* 2x@@ @ @ @ @ @ -H ib@@ @ @ @ @J*x@@ @ @ @ @D* @@ @ @ @ ~@ @ 7b@@ @F‬‬

‫اﻟﻌﺪد ‪ ، 74‬ﻳﻨﺎﻳﺮ ‪2019‬‬

‫اﳌﻨري ﺗﻌﻨﻲ أﻧﻬﺎ ﺳﻴﺪة ﰲ أﻫﻠﻬﺎ‪ ،‬وأن ﺷﻘﺎء اﻟﻌﻤﻞ ﰲ ﺷﺆون اﻟﺤﻴﺎة‬ ‫اﻟﺼﺤﺮاوﻳﺔ مل ﻳﺴﻠﺒﻬﺎ ﺿﻴﺎء وﺟﻬﻬﺎ ومل ﻳﻨﺤﻞ ﺟﺴﺪﻫﺎ‪ ،‬اﻷﻣﺮ اﻟﺬي‬ ‫ﻳﺠﻌﻞ ﻣﻦ ﺻﻔﺎﺗﻬﺎ دﻻﻟﺔ ﻋﺰ وﺣﻴﺎة رﻏﻴﺪة‪.‬‬ ‫ﺑﺒﻨﺎء اﳌﻘﺎرﺑﺔ ﺑني اﺳﺘﺪارة اﻟﻮﺟﻪ وﺻﻮرة اﻟﺒﺪر ﺗﺘﻜﺸﻒ اﻟﻌﻼﻗﺔ‬ ‫اﻟﺠامﻟﻴﺔ ﰲ واﺣﺪة ﻣﻦ ﻗﺮاءاﺗﻬﺎ‪ ،‬وﺑﺎﻟﺮﺟﻮع إﱃ دﻻﻟﺔ ﻇﻬﻮر اﻟﺒﺪر‬ ‫ﰲ اﻟﺸﻬﺮ ﻣﺮة واﺣﺪة‪ ،‬ﺗﻈﻬﺮ اﻟﻌﻼﻗﺔ اﻟﺠامﻟﻴﺔ اﻷﺧﺮى‪ ،‬اﻟﻘﺎمئﺔ ﰲ أن‬ ‫اﻟﻨﺴﺎء اﻟﺠﻤﻴﻼت اﳌﻨﻌامت اﻟﻠﻮايت ﻳﻌﺸﻦ ﺣﻴﺎة رﻏﻴﺪة ﻛﻦ ﻗﻠﻴﻼت‬ ‫اﻟﻈﻬﻮر ﻋﲆ اﻟﺮﺟﺎل‪ ،‬ﻣﺎ ﻳﻌﻨﻲ أن رؤﻳﺘﻬﻦ ﻟﻴﺴﺖ ﻣﻌﺘﺎدة ﻛام ﻫﻮ‬

‫ﺣﺎل اﻟﺒﺪر ﰲ دورﺗﻪ اﻟﺰﻣﻨﻴﺔ‪.‬‬ ‫ﻛﻞ ﻫﺬه اﻟﺪﻻﻻت ﻇﻠﺖ ﺗﺘﻮارث وﺗﺘﻨﺎﻗﻞ ﺗﺎرﻳﺨﻴﺎً ﻣﻦ اﻟﻨﺺ اﻟﺸﻌﺮي‬ ‫اﻟﺠﺎﻫﲇ إﱃ اﻟﻴﻮم‪ ،‬وﻣﻦ اﻟﻨﺺ اﻟﺸﻌﺮي اﻟﻔﺼﻴﺢ إﱃ اﻟﻨﺺ اﻟﺸﻌﺮي‬ ‫اﻟﺸﻌﺒﻲ‪ ،‬ﺣﺘﻰ ﺑﺎت اﻟﺼﻮرة اﻟﺠامﻟﻴﺔ ﻟﻠﺒﺪر ﺣﺎﴐة ﰲ ﻣﺠﻤﻞ اﻟﻨﺘﺎج‬ ‫اﻹﺑﺪاﻋﻲ اﻟﻌﺮيب‪ ،‬ﻟﻠﺤﺪ اﻟﺬي أﺻﺒﺤﺖ ﻗﺮاءاﺗﻬﺎ ﻣﺘﻌﺪدة اﳌﺴﺎرات ﰲ‬ ‫ﺗﺠﺮﺑﺔ اﻟﺸﻌﺮ اﻟﺸﻌﺒﻲ اﻹﻣﺎرايت‪.‬‬ ‫ﻳﻈﻬﺮ ﻫﺬا ﺑﺎﻟﻮﻗﻮف ﻋﻨﺪ منﺎذج ﻋﺪﻳﺪة ﺗﺆﻛﺪ ﺣﻀﻮر اﻟﺒﺪر ﰲ اﻟﻨﺺ‬ ‫اﻟﺸﻌﺮي اﻟﺸﻌﺒﻲ‪ ،‬إذ ﻳﻘﻮل اﻟﺸﺎﻋﺮ ﻣﺤﻤﺪ ﺑﻦ ﴍف اﻟﺪﻳﻦ ﰲ ﻗﺼﻴﺪة‬ ‫اﻟﺸﻌﺮ ‪baytelshear‬‬ ‫ﺑﻴﺖ ِ‬

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‫‪Ĭō§§Ř‬‬ ‫‪ɰ‬‬ ‫‪ɒDzŐƉǘǕŌ ǛƒżǕ ŌƋǙƈ ǓƧ ŌƄōǘǕ‬‬

‫ﺟﻤﺎﻟﻴﺎت اﻟﺒﺪر ﻓﻲ اﻟﻘﺼﻴﺪة اﻟﺸﻌﺒﻴﺔ‪..‬‬ ‫‪ƈǷƞżǕŌǶ ŜōǾƮǕŌǶ ŋǷƞǔǕ dzǾƀǿƈōũ DzƉǾƓ‬‬ ‫ﻛﺘﺐ – ﻣﺤﻤﺪ أﺑﻮ ﻋﺮب‬

‫ﺗﻔﺘﺢ إﻋﺎدة ﻗﺮاءة اﻟﻘﺼﻴﺪة اﻟﻌﺮﺑﻴﺔ ﺑﺎﺑﺎً واﺳﻌﺎً ﻋﲆ رﻣﺰﻳﺎت‬ ‫اﳌﺤﻤﻮل اﻟﺠامﱄ اﻟﺬي اﺳﺘﻨﺪ إﻟﻴﻪ اﻟﻌﺮب ﰲ ﺑﻨﺎء ﻧﺘﺎﺟﻬﻢ‬ ‫اﻹﺑﺪاﻋﻲ‪ ،‬إذ ﺗﻜﺸﻒ اﳌﺮﺟﻌﻴﺎت اﻟﺒﴫﻳﺔ‪ ،‬واﻟﺴﻤﻌﻴﺔ‪،‬‬ ‫واﳌﻠﻤﻮﺳﺔ‪ ،‬اﻟﺘﻲ اﺳﺘﻌﺎﻧﻮا ﺑﻬﺎ ﻟﺒﻨﺎء ذاﻛﺮﺗﻬﻢ اﻟﺠامﻟﻴﺔ‪ ،‬ﻛام‬ ‫ﺗﴩع اﻟﺒﺎب ﻋﲆ ﺟﻤﻠﺔ ﻣﻦ اﻷﺳﺎﻃري‪ ،‬واﻟﺘﺼﻮرات‪ ،‬واﻟﺤﻜﺎﻳﺎت‬ ‫اﻟﺸﻔﺎﻫﻴﺔ واﳌﻨﻘﻮﻟﺔ‪ ،‬اﻟﺘﻲ ﻇﻠﺖ ﺗﺄﺧﺬ ﻣﺴﺎرﻫﺎ ﺣﺘﻰ ﺑﺎﺗﺖ‬ ‫ﻋﻼﻣﺎت ميﻜﻦ ﺗﻮﻇﻴﻔﻬﺎ ﰲ ﺑﻨﺎء اﻟﻨﺺ اﻟﺸﻌﺮي‪.‬‬ ‫واﺣﺪة ﻣﻦ ﻫﺬه اﻷﺑﻮاب اﻟﺘﻲ ﺗﻔﺘﺤﻬﺎ اﻟﻘﺼﻴﺪة اﻟﻌﺮﺑﻴﺔ‪ ،‬ﻋﻼﻗﺔ‬ ‫اﻟﺬﻫﻨﻴﺔ اﻟﻌﺮﺑﻴﺔ ﺑﺎﻟﺴامء‪ ،‬وﻣﺎ ﺗﺸﺘﻤﻞ ﻋﻠﻴﻪ ﻣﻦ ﺗﻜﻮﻳﻨﺎت ﺟامﻟﻴﺔ‪،‬‬ ‫ﻣﺜﻞ اﻟﻨﺠﻮم‪ ،‬واﻟﻘﻤﺮ‪ ،‬واﻟﻐﻴﻢ‪ ،‬وﻏريﻫﺎ ﻣﻦ اﳌﻔﺮدات اﻟﺘﻲ ﻻ زاﻟﺖ‬ ‫ﺣﺘﻰ اﻟﻴﻮم ﺣﺎﴐة ﰲ اﻟﻨﺺ اﻹﺑﺪاﻋﻲ اﻟﻌﺮيب ﺧﺎﺻﺔ واﻹﻧﺴﺎين‬ ‫ﺑﺼﻮرة ﻋﺎﻣﺔ‪ ،‬ﻓﺘﻘﺪم ﺧﺰاﻧﺔ اﻟﺸﻌﺮ اﻟﻌﺮيب اﳌﻌﺎﴏة واﻟﻘﺪميﺔ اﻟﻜﺜري‬ ‫ﻣﻦ اﻟﻨﺼﻮص اﻟﺘﻲ ﺗﻮﻗﻔﺖ ﻋﻨﺪ ﻫﺬه اﻟﺘﻜﻮﻳﻨﺎت‪ ،‬واﺳﺘﻔﺎدت ﻣﻦ‬ ‫ﺣﻀﻮرﻫﺎ ﰲ اﻟﺬاﻛﺮة اﻟﻌﺮﺑﻴﺔ‪.‬‬ ‫ﺑﺎﻟﻮﻗﻮف ﻋﻨﺪ "اﻟﺒﺪر" أﺣﺪ أﻛرث ﻫﺬه اﳌﻔﺮدات ﺗﻮﻇﻴﻔﺎً ﰲ اﻟﻘﺼﻴﺪة‬ ‫اﻟﻌﺮﺑﻴﺔ‪ ،‬ﺗﺘﺸﻜﻞ أﻣﺎﻣﻨﺎ أﺳﺌﻠﺔ ﻛﺜرية ﻻ ميﻜﻦ اﻹﺟﺎﺑﺔ ﻋﻠﻴﻬﺎ ﰲ ﺳﻴﺎق‬ ‫اﻟﻨﻘﺪ اﻻﻧﻄﺒﺎﻋﻲ‪ ،‬ﻓﻜﻴﻒ ميﻜﻦ ﻗﺮاءة ﺣﻀﻮر اﻟﺒﺪر ﰲ اﻟﻨﺺ اﻟﺸﻌﺮي‬ ‫اﻟﻌﺮيب؟ وﳌﺎذا أﺧﺬت ﻫﺬه اﳌﻔﺮدة ﺣﻀﻮرﻫﺎ ﰲ ﻗﺼﺎﺋﺪ اﻟﻐﺰل اﻟﻌﺮيب؟‬ ‫وﻣﺎ اﻟﻌﻼﻗﺔ اﻟﺠامﻟﻴﺔ ﺑني اﳌﺤﺒﻮﺑﺔ واﻟﺒﺪر؟ وﳌﺎذا ﺻﺎر رﻣﺰاً ﻟﺠامل‬ ‫اﻟﻮﺟﻪ؟ وﻣﺎ اﻟﺬي اﺳﺘﺜﺎر اﻟﻌﺮب وﻏريﻫﻢ ﻣﻦ اﻟﺤﻀﺎرات ﻟﻴﺠﻌﻠﻮا ﻣﻨﻪ‬ ‫ﺗﻮﺻﻴﻔﺎً ﻣﻜﺜﻔﺎً ﻟﻠﺠامل؟‬ ‫ﻟﻠﻮﺻﻮل إﱃ إﺟﺎﺑﺎت ﺣﻮل ﻫﺬه اﻷﺳﺌﻠﺔ ﰲ ﻣﺴﺎر ﻗﺮاءة اﻟﻘﺼﻴﺪة‬ ‫اﻟﺸﻌﺒﻴﺔ اﻹﻣﺎراﺗﻴﺔ‪ ،‬ﻳﻨﺒﻐﻲ اﻟﻮﻗﻮف أﻧرثوﺑﻮﻟﻮﺟﻴﺎ‪ ،‬وﺳﺴﻴﻮﺛﻘﺎﻓﻴﺎً‪ ،‬ﻋﻨﺪ‬ ‫ﻫﺬا اﻟﺮﻣﺰ‪ ،‬ﻓﺴرية ﺗﺤ ّﻮل اﻟﺒﺪر إﱃ رﻣﺰ ﺟامﱄ ﺗﻌﻮد إﱃ اﻟﻌﻼﻗﺔ اﻟﺘﻲ‬ ‫ﺑﻨﺎﻫﺎ اﻹﻧﺴﺎن ﺗﺎرﻳﺨﻴﺎً ﻣﻊ اﻟﺴامء‪ ،‬ﺑﻮﺻﻔﻬﺎ ﻋﺼﻴﺔ ﻋﲆ اﻻﻛﺘﺸﺎف‪،‬‬ ‫وﺑﻌﻴﺪة ﻋﻦ اﳌﻨﺎل‪ ،‬وﻏري ﻣﺪرﻛﺔ ﺳﻮى ﺑﴫي‪ ،‬ﺣﻴﺚ ﻇﻞ اﻟﻘﻤﺮ‬ ‫ﺣﺎﴐاً ﰲ اﳌﻨﻈﻮﻣﺎت اﻟﺪﻳﻨﻴﺔ اﻟﻘﺪميﺔ‪ ،‬وأﺧﺬ ﻗﺪاﺳﺘﻪ ﻣﻦ دوره ﰲ‬ ‫رﺣﻼت اﻟﱪ واﻟﺒﺤﺮ‪.‬‬ ‫ﻣﻘﺎﺑﻞ ﻫﺬه اﻟﻘﺪاﺳﺔ اﻟﺘﻲ ﻛﺎﻧﺖ ﺗﺸﻜﻞ ﻣﺤﻮر ﺣﻴﺎة أﻫﻞ اﻟﱪ وﺳﻜﺎن‬ ‫اﻟﺴﻮاﺣﻞ‪ ،‬ﻻ ميﻜﻦ ﺗﺠﺎوز رﻣﺰﻳﺔ اﻟﻨﻮر اﳌﻘﺎﺑﻞ ﻟﻠﻌﺘﻤﺔ واﻟﻈﻼم ﰲ‬

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‫اﻟﻌﺪد ‪ ، 74‬ﻳﻨﺎﻳﺮ ‪2019‬‬

‫ﺗﺎرﻳﺦ اﻟﻔﻠﺴﻔﺎت واﻷدﻳﺎن‪ ،‬ﻓﻬﺬه اﻟﻌﻼﻗﺔ ﺑني اﻟﻀﺪﻳﻦ ﻛﺎﻧﺖ وﻻ‬ ‫زاﻟﺖ ﺗﺸﻜﻞ ﺟﻮﻫﺮ اﳌﻨﻈﻮﻣﺎت اﻟﺪﻳﻨﻴﺔ اﻟﺴاموﻳﺔ ﻣﻨﻬﺎ واﻷرﺿﻴﺔ‪،‬‬ ‫اﻷﻣﺮ اﻟﺬي ﺟﻌﻞ اﻟﻨﻮر اﺧﺘﺰاﻻً ﳌﺠﻤﻞ دﻻﻻت اﻟﺨري واﻹميﺎن واﻟﻨﺠﺎة‬ ‫اﻟﺼﻔﺎء‪ ،‬وﻫﻮ متﺎﻣﺎً ﻣﺎ ﺷﻜﻞ ﻫﺬا اﻟﺤﻀﻮر اﻟﺠامﱄ اﻟﻘﺪﳼ ﻟﻠﻘﻤﺮ‪،‬‬ ‫ﺑﻮﺻﻔﻪ اﻟﺘﻜﻮﻳﻦ اﳌﴤء ﰲ وﺳﻂ اﻟﻌﺘﻤﺔ‪.‬‬ ‫إﱃ ﺟﺎﻧﺐ ذﻟﻚ ﻧﺴﺞ اﻟﻌﺮب ﻋﻼﻗﺔ ﺑني وﺟﻪ اﳌﺮأة واﻟﺒﺪر ﻧﺘﻴﺠﺔ‬ ‫ﻟﺘﺼﻮراﺗﻬﻢ اﻟﺘﺎرﻳﺨﻴﺔ ﻋﻦ ﺟامل اﻟﻮﺟﻪ‪ ،‬ﻓﻬﻢ ﰲ ﺑﻴﺌﺔ ﺻﺤﺮاوﻳﺔ ﻳﺸﺢ‬ ‫ﻓﻴﻬﺎ اﻟﻄﻌﺎم وﻳﺼﻴﺐ أﻫﻠﻬﺎ اﻟﺠﻮع‪ ،‬ﻛﺎﻧﺖ اﳌﺮأة اﳌﻤﺘﻠﺌﺔ ذات اﻟﻮﺟﻪ‬

‫ﻣﺤﻤﺪ اﻟﺤﻤﺎدي‪:‬‬ ‫ ‪ ɐdzǾǘǕōƫ dzǝǷǂǿŐ ŦŌƈōǙȑŌ ŧżŞƛŐ‬‬ ‫ ‪ƋljƉũ ǖŌǷƫȏ ōǤƚǾƚƀũ ƉŞƫ‬‬ ‫ ‪dzǾǃȎƁŐ ǗǾǃ ǻǔƫ‬‬ ‫ ‪ dzǾǝōƒǝŒǶ‬‬

‫ﻣﺤﻤﺪ اﻟﻴﺎﻓﻌﻲ‪:‬‬ ‫ ‪ ǽŨǕŌ ƊǷǜLjǕŌ ǛǙ Ƌǜlj ŻǙōƒŨǕŌ‬‬ ‫‪ ŧŞŭŐǶ ɐƃǿŌƊ ſǾƖǕŌ ōǥōǿŒ ōǜǘǔƫ‬‬ ‫‪ɰ‬‬ ‫‪ ȍǷǃ dzǾǝōƒǝȑŌ dzǘǾǂǕŌ Ǣƅǥ‬‬ ‫‪ɰ‬‬ ‫‪ ȎƪƳǶ‬‬

‫ﰲ دوﻟﺔ اﻻﻣــﺎرات ﻧﺴﺘﻤﺪ ﻗﻴﻤﻨﺎ وﻋﺎداﺗﻨﺎ‬ ‫وﻗﻨﺎﻋﺎﺗﻨﺎ وأﺧﻼﻗﻨﺎ ﻣﻦ دﺳﺘﻮر اﻹﻧﺴﺎﻧﻴﺔ‬ ‫واﻟﻜﻮن ﻣﻦ اﻟﻘﺮآن اﻟﻜﺮﻳﻢ‪ ،‬وﻣﻦ دﻳﻨﻨﺎ‬ ‫اﻟﺤﻨﻴﻒ وﺳرية رﺳﻮﻟﻨﺎ اﻟﻜﺮﻳﻢ ﻣﺤﻤﺪ ﺻﲆ‬ ‫اﻟﻠﻪ ﻋﻠﻴﻪ وﺳﻠﻢ‪ ،‬وﺗﺮﺳﺨﺖ ﺗﻠﻚ اﳌﻔﺎﻫﻴﻢ‬ ‫اﻟﻨﺒﻴﻠﺔ واﻟﺼﻔﺎت اﻟﺤﻤﻴﺪة ﺑﺤﻴﺎة أﺟﺪادﻧﺎ‬ ‫وآﺑﺎﺋﻨﺎ وﺗﺎرﻳﺨﻨﺎ‪ .‬وذﻛــﺮ‪ :‬أﺻﺒﺤﺖ ﻫﺬه‬ ‫اﻟﻘﻴﻢ‪ ،‬ﻣﻦ ﺷ َﻴﻢ اﻟﻌﺮب اﻷﺣــﺮار ﻓﻠﻴﺲ‬ ‫ﻏﺮﻳﺒﺎ أن ﻳﺘﻢ إﻃﻼق ُﺧ ُﻠﻖ اﻟﺘﺴﺎﻣﺢ ﻋﲆ‬ ‫ﻋﺎم ‪ 2019‬ﻣﻦ ﻣﻨﻄﻠﻖ اﻟﺘﻌﺰﻳﺰ واﻟﺘﺄﻛﻴﺪ‬

‫ﻋﲆ أﻫﻤﻴﺔ اﻻﻟﺘﺰام ﺑﺎﻟﺘﺴﺎﻣﺢ ﺑني اﻟﻘﻠﻮب‪.‬‬ ‫وﺗﺎﺑﻊ‪ :‬ﻷﺟﻞ أن ﻳﺴﻮد اﻟﺴﻼم واﳌﺤﺒﺔ ﺑني‬ ‫اﻟﻨﺎس ﰲ ﻇﻞ ﻏﻠﻴﺎن اﻟﻌﻼﻗﺎت ﺑني ﻣﻌﻈﻢ‬ ‫اﻟﻨﺎس واﻷوﻃﺎن‪ .‬وأﺿﺎف‪ :‬إن اﻟﺘﺴﺎﻣﺢ ﻣﻈﻠﺔ‬ ‫إﻧﺴﺎﻧﻴﺔ ﺗﻠﺘﻘﻲ ﺗﺤﺘﻬﺎ ﻛﻞ اﻷﻋﺮاق واﻷﺟﻨﺎس‬ ‫واﻷدﻳــﺎن واﻷﻟــﻮان واﳌﻌﺘﻘﺪات ﺑﻜﻞ ﺣﺐ‬ ‫وﺻﻔﺎء ﻧﻔﺲ‪.‬‬ ‫ً‬ ‫وﻗﺎل اﻷﺳﺘﺎد‪ :‬ﻫﺬا ﻳﺆﺛﺮ إﻳﺠﺎﺑﺎ ﻋﲆ منﻂ‬ ‫اﻟﺤﻴﺎة وﻣﺴرية اﻷﻣﻦ واﻷﻣﺎن واﻟﻄأمﻧﻴﻨﺔ‬ ‫وراﺣــﺔ اﻻﻧــﺴــﺎن‪ ،‬ﻣﺎ ميﻜﻨﻪ ﻣﻦ اﻟﻌﻄﺎء‬

‫ﻣﺤﻤﺪ اﻷﺳﺘﺎد‪:‬‬ ‫‪ ǽǂŨǔũ dzǾǝōƒǝŒ dzǔƦǙ ŻǙōƒŨǕŌ‬‬ ‫‪ ƐōǜŵȏŌǶ ǀŌƉƫȏŌ Ǔlj ōǤŨżũ‬‬ ‫‪ ŦŌƃǂŨƪǘǕŌǶ ǚŌǷǕȏŌǶ ǚōǿƂȏŌǶ‬‬ ‫‪ ŋōƲƛǶ ŝŽ ǓLjş‬‬

‫واﻻﺟﺘﻬﺎد ﰲ اﻟﺒﻨﺎء واﻟﺘﻤﻴﺰ ﰲ اﳌﺠﺎل‬ ‫اﻟﺜﻘﺎﰲ واﻟﻔﻜﺮي واﻻﺟﺘامﻋﻲ واﻟﻌﻤﲇ‪،‬‬ ‫وﻳﺴﻬﻢ ﰲ اﻟﻨﻬﻀﺔ واﻟﺘﻄﻮر ﺑﺸﻜﻞ ﻋﺎم‪.‬‬ ‫وأﺿﺎف‪ :‬ﺳﻴﻨﻌﻜﺲ ﻫﺬا أﻳﻀﺎً ﺑﺸﻜﻞ إﻳﺠﺎيب‬ ‫ﰲ اﳌﺠﺘﻤﻊ اﻟــﺪوﱄ ﻓﻴﺴﻬﻢ ﺑﻨﴩ اﻟﺼﻮر‬ ‫اﻹﻳﺠﺎﺑﻴﺔ ﻋﻦ اﻟﻌﺮب واﳌﺴﻠﻤني ﺑﺸﻜﻞ ﻋﺎم‪،‬‬ ‫واﳌﺠﺘﻤﻊ اﻹﻣــﺎرايت ﺑﺸﻜﻞ ﺧﺎص‪ ،‬وميﻨﺢ‬ ‫ﻟﻠﻌﺎمل اﻻﻧﻄﺒﺎع اﳌﻠﻤﻮس ﻋﻦ اﻟﺘﻄﻮر واﻟﺮﻗﻲ‬ ‫اﻹﻧﺴﺎين ﰲ اﻹﻣﺎرات وﻳﺠﻌﻠﻬﺎ أرض ﺳﻼم‬ ‫ﻟﻠﺠﻤﻴﻊ‪.‬‬

‫اﻟﺸﻌﺮ ‪baytelshear‬‬ ‫ﺑﻴﺖ ِ‬

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‫‪ŋšōĨĞ‬‬

‫ﻣﺤﺘﻮى ﻳﻈﻬﺮ ﻣﻌﺪن اﻹﻧﺴﺎن اﻹﻣــﺎرايت‬ ‫اﻷﺻﻴﻞ‪ .‬وأﺿﺎﻓﺖ‪ :‬ﻧﺮﻳﺪ ﻗﺼﺼﺎً وﺷﻮاﻫﺪ ﻋﻦ‬ ‫اﻵﺑﺎء واﻷﺟﺪاد ﺗﻈﻬﺮ ﻣﻌﺪﻧﻬﻢ وﻋﻤﻖ ﺗﺮﺳﺦ‬ ‫اﳌﺒﺎدئ اﻟﻘﻮميﺔ ﰲ ﻗﻠﻮﺑﻬﻢ‪ ،‬ﻓﻬﺬا أﻓﻀﻞ‬ ‫ﻣﻌﻠﻢ وﻣﻮﺟﻪ ﻟﻠﻤﺠﺘﻤﻊ‪.‬‬ ‫‪ ŦŌƈōǙȑŌ ųǤǝ‬‬

‫أﻛﺪ اﻟﻔﻨﺎن واﳌﻠﺤﻦ ﻣﺤﻤﺪ اﻟﻴﺎﻓﻌﻲ ﰲ‬ ‫ﻣﺴﺘﻬﻞ ﺣﺪﻳﺜﻪ ﻋﲆ أن اﻟﺘﺴﺎﻣﺢ ﻟﻴﺲ ﺑﺠﺪﻳﺪ‬ ‫ﻋﲆ دوﻟﺔ اﻹﻣﺎرات‪ .‬وﻗﺎل‪ :‬إن ﺗﺨﺼﻴﺺ ﻋﺎم‬ ‫ﻟﻠﺘﺴﺎﻣﺢ ﻣﺎ ﻫﻮ إﻻ ﺗﺮﺳﻴﺦ ﳌﻨﻬﺞ "اﳌﻐﻔﻮر‬ ‫ﻟﻪ" اﻟﺸﻴﺦ زاﻳﺪ ﺑﻦ ﺳﻠﻄﺎن آل ﻧﻬﻴﺎن‪ ،‬وﺗﺮﺑﻴﺔ‬ ‫اﻟﺸﻴﺦ زاﻳﺪ اﻟﺬي اﻋﺘﻤﺪ اﻟﺘﺴﺎﻣﺢ ﻣﻨﻬﺠﺎً‬ ‫ﻣﺤﻠﻴﺎً‪ ،‬ﻛام اﻋﺘﻤﺪه ﰲ ﺳﻴﺎﺳﺘﻪ ﻣﻊ اﻟﺪول‬ ‫اﻷﺧﺮى‪.‬‬ ‫وأﺿــﺎف‪ :‬ﻳﺄيت ﻗﺮار ﺻﺎﺣﺐ اﻟﺴﻤﻮ رﺋﻴﺲ‬

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‫اﻟﻌﺪد ‪ ، 74‬ﻳﻨﺎﻳﺮ ‪2019‬‬

‫اﻟﺪوﻟﺔ ﺑﺘﺨﺼﻴﺺ اﻟﻌﺎم ‪ 2019‬ﻋﺎﻣﺎً ﻟﻠﺘﺴﺎﻣﺢ‪،‬‬ ‫ﺗﺄﻛﻴﺪاً ﻋﲆ أن ﻫﺬا ﻫﻮ ﻣﻨﻬﺠﻨﺎ ﰲ اﻟﺘﻌﺎﻳﺶ‪،‬‬ ‫وﻳﺄيت ﻣﻦ ﻗﻮة وﻓﻬﻢ ووﻋﻲ ﺑﺎﳌﺼﻠﺤﺔ اﻟﻌﺎﻣﺔ‬ ‫ﻗﺒﻞ اﻟﺸﺨﺼﻴﺔ‪ .‬وذﻛﺮ‪ :‬إن اﻟﺘﺴﺎﻣﺢ ﻣﺎ ﻫﻮ إﻻ‬ ‫ﻛﻨﺰ ﻣﻦ اﻟﻜﻨﻮز اﻟﺘﻲ ﻋﻠﻤﻨﺎ إﻳﺎﻫﺎ اﻟﺸﻴﺦ زاﻳﺪ‬ ‫"رﺣﻤﻪ اﻟﻠﻪ"‪ ،‬وأﺛﺒﺖ ﻫﺬه اﻟﻘﻴﻤﺔ اﻹﻧﺴﺎﻧﻴﺔ‬ ‫ﻗﻮﻻً وﻓﻌ ًﻼ‪.‬‬ ‫وﻗﺎل اﻟﻴﺎﻓﻌﻲ‪ :‬ﺗﺤﺘﺎج اﻟﺸﻌﻮب ﰲ اﳌﺤﻴﻂ‬ ‫واﻹﻗﻠﻴﻢ أن ﺗﺘﺴﺎﻣﺢ‪ ،‬وﻧﻔﺨﺮ أن ﺳﻴﺎﺳﺔ‬ ‫دوﻟﺔ اﻹﻣــﺎرات‪ ،‬ﺗﻘﻮم ﻋﲆ أﻋﲆ ﻣﺴﺘﻮى‬ ‫ﻣﻦ اﻟﺘﺴﺎﻣﺢ واﻟﺘﻌﺎﻳﺶ‪ ،‬ﻟﻘﺪ أﺻﺒﺤﻨﺎ ﻣﺜﺎﻻً‬ ‫ﻟﻠﺘﻌﺎﻳﺶ اﻟﺴﻠﻤﻲ واﻟﺘﺴﺎﻣﺢ واﻟﺤﻜﻤﺔ‬ ‫ﺑﺎﺗﺨﺎذ اﻟﻘﺮارات‪ .‬وذﻛــﺮ‪ :‬ﻟﺴﻨﺎ ﻣﻨﺪﻓﻌني‪،‬‬ ‫ﻓﺘﺴﺎﻣﺤﻨﺎ ﻫﻮ ﻗﻮﺗﻨﺎ‪.‬‬ ‫وأوﺿﺢ‪ :‬ﻟﺴﻴﺎﺳﺔ اﻟﺪوﻟﺔ اﳌﺒﻨﻴﺔ ﻋﲆ اﻟﺘﺴﺎﻣﺢ‬ ‫دﻻﺋﻞ ﻧﺤﺘﻔﻲ ﺑﻬﺎ ﻣﻨﺬ اﳌﺎﴈ اﻟﻘﺮﻳﺐ‪ ،‬ﻟﻘﺪ‬

‫أﻧﻌﻢ اﻟﻠﻪ ﻋﻠﻴﻨﺎ ﺑﺤﻜﻮﻣﺔ وﻗﻴﺎدة رﺷﻴﺪة‬ ‫ﺗﺠﺴﺪ ﺗﻮﺟﻪ اﻟﻨﺎس وﺗﻨﻮر ﻃﺮﻳﻘﻬﻢ‪ .‬وﺷﺪد‬ ‫ﻋﲆ أن اﺧﺘﻴﺎر ﻋﺎم اﻟﻘﺮاءة‪ ،‬وﻋﺎم اﻟﺨري‪،‬‬ ‫وﻋﺎم زاﻳﺪ ﻛﻠﻬﺎ أﻓﻜﺎر ﻣﺴﺘﻨﺒﻄﺔ ﻣﻦ اﳌﺠﺘﻤﻊ‬ ‫اﻹﻣـــﺎرايت‪ .‬وﻗــﺎل‪ :‬إن ﺗﻜﺮﻳﺴﻬﺎ ﰲ أﻋــﻮام‬ ‫ﻳﻌﻨﻲ ﺗﻌﺰﻳﺰﻫﺎ ﰲ اﳌﺠﺘﻤﻊ وﺗﺠﺴﻴﺪ اﻟﻘﻴﻢ‬ ‫واﻟﻌﺎدات واﻟﺘﻘﺎﻟﻴﺪ اﻟﺘﻲ ﻧﻌﻴﺸﻬﺎ‪.‬‬ ‫‪ ǖȎƒǕŌ ƜƈŐ‬‬

‫ﰲ ﻣﺴﺘﻬﻞ ﺣﺪﻳﺜﻪ ﻗﺎل اﻟﻔﻨﺎن اﻟﺘﺸﻜﻴﲇ‬ ‫ﻣﺤﻤﺪ اﻷﺳﺘﺎد‪ :‬اﻟﺘﺴﺎﻣﺢ ﺻﻔﺔ إﻧﺴﺎﻧﻴﺔ‬ ‫راﻗــﻴــﺔ ﺟـــﺪاً‪ ،‬وﺗﻨﻢ ﻋــﻦ ﺻﻔﺎء اﻟﻘﻠﻮب‬ ‫واﻟﻨﻔﻮس اﳌﻬﺬﺑﺔ وأﺻﺤﺎب اﻟﻔﻜﺮ اﻟﻮاﻗﻌﻲ‬ ‫اﳌﺪرك متﺎﻣﺎً ﳌﻌﻨﻰ وﻗﻴﻤﺔ اﻹﻧﺴﺎن وأﻫﻤﻴﺔ‬ ‫اﻟﻌﻼﻗﺎت اﻻﻧﺴﺎﻧﻴﺔ اﻹﻳﺠﺎﺑﻴﺔ اﻟﺘﻲ ﺗﺒﻨﻰ‬ ‫ﻋﻠﻴﻬﺎ اﳌﺠﺘﻤﻌﺎت وﺗﺘﻄﻮر‪ .‬وأوﺿﺢ‪ :‬ﻧﺤﻦ‬

‫‪ ƃǿŌƊ ǗǾǃ‬‬

‫ﻗﺎل ﻣﺤﻤﺪ ﺷﻌﻴﺐ اﻟﺤامدي رﺋﻴﺲ اﻟﻬﻴﺌﺔ‬ ‫اﻹدارﻳﺔ ﻟﻔﺮع اﺗﺤﺎد ﻛﺘﺎب وأدﺑﺎء اﻻﻣﺎرات‬ ‫أﺑﻮﻇﺒﻲ‪ :‬ﻋﻠﻴﻨﺎ أن ﻧﺘﺬﻛﺮ أن اﻟﻌﺎم ‪2015‬‬ ‫ﻛﺎن ﻋﺎﻣﺎً ﻟﻼﺑﺘﻜﺎر ﺛﻢ ﺟﺎء ﺑﻌﺪه ﻋﺎم اﻟﻘﺮاءة‪،‬‬ ‫وﺗﻼه ﻋﺎم اﻟﺨري‪ ،‬وﻓﻴام ﺑﻌﺪ ﻛﺎن ﻋﺎم زاﻳﺪ‪،‬‬ ‫واﻵن ﻳﺠﻲء ﻋــﺎم اﻟﺘﺴﺎﻣﺢ‪ ،‬وﻛــﻞ ﻫﺬه‬ ‫اﳌﺴﻤﻴﺎت ﺗﻌﻜﺲ ﻗﻴﻢ أيب اﻹﻧﺴﺎﻧﻴﺔ اﳌﻐﻔﻮر‬ ‫ﻟﻪ اﻟﺸﻴﺦ زاﻳﺪ ﺑﻦ ﺳﻠﻄﺎن آل ﻧﻬﻴﺎن‪ ،‬اﻟﺬي‬ ‫ﻛﺎن ﻗﺪ ﻗﺎل "ﻧﺤﻦ ﻛﺪوﻟﺔ ﻧﺒﻨﻲ اﻹﻧﺴﺎن‬ ‫وﻟﻴﺲ اﻟﺒﻨﻴﺎن"‪ .‬وأﺿﺎف‪ :‬ﻣﻦ ﻫﺬا اﳌﻨﻄﻠﻖ‬ ‫ﻓﺈن ﻗﻴﺎدﺗﻨﺎ اﻟﺮﺷﻴﺪة وﻋﲆ رأﺳﻬﺎ ﺻﺎﺣﺐ‬ ‫اﻟﺴﻤﻮ اﻟﺸﻴﺦ ﺧﻠﻴﻔﺔ ﺑﻦ زاﻳﺪ آل ﻧﻬﻴﺎن‬ ‫رﺋﻴﺲ اﻟﺪوﻟﺔ "ﺣﻔﻈﻪ اﻟﻠﻪ" أﻃﻠﻘﺖ ‪2019‬‬ ‫ﻋﺎﻣﺎً ﻟﻠﺘﺴﺎﻣﺢ‪ ،‬وإذ ﻧﺘﻜﻠﻢ ﻋﲆ اﻟﺘﺴﺎﻣﺢ‬ ‫مبﻔﻬﻮم ﺑﺴﻴﻂ ﻓﻬﻮ "ﻋﻔﺎ اﻟﻠﻪ ﻋﻦ ﻣﺎ ﺳﺒﻖ"‬ ‫و"اﻟﻌﻔﻮ ﻋﻨﺪ اﳌﻘﺪرة" وﻫﻲ ﻣﻦ أﺳﺎﺳﻴﺎت‬ ‫دﻳﻨﻨﺎ‪ ،‬واﻟﻘﻴﻢ اﻷﺧﻼﻗﻴﺔ واﳌﺠﺘﻤﻌﻴﺔ ﻟﺪى‬ ‫دوﻟﺘﻨﺎ‪.‬‬ ‫وأوﺿﺢ اﻟﺤامدي‪ :‬ﻷﻧﻨﺎ ﻧﺘﻌﺎﻣﻞ ﻣﻊ ﻣﺨﺘﻠﻒ‬ ‫اﻟﺠﻨﺴﻴﺎت اﻟﺘﻲ ﺗﻌﻴﺶ ﻋﲆ أرﺿﻨﺎ ﻳﺠﺐ‬ ‫أن ﻧﻜﻮن ﻣﺘﺴﺎﻣﺤني ﻷﺟﻞ ﺗﻌﺰﻳﺰ اﻟﺘﻌﺎﻳﺶ‬ ‫ﻓﻴام ﺑﻴﻨﻨﺎ‪ ،‬وﻟﻴﺲ ﻋﻠﻴﻨﺎ إذا ﻛﻨﺎ ﻧﺨﺘﻠﻒ ﻣﻊ‬ ‫اﻵﺧﺮﻳﻦ ﰲ اﻟﻔﻜﺮ‪ ،‬أن ﻧﺨﺎﺻﻤﻬﻢ‪ ،‬وﻟﻴﺲ‬ ‫ﻣﻌﻨﻰ أن ﻳﻜﻮن اﻵﺧﺮ ﻣﻦ ﻋﺮق وﻧﺤﻦ ﻣﻦ‬ ‫ﻋﺮق ﻣﺨﺘﻠﻒ أن ﻻ ﻧﺘﻮاﺻﻞ ﻣﻌﻪ‪ .‬وأﺿﺎف‪:‬‬ ‫ﻫﺬه دوﻟﺔ اﻹﻣﺎرات اﻟﺘﻲ أﺻﺒﺤﺖ أﻳﻘﻮﻧﺔ‬ ‫ﻋﲆ ﻣﺴﺘﻮى اﻟﻌﺎمل ﻛﻠﻪ مبﺒﺎدرات وﻣﺸﺎرﻳﻊ‬ ‫ﻓﺮﻳﺪة‪ ،‬وﺑﺤﺴﺐ ﺧﱪيت مل أﺳﻤﻊ ﻣﻦ ﻗﺒﻞ‬ ‫أن اﻟﺪول ﺧﺼﺼﺖ أﻋﻮاﻣﺎً ﻟﻠﱰﻛﻴﺰ ﻋﲆ ﻗﻴﻢ‬ ‫أﺧﻼﻗﻴﺔ أو ﺛﻘﺎﻓﻴﺔ أو اﺟﺘامﻋﻴﺔ أو إﻧﺴﺎﻧﻴﺔ‪،‬‬ ‫ﻟﺘﻌﻠﻢ اﻷﺟﻴﺎل واﳌﺠﺘﻤﻊ ﻋﲆ إﺑﺮازﻫﺎ‪ .‬وﻧﺤﻦ‬ ‫ﻧﻼﺣﻆ إن اﻹﻣﺎرات ﻣﻨﺬ ﺗﺄﺳﺴﺖ مل ﻳﻜﻦ‬ ‫ﻟﻬﺎ أﻋــﺪاء‪ ،‬ﻣﺎ ﻋﺪا أﻋﺪاء اﻟﻨﺠﺎح‪ ،‬ﻓﺪوﻟﺔ‬ ‫اﻹﻣــﺎرات ﻣﺘﺴﺎﻣﺤﺔ ﻣﻊ اﻟﺠﻤﻴﻊ وﻣﺼﺪر‬ ‫ﻓﺨﺮ ﻟﻺﻧﺴﺎﻧﻴﺔ‪.‬‬

‫ﻋﻠﻲ أﺑﻮ اﻟﺮﻳﺶ‪:‬‬ ‫‪ ǛǾşǶ ɐŦŌƈōǙȑŌ ǛǾş dzǃȎƪǕŌ‬‬ ‫‪ ǻǔƫ dzǘȃōǃ ɐǗǕōƪǕŌ ǒǶƂ dzǾǂş‬‬ ‫‪ dzŞżǘǕŌǶ ŻǙōƒŨǕŌ‬‬

‫ﻓﺎﻃﻤﺔ اﻟﻤﺰروﻋﻲ‪:‬‬ ‫‪ ǽƪǾŞƣ ƂŌƃŨǙŌ ŻǙōƒŨǕŌ ǖōƫ‬‬ ‫‪ɰ‬‬ ‫‪ ǛǙ ŌŋƋŵ ǣǝǷlj ɐƃǿŌƊ ſǾƖǕŌ ǖōƪǕ‬‬ ‫‪ ǣǤŵǷũǶ ǢƉLjƳ‬‬

‫‪ 2019‬ﻋﺎﻣﺎً ﻟﻠﺘﺴﺎﻣﺢ ﰲ اﻹﻣﺎرات‪ ،‬وﻗﺎل‪ :‬إن‬ ‫دوﻟﺔ اﻹﻣﺎرات اﻟﻌﺮﺑﻴﺔ اﳌﺘﺤﺪة متﺮ ﺑﺄﻋﻮام‬ ‫ﺑﻞ ﺑﻘﺮون ﺑﻨﻴﺖ ﻋﲆ اﻟﺸﻔﺎﻓﻴﺔ وﻋﲆ‬ ‫اﻟﺘﺂﻟﻒ واﻟﺘﺴﺎﻣﺢ واﳌﺤﺒﺔ‪ .‬وأﺿﺎف‪ :‬اﻟﺪﻟﻴﻞ‬ ‫ﻋﲆ ذﻟﻚ أن دوﻟﺔ اﻹﻣﺎرات ﺗﺤﺘﻀﻦ ﻋﲆ‬ ‫أرﺿﻬﺎ أﻛرث ﻣﻦ ﻣﺎﺋﺘﻲ ﺟﻨﺴﻴﺔ‪ ،‬وﻫﻮ دﻟﻴﻞ‬ ‫وﻗﺎﺳﻢ ﻣﺸﱰك ﻇﺎﻫﺮ ﻋﲆ ﻫﺬه اﻟﻮﺟﻮه‬ ‫اﻵﺗﻴﺔ ﻣﻦ ﻛﻞ ﻣﻜﺎن ﰲ اﻟﻌﺎمل‪.‬‬ ‫وأوﺿﺢ أﺑﻮاﻟﺮﻳﺶ أن ﺗﺨﺼﻴﺺ ﻋﺎم ‪2019‬‬ ‫ﻟﻠﺘﺴﺎﻣﺢ ﻫﻮ ﻋﻨﻮان ﳌﺸﺎﻋﺮ أﺑﻨﺎء اﻟﺸﻌﺐ‬ ‫واﻟﻘﻴﺎدة اﻟﺮﺷﻴﺪة‪ ،‬اﻟﺘﻲ ﺑﻨﺖ ﻋﻼﻗﺘﻬﺎ ﻣﻊ‬ ‫اﻟﺪول اﻷﺧﺮى ﺑﺎﻟﺘﺴﺎﻣﺢ‪ ،‬وﻣﻦ اﳌﻌﺮوف‬ ‫ﻋﺎﳌﻴﺎً‪ ،‬أن اﻟﻌﻼﻗﺔ ﺑني اﻹﻣﺎرات‪ ،‬وﺑني ﺑﻘﻴﺔ‬ ‫دول اﻟﻌﺎمل‪ ،‬ﻗﺎمئﺔ ﻋﲆ اﻟﺘﺴﺎﻣﺢ واﳌﺤﺒﺔ‪.‬‬

‫وأﺿﺎﻓﺖ‪ :‬إذا ﻋﺮﻓﻨﺎ أﻧﻪ ﻳﻌﻴﺶ ﻋﲆ ﺛﺮى‬ ‫ﺑﻼدﻧﺎ اﻟﺤﺒﻴﺒﺔ اﻹﻣﺎرات ﻧﺤﻮ ﻣﺎﺋﺘﻲ ﺟﻨﺴﻴﺔ‬ ‫ﻣﻦ ﻣﺨﺘﻠﻒ دول اﻟﻌﺎمل‪ ،‬ﻓﺈﻧﻨﺎ ﻧﻌﻠﻢ أن ﻣﺜﻞ‬ ‫ﻫﺬا اﻟﻮﻫﺞ اﻻﺣﺘﻔﺎﱄ واﻟﻮﻗﻔﺔ ﻣﻊ ﻫﺬه‬ ‫اﻟﻘﻴﻤﺔ اﻹﻧﺴﺎﻧﻴﺔ اﻟﻌﻈﻴﻤﺔ ﺳﻴﻜﻮن ﻟﻬﺎ أﺛﺮ‬ ‫ﺧﺎرﺟﻲ ﻳﺘﺠﺎوز ﺣﺪود ﺑﻼدﻧﺎ ﳌﺎ ﻫﻮ أﺑﻌﺪ‬ ‫وأﻋﻈﻢ‪.‬‬ ‫وأوﺿﺤﺖ‪ :‬ﻣﻦ دون ﺷﻚ أن ﻋﺎم اﻟﺘﺴﺎﻣﺢ‬ ‫ﻫﻮ اﻣﺘﺪاد ﻃﺒﻴﻌﻲ ﻟﻌﺎم اﻟﺸﻴﺦ زاﻳﺪ "رﺣﻤﻪ‬ ‫اﻟﻠﻪ" ﻛﻮن اﻟﺘﺴﺎﻣﺢ ﺟﺰءاً ﻣﻦ ﻓﻜﺮ وﻃﺒﻴﻌﺔ‬ ‫وﺗﻮﺟﻪ وﻣﺴرية اﻟﻮاﻟﺪ اﻟﺮاﺣﻞ "اﳌﻐﻔﻮر ﻟﻪ"‬ ‫اﻟﺸﻴﺦ زاﻳﺪ ﺑﻦ ﺳﻠﻄﺎن آل ﻧﻬﻴﺎن "ﻃﻴﺐ اﻟﻠﻪ‬ ‫ﺛﺮاه"‪.‬‬ ‫وأوﺿﺤﺖ اﳌﺰروﻋﻲ‪ :‬ﻟﻘﺪ ﻛﺎن اﻟﺘﺴﺎﻣﺢ‬ ‫أﺣﺪ أﻫﻢ ﺧﺼﺎل اﻹﻧﺴﺎن ﻋﲆ ﻫﺬه اﻷرض‬ ‫اﳌﺒﺎرﻛﺔ‪ ،‬ﻓﺎﻵﺑﺎء واﻷﺟــﺪاد ﻛﺎﻧﻮا ﺳﻔﺮاء‬ ‫ﻟﻠﻤﺤﺒﺔ واﻟﺘﻮاﺻﻞ ﻣﻊ ﻣﺨﺘﻠﻒ دول اﻟﻌﺎمل‬ ‫ﺧــﻼل رﺣﻼﺗﻬﻢ اﻟﺒﺤﺮﻳﺔ ﺑﻐﺮض اﻟﺼﻴﺪ‬ ‫واﻟﺘﺠﺎرة‪ ،‬ﻣﻮاﻧﺊ اﻟﻌﺎمل ﻛﺎﻧﺖ ﺗﺴﺘﻘﺒﻠﻬﻢ‬ ‫وﺗﺘﺒﺎدل ﻣﻌﻬﻢ اﻟﺒﻀﺎﺋﻊ وﺗﺘﻢ اﳌﻌﺎﻣﻼت ﺑﻜﻞ‬ ‫ﻋﻔﻮﻳﺔ‪ .‬وﻗﺎﻟﺖ‪ :‬ﰲ ﻫﺬا اﻟﻌﺎم أﻋﺘﻘﺪ أﻧﻨﺎ‬ ‫ﻧﺤﺘﺎج ﻟﱪاﻣﺞ ﺗﺘﻘﺎﻃﻊ وﺗﺘامﳽ ﻣﻊ اﻟﻨﺎس‬ ‫ومتﺲ ﺣﻴﺎﺗﻬﻢ اﻟﻴﻮﻣﻴﺔ‪ .‬وﻧﺤﺘﺎج ﻟﺼﻨﺎﻋﺔ‬

‫‪ dzǂǾǘƫ ŦȍȍƂ‬‬

‫ﻗﺎﻟﺖ اﻟﻜﺎﺗﺒﺔ ﻓﺎﻃﻤﺔ اﳌــﺰروﻋــﻲ‪ :‬ﻫﻨﺎك‬ ‫دﻻﻻت ﻋﻤﻴﻘﺔ وﻛﺒرية ﻹﻋــﻼن ﺻﺎﺣﺐ‬ ‫اﻟﺴﻤﻮ اﻟﺸﻴﺦ ﺧﻠﻴﻔﺔ ﺑﻦ زاﻳﺪ آل ﻧﻬﻴﺎن‪،‬‬ ‫رﺋﻴﺲ اﻟﺪوﻟﺔ‪" ،‬ﺣﻔﻈﻪ اﻟﻠﻪ" ﻋﺎم ‪2019‬‬ ‫ﻋﺎﻣﺎً ﻟﻠﺘﺴﺎﻣﺢ‪ ،‬وﻟﻌﻞ ﻣﻦ أﻫﻢ ﺗﻠﻚ اﻟﺪﻻﻻت‬ ‫‪ džƉŨƖǘǕŌ ƕǾƪǕŌ‬‬ ‫اﻟﺤﺎﺟﺔ اﻟﻔﻌﻠﻴﺔ ﻟﱰﺳﻴﺦ ﻣﺒﺎدئ اﻟﺘﺴﺎﻣﺢ‬ ‫أﺷﺎد اﻷدﻳﺐ ﻋﲇ أﺑﻮاﻟﺮﻳﺶ ﺑﺎﺧﺘﻴﺎر اﻟﻌﺎم وﻗﺒﻮل اﻵﺧﺮ ﰲ ﻣﺠﺘﻤﻌﺎﺗﻨﺎ اﻟﻌﺮﺑﻴﺔ ﺑﺄﴎﻫﺎ‪.‬‬

‫اﻟﺸﻌﺮ ‪baytelshear‬‬ ‫ﺑﻴﺖ ِ‬

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‫‪ŋšōĨĞ‬‬

‫‪ ŻǙōƒŨǕŌ ǖōƫ ǽƳ‬‬

‫ّ‬ ‫ﺗﻜﺮس دورﻫﺎ ﻛﻌﺎﺻﻤﺔ‬ ‫‪ ǚǷƲǂŬǙ‬اﻹﻣﺎرات‬ ‫ﻟﻠﺘﻌﺎﻳﺶ واﻟﺘﻼﻗﻲ اﻟﺤﻀﺎري‬ ‫ﺑﺸﺮى ﻋﺒﺪا‪:Q‬‬

‫ﺗﻜﺮس ﺗﻮﺟﻴﻬﺎت ﺻﺎﺣﺐ اﻟﺴﻤﻮ اﻟﺸﻴﺦ ﺧﻠﻴﻔﺔ ﺑﻦ زاﻳﺪ آل ﻧﻬﻴﺎن رﺋﻴﺲ اﻟﺪوﻟﺔ "ﺣﻔﻈﻪ اﻟﻠﻪ" ﺑﺈﻋﻼن اﻟﻌﺎم ‪ 2019‬ﻋﺎﻣﺎً ﻟﻠﺘﺴﺎﻣﺢ‪ ،‬اﻟﺪور‬ ‫اﻟﻌﺎﳌﻲ اﻟﺬي ﺗﺆدﻳﻪ اﻹﻣﺎرات ﻛﻌﺎﺻﻤﺔ ﻟﻠﺘﺴﺎﻣﺢ واﻟﺘﻌﺎﻳﺶ‪ ،‬ﻓﻌﲆ أرﺿﻬﺎ ﻳﻠﺘﻘﻲ اﻟﻨﺎس ﻣﻦ ﻣﺨﺘﻠﻒ اﻟﺜﻘﺎﻓﺎت واﻟﺤﻀﺎرات اﻹﻧﺴﺎﻧﻴﺔ‪.‬‬ ‫وﻫﻮ ﻣﺎ ﻳﻌﺰز إرث ﻣﺆﺳﺲ اﻟﺪوﻟﺔ "اﳌﻐﻔﻮر ﻟﻪ" اﻟﺸﻴﺦ زاﻳﺪ ﺑﻦ ﺳﻠﻄﺎن آل ﻧﻬﻴﺎن‪ ،‬وﻧﻬﺠﻪ ﰲ ﺟﻌﻞ اﻟﺘﺴﺎﻣﺢ ﻧﻬﺠﺎً ﳌﺠﺘﻤﻊ اﻹﻣﺎرات‬ ‫اﳌﺘﻌﺪد اﻟﻬﻮﻳﺎت‪ .‬ﻛام ﻳﺸري ﻟﻠﻘﻴﻢ اﻹﻧﺴﺎﻧﻴﺔ واﻟﻔﻜﺮﻳﺔ اﻟﺘﻲ ﺗﺤﻔﻞ ﺑﻬﺎ اﻹﻣﺎرات‪ ،‬ﻛﻮن ﻫﺬا اﻟﻌﺎم ﻳﺘﻮاﺻﻞ ﻣﻊ أﻋﻮام أﺧﺮى ﻣﺜﻞ "ﻋﺎم‬ ‫زاﻳﺪ" و"ﻋﺎم اﻟﺨري" و"ﻋﺎم اﻟﻘﺮاءة"‪.‬‬ ‫ﻋﻦ أﻫﻤﻴﺔ اﺧﺘﻴﺎر اﻟﺘﺴﺎﻣﺢ وﻗﻴﻤﺘﻪ اﻹﻧﺴﺎﻧﻴﺔ ﰲ اﳌﺠﺘﻤﻊ اﻹﻣﺎرايت‪ ،‬وﺗﺠﻠﻴﺎﺗﻪ ﻣﺤﻠﻴﺎً ودوﻟﻴﺎً‪ ،‬ﺗﺤﺪث ﻋﺪد ﻣﻦ اﻟﻜﺘﺎب واﻟﻔﻨﺎﻧني إﱃ‬ ‫"ﺑﻴﺖ اﻟﺸﻌﺮ" ﻣﻦ ﺧﻼل اﻻﺳﺘﻄﻼع اﻟﺘﺎﱄ‪:‬‬

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‫اﻟﻌﺪد ‪ ، 74‬ﻳﻨﺎﻳﺮ ‪2019‬‬

//‫ﺑﻌﺪ ﻣﻔﺎرﻗﻪ‬ ‫ ﺑﻦ ﻧﻮره اﻟﺮاﺷﺪي‬Q‫ﻋﺒﺪا‬ @3bdlh_bn_noorh

@@ B4b@@ ~@ @7 ¤@@ @B¡@@ @A @@ z@ @ ~@ {@ D* ¡@@ ~@ @{@ @J b@@ @ E @@ @ @ @ @ @ @B4*5 ¤@@ @ @ @ @ @ @+4 x@@ @ @ @ @ @ @ @ E&* ·* f@@ @ @c@ @ @ £@ @ @ = @@ @ B4b@@ @ @ @ @E v@@ @ @ @ @ @ + ¡@@ @ @ @ @ J @@ @ @ @ C @@ @ @ @ @g@ @ @© @@ @ @B4b@@ @ @= ¥4v@@ @ @ ~@ @ @ @|@ @ @ @+ ·* ¡@@ @ @ @ @ @ @ @ @ @ @D* @@ @ B4b@@ @ ~@ @ 6%* @@ @z@ @ + @@ @p@ @ ~@ @ }@ @ D*H @@ @ @ @ @ @ E&°*H @@ @B4b@@ @0 ¤@@ ~@ @z@ @ @ @F H ¤@@ @ @<¡@@ @ @E2* h@@ @~@ @ 9b@@ @A @@ @ @B4b@@ @ @A @@ @ @Fb@@ @ @ @ @ @ E @@ @ @ @ @D ·* x@@ @ @ @ @ @ @ @ @ C3&* @@ @ B4b@@ @ E M ¡@@ @ @ @ @ @ ~@ @ @ 6 @@ @ @ @E @@ @ @ @+ ¤@@ @ @ @ @ @ -* H @@ @ @ @ @ B4*H x@@ @ m@ @ @~@ @ @7 @@ @ @ @; ¤@@ @ @ B¡@@ @ @ A b@@ @ @ @ @ C

29

baytelshear ‫اﻟﺸﻌﺮ‬ ِ ‫ﺑﻴﺖ‬

r¡@@ @ J b@@ @ E x@@ @ @~@ @7 x@@ @ @ + Áv@@ ~@ @{@ @F @@ @ E r¡@@ @ @ @ @ @ D*H Ã*y@@ @ @ @ @Db@@ @ A @@ @ @ @ @: ib@@ @ @ @/ rH4 @@ £@ @~@ @9H d@@ @ @B rx@@ @ @ @/H v@@ c@ @C y@@ @ @0 r¡@@ ~@ @9¡@@ Db@@ + H @@ 9¡@@ @ @ @ @Db@@ + ¤@@ @ @g@ @c@ @ @ @-&* rHx@@ @ @- b@@ @ @E @@ @{@ @ Jb@@ @< h@@ @ @ @E2 Á* ¥42&* r¡@@ @ @ J ·* b@@ @ @ @ @ @ @²* h@@ @ @ @ ~@ @ 7 b@@ @ @ E @@ @ @ C rHx@@ @~@ @ |@ @ D* H 5b@@ @ @ @ @ @ @´* ix@@ @ @Cw@@ @ @- *H r¡@@p@ ~@ 7 @@ @ @ @ /H @@ @ Ey@@ @ D* ¡@@ @ @ J v@@ @ @ @ @A* rH4 @@ @ @ @ @CH q@@ @c@ @ ~@ @ 8 @@ @ @ C @@ @ @ D h@@ @ @ @ @ @ g@ @ @ D&*

ĘıĘŕ

‫ﺻﺮوح ﺟﺒﺎل‬ ‫ﺳﻠﻄﺎن اﻟﻬﺎﺟﺮي‬ @sha3er_19

µ%b@ @g@ @EH @@ @ £@ ~@ }@ + ¥4v@@ @ ~@ 8 ¯ @@ z@ @0* b@@ @ F*H @@ @ p@ g@ EH @@ B¡@@ @ @ E ¤@@ @ @C Ix@@ @ @ @ @ @ @D* Ì@@ @ @J @@ @ @ Jb@@E rx@@ @ @ / v@@ @ @ @ @ @ DH rHx@@ @ @ @ m@ @ @ @ @D* @@ @ @ ~6H @@ @ ³* x@@~@ 7* @@ /H ¢@@ @< Ñ* ¢@@ @~@8 @@ @ <b@@E h@@ @ J2x@@ @ - *H @@ @ Q @ @ @< h@@ c@ @ @ @: b@@ @£@ @ D @@ @ @c@ @EH ¡@@ @ +x@@ @ @ @ @ E Ì@@ @ @ E @@ @ @ @ @CH b@@ @ @£@ @c@ @J @@ @ ~@ 6 É@@ @ @+ b@@ @ @ @ @ @ @ @ @B @@ @ @ @ @- b@@ @ @ Bb@@ ~@ @ {@ @ <H @@ @ @;° @@£@ @ D* @@ E @@ @ @ @;* 4Hv@@ @ @²* @@Jx@@: @@ @C *°H M É@@ @ C @@c@ @ g@ ~@ 6b@@E b@@ @ @ ~@ @7 ¢@@ @ @<

b@@£@ D lÉ@@ @ @ .H ¡@@ c@ @~@ @6* · Á* Ñ*H b@@ @ @F* b@@1 b@@ @ @ + ¡@@ @ @G @@ E Md@@ @ @B ¡@@ @ @+%* b@@ @ F b@@£@ D b@@² b@@ @Ey@@ @D* rx@@ @/ @@ @GH b@@ @² ¤@@E¡@@ @ G b@@Bb@@ @ E ¢@@ @ @< ¤@@ @ @£@ @A4b@@ J b@@ @ @ GÄ@@ g@ @<* @@ @ @ @D b@@ @ @ @ /4 ¯ h@@ @ @ @ J2x@@ @ @ @ - ¤@@ @ @ @ @ @ @ @D h@@ @ @ @ J2x@@ @ @ @ b@@0 ¤@@:b@@s@ + I2x@@ @ @- v@@ Bb@@ E Md@@ £Q @ @ @ @: @@ +b@@ E bc/ rHx@@~@ 8 @@/*x@@´* * ¡@@ @J @@E v@@~@8 *y@@ @ ´* @@ E Ì@@j@ C @@ @ ~@ 6* 2¡@@ @ ~@ |@ D* * *3* *¡@@m@ @D* @@-b@@ @ D* @@~@|@ @- @@E¡@@ @ ²* h@@£@Db@@J

2019 ‫ ﻳﻨﺎﻳﺮ‬، 74 ‫اﻟﻌﺪد‬

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‫ﻋﻼء ﺟﺎﻧﺐ‬

‫ﻋﺒﺪاﻟﻘﺎدر ﺳﻔﺮ اﻟﻐﺎﻣﺪي‬

‫ﻛﺮميﺔ اﻟﺘﻮزري‬

‫ ‪ ƃǾƫ ǖǷǿ ǽũōǾŽ ǽƳ ǣƦżǕ Ǔlj‬‬ ‫ ‪ ǽŞǾŨƪǕŌ ǗǿƉǙ DzƉƫōƖǕŌ‬‬

‫ﻓﺘﺤﻲ اﻟﺤﴫي‬

‫ﻣﺮﻳﻢ اﻟﻌﺘﻴﺒﻲ‬

‫اﻟﺤﻴﺎﺗﻴﺔ ﻟﻠﻘﻠﻮب اﻟﻮاﻋﻴﺔ اﻟﻌﺎﻣﻠﺔ ﻋﲆ ﺧﻠﻖ اﻟﻔﺮص‪.‬‬ ‫ﻃﻤﻮﺣﺎﺗﻨﺎ ﰲ اﻟﻌﺎم اﻟﺠﺪﻳﺪ ﻻ ﺗﻨﺘﻬﻲ واﻷﻣﻨﻴﺎت ﻻ ﺗﻨﻀﺐ ﻓﻤﻨﻬﺎ اﻟﻘﺪﻳﻢ‬ ‫وﻣﻨﻬﺎ اﻟﺤﺎﱄ وﻣﻨﻬﺎ اﳌﻔﺎﺟﺊ واﳌﺴﺘﺤﺪث وﻟﻌﻠﻬﺎ ﺗﻜﻮن ﺧﻮارزﻣﻴﺔ‬ ‫اﻟﺤﻴﺎة اﻟﺴﻌﻴﺪة ﻇﻠﻠﺘﻬﺎ ووﺿﻌﺘﻬﺎ ﰲ ﻛﻨﻔﻬﺎ ﻛﻠﻤﺔ ﻣﻌﱪة وﻫﻲ‪ :‬اﻷﻣﺎين‪.‬‬ ‫ﺧﺘﺎﻣﺎً أﻗﻮل‪ :‬أﺧﻲ اﻹﻧﺴﺎن‪ :‬اﺑﺘﻌﺪ ﻋﻦ "ﻟﻮ" اﻟﺘﻌﻠﻴﻞ‪ ،‬ﺑﻞ واﺗﺮك ﻣﺎ ﻳﻔﺴﺪ‬ ‫اﻟﻔﺮﺣﺔ ومتﺴﻚ مبﺎ ﻳﺠﻠﺐ اﻟﺴﻌﺎدة وداوم ﻋﲆ اﻟﺘﺴﺎﻣﺢ وﺣﺐ اﻟﺘﻄﻮر‬ ‫واﻟﺘﻄﻮﻳﺮ ﻟﺘﻜﻮن اﻳﺠﺎﺑﻴﺎً ﻟﺬاﺗﻚ ﻗﺒﻞ ﻣﺤﻴﻄﻚ‪.‬‬ ‫‪ @@Jv@@£@ @ ~@ 6 @@ @ @ @ @E @@ @ B b@@ @ J @@ @ @ @E°* °¡@@ @ @ D‬‬ ‫‪ 'Hb@@ ~@ @z@ @g@ @D* Å@@ @ @+ *¡@@ @ -b@@ @ E @@ @ E È@@ @ C b@@ @ @JH‬‬ ‫‪Í@@ @ ~@ 6 w@@ @ 1b@@ @ -¡@@ @ DH @@ @-b@@ @0¡@@ @ @ @ : @@ @ @ @ 0‬‬ ‫‪ 'Hb@@ @ @ @ - 4v@@ ~@ @|@ @E Ì@@ ~@ @|@ @- ,b@@ @ £@ @ @²* d@@ @ 0‬‬

‫ﺑﻨﻈﺮي ﻻ ُﺗﻘﺎس اﻷﻋﻮام ﺑﺘﻌﺪاد اﻷرﻗﺎم اﻟﻔﻠﻜﻴﺔ وﻻ اﻟﺴﻨني اﳌﻴﻼدﻳﺔ‬ ‫واﻟﻬﺠﺮﻳﺔ‪ .‬إمنﺎ ُﺗﻘﺎس ﺑﻌﺪد أﻳﺎم اﻟﺴﻌﺎدة واﻟﻔﺮح واﻟﻄﺎﻗﺔ اﻹﻳﺠﺎﺑﻴﺔ‬ ‫اﻟﺘﻲ ﻧﺴﺘﻤﺪﻫﺎ ﻣﻨﻬﺎ‪ ،‬ﺗﻠﻚ اﻷﻳﺎم ﻓﻘﻂ ﺗﺪﺧﻞ ﰲ داﺋﺮة ﺣﺴﺎﺑﺎيت اﻟﻌﻤﺮﻳﺔ‪.‬‬ ‫وﻣﺎﻋﺪا ذﻟﻚ ﻳﻜﻮن ﺑﺎﻟﻨﺴﺒﺔ ﱄ مبﺜﺎﺑﺔ درس ﺗﻌﻠﻤﺘﻪ ﻣﻦ اﻟﺤﻴﺎة وأﻋﻄﺎين‬ ‫اﻟﻘﻮه واﻟﺠﻠﺪ‪ ،‬وﺻﻘﻞ ﺷﺨﺼﻴﺘﻲ وﻋﻠﻤﻨﻲ ﻗﺒﻞ ﻛﻞ ﳾء اﻟﺼﱪ‪.‬‬ ‫اﻟﺤﻴﺎة ﻣﻌﺎدﻟﺔ ﺻﻌﺒﺔ ﻻ ﻳﺴﺘﻄﻴﻊ ﺣﻠﻬﺎ إﻻ ﻣﻦ ﻳﻌﺮف ﻣﻌﻨﻰ اﻟﺘﻌﺎﻳﺶ‬ ‫ﻣﻊ اﳌﻮاﻗﻒ اﻟﺤﺰﻳﻨﺔ واﻻﺳﺘﻤﺘﺎع ﺑﻠﺤﻈﺔ اﻟﻔﺮح ‪..‬‬ ‫‪v@@ @ Jv@@ @ ±* b@@ @ @ @ @ @ @ @ D* *w@@ @ @ @ @ + ¤@@ @ @ @ £@ @ @ @ @ @ - °‬‬ ‫‪ v@@ @Jv@@ @/ ¤@@ @ @ Eb@@ @ @ J*H h@@ @ @ F* @@ @g@ @ Ax@@ @< @@ @ @E‬‬ ‫‪v@@ £@ @< ¡@@ @ @ @ @ J ¤@@ @ -b@@ @ £@ @ @0 ¯ @@ @ @ @ @² @@ @ @ @C‬‬ ‫‪ǒǸōƲŨǕŌǶ dzǾşōŴǿȑŌ v@@£@ @ ~@ 6 ¤@@ @ £@ @ ~@ 6* b@@ @ @ @ @C 2¡@@ @ @ @ /H ¯H‬‬ ‫‪ǽǝōǙȏŌ‬‬ ‫‪ǚōżǾǔǘǕŌ Ƌȃōŵ ƉƫōƖǕŌ‬‬

‫ﻟﻮﻻ اﻷﻣﺎين واﻵﻣﻞ ﻷﺻﺒﺢ اﻟﻌﻴﺶ ﺿﻴﻘﺎً‪ .‬ﻫﺬه ﻟﻴﺴﺖ ﻣﺠﺮد ﻋﺒﺎرة‬ ‫ﻳﺪاﻫﻢ اﻟﻴﺄس ﻓﻘﻂ‪ ،‬أو ﻋﻨﺪ ﻣﺼﺎدﻓﺔ ﻋﺎرض ﻳﻌﱰض ﻃﺮﻳﻖ‬ ‫ﺗﻘﺎل ﺣني ِ‬ ‫اﻟﺴﻌﺎدة ﰲ اﻟﺤﻴﺎة‪ .‬اﻟﺤﻴﺎة ﻣﺎ ﻫﻲ إﻻ اﻟﺴﻬﻞ اﳌﻤﺘﻨﻊ‪ ،‬وﻣﺘﻰ ﻣﺎ ﻛﺎن‬ ‫اﻻﻧﺴﺎن ﻣﺘﻔﺎﺋ ًﻼ ﺻﺎﺣﺐ أﻣﻨﻴﺎت وﻳﻌﻤﻞ ﻋﲆ ﺗﺤﻘﻴﻘﻬﺎ ﻓﻬﻮ ﻳﺨﺮج ﻣﻦ‬ ‫ﻣﺸﻜﺎﺗﻪ اﳌﺤﺪودة إﱃ ﺣﺪود وأﻓﻖ اﻛرث اﺗﺴﺎﻋﺎً ُﻳﺒﻨﻰ ﻋﲆ ﺗﻘﺒﻞ اﻟﺤﻴﺎة‬ ‫أﻣﻞ آﺧﺮه ﻧﻮر اﻟﻔﺮح‪ ،‬وﻫﻨﺎ‬ ‫واﻟﻘﺪرة ﻋﲆ ﻣﻘﺎرﻋﺘﻬﺎ ﺳﻌﻴﺎً ﺧﻠﻒ ﺑﺼﻴﺺ ٍ‬ ‫ﻣﺒﺪأ اﻟﺤﻴﺎة اﻟﺴﻌﻴﺪة‪ ،‬ﻓﺎﻟﺴﻌﺎدة ﻫﻲ اﳌﴤ ﻣﻊ ﻫﺬا اﻟﻮﻣﻴﺾ اﻟﱪاق‬ ‫وﻟﻴﺴﺖ ﻓﻘﻂ ﰲ ﺗﺤﻘﻴﻖ ﻣﻨﺘﻬﺎه‪.‬‬ ‫ﻋﺎم ﻣﴣ ﻛﺎن ﻟﻪ ﻣﻮاﻗﻔﻪ اﻵﴎة‪ ،‬ووﻗﻔﺎﺗﻪ اﳌﺸﻬﻮدة‪ ،‬ﻓﻴﻪ ﻣﻦ اﻷﻣﺎين‬ ‫ﻣﺎ ﺗﺤﻘﻖ وﻓﻴﻪ ﻣﺎ ﻫﻮ ﺑﻄﻮر اﻟﺘﺤﻘﻴﻖ وﻣﺎ ﻫﻮ ﻣﻨﺘﻘﻞ وﻣﺮﺗﺤﻞ إﱃ‬ ‫اﻟﻌﺎم اﻟﺬي ﻳﻠﻴﻪ‪ ،‬وﻟﻬﺬا ﻛﻦ إﻳﺠﺎﺑﻴﺎً ﻋﲆ اﻟﺪوام وﻻ ﺗﺨﻨﻊ ﻟﻠﺨﻀﻮع‬ ‫أو اﻻﻧﻜﺴﺎر‪ ،‬ﻓﺎﻟﴪ اﻟﺤﻘﻴﻘﻲ ﻟﻼﺳﺘﻤﺮارﻳﺔ ﻫﻮ اﻟﺘﻔﺎؤل وﻃﻴﺐ اﻷﻣﻞ‬ ‫وﺗﺤﺪﻳﺚ اﻷﻣﻨﻴﺎت‪ .‬إن ﻛﻞ ﻋﺎم ميﴤ ﻳﻌﻨﻲ اﳌﺰﻳﺪ ﻣﻦ اﻟﺪروس واﻟﺨﱪة‬

‫‪ ǛǾǜżǕŌ źǷş LJǿƉǾŞǘǕŌ ǽǝōǤũ DzƉƫōƖǕŌ‬‬

‫ﻣﻀﻴﺖ أﻳﻬﺎ اﻟﻌﺎم ‪ 2018‬وأﻧﺎ أﺣﻤﻠﻚ ﻓﺨﺮاً ﰲ ﻣﺴرية ﺣﻴﺎيت‪ .‬ﺣﻘﻘﺖ‬ ‫ﻓﻴﻚ ﺗﺪﺷني أول ﻛﺘﺎب ﱄ‪ ،‬وﻧﻠﺖ ﺷﻬﺎدة ﻋﻠﻴﺎ ﺗﺤﻘﻘﺖ ﻣﻨﻬﺎ ﻃﻤﻮﺣﺎيت‪.‬‬ ‫منﺮ ﺑني اﻷﻋﻮام اﳌﺎﺿﻴﺔ واﳌﻘﺒﻠﺔ ﰲ رﺣﻠﺔ زﻣﻦ ﺗﻨﻘﻠﻨﺎ ﺑﺄﺣﻮاﻟﻬﺎ ﺑني‬ ‫أﺣﺪاث ﺳﻴﺎﺳﻴﺔ ﻻ ﺗﻜﻞ وﻻ متﻞ‪ ،‬وﻣﻨﺎﺳﺒﺎت إﻧﺴﺎﻧﻴﺔ ﺑني ﺟﺰر وﻣﺪ‪.‬‬ ‫ﻧﺤﻤﻞ آﻣﺎﻟﻨﺎ وأﺣﻼﻣﻨﺎ وأﻫﺪاﻓﻨﺎ ﰲ اﻟﺤﻴﺎة وﻧﻨﻘﻠﻬﺎ إﱃ ﻋﺎم ﺟﺪﻳﺪ‪،‬‬ ‫ميﻠﺆﻧﺎ اﻷﻣﻞ و ﻧﻮاﻓﻴﻪ ﺣﺒﺎ ووﻻ ًء وﻧﺮﺟﻮ ﻓﻴﻪ أن ﻧﺤﻘﻖ ﻣﺎ ﻧﺼﺒﻮ إﻟﻴﻪ‪..‬‬ ‫وﺑني ﻋﺎم وﻋﺎم ﻧﺴﺄل اﻟﻠﻪ اﻟﱪﻛﺔ ﰲ أوﻗﺎﺗﻨﺎ ﻟﻨﻘﻀﻴﻬﺎ ﰲ ﻃﺎﻋﺘﻪ وﺣﺴﻦ‬ ‫ﻋﺒﺎدﺗﻪ‪ ،‬و ﻧﺘﻮﻛﻞ ﻋﻠﻴﻪ يك ﻧﱰك ﺑﺼﻤﺔ ﻣﺆﺛﺮة ﰲ اﻟﻌﺎم اﻟﺠﺪﻳﺪ ﺗﺤﺴﺐ‬ ‫ﺑﺤﺴﺎب اﻻﻧﺠﺎزات ﻋﲆ اﻟﺼﻌﻴﺪ اﻟﺸﺨﴢ‪ .‬ﻫﺬه اﻟﺮﺣﻠﺔ ﻫﻲ ﻣﺎ أﻋﺪدﻧﺎ‬ ‫ﻟﺘﻮدﻳﻊ ﻋﺎم واﺳﺘﻘﺒﺎل ﻋﺎم‪ .‬ﻧﺄﻣﻞ ﻣﻦ اﻟﻠﻪ ﺗﻌﺎﱃ أن ﻳﻜﻮن اﻟﻌﺎم اﳌﻘﺒﻞ‬ ‫أﻛرث ﺳﻼﻣﺎً وإﴍاﻗﺎً وﺟامﻻً‪ ..‬وان ﻧﺘﻐري وﻧﺘﻄﻮر ذاﺗﻴﺎً ﻟﻸﻓﻀﻞ وﻧﺤﻘﻖ‬ ‫أﻫﺪاﻓﺎً أﻛرث وﻧﻌﻴﺶ اﻹﻳﺠﺎﺑﻴﺔ واﻟﺘﻔﺎؤل وﻧﻨﴩﻫﺎ ﺑني اﻟﻌﺎﳌني‪..‬‬ ‫<@@‪ E&* b JHb 1 ¥¡ J ¤-x F ¯ @@BH M b‬‬ ‫‪ b£1 E bJb + H 0 b F*4v/ ¢ < ~6xJ‬‬ ‫‪ m< ¯ b E @@ @D* H x D* x < ¯ b@@04‬‬ ‫*&‪ b g~7* b A*xJ ¤ D* r¡ D*H b 0 b£/‬‬ ‫اﻟﺸﻌﺮ ‪baytelshear‬‬ ‫ﺑﻴﺖ ِ‬

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‫ ‪¥ũľğı‬‬

‫أﻣﺎ ﻋﲆ اﳌﺴﺘﻮى اﻟﺸﺨﴢ ﻓﻠﻴﺴﺖ ﱄ أﻣﻨﻴﺎت ﻛﺜرية ﺳﻮى اﻟﻨﺠﺎح وﻧﻘﻮل ﻟﻌﻤﺮ ﻣﻦ ﻋﺎم ﻧﺮاه ﻳﻨﺘﻈﺮﻧﺎ ﺳﻨﺤﻴﺎك ﻳﺎ زﻣﻨﺎ ﻣﻦ أﻋامرﻧﺎ أﺗﻴﺖ‬ ‫ﻷﺑﻨﺎيئ‪ .‬أﻣﺎ ﻣﺎ ﻳﺨﺼﻨﻲ ﻓﺄﻧﺎ ﻻ أﻋﺘﱪﻫﺎ أﻣﻨﻴﺎت ﻓام أمتﻨﺎه أﺣﻘﻘﻪ‪ ،‬وﻗﺪ ﺑﺎﻟﺤﺐ واﻟﺠامل واﻟﺤﻴﺎة وﻛﻠﻨﺎ أﻣﻞ ورﺟﺎء أن ُﺗ ّ‬ ‫ﻬﻞ ﻋﻠﻴﻨﺎ ﺑﺒﺸﺎﺋﺮ اﻟﺨري‬ ‫ﺣﻘﻘﺖ ﻛﻞ ﻣﺎ متﻨﻴﺘﻪ ﺣﺘﻰ اﻵن وﻣﺎ ﻳﺨﻄﺮ ﻋﲆ ﺑﺎﱄ ﺑﻌﺪ ذﻟﻚ ﺳﺄﻗﻮم وﻣﻄﺮ اﳌﺤﺒﺔ ﺑني اﻟﺒﴩﻳﺔ ﺟﻤﻌﺎء ﻟﺘﻜﻮن ﻋﺎم اﻟﺴﻼم واﻷﻣﺎن ﰲ ﻛﻞ‬ ‫ﺑﻘﻌﺔ ﻣﻦ ﻫﺬه اﻟﺒﺴﻴﻄﺔ ‪.‬‬ ‫ﺑﺄﻣﺮ اﻟﻠﻪ ﺑﺘﺤﻘﻴﻘﻪ إن ﻛﺎن ﰲ اﻟﻌﻤﺮ ﻣﺘﺴﻊ‪.‬‬ ‫‪ǓƞƳŐ ƃƮş ǚōǘǿŒ‬‬ ‫‪ ǼƈƊǷŨǕŌ dzǘǿƉlj DzƉƫōƖǕŌ‬‬

‫‪dzŽǷŨƲǙ ƈǶƃƛ‬‬ ‫‪ ŝǝōŵ ŋȎƫ ǼƉƚǘǕŌ ƉƫōƖǕŌ‬‬

‫أﻗﻮل ﻟﻠﻌﺎم اﻟﺮاﺣﻞ‪ :‬ﺷﻜﺮاً ﻋﲆ ﻛﻞ ﻣﻮﻗﻒ ﻋﻠﻤﻨﻲ اﳌﻔﻴﺪ ‪ ،‬ﺷﻜﺮاً ﻋﲆ‬ ‫ﻛﻞ ﻟﺤﻈﺔ ﺳﻌﺎدة ﻣﻨﺤﺘﻨﻲ إﻳﺎﻫﺎ اﻟﺤﻴﺎة‪ ،‬وﻟﻚ ﻳﺎ أﻳﺎﻣﺎ ﻣﻀﺖ أن ﺗﻨﴫﰲ‬ ‫ﻟﺤﺎﻟﻚ وأن ﺗﺄﺧﺬي وإﻳﺎك ﻛﻞ دﻣﻌﺔ أﳻ ﺳﻘﺘﻨﻲ ﻣﻦ ﻣﺮﻫﺎ‪ ،‬وﻛﻞ ﻧﱪة‬ ‫ﻧﺪم ﺣﺰﻳﻨﺔ ﺣﻮﻟﺘﻬﺎ ﺑﻌﺰميﺘﻲ إﱃ إميﺎن ﺑﻐﺪ أﻓﻀﻞ‪ ،‬إﱃ أﻣﻞ ﺑﻘﺪر ﻧﺠﻮم‬ ‫اﻟﺴامء ﺗﺮﺣﺎﺑﺎ ﺑﻌﺎم ﺟﺪﻳﺪ ﻣﻔﻌﻢ ﺑﺎﻟﺤﺐ ﱄ وﻟﻠﺒﴩﻳﺔ ﺟﻤﻌﺎء‪ .‬ﻛﻞ ﺳﻨﺔ‬ ‫واﻟﻌﺎمل ﺑﺄﻟﻒ ﺧري‪.".‬‬

‫ﻛﻞ ﻋﺎم ﻳﺮﺣﻞ ميﻜﻦ أن ﻳﻜﻮن ﺟﺬراً ﻷﻋامل ﺗﻜﻮن أﻏﺼﺎﻧﻬﺎ ومثﺎرﻫﺎ‬ ‫ﰲ اﻟﻌﺎم اﻟﻘﺎدم‪ ،‬ﻓﺎﳌﺎﴈ ﻻ ﺷﻚ ﺟﺰء ﻣﻦ اﻟﺤﺎﴐ‪ ،‬ﻟﺬﻟﻚ ﺷﻜ ًﺮا ﻟﻠﻌﺎم‬ ‫اﳌﺎﴈ ﻷﺣﺪاﺛﻪ وﺷﺨﺼﻴﺎﺗﻪ وﻣﺎ ﻏﻨﻤﻨﺎ ﻓﻴﻪ وﻣﺎ ﺧﴪﻧﺎ‪ .‬ﻛﺎن ﺣﻴﺎة ﺑﻜﻞ‬ ‫ﻣﺎ ﻓﻴﻪ ﻣﻦ ﻣﺘﻨﺎﻗﻀﺎت‪.‬‬ ‫أﻣﺎ اﻟﻌﺎم اﻟﻘﺎدم ﻓﻨﻘﻮل ﻟﻪ إن ﺻﺪورﻧﺎ ﻣﻔﺘﻮﺣﺔ ﳌﺎ ﺗﺄيت ﺑﻪ وﻋﺰميﺘﻨﺎ‬ ‫ﺗﺘﺄﻫﺐ ﻟﺘﻨﺘﺞ ﻓﻴﻚ ﺷﻴﺌﺎً ﻧﻀﻊ ﺑﻪ ﻟﺒﻨﺔ ﰲ ﺑﻨﺎء ﺗﻮارﻳﺨﻨﺎ اﻟﺸﺨﺼﻴﺔ‬ ‫واﻟﻌﺎﺋﻠﻴﺔ واﻟﻮﻃﻨﻴﺔ‪ .‬ﻛﻞ ﻋﺎم وﻛﻞ اﻟﻌﺎمل ﺑﺨري وﺳﻼم‪.‬‬

‫‪dzŞżǘǕŌ ƉƢǙ‬‬ ‫‪ǼƃǙōƮǕŌ ǚŌƃǘŽ ƉƲƓ ƈƂōǂǕŌƃŞƫ ǽȃŌǶƉǕŌǶ ƉƫōƖǕŌ‬‬

‫ﺑﺪءاً دﻋﻨﻲ أﻗﻮل ﻟﻜﻢ ﻳﺎ أﺻﺪﻗﺎء اﻟﺤﺮف ورﻓﻘﺎء اﻟﺒﻮح إن اﻟﻌﻤﺮ‬ ‫اﻟﺤﻘﻴﻘﻲ ﻻ ﻳﻘﺎس مبﺎ ﻣﴣ ﻣﻦ ﺳﻨني أو مبﺎ ﺳﻴﺄيت ﻣﻦ أﻳﺎم‪ ،‬ﻷن‬ ‫اﻟﻠﺤﻈﺎت اﻟﺠﻤﻴﻠﺔ اﻟﺘﻲ ﻧﺤﻴﺎﻫﺎ ﻫﻲ ﻣﺎ ﻳﺒﻘﻰ ﰲ اﻟﺬاﻛﺮة وﻳﺤﺴﺐ ﰲ‬ ‫ﻋﻤﺮ اﻹﻧﺴﺎن‪.‬‬ ‫ﻧﻘﻮل ﻟﻮﻗﺖ ﻣﻦ اﻟﺪﻫﺮ اﻧﴫف‪ :‬ﻗﺪ ﻃﻮﻳﻨﺎ ﺻﻔﺤﺘﻚ ﺑﻜﻞ ﻣﺎ ﺗﺤﻤﻠﻪ ﻣﻦ‬ ‫أﻳﺎم وﻋﻄﺮﻧﺎﻫﺎ ﺑﻌﻄﺮ اﻟﺬﻛﺮﻳﺎت ووﺿﻌﻨﺎﻫﺎ ﻋﲆ ﱢ‬ ‫رف اﻟﺴﻨني‪.‬‬

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‫اﻟﻌﺪد ‪ ، 74‬ﻳﻨﺎﻳﺮ ‪2019‬‬

‫‪ɶ‬‬ ‫‪ŻǙōƒŨǕŌǶ ǀƃƚǕŌ‬‬ ‫‪ǼƂǶƃƯƋǕŌ DzƉǾǘƓ DzƉƫōƖǕŌ‬‬

‫أﻗﻮل ﻟﻠﻌﺎم اﻟﺴﺎﻟﻒ أرﺟﻮ أن أﻛﻮن ﻗﺪ وﻓﻘﺖ ﰲ رﺳﺎﻟﺘﻲ وﻣﺜﻠﺖ ﺑﻠﺪي‬ ‫ﻛﺴ ّﻴﺪة ﺣﺮف‪ .‬وﻟﻠﻌﺎم اﻟﺠﺪﻳﺪ‪ :‬أمتﻨّﻰ أن ﻧﻜﻮن ﻳﺪاً واﺣﺪة وروﺣﺎً‬ ‫ﺑﺎﻟﺤﺐ واﻟﺼﺪق واﻟﺘّﺴﺎﻣﺢ‬ ‫ﻣﺘّﺤﺪة وﻣﺘﺠﺪّدة وﻗﻠﺒﺎً واﺣﺪاً ﻣﻔﻌ ًام‬ ‫ّ‬ ‫وأن ﻧﺒﻨﻲ ﺑﺎﻟﺜﻘﺎﻓﺔ واﻟﺸﻌﺮ وﻃﻨﺎً ﻳﺴﻊ اﻟﺠﻤﻴﻊ وﻳﺸﻊ ﻧﻮره ﻋﲆ اﻟﻌﺎمل‬ ‫ودﻣﺘﻢ ﺳﺎﳌني‪.‬‬

‫اﻟﻌﻬﻮد راﺷﺪ‬

‫ﺳﻌﻮد اﳌﺼﻌﺒﻲ‬

‫ﺟﺎﺋﺰ اﳌﻠﻴﺤﺎن‬

‫ﺧﺎﻟﺪ اﻟﺰﻳﺎدي‬

‫ﻋﺎﻣﺮ اﻟﺤﻮﺳﻨﻲ‬

‫‪ǓǙȏŌ ŜŌƉƓŐ‬‬ ‫‪ƃƗŌƈ ƂǷǤƪǕŌ DzƉƫōƖǕŌ‬‬

‫ ‪ ǛǿƉǘŨƒǙ źƉƲǕōş ǗŨǝŐǶ ǖōƫ Ǔlj‬‬ ‫‪ǼƂōǿƋǕŌ ƃǕōƁ ǼƂǷƪƒǕŌ ƉƫōƖǕŌ‬‬

‫ﻧﻘﻮل ﻟﻌﺎم ‪ 2018‬وداﻋﺎً‪ ،‬ﻣﻊ ﺑﺎﻗﺔ ﻣﻦ اﻻﻣﺘﻨﺎن واﻟﻌﺮﻓﺎن واﻟﺘﻘﺪﻳﺮ‪،‬‬ ‫وﻋﲆ اﻟﺮﻏﻢ ﻣﻦ ﺑﻌﺾ اﻻﺣﺒﺎﻃﺎت اﻟﺨﻴﺒﺎت‪ ،‬إﻻ أﻧﻬﺎ ﺗﺤﻮﻟﺖ إﱃ ﻋﱪ‬ ‫ودروس وﺗﺠﺎرب ﺗﻨﻘﻠﻨﺎ ﻟﻮﻋﻲ أﻋﲆ وﺣﺎل أﻓﻀﻞ‪.‬‬ ‫وﻻ ﻧﻨﴗ أﺟﻤﻞ أﻳﺎﻣﻪ‪ ،‬ﺑﻞ ﻧﺘﺬﻛﺮﻫﺎ وﻧﺸﻜﺮ اﻟﻠﻪ ﻋﻠﻴﻬﺎ وﻋﴗ أن ﻳﺪميﻬﺎ‬ ‫وﻳﺰﻳﺪﻫﺎ وﻳﺒﺎرك ﻟﻨﺎ ﻓﻴﻬﺎ‪.‬‬ ‫وﻣﻊ أﴎاب اﻷﻣﻞ ﻧﺴﺘﻘﺒﻞ ﻋﺎم اﻟﻨﻮر واﻟﴪور ‪ 2019‬ﺑﻜﻞ ﺣﺐ وﺳﻼم‬ ‫ﻣﺘﻤﻨني ﻓﻴﻪ ﺗﺤﻘﻴﻖ اﻷﺣﻼم وﺑﻠﻮغ اﻵﻣﺎل ودوام اﳌﴪات وأن ﻳﺮزﻗﻨﺎ‬ ‫اﻟﻠﻪ ﻛﺮﻳﻢ رﺿﺎه وﻋﻈﻴﻢ ﻋﻔﻮه وواﺳﻊ رﺣﻤﺘﻪ‪.‬‬

‫ﻧﺤﻦ اﻵن ﻧﻄﻮي ﺻﻔﺤﺎت ﻋﺎم ‪ ،2018‬مبﺎ ﻓﻴﻪ ﻣﻦ ذﻛﺮﻳﺎت ﺣﺰﻳﻨﺔ‬ ‫وأﻳﻀﺎً ﺳﻌﻴﺪة‪ ،‬وﻟﻜﻦ ﰲ ﻫﺬه اﻟﺤﻴﺎة ﺻﻔﺤﺎت ﻧﻄﻮﻳﻬﺎ ﺑﺄﻧﻔﺴﻨﺎ مبﺎ‬ ‫ﻛﺴﺒﻨﺎ ومبﺎ ﻋﻤﻠﻨﺎ ومبﺎ ﻛﺘﺒﻨﺎ ﺑﺄﻳﺪﻳﻨﺎ ﻛﻠﻤﺔ ﺑﻌﺪ ﻛﻠﻤﺔ وﻋﺸﻨﺎ ﺑﺄﺳﻤﻰ‬ ‫ﻣﻌﺎﻧﻴﻬﺎ‪.‬‬ ‫ﻋﺎم ﻣﴣ ﻳﻄﻮي ﻣﻌﻪ ﻛﻞ اﳌﺴﺎﻓﺎت‪ ،‬وﻫﺎ ﻧﺤﻦ ﻧﺴﺘﻘﺒﻞ اﻟﻌﺎم اﻟﺠﺪﻳﺪ‬ ‫ﺑﺘﻔﺎؤل‪ .‬ﻧﺴﺘﻘﺒﻞ ﻋﺎﻣﺎً ﺟﺪﻳﺪاً ﻳﺤﻤﻞ ﻣﻌﻪ اﻟﺘﻔﺎؤل‪ ،‬وأﻣ ًﻼ ﺟﺪﻳﺪاً ميﻠﺆه‬ ‫اﻟﺘﻘﺪم واﻹﴏار ﻋﲆ اﻟﻨﺠﺎح‪ .‬وﻧﺴﺘﻘﺒﻞ أﻳﺎﻣﻪ ﺑﻜﻞ ﺗﻔﺎؤل وﻧﻄﻮي‬ ‫ﻣﺎ ﻓﺎت ﻣﻦ آﻻم‪ ،‬ﻓﻨﺴﺘﻘﺒﻠﻪ ﺑﻌني ﻣﴩﻗﺔ وأﻣﻞ ﺟﺪﻳﺪ وروح ميﻠﺆﻫﺎ‬ ‫اﻟﺘﻔﺎﻋﻞ‪..‬‬ ‫‪ @@Jx@@ @ g@ ~@ z@ E rx@@ @ @ @ Db@@ @+ @@ @ @g@ @ @ F&*H b@@ @ @< @@ @ C‬‬ ‫‪ 2b@@ @ @ @ J5 ¯ @@ @ @ @ @ @ @/ ¤@@ @ @ @ +4 @@ ~@ @ }@ @ A @@ @ @E‬‬ ‫*‪Í@@ Bb@@ + H2 b@@ @ A¡@@ @ Db@@ @ + ¤@@ @ @ @ @D* `@@ @ @ @ @G‬‬ ‫<@ @‪ 2b@@ @ @ @ ~@ @ z@ @ D*H rx@@ @ @ @ @D* ¡@@ @A¡@@ @~@ @ {@ @ - ¢@@ ~@ @z‬‬

‫ ‪ ƂǷƪũǶ ƂǷƪũ ōǜŽŌƉƳŌ Ǔƪǿ ǖōƫ Ǔlj‬‬ ‫‪ǽŞƪƚǘǕŌ ƂǷƪƓ ǽũŌƈōǙȑŌ ƉƫōƖǕŌ‬‬

‫ﺑﺎﻟﻨﺴﺒﺔ ﱄ‪ ،‬ﻛﺎن اﻟﻌﺎم اﻟﺮاﺣﻞ ﻣﻦ أﺟﻤﻞ اﻷﻋــﻮام‪ ،‬ﻗﺪ ﺣﻤﻞ اﺳﻢ‬ ‫اﳌﻐﻔﻮر ﻟﻪ اﻟﺸﻴﺦ زاﻳﺪ رﺣﻤﻪ اﻟﻠﻪ‪ .‬ﻟﻘﺪ ﻛﺎن ﻫﺬا اﻟﻌﺎم ﺣﺎﻓﻼ ﺑﺈﻧﺠﺎزات‬ ‫اﻟﻮﻃﻦ اﻟﺘﻲ ﻻ ﺗﺤﴡ‪ ،‬وﻫﺬا ﻣﺎ ﻋﻮدﺗﻨﺎ ﻋﻠﻴﻪ ﻗﻴﺎدﺗﻨﺎ اﻟﺮﺷﻴﺪة‪.‬‬ ‫ﻋﲆ اﻟﺼﻌﻴﺪ اﻟﺸﺨﴢ ﺣﻘﻘﺖ ﻋﺪداً ﺟﻤﻴ ًﻼ ﻣﻦ أﻫﺪاﰲ ﰲ اﻟﻌﺎم‬ ‫اﳌﺎﴈ‪ ،‬وﻋﲆ وﺷﻚ اﺳﺘﻜامل ﻗﺎمئﺔ أﻫﺪاف ﰲ اﻟﻌﺎم اﻟﺠﺪﻳﺪ‪ ،‬ﻋﲆ‬ ‫اﳌﺴﺘﻮى اﻟﺸﺨﴢ واﻟﻌﻤﲇ ودامئﺎً ﺑﻜﻞ إﻳﺠﺎﺑﻴﻪ وﺣﺐ وﻃﻤﻮح‪ .‬اﺗﻄﻠﻊ‬ ‫اﱃ اﻟﻌﺎم اﻟﻘﺎدم ﺑﺸﻐﻒ ﻟﺨﺪﻣﺔ اﻟﻮﻃﻦ وﺗﺤﻘﻴﻖ اﻻﻧﺠﺎزات واﳌﺸﺎرﻛﺔ‬ ‫اﳌﺴﺘﻤﺮة ﰲ اﳌﺸﻬﺪ اﻟﻌﻠﻤﻲ واﻟﺜﻘﺎﰲ واﻻﻋﻼﻣﻲ ﻟﻮﻃﻨﻨﺎ اﻟﺤﺒﻴﺐ ﻣﻦ‬ ‫ﺧﻼل اﻟﺘﻮاﺟﺪ و ﺗﻘﺪﻳﻢ اﻷﻛرث واﻷﻛرث‪.‬‬ ‫‪2¡@@ @ @-H 2¡@@ @ @ @ - b@@ @ @ @ 0*x@@ @A* @@ @ @J b@@ @ @< @@ @ C‬‬ ‫‪ib@@c@ .*H n@@ @ F @@ @ @³*H q@@ ~@ @9*H e4v@@ @ @ D*H‬‬ ‫‪2¡@@ @ @D* ex@@ @ @J @@ @D d@@£@ @ + b@@ @F*¡@@ @F ¤@@ @ @ @ D*H‬‬ ‫‪ib@@ @ £@ G ib@@ @ @ @ £@ @ G x@@ ~@ @{@ @+ b@@ @ F*¡@@ @ F ¤@@ @ @ @ @ D*H‬‬ ‫‪2¡@@ ~@ @6* b@@ @F2¡@@ @ @ @ /H d@@p@ ~@ z@ Db@@+ b@@ F4¡@@ @ @~@ @8‬‬ ‫‪i*wQ @ @ @ @ D @@ @£@ @ A @@ @ @:¡@@ @ @D* ¡@@ @£@ @ @ @ D i¡@@ @ @ @ @ ´*H‬‬ ‫‪2¡@@ @ @ @ @EH ¯*H d@@ @ @~@ @7 f@@ @ Db@@ @ ~@ @ 64 ¥w@@ @ @ @G‬‬ ‫*‪i*4b@@ @ @ @ @ @E°* e*Æ@@ @ @ @ @D Hv@@ @ @ @ @ @A b@@ @ @ @ @ @ @ @ 0*H4‬‬

‫‪dzƪȃŌƈ ŦōƢżǙ‬‬ ‫‪ǽǜƓǷżǕŌ ƉǙōƫ ƉƫōƖǕŌ‬‬

‫ﻟﻘﺪ اﻧﻄﻮت إﺣﺪى ﺻﻔﺤﺎت اﻟﻌﻤﺮ‪ ،‬ﻟﺘﺒﻘﻰ ذﻛﺮى اﻟﻌﺎم اﳌﺎﴈ اﻟﺠﻤﻴﻠﺔ‬ ‫ﺑﺪواﺧﻠﻨﺎ‪ .‬ﻛﺎن ﻋﺎﻣﺎً ﺟﻤﻴ ًﻼ وﻟﻠﻪ اﻟﺤﻤﺪ ﺑﻜﻞ ﻣﻌﻄﻴﺎﺗﻪ وﻣﺤﻄﺎﺗﻪ‬ ‫اﻟﺮاﺋﻌﺔ‪ .‬إذ إن ﻣﺎ زرﻋﺘﻪ ﻓﻴﻪ ﺳﺄﺣﺼﺪ مثﺎره ﰲ اﻟﻌﺎم اﻟﺠﺪﻳﺪ ﺑﺈذن اﻟﻠﻪ‪.‬‬ ‫ﻣﻦ ﻳﻌﻴﺶ ﰲ ﻫﺬه اﻟﺤﻴﺎة ﻻﺑﺪ أن ﻳﱰك ﻣﺴﺎﺣﺔ ﻛﺒرية ﻟﻸﻣﻞ‪ ،‬ﻟﻴﺒﺘﺴﻢ‬ ‫ﻟﻜﻞ اﻷرﻗﺎم‪ 2 ،‬و ﺻﻔﺮ و‪ 1‬و ‪ ..9‬ﻟﻴﺘﻔﺎءل ب ‪2019‬م ﺑﺄﻧﻪ ﻋﺎم ﺗﻜﻤﻠﻪ‬ ‫اﻟﺴﻌﺎدة ﺑﺎﻟﺤﺐ واﻟﻌﻄﺎء‪.‬‬ ‫‪ɰ‬‬ ‫‪ōǾƫǶ ƉŬljŐ‬‬ ‫‪ǼƉƚżǕŌ ǽżŨƳ ǽǙȎƫȑŌ ƉƫōƖǕŌ‬‬

‫ﰲ اﻟﻌﺎم اﻟﺠﺪﻳﺪ ﱄ أﻣﻨﻴﺎت ﻋﺎﻣﺔ وأﺧﺮى ﺧﺎﺻﺔ‪ .‬ﻋﻤﻮﻣﺎً‪ ،‬أمتﻨﻰ أن‬ ‫ﻳﺼﺒﺢ اﻟﻨﺎس أﻛرث وﻋﻴﺎً وﻳﺸﻌﺮون مبﺎ ﻛﺎن ﻋﻠﻴﻪ اﻟﻮﻃﻦ وﻣﺎ أﺻﺒﺢ‪ .‬وأن‬ ‫ﻻ ﻳﺮﺗﺪي اﻟﻜﺜريون ﺛﻮب اﻟﻔﻀﻴﻠﺔ وﻫﻢ أﺑﻌﺪ ﻣﺎ ﻳﻜﻮﻧﻮن ﻋﻨﻬﺎ‪.‬‬ ‫اﻟﺸﻌﺮ ‪baytelshear‬‬ ‫ﺑﻴﺖ ِ‬

‫‪25‬‬

‫ ‪¥ũľğı‬‬

‫‪ƃǿƃŵ ƉƁŔǶ ǻƞǙ ǖōƫ ǛǾş‬‬

‫‪ ŋŌƉƪƗ‬اﻷﻣﻞ واﻟﻌﻤﻞ ﻋﻨﻮاﻧﺎ اﻟﻤﺮﺣﻠﺔ‬ ‫ﺗﺤﻘﻴﻖ‪ /‬ﻣﺤﻤﺪ ﻋﺒﺪاﻟﺴﻤﻴﻊ‬

‫اﻟﻜﻠﻤﺔ اﳌﻤﻴﺰة ﻓﺎﺗﺤﺔ ﰲ ﺗﺎرﻳﺦ ﻻ ﻳﻐﻠﻖ أﺑﺪاً‪ ،‬وﻟﻮﻻ ﺗﻠﻚ اﻟﻜﻠﻤﺔ ﻷﻇﻠﻤﺖ اﻷرض‪ ،‬ﻓﺎﻟﺸﻤﺲ ﺗﺴﻄﻊ ﻟيك ﺗﺮوي ﻣﻌﻨﻰ اﻟﻜﻠامت ﺑﺨﻼﺻﺎﺗﻬﺎ‬ ‫اﻟﺠﻤﻴﻠﺔ واﳌﺪوﻧﺔ ﻋﱪ ﻛﻞ اﻟﻌﺼﻮر‪.‬‬ ‫ﻋﺎم ميﴤ وآﺧﺮ ﻳﺄيت‪ ،‬وأﻳﺎم ﺗﺮﺣﻞ ﻣﻦ ﻋﻤﺮﻧﺎ وﻻ ﺗﻌﻮد وﻟﻜﻨﻬﺎ ﰲ ﻗﺼﺎﺋﺪ اﻟﺸﻌﺮاء ﺑﺎﻗﻴﺔ‪ ،‬ﺗﺪاﻋﺐ ﺧﻮاﻃﺮﻫﻢ وﻗﺮﻳﺤﺘﻬﻢ‪ ،‬وﺗﻨﺘﻈﺮ ﻣﺎ‬ ‫ﺟﺎدت ﺑﻬﺎ ﻣﺸﺎﻋﺮﻫﻢ‪ .‬ﻓﻜﻞ ﺣﺪث وﻓﻌﻞ وﺗﻄﻮر ﻳﻌﻴﺸﻪ ﻣﺠﺘﻤﻌﻨﺎ ﻳﺄﺧﺬﻫﻢ إﱃ ﻋﻮاﳌﻪ ﻳﺆﺛﺮ ﻓﻴﻬﻢ وﻳﺆﺛﺮون ﻓﻴﻪ‪ ،‬ﻓﻬﻢ ﻳﻌﻴﺸﻮن اﻟﻠﺤﻈﺔ‬ ‫ﺑﺠﻮارﺣﻬﻢ‪ ،‬ﺑﺤﺰﻧﻬﺎ وﻓﺮﺣﻬﺎ‪ ،‬ﺑﺤﺒﻬﺎ وﻛﺮﻫﻬﺎ‪ ،‬ﺑﺤﻠﻮﻫﺎ وﻣﺮﻫﺎ‪ ،‬وﻫﻲ ﺑﺎﻟﻨﺴﺒﺔ ﻟﻬﻢ ﻓﻀﺎء اﻟﺰﻣﺎن واﳌﻜﺎن اﻟﺬي ﻳﻌﻴﺸﻮن ﻓﻴﻪ‪.‬‬ ‫»ﺑﻴﺖ اﻟﺸﻌﺮ« ﺗﺠﻮﻟﺖ ﺑني اﻟﺸﻌﺮاء ﻟﺮﺻﺪ ﺗﻮﻗﻌﺎﺗﻬﻢ وأﻣﻨﻴﺎﺗﻬﻢ ﺑﺨﺼﻮص اﻟﻌﺎم اﻟﺠﺪﻳﺪ‪ ،‬ﻓامذا ﻳﻘﻮﻟﻮن ﻟﻠﻌﺎم اﻟﺮاﺣﻞ وﻣﺎﻫﻲ أﻣﻨﻴﺎﺗﻬﻢ‬ ‫ﻟﻠﻌﺎم اﻟﺠﺪﻳﺪ؟‬

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‫اﻟﻌﺪد ‪ ، 74‬ﻳﻨﺎﻳﺮ ‪2019‬‬

v@@Jb@@B ┬еx@@┬П@ c@ < @@z@ ~@ 6'┬б@ E ┬Я@@ @ @DH2 @@z@ ┬г@ )4 ┬Я@@┬ЫQ @ E iv@@ @ @g@ @ @ +*H ┬Я@@ ┬Ы@ @< i*4b@@ @ @ @ @ @ E┬░* ┬д@@ ┬Т@ @┬л v@@J*y@@D ┬Я@@c@ ~@ {@ J v@@ @ @0*H ┬Я@@┬г@ A b@@ @ EH v@@ @ @J*5 ┬Я@@┬Ы@┬▒b@@+ ┬Я@@┬г@ A ┬Ь@@┬Т@ ├В ┬Я@@┬г@ Ab@@E @@ 94┬░b@@ + @RajehNawaf

тАл╪▒╪зя║Яя║в я╗зя╗о╪з┘Б ╪зя╗Яя║дя╗дя╗┤я║к╪зя╗зя╗▓тАм

b@@ @ Gb@@ @ AH b@@ @ @ E ┬Я@@ @ -├М@@ @ ~@ @ 6 v@@ @ @ @ @ J*5 H v@@ @ @ @ @ J*5 ┬Ь@@ @ @ @JH*Hv@@ @ @ @D*H x@@ ┬Ж@ @~@ @{@ @D* ┬░H b@@ @┬Ы@ @ s@ @ J4b@@ @ b@@Gb@@~@ |@ 0 b@@ @ E ┬Ь@@ @ Ey@@ @ D* ┬Я@@ @ ┬МR @ @ B*┬б@@ @ E v@@ @ @ @ J*5 ├Н@@g@┬г@c@ @A v@@ @J*5 ┬Ц@@┬Ж@ A ┬д@@~@ |@ 0&* ├Б┬б@@┬Й@ c@ - H @mb6reesh

тАля╗гя║дя╗дя║к я║Ся╗ж я╗Гя║оя╗│я║╢тАм

2b@@ @ @ @┬Ю@ ~@ 7┬░* @@ @ 6H4 ┬в@@┬Х@ < 4v@@ @ ┬Ы@ + b@@ @ ┬Ю@ Db@@B v@@ @ B b@@ @ @ @Gv@@p@/ ┬Ц@@ @ @ @Jb@@┬Ш@ ┬▒* ┬Ц@@ @ @ @C ┬е2x@@ @ @ @ D* ┬Ъ┬б@@ @ J 2*5 $b@@ @ @ A┬б@@ Db@@ + ex@@ @ @ ┬Ж@ @D* ┬Ц@@ @ @ @C ┬в@@ @ ┬Х@ < v@@ @ @ @ J*5 b@@ @ @ @G2v@@< ┬Н@@ @ @ @ @ BH ┬Ь@@ @ @ @┬г@ D ┬Ц@@ @ @ @ /*x@@ @┬┤* ┬Сb@@ @~@ @ 6 2b@@ @ @~@}@D* f@@ @ @ E&* t@@┬г@ ~@ 7 v@@ @ m@ ┬┤* ┬Р@@ @ @ @┬г@ A4 v@@ @ @ J*5 b@@ @ @ Gv@@┬Ю@ D ┬Я@@ @ @ @ @ ┬Х@ ┬Ж@ A ┬а*v@@ @ @ @ @ <* 2┬б@@ @ @ @c@ C ┬д@@ @ @ @┬Х@ D* @Maashel155

тАля╗гя║╕я╗Мя╗Ю ╪зя╗Яя║╕я╗оя╗│я║╢тАм

ib@@ E ┬б@@ @ @ DH ┬аx@@ @ @ @ C3 ┬д@@ @ 0 v@@ @ @ @ J*5 t@@ ┬г@ @~@ @{@ @D* ┬Я@@┬М@ @ @┬г@ ┬Х@ 1 ┬б@@ @ @ +b@@ @ @ J ┬Фb@@ @ @ ~@ @z@ @┬Ы@ @Fb@@ E ├С*H ib@@ A Mh@@ @ Jb@@ @ A ┬Ь@@ @ E ┬Я@@ ┬г@ @A x@@ s@ @┬М@ @FH rv@@ @ @┬┐ ┬Я@@┬М@ ┬г@ : x@@ @ Eb@@ @ E ┬Ц@@ @ @ @ C ┬Я@@ @ @~@ @ @ 6*4 d@@ @ p@ @ @FH @talal_bander

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тАля║Ся╗┤я║Ц я╗Я ┘Ря║╕тАм тАля╗Яя║╕тАм тАля║Ся╗┤я║ЦтАм baytellshhear тАл╪зя╗Яя║╕я╗Мя╗Мя║отАм baytelshear

тАля╗Гя╗╝┘Д я║Ся╗ия║к╪▒тАм

‫‪ ĬŠĮŇĞ‬‬

‫ﺷﻴﺪ اﻻﻣﺠﺎد ّ‬ ‫ّ‬ ‫ﻫﻄﺎل اﻟﻐﻤﺎم‬ ‫اﻟﻠﻲ ﻻﺳﻤﻪ اﻟﺪﻧﻴﺎ ﺗﻘﻮم‬

‫ﺳﻌﺎد ﺣﺴﻨﺔ‬

‫ﻻﻳﺮﺗﺒﻂ ذﻛﺮ اﳌﻐﻔﻮر ﻟﻪ اﻟﺸﻴﺦ زاﻳﺪ ﺑﻦ ﺳﻠﻄﺎن آل ﻧﻬﻴﺎن ﻃ ّﻴﺐ اﻟﻠﻪ ﺛﺮاه ﰲ ﻗﺼﺎﺋﺪ اﻟﺸﻌﺮاء وﺗﻐﺮﻳﺪاﺗﻬﻢ مبﻨﺎﺳﺒﺔ ﻣﻌﻴﻨﺔ أو ﻋﺎم‬ ‫ﻣﺎ‪ ،‬ﻓﻬﻮ اﻟﺤﺎﴐ دوﻣﺎً ﰲ ﻛﻞ ﴏح أو إﻧﺠﺎز ﺗﺤﻘﻘﻪ دوﻟﺔ اﻹﻣﺎرات اﻟﻌﺮﺑﻴﺔ اﳌﺘﺤﺪة‪ ،‬ﻓﻜﻞ ﻣﺎ َﺗﺤﻘﻖ وﻣﺎﻳﺘﺤﻘﻖ ﻳُﻨﺴﺐ ﻟﻪ وﻟﺮؤﻳﺘﻪ‬ ‫ا ُﳌﻠﻬﻤﺔ اﻟﺘﻲ ﻛﺎﻧﺖ اﻟﻠﺒﻨﺔ اﻷوﱃ ﳌﺴرية اﻟﺒﻨﺎء واﻟﺤﻀﺎرة‪ ،‬وﻧﺴﺘﺬﻛﺮه ﰲ اﳌﻮاﻗﻒ اﻹﻧﺴﺎﻧﻴﺔ ‪..‬ﻓﻬﻮ ﻣﻦ اﺗﺴﻌﺖ إﻧﺴﺎﻧﻴﺘﻪ وﻓﺎض‬ ‫ﺣﺲ ﻣﺮﻫﻒ ﻓﻄﺮي وﻗﻴﻢ إﻧﺴﺎﻧﻴﺔ‬ ‫ﺧريه ﻋﻞ ﻛﻞ ﻣﻮاﻃﻦ وﻣﻘﻴﻢ ﻋﲆ ﻫﺬه اﻷرض اﻟﻄﻴﺒﺔ‪ ،‬وﻧﺴﺘﺬﻛﺮه ﻛﺼﺎﻧﻊ ﺳﻼم ووﺋﺎم‪ ،‬وﺻﺎﺣﺐ ّ‬ ‫وﻓﻠﺴﻔﺔ ﻋﻤﻴﻘﺔ ﰲ اﻟﺘﺴﺎﻣﺢ‪.‬‬ ‫وﻫﻨﺎ ﻧﺴﺘﻌﺮض ﺑﻌﻀﺎً ﻣﻦ ﺗﻐﺮﻳﺪات اﻟﺸﻌﺮاء وﻣﺸﺎﻋﺮﻫﻢ ﺣﻮل زاﻳﺪ اﻟﺨري واﻟﺤﻜﻤﺔ‪ ..‬اﻟﺴﻴﺎﳼ اﳌﺤﻨّﻚ ورﺟﻞ اﻟﱰاث واﻟﺸﺎﻋﺮ‬ ‫ﺑﺎﻟﻔﻄﺮة‪ ،‬وﺻﺎﺣﺐ اﳌﻮاﻗﻒ اﻟﺨﺎﻟﺪة اﻟﺘﻲ ﺳﻄﺮﻫﺎ اﻟﺘﺎرﻳﺦ وﻳﺸﻬﺪ ﻋﻠﻴﻬﺎ اﻟﻘﺎﴆ واﻟﺪاين‪.‬‬

‫*‪ É@Q @ @ P1 b@@ @ @ @ F2Q 4 @@c@ £@ @ + ¤@@ @ @ @ D* v@@ Jb@@ @ @D‬‬ ‫‪ @@ @F*Hv@@ @< Q24N @@ @Ey@@ @0H @@ Ey@@ @ @+ ¤@@ @ @ @ D*H‬‬ ‫*&‪ b@@£Q @ @ F ,H43 ¥4b@@ @ @ @ + Px@ @ @ @ @ C&* H @@ @ P @ @ @F‬‬ ‫‪ @@Fb@@£@ @+ rx@@ ~@ @8 É@Q @ @ < H b@@ Q @ @:H v@@ @ 0H‬‬ ‫‪Q‬‬

‫ﻣﺤﻤﺪ اﻟﻤﺮ‬

‫‪@almurrm‬‬

‫‪ b@@ @ @ @ @ @ @ @D* b@@ @ @ @ @Q @ @ @ @ G 2b@@ @ @ @ @ @ @ @ ¸°* v@@ @ @£Q @ @ @ ~@ @ @ 7‬‬ ‫‪ ¡@@ @ @ - b@@ @ £@ @ @Fv@@ @ D* @@ @ @ @ @~@ @ @6° ¤@@ @ @ @ @ @ D* v@@ @ @ @ @ @J*5‬‬ ‫‪ *x@@ @ @ @ C M b@@ @ @ @ @ @ @ @ @² @@ @ @ @ @ J*x@@ @ @ @ @ D* @@ @ @ Q @ @ @ ~@ @ @ 6 H‬‬ ‫‪ Hx@@ @ @ @ B M b@@ @ @ @ @ @ @ @ @/4 @@ @ @ @ D v@@ @ @ @ @ @ 1 b@@ @ @ @ E v@@ @ @ @ @ @ +‬‬

‫ﺟﺎﺑﺮ ﺳﻴﻒ اﻟﻘﺒﻴﺴﻲ‬

‫‪22‬‬

‫ﻳﻨﺎﻳﺮﺮ ‪20199‬‬ ‫‪20‬‬ ‫اﻟﻌﺪد ‪ ، 74‬ﻳﻨﺎﻳ‬

‫‪@yaber7‬‬

‫ ﻳﺠﻴﺮه‬Q‫ﺳﻠﻄﺎن ﺑﻦ زاﻳﺪ ﻋﺴﻰ ا‬ ‫ﻏﺎزي ﻣﺸﻌﻞ اﻟﺬﻳﺎﺑﻲ‬ @ GhaziMashal

Ì@@ @ @ @ + @@ @ @ +x@@ @ @ J @@ @ @7x@@ @ @ @ @ @ D* *4H Ä@@ @ @ @ @ Ì@@ @ @ @ =H ¢@@ @ ~@ @ z@ @ @£@ @ < b@@ @ @ @ @~@ @ z@ @ D* 4wQ @ @ @ @ p@ @ @ @ JH Ì@@ @ @ @ @Db@@ A h@@ @ @ @ /H @@ @ @ @ £@ @ @ @ D* ¤@@ @ @ © *¡@@ @ @ Db@@ @ @ B Ì@@ @c@ @ 1 ¤@@ @ @ Gb@@ @ @ E 2b@@ @ @ @ @ @~@ @ @ @ @ @ 84&°* b@@ @ @ @ @ @ j@ @ E ¯ Ì@@ @c@ @ C @@ @ @ @ @ @ @ @ + b@@ @ Fx@@ @ ~@ @ @8 b@@ @ @ @ c@ @ @ @ < @@ @ @ @ @ EH x@@ @ @ @ @ @ @J2H x@@ @ @ @ @ @ @J2 Í@@ @ @ @+ b@@ @ Gx@@ @ @ @ @ E x@@ @ @ @ @ @ @- x@@ @ @ Jy@@ @ @ = ° @@ @ @ @ ~@ @ 6¡@@ @g@ @ E @@ @ @ @E 4b@@ @ @ @ @ @ @ @ @ E&* x@@ @ @ Jy@@ @ @ ±* @@ @ c@ @ @~@ @ @7 @@ @ @ @ @ @ J @@ @ @ £@ @ @ @+x@@ @ @ D* Í@@ @ @ @ D Ì@@ @ m@ @ @ @ @ @D* Í@@ @ @ @ D ib@@ @ @ @ @ @ J¡@@ @ @ @ @ @ D* v@@ @ @ @ 0 @@ @ @ @ E Ì@@ @ ~@ @ @z@ @ @´* Rv@ @ @ @ @ @ @ @ @ @+ @@ @ @ @ Q @ @ @ @ C @@ @ @ @ @ @ EH v@@ @ @ @ @ @ @ J*5 Ì@@ @ @ @ @ ~@ @ @ 6 @@ @ Q @ @ @ @ @ @ @ @ @~@ @ @z@ @ @E °(* Ñ*H ° Ì@@ m@ @J Ñ* ¢@@ @~@ @ z@ @ < v@@ @ @ @ @ J*5 @@ @ @ + b@@ @ @ @ @ @ ~@ @ 6 Ì@@ @ g@ @ ~@ @ 6 ¯H @@ @ @ @ @ @ F ¯ @@ @ @ @ @ GH *¡@@ @ @ @ @ @ @ @0*4 Ì@@ @ @ @ @ @ D* ¡@@ @ @ @ @ @ ±* b@@ @p@ @ J¡@@ @~@ @ 6 h@@ @ @ £@ @ @ @0&*H Ì@@ @ @ @ @ @ D* b@@ @ @ @/x@@ @ @ @D* @@ @ @ £@ @ @ @/HH ¡@@ @ ~@ @ }@ @ Db@@ @ +H x@@ Jx@@ ~@ @z@ @D* @@ @9b@@ @£@ @ +H d@@ @ £@ @ @0*Æ@@ @ D* ¢@@ @ @ @ @ @ -H Ì@@ @ = @@ |@ @s@ @~@ @7 ¤@@ @ c@ @ @-b@@ @ E ¤@@ @ @ @ @ @ D* b@@ @ @ @ @£@ @ @ @0 Ì@@ m@ @g@ @~@ @z@ @E I43H b@@ @ @ @ @ g@ @ @ @ @ @J&°* @@ @ @ @£@ @ @ @ +4H

21

baytelshear ‫اﻟﺸﻌﺮ‬ ِ ‫ﺑﻴﺖ‬

q@@ @£@ @ @ @ -H ¥¡@@ @ @~@ @ @ 7 ¤@@ @ @B¡@@ @ @A @@ @ @ E Mf@ @ @+b@@ @ p@ @ @~@ @ @6 q@@ @ @ @ @ @JH*x@@ @ @ @ @ @´* rb@@ @ @ @ @ @Jx@@ @ @ @ @ @D* o¡@@ @ @ @ @ @ @G b@@ @ @ @ @ @ @Av@@ @ @ q@@Jx@@~@ |@ g@ + @@ @ @ @ @- 2b@@ @ @ @ ~@ @ @ @ @84&°* @@ @<b@@ @~@ @ 6 @@ @ @C q@@ @£@ @ +b@@ @~@ @ z@ @ E y@@ @ @ @ J*x@@ @ @ @ 1 b@@ @ @ @ @ @G42*¡@@ @ @ @ @ @+ H&* q@@ £@ @Ab@@ ~@ @{@ @E ¢@@ @~@ @ 7b@@ @ @ @ < b@@ @ @ @ @C b@@ @ @ @ @ c@ @ B @@ @ @ E q@@ @ Jx@@ @ D* q@@ cQ @ @~@ @z@ @J @@ @ @~@ @z@ @+ ¤@@ @ @ Db@@ J b@@ @ @ @ @04 q@@ £@ ~@ {@ D* h@@ c@ @ @ @E ¢@@ @ @ @ @<H Ã2 v@@ @ @ @ @ @O ´* ¢@@ @ @ @ < q@@ £@ @~@ @8b@@ p@ @~@ @|@ @D* @@ @ @ @ J3 ¡@@ @ @ @ A @@ @ @ E b@@ @ @ @ @ @ @ D q@@ @ @ J5b@@ @ @ 0y@@ @ @ D* 4*2 ¡@@ @ @ @ @ A @@ @ @ @E b@@ @ @ @ @ @ @ @ @ @ @DH q@@ @ @Jx@@ @ @D* f@@ @ @c@ @ @ G ¢@@ @ @ @ @ @ < b@@ @ @ @ @Jx@@ @ ~@ @ @}@ @ @E M4*2 q@@ £@ @Db@@ @ @E ¤@@ @ @ Gb@@ @ @ E @@ @£@ @ ~@ @ }@ @ @ @ D @@ @ @ @ @ @ @ @£@ @ @/H q@@ £@ @ :&* ° @@ @ @ @ @ @94&°* ¢@@ @ @ < ¤@@ @ g@ c@ j@ E ¤@@ @ @ @ @D*H q@@ @ J4b@@ @ ¸ ¢@@ @CÉ@@ @ @ @ D* ¡@@ @ @ @/ @@ @ @E ° t@M @ @£@ @ ~@ @ 7 q@@ @ @ @ J4*¡@@ @ @ @ c@ @ @ @ D* @@ @ @ @gR @ @ @ @ ¹ t@M @ @ @ @ @ J4b@@ @ @ @ @ - 2b@@ @ @ @ @ @ @ @ @ <&* q@@ @ £@ @ +b@@ @ ~@ @ |@ @ ´b@@ @ + M4¡@@ @ @ @ @ @ @ @ @E 2¡@@ @ @ @ @ @ @ @ @ @ @D* @@ @ @ R @ @ @ @E q@@ £@ @:b@@ @ @´* ¢@@ @ @ @ @ @ -H v@@ @ @ @ < d@@ c@ @~@ @{@ @D* ¢@@ @ @ @ @ q@@ @ @ @ JH*x@@ @ @ @ E MiÉ@@ @ @ c@ @ @ @ @ @ @ @E q@@ @ @ @ @ J*v@@ @ @ @ @ ´* @@ @ @£@ @ @ A q@@ @ £@ @ @~@ @ @z@ @ @D*H o*v@@ @ @ @ @ @ @ G Í@@ @ @ @ < @@ @ @ @Âv@@ @ @ @J Ñ*

ĘıĘŕ

‫ﻟﻠﺸﻴﺦ زاﻳﺪ ﺗﺸﻬﺪ أﺣﺪاث اﻷﻳﺎم‬ ‫ﺳﻌﻴﺪ ﺑﻦ ﻃﻤﻴﺸﺎن‬ @saeed_tumeishan

b@@ @ g@ N @ 0 f@@ @ @£@ @ @ @ @ @D* @@ @ R @ @ @ @ @ @BP *¡@@ @ E ¤@@ @ @ @ @D* b@@ @ @ @ @-xN @ @ @C*3 ¯H b@@ @ @ @ @ @ @ @ @g@ @ DH2 ¯ ¤@@ @ @Bb@@ @ @+ b@@ @ @ @ g@ @ CN x@@ @+R H b@@ @ GÌ@@ @ 1 ¤@@ @ @ @ ½ Í@@ p@ @ @ @ D b@@ @ g@ CN x@@ @ E d@@ ~@N @ z@ @C f@@ @ @ @ @²*H y@@ @ @Db@@ @ @ +P b@@ @ g@ ~@N @{@ E v@@ @ B f@@ £@ @~@ @6b@@ @ @D* eH4v@@ @ @ @ @ @D* @@ @ C b@@ @ g@ CN 4b@@ ~@ {@ @ @ @ + 5b@@ @ g@ @ @­ h@@ @ CN 4b@@ @ ~@ @ @7 *H b@@ @ @g@ @cN @ @-x@@ E @@ @ @ @ @ @ D* ¡@@ @ @ @A iyN @ @ @ @ Cx@@ @ @ @­H N @ @ @ 1 b@@ @ E b@@ @ g@ +N x@@ © @@ @cN @ @ - ¤@@ @ @ @ D* @@ @ @ ; eb@ b@@ @ g@ /x@ N @~@R @6 b@@ Ey@@ @ @D @@ z@ @~@ @6'¡@ @´* ¢@@ @ N @ @ Â N °*H @@ @ @ @ @ @94&°* ¡@@ @ @ A b@@ @ @ C (* b@@ @ g@ «

b@@ @ @ J&°* l*v@@ @ @ @ @0&* v@@ @ ~@ {@ - v@@ @ @ J*5 t@@£@ ~@ {@ @ D *¡@@ @ @ <&* H *¡@@ @ @ @ <&* ixQ @ @ @ @E ¡@@ @D ¢@@ ~@N @ z@ @ Q @ @J b@@ @E É@@ @ @0&* Ì@@ @ @ @ D h@@ @Fb@@ @C ¤@@ @ @ @ D* @@ @ Db@@ @ @ @ A&*H R @ @ £@ @ @²* ¡@@ @ @ J b@@ ~@ @|@ @1H eHx@@ @ p@ @ @+ x@@ @ @ ­ ,b@ b@@ @ @ @ F&*H Ì@@ @1 ¯ ¡@@ @£@ @ D* ¤@@ @ @ D* 2É@@ @ @ @ +H *Qv@ @ @B i*4b@@ @ @ @ @ E(°* f@@ @ @DH2 h@@ p@N @ c@ @~@ @8&* Í@@ @D b@@ @ @ @ B4&°* @@ @ C h@@ cN @ @ ~@ @ z@ @ CR H b@@ @ @ @ @N @ @< h@@ @ Q @ @ < b@@ @ @ @ D(*H @@ @ @ @ 6H42H x@@ s@ @A e4b@@ m@ @ g@ @ D* *3(* *2 b@@ @ E @@ c@ @~@Q@ z@ @D* b@@ @ @D M *v@@ @ @£@ @ @ E @@ @ C ¯ b@@ @ @J&°* @@£@ p@ ­ b@@ @E v@@ @ @J*5 @@ jP @ @E ¤@@ @ @D* H

2019 ‫ ﻳﻨﺎﻳﺮ‬، 74 ‫اﻟﻌﺪد‬

20

‫‪ Ŕœħ ęŒĘĽ Įŏĭŕ‬‬

‫اﻟﻨﺎﻗﺪ واﻟﻤﻨﻘﻮد‪(2) ..‬‬

‫ﻋﻠﻲ اﻟﻤﺴﻌﻮدي‬

‫‪@allmasoudi‬‬

‫يك ﺗﺘﺤﲆ ﺑﺬاﺋﻘﺔ ﻣﺤﺎﻳﺪة‪ ،‬ﺗﺘﻌﺎﻣﻞ ﻣﻊ اﻟﻔﻦ ﻻ ﻣﻨﺘﺞ ﻫﺬا اﻟﻔﻦ‪ ..‬وﻣﻊ اﻹﺑﺪاع ﻣﻦ دون‬ ‫ﻣﺤﺎﻛﻤﺔ اﳌﺒﺪع‪ ،‬وﻗﺒﻮل اﻟﻨﺘﺎج ﺣﺘﻰ ﻟﻮ ﺗﻢ رﻓﺾ اﳌﻨ ٍﺘﺞ‪ ،‬ﻓﻼ ﺑﺪ ﻣﻦ ﺗﻮﻓﺮ ﺑﻌﺾ اﳌﺸﺎﻋﺮ اﻟﺘﻲ‬ ‫ﻗﺪ ﺗﺄيت ﺑﺎﻟﻔﻄﺮة أو ﺑﺎﳌﺮان‪ ..‬وﻟﻨﴪد ﺑﻌﺾ اﳌﻘﻮﻣﺎت واﳌﻼﻣﺢ اﻟﺘﻲ ميﻜﻦ ﻣﻦ ﺧﻼﻟﻬﺎ أن ﺗﻜ ّﻮن‬ ‫ﻗﺎﻋﺪة ﻟﻠﺤﻜﻢ ﻋﲆ ﻗﺼﻴﺪة أو أي ﻋﻤﻞ إﺑﺪاﻋﻲ آﺧﺮ ﺑﻄﺮﻳﻘﺔ ﻧﻘﺪﻳﺔ ﺻﺤﻴﺤﺔ وﺣﻘﻴﻘﻴﺔ‪:‬‬ ‫اﻟﺤﺐ‪ :‬أن ﺗﺤﺐ اﻷدب‪ ،‬وﺗﺤﺐ أن ﺗﻔﻴﺪ ﻓﻴﻪ وﺗﺤﺐ اﻟﻄﺮف اﻵﺧﺮ‪ ..‬اﺳﻠﻞ ﺳﺨﻴﻤﺔ ﻗﻠﺒﻚ‬ ‫واﻣﺴﺢ ﻛﻞ ﻣﺎ ﻓﻴﻪ ﻣﻦ رﻓﺾ وﺷﺤﻨﺎء‪ ،‬واﻋﺘﺪاد‪ ،‬وﻏﺮور‪ ..‬ﺗﻌﺎﻣﻞ ﻣﻊ اﻟﺸﺎﻋﺮ واﻟﻜﺎﺗﺐ واﳌﺒﺪع‬ ‫ﻋﻤﻮﻣﺎ ﻛﺄمنﺎ ﻫﻮ اﺑﻨﻚ أو ﺷﻘﻴﻘﻚ اﻟﺼﻐري‪ ..‬أو ﻣﺤﺐ ﻟﻚ‪ ..‬ﺳﻮاء ﻛﺎن ﻣﺠﻴﺪاً أو ردﻳﺌﺎً ﰲ ﻧﺘﺎﺟﻪ‬ ‫اﻷديب‪ ..‬إن مل ﺗﺴﺘﻄﻊ ذﻟﻚ ﻓﻼ ﺗﺴﻘﻂ ﻣﺸﺎﻋﺮك اﻟﺴﻠﺒﻴﺔ ﻋﲆ إﻧﺘﺎﺟﻪ اﻹﺑﺪاﻋﻲ‪.‬‬ ‫اﻟﻘﺒﻮل‪ :‬ﻗﺒﻮل ﺣﺎﻟﺔ اﳌﺒﺪع ﻛﻤﺒﺪع‪ ،‬وﻗﺒﻮل ﺷﺨﺼﻴﺘﻪ ﻣﻬ ًام ﻛﺎﻧﺖ وإﺳﻘﺎﻃﻬﺎ ﻋﲆ ﻋﻤﻠﻪ‬ ‫اﻹﺑﺪاﻋﻲ ﻣﻦ ﺟﻬﺔ إﻳﺠﺎﺑﻴﺔ‪ ..‬ﻓﺼﻔﺎت اﻟﺸﺎﻋﺮ ﻻﻋﻼﻗﺔ ﻟﻬﺎ ﺑﺎﻟﺤﻜﻢ ﻋﲆ ﺟﻮدة اﻟﻘﺼﻴﺪة‬ ‫ﻓﻘﺪ ﻳﻜﺘﺐ أروع ﻗﺼﻴﺪة ﻋﻦ اﻟﻜﺮم وﻫﻮ ﺑﺨﻴﻞ ﺷﺤﺎذ‪ .‬وﻗﺪ ﻳﺼﻒ اﻹﻗﺪام ﰲ اﳌﻌﺎرك وﻳﺬم‬ ‫اﻟﺠﺒﻨﺎء‪ ..‬وﻫﻮ ﰲ ﺳﺎﻋﺔ اﻟﻠﻘﺎء ﻳﺨﺘﺒﺊ ﺧﻠﻒ ﻣﺤﺎرﻣﻪ‪ ،‬وﻗﺪ ﻳﻜﻮن ﻣﻐﺮوراً ﻣﻌﺘﺪاً ﺑﻨﻔﺴﻪ‬ ‫وﺑﻘﺼﻴﺪﺗﻪ وﻳﺮى ﻧﻔﺴﻪ أﻋﻈﻢ اﻟﻌﻈامء ﺑﻴﻨام ﻫﻮ وﺿﻴﻊ ذﻣﻴﻢ‪.‬‬ ‫ﻫﺬا ﻛﻠﻪ ﻳﺘﻢ إﻏﻔﺎﻟﻪ ﺷﻌﺮﻳﺎً أو ﻗﻞ إﺑﺪاﻋﻴﺎً‪ ..‬وإن ﻛﺎن ميﻜﻦ اﺳﺘﺜامره إﻋﻼﻣﻴﺎً ﳌﻦ ﻋﺮف ﻛﻴﻒ‬ ‫ﻳﺼﻨﻊ اﻹﻋﻼم وميﻬﺪ ﻟﻠﻘﺒﻮل‪.‬‬ ‫اﻟﺜﻘﺎﻓﺔ‪ :‬ﻻميﻜﻦ ﻟﻨﺎﻗﺪ أن ﻳﺘﻢ ﻟﻪ اﻟﻨﻘﺪ ﻣﻦ دون ﺣﺎﻟﺔ ﺗﺄﻣﻠﻴﺔ ﺗﻌﺰزﻫﺎ ﺛﻘﺎﻓﺔ وﺣﺴﻦ‬ ‫اﻃﻼع‪ ..‬ﻓﻤﻦ اﳌﻌﻴﺐ أن ﺗﺘﺤﺪث ﻋﲆ ﺟﻬﻞ‪ ،‬وﺗﺤﻠﻞ وﻻﺗﻌﺮف ﻛﻢ ﻏﺎب ﻋﻨﻚ ﻣﻦ اﳌﻔﺎﻫﻴﻢ‬ ‫واﳌﻌﻠﻮﻣﺎت اﳌﺨﺰﻧﺔ ﰲ اﻟﻘﺼﻴﺪة‪.‬‬ ‫اﻟﺤﺎﻟﺔ اﻟﻨﻔﺴﻴﺔ‪ :‬ﻫﻲ اﳌﺸﺎﻋﺮ اﻟﻠﺤﻈﻴﺔ اﻟﺘﻲ متﺮ ﺑﻬﺎ‪ ..‬ﺗﺄﻛﺪ أﻧﻬﺎ ﺳﺘﻨﻌﻜﺲ ﺳﻠﺒﺎً أو إﻳﺠﺎﺑﺎً‬ ‫ﻋﲆ ﻣﺎﺗﻘﺮأ و ﺗﺸﺎﻫﺪ‪ ..‬ﻟﺬﻟﻚ ﺣﺎول أن ﺗﺤﺪد ﻣﻮﻋﺪ ﺟﻠﺴﺔ أﺧﺮى ﻣﻊ اﳌﻨﺘﺞ اﻹﺑﺪاﻋﻲ ﻟﺘﺘﺄﻛﺪ‬ ‫أﻧﻚ ﻧﻈﺮت إﻟﻴﻪ ﻣﻦ زاوﻳﺔ ﺷﻌﻮرﻳﺔ أﺧﺮى‪ ..‬وإن ﺗﻌﺪدت اﻟﺠﻠﺴﺎت أﺻﺒﺤﺖ اﻟﻨﻈﺮة أﻛرث‬ ‫ﺷﻤﻮﻟﻴﺔ وإﺗﻘﺎﻧﺎً‪.‬‬ ‫اﻟﺨﱪة‪ :‬ﻣﻬام ﻛﻨﺖ ﻣﺜﻘﻔﺎً ﻣﻄﻠﻌﺎً‪ ..‬ﻓﺈن اﳌﻴﺪان ﻟﻪ ﻣﻤﻴﺰاﺗﻪ وآﻓﺎﻗﻪ اﻟﺘﻲ ﻳﻔﺘﺤﻬﺎ ﻟﻚ ﺑﺤﻴﺚ‬ ‫ﺗﺼﺒﺢ أﻗﺮب إﱃ ﻛﻴامء اﻹﺑﺪاع‪ ..‬ﺗﺘﻌﺎﻣﻞ ﻣﻊ اﻟﻌﻘﻮل ﻻ ﻣﻊ اﻟﻮرق‪ ،‬وﻫﺬه اﻟﺨﱪة ﺗﺘﺤﻘﻖ‬ ‫ﺑﺎﳌﻌﺎﻳﺸﺔ ﺑﻜﻞ ﺗﻔﺮﻋﺎﺗﻬﺎ‪ ..‬ﻣﻌﺎﻳﺸﺔ اﻟﺤﺎل‪ ،‬وﻣﻌﺎﻳﺸﺔ ورش اﻟﻌﻤﻞ‪ ،‬وﻣﻌﺎﻳﺸﺔ اﻟﻌﻘﻮل ﺑﺎﻟﻨﻘﺎش‪.‬‬ ‫اﻟﺸﻌﺮ ‪baytelshear‬‬ ‫ﺑﻴﺖ ِ‬

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ĬńŒ ŝħ

‫ﻗﺎﻳﺪ ﻧﺎدر ﻣﺎ ﻳﺮﺿﻰ ﻧﺠﻲ ﺑﻌﺪﻳﻦ‬ ‫ﻟﻨﺎ‬ ٍ b@@ @ -v@@ « v@@ @ B @@ @c@ @ B @@ @ E ·b@@ @£@ @ @ @ D* * @@ @ E b@@ @ g@ +4 y@@ @ @ @ @D* ¢@@ @ @ @ < @@ @ @M @ @ @ 94&* ¢@@ @ @ @ < @@ @ £@ ~@ {@ F b@@ @ g@ £@ c@ J ° y@@ @ m@ @ @< ¤@@ @ @~@ @ @ 9b@@ @ @´* @@ @ @ < @@ @ @ @ @ @ D b@@ @ g@ @ BH ¯ @@ @ @ @ ½ @@ @ B¡@@ @ F Kb@ @ @ @ @ @ Â*2 ¤@@ @c@ @ J b@@ @ @-4b@@ ~@ @}@ @0 y@@ @ £@ @ Â µb@@ @ @ @ @ @ @D* @@ @ @ < Ml*x@@ @ @ @ @ @ @b@@ @ g@ J*v@@+ H* @@ @ E v@@ £Q @ ~@ {@ g@ E @@ 6b@@ ~@ @6 ¢@@ @ @< b@@ @ g@ Ab@@ @ . 4¡Q @ @ @ @ @ @ :H b@@ @ @£@ @~@ @9b@@ E l4H @@ @ @ @<2 b@@ @g@~@{@£@< @@ {@ JH x@@ @< b@@Fv@@Jb@@B @@~@ }@ A @@ E H b@@ @ g@ £@ @ @ @+ Ñ* ¢@@ @ @ < @@ C¡@@ g@ @ F @@ £@ @ C x@@ @ @ @ <H b@@ @ g@ /b@@0 h@@ @ @BH ¯ q@@ @ Jx@@ @ D* lx@@ @ @« M ¡@@ @ @ @ @ DH3 b@@ @ g@ <y@@ @ @ @D d@@ @ BQ x@@ @ - ¡@@ @ G @@ @ E b@@ @ @ + x@@ ~@ @7b@@ c@ @b@@ @-¡@@ @1 ¡@@~@ {@ g@ + b@@c@ £@ ~@ {@ D* ,¡@@ @ @1 ¢@@ @ @<H b@@ @ @-y@@ @ @ @ @ @ @+ H b@@ @ @ @F2Hv@@ @ @ @/ @@ @ @ @ @ @ + ¥4b@@ @ @ @ @ @¿ b@@ @g@ @£@~@7 @@£@ ~@@R}@ - ° ib@@ @A ¤@@ @ @D* ¤@@~@ 9b@@´* @@ < b@@ @ g@ @ / b@@ @ @ @ / @@ @ @ E y@@ @ @ @ @ @ D* eb@@ @ @ @ @ C4 24Q ¡@@ @ @ @ @ @ @F

Í@@c@ D* b@@ @ @ E5 b@@ @J Ä@@ ~@ @8 b@@ £@ @Fv@@ D* @@ @E b@@ @ @ @ .4H @@J2 b@@ @ g@ c@ B4 ¯ v@@ @ B ¤@@ @ D* l*Æ@@ @ @D* @@ @ 0H @@Jv@@0¡@@+* ¤@@Gb@@~@ }@ J @@ @ £@ ~@ 6 @@ Ey@@ D* * @@ E @@Jv@@ @ + ¤@@ @½ ¢@@ ~@ @9x@@ J b@@ @E 42b@@ @ @ F Mv@@ @Jb@@ @B b@@ @ @D Í@@²* Í@@ D b@@ @ @E5&* @@ E @@~@z@ @~@z@g@E l4H b@@ @ D Í@@ @ @D* x@@ ~@ @z@ @J x@@ @ @ @ @§ b@@ @ @-4b@@ ~@ @}@ @0 4¡@@ @ @ @ Í@@ @ D* x@@~@ z@ @ D* h@@ @BH b@@ @ @ ~@ 6¡@@+* @@ ; h@@ « Í@@ @ D*H x@@ @~@{@D* i¡@@£@ + x@@ @ Jb@@E @@£@ / @@Cb@@J Í~{D* bEyD* hBH 6b D* *¡~7b< £C x<H ÍGb~7 ¢@@ @< @@ @£@~@8&* @@D ¤@@ @ @J @@£@C x@@ < H Í ~|D* ~z - 6xA @@D ox~zJ £C x@@< H Í@@ @ ~@ 6 b@@ @ £@ @ < i4*2 b@@ @ @ J* 4b@@ c@ @ @ D ¢@@ ~@ }@ E Í@@Bb@@+ v@@ @ @+ b@@ @ @0 H *¡@@ @ @D*5b@@ @ @E v@@ @ @ @ @D* ¢@@ @ @< Í@@Db@@ @ D* ·b@@ £@ @ < b@@ @J b@@ @ @B @@ @ £@ @ 1 b@@ @F¡@@ @+* H Í@@D d@@ Jb@@ Cx@@ D* ¡@@~@ z@ F v@@ @D*¡@@ @D* ,¡@@ @ @1 ¢@@ @ <

‫ﻫﺰاع ﺑﻦ ﺳﻤﺮه اﻟﻘﺤﻄﺎﻧﻲ‬

2019 ‫ ﻳﻨﺎﻳﺮ‬، 74 ‫اﻟﻌﺪد‬

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‫اﻵن ﰲ ﻫﺬا اﻷﻣﺮ‪ ،‬ﺣﻴﺚ أﺟﺪ أن اﻟﺘﻔﻜري‬ ‫ﰲ إﺻــﺪار اﻟﺪﻳﻮان ﻳﴫﻓﻨﻲ ﻋﻦ ﻧﻈﻢ‬ ‫اﻟﺸﻌﺮ وﻛﺘﺎﺑﺘﻪ‪ ،‬وﻫــﺬا ﻣﺎ ﻻﺣﻈﺘﻪ ﰲ‬ ‫ﻛﺜري ﻣﻦ اﻷﻣﺴﻴﺎت اﻟﺘﻲ ﺷﺎرﻛﺖ ﻓﻴﻬﺎ‪،‬‬ ‫ﺣﻴﺚ ﻛﺎن اﻟﺸﻌﺮاء أﺻﺤﺎب اﻟﺪواوﻳﻦ‬ ‫ﻳﺄﺗﻮن ﺣﺎﻣﻠني دواوﻳﻨﻬﻢ‪ ،‬ﻳﻘﺮأون ﻣﻨﻬﺎ‪،‬‬ ‫ﺛﻢ ﻳﺤﻴﻮن أﻣﺴﻴﺎت أﺧﺮى وﻳﻘﺮأون ﻣﻦ‬ ‫ﻧﻔﺲ اﻟﺪواوﻳﻦ‪ ،‬وﻛﺄﻧﻬﻢ اﻛﺘﻔﻮا مبﺎ ﻗﺪﻣﻮه‪،‬‬ ‫وﻛﺄﻧﻬﻢ ﻳﺴﻌﻮن ﻟﻠﺘﺴﻮﻳﻖ ﻟﺪواوﻳﻨﻬﻢ‬ ‫ﻓﻘﻂ"‪.‬‬ ‫ﻛﺎن ﻟﻘﺼﺎﺋﺪ ﻫ ـﺰاع ﻣﻜﺎﻧﺔ ﻛﺒرية ﻟﺪى‬ ‫اﳌﻨﺸﺪﻳﻦ‪ ،‬ﺣﻴﺚ أﻧﺸﺪ ﻟﻪ اﻟﻜﺜريون‪ ،‬وﻣﺎ‬ ‫زال اﻟﻌﻤﻞ ﻣﺴﺘﻤﺮاً ﻋﲆ ﺗﻘﺪﻳﻢ اﳌﺰﻳﺪ‪،‬‬ ‫ﻳﻘﻮل ﻫ ـﺰاع‪" :‬أﻧﺸﺪ ﻛﺜريون ﻗﺼﺎﺋﺪي‬ ‫اﻟﻮﻃﻨﻴﺔ‪ ،‬وﻻ ﻣﺠﺎل ﻟﺬﻛﺮ أﺳامﺋﻬﻢ ﺟﻤﻴﻌﺎً‪،‬‬ ‫وﻫﻨﺎك ﻣﺸﺎرﻳﻊ ﻏﻨﺎﺋﻴﺔ ﺳﱰى اﻟﻨﻮر ﻗﺮﻳﺒﺎً‬ ‫ﺑﺈذن اﻟﻠﻪ‪ .‬ﻣﻦ اﳌﻨﺸﺪﻳﻦ ﻣﻦ ﻃﻠﺐ ﻗﺼﺎﺋﺪ‬ ‫ﺑﻌﻴﻨﻬﺎ‪ ،‬وﻣﻨﻬﻢ ﻣﻦ أرﺳﻞ ﱄ ﻟﺤﻨﺎً ﻟيك‬ ‫أﻧﻈﻢ ﺷﻌﺮاً ﻳﻨﺎﺳﺒﻪ‪ ،‬وﰲ اﻟﺤﺎﻟﺘني ﻛﺎن ﱄ‬ ‫اﻟﴩف ﺑﺄن أﺗﻌﺎون ﻣﻊ ﻣﺠﻤﻮﻋﺔ ﻣﻦ أﻫﻢ‬ ‫اﳌﻨﺸﺪﻳﻦ واﳌﻠﺤﻨني"‪.‬‬ ‫ﺗﻌﺪدت إﻃﻼﻻت ﻫﺰاع ﻋﲆ اﻟﺸﺎﺷﺎت‬ ‫اﳌﺤﻠﻴﺔ‪ ،‬ﺣﻴﺚ ﻛﺎن ﺿﻴﻔﺎً ﻣﺘﺄﻟﻘﺎً ﻋﲆ‬ ‫ﻗﻨﻮات اﻹﻣـــﺎرات‪ ،‬أﺑﻮﻇﺒﻲ‪ ،‬ديب‪ ،‬ﺳام‬ ‫ديب‪ ،‬اﻟﺸﺎرﻗﺔ‪ ،‬اﻟﴩﻗﻴﺔ وﻏريﻫﺎ‪ ،‬وﻫﻨﺎ ﻻح‬ ‫ﺳﺆال ﻋﻦ ﻋﻼﻗﺔ اﻹﻋﻼم ﺑﺎﻟﺸﻌﺮ وإذا ﻣﺎ‬ ‫ﻛﺎن اﻹﻋﻼم ﻗﺎم ﺑﺪوره ﺗﺠﺎه ﻫﺬا اﻟﻔﻦ‬ ‫اﻷﺻﻴﻞ‪ ،‬وﻫﻨﺎ ﻳﻘﻮل ﻫﺰاع‪" :‬ﻟﻘﺪ ﻟﻌﺐ‬ ‫اﻹﻋﻼم اﳌﺤﲇ دوراً ﻛﺒرياً ﰲ دﻋﻢ اﻟﺤﺮﻛﺔ‬ ‫اﻟﺸﻌﺮﻳﺔ ﰲ اﻹﻣــﺎرات‪ ،‬وإن ﻛﺎن ﻫﻨﺎك‬ ‫ﻣﻦ ﺗﻘﺼري‪ ،‬ﻓﻬﻮ ﻣﻦ اﻟﺸﻌﺮاء أﻧﻔﺴﻬﻢ‪،‬‬ ‫أﺧﺺ اﻟﺸﻌﺮاء اﻟﻜﺴﺎﱃ‪ ،‬اﻟﺬﻳﻦ ﻳﺴﻬﺮون‬ ‫اﻟﻠﻴﻞ ﰲ ﻧﻈﻢ اﻟﺸﻌﺮ‪ ،‬وﻳﻨﺎﻣﻮن ﻃﻴﻠﺔ‬ ‫اﻟﻨﻬﺎر‪ ،‬وإذا ﻣﺎ ﻇﻬﺮ أﺣﺪ اﳌﺒﺘﺪﺋني ﻋﲆ‬ ‫اﻟﺸﺎﺷﺎت ﻳﻘﻮﻟﻮن إﻧﻪ ﻇﻬﺮ ﺑﺎﻟﻮاﺳﻄﺔ‪،‬‬ ‫وﻫﺬا ﺧﻄﺄ‪ ،‬ﻓﺎﻟﺬي ﻇﻬﺮ ﻋﲆ اﻟﺸﺎﺷﺎت‬ ‫ﻗﺪ ﻻ ﻳﻜﻮن ﺷﺎﻋﺮاً ﻛﺒرياً‪ ،‬ﻟﻜﻦ ﻫﺬا ﻻ ميﻨﻊ‬

‫ﻣﻦ اﻻﻋﱰاف ﺑﺄﻧﻪ إﻧﺴﺎن ﻣﺠﺘﻬﺪ‪ ،‬ﻳﺴﻌﻰ‬ ‫ﻟﻸﻓﻀﻞ‪ ،‬وﻳﺒﺤﺚ ﻋﻦ ﻓﺮﺻﺔ ﻟﻠﻈﻬﻮر‪ ،‬ﻋﲆ‬ ‫ﻋﻜﺲ أوﻟﺌﻚ اﳌﻌﺘﻜﻔني ﰲ ﻣﺠﺎﻟﺴﻬﻢ‪،‬‬ ‫اﳌﻨﺘﻈﺮﻳﻦ ﻣﻦ اﻹﻋﻼم أن ﻳﻄﺮق أﺑﻮاﺑﻬﻢ‬ ‫ﻣﻦ دون أن ﻳﻘﻮﻣﻮا ﺑﺄي ﺟﻬﺪ"‪.‬‬ ‫وﻫﻨﺎ ﻳﺆﻛﺪ اﻟﺸﺎﻋﺮ ﻫﺰاع ﺑﻦ ﺳﻤﺮه ﻋﲆ‬ ‫ﴐورة أن ﻳﻮﺟﺪ ﰲ ﻛﻞ ﺟﻬﺔ إﻋﻼﻣﻴﺔ‬ ‫ﺷﺨﺺ أو اﺛﻨﺎن ﻋﺎﳌﺎن ﺑﺎﻟﺸﻌﺮ وﻟﻴﺲ‬ ‫ﺑﺎﻟﴬورة أن ﻳﻜﻮﻧﻮا ﺷﻌﺮاء‪ ،‬ﺷﺨﺼﺎن‬ ‫أو أﻛرث ﻗﺎدران ﻋﲆ متﻴﻴﺰ اﻟﺸﻌﺮ اﻟﺠﻴﺪ‬ ‫ﻣﻦ اﻟﺮديء‪ ،‬ﻳﺴﺘﻄﻴﻌﻮن اﺧﺘﻴﺎر اﻟﺸﻌﺮاء‬ ‫ﺑﻌﻨﺎﻳﺔ‪ ،‬ﺑﺤﻴﺚ ﻳﻀﻤﻨﻮن أن ﺗﻜﻮن‬ ‫اﻟﻔﻘﺮات اﻟﺸﻌﺮﻳﺔ ﻏﻨﻴﺔ ﺑﺎﻟﺸﻌﺮ اﻟﻘﻴﻢ"‪.‬‬ ‫وﻋﲆ ﺻﻌﻴﺪ آﺧﺮ ﻳﺸري ﻫﺰاع ﺑﻦ ﺳﻤﺮه‬ ‫إﱃ أﻧﻪ ﻳﺪﻋﻢ اﺳﺘﺨﺪام اﻟﻠﻬﺠﺔ اﻟﺒﻴﻀﺎء‪،‬‬ ‫ﻛام أﻧﻪ ﻣﻊ اﻟﺤﻔﺎظ ﻋﲆ اﳌﻔﺮدة اﳌﺤﻠﻴﺔ‬

‫ﻓﻴﻘﻮل‪" :‬إذا ﻣﺎ ﻛﺎن اﻟﺸﺎﻋﺮ ﻳﺒﺤﺚ ﻋﻦ‬ ‫اﻻﻧﺘﺸﺎر ﺑﺸﻜﻞ أﻛﱪ ﰲ اﻟﺴﻌﻮدﻳﺔ وﻋامن‬ ‫واﻟﻜﻮﻳﺖ واﻷردن وﺗﻮﻧﺲ واﳌﻐﺮب‬ ‫وﻏــريﻫــﺎ ﻣــﻦ اﻟـــﺪول اﻟﻌﺮﺑﻴﺔ‪ ،‬ﻓﻌﻠﻴﻪ‬ ‫ﺑﺎﺳﺘﺨﺪام اﻟﻠﻬﺠﺔ اﻟﺒﻴﻀﺎء‪ ،‬ﺣﻴﺚ إن‬ ‫ﻓﻬﻤﻬﺎ أﺳﻬﻞ وﺗﺼﻞ ﻣﻌﺎﻧﻴﻬﺎ ﺑﴪﻋﺔ‪ ،‬أﻣﺎ‬ ‫إن ﻛﺎﻧﺖ ﻗﺼﺎﺋﺪه ﻣﻮﺟﻬﺔ إﱃ اﻟﺠﻤﻬﻮر‬ ‫اﳌﺤﲇ ﻓﺄﻧﺎ ﻣــﻊ اﻻﻟــﺘ ـﺰام ﺑﺎﳌﻔﺮدات‬ ‫اﳌﺤﻠﻴﺔ"‪.‬‬ ‫وﻳﺴﻌﻰ ﻫﺰاع ﰲ اﳌﺴﺘﻘﺒﻞ ﻷن ﻳﻜﻮن ﰲ‬ ‫ﻣﻜﺎن أﻓﻀﻞ ﻣام ﻫﻮ ﻋﻠﻴﻪ اﻟﻴﻮم‪ ،‬وﻫﻮ‬ ‫ﻳﺒﺤﺚ ﻋﻦ دﺧﻮل ﻋﺎمل اﻹﻋﻼم‪ ،‬ﻓﻬﻮ إن‬ ‫مل ﻳﻜﻦ ﺷﺎﻋﺮاً‪ ،‬ﻟﺘﻤﻨﻰ أن ﻳﻜﻮن إﻋﻼﻣﻴﺎً‪،‬‬ ‫ﻓﺎﻹﻋﻼم ﺑﺎﻟﻨﺴﺒﺔ ﻟﻪ ﺷﻐﻒ‪ ،‬وﻳﺤﻠﻢ ذات‬ ‫ﻳﻮم ﺑﺄن ﻳﺤﻘﻖ ﻫﺬا اﻟﺤﻠﻢ وﻳﺮوي ﻫﺬا‬ ‫اﻟﺸﻐﻒ‪.‬‬ ‫اﻟﺸﻌﺮ ‪baytelshear‬‬ ‫ﺑﻴﺖ ِ‬

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‫‪ ĬńŒ ŝħ‬‬

‫وأﺣﺮزت اﳌﺮﻛﺰ اﻟﺜﺎﻟﺚ"‪.‬‬ ‫ﻻ ميﻜﻦ اﻟﻘﻮل ﺑﺄن ﻓﻮز ﻫﺰاع ﺑﻦ‬ ‫ﺳﻤﺮه ﺑﺎﳌﺮﻛﺰ اﻟﺜﺎﻟﺚ ﰲ واﺣﺪة‬ ‫ﻣﻦ أﻗﻮى اﳌﺴﺎﺑﻘﺎت اﻟﺸﻌﺮﻳﺔ‬ ‫ﺑﺎﻷﻣﺮ اﻟﺴﻬﻞ واﻟﻴﺴري‪ ،‬ﺧﺼﻮﺻﺎً‬ ‫وأﻧــﻬــﺎ ﺟــﺎﺋــﺰة ﺗﺴﺘﻘﻄﺐ‬ ‫ﻣﺠﻤﻮﻋﺔ ﻛﺒرية ﻣﻦ ﻛﺒﺎر‬ ‫اﻟﺸﻌﺮ‪ ،‬وﺗﻘﻮم ﻋﻠﻴﻬﺎ‬ ‫ﻟﺠﻨﺔ ﻣﺘﻤﻜﻨﺔ‪ ،‬ﻳﻘﻮل‬

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‫ﻳﻨﺎﻳﺮﺮ ‪20199‬‬ ‫ﻳﻨﺎﺎﻳ‬ ‫‪ ، 74‬ﻨ‬ ‫اﻟﻌﺪد ‪74‬‬ ‫ﻌﺪد‬ ‫اﻟﻌﺪ‬ ‫ﻟﻌﺪ‬

‫ﻫﺰاع‪" :‬ﻛﺎن ﻣﺤﻮر اﳌﺴﺎﺑﻘﺔ ﰲ اﻟﺪورة‬ ‫اﻟﺘﻲ ﺷﺎرﻛﺖ ﻓﻴﻬﺎ ﻫﻮ "ﻣﻜﺎرم اﻷﺧﻼق"‪،‬‬ ‫ﺣﻴﺚ ﻧﻈﻤﺖ ﻗﺼﻴﺪة اﺳﺘﻮﻓﺖ اﻟﴩوط‬ ‫اﳌﻨﺼﻮص ﻋﻠﻴﻬﺎ ﻟﻠﻤﺴﺎﺑﻘﺔ‪ ،‬واﺳﺘﻄﻌﺖ أن‬ ‫أﺣﺮز ﻫﺬا اﳌﺮﻛﺰ اﳌﺘﻘﺪم‪ ،‬رﻏﻢ أين ﻛﻨﺖ‬ ‫أﻃﻤﺢ ﻷﻛرث ﻣﻦ ذﻟﻚ‪ ،‬أﻛﺴﺒﺘﻨﻲ ﻫﺬه‬ ‫اﳌﺴﺎﺑﻘﺔ اﳌﺰﻳﺪ ﻣﻦ اﻟﺜﻘﺔ ﺑﺎﻟﻨﻔﺲ‪ ،‬وﻛﺎن‬ ‫ﻓﻮزي ﰲ ﻫﺬه اﳌﺴﺎﺑﻘﺔ دﻟﻴ ًﻼ ﻋﲆ ﻗﺪرايت‬ ‫ومتﻜﻨﻲ ﰲ ﻣﺠﺎل اﻟﺸﻌﺮ اﻟﺸﻌﺒﻲ"‪.‬‬ ‫ﻳﻜﺘﺐ ﻫﺰاع ﺑﻦ ﺳﻤﺮه اﻟﺸﻌﺮ ﰲ أﻏﺮاض‬ ‫ﻣﺘﻨﻮﻋﺔ‪ ،‬ﻓﺘﺎرة ﺗﺮاه ﻋﺎﺷﻘﺎً‪ ،‬وﺗﺎرة ﻓﺎرﺳﺎً‬ ‫وﻣﻘﺎﺗ ًﻼ ﰲ ﺳﺒﻴﻞ اﻟﻮﻃﻦ‪ ،‬وأﺧﺮى ﻧﺎﻗﺪاً‬ ‫ﺷﺪﻳﺪاً‪ ،‬وﺳﺎﺧﺮاً ﻻذﻋﺎً‪ ،‬وﻋﻦ أﻏﺮاض اﻟﺸﻌﺮ‬ ‫ﻳﻘﻮل ﻫﺰاع‪" :‬ﻳﺸﱰك ﻣﻌﻈﻢ اﻟﺸﻌﺮاء ﰲ‬ ‫ﻧﻈﻢ اﻟﺸﻌﺮ اﻟﻐﺰﱄ‪ ،‬ﻓﻬﻮ اﻟﻐﺮض اﻷﻗﺮب‬ ‫إﱃ اﻟﻘﻠﺐ‪ ،‬اﻷﻛرث ﺗﺤﺮﻳﻜﺎً ﻟﻠﻤﺸﺎﻋﺮ‪ ،‬ﻛام‬ ‫ﻳﺤﺘﻞ اﻟﺸﻌﺮ اﻟﻮﻃﻨﻲ ﻣﻜﺎﻧﺎً ﻋﺰﻳﺰاً ﰲ‬ ‫ﻗﺼﺎﺋﺪي‪ ،‬ﻓﻼ ﳾء ﻳﻌﻠﻮ ﻋﲆ ﺣﺐ اﻟﻮﻃﻦ‪،‬‬ ‫وﻣﻦ اﻷﻏﺮاض اﻟﺸﻌﺮﻳﺔ اﻟﺘﻲ ﺗﺴﺘﻬﻮﻳﻨﻲ‬ ‫ﻫﻲ ﺗﻠﻚ اﻷﻗﺮب إﱃ ﺷﻌﺮ اﻻﺟﺘامﻋﻴﺎت‪،‬‬ ‫ﻓﺄﺑﻮاﺑﻪ ﻛﺜرية‪ ،‬ﺣﻴﺚ ميﻜﻦ ﻧﻘﺪ ﺑﻌﺾ‬ ‫اﻟﻈﻮاﻫﺮ اﻻﺟﺘامﻋﻴﺔ أو اﻷﻓﻌﺎل اﻟﺸﺨﺼﻴﺔ‬ ‫ﺑﺸﻜﻞ ﻻذع"‪.‬‬ ‫ﻣﺎ ﻟﻔﺖ اﻧﺘﺒﺎﻫﻲ ﰲ ﻫﺰاع ﻫﻮ ﺣﻔﻈﻪ‬ ‫ﻟﻘﺼﺎﺋﺪه‪ ،‬وﻫﻮ ﻣﺎ مل أﺟﺪه ﻟﺪى ﴍﻳﺤﺔ‬ ‫واﺳﻌﺔ ﻣﻦ اﻟﺸﻌﺮاء اﻟﺬﻳﻦ ﺣﺎورﺗﻬﻢ‬ ‫وﻋﻦ ﻫﺬه اﻟﻨﻘﻄﺔ ﻳﻘﻮل‪" :‬ﻫﻨﺎك ﻗﺼﺎﺋﺪ‬ ‫ﻋﻈﻴﻤﺔ‪ ،‬أﺣﻔﻈﻬﺎ ﻋﻦ ﻇﻬﺮ ﻏﻴﺐ‪ ،‬وﻫﻨﺎك‬ ‫ﻗﺼﺎﺋﺪ ﻋﺎﺑﺮة‪ ،‬ﺗﺨﻄﺮ ﻋﲆ ﺑﺎﱄ ﻓﺠﺄة‪،‬‬ ‫وﻛﺄﻧﻬﺎ ﻧﺴامت ﺻﻴﻒ‪ ،‬أدوﻧﻬﺎ ﻋﲆ ورﻗﺔ‪،‬‬ ‫أو أﻃﺒﻌﻬﺎ‪ ،‬واﺣﻔﻈﻬﺎ ﰲ أرﺷﻴﻔﻲ اﻟﺨﺎص‪،‬‬ ‫ﻣﺜﻞ ﻫﺬه اﻟﻘﺼﺎﺋﺪ ﻻ أﺣﻔﻈﻬﺎ ﻋﺎدة‪ ،‬ﻟﻜﻨﻲ‬ ‫أﺣﺮص ﻋﲆ ﺗﻮﺛﻴﻘﻬﺎ وأرﺷﻔﺘﻬﺎ"‪.‬‬ ‫وﻋﻨﺪ ذﻛﺮ اﻷرﺷﻔﺔ ﻛﺎن ﻻﺑﺪ ﱄ أن أﺳﺄل‬ ‫ﻋﻦ اﻟﺪﻳﻮان‪ ،‬وﻫﻞ ﻳﻔﻜﺮ ﻫﺰاع ﰲ ﺟﻤﻊ‬ ‫ﻗﺼﺎﺋﺪه ﰲ دﻳﻮان واﺣﺪ‪ ،‬ورداً ﻋﻦ ﻫﺬا‬ ‫اﻟﺴﺆال أﺟﺎب‪" :‬ﰲ اﻟﺤﻘﻴﻘﺔ مل أﻓﻜﺮ إﱃ‬

‫‪ ǛƫǶ ɐdzŞƪƛ ǽƳŌǷǃ Ǜƫ ŧŬżş‬‬ ‫‪ ŧƛƉŽǶ ɐDzƃǿƃŵ ŦōŞǾljƉũǶ ƈōLjƳŐ‬‬ ‫‪ɼ‬‬ ‫‪ dzŞǥǷǙ ǛǙ ǼƃǕ ōǙ dzǝƈōǂǙ ǻǔƫ‬‬ ‫‪ŋŌƉƪƗ ǛǙ ǼƉǾƯ ǺƃǕ ōǘş‬‬ ‫ ‬ ‫‪ dzǿƉƪƖǕŌ dzǂşōƒǘǕŌ ǽǜŨރljŐ‬‬ ‫‪ ƃǿŌƊ Ǜş ǚōƢǔƓ ǚōŵƉǤǘǕ‬‬ ‫‪ dzǂŬǕŌ ǛǙ ƃǿƋǘǕŌ ǽŭŌƉŨǕŌ‬‬ ‫‪ƑƲǜǕōş‬‬ ‫‪ɰ‬‬ ‫‪ ōǝōLjǙ ǽǜƣǷǕŌ ƉƪƖǕŌ ǓŨżǿ‬‬ ‫‪ɰ‬‬ ‫‪ ŋǽƗ ȎƳ ɐǼƃȃōƚǃ ǽƳ ŌƋǿƋƫ‬‬ ‫‪ǛƣǷǕŌ ŝŽ ǻǔƫ Ƿǔƪǿ‬‬

‫ﻳﺮى اﻟﺸﺎﻋﺮ ﻫﺰاع ﺑﻦ ﺳﻤﺮه أﻧﻪ ورث‬ ‫ﻛﺘﺎﺑﺔ اﻟﺸﻌﺮ ﻋﻦ أﻫﻠﻪ‪ ،‬ﻓﺄﺟﺪاده وأﺧﻮاﻟﻪ‬ ‫ﺷﻌﺮاء‪ ،‬وﻗﺪ أﺧﺬ ﻫﺬه اﻟﻬﺒﺔ ﻋﻨﻬﻢ‪ ،‬وﻋﻦ‬ ‫ﺑﺪاﻳﺎﺗﻪ اﻟﺸﻌﺮﻳﺔ ﻳﻘﻮل‪" :‬ﺣﻜﺎﻳﺘﻲ ﻣﻊ‬ ‫اﻟﺸﻌﺮ ﺑﺪأت ﻣﻨﺬ زﻣﻦ ﺑﻌﻴﺪ‪ ،‬ﺣﺘﻰ أين ﻻ‬ ‫أذﻛﺮ ﻣﺘﻰ ﻛﺎﻧﺖ ﻫﺬه اﻟﺒﺪاﻳﺔ ﺑﺎﻟﻀﺒﻂ‪،‬‬ ‫ﻛﻞ ﻣﺎ أذﻛﺮه أين ﻓﺘﺤﺖ ﻋﻴﻨﻲ ﻋﲆ اﻟﺪﻧﻴﺎ‬ ‫وأﻧﺎ ﻋﺎﺷﻖ ﻟﻠﺸﻌﺮ‪ ،‬وﻛﺄن ﺣﺐ اﻟﺸﻌﺮ‬ ‫وﻟﺪ ﰲ ﻗﻠﺒﻲ ﻣﻨﺬ وﻻديت‪ ،‬وﻛﺄين ورﺛﺘﻪ‬ ‫ﻋﻦ ﺟﺪي وﺧــﺎﱄ‪ ،‬ومبــﺮور اﻷﻳــﺎم ﺑﺪأت‬ ‫أﺣﺎول ﻧﻈﻢ اﻟﺸﻌﺮ‪ ،‬ﻛﻨﺖ أﻛﺘﺐ اﻟﻘﺼﺎﺋﺪ‬ ‫واﺣﺘﻔﻆ ﺑﻬﺎ ﻟﻨﻔﴘ‪ ،‬مل ﺗﻜﻦ ﻟﺪيﱠ اﻟﺠﺮأة‬ ‫ﻟﻠﺒﻮح ﺑﻬﺎ أﻣﺎم اﻵﺧﺮﻳﻦ‪ ،‬وﻣﺮت اﻷﻳﺎم‬ ‫إﱃ أن وﺟــﺪت ﰲ ﻛﺘﺎﺑﺎيت ﻣﺎ ﻳﺴﺘﺤﻖ‬ ‫أن ﻳﻌﺮض ﻋﲆ اﻟﻌﺎرﻓني ﺑﺎﻷﻣﺮ‪ ،‬ﻓﻘﺮأت‬ ‫اﻟﺸﻌﺮ أﻣﺎم ﻣﻦ أﺛﻖ ﺑﻬﻢ‪ ،‬ﻓﻮﺟﺪت ﻣﻨﻬﻢ‬ ‫ﻛﻞ ﻧﺼﺢ وإرﺷﺎد‪ ،‬ﻗﺪﻣﻮا ﱄ اﻟﻨﻘﺪ اﻟﺒﻨﺎء‪،‬‬ ‫دﻟﻮين ﻋﲆ ﻣﻮاﻗﻊ اﻟﻘﻮة ﰲ ﻗﺼﺎﺋﺪي ﻛﻴﻒ‬ ‫أﺣﺎﻓﻆ ﻋﻠﻴﻬﺎ وأﻋﺰزﻫﺎ‪ ،‬ﻛام أﻧﻬﻢ أرﺷﺪوين‬ ‫إﱃ ﻣﻜﺎﻣﻦ اﻟﻀﻌﻒ ﻛﻴﻒ أﻋﺎﻟﺠﻬﺎ‪ ،‬وﻣﺮت‬ ‫اﻷﻳﺎم ﻋﲆ ﻫﺬا اﻟﺤﺎل‪ ،‬ﻛﻨﺖ أﻧﻈﻢ اﻟﺸﻌﺮ‬

‫وأﺑﻮح ﺑﻪ ﻷﻫﻞ اﻟﺜﻘﺔ‪ ،‬اﻟﺬﻳﻦ مل ﻳﺒﺨﻠﻮا‬ ‫ﻋ ﱠ‬ ‫ﲇ ﺑﺎﻟﻨﺼﺢ‪ ،‬ﻛﻨﺖ أﻗﺮأ ﻟﻬﻢ أﺗﻌﻠﻢ ﻣﻨﻬﻢ‪،‬‬ ‫ﺣﺘﻰ وﺻﻠﺖ إﱃ ﻣﺮﺣﻠﺔ ﺗﺄﻛﺪت ﻓﻴﻬﺎ ﻣﻦ‬ ‫أن ﻗﺼﺎﺋﺪي ﺗﺴﺘﻮﰲ ﻛﻞ ﴍوط اﻟﻘﺼﻴﺪة‬ ‫اﻟﻨﺎﺟﺤﺔ ﻣﻦ ﻣﻌﻨﻰ ووزن وﺣﺒﻜﺔ"‪.‬‬ ‫ﻋﺎﻣﺎن ﻣﻦ اﻟﺰﻣﻦ ﻣﺮا وﻫﺰاع ﺑﻦ ﺳﻤﺮه‪،‬‬ ‫ﻳﺠﺘﻬﺪ ﰲ اﻟﺘﻌﻠﻢ واﻛﺘﺴﺎب اﳌﻬﺎرات ﰲ‬ ‫ﻣﻀامر اﻟﺸﻌﺮ إﱃ أن ﺷﻌﺮ ﰲ ﻧﻔﺴﻪ اﻟﺜﻘﺔ‬ ‫ﺑﺄﻧﻪ ﺑﺎت ميﻠﻚ ﻣﻦ اﻷدوات واﻟﻘﺪرات‬ ‫ﻣﺎ ﻳﺆﻫﻠﻪ ﻟﻘﺮاءة اﻟﺸﻌﺮ أﻣــﺎم ﻋﻤﻮم‬ ‫اﻟﻨﺎس‪ ،‬وﻋﻦ ﻗﺼﻴﺪﺗﻪ اﻷوﱃ ﻳﻘﻮل‪" :‬مل‬ ‫ﺗﻜﻦ ﻗﺼﻴﺪيت اﻟﺘﻲ أﻟﻘﻴﺘﻬﺎ أﻣﺎم اﻟﺠﻤﻬﻮر‬ ‫ﺑﺎﻟﻘﺼﻴﺪة اﻟﻄﻮﻳﻠﺔ‪ ،‬ﻓﻠﻢ ﻳﺘﺠﺎوز ﻋﺪد‬ ‫أﺑﻴﺎﺗﻬﺎ اﻟﺘﺴﻌﺔ أﺑﻴﺎت‪ ،‬ﻛﺎﻧﺖ ﻗﺼﻴﺪة‬ ‫وﺟﺪاﻧﻴﺔ‪ ،‬ﺣﻤﻠﺖ أﺑﻴﺎﺗﻬﺎ اﻟﻘﻠﻴﻠﺔ ﺟﻞ ﻣﺎ‬ ‫دار ﰲ ﺧﻠﺪي ﻣﻦ ﻣﺸﺎﻋﺮ‪ ،‬أردﺗﻬﺎ أن ﺗﻜﻮن‬ ‫ﻣﺨﺘﴫة ﻟﻜﻨﻬﺎ ﻛﺎﻓﻴﺔ‪ ،‬ﺟﺰﻟﺔ اﻷﻟﻔﺎظ ﻟﻜﻨﻬﺎ‬ ‫ﻗﻮﻳﺔ‪ ،‬ﺧﻔﻴﻔﺔ ﻋﲆ اﻟﻠﺴﺎن وﺛﻘﻴﻠﺔ اﳌﻌﺎين‪،‬‬ ‫ﺗﻄﺮب ﻟﻬﺎ اﻵذان وﺗﺤﻔﻈﻬﺎ اﻟﺬاﻛﺮة"‪.‬‬ ‫وﻛﺄي ﺗﺠﺮﺑﺔ أوﱃ ﻷي ﺷﺎﻋﺮ‪ ،‬ﻛﺎن ﻫﺰاع‬ ‫ﻣﺘﺨﻮﻓﺎً ﻣﻦ ردة ﻓﻌﻞ اﻟﺠﻤﻬﻮر‪ ،‬ﺧﺼﻮﺻﺎً‬

‫أوﻟﺌﻚ اﳌﺘﺼﻴﺪﻳﻦ ﻟﻸﺧﻄﺎء‪ ،‬ﻳﻘﻮل ﻫﺰاع‪:‬‬ ‫"ﻻ أﺧﻔﻲ ﻋﻠﻴﻚ أن اﻟﺨﻮف ﻣﻦ ردة ﻓﻌﻞ‬ ‫اﻟﺠﻤﻬﻮر متﻠﻜﻨﻲ ﰲ اﻟﺒﺪاﻳﺔ‪ ،‬ﻟﻜﻦ ﺳﻌﺎديت‬ ‫ﻛﺎﻧﺖ ﻻ ﺗﻮﺻﻒ ﳌﺎ رأﻳﺘﻪ ﻣﻦ إﻋﺠﺎب مبﺎ‬ ‫أﻟﻘﻴﺘﻪ‪ ،‬ﻓﻘﺪ ﺗﺪاوﻟﺖ اﻟﻘﺼﻴﺪة ﺑني اﻟﻨﺎس‬ ‫ﺑﺸﻜﻞ ﻛﺒري‪ ،‬واﻧﺘﴩت ﺑﺸﻜﻞ ﻣﻠﻔﺖ‪،‬‬ ‫ﻫﺬا اﻷﻣﺮ أﻛﺪ ﱄ ﺑﺄين أﻣﴚ ﻋﲆ اﻟﻄﺮﻳﻖ‬ ‫اﻟﺼﺤﻴﺢ وﰲ اﻻﺗﺠﺎه اﻟﺼﺤﻴﺢ"‪.‬‬ ‫ﺑﻌﺪ ﻫــﺬا اﻟﻨﺠﺎح اﻷول اﻟﻜﺒري‪ ،‬ﺑﺎت‬ ‫ﻫﺰاع أﻛرث إﴏاراً ﻋﲆ اﳌﴤ ﻗﺪﻣﺎً ﰲ‬ ‫ﻫﺬا اﻟﻔﻀﺎء اﻟﺮﺣﺐ‪ ،‬ﻓﺎﻧﻜﺐ ﻋﲆ ﺗﻄﻮﻳﺮ‬ ‫ﻗﺪراﺗﻪ‪ ،‬ﺣﻴﺚ ﻳﻘﻮل‪" :‬رﺣﺖ أﻗﺮأ ﻟﻜﺒﺎر‬ ‫اﻟﺸﻌﺮاء‪ ،‬أﺻﺎﺑﻨﻲ ﻧﻬﻢ اﻹﻃﻼع واﳌﻌﺮﻓﺔ‪،‬‬ ‫ﺗﻌﺮﻓﺖ إﱃ ﺑﺤﻮر اﻟﺸﻌﺮ‪ ،‬وﺗﺒﺤﺮت ﰲ‬ ‫ﻗﺴﻢ ﻣﻨﻬﺎ‪ ،‬ﺑﺤﺜﺖ ﻋﻦ ﻗﻮاﰲ ﺻﻌﺒﺔ‪ ،‬وﻋﻦ‬ ‫أﻓﻜﺎر وﺗﺮﻛﻴﺒﺎت ﺟﺪﻳﺪة‪ ،‬وﺣﺮﺻﺖ ﻋﲆ‬ ‫ﻣﻘﺎرﻧﺔ ﻣﺎ ﻟﺪيﱠ ﻣﻦ ﻣﻮﻫﺒﺔ مبﺎ ﻟﺪى ﻏريي‬ ‫ﻣﻦ ﺷﻌﺮاء‪ ،‬ﻓﻜﺎﻧﺖ ﻣﺸﺎرﻛﺘﻲ ﰲ اﳌﺴﺎﺑﻘﺔ‬ ‫اﻟﺸﻌﺮﻳﺔ ﳌﻬﺮﺟﺎن ﺳﻤﻮ اﻟﺸﻴﺦ ﺳﻠﻄﺎن ﺑﻦ‬ ‫زاﻳﺪ اﻟﱰايث‪ ،‬ﺣﻴﺚ ﺗﻨﺎﻓﺴﺖ ﻣﻊ ﻋﺪد ﻛﺒري‬ ‫ﻣﻦ اﻟﺸﻌﺮاء اﻟﻌﺮب ﰲ إﺣﺪى دوراﺗﻬﺎ‪،‬‬ ‫اﻟﺸﻌﺮ ‪baytelshear‬‬ ‫ﺑﻴﺖ ِ‬

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‫‪ ĬńŒ ŝħ‬‬ ‫‪ǽŭŌƉŨǕŌ ƃǿŌƊ Ǜş ǚōƢǔƓ ǚōŵƉǤǘǕ dzǿƉƪƖǕŌ dzǂşōƒǘǕōş ǛǿƋȃōƲǕŌ ƃŽŐ‬‬

‫ﻫﺰاع ﺑﻦ ﺳﻤﺮه‪:‬‬ ‫ﻣﺼﻄﻔﻰ أﺣﻤﺪ‬

‫ﻣﻦ اﳌﻌﺮوف أن ﻟﻮن اﻟﺒﴩة ﻳﻨﺘﻘﻞ‬ ‫ﺑﺎﻟﻮراﺛﺔ‪ ،‬وﻛﺬﻟﻚ ﻫﻮ ﺣﺎل ﻟﻮن‬ ‫اﻟﻌﻴﻨني واﻟﻄﻮل وﺗﻘﺎﺳﻴﻢ اﻟﻮﺟﻪ‪،‬‬ ‫ﻟﻜﻦ ﰲ اﻹﻣﺎرات ﺣﺘﻰ ﺣﺐ اﻟﺸﻌﺮ‬ ‫وﻧﻈﻤﻪ ﺑﺎت ﺻﻔﺔ وراﺛﻴﺔ‪ ،‬ﻛﻴﻒ ﻻ‪،‬‬ ‫واﻟﺸﻌﺮ ﻗﺪ ﺗﻐﻠﻐﻞ ﰲ ﻗﻠﻮب وﻋﻘﻮل‬ ‫اﻹﻣﺎراﺗﻴني‪ ،‬ﺣﺘﻰ أﺻﺒﺢ ﻛﺎﻟﺪم ﻳﺠﺮي‬ ‫ﰲ ﻋﺮوﻗﻬﻢ‪ ،‬ﺣﺘﻰ ﺑﺘﻨﺎ ﻧﺮى ﻛﻞ أﺑﻨﺎء‬ ‫دار زاﻳﺪ ﻣﺤﺒني ﻟﻠﺸﻌﺮ اﻟﺸﻌﺒﻲ‪،‬‬ ‫واﻟﻜﺜريون ﻣﻨﻬﻢ ﻓﺮﺳﺎﻧﺎً ﰲ ﻣﻴﺎدﻳﻨﻪ‬ ‫ﻧﻈ ًام وإﺑﺪاﻋﺎً وإﻟﻘﺎء‪ ،‬وﻣﻦ ﻫﺆﻻء‬ ‫ﻳﻄﻞ ﻋﻠﻴﻨﺎ اﻟﺸﺎﻋﺮ ﻫﺰاع ﺑﻦ ﺳﻤﺮه‪،‬‬ ‫ﻛﺎن ﻟﻨﺎ ﻣﻌﻪ ﻫﺬا اﻟﺤﻮار‪:‬‬

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‫اﻟﻌﺪد ‪ ، 74‬ﻳﻨﺎﻳﺮ ‪2019‬‬

‫‪ɴ‬‬ ‫‪ɶ ǿ ǗǕ ǖȎƫȑŌ‬‬ ‫‪ ǻǕōƒlj ŋŌƉƪƗ džōǜǥǶ Ɖƚǂ‬‬

‫‪dzŽōǾƒǕŌǶ ƈōLjŨşȍŌǶ ǒōǘƫȏŌ ƋljƉǙ ŦŌƈōǙȑŌ‬‬ ‫وﺻﻔﺖ ﺻﺤﻴﻔﺔ »ذي ﺳﻮل ﺗﺎميﺰ«اﻟﻜﻮرﻳﺔ‬ ‫اﻟﺠﻨﻮﺑﻴﺔ‪ ،‬اﻹﻣـــﺎرات ﺑﺄﻧﻬﺎ دوﻟــﺔ ﻋﴫﻳﺔ‬ ‫ودﻳﻨﺎﻣﻴﻜﻴﺔ ﺗﺴﺘﻘﻄﺐ ﻣﺌﺎت اﻵﻻف ﻣﻦ‬ ‫اﻟﺰوار ﺳﻨﻮﻳﺎً‪ .‬وﻧﴩت اﻟﺼﺤﻴﻔﺔ ﺗﻘﺮﻳﺮاً ﺧﺎﺻﺎً‬ ‫ﻋﻦ اﻹﻣﺎرات ﺑﻌﻨﻮان »اﻹﻣﺎرات ﻣﺮﻛﺰ اﻷﻋامل‪،‬‬ ‫اﻻﺑﺘﻜﺎر‪ ،‬اﻟﺴﻴﺎﺣﺔ واﻟﱰﻓﻴﻪ«‪ ،‬وأﻓــﺎدت ﻓﻴﻪ‬ ‫ﺑﺄن اﻟﺪوﻟﺔ ﺑﺎﺗﺖ ﻋﲆ ﺻﺪارة ﻗﺎمئﺔ اﻟﻮﺟﻬﺎت‬ ‫اﳌﻔﻀﻠﺔ ﰲ اﻟﻌﺎمل‪ ،‬وذﻟﻚ ﺑﻔﻀﻞ ﻣﺎ متﺘﻠﻜﻪ ﻣﻦ‬

‫ﺑﻨﻴﺔ ﺗﺤﺘﻴﺔ ﻣﺘﻤﻴﺰة‪ ،‬ﻣﻌﺎمل ﺳﻴﺎﺣﻴﺔ ﺟﺎذﺑﺔ‬ ‫ﺷﺪﻳﺪة اﻟﺘﻨﻮع واﻟرثاء‪ ،‬ﻣﻨﺸﺂت ﻓﺎﺧﺮة‪ ،‬وﻗﺒﻞ‬ ‫ﻛﻞ ذﻟﻚ‪ ،‬ﻣﺴﺘﻮﻳﺎت ﻋﺎﻟﻴﺔ ﻣﻦ اﻷﻣﺎﻧﺔ‪ .‬وأوﺿﺢ‬ ‫اﻟﺘﻘﺮﻳﺮ أن اﻟﺴﻴﺎﺣﺔ ﺗﻌﺪ واﺣﺪة ﻣﻦ أﴎع‬ ‫اﻟﻘﻄﺎﻋﺎت اﻻﻗﺘﺼﺎدﻳﺔ منﻮاً ﰲ اﻹﻣﺎرات‪ ،‬ﺣﺘﻰ‬ ‫ﺻﺎرت اﻟﺪوﻟﺔ ﻣﻦ أﻓﺨﻢ وأرﻗﻰ اﻟﻮﺟﻬﺎت‬ ‫اﻟﺴﻴﺎﺣﻴﺔ ﰲ اﻟﻌﺎمل‪ .‬وﺗﻄﺮق اﻟﺘﻘﺮﻳﺮ ﺑﺎﻟﺘﻔﺼﻴﻞ‬ ‫ﻛﻞ ﻣﻦ‬ ‫إﱃ اﻟﻮﺟﻬﺎت اﻟﺴﻴﺎﺣﻴﺔ واﻟﱰﻓﻴﻬﻴﺔ ﰲ ٍ‬

‫أﺑﻮﻇﺒﻲ‪ ،‬ديب‪ ،‬اﻟﺸﺎرﻗﺔ‪ ،‬رأس اﻟﺨﻴﻤﺔ واﻟﻔﺠرية‪.‬‬ ‫وأﺿــﺎف أن اﻹﻣـــﺎرات مل ﺗﻜﺘﻒ ﺑﺘﻔﻮﻗﻬﺎ‬ ‫اﻟﺴﻴﺎﺣﻲ‪ ،‬وإمنﺎ ﻗﺮرت ﺧﻼل اﻟﺴﻨﻮات اﻷﺧرية‬ ‫أن ﻳﻜﻮن ﻟﻬﺎ إﺳﻬﺎﻣﻬﺎ اﳌﻠﺤﻮظ ﰲ اﻟﺴﺎﺣﺔ‬ ‫اﻟﺜﻘﺎﻓﻴﺔ اﻟﻌﺎﳌﻴﺔ‪ ،‬وﻫﻮ ﻣﺎ ﺗﺠﺴﺪ ﰲ اﻓﺘﺘﺎح‬ ‫ﻣﺘﺤﻒ »اﻟﻠﻮﻓﺮ أﺑﻮﻇﺒﻲ« اﻟﻌﺎم اﳌﺎﴈ‪،‬‬ ‫واﻟﺬي ﻳﻬﺪف ﺑﺼﻔﺔ رﺋﻴﺴﺔ إﱃ ردم اﻟﻔﺠﻮة‬ ‫اﻟﺜﻘﺎﻓﻴﺔ واﻟﻔﻨﻴﺔ ﺑني اﻟﴩق واﻟﻐﺮب‪.‬‬ ‫اﻟﺸﻌﺮ ‪baytelshear‬‬ ‫ﺑﻴﺖ ِ‬

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‫ ‪ ĬŒ ĘěĪ‬‬

‫‪ōǾŵǷǕǷǜLjŨǕŌ ǗǕōƫ ǽƳ DzƃǾƓ 50 ǓƞƳŐ ǛǘƟ dzǾũŌƈōǙŒ‬‬ ‫ﺿﻤﺖ ﻗﺎمئﺔ ﻣﺠﻠﺔ »ﻓــﻮرﺑــﺲ« ﻷﻓﻀﻞ‬ ‫‪ 50‬ﺳﻴﺪة ﰲ اﻟﻌﺎمل ﰲ ﻣﺠﺎل اﻟﺘﻜﻨﻮﻟﻮﺟﻴﺎ‬ ‫‪ ،2018‬ﻧﻮر ﺳﻮﻳﺪ ﻣﻦ اﻹﻣــﺎرات‪ ،‬ﻟﺘﻜﻮن‬ ‫ﺑﺬﻟﻚ اﻟﺴﻴﺪة اﻟﻌﺮﺑﻴﺔ اﻟﻮﺣﻴﺪة اﻟﺘﻲ ﺿ ّﻤﺘﻬﺎ‬ ‫اﻟﻘﺎمئﺔ‪ .‬وﻗﺎﻟﺖ اﳌﺠﻠﺔ‪» :‬ﻛﻮﻧﻬﺎ واﺣﺪة ﻣﻦ‬ ‫أﺑﺮز اﳌﺴﺎﻫﻤني ﰲ اﳌﺸﺎرﻳﻊ اﻻﺳﺘﺜامرﻳﺔ‬ ‫ﰲ ﻣﻨﻄﻘﺔ اﻟﴩق اﻷوﺳﻂ وﺷامل أﻓﺮﻳﻘﻴﺎ‪،‬‬ ‫ﺗﺤﻈﻰ ﻧﻮر ﺑﺪرﺟﺔ ﻣﻦ اﻻﻣﺘﻴﺎز واﻟﺘﻔﺮد ﰲ‬

‫أﻋﻘﺎب إﻧﺠﺎزاﺗﻬﺎ اﳌﺘﻼﺣﻘﺔ ﻛﺴﻴﺪة ﺗﻌﻤﻞ‬ ‫ﰲ ﺻﻨﺎﻋﺔ ﻳﻬﻴﻤﻦ ﻋﻠﻴﻬﺎ اﻟﺮﺟﺎل‪ .‬وﻫﻲ ﺗﺪﻳﺮ‬ ‫ﺣﺎﻟﻴﺎً ﻣﴩوﻋﺎً اﺳﺘﺜامرﻳﺎً ﺑﺎﻋﺘﺒﺎرﻫﺎ ﻣﺆﺳﺲ‬ ‫ﴍﻛﺔ ﺟﻠﻮﺑﺎل ﻓﻴﻨﴩز وﻣﻘﺮﻫﺎ ﺑﺪيب«‪ .‬ﻛام‬ ‫ﺣﻘﻘﺖ إﻧﺠﺎزاً ﺗﺎرﻳﺨﻴﺎً ﺑﺎﻋﺘﺒﺎرﻫﺎ أول اﻣﺮأة‬ ‫ﺗﻘﻮد ﻋﻤﻠﻴﺔ اﻛﺘﺘﺎب أوﱄ ﻋﺎم ﰲ اﳌﻨﻄﻘﺔ‪،‬‬ ‫ﻋﻨﺪﻣﺎ أدرﺟﺖ ﴍﻛﺔ ﻣﻘﺎوﻻت اﻟﺪﻳﻜﻮر‬ ‫»دﻳﺒﺎ اﳌﺤﺪودة« ﰲ ﺑﻮرﺻﺔ ﻟﻨﺪن وﺑﻮرﺻﺔ‬

‫ﻧﺎﺳﺪاك ديب‪ .‬وﺷﻐﻠﺖ ﻧﻮر ﺳﺎﺑﻘﺎً ﻣﻨﺼﺐ‬ ‫ﻛﺒري ﻣﻮﻇﻔﻲ اﻻﺳﺘﺜامر ﰲ ﻣﺆﺳﺴﺔ ديب‬ ‫ﻟﻠﻤﺴﺘﻘﺒﻞ‪ ،‬واﻟﴩﻳﻚ اﳌﺆﺳﺲ ﻟﴩﻛﺔ »ﻟﻴﺐ‬ ‫ﻓﻴﻨﺘﴩز«‪ .‬ﺑﺎﻹﺿﺎﻓﺔ إﱃ ذﻟﻚ‪ ،‬أﺳﺴﺖ أﻛﱪ‬ ‫ﺳﻠﺴﻠﺔ ﻣﻦ اﺳﺘﻮدﻳﻮﻫﺎت اﻟﻴﻮﺟﺎ واﻟﺒﻴﻼﺗﺲ‬ ‫ﰲ اﻟﴩق اﻷوﺳــﻂ واﻟﺘﻲ ﺑﺎﻋﺘﻬﺎ ﰲ ﻋﺎم‬ ‫‪ .2014‬وﺗﺤﻤﻞ ﺷﻬﺎدة ﻣﺎﺟﺴﺘري ﰲ إدارة‬ ‫اﻷﻋامل ﻣﻦ ﻣﻌﻬﺪ ﻣﺎﺳﺎﺗﺸﻮﺳﺘﺲ‪.‬‬

‫‪mƊōǾŨŵŌ} ųǙōǝƉş ǛǙ ǻǕǶȏŌ dzǔŽƉǘǕŌ ǁǔƢũ dzǾşƉŨǕŌ DzƈŌƊǶ‬‬ ‫أﻃﻠﻘﺖ وزارة اﻟﱰﺑﻴﺔ واﻟﺘﻌﻠﻴﻢ اﳌﺮﺣﻠﺔ اﻷوﱃ ﻣﻦ ﺑﺮﻧﺎﻣﺞ »اﺟﺘﻴﺎز«‬ ‫ﻟﻠﻄﻠﺒﺔ اﳌﻠﺘﺤﻘني ﺑﺎﻟﺨﺪﻣﺔ اﻟﻮﻃﻨﻴﺔ‪ ،‬وﺗﺴﺘﻬﺪف اﳌﺮﺣﻠﺔ اﻷوﱃ‬ ‫اﻟﻄﻠﺒﺔ اﻟﺬﻳﻦ مل ﻳﺤﻘﻘﻮا درﺟﺎت اﺟﺘﻴﺎز اﻟﺼﻒ ‪ 12‬ﰲ اﻟﻌﺎم‬ ‫اﻷﻛﺎدميﻲ ‪ ،2018 - 2017‬ومبﻮﺟﺐ اﻟﱪﻧﺎﻣﺞ ﻳﺒﺪأ ﺗﻨﻔﻴﺬ اﻣﺘﺤﺎﻧﺎت‬ ‫ﻣﺮﻛﺰﻳﺔ إﻟﻜﱰوﻧﻴﺔ‪ ،‬وﻳﺸﻤﻞ اﻟﺘﻄﺒﻴﻖ ‪ 453‬ﻃﺎﻟﺒﺎً ﰲ ﻣﻮاد دراﺳﻴﺔ‬ ‫ﻣﺨﺘﻠﻔﺔ ‪ ،‬وﺗﺴﺘﻤﺮ اﻻﻣﺘﺤﺎﻧﺎت ﻣﻦ ‪ 6‬ﺣﺘﻰ ‪13‬ﻳﻨﺎﻳﺮ‪ ،‬وﺗﻌﻘﺪ ﰲ ‪4‬‬

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‫اﻟﻌﺪد ‪ ، 74‬ﻳﻨﺎﻳﺮ ‪2019‬‬

‫ﻣﺮاﻛﺰ ﺑﺄﺑﻮﻇﺒﻲ واﻟﻌني واﻟﻈﻔﺮة وﻋﺠامن‪ .‬وﺣﺪدت اﻟﻮزارة أﺳﺴﺎً‬ ‫ﻟﻠﺘﻄﺒﻴﻖ ﻫﻲ‪ :‬إﻟﺰاﻣﻴﺔ اﻟﱪﻧﺎﻣﺞ ﻟﻠﻄﻠﺒﺔ اﳌﻮاﻃﻨني ﻣﺴﺘﻬﺪﰲ اﻟﺨﺪﻣﺔ‬ ‫اﻟﻮﻃﻨﻴﺔ‪ ،‬وﻣﻨﺢ اﻟﻄﻠﺒﺔ ﺻﻼﺣﻴﺔ اﺳﺘﺨﺪام اﻟﻨﻈﺎم اﻹﻟﻜﱰوين‬ ‫»‪ «LMS‬ﻟﻠﺘﺪ ّرب ﻋﲆ اﻟﺘﻌ ّﻠﻢ واﻟﺘﻘﻴﻴﻢ اﻟﺬايت‪ .‬وﺳﻴﺤﺪد ﻟﺘﻠﻚ‬ ‫اﻻﻣﺘﺤﺎﻧﺎت ﻣﺮاﻛﺰ اﺧﺘﺒﺎرات ﻋﺎﻣﺔ‪ ،‬وﻳﺸﱰط ﺗﺤﻘﻴﻖ درﺟﺔ اﻻﺟﺘﻴﺎز‬ ‫ﰲ ﺟﻤﻴﻊ اﳌﻮاد‪ ،‬ﻟﻼﻧﺘﻘﺎل ﳌﺮﺣﻠﺔ اﻟﺘﻌﻠﻴﻢ اﻟﻌﺎﱄ‪.‬‬

‫‪ ƃǿŌƊ Ǜş ǚōƢǔƓ‬‬ ‫ ‪ ǓǾƛŐ ǽũŌƈōǙŒ ųǤǝǶ ƃǿŌƊ ŪƈŒ ŻǙōƒŨǕŌ‬‬ ‫ّمثﻦ ﺳﻤﻮ اﻟﺸﻴﺦ ﺳﻠﻄﺎن ﺑﻦ زاﻳﺪ آل‬ ‫ﻧﻬﻴﺎن ﻣﻤﺜﻞ ﺻﺎﺣﺐ اﻟﺴﻤﻮ رﺋﻴﺲ‬ ‫اﻟﺪوﻟﺔ‪ ،‬إﻋــﻼن ﺻﺎﺣﺐ اﻟﺴﻤﻮ اﻟﺸﻴﺦ‬ ‫ﺧﻠﻴﻔﺔ ﺑﻦ زاﻳﺪ آل ﻧﻬﻴﺎن رﺋﻴﺲ اﻟﺪوﻟﺔ‪،‬‬ ‫ﺣﻔﻈﻪ اﻟﻠﻪ‪ ،‬ﻋﺎم ‪ 2019‬ﻋﺎﻣﺎً ﻟﻠﺘﺴﺎﻣﺢ‪،‬‬ ‫ﻣﺆﻛﺪاً ﺳﻤﻮه‪» :‬أن اﻟﺘﺴﺎﻣﺢ واﳌﺤﺒﺔ‬ ‫وﻓﻬﻢ اﻵﺧﺮ إرث اﻟﻮاﻟﺪ اﻟﻘﺎﺋﺪ اﳌﺆﺳﺲ‬ ‫اﻟﺸﻴﺦ زاﻳﺪ ﺑﻦ ﺳﻠﻄﺎن آل ﻧﻬﻴﺎن‪ ،‬ﻃﻴﺐ‬ ‫اﻟﻠﻪ ﺛﺮاه‪ ،‬وﻧﻬﺞ إﻣﺎرايت أﺻﻴﻞ«‪.‬‬ ‫وﻗﺎل ﺳﻤﻮه ﺑﻬﺬه اﳌﻨﺎﺳﺒﺔ‪» :‬إن اﻹﻣﺎرات‬ ‫ﺑﻬﺬا اﻹﻋــﻼن اﻹﻧﺴﺎين ﺗﺆﻛﺪ ﻣﺮة ﺑﻌﺪ‬ ‫أﺧﺮى‪ ،‬أﻧﻬﺎ وﻃﻦ اﻹﻧﺴﺎﻧﻴﺔ واﻟﺘﻌﺎﻳﺶ‬

‫واﻻﻧﻔﺘﺎح ﻋﲆ اﻵﺧﺮ‪ ،‬ﻣﻀﻴﻔﺎً أن إﻋﻼن‬ ‫ﺻﺎﺣﺐ اﻟﺴﻤﻮ رﺋﻴﺲ اﻟﺪوﻟﺔ ﻋﺎم ‪2019‬‬ ‫ﻋﺎﻣﺎً ﻟﻠﺘﺴﺎﻣﺢ ﻫﻮ ﺗﺮﺟﻤﺔ ﻟﻨﻬﺞ اﳌﻐﻔﻮر‬ ‫ﻟﻪ‪ ،‬ﺑﺈذن اﻟﻠﻪ‪ ،‬اﻟﺸﻴﺦ زاﻳﺪ ﺑﻦ ﺳﻠﻄﺎن آل‬ ‫ﻧﻬﻴﺎن‪ ،‬رﺣﻤﻪ اﻟﻠﻪ‪ ،‬وﺗﺄﻛﻴﺪ ﻋﲆ أن إﻣﺎرات‬ ‫اﻟﺨري ﺳﺎﺋﺮة ﻋﲆ ﻣﺒﺎدئ ﺳﺎﻣﻴﺔ ﺗﻘﻮم ﻋﲆ‬ ‫ﻣﺪ ﺟﺴﻮر اﳌﺤﺒﺔ واﻟﺴﻼم ﻣﻊ ﻣﺨﺘﻠﻒ‬ ‫ﺷﻌﻮب اﻟﻌﺎمل«‪.‬‬ ‫وأﻛﺪ ﺳﻤﻮ اﻟﺸﻴﺦ ﺳﻠﻄﺎن ﺑﻦ زاﻳﺪ آل‬ ‫ﻧﻬﻴﺎن‪ » :‬اﻟﺘﺴﺎﻣﺢ ﺛﻘﺎﻓﺔ إﻣﺎراﺗﻴﺔ ﻣﺘﺠﺬرة‬ ‫ﰲ ﻧﻔﻮس أﺑﻨﺎء دوﻟﺔ اﻹﻣــﺎرات اﻟﻌﺮﺑﻴﺔ‬ ‫اﳌﺘﺤﺪة‪ ،‬اﻟﺘﺰاﻣﺎً ﺑﻘﻴﻢ ﻋﺮﺑﻴﺔ ﺛﺎﺑﺘﺔ وﺗﻌﺎﻟﻴﻢ‬

‫اﻟﺪﻳﻦ اﻟﺤﻨﻴﻒ‪ ،‬وﺗﻌﺰز ذﻟﻚ وﺗﺆﻛﺪه أﻃﺮ‬ ‫ﻗﺎﻧﻮﻧﻴﺔ ﻋﺎدﻟﺔ ﺗﺤﻘﻖ اﳌﺴﺎواة وﺗﻨﺒﺬ‬ ‫اﻟﻌﻨﻒ واﻟﺘﻄﺮف واﻟﻜﺮاﻫﻴﺔ‪ ،‬ﻣﺸرياً ﺳﻤﻮه‬ ‫ﰲ ﻫﺬا اﻟﺼﺪد إﱃ ﺗﻌﺎﻳﺶ أﻛرث ﻣﻦ ‪200‬‬ ‫ﺟﻨﺴﻴﺔ ﻣﻦ ﻣﺨﺘﻠﻒ اﻟﺒﻠﺪان واﻟﺪﻳﺎﻧﺎت‬ ‫واﻷﻋﺮاق ﻛﺄﴎة واﺣﺪة ﻣﺘﺤﺎﺑﺔ ﰲ ﻇﻞ‬ ‫إﻣﺎراﺗﻨﺎ اﻟﺤﺒﻴﺒﺔ«‪.‬‬

‫‪ ƃǿŌƊ Ǜş ǚŌƃǘŽ‬‬

‫‪ŦŌƃƫōƒǘǕŌ ǗǿƃǂŨǕ dzǾǝōƒǝȑŌ ȀƂōŞǘǕōş dzǙƋŨǔǙ ŦŌƈōǙȑŌ‬‬ ‫أﻛﺪ ﺳﻤﻮ اﻟﺸﻴﺦ ﺣﻤﺪان ﺑﻦ زاﻳﺪ آل ﻧﻬﻴﺎن‬ ‫ﻣﻤﺜﻞ ﺣﺎﻛﻢ أﺑﻮﻇﺒﻲ ﰲ ﻣﻨﻄﻘﺔ اﻟﻈﻔﺮة‬ ‫رﺋﻴﺲ ﻫﻴﺌﺔ اﻟﻬﻼل اﻷﺣﻤﺮ اﻹﻣــﺎرايت‪ ،‬أن‬ ‫دوﻟﺔ اﻹﻣــﺎرات وﺑﺘﻮﺟﻴﻬﺎت ﻣﻦ ﺻﺎﺣﺐ‬ ‫اﻟﺴﻤﻮ اﻟﺸﻴﺦ ﺧﻠﻴﻔﺔ ﺑﻦ زاﻳﺪ آل ﻧﻬﻴﺎن‬ ‫رﺋﻴﺲ اﻟــﺪوﻟــﺔ »ﺣﻔﻈﻪ اﻟــﻠــﻪ«‪ ،‬ودﻋــﻢ‬ ‫ﺻﺎﺣﺐ اﻟﺴﻤﻮ اﻟﺸﻴﺦ ﻣﺤﻤﺪ ﺑﻦ راﺷﺪ آل‬ ‫ﻣﻜﺘﻮم‪ ،‬وﻣﺘﺎﺑﻌﺔ ﺻﺎﺣﺐ اﻟﺴﻤﻮ اﻟﺸﻴﺦ‬ ‫ﻣﺤﻤﺪ ﺑﻦ زاﻳﺪ آل ﻧﻬﻴﺎن؛ ﻣﻠﺘﺰﻣﺔ ﺑﺎﳌﺒﺎدئ‬

‫اﻹﻧﺴﺎﻧﻴﺔ اﻟﻌﺎﳌﻴﺔ اﻟﺘﻲ ﻻ ﺗﻔﺮق ﺑني ﻣﺘﻠﻘﻲ‬ ‫اﳌﺴﺎﻋﺪات ﰲ ﻛﻞ ﻣﻜﺎن‪ .‬وﻗﺎل ﺳﻤﻮه‪ :‬إن‬ ‫ﺗﻘﺪﻳﻢ اﳌﺴﺎﻋﺪات ﻣﻦ دون اﺳﺘﺜﻨﺎء ﻳﺠﺴﺪ‬ ‫اﻟﺘﺰام اﻟﺪوﻟﺔ وﻗﻴﺎدﺗﻬﺎ اﻟﺮﺷﻴﺪة ﺑﺮﺳﺎﻟﺘﻬﺎ‬ ‫اﻹﻧﺴﺎﻧﻴﺔ ﺑﻜﻞ ﺗﺠﺮد وﻧﻜﺮان ذات‪ ،‬وﻣﻦ‬ ‫دون اﻟﻨﻈﺮ ﻷي اﻋﺘﺒﺎرات أﺧــﺮى ﺳﻮاء‬ ‫ﻛﺎﻧﺖ ﻋﻘﺎﺋﺪﻳﺔ أو ﻋﺮﻗﻴﺔ أو ﻃﺎﺋﻔﻴﺔ‪ ،‬ﺑﻞ‬ ‫ﺗﻌﺘﱪ أن اﻹﻧﺴﺎن ﻫﻮ اﻹﻧﺴﺎن أﻳﻨام ﻛﺎن‬ ‫واﻟﺤﺎﺟﺔ ﻫﻲ اﳌﻌﻴﺎر اﻟﻮﺣﻴﺪ ﳌﺴﺎﻋﺪﺗﻪ‬

‫واﻟﻮﻗﻮف ﺑﺠﺎﻧﺒﻪ‪ .‬ﺟﺎء ذﻟﻚ ﰲ ﺗﴫﻳﺢ‬ ‫ﻟﺴﻤﻮه مبﻨﺎﺳﺒﺔ إﺻﺪار ﻫﻴﺌﺔ اﻟﻬﻼل اﻷﺣﻤﺮ‬ ‫ﻛﺘﺎﺑﺎً ﺗﻮﺛﻴﻘﻴﺎً ﻋﻦ ﻣﺒﺎدراﺗﻬﺎ ﰲ ﺷامل اﻟﻌﺮاق‬ ‫ﺧﻼل اﻟﺴﻨﻮات اﻟﺨﻤﺲ اﳌﺎﺿﻴﺔ‪.‬‬ ‫اﻟﺸﻌﺮ ‪baytelshear‬‬ ‫ﺑﻴﺖ ِ‬

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‫ ‪ ĬŒ ĘěĪ‬‬

‫‪ ƃǿŌƊ Ǜş ƃǘżǙǶ ƃƗŌƈ Ǜş ƃǘżǙǶ dzƲǾǔƁ‬‬ ‫ ‪ŻǙōƒŨǔǕ dzǾǘǕōƫ dzǘƛōƫ ŦŌƈōǙȑŌ ſǾƓƉŨǕ 2019‬‬ ‫أﻋﻠﻦ ﺻﺎﺣﺐ اﻟﺴﻤﻮ اﻟﺸﻴﺦ ﺧﻠﻴﻔﺔ ﺑﻦ زاﻳﺪ‬ ‫آل ﻧﻬﻴﺎن رﺋﻴﺲ اﻟﺪوﻟﺔ‪ ،‬ﺣﻔﻈﻪ اﻟﻠﻪ‪ ،‬ﻋﺎم‬ ‫‪ 2019‬ﰲ دوﻟﺔ اﻹﻣﺎرات »ﻋﺎﻣﺎً ﻟﻠﺘﺴﺎﻣﺢ«‬ ‫ﻳﺮﺳﺦ دوﻟﺔ اﻹﻣﺎرات ﻋﺎﺻﻤﺔ ﻋﺎﳌﻴﺔ ﻟﻠﺘﺴﺎﻣﺢ‬ ‫وﺗﺄﻛﻴﺪ ﻗﻴﻤﺔ اﻟﺘﺴﺎﻣﺢ ﺑﺎﻋﺘﺒﺎرﻫﺎ ﻋﻤ ًﻼ‬ ‫ﻣﺆﺳﺴﻴﺎً ﻣﺴﺘﺪاﻣﺎً ﻣﻦ ﺧﻼل ﻣﺠﻤﻮﻋﺔ ﻣﻦ‬ ‫اﻟﺘﴩﻳﻌﺎت واﻟﺴﻴﺎﺳﺎت اﻟﻬﺎدﻓﺔ إﱃ ﺗﻌﻤﻴﻖ‬ ‫ﻗﻴﻢ اﻟﺘﺴﺎﻣﺢ واﻟﺤﻮار وﺗﻘﺒﻞ اﻵﺧﺮ واﻻﻧﻔﺘﺎح‬ ‫ﻋﲆ اﻟﺜﻘﺎﻓﺎت اﳌﺨﺘﻠﻔﺔ‪ ،‬ﺧﺼﻮﺻﺎً ﻟﺪى‬

‫اﻷﺟﻴﺎل اﻟﺠﺪﻳﺪة مبﺎ ﺗﻨﻌﻜﺲ آﺛﺎره اﻹﻳﺠﺎﺑﻴﺔ‬ ‫ﻋﲆ اﳌﺠﺘﻤﻊ ﺑﺼﻮرة ﻋﺎﻣﺔ‪ .‬واﻋﺘﱪ ﺻﺎﺣﺐ‬ ‫اﻟﺴﻤﻮ رﺋﻴﺲ اﻟﺪوﻟﺔ أن ﻋﺎم اﻟﺘﺴﺎﻣﺢ ﻫﻮ‬ ‫اﻣﺘﺪاد ﻟـ»ﻋﺎم زاﻳﺪ« ﻛﻮﻧﻪ ﻳﺤﻤﻞ أﺳﻤﻰ‬ ‫اﻟﻘﻴﻢ اﻟﺘﻲ ﻋﻤﻞ اﳌﻐﻔﻮر ﻟﻪ اﻟﺸﻴﺦ زاﻳﺪ ﺑﻦ‬ ‫ﺳﻠﻄﺎن آل ﻧﻬﻴﺎن ﻋﲆ ﺗﺮﺳﻴﺨﻬﺎ ﻟﺪى أﺑﻨﺎء‬ ‫اﻹﻣــﺎرات‪ .‬ﻣﻦ ﺟﻬﺘﻪ ﺷﺪد ﺻﺎﺣﺐ اﻟﺴﻤﻮ‬ ‫اﻟﺸﻴﺦ ﻣﺤﻤﺪ ﺑﻦ راﺷــﺪ آل ﻣﻜﺘﻮم‪ ،‬ﻋﲆ‬ ‫ﴐورة إرﺳﺎء ﻗﻴﻢ اﻟﺘﺴﺎﻣﺢ وﻧﺒﺬ اﻟﺘﻄﺮف‬

‫واﻻﻧﻔﺘﺎح ﻋﲆ اﻟﺜﻘﺎﻓﺎت واﻟﺸﻌﻮب ﻛﺘﻮﺟﻪ‬ ‫ﻣﺠﺘﻤﻌﻲ ﻋﺎم ﺗﻨﺨﺮط ﻓﻴﻪ ﻓﺌﺎت اﳌﺠﺘﻤﻊ‬ ‫ﻛﺎﻓﺔ مبﺎ ﻓﻴﻬﺎ اﻟﻘﻄﺎﻋﺎن اﻟﺤﻜﻮﻣﻲ واﻟﺨﺎص‪.‬‬ ‫وﺑﻬﺬه اﳌﻨﺎﺳﺒﺔ‪ ،‬ﻗﺎل ﺻﺎﺣﺐ اﻟﺴﻤﻮ اﻟﺸﻴﺦ‬ ‫ﻣﺤﻤﺪ ﺑﻦ زاﻳﺪ آل ﻧﻬﻴﺎن‪» :‬إن دوﻟﺔ اﻹﻣﺎرات‬ ‫ﻫﻲ ﻋﻨﻮان اﻟﺘﺴﺎﻣﺢ واﻟﺘﻌﺎﻳﺶ واﻻﻧﻔﺘﺎح‬ ‫ﻋﲆ اﻵﺧﺮ«‪ ،‬ﻣﺆﻛﺪاً أﻫﻤﻴﺔ اﻟﺪور اﻟﺬي ﺗﺆدﻳﻪ‬ ‫اﻟﺪوﻟﺔ ﰲ ﺗﺮﺳﻴﺦ ﻣﻔﺎﻫﻴﻢ اﻟﺘﺴﺎﻣﺢ واﻟﺘﻌﺎﻳﺶ‬ ‫واﻟﺴﻼم ﻟﺪى ﻣﺨﺘﻠﻒ ﺷﻌﻮب اﻟﻌﺎمل‪.‬‬

‫‪ƈōǾǔǙ Ǘǃƈ ƉƳōƒǘǕŌ ǓŞǂŨƒǿ ǽǕǶƃǕŌ ǽşƂ ƈōƢǙ ƃƗŌƈ Ǜş ƃǘżǙ‬‬ ‫ﻗﺎل ﺻﺎﺣﺐ اﻟﺴﻤﻮ اﻟﺸﻴﺦ ﻣﺤﻤﺪ ﺑﻦ راﺷﺪ آل ﻣﻜﺘﻮم ﻧﺎﺋﺐ رﺋﻴﺲ ﰲ اﻟﻌﺎمل ﻳﻌﻤﻞ ﻋﲆ ﻧﻘﻞ اﻟﺒﴩ ﺑﺴﻬﻮﻟﺔ ﻋﱪ اﻟﻘﺎرات واﳌﺤﻴﻄﺎت ‪..‬‬ ‫اﻟﺪوﻟﺔ رﺋﻴﺲ ﻣﺠﻠﺲ اﻟﻮزراء ﺣﺎﻛﻢ ديب‪ ،‬رﻋﺎه اﻟﻠﻪ‪ ،‬إن ﻣﻄﺎر ديب ﻟﺘﺤﻘﻴﻖ أﺣﻼﻣﻬﻢ وﻣﻼﻗﺎة أﺣﺒﺎﺑﻬﻢ واﻛﺘﺸﺎف ﺟامل ﻫﺬا اﻟﻜﻮﻛﺐ‬ ‫اﻟﺪوﱄ اﺳﺘﻘﺒﻞ اﳌﺴﺎﻓﺮ رﻗﻢ ﻣﻠﻴﺎر‪ .‬وأﺿﺎف ﺳﻤﻮه ﻋﱪ ﺳﻠﺴﻠﺔ ﻋﱪ ﻗﺎراﺗﻪ وﻣﺤﻴﻄﺎﺗﻪ"‪.‬‬ ‫ﻣﻦ اﻟﺘﻐﺮﻳﺪات ﻋﱪ ﺣﺴﺎﺑﻪ اﻟﺮﺳﻤﻲ ﰲ ﺗﻮﻳﱰ اﻟﺸﻬﺮ اﳌﺎﴈ‪ ،‬أﻧﻪ‬ ‫"ﻋﻨﺪﻣﺎ ﺗﻜﻮن ديب ﻣﻄﺎراً ﳌﻠﻴﺎر إﻧﺴﺎن‪ ،‬ﻧﻌﺮف أﻧﻨﺎ وﺻﻠﻨﺎ ﳌﺤﻄﺔ‬ ‫ﺟﺪﻳﺪة‪ ..‬وﺑﺪأﻧﺎ رﺣﻠﺔ ﻣﺨﺘﻠﻔﺔ ‪ ..‬وأﻗﻠﻌﻨﺎ ﺑﺎﺗﺠﺎه ﻣﺴﺘﻘﺒﻞ أﺟﻤﻞ‪..‬‬ ‫ﻣﻠﻴﺎر إﻧﺴﺎن اﺗﺨﺬوا ديب وﺟﻬﺔ ﻟﻬﻢ‪ ..‬ﻣﻠﻴﺎر إﻧﺴﺎن ﻛﻨّﺎ ﺟﺰءاً ﻣﻦ‬ ‫ﻗﺼﺘﻬﻢ ‪ ...‬ﻧﺤﻦ ﻣﻄﺎر اﻟﻌﺎمل ووﺟﻬﺘﻪ وﻗﻠﺒﻪ‪ ".‬وﺷﻜﺮ ﺳﻤﻮه ﻓﺮﻳﻖ‬ ‫ﻣﻄﺎر ديب‪ ،‬واﻟﺸﻴﺦ أﺣﻤﺪ ﺑﻦ ﺳﻌﻴﺪ‪ ،‬وﻗﺎل‪" :‬ﻓﺨﺮﻧﺎ ﻻ ﻳﻌﺎدﻟﻪ اﻻ‬ ‫ﺗﻮاﺿﻌﻨﺎ أﻣﺎم اﻹﻧﺠﺎز ‪ ...‬وإﴏارﻧﺎ ﻋﲆ إﻛامل اﻟﺮﺣﻠﺔ ﻛﺄﻓﻀﻞ ﻓﺮﻳﻖ‬

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‫اﻟﻌﺪد ‪ ، 74‬ﻳﻨﺎﻳﺮ ‪2019‬‬

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‫اﻟﻌﺪد ‪ - 74‬ﻳﻨﺎﻳﺮ ‪2019‬‬

‫رﺋﻴﺲ اﻟﺘﺤﺮﻳﺮ‬

‫د‪ /‬ﻋﺒﻴﺪ ﻋﻠﻲ راﺷﺪ اﻟﻤﻨﺼﻮري‬ ‫اﻹﺷﺮاف اﻟﻌﺎم‬

‫زﺑﻦ ﺑﻦ ﻋﻤﻴﺮ‬

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‫‪@zabin2011‬‬ ‫ﻣﺴﺘﺸﺎر اﻟﺘﺤﺮﻳﺮ‬

‫ﻋﻠﻲ اﻟﻤﺴﻌﻮدي‬

‫ﺷﻌﺮاء اﻟﻌﺪد‬

‫‪@allmasoudi‬‬ ‫ﺳﻌﻴﺪ ﺑﻦ ﻃﻤﻴﺸﺎن‬ ‫ﻏﺎزي ﻣﺸﻌﻞ اﻟﺬﻳﺎﺑﻲ‬ ‫ﺳﻠﻄﺎن اﻟﻬﺎﺟﺮي‬ ‫ﻋﺒﺪا‪ Q‬ﺑﻦ ﻧﻮره اﻟﺮاﺷﺪي‬ ‫ﻧﺠﻢ ﺟﺰاع اﻻﺳﻠﻤﻲ‬

‫ﻧﻮاف ﻣﺤﻤﺪ اﻟﺼﺨﺎﺑﺮة‬ ‫ﺳﺎﻟﻢ اﺑﻦ ﺧﺮﻣﺎن اﻟﻌﺠﻤﻲ‬ ‫ﺣﻤﺪة اﻟﻤﺮ‬ ‫ﺳﻴﻒ اﻟﻤﻨﺼﻮري‬ ‫ﻋﺒﺪا‪ Q‬اﻟﺒﻄﺤﺎﻧﻲ‬

‫ﺣﺎﻣﺪ اﻟﻬﺎﺷﻤﻲ‬ ‫ﺷﻮاﻫﻖ ﻧﺠﺪ‬ ‫ﻋﺘﻴﻖ اﻟﻘﺒﻴﺴﻲ‬ ‫ﺧﻤﻴﺲ ﻣﻄﺮ اﻟﻜﺘﺒﻲ‬

‫ﻣﺪﻳﺮ اﻟﺘﺤﺮﻳﺮ‬

‫ﻋﺒﺪا‪ Q‬أﺑﻮﺑﻜﺮ‬ ‫‪@abdabubaker1‬‬ ‫اﻹﺧﺮاج اﻟﻔﻨﻲ & ﺳﻜﺮﺗﺎرﻳﺔ اﻟﺘﺤﺮﻳﺮ‬

‫ﺳﻌﺎد ﺣﺴﻨﺔ‬ ‫‪@HasnaSuad‬‬ ‫ﻣﺴﺆول اﻟﺘﻮزﻳﻊ‬ ‫أﺣﻤﺪ ﻋﺒﺎس‬

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

‫ُﻛ ّﺘﺎب اﻟﻌﺪد‬ ‫د‪/‬ﻋﺒﻴﺪ ﻋﻠﻲ اﻟﻤﻨﺼﻮري‬ ‫ﻋﻠﻲ اﻟﻤﺴﻌﻮدي‬ ‫ﻣﺤﻤﺪ ﻧﻮر اﻟﺪﻳﻦ‬

‫ﺻﻔﻴﺔ اﻟﺸﺤﻲ‬ ‫ﻣﺤﻤﺪ أﺑﻮﻋﺮب‬ ‫د‪/‬ﻳﺎﺳﻴﻦ ﺣﺰﻛﺮ‬

‫ﻋﺰة ﺣﺴﻴﻦ‬ ‫ﻣﺤﻤﺪ ﻋﺒﺪاﻟﺴﻤﻴﻊ‬ ‫ﻣﺼﻄﻔﻰ أﺣﻤﺪ‬

‫ص‪/‬ب ‪ 6420‬أﺑﻮﻇﺒﻲ إ‪/‬ع‪/‬م‬

‫‪baitshir@sbzc.ae‬‬ ‫‪@bait_alshe3r‬‬

‫‪@baytelshear‬‬

‫اﻟﺸﻌﺮ ‪baytelshear‬‬ ‫ﺑﻴﺖ ِ‬

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‫ ‪ ĘŠŝğĨŖŒ‬‬

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‫ﺟﻤﺎﻟﻴﺎت اﻟﺒﺪر ﻓﻲ اﻟﻘﺼﻴﺪة اﻟﺸﻌﺒﻴﺔ ‬ ‫ﻗﺼﺮ اﻟﺤﺼﻦ ‬ ‫ﻳﻔﺘﺘﺢ أﺑﻮاﺑﻪ ﻻﻛﺘﺸﺎف ﺻﻔﺤﺎت ﻣﻦ ﺗﺎرﻳﺦ اﻹﻣﺎرات‬ ‫ﻋﺒﺪ ا‪ Z‬ﺑﻦ رﺑﻴﻌﺔ ﺣﺰن اﻟﻔﺮاق اﻟﻄﻮﻳﻞ‬ ‫ﻣﺤﻤﺪ ﺑﻦ ﺳﻠﻄﺎن اﻟﺪرﻣﻜﻲ وﻓﺘﺎة اﻟﻌﺮب‬ ‫ﻣﺠﺎراة وﻣﻌﺎرﺿﺔ ﻟﻴﺴﺖ ﻓﻲ ﻣﺘﻨﺎول اﻟﺠﻤﻴﻊ!‬ ‫اﺑﻦ ﻗﺮﻣﻠﺔ واﺑﻦ ﺣﻤﻴﺪ ﺣﻜﺎﻳﺔ ﺗﺤﺪﻳﺎت وﺑﻄﻮﻻت‬ ‫»أﻏﺪا أﻟﻘﺎك« ﻗﺼﺔ ﻧﻌﻴﻢ وﻋﺬاب !‬ ‫ً‬ ‫اﻟﺘﺮدﻳﺪ واﻟﺘﻌﺪﻳﺪ ﻓﻲ اﻟﺮﺛﺎء اﻟﻌﺮﺑﻲ اﻟﻘﺪﻳﻢ‬ ‫اﻟﺮﻳﺎﺿﻲ اﻹﻳﻄﺎﻟﻲ ﻳﻮﻧﺎردو ﻓﻴﺒﻮﻧﺎﺗﺸﻲ ‬ ‫َﻗ‪َ m‬ﻠﺐ أوروﺑﺎ رأﺳ ًﺎ ﻋﻠﻰ ﻋﻘﺐ‬

‫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 ‪ ، 74‬ﻳﻨﺎﻳﺮ ‪2019‬‬

‫‪ ŻljƍƴŢ ǃƹƈ ƲŢǃƬŘ ƻƸ‬‬

‫‪ ƺţljǁƼ ƲŖ ſLjŢƄ ƻŦ ƺţƙƵƈ‬‬

‫ﺷﻬﺪﻧﺎ ﻓﻲ اﻟﻌﻘﺪ اﻷﺧﻴﺮ اﻫﺘﻤﺎﻣ ًﺎ واﺳﻌ ًﺎ وﻣﺘﺰاﻳﺪ ًا ﺑﺎﻟﺘﺮاث ﻓﻲ دوﻟﺔ‬ ‫اﻹﻣﺎرات اﻟﻌﺮﺑﻴﺔ اﻟﻤﺘﺤﺪة‪ ،‬وﺟﺎءت اﻟﻜﺜﻴﺮ ﻣﻦ اﻟﻤﺒﺎدرات ﺑﺮﻋﺎﻳﺔ ودﻋﻢ ﺻﺎﺣﺐ‬ ‫اﻟﺴﻤﻮ اﻟﺸﻴﺦ ﺧﻠﻴﻔﺔ ﺑﻦ زاﻳﺪ آل ﻧﻬﻴﺎن رﺋﻴﺲ اﻟﺪوﻟﺔ ﺣﻔﻈﻪ ا‪ ،Z‬ﻟﺘﺸﻴﺮ‬ ‫إﻟﻰ ﺣﺮص ﺳﻤﻮه اﻷﻛﻴﺪ ﻋﻠﻰ اﻟﺘﺮاث‪ ،‬واﻹﻳﻤﺎن ﺑﻤﻜﺎﻧﺘﻪ ودوره ﻓﻲ ﺗﺮﺳﻴﺦ‬ ‫اﻟﻬﻮﻳﺔ اﻟﺠﺎﻣﻌﺔ وﺗﻌﺰﻳﺰ اﻟﻘﻴﻢ اﻷﺻﻴﻠﺔ ‬ ‫اﻟﺸﻌﺮ ‪baytelshear‬‬ ‫ﺑﻴﺖ ِ‬

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‫ ‪¬ũŐŒ ęś‬‬

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‫اﻟﻌﺪد ‪ ، 74‬ﻳﻨﺎﻳﺮ ‪2019‬‬

Ò

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baytelshear ‫اﻟﺸﻌﺮ‬ ِ ‫ﺑﻴﺖ‬

ĮńŒ ŔšŐħ

‫ﺷﻄﻦ ﺑﻲ اﻟﻐﺰﻻﻧﻲ‬ 2¡@@ @ @ @ @ @ ~@ @ @ 6 M b@@ @ @ @ @ £@ @ @ @ @ @< @@ @ @ @ @ @ @ @ @ @ @DR · 2¡@@ @ @ @ @ @ @ @ @ @ @ @ ¸ f@@ @ @ @ @ @ @ @ @ @ @+b@@ @ @ @ @ g@ @ @ @ @ @E ¯ 2¡@@ @ @ ~@ @ @ @|@ @ @ @ @ @ @ @E · h@@ @ @ @ @ @ @ @ @ @ @F °H 2¡@@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ D* v@@ @ @ @ @ @ @ @ @ @ @ @ < É@@ @ @ @ @ @ @ @ @ @ @ @ ~@ @ @ @ @ @ 6 2¡@@ @ @ @ @ @ @ @ @ @ @ @ m@ @ @ @ ´* @@ @ @ @{@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ J · 2¡@@ @ @ @ < f@@ @ @ @ p@ @ @ @ @ @ @ @ @ @ FH M @@ @ @ @ ~@ @ @ @ @ z@ @ @ @ @ EH 2¡@@ @ @ @ @ @ @ @ @ @ ±* b@@ @ @ @ @ @ @ @ ~@ @ @ @ |@ @ @ @ s@ @ @ @ + °(* 2Hv@@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @E @@ @ @ @ @ @ @ @ @ @ @ @ P @ @ @ @ @ @ CN °Q H 2¡@@ @ @ @ @ @ @ @ < M 4v@@ @ @ @ @ @ @ @ @ @ @ @ @BH @@ @ @ @ @ @ @ @ ~@ @ @ @ {@ @ @ @ 0 2¡@@ @ @ @ @ @ @ @ @ @ @m@ @ @ @+ @@ @ @ @ @ @ @ @ @ @ @ @ @ @ BH 42b@@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ + 2H5 @@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ G*4Hb@@ @ @ @ @ @ @ @ @E ¤@@ @ @ @ @ @ @ @ @ @ @ @ D 2¡@@ @ @ @ @ @ @ @ @ @ @ @ @ @ @E @@ @ @ @ @ @ @ @ @ @ @ @ £@ @ @ @ @ @ @ @ ~@ @ @ @ 6 ¯ 2Hv@@ @ @ @ @ @ @ @ @ @ ± Ix@@ @ @ @ @ @~@ @ @ @ @ @ 7 @@ @ @ @ @ @ @ @ @ @ @ @ @ @ @<*H 2¡@@ @ @ @ @ @ @ @ @ @ @ @ @ AHR v@@ @ @ @ @ @ @ @ @m@ @ @ @ @+ ¢@@ @ @ @ @ @ @ @ @p@ @ @ @ @J

¤@@ @ @ @ @ @ @ @ F°y@@ @ @ @ @ @ @ @ D* ¤@@ @ @ @ @ @ @ + @@ @ @ @ @ @Q @ @ @ @ @~@ @ @ @ @ 7 ¤@@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ F*5Q H ¤@@ @ @ @ @ @ @ @ @D¡@@ @ @ @ ~@ @ @ @ @z@ @ @ @ @D* H ¤@@ @ @ @ @ @ @ Fb@@ @ @ £@ @ @ @ @ @ @ @; *5¡@@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ D* @@ @ @ @ @ @ @ @ E ¤@@ @ @ @ @ @ @ @ Fb@@ @ @ @ @ @ @ @ ´* e43 @@ @ @ @ @ @ @ Q @ @ @ @ @ @ @ @ 0H Á*H M ix@@ @ @ @ @ @ ~@ @ @ @ @ @ 7 2*v@@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ <*H ¤@@ @ @ @ @ @ @ @ @ F*x@@ @ @ @ @ @ @ @ @ @ @ @ @ @<5 @@ @ @ @ @ @ @ @ @ @ @ @ -b@@ @ @ @ @ @ Q @ @ @ @ @ @ + ¤@@ @ @ @ @ @ @ Fb@@ @ @ ~@ @ @ @z@ @ @ @F° Æ@@ @ @ @ @ @ p@ @ @ @ @ @ @J b@@ @ @ @ @ @ @ @E ¤@@ @ @ @ @ @ Fb@@ @ @cQ @ @ @ ~@ @ @ {@ @ @ D* b@@ @ @ @ @ @ @ @ @ @ C (* ¤@@ @ @ @ @ @ @ F*y@@ @ @ £@ @ @ @E @@ @ @ @ @ @ @ @ @ @ D @@ @ @ @ @ @ @ @ ~@ @ @ @ {@ @ @ @ D* ¤@@ @ @ @ @ @ Fb@@ @ @c@ @ @ D* eb@@ @ @ @c@ @ @ @ ~@ @ @ @ {@ @ @ @ D* *3b@@ @ @ @ @ @ @ @ @ @ J ¤@@ @ @ @ @ @ @ Fb@@ @ @ @ @ @ @Dv@@ @ @ D* v@@ @ @ @ @ @ @ @ Q @ @ @ @ @ @ @ @ - °H Á*Qv@ @ @ @ @ @ @ @ @ @ @ @D*H ¥2xQ @ @ @ @ @ @ @ @ @ @ @ @ @ @D* Ix@@ @ @ @ @ @ @ @ @ -H ¤@@ @ @ @ @ @ @ @ @ F*5 M h@@ @ @ @ @ @ @ @ @ B¡@@ @ @ @ D x@@ @ @ @ Q @ @ @ @ @~@ @ @ @ @7 Áb@@ @ @ @ @ @ @ @ @:H* eb@@ @ @ @ c@ @ @ @ @~@ @ @ @ @7 ¢@@ @ @ @ ~@ @ @ @ @z@ @ @ @ @<H

ƿƴ ƂǃƩƥƹƴŢ

ƺţljǁƼ ƲŖ ƺţƙƵƈ ƻŦ ſLjŢƄ ŻljƍƴŢ ƾŢƃŰ ņŢ ťljƘ

22019 20 0199 ‫ﻳﻨﺎﻳﺮﺮ‬ ‫ﻳﻨﺎﺎﻳﻳ‬ ‫ ﻳﻨ‬، 74 ‫اﻟﻌﺪد‬ ‫ﻌﺪد‬ ‫ﻟاﻟﻌﺪ‬

4

ŝĸŒ ŝķ

bpJ¡~6 ¯ b@@ @G x@@~@9b@@²* ¤@@~@9b@@´* 4b@@ @ @E @@ @+Hx@@ @ @ @ D* t@@ J4b@@ g@ @D Ä@@ @ @E *¡ < bpJ¡~6 qc~8&* l*ÆD* ~6b+ 4b@@~@ }@ ²* eb@@£@ . ¯ @@B*x@@ @ D* rH4 ‫ﻋﻠﻲ ﺑﻦ ﻧﺎﻳﻒ اﻟﻐﺎﻣﺪي‬

3

baytelshear ‫اﻟﺸﻌﺮ‬ ِ ‫ﺑﻴﺖ‬

‫‪ŘģŮƄǭǩ‬‬ ‫‪Żšĝʺ řś Řģƥǣƒ‬‬ ‫‪ȋˎĝʽņǤĝ‬‬

‫‪13‬‬

‫»ﻳُﺴﻤﺢ ﺑﺎﻟﺼﻮر اﻟﻤﻠﺘﻘﻄﺔ ﻣﻦ ﺟﻤﻴﻊ إﻣﺎرات اﻟﺪوﻟﺔ ﻋﻦ ﺗﺮاث اﻹﻣﺎرات«‬ ‫ﺷﺮوط اﻟﻤﺸﺎرﻛﺔ‪:‬‬

‫ﻃﻮل اﻟﻀﻠﻊ اﻷﻛﺒﺮ ﻟﻠﺼﻮرة ﻻﻳﻘﻞ ﻋﻦ ‪ 3000‬ﻧﻘﻄﺔ ﻟﻜﻞ ﺑﻮﺻﺔ ‬ ‫ﺗﺨﺰن اﻟﺼﻮر ﻋﻠﻰ ﻗﺮص )‪ (CD‬ﺑﺼﻴﻐﺔ ‪ TIFF‬أو ‪ JPEG‬ﺑﺠﻮدة ﻻ ﺗﻘﻞ ﻋﻦ )‪ (300‬ﻧﻘﻄﺔ ﻟﻜﻞ ﺑﻮﺻﺔ ‬ ‫ﻻ ﺗﻘﺒﻞ اﻟﺼﻮر اﻟﺘﻲ ﺗﻢ إﺿﺎﻓﺔ ﺑﻴﺎﻧﺎت ﺣﺮﻓﻴﺔ أو رﻗﻤﻴﺔ إﻟﻴﻬﺎ ‬ ‫اﻟﺼﻮر اﻟﻤﻘﺪﻣﺔ ﻟﻠﻤﺴﺎﺑﻘﺔ ﻳﺠﺐ أن ﻻ ﺗﻜﻮن ﻗﺪ ﻓﺎزت ﻓﻲ ﻣﺴﺎﺑﻘﺎت ﺳﺎﺑﻘﺔ ‬ ‫ﻳﺤﻖ ﻟﻜﻞ ﻣﺸﺘﺮك اﻻﺷﺘﺮاك ﺑﺜﻼث ﺻﻮر ﺑﺤﺪ أﻗﺼﻰ ‬ ‫ﺗﺼﺒﺢ اﻟﺼﻮر اﻟﻔﺎﺋﺰة ﻓﻲ اﻟﻤﺴﺎﺑﻘﺔ ﻣﻦ ﺣﻖ اﻟﻨﺎدي‪ ،‬وﻟﻪ ﺣﻖ اﻟﺘﺼﺮف ﺑﻬﺎ ‬ ‫ﻳﺤﻖ ﻟﻠﻨﺎدي اﺳﺘﺨﺪام اﻟﺼﻮر ﻟﻠﻤﺸﺎرﻛﺔ ﻓﻲ اﻟﻤﻌﺮض ﺑﻌﺪ أﺧﺬ ﻣﻮاﻓﻘﺔ ﺻﺎﺣﺐ اﻟﺼﻮرة ‬ ‫ﺗﻌﺒﺌﺔ اﺳﺘﻤﺎرة اﻟﻤﺸﺎرﻛﺔ ﺑﺨﻂ واﺿﺢ ﻣﻊ ﺻﻮرة ﻣﻦ ﺟﻮاز اﻟﺴﻔﺮ أو ﺑﻄﺎﻗﺔ اﻟﻬﻮﻳﺔ ‬ ‫ﻗﺮارات ﻟﺠﻨﺔ اﻟﺘﺤﻜﻴﻢ ﻧﻬﺎﺋﻴﺔ وﻻ ﻳﺤﻖ اﻟﻄﻌﻦ ﻓﻴﻬﺎ ‬ ‫ﻻ ﻳﺤﻖ ﻟﻤﻮﻇﻔﻲ ﻧﺎدي ﺗﺮاث اﻹﻣﺎرات اﻟﻤﺸﺎرﻛﺔ ﻓﻲ اﻟﻤﺴﺎﺑﻘﺔ ‬ ‫آﺧﺮ ﻣﻮﻋﺪ ﻟﺘﻘﺪﻳﻢ اﻟﻤﺸﺎرﻛﺎت اﻟﺴﺒﺖ اﻟﻤﻮاﻓﻖ ‪ 26/1/2019‬ﻓﻲ ﻣﻘﺮ اﻟﻤﻬﺮﺟﺎن أو ﻧﺎدي ﺗﺮاث اﻹﻣﺎرات‬ ‫أو ﻋﻠﻰ ﺻﻨﺪوق ﺑﺮﻳﺪ ‪ 6420‬أﺑﻮﻇﺒﻲ ‬ ‫ﻳﻤﻜﻦ اﻟﺤﺼﻮل ﻋﻠﻰ اﺳﺘﻤﺎرة اﻟﻤﺸﺎرﻛﺔ ﻋﻦ ﻃﺮﻳﻖ اﻟﻤﻮﻗﻊ اﻻﻟﻜﺘﺮوﻧﻲ ‪www.swaihaan.ae‬‬

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