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ﻳﻤﻜﻨﻜﻢ اﻻﻃﻼع ﻋﻠﻰ أرﺷﻴﻒ ﺟﻤﻴﻊ اﻟﻤﺠﻼت ﻋﺒﺮ اﻟﻤﻮﻗﻊ اﻹﻟﻜﺘﺮوﻧﻲ
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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
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£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 ِ
91
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
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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 ِ
87
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
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baytelshear اﻟﺸﻌﺮ ِ ﺑﻴﺖ
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ĘıĘŕ
ﻧﺼﻴﺤﺔ ﻋﺘﻴﻖ اﻟﻘﺒﻴﺴﻲ
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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 ِ
77
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
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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
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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
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&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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اﻟﻌﺪد ، 74ﻳﻨﺎﻳﺮ 2019
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 ِ
57
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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baytelshear اﻟﺸﻌﺮ ِ ﺑﻴﺖ
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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* °
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2019 ﻳﻨﺎﻳﺮ، 74 اﻟﻌﺪد
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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 ِ
53
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 ِ
51
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 ِ
49
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
@@ @ E*v@@ @ @ @ @D* @@ @ @ @ @ @6*4 ¯ ix@@ @ @~@ @ @ 8 b@@ @ @ E Í@@ @ @ D @@ @ @ E*x@@ @ @ E @@ @ ~@ @ @|@ @ @0 b@@ @ @ @ @E *4 b@@ @ @ @ @E @@ @ @ @ @C @@ @ @ E*x@@ @ @ @ @ @ @D* x@@ @ @ @ @ @ @ @ Db@@ @ @ @+ Hv@@ @ @ @ @ @ @ @ - @@ @ @ @ @ @ @D @@ @ @E*v@@ @ @F ¯ x@@ @ @ @ @ @ @ @ < Í@@ @ @ @ @~@ @ @6 h@@ @ @ @ @ @ @ @0*4 @@ @ @EÉ@@ @ @´* @@ @ @ -v@@ @ @ < d@@ @ @ @ @ @ B b@@ @ @ @ J h@@ @ @ @ @ @F* H @@ @Eb@@ @ @ @ ~@ @ 6 ¤@@ @ @ @ @+¡@@ @ ~@ @ @|@ @ @- @@ @ @ @ @c@ @ @F h@@ @ @ @ @ @ @ F*H @@ @ @Eb@@ @ @£@ @ @ @ @ @ D* ¡@@ @ @ @ £@ @ @ @ @ D @@ @ @ @ @ c@ @ @ @ @ @0&* @@ @ @ @ @ @ @ @ D @@ @ E*v@@ @ @ @ @F*H @@ c@ @ @ @B @@ @ 6b@@ @ ~@ @ @z@ @ @0*H h@@ @ @ @ @F*H @@ @ Eb@@ @ ~@ @ @z@ @ @g@ @ @+°* h@@ @ @ @ +b@@ @ @ @ =H ¤@@ @ @ @ @ @ < h@@ @ @c@ @ @ = @@ @EÉ@@ @~@ @ z@ @ D* b@@ @ @ @ @ E b@@ @ @ @ J @@ @g@ @ c@ @ £@ @ = @@ @ @£@ @ @ D @@ @ Eb@@ @ @ @ = °* @@ @ £@ @ @c@ @ @~@ @ @7 ¤@@ @ @ @ @£@ @ @ @ @ @D b@@ @ @ @ @E @@ @ @ @ E*x@@ @ @ @ CH d@@ @ @ @ @0 @@ @ @g@ @ @ £@ @ @ / x@@ @ @ @ @ @ @ @ g@ @ @ @ F*H @@ @ EÉ@@ @ < @@ @ @ @-b@@ @ @ @EÉ@@ @ @ @< @@ @ @ @ @E @@ @ @ @ @ @ @+b@@ @ @ E @@EÉ@@ @ @ @D @@ @6b@@ @ @ @ D* @@ @ @~@ @{@ @- @@ @ @E h@@ @ @ @F* H @@ @Eb@@ @~@ @ z@ @ g@ @ +°* h@@ @ @ +b@@ @ @ = H ¤@@ @ @ @ @ < h@@ @ c@ @ @ =
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baytelshear اﻟﺸﻌﺮ ِ ﺑﻴﺖ
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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:
44
اﻟﻌﺪد ، 74ﻳﻨﺎﻳﺮ 2019
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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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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
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baytelshear اﻟﺸﻌﺮ ِ ﺑﻴﺖ
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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
28
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 ِ
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¥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
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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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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
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ƿƴ ƂǃƩƥƹƴŢ
ƺţljǁƼ ƲŖ ƺţƙƵƈ ƻŦ ſLjŢƄ ŻljƍƴŢ ƾŢƃŰ ņŢ ťljƘ
22019 20 0199 ﻳﻨﺎﻳﺮﺮ ﻳﻨﺎﺎﻳﻳ ﻳﻨ، 74 اﻟﻌﺪد ﻌﺪد ﻟاﻟﻌﺪ
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ŝĸŒ ŝķ
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baytelshear اﻟﺸﻌﺮ ِ ﺑﻴﺖ
ŘģŮƄǭǩ Żšĝʺ řś Řģƥǣƒ ȋˎĝʽņǤĝ
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»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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