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тАл┬ПтАк┬Х─о┼б─ктАмтАм

тАл┘ЛтАм тАл┘ЛтАм тАл┘Ия║Чя╗Шя║кя╗│я║о╪з я╗Яя║Шя╗Ая║дя╗┤я║О╪к ╪гя║Ся╗ия║О╪б ╪зя╗Яя╗оя╗Гя╗жтАм тАл╪ея║Яя╗╝я╗╗тАм тАля╗зя╗Шя╗ТтАм

тАл╪п я╗Ля║Тя╗┤я║к я╗Ля╗ая╗▓ ╪▒╪зя║╖я║к ╪зя╗Яя╗дя╗ия║╝я╗о╪▒┘КтАм

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

тАл╪гя╗Ыя║к я║│я╗Мя║О╪п╪й ╪зя╗Яя║кя╗Ыя║Шя╗о╪▒ я╗Ля║Тя╗┤я║к я╗Ля▓З ╪▒╪зя║╖я║к ╪зя│Мя╗ия║╝я╗о╪▒┘К я╗зя║Оя║Ля║Р я║│я╗дя╗о я╗гя║кя╗│я║о я╗Ля║О┘Е я╗гя║оя╗Ыя║░ я║│я╗ая╗Дя║О┘Ж я║Ся╗ж ╪▓╪зя╗│я║ктАк ╪МтАм╪г┘Ж я╗│я╗о┘Е ╪зя╗Яя║╕я╗мя╗┤я║к я╗гя╗ия║Оя║│я║Тя║Ф ┘Ия╗Гя╗ия╗┤я║Ф я╗Пя║Оя╗Яя╗┤я║ФтАм тАл┘Ия╗Ля║░я╗│я║░╪й я╗Ля▓Ж я╗Чя╗ая╗о╪и я║Яя╗дя╗┤я╗К ╪гя║Ся╗ия║О╪б ╪зя╗Яя╗оя╗Гя╗ж ┘И╪зя│Мя╗Шя╗┤я╗д┘Ж┘К я╗Ля▓Ж ╪г╪▒╪╢ ╪п┘Ия╗Яя║Ф ╪зя╗╗я╗гя║О╪▒╪з╪к ╪зя╗Яя╗Мя║оя║Ся╗┤я║Ф ╪зя│Мя║Шя║дя║к╪йтАк.тАмтАм тАл┘Ия╗Чя║О┘Д я░▓ я╗Ыя╗ая╗дя║Ф ┘Е╪ия╗ия║Оя║│я║Тя║Ф я╗│я╗о┘Е ╪зя╗Яя║╕я╗мя╗┤я║к "╪ея╗зя╗ия║О я░▓ я╗ля║м┘З ╪зя│Мя╗ия║Оя║│я║Тя║Ф ╪зя╗Яя╗оя╗Гя╗ия╗┤я║Ф я╗зя║┤я║Шя║мя╗Ыя║о я║Ся╗Ья╗Ю ╪ея║Яя╗╝┘Д ┘Ия║Чя╗Шя║кя╗│я║о я║Чя╗Ая║дя╗┤я║О╪к я║╖я╗мя║к╪з╪б ╪зя╗Яя╗оя╗Гя╗ж ╪зя╗╖я║Ся║о╪з╪▒ ╪зя╗Яя║мя╗│я╗жтАм тАля╗Чя║кя╗гя╗о╪з ╪г╪▒┘И╪зя║гя╗мя╗в ╪зя╗Яя╗Ря║Оя╗Яя╗┤я║Ф я╗Уя║к╪з╪б я╗Яя╗ая╗оя╗Гя╗ж ┘Ия║Чя╗ая║Тя╗┤я║Ф я╗Яя╗ия║к╪з╪б ╪зя╗Яя╗о╪зя║Яя║РтАк.тАмтАм тАл┘И╪гя╗Ыя║к я║│я╗Мя║О╪пя║Чя╗к ╪г┘Ж ╪зя╗╗я║гя║Шя╗Фя║О╪б я║Ся╗┤я╗о┘Е ╪зя╗Яя║╕я╗мя╗┤я║к я╗Ыя╗Ю я╗Ля║О┘Е я║Яя║О╪б я║Чя╗ия╗Фя╗┤я║м╪з┘Л я╗Яя║Шя╗оя║Яя╗┤я╗мя║О╪к я║╗я║Оя║гя║Р ╪зя╗Яя║┤я╗дя╗о ╪зя╗Яя║╕я╗┤я║ж я║зя╗ая╗┤я╗Фя║Ф я║Ся╗ж ╪▓╪зя╗│я║к ╪в┘Д я╗зя╗мя╗┤я║О┘Ж ╪▒я║Ля╗┤я║▓ ╪зя╗Яя║к┘Ия╗Яя║ФтАм тАля║гя╗Фя╗Ия╗к ╪зя╗Яя╗ая╗к я║Чя║ия╗ая╗┤я║к╪з┘Л ┘И┘Ия╗Уя║О ┘Л╪б ┘Ия╗Ля║оя╗Уя║Оя╗зя║О┘Л я│Мя╗ж я║Ся║мя╗Яя╗о╪з ┘И┘Ия╗ля║Тя╗о╪з ╪г╪▒┘И╪зя║гя╗мя╗в я╗Яя║Шя╗Ия╗Ю ╪▒╪зя╗│я║Ф ╪п┘Ия╗Яя║Ф ╪зя╗╣я╗гя║О╪▒╪з╪к ╪зя╗Яя╗Мя║оя║Ся╗┤я║Ф ╪зя│Мя║Шя║дя║к╪й я║зя╗Фя║Оя╗Чя║Ф я╗Ля║Оя╗Яя╗┤я║Ф я║Чя╗ия┤й я╗Чя╗┤я╗втАм тАл╪зя╗Яя║Шя║┤я║Оя╗гя║в ┘Ия║Чя║дя╗Шя╗Ц ╪зя╗╖я╗гя╗ж ┘И╪зя╗╗я║│я║Шя╗Шя║о╪з╪▒тАк.тАмтАм тАл┘И╪гя║┐я║О┘Б " ╪ея╗зя╗ия║О я░▓ я╗ля║м╪з ╪зя╗Яя╗┤я╗о┘Е ╪зя╗Яя║м┘К я╗│я║Шя║░╪зя╗гя╗ж я╗гя╗К ╪░я╗Ыя║о┘Й ┘Ия╗Гя╗ия╗┤я║Ф я╗Пя║Оя╗Яя╗┤я║Ф ┘Ия╗ля╗▓ ╪зя╗Яя╗┤я╗о┘Е ╪зя╗Яя╗оя╗Гя╗ия╗▓ ╪зя╗Я┘А тАк 48тАмя╗Яя║к┘Ия╗Яя║Ф ╪зя╗╣я╗гя║О╪▒╪з╪к я╗зя╗Шя╗Т ╪ея║Яя╗╝я╗╗┘Л ┘Ия║Чя╗Шя║кя╗│я║о╪з┘ЛтАм тАля╗Яя║Шя╗Ая║дя╗┤я║О╪к ╪гя║Ся╗ия║О╪б ╪зя╗Яя╗оя╗Гя╗жтАк ╪МтАмя╗гя║Тя║Шя╗мя╗а┘Ж┘К ╪ея▒Г ╪зя╗Яя╗ая╗к ╪зя╗Яя╗Мя▓З ╪зя╗Яя╗Шя║кя╗│я║о ╪г┘Ж ┘Пя╗│я║┤я╗Ья╗ж я║╖я╗мя║к╪з╪бя╗зя║О я╗Уя║┤я╗┤я║в я║Яя╗ия║Оя║Чя╗к ┘И╪г┘Ж я╗│я║ая║░┘К ╪░┘Ия╗│я╗мя╗в ╪зя╗Яя║мя╗│я╗ж я┤Ря║Ся╗о╪з ╪гя╗гя║Ья╗ая║Ф ╪▒╪зя╗Чя╗┤я║ФтАм тАля░▓ ╪зя╗Яя║╝я▒к ┘И╪зя╗Яя║Шя║дя╗дя╗Ю я╗Ыя╗Ю я║з╪▒┘КтАк.тАмтАм тАл┘Ия║╖я║к╪п ╪зя╗Яя║кя╗Ыя║Шя╗о╪▒ я╗Ля║Тя╗┤я║к ╪зя│Мя╗ия║╝я╗о╪▒┘К я╗Ля▓Ж ╪г┘Ж я╗│я╗о┘Е ╪зя╗Яя║╕я╗мя╗┤я║к я║│я╗┤я╗Ия╗Ю я░▓ ╪зя╗Яя║м╪зя╗Ыя║о╪й я║гя║Оя╗г ┘Ля╗╝ ╪гя╗Ля╗Ия╗в я╗гя╗Мя║О┘К┘Ж ╪зя╗╗я╗зя║Ш╪з┘Е╪б ┘И╪зя╗Яя╗оя╗╗╪б я╗Яя╗ая╗оя╗Гя╗ж ┘Ия╗Чя╗┤я║О╪пя║Чя╗к ╪зя╗Яя║дя╗Ья╗┤я╗дя║ФтАк╪МтАмтАм тАля╗гя║Тя╗┤я╗ия║О┘Л ╪г┘Ж я╗Чя║о╪з╪▒ я║╗я║Оя║гя║Р ╪зя╗Яя║┤я╗дя╗о ╪зя╗Яя║╕я╗┤я║ж я║зя╗ая╗┤я╗Фя║Ф я║Ся╗ж ╪▓╪зя╗│я║к ╪в┘Д я╗зя╗мя╗┤я║О┘ЖтАк ╪МтАм╪▒я║Ля╗┤я║▓ ╪зя╗Яя║к┘Ия╗Яя║ФтАк ╪МтАмя║гя╗Фя╗Ия╗к ╪зя╗Яя╗ая╗ктАк ╪МтАмя║Ся║Д┘Ж я╗│я╗Ья╗о┘Ж тАк 30тАмя╗зя╗оя╗Уя╗дя▒к я╗гя╗ж я╗Ыя╗Ю я╗Ля║О┘Е я╗гя╗ия║Оя║│я║Тя║ФтАм тАл┘Ия╗Гя╗ия╗┤я║ФтАк ╪МтАмя╗│я║ая║┤я║к я╗гя║к┘Й ╪з╪▒я║Чя║Тя║О╪╖ ╪зя╗Яя╗Шя╗┤я║О╪п╪й я║Ся║╕я╗Мя║Тя╗мя║О ┘Ия║Чя╗Шя║кя╗│я║оя╗ля║О я╗Яя╗Мя╗Дя║Оя║Ля╗мя╗в ┘Ия║Чя╗Ая║дя╗┤я║Оя║Чя╗мя╗в я╗гя╗ж ╪гя║Яя╗Ю ╪гя╗гя╗ж ┘И╪зя║│я║Шя╗Шя║о╪з╪▒ ┘Ия╗Ля║░╪й ╪зя╗Яя╗оя╗Гя╗жтАк ╪МтАмя╗Ы╪з┘Е ╪гя╗зя╗к я║Яя║О╪б я╗Яя╗┤я║ия╗ая║ктАм тАля░▓ ╪░╪зя╗Ыя║о╪й ╪зя╗Яя║Шя║О╪▒я╗│я║ж я║Ся║Дя║гя║о┘Б я╗гя╗ж я╗зя╗о╪▒ я╗гя║Вя║Ыя║о я╗гя║а ┘Ня║к ┘Ия╗Уя║ия║о я│Мя╗ж ╪зя╗Уя║Шя║к┘И╪з ╪зя╗Яя╗оя╗Гя╗ж я║Ся║кя╗гя║Оя║Ля╗мя╗в ┘И╪г╪▒┘И╪зя║гя╗мя╗в ╪зя╗Яя╗Дя║Оя╗ля║о╪йтАк .тАм┘И┘Е╪ия╗ия║Оя║│я║Тя║Ф ╪зя╗Яя╗┤я╗о┘Е ╪зя╗Яя╗оя╗Гя╗ия╗▓ ╪зя╗Я┘А тАк48тАмтАм тАля╗Яя║к┘Ия╗Яя║Ф ╪зя╗╣я╗гя║О╪▒╪з╪ктАк ╪МтАм╪▒я╗Уя╗К я║│я╗Мя║О╪п╪й ╪зя╗Яя║кя╗Ыя║Шя╗о╪▒ я╗Ля║Тя╗┤я║к ╪зя│Мя╗ия║╝я╗о╪▒┘К ╪гя║│я╗дя╗░ ╪вя╗│я║О╪к ╪зя╗Яя║Шя╗мя║О┘К┘Ж ┘И╪зя╗Яя║Шя▒кя╗│я╗Ья║О╪к ╪ея▒Г я╗гя╗Шя║О┘Е я║╗я║Оя║гя║Р ╪зя╗Яя║┤я╗дя╗о ╪зя╗Яя║╕я╗┤я║ж я║зя╗ая╗┤я╗Фя║Ф я║Ся╗ж ╪▓╪зя╗│я║ктАм тАл╪в┘Д я╗зя╗мя╗┤я║О┘Ж ╪▒я║Ля╗┤я║▓ ╪зя╗Яя║к┘Ия╗Яя║Ф я║гя╗Фя╗Ия╗к ╪зя╗Яя╗ая╗ктАк ╪МтАм┘Ия║╗я║Оя║гя║Р ╪зя╗Яя║┤я╗дя╗о ╪зя╗Яя║╕я╗┤я║ж я╗гя║дя╗дя║к я║Ся╗ж ╪▒╪зя║╖я║к ╪в┘Д я╗гя╗Ья║Шя╗о┘Е я╗зя║Оя║Ля║Р ╪▒я║Ля╗┤я║▓ ╪зя╗Яя║к┘Ия╗Яя║Ф ╪▒я║Ля╗┤я║▓ я╗гя║ая╗ая║▓ ╪зя╗Яя╗о╪▓╪▒╪з╪бтАм тАля║гя║Оя╗Ыя╗в ╪п┘К╪итАк ╪МтАм┘Ия║╗я║Оя║гя║Р ╪зя╗Яя║┤я╗дя╗о ╪зя╗Яя║╕я╗┤я║ж я╗гя║дя╗дя║к я║Ся╗ж ╪▓╪зя╗│я║к ╪в┘Д я╗зя╗мя╗┤я║О┘Ж ┘Ия▒Д я╗Ля╗мя║к ╪гя║Ся╗оя╗Зя║Тя╗▓ я╗зя║Оя║Ля║Р ╪зя╗Яя╗Шя║Оя║Ля║к ╪зя╗╖я╗Ля▓Ж я╗Яя╗ая╗Шя╗о╪з╪к ╪зя│Мя║┤я╗ая║дя║ФтАк ╪МтАм┘И╪ея║зя╗о╪зя╗зя╗мя╗втАм тАл╪гя║╗я║дя║О╪и ╪зя╗Яя║┤я╗дя╗о ╪гя╗Ля╗Ая║О╪б ╪зя│Мя║ая╗ая║▓ ╪зя╗╖я╗Ля▓Ж я║гя╗Ья║О┘Е ╪зя╗╣я╗гя║О╪▒╪з╪ктАк.тАмтАм тАля╗зя╗Мя▒к я║│я╗ия║Ф я║Ся╗Мя║к ╪гя║зя║о┘Й я╗Ля╗ж я╗Уя║ия║оя╗зя║О ┘И╪зя╗Ля║Шя║░╪з╪▓я╗зя║О я║Ся╗Шя╗┤я║О╪пя║Чя╗ия║О ╪зя╗Яя║оя║╖я╗┤я║к╪йтАк ╪МтАм┘Ия╗гя║ОтАм тАл┘И╪гя╗Ыя║к ╪г┘Ж ╪░я╗Ыя║о┘Й я╗Чя╗┤я║О┘Е ╪зя║Чя║дя║О╪п ╪зя╗╣я╗гя║О╪▒╪з╪к я╗Уя║оя║╗я║Ф я╗Яя║Шя║ая║кя╗│я║к ╪зя╗Яя╗Мя╗мя║ктАк ╪МтАм┘Ия╗Я┘К┘Г ┘СтАм тАля║гя╗Шя╗Шя║Шя╗к я╗гя╗ж я╗гя╗ия║ая║░╪з╪к я║гя╗Ая║О╪▒я╗│я║Ф я║Яя╗Мя╗ая║Ц ╪зя╗Яя║Тя╗╝╪п ┘И╪зя║гя║Ф ╪гя╗гя╗ж ┘И╪зя║│я║Шя╗Шя║о╪з╪▒ ┘Ия║з╪▒┘К ┘Ия║│я╗Мя║О╪п╪й ┘Ия║Чя║┤я║Оя╗гя║втАк ╪МтАм┘И╪п┘Ия╗Яя║Ф я║Чя║┤я║Шя┤й┘Б ╪зя│Мя║┤я║Шя╗Шя║Тя╗Ю ┘Ия╗ля╗▓ я║Чя║Тя╗ия╗▓тАм тАл╪зя╗Яя║дя║Оя┤Р я╗гя║Шя╗дя║┤я╗Ья║Ф я║Ся▒░╪зя║Ыя╗мя║О ┘Ия╗Чя╗┤я╗дя╗мя║О ╪зя╗Яя║Шя╗▓ ┘Ия║┐я╗Мя╗мя║О ╪зя╗╡я║Ся║О╪б ╪зя│Мя║Жя║│я║┤я╗о┘Ж ┘Ия░▓ я╗гя╗Шя║кя╗гя║Шя╗мя╗в ╪зя│Мя╗Ря╗Фя╗о╪▒ я╗Яя╗к ╪зя╗Яя║╕я╗┤я║ж ╪▓╪зя╗│я║к ╪▒я║гя╗дя╗к ╪зя╗Яя╗ая╗ктАк.тАмтАм тАл┘И╪зя║зя║Шя║Шя╗в я║│я╗Мя║О╪п╪й ╪зя╗Яя║кя╗Ыя║Шя╗о╪▒ я╗Ля║Тя╗┤я║к я╗Ля▓Ж ╪▒╪зя║╖я║к ╪зя│Мя╗ия║╝я╗о╪▒┘К я╗Ыя╗ая╗дя║Шя╗к я║Ся║Оя╗Яя╗Шя╗о┘Д " ╪ея╗зя╗ия║О ┘Ия╗зя║дя╗ж я╗зя║дя║Шя╗Фя╗▓ я║Ся║Оя╗Яя╗┤я╗о┘Е ╪зя╗Яя╗оя╗Гя╗ия╗▓ я░▓ я╗гя║оя╗Ыя║░ я║│я╗ая╗Дя║О┘Ж я║Ся╗ж ╪▓╪зя╗│я║ктАк╪МтАмтАм тАля╗зя║Шя║мя╗Ыя║о я║Ся╗Ья╗Ю я╗Уя║ия║о ┘И╪ея║Яя╗╝┘Д я╗Ля║░я╗│я║░╪з┘Л ╪▒я║гя╗Ю я╗Ля╗ия║О я╗Чя║Тя╗Ю ╪гя╗│я║О┘Е ┘Ия╗ля╗о ╪зя│Мя╗Ря╗Фя╗о╪▒ я╗Яя╗к ╪зя╗Яя║╕я╗┤я║ж я║│я╗ая╗Дя║О┘Ж я║Ся╗ж ╪▓╪зя╗│я║к ╪в┘Д я╗зя╗мя╗┤я║О┘Ж ╪▒я║гя╗дя╗к ╪зя╗Яя╗ая╗ктАк ╪МтАм╪▒я║Яя╗Ю ╪зя╗Яя╗Мя╗Дя║О╪б ┘И╪зя╗Яя╗Ья║о┘ЕтАм тАл┘И╪зя╗Яя║дя╗ия╗Ья║Ф ┘И╪зя╗Яя╗Мя╗Шя╗ЮтАк ╪МтАм┘И╪▒я║Яя╗Ю ╪зя╗Яя▒░╪з╪л ╪зя╗Яя╗Мя║о┘К╪итАк ╪МтАм┘И╪зя╗Яя╗Шя║Оя╗гя║Ф ╪зя╗Яя╗оя╗Гя╗ия╗┤я║Ф ╪зя╗Яя╗Ья║Т╪▒┘К╪й ╪зя╗Яя║Шя╗▓ ╪▒╪зя╗Уя╗Шя║Ц ╪зя╗Яя╗Шя║Оя║Ля║к ╪зя│Мя║Жя║│я║▓ ┘Ия║╖я║О╪▒я╗Ыя║Ц я░▓ ┘Ия║┐я╗К ╪гя║│я║▓ ╪п┘Ия╗Яя║Ф ╪зя╗╗я║Чя║дя║О╪птАм тАлтАУ ╪п┘Ия╗Яя║Ф ╪зя╗╣я╗гя║О╪▒╪з╪к ╪зя╗Яя╗Мя║оя║Ся╗┤я║Ф ╪зя│Мя║Шя║дя║к╪йтАк.тАмтАм

тАлтАк90тАмтАм

тАл╪зя╗Яя╗Мя║к╪п тАк ╪М 84тАм╪пя╗│я║┤я╗дя║Тя║о тАк2019тАмтАм

‫اﻷﻗﻞ‪ .‬وﻣﻊ ﺷﻐﻔﻪ وﺳﻌﺔ ﻣﻜﺘﺒﺔ ﻟﻴﺪن وﺛﺮاﺋﻪ‬ ‫ﺑﺎﳌﺨﻄﻮﻃﺎت اﻟﻌﺮﺑﻴﺔ اﻟﺘﻲ ﻧﻬﻞ ﻣﻨﻬﺎ‪ ،‬ﺑﺪأ‬ ‫دو ﺧﻮﻳﻪ ﺑﺠﻤﻊ ﻣﺎ متﻜﻦ ﻣﻦ ﺧﺮاﺋﻂ ﺗﻘﻊ‬ ‫ﻋﻠﻴﻬﺎ ﻳﺪاه‪ ،‬ﻟﻴﺆﻟﻒ ﻣﺆﻟﻔﻪ اﻷﺿﺨﻢ واﻷﻫﻢ‬ ‫واﻟﺬي أﺻﺒﺢ ﻣﺮﺟﻌﺎً ﻋﺎﳌﻴﺎً‪" :‬ﺳﻠﺴﻠﺔ اﳌﻜﺘﺒﺔ‬ ‫اﻟﺠﻐﺮاﻓﻴﺔ اﻟﻌﺮﺑﻴﺔ" ﰲ مثﺎﻧﻴﺔ ﻣﺠﻠﺪات‪ ،‬وﻗﺪ‬ ‫ﺻﺪرت ﻣﺎ ﺑني ﻋﺎﻣﻲ )‪ (1894 1870-‬ﻣﻌﺘﻤﺪاً‬ ‫ﻓﻴﻬﺎ ﻋﲇ ﻣﺨﻄﻮﻃﺎت ﻣﻜﺘﺒﺔ ﻟﻴﺪن اﻟﺸﻬرية‬ ‫وﻣــﺎ اﺧﺘﺰﻧﻪ ووﻗــﻊ ﺑني ﻳﺪﻳﻪ ﻣﻦ وﺛﺎﺋﻖ‬ ‫وﺧﺮاﺋﻂ‪.‬‬ ‫ﺳﻠﺴﻠﺔ اﳌﻜﺘﺒﺔ اﻟﺠﻐﺮاﻓﻴﺔ‪ ،‬أو "ﻣﻜﺘﺒﺔ‬ ‫اﻟﺠﻐﺮاﻓﻴني اﻟﻌﺮب" ﻟﻴﺲ درة أﻋــامل دو‬ ‫ﺧﻮﻳﻪ وﺣﺴﺐ‪ ،‬ﺑﻞ ﻫﻮ اﻷﻛﻤﻞ ﰲ أوروﺑﺎ ﻋﻦ‬ ‫ﻣﺒﺎﺣﺚ اﻟﺠﻐﺮاﻓﻴني اﻟﻌﺮب وﻛﺘﺒﻬﻢ‪ ،‬ﺣﻴﺚ‬ ‫ﺗﻀﻤﻨﺖ ﺗﺤﻘﻴﻘﺎً وﺗﺼﻨﻴﻔﺎً وﻓﻬﺮﺳﺔ ﻷﻣﻬﺎت‬ ‫اﻟﻜﺘﺐ اﻟﺠﻐﺮاﻓﻴﺔ واﻟﺘﺎرﻳﺨﻴﺔ اﻟﻌﺮﺑﻴﺔ اﻟﺘﻲ‬ ‫ﺳﺎر ﻋﲆ ﻧﻬﺠﻬﺎ وﻧﻬﻞ ﻣﻨﻬﺎ ﻣﺴﺘﴩﻗﻮ أوروﺑﺎ‬ ‫واﻟﻌﺎمل ﺑﻌﺪ دوﺧﻮﻳﻪ‪.‬‬ ‫ﺧﺼﺺ دوﺧﻮﻳﻪ اﻟﺠﺰء اﻷول ﻣﻦ اﻟﺴﻠﺴﻠﺔ‬ ‫ﻟﻜﺘﺎب اﳌﺴﺎﻟﻚ واﳌامﻟﻚ ﻟﻺﺻﻄﺨﺮي وﻫﻮ‬ ‫اﻟﻜﺘﺎب اﻟﺬي راﺟﻊ ﻓﻴﻪ اﻹﺻﻄﺨﺮي ﺧﺮاﺋﻂ‬ ‫ﺑﻠﺦ وﻛﺘﺎب اﻟﺒﻠﺨﻲ‪ ،‬ﻛام أﻓﺮد اﻟﺠﺰء اﻟﺜﺎين‬ ‫ﻋﻦ اﳌﺴﺎﻟﻚ واﳌامﻟﻚ ﺑﺘﺤﻘﻴﻖ اﺑﻦ ﺣﻮﻗﻞ‬ ‫اﻷﻧﺪﻟﴘ‪.‬‬ ‫وﺿﻤﺖ اﳌﻜﺘﺒﺔ أﻳﻀﺎً "اﻟﺒﻠﺪان" ﻟﻠﻴﻌﻘﻮيب‬ ‫واﻟﺒﻠﺪان ﻟﻠﻬﻤﺪاين‪ ،‬اﳌﺒﺤﺚ اﻟﺬي ﻧﺎل ﻋﻠﻴﻪ‬ ‫دي ﺧﻮﻳﻪ اﻟﺪﻛﺘﻮراه ﻛام ﺳﻠﻒ‪ ،‬إﻻ أﻧﻪ‬ ‫ﺗﻮﺳﻊ ﺑﻪ ﰲ ﺗﻠﻚ اﻟﺴﻠﺴﻠﺔ وﻧــﴩه ﻛﺎﻣ ًﻼ‬ ‫ﻣﺤﻘﻘﺎً ﻋﲆ ﺗﺤﻘﻴﻘﻪ اﻷوﱄ‪ .‬أﻳﻀﺎً ﺣﻘﻖ‬ ‫وﴍح "ﻓﺘﻮح اﻟﺒﻠﺪان اﻟﺼﻐري" ﻟﻠﺒﻼذري‬ ‫و"اﻟﻌﻴﻮن واﻟﺤﺪاﺋﻖ ﰲ أﺧﺒﺎر اﻟﺤﻘﺎﺋﻖ" وﻫﻮ‬ ‫ﻛﺘﺎب ﻣﺠﻬﻮل اﳌﺆﻟﻒ‪ ،‬و"اﻟﺘﻨﺒﻴﻪ واﻹﴍاف"‬ ‫ٌ‬ ‫ﻟﻠﻤﺴﻌﻮدي‪ ،‬و"ﺻﻮرة اﻷرض" ﻻﺑﻦ ﺣﻮﻗﻞ‪،‬‬ ‫و"اﻷﻋــﻼق اﻟﻨﻔﻴﺴﺔ" ﻻﺑﻦ رﺳﺘﺔ‪ ،‬و"أﺣﺴﻦ‬ ‫اﻟﺘﻘﺎﺳﻴﻢ ﰲ ﻣﻌﺮﻓﺔ اﻷﻗﺎﻟﻴﻢ" ﻟﻠﻤﻘﺪﳼ‪.‬‬ ‫إﱃ ﺟﺎﻧﺐ ﻛﺘﺎب "اﻟﺨﺮاج" ﻷيب ﻓﺮج ﻗﺪاﻣﺔ‬ ‫ﺑﻦ ﺟﻌﻔﺮ‪ ،‬وﻫﻮ ﻛﺘﺎب ﻳﻌﻨﻰ ﺑﻨﻈﺎم اﻟﱪﻳﺪ‬

‫‪ ǗǔƪǕŌ ǽƳ ǣũōǾŽ ǣǿǷƁǶƂ ǻƞǙŐ‬‬ ‫‪ ǆƉŨǿ ǗǔƳ ɐưƈōƪǘǕŌ ǓǾƚżũǶ‬‬ ‫‪ɰ‬‬ ‫‪ɰ‬‬ ‫ ‪ ǣǕ ǗƞǝŌǶ ȍŒ ōǾǘǔƫ‬‬ ‫‪ōƪǘŴǙ‬‬ ‫‪ ǚƃǾǕ ǳŞŨǈǙ ǳƪƓǶ ǣƲƮƗ ƩǙ‬‬ ‫‪ ǽŨǕŌ ǳǾşƉƪǕŌ ŦōƣǷƢƀǘǕōş ǣȃŌƉŭǶ‬‬ ‫‪ ōǙ ƩǘŴş ǣǿǷƁ ǶƂ Őƃş ɐōǤǜǙ ǓǤǝ‬‬ ‫‪ǢŌƃǿ ōǤǾǔƫ Ʃǂũ ơȃŌƉƁ ǛǙ Ǜǈǘũ‬‬ ‫‪ ǀȎƁȏŌ ƉǾƮŨũ ƱǾǉ ǳǃƃş Ʊƚǿ‬‬ ‫‪ɰ‬‬ ‫‪ ƉŬǈǿ ūǾŽ ōǾǉƉũ ǢōŴũōş ŌƂǷƪƛ‬‬ ‫‪ ǳƪǿƃƀǕŌ ƉŬǈũǶ ƊŌƋŨşȍŌ‬‬

‫واﻹدارة واﻟﺠﺒﺎﻳﺔ وﻳــﴩح ﺑﺪﻗﺔ اﻟﻮﺿﻊ‬ ‫اﻻﺟﺘامﻋﻲ ﰲ اﻟﺒﻼد‪.‬‬ ‫‪ũǉƹƵơƴŢ ƿŭǉƹǀŘ‬‬

‫ﰲ اﻟﺤﻘﻴﻘﺔ‪ ،‬إن أﻓﻀﺎل دو ﺧﻮﻳﻪ اﻟﻌﻠﻤﻴﺔ‬ ‫واﻟﺒﺤﺜﻴﺔ ﻻ ﺗﺤﴡ وﻻ ﺗﺤﴫ‪ ،‬إذ إﻧﻪ اﻟﺘﻔﺖ‬ ‫إﱃ ﺟﺎﻧﺐ اﻟﺠﻐﺮاﻓﻴﺔ واﻟﺠﻐﺮاﻓﻴني اﻟﻌﺮب‬ ‫اﻟﺬي مل ﻳﱪع ﻓﻴﻪ أﺣﺪ ﻣﺜﻠﻪ ﺑني اﳌﺴﺘﴩﻗني‪،‬‬ ‫ﻓﺎﺳﺘﺤﴬ ﻛﺘﺒﺎً ﻏﺎﻳﺔ ﰲ اﻷﻫﻤﻴﺔ وأﻋﺎد ﻧﴩﻫﺎ‪،‬‬ ‫ﻓﺈﱃ ﺟﺎﻧﺐ ﻣﺎ ذﻛﺮﻧﺎ أﻳﻀﺎً ﺣﻘﻖ وﻧﴩ رﺣﻠﺔ‬ ‫اﺑﻦ ﺟﺒري وﻧﺰﻫﺔ اﳌﺸﺘﺎق ﻟﻺدرﻳﴘ وﻛﺘﺎب‬ ‫ﺗﺎرﻳﺦ اﻟﺮﺳﻞ واﳌﻠﻮك ﻟﻠﻄﱪي اﻟﺬي ﻳﻌﺪ‬ ‫أول ﻣﺼﻨﻒ ﺗﺎرﻳﺦ ﺑﺎﻟﻌﺮﺑﻴﺔ ﻣﻨﺬ ﻣﻄﻠﻊ‬ ‫اﻟﺘﺎرﻳﺦ إﱃ أﻳﺎم اﻟﻄﱪي‪ ،‬وﻗﺪ ﻧﴩه دو ﺧﻮﻳﻪ‬ ‫ﻟﻠﻤﺮة اﻷوﱃ ﰲ ﻟﻴﺪن ‪ 1898‬وﺟﺎء ﰲ ‪15‬‬ ‫ﻣﺠﻠﺪاً ﺑﺎﻟﺘﻌﺎون ﻣﻊ ﻋﺪد ﻣﻦ اﳌﺴﺘﴩﻗني‬ ‫اﳌﺘﺨﺼﺼني ﰲ أوروﺑﺎ ﻣﻊ اﻟﻜﺜري ﻣﻦ اﻟﺠﻬﻮد‬ ‫اﻟﺒﺤﺜﻴﺔ ﳌﺨﻄﻮﻃﺎت ﻣﺘﺼﻠﺔ ﺑﺘﺎرﻳﺦ اﻟﻄﱪي‬ ‫ﺣﻮل اﻟﻌﺎمل‪ ،‬ﻫﺬا إﱃ ﺟﺎﻧﺐ اﻟﻜﺎﻣﻞ ﰲ اﻟﺘﺎرﻳﺦ‬ ‫ﻻﺑﻦ أﺛري ﺗﺎرﻳﺦ ﻣﻜﺔ ﻟﻸزرﻗﻲ وﺗﺠﺎرب اﻷﻣﻢ‬ ‫ﻻﺑﻦ ﻣﺴﻜﻮﻳﻪ وﻏريﻫﺎ اﻟﻜﺜري‪.‬‬ ‫وﻟﻌﻞ ﺧﺼﻮﺻﻴﺔ دوﺧﻮﻳﻪ ﺗﺒﺪو ﺟﻠﻴ ًﺔ ﰲ ﻓﺘﺢ‬ ‫اﻟﻌﻠﻮم ﻋﲆ ﺑﻌﻀﻬﺎ اﻟﺒﻌﺾ مبﻨﻬﺠﻴﺔ ﻣﻨﻘﻄﻌﺔ‬

‫اﻟﻨﻈري‪ ،‬إذ ﺗﺘﺼﻞ اﻟﺠﻐﺮاﻓﻴﺔ ﺑﺎﻻﻗﺘﺼﺎد‬ ‫واﻟﺘﺎرﻳﺦ وﻃــﺮق اﻟﺠﺒﺎﻳﺔ واﻹﺣﺼﺎﺋﻴﺎت‬ ‫اﻟﺪميﻮﻏﺮاﻓﻴﺔ ﺑﺎﺳﺘﻈﻬﺎر ﻓﺮﻳﺪ وﺳﻼﺳﺔ ﻋﺠﻴﺒﺔ‪.‬‬ ‫إﱃ ﺟﺎﻧﺐ دﻗﺔ دوﺧﻮﻳﻪ ووﺿﻪ اﳌﻘﺪﻣﺎت‬ ‫واﻟﻔﻬﺎرس واﻟﴩوح‪ .‬ﻟﺘﺴﻬﻴﻞ ﻋﻤﻞ اﻟﺒﺎﺣﺜني‬ ‫ﻣﻦ ﺑﻌﺪه‪ ،‬ﻓﻘﺪ أﻋﺎد ﺗﺮﺗﻴﺐ وﺗﺼﻨﻴﻒ ﻛﻞ‬ ‫اﳌﺨﻄﻮﻃﺎت اﻟﺘﻲ ﺣﻘﻘﻬﺎ ووﺿﻊ ﻟﻬﺎ ﻓﻬﺎرس‬ ‫ﻛﺒرية ﻣﻦ ﻣنت اﻟﺘﺤﻘﻴﻖ‪ .‬أﺿﻒ إﱃ ذﻟﻚ‬ ‫اﻟﺘﻘﺎوﻳﻢ واﻟﺘﺄرﻳﺦ واﻟﺘﻬﻤﻴﺶ واﻟﺘﻌﻠﻴﻖ‬ ‫وﻣﺮاﺟﻌﺔ اﻟﺘﺤﻘﻴﻖ ﺑﺎﻟﺘﺤﻘﻴﻖ‪ ،‬ﻓﻜﺎن ﻳﺼﺪر‬ ‫ﺗﺤﻘﻴﻘﺎً ﰲ ﻛﺘﺎب وﻳﻠﺤﻘﻪ ﺑﺘﺤﻘﻴﻖ ﻋﲆ ﻣﺎ‬ ‫أﻧﺠﺰ ﰲ ﻣﺒﺎﺣﺜﻪ اﻟﺼﻐرية اﻟﺘﻲ ﻛﺎﻧﺖ ﺗﻨﴩ‬ ‫ﺑﺎﳌﺠﻼت واﻟﺪورﻳﺎت‪.‬‬ ‫ﰲ ﺧﻼﺻﺔ اﻷﻣﺮ ﻟﻘﺪ ﻛﺎن دوﺧﻮﻳﻪ ﻧﻬﺮاً داﺋﻢ‬ ‫اﻟﺘﺪﻓﻖ واﻟﻌﻄﺎء ﺣﺘﻰ ﻣﺎت وﻟﻪ ﻣﻦ اﻟﻌﻤﺮ‬ ‫‪ 72‬ﻋﺎﻣﺎً ﺗﺎرﻛﺎً ﻣﺌﺎت اﳌﺼﻨﻔﺎت واﳌﺆﻟﻔﺎت‬ ‫اﻟﺘﻲ ﻻ ﺗﺤﴡ ﰲ ﻣﺜﻞ ﺗﻠﻚ اﳌﻘﺎﻻت‪.‬‬ ‫اﻟﺸﻌﺮ ‪baytelshear‬‬ ‫ﺑﻴﺖ ِ‬

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‫‪ ĮŇŒ ŗŕ‬‬

‫ ‪ ƿǈǃż ǂž ƳǉƍǉƸ‬‬ ‫‪ũǉƨŢƃƥŵƴŢǂ ƆƂţǁƩƴŢ ƯƵƸ‬‬ ‫ ‪ũǉŦƃơƴŢ‬‬

‫ﻫﺎﻧﻲ ﻧﺪﻳﻢ‬

‫ﻳﺠﺮي ﻋﲆ ﻟﺴﺎن اﻷوروﺑﻴني ٌ‬ ‫ﻣﺜﻞ ﻳﻘﻮل‪:‬‬ ‫ﻣﺒﻬﺞ وﺧﺎص‪،‬‬ ‫"ﻛﻞ ﻣﺎ ﻳﺄيت ﻣﻦ ﻫﻮﻟﻨﺪا ٌ‬ ‫ذﻟﻚ أﻧﻬﺎ ﺑﻼد اﻟﺘﻔﺎﺻﻴﻞ"‪ ،‬وﺑﺎﻟﻔﻌﻞ‪ ،‬ﺑﺪأت‬ ‫أﻗﻴﺲ وأﻃﺒﻖ ﻫﺬا اﳌﺜﻞ ﻛﻠام ﺗﻌرثت مبﻔﺮدة‬ ‫ﻫﻮﻟﻨﺪﻳﺔ ﻓﻮﺟﺪﺗﻪ ﺻﺎدﻗﺎً إﱃ ﺣ ٍﺪ ﺑﻌﻴﺪ‪.‬‬ ‫وأﺧﺺ‬ ‫ﺧﺎﺻ ًﺔ ﰲ ﻣﺎ ﻳﺘﻌﻠﻖ ﺑﺎﻟﱰاﺟﻢ واﻟﺴري‪،‬‬ ‫ّ‬ ‫ﻣﻦ اﻟﱰاﺟﻢ واﻷﻋﻼم‪ ،‬اﳌﺴﺘﴩﻗني ﻣﻨﻬﻢ‪،‬‬ ‫إذ إن ﻛﻞ ﻣﺴﺘﴩق ﻫﻮﻟﻨﺪي اﻃﻠﻌﺖ ﻋﲆ‬ ‫ﺗﺠﺮﺑﺘﻪ ﻛﺎن ﰲ ﻣﻨﺘﻬﻰ اﻟﺨﺼﻮﺻﻴﺔ واﻟﺒﻬﺠﺔ‪.‬‬

‫ﰲ ﺣﻘﻴﻘﺔ اﻷﻣﺮ ﻻ أﻋﺮف ﻫﻞ ﻳﻌﻮد ذﻟﻚ‬ ‫إﱃ ﻃﺒﻴﻌﺔ اﻟﻬﻮﻟﻨﺪﻳني أم إﱃ وﺟﻮد ﺟﺎﻣﻌﺔ‬ ‫ﻟﻴﺪن اﻟﺘﻲ ﺗﻌﺘﱪ ﻗﺒﻠﺔ اﳌﺴﺘﴩﻗني اﻷوروﺑﻴني‬ ‫مبﻨﺎﻫﺠﻬﺎ اﻟﻌﻈﻴﻤﺔ وﻣﻜﺘﺒﺘﻬﺎ اﻟﻬﺎﺋﻠﺔ‪ .‬وﻟﻜﻦ‬ ‫ﻣﻬام ﻳﻜﻦ‪ ،‬ﻓﺈن ﻣﺎ ﻳﺄيت ﻣﻨﻬﺎ ﺑﺎﻟﺤﻖ‪ ،‬ﻣﺒﻬﺞ‬ ‫وﻣﺨﺘﻠﻒ‪.‬‬ ‫ﻣﻴﺸﻴﻞ دو ﺧﻮﻳﻪ‪ ،‬اﳌﺴﺘﴩق اﻟﻬﻮﻟﻨﺪي‬ ‫اﻟﻌﻈﻴﻢ ﺑﺤﺴﺐ وﺻﻒ اﳌﻌﺎﺟﻢ وﻣﻦ درس‬ ‫ﻣﻌﻪ أو ﻋــﺎﴏه‪ ،‬أﺣــﺪ أوﻟﺌﻚ اﻟﻬﻮﻟﻨﺪﻳني‬ ‫ﻣﻤﻦ ﺗﺮﻛﻮا ﺑﺼﻤﺔ ﻣﺒﻬﺠﺔ وﻣﺨﺘﻠﻔﺔ ﰲ ﻋﺎمل‬ ‫اﻻﺳﺘﴩاق ﻣﺤﻘﻘﺎً وﺑﺎﺣﺜﺎً وأﻛﺎدميﻴﺎً وﻧﺎﻗﺪاً‬ ‫وﻧﺎﴍاً‪.‬‬ ‫وﻟﺪ دوﺧﻮﻳﻪ ﰲ ﻗﺮﻳﺔ درورﻳــﺐ مبﻘﺎﻃﻌﺔ‬ ‫ﻓﺮﻳﺴﻠﻨﺪ ﺷامل ﻫﻮﻟﻨﺪا‪ 1836 ،‬ﻟﻴﺘﺪرج ﰲ‬ ‫اﻟﻌﻠﻢ ﺑﺸﻜﻞ ﻃﺒﻴﻌﻲ وﻳﺪﺧﻞ ﺟﺎﻣﻌﺔ ﻟﻴﺪن‬

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‫اﻟﻌﺪد ‪ ، 84‬دﻳﺴﻤﺒﺮ ‪2019‬‬

‫ﻣﺘﺨﺼﺼﺎً ﰲ اﻟﺪراﺳﺎت اﻟﴩﻗﻴﺔ ﻣﻜﺎمنﺎ درس اﳌﻠﻜﻴﺔ اﻟﻬﻮﻟﻨﺪﻳﺔ ﻟﻠﻌﻠﻮم‪ .‬ووﻇﻒ ﻛﺎﻣﻞ‬ ‫ﻋﲆ ﻳﺪ ﻛﺒﺎر اﻷﺳــﺎﺗــﺬة ﰲ ﻋﴫﻫﻢ ﻣﺜﻞ ﺣﻴﺎﺗﻪ ﻟﻠﻌﻠﻮم اﳌﴩﻗﻴﺔ وﻛــﺎن ﻳﻨﴩ ﰲ‬ ‫اﻟﺪورﻳﺎت ﺑﻜﻞ ﻛﺜﺎﻓﺔ إﱃ ﺟﺎﻧﺐ ﻣﺤﺎﴐاﺗﻪ‬ ‫رﻳﻨﻬﺮت دوزي ودﺑﻠﻴﻮ ﻳﻮﻧﻴﺒﻮل‪.‬‬ ‫ﻋﺎم ‪ 1860‬ﺣﺼﻞ دوﺧﻮﻳﻪ ﻋﲆ اﻟﺪﻛﺘﻮراه وﻣﺼﻨﻔﺎﺗﻪ‪.‬‬ ‫ﺑﺮﺳﺎﻟﺔ ﻛﺎﻧﺖ ﻋﻦ "ﻛﺘﺎب اﻟﺒﻠﺪان ﻟﻠﻴﻌﻘﻮيب"‬ ‫وﻋني أﺳﺘﺎذاً ﻣﺴﺎﻋﺪاً ﺛﻢ أﺳﺘﺎذ ﻛﺮﳼ‪ ،‬إﱃ أن ‪ũǉƨŢƃƥŵƴŢǂ ƿǈǃżǂž‬‬ ‫ﺷﻬﺪت ﻛﺘﺐ اﻟﺨﺮاﺋﻂ واﻟﺠﻐﺮاﻓﻴﺔ ﺗﻄﻮراً‬ ‫ﺑﻠﻎ اﻟﺴﺒﻌني‪.‬‬ ‫أﻣﴣ دوﺧﻮﻳﻪ ﺣﻴﺎﺗﻪ ﰲ اﻟﻌﻠﻢ وﺗﺤﺼﻴﻞ ﻛﺒرياً ﰲ اﻟﻘﺮن اﻟﺜﺎﻣﻦ ﻋﴩ‪ ،‬وﺑﺪأ اﻻﻟﺘﻔﺎت‬ ‫اﳌﻌﺎرف‪ ،‬ﻓﻠﻢ ﻳﱰك ﻣﺠﻤﻌﺎً ﻋﻠﻤﻴﺎً إﻻ واﻧﻀﻢ ﻟﻬﺎ ﻳﺰداد ﻣﻊ ازدﻳﺎد ﻋﺪد اﻟﺮﺣﺎﻟﺔ واﻟﺨﺮاﺋﻂ‬ ‫ﻟﻪ‪ ،‬ﻓﻘﺪ ﻛﺎن ﻋﻀﻮاً ﰲ اﻷﻛﺎدميﻴﺔ اﻟﺒﺎﻓﺎرﻳﺔ اﳌﻘﱰﺣﺔ ﻟﻠﻤﻨﺎﻃﻖ اﻟﻌﺮﺑﻴﺔ ﰲ ﻇﻞ أﻃامع‬ ‫ﻟﻠﻌﻠﻮم واﻟﻌﻠﻮم اﻹﻧﺴﺎﻧﻴﺔ‪ ،‬وﻋــﻀــﻮاً ﰲ أوروﺑﺎ اﻻﺳﺘﻌامرﻳﺔ واﻟﺘﻮﺳﻌﻴﺔ اﻟﺘﻲ ﺑﺪأت‬ ‫أﻛﺎدميﻴﺔ اﻟﻌﻠﻮم ﰲ ﻏﻮﺗﻴﻨﻐﻦ‪ ،‬واﻷﻛﺎدميﻴﺔ ﺑﺎﻟﺘﻐﻮل واﻻﻧﺘﺸﺎر ﻓﺎزدﻫﺮ ﻋﻠﻢ اﻟﺠﻐﺮاﻓﻴﺔ‬ ‫اﳌﻠﻜﻴﺔ اﻟﺪمنﺎرﻛﻴﺔ ﻟﻠﻌﻠﻮم واﻵداب إﱃ ﺟﺎﻧﺐ واﻟﺮﺳﻢ اﻟﺠﻐﺮاﰲ‪ ،‬اﻟﻌﻠﻢ اﻟﺬي ﻛﺎن اﻟﻌﺮب‬ ‫اﻷﻛﺎدميﻴﺎت‪ :‬اﻟﺮوﺳﻴﺔ‪ ،‬وأﻛﺎدميﻴﺔ ﺳﺎﻧﺖ ﻗﺪ ﺑﻠﻐﻮا ﺑﻪ اﳌﻨﺘﻬﻰ وﻧﺒﻐﻮا ﺑﻮﺿﻊ ﺗﺼﻮراﺗﻬﻢ‬ ‫ﺑﻄﺮﺳﱪغ‪ ،‬واﻷﻛﺎدميﻴﺔ اﻟﻬﻨﻐﺎرﻳﺔ‪ ،‬واﻷﻛﺎدميﻴﺔ اﻟﺠﻐﺮاﻓﻴﺔ ﻟﻠﻌﺎمل ﻣﻨﺬ أﻟﻒ ﻋﺎم ﻗﺒﻞ ﻫﺬا ﻋﲆ‬

‫ﻫﺎدف اﻟﺪرﻋﻲ‬ @aldr3e_h

¼&°* Í@@ + @@ @ @ E @ R @ @Db@@ @ @£@ @ @ @ @ @+ ¥x@@ @ @ @ s@ @ @ @ A*H @@~@ z@ @ D*H ¾H2 rHx@@ @ @ @ @ @ @D* @@ @ @ @£@ @ @ @ c@ @ @ @ J ¡@@ @ @ @ @ D @@ @F f@@ @ @ @ @ @ @ @ @ +H b@@ @ @ @ @ ~@ 9x@@ @ @ @+ ¥x@@ @ @ @ @ ~@ {@ @ @ @ +* @@~@}@J b@@ @ EH É@@ @ @D* @@ @ £@ @ @ @ ~@@Q8¡@@ @ @ @ @ - @@ @ @ @ @ < @@ @~@7 b@@Gw@@ @ 1b@@ @ @ @F y@@ @ @ @ @ @ @ @ @ D* eH42 ¤@@ @ @ @ @ A @@ @ @~@z@ @ @B ¤@@ @ @ @ @ @c@ @J b@@ E @@ £@ CH Ñ* f@@ @ ~@ z@ B y@@ @DH ¡@@ ~@ @8 b@@Fv@@ @ @ @ @ @ @ @ < @@ @ @ @B*v@@ @ @ @ @ ~@ |@ @ @ @ @ @DH v@@ @/ ¤@@ @ @ @ @D* b@@ @ @c@ @ @ ²* @@ @|@ @ B b@@ @ @~@@Q |@ @ @ @FR @@ @~@6 Ñ* x@@ @Eb@@ @+H v@@ @ @ @ @ ~@ z@ @ @ @ +R x@@ @ @~@{@ @ @c@ @ @J @@ @ ²* @@ @ 6Hv@@ @ FH b@@ @ CÄ@@ @ D* @@z@ @ @ @ <v@@ @ @ @ @ F ¼w@@ @ D* ¯¡@@ @ @ F v@@ @<¡@@ @Db@@ @+ b@@ @ @ @ @ Fv@@ @ @ @ @ <H *H @@ @~@ @ 8&°*H @@ @ @ @ +°* oÉ@@ @ @ @ @ < @ R @ @ @ @£@ @ @ @ A4b@@ @ @ @< @@ @ ´* Ì@@ @ = b@@ @ @ @ @ D b@@ @ @ @ @ E @@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ D*H @@ /4 @@ @ ~@ @ 6*4 N @@ @ @94&°b@@ @ @+ @@ @ @ @ @ ~@ 6 ¡@@ @ @ @ D

baytelshear ‫اﻟﺸﻌﺮ‬ ِ ‫ﺑﻴﺖ‬

µ Ě¹ ĮĵěŠ ®ĬńĲ ¡@@A É@@ @ @ @ <°* ¤@@ @ @ @ @ @ @ @ A4* i*4b@@ @ @ @ @ @ @E°* b@@ @ J Hv@@ @ @ @ @ ~@ 8 Mv@@ @ @ <H v@@ @ @ @<*H ¤@@ @ @D* @@c@ @ ~@ 7 ¡@@ @ s@ @ @D* &°* b@@ J @@ @ @£@ @ @A Hb@@ @ @ @~@ z@ @ @ @ F b@@ @ @ @E ¡@@ @ - b@@ @ @ @g@ @ @ @ c@ @ @ @ p@ @ @ @ E @@ @ @ @D ¥2É@@ @ @ @ @ + b@@ @ @ @ @ J ¡@@ @ - b@@ @ E @@ @ £@ c@ ~@ 6 ¯ 2b@@ @ @ @ @ @ @ @ @ ~@ {@ @ @ @ D*H ¡@@ @ 0 b@@ @ @ ~@ z@ @ @ @ @ @ @ J b@@ @ @ @ @ E @@ @ @ @/*x@@ @ @ @ @ @ @ @ D* ¡@@~@ 6 @@ @ @ @ + É@@ @ @ @ @ ~@ z@ @ @ @ @ @D M,b@@ @ @ @ @ @ @ <2 @@ @ @ @ 0 ¡@@ @ @~@ @7H ux@@ @~@ @ 7 b@@ @ c@ @ / ¯ *v@@ @ @ @+ (*H ¡@@ @ ²b@@ @ @ @ @ + Ì@M @m@ g@ ~@ z@ E b@@ @ @ @F*y@@ @ @ @ @ < *H ¡@@ Av@@ D* ¥b@@ @ @ ´*H b@@ A¡@@ @ @D* b@@ @ @ @C ¤@@m@ @ @ @ FR ¡@@c@F K*v@@ @ @+R * °H b@@ @+b@@p@ @ @~@8* ¡@@ @ @s@ @ @F b@@ @ @ E ¡@@ < @@ @ C ¥H*v@@ @ @ @ F b@@ @ @ @ @ -2b@@ @ @ @ B x@@ @ @ @ @ Eb@@ @ @ @ @ + ¡@@c@ @ @ @ ~@ 6 t@M @ £@ @~@ @7 @@ @ /x@@ @ @ @ @ @ @ @ @ @ @ @ @ D b@@ @ @ @F2b@@ @ @ @B ¡@@ ² 24b@@ @ @ @E @@ @ @D v@@ @ @ @ @ Db@@ 1 ¡@@ @ @ + @@ @ @ @j@ @ @ @ E

‫ﺻﺢ ﻟﺴﺎﻧﻚ‬ َ

‫ﺣﻤﺪ اﻟﺒﻠﻮﺷﻲ‬ @hamadska

v@@ Jb@@ F @@ @ @ @ 6*4 @@ @ E b@@ @ G4b@@ @ @ @ @ .* b@@ @ @ @ @ @ @B v@@ @ @ @ @ J*5 2Hy@@ @ @ @ @ @ @ @ @ @ @ @ D*H b@@ @ @ @ @ @ @ @ @ 0 b@@ @ @ @ @ Fw@@ @ @ @ @ 1* v@@ Jb@@ @ @~@ @{@ @+ b@@ @ @p@ @ @ @~@ @z@ @- b@@ @ Fx@@ @ ~@ @ @9b@@ @ ² H v@@ Jb@@ B H @@ @ @ @ @E H @@ @ @64b@@ @ @A H v@@ £@ @ @ @~@ @7 v@@ @ J*x@@ @ ±b@@ @ + d@@ @ @C*¡@@ @ @ @ @ @ D* ¤@@ @ @ @ @ @ J @@ @ @ E v@@ @ J*¡@@ @ @ @ @D* @@ @ c@ @ @B b@@ @ @ @ @ @ @ @ 0H4* b@@ @ @ @ @ @ @ @A2 H v@@ @Jb@@ @+ w@@ @ @ @ @ @ @D* @@ @ @ @ @ < @@ @ £@ @ @ A @@ @ @ B¡@@ @ @ § v@@ @Jb@@ @~@ @ z@ @ E Ñ* x@@ @ @ @Cw@@ @ @ @+ b@@ @ @ FxQ @ @ @ @ @ @ @ @< H v@@ @ J*v@@ @ ±*H f@@ Âv@@ @ @ D* ¤@@~@ |@ p@ F @@ @ G @@ @ @ AR v@@ Jb@@ @ @F b@@ @ @ @ @F* ¡@@ @ @ @ @J v@@ @ £@ @ @ @ @ @D* ¤@@ @ @g@ @ @ F* @@ @ @ @ @ AN v@@ @ @ @J*5 b@@ @ @ @£@ @ @ @ < @R @ @ @ @ @ +P b@@ @ c@ @ @0x@@ @ E b@@ @ @ @J É@@ @ @ @G

ĬŠ «ĘšŃ v@@ Jb@@ ~@ @|@ @ @ @D* 4b@@ @ @ @ @ @ @ @ A&* H q@@ @ @Jx@@ @ @D* d@@ @ @ @ @@ £@ @E 2¡@@ @ @ @ @ @ @ @ @ @ @D*H h@@ @ c@ @ @ Q @ @ @~@ @ @8 b@@ @ @ @ E *3* @@ @ FHv@@ @ Gb@@ @ ~@ @ @{@ @ @- 4¡@@ @ @~@ @ @ }@ @ @ 0 b@@ @ @ @ @£@ @ @~@ @ @9b@@ @ ´ b@@ @ @ ~@ 6 ex@@ @ @ @²b@@ @ @ @+ @@ @ @ @C v@@ @ @ @< @@ @ F¡@@ @ £@ @ @< x@@ @ @ - Í@@ @ @£@ @< @@ @ D b@@ @ @ C @@ F¡@@ £@ @ < @@ @ @ 64*v@@ @ @ ´* @@ @c@ @ B @@ @ @ E v@@ @ m@ @ @ ´* b@@ @ @ @ @~@ @ @642 *¡@@ @Fb@@ @~@ @ 7 ¡@@ @ @ @ @J b@@ @ @ J*¡@@ @ @ @ @ @ D* b@@ @ @ @ £@ @ Q @ @ ~@ @ 8 H @@ @ @ £@ @ @ @ < b@@ @ @ @ @ FÄ@Q @ @ @ @ @ C H b@@ @ @ @ @ @ £@ @ @ Q @ @ @ ~@ @ @ 6 H ¢@@ ~@ @ |@ @ p@R @ P @ @ -P b@@ @ @ E f@@ @ Âv@@ @ @ @ @D* b@@ @ @ @ @ Jb@@ @ @ A ¤@@ c@ @£@ @: y@@ @ @ @ @ @ @ @ D* 2É@@ @ @ @ @ @ + b@@ @ @ @ @J @@ @ @ @ @ @ @D H @@ @Jb@@ @B b@@ @ @ @ @ B · x@@ @ @s@ @ @ A b@@ @ @ @ £@ @ @ @ @ @ J H

2019 ‫ دﻳﺴﻤﺒﺮ‬، 84 ‫اﻟﻌﺪد‬

ŪŢƂŢſƐŜ ƺţƙƵƈ ƅưƃƸ ſǈŢƄ ƻŦ ŨžţǈƃƴŢ ǅƴŜ žţŹŬǐŢ ƻƸ ǇŬŢƂţƸǎŢ ƀǃƩƽƴŢ žǃơƐǂ ũƹƠţƽƴŢ ŨǃƭƴŢ ſǈƄǃŦŘ ſƹŹƸ ſƹŸŘ

baytelshear ‫اﻟﺸﻌﺮ‬ ِ ‫ﺑﻴﺖ‬

@sbzc_ad

sbzc.ae

www.sbzc.ae

‫‪ Ęġ¯ ŝŕ‬‬

‫ﺗﺼﻤﻴﻢ منﻮذﺟﻲ ﻗﺪ ﺗﺼﻞ إﱃ ﺳﺘﺔ أو ﺳﺒﻌﺔ‬ ‫أﻟﻮان ﻣﺨﺘﻠﻔﺔ ﻣﺸﻜﻠﺔ اﻷزﻫﺎر ﻫﻨﺪﺳﻴﺔ‬ ‫أو اﳌﻨﻤﻨﻤﺔ واﳌﻠﻮﻧﺔ ﺑﺄﻟﻮان زاﻫﻴﺔ ﰲ‬ ‫ﻇﻼل ﻣﻦ اﻟﻠﻮن اﻷﺣﻤﺮ واﻷﺻﻔﺮ واﻷزرق‬ ‫واﻷﺧﴬ واﻟﺒﻨﻔﺴﺠﻲ‪ ،‬واﻟﱪﺗﻘﺎﱄ‪ .‬وﻟﻘﺪ‬ ‫ﻛﺎن ﻷﻟﻮان اﻟﺰي اﻟﺘﻘﻠﻴﺪي إﺷﺎرة ﻣﻬﻤﺔ‬ ‫ﺗﺮﻣﺰ إﱃ ﻋﻤﺮ اﻟﺴﻴﺪة أو اﳌﺮﻛﺰ اﻻﺟﺘامﻋﻲ‬ ‫اﻟﺬي ﺗﻨﺘﻤﻲ إﻟﻴﻪ‪ .‬ﻓﻔﻲ ﺣني ﻳﻜﻮن اﻟﺰي‬ ‫ذو اﻟﻠﻮﻧني اﻷﺣﻤﺮ واﻟــﻮردي ﻟﻠﻔﺘﻴﺎت‬ ‫واﻟﺸﺎﺑﺎت‪ ،‬ﻳﻜﻮن اﻟﺰي ﻟﻠﻨﺴﺎء ﰲ ﻣﻨﺘﺼﻒ‬ ‫اﻟﻌﻤﺮ ﻇﻼل ﻣﻦ اﻟﻠﻮن اﻷزرق واﻟﺮﻣﺎدي‪.‬‬ ‫أﻣﺎ اﻟﻠﻮن اﻷﺑﻴﺾ ﻓﻬﻮ اﻷﻛرث ﺷﻌﺒﻴﺔ ﻟﺠﻤﻴﻊ‬ ‫اﻷﻋامر وﺧﺎﺻﺔ ﻟﻜﺒﺎر اﻟﺴﻦ‪ .‬أﻣﺎ اﻷﻟﻮان‬ ‫اﻷﺳﻮد واﻷزرق اﻟﺪاﻛﻦ واﻟﺒﻨﻔﺴﺠﻲ ﻓﻬﻲ‬ ‫أﻟﻮان اﻟﺤﺪاد‪.‬‬ ‫إن ﻏﻄﺎء اﻟﺮأس أو اﻟﻘﻠﻨﺴﻮة ‪tubeteika‬‬ ‫ﺗﻘﻠﻴﺪ ميﻴﺰ ﻛﻞ ﻣﻨﻄﻘﺔ ﻣﻦ ﻗريﻏﻴﺰﺳﺘﺎن‪،‬‬ ‫ﻓﻜﻞ ﻣﻨﻄﻘﺔ ﻟﻬﺎ ﻧﻮع ﻗﻠﻨﺴﻮة ﺧﺎص ﺑﻬﺎ‪.‬‬ ‫‪ tubeteika‬ﻫﻲ رﺑﺎﻋﻲ اﻟﺴﻄﻮح ﺑﺸﻜﻞ‬ ‫ﻣﺨﺮوﻃﻲ وﻣﺼﻨﻮﻋﺔ ﻣﻦ اﻟﺴﺎﺗﺎن اﻷﺳﻮد‬ ‫واﻟﺘﻄﺮﻳﺰ اﻷﺑﻴﺾ‪ ،‬وﻫــﻲ ﻣﻠﺤﻖ ﻟﻠﺰي‬ ‫اﻟﻮﻃﻨﻲ ﻟﻠﺮﺟﺎل‪ ،‬وارﺗــﺪاء ﻫﺬه اﻟﻘﺒﻌﺔ‬

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‫اﻟﻌﺪد ‪ ، 84‬دﻳﺴﻤﺒﺮ ‪2019‬‬

‫ﻟﻴﺲ ﻓﻘﻂ ﻟﻠﺮﺟﺎل؛ ﻓﺤﺘﻰ اﳌﺮأة ﺗﺘﺰﻳﻦ‬ ‫ﺑﻬﺎ ﻣﻊ اﻟﺤﲇ اﳌﺘﻨﻮﻋﺔ‪ ،‬وﺣﺘﻰ ﻣﻊ اﻷﺣﺠﺎر‬ ‫اﻟﻜﺮميﺔ‪ ،‬وﺗﻌﺘﱪ ﻋﻨﴫاً ﻫﺎﻣﺎً ﰲ اﻟﺰي ﺣﻴﺚ‬ ‫ﻳﻘﻮم ﻛﻞ ﻣﻦ اﻟﺮﺟﺎل واﻟﻨﺴﺎء وﺣﺘﻰ‬ ‫اﻷﻃﻔﺎل ﺑﺎرﺗﺪاﺋﻬﺎ ﰲ اﻷﻋﻴﺎد واﻻﺣﺘﻔﺎﻻت‬ ‫اﻟﺪﻳﻨﻴﺔ‪ .‬وﻏﺎﻟﺒﺎً ﻣﺎ ﺗﻜﻮن ﻣﻠﻮﻧﺔ ﻋﻨﺪ اﻟﻨﺴﺎء‬ ‫وﻣﻄﺮزة ﺑﺨﻴﻮط ذﻫﺒﻴﺔ‪.‬‬ ‫‪ǳƓƃǂǙ ƐǷǂƣ ŲŌǶƋǕŌ‬‬

‫ﻳﻠﻌﺐ اﻟــﺰﻓــﺎف دوراً ﻫــﺎﻣـﺎً ﰲ ﺣﻴﺎة‬ ‫اﻟﻘﺮﻏﻴﺰﻳﻮن‪ ،‬ﺣﻴﺚ إن ﺣﻔﻞ اﻟﺰﻓﺎف‬ ‫ﻳﺘﻄﻠﺐ ﺗﺮﺗﻴﺒﺎً وﻣﺴﺆوﻟﻴﺔ ﻛﺒرية ﺟﺪاً‪،‬‬ ‫وﻳﺘﻢ إﻋﺪاده ﺑﻌﻨﺎﻳﺔ ﻓﺎﺋﻘﺔ‪ ،‬ﻓﻬﻮ ﻣﺴﺆوﻟﻴﺔ‬ ‫ﻳﺘﻄﻠﺐ ﺗﺤﻀريﻫﺎ ﻋﲆ ﻋﺪة ﺳﻨﻮات‪ ،‬ﻳﺒﺪأ‬ ‫ﻣﻦ ﻳﻮم وﻻدة اﻟﻔﺘﺎة إﱃ أن ﺗﺼﻞ اﻟﻔﺘﺎة‬ ‫إﱃ ﺳﻦ اﻟﻨﻀﺞ واﻟﺰواج‪ ،‬ﻓرنى أن اﻹﻋﺪاد‬ ‫ﻟﺤﻔﻞ اﻟﺰﻓﺎف ﺑﺎﻟﻨﺴﺒﺔ ﻟﻠﻌﺎﺋﻠﺔ ﻟﻴﺲ وﻟﻴﺪ‬ ‫اﻟﻠﺤﻈﺔ ﺑﻞ ﻳﺤﺘﺎج ﻟﻌﺪة ﺳﻨﻮات ﻣﻦ‬ ‫اﻟﺘﺤﻀري‪.‬‬ ‫ﺗﺘﻤﺘﻊ ﻋـــﺎدات اﻟــــﺰواج ﺑﺎﻟﻜﺜري ﻣﻦ‬ ‫اﻟﺘﻔﺎﺻﻴﻞ‪ .‬ﺣﻴﺚ ﺗﺒﺪأ ﺑﻮﺳﺎﻃﺔ اﻟﺰواج‬ ‫ﻳﺘﻢ ﺧﻼﻟﻬﺎ اﻟﺴﺆال ﻋﻦ اﻟﻌﺮوس وأﴎﺗﻬﺎ‬

‫ﻣﻦ ﺟﺎﻧﺐ اﻟﻌﺮﻳﺲ وأﻫﻠﻪ‪ ،‬وﻳﺘﻢ ﺟﻤﻊ‬ ‫ﻣﻌﻠﻮﻣﺎت ﺗﻔﺼﻴﻠﻴﺔ ﻋﻨﻬﺎ‪ .‬ﺑﻌﺪ ﺟﻤﻊ‬ ‫اﳌﻌﻠﻮﻣﺎت ﻳﺘﻢ إرﺳﺎل أم اﻟﻌﺮﻳﺲ ﻣﻊ أﺣﺪ‬ ‫اﻷﻗﺎرب إﱃ ﺑﻴﺖ اﻟﻌﺮوس‪ ،‬وﺗﺄﺧﺬ ﻣﻌﻬﺎ‬ ‫اﻟﺤﻠﻮﻳﺎت واﻟﻜﻌﻚ ﻣﻠﻔﻮﻓﺔ ﰲ ﻗﻄﻌﺔ ﻣﻦ‬ ‫اﻟﻘامش‪ .‬ورﻏﻢ أن اﻟﻔﺘﺎة ﻻ ﺗﻌﻄﻲ اﳌﻮاﻓﻘﺔ‬ ‫ﻣﻦ أول ﻣﺮة‪ ،‬وﻟﻜﻦ ﺑﻌﺪ ﺛﻼث ﻣﺤﺎوﻻت‬ ‫ﻟﺘﺴﺘﻄﻴﻊ اﻟﺘﻌﺮف ﻋﲆ أﻫﻞ اﻟﻌﺮﻳﺲ أﻛرث‪.‬‬ ‫وﻟﻠﺨﺒﺰ ﻣﻜﺎن ﺧﺎص ﰲ اﻟﻌﺎدات اﻟﺘﻲ‬ ‫ﺗﺴﺒﻖ اﻟﺰواج‪ ،‬ﻓﺨﻼل اﻻﺗﻔﺎق اﳌﺒﺪيئ ﻋﲆ‬ ‫اﻟــﺰواج‪ ،‬ﻳﻜﻮن اﻟﺨﺒﺰ ﺷﻌﺎراً ﻟﻠﱰاﺑﻂ ﺑني‬ ‫اﻟﻌﺎﺋﻠﺘني ورﻣﺰاً ﻟﻠﻤﻮاﻓﻘﺔ واﻟﻮﻓﺎق ﺑﻴﻨﻬﻢ‪،‬‬ ‫وﺗﻘﻮم اﻟﺨﺎﻃﺒﺎت ﺑﻜﴪ ﻗﻄﻊ ﻣﺴﻄﺤﺔ‬ ‫ﻣﻦ اﻟﻜﻌﻚ وﺗﻘﺪميﻪ ﻟﻠﻀﻴﻮف اﻟﺠﺎﻟﺴني‬ ‫ﻋﲆ اﳌﺎﺋﺪة وﺗﺴﻤﻰ ﻫﺬه اﻟﻌﺎدة "ﻧﺎن‬ ‫ﺳﺎﻧﺪﻳﺮﻳﺶ"‪ .‬ﺑﻌﺪ اﳌﻮاﻓﻘﺔ ﻳﺤﴬ ﻣﻦ‬ ‫ﺟﺎﻧﺐ اﻟﻌﺮﻳﺲ ﻋﺪد ﻗﻠﻴﻞ ﻣﻦ اﻟﺮﺟﺎل إﱃ‬ ‫ﻣﻨﺰل اﻟﻌﺮوس ﳌﻨﺎﻗﺸﺔ ﻣﻮاﻋﻴﺪ اﻟﺰﻓﺎف‪،‬‬ ‫وﺗﻜﻮن ﻫﻨﺎك ﻗﺎمئﺔ ﺗﻨﺺ ﻋﲆ ﻣﺎ ﻳﻨﺒﻐﻲ أن‬ ‫ﺗﻌﻄﻰ ﻣﻦ اﻷﺷﻴﺎء ﻛﻬﺪاﻳﺎ ﻟﻠﻌﺮوس‪.‬‬ ‫ﻳﺮﺗﺪي اﻟﻌﺮوﺳﺎن اﻟﺰي اﻟﺘﻘﻠﻴﺪي ﻟﻠﺰﻓﺎف‬ ‫أو اﻟﻌﴫي‪ ،‬وﻳﺘﺄﻟﻒ اﻟﺘﻘﻠﻴﺪي ﻟﻠﻌﺮﻳﺲ‬ ‫ﻣﻦ رداء ﻣﻄﺮز ﺑﺎﻟﺬﻫﺐ‪ ،‬وﻗﻠﻨﺴﻮة‬ ‫أو ﻋامﻣﺔ ﻣﻄﺮزة ووﺷــﺎح ﻟﻠﺨﴫ‪ .‬أﻣﺎ‬ ‫اﻟﻌﺮوس ﻓﺘﺨﺘﺎر ﻣﻦ ﺗﺸﻜﻴﻠﺔ ﻛﺒرية ﻣﻄﺮزة‬ ‫ﻣﻊ ﻃﺮﺣﺔ اﻟﻌﺮوس‪ .‬ﻳﺒﺪأ اﻟﺰﻓﺎف ﺑﺮﻗﺼﺔ‬ ‫اﻟﻌﺮوﺳني‪ ،‬ﺣﻴﺚ ﻳﻘﻮم اﻟﻌﺮﻳﺲ ﺑﺎﻟﻀﻐﻂ‬ ‫ﻋﲆ ﻗﺪم اﻟﻌﺮوس ﻟﻔﱰة ﻋﻼﻣﺔ ﻋﲆ اﺣﱰام‬ ‫اﻟﺰوﺟﺔ ﻟﺰوﺟﻬﺎ ﰲ اﳌﺴﺘﻘﺒﻞ وﻻ ﺗﺰال‬ ‫متﺎرس إﱃ اﻟﻴﻮم‪ .‬ﻳﻘﺪم ﺧﻼل اﻟﺤﻔﻞ اﻷرز‬ ‫اﻟﺒﺨﺎري ﻟﻠﻌﺮﻳﺲ ﰲ ﻃﺒﻖ ﻳﺴﻤﻰ "ﻟﻘﻦ"‬ ‫وﻳﺘﺬوﻗﻪ اﻟﻌﺮﻳﺲ‪ ،‬وﻳﱰك اﻟﻄﺒﻖ ﻟﻠﻌﺮوس‬ ‫وﺻﺪﻳﻘﺎﺗﻬﺎ ﻟﻴﺄﻛﻠﻨﻪ‪ .‬وﻳﺒﺎرك اﻟﻌﺮﻳﺲ‬ ‫اﻟﻄﺒﻖ اﻟﺜﺎين ﻷﺻﺪﻗﺎﺋﻪ اﻟﻌﺰاب‪ ،‬وﺑﺬﻟﻚ‬ ‫ﻳﻜﻮن ﻗﺪ أﻋﻄﺎه ﻃﺎﻗﺔ ﺳﺤﺮﻳﺔ ﺗﺠﻠﺐ‬ ‫اﻟﺴﻌﺎدة ﻷﺻﺪﻗﺎﺋﻪ وأﺻﺪﻗﺎء ﻋﺮوﺳﻪ ﻏري‬ ‫اﳌﺘﺰوﺟني‪.‬‬

‫‪ǳǙōƀƲǕŌǶ ǚǷǜƲǕŌ ǚŌǷǜƫ ƑşȎǘǕŌ‬‬

‫ميﺜﻞ اﻟــﺰي اﻟﺘﻘﻠﻴﺪي اﻟﻘﺮﻏﻴﺰي ﻋﻨﻮاﻧﺎً‬ ‫ﺑــﺎرزاً ﻟﻠﻤﻮروﺛﺎت ﻫﻨﺎك‪ ،‬ودﻟﻴ ًﻼ واﺿﺤﺎً‬ ‫ﻋﲆ ﻋﺎداﺗﻬﺎ وﺣﻀﺎرﺗﻬﺎ وﺛﻘﺎﻓﺘﻬﺎ‪ ،‬ﻓﺎﻟﺰي‬ ‫اﻟﺘﻘﻠﻴﺪي ميﺜﻞ ﺻﻮرة ﻟﻠﻤﺠﺘﻤﻊ واﻟﺤﻴﺎة‬ ‫ﰲ ﻫﺬا اﻟﺒﻠﺪ‪ ،‬وﻳﺸﻜﻞ ﻣﺮﺟﻌﺎً وﻃﻨﻴﺎً‪.‬‬ ‫واﳌﻼﺑﺲ اﻟﻮﻃﻨﻴﺔ اﻟﻘﺮﻏﻴﺰﻳﺔ ﻟﺪﻳﻬﺎ ﺗﺎرﻳﺦ‪،‬‬ ‫ﺣﻴﺚ ﺗﺘﻤﻴﺰ ﺑﺠامﻟﻬﺎ وﻃﺮﻳﻘﺔ ﺣﻴﺎﻛﺘﻬﺎ‬ ‫اﻟﺨﺎﺻﺔ‪ ،‬وﻧﻘﻮﺷﻬﺎ اﳌﺤﻔﻮرة ﻋﲆ اﻷﻗﻤﺸﺔ‪.‬‬ ‫ﻛام ﺗﺘﻨﻮع اﻷﻟﻮان ﻣﻦ إﻗﻠﻴﻢ ﻵﺧﺮ‪ ،‬ﻓﻌﲆ‬ ‫ﺳﺒﻴﻞ اﳌﺜﺎل ﻫﻨﺎك ﺛﻼﺛﺔ أﻟــﻮان ﺗﺠﺪﻫﺎ‬ ‫ﻣﻬﻴﻤﻨﺔ ﰲ ﺗﺼﻤﻴﻢ اﳌﻼﺑﺲ ﰲ اﻟﺸامل‬ ‫وﻫﻲ اﻷﺣﻤﺮ واﻷﺻﻔﺮ واﻟﻮردي‪ .‬أﻣﺎ اﻷزﻳﺎء‬ ‫اﻟﺮﺟﺎﻟﻴﺔ أﺷﻬﺮﻫﺎ "ﺷﺎﺑﺎن دﳌــﺎس" وﻫﻮ‬ ‫رداء داﻓﺊ ﻣﺒﻄﻦ ﻓﻀﻔﺎض ﻣﻦ اﻟﻘﻄﻦ‪،‬‬ ‫وﻫﻮ ذات أﻛامم ﻃﻮﻳﻠﺔ‪ ،‬ﻳﻜﻮن ﻃﻮﻟﻪ إﱃ‬ ‫اﻟﺮﻛﺒﺔ أو أﻃﻮل‪ ،‬ﻣﺼﻨﻮع ﻣﻦ ﻧﺴﻴﺞ ﻣﻠﻮن‬ ‫ﻣﺨﻴﻂ أﺳﻔﻞ اﻷﻛــامم‪ ،‬واﻟﻌﻨﻖ ﻣﺨﻴﻂ‬ ‫ﺑﺸﻜﻞ ﻣﺴﺘﺪﻳﺮ ﻣﻊ ﺟﺪﻳﻠﺔ زﺧﺮﻓﻴﺔ‪ ،‬واﻟﺘﻲ‬ ‫ﻛﺎن ﻳﻌﺘﻘﺪ أﻧﻬﺎ ﻟﺤامﻳﺔ اﻟﺸﺨﺺ ﻣﻦ ﻗﻮى‬ ‫اﻟﴩ‪ .‬ﻛام ميﻜﻦ ارﺗﺪاء اﺛﻨني أو أﻛرث ﻣﻦ‬

‫اﳌﻌﺎﻃﻒ ﰲ ﻧﻔﺲ اﻟﻮﻗﺖ وﻛﺎن ذﻟﻚ ﺷﺎﺋﻌﺎً‬ ‫ﰲ ﻛﻞ ﻣﻦ ﻓﺼﲇ اﻟﺸﺘﺎء واﻟﺼﻴﻒ‪ ،‬ﻟﻴﻌﻄﻲ‬ ‫اﻟﺮﺟﻞ ﻫﻴﺒﺔ ﻣﻌﻴﻨﺔ وﻟﺘﻈﻬﺮ ازدﻫــﺎر‬ ‫اﻷﴎة‪ ،‬ﻛام ﻳﺮﺗﺒﻂ اﳌﻌﻄﻒ أو اﻟﻘﻤﻴﺺ‬ ‫ﺑﻘﻄﻌﺔ ﻗامش ﻣﻄﻮﻳﺔ ﻛﺒرية ‪،belbog‬‬ ‫وﺗﺸﻜﻞ اﻟﴩﻳﻚ اﻟﻬﺎم ﻟﻠﻤﻌﻄﻒ وميﻜﻦ‬ ‫أن ﺗﻜﻮن ﻣﺼﻨﻮﻋﺔ ﻣﻦ اﻷﻗﻤﺸﺔ اﻟﺠﻤﻴﻠﺔ‪،‬‬ ‫وﻣﺰﻳﻨﺔ وﻣﻄﺮزة ﺑﺎﻟﻠﻮن اﻟﻔﴤ‪ ،‬واﳌﺮﺻﻌﺔ‬ ‫ﺑﺎﻷﺣﺠﺎر واﻟﻔﻀﺔ‪ ،‬ﻛام ميﻜﻦ أن ﺗﻜﻮن‬ ‫ﻣﻜﺎن ﻟﺘﻌﻠﻴﻖ أﻛﻴﺎس ﺻﻐرية ﻟﻠﺘﺒﻎ وﻛﺬﻟﻚ‬ ‫اﳌﻔﺎﺗﻴﺢ واﳌﺤﺎﻓﻆ‪ .‬أﻳﻀﺎً ميﻜﻦ ارﺗﺪاء ﺷﺎل‬ ‫أو أﻛرث‪ ،‬و‪ Ishton‬ﻫﻲ ﴎاوﻳــﻞ واﺳﻌﺔ‬ ‫ﻟﻠﺮﺟﺎل ﺿﻴﻘﺔ ﻋﻨﺪ اﻟﻜﺎﺣﻠني‪ ،‬ﺣﺘﻰ ﻳﺴﻬﻞ‬ ‫وﺿﻌﻬﺎ داﺧﻞ اﻟﺤﺬاء‪ ،‬واﻷﺣﺬﻳﺔ ﺗﻜﻮن‬ ‫ﻋﺎﻟﻴﺔ ﻣﺼﻨﻮﻋﺔ ﻣﻦ ﺟﻠﺪ اﻟﺨﺎم اﻟﺮﻗﻴﻖ أو‬ ‫اﳌﻄﺎط وﻟﻘﺪ ﻛﺎﻧﺖ اﻷﺣﺬﻳﺔ اﻟﺪاﻓﺌﺔ ﻫﻲ‬ ‫اﻷﻛرث ﺷﻌﺒﻴﺔ ﺣﺘﻰ اﻟﻴﻮم‪ .‬واﺑﺘﺪاء ﻣﻦ‬ ‫اﻟﻨﺼﻒ اﻟﺜﺎين ﻣﻦ اﻟﻘﺮن ‪ 17‬أﺻﺒﺢ ﻫﻨﺎك‬ ‫ﻋامﻣﺔ ﺻﻐرية وﻛﺎﻧﺖ ﻣﻘﺒﻮﻟﺔ ﻋﻤﻮﻣﺎً ﻋﻨﺪ‬ ‫اﻟﺮﺟﺎل اﻷرﺳﺘﻘﺮاﻃﻴﺔ وأﺻﺒﺤﺖ ﻣﻜﻤﻠﺔ‬ ‫ﻟﻠﺰي ﻋﻨﺪ اﻟﺬﻛﻮر ﺛﻢ أﺿﻴﻔﺖ اﻟﻘﻠﻨﺴﻮة‪.‬‬

‫ﻛام أن اﻷﺣﺰﻣﺔ واﻟﺘﻲ ﺗﺘﻌﻠﻖ ﺑﺎﻟﺤﺎﻟﺔ‬ ‫اﻻﺟﺘامﻋﻴﺔ ﻟﻠﺮﺟﻞ ﺗﻌﺘﱪ ردﻳﻔﺎً ﻟﺸﻜﻞ‬ ‫اﻟﺮداء وﻧﻮع ﻗامﺷﻪ اﳌﺨﻴﻂ ﻣﻨﻪ‪ ،‬وﻧﻮﻋﻬﺎ‬ ‫ﺗﻌﱪ ﻋــﻦ ﻣﻜﺎﻧﺔ اﻟــﺮﺟــﻞ ﰲ اﳌﺠﺘﻤﻊ‬ ‫اﻟﻘﺮﻏﻴﺰي‪ .‬أﻣﺎ اﻟﺮﺟﺎل اﻟﻌﺎدﻳني ﻓﻐﺎﻟﺒﺎً‬ ‫ﻣﺎ ﻳﻐﻠﻖ رداﺋﻬﺎ ﻣﻊ ﻗﻄﻊ ﺑﺴﻴﻄﺔ ﻣﻦ‬ ‫اﻟﻘامش ﻣﺮﺑﻮﻃﺔ ﺣﻮل اﻟﺨﴫ‪ ،‬أي أﻧﻪ‬ ‫ﺗﻜﻮن ﻫﺬه اﻟﻘﻄﻌﺔ مبﻨﺰﻟﺔ ﺣﺰام ﻟﻬﻢ‪ .‬أﻣﺎ‬ ‫اﻟـ " ‪ "Chopon‬ﻫﻮ رﻣﺰ اﺣﱰام وﺗﻘﺪﻳﺮ‬ ‫ﻋﻨﺪ اﻟﻘﺮﻏﻴﺰﻳني‪ ،‬ﻟﺬﻟﻚ ﻳﻘﺪم ﻛﻬﺪﻳﺔ ﺑني‬ ‫اﻷﻗﺎرب وﻳﺘﻢ ﺗﻘﺪميﻪ ﻟﻠﻀﻴﻮف ﻛﻨﻮع ﻣﻦ‬ ‫اﻻﺣﱰام واﻟﺘﻘﺪﻳﺮ‪.‬‬ ‫اﳌﻼﺑﺲ اﻟﻨﺴﺎﺋﻴﺔ اﻟﺘﻘﻠﻴﺪﻳﺔ ﻋﺎدة ﻣﺎ ﺗﻜﻮن‬ ‫واﺳﻌﺔ وﻣﺼﻨﻮﻋﺔ ﻣﻦ اﻟﺴﺎﺗﺎن‪ ،‬واﻟﴪاوﻳﻞ‬ ‫ﻃﻮﻳﻠﺔ وﺗﻀﻴﻴﻖ ﰲ اﻟﺠﺰء اﻟﺴﻔﲇ‪ ،‬أﻣﺎ‬ ‫اﻟﺴﱰة ﻓﺘﻜﻮن ﻏﺎﻟﺒﺎً ﻓﻀﻔﺎﺿﺔ ﺑﺄﻛامم‬ ‫واﺳﻌﺔ ﺗﺼﻞ إﱃ اﳌﻌﺼﻤني‪ ،‬وﻏﺎﻟﺒﺎً ﻣﺎ ﺗﻜﻮن‬ ‫ﻣﺼﻨﻮﻋﺔ ﻣﻦ ﻧﻔﺲ اﻟﻨﺴﻴﺞ ﻣﺜﻞ اﻟﺴﱰة‪،‬‬ ‫وﻳﻜﻮن اﻟﺠﺰء اﻟﺴﻔﲇ ﻣﻦ اﻟﴪاوﻳﻞ ﻣﺰﻳﻨﺔ‬ ‫وﻣﻄﺮزة ﺑﺨﻴﻮط ذﻫﺒﻴﺔ ﻏﻨﻴﺔ‪ .‬وﻏﺎﻟﺒﺎً ﻣﺎ‬ ‫ﺗﺘﻀﻤﻦ أمنﺎط اﻟﻨﺴﻴﺞ أﻟﻮان ﻣﺨﺘﻠﻔﺔ ﰲ‬ ‫اﻟﺸﻌﺮ ‪baytelshear‬‬ ‫ﺑﻴﺖ ِ‬

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‫‪ Ęġ¯ ŝŕ‬‬

‫إﻗﺎﻣﺔ اﻟﻔﻌﺎﻟﻴﺎت واﻷﻧﺸﻄﺔ اﳌﺨﺘﻠﻔﺔ‪،‬‬ ‫وﺗﺸﻬﺪ ﺳــﺎﺣــﺎت وﺣــﺪاﺋــﻖ اﻟﻌﺎﺻﻤﺔ‬ ‫ﺑﺸﻜﻴﻚ وﻋﺪد ﻣﻦ اﳌﺪن ﻓﻌﺎﻟﻴﺎت ﺛﻘﺎﻓﻴﺔ‬ ‫ورﻳﺎﺿﻴﺔ اﺣﺘﻔﺎﻻ ﺑﻌﻴﺪ اﻟﻨريوز‪ ،‬وﺗﻮزع‬ ‫ﺧﻼﻟﻬﺎ اﻟﺤﻠﻮى اﻟﺨﺎﺻﺔ ﺑﻬﺬا اﻟﻌﻴﺪ‪ ،‬ﻛام‬ ‫ُﺗﻘﺎم ﻋﺮوض ﻣﴪﺣﻴﺔ وﺣﻔﻼت راﻗﺼﺔ‪ .‬وﰲ‬ ‫ﻛﺜري ﻣﻦ اﻷﺣﻴﺎن‪ُ ،‬ﺗﻘﺎم أﻧﺸﻄﺔ اﺣﺘﻔﺎﻟﻴﺔ‬ ‫ﰲ اﻟﻬﻮاء اﻟﻄﻠﻖ‪ ،‬ﻣﺜﻞ ﻟﻌﺒﺔ "ﻛﻮﺑﻜﺎري"‪،‬‬ ‫وﻣﺒﺎرﻳﺎت اﳌﺼﺎرﻋﺔ‪ ،‬وﺳﺒﺎق اﻟﺨﻴﻞ‪.‬‬ ‫وﻫﻨﺎك ﺗﻘﺎﻟﻴﺪ أﺧﺮى ﺗﺸﻤﻞ ﻋﺮوﺿﺎً ﻣﺤﻠﻴﺔ‬ ‫ﰲ اﻟﺸﻮارع‪ ،‬واﳌﴚ ﻋﲆ ﺣﺒﺎل اﻟﺒﻬﻠﻮاﻧﺎت‪،‬‬

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‫اﻟﻌﺪد ‪ ، 84‬دﻳﺴﻤﺒﺮ ‪2019‬‬

‫اﻟﺬي ُﻳﺴﻤﻰ "ﺑﺎﻧﺪ ﺑﺎزي"‪ ،‬ﻓﻀ ًﻼ ﻋﻦ رﻳﺎﺿﺔ‬ ‫"ﺑﻮز ﻛﺎﳾ"‪ ،‬اﻟﺘﻲ ﻳﺘﻨﺎﻓﺲ ﻓﻴﻬﺎ ﻓﺮﺳﺎن‬ ‫ﻳﺴﺘﻬﺪﻓﻮن ﺷﻜ ًﻼ ميﺜﻞ رأس ﻋﺠﻞ‪ .‬وﻟﻘﺪ‬ ‫ﺗﻨﻘﻠﺖ ﻫﺬه اﻟﺘﻘﺎﻟﻴﺪ اﻟﺴﻨﻮﻳﺔ اﻟﺨﺎﺻﺔ‬ ‫ﺑﺎﻻﺣﺘﻔﺎل ﺑﺤﻠﻮل اﻟﺮﺑﻴﻊ ﻣﻦ ﺟﻴﻞ إﱃ ﺟﻴﻞ‬ ‫ﻃﻮال اﻷﻟﻔﻴﺔ اﳌﺎﺿﻴﺔ‪ ،‬ورﺑﻄﺖ ﻓﻴام ﺑني‬ ‫ﻣﺠﺘﻤﻌﺎت ﺷﺘﻰ‪ ،‬ﻛام أﻧﻬﺎ ُﺗﻌﺪ أﻣﺜﻠﺔ ﺑﺎرزة‬ ‫ﻋﲆ ﻧﴩ اﻟﻄﻘﻮس واﻟﺘﻘﺎﻟﻴﺪ ﻃﻮال ﻃﺮق‬ ‫اﻟﺤﺮﻳﺮ اﻟﺘﺎرﻳﺨﻴﺔ‪.‬‬ ‫واﻟﺒﻮزﻛﺎﳾ ﻫﻲ رﻳﺎﺿﺔ ﻻ ﻳﺴﺘﻄﻴﻊ أﺣﺪ‬ ‫ﻣامرﺳﺘﻬﺎ إﻻ أن ﻳﻜﻮن ﻣﺘﻤﻜﻨﺎً وﻳﺘﻤﺘﻊ‬

‫ﺑﺎﺣﱰاﻓﻴﺔ ﻋﺎﻟﻴﺔ ﰲ رﻛﻮب اﻟﺨﻴﻞ‪ ،‬ﳌﺎ ﺗﻨﻄﻮي‬ ‫ﻋﻠﻴﻪ ﻣﻦ ﺧﻄﻮرة ﺑﺴﺒﺐ ﺣﺸﺪ اﻟﻔﺮﺳﺎن‬ ‫أﻧﻔﺴﻬﻢ وﺳﻂ ﺳﺎﺣﺎت واﻟﺘﺴﺎﺑﻖ ﻣﻦ‬ ‫أﺟﻞ اﻟﻈﻔﺮ ﺑﺄﺣﺪ اﻷﻫﺪاف اﻟﺘﻲ ﻏﺎﻟﺒﺎً ﻣﺎ‬ ‫ﺗﻜﻮن أﺟﺴﺎم ﻣﻴﺘﺔ ﻟﺤﻴﻮاﻧﺎت ﻣﺜﻞ اﳌﺎﻋﺰ‪.‬‬ ‫وﺗﻌﻜﺲ ﺗﻠﻚ اﻟﺮﻳﺎﺿﺔ ﺛﻘﺎﻓﺔ اﻟﻔﺮوﺳﻴﺔ‬ ‫وﻣﺪى ﻋﺸﻖ اﻟﺸﻌﺐ اﻟﻘﺮﻏﻴﺰي ووﻟﻌﻪ‬ ‫ﺑﻬﺎ‪ ،‬ﻷﻧﻬﺎ اﻧﻌﻜﺎﺳﺎً ﻟﻠﺸﺠﺎﻋﺔ واﻹﻗﺪام‪ .‬ﻛام‬ ‫ﺗﺠﺴﺪ اﻟﺮﻳﺎﺿﺔ ﻣﺪى ﺗﻐﻠﻐﻞ ﻣﻮروﺛﺎت‬ ‫اﻟﺼﻴﺪ واﻧﻌﻜﺎﺳﻬﺎ ﻋﲆ ﺷﺨﺼﻴﺔ ﻛﻞ أﻓﺮاد‬ ‫اﳌﺠﺘﻤﻊ‪.‬‬

‫اﻷﺑﻴﺎت اﳌﺨﺼﺼﺔ ﻟﻪ ﺑﺎﻟﱰﺗﻴﺐ‪ ،‬وميﻜﻦ أن‬ ‫ﻳﺼﺎﺣﺒﻪ ﺑﻌﺾ اﻻرﺗﺠﺎل‪ .‬وﻳﻼﺣﻆ اﳌﺴﺘﻤﻊ‬ ‫ﻟﻬﺬا اﻟﻔﻦ ﻋﻠﻮ ﺻﻮت اﳌﺆدي‪ ،‬ﻣام ﻳﺪل ﻋﲆ‬ ‫أن اﳌﺸﺘﻐﻞ ﺑﻬﺬا اﻟﻔﻦ ﻳﺠﺐ أن ﻳﻜﻮن ﻟﻪ‬ ‫ﺻﻮت ﻗﻮي‪ ،‬و ﺣﺒﺎل ﺻﻮﺗﻴﺔ ﻣﺘﻴﻨﺔ‪ .‬و ﻟﻜﺘّﺎ‬ ‫أﺷﻮﻻ ﻋﺪة ﺗﻘﺴﻴامت ﻣﻨﻬﺎ‪" ،‬ﻳﻮي ﻣﻘﺎم"‪،‬‬ ‫و"اﻟﺒﻴﺎت" و"اﻟﺠﻬﺎرﻛﺎه"‪ ،‬و" ﻳﻮي أﺷﻮﻻ"‬ ‫اﻟﺬي ﻳﺆدى دون آﻻت ﻣﻮﺳﻴﻘﻴﺔ‪ ،‬و" ﻳﺎﻛﺎ‬ ‫ﺧﺎﻧﻠﻴﻚ" أو اﻷداء اﻟﻔﺮدي ﺣﻴﺚ ﻳﺆدي‬ ‫اﳌﻐﻨﻰ أدا ًء ﺻﻮﺗﻴﺎً وﻳﺼﺎﺣﺒﻪ ﻋﺰف ﻣﻦ ﻣﻐﻦ‬ ‫آﺧﺮ‪ .‬واﻟﻄﺮﻳﻘﺔ اﻷﺻﻴﻠﺔ ﰲ ﻛﺘّﺎ أﺷﻮﻻ ﻫﻲ‬ ‫"ﻟﻜﺎيب أﺷﻮﻻ"‪ ،‬ﺣﻴﺚ ﻳﻘﻮم اﳌﺆدون ﺑﺄداء‬ ‫وﺻﻼﺗﻬﻢ اﻟﻐﻨﺎﺋﻴﺔ وﰲ أﻳﺪﻳﻬﻢ ﺻﺤﻮن ﺧﺰﻓﻴﺔ‬ ‫ﻳﻮﺟﻬﻮن ﺑﻬﺎ أﺻﻮاﺗﻬﻢ وﻳﺘﺤﻜﻤﻮن ﺑﺸﺪﺗﻪ‬ ‫اﳌﻮﺟﻬﺔ ﻟﻠﻤﺴﺘﻤﻌني‪ .‬وﰲ اﻟﻌﺎم ‪ ٢٠٠٩‬ﺗﻢ‬ ‫إدراج ﻛﺘّﺎ أﺷﻮﻻ ﺿﻤﻦ اﻟﱰاث اﻟﺜﻘﺎﰲ ﻏري‬ ‫اﳌﺎدي ﻣﻦ ﻗﺒﻞ ﻣﻨﻈﻤﺔ اﻟﻴﻮﻧﺴﻜﻮ‪ ،‬ﺣﻴﺚ‬ ‫ﺗﺘﺒﻨﻰ ﻣﴩوﻋﺎً ﻟﻠﺤﻔﺎظ ﻋﲆ ﻫﺬا اﻟﱰاث‬ ‫ﻟﻀامن اﺳﺘﻤﺮاره ﺑني اﻷﺟﻴﺎل‪.‬‬ ‫‪ŦōǝōŵƉǤǘǕŌ ƐǶƉƫ ƊǶƉǾǜǕŌ‬‬

‫متﺘﻠﻚ اﳌﻮروﺛﺎت اﻟﻘﺮﻏﻴﺰﻳﺔ ﻛ ًام ﻫﺎﺋ ًﻼ ﻣﻦ‬ ‫اﻟﻔﻨﻮن اﻟﺘﻲ ﺗﺠﺴﺪت ﰲ اﳌﻮﺳﻴﻘﻰ واﻟﻐﻨﺎء‬ ‫واﻵداب واﻟﺸﻌﺮ واﻟﺮﺳﻮم واﻷﻋامل اﻟﻴﺪوﻳﺔ‬ ‫واﻟﻌامرة اﻟﺘﻲ ﻻ ﺗﺰال ﺗﺤﺘﻔﻆ ﺑﺮوﻧﻘﻬﺎ ﺑﻜﻞ‬ ‫ﻣﺎ ﺗﺠﻤﻌﻪ ﻣﻦ ﻋﺒﻖ‪ .‬وﻋﲆ ﻣﺪى ﻗﺮون ﻇﻠﺖ‬ ‫ﺗﻘﺎﻟﻴﺪ وﻋــﺎدات اﻟﺸﻌﺐ اﻟﻘﺮﻏﻴﺰي دون‬ ‫ﺗﻐﻴري ﺗﻘﺮﻳﺒﺎً ﻋﲆ اﻟﺮﻏﻢ ﻣﻦ رﻏﺒﺔ اﻟﻌﺪﻳﺪ‬ ‫ﻣﻦ اﻟﻐﺰاة ﻟﻔﺮض ﺛﻘﺎﻓﺔ ﻏﺮﻳﺒﺔ ﻋﻠﻴﻬﻢ‪.‬‬ ‫ﻛﺘّﺎ أﺷــﻮﻻ‪ ،‬ﺗﻌﻨﻲ ﰲ اﻟﻘﺮﻏﻴﺰﻳﺔ "اﻷﻏﻨﻴﺔ‬ ‫اﻟــﻜــﺒــرية"‪ ،‬وﻫــﻲ ﻣــﻦ اﻟﻔﻨﻮن اﻟﻠﻔﻈﻴﺔ‬ ‫اﳌﻮروﺛﺔ ﰲ ﻗريﻏﻴﺰﺳﺘﺎن‪ ،‬وﺗﺘﻤﻴﺰ ﺑﺨﺼﺎﺋﺼﻬﺎ‬ ‫اﳌﻮﺳﻴﻘﻴﺔ واﻟﺸﻌﺮﻳﺔ اﻟﺨﺎﺻﺔ‪ .‬و ﻫﺬا اﻟﻨﻮع‬ ‫ﻣﻦ اﻷداء اﻟﻐﻨﺎيئ منﺎ ﰲ ﻛﻞ أﻧﺤﺎء اﻟﺒﻼد‬

‫ﺗﻘﺮﻳﺒﺎً‪ .‬وﻳﺘﻠﻘﺎه اﻟﺘﻠﻤﻴﺬ ﻋﻦ أﺳﺘﺎذه ﻋﻦ‬ ‫ﻃﺮﻳﻖ اﻟﺘﻠﻘني واﻟﺘﺪرﻳﺐ اﻟﺸﻔﻬﻲ ﻟﻬﺬا‬ ‫اﻟﻔﻦ اﻷﺻﻴﻞ‪ .‬وﻳﺴﻤﻰ اﻷﺳﺘﺎذ ﰲ ﻫﺬا‬ ‫اﻟﻔﻦ ﺑﺎﻟﺤﺎﻓﻆ أو "ﻛﺘﺎ أﺷﻮﻻﺟﻲ"‪ ،‬وﺗﺴﻤﻰ‬ ‫ﻃﺮﻳﻘﺔ اﻟﺘﻠﻘني "أﺳﻄﻰ‪ -‬ﺷﺎﻛريد"‪ ،‬أي ﻣﻦ‬ ‫اﳌﻌﻠﻢ ﻟﻠﺘﻠﻤﻴﺬ‪ .‬وﻻ ﺗﺰال ﻫﺬه اﻟﻄﺮﻳﻘﺔ ﻫﻲ‬ ‫اﳌﺴﺘﺨﺪﻣﺔ ﺣﺘﻰ اﻟﻴﻮم‪ .‬ﺗﺮﺟﻊ أﺻﻮل ﻫﺬا‬ ‫اﻟﻔﻦ إﱃ اﻟﻘﺮون اﻟﻮﺳﻄﻰ‪ ،‬ﺣﻴﺚ ﻳﺴﺘﻤﺪ‬ ‫أﻟﺤﺎﻧﻪ ﻣﻦ أﻧﺎﺷﻴﺪ اﻟﻌامل اﻟﺘﻲ ﻳﺮددوﻧﻬﺎ‬ ‫ﻣﻦ ﻏري ﻣﺼﺎﺣﺒﺔ آﻻت ﻣﻮﺳﻴﻘﻴﺔ‪ ،‬ﺣﻴﺚ‬ ‫ﻻ ﻳﺰال اﳌﺆدون ﻳﻐﻨﻮن ﻫﺬه اﻷﻟﺤﺎن ﻣﻦ‬ ‫ﻏري آﻻت ﻣﻮﺳﻴﻘﻴﺔ ﰲ ﻣﺠﻤﻮﻋﺎت ﻣﻦ‬ ‫اﺛﻨني إﱃ ﺧﻤﺴﺔ أﺷﺨﺎص ﻳﺮدد ﻛﻞ ﻣﻨﻬﻢ‬

‫ﻳﺤﺘﻔﻞ ﺑﻌﻴﺪ اﻟﻨريوز ﰲ ﻗﴪﻏﻴﺰﺳﺘﺎن‬ ‫ﻛﻌﻄﻠﺔ وﻃﻨﻴﺔ وﺗﻘﺎم اﻻﺣﺘﻔﺎﻻت ﰲ ﺟﻤﻴﻊ‬ ‫أرﺟﺎء اﻟﺒﻼد ﻟﻌﻴﺪ اﻟﺮﺑﻴﻊ واﻟﺘﺠﺪﻳﺪ ﻫﺬا‪.‬‬ ‫وﻳﺸري ﻫﺬا اﻟﻌﻴﺪ إﱃ ﺑﺪاﻳﺔ اﻟﻌﺎم اﻟﺠﺪﻳﺪ‬ ‫ﺣﺴﺐ أﺟﻨﺪة دول آﺳﻴﺎ اﻟﻮﺳﻄﻰ وﻳﺄيت‬ ‫اﻟﻨﺎس ﻣﻦ ﻣﺨﺘﻠﻒ اﻟﺠﺎﻟﻴﺎت اﻟﻌﺮﻗﻴﺔ‬ ‫ﻟﻴﺤﺘﻔﻠﻮا‪ ،‬وﰲ اﻷﻳﺎم اﻟﺘﻲ ﺗﺴﺒﻖ اﻟﻌﻴﺪ‬ ‫ﻳﻨﺨﺮط اﻟﺴﻜﺎن ﰲ اﻷﻋــامل اﻟﺘﻄﻮﻋﻴﺔ‬ ‫ﰲ ﻣﺠﻤﻮﻋﺎت ﺗﺴﻤﻰ اﻟﻜﺎﺷﺎر ﻟﺘﻨﻈﻴﻒ‬ ‫وﺗﺰﻳني ﻣﺪﻧﻬﻢ وﻗﺮاﻫﻢ‪ ،‬وﻳﻌﺪون ﻃﻌﺎﻣﺎً‬ ‫ﺧﺎﺻﺎً ﺑﻌﻴﺪ اﻟﻨريوز ﻣﻜﻮن ﻣﻦ ﻃﺤني‬ ‫اﻟﻘﻤﺢ وﻣﻦ ﻧﺒﺎﺗﺎﺗﻪ اﻟﺮﺑﻴﻌﻴﺔ اﻟﻐﻀﺔ وﻳﺮﻣﺰ‬ ‫ﻫﺬا اﻟﻄﻌﺎم إﱃ اﻟﺤﻴﺎة اﻷﺑﺪﻳﺔ‪.‬‬ ‫وﻳﺸﻤﻞ اﻟﻌﻴﺪ إﻗﺎﻣﺔ اﻟﻌﺪﻳﺪ ﻣﻦ اﳌﺮاﺳﻢ‬ ‫واﻟﺘﻘﺎﻟﻴﺪ اﻟﺨﺎﺻﺔ اﻟﺘﻲ ﻳﺤﺮص اﻟﺸﻌﺐ‬ ‫اﻟﻘﺮﻏﻴﺰي ﻋﲆ اﻻﻟﺘﺰام ﺑﻬﺎ وذﻟﻚ ﻣﻦ ﺧﻼل‬ ‫اﻟﺸﻌﺮ ‪baytelshear‬‬ ‫ﺑﻴﺖ ِ‬

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‫‪ Ęġ¯ ŝŕ‬‬

‫‪ǐǃƌŘ ţŭƱƴŢ ſƍƽŬǂ ƄǂƃǉƽƴţŦ ųǁŭŧŬ‬‬

‫‪ ũǈƅǉƤƃƭƴŢ ŪţŰǂƂǃƹƴŢ‬‬

‫‪ ƲţŧŵƴŢ ǇƴţƠŘ ǇƌţưƄǃŧƴŢ ũǉƈǂƃƨ ţǀƄƃŧŬ ũƠţŵƌ‬‬ ‫ﻣﺤﻤﺪ دروﻳﺶ‬

‫ﰲ وﺳﻂ آﺳﻴﺎ ﺣﻴﺚ ﻳﺘﺸﺎﺑﻚ ﻛﻢ ﻫﺎﺋﻞ ﻣﻦ اﻟﻌﺎدات واﻟﺘﻘﺎﻟﻴﺪ وﺗﺘﻌﺎﻧﻖ أرﻗﻰ ﺛﻘﺎﻓﺎت اﻟﺤﻀﺎرات اﻟﻘﺪميﺔ‪ ،‬متﺘﻠﻚ اﳌﻮروﺛﺎت‬ ‫اﻟﻘﺮﻏﻴﺰﻳﺔ رﺻﻴﺪاً ﻫﺎﺋ ًﻼ ﻣﻦ اﻹرث اﻟﻔﻨﻲ واﻷديب اﻟﺬي اﻣﺘﺰج ﰲ ﺗﻨﺎﻏﻢ ﻋﺬب ﻋﲆ إﻳﻘﺎﻋﺎت أﻏﺎين ﻛﺘّﺎ أﺷﻮﻻ وﻳﺘﻼﻋﺐ ﺑﻌﻴﻮن اﻟﺒﴩ‬ ‫ﻣﻦ ﺧﻼل ﻓﻨﻮن اﻟﺼﻴﺪ واﻹﻗﺪام اﻟﺘﻲ ﺗﻈﻬﺮ ﻋﲆ ﻣﻼﻣﺢ اﻟﻔﺮﺳﺎن اﻟﺸﺠﻌﺎن ﰲ ﻣﺴﺎﺑﻘﺎت اﻟﺒﻮزﻛﺎﳾ أﻋﺎﱄ اﻟﺠﺒﺎل‪ ،‬ﻟﻴﺴﺘﻤﺮ ﺗﺪﻓﻖ ﺳﻴﻞ‬ ‫اﻟﻌﺎدات واﳌﻮروﺛﺎت اﻟﺘﻲ ﺗﺘﺄﻟﻖ ﺑﺮوﻧﻖ اﻟﺤﻀﺎرة ووﻫﺞ اﻟﺜﻘﺎﻓﺔ اﻟﺬي مل ﻳﻨﻄﻔﺊ ﻣﻨﺬ آﻻف اﻟﺴﻨني‪.‬‬

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‫اﻟﻌﺪد ‪ ، 84‬دﻳﺴﻤﺒﺮ ‪2019‬‬

‫‪N P v@ @ @ +N b@@ @ @EN HN‬‬ ‫ ‪ P @ @+P iN xR @ @ @ @ @ @EN &*N M2¡@@ @ @/‬‬ ‫‪O R @@ @ PE · *N‬‬ ‫ﰲ ﺧﱪ ﺳﺎﻗﻪ ﺗﻌﻠﻴﻘﺎً ﻋﲆ ﻗﺼﻴﺪة ﻟﻪ ﻳﻘﻮل ﻋﻨﻬﺎ‪" :‬وﳌﺎ ﺗﻮﰲ أﺧﻮه‬ ‫ ‪L R @ @ @ @<N‬‬ ‫@‪ xO @ @ @ @.N N&* °N HN ¤@@ P @ @£R @ @<N P @ @ @ +P 5O ¡@@ @ O @ @ -N Í‬اﻷﻣري أﺑﻮ اﻟﺤﺴﻦ ﻋﲇ اﻟﺬي ﻛﺎن ﻟﻘﺒﻪ ﻣﻌﺰ اﻟﺪوﻟﺔ ﺑﺎﻟﺤﴬة )‪(...‬‬ ‫‪IN&b@ @ @FN HN b@@ @ FN 2N R @@ @ PE ¤@@ P @ ~@R @z@ -N O yR @ @ @O ´* @N @ T @ @CN HN‬‬ ‫ﻓﻘﻠﺖ أﻋﺰﻳﻪ وﻧﻈﻤﺘﻬﺎ ﻋﲆ ﻇﻬﺮ اﻟﻔﺮس أﺛﻨﺎء اﻟﻄﺮﻳﻖ إﱃ ﻣﺮﺣﻠﺔ‬ ‫‪14 N‬‬ ‫‪N N xR @JO M yR @ EO PÌ@R @=N R @@ PE zN £R DN HN‬‬ ‫©@@‪ xO NE ¢‬‬ ‫وادي اﻟﻨﻴﺒﻞ ﻣﻦ أﺣﻮاز اﻟﺤﻤﺔ‪ ،‬وﺣﻖ ﻫﺬه واﻟﺘﻲ ﺑﻌﺪﻫﺎ أن ﺗﺜﺒﺖ‬ ‫ﰲ اﳌﺮايث ﻟﻜﻦ أﺛﺒﺘﻬام ﻫﻨﺎ ﻛﻮن ﻫﺬه ﺧﺎﻃﺒﺘﻪ ﺑﻬﺎ "‪:15‬‬ ‫أﺳﻠﻔﻨﺎ ﰲ ﻣﺤﻮر اﻟﺮﺛﺎء‪ ،‬دون ﺗﻔﺼﻴﻞ ﰲ ذﻟﻚ‪ ،‬أن اﻟﺮﺛﺎء ﻻ ﻳﻘﺒﻞ‬ ‫اﺳﺘﺤﻀﺎر أﻛرث ﻣﻦ ﻣﺨﺎﻃﺐ ﰲ اﻟﻘﺼﻴﺪة؛ ﻷﻧﻪ ﻣﻤﺤﻮض اﻟﻮﺟﻪ ‪N * S (b@ @ @AN $K *yN @ @ @ <N‬‬ ‫‪b@@ N @ BP ¡R @ EN S @ @ / R‬‬ ‫‪N v@ @ BN d@N @ @R @ ³‬‬ ‫‪16‬‬ ‫ﻟﻠﻤﻴﺖ؛ ﺗﺬﻛﺮ ﻓﻴﻪ ﻣﻨﺎﻗﺒﻪ وﻓﻀﺎﺋﻠﻪ ﻫﻮ دون أﻫﻠﻪ ﻣﻦ اﻷﺣﻴﺎء؛ ْ‬ ‫ﻓﺈن‬ ‫‪R N (R *HN K*ÄR ~8N HN‬‬ ‫‪ b N ~9P ¡R EN PÄR ~| P‬‬ ‫ ‪S D N cR JN µ‬‬ ‫ذﻛﺮ ﺑﻌﺾ أﻫﻠﻪ ﻻ ﻳﺠﺐ أن ﻳﺨﺮج ذﻛﺮﻫﻢ ﻋﻦ ﻋﻼﻗﺔ ﴍف اﻟﻨﺴﺐ‬ ‫دون اﻟﺨﻮض ﰲ ﻓﻀﺎﺋﻞ اﻷﺣﻴﺎء ﻣﻨﻬﻢ وﺗﺮك ﻓﻀﺎﺋﻞ اﳌﻴﺖ؛ ﻓﻬﺬا وميﻜﻦ اﻟﻘﻮل ﻣﻦ اﻟﻨﺎﺣﻴﺔ اﻟﻨﺴﻘﻴﺔ‪ :‬إن اﻟﺘﻌﺰﻳﺔ ﻏﺮض ﻓﺮﻋﻲ‬ ‫اﻷﻣﺮ ﻳﺨﺮج ﻋﻦ ﻏﺮض اﻟﺮﺛﺎء إﱃ ﻏﺮض اﻟﺘﻌﺰﻳﺔ اﻟﺘﻲ ميﻜﻦ ﻓﻴﻬﺎ ﻣﻘﺼﺪﻫﺎ ﺷﺠﻲ وﻣﻨﺤﺎﻫﺎ ﻳﺼﺪر ﻋﻦ اﻟﺬات ﻧﺤﻮ اﻵﺧﺮ؛ أي ﻋﻦ‬ ‫ذﻛﺮ اﳌﻴﺖ وأﻫﻠﻪ؛ ﺑﺤﻴﺚ ﻳﻜﻮن اﻟﺸﻖ اﻟﺨﺎص ﺑﺎﳌﻴﺖ رﺛﺎء واﻟﺸﻖ اﻟﺸﺎﻋﺮ ﰲ اﳌﺮيث أﻣﺎم أﻫﻠﻪ‪ .‬وﻗﺪ ﺗﻔﺮﻋﺖ ﻋﻦ ﻏﺮض آﺧﺮ ﻫﻮ اﻟﺮﺛﺎء‬ ‫اﻟﺨﺎص ﺑﺎﻷﻫﻞ ﻣﺪﺣﺎ واﻟﺠﻤﻊ ﺑﻴﻨﻬام ﺗﻌﺰﻳﺔ ﺗﺴﺘﻮﺟﺐ ذﻛﺮ أﻛرث اﻟﺬي ﺗﺮﺑﻄﻪ ﺑﻬﺎ ﻋﻼﻗﺔ ﺗﺠﺎﻧﺲ‪ .‬وﺑﺎﻟﺘﺎﱄ؛ ﻓﺈﻧﻬﺎ ﺗﻨﻬﻞ ﻣﻨﻪ ﺧﺼﺎﺋﺼﻬﺎ‬ ‫ﻣﻦ ﻣﺨﺎﻃﺐ ﰲ اﻟﻘﺼﻴﺪة‪.‬‬ ‫اﻟﻮراﺛﻴﺔ وأﺣﻜﺎﻣﻬﺎ اﻟﻮﻇﻴﻔﻴﺔ ﻣﻊ ﺑﻌﺾ اﻻﺧﺘﻼﻓﺎت اﻟﺘﻲ ﻓﺼﻠﻨﺎ ﻓﻴﻬﺎ‬ ‫وﻳﴫح ﺑﻬﺬا اﻟﻄﺮح ﰲ اﻟﺘﻔﺮﻳﻖ ﺑﻴﺖ اﻟﺮﺛﺎء واﻟﺘﻌﺰﻳﺔ اﺑﻦ ﻓﺮﻛﻮن اﻟﻘﻮل ﺳﺎﺑﻘﺎً‪.‬‬

‫اﻟﺸﺮوﺣﺎت واﻟﻤﺮاﺟﻊ‪:‬‬

‫)‪ (1‬ﻗﺪاﻣﺔ ﺑﻦ ﺟﻌﻔﺮ أﺑﻮ اﻟﻔﺮج‪ ،‬ﻧﻘﺪ اﻟﺸﻌﺮ‪ ،‬ﺗﺤﻘﻴﻖ وﺗﻌﻠﻴﻖ ﻣﺤﻤﺪ‬ ‫ﻋﺒﺪ اﳌﻨﻌﻢ ﺧﻔﺎﺟﻰ‪ ،‬دار اﻟﻜﺘﺐ اﻟﻌﻠﻤﻴﺔ‪ ،‬ﺑريوت‪ ،‬ص ‪.118‬‬ ‫)‪ (2‬اﺑﻦ رﺷﻴﻖ‪ ،‬اﻟﻘريواين‪ ،‬اﻟﻌﻤﺪة ﰲ ﻣﺤﺎﺳﻦ اﻟﺸﻌﺮ وآداﺑﻪ‪ ،‬ﺗﺤﻘﻴﻖ‬ ‫وﺗﻌﻠﻴﻖ ﻣﺤﻤﺪ ﻣﺤﻲ اﻟﺪﻳﻦ ﻋﺒﺪ اﻟﺤﻤﻴﺪ‪ ،‬ج‪ ،2‬ط‪ ،1‬ﻣﻄﺒﻌﺔ ﺣﺠﺎزي‪،‬‬ ‫اﻟﻘﺎﻫﺮة‪ ،1934 ،‬ص ‪.139‬‬ ‫)‪ (3‬ق‪ .‬ﺑﻦ ﺟﻌﻔﺮ‪ ،‬ﻣﺼﺪر ﺳﺎﺑﻖ‪ ،‬ص ‪.118‬‬ ‫)‪ (4‬اﺑﻦ ﺣﻤﺪﻳﺲ‪ ،‬دﻳﻮان‪ ،‬ﺗﺼﺤﻴﺢ وﺗﻘﺪﻳﻢ إﺣﺴﺎن ﻋﺒﺎس‪ ،‬دار ﺻﺎدر‪،‬‬ ‫ﺑريوت‪ ،‬ص ‪.166‬‬ ‫)‪ (5‬ﺣﺎزم اﻟﻘﺮﻃﺎﺟﻨﻲ‪ ،‬ﻣﻨﻬﺎج اﻟﺒﻠﻐﺎء وﴎاج اﻷدﺑﺎء‪ ،‬ﺗﺤﻘﻴﻖ وﺗﻘﺪﻳﻢ‬ ‫ﻣﺤﻤﺪ اﻟﺤﺒﻴﺐ ﺑﻦ ﺧﻮﺟﺔ‪ ،‬ط‪ ،4‬دار اﻟﻐﺮب اﻹﺳﻼﻣﻲ‪ ،‬ﺑريوت‪،2007 ،‬‬ ‫ص ‪.351‬‬ ‫)‪ (6‬ﴍط اﳌﺮاﺟﻌﺔ ﺑﺎﻟﻌﻄﺎء‪ :‬ﻫﻮ ﴍط اﻓﱰاﴈ ﻳﻜﻮن ﺑني اﻟﺸﺎﻋﺮ‬ ‫واﳌﻤﺪوح ﻋﻨﺪ اﳌﺪح ﻏري اﻟﺨﺎﻟﺺ‪ ،‬ﺑﺤﻴﺚ ﻳﺮاﺟﻊ اﳌﻤﺪوح ﻗﺼﻴﺪة‬ ‫اﻟﺸﺎﻋﺮ ﺑﺎﻟﻌﻄﺎء‪.‬‬ ‫)‪ (7‬اﺑﻦ دراج اﻟﻘﺴﻄﲇ‪ ،‬دﻳﻮان‪ ،‬ﺗﺤﻘﻴﻖ ﻣﺤﻤﻮد ﻋﲇ ﻣيك‪ ،‬ط‪،1‬‬ ‫ﻣﻨﺸﻮرات اﳌﻜﺘﺐ اﻹﺳﻼﻣﻲ‪ ،‬دﻣﺸﻖ‪ ،1961 ،‬ص ‪.316‬‬ ‫)‪ (8‬اﻧﻈﺮ ﻗﺼﻴﺪة متﺜﻞ ﻫﺬا اﻟﻄﺮح‪ :‬اﺑﻦ زﻣﺮك‪ ،‬دﻳﻮان‪ ،‬ﺟﻤﻊ اﳌﻠﻚ‬

‫ﻳﻮﺳﻒ اﻟﺜﺎﻟﺚ‪ ،‬ﺗﺤﻘﻴﻖ ﻣﺤﻤﺪ ﺗﻮﻓﻴﻖ اﻟﻨﻴﻔﺮ‪ ،‬ط‪ ،1‬دار اﻟﻐﺮب‬ ‫اﻹﺳﻼﻣﻲ‪ ،‬ﺑريوت‪ ،1997 ،‬ص ص ‪.445-446-447-448‬‬ ‫)‪ (9‬اﺑﻦ ﺷﻬﻴﺪ‪ ،‬دﻳﻮان‪ ،‬ﺟﻤﻊ وﺗﺤﻘﻴﻖ ﻳﻌﻘﻮب زيك‪ ،‬ﻣﺮاﺟﻌﺔ ﻣﺤﻤﻮد‬ ‫ﻋﲇ ﻣيك‪ ،‬دار اﻟﻜﺘﺎب اﻟﻌﺮيب‪ ،‬اﻟﻘﺎﻫﺮة‪ ،‬ص ‪.173‬‬ ‫)‪ (10‬اﺑﻦ ﺷﻜﻴﻞ‪ ،‬أﺑﻮ اﻟﻌﺒﺎس أﺣﻤﺪ‪ ،‬دﻳﻮان‪ ،‬ﺗﺤﻘﻴﻖ وﺗﻘﺪﻳﻢ ﺣﻴﺎة‬ ‫ﻗﺎرة‪ ،‬ط‪ ،1‬اﳌﺠﻤﻊ اﻟﺜﻘﺎﰲ‪ ،‬أﺑﻮ ﻇﺒﻲ‪ ،1998 ،‬ص ‪.42‬‬ ‫)‪ (11‬اﳌﺼﺪر ﻧﻔﺴﻪ‪ ،‬ص ‪.43‬‬ ‫)‪ (12‬ﺳﺎمل ﺑﻦ ﻋﺒﺪ اﻟﻠﻪ اﻟﺨﻠﻒ‪ ،‬ﻧﻈﻢ ﺣﻜﻢ اﻷﻣﻮﻳني ورﺳﻮﻣﻬﻢ ﰲ‬ ‫اﻷﻧﺪﻟﺲ‪ ،‬ط‪ ،1‬وزارة اﻟﺘﻌﻠﻴﻢ اﻟﻌﺎﱄ‪ ،‬رﻗﻢ اﻹﺻﺪار ‪ ،51‬اﳌﻤﻠﻜﺔ اﻟﻌﺮﺑﻴﺔ‬ ‫اﻟﺴﻌﻮدﻳﺔ‪ ،2003 ،‬ص ص ‪.136-137‬‬ ‫)‪ (13‬اﻷﻋﻤﻰ اﻟﺘﻄﻴﲇ‪ ،‬دﻳﻮان‪ ،‬ﺗﺤﻘﻴﻖ إﺣﺴﺎن ﻋﺒﺎس‪ ،‬دار اﻟﺜﻘﺎﻓﺔ‪،‬‬ ‫ﺑريوت‪ ،‬ص ‪.99‬‬ ‫)‪ (14‬اﺑﻦ ﺣﻤﺪﻳﺲ‪ ،‬ﻣﺮﺟﻊ ﺳﺎﺑﻖ‪ ،‬ص ص ‪.251-252‬‬ ‫)‪ (15‬اﺑﻦ ﻓﺮﻛﻮن‪ ،‬دﻳﻮان‪ ،‬ﺗﻘﺪﻳﻢ وﺗﻌﻠﻴﻖ ﻣﺤﻤﺪ ﺑﻦ ﴍﻳﻔﺔ‪ ،‬ط‪،1‬‬ ‫ﺳﻠﺴﻠﺔ اﻟﱰاث‪ ،‬ﻣﻄﺒﻮﻋﺎت أﻛﺎدميﻴﺔ اﳌﻤﻠﻜﺔ اﳌﻐﺮﺑﻴﺔ‪ ،1987 ،‬ص ‪.358‬‬ ‫)‪ (16‬اﳌﺼﺪر ﻧﻔﺴﻪ‪ ،‬ص ‪.358‬‬ ‫اﻟﺸﻌﺮ ‪baytelshear‬‬ ‫ﺑﻴﺖ ِ‬

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ĘšĲŒĬŘ

źƃǘǕŌ ǽƳ ǒǷǂǕŌ ǳŞƓōǜǙ ōǙŐ ɐǽşƉƣ źƃǘǕŌ ƃƚǂǙǶ ǳǾşƉƣ ǳǾŴƖƳ ŋōŭƉǕŌ ǽƳ ǒǷǂǕŌ ǳŞƓōǜǙ ǽŴƗ ŋōŭƉǕŌ ƃƚǂǙǶ ɰ ŋŌƉƪƖǕŌ ǛǙ ŌƉǾŬǉ ǚŒ ǗǥƈōƪƗŐ ǽƳ ŧǾǘǕŌ ŌǷŞƣōƁ Ƿżǝ ǻǔƫ ǀƊƉǿ ǽŽ ǣǝőǉ ǲƉƗōŞǙ ŋōŭƈ ǣǕ ǁǿƃƚǕ ǽƒǕƃǝȏŌ ƃǾǤƗ ǛşŌ ƨƉƲŨǿ ōǙǶ ŋōŭƉǕŌ ǛǾş ƋǾǘǝ ǚŐ ŝŴǿ ŋōŭƉǕŌ ǚŐ ǇǕƄ ɐǳǿƋƪŨǕōǉ ǣǜƫ ƉŬǉŐ ƈōƞżŨƓŌ ǓŞǂǿ ȍ ɳ ȍŒ ǲƃǾƚǂǕŌ ǽƳ ŝƣōƀǙ ǛǙ ŧǾǘǕŌ ǓǥŐ ƉǾŞƚũ Ŝōş ǛǙ

‫أﻫﻞ اﳌﻴﺖ ﻣام ﻳﺸري إﱃ أﻧﻪ ﰲ ﺗﻌﺎزي اﳌﻠﻮك أو اﻷﻋﻴﺎن ﻗﺪ ﻳﺘﻌﺬر‬ ‫اﻟﻮﺻﻮل ﻷﻫﻞ اﳌﻴﺖ واﻟﺘﻌﺰﻳﺔ اﳌﺒﺎﴍة ﻓﻴﻪ؛ إﻣﺎ ﻟﻜرثة اﳌﻌﺰﻳﻦ‬ ‫ وﻋﲆ ﻋﻜﺲ‬.‫أو ﻋﺪم ﻣﻘﺪرة أﻫﻞ اﳌﻴﺖ ﺗﺤﻤﻞ اﳌﻮﻗﻒ ﻃﻮﻳ ًﻼ‬ ‫اﻟﺘﻌﺰﻳﺔ ﻓﺎﻟﺮﺛﺎء ﻗﺪ ﻳﻘﺎل ﰲ اﳌﻴﺖ وﻻ ُﻳﺴﻌﻰ ﰲ إﻳﺼﺎﻟﻪ ﻷﻫﻠﻪ ﻣﻦ‬ .‫ﻗﺒﻞ اﻟﺸﺎﻋﺮ‬

‫ﺑﻌﺾ اﻷﺣﻴﺎن ﻛﺎن ﺣﺠﺎب اﳌﻠﻮك ﻳﺘﺴﻠﻤﻮن ﻗﺼﺎﺋﺪ ﺗﻌﺎزي اﻟﺸﻌﺮاء‬ ‫ وﺑﺎﻟﺘﺎﱄ؛ ﻓﻘﺼﻴﺪة اﻟﺘﻌﺰﻳﺔ‬.‫ﺴﻠﻢ ﻟﻠﻤﻠﻚ ﻻﺣﻘﺎ ﻟﻴﻘﺮأﻫﺎ‬ ُ ‫ﻗﻊ ُﺗ‬ ٍ ‫ﰲ ُر‬ ‫ﻣﻴﺰﺗﻬﺎ إﴏار اﻟﺸﺎﻋﺮ ﻋﲆ إﻳﺼﺎﻟﻬﺎ ﻷﻫﻞ اﳌﻴﺖ ﻋﲆ ﻧﺤﻮ ﺗﴫﻳﺢ‬ :‫اﻷﻋﻤﻰ اﻟﺘﻄﻴﲇ ﺑﺬﻟﻚ ﰲ ﻗﺼﻴﺪﺗﻪ اﻟﺘﻲ ﻋﺰى ﻓﻴﻬﺎ ﻣﺤﻤﺪ ﺑﻦ ﺣﺰم‬ Kb@ @ @ <HxO @ @ @ AO O @ @ @ @ O @ @ @ @ DO ¡@@ @ @ :O HN M yR @ @ @ @ @ @ @0 ¤@ N @ @ @ P @ @ @ +N N °¡@@ @ @~@@ @O @8* R @ @ @ gO @ @ @ cR @ @ @ P: R @ @ @ @ @ O @ @ @ @ @ FS &* Í@OU @ @ @ @cN @ @ @ @ JO $L *yN @ @ @ @ @ @<N ¤@@ @ P @ @ @EN @N @ @ @z@ @ @ £R @ @ @ DN HN R @ @ @ @ O @ @ @ @JyU @ @ @ @<N &* °¡@@ @ @ @ BO N&* R N&* O xO @ @ @ @ @ @ @-R N&* Oh@@ ~@R@ z@ @ DN R @@ @ @ P @ @ @ DN HN Kb@ ~@ }@ ¹ R N N¥*N¡@ @ @ @ GN Pv@@ £@ @ DP ¡N @ @ D* b@@ @ @ +N N&* @N @ @ £R @ @ @DN (* °¡@@ @~@@O @64N P @ @ @ +P @P@ }@ @JxP @ @ N @ @D* @N @ @ @ PE Oh@@ jR @ @ N @ @ +N Mv@@ @£@ @ P @ @ +N R @@ @ @ @ @ PE ¥P2b@@ @ @ @ @ @ @ @ @FN &* ÁU N&* ¢@@ @ @N @ @ @ <N R N HN °¡@@ @~@@O @8¡O @ @ D* °N HN N$b@@ @ N @ @ U @ @ D* N @ @ @ @ @ 0R O&* µ ¤@@ @+P RixN @ @ @ ~@@ @S @|@ @ @ BN fN @ @ @ @FN b@@ @ @ EN yS @ @ @ @D* S @@ @ @ @ P @ @ @ @ DN HN 13 N °¡@@ cO @ @ O @ @D* N 5P 4O b@@ EN P4wR @ @ O @ @ D* ¢@@ @N @ @ /R N&*HN

ُ ‫ﻳﺨﺘﻠﻒ ﻣﻌﻨﺎ اﳌﺘﻠﻘﻲ ﰲ ﻃﺮﺣﻨﺎ اﻟﻘﺎﺋﻞ ﺑﺤﻘﻴﻘﺔ اﻻﺳﱰزاق ﻣﻦ‬ ‫وﻗﺪ‬ ‫ ﻓرن ﱡد‬،ً‫أوﺟﺎع اﻟﻨﺎس ﻋﻦ ﻃﺮﻳﻖ اﻟﺘﻌﺰﻳﺔ؛ إن ﺗﻠﻤﻴﺤﺎً وإن ﺗﴫﻳﺤﺎ‬ :‫ﻋﻠﻴﻪ ﺑﻘﻮل اﺑﻦ ﺣﻤﺪﻳﺲ‬ O * } O £R AN NN <b~}N -N R @@EN b@@JN P Pv@@JN R @@ PE P2¡@@± N S N&b@ @CN R O *HN vR @ @ @ @/ xO @ ~@@N |@ gN @º O N R @@ PE xO @ p@R @cN @ D* b@@ ¿ fK @ @ DN yP @ @ R @ @ EN @S @ @ @0 ¤@ O @ @ @U @ @ 0N HN Oh@@ @ @JR N&b@ @ @ FN Á(U * O @ @ @¿ O @ @ @ : b@ N S N&b@ @ @ CN xO @ ~@@N |@ BP O @ @ @BN b@@ @ <N ¤@@ @ P<b@@ @+N ¡@ N x@ @ @ @ @ CR 3P HN Oh@@£@ ~@P @z@ FO Rv@ @ @ @BN HN N ° ¥P P @ @+P N$b@@ @ N @ @ 1 xO @ P~@@{@gN @ R @JN O @ R @ PE xL @ ~@R @{@ FN HN I¡N @ @ @R @ JO @O @~@R @z@ P´*HN ·HN @N @ @ @£@ @ @ +P &*N ¯ P $K b@@ @ @ @ .N 4P Oh@@ jR @ @ N @ @+N Rv@ @ @ @ BN HN ‫وﻳﻈﻬﺮ ﻣﻦ ﻫﺬه اﳌﻘﻄﻮﻋﺔ اﳌﺴ َﺘ ْﻔ َﻠ َﺬ ِة أن واﺟﺐ اﻟﻌﺰاء ﻳﺤﺘﻢ‬ َ xO @ P @@ N @ R @ JN O @ @ R @ @ PE ¥P2*N'¡@ @ @ @ @ AO P @ @£R @ @N @ @<N L yR @ @ @ @0O ‫اﻟﻮﺻﻮل إﱃ‬ ‫ وﻳﴫح اﻷﻋﻤﻰ ﺑﺄﻧﻪ مل ُميﻨﻊ اﻟﻠﻘﺎ َء وﻻ‬.‫اﻟﺤﻀﻮر ﻟﻠﻌﺰاء‬

2019 ‫ دﻳﺴﻤﺒﺮ‬، 84 ‫اﻟﻌﺪد‬

‫ْ‬ ‫ﻓﺈن ﺧﺎﻃﺐ اﻟﺸﺎﻋﺮ أﻫﻞ اﳌﻴﺖ ﰲ اﳌﺮﺛﻴﺔ ﻛﺎن ﻣﻦ ﺑﺎب اﻟﺘﺼﺒري ﻻ‬ ‫ﻣﻦ ﺑﺎب اﳌﺪح؛ ﻛﻤﺜﻞ ﻗﻮل اﺑﻦ ﺷﻜﻴﻞ‪:‬‬ ‫@‪ *Ä‬‬ ‫‪N S @ ~@@N |@ @-N M2*xN @ @ @ @ @EO b@@ £N @ @ R @ @<N R @@ @ @ PE ¤@S @ N @ @£@ @ P @ @1N‬‬ ‫‪N * ¢@@N @ <N *L ¡N @ @ @ @<R N&* PÄ@R @~@@S |@ D* ¤@@ P @ AN‬‬ ‫‪Pi*xN @ ~@N @z@ ²‬‬ ‫‪N S b@ @ AN Pib@@ @ N @ @ @CP *¡N @ @ @D* N ¡@@ @ @EO Tv@@ @ @D* @S @ @ @ CO H‬‬ ‫(¿@ @@‪ b‬‬ ‫‪10‬‬ ‫‪ Pib@@~@@N 8xN @ N @D* ¢@@N @<N @L @ BR HN ¢@@gN @ N @D* O ¡@@ EO 2O‬‬ ‫أو ﻛﻘﻮﻟﻪ أﻳﻀﺎً‪:‬‬ ‫‪¤@@gP @ D* @P @ @ @<N P @ @ @ @ @DN (°* Pv@@ @cR @ @ <N b@@ @ @ @+N N&* K*Ä@R @ @ ~@@N @ 8‬‬ ‫ ‪Ph@@ DS ¡N @ @-N N ¡R @ @ @ JN Ä@PR @ ~@@S |@ @D* N @ £@ P @@/‬‬ ‫‪N Rh@@cN @ N @ ~@N @6‬‬ ‫‪b@@ N @ DN b@@ N @ / qO @ @JxP @ @~@@S }@ @D* ¢@@ S @ @/N M,4S 2O R @@ @ <N‬‬ ‫‪11‬‬ ‫‪N N Pib@@ @ EN xO @ @ @ R @ @ @N ´b@@ @ +P Mf@ @ N @ @ £@ @ N @ @ <N HN‬‬ ‫ « @ @ @ ‪ Ph@@ @ S‬‬ ‫ﰲ ﻫﺬﻳﻦ اﻟﻨﻤﻮذﺟني ﻧﻼﺣﻆ أن اﻟﺸﺎﻋﺮ ﻻ ﻳﺨﺎﻃﺐ أﻫﻞ اﳌﻴﺖ إﻻ‬ ‫ﻣﻦ أﺟﻞ ﺗﺼﺒريﻫﻢ ﺛﻢ ﻳﻌﻮج ﻣﺒﺎﴍة ﻟﺬﻛﺮ ﻣﻨﺎﻗﺐ اﳌﻴﺖ ﻧﻔﺴﻪ‪.‬‬ ‫وﻳﺠﺐ أن منﻴﺰ ﺑني اﻟﺮﺛﺎء وﻣﺎ ﻳﺘﻔﺮع ﻋﻨﻪ ﻛﺎﻟﺘﻌﺰﻳﺔ‪ ،‬ذﻟﻚ أن اﻟﺮﺛﺎء‬ ‫ﻻ ﻳﻘﺒﻞ اﺳﺘﺤﻀﺎر أﻛرث ﻣﻦ َ‬ ‫ﻣﺨﺎﻃﺐ ﰲ اﻟﻘﺼﻴﺪة إﻻ ﻣﻦ ﺑﺎب ﺗﺼﺒري‬ ‫ُ‬ ‫ﻣﻤﺤﻮض اﻟﻮﺟ ِﻪ‬ ‫أﻫﻞ اﳌﻴﺖ ﺑﻌﺠﺎﻟﺔ ﻳﻘﺘﻀﻴﻬﺎ اﻟﺒﻴﺖ أو اﻟﺒﻴﺘني؛ ﻷﻧﻪ‬ ‫ﻟﻠﻤﻴﺖ ُﺗﺬﻛﺮ ﻓﻴﻪ ﻣﻨﺎﻗﺒﻪ وﻓﻀﺎﺋﻠﻪ ﻫﻮ دون أﻫﻠﻪ ﻣﻦ اﻷﺣﻴﺎء‪.‬‬ ‫وميﻜﻦ اﻟﻘﻮل ﻣﻦ اﻟﻨﺎﺣﻴﺔ اﻟﻨﺴﻘﻴﺔ إن اﻟﺮﺛﺎء ﻏﺮض ﻧﻮوي ﻣﻘﺼﺪه‬ ‫ﺷﺠﻲ وﻣﻨﺤﺎه ﻳﺼﺪر ﻋﻦ اﻟﺬات ﻧﺤﻮ اﻵﺧﺮ أي ﻋﻦ اﻟﺸﺎﻋﺮ ﰲ‬ ‫ﻣﺮﺛﻴﻪ‪ .‬وﻗﺪ ﺗﻔﺮع ﻋﻦ ﻏﺮض ﻧﻮوي آﺧﺮ ﻫﻮ اﳌﺪح اﻟﺬي ﺗﺮﺑﻄﻪ ﺑﻪ‬ ‫ﻋﻼﻗﺔ ﺗﺠﺎﻧﺲ‪ .‬وﺑﺎﻟﺘﺎﱄ؛ ﻓﺈﻧﻪ ﻳﻨﻬﻞ ﻣﻨﻪ ﺧﺼﺎﺋﺼﻪ اﻟﻮراﺛﻴﺔ وأﺣﻜﺎﻣﻪ‬ ‫اﻟﻮﻇﻴﻔﻴﺔ‪ .‬وﻣﻊ أﻧﻪ ﺗﻔﺮع ﻋﻦ اﳌﺪح إﻻ أﻧﻬام ﻳﺨﺘﻠﻔﺎن ﰲ اﳌﻘﺼﺪ؛‬ ‫ﻓﺎﳌﺪح ﻃﺮيب واﻟﺮﺛﺎء ﺷﺠﻲ‪.‬‬ ‫أﻣﺎ اﻟﺘﻌﺰﻳﺔ ﻓﻬﻲ ﻏﺮض ﺷﻌﺮي ﺛﺎﻧﻮي ﺗﻔﺮع ﻋﻦ اﻟﺮﺛﺎء‪ .‬وﳌﺎ ﻛﺎن‬ ‫ﻣﻦ اﳌﻔﱰض أن ﻻ ﺗﻜﻮن ﻫﻨﺎك ﺟﺎﺋﺰة ﻣﻊ اﻟﺮﺛﺎء ﻓﻠﺰام أن ﻻ ﻳﻜﻮن‬ ‫ﻫﻨﺎك اﺳﱰزاق ﰲ اﻟﺘﻌﺰﻳﺔ ﳌﺎ ﻓﻴﻪ ﻣﻦ ﺧﺪش ﻟﻠﻤﺮوءة‪ .‬إﻻ أن ﺑﻌﺾ‬ ‫اﳌﻠﻮك أﻋﻄﻮا اﻟﺸﻌﺮاء ﰲ ﻗﺼﺎﺋﺪ ﻟﻠﺘﻌﺰﻳﺔ وﻗﺪ ﻋُ ﱠﺪ ﻫﺬا اﻟﻌﻄﺎء‬ ‫ﺟﺰءا ﻣﻦ ﺗﺘﻤﻴﻢ اﻟﺒﻴﻌﺔ؛ ف "ﺑﻌﺪ أن ﺗﺘﻢ ﻣﺮاﺳﻴﻢ اﻻﺣﺘﻔﺎل ﺑﺎﻟﺒﻴﻌﺔ‬ ‫اﻟﺘﻲ ﺗﻨﺘﻬﻲ ﻋﺎدة ﰲ اﻟﻴﻮم ﻧﻔﺴﻪ‪ ،‬وﺑﻌﺪ أن ﻳﺴﻤﻊ اﻷﻣري أو اﻟﺨﻠﻴﻔﺔ‬ ‫إﻧﺸﺎد اﻟﺸﻌﺮاء اﻟﺬﻳﻦ ﻳﻌﺰوﻧﻪ ﻟﻔﻘﺪ واﻟﺪه وﻳﻬﻨﺆوﻧﻪ ﺑﺎﻹﻣﺎرة أو‬ ‫اﻟﺨﻼﻓﺔ‪ ،‬ﻳﺘﻢ ﺗﻮزﻳﻊ اﻟﻜﺴﺎوي واﻷﻣــﻮال ﻋﲆ اﻟﺤﻀﻮر ﺣﺴﺐ‬ ‫ﻣﺮاﺗﺒﻬﻢ وأﻗﺪارﻫﻢ"‪.12‬‬ ‫واﻟﻔﺮق ﺑني اﻟﺘﻌﺰﻳﺔ واﻟﺮﺛﺎء ﻫﻮ أن ﻗﺼﻴﺪة اﻟﺘﻌﺰﻳﺔ ﻗﺪ ﺗﻜﻮن ﻣﻌﺪ ًة‬ ‫ﻟﺘﻠﻘﻰ أﻣﺎم أﻫﻞ اﳌﻴﺖ ﺧﺎﺻﺔ إذا ﻛﺎن ﻣﻠﻜﺎً أو ﻣﻦ اﻷﻋﻴﺎن‪ .‬وﰲ‬ ‫اﻟﺸﻌﺮ ‪baytelshear‬‬ ‫ﺑﻴﺖ ِ‬

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‫ ‪ ĘšĲŒĬŘ‬‬

‫ ‪ ǆƄţơŭƴŢǂ ǇŰŢƃƹƴŢ‬‬ ‫‪ǇƉƴſƼǌŢ ƃơƍƴŢ Ǉƨ‬‬ ‫ ‪ ŪǐǐſƴŢǂ žǂſŹƴŢ‬‬

‫"ﺷﺎﺟﻲ اﻷﻗﺎوﻳﻞ ﻣﺒ َ‬ ‫يك اﳌﻌﺎين‬ ‫ﻣﺒﻜﻴﺎً‪ ،‬ﻣام ﻳﺤﺘﻢ أن ﻳﻜﻮن اﻟﺮﺛﺎء‬ ‫َ‬ ‫د ﻳﺎﺳﻴﻦ ﺣﺰﻛﺮ‬ ‫ﻣﺜريا ﻟﻠﺘﺒﺎرﻳﺢ‪ ،‬وأن ﻳﻜﻮن ﺑﺄﻟﻔﺎظ ﻣﺄﻟﻮﻓﺔ ﺳﻬﻠﺔ ﰲ وزن ﻣﺘﻨﺎﺳﺐ‬ ‫اﻟﺮﺛﺎء ﻏﺮض ﺷﻌﺮي ﻣﻦ اﻷﻏﺮاض اﻟﻨﻮوﻳﺔ اﻟﺮﺋﻴﺴﺔ اﻟﺘﻲ ﺗﻐﻨﻰ ﺑﻬﺎ ﻣﻠﺬوذ‪ ،‬وأن ُﻳﺴﺘﻔﺘَﺢ ﻓﻴﻪ ﺑﺎﻟﺪﻻﻟﺔ ﻋﲆ اﳌﻘﺼﺪ وﻻ ُﻳ َﺼ ﱠﺪر ﺑﻨﺴﻴﺐ‬ ‫اﻟﺸﻌﺮاء اﻟﻘﺪاﻣﻰ؛ ﺗﺮﺑﻄﻪ ﻋﻼﻗﺔ ﺗﺠﺎﻧﺲ ﻣﻊ اﳌﺪح اﻟﺬي ﻫﻮ ﻛﺬﻟﻚ ﻷﻧﻪ ﻣﻨﺎﻗﺾ ﻟﻐﺮض اﻟﺮﺛﺎء"‪.5‬‬ ‫ﻣﻦ اﻷﻏﺮاض اﻟﻨﻮوﻳﺔ ﰲ اﻟﺸﻌﺮﻳﺔ اﻟﻌﺮﺑﻴﺔ‪ ،‬و"ﻟﻴﺲ ﺑني اﳌﺮﺛﻴﺔ‬ ‫واﳌﺪﺣﺔ ﻓﺼﻞ إﻻ أن ﻳﺬﻛﺮ ﰲ اﻟﻠﻔﻆ ﻣﺎ ﻳﺪل ﻋﲆ أﻧﻪ ﻟﺮاﺣﻞ‪ :‬ﻛﺎن‪ ،‬واﻟﺮﺛﺎء ﻏﺮض ﻻ ﻳﺮﺗﻬﻦ "ﺑﴩط اﳌﺮاﺟﻌﺔ ﺑﺎﻟﻌﻄﺎء"‪ 6‬ﻣﻦ ﺑﺎب‬ ‫وﺗﻮﱃ‪ ،‬وﻗﴣ ﻧﺤﺒﻪ‪ ،‬وﻣﺎ أﺷﺒﻪ ذﻟﻚ"‪ 1‬وﻳﺆﻛﺪ اﺑﻦ رﺷﻴﻖ ﻫﺬا اﻟﻄﺮح اﻻﺳــﱰزاق ﻋﲆ ﻋﻜﺲ اﻟﺘﻌﺰﻳﺔ ﰲ ﻛﺜري ﻣﻦ أﺣﻮاﻟﻬﺎ‪ْ ،‬‬ ‫وإن ﻋﲆ‬ ‫ﺑﻘﻮﻟﻪ‪" :‬وﻟﻴﺲ ﺑني اﻟﺮﺛﺎء واﳌﺪح ﻓﺮق؛ إﻻ أﻧﻪ ُﻳﺨﻠﻂ ﺑﺎﻟﺮﺛﺎء ﳾء ﻣﻀﺾ‪ ،‬ﻓﻬﻮ َﺧ ِ ﱞ‬ ‫ﲇ ﻣﻦ اﳌﻄﺎﻣﻊ ﻋﲆ ﺣﺪ ﻗﻮل اﺑﻦ دراج‪:‬‬ ‫‪N * O ~zO pR JN b N £PA Ä‬‬ ‫ﻳﺪل ﻋﲆ أن اﳌﻘﺼﻮد ﺑﻪ ٌ‬ ‫‪ O yN @ ±‬‬ ‫ﻣﻴﺖ ﻣﺜﻞ ﻛﺎن"‪2‬؛ مبﻌﻨﻰ أن اﻟﺮﺛﺎء ﻫﻮ ‪S @N @~@N @z@0R N&* b@@EN‬‬ ‫ *‪N R ~|D‬‬ ‫‪7‬‬ ‫اﳌﺪﻳﺢ ﻧﻔﺴﻪ وﻻ ﻳﺘﺤﻘﻖ إﻻ ﺑﻔﻀﺎﺋﻞ‪) :‬اﻟﻌﻘﻞ واﻟﺸﺠﺎﻋﺔ واﻟﻌﺪل‬ ‫‪ O @ N @ @S @D* N vN @ @ <R N&* Rv@ BN b@@EN @N @6&bR @£N @D* Nv@ @ /N HR N&*HN‬‬ ‫واﻟﻌﻔﺔ( ﻋﲆ ﻣﺎ ﻛﺎن ﻋﻠﻴﻪ اﳌﺮ ﱡيث ﻗﻴﺪ ﺣﻴﺎﺗﻪ‪ ،‬ﻛﺄن "ﻳﻜﻮن اﻟﺤﻲ ﻣﺜ ًﻼ‬ ‫ﻳﻮﺻﻒ ﺑﺎﻟﺠﻮد‪ ،‬ﻓﻼ ﻳﻘﺎل ﻛﺎن ﺟﻮاداً وﻟﻜﻦ ﻳﻘﺎل ذﻫﺐ اﻟﺠﻮد أو وإذا ﻛﺎن ﻏري ﻣﺮﺗﺒﻂ ﺑﴩط اﳌﺮاﺟﻌﺔ‪ ،‬ﻛام أﺳﻠﻔﻨﺎ‪ ،‬ﻓﻼ ﺑﺪ أن ﻳﺨﺘﺺ‬ ‫ﻓﻤﻦ ﻟﻠﺠﻮد ﺑﻌﺪه أو ﻟﻴﺲ اﻟﺠﻮد ﻣﺴﺘﻌﻤ ًﻼ ﻣﺬ ﺗﻮﱃ‪ ،‬وﻣﺎ أﺷﺒﻪ ﺑﺬﻛﺮ ﻓﻀﺎﺋﻞ "ﻓﻘﻴ ٍﺪ" ﻛﺎن ﻣﺤﺒﺒﺎً إﱃ ﻗﻠﺐ اﻟﺸﺎﻋﺮ ﻛﺎﻷﺻﺤﺎب‬ ‫ﻗﺮﻳﺐ ﻟﻪ ﻗﺮاﺑ َﺔ دم ﻛﺎﻷب واﻷم واﻹﺧﻮة‬ ‫ﻫﺬه اﻷﺷﻴﺎء"‪ .3‬وﻟﻘﺪ ﻛﺎن اﻟﺸﻌﺮ اﻷﻧﺪﻟﴘ واﻋﻴﺎً ﺑﻬﺬا اﻟﻔﺮوﻗﺎت واﻟﺨﻼن وذوﻳﻬﻢ‪ ،‬أو‬ ‫ٍ‬ ‫ﺑﺪﻟﻴﻞ ﻗﻮل اﺑﻦ ﺣﻤﺪﻳﺲ ﰲ رﺛﺎء أﺣﺪﻫﻢ‪:‬‬ ‫واﻟﺰوﺟﺔ واﻷﺑﻨﺎء‪ .‬وﻣﻦ ﺧﺼﻮﺻﻴﺔ ﻫﺬا اﻟﺮﺛﺎء أﻧﻪ أﺷﺒﻪ ﺑﺎﳌﺪح‬ ‫‪8‬‬ ‫‪b@@ N @ +P ¤@@ gP @ @D* ¯*P ¡N @ @ N @ @ Db@@ @+P Kb@ @ FyR @ @ 0 O @N @ gO @ @ £R @ @ .N 4N‬‬ ‫اﳌﺒﺎﴍ ﳌﻦ واﻓﺘﻪ اﳌﻨﻴﺔ ؛ ﺑﻞ إن ﻛﺜرياً ﻣﻦ اﻟﺸﻌﺮاء ﺧﺎﻃﺒﻮا اﳌﻴﺖ‬ ‫@‪N P iRN v@ @ N @ @gN @ @<b‬‬ ‫· *‪ *S2¡P @ @ @D‬ﰲ أﺷﻌﺎرﻫﻢ ﻣﺒﺎﴍة ﻛﺄﻧﻪ ﺣﻲ ﻳﺮزق ﻋﲆ ﻧﺤﻮ رﺛﺎء اﺑﻦ ﺷﻬﻴﺪ‬ ‫‪R @ AN K*2Q HP @N @ gO @ @0NR v@ @EN‬‬ ‫‪ @M @ PEb@@ ~@N @ z@ @DP U¥P¡@ @ @jS @ @ @Db@@ @ CN °(S * rO vR @ @ @ @ @N ´* b@@ @ @ EN HN‬‬ ‫اﻷﻧﺪﻟﴘ ﻟﺼﺪﻳﻖ ﻟﻪ‪:‬‬ ‫‪ K*v@@ @+N N&* ¥ Pv@@ @ P0*HN b@@JN · Sh@@ EO (R * Oh@@~@R @{@ P< °N 4 *Sv@ @~@@P 9 O @ @ DN N2b@@ @ <N Pi¡R @ @ @ N ´* Px@ @ CR Pw@@ @+P R @@ @ P @ @ DN HN‬‬ ‫‪N v@ @ @ @ @ @ P0*HN b@@ @ @ N @ @ @ -O ¡R @ @ @ EN HN‬‬ ‫‪¤@T @ @ )P xR @ @ @EN @S @ @~@N@ @7 ° L‬‬ ‫وﻻ ُﺗﻄﺮق ﻫﺬه اﻟﻔﻀﺎﺋﻞ إﻻ ﻣﻦ ﺣﻴﺚ إﺛﺎرة اﻟﺸﺠﺎ ﻻ إﺛﺎرة اﻟﻄﺮب‪ M @@ @ EN N&* HwO @ @ AN d@R @m@N @ R @ -N ° N @N @N @ cR @ BN Th@@ @EO (R * ،‬‬ ‫وﻫﻨﺎ ﻳﻜﻤﻦ اﻟﻔﺮق ﺑﻴﻨﻬام؛ ﻓﻤﻨﺎﺳﺒﺔ اﻟﻘﻮل ﰲ اﳌﺪح ﻃﺮﺑﻴﺔ وﻣﻘﺼﺪ‬ ‫‪¤@T @ PEb@@ N @ P0 Kb@ @ E¡R @ @ JN O @ @ @ @ FP HO2 R @@ @ PE S @ @ @0 R‬‬ ‫ ‪O v@ @ @BN‬‬ ‫اﳌﺪح ﻃﺮيب‪ ،‬أﻣﺎ ﻣﻨﺎﺳﺒﺔ اﻟﻘﻮل ﰲ اﻟﺮﺛﺎء ﻓﺸﺠﻴﺔ وﻣﻘﺼﺪ اﻟﺮﺛﺎء *&‪N @ N @ R @ EN b@@ N @ AN ¤@@ P @ cR @ BN Sh@@ EO HR N‬‬ ‫@‪ d@L @m@N @<N · P b‬‬ ‫‪9‬‬ ‫ﺷﺠﻲ‪ ،‬وﺑﺬﻟﻚ؛ ﻓﺎﳌﻘﺎم ﻳﺘﺤﻜﻢ ﰲ َﺳ ْﻮقِ ﻫﺬه اﻟﻔﻀﺎﺋﻞ َﺳ ْﻮﻗﺎً‬ ‫ *( ‪ ¤@T @ P @ R @ EN Peb@@ p@N @ ~@@R 8N&°* ¶(N * NÃxP @ @ N @ @D* NQ‬‬

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‫اﻟﻌﺪد ‪ ، 84‬دﻳﺴﻤﺒﺮ ‪2019‬‬

ŪŢƂŢſƐŜ ƺţƙƵƈ ƅưƃƸ ſǈŢƄ ƻŦ ǇƸǑƈǎŢ ƿƭƩƴŢ ƃǉŰřŬ

ũǉŦƃƥƴŢ ƻǉƼŢǃƭƴŢǂ ǇƴǂſƴŢ ƺǃƼţƭƴŢ Ǉƨ ǇƵƠ ſƹŹƸ ſƹŸŘ ſƹŹƸ

baytelshear ‫اﻟﺸﻌﺮ‬ ِ ‫ﺑﻴﺖ‬

@sbzc_ad

sbzc.ae

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‫ ‪şœśĘĥŒ‬‬ ‫وﻗﺎل أﻳﻀﺎً‪:‬‬ ‫‪K*v@@ @G I¡@@ @ D* @@p@~@7 @@c@B *4H5 ¤ £ 1‬‬ ‫‪*v@@ @ + @@ @ D ¥3 4*2 @@ @E b@@ @ @E&b@ @- °H‬‬ ‫‪ Mf@ /b@@0 d@O @0b@@~@ 8 P4v@@ @J µ É@@m@ @ - °H‬‬ ‫*&=‪"*Nv@ @~@R@ 74O &* P @@m@ @ g@ D* ¯ ¤@@BÉ@@J Kb@ @ £Q @ @ P‬‬ ‫‪ b@@ @ @ £@ A Ñ* 4b@@ @ @ @ + b@@ @ £@ @ < *x@@ @ @ @ A‬‬ ‫‪*v@@~@|@B b@@ @ O @ N @ Jx@@: Ov@ @ G @@ @ - µ (*H‬‬ ‫‪b@@ F5b@@ /&* É@@ ~@ }@ D* @@z@ £@ D b@@ @ @D °¡@@ @ BH‬‬ ‫@‪*v@@ @ @< b@@ @ N @ @ @gP @ @ @/b‬‬ ‫@‪N @ @ ² b@@ @ @Fy@@ @ @/ b‬‬ ‫‪O @ @ @ @ @ @ @DH‬‬ ‫= @ @ @@‪O @ @ @ @ J K*v‬‬ ‫‪ O @ @ @ EH b@@ @ @E N ¡@@ @ Cb@@ @ c@ @ D* È‬‬ ‫‪9‬‬ ‫‪ *Nv@ @ R @ @ +O @@ @CO 4b@@ @J2 R @@ @E ¥P4*2 O2*2y@@ @ @ @ -H‬‬ ‫ﻛام ﻗﺎل‪:‬‬ ‫‪Kb@ @ @ @ @ @ @ @ )b@@ @ @ @: K*v@@ @ @ @ @ @ @ @ @ @ @ @ @ @ G Oh@@ @ @ @ @ @ @ @ B4b@@ @ @ @ @ @ @ @ A‬‬ ‫‪b@@ @ @ @ @ N @ @ @ @ @ BP *x@@ @ @ @ @ A v@@ @ @ @ @ @ @ @ @+ Oh@@ @ @ @ @ Ev@@ @ @ @ @ @ @ @ @ @ A‬‬ ‫‪O @ @ @ @ @ @ @ @ @ @ @ @ @ @ - Í‬‬ ‫‪O @ @ @ @ @ @ @ @ @ @ @ @Db@@ @ @ @ @ A‬‬ ‫@‪fK @ @ @ @ @ @ @ @ @ @ E2 4w‬‬ ‫‪10‬‬ ‫‪ b@@ @ @ @ @ @ N @ @ @ @ @ @ BP b@@ @ @ @ @ @E%* @@ @ @ @ @ E 4U Tv@@ @ @ @ @ @ @Db@@ @ @ @ @ @ @C‬‬ ‫‪*2x@@ @ @ @ @ @ @ @ @ @ @D* ¡@@ @ @ @ @ @ @ @ @ @ @A Kb@ @ @ @ @c@ @ @ @ @ @ @ @ @ @p@ @ @ @ @g@ @ @ @ @E‬‬ ‫‪O @ @ @ @ @ @m@ @ @ @ @ @ J P$‬‬ ‫@¡ ‪b@@ @ @ @ @ @ @ @ @BP *x@@ @ @ @ B4 @@ @ @ @ @ @E‬‬ ‫‪12‬‬ ‫‪ fL @ @ @ @ N @ @ @ @ R @ @ @ @ :N 11 rL *N24N 2¡@@ @ @ @ @ 1‬‬ ‫‪b@@ @ @ @ @ @ @BP É@@ @ @ 1&* @@ @ @ @ E @@ @ {@ @ @ p@ @ @ @ @ @ D* b@@ @ @ @ E‬‬ ‫‪b@@ @ @ @ @ @ @ @ jN @ @ @ @ Jv@@ @ @ @0 w@T @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @D&* v@@ @ @ @ @ @ @ @ @ @ @ @ @DH‬‬ ‫‪13‬‬ ‫‪ b@@ @ @ @ @ @ @BP b@@ @ @ @ @ @ @< v@@ @ @ @ @ @ @< xT @ @ @ @ @ @ @ @ @~@@ @ @ @N @ @ @ @ 6O&*H‬‬

‫ُ‬ ‫ﻓﺘﺸﺖ ﻃﻮﻻً وﻋﺮﺿﺎً ﰲ دﻳﻮان ﻋﺒﺪ اﻟﻠﻪ ﺑﻦ اﻟﻌﺠﻼن ﻋﻦ‬ ‫ﻟﻘﺪ‬ ‫ﻗﺼﻴﺪة ﺗﺤﻤﻞ ﻣﺆﴍاً واﺣﺪاً ﻋﲆ أﻧﻬﺎ ﻗﻴﻠﺖ أﺛﻨﺎء زواﺟﻪ ﺑﻬﻨﺪ ﻓﻠﻢ‬ ‫أﻋرث ﻋﲆ ﳾء؛ ﺧﺎب ﻣﺴﻌﺎي‪ ،‬ﻟﻜﻦ ﺗﺄﻛﺪ ﻣﺰﻋﻤﻲ!!‬ ‫وﻛﺄن اﻟﺸﺎﻋﺮ مل ﻳﻨﺸﺪ ﰲ ذﻛﺮ ﺣﻠﻴﻠﺘﻪ ﺷﻴﺌﺎً ﺑﺎﻟﻨﻈﺮ إﱃ اﻻﻋﺘﺒﺎرات‬ ‫اﻟﺜﻘﺎﻓﻴﺔ واﻟﻌﺎداﺗﻴﺔ اﻟﺘﻲ ﺗﺸﺒﻊ ﺑﻬﺎ؛ ومل ﻳﺘﺠﺮأ ﻋﲆ اﻟﺘﻐﺰل ﺑﻬﺎ ﻗﺒﻞ‬ ‫اﻟﺰواج ﻣﺨﺎﻓﺔ أن ُﻳ ْﺤ َﺮ َﻣﻬﺎ ﻛام ﻧﺼﺤﻪ ﺻﺎﺣﺒﻪ‪ ..‬وﻟﻜﻨﻪ ﺧ ﱠﻠﻒ ﻛﻞ‬ ‫ﺷﻌﺮه اﻟﺤﺎر واﳌﺸﺘﻌﻞ ﺷﻮﻗﺎً وﺣﻨﻴﻨﺎً ﻣﺒﺎﴍة ﺑﻌﺪﻣﺎ ﻃﻠﻘﻬﺎ؛ وأﻛﺎد‬ ‫أﺟﺰم ﻟﻮﻻ أﻧﻪ ﻃﻠﻘﻬﺎ ﳌﺎ وﺻﻠﻨﺎ ﻋﻨﻬام ﳾء‪ ،‬وﳌﺎ ﻋﺮﻓﻨﺎ ﺑﻮﺟﻮدﻫام؛‬ ‫ذﻟﻚ أن اﻟﺸﺎﻋﺮ ﻛﺎن ذا ﺷﺄن ﰲ ﻗﺒﻴﻠﺘﻪ ﻗﺒﻞ أن ﻳﺤﺒﻬﺎ؛ ﻓﺘﻐريت‬ ‫ﺣﻴﺎﺗﻪ ﺑﻌﺪﻣﺎ ﻗﺎﺑﻠﻬﺎ‪" ،‬وﻛﺎن ﻳﻘﺎل ﻋﻨﻪ ﻗﺒﻞ ذﻟﻚ أن اﻟﻌﺮب ﻛﺎﻧﺖ‬ ‫ﺗﺼﻒ ﻟﻪ ﺛﻼث رواﺣﻞ ﻗﺎمئﺔ ﻓﻴﺤﻠﻘﻬﺎ وﻳﺮﻛﺐ اﻟﺮاﺑﻌﺔ ﻓﻌﻨﺪ ذﻟﻚ‬ ‫داﺧﻠﻪ ﻣﻦ اﻟﺤﺐ ﻣﺎ أﻋﺠﺰه وﻋﻄﻞ ﺣﺮﻛﺎﺗﻪ ﻓﺄﻧﺸﺪ ﻓﻮراً‪:‬‬ ‫‪fM @ @ @ @GH v@@ Jv@@ ~@ @7 @@ @ 6&b@ @ @+ *3 h@@ @ @C v@@ @ @D‬‬ ‫*(‪b@@ @ g@ ~@ z@ ´ b@@ @JÈ@@ @ @ @ D Kb@ @ ~@ @ z@ @ ´ h@@ _@ @~@ @7 *3‬‬ ‫*&‪h@@ @ ~@ 74&b@ A b@@ @ ² @@ @E L b@@ @ @~@ @6 ¤@@ @ @g@ @-‬‬ ‫‪"b -224 K*2Q 4 O @ @£@ @ @ @~@ @6&* ¡@@ @ DH ¤@@c@ @ @ +‬‬ ‫ﻗﺪ ﺗﻜﻮن اﳌﱪرات اﻷﺧﻼﻗﻴﺔ ﻟﺪى اﻟﻌﺮب اﻟﻘﺪاﻣﻰ ﻗﻮﻳﺔ ﰲ ﺗﺪﻳﻴﺚ‬ ‫ﻣﻦ ﻳﺼﻒ ﺧﻄﻴﺒﺘﻪ أو زوﺟﺘﻪ‪ ،‬وﻗﺪ ﺗﻜﻮن ﻧﺤﻴﺰة ﻏريﺗﻪ وﺣﻤﻴﺔ‬ ‫ﻧﻌﺮﺗﻪ ﻗﻮﻳﺔ مبﺎ ﻳﻜﻔﻲ يك ﻳﻐﺾ ﻣﻦ ذﻛﺮ ﺣﺒﻴﺒﺘﻪ اﻟﺤﻘﻴﻘﻴﺔ‪ ،‬ﻏري‬ ‫أن ﻫﺬه اﳌﱪرات ﻣﻦ ﻣﻨﻈﻮر ﺟامﱄ ﺗﻮﺛﻴﻘﻲ ﻗﺪ ﺗﻜﻮن أﺧﻔﺖ ﻋﻦ‬ ‫اﳌﺪوﻧﺔ اﻟﺸﻌﺮﻳﺔ اﻟﻌﺮﺑﻴﺔ ﺟﺰءاً ﻛﺒرياً ﻣﻦ ﺷﻌﻮره اﻟﺼﺎدق ﺗﺠﺎه‬ ‫اﳌﺮأة‪ ..‬ومل ﺗﱰك ﻟﻨﺎ ﰲ أﺣﺴﻦ اﻷﺣﻮال ﻏري ﺷﺬرات ﺑﺎﻫﺘﺔ ﻻ ﺗﻌﻜﺲ‬ ‫ﻣﻜﺎﻧﺘﻬﺎ اﻟﺤﻘﻴﻘﻴﺔ وﺻﻮرﺗﻬﺎ اﻟﺠامﻟﻴﺔ اﳌﺜﺎﻟﻴﺔ‪.‬‬

‫اﻟﺸﺮوﺣﺎت واﻟﻤﺮاﺟﻊ‪:‬‬

‫)‪ (1‬اﻟﻘريواين‪ ،‬اﺑﻦ رﺷﻴﻖ )ت ‪463‬ه(‪ ،‬اﻟﻌﻤﺪة ﰲ ﻣﺤﺎﺳﻦ اﻟﺸﻌﺮ‬ ‫وآداﺑﻪ‪ ،‬ﺗﺤﻘﻴﻖ وﺗﻌﻠﻴﻖ ﻣﺤﻤﺪ ﻣﺤﻴﻲ اﻟﺪﻳﻦ ﻋﺒﺪ اﻟﺤﻤﻴﺪ‪ ،‬ج‪ ،2‬ﻣﻄﺒﻌﺔ‬ ‫ﺣﺠﺎزي‪ ،‬اﻟﻘﺎﻫﺮة‪-‬ﻣﴫ‪ ،‬ط‪ ،1934 ،1‬ص ص ‪.118-119‬‬ ‫)‪ (2‬دواود اﻷﻧﻄﺎيك‪ ،‬ﺗﺰﻳني اﻷﺳﻮاق ﰲ أﺧﺒﺎر اﻟﻌﺸﺎق‪ ،‬دار وﻣﻜﺘﺒﺔ‬ ‫اﻟﻬﻼل‪ ،‬ﺑريوت‪-‬ﻟﺒﻨﺎن‪ ،1986 ،‬ص ‪.141‬‬ ‫)‪ (3‬اﳌﺘﺠﺮدة‪ :‬اﺳﻢ زوﺟﺔ اﳌﻠﻚ اﻟﻨﻌامن‪.‬‬ ‫)‪ (4‬ارﺗﺎب وﺷﻚ‪.‬‬ ‫)‪ (5‬اﻟﺪواداري‪ ،‬أﺑﻮ ﺑﻜﺮ ﺑﻦ ﻋﺒﺪ اﻟﻠﻪ ﺑﻦ أﻳﺒﻚ )ت ﺑﻌﺪ ‪736‬ه(‪ ،‬ﻛﻨﺰ‬ ‫اﻟﺪرر وﺟﺎﻣﻊ اﻟﻐﺮر‪ ،‬ﺗﺤﻘﻴﻖ إدوارد ﺑﺪﻳﻦ‪ ،‬ج‪ ،2‬ﻋﻴﴗ اﻟﺒﺎيب اﻟﺤﻠﺒﻲ‪،‬‬ ‫‪ ،1994‬ص ‪.472‬‬ ‫)‪ (6‬اﻟﺸﺎﺑﺔ اﻟﺤﺴﻨﺔ اﻟﺨﻠﻖ‪.‬‬

‫‪74‬‬

‫اﻟﻌﺪد ‪ ، 84‬دﻳﺴﻤﺒﺮ ‪2019‬‬

‫)‪ (7‬اﻟﻐﺮة ﺷﺪة اﻟﺒﻴﺎض‪.‬‬ ‫)‪ (8‬ﻋﺒﺪ اﻟﻠﻪ ﺑﻦ اﻟﻌﺠﻼن اﻟﻨﻬﺪي‪ ،‬اﻟﺪﻳﻮان‪ ،‬ﺗﺤﻘﻴﻖ إﺑﺮاﻫﻴﻢ ﺻﺎﻟﺢ‪،‬‬ ‫ﻫﻴﺌﺔ أﺑﻮﻇﺒﻲ ﻟﻠﺜﻘﺎﻓﺔ واﻟﱰاث‪ ،‬دار اﻟﻜﺘﺐ اﻟﻮﻃﻨﻴﺔن ط‪ ،1‬أﺑﻮﻇﺒﻲ‪-‬‬ ‫اﻹﻣﺎرات اﻟﻌﺮﺑﻴﺔ اﳌﺘﺤﺪة‪ ،2009 ،‬ص ص ‪.15-16‬‬ ‫)‪ (9‬اﳌﺼﺪر ﻧﻔﺴﻪ‪ ،‬ص ‪.21-22‬‬ ‫)‪ (10‬اﳌﺆﻗﺔ ﻣﴪى اﻟﺪﻣﻊ ﺑني اﻟﻌني واﻷﻧﻒ‪.‬‬ ‫)‪ (11‬اﻟﺜﻘﻴﻠﺔ اﻷرداف‪.‬‬ ‫)‪ (12‬ﻧﺎﻋﻤﺔ‪.‬‬ ‫)‪ (13‬ﻋﺒﺪ اﻟﻠﻪ ﺑﻦ اﻟﻌﺠﻼن‪ ،‬اﻟﺪﻳﻮان‪ ،‬ﻣﺼﺪر ﺳﺎﺑﻖ‪ ،‬ص ‪.39‬‬ ‫)‪ (14‬داوود اﻷﻧﻄﺎيك‪ ،‬ﺗﺰﻳني اﻷﺳﻮاق‪ ،‬ﻣﺼﺪر ﺳﺎﺑﻖ‪ ،‬ص ‪.141‬‬

‫وﻣﻦ اﻟﺤﻜﺎﻳﺎت اﻟﻄﺮﻳﻔﺔ ﰲ ﻫﺬا اﻟﺼﺪد ﻣﺎ روي ﻋﻦ اﻟﺸﺎﻋﺮ ﻋﺒﺪ‬ ‫اﻟﻠﻪ ﺑﻦ ﻋﺠﻼن اﻟﻨﻬﺪي وﺣﺒﻴﺒﺘﻪ ﻫﻨﺪ "أﻧﻪ ﺧﺮج ﻳﻮﻣﺎً إﱃ ﺷﻌﺐ‬ ‫ﻣﻦ ﻧﺠﺪ ﻳﻨﺸﺪ ﺿﺎﻟﺔ ﻓﺸﺎرف ﻣﺎء ﻳﻘﺎل ﻟﻪ ﻧﻬﺮ ﻏﺴﺎن وﻛﺎﻧﺖ ﺑﻨﺎت‬ ‫اﻟﻌﺮب ﺗﻘﺼﺪه ﻓﺘﺨﻠﻊ ﺛﻴﺎﺑﻬﺎ وﺗﻐﺘﺴﻞ ﻓﻴﻪ‪.‬‬ ‫ﻓﻠام ﻋﻼ رﺑﻮة ﺗﴩف ﻋﲆ اﻟﻨﻬﺮ اﳌﺬﻛﻮر ورآﻫﻦ ﻋﲆ ﺗﻠﻚ اﻟﺤﺎﻟﺔ‪،‬‬ ‫ﻓﻤﻜﺚ ﻳﻨﻈﺮ إﻟﻴﻬﻦ ﻣﺴﺘﺨﻔﻴﺎً ﻓﺼﻌﺪن ﺣﺘﻰ ﺑﻘﻴﺖ ﻫﻨﺪ‪ ،‬وﻛﺎﻧﺖ‬ ‫ﻃﻮﻳﻠﺔ اﻟﺸﻌﺮ ﻓﺄﺧﺬت متﺸﻄﻪ وﺗﺴﺒﻠﻪ ﻋﲆ ﺑﺪﻧﻬﺎ وﻫﻮ ﻳﺘﺄﻣﻞ‬ ‫ﺑﻴﺎﺿﻬﺎ ﻣﻦ ﺧﻼل ﺳﻮاد اﻟﺸﻌﺮ‪ ،‬وﻧﻬﺾ ﻟريﻛﺐ راﺣﻠﺘﻪ ﻓﻌﺠﺰ‪ ،‬وأﻗﻌﺪ‬ ‫ﺳﺎﻋﺔ )‪ (...‬ﺛﻢ ﻗﺎل ﻫﺬه واﻟﻠﻪ اﻟﻀﺎﻟﺔ اﻟﺘﻲ ﻻ ﺗﺮد ﺛﻢ ﻋﺎد وﻗﺪ‬ ‫متﻜﻦ اﻟﻬﻮى ﻣﻨﻪ ﻓﺄﺧﱪ ﺻﺪﻳﻘﺎً ﻟﻪ‪ ،‬ﻓﻘﺎل اﻛﺘﻢ ﻣﺎ ﺑﻚ واﺧﻄﺒﻬﺎ إﱃ‬ ‫َ‬ ‫أﺷﻬﺮت ﻋﺸ َﻘﻬﺎ ُﺣﺮﻣﺘﻬﺎ‪ ،‬ﻓﻔﻌﻞ وﺧﻄﺒﻬﺎ‬ ‫أﺑﻴﻬﺎ ﻓﺈﻧﻪ ﻳﺰوﺟﻚ ﺑﻬﺎ وإن‬ ‫ﻓﺄﺟﻴﺐ وﺗﺰوج ﺑﻬﺎ"‪.2‬‬ ‫ﻫﺬا اﻟﺨﱪ ﻳﺆﻛﺪ ﻣﺆﴍ ﺗﺤﺮﻳﻢ اﻟﺘﻐﺰل ﺑﺎﳌﺮأة اﻟﺤﺮة اﻟﻐﺮة؛ ذﻟﻚ أن‬ ‫ﻫﺬا اﻟﻐﺰل ﻗﺪ ﻳﻌﺘﱪ ﰲ ﻧﻄﺎق اﳌﺠﺘﻤﻌﺎت اﻟﻘﺒﺎﺋﻠﻴﺔ اﻟﻀﻴﻘﺔ ﻧﻮﻋﺎ‬ ‫ﻣﻦ اﻟﺘﺸﻬري واﻟﴬب ﰲ ﻋﺮض اﳌﺮأة‪ ،‬ﻓﺎﻟﺴﺎﻣﻊ ﻟﻠﺸﻌﺮ ﻳﺤﻤﻞ ﻣﺎ ﻓﻴﻪ‬ ‫ﻣﻦ وﺻﻒ وأﺣﺪاث ﻣﺤﻤﻞ ﺟﺪ وﺗﺼﺪﻳﻖ؛ وﻻ أدل ﻋﲆ ﻫﺬا اﳌﺰﻋﻢ‬ ‫ﻣﻦ ﻗﺼﺔ ﺗﻐﺰل اﻟﻨﺎﺑﻐﺔ ﺑﺎﳌﺘﺠﺮدة زوﺟﺔ اﳌﻠﻚ اﻟﻨﻌامن ﺑﻄﻠﺐ‬ ‫ﻣﻦ ﻫﺬا اﻷﺧري؛ اﻟﺬي أﻣﺮ اﻟﺸﺎﻋﺮ ﺑﻘﻮﻟﻪ وﻫﻮ ﰲ ﺣﴬة اﳌﻨﺨﻞ‬ ‫اﻟﻴﺸﻜﺮي‪" :‬اﻣﺪح ﱄ اﳌﺘﺠ ّﺮدة‪ 3‬واذﻛﺮ ﺟﻤﻴﻊ ﻣﺤﺎﺳﻨﻬﺎ‪ .‬ﻓﻔﻌﻞ ﻫﺬه‬ ‫اﻷﺑﻴﺎت ا ّﻟﺘﻲ أ ّوﻟﻬﺎ ﻳﻘﻮل‪:‬‬ ‫*&‪¥v@@g@ @ E H&* q@@ @ @ @ )*4 f@@ @ £Q @ @ @E %* @@ @ @ @ E‬‬ ‫< @ @ @ @‪O @ @ @ @m‬‬ ‫@‪2HQ y@@ @ @ @ @E Ì@@ @ @ @ @=H 2M*5 *3 É‬‬ ‫إﱃ أن وﺻﻞ ﰲ ﺻﻔﺘﻬﺎ ﺷﻴﺌﺎً ﻓﺸﻴﺌﺎً إﱃ ﻗﻮﻟﻪ‪:‬‬ ‫@‪ v‬‬ ‫‪M @ @ g@ ~@ z@ E ¯ Oh@@ @ @ @ @: Oh@@ @ @ @ @: *3(*H‬‬ ‫‪Pv@@ @ EN xR @ @ N @ @ EO PÌ@ @c@ @ @ @Db@@ + f@@ ~@Q @ z@ @m@ @´* ¤@@ @ @ +*4‬‬ ‫‪ @M @~@|@p@g@~@z@E @@ < Oh@@ <y@@ F Oh@@ <y@@ F *3(*H‬‬ ‫‪N * N y@@ @ @ F‬‬ ‫‪Pv@@ ~@@N |@ @p@R @O ´* $b@@ ~@ @7xQ @ @Db@@ + P4HS yN @ @ @ @ @ @ @²‬‬ ‫ﻓﺘﺨ ّﻴﻞ‪ 4‬اﻟﻨّﻌامن ﻣﻦ ﻗﻮﻟﻪ‪ ،‬وﻗﺎل ﻟﻪ اﻟﻨّﻌامن‪ :‬ﻛﻴﻒ رأﻳﺖ ﻳﺎ‬ ‫ﻓﺘﻐري اﻟﻨ ُ‬ ‫ّ‬ ‫ّﻌامن ﻋﲆ اﻟﻨّﺎﺑﻐﺔ‪.‬‬ ‫ﻣﻨﺨﻞ؟ ﻓﻘﺎل‪ :‬ﻟﻮ مل ُﻳ َﻌﺎ ِﻳﻦْ مل ﻳﺬﻛﺮ‪ّ .‬‬ ‫وﺑﻠﻎ اﻟﻨّﺎﺑﻐ ُﺔ َ‬ ‫ﻗﻮل ّ‬ ‫اﳌﻨﺨﻞ‪ ،‬ﻓﻌﻠﻢ أ ّﻧﻪ ﻣﻘﺘﻮل إن ﻗﻌﺪ‪ ،‬ﻓﻬﺮب إﱃ‬ ‫اﻟﻴﻤﻦ"‪.5‬‬ ‫ُ‬ ‫اﳌﻨﺨﻞ ﺷﻌ َﺮ اﻟﻨﺎﺑﻐ ِﺔ‪:‬‬ ‫ﻫﺬه اﻟﻌﺒﺎرة اﻟﺒﺎﻟﻐﺔ اﻟﺨﻄﻮرة اﻟﺘﻲ وﺻﻒ ﺑﻬﺎ‬ ‫"ﻟﻮ مل ﻳﻌﺎﻳﻦ مل ﻳﺬﻛﺮ" ﻫﻲ ﻣﺎ ﻛﺎن ﻋﻤﻮم اﻟﻌﺮب ﻳﺘﺨﻮﻓﻮن ﻣﻦ أن‬ ‫ﺗﻠﺼﻖ ﺑﺒﻨﺎﺗﻬﻢ إذا ﺗﻐﺰل ﺑﻬﻦ ﺷﺎﻋﺮ ﻣﺎ؛ ﻟﻬﺬا ﻛﺎﻧﻮا ﻳﺤﺮﻣﻮن ﻋﲆ‬ ‫ﻣﻦ ﺗﻐﺰل ﺑﻔﺘﺎة أن ﻳﺘﺰوﺟﻬﺎ دﻓﻌﺎً ﻟﻠﺸﺒﻬﺔ وﺣﺘﻰ ﻻ ﻳﻘﺎل‪" :‬ﺗﺰوﺟﻬﺎ‬

‫ ‪ ǓǙōƪŨǕŌ ǽƳ ǳǘǿƃǂǕŌ ǳǾşƉƪǕŌ ŦŌƂōƪǕŌ Ǔǂŭ ƃŨǙŌ‬‬ ‫‪ ŧǝōǉ ƃǂƳ ɑōǤş ǚŌƉŨǃȍŌ ǓŞǃ ǻŨŽ ǲŐƉǘǕŌ ƩǙ‬‬ ‫‪ɴ‬‬ ‫‪ɳ ǿ ǚŐ ǳƳōƀǙ ǓǂŬũ ŋŌƉƪƖǕŌ ǳǜƒǕŐ‬‬ ‫‪ ǛǙ ŌǷǙɴ Ɖż‬‬ ‫‪ǗǤũōŞǾŞŽ‬‬

‫ ‪ ǳǾǔȃōŞǂǕŌ ŦōƪǘŨŴǘǕŌ ǀōƢǝ ǽƳ ƉŞŨƪǿ ƃǃ ǒƋƮǕŌ‬‬ ‫‪ ƜƉƫ ǽƳ ŜƉƞǕŌǶ ƉǾǤƖŨǕŌ ǛǙ ōƫǷǝ ǳǂǾƞǕŌ‬‬ ‫‪ǲŐƉǘǕŌ‬‬ ‫ ‪ ŜƉƪǕŌ ǺƃǕ ǳǾǃȎƁȏŌ ŦŌƈƉŞǘǕŌ ǚǷǈũ ƃǃ‬‬ ‫ ‪ǣŨŞǾƢƁ Ʊƚǿ ǛǙ ūǾǿƃũ ǽƳ ǳǿǷǃ ǻǙŌƃǂǕŌ‬‬ ‫ ‪ǣŨŵǶƊ ǶŐ‬‬

‫ﺗﺴﱰاً ﻋﻠﻴﻬﺎ"؛ ﺑﻞ ‪-‬أﻛرث ﻣﻦ ذﻟﻚ‪ -‬ﻛﺎﻧﻮا ﻳﺴﻌﻮن إﱃ ﺗﺰوﻳﺠﻬﺎ ﺑﻌني‬ ‫ﻣﻦ اﻷﻋﻴﺎن ﺣﺘﻰ ﻳﺜﺒﺘﻮا ﻟﻠﻤﺠﺘﻤﻊ اﻟﻘﺒﺎﺋﲇ أﻧﻬﺎ ﴍﻳﻔﺔ ﻋﻔﻴﻔﺔ‪ ،‬وﻟﻮ‬ ‫ﻛﺎن أﻣﺮﻫﺎ ﻏري ذﻟﻚ ﳌﺎ اﻗﱰن ﺑﻬﺎ ﻫﺬا اﻟﺰوج اﻟﺬي اﺷﺘﻬﺮ مبﻜﺎﻧﺘﻪ‬ ‫وﻗﻴﻤﺘﻪ اﻟﺮﻓﻴﻌﺔ‪.‬‬ ‫وﻋﻮداً ﻋﲆ ﺑﺪء؛ إﱃ ﺣﻴﺚ اﻟﺸﺎﻋﺮ ﻋﺒﺪ اﻟﻠﻪ ﺑﻦ ﻋﺠﻼن اﻟﻨﻬﺪي؛‬ ‫ﻓﺈن ﻫﺬا اﻟﺸﺎﻋﺮ ﻗﺪ اﺷﺘﻬﺮ ﺑﺤﺒﻪ ﻟﺰوﺟﺘﻪ اﻟﺘﻲ ﻃﻠﻘﻬﺎ ﻣﺮﻏ ًام‬ ‫ﺑﻌﺪ ﺗﺴﻊ ﺳﻨﻮات ﻣﻦ اﻟﺰواج‪ ،‬وﻗﺪ ﻋﺎش ﻣﺘﻴ ًام ﺑﻬﺎ ﻳﻠﻬﺚ ﺑﺬﻛﺮﻫﺎ‬ ‫رﺟﻞ آﺧﺮ؛ ﻳﺘﺤﴪ ﻋﲆ ﻓﻘﺪﻫﺎ وﻳﻨﺪب‬ ‫ﻟﺜﻼﺛني ﻋﺎﻣﺎ وﻫﻲ ﺗﺤﺖ ٍ‬ ‫ﺣﻈﻪ ﻣﻨﻬﺎ‪ ..‬ﻓﻘﺎل ﻣام ﻗﺎل ﻓﻴﻬﺎ‪:‬‬ ‫‪N 2b@@ @ @ <H ¤@@ BP ¡@@ ~@ @7 N b@@ @ @: v@@ @B‬‬ ‫‪¤@@ @+P xN @ @ : · N‬‬ ‫‪N * 6 Pf@ @ Â‬‬ ‫‪Pd@@ ~@N @ z@ @²‬‬ ‫‪N x@@ @ C M2¡@@ @ @1 Px@ @ @ C3 @@ @E‬‬ ‫‪b@@ @ @-O 4N ¡@@ ~@@O 8 P É@@ @ @ @ @D* @@ j@ @E 7 O$*xNQ @ @ @ @ @ @ @=N‬‬ ‫‪8‬‬ ‫*&‪ Pd@@ @ Gw@@ @ D* ,4¡@@ @~@ @ 8 M b@@ @j@ @ N @ @ j@ @ E H‬‬ ‫اﻟﺸﻌﺮ ‪baytelshear‬‬ ‫ﺑﻴﺖ ِ‬

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‫ ‪şœśĘĥŒ‬‬

‫‪ō‬‬ ‫‪ŨŘƃƹƴŢ‬‬

‫‪ ũǈƃƝƼǂ‬‬ ‫‪ ƂţơƌǌŢ‬‬ ‫‪ ũƸƃŹƹƴŢ‬‬ ‫د ﻳﺎﺳﻴﻦ ﺣﺰﻛﺮ‬

‫اﳌﺮأة؛ ﻫﺬا اﻟﻜﺎﺋﻦ اﻟﺬي ﻻ ﻧﺴﺘﻮﻋﺐ ﺟامﻟﻪ إﻻ مبﺸﻘﺔ اﻟﻜﻨﺎﻳﺎت‬ ‫وإرﻫﺎق اﳌﺠﺎزات‪.‬‬ ‫اﳌﺮأة؛ ذﻟﻚ اﻟﻨﺼﻒ اﳌﻜﻤﻞ ﻟﻜﻴﻨﻮﻧﺔ اﻟﺮﺟﻞ واﻟﺬي ﺻﻨﻔﻨﺎه ﻋﲆ‬ ‫ﻣﺪى ﻗﺮون ﺑﺴﻮء ﻓﻬﻢ اﻟﻌﻘﻠﻴﺔ اﻟﺬﻛﻮرﻳﺔ اﻟﻌﺮﺑﻴﺔ إﱃ ﻧﺼﻒ ﻧﺎﻗﺺ‬ ‫ﺿﻌﻴﻒ؛ ﻋﲆ ﻧﺤﻮ ﻗﻮل ﺟﺮﻳﺮ؛ ﺑﺮﻏﻢ ﻣﺎ ﰲ اﻟﺒﻴﺘني ﻣﻦ رﻗﺔ ﺧﺎﻃﺮ‬ ‫وﺣﺴﻦ وﺻﻒ‪:‬‬ ‫‪1‬‬ ‫‪N‬‬ ‫@‪ 4L ¡N @ @ @ 0 b‬‬ ‫*( *‪@g@ D* N ¡@@£@ @ D‬‬ ‫@‪N @ N @ @AP xR @ @: ¯ ¤‬‬ ‫‪b@@ @ FÉ@@g@ B @N @ @ £@ £@ p@ J @@ @ @ D @@ @ @ . b@@ @ N @ N @ @ g@ BN‬‬ ‫‪ @+ *x@@ 0 ° ¢@@g@0 d@U @ @ D* *3 @N @<R xN @ ~@@R |@ JN‬‬ ‫‪b@@ FN b@@ ~@ @z@ @F(* PÑ* P @@ @ @ @ @1 @O @ @ @ @ @~@ @9&* @@ @ @GH‬‬ ‫ﻟﻘﺪ ذﻫﺒﺖ اﳌﻌﺎﺟﻢ اﻟﻌﺮﺑﻴﺔ اﻟﻘﺪميﺔ إﱃ أن اﳌﺮأة ﻫﻲ ﻣﺆﻧﺚ‬ ‫"ﻣﺮء"؛ واﳌﺮء ﻫﻮ ﺷﻖ اﻹﻧﺴﺎﻧﻴﺔ؛ وﻣﻦ مثﺔ ﻓﺒﻌﻴﺪا ﻋﻦ "ﻣﺘﻼزﻣﺔ"‬ ‫اﻟﺘﻨﻘﻴﺺ ﻣﻦ ﻗﻴﻤﺔ اﳌﺮأة اﻟﻌﺮﺑﻴﺔ اﻟﻘﺪميﺔ‪ ،‬ﻓﺈﻧﻬﺎ ﰲ اﻟﺤﻘﻴﻘﺔ ﻛﺎﻧﺖ‬ ‫ﻣﺼﺪر إﻟﻬﺎم ﻷﻛﱪ اﻟﺘﺠﺎرب اﻟﺸﻌﺮﻳﺔ اﻹﻧﺴﺎﻧﻴﺔ‪..‬‬

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‫اﻟﻌﺪد ‪ ، 84‬دﻳﺴﻤﺒﺮ ‪2019‬‬

‫ووﺟﻬﻦ ﻛﺒﺎراً‪ ..‬ﻛﻞ ﻫﺬا اﳌﻨﺠﺰ‬ ‫ﻧﺴﺎء أﻟﻬﻤﻦ ﻗﺎدة وﺳﺎﻋﺪن ﻋﻈامء ﱠ‬ ‫ﻻ ﻧﺴﺘﻄﻴﻊ اﻟﺘﺤﺪث ﻋﻨﻪ؛ أوﻻً ﻷﻧﻪ ﺟﺮى ﻃﻤﺴﻪ ﺑﺸﻜﻞ ﻛﺒري‪ ،‬ﺛﺎﻧﻴﺎ‬ ‫ﻷن اﻟﺸﻌﺮﻳﺔ اﻟﻌﺮﺑﻴﺔ ﻏﺎﻟﺒﺎً مل ﺗﺤﺘﻒ ﺑـ"اﻟﺤﺮة اﻟﻐﺮة"‪ ،‬ﺑﻞ ﻗﺪﻣﺖ‬ ‫ﰲ أﺣﺴﻦ أﺣﻮال اﺣﺘﻔﺎﻟﻴﺎﺗﻬﺎ اﻟﻐﺰﻟﻴﺔ ﺑﺼﻮرة اﳌﺮأة "اﻟﺨﻠﻴﻠﺔ‪،‬‬ ‫واﻟﻌﺸﻴﻘﺔ‪ ،‬واﻟﺠﺎرﻳﺔ اﻟﺠﻤﻴﻠﺔ‪ ،‬واﻷﻣﺔ اﳌﻠﻴﺤﺔ‪ ،(..‬وﺗﺠﻨﺒﻮا اﻟﺨﻮض‬ ‫ﰲ ﺳرية وﺻﻮرة اﳌﺮأة اﻟﺰوﺟﺔ!!‬ ‫اﻋﺘﱪت اﻟﺰوﺟﺔ ‪-‬وﻣﺎ زاﻟﺖ ﻛﺬﻟﻚ‪ -‬ﺣﺮﻣﺔ ﻣﻦ ﺣﺮم اﻟﺮﺟﻞ وﻋﻮرة‬ ‫وﺟﺐ اﻟﺘﺴﱰ ﻋﻠﻴﻬﺎ؛ ﻟﻴﺲ ﻣﻦ ﻣﻨﻈﻮر دﻳﻨﻲ ‪-‬ﻛام ﻗﺪ ﻳﺘﺒﺎدر ﻟﺬﻫﻦ‬ ‫اﻟﻘﺎرئ اﻟﻜﺮﻳﻢ‪ -‬ﺑﻞ ﻣﻦ ﻣﻨﻈﻮر ﻗﺒﺎﺋﲇ ﻋﺎدايت‪ ..‬وﻣﻦ مثﺔ ﻓﻘﺪ ﻛﺎن‬ ‫اﻟﺸﺎﻋﺮ ﻏﺎﻟﺒﺎً ﻣﺎ ﻳﺼﻄﻨﻊ ﺣﺒﻴﺒﺔ ﺣﻘﻴﻘﻴﺔ أو ﻣﻌﺸﻮﻗﺔ ﻣﺘﺨﻴﻠﺔ ﻟﻴﺼﻔﻬﺎ‬ ‫ﻣﻜﺎن زوﺟﺘﻪ؛ ﻟﻘﺪ ﻛﺎﻧﺖ ﻋﺮوﺑﺘﻪ وﻏريﺗﻪ وﻓﺤﻮﻟﺘﻪ ﺗﺤﺮم ﻋﻠﻴﻪ‬ ‫ﺗﻜﺸﻴﻒ زوﺟﺘﻪ وﺗﻮﺻﻴﻔﻬﺎ أﻣﺎم ﻣﺮأى ﻏﺮاﺋﺰﻳﺔ اﻟﺬﻛﻮر اﻵﺧﺮﻳﻦ‪.‬‬ ‫اﻣﺘﺪ ﺛﻘﻞ اﻟﻌﺎدات اﻟﻌﺮﺑﻴﺔ اﻟﻘﺪميﺔ ﰲ اﻟﺘﻌﺎﻣﻞ ﻣﻊ اﳌﺮأة ﺣﺘﻰ ﻗﺒﻞ‬ ‫اﻻﻗﱰان ﺑﻬﺎ؛ ﻓﻘﺪ ﻛﺎﻧﺖ أﻟﺴﻨﺔ اﻟﺸﻌﺮاء ﺗﺜﻘﻞ ﻣﺨﺎﻓﺔ أن ُﻳﺤ َﺮ ُﻣﻮا ﻣﻦ‬ ‫ﺣﺒﻴﺒﺎﺗﻬﻢ؛ ﻟﻬﺬا ﻓﻘﺪ ﻛﺎﻧﻮا ﻳﺠﺘﻨﺒﻮن اﻟﺘﻐﺰل ﺑﻬﻦ ﻗﺒﻞ اﻟﺰواج‪ ،‬ﺛﻢ‬ ‫ﻳﺼري ﻫﺬا اﻟﺘﺤﺮﻳﻢ ﻧﺎﺑﻌﺎً ﻣﻦ ﻋﻤﻖ اﻟﺸﺎﻋﺮ ﻧﻔﺴﻪ ﻋﻨﺪﻣﺎ ﻳﺘﺰوج ﺑﻬﺎ‬ ‫ﻓﻴﻌﺘﱪ وﺻﻒ زوﺟﺘﻪ ﺧﻄﺎً أﺣﻤﺮ‪.‬‬

ŪŢƂŢſƐŜ ƺţƙƵƈ ƅưƃƸ ſǈŢƄ ƻŦ

ţǈŚƃƴŢ ǅƴŜ ƏƭƴŢ ƻƸ ƃƹƴŢ ſƹŹƸ ƳƑǉƩƴŢ ǇŸǂƂ ƃƹƈ ž

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‫‪ŝŃĬěŕ‬‬

‫ذوو ﺧــﱪة ﰲ ﻫــﺬا اﳌــﺠــﺎل‪ ،‬ﻓﺎﺷﱰﻛﺖ‬ ‫ﰲ رﺣــﻼت إﱃ إﻳﺴﻠﻨﺪا‪ ،‬وﺟــﺰر اﻟﻜﻨﺎري‬ ‫واﻟﺸامل اﻹﻳﻄﺎﱄ"‪.‬‬ ‫ﻛﺎن اﻟﺨﺮوج ﺑﺼﻮر ﻣﺨﺘﻠﻔﺔ ﻫﻲ اﻟﻔﻜﺮة‬ ‫اﳌﺴﻴﻄﺮة ﻋﲆ ﺗﻔﻜري ﻋﻤﺮ‪ ،‬أراد اﻟﺨﺮوج‬ ‫ﻣﻦ ﻧﻄﺎق اﻟﺼﻮر اﳌﻜﺮرة اﻟﺘﻲ ﺑﺎﺗﺖ ﺳﻤﺔ‬ ‫رﺋﻴﺴﻴﺔ ﰲ رﺣﻼت اﻟﺘﺼﻮﻳﺮ‪ ،‬ﻳﻘﻮل ﻋﻤﺮ‪:‬‬ ‫"اﻟــﺪول ﻫﻲ ﻧﻔﺴﻬﺎ ﻻ ﺗﺘﻐري واﻟﻄﺒﻴﻌﺔ‬ ‫ﻫﻲ ﻧﻔﺴﻬﺎ ﻻ ﺗﺘﻐري‪ ،‬واﻟﻄﻘﺲ ﻟﻴﺲ ﻟﻨﺎ أي‬ ‫ﺳﻴﻄﺮة ﻋﻠﻴﻪ‪ ،‬ﻓﻬﻮ ﻣﻦ ﺗﻘﺎدﻳﺮ رب اﻟﻌﺎﳌني‪،‬‬ ‫إﻻ أن ﻃﺮﻳﻘﺔ اﻟﺘﺼﻮﻳﺮ واﻟﺰواﻳﺎ اﻟﺠﺪﻳﺪة‬ ‫ﻫﻲ اﻟﺘﻲ متﻴﺰ ﻣﺼﻮر ﻋﻦ آﺧﺮ‪ ،‬ﰲ رﺣﻼيت‬ ‫ﺣﺮﺻﺖ ﻋﲆ اﻻﺑﺘﻌﺎد ﻋﻦ ﺗﻜﺮار ﻣﺎ ﻗﺪﻣﻪ‬ ‫اﳌﺼﻮرون اﻷﺧﺮون‪ ،‬دامئﺎً ﻣﺎ ﻛﻨﺖ أﺑﺤﺚ‬ ‫ﻋﻦ زاوﻳــﺔ ﺟﺪﻳﺪة واﺳﺘﺨﺪام ﺗﻘﻨﻴﺔ مل‬ ‫ﺗﺴﺘﺨﺪم ﻣﻦ ﻗﺒﻞ‪ ،‬وﻫﺬا ﻣﺎ ﻣﻤﻴﺰ أﻋامﱄ‬ ‫ﻋﻦ أﻋامل ﺑﺎﻗﻲ اﻟﺰﻣﻼء اﳌﺼﻮرﻳﻦ"‪.‬‬ ‫ميﻜﻦ ﳌﺘﺎﺑﻊ ﺣﺴﺎﺑﺎت ﻋﻤﺮ اﳌﺮزوﻗﻲ ﰲ‬ ‫وﺳﺎﺋﻞ اﻟﺘﻮاﺻﻞ اﻻﺟﺘامﻋﻲ أن ﻳﻠﺤﻆ‬ ‫ﺑﺴﻬﻮﻟﺔ اﻋﺘامد ﻋﻤﺮ ﻋﲆ أﺳﻠﻮب ﺧﺎص ﰲ‬ ‫ﺗﻌﺪﻳﻞ اﻟﺼﻮر‪ ،‬وﻋﻦ ﻫﺬه اﻟﻨﻘﻄﺔ ﻳﻘﻮل‪:‬‬

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‫اﻟﻌﺪد ‪ ، 84‬دﻳﺴﻤﺒﺮ ‪2019‬‬

‫"أﻓﻜﺮ ﰲ اﻟﺸﻜﻞ اﻟﻨﻬﺎيئ ﻟﻠﺼﻮرة ﺣﺘﻰ ﻗﺒﻞ‬ ‫ﺗﺼﻮﻳﺮﻫﺎ‪ ،‬أﺗﺨﻴﻞ ﻛﻴﻒ ﺳﺄﺻﻮرﻫﺎ وأﻋﺪﻟﻬﺎ‬ ‫ﻋﲆ ﺑﺮاﻣﺞ اﻟﺘﻌﺪﻳﻞ اﳌﻌﺮوﻓﺔ‪ ،‬وﻛﻴﻒ‬ ‫ﺳﺘﻜﻮن اﻟﻨﺘﻴﺠﺔ اﻟﻨﻬﺎﺋﻴﺔ‪ ،‬وﻣﻦ ﺛﻢ أﺑﺪأ‬ ‫ﰲ ﺗﻄﺒﻴﻖ ﻣﺎ رﺳﻤﺘﻪ ﰲ ﻣﺨﻴﻠﺘﻲ‪ ،‬ودامئﺎً‬ ‫ﻣﺎ أﺗﻌﻠﻢ ﻣﻦ ﺗﺠﺎرب اﳌﺼﻮرﻳﻦ اﻵﺧﺮﻳﻦ‬ ‫وأﺣﺮص ﻋﲆ اﻟﺘﻌﻠﻢ اﳌﺴﺘﻤﺮ واﻛﺘﺴﺎب‬ ‫ﻣﻬﺎرات ﺟﺪﻳﺪة ﰲ اﻟﺘﺼﻮﻳﺮ وﰲ اﻟﺘﻌﺪﻳﻞ"‪.‬‬ ‫وﻳﺆﻛﺪ ﻋﻤﺮ اﳌﺮزوﻗﻲ ﻋﲆ أن اﳌﺼﻮر‬ ‫اﻹﻣﺎرايت ﺑﺸﻜﻞ ﺧﺎص واﻟﺨﻠﻴﺠﻲ واﻟﻌﺮيب‬ ‫ﻋــﲆ وﺟــﻪ اﻟﻌﻤﻮم وﺻــﻞ إﱃ ﻣﺮاﺣﻞ‬ ‫ﻣﺘﻘﺪﻣﺔ ﻳﻨﺎﻓﺲ ﻓﻴﻬﺎ اﳌﺼﻮرﻳﻦ اﻷﺟﺎﻧﺐ‪،‬‬ ‫ﻳﻘﻮل ﻋﻤﺮ‪" :‬ﻟﻘﺪ اﺳﺘﻄﺎع اﳌﺼﻮرون اﻟﻌﺮب‬

‫إﺛﺒﺎت ﻗﺪراﺗﻬﻢ اﻟﻔﻨﻴﺔ ﰲ ﻣﺨﺘﻠﻒ اﳌﺤﺎﻓﻞ‬ ‫اﻟﺪوﻟﻴﺔ‪ ،‬وﺑﺎﺗﻮا رﻗام ﺻﻌﺒﺎ ﰲ ﻣﺨﺘﻠﻒ‬ ‫اﳌﺴﺎﺑﻘﺎت اﻟﻌﺎﳌﻴﺔ‪ ،‬واﻟﻌﺎمل اﻟﻌﺮيب اﻟﻴﻮم‬ ‫ﻳﺬﺧﺮ ﺑﺎﳌﺼﻮرﻳﻦ اﻟﻌﺮب اﳌﺒﺪﻋني‪ ،‬اﻟﺬﻳﻦ‬ ‫أﺑﻬﺮوا اﻟﻌﺎمل مبﺎ ﻗﺪﻣﻮه ﻣﻦ أﻋامل‪ ،‬ﻋﻠﻴﻨﺎ‬ ‫اﻟﻴﻮم أن ﻧﺆﻣﻦ ﺑﻘﺪرات اﻹﻧﺴﺎن اﻟﻌﺮيب‬ ‫وﺑﺄﻧﻪ ﻗﺎدر ﻋﲆ ﻣﻨﺎﻓﺴﺔ اﻹﻧﺴﺎن اﻟﻐﺮيب‬ ‫ﰲ ﻣﺨﺘﻠﻒ اﳌﺠﺎﻻت إذا ﻣﺎ ﻟﻘﻲ اﻟﺪﻋﻢ‬ ‫واﻟﺘﺸﺠﻴﻊ اﻟﻜﺎﰲ"‪.‬‬ ‫ﻳﺸﺠﻊ ﻋﻤﺮ اﳌﺮزوﻗﻲ اﻟﺠﻤﻴﻊ ﻋﲆ ﺗﻌﻠﻢ‬ ‫اﻟﺘﺼﻮﻳﺮ اﻟﻔﻮﺗﻐﺮاﰲ واﻛﺘﺸﺎف اﻟﺠامل‬ ‫اﻟﻜﺎﻣﻦ ﺧﻠﻒ ﻣامرﺳﺔ ﻫﺬا اﻟﻔﻦ‪ ،‬ﻳﻘﻮل‬ ‫اﳌﺮزوﻗﻲ‪" :‬ﰲ ﺣﻴﺎﺗﻨﺎ ﻟﺤﻈﺎت ﻻ ﺗﺘﻜﺮر‪،‬‬ ‫وﻣﻦ اﳌﻬﻢ أن ﻧﻮﺛﻘﻬﺎ ﺑﺄﺳﻠﻮب ﺟﻤﻴﻞ‬ ‫ﻳﻠﻴﻖ ﺑﻬﺎ‪ ،‬وﻣﻦ ﻫﻨﺎ أدﻋﻮ اﻟﺠﻤﻴﻊ ﻟﺘﻌﻠﻢ‬ ‫ﻓﻦ اﻟﺘﺼﻮﻳﺮ اﻟﻀﻮيئ واﻟﻄﺮﻳﻘﺔ اﳌﺜﲆ‬ ‫ﻻﻟﺘﻘﺎط ﺻﻮر ﻟﻬﻢ وﻷﻃﻔﺎﻟﻬﻢ وﻷﺻﺪﻗﺎﺋﻬﻢ‬ ‫وﳌﻨﺎﺳﺒﺎﺗﻬﻢ اﻟﺴﻌﻴﺪة‪ ،‬ﻷﻧﻪ ﻳﻮﻣﺎ ﻣﺎ وﺑﻌﺪ‬ ‫أﻋﻮام ﻃﻮﻳﻠﺔ ﺳريﺟﻌﻮن إﱃ ﺗﻠﻚ اﻟﺼﻮر‬ ‫وﺳﻴﺴﱰﺟﻌﻮن ﻣﻦ ﺧﻼﻟﻬﺎ ﺷﻴﺌﺎً ﻣﻦ أﻳﺎﻣﻬﻢ‬ ‫اﻟﺠﻤﻴﻠﺔ"‪.‬‬

‫ ‬ ‫‪ɰ‬‬ ‫ ‪ǲƅƳōǜǕŌ ƉƲƒǕŌ ǚōǉ ōǙ ōǘȃŌƂ‬‬

‫ ‪ƨȎƣȍŌ ōǤǕȎƁ ǛǙ Ǜǈǘǿ ǽŨǕŌ‬‬

‫ ‪ ŦŌƂōƫǶ ɐǳƲǔŨƀǙ ŦōƳōǂŭ ǻǔƫ‬‬ ‫‪ǳƲǔŨƀǙ ƑǿƈōƞũǶ ɐǳƲǔŨƀǙ‬‬ ‫ ‬

‫‪ ƂōƪŨşȍŌ ǻǔƫ ŧƛƉŽ ǽũȎŽƈ ǽƳ‬‬ ‫‪ ǚǶƈǷƚǘǕŌ ǣǙƃǃ ōǙ ƈŌƉǈũ Ǜƫ‬‬ ‫‪ɰ‬‬ ‫‪ Ǜƫ ūżşŐ ŧǜǉ ōǙ ōǘȃŌƂ ɐǚǶƉƁȏŌ‬‬

‫‪ ǗǕ ǳǾǜǂũ ǖŌƃƀŨƓŌǶ ǲƃǿƃŵ ǳǿǶŌƊ‬‬ ‫‪ǓŞǃ ǛǙ ǖƃƀŨƒũ‬‬

‫ ‪ ɐƈƉǈŨũ ȍ ŦōƦżǕ ōǜũōǾŽ ǽƳ‬‬

‫‪ ŜǷǔƓőş ōǤǂŭǷǝ ǚŐ ǗǤǘǕŌ ǛǙǶ‬‬ ‫‪ōǤş ǁǾǔǿ ǓǾǘŵ‬‬

‫ﻛﺎﻧﺖ ﻣﻊ ﻇﻬﻮر اﻟﻬﻮاﺗﻒ اﻟﻨﻘﺎﻟﺔ اﻟﺤﺪﻳﺜﺔ‬ ‫ووﺳﺎﺋﻞ اﻟﺘﻮاﺻﻞ اﻻﺟﺘامﻋﻲ‪ ،‬وﻋﻦ ﺑﺪاﻳﺘﻪ‬ ‫ﻳﻘﻮل‪" :‬ﻣﻊ ﻇﻬﻮر اﻟﻬﻮاﺗﻒ اﻟﻨﻘﺎﻟﺔ ﺑﺪأت‬ ‫ﺑﺘﺼﻤﻴﻢ اﳌﻨﺸﻮرات‪ ،‬ﺣﻴﺚ ﻛﻨﺖ أﺟﻤﻊ‬ ‫ﺑني اﻟﺼﻮرة واﻟﻜﻠﻤﺔ ﺑﻘﺎﻟﺐ ﺟﻤﻴﻞ ﺑﻬﺪف‬ ‫إﻳﺼﺎل ﻓﻜﺮة أو ﻧﴩ ﻣﻌﻠﻮﻣﺔ‪ ،‬وﻋﻨﺪ‬ ‫ﻇﻬﻮر وﺳﺎﺋﻞ اﻟﺘﻮاﺻﻞ اﻻﺟﺘامﻋﻲ وﺧﺎﺻﺔ‬ ‫اﻻﻧﺴﺘﻐﺮام‪ ،‬رﺣﺖ أﺑﺤﺚ ﻋﻦ اﻟﺘﻔﺮد ﰲ‬ ‫ﻫﺬا اﳌﺠﺎل‪ ،‬ﻓﺒﺪأت اﻟﺒﺤﺚ ﻋﻦ ﻛﻴﻔﻴﺔ‬ ‫اﻟﺘﻘﺎط ﺻﻮر ﻓﻨﻴﺔ ﺗﻌﺠﺐ اﳌﺘﺎﺑﻌني‪ ،‬وﻫﺬه‬ ‫ﻛﺎﻧﺖ ﺑﺪاﻳﺘﻲ ﻣﻊ اﻟﺘﺼﻮﻳﺮ اﻻﺣﱰاﰲ‪ ،‬ﺣﻴﺚ‬ ‫اﻗﺘﻨﻴﺖ آﻟﺔ ﺗﺼﻮﻳﺮ اﺣﱰاﻓﻴﺔ‪ ،‬ورﺣﺖ أﺗﺎﺑﻊ‬ ‫اﻟﺪروس اﳌﺘﺨﺼﺼﺔ ﺑﺎﻟﺘﺼﻮﻳﺮ اﻟﻀﻮيئ ﻋﱪ‬ ‫ﻣﻮﻗﻊ اﻟﻴﻮﺗﻴﻮب‪ ،‬وﺷﻴﺌﺎً ﻓﺸﻴﺌﺎً اﻛﺘﺴﺒﺖ‬ ‫اﳌﻬﺎرة اﳌﻄﻠﻮﺑﺔ اﻟﺘﻲ ﻣﻜﻨﺘﻨﻲ ﻣﻦ اﻧﺘﺎج‬ ‫ﺻﻮر ذات ﻣﺴﺘﻮى ﺟﻴﺪ"‪.‬‬ ‫ﺣــﺮص ﻋﻤﺮ ﰲ ﺑﺪاﻳﺎﺗﻪ ﻋــﲆ اﻛﺘﺴﺎب‬

‫ﻣﻬﺎرات ﺟﺪﻳﺪة ﺑﺎﻟﺘﺼﻮﻳﺮ ﻣﺴﺘﻔﻴﺪاً ﻣﻦ‬ ‫ﻧﺼﺎﺋﺢ اﳌﺤﻴﻄني ﺑﻪ وﻣﻦ ﺗﺸﺠﻴﻌﻬﻢ ﻟﻪ‪،‬‬ ‫ﻏري آﺑﻪ ﳌﺎ ﺗﻘﻮﻟﻪ اﻟﻔﺌﺔ اﳌﺜﺒﻄﺔ‪ ،‬ذات اﻵراء‬ ‫اﻟﺴﻠﺒﻴﺔ‪ ،‬اﻟﺘﻲ ﻻ ﺗﺮى اﻟﺸﻤﺲ ﺣﺘﻰ ﰲ ﻋﺰ‬ ‫اﻟﻨﻬﺎر‪ ،‬أﺣﺐ ﻋﻤﺮ اﻟﺘﺼﻮﻳﺮ اﻟﻠﻴﲇ‪ ،‬ﻓﺮاح‬ ‫ﻳﻠﺘﻘﻂ ﺻﻮراً ﺑﺘﻘﻨﻴﺔ اﻟﻐﺎﻟﻖ اﻟﺒﻄﻲء ﺗﻈﻬﺮ‬ ‫ﺗﺄﻟﻖ اﻷﺑﻨﻴﺔ وﺣﺮﻛﺔ اﻟﺴﻴﺎرات واﻟﻨﺎس‪،‬‬ ‫واﻧﺴﻴﺎب اﳌﻴﺎه ﺑﻄﺮﻳﻘﺔ ﻣﺨﺘﻠﻔﺔ ﻋام‬ ‫ﺗﻈﻬﺮه اﻟﻌني اﻟﺒﴩﻳﺔ‪ ،‬وﻳﻀﻴﻒ ﻋﻤﺮ ﻗﺎﺋ ًﻼ‪:‬‬ ‫"ﻛﻨﺖ اﺳﺘﻤﺘﻊ ﺑﺎﻟﺘﺼﻮﻳﺮ اﻟﻠﻴﲇ‪ ،‬أﺣﺒﺒﺖ‬ ‫اﻟﺨﻴﻮط اﻟﻀﻮﺋﻴﺔ اﻟﺘﻲ ﺗﺮﺳﻤﻬﺎ اﻟﺴﻴﺎرات‬ ‫ﺧﻼل ﻣﺴريﻫﺎ ﰲ اﻟﺸﻮارع‪ ،‬وﻇﻬﻮر اﻟﻨﺎس‬ ‫ﻛﺄﻃﻴﺎف ﻣﺘﺪاﺧﻠﺔ ﰲ اﻷﺳــﻮاق‪ ،‬أﺣﺒﺒﺖ‬ ‫ﺷﻜﻞ اﻷﺑ ـﺮاج اﻟﺸﺎﻫﻘﺔ وﻫﻲ ﺗﺒﺪو أﻛرث‬ ‫ﺗﻸﻟﺆاً وﺑﺮﻳﻘﺎً‪ ،‬ﺷﻴﺌﺎً ﻓﺸﻴﺌﺎً ﺗﺤﻮﻟﺖ إﱃ‬ ‫ﺗﺼﻮﻳﺮ اﳌﺪن‪ ،‬ﻛﻴﻒ ﻻ وأﻧﺎ اﺑﻦ ﺑﻠﺪ ﻳﻌﺞ‬ ‫ﺑﺄﺟﻤﻞ اﻷﺑﺮاج وأﺷﻬﺮﻫﺎ‪ ،‬وﻫﻨﺎ رﺣﺖ أﺗﻌﻠﻢ‬

‫اﻟﻘﻮاﻋﺪ اﻟﺨﺎﺻﺔ ﺑﺘﺼﻮﻳﺮ اﻷﺑﻨﻴﺔ واﳌﺪن"‪.‬‬ ‫وﻳــﺘــﺠــﲆ ﰲ ﺻـــﻮر ﻋــﻤــﺮ ﺣــﺒــﻪ ﻹﻣـــﺎرة‬ ‫اﻟﺸﺎرﻗﺔ‪ ،‬ﺣﻴﺚ إن ﻟﻬﺎ ﻧﺼﻴﺐ اﻷﺳﺪ ﰲ‬ ‫أﻋامﻟﻪ اﳌﻨﺸﻮرة ﻋﲆ ﺻﻔﺤﺘﻪ ﻋﲆ ﻣﻮﻗﻊ‬ ‫اﻻﻧﺴﺘﻐﺮام‪ ،‬وﻋﻦ ﺣﺒﻪ ﻟﻠﺸﺎرﻗﺔ ﻳﻘﻮل‪:‬‬ ‫"ﺣﺒﻲ ﻟﻠﺸﺎرﻗﺔ ﻧﺎﺑﻊ ﻣﻦ ﺣﺒﻲ ﻟﺤﺎﻛﻤﻬﺎ‬ ‫ﺻﺎﺣﺐ اﻟﺴﻤﻮ اﻟﺸﻴﺦ اﻟﺪﻛﺘﻮر ﺳﻠﻄﺎن‬ ‫ﺑﻦ ﻣﺤﻤﺪ اﻟﻘﺎﺳﻤﻲ ﻋﻀﻮ اﳌﺠﻠﺲ اﻷﻋﲆ‬ ‫ﺣﺎﻛﻢ اﻟﺸﺎرﻗﺔ‪ ،‬واﻟﺬي ﻣﻬام ﻗﻠﻨﺎ ﻓﻴﻪ ﻟﻦ‬ ‫ﻧﻮﻓﻴﻪ ﺟﺰءاً ﻣﻦ ﺣﻘﻪ وﻫﻮ اﻟﺪاﻋﻢ اﻟﺪاﺋﻢ‬ ‫ﻟﻠﻤﺒﺪﻋني واﳌﺜﻘﻔني"‪.‬‬ ‫ﺣﺐ ﻋﻤﺮ ﻟﻠﺘﺼﻮﻳﺮ اﻟﻔﻮﺗﻐﺮاﰲ دﻓﻌﻪ‬ ‫ﻟﺘﺠﺮﺑﺔ ﻣﺠﺎﻻت ﺟﺪﻳﺪة ﰲ ﻫﺬا اﻟﻔﻦ‬ ‫اﻟﻮاﺳﻊ‪ ،‬ﻓﻌﻤﺪ إﱃ إﺗﻘﺎن ﺗﺼﻮﻳﺮ اﳌﻨﺎﻇﺮ‬ ‫اﻟﻄﺒﻴﻌﺔ‪ ،‬وﻫﻮ اﻟﻔﻦ اﻟﺬي ﻓﺘﺢ ﻟﻪ ﺑﺎب‬ ‫اﻟﺴﻔﺮ‪ ،‬ﻓﺘﻌﺪدت أﺳﻔﺎر ﺧﺎﻟﺪ إﱃ ﻋﺪد ﻣﻦ‬ ‫اﻟﺒﻠﺪان‪ ،‬وﻋﻦ ﻫﺬه اﻷﺳﻔﺎر ﻳﻘﻮل‪" :‬ﻣﻦ‬ ‫اﻟﺠﻤﻴﻞ أن ﻳﺘﻌﺮف اﻹﻧﺴﺎن ﻋﲆ ﺑﻠﺪان‬ ‫ﺟﺪﻳﺪة وﻳﻜﺘﺴﺐ ﺧﱪات ﺟﺪﻳﺪة‪ ،‬ودامئﺎً ﻣﺎ‬ ‫ﻳﻜﻮن اﻟﺴﻔﺮ أﺟﻤﻞ إن ﻛﺎن ﺑﺼﺤﺒﺔ أﺻﺪﻗﺎء‬ ‫وأﺧﻮة ﻃﻴﺒني‪ ،‬ﻓﺎﺷﱰﻛﺖ ﺑﻌﺪد ﻣﻦ رﺣﻼت‬ ‫اﻟﺘﺼﻮﻳﺮ اﻟﺘﻲ ﻳﻨﻈﻤﻬﺎ ﻣﺼﻮرون إﻣﺎراﺗﻴﻮن‬ ‫اﻟﺸﻌﺮ ‪baytelshear‬‬ ‫ﺑﻴﺖ ِ‬

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‫‪ŝŃĬěŕ‬‬

‫‪ŨƂǃƑƴŢ ťŸǂ ũƹƵƱƴŢ ťŸ ƻǉŦ ƟƹŴ Ťţƌ ǇƸǑƠŜ‬‬

‫‪"ǇƬǂƄƃƹƴŢ ƃƹƠ‬‬

‫‪ŨſƠ ƻǈžţǉƸ Ǉƨ ǇŧƽŴǌŢ ǅƵƠ ƪǃƩŬ ǇŦƃơƴŢ ƂǃƑƹƴŢ‬‬ ‫ﻣﺼﻄﻔﻰ أﺣﻤﺪ‬ ‫دامئﺎً ﻣﺎ ﻛﺎن اﻟﺴﻔﺮ وﺳﻴﻠﺔ ﻣﻬﻤﺔ ﰲ اﻟﺘﻌﻠﻢ‬ ‫واﻛﺘﺴﺎب اﻟﺨﱪات اﻟﺤﻴﺎﺗﻴﺔ‪ ،‬ودامئـ ًـﺎ ﻣﺎ‬ ‫ﻛﺎن اﻟﺴﻔﺮ اﻟﻨﺎﻓﺬة اﻟﺘﻲ ميﻜﻦ ﻣﻦ ﺧﻼﻟﻬﺎ‬ ‫اﻻﻃــﻼع ﻋﲆ ﺛﻘﺎﻓﺎت ﻣﺨﺘﻠﻔﺔ‪ ،‬وﻋﺎدات‬ ‫ﻣﺨﺘﻠﻔﺔ‪ ،‬وﺗﻀﺎرﻳﺲ ﻣﺨﺘﻠﻔﺔ‪ ،‬وﻗﺪ ﻳﻌﺘﻘﺪ‬ ‫اﻟﺒﻌﺾ أن اﻟﱪاﻣﺞ اﻟﺘﻠﻔﺰﻳﻮﻧﻴﺔ ﻗﺪ أوﺟﺪت‬ ‫ﺑﺪﻳ ًﻼ ﻋﻦ اﻟﱰﺣﺎل‪ ،‬ﻟﻜﻦ ﻫﺬا اﻷﻣﺮ ﻟﻴﺲ‬ ‫ﺑﺎﻟﺼﺤﻴﺢ‪ ،‬ﻓﺎﻟﺨﱪات اﻟﺘﻲ ﻳﻮﻓﺮﻫﺎ اﻟﺴﻔﺮ ﻻ‬ ‫ميﻜﻦ ﻟﻠﺘﻠﻔﺎز أو أي وﺳﻴﻠﺔ إﻋﻼﻣﻴﺔ أﺧﺮى‬

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‫اﻟﻌﺪد ‪ ، 84‬دﻳﺴﻤﺒﺮ ‪2019‬‬

‫أن ﺗﻜﺴﺒﻨﺎ إﻳﺎﻫﺎ‪ ،‬ﻓﺎﻟﺘﻘﻨﻴﺎت اﻟﻴﻮم ورﻏﻢ‬ ‫ﺗﻄﻮرﻫﺎ ﻻ ميﻜﻨﻬﺎ أن ﺗﻨﻘﻞ إﻟﻴﻨﺎ اﻟﺘﺠﺮﺑﺔ‬ ‫ﻛﺎﻣﻠﺔ‪ ،‬ﻓﻬﻲ ﻻ متﻜﻨﻨﺎ ﻣﻦ ﺗﺒﺎدل اﻷﺣﺎدﻳﺚ‬ ‫ﻣﻊ ﺷﻌﻮب أﺧﺮى ﺑﺸﻜﻞ ﻣﺒﺎﴍ‪ ،‬وﻻ متﻜﻨﻨﺎ‬ ‫ﻣﻦ ﻣﺼﺎﻓﺤﺘﻬﻢ وﺗﻔﺤﺺ ﺑﻴﻮﺗﻬﻢ وﺗﺬوق‬ ‫اﻃﻌﻤﺘﻬﻢ‪ ،‬ﻫﺬه اﻟﺘﻘﻨﻴﺎت ﻻ ﺗﺸﻌﺮﻧﺎ ﺑﱪد‬ ‫اﻟﻘﻄﺒني أو ﺣﺮ اﳌﻨﺎﻃﻖ اﻻﺳﺘﻮاﺋﻴﺔ‪ ،‬ﻻ‬ ‫ميﻜﻨﻬﺎ أن ﺗﺒﻌﺚ اﻟﻘﺸﻌﺮﻳﺮة ﰲ أﺟﺴﺎدﻧﺎ‬ ‫ﻛام ﻟﻮ أﻧﻨﺎ واﻗﻔني أﻣــﺎم أﺳﺪ ﰲ إﺣﺪى‬ ‫اﳌﺤﻤﻴﺎت اﻹﻓﺮﻳﻘﻴﺔ‪.‬‬

‫ﻣﺒﺪﻋﻨﺎ اﻟﻴﻮم وﺟﺪ ﰲ اﻟﺴﻔﺮ وﺳﻴﻠﺔ ﻟﻠﺘﻌﻠﻢ‬ ‫واﻛﺘﺴﺎب اﻟﺨﱪات‪ ،‬ووﺟﺪت ﰲ ﻛﺎﻣريﺗﻪ‬ ‫اﻷداة اﻟﺘﻲ ميﻜﻨﻪ ﻣﻦ ﺧﻼﻟﻬﺎ ﺗﻮﺛﻴﻖ ﺗﺠﺮﺑﺘﻪ‬ ‫وﻧﻘﻞ ﺟﺰء ﻣﻨﻬﺎ إﱃ اﳌﺤﻴﻄني ﺑﻪ أو إﱃ‬ ‫ﻣﺘﺎﺑﻌﻴﻪ ﻋﱪ وﺳﺎﺋﻞ اﻟﺘﻮاﺻﻞ اﻻﺟﺘامﻋﻲ‪،‬‬ ‫ﻣﺒﺪﻋﻨﺎ اﻟﻴﻮم إﻋﻼﻣﻲ ﺷﺎب ﺟﻤﻊ ﺑني ﺣﺐ‬ ‫اﻟﻜﻠﻤﺔ وﺣﺐ اﻟﺼﻮرة‪ ،‬ﻓﺄﺑﺪع ﰲ اﻟﻜﻠﻤﺔ‬ ‫ﻟﺘﻜﺘﻤﻞ اﻟــﺼــﻮرة‪ ،‬ﻫﻮ اﳌﺼﻮر اﻹﻣــﺎرايت‬ ‫اﻟﺸﺎب ﻋﻤﺮ اﳌﺮزوﻗﻲ‪.‬‬ ‫ﺑﺪاﻳﺔ ﻋﻤﺮ اﳌــﺮزوﻗــﻲ ﰲ ﻋــﺎمل اﻟﺘﺼﻮﻳﺮ‬

‫ﻧﺎﺻﺮ ﺑﻦ ﻳﺮوان اﻟﻨﻴﺎدي‬ @9weeb

2¡@@ @ @~@ @7 µb@@ @ @ @ @ @ Db@@ @ @G ¡@@ @ @ £@ @ @ @<H ¥v@@ @ @ £U @ @ @ @< 2Hv@@ @ @0 @@ @ @£@ @< ¯ v@@ m@ @ @ @ @ @D Iv@@ @ @ @ @ P= b@@ @ @E 2¡@@ @ /¡@@ @ D* ¡@@ @ @ @ A @@ @ @ @ -b@@ @A i4b@@ @ @ ~@ @ @ 8 Í@@ @ @ D 2H4¡@@ @ @ @ Db@@ @ @ @ + @@ @ @£@ @ @ @ @ @ =N @@ @ @ @ ~@ @ @ @ @9H4 b@@ @ @ @ @ @ Q @ @ @ C 2¡@@ @ @~@ @8 ¯ b@@ @ @ @ JÈ@NQ @ @ @ @ D* i4b@@ @ @ ~@ @ @ 8 Í@@ @ @ D 2¡@@ @ @/ b@@ @Gb@@ @ @ @ 0 @@ @ @< x@@ @ ~@@P @ {@ @ @ +&* °¡N @ @ @ @Db@@ @ @ + 2¡@@ @ ~@ |@ D* 4b@@ @ @ @ ~@@R @ 7H y@@ @ @ @ D* y@@ @ @ E4 @@ @ g@ @ @F*H 2¡@@m@ ~@ z@ D* ¯ b@@ @ Fb@@ @ <2P @@p@ ~@ |@ + @@ @ @ @ R @ @ JP H 2¡@@ @ ±* k@Q @ @p@N @ @+R ¤@@~@ {@ Â N @@m@ @ F d@@ ~@P@ z@ @0N 2¡@@ @ @³* ¡@@ @ @J ¶(* y@@ @ @E4 @@ @ @~@ @6* @@ @ @~@ @6* 2¡@@ @ @C¡P @ @ @ Db@@ @ @+ ¤@@ @ @ @ @+4 Ì@@ @c@ @ @ @ - v@@ @ @ N @ @ @ @+N @@ @ @ E 2¡@@ @ @ ~@ @ @ 6&°* @@ @ @ C v@@ @ @ ~@ @ @ 6&* @@ @ @ @ @ @ D* ¤@@ @ @ @ m@ @ JN

baytelshear ‫اﻟﺸﻌﺮ‬ ِ ‫ﺑﻴﺖ‬

ĘĨĞŨ ĬšŃ 2b@@ @ @ @ @ @ «°* v@@ @ @ £@ @ @ @< v@@ @ @ @ @m@ @ @ @ @ ´*H ¥v@@ @ @ @ @£U @ @ @ @ @ < 2*¡@@ @ @ ±* x@@ @ @; ¢@@ @ @< v@@ @ @ @ J*5 oxN @ @ @~@ @ @6 @@ @ E 2*5H *v@@ @ @£@ @ @ c@ @ @ A @@ @ @ Q @ @ @ @/ b@@ @ @ @ @g@ @ @p@ @ @FP ¡@@ @ @ @ G 2*x@@ @ @ @´* P @@ @ @ @ @+* i4b@@ @ @~@ @ @ 8 4¡@@ @ @ @ @gNQ @ @ @Db@@ @ + 2*¡@@ @ @ @ @ @ D* d@Q @ @ @ @ @ @DP b@@ @ @ @ @ /*x@@ @ +b@@ @ + h@@ @ @ @ D5N b@@ @ @ @ = 2b@@ @ C¡@@ @ D* ¡@@ @ @ @ @ @ @ @DP P w@@ @ @ 1 @@ @ @£@ @ @ @1 b@@ @ @ J 2*2H ¢@@ @ @ @ =&* d@@ N @ @~@ @{@ @D* ¡@@ £@ @ < @@ @ @ AP @@ @ g@ @ @F(* 2b@@ @ @~@ @ @ 74H @@ @ @ @ @ @ P0 ¯ Ì@@ @ @³b@@ @ @+ b@@ @ @ @ @ @ -vQ @ @ @ B 2b@@ ~@ @8 ib@@ @ Eb@@ @ @ @ @D* v@@ @ ~@ @ @7*4¡@@ @ + @@ @ c@ @ @Jb@@ @ FH Q HP @@ @ @DH 2b@@~@ 6 ib@@ @Eb@@ @ @ @ D* N v@@ @ @ @ N @ @ D* · 2b@@ @ @ @ ±* ¡@@ @ @ @J ¯ @@ @ 6¡@@ @ Eb@@ @ @ @ @D* @@ @ @ @ ~@ @ 6* 2b@@ ~@ @|@ @²* ¯ v@@ @ @ @ ¹ v@@ @ Db@@ @ 1¡@@ @ +* *3

‫ﺻﺢ ﻟﺴﺎﻧﻚ‬ َ

‫ﺑﺮوق ﺑﺪوﻳﻪ‬ @broog222

@@ Q @ @~@ @}@ @ @ @-R H b@@ @ @ Q @ @~@ @}@ @ @ @J eb@@ p@ @~@ @z@ @ @ @D* @@ @ @ C @@ Q @ @~@P@ {@ @ @ @FR *w@@ @ @ @ ~@ @ 7 ¤@@ @ @ @ @ @ @G*5 b@@ @ Fb@@ g@ @ @ ~@ z@ @ @ + @@ Q @ @ @ @ @ @E ¡@ R @ @ @ @ @ @ @ Db@@ @ + y@@ @ £@ @ @ @ @ @- f@@ @ ~@ }@ @ @ @ @ @F @@ Q @ @C ¤@@ @ @~@ @}@ @E b@@ @ g@ @ @ @ D* b@@ @ @+¡@@ @ @ . ¤@@ @ @ @ A @@ Q @ @ @ @ @ @- u¡@@ @ @ @ @~@ @{@ @ @ @D* eb@@ c@ @ @ @ @ @ @ @/H x@@ @ @ @ @ @ @0 @@ Q @ @ @ @ -H ¡@@ @ @ @ @ B b@@ @ @ @ @ B ¤@@ @ @ @ @ @ @D* @@ @ @£@ @ @ @ @ @1 @@ @ @ @ @ @ @ @ E°H ¡@ @ @ @ @ @ @ @ @ @ @+° @@ @ @ @ c@ @ @ @ @0 b@@ @ @c@ @ @ @p@ @ @ @J Q @@ Q @ g@ @ @ @ @ @ @D* b@@ @ @ c@ @ @~@ z@ @ @+H b@@ @G2b@@ @m@ @ @ @ @E* @@ @ @ +N @@ @ @ E2 @ Q @ |@ 1x@@ @ J b@@ @ @ @ @ @ @D*H v@@ D¡@@ @ @ D* @@ @ @ @E @@ Q @ @ @ @ @ @D* x@@ Jw@@ @ @ @ @ @ @D* b@@ @ @ @ @ B ° @@7¡@@ @ ~@ {@ @ @ @@ Q @ £@ D* b@@ @ @1* b@@£@ D @@ Jb@@ @ @D* v@@ @J ex@@~@ }@ @ @ @@ Q @ @ @ @ <H b@@ @ @ @ @ 1 @@ @ @ £@ @ @ @+ °Q * @@ @ @ @ @ @ @C b@@ @ @ @ E @@ Q @ @ @ @J 4Hx@@ @ @ @ ~@ @ z@ @ @ @ @D*H x@@ @ @ @ @ @ @A*H Ì@@ @ @ s@ @ @ @D*H

ĬńĲŒ Ęŕ @@ Q @ @ @ @ @ @ @ @ @D h@@ @ @ @ @ @ @ @ @ B4P M4*2 b@@ @ @ @ @ @ @ @ @ J É@@ @ @ @ @ ~@ @6 b@@ @ £@ @ @A ¢@@ @ @ @ @ @ @- M @@ @ @ @ @ @ C b@@ @ @ @ @~@ @z@ @ @ @0 @@ @ @ @ @ @ @E b@@ @ @ @£@ @ @ @ R @ @ @E x@@ @ s@ @ @g@ @ @ @ @ @J n@M @ @ @ £@ @ @ @ @ @ @ @ @ @1 ,42 b@@Gb@@c@ g@ @ @- v@@ @ @~@ @z@ @ @ @D* i*4b@@ @ @ @ @ @ @ @ @ @ E(* ¥w@@ @ @ @ @ @ @G h@@ Db@@ @ @ g@ @ @ @1*H b@@ Gv@@ @ @ £@ @ @ @< ¤@@ @ @ @ @ A h@@ @ @ @ @Jy@@ @ @ -R v@@Jb@@ @ @ @D* @@ £@ @ @ @ @ D* t@@ £@ ~@ {@ @ @ D* f@@ Jb@@ @ p@ @ @ + @@B¡@@~@ {@ @ @ @ @D* @@c@ @ @ @ @+H b@@ @ @ @ @D @@ |@ @ @ @ @ @ @ @1&* ¥4b@@ @ @ @ u¡@@ @ @£@ @ @ ~@ @ @ {@ @ @ D* @@ @ @ @ @ @CH v@@ @ @ @ @ @ @¹H i2b@@ @ @ @ @ F° ¤@@ s@ @g@ @ @ @ @ @J @@ @ @ @ @ @ @C d@@ @ @ @ @~@ @{@ @ @ @D*H @@ F*v@@ £@ @ @ @ @ @+ v@@ @ @ @ @ @ @ J*5 @@ @JÉ@@ @ @ @ ~@ @ 6 ¥w@@ @ @ @ @ @ @ @ G Hb@@ @ @g@ @- b@@ @ @ E @@ p@ @ @ @ D* ¡@@ £@ @ @ @~@ @6 h@@ Q @ @ @ @~@ @6 @@F¡@@ @ ~@ |@ @ @-H 4Qv@ @ @ @ @ @ @ @ - @@ Jv@@ @ ~@ |@ @ @ D* °Q *H b@@ @ £@ @ @A MÄ@ @ @ @ @~@ @ 7 @@ @ @ @ C @@ @ @ @ @p@ @ @ @- e4 b@@ @ @ @ @ J

2019 ‫ دﻳﺴﻤﺒﺮ‬، 84 ‫اﻟﻌﺪد‬

ŪŢƂŢſƐŜ ƺţƙƵƈ ƅưƃƸ ſǈŢƄ ƻŦ

ǇƹǉƵƬǎŢǂ ǇƴǂſƴŢ ƶţƝƽƴŢ ŪŢƂǃƙŬ ǇŦƃơƴŢ ųǉƵŽƴŢ Ʋǂž ǅƵƠ ƿŬţƈţƱơƼŢǂ ſǉŧƠ ǇƵƠ ƧǈţƼ ž

baytelshear ‫اﻟﺸﻌﺮ‬ ِ ‫ﺑﻴﺖ‬

@sbzc_ad

sbzc.ae

www.sbzc.ae

‫‪şĚĮŃ şěńĴ‬‬ ‫ووﻇﻴﻔﺘﻪ ﻣﻊ ﻫﺬا اﻟﺸﺎﻋﺮ ﻏري أن أﺑﻄﺎﻟﻪ‬ ‫ﻫﻢ اﻟﺸﻌﺮاء أﻧﻔﺴﻬﻢ‪.‬‬ ‫مل ﻳﺒﺪ وﻟﺪ ﺳﻴﺪي إﺑﺮاﻫﻴﻢ أﻏﻠﺐ اﻟﻮﻗﺖ‬ ‫ﰲ ﻫﻴﺌﺔ اﳌﺬﻳﻊ أو اﳌﺤﺎور ذي اﻟﻠﻬﺠﺔ‬ ‫اﻟﺮﺳﻤﻴﺔ واﻟﺠﻠﺴﺔ اﻟﺮﺳﻤﻴﺔ ﻣﻘﻴﺪ اﻟﺤﺮﻛﺔ‬ ‫واﻟﻘﻮل‪ ،‬ﻛﺎن ﻳﻈﻬﺮ ﻣﺴﺘﻤﺘ ًﻌﺎ مبﺎ ﻳﻘﻮل‪،‬‬ ‫ومبــﺎ ﻳﻘﺪم ومبــﻦ ﻳﺤﺎور وﻳﺠﺎﻟﺲ ﻣﻦ‬ ‫ﻓﻨﺎﻧني وﺷﻌﺮاء ﺷﻌﺒﻴني‪ ،‬وﻛﺄن اﻹذاﻋﺔ أو‬ ‫اﻟﺘﻠﻴﻔﺰﻳﻮن ﻛﻮﺳﻴﻄني ﺟامﻫريﻳني مل ﻳﱰﻛﺎ‬ ‫أﺛﺮاً ﻳﺬﻛﺮ‪ ،‬وﻛﺄﻧﻪ ﻣﺎ ﻳﺰال ﺷﺎﻋﺮاً ﺷﻌﺒﻴﺎً‬ ‫ﺗﻘﻠﻴﺪﻳﺎً ﺿﻤﻦ ﻣﺠﻠﺲ اﻟﻘﺒﻴﻠﺔ ﻳﺒﺎدر‬ ‫وﻳﺴﺎﺟﻞ وﻳﺮﺗﺠﻞ اﻟﺸﻌﺮ ﰲ اﳌــﺬرذرة‬ ‫وﺗﻜﻨﺖ‪.‬‬ ‫أﻣﺎ أﺛﺮه ﻫﻮ ﰲ اﻷﺟﻴﺎل اﻟﺸﻌﺮﻳﺔ وﻣﺤﺒﻲ‬ ‫اﻟ ـﱰاث اﻷديب اﳌﻮرﻳﺘﺎين ﻓﻴﻤﻜﻦ وﺻﻔﻪ‬ ‫ﺑﺎﻟﻜﺒري‪ ،‬وﻫﻮ ﻋﻨﴫ ﺷﺒﻪ داﺋﻢ اﻟﺤﻀﻮر‬ ‫ﻋﻨﺪ اﻟﺤﺪﻳﺚ أو ﺗﺘﺒﻊ ﺳــرية ٍأي ﻣﻦ‬ ‫اﻟﺸﻌﺮاء اﻟﺸﻌﺒﻴني اﳌﻮرﻳﺘﺎﻧﻴني ﻃﻮال اﻟﻘﺮن‬ ‫اﻟﻌﴩﻳﻦ‪ ،‬ﻣﻤﻦ اﺿﻄﻠﻊ اﻟﺸﺎﻋﺮ ﺑﺘﻘﺪميﻬﻢ‬ ‫وﺣﻔﻆ آﺛﺎرﻫﻢ وﻧﻘﺪ ﺗﺠﺎرﺑﻬﻢ وﺗﺄﺻﻴﻞ‬ ‫ﻣﺬاﻫﺐ ﻛﺘﺎﺑﺘﻬﻢ وﻣﺎ وراﺋﻴﺎﺗﻬﺎ‪.‬‬ ‫ﻟﻘﺪ ﻛﺎن اﻟﺮاﺣﻞ ﻣﺪرﺳﺔ ﻟﻬﺬا اﻟﻨﻮع ﻣﻦ‬ ‫اﻷدب‪ ،‬ﻓﺤﺎز ﻟﻘﺐ اﻷﺳﺘﺎذ وﻟﻘﺐ اﻟﻌﻤﻴﺪ‪،‬‬ ‫وﺗﻔﺮد ﰲ إﺧﻼﺻﻪ ﻟﻠﺸﻌﺮ واﻟﺸﻌﺮ وﺣﺪه؛‬

‫‪64‬‬

‫اﻟﻌﺪد ‪ ، 84‬دﻳﺴﻤﺒﺮ ‪2019‬‬

‫ورﻏﻢ إﺷﺎرة اﻟﻜﺜري ﻣﻦ اﳌﺼﺎدر إﱃ ﻋﻼﻗﺘﻪ‬ ‫مبﺆﺳﺲ اﻟﺠﻤﻬﻮرﻳﺔ اﳌﻮرﻳﺘﺎﻧﻴﺔ اﳌﺨﺘﺎر‬ ‫وﻟﺪ داداه‪ ،‬ﻇﻞ ﻣﻨﺨﺮﻃﺎً وﻣﺘﻔﺮﻏﺎً ﻟﻺﺑﺪاع‬ ‫ﻓﻘﻂ‪ ،‬ﻋﲆ ﻣﺴﺎﻓﺔ ﻣﻦ اﻟﺴﻴﺎﺳﺔ وﻣﻦ رؤس‬ ‫اﻟﺤﻜﻮﻣﺎت اﻟﻌﺴﻜﺮﻳﺔ أو اﻟﺪﻳﻨﻴﺔ اﳌﺘﻌﺎﻗﺒﺔ‬ ‫ﻋﲆ ﻣﻮرﻳﺘﺎﻧﻴﺎ‪ ،‬ﻣﺎ ﺿﺎﻋﻒ ﻗﻴﻤﺘﻪ اﻹﺑﺪاﻋﻴﺔ‬ ‫واﻹﻧﺴﺎﻧﻴﺔ ﰲ وﺟﺪان ﺗﻼﻣﺬﺗﻪ وﻣﺘﺎﺑﻌﻴﻪ‪.‬‬ ‫ﻟﻜﻦ ﻇﻠﺖ ﺳريﺗﻪ اﻹﺑﺪاﻋﻴﺔ واﻟﻔﻜﺮﻳﺔ‬ ‫واﻹﻋﻼﻣﻴﺔ ﻳﻨﻘﺼﻬﺎ اﻟﺘﻮﺛﻴﻖ‪ ،‬وﺑﺎﳌﺜﻞ اﻟﺸﻌﺮ‬ ‫ﺑﺸﻜﻞ ﻋﺎم‪،‬‬ ‫اﻟﺤﺴﺎين واﻟﺸﻌﺮ اﳌﻮرﻳﺘﺎين‬ ‫ٍ‬ ‫ﺣﺘﻰ وإن ﻛﺎن اﻷﻣﺮ ﺟﻴﺪاً ﻋﲆ اﳌﺴﺘﻮى‬ ‫اﳌﺤﲇ‪ ،‬ﻓﺈﻧﻪ ﻟﻴﺲ ﻣﺘﺤﻘﻘﺎً أو ﻟﻴﺲ ﻛﺎﻓﻴﺎً‬

‫ﻋﲆ اﳌﺴﺘﻮى اﻟﻌﺮيب‪ ،‬ﺣﻴﺚ اﻟﺠﻬﻞ أو‬ ‫اﻟﺘﺠﺎﻫﻞ اﻟﻜﺒري ﻟﺤﺎﴐ اﻟﺸﻌﺮ اﳌﻮرﻳﺘﺎين‬ ‫وﻣﺎﺿﻴﻪ‪ ،‬ﰲ ﺗﻘﺼ ٍري ﻳﺘﺴﺎوى ﻓﻴﻪ اﳌﻨﺘﺞ‬ ‫ﻣﻊ اﳌﺘﻠﻘﻲ ﻣﻊ اﻟﻘﺎمئني ﻋﲆ وﺳﺎﺋﻞ اﻟﻨﻘﻞ‬ ‫واﻟﺘﻮﺻﻴﻞ‪ .‬وﻟﻌﻞ اﳌﻔﺎرﻗﺔ اﳌﺨﺰﻳﺔ اﻟﺘﻲ‬ ‫أﺛﺎرﻫﺎ ﺗﻌﻠﻴﻖ اﻹﻋﻼﻣﻲ اﻟﺠﻬﻮل ﺗﺴﺘﻔﺰ‬ ‫ﺻﻨﺎع اﻟﻮاﻗﻊ اﻟﺜﻘﺎﰲ اﻟﻌﺮيب وﺗﻠﻔﺖ ﻧﻈﺮﻫﻢ‬ ‫أو ﺗﻐري زاوﻳــﺔ ﻧﻈﺮﻫﻢ وﺣﺠﻢ ﺗﻔﺎﻋﻠﻬﻢ‬ ‫ﻣﻊ ﺣﺮﻛﺔ اﻹﺑﺪاع اﳌﻮرﻳﺘﺎين‪ ،‬ﻋﲆ أﻣﻞ أن‬ ‫ﻳﺄيت اﻟﻮﻗﺖ اﻟﺬي ﻳﺼﺒﺢ ﻓﻴﻪ وﺻﻒ "ﺑﻠﺪ‬ ‫اﳌﻠﻴﻮن ﺷﺎﻋﺮ" ﻣﻤﺜ ًﻼ‪ ،‬ﻻ ﻣﺜﺎر ﺳﺨﺮﻳﺔ وﻻ‬ ‫ﺣﻴﻠﺔ دﻓﺎع‪.‬‬

‫اﻟﺸﻌﺮ اﻟﺤﺴﺎين‪.‬‬ ‫وﻣﻨﺬ اﻟﺒﺪاﻳﺔ ﻛﺎﻧﺖ ﻋﺎﺋﻠﺔ اﻟﺸﺎﻋﺮ ﺣﺮﻳﺼﺔ‬ ‫ﻋﲆ إرﺳﺎﻟﻪ ﻟﻠﺘﻌﻠﻴﻢ اﻟﻨﻈﺎﻣﻲ ﻟﻜﻨﻪ ﻋﺎد‬ ‫‪ ŜƉǃŐ ǣƪǙ ǶƃŞǿ ǚōǈƳ ǼǶƃŞǕŌ‬‬ ‫ً‬ ‫ﻣﺘﻤﻠﻤﻼ ﺑﻌﺪ ﺛــﻼث ﺳــﻨــﻮات‪ ،‬ﻟﻴﺴﺘﻘﺮ‬ ‫‪ ǳşōşƉǕŌ ƉƫōƗ ǶŐ ǽŞƪƖǕŌ ǽǜƮǘǔǕ‬‬ ‫مبﺪﻳﻨﺔ "اﳌـــﺬرذرة" إﺣــﺪى أﺑــﺮز ﻣﺮاﻛﺰ‬ ‫‪ŦȍǷƢŞǕŌǶ ƉǾƒǕŌ ǼǶŌƈ‬‬ ‫اﻟﺸﻌﺮ اﻟﺤﺴﺎين‪ .‬ﻫﻨﺎك أﺻﺒﺢ وﻟﺪ إﺑﺮاﻫﻴﻢ‬ ‫واﺣﺪًا ﻣﻦ أﻫﻢ اﻟﺸﻌﺮاء اﻟﺘﻘﻠﻴﺪﻳني‪ .‬وﻣﻊ‬ ‫‪ ɐƃǾǘƪǕŌ ŝǂǕǶ ƄōŨƓȏŌ ŝǂǕ ƊōŽ‬‬ ‫اﺳﺘﻘﻼل ﻣﻮرﻳﺘﺎﻧﻴﺎ وﺗﺄﺳﻴﺲ إذاﻋﺘﻬﺎ ﻣﺎ ﺑني ‪ ƉƪƖǕŌǶ ƉƪƖǔǕ ǣƛȎƁŒ ǽƳ ƂƉƲũǶ‬‬ ‫أﻋﻮام ‪ 1957‬إﱃ ‪ 1960‬اﻧﺘﻘﻞ ﻣﻦ اﳌﺮﺣﻠﺔ‬ ‫‪ǢƃŽǶ‬‬ ‫اﻟﺸﻔﺎﻫﻴﺔ اﳌــﺤــﺪودة إﱃ اﻟﺠامﻫريﻳﺔ‪،‬‬ ‫وﺗﺮدد ﺻﻮﺗﻪ ﻋﱪ اﻷﺛري ﻟﻴﺴﻤﻌﻪ ﻛﺎﻓﺔ أﻓﺮاد ﻣﺤﻤﺪ وﻟﺪ ﺳﻴﺪي إﺑﺮاﻫﻴﻢ ﺗﻜﺎد ﺗﻜﻮن‬ ‫اﻟﺸﻌﺐ اﳌﻮرﻳﺘﺎين‪ ،‬ﻳﻨﻘﻞ ﻓﻨﻬﻢ اﻷﺟﻤﻞ ﻧــﺎدرة‪ ،‬ﺑﺎﺳﺘﺜﻨﺎء اﻟﺤﻠﻘﺎت واﻟﻠﻘﺎءات‬ ‫واﻷﻛرث ﺷﻌﺒﻴﺔ‪.‬‬ ‫اﻹذاﻋﻴﺔ أو اﻟﺘﻠﻴﻔﺰﻳﻮﻧﻴﺔ اﻟﺘﻲ ﺷﺎرك ﺑﻬﺎ‬ ‫ﻣﺤﺎوراً أو ﻣﺴﺎﺟ ًﻼ ﻟﺸﻌﺮاء آﺧﺮﻳﻦ‪ ،‬ﻛام‬ ‫‪ǽŞƪƖǕŌ ǽǜƮǘǕŌ‬‬ ‫أن ﻛﺘﺎﺑﻪ اﻟﻬﺎم "ﺗﻬﺬﻳﺐ اﻷﻓﻜﺎر ﰲ أدب‬ ‫رﻏــﻢ اﺿﻄﻼﻋﻪ ﺑﺤﻔﻆ ﺗ ـﺮاث ﻏــريه ﻣﻦ اﻟﺸﻌﺮ اﻟﺤﺴﺎين اﳌﺨﺘﺎر"‪ ،‬واﻟﺬي ﻳﺮد ﺿﻤﻦ‬ ‫اﻷدﺑــﺎء‪ ،‬ﻓﺈن ﻣﺼﺎدر اﻟﺘﻌﺮف ﻋﲆ ﺷﻌﺮ أواﺋﻞ اﳌﺼﺎدر واﳌﺮاﺟﻊ اﻟﺒﺤﺜﻴﺔ ﻷي ﻋﻤﻞ‬ ‫‪ ǼƅǕŌ ǽǝōƒżǕŌ ƉƪƖǔǕ ǢǸŌƂŐ ōǙŐ‬‬ ‫‪ɰ‬‬ ‫‪ ŋŌƃżǕŌ ǶŐ ŋōǜƮǕōş ŌƉǾŬǉ ơǔŨƀǿ‬‬

‫ﻧﻘﺪي ﻋﻦ اﻟﺸﻌﺮ اﳌﻮرﻳﺘﺎين ﻳﻨﺪر وﺟﻮده‬ ‫ﺑﺎﳌﻜﺘﺒﺎت أو ﻋﲆ اﻹﻧﱰﻧﺖ إذ مل ُﻳ َﻌ ْﺪ ﻃﺒﻌﻪ‬ ‫ﻣﻨﺬ ﺳﻨﻮات‪ ،‬ﰲ ﻣﻔﺎرﻗﺔ ﻳﺒﺪو ﻣﻌﻬﺎ وﻛﺄن‬ ‫اﻟﺸﺎﻋﺮ ﻗﺪ اﻗﺘﴫ ﻇﻬﻮره ﻋﲆ اﻟﺸﻜﻞ‬ ‫اﻟﺸﻔﺎﻫﻲ‪ ،‬اﳌﺮﺗﺒﻂ ﺑﱰاث اﻟﺸﻌﺮ اﻟﺸﻌﺒﻲ‬ ‫ﻣﻦ ﻋﴩات اﻟﻘﺮون‪.‬‬ ‫ﰲ ﻣــﺤــﺎوراﺗــﻪ اﻟﻘﻠﻴﻠﺔ اﳌــﺼــﻮرة ﻳﻈﻬﺮ‬ ‫ﻣﺤﻤﺪن وﻟﺪ ﺳﻴﺪي إﺑﺮاﻫﻴﻢ ﻣﻀﻄﺠﻌﺎً ﰲ‬ ‫زﻳﻪ اﻟﻮﻃﻨﻲ اﳌﻮرﻳﺘﺎين ﻳﺴﺘﻤﻊ إﱃ ﻣﻨﺸﺪي‬ ‫اﻟﺸﻌﺮ اﻟﺤﺴﺎين وﻣﻐﻨﻴﻴﻪ ﺑﺎﺳﱰﺧﺎ ٍء‪ ،‬وﺑﻼ‬ ‫اث ﺑﺎﻟﻜﺎﻣريا‪ ،‬وﻫﻲ ﺻﻮرة ﻻ ﺗﻨﻔﺼﻞ‬ ‫اﻛﱰ ٍ‬ ‫إﱃ ﺣ ٍﺪ ﻛﺒ ٍري ﻋﻦ ﻃﺮﻳﻘﺔ ﺗﻠﻘﻲ اﻟﺸﻌﺮ ﰲ‬ ‫اﻟﻘﺮون اﻷوﱃ‪ .‬أﻣﺎ أداؤه ﻟﻠﺸﻌﺮ اﻟﺤﺴﺎين‬ ‫اﻟــﺬي ﻳﺨﺘﻠﻂ ﻛﺜرياً ﺑﺎﻟﻐﻨﺎء أو اﻟﺤﺪاء‬ ‫اﻟﺒﺪوي ﻓﻜﺎن ﻳﺒﺪو ﻣﻌﻪ أﻗﺮب ﻟﻠﻤﻐﻨﻲ‬ ‫اﻟﺸﻌﺒﻲ أو ﺷﺎﻋﺮ اﻟﺮﺑﺎﺑﺔ راوي اﻟﺴري‬ ‫واﻟﺒﻄﻮﻻت‪ ،‬وﻫﻮ ﻓﻌ ًﻼ ﻳﺘﻘﺎﻃﻊ ﰲ دوره‬ ‫اﻟﺸﻌﺮ ‪baytelshear‬‬ ‫ﺑﻴﺖ ِ‬

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‫‪şĚĮŃ şěńĴ‬‬

‫ﺳﻠﻴﻞ آل ﻫﺪار ﻷمﱟ اﻟﺬي ﺣﻔﻆ ﺗﺮاث اﻟﺸﻌﺮ اﻟﺤﺴﺎﻧﻲ‬

‫‪ ƷǉǀŢƃŦŜ ǆſǉƈ ſƴǂ ƺſƹŹƸ‬‬

‫‪ũƠǃƹƉƹƴŢ ƿŬƃưŢƀǂ ǇƼţŭǈƂǃƹƴŢ ǇŧơƍƴŢ ŤžǌŢ ſǉƹƠ‬‬ ‫ﻋﺰة ﺣﺴﻴﻦ‬

‫ﺻﺤﻔﻲ ﳌﺠﻠﺔ‬ ‫ﺗﺤﻘﻴﻖ‬ ‫ﻗﺮن‪ ،‬ﺑﻌﺪﻣﺎ ورد ﺿﻤﻦ‬ ‫ﺑﻠﺪ اﳌﻠﻴﻮن ﺷﺎﻋﺮ ﻫﻮ اﻟﻠﻘﺐ اﻟﺬي اﻧﻔﺮدت ﺑﻪ ﻣﻮرﻳﺘﺎﻧﻴﺎ ﻗﺒﻞ أﻛرث ﻣﻦ ﻧﺼﻒ ٍ‬ ‫ٍ‬ ‫ِ‬ ‫اﻟﻌﺮيب اﻟﻜﻮﻳﺘﻴﺔ ﻋﺎم ‪ .1967‬وﻣﺎ ﺑني اﻻﺣﺘﻔﺎء اﻟﺪاﺧﲇ واﻟﺨﺎرﺟﻲ ﺑﻪ ﻟﺤﺪ اﻋﺘﺒﺎره ﺑﻄﺎﻗﺔ اﻟﺘﻌﺮﻳﻒ اﻷﺳﺎﺳﻴﺔ ﻷرض اﻟﺸﻨﺎﻗﻄﺔ‪،‬‬ ‫واﻟﻬﺠﻮم ﻋﻠﻴﻪ ﺑﻮﺻﻔﻪ اﺧﺘﺰال ﻟﻸدب اﳌﻮرﻳﺘﺎين ﰲ اﻟﺸﻌﺮ ﻣﻦ ﻧﺎﺣﻴﺔ‪ ،‬وﺗﻨﻤﻴﻂ وﺗﻀﺨﻴﻢ ﻟﻮاﻗﻊ اﻟﺸﻌﺮ اﻟﻌﺮيب اﳌﻮرﻳﺘﺎين ﻣﻦ‬ ‫ﴪا‪ ،‬ﺑﺼﻮر ٍة ﻛﺎن أﺳﻮأ ﺗﺠﻠﻴﺎﺗﻬﺎ ﺗﺴﺎؤ ًﻻ إﻋﻼﻣﻴﺎً ﻋﺮﺑﻴﺎً ﻋام إذا ﻛﺎﻧﺖ ﻣﻮرﻳﺘﺎﻧﻴﺎ‬ ‫ﻧﺎﺣﻴﺔ أﺧﺮى‪ ،‬ﻳﻈﻞ ﺣﻀﻮر وﺗﻠﻘﻲ ﻫﺬا اﻟﺸﻌﺮ ﻣﻨﺤ ً‬ ‫ﺗﺘﺤﺪث اﻟﻠﻐﺔ اﻟﻌﺮﺑﻴﺔ ﻣﻦ اﻷﺳﺎس!‬ ‫ﻋﲆ إﺛﺮ ﻫﺬه اﻟﻮاﻗﻌﺔ‪ ،‬اﻟﺘﻲ ﺟﺮت ﻣﻨﺘﺼﻒ‬ ‫اﻟﻌﺎم اﻟﺠﺎري‪ ،‬وﺟﺪ ﻛﺜ ٌري ﻣﻦ اﳌﴫﻳني‬ ‫أﻧﻔﺴﻬﻢ ﻣﻀﻄﺮﻳﻦ ﻟﻼﻋﺘﺬار ﻟﻠﺸﻌﺐ‬ ‫اﳌﻮرﻳﺘﺎين‪ ،‬واﻟﺮد ﻋﲆ ﻫﺬا اﻹﻋﻼﻣﻲ ﺑﺄن‬ ‫"ﻣﻮرﻳﺘﺎﻧﻴﺎ ﺑﻠﺪ اﳌﻠﻴﻮن ﺷﺎﻋﺮ"‪ ،‬ﻟﻜﻦ أﺣﺪاً مل‬ ‫ﺑﺒﻴﺖ ﻣﻦ اﻟﺸﻌﺮ اﳌﻮرﻳﺘﺎين‪،‬‬ ‫ﺗﺴﻌﻔﻪ ذاﻛﺮﺗﻪ ٍ‬ ‫ﻣﺎ ﻳﻌﻜﺲ ﰲ أﺣﺪ أوﺟﻬﻪ اﻟﻔﺠﻮة اﻟﺤﻘﻴﻘﻴﺔ‬ ‫ﺑني إﻧﺘﺎج ﻫﺬا اﻟﻨﻮع اﻷديب وﺗﻠﻘﻴﻪ‪ ،‬وإن‬ ‫ﻛﺎن ﻻ ﺑﺪ ﻣﻦ اﻻﻋ ـﱰاف ﺑﺘﺰاﻳﺪ اﻟﺘﻤﺜﻴﻞ‬ ‫اﳌﻮرﻳﺘﺎين داﺧﻞ اﳌﺤﺎﻓﻞ اﻟﺜﻘﺎﻓﻴﺔ اﻟﻌﺮﺑﻴﺔ‬ ‫واﺳﻊ‪.‬‬ ‫وﺗﺤﻘﻴﻖ ﺻﺪى ٍ‬ ‫ﰲ ﻣﻮرﻳﺘﺎﻧﻴﺎ ﻛﺎن اﻻﻫﺘامم ﺑﺎﻟﺸﻌﺮ اﻟﻌﺮيب‬ ‫اﺧﺘﻴﺎ ًرا ﻫﻮﻳﺎﺗﻴﺎً أﻛرث ﻣﻨﻪ ﻓﻨﻴﺎً‪ ،‬إذ ﻛﺎن وﺳﻴﻠﺔ‬ ‫اﳌﻬﺎﺟﺮﻳﻦ اﻟﻌﺮب ﻣﻦ ﺷﺒﻪ اﻟﺠﺰﻳﺮة ﻟﺤﻔﻆ‬ ‫ﻫﻮﻳﺘﻬﻢ وﺗﺄﻛﻴﺪ اﻧﺘامﺋﻬﻢ ﻷوﻃﺎﻧﻬﻢ اﻷوﱃ‪،‬‬ ‫وﻛﺎن ﺣﻔﻆ اﻟﺸﻌﺮ وﺳﻴﻠﺘﻬﻢ ﻟﺤﻔﻆ اﻟﻔﺘﺎوى‬ ‫واﻟﻌﻠﻮم ﻛﺨﻴﺎ ٍر أوﺣﺪ أﻣﺎم اﳌﺠﺘﻤﻊ اﻟﺒﺪوي‬ ‫ﺻﺎﺣﺐ اﻟﺜﻘﺎﻓﺔ اﻟﺸﻔﺎﻫﻴﺔ‪ ،‬ﻣﻨﺬ اﻟﻘﺮون‬ ‫اﻷوﱃ وﺣﺘﻰ اﻟﻴﻮم؛ ﺣﻴﺚ ﺑﺈﻣﻜﺎﻧﻚ أن ﺗﺮى‬ ‫وﺗﺴﻤﻊ ﻷﻃﻔﺎلٍ ﻳﺤﻔﻈﻮن ﻋﻴﻮن اﻟﺸﻌﺮ‬ ‫اﻟﻌﺮيب ﻛﻮﺳﻴﻠﺔ ﻟﺘﻌﻠﻢ اﻟﻘﺮاءة واﻟﻜﺘﺎﺑﺔ‪،‬‬ ‫ﻛام ﻛﺎن اﻟﺸﻌﺮ ﺣﻴﻠﺔ اﻟﺸﻌﺐ اﳌﻮرﻳﺘﺎين‬

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‫اﻟﻌﺪد ‪ ، 84‬دﻳﺴﻤﺒﺮ ‪2019‬‬

‫ﳌﻘﺎوﻣﺔ اﳌﺤﺘﻞ اﻟﻔﺮﻧﴘ واﻟﺴﺨﺮﻳﺔ ﻣﻨﻪ‪،‬‬ ‫ﺣﺘﻰ إن اﻟﻔﺮﻧﺴﻴني وﻗﺘﻬﺎ ﺗﺮﺑﺼﻮا ﺑﺎﻟﺸﻌﺮاء‬ ‫اﳌﻮرﻳﺘﺎﻧﻴني وﻧﻜﻠﻮا ﺑﻬﻢ ﺑﺴﺒﺐ ﺷﻌﺮﻫﻢ‪.‬‬ ‫وإذا ﻛﺎن ﻫﺬا اﻟﺤﺎل ﻣﻊ اﻟﺸﻌﺮ اﻟﻔﺼﻴﺢ‪،‬‬ ‫ﻓﺈن ﻟﻠﺸﻌﺮ اﻟﺸﻌﺒﻲ اﳌﻮرﻳﺘﺎين أﻳﻀﺎً ﺣﻔﻈﺘﻪ‬ ‫ورواﺗﻪ‪ ،‬وﻫﻮ ﻛﻄﺎﺑﻊ اﻷدب اﻟﺸﻌﺒﻲ اﻟﺠﻴﺪ‬ ‫ﻳﻌﻜﺲ أﻛرث ﻣﻦ ﻏريه ﻣﻦ اﻟﻔﻨﻮن واﻗﻊ ﺣﺎل‬ ‫وﺛﻘﺎﻓﺔ اﳌﺠﺘﻤﻊ اﻟﺬي ُﻳﻨﺸﺪ ﻓﻴﻪ‪ .‬وﻣﻦ‬ ‫أﺑﺮز ﻫﺆﻻء اﻟﺸﺎﻋﺮ ﻣﺤﻤﺪن وﻟﺪ ﺳﻴﺪي‬ ‫إﺑﺮاﻫﻴﻢ‪ ،‬اﻟﺬي ارﺗﺒﻂ اﺳﻤﻪ ﺑﱪاﻣﺞ اﻷدب‬ ‫اﻟﺸﻌﺒﻲ ﰲ إذاﻋﺔ ﻣﻮرﻳﺘﺎﻧﻴﺎ ﻋﲆ ﻣﺪى أﻛرث‬ ‫ﻣﻦ ﻧﺼﻒ ﻗﺮن واﳌﻠﻘﺐ ﺑﻌﻤﻴﺪ اﻷدب‬ ‫اﻟﺸﻌﺒﻲ اﳌﻮرﻳﺘﺎين‪.‬‬ ‫‪ ƈŌƃǥ ƂȍǶŐ ǛǾş‬‬

‫ﰲ أﺑﺴﻂ ﺗﻌﺮﻳﻔﺎﺗﻪ‪ :‬اﻟﺸﻌﺮ اﻟﺤﺴﺎين أو‬ ‫"ﻟﻐﻦ اﻟﺤﺴﺎين" ﻫﻮ أﺣﺪ أمنــﺎط اﻷدب‬ ‫اﻟﺸﻌﺒﻲ اﻟﻌﺮيب اﳌﻜﺘﻮب ﺑﺎﻟﺤﺴﺎﻧﻴﺔ ﻟﻬﺠﺔ‬ ‫اﻟﻌﺮب اﳌﻮرﻳﺘﺎﻧﻴني‪ .‬وﻗﺪ ارﺗﺒﻄﺖ ﻧﺸﺄﺗﻪ‬ ‫ﺑﺎﻟﻐﻨﺎء ﻟــﺬا ﺳﻤﻲ "ﻟﻐﻦ"‪ ،‬وﻧﺴﺐ إﱃ‬ ‫اﻟﻘﺒﺎﺋﻞ اﻟﺤﺴﺎﻧﻴﺔ إﺣﺪى أﺷﻬﺮ اﻟﻘﺒﺎﺋﻞ‬ ‫اﻟﺘﻲ ﻋﺎﴏت ﻧﺸﺄﺗﻪ وﺣﻔﻈﺘﻪ ودوﻧﺘﻪ‪،‬‬

‫مبﺸﺎرﻛﺔ ﻋﺪة ﻗﺒﺎﺋﻞ أﺧﺮى أﺑﺮزﻫﺎ ﻗﺒﻴﻠﺔ‬ ‫أوﻻد ﻫــﺪار‪ ،‬وﻫــﻲ اﻟﻘﺒﻴﻠﺔ اﻟﺘﻲ ﻋﺎش‬ ‫ﺑﻴﺘﻬﺎ اﻟﺸﺎﻋﺮ اﻟﺮاﺣﻞ ﻣﺤﻤﺪن وﻟﺪ ﺳﻴﺪي‬ ‫إﺑﺮاﻫﻴﻢ )‪ ،(2006-1914‬ﻋﻤﻴﺪ اﻷدب‬ ‫اﻟﺸﻌﺒﻲ اﳌﻮرﻳﺘﺎين‪ ،‬واﻟــﺬي ﻋﺎش ﻗﺮاﺑﺔ‬ ‫ﻣﺎﺋﺔ ﻋﺎم‪ ،‬ﻛﺎن ﺧﻼﻟﻬﺎ ﺧﺰاﻧ ًﺔ ﺣﻴﺔ وﻣﻜﺘﺒ ًﺔ‬ ‫ﻣﺴﻤﻮﻋﺔ ﻟﻠﺸﻌﺮ اﻟﺤﺴﺎين‪ ،‬إذ ﻗﺎم ﺑﺘﺪوﻳﻨﻪ‬ ‫وﺗﺤﻘﻴﻘﻪ ﰲ ﻛﺘﺎﺑﻪ اﻟﺸﻬري " ﺗﻬﺬﻳﺐ اﻷﻓﻜﺎر‬ ‫ﰲ أدب اﻟﺸﻌﺮ اﻟﺤﺴﺎين اﳌﺨﺘﺎر"‪ ،‬ﻛام ﻛﺮس‬ ‫ﻟﻪ ﺑﺮﻧﺎﻣﺠﻪ اﻹذاﻋﻲ اﻟﺬي اﻧﻄﻠﻖ ﻣﻊ ﻧﺸﺄة‬ ‫اﻹذاﻋﺔ اﳌﻮرﻳﺘﺎﻧﻴﺔ ﺑﻌﺪ اﻻﺳﺘﻘﻼل‪.‬‬ ‫ﻋﺎم ‪ 1924‬مل ﻳﻜﻦ ﻣﺤﻤﺪن وﻟﺪ ﺳﻴﺪي‬ ‫إﺑﺮاﻫﻴﻢ ﻗﺪ أﺗﻢ اﻟﻌﺎﴍة ﺑﻌﺪ ﻋﻨﺪﻣﺎ ﺣﻔﻆ‬ ‫ﻋﻦ أﻣﻪ وأﺧﻮاﻟﻪ ﻋﴩات أﺑﻴﺎت اﻟﺸﻌﺮ‬ ‫اﻟﺤﺴﺎين وأﺗﻘﻦ ﻓﻨﻮﻧﻪ‪ ،‬ﻓﻘﺪ ﻛﺎن ﻣﺤﻈﻮﻇﺎً‬ ‫ﺑﺎﻧﺘامﺋﻪ ﻟﻬﺬه اﻟﻌﺎﺋﻠﺔ اﻟﺘﻲ ﻳﻘﻮل ﺟﻞ‬ ‫أﻓﺮادﻫﺎ ﺗﻘﺮﻳ ًﺒﺎ اﻟﺸﻌﺮ‪ .‬وﻓﻀ ًﻼ ﻋﻦ أﺧﻮاﻟﻪ‬ ‫ﻛﺎﻧﺖ أﻣــﻪ ﻣﻮﻛﻒ اﻟﻌﺰة اﻟﺘﻲ ﻳﺮﺗﺒﻂ‬ ‫اﺳﻤﻪ ﺑﺎﺳﻤﻬﺎ واﺣﺪة ﻣﻦ أﻫﻢ ﺷﺎﻋﺮات‬ ‫اﻟﺤﺴﺎﻧﻴﺔ‪ ،‬وﺗﺮﺟﻢ ﺷﻌﺮﻫﺎ ﻟﻠﻐﺔ اﻟﻔﺮﻧﺴﻴﺔ‪،‬‬ ‫ﺿﻤﻦ ﻛﺘﺎب ﺿﻢ ﻣﺨﺘﺎرات ﻟﺸﻌﺮ أوﻻد‬ ‫ﻫﺪار ﺑﻮﺻﻔﻬﻢ ﻣﺪرﺳﺔ إﺑﺪاﻋﻴﺔ ﻣﺘﻔﺮدة ﰲ‬

‫ﻃﻼل ﻣﺪاح‬

‫ﻣﺤﻤﺪ ﻋﺒﺪه‬

‫ﻫﻴﺎم ﻳﻮﻧﺲ‬

‫ﻏﺎﻟﻴﻪ ﺑﻦ ﻋﲇ‬

‫إﱃ أن ﺟﺒﻞ ﻋﺴﻴﺐ اﻟﺬي دﻓﻦ ﻋﻨﺪه اﻣﺮؤ‬ ‫اﻟﻘﻴﺲ وورد اﺳﻤﻪ ﰲ اﻟﺒﻴﺖ اﳌﻨﺴﻮب‬ ‫ﻟﻠﺸﺎﻋﺮ ﻋﻨﺪ رﺣﻴﻠﻪ‪" :‬أﺟﺎرﺗﻨﺎ إن اﻟﺨﻄﻮب‬ ‫ﺗﻨﻮب‪ /‬وإين ﻣﻘﻴﻢ ﻣﺎ أﻗﺎم ﻋﺴﻴﺐ" ﻻ ﻳﻘﻊ‬ ‫ﰲ ﺗﺮﻛﻴﺎ‪ ،‬وإمنﺎ مبﺪﻳﻨﺔ ﺷﻴﺰر" اﻟﺴﻮرﻳﺔ‪.‬‬ ‫أﻣﺎ اﻟﻜﺎﺗﺐ ﻓﺎﺿﻞ اﻟﺮﺑﻴﻌﻲ ﻓﻤﻨﺢ اﻣﺮأ‬ ‫اﻟﻘﻴﺲ أﺣﺪ أﻫﻢ ﻓﺼﻮل ﻛﺘﺎﺑﻪ اﻟﺠﺪﱄ‬ ‫"أﺑﻄﺎل ﺑﻼ ﺗﺎرﻳﺦ" ﻣﺸرياً إﱃ أن اﻣﺮأ اﻟﻘﻴﺲ‬ ‫ﺻﺎﺣﺐ اﻟﺴرية اﻟﺘﻲ ﺗﺘﺠﺎوز أﺣﺪاﺛﻬﺎ‬ ‫وﺗﻨﺎﻗﻀﺎﺗﻬﺎ ﻣﻨﻄﻘﻴﺎً ﻋﺪد ﺳﻨﻮات ﻋﻤﺮه‬ ‫ﻟﻴﺲ ﺷﺨﺼﺎً واﺣﺪاً ﺑﻞ أﻛرث ﻣﻦ ‪ 25‬ﺷﺨﺼﺎً!‪:‬‬ ‫»ﰲ أﺛﻨﺎء ﺑﺤﺜﻲ اﳌﻮﺳﻊ ﰲ ﻣــﺎدة ﻗﻴﺲ‪،‬‬ ‫ﻋرثت ﻋﲆ ﻋﺪد آﺧﺮ ﻳﺮﻓﻊ اﻟﻘﺎمئﺔ‪ ،‬ﻓﻴﻤﻦ‬ ‫ﻳﺘﺴﻤﻮن ﺑﺎﻣﺮئ اﻟﻘﻴﺲ إﱃ ﻣﺎ ﻳﺰﻳﺪ ﻋﲆ‬ ‫ﺧﻤﺴﺔ وﻋﴩﻳﻦ ﺷﺎﻋﺮاً ﻋﺮﻓﻮا ﺑﺄﻧﺴﺎﺑﻬﻢ‬ ‫وأﺷﻌﺎرﻫﻢ‪ ،‬وﺗﺴﻤﻮا ﺑﺎﺳﻢ اﻣﺮئ اﻟﻘﻴﺲ‪.‬‬ ‫ﺗﻜﻤﻦ أﻫﻤﻴﺔ ﻫﺬه اﻟﻘﻮاﺋﻢ ﰲ رأﻳﻨﺎ ﰲ أﻧﻬﺎ‬ ‫ﺳﺘﻤﻜﻨﻨﺎ ﻣﻦ إﻋﺎدة ﺑﻨﺎء اﻟﺮواﻳﺔ اﻟﺘﺎرﻳﺨﻴﺔ‬

‫ ‪ǳǾȃōǜƯ ǳşƈōǂǙ ƉǤƗŐ ǽǝōŭ‬‬ ‫ ‪ ƑǾǂǕŌ ȀƉǙŌ ǳǂǔƪǘǕ‬‬ ‫‪ ƃǘżǙ ǚōǜƲǕŌ ƃǿ ǻǔƫ ŧǝōǉ‬‬ ‫‪ ǳǾǜƯŐ ǣǝōżǕŐ ǛǙ ǖƃǃ ǼƅǕŌ ɐǢƃŞƫ‬‬ ‫‪ɰ‬‬ ‫}‪ ŦōǾǕōƪƳ ǛǘƟ mȎǤǙ ǗƣōƳŐ‬‬ ‫‪Ƥōǈƫ ǀǷƒǕ ǲƉƗōƪǕŌ ǲƈǶƃǕŌ‬‬ ‫ ‪ǒƃŴǕŌ ƅƁŐ ǼƅǕŌ ưȎƀǕŌ ōǙŐ‬‬ ‫‪ɰ‬‬ ‫‪ɰ‬‬ ‫ ‪ ǳǂǾǂŽ ǷǤƳ ōǾǘǔƫ‬‬ ‫ ‪ōŨǘƓ ǣǕǷŽ‬‬ ‫ ‪ɐƑǾǂǕŌ ȀƉǙŌ ǳǾƚƀƗ ƂǷŵǶ‬‬ ‫ ‪ǣǔǾŽƈ ưǶƉƧ ǽǥ ōǙǶ‬‬

‫ﻋﻦ اﻟﺸﻌﺮ اﻟﺠﺎﻫﲇ‪ ،‬وﺷﺎﻋﺮه اﻷﺳﻄﻮري‬ ‫اﻷﻛﱪ اﻣﺮئ اﻟﻘﻴﺲ‪ ،‬وﻣﻦ ﺛﻢ اﻟﺤﺼﻮل ﻋﲆ‬ ‫ﺗﺼﻮر أدق ﻟﻬﺬا اﻟﺠﺰء اﻟﻌﻀﻮي ﻣﻦ ﺗﺎرﻳﺦ‬ ‫اﻟﻌﺮب اﻟﻘﺪﻳﻢ«‪.‬‬ ‫اﻟﺮﺑﻴﻌﻲ مل ﻳﻜﺘﻒ ﺑﺎﻋﺘﺒﺎر أن ﻣﺎ ﺑني ﻫﺆﻻء‬ ‫اﻷﺷﺨﺎص ﻣﺠﺮد ﺗﺸﺎﺑﻪ أﺳامء وإمنﺎ ﻗﺎل‬ ‫إن ﺑني ﻫﺆﻻء أﻛرث ﻣﻦ ﺷﺎﻋ ٍﺮ ﺟﻤﻊ اﻟﺮواة‬

‫واﻟﺤﻔﺎظ ﻗﺼﺎﺋﺪﻫﻢ وﻋﻤﺪوا إﱃ ﻧﺴﺒﺘﻬﺎ‬ ‫ﺷﺨﺺ واﺣ ٍﺪ‪ ،‬وﻛﺬﻟﻚ ﻓﻌﻠﻮا ﻣﻊ ﺳريﻫﻢ‬ ‫إﱃ‬ ‫ٍ‬ ‫ﻓﺎﺧﺘﻠﻄﺖ ﺳرية اﻣﺮئ اﻟﻘﻴﺲ ﺑﻜﻞ ﻫﺆﻻء‬ ‫واﻛﺘﺴﺒﺖ ﺑﻌﺪﻫﺎ اﻷﺳﻄﻮري‪.‬‬ ‫ووﻗﻮﻓﺎً ﻋﻨﺪ واﻗﻌﺔ رﺣﻴﻞ اﻣﺮئ اﻟﻘﻴﺲ ﻋﲆ‬ ‫إﺛﺮ ارﺗﺪاﺋﻪ ﻟﻠﺠﺒﺔ اﳌﺴﻤﻮﻣﺔ ﻗﺎل اﻟﺮﺑﻴﻌﻲ‬ ‫إﻧﻬﺎ أﺳــﻄــﻮرة ﺗﻨﺘﻨﺴﺐ إﱃ ﻣــﺎ وﺻﻔﻪ‬ ‫ﺑـ"رزﻣﺔ ﻣﻦ اﻷﺳﺎﻃري اﻟﻴﻮﻧﺎﻧﻴﺔ ﻋﻦ اﻟﻬﺪاﻳﺎ‬ ‫اﳌﺴﻤﻮﻣﺔ اﻟﺘﻲ ﻳﺘﻠﻘﺎﻫﺎ اﻷﺑﻄﺎل وميﻮﺗﻮن‬ ‫ﺗﺨﺺ‬ ‫ﺟﺮاءﻫﺎ‪ .‬وواﺣﺪة ﻣﻦ ﻫﺬه اﻷﺳﺎﻃري ّ‬ ‫اﻟﺒﻄﻞ ﻫﺮﻗﻞ"‬ ‫واﺧﺘﺘﻢ اﻟﺮﺑﻴﻌﻲ ﻓﺼﻠﻪ ﻋﻦ اﻣﺮئ اﻟﻘﻴﺲ‬ ‫ﺑﺘﺄﻛﻴﺪ ﻋﲆ أن ﺷﺨﺼﻴﺔ اﻣﺮئ اﻟﻘﻴﺲ ﻫﻲ‬ ‫ﻣﻦ ﺻﻨﻊ ﺧﻴﺎل اﻟﺮواة ﻗﺎﺋ ًﻼ‪" :‬ﺟﺮى دﻣﺞ‬ ‫ﺻﻮر ﺷﻌﺮاء ﻋﺮﻓﻮا ﺑﺎﺳﻢ اﻣﺮئ اﻟﻘﻴﺲ ﰲ‬ ‫ﺻﻮرة واﺣﺪة‪ ،‬وﺗﻢ اﺧﺘﻼق ﺷﺎﻋﺮ ﻻ وﺟﻮد‬ ‫ﻟﻪ‪ ،‬و ُﻧﺴﺐ ﻟﻪ دﻳﻮان ﻫﻮ‪ ،‬ﰲ ﻧﻬﺎﻳﺔ اﳌﻄﺎف‪،‬‬ ‫دﻳﻮان أﻛرث ﻣﻦ اﺛﻨني وﻋﴩﻳﻦ ﺷﺎﻋﺮاً!‪.‬‬ ‫اﻟﺸﻌﺮ ‪baytelshear‬‬ ‫ﺑﻴﺖ ِ‬

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‫‪ ĬšĸŌ ĜĸŌ‬‬

‫اﻟﺼﻔﺪي وآﺧﺮون‪ ،‬أﻧﺸﺪ اﻣﺮؤ اﻟﻘﻴﺲ ﻫﺬه‬ ‫اﻷﺑﻴﺎت ﺑﻌﺪﻣﺎ ﻏﻀﺒﺖ ﻣﻨﻪ اﺑﻨﺔ ﻋﻤﻪ ﻓﺎﻃﻤﺔ‬ ‫وﺗﺮﻛﺘﻪ ﻋﲆ إﺛﺮ اﻟﻮاﻗﻌﺔ اﻟﺸﻬرية اﳌﻌﺮوﻓﺔ‬ ‫ﺑـ"ﻳﻮم دارة ﺟﻠﺠﻞ" وﻫﻮ اﻟﻴﻮم اﻟﺬي ﺗﺘﺒﻊ‬ ‫ﻓﻴﻪ اﻟﺸﺎﻋﺮ ﻧﺴﺎء ﻗﺒﻴﻠﺘﻪ وأﺧﺬ ﻣﻼﺑﺴﻬﻦ‬ ‫وأﻗﺴﻢ أﻻ ﻳﺪﻋﻬﺎ ﺣﺘﻰ ﺗﺄﺗﻴﻪ ﻛﻞ واﺣﺪ ٍة‬ ‫ﻣﻨﻬﻦ ﻟﺘﻠﺘﻘﻂ ﺛﻴﺎﺑﻬﺎ‪ ،‬ﻓﻠﻢ ﺗﺠﺪ اﻟﻔﺘﻴﺎت ﺑﺪّا‬ ‫ﻣﻦ ﺗﻨﻔﻴﺬ ﻣﺎ ﻃﻠﺐ‪ ،‬إﻻ أن اﻟﺸﺎﻋﺮ ﻓﻮﺟﺊ‬ ‫ﺑﻮﺟﻮد ﺣﺒﻴﺒﺘﻪ ﺑﻴﻨﻴﻬﻦ ﻓﻐﻀﺒﺖ ﻣﻨﻪ وﺗﺮﻛﺘﻪ‬ ‫ومل ﺗﺨﻀﻊ ﻟﺘﻮﺳﻼﺗﻪ ﺑﺎﻟﺒﻘﺎء‪.‬‬ ‫ﰲ رواﻳ ٍﺔ أﺧﺮى ﺗﺘﺒﻊ اﻣﺮؤ اﻟﻘﻴﺲ اﻟﻨﺴﺎء‬ ‫وﻫﻮ ﻳﻌﻠﻢ أن ﺣﺒﻴﺒﺘﻪ ﻛﺎﻧﺖ ﻣﻦ ﺑﻴﻨﻬﻦ‪.‬‬ ‫وﻣﻌﺮوف أن اﻟﺸﺎﻋﺮ مل ﻳﺘﺰوج ﺣﺒﻴﺒﺘﻪ ﺗﻠﻚ‪،‬‬ ‫وأﻧﻪ ﺗﺰوج اﻣﺮأ ًة أﺧﺮى ﺗﺪﻋﻰ ﻫﻨﺪ‪ ،‬وﻛﺎن‬ ‫ﻣﻄﺮوداً ﻣﻦ ﻣﻠﻚ أﺑﻴﻪ إﱃ أرض أﺧﻮاﻟﻪ‬ ‫ﺑﺴﺒﺐ ﺳﻮء ﺳﻠﻮﻛﻪ وﻣﺨﺎﻟﻄﺘﻪ ﻟﻠﺼﻌﺎﻟﻴﻚ‬ ‫وﺑﺴﺒﺐ ﺷﻌﺮه اﳌﺎﺟﻦ ﰲ ﺣﻖ اﻟﻨﺴﺎء‪ ،‬ﻗﺒﻞ‬ ‫أن ﻳﺘﺒﺪل ﺣﺎﻟﻪ ﻣﻦ اﻟﻬﺰل إﱃ اﻟﺠﺪ ﺑﻌﺪ‬ ‫ﻣﻘﺘﻞ أﺑﻴﻪ واﺿﻄﻼﻋﻪ ﺑﺎﻟﺜﺄر ﻟﻪ‪.‬‬ ‫واﻷﺑﻴﺎت اﻟﺴﺎﺑﻘﺔ وإن ﻛﺎﻧﺖ ﺿﻤﻦ اﻷﻛرث‬ ‫ﺷﻬﺮة ﻣﻦ ﺑني أﺑﻴﺎت اﳌﻌﻠﻘﺔ ﻟﻄﺎﺑﻌﻬﺎ‬ ‫اﻟﺪراﻣﻲ واﻟﻐﺰﱄ‪ ،‬إﻻ أﻧﻬﺎ مل ﺗﻜﻦ ﻣﻄﻠﻊ‬ ‫اﳌﻌﻠﻘﺔ‪ ،‬وﻓﻀ ًﻼ ﻋﻦ ﻣﺤﻤﺪ ﻋﺒﺪه‪ ،‬ﻏﻨﺎﻫﺎ‬

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‫اﻟﻌﺪد ‪ ، 84‬دﻳﺴﻤﺒﺮ ‪2019‬‬

‫ﺑﺼﺤﺒﺔ اﻟﻌﻮد واﻟﻘﺎﻧﻮن واﻟﻜامن اﳌﻄﺮب‬ ‫اﻟﻜﻮﻳﺘﻲ أﺣﻤﺪ اﻟﺼﺎﻟﺤﻲ ﻋﺎم ‪ 2012‬أي‬ ‫ﻗﺒﻞ ﻋﺒﺪه ﺑﺄرﺑﻊ ﺳﻨﻮات‪ ،‬وﺗﻼﻋﺐ ﻫﻮ ً‬ ‫أﻳﻀﺎ‬ ‫ﺑﱰﺗﻴﺐ اﻷﺑﻴﺎت‪.‬‬ ‫ﻧﺒﻚ ﻣﻦ ذﻛﺮ‬ ‫أﻣﺎ ﻣﻄﻠﻊ اﳌﻌﻠﻘﺔ اﻟﺸﻬري "ﻗﻔﺎ ِ‬ ‫ﺣﺒﻴﺐ وﻣﻨﺰل"‪ ،‬واﻟﺬي دﺷﻦ اﻟﺒﺪاﻳﺔ اﻟﻐﺰﻟﻴﺔ‬ ‫ٍ‬ ‫واﻟﺒﻜﺎء ﻋﲆ اﻷﻃﻼل ﰲ اﻟﺸﻌﺮ اﻟﻌﺮيب ﻓﻘﺪ‬ ‫ﻧﺴﺒﺖ ﺑﻌﺾ اﳌﺼﺎدر ﻏﻨﺎءه إﱃ ﻓريوز‪،‬‬ ‫وإن مل ﻧﺠﺪ أﻳﺔ ﺗﺴﺠﻴﻼت ﻟﺬﻟﻚ‪ ،‬ﻓﻴام‬ ‫أداﻫﺎ ﻗﺎرئ اﳌﻘﺎم اﻟﻌﺮاﻗﻲ ﺣﺎﻣﺪ اﻟﺴﻌﺪي‬ ‫ﻣﻦ ﻣﻘﺎم اﻟﺮﺳﺖ ﻋﺎم ‪ 1983‬وﺿﻤﻦ ﻣﻌﻬﺎ‬ ‫أﺑﻴﺎت "أﻓﺎﻃﻢ ﻣﻬ ًﻼ" اﻟﺘﻲ أداﻫﺎ ﻣﺤﻤﺪ‬ ‫ﻋﺒﺪه وأﺑﻴﺎت أﺧﺮى ﻣﻦ اﳌﻌﻠﻘﺔ‪ ،‬وأداﻫﺎ‬ ‫ﻋﲆ اﻟﻌﻮد أﻳﻀﺎً اﳌﻄﺮب أﺑﻮ ﺣﺴﺎم ﺣﺴﻦ‪.‬‬ ‫‪ƑǾǂǕŌ ȀƉǙŌ ǲƈǷƢƓŐ‬‬

‫رﻏﻢ ﺗﻌﺪد اﳌﻌﺎﻟﺠﺎت اﻟﻐﻨﺎﺋﻴﺔ ﳌﻌﻠﻘﺔ اﻣﺮئ‬ ‫اﻟﻘﻴﺲ وﺗﺒﺎﻳﻦ ﻧﺠﺎﺣﻬﺎ إﻻ أﻧﻬﺎ مل ﺗرث ً‬ ‫ﺟﺪﻻ‬ ‫ﻛﺎﻟﺬي أﺛﺎرﺗﻪ ﻗﺼﻴﺪﺗﻪ اﻟﺸﻬرية "ﺗﻌﻠﻖ ﻗﻠﺒﻲ‬ ‫ﻃﻔﻠ ًﺔ ﻋﺮﺑﻴ ًﺔ" اﻟﺘﻲ ﻏﻨﺎﻫﺎ اﻟﻔﻨﺎن ﻃﻼل‬ ‫ﻣﺪاح ﻋﺎم ‪ ،1970‬واﻛﺘﺴﺒﺖ ﺷﻬﺮ ًة واﺳﻌ ًﺔ‪،‬‬ ‫أﻏﺮت ﻓﻨﺎﻧني آﺧﺮﻳﻦ ﺑﺈﻋﺎدة ﻏﻨﺎﺋﻬﺎ ﻛﻬﻴﺎم‬ ‫ﻳﻮﻧﺲ ﺑﻨﻔﺲ ﻟﺤﻦ ﻣﺪاح‪ ،‬وﻏﺎﻟﻴﺔ ﺑﻦ ﻋﲇ‬

‫ﺑﻠﺤﻦ ﺟﺪﻳ ٍﺪ وﻏريﻫﻢ‪.‬‬ ‫ٍ‬ ‫وإن ﻛﺎن اﻟﺸﺎﺋﻊ أن ﻫﻨﺎك ﻧﺰاﻋﺎً ﻋﲆ ﻣﻠﻜﻴﺔ‬ ‫ﻛﻞ ﻣﻦ‬ ‫اﻟﻠﺤﻦ اﻟﺬي ﻏﻨﺎه ﻃﻼل ﻣﺪاح ﺑني ٍ‬ ‫اﳌﻠﺤﻨني ﻣﻄﻠﻖ اﻟﺬﻳﺎيب "ﺳﻤري اﻟــﻮادي"‬ ‫وورﺛﺔ اﳌﻠﺤﻦ ﻃﺎرق ﻋﺒﺪ اﻟﺤﻜﻴﻢ‪ ،‬ﻓﻴام‬ ‫ﻳﴫ آﺧﺮون أن ﻣﻠﺤﻨﻬﺎ اﻟﴩﻳﻒ ﻫﺎﺷﻢ‬ ‫وﻳﺮى آﺧﺮون أﻧﻪ ﻟﺤﻦ ﺗﺮايث‪ ،‬ﻓﺈن ﻫﻨﺎك‬ ‫ﻣﻦ ذﻫﺒﻮا أﺑﻌﺪ ﻣﻦ ذﻟﻚ وﺷﻜﻜﻮا ﰲ ﻧﺴﺒﺔ‬ ‫اﻟﻘﺼﻴﺪة ذاﺗﻬﺎ ﻻﻣﺮئ اﻟﻘﻴﺲ‪ ،‬واﻋﺘﱪوا أﻧﻬﺎ‬ ‫ﻣﺪﺳﻮﺳﺔ ﻋﻠﻴﻪ ﺣﺪﻳﺜﺎ‪ ،‬وإن مل ﻳﺴﻮﻗﻮا أﻳﺔ‬ ‫أدﻟﺔ ﻋﻠﻤﻴﺔ ﻋﲆ ذﻟﻚ ﺑﺨﻼف رﻛﺎﻛﺔ ﺑﻌﺾ‬ ‫ﺗﻌﺒريات اﻟﻘﺼﻴﺪة ﻣﻦ وﺟﻬﺔ ﻧﻈﺮﻫﻢ‪.‬‬ ‫أﻣﺎ اﻟﺨﻼف اﻟﺬي أﺧﺬ اﻟﺠﺪل ﺣﻮﻟﻪ ﺳﻤﺘﺎً‬ ‫ﻋﻠﻤﻴﺎ ﻓﻬﻮ ﺣﻘﻴﻘﺔ وﺟﻮد ﺷﺨﺼﻴﺔ اﻣﺮئ‬ ‫اﻟﻘﻴﺲ‪ ،‬وﻣﺎ ﻫﻲ ﻇــﺮوف رﺣﻴﻠﻪ‪ ،‬وﻫﻞ‬ ‫ﻣﺎت ﻣﺴﻤﻮ ًﻣﺎ ﺑﺎﻟﺠﺒﺔ اﻟﺘﻲ أرﺳﻠﻬﺎ ﻟﻪ ﻗﻴﴫ‬ ‫اﻟﻘﺴﻄﻨﻄﻴﻨﻴﺔ "ﺟﺴﺘﻴﻨﻴﺎن" ﺑﻌﺪﻣﺎ ﺑﻠﻐﻪ أﻧﻪ‬ ‫ﻳﻮاﻋﺪ اﺑﻨﺘﻪ‪ ،‬أم ﻣﺎت ﻣﺘﺄﺛﺮاً ﺑﺈﺻﺎﺑﺘﻪ ﺑﺪاء‬ ‫اﻟﺠﺪري اﻟﺬي ﻗﺮح ﺟﺴﺪه وأﺳﻘﻂ ﺟﻠﺪه‬ ‫ﻓﺴﻤﻲ ﻋﲆ إﺛﺮﻫﺎ ﺑـ"ذي اﻟﻘﺮوح"‪ ،‬وﻫﻞ‬ ‫زار اﻣﺮؤ اﻟﻘﻴﺲ اﻟﻘﺴﻄﻨﻄﻴﺔ ً‬ ‫أﺻﻼ أم أن‬ ‫اﺳﻤﻪ ﺗﺸﺎﺑﻪ ﻣﻊ أﻣﺮاء آﺧﺮﻳﻦ ﺣﻤﻠﻮا ﻧﻔﺲ‬ ‫اﻻﺳﻢ‪ ،‬وﻣﺎ ﻋﻼﻗﺔ اﻣﺮئ اﻟﻘﻴﺲ ﺑﺎﻷﺳﺎﻃري‬ ‫اﻟﻴﻮﻧﺎﻧﻴﺔ وﻣﺪى ﺗﻘﺎﻃﻊ ﺳريﺗﻪ ﻣﻊ أﺣﺪ‬ ‫أﺑﻄﺎﻟﻬﺎ ﻫﺮﻗﻞ‪..‬‬ ‫ﻛﻞ ﻫــﺬه اﻷﺳﺌﻠﺔ ﺗﺼﺪى ﻟﻬﺎ ﻋــﺪد ﻣﻦ‬ ‫اﻟﺒﺎﺣﺜني أﺑــﺮزﻫــﻢ اﳌﻔﻜﺮ اﻟﻔﻠﺴﻄﻴﻨﻲ‬ ‫د‪ .‬ﻋﺰ اﻟﺪﻳﻦ اﳌﻨﺎﴏة ﺻﺎﺣﺐ ﻛﺘﺎب‪:‬‬ ‫"اﻣــﺮؤ اﻟﻘﻴﺲ‪ ..‬ﻟﻴﺲ اﻣﺮأ اﻟﻘﻴﺲ‪ :‬ﻗﺼﺔ‬ ‫اﻣــﺮئ اﻟﻘﻴﺲ اﻟﻜﻨﺪي‪ -‬ﺷﺎﻋﺮ اﻟﻌﺮﺑﻴﺔ‬ ‫اﻷول" واﻟﺬي أﻛﺪ ﺧﻼﻟﻪ أن اﻣﺮأ اﻟﻘﻴﺲ‬ ‫اﻟﺸﺎﻋﺮ‪ ،‬مل ﻳﺰر ﻗﻴﴫ اﻟﺮوم )ﺟﺴﺘﻨﻴﺎن( ﰲ‬ ‫اﻟﻘﺴﻄﻨﻄﻴﻨﻴﺔ‪ ،‬وأن اﻟﺬي زار ﻗﻴﴫ اﻟﺮوم‪،‬‬ ‫ﻫﻮ )اﻣﺮؤ اﻟﻘﻴﺲ(‪)-‬ﻣﻠﻚ ﻓﻠﺴﻄني اﻟﺜﺎﻟﺜﺔ‪،‬‬ ‫ﺟﻨﻮب ﻓﻠﺴﻄني‪ ،‬واﻟﺒﱰاء‪ ،‬وإﻳﻠﺔ‪ ،‬وﺗريان(‪،‬‬ ‫ﻣﺸ ًريا إﱃ أن ﻫﻨﺎك ‪ 28‬ﺷﺨﺼﺎً ﺗﺎرﻳﺨﻴﺎً‪،‬‬ ‫ﻳﺴﻤﻮن )اﻣﺮؤ اﻟﻘﻴﺲ(‪ ،‬ﻛام أﺷﺎر اﻟﺸﺎﻋﺮ‬

‫ﺗﻨﺎول اﻟﻔﻦ ﺳرية اﻣﺮئ اﻟﻘﻴﺲ وﺷﻌﺮه أﻛرث‬ ‫ﻓﻨﻲ‪ ،‬ﻓﻜﺎن‬ ‫ﻣﻦ ﻣﺮ ٍة وﻋﱪ أﻛرث ﻣﻦ وﺳﻴﻂ ٍ‬ ‫اﳌﺴﻠﺴﻞ اﻷردين "اﻣﺮؤ اﻟﻘﻴﺲ" إﻧﺘﺎج ﻋﺎم‬ ‫‪ ،2003‬وﻣﻦ ﻗﺒﻠﻪ ﻏﻨﺎء ﻣﻄﺮيب اﻟﺴﻌﻮدﻳﺔ‬ ‫اﻟﻜﺒريﻳﻦ ﻃﻼل ﻣﺪاح وﻣﺤﻤﺪ ﻋﺒﺪه ﻣﻦ‬ ‫ﺷﻌﺮ اﻣﺮئ اﻟﻘﻴﺲ‪ً ،‬‬ ‫ﻓﻀﻼ ﻋﻦ ﻣﺤﺎوﻻت‬ ‫أﺧﺮى أﻗﻞ ﺷﻬﺮة‪.‬‬ ‫‪ŋōǜƮǕŌǶ ǳǂǔƪǘǕŌ‬‬

‫ﰲ ﻋﺎم ‪ 2004‬وﰲ ﻣﻔﺎرﻗﺔ ﻃﺮﻳﻔﺔ ورد أﺣﺪ‬ ‫أﺑﻴﺎت ﻣﻌﻠﻘﺔ اﻣﺮئ اﻟﻘﻴﺲ ﺿﻤﻦ أﻏﻨﻴﺔ‬ ‫ﺷﻌﺒﻴﺔ ﻣﴫﻳﺔ ﻟﻠﻤﻄﺮب اﻟﺸﻌﺒﻲ رﻳﻜﻮ‪،‬‬ ‫أﺣﺪ أﺑﻄﺎل اﻟﻔﻴﻠﻢ اﻟﻜﻮﻣﻴﺪي اﻟﺬي أذﻳﻊ‬ ‫وﻗﺘﻬﺎ "ﺻﺎﻳﻊ ﺑﺤﺮ"‪ .‬ﺣﻘﻘﺖ اﻷﻏﻨﻴﺔ ﻧﺠﺎﺣﺎً‬ ‫ﻛﺒ ًريا‪ ،‬وﻛﺎﻧﺖ ورداً دامئًﺎ ﻷﻏﻠﺐ ﻣﻘﺎﻫﻲ‬ ‫اﻟﻘﺎﻫﺮة‪ ،‬وﺻﺎر وﻗﺘﻬﺎ ﺑﻴﺖ‪:‬‬ ‫ــﻞ ُﻣــ ْﺪ ِﺑــ ٍﺮ‬ ‫" ِﻣــ َﻜــ ﱟﺮ ِﻣــ َﻔــ ﱟﺮ ُﻣــ ْﻘــ ِﺒ ٍ‬ ‫اﻟﺴـ ْﻴ ُﻞ‬ ‫َﻣــﻌــﺎً َﻛ ُ‬ ‫ــﺠ ْﻠ ُـﻤ ْﻮ ِد َﺻ ْـﺨ ٍﺮ َﺣ ﱠﻄ ُﻪ ﱠ‬ ‫ِﻣﻦْ ﻋ َِﻞ" ‪-‬رﻏﻢ اﻧﻔﺼﺎﻟﻪ ﻋﻦ ﺳﻴﺎق اﻷﻏﻨﻴﺔ‬ ‫واﻟﻔﻴﻠﻢ وﻋﻦ اﻟﻠﻮن اﻟﻐﻨﺎيئ ﳌﺆدﻳﻪ‪ -‬أﺷﻬﺮ‬ ‫ﺑﻴﺖ ﺷﻌﺮي ﻣﻦ ﺑني ﻗﺼﺎﺋﺪ اﳌﻌﻠﻘﺎت‬ ‫اﻟﺴﺒﻊ وﻟﻴﺴﺖ ﻣﻌﻠﻘﺔ اﻣﺮئ اﻟﻘﻴﺲ ﻓﻘﻂ‪.‬‬ ‫وﻫﺬه اﳌﻔﺎرﻗﺔ ﻋﲆ ﻃﺮاﻓﺘﻬﺎ ﻓﺈﻧﻬﺎ داﻟﺔ ﻋﲆ‬ ‫ﻛﻮن اﻟﻔﻦ اﻟﺠﻴﺪ ﻗﺎدر ﻋﲆ ﺗﺠﺎوز ﺣﻮاﺟﺰ‬ ‫اﻟﺰﻣﻦ واﻟﻠﻐﺔ واﻟﺴﻴﺎﻗﺎت اﳌﺨﺘﻠﻔﺔ‪.‬‬ ‫ﺛﺎين أﺷﻬﺮ ﻣﻘﺎرﺑﺔ ﻏﻨﺎﺋﻴﺔ ﳌﻌﻠﻘﺔ اﻣﺮئ‬

‫اﻟﻘﻴﺲ ﻛﺎﻧﺖ ﻋﲆ ﻳﺪ اﻟﻔﻨﺎن ﻣﺤﻤﺪ ﻋﺒﺪه‪،‬‬ ‫اﻟﺬي ﻗﺪم ﻣﻦ أﻟﺤﺎﻧﻪ أﻏﻨﻴﺔ "أﻓﺎﻃﻢ ﻣﻬ ًﻼ"‬ ‫ﺿﻤﻦ ﻓﻌﺎﻟﻴﺎت اﻟــﺪورة اﻟﻌﺎﴍة ﻟﺴﻮق‬ ‫ﻋﻜﺎظ ﻗﺒﻞ ﺛﻼث ﺳﻨﻮات‪ ،‬إذ اﺧﺘﺎر ﻋﺪداً‬ ‫ﻣﻦ اﻷﺑﻴﺎت اﻟﻐﺰﻟﻴﺔ اﻟﺘﻲ ﻳﺨﺎﻃﺐ ﻓﻴﻬﺎ‬ ‫اﻟﺸﺎﻋﺮ ﺣﺒﻴﺒﺘﻪ ﻓﺎﻃﻤﺔ ﺑﻨﺖ اﻟﻌﺒﻴﺪ اﻟﻌﻨﺰﻳﺔ‬ ‫أو ﻋُ ﻨﻴﺰة‪ ،‬ﻛام ورد ﺑﺒﻌﺾ اﳌﺼﺎدر‪ ،‬ﻣﻌﺘﺬ ًرا‬ ‫وﻣﻌﺎﺗ ًﺒﺎ إﻳﺎﻫﺎ ﻋﲆ متﻨﻌﻬﺎ ﻣﻨﻪ رﻏﻢ ﺗﺄﻛﺪﻫﺎ‬ ‫ﻣﻦ ﺻﺪق ﺣﺒﻪ‪ ،‬وﺷﻜﻮﺗﻪ ﻟﻬﺎ ﻃﻮل ﻟﻴﻠﻪ‬ ‫وﺗﻜﺎﺛﺮ اﻟﻬﻤﻮم ﻋﻠﻴﻪ ﺧﻼﻟﻪ‪ ،‬ﰲ اﻟﺒﻴﺖ اﻟﺸﻬري‬ ‫"وﻟﻴﻞ ﻛﻤﻮج اﻟﺒﺤﺮ أرﺧﻰ ﺳﺪوﻟﻪ ‪ /‬ﻋ ﱠ‬ ‫ﲇ‬ ‫ٍ‬ ‫اﻟﻬﻤﻮم ﻟﻴﺒﺘﲇ"‪ .‬ﻟﻜﻦ ﻋﺒﺪه ‪-‬وﻫﺬا‬ ‫ﺑﺄﻧﻮاع‬ ‫ِ‬ ‫ِ‬ ‫ﻣﴩوع ﰲ اﻟﻐﻨﺎء‪ -‬مل ﻳﻐﻦ اﻷﺑﻴﺎت ﺑﱰﺗﻴﺐ‬ ‫ورودﻫــﺎ ﰲ اﻟﻘﺼﻴﺪة‪ ،‬ﺑﻞ اﻛﺘﻔﻰ ﺑﺒﻴﺘني‬ ‫ﻓﻘﻂ ﻣﻦ اﻷﺑﻴﺎت اﳌﺨﺎﻃﺒﺔ ﺑﻬﺎ ﻓﺎﻃﻤﺔ ﺛﻢ‬ ‫ﻣﻮﺿﻊ آﺧﺮ ﰲ ﻣﻨﺘﺼﻒ اﻟﻘﺼﻴﺪة‬ ‫اﻧﺘﻘﻞ إﱃ‬ ‫ٍ‬ ‫وﻫﻮ اﻟﺬي ﻳﺘﺤﺪث ﻋﻦ ﻃﻮل اﻟﻠﻴﻞ وﺗﻜﺎﺛﺮ‬ ‫اﻟﻬﻤﻮم‪ ،‬وﻫﻲ ﻧﻔﺲ اﳌﺂﺧﺬ اﻟﺘﻲ ﺳﺠﻠﻬﺎ‬ ‫اﻟﺒﻌﺾ ﺿﺪ أﻏﻨﻴﺘﻪ اﻷﺳﺒﻖ "ﻣﻄﺮ" أواﺧﺮ‬ ‫اﻟﺜامﻧﻴﻨﻴﺎت‪ ،‬اﳌﺄﺧﻮذة ﻣﻦ ﻗﺼﻴﺪة "أﻧﺸﻮدة‬ ‫اﳌﻄﺮ" ﻟﻠﺸﺎﻋﺮ اﻟﻌﺮاﻗﻲ اﻟﺮاﺣﻞ ﺑﺪر ﺷﺎﻛﺮ‬ ‫اﻟﺴﻴﺎب‪.‬‬ ‫وإذا ﻛﺎن ﻋﺒﺪه أراد ﰲ اﻟﻘﺼﻴﺪﺗني ﺻﻨﻊ‬ ‫ﻗﺼﺘﻪ اﻟﺨﺎﺻﺔ ﻋــﱪ ﺗﻘﻨﻴﺘﻲ اﻹﺣــﻼل‬ ‫واﻻﺳﺘﺒﻌﺎد‪ ،‬وإن ﻛﺎن ﻗﺪ وﻓﻖ ﰲ اﳌﺮة‬ ‫اﻷوﱃ‪ ،‬إﻻ أﻧﻪ ﰲ اﳌﺮة اﻟﺜﺎﻧﻴﺔ ﻛﺎن ﰲ اﻷﻏﻨﻴﺔ‬

‫ﻣﺎ ﻳﺸﺒﻪ اﻟﻔﺠﻮات اﻟﺘﻲ ﻛﴪت اﻟﻮﺣﺪة‬ ‫اﻟﻌﻀﻮﻳﺔ ﺑني أﺑﻴﺎﺗﻬﺎ ﰲ ﺣني أن ﻫﺬه‬ ‫اﻟﻮﺣﺪة ﻣﺘﺤﻘﻘﺔ ﻧﺴﺒﻴﺎً ﰲ ﻫﺬا اﻟﺠﺰء ﻣﻦ‬ ‫أﺑﻴﺎت اﳌﻌﻠﻘﺔ‪ ،‬اﻟﺘﻲ ﺗﺮوي ﺑﺪورﻫﺎ ﻗﺼ ًﺔ‬ ‫ﻣﻌﺮوﻓﺔ ﻋﻦ اﻟﺸﺎﻋﺮ وﺣﺒﻴﺒﺘﻪ‪ ،‬وﺑﻌﺾ ﻣﺎ‬ ‫ﺗﺮﻛﻪ ﻣﺤﻤﺪ ﻋﺒﺪه ﻣﻦ أﺑﻴﺎت ﻳﻜﻤﻞ ﻫﺬه‬ ‫اﻟﻘﺼﺔ‪ ،‬وﻳﻔﻴﺾ ﺷﺎﻋﺮﻳ ًﺔ وﻏﻨﺎﺋﻴﺔ‪:‬‬ ‫أﻓﺎﻃﻢ ً‬ ‫ﻣﻬﻼ ﺑﻌﺾ ﻫــﺬا اﻟﺘﺪﻟﻞ‪ /‬وإن‬ ‫أزﻣﻌﺖ ﴏﻣﻲ ﻓﺄﺟﻤﲇ‪ /‬أﻏ ﱠﺮ ِك‬ ‫ﻛﻨﺖ ﻗﺪ‬ ‫ِ‬ ‫ِ‬ ‫ﻣﻨﻲ أن ﺣﺒﻚ ﻗﺎﺗﲇ‪ /‬وأﻧﻚ ﻣﻬام ﺗﺄﻣﺮي‬ ‫وﻟﻴﻞ ﻛﻤﻮج اﻟﺒﺤﺮ أرﺧﻰ‬ ‫اﻟﻘﻠﺐ‬ ‫ﻳﻔﻌﻞ‪ٍ /‬‬ ‫ِ‬ ‫ﺳﺪوﻟﻪ‪ /‬ﻋ ﱢ‬ ‫ﲇ ﺑﺄﻧﻮاع اﻟﻬﻤﻮم ﻟﻴﺒﺘﲇ‪ /‬أ َﻻ‬ ‫أَ ﱡﻳـﻬَـﺎ اﻟـ ﱠﻠـ ْﻴ ُـﻞ ﱠ‬ ‫اﻟـﻄـ ِﻮ ْﻳ ُ‬ ‫ـﺠـ ِﻠــﻲ‪/‬‬ ‫ــﻞ أ َﻻ ا ْﻧ َ‬ ‫ـﺎح ﻣـ ِﻨ َ‬ ‫ـﻚ ِﺑ َﺄ ْﻣ َﺜ ِﻞ"‪.‬‬ ‫اﻹﺻـ َﺒ ُ‬ ‫ِﺑ ُ‬ ‫ـﺢ‪َ ،‬و َﻣــﺎ ْ‬ ‫ـﺼـ ْﺒ ٍ‬ ‫ﻫﺬه اﻷﺑﻴﺎت ﻫﻲ ﻣﺎ ﻏﻨﺎه ﻣﺤﻤﺪ ﻋﺒﺪه‪،‬‬ ‫وﻓﻴام ﻳﲇ اﻷﺑﻴﺎت ﺑﱰﺗﻴﺒﻬﺎ اﻷﺻﲇ‪:‬‬ ‫أﻓﺎﻃ َﻢ َﻣﻬ ًْﻼ َﺑ ْﻌ َﺾ ﻫَ َﺬا اﻟ ﱠﺘ َﺪ ﱡﻟﻞ‪ /‬وإِ ْن ُﻛﻨ ِْﺖ‬ ‫ِ‬ ‫َ‬ ‫ُ‬ ‫َ‬ ‫ﴏ ِﻣﻲ ﻓﺄ ْﺟ ِﻤ ِﲇ‪َ /‬و ْإن ﺗﻚ ﻗﺪ‬ ‫َﻗ ْﺪ أز َﻣ ْﻌ ِﺖ َ ْ‬ ‫ﻓﺴ ّﲇ ﺛﻴﺎيب ﻣﻦ ﺛﻴﺎ ِﺑ ِﻚ‬ ‫ِ‬ ‫ﺳﺎءﺗﻚ ﻣﻨﻲ َﺧﻠﻴ َﻘ ٌﺔ‪ُ /‬‬ ‫َ‬ ‫َ‬ ‫َﺗﻨ ُْﺴ ِﻞ‪ /‬أﻏ ﱠﺮ ِك ِﻣﻨﱢﻲ ﱠأن ُﺣ ﱠﺒ ِﻚ ﻗﺎ ِﺗ ِﲇ وأ ﱠﻧ ِﻚ‬ ‫َﻣﻬ َْام َﺗ ْﺄ ُﻣ ِﺮي اﻟ َﻘ ْﻠ َﺐ َﻳ ْﻔ َﻌ ِﻞ‪َ /‬و َﻣﺎ َذ َر َﻓ ْﺖ‬ ‫َﴬ ِيب‪ِ /‬ﺑ َﺴ ْﻬ َﻤ ْﻴ ِﻚ ِﰲ أﻋ َْﺸﺎ ِر‬ ‫َﻋ ْﻴﻨ ِ‬ ‫َﺎك إ ﱠﻻ ِﻟﺘ ْ ِ‬ ‫َﻗ ْﻠ ٍﺐ ُﻣ َﻘﺘ ِﱠﻞ"‪.‬‬ ‫وﻓ ًﻘﺎ ﻷﺣﺪاث ﻣﺴﻠﺴﻞ "اﻣﺮئ اﻟﻘﻴﺲ" اﻟﺬي‬ ‫ﺷﺎرك ﰲ ﺑﻄﻮﻟﺘﻪ ﱞ‬ ‫ﻛﻞ ﻣﻦ رﺷﻴﺪ ﻣﻠﺤﺲ وﻻرا‬ ‫اﻟﺸﻌﺮ ‪baytelshear‬‬ ‫ﺑﻴﺖ ِ‬

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‫‪ ĬšĸŌ ĜĸŌ‬‬

‫ ‪ rƳǉƵƕƴŢ ƯƵƹƴŢ‬‬

‫‪ ŶŢſƸ ƲǑƘǂ ƾſŧƠ ſƹŹƸ ďǇŬǃƐ ƟƹŴ‬‬ ‫‪Ň‬‬ ‫‪ ŕţƽƥƵƴ ũƼŢƅż ƲŢƅǈ ǐ ƾƃơƌǂ‬‬

‫ﻋﺰة ﺣﺴﻴﻦ‬

‫ﻣﻦ ﺑني ﺷﻌﺮاء اﻟﻌﺮب وﺷﻌﺮاء اﳌﻌﻠﻘﺎت‬ ‫اﻧﻔﺮد اﳌﻠﻚ اﻟﻀﻠﻴﻞ اﻣﺮؤ اﻟﻘﻴﺲ ﺑﺸﺨﺼﻴ ٍﺔ‬ ‫دراﻣﻴ ٍﺔ ﺑﺎﻣﺘﻴﺎز‪ ،‬ﺳ ْﻤﺘﻬﺎ اﻟﺘﺤﻮل وﻋﺪم‬ ‫اﻟﺘﻮﻗﻊ وﻗﻄﺒﻴﺔ اﻻﻧﻔﻌﺎﻻت‪ ،‬وﻫﻮ ﻣﺎ ﻳﺴﻬﻞ‬ ‫ﺗﺘﺒﻌﻪ ﰲ ﺷﻌﺮه اﻟﺬي ﻛﺎن ﻣﺪوﻧ ًﺔ ﻟﺴريﺗﻪ‬ ‫وﻣﻐﺎﻣﺮاﺗﻪ‪.‬‬ ‫ﻟﻪ أﻏﻠﺐ ﻣﻼﻣﺢ اﻟﺒﻄﻞ اﻟﱰاﺟﻴﺪي واﻟﺒﻄﻞ‬ ‫اﻟﻀﺪ ﻣﻌﺎً؛ ﻫﻮ اﳌﻠﻚ واﻟﻔﺎرس اﻟﺜﺎﺋﺮ اﳌﻨﺘﻘﻢ‬ ‫ﻷﺑﻴﻪ و ُﻣﻠﻜﻪ‪ ،‬وﻫﻮ اﻟﺼﻌﻠﻮك اﻟﻔﺎﺣﺶ‪،‬‬

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‫اﻟﻌﺪد ‪ ، 84‬دﻳﺴﻤﺒﺮ ‪2019‬‬

‫وﻫﻮ ﺧﺰاﻧﺔ اﻟﺤﻜﺎﻳﺎت اﻟﱰاﺛﻴﺔ اﻟﺘﻲ ﻳﻨﺎﻓﺲ‬ ‫ﺣﻀﻮرﻫﺎ ﻧﻔﻴﻬﺎ وإﻧﻜﺎرﻫﺎ أﺳﻄﺮﺗﻬﺎ‪ .‬ﻟﻜﻦ‬ ‫ﻛﻞ ﻫﺬا رمبﺎ ﻛﺎن ﺳﻴﻔﻘﺪ ُﺟﻞ ﻗﻴﻤﺘﻪ ﻟﻮﻻ‬ ‫روﻋﺔ ﺷﻌﺮ اﻣﺮئ اﻟﻘﻴﺲ وﻗﻴﻤﺘﻪ اﻟﻔﻨﻴﺔ‬ ‫وﺟﺪﺗﻪ ﻣﻘﺎرﻧ ًﺔ ﺑﻌﴫه‪ ،‬ﻓﻠﻪ اﻟﺮﻳﺎدة‬ ‫وﻓﺮادﺗﻪ ِ‬ ‫ﰲ ﺑﻜﺎء اﻷﻃﻼل وﻣﺨﺎﻃﺒﺔ اﻟﺮﻓﺎق‪ ،‬واﻟﺘﻔﺮد‬ ‫ﰲ اﻻﺳﺘﻐﺮاق ﺑﺎﻟﺘﻐﺰل ﰲ ﻣﻔﺎﺗﻦ ﺣﺒﻴﺒﺎﺗﻪ‪،‬‬ ‫ووﺿﻊ ﻣﺎ ﻳﺸﺒﻪ اﻟﻨﻤﻮذج ﻟﻠﻤﺮأة اﻟﺠﻤﻴﻠﺔ‬ ‫ﰲ ﻋﴫه وﺣﺘﻰ اﻟﻴﻮم‪ً ،‬‬ ‫ﻓﻀﻼ ﻋﻦ أﻏﺮاض‬ ‫اﻟﺸﻌﺮ اﻟﺘﻘﻠﻴﺪﻳﺔ ﻣﻦ ﻓﺨ ٍﺮ وﺣامﺳﺔ‪.‬‬

‫وﺷﺨﺼﻴﺔ ﻛﺎﻟﺘﻲ ﻟﻬﺬا اﻟﺸﺎﻋﺮ ﻛﺎن ﻻ ﺑﺪ‬ ‫أن ﺗﻨﺴﺤﺐ ﻣﻼﻣﺤﻬﺎ وأﺛﺮﻫﺎ ﻋﲆ ﺗﻠﻘﻴﻬﺎ‪،‬‬ ‫ﺑﺘﻄﺮف ﻣﻦ ﻗﺒﻞ اﻟﺒﻌﺾ‬ ‫ﻣﺎ ﺑني رﻓﻀﻬﺎ‬ ‫ٍ‬ ‫واﻻﻧﺰﻋﺎج ﻣﻦ ﻣﺠﺮد ﺗﺮدﻳﺪ أن اﻟﺮﺳﻮل أو‬ ‫ﺑﻌﺾ ﺻﺤﺎﺑﺘﻪ ﻗﺪ اﺳﺘﺸﻬﺪوا ﺑﺸﻌﺮﻫﺎ‪ ،‬وﻣﺎ‬ ‫ﺑني اﻻﻧﺤﻴﺎز ﻟﻬﺎ وﺗﻘﺪﻳﺮﻫﺎ واﻋﺘﺒﺎر ﺻﺎﺣﺒﻬﺎ‬ ‫أﻣري ﺷﻌﺮاء ﻋﴫه‪ .‬وﺣﺪه اﻟﻔﻦ ﻫﻮ اﻷرض‬ ‫اﳌﻨﺎﺳﺒﺔ ﻻﺳﺘﻴﻌﺎب ﻣﺜﻞ ﻫﺬه اﻟﺸﺨﺼﻴﺔ‪،‬‬ ‫وﺗﻮﻇﻴﻒ ﻣﻼﻣﺤﻬﺎ واﻟﺘﻌﺎﻣﻞ ﻣﻊ ﻣﺘﻨﺎﻗﻀﺎﺗﻬﺎ‬ ‫ﺑﻮﺻﻔﻬﺎ ﻧﻘﺎط ﺛﺮاء وﻻ ﻣﺤﺪودﻳﺔ‪ ،‬وﻗﺪ‬

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‫ ‪¬ ĮŇğĲŘ‬‬

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‫راﺷﺪ ﺷﺮار‬

‫ﻋ ّﻮدﻧﺎ اﻟﺸﺎﻋﺮ اﻹﻣﺎراﺗﻲ راﺷﺪ ﺷﺮار‬ ‫ﻋﻠﻰ ﻗﺼﺎﺋﺪه اﻟﺘﻲ ﺗﺤﺘﻔﻲ ﺑﺎﻟﻮﻃﻦ وﻣﻨﺠﺰاﺗﻪ‪،‬‬ ‫وﻗﺪ ﻗﺮأﻧﺎ ﻟﻪ اﻟﻜﺜﻴﺮ ﻣﻨﻬﺎ‪ ،‬وﻋﺮﻓﻨﺎه ﺷﺎﻋﺮ ًا‬ ‫ﺣﺎﺿﺮ ًا ﻓﻲ ﻣﺨﺘﻠﻒ ﻣﻨﺎﺳﺒﺎت اﻟﻮﻃﻦ‪،‬‬ ‫ﻣﻤﻴﺰ ًا ﻓﻲ ﻃﺮﺣﻪ وﻣﺠﻴﺪ ًا ﻓﻲ وﺻﻔﻪ‪.‬‬ ‫ﻓﻲ ﻫﺬه اﻟﻤﺴﺎﺣﺔ ﻧﻌﺮض ﺑﻌﻀ ًﺎ ﻣﻦ ﺻﻨﻴﻊ‬ ‫راﺷﺪ ﺷﺮار اﻟﺸﻌﺮي ﻓﻲ اﻟﻮﻃﻨﻴﺎت‪.‬‬

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‫اﻟﻌﺪد ‪ ، 84‬دﻳﺴﻤﺒﺮ ‪2019‬‬

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Ǉƨ ůƴţűƴŢ ƅưƃƹƴŢ ǅƵƠ ŨƅŠţŹƴŢ ŨſǉƑƭƴŢ

ǆƂǃƑƽƹƴŢ ņŢƂţŴ Ƈǉƹż ſǉơƈ

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ǆƃƉǉƹƴŢ ſƽƈ ſƹŸŘ

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2019 ‫ دﻳﺴﻤﺒﺮ‬، 84 ‫اﻟﻌﺪد‬

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Q @ @ @CR * b@@£@ D(* @@Jx@@ @D* @@ JH h@@ @ -H eH4v@@ @ @D* È@ Iv@@ @ D* Í@@c@ J @@g@ /x@@~@ 6* b@@£@ DR @@ @ £@ D2 @@c@ @ B @@£@ @ @Db@@+ Mv@@ cQ @ @ @ @E ¡@@ G ¡@@ D @@ @ @D* @@ @ ~@ z@ - ° Iv@@= o4b@@ @s@ @ ´* 4¡@@~@ z@ / N @ @ E Md@@£@ c@ D @@ E @@ C @@Jx@@+ @@A¡@@~@ {@ D @@ @ /¡@@D* f@@ Â Q @@ E r° b@@ A Iv~6 Ì@@= e4R 2H v@@£@0¡@@D* @@ FR * d@@~@z@« ° @@£@ Ax@@Db@@J x@@ @ g@ @ ´* b@@Gb@@~@ |@ F ° Ix@@ @ @ @ D* &* *v@@ N @ D* @@ Jx@@ : R @ @ E b@@ @ £@ m@ J x@ M @~@ {@ + ¡@@ G b@@ E £~}E @@E 4vp E M £~6 @@ R @C ex@@ @D* } + Q @ @ @J4b@@ @ @© b@@ @ @ @ @ @EQ &* *v@@ @ @ N @ @ @ E* @ R @ @ @ @ @F b@@ @ @E °H @ @@Jv@@~@ |@ D* @@ @ F h@@ @ F*H Ì@@~@ z@ E ¥4b@@ c@ @- b@@ @ @EQ &* I2x@@D* 6b~6 ix@@~@8 £D2 ¤ < h B *H @@£@ @J 2b@@ @ @< @@ E @@ @AxR @ @ P< b@@ @ @ A%* @@ ~@Q@ 6H @@ E Iv@@E Ì@Q @~@ |@ B ¡@@ G ¡@@ D Iv@@ @ ´* @@ R @ E ¡@@ @ @JH @@£@ @: Mx@@ @0 @@ 7b@@ < v@@ Jv@@ ~@ 9 µb@@~@ z@ J ¤@@ @ @D*H Iv@@+ @@ @ J¡@@ @ D* ¯ H b@@ @ @ D* @@ R @ N @ / @ N @ Q @ ~@ 6 @@£@ @~@7H Ì@@ @A5 b@@ @ £@ A @@ @ / ¤@@ @ @D* @@Fb@@p@ c@ ~@ 6 *2v@@ @ ~@ @ 9* @@ @ @ GH °Q * b@@ @ £@ @ @²* x@@ @ g@ ~@ z@ - b@@ @ E @@ Jx@@ A ¯ b@@ @ @ @ @C @@ @ JÉ@@ @ ³* @@ @ 0 2*4 ¡@@ @ D Iv D* G* bJ £BH É~}D* G* bJ £B bE @@£@ .H q@@Eb@@~@ z@ g@ Db@@+ @@ @ c@ 0 *2 b@@ @ @EÉ@@ ~@ @6*H *v@@ g@ c@ ´* @@ @ @ A*4 * @@£@ @ g@ ~@ z@ J Ä@@ @ @³* @@ j@ @E £04 £~zcD* ¯ f £ ~zD* e¡@@ @ @D* ¢ c Iv@@~@8 @@D @@ @g@m@´* @@~@6¡@@+ @@{@Jb@@ @g@D* n@@ @ FH ǇƹǉƹŭƴŢ ƧǉƕƴŢ ſǈŢƄ

baytelshear ‫اﻟﺸﻌﺮ‬ ِ ‫ﺑﻴﺖ‬

‫‪ ŝħ‬‬ ‫ﺣﻔﻆ ﻣﻜﺎﻧﺔ اﻟﺸﻌﺮ واﻟﺸﻌﺮاء ﰲ اﳌﺠﺘﻤﻊ‬ ‫وﻟﺬﻟﻚ ﻧﺮى اﻟﻴﻮم اﳌﺸﻬﺪ اﻟﺸﻌﺮي ﰲ‬ ‫اﻹﻣﺎرات وﻗﺪ ﺗﺰ ّﻳﻦ ﺑﻜﻞ ﻫﺬه اﻹﻧﺠﺎزات‬ ‫وﺿــﻢ أﻗــﻮى ﺑﺮاﻣﺞ اﻟﺸﻌﺮي وأوﺳﻌﻬﺎ‬ ‫اﻧﺘﺸﺎرا ﰲ اﳌﻨﻄﻘﺔ‪.‬‬ ‫ﻣــﺎ أﻛــرث ﻣــﺎ ﻟﻔﺖ اﻧﺘﺒﺎﻫﻚ ﰲ اﻟﺤﻔﻞ‬ ‫اﻟﺨﺘﺎﻣﻲ ﻟﻺﻋﻼن ﻋﻦ أﺳــامء اﻟﻔﺎﺋﺰﻳﻦ‬ ‫ﺑﺎﳌﺴﺎﺑﻘﺔ‪ .‬وﻛﻴﻒ ﺗﺼﻒ ﻟﺤﻈﺔ اﻟﺘﺘﻮﻳﺞ‬ ‫وإﻋﻼن اﺳﻤﻚ ﻓﺎﺋﺰا ﺑﺎﳌﺮﻛﺰ اﻷول؟‬ ‫■ أﻛرث ﻣﺎ ﻟﻔﺖ اﻧﺘﺒﺎﻫﻲ ﻋﻤﻮﻣﺎً ﻫﻮ ﺣﺴﻦ‬ ‫اﻟﺘﻨﻈﻴﻢ ﺳﻮاء داﺧﻞ اﳌﴪح أو ﺧﺎرﺟﻪ‪ ،‬وﻻ‬ ‫ﺑﺪ أن ﻧﺸﻜﺮ ﻣﺮﻛﺰ ﺳﻠﻄﺎن ﺑﻦ زاﻳﺪ ﻋﲆ‬ ‫ﺗﻠﻚ اﻟﺠﻬﻮد اﻟﻜﺒرية اﻟﺘﻲ أدت إﱃ ﻧﺠﺎح‬ ‫اﳌﺴﺎﺑﻘﺔ وﺧﺮوﺟﻬﺎ ﺑﺘﻠﻚ اﻟﺼﻮرة اﳌﴩﻓﺔ‪.‬‬ ‫ﻛام ﻟﻔﺖ اﻧﺘﺒﺎﻫﻲ ﻛﺬﻟﻚ ﻛﺜﺎﻓﺔ اﻟﺠﻤﻬﻮر‬ ‫داﺧﻞ اﳌــﴪح‪ ،‬واﻟــﺬي أﺛﻠﺞ ﺻﺪري ﻣﻦ‬ ‫ﺧﻼل ﻣﺘﺎﺑﻌﺘﻪ ﻟﻔﻌﺎﻟﻴﺎت اﻟﺤﻔﻞ وﻗﺼﺎﺋﺪ‬ ‫اﻟﺸﻌﺮاء‪ ،‬وﺗﻔﺎﻋﻠﻪ ﻣﻊ ﻛﻞ ﻟﺤﻈﺔ ﻋﲆ‬ ‫اﳌﴪح‪ .‬أﻣﺎ ﻋﻦ ﻟﺤﻈﺔ اﻟﺘﺘﻮﻳﺞ ﻓﺄﺻﻔﻬﺎ‬ ‫ﺑﻌﺒﺎرة واﺣــﺪة وﺑﺎﺧﺘﺼﺎر ﻫﻲ "ﻧﺸﻮة‬ ‫اﻧﺘﺼﺎر"‪.‬‬

‫‪ ɐǲƃżŨǘǕŌ ǳǾşƉƪǕŌ ŦŌƈōǙȑŌ ǳǕǶƂ‬‬ ‫‪ ǳǔƛǷş ǽǥ ǽǕōżǕŌ ōǜŨǃǶ ǽƳ‬‬ ‫‪ ǣǔǕŌ ǓƞƲş ŌƅǥǶ ɐŜƂȏŌǶ ƉƪƖǕŌ‬‬ ‫‪ɰ‬‬ ‫‪ ōǤũƂōǾǃ ǓƞƲş Ǘŭ ɐȍǶŐ ǻǕōƪũ‬‬ ‫‪ǲƃǾƗƉǕŌ‬‬ ‫ ‪ƃǿŌƊ Ǜş ǚōƢǔƓ ƋǉƉǙ ƉǈƖǝ‬‬ ‫ ‪ǲƉǾŞǈǕŌ ƂǷǤŴǕŌ Ǉǔũ ǻǔƫ‬‬ ‫ ‪ ǳǂşōƒǘǕŌ źōŴǝ ǻǕŒ ŦƂŐ ǽŨǕŌ‬‬ ‫ ‪ǲƈǷƚǕŌ ǇǔŨş ōǤŵǶƉƁǶ‬‬ ‫ ‪ǳƳƉƖǘǕŌ‬‬ ‫‪ ǽǝōƢƫŐ ǳǂşōƒǘǕōş ǼƊǷƳ‬‬ ‫‪ɰ‬‬ ‫‪ɰ‬‬ ‫ ‪ ɐƂōǤŨŵȍŌ ǛǙ ƃǿƋǘǕ ōǿǷǜƪǙ‬‬ ‫‪ōƪƳŌƂ‬‬ ‫‪ ǳǿƉƪƖǕŌ ǳŽōƒǕŌ ǻǔƫ ƈǷǤƦǕŌǶ‬‬ ‫‪ ǳǿƉƪƗ ŦōǂşōƒǙ ǽƳ ǳǉƈōƖǘǕŌǶ‬‬ ‫‪ǺƉƁŐ‬‬

‫ﻣﺎذا ﺗﻘﻮل ﻟﺰﻣﻼﺋﻚ اﻟﺸﻌﺮاء اﻟﻔﺎﺋﺰﻳﻦ‬ ‫ﺑﺎﳌﺮاﻛﺰ اﻟﺘﺎﻟﻴﺔ ﻟﻚ ؟‬ ‫■ أﺑﺎرك ﻟﻬﻢ ﻫﺬا اﻟﻔﻮز ﻓﺠﻤﻴﻊ اﻟﺤﺎﺻﻠني‬ ‫ﻋﲆ اﳌﺮاﻛﺰ اﻟﻌﴩة ﰲ اﳌﺴﺎﺑﻘﺔ‪ ،‬ﻫﻢ‬ ‫ﻓﺎﺋﺰون ﺑﻼ ﺷﻚ‪ ،‬وﻗﺼﺎﺋﺪﻫﻢ ﻛﺎﻧﺖ ﺟﺰﻟﺔ‬ ‫‪ ǗƓŌ Ǔǘżũ ǳǂşōƒǘş ƊǷƲǕŌ‬‬ ‫وﻗﻮﻳﺔ‪ ،‬وﻗﺪ ﻛﺎﻧﺖ ﻫﻲ ﺻﻔﻮة اﻟﻘﺼﺎﺋﺪ ﻣﻦ‬ ‫ ‪ ǣǕ ƈǷƲƮǘǕŌ‬‬ ‫ﺑني ﻣﺌﺎت اﻟﻘﺼﺎﺋﺪ اﳌﺸﺎرﻛﺔ‪ ،‬وأﻧﺎ أﻋﺘﻘﺪ أن‬ ‫ ‪ ƃǿŌƊ Ǜş ǚōƢǔƓ ſǾƖǕŌ‬‬ ‫ﻛﻞ ﻣﻦ وﺻﻞ إﱃ ﻫﺬه اﳌﺮﺣﻠﺔ ﻫﻮ ﻓﺎﺋﺰ‬ ‫ ‪ƱǿƉƖũ Ƿǥ ɐǢŌƉŭ ǣǔǕŌ ŝǾƣ‬‬ ‫ﺑﺎﻟﴬورة‪ ،‬ﻟﻘﺪ ﻓﺰﻧﺎ ﺟﻤﻴﻌﺎً ﺣني ﺣﺼﻠﻨﺎ‬ ‫ ‪ƊŌƋŨƫȎǕ ǲōƫƃǙǶ ǽǕ‬‬ ‫ﻋﲆ ﻓﺮﺻﺔ اﻟﺘﻤﻴﺰ واﻟﻈﻬﻮر ﺑﻬﺬه اﻟﺼﻮرة‬ ‫أﻣﺎم ﻣﺠﺘﻤﻊ اﻟﺸﻌﺮ ﰲ دوﻟﺔ اﻹﻣــﺎرات‪،‬‬ ‫وﻫﺬا ﻓﻮز ﻛﺒري ﻟﻜﻞ واﺣﺪ ﻣﻨﺎ‪ ،‬رمبﺎ مل ﻳﻜﻦ ﻣﺎ ﻫﻮ ﻓﻬﻤﻚ اﻟﺸﺨﴢ ﻟﻠﺸﻌﺮ؟ ﻛﻴﻒ‬ ‫ﺗﻌﺮﻓﻪ أو ﺗﺮاه ؟‬ ‫ّ‬ ‫ﻟﻴﺘﺤﻘﻖ ﺑﺎﻟﻨﺴﺒﺔ ﻟﻜﺜري ﻣﻦ اﻟﻄﻠﺒﺔ اﳌﺒﺪﻋني‬ ‫■ اﻟﺸﻌﺮ ﻛام أراه رﺳﺎﻟﺔ‪ ،‬وﻫﻮ ﻟﺴﺎن ﺣﺎل‬ ‫ﻟﻮﻻ ﻫﺬه اﳌﺴﺎﺑﻘﺔ‪.‬‬

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‫اﻟﻌﺪد ‪ ، 84‬دﻳﺴﻤﺒﺮ ‪2019‬‬

‫اﳌﺠﺘﻤﻊ اﻟﺬي ﻳﻌﻴﺶ ﻓﻴﻪ اﻟﺸﺎﻋﺮ‪ ،‬وﻗﺪ‬ ‫ﻗﺎﻟﺖ اﻟﻌﺮب ﻗﺪميﺎً ﺑﺄن اﻟﺸﻌﺮ ﻫﻮ دﻳﻮان‬ ‫اﻟﻌﺮب‪.‬‬ ‫ﻣــﺎ اﻟـــﺬي ﺳﻴﺘﻐري ﻋﻠﻴﻚ ﺑﻌﺪ اﻟﻔﻮز‬ ‫ﺑﺎﳌﺴﺎﺑﻘﺔ‪ ..‬ﻛﻴﻒ ﺳﺘﻨﻌﻜﺲ ﻋﲆ ﺗﺠﺮﺑﺘﻚ‬ ‫اﻟﺸﻌﺮﻳﺔ؟‬ ‫■ اﻟﻔﻮز ﰲ ﻫﺬه اﳌﺴﺎﺑﻘﺔ أﻋﻄﺎين داﻓﻌﺎً‬ ‫ﻣﻌﻨﻮﻳﺎً ﳌﺰﻳﺪ ﻣﻦ اﻻﺟﺘﻬﺎد‪ ،‬واﻟﻈﻬﻮر ﻋﲆ‬ ‫اﻟﺴﺎﺣﺔ اﻟﺸﻌﺮﻳﺔ واﳌﺸﺎرﻛﺔ ﰲ ﻣﺴﺎﺑﻘﺎت‬ ‫ﺷﻌﺮﻳﺔ أﺧﺮى‪ ،‬وأﻧﺎ ﻣﺪرك أن ﻛﻞ إﻧﺠﺎز ﻳﺄيت‬ ‫ﺑﺂﺧﺮ ﻣﻦ ﺑﻌﺪه‪ ،‬وﻟﻬﺬا أﺟﺪ ﻧﻔﴘ ﻣﺘﻔﺎﺋ ًﻼ‬ ‫وﺳﻌﻴﺪاً مبﺎ وﺻﻠﺖ إﻟﻴﻪ وﻣﺎ ﺣﻘﻘﺘﻪ‪ ،‬وﻻ ﺑﺪ‬ ‫أن ﻫﺬا ﺳﻴﺸﻜﻞ ﻧﻘﺎط اﻧﻄﻼﻗﺎت ﺟﺪﻳﺪة‬ ‫دامئﺎً‪.‬‬ ‫ﻣﺎ ﻫﻲ ﻣﺸﺎرﻳﻌﻚ اﳌﺴﺘﻘﺒﻠﻴﺔ ﺳﻮاء ﻋﲆ‬ ‫ﺻﻌﻴﺪ اﻟﺘﻌﻠﻴﻢ أو اﻟﻨﺸﺎط اﻟﺸﻌﺮي؟‬ ‫■ ﺗﺮﻛﻴﺰي ﺣﺎﻟﻴﺎً ﺳﻴﻜﻮن ﻋﲆ دراﺳﺘﻲ‬ ‫وإمتﺎم رﺳﺎﻟﺔ اﳌﺎﺟﺴﺘري‪ ،‬وﻟﻦ أﺗﻮﻗﻒ ﻋﻦ‬ ‫اﻟﺪراﺳﺔ إﱃ أن أﺣﺼﻞ ﻋﲆ اﻟﺪﻛﺘﻮراة‬ ‫ﺑﺈذن اﻟﻠﻪ ﺗﻌﺎﱃ‪ .‬أﻣﺎ اﻟﻨﺸﺎط اﻟﺸﻌﺮي‪ ،‬ﻓﺄﻧﺎ‬ ‫ﻣﻘﻞ ﰲ اﻟﻈﻬﻮر ﻫﺬه اﻟﻔﱰة ﻧﻈﺮاً ﻻﻧﺸﻐﺎﱄ‬ ‫ﺑﺎﻟﺪراﺳﺔ‪ ،‬وﻟﻜﻦ ﺳﻴﻜﻮن ﱄ وﺟــﻮد ﰲ‬ ‫اﻟﺴﺎﺣﺔ اﻟﺸﻌﺮﻳﺔ ﻣﺘﻰ ﻣﺎ أﺗﻴﺤﺖ ﱄ اﻟﻔﺮﺻﺔ‬ ‫إن ﺷﺎء اﻟﻠﻪ‪ .‬وﺳﺄﺣﺎول دامئﺎً اﻟﺤﻔﺎظ ﻋﲆ‬ ‫ﻣﺎ ﺣﻘﻘﺘﻪ‪ ،‬وﻓﺎ ًء ﻟﻠﺸﻌﺮ وﳌﺤﺒﻴﻪ‪.‬‬

‫‪ŪţơƸţŵƴŢ ũŧƵƙƴ ũǈƃơƍƴŢ ſǈŢƄ ƻŦ ƺţƙƵƈ ũƭŦţƉƸ Ǉƨ ƲǂǌŢ ƅưƃƹƴŢ ǅƵƠ ƳƑŸ‬‬

‫‪ŤžǌŢǂ ƃơƍƴŢ ũƵƐǃŦ ŪŢƂţƸǎŢ "ǇƹǉƹŭƴŢ ſǈŢƄ‬‬ ‫ﺣﺎوره ﻋﺒﺪا‪ E‬أﺑﻮ ﺑﻜﺮ‬

‫ﺻﻮت ﺷﻌﺮي ﺷﺎب‪ ،‬ﺣﻘﻖ ﺣﻀﻮرا ﻣﻤﻴﺰا ﺧﻼل ﻓﱰة ﻗﺼرية‪ ،‬ﺣﻴﺚ اﺳﺘﻄﺎع أن ﻳﺤﺼﺪ ﻋﺪداً ﻣﻦ اﻟﺠﻮاﺋﺰ اﻟﺸﻌﺮﻳﺔ اﻟﻬﺎﻣﺔ‪ ،‬أﺑﺮزﻫﺎ‬ ‫ﻣﺴﺎﺑﻘﺔ ﺳﻠﻄﺎن ﺑﻦ زاﻳﺪ اﻟﺸﻌﺮﻳﺔ ﻟﻄﻠﺒﺔ اﻟﺠﺎﻣﻌﺎت‪ ،‬اﻟﺘﻲ ﺣﻘﻖ ﻓﻴﻬﺎ اﳌﺮﻛﺰ اﻷول‪.‬‬ ‫ﻳﺆﻛﺪ أن ﻓﻮزه ﰲ اﳌﺴﺎﺑﻘﺔ ﻫﻮ ﻣﺰﻳﺞ ﺑني اﻟﻔﺨﺮ واﻟﺴﻌﺎة‪ ،‬وأن اﻟﺤﺼﻮل ﻋﲆ ﻣﺴﺎﺑﻘﺔ ﺗﺤﻤﻞ اﺳﻢ اﳌﻐﻔﻮر ﻟﻪ اﻟﺸﻴﺦ ﺳﻠﻄﺎن ﺑﻦ‬ ‫زاﻳﺪ ﻃﻴﺐ اﻟﻠﻪ ﺛﺮاه‪ ،‬ﻫﻮ ﺗﴩﻳﻒ وﻣﺪﻋﺎة ﻟﻼﻋﺘﺰاز‪.‬‬ ‫ﻣﻦ ﻣﻮاﻟﻴﺪ أﺑﻮﻇﺒﻲ ‪ ،1989‬ﻃﺎﻟﺐ دراﺳﺎت ﻋﻠﻴﺎ ﰲ ﺟﺎﻣﻌﺔ أﺑﻮﻇﺒﻲ ﺑﺘﺨﺼﺺ اﻟﻘﺎﻧﻮن اﻟﺨﺎص‪ ،‬ﻳﺤﺮص ﺣﺎﻟﻴﺎً ﻋﲆ اﺳﺘﻜامل‬ ‫اﻟﺪراﺳﺎت اﻟﻌﻠﻴﺎ وﺻﻮ ًﻻ إﱃ درﺟﺔ اﻟﺪﻛﺘﻮراة‪ .‬ﺣﻴﺚ ﻳﺮى أن اﻟﺸﺎﻋﺮ اﻟﺬي ﻳﺮﻳﺪ اﻟﻮﺻﻮل اﱃ ﻣﺴﺘﻮى رﻓﻴﻊ ﻣﻦ اﻹﺑﺪاع اﻟﺸﻌﺮي‪،‬‬ ‫ﻳﺠﺐ أن ﺗﻜﻮن ﻟﺪﻳﻪ ﺛﻘﺎﻓﺔ ﻋﺎﻣﺔ‪ ،‬واﻃﻼع واﺳﻊ ﰲ ﺗﺠﺎرب اﻟﺤﻴﺎة اﳌﻌﺮﻓﻴﺔ واﻻﺟﺘامﻋﻴﺔ‪.‬‬ ‫ﻳﺪرك أن ﻛﻞ إﻧﺠﺎز ﻳﺄيت ﺑﺂﺧﺮ ﻣﻦ ﺑﻌﺪه‪ ،‬وﻟﻬﺬا ﻳﺠﺪ ﻧﻔﺴﻪ ﻣﺘﻔﺎﺋ ًﻼ وﺳﻌﻴﺪاً مبﺎ وﺻﻞ إﻟﻴﻪ وﻣﺎ ﺣﻘﻘﻪ‪.‬‬ ‫ﺑﻴﺖ اﻟﺸﻌﺮ‪ ،‬اﻟﺘﻘﺖ اﻟﺸﺎﻋﺮ زاﻳﺪ ﻣﻨﺼﻮر اﻟﻀﻴﻒ اﻟﺘﻤﻴﻤﻲ ﰲ ﻫﺬا اﻟﺤﻮار‪ ،‬ﻟﻠﺤﺪﻳﺚ ﻣﻌﻪ ﻋﻦ إﻧﺠﺎزه اﻟﺠﺪﻳﺪ وﺗﻔﻮﻗﻪ‬ ‫ﰲ اﳌﺴﺎﺑﻘﺎت اﻟﺸﻌﺮﻳﺔ‪..‬‬ ‫ﺗﻌﺮف ﺑﻨﻔﺴﻚ ﻟﻠﻘﺎرئ ﰲ اﻟﻔﺨﺮ واﻟﺴﻌﺎة‪ ،‬ﻓﻼ ﺷﻚ أن اﻟﻔﻮز مبﺴﺎﺑﻘﺔ‬ ‫ﺑﺪاﻳﺔ أود أن ّ‬ ‫ﺣﺪود ﺳﻄﺮﻳﻦ أو ﺛﻼﺛﺔ‪ ..‬أي أن ﺗﺨﺘﴫ ﺗﺤﻤﻞ اﺳﻢ ﺳﻤﻮ اﻟﺸﻴﺦ ﺳﻠﻄﺎن ﺑﻦ زاﻳﺪ‬ ‫ﺑﻄﺎﻗﺔ ﺗﻌﺮﻳﻒ ﻟﻚ ﻛام ﺗﺮى ﻧﻔﺴﻚ ﺑﻌﻴﻨﻚ رﺣﻤﻪ اﻟﻠﻪ ﺗﻌﺎﱃ‪ ،‬ﻫﻮ ﺗﴩﻳﻒ ﱄ وﻣﺪﻋﺎة‬ ‫ﻟﻼﻋﺘﺰاز‪.‬‬ ‫أﻧﺖ؟‬ ‫■ أﻧﺎ أﺧﻮﻛﻢ زاﻳﺪ ﻣﻨﺼﻮر اﻟﻀﻴﻒ اﻟﺘﻤﻴﻤﻲ‪،‬‬ ‫ﻣﻮاﻟﻴﺪ أﺑﻮﻇﺒﻲ ‪ ،1989‬ﻃﺎﻟﺐ دراﺳﺎت ﻛﻴﻒ ﻋﻠﻤﺖ ﺑﺎﳌﺴﺎﺑﻘﺔ وﻣﺎ ﻫﻮ داﻓﻌﻚ‬ ‫ﻋﻠﻴﺎ ﰲ ﺟﺎﻣﻌﺔ أﺑﻮﻇﺒﻲ ﺑﺘﺨﺼﺺ اﻟﻘﺎﻧﻮن ﻟﻠﻤﺸﺎرﻛﺔ ﻓﻴﻬﺎ؟‬ ‫اﻟــﺨــﺎص‪ ،‬وﻣــﻦ ﻫــﻮاﻳــﺎيت ﻛﺘﺎﺑﺔ اﻟﺸﻌﺮ‪ ■ ،‬ﻋﻠﻤﺖ ﺑﻬﺎ ﻣﻦ ﺧــﻼل اﻟﺪﻋﻮة اﻟﺘﻲ‬ ‫ﺷﺎرﻛﺖ ﰲ ﻋﺪة ﻣﺴﺎﺑﻘﺎت ﺷﻌﺮﻳﺔ ﻣﻦ أرﺳﻠﺘﻬﺎ اﻟﺠﺎﻣﻌﺔ ﻟﻠﻄﻠﺒﺔ‪ ،‬ﻣــﻦ أﺟﻞ‬ ‫أﺑﺮزﻫﺎ ﺷﺎﻋﺮ اﳌﻠﻴﻮن ووﺻﻠﺖ ﳌﺮﺣﻠﺔ اﻟـ اﳌﺸﺎرﻛﺔ ﰲ اﳌﺴﺎﺑﻘﺔ‪ ،‬وﻣﻦ ﺣﺪﻳﺚ اﻟﻄﻼب‬ ‫‪ ،12‬وﺟﺎﺋﺰة اﻟــﱪدة وﺣﺼﻠﺖ ﻓﻴﻬﺎ ﻋﲆ ﻋﻨﻬﺎ وﺗﺸﺠﻴﻌﻬﻢ ﱄ وﻟﺰﻣﻼيئ اﻟﺸﻌﺮاء يك‬ ‫اﳌﺮﻛﺰ اﻟﺜﺎين‪ ،‬وأﺧريا ﻣﺴﺎﺑﻘﺔ ﺳﻠﻄﺎن ﺑﻦ ﻧﺸﺎرك وﻧﺨﻮض ﻏامر اﳌﻨﺎﻓﺴﺔ‪ .‬أﻣﺎ داﻓﻌﻲ‬ ‫زاﻳﺪ اﻟﺸﻌﺮﻳﺔ ﻟﻄﻠﺒﺔ اﻟﺠﺎﻣﻌﺎت وﺣﺼﻠﺖ ﻟﻠﻤﺸﺎرﻛﺔ ﻓﻬﻮ متﺜﻴﻞ ﺟﺎﻣﻌﺔ أﺑﻮﻇﺒﻲ‬ ‫ﰲ اﳌﺴﺎﺑﻘﺔ وإﺑــﺮاز ﻣﻮﻫﺒﺘﻲ اﻟﺸﻌﺮﻳﺔ‬ ‫ﻓﻴﻬﺎ وﻟﻠﻪ اﻟﺤﻤﺪ ﻋﲆ اﳌﺮﻛﺰ اﻷول‪.‬‬ ‫وﺗﺤﻘﻴﻖ إﻧﺠﺎز ﺟﺪﻳﺪ ﻳﻀﺎف ﻟﺴرييت‬ ‫ﰲ ﻣﺎ ﻳﺨﺺ ﻓﻮزك مبﺴﺎﺑﻘﺔ ﺳﻠﻄﺎن ﺑﻦ وﺗﺠﺮﺑﺘﻲ اﻟﺸﻌﺮﻳﺔ‪.‬‬ ‫زاﻳﺪ اﻟﺸﻌﺮﻳﺔ ﻟﻄﻠﺒﺔ اﻟﺠﺎﻣﻌﺎت‪ ،‬ﻣﺎذا‬ ‫اﻟﻌﻠﻢ واﻟﺸﻌﺮ‪ ..‬أﻣﺮان ﻳﺴﺘﺤﻮذان ﻋﲆ ﺟﺰء‬ ‫ﺗﻘﻮل ﻋﻦ ﻫﺬا اﻟﻔﻮز وﻛﻴﻒ ﺗﺼﻔﻪ؟‬ ‫■ إﺣﺴﺎﳼ ﺑﻬﺬا اﻟﻔﻮز ﻫﻮ ﻣﺰﻳﺞ ﺑني ﻛﺒري ﻣﻦ واﻗﻌﻚ اﻟﺤﻴﺎيت ﰲ ﻫﺬه اﳌﺮﺣﻠﺔ‪..‬‬

‫ﻛﻴﻒ ﺗﺠﻤﻊ ﺑﻴﻨﻬام وأﻳﻬام ﻳﺘﺠﺎوز اﻵﺧﺮ‬ ‫ﻣﻦ ﻧﺎﺣﻴﺔ اﻟﻮﻗﺖ واﻻﻫﺘامم؟‬ ‫■ ﻻﺷﻚ أن اﻟﻌﻠﻢ واﻟﺸﻌﺮ ﺑﻴﻨﻬام ﻋﻼﻗﺔ‬ ‫وﺛﻴﻘﺔ‪ ،‬ﻓﺎﻟﺸﺎﻋﺮ اﻟﺬي ﻳﺮﻳﺪ اﻟﻮﺻﻮل إﱃ‬ ‫ﻣﺴﺘﻮى رﻓﻴﻊ ﻣﻦ اﻹﺑﺪاع اﻟﺸﻌﺮي‪ ،‬ﻳﺠﺐ‬ ‫أن ﺗﻜﻮن ﻟﺪﻳﻪ ﺛﻘﺎﻓﺔ ﻋﺎﻣﺔ‪ ،‬واﻃﻼع واﺳﻊ‬ ‫ﰲ ﺗﺠﺎرب اﻟﺤﻴﺎة اﳌﻌﺮﻓﻴﺔ واﻻﺟﺘامﻋﻴﺔ‪،‬‬ ‫وﺑﺎﻟﺘﺎﱄ ﺳﻴﺴﻠﻚ ﻧﻔﺲ اﻟﻄﺮﻳﻖ اﳌﺆدي إﱃ‬ ‫اﻟﻌﻠﻢ‪ ،‬أﻻ وﻫﻮ اﻟﻘﺮاءة واﻻﻃﻼع‪ ،‬وﻣﺘﺎﺑﻌﺔ‬ ‫اﻟﺘﺤﺼﻴﻞ اﻟﻌﻠﻤﻲ اﳌﻨﺎﺳﺐ‪ ،‬ﰲ ﻋﴫ ﻳﻘﻒ‬ ‫اﻟﻌﻠﻢ أﻣﺎﻣﻪ ﰲ اﻟﺼﻔﻮف اﻷوﱃ‪.‬‬ ‫ﻟﺪﻳﻚ ﺣﻀﻮر ﰲ ﻣﺴﺎﺑﻘﺎت وﻓﻌﺎﻟﻴﺎت‬ ‫ﺷﻌﺮﻳﺔ ﻋﺪﻳﺪة‪ .‬ﻣﺎ رأﻳﻚ ﺑﺎﻟﻨﺸﺎط اﻟﺸﻌﺮي‬ ‫ﰲ دوﻟﺔ اﻹﻣﺎرات؟‬ ‫■ ﻻﺷﻚ ﰲ أن دوﻟــﺔ اﻹﻣــﺎرات اﻟﻌﺮﺑﻴﺔ‬ ‫اﳌﺘﺤﺪة‪ ،‬ﰲ وﻗﺘﻨﺎ اﻟﺤﺎﱄ ﻫﻲ ﺑﻮﺻﻠﺔ اﻟﺸﻌﺮ‬ ‫واﻷدب‪ ،‬وﻫﺬا ﺑﻔﻀﻞ اﻟﻠﻪ ﺗﻌﺎﱃ أوﻻً‪ ،‬ﺛﻢ‬ ‫ﺑﻔﻀﻞ ﻗﻴﺎدﺗﻬﺎ اﻟﺮﺷﻴﺪة‪ ،‬اﻟﺘﻲ اﺟﺘﻬﺪت ﰲ‬ ‫اﻟﺸﻌﺮ ‪baytelshear‬‬ ‫ﺑﻴﺖ ِ‬

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‫اﻟﻌﺪد ‪ ، 84‬دﻳﺴﻤﺒﺮ ‪2019‬‬

‫ﺻﺎﻟﺢ ﻋﲇ اﳌﻨﺼﻮري‪ ،‬واﻟﺸﺎﻋﺮ ﻣﺤﻤﺪ‬ ‫ﻋﺒﺪاﻟﻠﻪ ﻋﺒﻴﺪ اﻟﻌﺎﻣﺮي‪.‬‬ ‫متــﺤــﻮرت اﳌــﺴــﺎﺑــﻘــﺔ ﺣـــﻮل ﻣــﻮﺿــﻮع‬ ‫"اﻟﺘﺴﺎﻣﺢ"‪ ،‬ﺣﻴﺚ اﺷﱰﻃﺖ اﻟﻠﺠﻨﺔ اﳌﻨﻈﻤﺔ‬ ‫أن ﻳﻜﺘﺐ ﻛﻞ ﻃﺎﻟﺐ ﻗﺼﻴﺪة ﺗﺘﻨﺎول‬ ‫ﻣﻮﺿﻮع اﻟﺘﺴﺎﻣﺢ‪ ،‬وﺗﻌﱪ ﻋﻦ ﻓﻬﻢ ﻛﻞ‬ ‫ﻣﺘﺴﺎﺑﻖ ﻟﻪ‪ ،‬وأن ﺗﻜﻮن اﻟﻘﺼﻴﺪة ﻣﺴﺘﻮﻓﻴﺔ‬ ‫ﻟﻠﴩوط اﻟﻔﻨﻴﺔ اﻟﺨﺎﺻﺔ ﺑﺎﻟﺸﻌﺮ اﻟﺸﻌﺒﻲ‪،‬‬ ‫ﻣﻦ ﺣﻴﺚ اﻟﻮزن وﺳﻼﻣﺔ اﻟﻘﺎﻓﻴﺔ ووﺣﺪة‬ ‫اﳌﻮﺿﻮع‪ ،‬ومل ﻳﺴﺒﻖ ﻧﴩﻫﺎ أو اﳌﺸﺎرﻛﺔ ﺑﻬﺎ‬ ‫ﰲ أي ﻣﺴﺎﺑﻘﺔ أﺧﺮى‪ .‬ﻋﲆ أن ﻳﺸﺎرك ﻓﻴﻬﺎ‬ ‫ﻛﻞ ﻃﺎﻟﺐ مل ﻳﺘﺠﺎوز اﻟـ ‪ 35‬ﻋﺎﻣﺎ وﻣﻦ ﻛﺎﻓﺔ‬ ‫اﻟﺠﻨﺴﻴﺎت‪.‬‬ ‫ﺣﻘﻘﺖ اﳌﺴﺎﺑﻘﺔ أﻫﺪاﻓﻬﺎ ﺑﺨﻠﻖ ﺣﺎﻟﺔ ﻣﻦ‬ ‫اﻟﺘﻔﺎﻋﻞ واﻟﺘﻨﺎﻓﺲ ﺑني اﻟﻄﻠﺒﺔ اﳌﺒﺪﻋني‪،‬‬ ‫ﻋﱪوا ﺑﺄدواﺗﻬﻢ اﻟﺨﺎﺻﺔ ﻋﻦ ﻗﻴﻢ‬ ‫اﻟﺬﻳﻦ ّ‬ ‫اﻟﺘﺴﺎﻣﺢ وﻗﺒﻮل اﻵﺧﺮ‪ ،‬ﻟﻴﻨﻌﻜﺲ وﻋﻴﻬﻢ‬ ‫ﰲ ﻣﺴﺎﺣﺎت ﺷﻌﺮﻳﺔ ﺟﻤﻴﻠﺔ وﻣﺆﺛﺮة‪ ،‬ﺣﻴﺚ‬ ‫ﻛﺎﻧﺖ ﻗﺼﺎﺋﺪﻫﻢ أﺷﺒﻪ مبﺠﻤﻮﻋﺔ ﻣﻦ‬ ‫اﻻﺗﺠﺎﻫﺎت اﻟﺘﻲ ﺗﺆدي ﺟﻤﻴﻌﻬﺎ إﱃ ﺿﻔﺔ‬ ‫واﺣﺪة ﻫﻲ اﻟﺘﺴﺎﻣﺢ‪.‬‬ ‫اﻟﻠﺠﻨﺔ اﳌﻨﻈﻤﺔ ﻟﻠﻤﺴﺎﺑﻘﺔ‪ ،‬ﺗﺮأﺳﻬﺎ ﺳﻌﺎدة‬ ‫اﻟﺪﻛﺘﻮر ﻋﺒﻴﺪ ﻋﲇ راﺷﺪ اﳌﻨﺼﻮري‪ ،‬ﻧﺎﺋﺐ‬ ‫ﺳﻤﻮ ﻣﺪﻳﺮ ﻋﺎم اﳌﺮﻛﺰ‪ ،‬اﻟﺬي أﻛﺪ ﰲ أﻛرث‬

‫ﻣﻦ ﻣﻨﺎﺳﺒﺔ أن أﺣﺪ أﺑﺮز أﻫﺪاف اﳌﺴﺎﺑﻘﺔ‬ ‫ﻫﻮ اﻟﺒﺤﺚ ﻋﻦ اﳌﺒﺪﻋني ﻣﻦ اﻟﺸﻌﺮاء‬ ‫وﺗﺴﻠﻴﻂ اﻟﻀﻮء ﻋﻠﻴﻬﻢ‪ ،‬وﺗﺒﻨﻲ ﺗﺠﺎرﺑﻬﻢ‬ ‫إﻋﻼﻣﻴﺎ وإﺑﺪاﻋﻴﺎ ﻋﱪ إﺗﺎﺣﺔ اﻟﻔﺮﺻﺔ ﻟﻬﻢ‬ ‫ﺑﺎﻟﻈﻬﻮر أﻣﺎم ﻣﺠﺘﻤﻊ اﻟﺸﻌﺮ وﺗﺤﻘﻴﻖ‬ ‫اﻟﻄﻤﻮﺣﺎت‪.‬‬ ‫ﺿﻤﺖ اﻟﻠﺠﻨﺔ اﳌﻨﻈﻤﺔ ﻟﻠﻤﺴﺎﺑﻘﺔ ﻋﺪدا‬ ‫ﻣﻦ اﻷﺳــامء اﻟﻨﺎﺷﻄﺔ ﰲ اﻟﺸﺄن اﻟﺜﻘﺎﰲ‬ ‫واﻹﻋــﻼﻣــﻲ أﺑــﺮزﻫــﺎ اﻟﺸﺎﻋﺮ ﻋﻴﻀﺔ ﺑﻦ‬ ‫ﻣﺴﻌﻮد ﻣﴩﻓﺎً ﻋﺎﻣﺎً‪ .‬واﻟﺸﺎﻋﺮ ﻋﺒﺪاﻟﻠﻪ‬ ‫أﺑﻮ ﺑﻜﺮ ﻣﺴﺆوﻻ إﻋﻼﻣﻴﺎ‪ ،‬واﳌﺨﺮﺟﺔ ﺳﻌﺎد‬ ‫ﺣﺴﻨﺔ ﻣﺴﺆوﻻً ﻓﻨّﻴﺎً‪ ،‬واﻟﺪﻛﺘﻮر ﻣﺤﻤﺪ ﻓﺎﺗﺢ‬ ‫زﻏﻞ ﻣﺴﺘﺸﺎراً‪ .‬وﻛﺎﻧﺖ ﻣﺠﻠﺔ ﺑﻴﺖ اﻟﺸﻌﺮ‬ ‫اﻟﺼﺎدرة ﻋﻦ ﻣﺮﻛﺰ ﺳﻠﻄﺎن ﺑﻦ زاﻳﺪ‪ ،‬ﻣﻨ َﱪ‬

‫اﳌﺴﺎﺑﻘﺔ اﻹﻋﻼﻣﻲ‪ ،‬ﺗﻌ ّﻬﺪت ﺑﺘﺒﻨّﻲ ﺗﺠﺎرب‬ ‫اﻟﺸﻌﺮاء اﳌﺸﺎرﻛني إﻋﻼﻣﻴﺎً‪ ،‬وإﺗﺎﺣﺔ اﳌﺴﺎﺣﺔ‬ ‫اﻟﺘﻲ ﻳﺴﺘﺤﻘﻬﺎ ﻛﻞ ﺷﺎﻋﺮ ﻣﻨﻬﻢ ﰲ ﺻﻔﺤﺎت‬ ‫اﳌﺠﻠﺔ ﰲ اﻷﻳﺎم اﻟﻘﺎدﻣﺔ‪.‬‬ ‫أﻣﺎ ﻟﺠﻨﺔ ﺗﺤﻜﻴﻢ اﳌﺴﺎﺑﻘﺔ اﳌﻜ ّﻮﻧﺔ ﻣﻦ‪:‬‬ ‫اﻟﺸﺎﻋﺮ ﺳﻴﻒ اﳌــﻨــﺼــﻮري‪ ،‬واﻟﺸﺎﻋﺮ‬ ‫ﺳﻌﺪ ﻣــﺮزوق اﻷﺣﺒﺎيب‪ ،‬واﻟﺸﺎﻋﺮ ﻫﺎدي‬ ‫اﳌﻨﺼﻮري‪ ،‬ﻓﺄﺛﻨﺖ ﺑﺪورﻫﺎ ﻋﲆ اﻟﻘﺼﺎﺋﺪ‬ ‫اﳌﺸﺎرﻛﺔ‪ ،‬وأﻛﺪت أن اﻟﺠﻴﻞ اﻟﺠﺪﻳﺪ ﻗﺎدر‬ ‫ﻋﲆ اﺳﺘﻜامل ﻣﺴرية اﻹﺑﺪاع اﻟﺘﻲ ﺑﺪأﻫﺎ‬ ‫ﺷﻌﺮاء ﻛﺒﺎر ﰲ اﻹﻣﺎرات واﳌﻨﻄﻘﺔ‪ ،‬ومتﻨّﺖ‬ ‫ﻋﲆ اﳌﺸﺎرﻛني أن ﻳﻮاﺻﻠﻮا ﻃﺮﻳﻘﻬﻢ ﻧﺤﻮ‬ ‫اﻷﻣــﺎم‪ ،‬وأن ﻳﱰﻛﻮا ﺑﺼامﺗﻬﻢ ﰲ اﻟﺴﺎﺣﺔ‬ ‫اﻟﺸﻌﺮﻳﺔ ﺑﺈﺑﺪاع ومت ّﻴﺰ‪.‬‬ ‫اﻟﺸﻌﺮ ‪baytelshear‬‬ ‫ﺑﻴﺖ ِ‬

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‫‪ĜńĚĘğŕ‬‬ ‫‪ ŋōǜş Ŧŋōŵ ɐǳǂşōƒǘǕŌ ǲƉǈƳ‬‬ ‫ ‪ ǳǂşōƓ ŦōǤǾŵǷũ ǻǔƫ‬‬ ‫ ‪ſǾƖǕŌ ǣǕ ƈǷƲƮǘǕŌ ǛǙ‬‬ ‫ ‪ ǚōǾǤǝ ǒŔ ƃǿŌƊ Ǜş ǚōƢǔƓ‬‬ ‫‪ɴ‬‬ ‫‪ ǻǜƪũ ǳǂşōƒǙ ǀȎƣœş‬‬ ‫ ‪ ɐŜōŞƖǕŌ ǛǙ ǛǾƫƃŞǘǕŌ ŝǥŌǷǘş‬‬ ‫ ‪ɴ‬‬ ‫‪ǳǕōŽ ǁǔƁ ǽƳ ǗǤƒũǶ‬‬ ‫ ‪ƃǿƃŴŨǕŌǶ ƨǷǜŨǕŌ ǛǙ‬‬ ‫‪ ǽǕōƪǙ ǗǿƉǈŨş ǚǶƋȃōƲǕŌ ǽƦŽ‬‬ ‫‪ ǒŔ ǚǷǜżƣ Ǜş ƃǾƪƓ ſǾƖǕŌ‬‬ ‫‪ŝǾǤǙ ǓƲŽ ǒȎƁ ǗǤǕ ǚōǾǤǝ‬‬

‫اﻹﻋﻼم‪ ،‬واﳌﺆﺳﺴﺎت اﻟﺘﻌﻠﻴﻤﻴﺔ اﻟﺠﺎﻣﻌﻴﺔ‪،‬‬ ‫وﺷﺎرك ﻓﻴﻬﺎ ﻣﺎ ﻳﺰﻳﺪ ﻋﲆ ﻣﺌﺘﻲ ﻃﺎﻟﺐ‪ ،‬ﺗﻢ‬ ‫اﺧﺘﻴﺎر ﻋﴩة ﻣﻨﻬﻢ ﰲ ﻗﺎمئﺔ ﻃﻮﻳﻠﺔ‪ ،‬ﻟﺨﻮض‬ ‫اﳌﻨﺎﻓﺴﺔ ﻋﲆ ﻟﻘﺐ اﳌﺴﺎﺑﻘﺔ وﺣﺼﺪ اﳌﺮاﻛﺰ‬ ‫اﻟﺜﻼﺛﺔ اﻷوﱃ‪ ،‬اﻟﺘﻲ ُرﺻﺪت ﻟﻬﺎ ﻣﺒﺎﻟﻎ ﻧﻘﺪﻳﺔ‬ ‫ﻣﺠﺰﻳﺔ‪ ،‬إذ ﺣﺼﻞ اﻟﻔﺎﺋﺰ اﻷول ﻋﲆ ﻣﺒﻠﻎ‬ ‫‪ 50000‬درﻫﻢ‪ ،‬واﻟﺜﺎين ﻋﲆ ﻣﺒﻠﻎ ‪25000‬‬ ‫درﻫﻢ‪ ،‬واﻟﺜﺎﻟﺚ ﻋﲆ ‪ 20000‬درﻫﻢ‪.‬‬ ‫وﰲ ﺣﻔﻞ ﻣﻬﻴﺐ‪ ،‬ﻧﻈﻤﻪ ﻣﺮﻛﺰ ﺳﻠﻄﺎن‬ ‫ﺑﻦ زاﻳﺪ‪ ،‬واﺳﺘﻀﺎﻓﺘﻪ ﺟﺎﻣﻌﺔ أﺑﻮﻇﺒﻲ ﻳﻮم‬ ‫اﻟﺜﻼﺛﺎء اﳌﻮاﻓﻖ ‪ ،12/11/2019‬وﻗﺪﻣﻪ‬

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‫اﻟﻌﺪد ‪ ، 84‬دﻳﺴﻤﺒﺮ ‪2019‬‬

‫اﻹﻋــﻼﻣــﻲ واﻟﺸﺎﻋﺮ اﳌــﻌــﺮوف ﺣﻤﺪان‬ ‫اﻟﺪرﻋﻲ‪ ،‬أﻋﻠﻦ اﳌﺮﻛﺰ ﻋﻦ ﻫﻮﻳﺔ اﻟﻔﺎﺋﺰﻳﻦ‬ ‫اﻟﺜﻼﺛﺔ‪ ،‬اﻟﺬﻳﻦ ﺣﻈﻲ ﻛﻞ واﺣــﺪ ﻣﻨﻬﻢ‬ ‫ﺑﺘﻜﺮﻳﻢ ﻣﻌﺎﱄ اﻟﺸﻴﺦ ﺳﻌﻴﺪ ﺑﻦ ﻃﺤﻨﻮن آل‬ ‫ﻧﻬﻴﺎن ﺧﻼل ﻓﻌﺎﻟﻴﺎت اﻟﺤﻔﻞ‪ ،‬وﻫﻢ اﻟﺸﺎﻋﺮ‬ ‫زاﻳﺪ ﻣﻨﺼﻮر ﻓﺎﺿﻞ اﻟﺘﻤﻴﻤﻲ اﻟﻔﺎﺋﺰ ﺑﺎﳌﺮﻛﺰ‬ ‫اﻷول‪ ،‬واﻟﺸﺎﻋﺮ أﺣﻤﺪ ﺳﻨﺪ اﳌﺴريي اﻟﻔﺎﺋﺰ‬ ‫ﺑﺎﳌﺮﻛﺰ اﻟﺜﺎين‪ ،‬واﻟﺸﺎﻋﺮ ﺳﻌﻴﺪ ﺧﻤﻴﺲ ﺟﺎر‬ ‫اﻟﻠﻪ اﳌﻨﺼﻮري ﺻﺎﺣﺐ اﳌﺮﻛﺰ اﻟﺜﺎﻟﺚ‪ .‬ﻛام‬ ‫ﻛﺮم ﻣﻌﺎﻟﻴﻪ اﻟﺸﻌﺮاء اﻟﻔﺎﺋﺰﻳﻦ ﺑﺎﳌﺮاﻛﺰ ﻣﻦ‬ ‫اﻟﺮاﺑﻊ وﺣﺘﻰ اﻟﻌﺎﴍ وﻫﻢ‪ :‬اﻟﺸﺎﻋﺮ ﻣﻮﳻ‬

‫‪ ɐǳǂşōƒǘǔǕ ǳǘƦǜǘǕŌ ǳǜŴǔǕŌ‬‬ ‫‪ ƃǾŞƫ ƈǷŨǉƃǕŌ ǲƂōƪƓ ōǤƓŐƉũ‬‬ ‫‪ ŝȃōǝ ɐǼƈǷƚǜǘǕŌ ƃƗŌƈ ǽǔƫ‬‬ ‫‪ƋǉƉǘǕŌ ǖōƫ ƉǿƃǙ ǷǘƓ‬‬

‫ﻣﺤﻤﺪ ﺑﻄﻲ اﻟﻘﺒﻴﴘ‪ ،‬واﻟﺸﺎﻋﺮة ﺳﻠﻤﻰ‬ ‫ﻋﺒﺪاﻟﻠﻪ اﻟﻬﺎﻣﲇ‪ ،‬واﻟﺸﺎﻋﺮة ﻣﺮﻳﻢ ﻓﻴﺼﻞ‬ ‫اﻟﻮاﺣﺪي‪ ،‬واﻟﺸﺎﻋﺮ ﻣﺤﻤﺪ ﻋﺒﺪاﻟﻠﻪ ﻣﺤﻤﺪ‬ ‫ﺳﺎمل اﻟﻜﻨﺪي‪ ،‬واﻟﺸﺎﻋﺮ ﺳﻠﻄﺎن ﻃﺎﻟﺐ‬ ‫ﺻﺎﻟﺢ اﻟﺨﻠﻴﻔﻲ‪ ،‬واﻟﺸﺎﻋﺮ ﻫﺰاع ﻋﺒﺪاﻟﻠﻪ‬

‫ﺗﻜﺮﻳﺴﺎً ﻟﻔﻜﺮة اﻻﻫﺘامم ﺑﺎﳌﻮروث اﻟﺸﻌﺒﻲ‬ ‫ﻟﺪى اﻟﺠﻴﻞ اﻟﺠﺪﻳﺪ‪ ،‬وﻧﴩ اﻟﻮﻋﻲ ﻣﻦ ﺧﻼل‬ ‫اﻟﺸﻌﺮ اﻟﺸﻌﺒﻲ ﺑني ﻃﻠﺒﺔ اﻟﺠﺎﻣﻌﺎت‪ّ ،‬‬ ‫ﻧﻈﻢ‬ ‫ﻣﺮﻛﺰ ﺳﻠﻄﺎن ﺑﻦ زاﻳﺪ »ﻣﺴﺎﺑﻘﺔ ﺳﻠﻄﺎن‬ ‫ﺑﻦ زاﻳﺪ اﻟﺸﻌﺮﻳﺔ ﻟﻄﻠﺒﺔ اﻟﺠﺎﻣﻌﺎت«‪ ،‬اﻟﺘﻲ‬ ‫أﻃﻠﻘﻬﺎ اﳌﺮﻛﺰ ﻋﱪ ﻣﺆمتﺮ ﺻﺤﻔﻲ ﻧﻬﺎﻳﺔ‬ ‫ﺷﻬﺮ ﻳﻮﻟﻴﻮ اﳌﺎﴈ‪ ،‬وﺗﻔﺎﻋﻞ ﻣﻌﻬﺎ ﻋﺪد ﻛﺒري‬ ‫ﻣﻦ ﻃﻠﺒﺔ اﻟﺠﺎﻣﻌﺎت ﰲ اﻟﻌﺎﺻﻤﺔ أﺑﻮﻇﺒﻲ‪،‬‬ ‫وﻗﺪ ﺗﻢ اﺧﺘﻴﺎر ﺧﻤﺲ ﺟﺎﻣﻌﺎت ﻣﺸﺎرﻛﺔ‪،‬‬ ‫ﻫــﻲ‪ :‬ﺟﺎﻣﻌﺔ أﺑﻮﻇﺒﻲ‪ /‬ﴍﻳــﻚ رﺋﻴﺲ‪،‬‬ ‫وﺟﺎﻣﻌﺔ زاﻳﺪ‪ ،‬وﺟﺎﻣﻌﺔ ﺧﻠﻴﻔﺔ‪ ،‬وﻛﻠﻴﺎت‬ ‫اﻟﺘﻘﻨﻴﺔ اﻟﻌﻠﻴﺎ‪ ،‬وأﻛﺎدميﻴﺔ رﺑﺪان‪.‬‬ ‫ﻓﻜﺮة اﳌﺴﺎﺑﻘﺔ‪ ،‬ﺟﺎءت ﺑﻨﺎء ﻋﲆ ﺗﻮﺟﻴﻬﺎت‬ ‫ﺳﺎﺑﻘﺔ ﻣﻦ اﳌﻐﻔﻮر ﻟﻪ اﻟﺸﻴﺦ ﺳﻠﻄﺎن ﺑﻦ‬ ‫زاﻳﺪ آل ﻧﻬﻴﺎن‪ ،‬ﺑﺈﻃﻼق ﻣﺴﺎﺑﻘﺔ ﺷﻌﺮﻳﺔ‬ ‫ُﺗﻌﻨﻰ مبﻮاﻫﺐ اﳌﺒﺪﻋني ﻣﻦ اﻟﺸﺒﺎب‪،‬‬ ‫و ُﺗﺴﻬﻢ ﰲ ﺧﻠﻖ ﺣﺎﻟﺔ ﻣﻦ اﻟﺘﻨﻮع واﻟﺘﺠﺪﻳﺪ‬ ‫ﰲ اﻹﺑﺪاع اﻟﺸﻌﺮي‪ ،‬وﺗﺘﻴﺢ اﻟﻔﺮﺻﺔ أﻣﺎم‬ ‫اﻟﺠﻴﻞ اﻟﺠﺪﻳﺪ ﻟﻄﺮح أﻓﻜﺎره ﺑﺄﺳﻠﻮب‬ ‫ﺷﻌﺮي أﺻﻴﻞ‪.‬‬ ‫اﳌﺴﺎﺑﻘﺔ ﺣﻈﻴﺖ ﺑﺎﻫﺘامم واﺳﻊ ﻣﻦ وﺳﺎﺋﻞ‬ ‫اﻟﺸﻌﺮ ‪baytelshear‬‬ ‫ﺑﻴﺖ ِ‬

‫‪47‬‬

‫‪ĜńĚĘğŕ‬‬

‫أﺳﻤﺎء ّ‬ ‫ﺗﺒﺸﺮ ﺑﻤﺴﺘﻘﺒﻞ ﺷﻌﺮي ﻣﻀﻲء‬

‫‪ŷƸţƉŭƴŢ ŪŢŕţƕƨ Ǉƨ ũƭƵŹƸ ſŠţƑƬǂ‬‬

‫‪46‬‬

‫اﻟﻌﺪد ‪ ، 84‬دﻳﺴﻤﺒﺮ ‪2019‬‬

‫ﺳﻠﻄﺎن ﻣﺠﻠﻲ‬ @sultanmujalli

b@@ @ £@ ~@ 9b@@§ b@@ Gb@@ c@ @g@ @FH b@@Fx@@~@ 9b@@p@ + b@@ @ £@ Gb@@c@ b@@ @£@Eb@@~@6&*H i*4b@@~@ }@ ²* i*4b@@ @ E(* @@~@6b@@+ b@@Gb@@c@b@@ @ £@ Db@@=H b@@ Fv@@ Jb@@ BH b@@ @ @ Cb@@0 b@@ @ @ ~@ 6 ¡@@ @ +H b@@ @ £@ Fb@@ @ E b@@ @ @ @ @ @ Ax@@ @-H b@@ @ @g@ @c@ @¹ b@@ @ @ @ @ @ @© b@@ @J4b@@m@J &*x@@m@ g@ £@ + ·b@@ @²* b@@Fx@@~@|@< ¯ @@ EH b@@ @ £@ Fb@@E&* b@@ @ @ @ 0 Í@@ @D @@ 0¡@@ @ @/ b@@ @ @ ~@ @ 9H4H b@@ @ J2b@@ @ E ¤@@ @ <*2 @@ :¡@@ D* y@@ < @@ @/° b@@ @ £@ cQ @ DH b@@ @JvQ @« v@@ @0*H @@Bx@@D* Ì@@= °H v@@ @0*H @@ B4 b@@ @Jv@@< 2*v@@ @ @<°* @@E Ì@@ = °H v@@ 0* H @@ B4 b@@ @£@F*¡@@- °H b@@ Ey@@ D* @@c@~@6 f@@Cx@@ @E b@@ @~@}@1H b@@ @ JvQ @ / v@@±b@@+ b@@ E v@@ @ + @@ E b@@Fv@@¸ b@@ @ @ FH b@@ @JvQ @ @J Hb@@ @0 @@ E É@@ 0* y@@ @ @+ b@@ @ JvQ @ <H b@@ @ JHb@@ @ 1 @@ E b@@ @ @ .H b@@ @ @+4b@@ © @@ @ @B*H @@ E b@@ @£@+x@@- @@<x@@~@ 7 ¢@@ @ < Ñ* @@~@}@ @+ b@@ @ 0* ° b £c0H @@ @G* £ < *H4b@@ / @@E @@G* b@@Fx@@~@8H b@@ @£@~@8b@@F @@ 0 b@@ @Fw@@ @1*H b@@ @ J2b@@ @ J @@ ´ b@@ @ <y@@A b JHbº JO b@@E 4b@@±* F 4bm D @@ Pp@@FH b J2b J E bJb ´* 9¡p+R I¡~6 ¢~}pJ °H b@@ @£@Gb@@c@- b@@ @ +R H b@@ @ D ¤@@ @ D* 2É@@ c@ D* ¥w@@ G @@ @ F b@@ @ JHx@@-H b@@ @ g@ c@ ¹ @@ Q @ @ -R b@@ @ Fy@@§ b@ R @Gb@@ @ ~@ 6 b@@ @£@Db@@ @E @@ @ B*H b@@ @ E¡@@ ½H b@@ @ @ @ 0 b@@Gb@@~@ z@ E b@@ @ £@ Db@@=H b@@ Fv@@ Jb@@ BH b@@ @ @ Cb@@0 b@@ @ @ ~@ 6 ¡@@ @ +*H

baytelshear ‫اﻟﺸﻌﺮ‬ ِ ‫ﺑﻴﺖ‬

Ĭħ ¯ ŔŌ 2b@@ @¸&°*H y@@ @ D*H x@@s@ @D* t@@J4b@@- x@@C3 b@@/ *3(* 2É@@£@E x@@s@ @ @D b@@ Q @ @:H ¯ @@m@Q @~@ 6 v@@m@ ´* &° 2b@@£@~@6&°b@@+ x@@s@R @ @ @D x@@s@ @ D*H v@@ J*5 b@@£@ < b@@ @FQ &° 2É+ ¢ =* @A d ~{D* CH vDb1 ¡+H v~7*4 ¡+H 2b£<&* ~zD* E ¡J C @ A b jE D ¤ D* E R 2b@@ @ +R Áb@@ @ @ @ E&°*H b@@ Q @ @E5 b@@ @ -¡@@s@ § b@ R @ @ Jv@@« 2*v~9* bEyD*H 4*v/ < 4*v~|D* bF4v~|2*v<&°* f / @AR ¤~6b£ D* BxD* ¢ < b Jx~8&* 2*vF* Hv+ v0*H BxD* pF F v0*H B4 2b@@ @ £@ ´* @@ D ¤@@ @ D* @@£@ C¡@@D* @@ @ F ¢@@ @ < b@@ @ @ C¡@@2b@@ / b@@ @ E @@ @ CH 2b@@ g@ @ @ @D* b@@ @ @ @ JvQ @ @ <&*H b@@ @ @ C¡@@2b£/ r¡ D* É0*H dCxD* b c~6H b +b~z2b F* bEyD* d~|= b EÉ0* r¡ : ,¡B h« 2b ~7ÉD bjE°* ex~}E bFx~8 £C b Ax< 2É+ H2 4b~8H £ < hBb~9 E 2É+ bFx~8H 2*vE* Ì1 ¡ DH b 0* £ ~}D* +5 F 2*yD* cB d²* ¢ J £~}D*H x D* G* pFH 2b 0°b+ Qvg<&* @D Hv D x 0°* i¡@@´* pFH R 2b~}D* G&° xs D*H ex D* i*4bE* ¥wG F 2*'¡@ @ + b@@ @ @~@}@JH b@@ @F%b@ @~@7 ~}gpJ b@@Gx@@p@+ 2b£<* rbc~| D ¥v - z ~7 E Mf ~z+ bGxmA 2b@@ @ ¸°*H y@@ @ Db@@+ b@@ F2É@@ + Ãv@@ @J ¤@@ @+4 ¢@@~@ z@ <

‫ﺻﺢ ﻟﺴﺎﻧﻚ‬ َ

‫ﻣﺼﺒﺢ ﺑﻦ ﻋﻠﻲ اﻟﻜﻌﺒﻲ‬ @MusabehBinAli

@@+*¡@@~@ }@ D* b@@ @ £@ ~@ z@ ~@ 6&b@ E b@@ @ £@ @ < *¡@@ @ @~@ @9*H @@ +b@@ 0H @@}@ @ c@ E @@ @ C @@ @ E b@@ @ @F¡@@ ~@ @|@ @-H @@ @+b@@ @= H Md@@ @ @ @ @¹ v@@ @ @ @ @ @ 0*H ¢@@ @ @ @ @< °Q (* @@ +b@@ GH v@@ <b@@ ~@ @8 *5b@@ @ @ @ E @@ z@ @ N @ @ @ @D* *2 @@+b@@~@ 9 H ¥v@@ @ @ @ / @@ @ C @@ @ E b@@ @ c@ @ ~@ 7 ¯ @@ @+*x@@ @E x@@ @ @ @ < 2x@@ @ @ @ @ D* @@ {@ @£@ @ @ @J °Q *H @@ +b@@ . @@ @ @ @²* f@@ @ @ @ @BH @@ @ @< @@ @ @ @ cQ @ @ . b@@ @ @E @@ @ @ @ +*H4 2xQ @ @ @ @ @ @¸ ¤@@ @ @Gb@@ @ @E b@@ @ @ @ AH @@ @ @ @ @ +*4 @@ +*¡@@ @ @D* Ì@@ @/ @@ @ + ¡@@ @G b@@ @E @@ @ @ @ .H 5H @@ @ @ +*4 @@ £@ @~@ @8b@@ @ @g@ @ @ @D ¥¡@@ @ ~@ @ @z@ @ @F b@@ @ @E¡@@ @ @D @@ @ +*x@@ @ -H d@@ @ @0 4*v@@ @ @ @ @ @ D* b@@ @ @£@ @ @ @E b@@ @ @ p@ @ F

ĘŖŜŖŒ «ĘĤ ib@@ @ F*2 @@ cR @ ~@ 6 @@ @Ey@@ @D* b@@ @ p@ ~@ 7HH @@ Eb@@ G i*x@@ @ ~@ @ @z@ @ @´b@@ @ + b@@ @ @ @ @ @ @ @ @F4*2 x@@ @ @ @ @ @ @ @- e4b@@ @ @ @ @ @ @ J ib@@ Q @ @~@ @7H @@ 1b@@ ~@ @6 @@ @ C @@ @ E @@ @ + 3¡@@ @ @ @ F* i4b@@ @ EÉ@@ @ D $°¡@@ @ @ @ @ @D* b@@ @ @£@ @A @@ @ 6x@@ @ = Ñ* ib@@ @ @ @ @ @ ´* b@@ @ @ @ @ @ @/4R ¢@@ @ @<v@@ @ @- b@@ @ @ @ @ @ @Db@@ @ @ /4R * ib@@ ~@ @ 9x@@ EH 2b@@ @ @ @ ~@ @ 7 b@@ @ @ @ E*H x@@ ~@ @|@ @F b@@ @ @ @ E(* ib@@E b@@ E @@}@ c@ @ D*H ib@@ @ E b@@ E y@@ @ @ D* *2 ib@@ @ @:b@@ @ @c@ @ @ -4°* ¢@@ @ @ @ @< b@@ @ F2¡@@ @ @ @ @E v@@ @ @ @ @ @J*5 ib@@ @ @ @E*x@@ @ @ @CH u¡@@ @ @ @ @ @ ~@ @ @ 7H y@@ @ @ @< b@@ @ FQ b@@ @ £@ @ @ @ @ @+ ib@@0¡@@ @ @ D*H @@ @ @E°* b@@ ~@ @7 ¢@@ @ < d@@g@ @ F ib@@E¡@@~@|@1 4*¡@@ ~@ @{@ @D* ¤@@ @ ex@@ @ @D* ¡@@ @J

2019 ‫ دﻳﺴﻤﺒﺮ‬، 84 ‫اﻟﻌﺪد‬

‫ﻋﺎم واﳌﻮروث اﻟﺸﻌﺒﻲ اﻟﻌﺮيب‪ ،‬وذﻟﻚ مبﺎ‬ ‫دﻋﻢ ﻣﻨﻘﻄﻊ‬ ‫ﺗﻘﺪﻣﻪ ﰲ ﻫﺬا اﻟﺠﺎﻧﺐ ﻣﻦ ٍ‬ ‫اﻟﻨﻈري ‪...‬‬ ‫ﺣﺎﺿﺮة ﺑﻘﻮة ﻓﻲ اﻟﺴﻴﺎق اﻹﻣﺎراﺗﻲ‬ ‫اﻟﺸﺎﻋﺮ اﻟﺪﻛﺘﻮر ﻃﻼل اﻟﺠﻨﻴﺒﻲ‬ ‫ﺑﺎﻟﻨﺴﺒﺔ ﱄ‪ ،‬أﺗﺤﺪث ﻋﻦ ﻧﻔﴘ ﻃﺒﻌﺎً‬ ‫وأﻧﺎ ﺻﺎﺣﺐ أول دﻳــﻮان وﻃﻨﻲ ﺑﺎﻟﺸﻌﺮ‬ ‫اﻟﻔﺼﻴﺢ ﰲ اﻟﺪوﻟﺔ‪ ،‬وﻗﺪ ﺻﺪر ﺗﺤﺖ ﻋﻨﻮان‬ ‫"اﻹﻣــﺎرات ﰲ اﻟﻘﻠﺐ" وﻫﻮ دﻳﻮان ﻛﺎﻣﻞ‬ ‫ﻣﻌﻨﻲ ﺑﻘﻀﺎﻳﺎ اﻟﻮﻃﻦ‪ .‬وﰲ ﻫﺬا اﻟﺴﻴﺎق‬ ‫ﻧﺴﺘﻄﻴﻊ أن ﻧﺆﻛﺪ أن اﻟﺸﺎﻋﺮ اﻹﻣــﺎرايت‬ ‫واﻟﺨﻠﻴﺠﻲ ﻋﻤﻮﻣﺎً واﻟﻌﺮيب ﻛﺬﻟﻚ ﻳﺘﺤﺪث‬ ‫ﻋﻦ اﻟﻮﻃﻦ ﰲ ﺷﻌﺮه ﺑﺸﻜﻞ داﺋﻢ ﺑﺴﺒﺐ‬ ‫ﺣﻨﻴﻨﻪ اﻟﺪاﺋﻢ ووﻓﺎﺋﻪ ﻟﻠﻮﻃﻦ‪.‬‬ ‫اﻟﻘﺼﻴﺪة اﻟﻮﻃﻨﻴﺔ اﻟﻌﻨﴫ اﳌﻜﻮن اﻟﺮﺋﻴﴘ‬ ‫ﻻﻧﺘامء اﻹﻧــﺴــﺎن ﰲ اﻟﻌﻘﻠﻴﺔ اﻟﻌﺮﺑﻴﺔ‬ ‫واﻟﺨﻠﻴﺠﻴﺔ واﻹﻣﺎراﺗﻴﺔ ﻋﲆ وﺟﻪ اﻟﺨﺼﻮص‪،‬‬ ‫وﻟﺬﻟﻚ ﻧﺴﺘﻄﻴﻊ أن ﻧﻘﻮل ﺑﻜﻞ ﺑﺴﺎﻃﺔ أن‬ ‫اﻟﻘﺼﻴﺪة اﻟﻮﻃﻨﻴﺔ متﺜﻞ ﻋﻨﴫ اﺳﺘﻘﺮار‬ ‫واﻧﺘامء وﻫﻮﻳﺔ ﺗﺪﻓﻊ إﱄ اﻟﺜﺒﺎت وﺗﻌﻄﻴﻪ‬ ‫ﻋﻨﴫ اﺳﺘﻘﺮار ﻧﻔﴘ وﻣﻌﻨﻮي ﻫﺎم ﺟﺪاً‪،‬‬ ‫ﻣﺎ ﻳﺪﻓﻊ اﻹﻧﺴﺎن إﱄ ﺗﻘﺪﻳﻢ أﻓﻀﻞ ﻣﺎ ﻟﺪﻳﻪ‪،‬‬ ‫رﻏﺒﺔ ﰲ اﻟﺤﻔﺎظ ﻋﲇ ﻫﺬا اﳌﻜﺘﺴﺐ اﳌﻬﻢ‪،‬‬ ‫أﻻ وﻫﻮ ﻣﻜﺘﺴﺐ اﻻﻧﺘامء إﱃ وﻃﻦ ﻳﺸﻌﺮ‬ ‫ﻣﻌﻪ ﺑﺎﻟﻔﺨﺮ واﻟﺴﻌﺎدة‪.‬‬ ‫وﺑﻜﻞ ﺗﺄﻛﻴﺪ ﻓﺈن اﻟﻘﺼﻴﺪة اﻟﻮﻃﻨﻴﺔ إﺷﺎرة‬ ‫إﱃ أن اﻟﺸﻌﻮب اﻟﻌﺮﺑﻴﺔ ﺗﻨﻈﺮ إﱃ اﻟﺸﻌﺮ‬ ‫دامئﺎً ﺑﻌني اﻟﺘﺎرﻳﺦ اﻟﺬي ﻃﺎﳌﺎ أﻋﻄﻰ ﻟﻠﺸﻌﺮ‬ ‫ﻫﺬه اﻟﻘﻴﻤﺔ اﳌﻌﻨﻮﻳﺔ واﻹﻧﺴﺎﻧﻴﺔ‪ ،‬ﻓﺎﻟﺸﻌﺮ‬ ‫ﻛﺎن وﻻﻳﺰال دﻳﻮان اﻟﻌﺮب‪ ،‬ميﺜﻞ ﰲ ﻣﺮاﺣﻞ‬ ‫ﻛﺜرية ﻣﻦ ﺗﺎرﻳﺨﻬﻢ دور وزارة اﻷﻋﻼم ﰲ‬ ‫ﻧﴩ اﻟﺜﻘﺎﻓﺔ واﻟﻔﻜﺮ واﻟﻘﻀﺎﻳﺎ اﳌﺘﻌﻠﻘﺔ ﺑﻬﺬا‬ ‫اﻟﺨﺼﻮص‪ ،‬ﻓﻠﺬﻟﻚ ﻣﻦ اﳌﻬﻢ أن ﻧﻌﻠﻢ أن‬ ‫ﻫﺬا اﻻﻧﺘامء وﻫﺬا اﻟﺸﻌﻮر ﺗﺠﺎه اﻟﻘﺼﻴﺪة‬ ‫ﻫﻮ ﺗﺄﺛريﻫﺎ وﻫﻮ ﻋﻨﴫ ﻣﻬﻢ ﰲ اﻟﺴﻴﺎق‪.‬‬ ‫اﻟﻘﺼﻴﺪة اﻟﻮﻃﻨﻴﺔ ﺣﺎﻓﺰ ﻳﺪﻓﻊ اﻟﻨﺎس‬

‫ﻣﺤﻤﺪ اﻟﻌﻨﺰي‬

‫ﻃﻼل اﻟﺠﻨﻴﺒﻲ‬

‫وﻳﺮﺳﺦ ﻟﺪﻳﻬﻢ ﻗﻴﻢ اﻻﻧﺘامء ﳌﺠﺘﻤﻌﺎﺗﻬﻢ‪.‬‬ ‫واﻹﻧــﺴــﺎن ﻳﺤﺘﺎج دامئــﺎً إﱃ ﻣﺎ ﻳﺜري ﰲ‬ ‫ﻧﻔﺴﻪ اﻟﺤامس وﺷﻌﻮر اﻻﻧﺘامء ﻟﻮﻃﻦ‬ ‫ﻳﱪز ﻟﻪ اﳌﻨﺠﺰات وﻳﺰﻳﻦ ﻟﻪ اﻟﻜﺜري ﻣﻦ‬ ‫ﻧﻮاﺣﻲ اﻟﻌﻄﺎءات اﻟﺘﻲ ﺗﻘﺪم ﻟﻪ‪ ،‬ﻓﻠﺬﻟﻚ‬ ‫ﻛﻠﻪ ﺗﺤﺘﺎج اﳌﺠﺘﻤﻌﺎت ﻟﻠﻘﺼﺎﺋﺪ اﻟﻮﻃﻨﻴﺔ‬ ‫ﺣﺘﻰ ﺗﺴﺘﻄﻴﻊ أن ﺗﻮﺻﻞ رﺳﺎﺋﻞ اﳌﻨﺠﺰات‬ ‫اﻟﺤﻀﺎرﻳﺔ وﻣﺎ ﺗﺘﻮﻗﻌﻪ‪.‬‬ ‫ﻧﻬﺎﻳ ًﺔ ﻧﺴﺘﻄﻴﻊ أن ﻧﻘﻮل إن اﻟﻮﻃﻦ ﻋﻨﺪ‬ ‫اﻟﺸﺎﻋﺮ ﻣﻌﻨﻰ أوﺳﻊ وأرﺣﺐ ﻣﻦ ﻣﺎ ﻳﺘﺨﻴﻠﻪ‬ ‫اﻹﻧﺴﺎن اﻟﻌﺎدي‪ ،‬ﻓﺪامئﺎً ﻣﺎ ﻳﻨﻈﺮ إﱃ ﻛﻞ‬

‫ﺟﻤﻴﻞ ﰲ ﺣﻴﺎﺗﻪ ﻋﲆ أﻧﻪ وﻃﻦ‪ ،‬ﻓﺈذا ﺗﺤﺪث‬ ‫ﻋﻦ ﺣﺒﻴﺒﺔ ﻗﺎل إﻧﻬﺎ وﻃﻦ‪ ،‬وإذا ﺗﺤﺪث ﻋﻦ‬ ‫ﻗﻨﺎﻋﺔ وﻓﻜﺮة وﺻﻔﻬﺎ ﺑﺎﻟﻮﻃﻦ‪ ،‬ﻓﺬﻟﻚ ﻧﺠﺪ‬ ‫اﻗﱰان اﻟﻮﻃﻦ ﺑﻬﺬه اﳌﺴﺎﺣﺔ اﻟﺮﺣﺒﺔ ﰲ‬ ‫ﻋﻘﻠﻴﺔ وذﻫﻨﻴﺔ اﻟﺸﺎﻋﺮ‪ ،‬ﻟﺘﺆﻛﺪ أن اﻟﻮﻃﻦ‬ ‫ﻳﻌﺪ ﻫﻮ اﳌﻨﻄﻘﺔ اﻟﺮﺣﺒﺔ اﻟﺘﻲ ﻳﻠﺠﺄ إﻟﻴﻬﺎ‬ ‫اﻹﻧﺴﺎن يك ﻳﺤﻘﻖ ذاﺗﻪ وﻳﺸﻌﺮ ﺑﺎﻻﺳﺘﻘﺮار‬ ‫واﻻﻧﺘامء وﺗﺤﻘﻴﻖ اﻟﺬات‪ ،‬وﻫﺬا ﻫﻮ أﻫﻢ‬ ‫ﻣﺎ ميﻜﻦ أن ﻳﺤﻘﻘﻪ اﻹﻧﺴﺎن ﰲ ﺣﻴﺎﺗﻪ‪،‬‬ ‫ﻟﺬﻟﻚ ﻛﻞ ﺟﻤﻴﻞ ﰲ ﻫﺬه اﻟﺤﻴﺎة وﻃﻦ وﻛﻞ‬ ‫وﻃﻦ ﰲ ﻫﺬه اﻟﺤﻴﺎة ﺟﻤﻴﻞ‪.‬‬ ‫اﻟﺸﻌﺮ ‪baytelshear‬‬ ‫ﺑﻴﺖ ِ‬

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‫ ‪¥ũľğı‬‬ ‫ﻳﺨﺘﻠﻔﻮن ﺑﺸﻜﻞ إﻳﺠﺎيب ﻋﻦ ﻏريﻫﻢ ﰲ ﺑﺎﺧﺘﺼﺎر أرى أن اﻟﻘﺼﻴﺪة اﻟﺸﻌﺒﻴﺔ‬ ‫ﻣﻨﺎﻃﻖ أﺧﺮى‪ ،‬ﻓﻠﺬﻟﻚ ُﻛﻨﺖ أمتﻨﻰ ﻓﺼﻞ اﻟﻮﻃﻨﻴﺔ ﻫﻲ روح ﺗﻮﺛﻖ ﺳرية اﻷوﻃﺎن‪.‬‬ ‫اﳌﺸﻬﺪ اﻟﺜﻘﺎﰲ وﺣﻀﻮر اﻟﻘﺼﻴﺪة اﻟﺸﻌﺒﻴﺔ‬ ‫اﻟﻮﻃﻨﻴﺔ ﰲ اﻹﻣـــﺎرات ﻋﻦ ﺑﺎﻗﻲ دول اﻟﺤﺎﻟﺔ اﻟﺸﻌﺮﻳﺔ‬ ‫اﻟﺨﻠﻴﺞ‪ ،‬ﻷﻧﻪ ﰲ ﻣﺎ ﻋﺪا اﻹﻣﺎرات ﻧﺠﺪ أن اﻟﺸﺎﻋﺮ واﻹﻋﻼﻣﻲ ﺳﺎﻣﻲ اﻟﺒﺎﺳﻠﻲ‬ ‫اﻟﺤﻀﻮر اﻟﺸﻌﺮي ﻣﺘﺬﺑﺬب‪ ،‬وذﻟﻚ ﻟﻌﺪم ﻻ ﺷﻚ أن اﻟﺸﻌﺮ دﻳﻮان اﻟﻌﺮب؛ وﻋﻼﻗﺔ‬ ‫ﺗﻮﻓﺮ اﳌﻨﱪ واﻟﻨﺎﻗﻞ ﻟﻠﻤﺠﺘﻤﻊ وﻳﻘﺘﴫ اﻹﻧﺴﺎن اﻟﻌﺮيب ﺑﺎﻟﺸﻌﺮ وﺗﺄﺛﺮه ﺑﻪ ﻫﻲ‬ ‫ﺣﻀﻮرﻫﺎ ﺑﺸﻜﻞ ﻣﻘﺘﻀﺐ ﻋﲆ وﺳﺎﺋﻞ ﻋﻼﻗﺔ ﻓﺮﻳﺪة ميﺘﺎز ﺑﻬﺎ اﻟﻌﺮب ﻋﻦ ﺳﻮاﻫﻢ‬ ‫ﻣﻦ اﻟﺸﻌﻮب ؛ ﻓﺎﻟﻌﺮيب اﻟﺼﻤﻴﻢ ﻫﻮ ﺷﺎﻋﺮ‬ ‫اﻟﺘﻮاﺻﻞ اﻻﺟﺘامﻋﻲ‪.‬‬ ‫ﻟﻴﻌﻠﻢ اﻟﻘﺎرئ أن اﻟﻘﺼﻴﺪة اﻟﺸﻌﺒﻴﺔ أو ﻣﺘﺬوق ﻟﻠﺸﻌﺮ ﺑﺎﻟﴬورة؛ وﻣﻦ ﻫﻨﺎ‬ ‫اﻟﻮﻃﻨﻴﺔ ذات ﺗﺄﺛري ﻻ ميﻜﻦ أن ُﻳﺼﺪق‪ ،‬ﻛﺎن ﻟﻠﺸﻌﺮ ﺑﺸﻜﻞ ﻋﺎم ﺣﻀﻮره اﳌﺘﻤﻴﺰ ﰲ‬ ‫وﻗﺪ ﻳﺴﺘﻐﺮب اﻟﻘﺎرئ ﺣﺪﻳﺜﻲ ﺑﺸﺄن ﺣﺎﺟﺔ اﳌﺠﺘﻤﻊ اﻟﻌﺮيب ﻣﻨﺬ ﻋﴫ اﻟﺠﺎﻫﻠﻴﺔ وإﱃ‬ ‫اﳌﺠﺘﻤﻌﺎت ﻟﻠﻘﺼﻴﺪة اﻟﺸﻌﺒﻴﺔ اﻟﻮﻃﻨﻴﺔ‪ ،‬ﻳﻮﻣﻨﺎ ﻫﺬا؛ وﻗﺪ راﻓﻖ ﻫﺬا اﻟﺤﻀﻮر اﻫﺘامم‬ ‫ﻓـﻬﻲ ﺻــﻮت اﻟﺸﻌﺐ ﻟﱰﺟﻤﺔ ﻣﺤﺒﺘﻪ ﺑﺎﻟﻎ ﺑﺎﻟﺸﺎﻋﺮ ﻣﻨﺬ ﻟﺤﻈﺔ ﻧﺒﻮﻏﻪ ﰲ اﻟﻘﺒﻴﻠﺔ‬ ‫ﻟﻠﻮﻃﻦ‪ ،‬ورﺳﺎﺋﻠﻬﻢ اﻟﺘﻲ ﺗﺼﻞ إﱃ أﻋامق ﳌﺎ ميﺜﻠﻪ ﻣﻦ أداة ﺗﻌﺒري ﻣﺆﺛﺮة ﰲ ﻣﺤﻴﻄﻪ‬ ‫اﻷوﻃـــﺎن ﻗﺒﻞ ﻗﻠﻮب اﻟﺸﻌﺐ‪ ،‬وﻧﺰف وﰲ اﻵﺧﺮﻳﻦ؛ ﻓﻘﺪ ﻛﺎن اﻟﺸﺎﻋﺮ ﺑﺎﻟﻨﺴﺒﺔ‬ ‫أﻗﻼﻣﻬﻢ ﻗﺒﻞ أﺟﺴﺎدﻫﻢ‪ ،‬واﻟﻮﻃﻦ ﻻ ميﻜﻦ ﻟﻘﺒﻴﻠﺘﻪ مبﻨﺰﻟﺔ وزﻳ ٍﺮ ﻟﻺﻋﻼم‪.‬‬ ‫أن ﻳﺘﺨﲆ ﻋﻦ ﺣﺎﺟﺘﻪ ﻟﻠﻘﺼﻴﺪة اﻟﺸﻌﺒﻴﺔ وﻟﻴﺲ أدل ﻋﲆ ﻣﻜﺎﻧﺔ اﻟﺸﻌﺮ واﻟﺸﻌﺮاء‬ ‫اﻟﻮﻃﻨﻴﺔ اﻟﺘﻲ أﺻﺒﺤﺖ ﻛﻀامد ﻟﺠﺮوﺣﻪ‪ ،‬ﻋﻨﺪ اﻟﻌﺮب ﻣﻦ ﺣﺮﺻﻬﻢ ﻋﲆ إﻗﺎﻣﺔ أﻛﱪ‬ ‫وﻛــﻤــﺆازرة ﻟﻄﻤﻮﺣﻪ‪ ،‬وﻛــﺮوح ﻟﺠﺴﺪه‪ ،‬اﳌﻬﺮﺟﺎﻧﺎت اﻟﺸﻌﺮﻳﺔ اﻟﺴﻨﻮﻳﺔ ﻟﻔﺤﻮل‬ ‫وﻛﺘﺄرﻳﺦ ﳌﻮاﻗﻔﻪ‪ ،‬وﻛﻠﺴﺎن ﻟﺼﻮﺗﻪ‪ ،‬اﻟﺸﻌﺮاء ﻣﻨﺬ ﻋﴫ اﳌﻌﻠﻘﺎت إﱃ ﺷﺎﻋﺮ‬

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‫اﻟﻌﺪد ‪ ، 84‬دﻳﺴﻤﺒﺮ ‪2019‬‬

‫اﳌﻠﻴﻮن وأﻣري اﻟﺸﻌﺮاء وﻣﺎ ﺳﻮاﻫام ﻣﻦ‬ ‫ﻣﻬﺮﺟﺎﻧﺎت اﻟﺸﻌﺮ اﻟﻌﺮيب ﻋﲆ اﻣﺘﺪاد ﻫﺬا‬ ‫اﻟﻮﻃﻦ اﻟﻌﺮيب اﻟﻜﺒري‪ ،‬واﻟﻘﺼﻴﺪة اﻟﺸﻌﺒﻴﺔ‬ ‫ﻻ ﺗﻨﻔﺼﻞ ﺑﺤﺎل ﻣﻦ اﻷﺣﻮال ﻋﻦ اﻟﺤﺎﻟﺔ‬ ‫اﻟﺸﻌﺮﻳﺔ اﻟﻌﺮﺑﻴﺔ ﺑﻌﺎﻣﺔ‪ ،‬ﻟﻬﺎ ﺟﻤﻬﻮرﻫﺎ‬ ‫اﻟﻌﺮﻳﺾ وﻟﻬﺎ رﺳﺎﻟﺘﻬﺎ اﻟﺘﻲ ﻋﻤﻠﺖ ﻋﲆ‬ ‫اﻳﺼﺎﻟﻬﺎ ﻣﻦ اﻟﺴﻠﻒ إﱃ اﻟﺨﻠﻒ ﻋﱪ ﻣﺎ ﻻ‬ ‫ﻳﻘﻞ ﻋﻦ ﺳﺒﻌﺔ ﻗﺮون وﻧﻴﻒ ﻣﻦ اﻟﺰﻣﺎن‬ ‫)ﻣﻨﺬ ﻫﺠﺮة ﺑﻨﻲ ﻫﻼل( ‪.‬‬ ‫وﻣــﺎزاﻟــﺖ ﻫــﺬه اﻟﻘﺼﻴﺪة ﺣــﺎﴐة ﰲ‬ ‫وﺟﺪاﻧﻨﺎ ﻛﻌﺮب‪ ،‬ﰲ أﻓﺮاﺣﻨﺎ وأﺗﺮاﺣﻨﺎ‪،‬‬ ‫مل ﺗﻔﺎرق ذاﻛﺮﺗﻨﺎ اﻟﺸﻌﺒﻴﺔ‪ ،‬ومل ﺗﻐﺎدر‬ ‫ﻣﺠﺎﻟﺴﻨﺎ وﺣﻮاراﺗﻨﺎ وأﺣﺎدﻳﺜﻨﺎ اﻟﻴﻮﻣﻴﺔ‪،‬‬ ‫وﻗﺪ أﺻﺒﺤﺖ ﺟﺰءا ﺣﻤﻴام ﻣﻦ اﻟﻔﻮﻟﻜﻠﻮر‬ ‫واﻟﱰاث اﻟﺸﻌﺒﻲ اﻟﻌﺮيب وﻛﺬﻟﻚ ﻣﻦ ﺟﻤﻴﻊ‬ ‫اﳌﻨﺎﺳﺒﺎت وأﺑﺮزﻫﺎ اﳌﻨﺎﺳﺒﺎت اﻟﻮﻃﻨﻴﺔ‬ ‫اﻟﻜﱪى‪ ،‬وﻣــﻦ ﻫﻨﺎ ﺗــﱪز ﺑﺎﻟﻄﺒﻊ ﻗﻴﻤﺔ‬ ‫اﻟﻘﺼﻴﺪة اﻟﻮﻃﻨﻴﺔ وﺣﺎﺟﺔ اﳌﺠﺘﻤﻊ إﻟﻴﻬﺎ‪.‬‬ ‫وﻟﻌﻠﻬﺎ ﻓﺮﺻﺔ ﻧﺜﻤﻦ ﻣﻦ ﺧﻼﻟﻬﺎ ﻟﺪوﻟﺔ‬ ‫اﻹﻣﺎرات اﻟﻌﺮﺑﻴﺔ اﳌﺘﺤﺪة دورﻫﺎ اﳌﺸﻬﻮد‬ ‫ﰲ رﻋﺎﻳﺔ اﻟﺤﺮﻛﺔ اﻟﺜﻘﺎﻓﻴﺔ اﻟﻌﺮﺑﻴﺔ ﺑﺸﻜﻞ‬

‫ﻋﲇ اﻟﺴﺒﻌﺎن‬

‫راﻓﺪ ﻣﻬﻢ ﻓﻲ ﺗﻮﺣﻴﺪ اﻟﺮؤﻳﺔ‬ ‫اﻟﺸﺎﻋﺮ اﻹﻋﻼﻣﻲ ﻋﻠﻲ اﻟﺴﺒﻌﺎن‬ ‫ﻻ ﻳﺨﺘﻠﻒ اﺛﻨﺎن ﻋﲆ ﻣﺎ ميﺜﻠﻪ اﻟﺸﻌﺮ ﻣﻦ‬ ‫ﺧﺼﻮﺻﻴﺔ ﻟﻺﻧﺴﺎن اﻟﻌﺮيب‪ ،‬ﻓﻘﺪ ﻛﺎﻧﺖ‬ ‫ﻗﺒﺎﺋﻞ اﻟﻌﺮب وﻣﺎ زاﻟﺖ ﺗﻔﺎﺧﺮ ﺑﺸﻌﺮاﺋﻬﺎ‬ ‫اﻟﻨﻮاﺑﻎ‪ ،‬وﻟﻠﺸﺎﻋﺮ اﻟﻌﺮيب ﻣﻜﺎﻧﺘﻪ ﻋﻨﺪ‬ ‫ﻋﻠﻴﺔ اﻟﻘﻮم واﻟﻌﺎﻣﺔ ﻋﲆ اﻟﺴﻮاء‪ ،‬ﻓﺘﻔﺮد‬ ‫ﻟﻪ ﺻﺪور اﳌﺠﺎﻟﺲ وﺗﻨﻘﺶ ﺷﻮارد ﻓﻜﺮه‬ ‫ﰲ ﺻﻔﺤﺎت اﻟﺼﺪور‪ ،‬وﻣﺎ زال ﻫﺬا ﺣﺎل‬ ‫اﻟﺸﺎﻋﺮ ﰲ ﻣﺠﺘﻤﻌﺎﺗﻨﺎ اﻟﺨﻠﻴﺠﻴﺔ‪ ،‬إﺿﺎﻓﺔ‬ ‫إﱃ اﻟﻮﻫﺞ اﻟــﺬي أﺳﺒﻐﻪ اﻹﻋــﻼم ﻋﲆ‬ ‫اﻟﺸﻌﺮ واﻟﺸﻌﺮاء‪ .‬وﻣﻦ ﻫﺬا اﳌﻨﻄﻠﻖ‬ ‫أﻗﻮل إن اﻟﻘﺼﻴﺪة اﻟﻮﻃﻨﻴﺔ ﺗﻌﺪ واﺣﺪة‬ ‫ﻣﻦ أﻫﻢ ﻗﻨﻮات ﺗﻌﻤﻴﻖ اﻟﻬﻮﻳﺔ وإذﻛﺎء‬ ‫روح اﻟﻮﻃﻨﻴﺔ ﺑني أﺑﻨﺎء اﻟﺸﻌﺐ‪ ،‬ﻛام ﻫﻲ‬ ‫راﻓﺪ ﻣﻬﻢ ﻳﺴﻬﻢ ﰲ ﺗﻮﺣﻴﺪ اﻟﺮؤﻳﺔ وإﺑﺮاز‬ ‫اﻷﻫﺪاف وﺗﺠﺴﻴﺪ اﻟﻄﻤﻮﺣﺎت واﻻﻟﺘﻔﺎف‬ ‫ﺣﻮل راﻳــﺔ اﻟﻮﻃﻦ‪ .‬ﻛﻞ ذﻟﻚ ﺑﴩط أن‬ ‫ﺗﻜﻮن اﻟﻘﺼﻴﺪة ذات ﻗﻴﻤﺔ أدﺑﻴﺔ رﻓﻴﻌﺔ‬ ‫ﻳﻨﻢ ﻋﻦ وﻋﻲ ﺷﺎﻋﺮﻫﺎ‬ ‫وﻣﻀﻤﻮن وﻃﻨﻲ ّ‬ ‫ﺑﺮﺳﺎﻟﺔ اﻟﺸﻌﺮ وواﺟﺒﻪ ﺗﺠﺎه اﻟﻮﻃﻦ ﻗﻴﺎدة‬ ‫وﺷﻌﺒﺎً وﻣﻨﺠﺰات‪ .‬وﻟﻌﻞ اﻟﻘﺼﻴﺪة اﻟﻮﻃﻨﻴﺔ‬ ‫ﰲ ﻣﻨﻄﻘﺔ اﻟﺨﻠﻴﺞ ﻛﺎﻧﺖ ﺗﻄﻞ ﻋﲆ ﺧﺠﻞ‬ ‫ﻣﻦ ﺑني رﻛﺎم ﻗﺼﺎﺋﺪ اﻟﻐﺰل واﻟﻮﺟﺪاﻧﻴﺎت‪،‬‬ ‫وﺗﻜﺘﻔﻲ ﺑﺤﻀﻮر ﻣﺆﻃﺮ ﰲ اﳌﻨﺎﺳﺒﺎت‬ ‫اﻟﺮﺳﻤﻴﺔ‪ ،‬إﻻ إن اﻟﺴﻨﻮات اﻟﺨﻤﺲ اﻷﺧرية‬ ‫ﺷﻬﺪت اﻧﻄﻼق اﻟﻘﺼﻴﺪة اﻟﻮﻃﻨﻴﺔ ﻣﻦ‬

‫ﺳﺎمل ﺑﻦ ﺑﺨﻴﺖ اﳌﻌﺸﻨﻲ‬

‫ﻗﻴﺪ اﳌﻨﺎﺳﺒﺔ واﻟﺤﻀﻮر اﻟﺮﺳﻤﻲ‪ ،‬ﻟﺘﻼﻣﺲ‬ ‫ﻣﺸﺎﻋﺮ اﻟﻨﺎس وﺗﻮاﻛﺐ ﺣامﺳﺘﻬﻢ وﺗﺆدي‬ ‫واﺟﺒﻬﺎ اﻟﻮﻃﻨﻲ ﰲ رﻓﻊ اﻟﺮوح اﳌﻌﻨﻮﻳﺔ‬ ‫ﻟﻸوﻃﺎن وﻏــﺮس اﻟﻮﻃﻦ زﻫــﺮة ﺷﻌﺮ ﰲ‬ ‫وﺟــﺪان اﻟﺸﻌﻮب ﻻ ﺗﺬﺑﻞ وﻻ ﺗﺘﺄﺛﺮ‬ ‫ﺑﺎﳌﻮاﺳﻢ وﺗﻘﻠﺒﺎت اﻟﻔﺼﻮل‪.‬‬ ‫ﺳﻴﻒ‪ ..‬وﺧﻴﻞ‪ ..‬ورﻣﺢ‪..‬‬ ‫اﻟﺸﺎﻋﺮ واﻟﺒﺎﺣﺚ ﺳﺎﻟﻢ ﺑﺨﻴﺖ اﻟﻤﻌﺸﻨﻲ‬ ‫ﺑني اﻟﻘﺼﻴﺪة واﻟﻌﺮب ﻋﻼﻗﺔ روح وﺟﺴﺪ‬ ‫ﻋﱪ اﻟﺘﺎرﻳﺦ‪ ،‬ﻛﺎﻧﺖ اﻟﻘﺼﻴﺪة ﺳﻴﻔﺎً‪..‬‬ ‫وﺧﻴ ًﻼ‪ ..‬ورﻣﺤﺎً‪ ..‬وﺗﺮﺳﺎً‪ ..‬وﻓﺎرﺳﺎً‪ ..‬داﻓﻌﺖ‬ ‫ﻋــﻦ اﻷوﻃـــﺎن وﺣﻔﻈﺖ أﻳــﺎم اﻟﻌﺮب‬ ‫وأﻧﺴﺎﺑﻬﺎ وﻣﺪﻧﻬﺎ وأﻣﺠﺎدﻫﺎ ورﻓﻌﺖ أﻗﻮاﻣﺎ‬ ‫ﰲ ﻣﺪﺣﻬﺎ‪ ،‬وأﺳﻘﻄﺖ أﻗﻮاﻣﺎ ﰲ ﻫﺠﺎءﻫﺎ‪.‬‬ ‫ﻟﻜﻞ ﻗﺒﻴﻠﻪ ﺷﺎﻋﺮ وﻟﺴﺎن وﻟﻜﻞ وﻃﻦ ﺷﻌﺮاء‬ ‫ﻳﺒﺎرون ﻏريﻫﻢ ﰲ متﺠﻴﺪ ﻣﺎ ﻳﻨﺘﺴﺒﻮن إﻟﻴﻪ‪.‬‬ ‫ﺣﻔﻈﻮا اﻟﻘﺪﻳﻢ‪ ،‬ودوﻧﻮا اﻟﺠﺪﻳﺪ‪ ،‬وﻛﺎﻧﺖ‬ ‫ﻗﺼﻴﺪﺗﻬﻢ ﺳري ﺑﻼﻏﺎت وﻣﻨﺎﺑﺮ وﻣﻌﻠﻘﺎت‪.‬‬ ‫ﻓﻼ ﻏﺮاﺑﻪ أن ﺗﻜﻮن اﻟﻘﺼﻴﺪة اﻟﻮﻃﻨﻴﺔ‬ ‫اﻟﺨﻠﻴﺠﻴﺔ اﻟﺘﻲ ﻫﻲ اﻣﺘﺪاد ﻟﺬﻟﻚ اﻹرث‬ ‫اﻟﻌﻈﻴﻢ وﺗﺘﺸﻜﻞ ﻋﲆ اﻟﺼﻮرة واﻟﺪﻻﻟﺔ‬ ‫ﻧﻔﺴﻬﺎ‪ .‬وﻻ ﻧﻨﴗ أن ﻣﻌﻈﻢ اﻷﴎ اﻟﺤﺎﻛﻤﺔ‬ ‫ﰲ ﻣﻨﻄﻘﺘﻨﺎ ﺷﻌﺮاء وأدﺑﺎء ﻛﺘﺒﻮا ﰲ اﻟﻮﻃﻦ‬ ‫واﻻﻧﺘامء واﻟﺤﻴﺎة اﻟﻌﺎﻣﺔ‪ .‬وﺗﺒﻘﻰ اﻟﻘﺼﻴﺪة‬ ‫ﻣﺎ ﺑﻘﻰ اﻟﻌﺮب ﺷﺎﻣﺨﻪ ﺑﻔﺼﺎﺣﺘﻬﺎ وﻓﺮﺳﺎﻧﻬﺎ‬ ‫ﰲ ﻛﻞ ﻣﻴﺪان‪.‬‬

‫ﻋﺒﺪاﻟﺤﻤﻴﺪ اﻟﺪوﺣﺎين‬

‫ﻣﻨﺒﻊ اﻟﻔﻨﻮن اﻟﺨﻠﻴﺠﻴﺔ‬ ‫اﻟﺸﺎﻋﺮ واﻹﻋﻼﻣﻲ ﻋﺒﺪاﻟﺤﻤﻴﺪ اﻟﺪوﺣﺎﻧﻲ‬ ‫اﻟﻘﺼﻴﺪة اﻟﺸﻌﺒﻴﺔ متﺜﻞ اﻟﺸﻌﺐ‪ ،‬وﻫﻲ‬ ‫مبﺜﺎﺑﺔ ﻫﻮﻳﺔ ﻟﻪ ﺗﻌ ّﺮف اﻵﺧﺮﻳﻦ ﺑﺜﻘﺎﻓﺘﻪ‪،‬‬ ‫ﮔﺬﻟﻚ ﻫﻲ ﻣﻨﺒﻊ اﻟﻔﻨﻮن اﻟﺨﻠﻴﺠﻴﺔ اﻟﺘﻲ ﻻ‬ ‫ﻳﺴﺘﻄﻴﻊ اﳌﻮاﻃﻦ اﻟﺨﻠﻴﺠﻲ أن ﻳﺴﺘﻐﻨﻲ‬ ‫ﻋﻨﻬﺎ وﻋﻦ اﻟﺘﻌﺎﻳﺶ ﻣﻌﻬﺎ‪ ،‬ﻛام أﻧﻬﺎ ﻛﺎﻧﺖ‬ ‫وﻻزاﻟﺖ متﺜﻞ إرﺛﺎً مثﻴﻨﺎً ﻟﺪوﻟﻨﺎ اﻟﺨﻠﻴﺠﻴﺔ‬ ‫اﳌﱰاﺑﻄﺔ ﺑﻠﻬﺠﺔ ﺷﻌﺮﻳﺔ راﻗﻴﺔ ﺗﺨﺎﻃﺐ‬ ‫ﺑﻌﻀﻬﺎ اﻟﺒﻌﺾ‪ .‬وﰲ اﻹﻣــﺎرات واﻟــﺪول‬ ‫اﳌﺠﺎورة ﻟﻬﺎ‪ ،‬ﺗﻌﺘﱪ اﻟﻘﺼﻴﺪة اﻟﺸﻌﺒﻴﺔ‬ ‫ﺣﻠﻘﺔ وﺻــﻞ ﺑني ﺷﻌﻮب اﳌﻨﻄﻘﺔ‪ ،‬ﰲ‬ ‫اﳌﺨﺎﻃﺒﺎت اﻟﺮﺳﻤﻴﺔ واﳌﻨﺎﺳﺒﺎت اﻟﺪﻳﻨﻴﺔ‬ ‫واﻟﻮﻃﻨﻴﺔ‪ ،‬وﻣــﻦ ﻫﻨﺎ ﺟــﺎءت أﻫﻤﻴﺔ‬ ‫اﻟﻘﺼﻴﺪة اﻟﻮﻃﻨﻴﺔ ﺑﺸﻜﻞ ﺧﺎص‪.‬‬ ‫روح ﺗﻮﺛﻖ ﺳﻴﺮة اﻷوﻃﺎن‬ ‫اﻟﺸﺎﻋﺮ ﻣﺤﻤﺪ ﺳﻠﻴﻤﺎن اﻟﻌﻨﺰي‬ ‫إذا ﻣﺎ ﺗﻄﺮﻗﻨﺎ ﻟﻠﺤﻀﻮر ﻗﺒﻞ أن أﺳﻬﺐ‬ ‫ﺑﺎﻟﺤﺪﻳﺚ ﻋﻦ ﺣﺎﺟﺔ اﳌﺠﺘﻤﻊ ﻟﻠﻘﺼﻴﺪة‬ ‫اﻟﺸﻌﺒﻴﺔ‪ ،‬ﻓﺤﻀﻮر اﻟﻘﺼﻴﺪة اﻟﺸﻌﺒﻴﺔ‬ ‫اﻟﻮﻃﻨﻴﺔ ﺑﺎﻹﻣﺎرات ﺧﺎﺻﺔ وأﻧﺎ أﻗﻮل ﺧﺎﺻﺔ‬ ‫ﻷﻧﻪ ﻻ ميﻜﻦ أن ُﻧﻘﺎرن ﺣﻀﻮر اﻟﻘﺼﻴﺪة‬ ‫اﻟﺸﻌﺒﻴﺔ اﻟﻮﻃﻨﻴﺔ ﺑﺒﺎﻗﻲ دول اﻟﺨﻠﻴﺞ‪،‬‬ ‫وذﻟﻚ ﻷﺳﺒﺎب ﻛﺜرية وﻣﻦ أﻫ ّﻤﻬﺎ اﻫﺘامم‬ ‫اﳌﺴﺆوﻟني اﻟﺒﺎﻟﻎ ﺑﺎﳌﺸﻬﺪ اﻟﺜﻘﺎﰲ وا ُﳌﺤﺮﻛني‬ ‫ﻟﻠﻨﺸﺎط اﻟﺸﻌﺮي ﰲ دوﻟﺔ اﻹﻣﺎرات‪ ،‬اﻟﺬﻳﻦ‬ ‫اﻟﺸﻌﺮ ‪baytelshear‬‬ ‫ﺑﻴﺖ ِ‬

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‫ ‪¥ũľğı‬‬

‫‪ ŨſǉƑƭƴŢ Ǉƨ ƻƘǃƴŢ Ūǐǐž‬‬ ‫‪ũǈŚƃƵƴ ſǉŸǃŬǂ ũǈǃǁƵƴ ƫǉƹơŬ‬‬

‫ﻣﺤﻤﺪ ﻋﺒﺪاﻟﺴﻤﻴﻊ‬

‫اﻟﻮﻃﻦ ﻗﺼﻴﺪة ﻻ ميﻜﻦ ﻧﻈﻤﻬﺎ ﺑﺴﻬﻮﻟﺔ‪ ،‬وﻗﺼﺔ ﻣﻦ اﻟﺼﻌﺐ ﻧﺴﺠﻬﺎ‪ ،‬وﻟﻮﺣﺔ ﻻ ميﻜﻦ رﺳﻤﻬﺎ ﺑﺄدوات ﺑﺴﻴﻄﺔ‪ ،‬وﺻﻮرة ﻻ ميﻜﻦ‬ ‫ﺗﺤﺪﻳﺪﻫﺎ ﰲ ﻣﺴﺎﺣﺔ ﺿﻴﻘﺔ‪.‬‬ ‫ً‬ ‫اﻟﻮﻃﻦ ﻫﻮ اﳌﻼذ اﻵﻣﻦ اﻟﺬي ﻧﺰداد ﺣﻨﻴﻨﺎً وﻟﻬﻔﺔ وﺷﻮﻗﺎً ﻟﻨﻌﻮد إﱃ ﺣﻀﻨﻪ اﻟﺪاﻓﺊ‪ ،‬ﻳﻐﻤﺮﻧﺎ ﺑﻌﻄﻔﻪ اﻟﻮاﻓﺮ إن أﺧﺬﺗﻨﺎ اﻟﺤﻴﺎة أو ﺻﺪﺗﻨﺎ‬ ‫اﳌﺸﺎﻏﻞ أو أﺑﻌﺪﺗﻨﺎ اﻟﻈﺮوف ﻋﻨﻪ‪..‬‬ ‫ﺣﻈﻲ اﻟﻮﻃﻦ ﺑﺄﻫﻤﻴﺔ ﻛﺒرية ﰲ ﻣﺨﺘﻠﻒ اﻟﺘﺠﺎرب اﻟﺸﻌﺮﻳﺔ‪ ،‬وﺣﴬ ﺑﻘﻮة ﻋﱪ ﺗﻨﺎوﻻت ﻣﺨﺘﻠﻔﺔ‪ ،‬وﺻﻮر ﻣﺘﻨﻮﻋﺔ وﻣﻌﱪة ﰲ اﻟﻨﺺ‬ ‫اﻟﺸﻌﺮي‪ .‬إذ ﺻﺎر اﻟﻮﻃﻦ ﻳﺨﺮج ﻣﻦ ﻣﻔﻬﻮﻣﻪ اﻟﺘﻘﻠﻴﺪي اﳌﺘﻌﻠﻖ ﺑﺎﻷرض وأﻫﻠﻬﺎ‪ ،‬إﱃ ﺻﻮرة وﺟﺪاﻧﻴﺔ أﻛرث اﺗﺴﺎﻋﺎ‪ ،‬ﺗﺘﺤﻮل ﻓﻴﻬﺎ اﻟﺪار‬ ‫إﱃ ﻣﻔﺮدة ﻣﻜﺜﻔﺔ ﻟﺼﻴﻐﺔ اﻟﻮﻃﻦ‪ ،‬إذ ﻳﺼﺒﺢ ﻫﻮ اﻟﺤﻴﺎة‪ ،‬واﳌﻠﺠﺄ‪ ،‬واﻷﻫﻞ‪ ،‬واﻟﺒﺤﺮ‪ ،‬وﻏريﻫﺎ ﻣﻦ اﳌﻔﺮدات اﻟﺘﻲ ﺻﺎرت ﺗﺤﻤﻞ دﻻﻟﺘﻪ‪.‬‬ ‫وﺗﻜﺸﻒ ﻣﺪوﻧﺔ اﻟﺸﻌﺮ اﻟﺸﻌﺒﻲ اﻹﻣﺎرايت واﻟﺨﻠﻴﺠﻲ ﻋﻦ ﻫﺬه اﻟﺪﻻﻻت وﻣﻔﻬﻮم اﻟﻮﻃﻦ ﰲ اﻟﻘﺼﻴﺪة‪.‬‬ ‫ﻋﻦ ﻣﺪى ﺣﻀﻮر اﻟﻘﺼﻴﺪة اﻟﺸﻌﺒﻴﺔ اﻟﻮﻃﻨﻴﺔ ﰲ اﻹﻣﺎرات ﺑﺸﻜﻞ ﺧﺎص واﻟﺨﻠﻴﺞ ﻋﻤﻮﻣﺎ وﻣﺪى ﺣﺎﺟﺔ اﳌﺠﺘﻤﻌﺎت إﻟﻴﻬﺎ؟ ﺗﺴﺘﻄﻠﻊ ﻣﺠﻠﺔ‬ ‫"ﺑﻴﺖ اﻟﺸﻌﺮ" آراء ﺑﻌﺾ اﻟﺸﻌﺮاء واﻟﻨﻘﺎد ﰲ اﻟﺘﺤﻘﻴﻖ اﻟﺘﺎﱄ‪:‬‬

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‫اﻟﻌﺪد ‪ ، 84‬دﻳﺴﻤﺒﺮ ‪2019‬‬

‫ﻋﻠﻲ ﺑﻦ ﻧﺎﻳﻒ‬ @alinaifalghamdy

b@@ @ £@ Fb@@ @ E h@@Eb@@~@ z@ - ¤@@ @ @D* É@@ ~@ @z@ @D* 2É@@ @ + b@@ @J4b@@: ¤@@0 x@@s@ @D* h@@ @+ @@~@ 8°* f@@c@Jx@@< b £~9bE A x@@< bGx~9b0 b@@~@7 @@EH b@@ @ £@ +*x@@E x@@ Gy@@ - @@ 6¡@@ Eb@@ @ @D*H d@@£@ @ Db@@+H b@@ @£@Fb@@c@E d@@Jb@@p@ ~@ z@ D* x@@ = h@@ @ ~@ }@ 0* Í@@ @ D(* b £Ab~{E ° b@@G4¡@@~@ |@ B* ° b@@ @ /*x@@+* @@E b@@ @J4b@@p@~@8 b@@ @j@ ¤@@ @ D* b@@~@ 6¡@@D* b@@ @ Bx@@:O b@@ @ £@ F*¡@@E h@@ @~@N@ @64&* 2b@@ @ @¸°* ¤@@:b@@~@ 7 ¢@@ @ < b@@ @ J2b@@J* Ì@@ ~@ {@ -R H 4b@@ @ @ @ B°* b@@ @ @D h@@ AÉ@@ b £Bb~6 @@cR @ F @@ BH b@@E ¤@@ @ D* @@ @ ±* b@@ @ GH b@@ @ £@ £@ p@ J @@ @B¡@@ @J v@@ @ m@ @ @´*H É@@ @ @ @ D* Hx@@ @ @ @b@@ @£@A d@@ g@ @ @ JH @@ c@ @ J b@@ @ @ E *v@@ @ @ @ @ @+°*H b £Db E ,x@@~@}@0 v@@ @< v@@Jb@@~@|@ @D* x@@~@@R}@« b@@ @£@Eb@@0H @@ B*¡@@ ´* x@@ @13 @@ :¡@@ D* eb@@c@ ~@ 7 b@@ @ @J2b@@ c@ @E @@ @ @ £Q @ @ @ @ +&°* i*4b@@ @ @ @ E(É@ @ @ @ D @@ @ ~@ @ @64 b@@ @£@Eb@@~@6* @@ @ . b@@ J t@@ J4b@@ g@ @D* ¢@@ @ < uM ¡@@£@ ~@ 7 b@@ @£@<b@@~@z@E @@ @~@ @ 8*HH b@@ @ -4b@@~@ }@ 0 v@@ £Q @ @~@ @7H b JHb GH b@@/x@@D* ¢~| E x@@s@ @D* £ ~6 b@@ @ £@ Db@@EH @@c@ £@ @ + b@@ £@ @Fv@@ D* @@ =b@@ ~@ @7 ¡@@ @ GH

baytelshear ‫اﻟﺸﻌﺮ‬ ِ ‫ﺑﻴﺖ‬

®į̧ńŖŒ Ęŕ b@@£@ /°* x@@s@ A yQ @ @ @ @´* i*4b@@ @ @E° ¤@@EÉ@@~@ 6 b D* d£ + h@@ Q @« ¤@@ @D* n£ ³* @@6Hx@@< %b@ @ E&°*H z ~{D* f@@ @ @: q@@Ab@@~@|@J b@@Gb@@£@~@9 *y@@ @ @E b@@ @ @D v@@ @ @s@ @´* v@@ @m@ @ ´* f@@ @ @B ¢@@ @ @< b@@0Æ@@D* iQv@ ~@ 7 É@@ @ D* ¡@@p@ F b@@ @ -*4b@@~@ }@ 0 b@@ @ @ G3P °* d@@ @ m@ J x@@~@ {@ c@ @ D b@@ @G*x@@ @. 4¡@@ @ @ b@@ £@ @E°*H v@@ @ c@ D* exQ @ @ @ @ -H d@@ @ g@ D* @@Jy@@ b@@g@s@- b@@ @ c@ D* @@ E @ R @F¡@@£@ ~@ |@ ´* 4v@@ @ D* b@@ @ G b ~7°* H4*H 4¡~|D* ¢ 0b+ h~9xQ < b£D É@@;H I43 b@@ @ @ @C ¯ ¤@@ @ D* @@ @ @ D* b@@ @ G bjE°* b + ex~}- ex D* ÍD x~{D* E É@@ :°* q@@Ab@@~@ |@ -H b@@ @ @D(°* b@@ @~@6 @@Fb@@ @ b@@:H É@@ @ D* x@@~@ |@ BH *¡@@ Db@@ BH *¡@@Db@@B b@@£@ D b@@B ¤@@ @ @D* v@@ Jb@@ @ @D* v@@ @ @J*5 v@@ @ @J*5 i*4b@@ @ @ @ E(* b@@ @ A°* 42b@@ @F b@@A¡@@D* t@@£@~@7 ex@@ @ D* @@£@ @0 b@@£@< *4H v@@ @ @J*5H @@~@ }@ @ @ D* v@@ @ J*5 @@ @04 b@@ @+* ¡@@ BH £ 1 @@ BQ H m E ¢@@ @< b@@/H b@@~@ 8H Qv@ @ - v@@ Q @ ¹ v@ R @ @ < ·HH b@@£@/&°* ,x~}0 ¯ 2b@@ ¸&°* N < D¡~z-

‫ﺻﺢ ﻟﺴﺎﻧﻚ‬ َ

‫ﻋﺒﻴﺪ ﺑﻦ ﺧﺼﻴﻒ اﻟﻜﻌﺒﻲ‬ @obaidalkab

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Ęś ¯ Įŉ ¯ ŝšĚ ŗŠĬħ̧ŝğŕ

i*4*5¡@@ @ @ @ @ @D* @@ @ gR @ @ @cN @ @ @gP @ @ @CR * b@@ @ E b@@ @ @ @ F°H b@@ @ @p@ @F i*3 Iv@@ @ ~@ @ @8 @@ @ @E @M @ @ @+b@@ @ @F b@@ @ @ @ F°H b@@ @ @p@ @F ib@@+¡@@ @ ~@ 8H v@@£@ C h@@ B¡@@ D* v@@Jy@@J b@@ E @@ @CH ib@@ @ @ BH*H Hx@@ @ @ @ + 4*v@@ @ @ @ D* d@@ @0 2*5 b@@ @E ib@@ @<b@@ @:H Kb@ @ @ @ @ @~@ @6 b@@ @ @ @ @~@ @6 ¡@@ @ + @@ @ J x@@ @ @ E%* i*4*x@@ @ @ @ B *¡@@ @ -w@@ @ s@ @ -* *3* @@ @ F&b@ @ @+ @@ @ E'¡@ @ @F ib@@ @ @£@ @GH b@@ @ @£@ @ @ @/ b@@ @ Q @ @ ~@ @ 8¡@@ @E v@@ @ @ @ J*5 ib@@ Q @ @ @ @ ´* ¡@@ @£@ @ + v@@ @Db@@ @1 ¡@@ @+b@@ @J b@@ @ @ FwR @ @ @ @ P1H i*4b@@ @ ~@ @ @{@ @ @c@ @ @D* ¡@@ @ ~@ @ @z@ @ @F b@@ @ @ @ @ @ EyQ @ @ @ « *3* i*4b@@ ~@ @|@ @g@ @F°* ¢@@ @ @< b@@ @ ~@ z@ Ab@@ @ J v@@ @ 0 b@@ @ E ib@@ @ @ @ G%*H r*x@@ @ @ @ @ @ A*H i¡@@ @ £@ @ @+ @@ @Jv@@ @0¡@ Q @ @g@ @ E i*4b@@ @ @ @ @E°* @@ @ @ G* b@@ @ J b@@ @ @ @ 0* x@@ ~@ |@ g@ s@ ´b@@ +

2019 ‫ دﻳﺴﻤﺒﺮ‬، 84 ‫اﻟﻌﺪد‬

‫ ‪ ĘğľōŘ‬‬

‫اﻟﻤﺨﻴﻠﺔ واﻟﺬﺋﺐ!‬ ‫ﻫﻞ أﺟﺎﺑﺖ اﻟﻜﺘﺐ ﻋﻦ أﺳﺌﻠﺘﻨﺎ اﻟﺼﻌﺒﺔ؟ ﻫﻞ ﺣﺎﻛﻤﺖ ﻣﻜﺎﻣﻦ‬ ‫ﺿﻌﻔﻨﺎ‪ ،‬وﺧﻮﻓﻨﺎ وأﺳﻮأ ﻛﻮاﺑﻴﺴﻨﺎ؟ ﻫﻞ أﺑﻘﺘﻨﺎ ﻋﲆ ﺳﻄﺢ اﻟﻌﺎمل‬ ‫ﻛام ﻧﻌﺮﻓﻪ وﻧﺘﻔﺎﻋﻞ ﻣﻌﻪ‪ ،‬أم اﺧﺘﻄﻔﺘﻨﺎ إﱃ اﻟﻌﻤﻖ‪ ،‬ﺣﻴﺚ اﳌﻌﻨﻰ‬ ‫ﻗﺎﺑﻞ ﻷﻛرث ﻣﻦ ﺗﺄوﻳﻞ؟‬ ‫أﺳﺌﻠﺔ ﻛﻬﺬه ﺗﺴﺘﺤﻖ أن ﺗﻄﺮح ﻋﲆ اﻟﻨﻔﺲ‪ ،‬ﻛﻠام ﺟﺎﻟﺖ اﻷﻋني‬ ‫ﻋﲆ رﻓﻮف ﻣﻜﺘﻈﺔ ﺑﻌﴩات اﻟﻜﺘﺐ‪ ،‬وﻛﻠام ﻗﺮر اﻟﻘﺎرئ أن ﻳﺘﻨﺎزل‬ ‫ﻋﻦ ﺣﻘﻪ ﰲ اﻟﺠﻤﻊ‪ ،‬ﻟﺼﺎﻟﺢ ﺣﻘﻪ ﰲ اﺧﺘﻴﺎر ﻣﺎ ﻳﻌﺘﻘﺪ أﻧﻪ ﻣﻌﻨﻲ‬ ‫ﺑﺘﺠﺮﺑﺘﻪ اﻹﻧﺴﺎﻧﻴﺔ وﻣﻮﻗﻔﻪ ﻣﻦ اﻟﻌﺎمل‪.‬‬ ‫ﻻ ﻳﺰال ﻧﺎس ﻛرث ﻳﺆﻣﻨﻮن ﺑﺄن ﰲ اﻟﻮرق اﻟﺨﺸﻦ ذو اﻟﺮاﺋﺤﺔ‬ ‫اﻟﻌﻄﺮﻳﺔ اﻟﺸﺠﺮﻳﺔ ﻛﺸﻮﻓﺎت ﻏري ﻣﺴﺒﻮﻗﺔ وﺟامل ﻻ ميﻜﻦ أن‬ ‫ﺗﺨﻄﺌﻪ اﻟﺬاﺋﻘﺔ‪ ،‬وﺑﺄن أرﻧﺐ اﳌﺨﻴﻠﺔ ﺗﺮك آﺛﺎره ﻣﺨﻔﻴﺔ ﺗﺤﺖ‬ ‫ﻗﴩة اﻟﺴﻄﺢ متﺎﻣﺎً‪ ،‬ﻟﻴﺘﺒﻌﻪ ﻛﻞ ﻣﻦ ﻳﺴﺎوره ﻋﻄﺶ إﱃ اﳌﺘﻮاري‬ ‫ﰲ ﻏﺎﺑﺔ اﻟﻌﺠﺎﺋﺐ‪ ،‬ﻫﺆﻻء ﻫﻢ اﻟﺜﻮار اﻷواﺋﻞ‪ ،‬اﳌﺘﺠﻮﻟﻮن مبﻌﺎﻃﻔﻬﻢ‬ ‫اﻟﺤﻤﺮاء ﰲ ﺣﻜﺎﻳﺎت ﻟﻴﺴﺖ إﻻ ﻟﻬﻢ‪ ،‬ﻫﺆﻻء ﻣﻦ ﺗﺘﻐري اﻷرض ﻋﲆ‬ ‫أﻳﺪﻳﻬﻢ‪ ،‬ﻷن روح اﻷدب متﻜﻨﺖ ﻣﻦ ﺗﻮﺣﻴﺪﻫﻢ أﻣﺎم ﻋﻈﻤﺔ‬ ‫اﻟﺠامل ووﺣﺸﻴﺘﻪ اﻟﱪﻳﺌﺔ‪.‬‬ ‫ﻳﻘﻮل أرﻧﻮﻟﺪ ﺑﻴﻨﻴﺖ‪" :‬اﻟﻬﺪف اﻷﺳﺎﳼ ﻟﻸدب ﻫﻮ ﺗﻐﻴري ﻋﻼﻗﺔ‬ ‫اﻟﻔﺮد ﺑﺎﻟﻌﺎمل ﺑﺸﻜﻞ ﻛﺎﻣﻞ‪ ،‬ﻓﻔﻬﻢ وﺗﻘﺪﻳﺮ ﻗﻴﻤﺔ اﻷدب‪ ،‬ﻟﻴﺲ ﺳﻮى‬ ‫ﻓﻬﻢ وﺗﻘﺪﻳ ٍﺮ ﻟﻠﻌﺎمل ﺑﺄﴎه " وﻫﻮ ﻛﺬﻟﻚ ﻣﺤﺒﺔ ﺧﺎﺻﺔ ﺗﻨﺘﺞ ﻋﻦ‬ ‫ٍ‬ ‫ﺗﻐﻴري ﻋﻼﻗﺔ اﻟﻔﺮد ﺑﻨﻔﺴﻪ‪ ،‬ﺣﻴﺚ ﻳﺪرك ﺑﺴﺒﺐ ﺗﺄﺛري ﻧﺺ أديب‬ ‫ﺧﺎرق أو ﻗﺼﺎﺋﺪ ﺑﺨﻔﺔ اﻟﻘﻄﻦ وﻃﻌﻢ اﳌﻄﺮ‪ ،‬أن ﰲ أﺑﺴﻂ اﻷﺷﻴﺎء‬ ‫ﺧﺮاﺋﻂ ﻣﺮﻛﺒﺔ‪ ،‬وﺑﺄن اﻟﺴﺤﺮ ﻳﻜﻤﻦ ﰲ ﻛﻮﻧﻪ ‪-‬اﻟﻔﺮد ‪ -‬ﺟﺰءاً ﺣﻘﻴﻘﻴﺎً‬ ‫ﻣﻦ إﻛﺴري اﻟﺤﻴﺎة‪.‬‬ ‫ﺗﻨﻘﻞ ﻟﻨﺎ اﻷﻋامل اﻷدﺑﻴﺔ واﻟﺸﻌﺮﻳﺔ اﻟﻌﻈﻴﻤﺔ ﻟﻄﺎﻓﺔ اﻟﺸﻤﻌﺔ‬

‫‪@safiaalshehi‬‬

‫ﺻﻔﻴﺔ اﻟﺸﺤﻲ‬

‫وﺳﻄﻮح اﻟﻨﺠﻤﺔ ﰲ آن‪ ،‬ومتﺘﻠﺊ ﺑﺎﻟﺮﺳﺎﺋﻞ وﺗﺘﺪﻓﻖ ﺑﺎﻷﺳﺌﻠﺔ‬ ‫اﳌﺤﺮﻣﺔ‪ ،‬وﻛام ﻳﺤﺪث ﻋﻨﺪ ﻧﺸﻮء ﺣﺮاك ﺟﺪﻳﺪ‪ ،‬ﺗﺮﺗﻔﻊ ﻣﺼﺪات‬ ‫ﻣﻦ ﺣﺪﻳﺪ ﻟﺘﺤﺬرﻧﺎ ﻣﻦ اﻟﻐﻮص ﺗﺤﺖ اﻟﺴﻄﺢ‪ ،‬وﻣﻦ ﻣﻜﺮ‬ ‫اﳌﻌﺎين‪ ،‬وﻣﻦ أﻧﻨﺎ ﻗﺪ ﻧﺼﺎب ﺑﺎﻟﻠﻮﺛﺔ اﻷﺑﺪﻳﺔ اﻟﺘﻲ ﺗﻔﺮق اﻟﻘﺮاء‬ ‫ﻋﻦ ﻏريﻫﻢ‪ ،‬ﻓﻼ ﻧﻌﻮد ﺻﺎﻟﺤني ﻟﻠﻌﻴﺶ‪ ،‬وﻛام أن ﻟﻠﻘﻴﻤﺔ ﺣﺮاﺳﻬﺎ‪،‬‬ ‫ﻓﻬﻨﺎك ﺟﻼدون ﻟﻠﻤﻌﻨﻰ‪ ،‬ﻳﻌﱰﺿﻮن ﻣﺠﺮى اﻟﻨﻔﺲ‪ ،‬ﺣﺘﻰ ﻻ ﺗﻐﺮد‬ ‫اﻟﻌﺼﺎﻓري‪ ،‬ﻓﺘﻴﺄس‪ ،‬وﺗﺠﻒ‪ ،‬وﺗﺘﻜﴪ‪.‬‬ ‫وﺣﺘﻰ ﻧﻘﺎوم ﻛﻞ ذﻟﻚ ﻋﻠﻴﻨﺎ أن ﻧﺒﺪأ ﺑﺘﺄﺛﻴﺚ اﻟﺮوح ﺑﺎﻷﻏﺎين‬ ‫وﺣﻜﺎﻳﺎت ﻣﺎ ﻗﺒﻞ اﻟﻨﻮم ﻣﻦ ﺟﺪﻳﺪ‪ ،‬وﻋﻠﻴﻨﺎ أن ﻧﻨﻄﻠﻖ ﺑﺤﺮﻳﺔ‬ ‫أﻃﻔﺎل ميﺴﻜﻮن ﺧﻴﻮط اﻟﺸﻤﺲ ﻷول ﻣﺮة‪ ،‬وﻳﺮﻗﺼﻮن ﺣﻔﺎة ﺗﺤﺖ‬ ‫اﳌﻄﺮ‪ ،‬ﻋﻠﻴﻨﺎ أن ﻧﺘﺤﻮل إﱃ زورﺑﺎ وﻻ ﻏريه‪ ،‬ووﺳﻂ ذﻫﻮل اﳌﻌﺘﺎد‬ ‫واﻟﺴﺎﺋﺪ‪ ،‬ﻧﻨﺸﺊ أﻧﻔﺴﻨﺎ‪ ،‬ﺣﺘﻰ وﻟﻮ دﻓﻌﻨﺎ ﻷن ﻧﻮﻟﺪ ﻣﻦ ﺟﺪﻳﺪ‪،‬‬ ‫ﻷن اﻟﻌﺎمل ﻣﻦ ﺣﻮﻟﻨﺎ ﻳﺤﺘﺎج إﱃ اﻷﻃﻔﺎل ﻓﻴﻨﺎ‪ ،‬ﻓﻬﺆﻻء وﺣﺪﻫﻢ ﻻ‬ ‫ﻳﻌﺮﻓﻮن اﻟﺮﻋﺐ ﻣﻦ اﻟﺬﺋﺐ‪ ،‬ﻗﺒﻞ أن ﻳﻠﻘﻨﻬﻢ اﻟﻌﺎمل‪ -‬زورا‪ -‬ﺑﺄن‬ ‫اﻟﺬﺋﺐ ﻳﻔﱰس اﻷﺣﻼم‪.‬‬ ‫ﻳﻘﻮل اﻟﻜﺎﺗﺐ اﻷرﺟﻨﺘﻴﻨﻲ ﺧﻮرﺧﻲ ﻟﻮﻳﺲ ﺑﻮرﺧﻴﺲ‪" :‬أﻧﺸﺊ‬ ‫ﻣﻜﺘﺒﺔ وﻟﻮ ﻣﻦ ﺛﻼﺛﺔ ﻛﺘﺐ‪ ،‬وﺳﺘﻘﺎوم ﺟﺰءا ﻣﻦ ﻗﺒﺢ اﻟﻌﺎمل‪ ،‬ﻛﻞ‬ ‫ﻣﻜﺘﺒﺔ ﻫﻲ ﺻﻔﻌﺔ ﰲ وﺟﻪ اﻟﻌﺎمل اﻟﺠﺎﻫﻞ" وﻛﻞ ﻃﻔﻞ ﻧﺎﺋﻢ ﻓﻴﻨﺎ‪،‬‬ ‫ﻫﻮ ﻣﺨﻴﻠﺔ ﺗﻔﺘﺢ ﻋﲆ اﻟﺬاﻛﺮة واﳌﺴﺘﻘﺒﻞ ﰲ آن‪ ،‬ﻓﻠﻨﴩع اﻟﻨﻮاﻓﺬ‬ ‫ﻋﲆ اﻟﺤﻜﺎﻳﺎت واﻷﺳﺌﻠﺔ اﻟﺼﻌﺒﺔ‪ ،‬ﺣﺘﻰ ﻧﻨﻘﺬ اﻟﻌﺎمل ﻣﻦ اﺧﺘﻼﻻﺗﻪ‬ ‫اﳌﺮوﻋﺔ‪.‬‬

‫اﻟﺸﻌﺮ ‪baytelshear‬‬ ‫ﺑﻴﺖ ِ‬

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‫‪ĘŐŖŒ ĮľŃ‬‬

‫ﻟﻜﻞ ﻣﺎ ﻫﻮ ﻣﺜﺎﱄ‪ ،‬ﻣﺜﺎﻻً ﻟﻠﺘﺴﺎﻣﺢ واﳌﺤﺒﺔ‬ ‫واﻟﻜﺮم واﻟﻌﻄﺎء‪ ،‬ﻣﺜﺎﻻً ﻟﻠﺘﻘﺪم واﻻزدﻫﺎر‪،‬‬ ‫ﻣﺜﺎﻻً ﻟﻠﻌﻠﻢ واﳌﻌﺮﻓﺔ‪ ،‬ﻣﺜﺎﻻً ﻻﺳﺘﴩاف‬ ‫اﳌﺴﺘﻘﺒﻞ وﺗﺤﻘﻴﻖ اﻷﺣﻼم‪.‬‬ ‫ﺑﻌﺪ ﻫﺬه اﻟﺠﻮﻟﺔ اﻟﻘﺼرية اﻟﺘﻲ ﻟﻴﺴﺖ‬ ‫اﻷوﱃ وﻟﻦ ﺗﻜﻮن اﻷﺧرية ﳌﺘﺤﻒ اﻻﺗﺤﺎد‬ ‫أﻋﺘﻘﺪ أين وﺟﺪت ﺟﺰءاً ﻣﻦ اﻷﺟﻮﺑﺔ اﻟﺘﻲ‬ ‫أﺑﺤﺚ ﻋﻨﻬﺎ‪ ،‬أﻋﺘﻘﺪ أن ﻣﺎ ﺗﺤﻘﻘﻪ ﰲ دوﻟﺔ‬

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‫اﻟﻌﺪد ‪ ، 84‬دﻳﺴﻤﺒﺮ ‪2019‬‬

‫اﻹﻣــﺎرات اﻟﻌﺮﺑﻴﺔ اﳌﺘﺤﺪة‪ ،‬ﻻ ﻋﻼﻗﺔ ﻟﻪ‬ ‫ﺑﺎﻟﻨﻔﻂ واﻟرثوات ﻓﻘﻂ ﻣﻊ أﻫﻤﻴﺘﻬﺎ‪ ،‬وﻻ‬ ‫ﻟﻸرض وﻣﻮﻗﻌﻬﺎ ﺑﺎﻟﺮﻏﻢ ﻣﻦ ﻋﻈﻢ ﺷﺄﻧﻬﺎ‪،‬‬ ‫ﻣﺎ ﺗﺤﻘﻖ ﰲ دوﻟﺔ اﻹﻣﺎرات ﻟﻺﻧﺴﺎن ﻛﺎن‬ ‫وراءه اﻹﻧﺴﺎن‪ ،‬اﻹﻧﺴﺎن ﺑﺈرادﺗﻪ‪ ،‬ﺑﻜﻔﺎﺣﻪ‬ ‫ﺑﻨﺒﻞ ﻣﺴﻌﺎه‪ ،‬اﻹﻧﺴﺎن ﺑﻜﺮﻣﻪ ﺑﺼﺪﻗﻪ ﺑﺤﺒﻪ‬ ‫ﻷﺑﻨﺎء ﺷﻌﺒﻪ‪ ،‬اﻹﻧﺴﺎن ﺑﺘﻀﺤﻴﺘﻪ ﻷﺟﻞ وﻃﻨﻪ‬ ‫ودﻳﻨﻪ وإﻧﺴﺎﻧﻴﺘﻪ‪ .‬إن ﻣﺎ ﺗﺤﻘﻖ ﰲ دوﻟﺔ‬

‫اﻹﻣــﺎرات ﻛﺎن وراءه ﻋﺰميﺔ رﺟﻞ ووﻻء‬ ‫ﺷﻌﺐ‪.‬‬ ‫إن ﻣﺎ ﺗﺤﻘﻖ ﰲ دوﻟﺔ اﻹﻣﺎرات وﻣﺎ ﺳﻴﺘﺤﻘﻖ‬ ‫ﰲ اﻷﻳﺎم اﳌﻘﺒﻠﺔ ﻣﺎ ﻛﺎن ﻟﻪ أن ﻳﺘﺤﻘﻖ ﻟﻮﻻ‬ ‫ﻗﻴﺎدة رﺷﻴﺪة ﻋﻤﻠﺖ ﻣﻦ أﺟﻞ ﺷﻌﺒﻬﺎ‪ ،‬وﻣﺎ‬ ‫ﻛﺎن ﻟﻪ أن ﻳﺘﺤﻘﻖ ﻟﻮﻻ ﺷﻌﺐ ﻋﻈﻴﻢ ﺿﺤﻰ‬ ‫واﺟﺘﻬﺪ وﻧﺎﺿﻞ ﻣﻦ أﺟﻞ إﻋﻼء ﻛﻠﻤﺔ وﻃﻨﻪ‬ ‫ورﻓﻊ راﻳﺘﻪ ﻋﺎﻟﻴﺎً ﰲ ﺷﺘﻰ اﳌﺤﺎﻓﻞ اﻟﺪوﻟﻴﺔ‪.‬‬

‫إﱃ دﻫﺸﺔ‪ ،‬دﻫﺸﺔ ﺑﺎﳌﺮيئ واﳌﺴﻤﻮع‬ ‫واﳌﻘﺮوء‪ ،‬دﻫﺸﺔ ﺑﻜﻞ اﻟﺘﻔﺎﺻﻴﻞ اﻟﺘﻲ ﺗﺮوي‬ ‫ﻗﺼﺔ اﻻﺗﺤﺎد ودﻗﺔ ﻫﺬه اﻟﺘﻔﺎﺻﻴﻞ‪.‬‬ ‫دامئ ـﺎً ﻣﺎ ﻛﻨﺖ أﺑــﺪأ زﻳــﺎريت ﻟﻬﺬا اﻟﴫح‬ ‫اﻟﻌﻈﻴﻢ ﺑــﺰﻳــﺎرة اﳌﺘﺤﻒ اﻟــﺬي ﻳﻀﻢ‬ ‫اﻹﺟــﺎﺑــﺎت اﻟﻨﺎﺟﻌﺔ ﻷﺳﺌﻠﺘﻲ‪ ،‬ﺣﻴﺚ‬ ‫ﻳﺘﺄﻟﻒ اﳌﺘﺤﻒ ﻣﻦ أﻗﺴﺎم ﻋﺪة‪ ،‬ﺗﻘﺪم‬ ‫ﺷﺘﻰ اﳌﻌﻠﻮﻣﺎت ﻋﻦ اﻹﻣﺎرات واﺗﺤﺎدﻫﺎ‬ ‫ﻣﺴﺘﻌﻴﻨﺔ ﺑﺄﺣﺪث وﺳﺎﺋﻞ اﻟﻌﺮض اﳌﺮيئ‬ ‫ﻣﻨﻬﺎ واﳌﺴﻤﻮع‪ ،‬ﻧﺎﻗ ًﻼ زواره ﰲ رﺣﻠﺔ ﻋﱪ‬ ‫اﻟﺰﻣﻦ‪ ،‬ﻟﻴﻌﻴﺸﻮا أﻫﻢ اﻟﻠﺤﻈﺎت ﰲ ﺗﺎرﻳﺦ‬ ‫اﻹﻣــﺎرات‪ ،‬ﺷﺎرﺣﺎً اﻟﺠﻬﻮد اﻟﺤﺜﻴﺜﺔ اﻟﺘﻲ‬ ‫ﺑﺬﻟﻬﺎ اﳌﻐﻔﻮر ﻟﻪ اﻟﺸﻴﺦ زاﻳﺪ ﺑﻦ ﺳﻠﻄﺎن آل‬ ‫ﻧﻬﻴﺎن واﳌﻐﻔﻮر ﻟﻪ اﻟﺸﻴﺦ راﺷﺪ ﺑﻦ ﺳﻌﻴﺪ‬ ‫آل ﻣﻜﺘﻮم رﺣﻤﻬام اﻟﻠﻪ ﰲ ﺳﺒﻴﻞ ﺗﻮﺣﻴﺪ‬ ‫اﻟﺼﻒ وإﻋﻼء ﻛﻠﻤﺔ اﻷﺧﻮة‪.‬‬ ‫ﻳﻌﺮض اﳌﺘﺤﻒ ﻣﻜﻮﻧﺎت ﻋﺪﻳﺪة ﻳﺤﺎيك‬ ‫ﻣﻌﻬﺎ أﺳﻠﻮب اﻟﺘﺠﻮال اﻟﺤﻘﻴﻘﻲ‪ ،‬ﺑﺎﺳﺘﺨﺪام‬ ‫ﻣﺠﻤﻮﻋﺔ ﻣﺘﻨﻮﻋﺔ ﻣﻦ اﻟﺘﻘﻨﻴﺎت واﻷﺳﺎﻟﻴﺐ‬ ‫اﳌﻨﺎﺳﺒﺔ ﳌﺨﺘﻠﻒ اﻷﻋامر وأمنﺎط اﻟﺘﻌﻠﻢ‬

‫اﳌﺘﻨﻮﻋﺔ‪ .‬وﻳرثي ﺗﺠﺮﺑﺔ زواره ﻋﻦ ﻃﺮﻳﻖ‬ ‫ﺗﺤﻘﻴﻖ اﻟــﺘــﻮازن ﺑني ﺷﺎﺷﺎت اﻟﻌﺮض‬ ‫واﻟﺘﻘﻨﻴﺎت اﳌﺘﻄﻮرة‪ ،‬إﱃ ﺟﺎﻧﺐ ﻣﻨﺼﺎت‬ ‫ﻋﺮض ﻟﻠﻤﻘﺘﻨﻴﺎت اﻟﺘﺎرﻳﺨﻴﺔ‪.‬‬ ‫وﻫﻨﺎك ﺑﺮﻧﺎﻣﺞ ﻟﻠﻤﻌﺎرض اﳌﺆﻗﺘﺔ اﻟﺘﻲ‬ ‫ﺗﺘﻴﺢ اﺳﺘﻜﺸﺎف ﻣﻮاﺿﻴﻊ ﺷﺘﻰ‪ .‬وﻻ ﺗﻜﺘﻤﻞ‬ ‫اﻟﺮﺣﻠﺔ ﻓﻴﻪ إﻻ ﺑﺎﺳﺘﻜﺸﺎف دار اﻻﺗﺤﺎد‬ ‫وﻗــﴫ اﻟﻀﻴﺎﻓﺔ واﳌﺴﺎﺣﺎت اﳌﺤﻴﻄﺔ‬ ‫ﺑﺎﳌﻜﺎن‪ ،‬واﻟﺘﻨﻘﻞ ﰲ أرﺟﺎء اﳌﺒﺎين اﻟﺘﺎرﻳﺨﻴﺔ‬ ‫ﻫﻨﺎك‪ ،‬ﳌﻌﺎﻳﺸﺔ أﺟﻮاء اﻟﺤﺪث اﻷﺑﺮز‪ ،‬ﻣﻊ‬ ‫ﺗﻮﻓري ﻛﺎﻓﺔ اﳌﻌﻠﻮﻣﺎت ﻣﻦ ﻗﺒﻞ ﻣﺮﺷﺪﻳﻦ‬ ‫ﻣﺘﻤﻜﻨني‪.‬‬ ‫أﻣﺎ اﻟﺒﺎﺣﺜني ﻋﻦ ﻣﻨﺎﻫﻞ اﳌﻌﺮﻓﺔ اﻟﻮﻃﻨﻴﺔ‪،‬‬ ‫ﻓﺴﻴﺠﺪون ﰲ ﻣﻜﺘﺒﺔ اﳌﺘﺤﻒ اﻟﺨﻴﺎر‬ ‫اﻷﻣﺜﻞ‪ ،‬ﻓﻬﻲ ﺗﻮﻓﺮ ﻟﻬﻢ ‪ 3‬آﻻف ﻋﻨﻮان‬ ‫ﻟﻠﻜﺘﺐ اﻟﻮﻃﻨﻴﺔ واﻻﺟﺘامﻋﻴﺔ واﻟﺘﺎرﻳﺨﻴﺔ‬ ‫ﻋﻦ اﻟﺪوﻟﺔ اﻹﻣﺎرات‪ ،‬وﺗﻀﻢ أﻳﻀﺎً ﻣﺠﻼت‬ ‫وﻛﺘﻴﺒﺎت‪ .‬وﻫﻨﺎك ﻗﺎﻋﺘﺎن ﻣﺨﺼﺼﺘﺎن‬ ‫ﻟﻠﺘﻌﻠﻴﻢ واﻟﺘﺪرﻳﺐ‪ ،‬وﻗﺎﻋﺔ ﻛﺒرية ﻟﻠﻤﻌﺎرض‬ ‫اﳌﺆﻗﺘﺔ‪.‬‬

‫ﻛام ﺗﺘﻮزع ﻋﲆ أﻃـﺮاف وزواﻳــﺎ اﳌﺘﺤﻒ‬ ‫اﻷﻗﻮال اﳌﺄﺛﻮرة ﻟﻶﺑﺎء اﳌﺆﺳﺴني‪ ،‬ﺣﻴﺚ ﺗﻢ‬ ‫ﺧﻄﻬﺎ ﺑﺼﻮرة ﻓﻨﻴﺔ وﻛﺄﻧﻬﺎ ﻣﻨﺤﻮﺗﺔ ﺟﺪارﻳﺔ‪،‬‬ ‫ﻣام ﻳﻀﻔﻲ اﳌﺰﻳﺪ ﻣﻦ ﻋﺮاﻗﺔ اﻟﻔﻦ واﻟﺠامل‬ ‫ﻋﲆ اﳌﻜﺎن‪ ،‬وﰲ اﻟﻮﻗﺖ ﻧﻔﺴﻪ ﻧﻘﻞ ﻋﻤﻖ‬ ‫اﳌﻌﺎين اﳌﺤﻤﻠﺔ ﺑﺎﻟﺤﻜﻤﺔ‪.‬‬ ‫وﻻ ميﻜﻦ ﻟﺰاﺋﺮ اﳌﺘﺤﻒ إﻻ أن ﻳﻘﻒ أﻣﺎم‬ ‫ﺻــﻮر اﻟــﻘــﺎدة اﳌﺆﺳﺴني اﻟﺘﻲ ﺗﺘﻮﺳﻂ‬ ‫اﳌﺘﺤﻒ‪ ،‬ﻣﺴﺘﺸ ّﻔﺎً ﻣﻦ وﺟﻮﻫﻬﻢ وﻣام‬ ‫ﻛﺘﺐ ﻋﻨﻬﻢ وﻣام ﻋﺮض ﻣﻦ ﻣﻘﺘﻨﻴﺎﺗﻬﻢ‬ ‫ﺷﻴﺌﺎً ﻣﻦ ﴎ اﻻﺗﺤﺎد اﻟﻌﻈﻴﻢ اﻟﺬﻳﻦ وﻗﻌﻮا‬ ‫ﺑﻴﺎن وﻻدﺗﻪ‪ ،‬وﻛﱪ وازدﻫﺮ ﰲ زﻣﻦ اﻟﻘﺎدة‬ ‫اﻟﻌﻈامء اﻟﺬﻳﻦ ﺧﻠﻔﻮﻫﻢ‪ ،‬ﻓﻜﺎﻧﻮا ﺧري‬ ‫ﺧﻠﻒ ﻟﺨري ﺳﻠﻒ‪.‬‬ ‫وﺑﻌﺪ زﻳــﺎريت اﳌﺘﺤﻒ ﻋﺮﺟﺖ ﻋﲆ دار‬ ‫اﻻﺗﺤﺎد‪ ،‬ﻫﺬا اﳌﻜﺎن اﻟﺬي ﺷﻬﺪ ﺗﻮﻗﻴﻊ وﺛﻴﻘﺔ‬ ‫اﺗﺤﺎد دوﻟﺔ اﻹﻣﺎرات اﻟﻌﺮﺑﻴﺔ اﳌﺘﺤﺪة‪ ،‬ﺗﻠﻚ‬ ‫اﻟﻠﺤﻈﺔ اﻟﺘﺎرﻳﺨﻴﺔ اﻟﺘﻲ أﻋﻠﻨﺖ ﻟﻠﻌﺎمل ﻋﻦ‬ ‫وﻻدة دوﻟﺔ ﻗﻮﻳﺔ ﻋﴫﻳﺔ أﺿﺎﻓﺖ وﻣﺎ زاﻟﺖ‬ ‫ﺗﻀﻴﻒ ﻟﻬﺬا اﻟﻌﺎمل اﻟﻜﺜري‪ ،‬دوﻟﺔ ﺗﻌﺘﱪ ﻣﺜﺎﻻً‬ ‫اﻟﺸﻌﺮ ‪baytelshear‬‬ ‫ﺑﻴﺖ ِ‬

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‫‪ĘŐŖŒ ĮľŃ‬‬ ‫‪ɴ‬‬ ‫‪ ɐǛǙƋǕŌ ƉƚŨƀǿ ǣǝŌƈƃŵ ǛǾş‬‬ ‫‪ ǳƚǃ ɐǳƚǂǕŌ ƉǥǷŵ ǛǘǈǿǶ‬‬ ‫‪ǲƃżŨǘǕŌ ǳǾşƉƪǕŌ ŦŌƈōǙȑŌ ǳǕǶƂ‬‬ ‫‪ ŦōǝǷǈǙ ƱżŨǘǕŌ ƜƉƪǿ‬‬ ‫‪ ŜǷǔƓŐ ōǤƪǙ ǽǉōżǿ ǲƃǿƃƫ‬‬ ‫‪ ǖŌƃƀŨƓōş ɐǽǂǾǂżǕŌ ǒŌǷŴŨǕŌ‬‬ ‫‪ ŦōǾǜǂŨǕŌ ǛǙ ǳƫǷǜŨǙ ǳƫǷǘŴǙ‬‬ ‫‪ǳŞƓōǜǘǕŌ ŝǾǕōƓȏŌǶ‬‬ ‫ ‪ ƈōǾƀǕŌ ƱżŨǘǕŌ ǳŞŨǈǙ ǽƳ‬‬ ‫‪ 3 ǗǤǕ ƉƳǷũ ǽǤƳ ɐǓŬǙȏŌ‬‬ ‫‪ ǳǾǜƣǷǕŌ ŝŨǈǔǕ ǚŌǷǜƫ ưȍŔ‬‬ ‫ ‪ ǳǾƀǿƈōŨǕŌǶ ǳǾƫōǘŨŵȍŌǶ‬‬ ‫‪ŦŌƈōǙȑŌ ǳǕǶƃǕŌ Ǜƫ‬‬

‫اﻗﺘﻔﺎء ﺧﻄﺎﻫﻢ ﰲ ﺑﻨﺎء اﻷﻣﺔ‪.‬‬ ‫وﻳﺄﺧﺬ اﳌﺘﺤﻒ زواره ﺑﺮﺣﻠﺔ ﻓﺮﻳﺪة‪،‬‬ ‫وﻳﻘﺪم ﻣﻌﺎرض وﺑﺮاﻣﺞ ﺗﻔﺎﻋﻠﻴﺔ وﻣﺒﺎدرات‬ ‫ﺗﻌﻠﻴﻤﻴﺔ ﺗﺴﺘﻜﺸﻒ اﻟﺘﺴﻠﺴﻞ اﻟﺰﻣﻨﻲ‬ ‫ﻟﻸﺣﺪاث وﺻﻮﻻً إﱃ إﻋﻼن دوﻟﺔ اﻹﻣﺎرات ﰲ‬ ‫اﻟﻌﺎم ‪ ،1971‬ﻣﻊ اﻟﱰﻛﻴﺰ ﺑﺸﻜﻞ رﺋﻴﴘ ﻋﲆ‬ ‫اﻟﻔﱰة ﻣﺎ ﺑني ‪ 1968‬و‪ .1974‬وﻣﻦ ﺧﻼل‬ ‫اﳌﻌﺎرض اﻟﺘﻔﺎﻋﻠﻴﺔ واﻟﱪاﻣﺞ اﻟﺘﻌﻠﻴﻤﻴﺔ‪،‬‬ ‫ﻳﺤيك اﳌﺘﺤﻒ ﻗﺼﺔ اﻻﺗــﺤــﺎد‪ .‬وﻳﻬﺪف‬ ‫اﳌﺘﺤﻒ ً‬ ‫أﻳﻀﺎ إﱃ ﻧﴩ اﳌﻌﺮﻓﺔ ﺑني اﻟﺰوار‬ ‫ﺣﻮل دﺳﺘﻮر اﻟﺪوﻟﺔ‪ ،‬وﻻ ﺳﻴام اﻟﺤﻘﻮق‬ ‫واﻻﻣﺘﻴﺎزات اﻟﺘﻲ ميﻨﺤﻬﺎ ﳌﻮاﻃﻨﻲ اﻹﻣﺎرات‪،‬‬

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‫اﻟﻌﺪد ‪ ، 84‬دﻳﺴﻤﺒﺮ ‪2019‬‬

‫وﻣﺎ ﺗﱰﺗﺐ ﻋﻠﻴﻬﻢ ﻣﻦ ﻣﺴﺆوﻟﻴﺎت‪ .‬وﺗﻀﻢ‬ ‫ﻣﻌﺮوﺿﺎت اﳌﺘﺤﻒ ﻣﻮاد ووﺛﺎﺋﻖ ﺗﺘﻌﻠﻖ‬ ‫ﺑﺄﺣﺪاث ﺗﺄﺳﻴﺲ دوﻟﺔ اﻹﻣﺎرات اﻟﻌﺮﺑﻴﺔ‬ ‫اﳌﺘﺤﺪة‪ ،‬ﻛام ﻳﺴﻬﻢ اﳌﺘﺤﻒ ﻣﻦ ﺧﻼل‬ ‫ﺗﺨﺼﻴﺼﻪ ﻟﱪﻧﺎﻣﺞ ﻫﺎم ﻟﻸﺑﺤﺎث واﻟﻨﴩ ﰲ‬ ‫ﺗﻮﺛﻴﻖ رﺣﻠﺔ اﻻﺗﺤﺎد ﻋﱪ اﻹﻣﺎرات اﻟﺴﺒﻊ‪.‬‬ ‫دامئ ـﺎً ﻣﺎ ﺗﺘﻤﻠﻜﻨﻲ اﻟﺮﻫﺒﺔ ﻋﻨﺪ زﻳﺎريت‬ ‫ﻟﻬﺬا اﻟﴫح‪ ،‬ﻛﻴﻒ ﻻ وﻓﻴﻪ اﻹﺟﺎﺑﺔ ﻋﻦ‬ ‫اﻟﺘﺴﺎؤﻻت اﻟﺘﻲ ﺷﻐﻠﺘﻨﻲ ﻛﺜرياً‪ ،‬ﻛﻴﻒ‬ ‫ﻻ وﺑني ﺟﺪراﻧﻪ ﻳﺨﺘﴫ اﻟﺰﻣﻦ‪ ،‬وﻳﻜﻤﻦ‬ ‫ﺟﻮﻫﺮ اﻟﻘﺼﺔ‪ ،‬ﻗﺼﺔ دوﻟﺔ اﻹﻣﺎرات اﻟﻌﺮﺑﻴﺔ‬ ‫اﳌﺘﺤﺪة‪ .‬ﻣﺎ أن أدﺧﻠﻪ ﺣﺘﻰ ﺗﺘﺤﻮل اﻟﺮﻫﺒﺔ‬

‫ﻣﺼﻄﻔﻰ أﺣﻤﺪ‬

‫ﻗﻀﻴﺖ ﰲ ﻫﺬا اﻟﺒﻠﺪ اﻟﻄﻴﺐ أﻛرث ﻣﻦ ‪13‬‬ ‫ﻋﺎﻣﺎً‪ ،‬ﺗﻌﻠﻤﺖ ﻣﻨﻬﺎ اﻟﻜﺜري وﺣﻘﻘﺖ ﻓﻴﻬﺎ‬ ‫اﻟﻜﺜري‪ ،‬إﻻ أين ﺑﻘﻴﺖ ﻋﺎﺟﺰاً ﻋﻦ اﻷﺟﺎﺑﺔ‬ ‫ﻋﻦ ﺑﻌﺾ اﻷﺳﺌﻠﺔ‪ ،‬ﻓام زاﻟﺖ ﻫﻨﺎك ﻣﺴﺎﺋﻞ‬ ‫ﺗــﺪور ﰲ ﻣﺨﻴﻠﺘﻲ مل أﺟــﺪ ﻟﻬﺎ ﺗﻔﺴرياً‪،‬‬ ‫واﺳﺘﻔﺴﺎرات مل أﺟﺪ ﻟﻬﺎ ﺣ ًﻼ‪.‬‬ ‫ﺛﻼﺛﺔ ﻋﴩ ﻋﺎﻣﺎً وأﻧﺎ أﺳﺄل ﻧﻔﴘ ﻛﻴﻒ‬ ‫اﺳﺘﻄﺎع رﺟﻞ أن ﻳﺠﻤﻊ ﺷﻌﺒﺎ ﻣﻦ إﻣﺎرات‬ ‫ﻣﺨﺘﻠﻔﺔ ﺗﺤﺖ راﻳﺔ واﺣﺪة‪ ،‬وأن ﻳﺴري ﺑﻬﻢ‬ ‫ﺑﴪﻋﺔ ﻣﺬﻫﻠﺔ ﻧﺤﻮ اﻷﻣﺎم‪ ،‬ﻛﻴﻒ اﺳﺘﻄﺎع‬ ‫ﻫﺬا اﻟﺮﺟﻞ أن ﻳﺤﻔﺰ اﻟﻄﺎﻗﺎت وأن ﻳﻮﺣﺪ‬ ‫اﻟﻜﻠﻤﺔ‪ ،‬وأن ﻳﺆﺳﺲ ﻟﺪوﻟﺔ ﺑﺎت ﻟﻬﺎ ﺛﻘﻠﻬﺎ‬ ‫اﻻﻗﺘﺼﺎدي واﻟﺴﻴﺎﳼ واﻟﺜﻘﺎﰲ ﰲ وﻗﺖ‬ ‫ﻗﻴﺎﳼ‪.‬‬ ‫دامئﺎً ﻣﺎ ﻛﻨﺖ وﻣﺎ زﻟﺖ أﺳﺄل ﻧﻔﴘ ﻛﻴﻒ‬ ‫ﻻﺗﺤﺎد ﺳﺒﻊ إﻣﺎرات ﺻﻐرية أن ﻳﺼﻨﻊ ﻫﺬا‬ ‫اﻟﻔﺎرق اﳌﻬﻮل‪ ،‬ﻛﻴﻒ ﻻﺟﺘامع اﻟﻜﻠﻤﺔ أن‬ ‫ﻳﺨﻠﻖ ﻗﻮة أﺷﺒﻪ ﺑﺘﻠﻚ اﻟﺘﻲ ﻧﺴﻤﻊ أﻧﻬﺎ ﰲ‬ ‫اﳌﻼﺣﻢ اﻟﻘﺪميﺔ‪ ،‬ﻗﻮة ﻻ ﺗﻌﺮف اﳌﺴﺘﺤﻴﻞ‪،‬‬ ‫ﻗﻮة ﻻ ﻳﻘﻒ ﰲ وﺟﻬﻬﺎ ﳾء‪ ،‬ﻗﻮة ﻻ ﺣﺪود‬ ‫ﻟﻬﺎ وﻻ ﺣﺪود ﻟﺘﻄﻠﻌﺎﺗﻬﺎ‪.‬‬ ‫دامئـﺎً ﻣﺎ ﻛﻨﺖ أﺳﺄل ﻧﻔﴘ ﻛﻴﻒ ﻟﺪوﻟﺔ‬ ‫ﻻ ﻳﺘﺠﺎوز ﻋﻤﺮﻫﺎ ﺑﻀﻌﺔ ﻋﻘﻮد أن ﺗﻨﺎﻃﺢ‬ ‫أﻋﻈﻢ اﻟــﺪول ﰲ اﻟﻌﺎمل‪ ،‬وﺗﻘﻒ ﻟﻬﺎ اﻟﻨﺪ‬ ‫ﺑﺎﻟﻨﺪ‪ ،‬ﻛﻴﻒ ﻟﻬﺬه اﻟﺪوﻟﺔ اﻟﻔﺘﻴﺔ أن ﺗﻜﻮن‬ ‫ﺻﺎﺣﺒﺔ اﻟﻘﺮار وﺻﺎﺣﺒﺔ اﻟﻜﻠﻤﺔ اﻟﻔﺼﻞ ﰲ‬ ‫اﻟﻌﺪﻳﺪ ﻣﻦ اﻟﻘﻀﺎﻳﺎ اﻟﻌﺎﳌﻴﺔ‪ ،‬ﺑﻴﻨام ﺗﻘﻒ‬ ‫دول ﻛﺜرية ﻋﲆ اﻟﺤﻴﺎد ﻻ ﺣﻮل ﻟﻬﺎا وﻻ‬ ‫ﻗﻮة‪ ،‬ﻛﻴﻒ ﻟﻬﺬه اﻟﺪوﻟﺔ أن ﺗﺒﻨﻲ وﺗﺼﻨﻊ‬ ‫ومتﺘﻠﻚ ﻣﺎ مل ﻳﻔﻜﺮ ﻏريﻫﺎ ﻣﺠﺮد ﺗﻔﻜري ﰲ‬ ‫ﺑﻨﺎﺋﻪ وﺻﻨﻌﻪ واﻣﺘﻼﻛﻪ‪.‬‬ ‫ﻛﻴﻒ ﻟﻬﺬه اﻟﺪوﻟﺔ أن ﺗﻜﻮن ﺻﺎﺣﺒﺔ اﻷرﻗﺎم‬ ‫اﻟﻘﻴﺎﺳﻴﺔ ﰲ ﺷﺘﻰ اﳌﺠﺎﻻت اﻟﺤﻀﺎرﻳﺔ‪،‬‬ ‫وأن ﺗﻜﻮن ﰲ ﻃﻠﻴﻌﺔ اﻟﺪول ﰲ ﻣﺨﺘﻠﻒ‬ ‫اﳌــﺆﴍات اﻟﺘﻨﺎﻓﺴﻴﺔ وذﻟﻚ وﻓﻖ ﺗﻘﺎرﻳﺮ‬

‫ﻋﺎﳌﻴﺔ ﺻﺎدرة ﻋﻦ ﻣﺆﺳﺴﺎت ﻣﺘﺨﺼﺼﺔ‬ ‫ﰲ ﻣﺠﺎل اﳌﺆﴍات واﳌﻘﺎرﻧﺎت اﳌﻌﻴﺎرﻳﺔ‪،‬‬ ‫ﻛﻴﻒ ﻟﻬﺬه اﻟﺪوﻟﺔ اﻟﻔﺘﻴﺔ أن ﺗﺼﻞ إﱃ‬ ‫اﻟﻔﻀﺎء ﰲ وﻗﺖ ﻣﺎ زاﻟﺖ ﻓﻴﻪ دول ﻋﻤﺮﻫﺎ‬ ‫آﻻف اﻟﺴﻨني ﺗﺤﺎول اﻟﻮﻗﻮف ﻋﲆ ﻗﺪﻣﻴﻬﺎ‬ ‫يك ﺗﺠﺪ ﻟﻬﺎ ﻃﺮﻳﻘﺎً متﴚ ﻓﻴﻪ‪.‬‬ ‫دامئﺎً ﻣﺎ ﻛﻨﺖ أﺳﺄل ﻧﻔﴘ ﻛﻴﻒ ﻟﺸﻌﺐ‬ ‫ﻛﺎن ﺑﺎﻷﻣﺲ اﻟﻘﺮب ﻳﺴﻜﻦ اﻟﺼﺤﺮاء‪ ،‬ﻳﺮﻋﻰ‬ ‫إﺑﻠﻪ‪ ،‬أن ﻳﺼﺒﺢ ﺧﻼل ﺳﻨﻮات ﻗﻠﻴﻠﺔ ﻣﺎﻟﻜﺎً‬ ‫ﻷﻓﺨﻢ اﻷﺑﺮاج وأرﻗﻰ ﴍﻛﺎت اﻟﻄريان وأﻫﻢ‬ ‫اﳌﻨﺸﺂت اﻻﻗﺘﺼﺎدﻳﺔ واﻟﺴﻴﺎﺣﻴﺔ‪ ،‬وأن ﺗﻜﻮن‬ ‫ﻟﺪﻳﻪ أﻓﻀﻞ اﻟﺒﻨﻰ اﻟﺘﺤﺘﻴﺔ ﻣﻦ ﺷﻮارع‬ ‫وﺟﺴﻮر وأﻧﻔﺎق‪ ،‬وأن ﺗﻜﻮن ﻣﺆﺳﺴﺎﺗﻪ‬ ‫اﻟﻌﻠﻤﻴﺔ ﻣﻦ أرﻗﻰ اﳌﺆﺳﺴﺎت‪ ،‬وﻗﻄﺎﻋﻪ‬ ‫اﻟﺼﺤﻲ ﻣﻦ اﻷﻓﻀﻞ ﺣﻮل اﻟﻌﺎمل‪.‬‬ ‫دامئﺎً ﻣﺎ ﻛﻨﺖ أﺳﺄل ﻧﻔﴘ ﻛﻴﻒ ﻟﻺﻣﺎرات‬ ‫وﻗﺎدﺗﻬﺎ وﺷﻌﺒﻬﺎ أن ﻳﺠﱰﺣﻮا اﳌﻌﺠﺰات‪،‬‬ ‫وﻳﺤﻘﻘﻮا ﻣﺎ ﻳﻌﺠﺰ اﻟﻌﻘﻞ ﻋﻦ اﻟﺘﺼﺪﻳﻖ‬ ‫ﺑﺄﻧﻪ ﻗﺎﺑﻞ ﻟﻠﺘﺤﻘﻴﻖ‪.‬‬ ‫ﻗــﺮأت اﻟﻜﺜري ﻣﻦ اﳌﻘﺎﻻت واﻟﺪراﺳﺎت‬ ‫وﺷﺎﻫﺪت اﻟﻌﺪﻳﺪ ﻣﻦ اﻟﱪاﻣﺞ‪ ،‬وﻣﺎ زاﻟﺖ‬ ‫اﻹﺟﺎﺑﺔ ﻣﻨﻘﻮﺻﺔ ﻟﺪي‪ ،‬ﻫﺬه اﻹﺟﺎﺑﺔ اﻟﺘﻲ‬ ‫ﺑﺤﺜﺖ ﻋﻨﻬﺎ ﻛﺜرياً وﺣﺎوﻟﺖ اﻟﻌﺜﻮر ﻋﻠﻴﻬﺎ‬ ‫ﰲ زﻳﺎرايت اﳌﺘﻌﺪدة ﳌﺘﺎﺣﻒ اﻟﺪوﻟﺔ وﻣﻨﻬﺎ‬ ‫زﻳﺎريت اﻷﺧرية ﳌﺘﺤﻒ اﻻﺗﺤﺎد‪ ،‬واﻟﺬي ﻫﻮ‬ ‫ﻣﻜﺎﻧﻨﺎ اﻟﻌﻄﺮ ﰲ ﻫﺬا اﻟﻌﺪد‪.‬‬

‫ﻣﺘﺤﻒ اﻻﺗﺤﺎد‬ ‫ﻳﻘﻊ ﻣﺘﺤﻒ اﻻﺗﺤﺎد ﰲ ﻣﻨﻄﻘﺔ اﻟﺠﻤريا‬ ‫ﰲ ديب‪ ،‬وﻫﻮ ﻳﺤﻤﻞ ﻃﺎﺑﻌﺎً ﺣﻴﻮ ّﻳﺎً ﺑﺴامت‬ ‫اﻟﻘﺮن اﻟﺤﺎدي واﻟﻌﴩﻳﻦ‪ ،‬ﺣﻴﺚ ﻳﺮﻛﺰ‬ ‫ﻋﲆ إﻟﻬﺎم ﻣﻮاﻃﻨﻲ اﻹﻣﺎرات وز ّوارﻫﺎ ﻣﻦ‬ ‫ﺧﻼل ﻗﺼﺔ ﺗﺄﺳﻴﺲ دوﻟﺔ اﻹﻣﺎرات اﻟﻌﺮﺑﻴﺔ‬ ‫اﳌﺘﺤﺪة‪ .‬ﻛام ﻳﺤﺘﻔﻲ مبﺎ أﻇﻬﺮه ﻣﺆﺳﺴﻮ‬ ‫وروح وﻃﻨﻴﺔ‪،‬‬ ‫اﻟﺪوﻟﺔ ﻣﻦ ﺗﻔﺎنٍ واﻟﺘﺰ ٍام‬ ‫ٍ‬ ‫ﻟﺘﺸﺠﻴﻊ اﻷﻓﺮاد‪ ،‬ﻣﻦ ﺟﻤﻴﻊ اﳌﺸﺎرب‪ ،‬ﻋﲆ‬ ‫اﻟﺸﻌﺮ ‪baytelshear‬‬ ‫ﺑﻴﺖ ِ‬

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ĘŐŖŒ ĮľŃ

žţŹŬǐŢ ƧŹŭƸ

ŪŢƂţƸǎŢ ũƑƬ ǆǂƃǈ

2019 ‫ دﻳﺴﻤﺒﺮ‬، 84 ‫اﻟﻌﺪد‬

‫ذﻳﺎب ﺑﻦ ﻏﺎﻧﻢ اﻟﻤﺰروﻋﻲ‬ @theyab_poet

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baytelshear ‫اﻟﺸﻌﺮ‬ ِ ‫ﺑﻴﺖ‬

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‫ﺻﺢ ﻟﺴﺎﻧﻚ‬ َ

‫ﺳﻠﻴﻢ اﻟﻤﺴﺎﻋﻔﺔ‬ @saleem.alajramy

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2019 ‫ دﻳﺴﻤﺒﺮ‬، 84 ‫اﻟﻌﺪد‬

‫ ¯‪ĜŠ‬‬

‫ﻓﻜﺮة اﻻﺗﺤﺎد‬ ‫ﻣﻨﺬ وﻗﺖ ﻣﺒﻜﺮ‪ ،‬ﺗﺤﺪث اﻟﻮاﻟﺪ اﳌﺆﺳﺲ اﳌﻐﻔﻮر ﻟﻪ اﻟﺸﻴﺦ‬ ‫زاﻳﺪ ﺑﻦ ﺳﻠﻄﺎن آل ﻧﻬﻴﺎن ﻃﻴﺐ اﻟﻠﻪ ﺛ ـﺮاه‪ ،‬ﻋﻦ اﻻﺗﺤﺎد‪،‬‬ ‫وﺣﻤﻞ رؤﻳﺔ واﺿﺤﺔ ﳌﻨﺎﻓﻌﻪ اﻟﺠﻤﺔ واﻟﻌﻈﻴﻤﺔ ﻋﲆ ﻣﺨﺘﻠﻒ‬ ‫اﻹﻣﺎرات‪ ،‬واﺗﻀﺤﺖ ﻫﺬه اﻟﺮؤﻳﺔ واﻟﺮﻏﺒﺔ ﰲ ﻋﺪة ﻣﻨﺎﺳﺒﺎت‬ ‫أدﱃ ﺧﻼﻟﻬﺎ رﺣﻤﻪ اﻟﻠﻪ‪ ،‬ﺑﻜﻠامت وﺗﴫﻳﺤﺎت ﺑﻴﻨﺖ اﻟﻨﻬﺞ‬ ‫اﻟﻮﺣﺪوي واﻻﺗﺤﺎدي ﰲ ﻓﻜﺮﺗﻪ ورؤﻳﺘﻪ اﳌﺴﺘﻘﺒﻠﻴﺔ‪ ،‬وﻣﻦ ﺗﻠﻚ‬ ‫اﻟﻜﻠامت ﻣﺎ ﻗﺎﻟﻪ رﺣﻤﻪ اﻟﻠﻪ‪ ،‬ﻋﻨﺪﻣﺎ ﺗﻮﱃ اﻟﺤﻜﻢ ﰲ أﺑﻮﻇﺒﻲ‬ ‫ﻋﺎم ‪":1966‬ﻧﺴﺘﻄﻴﻊ ﺑﺎﻟﺘﻌﺎون وﺑﻨﻮع ﻣﻦ اﻻﺗﺤﺎد‪ ،‬اﺗﺒﺎع منﻮذج‬ ‫اﻟﺪول اﻷﺧﺮى اﻟﻨﺎﻣﻴﺔ"‪.‬‬ ‫ﺷﺎرك اﳌﻐﻔﻮر ﻟﻪ اﻟﺸﻴﺦ راﺷﺪ ﺑﻦ ﺳﻌﻴﺪ آل ﻣﻜﺘﻮم‪ ،‬أﺧﺎه‬ ‫اﻟﺸﻴﺦ زاﻳﺪ ﺑﻦ ﺳﻠﻄﺎن آل ﻧﻬﻴﺎن‪ ،‬رﺣﻤﻬام اﻟﻠﻪ‪ ،‬ﻫﺬه اﻟﺮﻏﺒﺔ‬ ‫واﻟﺮؤﻳﺔ‪ ،‬ﻷن اﻟﻘﺎﺋﺪﻳﻦ أدرﻛﺎ ﺑﺤﺴﻬام اﻟﺴﻴﺎﳼ وﺑﻌﺪ ﻧﻈﺮﻫام‬ ‫ﻣﺴﺘﻘﺒﻞ اﳌﻨﻄﻘﺔ ﺑﺄﴎﻫﺎ‪ ،‬وﻣﺎ ﺳﻴﺤﻘﻘﻪ اﻻﺗﺤﺎد ﻣﻦ ﻓﻮاﺋﺪ ﺟﻤﺔ‬ ‫وﻋﻈﻴﻤﺔ ﻟﻠﺠﻤﻴﻊ‪.‬‬ ‫وﻛﻌﺎدة اﻟﻘﺎدة‪ ،‬ﻻ ﻳﺪﺧﺮون ﺟﻬﺪا وﻻ ﻳﻮﻓﺮون وﻗﺘﺎ ﰲ ﺳﺒﻴﻞ‬ ‫ﺗﺮﺟﻤﺔ اﻟﺘﻄﻠﻌﺎت واﻷﻓﻜﺎر‪ ،‬ﻓﺴﺎرع اﻟﺸﻴﺨﺎن ﻟﱰﺟﻤﺔ ﻫﺬه‬ ‫اﻟﺘﻄﻠﻌﺎت ﻋﲆ أرض اﻟﻮاﻗﻊ‪ ،‬ﺣﻴﺚ ﻋﻘﺪ اﺟﺘامع ﻫﺎم ﰲ ﺷﻬﺮ‬ ‫ﻓﱪاﻳﺮ ﻣﻦ ﻋﺎم ‪1968‬م ﰲ ﻣﻨﻄﻘﺔ اﻟﺴﻤﻴﺢ‪ ،‬وﻫﻲ ﻣﻨﻄﻘﺔ‬ ‫ﺣﺪودﻳﺔ ﺑني أﺑﻮﻇﺒﻲ وديب‪ .‬واﻧﺘﻬﻰ ذﻟﻚ اﻻﺟﺘامع اﻟﺘﺎرﻳﺨﻲ‬ ‫ﺑﻮﺿﻊ ﻧﻮاة اﻻﺗﺤﺎد‪ ،‬ﺣﻴﺚ اﺗﻔﻘﺎ‪ ،‬رﺣﻤﻬام اﻟﻠﻪ‪ ،‬ﻋﲆ اﺗﺤﺎد ﻛﻞ‬ ‫ﻣﻦ أﺑﻮﻇﺒﻲ وديب‪ ،‬وأن ﺗﺘﺸﺎرﻛﺎ ﰲ إدارة اﻟﺸﺆون اﻟﺨﺎرﺟﻴﺔ‬ ‫واﻟﺪﻓﺎع واﻷﻣــﻦ‪ ،‬وأن ﺗﻜﻮن ﻣﺨﺘﻠﻒ اﻟﺠﻮاﻧﺐ اﻟﺴﻴﺎﺳﻴﺔ‬ ‫ﻣﺸﱰﻛﺔ ﺑﻴﻨﻬام‪ ،‬وﺗﺮﻛﺖ اﻟﺒﻌﺾ ﻣﻦ اﳌﻮاﺿﻴﻊ ﻟﻺدارات اﳌﺤﻠﻴﺔ‬ ‫ﰲ ﻛﻞ إﻣﺎرة‪ ،‬وﻗﺪ ﺳﻤﻴﺖ ﺗﻠﻚ اﻻﺗﻔﺎﻗﻴﺔ ﺑﺎﺗﻔﺎﻗﻴﺔ اﻻﺗﺤﺎد‪،‬‬

‫‪@fatima_f1‬‬

‫اﻟﻤﺰروﻋﻲ‬ ‫وﻋﻲ‬ ‫ﻤﺰروﻋ‬ ‫وﻋ‬ ‫اﻟﻤﺰ و‬ ‫ﻃﻤﺔ ﻤ‬ ‫ﻤﺔ‬ ‫ﻓﺎﻃﻤﺔ‬ ‫ﻤ‬ ‫ﻃﻤ‬

‫ورﻏﻢ أﻧﻬﺎ اﺗﻔﺎﻗﻴﺔ ﺷﻤﻠﺖ ﻓﻘﻂ إﻣﺎرﺗني‪ ،‬إﻻ أﻧﻬﺎ ﻛﺎﻧﺖ ﻧﻮاة‬ ‫وأﺳﺎﺳﺎً ﻗﻮﻳﺎً ﺗﻢ اﻻﻧﻄﻼق ﻣﻨﻪ ﻻﻧﻀامم ﺑﺎﻗﻲ اﻹﻣــﺎرات‪ ،‬ﺑﻞ‬ ‫إن ﻫﺬه اﻻﺗﻔﺎﻗﻴﺔ وﺟﻬﺖ رﺳﺎﻟﺔ ﻗﻮﻳﺔ وواﺿﺤﺔ ﺑﺄن اﻟﻌﻤﻞ‬ ‫اﳌﺸﱰك واﻟﻮﺣﺪة واﻻﺗﺤﺎد ﻻ ﻳﻮﺟﺪ ﻓﻴﻪ اﻧﺘﺼﺎر وﻫﺰميﺔ أو‬ ‫ﻓﻮز وﺧﺴﺎرة‪ ،‬ﻓﺎﻟﺠﻤﻴﻊ ﺳﻴﺤﻘﻖ اﻻﻧﺘﺼﺎر واﻟﻔﻮز‪ ،‬واﻟﺠﻤﻴﻊ‬ ‫ﺳﻴﺤﺼﺪون اﳌﻜﺎﺳﺐ وأﻫﻤﻬﺎ ﻛﺴﺐ اﻟﻮﺟﻮد واﻻﺳﺘﻤﺮار واﻟﻨﻤﻮ‬ ‫واﻟﺘﻄﻮر واﻻﺳﺘﻘﺮار‪.‬‬ ‫ﻟﻘﺪ ﻛﺎﻧﺖ اﺗﻔﺎﻗﻴﺔ اﻻﺗﺤﺎد‪ ،‬ﻟﺒﻨﺔ ﻗﻮﻳﺔ ﺗﻮﺿﺢ أن ﻗﻴﺎم اﺗﺤﺎد‬ ‫ﻗﻮي وﻣﺘامﺳﻚ ﻟﻦ ﻳﻜﻮن ﻋﲆ ﺣﺴﺎﺑﺎت ذاﺗﻴﺔ أو ﺑﺘﻀﺤﻴﺎت‬ ‫ﻣﻦ أﺣﺪ ﺑﻌﻴﻨﻪ‪ ،‬ﺑﻞ إﻧﻪ ﻓﺎﺋﺪة وﻧﴫ ﻟﻠﺠﻤﻴﻊ ﻳﻘﻮم ﺑﺴﻮاﻋﺪ‬ ‫وﺗﻀﺤﻴﺎت اﻟﺠﻤﻴﻊ دون اﺳﺘﺜﻨﺎء‪ ،‬وﻟﻘﺪ ﻛﺎﻧﺖ اﺗﻔﺎﻗﻴﺔ اﻻﺗﺤﺎد‬ ‫ﺻﻮرة واﻗﻌﻴﺔ ﳌﺎ ﺳﻴﻜﻮن ﻋﻠﻴﻪ اﺗﺤﺎد ﻣﺨﺘﻠﻒ اﻹﻣﺎرات اﻟﻌﺮﺑﻴﺔ‬ ‫ﻋﻨﺪﻣﺎ ﺗﻨﻀﻢ‪ ،‬وﻟﻘﺪ أﺣﺴﻦ اﻟﺸﻴﺨﺎن – زاﻳﺪ ﺑﻦ ﺳﻠﻄﺎن آل‬ ‫ﻧﻬﻴﺎن وراﺷﺪ ﺑﻦ ﺳﻌﻴﺪ آل ﻣﻜﺘﻮم‪ ،‬رﺣﻤﻬام اﻟﻠﻪ‪ ،‬ﻋﻨﺪﻣﺎ ﻗﺮرا‬ ‫اﺗﺨﺎذ اﻟﺨﻄﻮات اﻷوﱃ ورﺳام ﻣﻌﺎمل اﳌﺴﺘﻘﺒﻞ وأﻋﻠﻨﺎ ﻋﻦ ﻫﺬه‬ ‫اﻻﺗﻔﺎﻗﻴﺔ‪ ،‬ﻷﻧﻬﺎ ﺑﻴﻨﺖ دون أدىن ﺷﻚ ﻟﻠﺠﻤﻴﻊ أن اﻟﺘﻮﺟﻪ ﻧﺤﻮ‬ ‫اﳌﺴﺘﻘﺒﻞ واﻟﻮﺣﺪة واﻟﺘﻌﺎون ﺧﻴﺎر ﻟﻠﺠﻤﻴﻊ وﻳﻔﻴﺪ وﻳﺤﻘﻖ‬ ‫اﻟﺮﻓﺎه ﻟﻠﺠﻤﻴﻊ‪..‬‬ ‫إن اﺗﻔﺎﻗﻴﺔ اﻟﺴﻤﻴﺢ ﻋﲆ اﻟﺤﺪود اﻟﱪي ﻷﺑﻮﻇﺒﻲ وديب‪ ،‬ﻓﺘﺤﺖ‬ ‫اﳌﺠﺎل واﺳﻌﺎً ﻟﻠﺠﻤﻴﻊ‪ ،‬وذﻟﻠﺖ اﻟﻌﻘﺒﺎت اﻟﻔﻜﺮﻳﺔ اﻟﺘﻲ ﻛﺎﻧﺖ‬ ‫ﺗﺮاود اﻟﺒﻌﺾ ﻋﻦ اﺳﺘﺤﺎﻟﺔ ﺗﺤﻘﻴﻖ ﻣﺜﻞ ﻫﺬه اﻟﻮﺣﺪة‪ ،‬وﻗﺪ‬ ‫وﺟﻬﺖ رﺳﺎﻟﺔ ﻗﻮﻳﺔ ﻟﱪﻳﻄﺎﻧﻴﺎ واﻟﻘﻮى اﻟﻌﻈﻤﻰ أن إﻣﺎرات‬ ‫اﻟﺴﺎﺣﻞ اﳌﺘﺼﺎﻟﺤﺔ ﰲ ﻃﺮﻳﻘﻬﺎ ﻧﺤﻮ ﺑﻨﺎء دوﻟﺔ ﻗﻮﻳﺔ وﻋﴫﻳﺔ‪،‬‬ ‫ﺑﺎﻟﺘﻔﺎﻫﻢ واﻟﺤﻮار‪.‬‬ ‫اﻟﺸﻌﺮ ‪baytelshear‬‬ ‫ﺑﻴﺖ ِ‬

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‫‪ ĬńŒ ŝħ‬‬

‫إن مل ﻧﻘﻞ ﺗﺴﺒﻖ‪ -‬اﻟﻜﺜري ﻣﻦ اﻟﻌﻮاﺻﻢ‬‫اﻟﻘﺪميﺔ ﰲ اﻟﺘﻄﻮر واﻟﺘﻘﺪم‪ ،‬ﺑﻞ وﺻﻠﺖ‬ ‫إﱃ ﻣﺴﺘﻮى ﺧﺎرق‪ ،‬وﻟﻮ مل ﻳﻜﻦ ﻫﻨﺎك ﺟﻬﺪ‬ ‫ورؤﻳﺔ ﻣﺴﺘﻘﺒﻠﻴﺔ وﺑﺼرية ﻧﺤﻮ اﳌﺴﺘﻘﺒﻞ‬ ‫ﻣﻦ ﻗﺒﻞ اﳌﻐﻔﻮر ﻟﻪ اﻟﺸﻴﺦ زاﻳــﺪ ﻟﻜﻨﺎ‬ ‫اﺣﺘﺠﻨﺎ إﱃ ﻣﺌﺎت اﻟﺴﻨني يك ﺗﺼﻞ اﻹﻣﺎرات‬ ‫إﱃ ﻣﺎ وﺻﻠﺖ إﻟﻴﻪ اﻟﻴﻮم‪.‬‬ ‫ﻋﺎﺷﺖ اﻹﻣــﺎرات ﻣﻨﺬ أﻳﺎم ﻏــﺰو ًا ﻓﺮﻳﺪ ًا‬ ‫ﻟﻠﻔﻀﺎء‪ ،‬ﻓﻜﻴﻒ ﳌﺴﺖ ذﻟــﻚ ﺿﻤﻦ‬ ‫اﻫﺘامﻣﺎت اﻟﺸﻴﺦ زاﻳﺪ رﺣﻤﻪ اﻟﻠﻪ؟‬ ‫■ ﻛﺎن اﻟﺸﻴﺦ زاﻳﺪ "رﺣﻤﻪ اﻟﻠﻪ" ﻳﺴﺘﻘﺪم‬ ‫اﻟﻌﻠامء اﻟﻌﺮب اﻟﺬﻳﻦ ﻛﺎﻧﻮا ﰲ )ﻧﺎﺳﺎ( وﻛﺎن‬ ‫ﻳﻘﻮل ﻟﻬﻢ ﻧﺤﻦ ﻧﺄﻣﻞ أﻻ ﻳﺒﻘﻰ ﻏﺰو اﻟﻔﻀﺎء‬ ‫ﺣﻜﺮاً ﻋﲆ اﻟﺪول اﻟﻜﱪى‪ ،‬ﳌﺎذا ﻻ ﻧﻘﻮم‬ ‫ﻧﺤﻦ ﺑﻬﺬا؟‪ ،‬واﻟﺤﻤﺪ ﻟﻠﻪ ﺗﺤﻘﻖ ذﻟﻚ اﻟﺤﻠﻢ‬ ‫ﺑﻮﺻﻮل ﻫﺰاع اﳌﻨﺼﻮري‪ ،‬أول راﺋﺪ ﻓﻀﺎء‬ ‫إﻣﺎرايت وﻋﺮيب ﻳﺼﻞ إﱃ اﻟﻔﻀﺎء‪.‬‬ ‫ﻋﲆ ﺿــﻮء ﻣﺎ أﻧﺠﺰ ﻣﻦ ﺗﻘﺪم وﺗﻄﻮر‬ ‫ﺷﻬﺪﺗﻪ اﻹﻣﺎرات ﰲ ﻛﺎﻓﺔ اﳌﺠﺎﻻت‪ ،‬ﻛﻴﻒ‬ ‫ﺗﺮى ﻣﺴﺘﻘﺒﻞ اﻹﻣﺎرات ﰲ اﻟﺴﻨﻮات اﳌﻘﺒﻠﺔ‬ ‫ﺑني اﻷﻣﻢ؟‬ ‫■ دﻋﻨﻲ أﻗﻮل ﻟﻚ ﴏاﺣﺔ إن اﻹﻣــﺎرات‬ ‫ﺑــﺪأت ﺗﻘﻮم ﺑــﺪور ﻋﺮيب وإﻧﺴﺎين راﺋﺪ‪،‬‬ ‫وأﻋﺘﱪ أن دوﻟﺔ اﻹﻣــﺎرات ﻫﻲ اﻟﻨﻤﻮذج‬

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‫اﻟﻌﺪد ‪ ، 84‬دﻳﺴﻤﺒﺮ ‪2019‬‬

‫اﻹﻧﺴﺎين اﻟﻔﺮﻳﺪ اﻟــﺬي ﻳﺠﺐ أن ﻳﻜﻮن‬ ‫ﻗﺪوة ﻟﺠﻤﻴﻊ اﻟﺪول اﻟﺘﻲ ﺗﻮد اﻟﻮﺻﻮل إﱃ‬ ‫اﻟﻌﻮﳌﺔ‪ ،‬ﻟﺘﺪرك أن اﻟﻌﺎمل ﻛﻠﻪ واﺣﺪ وأن‬ ‫اﻟﺠﻤﻴﻊ أﺧﻮة‪ ،‬وﻫﺬا ﻣﺎ ﻳﺘﺤﻘﻖ ﰲ دوﻟﺔ‬ ‫اﻹﻣﺎرات ﻋﺎﺻﻤﺔ اﻟﺘﺴﺎﻣﺢ اﻟﻌﺎﳌﻴﺔ‪.‬‬ ‫وأرى اﳌﺴﺘﻘﺒﻞ ﻣﴩﻗﺎً زاﻫﻴﺎً ﻣﺎ دام أﺑﻨﺎء‬ ‫زاﻳﺪ اﻟﻜﺮام ﻫﻢ اﻟﺬﻳﻦ ﻳﻘﻮدون اﳌﺴرية‬ ‫ﺑﺮوح اﻟﺘﺤﺪي واﻷﻣﻞ واﻟﺘﻔﺎؤل‪ ،‬وﺑﻘﻠﻮب‬ ‫ﻛﺒرية ﺗﺘﺴﻊ ﻟﻠﺠﻤﻴﻊ‪ ،‬واﺿﻌني أﻳﺪﻳﻬﻢ ﻋﲆ‬ ‫ﺟﺮاج ﻫﺬا اﻟﻌﺎمل‪ ،‬وﻻ ميﻜﻦ أن ﻳﺸﻔﻰ اﻟﻌﺎمل‬ ‫اﻟﻨرية اﻟﺘﻲ‬ ‫ﻣﻦ ﺟﺮاﺣﻪ إﻻ مبﺜﻞ ﻫﺬه اﻷﻓﻜﺎر ّ‬ ‫ﻳﻘﻮم ﺑﻬﺎ أﺑﻨﺎء زاﻳﺪ‪ ،‬اﻟﺬﻳﻦ ﻳﺆﻣﻨﻮن ﺑﺄن‬ ‫اﻟﺠﻤﻴﻊ أﺧﻮة وﻣﺴﺎﻋﺪة اﻵﺧﺮﻳﻦ واﺟﺐ‬

‫إﻧﺴﺎين‪ ،‬وإذا ﻧﻈﺮت إﱃ ﻛﻢ اﳌﺴﺎﻋﺪات‬ ‫اﻟﺘﻲ ﺗﻘﺪﻣﻬﺎ اﻹﻣﺎرات إﱃ اﻟﺪول اﻟﻌﺮﺑﻴﺔ‬ ‫واﻹﺳﻼﻣﻴﺔ وﻛﺎﻓﺔ ﺷﻌﻮب اﻟﻌﺎمل ﺳﺘﺪرك أن‬ ‫اﻹﻣﺎرات ﻳﺠﺐ أن ﺗﻜﻮن اﻟﻘﺪوة واﻟﻨﻤﻮذج‬ ‫اﻹﻧﺴﺎين اﻟﺮاﺋﻊ واﻟﺮاﺋﺪ ﰲ اﻟﻌﻤﻞ اﻹﻧﺴﺎين‬ ‫واﺣﱰام اﻵﺧﺮ‪ ،‬وﻣﺎ داﻣﺖ ﻫﺬه ﻫﻲ اﻟﺮؤﻳﺔ‬ ‫واﳌﺴرية واﻟﻨﻬﺞ ﻓﺄﻧﺎ ﻣﻄﻤﱧ وأﺗﻮﻗﻊ ﻛﻞ‬ ‫ﻋﺎم أن ﻳﻜﻮن ﻫﻨﺎك ﻣﺰﻳﺪ ﻣﻦ اﻹﻧﺠﺎزات‪..‬‬ ‫ﻟﺪﻳﻨﺎ ﻗﺎدة أﺑﻄﺎل ﻻ ﻳﻘﺒﻠﻮن إﻻ أن ﻧﻜﻮن‬ ‫اﻷواﺋﻞ ﰲ اﻟﺨري ودﻋﻢ اﻹﻧﺴﺎﻧﻴﺔ‪ ،‬ﻟﺬﻟﻚ‬ ‫ﻓﺈن دور اﻹﻣﺎرات اﻹﻗﻠﻴﻤﻲ واﻟﻌﺎﳌﻲ ﻳﻘﻮى‬ ‫ﻋﺎﻣﺎً ﺑﻌﺪ ﻋــﺎم‪ ،‬وﺗﻜﺴﺐ اﻹﻣــﺎرات ﺛﻘﺔ‬ ‫ﻋﺎﳌﻴﺔ ﺑني ﻛﱪى اﻟﺪول‪.‬‬

‫ﻳﻮم ‪ 30‬ﻧﻮﻓﻤﱪ ‪1971‬م ﻣﺘﺠﻬني إﱃ دوﻟﺔ‬ ‫ديب آﻧﺬاك‪ ،‬ﻣﺮرﻧﺎ ﺑﺎﻟﻨﻘﻄﺔ اﻟﺤﺪودﻳﺔ ﺑني‬ ‫أﺑﻮﻇﺒﻲ وديب ﰲ ﺳﻴﺢ ﺷﻌﻴﺐ وﺗﻢ ﺧﺘﻢ‬ ‫ﺟﻮازات اﻟﺴﻔﺮ ﺑﻌﺪ اﻟﺘﺪﻗﻴﻖ واﻟﺘﺄﻛﺪ ﻣﻦ‬ ‫ﺻﻼﺣﻴﺘﻬﺎ ووﺟﻮد اﻹﻗﺎﻣﺔ وﺧﺘﻢ اﻟﺪﺧﻮل‪،‬‬ ‫وﺑﻴﻨام ﻧﺤﻦ ﻋﺎﺋﺪون ﻋﻘﺐ إﻋﻼن ﻗﻴﺎم‬ ‫دوﻟﺔ اﻻﺗﺤﺎد وﺟﺪﻧﺎ اﻟﺤﺪود ﻗﺪ ﻓﺘﺤﺖ‬ ‫ومل ﻳﻌﺪ ﻫﻨﺎك ﻣﻦ ﻳﻄﻠﺐ ﺟﻮازاﺗﻨﺎ ﺑﻌﺪ أن‬ ‫أﺻﺒﺤﺖ اﻹﻣﺎرات دوﻟﺔ واﺣﺪة‪ ،‬وﻛﺎن ﻟﻬﺬا‬ ‫وﻗﻊ ﻛﺒري ﻋﲆ ﻧﻔﻮﺳﻨﺎ ﺟﻤﻴﻌﺎً‪ ،‬ﻓﻠﻢ ﻧﺴﺘﻄﻊ‬ ‫أن منﻨﻊ دﻣﻮﻋﻨﺎ ﻣﻦ اﻟﺘﻌﺒري ﻋﻦ اﻟﻔﺮﺣﺔ‬ ‫اﻟﻜﺒرية اﻟﺘﻲ ﻣﻬام وﺻﻔﺖ ﻟﻦ ﻳﺸﻌﺮ ﺑﻬﺎ‬ ‫إﻻ ﻣﻦ ﻋﺎﺷﻬﺎ‪.‬‬ ‫مبﺎ أﻧﻚ ﻛﻨﺖ ﰲ وﺳﻂ اﻷﺣــﺪاث‪ ،‬ﻛﻴﻒ‬ ‫ﳌﺴﺖ اﻟﺘﻄﻠﻌﺎت واﻻﺳﺘﻌﺪادات آﻧﺬاك‬ ‫ﻣﻦ أﺟﻞ اﻟﻨﻬﻮض ﺑﺎﻟﺪوﻟﺔ اﻟﻮﻟﻴﺪة؟‬ ‫■ ﺻﺪﻗﻨﻲ أﻧﻨﻲ ﻗﻤﺖ ﰲ ذﻟﻚ اﻟﺸﻬﺮ‬ ‫ﺑﺠﻮﻟﺔ اﻟﺘﻘﻴﺖ ﻓﻴﻬﺎ ﺑﺎﻟﻜﺜري ﻣﻦ اﳌﺴﺆوﻟني‬ ‫وﺳﺠﻠﺖ ﻣﻌﻬﻢ وﳌﺴﺖ وﺗﺄﻛﺪت ﻣﻦ أن‬ ‫اﻟﺠﻤﻴﻊ ﻛﺎﻧﻮا ﻳﻮدون اﻻﺗﺤﺎد وﻳﺮﻳﺪون‬ ‫اﻟﺸﻴﺦ زاﻳــﺪ رﺋﻴﺴﺎً ﻟﻬﺬا اﻻﺗﺤﺎد‪ ،‬ﻓﻠﻢ‬ ‫ﻳﻜﻦ ﻳﺨﺘﻠﻒ ﻋﻠﻴﻪ أﺣﺪ وﻛﺎن ﻣﺤﺒﻮﺑﺎً ﻣﻦ‬ ‫اﻟﺠﻤﻴﻊ ﻷﻧﻪ ﻛﺎن ﻳﺸﻌﺮ ﺑﺄن ﻫﺬا اﻟﻮﻃﻦ‬ ‫وﻃﻦ واﺣﺪ‪ ،‬وأن ﺷﻌﺐ اﻹﻣــﺎرات ﺷﻌﺐ‬ ‫واﺣــﺪ‪ ،‬ومل ﻳﻜﻦ ﻳﻔﺮق ﺑني ﻣﻮاﻃﻦ ﻣﻦ‬ ‫ديب أو اﻟﺸﺎرﻗﺔ أو اﻟﻔﺠرية أو ﻋﺠامن أو‬ ‫أم اﻟﻘﻮﻳﻦ أو رأس اﻟﺨﻴﻤﺔ وﻣﻮاﻃﻦ ﻣﻦ‬ ‫أﺑﻮﻇﺒﻲ‪ ..‬ﻛﺎن اﻟﺠﻤﻴﻊ ﻟﺪﻳﻪ ﺳﻮاﺳﻴﺔ‪،‬‬ ‫وﻳﺤﺐ اﻟﺠﻤﻴﻊ‪ ،‬ﻟﺬﻟﻚ أﺣﺒﻪ اﻟﺠﻤﻴﻊ‪ ،‬وﻛﺎن‬ ‫ﻫﻨﺎك إﺟامع ﻋﲆ اﻧﺘﺨﺎﺑﻪ رﺣﻤﻪ اﻟﻠﻪ رﺋﻴﺴﺎً‬ ‫ﻟﺪوﻟﺔ اﻻﺗﺤﺎد واﻟﺸﻴﺦ راﺷﺪ ﻧﺎﺋﺒﺎً ﻟﻠﺮﺋﻴﺲ‪.‬‬

‫ ‪ǛǙƋǕŌ ƃǿŌƊ ſǾƖǕŌ ǁşōƓ‬‬

‫ ‪ ǳǕǶƃǕ ƑǾƓőŨǕŌ ǓŵŐ ǛǙ‬‬ ‫ ‪ƩǿǷǜũ ǻǔƫ ǓǘƫǶ ǳǿǷǃ‬‬ ‫ ‪ǓƁƃǕŌ ƈƂōƚǙ‬‬

‫‪ɰ‬‬ ‫ ‪ ŋōǜŭŐ ōŽƉƳ ƨǷǙƃǕōş ōǜǾǈş‬‬

‫‪ ǗǕ ōǙƃǜƫ ǽŞƧǷşȏ ǲƂǷƪǕŌ‬‬ ‫ ‪ ƕǾŨƲŨǕŌ ǳƢǂǝ ƃŴǝ‬‬ ‫‪ ǳǿƂǶƃżǕŌ‬‬

‫ ‪ ƉŬǉŐ ŦŌƈōǙȑŌ ǓŞǂŨƒǙ‬‬ ‫‪ɰ‬‬ ‫‪ ƃǿŌƊ ŋōǜşŐ ǖŌƂ ōǙ ōǃŌƉƗŒ‬‬ ‫‪ źǶƉş ǲƉǾƒǘǕŌ ǚǶƂǷǂǿ‬‬

‫‪ǒǸōƲŨǕŌǶ ǓǙȏŌǶ ǼƃżŨǕŌ‬‬ ‫ ‪ ǽǘǾǔǃȑŌ ŦŌƈōǙȑŌ ƈǶƂ‬‬ ‫‪ɰ‬‬ ‫‪ ƃƪş ōǙōƫ ǺǷǂǿ ǽǘǕōƪǕŌǶ‬‬

‫‪ ǛǾş ǳǾǘǕōƫ ǳǂŭ ŝƒǈũǶ ǖōƫ‬‬ ‫‪ǒǶƃǕŌ ǺƉŞǉ‬‬

‫ﺟﺎء ﻗﺒﻞ وﻣﻊ ﺗﻮﻟﻴﻪ رﺣﻤﻪ اﻟﻠﻪ ﻣﻘﺎﻟﻴﺪ‬ ‫ﺣﻜﻢ إﻣﺎرة أﺑﻮﻇﺒﻲ‪ ،‬ﺣﻴﺚ ﺑﺪأ اﻟﻌﻤﻞ ﻋﲆ‬ ‫ﺗﺤﻘﻴﻖ اﻻﺗﺤﺎد ﻟﻌﻠﻤﻪ أن ﺑﺮﻳﻄﺎﻧﻴﺎ ﺳﺘﻨﻬﻲ‬ ‫وﺟﻮدﻫﺎ ﰲ اﻟﺨﻠﻴﺞ واﻹﻣﺎرات ﰲ دﻳﺴﻤﱪ‬ ‫‪1971‬م‪ ،‬وﻛــﺎن ﻻ ﺑﺪ ﻣﻦ وﺟــﻮد ﻛﻴﺎن‬ ‫اﺗﺤﺎدي ﻳﺤﻤﻲ ﻫﺬه اﻹﻣــﺎرات وﻳﻘﻮﻳﻬﺎ‬ ‫ﺣﺘﻰ ﺗﺴﺘﻄﻴﻊ اﻟﻨﻬﻮض وأن ﻳﻜﻮن ﻟﻬﺎ‬ ‫وﺟﻮد ﺣﻘﻴﻘﻲ ﺑني اﻷﻣﻢ‪ ،‬وﻗﺪ ﻗﺎم اﻟﺸﻴﺦ‬ ‫زاﻳﺪ وﺟﻤﻴﻊ اﻟﺤﻜﺎم ﺑﺒﺬل ﻛﺎﻓﺔ اﻟﺠﻬﻮد‬ ‫ﻫﺬا ﻳﻘﻮدﻧﺎ ﻟﻠﺘﻌﺮف ﻋﲆ ﻧﻈﺮة اﳌﻐﻔﻮر ﻟﻪ ﻟﻘﻴﺎم اﻻﺗﺤﺎد اﻟﺬي اﺳﺘﻄﺎع ﻣﻦ ﺧﻼﻟﻪ‬ ‫اﻟﺸﻴﺦ زاﻳﺪ وﺗﻄﻠﻌﻪ ﻟﺪوﻟﺔ اﻻﺗﺤﺎد ﻣﻨﺬ اﻟﺸﻴﺦ زاﻳﺪ ﺑﻨﺎء دوﻟﺔ ﻗﻮﻳﺔ ﰲ اﻻﻗﺘﺼﺎد‬ ‫ﺑﺪاﻳﺔ ﺗﻮﻟﻴﻪ اﻟﺤﻜﻢ ﰲ أﺑﻮﻇﺒﻲ‪.‬‬ ‫واﻟﺴﻴﺎﺳﺔ واﻟﺜﻘﺎﻓﺔ‪ ،‬ووﺻﻠﺖ إﱃ ﻣﺼﺎف‬ ‫■ ﺑﺎﻟﻄﺒﻊ اﻫﺘامم اﻟﺸﻴﺦ زاﻳﺪ ﺑﺎﻻﺗﺤﺎد اﻟﺪول اﻟﻌﺮﻳﻘﺔ‪.‬‬

‫ﺣﺴﺐ ﻣﻌﺎﻳﺸﺘﻚ ﻷﺟــﻮاء ﻗﻴﺎم اﻻﺗﺤﺎد‬ ‫وﻣــﺎ ﺗﻼﻫﺎ ﻣﻦ اﻟﻌﻤﻞ ﻋﲆ اﻟﺘﺄﺳﻴﺲ‬ ‫ﻟﻠﺪوﻟﺔ‪ ،‬ﻫﻞ ﻣﺎ ﺗﻢ إﻧﺠﺎزه وﻣﺎ وﺻﻠﺖ إﻟﻴﻪ‬ ‫اﻹﻣﺎرات ﻛﺎن ﻣﺘﻮﻗﻌ ًﺎ آﻧﺬاك؟‬ ‫■ ﺻﺪﻗﻨﻲ إن ﻗﻠﺖ ﻟﻚ إﻧﻨﻲ مل أﻛﻦ أﺗﺨﻴﻞ‬ ‫أن ﺗﺼﻞ اﻹﻣــﺎرات إﱃ ﻣﺎ وﺻﻠﺖ إﻟﻴﻪ‪،‬‬ ‫ﺑﻞ ﻋﻨﺪﻣﺎ ﻛﻨﺖ أﻗﺮأ ﰲ ﺻﺤﻴﻔﺔ اﻻﺗﺤﺎد‬ ‫أن ﺷﺎرع اﳌﻄﺎر ﰲ أﺑﻮﻇﺒﻲ ﺳﺘﺸﻴﺪ ﻋﲆ‬ ‫ﺟﺎﻧﺒﻴﻪ اﻟﺒﻨﺎﻳﺎت اﻟﺤﺪﻳﺜﺔ وأن ﺟﺰﻳﺮة‬ ‫أﺑﻮﻇﺒﻲ ﺳﺘﻤﺘﻠﺊ ﺑﺎﻟﺒﻨﺎء واﻟﺘﻌﻤري مل ﻧﻜﻦ‬ ‫ﻧﺘﺨﻴﻞ أن ذﻟﻚ ﺳﻴﺤﺪث ﰲ ﻓﱰة زﻣﻨﻴﺔ‬ ‫ﻗﺼرية‪ ،‬إﻻ أن اﻟﺸﻴﺦ زاﻳﺪ رﺣﻤﻪ اﻟﻠﻪ ﻛﺎن‬ ‫ﻳﺴﺎﺑﻖ اﻟﺰﻣﻦ وﻳﻌﺮف أن اﺧﺘﺼﺎر اﻟﻮﻗﺖ‬ ‫أﺣﺪ أﺳﺒﺎب ﺗﻘﺪم وﻗﻮة اﻟﺪوﻟﺔ واﻟﺘﺄﺳﻴﺲ‬ ‫ﻟﻬﺎ‪ ،‬ﻓﺎﻟﺬي اﺳﺘﻄﺎع ﺗﺤﻘﻴﻘﻪ ﰲ زﻣﻦ ﻗﺼري‬ ‫ﻛﺎن أﺷﺒﻪ ﺑﺎﳌﻌﺠﺰة‪ ،‬ﺑﻞ ﻛﺎن "رﺣﻤﻪ اﻟﻠﻪ"‬ ‫ﻳﻨﻈﺮ إﱃ اﳌﺴﺘﻘﺒﻞ ﺑﻌﺪ ‪ 100‬ﺳﻨﺔ وﺑﻌﺪ‬ ‫ﻧﻀﻮب اﻟــﺒــﱰول‪ ،‬ﻓﻜﺎن ﻋﻨﺪﻣﺎ ﻳﺠﺘﻤﻊ‬ ‫ﺑﺎﳌﺴﺆوﻟني ﻋﻦ اﻟــﺒــﱰول ﻳﺘﺴﺎءل‪ :‬ﻛﻢ‬ ‫ﺗﻘﺪرون اﳌﺪة اﻟﺰﻣﻨﻴﺔ ﻟﻠﺒﱰول؟‪ 100 ..‬ﻋﺎم‬ ‫ﻣﺜ ًﻼ؟‪ ..‬ﻣﺎ ﻗﻴﻤﺔ اﳌﺌﺔ ﻋﺎم ﰲ ﺗﺎرﻳﺦ اﻷﻣﻢ‬ ‫واﻟﺸﻌﻮب؟‪ ..‬ﺑﻌﺪ ﻣﺌﺔ ﻋﺎم ﻣﺎذا ﺳﻴﺤﺪث؟‪..‬‬ ‫ﻫﻞ ﻧﻌﻮد إﱃ اﻟﺤﺮﻣﺎن؟‪ ..‬ﻫﺬه ﺛﺮوة ﻧﺎﺿﺒﺔ‬ ‫ﺳﺘﻨﺘﻬﻲ ﻳﻮﻣﺎً ﻣﺎ‪ ..‬ﻟﺬﻟﻚ دامئﺎً ﻣﺎ ﻛﺎن ﻳﻘﻮل‬ ‫إﻧﻪ ﻳﺠﺐ أن ﻧﺴﺘﻔﻴﺪ ﻣﻦ ﻋﺎﺋﺪات اﻟﻨﻔﻂ‬ ‫ﻟﺒﻨﺎء ﻣﺼﺎدر ﺟﺪﻳﺪة ﻟﻠﺪﺧﻞ ﺑﺎﻗﻴﺔ ﻻ‬ ‫ﺗﻨﻀﺐ وﻣﺴﺘﻤﺮة ﰲ اﻟﻌﻄﺎء‪ ،‬وﺑﺎﻟﻔﻌﻞ ﻋﻤﻞ‬ ‫"رﺣﻤﻪ اﻟﻠﻪ" ﻋﲆ ﺗﻨﻮﻳﻊ ﰲ ﻣﺼﺎدر اﻟﺪﺧﻞ‬ ‫ﻟﻴﺼﺒﺢ اﻻﻋﺘامد ﻋﲆ اﻟﻨﻔﻂ أﻗﻞ ﻣﻦ ‪%50‬‬ ‫ﺑﻴﻨام ﻛﺎن اﻻﻋﺘامد ﻋﻠﻴﻪ ﰲ اﳌﺎﴈ ‪.%99‬‬ ‫ﻛﻴﻒ ﺗﺮى اﻹﻣﺎرات وﻣﺎ ﺻﻠﺖ إﻟﻴﻪ ﻣﻦ‬ ‫ﺗﻘﺪم وﻣﻜﺎﻧﺔ ﻋﺎﳌﻴﺔ ﰲ ‪ 48‬ﻋﺎﻣ ًﺎ؟‬ ‫■ ﻟﻘﺪ ﻋﺸﺖ ﰲ ﻣﻌﻈﻢ اﻟــﺪول اﻟﻌﺮﺑﻴﺔ‬ ‫اﻟﻜﺜري ﻣﻦ اﻟﺴﻨﻮات‪ ،‬وﳌﺴﺖ وﺗرية اﻟﺘﻄﻮر‬ ‫اﻟﺒﻄﻲء ﻓﻴﻬﺎ ﻗﻴﺎﺳﺎً ﺑﺎﻹﻣﺎرات‪ ،‬اﻟﺘﻲ ﺗﻄﻮرت‬ ‫ﴎﻳﻌﺎً وأﺻﺒﺤﺖ ﺗﻀﻢ ﻣﺪﻧﺎً ﻋﺎﳌﻴﺔ ﺗﻀﺎرع‬ ‫اﻟﺸﻌﺮ ‪baytelshear‬‬ ‫ﺑﻴﺖ ِ‬

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‫‪ ĬńŒ ŝħ‬‬

‫آﻧﺬاك اﻋﺘﺒﺎراً ﻣﻦ ‪ 30/11/1971‬وﳌﺪة‬ ‫أﻗﺼﺎﻫﺎ ﺧﻤﺴﺔ أﻳــﺎم ﻟﺘﻐﻄﻴﺔ أﺣــﺪاث‬ ‫اﻹﻋﻼن ﻋﻦ ﻗﻴﺎم دوﻟﺔ اﻹﻣﺎرات‪ ،‬وﻋﻨﺪﻣﺎ‬ ‫ﺳﺎﻓﺮﻧﺎ ﻛﺎﻧﺖ إﻗﺎﻣﺘﻨﺎ ﰲ ﻓﻨﺪق ﺳﺒﺄ ﺑﺎﻟﺸﺎرﻗﺔ‬ ‫اﻟﺬي ﻛﺎن ﻳﻘﻊ ﻋﲆ اﻟﻄﺮﻳﻖ اﻟﻮاﺻﻞ ﺑني‬ ‫اﻟﺸﺎرﻗﺔ وديب‪.‬‬ ‫ﻧﻮد اﻟﺘﻌﺮف ﻋﲆ اﻟﻜﻮاﻟﻴﺲ وﻛﻴﻒ ﻛﺎﻧﺖ‬ ‫اﺳﺘﻌﺪاداﺗﻜﻢ وﻣﻌﺪاﺗﻜﻢ ﻟﻨﻘﻞ ذﻟﻚ‬ ‫اﻟﺤﺪث اﻟﺘﺎرﻳﺨﻲ‪.‬‬ ‫■ أﺗﺬﻛﺮ أن ﻣﻌﺪات اﻟﺘﺼﻮﻳﺮ ﻳﻮﻣﻬﺎ ﻛﺎﻧﺖ‬ ‫ﻛﺎﻣريا ﺛﻘﻴﻠﺔ اﻟﻮزن ﺗﺴﺘﺨﺪم أﻓﻼم ‪16‬ﻣﻢ‬ ‫وﻛﺎﻧﺖ ﺗﺤﺘﺎج إﱃ اﻟﺘﺤﻤﻴﺾ واﳌﻮﻧﺘﺎج ﻗﺒﻞ‬ ‫اﻟﺒﺚ‪ ،‬ومل ﺗﻜﻦ ﺑﻜﺮة اﻟﻔﻴﻠﻢ اﻟﻮاﺣﺪ ﺗﺴﺠﻞ‬ ‫أﻛرث ﻣﻦ ‪ 15‬دﻗﻴﻘﺔ‪ ،‬أﻣﺎ أﻧﺎ ﻓﻘﺪ ﻛﻨﺖ أﺣﻤﻞ‬ ‫ﺟﻬﺎزاً ﻳﺴﻤﻰ )ﻧﺎﺟﺮا(‪ ،‬وﻫﻮ أﻳﻀﺎً أﺷﺒﻪ‬ ‫ﺑﺎﻟﺤﻘﻴﺒﺔ ﺛﻘﻴﻠﺔ اﻟﻮزن‪ ،‬وﻣﻊ ذﻟﻚ مل ﻧﻜﻦ‬ ‫ﻳﻮﻣﻬﺎ ﻧﻬﺘﻢ ﺑﺜﻘﻞ اﻟــﻮزن‪ ،‬ﻧﻈﺮاً ﻟﺤامﺳﺔ‬ ‫وﻓﻮرة اﻟﺸﺒﺎب اﻟﺘﻲ ﻛﺎﻧﺖ ﺗﺴﻴﻄﺮ ﻋﻠﻴﻨﺎ‪.‬‬ ‫ﻛﺎﻧﺖ ﺳﻴﺎرات اﻟﺒﺚ ﻻ ﺗﺴﺘﻄﻴﻊ ﻧﻘﻞ‬

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‫اﻟﻌﺪد ‪ ، 84‬دﻳﺴﻤﺒﺮ ‪2019‬‬

‫اﻟﺤﺪث ﻣﺒﺎﴍة ﻣﻦ ديب إﱃ أﺑﻮﻇﺒﻲ ﻟﻄﻮل‬ ‫اﳌﺴﺎﻓﺔ ﻋﲆ اﻷﺟﻬﺰة‪ ،‬ﻟﺬﻟﻚ ﻗﻤﺖ ﺑﺘﺴﺠﻴﻞ‬ ‫اﻟﺤﺪث ﻋﲆ اﻟﺠﻬﺎز وإذاﻋﺔ ﺧﱪ ﻗﻴﺎم دوﻟﺔ‬ ‫اﻹﻣﺎرات ﻋﱪ اﻟﻬﺎﺗﻒ اﻟﺜﺎﺑﺖ‪ ..‬ﻓﻔﻲ ﺻﺒﺎح‬ ‫اﻟﺜﺎين ﻣﻦ دﻳﺴﻤﱪ ‪1971‬م وﺻﻠﻨﺎ ﻗﺒﻞ‬ ‫اﻟﺜﺎﻣﻨﺔ ﺻﺒﺎﺣﺎً إﱃ ﻣﻜﺎن اﻻﺣﺘﻔﺎل‪ ،‬وﻫﻮ‬ ‫ﻗﴫ اﻟﺸﻴﺦ راﺷﺪ ﺑﻦ ﺳﻌﻴﺪ آل ﻣﻜﺘﻮم‪،‬‬ ‫ﺣﺎﻛﻢ ديب‪ ،‬وﺟﻠﺴﻨﺎ ﰲ ﻣﻜﺘﺐ ﻗﺮﻳﺐ ﻣﻦ‬ ‫ﻣﻜﺎن اﻻﺣﺘﻔﺎل ﻓﻴﻪ ﻫﻮاﺗﻒ أرﺿﻴﺔ ميﻜﻨﻨﺎ‬ ‫اﻻﺗﺼﺎل ﻣﻦ ﺧﻼﻟﻬﺎ ﺑﺎﺳﺘﻮدﻳﻮﻫﺎت اﻹذاﻋﺔ‬ ‫أو اﻟﺘﻠﻔﺰﻳﻮن‪.‬‬ ‫ﺗﻔﻘﺪت ﺟﻬﺎز )اﻟﻨﺎﺟﺮا( اﻟﺬي ﻛﻨﺖ ﻓﺨﻮراً‬ ‫ﺑﻪ آﻧﺬاك ﻷﻧﻪ ﻛﺎن ﻳﻌﻤﻞ ﺑﻜﻔﺎءة ﻋﺎﻟﻴﺔ‪،‬‬ ‫وﺗﺄﻛﺪت أﻧﻪ ﺻﺎﻟﺢ ﻟﻠﺘﺴﺠﻴﻞ وأن ﺑﻄﺎرﻳﺘﻪ‬ ‫ﻣﻤﺘﻠﺌﺔ‪ ،‬وﺑﺎﻟﻔﻌﻞ ﻗﻤﺖ ﺑﺘﺴﺠﻴﻞ اﻟﻜﻠﻤﺔ‬ ‫اﻻﻓﺘﺘﺎﺣﻴﺔ وﺑﻴﺎن ﻗﻴﺎم دول اﻻﺗﺤﺎد اﻟﺬي‬ ‫ﻗﺮأه ﻣﻌﺎﱄ أﺣﻤﺪ ﺧﻠﻴﻔﺔ اﻟﺴﻮﻳﺪي‪ ،‬ﻣﻌﻠﻨﺎً‬ ‫اﻟﺸﻴﺦ زاﻳﺪ رﺋﻴﺴﺎً‪ ،‬واﻟﺸﻴﺦ راﺷﺪ ﻧﺎﺋﺒﺎً‬ ‫ﻟﻠﺮﺋﻴﺲ‪ ،‬واﻟﺸﻴﺦ ﻣﻜﺘﻮم ﺑﻦ راﺷﺪ رﺋﻴﺴﺎً‬ ‫ﻟﻠﻮزراء‪ ،‬ﺛﻢ ﺑﺪأ اﻻﺣﺘﻔﺎل ﺑﺮﻓﻊ اﻟﻌﻠﻢ‬

‫اﻟﺠﺪﻳﺪ وﺳﺠﻠﻨﺎ وﺻﻔﺎً ﻟﻬﺬا اﻻﺣﺘﻔﺎل‪ ،‬ﺛﻢ‬ ‫أﴎﻋﺖ إﱃ اﳌﻜﺘﺐ اﻟﻘﺮﻳﺐ ﻣﻦ ﻣﻜﺎن‬ ‫اﻻﺣﺘﻔﺎل واﺗﺼﻠﺖ ﻣﻦ اﻟﻬﺎﺗﻒ اﻟﺜﺎﺑﺖ‬ ‫ﺑــﺎﻹذاﻋــﺔ ﺑﻌﺪ ﺧﻤﺲ دﻗﺎﺋﻖ ﻣﻦ رﻓﻊ‬ ‫اﻟﻌﻠﻢ‪ ،‬وﻗﺪﻣﻨﻲ اﻟﺰﻣﻴﻞ ﻣﺤﻤﺪ اﻟﺴﻴﺪ‬ ‫ﻧﺪا ﻋﲆ اﻟﻬﻮاء ﻣﺒﺎﴍة ﻟﻘﺮاءة ﺑﻴﺎن ﻗﻴﺎم‬ ‫دوﻟﺔ اﻹﻣﺎرات اﻟﻌﺮﺑﻴﺔ اﳌﺘﺤﺪة ﻣﻦ إذاﻋﺔ‬ ‫أﺑﻮﻇﺒﻲ‪ ،‬اﻟﺘﻲ ﺗﻐري ﻣﺴامﻫﺎ ﰲ ﺗﻠﻚ اﻟﻠﺤﻈﺔ‬ ‫إﱃ )إذاﻋﺔ ﺻﻮت اﻹﻣﺎرات اﻟﻌﺮﺑﻴﺔ اﳌﺘﺤﺪة‬ ‫ﻣﻦ أﺑﻮﻇﺒﻲ( وﻛﺎن ﱄ ﴍف اﻹﻋﻼن ﻋﻦ‬ ‫ﻗﻴﺎم دوﻟﺔ اﻻﺗﺤﺎد ﰲ إذاﻋﺔ أﺑﻮﻇﺒﻲ اﻟﺬي‬ ‫ﺗﻐري اﺳﻤﻬﺎ ﻳﻮﻣﻬﺎ ﻛام ذﻛﺮت‪ ،‬ﺛﻢ ﺑﻌﺪ ذﻟﻚ‬ ‫ﻗﻤﻨﺎ ﺑﺈذاﻋﺔ اﻟﺤﺪث ﻛﺎﻣ ًﻼ ﻣﻦ ﻋﲆ ﺟﻬﺎز‬ ‫)اﻟﻨﺎﺟﺮا( ﺑﺘﻔﺎﺻﻴﻠﻪ ﻛﺎﻓﺔ‪.‬‬ ‫ﺻﻒ ﻟﻨﺎ رﺣﻠﺔ اﻟﻌﻮدة ﻣﻦ ديب إﱃ أﺑﻮﻇﺒﻲ‬ ‫ﻋﻘﺐ إﻋﻼن ﻗﻴﺎم دوﻟﺔ اﻹﻣﺎرات‪.‬‬ ‫■ إن ﻣﺎ ﺣﺪث ﰲ رﺣﻠﺔ اﻟﻌﻮدة ﻻ ميﻜﻦ‬ ‫ﻧﺴﻴﺎﻧﻪ ﻋﲆ اﻹﻃﻼق‪ ،‬ﺑﻞ وﻣﺎ ﺣﺪث ﰲ ذﻟﻚ‬ ‫اﻟﻴﻮم ﻛﻠﻪ‪ ،‬إذ إﻧﻨﺎ ﻋﻨﺪﻣﺎ ﻏﺎدرﻧﺎ ﻣﻦ أﺑﻮﻇﺒﻲ‬

‫ﻗﺒﻞ اﻟﺨﻮض ﰲ ﻣﺠﺮﻳﺎت اﻟﺤﻮار ﻧﻮد‬ ‫اﻟﺘﻌﺮف ﻋﲆ اﻷﺟﻮاء اﻟﻌﺎﻣﺔ ﰲ ﺑﺪاﻳﺎت‬ ‫اﻟــﻌــﺎم ‪ 1971‬اﻟــﺬي ﺷﻬﺪ ﻗﻴﺎم دوﻟــﺔ‬ ‫اﻹﻣﺎرات؟‬ ‫■ ﻣﻨﺬ ﺑﺪاﻳﺎت اﻟﻌﺎم ‪ 1971‬واﻟﺠﻤﻴﻊ ﻛﺎن‬ ‫ﻳﻌﻴﺶ أﺟــﻮاء اﻹﻋــﻼن اﻻﺗﺤﺎدي‪ ،‬وأﻛﺎد‬ ‫أﺟﺰم ﺑﺄن ﻣﻌﻈﻢ اﻟﱪاﻣﺞ اﻟﺘﻲ ﻛﻨﺎ ﻧﻘﺪﻣﻬﺎ‬ ‫ﰲ إذاﻋــﺔ أﺑﻮﻇﺒﻲ آﻧــﺬاك ﻛﺎﻧﺖ ﻣﻮﺟﻬﺔ‬ ‫ﺑﺸﻜﻞ أو ﺑﺂﺧﺮ إﱃ اﻹﻣﺎرات اﻷﺧﺮى‪ ،‬وﻛﻨﺎ‬ ‫ﻧﺬﻫﺐ ﻟﻺﻣﺎرات ﻛﺎﻓﺔ وﻧﺴﺠﻞ ﻟﻘﺎءات ﻣﻊ‬ ‫اﳌﻮاﻃﻨني اﻟﺬﻳﻦ ﻛﺎﻧﻮا ﻣﺘﺸﻮﻗني ﺑﺸﻐﻒ إﱃ‬ ‫ﻗﻴﺎم دوﻟﺔ اﺗﺤﺎدﻳﺔ‪ ،‬إذ مل ﻳﻜﻦ ﻋﺪد اﻟﺴﻜﺎن‬ ‫ﻟﻺﻣﺎرات اﻟﺴﺒﻊ ﰲ ذﻟﻚ اﻟﻮﻗﺖ ﻳﺰﻳﺪ ﻋﲆ‬ ‫‪ 300‬أﻟﻒ ﻧﺴﻤﺔ‪ ،‬مبﻦ ﻓﻴﻬﻢ اﻟﻮاﻓﺪﻳﻦ‪،‬‬ ‫ﻓﻜﺎن ﻻ ﺑﺪ ﻣﻦ اﻻﺗﺤﺎد‪ ،‬وﻫﺬا ﻣﺎ ﺳﻌﻰ ﻟﻪ‬ ‫ﺑﻘﻮة اﳌﻐﻔﻮر ﻟﻪ اﻟﺸﻴﺦ زاﻳﺪ ﺑﻦ ﺳﻠﻄﺎن‬ ‫آل ﻧﻬﻴﺎن "ﻃﻴﺐ اﻟﻠﻪ ﺛﺮاه" ﺣﺘﻰ اﺳﺘﻄﺎع‬ ‫ﺗﺤﻘﻴﻘﻪ‪.‬‬ ‫وﻋﻘﺐ اﺟﺘامع ديب ﻟﺤﻜﺎم اﻹﻣــﺎرات‬ ‫اﻟﺴﺒﻊ ﰲ اﻟﺜﺎﻣﻦ ﻣﻦ ﻳﻮﻟﻴﻮ ‪ 1971‬وﻗﺮار‬ ‫إﻧﺸﺎء دوﻟﺔ اﻹﻣــﺎرات اﻟﻌﺮﺑﻴﺔ اﳌﺘﺤﺪة‬ ‫وﺳﻦ اﻟﺪﺳﺘﻮر اﳌﺆﻗﺖ ﻟﺘﻨﻈﻴﻢ ﺷﺆون‬ ‫اﻟﺪوﻟﺔ اﻟﺠﺪﻳﺪة‪ ،‬ﺑﺪأت إذاﻋﺔ أﺑﻮﻇﺒﻲ –‬ ‫وﻗﺒﻞ اﻹﻋــﻼن اﻟﺮﺳﻤﻲ ﻟﻠﺪوﻟﺔ‪ -‬ﺗﺨﻄﻂ‬ ‫وﺗﻌﻤﻞ ﻋﲆ أﺳﺎس أﻧﻬﺎ اﻹذاﻋﺔ اﻟﺮﺳﻤﻴﺔ‬ ‫ﻟﻠﺪوﻟﺔ اﻻﺗﺤﺎدﻳﺔ‪ ،‬ﻓﻌﺸﻨﺎ أﺟﻮاء اﻻﺗﺤﺎد‬ ‫اﻟﺘﻲ متﺜﻠﺖ ﰲ ﻧﺸﺎﻃﺎت ﻣﻜﺜﻔﺔ ﻟﺰﻳﺎرة‬ ‫ﺟﻤﻴﻊ ﻣﻨﺎﻃﻖ اﻟﺪوﻟﺔ واﻻﻟﺘﻘﺎء ﺑﺎﻟﺸﺒﺎب‬ ‫ﰲ اﻟﻨﻮادي واﳌــﺪارس وﰲ اﳌﺠﺎﻟﺲ اﻟﺘﻲ‬ ‫ﻛﺎﻧﻮا ﻳﺮﺗﺎدوﻧﻬﺎ ﻟﻨﺴﺠﻞ ﻣﻌﻬﻢ وﻧﺘﻌﺮف‬ ‫ﻋﲆ ﻣﺸﺎﻋﺮﻫﻢ ﺗﺠﺎه اﻻﺗﺤﺎد‪ ،‬وﻣﻊ اﻗﱰاب‬ ‫اﻟﺜﺎين ﻣﻦ دﻳﺴﻤﱪ ﻋﺎم ‪ 1971‬أﺧﺬت وﺗرية‬ ‫ﺑﺮاﻣﺞ اﻹذاﻋﺔ ﻋﻦ اﻻﺗﺤﺎد ﺗﺰﻳﺪ ﺑﺸﻜﻞ ﻛﺒري‬ ‫ومبﺎ ﻳﻮﺣﻲ ﺑﺄن ﺟﻤﻴﻊ اﻟﱪاﻣﺞ ﻗﺪ ﺗﻮﻗﻔﺖ‬ ‫وﺗﺤﻮﻟﺖ إﱃ ﺑﺚ ﻳﺘﺎﺑﻊ اﻷﺣﺪاث وﻳﻮاﻛﺐ‬ ‫وﻳﻨﺘﻈﺮ ﻣﻴﻼد اﻟﺪوﻟﺔ اﻟﺠﺪﻳﺪة‪.‬‬

‫ وﻛﻴﻒ ﺗﻠﻘﻴﺖ ﻗﺮار إﻳﻔﺎدك ﻟﺘﻐﻄﻴﺔ ذﻟﻚ‬‫اﻟﺤﺪث اﻟﺘﺎرﻳﺨﻲ ﻟﻘﻴﺎم دوﻟﺔ اﻹﻣﺎرات؟‬ ‫■ ﰲ ﻇﻞ ﺗﻠﻚ اﻷﺟــﻮاء ﻛﺎن اﻟﻜﻞ ميﻨﻲ‬ ‫اﻟﻨﻔﺲ ﺑﺄن ﻳﻜﻮن ﺿﻤﻦ ﻓﺮﻳﻖ اﻟﺘﻐﻄﻴﺔ‪،‬‬ ‫واﻟﺤﻤﺪ ﻟﻠﻪ ﺗﻠﻘﻴﺖ ﺑﺎﻣﺘﻨﺎن ﺑﺎﻟﻎ ﺧﱪ‬ ‫إﻳﻔﺎدي ﻋﻦ إذاﻋﺔ أﺑﻮﻇﺒﻲ ﺑﻘﺮار رﺳﻤﻲ‬ ‫ﺻﺎدر ﻣﻦ ﻣﻌﺎﱄ راﺷﺪ ﻋﺒﺪاﻟﻠﻪ اﻟﻨﻌﻴﻤﻲ‬

‫اﻟﺬي ﻛﺎن ﻳﺸﻐﻞ ﺣﻴﻨﻬﺎ وﻛﻴ ًﻼ ﻟﻮزارة اﻹﻋﻼم‬ ‫واﻟﺴﻴﺎﺣﺔ ﰲ أﺑﻮﻇﺒﻲ‪ ،‬ﺣﻴﺚ ﻧﺺ اﻟﻘﺮار‬ ‫اﳌﺆرخ ﰲ اﻟﺜﺎين ﻣﻦ ﺷﻮال ﻋﺎم ‪1391‬ﻫـ‬ ‫اﳌﻮاﻓﻖ ﻟﻠﺜﻼﺛني ﻣﻦ ﻧﻮﻓﻤﱪ ‪1971‬م ﻋﲆ أن‬ ‫ﻳﻮﻓﺪ ﻛﻞ ﻣﻦ‪ :‬ﺳﻌﻴﺪ اﻟﻐﻴﺚ ﻋﻦ ﺗﻠﻔﺰﻳﻮن‬ ‫أﺑﻮﻇﺒﻲ‪ ،‬ﺧﻠﻴﻞ ﻋﻴﻠﺒﻮين ﻋﻦ إذاﻋﺔ أﺑﻮﻇﺒﻲ‪،‬‬ ‫ﺣﻤﺪي متﺎم ﻋﻦ ﺻﺤﻴﻔﺔ اﻻﺗﺤﺎد‪ ،‬إﱃ ديب‬ ‫اﻟﺸﻌﺮ ‪baytelshear‬‬ ‫ﺑﻴﺖ ِ‬

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‫‪ ĬńŒ ŝħ‬‬ ‫‪ǇŧƜǃŦŘ ũƠŢƀŜ ƃŧƠ ŮſŹƴŢ ƒƂŘ ƻƸ ƿƸţǉƬ ƺţǉŦ ŘƃƬ ƻƸ ƲǂŘ ƺţưǂ žţŹŬǐŢ ŕŢǃŴŘ ƊţƠ‬‬

‫‪ žţŹŬǐŢ ƺǑƠŜ ǇŭǉƙƥŭŦ ƂǃŽƨ "ǇƼǃŧƵǉƠ ƳǉƵż‬‬ ‫‪łƬŢƃƌŜ ƃűưŘ ŪŢƂţƸǎŢ ƳŧƭŭƉƸǂ‬‬ ‫ﺣﻮار – أﺣﻤﺪ اﻟﻌﺮﺑﻲ‬

‫ﻳﻔﺨﺮ ﺑﺄﻧﻪ ﻋﺎش أﺟﻮاء إﻋﻼن ﻗﻴﺎم دوﻟﺔ اﻹﻣﺎرات‬ ‫اﻟﻌﺮﺑﻴﺔ اﳌﺘﺤﺪة وﻧﻘﻞ ذﻟﻚ اﻟﺤﺪث اﻟﺘﺎرﻳﺨﻲ ووﺛﻘﻪ‬ ‫ﻟﺤﻈﺔ ﺑﻠﺤﻈﺔ‪ ،‬ﺣﻴﺚ ﻛﺎن ﺿﻤﻦ اﻟﻔﺮﻳﻖ اﻹﻋﻼﻣﻲ‬ ‫اﳌﻮﻓﺪ ﻣﻦ أﺑﻮﻇﺒﻲ إﱃ ديب ﻟﺘﻐﻄﻴﺔ اﻟﺤﺪث‪ ،‬وﻛﺎن‬ ‫أول ﻣﻦ أذاع ﺧﱪ ﻗﻴﺎم دوﻟﺔ اﻹﻣﺎرات ﻋﲆ أﺛري إذاﻋﺔ‬ ‫أﺑﻮﻇﺒﻲ ﻋﲆ اﻟﻬﻮاء ﻣﺒﺎﴍة ﻋﱪ اﻟﻬﺎﺗﻒ اﻟﺜﺎﺑﺖ ﻣﻦ‬ ‫ﻣﻨﻄﻘﺔ اﻟﺤﺪث ﻋﻘﺐ رﻓﻊ ﻋﻠﻢ اﻟﺪوﻟﺔ اﻟﺠﺪﻳﺪة‪.‬‬ ‫ﻳﺆﻛﺪ اﻹﻋﻼﻣﻲ ﺧﻠﻴﻞ ﻋﻴﻠﺒﻮين أن اﻟﺠﻤﻴﻊ آﻧﺬاك ﻛﺎن‬ ‫ﻳﻌﻴﺶ أﺟﻮاء اﻻﺗﺤﺎد ﺣﺘﻰ ﻗﺒﻞ إﻋﻼن ﻗﻴﺎم اﻟﺪوﻟﺔ‪،‬‬ ‫وﻛﺎن ﻫﻨﺎك إﺟامع ﻛﺎﻣﻞ ﻋﲆ ﺗﻮﱄ اﳌﻐﻔﻮر ﻟﻪ اﻟﺸﻴﺦ‬ ‫زاﻳﺪ ﺑﻦ ﺳﻠﻄﺎن آل ﻧﻬﻴﺎن رﺋﺎﺳﺔ دوﻟﺔ اﻻﺗﺤﺎد ﻣﺜﻠام‬ ‫ﻛﺎن ﻫﻨﺎك إﺟامع ﻋﲆ ﺣﺒﻪ "ﻃﻴﺐ اﻟﻠﻪ ﺛﺮاه"‪.‬‬ ‫وأﺷﺎر إﱃ أن اﻟﺸﻴﺦ زاﻳﺪ ﻛﺎن ﻳﺴﺎﺑﻖ اﻟﺰﻣﻦ ﻣﻦ أﺟﻞ‬ ‫اﻟﺘﺄﺳﻴﺲ ﻟﺪوﻟﺔ ﻗﻮﻳﺔ ﺗﻜﻮن ﻟﻬﺎ ﻣﻜﺎﻧﺘﻬﺎ ﺑني اﻷﻣﻢ‪ ،‬ﺑﻞ‬ ‫ﻛﺎن ﻳﻨﻈﺮ إﱃ اﳌﺴﺘﻘﺒﻞ وﺗﺄﻣني ﺣﻴﺎة ﻛﺮميﺔ ﻟﻸﺟﻴﺎل‬ ‫اﳌﻘﺒﻠﺔ‪ ،‬ﻟﺬا اﻫﺘﻢ "رﺣﻤﻪ اﻟﻠﻪ" ﺑﺘﻨﻮﻳﻊ ﻣﺼﺎدر اﻟﺪﺧﻞ‬ ‫وﻋﺪم اﻻﻋﺘامد ﺑﺸﻜﻞ ﻛﺎﻣﻞ ﻋﲆ اﻟﺒﱰول‪ ،‬ﺣﻴﺚ دامئﺎ‬ ‫ﻣﺎ ﻛﺎن ﻳﻘﻮل إن ﻓﱰة ﺗﻮاﻓﺮ اﻟﻨﻔﻂ ﺣﺘﻰ وﻟﻮ ﺗﻌﺪت‬ ‫‪ 100‬ﻋﺎم ﺗﻌﺪ ﻗﺼرية ﰲ ﺣﻴﺎة اﻷﻣﻢ واﻟﺸﻌﻮب‪ ،‬ﻛام‬ ‫اﻫﺘﻢ ﺑﻐﺰو اﻟﻔﻀﺎء ومتﻨﻰ أﻻ ﻳﻜﻮن ﺣﻜﺮاً ﻋﲆ اﻟﺪول‬ ‫اﻟﻜﱪى‪.‬‬ ‫وﻳﺮى ﻋﻴﻠﺒﻮين أن ﻣﺴﺘﻘﺒﻞ اﻹﻣــﺎرات ﺳﻴﻜﻮن أﻛرث‬ ‫إﴍاﻗ ـﺎً ﻣﺎ دام أﺑﻨﺎء زاﻳﺪ اﻟﻜﺮام ﻳﻘﻮدون اﳌﺴرية‬ ‫ﺑــﺮوح اﻟﺘﺤﺪي واﻷﻣــﻞ واﻟﺘﻔﺎؤل‪ ،‬وﺑﻘﻠﻮب ﻛﺒرية‬ ‫ﺗﺘﺴﻊ ﻟﻠﺠﻤﻴﻊ وأﻓﻜﺎر ّﻧرية ﺗﺆﻣﻦ ﺑﺄن اﻟﺠﻤﻴﻊ أﺧﻮة‬ ‫وﻣﺴﺎﻋﺪة اﻵﺧﺮﻳﻦ واﺟــﺐ إﻧﺴﺎين‪ ،‬ﻟﺬﻟﻚ ﻓﺪور‬ ‫اﻹﻣــﺎرات اﻹﻗﻠﻴﻤﻲ واﻟﻌﺎﳌﻲ ﻳﻘﻮى ﻋﺎﻣﺎً ﺑﻌﺪ ﻋﺎم‬ ‫وﺗﻜﺴﺐ ﺛﻘﺔ ﻋﺎﳌﻴﺔ ﺑني ﻛﱪى اﻟﺪول‪.‬‬

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‫اﻟﻌﺪد ‪ ، 84‬دﻳﺴﻤﺒﺮ ‪2019‬‬

‫وﻳﻬﻨﺊ اﻟﺸﺎﻋﺮ ﺧﻤﻴﺲ ﺑﻦ زﻋﻞ مبﻨﺎﺳﺒﺔ اﻟﻴﻮم اﻟﻮﻃﻨﻲ ﻣﻌ ّﺪدا ﻓﻀﺎﺋﻞ اﻻﺗﺤﺎد‪ ،‬ﻓﻴﻘﻮل‪:‬‬

‫‪2b@@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ «°b@@+ b@@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ c@ 0x@@E‬‬ ‫*‪2b@@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ g@ ~@ 6(* @@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ E @@ @ @ @ @ @ @ @ @ @ @ :¡@@D‬‬ ‫¯ ‪2*5 x@@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @£@ @ @ @ @ @³* b@@ @ @ @ @ @ @ @ @ @ @ @ @ @ Q @ :H‬‬ ‫‪2b@@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ c@ @ D* e4‬‬ ‫‪Q @@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ ~@ }@ A @@ @ E‬‬ ‫‪2b@@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ ~@ 7H b@@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @Q@ @ @ + Mv@@ @ @ @ @ @ @ @ @ @ J*5‬‬ ‫‪ 2*v@Q@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @~@ z@ D* ¥*x@@ @ @ @ @ @ @ @ @ @R @ + *HÌ@@ @ @ @ @ @ @ @ @ @ ~@ 6‬‬ ‫‪ 2b@@ @ @ @ @ @ @ @ @ @ @ @ @«b@@+ *¡@@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ -x@@~@ 8 ¡@@ @ @ @ @ @ @ @ @ @ @ @ @J‬‬ ‫‪2É@@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ c@ D* Q @N @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @< @@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @CÌ@@1‬‬ ‫‪2b@@ @ @ @ @ @ @ @ @ @ @ ~@ 7 yQ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ Db@@+ ¥w@@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @D*H‬‬ ‫‪2b@@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ g@ <* b@@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ DR H Mf@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ C‬‬

‫‪4Hv@@ @ @ @ @ @ @ @ @J M ¡@@ @ @ @ @ @ @ @ @ @ @ 0 b@@ @ @ @ @ @ @ @ @ @ @ @ @E @R @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @C‬‬ ‫ ‪4Hx@@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @~@z@D*H 2b@@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ ~@ z@ Db@@+‬‬ ‫‪4¡@@ @ @ @ @ @ @ @ @ @ @ @ @ @ @~@|@B i¡Q @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ ~@ 6 b@@ @ @ @ @ @ @ @ @ @ @ @ @ @ Q @C‬‬ ‫‪4¡@@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ EO&°* ¤@@ @ @ @ @ @ @ @ @ @ @ @ @ @ D*H ¥w@@ @ @ @ @ @ @ @ @ @ @ D*H‬‬ ‫‪4Hx@@ @ @ @ @ @ @ @ @ @ @ @ @c@D*H b@@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @FR v@@E ¤@@ @ @ @ @ @ @A‬‬ ‫‪R @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ g@ F*H‬‬ ‫@¡ ‪4¡@@ @ @ @ @ @ @ @ @ @ @cQ @ ~@ {@ D* *¡@@ @ @ @ @ @ @ @ @ @ @ @ @ @ :‬‬ ‫*‪4¡@@ @ @ @ @ @ @ @ @ @ @ @~@|@J d@@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ /*H ¥w@@ @ @ @ @ @ @ @ @ @ @ @ @ D‬‬ ‫ ‪4¡@@ @ @ @ @ @ @ @ @ @ @ ~@ 7 @@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ E d@@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ ~@ {@ D*H‬‬ ‫‪4¡@@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ ~@ z@ D*H @@ @ @ @ @ @ @ @ @ @Ab@@p@ ~@ |@ D* ¤@@ @ @ @ @ @ @ @ A‬‬ ‫‪4¡@@ @ @ @ @ @ @ @ @ @ @ ~@ 8 d@@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @m@ @ J x@@ @ @ @ @ @ @ @ @ @ @ @ @ @ ~@ |@ D*H‬‬

‫اﻟﻤﺼﺎدر واﻟﻤﺮاﺟﻊ‪:‬‬ ‫ دﻳﻮان ﺑﻦ ﺑﺨﻴﺖ‪ ،‬ﻟﻠﺸﺎﻋﺮ ﻋﲇ ﺑﻦ ﺳﻠﻄﺎن ﺑﻦ ﺑﺨﻴﺖ اﻟﻌﻤﻴﻤﻲ‪ ،‬إﻋﺪاد و‬‫ﺗﺤﻘﻴﻖ‪ :‬راﺷﺪ أﺣﻤﺪ اﳌﺰروﻋﻲ‪ ،‬أﺑﻮﻇﺒﻲ‪ :‬ﺑﻴﺖ اﻟﺸﻌﺮ ﺑﻨﺎدي ﺗﺮاث اﻹﻣﺎرات‪،‬‬ ‫‪2011‬م‪.‬‬ ‫ دﻳﻮان ﺑﻦ زﻋﻞ‪ ،‬ﺧﻤﻴﺲ ﺑﻦ راﺷﺪ ﺑﻦ زﻋﻞ اﻟﺮﻣﻴﺜﻲ‪ ،‬أﺑﻮﻇﺒﻲ‪ :‬ﻧﺎدي ﺗﺮاث‬‫اﻹﻣﺎرات‪2008 ،‬م‪.‬‬ ‫ دﻳﻮان ﺑﻦ ﻣﺤﻨﺎ‪ ،‬ﻟﻠﺸﺎﻋﺮ ﻣﺤﻤﺪ ﺑﻦ ﻣﺤﻨﺎ ﺑﻦ ﻟﻮﻳﻊ اﻟﻌﺎﻣﺮي‪ ،‬اﻟﺸﺎﻋﺮ‬‫ﻧﻔﺴﻪ‪ ،‬أﺑﻮﻇﺒﻲ ‪ :‬ﻟﺠﻨﺔ اﻟﺸﻌﺮ اﻟﺸﻌﺒﻲ ﺑﻨﺎدي ﺗﺮاث اﻹﻣﺎرات‪ ،‬اﻟﻄﺒﻌﺔ اﻷوﱃ‪،‬‬ ‫‪2008‬م‪.‬‬ ‫ دﻳﻮان ﺑﻦ ﻣﻬﻴﻠﺔ‪ ،‬ﻟﻠﺸﺎﻋﺮ ﺳﻌﻴﺪ ﺑﻦ ﻛﻠﻔﻮت ﺑﻦ ﴎور ﺑﻦ ﻣﻬﻴﻠﻪ اﻟﺸﺎﻣﴘ‪،‬‬‫ﺟﻤﻊ وﺗﺤﻘﻴﻖ‪ :‬راﺷﺪ أﺣﻤﺪ اﳌﺰروﻋﻲ‪ ،‬أﺑﻮﻇﺒﻲ‪ :‬ﻣﺮﻛﺰ زاﻳﺪ ﻟﻠﺪراﺳﺎت‬ ‫واﻟﺒﺤﻮث ﺑﻨﺎدي ﺗﺮاث اﻹﻣﺎرات‪2008 ،‬م‪.‬‬ ‫ دﻳﻮان ﺑﻦ ﻧﻌامن‪ ،‬ﻟﻠﺸﺎﻋﺮ ﻣﺤﻤﺪ ﻋﺒﻴﺪ ﺑﻦ ﻧﻌامن اﻟﻜﻌﺒﻲ‪ ،‬إﻋﺪاد‪ :‬اﻟﻌﴫي‬‫ﺑﻦ ﻛﺮاز اﳌﻬريي وﻏﺴﺎن اﻟﺤﺴﻦ‪ ،‬أﺑﻮﻇﺒﻲ ‪ :‬ﻟﺠﻨﺔ اﻟﺸﻌﺮ اﻟﺸﻌﺒﻲ ﺑﻨﺎدي‬ ‫ﺗﺮاث اﻹﻣﺎرات‪ ،‬اﻟﻄﺒﻌﺔ اﻷوﱃ‪2003 ،‬م‪.‬‬ ‫ دﻳﻮان ﺑﻦ ﻫﻼل‪ ،‬ﻟﻠﺸﺎﻋﺮ ﺳﻌﻴﺪ ﺑﻦ ﻣﺤﻤﺪ ﺑﻦ ﻫﻼل اﻟﻈﺎﻫﺮي‪ ،‬إﻋﺪاد‬‫و ﺗﺤﻘﻴﻖ‪ :‬راﺷﺪ اﳌﺰروﻋﻲ‪ ،‬أﺑﻮﻇﺒﻲ‪ :‬ﺑﻴﺖ اﻟﺸﻌﺮ ﺑﻨﺎدي ﺗﺮاث اﻹﻣﺎرات‪،‬‬ ‫‪2013‬م‪.‬‬ ‫ دﻳﻮان ﺑﻦ وﻗﻴﺶ‪ ،‬ﻟﻠﺸﺎﻋﺮ ﺳﻠﻄﺎن ﺑﻦ وﻗﻴﺶ اﻟﻈﺎﻫﺮي‪ ،‬إﻋﺪاد و ﺗﺤﻘﻴﻖ‪:‬‬‫راﺷﺪ أﺣﻤﺪ اﳌﺰروﻋﻲ‪ ،‬أﺑﻮﻇﺒﻲ‪ :‬ﺑﻴﺖ اﻟﺸﻌﺮ ﺑﻨﺎدي ﺗﺮاث اﻹﻣﺎرات‪2012 ،‬م‪.‬‬ ‫‪ -‬دﻳﻮان اﻟﺨﻮاﰲ ﰲ ﻏﺮﻳﺐ اﻟﻘﻮاﰲ‪ ،‬ﻣﺤﻤﺪ ﺑﻦ ﻳﻌﺮوف ﺑﻦ ﻣﺮﺷﺪ اﳌﻨﺼﻮري‪،‬‬

‫اﻟﺸﺎﻋﺮ ﻧﻔﺴﻪ‪ ،‬أﺑﻮﻇﺒﻲ‪ :‬ﻟﺠﻨﺔ اﻟﱰاث واﻟﺜﻘﺎﻓﺔ ﺑﻨﺎدي ﺗﺮاث اﻹﻣﺎرات‪ ،‬اﻟﺠﺰء‬ ‫اﻷول‪ ،‬اﻟﻄﺒﻌﺔ اﻷوﱃ‪) ،‬د‪.‬ت(‪.‬‬ ‫ دﻳﻮان اﻟﺪرﻣيك‪ ،‬ﻟﻠﺸﺎﻋﺮ ﻣﺤﻤﺪ ﺑﻦ ﺳﻠﻄﺎن اﻟﺪرﻣيك‪ ،‬إﻋﺪاد و ﺗﺤﻘﻴﻖ‪:‬‬‫راﺷﺪ أﺣﻤﺪ اﳌﺰروﻋﻲ‪ ،‬أﺑﻮﻇﺒﻲ‪ :‬ﻣﺮﻛﺰ زاﻳﺪ ﻟﻠﺪراﺳﺎت واﻟﺒﺤﻮث ﺑﻨﺎدي ﺗﺮاث‬ ‫اﻹﻣﺎرات‪2016 ،‬م‪.‬‬ ‫ دﻳﻮان اﻟﺴامﺣﻲ‪ ،‬ﻟﻠﺸﺎﻋﺮ ﺧﻤﻴﺲ ﺑﻦ ﺣﻤﺪ اﻟﺴامﺣﻲ‪ ،‬إﻋﺪاد و ﺗﺤﻘﻴﻖ‪:‬‬‫راﺷﺪ أﺣﻤﺪ اﳌﺰروﻋﻲ‪ ،‬أﺑﻮﻇﺒﻲ‪ :‬ﺑﻴﺖ اﻟﺸﻌﺮ ﺑﻨﺎدي ﺗﺮاث اﻹﻣﺎرات‪2012 ،‬م‪.‬‬ ‫ دﻳﻮان اﻟﺸﺎﻋﺮ ﻋﲇ ﻣﺼ ّﺒﺢ اﻟﻜﻨﺪي اﳌﺮر‪ ،‬إﴍاف‪ :‬اﻟﻜﻨﺪي ﻣﺼﺒﺢ اﻟﻜﻨﺪي‪،‬‬‫إﻋﺪاد وﴍح‪ :‬ﻏﺴﺎن اﻟﺤﺴﻦ وﻣﺤﻤﺪ إﺑﺮاﻫﻴﻢ اﻟﺤﺪﻳﺪي‪ ،‬أﺑﻮﻇﺒﻲ‪ :‬ﻟﺠﻨﺔ‬ ‫اﻟﺸﻌﺮ اﻟﺸﻌﺒﻲ ﺑﻨﺎدي ﺗﺮاث اﻹﻣﺎرات‪ ،‬اﻟﺠﺰء اﻷول‪2004 ،‬م‪.‬‬ ‫ دﻳﻮان ﻓﺎرس اﻟﺸﻌﺮ‪ ،‬ﻟﻠﺸﺎﻋﺮ ﺻﺎﻟﺢ ﺑﻦ ﻋﲇ ﺑﻦ ﻋﺰﻳﺰ اﳌﻨﺼﻮري‪ ،‬ﺗﺤﻘﻴﻖ‪:‬‬‫ﻋﲇ ﺑﻦ أﺣﻤﺪ اﳌﻄﻴﻮﻋﻲ‪ ،‬أﺑﻮﻇﺒﻲ‪ :‬ﻧﺎدي ﺗﺮاث اﻹﻣﺎرت‪2001،‬م‪.‬‬ ‫ دﻳﻮان اﻟﻘﺼﻴﲇ‪ ،‬ﻟﻠﺸﺎﻋﺮ ﻋﲇ ﺑﻦ ﻣﺤﻤﺪ اﻟﻘﺼﻴﲇ‪ ،‬ﴍح وإﻋﺪاد ﻋﲇ‬‫ﻣﺼﺒﺢ اﻟﻜﻨﺪي وآﺧــﺮون‪ ،‬أﺑﻮﻇﺒﻲ ‪ :‬ﻟﺠﻨﺔ اﻟﺸﻌﺮ اﻟﺸﻌﺒﻲ ﺑﻨﺎدي ﺗﺮاث‬ ‫اﻹﻣﺎرات‪ ،‬اﻟﻄﺒﻌﺔ اﻷوﱃ‪2004 ،‬م‪.‬‬ ‫ ﺻﺤﻴﻔﺔ اﻟﺨﻠﻴﺞ‪27/07/2015 :‬م‪.‬‬‫ ﻣﺠﻠﺔ ﺗﺮاث‪ ،‬أﺑﻮﻇﺒﻲ‪ :‬ﻧﺎدي ﺗﺮاث اﻹﻣﺎرت‪ ،‬اﻟﻌﺪد‪ ،194‬دﻳﺴﻤﱪ ‪2015‬م‪.‬‬‫ وﻓﺎء أﺣﻤﺪ راﺷﺪ اﻟﻌﻨﺘﲇ‪ ،‬اﻟﻮﻃﻦ ﰲ اﻟﺸﻌﺮ اﻹﻣﺎرايت اﳌﻌﺎﴏ‪ ،‬أﺑﻮﻇﺒﻲ‪:‬‬‫أﻛﺎدميﻴﺔ اﻟﺸﻌﺮ اﻟﺘﺎﺑﻌﺔ ﻟﻠﺠﻨﺔ إدارة اﳌﻬﺮﺟﺎﻧﺎت واﻟﱪاﻣﺞ اﻟﺜﻘﺎﻓﻴﺔ واﻟﱰاﺛﻴﺔ‪،‬‬ ‫‪2013‬م‪.‬‬

‫اﻟﺸﻌﺮ ‪baytelshear‬‬ ‫ﺑﻴﺖ ِ‬

‫‪23‬‬

‫‪ňœŕ‬‬

‫‪ƻƘǃƴŢ ŕţƕƨ ƺţƱƹƴŢǂ ũšǉŧƴŢ‬‬ ‫وﻳﺮﺗﺒﻂ ﺷﻌﺮ اﻟﻮﻃﻦ ارﺗﺒﺎﻃﺎ ﻣﺒﺎﴍاً ﺑﺎﻟﺒﻴﺌﺔ اﻟﺘﻲ أﻧﺘﺠﺘﻪ واﻹﻧﺴﺎن اﻟﺬي أﺑﺪﻋﻪ‪ ،‬ﻟﺬا ﻓﻘﺪ ﺑﺮز اﳌﻜﺎن ﰲ ﺑﻌﺾ‬ ‫اﻟﻘﺼﺎﺋﺪ اﻟﻮﻃﻨﻴﺔ ﺑﺆرة ﺗﴤء ﻓﻀﺎء اﻟﻮﻃﻦ‪ ،‬وﻣﻨﻄﻠﻘﺎ ﻟﻠﺸﺎﻋﺮ ﻟﻠﺤﺪﻳﺚ ﻋﻦ ﻣﺨﺘﻠﻒ ﺟﺰﻳﺌﺎت اﻟﻮﻃﻦ وﺻﻮر اﻟﺬود‬ ‫ﻋﻨﻪ‪ ،‬وﻟﻌﻞ ﻣﺎ ﺟﺎء ﺑﻪ اﺑﻦ وﻗﻴﺶ ﻳﺠﺴﺪ واﺣﺪة ﻣﻦ ﻫﺬه اﻟﺼﻮر‪:‬‬

‫‪ @@ @ @ @ :¡@@ @ @ @ D*H ¥4*2 Í@@ @ @ @ @ @ @ @ @ @ @ D*H ¤@@ @ @ @c@ @ @ @ ;¡@@ @ @ @+‬‬ ‫‪ @@ @ @~@ @6 b@@ @ @ @ @ @ @ @ @ @ @ DR (* e¡@@ @ @ @ @ @ @ @ @ @ @ @ D* ¯ M2*2H @@ @ @ @ @D‬‬

‫‪ *v@@ @ @ @ A ¤@@ @ @ @ @ @ @ 0H4 b@@ @ @ @ @ @ @ F*H ¤@@ @ @ @~@ @ @ @ 6*x@@ @ @ @DR rx@@ @ @ @ @ @ @ @ E‬‬ ‫‪ *v@@ @ @ < R @@ @ @ @ @ @ EN h@@ @c@ @ @ @ J @@ @ @7x@@ @ @ @ @ @ D* e4 @R @ @ @ @ N @ @ @ @ @JP‬‬

‫‪ @@ @ N @ @ E b@@ @ @ @ E @@ @ @ D¡@@ @ @ ~@ @ @ @8H &*v@@ @ @ @ @ R @ @ @ @ @ D *¡R @ @ @ @ @ @ @ @ @ @+ ¡@@ @ @ @ D‬‬ ‫‪ @@ @ @ Ey@@ @ @ D* ¡@@ @ @ @ @ @ @: b@@ @ @ @ @ @ @D @@ @ @ @N @ @ @ @ R @ @ @ @ J b@@ @ @ @ @s@ @ @£@ @ @~@ @ @7‬‬

‫‪ b@@ @ @ @ 0 @@ @ ~@ @ @7¡@@ @ £@ @ @m@R @ @ + b@@ @ @ @ @ @ @ @~@ @ @6 ¡@@ @ @ @ @ +* k@@ @ £@ @ @0‬‬ ‫‪ b@@ @ @ £@ @ @ @²* ¡@@ @ @ @ @ @ @: ¯ 4Hx@@ @ @ @ ~@ @ @ @ @z@ @ @ @ @E ¤@M @ @ @ @ @Bb@@ @ @ @ @+‬‬

‫‪ŕţżƃƴŢ ǅƴŜ žǃơƑƴŢǂ žţŹŬǐŢ‬‬ ‫ذﻛﺮى اﻟﻴﻮم اﻟﻮﻃﻨﻲ ﻫﻲ ﻣﺪﻋﺎة ﻟﻠﺸﻌﺮاء ﻟﻠﺤﺪﻳﺚ ﻋﻦ اﻟﺘﻄ ّﻮر واﻟﺘﻘﺪم اﻟﻘﺎﺋﻢ ﰲ اﻹﻣﺎرات ﺑﻌﺪ ﻗﻴﺎم اﺗﺤﺎدﻫﺎ‪،‬‬ ‫ﺑﻞ إﻧﻪ ﰲ ﻣﺮﺣﻠﺔ اﻻﺗﺤﺎد ﺟﺎءت اﻟﻘﺼﺎﺋﺪ اﻟﻮﻃﻨﻴﺔ ﻟﺘﻌﱪ ﻋﻦ اﻧﺘﻘﺎل اﻟﺸﻌﺐ ﻣﻦ اﳌﺎﴈ اﳌﺮﻳﺮ وﺷﻈﻒ اﻟﻌﻴﺶ إﱃ‬ ‫اﻟﺤﺎﴐ اﻟﺠﻤﻴﻞ واﻟﺘﻄﻮر واﻟﺮﺧﺎء واﻟﻨﻬﻀﺔ‪ ،‬ﻓﻨﺠﺪ اﻟﻌﻤﻴﻤﻲ ﻳﺬﻛﺮ ﺑﻌﻀﺎ ﻣﻦ ﻫﺬه اﻟﺼﻮر‪ ،‬إذ ﻳﻘﻮل‪:‬‬

‫‪22‬‬

‫‪v@@ £@ @Db@@ @ @g@ @D* h@@ @ £@ @ @¹ Qv@ @ @ @ @ @ 0 @@ @ @ @ 7H h@@ @ @ @ BH b@@ @ @ J‬‬ ‫‪v@@ £@ @Bb@@ @ @ @ @Db@@ + ix@@ @ @ @ @ @ @ @ @ @ .R *H *x@@ @ ~@ @ @}@ @ @1 b@@ @ @ @£@ @ @ @ F2‬‬

‫‪ @@ @ @ @ £@ @ +4 ¯ x@@ @ @ @ @ @15 Md@@ @ @~@ @ @ {@ @ @ < @@ @ @j@ @ @ E @@ @ @ @ g@ @ @ @ @F*H‬‬ ‫‪ @@ @ @£@ @~@ @6¡@@ D* R¥¡@@ @ @ £@ @ @ @ @ @ D* ¢@@ @ @gQ @ @ @ 0 ix@@ @ @ @ Q @ @ @ @ @ @ @ @ -R *H‬‬

‫‪v@@ £@ @m@ @ @@ @ ~@ @ @}@ @ @ @ @ @D* @@ @ @ @ D @@ @ @ @ E ¢@@ @ @ @ @ @ < ¤@@ @ @ @ @j@ @ @F‬‬

‫@‪ @@ @ @ @ £@ @ @ @ E* x‬‬ ‫‪R @ @ @ @ @ @ @E* ¢@@ @ @ @ @ < M b@@ @ @ @ @ Q @ @ @ @ @ @0H v@@ @ @ @ @ @ @J*5‬‬

‫‪v@@ £@ Gb@@ ¸ @@ @ @E *¡R @ @ @ @ @Dw@@ @ @ @ +R * @@ @ @C @@ @ @ @ @ @ D* @@ @ @ @ @/&°‬‬

‫‪ @@ @ @Jx@@ ~@ @6 @@ ~@ @}@ @ @ @ @ @+ q@@ c@ @ ~@ @ |@ @ J @@ @ @ :¡@@ @ @ D* Í@@ @ @ D‬‬

‫اﻟﻌﺪد ‪ ، 84‬دﻳﺴﻤﺒﺮ ‪2019‬‬

‫‪ŨžſơŭƸ ƂǃƐǂ ƃƠţƍƸ ƻƘǃƴŢ‬‬ ‫‪ƍ‬‬ ‫وﻷن اﻹﻣﺎرات ﺟﺰء ﻣﻦ ﺗﺎرﻳﺦ اﻟﺸﺎﻋﺮ اﻹﻣﺎرايت‪ ،‬ﺑﻞ ﻫﻲ ﻛﻞ اﻟﺘﺎرﻳﺦ ﺑﺎﻟﻨﺴﺒﺔ إﻟﻴﻪ‪ ،‬ﻓﻘﺪ ﻋﱪت اﻟﻘﺼﺎﺋﺪ اﻟﻮﻃﻨﻴﺔ ﰲ‬ ‫ﻣﺠﻤﻠﻬﺎ ﻋﻦ اﳌﺸﺎﻋﺮ اﳌﺮﻛﺒﺔ ﻟﺪى اﻟﺸﻌﺮاء‪ ،‬ﻓﺠﺎءت ﻣﻤﺰوﺟﺔ ﺑﺎﻟﺤﺐ واﻷﻣﺎن ﰲ ﻇﻞ اﻻﺗﺤﺎد‪ ،‬ﺗﺘﻌﺪد ﻓﻴﻬﺎ ﻣﻼﻣﺢ‬ ‫اﻟﻮﻃﻦ‪ ،‬وﺗﺘﻨﻮع ﺻﻮر اﻟﺘﻐﻨﻲ ﺑﺤﺒﻪ وﺑﻘﻴﺎدﺗﻪ وﺑﻨﻬﻀﺘﻪ‪ ،‬وﺗﻨﺤﻮ إﱃ ﺗﺄﻛﻴﺪ ﻋﲆ ﻣﺎ ﺑﺎت ﻳﻨﻌﻢ ﺑﻪ أﻫﻠﻪ ﻣﻦ ﺧريات‬ ‫ﻫﻢ ﻟﻬﺎ إﻻ ﺗﻌﺰﻳﺰ اﻟﻮﺣﺪة واﻟﺘﻼﺣﻢ واﻟﻨﻬﻮض ﺑﻜﻞ ﻣﻘﻮﻣﺎت‬ ‫اﻟﺪﻧﻴﺎ وﻧﻌﻴﻤﻬﺎ‪ ،‬وﻣﺎ ﺧﺼﻬﻢ ﺑﻪ اﻟﻠﻪ ﻣﻦ ﻗﻴﺎدة ﻻ ﱠ‬ ‫اﻟﺤﻴﺎة ﻟﺘﻮﻃﻴﺪ اﻷﻣﻦ واﻷﻣﺎن وإﺳﻌﺎد اﻟﺒﴩ‪.‬‬ ‫ﻓﻬﺎ ﻫﻮ اﻟﺸﺎﻋﺮ اﺑﻦ ﻧﻌامن‪ ،‬ﰲ ﻗﺼﻴﺪة ﻟﻐﺘﻬﺎ أﻗﺮب إﱃ اﻟﻔﺼﺤﻰ‪ ،‬ﻳﺮﺳﻢ ﻟﻮﺣﺔ ﺷﺎﻣﻠﺔ ﻟﻠﻮﻃﻦ ﰲ ﻋﻴﺪه‪ ،‬ﻓﻴﺘﻐﻨﻰ ﻗﺎﺋﻼ‪:‬‬

‫‪ *v@@ @ @ £@ @ @ E x@@ @ @ @ @Gv@@ @ @ @ @D* b@@ @ @ @ @ @ G ¡@@ @ @ @ @ @ A ¤@@ @ @ g@ @ @ @ DHv@@ @ @ D‬‬ ‫‪b@@ @ @ @ @ @ @ @)b@@ @ <2 @@ @ @ @ @E @@ @ @ @ @ @ <2 @@ @ @ @ @ @ ²* ,x@@ @ @ @ ~@ @ @ @ @|@ @ @ @ @FO H‬‬ ‫ ‪b@@ @ @ @ @-2b@@ @ £@ @ @B b@@ @ @ @Gb@@ @ @ @<x@@ @ @ @- Ì@@ @ @ @ @ @ @³* ,Ì@@ @ @ ~@ @ @ @z@ @ @ @E‬‬ ‫=@ @ @@‪b@@ @ m@ @ @ E w@@ @ @ c@ @ @ @D* @@ @ @6x@@ @ @= f@@ @ c@ @ @p@ @ @´* @@ @ @6x‬‬ ‫@ @ @{@ @ @~@ @ @ @ @ @‪d@@ j@ @C @@ @ @ @< É@@ @ @ @ @ @ @ @ @ 1&°* @@ @ @ £N @ @ @ @B b@@ @ @ @ @D Rv‬‬‫‪R @@@@@@@ /‬‬ ‫@‪b@@ Gx@@ ~@ @|@ @ @ @- @@ @ @ @ @ @ 0x@@ @ @D* f@@ @ @ @cN @ @ @ @ PG b@@ @ @ @ @D i$b‬‬ ‫‪b@@ @ @Fv@@ @ @)b@@ @ @B v@@ @ @ @ m@ @ @ @ @´* b@@ @ @ @ @~@ @ @ @ @ 6¡@@ @ @ @ @+R iNR v@ @ @ @ @ @ Q @ @ @ @ @ @ @ @ @ @ @ @A‬‬

‫< @ @ @ @ @ @ @ @@¡*‪ b@@ @ @ @ @ @ Â(* q@@ @ £@ @ @ @ @ @ ~@ @ @ z@ @ @ g@ @ @ D*H v@@ @ @ @m@ @ @ @ ´* @@ @ @ @F‬‬ ‫‪ *v@@ @ @ @ @ @ /H @@ @ @ @ @ @ @ 0x@@ @ @ D* Nh@@ @ @ @ @ c@ @ @ @ @ @.&* b@@ @ @ @ @ @ P´ b@@ @ @ @ @£@ @ @A‬‬ ‫‪ b@@ @ ~@ @ @|@ @ @ @ @ @FH @M @ @ @ @ ~@ @ @ @ 7 °H b@@ @ @ @ @ @ £@ @ @ A d@@ @ @ @ @ @ @J4 °‬‬ ‫‪ b@@ @ @ @ @ @ @ @ C4&* Ñ* ib@@ @ @ @ @ @Ex@@ @ @ @ @ @0O @@ @ @ @ @< 2HwQ @ @ @ @ @ @ @ @ @ @ @ @ @ @D*H‬‬ ‫‪ b@@ @ @ ~@ @ @ @z@ @ @ @0(*H M v@@ @ @ @ @ @ @ < b@@ @ @ @ @ @ D ¡@@ @ @ c@ @ @ @0b@@ @ @ ~@ @ @ @|@ @ @ @D*H‬‬ ‫*(‪ b@@ @ @~@ @ @ {@ @ @ D*H yQ @ @ @ @ @ @ @ @ @ @D* b@@ @ @ @ @ @ @ @ E b@@ @ @ @ @ @ @g@ @ @ @Dy@@ @ @ F&* 3‬‬ ‫‪ b@@ @ @ @ Fv@@ @ @ @ <H b@@ @ @ @ @ @ @p@ @ @ @B f@@ @ @ @ @+Hx@@ @ @ @ @ @ @ @ @ @ D* x@@ @ @ s@ @ @ @A‬‬ ‫اﻟﺸﻌﺮ ‪baytelshear‬‬ ‫ﺑﻴﺖ ِ‬

‫‪21‬‬

ňœŕ

:‫وﻣﻦ أﺷﻌﺎر ﺳﻌﻴﺪ ﺑﻦ ﻫﻼل اﻟﻈﺎﻫﺮي ﰲ ﻫﺬا اﳌﻘﺎم‬

b@@ @Gb@@ @ @ @ E ,x@@ @ @ @ @ @Jy@@ @ @ @ @ @±* x@@ @ @ @~@ @ @ @ 7 h@@ @ @ @ @ @ @ Q @ @ @ @0 @@ @ @ @ @+ b@@ @ @ @ @ G*43 b@@ @ @ @ J b@@ @ @ @ GyQ @ @ @ @ < b@@ @ @ @ J Yb@@ @ @ @ @ @ @ @ @ @ @D* ¡@@ @ @ @ @ +Z b@@ @ @ @ J b@@ Gb@@ £@ @ ~@ @ 9 ·b@@ @ @ £@ @ @ @ @ @ @ @D* 2¡@@ @ @ ~@ @ @ @6 d@@ @ @ @ @ @ < x@@ @ @ @ @~@ @ @ @ @ 7&* b@@ @ @ @G*x@@ @ @ @. f@@ @ @ @ @ @ @ @ @ @ @ A4H b@@ @ @ @ @ @ @ @ @-yQ @ @ @ @ @< @@ @ @ @ @ @ @ /* @@ @ @ @ @ E b@@ @ Gb@@ @ @ @ @g@ @ @c@ @ @E ¢@@ @ @ @ @ @ @ @ @< @@ @ @ @ @ @ @ @ @ @ @ Q @ @ @ @m@ @ @ @J Ñ*H b@@ @ @Gb@@ @ @EvR @ @ @ DR @@ @ @ @ @0 @@ @ @ @ ~@ @ z@ @ D* ¯ b@@ @ @ @ @D *¡@@ @ @ @ g@ @ @ @ F*H

rb@@ @ @ @ @ ~@ @ @ @ @ @9HR &°*H ¤@@ @ Q @ @ @m@ @ @g@ @ @D* ¡@@ @ @£@ @ @ + b@@ @ c@ @ @0x@@ @ E b@@ @ @ J rb@@ g@ @ @ @ E Ì@@ @s@ @ @ @ D h@@ @ @ @ @ @ F*H @@ @ @ E¡@@ @ @ J ¡@@ @ @ @ @ J @@ @ @ @E r*x@@ @ @ @ @ @ @ @ @ @ @ @AR &°*H xQ @ @ @ @~@ @ @ @z@ @ @ @´b@@ @ @ + ·b@@ @ @ £@ @ @ @ @ @ @ @D* b@@ @ @ @ @g@ @ @/ rÉ@@ @ @ @ @~@@ @ @R @ @8&°* e42 ¯ y@@ @ @ @ @ @ Db@@ @ @+ *¡@@ @ @ @FHb@@ @ @ @ @ @ @ @ -R rb@@ @ @ @ ~@@R @z@ @ D x@@ @ ~@ @ z@ @ J @@ @ @ @ @D *¡@@ @ @ @<v@@ @ @ @- @@ @ @ @ +¡@@ @ @ @ ~@ @ 7 rÉ@@ @ @ ~@@ R@ @ 6H *Ì@@ @ @ @ @ @ @F ex@@ @ @ @ @ @ @²* ¯ b@@ @ @ @ @ D *¡@@ @ @ @g@ @ @ @ F*

:‫وﻳﺮﺳﻢ اﺑﻦ ﻣﺤﻨﺎ ذﻟﻚ ﰲ ﻗﻮﻟﻪ‬

4b@@ @ @ @ @ @ @ @ @F Í@N @ @ @ @ @ @ @ @ @+ Í@@ @ @ @ @ @ D É@@ @ @ @ @ @ @ @ @ @ @ @ @ D* h@@ @ @ @ @ @ @ @ @05 ,4b@@ @ @ @ ~@ @ @ @ @z@ @ @ @ @³*H @@ @ @ @ p@ @ @ @ @ ´* @@ @ @ @ @ C b@@ @ @ @ @ @ @g@ @ @ @£@ @ @ @ @ @ @ @C*H 4b@@ @ @~@ @ @ }@ @ @ ²* @@ @ @ @ @ @ @ @G*H Hv@@ @ @ @ @ c@ @ @ @ @ @D*H b@@ @ @ @ @ @ Eb@@ @ @ Q @ @ @ 0 4b@@ @ @ @ @ @ @ @ @ @ . Mib@@ @ @ @ @ @ @ @ @ @ @£@ @ @ @ @ @ @ @ @ @ @ F*2H ew@@ @ @ @ @ @ @ @ @ @< $b@@ @ @ @ @ @ @ @ @ @ @ @ ´* 4b@@ @ @£@ @ @ - *HR ¡Q @ @ @ @ @ @ @ ~@@ @ @N @ @ @ @6 @@ @ @ @ @ @ @ @ @ +(°* ,b@@ @ @ @ @ @ @ @<4 ¤@@ @ @ @g@ @ @ @ 0H

b@@ ~@ @z@ @ @ @J Rv@ @ @ @ @ @0 b@ N @ @ @ E Hx@@ @ @ @ @ @ @ @ ´* d@@ @ 0b@@ @ ~@ @ 8 b@@ @ @ @ JH b@@ @ @<x@@ @ @J Ñ* ¤@@ @ ~@ @ @z@ @ @< b@@ @ @ @ @ @ -v@@ @ @ 0H h@@ @ @ @ @ @ @ @ @ /H É@@ @ @ @ @ @ @ @ @J3H É@@ @ @ @ @ @ @ @ @J3 Í@@ @ @ @ @ @ + b@@ @ @ @ @ @ E h@@ @ @ @ @ @ @ @ @ @ @ @ @ @/H N @ @ @ @ D*H *¡@@ @ @ @ @ @ @E @@ @ @ £@ @ @ @C ¤@@ @ @ @ @ @ @< @@ @ @ @ g@ @ @ @ @£@ @ @ @ @ Q @ @ @ @ @1Ä@ b@@ @ @ @ ~@ @ {@ @ J v@@ @ @ @ @0 °H Ì@@ @ @ @ @ @ 1 @@ @ @ @ @² M @@ @ @ @ @ @ @ @ CH 2019 ‫ دﻳﺴﻤﺒﺮ‬، 84 ‫اﻟﻌﺪد‬

‫‪žţŹŬǐŢǂ ƻƘǃƵƴ ſǈŢƄ‬‬

‫ﻻ ﻏﺮاﺑﺔ أن ﻳﻜﻮن زاﻳﺪ رﻣﺰا ﻟﻠﻮﻃﻦ‪ ،‬ﻓﺒﻌﺰميﺘﻪ وﺷﺠﺎﻋﺘﻪ أﻫﺪى اﻟﻮﻃﻦ ﻫﻮﻳﺘﻪ اﳌﻮﺣﺪة اﻟﺤﺪﻳﺜﺔ‪ ،‬وﺑﺤﻜﻤﺘﻪ‬ ‫وﺗﻮاﺿﻌﻪ وﻋﺪاﻟﺘﻪ أﻛﺴﺐ اﻟﻮﻃﻦ ﻧﻬﻀﺘﻪ وازدﻫﺎره‪ ،‬ﻓﻬﻮ مبﻨﺰﻟﺔ اﻟﺒﻄﻞ اﳌﺘﻜﺎﻣﻞ اﻟﺬي اﻧﺘﻈﺮه اﻟﺸﻌﺐ ﻋﱪ ﺗﺎرﻳﺨﻪ‬ ‫اﻟﻄﻮﻳﻞ‪ ،‬وﻻ ﻏﺮاﺑﺔ ﻣﻊ ﻛﻞ ذﻟﻚ أن ﻳﺨ ّﻠﺪ اﻟﺸﻌﺮاء ذﻛﺮى اﻻﺗﺤﺎد ﺑﺘﻤﺠﻴﺪ ﻣﻦ أرﳻ دﻋﺎﺋﻢ اﻻﺗﺤﺎد ورﻋﻰ ﺗﻄﻮره‪.‬‬ ‫وﻳﻜﺎد ﻻ ﻳﻔﻠﺖ ﻣﻦ ﻋﻘﺎل ﻫﺬه اﻟﺜﻼﺛﻴﺔ أي ﻣﻦ اﻟﺸﻌﺮ اﻟﻮﻃﻨﻲ‪ ،‬ﻓﻨﺠﺪ اﻟﻘﺼﻴﲇ ﻳﻘﻮل‪:‬‬

‫‪ b@@ @ @ @ @ @ @JS °* 2¡@@ @ @ @ @ @ ~@ @ @ 6H v@@ @ £@ @ @ @ @ @Db@@ @ + b@@ @ c@ @ @ 0x@@ @ E b@@ @ @ @J‬‬ ‫ < @ @‪R @ @ @~@ @ @ 7 @@ @ @ @ D ¤@@ @ @ @ @D* u¡@@ @£@ @ ~@ @ {@ @ D* v@@ @£‬‬ ‫@‪ *x@@ @ @ @ CR H b‬‬ ‫‪ b@@ @ @ @ Q @ @ @ @ 0H @@ @ @ @Cb@@ @ @ @0 Í@@ @ @ @ @+ M b@@ @ @ @ @ @ @ @ @ @ @ @ @-(* 4¡@@ @ @ @~@ @ @ @ 7‬‬ ‫‪ É@Q @ @ @ @ <N b@@ @ @ @ C @@ @ @ E x@@ ~@ @ |@ @ @ @ Db@@ + @@ @ @ @ D x@@ @ @ Eb@@ @ @ JH‬‬

‫< @ @ @ @‪R M2b@@ @ @ @ @ @ @ @ @ @ @ @ @ @ «(* v@@ @ @ @£‬‬ ‫‪ Ì@@ @ @ ~@ @ @ @z@ @ @ @´* Q @ @ @ @ @ @ @ @ @ @ CP µ‬‬ ‫‪R @@ @ P @@ @ ~@@Q @ {@ @ @D* R @ @ @ @ P @ @ @ @J M4¡@@ @ @ @ @ ~@ @ @ @ @ @7HR‬‬ ‫‪ Ì@@ @ @c@ @ @ P±* µ‬‬ ‫‪ Ì@@ ~@ {@ g@ ~@ z@ J @@ @ @ @ PE @R @ @ @ @ P @ @ @ @ D* @@ @ £@ @ @<y@@ @ D* ¥*4H‬‬ ‫· ‪ x@@ @ @ Jy@@ @ @ ±* P 4P2H Nv@ @ @ @ @ @ @ @ @ @ @0R HP *¡@@ @ @ @ F¡@@ @ @ @ CQ‬‬

‫وﻳﻘﻮل ﰲ ﻣﻮﺿﻊ آﺧﺮ‪:‬‬

‫< @ @ @‪ 4¡@@ @ @~@ @ @ {@ @ @ FR i5S 4H @@ @ @ @c@ @ @ @ B* 2b@@ @ @ @ @ @ @ @«* v@@ @ @£‬‬ ‫‪ 4N ¡@@ @ @ c@ @ @ ~@@R @ @ 7 h@@ @ @ Db@@ @ @ : v@@ @ @ m@ @ @ @´* @@ @ @ @ @ @ + t@M @ @ £@ @ @ ~@ @ @ 7‬‬ ‫ ‪ 4¡@@ @ c@ @ @~@@R @ 7 h@@ @ @ Db@@ @ @ : v@@ @ @ m@ @ @ ´* @@ @ @ @ @ @ + ¢@@ @ @ Bx@@ @ @ J‬‬ ‫ ‪ 4¡@@ @~@ @ {@ @ + wR @ @ @ @ @ @ @ P1 b@@ @ @ J b@@ @~@ @ |@ @ @ @ J @@M @ @ @ z@ @ @ @ @JQ 4 @@ @ @ C‬‬

‫< @ @ @‪ 2P É@@ @ @ @c@ @ @ @ D* 4¡@@ @ @ @~@ @ @ @ 6 v@@ @ @ @£@ @ @ @ <H n@@ @ @£@ @ @ @ @ @ ³* v@@ @ @£‬‬ ‫· ‪2P *v@@ @ @ @ ~@ @ @ @ @6H ¥*x@@ @ @ @ @ @ @ @+ ,v@@ @ @ @ @ 0¡@@ @ @ @ @ D* ¡S @ @ @ @ @ @ @ @ @ @CN‬‬ ‫‪ ¥2b@@ @ @ @ @ @ @ J&°* @@ @c@ @ ~@ @ 6 b@@ @ @ J¡@@ @ @ G Rh@@ @ @p@N @ @ @Ab@@ @ @~@ @ @ |@ @ @ -R HP‬‬ ‫‪¥2b@@ @ @ @ @ @GH xR @ @ @ @ @ Eb@@ @ @ @ @J Ì@@ @ @ @ @ @³* e4v@@ @ @ @ @ @ @ + @@ @ @ @ @ @ @ FS °‬‬ ‫اﻟﺸﻌﺮ ‪baytelshear‬‬ ‫ﺑﻴﺖ ِ‬

‫‪19‬‬

ňœŕ

ƻƘǃƴŢ ſǈŢƄ

،‫ واﻛﺘﺴﺐ ﻣﺤﺒﺔ اﻟﻨﺎس وﻋﺎﻣﻠﻮه ﻛﻮاﻟﺪﻫﻢ‬،‫ وأﺣﺴﻦ إدارة اﻟﺤﻜﻢ وﺗﺪﺑريه‬،''‫أﺑﺪع اﻟﺸﻴﺦ زاﻳﺪ ''ﻃﻴﺐ اﻟﻠﻪ ﺛﺮاه‬ ‫ وﻗﺪ رﺳﻢ اﻟﺸﻌﺮاء ﻫﺬا‬.‫ وﺻﺎر ﻣﻦ اﻟﺼﻌﻮﺑﺔ مبﻜﺎن أن ﻳﺬﻛﺮ اﻟﻮﻃﻦ دون ذﻛﺮ زاﻳﺪ‬،‫ﻓﻐﺪا ﰲ ﻧﻈﺮﻫﻢ رﻣﺰا ﻟﻠﻮﻃﻦ‬ :‫ ﻣﻨﻬﺎ ﻣﺎ ﻟﺪى اﺑﻦ ﻋﺰﻳﺰ اﳌﻨﺼﻮري اﻟﺬي ﻳﻘﻮل‬،‫اﻟﱰاﺑﻂ ﰲ ﻟﻮﺣﺎت ﺷﻌﺮﻳﺔ‬

b@@ @ @c@ @g@ @C f@@ @ @ @ @£@ @ @ @ @ @²b@@ @ + @@ @ @ Jb@@ @ @ @ @ @ @²* ¤@@ @ @ @ @ @ @ @ <*4H b@@ @ @ @ @+w@@ @ / y@@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ DH b@@ @ @ @ @ @ /x@@ @ @ @ @ @ D* 2b@@ @ @ @ @ @ @ B b@@ @ c@ ~@ z@ 0 @@ @ @ E b@@ @ @ @ c@ @ £@ @ :H b@@ @ @ @/x@@ @ @ @D* @@ @ @ @ @ @ AH b@@ @ @c@ @~@ @{@ @F v@@ @ @Jb@@ @ @ @ @ @ < @@ @ |@ @ @ @ @ @1 f@@ @ @ @ @ @ @ @ BH @@ @ @ @ @ @ CH

4H2 b@@ @ @ @ @ @ Dx@@ @ @Jb@@ @ @~@ @ @ 8 t@@ @ @ @ J4b@@ @ @ @ g@ @ @ @ D* f@@ @ @ @ @ @ B ¯H 4¡@@ @ @~@ @{@ @E Ì@@ @ @ @ @³* v@@ @ @ Jb@@ @ @ BH b@@ @ @ @ /x@@ @ @ @ D* 2b@@ @ @ @ @ @BH 4¡@@ @ @~@ @{@ @E ¡@@ @ @ £@ @ @ @D* b@@ @ @ @ @g@ @ @BH ¯ @@ @ @B¡@@ @ @E @@ @ @ @ @DH 4¡@@ @ @Cw@@ @ @E Ì@@ @ @ @³b@@ @ @ @+ 2*5 @@ @ @ @ @ @ @ @ @ @ @+ v@@ @ @ @ @ @ @ @ @ J*5H

:‫ ﻓﻴﻘﻮل‬،‫وﻳﺮﺳﻢ ﰲ ﻣﻮﺿﻊ أﺧﺮ‬

b@@ @ G4¡@@ @ @ @ @<* f@@ @p@ @ @ @ D @@ @ @ 6¡@@ @ @ Eb@@ @ @ @ @ @ D*H y@@ @ @ @ @ @ @ @ D*H b@@ @ @ G4¡@@ @ @ ~@ @ @ 6H b@@ @ @ @ @ @ @ @ @ @G*43 ¡N @ @ @ @ @ @ @ @ @ @ @ @ RGH b@@ @ @ @Gy@@ @ @ @<¡@@ @ @ @G b@@ @ @ G4Hv@@ @ @ 1* b@@ @ @£@ @ @ @< ¤@@ @ @~@ @}@ @E *x@@ @ @ @ @ @ @D* @@ @ @ @ <H b@@ @G4¡@@ @~@ @ |@ @ B* ·*¡@@ @ @ @ @ @ @ @ D* ¡@@ @ @ @ @A b@@ @ @ @ @D v@@ @ £@ @ @~@ @ @7H b@@ @G4¡@@ @~@ @ z@ @ <* ·b@@ @ £@ @ @ @ @ @D* @@ @£@ @ ~@ @ 9 @@ @ @ E @@ @ @ J2b@@ @ @ 0

b@@ @ @ @ @Db@@ @ /4* @@ @ @ E b@@ @ @GÆ@@ @ @~@ @ @ 6H *4w@@ @ @ @ @ @< 4*v@@ @ @ @ @ @ @ @ D*H b@@ @ @ @ Db@@ @+ @@ @ @~@ @ @ 7 ¢@@ @ @ @ @ @ < v@@ @ @ @ @ @ @ @J*5 iÌ@@ @ @ @ @ s@ @ @ @ @ @-*H b@@ @ @DÉ@@ ;* v@@ @ @ @J*5 e¡@@ @ @ GÉ@@ @ @ D*H @@ z@ @ ~@ {@ D* @@ @ @ <H b@@ @ @Db@@ 0 b@@ @~@ @ {@ @ @ @ E 2¡@@ @ @ @ @ @ m@ @ @ ´* b@@ @ @ @ @D w@@ @ @ c@ @ @ @ JH b@@ @ Db@@ @ .* @@ @E b@@ @ ~@ 7 ¤@@ @ @ D* @@£@ @ ~@ }@ D* b@@ m@ @ @ @EH

:‫ ﻓﻤﻦ ﺷﻌﺮه‬،‫واﻷﻣﺮ ﻧﻔﺴﻪ ﻟﺪى اﻟﺸﺎﻋﺮ ﺑﻦ ﻳﻌﺮوف اﳌﻨﺼﻮري‬

b@@ @ Gb@@ @ @ @ @ @ @ @+ @@ @ @ @ @ @Â °H @@ @ @ z@ @ @ @ @ @ @ @F ¤@@ @ @ s@ @ @ @~@ @ @ @8 b@@ @Gb@@ ~@ @ |@ @ F ·b@@ @ @ £@ @ @ @ @ @ @ @D* 2¡@@ @ @ ~@ @ @ @6 @@ @ g@ @ @ Q @ @ @~@ @ @9 @@ @ @ @ E b@@ @ @ Gb@@ @ @ /H 4*2 e¡@@ @ @ @ ~@ @ @ @ @8 b@@ @ @ Q @ @ @ @ @ @ @ @ - @X @ @ @ @ @ @ @ C b@@ @Gb@@ @~@ @ 94 @@ @ @ @ @¹ ¤@@ @ @ @ @ @ D* e¡@@ @ @ @ @~@ @ @{@ @ @D* t@@ @£@ @ ~@ @ 7 b@@ @ @Gb@@ @ @~@ @ @ 64 @@ @ c@ @ @ @ @ @~@ @ @{@ @ @D v@@ @ @ @ @ @0¡@@ @ @ @ @ @D* Ãb@@ @ @ @ @ @ @ @ @<2

2¡@@ @ @ @ @ @ @ @ @/H ¤@@ @ @ @ @ @ @ @ @+4 *2 @@ @ @ @ @ @ @£@ @ @ @ @ @ @ @1 ¡@@ @ @ @ @ @ @ @ @+* 2Hv@@ @ @ @ @ @ @ @ ER @@ @ @ Jb@@ @ @ @ @ @ @A @@ @ @ @ @E @@ @ @ @ Âx@@ @ @ @ C 4*2 2¡@@ @ @ @ @ @ @ @ @ @ @¹* ¡@ N R @ @ @ @ @ @ @ @ @ @ @ @ @ @D*H É@@ @ c@ @ @~@ @ @6 Ãx@@ @ @ @ @ @ C 2¡@@ @ @ @~@ @ @ @ z@ @ @ @ 0 ¥3x@@ @ @ @ @ @ @ @ @ @ @ @ @ @ JH @@ @ @ @ @ Q @ @ @ @ @ @ @ @ @ @ Â Ñ* 2¡@@ @ @ @ @~@ @ @8 ·b@@ @ @ @ @ @ @ @ @ @ @D @@ @c@ @ @ @ ~@ @ 7 v@@ @ @ @ @~@ @ @6 ¡@@ @ @ @ G 2019 ‫ دﻳﺴﻤﺒﺮ‬، 84 ‫اﻟﻌﺪد‬

Ŷƃƨ ƷƈǃƸ ǇƽƘǃƴŢ ƶǃǉƴŢ

‫ ﻓﺄﺿﺎءوا ﻓﻀﺎءات‬،‫ ورﺳﻤﻮا ﺑﺸﻌﺮﻫﻢ ﻓﺮح اﻟﻮﻃﻦ‬،‫ﺗﻐﻨﻰ اﻟﻜﺜري ﻣﻦ اﻟﺸﻌﺮاء ﺑﺎﳌﻨﺎﺳﺒﺔ ﺳﻴﺪة ﻟﻠﻤﻨﺎﺳﺒﺎت اﻟﺴﻌﻴﺪة‬ :‫ ﻓﻤﻦ ﻓﺮح ﻋﲇ ﺑﻦ ﺳﻠﻄﺎن ﺑﻦ ﺑﺨﻴﺖ اﻟﻌﻤﻴﻤﻲ ﻗﻮﻟﻪ‬،‫ وز ﱠﻳﻨﻮا ﺗﻜﻮﻳﻨﻪ‬،‫اﻻﺣﺘﻔﺎء‬

i*4b@@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @E(°* v@@ @ @ @ @£@ @ @ @ @ < rx@@ @ @ @ @ @ @ @ @ @ @ @ @ @ D* v@@ @ @ @ @£@ @ @ @ @ < i*w@@ @ @ @ @ Db@@ @ @ @ @ + b@@ @ @ @ @ @ @ @:¡R @ @ @ @ @ @ @ @ D i4¡Q @ @ @ @ @ @ @ @ @ @ @ @ @ @ F @@ @ @ @ @ @ @ @ @+H ib@@ @ @ @ @ Q @ @ @ @ @ @ @ @ @ @ @ @´* @@ @ @ @ @ @ @ @ C @@ @ @ @ @ @ @ @ @ @ @0 v@@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @J*5H

2¡@@ @ @ @ @ @ @ @ @ @ @ @ -R * Ã*2 @@ @ @ @ @ @ @ @ @ @ @ @ J v@@ @ @ @ @£@ @ @ @ @ < b@@ @ @ @ @ @ @ J 2¡@@ @ @ @ @ @ @ @ @ @±*H Ì@@ @ @ @ @ @ @ @ @ @ @ @ ³*H rx@@ @ @ @ @ @ @ @ @ @ @ @ @ @ @D* v@@ @ @ @ @£@ @ @ @ @ < 2¡@@ @ @ @ @ @ @ @ @ R @ @ @ @ @D Í@@ @ @ @ @ @ @ @ @ @ @ @ @A*H @@ @ @ @ @ @ @ @ @~@ @ @ @ @7 @@ @ @ @ @ @ Q @ @ @ @ @ @ @/

:‫ ﻓﻴﻨﺸﺪ‬،‫وﻳﺪﻋﻮ اﺑﻦ وﻗﻴﺶ اﻟﺠﻤﻴﻊ ﻟﻠﻤﺸﺎرﻛﺔ ﰲ اﳌﻨﺎﺳﺒﺔ‬

b@@ @ @ @ @ @ @c@ @ @ @ DN b@@ @ @ @ @ @ J b@@ @ @ @ @ @ @ @ @ @ g@ @ @ @ @ DH2 d@@ @ @ @ @ @ @~@ @ @ @7 b@@ @ @ @ @ @ J b@@ @ @ @ @p@ @ @ @ @ JR * M ¡@@ @ @ @ @ @ @ @ @ @ 0 @R @ @ @ @ @ @ @ @ C @@ @ @ @ @ @ g@ @ @ p@ @ @ F @@ @ @ @ @ @ + b@@ @ @ @ @ @ ~@ @ @ @ @ @ @6xR @ @ @ @ @ @ @DN Í@@ @ @ @ @ @ Db@@ @ @ @ @ @ Q @ @ @ @ @ @ @F 2¡@@ @ @ @ @ @ @ @ @ A¡R @ @ @ @ @ @ @ @ @ @+ b@@ @ @ @ @ @m@ @ @ @ @ @ <* *¡R @ @ @ @ @ @ @ @ @ @ @ @ Eb@@ @ @ @ @ @ @ @ @ @ @ BH 2b@@ @ @ @ @ @ @ @ @«É@@ @ @ @ @ @ @ @ @D b@@ @ @ @ @ @ @ @ @ @ .R * @@ @ @ @ @ @+ @M @ @ @ @ J4b@@ @ @ @ ~@ @ @ @ @{@ @ @ @ @E @@ @ @ @ @ z@ @ @ @ @ @~@@ @Q @ @ @ 6*H

b@@ @ @ @ Fb@@ @ @ @ @ @ @ @ @E *¡@@ @ @ @ @ @ @ @ @ @F¡@@ @ @ @ @ @ @ @ @ @C b@@ @ @ @ @ @ @ @ @ @ @ @ @+ b@@ @ @ @ @ @ @ @£Q @ @ @ @ @ @ @ @ G b@@ @ @ @ @ @Fb@@ @ @ @ @ @<2 b@@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @-v@@ @ @ @ @ @ @ @ 0H R v@@ @ @ @ @ @£@ @ @ @ @ @ < *3 b@@ @ @ @ @F*v@@ @ @ @ @/ @@ @ @ @ @~@ @ @ @ @ 6x@@ @ @ @ @- Hv@@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ D* @@ @ @ @ @ @ @ @ @ @ CH b@@ @ @ Fb@@ @ @ @ @ @ @~@ @ @ @6 x@@ @ @ @ @ @ @ @ @ @ @ @ @ @J @@ @ @ @ @ @ @Gv@@ @ @ @ @ @ @£@ @ @ @ @ @ @ J&b@ @ @ @ @ @ @ -H b@@ @ @ @Fb@@ @ @ @<2 @@ @ @ @ @ @D ¤@@ @ @ @ @ @ Q @ @ @ @ @ @ D* @@ @ @ @ @ @ @ @ DP @@ @ @ @~@ @ @ @ }@ @ @ @ @ @ @ @ D*H

" ‫وﻳﻬﻨﺊ اﻟﺴامﺣﻲ ﺻﺎﺣﺐ اﻟﺴﻤﻮ اﻟﺸﻴﺦ ﺧﻠﻴﻔﺔ ﺑﻦ زاﻳﺪ آل ﻧﻬﻴﺎن رﺋﻴﺲ اﻟﺪوﻟﺔ "ﺣﻔﻈﻪ اﻟﻠﻪ ورﻋﺎه‬ :‫ ﻓﻴﻘﻮل‬،‫ﺑﻴﻮم اﻟﻮﻃﻦ‬

@@ @ @£Q @ @ @ 0 @@ @ @ @ @ C ¯ @@ @ @ Jv@@ @ @ @ @ @ @ F b@@ @ @ @ @ @ @ @ @ @ @ @ 0*H4&b@ @ @ @ @ @ + @@ @ @ £Q @ @ @ @ «H É@@ @ @ @ ~@ @ @ @ @ 6 @@ @ @ @ @ @ DHv@@ @ @ @ @ @ D* @@ @ @ @ @z@ @ @ @ @ JQ x@@ @ @ @ @DR @@ @ @£Q @ @ @ F @@ @ @ ~@ @ @ z@ @ @ 0 ¢@@ @ @ @ @ @ @ @ < @@ @ @ @ @ @ @ @ @ @ @ @ AQ ¡@@ @ @ @J Ñ* @@ @£Q @ @ ~@ @ z@ @ EH q@@ @ c@ @ ~@ @ 8 e¡@@ @ @ @ @ @ R @ @ @ D ¢@@ @ @ @ @< Ix@@ @ @ @ @ @ C3 @@ @ @ £Q @ @ @ A¡@@ @ @ D* *¡@@ @ @ @ @ @ @ @ @ @ @ @ @ @ 0&°*H Áb@@ @ @ @ @ @ @ @ @ @ ´* @@ @ @ @ @ @ @ @G&*

baytelshear ‫اﻟﺸﻌﺮ‬ ِ ‫ﺑﻴﺖ‬

d@@ @ @£@ @ @ Jb@@ @ @ @ @ @ ´*H b@@ @ @ @ @ @ @ @ @ @ @D* 2É@@ @ @ @ @ @ + b@@ @ @ @ @J É@@ @ @ @~@ @ @ @ 6 Q * d@@ @J5b@@ @ @ @ @ @ @ @ D @@ @ ~@ @ @|@ @ @Db@@ @ 1 Áb@@ @ @ @ @ @ g@ @ @ D* 5& d@@ @ @ @J4*w@@ @ @ @´* Hx@@ @ @ @ @ @ @ @ @ @ D* @@ @ @ @ @ CH @@ @ @ c@ @ @ )b@@ @ @ FH ¡@@ @ @ @G d@@ £@ @ -R b@@ @ @E ¡@@ @ @ ~@ @ @ @64R @@ @ Q @ @ @1 v@@ @ @ @ @ J*5 ib@@ @ @ @ E ¡@@ @ @D d@@ @£@ @ @ @ D*H 2¡@@ @ @ @ @ ±* @@ @ @ G @@ @ @ G v@@ @ @ @ @ J*5 b@@ @ @ £@ @ @ @<H

ňœŕ

‫ﻋﺮوس ﰲ ِﺧ َﺪ ْرﻫﺎ" ﻳﺠﺎري ﻓﻴﻬﺎ اﻟﺪرﻣيك ﻗﺼﻴﺪة اﻟﺸﻴﺦ‬ " ‫ إذ أﺳامﻫﺎ ﺻﺎﺣﺒﻬﺎ‬،‫وﺳﻤﻬﺎ ﻟﻮﺣﺔ‬ ٍ ْ ‫وﰲ ﻟﻮﺣﺔ‬ :‫زاﻳﺪ ﺑﻦ ﺳﻠﻄﺎن آل ﻧﻬﻴﺎن "ﻃ ّﻴﺐ اﻟﻠﻪ ﺛﺮاه" اﻟﺘﻲ ﻳﻘﻮل ﻓﻴﻬﺎ‬

4*¡@@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ F&°* h@@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ GN 5N b@@ @ @ @ @ @ @ @ @ @ @£@ @ @ @ @ @A

b@@ @ @ @ @ @Gx@@ @ @ @ @ @:H ¢@@ @ @ @ @ @ @ @ @ @ @ @ @ @ @0* N b@@ @ @ @ @ @ @ £@ @ @ @ @ @ @ @F2

:‫ﻓﻴﻘﻮل اﻟﺪرﻣيك‬

4*¡@@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @F&°* h@@ @ @ @ @ @ @ @ @ @ ~@ @ @ @ @ {@ @ @ @ @ @ @ @ @ @ ~@ @ @ @ @ {@ @ @ @ @ -R H 4b@@ @ @ @ @ @~@ @ @ @ @ @ z@ @ @ @ @ @ ³* b@@ @ @ @ @ @ @ @ @-b@@ @ @ @ @ @ @ @ @0 b@@ @ @ @ @ @ @ @ @ @ E 4b@@ @ @ @ @ @ @ @~@ @ @ @ @ @ @ @ 8H @@ @ @ @ @ @ @£@ @ @ @ @ @ @ @ @ @ @ @ @ @ < x@@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ E%* 4b@@ @ @ @ @ @ @ @ @ + b@@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ DR H @@ @ @ @ @ @ @ @ @ @ @ £@ @ @ @ @ @ @ @ @ @ @ @<5 4*¡@@ @ @ @ @ @ @ @ @ @~@ @ @ @ @ @ @ @ @ @ 7&* v@@ @ @ @ @ £@ @ @ @ @ @m@ @ @ @ @ @< @@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ J*4 4*¡@@ @ @ @ @ @ @ @ @ @ @~@@ @ @ @ @R @ @ @ @ @ @6H I43 b@@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ DH 4*v@@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ D* b@@ @ @ @ @ @ @ @ @ @ @ @ @ @ £@ @ @ @ @ @ @ Eb@@ @ @ @ @ @ @0 4b@@ @ @ @ @ @ @~@ @ @ @ @ @ @ |@ @ @ @ @ @ @ <&°* b@@ @ @ @ @ @ @ @ @ @ @ @ + @@ @ @ @ @ @+b@@ @ @ @ @ @~@ @ @ @ @ @ 6

b@@ @ @ @ @ @GxR @ @ @ @ @ @ N @ @ @ @ @ @ ~@@ @ N@ @ @ @6HR q@@ @ @ @c@ @ @ @ ~@ @ @ @ |@ @ @ @ D* b@@ @ @ @ @ @ @ @ @ + b@@ @ @ @ @ @ GxR @ @ @ @ @ @ @ Q @ @ @ @ @ @ @< ¥w@@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ D* @@ @ @ @ @ @ @ @7b@@ @ @ @ @ @ @ @< b@@ @ @ @ @ GxR @ @ @ @ @ @~@@ @ @N @ @ |@ @ @ @ @ @FN ¥4b@@ @ @ @ @ @ @ @ @ c@ @ @ @ @ @ @ @ @ @D* ¡@@ @ @ @ @ @ @ @ @ @ @J b@@ @ @ @ @ @ @ @ @ @GxR @ @ @ @ @ @ @ @ @ @ :N HN f@@ @ @ @~@ @ @ @ }@ @ @ @ @ @ @ @ F ¢@@ @ @ @ @ @ @Fb@@ @ @ @ @ @ @+ b@@ @ @ @ @ @ @GxR @ @ @ @ @ @ @ N @ @ @ @ @ @ @ AN fR @ @ @ @ @ @ c@ @ @ @ @ @ £@ @ @ @ @ @ G x@@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ J*2 b@@ @ @ @ @ @ @ @ @ @ @G4R vN @ @ @ @ @ @ @ @ @ @ @ BN x@@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ J 4*2 b@@ @ @ @ @ @ GxR @ @ @ @ @ @ @ N @ @ @ @ @ @ @ BN @@ @ @ @ @ @ @ @ E h@@ @ @ @ @ @ @ @ @ @ @ @ @ @ FQ H b@@ @ @ @ @ @ @ @ E b@@ @ @ @ @ @ @ GxR @ @ @ @ @ @ @ @ N @ @ @ @ @ @ @ @gN @ @ @ @ @ @ @ @<*H b@ R @ @ @ @ @ @ @ @GN x@@ @ @ @ @ @ @ @ Q @ @ @ @ @ @ @ @ <N 2019 ‫ دﻳﺴﻤﺒﺮ‬، 84 ‫اﻟﻌﺪد‬

:‫ ﻳﺮﺳﻢ ﻗﺎﺋﻼ‬، ‫وﰲ ﻟﻮﺣﺔ أﺧﺮى ﻟﻠﺸﺎﻋﺮ ﺳﻌﻴﺪ ﺑﻦ ﻛﻠﻔﻮت ﺑﻦ ﴎور ﺑﻦ ﻣﻬﻴﻠﻪ اﻟﺸﺎﻣﴘ‬

b@@ @ @ @ F¡@@ @ @ @ ~@ @ 8¡@@ @J b@@ @ @ @ @ @ j@ @ @ D* x@@ @ Jv@@ @ @ @ @ g@ @ @ + @@ @ @ @ @ @ @ @C b@@ @ @F¡@@ ~@ @|@ @= iÉ@@ @ @ @Jb@@ @ @ @E b@@ @ @ @ £@ @ A 4b@@ @ @ @ m@ @ @ @ ~@ @ @ @ 7&°*H b@@ @ @ @ @FH24 d@@ p@ @~@ @z@ @- y@@ @ @ @ @D* @@ z@ @c@ @ @ @+ Rix@@ @ @ @ R @ @ @ @ ;H b@@ @ @ @ F¡@@ @m@ @ J Áb@@ @ @ @ @ @ @g@ @ @ @Db@@ @ @ + 24*¡@@ @ @ @ @ @ @ @ @ @- M2¡@@ @ @ @ @ @ @ @ @ @AH b@@ @ @ @ @ FHv@@ @ £Q @ @ @ J *¡@@ @ @ @ @ @ @ @ @ +H b@@ @ @ @ @ ´b@@ @ @ @ @ E *¡@@ @ @ Ab@@ @ @ ~@ @ @ @7 b@@ @ @FHx@@ ~@ @}@ @p@ @J b@@ @ @ @ @ @ @ @ 0*x@@ @ @ @AR * Í@@ @ £@ @ @Fb@@ @ < ¡@@ @ @ @ @ @ JN b@@ @ @ @ @F¡@@ @ ² Áb@@ @ @ @ @ @ @ @ @ @ =&* 2Q24 rx@@ @ @ @ @ @ @ @ Db@@ @ @ @+ · b@@ @ F¡@@ @ @ ~@ z@ J *Hx@@ @ ~@ @ @}@ @ @0* · Áb@ @ @ @ @ @ @=&°* @@ @ @ 1H R b@@ @ F¡@@~@ |@ 0 ¢@@ @ @ @ <&b@ @ + rx@@ @ @ @ @ @ D* É@@ @ @ @ @ <&* @@ @ @ @ @ A4*H

i*yQ @ @ @ @ @ @ @ @ @ @ @ @ ´* 4*2 v@@ @ @m@ @ @ @ @ @ @ @ @ D Mf@ @ @ @ @+b@@ @ @ @ ~@@ @Q @ @ z@ @ @ @ @C iÉ@@ @£@ @ @ @ / 4*¡@@ @ @ @ @~@ @ @ @ @ {@ @ @ @ @ D*H x@@ @ @ ;b@@ @ @ @ @ @ @´* b@@ @ @ @ @ @ @ @ +R ib@@ @ @ @ @ @ J5H x@@ @ ;b@@ @ @ @ @E x@@ @ @s@ @ @ A&b@ @ @ + @@ @ Ax@@ @ 1y@@ @ g@ @ @E ib@@ @ @£@ @/ @@ @ @ @C @@ @ @ @E 4*HQ y@@ @ @ @ @ @ @ @ @ @ D* b@@ @ @ @ @+ 24*¡@@ @ @ @ @ @ @ - ib@@ @ @ 0*x@@ @ @ @ @ @ @Db@@ @ @ + b@@ @ @ Gv@@ @ @ £@ @ @ @ @ @ @ @+R ¡@@ @ @ @ C4b@@ @ @ @ c@ @ @ @ @J ib@@ @ Fb@@ @ @ @ @ ´* @@ @ £@ @ @ @ @ @/ @@ @ @ @E b@@ @ @ G¡@@ @ @ J Í@@ @ @ Q @ @ @ @ @ @ E R iÉ@@ @ @ @ 0 @@ @ @ @C ¯ d@@ @ @ @ ~@ @ {@ @ D* ¡@@ @ @ C4b@@ @ @ ~@ @ @ {@ @ @ JH ib@@ @ FÉ@@ @ <* x@@ @ ~@ @ @{@ @ @F*H d@@ @ @~@ @7 b@@ @ @J @@ @ @D HÄ@@ @ @ @ @E i*¡@@ @ @ ~@ @ @ @8&°* @@ @ @< @@ @ @ @.H v@@ @ @ @ @J*5 @@ ~@ @z@ @+ @@ @ @g@ @ @ G*H

‫ﱡ‬ :‫ﻓﻴﺨﻂ ﻗﺎﺋﻼ‬ ،"‫وﻳﺸﺎرك اﻟﺸﺎﻋﺮ ﺧﻤﻴﺲ ﺑﻦ ﺣﻤﺪ اﻟﺴامﺣﻲ ﺑﻠﻮﺣﺔ أﺳامﻫﺎ "دار زاﻳﺪ‬

b@@ @ @G*¡@@ @ @= @@ @ @ @ @ @EH b@@ @ @ @ GÉ@@ @ @ @ =H b@@ @ @ @ @g@ @ @cQ @ @ @¹ @@ @ @ @ E b@@ Gb@@ @ @~@ @6 ·b@@ @ @ @ @ < ¯ 4¡@@ @ @ @ @ @ Db@@ @ @+ h@@ @ @ @ @ @ @ @ @ ~@@R @ @6*H b@@ @Gb@@ @ @ @ + ¤@@ @ @ @ Q @ @ @ @ D* Ãx@@ @ @ @ @ @ @ @ D* @Q @ @ @ @ @ @ @ @ D* @@ @ @ @ ~@ @ z@ @ J b@@ @ @ Gb@@ @ @ c@ @ @ J b@@ @ @ @ @ @ @ @ @ @§ Q ¢@@ @ @ @ @ @ @ @ @ @ <b@@ @ @ @ @ @ @ @ @ @ c@ @ @ @ @ -Q 4 Í@@ @ @ @ @ @ @ D b@@ @ G*¡@@ @ g@ @ @~@ @ @z@ @ @E ¢@@ @ @ @ @ Q @ @ @ @ @ @ <H b@@ @ @ @ @ @ @ @ g@ @ @ @ J*v@@ @ @ @+ ¡@@ @ @ @ @ G b@@ @ @ G*v@@ @ @ / ¤@@ @ p@ @ @ @ @ @ - É@@ @ @ @ @ @ ´* e¡@@ @ @ @ @ @ @ @ @ @ BR b@@ @ @ @ @ @ @ Q @ @ @ @C

baytelshear ‫اﻟﺸﻌﺮ‬ ِ ‫ﺑﻴﺖ‬

v@@ @ @ @ @ @J*5 4*2 ¤@@ @ @ @ @ @ @g@ @ @ @B¡Q @ @ @ @~@ @ @ @7 v@@ @ @ @ @ @ @ @ @ @J*5 4*2 v@@ JÉ@@ B @@ @6v@@ @ @ @ ~@ @ z@ @ D* @@ @ @ E h@@ ~@ @z@ @c@ @D b@@ @ @ @ @ @ ~@ @ @ 94&* v@@ @ @ @ J*H Ì@@ @ @ @ @ @ ³* b@@ @ @ @ @ @ £@ @ @ AH &*x@@ @ @ ~@ @ @ @}@ @ @ @1 Mf@ @ @ @ @ Q @ @ @ @ @/ v@@ @ J*v@@ @ ~@ @ @{@ @ @D* eH4R2 @@ @ Q @ @ @~@ @ @6 ¤@@ @ @ @ Q @ @ @ @ D* v@@ @ @ @ @ @ J*5 v@@ @ Jb@@ @ B Ì@@ @ @ @ 1 b@@ @ @ @ J b@@ @ @ @ @ G4¡@@ @ @ @ @ FH b@@ @ @Gb@@ @ @ @ @ @ 0 ¡@@ @ @ @ G v@@ @Jb@@ @~@ @ {@ @ F b@@ @ @ @ @ @ @DR ¤@@ @ @ Q @ @ @ @ @ @ J @X @ @ @ @ @ @C h@@ @ @p@ @ @ c@ @ @ ~@ @ @ 8*H

‫‪ňœŕ‬‬ ‫ﺑﺎﻟﺸﻌﺮ وﻳﻘﺪّر اﻟﺸﻌﺮاء‪ ،‬ﻓﺈﱃ ﺟﺎﻧﺐ ﻣﺎ ﻋﺮف‬ ‫ﺑﻪ ﻣﻦ ﺣﻜﻤﺔ وﻗﻴﺎدة ورؤﻳﺔ ﺛﺎﻗﺒﺔ ﰲ ﻣﺠﺎل‬ ‫اﻟﺤﻜﻢ‪ ،‬اﺷﺘﻬﺮ أﻳﻀﺎً ﺑﻘﺪرة ﻓﺮﻳﺪة ﻋﲆ ﻧﻈﻢ‬ ‫اﻟﺸﻌﺮ وﺗﺬوﻗﻪ‪ ،‬ﺧﺼﻮﺻﺎً اﻟﺸﻌﺮ اﻟﻨﺒﻄﻲ‪ ،‬ومل‬ ‫ﻳﻘﺘﴫ اﻫﺘامﻣﻪ ﺑﺎﻟﺸﻌﺮ ﻋﲆ ﻧﻈﻤﻪ ﻓﻘﻂ‪،‬‬ ‫ﺑﻞ ﻛﺎن ﻳﻬﺘﻢ ﺑﺎﻟﺸﻌﺮاء‪ ،‬ﻓﻼ ﺗﻜﺎد ﻣﺠﺎﻟﺴﻪ‬ ‫ﰲ دواوﻳــﻦ اﻟﺤﻜﻢ أو ﰲ رﺣــﻼت اﻟﻘﻨﺺ‬ ‫أو ﰲ ﺷﺘﻰ اﻻﺣﺘﻔﺎﻻت واﳌﻨﺎﺳﺒﺎت اﻟﺘﻲ‬

‫ﻳﺤﴬﻫﺎ‪ ،‬ﺗﺨﻠﻮ ﻣﻦ ﺣﻀﻮر اﻟﺸﻌﺮاء‪ ،‬وﻻ‬ ‫ﻳﻐﻴﺐ ﻋﻦ أﺟﻮاﺋﻬﺎ اﻻﺳﺘامع ﻟﻘﺼﺎﺋﺪﻫﻢ‪ ،‬ﺑﻞ‬ ‫ﻛﺎن ﻟﺴﻤﻮه دور ﻣﺤﺮض ﰲ اﻧﺒﻌﺎث اﻟﻌﺪﻳﺪ‬ ‫ﻣﻦ اﻟﻘﺼﺎﺋﺪ اﻟﺘﻲ ﻳﺨﺘﺰﻧﻬﺎ اﳌﻮروث اﻟﺸﻌﺮي‬ ‫ﻷﻓﺬاذ اﻟﺸﻌﺮاء اﻹﻣﺎراﺗﻴني‪.‬‬ ‫وﰲ ذﻛﺮى اﻟﻴﻮم اﻟﻮﻃﻨﻲ ﻧﺴﺘﺬﻛﺮ ﻣﺎ ﻛﺘﺒﻪ‬ ‫ﺷﻌﺮاء اﻹﻣــﺎرات اﻟﺬﻳﻦ أودﻋﻮا ﻗﺼﺎﺋﺪﻫﻢ‬ ‫اﻟﻮﻃﻨﻴﺔ ذؤاﺑــﺔ أﺷﻌﺎرﻫﻢ‪ .‬ﻓﺜﻤﺔ أﺷﻌﺎر‬

‫وﻃﻨﻴﺔ اﺗﺴﻘﺖ ﻓﻴﻬﺎ اﻟﻠﻐﺔ واﻟــﺼــﻮرة‬ ‫واﳌﻮﺳﻴﻘﻰ اﻟﺸﻌﺮﻳﺔ ﻓﺘﻤﻴﺰت ﺑﻘﺪرﺗﻬﺎ ﻋﲆ‬ ‫إﺣﻴﺎء اﳌﻮﻗﻒ واﻟﺘﻌﺒري ﻋﻦ ﺧﻠﺠﺎت ﻧﻔﺲ‬ ‫اﻟﺸﺎﻋﺮ‪ ،‬وﺷﻜﻠﺖ ﻟﻮﺣﺎت ﻣﻦ ﻧﻮع ﺧﺎص‪،‬‬ ‫ﻃ ﱠﺮزﻫﺎ أﺻﺤﺎﺑﻬﺎ ﺑﺄﻋﺬب اﻷﻟﻔﺎظ وأرق‬ ‫اﻟﻜﻠامت‪ ،‬وﻟﻮﻧﻮﻫﺎ ﺑﺸﺘﻰ أﻟــﻮان اﻟﺼﻮر‬ ‫اﻟﺸﻌﺮﻳﺔ واﻟﺮﻣﺰﻳﺔ اﻟﺘﻲ أﺿﻔﺖ اﻟﻌﺪﻳﺪ ﻣﻦ‬ ‫اﻟﺠامﻟﻴﺎت ﻓﺠﻌﻠﺖ ﻣﻨﻬﺎ ﻣﻐﻨﺎة وﻃﻨﻴﺔ‪.‬‬

‫ﻓﻬﺎ ﻫﻮ ﻣﺤﻤﺪ ﺑﻦ ﺳﻠﻄﺎن اﻟﺪرﻣيك ﻳﺮﺳﻢ ﰲ إﺣﺪى ﻗﺼﺎﺋﺪه ﻟﻮﺣﺔ‪ ،‬ﺟﺎء ﰲ ﺗﻜﻮﻳﻨﻬﺎ‪:‬‬

‫*&‪h@@ @ @ @DQ ¡@@ @ @ @- x@@ @ @ @ @ :b@@ @ @ @ @ ³* N 4*2 b@@ @ @ @ @ J °‬‬ ‫‪h@@ @ @ Q @ @ @ = 4b@@ @ @ @ @ @ £@ @ @ @ @ @ @ :°* b@@ @ @ @ @ @ @ @ + h@@ @ @ @ @ @ @ @ @ F*5 h@@ @ @ @ @ @ @ G5‬‬ ‫ @ @ @} @ @ @~@ @ @@‪h@@ @ Q @ @ @ @ @ @- *4w@@ @ @ @ @ @ @ @ @< @@ @ @~@ @ @ z@ @ @ 0 ¯ h@@ @ @Gb‬‬‫‪ h@@ @ @ Q @ @ @ c@ @ @ - x@@ @ @ @ @ @ :b@@ @ @ @ @ @ ³* ¢@@ @ @ @ @ @ @ @ @< b@@ @ @ @ @ @ @ g@ @ @ @ cQ @ @ @ @ ¹‬‬ ‫@ @ @ @ @ @ @ @ @ @ ‪ h@@ @ @ Q @ @ @ + rHx@@ @ @ @ @ @ @ @ @ @ @ @ @D* b@@ @ @ @ @ @ @ @ @ @ @ @ @J*H5 ¯ h@@ @ @ @ Q‬‬‫‪h@@ @ @ @ @ @ Q @ @ @ @ @ @ 0H b@@ @ @ @ @ @ @ @ @ @ @ @ g@ @ @ @ @ @ cQ @ @ @ @ @ @ 0H b@@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ g@ @ @ @ @ @ @ @ +Q 4H‬‬ ‫@¡‪ h@@ @ ~@ @ @z@ @ @E*H 4‬‬ ‫*&‪@ @ @ @ @ @ Db@@ @ @+ ix@@ @ @ @ @ @ @~@@ R@ @ 6*H i$b@@ @ @ @ ~@ @ @ @ @9‬‬ ‫‪R‬‬ ‫‪iQ24 h@@ @ @ @ @ @ @ @ @ @ @ @ Db@@ @ @ @+ b@@ @ @ @ @ @ @ @ @D @@ @ @ @ @ @ E @@ @ @ @ @ @ @ @ @ @ @DH‬‬ ‫‪h@@ @ Q @ @ @~@ @ @6 Hx@@ @ @ @ @ @ @ @ @ @ @ @ @´* Yv@@ @ @ @ @ @ @ @ @ @ @ @ @ J*5Z @@ @ @ @ Dw@@ @ @ @ A‬‬

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‫اﻟﻌﺪد ‪ ، 84‬دﻳﺴﻤﺒﺮ ‪2019‬‬

‫=@ @ @ @ @ @@‪d@@ @ @ Jb@@ @ @ c@ @ @ 0 b@@ @ @ @ @ @ @ @ @ @ D2b@@ @ @ @ @ @ @ @ @ @ J b@@ @ @ @ @ @ @ E b@@ @ @ @ @ @GÉ‬‬ ‫ ‪Q H HR v@@ @ @ @~@ @ @ @ {@ @ @ @ +‬‬ ‫‪d@@ @ @Jb@@ @ @+x@@ @ @D* i¡@@ @ @ @~@ @ @ @ 8 h@@ @ @ @ @ @ @ @ @²‬‬ ‫‪d@@ @ @ @ J*x@@ @ @ @ @ @ @ @ @ D*H b@@ @ @ @ @ @ @ @ @cQ @ @ @ @ @ @ @ @ @ 0&°* Í@@ @ @ @ @ @+ h@@ @ @ @ @ @ @ @+4‬‬ ‫‪d@@ @ @Jb@@ @ @s@ @ @ + @@ @ @ @ @ @ D b@@ @ @ @ @ @ @ £@ @ @ @ ~@ @ @ @ 94 b@@ @ @ @ @ @ E Md@@ @ @ @ @ p@ @ @ @ @ @+‬‬ ‫‪d@@ @ @ F*¡@@ @ @ / @@ @ @ @ @ + h@@ @ @ @ @ @ ~@ @ @ @ @ @ @64*H Md@@ @ @ @ @ @ @ 0 x@@ @ @~@ @ @ |@ @ @ B‬‬ ‫<@ @ @ @ @ @‪d@@ @ Jb@@ @ : ¡@@ @ @ @ @ @ @ @ @ @ @D* b@@ @ @ @ @ G*x@@ @ @ @ @ . ¯H b@@ @ @ @ @£‬‬ ‫‪d@@ @ Jb@@ @ m@ @ < ¡@@ @ @ @D¡@@ @ @ @ @ @ @ @ D* b@@ @ @ Gv@@ @ @ @ @ @ @< h@@ @ @ @ Q @ @ @ @ ~@ @ @ @ 7H‬‬ ‫< @ @ @ @‪d@@ @ @ @J*x@@ @ @ @ @ @ @ @ D* b@@ @ @ @ @ @ ~@ @ @ z@ @ @ cQ @ @ @ D Í@@ @ @ @ @ @D @@ @ @ @F¡@@ @ @ @£‬‬ ‫<@ @ @‪d@@ @ J*x@@ @ @ @ @D P @@ @ @ @ @D @@ @ @g@ @ @ Q @ @ @ ~@ @ @ 6 @@ @ @ @ @E ¢@@ @ ~@ @ @z‬‬

‫ﻛﻠﻪ‪ ،‬ﻓﻴﺼﻌﺐ‪ ،‬ﺑﻞ ﻳﺴﺘﺤﻴﻞ‪ ،‬ﻓﺼﻞ أي ﻣﻦ‬ ‫ﻣﻜﻮﻧﺎت ﻫﺬه اﻟﺜﻼﺛﻴﺔ ﻋﻦ اﻷﺧﺮى؛ ﻓﻘﻴﺎم‬ ‫اﻻﺗﺤﺎد ﻛﺎن وﻻدة ﻟﻠﻮﻃﻦ‪ ،‬وﻻ ميﻜﻦ ﺗﻌﻈﻴﻢ‬ ‫اﻻﺗﺤﺎد دون متﺠﻴﺪ ﺻﺎﻧﻌﻪ‪ ،‬ﻟﺬا ﻧﺠﺪ أن‬ ‫اﻧﻔﻼت اﻟﺸﻌﺮ ﻟﺪى أي ﺷﺎﻋﺮ ﰲ اﻟﺘﻌﺒري ﻋﻦ‬ ‫اﻟﻮﻃﻦ ﰲ أي ﻣﻨﺎﺳﺒﺔ‪ ،‬ﻻ ﺳﻴام ﰲ ذﻛﺮى اﻟﻴﻮم‬ ‫اﻟﻮﻃﻨﻲ‪ ،‬ﻻ ﻳﻜﺎد ﻳﺒﺪأ ﺑﺎﳌﻨﺎﺳﺒﺔ ﺣﺘﻰ ﻳﻨﺴﺎب‬ ‫ﰲ ﺟ ّﻠﻪ ﻟﻴﺸﻴﺪ مبﻦ أرﳻ دﻋﺎﺋﻢ اﻻﺗﺤﺎد وﺑﻨﻰ‬

‫أرﻛﺎن اﻟﻨﻬﻀﺔ‪ ،‬ﻟﻴﻐﺪو اﻟﻮﻃﻦ مبﺎ ﻫﻮ ﻋﻠﻴﻪ‬ ‫ﻣﻦ ﻣﺠﺪ وﺷﻤﻮخ‪ ،‬وﻣﺎ ﻳﺸﻜﻠﻪ ﻣﻦ ﻣﺼﺪر‬ ‫ﻋ ﱟﺰ و َﻓ َﺨﺎر‪.‬‬ ‫ﻓﻘﺪ أﻧﺸﺪ ﺷﻌﺮاء اﻹﻣﺎرات اﻟﻜﺜري ﻣﻦ اﻟﻘﺼﺎﺋﺪ‬ ‫اﻟﺘﻲ ﺗﻐﻨﻮا ﺑﻬﺎ ﺑﻘﻴﺎم دوﻟﺔ اﻹﻣﺎرات اﻟﻌﺮﺑﻴﺔ‬ ‫اﳌﺘﺤﺪة ومل اﻟﺸﻤﻞ ﺑني أﻫﻠﻬﺎ مبﻨﺎﺳﺒﺔ اﻟﻴﻮم‬ ‫اﻟﻮﻃﻨﻲ ﻟﻠﺪوﻟﺔ اﻟﺮﺷﻴﺪة ﺑﻘﻴﺎدة اﳌﻐﻔﻮر ﻟﻪ‬ ‫اﻟﺸﻴﺦ زاﻳﺪ ﺑﻦ ﺳﻠﻄﺎن آل ﻧﻬﻴﺎن ''ﻃﻴﺐ اﻟﻠﻪ‬

‫ﺛﺮاه'' اﻟﺬي رﻋﻰ ﻗﻴﺎم اﻻﺗﺤﺎد ﺑﻘﻮة وﻋﺰم‬ ‫ﻻ ﻳﻠني‪ ،‬وأﺷﺎدوا ﺑﺎﻟﺮؤﻳﺔ اﻟﺼﺎدﻗﺔ واﻟﻨﻈﺮة‬ ‫اﻟﺜﺎﻗﺒﺔ ﻟﺴﻤﻮه‪ ،‬ﳌﺎ ﻛﺎن ﻳﺤﻤﻠﻪ ﻣﻦ آﻓﺎق‬ ‫ﻣﺴﺘﻘﺒﻠﻴﺔ ﻟﺒﻨﺎء اﻟﺪوﻟﺔ ﺑﺠﻬﻮد اﻟﺠﻤﻴﻊ‪ ،‬وﳌﺎ‬ ‫أرﺳﺎه ﻣﻦ واﻗﻊ‪ ،‬ﻋ ﱠﺰ ﻧﻈريه‪ ،‬ﰲ ﻧﺴﻴﺞ اﳌﺠﺘﻤﻊ‬ ‫وﻟﺤﻤﺔ اﻟﻮﻃﻦ‪.‬‬ ‫وزاد ﻣﻦ ازدﻫﺎر ﻣﺜﻞ ﻫﺬا اﻟﺸﻌﺮ أن اﻟﺸﻴﺦ‬ ‫زاﻳﺪ ''ﻃﻴﺐ اﻟﻠﻪ ﺛ ـﺮاه'' ﻛﺎن ﺷﺎﻋﺮاً ﻳﻬﺘﻢ‬ ‫اﻟﺸﻌﺮ ‪baytelshear‬‬ ‫ﺑﻴﺖ ِ‬

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‫‪ňœŕ‬‬

‫‪ ržţŹŬǐŢǂ ſŠţƭƴŢǂ ƻƘǃƴŢ ũǉŰǑŰ‬‬

‫‪ ſŠţƑƭƴŢǂ ƃŽƩƴŢ ƺŢǃƴřŦ ƻƘǃƴŢ ƺǃƹƈƃǈ ŕŢƃơƍƴŢ‬‬

‫ﺧﺎﻟﺪ ﺻﺎﻟﺢ ﻣﻠﻜﺎوي‬

‫ﻳﺘﻤﻴﺰ اﻟﺸﻌﺮ اﻟﻨﺒﻄﻲ ﺑﺼﺪق ﺗﻌﺒريه وﻋﻤﻖ‬ ‫ﺗﺄﺛريه ﰲ ﻧﻔﻮس اﳌﺘﻠﻘني‪ ،‬وﰲ اﻹﻣﺎرات‪ُ ،‬ﻳﻌﺪ‬ ‫ﻫﺬا اﻟﺸﻌﺮ اﻟﻔﻦ اﻷﺳﻬﻞ وﺻﻮﻻً إﱃ اﻹﻧﺴﺎن‬ ‫اﻹﻣـــﺎرايت‪ ،‬واﻷﻛــرث اﻟﺘﺼﺎﻗﺎً ﺑﻪ وﻣﻼﻣﺴﺔ‬ ‫ﻟﻮﺟﺪاﻧﻪ‪ ،‬ﻟﻜﻮﻧﻪ مي ّﺜﻞ ﻫﻮﻳﺔ اﻹﻣــﺎرات‬ ‫اﻟﺜﻘﺎﻓﻴﺔ اﻟﺘﻲ ﺗﻌﺘﱪ ﻣﺼﺪر ﻓﺨﺮ اﻹﻣﺎراﺗﻴني‬ ‫واﻋﺘﺰازﻫﻢ‪ ،‬وﻫﻮ اﻟﺤﺎﴐ ﺑﻘﻮة ﰲ ﺗﻔﺎﺻﻴﻞ‬ ‫ﺣﻴﺎة اﻹﻧﺴﺎن اﻹﻣﺎرايت ﻣﻨﺬ زﻣﻦ اﳌﺎﺟﺪي‬ ‫ﺑﻦ ﻇﺎﻫﺮ إﱃ وﻗﺘﻨﺎ اﻟﺮاﻫﻦ‪ ،‬ومي ّﺜﻞ ﺻـــﺪى‬ ‫اﻟﺤﻴﺎة ﰲ ﺟﺪّﻫﺎ وﻟﻬﻮﻫﺎ؛ ﻓﻘﺪ ﺧ ﱠﻠﺪ ﻫﺬا‬ ‫اﻟﺸﻌﺮ اﻷﻣﺠﺎد واﳌﺂﺛﺮ‪ ،‬واﺣﺘﻔﻰ ﺑﺎﻟﻘﺎدة‬ ‫واﻟﺴﺎﺳﺔ واﻟﺤﻜﺎم‪ ،‬ود ﱠون ﺗﻔﺎﺻﻴﻞ رﺣﻠﺔ‬ ‫اﻟﻀﻨﻚ واﻟﻜﺪ ﰲ ﺣﻴﺎة اﻹﻣﺎرايت ﺑني ﻋﺒﺎب‬ ‫اﻟﺒﺤﺮ وﴎاب اﻟﺼﺤﺮاء‪ ،‬وأﻓﺎض اﻟﺸﻌﺮاء‬ ‫ﰲ ﺗﺮﺟﻤﺔ ﻣﻌﺎين اﻟﻌﺰة واﻟﻜﺮاﻣﺔ واﻟﺒﻄﻮﻟﺔ‬ ‫واﻟﺸﻬﺎﻣﺔ واﻟﻔﺰﻋﺔ ﻟﻠﺠﺎر وﻧﴫة اﳌﻈﻠﻮم‪.‬‬ ‫وﻳﺰﺧﺮ ﺗﺎرﻳﺦ اﻹﻣﺎرات‪ ،‬ﻋﲆ اﺧﺘﻼف ﻣﺮاﺣﻠﻪ‪،‬‬ ‫ﺑﺎﻟﻌﺪﻳﺪ ﻣﻦ اﻟﺸﻌﺮاء اﻟﺬﻳﻦ ﺟﺎدت ﻗﺮﻳﺤﺘﻬﻢ‬ ‫ﺑﺄﺟﻤﻞ اﻟﻘﺼﺎﺋﺪ‪ ،‬ﻓﻈﻬﺮ ﰲ أرض اﻹﻣﺎرات‬ ‫اﻟﻌﺪﻳﺪ ﻣﻦ اﻟﺸﻌﺮاء اﻷﻓﺬاذ‪ ،‬وﻗﺪﻣﻮا أﻋﺬب‬ ‫اﻟﻘﺼﺎﺋﺪ ﰲ ﻣﺨﺘﻠﻒ اﳌﻮﺿﻮﻋﺎت؛ ﻓﻘﺪ‬ ‫ّ‬ ‫ﺳﺨﺮوا أﺷﻌﺎرﻫﻢ ﻟﻠﺘﻌﺒري ﻋﻦ ﻣﺠﺘﻤﻌﺎﺗﻬﻢ‬ ‫وﻣﺎ متﺮ ﺑﻪ ﻣﻦ أﺣﺪاث وﻣﻮاﻗﻒ اﺟﺘامﻋﻴﺔ‬ ‫وﺳﻴﺎﺳﻴﺔ واﻗﺘﺼﺎدﻳﺔ وﺛﻘﺎﻓﻴﺔ‪ .‬وﻳﺼﻌﺐ‬ ‫إﺣﺼﺎء اﻟﺸﻌﺮاء اﻟﺬﻳﻦ أﻧﺠﺒﺘﻬﻢ أرض‬ ‫اﻹﻣﺎرات‪ ،‬ﻓﻬﻨﺎك اﻟﻜﺜري ﻣﻤﻦ ميﺘﻠﻜﻮن ﻣﻮﻫﺒﺔ‬ ‫ﻧﻈﻢ اﻟﺸﻌﺮ‪ ،‬إذ ﺗﻜﺎد ﻟﻐﺔ اﻟﺸﻌﺮ ﺗﺸﻜﻞ‬ ‫اﻟﻠﻐﺔ اﻷﻗﻮى ﰲ اﻟﺘﻮاﺻﻞ ﺑني أﻫﻞ اﻹﻣﺎرات‪،‬‬ ‫وﻫﻲ اﻟﺘﻲ ﺗﺘﺠ ﱠﺬر ﰲ اﳌﻮروث اﻟﺼﺎﻣﺪ ﺣﻴﺎً‬

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‫اﻟﻌﺪد ‪ ، 84‬دﻳﺴﻤﺒﺮ ‪2019‬‬

‫وﺣﻴﻮﻳﺎً‪ ،‬ﻻ ﺳﻴام ﰲ اﻟﻌﴫ اﻟﺤﺪﻳﺚ‪ ،‬ﺣﻴﺚ‬ ‫ﻏﺪا اﻟﺸﻌﺮ اﻟﻨﺒﻄﻲ ﺟﴪاً ّ ً‬ ‫ﻣﻬام ﻣﻦ ﺟﺴﻮر‬ ‫اﻟﺘﻮاﺻﻞ ﺑني اﻟﻘﻴﺎدة واﻟﺸﻌﺐ‪ ،‬ووﺳﻴﻠﺔ ﻣﻦ‬ ‫وﺳﺎﺋﻞ اﻟﺘﻮاﺻﻞ اﻻﺟﺘامﻋﻲ‪.‬‬ ‫واﻟﺸﻌﺮ اﻟﻮﻃﻨﻲ ﻣﻦ أﻛرث اﻷﺷﻌﺎر ﻟﺼﻮﻗﺎً‬ ‫ﺑﺎﻟﻮﺟﺪان ورﺳــﻮﺧـﺎً ﰲ اﻟــﺬاﻛــﺮة‪ ،‬وﻟــﻪ ﰲ‬ ‫ﻧﻔﻮس ﻣﺘﻠﻘﻴﻪ وﻗﻊ وﺗﺄﺛري ﻻ ﻳﺪاﻧﻴﻬام ﺗﺄﺛري‪،‬‬ ‫ﻟﺬﻟﻚ مل ﻳﻜﻦ ﻏﺮﻳﺒﺎً ﺗﻔﺎﻋﻞ ﺷﻌﺮاء اﻹﻣﺎرات‬ ‫ﻣﻊ ﻣﺨﺘﻠﻒ اﳌﻨﺎﺳﺒﺎت اﻟﻮﻃﻨﻴﺔ‪ ،‬ﻻ ﺳﻴام‬ ‫ذﻛﺮى اﻟﻴﻮم اﻟﻮﻃﻨﻲ‪ ،‬اﳌﻨﺎﺳﺒﺔ اﻟﺘﻲ ﺗﺴﺒﻖ‬ ‫اﳌﻨﺎﺳﺒﺎت ﺟﻤﻴﻌﻬﺎ‪ ،‬إذ ﺷ ﱠﻜﻠﺖ ﻋﻼﻣﺔ ﻓﺎرﻗﺔ‬ ‫ﰲ ﺗﺎرﻳﺦ اﻹﻣﺎرات‪ ،‬ﺑﺤﻴﺚ مل ﺗﱰك ﻣﺠﺎﻻً يك‬ ‫ﻳﺘﺸﺎﺑﻪ ﻣﺎ ﻗﺒﻠﻬﺎ ﻣﻊ ﻣﺎ ﺑﻌﺪﻫﺎ‪ ،‬ﻓﻐﺪا اﻟﺜﺎين‬ ‫ﻣﻦ دﻳﺴﻤﱪ ﻋﺎم ‪1971‬م‪ ،‬ﺟﻮﻫﺮ ﺗﺎرﻳﺦ دوﻟﺔ‬ ‫اﻹﻣﺎرات‪ ،‬واﻟﻠﺒﻨﺔ اﻷﺳﺎﺳﻴﺔ اﻟﺘﻲ ُﺑﻨﻴﺖ ﻋﻠﻴﻬﺎ‬ ‫أﺳﺲ ﻗﻴﺎم اﻟﺪوﻟﺔ وﺗﻄﻮرﻫﺎ ومنﻮﻫﺎ‪.‬‬ ‫وﺗﺘﻨﻮع ﻣﻮﺿﻮﻋﺎت اﻟﺸﻌﺮ اﻟﻨﺒﻄﻲ ﻟﺘﺸﻤﻞ‬ ‫ﻣﺨﺘﻠﻒ ﻣﺠﺎﻻت اﻟﺤﻴﺎة وﻣﻌﻈﻢ ﻣﻔﺮداﺗﻬﺎ‪،‬‬ ‫وﺗﺼﻞ إﱃ اﻻﺣﺘﻔﺎل ﺑﺈﻧﺠﺎزات اﻟﻘﺎدة‬ ‫اﻟﻌﻈامء‪ ،‬واﻟﺘﻌﺒري ﻋﻦ اﻟﺤﺐ اﻟﻌﻤﻴﻖ‬ ‫ﻟﻠﻮﻃﻦ‪ ،‬ورﻏــﻢ اﺣﺘﻔﺎظ ﺷﻌﺮ اﳌﻨﺎﺳﺒﺎت‬ ‫ﺑﺎﻟﻨﺼﻴﺐ اﻷﻛﱪ ﰲ ﻫﺬا اﻟﻨﻮع ﻣﻦ اﻟﺸﻌﺮ‪،‬‬ ‫ﻓﺈن ﻣﺎ اﺳﺘﺤﻮذ ﻋﻠﻴﻪ اﻟﻴﻮم اﻟﻮﻃﻨﻲ ﻣﻦ‬ ‫ﻧﺼﻴﺐ اﻟﺸﻌﺮ أىت وﻓرياً وﺷﺎﻣ ًﻼ‪ ،‬ﻓﻠﻢ ﻳﱰك‬ ‫ﺷﺎﻋﺮا دون أن ﻳﺤﺘﻔﻆ ﺑﺒﺼﻤﺔ ﻟﻪ ﺑني‬ ‫ﺳﺠﻼﺗﻪ‪ ،‬إذ اﻧﱪى اﻟﺸﻌﺮاء ﻟﻠﺘﻐﻨﻲ ﺑﻬﺬا‬ ‫اﻟﻴﻮم وﻓــﺎء ﻟﻠﻮﻃﻦ‪ ،‬وﻟﻠﻘﺎدة اﳌﺆﺳﺴني‪،‬‬ ‫ووﻓﺎء ﻟﻸﺟﺪاد واﻵﺑﺎء اﻟﺬﻳﻦ ﺗﺮﻛﻮا ﻟﻸﺟﻴﺎل‬ ‫إرﺛﺎ ﻳﺰﺧﺮ ﺑﺎﻟﻘﻴﻢ اﻟﻨﺒﻴﻠﺔ اﻟﺘﻲ ﻻ ﺗﺘﺒﺪد وﻻ‬ ‫ﺗﺘﺒﺪل‪ ،‬ﻻ ﺳﻴام ﺑﻘﻴﻢ اﻟﻮﻓﺎء واﻟــﺬود ﻋﻦ‬

‫اﻟﻮﻃﻦ‪ ،‬ﻓﺄﻟﻬﺒﻮا ﺑﻘﺼﺎﺋﺪﻫﻢ أﺣﺎﺳﻴﺲ اﻟﻨﺎس‪،‬‬ ‫وأوﻗــﺪوا ﻣﺸﺎﻋﺮﻫﻢ ﺑﻌﺎﻃﻔﺘﻬﻢ اﻟﺠﻴﺎﺷﺔ‬ ‫اﳌﻌﱪة‪.‬‬ ‫وﻛﻠامﺗﻬﻢ اﻟﺼﺎدﻗﺔ ّ‬ ‫وﻟﻠﺸﻌﺮ اﻟﻮﻃﻨﻲ ﰲ اﻹﻣــﺎرات‪ ،‬ﺧﺼﻮﺻﻴﺘﻪ‬ ‫اﻟﺘﻲ اﻧﻔﺮد ﺑﻬﺎ دون ﻏريه ﻣﻦ أﺷﻌﺎر اﻷوﻃﺎن‬ ‫ﰲ اﳌﺠﺘﻤﻌﺎت اﻷﺧــﺮى‪ ،‬إذ ﺗﺸﻜﻞ ﺛﻼﺛﻴﺔ‬ ‫"اﻟﻮﻃﻦ واﻟﻘﺎﺋﺪ واﻻﺗﺤﺎد" وﺣﺪة ﻣﺘﻜﺎﻣﻠﺔ‬ ‫ﰲ ّ‬ ‫ﺟﻞ اﻟﺸﻌﺮ اﻟﻮﻃﻨﻲ اﻹﻣﺎرايت إن مل ﻳﻜﻦ‬

‫اﻟﻌﺪد ‪ - 84‬دﻳﺴﻤﺒﺮ ‪2019‬‬

‫‪ ĬńŒ ŝħ‬‬

‫ ‪¬ ĮŇğĲŘ‬‬ ‫رﺋﻴﺲ اﻟﺘﺤﺮﻳﺮ‬

‫د ﻋﺒﻴﺪ ﻋﻠﻲ راﺷﺪ اﻟﻤﻨﺼﻮري‬ ‫اﻹﺷﺮاف اﻟﻌﺎم‬

‫ﻋﻴﻀﻪ ﺑﻦ ﻣﺴﻌﻮد‬ ‫‪@bnmas3od‬‬

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‫اﻟﺘﺤ‪hh‬ﺮﻳﺮ‬

‫ﻋﺒﺪا‪ E‬أﺑﻮﺑﻜﺮ‬ ‫‪@abdabubaker1‬‬ ‫اﻹﺧﺮاج اﻟﻔﻨﻲ & ﺳﻜﺮﺗﺎرﻳﺔ اﻟﺘﺤﺮﻳﺮ‬

‫ﺷﻌﺮاء اﻟﻌﺪد‬ ‫ﺳﻠﻴﻢ اﻟﻤﺴﺎﻋﻔﺔ‬ ‫ذﻳﺎب ﺑﻦ ﻏﺎﻧﻢ اﻟﻤﺰروﻋﻲ‬ ‫ﻋﺒﻴﺪ ﺑﻦ ﺧﺼﻴﻒ اﻟﻜﻌﺒﻲ‬ ‫ﻋﻠﻲ ﺑﻦ ﻧﺎﻳﻒ اﻟﻐﺎﻣﺪي‬ ‫ﻣﺼﺒﺢ ﺑﻦ ﻋﻠﻲ اﻟﻜﻌﺒﻲ‬ ‫ﺳﻠﻄﺎن ﻣﺠﻠﻲ‬ ‫زاﻳﺪ اﻟﻀﻴﻒ اﻟﺘﻤﻴﻤﻲ‬

‫ﺳﻌﺎد ﺣﺴﻨﺔ‬ ‫أﺣﻤﺪ ﺳﻨﺪ اﻟﻤﻴﺴﺮي‬ ‫ﺳﻌﻴﺪ ﺧﻤﻴﺲ ﺟﺎرا‪ E‬اﻟﻤﻨﺼﻮري‬ ‫ﺑﺮوق ﺑﺪوﻳﻪ‬ ‫ﻧﺎﺻﺮ ﺑﻦ ﻳﺮوان اﻟﻨﻴﺎدي‬ ‫ﺣﻤﺪ اﻟﺒﻠﻮﺷﻲ‬ ‫ﻫﺎدف اﻟﺪرﻋﻲ‬

‫ﻣﺴﺆول اﻟﺘﻮزﻳﻊ‬ ‫أﺣﻤﺪ ﻋﺒﺎس‬

‫‪marketing@sbzc.ae‬‬ ‫‪+971 55 808 1344‬‬

‫ﻋﻨﻮان اﻟﻤﺠﻠﺔ ‬ ‫اﻹﻣﺎرات اﻟﻌﺮﺑﻴﺔ اﻟﻤﺘﺤﺪة‪ -‬أﺑﻮﻇﺒﻲ‬

‫ُﻛ ّﺘﺎب اﻟﻌﺪد‬ ‫د ﻋﺒﻴﺪ ﻋﻠﻲ راﺷﺪ اﻟﻤﻨﺼﻮري‬ ‫ﺻﻔﻴﺔ اﻟﺸﺤﻲ‬ ‫ﻓﺎﻃﻤﺔ اﻟﻤﺰروﻋﻲ‬ ‫د ﻳﺎﺳﻴﻦ ﺣﺰﻛﺮ‬

‫‪@HasnaSuad‬‬

‫ﻋﺰة ﺣﺴﻴﻦ‬ ‫ﻫﺎﻧﻲ ﻧﺪﻳﻢ‬ ‫ﻣﺤﻤﺪ أﺑﻮﻋﺮب‬

‫ﻫﺎﺗﻒ ‪009712-6666130‬‬ ‫ﻓﺎﻛﺲ ‪009712-6663088‬‬ ‫ص ب ‪ 6420‬أﺑﻮﻇﺒﻲ إ ع م‬

‫‪baitshir@sbzc.ae‬‬ ‫‪@bait_alshe3r‬‬

‫‪@baytelshear‬‬

‫اﻟﺸﻌﺮ ‪baytelshear‬‬ ‫ﺑﻴﺖ ِ‬

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‫ ‪ ĘŠŝğĨŖŒ‬‬

‫‪ 32‬ﻋﻄﺮ اﻟﻤﻜﺎن‬

‫ﻣﺘﺤﻒ اﻻﺗﺤﺎد‪ II‬ﻳﺮوي ﻗﺼﺔ اﻹﻣ‪G‬ﺎرات‬

‫‪ 40‬اﺳﺘﻄﻼع‬

‫دﻻﻻت اﻟﻮﻃﻦ ﻓﻲ اﻟﻘﺼﻴﺪة‬ ‫ﺗﻌﻤﻴﻖ ﻟﻠﻬﻮﻳﺔ وﺗﻮﺣﻴﺪ ﻟﻠﺮؤﻳﺔ‬

‫‪ 50‬ﺣﻮار‬

‫زاﻳﺪ اﻟﺘﻤﻴﻤﻲ‪ O‬اﻹﻣﺎرات ﺑﻮﺻﻠﺔ‬ ‫اﻟﺸﻌﺮ واﻷدب‬

‫‪ 58‬ﻗﺼﻴﺪة وأﻏﻨﻴﺔ‬

‫»اﻟﻤﻠﻚ اﻟﻀﻠﻴﻞ« ‪II‬‬ ‫ﺻﻮﺗﻲ ﻣﺤﻤﺪ ﻋﺒﺪه وﻃﻼل ﻣﺪاح‬ ‫ﺟﻤﻊ ْ‬ ‫وﺷﻌﺮه ﻻ ﻳﺰال ً‬ ‫ﺧﺰاﻧﺔ ﻟﻠﻐﻨﺎء!‬

‫‪ 62‬ﺷﻌﺒﻲ ﻋﺮﺑﻲ‬

‫ﻣﺤﻤﺪن وﻟﺪ ﺳﻴﺪي إﺑﺮاﻫﻴﻢ‬ ‫ﻋﻤﻴﺪ اﻷدب اﻟﺸﻌﺒﻲ اﻟﻤﻮرﻳﺘﺎﻧﻲ وذاﻛﺮﺗﻪ‬ ‫اﻟﻤﺴﻤﻮﻋﺔ‬

‫‪ 72‬اﻟﺠﺎﻫﻠﻲ‬

‫اﻟﻤﺮأ ُة وﻧﻈﺮﻳﺔ اﻷﺷﻌﺎر اﻟﻤﺤﺮﻣﺔ!‬

‫‪ 76‬اﻷﻧﺪﻟﺴﻲ‬

‫اﻟﻤﺮاﺛﻲ واﻟﺘﻌﺎزي‬ ‫ﻓﻲ اﻟﺸﻌﺮ اﻷﻧﺪﻟﺴﻲ‬

‫‪ 88‬ﻣﻦ اﻟﻐﺮب‬

‫»ﻣﻴﺸﻴﻞ دو ﺧﻮﻳﻪ« ‪II‬ﻣﻠﻚ اﻟﻔﻬﺎرس‬ ‫واﻟﺠﻐﺮاﻓﻴﺔ اﻟﻌﺮﺑﻴﺔ‬ ‫اﻻﺷﺘﺮاﻛﺎت‬ ‫ﻟﻼﺷﺘﺮاك ﺑﺎﻟﺒﺮﻳﺪ داﺧﻞ اﻟﺪوﻟﺔ ‪ 90‬درﻫﻢ اﺷﺘﺮاك ‪ VIP‬داﺧﻞ اﻟﺪوﻟﺔ ‪ 120‬درﻫﻢ ﺳﻨﻮﻳ ًﺎ اﻟﻤﻤﻠﻜﺔ اﻟﻌﺮﺑﻴﺔ اﻟﺴﻌﻮدﻳﺔ ‪ 300‬درﻫﻢ ﺳﻨﻮﻳ ًﺎ‬ ‫ﺑﺎﻗﻲ اﻟﺪول ‪ 130‬دوﻻر أﻣﺮﻳﻜﻲ ﺳﻨﻮﻳ ًﺎ‬

‫ﻟﻼﺷﺘﺮاك ﻳﻤﻜﻨﻜﻢ اﻟﺘﻮاﺻﻞ ﻣﻊ ﻣﺴﺆول اﻟﺘﻮزﻳﻊ ‬

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‫اﻟﻌﺪد ‪ ، 84‬دﻳﺴﻤﺒﺮ ‪2019‬‬

‫‪ " ſǈŢƄ ƻŦ ƺţƙƵƈ ƻŦ ſƴţż‬‬ ‫‪ŷƸţƉŬǂ ƶǑƈǂ ũŧŹƸ ƒƂŘ ŪŢƂţƸǎŢ‬‬ ‫أﻛﺪ ﺳﻤﻮ اﻟﺸﻴﺦ اﻟﺪﻛﺘﻮر ﺧﺎﻟﺪ ﺑﻦ ﺳﻠﻄﺎن‬ ‫ﺑﻦ زاﻳﺪ آل ﻧﻬﻴﺎن أن ﺗﻮﺟﻴﻬﺎت اﻟﻘﻴﺎدة‬ ‫اﻟﺮﺷﻴﺪة ﻣﻤﺜﻠﺔ ﺑﺼﺎﺣﺐ اﻟﺴﻤﻮ اﻟﺸﻴﺦ‬ ‫ﺧﻠﻴﻔﺔ ﺑﻦ زاﻳﺪ آل ﻧﻬﻴﺎن رﺋﻴﺲ اﻟﺪوﻟﺔ‪،‬‬ ‫ﺣﻔﻈﻪ اﻟﻠﻪ‪ ،‬ﺑﺄن ﻳﻜﻮن ﻳﻮم ‪ 30‬ﻧﻮﻓﻤﱪ ﻳﻮﻣﺎً‬ ‫ﻟﻠﺸﻬﻴﺪ؛ ﻫﻲ ﺗﺄﻛﻴﺪ ﻋﲆ ﻣﻜﺎﻧﺔ اﻟﺸﻬﻴﺪ‬ ‫وﺣــﺮص ﻋﲆ ﺗﺨﻠﻴﺪ ذﻛــﺮى ﻣﻦ ﻗﺪﻣﻮا‬ ‫أرواﺣﻬﻢ ودﻣﺎءﻫﻢ ﻓﺪاء ﻟﻠﻮﻃﻦ واﻟﺤﻔﺎظ‬ ‫ﻋﲆ اﺳﺘﻘﺮاره وأﻣﻨﻪ‪.‬‬ ‫وﻗﺎل ﺳﻤﻮه ﰲ ﻛﻠﻤﺔ ﻟﻪ ﺑﻬﺬه اﳌﻨﺎﺳﺒﺔ‬ ‫"ﻧﻮﺟﻪ ﺗﺤﻴﺔ إﺟﻼل وإﻛﺒﺎر ﻷرواح ﺷﻬﺪاﺋﻨﺎ‬ ‫اﻷﺑﺮار ﻣﺆﻛﺪﻳﻦ أن دﻣﺎءﻫﻢ مل وﻟﻦ ﺗﺬﻫﺐ‬ ‫ﻫﺪراً‪ ،‬وأن ﺗﻀﺤﻴﺎﺗﻬﻢ ﺗﻨﺒﻊ ﻣﻦ ﻗﻴﻢ أﺻﻴﻠﺔ‬ ‫ﻋﻨﻮاﻧﻬﺎ اﳌﺤﺒﺔ واﻟﻌﻄﺎء‪.‬‬ ‫وأﻛــﺪ ﺳﻤﻮه أن »ﻳــﻮم اﻟﺸﻬﻴﺪ« ميﺜﻞ‬ ‫ﻣﻠﺤﻤﺔ وﻃﻨﻴﺔ‪ ،‬وﻫﻮ ﻳﻮم اﺳﺘﺜﻨﺎيئ ﻳﺤﺘﻔﻲ‬ ‫ﺑﺎﻟﺸﻬﺪاء وﺗﻀﺤﻴﺎﺗﻬﻢ وﺗﻔﺎﻧﻴﻬﻢ‪ ،‬ﻣﺆﻛﺪا أن‬ ‫اﻟﺘﺎرﻳﺦ ﻟﻦ ﻳﻨﺴﺎﻫﻢ وﺳﻴﺴﻄﺮ اﺳامءﻫﻢ‬ ‫ﺑﺄﺣﺮف ﻣﻦ ذﻫﺐ‪.‬‬ ‫وﻗــﺎل إن دوﻟــﺔ اﻹﻣــﺎرات وﻣﻨﺬ ﺗﺄﺳﻴﺲ‬

‫اﺗﺤﺎدﻫﺎ أرﺳــﺖ دﻋﺎﺋﻢ دوﻟــﺔ ﺣﻀﺎرﻳﺔ‬ ‫ﺗﺴﺘﻨﺪ إﱃ ﻗﻴﻢ أﺻﻴﻠﺔ وﻣﺒﺎدئ راﺳﺨﺔ‬ ‫ﺷﻘﺖ ﻃﺮﻳﻘﻬﺎ إﱃ اﻟﻌﺎمل أﺟﻤﻊ‪ ،‬ﻟﺘﺆﻛﺪ‬ ‫ﻟﻺﻧﺴﺎﻧﻴﺔ ﺟﻤﻌﺎء أﻧﻬﺎ أرض ﻣﺤﺒﺔ وﺳﻼم‬ ‫وﺗﺴﺎﻣﺢ‪.‬‬ ‫وأﺷﺎر اﻟﺸﻴﺦ اﻟﺪﻛﺘﻮر ﺧﺎﻟﺪ ﺑﻦ ﺳﻠﻄﺎن ﺑﻦ‬ ‫زاﻳﺪ آل ﻧﻬﻴﺎن إﱃ أن ﺗﺰاﻣﻦ ﻳﻮم اﻟﺸﻬﻴﺪ‬ ‫ﻣﻊ اﻟﻴﻮم اﻟﻮﻃﻨﻲ ﻟﺪوﻟﺔ اﻻﻣــﺎرات اﻟﺬي‬ ‫ﻳﻮاﻓﻖ اﻟﺜﺎين ﻣﻦ دﻳﺴﻤﱪ ﻛﻞ ﻋﺎم‪ ،‬ﻳﻮﺿﺢ‬ ‫ﻣﺪى ﻣﺎ ﺗﺤﻤﻠﻪ اﳌﻨﺎﺳﺒﺘﺎن ﻣﻦ ﻗﻴﻢ اﻟﻮﺣﺪة‬ ‫واﻻﻧﺘامء واﻟﻌﺮﻓﺎن ﻟﻬﺬا اﻟﻮﻃﻦ وﻗﻴﺎدﺗﻪ‬ ‫اﻟﺮﺷﻴﺪة‪ ،‬وﻟﻠﻘﺎدة اﳌﺆﺳﺴني وﰲ ﻣﻘﺪﻣﺘﻬﻢ‬ ‫اﳌﻐﻔﻮر ﻟﻪ اﻟﺸﻴﺦ زاﻳﺪ ﺑﻦ ﺳﻠﻄﺎن آل‬ ‫ﻧﻬﻴﺎن ‪-‬ﻃ ﱠﻴﺐ اﻟﻠﻪ ﺛﺮاه‪ -‬ﻛام أن اﳌﻨﺎﺳﺒﺘني‬ ‫اﻟﻮﻃﻨﻴﺘني ﻓﺮﺻﺔ ﻟيك ﻧﺠﺪد اﻟﻌﻬﺪ ﻟﻘﻴﺎدﺗﻨﺎ‬ ‫اﻟﺤﻜﻴﻤﺔ ﻣﻤﺜﻠﺔ ﰲ ﺻﺎﺣﺐ اﻟﺴﻤﻮ اﻟﺸﻴﺦ‬ ‫ﺧﻠﻴﻔﺔ ﺑﻦ زاﻳﺪ آل ﻧﻬﻴﺎن رﺋﻴﺲ اﻟﺪوﻟﺔ‪،‬‬ ‫ﺣﻔﻈﻪ اﻟﻠﻪ‪ ،‬وﺻﺎﺣﺐ اﻟﺴﻤﻮ اﻟﺸﻴﺦ‬ ‫ﻣﺤﻤﺪ ﺑﻦ راﺷﺪ آل ﻣﻜﺘﻮم ﻧﺎﺋﺐ رﺋﻴﺲ‬ ‫اﻟﺪوﻟﺔ رﺋﻴﺲ ﻣﺠﻠﺲ اﻟﻮزراء ﺣﺎﻛﻢ ديب‪،‬‬

‫رﻋﺎه اﻟﻠﻪ‪ ،‬وﺻﺎﺣﺐ اﻟﺴﻤﻮ اﻟﺸﻴﺦ ﻣﺤﻤﺪ‬ ‫ﺑﻦ زاﻳﺪ آل ﻧﻬﻴﺎن وﱄ ﻋﻬﺪ أﺑﻮﻇﺒﻲ ﻧﺎﺋﺐ‬ ‫اﻟﻘﺎﺋﺪ اﻷﻋﲆ ﻟﻠﻘﻮات اﳌﺴ ّﻠﺤﺔ‪ ،‬وإﺧﻮاﻧﻬﻢ‬ ‫أﺻﺤﺎب اﻟﺴﻤﻮ ﺣﻜﺎم اﻹﻣﺎرات‪ ،‬واﻟﺸﻴﻮخ‪،‬‬ ‫ﺳﺎﺋ ًﻼ اﻟﻠﻪ ﻟﻬﻢ اﻟﺼﺤﺔ واﻟﻌﺎﻓﻴﺔ وﻟﺸﻌﺐ‬ ‫اﻹﻣـــﺎرات اﻷﻣــﻦ واﻻﺳﺘﻘﺮار واﻟﺴﻌﺎدة‬ ‫واﻟﺮﺧﺎء‪.‬‬ ‫واﺧﺘﺘﻢ ﺳﻤﻮ اﻟﺸﻴﺦ اﻟﺪﻛﺘﻮر ﺧﺎﻟﺪ ﺑﻦ‬ ‫ﺳﻠﻄﺎن ﻛﻠﻤﺘﻪ ﺑﺎﻟﻘﻮل‪" :‬ان اﳌﻨﺎﺳﺒﺘني ﻓﺮﺻﺔ‬ ‫ﻟﻠﱰﺣﻢ وﺗﺬﻛﺮ اﻟﻮاﻟﺪ اﳌﻐﻔﻮر ﻟﻪ اﻟﺸﻴﺦ‬ ‫ﺳﻠﻄﺎن ﺑﻦ زاﻳﺪ آل ﻧﻬﻴﺎن "رﺣﻤﻪ اﻟﻠﻪ"‬ ‫اﻟﺬي ﻛﺎن رﻓﻴﻖ درب اﻟﺸﻴﺦ زاﻳﺪ اﻟﺨري‬ ‫ﰲ ﻣﺴرية اﻟﻌﻄﺎء وﺗﺄﺳﻴﺲ اﺗﺤﺎد دوﻟﺔ‬ ‫اﻻﻣﺎرات اﻟﻌﺮﺑﻴﺔ اﳌﺘﺤﺪة‪ ،‬وﺗ َﺮك ﺑﺼامﺗﻪ‬ ‫اﻟﻮﻃﻨﻴﺔ اﻟﺘﻲ ﺗﺸﻬﺪ ﻋﲆ ﻣﺪى ﺣﺒﻪ ﻟﻠﻮﻃﻦ‬ ‫وﺗﻔﺎﻧﻴﻪ ﻣﻦ أﺟﻞ ﻧﻬﻀﺘﻪ ورﻓﻌﺘﻪ‪ ،‬ﻣﺆﻛﺪا‬ ‫ﺳﻤﻮه اﻟﺴري ﻋﲆ ﻧﻬﺠﻪ رﺣﻤﻪ اﻟﻠﻪ وﻋﲆ‬ ‫ﻫﺪي ﺧﻄﺎه ﰲ ﺣﺐ اﻟﻮﻃﻦ وﺑﺬل ﻛﻞ ﻏﺎل‬ ‫وﻧﻔﻴﺲ ﻣﻦ أﺟﻞ رﻓﻌﺘﻪ وﺗﻘﺪﻣﻪ وأﻣﻨﻪ‬ ‫واﺳﺘﻘﺮاره‪".‬‬ ‫اﻟﺸﻌﺮ ‪baytelshear‬‬ ‫ﺑﻴﺖ ِ‬

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‫‪" ſǈŢƄ ƻŦ ƺţƙƵƈ ƻŦ ƞŢƅǀ‬‬ ‫واﻟﻤﺆﺳﺴﻴﻦ‬ ‫ﺳﻨﺒﻘﻰ أوﻓﻴﺎء ﻟﻮﻃﻨﻨﺎ وﻗﻴﺎدﺗﻨﺎ‬ ‫ﱢ‬ ‫أﻛﺪ ﺳﻤﻮ اﻟﺸﻴﺦ اﻟﺪﻛﺘﻮر ﻫﺰاع ﺑﻦ ﺳﻠﻄﺎن‬ ‫ﺑﻦ زاﻳﺪ آل ﻧﻬﻴﺎن أن ﻳﻮم اﻟﺸﻬﻴﺪ ﻣﻨﺎﺳﺒﺔ‬ ‫ﺗﻌﺰز ﻣﻌﺎين اﻟﻮﻓﺎء واﻟﺘﻀﺤﻴﺔ‪ ،‬ودﻻﻟﺔ ﻋﲆ‬ ‫ﻗﻮة اﻟﻨﺴﻴﺞ اﻹﻣﺎرايت ووﺣﺪﺗﻪ‪ .‬وأﻧﻪ ﻳﻌﻜﺲ‬ ‫ﻣﺎ ﺗﺘﻤﺘﻊ ﺑﻪ ﺑﻼدﻧﺎ –دوﻟﺔ اﻹﻣﺎرات اﻟﻌﺮﺑﻴﺔ‬ ‫اﳌﺘﺤﺪة ‪ -‬ﻣﻦ ﺗﻼﺣﻢ وﻃﻨﻲ ﻳﻌﺰز أﻣﻨﻬﺎ‬ ‫واﺳﺘﻘﺮارﻫﺎ ﻋﲆ اﳌﺴﺘﻮﻳﺎت ﻛﺎﻓﺔ‪.‬‬ ‫وﻗــﺎل ﺳﻤﻮه ﰲ ﻛﻠﻤﺔ ﻟﻪ مبﻨﺎﺳﺒﺔ ﻳﻮم‬ ‫اﻟﺸﻬﻴﺪ ـ اﻟﺬي ﻳﺼﺎدف اﻟﺜﻼﺛني ﻣﻦ ﻧﻮﻓﻤﱪ‬ ‫ﻣﻦ ﻛﻞ ﻋﺎم ـ إﻧﻨﺎ ﰲ ﻫﺬا اﻟﻴﻮم ﻧﻘﻒ إﺟﻼﻻً‬ ‫واﺣﱰاﻣﺎً ﻟﻜﻮﻛﺒﺔ ﻣﻦ أﺑﻨﺎء ﻗﻮاﺗﻨﺎ اﳌﺴﻠﺤﺔ‬ ‫اﻟﺬﻳﻦ ﺳﻄﺮوا ﺗﺎرﻳﺨﺎً ﻋﻈﻴام ﻓﺪاء ﻟﻠﻮﻃﻦ‬ ‫واﻷﻣــﺔ‪ ،‬ﻣﻀﻴﻔﺎ ﺑﺄﻧﻨﺎ ﻧﺤﺘﻔﻲ ﺑﻬﺬا اﻟﻴﻮم‬ ‫اﺳﺘﺬﻛﺎراً ﻟﻬﻢ واﻓﺘﺨﺎراً ﺑﻬﻢ وﺑﻘﻴﻢ اﻟﻌﻄﺎء‬ ‫واﻹﺧــﻼص واﻟــﻮﻻء واﻻﻧــﺘــامء واﻟﺘﻼﺣﻢ‬ ‫واﻹﺧﺎء اﳌﺘﺠﺬرة ﰲ ﻧﻔﻮس أﺑﻨﺎء اﻹﻣﺎرات‪،‬‬ ‫وﻫــﻢ ﻳــﺠــﻮدون ﺑﺄرواﺣﻬﻢ ﰲ ﺳﺎﺣﺎت‬ ‫اﻟﺒﻄﻮﻟﺔ وﻣﻴﺎدﻳﻦ اﻟﻮاﺟﺐ دﻓﺎﻋﺎً ﻋﻦ اﻟﺤﻖ‬ ‫وﻋﻮﻧﺎ ﻟﻺﻧﺴﺎﻧﻴﺔ وﺳﻨﺪا ﻟﻠﻤﻈﻠﻮم‪ ،‬ﻗﺎل‬ ‫ﺗﻌﺎﱃ ‪َ }:‬وا ْذ ُﻛ ُﺮوا إِ ْذ أَ ْﻧﺘ ُْﻢ َﻗ ِﻠ ٌ‬ ‫ﻴﻞ ُﻣ ْﺴﺘ َْﻀ َﻌ ُﻔ َ‬ ‫ﻮن‬

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‫اﻟﻌﺪد ‪ ، 84‬دﻳﺴﻤﺒﺮ ‪2019‬‬

‫ِﰲ ْاﻷَ ْر ِض َﺗ َﺨﺎ ُﻓ َ‬ ‫ﱠﺎس‬ ‫ﻮن أَ ْن َﻳﺘ ََﺨ ﱠﻄ َﻔ ُﻜ ُﻢ اﻟﻨ ُ‬ ‫َﴫ ِه" )‪ (26‬ﺳﻮرة اﻷﻧﻔﺎل‬ ‫َﻓﺂ َوا ُﻛ ْﻢ َوأَ ﱠﻳ َﺪ ُﻛ ْﻢ ِﺑﻨ ْ ِ‬ ‫وأﺿــﺎف ﺳﻤﻮ اﻟﺸﻴﺦ اﻟﺪﻛﺘﻮر ﻫﺰاع ﺑﻦ‬ ‫ﺳﻠﻄﺎن ﺑﻦ زاﻳــﺪ "ﻳــﻮم اﻟﺸﻬﻴﺪ ﻣﻨﺎﺳﺒﺔ‬ ‫ﺳﻨﻮﻳﺔ ﻟيك ﻧﺆﻛﺪ ﻟﻘﻴﺎدﺗﻨﺎ وﻧﻌﺎﻫﺪﻫﺎ ﺑﺄﻧﻨﺎ‬ ‫ﺳﻨﺒﻘﻰ أوﻓﻴﺎء ﻟﻬﺎ وﻷرواح ﺷﻬﺪاء اﻟﻮﻃﻦ‬ ‫ﻣﻘﺪرﻳﻦ ﺗﻀﺤﻴﺎﺗﻬﻢ‪ ،‬ﻣﺸريا ﺳﻤﻮه اﱃ أﻧﻨﺎ‬ ‫ﰲ ﻳﻮم اﻟﺸﻬﻴﺪ ﻧﺠﺪد ﻓﺨﺮﻧﺎ ﺑﺄﴎ اﻟﺸﻬﺪاء‬ ‫وذوﻳﻬﻢ اﻟﺬﻳﻦ ﻗﺪﻣﻮا ﻣﺜﺎﻻً راﺋﻌﺎً ﰲ اﻟﺼﱪ‬ ‫واﻟﻮﻓﺎء واﻻﻧﺘامء واﻟﻮﻻء"‪ .‬ﻳﻘﻮل اﻟﻠﻪ ﺗﻌﺎﱃ"‬ ‫َﻳﺎ أَ ﱡﻳ َﻬﺎ ا ﱠﻟ ِﺬﻳﻦَ آ َﻣﻨُﻮا أَ ِﻃ ُﻴﻌﻮا اﻟ ﱠﻠ َﻪ َوأَ ِﻃ ُﻴﻌﻮا‬ ‫اﻟ ﱠﺮ ُﺳ َ ُ‬ ‫وﱄ ْاﻷَ ْﻣ ِــﺮ ِﻣ ُﻨﻜ ْﻢ" )‪ (59‬ﺳﻮرة‬ ‫ﻮل َوأ ِ‬ ‫اﻟﻨﺴﺎء‪.‬‬ ‫وأﻛﺪ ﺳﻤﻮه أن ﺗﺰاﻣﻦ ﻳﻮم اﻟﺸﻬﻴﺪ ﻣﻊ‬ ‫اﻟﻴﻮم اﻟﻮﻃﻨﻲ ﻟﺪوﻟﺔ اﻻﻣﺎرات اﻟﺬي ﻳﻮاﻓﻖ‬ ‫اﻟﺜﺎين ﻣﻦ دﻳﺴﻤﱪ ﻛﻞ ﻋﺎم‪ ،‬ﻳﻮﺿﺢ ﻣﺪى‬ ‫ﻣﺎ ﺗﺤﻤﻠﻪ اﳌﻨﺎﺳﺒﺘﺎن ﻣﻦ ﻗﻴﻢ اﻟﻮﺣﺪة‬ ‫واﻻﻧﺘامء واﻟﻌﺮﻓﺎن ﻟﻬﺬا اﻟﻮﻃﻦ وﻗﻴﺎدﺗﻪ‬ ‫اﻟﺮﺷﻴﺪة‪ ،‬وﻟﻠﺮواد اﻷواﺋــﻞ اﻟﺬﻳﻦ ﻗﻬﺮوا‬ ‫اﳌﺴﺘﺤﻴﻞ ﻟﺘﺄﺳﻴﺲ اﻟﺪوﻟﺔ‪ ،‬وﰲ ﻣﻘﺪﻣﺘﻬﻢ‬

‫اﳌﻐﻔﻮر ﻟﻪ اﻟﺸﻴﺦ زاﻳﺪ ﺑﻦ ﺳﻠﻄﺎن آل‬ ‫ﻧﻬﻴﺎن واﻟﺤﻜﺎم اﳌﺆﺳﺴني "ﻃﻴﺐ اﻟﻠﻪ‬ ‫ﺛﺮاﻫﻢ" ‪ ،‬ﻛام أن اﳌﻨﺎﺳﺒﺘني اﻟﻮﻃﻨﻴﺘني‬ ‫اﻟﻌﺰﻳﺰﺗني ﻓﺮﺻﺔ ﻟﻨﺠﺪد اﻟﻌﻬﺪ واﻟــﻮﻻء‬ ‫وﻧﻌﱪ ﻋﻦ وﻓﺎﺋﻨﺎ ﻟﻬﺎ‬ ‫ﻟﻘﻴﺎدﺗﻨﺎ اﻟﺮﺷﻴﺪة‪ّ ،‬‬ ‫ﻣﻤﺜﻠﺔ ﰲ ﺻﺎﺣﺐ اﻟﺴﻤﻮ اﻟﺸﻴﺦ ﺧﻠﻴﻔﺔ ﺑﻦ‬ ‫زاﻳﺪ آل ﻧﻬﻴﺎن رﺋﻴﺲ اﻟﺪوﻟﺔ‪ ،‬ﺣﻔﻈﻪ اﻟﻠﻪ‪،‬‬ ‫وإﺧﻮاﻧﻪ أﺻﺤﺎب اﻟﺴﻤﻮ ﺣﻜﺎم اﻹﻣﺎرات‬ ‫واﻟﺸﻴﻮخ‪ ،‬ﺳﺎﺋ ًﻼ اﻟﻠﻪ ﻟﻬﻢ اﻟﺼﺤﺔ واﻟﻌﺎﻓﻴﺔ‬ ‫وﻟﺸﻌﺐ اﻹﻣﺎرات اﻷﻣﻦ واﻻﺳﺘﻘﺮار‪.‬‬ ‫واﺧﺘﺘﻢ اﻟﺸﻴﺦ اﻟﺪﻛﺘﻮر ﻫﺰاع ﻛﻠﻤﺘﻪ ﺑﺎﻟﻘﻮل‬ ‫‪ :‬إﻧﻬﺎ ﻣﻨﺎﺳﺒﺔ ﻟﻠﱰﺣﻢ وﺗﺬﻛﺮ اﻟﻮاﻟﺪ اﳌﻐﻔﻮر‬ ‫ﻟﻪ اﻟﺸﻴﺦ ﺳﻠﻄﺎن ﺑﻦ زاﻳﺪ آل ﻧﻬﻴﺎن رﺣﻤﻪ‬ ‫اﻟﻠﻪ وأﺳﻜﻨﻪ اﻟﻠﻪ ﻓﺴﻴﺢ ﺟﻨﺎﺗﻪ‪ ،‬اﻟﺬي ﻛﺎن‬ ‫اﺑﻨﺎ ﺑﺎراً ورﻓﻴﻖ درب اﻟﺸﻴﺦ زاﻳﺪ اﻟﺨري‪،‬‬ ‫وﴍﻳﻜﺎ ﰲ ﻣﺴرية ﺗﺄﺳﻴﺲ اﺗﺤﺎد دوﻟﺔ‬ ‫اﻹﻣﺎرات اﻟﻌﺮﺑﻴﺔ اﳌﺘﺤﺪة‪.‬‬ ‫وﺗﻌﻬﺪ اﻟﺸﻴﺦ ﻫﺰاع ﺑﻦ ﺳﻠﻄﺎن ﺑﻦ زاﻳﺪ‬ ‫ﺑﺎﻟﺴري ﻋﲆ ﻧﻬﺞ واﻟــﺪه وﺧﻄﺎه ﰲ ﺣﺐ‬ ‫اﻟﻮﻃﻦ وﺑﺬل ﻛﻞ ﻏﺎل وﻧﻔﻴﺲ ﻣﻦ أﺟﻠﻪ‪".‬‬

‫»اﻻﺗﺤﺎد ﺳﺒﻴﻠﻨﺎ اﻟﻮﺣﻴﺪ إﻟﻰ ﻧﻴﻞ اﻟﻌﺰة وﺑﻠﻮغ اﻟﻤﻜﺎﻧﺔ اﻟﺘﻲ ﻧﺴﺘﺤﻘﻬﺎ‬ ‫واﻟﻮﺻﻮل إﻟﻰ اﻟﻐﺎﻳﺔ اﻟﺘﻲ ﻧﺮﻳﺪﻫﺎ وﻻ ﺳﺒﻴﻞ ﻟﻨﺎ ﺳﻮاه ﻟﺒﻠﻮغ ﻛﻞ ذﻟﻚ«‬ ‫‪ƿƴ ƂǃƩƥƹƴŢ‬‬

‫ ‪ƺţǉǁƼ ƲŖ ſǈŢƄ ƻŦ ƺţƙƵƈ ŻǉƍƴŢ‬‬ ‫ ‪ ƾŢƃŰ ņŢ ťǉƘ‬‬

‫اﻟﺸﻌﺮ ‪baytelshear‬‬ ‫ﺑﻴﺖ ِ‬

‫‪7‬‬

‫ ‪¬ũŐŒ ęś‬‬

‫‪6‬‬

‫اﻟﻌﺪد ‪ ، 84‬دﻳﺴﻤﺒﺮ ‪2019‬‬

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ƿƴ ƂǃƩƥƹƴŢ

ƺţǉǁƼ ƲŖ ƺţƙƵƈ ƻŦ ſǈŢƄ ŻǉƍƴŢ ƾŢƃŰ ņŢ ťǉƘ

baytelshear ‫اﻟﺸﻌﺮ‬ ِ ‫ﺑﻴﺖ‬

‫‪ ĮńŒ ŔšŐħ‬‬

‫‪4‬‬

‫اﻟﻌﺪد ‪ ، 84‬دﻳﺴﻤﺒﺮ ‪2019‬‬

ŝĸŒ ŝķ

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baytelshear ‫اﻟﺸﻌﺮ‬ ِ ‫ﺑﻴﺖ‬

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