bayt alshier_75_FEB_2019 بيت الشعر فبراير by SBZC Mags

ąĸ~ąòĠ īöĂĩ~ ăĤĪĩ óĹĭĩïěĩ~ ðĸ ĵñ óĸąģ ķĭĈąĩ~ Ĩģïİĩ~

ĵĹĉĹíąĩ~ ïĚąĩ~

ĵĹĬŁĚľ~ ïĚąĩ~

ī Ĺ Ę İ õ

ĵĭĚ~ăĩ~

ĵĹüĹõ~ąöĈŀ~ ĵĭĚ~ăĩ~

ţŴİĤ

ĚżĸŴĴřťŤ ĴĽŐ ĢŤĔġŤē ŽŤŴİŤē ūĔżŲŬ ţć İŻēĵ ŮĖ ūĔŉťĸ ĮżĽŤē ŵũĸ ūĔĤĴŲŨ ŦũĩĝŤēŴ ęĳİŝŤē ĕŵŠĳ

ŪĝĭŤē ęĳİŝťŤ ĚżũŤĔőŤē ĘŻıŵĖ ĚŻĴŜ 2019 ĴŻēĴėŘ 16 13

śĔƸƸėĹŤē

ĞƸƸżŜŵƸƸĝŤē

ĮŻĳĔƸƸƸĝŤē

ūĔĤĴŲũŤē ěĔżŤĔőŘ ŮŐ ūǙŐǟŤ ŽřĩŁŤē ĴũĜČũŤē

11:30 - 10:30

ĆĔĠǙġŤē 2019/2/6

ęĳİŝťŤ İŻēĵ ŮĖ ūĔŉťĸ ĮżĽŤē ŵũĸ ūĔĤĴŲũŤ ĘĨĔŁũŤē ĴũĜČũťŤ ŦżĥĹĝŤē

09:15 - 08:30

ęĳİŝťŤ İŻēĵ ŮĖ ūĔŉťĸ ĮżĽŤē ŵũĸ ūĔĤĴŲũŤ ĘĨĔŁũŤē ęĳİŝŤē ĴũĜČŨ ĆİĖ

11:30 - 09:30

ěēİżĹťŤ ŽťĩŨ ŪŠ 100.91 śĔėĹŤ źĴŉƸżƸėƸŤē łĩřŤē

14:00

ħŵĝřŨ ŽŤŴį ŪŠ 242.15 śĔėĹŤ źĴŉżėŤē łĩřŤē

15:00

ŪŠ 80.84 ţŴǜē ŧŵżŤē ŧĔŻĉ ĚĠǙĠ ŹťŐ ŪŠ 242.15 śĔėĸ śǙŉŬē

06:15

ěēİżĹťŤ ŽťĩŨ ŪŠ 100.91 śĔėĸ śǙŉŬē

06:45

ĚŀĔĭŤē ĚżšťũŤē ěēı ţŵżĭťŤ ŽťĩŨ ŪŠ 100.91 śĔėĹŤ źĴŉƸżƸėƸŤē łĩřŤē

14:30

ħŵĝřŨ ŽŤŴį ŪŠ 242.15 śĔėĹŤ źĴŉżėŤē łĩřŤē

05:30

ŪŠ 80.84 ŽŬĔġŤē ŧŵżŤē ŧĔŻĉ ĚĠǙĠ ŹťŐ ŪŠ 242.15 śĔėĸ śǙŉŬē

06:15

ĚŀĔĭŤē ĚżšťũŤē ěēı ţŵżĭťŤ ŽťĩŨ ŪŠ 100.91 śĔėĸ śǙŉŬē

06:15

ŪŠ 80.57 śĔėĹŤ źĴŉƸżƸėƸŤē łĩřŤē ŽťżűĊĜ ŽŤŴį

14:30

ŪŠ 120.27 śĔėĹŤ źĴŉżėŤē łĩřŤē ŮżđļĔŭŤēŴ ĕĔėĽťŤ ŽŤŴį

15:00

ŪŠ 20 ĚŘĔĹũŤ ĚżũżťőĝŤē ĘŻıŵĖ ĚżũŻįĔŠĉ ĚŤŵĥŤ ŽėŉŤē łĩřŤē

08:30

ŪŠ 20 ĚŘĔĹũŤ ĚżũżťőĝŤē ĘŻıŵĖ ĚżũŻįĔŠĉ ĚŤŵĤ śǙŉŬē

09:00

ħŵĝřŨ ŽŤŴį ŪŠ 242.15 śĔėĹŤ źĴŉżėŤē łĩřŤē

05:30

ŪŠ 80.47 ĢŤĔġŤē ŧŵżŤē ŧĔŻĉ ĚĠǙĠ ŹťŐ ŪŠ 242.15 śĔėĸ śǙŉŬē

06:15

ŮżđļĔŭŤēŴ ĕĔėĽťŤ ŽŤŴį ŪŠ 120.27 śĔėĸ śǙŉŬē

06:15

ŽťżűĊĜ ŽŤŴį ŪŠ 80.57 śĔėĸ śǙŉŬē

07:00

ŪŠ 40 ĚŘĔĹũŤ ĚżũżťőĝŤē ĘŻıŵĖ ĚżũŻįĔŠĉ ĚŤŵĥŤ ŽėŉŤē łĩřŤē

08:30

ŪŠ 40 ĚŘĔĹũŤ ĚżũżťőĝŤē ĘŻıŵĖ ĚżũŻįĔŠĉ ĚŤŵĤ śǙŉŬē

09:00

‫ﺑﻴﻴﺖ‬ baytelshear ba ayteelsheaar ‫اﻟﺸﻌﻌﺮ‬ ِ ‫ﺑﻴﺖ‬

ĆĔőĖĳǜē 2019/2/13

ĺżũĭŤē 2019/2/14

ĚőũĥŤē 2019/2/15

ĞėĹŤē 2019/2/16

‫ ‪ ĮšĪ‬‬

‫د ﻋﺒﻴﺪ ﻋﻠﻲ راﺷﺪ اﻟﻤﻨﺼﻮري‬

‫ﺳﻮﻳﺤﺎن‪ ..‬‬

‫‪ǢƈǷƛ ǻǤşŐ ǽƳ ōǜŭŌƉũ‬‬ ‫اﺧﺘُﺘﻤﺖ ﻓﻌﺎﻟﻴﺎت ﻣﻬﺮﺟﺎن ﺳﻠﻄﺎن ﺑﻦ زاﻳﺪ اﻟﱰايث ‪ ،2019‬وﺳﻂ أﺟﻮاء اﺣﺘﻔﺎﻟﻴﺔ راﺋﻌﺔ‬ ‫وﺧﺎﺻﺔ ﺟﺪاً ﻫﺬا اﻟﻌﺎم‪ ،‬ﻓﺎﻟﻨﺠﺎح اﻟﺬي ﺗﺤﻘﻖ ﻓﺎق اﻟﺘﻮﻗﻌﺎت‪ ،‬وﻛﻞ ذﻟﻚ ﺟﺎء ﺑﻔﻀﻞ دﻋﻢ‬ ‫ورﻋﺎﻳﺔ ﺳﻴﺪي ﺳﻤﻮ اﻟﺸﻴﺦ ﺳﻠﻄﺎن ﺑﻦ زاﻳﺪ آل ﻧﻬﻴﺎن ﻣﻤﺜﻞ ﺻﺎﺣﺐ اﻟﺴﻤﻮ رﺋﻴﺲ اﻟﺪوﻟﺔ‬ ‫ﺣﻔﻈﻪ اﻟﻠﻪ‪ .‬اﻟﺬي أراد ﻟﻬﺬا اﳌﻬﺮﺟﺎن أن ﻳﻮاﺻﻞ ﺗﺤﻘﻴﻖ اﻟﻨﺘﺎﺋﺞ اﳌﺮﺟﻮة ﻋﺎﻣﺎً ﺑﻌﺪ ﻋﺎم‪،‬‬ ‫ﻓﻜﺎن ﻟﻪ ﻣﺎ أراد‪ ،‬إﱃ أن وﺻﻞ ﻣﻬﺮﺟﺎن ﺳﻤﻮه إﱃ ﻫﺬه اﳌﻜﺎﻧﺔ اﳌﻬﻤﺔ واﳌﺮﻣﻮﻗﺔ اﻟﺘﻲ‬ ‫رأﻳﻨﺎﻫﺎ ﻋﲆ ﻣﺪار أﺳﺒﻮﻋني‪ ،‬وﺻﺎر ﻳﺸﻬﺪ ﻟﻬﺎ اﻟﻴﻮم ﺟﻤﻴﻊ اﳌﺘﺎﺑﻌني ﻣﻦ ﻛﻞ ﻣﻜﺎن‪.‬‬ ‫اﺧﺘُﺘﻤﺖ اﻟﻔﻌﺎﻟﻴﺎت‪ ،‬ﻟﻜﻦ ﻫﻨﺎك ﺳرية ﺟﺪﻳﺪة ﻣﻦ اﻟﻨﺠﺎﺣﺎت ﻗﺪ ﺑﺪأت‪ ،‬وإن ﺷﺎء اﻟﻠﻪ‬ ‫ﻟﻦ ﺗﻨﺘﻬﻲ‪ ،‬ﻓﻤﻊ ﻛﻞ ﺧﻄﻮة ﻛﻨﺎ ﻧﻘﻄﻊ ﻣﺴﺎﻓﺔ ﺟﺪﻳﺪة‪ ،‬ﻟﻠﻮﺻﻮل إﱃ اﻷﻣﺎم‪ ،‬وإﱃ ﻣﺰﻳﺪ ﻣﻦ‬ ‫اﻟﺘﻘﺪم‪ ،‬ﺗﻨﻔﻴﺬاً ﻟﺘﻮﺟﻴﻬﺎت ﺳﻤﻮ اﻟﺸﻴﺦ ﺳﻠﻄﺎن ﺑﻦ زاﻳﺪ آل ﻧﻬﻴﺎن راﻋﻲ اﳌﻬﺮﺟﺎن ورﺟﻞ‬ ‫اﻟﱰاث اﻷول‪.‬‬ ‫اﻟﻜﺜري ﻣﻦ اﻟﻔﻌﺎﻟﻴﺎت واﻷﻧﺸﻄﺔ ﺟﺬﺑﺖ ﺟﻤﻬﻮراً ﻏﻔرياً‪ ،‬مل ﻳﺴﺒﻖ ﻟﻪ ﻣﺜﻴﻞ‪ ،‬واﺳﺘﻄﺎع‬ ‫اﳌﻬﺮﺟﺎن ﻣﻦ ﺧﻼﻟﻬﺎ أن ﻳﻮاﻛﺐ ﺟﻤﻴﻊ ﻣﻔﺮدات اﻟﱰاث ﰲ أﺑﻬﻰ ﺻﻮره‪ ،‬وأن ﻳﻘﺪم ﳌﺤﺒﻴﻪ‬ ‫ﻛﻞ ﻣﺎ ﻳﺮﻏﺒﻮن ﺑﺮؤﻳﺘﻪ واﻻﻗﱰاب ﻣﻨﻪ‪ ،‬ﺑﻘﺼﺪ اﻟﺘﺜﻘﻴﻒ واﳌﺘﻌﺔ واﻟﱰﻓﻴﻪ‪.‬‬ ‫ﻋﺸﻨﺎ أﺟﻮاء ﻣﺪﻫﺸﺔ ﺣﻘﺎً ﰲ ﻣﺪﻳﻨﺔ ﺳﻮﻳﺤﺎن‪ ،‬وﺗﴩﻓﻨﺎ ﺑﻠﻘﺎء وﻣﺘﺎﺑﻌﺔ ﺳﻤﻮ اﻟﺸﻴﺦ‬ ‫ﺳﻠﻄﺎن ﺑﻦ زاﻳﺪ آل ﻧﻬﻴﺎن‪ ،‬اﻟﺘﻲ ﻛﺎﻧﺖ ﰲ اﻟﻮاﻗﻊ ﺗﴩﻳﻔﺎً وﻓﻮزاً ﻟﻜﻞ ﻣﺸﺎرك ﰲ اﳌﻬﺮﺟﺎن‬ ‫مبﺨﺘﻠﻒ اﻟﺮﻳﺎﺿﺎت واﳌﺴﺎﺑﻘﺎت اﻟﺘﻲ ﺿﻤﺘﻬﺎ ﻫﺬه اﻟﺪورة‪ ،‬وﻛﻨﺎ ﻧﺮى ﰲ وﺟﻮه اﻟﻨﺎس‬ ‫ﻣﻼﻣﺢ اﻟﺴﻌﺎدة واﻟﻔﺮح واﻻﺑﺘﻬﺎج ﺑﻜﻞ ﻣﺎ ﻳﺤﻴﻂ ﺑﻬﻢ‪ ،‬إﻧﻬﺎ ﺣﻘﺎً ﻣﺸﺎﻫﺪ ﻻ ميﻜﻦ وﺻﻔﻬﺎ‬ ‫ﺑﺎﻟﻜﻠامت أو ﺣﴫﻫﺎ ﰲ ﻣﻘﺎﻟﺔ واﺣﺪة‪ ،‬ﻟﻜﻨّﻨﺎ ﻫﻨﺎ ﻧﺤﺎول أن ﻧﻘﻮل ﻛﻠﻤﺔ ﺣﻖ ﺑﻜﻞ ﻣﺎ‬ ‫ﻋﺎﻳﺸﻨﺎه ﻣﻦ ﻧﺠﺎﺣﺎت وأﺟﻮاء ﺗﺮاﺛﻴﺔ وﺛﻘﺎﻓﻴﺔ واﺟﺘامﻋﻴﺔ ﻣﻤﻴﺰة ﺟﺪاً‪.‬‬ ‫ﻳﻨﺘﻬﻲ اﳌﻬﺮﺟﺎن‪ ،‬ﻟﻨﺒﺪأ ﺑﺎﻟﻌﻤﻞ ﻣﻦ ﺟﺪﻳﺪ ﻷﺟﻞ اﻹﻋﺪاد ﻟﺪورة ﺟﺪﻳﺪة ﻣﻄﻠﻊ اﻟﻌﺎم‬ ‫اﳌﻘﺒﻞ‪ ،‬وﻧﺤﺎﻓﻆ ﻣﻌﺎً ﻋﲆ ﻣﺎ ﺗﺤﻘﻖ‪ ،‬ومنﻨﺢ ﺟﻤﻬﻮر اﻟﱰاث ﻣﺴﺎﺣﺎت ﺟﺪﻳﺪة ﺗﺤﻔﻆ ﻟﻨﺎ‬ ‫اﻷﺻﺎﻟﺔ واﻟﻬﻮﻳﺔ‪.‬‬

‫‪96‬‬

‫اﻟﻌﺪد ‪ ، 75‬ﻓﺒﺮاﻳﺮ ‪2019‬‬

‫رﺋﻴﺲ اﻟﺘﺤﺮﻳﺮ‬

ĘıĘŕ

‫ﻓﺎﻟﺢ ﺑﻦ ﻗﺸﻌﻢ‬ @falehqasham

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baytelshear ‫اﻟﺸﻌﺮ‬ ِ ‫ﺑﻴﺖ‬

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ĘıĘŕ

‫ﻧﻮرة اﻟﺴﺒﻴﻌﻲ‬ @apt_nora

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ƯƵǉƈŢƃƸ ƃżŖ

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4b@@Cw@@- @@ @DH @@F¡@@£@ @ D @@£@ @ D* h@@ @ ~@ {@ < 4b@@ @ @ @ E&* É@@ @ + M4b@@ @ @ @ @ +*H x@@ @ @B ¥4b@@ @p@ @ ~@ @ 8 4*x@@ @~@ @ 6* b@@ @ @£@ @A b@@ c@ @£@ @+ b@@ @ @Db@@ E i¡@@ @£@ @ + 4b@@ @F h@@ c@ @ ~@ @ 7 @@ @ @/ b@@ @ @G*x@@ @ @. Í@M @ @-b@@ @~@ @ z@ @ + 4b@@ c@ @C ¡@@ @ @ @ @G b@@ @ @ @ @ ; b@@ @ @ @ @ C PeH42 4*2 @@ @ D °H b@@ @£@ @ F2 x@@ @ <b@@ @ E MÌ@ @ @ @~@ @8 4b@@ @ @~@ @7&É@ @DH Ix@@ Cw@@ @ @D @@ £@ @ @ @+* h@@c@ @ 4b@@~@ 8b@@E rx@@ @ A ,¡@@ @ @= ¤@@ @ @1*v@@ + h@@£@ @ D 4b@@ @ ~@ 8 ¡@@ @ @C b@@ @ g@ @ = y@@ @ 0 f@@ @ @ @ E2H 4b@@ @ @ J *v@@ @ + @@ {@ @0¡@@ ´* f@@ @ @0x@@ D* @@ Jx@@ : 4b@@ @ @F* b@@ @ g@ @ D @@ @C 2*¡@@ @ @ @ ´* e42 ¢@@ @ @<

2019 ‫ ﻓﺒﺮاﻳﺮ‬، 75 ‫اﻟﻌﺪد‬

‫وﺗﺴﻌﺔ أﻣﺘﺎر ﰲ اﻟﻄﻮل‪ ،‬ﻗامﺷﻬﺎ ﻣﺼﻨﻮع‬ ‫ﻏﺎﻟﺒﺎً ﻣﻦ اﻟﺤﺮﻳﺮ وﻫﻮ ﻣﺎ ﻳﻔﻀﻠﻪ اﻟﻜﺜري ﻣﻦ‬ ‫ﻧﺴﺎء ﻣﻮﻣﺒﺎي اﻟﺘﻲ ﺗﻌﺘﱪ واﺣﺪة ﻣﻦ ﻋﻮاﺻﻢ‬ ‫اﳌﻮﺿﺔ ﰲ اﻟﻬﻨﺪ‪ .‬ﻳﻜﻮن اﻟﺴﺎري ﻋﺎد ًة ﻣﻠﻔﻮﻓﺎ‬ ‫ﺣﻮل اﻟﺨﴫ‪ ،‬ﻣﻊ ﻧﻬﺎﻳﺔ واﺣﺪة ﺛﻢ ﻳﻠﻒ ﻋﲆ‬ ‫اﻟﻜﺘﻒ ﻣﻊ ﺗﻌﺮﻳﺔ اﻟﺤﺠﺎب اﻟﺤﺎﺟﺰ‪ .‬وارﺗﺒﻂ‬ ‫ﻟﺒﺲ اﻟﺴﺎري ﺑﻮﺿﻊ "ﺑﻴﻨﺪي" وﻫﻮ ﺟﺰء ﻣﻦ‬ ‫ﻣﻜﻴﺎج وإﻛﺴﺴﻮارات اﳌــﺮأة ﰲ اﳌﻨﺎﺳﺒﺎت‬ ‫واﻟﻄﻘﻮس اﻟﺪﻳﻨﻴﺔ‪.‬‬ ‫ﻫﻨﺎك أﻧﻮاع ﻣﺨﺘﻠﻔﺔ ﻣﻦ اﻟﺴﺎري اﻟﺘﻘﻠﻴﺪي‬ ‫ﺣﺴﺐ اﳌﻨﺎﻃﻖ ﻣﺜﻞ ﺳﻤﺒﻠﺒريي ﰲ اﻟﴩق‪،‬‬ ‫وﻛﺎﻧﴚ ﺑﻮرام ﰲ اﻟﺠﻨﻮب‪ ،‬وﺑﺎﻳﺘﻨﻲ ﰲ اﻟﻐﺮب‪،‬‬ ‫وﺑﻴﻨﺎرﳼ ﰲ اﻟﺸامل‪ .‬ﺟﺮت اﻟﻌﺎدة أن ﺗﺮﺗﺪي‬ ‫اﻟﻨﺴﺎء واﻟﺴﻴﺪات اﻟﺸﺎﺑﺎت ﺳﺎرﻳﺎً ﻣﻦ ﻗﻄﻌﺔ‬ ‫ﻃﻮﻳﻠﺔ ﻣﻦ اﻟﻘامش اﳌﻠﻮن اﳌﺰﻳﻦ ﺑﺎﻟﺮﺳﻮم‬ ‫أو اﻟﻨﻘﻮش ﻓﻮق ﺗﻨﻮرة ﺗﺤﺘﻴﺔ ﻣﻊ رداء اﻟـ‬ ‫"ﻏﺎﻏﺮا" أﻛامﻣﻪ ﻗﺼرية وﻣﻨﺨﻔﺾ اﻟﺮﻗﺒﺔ‪،‬‬ ‫وﻋﺎدة ﻣﺎ ﻳﻜﻮن ﻗﺼرياً ﺑﺸﻜﻞ ﺧﺎص ﻣﻨﺎﺳﺒﺎً‬ ‫متﺎﻣﺎً ﻻرﺗﺪاﺋﻪ ﰲ اﻟﺼﻴﻒ‪ .‬ﻗﺪ ﺗﺮﺗﺪي اﻟﻨﺴﺎء‬ ‫اﻟﺴﺎري ﻣﻊ رداء "ﺗﺸﻮﱄ" ﻋﺎري اﻟﺬراﻋني‪،‬‬ ‫وﻋﺎدة ﻣﺎ ﻳﻜﻮن ﻫﺬا أﻛرث أﻧﺎﻗﺔ ﻣﻊ اﻟﻜﺜري‬ ‫ﻣﻦ اﻟﺰﻳﻨﺔ ﻣﺜﻞ اﻟﺘﻄﺮﻳﺰ‪ ،‬وميﻜﻦ ارﺗﺪاؤه ﰲ‬ ‫ﻣﻨﺎﺳﺒﺎت ﺧﺎﺻﺔ‪.‬‬ ‫اﻟﻔﺘﻴﺎت ﰲ ﺳﻦ اﳌﺮاﻫﻘﺔ ﻳﺮﺗﺪﻳﻦ رداء ﻳﺘﻜﻮن‬ ‫ﻣﻦ ﺛﻼث ﻗﻄﻊ ﻫﻲ ﻻﻧﻐﺎ‪ ،‬وﺗﺸﻮﱄ وﺷﺎل‬

‫ﻣﻠﻔﻮﻓﺔ ﻓﻮق ذﻟﻚ ﻳﺸﺒﻪ اﻟﺴﺎري‪ .‬ﺗﺮﺗﺪي‬ ‫اﻟﻔﺘﻴﺎت ﻗﺒﻞ ﺳﻦ اﻟﺒﻠﻮغ ﺗﻨﻮرة ﻃﻮﻳﻠﺔ ﺗﺴﻤﻰ‬ ‫ﻻﻧﻐﺎ وﺑﻠﻮزة ﻗﺼرية ﺗﺪﻋﻰ ﺗﺸﻮﱄ ﻓﻮق ذﻟﻚ‪.‬‬ ‫أﻣﺎ اﻟﻔﺘﻴﺎت اﻟﺼﻐريات ﻓريﺗﺪﻳﻦ رداء اﻟـ‬ ‫"ﺑﺎﻓـﻴﺪا" وﻏﺎﻟﺒﺎً ﻣﺎ ﻳﻜﻮن ﻣﻨﻘﻮﺷﺎً‪.‬‬ ‫اﻷزﻳﺎء اﻟﻬﻨﺪﻳﺔ اﻟﻐﺮﺑﻴﺔ ﻫﻲ اﻧﺼﻬﺎر ﺑني ﻏﺮيب‬ ‫اﻟﻬﻨﺪ وﺟﻨﻮب ﺷﺒﻪ اﻟﻘﺎرة اﻟﻬﻨﺪﻳﺔ‪ ،‬وﻧﺘﺞ ﻋﻦ‬ ‫ﻫﺬا اﻻﻧﺼﻬﺎر ﻣﺠﻤﻮﻋﺔ ﻣﻦ اﻷزﻳﺎء اﻷﺧﺮى‬ ‫ﻣﻨﻬﺎ ﭼﻮری دار‪ ،‬ودوﺑﺎﺗﺎ‪ ،‬و ُﮐﺮﺗﺎ‪ ،‬وﻣﺎﻧﺪام‬ ‫ﻧرياﻳﺘﻮم‪ .‬متﺜﻞ اﻟﺒﻨﺎﻃﻴﻞ اﻟﻬﻨﺪﻳﺔ اﻟﻠﺒﺎس‬ ‫اﻟﺘﻘﻠﻴﺪي اﻷﻛــرث ﺷﻌﺒﻴﺔ ﺑﺎﻟﻨﺴﺒﺔ ﻟﻺﻧﺎث‪.‬‬ ‫وﺗﺘﻜﻮن ﻣﻦ ﴎاوﻳﻞ ﻓﻀﻔﺎﺿﺔ ﻳﻠﺒﺲ ﻣﻌﻬﺎ‬ ‫ﻗﻤﻴﺺ ﻓﻀﻔﺎض ﻃﻮﻳﻞ‪ .‬وﰲ ﻛﺜري ﻣﻦ اﻷﺣﻴﺎن‬ ‫ﻳﻘﺎل ﺑﺄﻧﻬﺎ "دﻋﻮى اﻟﺒﻨﺠﺎﺑﻴﺔ" أو "اﻟﺒﻨﺎﻃﻴﻞ"‬ ‫ﺑﺒﺴﺎﻃﺔ "‪ "churidaar‬ﰲ ﺟﻨﻮب اﻟﻬﻨﺪ اﻟﺬي‬ ‫ﺟﺎء ﻣﻊ اﳌﺴﻠﻤني واﻟﺜﻘﺎﻓﺔ اﻹﻳﺮاﻧﻴﺔ اﻟﻘﺪميﺔ‪،‬‬ ‫وﻫﻮ ﺷﺎﺋﻊ ﺟﺪاً ﰲ ﺑﺎﻛﺴﺘﺎن وأﻓﻐﺎﻧﺴﺘﺎن‪.‬‬ ‫ﻳﻠﺒﺲ ﻫﺬا اﻟﺜﻮب ﻣﻦ ﻗﺒﻞ ﻛﻞ ﻓﺘﺎة ﰲ ﺳﻦ‬ ‫اﳌﺮاﻫﻘﺔ ﺗﻘﺮﻳﺒﺎً ﺑﺪﻻً ﻣﻦ اﳌﻼﺑﺲ اﻟﻐﺮﺑﻴﺔ‪ .‬ﻛام‬ ‫ﺗﻮﺟﺪ اﳌﻼﺑﺲ اﻟﺘﻘﻠﻴﺪﻳﺔ اﻟﻌﺮﻗﻴﺔ‪ .‬ﻋﲆ ﺳﺒﻴﻞ‬ ‫اﳌﺜﺎل ﻳﺘﻢ ارﺗﺪاء اﻟﺴﺎﻟﻮار ﰲ وﻻﻳﺔ اﻟﺒﻨﺠﺎب‪،‬‬ ‫وارﺗﺪاء اﻟﻨﺴﺎء‪.‬‬ ‫دﻫﻮىت ﻛﻮرﺗﺎ ﻫﻮ زي ﺗﻘﻠﻴﺪي ﺧﺎص ﺑﺎﻟﺮﺟﺎل‬ ‫ﺑﻌﻜﺲ ﻏريه ﻣﻦ اﻷﻟﺒﺴﺔ ﻫﻮ ﻋﺒﺎرة ﻋﻦ ﻗﻄﻌﺔ‬ ‫ﻗامش ﻏري ﻣﺨﺎﻃﺔ ﻋﺎدة ﺑﻄﻮل ‪ 4‬أﻣﺘﺎر وﻧﺼﻒ‬

‫اﳌﱰ ﺗﺮﺑﻂ ﺣﻮل اﻟﺨﴫ واﻟﺴﺎﻗني ﻳﺨﺘﻠﻒ اﺳﻢ‬ ‫ﻫﺬا اﻟﺰي ﺣﺴﺐ اﳌﻨﻄﻘﺔ ﺑـ)ﻻﺷﺎ( ﰲ اﻟﺒﻨﺠﺎب‬ ‫و ﺑـ) دﻫﻮىت( ﰲ اﻟﺒﻨﻐﺎل‪ .‬وﻳﻌﺘﱪ ﻛﻮرﺗﺎ ﻋﺒﺎرة‬ ‫ً‬ ‫ﺑﻄﻮل ﻳﺼﻞ‬ ‫ﻋﻦ ﻗﻤﻴﺺ ﻃﻮﻳﻞ ﻓﻀﻔﺎض‬ ‫ﻟﺮﻛﺒﺘﻲ ُﻣﺮﺗﺪﻳﻬﺎ أو أﻗﴫ ﺑﻘﻠﻴﻞ‪ .‬ﰲ اﳌﺎﴈ‬ ‫ﻛﺎن ﻳﻘﺘﴫ ارﺗﺪاؤه ﻋﲆ اﻟﺮﺟﺎل ﻓﻘﻂ ﻟﻜﻦ‬ ‫ﰲ وﻗﺘﻨﺎ اﻟﺤﺎﱄ أﺻﺒﺢ ﻳﺮﺗﺪﻳﻬﺎ اﻟﺮﺟﺎل واﻟﻨﺴﺎء‪.‬‬ ‫‪ǲōǾżǕŌ ǳǤǈǝ ǓşŌǷŨǕŌ‬‬

‫ﻋﻨﺪﻣﺎ ﻧﺘﺤﺪث ﻋﻦ اﻟﻄﻬﻲ اﻟﻬﻨﺪي‪ ،‬ﻓﺈن‬ ‫ﺟﻮﻫﺮ اﻟﻄﻬﻲ اﻟﻬﻨﺪي اﻟﺠﻴﺪ ﻳﺪور ﺣﻮل‬ ‫اﻻﺳﺘﺨﺪام اﳌﻨﺎﺳﺐ ﻟﻠﺘﻮاﺑﻞ اﻟﻬﻨﺪﻳﺔ‪ .‬وﺗﺠﺪر‬ ‫اﻻﺷــﺎرة إﱃ أن ﻛﻠﻤﺔ ‪ SPICE‬ﺑﺎﻹﻧﺠﻠﻴﺰﻳﺔ‬ ‫ﻣﺸﺘﻘﺔ ﻣﻦ اﻟﻼﺗﻴﻨﻴﺔ‪ ،‬وﺗﻌﻨﻲ اﻟﴚء اﻟﻘﻴﻢ‬ ‫واﳌﻤﻴﺰ‪ .‬وﺧﻼل ﺗﺎرﻳﺨﻬﺎ اﻟﻄﻮﻳﻞ واﳌﺜري‪ ،‬ﻓﻘﺪ‬ ‫ﻛﺎﻧﺖ أﻛرث ﻗﻴﻤﺔ ﻣﻦ اﻟﺬﻫﺐ أو اﻷﺣﺠﺎر‬ ‫اﻟﻜﺮميﺔ‪ ،‬وﻛﺎﻧﺖ ﺗﺠﺎرة اﻟﺘﻮاﺑﻞ ذات ﺗﺄﺛري ﻏري‬ ‫ﻋﺎدي ﰲ اﻟﺘﺎرﻳﺦ‪.‬‬ ‫ً‬ ‫ﻣﻊ اﻟﺘﻮاﺑﻞ ﻻ ﻳﺼﺒﺢ اﻷﻛﻞ ﻟﺬﻳﺬا وﺑﻨﻜﻬﺔ ﻃﻴﺒﺔ‬ ‫ﺑﻞ ﻫﻲ ﺗﺸﻔﻲ وﺗﺠﺪد اﻟﺤﻴﻮﻳﺔ‪ .‬ﻳﺴﺘﺨﺪم‬ ‫ﻧﻈﺎم اﻳﻮرﻓﻴﺪا اﻟﻄﺒﻲ اﻟﻘﺪﻳﻢ ﻛﻤﻴﺎت ﻛﺒرية‬ ‫ﻣﻦ اﻟﺘﻮاﺑﻞ ﺿﻤﻦ اﻟﻄﺐ اﻟﻮﻗﺎيئ واﻟﻌﻼﺟﻲ‪.‬‬ ‫وﺗﻔﻬﻢ ﻣﺮﻛﺒﺎت أﻳﻮرﻓﻴﺪا أﻫﻤﻴﺔ اﻟﻮﻗﺎﻳﺔ ﻣﻦ‬ ‫اﻷﻣﺮاض واﺳﺘﺨﺪﻣﺖ ﺗﻮاﺑﻞ أﺳﺎﺳﻴﺔ ﻟﺘﺤﻘﻴﻖ‬ ‫ﻫﺬا اﻟﻬﺪف‪.‬‬ ‫اﻟﺸﻌﺮ ‪baytelshear‬‬ ‫ﺑﻴﺖ ِ‬

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‫‪ Ęġ¯ ŝŕ‬‬

‫واﻟﻨﻮاﻓﺬ ﺑﺎﻷﺿﻮاء‪ ،‬ﻛام ﺗﺘﻢ إﺿﺎءة اﻟﻘﻮارب‬ ‫اﻟﺘﻲ متﺮ ﺑﺎﻷﻧﻬﺎر ﻟﺘﻌﻄﻲ ﻣﺸﻬﺪاً ﺑﺪﻳﻌﺎً‬ ‫إﺿﺎﻓﺔ ﻟﻸﻟﻌﺎب اﻟﻨﺎرﻳﺔ ﰲ اﻟﺴامء‪ .‬ﺗﻨﺘﴩ أﻳﺎم‬ ‫اﳌﻬﺮﺟﺎن اﻷزﻫﺎر اﳌﻠﻮﻧﺔ واﳌﺘﻨﻮﻋﺔ إﺿﺎﻓﺔ إﱃ‬ ‫أن اﻟﻌﺎﺋﻼت اﻟﻬﻨﺪﻳﺔ ﺗﻘﻮم ﺑﺘﻨﻈﻴﻒ ﻣﻨﺎزﻟﻬﺎ‬ ‫ﻋﲆ أﻛﻤﻞ وﺟﻪ ﻻﺳﺘﻘﺒﺎل اﳌﻬﺮﺟﺎن‪ ،‬وﺗﻘﻮم‬ ‫اﻟﻌﺎﺋﻼت ﺑﺮﺳﻢ ﻟﻮﺣﺔ ﻓﻨﻴﺔ ﻣﺼﻨﻮﻋﺔ ﻣﻦ‬ ‫ﻃﺤني اﻷرز ﻋﲆ أﺑﻮاب ﻣﻨﺎزﻟﻬﺎ وﺗﻌﺮف ﺑﺎﺳﻢ‬ ‫"اﻟﺮاﻧﺠﻮﱄ"‪ ،‬وﻳﺘﺒﺎدﻟﻮن اﻟﺰﻳﺎرات ﻣﻊ أﻗﺎرﺑﻬﻢ‬ ‫وﺟرياﻧﻬﻢ ﻟﻴﺘﺸﺎرﻛﻮا اﻟﻮﻻﺋﻢ واﻻﺣﺘﻔﺎﻻت‬ ‫وﻳﺼﻨﻌﻮن اﻟﻌﺪﻳﺪ ﻣﻦ اﳌﺄﻛﻮﻻت اﻟﺸﻌﺒﻴﺔ‬ ‫ﻣﺜﻞ ﻣﺴﺤﻮق اﻷرز اﳌﻌﺮوف ﺑـ "ﺧﻴﻞ"‬ ‫وﺣﻠﻮى اﻟﺴﻜﺮ اﳌﻌﺮوﻓﺔ ﺑﺎﺳﻢ "ﺑﺎﺗﺎﳾ"‪ .‬ﻛام‬

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‫اﻟﻌﺪد ‪ ، 75‬ﻓﺒﺮاﻳﺮ ‪2019‬‬

‫وﺑﻌﺾ اﻟﺰﻳﺠﺎت ﺗﻜﻮن ﻣﻦ داﺧــﻞ ﻧﻄﺎق‬ ‫اﻟﻌﺎﺋﻠﺔ‪ ،‬ﺑﻞ وﺗﻜﻮن ﻣﺤﺪدة ﻣﻨﺬ اﻟﻄﻔﻮﻟﺔ‪،‬‬ ‫وﻋــﲆ اﻟﻌﺮوس أن ﺗﺪﻓﻊ اﳌﻬﺮ وﺗﻜﺎﻟﻴﻒ‬ ‫اﻟﺰﻓﺎف وإﻗﺎﻣﺔ ﺣﻔﻞ ﺻﺨﺐ ﻳﻀﻤﻦ ﺑﻌﺾ‬ ‫اﻟﻄﻘﻮس اﻟﻬﻨﺪﻳﺔ ﻛﺎﻟﺪوران ﺣﻮل اﻟﻨﺎر وﻧرث‬ ‫ﺣﻔﻨﺔ ﻣﻦ اﻷرز ﻋﲆ اﻟﻌﺮوﺳني وﺗﺰﻳني اﻟﺰوج‬ ‫ﻟﺠﺒﻬﺔ زوﺟﺘﻪ ﺑﺎﻟﻠﻮن اﻷﺣﻤﺮ ﺗﻌﺒرياً ﻋﻦ امتﺎم‬ ‫ﻋﻘﺪ اﻟﻘﺮآن وذﻟﻚ ﺗﺤﺖ إﴍاف أﺣﺪ رﺟﺎل‬ ‫اﻟﺪﻳﻦ‪ .‬وﻳﺴﺒﻖ اﻟﺰواج ﺣﻔﻞ ﻟﻠﺤﻨﺔ وﺗﺰﻳﻦ‬ ‫اﻟﻌﺮوس وﺣﻔﻞ راﻗﺺ ﻳﺘﻢ ﻓﻴﻪ ﻋﻘﺪ ﻣﻨﺎﻓﺴﺔ‬ ‫ﺑني أﻫﻞ اﻟﻌﺮوﺳني وﺗﺤﺪﻳﺪ اﻷﻓﻀﻞ وﻋﺎدة‬ ‫ﻣﺎ ﻳﺘﻢ اﺳﺘﺌﺠﺎر ﻣﻨﺰل ﻛﺒري ﻣﺨﺼﺺ ﻻﺳﺘﻘﺒﺎل‬ ‫اﻟﺤﻀﻮر واﻟﺰوار ﻣﻦ اﻟﻌﺎﺋﻠﺘني واﻷﺻﺪﻗﺎء‪ .‬ﻳﻌﺪ‬ ‫اﺣﺘﻔﺎل اﳌﻴﻬﻨﺪي اﺣﺘﻔﺎﻻً ﻣﺨﺼﺼﺎً ﻟﻠﻨّﺴﺎء‬ ‫ﻓﻘﻂ‪ ،‬وﻫﻮ أﻛرث ﺗﻘﺎﻟﻴﺪ اﻟﺰّﻓﺎف اﻟﻬﻨﺪﻳﺔ ﺷﻬﺮ ًة‪،‬‬ ‫وﻳﺘﻢ ﻓﻴﻪ ﺗﺰﻳني ﻳﺪيّ اﻟﻌﺮوس وﻗﺪﻣﻴﻬﺎ ﻋﻦ‬ ‫ﻃﺮﻳﻖ رﺳﻢ زﺧﺎرف ﻣﻌ ّﻘﺪة ﻣﻦ اﻟﺤﻨّﺎء‪ ،‬وﻫﻲ‬ ‫ُﺗﺸري إﱃ اﻟﺮاﺑﻄﺔ ﺑﻴﻨﻬﺎ وﺑني زوﺟﻬﺎ اﳌﺴﺘﻘﺒﲇ‪.‬‬ ‫وﻣﻦ اﳌﻌﺮوف ﰲ اﻟﻬﻨﺪ أن اﻟﺨﻄﺒﺔ أو ﻣﺮاﺳﻢ‬ ‫اﻟﺰواج ﻻ ﺗﺘﻢ إﻻ ﺑﻌﺪ ﻣﻮاﻓﻘﺔ ﻛﺎﻫﻦ اﳌﻌﺒﺪ‬ ‫ﻋﲆ اﻟــﺰواج اﻋﺘﻘﺎداً ﺑــﺄن ﻣﻄﺎﺑﻘﺔ أﺑـﺮاج‬ ‫اﻟﻌﺮوﺳني ﻫﻲ أﺳــﺎس ﻧﺠﺎح اﻟﺰﻳﺠﺔ‪ .‬وﰲ‬ ‫ﺣﺎﻟﺔ ﻋﺪم ﻣﻄﺎﺑﻘﺘﻬﺎ ﻳﻔﺮض ﻋﻠﻴﻬﻢ ﻃﻘﻮﺳﺎً‬ ‫ﻣﺤﺪدة ﻗﺒﻞ اﻟﴩوع ﰲ اﻟﺰواج ﰲ ﺣﺎﻟﺔ متﺴﻚ‬ ‫اﻟﻌﺎﺋﻠﺘني ﺑﺎﻟﺰﻳﺠﺔ‪ .‬متﺜﻞ ﻋﺎدات وﺗﻘﺎﻟﻴﺪ اﻟﻬﻨﺪ‬ ‫ﰲ اﻟﺰواج ارﺗﺒﺎﻃﺎً ﻣﻘﺪﺳﺎً ﻷﻧﻪ ﰲ ﺣﺎﻟﺔ ﻋﺪم‬ ‫ﺗﻄﺎﺑﻖ اﳌﺴﺘﻮﻳﺎت اﻻﺟﺘامﻋﻴﺔ أو رﻓﺾ اﻟﺰواج‬ ‫ﻳﺘﻌﺮض اﻟﺸﺨﺺ ﻟﻐﻀﺐ اﺟﺘامﻋﻲ ودﻳﻨﻲ‬ ‫ﻛﺒري‪ ،‬وﰲ ﺑﻌﺾ اﻟﻮﻻﻳﺎت اﻟﻬﻨﺪﻳﺔ ﺗﺘﻌﻤﺪ‬ ‫اﻟﻌﺮوس ﺗﻠﻘني ﻣﻦ ﺗﻘﺪم ﻟﺨﻄﺒﺘﻬﺎ درﺳﺎً‬ ‫ﻛﺎﺧﺘﺒﺎر ﳌﺪى ﺷﺠﺎﻋﺘﻪ أو ﺟﺒﻨﻪ ﻋﱪ يك ﻇﻬﺮه‬ ‫ﰲ اﻟﻐﺎﺑﺔ وﰲ ﺣﺎﻟﺔ ﺷﻜﻮاه ﻣﻦ اﻷمل ﺗﺮﻓﻀﻪ‬ ‫وﺗﻌﻠﻦ ﻟﺒﻘﻴﺔ ﻧﺴﺎء اﻟﻘﺮﻳﺔ أﻧﻪ ﺟﺒﺎن وإذا‬ ‫ﺗﺤﻤﻞ اﻷمل ﺗﻘﺒﻞ ﺑﻪ وﺗﻌﺘﱪه ﻓﺎرس أﺣﻼﻣﻬﺎ‪.‬‬

‫ﻳﺼﺎدف ﻣﻬﺮﺟﺎن دﻳﻮاﱄ ﺑﺪاﻳﺔ ﺳﻨﺔ اﻗﺘﺼﺎدﻳﺔ‬ ‫ﺟﺪﻳﺪة ﺣﻴﺚ ﺗﻨﺸﻐﻞ رﺑﺎت اﳌﻨﺎزل وأﺻﺤﺎب‬ ‫اﻟﺘﺠﺎرة ﺑﺎﻟﺤﺴﺎﺑﺎت ودﻓﺎﺗﺮﻫﺎ‪ ،‬ﻣﻌﻠﻘني ﺻﻮرة‬ ‫"ﻻﻛﺸﺎﻣﻲ" إﻟﻪ اﻟرثوة ﻋﻨﺪ اﻟﻬﻨﺪوس‪ .‬ﺟﺪﻳﺮ‬ ‫ﺑﺎﻟﺬﻛﺮ أن ﻣﻬﺮﺟﺎن "دﻳــﻮاﱄ" ﻳﺤﺘﻔﻞ ﺑﻪ ﰲ‬ ‫اﻟﻌﺪﻳﺪ ﻣﻦ اﳌﻨﺎﻃﻖ ﰲ اﻟﻬﻨﺪ‪ ،‬ﻓﺒﻌﻀﻬﻢ‬ ‫ﻳﻌﺘﱪه ﻋﻴﺪاً ﻻﻧﺘﺼﺎر اﻹﻟﻪ "ﻛﺮﻳﺸﻨﺎ" ﻋﲆ‬ ‫اﻟﺸﻴﻄﺎن "ﻧﺎراﻛﺎ"‪ ،‬ﰲ ﺣني ﻳﺘﻤﺴﻚ ﺑﻌﻀﻬﻢ‬ ‫اﻵﺧﺮ ﺑﺎﻟﻘﺼﺔ اﻷﺳﻄﻮرﻳﺔ وﻳﻌﺘﱪ أﻧﻬﺎ ﺣﻘﻴﻘﻴﺔ‬ ‫واﻻﺣﺘﻔﺎل ﺑﻬﺎ ﻫﻮ ﻟﺘﺨﻠﻴﺪ اﻟﺬﻛﺮى‪.‬‬ ‫‪ǳƟǷǘǕŌ ǚŌǷǜƫ ǼƈōƒǕŌ‬‬ ‫اﻟﺴﺎري ﻣﻦ اﻷﻟﺒﺴﺔ اﻟﺘﻘﻠﻴﺪﻳﺔ اﻷﻧﻴﻘﺔ اﻷﻛرث‬ ‫‪ƐƃǂǙ Ơōşƈ ŲŌǶƋǕŌ‬‬ ‫ﺷﻴﻮﻋﺎً ﰲ ﺷﺒﻪ اﻟﻘﺎرة اﻟﻬﻨﺪﻳﺔ ‪ .‬ﻓﻬﻲ ﻗﻄﻌﺔ‬ ‫ﺗﺨﺘﺎر اﻟﻌﺮوس اﻟﻬﻨﺪﻳﺔ ﴍﻳﻚ ﺣﻴﺎﺗﻬﺎ ﺑﺤﺮﻳﺔ‪ ،‬ﻣﻦ اﻟﻘامش ﻏري ﻣﺨﻴﻂ ﺗﱰاوح ﺑني أرﺑﻌﺔ‬

‫ﺗﺤﻈﻰ اﳌﻮروﺛﺎت اﻟﻬﻨﺪﻳﺔ ﺑﺘﻨﻮع ﻫﺎﺋﻞ ﺟﻌﻠﻬﺎ‬ ‫ﺗﱰﺑﻊ ﻋﲆ ﻋﺮش ﺛﻘﺎﻓﺎت اﻟﻌﺎمل‪ ،‬وﻳﻜﻤﻦ‬ ‫ﺑﺮﻳﻘﻬﺎ ﰲ اﻣﺘﺪادﻫﺎ ﻵﻻف اﻟﺴﻨني‪ .‬ومتﺜﻞ‬ ‫ﺗﺠﺴﻴﺪاً ﻟﻠﻌﺪﻳﺪ ﻣﻦ اﻟﻔﻨﻮن واﻟﺘﻘﺎﻟﻴﺪ اﻟﻌﺮﻳﻘﺔ‬ ‫واﻷﻓﻜﺎر اﻟﻔﻠﺴﻔﻴﺔ وﺣﺐ اﻟﻄﺒﻴﻌﺔ واﻻﻋﺘامد‬ ‫ﻋﲆ ﻣﻜﻨﻮﻧﺎت اﻟﻘﻮة اﻟﺬاﺗﻴﺔ ﻟﻘﻬﺮ اﳌﺴﺘﺤﻴﻞ‪،‬‬ ‫ﻟﺬا ﻧﺴﺘﻄﻴﻊ أن ﻧﺮى ﺑﻮﺿﻮح ﻗﻮة اﻷﺳﺎﻃري‬ ‫اﻟﻬﻨﺪﻳﺔ ﰲ ﻧﺴﺦ ﺧﻴﻮط ﻣﺘﺸﺎﺑﻜﺔ وﻣﻌﻘﺪة‬ ‫ﻣﻦ اﻷﻓﻜﺎر واﻟﺤﻜﺎﻳﺎت اﻟﺘﻲ أﺳﺴﺖ ﻟﻌﻘﺎﺋﺪ‬ ‫وﺗﻮﺟﻬﺎت دﻧﻴﻮﻳﺔ ﻫﻲ اﻷﻛرث ﺛﺮاء وﻏﺮاﺑﺔ ﰲ‬ ‫اﻟﻮﻗﺖ ﻧﻔﺴﻪ‪ .‬وﺗﺘﺠﲆ ﺗﻠﻚ اﳌﻌﺘﻘﺪات ﰲ‬ ‫رﻳﺎﺿﺔ اﻟﻴﻮﻏﺎ‪ .‬وﻫﻲ ﻣﺠﻤﻮﻋﺔ ﻣﻦ اﻟﻄﻘﻮس‬ ‫اﻟﺮوﺣﻴﺔ اﻟﻘﺪميﺔ‪ ،‬واﺳﻤﻬﺎ اﻷﺻﲇ‪" ،‬ﺟﺎﻓني‬ ‫ﻓﻠﻮد"‪ .‬ﺗﺸري اﻟﻴﻮﺟﺎ إﱃ "ﻃﺮﻳﻘﺔ ﻓﻨﻴﺔ أو‬ ‫ﺿﻮاﺑﻂ ﻣﺤﺪدة ﻣﻦ اﻟﺘﺼﻮف واﻟﺰﻫﺪ واﻟﺘﺄﻣﻞ‪،‬‬ ‫ﻣام ﻳﺮﻣﻲ إﱃ ﺧﱪة روﺣﻴﺔ وﻓﻬﻢ ﻋﻤﻴﻖ ﺟﺪاً‬ ‫أو ﺑﺼرية ﰲ اﻟﺨﱪات‪ .‬ﺧﺎرج اﻟﻬﻨﺪ‪ ،‬أﺻﺒﺤﺖ‬ ‫اﻟﻴﻮﺟﺎ ﻣﺮﺗﺒﻄﺔ ﺑﺎﳌامرﺳﺔ ﰲ وﺿﻌﻴﺔ ﻣﻦ‬ ‫اﻟﺘامرﻳﻦ "ﻫﺎﺛﺎ ﻳﻮﺟﺎ"‪ ،‬ﻛام أﻧﻬﺎ أﺛﺮت ﺑﺸﻜﻞ‬ ‫ﻛﺎﻣﻞ ﰲ ﻣامرﺳﺎت روﺣﻴﺔ ﺣﻮل اﻟﻌﺎمل‪.‬‬ ‫‪źǶƉǕŌ ŋŌƅƯ ǻǂǾƓǷǘǕŌ‬‬

‫اﳌﻮﺳﻴﻘﻰ ﻓﻦ ﻳﺮﺟﻊ ﺗﺎرﻳﺨﻪ إﱃ ﺛﻼﺛﺔ آﻻف‬ ‫ﻋﺎم‪ ،‬ﺣﻴﺚ ﺷﺎﻋﺖ ﰲ اﻟﻬﻨﺪ أﻧﻮاع ﻣﻦ اﻟﻄﺒﻮل‬ ‫واﻵﻻت اﻟﻄﺮﻗﻴﺔ‪ ،‬وﻟﻜﻦ ﻇﻞ اﻟﺼﻮت اﻷدﻣﻲ‬

‫أرﻓﻊ ﻣﺼﺎدر اﳌﻮﺳﻴﻘﻰ ﺷﺄﻧﺎ‪ .‬وﻳﻌﺪ " اﻟﺴﻴﺘﺎر" ﻣﻨﻈﻢ ودﻗﻴﻖ ﻫﺪﻓﻪ ﺑﺚ اﻟﺒﻬﺠﺔ ﰲ ﻧﻔﻮس‬ ‫أﺷﻬﺮ آﻻت اﳌﻮﺳﻴﻘﻰ اﻟﻬﻨﺪﻳﺔ‪ .‬واﻟﺮاﺟﻪ ﻣﺎﻟﻪ اﻟﺠﻤﻴﻊ‪.‬‬ ‫ﻣﺼﻄﻠﺢ ﻳﻮﺿﺢ اﻟﻌﻼﻗﺔ ﺑني اﻟﻨﻐﻢ وﻣﺘﺂﻟﻔﺎﺗﻪ‬ ‫‪ɰ‬‬ ‫ﰲ ﺗﻜﻮﻳﻦ ﻣﻮﺳﻴﻘﻰ ﺿﻤﻦ إﻃﺎر أﺣﺪ اﳌﻘﺎﻣﺎت‪ǚŌǷǕȏŌ ǛǙ ōşƈƂ ŦōǝōŵƉǤǘǕŌ ،‬‬ ‫ﺣﻴﺚ ﻳﻮﺟﺪ ‪ 36‬ﻣﻘﺎﻣﺎً ﻣﻮﺳﻴﻘﻴﺎً ﻫﻨﺪﻳﺎً‪.‬‬ ‫ﺗﻌﺪ اﻟﻬﻨﺪ ﻣﻦ أﻛرث ﺷﻌﻮب اﻟﻌﺎمل اﻟﺘﻲ ﺗﺤﺘﻔﻞ‬ ‫وﻳﻌﺘﱪ اﻟﻬﻨﻮد اﻟﺮﻗﺺ أﺳﻠﻮب ﺣﻴﺎة وﻏﺬاء ﺑﺄﻋﻴﺎد وﻣﻬﺮﺟﺎﻧﺎت ﻣﺒﻬﺠﺔ وﻫﺬا ﻳﺮﺟﻊ إﱃ‬ ‫ﻟﻠﺮوح‪ ،‬وﻣﻦ اﻟﺮﻗﺼﺎت اﻟﺸﻌﺒﻴﺔ ﰲ اﻟﻬﻨﺪ ﻛﺜﺎﻓﺔ ﺳﻜﺎﻧﻬﺎ واﺗﺴﺎع ﻣﺴﺎﺣﺘﻬﺎ واﻟﻄﻮاﺋﻒ‬ ‫اﻟﺮﻗﺼﺎت اﻟﺤﺮﺑﻴﺔ اﻟﺘﻲ ﺗﺒﺚ روح اﻟﺸﺠﺎﻋﺔ اﻟﻌﺪﻳﺪة اﻟﺬﻳﻦ ﻳﻨﺘﻤﻮن اﱃ دﻳﺎﻧﺎت ﻣﺘﻌﺪدة‬ ‫واﻟﻨﴫ‪ ،‬ورﻗﺼﺔ "ﺟﺎرﺑﻪ" اﻟﺘﻲ ﺗﺮﻗﺼﻬﺎ اﻟﻨﺴﺎء‪ ،‬ﺗﺘﻀﻤﻦ ﻃﻘﻮﺳﺎً وﻋﺎدات وﺗﻘﺎﻟﻴﺪ ﻣﺨﺘﻠﻔﺔ‪.‬‬ ‫ﺑﻴﻨام ﻳﺮﻗﺺ اﻟﺮﺟﺎل رﻗﺼﺔ "داﻧــﺪﻳــﺎراس"‪ ،‬وﺗﺘﻤﻴﺰ أﻋﻴﺎدﻫﻢ ﺑﺎﻟﺒﻬﺠﺔ واﻟﺴﻌﺎدة ﺑﺎﻹﺿﺎﻓﺔ‬ ‫وﻣﻦ اﻟﺮﻗﺼﺎت اﻟﻜﻼﺳﻴﻜﻴﺔ رﻗﺼﺔ " ﺑﻬﺎرات اﱃ ارﺗﺪاء اﳌﻼﺑﺲ اﳌﻠﻮﻧﺔ واﻷﻛﻼت اﻟﺸﻬﻴﺔ‪.‬‬ ‫ﻧﺎﻳﺘﺎم" وﻫﻲ ﻗﺼﺔ ﺗﻌﺒريﻳﺔ ﰲ أداء راﻗﺺ‪ ،‬وﻻ ﻳﻘﺘﴫ اﻷﻣــﺮ ﻋﲆ ﻫــﺬا اﻟﺤﺎل ﻓﻨﺠﺪ‬ ‫و"اﻟﻜﻮﺗﺸﻴﻮدي" و"اﻻودﻳــﴘ" اﻟﺘﻲ أﺧﺬت اﻟﺠﺎﻟﻴﺎت اﻟﻬﻨﺪﻳﺔ ﺗﺤﺘﻔﻞ ﺑﻬﺬه اﻷﻋﻴﺎد ﰲ‬ ‫وﺻﻔﺎﺗﻬﺎ اﻟﺤﺴﻴﺔ ﻣﻦ ﻣﻨﺤﻮﺗﺎت ﻣﻌﺎﺑﺪ ﻣﺨﺘﻠﻒ ﺑﻼد اﻟﻌﺎمل‪.‬‬ ‫ﻛﻮﻧﺎراك‪ ،‬ورﻗﺼﺔ "اﳌﺎﻧﺒﻴﻮري" مبﻤﻠﻜﺔ ﻣﺎﻧﺒﻴﻮر‬ ‫ﰲ آﺳــﺎم واﻟﺘﻲ ﺗﺮﺗﺒﻂ ﺑﺄﺳﺎﻃري ﻛﺮﻳﺸﻨﻪ‪ƈŌǷǝȏŌǶ ǽǕŌǷǿƂ ،‬‬ ‫و"اﻟﻜﺎﺗﺎك" اﳌﺮﺗﺒﻄﺔ مبﻐﺎﻣﺮات ﻛﺮﻳﺸﻨﻪ ﻛام ﻳﺘﻢ اﻻﺣﺘﻔﺎل مبﻬﺮﺟﺎن دﻳﻮاﱄ اﻟﺬي ﻳﺘﺄﻟﻖ‬ ‫ﻣﻊ ﻣﺤﺒﻮﺑﺘﻪ رادﻫﻪ واﻟﺘﻲ ﺗﺆدى ﺑﺄﺳﻠﻮب ﺑﺎﻷﺿﻮاء‪ ،‬وﻳﺴﺘﻤﺮ اﳌﻬﺮﺟﺎن ﻟﺨﻤﺴﺔ أﻳﺎم‬ ‫اﻟﺘﻌﺒري اﻹميﺎيئ‪ ،‬و"اﻟﻜﺎﺗﺎﻛﺎﱄ" اﻟﺮﻗﺼﺔ اﻟﺪراﻣﻴﺔ ﺧﻼل ﺷﻬﺮي أﻛﺘﻮﺑﺮ وﻧﻮﻓﻤﱪ‪ .‬اﺳﻢ اﳌﻬﺮﺟﺎن‬ ‫اﳌﻘﺘﺒﺴﺔ ﻣﻦ اﻷﺳﺎﻃري اﻟﻬﻨﺪوﻛﻴﺔ ﰲ ﻣﻠﺤﻤﺘﻲ ﻳﻌﻮد أﺻﻠﻪ إﱃ اﻟﻀﻮء ﻧﺴﺒﺔ ﻟﻌﻮدة اﻟﻠﻮرد‬ ‫اﳌﻬﺎﺑﻬﺎرت واﻟﺮاﻣﺎﻧﻴﻪ‪ .‬وﻳﺘﺠﲆ اﻟﺮﻗﺺ اﻟﻬﻨﺪي راﻣﺎ ﺑﻄﻞ اﻟﻘﺼﻴﺪة اﻷﺳﻄﻮرﻳﺔ اﳌﺪﻋﻮة ب‬ ‫ﺣﺎﻟﻴﺎً ﰲ رﻗﺼﺎت ﺣﺪﻳﺜﺔ ﻣﻦ ﺧﻼل اﻷﻓﻼم "اﻟﺮاﻣﺎﻳﺎﻧﺎ" ﺑﻌﺪ ﻧﻔﻴﻪ ل‪ 14‬ﻋﺎﻣﺎً‪ ،‬ﺣﻴﺚ أﺿﺎء‬ ‫اﻟﺴﻴﻨامﺋﻴﺔ اﻟﻬﻨﺪﻳﺔ‪ ،‬ﺣﻴﺚ ﺗﺨﺘﻠﻒ أﺳﺎﻟﻴﺐ أﻓ ـﺮاد اﻟﺸﻌﺐ ﻟﻪ اﻟﻄﺮﻳﻖ ﻟﻴﻌﻮد وﻳﺤﻜﻢ‬ ‫اﻟﺮﻗﺺ اﻟﻬﻨﺪي ﻋﻦ ﺑﻘﻴﺔ أﻧﺤﺎء اﻟﻌﺎمل‪ ،‬ﺣﻴﺚ اﻟﻬﻨﺪ ﺑﺤﺴﺐ اﻷﺳﻄﻮرة‪ ،‬وﻟﺬﻟﻚ أﺛﻨﺎء أﻳﺎم‬ ‫ﻳﺘﻢ أداؤﻫــﺎ ﺟﻤﻴﻌﺎً ﺗﻘﺮﻳﺒﺎً ﺑﺸﻜﻞ ﺟامﻋﻲ اﳌﻬﺮﺟﺎت متﺘﻠﺊ اﻟﺒﻴﻮت واﳌﻌﺎﺑﺪ واﻟﻄﺮق‬ ‫اﻟﺸﻌﺮ ‪baytelshear‬‬ ‫ﺑﻴﺖ ِ‬

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‫‪ Ęġ¯ ŝŕ‬‬

‫اﻟﻤﻮروﺛﺎت اﻟﻬﻨﺪﻳﺔ‬ ‫‪ǲōǾżǕŌ ŦŌƈōǤş ǀŌƅǘş ǳǾƳōǂŭ ǳǂũǷş‬‬

‫ﻣﺤﻤﺪ دروﻳﺶ‬

‫ﺗﻌﺪت اﳌﻮروﺛﺎت اﻟﻬﻨﺪﻳﺔ ﻣﻔﻬﻮم اﻟﺜﻘﺎﻓﺔ اﻟﺘﻘﻠﻴﺪﻳﺔ ﻟﺘﺼﺒﺢ ﻣﺮﺟﻌﺎً ﻟﺸﻌﻮب اﻟﻌﺎمل وﺣﺎﻟﺔ روﺣﻴﺔ وﻓﻨﻴﺔ ﺗﺄﺧﺬﻧﺎ ﰲ ﻋﺎمل‬ ‫اﻷﺳﺎﻃري ﺗﺎرة‪ ،‬وﺗﺤﻠﻖ ﺑﻨﺎ ﰲ ﺳامء اﻟﻔﻠﺴﻔﺔ ﺗﺎرة أﺧﺮى‪ .‬ومتﺜﻞ اﻟﻌﺎدات واﻟﺘﻘﺎﻟﻴﺪ اﻟﻬﻨﺪﻳﺔ ﻣﺰﻳﺠﺎً ﻫﺎﺋ ًﻼ ﻣﻦ اﻟﻔﻨﻮن‬ ‫واﻟﻌﻠﻮم واﳌﺪارس اﻟﻔﻜﺮﻳﺔ اﻟﺘﻲ ﺗﻨﻘﻞ اﻻﻧﺴﺎن ﻣﻦ اﻟﻮاﻗﻊ إﱃ اﻟﺨﻴﺎل ﻟﻠﻌﻴﺶ ﰲ ﻋﺎمل ﺧﺎص ﻣﻦ اﻟﺴﺤﺮ واﻹﺑﺪاع ﺣﻴﺚ‬ ‫اﻷﻓﻜﺎر اﳌﺘﺤﺮرة ﻏري اﳌﻘﻴﺪة ﺑﺎﻟﻮاﻗﻊ ﻟﱰﺳﻢ ﻟﻬﺎ درﺑﺎً ﻣﻦ أﻟﻮان اﳌﻬﺮﺟﺎﻧﺎت وﺳﻂ ﻛﻢ ﻫﺎﺋﻞ ﻣﻦ اﻟﻌﺎدات واﻟﺘﻘﺎﻟﻴﺪ‬ ‫اﻟﻐﺮﻳﺒﺔ اﳌﻨﺼﻬﺮة ﰲ ﺑﻮﺗﻘﺔ ﺛﻘﺎﻓﻴﺔ ﻣﺘﺒﻠﺔ ﺑﺒﻬﺎرات اﻟﺤﻴﺎة‪.‬‬

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‫اﻟﻌﺪد ‪ ، 75‬ﻓﺒﺮاﻳﺮ ‪2019‬‬

‫ﻋﺠﻴﺐ ﻣﺎ أىت ﺑﻪ أﻧﻪ مل ﻳﺘﺒﻊ أﻳﺎً ﻣﻦ اﳌﻨﺎﻫﺞ‬ ‫اﻷﻛﺎدميﻴﺔ اﻟﺘﻲ ﻳﻌﺮﻓﻬﺎ ﺟﻴﺪاً وﺗﺨﺮج ﻣﻦ‬ ‫أرﻗﻰ ﻛﻠﻴﺎﺗﻬﺎ اﻟﺒﺤﺜﻴﺔ‪ ،‬وﻫﻮ ﻣﺎ ﻣﻴﺰه ﻋﻦ‬ ‫أﻗﺮاﻧﻪ وﺟﻌﻞ ﻟﻪ ﺗﻠﻚ اﳌﻜﺎﻧﺔ اﻟﺨﺎﺻﺔ‪.‬‬ ‫وﻳﺼﻒ ﻋﻼﻗﺘﻪ اﻟﻔﻨﻴﺔ ﺑﺘﻮﻧﺲ ﺑﻘﻮﻟﻪ‪" :‬أﻧﺎ‬ ‫ﻣﻮﻟﻊ ﺑﺎﻟﺸﺨﻮص اﻟﺘﻮﻧﺴﻴﺔ وﺑﺎﻟﺬات اﳌﺮأة‬ ‫اﻟﻘﺎﺑﻠﺔ ﻟﻠﺮﺳﻢ مبﻼﻣﺤﻬﺎ اﻟﺪﻗﻴﻘﺔ‪ ،‬إﺿﺎﻓ ًﺔ إﱃ‬ ‫ﺿﻮء ﺗﻮﻧﺲ اﻟﺨﺎص اﳌﺨﺘﻠﻒ ﻋﻦ ﺿﻮء روﺳﻴﺎ‬ ‫وأوروﺑﺎ ﺣﻴﺚ ﻳﺤﴬ اﻻﻧﺴﺠﺎم واﻟﻔﻮﴇ ﰲ‬ ‫آن واﺣﺪ"‪.‬‬ ‫وﻗﺪ ﻛﺘﺐ روﺑﺘﺴﻮف ﺳﻠﺴﻠﺔ ﻣﻘﺎﻻت ﻋﻦ‬ ‫ﺗﻮﻧﺲ اﻟﻘﺪميﺔ ﻧﴩﻫﺎ ﰲ ﻓﺮﻧﺴﺎ ‪1940‬‬ ‫ﺗﻌﺪ ﻣﻦ أﺟﻤﻞ ﻣﺎ ﻛﺘﺐ ﻋﻦ وﺻﻒ ﺗﻮﻧﺲ‬ ‫آﻧﺬاك‪ ،‬إذ وﺿﻊ ﻣﻼﺣﻈﺎﺗﻪ وأﻓﻜﺎره وآراءه‬ ‫ﻋام ﻳﺠﺮي ﰲ ﻗﺮﻃﺎج‪ ،‬وأﺑﺪى أﺳﻔﺎً واﺿﺤﺎً‬ ‫ﻻﺧﺘﻔﺎء اﻟﺤﻀﺎرات اﻟﺘﻮﻧﺴﻴﺔ وﻣﻼﻣﺤﻬﺎ‬ ‫اﻷﺻﻴﻠﺔ وﺣﻠﻮل اﻟﻌامرة واﻟﺤﻀﺎرة اﻷوروﺑﻴﺔ‬ ‫اﻟﺪﺧﻴﻠﺔ ﻋﲆ اﻟﺒﻼد‪ ،‬اﻷﻣﺮ اﻟﺬي اﻧﻌﻜﺲ‬ ‫ﻋﲆ اﺑﺪاﻋﻪ‪ .‬وﻛﺎن ﻳﺮﻓﺾ دوﻣﺎ وﺟﻬﺔ اﻟﻨﻈﺮ‬ ‫اﻷوروﺑﻴﺔ اﻟﺘﻘﻠﻴﺪﻳﺔ اﻟﺘﻲ ﺗﻨﻈﺮ إﱃ ﺣﻀﺎرة‬ ‫ﺷامل أﻓﺮﻳﻘﻴﺎ ﻛﺄﻧﻬﺎ ﺣﻀﺎرة ﺑﺪاﺋﻴﺔ ﻓﻄﺮﻳﺔ‬ ‫واﺻﻔﺎً إﻳﺎﻫﺎ ﺑﺄﻧﻬﺎ ﺣﻀﺎرة أﺻﻴﻠﺔ ﻟﺪﻳﻬﺎ‬ ‫ﻣﻤﻴﺰات ﺑﺎﳌﻘﺎرﻧﺔ ﻣﻊ اﻟﺤﻀﺎرة اﻷوروﺑﻴﺔ‪.‬‬

‫‪ ƈƃǜƒǈǕŐ ǚōǉ ǣŨƓŌƈƂ ŝǝōŵ ǻǕŒ‬‬ ‫‪ ǽƳ ǚŌƃǔŞǕŌǶ ǚƃǘǕŌ ưǷƢǿ‬‬ ‫‪ ǓǾƚżŨǕŌǶ ǗǔƪǕŌ ǻǕŒ ǣǾƪƓ‬‬ ‫‪ǼƉƚŞǕŌǶ ǽƳƉƪǘǕŌ‬‬ ‫‪ ǽŨǕŌ ƑǝǷũ ǽƳ ŪǷǈǘǕŌ ƈƉǃ‬‬ ‫‪1 ǽƳ ǲƉǙ ǒǶȏ ōǥőƣǶ ǚŒ ōǙ‬‬ ‫‪ ȍ ǚŐ ƈƉǃ ǻŨŽ 1914 ǖōƫ ǛǙ ǓǿƉşŐ‬‬ ‫‪ɰ‬‬ ‫‪ ŌƃşŐ ōǥƈƂōƮǿ‬‬ ‫‪ ǣǔǘƫǶ ǣŨǙōǃŒ ƉǂǙ ƑǝǷũ ŧżŞƛŐ‬‬ ‫‪600 ǛǙ ƉŬǉŐ ǣǜǙ ŲƉƁŐ ǼƅǕŌ‬‬ ‫‪ɰ‬‬ ‫‪ǳǜƓ 35 ǒȎƁ ǳǾǜƳ ǳŽǷǕ‬‬ ‫ ‪ǢƉǘƫ ǛǙ‬‬

‫آرﻻﻧﺠﻴﻪ" وﻫﻮ ﻓﻨﺎن ﺗﺸﻜﻴﲇ وﻣﻤﻮل ﻟﻠﻔﻦ‬ ‫واﻟﻔﻨﺎﻧني‪ ،‬إﱃ ﺟﺎﻧﺐ ﺻﺪاﻗﺘﻪ ﻣﻊ "أﻧﺪرﻳﻪ‬ ‫دوﺑﻠﻴﻪ" اﻟﻮزﻳﺮ اﻟﻔﺮﻧﴘ اﳌﻔﻮض ﰲ ﺗﻮﻧﺲ‪،‬‬ ‫إﺿﺎﻓ ًﺔ إﱃ اﻟﺮاﻗﺼﺔ اﻟﻔﺮﻧﺴﻴﺔ اﳌﺸﻬﻮرة‬ ‫"إﻳﺰﻳﺪورا داﻧﻜﻦ"‪ ،‬وﻗﺪ اﺷﱰت اﻟﺤﻜﻮﻣﺔ‬ ‫اﻟﻔﺮﻧﺴﻴﺔ وﺑﻠﺪﻳﺔ ﺗﻮﻧﺲ آﻧﺬاك ﻋﺪداً ﻛﺒرياً‬ ‫ﻣﻦ ﻟﻮﺣﺎت أﻟﻜﺴﻨﺪر ﻟﺘﺰﻳني أﺑﻨﻴﺔ اﳌﺆﺳﺴﺎت‬ ‫‪ǳǾƫōǘŨŵȍŌ ǣũōǾŽǶ ǣũŌƂōƫ‬‬ ‫اﻻﺟﺘامﻋﻴﺔ ﰲ اﻟﻌﺎﺻﻤﺔ اﻟﺘﻮﻧﺴﻴﺔ‪.‬‬ ‫رﻏﻢ أن أﻟﻜﺴﻨﺪر ﻟﻴﺲ اﺟﺘامﻋﻴﺎً ﻛام أﺳﻠﻔﻨﺎ‪ ،‬ﻛﺎن ﻷﻟﻜﺴﻨﺪر ﻋــﺎدات ﻏﺮﻳﺒﺔ ﻛﻜﻞ ﻓﻨﺎن‪،‬‬ ‫إﻻ أﻧﻪ ﻛﻮن ﺻﺪاﻗﺎت اﺳﺘﻤﺮت ﻣﻌﻪ إﱃ آﺧﺮ ﻓﻌﲆ ﺳﺒﻴﻞ اﳌﺜﺎل ﻛﺎن ﻻ ﻳﻠﺒﺲ ﻣﻌﻄﻔﺎً ﻣﻬام‬ ‫ﻋﻤﺮه ﻣﺜﻞ ﺻﺪاﻗﺘﻪ ﻣﻊ اﻟﺒﺎرون اﻟﻔﺮﻧﴘ "دي اﺷﺘﺪت ﺑﺮودة اﻟﺠﻮ‪ ،‬وﻛﺎن ﻳﻌﻴﺶ ﻣﻨﻌﺰﻻً متﺎﻣﺎً‬

‫ﺑﺤﻴﺚ أﻧﻪ مل ﻳﻜﻦ ﻳﺰور أﺣﺪاً إﻻ ﻧﺎدراً ﺟﺪاً‬ ‫ﻋﲆ اﻟﺮﻏﻢ ﻣﻦ ﻣﺤﺒﺔ اﻟﻨﺎس ﻟﻪ‪ ،‬ومل ﻳﺪﺧﻞ‬ ‫أﺣﺪٌ ﻣﻨﺰﻟﻪ ﺧﻼل ‪ 35‬ﻋﺎﻣﺎً رﻏﻢ ﻛﺮﻣﻪ اﻟﻜﺒري!‬ ‫اﻛﺘﺴﺐ ﻗﻠﻮب اﻟﺘﻮﻧﺴﻴني واﺣﱰاﻣﻬﻢ‬ ‫ﺑﺘﻮاﺿﻌﻪ وزﻫﺪه اﳌﺎدي وﻧﺰاﻫﺘﻪ وﺻﺪﻗﻪ‬ ‫وأﻧﺎﻗﺘﻪ‪ ،‬ﺣﺘﻰ ﻛﺎﻧﻮا ﻳﻘﻮﻟﻮن ﻋﻨﻪ إﻧﻪ ﻻ‬ ‫ﻳﻜﻠﻒ ﺷﻴﺌﺎً ﻟﺮﺳﻢ ﺑﻮرﺗﺮﻳﻪ ﻋﻨﺪ "اﻟﺮوﳼ‬ ‫اﻷﺑﻴﺾ"ﺳﻮى اﻟﻘﻠﻴﻞ ﻣﻦ اﻷﻟﻮان وﻛﺮﳼ ﻗﺶ‬ ‫وﻛﻮب ﻣﻦ اﻟﺸﺎي اﻷﺧﴬ!‪ .‬وأﻃﻠﻖ ﻋﻠﻴﻪ ﰲ‬ ‫ﺗﻮﻧﺲ ﻟﻘﺐ اﻟﺮوﳼ اﻷﺑﻴﺾ ﻟﺸﻌﺮه اﻷﺷﻘﺮ‪.‬‬ ‫وﻣﻦ ﻋﺎداﺗﻪ اﻟﻐﺮﻳﺒﺔ أﻳﻀﺎً أﻧﻪ ﻛﺎن ﻳﺴﺒﺢ ﰲ‬ ‫اﻟﺒﺤﺮ ﻃﻴﻠﺔ أﻳﺎم اﻟﺴﻨﺔ ﺑﻐﺾ اﻟﻨﻈﺮ ﻋﻦ اﻟﺠﻮ‬ ‫أو ﺣﺎﻟﺔ اﻟﺒﺤﺮ‪ .‬وﻛﺎن ﻣﻦ ﺑني اﺻﺪﻗﺎﺋﻪ ﻣﻤﺜﻠﻮ‬ ‫اﻟﻨﺨﺒﺔ اﻟﺘﻮﻧﺴﻴﺔ واﻟﻔﺮﻧﺴﻴﺔ‪،‬‬ ‫ﻧﺎل روﺑﺘﺴﻮف اﻟﺠﻨﺴﻴﺔ اﻟﻔﺮﻧﺴﻴﺔ ﺑﻌﺪﻣﺎ‬ ‫ﺷــﺎرك ﰲ أول ﻣﻌﺮض ﻓﻨﻲ ﺑﻌﺪ اﻟﺤﺮب‬ ‫اﻟﻌﺎﳌﻴﺔ اﻷوﱃ ﻗﺪم ﻓﻴﻪ ‪ 132‬ﻟﻮﺣﺔ ﻓﻨﻴﺔ‪.‬‬ ‫ﻟﻴﺼﺒﺢ ﺗﻮﻧﺴﻴﺎً ﻓﺮﻧﺴﻴﺎً ﺑﺤﺴﺐ وﺻﻒ‬ ‫اﻟﺼﺤﻒ اﻟﻔﺮﻧﺴﻴﺔ وﻗﺪ ﺷﺎرك ﺑﻌﺪﻫﺎ ﺗﺤﺖ‬ ‫اﺳﻢ ﻓﺮﻧﺴﺎ ﰲ اﻟﻜﺜري ﻣﻦ اﳌﻌﺎرض اﻟﺪوﻟﻴﺔ‪.‬‬ ‫وأﺳﺴﺖ ﺑﺎﺳﻤﻪ ﻻﺣﻘﺎً ﺟﻤﻌﻴﺔ روﺑﺘﺴﻮف‬ ‫اﻟﻔﻨﻴﺔ ﰲ ﺑﺎرﻳﺲ اﻟﺘﻲ ﺗﻌﻤﻞ ﻋﲆ ﺗﺮوﻳﺞ‬ ‫أﻋامﻟﻪ اﻟﻔﻨﻴﺔ‪.‬‬ ‫ﺗــﻮﰲ روﺑــﺘــﺴــﻮف ﰲ ﻧﻮﻓﻤﱪ ‪ 1949‬ﰲ‬ ‫اﳌﺴﺘﺸﻔﻰ اﻟﻔﺮﻧﴘ ﺑﺘﻮﻧﺲ ﺑﻌﺪ إﺻﺎﺑﺘﻪ‬ ‫ﺑﺘﺪرن اﻟﺮﺋﺘني‪ ،‬وﻛﺎﻧﺖ آﺧﺮ ﻏﺮاﺋﺒﻪ أﻧﻪ مل‬ ‫ﻳﺘﻜﻠﻢ إﻻ ﺑﺎﻟﻠﻐﺔ اﻟﺮوﺳﻴﺔ ﰲ ﻟﺤﻈﺎﺗﻪ اﻷﺧرية‪.‬‬ ‫ومل ﻳﻜﻦ ﻳﻔﻬﻤﻪ أﺣﺪٌ ﻣﻦ ﺣﻮﻟﻪ‪.‬‬ ‫اﻟﺸﻌﺮ ‪baytelshear‬‬ ‫ﺑﻴﺖ ِ‬

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‫‪ ĮŇŒ ŗŕ‬‬

‫اﻟﻜﺴﻨﺪر روﺑﺘﺴﻮف‪..‬‬ ‫‪ ƑǝǷũ ŝŽ ǛǙ ǻƲƖǿ ȍ ǼƅǕŌ ƝǾşȏŌ ǽƓǶƉǕŌ‬‬ ‫ﻫﺎﻧﻲ ﻧﺪﻳﻢ‬

‫أن ﺗﻮﻟﺪ ﰲ ﺑﻄﺮﺳﺒﻮرغ ﻓﻬﺬا ﻳﻌﻨﻲ إﻧﻚ‬ ‫ٌ‬ ‫ﻓﻨﺎن ﺑﻄﺒﻴﻌﺔ اﻟﺤﺎل إذ ﻳﻔﺘﺢ اﳌﺮء ﻋﻴﻨﻴﻪ‬ ‫ﰲ ﻫﺬه اﳌﺪﻳﻨﺔ ﻋﲆ أﺟﻤﻞ اﻟﺠﺪارﻳﺎت‬ ‫واﳌﻨﺤﻮﺗﺎت ﰲ اﻟﻌﺎمل وﺗﺘﻠﻤﺲ أﺣﺎﺳﻴﺴﻪ‬ ‫أﺑﻌﺎد اﻟﻔﻨﻮن وﺗﺪرﺟﺎت اﻟﻠﻮن‪ ،‬ﻫﺬا ﻣﺎ‬ ‫ﻗﺎﻟﻪ ﻳﻮﻣﺎً "ﻻﺑﺮاﺳﻴﻮن" اﻟﻨﺎﻗﺪ اﻟﻔﻨﻲ‪،‬‬ ‫اﻟﺬي ﺗﺬﻛﺮﺗﻪ وأﻧﺎ أﻛﺘﺐ ﻋﻦ اﻟﻔﻨﺎن‬ ‫اﻟﻬﺎﺋﻞ "أﻟﻜﺴﻨﺪر روﺑﺘﺴﻮف" اﻟﺬي وﻟﺪ‬ ‫ﰲ ﺑﻄﺮﺳﺒﻮرغ ومنﺖ ذاﺋﻘﺘﻪ اﻟﺒﴫﻳﺔ ﻓﻴﻬﺎ‬ ‫ودرس ﰲ ﻛﻠﻴﺎﺗﻬﺎ ﻗﺒﻞ أن ﻳﻌﺸﻖ ﺗﻮﻧﺲ‬ ‫وﻳﺴﺘﻘﺮ ﻓﻴﻬﺎ ﻻﺣﻘﺎً‪.‬‬ ‫وﻟﺪ أﻟﻜﺴﻨﺪر ‪ 24‬ﻳﻨﺎﻳﺮ ﻣﻦ اﻟﻌﺎم ‪ 1884‬ﰲ‬ ‫ﺑﻄﺮﺳﺒﻮرغ ﻟﻌﺎﺋﻠﺔ أرﺳﺘﻘﺮاﻃﻴﺔ ﺗﻌﺘﱪ ﻣﻦ‬ ‫اﻟﻨﺒﻼء ﻓﻘﺪ ﻣﻨﺢ ﺟﺪه ﻟﻘﺒﻪ ﻛﻤﻮاﻃﻦ ﻓﺨﺮي‬ ‫ﳌﺪﻳﻨﺔ ﺑﻄﺮﺳﺒﻮرغ ومتﻴﺰت ﻋﺎﺋﻠﺘﻪ ﺑﺎﻟﻐﻨﻰ‬ ‫واﻟﺜﻘﺎﻓﺔ اﻟﻮاﺳﻌﺔ‪ ،‬وﻗﺪ دﻓﻌﻮا أﻟﻜﺴﻨﺪر‬ ‫ﻟﻴﻠﺘﺤﻖ ﺑﺎﳌﺪرﺳﺔ اﻟﻜﻼﺳﻴﻜﻴﺔ ﺛﻢ ﻛﻠﻴﺔ اﻟﻔﻨﻮن‬ ‫اﻟﺘﺸﻜﻴﻠﻴﺔ ﰲ اﻷﻛﺎدميﻴﺔ اﻻﻣﱪاﻃﻮرﻳﺔ‪ ،‬إﱃ‬ ‫ﺟﺎﻧﺐ ﺷﻐﻒ اﻟﻜﺴﻨﺪر وﺣﺒﻪ ﻟﻠﻔﻨﻮن اﻟﺬي‬ ‫مل ﻳﺘﻮﻗﻒ ﻟﺤﻈﺔ ﻣﻦ ﻳﻮم ﻣﻮﻟﺪه ﺣﺘﻰ وﻓﺎﺗﻪ‪.‬‬ ‫وإﱃ ﺟﺎﻧﺐ دراﺳﺘﻪ ﻛﺎن أﻟﻜﺴﻨﺪر ﻳﻄﻮف‬ ‫اﳌﺪن واﻟﺒﻠﺪان ﰲ ﺳﻌﻴﻪ إﱃ اﻟﻌﻠﻢ واﻟﺘﺤﺼﻴﻞ‬ ‫اﳌﻌﺮﰲ واﻟﺒﴫي‪ ،‬ﻓﺰار اﻟﺒﻨﺪﻗﻴﺔ واﻃﻠﻊ ﻋﲆ‬ ‫ﻓﻨﻮﻧﻬﺎ ﻛام ﻣﻜﺚ ﻓﱰة ﰲ ﻓﻴﻴﻨﺎ وزار ﺑﺎرﻳﺲ‬ ‫أﻛرث ﻣﻦ ﻣﺮة وﺣﴬ ﻓﻴﻬﺎ ورﺷﺎت ﻟﻠﻨﺤﺎت‬ ‫اﻟﻔﺮﻧﴘ اﻟﺸﻬري أوﻏﺴﺖ رودان‪ .‬ﻛام‬ ‫أﻗﺎم ﻋﺎﻣني "‪ 1910‬و‪ 1911‬ﰲ إﻳﻄﺎﻟﻴﺎ اﻟﺘﻲ‬ ‫ﺳﺤﺮﺗﻪ ﺑﺘﻌﺪد ﻓﻨﻮﻧﻬﺎ وﺗﺒﺎﻳﻦ ﺗﻘﻨﻴﺎﺗﻬﺎ‪ .‬وﻣﻊ‬ ‫ﺗﻄﻮر أدوات أﻟﻜﺴﻨﺪر ﻗﺎﻣﺖ اﻷﻛﺎدميﻴﺔ‬ ‫ﺑﺘﻮﻓري ﻣﻨﺤﺔ ﺧﺎﺻﺔ ﻟﻪ ﻗﴣ ﻓﻴﻬﺎ ‪ 4‬ﺳﻨﻮات‬ ‫ﰲ أوروﺑﺎ‪ .‬ﻓﺰار أﳌﺎﻧﻴﺎ وﺑﺮﻳﻄﺎﻧﻴﺎ وﺳﻮﻳﴪا‬ ‫وﻓﺮﻧﺴﺎ وإﺳﺒﺎﻧﻴﺎ وﻣﺮاﻛﺶ‪.‬‬

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‫‪ǣũƉżƓ ǽŨǕŌ ŲōƣƉǃ‬‬

‫وﺻــﻞ أﻟﻜﺴﻨﺪر إﱃ ﺗﻮﻧﺲ ﺑﻌﺪ اﻟﺤﺮب‬ ‫اﻟﻌﺎﳌﻴﺔ اﻷوﱃ إذ أن اﻟﺤﺮب أﻋﺎﻗﺖ رﺟﻮﻋﻪ‬ ‫إﱃ روﺳﻴﺎ ﻓﻘﺮر اﳌﻜﻮث ﰲ ﺗﻮﻧﺲ اﻟﺘﻲ ﻣﺎ إن‬ ‫وﻃﺄﻫﺎ ﻷول ﻣﺮة ﰲ ‪ 1‬أﺑﺮﻳﻞ ﻣﻦ ﻋﺎم ‪1914‬‬ ‫ﺣﺘﻰ ﻗﺮر أن ﻻ ﻳﻐﺎدرﻫﺎ أﺑﺪاً‪.‬‬ ‫وﰲ اﻟﻌﺎﺻﻤﺔ اﻟﺘﻮﻧﺴﻴﺔ اﻟﻮاﻗﻌﺔ آﻧﺬاك‬ ‫ﺗﺤﺖ اﻟﺤﻜﻢ اﻟﻔﺮﻧﴘ‪ ،‬اﺳﺘﺄﺟﺮ اﻟﻜﺴﻨﺪر‬ ‫ﺷﻘ ًﺔ ﺻﻐري ًة ﰲ ﺷﺎرع اﻟﺠﺰﻳﺮة اﻟﺬي ﻳﻔﺼﻞ‬ ‫ﺑني اﻟﻘﺴﻤني اﻷورويب واﻟﻌﺮيب ﻣﻦ اﳌﺪﻳﻨﺔ‬ ‫وأﺻﺒﺤﺖ ﻣﻘﺮ إﻗﺎﻣﺘﻪ وﻋﻤﻠﻪ اﻟﺬي أﺧﺮج‬ ‫ﻣﻨﻪ أﻛرث ﻣﻦ ‪ 600‬ﻟﻮﺣ ًﺔ ﻓﻨﻴﺔ ﺧﻼل ‪ 35‬ﺳﻨﺔ‬ ‫ﻣﻦ ﻋﻤﺮه‪.‬‬ ‫ﻋﺎش أﻟﻜﺴﻨﺪ ﰲ ﺗﻮﻧﺲ ﺣﻴﺎة أﻗﻞ ﻣﺎ ميﻜﻦ‬ ‫ان ﻳﻘﺎل ﻋﻨﻬﺎ ﺑﺄﻧﻬﺎ ﻓﻨﻴﺔ ﺑﺤﺘﺔ‪ ،‬ﻓﻠﻢ ﻳﻜﻦ‬ ‫اﺟﺘامﻋﻴﺎً ﺑﺎﳌﻌﻨﻰ اﻟﻜﺒري ﻟﻠﻜﻠﻤﺔ رﻏﻢ أﻧﻪ‬ ‫ﻋﲆ اﻟﻔﻮر اﻧﺪﻣﺞ ﻣﻊ ﻋﻠﻴﺔ اﻟﻘﻮم ﰲ اﳌﺪﻳﻨﺔ‬ ‫وأﺻﺒﺢ واﺣﺪاً ﻣﻨﻬﻢ ﻟﺪﻣﺎﺛﺔ أﺧﻼﻗﻪ وﺗﻬﺬﻳﺒﻪ‬ ‫اﳌﺒﺎﻟﻎ ﺑﻪ‪ .‬واﻋﺘﱪ ﺷﺨﺼﻴﺔ ﻓﻨﻴﺔ ﺑﺎرزة ﰲ‬ ‫ﺗﻮﻧﺲ ﻋﴩﻳﻨﻴﺎت وﺛﻼﺛﻴﻨﻴﺎت وأرﺑﻌﻴﻨﻴﺎت‬ ‫اﻟﻘﺮن اﳌﺎﴈ‪.‬‬

‫ﻳﺼﻒ أﻟﻜﺴﻨﺪر ﺗﻮﻧﺲ ﺑﺄﻧﻬﺎ اﳌﻜﺎن اﻷﺟﻤﻞ‬ ‫ﰲ اﻷرض واﻷﻛرث ﻏﻨﻰ ﰲ ﺣﺮﻛﺘﻪ اﻟﺒﴫﻳﺔ‪،‬‬ ‫ﻓﻨﴘ ﻛﻞ ﻣﺎ رآه ﰲ أوروﺑﺎ ﻣﻦ ﻣﺸﺎﻫﺪ وآﺛﺎر‬ ‫ّ‬ ‫ووﻇﻒ ﻟﻮﺣﺎﺗﻪ ﻟﺮﺳﻢ ﻫﺬا اﻟﺠامل اﳌﺘﻔﺮد‪،‬‬ ‫ﺧﺎﺻ ًﺔ وأن ﺗﻮﻧﺲ ﺗﺴﻌﻒ ﺗﻮﺟﻪ اﻟﻔﻨﺎن‬ ‫اﳌﻮﻟﻊ ﺑﺎﻟﻐﺮاﺑﺔ ﰲ رﺳﻤﻪ واﳌﻨﺸﻐﻞ ﺑﻜﻞ‬ ‫ﻓﻨﻮن اﻟﺘﺸﻜﻴﻞ واﻟﺮﺳﻢ‪ ،‬ﻓﻨﺠﺪه ﻗﺪ رﺳﻢ‬ ‫ﻟﻮﺣﺎت زﻳﺘﻴﺔ وﻣﺎﺋﻴﺔ ﻛام اﺷﺘﻐﻞ ﺑﺎﻟﻐﺮاﻓﻴﻚ‬ ‫ﻟﻨﻘﻞ ﻛﻞ ﻫﺬا اﻟﺘﺒﺎﻳﻦ واﻟﺘﻨﻮع‪ ،‬أﻳﻀﺎً واﻓﻘﺖ‬ ‫ﺗﻮﻧﺲ ﻫﻮاه ﰲ اﺳﺘﺨﺪام اﻟﺼﺎرخ ﻣﻦ اﻷﻟﻮان‬ ‫واﻻﻧﺘﻘﺎل اﳌﻔﺎﺟﺊ ﺑﻴﻨﻬﺎ‪.‬‬ ‫وﰲ ﺣﻘﻴﻘﺔ اﻷﻣﺮ ﻳﻌﺘﱪ روﺑﺘﺴﻮف أﺣﺪ أﻫﻢ‬ ‫اﳌﺮاﺟﻊ اﻟﻴﻮم ﻟﻠﻔﻨﺎﻧني اﻟﺘﻮﻧﺴﻴني ﰲ رﺳﻢ‬ ‫اﻟﻄﺒﻴﻌﺔ اﻟﺘﻮﻧﺴﻴﺔ وﻧﻘﻞ اﳌﺸﺎﻫﺪ اﻟﻴﻮﻣﻴﺔ ﰲ‬ ‫اﻟﺴﻮق واﻟﺸﺎرع‪ ،‬واﻹﺑﺪاع ﰲ ﺗﻮﺛﻴﻖ اﻟﻌامرة‬ ‫واﻷزﻳــﺎء وﻟﻌﺒﺔ اﻟﻨﻮر واﻟﻈﻼل وﺗﺪاﺧﻞ‬ ‫اﻷﺷﻜﺎل ﺣﺘﻰ وﺻﻔﻪ اﻟﺮﺋﻴﺲ اﻟﻔﺮﻧﴘ ﺑﺄن‬ ‫ﻟﻮﺣﺎﺗﻪ ﺗﻜﺎد أن ﺗﻨﻄﻖ‪.‬‬ ‫ﻟﻘﺪ أﺳﺲ ﻫﺬا اﻟﺮوﳼ ﳌﺪرﺳﺔ ﺟﺪﻳﺪة ﰲ‬ ‫اﻻﺳﺘﴩاق ﻣﺨﺘﻠﻔﺔ ﻋام ﺳﺒﻘﻪ ﰲ ﻣﻌﺎﻟﺠﺔ‬ ‫اﻟﻀﻮء واﻷﻟـــﻮان واﻟﺸﺨﻮص‪ ،‬وﻛــﺎن ﻣﻦ‬

‫اﻟﻤﺠﻼت اﻟﺸﻬﺮﻳﺔ اﻟﺼﺎدرة ﻋﻦ‬

‫ﻣﺮﻛﺰ ﺳﻠﻄﺎن ﺑﻦ زاﻳﺪ‬

‫ﻳﻤﻜﻨﻜﻢ اﻻﻃﻼع ﻋﻠﻰ أرﺷﻴﻒ ﺟﻤﻴﻊ اﻟﻤﺠﻼت ﻋﺒﺮ اﻟﻤﻮﻗﻊ اﻹﻟﻜﺘﺮوﻧﻲ*‬

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‫‪ģŕ ĮĚ‬‬

‫ﺳﻮرﻳﺎ‪ ،‬وﻫﺎين ﺻﺎﻟﺢ إﺑﺮاﻫﻴﻢ ﻋﺒﺪاﻟﺠﻮاد‪،‬‬ ‫وﻳﺎرا ﺣﺠﺎوي ﻣﻦ اﻷردن‪ ،‬وراﺑﻌﺔ اﻟﻌﺪوﻳﺔ‬ ‫ﺑﺪري ﻣﻦ اﻟﺠﺰاﺋﺮ‪ ،‬ﺑﺎﻹﺿﺎﻓﺔ إﱃ ﻣﺤﻤﺪ‬ ‫اﻷﻣني دﻳﻮب ﻣﻦ اﻟﺴﻨﻐﺎل‪ ،‬وﻋﲇ ﺣﺴﻦ‬ ‫إﺑﺮاﻫﻴﻢ ﻣﻦ اﻟﺒﺤﺮﻳﻦ‪ ،‬وﺧﻠﻮد ﺑﻨﺎﴏ‬ ‫ﻣﻦ اﳌﻐﺮب‪ ،‬وأﻣﺎين اﻟﺰﻋﻴﺒﻲ ﻣﻦ ﺗﻮﻧﺲ‪،‬‬ ‫وﺳﻠﻄﺎن ﺑﻦ ﻣﺤﻤﺪ ﺳﺒﻬﺎن اﻟﺸﻤﺮي‬ ‫وأﺣﻤﺪ ﻋﺴريي ﻣﻦ اﻟﺴﻌﻮدﻳﺔ‪ ،‬واﺑﺘﻬﺎل‬ ‫ﺗﺮﻳﱰ ودﻳﻨﺎ اﻟﺸﻴﺦ ﻣﻦ اﻟﺴﻮدان‪ ،‬وﺳﻌﺪ‬ ‫ﺟﺮﺟﻴﺲ اﺳﻌﻴﺪ ﻣﻦ اﻟﻌﺮاق‪ ،‬وﻋﺒﺪاﳌﻨﻌﻢ‬ ‫ﺣﺴﻦ ﻣﻦ ﻣﺎﱄ‪.‬‬ ‫ﺗﻨﺎﻓﺲ أﻣﺎم ﻟﺠﻨﺔ اﻟﺘﺤﻜﻴﻢ اﳌﻜﻮﻧﺔ ﻣﻦ د‪.‬‬ ‫ﻋﲇ ﺑﻦ متﻴﻢ‪ ،‬ود‪ .‬ﻋﺒﺪاﳌﻠﻚ ﻣﺮﺗﺎض‪ ،‬ود‪.‬‬ ‫ﺻﻼح ﻓﻀﻞ؛ ﺛﻼث ﺷﺎﻋﺮات وﺷﺎﻋﺮ واﺣﺪ‬

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‫اﻟﻌﺪد ‪ ، 75‬ﻓﺒﺮاﻳﺮ ‪2019‬‬

‫راﺑﻌﺔ اﻟﻌﺪوﻳﺔ ﺑﺪري ﻣﻦ اﻟﺠﺰاﺋﺮ‪ ،‬واﻟﺘﻲ‬ ‫ﺗﺄﻫﻠﺖ إﱃ اﳌﺮﺣﻠﺔ اﻟﺜﺎﻧﻴﺔ إﺛﺮ ﺣﺼﻮﻟﻬﺎ ﻋﲆ‬ ‫‪ɰ‬‬ ‫ ‪ɶ‬‬ ‫‪Őƃş ŌƉǿƉǂũ ųǙōǝƉŞǕŌ ǖ‬‬ ‫‪ƃǃ‬‬ ‫‪ 45‬درﺟﺔ‪ ،‬ﻣﺘﻘﺪﻣﺔ ﻋﲆ ﻋﺎﺋﺸﺔ اﻟﺸﺎﻣﴘ‬ ‫ ‪ ƃǿŌƊ ſǾƖǔǕ ǣǕ ƈǷƲƮǘǔǕ ǳǘǔǈş‬‬ ‫ﻣﻦ اﻹﻣﺎرات اﻟﺘﻲ ﺣﺼﻠﺖ ﻋﲆ ‪ 43‬درﺟﺔ‪،‬‬ ‫‪ ǳǾǘǥŐǶ ɐŻǙōƒŨǕŌ ǳǘǾǃ ǒǷŽ‬‬ ‫وﻋﲆ ﺳﻌﺪ ﺟﺮﺟﻴﺲ ﻣﻦ اﻟﻌﺮاق وﻣﻴﺎر‬ ‫ ‪ƩǘŨŴǘǕŌ ǽƳ ōǥƂǷŵǶ‬‬ ‫أﺣﻤﺪ أﺑﻮ ﺳﻠﻴامن ﻣﻦ ﻣﴫ‪ ،‬اﻟﻠﺬﻳﻦ ﺣﺼﻞ‬ ‫‪ɰ‬‬ ‫ ‪ǚōǉ ōǿŐ‬‬ ‫ﻛﻞ ﻣﻨﻬام ﻋﲆ ‪ 40‬درﺟﺔ‪.‬‬ ‫وﺑﻌﺪ ﺳﺎﻋﺘني ﻣﻦ اﻟﺸﻌﺮ واﻟﻨﻘﺪ واﻟﻔﻦ‬ ‫‪ ƉƫōƖǘǕŌ Ǜƫ ŋŌƉƪƖǕŌ Ūƃżũ‬اﻧﺘﻬﺖ اﻟﺤﻠﻘﺔ‪ ،‬وﰲ ﺧﺘﺎﻣﻬﺎ أﻋﻠﻨﺖ ﻟﺠني‬ ‫‪ ǳǘǔǈǕŌ ǢōŴũ ǗǤŴǕōƀũ ǽŨǕŌ‬ﻋﻤﺮان ﻋﻦ ﺷﻌﺮاء اﻟﺤﻠﻘﺔ اﻟﻘﺎدﻣﺔ اﻟﺘﻲ‬ ‫‪ɰ‬‬ ‫‪ ōƞǿŐ ĸŋŌƉƪƖǕŌ ƉǾǙŐĸǶ ƉƪƖǕŌǶ‬ﺳﺘ ّ‬ ‫ُﺒﺚ ﻳﻮم اﻟﺜﻼﺛﺎء اﳌﻮاﻓﻖ ‪ 5‬ﻓﱪاﻳﺮ ‪ /‬ﺷﺒﺎط‬ ‫‪ ،2019‬وﻫﻢ‪ :‬اﺑﺘﻬﺎل ﺗﺮﺗري ﻣﻦ اﻟﺴﻮدان‪،‬‬ ‫ﺑﻌﺪ إﻟﻘﺎء ﻗﺼﺎﺋﺪﻫﻢ أﻣﺎم اﻟﻠﺠﻨﺔ اﻟﺘﻲ ﺧﻠﻮد ﺑﻨﺎﴏ ﻣﻦ اﳌﻐﺮب‪ ،‬ﻋﺒﺪاﳌﻨﻌﻢ ﺣﺴﻦ‬ ‫ﻣﻨﺤﺘﻬﻢ اﻟﺪرﺟﺎت اﻟﺘﻲ ﻳﺴﺘﺤﻘﻮن‪ ،‬وﻫﻢ‪ :‬ﻣﻦ ﻣﺎﱄ‪ ،‬وﻫﺎين ﻋﺒﺪاﻟﺠﻮاد ﻣﻦ اﻷردن‪.‬‬

‫إﻗﺎﻣﺔ ﺟﴪ ﻟﻠﺘﻮاﺻﻞ ﻣﻊ اﻟﻌﺎمل‪.‬‬ ‫وأﺷــﺎر اﻟﺘﻘﺮﻳﺮ إﱃ أن ”ﻋــﺎم اﻟﺘﺴﺎﻣﺢ“‬ ‫ﻳﻘﻮم ﻋﲆ ﺧﻤﺴﺔ ﻣﺤﺎور أﺳﺎﺳﻴﺔ ﺗﺘﻤﺜﻞ‬ ‫ﰲ‪ :‬ﺗﻌﻤﻴﻖ ﻗﻴﻢ اﻟﺘﺴﺎﻣﺢ واﻻﻧﻔﺘﺎح ﻋﲆ‬ ‫اﻟﺜﻘﺎﻓﺎت واﻟﺸﻌﻮب ﰲ اﳌﺠﺘﻤﻊ ﻣﻦ ﺧﻼل‬ ‫اﻟﱰﻛﻴﺰ ﻋﲆ ﻫــﺬه اﻟﻘﻴﻢ ﻟــﺪى اﻷﺟﻴﺎل‬ ‫اﻟﺠﺪﻳﺪة‪ ،‬وﺗﺮﺳﻴﺦ ﻣﻜﺎﻧﺔ دوﻟﺔ اﻹﻣﺎرات‬ ‫ﻋﺎﺻﻤﺔ ﻋﺎﳌﻴﺔ ﻟﻠﺘﺴﺎﻣﺢ ﻣﻦ ﺧﻼل ﻣﺠﻤﻮﻋﺔ‬ ‫ﻣﻦ اﳌــﺒــﺎدرات واﳌﺸﺎرﻳﻊ اﻟﻜﱪى ﻣﻨﻬﺎ‬ ‫اﳌﺴﺎﻫامت اﻟﺒﺤﺜﻴﺔ واﻟﺪراﺳﺎت اﻻﺟﺘامﻋﻴﺔ‬ ‫اﳌﺘﺨﺼﺼﺔ ﰲ ﺣﻮار اﻟﺤﻀﺎرات‪ ،‬واﻟﺘﺴﺎﻣﺢ‬ ‫اﻟﺜﻘﺎﰲ ﻣﻦ ﺧﻼل ﻣﺠﻤﻮﻋﺔ ﻣﻦ اﳌﺒﺎدرات‬ ‫اﳌﺠﺘﻤﻌﻴﺔ واﻟﺜﻘﺎﻓﻴﺔ اﳌﺨﺘﻠﻔﺔ‪ ،‬وﻃﺮح‬ ‫ﺗﴩﻳﻌﺎت وﺳﻴﺎﺳﺎت ﺗﻬﺪف إﱃ ﺗﻌﺰﻳﺰ‬ ‫ﻗﻴﻢ اﻟﺘﺴﺎﻣﺢ اﻟﺜﻘﺎﰲ واﻟﺪﻳﻨﻲ واﻻﺟﺘامﻋﻲ‪،‬‬

‫وأﺧرياً ﺗﻌﺰﻳﺰ ﺧﻄﺎب اﻟﺘﺴﺎﻣﺢ وﺗﻘﺒﻞ اﻵﺧﺮ‬ ‫ﻣﻦ ﺧﻼل ﻣﺒﺎدرات إﻋﻼﻣﻴﺔ ﻫﺎدﻓﺔ‪.‬‬ ‫وﺑﺎﻟﺘﺎﱄ ﺳﻴﻜﻮن اﻟﻌﺎم اﺣﺘﻔﺎ ًء مبﺎ ﻗﺪﻣﺘﻪ‬ ‫اﻹﻣﺎرات ﻟﺘﻜﻮن أرض اﻟﺘﺴﺎﻣﺢ واﻟﺘﻌﺪدﻳﺔ‬ ‫اﻟﺜﻘﺎﻓﻴﺔ ﰲ ﻇﻞ وﺟﻮد أﻛرث ﻣﻦ ‪ 200‬ﺟﻨﺴﻴﺔ‪.‬‬ ‫وﺗﺤﺪث د‪ .‬ﻋﲇ ﺑﻦ متﻴﻢ‪ ،‬ﻋﻀﻮ ﻟﺠﻨﺔ‬ ‫ﺗﺤﻜﻴﻢ اﻟﱪﻧﺎﻣﺞ ﻣﺪﻳﺮ ﻋﺎم ﴍﻛﺔ أﺑﻮﻇﺒﻲ‬ ‫ﻟﻺﻋﻼم‪ ،‬ﻋﻦ اﻟﺮﺳﺎﺋﻞ اﻟﺘﻲ ﻳﺤﻤﻠﻬﺎ ﺑﺮﻧﺎﻣﺞ‬ ‫”أﻣري اﻟﺸﻌﺮاء“‪ ،‬ﺣﻴﺚ ﻳﺄيت ”ﻋﺎم اﻟﺘﺴﺎﻣﺢ“‬ ‫ﺑﻌﺪ ”ﻋﺎم زاﻳﺪ“‪ ،‬ﻣﻮﺿﺤﺎً أن اﻟﻌﻼﻗﺔ ﺑني‬ ‫اﻟ َﻌﺎﻣني ﻣﺘﺼﻠﺔ وﻗﻮﻳﺔ‪ .‬ﻓﺎﻟﺘﺴﺎﻣﺢ ﻣﻨﻄﻠﻖ‬ ‫ﻓﻜﺮي وإﻧﺴﺎين ﻣﴤء‪ ،‬وﺑﺎﻟﺘﺎﱄ ﻋﻠﻴﻨﺎ أن‬ ‫ﻧﺤﺘﻔﻲ ﺑﻬﺬا اﻟﻌﺎم‪ ،‬وأن ﻧﺤ ّﻮﻟﻪ إﱃ ﻗﻴﻤﺔ‬ ‫ﺷﻌﺮﻳﺔ ﺑﺎذﺧﺔ‪ ،‬ﺧﺎﺻﺔ وأن اﻟﺘﺴﺎﻣﺢ أﺿﺤﻰ‬ ‫داﻓﻌﺎً رﺋﻴﺴﺎً ﰲ ﻣﺴرية اﻹﻣﺎرات اﻟﺘﻨﻤﻮﻳﺔ‪.‬‬

‫‪ ǛǙōŬǕŌ ǗƓǷǘǕŌ ŋŌƉƪƗ‬‬

‫ﺑﻌﺪ اﻟﺘﻘﺮﻳﺮ اﻟﺨﺎص ﺑﻌﺎم اﻟﺘﺴﺎﻣﺢ؛ ﺗﻢ‬ ‫ﺗﻘﺪﻳﻢ ﺗﻘﺮﻳﺮ ﻋﻦ اﻟﺸﻌﺮاء اﻟﻌﴩﻳﻦ اﻟﺬﻳﻦ‬ ‫وﺻﻠﻮا إﱃ ”ﺷﺎﻃﺊ اﻟﺮاﺣﺔ“ ﻟﻴﺒﺪأوا رﺣﻠﺔ‬ ‫اﳌﻨﺎﻓﺴﺔ ﻟﻠﻔﻮز ﺑﻠﻘﺐ اﻹﻣــﺎرة واﻟــﱪدة‬ ‫واﻟﺨﺎﺗﻢ‪.‬‬ ‫وﰲ اﻟﺘﻘﺮﻳﺮ ﺗﺤﺪث اﻟﺸﻌﺮاء ﻋﻦ اﳌﺸﺎﻋﺮ‬ ‫اﻟﺘﻲ ﺗﺨﺎﻟﺠﻬﻢ ﺗﺠﺎه اﻟﻜﻠﻤﺔ واﻟﺸﻌﺮ‬ ‫و“أﻣــري اﻟﺸﻌﺮاء“ أﻳﻀﺎً‪ ،‬وﻫــﻢ‪ :‬ﻋﺎﺋﺸﺔ‬ ‫ﺟﻤﻌﺔ ﻋﺒﺪاﻟﻠﻪ‪ ،‬ﻋﲇ اﻟﺸﺎﻣﴘ‪ ،‬وﺷﻴﺨﺔ‬ ‫ﻋﺒﺪاﻟﻠﻪ‪ ،‬ﻣﺤﻤﺪ اﳌﻄريي‪ ،‬وﻣﻨﻰ ﺣﺴﻦ‬ ‫ﻋﺒﺪاﻟﻠﻪ ﻋﺒﺪاﻟﺼﻤﺪ ﻣﻦ اﻹﻣﺎرات‪ ،‬وﻫﺒﺔ‬ ‫ﻋﺒﺪاﻟﺤﻤﻴﺪ ﻣﺤﻤﺪ اﻟﻔﻘﻲ‪ ،‬وﻣﺒﺎرك ﺳﻴﺪ‬ ‫أﺣﻤﺪ ﻋﺒﺪاﻟﻠﻄﻴﻒ‪ ،‬وﻣﻴﺎر أﺣﻤﺪ أﺑﻮﺳﻠﻴامن‬ ‫ﻣﻦ ﻣﴫ‪ ،‬وﻋﺒﺪاﻟﺴﻼم ﺣﺎج ﻧﺠﻴﺐ ﻣﻦ‬

‫اﻟﺸﻌﺮ ‪baytelshear‬‬ ‫ﺑﻴﺖ ِ‬

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‫‪ģŕ ĮĚ‬‬

‫‪ǛǙōŬǕŌ ǣǘƓǷǘş ŋŌƉƪƖǕŌ ƉǾǙŐ ŦōǂǔŽ ǻǕǶŐ ǽƳ‬‬

‫"أوﺑﺮﻳﺖ اﻟﺘﺴﺎﻣﺢ" ﺑﺼﻮت ﻓﺎﻳﺰ اﻟﺴﻌﻴﺪ وﻳﺎرا‬ ‫ﻟﺠﻨﺔ اﻟﺘﺤﻜﻴﻢ ﺗﺆﻫﻞ اﻟﺠﺰاﺋﺮﻳﺔ راﺑﻌﺔ اﻟﻌﺪوﻳﺔ ﺑـ‪ 45‬درﺟﺔ‬ ‫اﻧﻄﻠﻘﺖ أوﱃ ﺣﻠﻘﺎت ﺑﺮﻧﺎﻣﺞ ”أﻣــري‬ ‫اﻟﺸﻌﺮاء“ ﰲ اﻷﺳﺒﻮع اﻷﺧري ﻣﻦ اﻟﺸﻬﺮ‬ ‫اﳌـــﺎﴈ‪ ،‬اﻟــﺬي ﺗﻨﻈﻤﻪ وﺗﻨﻔﺬه ”ﻟﺠﻨﺔ‬ ‫إدارة اﳌــﻬــﺮﺟــﺎﻧــﺎت واﻟ ـﱪاﻣــﺞ اﻟﺜﻘﺎﻓﻴﺔ‬ ‫واﻟﱰاﺛﻴﺔ“ ﰲ أﺑﻮﻇﺒﻲ‪ ،‬ﺑﻌﺪ ﻋﺎﻣني ﻣﻦ اﻧﺘﻈﺎر‬ ‫ﻋﺸﺎق اﻟﺸﻌﺮ اﻟﻌﺮيب اﻟﻔﺼﻴﺢ ﻟﻬﺬا اﻟﱪﻧﺎﻣﺞ‬ ‫اﻟﺬي ﺷﻬﺪ ﻣﻨﺬ اﻧﻄﻼﻗﻪ ﻋﺎم ‪ 2007‬ﻣﺘﺎﺑﻌﺔ‬ ‫ﻣﺘﻤﻴﺰة‪ ،‬وإﻗﺒﺎﻻً ﻛﺒرياً ﻣﻦ اﻟﺸﻌﺮاء اﻟﻨﺎﻃﻘني‬ ‫ﺑﺎﻟﻀﺎد ﻣﻦ ﺟﻤﻴﻊ دول اﻟﻮﻃﻦ اﻟﻌﺮيب‪ ،‬إﱃ‬ ‫ﺟﺎﻧﺒﻬﻢ ﺷﻌﺮاء ﻣﻦ دول ﻏري ﻋﺮﺑﻴﺔ ﻟﻜﻨﻬﻢ‬ ‫ﻳﺘﻘﻨﻮن ﻟﻐﺔ اﻟﻀﺎد وﻛﺄﻧﻬﺎ ﻟﻐﺘﻬﻢ اﻷوﱃ‪.‬‬ ‫ﻣﻦ ﻣﴪح ”ﺷﺎﻃﺊ اﻟﺮاﺣﺔ“ ﰲ أﺑﻮﻇﺒﻲ‬ ‫ﺑﺪأت اﻟﺤﻠﻘﺔ اﻷوﱃ ﻣﻦ ”أﻣري اﻟﺸﻌﺮاء“‬ ‫ﺑﺤﻀﻮر ﺟﻤﻬﻮر ﻏﻔري وﻋﺪد ﻣﻦ اﳌﺴﺆوﻟني‬ ‫اﻟﺬﻳﻦ ﺷﻬﺪوا اﻧﻄﻼق اﳌﻮﺳﻢ اﻟﺜﺎﻣﻦ‪ ،‬اﻟﺬي‬ ‫ﻳﺒﺚ ﻋﱪ ﻗﻨﺎيت اﻹﻣﺎرات وﺑﻴﻨﻮﻧﺔ‪.‬‬ ‫ﺣــﴬ اﻻﻧــﻄــﻼﻗــﺔ اﻟﺸﻴﺦ ﻋﺒﺪاﻟﻠﻪ ﺑﻦ‬ ‫ﻣﺤﻤﺪ ﺑﻦ ﺧﺎﻟﺪ آل ﻧﻬﻴﺎن‪ ،‬وﻣﻌﺎﱄ اﻟﻠﻮاء‬ ‫ﻓﺎرس ﺧﻠﻒ اﳌﺰروﻋﻲ رﺋﻴﺲ ﻟﺠﻨﺔ إدارة‬ ‫اﳌﻬﺮﺟﺎﻧﺎت واﻟﱪاﻣﺞ اﻟﺜﻘﺎﻓﻴﺔ ﰲ أﺑﻮﻇﺒﻲ‪،‬‬

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‫اﻟﻌﺪد ‪ ، 75‬ﻓﺒﺮاﻳﺮ ‪2019‬‬

‫ود‪ .‬ﺳﻠﻄﺎن اﻟﺮﻣﻴﺜﻲ أﻣــني ﻋــﺎم ﻣﺠﻠﺲ‬ ‫ﺣﻜامء اﳌﺴﻠﻤني‪ ،‬وﻋﻴﴗ اﳌﺰروﻋﻲ ﻧﺎﺋﺐ‬ ‫رﺋﻴﺲ ﻟﺠﻨﺔ إدارة اﳌﻬﺮﺟﺎﻧﺎت واﻟﱪاﻣﺞ‬ ‫اﻟﺜﻘﺎﻓﻴﺔ واﻟﱰاﺛﻴﺔ‪ ،‬وﺳﻠﻄﺎن اﻟﻌﻤﻴﻤﻲ ﻣﺪﻳﺮ‬ ‫أﻛﺎدميﻴﺔ اﻟﺸﻌﺮ‪ ،‬إﱃ ﺟﺎﻧﺐ ﻋﺪد ﻣﻦ ﻣﻤﺜﲇ‬ ‫وﺳﺎﺋﻞ اﻹﻋﻼم واﻟﺼﺤﺎﻓﺔ اﳌﺤﻠﻴﺔ واﻟﻌﺮﺑﻴﺔ‪،‬‬ ‫ﻓﻴام اﻣﺘﻸ اﳌﴪح ﺑﺎﻟﺠﻤﻬﻮر اﳌﺸﺠﻊ ﻟﻠﺸﻌﺮ‬ ‫وﻟﻠﺸﻌﺮاء ﻛﺬﻟﻚ‪.‬‬ ‫‪ɰ‬‬ ‫‪ɰ‬‬ ‫ ‪ ŌƈǷƞŽǶ‬‬ ‫ ‪ŋōǜƯǶ‬‬ ‫‪ŌƉƪƗ ŻǙōƒŨǕŌ‬‬ ‫‪ɰ‬‬

‫ﺑﺪأت اﻷﻣﺴﻴﺔ مبﻠﺤﻤﺔ ”اﻟﺸﻌﺮ واﻹﻣﺎرة“‬ ‫اﻟﺘﻲ اﻧﻄﻠﻘﺖ ﻓﺼﻮﻟﻬﺎ ﺑﺄوﺑﺮﻳﺖ ”اﻟﺘﺴﺎﻣﺢ“‪،‬‬ ‫وﻫﻮ ﻣﻦ ﻛﻠامت اﻟﺸﺎﻋﺮﻳﻦ ﻛﺮﻳﻢ ﻣﻌﺘﻮق‬ ‫وﺣﻴﺪر اﻟﻌﺒﺪاﻟﻠﻪ اﻟﻔﺎﺋﺰﻳﻦ ﺑﺈﻣﺎرة اﻟﺸﻌﺮ‬ ‫ﰲ دورﺗني ﻣﺨﺘﻠﻔﺘني‪ ،‬إذ ﻓﺎز ﻣﻌﺘﻮق ﺑﺈﻣﺎرة‬ ‫اﻟﺸﻌﺮ ﰲ أول ﻣﻮﺳﻢ‪ ،‬ﻓﻴام ﻓﺎز اﻟﻌﺒﺪاﻟﻠﻪ ﰲ‬ ‫اﳌﻮﺳﻢ اﻟﺴﺎدس‪.‬‬ ‫واﻷوﺑﺮﻳﺖ ﻣﻦ أﻟﺤﺎن وﻏﻨﺎء اﻟﻔﻨﺎن ﻓﺎﻳﺰ‬ ‫اﻟﺴﻌﻴﺪ‪ ،‬واﻟﻔﻨﺎﻧﺔ ﻳﺎرا اﻟﺘﻲ ﻛﺎن ﻟﻬﺎ ﺣﻀﻮر‬ ‫آﺧ ٌﺮ ﰲ اﻷﻣﺴﻴﺔ ﻋﱪ أﻏﻨﻴﺔ ﻗﺪﻣﺘﻬﺎ ﻋﲆ‬

‫اﳌﴪح ﺑﺎﻟﻠﻬﺠﺔ اﻟﺨﻠﻴﺠﻴﺔ اﻟﺘﻲ أﺑﺪﻋﺖ ﺑﻬﺎ‬ ‫ﻣﻨﺬ اﻧﻄﻼﻗﺘﻬﺎ اﻟﻔﻨﻴﺔ‪.‬‬ ‫وﰲ ﻫﺬا اﻟﻌﺎم ﺗﻢ اﺧﺘﻴﺎر اﻹﻋﻼﻣﻴﺔ ﻟﺠني‬ ‫ﻋﻤﺮان ﻟﺘﻘﺪﻳﻢ اﳌﻮﺳﻢ اﻟﺜﺎﻣﻦ‪ ،‬واﻟﺘﻲ ﺣ ّﻴﺖ‬ ‫اﻟﺠﻤﻬﻮر واﳌﺸﺎﻫﺪﻳﻦ ﻣﻦ ﻣﴪح ”ﺷﺎﻃﺊ‬ ‫اﻟـﺮاﺣــﺔ“‪ .‬ﺛﻢ ﺗﺤﺪﺛﺖ ﻋﻤﺮان ﻋﻦ )ﻋﺎم‬ ‫اﻟﺘﺴﺎﻣﺢ( اﻟﺬي أﻋﻠﻨﻪ ﺻﺎﺣﺐ اﻟﺴﻤﻮ اﻟﺸﻴﺦ‬ ‫ﺧﻠﻴﻔﺔ ﺑﻦ زاﻳﺪ آل ﻧﻬﻴﺎن رﺋﻴﺲ اﻟﺪوﻟﺔ‬ ‫ﺣﻔﻈﻪ اﻟﻠﻪ‪ ،‬ﻟﻴﻜﻮن ﺷﻌﺎر ﻋﺎم ‪،2019‬‬ ‫مبﺎ ﻳﺆﻛﺪ ﺗﺮﺳﻴﺢ وﺗﻌﺰﻳﺰ دوﻟﺔ اﻹﻣــﺎرات‬ ‫ﻛﻌﺎﺻﻤﺔ ﻋﺎﳌﻴﺔ ﻟﻠﺘﺴﺎﻣﺢ‪ ،‬ﻣﻦ ﺧﻼل ﺗﻌﻤﻴﻖ‬ ‫ﻟﻐﺔ اﻟﺤﻮار وﺗﻘﺒﻞ اﻵﺧﺮ واﻻﻧﻔﺘﺎح ﻋﲆ‬ ‫اﻟﺜﻘﺎﻓﺎت اﳌﺨﺘﻠﻔﺔ‪.‬‬ ‫وﺣﻮل ”ﻋﺎم اﻟﺘﺴﺎﻣﺢ“ ﻗ ّﺪم اﻟﱪﻧﺎﻣﺞ ﺗﻘﺮﻳﺮاً‬ ‫ﺑﺪأ ﺑﻜﻠﻤﺔ ﻟﻠﺸﻴﺦ زاﻳــﺪ ﺑﻦ ﺳﻠﻄﺎن آل‬ ‫ﻧﻬﻴﺎن ﺣﻮل ﺗﻠﻚ اﻟﻘﻴﻤﺔ اﻟﺴﺎﻣﻴﺔ‪ ،‬وأﻫﻤﻴﺔ‬ ‫وﺟﻮدﻫﺎ ﰲ اﳌﺠﺘﻤﻊ أﻳﺎً ﻛﺎن‪ ،‬مبﺎ ميﺜﻞ ﻣﻦ‬ ‫اﺳﺘﻘﺮار ﻟﻠﺪول واﻟﺸﻌﻮب ﻋﲆ ﺣﺪ ﺳﻮاء‪.‬‬ ‫ﻓﻘﺪ ﻛﺎن اﻟﺘﺴﺎﻣﺢ رﻛﻨﺎً أﺳﺎﺳﻴﺎً ﻣﻦ أرﻛﺎن‬ ‫ﻧﻬﺞ زاﻳﺪ‪ ،‬اﻟﺬي ﺗﺒﻨﺘﻪ اﻹﻣﺎرات ﰲ ﺳﺒﻴﻞ‬

ĘıĘŕ

‫ﻓﺘﺎة ﺗﻬﺎﻣﺔ‬ @ftat_t

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baytelshear ‫اﻟﺸﻌﺮ‬ ِ ‫ﺑﻴﺖ‬

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ĘıĘŕ

‫و ّﻧﺔ‬ @wannnnnah

ŨƂǃưţŧƴŢ

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2019 ‫ ﻓﺒﺮاﻳﺮ‬، 75 ‫اﻟﻌﺪد‬

ĕŉ Įŕ

‫رﺳﺎﻟﺔ ﻣﻦ ﻗﻠﺐ‬ ‫أﺣﻤﺪ ﺑﻦ ﻋﻠﻲ اﻟﻜﻨﺪي‬

(‫م‬1985-1940)

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baytelshear ‫اﻟﺸﻌﺮ‬ ِ ‫ﺑﻴﺖ‬

‫ ‪şœśĘĥŒ‬‬ ‫ﻓﻘﺎل أﺑﻮ ﻛﺒري‪ّ :‬‬ ‫ﻓﺒﺖ واﻟﻠﻪ أﺣﺮﺳﻪ ﺧﻮﻓﺎً أن ﻳﺘﺤ ّﺮك ﳾء ﻣﻦ اﻹﺑﻞ‬ ‫ﻓﻴﻘﺘﻠﻨﻲ‪ ،‬ﻓﻠام رﺟﻌﺎ إﱃ ﺣ ﱢﻴﻬام ﻗﺎل أﺑﻮ ﻛﺒري‪ :‬إن أ ﱠم ﻫﺬا َﻻ ْﻣ َﺮأَ ٌة ﻻ‬ ‫أﻗﺮ ُﺑﻬﺎ أﺑﺪا‪ ،‬ﻓﻘﺎل اﻷﺑﻴﺎت"‪.23‬‬ ‫ﺑني اﻟﻘﺼﻴﺪة واﻟﻘﺼﺔ ﺗﻜﺎﻣﻞ ﻻ ميﻜﻦ إﻏﻔﺎﻟﻪ ﰲ ﺿﻮء ﻗﺮاءة أوﺿﺢ‬ ‫ﻟﻠﱰاث؛ ﻟﻌﻞ ﻫﺬا اﻷﻣﺮ ﻫﻮ ﻗﻀﻴﺔ أﺧﺮى ﻗﺪ ﻧﺘﻄﺮق ﻟﻬﺎ ﰲ ﻣﺴﺘﻘﺒﻞ‬ ‫اﳌﻘﺎﻻت ﺣﻮل اﻷدب اﻟﻘﺪﻳﻢ؛ ﻏري أن اﳌﻘﺎم اﻟﻠﺤﻈﺔ ﻳﺪﻋﻮﻧﺎ إﱃ‬ ‫ﺗﺪﻗﻴﻖ ﻫﺬه اﻟﺤﻮارﻳﺔ اﻟﺘﻲ دارت ﺑني أيب ﻛﺒري اﻟﻬﺬﱄ وﺗﺄﺑﻂ ﴍا؛ أﺑﻮ‬ ‫ﻛﺒري اﻟﺬي اﺷﺘﻬﺮ ﺑﺤﺒﻪ ﻟﻠﻨﺴﺎء وﺗﺄﺑﻂ ﴍا اﻟﺬي اﺷﺘﻬﺮ ﺑﻜﻮﻧﻪ أﺣﺪ‬ ‫اﻟﺼﻌﺎﻟﻴﻚ اﻟﻌﺮب‪.‬‬ ‫واﳌﻼﺣﻆ أن ﺣﻮارﻳﺔ أيب ﻛﺒري ﺗﻨﻄﻮي ﻋﲆ ﻛﺜري ﻣﻦ اﻟﺒﻐﺾ واﻟﱰﺑﺺ‬

‫واﻟﻌﺠﺐ ﻣﻦ ﻏﻼم مل ﻳﺴﺘﻄﻊ أن ﻳﻘﺘﻠﻪ‪ ،‬ﻧﻈﺮا ﻟﻴﻘﻈﺘﻪ وﻓﻄﻨﺘﻪ‬ ‫وﻓﺮوﺳﻴﺘﻪ‪ .‬ﰲ ﺣني أن اﻟﻘﺼﻴﺪة ﻫﻲ ﻣﺪح ﴏﻳﺢ ﻟﺸﺨﺼﻴﺔ ﺗﺄﺑﻂ‬ ‫ﴍاً !!‬ ‫إﻧﻨﺎ أﻣﺎم ﻗﺼﻴﺪة اﻟﺘﻘﻄﺖ ﻟﺤﻈﺔ ﻣﻔﺼﻠﻴﺔ ﻣﻦ ﺣﻴﺎة ﻏﻼم ﺑﺪأ‬ ‫ﻳﺤﺲ ﺑﻘﻴﻤﺔ ﻋﺮﺿﻪ وﻳﺘﺤﻤﺲ ﻟﻐريﺗﻪ اﻟﻔﻄﺮﻳﺔ ﺗﺠﺎ َه ذاﻛﺮة واﻟﺪه؛‬ ‫ﺣني اﺳﺘﻬﺠﻦ دﺧﻮل رﺟﻞ ﻋﲆ أﻣﻪ )أﺑﻮ ﻛﺒري(‪ ،‬ﺣﺘﻰ ْ‬ ‫وإن ﻛﺎن‬ ‫ﻫﺬا اﻟﺮﺟﻞ زوﺟﺎً ﻟﻬﺎ‪ .‬وﻟﻌﻞ وﻋﻲ أيب ﻛﺒري اﻟﻬﺬﱄ ﺑﺴﻄﻮة اﻟﺘﻘﺎﻟﻴﺪ‬ ‫اﻟﻌﺮﺑﻴﺔ اﻟﻘﺪميﺔ وﻋﺪم اﻋﱰاﻓﻬﺎ –وإن ﺑﺸﻜﻞ ﻧﺴﺒﻲ‪ -‬ﺑﺰوج اﻷم‬ ‫اﻟﺬي ﺗﺴﺘﻔﺰ ﺻﻔﺘُﻪ أﺑﻨﺎء اﻟﺰوﺟﺔ؛ إﻧﻪ اﻟﻐﺮﻳﺐ اﻟﺬي ﻻ ﺗﺘﻘﺒﻠﻪ ﻓﻄﺮة‬ ‫ومتﺠ ُﻪ أﻋ ُﻴﻨﻬﻢ ﺣﺪﱠ أﻧﻬﺎ ﻗﺪ ﺗﻘﺘﻠ ُﻪ ﻏ ٍّﻼ‪.‬‬ ‫اﻷﺑﻨﺎء‪ ،‬ﱡ‬

‫اﻟﻤﺼﺎدر واﻟﻤﺮاﺟﻊ‪:‬‬ ‫)‪ (1‬اﻟﴪى‪ :‬ﻫﻮ ﻣﴚ اﻟﻠﻴﻞ‪.‬‬ ‫)‪ (2‬اﳌﻐﺸﻢ‪ :‬اﻟﺠﺮيء اﻟﺸﺠﺎع‪.‬‬ ‫اﻟﺠ ِﻠﺪُ ‪ :‬اﻟﺼﺒﻮر ﻋﲆ اﻟﺼﻌﺎب؛ اﳌﺠﺎﻟﺪ‪.‬‬ ‫)‪َ (3‬‬ ‫)‪ (4‬اﻟﺤﺒﻚ‪ :‬ﻣﺤﻜﻢ اﻟﺸﺪ‪.‬‬ ‫)‪ (5‬اﻟﻨﻄﺎق‪ :‬ﺣﺰام ﻳﺸﺪ ﺑﻪ اﻟﻮﺳﻂ‪.‬‬ ‫)‪ (6‬ﻣﺰؤودة‪ :‬ﻣﻔﺰوﻋﺔ وﻣﺬﻋﻮرة‪.‬‬ ‫)‪ (7‬ﺣﻮش اﻟﻔﺆاد‪:‬ﺣﺪﻳﺪ اﻟﻘﻠﺐ ذﻛﻴﻪ‪.‬‬ ‫)‪ (8‬ﺳﻬﺪ‪ :‬اﻟﻨﻮم اﻟﺨﻔﻴﻒ‪.‬‬ ‫)‪ (9‬ﻣﺎ ارﺗﻔﻊ ﻣﻦ اﻷرض‪.‬‬ ‫)‪ (10‬ﻃﺮﺣﺖ ﻟﻪ اﻟﺤﺼﺎة‪ :‬رﻣﻴﺖ ﺣﺼﺎة ﻷﺧﺘﱪ ﻫﻞ ﻫﻮ ﺻﺎح أم ﻻ؟‬ ‫)‪ (11‬ﻳﺜﻮر‪.‬‬ ‫)‪ (12‬اﻷﺧﻴﻞ‪ :‬ﻃﺎﺋﺮ اﻟﺸﺎﻫني‪.‬‬ ‫)‪ (13‬اﻟﺮﺗﻮب‪ :‬اﳌﻨﺘﺼﺐ‪.‬‬

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‫اﻟﻌﺪد ‪ ، 75‬ﻓﺒﺮاﻳﺮ ‪2019‬‬

‫)‪ (14‬اﻟﻔﺠﺎج‪ :‬اﻟﻄﺮﻳﻖ اﻟﻮاﺳﻊ‪.‬‬ ‫)‪ (15‬ﻳﻨﻀﻮ اﻟﴚء‪ :‬ﻳﻨﺰﻋﻪ‪.‬‬ ‫)‪ (16‬ﻣﺨﺎرم اﻷﻛامت‪ :‬ﻣﻨﻘﻄﻌﻬﺎ ﺑني اﻟﻔﺠﺎج‪.‬‬ ‫)‪ (17‬ﻫﻮي اﻷﺟﺪل‪ :‬اﻧﻘﻀﺎض اﻟﺼﻘﺮ‪.‬‬ ‫)‪ (18‬أﴎة اﻟﻮﺟﻪ‪ :‬ﻣﻼﻣﺤﻪ وﺗﻘﺎﻃﻴﻌﻪ‪.‬‬ ‫)‪ (19‬اﻟﻜﺮﻳﻬﺔ‪ :‬اﻟﺤﺮب‪.‬‬ ‫)‪ (20‬أزﻣﻮا‪ :‬ﺿﺎﻗﻮا واﺷﺘﺪ ﻋﻠﻴﻬﻢ اﻟﺤﺎل‪.‬‬ ‫)‪ (21‬اﻟﻌﻴﺎل‪ :‬اﻷﻃﻔﺎل‪.‬‬ ‫)‪ (22‬اﺑﻦ ﺟﻌﻔﺮ‪ ،‬أﺑﻮ اﻟﻔﺮج ﻗﺪاﻣﺔ )‪327-260‬ﻫـــ(‪ ،‬ﻧﻘﺪ اﻟﺸﻌﺮ‪،‬ﺗﺤﻘﻴﻖ وﺗﻌﻠﻴﻖ‬ ‫ﻣﺤﻤﺪ ﻋﺒﺪ اﳌﻨﻌﻢ ﺧﻔﺎﺟﻲ‪ ،‬دار اﻟﻜﺘﺐ اﻟﻌﻠﻤﻴﺔ‪ ،‬ﺑريوت‪-‬ﻟﺒﻨﺎن‪ ،‬د ت‪ ،‬ص ‪.112‬‬ ‫)‪ (23‬اﻟﺴﻴﻮﻃﻲ‪ ،‬ﺟﻼل اﻟﺪﻳﻦ ﻋﺒﺪ اﻟﺮﺣامن ﺑﻦ أيب ﺑﻜﺮ )‪911-849‬ﻫـ(‪ ،‬ﴍح ﺷﻮاﻫﺪ‬ ‫اﳌﻐﻨﻲ‪ ،‬ﺗﻌﻠﻴﻖ أﺣﻤﺪ ﻇﺎﻓﺮ ﻛﻮﺟﺎن‪ ،‬ج‪ ،1‬ﻟﺠﻨﺔ اﻟﱰاث اﻟﻌﺮيب‪ ،‬د ت‪ ،‬ص ص ‪231-‬‬ ‫‪.232‬‬

‫‪6‬‬

‫‪,M 2H'Hy@@ @ @ @ @ @ @ @ @ @ E Mf@ @ @ @ @ @£@ @ @D ¯ P @ @ @ @ @ + Rh@@ @ @ @ @ @ @ @0‬‬ ‫‪R b@@ @ N @ @ Bb@@ @ @ @ F Ov@ @ @ @ @ @ <H Kb@ @ @ @Gx@@ @ @ C‬‬ ‫‪P @@ @ p@ J µ‬‬ ‫‪Kb@ @ @Q @c@ E 7P 2*'¡@ @ @ @ @ @ @ @ D* @N @ @ 7¡@@ @ 0 @@ @ + Rh@@ @ @-&b@ @ @ A‬‬ ‫‪8‬‬ ‫‪P @@ @/¡@@ @ @ @ D* O @ @ £@ @ D N b@@ @ @ @F b@@ @ E *3(* K*v@@ @ @ @ ~@ @ 6‬‬ ‫‪fM @ @ ~@ @ }@ @ £@ @ 0 PÄ@ @ @ @ @ @ = U @ @ @ @ @ @ C @@ @ @ @ E K&*Ä@@ @ @ @ @ @ @ @ @ @EH‬‬ ‫‪P @@ £@ @ @ @E M$*2H Mf@ @ @ @ @ @~@ @ @9x@@ @ E P2b@@ @ @ ~@ @ @ @z@ @ @ @AH‬‬ ‫‪9‬‬ ‫‪d@@ @ @ E °(* @@ @ @N @ @ @ @94&°* @T @ @z@ @ Â R (* b@@ @ E‬‬ ‫‪O @ @ @ @ @0H O @ @ @ @ E‬‬ ‫@‪P @@ @ N @ @ p@R @ @P´* ¤@T @ @ @ : b@@ @~@ @ z@ @ D* x‬‬ ‫‪ O @ @ @gN @ @ @J&*4 10,N b@@ @ ~@ @ |@ @ ²* @@ @D Nh@@ @0x@@ @: *3N (b@ @ @ @ @ A‬‬ ‫‪12‬‬ ‫‪P @@ @ @ £@ @ @ @1&°* HS y@@ @ @ @ F b@@ N @ @g@ @ @ @B¡@@ D 11HyO @ @ @ @ @ @ @ @J‬‬ ‫‪ O @ @ @ @ @gN @ @ @ @ @J&*4 P b@@ @ @ @ @ @ @ @ @´* @@ @ @ @E d@T @ @ @ @ @ @ @J *3(*H‬‬ ‫‪P @@ @ES yO @ @ + @N @z@ £@ D P b@@ ~@ @z@ @D* Pd@@ @ @C 13e¡@@ @ -x@@ @ C‬‬ ‫‪ O @ @ @ gN @ @ @ J&*4 14oN b@@ @ m@ @ @ @ @ @ D* P @ @ @ @+ Nh@@ @ £@ @ @E4 *3(*H‬‬ ‫‪17‬‬ ‫‪O‬‬ ‫‪P v@@ @ @/&°* S¥¡@@ @G 16b@@ N @ E4b@@º 15¡~} J‬‬ ‫‪18‬‬ ‫‪N @ @ @ @ @F *3(*H‬‬ ‫@‪ P @ @ @ @ /H ,P x@@ @ @ @ ~@ @ @ @ @6&* ¶(* ix‬‬ ‫‪P @@ @ @ @ @g@ @´* @@P @ @ 94b@@ @ @ @ @ @ @D* P Ä@@ @ @ @ @ C Rh@@ @ @ Bx@@ @ @ +‬‬ ‫‪19‬‬ ‫@‪O @ @ @- *3(* eb‬‬ ‫@¡ ‪fL @ @ Jx@@C‬‬ ‫‪N @p@ ~@ |@ D* ¤@@ P @@p@ J‬‬ ‫‪22 21‬‬ ‫‪20‬‬ ‫‪( P @@ £S @ @ P @ @D* IHN &b@ @ @ @A *¡@@ @ @ E5&* O @ @G *3(*H‬‬

‫وﻟﻬﺬه اﻟﻘﺼﻴﺪة ﻗﺼﺔ ﻧﺴﻮ ُﻗﻬﺎ ﻋﻦ اﻟﺘﱪﻳﺰي ﺣﺘﻰ ﺗﻜﻤﻞ اﻹﻓﺎدة؛‬ ‫ﻳﻘﻮل ﻓﻴﻬﺎ‪:‬‬ ‫ﴍا‪ ،‬وﻛﺎن ﻏﻼﻣﺎً‬ ‫"ﺳﺒﺐ ﻗﻮل أيب ﻛﺒري ﻫﺬه اﻷﺑﻴﺎت أﻧﻪ ﺗﺰ ّوج أ ّم ﺗﺄﺑﻂ ّ‬ ‫َ‬ ‫ﺻﻐرياً‪ ،‬ﻓﻠام رآه ﻳﻜرث‬ ‫اﻟﺪﺧﻮل ﻋﲆ أ ﱢﻣﻪ َﺗﻨ ﱠَﻜ َﺮ ﻟﻪ‪ ،‬وﻋﺮف ذﻟﻚ أﺑﻮ‬ ‫ﻛﺒري ﰲ وﺟﻬﻪ إﱃ أن ﺗﺮﻋﺮعَ ‪.‬‬ ‫ﻓﻘﺎل أﺑﻮ ﻛﺒري ﻷﻣﻪ‪ :‬ﻗﺪ راﺑﻨﻲ أﻣﺮ ﻫﺬا اﻟﻐﻼم‪ ،‬وﻻ آﻣﻨﻪ‪ ،‬ﻓﻼ أﻗﺮﺑﻚ‪.‬‬ ‫ﻗﺎﻟﺖ‪ :‬ﻓﺎﺣﺘﻞ ﻋﻠﻴﻪ ﺣﺘﻰ ﺗﻘ ُﺘ َﻠﻪ‪.‬‬ ‫ﻓﻘﺎل ﻟﻪ ذات ﻳﻮم‪ :‬ﻫﻞ ﻟﻚ أن ﻧﻐﺰ َو؟‬ ‫اﻣﺾ !!‬ ‫ﻗﺎل‪ِ :‬‬ ‫ﻓﺨﺮﺟﺎ ﻏﺎزﻳني وﻻ زاد ﻣﻌﻬام‪ ،‬ﻓﺴﺎرا ﻟﻴﻠﺘﻬُام وﻳﻮ َﻣﻬُام ﻣﻦ اﻟﻐﺪ‪،‬‬ ‫ﺣﺘﻰ ﻇﻦ أﺑﻮ ﻛﺒري أن اﻟﻐﻼم ﻗﺪ ﺟﺎع‪ ،‬ﻓﻘﺼﺪ ﺑﻪ أﺑﻮ ﻛﺒري ﻗﻮﻣﺎ ﻛﺎﻧﻮا‬ ‫ﻟﻪ أﻋﺪاء‪ ،‬ﻓﻠام رأى ﻧﺎرﻫﻢ ﻣﻦ ﺑﻌﻴﺪ؛‬ ‫َ‬ ‫ذﻫﺒﺖ إﱃ ﺗﻠﻚ اﻟﻨﺎر‬ ‫ﻗﺎل ﻟﻪ أﺑﻮ ﻛﺒري‪ :‬وﻳﺤﻚ!! ﻗﺪ ﺟﻌﻨﺎ‪ ،‬ﻓﻠﻮ‬ ‫َ‬ ‫ﻓﺎﻟﺘﻤﺴﺖ ﻣﻨﻬﺎ ﻟﻨﺎ ﺷﻴﺌﺎً؟؟‬ ‫ﻗﺎل‪ :‬وﻳﺤﻚ!! وأيّ وﻗﺖ ﺟﻮع ﻫﺬا؟‬ ‫ﻗﺎل‪ :‬أﻧﺎ ﻗﺪ ﺟﻌﺖ ﻓﺎﻃﻠﺐ ﱄ !!‬ ‫أﻟﺺ ﻣﺎ ﻳﻜﻮن ﻣﻦ‬ ‫ﻓﻤﴣ ﺗﺄﺑﻂ ﴍاً ﻓﻮﺟﺪ ﻋﲆ اﻟﻨﺎر رﺟﻠني ﻣﻦ ّ‬ ‫اﻟﻌﺮب‪ ،‬وإمنﺎ أرﺳﻠﻪ أﺑﻮ ﻛﺒري إﻟﻴﻬام ﻋﲆ ﻣﻌﺮﻓﺔ‪ ،‬ﻓﻠام رأﻳﺎه ﻗﺪ ﻏﴙ‬ ‫ﻧﺎرﻫام وﺛﺒﺎ ﻋﻠﻴﻪ‪ ،‬وﻛ ّﺮ ﺳﺎﻋﻴﺎً‪ ،‬وا ﱠﺗ َﺒ َﻌﺎ ُه ﻓﻠام ﻛﺎن أﺣﺪﻫام أﻗﺮب إﻟﻴﻪ‬ ‫ﻣﻦ اﻵﺧﺮ ﻋﻄﻒ ﻋﻠﻴﻪ ﻓﺮﻣﺎه ﻓﻘﺘﻠﻪ‪ ،‬ورﺟﻊ إﱃ اﻵﺧﺮ ﻓﻘﺘﻠﻪ‪ ،‬ﺛﻢ ﺟﺎء‬ ‫إﱃ ﻧﺎرﻫام وأﺧﺬ اﻟﺨﺒﺰ ﻣﻨﻬﺎ وﺟﺎء ﺑﻪ إﱃ أيب ﻛﺒري‪.‬‬

‫‪ ǆƉŨũ ǗǕ ŦŌǶƋƮǕŌǶ ŜƉżǕŌ ǚŒ ǒǷǃŐǶ ƭǕōşŐ ƃǃ‬‬ ‫‪ ɑƜƈȏŌ ǽƳ ƉǾǘƪŨǕŌ ǳƛƉƳ ŜƉƪǕŌ ǒōŵƉǔǕ‬‬ ‫‪ǛǾƪşƈȏŌ ƬǷǔş ǓŞǃ ǓŨǂǿ ǚōǉ ǗǤŞǔƯőƳ‬‬ ‫‪ ǽƳ ȀƈōǂǕŌ ƃƖũ ǽŨǕŌ ŦȍōżǕŌ Ǣƅǥ ŜƉƯŐ ǛǙ‬‬ ‫‪ ƩǙ ŌƉƗ ơşőũ ǳǕōŽ ǽǥ ǗǿƃǂǕŌ ǽşƉƪǕŌ ŪŌƉŨǕŌ‬‬ ‫‪ǽǕƅǤǕŌ ƉǾŞǉ ǽşŐ ǣǙŐ ŲǶƊ‬‬ ‫ ‪ ǛǙ ƉǾŬǉ ǻǔƫ ǼǷƢǜũ ƉǾŞǉ ǽşŐ ǳǿƈŌǷŽ‬‬ ‫‪ ƩƢŨƒǿ ǗǕ ǖȎƯ ǛǙ ŝŴƪǕŌǶ ƙşƉŨǕŌǶ ƝƮŞǕŌ‬‬ ‫‪ǣŨǾƓǶƉƳǶ ǣŨǜƢƳǶ ǣŨƦǂǾǕ ŌƉƦǝ ɐǣǔŨǂǿ ǚŐ‬‬ ‫ ‪ ǛǙ ǳǾǔƚƲǙ ǳƦżǕ ŧƢǂŨǕŌ ǲƃǾƚǃ ǖōǙŐ ōǜǝŒ‬‬ ‫‪ ƑǘżŨǿǶ ǣƟƉƫ ǳǘǾǂş Ƒżǿ Őƃş ǖȎƯ ǲōǾŽ‬‬ ‫‪ɳ‬‬ ‫‪ǢƃǕŌǶ ǲƉǉŌƄ ǢōŴũ ǳǿƉƢƲǕŌ ǣũƉǾƮǕ‬‬

‫ﻓﻘﺎل‪ :‬ﻛﻞ ﻻ أﺷﺒﻊ اﻟﻠﻪ ﺑﻄﻨﻚ‪.‬‬ ‫ومل ﻳﺄﻛﻞ ﻫﻮ‪.‬‬ ‫ﻓﻘﺎل‪ :‬أﺧﱪين ﻛﻴﻒ ﻛﺎﻧﺖ ﻗﺼﺘﻚ؟‬ ‫ﻗﺎل‪ :‬وﻣﺎ ﺳﺆاﻟﻚ ﻋﻦ ﻫﺬا؟ ﻛﻞ ودع اﳌﺴﺄﻟﺔ‪.‬‬ ‫ﻧﻔﺴﻪ‪ ،‬ﺛﻢ ﺳﺄﻟﻪ ﺑﺎﻟﺼﺤﺒﺔ ّإﻻ‬ ‫َﻓﺪ ََﺧ َﻠ ْﺖ أﺑﺎ ﻛﺒ ٍري ﻣﻨﻪ ﺧﻴ َﻔ ٌﺔ‪ ،‬ﱠ‬ ‫وأﻫﻤ ْﺘ ُﻪ ُ‬ ‫ﺣ ّﺪﺛﻪ ﻛﻴﻒ ﻋﻤﻞ‪ ،‬ﻓﺄﺧﱪه ﻓﺎزداد ﻟﻪ ﺧﻮﻓﺎ‪ ،‬ﺛﻢ ﻣﻀﻴﺎ ﰲ ﻏﺰاﺗﻬام‪،‬‬ ‫وأﺻﺎﺑﺎ إ ِﺑ ًﻼ و َﻣ َﻜ َﺚ ﺑﻪ أﺑﻮ ﻛﺒري ﺛﻼث ﻟﻴﺎل ﻳﻘﻮل ﻟﻪ ﻛﻞ ﻟﻴﻠﺔ‪:‬‬ ‫اﺧﱰ أيّ ﻧﺼﻒ اﻟﻠﻴﻠﺔ ﺷﺌﺖ ﺗﺤﺮس ﻓﻴﻪ وأﻧﺎم‪ ،‬وﺗﻨﺎم اﻟﻨﺼﻒ اﻵﺧﺮ‬ ‫وأﺣﺮس‪.‬‬ ‫ﻓﻘﺎل‪ :‬ذﻟﻚ إﻟﻴﻚ؛ اﺧ ْﱰ أﻳﻬام ﺷﺌﺖ‪.‬‬ ‫ﻓﻜﺎن أﺑﻮ ﻛﺒري ﻳﻨﺎم إﱃ ﻧﺼﻒ اﻟﻠﻴﻞ وﻳﺤﺮﺳﻪ ﺗﺄﺑﻂ ﴍاً‪ ،‬ﻓﺈذا ﻧﺎم‬ ‫ﺗﺄﺑﻂ ﴍاً ﻳﻨﺎم أﺑﻮ ﻛﺒري أﻳﻀﺎً ﻻ ﻳﺤﺮس ﺷﻴﺌﺎً‪ ،‬ﺣﺘﻰ اﺳﺘﻮﰱ اﻟﺜﻼث‪،‬‬ ‫ﻓﻠام ﻛﺎن ﰲ اﻟﻠﻴﻠﺔ اﻟﺮاﺑﻌﺔ ﻇﻦ أﺑﻮ ﻛﺒري أن اﻟﻨﻌﺎس ﻗﺪ ﻏﻠﺐ ﻋﲆ‬ ‫اﻟﻐﻼم‪ ،‬ﻓﻨﺎم أ ّول اﻟﻠﻴﻞ إﱃ ﻧﺼﻔﻪ وﺣﺮﺳﻪ ﺗﺄﺑﻂ ﴍاً‪ ،‬ﻓﻠام ﻧﺎم اﻟﻐﻼم‬ ‫ﻇﻦ أﻧﻪ ﻗﺪ اﺳﺘﺜﻘﻞ ﻧﻮﻣﺎً ﻓﺄﺧﺬ ﺣﺼﺎة ﻓﺮﻣﻰ ﺑﻬﺎ‪ ،‬ﻓﻘﺎم اﻟﻐﻼم ﻛﺄﻧﻪ‬ ‫ﻛﻌﺐ؛‬ ‫ﻓﻘﺎل‪ :‬ﻣﺎ ﻫﺬه اﻟﻮﺟﺒﺔ؟‬ ‫ﻗﺎل‪ :‬ﻻ أدري واﻟﻠﻪ ﺻﻮت ﺳﻤﻌﺘﻪ ﰲ ﻋﺮض اﻹﺑﻞ !!‬ ‫ﻳﻌﺲ ﻓﻠﻢ ﻳﺮ ﺷﻴﺌﺎً‪ ،‬ﻓﻌﺎد ﻓﻨﺎم‪ ،‬ﻓﻔﻌﻞ أﺑﻮ ﻛﺒري ﻣﺜﻞ ذﻟﻚ ﺛﺎﻧﻴﺎً‬ ‫ﻓﻘﺎم ّ‬ ‫وﺛﺎﻟﺜﺎً ﻓﻘﺎم إﻟﻴﻪ ﺗﺄﺑﻂ ﴍاً وﻗﺎل ﻟﻪ‪ :‬ﻳﺎ ﻫﺬا‪ ،‬ﻗﺪ راﺑﻨﻲ أﻣﺮك‪ ،‬واﻟﻠﻪ‬ ‫ﻟﱧ ﻋﺪت أﺳﻤﻊ ﺷﻴﺌﺎً ﻣﻦ ﻫﺬا إﻻ ﻗﺘﻠﺘﻚ‪.‬‬ ‫اﻟﺸﻌﺮ ‪baytelshear‬‬ ‫ﺑﻴﺖ ِ‬

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‫ ‪şœśĘĥŒ‬‬

‫زوج اﻷم ﻓﻲ اﻟﺸﻌﺮ‬ ‫اﻟﻌﺮﺑﻲ اﻟﻘﺪﻳﻢ‬ ‫‪ ŋōǜşȏŌ ǣƞƮŞǿ ǒȎŽ‬‬

‫د ﻳﺎﺳﻴﻦ ﺣﺰﻛﺮ‬

‫ُ‬ ‫اﻟﻄﻼق ﰲ اﻟﺤﻜﻢ اﻟﴩﻋﻲ اﻹﺳﻼﻣﻲ ﻋﲆ أﻧﻪ أﺑﻐﺾ اﻟﺤﻼل؛‬ ‫اﺷﺘﻬﺮ‬ ‫أي أﻧﻪ رﺧﺼﺔ دﻳﻨﻴﺔ ﻏري ﻣﺴﺘﺤﺒﺔ‪ .‬وﻗﺪ ﻋﺮﻓﺖ اﻟﺜﻘﺎﻓﺔ اﻟﻌﺮﺑﻴﺔ ﻣﺎ‬ ‫ﻗﺒﻞ اﻹﺳﻼم ُﺣ ْﻜ ًام َﻗ َﺒ ِﻠ ّﻴﺎً ﺑﻐﻴﻀﺎً ﻣﺜﻞ ﻫﺬا؛ ﺑﻞ أﺑﻐﺾ ﻣﻨﻪ ﰲ ﻣﺘﺨﻴﻞ‬ ‫اﻹﻧﺴﺎن اﻟﻌﺮيب اﻟﺬي ﺗﺘﻨﺎزﻋﻪ أﺧﻼق اﻟﺤﻤﻴﺔ واﻟﻐرية ﻋﲆ اﻟﻌﺮض‬ ‫)زواج اﻷم ذات اﻷﺑﻨﺎء اﻟﺬﻛﻮر( إﻧﻪ اﻟﺤﻼل اﻷﺑﻐﺾ اﻟﺬي ﻛﺎﻧﻮا‬ ‫ﻳﻌريون ﺑﻌﻀﻬﻢ ﺑﻪ‪ ،‬ﻓﻴام ﻛﺎن اﻟﻄﻼق أﻣﺮاً ﻫﻴﻨﺎً ﻻ ﻣﻀﺎﺿﺔ ﻓﻴﻪ وﻻ‬ ‫َ‬ ‫اﻟﺮﺟﻞ وﺗﺘﻔﺎﺧ ُﺮ ﺑﺬﻟﻚ‬ ‫َﻣ َﻐ ﱠﻀ َﺔ ﻣﻦ ﺻﺎﺣﺒﻪ‪ ،‬ﺣﺘﻰ إن اﳌﺮأ َة ﻟَﺘ َُﻄ ﱢﻠ ُﻖ‬ ‫ﺑني ﻗﺮﻳﻨﺎﺗﻬﺎ‪ ،‬وﺷﺄﻧﻬﺎ ﰲ ذﻟﻚ ‪-‬ﺣﺴﺐ اﻟﻌﺮف اﻟﻘﺒ ﱢ‬ ‫ﲇ‪ْ -‬أن َﺗ ْﻘ ِﻠ َﺐ ﺑﺎب‬ ‫اﻟﺨﻴﻤﺔ ﰲ ﻏﻴﺎب زوﺟﻬﺎ ﻓﺈذا ﻣﺎ ﻋﺎد ووﺟﺪه ﴍﻗﻴﺎً وﻗﺪ ﻛﺎن ﻏﺮﺑﻴﺎً‬ ‫ﻋﻠﻢ أﻧﻪ ُﻃ ﱢﻠﻖَ ؛ ﻓﻴﺸﺘﻬﺮ ﺑني اﻟﻘﺒﻴﻠﺔ أن زوﺟﺘﻪ ﻃﺮدﺗﻪ !!‬ ‫وﺟﻮاﺋﺢ‬ ‫آﻓﺎت‬ ‫ﻟﻘﺪ ﻋﺮﻓﺖ اﻟﺸﻌﻮب اﻟﻘﺪميﺔ ﰲ ﺳﺎﺋﺮ أﻧﺤﺎء اﻷرض ٍ‬ ‫َ‬ ‫أﺗﺖ ﻋﲆ اﻷﺧﴬ واﻟﻴﺎﺑﺲ‪ ،‬وأﺻﺎﺑﺖ اﻟﻜﺒري واﻟﺼﻐري ﻣﻦ دون َﻣ ْﻴ ٍﺰ‬ ‫ﺎرﻳﺨﻬﻢ‬ ‫أو اﺳﺘﺜﻨﺎء؛ ﻏ َري أن آﻓﺔ ﻣﺠﺘﻤﻌﺎﺗﻨﺎ اﻟﺘﻲ ﻻزﻣﺘﻬﻢ ﻋﲆ ﻣﺪى َﺗ ِ‬ ‫مل ﺗﻜﻦ ﻏري آﻓ ِﺔ‬ ‫اﻟﺤﺮب اﻟﺘﻲ ﻛﺎﻧﺖ ﺗﺄيت ﻋﲆ اﻟﺮﺟﺎل ﺧﺎﺻﺔ؛ َﻓ ُ َﱰ ﱢﻣ ُﻞ‬ ‫ِ‬ ‫َ‬ ‫اﻟﺼﺒﻴﺎن و َﺗﺪَﻋُ ﻬُﻢ ﺑﻼ ﻋﺎﺋﻞ ﺗﺤﺖ‬ ‫ني و ُﺗ َﻴﺘ ُﱢﻢ‬ ‫اﻟﻨﺴﺎ َء وﺗﱰﻛﻬُﻦﱠ ﺑﻼ ُﻣ ِﻌ ٍ‬ ‫رﺣﻤﺔ اﻟﻌﻮز وﻗﺴﺎوة اﻟﺤﺎﺟﺔ‪.‬‬

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‫اﻟﻌﺪد ‪ ، 75‬ﻓﺒﺮاﻳﺮ ‪2019‬‬

‫اﺿﻄﺮت اﻷﻣﻬﺎت اﻟﻌﺮﺑﻴﺎت ﰲ ﻇﻞ ﻫﺬه اﻟﻈﺮوف إﱃ اﻻرﺗﻬﺎن إﱃ‬ ‫ﺗﺘﺠﻨﺐ َﻏ ْﻤ َﺰ‬ ‫زوج ﺟﺪﻳﺪ؛ ﺣﺘﻰ ﺗﻀﻤﻦ ﻋﺎﺋ ًﻼ ﻟﻬﺎ وﻷﺑﻨﺎﺋﻬﺎ‪ ،‬وﺣﺘﻰ‬ ‫َ‬ ‫اﻷﻋني و َﺗ َﻘ ﱡﻮ َل اﻷﻟﺴﻦ ﻋﻠﻴﻬﺎ‪.‬‬ ‫ُِ‬ ‫وﻗﺪ أﺑﺎﻟﻎ وأﻗــﻮل إن اﻟﺤﺮب واﻟﻐﺰوات مل ﺗﱰك ﻟﻠﺮﺟﺎل اﻟﻌﺮب‬ ‫ﻓﺮﺻﺔ اﻟﺘﻌﻤري ﰲ اﻷرض؛ ﻓﺄﻏﻠﺒﻬﻢ ﻛﺎن ﻳﻘﺘﻞ ﻗﺒﻞ ﺑﻠﻮغ اﻷرﺑﻌني ﻣﻦ‬ ‫اﻟﻌﻤﺮ‪ ،‬واﻟﺸﻮاﻫﺪ ﻋﲆ ذﻟﻚ ﻛﺜرية‪ .‬وأﻛرث ﻣﻨﻬﺎ اﻟﺸﻮاﻫﺪ اﻟﺘﺎرﻳﺨﻴﺔ‬ ‫اﻟﺤ ْﻠ َﻢ ﻣﻦ دون أن ﻳﻼﻗﻮا آﺑﺎ َءﻫﻢ اﻟﺬﻳﻦ‬ ‫ﻋﲆ اﻟﺸﻌﺮاء اﻟﺬﻳﻦ ﺑﻠﻐﻮا ِ‬ ‫اﻟﺤ ْﺮ ِب َوأَ ْر ِﺣ َﻴﺘُﻬﺎ‪.‬‬ ‫ﱠاﻃ َﺮ َﺣ ْﺘﻬُﻢ َﻃ َﻮ ِاﺣ ُني َ‬ ‫وﻟﻌﻞ ﻣﻦ أﻏﺮب ﻫﺬه اﻟﺤﺎﻻت اﻟﺘﻲ ﺗﺸﺪ اﻟﻘﺎرئ ﰲ اﻟﱰاث اﻟﻌﺮيب‬ ‫اﻟﻘﺪﻳﻢ ﻫﻲ ﺣﺎﻟﺔ ﺗﺄﺑﻂ ﴍاً ﻣﻊ زوج أﻣﻪ أيب ﻛﺒري اﻟﻬﺬﱄ‪ ،‬واﻟﻐﺮاﺑﺔ‬ ‫ﻓﻴﻬﺎ أﻧﻬام ﻛﻼﻫام ﺷﺎﻋﺮ؛ وﻣﻦ مثﺔ ﻓﻤﻘﺎرﺑﺘﻬام ﻟﻬﺬه اﻟﺤﺎﻟﺔ اﻹﻧﺴﺎﻧﻴﺔ‬ ‫اﳌﺘﻮﺗﺮة )زواج اﻷم( ﺳﺘﻜﻮن ﻣﻘﺎرﺑﺔ ﻋﺼﺒﻴﺔ ‪-‬أي ﻧﻌﻢ‪ -‬ﻟﻜﻦ ﺑﺼﻮرة‬ ‫ﺷﻌﺮﻳﺔ ﺟامﻟﻴﺔ‪.‬‬ ‫ﻳﻘﻮل أﺑﻮ ﻛﺒري وﻗﺪ ﻧﻮى ﻗﺘﻞ ﺗﺄﺑﻂ ﴍاً‪:‬‬ ‫‪2‬‬ ‫ § {~ ‬ ‫‪ P É@@ @ @ D* ¢@@ @ < 1 Oh@@ Jx@@ ~@ @6 Rv@ @ @ @DH‬‬ ‫‪M‬‬ ‫‪P @@ @ @j@ @E Ì@P @ @ @ @ = P b@@ @ £@ @ @g@ @ @ @ @ @D* @@ @ @E 3 Mv@@ @ @ @ @ @ /‬‬ ‫»@ @ @ @ @ @@ ‪vL @ @ @ @B*¡@@ @ @ < S @@ @ @ @ @ @ @ GH @@ @ @ @ + @@ @ @ @ @ @ @ @0 R‬‬ ‫‪5‬‬ ‫‪P @@c@ @ E Ì‬‬ ‫ ‪N @ @ @= d@S @ ~@ {@ A P b@@ @ @ @ @ @ D* 4 @N @ @c@ @ 0‬‬

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2b@@ @ £@ E Ì@@ @ @= ¢@@ @ @ @ < b@@ @£@ @ Fv@@ @D* b@@ @ @ @ + ¤@@ ~@ @{@ @ @@ @ £@ 0 @@ @ £@ @ A b@@ @ @ @ Db@@ @ E 2b@@ @ @~@ @ @ |@ @ @ ´* @@ @}@ @ @ @ + 2b@@ @ @ @ B x@@ @ @ @ @ @ @ @ @ D* 2b@@ @ @ @ @ @ @ @ E H @@ @ @ 04b@@ @ @ c@ @ @ @D* @@ @ @ @ Jy@@ @±* @@ @ £@ @ @ @ @ @³* 4¡@@ @ @p@ @ @ + f@@ @Fb@@ @ @ @ £@ @ ~@ @ 7 2b@@ @ BH @@ @ £@ @ ~@ @ 6*x@@ @ ´* d@@ @ ~@ @ 7 b@@ @ @ @ @ @ D* x@@ @ @ @ / @@ @ £@ p@ @ D* ¡@@ @ @ @ @ @ D* ev@@ @ @ @0 ¢@@ @ @ @ < ¢@@ @ @ @ @ G4&* 2b@@ @ @ @-H°* 2 É@@ @ @ @ D* 4v@@ @ ~@ @ @8 ¢@@ @ @ @ < @@ @ @ @ C @@ @ D ¤@@ @ -y@@ @ @ @ @ < b@@ @ @ J 2¡@@ @ @ @ @ @ @ D* b@@ @ @ @ @ @ @ @= @@ @ @ @ @ @ FH2 2b@@ @£@ @ <* b@@ @ @ @ @C ¥x@@ @ @:b@@ @ @1 f@@ @ @0x@@ @ @A i*y@@ @ @ @ @0 @@ @ £@ @ . 2b@@ @ @ @ ~@ @ z@ @ D* i*¡@@ @ @ @ @ @ 1 i*y@@ @ @ @ @ @ 0H 2b@@ @ @ @ <H v@@ @ @ @ c@ @ D* v@@ @ +b@@ @ @ @ @EH b@@ @ ~@ @ 9x@@ @ D* Í@@ @ @+ @@ @ £@ @ / 2¡@@ @ @ @ @ @ @ @ @ ´* b@@ @ @ @+ ·b@@ @ @ @£@ @ @ @ D h@@ @ @ @ @ @ @B* 2b@@ ~@ @{@ @F i¡@@ @ @ ~@ @ @ @ 8°H @@ @ Db@@ @ /b@@ @ E @@ @ @~@ @ @ 8¡@@ @ @D*H @@ @ £@ º ¥H*x@@ @ @ @ @ @ @ @ 0 x@@ @ @ @ c@ @ 1 ¢@@ @ @ @ < b@@ @ @ @ 0

baytelshear ‫اﻟﺸﻌﺮ‬ ِ ‫ﺑﻴﺖ‬

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‫ﻋﻠﻲ ﺑﻦ ﻧﺎﻳﻒ اﻟﻐﺎﻣﺪي‬ @alinaifalghamdy

ŤţǉƥƴŢ Ƴǉŧƈ

¡@@ @ : Ä@@ @ @~@ @ @ |@ @ @ D*H ¡@@ @ @ @ @: v@@ @ @ @ @c@ @ @D* ·b@@ @ @ @=b@@ @ @ @J Ix@@ ~@ @ z@ @ ´* Á*x@@ @ @ @ @ @ @ =*H x@@ @ @ @ ~@ @ z@ @ D* h@@ @ J¡@@ @ F b@@ @ @ @ @ F*H H°* v@@ @ @ @ @ @ D* v@@ @ @ Jv@@ @ @ ©H @@ @A¡@@ @~@ @ 7 Í@@ @ +b@@ @ E *x@@ @ @ @ @ @ D* ¤@@ @ @ @ -¡@@ @ @ @ g@ @ ~@ @ 6*H @@ @ £@ @ @ @ @ @D* Áx@@ @ @ @ @ @ = ¡@@ @m@ @ g@ @ E 2¡@@ @ @ @ @ @ @ @ @ @ @ ´* @@ @ @+b@@ @ @£@ @ @ = f@@ @ @ @ @~@ @ @6 ¯ IÄ@@ @ @ @ @ @ -°H @@ @ @g@ @ @ @ @ @ -° b@@ @ @ @ Bx@@ @ @ @ A rHx@@ @ @ @ @ @ @ @ @ /H ¡@@ @ @ @ @JH Hx@@ @ @ @ @ @ J eb@@ @ @£@ @ @ @ @ @ D* @@ @£@ @ c@ @ ~@ @ 6H h@@ @ c@ @ @= *x@@ @ @ @ Jb@@ @E ¤@@ @~@ @ {@ @ + 2b@@ @ @ @ @/ 2b@@ @ @ @ @/ *H @@ @£@ @ s@ @ + ¡@@ @º ¤@@ @ @£@ @< ¯ x@@ @ @ @ ~@ @ z@ @ D*H @@ @ @~@ @{@ @D* eb@@ @ @ @= Ix@@ @~@ @ 6°* w@@ @1b@@ @-b@@ @E *x@@ @ @ @ @D* ¢@@ @ @ @ 0* @@ @ E w@@ @ @ @0%* ¡@@ @ 0 @@ @ @ @ @EH *v@@ @ @ @ @< @@ @ @ E h@@ @ @ @ @:b@@ @ E @@ @ @ @ @<b@@ @ J *x@@ @ ~@ 7b@@J @@ @£@ @ ³* @@ @ @ EH i¡@@ @~@ @ |@ @ D* ¢@@ @ @< ¤@@ @ @ @ D* ¡@@ p@ @g@ @E b@@ @ @ Bx@@ @ @ A @@ @ @ E @@ @ @ ~@ @ @ 9¡@@ @ @ D*H b@@ @ @ @ @ @ I42* h@@ @ @ @ F*H *¡@@ @ @ @ @ @ 0°* @@ @ @< v@@ ~@ @{@ @ @ @- 2b@@ @ @ @ <° ¡@@ @ @ @ E @@ @ +b@@ @ £@ @ @ = v@@ @ @ @ @ J* f@@ @ @ @ @ 0 ¢@@ @ @ @ @ < b@@ @ @ @ @ F* Ix@@ @ Cw@@ @ D* ¤@@ @ @ @ @g@ @ @ @-b@@ E @@ @£@ @ @ @ D* ¤@@ @ @ @ @ g@ @ <* ° 2019 ‫ ﻓﺒﺮاﻳﺮ‬، 75 ‫اﻟﻌﺪد‬

baytelshear ‫اﻟﺸﻌﺮ‬ ِ ‫ﺑﻴﺖ‬

‫ ‪ ĘšĲŒĬŘ‬‬ ‫‪¢@@ @ @+P P @ @ @ @ -P vS @ @ @ @ P/ Pv@@ @ @ R @ @ @ +N R @@ @ @ @ PE O 2N b@@ @ @ @ @ @ @ @ @ @ @ @<N N&*HN‬‬ ‫‪10‬‬ ‫‪ P @ @ @DP b@@ @ 0 N R @@ @ @<N P @ @ @ P @ @ @/R HN N @ @ @ @ @ FN HR 4N N b@@ @ @ @ @ @ 0N N&*HN‬‬

‫إن ﻫﺬه اﻟﺼﻮرة اﻷﻣريﻳﺔ اﻟﺼﺎرﺧﺔ ﺑﺎﻟﻘﻮة واﻟﺠامل اﻟﺘﻲ ﻛﺎن ﻳﻮ ِﻓﺪُ ﻫﺎ‬ ‫ﻋﺒﺪ اﻟﺮﺣﻤﻦ اﻟﺜﺎين إﱃ ﺧﺼﻮﻣﻪ وأﻋﺪاﺋﻪ ﻻ ﺗﺮﻛﺰ ﻋﲆ إﺑﺮام اﻻﺗﻔﺎﻗﻴﺎت‬ ‫وإﺟﺮاء اﳌﻔﺎوﺿﺎت ﻣﻦ ﻣﻨﻈﻮر دﺑﻠﻮﻣﺎﳼ ﺣﻮاري ﺗﻔﺎوﴈ‪ ،‬ﺑﻞ ﺗﻜﺮس‬ ‫ﻣﺮاﻛ َﺰ اﻟﻘﻮى آﻧﺬاك؛ ﻓﺘﻜﻮن ﻟﻬﺠﺔ اﻟﺤﻮار ﻟﺒﻘﺔ ﻣﻨﺘﻘﺎة ﺑﻌﻨﺎﻳﺔ وﰲ‬ ‫َ‬ ‫ﺑﺮﺳﺎﺋﻞ وﻣﺮﺟﻌﻴﺎت اﻟﺪوﻟﺔ اﻟﻘﻮﻳﺔ‪ ،‬وﻳﻜﻔﻲ أن‬ ‫اﻟﻮﻗﺖ ﻋﻴﻨﻪ ﻣﺤﻤﻠ ًﺔ‬ ‫ﻧﻌﻮد إﱃ ﺳﻔﺎرة اﻟﻐﺰال إﱃ ﻣﻠﻚ اﻟﻨﻮرﻣﺎن ﺣﺘﻰ ﻧﺘﺒ َ‬ ‫ني ﺛﻘﺔ اﻟﻐﺰال ﰲ‬ ‫‪11‬‬ ‫ﻗﻮة ﺑﻠﺪه وﺗﴫﻓﻪ ﻋﲆ إﺛﺮ ذﻟﻚ ﻣﻦ ﻣﻨﻄﻖ وﻣﻨﻄﻠﻖ اﻟﻘﻮة ‪ .‬ﺛﻢ‬ ‫إﻧﻪ‪ ،‬آﻧﺬاك‪ ،‬ﻛﺎن واﻋﻴﺎً ﺑﻘﻮة اﻟﺪوﻟﺔ اﻷﻣﻮﻳﺔ اﻟﺘﻲ ﻋﺎﴏﻫﺎ ﻣﻨﺬ ﺑﺪاﻳﺎﺗﻬﺎ‬ ‫ﺗﻘﺮﻳﺒﺎً ﻓﺮآﻫﺎ وﻫﻲ ﺗﻜﱪ وﺗﺘﻘﻮى ﻣﻠﻜﺎً ﺑﻌﺪ ﻣﻠﻚ ﻣﻨﺬ ﻋﴫ اﻟﺪاﺧﻞ‬ ‫ﺣﺘﻰ ﻋﴫ ﻣﺤﻤﺪ ﺑﻦ ﻋﺒﺪ اﻟﺮﺣﻤﻦ وﰲ ذﻟﻚ ﻗﻮﻟﻪ‪:‬‬ ‫*&‪ R @ @ @ @ N @ @ @ @ +N 4R N&* Kb@ @ @C¡@@ @ O @ @ @EO Px@ @ ~@@ R@|@ @ P´b@@ @+P Oh@@ @ @ @ @ @ @ @ @ CR 4N 2R N‬‬ ‫‪12‬‬ ‫‪ R @ @ N @ @ EN @O @ p@R @ FN ¥ Pw@@ @ @D* *wN @ @ @ GN Kb@ @~@ @z@ @ PEb@@ 1N HN‬‬ ‫وﺑﺬﻟﻚ؛ ﻓﺈﻧﻪ ﻛﺎن أﺷﺒﻬام ﻳﻜﻮن ﺑﺄرﺷﻴﻒ ﻣﺘﻨﻘﻞ أو ﻋﻠﺒ ٍﺔ ﺗﺤﻤﻞ أﴎار‬ ‫اﻟﺪوﻟﺔ ُﻣ َﺤ ﱠﻴ َﻨ ٍﺔ ُمب َﺠﺎ َﻳ َﻠ ِﺔ ﻣﻠﻮﻛﻬﺎ‪.‬‬ ‫وإذا ﻛﺎﻧﺖ أﻧﺎﻗﺔ اﻟﺸﻜﻞ ﻗﺪ ﻟﻌﺒﺖ دوراً ﺟﻮﻫﺮﻳﺎً ﰲ ﻧﻘﻞ ﺻﻮرة‬ ‫اﻻﻧﺒﺴﺎط واﻷﺑﻬﺔ واﻟﻄﺮﺑﻴﺔ واﻟﻬﻴﺒﺔ اﻟﺘﻲ ﺗﺘﻤﺘﻊ ﺑﻬﺎ اﻟﺪوﻟﺔ ﻋﻤﻮﻣﺎً؛‬ ‫ﻓﺈن ﻟﺒﺎﻗﺔ اﻟﻘﻮل ﻛﺎن ﻟﻬﺎ دور ﰲ ﻧﻘﻞ ﺳﻴﺎﺳﺔ اﻟﺪوﻟﺔ اﻟﺘﻮﺳﻌﻴﺔ؛ ﻓﺒﺪل‬ ‫إﺷﻬﺎ ِر اﻟﺴﻨﺎنِ إﺷﻬﺎ ُر اﻟﻠﺴﺎنِ ‪ .‬ﻣﻦ ﻫﻨﺎ؛ ﺗﻈﻬﺮ ﺣﻜﻤﺔ اﻟﺪوﻟﺔ ﰲ ﺳﻴﺎﺳﺘﻬﺎ‬ ‫اﻟﺨﺎرﺟﻴﺔ‪ ،‬وﻫﻨﺎ ﺑﺎﻟﻀﺒﻂ ﺗﻜﻤﻦ ﻗﻮة اﻟﺴﻔري اﻟﺬي ﻳﺠﻠﺐ ﻟﺒﻠﺪه‬ ‫ﻣﻜﺎﺳﺐ ﻧﻔﻴﺴﺔ ﻣﻦ دون َﺑ ْﺮ ٍي ﻟﺤﻮاﻓﺮ اﻟﺨﻴﻞ وﺗﻐﺮﻳﺐ ﻟﻠﺴﻴﻮف ﻋﻦ‬ ‫َ‬ ‫أﻏﻤﺪﺗﻬﺎ‪ .‬وﺑﺎﻟﺘﺎﱄ؛ ﻓﻘﺪ "ﻋﺮﻓﺖ اﻟﻌﺮب ﻓﻀﻞ اﻟﺴﻔﺎرة‪ ،‬وﻋﻠﻮ ﻣﻘﺎﻣﻬﺎ‪،‬‬

‫‪ɰ‬‬ ‫‪ɐōǘǾǔŽ ƉǾƲƒǕŌ ǚǷǈǿ ǚŐ ŝŵǶ‬‬ ‫‪ɼ ōŵŌ‬‬ ‫ ‪ɰ ȍǶ‬‬ ‫‪ɰ ƉƁ ɐ‬‬ ‫‪ɰ‬‬ ‫‪ɰ‬‬ ‫‪ɰ‬‬ ‫ ‪ɼ ōǾǥŌƂ‬‬ ‫‪ ŻǾżƛ ɐōŵ‬‬ ‫‪ŌƉǈǜǙ ɐ‬‬ ‫ ‪ōǘǾǈŽ‬‬ ‫‪ɰ‬‬ ‫‪ǣŨşǷŵŐǶ ǖȎǈǕŌ Ųƈōƀǘş ŌƉǾƚş ɐǲƉƢƲǕŌ‬‬ ‫‪ ǼƅǕŌ ǖȎƓȑŌ ǒǷƓƉş ŜƉƪǕŌ ŋōƲǔƀǕŌ ǺƃŨǃŌ‬‬ ‫‪ɳ‬‬ ‫‪ɼ‬‬ ‫‪ ǻǕŒ ǳşōżƚǕŌ ǛǙ ŋŌƉƲƒǕŌ ǗƓǶŐ ŪōƪŨşŌ Ƃ‬‬ ‫‪Ƿƪũ‬‬ ‫‪ƜƈȏŌ ǆǷǔǙ‬‬

‫أزﺟﺔ اﻟﺮﻣﺎح‪،‬‬ ‫ﳌﺎ ﺗﺤﻘﻖ ﻣﻦ اﻟﻐﺎﻳﺎت اﻟﺘﻲ ﻗﺪ ﺗﻌﺠﺰ ﻋﻦ ﺗﺤﻘﻴﻘﻬﺎ ﱡ‬ ‫‪13‬‬ ‫وﺗﺼﻠﺢ ﰲ ﻛﺜري ﻣﻦ اﻷﺣﺎﻳني ﻣﺎ أﻓﺴﺪﺗﻪ اﻟﺤﺮوب واﻟﻐﺎرات" ‪.‬‬ ‫ﻣﻮﺳﻮﻋﻲ اﻟﺜﻘﺎﻓﺔ ﻣﺘﻌﺪد اﳌﺸﺎرب ﺣﻴﺚ‬ ‫وﻟﻘﺪ ﻛﺎن اﻟﺴﻔري اﻟﻐﺰال‬ ‫ﱠ‬ ‫ﺟﻤﻊ ﺑني اﻟﻠﻐﺔ واﻷدب واﻟﺒﻼﻏﺔ واﻟﻔﻘﻪ واﻟﻔﻠﺴﻔﺔ واﻟﻔﻠﻚ واﻟﺘﻨﺠﻴﻢ‬ ‫ﻧﺎﻫﻴﻚ ﻋﻦ ﺗﻌﺪد اﻷﻟﺴﻦ وإﺗﻘﺎﻧﻪ اﻟﻠﻐﺔ اﻟﺒﻴﺰﻧﻄﻴﺔ‪" 14‬وﻫﻮ ﻣﻊ‬ ‫ذﻟﻚ ﺟﻠﻴﻞ ﰲ ﻧﻔﺴﻪ وﻋﻠﻤﻪ وﻣﻨﺰﻟﺘﻪ ﻋﻨﺪ أﻣﺮاء ﺑﻠﺪه ﻟﺬﻟﻚ أرﺳﻠﻪ‬ ‫ﺑﻌﺾ ﻣﻠﻮك ﺑﻨﻲ أﻣﻴﺔ ﺑﺎﻷﻧﺪﻟﺲ رﺳﻮﻻً إﱃ ﻣﻠﻚ اﻟﺮوم"‪ .15‬وﻣﺎ ﻛﺎن‬ ‫ﻟﻴﺤﻮ َز ﻫﺬه اﳌﻜﺎﻧﺔ ﻟﻮﻻ أﻧﻪ ﺟﻤﻊ ﺑني أﻧﺎﻗﺔ اﻟﺸﻜﻞ وﻟﺒﺎﻗﺔ اﻟﻘﻮل ﰲ‬ ‫ﺷﺨﺼﻴﺘﻪ‪ ،‬وﺑني ﺛﻨﺎﺋﻴﺔ اﻟﺴﻠﻄﺔ واﻟﺸﻌﺮ ﰲ ﻣﻨﺼﺒﻪ اﻟﺪﺑﻠﻮﻣﺎﳼ‪ .‬وﻟﻘﺪ‬ ‫ﻛﺎن ﻣﺪرﻛﺎً ﻷدق ﺗﻔﺎﺻﻴﻞ ﺷﺨﺼﻴﺔ اﻟﺴﻔري اﻟﺬي ﻳﺠﺐ أن ميﺜﻞ اﻟﺪوﻟﺔ‬ ‫اﻷﻣﻮﻳﺔ ﰲ ﺳﻴﺎﺳﺎﺗﻬﺎ اﻟﺨﺎرﺟﻴﺔ‪:‬‬ ‫‪N‬‬ ‫‪ @M @ @ @ @ @ @ @ @ +N 4R &* ¯ P‬‬ ‫‪P $xR @ @ @ @ @ @ @ @ @N ´* O @ @ @ @ R @ @ @ @ <N O xN @ @ @ @ @ R @ @ @ @ @ JO‬‬ ‫‪N *H b@@ @ @ @ @ @ @ @ N @ @ @ @ @ @ @ @ DO HS N&* O @ @ @ gO @ @ @ £N @ @ @ ~@@R @ @{@ @ @ PE‬‬ ‫‪R xN @ @ @ @ @ @ @ @ @ ²‬‬ ‫‪O @ @ @ @ @ N @ @ @ @ @ @DR N&*H P @ @ @ @ £R @ @ @ @ N @ @ @ @ £R @ @ @ @ <N 4O HR 2N H‬‬ ‫@‪ O @ @ @ @ @ @;b‬‬ ‫‪16‬‬ ‫ ‪ @R @ @ N @ @ @ N @ @ @ D* 4O HOv@ @ @ @ @ @ @JN S @@ @ P @ @ £R @ @ N @ @ <N Ov@ @ @ R @ @ @ +N‬‬

‫اﻟﻤﺼﺎدر واﻟﻤﺮاﺟﻊ‪:‬‬ ‫)‪ (10‬اﺑﻦ ﻋﺬارى اﳌﺮاﻛﴚ‪ ،‬اﻟﺒﻴﺎن ا ُﳌﻐﺮب ﰲ أﺧﺒﺎر اﻷﻧﺪﻟﺲ واﳌَﻐﺮب‪ ،‬ﺗﺤﻘﻴﻖ وﻣﺮاﺟﻌﺔ ج‪.‬س‪ .‬ﻛﻮﻻن و إ‪ .‬ﻟﻴﻔﻲ ﺑﺮوﻓﻨﺴﺎل‪ ،‬ج‪ ،2‬ﻣﺮﺟﻊ ﺳﺎﺑﻖ‪ ،‬ص ‪.93‬‬ ‫)‪ (11‬ﻗﺎل اﺑﻦ دﺣﻴﺔ‪" :‬ﺛﻢ إﻧﻬﻢ أﻧﺰﻟﻮا ﰲ ﻛﺮاﻣﺔ )‪ (...‬واﺳﺘﺪﻋﺎﻫﻢ ﺑﻌﺪ ﻳﻮﻣني إﱃ رؤﻳﺘﻪ‪ ،‬ﻓﺎﺷﱰط اﻟﻐﺰال ﻋﻠﻴﻪ أﻻ ﻳﺴﺠﺪ ﻟﻪ وﻻ ﻳﺨﺮﺟﻬام ﻋﻦ ﳾء ﻣﻦ ﺳﻨﺘﻬام‪،‬‬ ‫ﻓﺄﺟﺎﺑﻬام إﱃ ذﻟﻚ‪ ،‬ﻓﻠام ﻣﺸﻴﺎ إﻟﻴﻪ ﻗﻌﺪ ﻟﻬام ﰲ أﺣﺴﻦ ﻫﻴﺌﺔ‪ ،‬وأﻣﺮ ﺑﺎﳌﺪﺧﻞ اﻟﺬي ﻳﻔﴤ إﻟﻴﻪ‪ُ ،‬‬ ‫ﻓﻀ ﱢﻴﻖَ ﺣﺘﻰ ﻻ ﻳﺪﺧﻞ ﻋﻠﻴﻪ أﺣﺪ إﻻ راﻛﻌﺎ‪ ،‬ﻓﻠام وﺻﻞ إﻟﻴﻪ‬ ‫ﺟﻠﺲ إﱃ اﻷرض وﻗﺪم رﺟﻠﻴﻪ وزﺣﻒ ﻋﲆ إﻟﻴﺘﻪ زﺣﻔﺔ‪ ،‬ﻓﻠام ﺟﺎز اﻟﺒﺎب اﺳﺘﻮى واﻗﻔﺎ‪ ،‬واﳌﻠﻚ ﻗﺪ أﻋﺪ ﻟﻪ وأﺣﻔﻞ ﰲ اﻟﺴﻼح واﻟﺰﻳﻨﺔ اﻟﻜﺎﻣﻠﺔ‪ ،‬ﻓام ﻫﺎﻟﻪ ذﻟﻚ وﻻ‬ ‫ذﻋﺮه‪ ،‬ﺑﻞ ﻗﺎم ﻣﺎﺛﻼ ﺑني ﻳﺪﻳﻪ‪ ،‬ﻓﻘﺎل‪ :‬اﻟﺴﻼم ﻋﻠﻴﻚ أﻳﻬﺎ اﳌﻠﻚ وﻋﲆ ﺿﻤﺔ ﻣﺸﻬﺪك‪ ،‬واﻟﺘﺤﻴﺔ اﻟﻜﺮميﺔ ﻟﻚ‪ ،‬وﻻ َ‬ ‫زﻟﺖ متﺘﻊ ﺑﺎﻟﻌﺰة واﻟﺒﻘﺎء واﻟﻜﺮاﻣﺔ اﳌﺎﺿﻴﺔ ﺑﻚ إﱃ‬ ‫ﴍف اﻟﺪﻧﻴﺎ واﻵﺧﺮة )‪ (...‬ﻓﻔﴪ ﻟﻪ اﻟﱰﺟامن ﻣﺎ ﻗﺎﻟﻪ‪ ،‬ﻓﺄﻋﻈﻢ اﻟﻜﻼم‪ ،‬وﻗﺎل‪ :‬ﻫﺬا ﺣﻜﻴﻢ ﻣﻦ ﺣﻜامء اﻟﻘﻮم‪ ،‬وداﻫﻴﺔ ﻣﻦ دﻫﺎﺗﻬﻢ‪ ،‬وﻋﺠﺐ ﻣﻦ ﺟﻠﻮﺳﻪ إﱃ اﻷرض‬ ‫وﺗﻘﺪميﻪ رﺟﻠﻴﻪ ﰲ اﻟﺪﺧﻮل‪ ،‬وﻗﺎل أردﻧﺎ أن ﻧﺬﻟﻪ‪ ،‬ﻓﻘﺎﺑﻞ وﺟﻮﻫﻨﺎ ﺑﻨﻌﻠﻴﻪ ! وﻟﻮﻻ أﻧﻪ رﺳﻮل ﻷﻧﻜﺮﻧﺎ ذﻟﻚ ﻋﻠﻴﻪ" اﺑﻦ دﺣﻴﺔ‪ ،‬ﻣﺼﺪر ﺳﺎﺑﻖ‪ ،‬ص ‪.141‬‬ ‫)‪ (12‬ي‪ .‬ب‪ .‬ح‪ .‬اﻟﻐﺰال‪ ،‬دﻳﻮان‪ ،‬ﻣﺮﺟﻊ ﺳﺎﺑﻖ‪ ،‬ص ‪.63‬‬ ‫)‪ (13‬ﻣﺤﻤﺪ ﻋﲇ دﻗﺔ‪ ،‬ﻣﺮﺟﻊ ﺳﺎﺑﻖ‪ ،‬ص ‪.17‬‬ ‫)‪ (14‬م‪ .‬ص‪ .‬اﻟﺒﻨﺪاق‪ ،‬ﻣﺮﺟﻊ ﺳﺎﺑﻖ‪ ،‬ص ‪.23‬‬ ‫)‪ (15‬اﻟﻀﺒﻲ‪ ،‬أﺑﻮ ﺟﻌﻔﺮ أﺣﻤﺪ ﺑﻦ ﻳﺤﻴﻰ ﺑﻦ أﺣﻤﺪ ﺑﻦ ﻋﻤرية‪ ،‬ﺑﻐﻴﺔ اﳌﻠﺘﻤﺲ ﰲ ﺗﺎرﻳﺦ رﺟﺎل أﻫﻞ اﻷﻧﺪﻟﺲ‪ ،‬ﺗﺤﻘﻴﻖ إﺑﺮاﻫﻴﻢ اﻷﺑﻴﺎري‪ ،‬ج‪ ،2‬دار اﻟﻜﺘﺎب اﳌﴫي‬ ‫اﻟﺤ ِﻤﻴﺪي‪ ،‬اﺑﻦ أيب ﻧﴫ‪ ،‬ﺟﺬوة اﳌﻘﺘﺒﺲ ﰲ ذﻛﺮ وﻻة اﻷﻧﺪﻟﺲ‪ ،‬اﻟﺪار اﳌﴫﻳﺔ ﻟﻠﺘﺄﻟﻴﻒ واﻟﱰﺟﻤﺔ‪،‬‬ ‫ودار اﻟﻜﺘﺎب اﻟﻠﺒﻨﺎين‪ ،‬ط‪ ،1989 ،1‬ص ‪ .673‬اﻧﻈﺮ ﻛﺬﻟﻚ‪َ :‬‬ ‫‪ ،1966‬ص ‪ .374‬ي‪ .‬ب‪ .‬ح‪ .‬اﻟﻐﺰال‪ ،‬دﻳﻮان‪ ،‬ﻣﺮﺟﻊ ﺳﺎﺑﻖ‪ ،‬ص ‪.65‬‬

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‫اﻟﻌﺪد ‪ ، 75‬ﻓﺒﺮاﻳﺮ ‪2019‬‬

‫د ﻳﺎﺳﻴﻦ ﺣﺰﻛﺮ‬

‫إن اﻟﺤﺪﻳﺚ ﻋﻦ ﺳﻔﺎرة اﻷﻧﺪﻟﺴﻴني ﺗﺴﺘﺪﻋﻲ‪ ،‬ﺑﺎﻟﴬورة‪ ،‬اﻟﺤﺪﻳﺚ‬ ‫ﻋﻦ منﻮذج اﻟﺴﻔري اﳌﺜﺎﱄ اﻟﺬي ﻛﺎن ﻣﴬب ﻣﺜﻞ ﰲ أﻧﺎﻗﺔ اﻟﺸﻜﻞ‬ ‫وﻟﺒﺎﻗﺔ اﻟﻘﻮل؛ ﻣﻴﺰﺗﺎن ﻗﻠام اﺟﺘﻤﻌﺘﺎ وﺛﻨﺎﺋﻴ َﺔ اﻟﺴﻠﻄﺔ واﻟﺸﻌﺮ‪ ،‬وﻗﺪ‬ ‫ﻛﺎﻧﺘﺎ ﻣﻦ ﻧﺼﻴﺐ اﻟﺴﻔري ﻳﺤﻴﻰ ﺑﻦ اﻟﺤﻜﻢ اﳌﻠﻘﺐ‪ :‬ب)اﻟﻐﺰال(؛‬ ‫ﻟﻘﺒﻪ اﻟﺬي "أﻃﻠﻘﻪ ﻋﻠﻴﻪ ﺗﻮدداً وﺗﺤﺒﺒﺎً ﺻﺪﻳ ُﻘﻪ وﻣﻮﻻه اﻷﻣري ﻋﺒﺪ‬ ‫اﻟﺮﺣﻤﻦ"‪ 1‬وﻫﺬا ﻣﺎ ﻳﻌﻜﺲ إﻋﺠﺎب اﻟﺴﻠﻄﺎن ﺑﺸﻜﻞ ﻳﺤﻴﻰ‪ ،‬وﰲ‬ ‫اﻋﺘﻘﺎدﻧﺎ‪ ،‬مل ﻳﻜﻦ ﻫﺬا اﻟﺸﻜﻞ ﻟﻴﺜ َري إﻋﺠﺎب اﻷﻣري ﻋﺒﺪ اﻟﺮﺣﻤﻦ‪ 2‬ﻟﻮﻻ‬ ‫أﻧﻪ اﻗﱰن ﺑﺎﻟﺬﻛﺎء واﻟﻔﺮوﺳﻴﺔ واﻟﺸﻌﺮ واﻷدب وﴍف اﻟﻨﺴﺐ‪3‬؛ "وﻟﻘﺪ‬ ‫وﺟﺐ أن ﻳﻜﻮن اﻟﺴﻔري ﺣﻠﻴ ًام‪ ،‬ﺣﻜﻴ ًام‪ ،‬ﻣﻨﻜﺮاً داﻫﻴﺎً‪ ،‬ﺧ ﱠﺮاﺟﺎً ﱠوﻻﺟﺎً‪،‬‬ ‫ﺻﺤﻴﺢ اﻟﻔﻄﺮة‪ ،‬ﺑﺼرياً مبﺨﺎرج اﻟﻜﻼم وأﺟﻮﺑﺘﻪ"‪ 4‬وإﻻ ﻟﻜﺎن ﺗﻠﻘﻴﺒﻪ‬ ‫ﺎت‬ ‫وﺻ َﻔ ِ‬ ‫أﻟﻘﺎب ِ‬ ‫ﺑﺎﻟﻐﺰال ﻟﻘﺒﺎً ﻻ ﻳﻌﺪو أن ﻳﺼري ﻣﺬﻣﺔ ﻟﻪ؛ ُﻳﻠﺤ ُﻘﻪ ﺑﻘﺎمئﺔ ِ‬ ‫اﻟﻐﻠامن؛ ﻟ َﻴﻨ َْﺨ ِﺴ َﻒ ﻣﻦ ِر ْﻓ َﻌ ِﺔ اﻟﺴﻴﺎدة إﱃ ﺣﻀﻴﺾ اﻟﻌﺒﻮدﻳﺔ‪.‬‬ ‫َ‬ ‫اﺑﺘﻌﺎث أوﺳﻢ‬ ‫وﻗﺪ اﻗﺘﺪى اﻟﺨﻠﻔﺎء اﻟﻌﺮب ﺑﺮﺳﻮل اﻹﺳﻼم اﻟﺬي ﺗﻌ ﱠﻮد‬ ‫‪5‬‬ ‫اﻟﺴﻔﺮاء ﻣﻦ اﻟﺼﺤﺎﺑﺔ إﱃ ﻣﻠﻮك اﻷرض وﻣﻨﻬﻢ دﺣﻴﺔ اﻟﻜﻠﺒﻲ ‪ ،‬وﻣﻦ‬ ‫ﺻﻔﺎت رﺳﻠﻪ ﻛﺬﻟﻚ وﻓﻮر اﻟﻌﻘﻞ وﻃﻼﻗﺔ اﻟﻠﺴﺎن وﻗﻮة اﻟﺤﺠﺔ اﳌﻘﻨﻌﺔ‬ ‫ﻟﻠﺨﺼﻢ‪.6‬‬ ‫ُﺗﺠﺴﺪ ﺷﺨﺼﻴﺔ اﻟﺴﻔري اﻟﻐﺰال منﻮذﺟﺎً ﻣﻦ اﻟﻨامذج اﳌﺜﺎﻟﻴﺔ اﻟﺘﻲ ﺑﺮزت‬ ‫ﰲ ﺳﻴﺎق ﺣﻀﺎري اﻧﺒﺴﺎﻃﻲ ﺗﻮﺳﻌﻲ وﰲ ﻣﺮﺣﻠﺔ ﻃﺮﺑﻴﺔ ﻗﻮﻳﺔ‪ ،‬وإذا‬ ‫ﻛﺎﻧﺖ ﺛﻘﺎﻓﺔ اﳌﺮء ُﻳﻌﺰى ﻓﻀ ُﻠﻬﺎ إﱃ ﻫﻤﺔ ﺻﺎﺣﺒﻬﺎ وﺗﻜﻮﻳﻨﻬﺎ اﻟﺬايت؛‬ ‫ﻓﺈن اﻹﻣﺎرة اﻷﻣﻮﻳﺔ ﻛﺎﻧﺖ ﺗﻨﻬﺞ ﻧﻬﺠﺎً دﻗﻴﻘﺎً ﰲ ﺗﺒﻨﻲ ﻫﺬه اﳌﻮاﻫﺐ‬ ‫اﻟﻔﺬة اﻟﺘﻲ ﺗﺠﻤﻊ ﺑني ﻧﻮادر اﻷﻣﻮر‪ ،‬وﻟﻌﻞ ﻫﺬا ﻋﺎﺋﺪ ﰲ اﻟﻮﻗﺖ ﻧﻔﺴﻪ‬ ‫إﱃ ﺛﻨﺎﺋﻴﺔ اﻟﺴﻠﻄﺔ واﻟﺸﻌﺮ اﻟﻠﺘني ﺗﺠﺘﻤﻌﺎن ﰲ اﻟﺴﻠﻄﺎن ﻧﻔﺴﻪ‪.‬‬

‫وﻟﻘﺪ ﻛﺎن اﻷﻣري ﻋﺒﺪ اﻟﺮﺣﻤﻦ اﻟﺜﺎين "ﺷﺎﻋﺮاً‪ ،‬أدﻳﺒﺎً‪ ،‬ذا ﻫﻤﺔ ﻋﺎﻟﻴﺔ‪،‬‬ ‫وﻛﺎﻧﺖ ﻟﻪ ﻏﺰوات ﻛﺜرية‪ ،‬وﻓﺘﻮﺣﺎت ﰲ دار اﻟﻌﺪوة ﺷﻬرية‪ ،‬ﻳﺨﺮج إﻟﻴﻬﺎ‬ ‫ﰲ اﻟﻌﺪد اﻟﺠﻢ‪ ،‬واﻟﻌﺴﻜﺮ اﻟﻀﺨﻢ‪ ،‬ﻳﺨﺮب دﻳﺎرﻫﻢ وﻳﻌﻔﻲ آﺛﺎرﻫﻢ‪،‬‬ ‫وﻳﻘﻔﻞ ﻇﺎﻫﺮ اﻻﻋﺘﻼء‪ ،‬ﻗﺎﻫﺮ اﻷﻋﺪاء‪ ،‬مل ﻳﻠﻖ اﳌﺴﻠﻤﻮن ﻣﻌﻪ ﺑﺆﺳﺎً‪،‬‬ ‫ومل ﻳﺮوا ﰲ ﻣﺪﺗﻪ ﻳﻮﻣﺎً ﻋﺒﻮﺳﺎً‪ ،‬وﻫﻮ أول ﻣﻦ ﺟﺮى ﻋﲆ ﺳﻨﻦ اﻟﺨﻠﻔﺎء‬ ‫ﰲ اﻟﺰﻳﻨﺔ واﻟﺸﻜﻞ‪ ،‬وﺗﺮﺗﻴﺐ اﻟﺨﺪﻣﺔ‪ ،‬وﻛﺴﺎ اﻟﺨﻼﻓﺔ أﺑﻬﺔ اﻟﺠﻼﻟﺔ"‪،7‬‬ ‫ﻣﺠﻠﺲ‬ ‫ﻣﺠﻠﺲ اﻟﺴﻠﻄﺎن‬ ‫وﻟﻌﻞ ﻫﺬا ﻣﺎ ﺟﻌﻠﻪ ﻳﻘﺪم اﻟﻨﺒﻐﺎ َء ﺣﺘﻰ ﺻﺎ َر‬ ‫ُ‬ ‫َ‬ ‫ﺳﻴﺎﺳﺔ أﺷﺒﻪ ﻣﺎ ﻳﻜﻮن مبﺠﻠﺲ أدب‪.‬‬ ‫وﺗﻌﻜﺲ ﻫﻴﺌﺔ اﻟﻐﺰال وﺷﻜﻠﻪ ﻣﻦ ﻣﻨﻈﻮر اﻟﺴﻠﻄﺎن اﻟﺬي اﺧﺘﺎره ﺳﻔرياً‬ ‫ﻟﻠﻤامﻟﻚ اﻟﻘﺮﻳﺒﺔ واﻟﺒﻌﻴﺪة ﻫﻴﺒﺔ اﻟﺪوﻟﺔ وأ ﱠﺑ َﻬ َﺘ َﻬﺎ‪ ،‬إن مل ﻧﻘﻞ واﺟﻬﺔ‬ ‫ﻟﺠامل اﻟﺪوﻟﺔ وﺟﻼﻟﻬﺎ؛ ﻓﺎﻟﺼﻮرة اﻟﺤﺴﻨﺔ اﻟﺒﺎذﺧﺔ اﻟﺘﻲ ﺗﺘﴩب‬ ‫اﻟﺴ ﱢﻨ ﱠﻴﺔ اﻟﺘﻲ ﺗﺨﻠﻊ ﻋﲆ اﻟﺴﻔري واﳌﻮﻛﺐ اﳌﻠﻮيك اﻟﺬي‬ ‫اﻟﻨﻌﻤ َﺔ‪ ،‬واﻟﺨﻠﻊ ﱡ‬ ‫ُ‬ ‫ﺗﻔﺎﺻﻴﻞ ﻣﻦ ﺳﻨﻦ اﻟﺨﻠﻔﺎء ﰲ اﻟﺰﻳﻨﺔ واﻟﺸﻜﻞ‪ ،‬وﻻ ﺑﺪ‬ ‫ُﻳﻮ َﻓﺪُ ﻓﻴﻪ؛ ﻛﻠﻬﺎ‬ ‫أن ﻋﺒﺪ اﻟﺮﺣﻤﻦ اﻟﺜﺎين اﻋﺘﻨﻰ ﺑﺴﻔريه ﺣﺘﻰ ﻳﺼري اﻧﻌﻜﺎﺳﺎً ﻟﺼﻮرﺗﻪ‬ ‫ﰲ أﻋني أﻋﺪاﺋﻪ‪ .8‬وﺑﺎﻟﺘﺎﱄ؛ "ﻛﺎﻧﺖ ﺷﺨﺼﻴﺔ اﻟﻐﺰال ﻣﻤﻴﺰة‪ ،‬ﻓﻘﺪ ﻛﺎن‬ ‫ﺟﻤﻴﻞ اﻟﺸﻜﻞ‪ ،‬وﺳﻴ ًام؛ ﰲ ﺷﺒﺎﺑﻪ وﺷﻴﺨﻮﺧﺘﻪ وﻛﻬﻮﻟﺘﻪ"‪ .9‬ﻟﺬﻟﻚ رأى‬ ‫ﺳامت أﻣريﻳﺔ مل ﺗﺴﻘﻂ ﺣﺘﻰ ﺑﻌﺪ أن أرىب ﻋﲆ اﻟﺴﺒﻌني‬ ‫ﻓﻴﻪ اﻟﺴﻠﻄﺎن‬ ‫ٍ‬ ‫ﻣﻦ ﻋﻤﺮه‪ .‬وﻗﺪ أﻧﺸﺪ ﻋﺒﺪ اﻟﺮﺣﻤﻦ اﻟﺜﺎين ﺣني دﺧﻞ اﻟﻐﺰال ﻣﺠﻠﺴﻪ‬ ‫وﺟ َامﻟِ ِﻪ‪ ،‬ﻓﻘﺎل ﻟﻪ اﻟﻮزﻳﺮ‪ :‬أﺟ ْﺰ ﻣﺎ‬ ‫ﻣﻐﺘﺒﻄﺎ ﺑﻪ وﻗﺎل‪َ :‬ﺟﺎ َء اﻷ ِﻣ ُري ِﺑ ُﺤ ْﺴ ِﻨ ِﻪ َ‬ ‫ﺑﺪأ ﺑﻪ اﻷﻣري ﻓﻘﺎل اﻟﻐﺰال ]ﻛﺎﻣﻞ[‪:‬‬ ‫ §@ @ @ ‪ @@ @ DP b@@ @ N‬‬ ‫‪N P Kb@ @ @ @c@ @ @ @ P<*Nv@ @ @ @EO Ì‬‬ ‫‪O @ @ @ @ @ @ @ @ @ PEN&°* N b@@ @ @ @ @ BN‬‬ ‫‪ P @ @ @DP b@@ @ N @ @ @/H P‬‬ ‫‪N @ @ P @ @ ~@@R @z@ @ p@O @ @+P *O yN @ @ @ @ N @ @ @ @ D* N$b@@ @ @ @ @/N‬‬ ‫‪O @ @ N @ @ ±‬‬ ‫*&‪N * @N @ @ @ @JR N‬‬ ‫ *‪ ¢@@N @ <N ¢@@ @ @ @ +N 4R N&* MaPx@ @ @ @ E‬‬ ‫@‪R @P @ @ PE b‬‬ ‫‪N @ @ P @ @ cR @ @ ~@S@ @z@ @ D* P2vU @ @ @ N @ @ @ gN @ @ @ EO‬‬ ‫‪ P @ @ @ @ @DP *N¡@ @ @ @ @0R N&* R @@ @ @ @ PE Í‬‬ ‫‪O @ @ N @ @ ±‬‬ ‫‪O @ @ N @ @ ±‬‬ ‫@‪N * O @ @ DN b‬‬ ‫‪N * P @@ @ @GN HN‬‬ ‫ *‪MaPx@ @ @E‬‬ ‫@‪R @P @ @ PE b‬‬ ‫‪N‬‬ ‫‪N‬‬ ‫‪R‬‬ ‫*&‪ P @ @ @ @ DP É@N @ @ @ @=R &* ¯ Px@ @ @ @ RGSv@ @ @ @D* d@O @ @ @ @ @ JR 4N O b@@ @ @ @ N @ @ @ @ @D‬‬

‫اﻟﻤﺼﺎدر واﻟﻤﺮاﺟﻊ‪:‬‬ ‫)‪ (1‬ﻣﺤﻤﺪ ﺻﺎﻟﺢ اﻟﺒﻨﺪاق‪ ،‬ﻳﺤﻴﻰ ﺑﻦ اﻟﺤﻜﻢ اﻟﻐﺰال‪ ،‬ﻣﻨﺸﻮرات دار اﻵﻓﺎق اﻟﺠﺪﻳﺪة ﺑريوت‪ ،‬ط‪ ،1979 ،1‬ص ‪.17‬‬ ‫)‪ (2‬ﻫﻮ اﻷﻣري ﻋﺒﺪ اﻟﺮﺣﻤﻦ اﻟﺜﺎين‪.‬‬ ‫)‪ (3‬م‪ .‬ص‪ .‬اﻟﺒﻨﺪاق‪ ،‬ﻣﺮﺟﻊ ﺳﺎﺑﻖ‪ ،‬ص ‪.18‬‬ ‫)‪ (4‬ﻣﺤﻤﺪ ﻋﲇ دﻗﺔ‪ ،‬اﻟﺴﻔﺎرة اﻟﺴﻴﺎﺳﻴﺔ وأدﺑﻬﺎ ﰲ اﻟﻌﴫ اﻟﺠﺎﻫﲇ‪ ،‬دار اﻟﻌﻠﻢ‪ ،‬دﻣﺸﻖ‪ ،‬ط‪ ،1989 ،2‬ص ‪.16‬‬ ‫)‪ (5‬اﻟﻜﺘﺎين‪ ،‬ﻣﺤﻤﺪ ﻋﺒﺪ اﻟﺤﻲ ﺑﻦ ﻋﺒﺪ اﻟﻜﺒري ﺑﻦ ﻣﺤﻤﺪ‪ ،‬ﻧﻈﺎم اﻟﺤﻜﻮﻣﺔ اﻟﻨﺒﻮﻳﺔ اﳌﺴﻤﻰ اﻟﱰاﺗﻴﺐ اﻹدارﻳﺔ‪ ،‬وﺿﻊ ﺣﻮاﺷﻴﻪ ﻋﲇ ﻣﺤﻤﺪ دﻧﺪل‪ ،‬دار اﻟﻜﺘﺐ‬ ‫اﻟﻌﻠﻤﻴﺔ‪ ،‬ﺑريوت‪ ،‬ط‪ ،2001 ،1‬ص ‪.229‬‬ ‫)‪ (6‬اﳌﺼﺪر ﻧﻔﺴﻪ‪ ،‬ص ‪.224‬‬ ‫َ‬ ‫)‪ (7‬اﺑﻦ ﻋﺬارى اﳌﺮاﻛﴚ‪ ،‬اﻟﺒﻴﺎن اﳌﻐﺮب ﰲ أﺧﺒﺎر اﻷﻧﺪﻟﺲ واﳌﻐﺮب‪ ،‬ﺗﺤﻘﻴﻖ وﻣﺮاﺟﻌﺔ ج‪.‬س‪ .‬ﻛﻮﻻن و إ‪ .‬ﻟﻴﻔﻲ ﺑﺮوﻓﻨﺴﺎل‪ ،‬ج‪ ،2‬ﻣﺮﺟﻊ ﺳﺎﺑﻖ‪ ،‬ص ‪.91‬‬ ‫)‪" (8‬وﳌﺎ وﻓﺪ ﻋﲆ اﻟﺴﻠﻄﺎن ﻋﺒﺪ اﻟﺮﺣﻤﻦ رﺳﻞ ﻣﻠﻚ اﳌﺠﻮس ﺗﻄﻠﺐ اﻟﺼﻠﺢ ﺑﻌﺪ ﺧﺮوﺟﻬﻢ ﻣﻦ إﺷﺒﻴﻠﺔ وإﻳﻘﺎﻋﻬﻢ ﺑﺠﻬﺎﺗﻬﺎ ﺛﻢ ﻫﺰميﺘﻬﻢ ﺑﻬﺎ‪ ،‬وﻗﺘﻞ ﻗﺎﺋﺪ اﻷﺳﻄﻮل‬ ‫ﻓﻴﻬﺎ‪ ،‬رأى أن ﻳﺮاﺟﻌﻬﻢ ﺑﻘﺒﻮل ذﻟﻚ‪ ،‬ﻓﺄﻣﺮ اﻟﻐﺰال أن ميﴚ ﰲ رﺳﺎﻟﺘﻪ ﻣﻊ رﺳﻞ ﻣﻠﻜﻬﻢ )‪ (...‬وﺻﺤﺒﺘﻪ ﻳﺤﻴﻰ ﺑﻦ ﺣﺒﻴﺐ‪ ،‬ﻓﻨﻬﺾ إﱃ ﻣﺪﻳﻨﺔ ﺷﻠﺐ‪ ،‬وﻗﺪ أﻧﺸﺊ ﻟﻬام‬ ‫ﻣﺮﻛﺐ ﺣﺴﻦ ﻛﺎﻣﻞ اﻵﻟﺔ" اﻧﻈﺮ‪ :‬اﺑﻦ دﺣﻴﺔ‪ ،‬اﳌﻄﺮب ﻣﻦ أﺷﻌﺎر أﻫﻞ اﳌﻐﺮب‪ ،‬ﺗﺤﻘﻴﻖ إﺑﺮاﻫﻴﻢ اﻷﺑﻴﺎري وﺣﺎﻣﺪ ﻋﺒﺪ اﳌﺠﻴﺪ وأﺣﻤﺪ أﺣﻤﺪ ﺑﺪوي‪ ،‬دار اﻟﻌﻠﻢ‬ ‫ﻟﻠﺠﻤﻴﻊ‪ ،‬ﺑريوت‪ ،‬ص ص ‪.138-139‬‬ ‫)‪ (9‬ﻳﺤﻴﻰ ﺑﻦ ﺣﻜﻢ اﻟﻐﺰال‪ ،‬دﻳﻮان‪ ،‬ﺗﺤﻘﻴﻖ ﻣﺤﻤﺪ رﺿﻮان اﻟﺪاﻳﺔ‪ ،‬دار اﻟﻔﻜﺮ اﳌﻌﺎﴏ ودار اﻟﻔﻜﺮ‪ ،‬ﺑريوت ودﻣﺸﻖ‪ ،‬ط‪ ،1993 ،1‬ص ‪.9‬‬

‫اﻟﺸﻌﺮ ‪baytelshear‬‬ ‫ﺑﻴﺖ ِ‬

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ƉƫōƖǕŌ ƉǾƲƒǕŌ

mǒŌƋƮǕŌ} ǗǈżǕŌ Ǜş ǻǾżǿ ‫أﻧﺎﻗﺔ اﻟﺸﻜﻞ وﻟﺒﺎﻗﺔ اﻟﻘﻮل‬

2019 ‫ ﻓﺒﺮاﻳﺮ‬، 75 ‫اﻟﻌﺪد‬

ĘıĘŕ

‫ذﻳﺎب ﻏﺎﻧﻢ اﻟﻤﺰروﻋﻲ‬ @theyab_poet

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baytelshear ‫اﻟﺸﻌﺮ‬ ِ ‫ﺑﻴﺖ‬

‫‪ĶřŒ ĘĪ‬‬ ‫أن ﺗﺸﱰي ﻻ ﺗﺠﺮﺣﻲ اﻷﺧــﺮﻳــﻦ ﻣﻤﻦ‬ ‫ﻳﺘﺎﺑﻌﻮك ﰲ اﻟﻌﺎمل‪ ،‬ﻓﻨﺤﻦ ﰲ وﺿﻊ ﻻ ﻳﺴﻤﺢ‬ ‫ﻟﻨﺎ ﺑﺎﻟﺘﻔﺎﺧﺮ‪ ،‬ﺑﻘﺪر ﻣﺎ ﻳﺠﺐ ﻋﻠﻴﻨﺎ أن‬ ‫ﻧﻮاﻛﺐ أﺣﺎﺳﻴﺲ وﻣﺸﺎرﻳﻊ اﻟﻨﺎس ﰲ اﻟﻜﺮة‬ ‫اﻷرﺿﻴﺔ‪.‬‬ ‫‪ ǻǂǾƓǷǙǶ ŋōǜƯ‬‬

‫ﻛام ﻏﻨﻴﺖ ﻟﻔﻨﺎن اﻟﻌﺮب ﻣﺤﻤﺪ ﻋﺒﺪه‬ ‫"ﻳﺎﻧﺴﻴﻢ اﻟﺼﺒﺎح" وﻗﺪ ﺣﻘﻘﺖ ﻣﺸﺎﻫﺪات‬ ‫ﻛﺜرية ﰲ "اﻟﻴﻮﺗﻴﻮب" وﺻﻠﺖ إﱃ ﻋﴩة ﻣﻼﻳني‬ ‫ﻣﺸﺎﻫﺪة ﰲ اﳌﻤﻠﻜﺔ اﻟﻌﺮﺑﻴﺔ اﻟﺴﻌﻮدﻳﺔ‪ ،‬ﻣﻊ‬ ‫اﻟﻌﻠﻢ أن اﻟﺠﻤﻬﻮر اﻟﺴﻌﻮدي ميﺘﻠﻚ ذوﻗﺎً‬ ‫رﻓﻴﻌﺎً واذاﻧﻬﻢ ذواﻗﺔ‪ ،‬وﻻ ميﻴﻠﻮن ﻟﻠﺸﻌﻮر ﺑﺄن‬ ‫أﻏﻨﻴﺔ ﻓﻨﺎﻧﻬﻢ اﳌﺤﺒﻮب ﺗﺘﻌﺮض ﻟﻠﺘﺨﺮﻳﺐ‪،‬‬ ‫وﻗﺪ اﻧﺴﺠﻤﻮا ﻣﻊ أدايئ ﻷﻏﻨﻴﺔ "ﻳﺎ ﻧﺴﻴﻢ‬ ‫اﻟﺼﺒﺎح" اﻟﺘﻲ ﻗﺪﻣﺘﻬﺎ ﺑﻄﺮﻳﻘﺔ ﻣﺨﺘﻠﻔﺔ‪.‬‬ ‫ﻋﻠﻴﻚ ﻟيك ﺗﻐﻨﻴﻬﺎ؟‬ ‫ﻣﺘﻰ ﺗﺮﻓﻀني أﻏﻨﻴﺔ ﻋﺮﺿﺖ ِ‬ ‫■ ﻋﻨﺪﻣﺎ ﺗﻜﻮن اﻟﻜﻠامت ﻏري ﻣﻮزوﻧﺔ‪،‬‬ ‫أو ﻏري ﻣﻔﻬﻮﻣﺔ‪ ،‬أو أن ﻳﻜﻮن اﻟﻠﺤﻦ ﻏري‬ ‫ﻣﻨﺎﺳﺐ ﻟﺼﻮيت‪ ،‬ﻋﻨﺪﻫﺎ أرﻓﺾ ﻣﻊ ﻣﻌﺮﻓﺘﻲ‬ ‫أن اﻷﻏﻨﻴﺔ ﺳﺘﺪر ﻋ ﱠ‬ ‫ﲇ اﳌﺎل‪ ،‬ﻟﻜﻨﻲ ﺑﺎﳌﻘﺎﺑﻞ‬ ‫ﺳﺄﺧﴪ ﻣﻜﺎﻧﺘﻲ‪.‬‬ ‫ﻫــﻞ واﺟــﻬــﺘــﻚ ﺻــﻌــﻮﺑــﺎت وﻛــﻴــﻒ ﻛﻨﺖ‬ ‫ﺗﺘﺠﺎوزﻳﻨﻬﺎ؟‬ ‫■ ﻛﺎﻧﺖ ﻫﻨﺎك ﺻﻌﻮﺑﺎت ﻣﺮﺣﻠﻴﺔ‪ ،‬ﻛﻠام‬ ‫أﺻﻌﺪ درﺟﺔ ﻛﻠام ﻳﺼﺒﺢ اﻟﺤﻤﻞ أﺛﻘﻞ‪.‬‬

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‫اﻟﻌﺪد ‪ ، 75‬ﻓﺒﺮاﻳﺮ ‪2019‬‬

‫ﻣﺎ اﻟﺬي ﺗﻔﻌﻠﻴﻨﻪ ﻟيك ﺗﺤﺎﻓﻈﻲ ﻋﲆ ﺻﻮﺗﻚ؟‬ ‫■ إن اﻟﺼﻮت ﻛﺎﻟﻌﻤﺮ ﺳﻴﺘﻐري‪ ،‬وﻣﻬام ﻛﺎﻧﺖ‬ ‫اﻟﻌﻨﺎﻳﺔ ﺑﻪ ﻓﺎﺋﻘﺔ‪ ،‬إﻻ أﻧﻪ ﻳﺘﻐري ﻛام ﺗﺘﻐري‬ ‫اﳌﻼﻣﺢ واﻟﻨﻔﺴﻴﺔ‪ ،‬ﻟﻜﻨﻲ أﻋﺘﱪ أن أﻫﻢ ﳾء‬ ‫ﻟﻠﻔﻨﺎن أن ﻳﻜﻮن ﰲ ﺣﺎﻟﺔ راﺣﺔ ﻧﻔﺴﻴﺔ‪ ،‬ﻓﻬﻲ‬ ‫اﻷﻫﻢ ﰲ اﻟﺤﻴﺎة‪ ،‬وﺗﻨﻌﻜﺲ إن مل ﺗﺘﻮاﺟﺪ‬ ‫ﻋﲆ اﻟﺼﺤﺔ وﺗﻮﻟﺪ ﻋﺪم اﻹﺣﺴﺎس ﺑﺎﻟﺮاﺣﺔ‪،‬‬ ‫ﻟﻬﺬا ﻋﻨﺪﻣﺎ أذﻫﺐ ﻟﻠﻐﻨﺎء ﰲ أي ﺣﻔﻞ أﺗﻬﻴﺄ‬ ‫ﻧﻔﺴﻴﺎً‪ ،‬وأﻗﻮل ﻟﻨﻔﴘ ﻏﺪاً ﺳﺄﻛﻮن ﰲ ﺣﺎﻟﺔ‬ ‫ﻋﲆ اﻟﺼﻌﻴﺪ اﳌﻬﻨﻲ واﻟﻨﻔﴘ واﻻﺟﺘامﻋﻲ ﻓﺮح‪ ،‬ﻛﻮﻧﻬﻢ ﻃﻠﺒﻮين ﻟﻠﻐﻨﺎء إﻋﺠﺎﺑﺎً ﺑﺼﻮيت‬ ‫اﻟﺘﻌﺎﻣﻞ ﻣﻊ اﻟﻄﺒﻘﺔ اﻟﻔﻨﻴﺔ ﺣﺴﺎس ﻟﻠﻐﺎﻳﺔ‪ ،‬وﻫﻮ ﻣﺎ ﻳﺤﻔﺰ ﻧﻔﴘ‪ ،‬ﻟﻜﻦ اﻟﺼﻮت ﻋﻨﺪ‬ ‫ﻛام أن اﻧﺘﺸﺎر وﺳﺎﺋﻞ اﻟﺘﻮاﺻﻞ اﻻﺟﺘامﻋﻲ اﻟﻔﻨﺎن ﻟﻦ ﻳﺒﻘﻰ ﰲ ﺣﺎل واﺣﺪة‪.‬‬ ‫ﻳﺴﻬﻢ ﺑﺎﻟﱰﻛﻴﺰ ﻋﲆ اﻟﻔﻀﺎﺋﺢ واﳌﻈﺎﻫﺮ‪،‬‬ ‫وﻫﻮ ﻣﺎ أﺳﻬﻢ ﺑﻀﻴﺎع اﻟﻔﻦ أﺣﻴﺎﻧﺎً‪ ،‬ﺑﻞ ﻣﺎ اﻟﺬي ﺗﺴﺘﻤﻌني إﻟﻴﻪ ﻋﺎدة؟‬ ‫وﻳﻌﺘﱪ ﻫﺬا واﺣﺪاً ﻣﻦ أﺳﺒﺎب رﻛﻮد اﻟﻔﻦ‪ ■ ،‬ﰲ ﻣﻌﻈﻢ اﻷوﻗﺎت أﺳﺘﻤﻊ إﱃ اﳌﻮﺳﻴﻘﻰ‬ ‫وأرى أن اﻟﺸﺎﺑﺎت ﻳﻬﺘﻤﻤﻦ مبﻈﺎﻫﺮ اﻟﻔﻨﺎﻧﺔ اﻟﻬﺎدﺋﺔ‪ ،‬ﺧﺎﺻﺔ ﻋﻨﺪﻣﺎ أﻛﻮن ﰲ اﻟﺴﻴﺎرة‪،‬‬ ‫أﻛرث ﻣﻦ ﻣﺘﺎﺑﻌﺔ ﺟﺪﻳﺪﻫﺎ اﻟﻔﻨﻲ‪ ،‬إﱃ ﺟﺎﻧﺐ وأﺳﺘﻤﻊ إﱃ ﻧﻮال اﻟﻜﻮﻳﺘﻴﺔ‪ ،‬وإﱃ اﻟﻔﻨﺎﻧني‬ ‫اﻧﺘﺸﺎر ﻇﺎﻫﺮة "اﻟﺒﻠﻮﻛﺮ" اﻟﺬﻳﻦ ﺷﻐﻠﻮا اﻷردﻧﻴني ﻋﻤﺮ ﻋﺒﺪاﻟﻼت وﻣﺘﻌﺐ اﻟﺼﻘﺎر‪،‬‬ ‫اﻟﻌﺎمل ﺑﻮﺟﻮدﻫﻢ‪ ،‬واﻟﺬﻳﻦ ﺑﺎﺗﻮا ﻳﺘﺪﺧﻠﻮن وﻣﻦ ﻟﺒﻨﺎن أﺳﺘﻤﻊ إﱃ ﻓريوز وأﺗﻌﻠﻢ ﻣﻨﻬﺎ‬ ‫ﰲ ﻛﻞ ﻣﺠﺎﻻت اﻟﺤﻴﺎة‪ ،‬مبﺎ ﻓﻴﻬﺎ اﳌﺠﺎﻻت اﻟــﻬــﺪوء‪ ،‬وأﺳﺘﻤﻊ إﱃ أﻟﻴﺴﺎ ﻷين اﺣﺐ‬ ‫اﻟﺴﻴﺎﺳﻴﺔ ﰲ ﺑﻌﺾ اﻷﺣــﻴــﺎن‪ ،‬وأﺻﺒﺢ إﺣﺴﺎﺳﻬﺎ وﻛﻠامت أﻏﻨﻴﺎﺗﻬﺎ‪ ،‬وأﺳﺘﻤﻊ ﻷم‬ ‫وﺟﻮدﻫﻢ ﻳﻼﺣﻘﻨﺎ ﰲ ﻛﻞ ﻣﻜﺎن‪ ،‬ﻟﺪرﺟﺔ ﻛﻠﺜﻮم‪ ،‬وﺷريﻳﻦ ﻋﺒﺪاﻟﻮﻫﺎب وﻻ ميﻜﻦ أن‬ ‫ﻳﻌﺘﻤﺪون ﺧﻼل ﺗﻘﺪميﻲ ﰲ اﻟﺤﻔﻼت ﻋﲆ ﺗﻄﺮح ﺷريﻳﻦ أﻏﻨﻴﺔ إﻻ وأﺳﺘﻤﻊ إﻟﻴﻬﺎ‪ ،‬ﻷن‬ ‫"اﻟﺒﻠﻮﻛﺮ" اﻟﺘﻲ أﺻﺒﺤﺖ ﻋﻼﻣﺔ ﻣﺴﺠﻠﺔ‪ ،‬ﻟﻦ ﻃﺎﻗﺔ اﻹﺣﺴﺎس اﻟﺬي ﺗﻐﻨﻲ ﺑﻪ ﺗﺤﺮﻛﻨﻲ‬ ‫ﺗﻨﺘﻬﻲ إﻻ إذا وﺿﻊ ﻟﻬﺎ ﺣﺪ‪ ،‬أو أن ﻳﺨﺘﺎروا دامئﺎً‪ ،‬وﻟﻜﻦ ﻛام ذﻛﺮت ﰲ اﻟﺒﺪاﻳﺔ أﻛرث ﻣﺎ‬ ‫ﻧﺨﺒﺔ "اﻟﺒﻠﻮﻛﺮ" ﻣﺜﻞ أوﻟﺌﻚ اﻟﺬﻳﻦ ﻳﻘﺪﻣﻮن أﻣﻴﻞ إﱃ ﺳامﻋﻪ اﳌﻮﺳﻴﻘﻰ اﻟﻬﺎدﺋﺔ‪.‬‬ ‫ﻧﺼﻴﺤﺔ أو أﻓﻜﺎراً‪ ،‬وﻟﻴﺲ أوﻟﺌﻚ اﻟﺬﻳﻦ‬ ‫ﻳﻌﺮﺿﻮن ﻟﴩاﺋﻬﻢ اﻟﻌﺪﻳﺪ ﻣﻦ ﻣﻈﺎﻫﺮ ﻣﺎ ﻫﻲ ﻣﺸﺎرﻳﻌﻚ اﳌﺴﺘﻘﺒﻠﻴﺔ؟‬ ‫اﻟﺰﻳﻨﺔ ﻣﻘﺎﺑﻞ ﻣﺒﺎﻟﻎ ﺗﺪﻓﻊ ﻣﻦ درﻫﻢ إﱃ ■ ﺳﺄﻏﻨﻲ ﻗﺮﻳﺒﺎً ﰲ أوﳌﺒﻴﺎد أﺻﺤﺎب اﻟﻬﻤﻢ‪،‬‬ ‫ﻣﻠﻴﻮن‪ ،‬وﻟﻬﻢ أﻗﻮل إن ﻛﺎن ﻟﺪﻳﻚ اﻟﻘﺪرة ﺑﺠﺎﻧﺐ اﻟﻔﻨﺎن ﻓﺎﻳﺰ اﻟﺴﻌﻴﺪ‪.‬‬

‫وأﺗــﴩف أين أﺷــﺎرك ﺑﺎﳌﻬﺮﺟﺎن ﻋﲆ ﻣﺪار‬ ‫ﺛﻼث ﺳﻨﻮات‪ ،‬ﻓﺎﻟﻜﻞ ﻳﻌﺮف ُﻋﺮﻳﺐ ﻛﻔﻨﺎﻧﺔ‬ ‫أردﻧﻴﺔ متﻴﺰت ﺑﻐﻨﺎء اﻟﻠﻮن اﻟﺸﻌﺒﻲ أي اﻟﱰايث‪،‬‬ ‫وﻧﺸﻌﺮ ﰲ ﻫﺬا اﳌﻬﺮﺟﺎن اﻟﺬي ﻳﻘﺎم ﺑﺪﻋﻢ‬ ‫ﻣﻦ ﺳﻤﻮ اﻟﺸﻴﺦ ﺳﻠﻄﺎن ﺑﻦ زاﻳﺪ آل ﻧﻬﻴﺎن‬ ‫ﻣﻤﺜﻞ ﺻﺎﺣﺐ اﻟﺴﻤﻮ رﺋﻴﺲ اﻟﺪوﻟﺔ‪ ،‬رﺋﻴﺲ‬ ‫ﻧﺎدي ﺗﺮاث اﻹﻣــﺎرات‪ .‬أﻧﻪ ﻣﺤﻄﺔ ﺛﻘﺎﻓﻴﺔ‬ ‫ﺗﺮاﺛﻴﺔ راﺋﻌﺔ‪ ،‬ﺗﺴﻬﻢ ﺑﺘﻌﺮﻳﻒ اﻟﻨﺎس ﺑﺄﻧﻮاع‬ ‫ﻣﺨﺘﻠﻔﺔ ﻣﻦ اﻟــﱰاث‪ ،‬ﻣﻦ ﺧﻼل اﻷﻧﺸﻄﺔ‬ ‫اﻟﺮاﺋﻌﺔ واﻟﺴﻮق اﻟ ـﱰايث اﻟــﺬي ﻳﻘﺎم ﻋﲆ‬ ‫ﻫﺎﻣﺶ اﳌﻬﺮﺟﺎن‪ ،‬ﺑﺠﺎﻧﺐ اﻟﻔﻌﺎﻟﻴﺎت اﻟﺘﻲ‬ ‫ﺗﻜﻮن ﻓﻴﻬﺎ اﻹﺑﻞ ﻋﻨﴫاً أﺳﺎﺳﻴﺎً‪.‬‬ ‫‪ ǳƫǷǜŨǙ ŜƈōŴũ‬‬

‫ﻛﻨﺖ أول ﺻــﻮت ﻧﺴﺎيئ‪ ،‬ﻏﻨﺖ ﻟﻠﺸﺎﻋﺮة‬ ‫"ﻏﻴﺎﻫﻴﺐ" ﺳﻤﻮ اﻟﺸﻴﺨﺔ ﻓﺎﻃﻤﺔ ﺑﻨﺖ راﺷﺪ‬ ‫آل ﻣﻜﺘﻮم‪ ،‬ﻓﻬﻞ ﻟﻚ أن ﺗﺤﺪﺛﻴﻨﺎ ﻋﻦ ﻫﺬه‬ ‫اﻟﺘﺠﺮﺑﺔ؟‬ ‫■ ﻻ ﺑﺪ ﻣﻦ اﻟﺘﻨﻮﻳﻪ أن أﻏﻨﻴﺔ »وﺻــﺎيت«‬ ‫اﻟﺘﻲ ﻗﺪﻣﺘﻬﺎ ﻣﻨﺬ أرﺑﻊ ﺳﻨﻮات‪ ،‬ﺗﻌﺘﱪ ﻣﻦ‬ ‫اﻟﻌﻴﺎر اﻟﺜﻘﻴﻞ ﻛﻮﻧﻬﺎ ﻛﺎﻧﺖ ﺑﺎﻟﻠﻐﺔ اﻻﻧﺠﻠﻴﺰﻳﺔ‬ ‫واﻟﻌﺮﺑﻴﺔ وﰲ ﻧﻬﺎﻳﺘﻬﺎ ﻳﻮﺟﺪ دﻋﺎء‪ ،‬وﻛﻨﺖ ﻗﺪ‬ ‫ﻗﻤﺖ ﺑﺘﻠﺤني ﻫﺬه اﻷﻏﻨﻴﺔ‪ ،‬اﻟﺘﻲ مل ﺗﻜﻦ‬ ‫اﻟﻮﺣﻴﺪة اﻟﺘﻲ ﻏﻨﻴﺘﻬﺎ ﻟﻠﺸﺎﻋﺮة »ﻏﻴﺎﻫﻴﺐ«‬ ‫ﻓﻘﺪ ﻏﻨﻴﺖ أﻏﻨﻴﺔ أﺧﺮى ﻣﻦ أﻟﺤﺎن وﻟﻴﺪ‬ ‫اﻟﺸﺎﻣﻲ ﻣﻊ اﻟﻔﻨﺎن راﺷﺪ اﳌﺎﺟﺪ اﻟﺬي أوﺟﻪ‬ ‫ﻟﻪ ﺗﺤﻴﺔ ﻛﺒرية ﳌﺸﺎرﻛﺘﻲ اﻟﻐﻨﺎء‪.‬‬ ‫ﻣﺘﻰ ﺗﺘﺠﻬني إﱃ اﻟﺘﻠﺤني؟‬ ‫■ أﻗﻮم ﺑﺎﻟﺘﻠﺤني ﻋﻨﺪﻣﺎ أﺣﺐ اﻟﻜﻠامت وﻫﺬا‬ ‫ﻣﺎ ﺣﺪث ﰲ أﻏﻨﻴﺔ »وﺻــﺎيت« وﻟﻜﻦ ﻋﻨﺪﻣﺎ‬ ‫ﻟﺤﻨﺘﻬﺎ ﻛﺘﺒﺘﻬﺎ ﺑﺎﺳﻢ ﺷﺨﺺ آﺧﺮ ومل أﺣﺐ أن‬ ‫أﺿﻊ اﺳﻤﻲ ﻋﲆ اﻷﻏﻨﻴﺔ‪ ،‬ﻛام ﻗﻤﺖ ﺑﺘﻠﺤني‬ ‫ﻣﻘﺎﻃﻊ ﻣﻐﻨﺎة ﻣﻦ ﻗﺒﻞ اﻟﻌﺪﻳﺪ ﻣﻦ اﻟﻔﻨﺎﻧني‬ ‫ﻣﻦ أﺷﻌﺎر »ﻏﻴﺎﻫﻴﺐ«‪.‬‬ ‫وأﻋﺘﱪ أين أﻣﺘﻠﻚ ﻃﺎﻗﺎت ﰲ اﻟﺘﻠﺤني ﺧﺮﺟﺖ‬ ‫ﰲ ﻏﻨﺎء ﻫﺬه اﻟﻘﺼﺎﺋﺪ‪ ،‬ومل أﺳﺘﻤﺮ ﰲ اﻟﺘﻠﺤني‬

‫‪ ƃǿŌƊ Ǜş ǚōƢǔƓ ǚōŵƉǤǙ ƉŞŨƪǿ‬‬ ‫‪ ǗǤƒũ ɐǳƪȃŌƈ ǳƢżǙ ǽŭŌƉŨǕŌ‬‬ ‫‪ ǳƲǔŨƀǙ ƨŌǷǝőş ƐōǜǕŌ ƱǿƉƪŨş‬‬ ‫‪ŪŌƉŨǕŌ ǛǙ‬‬ ‫ ‪ ƉǘŨƓŐ ǗǕǶ mǽũōƛǶ} ŧǜżǕ‬‬ ‫‪ ǽƒƲǝ ƉŞŨƫŌ ǽǝȏ ǛǾżǔŨǕŌ ǽƳ‬‬ ‫‪ǳǾǜƮǙ‬‬ ‫‪ ǼƂǷƪƒǕŌ ǚōǜƲǕŌ ǽǜǉƈōƗ‬‬ ‫‪ ǲƃǾƚǃ ŋōǜƯ ǽƳ ƃŵōǘǕŌ ƃƗŌƈ‬‬ ‫‪ mŝǾǥōǾƯ} ǲƉƫōƖǕŌ‬‬ ‫ ‪ ōǙƃǜƫ ǳǾǜƯŐ ŋōǜƯ ƝƳƈŐ‬‬ ‫‪ ǶŐ ɐǳǝǶƊǷǙ ƉǾƯ ōǤũōǘǔǉ ǚǷǈũ‬‬ ‫‪ ŝƓōǜǙ ƉǾƯ ōǤǜżǕ ǶŐ ɐǳǙǷǤƲǙ‬‬ ‫‪ǽũǷƚǕ‬‬

‫ﻷين اﻋﺘﱪ ﻧﻔﴘ ﻣﻐﻨﻴﺔ‪ ،‬وﻻ أﺷﻌﺮ ﺑﺄﻧﻪ اﻟﻔﻦ ﰲ ﻓﱰة ﻗﺮﻳﺒﺔ‪ ،‬رمبﺎ ﺑﻌﺪ أﺳﺒﻮع‪ ،‬أو ﺑﻌﺪ‬ ‫ﻣﻦ اﳌﻤﻜﻦ أن أﺿﻊ اﻷﻟﺤﺎن ﻷين مل أدرس ﻓﱰة أﻃﻮل ﺑﻜﺜري‪.‬‬ ‫اﳌﻮﺳﻴﻘﻰ‪ ،‬وﻋﻨﺪﻣﺎ ﻛﻨﺖ أﺿﻊ اﻟﻠﺤﻦ ﻛﻨﺖ‬ ‫أدﻧﺪن وﻳﻘﻮم اﳌﻮزع أو اﻟﻌﺎزف ﺑﻮﺿﻊ اﻟﻠﺤﻦ ‪ ǳǾǜƳ ŦōǿŌƃş‬‬ ‫ﻗﺮرت أن‬ ‫ﻛﻴﻒ ﻛﺎﻧﺖ ﺑﺪاﻳﺎﺗﻚ اﻟﻔﻨﻴﺔ‪ ،‬وﻣﺘﻰ ِ‬ ‫ﺑﺤﺴﺐ ﻣﺎ أﻇﻬﺮه‪.‬‬ ‫ﺗﺴﺘﻤﺮي ﰲ ﻃﺮﻳﻖ اﻟﻔﻦ؟‬ ‫مل ﻳﻜﻦ »اﻟﺪﻳﺘﻮ« ﻣﻊ راﺷﺪ اﳌﺎﺟﺪ ﻫﻮ اﻟﻮﺣﻴﺪ‪ ■ ،‬ﺟﺎءت ﺑﺪاﻳﺎت ﻣﺴرييت اﻟﻔﻨﻴﺔ ﺑﺎﻟﺼﺪﻓﺔ‬ ‫ﺑﻞ ﻗﺪﻣﺖ ﻣﻦ ﻗﺒﻞ »دﻳﺘﻮ« ﻣﻊ اﻟﻔﻨﺎن »ﻫﺰاع« ﻣﻊ اﳌﻠﺤﻦ ﻋﲇ ﻛﺎﻧﻮ ﻣﺆﺳﺲ ﴍﻛﺔ "ﺧﻤﺲ‬ ‫اﻟﺤﻮاس" واﳌﺴﺎﻫﻢ اﻷول ﰲ ﻧﺠﺎح اﻟﻌﺪﻳﺪ‬ ‫ﻫﻞ ميﻜﻦ أن ﺗﺘﻜﺮر ﻫﺬه اﻟﺘﺠﺮﺑﺔ؟‬ ‫■ اﻵن ﻧﻌﻴﺶ ﻓﱰة رﻛﻮد ﻓﻨﻲ‪ ،‬ﺑﻌﻜﺲ ﺗﻠﻚ ﻣﻦ اﻟﻔﻨﺎﻧني‪ ،‬وﺗﻘﺪﻳﻢ اﻟﺘﺠﺎرب اﻟﺠﺪﻳﺪة‬ ‫اﳌﺮﺣﻠﺔ اﻟﺘﻲ ﻏﻨﻴﺖ ﻓﻴﻬﺎ ﻣﻊ »ﻫﺰاع« ﺣﻴﺚ ﻋﲆ اﻟﺴﺎﺣﺔ‪ ،‬ﻣﺜﻞ ﺣﺎرب اﻟﻌﺎﻣﺮي وﻓﺎﻃﻤﺔ‬ ‫ﻛﺎﻧﺖ ﻫﻨﺎك ﻋﺪد ﻛﺒري ﻣﻦ اﻟﻘﻨﻮات اﻟﺘﻲ اﻟﻘﺮﻳﺎين‪ ،‬أﻟﺘﻘﻴﺖ ﺑﻪ ﰲ اﻟﻌﺎم ‪ 2010‬وﻛﺎن ﻗﺪ‬ ‫ﺗﻌﺮض اﻷﻏﺎين وﻣﻦ ﺛﻢ ﺗﻮﻗﻔﺖ‪ ،‬وﻛﺎن ميﻜﻦ ﺳﻤﻊ ﺻﻮيت ﰲ إﺣﺪى اﻟﺤﻔﻼت‪ ،‬ﻓﺒﺪأ اﻟﺘﻌﺎون‬ ‫ﻟﻬﺬه اﻟﻘﻨﻮات أن ﺗﻈﻬﺮ ﻛﻞ ﻳﻮم ﻣﻄﺮﺑﺎً ﺑﻴﻨﻨﺎ‪.‬‬ ‫ﺟﺪﻳﺪاً‪ .‬أﻣﺎ اﻵن ﻓﺎﻟﻮﺿﻊ ﻗﺪ اﺧﺘﻠﻒ وﺣﺘﻰ‬ ‫ﻏﻨﻴﺖ ﻟﻔﻨﺎﻧني آﺧﺮﻳﻦ‪ ،‬ﻛﻴﻒ ﻛﺎﻧﺖ ﻫﺬه‬ ‫ِ‬ ‫اﻷﻏﺎين اﻟﺘﻲ ﺗﻌﺮض ﺗﻌﺎد ﻋﺪة ﻣﺮات وﻻ ﻳﻮﺟﺪ‬ ‫أﻏﺎن ﺟﺪﻳﺪة‪ ،‬ﻓﺎﻟﺴﻮق اﻟﻔﻨﻲ ﻣﺜﻞ »اﻟﺒﻮرﺻﺔ« اﻟﺘﺠﺮﺑﺔ؟‬ ‫ﻓﻴﻪ ﺻﻌﻮد وﻫﺒﻮط‪ ،‬وﻟﻴﺲ ﻟﻬﺬا وﻗﺖ ﻣﺤﺪد‪ ■ ،‬ﻗﺪﻣﺖ أﻏﻨﻴﺔ "أﺳﻄﻨﺒﻮل" ﺑﺎﻟﻠﻐﺔ اﻟﱰﻛﻴﺔ‪،‬‬ ‫ﻟﺬﻟﻚ ﻣﻦ اﳌﻤﻜﻦ أن ﻧﺮى اﺧﺘﻼﻓﺎً ﰲ ﺣﺎل وﻫﻲ ﻟﻔﻨﺎﻧﺔ ﺗﺮﻛﻴﺔ وﻗﺪ ﺣﻘﻘﺖ ﻧﺠﺎﺣﺎً ﻛﺒرياً‪،‬‬ ‫اﻟﺸﻌﺮ ‪baytelshear‬‬ ‫ﺑﻴﺖ ِ‬

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‫‪ĶřŒ ĘĪ‬‬ ‫‪ǳǾǜƲǕŌ ǣũōǾǕōƪƳ ǛǘƟ ōǥƈǷǤǘŵ ǖōǙŐ ƉǤƦũ‬‬

‫ُﻋﺮﻳﺐ ﺣﻤﺪان‪:‬‬

‫‪ǳƪȃŌƈ ǳǾƳōǂŭ ǳƢżǙ ǽŭŌƉŨǕŌ ƃǿŌƊ Ǜş ǚōƢǔƓ ǚōŵƉǤǙ‬‬ ‫ﺣﻮار ﺑﺸﺮى ﻋﺒﺪا‪:M‬‬

‫اﺳﺘﻄﺎﻋﺖ اﻟﻔﻨﺎﻧﺔ ُﻋﺮﻳﺐ ﺣﻤﺪان أن ﺗﺮﺳﻢ‬ ‫ﻟﻨﻔﺴﻬﺎ ﺧﻄﺎً ﻣﺘﻤﻴﺰاً ﺑﺼﻮﺗﻬﺎ اﻟﻘﻮي‪ ،‬ومتﻜﻨﺖ‬ ‫ﻣﻦ أداء اﻟﻠﻮن اﻟﺨﻠﻴﺠﻲ‪ ،‬وأوﺻﻠﺘﻬﺎ أﻏﻨﻴﺎﺗﻬﺎ‬ ‫اﻟﺘﻲ ﻃﺮﺣﺘﻬﺎ إﱃ اﻟﺘﻔﺮد‪ ،‬ﺧﺎﺻﺔ وأﻧﻬﺎ ﻏﻨﺖ‬ ‫ﻣﻦ أﺷﻌﺎر "اﳌﻐﻔﻮر ﻟﻪ" اﻟﺸﻴﺦ زاﻳﺪ ﺑﻦ‬ ‫ﺳﻠﻄﺎن آل ﻧﻬﻴﺎن‪ ،‬ﻛام ﻏﻨﺖ ﻣﻦ أﺷﻌﺎر‬ ‫"ﻓﺰاع" ﺳﻤﻮ اﻟﺸﻴﺦ ﺣﻤﺪان ﺑﻦ ﻣﺤﻤﺪ آل‬ ‫ﻣﻜﺘﻮم وﱄ ﻋﻬﺪ ديب‪.‬‬ ‫ﺷﺎرﻛﺖ ُﻋﺮﻳﺐ ﺧﻼل ﻣﺴريﺗﻬﺎ اﻟﻔﻨﻴﺔ ﰲ‬ ‫اﻟﻌﺪﻳﺪ ﻣﻦ اﳌﻬﺮﺟﺎﻧﺎت اﳌﺤﻠﻴﺔ واﻟﺨﻠﻴﺠﻴﺔ‪،‬‬ ‫وأﺿﺎﻓﺖ ﻫــﺬه اﳌﺸﺎرﻛﺎت إﱃ رﺻﻴﺪﻫﺎ‬ ‫اﻟﻜﺜري ﻣﻦ اﻟﻨﺠﺎح اﻟﺬي ﺗﺤﺎﻓﻆ ﻋﻠﻴﻪ ﺑﺪﻗﺔ‬ ‫اﺧﺘﻴﺎرﻫﺎ ﻟﻜﻠامت وأﻟﺤﺎن أﻏﺎﻧﻴﻬﺎ‪ ،‬ﻓﻬﻲ ﻓﻨﺎﻧﺔ‬ ‫ﻻ ميﻜﻦ ﻟﻬﺎ أن ﺗﺮاﻫﻦ ﻋﲆ أﻏﻨﻴﺔ ﺗﺸﻌﺮ ﺑﺄﻧﻬﺎ‬ ‫ﻗﺪ ﺗﻘﻠﻞ ﻣﻦ ﺗﺎرﻳﺨﻬﺎ اﻟﻔﻨﻲ‪ .‬ﻇﻬﺮت ﻋﺮﻳﺐ‬ ‫أﻣﺎم ﺟﻤﻬﻮر ﻣﻬﺮﺟﺎن ﺳﻠﻄﺎن ﺑﻦ زاﻳﺪ اﻟﱰايث‬ ‫‪ 2019‬اﻟﺬي ﻳﻘﺎم ﺑﺮﻋﺎﻳﺔ ﺻﺎﺣﺐ اﻟﺴﻤﻮ‬ ‫اﻟﺸﻴﺦ ﺧﻠﻴﻔﺔ ﺑﻦ زاﻳــﺪ آل ﻧﻬﻴﺎن رﺋﻴﺲ‬ ‫اﻟﺪوﻟﺔ "ﺣﻔﻈﻪ اﻟﻠﻪ" وﺑﺪﻋﻢ وﺣﻀﻮر ﺳﻤﻮ‬ ‫اﻟﺸﻴﺦ ﺳﻠﻄﺎن ﺑﻦ زاﻳﺪ آل ﻧﻬﻴﺎن ﻣﻤﺜﻞ‬ ‫ﺻﺎﺣﺐ اﻟﺴﻤﻮ رﺋﻴﺲ اﻟﺪوﻟﺔ‪ ،‬رﺋﻴﺲ ﻧﺎدي‬ ‫ﺗﺮاث اﻹﻣﺎرات‪ .‬وﻋﻦ أﻫﻤﻴﺔ اﳌﺸﺎرﻛﺔ ﻫﺬه‬ ‫ﺗﺤﺪﺛﺖ ﻋﺮﻳﺐ إﱃ "ﺑﻴﺖ اﻟﺸﻌﺮ" ﻣﻦ ﺧﻼل‬ ‫اﻟﺤﻮار اﻟﺘﺎﱄ‪:‬‬ ‫ﻣﺎذا ﺗﺸﻜﻞ ﺑﺎﻟﻨﺴﺒﺔ ﻟﻚ اﳌﺸﺎرﻛﺔ ﰲ ﺣﻔﻼت‬ ‫ﻣﻬﺮﺟﺎن ﺳﻠﻄﺎن ﺑﻦ زاﻳﺪ اﻟﱰايث؟‬ ‫■ ﺑﺪاﻳﺔ أﻗﻮل أﻧﺎ ﻣﻦ ﻣﻮاﻟﻴﺪ اﻹﻣﺎرات‪ ،‬وﻟﻴﺲ‬ ‫ﻏﺮﻳﺒﺎً‪ ،‬أن ﻳﻜﻮن ﱄ ﺣﻀﻮر ﰲ اﺣﺘﻔﺎﻻت اﻟﻴﻮم‬ ‫اﻟﻮﻃﻨﻲ‪ ،‬واﳌﻨﺎﺳﺒﺎت اﻻﺟﺘامﻋﻴﺔ واﻟﻮﻃﻨﻴﺔ‪،‬‬

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‫اﻟﻌﺪد ‪ ، 75‬ﻓﺒﺮاﻳﺮ ‪2019‬‬

‫ ‪ ĘğľōŘ‬‬

‫ﺣﻘﻴﻘﺔ ﺑﺜﻴﻨﺔ !‬

‫ﺻﻔﻴﺔ اﻟﺸﺤﻲ‬

‫‪@safiaalshehi‬‬

‫أن ﺗﺴﺘﺪﻋﻲ اﳌﻜﺎن اﳌﺴﺘﻞ ﻣﻦ ذاﻛﺮﺗﻚ ومتﻸ ﺑﻬﺎ ﻋﻘﻠﻚ وﺗﻔﺘﺢ ﺟﻤﻴﻊ ﺣﻮاﺳﻚ‪ ،‬ﻫﻜﺬا ﻳﺠﺐ أن‬ ‫ﺗﻜﻮن اﻟﻜﺘﺎﺑﺔ ﻛام ﻳﻘﻮل ﺳﺘﻴﻔﻦ ﻛﻨﻎ‪ ،‬ﻫﺬا اﻟﻨﻮع ﻣﻦ اﻟﻜﺘﺎﺑﺔ اﻟﺬي ﻳﺠﻌﻠﻚ ﺗﻘﻮل اﻟﺤﻘﻴﻘﺔ‬ ‫وﻻ ﳾء ﻏريﻫﺎ وإﻻ ﻛﺎن ﻛﻞ ﻣﺎ ﺗﺒﺪﻋﻪ ﻻ أﺧﻼﻗﻴﺎً‪ ،‬وﻟﻜﻦ ﻣﺎ ﻫﻲ اﻟﺤﻘﻴﻘﺔ ﺑﺎﻟﻨﺴﺒﺔ ﻟﻠﻜﺎﺗﺐ ؟ ﻫﻞ‬ ‫ﻫﻲ ﻣﺎ ﻋﺎﺷﻪ أم ﻣﺎ ﺗﺨﻴﻠﻪ ﻋﻦ اﻟﺤﻴﺎة ! ﺛﻢ أن اﻟﺤﻘﻴﻘﺔ ﳾء ﻳﺴﺘﺤﻴﻞ اﻻﺳﺘﺤﻮاذ ﻋﻠﻴﻪ‪ ،‬ﻟﺬﻟﻚ ﻧﺤﻦ ﻧﺤﺎول أن ﻧﺘﻐﻠﺐ ﻋﲆ اﳌﺴﺎﻓﺔ اﻟﺸﺎﺳﻌﺔ‬ ‫اﻟﺘﻲ ﺗﻔﺼﻠﻨﺎ ﻋﻦ اﻟﺸﻤﺲ ﺑﺸﻤﻌﺔ‪ ،‬وﺗﻠﻚ ﻫﻲ ﻛﺬﺑﺘﻨﺎ اﳌﴩوﻋﺔ اﻟﺘﻲ ّ‬ ‫ﻧﺴﺨﺮ ﻛﻞ أدواﺗﻨﺎ ﻟﻨﺨﺘﱪﻫﺎ ﺑﺈﺣﻜﺎم ﰲ اﻷﻓﻜﺎر واﳌﺸﺎﻋﺮ‪.‬‬ ‫ﻟﻜﻦ اﻟﺤﻘﻴﻘﺔ اﻟﺘﻲ ﻧﺮﻳﺪ ﻫﻲ ﻟﻴﺴﺖ ﻓﻠﺴﻔﺔ ﺧﺎﻟﺼﺔ ﺑﻞ ﻫﻲ ﻋﻤﻞ ﻓﻨﻲ ﻻ ميﻜﻦ اﻟﱪﻫﻨﺔ ﻋﻠﻴﻪ إذ أن اﻟﺮواﺋﻴني ﻻ ﻳﻜﺘﺒﻮن ﻹﺛﺒﺎت اﻟﺤﻘﺎﺋﻖ‬ ‫اﻟﻔﻴﺰﻳﺎﺋﻴﺔ أو وﺟﻬﺎت اﻟﻨﻈﺮ ﺣﻴﺎل اﻟﻜﻮن ﺑﻞ ﻳﻔﻌﻠﻮن ذﻟﻚ ﻣﻦ ﺑﺎب إﻋﺎدة اﻟﻌﺒﻮر ﰲ وﻻداﺗﻬﻢ اﻟﺸﺨﺼﻴﺔ‪ ،‬ﺗﻠﻚ اﻟﻌﻤﻠﻴﺎت ﺷﺪﻳﺪة اﻟﺨﺼﻮﺻﻴﺔ‬ ‫اﻟﺘﻲ ﺗﺪق ﻧﻮاﻗﻴﺲ ﺣﻮاﺳﻨﺎ ﻧﺤﻦ اﻟﻘﺮاء ﻟﻨﺆﻣﻦ أﻧﻨﺎ اﻗﱰﺑﻨﺎ ﻣﻦ اﻟﺘﺠﺮﺑﺔ واﺣﱰﻗﻨﺎ ﺑﻨﺎرﻫﺎ‪.‬‬ ‫ً‬ ‫ً‬ ‫وﻳﺴﺘﺨﺪم ﻟﺬﻟﻚ اﻟﻜﺘﺎب ﻣﺎ ﻳﻌﺮف »ﺑﺎﻟﻜﺘﺎﺑﺔ اﻟﻮﺻﻔﻴﺔ« اﻟﺘﻲ أﻓﺮدت ﺑﺜﻴﻨﺔ اﻟﻌﻴﴗ ﻛﺘﺎﺑﺎ ﻛﺎﻣﻼ ﺣﻤﻞ اﺳﻢ »اﻟﺤﻘﻴﻘﺔ واﻟﻜﺘﺎﺑﺔ« ﻟﻠﻜﺸﻒ ﻋﻦ‬ ‫ﺗﻠﻚ اﻟﻌﻤﻠﻴﺔ اﳌﻌﻘﺪة واﻟﺘﻲ ﻳﻮﻇﻒ ﻣﻦ ﺧﻼﻟﻬﺎ اﻟﻜﺎﺗﺐ أدواﺗﻪ اﻷدﺑﻴﺔ ﻟﺘﺤﻮﻳﻞ اﻟﻘﺮاءة ﻣﻦ ﻋﻤﻠﻴﺔ ذﻫﻨﻴﺔ ﺧﺎﻟﺼﺔ إﱃ أﺣﺎﺳﻴﺲ وﻋﻮاﻃﻒ ﻋﱪ‬ ‫ﺗﻔﻌﻴﻞ دور اﳌﺨﻴﻠﺔ ﰲ اﻟﻨﺺ‪.‬‬ ‫إﻧﻬﺎ ﺑﻼﻏﺔ اﺳﺘﺨﺪام اﻟﺘﻔﺎﺻﻴﻞ اﻟﺤﺴﻴﺔ ﻟﻼﺳﺘﺌﺜﺎر ﺑﺎﻻﻧﺘﺒﺎه وﻫﻮ أﺳﻠﻮب ﻳﺪرﻛﻪ ﺑﻌﺾ أﻫﻞ اﻟﺼﻨﻌﺔ ﺣﻖ اﻹدراك ﻓﻬﻢ ﻳﻮﻟﻮن ﻟﻪ اﻫﺘامﻣﺎً ﻛﺒرياً‬ ‫ﻓﻴﺘﻮﻗﻔﻮن ﻃﻮﻳ ًﻼ ﻋﻨﺪ ﻃﺮﻳﻘﺔ ﻋﻘﻞ اﻟﻘﺎرئ ﰲ ﺗﻨﺎول اﻟﻨﺺ‪ ،‬وﻫﻨﺎك ﻣﻦ ميﺎرس اﻷﻣﺮ ﺑﺒﺴﺎﻃﺔ ﻓﻬﻢ ﻋﻔﻮﻳﻮن ﻳﺘﺨﻠﻖ ﺑﺄﻧﺎﻣﻠﻬﻢ اﻟﻌﻤﻞ اﻹﺑﺪاﻋﻲ‬ ‫دون ﺗﻔﺤﺺ ﺣﻘﻴﻘﻲ أو ﺷﻚ‪ ،‬ﻟﻜﻦ ذﻟﻚ أﻳﻀﺎً ﻣﺮﻫﻮن ﺑﺎﻟﺒﺪاﻳﺎت‪ ،‬ﻟﺤﻈﺎت اﻟﺘﺨﻠﻖ اﻷوﱃ وﻛﻴﻔﻴﺔ إمتﺎﻣﻬﺎ ﰲ ﻋﻘﻞ اﻟﻜﺎﺗﺐ ‪ ،‬وﻣﺎ ﻳﺘﺒﻊ ذﻟﻚ ﻣﻦ‬ ‫ﻣﺮور ﻋﱪ »ﻃﺒﻘﺎت اﻟﻜﺘﺎﺑﺔ« وﻫﻨﺎ ﻻ ﺑﺪ ﻣﻦ ﻟﺤﻈﺔ وﻗﻮف وﻣﺴﺎءﻟﺔ ﻓﺎﻟﺮوايئ ﻳﺠﺐ أن ﻳﻜﻮن ﻋﻔﻮﻳﺎً وﻣﱰدداً‪ ،‬ﺳﺎذﺟﺎً وﺣﺴﺎﺳﺎً ﻛام ﻳﻘﻮل‬ ‫أورﻫﺎن ﺑﺎﻣﻮق‪.‬‬ ‫ً‬ ‫ً‬ ‫ذﻟﻚ اﻟﻨﻮع ﻣﻦ اﻟﻜﺘﺎﺑﺔ ﻳﺘﻄﻠﺐ متﺪدا ﻛﺎﻣﻼ ﺿﻤﻦ ﻧﺴﻴﺞ اﻟﺤﻴﺎة ومتﺎزج ﻣﻊ اﻟﻌﺎمل اﳌﺤﻴﻂ‪ ،‬ﻓﻜﺘﺎﺑﺔ اﻟﺤﻮاس ﺗﻘﺘﴤ ﻫﺬا اﻟﺸﻌﻮر اﻟﺬي‬ ‫ﻻ ميﻜﻦ أن ميﺮ ﻋﺎﺑﺮاً ﻋﲆ اﻟﻌﻨﺎﴏ ﻣﻦ ﺣﻮﻟﻨﺎ ﺣﻴﺔ ﻛﺎﻧﺖ أم ﺟﺎﻣﺪة‪ ،‬إن ﻋﺪم ﻧﺠﺎح اﻟﻜﺎﺗﺐ ﰲ اﻛﺘﺸﺎف وﺟﻮه ﺟﺪﻳﺪة ﰲ اﻟﺤﻴﺎة ﻫﻮ ﻋﺠﺰ ﻋﻦ‬ ‫اﻟﺤﻴﺎة ﰲ داﺧﻞ اﻟﺼﻮت واﻟﺮاﺋﺤﺔ واﻟﻠﻮن واﻟﻄﻌﻢ‪ ،‬ﳾء ﻳﺼﻔﻪ ﺟﻮزﻳﻒ ﻛﻮﻧﺮاد »ﺑﻘﻮة اﻟﻜﻠﻤﺔ« اﻟﺘﻲ ﺗﺠﻌﻞ اﻟﻘﺎرئ ﻳﺴﻤﻊ وﻳﺸﻌﺮ وﻳﺮى‪.‬‬ ‫ورﻏﻢ ﻣﺎ ﻳﻘﺎل ﻋﻦ أن اﻟﺸﻴﻄﺎن ﻳﻜﻤﻦ ﰲ اﻟﺘﻔﺎﺻﻴﻞ إﻻ أن اﻷﺧرية ﺗﺼﻨﻊ ﻗﺼﺔ ﻗﺎﺑﻠﺔ ﻟﻠﴪد واﻟﺘﻔﺎﻋﻞ‪ ،‬وﺑﺘﻌﺒري ﺳﺎﻧﻔﻮر وﻳﻞ‪ :‬اﻟﺘﻔﺎﺻﻴﻞ ﺗﺨﻠﻖ‬ ‫اﻟﺼﻮرة اﻟﻜﺒرية‪.‬‬ ‫ﻫﺬا اﻟﻮﻋﻲ مبﺎ ﻳﺘﻮارى ﺧﻠﻒ اﻟﺮﺟﻞ اﻟﻮاﻗﻒ ﰲ اﳌﺸﻬﺪ اﻟﻮاﺿﺢ ﻫﻮ اﻟﻄﺮﻳﻘﺔ اﻟﻮﺣﻴﺪة ﻟﺘﻨﺎول ﻣﻮاﺿﻴﻊ ﻛﱪى ﻛﺎﻟﻔﻘﺪ واﻟﺤﺐ واﻟﺤﺮب‪ ،‬وإدراك‬ ‫أن ﻣﺎ ﻻ ﻳﻠﺘﻔﺖ ﻟﻪ اﻟﻌﻤﻮم ﻫﻮ ﺣﺠﺮ زاوﻳﺔ اﳌﻮﻗﻒ اﻟﺒﴩي وﻫﻮ ﺟﻮﻫﺮ اﳌﻨﻄﻖ اﻟﺬي ﻳﺠﺐ أن ﻳﻘﺘﻨﻊ ﺑﻪ اﻟﻘﺎرئ‪ ،‬ﻫﻮ ﻓﺮاﺷﺎت ﻣﺎرﻛﻴﺰ اﻟﺼﻔﺮاء‬ ‫وﻣﻼءاﺗﻪ اﻟﺒﻴﻀﺎء ﰲ ﻋﻤﻠﻪ اﻟﺨﺎﻟﺪ »ﺣﺐ ﰲ زﻣﻦ اﻟﻜﻮﻟريا« إن ﻛﻞ ذﻟﻚ ﻳﻌﻨﻲ ﺑﺒﺴﺎﻃﺔ أن ﻳﺘﺤﺪى اﻟﻜﺎﺗﺐ ﻗﻮاﻧني اﻟﻌﺎمل ﻣﻦ ﺧﻼل اﻟﻜﺘﺎﺑﺔ اﻟﺠﻴﺪة‬ ‫ﻛام ﺗﻘﻮل اﻟﻌﻴﴗ‪.‬‬ ‫اﻟﺘﺤﺪي اﻷﻛﱪ ﻟﻴﺲ ﰲ أن ﻳﻔﺤﺺ اﻟﻘﺎرئ اﳌﻔﺎﻫﻴﻢ أو أن ميﻴﺰ اﳌﺸﺎﻋﺮ ﺑﻞ ﰲ أن ﻳﺸﻌﺮ مبﺎ ﺗﺸﻌﺮ ﺑﻪ اﻟﺸﺨﺼﻴﺔ وﻟﺬﻟﻚ ﺗﺮاه ﻳﺮﺗﺒﻂ ﺑﻠﻐﺔ ﻏري‬ ‫ﻣﻌﻘﻮﻟﺔ ﰲ اﻟﻨﺺ اﻷديب‪ ،‬ﻟﻐﺔ ﻣﻦ ﻣﺠﺎز واﺳﺘﻔﺰاز وﺟﺎذﺑﻴﺔ ﰲ آن‪ ،‬وﻫﻲ إﺣﺪى اﳌﴪات اﻟﻜﱪى اﻟﺘﻲ ﻳﺘﻠﺬذ اﻟﻜﺎﺗﺐ اﳌﺒﺪع ﰲ اﺳﺘﺨﺪاﻣﻬﺎ ﻹﺻﺎﺑﺔ‬ ‫اﻟﻬﺪف اﻟﻜﺎﻣﻦ ﰲ ﺗﺤﻮﻳﻞ اﻷﺷﻴﺎء اﻟﻘﺪميﺔ إﱃ ﺟﺪﻳﺪة وﻧﺎﺑﻀﺔ ﺑﻌﻴﺪاً ﻋﻦ اﻟﱰﻫﻞ اﻟﻮﺻﻔﻲ واﻟﻨﻤﻄﻴﺔ اﻟﺨﺎﻧﻘﺔ وإﻃﻼق اﻷﺣﻜﺎم اﻟﺬي ميﻨﻊ اﻟﻌﻤﻞ‬ ‫ﻣﻦ اﻟﻨﻤﻮ وﻳﻮرط ﺷﺨﺼﻴﺎﺗﻪ ﰲ اﻟﻘﻮاﻟﺐ اﳌﻌﺪة ﻣﺴﺒﻘﺎً‪.‬‬

‫اﻟﺸﻌﺮ ‪baytelshear‬‬ ‫ﺑﻴﺖ ِ‬

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‫‪ŝŃĬěŕ‬‬

‫ﻟﻨﺠﺪه اﻟﻴﻮم ﻣﺘﺄﻟﻘﺎً وﺣــﺎﴐاً ﺑﻘﻮة ﰲ‬ ‫ﻣﺨﺘﻠﻒ اﳌﺤﺎﻓﻞ اﻟــﺪوﻟــﻴــﺔ اﳌﺨﺘﺼﺔ‬ ‫ﺑﺎﻟﺘﺼﻮﻳﺮ اﻟﻔﻮﺗﻮﻏﺮاﰲ‪ ،‬ﻓﺨﺎﻟﺪ اﻟﺤامدي‪،‬‬ ‫ﻳﻮﺳﻒ اﻟﺰﻋﺎيب‪ ،‬ﻳﻮﺳﻒ اﻟﺤﺒﴚ وﻏريﻫﻢ‬ ‫اﻟﻜﺜريون ﻣﻦ اﳌﺼﻮرﻳﻦ اﻹﻣﺎراﺗﻴني ﺑﺎﺗﻮا‬ ‫أﺳامء ﻻﻣﻌﺔ وﻣﻌﺮوﻓﺔ‪ ،‬وﺑﺎﺗﺖ أﻋامﻟﻬﻢ‬ ‫ﺗﻠﻘﻰ رواﺟﺎً واﻫﺘامﻣﺎً ﰲ ﻣﺨﺘﻠﻒ أﻧﺤﺎء‬ ‫اﻟﻌﺎمل"‪.‬‬ ‫ﺑﺎﻟﺮﻏﻢ ﻣﻦ اﳌﺴﺘﻮى اﻟﻌﺎﱄ اﻟﺬي وﺻﻞ‬ ‫إﻟﻴﻪ ﻣﺼﻌﺐ اﳌﺼﻌﺒﻲ ﰲ ﻣﺠﺎل اﻟﺘﺼﻮﻳﺮ‬ ‫اﻟﻀﻮيئ‪ ،‬ﻟﻜﻦ اﻟﺘﺼﻮﻳﺮ ﻣﺎ زال ﺑﺎﻟﻨﺴﺒﺔ ﻟﻪ‬ ‫ﻫﻮاﻳﺔ ﻣﺤﺒﺒﺔ‪ ،‬وﻫﻮ ﻳﺮﻛﺰ أﻛرث ﻋﲆ ﻋﻤﻠﻪ‬ ‫ﻛﻤﻬﻨﺪس ﻣﻴﻜﺎﻧﻴﻚ ﰲ ﴍﻛﺔ أدﻧﻮك‪ ،‬وﻋﻦ‬ ‫اﳌﺴﺘﻘﺒﻞ ﻳﻘﻮل‪" :‬ﺳﺄﺳﺘﻤﺮ ﰲ رﺣﻼت‬ ‫اﻟﺘﺼﻮﻳﺮ واﻛﺘﺸﺎف اﳌﺰﻳﺪ ﻣﻦ اﳌﻨﺎﻃﻖ‬ ‫اﻟﺠﻤﻴﻠﺔ ﰲ ﻫﺬا اﻟﻌﺎمل‪ ،‬ﺣﻴﺚ أﺧﻄﻂ ﻟﺰﻳﺎرة‬ ‫اﻟرنوﻳﺞ وﻧﻴﻮزﻳﻠﻨﺪا ﳌﺎ ﺳﻤﻌﺘﻪ ﻋﻦ ﺟامل‬ ‫ﻫﺬﻳﻦ اﻟﺒﻠﺪﻳﻦ‪ ،‬ﻛام أن ﻫﻨﺎك ﻓﻜﺮة ﻹﻗﺎﻣﺔ‬ ‫ﻣﻌﺮض ﻓﻮﺗﻮﻏﺮاﰲ ﻳﺘﻀﻤﻦ ﺻﻮراً ﻷﻳﺴﻠﻨﺪا‬

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‫اﻟﻌﺪد ‪ ، 75‬ﻓﺒﺮاﻳﺮ ‪2019‬‬

‫ﺑﺎﻟﴩاﻛﺔ ﻣﻊ اﻷخ اﳌﺒﺪع ﺧﺎﻟﺪ اﻟﻜﻨﺪي"‪.‬‬ ‫وﻳﺆﻛﺪ اﳌﺼﻌﺒﻲ أن اﳌﺼﻮر وآﻟﺔ اﻟﺘﺼﻮﻳﺮ‬ ‫وﺣﺪة ﻣﺘﻜﺎﻣﻠﺔ‪ ،‬ﻻ ميﻜﻦ ﻷﺣﺪﻫام اﻟﻨﺠﺎح‬ ‫مبﻌﺰل ﻋﻦ اﻵﺧﺮ‪ ،‬ﻓﻤﺼﻮر ﺑﺪون ﻣﻌﺪات‬ ‫ﺣﺪﻳﺜﺔ ﺳﻴﺠﺪ ﺻﻌﻮﺑﺔ ﺑﺎﻟﻐﺔ ﰲ ﺗﺠﺴﻴﺪ‬ ‫أﻓﻜﺎره إﱃ ﺻﻮر‪ ،‬وآﻟﺔ ﺗﺼﻮﻳﺮ ﺑﻼ ﻣﺼﻮر‬ ‫ﻣﺒﺪع‪ ،‬ﺗﺒﻘﻰ ﻣﺠﺮد ﻛﺘﻠﺔ ﺟﺎﻣﺪة ﻻ ﺣﻴﺎة‬ ‫وﻻ ﻓﺎﺋﺪة ﻣﻨﻬﺎ‪ ،‬ﻓﻬﻨﺎ ﻳﺠﺐ ﻋﲆ ﻫﻮاة‬ ‫اﻟﺘﺼﻮﻳﺮ أن ﻳﻌﺮﻓﻮا ﻣﺎ ﻳﺮﻏﺒﻮن ﰲ اﻟﻘﻴﺎم‬

‫ﺑﻪ‪ ،‬وﻳﺴﺘﺜﻤﺮون أﻣﻮاﻟﻬﻢ ﰲ ﻣﻌﺪات ﺗﺨﺪم‬ ‫رؤاﻫﻢ اﻟﻔﻨﻴﺔ‪ ،‬وأن ﻻ ﻳﺒﺨﻠﻮا ﻋﲆ ﻫﺬا‬ ‫اﻟﻔﻦ إن ﻛﺎﻧﻮا ﻳﺮﻏﺒﻮن ﰲ اﻟﺤﺼﻮل ﻋﲆ‬ ‫ﻟﻘﻄﺎت ميﻜﻦ وﺻﻔﻬﺎ ﺑﺎﻟﺨﺎﻟﺪة‪ ،‬وﻛﺜريون‬ ‫ﻫﻢ اﳌﺼﻮرون اﻟﺬﻳﻦ ﺻﺎدف وﺟﻮدﻫﻢ ﰲ‬ ‫ﻟﺤﻈﺎت ﻻ ﺗﺘﻜﺮر‪ ،‬ﻟﻜﻦ ﺿﻌﻒ إﻣﻜﺎﻧﻴﺎت‬ ‫ﻣﻌﺪاﺗﻬﻢ ﺣﺮﻣﻬﻢ ﻣﻦ اﻟﺘﻘﺎط ﺻﻮر مل‬ ‫ﻳﺮوﻫﺎ ﺳﺎﺑﻘﺎً وﻗﺪ ﻻ ﻳﺮوﻫﺎ ﰲ اﳌﺴﺘﻘﺒﻞ‬ ‫اﻟﻘﺮﻳﺐ‪.‬‬

‫واﻟﻄﻘﺲ واﳌﻜﺎن‪ ،‬واﻟﺤﻤﺪ ﻟﻠﻪ ﺧﺮﺟﻨﺎ ﻣﻦ‬ ‫ﻫﺬه اﻟﺮﺣﻠﺔ ﺑﻨﺘﺎﺋﺞ ﻣﻤﺘﺎزة‪ ،‬ﻟﻘﺪ ﺗﻌﻠﻤﺖ‬ ‫ﻣﻨﻬﺎ اﻟﻜﺜري‪ ،‬وزاد ﺷﻐﻔﻲ ﻟﻠﻘﻴﺎم ﺑﺎﳌﺰﻳﺪ ﻣﻦ‬ ‫ﻫﺬه اﻟﺮﺣﻼت"‪.‬‬ ‫وﺑﻌﺪ ﻫــﺬه اﻟﺮﺣﻠﺔ ﺗﻌﺪدت اﻟﺮﺣﻼت‬ ‫اﻟﻔﻮﺗﻮﻏﺮاﻓﻴﺔ ﳌﺼﻌﺐ اﳌﺼﻌﺒﻲ‪ ،‬ﺣﻴﺚ‬ ‫زار اﻟﻌﺪﻳﺪ ﻣﻦ دول اﻟﻌﺎمل ﻣﻮﺛﻘﺎً ﻣﻨﺎﻇﺮﻫﺎ‬ ‫اﻟﻄﺒﻴﻌﻴﺔ‪ ،‬وأﺑﻨﻴﺘﻬﺎ وﻋــﺎدات ﺷﻌﻮﺑﻬﺎ‪،‬‬ ‫ﻓﺄﺻﺒﺢ ﰲ ﺟﻌﺒﺘﻪ أرﺷﻴﻒ ﻛﺒري ﻣﻦ اﻟﺼﻮر‪،‬‬ ‫وﻋﻦ ﻫﺬا اﻷرﺷﻴﻒ ﻳﻘﻮل‪" :‬ﰲ اﻟﺤﻘﻴﻘﺔ مل‬ ‫أﺿﻊ ﰲ ﺑﺎﱄ أن أﺳﺘﺜﻤﺮ ﺗﻠﻚ اﻟﺼﻮر ﺑﺸﻜﻞ‬ ‫ﻳﻌﻮد ﻋﲇ ﺑﺮﺑﺢ ﻣﺎدي‪ ،‬ﻓﻘﺪ ﻛﻨﺖ أﻟﺘﻘﻂ‬ ‫اﻟﺼﻮر ﺣﺒﺎً ﰲ اﻟﺘﺼﻮﻳﺮ‪ ،‬وﺣﺒﺎً ﰲ ﻣﺸﺎرﻛﺘﻬﺎ‬ ‫ﻣﻊ اﻵﺧﺮﻳﻦ ﻣﻦ ﺧﻼل ﻣﻮاﻗﻊ اﻟﺘﻮاﺻﻞ‬ ‫اﻻﺟﺘامﻋﻲ‪ ،‬وﻗﺪ ﺷﺎرﻛﺖ ﰲ اﻟﻌﺪﻳﺪ ﻣﻦ‬ ‫اﳌﻌﺎرض اﻟﻔﻮﺗﻮﻏﺮاﻓﻴﺔ ﻛام ﻛﺎن ﱄ ﻧﺼﻴﺐ‬ ‫ﺟﻴﺪ ﻣﻦ ﺟﻮاﺋﺰ اﻟﺘﺼﻮﻳﺮ اﻟﻔﻮﺗﻮﻏﺮاﰲ‪،‬‬

‫‪ ǳǾƳŌƉƯǷũǷƳ ǳǔŽƈ ǒǶŐ ŧǝōǉ‬‬ ‫‪ ƈǷƚǘǕŌ ǳǂƳƉş ŌƃǜǔƒǿŐ ǻǕŒ ǽǕ‬‬ ‫‪ ǚōǉ ƃǂǕ ɐǼƉƚǝ ǼƂōƗ ưǶƉƪǘǕŌ‬‬ ‫‪ ǽƒƲǝ ǽƳ ǳǔŽƉǕŌ Ǉǔũ ƩǃǶ‬‬ ‫‪ɰ ōǙōǘũ ǳƢƢƀǙ ŧǝōǉ ūǾŽ ɐōǾǕōƫ‬‬ ‫‪ɰ‬‬ ‫‪ƈǷƚǕŌ ǓǘŵŐ ƠōǂŨǕȍ‬‬ ‫ ‪ ɐǳǾƳŌƉŨŽŌ ƉǿǷƚũ ǳǕŔ ŋŌƉƖş ŧǘǃ‬‬ ‫‪ ƉǿǷƚŨǕŌ ƩǙ ǳǾǂǾǂżǕŌ ǽŨǔŽƈ ŐƃŞŨǕ‬‬ ‫‪ǽȃǷƞǕŌ‬‬ ‫ ‪ ǳǕǶƃǕŌ ǽƳ ưŌƉƯǷũǷƲǕŌ ǛƳ‬‬ ‫‪ɰ‬‬ ‫‪ɰ‬‬ ‫ ‪ ŦŌǷǜƓ ƅǜǙ ŌƉǾŞǉ‬‬ ‫‪ōǉŌƉŽ ƃǤƖǿ‬‬ ‫‪ɰ‬‬ ‫‪ ƉǾŞǈǕŌ ǗƫƃǔǕ ŌƉƦǝ ǇǕƄǶ ɐǲƃǿƃƫ‬‬ ‫‪ ǓŞǃ ǛǙ ǛƲǕŌ Ōƅǥ Ǣōǂǔǿ ǼƅǕŌ‬‬ ‫‪ɐǳƛōƀǕŌǶ ǳǾǙǷǈżǕŌ ŦōǤŴǕŌ‬‬

‫آﺧﺮﻫﺎ ﻛﺎﻧﺖ ﻓــﻮزي ﺑﺎﳌﺮﻛﺰ اﻷول ﰲ‬ ‫ﻣﺴﺎﺑﻘﺔ ﻟﻴﻮا اﻟﻔﻮﺗﻮﻏﺮاﻓﻴﺔ اﳌﻘﺪﻣﺔ ﻣﻦ‬ ‫دﻳﻮان ﻣﻤﺜﻞ اﻟﺤﺎﻛﻢ ﰲ ﻣﻨﻄﻘﺔ اﻟﻈﻔﺮة"‪.‬‬ ‫وﻳﺆﻛﺪ اﳌﺼﻌﺒﻲ أن ﻓﻦ اﻟﻔﻮﺗﻮﻏﺮاف ﰲ‬ ‫اﻟﺪوﻟﺔ ﻳﺸﻬﺪ ﺣﺮاﻛﺎً ﻛﺒرياً ﻣﻨﺬ ﺳﻨﻮات‬ ‫ﻋﺪﻳﺪة‪ ،‬وذﻟﻚ ﻧﻈﺮاً ﻟﻠﺪﻋﻢ اﻟﻜﺒري اﻟﺬي‬ ‫ﻳﻠﻘﺎه ﻫﺬا اﻟﻔﻦ ﻣﻦ ﻗﺒﻞ اﻟﺠﻬﺎت اﻟﺤﻜﻮﻣﻴﺔ‬ ‫واﻟﺨﺎﺻﺔ‪ ،‬وأﺿــﺎف ﺑﺎﻟﻘﻮل‪" :‬ﻛﻤﺼﻮرﻳﻦ‬ ‫إﻣﺎراﺗﻴني ﻧﺸﻌﺮ ﺑﺄﻧﻨﺎ ﻣﺤﻈﻮﻇﻮن ﻷﻧﻨﺎ‬ ‫ﻧﻌﻴﺶ ﰲ دوﻟﺔ ﺗﻮﱄ ﻫﺬا اﻟﻔﻦ اﻫﺘامﻣﺎً‬ ‫ﻛﺒرياً‪ ،‬ﺣﻴﺚ ﺗﻌﺪدت اﳌﺆﺳﺴﺎت اﻟﺘﻲ‬ ‫ﺗﺮﻋﻰ ﻫﺬا اﻟﻔﻦ‪ ،‬ﻣﺜﻞ ﺟﺎﺋﺰة ﺣﻤﺪان ﺑﻦ‬ ‫ﻣﺤﻤﺪ آل ﻣﻜﺘﻮم ﻟﻠﺘﺼﻮﻳﺮ اﻟﻀﻮيئ‪ ،‬وﻣﺮﻛﺰ‬ ‫اﻟﺴﻌﺪﻳﺎت ﻟﻠﺘﺼﻮﻳﺮ اﻟﻀﻮيئ‪ ،‬ﻫﺬا ﺑﺎﻹﺿﺎﻓﺔ‬ ‫ﻟﻠﻌﺪد اﻟﻜﺒري ﻣﻦ اﳌﺴﺎﺑﻘﺎت واﳌﻌﺎرض‬ ‫اﻟﺘﻲ ﺗﻘﺎم ﻋﲆ ﻣﺪار اﻟﺴﻨﺔ‪ ،‬ﻫﺬه اﻷﻣﻮر‬ ‫ﻣﺠﺘﻤﻌﺔ رﻓﻌﺖ ﻣﺴﺘﻮى اﳌﺼﻮر اﻹﻣﺎرايت‬ ‫اﻟﺸﻌﺮ ‪baytelshear‬‬ ‫ﺑﻴﺖ ِ‬

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‫‪ŝŃĬěŕ‬‬ ‫‪ŌƃǜǔƒǿŔ ǻǕŒ ǢƉǿǷƚũ ŦȎŽƈ ǻǕǶŐ ŧǝōǉ‬‬

‫ﻣﺼﻌﺐ اﻟﻤﺼﻌﺒﻲ‪ǳǾǘǕōƪǔǕ ŌǷǔƛǶ ǚǷǾũŌƈōǙȑŌ ǚǶƈǷƚǘǕŌ :‬‬ ‫ﻣﺼﻄﻔﻰ أﺣﻤﺪ‬

‫إن ﻋﺸﺎق اﻟﺴﻔﺮ ﻫﻢ اﻟﺬﻳﻦ ﻳﻌﺮﻓﻮن ﻣﺎ‬ ‫ﻳﺤﻤﻠﻮن ﻣﻌﻬﻢ ﰲ رﺣﻼﺗﻬﻢ‪ ،‬وﻟﻮ ﺳﺄﻟﺘﻬﻢ‬ ‫ﻋﻦ أﻫﻢ ﻣﺎ ﻳﺤﻤﻠﻮﻧﻪ‪ ،‬ﻓﺠﻮاﺑﻬﻢ ﰲ ﻣﻌﻈﻢ‬ ‫اﻷﺣﻴﺎن ﻳﻜﻮن واﺣﺪاً وﻫﻮ آﻟﺔ اﻟﺘﺼﻮﻳﺮ‪.‬‬ ‫ﻓﻌﺸﻖ اﻟﺴﻔﺮ ﻳﺮﺗﺒﻂ ﻟـﺰاﻣـﺎً ﻣﻊ ﺣﺐ‬ ‫اﻻﺣﺘﻔﺎظ ﺑﺎﻟﻠﺤﻈﺎت اﻟﺴﻌﻴﺪة اﻟﺘﻲ ﻧﻌﻴﺸﻬﺎ‬ ‫أﺛﻨﺎء اﻟﺴﻔﺮ‪ ،‬وﻣﻦ ﻫﻨﺎ ﺑﺪأت ﻗﺼﺔ ﻣﺒﺪﻋﻨﺎ‬ ‫اﻟﻴﻮم ﻣﻊ اﻟﺘﺼﻮﻳﺮ اﻟﻀﻮيئ‪ ،‬ﻓﺤﺒﻪ ﻟﻠﺴﻔﺮ‬ ‫وﺣﺮﺻﻪ ﻋﲆ ﺗﺨﺰﻳﻦ اﳌﻨﺎﻇﺮ اﻟﺠﻤﻴﻠﺔ اﻟﺘﻲ‬ ‫ﻳﺮاﻫﺎ ﰲ ﻣﺨﺘﻠﻒ دول اﻟﻌﺎمل‪ ،‬ﻓﺘﺢ ﻋﻴﻨﻴﻪ‬ ‫ﻋﲆ ﻋﺎمل اﻟﺘﺼﻮﻳﺮ اﻟﻀﻮيئ ﻟﻴﺼﺒﺢ اﻟﻴﻮم أﺣﺪ‬ ‫اﳌﺒﺪﻋني ﰲ ﻫﺬا اﳌﺠﺎل‪ ،‬وأﺣﺪ أﺻﺤﺎب‬ ‫اﻟﺤﻀﻮر اﻟﺪاﺋﻢ ﻋﲆ ﻣﻨﺼﺎت اﻟﺘﻜﺮﻳﻢ وﰲ‬ ‫ﻣﻌﺎرض اﻟﺼﻮر اﻟﻔﻮﺗﻮﻏﺮاﻓﻴﺔ‪ ،‬إﻧﻪ اﳌﺼﻮر‬ ‫اﻹﻣﺎرايت اﻟﺸﺎب ﻣﺼﻌﺐ اﳌﺼﻌﺒﻲ‪ ،‬وﻣﻌﻪ‬ ‫ﻛﺎن ﻟﻨﺎ ﻫﺬا اﻟﺤﻮار‪:‬‬ ‫ﻋﻦ ﺑﺪاﻳﺎﺗﻪ ﰲ ﻋﺎمل اﻟﺘﺼﻮﻳﺮ اﻟﻀﻮيئ ﻳﻘﻮل‪:‬‬ ‫"ﺑﺪاﻳﺎيت ﻛﺎﻧﺖ ﻣﻨﺬ ﻋﺎم ‪ ،2004‬ﺣﻴﺚ ﻛﻨﺖ‬ ‫أﺳﺎﻓﺮ ﻣﻊ اﻷﻫﻞ ﻟﻠﺴﻴﺎﺣﺔ‪ ،‬ﻛﻨﺖ ﻣﺄﺧﻮذاً‬ ‫ﺑﺎﳌﻨﺎﻇﺮ اﻟﻄﺒﻴﻌﻴﺔ واﻟﻔﻨﻮن اﳌﻌامرﻳﺔ اﻟﺘﻲ‬ ‫ﺗﺨﺘﻠﻒ ﻣﻦ ﺑﻠﺪ ﻵﺧﺮ‪ ،‬وﻛﺎﻧﺖ ﺗﻌﱰﻳﻨﻲ‬ ‫رﻏﺒﺔ دامئﺔ ﰲ ﺗﺼﻮﻳﺮ ﻣﺎ ﺗﺮاه ﻋﻴﻨﻲ‪ ،‬ﺣﻴﺚ‬ ‫ﻛﻨﺖ أرﻏﺐ ﰲ اﻻﺣﺘﻔﺎظ ﺑﻬﺎ وﻣﺸﺎرﻛﺘﻬﺎ‬ ‫ﻣﻊ أﺻﺪﻗﺎيئ واﳌﻘﺮﺑني‪ ،‬ﻓﺎﻗﺘﻨﻴﺖ ﰲ ذﻟﻚ‬ ‫اﻟﻮﻗﺖ آﻟﺔ ﺗﺼﻮﻳﺮ ﺻﻐرية‪ ،‬وﻣﻊ ﻣﺮور‬ ‫اﻟﻮﻗﺖ ﺷﻌﺮت ﺑﺄن ﻣﺴﺘﻮاي ﻳﺘﻘﺪم ﰲ‬ ‫ﻣﺠﺎل اﻟﺘﺼﻮﻳﺮ اﻟﻔﻮﺗﻮﻏﺮاﰲ‪ ،‬وﺑﺎت ﻟﺪي‬ ‫ﻣﺨﺰون ﻛﺒري ﻣﻦ اﻟﺘﻘﻨﻴﺎت‪ ،‬وﺣﺎن اﻟﻮﻗﺖ‬ ‫ﻷن أﻗﻮم ﺑﺨﻄﻮة ﺟﺪﻳﺪة‪ ،‬ﺧﺼﻮﺻﺎً ﺑﻌﺪ‬ ‫أن ﺟﺮﺑﺖ اﻟﺘﺼﻮﻳﺮ ﺑﺂﻟﺔ ﺗﺼﻮﻳﺮ اﺣﱰاﻓﻴﺔ‬ ‫ﺗﻌﻮد ﻷﺣﺪ اﻷﺻﺪﻗﺎء‪ ،‬وﻫﻨﺎ ﻗﻤﺖ ﺑﴩاء آﻟﺔ‬

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‫اﻟﻌﺪد ‪ ، 75‬ﻓﺒﺮاﻳﺮ ‪2019‬‬

‫ﺗﺼﻮﻳﺮ اﺣﱰاﻓﻴﺔ‪ ،‬ﻟﺘﺒﺪأ رﺣﻠﺘﻲ اﻟﺤﻘﻴﻘﻴﺔ‬ ‫ﻣﻊ اﻟﺘﺼﻮﻳﺮ اﻟﻀﻮيئ"‪.‬‬ ‫اﻋﺘﻤﺪ ﻣﺼﻌﺐ اﳌﺼﻌﺒﻲ ﰲ ﺑﺪاﻳﺎﺗﻪ‬ ‫اﻻﺣﱰاﻓﻴﺔ ﻋﲆ ﺟﻬﻮده اﻟﺸﺨﺼﻴﺔ ﰲ ﺗﻌﻠﻢ‬ ‫ﻫﺬا اﻟﻔﻦ‪ ،‬ﻓﻜﺎن ﻳﺤﺮص ﻋﲆ ﻗﺮاءة اﻟﻜﺘﺐ‬ ‫اﳌﺨﺘﺼﺔ ﰲ ﻫﺬا اﳌﺠﺎل‪ ،‬ﻛام ﻛﺎن ﻳﻄﻠﻊ‬ ‫ﻋﲆ اﳌﻘﺎﻻت واﻟﻔﻴﺪﻳﻮﻫﺎت اﳌﻨﺸﻮرة ﻋﲆ‬ ‫اﻹﻧﱰﻧﺖ‪ ،‬وﻳﻀﻴﻒ اﳌﺼﻌﺒﻲ ﺑﺎﻟﻘﻮل‪" :‬ﻛﻨﺖ‬ ‫ﺷﻐﻮﻓﺎً ﻟﺘﻌﻠﻢ اﳌﺰﻳﺪ ﻋﻦ اﻟﺘﺼﻮﻳﺮ اﻟﻀﻮيئ‪،‬‬ ‫إﻻ أين مل أﻟﺠﺄ ﻟﻠﺪورات واﻟﻮرش اﻟﺘﺪرﻳﺒﻴﺔ‪،‬‬ ‫ﺑﻞ اﻋﺘﻤﺪت ﻋﲆ اﻟﻘﺮاءة‪ ،‬وأﺧﺬ اﳌﺸﻮرة‬ ‫ﻣﻦ أﺻﺪﻗﺎيئ أﺻﺤﺎب اﻟﺨﱪة"‪.‬‬ ‫ﰲ ﺑﺪاﻳﺎﺗﻪ ﻛﺎن اﻟﺘﺼﻮﻳﺮ ﻳﺄيت ﺑﻌﺪ اﻟﺴﻔﺮ‪،‬‬ ‫ﺣﻴﺚ ﻛــﺎن ﻣﺼﻌﺐ اﳌﺼﻌﺒﻲ ﻳﺴﺎﻓﺮ‬ ‫ﺛﻢ ﻳﺼﻮر‪ ،‬ﻟﻜﻦ وﻣﻊ اﺣﱰاﻓﻪ اﻟﺘﺼﻮﻳﺮ‬ ‫اﺧﺘﻠﻒ اﻷﻣﺮ‪ ،‬ﻓﺄﺻﺒﺢ ﻳﺴﺎﻓﺮ يك ﻳﺼﻮر‪،‬‬

‫ﻓﺎﻟﺴﻔﺮ ﺑﺎﻟﻨﺴﺒﺔ ﻟﻪ أﺻﺒﺢ ﺑﻬﺪف اﻟﺘﺼﻮﻳﺮ‪،‬‬ ‫وأﺻﺒﺤﺖ أﺳﻔﺎره ﻣﺒﻨﻴﺔ ﻋﲆ ﻣﺸﺎرﻳﻌﻪ‬ ‫اﻟﻔﻮﺗﻮﻏﺮاﻓﻴﺔ‪ ،‬وﻋﻦ ﻫﺬه اﻟﻨﻘﻄﺔ ﻳﻘﻮل‪:‬‬ ‫"ﻫــﻨــﺎك ﻣــﻦ ﻳﺴﺎﻓﺮ ﻣــﻦ أﺟــﻞ اﳌﺘﻌﺔ‪،‬‬ ‫وﻫﻨﺎك ﻣﻦ ﻳﺴﺎﻓﺮ ﻣﻦ أﺟﻞ ﻣامرﺳﺔ ﻧﻮع‬ ‫ﻣﻌني ﻣﻦ اﻟﺮﻳﺎﺿﺔ‪ ،‬وﻫﻨﺎك اﻟﺴﻔﺮ ﺑﻬﺪف‬ ‫اﻟﺘﻌﻠﻢ‪ ،‬واﻟﺴﻔﺮ ﺑﻬﺪف زﻳــﺎرة اﳌﺘﺎﺣﻒ‬ ‫واﻟﺘﻌﺮف ﻋﲆ اﻟﺘﺎرﻳﺦ‪ ،‬وﻫﻨﺎك أﻳﻀﺎً اﻟﺴﻔﺮ‬ ‫ﺑﻬﺪف اﻟﺘﺼﻮﻳﺮ‪ ،‬أو ﻣﺎ ﻳﺴﻤﻰ اﺻﻄﻼﺣﺎً‬ ‫رﺣﻼت ﻓﻮﺗﻮﻏﺮاﻓﻴﺔ‪ ،‬وﻗﺪ ﻛﺎﻧﺖ أول رﺣﻠﺔ‬ ‫ﻓﻮﺗﻮﻏﺮاﻓﻴﺔ ﱄ إﱃ أﻳﺴﻠﻨﺪا ﺑﺮﻓﻘﺔ اﳌﺼﻮر‬ ‫اﳌﻌﺮوف ﺷــﺎدي ﻧــﴫي‪ ،‬ﻟﻘﺪ ﻛﺎن وﻗﻊ‬ ‫ﺗﻠﻚ اﻟﺮﺣﻠﺔ ﰲ ﻧﻔﴘ ﻋﺎﻟﻴﺎً‪ ،‬ﺣﻴﺚ ﻛﺎﻧﺖ‬ ‫ﻣﺨﻄﻄﺔ متﺎﻣﺎً ﻻﻟﺘﻘﺎط أﺟﻤﻞ اﻟﺼﻮر‪،‬‬ ‫مل ﺗﻜﻦ رﺣﻠﺔ ﺗﻌﺘﻤﺪ ﻋﲆ اﻟﺼﺪﻓﺔ‪ ،‬ﺑﻞ‬ ‫ﻛﺎﻧﺖ ﻣﺪروﺳﺔ ﺑﻌﻨﺎﻳﺔ ﻣﻊ ﻣﺮاﻋﺎة اﻟﻮﻗﺖ‬

ĘıĘŕ

‫ﺳﻌﻮد اﻟﻤﺼﻌﺒﻲ‬ @Salmessabi

ƿƨƃŭƹƴŢ

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ĘıĘŕ

‫ﺳﺎﻣﻲ اﻟﻌﺮﻓﺞ‬ @Sami_Alarfaj

ǇƴţǉƵƴŢ ƿŴǂ

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2019 ‫ ﻓﺒﺮاﻳﺮ‬، 75 ‫اﻟﻌﺪد‬

‫ﺣﺰم اﺑﻦ‬ ‫ﰲ إﻳﺼﺎﻟﻪ إﱃ اﻟﺴﺠﻦ ﺑﻌﺪﻣﺎ وﳽ ﺑﻪ ﻋﻨﺪ اﳌﻠﻚ " أيب ٍ‬ ‫ﺟﻬﻮر"‪.‬‬ ‫ﻛام ورد ﺿﻤﻦ أﺳﺒﺎب اﻧﴫاف وﻻدة ﻋﻦ اﺑﻦ زﻳﺪون ﻣﺒﺎﻟﻐﺘﻪ ﰲ‬ ‫اﻟﻔﺤﺶ ﰲ رﺳﺎﻟﺘﻪ اﻷدﺑﻴﺔ اﻟﺘﻲ ﻛﺘﺒﻬﺎ ﻋﲆ ﻟﺴﺎﻧﻬﺎ ﰲ اﺑﻦ ﻋﺒﺪوس‬ ‫وﻋﺮﻓﺖ ﺑـ"اﻟﺮﺳﺎﻟﺔ اﻟﻬﺰﻟﻴﺔ" ﻟﺘﻮﺳﻠﻬﺎ اﻟﺘﻬﻜﻢ واﻟﻨﻘﺪ اﻟﻼذع‪ ،‬ﻟﻜﻦ‬ ‫ﻇﻞ اﻟﺴﺒﺐ اﻷﺟﻞ ﻟﻠﻘﻄﻴﻌﺔ ﻫﻮ أﻣﺮ اﻟﺠﺎرﻳﺔ‪ ،‬إذ ﻗﺒﻠﻬﺎ ﻛﺎن اﻟﻮﺻﻞ‬ ‫واﻟﺨﺼﺎم ﻳﺘﻨﺎوﺑﺎن‪.‬‬ ‫وﰲ ﻋﺎم ‪441‬ﻫـ‪ ،‬ﻏﺎدر ﺑﻦ زﻳﺪون ﺳﺠﻨﻪ ﰲ ﻗﺮﻃﺒﺔ‪ ،‬ﺛﻢ ارﺗﺤﻞ‬ ‫إﱃ إﺷﺒﻴﻠﻴﺔ‪ ،‬وﻟﺤﻖ ﺑﺒﻼط ﻣﻠﻜﻬﺎ اﳌﻌﺘﻀﺪ اﻟﺬي ﻗﺮﺑﻪ إﻟﻴﻪ‪ ،‬ووﻻه‬ ‫اﻟﻮزارة‪ ،‬وﻣﻦ ﻫﻨﺎك ﺑﻌﺚ ﻟﻮﻻدة ﺑﻘﺼﻴﺪﺗﻪ اﻷﺷﻬﺮ اﻟﻨﻮﻧﻴﺔ‪ ،‬اﻟﺘﻲ‬ ‫ﻋﺎم ﻣﻀﺖ إﻻ ﻗﻠﺐ وﻻدة‪،‬‬ ‫ﺗﻔﺘﺘﺖ ﻟﻬﺎ ﻗﻠﻮب اﻟﻌﺸﺎق ﻃﻮال أﻟﻒ ٍ‬ ‫اﻟﺬي ﻛﺎن ﻗﺪ ﺳﻜﻦ‪ ،‬واﻧﴫف ﻋﻦ ﺣﺐ اﺑﻦ زﻳﺪون وﻛﻞ ﻣﻦ‬ ‫دوﻧﻪ ﻣﻦ اﻟﺮﺟﺎل‪ ،‬إذ ﻋﺎﺷﺖ ﺑﻌﺪه ﻋﻤ ًﺮا ﻣﺪﻳﺪًا ﺟﺎوز اﻟﺜامﻧني‬ ‫ﻋﺎﻣﺎً‪ ،‬ﻣﻦ دون أن ﺗﺘﺰوج أو ﻳﺮد ﻣﻦ ﺳريﺗﻬﺎ ﻣﺜﻞ ﻣﺎ ورد ﻋﻦ‬ ‫ﺣﺒﻬﺎ ﻻﺑﻦ زﻳﺪون‪ ،‬واﻟﺬي ﻛﺎن ﰲ وﺻﺎﻟﻪ وﻫﺠﺮه ﺣﻮارﻳﺔ ﺷﻌﺮﻳﺔ‬ ‫ﻓﻴﺎﺿﺔ ﺑﺎﻟﺤﻴﻮﻳﺔ واﻟﻌﺬوﺑﺔ‪ ،‬ﺗﺒﺎدل ﻓﻴﻬﺎ ٌ‬ ‫ﻛﻞ ﻣﻦ اﻟﺸﻌﺮ واﻟﺴرية‬ ‫اﳌﻨﺢ واﻹﺛﺮاء واﻹﺛﺎرة‪.‬‬

‫‪ǲƈǷƢƓȏŌ Ʊƒǝ‬‬

‫ﺗﺒﻘﻰ اﻹﺷﺎرة إﱃ أن اﻟﻬﺎﻟﺔ اﻷﺳﻄﻮرﻳﺔ اﻟﺘﻲ ﻧﺴﺠﺖ ﺣﻮل ﻗﺼﺔ‬ ‫اﻷﻣرية واﻟﻮزﻳﺮ اﻟﻌﺎﺷﻖ‪ ،‬اﺳﺘﻔﺰت ﺑﺪورﻫﺎ أﺳﺎﻃري ﻣﻀﺎدة ﺗﻄﺮﻓﺖ‬ ‫ﺗﺠﺎه ﴎدﻳﺔ اﻟﺤﺐ اﻷﻧﺪﻟﴘ ﻫﺬه إﱃ ﺣﺪ ﻧﻔﻲ وﺟﻮد أي ﻋﻼﻗﺔ‬ ‫ﻣﺎ ﺑني اﻟﺸﺎﻋﺮﻳﻦ‪ ،‬ووﺻﻔﻬﺎ ﺑﺄﻧﻬﺎ ﰲ أﺣﺴﻦ اﻷﺣﻮال ﻛﺎﻧﺖ ﻋﻼﻗﺔ‬ ‫ﻃﺮف واﺣ ٍﺪ ﻫﻮ اﺑﻦ زﻳﺪون‪ ،‬ﻣﺘﻌﻠﻠني ﺑﺄن أﻏﻠﺐ أﺧﺒﺎر‬ ‫ﺣﺐ ﻣﻦ ٍ‬ ‫ٍ‬ ‫ﻗﺼﺔ اﻟﺤﺐ اﻟﺘﻲ رواﻫﺎ اﻟﻜﺎﺗﺐ وﻣﺆرخ اﻷدب اﻷﻧﺪﻟﴘ اﺑﻦ ﺑﺴﺎم‬ ‫ﺟﺎءت ﻋﲆ ﻟﺴﺎن اﻟﻮزﻳﺮ ﻧﻔﺴﻪ ومل ﻳﺮد ﻣﻨﻬﺎ ﳾء ﻋﲆ ﻟﺴﺎن‬ ‫وﻻدة‪ ،‬ﺑﻞ إن ﻣﺎ ﻧﺴﺐ ﻟﻮﻻدة ﻛﺎن ﻫﺠﺎؤﻫﺎ اﻟﻼذع ﻻﺑﻦ زﻳﺪون‬ ‫ﺣﺒﻴﺐ وﻟﻮ ﺳﺎﺑﻖ‪.‬‬ ‫ووﺻﻔﻪ ﺑﻨﻌﻮت ﻳﺼﻌﺐ أن ﺗﺼﺪر ﻣﻦ‬ ‫ٍ‬ ‫ﻫﻨﺎك أﻳﻀﺎً ﻣﻦ ﺑﺎﻟﻎ ﰲ ﺗﻄﺮﻓﻪ ﺣﺪ ﻧﻔﻲ وﺟﻮد ﺷﺨﺼﻴﺔ وﻻدة‬ ‫ﻣﻦ اﻷﺳﺎس ﺿﻤﻦ ﺷﺨﺼﻴﺎت اﻟﻌﴫ اﻷﻧﺪﻟﴘ‪ ،‬واﻋﺘﺒﺎرﻫﺎ ﺷﺨﺼﻴ ًﺔ‬ ‫وﻫﻤﻴ ًﺔ‪ ،‬اﺧﺘﻠﻘﻬﺎ اﳌﺆرﺧﻮن ودارﺳﻮ اﻷدب‪ .‬ﻟﻜﻦ ﺗﻈﻞ ﻋﲆ اﻟﺪوام‬ ‫ﺗﻠﻚ اﻟﻔﺮﺟﺔ اﻟﺘﻲ ميﻨﺤﻬﺎ اﻣﺘﺰاج اﻟﻮﻫﻢ ﺑﺎﻟﺤﻘﻴﻘﺔ ﻧﺒﻌﺎً ﺧﺼﻴﺒﺎً‬ ‫ﻟﺘﻮﻟﻴﺪ اﻟﻔﻦ واﻟﺠامل‪ ،‬وﺳﻮاء ﻛﺎﻧﺖ ﻗﺼﺔ وﻻدة واﺑﻦ زﻳﺪون‬ ‫ﺣﻘﻴﻘﺔ أو ٍ ً‬ ‫ﺧﻴﺎﻻ أو ﻣﺰﻳﺠﺎً ﻣﻨﻬام‪ ،‬ﻓﺈﻧﻬﺎ أﻏﺮت ﺷﻌﺮاء وﻣﻮﺳﻴﻘﻴني‬ ‫وﻣﻄﺮﺑني وﻧﺤﺎﺗني ورﺳﺎﻣني وﻣﻘﺘﻔﻲ أﺛﺮ ﺑﺈﻧﺘﺎج در ٍر ﻓﻨﻴ ٍﺔ ﻣﻮازﻳﺔ‪.‬‬

‫اﻟﺸﻌﺮ ‪baytelshear‬‬ ‫ﺑﻴﺖ ِ‬

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‫‪Ĝšřņ ¯ ĬšĸŌ‬‬

‫‪ ǀōƖƪǕŌ ŝƚǝ ǻǔƫ ǚǶƃǿƊ ǛşŌ ŦōǾşŐ Ǜǈũ ǗǕ‬‬ ‫‪ɰ‬‬ ‫‪ ǇǕƅş ŦƂƉƲǝŌ ƃǂƳ ɐǲƉǤƗ ǶŐ ǳƯȎş ƉŬǉȏŌ ǽǥ‬‬ ‫‪ɶ Ǚɴ‬‬ ‫‪mǳǾǝǷǜǕŌ} ǳƪȃŌƉǕŌ ǣŨǕǷƢ‬‬

‫‪ ǽƒǕƃǝȏŌ ǒƋƮǕŌ ƉƪƗ ǚǷǾƫ ǛǙ ǲƃŽŌǶ ǲƃǾƚǂǕŌ‬‬ ‫‪ɰ‬‬ ‫‪ ōǤũƊǶōŴǙ ǗƯƈ ŧǾƦŽ ȍōǘŵ ōǥƉŬǉŐǶ ǽşƉƪǕŌǶ‬‬

‫‪ ǣş ƥżũ ǗǕ ōǘş ɐ Ȍǥ442 ǖōƫ ōǤŨşōŨǉ ƅǜǙ ǖōƫ ƱǕŐ‬‬ ‫‪ɲ‬‬ ‫‪ǒǶŌƃŨǕŌǶ ƐƈƃǕŌǶ ǖōǘŨǥȍŌ ǛǙ ǳǾşƉƫ ǲƃǾƚǃ‬‬ ‫‪ 50 ǛǾş ōǙ ōǤǕ ǳǿƉƪƖǕŌ ŦōƟƈōƪǘǕŌ Ƃƃƫ ŧŽǶŌƉũ‬‬ ‫‪ɳ‬‬ ‫‪ ɐǳƲǔŨƀǘǕŌ ƉƪƖǕŌ ǳǜǙƊŐ ǒŌǷƣ ɐǲƃǾƚǃ 75 ǻǕŒ‬‬ ‫‪ǲƉǾŞǉ ǳǾƒǕƃǝŐǶ ǳǾşƉƫ ŋōǘƓȏ‬‬

‫‪ ōǾƓƈōŵ ƉǾŞǈǕŌ ǽǝōŞƓȑŌ ŜƉƪŨƒǘǕŌ ōǤƲƛǶ‬‬ ‫‪ ōǤǘƦǝ ŝŽ ǲƃǾƚǃ ǓǘŵŐ} ōǤǝőȌş ƋǾǙǷŵ‬‬ ‫‪mǚǷǘǔƒǘǕŌ ǚǷǾƒǕƃǝȏŌ‬‬

‫وﻻدة اﳌﻌﺎﺗﺒﺔ ﻟﺤﺒﻴﺒﻬﺎ‪:‬‬ ‫"‪b £+ b@@ E I¡@@ @ D* ¯ @@~@|@ @- h@@ @ C ¡D‬‬ ‫‪ Ì@P @ @ s@ @ @g@ @ @- µH ¤@@ @ g@ @ @ J4b@@ @ / ¡N @ @ @ @ @ @ - µ‬‬ ‫ﺳرية اﻟﺸﺎﻋﺮ وﺣﺒﻴﺒﺘﻪ‪ ،‬ﻛﺎﺛﻨني ﻣﻦ أﻋﻼم اﻷﻧﺪﻟﺲ وﺣﻀﺎرﺗﻬﺎ ‪ @@ Db@@ @ m@ + *xK @ @ @ @ @ @j@ @ @E b@@ @ @~@ @|@ @= Nh@@ @ @ Cx@@ @ @ -H‬‬ ‫‪ Px@ @ P @@ j@ @J µ ¥w@@ @ @ D* @@~@ |@ @ @ D Nh@@ p@ @ @ @/H‬‬ ‫ً‬ ‫وﻣﺠﺎﻟﺲ ﻋﻠﻤﻬﺎ وﻓﻨﻮﻧﻬﺎ وﻟﻬﻮﻫﺎ‪ ،‬ﻫﻲ اﻷﻛرث ﺟﺎذﺑﻴﺔ وأﻟﻘﺎ وإﻏﺮا ًء ‪b@@ @ ~@ z@ D* 4v@@ @ @ + ¤@@ @ @ @ @FQ &b@ @ @+ Nh@@ @ @ @ @ @ < v@@ @ @ @ DH‬‬ ‫ﺑﺎﻟﺘﺘﺒﻊ وﻣﻼﺣﻘﺔ اﻟﺘﻔﺎﺻﻴﻞ وﺗﺄﻣﻞ اﳌﺂﻻت‪ .‬ﻓﺈن ﻛﺎن اﻟﺸﺎﻋﺮ ﻫﻮ‬ ‫‪" ¥Æ~{´b+ ¤@@-¡@@ @ ~@ {@ D h@@ @£@ @ G2 @@ @ @D‬‬

‫اﻟﻮزﻳﺮ اﻟﻔﺼﻴﺢ اﻟﻌﺎﺷﻖ‪ ،‬ﺻﺎﺣﺐ اﻷدوار اﻟﺴﻴﺎﺳﻴﺔ اﻟﺠﺪﻟﻴﺔ ﰲ‬ ‫ﺣﺎﴐيت ﻗﺮﻃﺒﺔ وإﺷﺒﻴﻠﻴﺔ زﻣﻦ ﻣﻠﻮك اﻟﻄﻮاﺋﻒ‪ ،‬ﻓﺤﺒﻴﺒﺘﻪ اﻟﺸﺎﻋﺮة‬ ‫اﻷﻣرية وﻻدة ﺑﻨﺖ اﳌﺴﺘﻜﻔﻲ‪ ،‬أﺟﻤﻞ وأﺷﻬﺮ ﻧﺴﺎء اﻷﻧﺪﻟﺲ‪ ،‬اﻟﺘﻲ‬ ‫ﺿﻢ ﻣﺠﻠﺴﻬﺎ أﻋﻼم اﻟﺜﻘﺎﻓﺔ واﻟﺴﻴﺎﺳﺔ ﰲ زﻣﻨﻬﺎ‪ ،‬وﻃﺎﳌﺎ اﻧﻘﺒﻀﺖ‬ ‫واﻧﺒﺴﻄﺖ ﻋﲆ أﻋﺘﺎب ﻣﺠﻠﺴﻬﺎ اﻟﻘﻠﻮب ﺗﺒﻌﺎً ﳌﺎ ﺗﺠﻮد ﺑﻪ إميﺎءاﺗﻬﺎ‬ ‫ﻨﻊ‪ .‬وﻫﻲ اﻟﺘﻲ ﻗﻴﻞ إﻧﻬﺎ ﻣﻨﺤﺖ اﻟﺸﻬﺮة واﻷﻟﻖ ﻟﻜﻞ‬ ‫ﻣﻦ َﻣ ٍ‬ ‫ﻨﺢ و َﻣ ٍ‬ ‫ﻣﺎ وﻣﻦ ارﺗﺒﻂ ﺑﻬﺎ ﺑﺪءاً ﻣﻦ أﺑﻴﻬﺎ اﻟﺨﻠﻴﻔﺔ اﻟﻀﻌﻴﻒ اﳌﺘﺴﻠﻂ اﻟﺬي‬ ‫ﻟﻘﺐ ﺑﻮاﻟﺪ وﻻدة‪ ،‬وﻣﺮوراً ﺑﺸﺎﻋﺮﻫﺎ اﻟﻌﺎﺷﻖ اﺑﻦ زﻳﺪون اﳌﻌﺮوف‬ ‫ﺑﺤﺒﻴﺐ وﻻدة‪ ،‬وﺣﺘﻰ ﺻﺪﻳﻘﺘﻬﺎ اﻟﺸﺎﻋﺮة ﻣﻬﺠﺔ اﻟﻘﺮﻃﺒﻴﺔ اﻟﺘﻲ‬ ‫رﻏﻢ ﻣﻨﺎﻓﺴﺘﻬﺎ ﻟﻬﺎ ﺟامﻻً وﺷﺎﻋﺮﻳ ًﺔ ذﻳﻊ ﺻﻴﺘﻬﺎ ﺑﺄﻧﻬﺎ ﺻﺎﺣﺒﺔ‬ ‫وﻻدة‪ ،‬ووﺻﻮﻻً ﻟﺠﺎرﻳﺘﻬﺎ "ﻋﺘﺒﺔ" اﻟﺘﻲ ُﻣﻨﺤﺖ ﺧﻠﻮداً ﺿﺪﻳﺎً ﻛﻮﻧﻬﺎ‬ ‫اﻟﺠﺎرﻳﺔ اﻟﺘﻲ ﻏﺎرت اﻷﻣرية ﻣﻦ ﻣﻼﻃﻔﺔ اﺑﻦ زﻳﺪون ﻟﻬﺎ وﻣﺪﺣﻪ‬ ‫ﻟﻐﻨﺎﺋﻬﺎ‪ ،‬وﺗﺴﺒﺒﺖ ﰲ ﻗﻄﻴﻌﺘﻬام اﻷﺑﺪﻳﺔ‪ ،‬وﺛﺒﺖ ذﻟﻚ ﰲ أﺑﻴﺎت‬

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‫اﻟﻌﺪد ‪ ، 75‬ﻓﺒﺮاﻳﺮ ‪2019‬‬

‫ﺑﺎﻟﻨﺴﺒﺔ ﻻﻣﺮأ ٍة ﻛﺎﻟﺘﻲ ﻛﺎﻧﺘﻬﺎ وﻻدة‪ ،‬ﻛﺎن ﻛﺎﻓﻴﺎً إميﺎء رﺟﻠﻬﺎ ﻻﻣﺮأ ٍة‬ ‫ﻏريﻫﺎ وﻟﻮ‬ ‫ﺑﺸﻜﻞ ﻋﺎﺑ ٍﺮ يك ُﻳﻄﺮد ﻣﻦ ﺟﻨﺘﻬﺎ‪ ،‬ﺧﺼﻮﺻﺎً وﻫﻮ واﺣﺪٌ‬ ‫ٍ‬ ‫ﺿﻤﻦ ﻋﴩات اﳌﺘﻨﺎﻓﺴني ﻋﲆ ﻗﻠﺒﻬﺎ‪ ،‬ﻟﻜﻦ ﻗﺼﺔ اﻟﺠﺎرﻳﺔ وإن ﺑﺪت‬ ‫اﻟﻘﺎﺻﻤﺔ‪ ،‬ﻛﺎﻧﺖ واﺣﺪ ًة ﻓﻘﻂ ﻣﻦ أﺳﺒﺎب اﻟﻘﻄﻴﻌﺔ؛ ﻓﻘﺪ ورد أﻧﻪ‬ ‫ﻟﺒﻴﺖ ﺷﻌﺮي ﻧﻈﻤﺘﻪ‪:‬‬ ‫ﺿﻤﻦ ﻣﺎ أﻏﻀﺐ وﻻدة ﻣﻦ اﺑﻦ زﻳﺪون ﻧﻘﺪه ٍ‬ ‫‪°K y@@ @ E @@ @DN iv@@ @= v@@ B b@@ @~@ @ 94K &* Ñ* ¢@@ @ ~@ 6‬‬ ‫‪P v@@ @ @ @ E @@ @ @+¡@@ @ @D* @@ @ :b@@ @ G e¡@@ @ @ @ ~@ @ 6 @@ @ @ @ +‬‬

‫ورأى ﻓﻴﻪ اﺑﻦ زﻳﺪون أﻧﻪ أﻗﺮب ﻟﻠﺪﻋﺎء ﻋﲆ اﻟﺤﺒﻴﺐ ﻣﻦ اﻟﺪﻋﺎء‬ ‫ﻟﻪ‪ ،‬ﻓﺴﺎ َءﻫﺎ أن ﻳﺠﺎﻫﺮ ﻫﻮ ﺑﺬﻟﻚ وأﻻ ﻳﺘﺨﻔﻒ ﻣﻦ ﺧﻴﻼﺋﻪ ﻷﺟﻠﻬﺎ‪،‬‬ ‫ﺑﻴﻨام ﻋﲆ ﻣﻘﺮﺑ ٍﺔ اﻟﻮزﻳﺮ اﻟرثي أﺑﻮ ﻋﺎﻣﺮ اﺑﻦ ﻋﺒﺪوس" ﻳﺒﺎﻟﻎ ﰲ‬ ‫اﻟﺘﻮدد ﻟﻬﺎ وﰲ ﻧﺼﺐ اﳌﻜﺎﺋﺪ ﻻﺑﻦ زﻳﺪون ﺣﺘﻰ أﻓﻠﺢ ﺑﺎﻟﻔﻌﻞ‬

‫ﻳﺴﺘﻬﻠﻬﺎ ﺑـ‪:‬‬ ‫*&‪b@@ @ £@ F*v@@- @@ E É@K @ Jv@@ + ¤@@)b@@ @ g@ D* ¢@@ p@ @~@ @9‬‬ ‫@‪b@@ @ £@ Ab@@© b@@ Fb@@ £@ @ @ @D Pd@@ @ £@ @ @: @@ @ < eb‬‬ ‫‪N @ @ @ @ @ FH‬‬ ‫*&‪b@@ @ @p@cS @~@@N 8 @P @ @ £R @ cN @ D* q@@ @ c@ ~@@O 8 N b@@ @ 0 v@@ @BH °‬‬ ‫‪b@@ @ @ @ @£@ P<b@@F @@ @ £@ Pp@@ @ D b@@ @ @ + b@@ @ @ @ @A L @@ @ @ £@ @ P0‬‬

‫إﱃ آﺧﺮ أﺑﻴﺎﺗﻬﺎ اﻻﺛﻨني وﺧﻤﺴني‪ ،‬اﻟﺘﻲ ﺗﻔﻴﺾ ﻣﺤﺒ ًﺔ وﺗﺤﴪاً‬ ‫وﺗﺨﺎﺻﻢ‬ ‫ﻧﺄي‬ ‫وﻟﻮﻋ ًﺔ ﻋﲆ ٍ‬ ‫ﺣﺐ ﺗﺒﺪل ﺣﺎﻟﻪ ﺑﻔﻌﻞ اﻟﻮﺷﺎﻳﺔ إﱃ ٍ‬ ‫ٍ‬ ‫ﺑﻼ ﺳﺎﺑﻖ ﻧﺬر‪ ،‬ﻣﻊ ﺗﺄﻛﻴﺪ اﻟﺸﺎﻋﺮ ﻋﲆ ﺣﻔﻆ ﻋﻬﻮد اﻟﻬﻮى ﺣﺘﻰ‬ ‫اﳌامت‪:‬‬ ‫‪b@@ N @ ~@P @ z@ O @ FR N&b@ + K*2¡@@ @ O @ @ @ @ EN N b@@ @ @C b@@ E @Q @ p@N @ Fb@@ AN‬‬ ‫‪b@@ N @ @J Pv@@ JR &b@ @+ °K ¡@@ @~@@O @8¡R @ @ EN N b@@ @ @C b@@ E Qh@@ @ @cN @ @ @ FR *HN‬‬ ‫‪O @ @ O @ @ @FN Rv@ @ @ @ BN HN‬‬ ‫@¡ ‪ b@@ @ @BO xQ @ @ N @ @-N ¢@@~@N @{@ s@ JO b@@ @ @ EN HN‬‬ ‫‪Nb@@ @ £@ BÉ@@-N ¢@@ @/xR @ @ JO b@@ @ @EN H O @@ p@ @ F N ¡@@ £@ @Db@@ A‬‬ ‫‪ @@ @ @JN 2b@@ <&* d@R @ gP @ @ @ @FO µH ¥Px@ @ @ @~@ @7 Nh@@£@ D b@@ J‬‬ ‫ ‪b@@ N @ @J2b@@ <&* ¢@@cN @ g@ O @ D* N @@ @E Kb@ @ @Q @ @0‬‬ ‫‪N N b@@ @ @FN @R @ @ GN‬‬ ‫‪O‬‬ ‫‪ R @ @ @ @D $b@@ @ A¡@@ @ D* °Q (* R @ @Cv@@ @ @+ Rv@ @ g@ @ F µ‬‬ ‫‪R N Kb@ @ @ @ @ @ @ @ J&*4N‬‬ ‫‪b@@ @ N @ @ J2P O Ì@N @ @ @ @ @ @ =N Rv@ @ Q @ @ @ @ gN @ @ FN µH‬‬ ‫*( ‪ R @ @+ O$b@@ @ Q @ D* b@@£@ FvQ @ D* ¯ yQ @ @< v@@ B b@@ C R‬‬ ‫‪O‬‬ ‫¯ ‪N * @P @ @BP ¡R @ @ EN‬‬ ‫‪R‬‬ ‫‪b@@ FN ¡@@ O @ @ @ @-N HN R @ Cb@@ @ @ FN Px@ ~@ {@ ²‬‬

‫واﻟﻘﺼﻴﺪة واﺣﺪة ﻣﻦ ﻋﻴﻮن ﺷﻌﺮ اﻟﻐﺰل اﻷﻧﺪﻟﴘ واﻟﻌﺮيب وأﻛرثﻫﺎ‬ ‫ﻋﺎم ﻣﻨﺬ ﻛﺘﺎﺑﺘﻬﺎ ﻋﺎم ‪442‬ﻫـ‪،‬‬ ‫ﺟامﻻً‪ .‬ﺣﻈﻴﺖ رﻏﻢ ﻣﺠﺎوزﺗﻬﺎ أﻟﻒ ٍ‬ ‫مبﺎ مل ﺗﺤﻆ ﺑﻪ ﻗﺼﻴﺪة ﻋﺮﺑﻴﺔ ﻣﻦ اﻻﻫﺘامم واﻟﺪرس واﻟﺘﺪاول‪،‬‬ ‫ﻓﱰاوﺣﺖ ﻋﺪد اﳌﻌﺎرﺿﺎت اﻟﺸﻌﺮﻳﺔ ﻟﻬﺎ ﻣﺎ ﺑني ‪ 50‬إﱃ ‪ 75‬ﻗﺼﻴﺪة‪،‬‬ ‫َﻃﻮال أزﻣﻨﺔ اﻟﺸﻌﺮ اﳌﺨﺘﻠﻔﺔ‪ ،‬ﻷﺳامء ﻋﺮﺑﻴﺔ وأﻧﺪﻟﺴﻴﺔ ﻛﺒرية‪ ،‬ﻛﺎن‬ ‫أﺷﻬﺮﻫﺎ ﻗﺼﻴﺪة أﻣري اﻟﺸﻌﺮاء أﺣﻤﺪ ﺷﻮﻗﻲ "اﻷﻧﺪﻟﺴﻴﺔ" اﻟﺘﻲ‬ ‫ﻳﻘﻮل ﻣﻄﻠﻌﻬﺎ‪:‬‬ ‫‪b@@ @ @J2*¡@@ < L b@@ @ @ @ @ @ @ @ c@ ~@ 7&* q@@ @ @ @ @D* q@@ @)b@@ @F b@@ @J‬‬ ‫‪b@@ @ @J2*¡@@ D ¢@@ ~@ @6&b@ @- &* @@ @ J2*¡@@ @ D ¢@@m@ ~@ {@ F‬‬

‫اﳌﻠﺤﻨني زﻛﺮﻳﺎ أﺣﻤﺪ ﰲ اﻟﻌﻘﻮد اﻷوﱃ ﻣﻦ اﻟﻘﺮن اﻟﻌﴩﻳﻦ‪ ،‬وﻣﻦ‬ ‫وراﺋﻬﺎ اﳌﻄﺮﺑﺔ ﻧﻮر اﻟﻬﺪى اﻟﺘﻲ ﻏﻨﺖ اﻟﻘﺼﻴﺪة ﺑﻠﺤﻦ اﳌﻮﺳﻴﻘﺎر‬ ‫اﻟﻠﺒﻨﺎين ﺟﻮرج ﺛﺎﺑﺖ‪ ،‬ﺛﻢ ﻟﺤﻨﻬﺎ وﻏﻨﺎﻫﺎ ﻓﻴام ﺑﻌﺪ اﳌﻠﺤﻦ اﻷرﻣﻨﻲ‬ ‫اﻟﺴﻮري ﴎي ﻃﻤﺒﻮرﺟﻲ أواﺋﻞ اﻟﺨﻤﺴﻴﻨﻴﺎت‪ ،‬وﺻﻮﻻً إﱃ اﳌﻄﺮﺑﺔ‬ ‫اﳌﻐﺮﺑﻴﺔ ﻓﺪوى اﳌﺎﻟيك اﳌﺸﻬﻮرة ﺑﻐﻨﺎﺋﻬﺎ ﻟﻌﻴﻮن ﻗﺼﺎﺋﺪ اﻟﺸﻌﺮاء‬ ‫اﻟﻌﺮب ﻛﺎﳌﺘﻨﺒﻲ واﺑﻦ زﻳﺪون وﻏريﻫام‪ ،‬وﻗﺪ ﻏﻨﺘﻬﺎ ﻗﺒﻞ أﻋﻮام‬ ‫ﻗﻠﻴﻠﺔ ﺑﻠﺤﻦ اﳌﻮﺳﻴﻘﺎر ﻣﻤﺪوح اﻟﺠﺒﺎﱄ‪ .‬وﺑني ﻛﻞ ﻫﺆﻻء ﻣﻄﺮﺑﻮن‬ ‫ﻛﻞ ﻣﻨﻬﻢ ﻟﻸﺑﻴﺎت اﻟﺘﻲ‬ ‫وأﻟﺤﺎن أﻗﻞ ﺷﻬﺮة‪ ،‬ﺗﺒﺎﻳﻨﺖ اﺧﺘﻴﺎرات ٍ‬ ‫ﻏﻨﺎﻫﺎ وﺗﺮﺗﻴﺐ ﻫﺬه اﻷﺑﻴﺎت ﰲ اﻟﻨﺺ ا ُﳌﻐﻨﻰ‪.‬‬ ‫وﺟﻨﺒﺎً إﱃ اﻟﺸﻌﺮ واﻟﻐﻨﺎء وﻣﺤﺎوﻻت اﳌﴪﺣﺔ واﻟﺪراﻣﺎ‪ ،‬ﻧﺴﺠﺖ‬ ‫ﺣﻮل ﻧﻮﻧﻴﺔ اﺑﻦ زﻳﺪون اﻟﻜﺜري ﻣﻦ اﻷﺳﺎﻃري ﺣﺘﻰ ﻗﻴﻞ إﻧﻪ "ﻣﺎ‬ ‫ﺣﻔﻈﻬﺎ أﺣﺪُ إﻻ ﻣﺎت ﻏﺮﻳﺒﺎً"‪ ،‬وأن إﻧﺴﺎ ًﻧﺎ ﻻ ﻳﻜﻮن أدﻳﺒﺎً وﻻ ﻳﻜﺘﻤﻞ‬ ‫ﻟﻪ اﻟﻈﺮف ﻣﻦ دون ﺣﻔﻈﻬﺎ" وأن "مل ُﻳﻘﻞ ﰲ اﻟﻨﺴﻴﺐ أرق ﻣﻨﻬﺎ" ‪.‬‬

‫وذﻟﻚ ﻓﻀ ًﻼ ﻋﻦ اﳌﻮﺷﺤﺎت وﻣﺤﺎوﻻت اﻟﺘﺨﻤﻴﺲ واﻟﺘﺴﺪﻳﺲ‪،‬‬ ‫وﻋﺪد ﻛﺒري ﻣﻦ ﻛﺘﺐ اﻟﴩح واﻟﻨﻘﺪ واﻟﺮﺳﺎﺋﻞ اﻟﻌﻠﻤﻴﺔ‪ ،‬وﻗﺪ‬ ‫وﺻﻔﻬﺎ اﳌﺴﺘﻌﺮب اﻹﺳﺒﺎين اﻟﻜﺒري ﺟﺎرﺳﻴﺎ ﺟﻮﻣﻴﺰ ﺑـﺄﻧﻬﺎ‪" :‬أﺟﻤﻞ‬ ‫ﻗﺼﻴﺪة ﺣﺐ ﻧﻈﻤﻬﺎ اﻷﻧﺪﻟﺴﻴﻮن اﳌﺴﻠﻤﻮن‪ ،‬وﻏﺮة ﻣﻦ أﺑﺪع ﻏﺮر‬ ‫‪ɼ‬‬ ‫اﻷدب اﻟﻌﺮيب ﻛﻠﻪ"‪.‬‬ ‫‪ǲƂȍǶ ǳǜŵ‬‬ ‫وﰲ اﻟﻘﺮﻧني اﻟﻌﴩﻳﻦ واﻟﺤﺎدي واﻟﻌﴩﻳﻦ ﺑﺪا وأن اﻟﻨﻮﻧﻴﺔ رﻏﻢ ﻛﻞ ﻫﺬا مل ﻳﻜﻦ اﻟﺸﻌﺮ وﺣﺪه ﺳﺒﺒﺎً ﻛﺎﻓﻴﺎً ﻟﺨﻠﻮد ﻧﻮﻧﻴﺔ اﺑﻦ‬ ‫اﻛﺘﺸﻔﻬﺎ اﻟﻐﻨﺎء‪ ،‬ﻓ ُﻠﺤﻨﺖ ُ‬ ‫وﻏﻨﻴﺖ ﺑﺼﻮت ﻋﺪد ﻛﺒ ٍري ﻣﻦ اﳌﻄﺮﺑني‪ ،‬زﻳﺪون واﻟﺘﻌﻠﻖ ﺑﻬﺎ ﻃﻴﻠﺔ ﻫﺬه اﻟﻘﺮون‪ ،‬ﻓﻮراء رﻗﺔ واﻧﺘﻘﺎﺋﻴﺔ‬ ‫أﺑﺮزﻫﻢ ﺻﻮت ﻣﻄﺮﺑﺔ اﻟﻘﻄﺮﻳﻦ ﻓﺘﺤﻴﺔ أﺣﻤﺪ ﺑﻠﺤﻦ ﺷﻴﺦ اﻟﻠﻐﺔ وﺣﻼوة اﻟﺼﻮر واﻧﻄﻼق اﻟﺨﻴﺎل وروﻋﺔ اﻷﺳﻠﻮب‪ ،‬ﻛﺎﻧﺖ‬

‫اﻟﺸﻌﺮ ‪baytelshear‬‬ ‫ﺑﻴﺖ ِ‬

‫‪59‬‬

‫‪Ĝšřņ ¯ ĬšĸŌ‬‬

‫‪ɼ‬‬ ‫‪ ǲƂȍǶ ŝŽ ǽƳ ǚǶƃǿƊ ǛşŌ ǳǾǝǷǝ‬‬

‫أﻟﻒ ﻋﺎم ﻣﻦ ّ‬ ‫اﻟﻠﻮﻋﺔ!‬ ‫ٍ‬ ‫ﻋﺰة ﺣﺴﻴﻦ‬

‫وﻣﻦ ﺷﻌﺮ اﺑﻦ زﻳﺪون‪:‬‬

‫‪*xK @ @ g@ ~@ {@ LE @P @ 6b@@ @ @D* ¯ @@ + OiHv@@ @ @= @@ E b@@ J‬‬ ‫‪*x@@ @ @ D* H S @ @ @ @ D* ¤@@~@ 6b@@ @ J @@£@ @ < ¤@@c@ @ B‬‬ ‫ﻧﺼ ٌﺐ‬ ‫ﰲ اﻟﻘﺮب ﻣﻦ ﻣﺪﻳﻨﺔ ﻗﺮﻃﺒﺔ اﻷﻧﺪﻟﺴﻴﺔ ﺑﺈﺳﺒﺎﻧﻴﺎ ﻳﻨﻬﺾ ْ‬ ‫*( =@ @‪¤@@ @ ~@ z@ F'¡@ J b@@ FK b@@ ~@ @z@ @F(* N @ @ @ @ D&* µ Nh@@ c‬‬ ‫ﺗﻮﺷﻜﺎن‬ ‫ﺪﻳﻦ ِ‬ ‫رﺧﺎﻣﻲ ﻳﺘﻮﺳﻂ ﺳﺎﺣﺔ "ﻣﺎرﺗريﻳﻪ ‪ ” -Martiries‬ﻟ َﻴ ِ‬ ‫ٌ‬ ‫‪*x@@~@}@0 v@@ B @P @ 6b@@ @ @D* @@ @ A Nix@@~@ }@ 0 (*H‬‬

‫اﻟﺘﻼﻣﺲ أو اﻻﻓﱰاق‪ ،‬ﻫام ﻳﺪا اﻟﺸﺎﻋﺮ اﺑﻦ زﻳﺪون اﳌﺨﺰوﻣﻲ‬ ‫وﺣﺒﻴﺒﺘﻪ وﻻدة ﺑﻨﺖ اﻟﺨﻠﻴﻔﺔ اﻷﻣﻮي اﳌﺴﺘﻜﻔﻲ‪ ،‬إﺣﺪى أﻛرث‬ ‫اﻟﻨﺴﺎء ﺛﻘﺎﻓ ًﺔ وﺟامﻻً وﺟﺪﻻً ﻋﱪ اﻟﻌﺼﻮر‪.‬‬ ‫ﻋﲆ ﺟﺎﻧﺒﻲ اﻟﻨﺼﺐ ُ‬ ‫أﺑﻴﺎت ﺷﻌﺮﻳﺔ ﻟﻜﻼ اﻟﺸﺎﻋﺮﻳﻦ‪ ،‬زﺧﻤﺔ مبﺸﺎﻋﺮ‬ ‫اﻟﺤﺐ واﻟﻔﻘﺪ واﻟﺘﻮﺟﺲ‪ ،‬ارﺗﺂﻫﺎ اﻟﻨﺤﺎت اﻟﺬي ﺷﻴﺪ اﻟﻨﺼﺐ ﻋﺎم‬ ‫‪ 1971‬ﰲ اﳌﺌﻮﻳﺔ اﻟﺘﺎﺳﻌﺔ ﻟﺮﺣﻴﻞ اﺑﻦ زﻳــﺪون)‪1071-1003‬م(‪،‬‬ ‫اﻷﻛرث ﺗﻠﺨﻴﺼﺎً وإﺣﺎﻃ ًﺔ ﺑﻘﺼﺘﻬام اﻟﺘﻲ أﻓﺮﺧﺖ ﻋﴩات اﻷﺳﺎﻃري‪،‬‬ ‫ﻓﺎﺧﺘﺎر ﻣﻦ ﺷﻌﺮ وﻻدة‪:‬‬

‫ﻟﻜﻦ ﺑﺪا اﻷﻛرث إﺣﺎﻃ ًﺔ ﺑﻬﺬه اﻷﺳﻄﻮرة‪ ،‬ﻛام أﳌﺢ ﻣﺮ ًة اﻟﺸﺎﻋﺮ‬ ‫ﻣﺤﻲ اﻟﺪﻳﻦ اﻟﻼذﻗﺎين‪ ،‬ﻫﻮ رؤﻳﺔ اﻟﻨﺤﺎت ﻧﻔﺴﻪ اﻟﺘﻲ ﴎﺑﻬﺎ ﺑﺄﻗﴡ‬ ‫ﺣ ٍﺪ ﻣﻦ اﻟﺘﺠﺮﻳﺪ ﰲ اﳌﻠﻴﻤﱰات اﻟﻔﺎﺻﻠﺔ ﺑني ﻫﺬﻳﻦ اﻟﻜﻔني؛ إذ‬ ‫ﺷﻜﻠﺖ ﺑﻔﺮاﻏﻬﺎ اﻟﻀﺌﻴﻞ ﺑﻴﻨﻬام ﺟﺒ ًﻼ ﻣﻦ اﻻﺳﺘﺤﺎﻟﺔ‪ ،‬ﻫﺬي اﻟﺘﻲ‬ ‫ﻛﱪ وﺗﺄﺳﻄﺮ ﰲ اﻟﻔﻘﺪ واﻟﻐﻴﺎب‪ ،‬واﺳﺘُﻜﻤﻠﺖ‬ ‫ﻟﺤﺐ ُ‬ ‫ﻛﺎﻧﺖ وﻗﻮداً ٍ‬ ‫ﺑﻨﻴﺘﻪ اﻟﺪراﻣﻴﺔ ﺑﺎﻟﺸﻌﺮ واﻟﻨرث واﻟﻨامﺋﻢ وﻛﺜ ٍري ﻣﻦ اﻟﺨﻴﺎل‪.‬‬

‫*&= @ @ @ @ @ @ @ @@‪¤@@ @ Q @ @ @EH ¤@@ @ @ @ £@ @ < @@ @ @ E @N @ @ £@ @ @ @ @ @< 4O b‬‬ ‫‪ P b@@ @ @ @ @ @ @ @ ´*H @N @ @ @ @ @Fb@@ @ @ @ @E5 @@ @ @ @ @ EH @N @ @ @ @ @ @ @ @ EH‬‬ ‫مل ﺗﻜﻦ أﺑﻴﺎت اﺑﻦ زﻳﺪون ﻋﲆ ﻧﺼﺐ اﻟﻌﺸﺎق ﻫﻲ اﻷﻛرث ﺑﻼﻏ ًﺔ‬ ‫‪Á¡@@ @ £@ @ @< ¯ @@ @ @ @-O &b@ @ @ @ c@ @ @ @ 1 Á&* ¡@@ @ @ @ @ @ DH‬‬ ‫*(¶ ‪ Áb@@ @ @ @ C b@@ @ @ @ E f@@ @ @Eb@@ @ @£@ @ @ @ @ @ D* ¡@@ @ @ @ @ @J‬أو ﺷﻬﺮة‪ ،‬ﻓﻘﺪ اﻧﻔﺮدت ﺑﺬﻟﻚ ُﻣﻄ ّﻮﻟﺘﻪ اﻟﺮاﺋﻌﺔ "اﻟﻨﻮﻧﻴﺔ" اﻟﺘﻲ‬ ‫‪ǳǾǝǷǜǕŌ ŻǿƃǙ ǽƳ‬‬

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‫اﻟﻌﺪد ‪ ، 75‬ﻓﺒﺮاﻳﺮ ‪2019‬‬

‫ ‪ ĮľĵŒ «¯ ĜľōŘ‬‬

‫ﻣﺤﻤﺪ ﻧﻮر اﻟﺪﻳﻦ‬

‫اﻟﺘﺴﺎﻣﺢ اﻟﺜﻘﺎﻓﻲ‬

‫‪@khaligalb‬‬

‫ﻛﺎن إﻋﻼن ﻋﺎم ‪ 2019‬ﻋﺎﻣﺎً ﻟﻠﺘﺴﺎﻣﺢ اﻣﺘﺪاداً ﻟﻌﺎم زاﻳﺪ‪ ،‬ﻛﻮن اﳌﻐﻔﻮر ﻟﻪ اﻟﺸﻴﺦ زاﻳﺪ ﺑﻦ ﺳﻠﻄﺎن‬ ‫آل ﻧﻬﻴﺎن ﻃﻴﺐ اﻟﻠﻪ ﺛﺮاه رﻣﺰاً ﻟﻺﻧﺴﺎﻧﻴﺔ وﻗﻴﻤﻬﺎ اﻟﻨﺒﻴﻠﺔ وأﻫﻤﻬﺎ اﻟﺘﺴﺎﻣﺢ‪ ،‬ﻓﻜﺎﻧﺖ ﺣﻜﻤﺔ زاﻳﺪ‬ ‫ﰲ ﻣﻮاﻗﻒ ﻻ ﺗﻌﺪ وﻻ ﺗﺤﴡ ﺗﺪﻋﻮ إﱃ اﻟﺘﺴﺎﻣﺢ ﺑني اﻟﺠﻤﻴﻊ ﺑﺎﻋﺘﺒﺎر أن ﺟﻤﻴﻊ ﻣﻦ ﻋﲆ أرض‬ ‫اﻟﺒﴩ أﺧﻮة ﰲ اﻷﺻﻞ‪ ،‬ﻟﺬا ﻓﺈن ﺛﻘﺎﻓﺔ اﻟﺘﺴﺎﻣﺢ ﻳﺠﺐ أن ﺗﺴﻮد ﺑني اﻟﺒﴩﻳﺔ يك ﻳﻌﻢ اﻟﺴﻼم‬ ‫واﻷﻣﻦ ﺟﻤﻴﻊ أرﺟﺎء اﳌﻌﻤﻮرة‪ ،‬وأﻣﺎ ﰲ ﻫﺬه اﻟﻌﺠﺎﻟﺔ ﻓﺈين ﻟﺴﺖ ﺑﺼﺪد اﻟﺘﺤﺪث ﻋﻦ ﺛﻘﺎﻓﺔ‬ ‫اﻟﺘﺴﺎﻣﺢ اﻟﻌﺎﻣﺔ ﻓﻘﻂ‪ ،‬وإمنﺎ ﻋﻦ اﻟﺘﺴﺎﻣﺢ اﻟﺜﻘﺎﰲ أﻳﻀﺎً‪ ،‬ﻓﻔﻲ ﻫﺬا اﻟﻌﺎم ﻳﺠﺐ أن ﻳﻌﻲ اﳌﺜﻘﻔﻮن‬ ‫أوﻻ أن ﺳامء اﻟﺜﻘﺎﻓﺔ ﺗﺴﻊ ﺟﻤﻴﻊ اﻟﻨﺠﻮم ﻟﺬا ﻳﺠﺐ أﻻ ﻳﺤﺘﻜﺮ اﳌﺜﻘﻒ اﳌﻨﺎﺑﺮ اﻟﺜﻘﺎﻓﻴﺔ وﻓﻌﺎﻟﻴﺘﻬﺎ‬ ‫وﻣﻮاﺿﻴﻌﻬﺎ ﻟﻨﻔﺴﻪ وﻳﻘﴢ اﻵﺧﺮﻳﻦ ﺑﺄي ﺣﺠﺔ ﻛﺎﻧﺖ‪.‬‬ ‫أﻣﺎ ﺛﺎﻧﻴﺎً ﻓﻴﺠﺐ أﻳﻀﺎً أﻻ ﻳﻈﻦ أن ﻫﻨﺎك ﻓﺌﺔ ﻣﻦ اﳌﺜﻘﻔني وﻫﻨﺎك ﻓﺌﺔ ﻣﻦ اﻟﻌﺎﻣﺔ‪ ،‬ﻓﺎﻹﻧﺴﺎن ﻣﻬام‬ ‫ﻛﺎن ﻣﺴﺘﻮى ﻓﻬﻤﻪ ﻓﺈﻧﻪ ﻣﺜﻘﻒ وﺟﺰء ﻣﻦ اﻟﺜﻘﺎﻓﺔ ﻟﺬﻟﻚ ﻳﺠﺐ أﻻ منﺎرس ﻓﻌﻞ "اﻻﻏﺘﻴﺎل اﻟﺜﻘﺎﰲ"‬ ‫ﻋﲆ اﻵﺧﺮﻳﻦ ﺑﺄي وﺟﻪ ﻣﻦ اﻟﻮﺟﻮه‪ ،‬ﻓﺎﻷﻃﻔﺎل ﻋﲆ ﺳﺒﻴﻞ اﳌﺜﺎل وﻣﻦ وﺟﻬﺔ ﻧﻈﺮي اﻟﺸﺨﺼﻴﺔ ﻗﺪ‬ ‫اﻏﺘﻴﻠﻮا ﺛﻘﺎﻓﻴﺎ ﻣﻦ ﺧﻼل اﻟﺘﻠﻘني اﻹﺟﺒﺎري ﻷﺟﻞ ﺗﻌﻠﻴﻤﻬﻢ وﻣﻦ ﺧﻼل ﻣﻨﻌﻬﻢ ﻣﻦ اﻹﺑﺪاع اﻷديب‬ ‫ﻛﻮن ﻣﻬﺎرات اﻟﻜﺘﺎﺑﺔ أو اﻟﻔﻜﺮ مل ﺗﻨﻀﺞ ﻟﺪﻳﻬﻢ ﻟﺼﻐﺮ ﺳﻨﻬﻢ‪.‬‬ ‫وﺛﺎﻟﺜﺎً ﻳﺠﺐ أن ﻳﻜﻮن ﻫﻨﺎك ﺗﺼﺎﻟﺢ ﺛﻘﺎﰲ وﺗﺴﺎﻣﺢ ﺑني اﻷﺟﻨﺎس اﻷدﺑﻴﺔ ﺣﻴﺚ ﻳﻼﺣﻆ أن‬ ‫اﻷﺟﻨﺎس اﻷدﺑﻴﺔ اﻟﺠﺪﻳﺪة ﻣﺜ ًﻼ ﻛﻘﺼﻴﺪة اﻟﻨرث ﺗﺠﺪ ﺣﻤﻼت ﻋﺪاﺋﻴﺔ ﰲ اﻟﻮﺳﻂ اﻷديب ﻣﻨﺬ ﻋﻘﻮد‬ ‫ﻹﻗﺼﺎﺋﻬﺎ وﻋﺪم اﻻﻋﱰاف ﺑﻬﺎ أو اﻋﺘﺒﺎرﻫﺎ دﺧﻴﻠﺔ أو أﺟﻨﺒﻴﺔ‪ ،‬وﻫﺬا اﻷﻓﻖ اﻟﻀﻴﻖ ﻇﺎﻫﺮة ﻏري‬ ‫ﺻﺤﻴﺔ وﻻ متﺜﻞ أدىن ﻗﻴﻢ اﻟﺘﺴﺎﻣﺢ اﳌﻄﻠﻮﺑﺔ ﺑني اﻷﺟﻨﺎس اﻷدﺑﻴﺔ‪.‬‬ ‫وأﺧرياً ﻓﺈن اﻟﺘﺴﺎﻣﺢ ﺑني اﻟﻠﻐﺎت أﺻﺒﺢ واﺟﺒﺎً ﰲ ﻫﺬا اﻟﻌﴫ ﺑﻌﺪ اﻧﻔﺘﺎح آﻓﺎق اﻟﺘﻮاﺻﻞ ﻓﺄﺻﺒﺤﺖ‬ ‫اﻟﺜﻘﺎﻓﺎت اﳌﺨﺘﻠﻔﺔ ﺗﻨﻬﻞ ﻣﻦ ﺑﻌﻀﻬﺎ اﻷﻓﻜﺎر وﺗﺘﻼﻗﺢ ﺣﻀﺎراﺗﻬﺎ ﰲ ﻇﺎﻫﺮة ﺟﺪﻳﺪة مل ﺗﻜﻦ ﺑﻬﺬه‬ ‫اﻟﴪﻋﺔ واﻟﺴﻬﻮﻟﺔ ﻋﱪ اﻟﺘﺎرﻳﺦ‪ ،‬ﻟﺬا ﻓﺈن اﻟﺤﻔﺎظ ﻋﲆ اﻟﻬﻮﻳﺔ واﻟﱰاث ﻳﺠﺐ أﻻ ﻳﻜﻮن ﺳ ّﺪاً‬ ‫ﳌﻌﺎداة اﻵﺧﺮﻳﻦ ﺑﻞ ﻳﺠﺐ أن ﻳﻜﻮن ﺑﺎﺑﺎً ﻟﱰوﻳﺞ ﺗﺮاﺛﻨﺎ وﻫﻮﻳﺘﻨﺎ ﰲ ﻣﻘﺎﺑﻞ ﺗﻘﺒﻞ اﺧﺘﻼف اﻵﺧﺮﻳﻦ‬ ‫وﺗﺸﺎﺑﻬﻬﻢ ﻣﻌﻨﺎ‪ ،‬ﻓﺎﻟﺒﴩﻳﺔ ﻛام ﻫﻮ ﻣﻌﺘﻘﺪ ﻋﻨﺪ ﺷﻌﻮب ﻛﺜرية ﺗﻨﻄﻠﻖ ﻣﻦ ﻋﻘﻞ واﺣﺪ وﻋﻠﻴﻪ ﻓﺈين‬ ‫أرى أﻧﻨﺎ ﻣﺎﺿﻮن اﻟﻴﻮم ﺑﺄﻓﻜﺎر ﺟﻤﻌﻴﺔ ﻣﺨﺘﻠﻔﺔ ﻧﺤﻮ ﻓﻜﺮ ﻛﻮين واﺣﺪ ﺑﻔﻀﻞ ﻫﻨﺪﺳﺔ اﻟﺘﻮاﺻﻞ‬ ‫اﻟﺒﴩي اﻟﺬي ﻳﻌﻢ ﺗﺄﺛريه ﻳﻮﻣﺎً ﺑﻌﺪ ﻳﻮم ﻹزاﻟﺔ ﺷﻮاﺋﺐ اﻟﺘﻄﺮف ﻣﻦ اﻟﻔﻜﺮ اﻹﻧﺴﺎين‪ ،‬وإرﺳﺎء ﻗﻴﻤﺔ‬ ‫اﻟﺘﺴﺎﻣﺢ ﺑني اﻟﺒﴩ ﺑﻐﺾ اﻟﻨﻈﺮ ﻋﻦ أي متﻴﻴﺰ‪.‬‬

‫اﻟﺸﻌﺮ ‪baytelshear‬‬ ‫ﺑﻴﺖ ِ‬

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‫‪şĚĮŃ şěńĴ‬‬ ‫اﻟﺜﺎﻧﻴﺔ ﺧﺎرج اﻟﺒﻼد‪ ،‬ﻟﺬا مل ﻳﻨﺘﺒﻪ اﻟﺴﻴﺎﺳﻴﻮن‬ ‫ﻟﻬﺮوب ﺑريم ﻣﻦ ﻣﻨﻔﺎه‪ ،‬ﻟﻜﻨﻪ وﺟﺪ ﻧﻔﺴﻪ‬ ‫ﻣﻘﺒﻮﺿﺎً ﻋﻠﻴﻪ وﻣﺮﺣﻞ ﻋﲆ ﻣنت إﺣﺪى اﻟﺴﻔﻦ‬ ‫ﳌﻨﻔﺎه ﰲ ﺑﺎرﻳﺲ‪ ،‬ﻓﺎﺗﻬﻢ زﻣﻼءه ﻣﻦ اﳌﺸﺘﻐﻠني‬ ‫ﺑﺎﻷدب ﺑﺎﻟﻮﺷﺎﻳﺔ ﺑﻪ‪:‬‬ ‫"إذا ﻛﺎن رﺟﺎل اﻟﺴﻴﺎﺳﺔ مل ﻳﺸﻌﺮوا ﺑﻮﺟﻮدي‬ ‫ﺣﻴﻨﺌﺬ‪ ،‬ﻓﻘﺪ ﺷﻌﺮ يب اﻟﺰﻣﻼء ﻣﻦ أﻫﻞ اﻷدب‪،‬‬ ‫ﻓﻘﺎﻣﻮا ﺑﺈﺑﻼغ اﻟﺴﻠﻄﺎت ﻋﻨﻲ وﻋﻦ أﻣﻜﻨﺔ‬ ‫وﺟﻮدي وﺣﺮﻛﺎيت وﺳﻜﻨﺎيت‪ ،‬ﻓﻘﺎﻣﺖ ﺑﱰﺣﻴﲇ‬ ‫ﻣﻦ ﺟﺪﻳﺪ إﱃ ﺧﺎرج ﻣﴫ"‪.‬‬ ‫ﻫﺬه اﳌﺮة ﻗﴣ ﺑريم اﻟﺘﻮﻧﴘ ‪ 15‬ﻋﺎﻣﺎً ﰲ ﻣﻨﻔﺎه‬ ‫اﻟﺬي مل ﻳﻜﻦ أﻛرث ﺣﻨﻮاً ﻣﻦ اﳌﺮة اﻷوﱃ‪ ،‬ﻟﻮﻻ‬ ‫ﻟﻘﺎءه ﺑﻌﺪ ﻣﺪ ٍة ﺑﺎﳌﴪﺣﻲ اﻟﺸﻬري ﻋﺰﻳﺰ ﻋﻴﺪ‬ ‫اﻟﺬي اﺗﻔﻖ ﻣﻌﻪ ﻋﲆ متﺼري إﺣﺪى اﳌﴪﺣﻴﺎت‬ ‫اﻷﺟﻨﺒﻴﺔ ﻟﺘﺼري ﻣﴪﺣﻴﺔ "ﻟﻴﻠﺔ ﻣﻦ أﻟﻒ‬ ‫ﻟﻴﻠﺔ"‪ ،‬وﺗﻮاﱃ ﻓﻴام ﺑﻌﺪ ﺗﻌﺎوﻧﻬام اﻟﺬي وﻓﺮ‬ ‫ﻟﺒريم اﺣﺘﻴﺎﺟﺎﺗﻪ اﳌﺎدﻳﺔ‪ ،‬وﺳﺎﻋﺪه ﻋﲆ ﺗﺪﻓﻖ‬ ‫إﺑﺪاﻋﺎﺗﻪ اﻟﺰﺟﻠﻴﺔ اﻟﺘﻲ دأب ﻋﲆ إرﺳﺎﻟﻬﺎ‬ ‫ﻟﻠﻤﺠﻼت وﻧﺎﴍي اﻟﻜﺘﺐ‪ ،‬ﻟﻜﻦ مل ﻳﺴﺘﻄﻊ ﻋﻴﺪ‬ ‫وﻻ ﺻﺪﻳﻖ ﺑريم اﻟﺬي اﻟﺘﻘﺎه ﺑﻔﺮﻧﺴﺎ زﻛﺮﻳﺎ أﺣﻤﺪ‬ ‫إﻗﻨﺎع ٍأي ﻣﻦ اﳌﺴﺆوﻟني ﺑﺎﻟﺘﻮﺳﻂ ﻟﺪى اﻟﻘﴫ‬ ‫ﻟﻠﻌﻔﻮ ﻋﻨﻪ‪ ،‬ﻓام ﻛﺎن ﻣﻨﻪ ﺳﻮى اﻟﻬﺮب ﻣﺮة ﺛﺎﻧﻴﺔ‬ ‫ﺑﻌﺪ ﺗﺮﺣﻴﻠﻪ ﻣﻦ ﺑﺎرﻳﺲ إﱃ ﺗﻮﻧﺲ وﻣﻨﻬﺎ إﱃ‬ ‫ﺳﻮرﻳﺎ ﻗﺒﻞ أن ﻳﺆﻣﺮ ﺑﱰﺣﻴﻠﻪ إﱃ دوﻟﺔ إﻓﺮﻳﻘﻴﺔ‪،‬‬ ‫وﺣﻴﻨﻬﺎ ﻫﺮب اﻟﺘﻮﻧﴘ وﻧﺰل مبﴫ ﺑﺒﻴﺖ اﺑﻨﺘﻪ‬ ‫ﻟرياﺳﻞ ﺻﺪﻳﻘﻪ اﻟﺸﺎﻋﺮ ﻛﺎﻣﻞ اﻟﺸﻨﺎوي‪.‬‬ ‫ﺗﻮﺳﻂ اﻟﺸﻨﺎوي ﻟﺒريم ﻋﻨﺪ أﻧﻄﻮن اﻟﺠﻤﻴﻞ رﺋﻴﺲ‬ ‫ﺗﺤﺮﻳﺮ اﻷﻫﺮام ﻋﺎم ‪ 1938‬ﻟﻨﴩ أﺣﺪ أزﺟﺎﻟﻪ‬ ‫اﻟﺬي ﻳﺤيك ﺗﻐﺮﻳﺒﺘﻪ اﻷﻟﻴﻤﺔ اﻟﺘﻲ ﻗﺎرﺑﺖ ‪20‬‬ ‫ﻋﺎ ًﻣﺎ‪ ،‬وﻓﻮﺟﻰء اﻟﺸﺎﻋﺮ ﺑﻘﺼﻴﺪﺗﻪ اﻟﺰﺟﻠﻴﺔ ﻫﺬه‬ ‫ﻣﻨﺸﻮرة ﰲ اﻟﺼﻔﺤﺔ اﻷوﱃ ﻣﻦ ﺟﺮﻳﺪة اﻷﻫﺮام‪،‬‬ ‫وﻧﻘﻞ ﻟﻪ اﻟﺸﻨﺎوي ﻣﺎ رواه اﻟﺠﻤﻴﻞ ﻣﻦ أن‬ ‫ﻣﺤﻤﺪ ﻣﺤﻤﻮد رﺋﻴﺲ اﻟﻮزراء وﻣﺤﻤﻮد ﻓﻬﻤﻲ‬ ‫اﻟﻨﻘﺮاﳾ وزﻳﺮ اﻟﺪاﺧﻠﻴﺔ‪ ،‬وأﺣﻤﺪ ﺣﺴﺎﻧني اﻷﻣني‬ ‫اﻷول ﰲ اﻟﻘﴫ‪ ،‬ﻣﻦ أﺷﺪ اﳌﻌﺠﺒني ﺑﺼﺎﺣﺐ‬ ‫"اﻟﺴﻴﺪ وﻣﺮاﺗﻪ ﺑﺒﺎرﻳﺲ"‪:‬‬ ‫"ﻏﻠﺒﺖ اﻗﻄﻊ ﺗﺬاﻛﺮ‪ /‬وﺷﺒﻌﺖ ﻳﺎرب ﻏﺮﺑﺔ‪ /‬ﺑني‬ ‫اﻟﺸﻄﻮط واﻟﺒﻮاﺧﺮ‪ /‬وﻣﻦ ﺑﻼدﻧﺎ ﻷوروﺑﺎ‪ /‬وﻗﻠﺖ‬ ‫ﻋﲆ اﻟﺸﺎم أﺳﺎﻓﺮ‪.‬‬

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‫اﻟﻌﺪد ‪ ، 75‬ﻓﺒﺮاﻳﺮ ‪2019‬‬

‫‪źǶƉǕŌ ǲƂǷƫ‬‬

‫ﺑﻌﺪ واﻗﻌﺔ اﻷﻫﺮام ﺻﺪر اﻟﻌﻔﻮ ﻋﻦ اﻟﺘﻮﻧﴘ‪،‬‬ ‫ﻟﻴﺴﺘﺄﻧﻒ رﺣﻠ ًﺔ ﻗﻄﻌﻬﺎ اﳌﻨﻔﻰ وأﻓــﺮط ﰲ‬ ‫إﺛﻘﺎﻟﻬﺎ ﺑﺎﳌﺮارة واﻟﻘﺴﻮة‪ ،‬ﻟﻜﻨﻪ مل ﻳﺆﺛﺮ ﺑﺤﺎلٍ‬ ‫ﻋﲆ ﻋﻄﺎﺋﻪ اﻟﺸﻌﺮي واﻷديب‪ ،‬إذ ﻛﺎﻧﺖ اﻟﻜﺘﺎﺑﺔ‬ ‫ﺳﻠﻮاﻧﻪ اﻟﻮﺣﻴﺪ ﰲ ﻣﻨﻔﺎه اﻟﺬي اﺳﺘﻐﺮق ﻏﺎﻟﺒﻴﺔ‬ ‫ﺳﻨﻮات ﺷﺒﺎﺑﻪ‪ ،‬ورﻏﻢ أن أﻛرثﻫﺎ ﻛﺎن وﺳﻴﻠ ًﺔ‬ ‫ﻟﻠﻌﻴﺶ إﻻ أﻧﻬﺎ متﺘﻌﺖ ﺑﺎﻟﻘﻴﻤﺔ اﻟﻔﻨﻴﺔ ودﺷﻨﺘﻪ‬ ‫أﻣرياً ﻟﻠﺰﺟﻞ وﻣﺆﺳﺴﺎً ﻟﺸﻌﺮ اﻟﻌﺎﻣﻴﺔ اﻟﺬي‬ ‫ازدﻫﺮ ﻓﻴام ﺑﻌﺪ ﻋﲆ ﻳﺪ أﺳﺎﻃﻴﻨﻪ‪ :‬ﻓﺆاد ﺣﺪاد‬ ‫وﻓﺆاد ﻗﺎﻋﻮد وﺻﻼح ﺟﺎﻫني واﻷﺑﻨﻮدي وﺳﻴﺪ‬ ‫ﺣﺠﺎب وﻧﺠﻢ وﻣﻦ ﺗﻼﻫﻢ‪.‬‬ ‫ﻛﺎن ﺑريم ﺑﺤﺎﺟﺔ إﱃ ﻫﺪﻧﺔ وﺑﻌﺾ اﻟﺴﻼم‬ ‫واﻟﻄأمﻧﻴﻨﺔ ﻟﺬا ﺗﺨﻔﻒ ﻣﻦ ﻧﻘﺪه اﻟﺴﻴﺎﳼ‬ ‫واﻟﺴﻴﺎﳼ ﻓﻘﻂ؛ ﻓﻤﻌﺮوف ﻋﻦ ﺑريم ﻣامرﺳﺘﻪ‬ ‫ﻷﻋﲆ درﺟــﺎت اﻟﻨﻘﺪ اﻟﺴﻴﺎﳼ واﻻﺟﺘامﻋﻲ‬ ‫ﺑﺸﻜﻞ ﻛــﺎن ﻳﻮﻗﻌﻪ ﰲ اﳌﺸﻜﻼت‬ ‫واﻷديب‬ ‫ٍ‬ ‫واﻟﺨﻼﻓﺎت ﻋﲆ اﻟﺪوام‪ً ،‬‬ ‫وﻓﻀﻼ ﻋﻦ ﻣﺸﺎﻛﺴﺎﺗﻪ‬ ‫اﻟﺴﻴﺎﺳﻴﺔ اﳌﺒﻜﺮة ﻟﻠﺤﻜﻮﻣﺎت واﻻﺣﺘﻼل‬ ‫وﻛﺬا ﺑﻌﺾ أﻃﻴﺎف اﳌﻌﺎرﺿﺔ‪ ،‬وﺻﺪاﻣﺎﺗﻪ ﻣﻊ‬ ‫اﳌﻮروﺛﺎت اﻻﺟﺘامﻋﻴﺔ اﻟﺒﺎﻟﻴﺔ اﻟﺘﻲ ﻛﺜرياً ﻣﺎ ﻗﺴﺎ‬ ‫ﺧﻼﻟﻬﺎ ﻋﲆ اﳌﺮأة ﺗﺤﺪﻳﺪاً ﺑﻮﺻﻔﻬﺎ ﺿﺤﻴﺘﻬﺎ‬ ‫وﻣﻜﺮﺳﺘﻬﺎ ﰲ آن‪ ،‬ﻛﺎن ﺑريم ﴏﻳﺢ اﻟﻨﻘﺪ ﺣﺘﻰ‬ ‫ﻟﺰﻣﻼﺋﻪ اﻟﺸﻌﺮاء واﻟﻔﻨﺎﻧني‪ ،‬ﺣﺘﻰ أﻧﻪ ﺳﺨﺮ‬ ‫ﻣﻦ ﺷﻌﺮ أﺣﻤﺪ راﻣﻲ وأﻏﻨﻴﺎت ﻋﺒﺪ اﻟﻮﻫﺎب‬ ‫وأﻋﻠﻦ ﺳﺨﺮﻳﺘﻪ ﴏاﺣﺔ ﰲ ﻣﻮﻧﻮﻟﻮج " ﻳﺎ أﻫﻞ‬

‫اﳌﻐﻨﻰ وﺟﻌﺘﻮا دﻣﺎﻏﻨﺎ" ‪.‬‬ ‫رمبﺎ ﻟﺬﻟﻚ مل ﻳﻐﻦ ﻋﺒﺪ اﻟﻮﻫﺎب ﻣﻦ ﻛﻠامت‬ ‫ﺑريم اﻟﺘﻮﻧﴘ ﺳﻮى أﻏﻨﻴﺔ واﺣــﺪة ﻫﻲ "ﻣﺎ‬ ‫اﺣﻼﻫﺎ ﻋﻴﺸﺔ اﻟﻔﻼح"‪ ،‬ﺑﻴﻨام ﻏﻨﻰ ﻣﻦ ﻛﻠامﺗﻪ‬ ‫أﻫــﻢ ﻣﻄﺮيب ﻫــﺬه اﻟﻔﱰة‪ :‬ﻓﺮﻳﺪ اﻷﻃــﺮش‪،‬‬ ‫وأﺳﻤﻬﺎن‪ ،‬وﻣﺤﻤﺪ اﻟﻜﺤﻼوي‪ ،‬وﺷﺎدﻳﺔ‪ ،‬وﻧﻮر‬ ‫اﻟﻬﺪى‪ ،‬وﻣﺤﻤﺪ ﻓــﻮزي وﻏريﻫﻢ‪ ،‬ﺑﺎﻹﺿﺎﻓﺔ‬ ‫ﻟﻌﺪﻳﺪ اﻷﻋامل اﻹذاﻋﻴﺔ واﳌﴪﺣﻴﺎت واﻟﺴري‬ ‫اﻟﺘﺎرﻳﺨﻴﺔ اﳌﻜﺘﻮﺑﺔ ﻋﲆ ﻏﺮار اﻟﺴري اﻟﺸﻌﺒﻴﺔ‬ ‫ﻛـ"ﻋﺰﻳﺰة وﻳﻮﻧﺲ"‪ ،‬وﺣﺘﻰ اﻟﻔﻮازﻳﺮ اﻟﺬي ﻛﺎن‬ ‫أول ﻣﻦ ﻗﺪﻣﻬﺎ ﺑﺎﻹذاﻋﺔ اﳌﴫﻳﺔ ﰲ رﻣﻀﺎن‬ ‫وﺗﻄﻮرت ﻣﻦ ﺑﻌﺪه ﻋﲆ ﻳﺪ ﻛﺘﺎب وﻓﻨﺎين‬ ‫اﻷﺟﻴﺎل اﻟﺘﺎﻟﻴﺔ‪.‬‬ ‫ﰲ ﻋﺎم ‪ 1954‬ﺗﺤﻘﻖ ﺣﻠﻢ اﻟﺘﻮﻧﴘ ﺑﺤﺼﻮﻟﻪ‬ ‫ﻋﲆ اﻟﺠﻨﺴﻴﺔ اﳌﴫﻳﺔ ﻣﻦ ﺣﻜﻮﻣﺔ ﺛﻮرة ﻳﻮﻟﻴﻮ‬ ‫ﺗﻘﺪﻳﺮاً ﻟﻨﻀﺎﻟﻪ اﻟﻮﻃﻨﻲ ﻃﻮال اﻟﻌﻘﻮد اﻟﺴﺎﺑﻘﺔ‪،‬‬ ‫وﻷﻧﻪ ﻛﺎن ﻣﻦ اﳌﺮﺣﺒني ﺑﺎﻟﺜﻮرة اﻟﺘﻲ رأى أن‬ ‫أﻫﺪاﻓﻬﺎ اﻟﺴﻴﺎﺳﻴﺔ واﻻﺟﺘامﻋﻴﺔ ﻛﺎﻧﺖ ﻧﻔﺴﻬﺎ‬ ‫اﻟﺘﻲ ﻧﺎدي ﺑﻬﺎ ﻣﻊ زﻣﻼﺋﻪ ﻣﻨﺬ ﺛﻮرة ‪.1919‬‬ ‫وﰲ ﻋﺎم ‪ 1960‬ﻣﻨﺤﻪ ﺟامل ﻋﺒﺪ اﻟﻨﺎﴏ ﺟﺎﺋﺰة‬ ‫اﻟﺪوﻟﺔ اﻟﺘﻘﺪﻳﺮﻳﺔ ﰲ اﻟﻌﻠﻮم واﻵداب‪ ،‬ﻟريﺣﻞ‬ ‫ﺑﻌﺪﻫﺎ ﺑﺸﻬﻮر ﻗﻠﻴﻠﺔ‪ ،‬ﻓﺘﺒﻜﻴﻪ أم ﻛﻠﺜﻮم ﻋﲆ‬ ‫اﻟﻬﻮاء أﺛﻨﺎء ﺣﻔﻠﻬﺎ ﺑﺤﺪﻳﻘﺔ اﻷزﺑﻜﻴﺔ وﺗﻐﻨﻲ‬ ‫ﻣﻦ ﻛﻠامﺗﻪ "اﻟﺤﺐ ﻛﺪة"‪.‬‬ ‫وﺑﻌﺪ أرﺑﻌني ﻳﻮﻣﺎً ﻓﻘﻂ ﻣﻦ رﺣﻴﻞ ﺑريم ﻟﺤﻖ ﺑﻪ‬ ‫زﻛﺮﻳﺎ أﺣﻤﺪ ﺻﺪﻳﻖ روﺣﻪ اﻟﺬي ﻋﻮض اﻟﻐﻴﺎب‬ ‫اﳌﺒﻜﺮ ﻟﺘﻮأﻣﻪ اﻷول ﺳﻴﺪ دروﻳﺶ‪ ،‬اﻟﺬي رﺣﻞ‬ ‫وﺑريم ﰲ اﳌﻨﻔﻰ؛ رﺣﻞ ﺑريم وزﻛﺮﻳﺎ ﻣﻦ دون‬ ‫أن ﻳﺸﻬﺪا اﻟﺤﻔﻞ اﻷول ﻟﺮاﺋﻌﺘﻬام اﻟﺘﻲ ﻏﻨﺘﻬﺎ‬ ‫أم ﻛﻠﺜﻮم "ﻫﻮ ﺻﺤﻴﺢ اﻟﻬﻮى ﻏﻼب" وأﻫﺪﺗﻬﺎ‬ ‫ﻟﺮوﺣﻴﻬام‪ ،‬واﺧﺘﺎرت أن ﺗﻮاﺻﻞ ﻏﻨﺎء ﻛﻠامت‬ ‫ﺑريم ﺑﺄﻟﺤﺎن ﺻﺪﻳﻘﻬﺎ اﻟﻘﺪﻳﻢ رﻳﺎض اﻟﺴﻨﺒﺎﻃﻲ‬ ‫ﺣﺘﻰ اﻟﺴﻨﻮات اﻟﻘﻠﻴﻠﺔ اﻟﺴﺎﺑﻘﺔ ﻋﲆ رﺣﻴﻠﻬﺎ‬ ‫ﻣﻨﺘﺼﻒ اﻟﺴﺒﻌﻴﻨﻴﺎت‪.‬‬ ‫وﻟﻠﻴﻮم ﻳﻈﻞ ﺑريم ﺷﻌﺮاً وأدﺑ ـﺎً وﺳرية ﺣﻴﺎة‬ ‫ﻣﻠﻬﻤﺔ وﻣﺪﻫﺸﺔ‪ ،‬ﻣﺤﻞ ﻋﺪﻳﺪ ﻣﻦ اﻟﺪراﺳﺎت‬ ‫اﻟﻌﺮﺑﻴﺔ واﻻﺳﺘﴩاﻗﻴﺔ اﻟﺘﻲ ﺗﺴﻔﺮ ﻋﲆ اﻟﺪوام‬ ‫ﻣﺆﻟﻔﺎت وأﻋامﻻً ﻓﻨﻴﺔ ﺗﺤﺎول ﻣﻘﺎرﺑﺔ ﻫﺬه‬ ‫ٍ‬ ‫اﻟﺮوح اﻟﺜﺎﺋﺮة واﳌﺜﺎﺑﺮة واﻟﻌﺎﺷﻘﺔ‪.‬‬

‫ﺟﺪاً ﻣﻦ اﻟﻘﺮن اﻟﻌﴩﻳﻦ‪ ،‬ﺑﺎﻟﺘﻮازي ورمبﺎ أﺳﺒﻖ‬ ‫ﻣﻦ رﺣﻠﺔ أم ﻛﻠﺜﻮم ﻧﻔﺴﻬﺎ‪ ،‬ﰲ ﺧﻀﻢ ﺛﻮرة‬ ‫‪ ،1919‬وﺑﺎﻟﻘﺮب ﻣﻦ ﻣﻐﻨﻴﻬﺎ اﻟﺜﺎﺋﺮ اﳌﺆﺳﺲ‬ ‫اﻟﺸﻴﺦ ﺳﻴﺪ دروﻳﺶ‪ ،‬ﻟﻴﺜﻤﺮ ﻫﺬا اﻟﻘﺮب ﻋﺪداً‬ ‫ﻣﻦ اﻷﻏﺎين اﻟﻮﻃﻨﻴﺔ‪ ،‬وأوﺑﺮﻳﺖ ﺷﻬرياً ﻛﺘﺒﻪ‬ ‫ﺑريم ﻟﻠﺸﻴﺦ ﺳﻴﺪ ﺑﻌﻨﻮان "ﺷﻬﺮزاد"‪ ،‬ﻣﻘﺘﺒﺴﺔ‬ ‫أﺣــﺪاﺛــﻪ ﻣﻦ أوﺑــﺮﻳــﺖ "دوﻗــﺔ ﺟريوﻟﺴﺘني‬ ‫اﻟﻜﺒرية" ﻟﻠﻜﺎﺗﺒني اﻟﻔﺮﻧﺴﻴني‪ :‬ﻣﻴﻠﻬﺎك وﻫﺎﻟﻴﻔﻲ‪،‬‬ ‫وﻛﺎن ﺿﻤﻦ أﺑﺮز ﻣﺤﻄﺎت ﺻﺪام اﻟﺘﻮﻧﴘ ﻣﻊ‬ ‫اﻟﺮﻗﺎﺑﺔ ﰲ ﻣﴫ‪ ،‬إذ ﻛﺎن اﺳﻤﻪ اﻷول "ﺷﻬﻮزاد"‬ ‫ﰲ إﺷــﺎرة إﱃ ﺳﻠﻮﻛﻴﺎت اﻷﴎة اﳌﺎﻟﻜﺔ ﰲ‬ ‫ذﻟﻚ اﻟﻮﻗﺖ‪ ،‬ﻓﺎﺿﻄﺮ ﻟﺘﻐﻴريه إﱃ "ﺷﻬﺮزاد"‪،‬‬ ‫وﺿﻤﻨﻪ ﺟﺎءت أﻏﻨﻴﺔ ﺳﻴﺪ دروﻳﺶ اﻟﺸﻬرية‬ ‫اﳌﻮﺟﻬﺔ ﻟﻼﺣﺘﻼل اﻻﻧﺠﻠﻴﺰي‪ ":‬أﻧﺎ اﳌﴫي‬ ‫ﻛﺮﻳﻢ اﻟﻌﻨﴫﻳﻦ‪ /‬ﺑﻨﻴﺖ اﳌﺠﺪ ﺑني اﻷﻫﺮﻣني‪/‬‬ ‫ﺟﺪودي أﻧﺸﺄوا اﻟﻌﻠﻢ اﻟﻌﺠﻴﺐ‪ /‬وﻣﺠﺮى اﻟﻨﻴﻞ‬ ‫ﰲ اﻟﻮادي اﻟﺨﺼﻴﺐ"‪.‬‬ ‫ﻗﺒﻞ ﻫﺬا اﻟﻠﻘﺎء اﻟﺬي ﺗﺮك أﺛﺮه ﻋﲆ ﻟﻐﺘﻪ‪،‬‬ ‫ﺑﺪأ ﺑريم ﻛﺸﺎﻋﺮ ﻓﺼﺤﻰ وﺣﻤﻠﺖ أوﱃ وأﺷﻬﺮ‬ ‫ﻗﺼﺎﺋﺪه اﺳﻢ "اﳌﺠﻠﺲ اﻟﺒﻠﺪي" اﻟﺬي ﻓﻮﺟﺊ‬ ‫اﻟﺸﺎﻋﺮ ﺑﻔﺮﺿﻪ ﴐاﺋــﺐ ﺑﺎﻫﻈﺔ ﻋﲆ ﺑﻴﺘﻪ‬ ‫وﻣﺤﻞ ﻋﻤﻠﻪ‪ ،‬ﻓﻜﺘﺐ ﻗﺼﻴﺪﺗﻪ اﻟﻬﺰﻟﻴﺔ اﻟﺘﻲ‬ ‫ذاﻋــﺖ ﺷﻬﺮﺗﻬﺎ ﻓﻄﺒﻌﻬﺎ وﺑــﺎع ﺣــﻮاﱄ ﻣﺎﺋﺔ‬ ‫أﻟﻒ ﻧﺴﺨﺔ‪ ،‬ﺑﻞ ومتﺖ ﺗﺮﺟﻤﺘﻬﺎ ﺑﻄﻠﺐ ﻣﻦ‬ ‫ﻣﻮﻇﻔﻲ اﳌﺠﻠﺲ ﻏري اﻟﻌﺎرﻓني ﺑﺎﻟﻠﻐﺔ اﻟﻌﺮﺑﻴﺔ‪،‬‬ ‫ﻟﻜﻦ ﴎﻋﺎن ﻣﺎ أدرك ﺑريم ﻋﺪم ﻓﻌﺎﻟﻴﺔ اﻟﺸﻌﺮ‬ ‫اﻟﻔﺼﻴﺢ ﰲ ﺑﻠﺪ ﻏﺎﻟﺒﻴﺘﻪ ﻣﻦ اﻷﻣﻴني اﻟﻔﻘﺮاء‪..‬‬ ‫"ﻳﺎ ﺑﺎﺋﻊ اﻟﻔﺠﻞ ﺑﺎﳌﻠﻴﻢ واﺣﺪ ًة‬ ‫ﻛﻢ ﻟﻠﻌﻴﺎل وﻛﻢ ﻟﻠﻤﺠﻠﺲ اﻟﺒﻠﺪي‬ ‫ﻛﺄن أﻣﻲ ﱠ‬ ‫ﺑﻞ اﻟﻠﻪ ﺗﺮﺑﺘﻬﺎ‬ ‫أوﺻﺖ ﻓﻘﺎﻟﺖ‪ :‬أﺧﻮك اﳌﺠﻠﺲ اﻟﺒﻠﺪي‬ ‫أﺧﴙ اﻟﺰواج ْ‬ ‫ﻓﺈن ﻳﻮم اﻟﺰﻓﺎف أىت‬ ‫ﻳﺒﻐﻲ ﻋﺮوﳼ ﺻﺪﻳﻘﻲ اﳌﺠﻠﺲ اﻟﺒﻠﺪي‬ ‫أو رمبﺎ وﻫﺐ اﻟﺮﺣﻤﻦ ﱄ وﻟﺪاً‬ ‫ﰲ ﺑﻄﻨﻬﺎ ﻳﺪﻋﻴﻪ اﳌﺠﻠﺲ اﻟﺒﻠﺪي"‪.‬‬

‫ ‪ ŧǔǘŽǶ ǻżƚƳ ƉƫōƖǉ ǖƉǾş Őƃş‬‬ ‫‪ ǗƓŌ Ǣƃȃōƚǃ ƉǤƗŐǶ ǻǕǶŐ‬‬ ‫ ‪ ŋǽŵǷƳ ǼƅǕŌ ǼƃǔŞǕŌ ƑǔŴǘǕŌ‬‬ ‫‪ ǳƦǥōş ŝȃŌƉƟ ǣƟƉƲş ƉƫōƖǕŌ‬‬ ‫‪ǣǔǘƫ ǓżǙǶ ǣŨǾş ǻǔƫ‬‬ ‫‪ ƃǾŽǷǕŌ ǣǝŌǷǔƓ ǳşōŨǈǕŌ ŧǝōǉ‬‬ ‫‪ ǳǾŞǕōƯ ǀƉƮŨƓŌ ǼƅǕŌ ǢōƲǜǙ ǽƳ‬‬ ‫‪ǣşōŞƗ ŦŌǷǜƓ‬‬ ‫‪ ǻŨŽ ƃǂǜǕŌ ŻǿƉƛ ǖƉǾş ǚōǉ‬‬ ‫‪ ǻŨŽ ɐǛǾǝōǜƲǕŌǶ ŋŌƉƪƖǕŌ ǣȃȎǙƋǕ‬‬ ‫‪ ǽǙŌƈ ƃǘŽŐ ƉƪƗ ǛǙ ƉƀƓ ǣǝŐ‬‬ ‫‪ŜōǥǷǕŌ ƃŞƫ ŦōǾǜƯŐǶ‬‬

‫ﻟﺒﺎرﻳﺲ‪ ،‬ﺑﻌﺪ ﺗﻜﺮار ﻫﺠﻮﻣﻪ ﻋﲆ اﳌﻠﻚ ﻓﺆاد‬ ‫وﻋﺎﺋﻠﺘﻪ ﰲ ﻗﺼﻴﺪﺗﻪ اﻟﺘﻲ ﺣﻤﻠﺖ ﻋﻨﻮان‬ ‫"اﻟﺒﺎﻣﻴﺔ اﳌﻠﻮيك واﻟﻘﺮع اﻟﺴﻠﻄﺎين"‪ ،‬وﺑﺘﻮﺻﻴﺔ‬ ‫ﻣﻦ زوج اﺑﻨﺘﻪ اﻷﻣرية ﻓﻮﻗﻴﺔ اﻟﺬي ﻛﺎن ﻣﺤﺎﻓﻈﺎً‬ ‫ﻟﻠﻘﺎﻫﺮة آﻧﺬاك‪ ،‬ﺣﻴﺚ ﻫﺎﺟﻤﻪ ﺑريم ﰲ ﻣﻘﺎل‬ ‫ﺑﻌﻨﻮان "ﻟﻌﻨﺔ اﻟﻠﻪ ﻋﲆ اﳌﺤﺎﻓﻆ"‪.‬‬ ‫‪ǻƲǜǘǕŌ ǳǜżǙ‬‬ ‫وﻫﻨﺎك ورﻏﻢ وﺟﻮده ﰲ ﻣﺪﻳﻨﺔ اﻟﻨﻮر‪ ،‬مل ﻳﺸﺒﻪ‬ ‫ﻋﻨﺪﻣﺎ ﺑﺪأ ﻋﺮض أوﺑﺮﻳﺖ "ﺷﻬﺮزاد" ﰲ ﻣﴫ‪ ،‬ﻣﻨﻔﻰ ﺑريم ﻣﻨﻔﻰ ﺷﻮﻗﻲ ﺑﺈﺳﺒﺎﻧﻴﺎ اﻟﺬي ﺧﻠﺪﺗﻪ‬ ‫ﻛﺎن ﺑريم اﻟﺘﻮﻧﴘ ﻗﺪ ﻧﻔﻲ إﱃ ﺗﻮﻧﺲ وﻣﻨﻬﺎ ﻗﺼﺎﺋﺪه اﻟﺸﻬرية ﺑﺎﻷﻧﺪﻟﺴﻴﺎت‪ ،‬وﻻ ﻣﻨﻔﻰ‬

‫اﻟﺸﺎﻋﺮ اﻷﻣري أيب ﻓﺮاس اﻟﺤﻤﺪاين اﻟﺬي روﺗﻪ‬ ‫ﻗﺼﺎﺋﺪه اﳌﻌﺮوﻓﺔ ﺑﺎﻟﺮوﻣﻴﺎت‪ ،‬ﻓﻬﻮ مل ﻳﻜﻦ‬ ‫أﻣرياً ﻛﺎﻟﺤﻤﺪاين وﻻ ﻗﺮﻳﺒﺎً ﻣﻦ اﻟﻘﴫ ﻛﺸﻮﻗﻲ‪،‬‬ ‫ﺑﻞ ﻛﺎن ﻣﻐﻀﻮﺑﺎً ﻋﻠﻴﻪ ﰲ ﻣﴫ اﻟﺘﻲ ﻋﺎش‬ ‫ﻓﻴﻬﺎ أﻏﻠﺐ ﺣﻴﺎﺗﻪ ﺑﻼ ﺟﻨﺴﻴﺔ وﻋﻨﺪﻣﺎ ُأﺑﻌﺪ‬ ‫ﻟﺘﻮﻧﺲ ‪ -‬وﻃﻦ أﺟﺪاده ‪ -‬ﻃﺎردﺗﻪ ﻟﻌﻨﺔ اﻧﺠﻠﱰا‬ ‫واﻟﻘﴫ ﻫﻨﺎك‪ ،‬ﻓﺄﻓﺴﺪت ﻋﻠﻴﻪ أي ﻣﺤﺎوﻟﺔ‬ ‫ﻟﻠﺘﻌﺎون ﻣﻊ ﻣﺜﻘﻔﻲ ﺗﻮﻧﺲ‪ ،‬أﻣﺎ أﻫﻠﻪ ﺑﻬﺎ ﻓﻘﺪ‬ ‫ﺗﻬﺮﺑﻮا ﻣﻨﻪ وأﻧﻜﺮوه ﺧﺸﻴﺔ أن ﻳﻄﺎﻟﺐ ﺑﺈرث‬ ‫ﻋﺎﺋﻠﺘﻪ ﻓﻐﺎدرﻫﺎ إﱃ ﻓﺮﻧﺴﺎ اﻟﺘﻲ ﻛﻠام ﻓﺮ ﻣﻦ‬ ‫ﺑﺮودة ﻣﺪﻳﻨ ٍﺔ ﺑﻬﺎ ﺻﺤﺒﺘﻪ ﻟﻸﺧﺮى‪ ،‬ﻣﻀﺎﻓﺎً إﱃ‬ ‫ذﻟﻚ ﻣﻜﺎﺑﺪﺗﻪ اﻟﻔﻘﺮ واﻟﺠﻮع اﻟﺬي ﺧﻠﺪه ﰲ‬ ‫ﺻﻔﺤﺎت ﺗﻘﻄﺮ ﻣﺮار ًة ﰲ ﻣﺬﻛﺮاﺗﻪ‪:‬‬ ‫ٍ‬ ‫"اﻷوﻟﺔ ﻣﴫ ﻗﺎﻟﻮا ﺗﻮﻧﴘ وﻧﻔﻮين‪ /‬واﻟﺘﺎﻧﻴﺔ‬ ‫ﺗﻮﻧﺲ ﻓﻴﻬﺎ اﻷﻫﻞ ﺟﺤﺪوين‪ /‬واﻟﺘﺎﻟﺘﺔ ﺑﺎرﻳﺲ‬ ‫وﻓﻴﻬﺎ اﻟﻜﻞ ﻧﻜﺮوين"‪.‬‬ ‫ّ‬ ‫ﻣﺎ ﺑني اﻟﺠﻮع اﻟﺬي مل ﻳﺴﻜﻨﻪ ﺳﻮى ﺣﺼﻮل‬ ‫ﻋﻤﻞ ﺷﺎقٍ ﰲ ﻣﺪﻳﻨﺔ ﻟﻴﻮن اﻟﻔﺮﻧﺴﻴﺔ‬ ‫ﺑريم ﻋﲆ ٍ‬ ‫اﳌﺸﻬﻮرة ﺑﺎﻟﺼﻨﺎﻋﺔ اﻟﺜﻘﻴﻠﺔ‪ ،‬واﳌﺮض اﻟﺬي ﺑﺪأ‬ ‫ﻳﺘﴪب ﻟﺠﺴﺪه ﻣﻦ ﻓﺮط ﺗﻌﺮﺿﻪ ﻟﻠﻐﺎزات‬ ‫اﻟﻀﺎرة ﰲ ﻋﻤﻠﻪ‪ ،‬ﻛﺎن ﺑريم ﻣﻬﻤﻮﻣﺎً أﻳﻀﺎً ﺑﺰوﺟﺘﻪ‬ ‫وأﻃﻔﺎﻟﻪ اﻟﺬﻳﻦ ﺗﺮﻛﻬﻢ وراءه ﰲ اﻹﺳﻜﻨﺪرﻳﺔ‪،‬‬ ‫ﻓﻨﺠﺢ ﺑﻌﺪ ﺟﻬ ٍﺪ ﰲ اﻟﺘﻮاﺻﻞ ﻣﻊ ﺻﺤﻴﻔ ٍﺔ‬ ‫ﺳﺎﺧﺮة ﺑﺎﻟﻘﺎﻫﺮة ﺗﺪﻋﻰ "اﻟﺸﺒﺎب" اﺗﻔﻖ ﻣﻊ‬ ‫ﻣﺤﺮرﻫﺎ أن ﻳﺮﺳﻞ إﻟﻴﻪ أﺷﻌﺎراً وأزﺟــﺎﻻً ﻣﻦ‬ ‫ﻣﻨﻔﺎه ﻣﻘﺎﺑﻞ أن ﻳﺮﺳﻞ ﺑﻌﺾ اﻟﻨﻘﻮد ﻟﺰوﺟﺘﻪ‬ ‫ﻟﺘﻮﻓري اﻟﺴﻜﻦ واﻟﻄﻌﺎم‪.‬‬ ‫ﻗﴣ ﺑريم ﻫﻨﺎك ﻗﺮاﺑﺔ اﻟﻌﺎﻣني‪ ،‬وﳌﺎ اﺷﺘﺪ ﺑﻪ‬ ‫اﻟﺤﻨني ﺗﺤﺎﻳﻞ ﺑﺎﺧﺘﺼﺎر اﺳﻤﻪ ﰲ وﺛﻴﻘﺔ اﻟﺴﻔﺮ‬ ‫وﻋﺎد ﻣﺘﺨﻔﻴﺎً إﱃ ﻣﴫ ﻋﺎم ‪ ،1922‬ومل ﻳﻄﻖ‬ ‫اﻟﺒﻌﺪ ﻋﻦ اﻟﻌﻤﻞ اﻟﺴﻴﺎﳼ واﻟﻨﻘﺪ اﻻﺟﺘامﻋﻲ‪،‬‬ ‫ﻓﺬﻫﺐ إﱃ ﺻﺎﺣﺐ ﺻﺤﻴﻔﺔ اﻟﺸﺒﺎب اﻟﺘﻲ ﻛﺎن‬ ‫ﻳﺮاﺳﻠﻬﺎ ﻣﻦ ﻓﺮﻧﺴﺎ واﺗﻔﻖ ﻣﻌﻪ ﻋﲆ أن ﻳﺤﺮر‬ ‫ﻟﻪ ﻣﺠﻤﻞ ﻣﻮاد ﺻﺤﻴﻔﺘﻪ ﺑﴩط أﻻ ﻳﻀﻊ اﺳﻤﻪ‬ ‫ﻋﲆ ﻫﺬه اﻷزﺟﺎل واﳌﻘﺎﻻت اﻟﺴﻴﺎﺳﻴﺔ اﻟﻨﺎرﻳﺔ‪.‬‬ ‫وﻓ ًﻘﺎ ﳌﺬﻛﺮات ﺑريم ﻛﺎﻧﺖ اﻟﻈﺮوف اﻟﺴﻴﺎﺳﻴﺔ‬ ‫ﻣﻠﺘﺒﺴﺔ وﻣﻌﻘﺪة ﰲ ﺗﻠﻚ اﻟﻔﱰة‪ ،‬واﻟﻘﴫ‬ ‫ﻣﺸﻐﻮل ﺑﺎﻟﺘﺼﺪي ﻟﻠﻤﻌﺎرﺿﺔ واﻷﺣﺰاب ﺗﺼﺎرع‬ ‫اﻹﻧﺠﻠﻴﺰ‪ ،‬وزﻋﻴﻢ ﺛﻮرة ‪ 1919‬ﻣﻨﻔﻲ ﻟﻠﻤﺮة‬ ‫اﻟﺸﻌﺮ ‪baytelshear‬‬ ‫ﺑﻴﺖ ِ‬

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‫‪şĚĮŃ şěńĴ‬‬ ‫‪ǽƳōǜǘǕŌǶ ǚōƣǶȏŌ ǣŨŞǿƉƮũ ŦƃǤƗ‬‬

‫ﺑﻴﺮم اﻟﺘﻮﻧﺴﻲ ‪ ŋǽƗ Ǔǉ ƃǂŨǝŌ ǼƅǕŌ ƉƫōƖǕŌ..‬‬ ‫‪ǓǾǘŵ Ǔǉ ǁƖƫǶ‬‬ ‫ﻋﺰة ﺣﺴﻴﻦ‬

‫ﻋﺎم ‪ 1945‬ﻋﻨﺪﻣﺎ اﺧﺘﺎرت أم ﻛﻠﺜﻮم اﻟﺸﺎﻋﺮ ﺑريم‬ ‫اﻟﺘﻮﻧﴘ )ﻣﺎرس ‪ - 1893‬ﻳﻨﺎﻳﺮ ‪ (1961‬ﻟﺘﺼﺪﱡ ر‬ ‫ﺗﱰ ﻓﻴﻠﻤﻬﺎ اﻟﺜﺎين ّ‬ ‫"ﺳﻼﻣﺔ" ﻛﻜﺎﺗﺐ ﻟﻠﺴﻴﻨﺎرﻳﻮ‬ ‫واﻟﺤﻮار وأﻏﻠﺐ أﻏﺎين اﻟﻔﻴﻠﻢ اﻟﺒﺪوي‪ ،‬اﳌﻘﺘﻄﻊ‬ ‫ﻣﻦ ﻛﻮاﻟﻴﺲ ﺗﺎرﻳﺦ اﻟﺪوﻟﺔ اﻷﻣﻮﻳﺔ‪ ،‬ﻛﺎﻧﺖ ﺗﻠﻚ‬ ‫ﺗﺠﺮﺑﺘﻪ اﻷوﱃ ﰲ اﻟﻜﺘﺎﺑﺔ ﻟﻠﺴﻴﻨام‪ ،‬ﻟﻜﻨﻪ ﻛﺎن‬ ‫زﺧﻢ ﻣﻦ‬ ‫ﻓﺎرﺳﺎً ﻳﺴﺘﺤﻖ اﻟﺮﻫﺎن ﻋﻠﻴﻪ‪ ،‬ﺑﻌﺪ ٍ‬ ‫إرث ٍ‬ ‫اﻟﺸﻌﺮ واﻟﻜﺘﺎﺑﺔ اﻟﺮواﺋﻴﺔ واﳌﴪﺣﻴﺔ واﻟﺴريﻳﺔ‬ ‫واﻟﺼﺤﺎﻓﻴﺔ‪ ،‬اﻟﺘﻲ ﺣﺮك اﻟﻨﻀﺎل ُﺟﻠﻬﺎ‪ ،‬ﻣﻦ دون‬

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‫اﻟﻌﺪد ‪ ، 75‬ﻓﺒﺮاﻳﺮ ‪2019‬‬

‫اﳌﺘﺄﺧﺮ ﺑﺎﻟﺴﺖ ﰲ اﻟﱰﺗﻴﺐ اﻟﺜﺎين ﺑني أﺻﺤﺎب‬ ‫اﻟﺮﺻﻴﺪ اﻟﺸﻌﺮي اﻷﻛﱪ ﻷﻏﻨﻴﺎت أم ﻛﻠﺜﻮم‪،‬‬ ‫ﺑﺄﻏﺎنٍ ُﻋﺪت ﻋﻼﻣ ًﺔ ﰲ ﻣﺸﻮارﻫﺎ ﻣﺜﻞ‪ :‬اﻵﻫﺎت‪،‬‬ ‫اﻟﺤﺐ ﻛﺪة‪ ،‬أﻧﺎ واﻧﺖ‪ ،‬ﺣﺒﻴﺒﻲ ﻳﺴﻌﺪ أوﻗﺎﺗﻪ‪،‬‬ ‫ﺷﻤﺲ اﻷﺻﻴﻞ‪ ،‬ﻫﻮ ﺻﺤﻴﺢ اﻟﻬﻮى ﻏﻼب‪،‬‬ ‫وﺧﺘﺎﻣﺎً ﺑﺮاﺋﻌﺘﻪ اﻟﺼﻮﻓﻴﺔ اﻟﻘﻠﺐ ﻳﻌﺸﻖ ﻛﻞ‬ ‫ﺟﻤﻴﻞ‪ ،‬اﻟﺘﻲ ﻏﻨﺘﻬﺎ ﺑﺄﻟﺤﺎن رﻳﺎض اﻟﺴﻨﺒﺎﻃﻲ‪،‬‬ ‫ﺑﻌﺪ رﺣﻴﻞ ﺑريم وزﻛﺮﻳﺎ ﺑﻌﴩ ﺳﻨﻮات‪.‬‬

‫ﺧﺼﻢ ﻣﻦ رﺻﻴﺪ اﻟﻔﻦ ﻟﺼﺎﻟﺢ اﻷﻳﺪﻳﻮﻟﻮﺟﻴﺎ‪ ،‬أو‬ ‫ٍ‬ ‫اﻻﻧﺰﻻق ﻟﻔﺦ اﻟﺘﻘﻠﻴﺪ‪.‬‬ ‫ﻛﺎﻧﺖ ﺛﻼﺛﺔ ﻋﻘﻮد ﻋﲆ اﻷﻗﻞ ﻗﺪ ﻣﺮت ﻗﺒﻞ‬ ‫ﻫﺬه اﻟﺘﺠﺮﺑﺔ‪ ،‬اﻟﺘﻲ راﻓﻘﻪ ﺧﻼﻟﻬﺎ ﺻﺪﻳﻘﻪ‬ ‫ﻛﻤﻠﺤﻦ ﻷﻏﺎين‬ ‫اﻷﻗــﺮب اﻟﺸﻴﺦ زﻛﺮﻳﺎ أﺣﻤﺪ‬ ‫ٍ‬ ‫اﻟﻔﻴﻠﻢ وﻏريﻫﺎ ﻣﻦ اﻷﻏﺎين اﻟﺘﻲ أﺑﺪﻋﺎﻫﺎ ﻷم‬ ‫ﻛﻠﺜﻮم ﻣﻨﺬ ﻃﻠﺒﺖ ﻟﻘﺎءه ﻋﺎم ‪ ،1940‬ﺣﻤﻠﺖ‬ ‫ﺑﺼﻤﺔ ﺟﺪﻳﺪة ﻋﲆ ﺻﻮﺗﻬﺎ وأداﺋﻬﺎ اﻟﺬي ﺑﺪأ‬ ‫ﻳﺴﺘﻘﻄﺐ ﺟامﻫري ﺟﺪﻳﺪة‪ ،‬ﻣﻀﺎﻓ ًﺔ ﻟﻠﺠامﻫري‬ ‫اﻟﺘﻲ اﻧﺘﺨﺒﺘﻬﺎ ﻛﺘﺎﺑﺎت أﺣﻤﺪ راﻣﻲ ﺷﺪﻳﺪة ‪ƕǿǶƈƂ ƃǾƓǶ ǖƉǾş‬‬ ‫وﻗﺖ ﻣﺒﻜ ٍﺮ‬ ‫اﻟﺮوﻣﺎﻧﺴﻴﺔ واﻟﺬاﺗﻴﺔ‪ ،‬ﻟﻴﺤﻞ ﺑريم رﻏﻢ ﻟﻘﺎﺋﻪ أﻣﺎ رﺣﻠﺔ ﺑريم ﻓﻜﺎﻧﺖ ﻗﺪ ﺑﺪأت ﰲ ٍ‬

‫‪ Ŕœħ ęŒĘĽ Įŏĭŕ‬‬

‫أﺟﻤﻞ ﻗﺼﻴﺪة‪..‬‬

‫ﻋﻠﻲ اﻟﻤﺴﻌﻮدي‬

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‫‪@allmasoudi‬‬

‫ﻳﻠﺨﺺ ﺳﻌﺪ ﺑﻦ ﺟﺪﻻن ﻋﱪ اﻟﺒﻴﺘني اﻟﺴﺎﺑﻘني ﻣﻬﻤﺔ اﻟﺸﺎﻋﺮ ﺗﺠﺎه ﻋﻤﻠﻪ اﻹﺑﺪاﻋﻲ‪ ،‬واﻟﺸﻜﻞ اﳌﻔﱰض ﻟﻠﻜﺘﺎﺑﺔ اﻟﺘﻲ‬ ‫ميﻜﻦ اﻟﺘﺼﻔﻴﻖ ﻟﻬﺎ ﺑﺎﻋﺘﺒﺎرﻫﺎ ﺷﻌﺮاً ﺟﻤﻴ ًﻼ‪.‬‬ ‫ﻓﺠامل اﻟﺸﻌﺮ ﺿﺪ اﻟﺬﻫﺎب إﱃ وﻋﻮرة اﻟﻜﻠامت أو رﻋﻮﻧﺔ اﻟﻮﺻﻒ‪ ،‬أو اﻟﺘﻜﻠﻒ ﰲ اﻟ ّﺮﺻﻒ‪ ..‬وﻫﻮ ﰲ اﻟﻮﻗﺖ ذاﺗﻪ ﻟﻴﺲ‬ ‫اﻟﺘﺴﺎﻫﻞ ﰲ اﻟﻜﺘﺎﺑﺔ‪ ،‬وﻻ اﻟﺘﻬﺎون ﰲ اﳌﻌﻨﻰ‪ ،‬وﻻ إﻋﺎدة ﺗﺼﻨﻴﻊ اﳌﺼﻨﻮع!‬ ‫اﻟﺸﻌﺮ اﻟﺠﻤﻴﻞ ﻫﻮ )اﻟﺼﻌﺐ اﻟﺴﻬﻞ( اﻟﺬي ﺗﺮاه ﻗﺮﻳﺒﺎً ﻟﻜﻨﻚ ﺗﺘﻌﺐ ﰲ اﻟﻮﺻﻮل إﻟﻴﻪ‪ ..‬واﻟﺬي ﺗﻘﻒ ﻛﻠامﺗﻪ )ﻋﲆ ﻃﺮف‬ ‫ﻟﺴﺎﻧﻚ( ﻟﻜﻨﻬﺎ ﺗﺘﻤﻨﻊ ﰲ اﻟﺨﺮوج ﻣﻦ ﺑني ﺷﻔﺘﻴﻚ‪ ،‬وﻻﺗﺪري ﻣﺎ اﻟﺴﺒﺐ!‬ ‫ﻳﺸﻘﻰ اﳌﺒﺪع ﰲ ﻛﺘﺎﺑﺘﻪ وﺻﻴﺎﻏﺘﻪ ودوزﻧﺘﻪ‪ ..‬وﻋﻨﺪﻣﺎ ﻳﻨﺸﺪه‪ ..‬ﺗﺠﺪك ﺗﺴﻤﻊ ﻛﻼﻣﺎ ﺳﻬ ًﻼ ﺑﺴﻴﻄﺎً ﻏري ﻣﺘﻜﻠﻒ‪..‬‬ ‫ﻛﻴﻒ ﺗﺴﻨﻰ ﻟﻪ أن ﻳﻔﻌﻞ ذﻟﻚ؟‬ ‫ﻫﻞ ﻧﺠﺪ اﻹﺟﺎﺑﺔ ﻓﻴام ﻗﺎﻟﻪ ﺣﺴﺎن رﴈ اﻟﻠﻪ ﻋﻨﻪ‪:‬‬ ‫‪R¥ )fE lI&* lª+ ¢‬‬ ‫ ‪ Q 0U Q&* £(QT *K‬‬ ‫‪P‬‬ ‫ ‪R lO ªU +Q‬‬ ‫‪fEQ Qz 8 ¥‬‬ ‫ ‪Q -Q z I&* *3(* f M‬‬ ‫وﻫﻞ ﻫﺬا ﻫﻮ اﻟﺴﺒﺐ‪ ..‬اﻟﺬي ﻣﻬام أﺑﺪع اﳌﺒﺪﻋﻮن‪ ،‬وﻣﻬام ﻗﺎﻟﻮا وأﻧﺸﺪوا‪ ..‬ﻟﻦ ﻧﻘﻮل ﺑﻌﺪه‪ :‬اﻛﺘﻔﻴﻨﺎ ﺷﻌﺮاً؟‬ ‫اض ﺑﻜﺮ ميﻜﻦ اﻟﺮﻛﺾ ﻓﻴﻬﺎ‪ ،‬متﺎﻣﺎً ﻛام ﻗﺎل اﺑﻮ متﺎم‪:‬‬ ‫ﺗﺒﻘﻰ ﻫﻨﺎك دامئﺎً ﻣﺴﺎﺣﺔ ﺟﺪﻳﺪة ﻟﻺﺑﺪاع‪ ،‬وأر ٍ‬ ‫‪m|EfH ¥k¡D&* | G* ¨¡ M £fF §GK‬‬ ‫‪hJ*K{G* 4§ G* · R¥¡H 9fª0‬‬ ‫‪l Å* *3(* § G* ªD ¥¡ GK‬‬ ‫‪h)ft + lg <&* ¥¡H h)ft 6‬‬ ‫‪R‬‬ ‫ﻫﻜﺬا ميﻜﻦ اﻟﺴري ﺑﺎﺗﺠﺎه اﻟﻘﺼﻴﺪة‪ ،‬ﻧﺤﻮ ﻧﻘﺪﻫﺎ وﺗﺼﻔﻴﺘﻬﺎ ﻣﻦ ﺷﻮاﺋﺒﻬﺎ‪ ،‬واﺳﺘﺨﺮاج أﺟﻤﻞ اﻷﺑﻴﺎت ﻣﻦ ﻣﻨﺎﺟﻢ اﻟﻜﻠﻢ‪..‬‬ ‫ﻓﺎﻟﻨﻘﺪ ‪-‬ﻛام ﻗﻴﻞ‪ -‬ﻫﻮ ﻣﺎء اﻟﺤﻴﺎة ﻟﻜﻞ ﻓﻜﺮ ﻳﺮﻳﺪ ﻟﻨﻔﺴﻪ أن ﻳﻮاﺻﻞ اﻟﺒﻘﺎء ﻋﲆ ﻗﻴﺪ اﻟﺤﻴﺎة‪...‬‬

‫اﻟﺸﻌﺮ ‪baytelshear‬‬ ‫ﺑﻴﺖ ِ‬

‫‪53‬‬

ĘńĴ şŉ Įı

É*2 zCCC CCCgCCCG* fCCCCCJzCCCCC<4 CCC CCC CCC CCC-K É%*K ¦fCCCCC-|CCCCC CCCCC7 fCCCgCCC CCC8 fCCCCC¤CCCCC CCCCCE*2K ÉfCCCCCÊ «CCCC CCCCªCCCC¤CCCC CCCC6 fCCCCCC C¤CCCCCCCGU hCCCCCCCCCCJK [ ÉfCCC+ uCCCgCCC CCC CCCG* ÕCCCC CCCCM* ¬|CCC CCC CCCM ¸K É*zCCCC¤CCCCG* §CCCCCCCI ÑCCCCC0 fCCCCCH jCCCC<fCCCC CCCC6K ÉfCCC CCC< m5fCCCCCCCCC0 fCCC CCC CCCF lCCCCC CCCCC CCCCC6&*K ÉfCCCCJ2 jCC CCªCC CC6 ¾(* ¦|CCCC CCCC CCCCG* ¢CCCCH É*zCCCCCCCC¼* ¦fCCCCCCCCCCCCI*2 ¢CCCCC CCCCC¼* ¬2*KK ÉfCCCCCH5 fCCCCIfCCCC CCCC CCCC6*K £|CCCCCCC¹* ¬2*KK ÉfCCCCgCCCC¼* |CCC CCC CCCÂ uCCCC CCCCªCCCCG* uCCCCªCCCC CCCC6K ÉfCCC CCC. · P£fCCCCCC CCCCCC. $fCCCCCCCCCC¼* s§CCCCCCCCÀ ÉfCCqCC¤CCªCC CC6 K&* ÑCCCC CCCC6 ¬2*K ¨CCC CCC< S£fCCCCCqCCCCCJK4 lCCCCCCCµK fCCCtCCC CCCgCCCG* ¨CCCC CCCC< ÉfCCCCC+zCCCCCG* CCCCgCCCC/ fCCCCgCCCC- jCCC P C/|CCCC CCCC CCCCH ÉfCCCCC. fCCCCCCCM|CCCCCCCH ¾(* jCCCC P C CCCCCMfCCCCC¤CCCCCH É*2 K «CCC CCC8fCCCE ¢CCCCH £*zCCCC CCCCgCCCCG* ¢CCCCH ÉfCCC¡CCC¹* jCCCgCCC0fCCC CCC6K *zCCCCCgCCCCCG* ¨CCC CCC< ÉfCCCC CCCC¼* lCCCCC CCCCCkCCCCCH*K ¦fCCCCCC CCCCCC U= CCCCC CCCCC7K ÉfCCCC< ¦fCCCCCCC/ ¿ ¦zCCCCCCCCCCCM*4 §T CCCCC CCCCC CCCCCM ÉfCCCCCgCCCCC¼* fCCCC¤CCCCªCCCCIfCCCC CCCCH · *§CCCCCCC¡CCCCCCC+K É*2 zCCC CCCgCCCG* «CCCgCCC0fCCC CCC8 *§CCCCC+fCCCCC/K ÉfCCC CCCªCCCG* uCCCªCCC CCC6 fCCCCgCCCC; ¢CCCCCCH ¥CCC¡CCC CCCG ÉfCCCCCHzCCCCCG* CCCC¡CCCC< fCCC CCC CCCnCCCH CCCCC¡CCCCC<K ÉfCCC/ ¥CCC¡CCCHfCCC¡CCC/*K hCCCªCCC+|CCC CCCG* fCCC CCCF ÉfCCCC CCCCªCCCCG* *|CCCCCCCCCC+ v¸ fCCCCCCH 2zCCCCCCCC<

vfCCC¡CCC CCC CCCG* 2§CCCC CCCC CCCCH £~CCCCCCCCCC¼* |CCCCCCCCCC=&* ifCCCtCCC CCC CCCG* CCCC CCCC7K fCCC¤CCC CCCªCCC= CCC P CªCCCC CCCC. hCCCªCCC CCC¼* zCCCCC0 ¢CCCCCH ÌCCCCCCCCCG* §CCCC CCCC CCCC7 ÔCC CC CCM fCCCCCCH fCCCC¤CCCCªCCCCD CCCCgCCCC CCCC CCCCG* CCCC CCCCM m§CCCCE§CCCCG* CC CC CCkCC¡CCH CCCCªCCCC CCCCG*K lCCC CCCG i|CC= K&* |CC P C CCC7 ¢CCCH CCCCCC94¸* lCCCCCCMK4K fCC CC CC CCG* ¾(* i§CCCC¡CCCC¹* s§CCCCqCCCCDU ¢CCCCH CCCM|CCC CCCG* uCCCªCCC CCC6 CCCCH CCCCH|CCCCG* ¬K4K ifCCCgCCC¤CCCG* 5fCCCCCCCC0 fCCCCCCCCHK ¦K~CCCCCCCCCI ¨CCCC CCCC< |CCCCMzCCCC CCCCG*K «CCCCCCÊ§CCCCCCº* CCCCCCCCH4 ¨CCCC CCCC< hCCCM{CCC CCCG* ¾(* vÑCCCCCCD ¢CCCCH lCCCC CCCC CCCC6&*K CCCCM§CCCC CCCCG*K |CCCC CCCCnCCCC<K CCCCCJfCCCCC- ¨CCCC CCCC< |CCCCCM|CCCCC»* 5fCCCCCCCCC0 fCCCCCCCCCHK fCCCCC CCCCCF ¾(* T C1K 4~CCCCCCCCCCC¼* ¨CCCC CCCC< K~CCCCCC¤CCCCCCG*K fCCCCCC CCCCC CC7§CC CC CC CCG* 5fCCCC0 fCCCCHK jCC CCqCC CC CCG* ¨CC CC< fCCCCgCCCC¹* 5fCCCCCCCC/ fCCCCCCCCHK fCCCCgCCCC CCCCF ¨CCCC CCCC< fCCC CCC CCC CCCG* · fCCC¤CCC¡CCCH 2§CCCCCCCC¹* 2fCCCCCCCC/K fCCCgCCC¹* CCCCCCC6K4 ¢CCCCH CCCªCCC CCC CCCG* ¦fCCCCCCC/K P£§CCCCG ¢CCCCCM5 hCC P C CCC CCC< CCCCCCCC94¸* m§CCCC CCCC6K zCCªCC CC+* ¢CCCCCH «CCCE§CCC CCC7 «CCCCC0 *§CCCCC+fCCCCC/K §CCC CCC¤CCCG* hCCC CCC< ¢CCCCCH §CCCCC¡CCCCCG* ifCCCCCCC:K 4§CCC CCC CCC»* 2§CCCC CCCCÀ 4§CCCC CCCC CCCCG* ÕCCC CCC CCC0 Ë4 ÕCCCCCCC< fCCCC¤CCCC¡CCCC CCCCG ÕCCCCCCCC P C< L§CCCCCC CCCCCC6 hCCªCCgCC CC6 ÉfCCCCCCCCE |CCCC P C CCCCC CCCCC6&* CCCCCCCCCCCC P C6*4K §CCC CCC6|CCCG* ¨CCC CCC< 4§CCC CCC CCC0 fCCCCM *§CCC CCC CCC8K

‫اﻟﻤﺎﺟﺪي ﺑﻦ ﻇﺎﻫﺮ‬

2019 ‫ ﻓﺒﺮاﻳﺮ‬، 75 ‫اﻟﻌﺪد‬

ÉfCCCªCCCgCCC CCC+ K&* fCCCgCCC CCCGfCCC+ fCCCCC P C CCCCCCH S£fCCC¡CCCgCCCG* ¸* 2fCCC¡CCC CCC CCCG* ~CCCCCCG ¸K ÉfCCC¡CCC CCCG* ¸(* 2*§CCCCCCCC¹* ~CCCCCCG ¸K ÉfCCC CCC¼* ¸(* fCCCCC/|CCCCCG* ~CCCCCCG ¸K ÉfCC¡CC CC CCGfCC+ i|CCC CCC9 hCCCªCCC CCCG* CCC CCC+ É*K&* ¢CCCCH CCC¤CCC¡CCC< CCCCCC<* ÉfCCCCgCCCCÉfCCCªCCCgCCCGfCCC+ fCCCCCM fCCCCCH ÔCCCCCCC»* §X CCCCC¡CCCCC+ ÉfCCCF |CCCCCCCCH&¸* *{CCCCCJ CCCªCCCF lCCCC+T |CCCCD ÉfCCCD |CCCCCJzCCCCCG* £¸ QCCCCCCCM «CC¡CC CC CC CCD ÉfCCCH~CCCG* |CCC CCC8 fCC¡CC¡CCªCC+ |CCCC CCCCMK ÉfCCC0 ¦fCCC¡CCCªCCCH ¬{CCCCCGfCCCCC+ CCCCCqCCCC T C<K ÉfCCCCDzCCCCG* «CC CC CC CCH fCCCCCCCº* lCCCCªCCCC-5 É*|CCCCCC- ¸K *4&* §CCCCCCCC CM ÑCCCCCCD P ÉfCCC CCCkCCCG*K ¬2fCCCC CCCCkCCCCGfCCCC+ CCC CCCªCCC+K É*|CCCC- P$«CCCC CCCC7 «CCC CCCH CCCCG CCCC=§CCCC-K ÉfCCC0 ¦fCCC¡CCCtCCCM *|CCCCC CCCCCG* £&* ¾(* ÉfCCCCCCJ2 fCCCCCCH CCCCCCFfCCCCCCJ2 ¥CCCCCC+ fCCC CCC CCCD ÉfCCC. K K&* &fCCCC CCCC»* £*|CCCCC CCCCC=K ÉfCC CC CC0 ¢CCCC< CCC CCC CCC-K ÉfCCCC CCCC±K É*~CCCCM ¨CCC¡CCC CCC CCCºfCCC+ CCC¡CCCH §CCCCCCCEK T *( CCC¡U CCCH |CCCqCCC¤CCCG* ÐCCCCCFK ÉfCCgCC CC6 ¿ ÉfCCCCCH&* ¦|CCCCCMzCCCCCG*K CCC6fCCC¡CCCG* ~CCC¤CCCÉ*4{CCCCCCCCG* uCCC CCCH fCCC CCC CCC7 fCCCC¤CCCC+U ¢CCC CCCG ÉfCCCJ 4§CCCqCCC¤CCC CCC CCCG CCC CCCªCCCG m§CCCCCCCC CEK P ÉÑCCC CCC¡CCCº* ¬fCCCCCCCH ¥CCCCªCCCCD ¥CCC¡CCC CCCG ÉfCC CC CC6 ¿(* i§CCCCCCCI3 m|CCCC CCCC= ÑCCCCD ÉfCCCCªCCCCH§CCCC¼* ÔCCC CCC CCC CCC CCCG lCCCC CCCC¡CCCCMK S£fCCCCCCH2§CCCCCCH ¥CCCnCCCqCCC+ ¥CCCCCnCCCCC¹* ¸K ÉfCC¡CC< fCCC¤CCCªCCCDK «CCCCÊ*§CCCCE vfCCCtCCC CCC8 É*§CCCCJ ¨CCC CCC+* ¦fCCC CCC+ fCCCE|CCC CCCG* ¢CCCCH ÉfCC¤CC CC CC CC¼* CCCªCCC CCC¤CCCG* CCCªCCC CCCG* ¢CCCCH

baytelshear ‫اﻟﺸﻌﺮ‬ ِ ‫ﺑﻴﺖ‬

§CCCCCCCCE&* ¸(* «CCCC T C CCCCC< ~CCCCC CCCCCM ÑCCCCCCD 2fCC¡CC CC CCG* ¸(* ÕCCC CCC CCC CCCG* ~CCCCCG ÑCCCCD *~CCCCCCC»* ¸* ÔCCCC CCCCgCCCCG* ~CCCCCCCG ¸K fCCCC/|CCCCG* ¸(* Ë|CCCCCCCº* ~CCCCCCG ¸K hCCªCC CC CCG* ¢CCCCC<U hCCªCC CC CCG* ~CCCCCG ¸K fCCgCCI «CCC¡CCC CCC< «CCCgCCC0fCCC CCC8 fCCCCM ¸&* fCCC CCC94 «CCC CCCgCCC- ¨CCC CCC< CCC¤CCCªCCC CCC1*K zCCCCªCCCCFK P£§CCCCC CCCCC CCCCC CCCCC¯ «CCC¡CCC CCC CCC CCCD ÕCCCªCCC CCC7*§CCCG* §CCCCCG CCCC¡CCCCH *{CCCCC¤CCCCCD CCªCC CC/ CCCCCCCCCGK · fCCCCCCCCCMK fCCCCCCCCCI&* P hCCªCC CC CCG* lCCCCCCI* Q §CCCCG Ù*K fCCCCCCCI&* hCCªCCnCCF · hCCCªCCC CCC/ ¥CCCCCG |CCCC CCCCtCCCCMK £fCCCCH~CCCCG* §CCCCCC: · m4KT 2 §CCCCCCGK CCªCC CC< «CCC+§CCC CCC CCCHK |CCC CCC CCC CCCH fCCCCCCCCI&* CC0 *~CCCCCGfCCCCC+ fCCCCCD§CCCCCG* CCC¡CCCH fCCCCCCC+&* CCCM§CCC: |CCCCCCCE $fCCC CD§CCCCGfCCCC+ CCCCC/|CCCC P T CM ifCCgCC CC CCG* hCC CC< ¢CCCH hCCªCC CC CCG* ÉzCCCCMK ÔCCCnCCCF m¸5 CCCCC¡CCCCCH «CCCC¡CCCCªCCCC± P ÕCCCªCCC CCC7§CCC¼* CCC CCC CCC CCC- «CCCCCC+ fCCC CCC CCCD £fCCC¡CCC CCC CCCGfCCC+ K&* fCCCC CCCC¼fCCCC+ fCCC CCC CCCD £§CCC CCC- mfCCCCC P CDfCCCCCCÀ ¢CCCCCH L§CCCCCC CCCCCC7&*K 5§CCCqCCCM fCCCCCCH fCCCCCCCC P C0 CCCC¡CCCCH *{CCCCC¤CCCCCD K2 P ÕCCCCC CCCCCG* ÔCCC¤CCC CCC6 «CCC¡CCCªCCC CCCwCCC§CCI 2*~CCCCCCCCCCCG* · fCCCC¤CCCCGfCCCCH zCCCCC P CgCCCCCCFK |CCMzCC= fCCCCH K sfCCCC CCCCJ fCCCCH «CCC+|CCC CCC7K zCC CC CCH ¿ §CCCC P C CCCCC7 ¦fCCCCCCCM* ÉfCCC CCC CCC6 zCCCªCCC0K ÉÑCCCCCCCCC1K «CCCgCCC CCCE |CCC CCC CCCF ¬*42 ¬zCCCC¡CCCC< fCCCCH ¬*|CCCCCCCCG* ¥CCCCªCCCCG2 £K'§CCCC CCCC7 «CCCC+ £§CCCªCCC CCCG* «CCC¡CCC CCCMfCCCwCCC CCCªCCCkCCCM CCCCC P C CCCCCC: fCCCCC CCCCCF ÉÑCCCCCCCCCCC1K ifCCgCC CC CCG* £fCCCCCCCM4 4*2 Ù* fCCC CCC CCC6

‫ ‪ ĘńĴ şŉ Įı‬‬ ‫*(‪n@@Jv@@~@|@D* @@ < n@@Jv@@~@ |@ D* ¤@@~@ 94 *3‬‬ ‫‪Áb@@ : *Ì@@ @ @ @E ¯ @@ @ @7*¡@@ @ @D* i¡@@ @ @ Â‬‬ ‫‪Í@@ @ @ @ @ @ @ DH&°* ¡@@ @ @ @ @ @B @@ @ @j@ @ @ E *w@@ @ @ @ @ @ @ GH‬‬ ‫‪P b@@ @ @E5 @@ @ E @M @ @ ~@ @ 8H b@@ @ @ @ ²* @@ @ E‬‬ ‫‪ y@@ @ @E b@@ @ @ @ @+R n@@ @Jv@@ @~@ @ |@ @ D* 2*2y@@ @ @ @ @ @ @ JH‬‬ ‫‪Á*¡@@ @ G b@@ @ @ B Hv@@ @ @ @ @D* ib@@ @ @E ¶(*H‬‬ ‫ﻓﺎﻟﺸﺎﻋﺮ ﻳﻀﻨﻴﻪ اﻟﺸﻮق ﻷن اﻟﺼﺪﻳﻖ ﺑﺪأ ﻳﺘﺄﺛﺮ ﺑﺎﻻﺳﺘامع إﱃ اﻟﻮاﳾ ﻛام‬ ‫أﺳﻠﻔﻨﺎ‪ ،‬وﺗﻐري أﺳﻠﻮﺑﻪ ﻣﻊ اﻟﺸﺎﻋﺮ ﺳﻮاء ﺑﺎﻟﺠﻔﺎء أو اﻻﺑﺘﻌﺎد ﻛام أﺷﺎر‬ ‫اﳌﺎﺟﺪي ﰲ "إذا ﺷﻮﻗﻲ ﺟﻔﺎين"‪ ،‬ﻟﺬﻟﻚ ﻳﺒﺪأ ﰲ ﻫﺬه اﻷﺑﻴﺎت ﺑﺪﺣﺾ‬ ‫أﻗﻮل اﻟﻮاﳾ‪ ،‬وﻳﻨﺼﺢ اﻟﺼﺪﻳﻖ ﺑﺄﺳﻠﻮب ﻏري ﻣﺒﺎﴍ أن ﻳﺒﻘﻰ ﺑﻌﻴﺪا ﻋﻦ‬ ‫اﻟﺨﻄﺎب اﳌﺒﺎﴍ وﺑﺼﻴﻐﺔ اﻟﻐﺎﺋﺐ وﰲ ذﻟﻚ ﺗﺄﻛﻴﺪ ﻋﲆ أن اﻟﺼﺪﻳﻖ ﺑﻌﻴﺪ‬ ‫ﻋﻦ اﻟﺸﺎﻋﺮ‪ ،‬ﻟﺬﻟﻚ ﻳﻄﻠﺐ اﻟﺸﺎﻋﺮ ﻣﻨﻪ أن ﻳﺮﺟﻊ إﱃ ﺻﺪﻳﻘﻪ يك ميﻮت‬ ‫اﻟﻮاﳾ ﻗﻬﺮاً ﺑﺴﺒﺐ أﻓﻌﺎﻟﻪ )ﻣرياه أي ﻣﺠﺮى أﻓﻌﺎﻟﻪ(‪ ،‬وﻫﺬا اﻟﻄﻠﺐ‬ ‫ﻟﻴﺲ ﻃﻠﺒﺎ ﻹرﺿﺎء اﻟﺸﺎﻋﺮ وإمنﺎ ﻃﺮﻳﻘﺔ ﻳﺒﺘﺪﻋﻬﺎ اﻟﺸﺎﻋﺮ ﻟﻜﺸﻒ ﻣﺎ‬ ‫ﻳﻀﻤﺮ اﻟﻮاﳾ ﻣﻦ اﻟﻌﺪاوة ﻟﻠﺸﺎﻋﺮ وﺻﺪﻳﻘﻪ‪ ،‬ﻓﺎﻟﻮاﳾ ﻻ ﻳﺘﻤﻨﻰ أن‬ ‫ﻳﺮاﻫام ﻣﻌﺎً ﰲ ﺳﻼم ووﺋﺎم وﺑﺎﻟﺘﺄﻛﻴﺪ ﺳﻴﻐﻀﺐ إن رآﻫﻢ ﻋﲆ اﻟﻌﻬﺪ‬ ‫اﻟﺴﺎﺑﻖ أﺻﺪﻗﺎء‪ ،‬وﺑﺬﻟﻚ ﺳﺘﻨﻜﺸﻒ أﻫﺪاف اﻟﻮاﳾ اﻟﺪﻧﻴﺌﺔ‪ .‬وﻳﻮرد‬ ‫اﳌﺎﺟﺪي ﰲ ﻫﺬا اﻟﺴﻴﺎق ﻣﺜ ًﻼ ﻣﻦ أﻣﺜﺎل اﻷوﻟني ﻟﻴﺆﻛﺪ أﻧﻪ مل ﻳﻄﻠﺐ‬ ‫رﺟﻮع اﻟﺼﺪﻳﻖ إﻟﻴﻪ اﻋﺘﺒﺎﻃﺎ وإمنﺎ ﻟﻠﺴﺒﺐ اﳌﺬﻛﻮر آﻧﻔﺎ وﻛﺬﻟﻚ ﺗﺄﻛﻴﺪا‬ ‫ﻋﲆ أن ﰲ اﺟﺘامع اﻷﺻﺪﻗﺎء ﻟﺤﻤﺔ وﻗﻮة ﻣﻌﺰة ﻟﻬﻢ وﻫﻮان وﺿﻌﻒ‬ ‫ﻟﻸﻋﺪاء ﻛام ﺗﻘﻮل اﻷﻣﺜﺎل اﳌﺘﻮارﺛﺔ ﻣﻦ ﺟﻴﻞ إﱃ ﺟﻴﻞ‪:‬‬ ‫‪ @@£@ = i¡@@ @ @Â @@ }@ £@ @ c@ D* b@@ @ @£@ @ @ @1H‬‬ ‫‪P b@@ c@ @ @ @£@ @ @ @D* @@ @~@ @ 7 @@ @j@ @ E @@ z@ @c@ @£@ @JH‬‬ ‫‪ *x@@ @ @ @ D* d@@ ~@ @ 6 ¤@M @ @~@ @ 7¡@@ @E Ñ* É@@ @ +‬‬ ‫‪P b@@ @ @ @ @ @E5 @@ @ @ @ D @@ @ @ @ @g@ @ @J Mib@@ @ @ @ @ @J*w@@ @ @ @ @ @+‬‬ ‫< @ @@‪d@@£@ @+ ¤@@ @ £@ BÉ@@J x@@ ~@ @}@ @²* ¢‬‬ ‫‪Áb@@ @ @~@ @7 M4*w@@ @ @ @ @ @ @G ib@@ @ c@ @ @£@ @ @ @ @ @D* ¯H‬‬ ‫*&;@ @ @ @ @@ *& *‪M @@ @0 H5HR É@@ @ @ @ @ @ D‬‬ ‫‪P b@@ @ @ @ @ ~@ @ z@ @ ´* H5H @@ @ @ E M4¡@@ @ @ @ @ @ /H‬‬ ‫وﰲ ﺑﻴﺖ راﺋﻊ ﻳﻘﻮل اﳌﺎﺟﺪي "وﺧﻠﻴﻨﺎ اﻟﺒﻐﻴﺾ ميﻮت ﻏﻴﻆ" أي أن‬ ‫اﺟﺘامﻋﻪ ﻣﻊ ﺻﺪﻳﻘﻪ أدى إﱃ إﺛﺎرة ﻏﻀﺐ اﻟﻮاﳾ اﻟﺬي ﻳﺼﻔﻪ ﺑـ‬ ‫"اﻟﺒﻐﻴﺾ" وﻫﻮ ﺑﺬﻟﻚ ﻳﺒﺪع ﰲ ﻫﺬا اﻟﺠﻨﺎس ﰲ ﻣﻘﺎم ﻣﻨﺎﺳﺐ ﺟﺪا‬ ‫ﻟﻴﺒني دﻗﺔ اﺧﺘﻴﺎره ﻟﻠﻤﻔﺮدات ﻹﻳﺼﺎل اﳌﻌﻨﻰ؛ وﺑﻌﺪ ذﻟﻚ ﻳﺼﻒ ﺣﺎل‬ ‫اﻟﻮاﳾ وﻫﻮ ﻏﻀﺒﺎن ﰲ ﺗﺸﺒﻴﻪ ﺟﻤﻴﻞ ﺑـ "ﺷﻦ اﻟﻠﻴﻬﺒﺎن" أي اﻟﻘﺮﺑﺔ‬ ‫اﻟﻘﺪميﺔ اﻟﺘﻲ أﺻﺎﺑﻬﺎ اﻟﺠﻔﺎف ﻣﻦ ﺷﺪة ﺟﻔﺎف اﻟﺠﻮ وﺣﺮارة اﻟﺮﻳﺎح‬ ‫اﳌﻠﺘﻬﺒﺔ أي "اﻟﻠﻴﻬﺒﺎن" ﺑﺘﻌﺒري اﻟﺸﺎﻋﺮ‪ ،‬وﻫﺬا اﻟﻮﺻﻒ ﻳﺒني أن اﻟﻮاﳾ‬ ‫ﺳﻴﺆدي ﰲ اﻟﻨﻬﺎﻳﺔ إﱃ وﻗﻮﻋﻪ ﰲ ﴍ أﻋامﻟﻪ ﳌﺎ ﺳﺒﺒﻪ ﻣﻦ أذى ﻟﻶﺧﺮﻳﻦ‪،‬‬ ‫وﻫﺬا اﳌﻌﻨﻰ ﻧﺠﺪه ﰲ اﻟﺒﻴﺖ اﻟﺘﺎﱄ ﺑﻌﺪ دﻋﺎء اﻟﺸﺎﻋﺮ ﺣﻴﺚ ﻳﻘﻮل‬ ‫ﻣﻮﳾ ﺳﺐ اﻟﻔﺮاق ﺑﺬاﻳﺎت ﻳﺘ ّﻤﻦ ﻟﻪ زﻣﺎن" أي أن ذﻟﻚ ﺟﺰاء‬ ‫"ﺑﻼ اﻟﻠﻪ ٍ‬

‫‪50‬‬

‫اﻟﻌﺪد ‪ ، 75‬ﻓﺒﺮاﻳﺮ ‪2019‬‬

‫وﻋﻘﺎب إﻟﻬﻲ ﻳﺴﺘﺤﻘﻪ اﻟﻮاﳾ ﳌﺎ ﺗﺴﺒﺐ ﻓﻴﻪ ﻣﻦ اﻟﺒني واﻟﻔﺮاق ﺑﺄﻓﻌﺎﻟﻪ‬ ‫وﻣﻜﺎﺋﺪه‪ .‬واﻟﺒﻐﻴﺾ ﰲ ﻫﺬا اﻟﺴﻴﺎق ﻳﺸري إﱃ اﻟﻜﺮاﻫﻴﺔ اﻟﺒﺎﻃﻨﻴﺔ اﻟﺘﻲ‬ ‫ﻳﻌﺎين ﻣﻨﻬﺎ اﻟﻮاﳾ وﻳﺤﺘﺎج إﱃ ﻋﻼج وإزاﻟﺔ ﻷن اﻟﺒﺎﻃﻦ اﻟﺴﻴﺊ ﻟﻺﻧﺴﺎن‬ ‫ﻳﺘﺴﺒﺐ ﰲ ﺻﺪور أﻓﻌﺎل ﻏري ﻣﺤﻤﻮدة‪.‬‬ ‫وﻣﻦ ﺗﻠﻚ اﻷﻓﻌﺎل ﻏري اﳌﺤﻤﻮدة ﻳﻮرد ﻟﻨﺎ اﳌﺎﺟﺪي ﻛﻴﻒ أن اﻟﻮاﳾ ﻛﺎن‬ ‫ﻳﺄﺗﻴﻪ ﺑﻜﻼم ﻃﻴﺐ ﰲ اﻟﺤﻀﻮر وﻳﺒﺪﻟﻪ ﺑﻜﻼم ﻳﺸﻴﻨﻪ ﰲ اﻟﻐﻴﺎب وﻫﺬا‬ ‫اﻟﺘﻨﺎﻗﺾ اﻟﻜﺒري ﰲ اﻟﻜﻼم رﻣﺰ ﻟﺨﻴﺎﻧﺔ اﻟﻮاﳾ ﻟﻨﻔﺴﻪ وﻟﻶﺧﺮﻳﻦ وﻛﺬﻟﻚ‬ ‫رﻣﺰ ﻟﺨﻴﺎﻧﺘﻪ ﻟﻠﻜﻠﻤﺔ؛ ﻓﺎﳌﺎﺟﺪي ﻳﻌﺘﱪ اﻟﻜﻠﻤﺔ ﻣﺼﺪاق اﻟﻌﺪل وﻣﻴﺰان‬ ‫اﻟﺤﻖ واﻟﺒﺎﻃﻞ وأي ﺧﻠﻞ ﰲ إﻳﺮاد اﻟﻜﻠﻤﺔ أو ﻧﻘﻞ اﻟﻜﻠﻤﺔ ﻗﺪ ﻳﺆدي إﱃ‬ ‫ﺧﻠﻞ ﰲ ﻣﻴﺰان اﻟﻌﺪاﻟﺔ‪ ،‬وﺑﺎﻟﺘﺎﱄ إﱃ ﻫﺪم اﳌﺠﺘﻤﻊ اﻟﻘﺎﺋﻢ ﻋﲆ اﻟﺘﺴﺎﻣﺢ‬ ‫واﳌﺤﺒﺔ وﻛﻞ ذﻟﻚ ﺑﺴﺒﺐ اﻟﻜﺮاﻫﻴﺔ اﻟﺘﻲ ﻳﻌﺎين ﻣﻨﻬﺎ اﻟﻮاﳾ أي اﻟﻌﻨﴫ‬ ‫أو اﻟﻔﺮد اﻟﻔﺎﺳﺪ ﺑني أﻓﺮاد اﳌﺠﺘﻤﻊ‪.‬‬ ‫<@ @ @ @ @ @ @ @ @ ‪M @@ @ @ £@ @ @ @CH @M @ @ @ @ @ @ @ @ @ @ @E Ñ* ¤@V‬‬ ‫‪P b@@ @ ~@ @ 7 @@ @ @ £@ @ @ @A4R @@ @ @ @ @ @ D(°* Ì@@ @ @ = °H‬‬ ‫*(‪Í@@ @ ´b@@ @ @ @ @D* @@ @ @ @ g@ @ @ @ J ¤@@ @ @ @ @ @ @ @ @D‬‬ ‫‪P b@@ @ @ C Í@@ @ @ G @@ @ @ E Hv@@ @ @ @ @Db@@ @ + Í@@ @c@ @ J‬‬ ‫وأﺧرياً ﻳﺒني اﳌﺎﺟﺪي أن ﻓﺴﺎد ﻫﺬا اﻟﻔﺮد ﻫﻮ ﺑﻌﺪه ﻋﻦ اﻟﺘﻘﻮى وﻋﺪم‬ ‫ﻣﺮاﻗﺒﺘﻪ ﻟﺘﴫﻓﺎﺗﻪ وﻫﺬا اﳌﻌﻨﻰ ﻧﺠﺪه ﰲ "ﻋ ّ‬ ‫ﻣﻄﻠﻊ وﻛﻴﻞ"‬ ‫ﲇ اﻟﻠﻪ‬ ‫ٍ‬ ‫وﻗﺪ أورد ﺑﻌﺾ اﻟﺮواة ﻫﺬا اﻟﺒﻴﺖ ﺑﺼﻮرة أوﺿﺢ ﻟﻠﻤﻌﻨﻰ "ﻋﻠﻴﻪ اﻟﻠﻪ‬ ‫وﻛﻴﻞ" وﻳﻘﺼﺪون أن اﻟﻠﻪ ﻣﻄﻠﻊ ﻋﲆ أﻓﻌﺎل اﻟﻮاﳾ وﻟﻜﻨﻲ أﻇﻦ‬ ‫ﻣﻄﻠﻊ ٍ‬ ‫ٍ‬ ‫اﳌﺎﺟﺪي ﺻﺎغ اﻟﺸﻄﺮ ﺑﻜﻠﻤﺔ "ﻋ ّ‬ ‫ﲇ" وﻟﻴﺲ "ﻋﻠﻴﻪ" ﻛﻮﻧﻪ ﻛﺎن ﻳﺮﻳﺪ أن‬ ‫ﻳﺸري إﱃ أﻧﻪ ﻳﺮاﻗﺐ أﻓﻌﺎﻟﻪ ﻷﻧﻪ ﻳﻌﻠﻢ ﺑﺎﻃﻼع اﻟﻠﻪ ﻋﻠﻴﻪ وﻳﻌﻤﻞ ﺻﺎﻟﺤﺎً‬ ‫ﻟﺘﻘﻮاه‪ ،‬وﻫﺬا ﰲ اﻟﺴﻴﺎق ﻧﻔﺴﻪ ﻳﺸري إﱃ أن اﻟﻮاﳾ مل ﻳﺮ ِاع ﻣﺮاﻗﺒﺔ اﻟﻠﻪ‬ ‫وﻗﺎم ﺑﺄﻋامل ﻇﺎﳌﺔ ﻇﻠﻢ ﻓﻴﻬﺎ اﻵﺧﺮﻳﻦ وأﺻﺒﺢ ﻣﺴﺘﺤﻘﺎً أن ﻳﻨﺘﻘﻢ اﻟﻠﻪ‬ ‫ﻣﻨﻪ‪ ،‬ﻷن اﳌﻈﻠﻮﻣني ﻻ ﻳﺴﺘﻄﻴﻌﻮن أن ﻳﺴﱰدوا ﺣﻘﻬﻢ ﻣﻨﻪ واﻟﻠﻪ ﻗﺎدر‬ ‫ﻋﲆ أن ﻳﺄيت ﺑﻬﺬا اﻟﻌﺪو ﻣﻦ أي ﻣﻜﺎن ﻛﺎن ﻛام أﺷﺎر آﺧﺮ ﺷﻄﺮ "ﻳﺒني‬ ‫ﺑﺎﻟﻌﺪو ﻣﻦ ﻫني ﻛﺎنِ " وﻫﻨﺎ ّ‬ ‫ﻳﺘﻀﺢ أن ﻫﺬا اﻟﻮاﳾ ﺷﺨﺺ ﻗﻮي وﻣﺆﺛﺮ‬ ‫ﻟﺬﻟﻚ ﻳﺪﻋﻮ ﻋﻠﻴﻪ اﳌﺎﺟﺪي ﻷﻧﻪ ﻫﻮ اﳌﻈﻠﻮم ﰲ ﻫﺬا اﻷﻣﺮ وﺳﻨﻮاﺻﻞ ﰲ‬ ‫اﳌﻘﺎل اﻟﻼﺣﻖ اﻟﺒﺤﺚ ﻋﻦ أﴎار ﺟﺪﻳﺪة ﰲ ﻫﺬه اﻟﻘﺼﻴﺪة‪.‬‬

‫‪ ǼƃŵōǘǕŌ ǚŐ ǲƃǾƚǂǕŌ Ǣƅǥ ǽƳ ƥŽȎǝ‬‬ ‫‪ ɐƑƲǜǕōş ƂŌƃŨƫȍōş ōǂşōƓ ōǝƃŨƫŌ ōǘǉ ōǤǔǤŨƒǿ‬‬ ‫‪ ǳǃǷŞƒǙ ƉǾƯ ōǥŌƉǿ ǚōƪǙ ǛǙ ǣǙƃǂǿ ōǙ ǚȏ‬‬ ‫‪ɲ‬‬ ‫‪mǓǾŴǕŌ ƂŌƃǿ} ǽƳ ǇǕƄ ǻǕŒ ƉǾƖǿ ōǘǉ‬‬ ‫ ‪ ǻǕŒ ǳƓōǙ ǳŵōŽ ǽƳ ǣƒƲǝ ƃŴǿ ƉƫōƖǕŌ‬‬ ‫‪ ǳǕȍƂ ǢƅǥǶ ɐǢƃǔƁ ǽƳ ƈǶƃǿ ōǙ Ǜƫ ƉǾŞƪŨǕŌ‬‬ ‫‪ ǲōǾŽ ǽƳ ǽƗŌǷǕŌ ǶƃƪǕŌ Ōƅǥ ƉǾŭőũ ǁǘƫ ǻǔƫ‬‬ ‫‪ƉƫōƖǕŌ‬‬ ‫ ‪ mƥǾƯ ŦǷǘǿ ƝǾƮŞǕŌ ōǜǾǔƁǶ} ǼƃŵōǘǕŌ ǒǷǂǿ‬‬ ‫‪ ǲƈōŭŒ ǻǕŒ ǺƂŐ ǣǂǿƃƛ ƩǙ ǣƫōǘŨŵŌ ǚŐ ǼŐ‬‬ ‫‪mƝǾƮŞǕŌ} Ȍş ǣƲƚǿ ǼƅǕŌ ǽƗŌǷǕŌ ŝƞƯ‬‬

‫وإمنﺎ ﻏﺮﺿﻪ أﻳﻀﺎ ﰲ ﻫﺬا اﳌﻘﺎل أن ﻳﻔﺨﺮ مبﺎ ميﺘﻠﻜﻪ ﻣﻦ ﻣﻮﻫﺒﺔ ﺟﻌﻠﺖ‬ ‫ﻣﻨﻪ ميﺘﻠﻚ آذان اﻵﺧﺮﻳﻦ واﻫﺘامﻣﻬﻢ‪ ،‬وﰲ ﻫﺬا اﻟﺴﻴﺎق ﻳﻨﺘﻘﻲ اﳌﺎﺟﺪي‬ ‫ﻣﻌﺎين ﻗﺼﻴﺪﺗﻪ ﺑﺪﻗﺔ وﻳﺨﺎﻃﺐ اﳌﺘﻠﻘﻲ ﺑﻠﻐﺔ اﻟﺤﻜﻴﻢ اﻟﻨﺎﺻﺢ ﻟﻨﻔﺴﻪ‬ ‫واﳌﺆﺛﺮ ﰲ اﻵﺧﺮﻳﻦ ﻛام ﺳﻨﻼﺣﻆ ﻻﺣﻘﺎ‪ ،‬وﻟﻜﻦ ﻗﺒﻞ ذﻟﻚ ﻓﺈﻧﻪ ﻳﻌﻴﺐ‬ ‫ﻋﲆ اﻟﻌﺎذل اﻟﺬي ﻳﺘﺨﺬ ﻣﻦ اﻟﻨﻤﻴﻤﺔ واﻟﺘﺤﺪث ﰲ ﻏﻴﺒﺔ اﻟﺸﺎﻋﺮ ﻫﺬا‬ ‫اﻟﻔﻌﻞ اﳌﺸني‪ ،‬وﻳﺆﻛﺪ أن ذﻟﻚ ﻟﻴﺲ ﻣﻦ ﺷﻴﻤﺘﻪ وﺑﺎﻟﺘﺎﱄ ﻟﻴﺲ ذﻟﻚ ﻣﻦ‬ ‫أﺧﻼق اﻟﻨﺒﻼء واﻟﻌﻘﻼء أي أﻧﻪ ﻟﻦ ﻳﺒﺎدل ﺑﺎﳌﺜﻞ ﻷﻧﻪ ﻳﺆدي ﰲ اﻟﻨﻬﺎﻳﺔ‬ ‫إﱃ ﻓﻘﺪان ﺳﻤﻌﺘﻪ وﻣﻜﺎﻧﺘﻪ ﺑني اﻟﻨﺎس ﻛام ﺟﺎء ﰲ آﺧﺮ اﻷﺑﻴﺎت "وﻗﻮل‬ ‫اﻟﻨﺎس ﺷﺎن اﻟﻠﻪ ﻓﻼنِ "‪:‬‬ ‫‪Q‬‬ ‫‪2¡@@ @ @E · @M @ @ @ @ @ @ @ 1 h@@ @ @£@ @ @ Ab@@ @ @/ °H‬‬ ‫‪Á*¡@@ @g@ @ G* b@@ @ E Mv@@ @ @ 0 h@@ £@ @Ab@@ ~@ @8 °H‬‬ ‫‪h@@ £@ @ @ @ + ¤@@ @ @ @ @ @ @E *3(* ¤@@ @ @ @ Q @ @ @ @ @ @ @ @ DH‬‬ ‫‪R‬‬ ‫‪Á*¡@@ g@ @D* b@@ @ @D 5¡@@ m@ @J I¡@@ @ c@ D* É@@ A‬‬ ‫*&‪ ¡@@ @ £@ @ @ @ Db@@ @ + b@@ @ @ @Fb@@ @ @ @E Ñ*H b@@ @ @ @ @ @ @ F‬‬ ‫<@ @ @@‪Q (* 2¡@@ @ @C *4w@@ @ @ @ @ @ D* ¢‬‬ ‫· ‪ÁÉ@@ +‬‬ ‫ﻫﻨﺎ ﻳﺴ ّﻮغ اﻟﺸﺎﻋﺮ ﻟﻨﻔﺴﻪ اﻹﺳﻬﺎب ﰲ وﺻﻒ ﺣﺎﻟﺘﻪ ﻓﻬﻮ ﻟﻴﺲ ﰲ ﻣﻘﺎم‬ ‫اﻣﺘﺪاح ﻧﻔﺴﻪ ﺑﻬﺬا اﳌﻘﺎل أو إﻃﺎﻟﺔ اﻟﺤﺪﻳﺚ وإمنﺎ ﻳﺮﻳﺪ أن ﻳﺒني ﻛﻴﻒ‬ ‫أدى اﻻﺑﺘﻼء ﺑﻬﺬا اﻟﻌﺪو إﱃ ذﻟﻚ‪ ،‬ﻓﺎﻟﺸﺎﻋﺮ ﻳﺠﺪ ﻧﻔﺴﻪ ﰲ ﺣﺎﺟﺔ ﻣﺎﺳﺔ‬ ‫إﱃ اﻟﺘﻌﺒري ﻋﻦ ﻣﺎ ﻳﺪور ﰲ ﺧﻠﺪه‪ ،‬وﻫﺬه دﻻﻟﺔ ﻋﲆ ﻋﻤﻖ ﺗﺄﺛري ﻫﺬا‬ ‫اﻟﻌﺪو‪ /‬اﻟﻮاﳾ ﰲ ﺣﻴﺎة اﻟﺸﺎﻋﺮ ﺣﻴﺚ إﻧﻪ ﺑﺎﻹﺿﺎﻓﺔ إﱃ اﻹﺳﻬﺎب ﻧﺠﺪه‬ ‫ﻣﺘﴪﻋﺎ ﰲ اﻟﺮد‪ ،‬وﻛﻞ ذﻟﻚ مل ﻳﻜﻦ ﻣﻦ ﻃﺒﺎع اﻟﺸﺎﻋﺮ‪ ،‬إمنﺎ ﺗﺴﻮﻳﻎ ذﻟﻚ‬ ‫ّ‬ ‫ﻫﻮ أن اﳌﻮﻗﻒ اﻟﺬي ﻫﻮ ﻓﻴﻪ ﻳﺤﺘﺎج إﱃ ﻣﻮاﺟﻬﺔ ﺻﺎرﻣﺔ وﺣﺎﺳﻤﺔ‪،‬‬ ‫ﻟﺬﻟﻚ ﻧﺠﺪه ﰲ آﺧﺮ ﺑﻴﺖ ﻳﻘﺴﻢ ﺑﺎﻟﻠﻪ ﻋﲆ أﻧﻪ ﻟﻴﺲ ﻣﻦ اﻟﻌﺠﻠني ﰲ‬

‫اﻟﺤﺪﻳﺚ إﻻ ﺑﺴﺒﺐ ﻫﺬا اﻟﻌﺪو اﻟﺬي اﺑﺘﲇ ﺑﻪ‪:‬‬ ‫‪ ¡@@ @ @ @ @D* @@ £@ @<b@@ ~@ @z@ @E @@ @ @E M b@@ @ @p@ @ @ +‬‬ ‫‪Áb@@ @~@ @ {@ @ ´b@@ @+H ¡@@ @ @ @ @ @ Db@@ @+ q@@ @cQ @ @ ~@ @ |@ @ J‬‬ ‫‪n@@ Jv@@ ~@ @8 M ¡@@ @ @ @ @ @J · *¡@@ @ @ @ @ @ @J É@@ @ @ A‬‬ ‫‪Áb@@ @ / ¤@@ B¡@@ ~@ @7 *3(* ¤@@ @ + rx@@ @ @ @ @JH‬‬ ‫*(‪Í@@ £@ @~@ @6*¡@@ g@ @E b@@ @~@ @ 9x@@ @Db@@ @+ *¡@@ @ @ @J *3‬‬ ‫‪Áb@@ @< b@@ @ @ @ @ @ J b@@ @ @ +¡@@ ~@ @ 8 @@ @ @E °H‬‬ ‫وﻷن اﻟﺸﺎﻋﺮ أﺷﺎر إﱃ أن ﻣﻮاﺟﻬﺔ ﻫﺬا اﻟﻮاﳾ اﻟﻨامم ﺗﺤﺘﺎج إﱃ‬ ‫اﻟﴫاﻣﺔ واﻟﺤﺴﻢ ﻓﺈﻧﻪ ﻻ ﻳﺠﺪ ﺑﺪاً ﻣﻦ وﺻﻒ أﻓﻌﺎﻟﻪ وإﺳﺪاء اﻟﻨﺼﻴﺤﺔ‬ ‫ﻟﺘﻔﺎدي أﺛﺮه ﻋﲆ اﻟﻌﻼﻗﺔ ﺑني اﻟﺼﺪﻳﻘني‪ ،‬ﻓﺎﻟﻮاﳾ أﺻﺒﺢ ﻧﻘﻞ اﻷﺧﺒﺎر‬ ‫ﺷﻐﻠﻪ اﻟﺸﺎﻏﻞ ﻣﻨﺬ اﻟﺼﺒﺎح أي ﻣﻨﺬ أول ﻳﻮﻣﻪ وﺑﺎﻟﺘﺎﱄ إﱃ آﺧﺮ ﻳﻮﻣﻪ‪،‬‬ ‫وﺑﺎﻟﻄﺒﻊ ﻳﻘﺼﺪ ﻫﻨﺎ اﻹﺷﺎﻋﺎت اﳌﻐﺮﺿﺔ ﻟﺮﺑﻄﻬﺎ ﺑـ"اﳌﺸﺎين" أي اﻟﺴﻴﺌﺔ‬ ‫ﺑﺼﻴﻐﺔ اﻟﺠﻤﻊ‪ ،‬وﻳﺤﺎول اﻟﻮاﳾ ﺟﻞ ﺟﻬﺪه ﻹﻳﺼﺎل ﻫﺬه اﻷﺧﺒﺎر إﱃ‬ ‫ﻳﻮم‬ ‫آذان أﺻﺪﻗﺎء اﻟﺸﺎﻋﺮ‪ ،‬وﻟﻜﻦ ﺑﺤﻤﺪ ﻟﻠﻪ ﻛام ﻳﺸري ﰲ "ﻓﻼ ﻳﻬﻮاه ﱄ ٍ‬ ‫ﺻﺪﻳﺞ" ﻧﺠﺪ اﻟﻮاﳾ أﺻﺒﺢ ﻣﻨﺒﻮذاً ﻣﻦ أﺻﺪﻗﺎء اﻟﺸﺎﻋﺮ ﺑﺪﻻ ﻣﻦ أن‬ ‫ﻳﺘﺴﺒﺐ ﰲ ﺗﺪﻣري ﻋﻼﻗﺔ اﻟﺸﺎﻋﺮ ﺑﺄﺻﺪﻗﺎﺋﻪ‪ ،‬وﻟﻜﻦ ﻻﺑﺪ ﻣﻦ أن ﺗﻜﻮن‬ ‫ﻟﻠﻜﻠﻤﺔ أﺛﺮ ﰲ ﺻﺪر اﻟﺸﺎﻋﺮ ﻷﻧﻬﺎ ﺑﻄﺮﻳﻘﺔ وأﺧﺮى ﺗﺼﻞ إﻟﻴﻪ وﺗﺘﺴﺒﺐ‬ ‫ﰲ ﻣﻀﺎﻳﻘﺔ ﺑﻌﺾ أﺻﺪﻗﺎﺋﻪ وﺗﻐري ﺣﺎﻟﻬﻢ وﻫﺬا اﳌﻌﻨﻰ ﻧﺠﺪه ﰲ "إذا‬ ‫ﺷﻮﻗﻲ ﺟﻔﺎين"‪ ،‬وﻟﻜﻨﻲ أﻇﻦ أن اﳌﺎﺟﺪي ﻫﻨﺎ ﻳﺘﺤﺪث ﻋﻦ ﺻﺪﻳﻖ واﺣﺪ‬ ‫وﻟﻴﺲ ﻋﻦ ﺑﻌﺾ أﺻﺪﻗﺎﺋﻪ وأن ﺻﺪﻳﻖ اﳌﺎﺟﺪي ﻫﺬا ﺗﺄﺛﺮ ﺑﺎﻻﺳﺘامع إﱃ‬ ‫اﻟﻮاﳾ ومل ﻳﺪع ﻟﻪ ﻓﺮﺻﺔ ﻟﻠﺪﻓﺎع ﻋﻦ ﻧﻔﺴﻪ ﻛام أﺷﺎر ﻟﻬﺬا اﳌﻌﻨﻰ ﰲ‬ ‫"وﻻ ﻣﻦ ﺻﻮﺑﻨﺎ ﻳﻌﻨﺎه ﻋﺎين" وﰲ اﻷﺑﻴﺎت دﻻﻟﺔ واﺿﺤﺔ ﻋﲆ ذﻟﻚ ﺣﻴﺚ‬ ‫ﻳﺴﺪي اﳌﺎﺟﺪي ﻧﺼﻴﺤﺘﻪ إﱃ ﻫﺬا اﻟﺼﺪﻳﻖ ﻓﻘﻂ‪:‬‬ ‫اﻟﺸﻌﺮ ‪baytelshear‬‬ ‫ﺑﻴﺖ ِ‬

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‫ ‪ ĘńĴ şŉ Įı‬‬

‫‪ǚǶƉǃ ǳŭȎŭ ǛǙ ƉŬǉȏ ƃŨǘǘǕŌ ƉƪƖǕŌ ŦǷƛ ǒŌƋǿ ȍ‬‬

‫اﻟﻤﺎﺟﺪي ﺑﻦ ﻇﺎﻫﺮ‬

‫‪ŻǙōƒŨǕŌǶ ƉƪƖǕōş ǳǿōƗǷǕŌǶ ǳǾǥŌƉǈǕŌ ǣŵŌǷǿ‬‬ ‫ﻣﺤﻤﺪ ﻧﻮر اﻟﺪﻳﻦ‬

‫ﻻ ﻳﺰال اﳌﺎﺟﺪي ﺑﻦ ﻇﺎﻫﺮ ﺻﻮت اﻟﺸﻌﺮ اﳌﻤﺘﺪ ﻷﻛرث ﻣﻦ ﺛﻼﺛﺔ ﻗﺮون‪،‬‬ ‫وذﻟﻚ ﳌﺎ ﻗﺪﻣﻪ ﻣﻦ ﺟﺰاﻟﺔ ﰲ اﳌﻌﻨﻰ وﺟامل ﰲ اﳌﺒﻨﻰ وﻣﺘﺎﻧﺔ ﰲ‬ ‫اﻟﺼﻴﺎﻏﺔ‪ ،‬ﻣﺎ ﺟﻌﻠﺖ ﻗﺼﺎﺋﺪه ﺳﻬﻠﺔ اﻟﺤﻔﻆ واﻟﺘﺪاول واﻻﻧﺘﻘﺎل ﻣﻦ‬ ‫ﺟﻴﻞ إﱃ ﺟﻴﻞ‪ ،‬وﻗﺪ ﻻ ﻳﺸﻌﺮ ﺑﻬﺬا أﺑﻨﺎء ﺟﻴﻠﻨﺎ اﻟﺤﺎﱄ واﻷﺟﻴﺎل اﻟﻼﺣﻘﺔ‬ ‫إن مل ﻧﻨﻘﻞ إﻟﻴﻬﻢ ﻣﺎ ﺟﺎءﻧﺎ ﻣﻦ ﻣﺎﴈ اﻷﻳﺎم‪ ،‬ﻓﻘﺪ ﻛﺎن ﻟﻌﴫﻧﺎ ﴍف‬ ‫ﺗﺪوﻳﻨﻪ ﰲ اﳌﺨﻄﻮﻃﺎت ﻣﻨﺬ ﺑﺪاﻳﺎت اﻟﻘﺮن اﻟﻌﴩﻳﻦ إﱃ ﻧﴩه وﻃﺒﺎﻋﺘﻪ‬ ‫ﺑﻌﺪ ذﻟﻚ ﻣﻨﺬ اﻟﺴﺘﻴﻨﻴﺎت ﻣﻦ اﻟﻘﺮن اﳌﻨﴫم؛ وﰲ ﻫﺬه اﻷﻳﺎم أرى أن‬ ‫ﺻﻮت اﳌﺎﺟﺪي ﻳﺤﺘﺎج أن ﻳﺼﻞ إﱃ اﻷﺳامع واﻷﻓﻬﺎم ﺑﺸﻜﻞ أﻛرث ﺗﺄﺛرياً‬ ‫ووﺿﻮﺣﺎً ﻟﻴﺄﺧﺬ أﻛرث ﻣﻦ أﻟﻘﻪ اﻟﺴﺎﺑﻖ‪ ،‬وﺑﺎﻟﻔﻌﻞ ﻧﺠﺪ ﻫﻨﺎك دراﺳﺎت‬ ‫وﻗﺮاءات ﻛﺜرية ﰲ ﻫﺬا اﻟﺴﻴﺎق ‪:‬‬ ‫‪xM @ @ @ @~@ @7 ib@@ @ @ £@ @ @ @ +&* ¥v@@ @ @ Jb@@ @ @ ´* ¡@@ @ @ @ @J‬‬ ‫‪Áb@@ @ c@ @ ´* i°v@@ @ @ @ @ < @@ @ @£@ @ @ ±* 2*v@@ @ @ @ @ J‬‬

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‫اﻟﻌﺪد ‪ ، 75‬ﻓﺒﺮاﻳﺮ ‪2019‬‬

‫‪Í@@ @ A4b@@ @ @ @ @ @ @ @D @@ @ @ @ @ @ - Mi*4*v@@ @ @ @ @ @ @ @ @ @ @ @ @E‬‬ ‫< @ @ @@‪Áb@@ @ @´* ¯ @M @ @ @ A @@ £@ @ ±* Hx‬‬ ‫‪ M 3 @@ @ @ /¡@@ @ @ D* ¯ · b@@ @ @ @ @B b@@ @ @ @ @ @Q ´H‬‬ ‫‪Áb@@ @ @~@ @7 b@@ @ @ ´ b@@ @ @ @ @ @ D* ¯ Á4w@@ @ @ @ @ G‬‬ ‫‪n@@ Jv@@ ~@ @8 ¡@@ @ @ @ @J · h@@ @ @ £@ @ @ @EQ 3 É@@ @ @ A‬‬ ‫‪Áb@@ @ @~@ @7 b@@ @ @ E HX v@@ @ @ @ @ < ¤@@ @ @ @ @~@ @ @7&* °H‬‬ ‫*&‪Í@@ @ Eb@@~@ z@ D* ,*Hx@@ @ @ @ @ D* @@ @ @ RE b@@ @ @ @ 1‬‬ ‫‪P É@@ @ A Ñ* b@@ @~@ @ 7 @@ @6b@@ @ @ @ D* ¡@@ @ @ @BH‬‬ ‫ﻧﻼﺣﻆ ﰲ ﻫﺬه اﻟﻘﺼﻴﺪة أن اﳌﺎﺟﺪي ﻳﺴﺘﻬﻠﻬﺎ ﻛام اﻋﺘﺪﻧﺎ ﺳﺎﺑﻘﺎً‬ ‫ﺑﺎﻻﻋﺘﺪاد ﺑﺎﻟﻨﻔﺲ‪ ،‬ﻷن ﻣﺎ ﻳﻘﺪﻣﻪ ﻣﻦ ﻣﻌﺎنٍ ﻳﺮاﻫﺎ ﻏري ﻣﺴﺒﻮﻗﺔ ﻛام‬ ‫ﻳﺸري إﱃ ذﻟﻚ ﰲ "ﻳﺪاد اﻟﺠﻴﻞ" ومل ﻳﻜﻦ ﻟﻠامﺟﺪي ﻫﺬا اﻻﺳﺘﻬﻼل إﻻ‬ ‫ﻷﻧﻪ ﻣﺘﺄﻛﺪ أن اﳌﺘﻠﻘﻲ ﻋﺎرف ﺑﺬﻟﻚ‪ ،‬وﰲ اﻟﺒﻼﻏﺔ ﻳﻌﺪ ذﻟﻚ ﺧﱪاً اﺑﺘﺪاﺋﻴﺎً‬ ‫أورده اﳌﺎﺟﺪي ﻟﻼزم ﻓﺎﺋﺪﺗﻪ ﻟﻴﺲ ﻟﻜﻮﻧﻪ ﻳﺮﻳﺪ اﻟﺘﺄﻛﻴﺪ ﻋﲆ ذﻟﻚ وإمنﺎ‬ ‫ﻟﺒﻴﺎن أﻫﻤﻴﺔ اﻟﻘﺼﻴﺪة وﻣﺤﺘﻮاﻫﺎ‪ ،‬إذ إن اﳌﺘﻠﻘﻲ ﻏري ﺟﺎﻫﻞ ﺑﺎﻟﺨﱪ‬

ĘıĘŕ

‫ﺣﻤﺪ ﺑﻦ ﺷﺎﻣﺲ اﻟﻤﺰروﻋﻲ‬ @h_s_almazrooei

ſǉǁƌ ũƴţƈƂ

v@£@~|@ @D* h@@ £@ p@ @~8H ¤@@ @ @ B*4H* ixQ @ @ @ @ ~8* i¡@@ @ ~z@@D* ¡@@ @ D* @@< ¤ J 2b@@<b@@E v£ ~{D* @@~6* @@+ @@:H b@J x@c@C*H G* i¡@E&* @ @/° v + @@ @ /° k cF* b@@+&* v@@J4H ¤@<b@~6 Ix@@ ~7 C @:¡@D* ~{< i¡@s@c@D* 4b@@c@ C @@E b@@Gb@@ @ .4H R x@@ @ A v@@Jy@@´* @@ 94°* hc - b@@ @ @ @E2 b@@ ~6 ° i¡@@c@ .H y@@ @< @@ @ @Fb@@ :H° *v@@ @A @ @ @C v£« °H eb@p@~z@D* ¢@@Bx@@- @ @F¡@£@<R i¡@@ @ @ D*H v@@m@ @ g@ @ D °*Q Q y@@ @ @- b@@ E vJv~7 @B¡@ @D* ¢@ @< b@Fv@Jb@B b@@ B ° i¡~{cD* zcD ¢ < DvcD* ¤@A cm J v@@£@ <¡@@D* b@@ @ 0 b@@ £@ @D v@@ @ @J*5 v@@ @ DH *w@@ @ G i¡ ³* / @< £ DbG ¢@@/2 ¢Q@p@~8 vJx±* d~7 ¢ D *H b J¡1 9xÂ i¡@@ @ + ¢@ @ @J °H @@F¡@@£@ < h@@Eb@@F b@@ E v£ < iv@@ @ @DH b@@ F2É@+ * v@@ @ @~7* b@@ @F&* i¡@@£@ c@ D* v@@ < @@g@ c@ £@ : ¤@@ A¡@@ J 2b@@ <b@@ E v@£@ @~{@D*H @@ +*x@@ @ @D* ¡@@ @ c@ - 2b@@ @< ° i¡ ~zD* @ @< @@E ib@p@ @~8 ¢@ @c@D* x@j@C

baytelshear ‫اﻟﺸﻌﺮ‬ ِ ‫ﺑﻴﺖ‬

ĘıĘŕ

‫ﻋﺎﻳﺾ اﻟﺤﺒﺎﺑﻲ‬ @alhbabe_ayad1

ũŰžţŹƸ

@@ @ c@ B b@@ @ @ E* Ì@@ @~@ @ |@ @ E ¡@@ @ G @@ @ @ 7H v@@ @ @ @ + b@@ @ @ E* @@ @ @ J @@ @ @ @ @ .4*¡@@ @ @ g@ @ @ @E ¢@@ @ @ @ @ @ @±* x@@ @ @ @ @ j@ @ @ @C µ M b@@ @ @ @ @ @ < ¤@@ @ @ @ A @@ @ c@ @ @ @ D* $¡@@ @ @ ~@ @9 @@ @ @ E @@ £@ @~@ @}@ @D*H @@ @ @ 04b@@ @ @ c@ @D* @@ @ @ .4b@@ @ @ @ @ @ @ @ @D*H x@@ @ @ @ @ g@ @ @ @ @ @ @ @´* @@ @ £@ @ @ g@ A @@ @ @ @ @~@ {@ J @@ c@ @ @ @~@O@ z@ @D*H @@ @ @ @ ~@ @ 8*¡@@ @ @ @ ´* @@ @ @ @ B f@@ @ @ @ Db@@ @~@ @ 6 ¯ @@ @ j@ @ @Db@@ @ @ @j@ @ @D*H @@ @ @ @ @ £@ @ @ @Fb@@ @ @ j@ @D*H @@ @ @ @ @ @ DH°* ¤@@ @ @ @ @ A @@ c@ @ @ @ FO H ib@@ @ @ @ <b@@ @ @ @ @ @ @B ¤@@ @ @ @ @ @ @» @@ @ @ J h@@ @ @ @ @ F* h@@ @ @ @ F* @@ @ @ @ @ .4b@@ 0 @@ @ @ Jb@@ @ @ @ @ @ @²* @@ {@ @ @ @ J4 @@ @ D b@@ @ @ @ @ @ @ @ @D* @@ @ @ @ +°* v@@ @ @ @ J4*¡@@ @ @ @ E ¤@@ @ @ @ BHx@@ @ @ @ < ¢@@ @ @ @ @ @ @< 24b@@ @ @ @ @ @ @@ @ j@ @ @ Ab@@ F 2¡@@ @ @ @ ~@ @ z@ @ 0 @@ @ @< ¤@@ @ @ c@ @ @ @B b@@ @ @ @ @ @ ~@ @ 7H @@ @ c@ ²* b@@ @ @ @ @Q @ @ @ @ B Í@@ @ @ @ @ @ @~@ @z@ @D* @@ @ @ @ + h@@ @ @ @ @ @ @ @ B @@ @ @ .2b@@ @ @ 0 ¥w@@ @ @ @ @ @ @ GH @@ @ @ ~@ @ @ @6%* ¡@@ @ @ @ @ @ - ¤@@ @ @ @ Db@@ @ J @@ @ +2 @@ @ @ D @@ @ @~@ @ @ 6%*H @@ @ D @@ @ @ @ ~@ @ 6%* ¤@@ @ @ @ D* b@@ @ @ @ F&* U @ @ @ @ @ @ @ BH @@ @ @ @ A @@ @ @ @j@ @ @+b@@ @ @ @< M @@ @ @ @ @ C @@ @ @ @ @ C x@@ @ @ RP @ @ @ @ © h@ @@ @ @ @ @ +3 @M @ @ @ ~@ @|@ @=b@@ J *H* 4b@@ @ @ @ ~@ @ |@ @ @ @ @ g@ @ 1(* ¤@@ c@ @- @@ @.2b@@ @p@ @ § y@@ @ @ @ @ @ @F* ¤@@ @ @ @ D*Ì@@ @ c@ @ @ @ @ @ @ D* @@ @ @ @ ~@ @ 7 2019 ‫ ﻓﺒﺮاﻳﺮ‬، 75 ‫اﻟﻌﺪد‬

‫وذﻟﻚ ﻻﻟﺘﻘﺎط اﻟﺼﻮر اﻟﻠﻴﻠﺔ ﻟﺴامء اﻟﺼﺤﺮاء‬ ‫اﳌﺮﺻﻌﺔ ﺑﺎﻟﻨﺠﻮم‪ ،‬واﺳﺘﻤﺮت ﺳﻬﺮﺗﻨﺎ ﺗﺤﺖ‬ ‫ﺿﻮء اﻟﻨﺠﻮم إﱃ ﻣﺎ ﺑﻌﺪ ﻣﻨﺘﺼﻒ اﻟﻠﻴﻞ‪،‬‬ ‫وﻟــﻮﻻ ﺣﺎﺟﺘﻨﺎ ﻟﺒﻌﺾ اﻟﺮاﺣﺔ ﻟﻼﺳﺘﻴﻘﺎظ‬ ‫ﻣﺒﻜﺮاً ﻟﻄﺎﻟﺖ ﺳﻬﺮﺗﻨﺎ أﻛرث ﻣﻦ ذﻟﻚ‪.‬‬ ‫‪ǲƉƲƦǕŌ ǛƚŽ ōǤǙōŨƁ‬‬

‫ﻣﺮت أﻳﺎم اﻟﺮﺣﻠﺔ وﻟﻴﺎﻟﻬﺎ ﺑﴪﻋﺔ اﻟﱪق‪،‬‬ ‫أﻳﺎم ﻛﺎﻧﺖ ﺗﻌﺞ ﺑﺎﻟﺤﺮﻛﺔ واﻟﻨﺸﺎط‪ ،‬أﻳﺎم‬ ‫ﺣﺎول ﻓﻴﻬﺎ ﻣﺒﺪﻋﻮن ﺗﻘﺪﻳﻢ اﻟﺼﻮرة اﻷﺟﻤﻞ‬ ‫ﻟﺼﺤﺮاء ﻟﻴﻮا اﳌﺸﻬﻮرة‪ ،‬واﻟﺘﻲ ﻛﺎﻧﺖ وﻣﺎ‬ ‫زاﻟﺖ ﻗﺒﻠﺔ اﻟﺰوار واﻟﺮواد وﻣﺤﺒﻲ اﻟﻄﺒﻴﻌﺔ‪،‬‬ ‫أﻳﺎم ﺻﻌﺪﻧﺎ وﻫﺒﻄﻨﺎ ﺑﻬﺎ ﻣﻊ اﻟﻜﺜﺒﺎن اﻟﺮﻣﻠﻴﺔ‪،‬‬ ‫اﻟﺘﻘﻄﻨﺎ ﺻﻮراً ﻟﻘﻮاﻓﻞ اﻹﺑﻞ‪ ،‬وﻋﺮﻓﻨﺎ ﻛﻴﻒ‬ ‫ميﻜﻦ ﻟﻠﺨﻴﻞ اﻟﻌﺮيب اﻷﺻﻴﻞ أن ﻳﻘﻄﻊ‬ ‫اﻟﺼﺤﺎري ﻣﻦ دون ﺗﻌﺐ‪ ،‬وﺷﻌﺮﻧﺎ ﺑﻘﻤﺔ‬ ‫اﻹﺛﺎرة وﻧﺤﻦ ﻧﺮاﻗﺐ اﻟﺼﻘﻮر اﳌﺪرﺑﺔ ﺗﻨﻘﺾ‬ ‫ﻋﲆ ﻓﺮاﺋﺴﻬﺎ ﻣﻦ اﻟﺤﺒﺎرى وﻏريﻫﺎ ﻣﻦ‬ ‫اﻟﻄﻴﻮر اﻟﱪﻳﺔ‪ ،‬ﺛﻼث ﻟﻴﺎل أﺑﺤﺮﻧﺎ ﺑﻬﺎ ﰲ ﺳامء‬ ‫ﻫﺬا اﻟﻜﻮن اﻟﻮاﺳﻊ‪ ،‬وﺗﺄﻣﻠﻨﺎ ﻋﻈﻴﻢ ﺧﻠﻖ اﻟﻠﻪ‬ ‫وﺑﺪﻳﻊ ﺻﻨﻌﻪ‪.‬‬ ‫ومبﺎ أن ﻟﻜﻞ ﳾء ﺧﺘﺎﻣﺎً‪ ،‬ﻛﺎن ﺧﺘﺎم رﺣﻠﺘﻨﺎ‬ ‫ﻣﺴﻜﺎً‪ ،‬وذﻟﻚ ﺑﺰﻳﺎرة ﺣﺼﻦ اﻟﻈﻔﺮة‪ ،‬اﻟﺤﺼﻦ‬ ‫اﻷﻛﱪ ﰲ ﻣﻨﻄﻘﺔ اﻟﻈﻔﺮة‪ ،‬ﺣﻴﺚ ﻳﻘﻊ اﻟﺤﺼﻦ‬ ‫اﻟﴪة ﴍﻗﻲ ﻣﺪﻳﻨﺔ زاﻳﺪ ﺑﻨﺤﻮ ‪30‬‬ ‫ﰲ ﻣﻨﻄﻘﺔ ّ‬ ‫ﻛﻴﻠﻮﻣﱰاً‪ ،‬وﻫﻮ ﺣﺼﻦ ﺿﺨﻢ ﻣﺮﺑﻊ اﻟﺸﻜﻞ‬ ‫ﻣﻊ أﺑﺮاج ﻋﲆ ﻛﻞ زاوﻳﺔ ﻣﻦ زواﻳﺎه‪ ،‬ﰲ ﻫﺬا‬ ‫اﻟﺤﺼﻦ اﻷﺛــﺮي اﻧﺘﴩﻧﺎ ﻟﻨﻠﺘﻘﻂ اﻟﺘﻜﻮﻳﻦ‬

‫اﻟﺒﴫي اﻷﺟﻤﻞ‪ ،‬وﻣﻊ ﻏﺮوب اﻟﺸﻤﺲ وﺗﻠﻮن‬ ‫اﻟﺴامء ﺑﺘﺪرﺟﺎت اﻟﻠﻮﻧني اﻷﺣﻤﺮ واﻟﱪﺗﻘﺎﱄ‪،‬‬ ‫دب ﻓﻴﻨﺎ اﻟﻨﺸﺎط واﻣﺘﻸت ذاﻛﺮات ﻛﺎﻣرياﺗﻨﺎ‪،‬‬ ‫وذاﻛﺮاﺗﻨﺎ ﺑﺄﺟﻤﻞ اﻟﺼﻮر‪ ،‬ﺻﻮر ﻟﻦ ﻧﻨﺴﺎﻫﺎ‬ ‫ﻳﻮﻣﺎً‪.‬‬ ‫اﻟﺸﻌﺮ ‪baytelshear‬‬ ‫ﺑﻴﺖ ِ‬

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‫‪ĘŐŖŒ ĮľŃ‬‬

‫ﺣﻴﺚ مل أﻛﻦ أﺗﺨﻴﻞ أن رﻣﻞ اﻟﺼﺤﺮاء ﻗﺪ‬ ‫ﻳﻜﻮن ﺑﺄﻟﻒ ﻟﻮن وﻟﻮن‪ ،‬مل أﻛﻦ أﺗﺨﻴﻞ أن‬ ‫ﺿﻮء اﻟﺸﻤﺲ وﻇﻠﻪ ﻗﺪ ﻳﻜﻮن ﻟﻬﺎ ﻫﺬا اﻷﺛﺮ‬ ‫اﻟﻔﺘﺎن‪ ،‬ﻟﻘﺪ ﺟﻌﻠﺘﻨﻲ ﻟﻴﻮا وﺻﺤﺮاءﻫﺎ أدرك‬ ‫اﳌﻌﻨﻰ اﻟﺤﻘﻴﻘﻲ ﻟﺴﺤﺮ اﻟﻀﻮء‪.‬‬ ‫ﻣﻀﺖ ﺳﺎﻋﺎت اﻟﺼﺒﺎح اﻷوﱃ ومل ﻧﺸﻌﺮ ﺑﻬﺎ‪،‬‬ ‫ﻓﺠامل اﻟﺼﺤﺮاء أﻧﺴﺎﻧﺎ اﻟﻮﻗﺖ‪ ،‬أﻧﺴﺎﻧﺎ أن‬ ‫ﻋﻠﻴﻨﺎ ﺗﻨﺎول اﻟﻔﻄﻮر‪ ،‬ﻓﻤﺸﻬﺪ اﻹﺑﻞ وﻫﻲ‬ ‫ﺗﻐﻴﺐ وﺗﻈﻬﺮ ﺑني اﻟﻜﺜﺒﺎن ﰲ ﻃﺮﻳﻘﻬﺎ إﱃ ﺑﱤ‬ ‫اﳌﺎء اﻟﻘﺮﻳﺐ أﺟﻤﻞ وأﺷﻬﻰ ﻣﻦ أي اﻓﻄﺎر‪.‬‬

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‫اﻟﻌﺪد ‪ ، 75‬ﻓﺒﺮاﻳﺮ ‪2019‬‬

‫‪ǣǕōǘŵ ŌǷǾǕ ǽƳ ƑǘƖǕŌ ŜǶƉƮǕǶ‬‬

‫ﻣﻦ اﳌﻌﺮوف أن ﻓﱰة اﻟﻈﻬرية ﻟﻴﺴﺖ ﺑﺎﻟﻮﻗﺖ‬ ‫اﳌﺜﺎﱄ ﻟﺘﺼﻮﻳﺮ اﻟﻄﺒﻴﻌﺔ‪ ،‬ﻟﻜﻨﻪ ﰲ ﻟﻴﻮا وﻗﺖ‬ ‫ﻣﺜﺎﱄ ﻟﻼﺳﱰﺧﺎء واﻻﺳﺘﻤﺘﺎع ﺑﻨﺴامت اﻟﻬﻮاء‬ ‫اﻟﻌﻠﻴﻞ‪ ،‬وﻣﻊ ﻣﻴﻼن اﻟﺸﻤﺲ واﻧﺨﻔﺎض‬ ‫درﺟﺎت اﻟﺤﺮارة ﻋﺎود اﳌﺼﻮرون اﻧﺘﺸﺎرﻫﻢ‬ ‫ﻟﺘﺼﻮﻳﺮ ﻟﻴﻮا وﺳﺤﺮﻫﺎ‪ ،‬ﻫﻨﺎك ﻣﻦ اﺧﺘﺎر‬ ‫ﺗﺼﻮﻳﺮ اﻹﺑﻞ وﻫﻲ ﺗﺼﻌﺪ وﺗﻬﺒﻂ اﻟﻜﺜﺒﺎن‬ ‫اﻟﺮﻣﻠﻴﺔ‪ ،‬وﻫﻨﺎك ﻣﻦ اﺧﺘﺎر ﺗﺼﻮﻳﺮ اﻟﺼﻘﺎرة‬ ‫وﻫﻢ ﻳﺪرﺑﻮن ﺻﻘﻮرﻫﻢ ﻋﲆ ﺻﻴﺪ اﻟﻄﺮاﺋﺪ‪،‬‬

‫وﻫﻨﺎك ﻣﻦ راح ﻳﺒﺤﺚ ﻋﻦ ﺳﻜﺎن اﻟﺼﺤﺮاء‬ ‫ﻣﻦ ﺣﻴﻮاﻧﺎت ﺻﻐرية وﺣﴩات‪ ،‬اﻟﻜﻞ ﺣﺮﻳﺺ‬ ‫ﺑﺈﻇﻬﺎر أﻓﻀﻞ ﻣﻬﺎراﺗﻪ‪ ،‬اﻟﻜﻞ ﻳﺤﺎول أن‬ ‫ﻳﻘﺒﺾ ﻋﲆ ﺻﻮرة اﻟﺼﺤﺮاء اﻷﺟﻤﻞ‪.‬‬ ‫وﻗﺪ ﻳﻌﺘﻘﺪ ﺑﻌﻀﻬﻢ أﻧﻪ وﻣﻊ ﻏﻴﺎب اﻟﺸﻤﺲ‬ ‫ﻳﻜﻮن ﻳﻮﻣﻨﺎ ﻗﺪ اﻧﻘﴣ وﺣﺎن وﻗﺖ اﻟﻨﻮم‬ ‫واﻟﺮاﺣﺔ‪ ،‬إﻻ أن ﻫﺬا اﻷﻣﺮ ﻟﻴﺲ ﺑﺼﺤﻴﺢ‪،‬‬ ‫ﻓﺎﻟﻠﻴﻞ ﻟﻪ ﻋﺸﺎﻗﻪ‪ ،‬ﻓام أن اﻧﺘﻬﻴﻨﺎ ﻣﻦ وﺟﺒﺔ‬ ‫اﻟﻌﺸﺎء اﻟﺸﻬﻴﺔ اﻟﺘﻲ زادﻫﺎ ﻧﺴﻴﻢ اﻟﺼﺤﺮاء‬ ‫روﻋــﺔ‪ ،‬ﺣﺘﻰ اﻧﻄﻠﻘﻨﺎ إﱃ اﻟﺼﺤﺮاء ﺛﺎﻧﻴﺔ‬

‫‪ɰ‬‬ ‫‪ŌƉǉōş Őƃş ōǜǙǷǿ‬‬

‫‪ƉƁőŨǙ ǒǷƛǶ‬‬

‫وﺻﻠﻨﺎ ﻟﻴﻮا ﻗﺒﻴﻞ ﻣﻨﺘﺼﻒ اﻟﻠﻴﻞ‪ ،‬ﻛﺎن اﻟﻄﻘﺲ‬ ‫ﺑﺎرداً‪ ،‬واﻟﻬﻮاء ﻣﻨﻌﺸﺎً‪ ،‬وأﺿﻮاء اﳌﺨﻴﻢ ﺗﻠﻮح‬ ‫ﻣﻦ ﺑﻌﻴﺪ‪ ،‬ﻛﺎن اﻟﺤامس ميﻸ ﻗﻠﺒﻲ‪ ،‬ﺣﻴﺚ‬ ‫ﻛﻨﺖ ﻣﺘﺄﻛﺪا أين ﻋﲆ ﻣﻮﻋﺪ ﺑﺜﻼﺛﺔ أﻳﺎم ﻣﻦ‬ ‫اﻟﻌﻤﺮ‪ ،‬وﻣﺎ أن وﻃﺄت ﻗﺪﻣﻲ رﻣﺎل ﺻﺤﺮاء‬ ‫ﻟﻴﻮا ﻣﱰﺟ ًﻼ ﻣﻦ اﻟﺤﺎﻓﻠﺔ اﻟﺘﻲ أﻗﻠﺘﻨﻲ ﻣﻊ‬ ‫‪ 50‬ﻣﺼﻮراً‪ ،‬ﺣﺘﻰ ﺷﻌﺮت ﺑﺄن اﳌﺘﻌﺔ ﻗﺪ‬ ‫ﺑــﺪأت‪ ،‬ﺣﻴﺚ ﻛﺎن اﻟﻬﻮاء ﻳﻌﺒﻖ ﺑﺮاﺋﺤﺔ‬ ‫دﺧﺎن اﻟﺤﻄﺐ اﳌﻨﺒﻌﺚ ﻣﻦ اﳌﺨﻴﻢ اﻟﻮاﺳﻊ‬ ‫اﻟﺬي ﻳﺘﻮﺳﻄﻪ ﻣﺠﻠﺲ ﻛﺒري‪ ،‬وﺑﻌﺪ اﺳﱰاﺣﺔ‬ ‫ﻗﺼرية ﺑﺪأت اﳌﻔﺎﺟﺂت ﺣﻴﺚ أﻋﻠﻤﺘﻨﺎ إدارة‬ ‫اﻟﺮﺣﻠﺔ ﻋﻦ ﻣﻜﺮﻣﺔ ﻣﻘﺪﻣﺔ ﻣﻦ ﺳﻤﻮ اﻟﺸﻴﺦ‬ ‫ﺣﻤﺪان ﺑﻦ زاﻳﺪ آل ﻧﻬﻴﺎن ﻣﻤﺜﻞ اﻟﺤﺎﻛﻢ ﰲ‬ ‫ﻣﻨﻄﻘﺔ اﻟﻈﻔﺮة‪ ،‬ﻣﻜﺮﻣﺔ ﺗﻘﴤ ﺑﺘﺨﺼﻴﺺ‬ ‫ﻣﺒﻠﻎ ﻣﺌﺘني وﺧﻤﺴني أﻟﻒ درﻫﻢ ﻛﺠﻮاﺋﺰ‬ ‫ﳌﺴﺎﺑﻘﺔ ﺗﺼﻮﻳﺮ ﻣﺨﺼﺼﺔ ﻟﻠﻤﺸﺎرﻛني ﰲ‬ ‫ﻫﺬه اﻟﺮﺣﻠﺔ‪ ،‬ﻣﻔﺎﺟﺄة ﺟﻌﻠﺘﻨﺎ ﻣﺘﻠﻬﻔني ﻟﺒﺰوغ‬ ‫اﻟﻔﺠﺮ واﻻﻧﺘﺸﺎر ﺑني اﻟﻜﺜﺒﺎن ﻻﻟﺘﻘﺎط أﺟﻤﻞ‬ ‫وأﺑﻬﻰ اﻟﺼﻮر‪.‬‬

‫ ‪ Ǜƫ ǳǔŽƉǕŌ ǲƈŌƂŒ ōǜŨǘǔƫŐ‬‬ ‫‪ ǷǘƓ ǛǙ ǳǙƃǂǙ ǳǙƉǈǙ‬‬ ‫‪ ǒŔ ƃǿŌƊ Ǜş ǚŌƃǘŽ ſǾƖǕŌ‬‬ ‫‪ ǛǾŨȂǙ ƭǔŞǙ ƙǾƚƀŨş ǚōǾǤǝ‬‬ ‫‪ ƋȃŌǷŴǉ ǗǥƈƂ ƱǕŐ ǛǾƒǘƁǶ‬‬ ‫‪ ǳƚƚƀǙ ƉǿǷƚũ ǳǂşōƒǘǕ‬‬ ‫‪ǛǾǉƈōƖǘǔǕ‬‬ ‫ ‬ ‫‪ ǓşȑŌ ƉǿǷƚũ ƈōŨƁŌ ǛǙ ǆōǜǥ‬‬ ‫‪ ǚōŞŬǈǕŌ ơŞǤũǶ ƃƪƚũ ǽǥǶ‬‬ ‫‪ ƈōŨƁŌ ǛǙ ǆōǜǥǶ ɐǳǾǔǙƉǕŌ‬‬ ‫‪ ǚǷşƈƃǿ ǗǥǶ ǲƈōǂƚǕŌ ƉǿǷƚũ‬‬ ‫‪ƃȃŌƉƢǕŌ ƃǾƛ ǻǔƫ ǗǥƈǷǂƛ‬‬ ‫ ‪ ōǙ ǚőş ǚǷǉƈƃǿ ǲƉŞƀǕŌ ŜōżƛŐ‬‬ ‫‪ ŲōŨżǿ ǒōǘŵ ǛǙ ŌǷǾǕ ǢƋǜŨǈũ‬‬ ‫‪ɰ‬‬ ‫‪ ǳƣōŽȒǕ ƉǿǷƚŨǕŌ ǛǙ ŌƈǷǤƗ‬‬ ‫‪ǣş‬‬

‫وﺻﻮﻟﻨﺎ ﻣﺘﺄﺧﺮﻳﻦ مل ﻳﻌﻄﻨﺎ اﻟﻔﺮﺻﺔ ﻟﻠﺘﻌﺮف‬ ‫ﻋﲆ اﳌﻨﻄﻘﺔ اﻟﺘﻲ ﻳﻘﻊ ﺑﻬﺎ اﳌﺨﻴﻢ‪ ،‬وﻣﻊ‬ ‫اﻗـﱰاب ﺑﺰوغ اﻟﻔﺠﺮ ﺑﺪأت اﻟﺤﺮﻛﺔ ﺗﻀﺞ‬ ‫ﺑﺎﳌﺨﻴﻢ‪ ،‬ﻓﻘﺪ ﻳﻌﺘﻘﺪ ﺑﻌﻀﻬﻢ أن ﺛﻼﺛﺔ أﻳﺎم‬ ‫ﻛﺎﻓﻴﺔ ﻻﻟﺘﻘﺎط أﺟﻤﻞ اﻟﺼﻮر ﻟﺼﺤﺮاء ﻟﻴﻮا‪ ،‬إﻻ‬ ‫أن أﺻﺤﺎب اﻟﺨﱪة ﻳﺪرﻛﻮن ﺑﺄن ﻣﺎ ﺗﻜﺘﻨﺰه‬ ‫ﻟﻴﻮا ﻣﻦ ﺟامل ﻳﺤﺘﺎج ﺷﻬﻮراً ﻣﻦ اﻟﺘﺼﻮﻳﺮ‬ ‫ﻟﻼﺣﺎﻃﺔ ﺑﻪ وﻗﺪ ﻻ ﺗﻜﻔﻲ‪ ،‬وﻣﻊ إﻧﺒﻼج اﻟﻔﺠﺮ‬ ‫ﺑﺪأت ﻋﻴﻮﻧﻨﺎ ﺗﺴﺘﺠﻤﻊ ﺑﻌﻀﺎً ﻣﻦ ﺻﻔﺎت‬ ‫اﳌﻜﺎن‪ ،‬مل ﺗﻜﻦ ﻣﺎ ﻳﺤﻴﻂ ﺑﻨﺎ ﻛﺜﺒﺎﻧﺎً رﻣﻠﻴﺔ‬ ‫ﻋﺎدﻳﺔ‪ ،‬ﺑﻞ ﻛﺎﻧﺖ أﺷﺒﻪ ﻣﺎ ﺗﻜﻮن ﺑﺎﻟﺠﺒﺎل‪،‬‬ ‫ﻛﻴﻒ ﻻ وارﺗﻔﺎع ﺑﻌﻀﻬﺎ ﻳﺒﻠﻎ ﻣﺌﺎت اﻷﻣﺘﺎر‪،‬‬ ‫ﻛﺎﻧﺖ ﻛﺜﺒﺎﻧﺎً ﺗﻌﻠﻮﻫﺎ ﻛﺜﺒﺎن‪ ،‬وﻛﺄﻧﻬﺎ أﺑﺮاج رﻣﻞ‬ ‫ﺑﻨﺎﻫﺎ أﻣﻬﺮ اﳌﻬﻨﺪﺳني‪ ،‬ومل ﺗﻜﻦ اﻟﺸﻤﺲ ﻗﺪ‬ ‫أﻟﻘﺖ أول ﺣﺒﺎﻟﻬﺎ اﻟﻀﻮﺋﻴﺔ ﻋﻨﺪﻣﺎ ﻛﺎن أﻛرث‬ ‫ﻣﻦ ‪ 150‬ﻣﺼﻮراً ﻗﺎدﻣني ﻣﻦ ﻣﺨﺘﻠﻒ اﻟﺪول‬ ‫اﻟﻌﺮﺑﻴﺔ ﻣﻨﺘﴩﻳﻦ ﻋﲆ ﻣﺴﺎﻓﺔ ﻃﻮﻳﻠﺔ‪ ،‬ﻛﻞ‬ ‫ﻳﺤﻤﻞ آﻟﺔ اﻟﺘﺼﻮﻳﺮ ﺑﺤﺜﺎً ﻋﻦ اﻟﻠﻘﻄﺔ اﻷﺟﻤﻞ‪.‬‬ ‫وﻣﻊ إﴍاﻗﺔ اﻟﺸﻤﺲ ﺑﺪأ ﺳﺤﺮ ﻟﻴﻮا اﻟﺤﻘﻴﻘﻲ‪،‬‬ ‫اﻟﺸﻌﺮ ‪baytelshear‬‬ ‫ﺑﻴﺖ ِ‬

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‫‪ĘŐŖŒ ĮľŃ‬‬

‫‪ ǻǕŒ ǳǾƳŌƉƯǷũǷƳ ǳǔŽƈ‬ﻟﻴﻮا‪..‬‬ ‫ ‪ŦōǤŴǕŌ ƩǾǘŵ ǽƳ ƉżƒǕŌ‬‬

‫ﻣﺼﻄﻔﻰ أﺣﻤﺪ‬

‫ﻻ أﻋﺮف ﻋﺪد اﻟﺰﻳﺎرات اﻟﺘﻲ ﻗﻤﺖ ﺑﻬﺎ إﱃ ﻣﻨﻄﻘﺔ اﻟﻈﻔﺮة ﺑﺸﻜﻞ ﻋﺎم وواﺣﺔ ﻟﻴﻮا ﺑﺸﻜﻞ ﺧﺎص‪ ،‬وذﻟﻚ ﻟﻜرثة ﺗﻠﻚ اﻟﺰﻳﺎرات‪ ،‬ﻟﻜﻨﻬﺎ‬ ‫ﰲ ﻣﻌﻈﻤﻬﺎ ﻛﺎﻧﺖ زﻳﺎرات ﻗﺼرية ﻻ ﻳﺘﻌﺪى وﻗﺖ أﻃﻮﻟﻬﺎ ﻋﺪة ﺳﺎﻋﺎت‪ ،‬وﻛﻨﺖ أﺷﻐﻠﻬﺎ ﺑﺎﻟﺘﻐﻄﻴﺎت اﻟﺼﺤﻔﻴﺔ ﻟﻠﻤﻬﺮﺟﺎﻧﺎت اﻟﱰاﺛﻴﺔ‬ ‫واﻟﻔﻨﻴﺔ واﻟﺜﻘﺎﻓﻴﺔ اﻟﺘﻲ ﺗﺸﻬﺪﻫﺎ اﳌﻨﻄﻘﺔ‪ ،‬ﻛﻨﺖ ﺷﺪﻳﺪ اﻟﺸﻮق ﻟﺰﻳﺎرة ﻟﻴﻮا ﻟﻠﺴﻴﺎﺣﺔ واﻟﺘﻘﺎط اﻟﺼﻮر‪ ،‬إﱃ أن ﺳﻨﺤﺖ ﱄ اﻟﻔﺮﺻﺔ ﻫﺬا‬ ‫اﻟﻌﺎم ﻟﺰﻳﺎرة ﻫﺬه اﳌﻨﻄﻘﺔ اﻟﺮاﺋﻌﺔ‪ ،‬وذﻟﻚ ﻣﻦ ﺧﻼل اﳌﺸﺎرﻛﺔ ﰲ رﺣﻠﺔ ﻟﻴﻮا ﻟﻠﺘﺼﻮﻳﺮ اﻟﻔﻮﺗﻮﻏﺮاﰲ اﻟﺘﻲ ﻧﻈﻤﻬﺎ ﻛﻞ ﻣﻦ اﺗﺤﺎد اﳌﺼﻮرﻳﻦ‬ ‫اﻟﻌﺮب‪ ،‬وﺟﻤﻌﻴﺔ ﺻﻘﻮر اﻹﻣﺎرات ﻟﻠﺘﺼﻮﻳﺮ‪ ،‬وﺟﻤﻌﻴﺔ اﻹﻣﺎرات ﻟﻠﺘﺼﻮﻳﺮ اﻟﻀﻮيئ‪.‬‬ ‫اﻟﺮاﺋﻊ ﰲ ﻫﺬه اﻟﺮﺣﻠﺔ أﻧﻪ ﻛﺎن ﻣﻦ اﳌﺨﻄﻂ ﻟﻬﺎ أن ﺗﺴﺘﻤﺮ ﻟﺜﻼﺛﺔ أﻳﺎم ﺑﻠﻴﺎﻟﻴﻬﺎ‪ ،‬وﻫﻲ ﻣﺪة ﺟﻴﺪة ﻟﻼﺳﺘﻤﺘﺎع ﺑﺼﺤﺮاء ﻟﻴﻮا ﺑﻜﻞ‬ ‫أﺷﻜﺎﻟﻬﺎ‪ ،‬ﺻﺒﺎﺣﺎً وﻣﺴﺎ ًء‪ ،‬ﻧﻬﺎراً وﻟﻴ ًﻼ‪ ،‬ﺛﻼﺛﺔ أﻳﺎم ﰲ ﺣﻀﻦ اﻟﻄﺒﻴﻌﺔ اﻟﻌﺬراء ﺑﻌﻴﺪاً ﻋﻦ ﺿﻮﺿﺎء وﺻﺨﺐ اﳌﺪﻳﻨﺔ‪ ،‬ﺛﻼث ﻟﻴﺎل ﻧﺴﺘﺒﺪل‬ ‫ﺧﻼﻟﻬﺎ اﻷﺿﻮاء اﻟﺼﻨﺎﻋﻴﺔ‪ ،‬مبﻼﻳني اﻟﻨﺠﻮم اﻟﺘﻲ ﺗﺰﻳﻦ ﻗﻠﺐ اﻟﺴامء‪.‬‬

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‫اﻟﻌﺪد ‪ ، 75‬ﻓﺒﺮاﻳﺮ ‪2019‬‬

‫ ‪ĮńĴŝŊŘ‬‬

‫}‪mǛŞǿǶƊ ǛşŌ‬‬ ‫‪ƉƪƖǕŌ ƉǥŌǷŵ‬‬

‫‪ǢƂȎǾǙǶ ǣŞƒǝ‬‬

‫اﻟﺪﻳﻮان اﻟﺼﻮﺗﻲ‬ ‫اﻷول ﻻﺑﻦ زوﻳﺒﻦ‪،‬‬ ‫وﻟﺤﻘﻪ دﻳﻮان آﺧﺮ ﺻﻮﺗﻲ‪3‬‬ ‫وﻟﻢ ﻳﺼﺪر ﻟﻪ دﻳﻮان ﻣﻄﺒﻮع‬

‫ﻋﺒﺪ ا? ﺑﻦ زوﻳﺒﻦ ﺑﻦ ﺑﻄﻲ ﻣﻦ اﻟﻤﻌﺎﻣﺮة‬ ‫ﻣﻦ ﺑﻨﻲ ﻋﻤﺮو ﻣﻦ ﺣﺮب‪ ،‬وﻟﺪ ﻋﺎم ‪1957‬م‪3‬‬ ‫‪ǼƉƪƖǕŌ ǣşǷǔƓŐ‬‬

‫‪ǳǿƉƪƖǕŌ ǣƟŌƉƯŐ‬‬

‫ أﺳﻠﻮﺑﻪ ﻋﻔﻮي‪ ،‬ﻏﻴﺮ‬‫ﻣﺘﻜﻠﻒ ﻣﻊ اﻻﻋﺘﻤﺎد ﻋﻠﻰ‬ ‫اﻟﻤﻔﺮدات اﻟﺠﺰﻟﺔ وأﺳﻠﻮب‬ ‫اﻟﻮﺻﻒ ﻓﻲ ﻣﻌﻈﻢ ﻗﺼﺎﺋﺪه‪3‬‬ ‫ ﺑﺮع ﻓﻲ ﻓﻦ اﻟﻨﻈﻢ اﻟﺬي‬‫ورﺛﻪ ﻋﻦ واﻟﺪه‪ 3‬وﻟﻪ اﻟﻌﺪﻳﺪ‬ ‫ﻣﻦ اﻟﻤﺠﺎرﻳﺎت ﻣﻊ ﺷﻌﺮاء‬ ‫ﻋﺼﺮه أﺷﻬﺮﻫﺎ ﻣﻊ اﻟﺸﺎﻋﺮ‬ ‫ﻋﺒﺪا? ﺑﻦ ﻋﻮن‪3‬‬

‫ﻛﺘﺐ ﻓﻲ ﻣﻌﻈﻢ أﻏﺮاض‬ ‫اﻟﺸﻌﺮ ﻣﻦ ﻏﺰل‪ ،‬وﻣﺪح‪ ،‬ورﺛﺎء‬ ‫ووﺻﻒ‪ ،‬واﺷﺘﻬﺮ ﺑﻨﻈﻢ ﻗﺼﺎﺋﺪ‬ ‫اﻟﺤﻜﻤﺔ‪3‬‬

‫‪2016‬‬

‫ﺗﻮﻓﻲ ﻋﺎم ‪2016‬م‪،‬‬ ‫ﻓﻲ ﻣﺴﺘﺸﻔﻰ اﻟﺤﺮس‬ ‫اﻟﻮﻃﻨﻲ ﺑﺎﻟﺮﻳﺎض‪3‬‬

‫‪ǣũōǾşŐ ƉǤƗŐ ǛǙ‬‬ ‫‪b@@Gb@@~@ |@ B&* @@ @7H ¥4v@@ @ E f@@ @ @ C · h@@ @ @ ~@ 6‬‬ ‫‪b@@ @Gb@@ @ F2x@@ @: b@@ @ @ @g@/ b@@ @£@ @D f@@ @ @ @ @C @@ @ @ @C ¡@@ @ @ @D‬‬ ‫‪b@@ @Gb@@ @ @ @ @~@6 b@@ @ @ @ @Cb@@E @@ @ @ @ ~@ z@ D* ix@@ @ @ @E ¡@@ @ @ @D‬‬ ‫‪b@@ @Gb@@ @ @ @ @ @F b@@ @ @ @ E *w@@ @ @ @ @ D *w@@ @ @ @G @@ @ @ @J @@ @ @ @EH‬‬ ‫‪b@@ @ @ @G*2H H Ñ* @@ @ @ @1 @@ @£@ @+ b@@ @ @ @ +b@@/ @@ @ @ E‬‬ ‫‪b@@ @Gb@@Jb@@ @1 @@+b@@~@ 6 ¯ @@6b@@ @ D* @@ Eb@@ < @@ E‬‬

‫‪b@@ @ @ @/4b@@ @+ ¤@@ @Fb@@ @E b@@ @ @ @F&*H ¥4v@@ @~@|@ @+ iy@@ @ @ 0‬‬ ‫‪b@@ @ @ @/4b@@ @s@J b@@ @ @ @E x@@ @ @ @~@z@+ f@@ @ @ @£@ @j@D* b@@ @ @ @ @+‬‬ ‫‪b@@ @ @ @m@ @Ex@@ @c@J° b@@ @ @ @ @ @ @< @@6*x@@ @ @ @ @ D* @@ @ @ @ @ @FH‬‬ ‫‪b@@ @ @ @/Hx@@J @@ @ @E ¢@@ @ @ @ @-H v@@ @ @ @/*H @@6b@@ @ @ D*H‬‬ ‫‪b@ m ~zJ @@ @~@z@ @F Ix@@ @ - @@ @ /*x@@E @@ @ + ¡@@ @ D‬‬ ‫‪b@@ @ @ @ @m@ @J*2 o*2 b@@ @ @ @E É@@ @ @ @1 4*v@@ @ @ @ @ + v@@ @ @ @ @ @J‬‬

‫اﻟﺸﻌﺮ ‪baytelshear‬‬ ‫ﺑﻴﺖ ِ‬

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‫ ‪ĮńĵŒ ŗšĽĘı‬‬

‫}‪mōǥōƚǃŐ ƔǶ ǼƈƃǙ ǳǘǔǉ ǽǕ ŧƪǘƓ‬‬

‫اﺑﻦ زوﻳﺒﻦ‬

‫ ‪ƱǾƲƪǕŌ ǒƋƮǕŌǶ ǳǘǈżǕŌǶ ǳǕŌƋŴǕŌ‬‬

‫ﻋﻠﻲ اﻟﻤﺴﻌﻮدي‬

‫ﻳﻌﺪ اﻟﺸﺎﻋﺮ اﻟﻜﺒري ﻋﺒﺪاﻟﻠﻪ ﺑﻦ زوﻳنب اﻟﺤﺮيب ﻣﻦ ﻓﺤﻮل اﻟﺸﻌﺮ‬ ‫اﻟﺸﻌﺒﻲ ﰲ اﻟﺠﺰﻳﺮة اﻟﻌﺮﺑﻴﺔ ﺧﻼل ﻣﺎﻳﻘﺎرب اﻟﺴﺘني ﻋﺎﻣﺎً ﻋﺎﺷﻬﺎ زاﺧﺮاً‬ ‫ﺑﺎﻟﻌﻄﺎء اﻹﺑﺪاﻋﻲ واﻟﺘﻤﻴﺰ‪ ..‬وﻫﻮ ﺻﺎﺣﺐ ﻫﺬه اﻷﺑﻴﺎت اﻟﺠﻤﻴﻠﺔ‬ ‫اﳌﻠﻴﺌﺔ ﺑﺎﻟﺼﺪق واﻟﻌﻔﻮﻳﺔ‪..‬‬ ‫‪b@@ Gb@@ ~@ |@ B&* @@ @ @7H ¥4v@@ @ @ @E f@@ @ @ C · h@@ @ @ ~@ 6‬‬ ‫‪b@@ @ @ @ /4b@@ @ + ¤@@ @ Fb@@ @ E b@@ @ @ @ @ F&*H ¥4v@@ @ ~@ |@ @ @+ iy@@ @ @ @0‬‬ ‫‪b@@ @ Gb@@ @ F2x@@ @ : b@@ @ @ @ @g@ / b@@ @ £@ @ @D f@@ @ @ @ @ @ C @@ @ @ @C ¡@@ @ @ @D‬‬ ‫‪b@@ @ @ @ /4b@@ @ s@ J b@@ @ @ @ @ E x@@ @ @ @ ~@ z@ + f@@ @ @ @ @£@ @ j@ D* b@@ @ @ @ @ +‬‬ ‫‪b@@ @ Gb@@ @ @ @ @ ~@ 6 b@@ @ @ @ @Cb@@E @@ @ @ @ @~@ z@ D* ix@@ @ @ @ @ E ¡@@ @ @ @D‬‬ ‫‪b@@ @ @ @ m@ @ Ex@@ @ c@ J° b@@ @ @ @ @ @ @ < @@6*x@@ @ @ @ @ D* @@ @ @ @ @ @ @ @FH‬‬ ‫‪b@@ @ Gb@@ @ @ @ @ @ F b@@ @ @ @ @ E *w@@ @ @ @ @ @ @D *w@@ @ @ @ @ G @@ @ @ @J @@ @ @ @ @ EH‬‬ ‫‪b@@ @ @ @ /Hx@@J @@ @ @ @E ¢@@ @ @ @ @ @ -H v@@ @ @ @ @ /*H @@ 6b@@ @ @ @ @D*H‬‬ ‫‪b@@ @ @ @ @ G*2H H Ñ* @@ @ @ @ @1 @@ @ £@ @ @+ b@@ @ @ @ @+b@@/ @@ @ @ @E‬‬ ‫‪b@@ @ @m@ @~@z@J @@ @ ~@ z@ @ F Ix@@ @ @ - @@ @ @ /*x@@ E @@ @ + ¡@@ @ D‬‬ ‫‪b@@ @ Gb@@Jb@@ @ 1 @@ +b@@ ~@ @6 ¯ @@ 6b@@ @ @ D* @@ @Eb@@ @< @@ @ E‬‬ ‫‪b@@ @ @ @ @ m@ @ J*2 o*2 b@@ @ @ @ @ E É@@ @ @ @ @ 1 4*v@@ @ @ @ @ + v@@ @ @ @ @ @ J‬‬ ‫وﻗﺪ ﺑﻠﻐﺖ ﺷﻬﺮة ﻫﺬه اﻟﻘﺼﻴﺪة اﻵﻓﺎق‪ ..‬وأﻋﺠﺐ ﺑﻬﺎ اﳌﺘﺎﺑﻌﻮن‪ ،‬ﳌﺎ‬ ‫ﺗﺘﻀﻤﻨﻪ ﻣﻦ ﻗﻴﻢ ﺳﺎﻣﻴﺔ وﻣﻌﺎن ﻧﺒﻴﻠﺔ‪.‬‬ ‫وﻟﺪ اﻟﺤﺮيب ﻋﺎم ‪1957‬م وﻗﺪ ﻏﺮس ﻓﻴﻪ واﻟﺪه ﺣﺐ اﻟﺸﻌﺮ ﻓﺄﺧﺬ‬ ‫ﻳﺤﻔﻆ ﻧﻮادر اﻟﺸﻌﺮ وﺟﻮاﻫﺮه‪ ،‬وﻋﻨﺪﻣﺎ ﺑﻠﻎ اﻟﺨﺎﻣﺴﺔ ﻋﴩة ﻣﻦ‬ ‫ﻋﻤﺮه أﺧﺬ ﻳﻨﻈﻢ اﻟﺸﻌﺮ‪ ،‬وﺑﺪأ ﻳﻠﻔﺖ اﻻﻧﺘﺒﺎه وﻳﺤﺼﺪ اﻹﻋﺠﺎب‬ ‫وﺻﻘﻞ ﻣﻮﻫﺒﺘﻪ اﻟﺸﻌﺮﻳﺔ ﻣﻦ ﺧﻼل ﻣﺠﺎﻟﺴﺘﻪ ﻟﻠﻜﺒﺎر ﻣﻦ اﻟﺸﻌﺮاء‬ ‫وﻗﺪ ﺗﻨﺎول ﰲ ﺷﻌﺮه اﻟﻘﻴﻢ اﻟﻨﺒﻴﻠﺔ واﻟﺴﺠﺎﻳﺎ اﻟﻜﺮميﺔ ﻓﺠﻌﻠﻬﺎ ﻣﻨﻬﺠﺎً‬ ‫ﻟﺸﻌﺮه‪ ،‬ﻓﺎﻧﺘﴩت ﻟﻪ اﻟﻜﺜري ﻣﻦ اﻟﻘﺼﺎﺋﺪ ﰲ اﻟﺤﻜﻤﺔ واﻟﺮﺛﺎء واﻟﻮﺻﻒ‬ ‫واﻟﻐﺰل واﳌﺪح‪ ،‬وﻛﺎن ﻣﻦ أﺻﻐﺮ اﻟﺸﻌﺮاء ﻧﻈ ًام ﻟﺸﻌﺮ اﻟﺤﻜﻤﺔ وﻟﻪ‬ ‫ﰲ اﻟﺤﻜﻤﺔ ﻗﺼﺎﺋﺪ ﻛﺜرية‪ ،‬وﻛﺎﻧﺖ أﺑﻴﺎﺗﻪ ﰲ اﳌﺪﻳﺢ ﺗﻄﺮب ﻣﻤﻴﺰة‬ ‫ﻣﺒﻬﺮة‪ ،‬أﻣﺎ ﰲ اﻟﺮﺛﺎء ﻓﻘﺪ اﺳﺘﻄﺎع أن ﻳﻌﺒﺊ اﻟﻘﺼﻴﺪة ﺑﻜﻞ أﻧﻮاع اﻟﺤﺰن‬ ‫واﻷمل واﻟﻠﻮﻋﺔ‪ ..‬وﰲ ﻗﺼﻴﺪة ﺟﻤﻴﻠﺔ ﻟﻪ ﺣﻮل ﻫﺬا اﳌﻮﺿﻮع‪ ..‬ﻓﻴﻪ ﻣﻦ‬

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‫اﻟﻌﺪد ‪ ، 75‬ﻓﺒﺮاﻳﺮ ‪2019‬‬

‫اﺳﺘﺒﺎق اﳌﺸﺎﻋﺮ‪ ..‬وﻣﺤﺎوﻟﺔ اﻟﺘﻤﻬﻴﺪ ﻟﻠﺤﺪث واﻟﻮﺻﺎﻳﺎ اﻟﻨﺒﻴﻠﺔ‪:‬‬ ‫‪Í@@ @ c@ - q@@ c@ @ @ @~@ @|@ @ @ @D* @@ @ @E ¤@@ g@ @ @ @+ b@@ @ @J *4H‬‬ ‫ @ @ @ @ @ @@‪ @@ @ @ @£@ @ @ @ @ @1 ¤@@ @ @Gb@@ @ @E Í@@ @ @ @ @ @ D* ¡@@ @ @ @ @ @E2 Ix‬‬‫ @ @‪Í@@ @ _@ Jx@@ @ + K*4b@@ @ @ @ @ @ @ @ @ ~@ @ 8 ¤@@ @ g@ @ @£@ @ @ @ @ @+&*H Í@@ @ @ c‬‬‫‪f@@ @ @ @ @ £@ @ @ @ @ @ @ @ @ @ @ @~@ @7b@@ G b@@ @ @ @ @ @ @ @ @ g@ @ £@ @ F2 v@@ @ @ @ @+ b@@ @ @ @ @ @ @ F&*H‬‬ ‫‪Í@@ ²* b@@ @ @ + ¡@@ @ Gb@@ @ E y@@ @ @ @ @ ²*H b@@ @ @ c@ @ D* Ì@@ @ E‬‬ ‫‪ @@ @ £@ ~@ }@ B ¤@@ @ Gb@@ @ E @@ @ 6b@@ @ @ @ D* ib@@ @ @ @ @+ ¢@@ @ @ Bx@@ @ @ A‬‬ ‫*‪Í@@~@ z@ @ @ @ @ @- b@@ @ @ @ @ @ @ @ J&* ,x@@ @ ~@ @ @{@ @ @< iv@@ @ @ @ @ @ - b@@ @ @£@ @ @ D‬‬ ‫*&‪K M @ @ @ @ @ C @@ @ @ @ GH ¤@@ @ g@ @ @ @ @ @F‬‬ ‫@‪ @@ @ @ @ @ £@ @ @ @ @ @0 @@ £@ @ @ @ @ @~@ @z@ @ @ @J É‬‬ ‫‪Í@@ @ @D* ¤@@ @ @~@ @ @ 6*4 ¢@@ @ @ @ < ¡@@ @ @ @ 0 b@@ @ @ @ £@ @ D(* @@ @ @ @ D‬‬ ‫‪ @@ @ @ @£@ @ @ @ @ @< ¤@@ @ g@ @ @£@ @ @ @ + b@@ @ @£@ @ @ D(* 4b@@ @ @ @ @ @ @ @ @D* b@@ @ @ G‬‬ ‫‪Í@@£@0 @@ @ @ @ @94&°* ¢@@ @ @< ¤@@ @ g@ @ @F&*H b@@ @ @ F&* *2b@@ @ @ @ @EH‬‬ ‫‪ @@ @ @ @ J¡@@ @ @ @ ~@ 7 ¤@@ g@ @£@ @ @ @+ ¡@@ @ @ D @@ @ @ @ £@ @ < v@@ @ @ @ ~@ @ 6b@@ @J‬‬ ‫‪Í@@~@ 9x@@- Í@@ @ D @@ @ <y@@ @ D* @@ £@ @ ~@ @ z@ @ F&* ° Ñ*H‬‬ ‫‪ @@ @ @ @£@ ~@ }@ A oM ¡@@ @ @m@ @ @ A b@@ @ £@ @ @Fv@@ @ D* @@ @ @D v@@ @ @ @ @ @ @E&*H‬‬ ‫‪Í@@ @ @ D @@ @ @ @ ±* f@@ @ @ Jb@@ @ @0 @@ j@ @ @ @E b@@ @ @ @ @ @ @0&*H‬‬ ‫‪f@@ @ @ @Jx@@ @ @ @~@ 7 ¤@@ @ @ g@ @£@ @ @ @+ b@@ @ £@ @ @D* *v@@ @ @ @ @A @@ @{@ @ @ @ CH‬‬ ‫‪ @@ Jy@@ D* @@ @ E @@ F¡@@ £@ @< h@@ Ab@@ ~@ @7b@@ E *v@@ @ @ @ @ @ J‬‬ ‫‪ @@£@ @ @E @@ z@ @ @ @1 @@ @ @E e¡@@ @ @ @ j@ @ @ @ @D* Æ@@ @ @E *¡@@ @ @ @ @ @ D‬‬ ‫‪ @@ @ J2 ¤@@ @ @g@ @ @ E3 ¢@@ @ @ @ < @@ @ m@ @ @~@ @ @6&* ¤@@ @ @ @ @ @ @ @ F&* ¡@@ @ @ @ D‬‬ ‫‪ @@ @ @ @ @ @ @ @ @ @ Jv@@ @ @ @ J @@ @ @ @ @ @ @ @ @ @ @ @ @J b@@ @ @ E ¢@@ @ @ @ @< M2H5‬‬ ‫اﺑﻦ زوﻳنب ﻣﻮﻫﺒﺔ ﻧﺎدرة ﺗﺠﺪ ﰲ ﻗﺼﻴﺪه اﻟﺤﻜﻤﺔ واﻟﻨﺼﺢ وﻣﺎﻳﺤﺚ‬ ‫ﻋﲆ اﻟﺼﻔﺎت اﻟﺤﻤﻴﺪة‪ .‬ﻛام متﻴﺰ ﺑﺎﻟﻐﺰل اﻟﻌﻔﻴﻒ‪ ..‬وﻣﻦ ذﻟﻚ‪:‬‬ ‫‪·b@@ j@ @E&°* @@£@ A ex@@~@ }@ - eb@@ @c@ @ 0&°* v@@£@ ~@ 6 b@@ J‬‬ ‫‪f@@£@~@6 @@ @ DH f@@ @ ~@ z@ 0 @@ @D ¡@@ @ @ @ D* @@ +b@@ ~@ 6 @@ @E‬‬ ‫‪¤@@ @ Db@@£@ /&* @@ @ E M b@@ @ @ £@ @/&* @@ D @@ @ © @@g@ @~@z@0‬‬ ‫*‪f@@ @ @ £@ @ p@ @ D* @@ @ @ @Db@@ @ @ @ @D*H @@ @ g@ @ @£@ @ @ @ @ @D* @@ @ Db@@ @ @ @ @D‬‬ ‫‪¤@@ @ Db@@ @ g@ 1 @@ @ @ @ C @@ @ @ J*¡@@ @ @ + @@ @ @ Av@@ @ @ - @@ @ g@ £@ ~@ 6H‬‬ ‫‪f@@ @ @ £@ @ @ @E*x@@ ²*H ¥*4¡@@ @ @ @ ~@ @ }@ @ D* b@@ @ @ c@ @~@ @z@ @D* @@ @ @ E‬‬ ‫ﺗﻮﰲ اﺑﻦ زوﻳنب ﰲ ‪ 17‬رﻣﻀﺎن ‪1437‬ﻫـ اﳌﻮاﻓﻖ ‪2016‬م ﺗﺎرﻛﺎً ﺧﻠﻔﻪ‬ ‫أﺛﺮاً أدﺑﻴﺎً ﻣﻤﻴﺰاً‪ ..‬وﺳﻤﻌﺔ ﻃﻴﺒﺔ‪.‬‬

‫ﺗﺠﺮﺑﺔ اﻟﻨﻌﻴﻤﻲ ﰲ اﻟﻐﺰل ﺗﺸري إﱃ ﻣﺮﺟﻌﻴﺎت ﻋﺪﻳﺪة ﻟﻠﻨﺺ اﻟﺸﻌﺮي‬ ‫اﻟﺸﻌﺒﻲ‪ ،‬أوﻟﻬﺎ اﻟﻨﺺ اﻟﻘﺮآين‪ ،‬ﺣﻴﺚ ﻛﺎن ﻗﺪ ﺣﻔﻆ اﻟﻘﺮآن‪ ،‬وارﺗﺤﻞ‬ ‫إﱃ اﳌﻤﻠﻜﺔ اﻟﻌﺮﺑﻴﺔ اﻟﺴﻌﻮدﻳﺔ وﻋﺎﻳﺶ أﻫﻠﻬﺎ مبﺎ ﻳﺤﻤﻠﻮه ﻣﻦ ذاﻛﺮة‬ ‫ﺑﴫﻳﺔ ﺟامﻟﻴﺔ ﺗﺴﺘﻨﺪ إﱃ اﻟﻨﺺ اﻟﺪﻳﻨﻲ اﻹﺳﻼﻣﻲ‪ ،‬إذ ﻇﻠﺖ ﺻﻮرة‬ ‫اﻟﺤﻮر اﻟﻌني ﻫﻲ اﳌﺜﺎل اﻷﻋﲆ ﻟﺤﻀﻮر اﳌﺮأة ﰲ اﻟﻨﺺ اﻟﺸﻌﺮي‪ ،‬وﻫﻲ‬ ‫ﻛام ﻳﻘﺪﻣﻬﺎ اﻟﻘﺮآن اﻟﻜﺮﻳﻢ ﻛﺄﻣﺜﺎل "اﻟﻠﺆﻟﺆ اﳌﻜﻨﻮن"‪ ،‬وﻫﻦ "ﻗﺎﴏات‬ ‫اﻟﻄﺮف"‪ ،‬اﳌﺤﺘﺠﺐ ﺟامﻟﻬﻦ واﳌﱰوك ﻟﻠﻤﺨﻴﺎل اﻹﻧﺴﺎين ﺑﻘﺪراﺗﻪ‬ ‫اﳌﺤﺪودة ﻋﲆ اﻟﺘﻮﺻﻴﻒ‪.‬‬ ‫وﻷن ﻣﺠﻤﻞ اﻷﺷﻜﺎل اﻹﺑﺪاﻋﻴﺔ اﳌﻜﺘﻮﺑﺔ ﻣﻨﻬﺎ واﳌﺴﻤﻮﻋﺔ واﳌﺮﺋﻴﺔ‬ ‫ﺗﻨﺤﻮ ﻧﺤﻮ اﻟﺼﻮرة‪ ،‬أو اﳌﺮيئ واﳌﺠﺴﺪ‪ ،‬ﻓﻜﺎن ﻻ ﺑﺪ ﻟﻠﺸﻌﺮ أن ﻳﻜﻮن‬ ‫اﻟﻨﺎﻓﺬة اﻟﺠامﻟﻴﺔ اﻟﺴﺎﻣﻴﺔ ﰲ ﺗﻘﺪﻳﻢ اﳌﺤﺴﻮس واﳌﺼ ّﻮر‪ ،‬وﻛﺎن ﻻ ﺑﺪ‬ ‫ﻟﻪ أن ﻳﻄﺮح ﻣﺎ ﻳﻌﺠﺰ اﳌﺤيك واﳌﴪود ﻋﻦ ﻃﺮﺣﻪ‪ ،‬ﺧﺸﻴﺔ اﻟﻮﻗﻮع‬ ‫ﰲ اﻟﺪﻧﻴﻮي واﳌﺒﺘﺬل‪ ،‬اﻧﻄﻼﻗﺎً ﻣﻦ ﻗﻨﺎﻋﺎت ﻻ زاﻟﺖ ﺣﺘﻰ اﻟﻴﻮم ﺗﺮى‬ ‫اﻟﺤﺪﻳﺚ ﰲ ﺟامﻟﻴﺎت اﻟﺠﺴﺪ اﻧﺸﻐﺎﻻً ﰲ اﻟﺴﻄﺤﻲ ﻋﲆ ﺣﺴﺎب‬ ‫اﻟﺠﻮﻫﺮي‪ ،‬واﻧﻐامس ﰲ اﻟﺪينء ﻋﲆ ﺣﺴﺎب اﳌﺘﺴﺎﻣﻲ واﳌﺘﻌﺎﱄ‪.‬‬ ‫إﱃ ﺟﺎﻧﺐ ﻣﺮﺟﻌﻴﺎت اﻟﻨﺺ اﻟﻘﺮآين‪ ،‬ﺗﻈﻬﺮ اﻟﺼﻮر اﻟﺠﺎﻫﺰة ﻟﻠﻐﺰل‬ ‫اﻟﺸﻌﺮي اﻟﺸﻌﺒﻲ ﻣﺴﺘﻨﺪة إﱃ ﻣﺎ ﻗﺪﻣﺘﻪ ﻣﺪوﻧﺔ اﻟﺸﻌﺮ اﻟﻌﺮيب ﺗﺎرﻳﺨﻴﺎً‬ ‫ﻣﻦ ﻏﺰل‪ ،‬وﻫﺬا متﺎﻣﺎً ﻣﺎ ﻳﻨﺴﺠﻢ ﻣﻊ ﺻﻮر ﺷﻌﺮﻳﺔ ﻗﺪميﺔ ﻗﺪﻣﻬﺎ‬ ‫اﻟﺸﻌﺮاء اﻟﻌﺮب ﺗﺎرﻳﺨﻴﺎً‪ .‬وﻣﻘﺎﺑﻞ اﻟﺘﺄﺛﺮ ﺑﺎﻟﻨﺺ اﻟﻘﺮآين وﻣﺪوﻧﺔ اﻟﺸﻌﺮ‬ ‫اﻟﻌﺮيب اﻟﺘﺎرﻳﺨﻴﺔ‪ ،‬ﻻ ميﻜﻦ اﻹﻏﻔﺎل ﻋﻦ أﺛﺮ اﻟﻐﻨﺎء اﳌﺴﺘﻨﺪ ﰲ ﻣﻘﺎﻣﻪ‬ ‫اﻷول إﱃ اﻟﻘﺼﻴﺪة اﳌﺤﻜﻴﺔ‪ ،‬ﻓﺎﻟﻌﺎﺋﺪ إﱃ ذاﻛﺮة اﻷﻫﺎزﻳﺞ واﻷﻏﺎين‬ ‫اﻟﺸﻌﺒﻴﺔ اﻟﻘﺪميﺔ ﰲ اﻟﺨﻠﻴﺞ اﻟﻌﺮيب وﻣﺎ ﻳﺠﺎوره ﻣﻦ ﺑﻼد اﻟﻴﻤﻦ ﻳﺠﺪ‬ ‫أﻧﻪ ﺷﻜﻞ ذاﻛﺮة اﻟﺸﻌﺮاء وﻛﻮن ذاﺋﻘﻬﻢ اﻟﺠامﻟﻴﺔ ﰲ ﺗﻮﺻﻴﻒ اﳌﺮأة‪،‬‬ ‫إذ ﻧﺠﺪ أﻏﻨﻴﺎت ﻗﺪميﺔ وﻣﻌﺎﴏة ﺗﻌﻴﺪ اﻟﻮﺻﻒ ذاﺗﻪ ﻟﺤﺴﻦ اﳌﺮأة‪،‬‬ ‫ﻓﻤﺜ ًﻼ ﺗﻘﻮل واﺣﺪة ﻣﻦ اﻷﻏﺎين اﻟﱰاﺛﻴﺔ اﻟﻴﻤﻨﻴﺔ‪:‬‬ ‫‪ ¤c / xEH b + ¥2*H yF b´* ¢ < 24*H b D* ~|= x 1‬‬ ‫‪¤c B eb~8H ¢ g<*H Eb ~6 e¡~8H ¥¡pF bF4 Fb /&b+H‬‬ ‫ﻛﻞ ﻫﺬا اﳌﺤﻤﻮل اﻟﺠامﱄ ﻻ ميﻜﻦ اﻟﻮﻗﻮف ﻋﻨﺪه ﻣﻦ دون اﻻﻟﺘﻔﺎت‬ ‫إﱃ ذﻫﻨﻴﺔ اﳌﺠﺘﻤﻊ اﻟﺬي ﻳﻨﺘﻤﻲ إﻟﻴﻪ اﻟﺸﺎﻋﺮ اﻟﺸﻌﺒﻲ اﻹﻣﺎرايت‬ ‫ﺗﺎرﻳﺨﻴﺎ‪ ،‬ﻓﻬﺬه اﻟﺬﻫﻨﻴﺔ ﻫﻲ ﻣﺰﻳﺞ ﻣﻦ ﻛﻞ ذﻟﻚ اﳌﺤﻤﻮل‪ ،‬وﻫﻲ ﻧﺘﺎج‬ ‫ﺗﺠﺮﺑﺔ ﺧﺎﺻﺔ ورمبﺎ ﺗﻜﻮن ﻣﺘﻔﺮدة ﺷﻜﻠﺖ ذاﺋﻘﺔ اﻟﺸﺎﻋﺮ ورﺳﻤﺖ‬ ‫ﺻﻮره اﻟﺠامﻟﻴﺔ اﻟﻈﺎﻫﺮة ﰲ ﻧﺼﻮﺻﻪ اﻟﺸﻌﺮﻳﺔ‪ ،‬إذ ﻳﻜﻔﻲ اﳌﻘﺎرﻧﺔ ﺑني‬ ‫ﻗﻮل اﻟﺸﺎﻋﺮ اﻟﻨﻌﻴﻤﻲ وﺑني وﺻﻒ اﳌﺮأة اﻟﺸﻌﺒﻲ ﰲ اﻹﻣﺎرات‪ ،‬ﻓﻬﻮ‬ ‫اﻟﻘﺎﺋﻞ‪:‬‬ ‫‪b@@ ~@ @{@ @²* h@@ @ @+w@@ @ @< d@@ @ @ @ @ @ @ @D* d@@ @£@ @ c@ @ 0 b@@ @ @ J‬‬ ‫‪ 4¡@@ @ @ @Gv@@ @ @ @D*H b@@ @ @ @ @ < b@@ @ @ £@ @ @ @D h@@ @ ~@ @ @ }@ @ @ @ @ @ F*H‬‬ ‫*‪b@@ ~@ @{@ @g@ @<* @@ @ @Jv@@ @ @1 4¡@@ @ @ @ F @@ @ @ E ¤@@ @c@ @ ~@ @ |@ @ D‬‬ ‫‪ 4¡@@ @ @ @ @ @ D* 4b@@ @ @g@ @ @ « @@ @ £@ @ @A b@@ @ @ @ @ @ / @@ @ @ E‬‬ ‫*‪b@@ @~@ @ {@ @ J4* ib@@ @ @ m@ @ @ @<2 b@@ @ ~@ @ @ z@ @ @ 0* b@@ @ £@ @ @ @ @ @ D‬‬ ‫‪4¡@@ @º @@}@ c@ @ D* ¯ @@£@~@z@Db@@C @@~@ {@ ³*H‬‬

‫ ‬ ‫ ‪ ōǘǙ ƉŬǉŐ ǣǂǾŭǷũǶ ƉƪƖǕŌ ƃǂǜş ŌǷǔƮƖǝŌ ŜƉƪǕŌ‬‬ ‫ ‪ǺǷƓ ǣŨƖǾƪǙ ŦȍǷżũǶ ǣũŋŌƉǂş ŌǷǔƮƖǝŌ‬‬ ‫ ‪ǳǔǾǔǃ ƩƟŌǷǙ ǽƳ‬‬ ‫‪ ǲƃǿƃƫ ŦōǾƪŵƉǙ ǻǕŒ ƉǾƖũ ǒƋƮǕŌ ǽƳ ǽǘǾƪǜǕŌ ǳşƉŴũ‬‬ ‫‪ǽǝŔƉǂǕŌ ƙǜǕŌ ōǤǕǶŐ ɐǽŞƪƖǕŌ ǼƉƪƖǕŌ ƙǜǔǕ‬‬ ‫‪ɰ‬‬ ‫‪ ǳǿƂǷƪƒǕŌ ǳǾşƉƪǕŌ ǳǈǔǘǘǕŌ ǻǕŒ ɐǀƊƉǔǕ ōŞǔƣ ǓżũƈŌ‬‬ ‫‪ɰ‬‬ ‫‪ɰ‬‬ ‫ ‪ ōşōƗ ǒŌƋǿ ȍ ǷǥǶ ǽƳǷũǶ‬‬ ‫‪ŌƉǾŬǉ ǣǔǤǘǿ ǗǕ ƈƃǂǕŌ ǚŐ ȍŒ‬‬ ‫‪ɰ‬‬ ‫‪ōǙōƫ ǛǿƉƖƪǕŌǶ ǳŭȎŬǕŌ ơƀŨǿ ǗǕ‬‬

‫ﻳﺸﺎر إﱃ أن ﻣﺎﺟﺪ ﺑﻦ ﻋﲇ اﻟﻨﻌﻴﻤﻲ ﻗﺪ وﻟﺪ ﰲ إﻣﺎرة ﻋﺠامن‬ ‫ﺳﻨﺔ)‪1924‬م(‪ ،‬وﻟﻘﺒﻮه أﻫﻠﻪ ﻣﻨﺬ ﻧﻌﻮﻣﺔ أﻇﺎﻓﺮه وﻗﺒﻞ أن ﻳﺘﻠﻔﻆ‬ ‫ﺑﻠﻔﻆ ﺷﻌﺮي ﺑـ )ﻣﺎﺟﺪ اﻟﺸﺎﻋﺮ( وﻛﺄن أﻗﺎرﺑﻪ ﻗﺪ ﺗﻨﺒﺆوا ﻟﻪ ﺑﺎﻹﺑﺤﺎر‬ ‫اﳌﺒﻜﺮ ﰲ ﻋﺎمل اﻟﻜﻠﻤﺔ اﻟﺸﻌﺮي‪ ،‬وﻫﻮ ﻣﺎﺟﺪ ﺑﻦ ﻋﲇ ﺑﻦ ﺳﺎمل ﺑﻦ ﻋﲇ‬ ‫ﺑﻦ ﻣﺤﻤﺪ ﺑﻦ ﺳﺎمل ﺑﻦ ﻋﲇ اﻟﻨﻌﻴﻤﻲ‪ .‬درس اﻟﻘﺮآن اﻟﻜﺮﻳﻢ وارﺗﺤﻞ‬ ‫ﻃﻠﺒﺎً ﻟﻠﺮزق‪ ،‬إﱃ اﳌﻤﻠﻜﺔ اﻟﻌﺮﺑﻴﺔ اﻟﺴﻌﻮدﻳﺔ‪ .‬إﻻ أن اﻟﻘﺪر مل ميﻬﻠﻪ‬ ‫ﻛﺜرياً وﺗﻮﰲ وﻫﻮ ﻻ ﻳﺰال ﺷﺎﺑﺎً مل ﻳﺘﺨﻂ اﻟﺜﻼﺛﺔ واﻟﻌﴩﻳﻦ ﻋﺎﻣﺎً‪.‬‬ ‫اﻟﺸﻌﺮ ‪baytelshear‬‬ ‫ﺑﻴﺖ ِ‬

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‫‪Ĭō§§Ř‬‬ ‫‪ɰ‬‬ ‫‪ ōŵƄǷǘǝ ǽǘǾƪǜǕŌ ǽǔƫ Ǜş ƃŵōǙ ǳşƉŴũ‬‬

‫اﻟﺸﻌﺮ اﻟﺸﻌﺒﻲ اﻹﻣﺎراﺗﻲ‪..‬‬

‫ﻛﻴﻒ ﺗﻌﻠﻤﻨﺎ ﻛﺘﺎﺑﺔ اﻟﻐﺰل؟‬

‫ﻣﺤﻤﺪ أﺑﻮ ﻋﺮب‬

‫اﻟﻜﺜري ﻣﻦ اﻷﺳﺌﻠﺔ ﺗﻮارت ﺧﻠﻒ اﻟﺒﺪﻫﻴﺎت وأﻓﻘﺪ اﻟﻌﺎدي واﻟﻴﻮﻣﻲ ﻟﺬة اﻹﺟﺎﺑﺔ ﻋﻠﻴﻬﺎ‪ ،‬ﻓﻤﺜﻠام مل ﻧﺠﺐ ﻋﲆ ﺳﺆال‪ :‬ﳌﺎذا ﻧﻜﺘﺐ‬ ‫اﻟﺸﻌﺮ؟ وﻫﻞ اﻟﺸﻌﺮ ﻗﺒﻞ اﻟﻠﻐﺔ أم ﺑﻌﺪﻫﺎ؟ وﻣﺎ اﻟﺬي ﻳﺪﻓﻌﻨﺎ ﻟﻜﺘﺎﺑﺔ اﻟﻘﺼﺎﺋﺪ؟ مل ﻧﻄﺮح اﻟﺴﺆال‪ :‬ﳌﺎذا ﻳﺪور اﻟﻐﺰل اﻟﺸﻌﺮي ﰲ ﻓﻠﻚ‬ ‫وﺻﻒ ﻣﺤﺎﺳﻦ اﳌﺤﺒﻮﺑﺔ‪ ،‬ﳌﺎذا ﻳﺘﻮﻗﻒ ﻋﻨﺪ اﻟﻌﻴﻨني‪ ،‬واﻟﻌﻨﻖ‪ ،‬واﻟﺨﴫ‪ ،‬واﻟﻘﺎﻣﺔ اﻟﻄﻮﻳﻠﺔ‪ ،‬وﺳﻮاﻫﺎ؟ وﻣﻦ اﺑﺘﻜﺮ ﺗﻠﻚ اﻟﺼﻮر اﻟﺠﺎﻫﺰة‬ ‫ﻟﻮﺻﻒ ﻫﺬه اﳌﺤﺎﺳﻦ ﰲ ذاﻛﺮة اﻟﻨﺺ اﻟﺸﻌﺮي اﻟﻌﺮيب؟‬ ‫اﻹﺟﺎﺑﺔ ﻋﲆ ﻫﺬه اﻷﺳﺌﻠﺔ وﺳﻮاﻫﺎ مل ﺗﻘﺪم ﺑﺼﻮرة واﻓﻴﺔ ﻷﺳﺒﺎب‬ ‫ﻛﺜرية‪ ،‬أﻫﻤﻬﺎ أن اﻟﻌﺮب اﻧﺸﻐﻠﻮا ﺑﻨﻘﺪ اﻟﺸﻌﺮ وﺗﻮﺛﻴﻘﻪ أﻛرث ﻣام‬ ‫اﻧﺸﻐﻠﻮا ﺑﻘﺮاءﺗﻪ ﻋﲆ اﳌﺴﺘﻮى اﻷﻧرثوﺑﻮﻟﻮﺟﻲ‪ ،‬واﻟﺴﺴﻴﻮﺛﻘﺎﰲ‪ ،‬أي أﻧﻪ‬ ‫مل ﻳﺪﺧﻞ ﰲ ﺳﻴﺎق ﻗﺮاءة ذﻫﻨﻴﺔ اﳌﺠﺘﻤﻊ اﻟﻌﺮيب‪ ،‬وﺗﺤﻮﻻت ﻣﻌﻴﺸﺘﻪ‬ ‫ﺳﻮى ﰲ ﻣﻮاﺿﻊ ﻗﻠﻴﻠﺔ‪.‬‬ ‫ﺑﺎﻻرﺗﻬﺎن إﱃ ﻫﺬا اﻟﻮاﻗﻊ‪ ،‬ﻳﺒﺪو ﻃﺮح ﻫﺬه اﻷﺳﺌﻠﺔ ﻋﲆ اﻟﻘﺼﻴﺪة‬ ‫اﻟﺸﻌﺒﻴﺔ اﻹﻣﺎراﺗﻴﺔ أﻛرث ﺗﻌﻘﻴﺪاً‪ ،‬وﺗﺒﺪو اﻹﺟﺎﺑﺔ ﻋﻠﻴﻬﺎ رﻫﻴﻨﺔ ﻟﻠﻘﺮاءات‬ ‫اﻻﻧﻄﺒﺎﻋﻴﺔ اﳌﺤﻜﻮﻣﺔ ﺑﺎﳌﻌﺮﻓﺔ اﻟﺘﺎرﻳﺨﻴﺔ ﳌﺮﺟﻌﻴﺎت اﻟﻨﺺ اﻟﺸﻌﺮي‬ ‫اﻟﺸﻌﺒﻲ‪ ،‬إﻻ أن اﻟﺘﻮﻗﻒ ﻋﻨﺪ واﺣﺪة ﻣﻦ ﺗﺠﺎرب اﻟﺸﻌﺮاء اﻹﻣﺎراﺗﻴني‬ ‫ﰲ ﺳﻴﺎق اﻟﺒﺤﺚ ﻋﻦ ﻫﺬه اﻷﺟﻮﺑﺔ‪ ،‬ﻗﺪ ﻳﻜﻮن ﻧﺎﻓﺬة واﺳﻌﺔ ﻟﻠﻮﺻﻮل‬ ‫إﱃ إﺟﺎﺑﺎت‪.‬‬

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‫اﻟﻌﺪد ‪ ، 75‬ﻓﺒﺮاﻳﺮ ‪2019‬‬

‫ﺗﺮوي ﺣﻜﺎﻳﺔ اﻟﺸﺎﻋﺮ اﻟﺸﻌﺒﻲ اﻹﻣﺎرايت ﻣﺎﺟﺪ ﺑﻦ ﻋﲇ اﻟﻨﻌﻴﻤﻲ‪،‬‬ ‫ﺳرية منﻮذج ﺷﻌﺮي اﻧﺸﻐﻞ ﺑﺎﻟﻐﺰل ﻃﻮل ﺗﺠﺮﺑﺘﻪ اﻟﺸﻌﺮﻳﺔ اﻟﻘﺼرية‪،‬‬ ‫ﻓﻬﻮ اﳌﻮﻟﻮد ﰲ اﻟﻌﺎم ‪ 1924‬واﳌﺘﻮﰲ ﻋﻦ ﻋﻤﺮ مل ﻳﺘﺠﺎوز واﻟﺜﻼﺛﺔ‬ ‫واﻟﻌﴩﻳﻦ ﻋﺎﻣﺎً‪ ،‬ﻗﺪم ﻋﺪداً ﻣﻦ اﻟﻨﺼﻮص اﻟﻐﺰﻟﻴﺔ اﻟﺘﻲ ﺗﺆﻛﺪ رﺳﻮخ‬ ‫اﻟﺼﻮر اﻟﺠﺎﻫﺰة ﻟﻠﺘﻐﺰل ﺑﺎﳌﺮأة ﰲ اﻟﺸﻌﺮ اﻟﺸﻌﺒﻲ اﻹﻣﺎرايت‪ ،‬إذ ﻛﺘﺐ‬ ‫ﰲ واﺣﺪة ﻣﻦ ﻧﺼﻮﺻﻪ‪:‬‬ ‫‪ 2¡@@ @ @ @ @ @ @ @D ¡@@ @ @ @ @ Ey@@ @ @ @ @ E @@ @ @ @ @ @ @DH @@ @ @ @ @ E ¤@@ @ @ @ @ +‬‬ ‫· ¯ *‪ @@ @ @6b@@ @ @E4 4b@@ @ @ @~@ @ @ @ 8 b@@ @ @ @ E É@@ @ @ @ @ @ ³‬‬ ‫*&‪ 2¡@@ @ @ < H&* @@ @ @ @ @ D x@@ @ @ @ @ @ @ @ @ @ @ @ C3&*H x@@ @ @ @ @ @ @ @ @ @ @ @ C3‬‬ ‫ @ @ @‪ @@ @ @6b@@ @ @g@ @ @ 0* ¤@@ @ @c@ @ @ @ @ @ B @@ @ @ £@ @ @ @D Í@@ @ @ @ @ ~@ @ @ z‬‬‫‪ 2¡@@ @ @ @ =y@@ @ @ @ EH @@ @ @~@ @ @ |@ @ @ F @@ @ @ @ @ E 3¡@@ @ @ @ @ @1&b@ @ @ @ @ @ E‬‬ ‫‪ @@ @ 6b@@ @ £@ @ @E 2¡@@ @ @ @ @ @ @ @ @ @ @D* @@ @ @ j@ @ @ @E @@ @ @ @ @ @ £@ @ @ @ @ @ @E&*H‬‬

‫ﻋﻠﻲ اﻟﻤﺴﻌﻮدي‬

‫ﻗﺎل اﻟﺸﺎﻋﺮ‪:‬‬ ‫‪ @@ @A*¡@@ @E 4b@@ @ @ @/ 4*v@@ @ @ @ @ @ D* @@ @c@ @ B ¡@@ @ D¡@@ @ @ @ @J‬‬ ‫‪P @@ £@ @A4 @O @ @ @z@ @ @ FO&* n@@ @ @ @ @D* @@ @Jx@@ @ @ @ D* @@ @c@ @ BH‬‬ ‫ﻛﺎن اﻟﻌﺮيب ﰲ اﻟﺠﺎﻫﻠﻴﺔ ﻳﻔﺘﺨﺮ ﺑﺈﺣﺴﺎﻧﻪ إﱃ ﺟﺎره‪ ،‬وﻳﻌﺘﺰ ﺑﺜﻨﺎء ﺟﺎره‬ ‫ﻋﻠﻴﻪ‪ ،‬ﺧﺼﻮﺻﺎً إذا ﻛﺎن اﻟﺠﺎر ﺿﻌﻴﻔﺎً‪ .‬ﻓﻴﺼري ﺑﻬﺬه اﻟﺮاﺑﻄﺔ ﻗﻮﻳﺎً ﺑﻌﺪ‬ ‫اﻟﻀﻌﻒ‪ ،‬وﻋﺰﻳﺰاً ﺑﻌﺪ اﻟﺬﻟﺔ‪ ،‬وﻏﻨﻴﺎً ﺑﻌﺪ اﻟﻘﻠﺔ‪ ،‬ﻗﺎل اﻟﺸﺎﻋﺮ اﻟﻌﺮيب‬ ‫اﻟﻴﻬﻮدي اﻟﺴﻤﻮأل ‪:‬‬ ‫@ @ @ @ @ ‪ b@@ @ @FvO @ @ @ Jv@@ @ @< @L @ @£@ @ @ @ B b@@ @ @ @ @ @ FQ &* b@@ @ FÌ@U‬‬‫‪ O @ @ £@ @ @ @ B *x@@ @ @ @ @ @ @ @ @ @ D* (* b@@ @ @ @ @ @ D Oh@@ @ @ @ @ @ @ @ @ A‬‬ ‫‪ b@@ @ @F4b@@ @ @/H @@ £@ @ @ @B b@@ @ @ @ @FQ &* b@@ @FxQ @ @ ~@ @ 9 b@@ @ @ EH‬‬ ‫< @ @ @ @@‪ O @ @ @ £@ @ @ D3 @@ @ @ @ @ JÈ@@ @ @ @ @ C&°* 4b@@ @ @ @ @ @ @/H yL @ @ @ @ Jy‬‬ ‫‪O @ @ @E @@ Q @ @ g@ @ p@ @ J @@ @c@ @ / b@@ @ @ @ D‬‬ ‫@ ½@ @ @ @ @@‪ Ì‬‬ ‫‪N @ @ @ @ @ @ @ @ D* T2x@@ @ @ @ @ J L @ @ @£@ @ @ @ @ @E‬‬ ‫@‪O @ @£@ @ @ @C ¡@@ @ @ @ GH x‬‬ ‫وﻟﻜﻨﻨﻲ أﺑﻴﻌﻬﺎ ﺑﺨﻤﺴامﺋﺔ وأﺑﻴﻊ ﺟﻮارﻫﺎ ﺑﺨﻤﺴامﺋﺔ أﺧﺮى‪ ،‬ﻓﺒﻠﻎ‬ ‫وﻳﺘﻤﺪّﺣﻮن ﺑﻜﻒ اﻷذى ﻋﻦ اﻟﺠﺎر ﺣﻴﺚ ﻳﻘﻮل ﺷﺎﻋﺮﻫﻢ‪:‬‬ ‫اﻟﻘﻮل أﺑﺎ دﻟﻒ ﻓﺄﻣﺮ ﺑﻘﻀﺎء دﻳﻨﻪ ووﺻﻠﻪ وواﺳﺎه‪.‬‬ ‫‪ b@@~@ |@ @ D* @@ @Ax@@ @F °H ¶¡@@ @ @ @´* w@@ @s@ @ F °H‬‬ ‫ﻗﺎل اﻟﺸﺎﻋﺮ‪:‬‬ ‫@‪b‬‬ ‫@‬ ‫‪+‬‬ ‫@‪x‬‬ ‫@‬ ‫ ‬ ‫@‬ ‫<‬ ‫@‪ 4b‬‬ ‫@‬ ‫@‬ ‫@‬ ‫@‬ ‫‪±‬‬ ‫*‬ ‫(¶ ‬ ‫*‬ ‫@‪ ¤‬‬ ‫@‬ ‫@‬ ‫‪/‬‬ ‫<@ @ @ @‪y@@ @F °H @@ £‬‬ ‫*‪ @@ @ @ @ @A*¡@@ - Kb@ @ @ F*Ì@@ @ @ / @N @ ~@ @z@ @ @ @ @ @D d@@ @ @ @ :‬‬ ‫ ‪4O b@@ @ ±* q@@ @ ~@ |@ J ¢@@ g@ @0 4*v@@ @ @ @D* q@@ @ ~@ |@ - °‬‬ ‫ُ‬ ‫اﻟﻬﻮان ﺟﺎ َرﻫﻢ ﺗﺄﳌﻮا ﻟﺬﻟﻚ‪ ،‬وﻋ ّﺪوه ﻓﺎﻗﺮة ﻣﻦ اﻟﻔﻮاﻗﺮ‪،‬‬ ‫وإذا أﺻﺎب‬ ‫ﻗﺎل اﻟﺸﺎﻋﺮ‪:‬‬ ‫وﺣﺪث أن ﻋﺮض أﺣﺪﻫﻢ داره ﻟﻠﺒﻴﻊ ﺑﺜﻤﻦ ﺑﺨﺲ أﺛﺎر اﺳﺘﻐﺮاب‬ ‫‪L‬‬ ‫‪ µ'¡@ @ @ @ @E 4b@@ @m@ @ @ @ D 4b@@ @ @ @ @ ±* N *¡@@ @ @ @ @ @ G (Q *H‬‬ ‫اﻟﻨﺎس‪ ،‬ﻓﻜﺎن ﺟﻮاﺑﻪ ﺷﻌﺮاً‪:‬‬ ‫‪x‬‬ ‫@‬ ‫@‬ ‫@‬ ‫‪B‬‬ ‫@¡*‬ ‫@‬ ‫@‬ ‫ ‬ ‫@‬ ‫@‬ ‫@‬ ‫‪D‬‬ ‫@‪* b‬‬ ‫@‬ ‫@‬ ‫ ‬ ‫@‬ ‫@‬ ‫@‬ ‫‪£‬‬ ‫@‬ ‫@‬ ‫@‬ ‫‪D‬‬ ‫*‬ ‫(‬ ‫&‪ ¥H‬‬ ‫‪b‬‬ ‫‪@ @ @ @ @ @ @ - ,x@@ @ @ @Bb@@ @ @ @AH‬‬ ‫‪ ·y@@ @ E @@|@ 1x@@Db@@+ h@@ @ @+P &* ¤@@ @ F¡@@E¡@@ @ J O‬‬ ‫‪ @@|@ @ @ J b@@ @ @ @ @G K*4b@@ @ @ @ @ @ / *¡@@ @ @ @ @ @ @ @ J µH‬‬ ‫وﻗﺪ روي ﻋﻦ اﻹﻣﺎم أيب ﺣﻨﻴﻔﺔ اﻟﻨﻌامن أﻧﻪ ﻛﺎن ﻳﺴﻜﻦ إﱃ ﺟﻮاره ‪ b@@ @ ¿(b@ @ @A É@@ @ @ @ @ @ ´* *¡@@ @ @ @ Q @ @ @ @ C @@ @ @ @ @D h@@ @ @ @ @ @ A‬‬ ‫‪ @@ |@ @1x@@ -H 4b@@ @ @ Jv@@ @ @ D* ¡@@ @ @ @ @- b@@ @ @ @ F*Ì@@ @m@ @ +‬‬ ‫رﺟﻞ –ﻳﺼﻠﺢ اﻷﺣﺬﻳﺔ اﻟﻘﺪميﺔ– ﻳﺒﻴﺖ ﻟﻴﻠﻪ ﻳﻌﺎﻗﺮ اﻟﺨﻤﺮ‪ ،‬وﻳﺪق ﰲ‬ ‫اﻷﺣﺬﻳﺔ اﻟﺘﻲ ﻳﺼﻠﺤﻬﺎ‪ ،‬وﻳﻐﻨﻲ ﺑﺼﻮت ﻣﺮﺗﻔﻊ ﻛﺮﻳﻪ وﻳﻘﻮل‪:‬‬ ‫*&‪*¡@@ @ @<b@@ @ @~@ @ @ 9&* ¢@@ @ g@ @ @A ¥&*H Á¡@@ @ @ <b@@ @ @ ~@ @ @ @ 9‬‬ ‫ﻗﺎل ﺣﺴﺎن رﴈ اﻟﻠﻪ ﻋﻨﻪ‪:‬‬ ‫‪ 4b@@ @ @ @ @± Mv@@ @ @ @ @ @ § b@@ @ @ @ @E Lv@ @ @ @ @ @ @ @0&* b@@ @ @ @ @A Mx@@ @ @ @ @ . 2*v@@ @ @ @ @ @ ~@ @ @ @ @ @ @6H f@@ @ @ @ @ @ @ Jx@@ @ @ C ¡@@ @ @ @ £@ @ @ @ @D‬‬ ‫*&‪vO @ @ @ )b@@ @ @< ¡@@ @ @ @ @ GH @@ @ @ @ + M4y@@ @ @ @ @ @ @ @ @ @ @ EO °H ,K *3‬‬ ‫وﻛﺎن اﻹﻣﺎم ﻳﺼﱪ ﻋﲆ ﻫﺬا اﻷذى‪ ،‬وﻻ ﻳﻔﴚ ﴎ ﺟﺎره ﺳﻴﺊ اﻟﺨﻠﻖ‪ f@@ @ @Fb@@ @ @E&* 4*¡@@ @ @ @ @ ±* N @ @ @ @0 Ix@@ @ @ F b@@ @ @ @ F&° ..‬‬ ‫‪ Ov@ @ @Gb@@ @ @ @ @´* Ãx@@ @ @ @ @ @ @ @ D* b@@ @ @ @ @E @@ @ @ @ @ @ p@ @ JH‬‬ ‫وﰲ ﻳﻮم ﻣﻦ اﻷﻳﺎم ﻗﺒﺾ ﻋﲆ ﻫﺬا اﻟﺠﺎر‪ ،‬وﺳﻴﻖ إﱃ اﻟﺴﺠﻦ‪ ..‬وﳌﺎ‬ ‫اﻓﺘﻘﺪ اﻹﻣﺎم ﺻﻮﺗﻪ‪ ،‬وﺿﻮﺿﺎءه ﺳﺄل ﻋﻨﻪ‪ ،‬ﻓﻌﻠﻢ ﻣﺎ ﺣﺪث ﻟﻪ‪ ..‬ﻓﺬﻫﺐ‬ ‫وﺗﺸﻔﻊ ﻟﻪ ﺣﺘﻰ أﺧﺮﺟﻪ ﻣﻦ اﻟﺴﺠﻦ‪ ..‬ﻓﺄﺧﺬ اﻹﻣﺎم ﺑﻴﺪه‪ ،‬وﻗﺎل ﻟﻪ‪ :‬وﻗﺎل اﻟﺤﻄﻴﺌﺔ‪:‬‬ ‫‪ d@@ £@ @ @ @C @@ @ E 4Hb@@ @ @m@ @ @ ´* b@@ @ E x@@ @ @ @ @D‬‬ ‫"ﻫﻞ أﺿﻌﻨﺎك ﻳﺎ ﻓﺘﻰ؟" ﻓﺨﺠﻞ اﻟﺮﺟﻞ‪ ،‬وﺗﺎب ﻋﲆ ﻳﺪ اﻹﻣﺎم‪ ،‬وﺻﻠﺢ‬ ‫§ @ @ @ @| @ @~@ @@‪ P b@@ @~@ @ }@ @ E °H 4*¡@@ @ @ @ @ @ @ ±* ¯ ¢‬‬ ‫ﺣﺎﻟﻪ‪.‬‬ ‫‪ h@@ ~@ @ z@ @ £@ @ DH O @ @ @ @G4b@@ @ @ ± L @ @ @ @ @ @~@@ O@ 8 O @ @ @ @ G‬‬ ‫و ُﻳﺮوى أن رﺟ ًﻼ ﻛﺎن ﺟﺎراً ﻷيب دﻟﻒ ﺑﺒﻐﺪاد ﻓﺄدرﻛﺘﻪ ﺣﺎﺟﺔ ورﻛﺒﻪ‬ ‫‪ P b@@ @ @ @ @~@@S @ |@ @ @D* v@@ @ @ J N @ @ @ j@ @ @ E $b@@ @ @ @Bx@@ @ @ @³* v@@ @ @ J‬‬ ‫دﻳﻦٌ ﻓﺎدح ﺣﺘﻰ اﺣﺘﺎج إﱃ ﺑﻴﻊ داره‪ ،‬وﻃﻠﺐ مثﻨﺎً ﻟﻬﺎ أﻟﻒ دﻳﻨﺎر‪ @@ @ @£@ @ @ @< @@ @ @ G4b@@ @ @ / xT @ @ @ ~@ @ @ 6 x@@ @ @ p@ @ @ @JH ،‬‬ ‫‪ P b@@ @ ~@ @ |@ @ @ @ D* @@ @ @ @ @ @ F&* @@ @ @ @G4b@@ @ @ @/ @@ @ @ @ C&b@ @ @ @ @JH‬‬ ‫ﻓﻘﺎﻟﻮا ﻟﻪ إن دارك ﻻ ﺗﺴﺎوي أﻛرث ﻣﻦ ﺧﻤﺴامﺋﺔ دﻳﻨﺎر ؛ ﻓﻘﺎل أﺟﻞ‪،‬‬ ‫اﻟﺸﻌﺮ ‪baytelshear‬‬ ‫ﺑﻴﺖ ِ‬

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‫ ‪ĜšĻŌ‬‬

‫}‪mŌǷƫōƟŐ ǻŨƳ ǼŐǶ ǽǝǷƫōƟŐ‬‬

‫اﻟﺸﻌﺮ‪ ..‬واﻟﺪار واﻟﺠﺎر‬ ‫‪36‬‬

‫اﻟﻌﺪد ‪ ، 75‬ﻓﺒﺮاﻳﺮ ‪2019‬‬

ĘıĘŕ

‫ﺳﻌﻴﺪ ﺧﻤﻴﺲ اﻟﻤﻨﺼﻮري‬ @s3eeedAD

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baytelshear ‫اﻟﺸﻌﺮ‬ ِ ‫ﺑﻴﺖ‬

ƃŽƩƴŢ ƺţƙƵƈ

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‫ﺧﻠﻴﻞ ﺑﻦ ذﻳﺐ ﺑﻦ ﻫﺪﻻن‬ @KhaleelBinHdlan

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ťƉƽƴŢ ťǈƃƠ

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2019 ‫ ﻓﺒﺮاﻳﺮ‬، 75 ‫اﻟﻌﺪد‬

‫ﺣﺘﻰ ﻳﻮﻣﻨﺎ ﻫﺬا ﺗﺪﻋﻮ إﱃ اﻟﺴﻼم واﻟﺘﻮاﺻﻞ اﻻﺟﺘامﻋﻲ اﻟﺴﻠﻴﻢ‬ ‫وﻧﺒﺬ اﻟﻌﺪاوات واﻟﻔﺨﺮ ﺑﺠﻤﻴﻊ اﻟﺼﺪاﻗﺎت ﺑﺪءاً ﻣﻦ اﻷﻓﺮاد وﺻﻮﻻً‬ ‫إﱃ اﻷﻣﻢ! ﻟﺬﻟﻚ ﻓﺎﳌﺘﺼﻔﺢ ﻟﻘﺼﺎﺋﺪ اﻟﺸﻌﺮاء اﻹﻣﺎراﺗﻴني واﻟﺸﺎﻋﺮات‬ ‫اﻹﻣﺎراﺗﻴﺎت ﻋﱪ اﻷﻋﻮام اﳌﻨﴫﻣﺔ ﺣﺘﻰ ﻳﻮﻣﻨﺎ ﻫﺬا ﺳﻴﺠﺪ ﺑﺠﻼء‬ ‫ﻣﺴﺘﻮى رﻗﻲ وﻧﺰاﻫﺔ اﻷﻏ ـﺮاض اﻟﺸﻌﺮﻳﺔ اﻟﺘﻲ ﻳﺘﻨﺎوﻟﻮﻧﻬﺎ ﰲ‬ ‫ﻗﺼﺎﺋﺪﻫﻢ! واﻟﺸﻴﺦ زاﻳﺪ أﺑﻮﻧﺎ اﻟﻐﺎﱄ _رﺣﻤﻪ اﻟﻠﻪ وﻏﻔﺮ ﻟﻪ_ ﻋﲆ‬ ‫رأﺳﻬﻢ! ﻓﺘﺠﺪ ﻛﻞ ﻗﺼﺎﺋﺪه اﻹﻧﺴﺎﻧﻴﺔ ﺗﺸﻊ ﰲ ﺳﺠﻼﺗﻪ اﻟﺸﻌﺮﻳﺔ‬ ‫ﺑﺎﻟﻔﺨﺮ ﺑﺎﻟﺼﺪاﻗﺎت اﳌﺨﺘﻠﻔﺔ واﻟﺘﺴﺎﻣﺢ ﻣﻊ اﻵﺧﺮﻳﻦ واﻟﻌﺪاﻟﺔ‬ ‫واﻟﺘﻌﺎﻳﺶ اﻟﺴﻠﻤﻲ وﺣﺐ اﻟﻮﻃﻦ!‬ ‫إن ﻋﺎم اﻟﺘﺴﺎﻣﺢ ﺳﻴرثي ﻣﺨﻴﻠﺔ اﻟﺸﻌﺮاء وﻳﺪﻓﻌﻬﺎ ﻧﺤﻮ ﻗﺼﺎﺋﺪ ﺷﺘﻰ‬ ‫ﺗﺘﻨﺎول ﺻﻮره اﳌﴩﻗﺔ!‬ ‫ﻣﻦ أﺑﻴﺎيت اﻟﺘﻲ ﻛﺘﺒﺘﻬﺎ ﺣﻮل ﻣﻨﻬﺞ أﺑﻮﻧﺎ زاﻳﺪ رﺣﻤﻪ اﻟﻠﻪ ﰲ اﻟﺘﺴﺎﻣﺢ‪:‬‬ ‫< ‪ÄCH Áb~7 É< ¡D ~9*¡gD* v@@J*5 ¤ R Q‬‬ ‫<@ ‪ v@@~@7b@@ @R´ b@@ @ @ D*H q@@Eb@@~@z@g@D* v@@ J*5 ¤@@ @ @ Q‬‬ ‫< ‪x~{cD* ibAb . @@E {Jb gD* v@@J*5 ¤ Q‬‬ ‫‪ vJb¹* nR‬‬ ‫< ‪ Q‬‬ ‫‪R‬‬ ‫ ‪R F £CH *vg<° vJ*5 ¤‬‬

‫إن دوﻟﺔ اﻹﻣﺎرات رﻣﺰ ﻳﻘﺘﺪى ﺑﻪ ﰲ ﺗﻄﺒﻴﻖ ﻧﻬﺞ اﻟﺘﺴﺎﻣﺢ واﻟﺘﻌﺎﻳﺶ‬ ‫ﻣﻊ ﺛﻘﺎﻓﺎت اﻟﺒﴩ اﳌﺨﺘﻠﻔﺔ اﳌﻘﻴﻤﺔ ﻓﻴﻬﺎ؛ ﻣﺎ ﺟﻌﻠﻬﺎ أﻳﻘﻮﻧﺔ ﺗﺴﺎﻣﺢ‬ ‫ﻳﴬب ﺑﺘﻨﺎﻏﻤﻬﺎ اﳌﺜﻞ ﰲ ﺗﺴﺎﻣﺢ ﻣﻮاﻃﻨﻴﻬﺎ وﺗﻘﺒﻠﻬﻢ وﺗﻌﺎﻳﺸﻬﻢ‬ ‫ﺑﺴﻼم ﻣﻊ اﻵﺧﺮﻳﻦ اﳌﻘﻴﻤني واﻟﺰاﺋﺮﻳﻦ ﻋﲆ أرﺿﻬﺎ‪ ،‬واﻟﺸﻌﺮاء‬ ‫اﻹﻣﺎراﺗﻴﻮن ﻳﺬﻛﺮون ﻫﺬا اﻟﺠﺎﻧﺐ اﳌﴤء دوﻣﺎً ﰲ أﻏﺮاض اﻟﺜﻨﺎء‬ ‫واﻟﻔﺨﺮ واﻟﺤامﺳﺔ ﺣﻮل ﻧﻬﺞ اﻟﺪوﻟﺔ اﳌﻌﺘﺪل واﻟﺠﺎذب أﻧﻈﺎر‬ ‫اﻹﻋﺠﺎب واﻟﺘﻘﺪﻳﺮ ﻣﻦ ﻛﺎﻓﺔ اﻟﺪول ﺣﻮل اﻟﻌﺎمل!‬

‫‪ŻǙōƒŨǕŌ źǶƈ‬‬ ‫د‪.‬أﺣﻤﺪ ﻋﻘﻴﻠﻲ‬

‫ﺗﻌﺪ ﻣﻜﺮﻣﺔ ﺻﺎﺣﺐ اﻟﺴﻤﻮ اﻟﺸﻴﺦ ﺧﻠﻴﻔﺔ ﺑﻦ زاﻳﺪ آل ﻧﻬﻴﺎن رﺋﻴﺲ‬ ‫دوﻟﺔ اﻹﻣﺎرات اﻟﻌﺮﺑﻴﺔ اﳌﺘﺤﺪة‪ ،‬ﺣﻔﻈﻪ اﻟﻠﻪ‪ ،‬ﺑﺠﻌﻞ ﻋﺎم أﻟﻔني‬ ‫وﺗﺴﻌﺔ ﻋﴩ ﻋﺎﻣﺎً ﻟﻠﺘﺴﺎﻣﺢ ﰲ ﺑﻠﺪ اﳌﺤﺒﺔ واﻟﺘﺴﺎﻣﺢ‪ ،‬أمنﻮذﺟﺎً ﺧﺎﻟﺪاً‬ ‫ُﻳﻘﺘﺪى ﺑﻪ‪ ،‬واﻧﻌﻜﺎﺳﺎً ﺣﻘﻴﻘﻴﺎً وﻣﺒﺎﴍاً ﳌﺎ ﻗﺎﻣﺖ وﺗﻘﻮم ﺑﻪ دوﻟﺔ‬ ‫اﻹﻣﺎرات اﻟﺤﺒﻴﺒﺔ ﻣﻦ ﻣﻨﺠﺰات إﻧﺴﺎﻧﻴﺔ راﺋﺪة ﰲ ﺷﺘﻰ اﳌﺠﺎﻻت‬ ‫واﻟﺼﻌﺪ‪ ،‬وذﻟﻚ ﻣﻨﺬ أن ﻏﺮس ﺑﺬرة اﻻﺗﺤﺎد اﳌﺒﺎرك‪ ،‬اﳌﻐﻔﻮر ﻟﻪ‬ ‫ُ‬ ‫اﻟﺸﻴﺦ زاﻳﺪ ﺑﻦ ﺳﻠﻄﺎن آل ﻧﻬﻴﺎن‪ ،‬ﻃ ّﻴﺐ اﻟﻠﻪ ﺛﺮاه‪ ،‬ﻓﻜﺎﻧﺖ دوﻟﺔ‬ ‫اﻹﻣﺎرات اﻟﻌﺮﺑﻴﺔ اﳌﺘﺤﺪة ﻣﺜﺎﻻً ﺣﻴﺎً ﺗﺴري اﻷﻣﻢ ﻋﲆ ﻫﺪﻳﻪ وﻧﻬﺠﻪ‪.‬‬ ‫وﻻﺷﻚ أن ﺛﻘﺎﻓﺔ اﻟﺘﺴﺎﻣﺢ اﻟﺘﻲ ﻧﺸﺄت ﻋﻠﻴﻬﺎ دوﻟﺔ اﻹﻣﺎرات‪ ،‬ﺗﺸﻤﻞ‬ ‫ﺟﻤﻴﻊ ﻣﺠﺎﻻت اﻟﺤﻴﺎة اﻻﺟﺘامﻋﻴﺔ واﻻﻗﺘﺼﺎدﻳﺔ واﻟﻔﻜﺮﻳﺔ واﻟﺜﻘﺎﻓﻴﺔ‬ ‫واﻟﻮﺟﺪاﻧﻴﺔ‪ ..‬وﻫﻮ ﻣﺎ ﻧﻠﻤﺴﻪ ﺑﻮﺿﻮح ﻣﻦ ﺧﻼل إﻗﺎﻣﺘﻨﺎ ﰲ وﻃﻨﻨﺎ‬ ‫اﻟﺜﺎين اﻟﺤﺒﻴﺐ‪ ،‬وﻟﻌﲇ أﻗﻒ ﻋﲆ اﻟﺸﻌﺮ واﻧﻌﻜﺎس ﺛﻘﺎﻓﺔ اﻟﺘﺴﺎﻣﺢ‬ ‫ﰲ ﻣﻮﺿﻮﻋﺎﺗﻪ وﻣﻀﺎﻣﻴﻨﻪ‪ ،‬وإﺑﺪاﻋﺎت ر ّواده‪ ،‬ﰲ ﻇﻞ اﻟﺮﻋﺎﻳﺔ‬ ‫اﻟﻜﺮميﺔ اﻟﺘﻲ ﻳﻨﻌﻢ ﺑﻬﺎ اﻟﺸﻌﺮاء واﻷدﺑﺎء واﳌﻔﻜﺮون ﰲ ﻫﺬا اﻟﺒﻠﺪ‬ ‫اﻟﻄﻴﺐ اﳌﻌﻄﺎء‪ ،‬وﻟيك ﻳﻜﻮن ﻟﻠﺸﻌﺮ دوره اﻟﻔﺎﻋﻞ ﰲ إذﻛﺎء روح‬ ‫اﻟﺘﺴﺎﻣﺢ‪ ،‬وﺗﻄﺒﻴﻖ ﻣﻌﺎﻳريﻫﺎ اﻟﺘﻲ أرﺳﺖ دﻋﺎمئﻬﺎ اﻟﻘﻴﺎدة اﻟﺤﻜﻴﻤﺔ‬ ‫ﻟﺪوﻟﺔ اﻹﻣﺎرات‪ ،‬ﻋﻠﻴﻪ أن ﻳﻠﺘﺰم أﺳﺲ اﻟﺘﺴﺎﻣﺢ ﰲ ﺷﺘﻰ ﻣﻀﺎﻣﻴﻨﻪ‬ ‫وﻣﻮﺿﻮﻋﺎﺗﻪ وﻗﻀﺎﻳﺎه‪ ،‬وذﻟﻚ ﻣﻦ ﺧﻼل ﺗﻘﺪﻳﻢ ﻣﻮﺿﻮﻋﺎت ﺷﻌﺮﻳﺔ‬ ‫أﺳﺎﺳﻬﺎ اﻟﺘﺴﺎﻣﺢ‪ ،‬وﻧﺒﺬ اﻟﺘﻌﺼﺐ واﻟﺘﻄﺮف واﻟﺘﻤﻴﻴﺰ واﻟﻌﻨﴫﻳﺔ‪،‬‬ ‫واﻟﺒﻌﺪ ﻛﻞ اﻟﺒﻌﺪ ﻋﻦ ازدراء اﻵﺧﺮﻳﻦ‪ ،‬وﺗﻘﺒﻞ اﻵﺧﺮ ﻣﻬام ﻛﺎن‬ ‫ﺟﻨﺴﻪ أو ﻧﻮﻋﻪ‪ ،‬أو ﺛﻘﺎﻓﺘﻪ‪.‬‬

‫اﻟﺸﻌﺮ ‪baytelshear‬‬ ‫ﺑﻴﺖ ِ‬

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‫د‪.‬رﻓﻴﻖ ﺑﻦ رﺟﺐ‬

‫اﻟﺴﻌﻴﺪ اﳌﴫي‬

‫د‪.‬أﺣﻤﺪ ﻋﻘﻴﲇ‬ ‫‪ǖƃǂŨǕŌǶ ŋōǜŞǕŌ‬‬ ‫د‪ .‬رﻓﻴﻘﺔ ﺑﻦ رﺟﺐ‬

‫"ﻋﺎم اﻟﺘﺴﺎﻣﺢ" ﻫﻮ ﻣﺎ أﻃﻠﻘﺘﻪ دوﻟﺔ اﻻﻣﺎرات ﻋﲆ ﻋﺎم ‪ .2019‬وﻋﻦ‬ ‫ﻧﻔﴘ ﺣﻴﻨام ﺳﻤﻌﺖ ﺑﻬﺬه اﻟﺘﺴﻤﻴﺔ ﻓﺮﺣﺖ ﺑﻬﺬه اﻟﺪﻋﻮة اﻟﻌﻠﻨﻴﺔ‬ ‫ﻟﺘﺼﻔﻴﺔ اﻟﻘﻠﻮب وﻣﺤﺎوﻟﺔ دﻓﻦ ﻛﻞ اﻟﺨﻼﻓﺎت وﺳﻠﻮﻛﻴﺎت اﻟﺘﻄﺮف ﻧﺤﻦ ﰲ ﻋﴫ اﻟﺘﺤﻮﻻت واﻟﺤﺮاك اﻻﺟﺘامﻋﻲ اﻟﺪاﺋﺮ ﻋﲆ ﺟﻤﻴﻊ‬ ‫واﻟﻌﺪاء‪ ،‬ﻟﻨﺒﺪأ ﻋﺎﻣﻨﺎ ﺑﺒﻴﺎض ﻣﻄﻠﻖ‪.‬‬ ‫اﳌﺴﺘﻮﻳﺎت‪ ،‬ﻧﻌﻴﺶ ﰲ ﻋﴫ اﻟﻜﺸﻒ ﻋﻦ ﻣﻌﺎمل وﻃﺮاﺋﻖ ﺟﺪﻳﺪة‬ ‫ﻟﺘﻔﻌﻴﻞ داﺋﺮة اﻟﺘﻮاﺻﻞ اﻟﺤﻀﺎري واﳌﺴﺎﻫﻤﺔ ﰲ ﺗﻔﺠري اﻟﻄﺎﻗﺎت‬ ‫‪ŻǙōƒŨǕŌ ǳǘǾǃ ǗƫƂ‬‬ ‫ﻟﺘﺠﺘﻤﻊ ﰲ اﻟﻨﻬﺎﻳﺔ ﺣﻮل ﻧﺴﻖ واﺣﺪ وﻫﻮ ﻧﺴﻖ اﻟﺘﺴﺎﻣﺢ واﻟﺤﺐ‬ ‫اﻟﺴﻌﻴﺪ اﻟﻤﺼﺮي‬ ‫واﻟﻮﺋﺎم وﻧﺒﺬ اﻟﻔﺮﻗﺔ واﻟﺤﻘﺪ واﻟﻌﺪاوة واﻟﻌﻨﻒ‪.‬‬ ‫اﻟﺜﻘﺎﻓﺔ ﻟﻴﺴﺖ ﻣﺠﺮد اﻹﺑﺪاع ﰲ اﻟﻔﻨﻮن واﻵداب‪ ،‬ﺑﻞ ﻫﻲ ﻧﺴﻖ وﻟﻴﻜﻦ اﻟﻨﱪاس اﻟﺬي ﻳﺴﺘﴤء ﺑﻪ اﻟﺸﻌﺮاء ﻹﻧﺘﺎج ﻗﻴﻤﺔ اﻟﺘﺴﺎﻣﺢ‬ ‫اﻟﺼﻌﺪ ﻫﻮ دوﻟﻪ اﻹﻣﺎرات‬ ‫ﻣﺘﻜﺎﻣﻞ ﻳﻌﺘﻤﺪ ﻋﻠﻴﻪ ﻫﺬا اﻹﺑــﺪاع ﻣﻦ ﻗﻴﻢ وﻋــﺎدات وﺗﻘﺎﻟﻴﺪ واﻟﺘﻌﺎﻣﻞ ﺑﻬﺎ ﰲ أﺷﻌﺎرﻫﻢ ﻋﲆ ﺟﻤﻴﻊ ُ‬ ‫وﻣﺴﺎﻟﻚ‪ .‬وﻟﻴﺴﺖ ﻫﻲ ﻫﺬا اﻹﺑﺪاع اﻟﺬى ميﺎرﺳﻪ ﻓﻨﺎﻧﻮن وأدﺑﺎء اﻟﻌﺮﺑﻴﺔ اﳌﺘﺤﺪة؟ ﺗﻠﻚ اﻟﺪوﻟﺔ اﻟﺘﻲ ﺗﺼﺪرت ﻳﻨﺒﻮع اﻟﺘﺴﺎﻣﺢ ﺑﻜﻞ‬ ‫وﻣﺜﻘﻔﻮن وﻋﻠامء أﻓﺮاد ﻣﺘﻔﺮدون‪ ،‬ﺑﻞ ﻫﻲ إﺑﺪاع ﺷﻌﺐ ﻛﺎﻣﻞ ﰲ ﻣﻌﺎﻧﻴﻬﺎ‪ .‬ﻓﻤﻨﺬ أﻳﺎم زاﻳﺪ‪ ،‬رﺣﻤﻪ اﻟﻠﻪ‪ ،‬مل ﺗﻌﺮف ﻫﺬه اﻟﺪوﻟﺔ ﻏري ﻫﺬا‬ ‫ﻣﺨﺘﻠﻒ ﻣﺠﺎﻻت اﻟﺤﻴﺎة ﺑﺪءاً ﻣﻦ ﻃﻘﻮس اﻟﻮﻻدة وﺣﺘﻰ ﻃﻘﻮس اﻟﻄﺮﻳﻖ اﻟﺴﻠﺲ اﻟﺤﻀﺎري إميﺎﻧﺎً ﻣﻨﻪ‪ ،‬رﺣﻤﻪ اﻟﻠﻪ‪ ،‬ﺑﺄن اﻟﺪﺑﻠﻮﻣﺎﺳﻴﺔ‬ ‫اﳌﻮت ﻣﺮوراً ﺑﻜﻞ ﻣﺮاﺣﻞ اﻟﺤﻴﺎة وأﻧﻮاﻋﻬﺎ ‪.‬‬ ‫اﻟﺜﻘﺎﻓﻴﺔ اﻟﺘﻲ ﺗﺴﺎﻋﺪ ﻋﲆ اﻟﺒﻨﺎء واﻟﺘﻘﺪم ﺗﻨﻄﻠﻖ ﻣﻦ ﻣﺒﺪأ اﻟﺘﺴﺎﻣﺢ‬ ‫وﻳﺒﻘﻰ اﻟﺸﻌﺮ ﻣﻦ ﺑني اﻟﻔﻨﻮن اﻟﻠﻐﻮﻳﺔ ﻛﻠﻬﺎ ﺑﺸﻘﻴﻪ )اﻟﻔﺼﻴﺢ واﻟﺤﻮار وﻗﺒﻮل اﻵﺧﺮ ﺑﻐﺾ اﻟﻨﻈﺮ ﻋﻦ ﺟﻨﺴﻪ وﻟﻮﻧﻪ‪.‬‬ ‫واﻟﺸﻌﺒﻲ( اﻟﻘﺎدر ﻋﲆ ﺳﱪ أﻋامق اﻟﺤﻴﺎة واﻟﻜﻮن‪ ،‬واﻟﻘﺎدر ﻋﲆ أن وﰲ ﻫﺬا اﳌﺠﺎل ﻻﺑﺪ أن ﻧﺸري إﱃ اﺳﻢ ﻻﻣﻊ ﰲ ﻋﺎمل اﻟﺸﻌﺮ ﻣﻦ‬ ‫ﻳﻠﺨﺺ رؤﻳﺔ ﻛﺎﻣﻠﺔ ﻋﲆ ﻟﻔﻆ أو ﺗﻌﺒري‪ ،‬واﻟﻘﺎدر ﻋﲆ أن ﻳﻄﻮر ﻟﻐﺘﻪ اﻹﻣﺎرات اﻟﻌﺮﺑﻴﺔ اﳌﺘﺤﺪة اﺗﺨﺬ ﻣﻦ اﻟﺘﺴﺎﻣﺢ أﻳﻘﻮﻧﺔ ﻟﻪ ﰲ ﺷﻌﺮه‪.‬‬ ‫وﻳﺒﻘﻴﻬﺎ ﺣﻴﺔ‪ ،‬ﻧﺘﺨﻴﻞ واﻫﻤني أﻧﻪ أﺣﻴﺎﻧﺎ ﻣﺠﺮد ﺗﺄﻣﻼت ﺣﺎﳌﺔ‪ ،‬أو إﻧﻪ اﻟﺸﺎﻋﺮ اﻹﻣﺎرايت ﺧﺎﻟﺪ اﻟﻈﻨﺤﺎين اﻟﺬي ﺷﺎرك ﺑﻜﻞ اﻗﺘﺪار وﻓﺨﺮ‬ ‫ﺗﻬﻮميﺎت ﻣﻨﻔﺼﻠﺔ ﻋﻦ اﻟﻮاﻗﻊ‪ ،‬ﺛﻢ ﻧﻨﺪﻫﺶ ﻋﻨﺪﻣﺎ ﻳﻌﱪ ﻋﻦ اﻟﻮاﻗﻊ ﰲ أﻣﺴﻴﺔ ﺷﻌﺮﻳﺔ ﰲ ﺑﺮﻟني ﰲ ﻣﻠﺘﻘﻰ ﺗﺴﺎﻣﺢ اﻟﺜﻘﺎﰲ وﺗﺤﺪث ﻓﻴﻪ‬ ‫ﺑﻜﻞ ﺗﺠﻠﻴﺎﺗﻪ ﻣﻬام اﺧﺘﻠﻔﺖ اﺗﺠﺎﻫﺎﺗﻪ‪ ،‬إن اﳌﺸﻬﺪ اﻟﺸﻌﺮى اﻟﻌﺮيب ﻋﻦ ﺟﻤﻠﺔ ﻣﻦ اﻟﻘﻴﻢ اﻟﻨﺒﻴﻠﺔ اﻟﺘﻲ ﻋﱪ ﻋﻨﻬﺎ ﺷﻌﺮاً أﺛﺎر إﻋﺠﺎب‬ ‫اﻟﺮاﻫﻦ ﻏﻨﻲ‪ ،‬ﺑﻮﺻﻔﻪ ﺟﺰءاً ﻻ ﻳﺘﺠﺰأ ﻣﻦ ﺣﺮﻛﺔ اﳌﺠﺘﻤﻊ اﻟﻌﺮيب اﻟﺠامﻫري‪ ،‬وﻻ ﻏﺮاﺑﺔ ﰲ ذﻟﻚ ﻣﺎ داﻣﺖ دوﻟﺔ اﻹﻣﺎرات راﺋﺪة ﰲ‬ ‫وﻣﺤﺮﻛﺎ أﺳﺎﺳﻴﺎً ﻣﻦ ﻣﺤﺮﻛﺎت دﻓﻌﻪ ﻧﺤﻮ ﺑﺆرة اﻟﺤﻀﺎرة ومتﻴﺰ ﻫﺬا اﳌﺠﺎل‪ ،‬وﻫﻲ أول دوﻟﺔ أﻧﺸﺄت وزارة اﻟﺘﺴﺎﻣﺢ ﻣﻨﺬ ﻋﺎم‬ ‫اﻟﻬﻮﻳﺔ‪ ،‬وﻗﻴﻢ اﻟﻌﺪاﻟﺔ واﻟﺘﺴﺎﻣﺢ واﻟﺤﺮﻳﺔ‪.‬‬ ‫‪.2016‬‬ ‫ﻛام ﻧﺸﺄ اﻟﺸﻌﺮ اﻟﺸﻌﺒﻲ أو اﻟﻌﺎﻣﻲ ﻧﺘﻴﺠﺔ اﻧﺒﺜﺎﻗﻪ ﻣﻦ اﻟﻮﺟﺪان‬ ‫اﻟﻔﻄﺮي‪ ،‬ﻟﻴﻌﱪ ﻋﻦ ﺣﻴﺎة اﻟﻘﻄﺎع اﻻﺟﺘامﻋﻲ اﻟﻜﺒري‪ ،‬وﻫﻮ ﻧﺎﻓﺬ إﱃ ‪ŋŌƉƪƖǕŌ ǳǔǾƀǙ ǼƉŬǾƓ‬‬ ‫اﻷﻋامق ﻟﻘﻮة ﻣﻌﺎﻧﻴﻪ اﻟﺘﻲ اﺳﺘﻤﺪﻫﺎ ﻣﻦ اﻟﻄﺒﻊ اﻟﺴﻠﻴﻢ‪ ،‬وﻟﺨﺮوﺟﻪ ﻫﻨﺎدي اﻟﻤﻨﺼﻮري‬ ‫ﻣﻦ اﻷﻋامق‪ ،‬يك ﻳﻨﻔﺲ ﻋﻦ ﻧﻔﺲ وﺗﺠﺮﺑﺔ ﺻﺎﺣﺒﻪ اﻟﺤﻴﺎﺗﻴﺔ‪ ،‬ﻟﺬﻟﻚ اﻟﺸﻌﺮ دﻳــﻮان اﻟﻌﺮب وﺑﻪ ﻳﺴﺠﻞ اﻟﺸﺎﻋﺮ ﰲ أﺑﻴﺎﺗﻪ اﻷﺣﺪاث‬ ‫ﻓﻬﻮ ﺻﺎدق ﰱ اﻟﺘﻌﺒري وﰲ دﻋﻢ ﻗﻴﻤﺔ اﻟﺘﺴﺎﻣﺢ اﻟﺘﻲ ﺗﺒﻨﺘﻬﺎ دوﻟﺔ اﻟﺘﺎرﻳﺨﻴﺔ اﳌﻬﻤﺔ ﻋﱪ اﻟﻌﺼﻮر ﺑﺄﺳﻠﻮﺑﻪ اﻟﺸﻌﺮي‪..‬‬ ‫اﻻﻣﺎرات وأﻋﻠﻨﺖ اﺧﺘﻴﺎر ﻋﺎم ‪ 2019‬ﻋﺎﻣﺎً ﻟﻠﺘﺴﺎﻣﺢ‪.‬‬ ‫وﰲ ﻋﺎم اﻟﺘﺴﺎﻣﺢ ﻧﺆﻛﺪ أن ﺟﻤﻴﻊ ﻗﺼﺎﺋﺪ أﺑﻨﺎء اﻹﻣﺎرات ﻣﻨﺬ اﻟﻘﺪم‬

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‫اﻟﻌﺪد ‪ ، 75‬ﻓﺒﺮاﻳﺮ ‪2019‬‬

‫ﺳﻠﻄﺎن ﺑﻦ ﺑﺘﻼء‬

‫ﺳﻨﺪﻳﺔ اﻟﺤامدي‬

‫‪ǖȎƒǕŌ ǳǕōƓƈ‬‬ ‫ﺳﻠﻄﺎن ﺑﻦ ﺑﺘﻼء‬

‫ﻛﺎن اﻟﺸﻌﺮ ﻋﱪ اﻟﻌﺼﻮر ﰲ ﻣﺠﺘﻤﻌﺎﺗﻨﺎ ﻫﻮ اﻟﻮﺳﻴﻠﺔ اﻷوﱃ ﻟﻨﴩ‬ ‫ﺛﻘﺎﻓﺘﻬﺎ وﺗﺨﻠﻴﺪ رﻣﻮزﻫﺎ وإﺑﺮاز ﺣﻀﺎرﺗﻬﺎ وﻛﺎﻧﺖ اﻟﻌﺮب ﻗﺒﻞ اﻹﺳﻼم‬ ‫ﺗﺴﺘﺨﺪم اﻟﺸﻌﺮ ﰲ ﻛﺎﻓﺔ ﻣﺠﺎﻻت اﻟﺤﻴﺎة‪ ،‬اﱃ أن وﺻﻞ ﺑﻬﻢ اﻟﺤﺎل‬ ‫أن أﺻﺒﺤﻮا ﻳﻘﻴﻤﻮن اﻻﺣﺘﻔﺎﻻت ﻋﻨﺪ ﺑﺰوغ ﻧﺠﻢ ﺷﺎﻋﺮ ﻛﻮﻧﻪ ﻛﺎن‬ ‫ﻳﺸﻜﻞ ﻟﻬﻢ ﺑﻘﺼﺎﺋﺪه ﺳﻼﺣﺎً ﻗﻮﻳﺎً ﻟﻠﺬود ﻋﻨﻬﻢ ﰲ اﻟﺤﺮب واﻟﺴﻠﻢ‪،‬‬ ‫وﺑﻌﺪ ﺑﻌﺜﺔ اﳌﺼﻄﻔﻰ ﺻﲆ اﻟﻠﻪ ﻋﻠﻴﻪ وﺳﻠﻢ ﻓﻘﺪ ﻛﺎن ﻳﻘﻮم اﻟﺸﺎﻋﺮ‬ ‫اﻟﻌﻠﻢ ﺣﺴﺎن ﺑﻦ ﺛﺎﺑﺖ ﺑﻬﺬا اﻟﺪور ﺣﻴﺚ أﺳﻬﻤﺖ ﻗﺼﺎﺋﺪه ﰲ ﻋﻬﺪ‬ ‫اﻟﻨﺒﻮة ﺗﺠﺴﻴﺪاً وﺗﻌﺮﻳﻔﺎً وﻧﴩاً ﻟﻠﻤﺒﺎدئ اﻹﺳﻼﻣﻴﺔ‪ ،‬وﺗﻌﺎﻗﺒﺖ اﻟﺪول‬ ‫اﻻﺳﻼﻣﻴﺔ ﺑﻌﺪ ذﻟﻚ ﺑﺎﻻﻋﺘﻨﺎء ﺑﺎﻟﺸﻌﺮ واﻟﺸﻌﺮاء ﻋﻨﺎﻳﺔ ﺑﺎﻟﻐﺔ اﱃ أن‬ ‫اﺻﺒﺢ اﻟﺸﻌﺮ ﻟﻐﺘﻬﻢ اﻷوﱃ‪.‬‬ ‫أﻣﺎ ﰲ ﻋﴫﻧﺎ ﻫﺬا وﺑﻌﺪ أن أﺻــﺎب اﻷدب واﻟﺸﻌﺮ ﺧﺼﻮﺻﺎً‬ ‫ﺧﻔﻮﺗﺎً ﰲ إﻳﺼﺎل اﻟﺮﺳﺎﺋﻞ اﳌﺆﺛﺮة‪ ،‬ﻛﺎﻧﺖ اﻹﻣﺎرات ﻣﻦ أوﱃ اﻟﺪول‬ ‫اﻟﺘﻲ ﺑﻌﺜﺖ اﻟﺮوح ﰲ إﻋﺎدﺗﻪ ﳌﻜﺎﻧﺘﻪ اﻟﺒﺎرزة واﳌﺆﺛﺮة‪ ،‬وﻃ ّﻮﻋﺖ‬ ‫إﻣﻜﺎﻧﻴﺎﺗﻬﺎ اﻟﺜﻘﺎﻓﻴﺔ واﳌﺎدﻳﺔ ﺳﺒﻴ ًﻼ ﻟﺘﻨﻤﻴﺔ اﳌﻮاﻫﺐ وﺣﺜﻬﺎ ﻋﲆ‬ ‫ﻧﴩ رﺳﺎﻟﺔ اﻹﻣﺎرات اﻷﺳﻤﻰ وﻫﻲ رﺳﺎﻟﺔ اﻟﺴﻼم‪ .‬واﻟﻴﻮم ﻧﺮى مثﺎر‬ ‫ﻫﺬا اﻟﺠﻬﺪ ﺣﻴﺚ أﺻﺒﺢ اﳌﺜﻘﻒ اﻹﻣﺎرايت مبﺎ ﻓﻴﻬﻢ اﻟﺸﺎﻋﺮ ﻣﺼﺪراً‬ ‫ﻟﻠﺴﻼم وداﻋﻴﺎً ﻟﻪ ﻣﻄ ّﻮﻋﺎً ﺣﺮوﻓﻪ ﰲ ﻧﴩ ﻫﺬا اﻟﻬﺪف اﻟﻨﺒﻴﻞ‪ .‬وﻟﻌﻞ‬ ‫إﻋﻼن ﻋﺎم اﻟﺘﺴﺎﻣﺢ ﰲ اﻹﻣﺎرات ﻫﻮ مبﺜﺎﺑﺔ ﻣﺆﴍ ﻗﻮي ﻋﲆ ﺗﻮﺟﻪ‬ ‫اﻟﺪوﻟﺔ ﺣﻜﻮﻣﺔ وأﻓﺮاداً ‪.‬‬

‫د‪.‬رﻓﻴﻘﺔ رﺟﺐ‬

‫اﻷﻣﺮ اﻟﺬي ﻻ ﻧﻬﺎﻳﺔ ﻟﻪ‪.‬‬ ‫ﺗﺄيت ﻫﺬه اﻟﻌﺒﺎرات ﻟﻨﻌﺮف ﻣﻨﻬﺎ أن اﻟﺸﻌﺮ ﺷﻌﻠﺔ ﻧﻮر ﰲ وﺳﻂ‬ ‫اﻟﻈﻼم‪ ،‬ﻓﻴام ﺗﺤﺘﺎﺟﻪ اﻟﺮوح‪ ،‬ﻓﻔﻲ ﻟﺤﻈﺎت اﻟﺤﻴﺎة اﻟﺼﻌﺒﺔ اﻟﺘﻲ ﻗﺪ‬ ‫ﻻ ﺗﻔﻴﻬﺎ ﻛﻠامت ﻳﻜﻮن اﻟﺸﻌﺮ وﺣﺪه ﻗﺼﻴﺪة اﳌﺸﻬﺪ اﻟﺘﻲ ﺗﱰدد‬ ‫داﺧﻞ اﻟﻨﻔﺲ‪ ،‬ﻟﻨﺒيك أو ﻟﻨﻀﺤﻚ أو ﻟﻨﺨﺮج زﻓرياً أﺑﺪﻳﺎً ﻳﺤﺮر اﻷمل‪.‬‬ ‫وﻓﻴام ﻧﺮى ﰲ واﻗﻌﻨﺎ اﻟﺬي ﺗﺸﻮﺑﻪ ﺷﻮاﺋﺐ ﻋﺼﻴﺔ ﻋﲆ اﻟﻔﻬﻢ‪،‬‬ ‫ﻳﺼﺒﺢ اﻟﺒﴩ وﺣﺪﻫﻢ ﰲ اﳌﺸﻬﺪ ﻣﻦ ﻛﻞ ﻋﺮق وﻛﻞ دﻳﺎﻧﺔ وﻛﻞ‬ ‫اﺧﺘﻼﻓﺎت اﻷرض‪ ،‬ﺗﱪز ﺳﻨﺔ ﻟﻠﺘﻌﺎﻳﺶ ذﻛﺮﻫﺎ اﻟﻠﻪ ﺗﻌﺎﱃ ﰲ اﻟﻘﺮأن‬ ‫اﻟﻜﺮﻳﻢ‪ .‬وﰲ ﻣﺸﻬﺪﻳﺔ اﻻﺧﺘﻼﻓﺎت اﻟﺘﻲ ﻧﻌﻴﺸﻬﺎ ﺑﻜﻞ اﻷمل واﻟﺘﻲ‬ ‫ﻣﻸت اﻟﺼﺪور أﺣﻘﺎداً وﴍوراً ﻧﻘﻒ ﻧﺤﻦ اﻟﺸﻌﺮاء ﻟﻨﺘﺴﺎءل ﻋام‬ ‫ميﻜﻦ ﺗﻘﺪميﻪ ‪..‬ﻓﻴﻘﻮل اﻟﺸﻌﺮ ‪ :‬أﻧﺎ‪.‬‬ ‫‪ ŻǙōƒŨǕŌ ǳƳōǂŭ‬‬ ‫ﺳﻨﺪﻳﺔ اﻟﺤﻤﺎدي‬

‫اﻟﺸﻌﺮ ﻛام ﻛﺎن ﻣﻨﺬ اﻷزل‪ ،‬وﺳﻴﻠﺔ ﻟﻠﺘﻌﺒري ﻋﻦ اﻟﻔﻜﺮ اﻟﺬي ﺗﺘﻨﺎوﻟﻪ‬ ‫اﳌﺸﺎﻋﺮ اﻹﻧﺴﺎﻧﻴﺔ‪ ،‬و أﻏﻠﺐ ﻣﺎ ﺟﺎءت ﺑﻪ اﻷﺷﻌﺎر اﻟﻘﺪميﺔ وﺣﺘﻰ‬ ‫اﻟﺤﺪﻳﺜﺔ رﺳﺎﺋﻞ ﺗﺘﻀﻤﻨﻬﺎ ﺣﻜﻢ وﻣﻮاﻋﻆ ﺳﺎﻣﻴﺔ ﺗﺴﺘﻘﺮ ﺑﻬﺎ ﺗﻘﻠﺒﺎت‬ ‫اﻷﻧﻔﺲ‪ ،‬وﻣﻨﻬﺎ ﻣﺎ ﻳﺪﻋﻮ إﱃ اﻟﺤﺮﻳﺔ واﻟﺨري واﻟﺘﺴﺎﻣﺢ وﻫﻮ ﻳﻌﱪ ﻋﻦ‬ ‫ﻟﻐﺔ اﻟﻘﻮم وﺣﻀﺎرﺗﻬﻢ‪ ،‬وﻫﻮ اﻧﻌﻜﺎس ﳌﺎ ﻳﻄﺮأ ﻣﻦ ﻗﻀﺎﻳﺎ إﻧﺴﺎﻧﻴﺔ‬ ‫ﻣﻌﺎﴏة‪ ،‬ﺑﺎﻹﺿﺎﻓﺔ إﱃ ﻛﻮﻧﻪ ﻣﻦ أﻳﴪ اﻟﻄﺮق اﻟﺘﻲ ﺗﺴﺘﻬﻮﻳﻬﺎ‬ ‫اﻟﻨﺎس ﻟﺴامع اﻟﻨﺼﺢ واﻹرﺷﺎد ‪-‬ﻣﻦ ﺑﻌﺪ اﻟﻘﺮآن اﻟﻜﺮﻳﻢ‪ -‬ﻓﺒﺎﻹﻣﻜﺎن‬ ‫اﺳﺘﻐﻼل ﺗﺠﻤﻌﺎت اﻟﻨﺪوات واﻷﻣﺴﻴﺎت اﻟﺸﻌﺮﻳﺔ ﰲ ﻃﺮح ﻣﺜﻞ‬ ‫ﻫﺬه اﳌﻮاﺿﻴﻊ اﻟﺘﻲ ﺗﺨﺎﻃﺐ اﻟﻘﻴﻢ اﻹﻧﺴﺎﻧﻴﺔ واﻟﺤﺚ ﻋﻠﻴﻬﺎ‬ ‫‪ǁǔƢǙ ƜōǾş‬‬ ‫وﺗﺮﻏﻴﺒﻬﺎ ﻟﺪى اﻟﺠﻤﻬﻮر ﻣﻦ دون أن ﻳﺸﻌﺮ اﳌﺘﻠﻘﻲ ﺑﺜﻘﻞ اﻻﺳﺘامع‬ ‫اﺳﺮاء ﻋﻴﺴﻰ‬ ‫ﻛﻞ ﳾء ﺑﺎﻟﺠامل‪ ،‬ﻧﻨﻘﺬ ّ‬ ‫"ﻧﻨﻘﺬ ّ‬ ‫ﻛﻞ ﳾء ﺑﺎﻟﺸﻌﺮ‪ ،‬ﻧﻨﻈﺮ إﱃ ﺟﺬع إﱃ اﻟﻨﺼﺎﺋﺢ اﳌﺴﺘﻤﺮة‪ ،‬ﻟﱰﺗﻜﺰ ﰲ ذﻫﻨﻪ وﻳﺴﺘﺸﻌﺮﻫﺎ ﻟﺪﻳﻪ ﺑﻜﻞ‬ ‫أرﻳﺤﻴﺔ وإﻳﺠﺎﺑﻴﺔ‪ ،‬ﻓﻠﻠﺸﻌﺮ ﺗﺄﺛري ﻛﺒري ﻏري ﻣﺒﺎﴍ ﻋﲆ ﻣﺴﺘﻤﻌﻴﻪ‬ ‫ﻣ ّﻴﺖ ﻓﺘﻨﺒﻌﺚ ﻓﻴﻪ اﻟﺤﻴﺎة " ‪ -‬أﻓﻮﻧﺴﻮ ﻛﺮوش‬ ‫ً‬ ‫ً‬ ‫ﻫﺬه اﳌﻘﻮﻟﺔ ﻟـ" أﻓﻮﻧﺴﻮ ﻛﺮوش" ﻇﻬﺮت أﻣﺎﻣﻲ ﻳﻮﻣﺎ ﻣﺎ ‪ ..‬ﺗﻨﻔﺴﺖ وﻗﺪ ﻳﻜﻮن ﺟﴪا ﻟﻠﻌﺒﻮر إﱃ دواﺧﻞ ﻋﻘﻮل أﻓﺮاد اﳌﺠﺘﻤﻊ ﻹﻳﺼﺎل‬ ‫واﺑﺘﺴﻤﺖ‪ ،‬ﰲ ﺧﻀﻢ ﺗﻼﻃﻢ اﳌﻌﺎين ﺣﻮل إﻳﺠﺎد ﺗﻌﺮﻳﻒ ﻟﻠﺸﻌﺮ‪ ،‬أي ﻣﻦ اﻟﻘﻴﻢ اﻟﻨﺒﻴﻠﺔ اﻟﺘﻲ ﺗﻨﻤﻲ ﺛﻘﺎﻓﺔ اﻟﺘﺴﺎﻣﺢ ﺑﻴﻨﻬﻢ‪.‬‬ ‫اﻟﺸﻌﺮ ‪baytelshear‬‬ ‫ﺑﻴﺖ ِ‬

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‫ ‪¥ũľğı‬‬

‫ﻋﺎﻳﺪ اﻟﺮﺷﻴﺪي‬

‫إﴎاء ﻋﻴﴗ‬

‫‪ŻǙōƒŨǕŌ ŦŌƈōǙȑ ŝǔǂǕŌ ǛǙ ƉǈƗ‬‬ ‫ﻋﺎﻳﺪ ﺑﻦ ﺧﻠﻒ اﻟﺮﺷﻴﺪي‬

‫ﻻ ﻳﺨﻠﻮ اﻟﺸﻌﺮ ﻣﻦ اﻟﺤﺚ ﻋﲆ ﴐورة اﻟﺘﺴﺎﻣﺢ‪ ،‬ﻓﺎﻟﺸﺎﻋﺮ ﻫﻮ‬ ‫رﺳﻮل اﻟﺘﺴﺎﻣﺢ واﻷﺧﻼق اﻟﺤﻤﻴﺪة‪ ،‬وﺷﺎﻋﺮ ﻻ ﻳﺪﻋﻮ إﱃ اﻟﺘﺴﺎﻣﺢ‬ ‫ﻳﻜﻮن ﻫﻨﺎك ﺧﻠﻞ ﰲ ﺷﻌﺮه ورﺳﺎﻟﺘﻪ‪.‬‬ ‫وﰲ ﺑﺎدرة ﻃﻴﺒﺔ وﻛﻌﺎدﺗﻬﺎ دوﻟﺔ اﻻﻣﺎرات ﺑﺤﻜﺎﻣﻬﺎ وﺷﻌﺒﻬﺎ ﻛﺎن‬ ‫اﻹﻋﻼن ﻋﻦ ﺗﺴﻤﻴﺔ ﻋﺎم ‪ 2019‬ﻋﺎم اﻟﺘﺴﺎﻣﺢ ﰲ ﻟﻔﺘﺔ ﺟﻤﻴﻠﺔ ﺟﺪاً‪،‬‬ ‫ﻓﺎﻟﺘﺴﺎﻣﺢ ﻣﻦ ﻧﺒﻞ اﻷﺧﻼق واﻟﺼﻔﺎت اﻟﺘﻲ ﻳﺠﺐ أن ﻳﺘﺼﻒ ﺑﻬﺎ‬ ‫اﳌﺴﻠﻢ وﺗﺪل ﻋﲆ أن اﻹﺳﻼم دﻳﻦ أوﺟﺪه اﻟﻠﻪ ﺳﺒﺤﺎﻧﻪ ﻟﻠﻌﺪل‬ ‫واﳌﺴﺎواة واﻟﺘﺴﺎﻣﺢ ﺑني اﻟﺒﴩ واﻟﺘﻌﺎﻳﺶ ﺑﻴﻨﻬﻢ أﻳﻀﺎً ﻓﺎﻟﺘﺴﺎﻣﺢ‬ ‫ﻗﺮﻳﻦ اﻟﻴﴪ‪.‬‬ ‫ﻗﺎل اﻟﻠﻪ ﺗﻌﺎﱃ )ﻳﺮﻳﺪ اﻟﻠﻪ ﺑﻜﻢ اﻟﻴﴪ وﻻ ﻳﺮﻳﺪ ﺑﻜﻢ اﻟﻌﴪ(‪ .‬وﻗﺎل‬ ‫ﺗﻌﴪوا ّ‬ ‫وﺑﴩوا وﻻ ﺗﻨ ّﻔﺮوا(‬ ‫)ﻳﴪوا وﻻ ّ‬ ‫ﺻﲆ اﻟﻠﻪ ﻋﻠﻴﻪ وﺳﻠﻢ ّ‬ ‫ﻓﺎﻟﺘﺴﺎﻣﺢ واﻟﻴﴪ ﺑﺎﻷﻣﻮر ﻣﻦ أﺧﻼق اﳌﺴﻠﻢ اﻟﺤﻖ‪ ،‬وﻳﺠﺐ ﻋﲆ‬ ‫اﻟﺸﺎﻋﺮ أن ﻳﺤﺚ ﰲ ﻗﺼﺎﺋﺪه ﻋﲆ اﻟﺘﺴﺎﻣﺢ ﻓﻬﻮ ﻳﻨﻬﻞ ﻣﻦ ﻣﻨﻬﻞ‬ ‫اﻟﺪﻳﻦ اﻹﺳﻼﻣﻲ اﻟﻌﻈﻴﻢ‪.‬‬ ‫ﺷﻜﺮ ﻣﻦ اﻟﻘﻠﺐ ﻹﻣــﺎرات اﻟﺘﺴﺎﻣﺢ واﻟﺤﺐ ﻋﲆ ﻫﺬه اﻟﺒﺎدرة‬ ‫اﻟﻄﻴﺒﺔ‪ ،‬وﻳﺠﺐ أن ﻧﺤﺬوا ﺣﺬوﻫﺎ وﻧﺒني ﻟﻠﻌﺎمل أﺟﻤﻊ أﺻﻦ دﻳﻨﻨﺎ‬ ‫ﻫﻮ دﻳﻦ اﻟﺘﺴﺎﻣﺢ واﻹﻧﺴﺎﻧﻴﺔ واﻟﺤﺐ‪.‬‬ ‫‪ŻǙōƒǝǶ ŝżǝ ǽƢƪǝ‬‬ ‫ﺗﻬﺎﻧﻲ اﻟﻤﺒﻴﺮﻳﻚ‬

‫ﻳﻌﺘﱪ اﻟﺸﻌﺮ ﻣﻦ اﻟﺮﺳﺎﺋﻞ اﻟﺴﺎﻣﻴﺔ اﻟﺘﻲ ﺗﺠﻤﻊ رﻗﻲ اﻟﺤﺲ ﺑﻠﻄﺎﻓﺔ‬ ‫اﻟﻜﻠﻤﺔ‪ ،‬ﻓﺘﱰك ﺑﺼﻤﺔ وأﺛﺮاً ﰲ اﻟﻨﻔﻮس ﺣﺘﻰ ﺗﺘﻮﻏﻞ ﰲ اﻟﻘﻠﻮب‪.‬‬ ‫ﻫﻜﺬا أﺻﺒﺤﺖ ﻣﺜﻞ ﻫﺬه اﻟﺮﺳﺎﺋﻞ ﺳﻬﻠﺔ اﻟﻮﺻﻮل إﱃ اﳌﺘﻠﻘﻲ‬ ‫واﺟﺘﻬﺪ اﻟﺸﻌﺮاء ﺑﺎﺳﺘﺨﺪام أﻗﻼﻣﻬﻢ ﻣﻦ أﺟﻞ ﺧﺪﻣﺔ ﻋﺪة أﻏﺮاض‬ ‫ﺷﻌﺮﻳﺔ اﺟﺘامﻋﻴﺔ ذات ﻗﻴﻤﺔ ّ‬ ‫ﺧﻼﻗﺔ ﺗﺘﺒﺎﻳﻦ ﰲ ﻃﺮﻳﻘﺔ اﻟﻌﺮض‬

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‫اﻟﻌﺪد ‪ ، 75‬ﻓﺒﺮاﻳﺮ ‪2019‬‬

‫ﺗﻬﺎﻣﻲ اﳌﺒريﻳﻚ‬

‫واﻟﺠﺬب‪ .‬وﻣﻦ ﺗﻠﻚ اﻟﻘﻴﻢ اﻟﺘﻲ ﻳﺤﺮص اﻟﺸﻌﺮاء ﻋﲆ ﺗﻌﺰﻳﺰﻫﺎ‬ ‫واﻟﺤﺪﻳﺚ ﻋﻨﻬﺎ ﻫﻲ ﻗﻴﻤﺔ اﻟﺘﺴﺎﻣﺢ‪ ،‬ﻫﺬه اﻟﻘﻴﻤﺔ اﻟﻌﺮﺑﻴﺔ‬ ‫اﻹﺳﻼﻣﻴﺔ واﻹﻧﺴﺎﻧﻴﺔ مبﺎ ﻓﻴﻬﺎ ﻣﻦ ﻣﻌﺎنٍ إميﺎﻧﻴﺔ ﺟﻤﺔ ﺗﺤﻤﻞ ﻣﺒﺪأ‬ ‫اﻟﺘﻌﺎﻳﺶ اﻟﺬي ﺗﺤﺮص ﻋﻠﻴﻪ اﻟﺪول ﰲ ﻋﴫ اﻟﻌﻮﳌﺔ واﻧﻔﺘﺎﺣﻬﺎ ﻋﲆ‬ ‫ﻋﺎمل ﻣﺨﺘﻠﻒ اﻟﺠﻨﺴﻴﺎت واﻷدﻳﺎن‪ .‬وﻟﻨﺎ ﰲ رﺳﻮل اﻟﻠﻪ ﺻﲆ اﻟﻠﻪ‬ ‫ﻋﻠﻴﻪ وﺳﻠﻢ ﻗﺪوة ﺣﺴﻨﺔ‪ ،‬ﺣﻴﻨام ﻓﺘﺢ ﻣﻜﺔ وﻗﺎل ﻟﻜﻔﺎر ﻗﺮﻳﺶ‬ ‫رﻏﻢ أذاﻫﻢ وﻋﺪاﺋﻬﻢ )اذﻫﺒﻮا ﻓﺄﻧﺘﻢ اﻟﻄﻠﻘﺎء(‪ .‬ﻟﺬﻟﻚ ﻳﻌﺘﱪ اﻟﻌﻔﻮ‬ ‫وﺣﺐ اﻟﺨري وﻣﻘﺎﺑﻠﺔ اﻹﺳﺎءة ﺑﺎﻹﺣﺴﺎن وﺗﻔﻬﻢ اﻟﻨﺎس مبﺎ ﻳﺤﻤﻠﻮن‬ ‫ﻣﻦ ﻣﻌﺘﻘﺪات وﻣﺒﺎدئ ﺗﻌﺰﻳﺰاً ﻟﻘﻴﻤﺔ اﻟﺘﺴﺎﻣﺢ ﰲ اﻷوﻃﺎن وﺗﺰرع‬ ‫اﻹﻳﺠﺎﺑﻴﺔ ﰲ اﻟﺘﻌﺎﻣﻞ وﺗﻘﺮب وﺟﻬﺎت اﻟﻨﻈﺮ وﺗﺰﻳﺪ اﳌﻮدة وﺗﺤﺪ‬ ‫ﻣﻦ اﻟﺨﻼﻓﺎت‪ .‬وﻣﻦ أﻣﺜﻠﺔ اﻟﺸﻌﺮ اﻟﻔﺼﻴﺢ ﻗﻴﻞ‪:‬‬ ‫´ @ @ @@‪Pv@@ @ @ @ 0&* ¢@@ @ @ @ < v@@ @ @ @ @ @ @0&* µH i¡@@ @ @ @ @ @ < b‬‬ ‫*&‪Pi*H*v@@ @ @ @ @ @ @ @ D* @@ @ @G @@ @ @E ¤@N @ ~@ @z@ @ @ @F h@@ @ @ @ @ @04‬‬ ‫*(‪ @@ @ @g@ @ @ J'H4 v@@ @ @ @ @< ¥Hv@@ @ @ @ @ @ < ¤@@ @ @ @£@ @ @ @ 0&* Á‬‬ ‫‪Pib@@ @ @ £@ @p@ @g@ @Db@@ + ¤@@ @ @ @ @ @ @ @ @< x@@ @~@ @ {@ @ D* @@ @ @ @ @ @ A2&°‬‬

‫أﻣﺎ ﰲ اﻟﺸﻌﺮ اﻟﻨﺒﻄﻲ ﻓﻘﺪ ﻛﺘﺒﺖ ﻋﻦ اﻟﺘﺴﺎﻣﺢ وﻧﴩ اﻹﻳﺠﺎﺑﻴﺔ ﰲ‬ ‫ﻫﺬه اﻟﻘﺼﻴﺪة‪:‬‬ ‫‪¤@@ @ @ @ @J @@ @ J*x@@ @ D* @@p@ c@ ~@ 8 ¤@@c@ 0b@@~@ 8b@@J‬‬ ‫*( *‪ @@ @JHx@@ @E eb@@ @ @m@ @ @ J(°b@@ @ @+ rH4 É@@ @ @ @ @D‬‬ ‫‪¤@@ @ @~@6x@@J ob@@ @g@ @ 0&* u¡@@ @ ~@ 7 ¯ @@ @ @E&°* *H‬‬ ‫‪ @@£@ ²* b@@ @ @ @ 0H4 @@ @ @ 1*2 4¡@@ @ @ @ D* @@ @E @@ Db@@ G‬‬ ‫‪Áv@@ @ ~@ z@ - H2 @@ Eb@@ ~@ @z@ @g@ @+* ¡@@ @ @ @ C&* ¥2H‬‬ ‫*‪ @@ Jy@@ ¸ @@ @ 6b@@ @ @ @ D* e¡@@ @ @ @ @B ¯ b@@ @ @ @ A¡@@ @~@ @ 7‬‬ ‫‪¤@@ @ @ @~@z@- H2 x@@ <b@@ ~@ @{@ @´* * ¡@@ @D ¥2HH‬‬ ‫‪ @@£@ @ 0 ¡@@ @ @ @ @ D* É@@ @ @ C @@ @ @E b@@ @ @ @ D È@@ @ Fb@@ @ +‬‬ ‫‪Q @ @ @ @J‬‬ ‫‪¤@@ @ @ F b@@ @ @ @ @ E*2 H b@@ @ £@ @ @ ²* @@ {@ @£@ @ @ @F É‬‬ ‫‪ @@£@ @ + v@@ @ ~@ z@ F @@ @Db@@ @~@ @ 64 ¥2'¡@ @ @ @ @ F @@ ~@ @8x@@ A‬‬ ‫‪¤@@ @ EH @@ @ @ Q @ @E q@@ Eb@@ ~@ @z@ @FH d@@ p@ @F ¤@@ @ @ @ @F‬‬ ‫‪ £~9 x@@~@{@F ¥2b@@ 0 { g J @@+ rb@@~@ 8 ¡@@DH‬‬

‫ﻋﻮض اﻟﺪرﻣيك‬

‫أﺣﻤﺪ اﳌﻨﺎﻋﻲ‬

‫ﻋﺒﺪاﻟﻠﻪ ﺣﺪﻳﺠﺎن‬

‫‪ŻǙōƒŨǕŌ ǳƳōǂŭ ƉƖǝ‬‬ ‫ﻋﻮض ﺑﻦ ﺣﺎﺳﻮم اﻟﺪرﻣﻜﻲ‬

‫‪ǳǿƉƖŞǕŌ ōǜũȎǈƖǘǕ ŋŌǶƂ‬‬ ‫أﺣﻤﺪ اﻟﻤﻨﺎﻋﻲ‬

‫إن اﻟﺸﻌﺮ ﻫﻮ اﻟﻜﻼم ﰲ أﺟﻤﻞ ُﺣﻠﻠﻪ‪ ،‬وﻫﻮ وﺿﻊ اﳌﻔﺮدة ﰲ‬ ‫أﻋﺬب ﺻﻮرة ﺑﺈﻣﻜﺎﻧﻬﺎ أن ﺗﺘﻐﻠﻐﻞ ﻟﻠﻘﻠﻮب‪ ،‬ﻟﺬا ﻓﺎﻟﺸﻌﺮ ﻛﺎن‬ ‫ﻣﻨﺬ اﻷزل ُﻣﻌﺰزاً ﻟﻠﺘﺴﺎﻣﺢ واﻟﺘﻨﺎﻏﻢ واﻟﺘﻜﺎﻣﻞ ﺑني اﻟﺒﴩ‪ ،‬ﻓﺄﻏﻠﺐ‬ ‫أﻏﺮاﺿﻪ ﺗﺘﻐﻨﻰ ﺑﺎﻟﺤﺐ واﻟﺼﺪاﻗﺔ وﺗﻨ ّﻮه مبﺪح اﻟﺒﺎرزﻳﻦ ﻣﻦ اﻟﺒﴩ‬ ‫وﺗﻘﺮض اﻟﺪﻳﺎر واﳌﺪن وﻣﺎ ﺑﻬﺎ ﻣﻦ ﺟﻤﻴﻞ وﺻﻒ‪ .‬ﺣﺘﻰ ﰲ ﺣﺰﻧﻬﺎ‬ ‫ﻋﻨﺪ ﻓﻘﺪ ﻋﺰﻳﺰ أو رﺛﺎء‪ ،‬ﻓﺈن اﻟﻠﻐﺔ اﻟﺪاﻓﺌﺔ ﺗﻼﻣﺲ وﺟﺪان اﳌﺘﻠﻘﻲ‬ ‫ﻓﻴﺸﻌﺮ ﺑﺬات اﻟﺸﻌﻮر و ﻳﺘﺸﺎرك ﻣﻊ ﻗﺎﺋﻠﻬﺎ ذات اﻻﺣﺴﺎس‪ .‬وﺣﺘﻰ‬ ‫اﻷﻏﺮاض اﻟﺸﻌﺮﻳﺔ اﻟﻘﺎﺳﻴﺔ ﻛﺎﻟﻬﺠﺎء ﻻ ﺗﻘﺎل إﻻ دﻓﺎﻋﺎً ﻋﻦ أرض‬ ‫أو ﻣﻨﺎﻓﺤ ًﺔ ﻋﻦ ِﻋﺮض‪ .‬وأﻧﺖ ﺑﺎﻟﺘﺄﻛﻴﺪ ﻻ ﺗﻘﺒﻞ ﺗﺴﺎﻣﺤﺎً ﻣﻊ ﻋﺪو‬ ‫ﻳﺠﺎﻫﺮك اﻟﻌﺪاء‪ ،‬ﻟﺬا ﻓﺎﻟﺸﻌﺮ ﰲ ﻛﻞ أﺣﻮاﻟﻪ ٌ‬ ‫ردﻳﻒ ﻟﻠﺨري وأﺟﻤﻞ ﻣﺎ‬ ‫ميﻜﻦ اﺳﺘﺨﺪاﻣﻪ ﻟﻨﴩ ﺛﻘﺎﻓﺔ اﻟﺘﺴﺎﻣﺢ و اﻟﺘﻨﺎﻏﻢ‪.‬‬

‫ﻟﻠﺸﻌﺮ دور ﻛﺒري وﻣﻬﻢ ﰲ ﺗﻌﺰﻳﺰ واﺳﺘﺪاﻣﺔ ﻗﻴﻢ اﻟﺘﺴﺎﻣﺢ‪ ،‬ﺧﺎﺻﺔ‬ ‫أن دورﻧﺎ ﻛﺸﻌﺮاء ﻫﻮ ﻧﴩ ﺛﻘﺎﻓﺔ وﻋﺎدات وﺗﻘﺎﻟﻴﺪ اﻟﻮﻃﻦ ﻋﻦ‬ ‫ﻃﺮﻳﻖ اﻟﺸﻌﺮ اﻟﺬي ﻳﻜﺘﺒﻪ ﻛﻞ ﺷﺎﻋﺮ‪ ،‬ﻓﻬﺬا اﻟﻌﺎم اﺧﺘﺎرت دوﻟﺔ‬ ‫اﻹﻣــﺎرات اﺳﻢ "ﻋﺎم اﻟﺘﺴﺎﻣﺢ" ﻷن اﻟﺘﺴﺎﻣﺢ ﺻﻔﺔ ﻣﻮﺟﻮدة ﰲ‬ ‫ﺛﻘﺎﻓﺘﻨﺎ ﻣﻨﺬ اﻟﻘﺪم وﻛﺮﺳﻬﺎ اﳌﻐﻔﻮر ﻟﻪ اﻟﺸﻴﺦ زاﻳﺪ‪ .‬وﻟﺬﻟﻚ ﻓﺈن‬ ‫دورﻧﺎ ﻛﺸﻌﺮاء أن ﻧﺒﺘﻌﺪ ﻋﻦ اﻟﺘﻌﺼﺐ واﻟﻘﺒﻠﻴﺔ وأن ﻳﻜﻮن ﺣﺪﻳﺜﻨﺎ‬ ‫ﻫﻮ ﻋﻦ اﻟﺘﺴﺎﻣﺢ وﺛﻘﺎﻓﺔ ﻧﴩ اﻟﺘﺴﺎﻣﺢ‪ ،‬ﻷﻧﻪ وﺑﻜﻞ ﺑﺴﺎﻃﺔ ﻣﺘﻰ‬ ‫اﻣﺘﻠﻜﺖ وﻋﻴﺎً وﻗﻠﺒﺎً ﻧﻘﻴﺎً ﺧﺎﻟﻴﺎً ﻣﻦ اﻟﺤﻘﺪ واﻟﻀﻐﺎﺋﻦ واﻟﺘﻌﺎﱄ ﺗﺠﺎه‬ ‫اﻟﻌﺎمل ﻓﺈﻧﻚ ﺳﻮف ﺗﺪﻋﻮ إﱃ اﻟﺘﺴﺎﻣﺢ‪ ،‬ﻓﻼ ﻳﻮﺟﺪ ﰲ ﻫﺬا اﻟﻜﻮن‬ ‫دواء ﳌﺸﻜﻼﺗﻨﺎ اﻟﺒﴩﻳﺔ إﻻ اﻟﺘﺴﺎﻣﺢ‪.‬‬

‫‪ǛƣǷǕŌ ŦǷƛ‬‬ ‫ﻣﻮﻻف‬

‫ﺑﺎﻟﻨﺴﺒﺔ ﻟﻘﻴﻤﺔ اﻟﺘﺴﺎﻣﺢ وإﻋﻼن ﻋﺎم ‪ 2019‬ﻋﺎم اﻟﺘﺴﺎﻣﺢ ﰲ‬ ‫اﻹﻣﺎرات‪ ،‬أﻗﻮل إن اﻟﺘﺴﺎﻣﺢ ﻣﻦ اﻷوﻟﻮﻳﺎت اﻟﻌﻈﻴﻤﺔ اﻟﺘﻲ ﻳﺤﺮص‬ ‫ﻋﻠﻴﻬﺎ اﻟﺪﻳﻦ اﻹﺳﻼﻣﻲ‪ ،‬وﻻ ﻧﻨﴗ أن ﻗﺪوﺗﻨﺎ رﺳﻮل اﻟﻠﻪ ﺳﻴﺪﻧﺎ‬ ‫ﻣﺤﻤﺪ ﻋﻠﻴﻪ أﻓﻀﻞ اﻟﺼﻼة واﻟﺴﻼم ﻛﺎن ﻳﺪﻋﻮ دامئﺎً ﻟﻠﺘﺴﺎﻣﺢ‬ ‫وﻳﻨﺎدي ﺑﴬورﺗﻪ واﻻﻟﺘﺰام ﺑﻪ ﻛﺄﺑﺮز ﺻﻔﺔ ﻣﻦ ﺻﻔﺎت اﻹﻧﺴﺎن‬ ‫اﳌﺴﻠﻢ‪ .‬ﻛام ﻫﻮ اﻟﺤﺎل ﰲ ﺟﻤﻴﻊ اﻷدﻳﺎن اﻟﺘﻲ دﻋﺖ إﱃ ﻓﺮض ﻫﺬه‬ ‫اﻟﻘﻴﻤﺔ ﺑني اﻟﺒﴩ‪.‬‬ ‫وﻻ ﺑﺪ أن ﻳﻜﻮن ﻟﻠﺸﻌﺮ دوره ﰲ ﺗﻌﻤﻴﻢ ﻗﻴﻤﺔ اﻟﺘﺴﺎﻣﺢ ﺑﺄﺳﻠﻮب‬ ‫ﺟﻴﺪ وﻣﺤﺒﺐ وﺳﻠﺲ يك ﺗﺼﻞ ﻗﻴﻤﺘﻪ ﺑﺸﻜﻞ ﺗﻠﻘﺎيئ وﴎﻳﻊ داﺧﻞ‬ ‫ﻧﻔﻮس اﳌﺘﻠﻘني‪.‬‬ ‫ﻓﺎﻟﺸﻌﺮ ﻛام أﻗﻮل دامئﺎً ﻻﺑﺪ أن ﻳﻜﻮن ﺻﻮت اﻟﻮﻃﻦ‪ ،‬ﻳﺪﻋﻢ أﻓﻜﺎره‬ ‫وﻗﻴﻤﻪ ﻣﺤﺎوﻻً أن ﻳﻌﺰزﻫﺎ ﺑﺎﻟﺸﻌﺮ واﻹﺑﺪاع داﺧﻞ ﺣﺪود اﳌﺠﺘﻤﻊ‪.‬‬

‫‪ǽũŌƈōǙŒ ƂƉƳ Ǔǉ ǓƁŌƂ ǳƫōǜǃ‬‬ ‫ﻋﺒﺪاﻟﻠﻪ ﺑﻦ ﺣﺪﻳﺠﺎن‬

‫ﻻﺗﺰال دوﻟﺔ اﻹﻣﺎرات اﻟﻌﺮﺑﻴﺔ اﳌﺘﺤﺪة ﻫﻲ ّ‬ ‫اﻟﺨﻼﻗﺔ دامئﺎً ﰲ ﺗﺒﻨﻲ‬ ‫اﳌﺒﺎدرات اﻻﺟﺘامﻋﻴﺔ واﻹﻧﺴﺎﻧﻴﺔ‪ ،‬ومل ﺗﺄت ﺗﺴﻤﻴﺔ ﻫﺬا اﻟﻌﺎم ﺑﻌﺎم‬ ‫اﻟﺘﺴﺎﻣﺢ ﻣﻦ ﻓﺮاغ‪ ،‬ﺑﻞ ﻣﻦ ﻗﻨﺎﻋﺔ داﺧﻞ ﻛﻞ ﻓﺮد إﻣﺎرايت ﻷﻧﻬﻢ ﰲ‬ ‫ﻃﺒﻴﻌﺘﻬﻢ ﺷﻌﺐ ﻣﺘﺴﺎﻣﺢ وﻃﻴﺐ ﺟﺪاً‪.‬‬ ‫اﻟﺸﻌﺮ ﻛﺬﻟﻚ ﺗﺒﻨﺘﻪ اﻹﻣﺎرات ﻛﺜرياً ﻣﻦ ﺧﻼل اﻟﱪاﻣﺞ واﻷﻣﺎﳼ‬ ‫واﻟﻨﺪوات‪ ،‬ﻓﻤﻦ ﺑﺎب رد اﻟﺠﻤﻴﻞ أن ﻳﺘﺤﺪث اﻟﺸﻌﺮاء ﺷﻌﺮاً ﻋﻦ‬ ‫إﻣﺎرات وﻣﻨﺎرات اﻟﺘﺴﺎﻣﺢ‪.‬‬ ‫ﰲ اﻹﻣﺎرات ﺗﻠﻤﺲ ﻃﺒﻊ اﻟﺘﺴﺎﻣﺢ ﰲ اﻟﺤﺎﻛﻢ وﰲ اﳌﻮاﻃﻦ وﺣﺘﻰ ﰲ‬ ‫اﻟﺰاﺋﺮ واﳌﻘﻴﻢ‪ .‬ﰲ اﻟﺤﻘﻴﻘﺔ أﻧﺎ أرى ﻫﺬا اﻟﻌﺎم ﻋﺎم اﻹﻣﺎرات إذا ﻣﺎ‬ ‫ﻗﻠﻨﺎ ﻋﺎم اﻟﺘﺴﺎﻣﺢ‪ ،‬ﻓﺎﻹﻣﺎرات ﻫﻲ اﻟﺘﺴﺎﻣﺢ ﺑﻌﻴﻨﻪ‪.‬‬ ‫ﻛﺎن اﻟﻌﺎم اﳌﺎﴈ ﻋﺎم زاﻳﺪ وﻫﺬا اﻟﻌﺎم ﻫﻮ ﻋﺎم اﻟﺘﺴﺎﻣﺢ وﻻ أرى‬ ‫أﻧﻨﺎ اﺑﺘﻌﺪﻧﺎ ﻋﻦ ﺟﻮﻫﺮ اﻟﻌﺎم اﳌﺎﴈ أﺑﺪاً ﻓـﺎﳌﻐﻔﻮر ﻟﻪ اﻟﺸﻴﺦ زاﻳﺪ‬ ‫ﻫﻮ رﻣﺰ اﻟﺴامﺣﺔ واﻟﺘﺴﺎﻣﺢ ‪..‬‬ ‫اﻟﺸﻌﺮ ‪baytelshear‬‬ ‫ﺑﻴﺖ ِ‬

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‫ ‪¥ũľğı‬‬ ‫‪ǳǾǝōƒǝȑŌ ōǤũŌƈƂōŞǙǶ ŦŌƈōǙȑŌ ƈǶƃş ŌǶƂōƗŐ‬‬

‫ﺷﻌﺮاء‪:‬‬ ‫اﻟﺸﻌﺮ ﻳﻌﺰز ﻗﻴﻢ اﻟﺘﺴﺎﻣﺢ‬

‫ﻣﺤﻤﺪ ﻋﺒﺪاﻟﺴﻤﻴﻊ‬

‫ﺗﻌﻲ ﻗﻴﺎدة دوﻟﺔ اﻹﻣﺎرات اﻟﻌﺮﺑﻴﺔ اﳌﺘﺤﺪة اﻟﺮﺷﻴﺪة أﻫﻤﻴﺔ ﺗﺒﻨﻲ ﻗﻴﻢ اﻟﺘﺴﺎﻣﺢ واﻟﺴﻠﻢ‪ ،‬واﻷﻣﺎن‪ ،‬واﻟﺘﻌﺪدﻳﺔ اﻟﺜﻘﺎﻓﻴﺔ‪ ،‬ﰲ ﻣﺤﻴﻂ‬ ‫ﻣﻦ اﻷزﻣﺎت واﻟﴫاﻋﺎت‪ .‬وﻳﺄيت ﻫﺬا اﻟﻮﻋﻲ ﺑﻘﻴﻢ اﻟﺘﺴﺎﻣﺢ ﻛﺮد ﻓﻌﻞ ﻃﺒﻴﻌﻲ ﻋﲆ ﺳﻠﻮك ﻏﺮﻳﺐ ﻟﻜﺜري ﻣﻦ اﻟﺠﻬﺎت اﻟﺘﻲ ﺗﺸﻮه ﻗﻴﻤﻨﺎ‬ ‫ﻛﻌﺮب وﻣﺴﻠﻤني‪ ،‬وﻗﺪ ﺻﺎرت ﻣﺜﺎﻻ ﻋﲆ اﻟﺘﺨﻠﻒ واﻟﺮﺟﻌﻴﺔ واﻟﺘﻌﺼﺐ واﻟﺘﻄﺮف‪.‬‬ ‫واﻟﻴﻮم‪ ،‬ﺗﻌﻠﻦ اﻹﻣﺎرات أن اﻟﻌﺎم اﻟﺠﺪﻳﺪ ‪ ،2019‬ﻫﻮ ﻋﺎم اﻟﺘﺴﺎﻣﺢ‪ ،‬وﺗﺘﺒﻨﻰ اﻟﻘﻴﻢ اﻹﻧﺴﺎﻧﻴﺔ ﰲ أﺳﻤﻰ ﺗﺠﻠﻴﺎﺗﻬﺎ‪ ،‬ﺗﻠﻚ اﻟﻘﻴﻢ اﻟﺘﻲ ﺗﺘﻘﺒﻞ‬ ‫اﻵﺧﺮ وﺗﺤﱰم ﺛﻘﺎﻓﺘﻪ ﺑﺨﺼﻮﺻﻴﺘﻬﺎ واﺧﺘﻼﻓﻬﺎ‪.‬‬ ‫ﻳﺄيت اﻹﻋﻼن ﰲ إﻃﺎر ﺳﻌﻲ اﻟﻘﻴﺎدة اﻟﺮﺷﻴﺪة ﻟﺪوﻟﺔ اﻹﻣﺎرات إﱃ ﺗﺮﺳﻴﺦ ﻣﻜﺎﻧﺘﻬﺎ ﻛﻌﺎﺻﻤﺔ ﻋﺎﳌﻴﺔ ﻟﻠﺘﺴﺎﻣﺢ‪ ،‬واﻟﻌﻤﻞ ﻋﲆ اﺳﺘﺪاﻣﺔ‬ ‫ﻗﻴﻢ اﻟﺘﺴﺎﻣﺢ ﺑﺘﺤﻮﻳﻠﻪ إﱃ ﻣﻨﻈﻮﻣﺔ ﻋﻤﻞ ﻣﺘﻜﺎﻣﻠﺔ وﺗﴩﻳﻌﺎت ﺗﻜﺮس ﻫﺬه اﻟﻘﻴﻤﺔ اﻹﻧﺴﺎﻧﻴﺔ ﰲ اﳌﺠﺘﻤﻌﺎت‪ ،‬وﻧﴩ اﳌﺒﺎدرات‬ ‫واﻟﺴﻴﺎﺳﺎت اﻹﻣﺎراﺗﻴﺔ اﻟﺘﻲ ﺑﺎﺗﺖ منﻮذﺟﺎً ﻋﺎﳌﻴﺎً ﻳﺤﺘﺬى ﺑﻪ ‪ ،‬ﻓام ﻫﻮ دور اﻟﺸﻌﺮ ﰲ ﺗﻌﺰﻳﺰ واﺳﺘﺪاﻣﺔ ﻗﻴﻢ اﻟﺘﺴﺎﻣﺢ؟‬

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‫اﻟﻌﺪد ‪ ، 75‬ﻓﺒﺮاﻳﺮ ‪2019‬‬

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‫ﻣﺤﻤﺪ ﺑﻦ ﺧﺎدم اﻟﻜﺘﺒﻲ‬

baytelshear ‫اﻟﺸﻌﺮ‬ ِ ‫ﺑﻴﺖ‬

‫‪ ĬńŒ ŝħ‬‬ ‫اﳌﻨﺸﺪون واﳌﻄﺮﺑﻮن ﻳﺴﻌﻮن ﻧﺤﻮ اﻟﺸﺎﻋﺮ‬ ‫اﳌﺘﻤﻜﻦ‪ ،‬اﻟﻴﻮم ﺑﺎت اﻟﺸﻌﺮاء ﻳﺘﻬﺎﻓﺘﻮن‬ ‫ﺧﻠﻒ اﳌﻄﺮﺑني يك ﻳﻐﻨﻮا ﻗﺼﺎﺋﺪﻫﻢ وﰲ‬ ‫أﺣﺴﻦ اﻷﺣﻮال ﻳﺘﱪع اﳌﻄﺮب ﺑﺼﻮﺗﻪ ﻋﲆ‬ ‫أن ﻳﺘﺤﻤﻞ اﻟﺸﺎﻋﺮ ﺗﻜﺎﻟﻴﻒ اﻻﻧﺘﺎج ﻣﻦ‬ ‫ﺗﺴﺠﻴﻞ وﺗﻠﺤني وﻏريﻫﺎ‪ ،‬وﻣﺎ زاﻟﺖ اﻷﻣﻮر‬ ‫ﺗﺴري ﺑﻬﺬا اﻟﺸﻜﻞ ﻓﺈين ﺑﻐﻨﻰ ﻋﻦ اﳌﻄﺮﺑني‬ ‫وﻋﻦ ﺧﺪﻣﺎﺗﻬﻢ‪ ،‬وﻫﻨﺎ أﻋﻮد وأؤﻛﺪ ﺑﺄين‬ ‫وﺧﻼل ﻣﺴرييت اﻟﺸﻌﺮﻳﺔ اﻟﻄﻮﻳﻠﺔ مل أﺳﻊ‬ ‫ﻳﻮﻣﺎً ﻻﺳﱰﺿﺎء أي ﺻﺤﻔﻲ أو ﻣﻄﺮب أو‬ ‫ﻣﺴﺆول ﻋﲆ ﺗﻨﻈﻴﻢ أﻣﺴﻴﺎت ﺑﻬﺪف ﺟﺬب‬ ‫اﻷﺿﻮاء واﻟﺤﺼﻮل ﻋﲆ ﳾء ﻣﻦ اﻟﺸﻬﺮة"‪.‬‬ ‫ﻳﻘﺮ اﻟﻜﺘﺒﻲ ﺑﺄﻧﻪ ﻟﻴﺲ ﻣﻦ اﻟﺸﻌﺮاء‬ ‫اﻟﻐﺰﻳﺮي اﻻﻧﺘﺎج‪ ،‬ﺣﻴﺚ ﻳﻬﺘﻢ ﺑﺎﻟﻜﻴﻒ‬ ‫ﻻ ﺑﺎﻟﻜﻢ‪ ،‬وﻗﺪ ﺣــﺎول ﰲ ﻓﱰة ﻣﺎ ﺟﻤﻊ‬ ‫ﻗﺼﺎﺋﺪه وارﺷﻔﺘﻬﺎ ﺑﺸﻜﻞ ﻋــﴫي‪ ،‬ﻣﻦ‬ ‫ﺧﻼل اﻟﻌﻤﻞ ﻋﲆ إﻧﺸﺎء ﻣﻨﺘﺪى إﻟﻜﱰوين‬ ‫ﻣﺘﺨﺼﺺ ﺑﺎﻟﺸﻌﺮ اﻟﺸﻌﺒﻲ‪ ،‬ﻳﻘﻮل اﻟﻜﺘﺒﻲ‪:‬‬ ‫"ﺛﻼث ﺳﻨﻮات أﻣﻀﻴﺘﻬﺎ ﰲ اﻟﻌﻤﻞ ﻋﲆ‬ ‫ﻫﺬا اﳌﻨﺘﺪى اﻟــﺬي ﺿﻢ ﻣﺠﻤﻮﻋﺔ ﻣﻦ‬ ‫اﻟﺸﻌﺮاء اﳌﺘﻤﻴﺰﻳﻦ اﻟﺬﻳﻦ أﺻﺒﺤﻮا ﻗﺎﻣﺎت‬ ‫ﺷﻌﺮﻳﺔ ﻣﻌﺮوﻓﺔ ﰲ أﻳﺎﻣﻨﺎ ﻫﺬه‪ ،‬ﻛﻨﺖ أﻧﴩ‬ ‫ﻗﺼﺎﺋﺪي ﻣﻦ ﺧﻼل ﻫﺬا اﳌﻨﺘﺪى‪ ،‬ﻟﻜﻦ ﻣﺎ‬ ‫ﻳﺤﺰ ﰲ ﻗﻠﺒﻲ أن اﻟﻘﺼﺎﺋﺪ ﺗﻌﺮﺿﺖ ﻟﻠﻀﻴﺎع‪،‬‬ ‫وﻫﺎ أﻧﺎ اﻟﻴﻮم وﻣﻨﺬ ﺳﻨﻮات أﺣﺎول ﺗﺠﻤﻴﻊ‬ ‫ﻗﺼﺎﺋﺪي اﳌﻔﻘﻮدة‪ ،‬وﰲ ﺣﺎل متﻜﻨﺖ ﻣﻦ‬ ‫ﺗﺠﻤﻴﻌﻬﺎ ﺳﺄﻋﻤﺪ ﻟﺠﻤﻌﻬﺎ ﰲ دﻳﻮان‪ ،‬ﺣﺘﻰ‬ ‫ﻻ ﺗﻔﻘﺪ ﻣﺮة ﺛﺎﻧﻴﺔ"‪.‬‬ ‫وﻳﺆﻛﺪ اﻟﺸﺎﻋﺮ اﻟﻜﺘﺒﻲ ﻋﲆ أن اﻟﺠﻬﺎت‬ ‫اﳌﻌﻨﻴﺔ ﰲ اﻹﻣﺎرات ﺗﺒﺬل ﺟﻬﻮداً ﺟﺒﺎرة‬ ‫ﰲ ﺳﺒﻴﻞ اﻟﺤﻔﺎظ ﻋﲆ اﻟﺸﻌﺮ اﻷﺻﻴﻞ‪،‬‬ ‫وذﻟﻚ ﻣﻦ ﺧﻼل اﳌﺒﺎدرات واﻟﻔﻌﺎﻟﻴﺎت‬ ‫اﻟﺘﻲ ﺗﻄﻠﻘﻬﺎ ﻣﺜﻞ أﻛــﺎدميــﻴــﺔ اﻟﺸﻌﺮ‬ ‫وﺷﺎﻋﺮ اﳌﻠﻴﻮن وﻏريﻫام‪ ،‬وأﺿﺎف ﺑﺎﻟﻘﻮل‪:‬‬ ‫"اﻟﺠﻬﺎت اﳌﺨﺘﺼﺔ اﻟﻴﻮم ﻛﻤﻦ ﻳﺤﺎرب‬ ‫ﻃﻮاﺣني اﻟﻬﻮاء ﺑﻬﺪف اﻟﺤﻔﺎظ ﻋﲆ اﻟﺸﻌﺮ‬ ‫اﻟﺸﻌﺒﻲ ﺑﺸﻜﻠﻪ اﻷﺻﻴﻞ اﻟﺤﻘﻴﻘﻲ ﰲ ﻇﻞ‬

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‫اﻟﻌﺪد ‪ ، 75‬ﻓﺒﺮاﻳﺮ ‪2019‬‬

‫ ‪ ɐŝǔƢǕŌ ǻǔƫ ŋōǜş ŝŨǉŐ ȍ‬‬ ‫‪ ǲƃǾǕǶ ǚǷǈũ ǼƃȃōƚǂƳ‬‬ ‫‪ ƃǂƳ ǣǾǔƫǶ ɐƱǃǷǘǕŌǶ ǳƦżǔǕŌ‬‬ ‫‪ ɐǚōǾŽȏŌ Ɲƪş ǽƳ ǽŵōŨǝŌ ƈƋƮǿ‬‬ ‫‪ɰ‬‬ ‫‪ ǚōǾŽŐ ǽƳ ōǙōǘũ Ʊǂǿ ƃǃǶ‬‬ ‫‪ mǺƉƁŐ‬‬ ‫‪ ŧǔǘƪǕ ǼƃǾş ƉǙȏŌ ǚŐ ǷǕ‬‬ ‫‪ ǳƳōżƚǔǕ ǲōǾżǕŌ ǲƂōƫŒ ǻǔƫ‬‬ ‫‪ ǓȃōƓǶ ŧƲǃǶȏǶ ǳƫǷŞƢǘǕŌ‬‬ ‫‪ ǽŨǕŌ ɐǽƫōǘŨŵȍŌ ǓƛŌǷŨǕŌ‬‬ ‫‪ǛǾǘŬǕŌ ŧǘǔƧǶ ɐƙǾƁƉǕŌ ŧƪƳƈ‬‬ ‫ ‪ ŦŌƈōǙȑŌ ǽƳ ǳǾǜƪǘǕŌ ŦōǤŴǕŌ‬‬ ‫‪ɰ‬‬ ‫‪ ǓǾŞƓ ǽƳ ǲƈōŞŵ ŌƂǷǤŵ ǒƅŞũ‬‬ ‫‪ ɐǓǾƛȏŌ ƉƪƖǕŌ ǻǔƫ ƤōƲżǕŌ‬‬ ‫‪ ƉƪƖǕŌ ǳǾǘǿƂōǉŐ ōǤǾǔƫ ǒōŬǙ‬‬

‫ﻃﻮﻓﺎن اﻟﺸﻌﺮ اﻟﻬﺰﻳﻞ اﻟﺬي ﻳﺠﺘﺎح اﻟﺴﺎﺣﺔ‬ ‫ﻣﻤﺘﻄﻴﺎً ﺻﻬﻮة ﻣﻮاﻗﻊ اﻟﺘﻮاﺻﻞ اﻻﺟﺘامﻋﻲ‪.‬‬ ‫إن ﺷﺎﻋﺮ اﳌﻠﻴﻮن واﻟﻔﻌﺎﻟﻴﺎت واﻷﻣﺴﻴﺎت‬ ‫اﻟﺸﻌﺮﻳﺔ ﻫﻲ ﻣﺤﺎوﻻت ﺟﺎدة ﺗﻬﺪف إﱃ‬ ‫ﺗﺸﺠﻴﻊ اﻟﺸﻌﺮ اﻟﺤﻘﻴﻘﻲ‪ ،‬وأرﺟﻮ أن ﺗﻜرث‬ ‫ﻫﺬه اﳌﺒﺎدرات واﻟﻔﻌﺎﻟﻴﺎت‪ ،‬ﻛام أرﺟﻮ أن‬ ‫ﻳﺘﻢ اﻟﱰﻛﻴﺰ ﻋﲆ اﻟﺸﻌﺮاء اﻷواﺋﻞ اﻟﺬﻳﻦ‬ ‫أﺛــﺮوا اﻟﺴﺎﺣﺔ اﻟﺸﻌﺮﻳﺔ ﺑﻨﺘﺎﺟﺎﺗﻬﻢ ﰲ‬ ‫اﻟﺴﻨﻮات اﳌﺎﺿﻴﺔ‪ ،‬ﻟﻜﻨﻬﻢ اﺧﺘﻔﻮا اﻟﻴﻮم‬ ‫ﻧﻈﺮاً ﻷﺳﺒﺎب ﻋﺪة‪ ،‬أرﺟﻮ أن ﻳﺴﻠﻂ اﻹﻋﻼم‬ ‫اﻟﻀﻮء ﻋﻠﻴﻬﻢ‪ ،‬ﻟﻴﻌﻴﺪﻫﻢ إﱃ اﻟﺴﺎﺣﺔ‬ ‫وﻟﻴﺴﺘﻔﻴﺪ اﻟﺸﻌﺮاء اﻟﺸﺒﺎب وﻛﻞ ﻣﺤﺒﻲ‬ ‫اﻟﺸﻌﺮ ﻣﻦ ﺧﱪاﺗﻬﻢ وﻗﺪراﺗﻬﻢ اﻟﺸﻌﺮﻳﺔ‬ ‫اﻟﻜﺒرية"‪.‬‬ ‫ﺑﺎﻟﺮﻏﻢ ﻣﻦ ﻗﻠﺔ إﻃﻼﻻﺗﻪ اﻟﺸﻌﺮﻳﺔ إﻻ أن‬ ‫اﻟﻜﺘﺒﻲ ﻣﻦ اﳌﻮاﻇﺒني ﻋﲆ اﳌﺸﺎرﻛﺔ ﰲ‬ ‫ﻣﻬﺮﺟﺎن اﻟﺸﻌﺮ اﻟﺸﻌﺒﻲ ﰲ اﻟﺸﺎرﻗﺔ ﻣﻨﺬ‬ ‫ﺳﻨﻮات ﻃﻮﻳﻠﺔ وﻋﻦ ﻣﺸﺎرﻛﺘﻪ اﻷﺧرية‬

‫ﻳﻘﻮل‪" :‬ﻛﺎﻧﺖ ﻣﺸﺎرﻛﺘﻲ اﻷوﱃ ﰲ اﻟﺪورة‬ ‫اﻟﺜﺎﻧﻴﺔ ﻣﻦ اﳌﻬﺮﺟﺎن ﻋﺎم ‪ ،1999‬وﻣﻦ‬ ‫ﺣﻴﻨﻬﺎ وأﻧﺎ أﺣﺮص ﻋﲆ اﳌﺸﺎرﻛﺔ ﰲ ﻫﺬه‬ ‫اﻟﻔﻌﺎﻟﻴﺔ اﻟﺸﻌﺮﻳﺔ اﳌﻬﻤﺔ‪ ،‬وﰲ ﻫﺬه اﻟﺴﻨﺔ‬ ‫ﺗﺰاﻣﻨﺖ أﻣﺴﻴﺘﻲ اﻟﺸﻌﺮﻳﺔ ﻣﻊ اﻓﺘﺘﺎح‬ ‫ﻣﺠﻠﺲ اﻟﺤرية اﻷديب‪ ،‬وﻗﺪ ﻛﺎﻧﺖ ﺑﺤﻀﻮر‬ ‫ﺻﺎﺣﺐ اﻟﺴﻤﻮ اﻟﺸﻴﺦ ﺳﻠﻄﺎن ﺑﻦ ﻣﺤﻤﺪ‬ ‫اﻟﻘﺎﺳﻤﻲ‪ ،‬ﻋﻀﻮ اﳌﺠﻠﺲ اﻷﻋﲆ ﻟﻼﺗﺤﺎد‪،‬‬ ‫ﺣﺎﻛﻢ إﻣﺎرة اﻟﺸﺎرﻗﺔ‪ ،‬ﺣﻴﺚ أﻏﻨﻰ ﺳﻤﻮه‬ ‫اﻷﻣﺴﻴﺔ مبﻨﺎﻗﺸﺎﺗﻪ وﻣﺪاﺧﻼﺗﻪ ﺑﺨﺼﻮص‬ ‫اﻟﺸﻌﺮ اﻟﺸﻌﺒﻲ وأﻫﻤﻴﺘﻪ ﰲ ﺗﺎرﻳﺦ‬ ‫اﻟﺸﻌﻮب"‪.‬‬ ‫وﰲ ﻧﻬﺎﻳﺔ ﺣﻮارﻧﺎ ﻣﻌﻪ متﻨﻰ اﻟﺸﺎﻋﺮ ﻣﺤﻤﺪ‬ ‫ﺑﻦ ﺧﺎدم اﻟﻜﺘﺒﻲ ﻋﻮدة اﻟﻌﴫ اﻟﺬﻫﺒﻲ‬ ‫ﻟﻠﺼﺤﺎﻓﺔ اﳌﻄﺒﻮﻋﺔ‪ ،‬ﻋﻠﻬﺎ ﺗﻘﻮم ﺑﺈﻋﺎدة‬ ‫اﻟــﺘــﻮازن ﻟﻠﺴﺎﺣﺔ اﻟﺸﻌﺮﻳﺔ ﻣﻦ ﺧﻼل‬ ‫ﻣﺴﺎﻫﻤﺘﻬﺎ ﰲ ﺗﺴﻠﻴﻂ اﻟﻀﻮء ﻋﲆ اﻟﺸﻌﺮ‬ ‫اﻟﺤﻘﻴﻘﻲ‪ ،‬واﻟﺘﺨﻠﺺ ﻣﻦ أﻋﺪاء اﻟﺸﻌﺮ!‬

‫ﺧﻼل ﻗﺼﺎﺋﺪﻧﺎ‪ ،‬ﻛام اﻛﺘﺸﻔﻨﺎ ﻧﺤﻦ ﺗﺎرﻳﺦ‬ ‫آﺑﺎﺋﻨﺎ ﻣﻦ ﻗﺼﺎﺋﺪﻫﻢ‪ ،‬ﻟﻘﺪ وﺛﻖ أﺟﺪادﻧﺎ‬ ‫اﳌﻌﺎرك واﻟﻐﺰوات واﻷﺣــﺪاث اﻟﻌﻈﻴﻤﺔ‬ ‫ﻋﻦ ﻃﺮﻳﻖ اﻟﻘﺼﺎﺋﺪ‪ ،‬اﻟﻴﻮم اﺧﺘﻠﻔﺖ‬ ‫أﻏــﺮاض اﻟﺸﻌﺮ‪ ،‬ﺣﻴﺚ ﻧﺠﺪ اﻟﻴﻮم أن‬ ‫اﻟﺸﻌﺮاء ﻳﺮﻛﺰون ﻋﲆ اﻟﺸﻌﺮ اﻟﻮﻃﻨﻲ‪،‬‬ ‫وذﻟﻚ ﻧﻈﺮاً ﻟﻠﻤﺮﺣﻠﺔ اﻟﺘﻲ متﺮ ﺑﻬﺎ أوﻃﺎﻧﻨﺎ‪،‬‬ ‫ﻓﺎﻟﻮﻃﻦ ﻳﺤﺘﺎج اﻟﺠﻤﻴﻊ ﻛﻞ ﰲ ﻣﺠﺎﻟﻪ‪..‬‬ ‫اﻟﺸﺎﻋﺮ ﻳﻘﺎﺗﻞ ﺑﺸﻌﺮه‪ ،‬واﻟﺼﺤﻔﻲ ﺑﻘﻠﻤﻪ‪،‬‬ ‫واﳌﻬﻨﺪس مبﺴﻄﺮﺗﻪ وﻣﺮﺳﻤﻪ"‪.‬‬ ‫ﻧﴩ اﻟﻌﺪﻳﺪ ﻣﻦ ﻗﺼﺎﺋﺪه ﰲ وﺳﺎﺋﻞ اﻹﻋﻼم‬ ‫اﳌﻄﺒﻮﻋﺔ ﻗﺪ ﻳﻮﺣﻲ ﻟﻠﺒﻌﺾ ﺑﺄن اﻟﻜﺘﺒﻲ‬ ‫ﻳﺴﻌﻰ ﻧﺤﻮ اﻹﻋﻼم ﺑﻬﺪف اﻟﺸﻬﺮة‪ ،‬وﻫﺬا‬ ‫ﻣﺎ ﻧﻔﺎه إذ ﻗﺎل‪" :‬ﰲ ﻓﱰة اﻟﺘﺴﻌﻴﻨﻴﺎت ﻛﺎﻧﺖ‬ ‫وﺳﺎﺋﻞ اﻹﻋﻼم ﺑﻜﺎﻓﺔ أﺷﻜﺎﻟﻬﺎ‪ ،‬واﳌﻄﺮﺑﻮن‬ ‫واﳌﻠﺤﻨﻮن ﻳﺴﻌﻮن ﻧﺤﻮ اﻟﺸﺎﻋﺮ‪ ،‬مل ﻳﻜﻦ‬ ‫ﻛﺘﺎﺑﺘﻬﺎ ﻣﻨﺬ ﺳﻨني‪ ،‬وﻫﺬا اﻷﻣﺮ ﻧﺎﺑﻊ ﻣﻦ‬ ‫اﻟﺸﺎﻋﺮ ﻣﺤﺘﺎﺟﺎً ﻷن ﻳﺬﻫﺐ ﻷﺣﺪ‪ ،‬أو ﻳﻘﻒ‬ ‫أين ﻻ أﻛﺘﺐ ﺑﻨﺎء ﻋﲆ اﻟﻄﻠﺐ‪ ،‬ﻓﻘﺼﺎﺋﺪي‬ ‫‪ ɐǢƉƪƖş Ǔũōǂǿ ƉƫōƖǕŌ‬‬ ‫ﺑﺒﺎب أﺣﺪ‪ ،‬ﻛﺎن ﻟﻠﺸﺎﻋﺮ ﻣﻜﺎﻧﺘﻪ اﻻﺟﺘامﻋﻴﺔ ‪ ƐƃǜǤǘǕŌǶ ɐǣǘǔǂş ǽƲżƚǕŌǶ‬ﺗﻜﻮن وﻟﻴﺪة اﻟﻠﺤﻈﺔ واﳌﻮﻗﻒ‪ ،‬وﻋﻠﻴﻪ ﻓﻘﺪ‬ ‫اﳌﺮﻣﻮﻗﺔ‪ ،‬مل ﻳﻜﻦ ﻳﻮﻣﻬﺎ ﻋﲆ اﻟﺸﺎﻋﺮ ﺳﻮى‬ ‫ﻳﻐﺰر اﻧﺘﺎﺟﻲ ﰲ ﺑﻌﺾ اﻷﺣﻴﺎن‪ ،‬وﻗﺪ ﻳﻘﻒ‬ ‫‪ǣǘƓƉǙǶ ǣũƉƢƒǘş‬‬ ‫أن ﻳﻜﺘﺐ ﻣﺎ ﰲ ﺑﺎﻟﻪ ﺣﺘﻰ ﻳﺴﻌﻰ اﻟﺠﻤﻴﻊ‬ ‫متﺎﻣﺎً ﰲ أﺣﻴﺎن أﺧﺮى"‪.‬‬ ‫ﻟﺘﻠﻘﻒ ﻣﺎ ﻗﺎﻟﻪ‪ ،‬ﻟﻜﻦ ﰲ ﻋﴫﻧﺎ ﻫﺬا )ﻋﴫ ‪ ǓȃōƓǶ ŧǝōǉ ŦōǾǜǾƪƒŨǕŌ ǽƳ‬ﻗﺪ ﻳﻈﻦ ﺑﻌﻀﻬﻢ وﻣﻦ ﺧﻼل اﻧﺠﺬاب‬ ‫اﻟﺘﻜﻨﻮﻟﻮﺟﻴﺎ( ﺗﻐري اﻟﺤﺎل ﻛﺜرياً‪ ،‬ﻓﻘﺪ‬ ‫ﺷﺎﻋﺮﻧﺎ ﻧﺤﻮ اﻹﻋﻼم اﻟﺘﻘﻠﻴﺪي ﺑﺄﻧﻪ ﻣﻤﺘﻨﻊ‬ ‫‪ ɐōǤǕōǈƗŐ ǳƳōǈş ǖȎƫȑŌ‬‬ ‫اﺧﺘﻠﻂ اﻟﺠﻴﺪ ﻣﻊ اﻟــﺮديء‪ ،‬ﰲ ﻇﻞ ﻋﺪم‬ ‫وﻣﻘﺎﻃﻊ ﻟﻺﻋﻼم اﻟﺠﺪﻳﺪ‪ ،‬وﻫﺬا اﻷﻣﺮ ﻏري‬ ‫‪ ǚǷǜżǔǘǕŌǶ ǚǷşƉƢǘǕŌǶ‬‬ ‫وﺟﻮد ﻧﻮع ﻣﻦ اﻟﻔﻠﱰة‪ ،‬وﻗﺪ ﺑﺎت اﻟﺠﻤﻴﻊ‬ ‫ﺻﺤﻴﺢ ﺣﻴﺚ ﻳﻘﻮل‪" :‬ﻟﺪيﱠ ﺣﺴﺎﺑﺎت ﻋﲆ‬ ‫ ‪ ɐƉƫōƖǕŌ Ƿżǝ ǚǷƪƒǿ‬‬ ‫ ‬ ‫‪ɰ‬‬ ‫ﺷﻌﺮاء‪ ،‬ﻓام ﻋﻠﻴﻚ إﻻ أن ﺗﻨﺸﺊ ﺻﻔﺤﺔ ﻋﲆ‬ ‫ﻣﻮاﻗﻊ اﻟﺘﻮاﺻﻞ اﻻﺟﺘامﻋﻲ ﻣﺜﻞ ﺗﻮﻳﱰ‬ ‫‪ōŵōŨżǙ ƉƫōƖǕŌ Ǜǈǿ ǗǕ‬‬ ‫وﺳﺎﺋﻞ اﻟﺘﻮاﺻﻞ اﻻﺟﺘامﻋﻲ وﺗﻨﴩ ﻓﻴﻬﺎ ﻣﺎ‬ ‫واﻧﺴﺘﻐﺮام وﻏريﻫام‪ ،‬ﻟﻘﺪ أﺻﺒﺤﺖ ﻫﺬه‬ ‫ ‪ƃŽȏ ŝǥƅǿ ǚȏ‬‬ ‫ﻳﺨﻄﺮ ﺑﺒﺎﻟﻚ‪ ،‬ﻓﻴﻌﺠﺐ ﺑﻪ اﻟﻌﺎﻣﺔ ﻣﻤﻦ ﻻ‬ ‫اﳌﻮاﻗﻊ ﺣﻘﻴﻘﺔ واﻗﻌﺔ ﻻ ميﻜﻨﻨﺎ إﻧﻜﺎرﻫﺎ‪،‬‬ ‫ ‬ ‫ﻳﻌﻮن اﻟﺸﻌﺮ وﻻ ﻳﻌﺮﻓﻮن أﺳﺴﻪ وﻗﻮاﻋﺪه ‪ ưǶƉƪǙ ǽŨǾŞƳ ǽȃōǂǕ ƃǿƉǿ ǛǙ‬وﻣﻊ ﻫﺬا ﻓام زﻟﺖ أﻓﻀﻞ رؤﻳﺔ أﻋامﱄ ﻋﲆ‬ ‫اﻟﻮرق اﳌﻄﺒﻮع‪ ،‬وﻟﻮ أن اﻷﻣﺮ ﺑﻴﺪي ﻟﻌﻤﻠﺖ‬ ‫وأوزاﻧﻪ‪ ،‬ﻓﺘﺼﺒﺢ ﺑني ﻳﻮم وﻟﻴﻠﺔ ﺷﺎﻋﺮاً‪.‬‬ ‫ ‪ɐƩǾǘŴǔǕ źǷŨƲǙ ǽşōşǶ‬‬ ‫‪ɰ‬‬ ‫ ‪ ōŬǥȍ ǽƪƒǔǕ ǽǕ ǳŵōŽ ȍǶ‬ﻋﲆ إﻋــﺎدة اﻟﺤﻴﺎة ﻟﻠﺼﺤﺎﻓﺔ اﳌﻄﺒﻮﻋﺔ‬ ‫أﻣﺎ ﰲ اﻟﺘﺴﻌﻴﻨﻴﺎت ﻓﻜﺎن اﻟﻨﴩ ﰲ اﻟﺼﺤﻒ‬ ‫وﻷوﻗﻔﺖ وﺳﺎﺋﻞ اﻟﺘﻮاﺻﻞ اﻻﺟﺘامﻋﻲ‪،‬‬ ‫‪ǳƲȃŌƊ ǲƉǤƗ ƱǔƁ‬‬ ‫ﻫﻮ ﻣﻦ ﻳﻌﻄﻲ اﻟﺸﺎﻋﺮ اﻟﺤﻖ ﺑﺄن ﻳﺴﻤﻲ‬ ‫اﻟﺘﻲ رﻓﻌﺖ اﻟﺮﺧﻴﺺ‪ ،‬وﻇﻠﻤﺖ اﻟﺜﻤني"‪.‬‬ ‫ﻧﻔﺴﻪ ﺷﺎﻋﺮاً‪ .‬أﻣﺎ ﻋﲆ اﳌﺴﺘﻮى اﻟﺸﺨﴢ‬ ‫ﻓﺄﻧﺎ ﺷﺎﻋﺮ ﻣﻌﺘﺰ ﺑﺸﻌﺮي‪ ،‬ﻣﻦ ﻳﺮﻳﺪ ﻟﻘﺎيئ وﻳﺮى اﻟﻜﺘﺒﻲ ﰲ ﻧﻔﺴﻪ ﺷﺎﻋﺮاً ﻣﺰاﺟﻴﺎً‪ ،‬ﺧﻼل ﻣﺴريﺗﻪ اﻟﻄﻮﻳﻠﺔ مل ﻳﺘﻌﺎون اﻟﻜﺘﺒﻲ إﻻ‬ ‫ﻓﺒﻴﺘﻲ ﻣﻌﺮوف وﺑﺎيب ﻣﻔﺘﻮح ﻟﻠﺠﻤﻴﻊ‪ ،‬ﻻ ميﻜﻦ ﻟﻪ أن ﻳﺘﻨﺒﺄ ﺑﺎﻧﺘﺎﺟﺎﺗﻪ اﻟﺸﻌﺮﻳﺔ‪ ،‬ﻣﻊ ﻣﻨﺸﺪ واﺣﺪ‪ ،‬وﻋﻦ ﻫﺬه اﻟﻨﻘﻄﺔ ﻳﻘﻮل‪:‬‬ ‫وﻻ ﺣﺎﺟﺔ ﱄ ﻟﻠﺴﻌﻲ ﻻﻫﺜﺎً ﺧﻠﻒ ﺷﻬﺮة ﺣﻴﺚ ﻳﻘﻮل‪" :‬ﻗﺪ ﺗﺴﺘﻐﺮق ﻣﻨﻲ ﻗﺼﻴﺪة "ﻛام ذﻛﺮت ﺳﺎﺑﻘﺎً ﻟﻘﺪ اﻧﻘﻠﺒﺖ اﳌﻮازﻳﻦ ﰲ‬ ‫ﻣﺎ رﺑﻊ ﺳﺎﻋﺔ‪ ،‬وﻫﻨﺎك ﻗﺼﺎﺋﺪ ﻗﺪ ﺑﺪأت وﻗﺘﻨﺎ اﻟﺤﺎﱄ‪ ،‬ﻓﻔﻲ اﻟﺴﻨﻮات اﻟﺴﺎﺑﻘﺔ ﻛﺎن‬ ‫زاﺋﻔﺔ"‪.‬‬ ‫اﻟﺸﻌﺮ ‪baytelshear‬‬ ‫ﺑﻴﺖ ِ‬

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‫‪ ĬńŒ ŝħ‬‬

‫‪ǳǿƉƪƖǕŌ ǳŽōƒǕŌ ǽƳ ǲƋǾǘŨǘǕŌ ǢǷŵǷǕŌ ǛǙ ƃŽŌǶ‬‬

‫ﻣﺤﻤﺪ ﺑﻦ ﺧﺎدم اﻟﻜﺘﺒﻲ‪ ǲƉǤƖǕŌ ưƃǤş Ŝōş ǼŐ ǀƉƣŐ ǗǕ :‬‬ ‫ﻣﺼﻄﻔﻰ أﺣﻤﺪ‬

‫ﻫﻨﺎك ﺷﻌﺮة ﺗﻔﺼﻞ ﺑني اﻻﻋﺘﺰاز ﺑﺎﻟﻨﻔﺲ‬ ‫واﻟﻐﺮور‪ ،‬وﻫﻨﺎك ﺧﻴﻂ رﻓﻴﻊ ﻳﻔﺼﻞ‬ ‫ﺑني اﻟﺜﻘﺔ واﻟﺘﻜﱪ‪ ،‬وﺷﺎﻋﺮﻧﺎ اﻟﻴﻮم ﻗﺪ‬ ‫ﻳﺒﺪو ﻟﻠﺒﻌﺾ ﻣﺘﻜﱪاً ﻣﻐﺮوراً‪ ،‬ﻟﻜﻨﻪ ﰲ‬ ‫اﻟﺤﻘﻴﻘﺔ ﺷﺎﻋﺮ ﻣﻌﺘﺪ ﺑﺸﻌﺮه‪ ،‬واﺛﻖ ﻣﻦ‬ ‫ﻧﻔﺴﻪ‪ ،‬ﻣﺪرك ﳌﻜﺎﻧﺘﻪ‪ ،‬ﻻ ﻳﺮﴇ أن ﻳﻄﺮق‬ ‫أﺑﻮاب اﻟﻐري ﺑﺤﺜﺎً ﻋﻦ ﺷﻬﺮة رﺧﻴﺼﺔ‪ ،‬إﻧﻪ‬ ‫اﻟﺸﺎﻋﺮ ﻣﺤﻤﺪ ﺑﻦ ﺧﺎدم اﻟﻜﺘﺒﻲ‪ ،‬واﻟﺬي‬ ‫ﻳﺮى ﰲ اﻟﺸﻌﺮ ﻣﺘﻨﻔﺴﺎً‪ ،‬ﻓﻠﻢ ﻳﺮد ﻟﻬﺬا‬ ‫اﳌﺘﻨﻔﺲ أن ﻳﺪﺧﻞ ﰲ ﻣﻴﺰان اﳌﺎدة‪ ،‬أو‬ ‫اﻟﺮﺑﺢ واﻟﺨﺴﺎرة‪.‬‬ ‫ﻣﺠﻠﺔ ﺑﻴﺖ اﻟﺸﻌﺮ اﻟﺘﻘﺖ اﻟﺸﺎﻋﺮ‬ ‫ﻣﺤﻤﺪ ﺑﻦ ﺧﺎدم اﻟﻜﺘﺒﻲ‪ ،‬وﻣﻌﻪ ﻛﺎن‬ ‫ﻫﺬا اﻟﺤﻮار‪:‬‬ ‫ﺑﺪأت رﺣﻠﺔ ﻣﺤﻤﺪ ﺑﻦ ﺧﺎدم اﻟﻜﺘﺒﻲ ﻣﻊ‬ ‫اﻟﺸﻌﺮ ﻣﻨﺬ اﻟﺼﻐﺮ‪ ،‬ﺣﺎﻟﻪ ﺣﺎل ﻣﻌﻈﻢ‬ ‫اﻟﺸﻌﺮاء اﻹﻣﺎراﺗﻴني اﻟﺬﻳﻦ ﻧﺸﺄوا ﻋﲆ‬ ‫ﺣﺐ اﻟﺸﻌﺮ‪ ،‬وﻋﻦ ﺑﺪاﻳﺎﺗﻪ ﻳﻘﻮل اﻟﻜﺘﺒﻲ‪:‬‬ ‫"ﺑﺪاﻳﺘﻲ ﻛﺎﻧﺖ ﻋﺎدﻳﺔ‪ ،‬ﺗﻄﻮرت مبﺮور اﻷﻳﺎم‬ ‫ﺑﺘﺸﺠﻴﻊ اﻷﻫﻞ واﳌﻘﺮﺑني‪ ،‬إﱃ أن وﺟﺪت‬ ‫ﰲ ﻧﻔﴘ اﻟﺸﺠﺎﻋﺔ واﻟﻘﺪرة ﻟﻨﴩ أﻋامﱄ‬ ‫ﰲ اﻟﺠﺮاﺋﺪ واﳌﺠﻼت اﳌﺤﻠﻴﺔ‪ ،‬وﻛﺎن ﻫﺬا‬ ‫ﻋﺎم ‪ ،1994‬ﺣﻴﺚ ﻧﴩت أول ﻗﺼﺎﺋﺪي‬ ‫ﰲ ﺟﺮﻳﺪة اﻟﺒﻴﺎن‪ ،‬وﻫﻲ ﻣﻦ أﻫﻢ اﻟﺠﺮاﺋﺪ‬ ‫اﻹﻣﺎراﺗﻴﺔ‪ ،‬مل ﻳﻜﻦ ﻫﺬا ﺑﺎﻷﻣﺮ اﻟﺴﻬﻞ‪،‬‬ ‫ﻓﺎﻟﺸﻌﺮاء ﻛــرث‪ ،‬واﻟﺼﻔﺤﺎت اﳌﺨﺼﺼﺔ‬ ‫ﻟﻠﺸﻌﺮ ﻣﺤﺪودة‪ ،‬ﻓﻜﺎن ﻣﻦ اﻟﺼﻌﻮﺑﺔ مبﻜﺎن‬ ‫ﻟﻠﺸﺎﻋﺮ أن ﻳﺠﺪ ﻟﻘﺼﺎﺋﺪه ﻣﺴﺎﺣﺔ ﰲ ﻇﻞ‬ ‫ﻛرثة اﳌﻌﺮوض وﻗﻠﺔ ﻣﺴﺎﺣﺎت اﻟﻨﴩ‪ ،‬ﻟﻘﺪ‬

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‫اﻟﻌﺪد ‪ ، 75‬ﻓﺒﺮاﻳﺮ ‪2019‬‬

‫ﻛﺎن ﻟﻨﴩ ﻗﺼﻴﺪيت اﻷوﱃ ﰲ ﺟﺮﻳﺪة اﻟﺒﻴﺎن‬ ‫أﺛﺮ ﻛﺒري ﰲ ﻧﻔﴘ‪ ،‬ﻓﻬﻮ اﻋﱰاف ﺑﺄين ﺷﺎﻋﺮ‬ ‫ﻣﺘﻤﻜﻦ‪ ،‬ﻓﺎﻟﻘﺼﻴﺪة ﻋﻨﺪﻣﺎ ﺗﻨﴩ ﰲ ﺟﺮﻳﺪة‬ ‫ﻛﺒرية ﻻﺑﺪ أن ﺗﻜﻮن ﻗﺼﻴﺪة ﻣﺘﻜﺎﻣﻠﺔ"‪.‬‬ ‫ﺗﺘﺎﻟﺖ ﻗﺼﺎﺋﺪ ﻣﺤﻤﺪ اﻟﻜﺘﺒﻲ اﳌﻨﺸﻮرة‪،‬‬ ‫ﺣﻴﺚ ﻧﴩت أﻋامﻟﻪ ﰲ ﻋﺪد ﻣﻦ اﳌﺠﻼت‬ ‫واﻟﺠﺮاﺋﺪ اﳌﺤﻠﻴﺔ‪ ،‬ﻣﺜﻞ اﻟﺮﻳﺎﺿﺔ واﻟﺸﻌﺮاء‪،‬‬ ‫ﻛﻞ اﻷﴎة وﻏريﻫﺎ‪ ،‬ﻳﻘﻮل اﻟﻜﺘﺒﻲ‪" :‬ﻟﻘﺪ‬ ‫ﻛﺎﻧﺖ اﻟﺘﺴﻌﻴﻨﻴﺎت ﻫﻲ اﻟﻔﱰة اﻟﺬﻫﺒﻴﺔ‬ ‫ﻟﻠﺼﺤﺎﻓﺔ اﳌﻄﺒﻮﻋﺔ‪ ،‬واﻟﻈﻬﻮر ﻓﻴﻬﺎ ﻫﻮ‬ ‫اﻟﺒﻮاﺑﺔ اﻟﺮﺋﻴﺴﺔ ﻟﻠﺸﻬﺮة‪ ،‬وﻫﻮ اﻟﻄﺮﻳﻘﺔ‬ ‫اﻷﻣﺜﻞ ﻟﻠﺘﻮﺛﻴﻖ‪ ،‬ﻟﻜﻦ اﻟﺘﻌﺎﻣﻞ ﻣﻊ اﻟﺼﺤﺎﻓﺔ‬ ‫ﰲ ﺗﻠﻚ اﻷﻳﺎم ﻛﺎن ﺳﻴﻔﺎً ذا ﺣﺪﻳﻦ‪ ،‬ﻓﺤﺘﻰ‬ ‫ﺗﺴﺘﻤﺮ ﰲ اﻟﻨﴩ ﻋﻠﻴﻚ أن ﺗﺴﺘﻤﺮ ﺑﻨﻔﺲ‬ ‫اﳌﺴﺘﻮى أو ﺗﺮﺗﻔﻊ ﻓﻮق ﻣﺎ ﻗﺪﻣﺘﻪ ﻗﺒ ًﻼ‪،‬‬

‫وﻣﻦ ﻫﻨﺎ ﺻﺎر اﻟﻨﴩ ﺑﺎﻟﻨﺴﺒﺔ ﱄ ﻳﻌﺘﻤﺪ‬ ‫ﻋﲆ اﻟﻜﻴﻒ وﻟﻴﺲ اﻟﻨﻮع‪ ،‬وﻫﻮ اﻷﻣﺮ اﻟﺬي‬ ‫ﻛﺎن ﻣﺘﺒﻌﺎً ﰲ ذﻟﻚ اﻟﻮﻗﺖ‪ ،‬ﺣﻴﺚ اﻟﺠﺮاﺋﺪ‬ ‫واﳌﺠﻼت اﳌﺤﱰﻓﺔ مل ﺗﻜﻦ ﻟﺘﻨﴩ ﻗﺼﻴﺪة‬ ‫إن مل ﺗﻜﻦ ﻗﻮﻳﺔ ﻣﺘﻜﺎﻣﻠﺔ"‪.‬‬ ‫ﺑﺪأ اﻟﻜﺘﺒﻲ ﻣﺴريﺗﻪ اﻟﺸﻌﺮﻳﺔ ﺑﺎﻟﺸﻌﺮ‬ ‫اﻟﻐﺰﱄ اﻟﻮﺟﺪاين‪ ،‬ﻓﻬﻮ ﻳﺮى أن اﻟﺸﺎﻋﺮ‬ ‫اﺑﻦ ﻋﴫه‪ ،‬وأﻏﺮاض اﻟﺸﻌﺮ ﺗﺘﺄﺛﺮ ﺑﺎﳌﺮﺣﻠﺔ‬ ‫اﻟﺰﻣﻨﻴﺔ اﻟﺘﻲ ﻳﻌﺎﴏﻫﺎ‪ ،‬ﻳﻘﻮل اﻟﻜﺘﺒﻲ‪" :‬ﰲ‬ ‫ﺑﺪاﻳﺔ وﻣﻨﺘﺼﻒ اﻟﺘﺴﻌﻴﻨﻴﺎت ﻛﺎن اﻟﺴﻼم‬ ‫ﻳﻌﻢ اﳌﻨﻄﻘﺔ‪ ،‬مل ﺗﻜﻦ ﻫﻨﺎك ﻣﻦ ﺣﺮوب‬ ‫أو ﻛﻮارث‪ ،‬ﻓﻜﺎن ﻣﻦ اﻟﻄﺒﻴﻌﻲ أن ﻳﺘﺠﻪ‬ ‫اﻟﺸﻌﺮاء ﻧﺤﻮ اﻟﺸﻌﺮ اﻟﻐﺰﱄ اﻟﻮﺟﺪاين‪ ،‬إن‬ ‫اﻟﺸﺎﻋﺮ اﺑﻦ ﻋﴫه‪ ،‬وﺑﻌﺪ ﺳﻨﻮات ﻃﻮﻳﻠﺔ‬ ‫ﺳﺘﻜﺘﺸﻒ اﻷﺟﻴﺎل اﻟﻘﺎدﻣﺔ اﻟﺘﺎرﻳﺦ ﻣﻦ‬

‫اﻟﻘﺼﻴﺪة اﻟﺤﺎﺋﺰة ﻋﻠﻰ اﻟﻤﺮﻛﺰ اﻟﺨﺎﻣﺲ‬

2¡@@ @ @ @ @ @ @ @ @~@ @ @ @ @{@ @ @ @ @E @@ @ @ @ @ @ @ @ @ @ @ @ @ @ s@ @ @ @ @ @ @ J4b@@ @ @ @ @ @ @2¡@@ @ @ @ @ @ @ @ @ @ @~@ @ @ @ @ @}@ @ @ @ @ @´* f@@ @ @ @ @ @ @ @ <y@@ @ @ @ @ @ @ @ Ab@@ @ @ @ @ @ @ @ J 2¡@@ @ @ @ @ @ @ @ @A @@ @ @ @ £@ @ @ @ @ @ @ @ @ @~@ @ @ @ @6 v@@ @ @ @ @ @ @ @ @ @ @ @ @ @ @J*5 2¡@@ @ @ @ @ @£@ @ @ @ @ @ B @@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ 0H 42b@@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ + 2¡@@ @ @ @ @ c@ @ @ @ @ C r*x@@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @BH @@ @ @ @ @ @ @ @ @ @ @ @ @ @J4 2Hv@@ @ @ @ @ @ @ @ @ ¹ *v@@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ D* ¢@@ @ @ @ @ @ @ @ @ @ @ @ @< 2¡@@ @ @ @ @ @ @ @ @ @ @ @ @ p@ @ @ @ @ @ @ ´* v@@ @ @ @ @ @ @)b@@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ D 2¡@@ @ @ @ @ ~@ @ @ @ @ @6* @@ @ @ @ @ @ @ @ Jx@@ @ @ @ @ @ @ @ <H rx@@ @ @ @ @ @ @~@ @ @ @ @ @ @ 8 2¡@@ @ @ @ @ @ @ @ @ @ / @@ @ @ @ @ @ @~@ @ @ @ @ @ @ 8 4*v@@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ DH 2H4b@@ @ @ @ @ @ @ @ @ @ @ c@ @ @ @ @ @ @ @ @ @ @ @ D* 4¡Q @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @. ° 2H2x@@ @ @ @ @ @ @ @ @ @ @ @ @ @E *Ä@@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ D* ¡@@ @ @ @ @ @ @ @ @ @ @ @ @ @J 2¡@@ @ @ @ @ @ @ @ ~@ @ @ @ 7 @@ @ @ @ @ @ £@ @ @ @ @ @ @ @ @ @ @ @ @ @<H @@ @ @ @ @ @ @ @ @ @ @ @ @A

Áb@@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ E5&°* @@ @ @ @ @ Db@@ @ @ @ @ ~@ @ @ @ @ 6 @@ @ @ @ @ @ @ @E Á*2y@@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ - @@ @ @ @ @ @ @ @ @ @ @ @ @ @ C2b@@ @ @ @ @ @ @ @ @ @ @ @ @ @ ¸* Áb@@ @ @s@ @ @ £@ @ @ ~@ @ @ {@ @ @ D* ¢@@ @ @ @ @ @ @ @ @< t@M @ @ @ @ £@ @ @ @ @~@ @ @ @ @7 Áb@@ @ @ @ @ @ @ @ @ @ @g@ @ @ @ @ @´* @@ @ @ @ @c@ @ @ @ @ @ @ @ @ @ ~@ @ @ @ @ {@ @ @ @ @ DH Áb@@ @ @ @ @ @ @ @ @ @ @D* b@@ @ @ @ @ @ @ @ @ @ @JH @@ @ @ @£@ @ @ @ ~@ @ @ @ }@ @ @ @ @ @ @ @ D Áb@@ @ @ @Eb@@ @ @ @~@ @ @ @ 7 @@ @ @ @ @j@ @ @ @ @ E @M @ @ @ @ @ £@ @ @ @ @ @~@ @ @ @ @ @6H Áb@@ @ @ @ @ @ @ @ @ @ @ @ @ @ 04b@@ @ @ @ @ @ @J @@ @ @ @ @ @ @g@ @ @ @ @ @ @ @ @ @ @ @ @ @ 04 Áb@@ @ @ @ @ @ @ @ m@ @ @ @ ~@ @ @ @ {@ @ @ @ D* @@ @ @ @ @ @ @Db@@ @ @ @ @ @ @£@ @ @ @ @ @ @ <H Á*Hv@@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ D* ¢@@ @ @ @ @ @ @ @ @ @ @ @ < 4b@@ @ @ @ @ @ @ @ @ @ @ @ F Áb@@ @ @ @ g@ @ @ @ @E H42H @@ @ @ @ @ @ @ @ @ @ @ @ @ @ @6H4 Á*v@@ @ @ @ @£@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ D b@@ @ @ @ @ @ @ @~@ @ @ @ @ @ @ @ 6x@@ @ @ @ @ @ @ @A Áb@@ @ @ @ @ £@ @ @ @ @ @<°b@@ @ @ @ @ + b@@ @ @ @ @ @ @~@ @ @ @ @ @ @ 7 @@ @ @ @ @ @ @ @ E

‫ﻋﻨﺰي ﺑﻦ ﻣﻐﻴﺐ اﻻﻛﻠﺒﻲ‬

2233

‫ﺑﻴ‬ baytelshear baytels shear ‫اﻟﺸﻌﻌﺮ‬ ِ ‫ﺑﻴﺖ‬

ĜŠĮńĵŒ ĜōĚĘĲŖŒ

‫اﻟﻘﺼﻴﺪة اﻟﺤﺎﺋﺰة ﻋﻠﻰ اﻟﻤﺮﻛﺰ اﻟﺮاﺑﻊ‬

2¡@@ @ @ @ @ @ @ ±* y@@ @ @ @ @ @ @ @ @ @ @ Ex@@ @ D M x@@ @ @ @ @ @ @ @ @ @ @~@ @ @7 2¡@@ @ @ @ @ @ @ @ ~@ @ @|@ @ @ @ @ @E v@@ @ @ @ @ @ @ @ @ @ @ GH 5H 2¡@@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @~@ @ z@ @ J Hx@@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ J ¤@Q @ @ @ @ @ @ @ @ @D O @ @ @ @ @ @ @ @ @ @ @ @ @ c@ @ @ ~@ @ @ {@ @ @ D* @@ @ @ @£@ @ @ @ / 2¡@@ @ @ @ @ @ @ @1H eb@ 2¡@@ @ @ @ @ @ @ @ @ @ @D*H É@@ @ @ @ @ @ O @ @ @ @ @ @ @D* ¡@@ @ @ @ @ @ @ @ @ @ @ @ @ p@ @ @ F 2¡@@ @ @ @ @ @ @ @ @ @ ~@ @ @ {@ @ @ @ @ @ ´* b@@ @ @ @ @ @ @ G2b@@ @ @ @ @ @ @ @ @ @ @ @ @ @ @<*H 2Hv@@ @ @ @ @ @ @ @ @ @ @0 H2 v@@ @ @ @ @ @m@ @ @ @ @ @ @ @ @ @ @ @ D 2¡@@ @ @ @~@ @ @ @ 8x@@ @ @ @E @@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ D* Ix@@ @ @ @ @ @ @ @ @ @2¡@@ @ @ @ @ ~@ @ @ @ @ @6H É@@ @ @ @ @ @ @ @ @ @ @<O ¢@@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ B4&*H 2¡@@ @ @ @ @ @ @ @ @ @ @ @ m@ @ @ @ @ @ ´* x@@ @ @ @ @ @ @ @ @1w@@ @ @ @ @ @ @ @ @- ° 2¡@@ @ @ @c@ @ @ @ @ @ @ @ ´* ·¡@@ @ @ @ @ @ @ @ @ @ @ @ D* x@@ @ @ @ @ @ @ E&b@ @ @ @ @ @ @ @+ 2¡@@ @ @ @ @ @ @ @ @D* 2¡@@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ £@ @ @ @ B @@ @ @ @ @ @ @Q @ @ @ @ @ @0 2Hv@@ @ @ @ @ @ @ @ E v@@ @ @ @ @ @ @ @ @ @ N @ @ @ @ @ / ¤@ N @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ F*H 2Hy@@ @ @ @ @ @ @ @ @ + 5¡@@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @- @@ @ @ @ Gb@@ @ @ @ ~@ @ @ @ @6 2¡@@ @ @ @ @ @ @~@ @ z@ @ D* Ì@@ @ @ @ @ @ @ = @@ @}@ @ @ @ @ @ @ @ @ @ @ @ £@ @ c@ @ D*H

Áb@@ @ @ @c@ @ @ @ D* eb@@ @ @ c@ @ @ ~@ @ @ {@ @ @ D* *3 b@@ @ @ @ @ @ J

Áb@@ @ @ @ @ @ @ @ E(b@ @ @ @ + @@ @ @ @ @ @ @ @ @ @ D h@@ @ @ @ @ @ @ @ @ @ @ @ @J4b@@ @ @ @/ Áb@@ @ @ @ @ GÄ@@ @ @ @ @ D* ¢@@ @ @ @ @ @ @ @ < v@@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @J*5 ¤@@ @ @ @ Fb@@ @ @ @ @ @ @ @ @ £@ @ g@ @ @ @ D* @@ @ @ @ @ @ @ @ @ @+ @@ @ @ @ @ @ @ @ @ @ @ /H Q Áb@@ @ @ @ @ @ @ @ @ @ @ g@ @ @ @ @ @ D @@ @ @ @ @ @ @ @ £@ @ @ @ @ @ @ @ @ @ @ @/¡@@ @ Áb@@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ :H&°* ,Hx@@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ . b@@ @ @ @ @ J Áb@@ @ @ @ @0 Áb@@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @g@ @ @ @ @D* h@@ @ @ @ @ @ @ @ @ @BH Áb@@ @ @ @ @ @ @ @ @ @ @ g@ @ @~@ @ @z@ @ @c@ @ @D* 4*5 b@@ @ @ @ @ @ @ @ @ @ @ J Áb@@ @ @ @ @ @ @ @ @ @ @ @ @ @-* @@ @ @ @ @ @ @ @ + @@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ <* Á*y@@ @ @ @ @ @ @ @ @ @ @ @ @ £@ @ @ ´* q@@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ /x@ Q @ @ @ E b@@ @ @ @ @ @J Áb@@ @ @ @ @ @ @ @ @ E *x@@ @ @ @ @ @ @ @ @- @@ @ @ @ @ @ @ @ @ @ @ @ @ ~@ @ @ 8*H Áb@@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ Â(°*H @@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ Db@@ @ @+ ÁÉ@@ @ @ @ @ @ @ @ @ @ @ @~@ @ z@ @ @ @ D* @@ @ @ @ @ @ @ @ @ @ @ @ @ +*x@@ @ @- ° Áb@@ @ @ @ @ @ @ @ @ @ @ @ @ @ ~@ @ @z@ @ @F(°* f@@ @ @ @ @ @ @ @ @ ~@ @ }@ @ @ @ F ¯ Áb@@ @ @ @ @ @ @ @ @ @ @ @ @ @ +Q 4 @@ @ @ @ @ @ @ @ @ @ @ @ @ @ :¡@@ @ D* d@Q @ @ @ @ @ @ 0

‫ﻋﺒﺪاﻟﻌﺰﻳﺰ ﺳﻠﻴﻤﺎن اﻟﻔﺪﻏﻮش‬

2019 ‫ ﻓﺒﺮاﻳﺮ‬، 755 ‫اﻟﻌﺪد‬ ‫ﻟاﻟﻌﻌﺪد‬

2222

‫اﻟﻘﺼﻴﺪة اﻟﺤﺎﺋﺰة ﻋﻠﻰ اﻟﻤﺮﻛﺰ اﻟﺜﺎﻟﺚ‬

2¡@@ @ @ @ @ @ @ @ @ @ @ @ @ c@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @´* ·*¡@@ @ @ @ @ @ @ @ @ @ @ @ @ D* 2¡@@ @ @ @ @ @ @ @ @ @ @ <4 @@ @ @ @ @ @ @ @ @ @ @ « h@@ @ @ @ @ @ @ @ @ @ @ Eb@@ @ @ @ @ @ @ @ @ @ @ BH 2¡@@ @ @ @ @ @ @ @ @A Hb@@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ g@ @ @ @ @ @ @ @ @ D* ¯ b@@ @ @ @ @ @ @ @ @E 2¡@@ @ @ @ @ @ @ @ @ @ @ @ @m@ @ @ @ @ @ @´* x@@ @ @ @ @ @ 1w@@ @ @ @ @ @ F b@@ @ @ @ @ @ @ @ @ @ @ @ @EH 2¡@@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ D* @@ @ @ @ @ @ @ @E @@ @ @ @ @ @ @ @£@ @ @ @ @ @ @ @ ~@ @ @ @ @ @ @ @ 8H 2¡@@ @ @ @ @ @ @ @ @ ±*H @@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ /x@@ @ @ @ @ @ @ @ @ ´b@@ @ @ @ @ @ @ @ @ + 2¡@@ @ @ @ @ @ @ @ @ @ @ @ @ @ @<H v@@ @ @ @ @ @ @ <H ¤@@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @F 2H4b@@ @ @ @ @ @c@ @ @ @ @ @ D* b@@ @ @ @ @ @c@ @ @ @ @ @ ~@ @ @ @ @ @ 7 q@@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ F 2Hw@@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @F 2É@@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @c@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ D* H2 2¡@@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ A 2¡@@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ D* °H 2¡@@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @D* b@@ @ @ @ @ @ @ @ £@ @ @ @ @ @ @ @ @< b@@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @0 2¡@@ @ @ @ @ @ @ @ @ @ @ @ ~@ @ @ @ @ @ 7 Í@@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ ~@ @ @ @ @ @ z@ @ @ @ @ @ ´*H 2H2x@@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @E *Ä@@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @D* ¡@@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @J

Áb@@ @ @ @ @ @ @ @ @ @ @ @ @ @ 0x@@ @ @ @ @ @ @D* Ñ* @@ @ @ @ @ @ @~@ @ @ @ @ @ @ z@ @ @ @ @ @ @ + Áb@@ @ @ @ @ @ @ @ @ @+ @@ @ @ @ @ @ @ @ @ @Bx@@ @ @ @ @ @ @ @ @ @+ y@@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ D* Áb@@ @ @ @ @ @ c@ @ @ @ @ @ D* eb@@ @ @ @ @ @ c@ @ @ @ @ @ ~@ @ @ @ @ @ {@ @ @ @ @ @ D* *3b@@ @ @ @ @ @ J Áb@@ @ @ @ @ @ :H°* f@@ @ @ @ @ @ ~@ @ @ @ @ @ @}@ @ @ @ @ @ @ @ @ @ @ @ @ @F @@ @ @ @ @ @ 0 Áb@@ @ @ @ @ @ @ @ @ @ @ @ @ Dv@@ @ @ @ @ @ D* v@@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ Fb@@ @ @ @ @ @ E Áb@@ @ @ @ @ @ @ @ @ @ @ @ @ @ @D* eb@@ @ @ @ @ @ @ @ @ @ @ @ @ @ @/ x@@ @ @ @ @ @ @ @ @ @ @ @ @ @ @F Áb@@ @ @ @ @ @ @ @ @ @ @ m@ @ @ @ @ @ ~@ @ @ @ @ @ 7 v@@ @ @ @ @ @ @ @ @ @ @ c@ @ @ @ @ @ D* H2H Áb@@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ 1v@@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ D* 4¡@@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ . *H Áb@@ @ @ @ @ @ @ @E5°* ¤@@ @ @ @ @ @ @ @~@ @ @ @ @ @ @ @ 9b@@ @ @ @ @ @ @ @E @@ @ @ @ @ @ @ @E Á*H @@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @£@ @ @ @ @ @ @ @ @0 @@ @ @ @ @ @ @ @ 7É@@ @ @ @ @ @ @ @ D*H Áb@@ @ @ @ @ @ / ¤@@ @ @ @ @ @ @ @ @ @ @ @ @D* @@ @ @ @ @ @ +y@@ @ @ @ @ @ E @@ @ @ @ @ @ 0 Áb@@ @ @ @ @ @ @ ~@ @ @ @ @ @ @ @{@ @ @ @ @ @ @ @D* @@ @ @ @ @ @ @ £@ @ @ @ @ @ @ @A4 v@@ @ @ @ @ @ @ J*5 Á*Hv@@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @D* f@@ @ @ @ @ @ @ @ @ Eb@@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @D

‫ﻋﻠﻲ ﻓﺮج ﻋﻠﻲ ﺑﺎﻟﺴﻴﻘﺎن اﻟﻤﺮي‬

2211

‫ﺑﻴ‬ baytelshear baytel lshear ‫اﻟﺸﻌﻌﺮ‬ ِ ‫ﺑﻴﺖ‬

ĜŠĮńĵŒ ĜōĚĘĲŖŒ

‫اﻟﻘﺼﻴﺪة اﻟﺤﺎﺋﺰة ﻋﻠﻰ اﻟﻤﺮﻛﺰ اﻟﺜﺎﻧﻲ‬

2Hv@@ @ @ @ @ @ @ @ @ @ @ @ @ @< b@ R @ @ @ @ @ @ @ @ @ @ @ @ @ @G4 @@ @ @ @ @ @ @ @ @£@ @ @ @ @A 2¡@@ @ @ @ @ @ @ @ @ @ D* v@@ @ @ @ @Jv@@ @ @ @ @~@ @ @ @ @ {@ @ @ @ @ D* @@ @ @ @ @c@ @ @ @ @ : 2¡@@ @ @ @ @ @ @ @ @ @ @E R @ @ @ @ @ @ @ @ @ @ @ @DN HP b@@ @ @ @ @ @ @ @ @ @ @ : °HR 2H2x@@ @ @ @ @ @ @ @ @ @ @ @ E d@@ @ @ @ @ @ @ @ @ G 3¡@@ @ @ @ @ @ @ @ @ 1b@@ @ @ @ @ @ @ @ @ E 2¡@@ @ @ @ @ @ @ @ ~@ @ @ @ {@ @ @ @ + @@ @ @ @ p@ @ @ @ @ @ @ @ @ @ @ @ @ @ @J b@@ @ @ @ @ @ @ @ @ E 2¡@@ @ @ @ @ @Q @ @ @ @ @ D* @@ @ @ @£@ @ @ @ @ @ @ @ ~@@ @P @ @7 ¢@@ @ @ @ @ Bx@@ @ @ @ @ 2Hv@@ @ @ @ @ @ @ @ @ @ @ @ 0 @ R @ @ @ @ @ @ @ @gR @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ BQ H b@@ @ @ @ @ @ @ @ @E 2¡@@ @ @ @~@ @ @ @ |@ @ @ @ @ @ @ @ E É@@ @ @ @ @ @ @ @ @ + *H2Q 4 2¡@@ @ @ @ @ @ @ Q @ @ @ @ @ @ @ D* e¡@@ @ @ @ @ @c@ @ @ @ @ @ G ,R Hx@@ @ @ @ @ @ @ @ @ @ @ @ @ @0 2¡@@ @ @ @c@ @ @ @ C @Q @ @ @ @ @ @ ~@ @ @ @ @ @ @7 ***xQ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @0 2H5 ¤@@ @ @ @ @ @ @Gx@@ @ @ @ @ @ @J 2Hy@@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ D*H 2¡@@ @ @ @ @ @ O @ @ @ @ @ @ D* w@@ @ @ @ @ @ @ @ @ / Qv@ @ @ @ @ @ @g@ @ @ @ @ @ @~@ @ @ @ @ @ @7*H 2¡@@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @E b@@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @Fb@@ @ @ @ @ @ @ @ @ Â(*H 2¡@@ @ @ @ @ @ @ @ @ @ @ @ @ @ m@ @ @ @ @ @ @ ´*H x@@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @Db@@ @ @ @ @ + 2¡@@ @ @ @ @ @ @ @ @ @ @ @ @ @ E @@ @ @ @ @ @ @ @ @ @ j@ @ @ @ @ Db@@ @ @ @ @+ ¡@@ @ @ @ @ @ @ @ D Y2¡@@ @ @ @ @ @ @ @ @ @ D*Z b@@ @ @ @ @ @ @ @ G4 *¡@@ @ @ @ @ @ @ g@ @ @ @ @ @ @ @ F*H

P b@@ @ @ @ @ c@ @ @ @ @ @~@@ @Q @ @ @ {@ @ @ @ @ @D* ,¡@@ @ @ @ @ @ @ @ @ ~@ @ @ @ @ 8 b@@ @ @ @ @ @ @J P b@@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @E5&°* ¥2b@@ @ @ @ @ @ @ @ @ @ @ @ @ @ + @@ @ @ @ @ @ @ @ E P b@@ @ @ @ @ @ @ @ @ @ @.&b@ @ @ @ @ @+ Ix@@ @ @ @ ~@ @ @ @ {@ @ @ @ @ @ @ @ J b@@ @ @ @ @ @ @ E P *v@@ @ @ @ @ @ @ @ @ @£@ @ @ @ @ @ @ @ @ @ ´* ¯ 2*Qv@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @G Áb@@ @ @ @ @ £@ @ @ @ @ @<&* Ì@@ @ @ ~@ @ @ @|@ @ @ @+ fR @ @ @ @ @ A¡@@ @ @ @ @~@ @ @ @ @ 7 Áb@@ @ @ @ @ @ @ @ @ @ @:H&* @@ @ @ @ @6b@@ @ @ @ @ @ @ @ @ @ -P @@ @ @ @ @ @ @£@ @ @ @A P b@@ @ @ @ @£@ @ @ @ @ @ @ @ @ @ + É@@ @ @ @ @ @ @ @ @ @ @ @ P< @@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ +R H P *Hv@@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @D*H h@@ @ @ @ @ @ @ @ @ @ @~@@ @Q @ @ @ {@ @ @ @ @ @D*H P b@@ @ @ @ @ c@ @ @ @ @ @R @ @ @ @ @ @- ¡@@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @´* d@@ @ @ @ @ @ @ @ @ @ @ J4 Á*Qv@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ D b@@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ Q @ @ @ @ @ @ @ @ @ @ D P b@@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ E5&°* ¥2b@@ @ @ @ @ @ @ @ @ @ @ @ @ @+ @@ @ @ @ @ @ @ @ E P b@@ @ @ @ @ ~@ @ @ @ @ @z@ @ @ @ @ @F°( * ¢@@ @ @ @ @ @ @ + Yv@@ @ @ @ @ @ @ @ @ @ @ @ @ J*5Z P b@@ @ @ @ @ @ @ @ @ @ @ @ @ Â(* @@ @ @ @ @ @ @:¡@@ @ @ @ @ @ @D* Q d@@ @ @ @ @ @ @0 P *v@@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @c@ @ @ @ @ @ @ @ @D* ¤@@ @ @ @ @ @ @ Gb@@ @ @ @ @ @ @ c@ @ @ @ @ @ @ @FR P *5 f@@ @ @ @ @ @ @ @ @ Fb@@ @ @ @ @ @ @ @ @ E&°* @@ @ @ @ @ @ @ R @ @ @ @ @ @ @ P0 P b@@ @ @ @ @ ~@ @ @ @ @ @z@ @ @ @ @ @F(°* ¢@@ @ @ @ @ @ @ @ + Yv@@ @ @ @ @ @ @ @ @ @ @ @ @ @ J*5Z

‫ اﻟﻤﺰروﻋﻲ‬M‫ﺳﻠﻴﻤﺔ ﻋﺒﺪ ا‬

2019 ‫ ﻓﺒﺮاﻳﺮ‬، 755 ‫اﻟﻌﺪد‬ ‫ﻟاﻟﻌﻌﺪد‬

2200

‫اﻟﻘﺼﻴﺪة اﻟﺤﺎﺋﺰة ﻋﻠﻰ اﻟﻤﺮﻛﺰ ا"ول‬

2¡@@ @ @ @ @ @ @ O @ @ @ @ @ @ @ @D* @@ @ @ @ @£@ @ @ @ @ @ @ @ @ @ B @@ @ @ @ @ @ @ £Q @ @ @ @ @ @ @ @E 2¡@@ @ @ @ ~@ @ @ @ @{@ @ @ @ @ @ @ @ @ @´* @@ @ @ @ @ @ @ @ @ D @@ @ @ @ @ @ @ @ @~@@ @ @ @ @Q @ @ @ @ 8H 2H2x@@ @ @ @ @ @ @ @ @ @ @ @E d@@ @ @ @ @ @ @ @ @G eb@@ @ @ @ @ @ @ @ @ @ c@ @ @ @ @ @ @ @ @ @ @D*H 2¡@@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @D* @@ @ @ @ @ @ @ @ @ @ @ @ @Ab@@ @ @ @ @ @ 0 · 2¡@@ @ @ @ @ @ @ @ @ @ @ @ @ @ +H @@ @ @ @ @ @ @ @ @ @ @ @ ~@ @ @ @ @ @ 6 ¢@@ @ @ @ @ @ @ @ @ @ @ @ @ @ < 2¡@@ @ @ @ @~@ @ @ @ @ 6 ·b@@ @ @ @ @ @ @ £@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @D* ¡@@ @ @ @ @ @ @ @ @ @ @ @ @J 2¡@@ @ @ c@ @ @ @ @ @ D* Rv@ @ @ @ @ @ @ N @ @ @ @ @ @ @ <N *¡@@ @ @ @ @ ~@@ @ @Q @ @ |@ @ @ @ @ BH 2¡@@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ ~@ @ @ @ @ z@ @ @ @ @ D* v@@ @ @ @ @ @ @ @ @ @ JÉ@@ @ @ @ @ @ @ @ @ @ -H 244b@@ @ @ @ @ @ @ @ @ @ c@ @ @ @ @ @ @ @ @ @ @D*H @@ @ @ @ @ @£@ @ @ @ @ @ ~@ @ @ @ @ @ z@ @ @ @ @ @ D*H 2¡@@ @ @ @ @ @ @ @ @ @ @ @ E @@ @ @ @ @ @ @ @ @+ ¥*x@@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @D*H 2¡@@ @ @ @ @ @ @ @ @ @ @ @ @ @ m@ @ @ @ @ @ @ ´*H y@@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @Db@@ @ @ @ @ @ @ @ + 2¡@@ @ @ @ @ @ ~@ @ @ 8 d@@ @ @ @ @ @~@ @ @ @ @ @ 7H ¢@@ @ @ @ @ @ @ @ ~@ @ @ @ @ @ @ @ @64*H 2Hv@@ @ @ @ @ @ @ @ @ @ @ @ E ex@@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ D* v@@ @ @ @ @ @ @ @ @ @ @ @ < 2¡@@ @ @ @ @ @ @ @ @- b@@ @ @ @ @ @ @ @ @ @ @/x@@ @ @ @ @ @ @ @ @ @ @D* ¡@@ @ @ @ @ @ @ @ @ @ @ @ J 2¡@@ @ @ @ @ @ @ @ @ @ @ B4 Í@@ @ @ @ @ @ @ @ @ @ @ @ @£Q @ @ @ @ @ @ @ @ @ @ @ @ @ @E ·

Áb@@ @ @ @ @ gQ @ @ @ @ @ @ @ @ @ @ @ @D* @@ @ @ @ @ @ 94b@@ @ @ @ @ @ @ @ @ @ @ @ @Db@@ @ @ @ @ @ J ÁÉ@@ @ @ £@ @ @ @ p@ @ @ @ C b@@ @ @ @ @ @ @ @ @ @ @D *y@@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @<*H Áb@@ @ @ @ £@ @ @ @ @c@ @ @ @ @g@ @ @ @ @D* @@ @ @ @ @ @ @ @ D @@ @ @ @ @ @ @ @ ~@@ @ @ @ Q@ @ @ @ 8H Áb@@ @ @ @ c@ @ @ @ @~@ @ @ @ @{@ @ @ @ @ @ @ @ @ @D r¡@@ @ @ @ @ @ @ g@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ E Á*v@@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @±* f@@ @ @ @ @ @ @A¡@@ @ @ @ @ @ @ @ @ @ @ @ @ @ s@ @ @ @ @ @ @ Á*v@@ @ @ @ @ @ @ £@ @ @ @ @ @ @ @´* ¯ @@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ D*H Á*¡@@ @ @ @ @ @ @ @ @ @ @ ³* ¢@@ @ @ @ @ @ @ @ @ @ @< *H2Q 4N Áb@@ @ @ £@ @ @ c@ @ @ ~@ @ @ 9 @@ @ @ @ @ @ @ @ @ @ D v@@ @ @ @ @ @ @ @ ~@ @ @ @ {@ @ @ @ J Á*v@@ @ @ @ @ @ @ @ @ @ @ @+4 @@ @ @ @ @ @ @ @ @ @ @ @ D v@@ @ @ @ @ @ @ @ @~@ @ @ @ @{@ @ @ @ @J Áb@@ @ @ @ @ c@ @ @ @ @ D* eb@@ @ @ @ @ c@ @ @ @ @ ~@ @ @ @ @ {@ @ @ @ @ D* 3b@@ @ @ @ @ @ @ @ @ @ J Áb@@ @ @ @ @ @ @ @ @ @ @ @ @ @ @C4°* ¢@@ @ @ @ @ @ @ @ @ @ @ @ + v@@ @ @ @ @ @ @ @ @ @ @ @ @ @ @J*5 Áb@@ @ @ @ @ @ @ @ @ @ @ @ @ @ @:H°* f@@ @ @ @ @ @ @ @ @ @ @ @ @ @ @J*4 w@@ @ @ @ @ @ @ @ @ @ @ @1N Áb@@ @ @ @~@ @ @ @ {@ @ @ @ D* y@@ @ @ @ @ @ Jy@@ @ @ @ @ @ < @@ @ @ @ @ @ @ g@ @ @ @ @ @ @ @F*H Áb@@ @ @ @ @ @ @ @ ~@@ @R @ @6 ¡@@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ D* ib@@ @ @ @ @ @ @ @ @ @G ÁÉ@@ @ @ @ @ @ @ @ @ R @ @ @ @ @ @ @ @ @ ³ P * @@ @ @ @ @ @ @ @ @+b@@ @ @ @ @ @ @ @ @-* °

‫ﻋﺒﻴﺪ ﻋﻠﻲ ﺧﺼﻴﻒ اﻟﻜﻌﺒﻲ‬

1199

‫ﺑﻴ‬ baytelshear baytels shear ‫اﻟﺸﻌﻌﺮ‬ ِ ‫ﺑﻴﺖ‬

‫ ‪ĜŠĮńĵŒ ĜōĚĘĲŖŒ‬‬

‫ ‪ƉǾƲƯ ƈǷǤǘŵ ǗǤǔŞǂŨƓŌ‬‬

‫ﺧﻤﺴﺔ ﺷﻌﺮاء ﻳﻀﻴﺌﻮن ﺳﻮﻳﺤﺎن ﺑﺄﻧﻮار اﻟﺸﻌﺮ واﻟﻘﺼﺎﺋﺪ‬ ‫ﺑﻌﺪ اﻹﻋﻼن ﻋﻦ أﺳامء اﻟﻔﺎﺋﺰﻳﻦ ﺑﺎﳌﺴﺎﺑﻘﺔ‬ ‫اﻟﺸﻌﺮﻳﺔ ﳌﻬﺮﺟﺎن ﺳﻠﻄﺎن ﺑﻦ زاﻳﺪ اﻟﱰايث‬ ‫‪ 2019‬اﺣﺘﻀﻦ ﻣﴪح اﻟﺴﻮق اﻟﺸﻌﺒﻲ‬ ‫ﰲ ﻣﺪﻳﻨﺔ ﺳﻮﻳﺤﺎن ﻋﲆ ﻫﺎﻣﺶ ﻓﻌﺎﻟﻴﺎت‬ ‫اﳌﻬﺮﺟﺎن أﻣﺴﻴﺔ ﺷﻌﺮﻳﺔ ﻣﻤﻴﺰة ﺟﺪاً‪ ،‬ﺷﺎرك‬ ‫ﻓﻴﻬﺎ اﻟﺸﻌﺮاء اﻟﻔﺎﺋﺰون ﺑﺎﳌﺴﺎﺑﻘﺔ اﻟﺸﻌﺮﻳﺔ‬ ‫اﳌﺮاﻓﻘﺔ ﻟﻠﻤﻬﺮﺟﺎن ﻫﺬا اﻟﻌﺎم‪ .‬وﺣﴬﻫﺎ‬ ‫ﺟﻤﻊ ﻏﻔري ﻣﻦ اﻟﺠﻤﻬﻮر‪ ،‬ﻣﻸ ﻣﻘﺎﻋﺪ اﻟﻘﺎﻋﺔ‬ ‫واﳌــﺪرﺟــﺎت‪ ،‬ﻟريﺳﻢ ﺻــﻮرة ﻣﺪﻫﺸﺔ ﻋﻦ‬ ‫ﻋﻼﻗﺔ اﻟﺠﻤﻬﻮر ﺑﺎﻟﺸﻌﺮ اﻟﺸﻌﺒﻲ وﻣﻘﺪار‬ ‫ﺗﻔﺎﻋﻠﻪ ﻣﻊ ﻫﺬا اﻟﻔﻦ اﻟﱰايث اﻷﺻﻴﻞ‪.‬‬ ‫ﺷﻌﺮاء اﻷﻣﺴﻴﺔ وﻫﻢ اﻟﻔﺎﺋﺰ اﻷول ﺑﺎﳌﺴﺎﺑﻘﺔ‬ ‫اﻟﺸﺎﻋﺮ ﻋﺒﻴﺪ ﺑﻦ ﺧﺼﻴﻒ اﻟﻜﻌﺒﻲ‪ ،‬واﻟﻔﺎﺋﺰ‬ ‫اﻟﺜﺎين اﻟﺸﺎﻋﺮة ﺳﻠﻴﻤﺔ اﳌﺰروﻋﻲ‪ ،‬واﻟﺜﺎﻟﺚ‬ ‫اﻟﺸﺎﻋﺮ ﻋﲇ ﺑﺎﻟﺴﻴﻘﺎن اﳌــﺮي‪ ،‬واﻟﺮاﺑﻊ‬ ‫اﻟﺸﺎﻋﺮ ﻋﺒﺪاﻟﻌﺰﻳﺰ اﻟﻔﺪﻏﻮش‪ ،‬واﻟﺨﺎﻣﺲ‬ ‫ﻋﻨﺰي ﺑﻦ ﻣﻐﻴﺐ اﻷﻛﻠﺒﻲ‪.‬‬ ‫أدار اﻷﻣﺴﻴﺔ اﻟﺸﺎﻋﺮ راﺷــﺪ ﺑﻦ ﻓﻄﻴﻤﺔ‬ ‫اﳌﻨﺼﻮري‪ ،‬وﺳﻂ أﺟــﻮاء ﺷﻌﺮﻳﺔ ﻣﻠﻔﺘﺔ‬ ‫زﻳﻨﺘﻬﺎ ﻗﺼﺎﺋﺪ اﻟﺸﻌﺮاء ﺑﺄﻋﺬب اﳌﻌﺎين‬ ‫واﳌــﻔــﺮدات‪ .‬وﻗــﺎل اﳌﻨﺼﻮري ﰲ ﺑﺪاﻳﺔ‬ ‫اﻷﻣﺴﻴﺔ‪ :‬ﻧﺘﻘﺪم ﺑﺎﻟﺸﻜﺮ اﻟﺠﺰﻳﻞ ﻟﺴﻴﺪي‬ ‫ﺳﻤﻮ اﻟﺸﻴﺦ ﺳﻠﻄﺎن ﺑﻦ زاﻳﺪ آل ﻧﻬﻴﺎن‬

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‫اﻟﻌﺪد ‪ ، 75‬ﻓﺒﺮاﻳﺮ ‪2019‬‬

‫ﻣﻤﺜﻞ ﺻﺎﺣﺐ اﻟﺴﻤﻮ رﺋﻴﺲ اﻟﺪوﻟﺔ راﻋﻲ‬ ‫اﳌﻬﺮﺟﺎن‪ ،‬اﻟﺬي ﻳﴩف ﻋﲆ ﻧﺠﺎح اﳌﻬﺮﺟﺎن‬ ‫ﺑﻨﻔﺴﻪ‪ ،‬وﻳﻘﺪم ﻟﻠﺸﻌﺮ واﻟﺸﻌﺮاء ﻛﻞ‬ ‫وﺳﺎﺋﻞ اﻟﺪﻋﻢ ﻣﻦ أﺟﻞ اﻟﺤﻔﺎظ ﻋﲆ ﻫﺬا‬ ‫اﻟﻔﻦ اﳌﻮاﻛﺐ ﻟﺠﻤﻴﻊ ﻣﻨﺎﺳﺒﺎﺗﻨﺎ اﻟﻮﻃﻨﻴﺔ‬ ‫واﻻﺟﺘامﻋﻴﺔ واﻟﺜﻘﺎﻓﻴﺔ‪.‬‬ ‫اﺳﺘﻬﻞ اﻟﺸﻌﺮاء أﻣﺴﻴﺘﻬﻢ ﺑﻘﺮاءة اﻟﻘﺼﺎﺋﺪ‬ ‫اﻟﻔﺎﺋﺰة ﺑﺎﳌﺴﺎﺑﻘﺔ اﻟﺸﻌﺮﻳﺔ‪ ،‬اﻟﺘﻲ ﺗﺠﺎري‬ ‫ﻗﺼﻴﺪة اﳌﻐﻔﻮر ﻟﻪ اﻟﺸﻴﺦ زاﻳﺪ ﺑﻦ ﺳﻠﻄﺎن‬ ‫آل ﻧﻬﻴﺎن "ﻳﺎ ذا اﻟﺸﺒﺎب اﻟﺒﺎين"‪ .‬وﺗﻔﺎﻋﻞ‬ ‫اﻟﺠﻤﻬﻮر ﻣﻊ ﻫﺬه اﻟﻘﺼﺎﺋﺪ اﻟﺘﻲ اﻟﺘﺰﻣﺖ‬ ‫مبﻮﺿﻮع اﳌﺠﺎراة ﻟﺘﺆﻛﺪ ﻋﲆ ﻣﺎ أوﴅ ﺑﻪ‬ ‫اﻟﺸﻴﺦ زاﻳﺪ اﻟﺸﺒﺎب إذ ﺷﺪد ﻋﲆ ﴐورة‬ ‫اﻟﺘﺤﲇ مبﻜﺎرم اﻷﺧــﻼق وﺑﻨﺎء اﻷوﻃــﺎن‬ ‫واﻟﻌﻤﻞ واﻻﺟﺘﻬﺎد ﰲ ﺻﻨﺎﻋﺔ ﻣﺴﺘﻘﺒﻞ‬ ‫ﻣﴩق ﺗﺴﺘﺤﻘﻪ أوﻃﺎﻧﻬﻢ‪.‬‬ ‫وﻗﺎل اﻟﺸﺎﻋﺮ ﻋﺒﻴﺪ اﻟﻜﻌﺒﻲ إن ﻣﺜﻞ ﻫﺬه‬ ‫اﻟﺠﻮاﺋﺰ ﺗﻌﻮد ﻋﲆ اﻟﺸﻌﺮاء ﺑﺎﻟﻨﻔﻊ اﻟﻜﺒري‪،‬‬ ‫ﻷﻧﻬﺎ ﺗﺠﻤﻌﻬﻢ ﰲ ﻣﺴﺎﺣﺔ واﺣﺪة‪ ،‬وﺗﺴﻬﻢ‬ ‫ﰲ اﻻرﺗﻘﺎء ﺑﺎﻟﺸﻌﺮ وﺗﺠﺎرب اﻟﺸﻌﺮاء‪،‬‬ ‫ﻣﺸﻴﺪاً ﺑﺎﻟﺪﻋﻢ اﻟﻜﺒري اﻟــﺬي ﺗﺤﻈﻰ ﺑﻪ‬ ‫اﳌﺴﺎﺑﻘﺔ ﻣﻦ ﻗﺒﻞ ﺳﻤﻮ اﻟﺸﻴﺦ ﺳﻠﻄﺎن ﺑﻦ‬ ‫زاﻳﺪ آل ﻧﻬﻴﺎن‪.‬‬

‫ﺛﻢ ﻗﺮأت ﺛﺎﻧﻴﺔ اﻟﺸﺎﻋﺮة ﺳﻠﻴﻤﺔ اﳌﺰروﻋﻲ‬ ‫ﻗﺼﻴﺪﺗﻬﺎ اﳌﺸﺎرﻛﺔ واﳌﺘﻤﻴﺰة واﻟﻔﺎﺋﺰة‬ ‫ﺑﺎﳌﺮﻛﺰ اﻟﺜﺎين‪ ،‬ﻛام ﺗﻘﺪﻣﺖ ﺑﺎﻟﺸﻜﺮ ﻟﺴﻤﻮ‬ ‫راﻋﻲ اﳌﻬﺮﺟﺎن‪ ،‬وﻗﺎﻟﺖ إن اﳌﻬﺮﺟﺎن واﺣﺪ‬ ‫ﻣﻦ أﺑﺮز ﻣﻬﺮﺟﺎﻧﺎت اﻟﱰاث ﰲ اﳌﻨﻄﻘﺔ‪.‬‬ ‫وﻗﺮأ ﺛﺎﻟﺜﺎ اﻟﺸﺎﻋﺮ ﻋﲇ اﳌﺮي‪ ،‬وﻗﺪم أﻣﺎم‬ ‫اﻟﺠﻤﻬﻮر ﻗﺼﻴﺪﺗﻪ اﻟﻔﺎﺋﺰة ﺑﺎﳌﺮﻛﺰ اﻟﺜﺎﻟﺚ‪،‬‬ ‫إﱃ ﺟﺎﻧﺐ ﻋﺪد ﻣﻦ اﻟﻘﺼﺎﺋﺪ اﳌﺘﻤﻴﺰة اﻟﺘﻲ‬ ‫ﻗﻮﺑﻠﺖ ﺑﺎﻟﺘﺼﻔﻴﻖ‪.‬‬ ‫أﻣﺎ راﺑﻌﺎً‪ ،‬ﻓﻘﺮأ اﻟﺸﺎﻋﺮ ﻋﺒﺪاﻟﻌﺰﻳﺰ اﻟﻔﺪﻏﻮش‬ ‫ﺑﺄﺳﻠﻮب ﺟﻤﻴﻞ وﺗﻔﺎﻋﲇ‪ ،‬ﺣﻴﺚ ﻗﺪم‬ ‫ﻗﺼﻴﺪة ﺑﻮﺻﻒ اﳌﻬﺮﺟﺎن وأﺟﻮاﺋﻪ اﻟﱰاﺛﻴﺔ‪،‬‬ ‫ﻛام ﻗﺮأ ﻗﺼﻴﺪة اﳌﺸﺎرﻛﺔ اﻟﺘﻲ ﻣﻨﺤﺘﻪ اﳌﺮﻛﺰ‬ ‫اﻟﺮاﺑﻊ‪.‬‬ ‫اﻟﺨﺘﺎم ﻛﺎن ﻣﻊ اﻟﺸﺎﻋﺮ ﻋﻨﺰي اﻷﻛﻠﺒﻲ‬ ‫ﺻﺎﺣﺐ اﳌﺮﺗﺒﺔ اﻟﺨﺎﻣﺴﺔ ﰲ اﳌﺴﺎﺑﻘﺔ‬ ‫اﻟﺸﻌﺮﻳﺔ‪ ،‬اﻟﺬي ﻗﺮأ ﻋــﺪداً ﻣﻦ اﻟﻘﺼﺎﺋﺪ‬ ‫اﻟﻮﻃﻨﻴﺔ اﻟﺘﻲ أﻛﺪت ﻋﲆ ﻣﻔﺮدات اﻟﻮﻻء‬ ‫واﻻﻧﺘامء ﻟﻸوﻃﺎن وﺧﺺ وﻃﻨﻪ اﻟﺴﻌﻮدﻳﺔ‬ ‫ﺑﺄﺑﻴﺎت ﺟﻤﻴﻠﺔ وﻣﺒﺪﻋﺔ‪.‬‬ ‫ﺑﻴﺖ اﻟﺸﻌﺮ ﺗﻨﴩ ﻟﻘﺮاﺋﻬﺎ ﰲ ﻫﺬه اﳌﺴﺎﺣﺔ‬ ‫اﻟﻘﺼﺎﺋﺪ اﻟﻔﺎﺋﺰة ﻛﺎﻣﻠﺔ وﺑﺎﻟﱰﺗﻴﺐ ﻟﺘﻀﻊ‬ ‫اﻟﻘﺮاء أﻣﺎم ﻫﺬه اﻷﻋامل اﻟﺸﻌﺮﻳﺔ اﳌﺒﺪﻋﺔ‪..‬‬

‫وﺗﻨﻔﻴﺬاً ﻟﺘﻮﺟﻴﻬﺎت ﺳﻤﻮ اﻟﺸﻴﺦ ﺳﻠﻄﺎن ﺑﻦ زاﻳﺪ آل ﻧﻬﻴﺎن ﻣﻤﺜﻞ‬ ‫ﺻﺎﺣﺐ اﻟﺴﻤﻮ رﺋﻴﺲ اﻟﺪوﻟﺔ ﺣﻔﻈﻪ اﻟﻠﻪ‪ ،‬اﺧﺘﺎرت اﻟﻠﺠﻨﺔ اﻟﻌﻠﻴﺎ‬ ‫اﳌﻨﻈﻤﺔ ﰲ ﻫﺬه اﻟﺪورة أن ﻳﻜﻮن ﻣﻮﺿﻮع اﻟﺠﺎﺋﺰة ﻣﺠﺎراة أﺑﻴﺎت‬ ‫ﻗﺼﻴﺪة اﳌﻐﻔﻮر ﻟﻪ اﻟﺸﻴﺦ زاﻳﺪ ﺑﻦ ﺳﻠﻄﺎن آل ﻧﻬﻴﺎن "ﻳﺎ ذا اﻟﺸﺒﺎب‬ ‫اﻟﺒﺎين"‪ ،‬ﺣﻴﺚ ﺗﻌﺘﱪ ﻫﺬه اﻟﻘﺼﻴﺪة واﺣﺪة ﻣﻦ أﺑﺮز اﻟﻘﺼﺎﺋﺪ اﻟﺘﻲ‬ ‫ﺗﺤﻤﻞ ﰲ أﺑﻴﺎﺗﻬﺎ ﻗﻴ ًام إﻧﺴﺎﻧﻴﺔ ووﻃﻨﻴﺔ ﻛﺒرية‪ ،‬إﱃ ﺟﺎﻧﺐ ﺷﻬﺮﺗﻬﺎ‬ ‫واﻧﺘﺸﺎرﻫﺎ ﻋﲆ ﻧﻄﺎق واﺳﻊ ﰲ اﻹﻣﺎرات واﻟﺨﻠﻴﺞ اﻟﻌﺮيب‪.‬‬ ‫وﺗﻠﺨﺼﺖ ﴍوط اﳌﺴﺎﺑﻘﺔ ﻟﻬﺬه اﻟﺪورة ﺑﺎﳌﺸﺎرﻛﺔ ﰲ ﻗﺼﻴﺪة‬ ‫ﻧﺒﻄﻴﺔ ﻻ ﺗﻘﻞ ﻋﻦ ‪ 12‬ﺑﻴﺘﺎً‪ ،‬وﻻ ﺗﺰﻳﺪ ﻋﲆ ‪ 16‬ﺑﻴﺘﺎً‪ ،‬مل ﻳﺴﺒﻖ ﻧﴩﻫﺎ‬ ‫أو اﳌﺸﺎرﻛﺔ ﻓﻴﻬﺎ مبﺴﺎﺑﻘﺔ أﺧﺮى‪ .‬إﱃ ﺟﺎﻧﺐ اﻟﺘﺰام اﻟﻘﺼﻴﺪة ﺑﻐﺮض‬ ‫ﻣﺠﺎراة أﺑﻴﺎت ﻗﺼﻴﺪة اﳌﻐﻔﻮر ﻟﻪ اﻟﺸﻴﺦ زاﻳﺪ "ﻳﺎ ذا اﻟﺸﺒﺎب اﻟﺒﺎين"‬ ‫واﻟﺘﻘ ّﻴﺪ ﺑﻮزن وﻗﺎﻓﻴﺔ اﻟﻘﺼﻴﺪة‪ .‬واﻷﺑﻴﺎت اﳌﺮاد ﻣﺠﺎراﺗﻬﺎ‪:‬‬ ‫‪Áb@@ @ @ @c@ @ @ @ D* eb@@ @ @ @c@ @ @ @ ~@ @ @ @ {@ @ @ @ D* *3b@@ @ @ @ @ @ @ @ @ @J‬‬ ‫ ‪ 2¡@@ @ @ @ @ @ @m@ @ @ @+ @@ @ @ @ @ @ @ @ @ @ @BH 42b@@ @ @ @ @ @ @ @ @ @ @ @ @ +‬‬ ‫‪Áb@@ @ @ @ @ @ @ @ @Dv@@ @ @ @ D* v@@ @ @ @ Q @ @ @ @ @ @ @ @ @ @- °H‬‬ ‫· ‪ 2H5 @@ @ @ @ @ @ @ @ @ @ @ @ @G*4Hb@@ @ @ @ @ @ @ @ @ @ @ @ @E‬‬ ‫‪Á*Qv@ @ @ @ @ @ @ @ @ @D*H ¥2xQ @ @ @ @ @ @ @ @ @ @ @ D* Ix@@ @ @ @ @ @ @ @-H‬‬ ‫ ¯ ‪ 2¡@@ @ @ @ @ @ @ @ @ @ @E @@ @ @ @ @ @ @£@ @ @ @ @ @ @ @~@ @ @ @6‬‬ ‫‪Á*5 h@@ @ @ @ @ @ @ B¡@@ @ @ @ @ @ @ D x@@ @ @ @ @ @ Q @ @ @ @ @ @ ~@ @ @ @ @ @ 7‬‬ ‫‪ 2Hv@@ @ @ @ £@ @ @ @ @D Ix@@ @ @ @ @ ~@ @ @ @ @ @7 @@ @ @ @ @ @ @ @ @ @ @ @ @<*H‬‬ ‫‪Áb@@ @ @ @ @ @ @ :H* eb@@ @ @ c@ @ @ @~@ @ @ @7 ¢@@ @ @ ~@ @ @ @z@ @ @ @<H‬‬ ‫‪2¡@@ @ @ @ A HR v@@ @ @ @ @ @ @m@ @ @ @+ ¢@@ @ @ @ @ @ @p@ @ @ @J‬‬

‫ﻣﺠﻠﺲ اﻟﺘﻌﺎون ﻟﺪول اﻟﺨﻠﻴﺞ اﻟﻌﺮﺑﻴﺔ‪ .‬واﺳﺘﺒﻌﺪت ﻣﺸﺎرﻛﺎت‬ ‫اﻟﺸﻌﺮاء اﻟﺤﺎﺋﺰﻳﻦ ﻋﲆ اﳌﺮاﻛﺰ اﻟﺨﻤﺴﺔ اﻷوﱃ ﰲ آﺧﺮ ﻧﺴﺨﺘني‬ ‫ﻣﻦ اﳌﺴﺎﺑﻘﺔ ﰲ اﳌﻬﺮﺟﺎن‪ .‬وﻣﻨﺢ اﻟﻔﺎﺋﺰ اﻷول رﻣﺰاً وﺳﻴﺎرة‬ ‫ﻓﺎﺧﺮة‪ ،‬وﺣﺼﻞ اﻷرﺑﻌﺔ اﻵﺧﺮون ﻋﲆ ﺟﻮاﺋﺰ ﻧﻘﺪﻳﺔ ﻗﻴﻤﺔ‪.‬‬ ‫وأﻋﻠﻨﺖ اﻟﻠﺠﻨﺔ اﻷﺳامء اﻟﻔﺎﺋﺰة ﻛام ﻳﲇ‪:‬‬ ‫اﻷول‪ :‬اﻟﺸﺎﻋﺮ ﻋﺒﻴﺪ ﺑﻦ ﺧﺼﻴﻒ اﻟﻜﻌﺒﻲ‪ /‬اﻹﻣﺎرات‪.‬‬ ‫اﻟﺜﺎين‪ :‬اﻟﺸﺎﻋﺮة ﺳﻠﻴﻤﺔ ﻋﺒﺪاﻟﻠﻪ اﳌﺰروﻋﻲ‪ /‬اﻹﻣﺎرات‪.‬‬ ‫اﻟﺜﺎﻟﺚ‪ :‬اﻟﺸﺎﻋﺮ ﻋﲇ ﺑﺎﻟﺴﻴﻘﺎن اﳌﺮي‪ /‬اﻹﻣﺎرات‪.‬‬ ‫اﻟﺮاﺑﻊ‪ :‬اﻟﺸﺎﻋﺮ ﻋﺒﺪاﻟﻌﺰﻳﺰ اﻟﻔﺪﻏﻮش‪ /‬اﻟﺴﻌﻮدﻳﺔ‪.‬‬ ‫اﻟﺨﺎﻣﺲ‪ :‬اﻟﺸﺎﻋﺮ ﻋﻨﺰي ﺑﻦ ﻣﻐﻴﺐ اﻷﻛﻠﺒﻲ‪ /‬اﻟﺴﻌﻮدﻳﺔ‪.‬‬

‫وﻗﺪ ﺣﻘﻘﺖ اﳌﺸﺎرﻛﺎت ﰲ ﻫﺬه اﻟﺪورة رﻗ ً‬ ‫ام ﻗﻴﺎﺳﻴﺎً زاد ﻋﲆ‬ ‫‪ 211‬ﻣﺸﺎرﻛﺎً‪ ،‬ﻣﺎ أﺳﻬﻢ ﰲ اﺷﺘﻌﺎل اﳌﻨﺎﻓﺴﺔ‪ ،‬واﺗﺴﺎع اﻧﺘﺸﺎر‬ ‫اﳌﺴﺎﺑﻘﺔ وﺗﻔﺎﻋﻞ ﻣﻌﻈﻢ ﺷﻌﺮاء دول ﻣﺠﻠﺲ اﻟﺘﻌﺎون ﻣﻌﻬﺎ‪.‬‬ ‫ﻳﺸﺎر إﱃ أن اﳌﺴﺎﺑﻘﺔ اﻟﺸﻌﺮﻳﺔ اﳌﺼﺎﺣﺒﺔ ﻟﻔﻌﺎﻟﻴﺎت ﻣﻬﺮﺟﺎن‬ ‫ﺳﻠﻄﺎن ﺑﻦ زاﻳﺪ اﻟﱰايث ﺗﺆﻛﺪ ﺣﻀﻮرﻫﺎ ﻋﺎﻣﺎً ﺑﻌﺪ ﻋﺎم ﰲ اﻟﺴﺎﺣﺔ‬ ‫اﻟﺸﻌﺮﻳﺔ ﺑﺪوﻟﺔ اﻹﻣﺎرات اﻟﻌﺮﺑﻴﺔ اﳌﺘﺤﺪة وﻣﻨﻄﻘﺔ اﻟﺨﻠﻴﺞ‬ ‫ﻋﻤﻮﻣﺎً‪ ،‬ﺑﻌﺪ اﻹﻋــﻼن ﻋﻦ اﻧﻄﻼﻗﺘﻬﺎ اﻷوﱃ ﺿﻤﻦ ﻓﻌﺎﻟﻴﺎت‬ ‫اﳌﻬﺮﺟﺎن ﻋﺎم ‪ 2013‬وذﻟﻚ ﺑﺪﻋﻢ وﺗﻮﺟﻴﻬﺎت ﺳﻤﻮ اﻟﺸﻴﺦ‬ ‫ﺳﻠﻄﺎن ﺑﻦ زاﻳﺪ آل ﻧﻬﻴﺎن ﻣﻤﺜﻞ ﺻﺎﺣﺐ اﻟﺴﻤﻮ رﺋﻴﺲ اﻟﺪوﻟﺔ‬ ‫ﺣﻔﻈﻪ اﻟﻠﻪ‪ ،‬ورﻋﺎﻳﺘﻪ اﻟﺪامئﺔ ﻟﻬﺎ‪ ،‬ﺣﺮﺻﺎً ﻣﻦ ﺳﻤﻮه ﻋﲆ دﻋﻢ‬ ‫ﻛام ﺟﺎء ﺿﻤﻦ اﻟﴩوط أن اﳌﺸﺎرﻛﺔ ﻣﺘﺎﺣﺔ ﻟﻠﺸﻌﺮاء واﻟﺸﺎﻋﺮات اﻟﺸﻌﺮاء‪ ،‬وإميﺎﻧﺎً ﻣﻨﻪ ﺑﺄن اﻟﺸﻌﺮ أﺣﺪ أﺑﺮز رﻛﺎﺋﺰ اﻟﱰاث اﻷﺻﻴﻞ‪،‬‬ ‫ﻣﻦ ﺳﻦ ‪ 16‬ﺳﻨﺔ ﻓام ﻓﻮق ﻷﺑﻨﺎء دوﻟﺔ اﻹﻣﺎرات وﻣﻮاﻃﻨﻲ دول ودﻳﻮان اﻟﻌﺮب‪.‬‬

‫اﻟﺸﻌﺮ ‪baytelshear‬‬ ‫ﺑﻴﺖ ِ‬

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‫ ‪ĜŠĮńĵŒ ĜōĚĘĲŖŒ‬‬

‫‪ɰ‬‬ ‫‪ǳƒƳōǜǘǕŌ ŧǔƪƗŐ ŦōǉƈōƖǘǕōş ǳǾƓōǾǃ ōǙōǃƈŐ ŧǂǂŽ‬‬

‫اﻟﻤﺴﺎﺑﻘﺔ اﻟﺸﻌﺮﻳﺔ ﻟﻤﻬﺮﺟﺎن‬ ‫ﺳﻠﻄﺎن ﺑﻦ زاﻳﺪ اﻟﺘﺮاﺛﻲ ‪2019‬‬ ‫ﻛﺸﻔﺖ اﻟﻠﺠﻨﺔ اﻟﻌﻠﻴﺎ اﻟﻤﻨﻈﻤﺔ ﻟﻤﻬﺮﺟﺎن ﺳﻠﻄﺎن ﺑﻦ زاﻳﺪ اﻟﺘﺮاﺛﻲ ‪ 2019‬ﻋﻦ أﺳﻤﺎء اﻟﻔﺎﺋﺰﻳﻦ ﺑﺎﻟﻤﺴﺎﺑﻘﺔ‬ ‫اﻟﺸﻌﺮﻳﺔ اﻟﻤﺮاﻓﻘﺔ ﻟﻔﻌﺎﻟﻴﺎت اﻟﻤﻬﺮﺟﺎن ﻓﻲ دورﺗﻪ اﻟﺜﺎﻟﺜﺔ ﻋﺸﺮة اﻟﺘﻲ ﺑﺪأت ﻓﻌﺎﻟﻴﺎﺗﻬﺎ ﺑﺘﺎرﻳﺦ ‪ 20‬ﻳﻨﺎﻳﺮ‬ ‫اﻟﻤﺎﺿﻲ واﻧﺘﻬﺖ ﻳﻮم ‪ 2‬ﻓﺒﺮاﻳﺮ اﻟﺤﺎﻟﻲ ‪.2019‬‬

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‫اﻟﻌﺪد ‪ ، 75‬ﻓﺒﺮاﻳﺮ ‪2019‬‬

‫مبﻨﺠﺰاﺗﻪ ﺑني اﻟــﺪول‪ ،‬ﺑﺎﻋﺘﺒﺎره اﳌﺨﺰون‬ ‫اﻟﺜﻘﺎﰲ واﳌﻌﺮﰲ اﻟﺬي ﺗﻢ اﻟﺒﻨﺎء ﻋﻠﻴﻪ‪ ،‬ﻟﺘﺼﻞ‬ ‫اﻹﻣﺎرات ﺑﻜﻞ ﻧﻬﻀﺘﻬﺎ وﺣﻀﺎرﺗﻬﺎ وﺛﻘﺎﻓﺘﻬﺎ‪،‬‬ ‫ﳌﺎ آﻟﺖ إﻟﻴﻪ ﻣﻦ ﻣﻜﺎﻧﺔ رﻓﻴﻌﺔ اﺳﺘﺤﻘﺘﻬﺎ ﻋﻦ‬ ‫ﺟﺪارة ﺑني ﻣﺼﺎف دول اﻟﻌﺎمل‪.‬‬ ‫}‪mŜƈƃǕŌ ŋōǂƳƈ‬‬

‫ﺗﻢ ﻧﻘﻞ ﻓﻌﺎﻟﻴﺎت اﳌﻬﺮﺟﺎن ﻋﲆ اﻟﻬﻮاء‬ ‫ﻣﺒﺎﴍة‪ ،‬ﻣﻊ اﻟﻌﺪﻳﺪ ﻣﻦ اﻟﱪاﻣﺞ اﻟﺘﻠﻔﺰﻳﻮﻧﻴﺔ‬ ‫اﻟﺘﺨﺼﺼﻴﺔ‪ ،‬ﻣﺜﻞ ﺑﺮﻧﺎﻣﺞ »ﺻﺒﺎح ﺳﻮﻳﺤﺎن«‬ ‫اﻟﺬي ﻳﻘﺪم ﺗﻐﻄﻴﺔ ﻣﺒﺎﴍة ﻟﺪﺧﻮل اﻟﺤﻼل‬ ‫إﱃ ﺷﺒﻮك اﳌﺰاﻳﻨﺔ‪ ،‬وﺑﺮﻧﺎﻣﺞ ﺗﺤﻠﻴﲇ ﻣﺒﺎﴍ‬ ‫ﺣﻮل اﳌﻄﺎﻳﺎ اﳌﺸﺎرﻛﺔ ﻣﻦ داﺧﻞ ﺷﺒﻮك‬ ‫اﳌﺰاﻳﻨﺔ‪ ،‬ﻛام ﻛﺎن اﳌﺸﺎﻫﺪون ﻋﲆ ﻣﻮﻋﺪ‬ ‫ﻣﻊ ﺑﺮﻧﺎﻣﺞ ﻣﺘﻤﻴﺰ ﻣﻊ رﻓﻘﺎء درب اﳌﻐﻔﻮر‬ ‫ﻟﻪ اﻟﺸﻴﺦ زاﻳﺪ‪ ،‬رﺣﻤﻪ اﻟﻠﻪ‪ ،‬ﺑﻌﻨﻮان »رﻓﻘﺎء‬ ‫اﻟــﺪرب«‪ ،‬اﻟﺬي ﻳﺤﻴﻲ ذﻛـﺮاه اﻟﻄﻴﺒﺔ ﻣﻦ‬ ‫ﺧﻼل ﻟﻘﺎءات ﻋﺪﱠة ﻣﻊ ﺿﻴﻮف ﻛﺮام‪ ،‬ﻋﺎﻳﺸﻮا‬ ‫اﳌﻐﻔﻮر ﻟﻪ ﻣﻦ ﻣﺮاﻓﻘني وﻋﺴﻜﺮﻳني ووزراء‬ ‫وﺳﻔﺮاء‪ ،‬وﺷﺨﺼﻴﺎت أﺧــﺮى‪ ،‬إﺿﺎﻓﺔ إﱃ‬ ‫ﺑﺮﻧﺎﻣﺞ »ﻋﻠﻮم ﺳﻮﻳﺤﺎن«‪ ،‬اﻟﺬي ﻳﺴﺘﻀﻴﻒ‬ ‫اﳌﻼك اﻟﻔﺎﺋﺰﻳﻦ ﻳﻮﻣﻴﺎً‪.‬‬ ‫ﻛام ﺣﴬ اﻟﺸﻌﺮ ﰲ اﳌﻬﺮﺟﺎن ﻣﻦ ﺧﻼل‬ ‫ﺑﺮﻧﺎﻣﺞ »دﻳــﻮان زاﻳــﺪ«‪ ،‬وﻛﺬﻟﻚ ﻣﻦ ﺧﻼل‬ ‫اﳌﺴﺎﺑﻘﺔ اﻟﺸﻌﺮﻳﺔ اﻟﺘﻲ ﺷ ّﻜﻞ ﻣﻮﺿﻮﻋﻬﺎ‬ ‫اﻷﺳﺎﳼ ﻣﺠﺎراة ﻗﺼﻴﺪة اﳌﻐﻔﻮر ﻟﻪ اﻟﺸﻴﺦ‬ ‫زاﻳﺪ رﺣﻤﻪ اﻟﻠﻪ »ﻳﺎ ذا اﻟﺸﺒﺎب اﻟﺒﺎين«‪.‬‬

‫‪ǓƛŌǷũ Ɖƒŵ‬‬

‫وﻳﺬﻛﺮ أن اﳌﻬﺮﺟﺎن‪ُ ،‬ﻳﻌﺪ ﻣﻦ أﻋﺮق وأﻫﻢ‬ ‫اﳌﻬﺮﺟﺎﻧﺎت اﻟﱰاﺛﻴﺔ اﻟﺸﺎﻣﻠﺔ ﰲ اﳌﻨﻄﻘﺔ‪،‬‬ ‫ﺣﻴﺚ أﺻﺒﺢ ﺟ ـﴪاً ﻟﻠﺘﻮاﺻﻞ اﻹﻧﺴﺎين‬ ‫واﻟﺜﻘﺎﰲ ﺑني ﻣﺎﴈ اﻵﺑﺎء واﻷﺟﺪاد وﺗﺮاﺛﻬﻢ‬ ‫اﻟرثي وﺣﺎﴐ اﻷﺑﻨﺎء وﻣﻮاﻛﺒﺘﻬﻢ ﻷدوات‬ ‫اﻟﻌﴫ‪ ،‬وﻗــﺪ ﺣﻘﻖ ﻋﲆ ﻣــﺪى دوراﺗــﻪ‬ ‫اﳌﺘﺘﺎﻟﻴﺔ ﺗﻄﻮراً ﻛﺒرياً‪ ،‬وﺣﻈﻲ ﻣﻨﺬ اﻧﻄﻼق‬ ‫دورﺗــﻪ اﻷوﱃ مبﺸﺎرﻛﺔ ﻣﺤﻠﻴﺔ وﺧﻠﻴﺠﻴﺔ‬ ‫وﻋﺮﺑﻴﺔ واﺳﻌﺔ‪ ،‬وﻋﻤﻞ ﻋﲆ إﻧﻌﺎش اﻟﺤﺮﻛﺔ‬ ‫اﻻﻗﺘﺼﺎدﻳﺔ واﻟﺴﻴﺎﺣﻴﺔ ﰲ اﳌﻨﻄﻘﺔ‪ ،‬ﺣﻴﺚ إن‬ ‫اﻟﺘﻤﺴﻚ ﺑﱰاث اﻹﻣﺎرات اﻟﻌﺮﻳﻖ واﻻﻋﺘﺰاز‬ ‫ﺑﻪ ﻫﻮ اﻟﺴﺒﻴﻞ اﻟﻮﺣﻴﺪ ﻟﻠﺤﻔﺎظ ﻋﲆ‬ ‫ﺧﺼﻮﺻﻴﺔ ﺛﻘﺎﻓﺔ وﻫﻮﻳﺔ اﻟﺪوﻟﺔ وﻋﺎداﺗﻬﺎ‬ ‫اﻷﺻﻴﻠﺔ‪ ،‬ﻣﻊ اﻟﺤﺮص ﻋﲆ اﳌﺰج ﺑني اﳌﺎﴈ‬ ‫اﻟﻌﺮﻳﻖ واﻟﺤﺎﴐ اﳌﺰدﻫﺮ‪.‬‬ ‫وﻋﲆ ﻣﺪار دورات اﳌﻬﺮﺟﺎن‪ ،‬ﺗﻢ اﻟﺤﻔﺎظ‬ ‫ﻋﲆ ﻣﻜﺎﻧﺔ اﻹﺑﻞ اﻟﻌﺮﺑﻴﺔ اﻷﺻﻴﻠﺔ واﻻﻫﺘامم‬ ‫ﺑــﻬــﺎ‪ ،‬ﻣــﻦ ﺧــﻼل ﺗﺨﺼﻴﺺ ﺟــﺰء ﻛﺒري‬ ‫ﳌﺴﺎﺑﻘﺎت اﻹﺑﻞ اﻷﺻﻴﻠﺔ‪ ،‬ﻣﻦ أﺟﻞ اﻟﺤﻔﺎظ‬ ‫ﻋﻠﻴﻬﺎ واﻟﺘﺸﺠﻴﻊ ﻋﲆ اﻗﺘﻨﺎء اﻷﺟﻤﻞ‬ ‫واﻷﻛرث أﺻﺎﻟﺔ ﻣﻨﻬﺎ‪ ،‬ﰲ ﻇﻞ إﺗﺎﺣﺔ اﻟﻔﺮﺻﺔ‬ ‫أﻣــﺎم ﺟﻤﻴﻊ اﳌــﻼك ﻟﻠﻤﺸﺎرﻛﺔ وﺗﺤﻘﻴﻖ‬ ‫اﻟﻔﺎﺋﺪة واﳌﺴﺎﻫﻤﺔ ﰲ ﺣﻔﻆ ﻣــﻮروث‬ ‫اﻹﺑﻞ وﻣﻮاﺻﻠﺔ اﻻﻫﺘامم ﺑﻬﺎ‪ ،‬واﻟﺤﺮص ﻋﲆ‬ ‫إﻧﺘﺎج أﻃﻴﺐ ﺳﻼﻻﺗﻬﺎ ﻟﺘﺤﺎﻓﻆ ﻋﲆ أﺻﺎﻟﺘﻬﺎ‬ ‫وﻗﻴﻤﺘﻬﺎ اﻟﱰاﺛﻴﺔ‪.‬‬

‫اﻟﺸﻌﺮ ‪baytelshear‬‬ ‫ﺑﻴﺖ ِ‬

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‫ ‪ĜšħĘğğŉ‬‬

‫ﺣﺎﻣﻲ اﻟﺘﺮاث‪ ..‬وﺣﺎرس اﻟﻤﻮروث‬ ‫اﻹﻣﺎرات وﻣﺮﻛﺰ ﺳﻠﻄﺎن ﺑﻦ زاﻳﺪ‪ ،‬ﻋﺪداً ﻣﻦ‬ ‫اﳌﻨﺎﻓﺴﺎت ﺗﺘﺼﺪرﻫﺎ ﻣﺰاﻳﻨﺔ اﻹﺑﻞ اﻷﺻﺎﻳﻞ‪،‬‬ ‫وﺳﺒﺎق اﻹﺑــﻞ اﻟـــﱰايث‪ ،‬وﻣﺰاﻳﻨﺔ وﺳﺒﺎق‬ ‫اﻟﺴﻠﻮﻗﻲ اﻟﻌﺮيب‪ ،‬وﻣﺴﺎﺑﻘﺔ اﳌﺤﺎﻟﺐ‪ ،‬إﺿﺎﻓﺔ‬ ‫إﱃ اﳌﺴﺎﺑﻘﺔ اﻟﺸﻌﺮﻳﺔ‪ ،‬وﻣﺴﺎﺑﻘﺔ اﻟﺘﺼﻮﻳﺮ‪،‬‬ ‫إﺿﺎﻓﺔ إﱃ ﺑﺮاﻣﺞ ﺗﺮاﺛﻴﺔ وﺛﻘﺎﻓﻴﺔ وﻓﻨﻴﺔ ﻏﻨﻴﺔ‬ ‫وﻣﺘﻨﻮﻋﺔ‪ ،‬ﻣﻦ ﺿﻤﻨﻬﺎ ﺑﺮﻧﺎﻣﺞ اﳌﻘﻨﺎص‪ ،‬ﻓﻀ ًﻼ‬ ‫ﻋﻦ ﻣﻌﺮض اﻟﺴﻴﺎرات اﻟﻜﻼﺳﻴﻜﻴﺔ‪ ،‬ﰲ ﻇﻞ‬ ‫ﻣﺸﺎرﻛﺔ ﻋﺪد ﻛﺒري ﻣﻦ ﻣﺤﺒﻲ رﻳﺎﺿﺔ اﻟﻬﺠﻦ‬ ‫ﻣﻦ ﻛﺎﻓﺔ إﻣــﺎرات اﻟﺪوﻟﺔ‪ ،‬ودول ﻣﺠﻠﺲ‬ ‫اﻟﺘﻌﺎون اﻟﺨﻠﻴﺠﻲ‪.‬‬ ‫‪ŪŌƉŨǕŌ ǽǙōŽ‬‬

‫ﻣﺤﻤﺪ ﺳﻠﻄﺎن‬

‫أﺻﺒﺢ ﻣﻬﺮﺟﺎن ﺳﻠﻄﺎن ﺑﻦ زاﻳــﺪ اﻟﱰايث‬ ‫‪ 2019‬ﰲ ﺳﻮﻳﺤﺎن‪ ،‬ﻣﻌﻠ ًام ﻣﻦ ﻣﻌﺎمل اﻟﺤﻔﺎظ‬ ‫ﻋﲆ اﻟﻬﻮﻳﺔ واﻟﻌﺎدات واﻟﺘﻘﺎﻟﻴﺪ اﻹﻣﺎراﺗﻴﺔ‬ ‫اﻷﺻﻴﻠﺔ‪ ،‬واﻻﻋــﺘ ـﺰاز واﻟﻔﺨﺮ ﺑــﺎﳌــﻮروث‬ ‫اﻟﺸﻌﺒﻲ‪ ،‬اﻟﺬي ﻫﻮ أﻣﺎﻧﺔ ﻣﻦ روح اﻵﺑﺎء‬ ‫واﻷﺟــﺪاد ﻟﻸﺟﻴﺎل اﻟﻘﺎدﻣﺔ‪ ،‬ﻣﻦ ﻫﻨﺎ ﻛﺎن‬ ‫اﻻﻫﺘامم ﺑﺎﳌﺨﺰون اﻟﱰايث ﻟﺪوﻟﺔ اﻹﻣﺎرات‪،‬‬ ‫ﺧﺎﺻﺔ اﻟﻄﺒﺦ اﻟﺸﻌﺒﻲ‪ ،‬اﻷزﻳــﺎء اﻟﺸﻌﺒﻴﺔ‪،‬‬ ‫ﻓﻨﻮن اﻟﺸﻠﺔ واﻟﻴﻮﻟﺔ واﻟﺤﺮﺑﻴﺔ‪ ،‬وﻣﻮاﻛﺐ‬

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‫اﻟﻌﺪد ‪ ، 75‬ﻓﺒﺮاﻳﺮ ‪2019‬‬

‫اﻟﻬﺠﻦ واﻟﺨﻴﻮل‪ ،‬وﻏريﻫﺎ ﻣام ﻳﺠﻌﻠﻨﺎ ﺑﺎﻟﻔﻌﻞ‬ ‫أﻣﺎم ﻋﺮس ﺷﻌﺒﻲ وﻛﺮﻧﻔﺎل ﺗﺮايث ﻻ ﻳﻀﺎﻫﻰ‪،‬‬ ‫ﻟﻴﻈﻞ اﻟﱰاث اﻹﻣــﺎرايت ﻣﺤﻔﻮﻇﺎً ﰲ ﻗﻠﻮب‬ ‫أﺑﻨﺎء اﻹﻣﺎرات‪ ،‬وﻋﻨﻮاﻧﺎً ﻟﻸﺻﺎﻟﺔ واﺳﺘﴩاﻓﺎً‬ ‫ﻟﻠﻤﺴﺘﻘﺒﻞ اﳌﺰدﻫﺮ‪.‬‬ ‫اﻧﻄﻠﻘﺖ اﻟﺪورة اﻟﺜﺎﻟﺜﺔ ﻋﴩة ﻟﻠﻤﻬﺮﺟﺎن‪،‬‬ ‫ﺑﺮﻋﺎﻳﺔ ودﻋﻢ وﺣﻀﻮر ﺳﻤﻮ اﻟﺸﻴﺦ ﺳﻠﻄﺎن‬ ‫ﺑﻦ زاﻳﺪ آل ﻧﻬﻴﺎن ﻣﻤﺜﻞ ﺻﺎﺣﺐ اﻟﺴﻤﻮ‬ ‫رﺋﻴﺲ اﻟﺪوﻟﺔ رﺋﻴﺲ ﻧﺎدي ﺗﺮاث اﻹﻣﺎرات‪،‬‬ ‫وﺗﻀﻤﻦ اﳌﻬﺮﺟﺎن‪ ،‬اﻟﺬي ﻳﻨﻈﻤﻪ ﻧﺎدي ﺗﺮاث‬

‫وﻣام ﻻ ﺷﻚ ﻓﻴﻪ‪ ،‬أن ﺳﻤﻮ اﻟﺸﻴﺦ ﺳﻠﻄﺎن ﺑﻦ‬ ‫زاﻳﺪ آل ﻧﻬﻴﺎن ﻣﻤﺜﻞ ﺻﺎﺣﺐ اﻟﺴﻤﻮ رﺋﻴﺲ‬ ‫اﻟﺪوﻟﺔ رﺋﻴﺲ ﻧﺎدي ﺗﺮاث اﻹﻣﺎرات‪ ،‬ﻗﺪ أﺧﺬ‬ ‫ﻋﲆ ﻋﺎﺗﻘﻪ ﻣﻨﺬ إﻃﻼق ﻫﺬا اﳌﻬﺮﺟﺎن ﺣامﻳﺔ‬ ‫اﳌﻮروث وﺻﻮن اﻟﱰاث‪ ،‬ﺑﺎﻋﺘﺒﺎره أﻣﺎﻧﺔ ﻳﺠﺐ‬ ‫أن ﺗﺘﻨﺎﻗﻠﻬﺎ اﻷﺟﻴﺎل ﻋﲆ ﻣﺮ اﻟﻌﺼﻮر‪ ،‬ﺣﻔﺎﻇﺎً‬ ‫ﻋﲆ إرث اﻷﺟــﺪاد ﻣﻦ اﻻﻧــﺪﺛــﺎر‪ ،‬وإميﺎﻧﺎً‬ ‫مبﺎﴈ اﻟﺪوﻟﺔ اﻟﺘﻠﻴﺪ‪ ،‬اﻟﺬي ﻳﴬب ﺑﺠﺬوره‬ ‫ﰲ أﻋامق اﻟﺘﺎرﻳﺦ‪ ،‬وﻳﻌﻴﺶ ﻋﲆ ﻣﺮ اﻟﺰﻣﻦ ﰲ‬ ‫ﻗﻠﺐ ووﻋﻲ ووﺟﺪان ﻛﻞ إﻣﺎرايت‪ ،‬ﺣﺘﻰ أﺻﺒﺢ‬ ‫ﺣﺎﴐاً ﻧﻌﻴﺸﻪ وﻣﺴﺘﻘﺒ ًﻼ ﻧﺰﻫﻮ ﺑﻪ وﻧﻔﺘﺨﺮ‬

‫ ‪ ƂōƒǕŌǶ ǚōżǿǷƓ ǽƫǶƉƖǙ ǽƳ ǛǾǜƣŌǷǘǔǕ ǓǔƳ 510 ƃǾƖũ ǲƃǝōƒǙ‬‬ ‫ﻛﺸﻔﺖ ﴍﻛﺔ أﺑﻮﻇﺒﻲ ﻟﻠﺨﺪﻣﺎت اﻟﻌﺎﻣﺔ‬ ‫»ﻣﺴﺎﻧﺪة« ﻋﻦ ﻣﺒﺎﴍﺗﻬﺎ اﻟﻌﻤﻞ ﰲ ﻣﴩوﻋﻲ‬ ‫ﺳﻮﻳﺤﺎن واﻟﺴﺎد اﻟﺴﻜﻨﻴني اﻟﻮاﻗﻌني ﰲ‬ ‫ﻣﺪﻳﻨﺔ اﻟﻌني واﻟﻠﺬﻳﻦ ﻳﺘﻀﻤﻨﺎن ﺑﻨﺎء ‪510‬‬ ‫ﻓﻠﻞ ﻟﻠﻤﻮاﻃﻨني ﻋﲆ ﻣﺴﺎﺣﺔ ﺗﻘﺎرب ‪2.1‬‬ ‫ﻣﻠﻴﻮن ﻣﱰ ﻣﺮﺑﻊ ﺑﺘﻜﻠﻔﺔ ﺗﻘﺪر ﺑـ ‪ 1.3‬ﻣﻠﻴﺎر‬ ‫درﻫﻢ‪.‬‬ ‫وﻗــﺎل اﳌﻬﻨﺪس أﺣﻤﺪ ﻣﺒﺎرك اﳌﺰروﻋﻲ‬ ‫ﻣﺪﻳﺮ ﻣﺸﺎرﻳﻊ ﻣﻨﻄﻘﺔ اﻟﻌني ﺑﺎﻹﻧﺎﺑﺔ ﰲ‬ ‫ﴍﻛﺔ »ﻣﺴﺎﻧﺪة« أن اﻟﴩﻛﺔ ﺗﻨﻔﺬ ﻫﺬه‬ ‫اﳌﺸﺎرﻳﻊ ﰲ إﻃﺎر ﺣﺮﺻﻬﺎ ﻋﲆ ﺗﺠﺴﻴﺪ رؤﻳﺔ‬ ‫ﺻﺎﺣﺐ اﻟﺴﻤﻮ اﻟﺸﻴﺦ ﺧﻠﻴﻔﺔ ﺑﻦ زاﻳﺪ آل‬ ‫ﻧﻬﻴﺎن رﺋﻴﺲ اﻟﺪوﻟﺔ "ﺣﻔﻈﻪ اﻟﻠﻪ"‪ ،‬ﻧﺤﻮ‬ ‫ﺗﻮﻓري اﻟﻌﻴﺶ اﻟﻜﺮﻳﻢ ﻟﻠﻤﻮاﻃﻨني وﺗﺄﻣني‬ ‫اﻻﺳﺘﻘﺮار اﻷﴎي ﻟﻬﻢ‪ ،‬وﺗﻘﺪﻳﻢ أﻓﻀﻞ‬

‫اﻟﺨﺪﻣﺎت اﻹﺳﻜﺎﻧﻴﺔ ﻟﻠﻤﻮاﻃﻨني‪ ،‬مبﺎ ﻳﻌﺰز‬ ‫ﻣﻦ اﺳﺘﻘﺮار اﻟﻔﺮد واﳌﺠﺘﻤﻊ‪ ،‬وﻳﺴﻬﻢ ﰲ‬ ‫اﻻرﺗﻘﺎء ﺑﺎﳌﺴﺘﻮى اﳌﻌﻴﴚ ﻟﻸﴎة اﻹﻣﺎراﺗﻴﺔ‪،‬‬ ‫إﱃ ﺟﺎﻧﺐ ﺗﺤﻘﻴﻖ أﻫﺪاف ﺧﻄﺔ أﺑﻮﻇﺒﻲ ﰲ‬ ‫ﻣﺠﺎل اﻟﺘﻨﻤﻴﺔ اﻻﺟﺘامﻋﻴﺔ‪.‬‬ ‫وأﺷـــﺎر إﱃ أن ﻫــﺬه اﳌــﺸــﺎرﻳــﻊ ﺗﺤﻈﻰ‬ ‫ﺑﺎﻻﻫﺘامم واﳌﺘﺎﺑﻌﺔ اﻟــﺪؤوﺑــﺔ ﻣﻦ ﻗﺒﻞ‬ ‫ﺻﺎﺣﺐ اﻟﺴﻤﻮ اﻟﺸﻴﺦ ﻣﺤﻤﺪ ﺑﻦ زاﻳﺪ آل‬ ‫ﻧﻬﻴﺎن وﱄ ﻋﻬﺪ أﺑﻮﻇﺒﻲ ﻧﺎﺋﺐ اﻟﻘﺎﺋﺪ اﻷﻋﲆ‬ ‫ﻟﻠﻘﻮات اﳌﺴﻠﺤﺔ‪.‬‬ ‫وﺑني اﳌﺰروﻋﻲ أن إﺳﻜﺎن اﳌﻮاﻃﻨني وﺗﻮﻓري‬ ‫اﻟﺤﻴﺎة اﻟﻜﺮميﺔ ﻳﺸﻜﻼن أوﻟﻮﻳﺔ رﺋﻴﺴﻴﺔ ﻋﲆ‬ ‫أﺟﻨﺪة اﻟﺘﻨﻤﻴﺔ اﻟﺸﺎﻣﻠﺔ ﰲ إﻣﺎرة أﺑﻮﻇﺒﻲ‬ ‫وذﻟﻚ إدراﻛﺎً ﻣﻦ اﻟﻘﻴﺎدة اﻟﺮﺷﻴﺪة ﻟﻠﺪوﻟﺔ‬ ‫ﴐورة اﻧﺴﺠﺎم اﻟﻮاﻗﻊ اﳌﻌﻴﴚ ﻟﻠﻤﻮاﻃﻨني‬

‫ﻣﻊ اﻟﺘﻄﻮرات اﻻﺟﺘامﻋﻴﺔ واﻻﻗﺘﺼﺎدﻳﺔ‬ ‫اﻟﺘﻲ ﺗﺸﻬﺪﻫﺎ اﻹﻣــﺎرة‪ ،‬إﺿﺎﻓﺔ إﱃ ﴐورة‬ ‫وﺻﻮل ﻣﻜﺘﺴﺒﺎت اﻟﺘﻨﻤﻴﺔ إﱃ ﻣﺨﺘﻠﻒ ﻓﺌﺎت‬ ‫وﴍاﺋﺢ اﳌﺠﺘﻤﻊ‪.‬‬ ‫وأﻛﺪ أن ﺗﻨﻔﻴﺬ ﻣﴩوﻋﻲ ﺳﻮﻳﺤﺎن واﻟﺴﺎد‬ ‫اﻟﺴﻜﻨﻴني ﻳــﺄيت ﰲ إﻃــﺎر ﺣــﺮص واﻫﺘامم‬ ‫ﺣﻜﻮﻣﺔ أﺑﻮﻇﺒﻲ ﺑﺘﻄﻮﻳﺮ ﻣﻨﻈﻮﻣﺔ ﻛﺒرية ﻣﻦ‬ ‫اﳌﺸﺎرﻳﻊ اﻹﺳﻜﺎﻧﻴﺔ ﰲ ﻣﺪﻳﻨﺔ اﻟﻌني مبﺎ ﻳﻠﺒﻲ‬ ‫اﺣﺘﻴﺎﺟﺎت وﻃﻤﻮﺣﺎت اﳌﻮاﻃﻨني ﰲ اﻟﺤﺼﻮل‬ ‫ﻋــﲆ ﻣﺴﺎﻛﻦ وﻣ ـﺮاﻓــﻖ ﺧﺪﻣﻴﺔ ﺣﺪﻳﺜﺔ‬ ‫ﻟﺘﺤﻘﻴﻖ اﻻﺳﺘﻘﺮار اﻻﺟﺘامﻋﻲ اﳌﻨﺸﻮد‪ ،‬وﻓﻘﺎً‬ ‫ﻟﺘﻮﺟﻴﻬﺎت اﻟﻘﻴﺎدة اﻟﻌﻠﻴﺎ اﻟﺮﺷﻴﺪة وإميﺎﻧﻬﺎ‬ ‫اﳌﻄﻠﻖ ﺑﺄن اﻟرثوة اﻟﺤﻘﻴﻘﻴﺔ ﻫﻲ اﻹﻧﺴﺎن‬ ‫اﻹﻣﺎرايت وأن اﻟﺴﻜﻦ أﺳﺎس اﻻﺳﺘﻘﺮار اﻟﻨﻔﴘ‬ ‫واﻻﺟﺘامﻋﻲ واﻻﻗﺘﺼﺎدي ﻟﻸﴎة اﳌﻮاﻃﻨﺔ‪.‬‬ ‫اﻟﺸﻌﺮ ‪baytelshear‬‬ ‫ﺑﻴﺖ ِ‬

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‫ ‪ ĬŒ ĘěĪ‬‬

‫‪ ǛǘƟ ŲōŨǝȑŌǶ ưōƖǈŨƓȎǕ ǳǿƉş ǳǂƢǜǙ ǒǶŐ ǽƓƉũ ǆǷǝƂŐ‬‬ ‫‪ǳǾǈǿƉǙȏŌ ǖǷǾǕǶƉŨş ǒōŨǝƃǾƒǉǶŐ ǻǔƫ ǲƃǿƃŴǕŌ ǁƣōǜǘǕŌ ƙǾƁŌƉũ‬‬ ‫أﻋﻠﻨﺖ ﴍﻛــﺔ ﺑــﱰول أﺑﻮﻇﺒﻲ اﻟﻮﻃﻨﻴﺔ‬ ‫"أدﻧــﻮك" ﻋﻦ ﺗﻮﻗﻴﻊ اﺗﻔﺎﻗﻴﺔ ﻣﻊ ﴍﻛﺔ‬ ‫"أوﻛﺴﻴﺪﻧﺘﺎل ﺑﱰوﻟﻴﻮم" اﻷﻣﺮﻳﻜﻴﺔ ﻟﱰﺳﻴﺔ‬ ‫ﻣﻨﻄﻘﺔ ﺑﺮﻳﺔ ﺟﺪﻳﺪة ‪/‬اﳌﻨﻄﻘﺔ اﻟﱪﻳﺔ رﻗﻢ‬ ‫‪ /3‬ﻻﺳﺘﻜﺸﺎف وﺗﻄﻮﻳﺮ وإﻧﺘﺎج اﻟﻨﻔﻂ‬ ‫واﻟﻐﺎز وذﻟﻚ ﺑﻌﺪ أن أﻗ ّﺮ اﳌﺠﻠﺲ اﻷﻋﲆ‬ ‫ﻟﻠﺒﱰول ﰲ أﺑﻮﻇﺒﻲ ﻫﺬه اﻻﺗﻔﺎﻗﻴﺔ‪.‬‬ ‫وﺗﻐﻄﻲ "اﳌﻨﻄﻘﺔ اﻟﱪﻳﺔ رﻗﻢ ‪ "3‬ﻣﺴﺎﺣﺔ‬ ‫ﺗﺒﻠﻎ ‪ 5782‬ﻛﻴﻠﻮﻣﱰاً ﻣﺮﺑﻌﺎً وﺗﻘﻊ ﰲ ﻣﻨﻄﻘﺔ‬ ‫اﻟﻈﻔﺮة ﺑﺄﺑﻮﻇﺒﻲ‪ ..‬وﺗﻀﻢ اﻟﺒﻴﺎﻧﺎت اﳌﺘﻮﻓﺮة‬ ‫ﻣﻦ اﳌﺴﺢ اﻟﺴﻴﺰﻣﻲ ‪/‬اﻟﺰﻟﺰاﱄ‪ /‬ﺛﻼيث اﻷﺑﻌﺎد‬ ‫ﺟﺰءاً ﻛﺒرياً ﻣﻦ اﳌﻨﻄﻘﺔ اﻟﺠﺪﻳﺪة اﻟﺘﻲ ﺗﺘﻤﺘﻊ‬ ‫ﺑﺈﻣﻜﺎﻧﺎت واﻋﺪة ﻛام أﻧﻬﺎ ﻗﺮﻳﺒﺔ ﻣﻦ ﺣﻘﻮل‬ ‫"ﺷﺎه" و"ﻋﺼﺐ" و"ﺳﻬﻞ" و"ﺣﻠﻴﺒﺔ"‪.‬‬

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‫اﻟﻌﺪد ‪ ، 75‬ﻓﺒﺮاﻳﺮ ‪2019‬‬

‫وﺗﻌﺪ ﻫﺬه أول ﻣﻨﻄﻘﺔ ﺑﺮﻳﺔ ﻳﺘﻢ ﺗﺮﺳﻴﺘﻬﺎ‬ ‫ﻣﻦ ﺧﻼل اﳌﺰاﻳﺪة اﻟﺘﻨﺎﻓﺴﻴﺔ اﻟﺘﻲ ﻃﺮﺣﺘﻬﺎ‬ ‫أدﻧﻮك ﰲ أﺑﺮﻳﻞ ‪ 2018‬ﺿﻤﻦ اﺳﱰاﺗﻴﺠﻴﺔ‬ ‫أﺑﻮﻇﺒﻲ ﻹﺻﺪار ﺗﺮاﺧﻴﺺ ﳌﻨﺎﻃﻖ ﺟﺪﻳﺪة‪،‬‬ ‫وﺗﺄيت ﻋﻘﺐ ﺗﺮﺳﻴﺔ ﻣﻨﻄﻘﺘني ﺑﺤﺮﻳﺘني ﻣﺆﺧﺮاً‬ ‫ﰲ اﻹﻣﺎرة‪ ،‬ﻛام ﺗﻌﻜﺲ ﻫﺬه اﻻﺳﱰاﺗﻴﺠﻴﺔ‬ ‫ﺗﻘﺪﻣﺎً ﻛﺒرياً ﰲ ﺟﻬﻮد أﺑﻮﻇﺒﻲ ﻟﺘﴪﻳﻊ‬ ‫اﺳﺘﻜﺸﺎف وﺗﻄﻮﻳﺮ اﳌﻮارد ﻏري اﳌﺴﺘﻐﻠﺔ‬ ‫ومبﺎ ﻳﺴﻬﻢ ﰲ ﺗﻌﺰﻳﺰ اﺣﺘﻴﺎﻃﻴﺎﺗﻬﺎ اﻟﻐﻨﻴﺔ‬ ‫وﺧﻠﻖ ﻓﺮص ﺗﺠﺎرﻳﺔ ﺟﺪﻳﺪة‪.‬‬ ‫ومبﻮﺟﺐ اﻻﺗﻔﺎﻗﻴﺔ‪ ،‬ﺳﺘﺤﺼﻞ "أوﻛﺴﻴﺪﻧﺘﺎل‬ ‫ﺑﱰوﻟﻴﻮم" ﻋﲆ ﺣﺼﺔ ‪ %100‬ﰲ ﻣﺮﺣﻠﺔ‬ ‫اﻻﺳﺘﻜﺸﺎف‪ ،‬وﺳﺘﺴﺘﺜﻤﺮ ‪ 893‬ﻣﻠﻴﻮن‬ ‫درﻫــﻢ‪ ،‬مبﺎ ﰲ ذﻟــﻚ رﺳــﻢ اﳌﺸﺎرﻛﺔ‪ ،‬ﰲ‬

‫اﺳﺘﻜﺸﺎف اﻟﻨﻔﻂ واﻟﻐﺎز ﰲ "اﳌﻨﻄﻘﺔ اﻟﱪﻳﺔ‬ ‫رﻗﻢ ‪."3‬‬ ‫وﻋﻨﺪ ﻧﺠﺎح ﻋﻤﻠﻴﺎت اﻻﺳﺘﻜﺸﺎف وﺗﺤﺪﻳﺪ‬ ‫اﻟﺠﺪوى اﻟﺘﺠﺎرﻳﺔ ﻟﻠﻤﻮارد اﳌﻜﺘﺸﻔﺔ‪ ،‬ﺳﺘﺘﻢ‬ ‫إﺗﺎﺣﺔ اﻟﻔﺮﺻﺔ ﻟـ "أوﻛﺴﻴﺪﻧﺘﺎل ﺑﱰوﻟﻴﻮم"‬ ‫ﻟﺘﻄﻮﻳﺮ وإﻧﺘﺎج أي اﻛﺘﺸﺎﻓﺎت‪ ،‬ﺑﻴﻨام متﺘﻠﻚ‬ ‫أدﻧــﻮك ﺧﻴﺎر اﻻﺣﺘﻔﺎظ ﺑﺤﺼﺔ ‪ %60‬ﰲ‬ ‫ﻣﺮﺣﻠﺔ اﻣﺘﻴﺎز اﻹﻧﺘﺎج‪.‬‬ ‫وﻗﻊ اﺗﻔﺎﻗﻴﺔ اﻻﻣﺘﻴﺎز ﻛﻞ ﻣﻦ ﻣﻌﺎﱄ اﻟﺪﻛﺘﻮر‬ ‫ﺳﻠﻄﺎن ﺑﻦ أﺣﻤﺪ اﻟﺠﺎﺑﺮ وزﻳــﺮ دوﻟﺔ‬ ‫اﻟﺮﺋﻴﺲ اﻟﺘﻨﻔﻴﺬي ﻟﴩﻛﺔ ﺑﱰول أﺑﻮﻇﺒﻲ‬ ‫اﻟﻮﻃﻨﻴﺔ "أدﻧﻮك" وﻣﺠﻤﻮﻋﺔ ﴍﻛﺎﺗﻬﺎ وﻓﻴيك‬ ‫ﻫﻮﻟﻮب‪ ،‬رﺋﻴﺴﺔ ﻣﺠﻠﺲ اﻹدارة واﻟﺮﺋﻴﺲ‬ ‫اﻟﺘﻨﻔﻴﺬي ﻟﴩﻛﺔ "أوﻛﺴﻴﺪﻧﺘﺎل ﺑﱰوﻟﻴﻮم"‪.‬‬

‫‪ǽŭŌƉŨǕŌ ǢǷǘƓ ǚōŵƉǤǘǕ ǽǙōŨƀǕŌ ǖǷǾǕŌ ƃǤƖǿ ƃǿŌƊ Ǜş ǚōƢǔƓ‬‬ ‫ﺷﻬﺪ ﺳﻤﻮ اﻟﺸﻴﺦ ﺳﻠﻄﺎن ﺑﻦ زاﻳﺪ آل‬ ‫ﻧﻬﻴﺎن ﻣﻤﺜﻞ ﺻﺎﺣﺐ اﻟﺴﻤﻮ رﺋﻴﺲ اﻟﺪوﻟﺔ‬ ‫رﺋﻴﺲ ﻧﺎدي ﺗﺮاث اﻹﻣﺎرات ﰲ اﻟﺜﺎين ﻣﻦ‬ ‫ﻓﱪاﻳﺮ اﻟﺠﺎري ﰲ ﻣﻴﺪان ﺳﺒﺎﻗﺎت اﻟﻬﺠﻦ‬ ‫مبﺪﻳﻨﺔ ﺳﻮﻳﺤﺎن‪ ،‬اﻟﻴﻮم اﻟﺨﺘﺎﻣﻲ ﻟﻠﺪورة‬ ‫اﻟﺜﺎﻟﺜﺔ ﻋﴩة ﳌﻬﺮﺟﺎن ﺳﻠﻄﺎن ﺑﻦ زاﻳﺪ‬ ‫اﻟﱰايث ‪ ،2019‬اﻟﺬي ﺷﻬﺪ ﺗﺘﻮﻳﺞ اﻟﻔﺎﺋﺰﻳﻦ‬ ‫مبﻨﺎﻓﺴﺎت اﻟﻴﻮم اﻟﺜﺎين ﻣﻦ ﺳﺒﺎق اﻹﺑﻞ‬ ‫اﻟــﱰايث اﻷﺻﻴﻞ وﺗﻜﺮﻳﻢ ﻛﺎﻓﺔ اﻟﻠﺠﺎن‬ ‫واﻟﺮﻋﺎة واﻹﻋﻼﻣﻴني اﻟﺬﻳﻦ ﺳﺎﻫﻤﻮا ﰲ‬ ‫إﻧﺠﺎح اﳌﻬﺮﺟﺎن اﻟــﺬي ﻧﻈﻤﻪ ﻧﺎدي‬ ‫ﺗﺮاث اﻹﻣــﺎرات وﻣﺮﻛﺰ ﺳﻠﻄﺎن ﺑﻦ زاﻳﺪ‬ ‫ﺑﺘﻮﺟﻴﻬﺎت ورﻋﺎﻳﺔ ﻛﺮميﺔ ﻣﻦ ﺳﻤﻮه‪.‬‬ ‫وﺗﺎﺑﻊ ﺳﻤﻮ اﻟﺸﻴﺦ ﺳﻠﻄﺎن ﺑﻦ زاﻳﺪ آل‬ ‫ﻧﻬﻴﺎن ﺑﺤﻀﻮر اﻟﺸﻴﺦ اﻟﺪﻛﺘﻮر ﺧﺎﻟﺪ‬ ‫ﺑﻦ ﺳﻠﻄﺎن ﺑﻦ زاﻳﺪ آل ﻧﻬﻴﺎن‪ ،‬واﻟﺸﻴﺦ‬ ‫ﺣﻤﺪان ﺑﻦ ﻣﺤﻤﺪ ﺑﻦ ﺧﻠﻴﻔﺔ ﺑﻦ زاﻳﺪ آل‬ ‫ﻧﻬﻴﺎن‪ ،‬واﻟﺸﻴﺦ زاﻳﺪ ﺑﻦ ﻣﺤﻤﺪ ﺑﻦ ﺧﻠﻴﻔﺔ‬ ‫ﺑﻦ زاﻳﺪ آل ﻧﻬﻴﺎن اﻟﺬي ﺷﺎرك ﰲ اﻟﺸﻮط‬ ‫اﻟﺜﺎين ﻣﻦ اﻟﺴﺒﺎق‪ ،‬واﻟﺸﻴﺦ ﺳﻠﻄﺎن ﺑﻦ‬ ‫ﻣﺤﻤﺪ ﺑﻦ ﺧﻠﻴﻔﺔ ﺑﻦ زاﻳــﺪ آل ﻧﻬﻴﺎن‬ ‫وﻋﺪد ﻣﻦ ﻛﺒﺎر ﻣﻼك اﻹﺑﻞ وﻣﺌﺎت اﻟﺴﻴﺎح‬ ‫اﻷﺟﺎﻧﺐ وﺟﻤﻬﻮر ﻏﻔري وﺣﺸﺪ ﻛﺒري ﻣﻦ‬ ‫وﺳﺎﺋﻞ اﻹﻋﻼم اﳌﺘﻨﻮﻋﺔ‪ ،‬اﻷﺷﻮاط اﻟﻌﴩة‪،‬‬ ‫إذ ﺧﺼﺺ ﺷﻮﻃﺎن ﻣﻨﻬﺎ ﻟﻠﻤﺘﻨﺎﻓﺴني ﻣﻦ‬ ‫أﻋامر ‪ 51‬إﱃ ‪ 70‬ﻋﺎﻣﺎً ‪.‬‬ ‫ووﺳﻂ أﺟﻮاء اﺣﺘﻔﺎﻟﻴﺔ ﺗﺮاﺛﻴﺔ ﺷﻌﺒﻴﺔ‪،‬‬

‫وﻋﲆ وﻗﻊ اﻷﻫﺎزﻳﺞ اﻟﺸﻌﺒﻴﺔ واﻟﻠﻮﺣﺎت‬ ‫اﻟﱰاﺛﻴﺔ‪ ،‬ﺗﻮج اﻟﺸﻴﺦ ﺣﻤﺪان ﺑﻦ ﻣﺤﻤﺪ‬ ‫ﺑﻦ ﺧﻠﻴﻔﺔ ﺑﻦ زاﻳﺪ آل ﻧﻬﻴﺎن‪ ،‬واﻟﺸﻴﺦ‬ ‫زاﻳﺪ ﺑﻦ ﻣﺤﻤﺪ ﺑﻦ ﺧﻠﻴﻔﺔ ﺑﻦ زاﻳﺪ آل‬ ‫ﻧﻬﻴﺎن‪ ،‬ﺑﺤﻀﻮر اﻟﺸﻴﺦ ﻣﺤﻤﺪ ﺑﻦ رﻛﺎض‬ ‫اﻟﻌﺎﻣﺮي‪ ،‬وﺳﻌﺎدة ﺣﻤﻴﺪ ﺳﻌﻴﺪ ﺑﻮﻻﺣﺞ‬ ‫اﻟﺮﻣﻴﺜﻲ‪ ،‬اﳌﺪﻳﺮ اﻟﺘﻨﻔﻴﺬي ﻟﻸﻧﺸﻄﺔ‬ ‫واﻟﻔﻌﺎﻟﻴﺎت‪ ،‬رﺋﻴﺲ اﻟﻠﺠﻨﺔ اﻟﻌﻠﻴﺎ اﳌﻨﻈﻤﺔ‬ ‫ﻟﻠﻤﻬﺮﺟﺎن‪ ،‬وﺳﻌﺎدة اﻟﺪﻛﺘﻮر ﻋﺒﻴﺪ ﻋﲇ‬ ‫راﺷﺪ اﳌﻨﺼﻮري‪ ،‬ﻧﺎﺋﺐ ﺳﻤﻮ ﻣﺪﻳﺮ ﻋﺎم‬

‫ﻣﺮﻛﺰ ﺳﻠﻄﺎن ﺑﻦ زاﻳــﺪ‪ ،‬ﻧﺎﺋﺐ رﺋﻴﺲ‬ ‫اﻟﻠﺠﻨﺔ اﻟﻌﻠﻴﺎ‪ ،‬رﺋﻴﺲ اﻟﻠﺠﻨﺔ اﻹﻋﻼﻣﻴﺔ‬ ‫ﰲ اﳌﻬﺮﺟﺎن‪ ،‬اﻟﻔﺎﺋﺰﻳﻦ ﺑﺎﳌﺮاﻛﺰ اﻷوﱃ ﰲ‬ ‫اﻷﺷﻮاط اﻟﻌﴩة ﻟﺴﺒﺎق اﻹﺑﻞ اﻟﱰايث ﰲ‬ ‫ﻳﻮﻣﻪ اﻟﺜﺎين‪ ،‬ﺣﻴﺚ أﺟﺮﻳﺖ اﻟﺴﺒﺎﻗﺎت‬ ‫ﳌﺴﺎﻓﺔ ‪ 1500‬ﻣﱰ‪ ،‬وﺣﺼﻞ اﻟﻔﺎﺋﺰ اﻷول ﰲ‬ ‫ﻛﻞ ﺷﻮط ﻋﲆ ﺳﻴﻒ وﺳﻴﺎرة ﻓﺎﺧﺮة‪ ،‬ﻓﻴام‬ ‫ﺣﺼﻞ ﺑﻘﻴﺔ اﻟﻔﺎﺋﺰﻳﻦ ﺣﺘﻰ اﻟﻌﺎﴍ ﻋﲆ‬ ‫ﺟﻮاﺋﺰ ﻧﻘﺪﻳﺔ ﻗﻴﻤﺔ‪.‬‬ ‫وﻋﻘﺐ ﺧﺘﺎم اﻟﺘﺘﻮﻳﺞ ﻛ ﱠﺮم اﻟﺸﻴﺦ ﺣﻤﺪان‬ ‫ﺑﻦ ﻣﺤﻤﺪ ﺑﻦ ﺧﻠﻴﻔﺔ ﺑﻦ زاﻳﺪ آل ﻧﻬﻴﺎن‪،‬‬ ‫واﻟﺸﻴﺦ زاﻳﺪ ﺑﻦ ﻣﺤﻤﺪ ﺑﻦ ﺧﻠﻴﻔﺔ ﺑﻦ‬ ‫زاﻳﺪ آل ﻧﻬﻴﺎن ﻋﺪداً ﻣﻦ اﻟﺠﻬﺎت اﻟﺮاﻋﻴﺔ‬ ‫واﻟﻠﺠﺎن اﻟﻌﺎﻣﻠﺔ ﰲ اﳌﻬﺮﺟﺎن وﻛﺬﻟﻚ‬ ‫اﻹﻋﻼﻣﻴني اﻟــﺬي ﻋﻤﻠﻮا ﻋــﲆ إﻧﺠﺎح‬ ‫ﻓﻌﺎﻟﻴﺎت اﳌﻬﺮﺟﺎن‪ ،‬وﻫﻨﺄت اﻟﻠﺠﻨﺔ اﻟﻌﻠﻴﺎ‬ ‫اﳌﻨﻈﻤﺔ اﻟﻔﺎﺋﺰﻳﻦ وأﺷــﺎدت ﺑﺘﻔﺎﻋﻠﻬﻢ‬ ‫وﺣامﺳﻬﻢ ﰲ إﻧﺠﺎح اﻟﺴﺒﺎق وﺣﺮﺻﻬﻢ‬ ‫ﻋﲆ اﳌﺤﺎﻓﻈﺔ ﻋﲆ ﻫﺬا اﳌﻮروث اﻷﺻﻴﻞ‪.‬‬

‫اﻟﺸﻌﺮ ‪baytelshear‬‬ ‫ﺑﻴﺖ ِ‬

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‫ ‪ ĬŒ ĘěĪ‬‬

‫‪ ƃǿŌƊ Ǜş ƃǘżǙ ǳǿōƫƉş‬‬ ‫ ‪ ǽǘǕōƪǕŌ ƉǘũǹǘǕŌ ǒōǘƫŐ ǀȎƢǝŌ‬‬ ‫‪ǽŞƧǷşŐ ǽƳ ǳǾǝōƒǝȑŌ ǲǷƁȐǕ‬‬ ‫ﺗﺤﺖ رﻋﺎﻳﺔ ﺻﺎﺣﺐ اﻟﺴﻤﻮ اﻟﺸﻴﺦ ﻣﺤﻤﺪ‬ ‫ﺑﻦ زاﻳﺪ آل ﻧﻬﻴﺎن وﱄ ﻋﻬﺪ أﺑﻮﻇﺒﻲ ﻧﺎﺋﺐ‬ ‫اﻟﻘﺎﺋﺪ اﻷﻋﲆ ﻟﻠﻘﻮات اﳌﺴﻠﺤﺔ‪ ،‬اﻧﻄﻠﻘﺖ‬ ‫ﰲ اﻟﺜﺎﻟﺚ ﻣﻦ ﻓﱪاﻳﺮ اﻟﺠﺎري ﻓﻌﺎﻟﻴﺎت‬

‫اﳌﺆمتﺮ اﻟﻌﺎﳌﻲ ﻟﻸﺧﻮة اﻹﻧﺴﺎﻧﻴﺔ ﰲ ﻗﴫ‬ ‫اﻹﻣﺎرات ﰲ أﺑﻮﻇﺒﻲ واﻟﺬي ﻳﻨﻈﻤﻪ ﻣﺠﻠﺲ‬ ‫ﺣﻜامء اﳌﺴﻠﻤني مبﺸﺎرﻛﺔ ﻗﻴﺎدات دﻳﻨﻴﺔ‬ ‫وﺷﺨﺼﻴﺎت ﻓﻜﺮﻳﺔ وإﻋﻼﻣﻴﺔ ﻣﻦ ﻣﺨﺘﻠﻒ‬

‫دول اﻟﻌﺎمل ﺑﻬﺪف ﺗﻔﻌﻴﻞ اﻟﺤﻮار ﺣﻮل‬ ‫اﻟﺘﻌﺎﻳﺶ واﻟﺘﺂﺧﻲ ﺑني اﻟﺒﴩ وأﻫﻤﻴﺘﻪ‬ ‫وﻣﻨﻄﻠﻘﺎﺗﻪ وﺳﺒﻞ ﺗﻌﺰﻳﺰه ﻋﺎﳌﻴﺎً‪.‬‬ ‫وﻳﺴﻌﻰ اﳌﺆمتﺮ ‪ -‬اﻟﺬي ﻳﺘﺰاﻣﻦ ﻣﻊ اﻟﺰﻳﺎرة‬ ‫اﻟﺘﺎرﻳﺨﻴﺔ ﻟﻜﻞ ﻣﻦ ﻗﺪاﺳﺔ اﻟﺒﺎﺑﺎ ﻓﺮﻧﺴﻴﺲ‬ ‫ﺑﺎﺑﺎ اﻟﻜﻨﻴﺴﺔ اﻟﻜﺎﺛﻮﻟﻴﻜﻴﺔ وﻓﻀﻴﻠﺔ اﻹﻣﺎم‬ ‫اﻷﻛﱪ اﻟﺪﻛﺘﻮر أﺣﻤﺪ اﻟﻄﻴﺐ ﺷﻴﺦ اﻷزﻫﺮ‬ ‫اﻟﴩﻳﻒ ﻟﻺﻣﺎرات ‪ -‬إﱃ اﻟﺘﺼﺪي ﻟﻠﺘﻄﺮف‬ ‫اﻟﻔﻜﺮي وﺳﻠﺒﻴﺎﺗﻪ وﺗﻌﺰﻳﺰ اﻟﻌﻼﻗﺎت‬ ‫اﻹﻧﺴﺎﻧﻴﺔ وإرﺳﺎء ﻗﻮاﻋﺪ ﺟﺪﻳﺪة ﻟﻬﺎ ﺑني‬ ‫أﻫﻞ اﻷدﻳﺎن واﻟﻌﻘﺎﺋﺪ اﳌﺘﻌﺪدة‪ ،‬ﺗﻘﻮم‬ ‫ﻋﲆ اﺣﱰام اﻻﺧﺘﻼف‪ ،‬وﺗﺴﺎﻫﻢ ﰲ إﻋﺎدة‬ ‫ﺑﻨﺎء ﺟﺴﻮر اﻟﺘﻮاﺻﻞ واﻟﺘﻌﺎرف واﻟﺘﺂﻟﻒ‬ ‫واﻻﺣﱰام واﳌﺤﺒﺔ‪ ،‬وﻣﻮاﺟﻬﺔ اﻟﺘﺤﺪﻳﺎت‬ ‫اﻟﺘﻲ ﺗﻌﱰض ﻃﺮﻳﻖ اﻹﻧﺴﺎﻧﻴﺔ ﻟﻠﻮﺻﻮل‬ ‫إﱃ اﻷﻣﺎن واﻻﺳﺘﻘﺮار واﻟﺴﻼم وﺗﺤﻘﻴﻖ‬ ‫اﻟﺘﻌﺎﻳﺶ اﳌﻨﺸﻮد‪.‬‬

‫‪ ǚŌƃǘŽ ƈǷƞżş ƃǤƖǿ ǳǕǶƃǕŌ ƑǾȃƈ ŝȃōǝ‬‬ ‫‪ ǽƳ ŦŌƈōǙȑŌ ǚōƓƉƳ ųǿǷŨũ ƃǘżǙ Ǜş‬‬ ‫‪ɶ‬‬ ‫‪ǓǘżŨǕŌǶ ǲƈƃǂǔǕ ǛǾǙƉżǕŌ ǖƂōƁ Ɛőǉ‬‬ ‫ﺷﻬﺪ ﺻﺎﺣﺐ اﻟﺴﻤﻮ اﻟﺸﻴﺦ ﻣﺤﻤﺪ ﺑﻦ راﺷﺪ آل ﻣﻜﺘﻮم ﻧﺎﺋﺐ رﺋﻴﺲ‬ ‫اﻟﺪوﻟﺔ رﺋﻴﺲ ﻣﺠﻠﺲ اﻟﻮزراء ﺣﺎﻛﻢ ديب "رﻋﺎه اﻟﻠﻪ" ﺗﺘﻮﻳﺞ ﻓﺮﺳﺎن‬ ‫اﻹﻣﺎرات أﺑﻄﺎﻻً ﰲ ﻛﺄس ﺧﺎدم اﻟﺤﺮﻣني اﻟﴩﻳﻔني ﻟﻠﻘﺪرة واﻟﺘﺤ ّﻤﻞ‪،‬‬ ‫واﻟﺘﻲ أﻗﻴﻤﺖ ﰲ ﻣﺤﺎﻓﻈﺔ اﻟﻌﻼ ﺑﺎﳌﻤﻠﻜﺔ اﻟﻌﺮﺑﻴﺔ اﻟﺴﻌﻮدﻳﺔ اﻟﺸﻘﻴﻘﺔ‬ ‫وﺗﺤﺖ إﴍاف اﻻﺗﺤﺎد اﻟﺴﻌﻮدي ﻟﻠﻔﺮوﺳﻴﺔ‪.‬‬ ‫وﻫﻨّﺄ ﺻﺎﺣﺐ اﻟﺴﻤﻮ اﻟﺸﻴﺦ ﻣﺤﻤﺪ ﺑﻦ راﺷﺪ آل ﻣﻜﺘﻮم ﺧﺎدم‬ ‫اﻟﺤﺮﻣني اﻟﴩﻳﻔني اﳌﻠﻚ ﺳﻠامن ﺑﻦ ﻋﺒﺪاﻟﻌﺰﻳﺰ‪ ،‬وﺻﺎﺣﺐ اﻟﺴﻤﻮ‬ ‫اﳌﻠيك وﱄ اﻟﻌﻬﺪ اﻟﺴﻌﻮدي اﻷﻣري ﻣﺤﻤﺪ ﺑﻦ ﺳﻠامن ﻋﲆ اﻟﺘﻨﻈﻴﻢ‬ ‫اﻟﻄﻴﺐ ﻟﻠﺒﻄﻮﻟﺔ اﻟﺪوﻟﻴﺔ ﻟﻠﻘﺪرة ﰲ ﻣﺤﺎﻓﻈﺔ اﻟﻌﻼ واﻟﺘﻲ ﺗﺄيت ﰲ إﻃﺎر‬ ‫اﻟﻨﻬﻀﺔ اﻟﺸﺎﻣﻠﺔ اﻟﺘﻲ ﺗﺸﻬﺪﻫﺎ اﳌﻤﻠﻜﺔ ﰲ ﻣﺨﺘﻠﻒ اﳌﺠﺎﻻت مبﺎ ﰲ‬ ‫ذﻟﻚ اﳌﺠﺎل اﻟﺮﻳﺎﴈ مبﺎ ﺗﻀﻤﻨﺘﻪ "رؤﻳﺔ ‪ "2030‬ﻣﻦ أﻫﺪاف ﻃﻤﻮﺣﺔ‬ ‫ﻟﻪ ﺗﺆﻛﺪ ﻋﺰم اﳌﻤﻠﻜﺔ ﻋﲆ ﺗﺤﻘﻴﻖ ﻃﻔﺮة رﻳﺎﺿﻴﺔ أﺳﻮة ﺑﺒﺎﻗﻲ‬ ‫اﳌﺠﺎﻻت اﻟﺘﻨﻤﻮﻳﺔ ﻋﲆ اﻣﺘﺪاد اﳌﻤﻠﻜﺔ‪.‬‬

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‫اﻟﻌﺪد ‪ ، 75‬ﻓﺒﺮاﻳﺮ ‪2019‬‬

‫وﺗﺎﺑﻊ ﺻﺎﺣﺐ اﻟﺴﻤﻮ ﺑﺤﻀﻮر ﺳﻤﻮ اﻟﺸﻴﺦ ﺣﻤﺪان ﺑﻦ ﻣﺤﻤﺪ ﺑﻦ‬ ‫راﺷﺪ آل ﻣﻜﺘﻮم وﱄ ﻋﻬﺪ ديب ﺟﺎﻧﺒﺎً ﻣﻦ ﻣﺮاﺣﻞ اﻟﺒﻄﻮﻟﺔ اﻟﺘﻲ ﺗﻌﺪ‬ ‫واﺣﺪة ﻣﻦ أﻫﻢ وأﻏﲆ اﻟﺒﻄﻮﻻت ﻋﲆ ﻣﺴﺘﻮى اﻟﻌﺎمل واﻟﴩق اﻷوﺳﻂ‬ ‫وﺷامﱄ إﻓﺮﻳﻘﻴﺎ‪ ،‬ﺣﻴﺚ رﺻﺪت اﻟﻠﺠﻨﺔ اﳌﻨﻈﻤﺔ اﻟﺘﺎﺑﻌﺔ ﻟﻠﻬﻴﺌﺔ اﳌﻠﻜﻴﺔ‬ ‫ﳌﺤﺎﻓﻈﺔ اﻟﻌﻼ‪ ،‬ﺟﻮاﺋﺰ ﻋﻴﻨﻴﺔ وﻣﺎﻟﻴﺔ ﻗﻴﻤﺔ ﻟﻠﻔﺎﺋﺰﻳﻦ ﰲ اﻟﺒﻄﻮﻟﺔ‪.‬‬ ‫وﻗﺪ ﺷﺎرك ﰲ اﻟﺒﻄﻮﻟﺔ أﻛرث ﻣﻦ ‪ 200‬ﻓﺎرﺳﺎً ميﺜﻠﻮن ‪ 12‬دوﻟﺔ‪ ،‬وﻫﻲ‬ ‫ﻣﻤﻠﻜﺔ اﻟﺒﺤﺮﻳﻦ‪ ،‬اﳌﻤﻠﻜﺔ اﻟﻌﺮﺑﻴﺔ اﻟﺴﻌﻮدﻳﺔ‪ ،‬ﻣﴫ‪ ،‬ﻓﺮﻧﺴﺎ‪ ،‬إﻳﻄﺎﻟﻴﺎ‪،‬‬ ‫اﻷردن‪ ،‬اﻟﻜﻮﻳﺖ‪ ،‬ﻋامن‪ ،‬إﺳﺒﺎﻧﻴﺎ‪ ،‬اﻟﺴﻮدان‪ ،‬اﻹﻣﺎرات‪ ،‬واﻷوروﻏﻮاي‪.‬‬

тАлтАк29тАмтАм

тАлтАк31тАмтАм

тАлтАк34тАмтАм

тАлтАк32тАмтАм

тАлтАк46тАмтАм

тАлтАк47тАмтАм

тАлтАк62тАмтАм

тАлтАк63тАмтАм

тАлтАк76тАмтАм

тАл╪зя╗Яя╗Мя║к╪п тАк - 75тАмя╗Уя║Тя║о╪зя╗│я║о тАк2019тАмтАм

тАл╪▒я║Ля╗┤я║▓ ╪зя╗Яя║Шя║дя║оя╗│я║отАм

тАл╪п я╗Ля║Тя╗┤я║к я╗Ля╗ая╗▓ ╪▒╪зя║╖я║к ╪зя╗Яя╗дя╗ия║╝я╗о╪▒┘КтАм тАл╪зя╗╣я║╖я║о╪з┘Б ╪зя╗Яя╗Мя║О┘ЕтАм

тАл╪▓я║Ся╗ж я║Ся╗ж я╗Ля╗дя╗┤я║отАм тАлтАк@zabin2011тАмтАм тАля╗гя║┤я║Шя║╕я║О╪▒ ╪зя╗Яя║Шя║дя║оя╗│я║отАм

тАля╗Ля╗ая╗▓ ╪зя╗Яя╗дя║┤я╗Мя╗о╪п┘КтАм

тАля║╖я╗Мя║о╪з╪б ╪зя╗Яя╗Мя║к╪птАм

тАлтАк@allmasoudiтАмтАм тАля╗Ля║Тя╗┤я║к я║зя║╝я╗┤я╗Т ╪зя╗Яя╗Ья╗Мя║Тя╗▓тАм тАля║│я╗ая╗┤я╗дя║Ф ╪зя╗Яя╗дя║░╪▒┘Ия╗Ля╗▓тАм тАля╗Ля╗ая╗▓ я║Ся║Оя╗Яя║┤я╗┤я╗Шя║О┘Ж ╪зя╗Яя╗дя║о┘КтАм тАля╗Ля║Тя║к╪зя╗Яя╗Мя║░я╗│я║░ ╪зя╗Яя╗Фя║кя╗Пя╗о╪┤тАм тАля╗Ля╗ия║░┘К я║Ся╗ж я╗гя╗Ря╗┤я║Р ╪зя╗╗я╗Ыя╗ая║Тя╗▓тАм тАля║зя╗ая╗┤я╗Ю я║Ся╗ж я╗ля║кя╗╗┘ЖтАм

тАля║│я╗Мя╗┤я║к я║зя╗дя╗┤я║▓ ╪зя╗Яя╗дя╗ия║╝я╗о╪▒┘КтАм тАля╗Ля║Оя╗│я║╛ ╪зя╗Яя║дя║Тя║Оя║Ся╗▓тАм тАля║гя╗дя║к я║Ся╗ж я║╖я║Оя╗гя║▓ ╪зя╗Яя╗дя║░╪▒┘Ия╗Ля╗▓тАм тАл╪░я╗│я║О╪и я╗Пя║Оя╗зя╗в ╪зя╗Яя╗дя║░╪▒┘Ия╗Ля╗▓тАм тАля║│я║Оя╗гя╗▓ ╪зя╗Яя╗Мя║оя╗Уя║ЮтАм тАля║│я╗Мя╗о╪п ╪зя╗Яя╗дя║╝я╗Мя║Тя╗▓тАм

тАля╗Ля╗ая╗▓ я║Ся╗ж я╗зя║Оя╗│я╗Т ╪зя╗Яя╗Ря║Оя╗гя║к┘КтАм тАля║│я║дя║Оя║Ся╗ктАм тАл┘И ┘Ся╗зя║ФтАм тАля╗Уя║Шя║О╪й я║Чя╗мя║Оя╗гя║ФтАм тАля╗зя╗о╪▒╪й ╪зя╗Яя║┤я║Тя╗┤я╗Мя╗▓тАм тАля╗Уя║Оя╗Яя║в я║Ся╗ж я╗Чя║╕я╗Мя╗втАм

тАля╗гя║кя╗│я║о ╪зя╗Яя║Шя║дя║оя╗│я║отАм

тАля╗Ля║Тя║к╪зтАк MтАм╪гя║Ся╗оя║Ся╗Ья║отАм тАлтАк@abdabubaker1тАмтАм тАл╪зя╗╣я║зя║о╪з╪м ╪зя╗Яя╗Фя╗ия╗▓ & я║│я╗Ья║оя║Чя║О╪▒я╗│я║Ф ╪зя╗Яя║Шя║дя║оя╗│я║отАм

тАля║│я╗Мя║О╪п я║гя║┤я╗ия║ФтАм тАлтАк@HasnaSuadтАмтАм тАля╗гя║┤я║Ж┘И┘Д ╪зя╗Яя║Шя╗о╪▓я╗│я╗КтАм тАл╪гя║гя╗дя║к я╗Ля║Тя║О╪│тАм

тАлтАкmarketing@sbzc.aeтАмтАм тАля╗Ля╗ия╗о╪з┘Ж ╪зя╗Яя╗дя║ая╗ая║Ф*тАм тАл╪зя╗╣я╗гя║О╪▒╪з╪к ╪зя╗Яя╗Мя║оя║Ся╗┤я║Ф ╪зя╗Яя╗дя║Шя║дя║к╪йтАк -тАм╪гя║Ся╗оя╗Зя║Тя╗▓тАм тАля╗ля║Оя║Чя╗Т* тАк009712-6666130тАмтАм тАля╗Уя║Оя╗Ыя║▓* тАк009712-6663088тАмтАм

тАл┘Пя╗Ы ┘Ся║Шя║О╪и ╪зя╗Яя╗Мя║к╪птАм тАл╪п я╗Ля║Тя╗┤я║к я╗Ля╗ая╗▓ ╪зя╗Яя╗дя╗ия║╝я╗о╪▒┘КтАм тАля╗Ля╗ая╗▓ ╪зя╗Яя╗дя║┤я╗Мя╗о╪п┘КтАм тАля╗гя║дя╗дя║к я╗зя╗о╪▒ ╪зя╗Яя║кя╗│я╗жтАм

тАля║╗я╗Фя╗┤я║Ф ╪зя╗Яя║╕я║дя╗▓тАм тАля╗гя║дя╗дя║к ╪гя║Ся╗оя╗Ля║о╪итАм тАл╪п я╗│я║Оя║│я╗┤я╗ж я║гя║░я╗Ыя║отАм

тАля╗Ля║░╪й я║гя║┤я╗┤я╗жтАм тАля╗гя║дя╗дя║к я╗Ля║Тя║к╪зя╗Яя║┤я╗дя╗┤я╗КтАм тАля╗гя║╝я╗Дя╗Фя╗░ ╪гя║гя╗дя║ктАм

тАл╪╡ ╪и* тАк 6420тАм╪гя║Ся╗оя╗Зя║Тя╗▓ ╪е ╪╣ ┘ЕтАм

тАлтАкbaitshir@sbzc.aeтАмтАм тАлтАк@bait_alshe3rтАмтАм

тАлтАк@baytelshearтАмтАм

тАл╪зя╗Яя║╕я╗Мя║о тАкbaytelshearтАмтАм тАля║Ся╗┤я║Ц ┘РтАм

тАлтАк9тАмтАм

‫ ‪ ĘŠŝğĨŖŒ‬‬

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‫اﻟﺸﻌﺮ اﻟﺸﻌﺒﻲ اﻹﻣﺎراﺗﻲ‪ 33‬ﻛﻴﻒ ﺗﻌﻠﻤﻨﺎ ﻛﺘﺎﺑﺔ اﻟﻐﺰل؟‬ ‫اﺑﻦ زوﻳﺒﻦ‪ 33‬اﻟﺠﺰاﻟﺔ واﻟﺤﻜﻤﺔ واﻟﻐﺰل اﻟﻌﻔﻴﻒ‬ ‫رﺣﻠﺔ ﻓﻮﺗﻮﻏﺮاﻓﻴﺔ إﻟﻰ ﻟﻴﻮا‪ 33‬اﻟﺴﺤﺮ ﻓﻲ ﺟﻤﻴﻊ اﻟﺠﻬﺎت‬ ‫ﺑﻴﺮم اﻟﺘﻮﻧﺴﻲ ‪33‬اﻧﺘﻘﺪ ﻛﻞ ﺷﻲء وﻋﺸﻖ ﻛﻞ ﺟﻤﻴﻞ‬

‫ﻣﺼﻌﺐ اﻟﻤﺼﻌﺒﻲ‪ j‬اﻟﻤﺼﻮرون اﻹﻣﺎراﺗﻴﻮن وﺻﻠﻮا ﻟﻠﻌﺎﻟﻤﻴﺔ‬ ‫ﻳﺤﻴﻰ ﺑﻦ اﻟﺤﻜﻢ »اﻟﻐﺰال«‪ 33‬أﻧﺎﻗﺔ اﻟﺸﻜﻞ وﻟﺒﺎﻗﺔ اﻟﻘﻮل‬ ‫زوج اﻷم ﻓﻲ اﻟﺸﻌﺮ اﻟﻌﺮﺑﻲ اﻟﻘﺪﻳﻢ‬ ‫أوﻟﻰ ﺣﻠﻘﺎت »أﻣﻴﺮ اﻟﺸﻌﺮاء« ﺑﻤﻮﺳﻤﻪ اﻟﺜﺎﻣﻦ‬ ‫ﻟﺠﻨﺔ اﻟﺘﺤﻜﻴﻢ ﺗﺆﻫﻞ اﻟﺠﺰاﺋﺮﻳﺔ راﺑﻌﺔ اﻟﻌﺪوﻳﺔ ﺑ‪ 45l‬درﺟﺔ‬ ‫اﻟﻜﺴﻨﺪر روﺑﺘﺴﻮف‪33‬‬ ‫اﻟﺮوﺳﻲ اﻷﺑﻴﺾ اﻟﺬي ﻻ ﻳﺸﻔﻰ ﻣﻦ ﺣﺐ ﺗﻮﻧﺲ!‬

‫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 ‪ ، 75‬ﻓﺒﺮاﻳﺮ ‪2019‬‬

‫ﺳﻠﻄﺎن ﺑﻦ زاﻳﺪ‪:‬‬

‫ ‬ ‫‪ɴ‬‬ ‫‪ɶ ũ ŦŌƈōǙȒǕ ƑǾƒǝƉƳ ōşōŞǕŌ ǲƈōǿƊ‬‬ ‫‪ƈŌǷżǕŌ ƑƓŐ ǁǘƪ‬‬ ‫ ‪ǽǝōƒǝȑŌ ŻǙōƒŨǕŌǶ‬‬ ‫رﺣﺐ ﺳﻤﻮ اﻟﺸﻴﺦ ﺳﻠﻄﺎن ﺑﻦ زاﻳﺪ آل ﻧﻬﻴﺎن‬ ‫ّ‬ ‫ﻣﻤﺜﻞ ﺻﺎﺣﺐ اﻟﺴﻤﻮ رﺋﻴﺲ اﻟﺪوﻟﺔ ﺑﺰﻳﺎرة‬ ‫ﺑﺎﺑﺎ اﻟﻜﻨﻴﺴﺔ اﻟﻜﺎﺛﻮﻟﻴﻜﻴﺔ اﻟﺒﺎﺑﺎ ﻓﺮﻧﺴﻴﺲ إﱃ‬ ‫اﻟﺪوﻟﺔ‪ ،‬ﻣﻌﺮﺑﺎً ﺳﻤﻮه ﰲ ﺗﴫﻳﺢ ﺑﺎﳌﻨﺎﺳﺒﺔ‬ ‫ﻋﻦ اﻷﻣــﻞ ﰲ أن ﺗﻌ ّﻤﻖ اﻟــﺰﻳــﺎرة اﺣـﱰام‬ ‫ﻣﺒﺎدئ اﻟﺘﺴﺎﻣﺢ واﻹﺧﺎء اﻹﻧﺴﺎين اﻟﺬي ﻫﻮ‬ ‫ﻧﻬﺞ أﺻﻴﻞ ﻟﺪوﻟﺔ اﻹﻣﺎرات اﻟﻌﺮﺑﻴﺔ اﳌﺘﺤﺪة‬ ‫وﺷﻌﺒﻬﺎ‪.‬‬ ‫وﻗﺎل إن اﻟﺤﻮار اﳌﺘﺒﺎدل وﻓﻬﻢ اﻵﺧﺮ ﻗﻴﻢ ﻣﻦ‬ ‫ﻧﻬﺞ اﻹﻣﺎرات واﻟﻮاﻟﺪ اﻟﻘﺎﺋﺪ اﳌﺆﺳﺲ اﻟﺸﻴﺦ‬

‫زاﻳﺪ ﺑﻦ ﺳﻠﻄﺎن آل ﻧﻬﻴﺎن "ﻃﻴﺐ اﻟﻠﻪ ﺛﺮاه"‪.‬‬ ‫وأﻛﺪ ﺳﻤﻮ اﻟﺸﻴﺦ ﺳﻠﻄﺎن ﺑﻦ زاﻳﺪ آل ﻧﻬﻴﺎن‬ ‫أن زﻳﺎرة اﻟﺒﺎﺑﺎ ﺳﺘﺴﻬﻢ ﰲ ﺗﺮﺳﻴﺦ اﻟﺤﻮار‬ ‫ﺑني اﻷدﻳﺎن‪ ،‬واﻟﻌﻤﻞ ﻣﻦ أﺟﻞ ﺗﻌﺰﻳﺰ اﻟﺴﻠﻢ‬ ‫واﻟﺴﻼم واﻷﺧﻮة ﺑني ﺟﻤﻴﻊ اﻟﺒﴩ‪.‬‬ ‫وﻗﺎل ﺳﻤﻮه‪ :‬إن ﻫﺬه اﻟﺰﻳﺎرة اﻟﺘﺎرﻳﺨﻴﺔ‬ ‫ﺗﻜﺘﺴﺐ أﻫﻤﻴﺔ ﺧﺎﺻﺔ ﰲ ﺗﺮﺳﻴﺦ رواﺑﻂ‬ ‫اﻟﺼﺪاﻗﺔ واﻟﺘﻌﺎون اﻟﺘﻲ متﻴﺰت ﺑﻬﺎ ﻋﻼﻗﺔ‬ ‫اﻹﻣﺎرات ﺑﺎﻟﻔﺎﺗﻴﻜﺎن مبﺎ ﻓﻴﻪ ﺧري ﻟﻺﻧﺴﺎﻧﻴﺔ‬ ‫وﺧﺪﻣﺔ اﻟﺴﻼم اﻟﻌﺎﳌﻲ‪.‬‬

‫وﺷﺪد ﺳﻤﻮه ﻋﲆ أن اﻟﺰﻳﺎرة مبﺎ ﺗﺤﻤﻠﻪ ﻣﻦ‬ ‫ﻣﻌﺎنٍ ﻛﺒرية ﺟﺎءت ﺿﻤﻦ ﺟﻬﻮد اﻹﻣﺎرات‬ ‫ﺑﻘﻴﺎدة ﺻﺎﺣﺐ اﻟﺴﻤﻮ اﻟﺸﻴﺦ ﺧﻠﻴﻔﺔ ﺑﻦ زاﻳﺪ‬ ‫آل ﻧﻬﻴﺎن رﺋﻴﺲ اﻟﺪوﻟﺔ ﺣﻔﻈﻪ اﻟﻠﻪ ﰲ دﻋﻢ‬ ‫وإرﺳــﺎء أﺳﺲ اﻟﺤﻮار واﻟﺘﺂﺧﻲ واﻟﺘﻌﺎﻳﺶ‬ ‫اﻹﻧﺴﺎين ﰲ اﳌﻨﻄﻘﺔ واﻟﻌﺎمل‪.‬‬ ‫وﻗــﺎل ﺳﻤﻮه ﰲ ﺧﺘﺎم ﺗﴫﻳﺤﻪ "ﻧﺘﴩف‬ ‫ﺑﺎﻟﱰﺣﻴﺐ ﺑﻘﺪاﺳﺔ اﻟﺒﺎﺑﺎ ﻓﺮﻧﺴﻴﺲ ﻋﲆ أرض‬ ‫اﻹﻣــﺎرات اﻟﻌﺮﺑﻴﺔ اﳌﺘﺤﺪة‪ ،‬أرض اﻟﺘﺴﺎﻣﺢ‬ ‫واﻟﺨري واﻟﻌﻄﺎء"‪.‬‬ ‫اﻟﺸﻌﺮ ‪baytelshear‬‬ ‫ﺑﻴﺖ ِ‬

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‫ ‪¬ũŐŒ ęś‬‬

‫‪6‬‬

‫اﻟﻌﺪد ‪ ، 75‬ﻓﺒﺮاﻳﺮ ‪2019‬‬

baytelshear ‫اﻟﺸﻌﺮ‬ ِ ‫ﺑﻴﺖ‬

ĮńŒ ŔšŐħ

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ƿƴ ƂǃƩƥƹƴŢ

ƺţǉǁƼ ƲŖ ƺţƙƵƈ ƻŦ ſǈŢƄ ŻǉƍƴŢ ƾŢƃŰ ņŢ ťǉƘ

20199 ‫ﻓﺒﺮاﻳﺮﺮ‬ 20 2019 ‫ ﻓﺒﺒﺮاﻳ‬، 75 ‫ﺒﺮاﻳاﻳ‬ 75 ‫اﻟﻌﺪد‬ ‫ﻌﺪد‬ ‫اﻟﻌﺪ‬

ŝĸŒ ŝķ

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‫ﺳﻌﺪ ﻣﺮزوق اﻷﺣﺒﺎﺑﻲ‬

baytelshear ‫اﻟﺸﻌﺮ‬ ِ ‫ﺑﻴﺖ‬

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