Baytelshear 49r

‫ا ﻃﻨﺎب ﺗﺜﺒﺖ‬ ‫ا ﻋﻤﺪة ﺗﺮﺗﻔﻊ‬ ‫ا دب ﻛﻤﺎ ﻳﻨﺒﻐﻲ‪..‬‬

‫ﻣﺠﻠﺔ ﺷﻬﺮﻳﺔ ﺷﺎﻣﻠﺔ‬

‫ﺗﺼﺪر ﻋﻦ ﻣﺮﻛﺰ ﺳﻠﻄﺎن ﺑﻦ زاﻳﺪ ﻟﻠﺜﻘﺎﻓﺔ واﻹﻋﻼم‬ ‫‪@bait_alshe3r baitshir@cmc.ae‬‬

‫‪Insta‬‬

‫‪@baytelshear‬‬

‫ﻣﻦ إﺻﺪارات ﻣﺮﻛﺰ ﺳﻠﻄﺎن ﺑﻦ زاﻳﺪ ﻟﻠﺜﻘﺎﻓﺔ واﻹﻋﻼم ﺑﺎﻟﺘﻌﺎون ﻣﻊ دار ﻣﺪارك ﻟﻠﻨﺸﺮ‬

‫ﻟﻤﻌﺮﻓﺔ ﻣﻮاﻗﻊ ﺻﺎﻻت اﻟﻌﺮض و اﻟﻤﻜﺘﺒﺎت اﻟﺘﻲ ﺗﺘﻮاﻓﺮ ﻓﻴﻬﺎ اﻟﺪواوﻳﻦ ﻳﺮﺟﻰ زﻳﺎرة ﻣﻮﻗﻊ دار ﻣﺪارك ﻟﻠﻨﺸﺮ‬ ‫‪PDGDUHNSXEOLVKLQJ‬‬

‫ﺑﻌﺾ اﻟﻜﻼم‬

ّ ‫ﻣﺤﻄﺎت اﻟﺤﻴﺎة‬

‫زﺑﻦ ﺑﻦ ﻋﻤﻴﺮ‬

f@@c@ £@ 0x@@D* ,b@@ @ £@ @ @²* ib@@ @ @ @ ¹ @@ @ @ @ /* e*x@@ @B*H eb@@ c@ 0* @@c@ @ /H @@{@£@ @- @@ F* f@@c@ £@ _@ @ D* ,b@@ @ £@ @ @²* ib@@ @ @ @ ¹ I24*H eb@@ @ F3°* 2¡@@~@ z@ -H @@ @6*x@@ @D* ¡@@ @ @- @@ @F* f@@c@ £@ :x@@D* ,b@@ @£@ @ ²* ib@@ @ @¹ d@@ @£@ @ :*H eb@@c@ D* @@ @ @ -b@@E @@£@ ~@ }@ D* @@/¡@@+ @@ @F* f@@c@ Jx@@ @ D* ,b@@ @£@ @ ²* ib@@ @ @ ¹ y@@ @ @ @ 0*H e*x@@ =°* @@ @~@}@+ @@g@B¡@@+ @@{@£@ @- @@ F* f@@c@ £@ ~@ {@ @ D* ,b@@ @£@ @ ²* ib@@ @ @ ¹ ¢@@ @ @ @ +*H eb@@ @ ¸H b@@ @ Q @ @ @G Ì@@ @ @ ³* @@ @ @ @ @D @@ @ @ F* f@@ c@ @Jx@@ ´* ,b@@ @ £@ @ @²* ib@@ @ @ @ ¹ x@@ @~@ @ {@ @ B*H eb@@ @FH d@@ @ @º ¢@@ @ @< v@@ @ @ 0° h@@ @B¡@@ @D* f@@c@ £@ c@ ²* ,b@@ @£@ @ ²* ib@@ @ @¹ ¢@@ @ @~@ @6*H eb@@c@ ~@ 6°b@@+ @@ @ @Jv@@ D*¡@@ D b@@ ~@ @94 w@@ c@ @f@@c@ £@ m@ @ D* ,b@@ @£@ @ ²* ib@@ @ @¹ n@@ @ @~@ @6*H e*w@@ C b@@ @ @JH v@@~@ |@ D* ¡@@ @ - @@ @F*

@zabin2011 4499 ‫ﺪد‬ ‫اﻟﻌﺪد‬ ‫ﻟﻌﺪ‬ ‫ ا ﻌ‬/ ‫ﻴﺖ اﻟﺸﻌﺮ‬ ‫ﺖ‬ ‫ ﺑﺑﻴﺖ‬96

‫اﻧﻔﻮﺷﻌﺮ‬

‫ﺷﺎﻋﺮ اﻟﺒﺮ واﻟﻤﺰﻳﻮن‬ ‫ﺧﻠﻴﻔﺔ ﺑﻦ ﻣﺤﻤﺪ ﺑﻦ ﻣﺘﺮف اﻟﺠﺎﺑﺮي‬

‫وﻓﺎﺗﻪ‬

‫آﺛﺎره‬

‫اﻟﻤﻴﻼد‬

‫اﻧﺘﻘﻞ إﱃ رﺣﻤﺔ اﻟﻠﻪ ﺗﻌﺎﱃ إﺛﺮ‬ ٍ ‫ﺣﺎدث أﻟﻴﻢ وﻗﻊ ﻟﻪ ﰲ اﻟﺬﻳﺪ‬ .‫م‬2006 ‫ﰲ أواﺧﺮ ﻳﻮﻟﻴﻮ ﻋﺎم‬ ‫ﻣﺨ ّﻠﻔﺎً وراءه إرﺛﺎً ﺧﺎﻟﺪاً ﻣﻦ‬ .‫اﻟﺸﻌﺮ اﻟﺸﻌﺒﻲ اﻟﺠﻤﻴﻞ‬

‫ﺻﺪر ﻟﻪ دﻳﻮان ﺑﻌﻨﻮان »اﻟﻨﺒﻊ‬ ‫ ﻋﻦ‬،‫م‬2008 ‫اﻟﻌﻤﻴﻖ« ﻋﺎم‬ ‫ﻧﺎدي ﺗﺮاث اﻹﻣﺎرات ﺑﻌﺪ‬ ‫وﻓﺎﺗﻪ وﻗﺪ ﺷﻤﻞ ﻣﻌﻈﻢ‬ .‫إﻧﺘﺎﺟﻪ اﻟﺸﻌﺮي‬

‫وﻟﺪ اﻟﺸﺎﻋﺮ ﺧﻠﻴﻔﺔ ﺑﻦ ﻣﱰف‬ ‫ ﺗﻠﻚ‬,«‫ﰲ ﻣﻨﻄﻘﺔ »ﻫﻴﲇ‬ ‫اﻟﻘﺮﻳﺔ اﻟﺠﻤﻴﻠﺔ واﻟﺘﻲ ﺗﻘﻊ ﰲ‬ ‫اﻟﺸامل اﻟﴩﻗﻲ ﻣﻦ ﻣﺪﻳﻨﺔ‬ .ً‫م ﺗﻘﺮﻳﺒﺎ‬1939 ‫اﻟﻌني ﻋﺎم‬

‫أﺑﻴﺎت ﺧﺎﻟﺪه ﻟﻪ‬ ¬2§CCC¡CCCG* fCCCCM ÌCCCCCG* CCªCC CC CCI fCCCCM ¬2fCCCC¡CCCCG* jCCCC T CCCC: CCCC T CCCCÀ fCCCCM ¬2§CC CC-U CC CC CCM CCIfCC CC CC0* ¢CCCH ¬2fCCCCC= fCCCCCM i§CCCCkCCCC CCCC¼* CCCCT CCCC+ ¬2§CC CC CC CCHK ¬§Q CCCCU¡CCCC< ¬{CCC CCCG ¬2*|CCCCCCHU jCCCCMfCCCC=K ¬fCCC U C¡CCCC CCCCHU K ËzCCI zCC¡CC< ¿ §CCC¹* ,ÑCCC0 Éf 0* CP C6fCCI I ¢CCHK ËzCCI Ë~CCG §CCCJK §CC CC¤CCG* CC CC CC6fCC CCM ÉfCC. CC¡CC< TzCCCgCCCM fCCCH Ë~CCCC P CG ª º*K 9| G*K ¡G* ~M~< ÉfCC CCHK lCC CC CC6 CC P CHfCCCF CP CªCC CC CC0

95 2016 /‫أﻛﺘﻮﺑﺮ‬

£§CCCCCM~CCCCC¼*K ÌCCCCCCCC T CG* hCCCCCCCCC T C0&* £fCCCCCCC:K¸*K KzCCCCgCCCCG* hCCCCCC0*K £K4zCCCCCCM ¸ CCCgCCCE ¥CCCCCgT CCCCC0*K £*ÔCCCCC¹* ¸K ¥CCCC CCCCJ*K «CCC CCCJ K|tCCCHU * ¢CCC ¹*K T£K ¢H fM ¦%* T fCCCC¡¼f+ «CCCCC M fH ¥+*§ 8 ¢H §CCC¤ G* 4fI f º* 6K · ¢F T -K Ñ 9¸* ¬§ fCCCCCC G* oCgU §F|G* ¢MzG* ¢H « I l 7 fH fCCCCC 6* ¥C C G* ¢H « - ¸K ¸ U T §CC G* htCG* j ªG ¢H «§Q U 7 T fC 0 fE| G* ¢H «0K4 f<2 ¿

‫ﻣﻮروث ﻋﺎﻟﻤﻲ‬ ‫‪baytelshear‬‬

‫وﻳﻘﺎم ﻛﻞ ﻋﺎم ﻣﺴﺎﺑﻘﺎت ﻛﺎﻟﻐﺎري ﻟﺮﻋﺎة‬ ‫»ﻛﺎﻟﻐﺎري ﺳﺘﺎﻣﺒﻴﺪ« اﻟﺒﻘﺮ داﺧﻞ ﺣﻠﺒﺔ‬ ‫ﻣﺪﻳﻨﺔ ﻛﺎﻟﻐﺎري اﻟﻜﻨﺪﻳﺔ‪ ،‬ﺣﻴﺚ ﻳﺘﺒﺎرى‬ ‫ﺧﻼﻟﻬﺎ ﻓﺮﺳﺎن اﻟﻜﺎوﺑﻮي ﻹﻇﻬﺎر ﻣﻬﺎراﺗﻬﻢ‬ ‫وﻗﺪراﺗﻬﻢ اﻟﺨﺎرﻗﺔ ﻋﲆ ﺗﺮوﻳﺾ اﻟﺨﻴﻮل‬ ‫اﻟﱪﻳﺔ اﻟﺘﻲ ﺗﻢ ﺟﻤﻌﻬﺎ ﻣﻦ اﻟﺼﺤﺮاء‪ ،‬وﻛﺬﻟﻚ‬ ‫ﻣﻬﺎراﺗﻬﻢ اﻟﻔﺎﺋﻘﺔ ﰲ اﻹﻣﺴﺎك واﺻﻄﻴﺎد‬ ‫اﳌﺎﺷﻴﺔ ﺑﺎﻟﺤﺒﺎل ﻣﻦ ﻓﻮق ﻇﻬﻮر اﻟﺨﻴﻮل‪ ،‬وﰲ‬ ‫ﻣﺤﺎﻛﺎة ﺑﺪﻳﻌﺔ ﳌﺼﺎرﻋﺔ اﻟﺜريان اﻹﺳﺒﺎﻧﻴﺔ‪،‬‬ ‫ﻳﻔﻀﻞ ﻓﺮﺳﺎن اﻟﻜﺎوﺑﻮي اﻟﻜﻨﺪﻳﻮن اﻣﺘﻄﺎء‬ ‫اﻟﻔﺎﺋﻘﺔ ﰲ اﻣﺘﻄﺎء اﻟﺨﻴﻮل واﻟﻘﺒﺾ ﻋﲆ ﻣﺘﺎﺟﺮ اﳌﻼﺑﺲ ﺑﺄﺷﻜﺎل وﺗﺼﻤﻴامت ﻣﺘﻨﻮﻋﺔ ﻇﻬﺮ اﻟﺜريان اﻟﻬﺎﺋﺠﺔ وﻳﻔﻮز ﺧﻼﻟﻬﺎ ﻣﻦ‬ ‫اﳌﺎﺷﻴﺔ ﺑﺎﻟﺮﻛﺾ وراءﻫﺎ وأﴎﻫﺎ ﺑﻮاﺳﻄﺔ ﻟﻴﺘﻢ ارﺗﺪاؤﻫﺎ ﺿﻤﻦ ﻣﻼﺑﺲ اﻟﺸﻮارع أو ﻳﺴﺘﻄﻴﻊ اﳌﻜﻮث ﻋﲆ ﻇﻬﻮر ﺗﻠﻚ اﻟﺜريان‬ ‫اﻟﺤﺒﺎل ﻣﻦ ﻣﺴﺎﻓﺎت ﺑﻌﻴﺪة‪ ،‬ﺑﺎﻹﺿﺎﻓﺔ إﱃ ﺣﺘﻰ ﻋﲆ اﻟﺒﺬات اﻟﺮﺳﻤﻴﺔ اﻟﺴﻮداء‪.‬‬ ‫ﺑﺎﻟﻐﺔ اﻟﻌﻨﻒ واﻟﺪﻣﻮﻳﺔ أﺣﻴﺎﻧﺎً‪.‬‬ ‫اﳌﻬﺎرة اﻟﺨﺎﺻﺔ ﺑﺘﺼﻮﻳﺐ اﻟﺮﺻﺎص اﻟﺨﺎﻃﻒ‬ ‫ﺑﻜﻞ دﻗﺔ وﺑﺮاﻋﺔ ﰲ ﻣﺒﺎرزات ﺗﻌﺘﻤﺪ ﻋﲆ‬ ‫اﻟﴪﻋﺔ ﻟﻘﺘﻞ اﻷﻋﺪاء‪ ،‬ﻟﺘﺪل ﺑﺬﻟﻚ ﻋﲆ ﻗﻮة‬ ‫اﻷﻋﺼﺎب واﻟﺠﺮأة وﻋﺪم اﻟﺨﻮف ﻣﻦ اﳌﻮت‪.‬‬ ‫ﻃﻐﺖ ﺛﻘﺎﻓﺔ اﻟﻜﺎوﺑﻮي اﻟﻌﺎمل أﺟﻤﻊ ﺑﺨﺎﺻﺔ‬ ‫ﻛﻨﺪا واﻟﻮﻻﻳﺎت اﳌﺘﺤﺪة واﳌﻜﺴﻴﻚ‪ ،‬وﺗﺤﻈﻰ‬ ‫ﺷﺨﺼﻴﺔ اﻟﻜﺎوﺑﻮي اﻟﻔﻘرية ﺑﺈﻋﺠﺎب واﻫﺘامم‬ ‫اﻟﺸﺒﺎب واﻟﺮﺟﺎل ﰲ اﻟﻌﺎمل‪ ،‬وﻻ زاﻟﺖ ﺑﺎرزة‬ ‫ﺑﺮوﺣﻬﺎ اﻟﻔﺮﻳﺪة وﻧﺴﺠﻬﺎ ﻟﻘﺼﺺ اﻟﺸﺠﺎﻋﺔ‬ ‫اﻟﺘﻲ ﰲ ﺑﻌﺾ اﻷﺣﻴﺎن ﺗﺘﻌﺪى ﺣﺪود اﳌﻨﻄﻖ‬ ‫وﺗﻘﱰب ﻣﻦ اﻷﺳﺎﻃري ﰲ ﴎد ﻣﻐﺎﻣﺮات ﻓﺮﺳﺎن‬ ‫اﻟﻜﺎوﺑﻮي ﰲ اﻟﺼﺤﺮاء‪ ،‬وﺗﻨﺘﴩ ﻣﻼﺑﺴﻬﺎ اﻟﺘﻲ‬ ‫ﻳﺄيت ﻋﲆ رأﺳﻬﺎ ﻗﺒﻌﺔ اﻟﻜﺎوﺑﻮي ﰲ أرﻗﻰ‬ ‫‪ 94‬ﺑﻴﺖ اﻟﺸﻌﺮ ‪ /‬اﻟﻌﺪد ‪49‬‬

‫واﻵﺳﻴﻮﻳﺔ وﺣﺘﻰ اﻹﻓﺮﻳﻘﻴﺔ‪ .‬ﻗﺪ ﺗﺄيت ﺑﻌﺾ‬ ‫اﻷﻃﻌﻤﺔ دون ﺗﻐﻴريات ﻛام ﻟﻮ ﻛﺎﻧﺖ ﰲ دول‬ ‫ﻣﺜﻞ اﻟﺼني أو اﻟﻬﻨﺪ أو ﺑﺮﻳﻄﺎﻧﻴﺎ‪ ،‬وﻟﻜﻦ أﻏﻠﺒﻬﺎ‬ ‫أﺻﺒﺢ ﻳﺘﻢ ﻃﻬﻴﻪ ﺑﻄﺮﻳﻘﺔ ﻋﴫﻳﺔ ﺗﻮاﻛﺐ‬ ‫اﻟﻄﺒﻴﻌﺔ اﻟﻜﻨﺪﻳﺔ ﻣﺘﻌﺪدة اﻷﻋﺮاق واﻟﺜﻘﺎﻓﺎت‪،‬‬ ‫وﻟﻜﻦ ﰲ اﻟﻮﻗﺖ ﻧﻔﺴﻪ ﺗﺤﻤﻞ إرث اﳌﻄﺎﺑﺦ‬ ‫اﻟﻌﺮﻳﻘﺔ اﻟﺘﻲ اﻣﺘﺪت ﻵﻻف اﻟﺴﻨني‪ .‬ﻓﻌﲆ‬ ‫ﺳﺒﻴﻞ اﳌﺜﺎل ﺗﺴﺘﻄﻴﻊ أن ﺗﺘﺬوق ﰲ ﻛﻨﺪا‬ ‫اﻟﺒﻄﺎﻃﺎ اﻟﻔﺮﻧﺴﻴﺔ اﳌﻘﻠﻴﺔ »ﻓﺮﻧﺶ ﻓﺮاﻳﺰ«‬ ‫وﻟﻜﻨﻬﺎ ﻣﻐﻤﻮﺳﺔ ﺑﺎﻟﻠنب اﻟﺮاﺋﺐ‪ ،‬وﺗﺴﺘﻄﻴﻊ‬ ‫أﻳﻀﺎً أن ﺗﺮاﻫﺎ ﰲ ﻋﺪة أمنﺎط ﻏﺮﻳﺒﺔ ﻣﻤﺰوﺟﺔ‬ ‫ﺑﺎﳌﺄﻛﻮﻻت اﻟﺒﺤﺮﻳﺔ وﺟﺮاد اﻟﺒﺤﺮ‪ .‬ﻻ ﻳﺨﻠﻮ‬ ‫أﻳﻀﺎً اﻟﻄﻌﺎم اﻟﻜﻨﺪي ﻣﻦ »ﴍاب اﻟﻘﻴﻘﺐ«‪،‬‬ ‫وﻫﻮ ﴍاب اﺑﺘﻜﺮه اﻟﺴﻜﺎن اﻷﺻﻠﻴﻮن ﰲ‬

‫أﻣﺮﻳﻜﺎ اﻟﺸامﻟﻴﺔ‪ ،‬وﻳﺼﻨﻊ ﻋﺎدة ﻣﻦ أﺷﺠﺎر‬ ‫اﻟﻘﻴﻘﺐ اﻟﺴﻜﺮي‪ ،‬واﻟﻘﻴﻘﺐ اﻷﺣﻤﺮ‪،‬‬ ‫واﻟﻘﻴﻘﺐ اﻷﺳﻮد ﻟﻴﻌﺘﻤﺪه اﳌﺴﺘﻮﻃﻨﻮن‬ ‫وﻳﻄﻮروﻧﻪ ﻟﻴﺼﺒﺢ ﴍاﺑﺎً وﻃﻨﻴﺎً ﺑﺎﻣﺘﻴﺎز وﻳﺘﻢ‬ ‫اﺳﺘﺨﺪاﻣﻪ ﻋﲆ ﻣﺨﺘﻠﻒ اﻷﻃﻌﻤﺔ‪ .‬ﻳﻌﺸﻖ‬ ‫اﻟﻜﻨﺪﻳﻮن اﻟﻠﻘﻴامت واﻟﻔﻄﺎﺋﺮ اﻟﺼﻐرية ﺑﻜﺎﻓﺔ‬ ‫أﻧﻮاﻋﻬﺎ‪ ،‬ﺣﻴﺚ متﺜﻞ ﻟﻬﻢ اﻟﺒﻬﺠﺔ وﻳﺘﻢ ﺗﻨﺎوﻟﻬﺎ‬ ‫ﻛﻮﺟﺒﺎت ﺧﻔﻴﻔﺔ ﺧﻼل ﻣﺨﺘﻠﻒ اﻻﺣﺘﻔﺎﻻت‬ ‫واﻟﻔﻌﺎﻟﻴﺎت وﺣﻔﻼت اﻟﺰﻓﺎف‪ ،‬وﺗﺘﻨﻮع ﺗﻠﻚ‬ ‫اﻟﻔﻄﺎﺋﺮ ﺑني اﻟﺤﻠﻮة واﳌﺤﺸﻮة ﺑﺎﻟﺨﴬاوات‬ ‫واﻟﻠﺤﻮم واﻟﻔﻮاﻛﻪ اﳌﺠﻔﻔﺔ‪ ،‬وﺗﻌﺪ أﻫﻤﻬﺎ ﻋﲆ‬ ‫اﻹﻃﻼق ﻓﻄﺎﺋﺮ اﻟﺰﺑﺪة اﻟﺤﻠﻮة واﳌﻐﻤﻮﺳﺔ ﰲ‬ ‫ﴍاب اﻟﻘﻴﻘﺐ‪ .‬ﺗﺴﻴﻄﺮ اﻟﻄﺒﻴﻌﺔ ﻋﲆ اﳌﻄﺒﺦ‬ ‫اﻟﻜﻨﺪي‪ ،‬ﺣﻴﺚ ﻳﻌﺘﻤﺪ اﻟﻜﻨﺪﻳﻮن ﻋﲆ ﻣﺨﺘﻠﻒ‬

‫أﻧﻮاع اﻟﻨﺒﺎﺗﺎت اﻟﱪﻳﺔ اﻟﺘﻲ ﺗﻨﻤﻮ ﺑﻜرثة ووﻓﺮة‬ ‫ﻛﺒرية ﰲ اﻟﻐﺎﺑﺎت واﳌﻨﺎﻃﻖ اﻟﺠﻠﻴﺪﻳﺔ‪ ،‬وأﻫﻢ‬ ‫ﺗﻠﻚ اﻟﻨﺒﺎﺗﺎت ﻫﻮ اﻟﺘﻮت اﻟﱪي اﻷﺳﻮد اﻟﺬي‬ ‫ﻳﺪﺧﻞ ﻛﻤﻜﻮن رﺋﻴﴘ ﻟﻠﺤﻠﻮى ﺑﻜﺎﻓﺔ أمنﺎﻃﻪ‪.‬‬ ‫ﻛام ميﺰج اﻟﻜﻨﺪﻳﻮن ﻋﺴﻞ اﻟﻨﺤﻞ اﻟﻄﺒﻴﻌﻲ‬ ‫ﺑﺎﻟﺘﻮت ﻟﻴﻨﺘﺞ » ﺗﻮت زﻫﺮ اﻟﻌﺴﻞ« اﻟﻠﺬﻳﺬ‬ ‫اﻟﺬي ﻳﻌﺸﻘﻪ اﻷﻃﻔﺎل ﻗﺒﻞ اﻟﻜﺒﺎر‪.‬‬ ‫اﻟﻜﺎوﺑﻮي ﺣﻴﺎة اﻟﻔﺮﺳﺎن‬ ‫ﻳﺒﻘﻰ منﻂ »اﻟﻜﺎوﺑﻮي« ﻧﺘﺎج أﺻﻴﻞ ﺗﺤﻮل‬ ‫إﱃ ﻣﻮﺿﺔ ﻋﺎﳌﻴﺔ ﻻ ﺗﻨﺪﺛﺮ مبﺮور اﻟﺴﻨني‪،‬‬ ‫ﺣﻴﺚ ﺗﺮﺗﺒﻂ ﺑﺸﺨﺼﻴﺔ اﻟﻔﺮﺳﺎن رﻋﺎة اﻟﺒﻘﺮ‬ ‫وﻛﺬﻟﻚ اﻟﻠﺼﻮص ورﺟﺎل اﻟﻌﺼﺎﺑﺎت وﻗﺎﻃﻌﻲ‬ ‫اﻟﻄﺮق ﰲ اﻟﺼﺤﺮاء ﻣﻦ أﺻﺤﺎب اﳌﻬﺎرات‬ ‫أﻛﺘﻮﺑﺮ‪93 2016 /‬‬

‫ﻣﻮروث ﻋﺎﻟﻤﻲ‬ ‫‪baytelshear‬‬

‫اﻟﺴﻜﺎن اﻷﺻﻠﻴني وأﺑﺤﺮ داﺧﻞ ﻗﺎرب ﺗﻘﻠﻴﺪي‬ ‫داﺧﻞ ﻧﻬﺮ أوﺗﺎوا‪ .‬وﻳﺄيت أﻳﻀﺎً اﻻﺣﺘﻔﺎل‬ ‫مبﻬﺮﺟﺎن ”ﻛﺎرﻳﺒﺎﻧﺎ“‪ ،‬وﻫﻮ أﺿﺨﻢ ﻣﻬﺮﺟﺎن‬ ‫ﺷﻮارع ﰲ أﻣﺮﻳﻜﺎ اﻟﺸامﻟﻴﺔ وﻳﺴﺘﻌﺮض‬ ‫ﺧﻼﻟﻪ اﻟﻔﺮق اﳌﻮﺳﻴﻘﻴﺔ واﻟﺮاﻗﺼﺔ ﻣﻦ دول‬ ‫اﻟﻜﺎرﻳﺒﻲ ﻣﺨﺘﻠﻒ ﻓﻨﻮن اﻟﺴﻜﺎن اﻷﺻﻠﻴني‬ ‫ﻟﻠﻘﺎرة اﻟﻼﺗﻴﻨﻴﺔ‪.‬‬ ‫ﺗﺮاث اﻟﺤﻜﺎﻳﺎت وأﺳﺎﻃﻴﺮ اﻟﻔﺎﻳﻜﻨﺞ‬ ‫ﻗﺼﺺ ﻻ ﺗﻨﺘﻬﻲ‬ ‫ﺑﺠﺎﻧﺐ ﺛﻘﺎﻓﺔ اﻟﺴﻜﺎن اﻷﺻﻠﻴني ‪ -‬أول ﻣﻦ‬ ‫ﻋﺎﺷﻮا ﰲ ﺗﻠﻚ اﻟﺒﻘﻌﺔ اﻟﺸﺎﺳﻌﺔ ﻣﻦ ﻗﺎرة‬ ‫أﻣﺮﻳﻜﺎ اﻟﺸامﻟﻴﺔ ‪ -‬اﻧﺒﺜﻘﺖ ﺛﻘﺎﻓﺔ اﳌﻬﺎﺟﺮﻳﻦ‬ ‫اﻟﺘﻲ اﻧﺼﻬﺮت ﻟﺘﻜﻮن ﻋﺪة ﺛﻘﺎﻓﺎت ﻋﴫﻳﺔ‬ ‫ﺗﺤﻤﻞ ﻣﻼﻣﺢ وﻋﺒﻖ اﳌﺎﴈ ﺑﻜﻞ ﺟامﻟﻴﺎﺗﻪ‬ ‫وأﺻﺎﻟﺘﻪ‪ ،‬وﻟﻜﻦ ﺑﻄﺎﺑﻊ ﻛﻨﺪي ﺧﺎﻟﺺ‪.‬‬ ‫ميﻜﻨﻨﺎ ﻣﺸﺎﻫﺪة اﻟﺜﻘﺎﻓﺔ اﻟﻜﻨﺪﻳﺔ ﻋﻦ ﻛﺜﺐ‬ ‫ﻣﻦ ﺧﻼل اﻻﺣﺘﻔﺎل مبﻬﺮﺟﺎن »دورﻫﺎم«‬ ‫اﻟﺬي ﻳﻌﻜﺲ اﻟﻌﺪﻳﺪ ﻣﻦ اﻷﻧﺸﻄﺔ اﻟﺜﻘﺎﻓﻴﺔ‬ ‫اﻟﻜﻨﺪﻳﺔ واﻵﺳﻴﻮﻳﺔ وﺑﺨﺎﺻﺔ اﻟﻬﻨﺪﻳﺔ‪،‬‬ ‫وﻳﺘﻀﻤﻦ اﳌﻬﺮﺟﺎن ﻛﺎﻓﺔ اﻟﻨﻮاﺣﻲ اﻟﺜﻘﺎﻓﻴﺔ‬ ‫ﻛﺎﻟﺮﻗﺺ واﻟﻐﻨﺎء وﻣامرﺳﺔ اﻷﻧﺸﻄﺔ اﻟﺮﻳﺎﺿﻴﺔ‬ ‫ﻣﺜﻞ اﻟﻴﻮﻏﺎ واﻟﻔﻨﻮن اﻟﻘﺘﺎﻟﻴﺔ‪ ،‬ﺣﻴﺚ ﻳﺘﻢ‬ ‫ﺗﻨﻈﻴﻤﻪ ﺳﻨﻮﻳﺎً ﰲ ﺷﻬﺮ ﻳﻮﻧﻴﻮ داﺧﻞ ﻋﺪد ﻣﻦ‬ ‫اﳌﺘﻨﺰﻫﺎت اﻟﻮﻃﻨﻴﺔ اﻟﺸﺎﺳﻌﺔ ﻟﻀامن ﻣامرﺳﺔ‬ ‫ﺗﻠﻚ اﻷﻧﺸﻄﺔ ﺑﺤﺮﻳﺔ وﻣﺮوﻧﺔ ﻛﺒرية‪.‬‬ ‫‪ 92‬ﺑﻴﺖ اﻟﺸﻌﺮ ‪ /‬اﻟﻌﺪد ‪49‬‬

‫ﻛﺎن ﻟﻠﻄﺒﻴﻌﺔ اﻟﻜﻨﺪﻳﺔ ﺗﺄﺛري ﻛﺒري ﻋﲆ‬ ‫اﻟﺤﺎﻟﺔ اﻟﺜﻘﺎﻓﻴﺔ واﻟﱰاﺛﻴﺔ اﻟﻜﻨﺪﻳﺔ‪ ،‬ﺣﻴﺚ إن‬ ‫اﳌﻬﺮﺟﺎﻧﺎت اﻟﺸﺘﻮﻳﺔ ﻟﻬﺎ ﻃﺎﺑﻌﻬﺎ اﻟﺨﺎص‪،‬‬ ‫وﻳﺄيت ﻋﲆ رأس ﺗﻠﻚ اﻻﺣﺘﻔﺎﻻت ﻣﻬﺮﺟﺎن‬ ‫»وﻳﻨﱰﻟﻮد« اﻟﺬي ﻳﻨﻄﻠﻖ ﰲ ﺑﺪاﻳﺔ ﻣﻮﺳﻢ‬ ‫اﻟﺸﺘﺎء ﰲ أواﺧﺮ ﺷﻬﺮ دﻳﺴﻤﱪ وأواﺋﻞ ﺷﻬﺮ‬ ‫ﻳﻨﺎﻳﺮ ﻣﻦ ﻛﻞ ﻋﺎم‪ ،‬وﻳﺘﺒﺎرى ﺧﻼﻟﻪ ﻣﺨﺘﻠﻒ‬ ‫اﻟﻔﻨﺎﻧني واﻟﻨﺤﺎﺗني ﻟﺘﺸﻜﻴﻞ اﻟﺘامﺛﻴﻞ‬ ‫واﳌﺠﺴامت اﻟﺠﻠﻴﺪﻳﺔ اﻟﺮاﺋﻌﺔ ﻟﺘﺘﺤﻮل‬ ‫ﻣﻌﻈﻢ اﳌﺪن اﻟﻜﻨﺪﻳﺔ إﱃ ﻣﺘﺤﻒ ﻣﻔﺘﻮح‬ ‫ﻻﺳﺘﻌﺮاض ﺟامﻟﻴﺎت اﻟﺸﺘﺎء اﻟﺨﻼﺑﺔ ﺑﺄﻧﺎﻣﻞ‬ ‫ﻣﺒﺪﻋﺔ ﻣﻦ ﻛﻞ ﺛﻘﺎﻓﺎت اﻟﻌﺎمل‪ .‬وﺗﺘﻌﺪد‬ ‫اﳌﻬﺮﺟﺎﻧﺎت اﻟﺸﺘﻮﻳﺔ ﻣﺜﻞ »ﺳﻨﻮ ﻓﻴﺴﺖ«‬ ‫و»وﻳﻨﱰ ﻓﻴﺴﺖ« و»وﻳﻨﱰ ﻟﻴﺸﻴﻮس« اﻟﺘﻲ‬ ‫ﻳﺘﻢ ﺧﻼﻟﻬﺎ إﻗﺎﻣﺔ ﻣﺨﺘﻠﻒ اﻟﺮﻳﺎﺿﺎت اﻟﺸﺘﻮﻳﺔ‬ ‫وﻋﲆ رأﺳﻬﺎ ﻫﻮيك اﻟﺠﻠﻴﺪ – اﻟﺮﻳﺎﺿﺔ اﻷﻛرث‬ ‫ﺷﻌﺒﻴﺔ ﰲ ﻛﻨﺪا – واﻟﻌﺪﻳﺪ ﻣﻦ اﻟﻔﻌﺎﻟﻴﺎت‬ ‫واﳌﺴﺎﺑﻘﺎت ﰲ ﺗﺸﻜﻴﻞ ﻛﺮات اﻟﺜﻠﺞ اﻟﻀﺨﻤﺔ‬ ‫وﺑﻨﺎء اﳌﺠﺴامت اﻟﺜﻠﺠﻴﺔ اﻟﺸﻔﺎﻓﺔ‪.‬‬ ‫ﺑﺎﻟﺘﻮﺟﻪ ﻧﺤﻮ منﻂ اﻟﺤﻴﺎة اﻟﻌﴫﻳﺔ ﻫﻨﺎك‬ ‫اﻟﻌﺪﻳﺪ ﻣﻦ اﳌﻬﺮﺟﺎﻧﺎت اﻟﻔﺮﻳﺪة ﻣﻦ ﻧﻮﻋﻬﺎ‪،‬‬ ‫وﺗﻨﻔﺮد ﻛﻨﺪا ﺑﺘﻨﻈﻴﻢ ﻣﻬﺮﺟﺎن » ﳌﺠﺮد‬ ‫اﻟﻀﺤﻚ‪ :‬ﻣﻬﺮﺟﺎن ﻣﻮﻧﱰﻳﺎل ﻟﻠﻜﻮﻣﻴﺪﻳﺎ«‬ ‫ﻫﻮ ﻣﻬﺮﺟﺎن ﻟﻠﻜﻮﻣﻴﺪﻳﺎ ﻳﻘﺎم ﰲ ﺷﻬﺮ ﻳﻮﻟﻴﻮ‬ ‫ﻣﻦ ﻛﻞ ﺳﻨﺔ ﰲ ﻣﺪﻳﻨﺔ ﻣﻮﻧﱰﻳﺎل‪ ،‬وﺑﺪأت متﺜﻞ اﻷﻃﻌﻤﺔ اﻟﻜﻨﺪﻳﺔ أﻃﺒﺎﻗﺎً ﻣﻦ ﻣﺨﺘﻠﻒ‬ ‫ﻓﻌﺎﻟﻴﺎت اﳌﻬﺮﺟﺎن ﻋﺎم ‪ 1983‬وﻳﻌﺘﱪ ﺣﺎﻟﻴﺎً ﺛﻘﺎﻓﺎت اﻟﻌﺎمل اﻷﻣﺮﻳﻜﻴﺔ واﻷوروﺑﻴﺔ‬

‫أﻛﱪ ﻣﻬﺮﺟﺎﻧﺎت اﻟﻜﻮﻣﻴﺪﻳﺎ ﰲ اﻟﻌﺎمل‪ ،‬وﻳﺘﻢ ﰲ‬ ‫ﻫﺬا اﳌﻬﺮﺟﺎن ﻋﺮض أﺷﻬﺮ ﺑﺮاﻣﺞ اﻟﻜﻮﻣﻴﺪﻳﺎ‬ ‫اﻟﻌﺎﳌﻴﺔ ﻣﻊ إﻗﺎﻣﺔ ﻋﺪد ﻫﺎﺋﻞ ﻣﻦ اﻟﻔﻘﺮات‬ ‫اﻟﻜﻮﻣﻴﺪﻳﺔ ﻟﻠﻤﺤﱰﻓني واﳌﻮﻫﻮﺑني أﻣﺎم‬ ‫اﻟﺤﺸﻮد واﻵﻻف ﻣﻦ اﻟﺠﻤﻬﻮر اﻟﺬي ﻳﺘﻮاﻓﺪ‬ ‫إﻟﻴﻪ ﻣﻦ ﺟﻤﻴﻊ أﻧﺤﺎء اﻟﻌﺎمل‪ .‬ﻳﺄيت أﻳﻀﺎً‬ ‫ﻣﻬﺮﺟﺎن ”ﻓﻮﻟﻜﻮراﻣﺎ“ ﻛﺄﻛﱪ ﻣﻬﺮﺟﺎن ﺛﻘﺎﰲ‬ ‫ﰲ اﻟﻌﺎمل ﻣﻦ ﺧﻼل ﻋﴩات اﻟﻔﺮق اﻟﺜﻘﺎﻓﻴﺔ‬ ‫اﻟﻜﻨﺪﻳﺔ واﻟﻌﺎﳌﻴﺔ اﻟﺘﻲ ﺗﺴﺘﻌﺮض ﻣﺨﺘﻠﻒ‬ ‫اﻟﻔﻨﻮن واﻟﺮﻗﺼﺎت ﻣﻦ ﻣﺨﺘﻠﻒ دول اﻟﻌﺎمل‪،‬‬ ‫وﻳﻨﻄﻠﻖ اﳌﻬﺮﺟﺎن ﻣﻄﻠﻊ أﻏﺴﻄﺲ ﻣﻦ ﻛﻞ‬ ‫ﻋﺎم وﻳﺴﺘﻤﺮ ﻷﺳﺒﻮﻋني‪ ،‬وﻳﺤﻈﻰ مبﺸﺎرﻛﺔ‬ ‫أﻛرث ﻣﻦ ‪ 400‬أﻟﻒ زاﺋﺮ ﻣﻦ داﺧﻞ وﺧﺎرج‬ ‫ﻛﻨﺪا‪.‬‬ ‫ﻳﺄيت اﻻﺣﺘﻔﺎل مبﻬﺮﺟﺎن »ﻳﻮم ﻓﻴﻜﺘﻮرﻳﺎ«‬ ‫ﻟﻼﺣﺘﻔﺎل مبﻴﻼد اﳌﻠﻜﺔ اﻟﱪﻳﻄﺎﻧﻴﺔ ﻓﻴﻜﺘﻮرﻳﺎ‬ ‫وﻳﺒﺪأ ﰲ ‪ 24‬ﻣﺎﻳﻮ ﻣﻦ ﻛﻞ ﻋﺎم‪ ،‬وميﺜﻞ‬ ‫اﻻﺣﺘﻔﺎل ﻟﺪى اﻟﻜﻨﺪﻳني اﻟﺒﺪاﻳﺔ ﻏري اﻟﺮﺳﻤﻴﺔ‬ ‫ﳌﻮﺳﻢ اﻟﺼﻴﻒ‪ ،‬وﺑﺎﻟﺘﺎﱄ ﻓﺎﳌﻬﺮﺟﺎن ﻫﻮ‬ ‫ﴍارة اﻻﻧﻄﻼق ﻟﺒﺪء اﳌﻌﺴﻜﺮات واﳌﺨﻴامت‬ ‫اﻟﺼﻴﻔﻴﺔ وﺑﺪء اﻟﺮﻳﺎﺿﺎت اﳌﺎﺋﻴﺔ ﻋﲆ ﺻﻔﺤﺔ‬ ‫ﻣﻴﺎه اﻟﺒﺤريات واﻷﻧﻬﺎر اﻟﺘﻲ ﻛﺎﻧﺖ ﻣﺘﺠﻤﺪة‬ ‫ﻟﺸﻬﻮر ﻃﻮﻳﻠﺔ أﺛﻨﺎء اﻟﺼﻴﻒ‪.‬‬

‫ﻣﺤﻤﺪ دروﻳﺶ‬

‫ﺗﻨﺘﺸﺮ اﻟﺜﻘﺎﻓﺎت واﻷﻓﻜﺎر ﻣﺴﺘﺨﺪﻣﺔ أﺟﻨﺤﺘﻬﺎ اﻟﻤﻤﺘﺪة ﻟﺘﺠﻮب اﻟﻌﺎﻟﻢ وﺗﻌﺒﺮ اﻟﻤﺤﻴﻄﺎت‬ ‫واﻟﺠﺒﺎل وﺗﺤﻂ رﺣﺎﻟﻬﺎ ﻓﻲ ﻛﻞ ﺑﻠﺪ ﻳﻌﺸﻖ ﺗﺮاﺛﻬﺎ ﻟﻴﺮﺗﺸﻒ ﻣﻨﻬﺎ أﻫﻠﻬﺎ رﺣﻴﻘﻬﺎ‬ ‫وﻳﺴﺘﻨﺸﻘﻮن ﺑﻌﻀ ًﺎ ﻣﻦ ﻋﺒﻴﺮﻫﺎ‪ ،‬وﻟﻜﻦ ﻓﻲ اﻟﺤﺎﻟﺔ اﻟﻜﻨﺪﻳﺔ‪ ،‬ﺣﻄﺖ ﺗﻠﻚ اﻟﺜﻘﺎﻓﺎت اﻟﻌﺮﻳﻘﺔ‬ ‫رﺣﺎﻟﻬﺎ دون ﻣﻐﺎدرة ﻟﺘﻜﻮن اﻷراﺿﻲ اﻟﺠﻠﻴﺪﻳﺔ ﻣﻬﺪ ًا ﻟﻤﻮروﺛﺎت وﺛﻘﺎﻓﺎت اﺳﺘﺜﻨﺎﺋﻴﺔ‬ ‫وﻣﻮﻃﻨ ًﺎ ﻟﻌﺎدات وﺗﻘﺎﻟﻴﺪ ﻋﺮﻳﻘﺔ اﻧﺼﻬﺮت ﻃﻮاﻋﻴﺔ داﺧﻞ ﺑﻮﺗﻘﺘﻬﺎ اﻟﺠﻠﻴﺪﻳﺔ واﻣﺘﺰﺟﺖ‬ ‫ﻟﺘﺄﺗﻲ ﻟﻨﺎ ﺑﺘﺮاث أﺟﺪاد ﻳﻤﺘﺪ ﻵﻻف اﻟﺴﻨﻴﻦ أﺧﺘﺎر أﻻ ﻳﺒﺮح اﻟﺪوﻟﺔ اﻟﻜﻨﺪﻳﺔ اﻟﺤﺪﻳﺜﺔ ﻟﻴﻨﺒﺜﻖ‬ ‫ﻣﻨﻬﺎ إﺷﻌﺎع ﺛﻘﺎﻓﻲ ﻣﺨﺘﻠﻒ اﻷﻃﻴﺎف ﻳﻨﻴﺮ ﻣﺎ ﺣﻮﻟﻪ ﻣﻦ اﻷﻣﻢ‪V‬‬

‫ﺗﻌﱪ اﳌﻮروﺛﺎت اﻟﻜﻨﺪﻳﺔ ﺑﺤﻖ ﻋﻦ أﻏﻠﺐ‬ ‫ﺛﻘﺎﻓﺎت اﻟﻌﺎمل اﻟﻘﺪميﺔ واﻟﺤﺪﻳﺜﺔ‪ ،‬ﻓﻬﻲ أرض‬ ‫اﳌﻬﺠﺮ اﻟﺸﺎﺳﻌﺔ اﻟﺘﻲ اﺣﺘﻀﻨﺖ ﻋﴩات‬ ‫اﻟﺸﻌﻮب اﻟﺬﻳﻦ واﺟﻬﻮا اﳌﺼﺎﻋﺐ واﻟﺘﺤﺪﻳﺎت‬ ‫وﻋﱪوا اﳌﺤﻴﻄﺎت ﻟﻴﻨﻘﻠﻮا ﻣﺎ ﻟﺪﻳﻬﻢ ﻣﻦ‬ ‫ﻛﻨﻮز ﻣﻌﺮﻓﻴﺔ وﺛﻘﺎﻓﻴﺔ إﻟﻴﻬﺎ ﻟﺘﻤﺘﺰج ﻣﻊ‬ ‫اﻟﺜﻘﺎﻓﺔ اﻟﻼﺗﻴﻨﻴﺔ اﻷﺻﻴﻠﺔ ﰲ ﻧﻜﻬﺔ آﺳﻴﻮﻳﺔ‬ ‫ﻛﺴﺘﻬﺎ ﺻﺒﻐﺔ أوروﺑﻴﺔ‪ ،‬ﻓﻤﻨﺬ ﺑﻀﻌﺔ ﻗﺮون‬ ‫ﻛﺎﻧﺖ اﻷراﴈ اﻟﻜﻨﺪﻳﺔ ﻣﻘﺴﻤﺔ ﳌﺴﺘﻌﻤﺮات‬ ‫ﻓﺮﻧﺴﻴﺔ وﺑﺮﻳﻄﺎﻧﻴﺔ‪ ،‬وﻫﻮ ﻣﺎ أﺗﺎح ﺗﻮاﺟﺪ‬ ‫ﺷﻌﻮب اﻟﺒﻠﺪﻳﻦ وﻣﺎ ﺻﺎﺣﺒﻬام ﻣﻦ اﻟﺒﻼد‬ ‫اﻷﺧﺮى اﳌﺴﺘﻌﻤﺮة ﰲ اﻟﴩق واﻟﻐﺮب‪ ،‬وﻣﻊ‬ ‫ﻣﺮور اﻟﻌﻘﻮد ﺗﺒﻠﻮرت اﳌﻮروﺛﺎت اﻟﻜﻨﺪﻳﺔ‬ ‫ﻟﺘﺸﻤﻞ ﺟﻤﻴﻊ ﺛﻘﺎﻓﺎت اﻟﻌﺎمل ﰲ ﺛﻮب ﺟﺪﻳﺪ‬ ‫ﻳﺠﻤﻊ اﻟﻘﺪﻳﻢ واﻟﺤﺪﻳﺚ وأمنﺎﻃﺎً ﺛﻘﺎﻓﻴﺔ‬ ‫ﻣﻐﺎﻳﺮة ﺟﻤﻌﺖ ﺳﻜﺎن اﻟﻘﺎرة اﻷﻣﺮﻳﻜﻴﺔ‬ ‫اﻷﺻﻠﻴني وأﻋﺎدت ﺑﺮﻳﻖ ﺛﻘﺎﻓﺎت ﻣﻔﻘﻮدة‬ ‫ﻟﺘﴤء اﻟﺒﴩﻳﺔ ﻣﻦ ﺟﺪﻳﺪ‪.‬‬ ‫أﺛﺮى ﺗﻌﺪد اﻟﻠﻐﺎت واﻷﻋﺮاق واﻟﺪﻳﺎﻧﺎت أﻳﻀﺎً‬ ‫ﺗﺸﻜﻴﻞ اﳌﻮروﺛﺎت اﻟﻜﻨﺪﻳﺔ ﻋﲆ ﻧﺤﻮ ﺟﻌﻞ‬ ‫ﻣﻦ اﻟﺜﻘﺎﻓﺔ ﻣﺘامﺳﻜﺔ إﱃ ﺣﺪ ﻛﺒري ﰲ ﺑﺪاﻳﺔ‬ ‫ﺗﺸﻜﻴﻞ اﻟﺪوﻟﺔ اﻟﻜﻨﺪﻳﺔ‪ ،‬ﻛام ﺑﺪأت اﻟﺜﻘﺎﻓﺔ‬ ‫اﻟﻜﻨﺪﻳﺔ ﺑﺎﻟﻈﻬﻮر ﻣﻦ ﻗﺒﻞ ﺳﻜﺎن اﳌﺴﺘﻌﻤﺮات‬ ‫اﻟﻔﺮﻧﺴﻴﺔ واﻟﱪﻳﻄﺎﻧﻴﺔ واﻧﻄﻠﻘﺖ ﴍارﺗﻬﺎ ﻣﻊ‬ ‫ﻣﻬﻨﺔ اﻟﺼﻴﺪ اﳌﺮﺑﺤﺔ ﰲ اﻟﻐﺎﺑﺎت واﳌﻨﺎﻃﻖ‬ ‫اﻟﺠﻠﻴﺪﻳﺔ‪ ،‬وﻋﲆ اﻟﺮﻏﻢ ﻣﻦ اﻟﴫاﻋﺎت اﻟﺘﻲ‬ ‫ﺣﺪﺛﺖ ﻫﻨﺎك‪ ،‬إﻻ أﻧﻬﺎ ﻛﺎﻧﺖ ﻓﺮﺻﺔ ﺣﻘﻴﻘﻴﺔ‬ ‫ﻟﻼﻧﺨﺮاط ﰲ ﺣﻴﺎة اﻟﺴﻜﺎن اﻷﺻﻠﻴني واﻟﺘﺄﺛﺮ‬ ‫ﺑﻬﻢ واﻟﺘﺄﺛري ﻓﻴﻬﻢ إﱃ أن ﺗﺸﻜﻠﺖ اﻟﺪوﻟﺔ‬ ‫اﻟﻜﻨﺪﻳﺔ ﻋﲆ ﺣﺎﻟﻬﺎ اﻵن‪ .‬ﺗﻘ ّﻴﻢ ﺣﻜﻮﻣﺔ‬ ‫ﻛﻨﺪا اﻟﺘﻨﻮع اﻟﺴﻜﺎين وﺗﺤﺎول ﺣامﻳﺔ اﻟﱰاث‬ ‫اﻟﺜﻘﺎﰲ ﳌﻮاﻃﻨﻴﻬﺎ ﻣﻦ ﺧﻼل ﻗﺎﻧﻮن اﻟﺘﻌﺪدﻳﺔ‬

‫اﻟﺜﻘﺎﻓﻴﺔ اﻟﻜﻨﺪﻳﺔ‪ ،‬وﺗﺸﺠﻊ ﻣﻮاﻃﻨﻴﻬﺎ ﻋﲆ‬ ‫اﻻﻓﺘﺨﺎر ﺑﻠﻐﺘﻬﻢ ودﻳﻨﻬﻢ وﺗﺮاﺛﻬﻢ واﻟﺤﻔﺎظ‬ ‫ﻋﲆ ﻋﺎداﺗﻬﻢ وﺗﻘﺎﻟﻴﺪﻫﻢ‪ ،‬وﻫﻮ ﻣﺎ ﺗﻔﺨﺮ ﺑﻪ‬ ‫ﻛﻨﺪا ﺑني اﻷﻣﻢ‪.‬‬ ‫ﻳﻘﻒ وراء اﳌﻮروﺛﺎت اﻟﻜﻨﺪﻳﺔ ﺷﻌﺐ‬ ‫ﻋﺎﺷﻖ ﻟﻠﺤﻴﺎة ﺑﻜﻞ ﺗﻔﺎﺻﻴﻠﻬﺎ‪ ،‬وﻣﺎ ﻳﺸﺠﻌﻪ‬ ‫ﻋﲆ ﺗﻌﺪد اﻟﻄﺒﻴﻌﺔ اﻟﺠﻐﺮاﻓﻴﺔ‪ ،‬مبﺎ ﰲ ذﻟﻚ‬ ‫اﻟﻄﺒﻴﻌﺔ اﻟﺠﻠﻴﺪﻳﺔ اﻟﺴﺎﺣﺮة واﻟﻐﺎﺑﺎت‬ ‫اﳌﻠﻮﻧﺔ واﻟﺒﺤريات اﻟﺼﺎﻓﻴﺔ‪ ،‬وﻫﻲ اﻟﻄﺒﻴﻌﺔ‬ ‫اﳌﻨﺎﺳﺒﺔ ﻹﻗﺎﻣﺔ اﻟﻌﺪﻳﺪ ﻣﻦ اﳌﻬﺮﺟﺎﻧﺎت‬ ‫اﻟﺜﻘﺎﻓﻴﺔ اﻟﻔﺮﻳﺪة ﻣﻦ ﻧﻮﻋﻬﺎ‪ ،‬وميﺜﻞ ﻣﻬﺮﺟﺎن‬ ‫»ﻋﻴﺪ ﻣﻴﻼد ﻛﻨﺪا« اﻷﻫﻢ ﻣﻦ ﻧﻮﻋﻪ ﰲ اﻟﺒﻼد‬ ‫ﻣﺘﻌﺪد اﻟﺜﻘﺎﻓﺎت‪ ،‬ﺣﻴﺚ ﻳﺤﺘﻔﻞ اﻟﻜﻨﺪﻳﻮن‬ ‫ﻟﻴﺲ ﻓﻘﻂ ﺑﺄرﺿﻬﻢ‪ ،‬وﻟﻜﻦ أﻳﻀﺎً ﺑﺜﻘﺎﻓﺘﻬﻢ‬ ‫وﺗﺮاﺛﻬﻢ اﻟﻬﺎﺋﻞ واﳌﺘﻨﻮع‪ .‬ﻳﺘﻢ اﻻﺣﺘﻔﺎل‬ ‫ﺑﺎﳌﻬﺮﺟﺎن ﻣﻄﻠﻊ ﺷﻬﺮ ﻳﻮﻟﻴﻮ ﻣﻦ ﻛﻞ ﻋﺎم‪،‬‬ ‫وﻫﻮ اﻟﺘﺎرﻳﺦ اﻟﺬي ﻗﺎم ﻓﻴﻪ اﻻﺗﺤﺎد اﻟﻔﻴﺪراﱄ‬ ‫ﳌﺨﺘﻠﻒ اﳌﻘﺎﻃﻌﺎت ﻋﺎم ‪ ،1867‬وﰲ ﺣﻘﻴﻘﺔ‬ ‫اﻷﻣﺮ ﻻ ﻳﻘﺘﴫ اﻻﺣﺘﻔﺎل ﻋﲆ ذﻟﻚ اﻟﻴﻮم‪،‬‬ ‫ﺑﻞ ﺳﺒﻘﻪ اﻻﺣﺘﻔﺎل ﺑﺪاﻳﺔ ﻣﻦ ‪ 21‬ﻳﻮﻧﻴﻮ‬ ‫وميﺘﺪ ﻟـ ‪ 11‬ﻳﻮﻣﺎً ﺣﺘﻰ ﻣﻄﻠﻊ ﻳﻮﻟﻴﻮ‪ .‬وﻳﺘﺨﻠﻞ‬ ‫ذﻟﻚ اﳌﻬﺮﺟﺎن ﻣﺌﺎت اﻟﻔﻌﺎﻟﻴﺎت ﰲ ﻣﺨﺘﻠﻒ‬ ‫اﳌﻘﺎﻃﻌﺎت واﳌﺪن واﻟﺒﻠﺪات‪ ،‬ﻣﺜﻞ ”ﻳﻮم‬ ‫اﻟﺘﻌﺪدﻳﺔ اﻟﺜﻘﺎﻓﻴﺔ اﻟﻜﻨﺪﻳﺔ“ و“ﻳﻮم اﻟﺴﻜﺎن‬ ‫اﻷﺻﻠﻴني“ اﻟﺬي ﻳﺴﺘﻌﺮض ﺧﻼﻟﻪ اﻟﺴﻜﺎن‬ ‫اﻟﻔﻨﻮن واﻟﺮﻗﺼﺎت ﻟﻘﺒﺎﺋﻞ اﻟﻬﻨﻮد اﻟﺤﻤﺮ‬ ‫اﻟﺘﻲ ﻻ ﺗﺰال ﻗﺎمئﺔ وﻳﺘﻢ ﺗﻌﻠﻴﻤﻬﺎ ﰲ اﻟﻌﺪﻳﺪ‬ ‫ﻣﻦ اﳌﺮاﻛﺰ اﻟﺜﻘﺎﻓﻴﺔ‪ ،‬ﻛام ﻳﺤﺮص ﻋﲆ اﻟﺘﻮاﺟﺪ‬ ‫ﰲ ﺗﻠﻚ اﻻﺣﺘﻔﺎﻻت ﻣﺨﺘﻠﻒ اﻟﻮﻓﻮد اﻟﺜﻘﺎﻓﻴﺔ‬ ‫واﳌﺴﺆوﻟﻮن وﻋﲆ رأﺳﻬﻢ رﺋﻴﺲ اﻟﻮزراء‬ ‫اﻟﻜﻨﺪي‪ ،‬ﺣﻴﺚ ﺣﺮص رﺋﻴﺲ اﻟﻮزراء اﻟﺤﺎﱄ‬ ‫”ﺟﺎﺳنت ﺗﺮودو“ ﻋﲆ ﺣﻀﻮر اﺣﺘﻔﺎﻻت‬ ‫أﻛﺘﻮﺑﺮ‪91 2016 /‬‬

‫ﻣﻮروث ﻋﺎﻟﻤﻲ‬ ‫‪baytelshear‬‬

‫ﺗﻐﻠﻒ اﻟﺘﺮاث ا&ﺳﻴﻮي واﻟﺮوح اﻟﻼﺗﻴﻨﻴﺔ ﺑﺼﺒﻐﺔ أوروﺑﻴﺔ‬

‫اﻟﻤﻮروﺛﺎت اﻟﻜﻨﺪﻳﺔ‬ ‫ﺑﻮﺗﻘﺔ ﺟﻠﻴﺪﻳﺔ ﺗُﺼﻬﺮ أﻋﺮق اﻟﺜﻘﺎﻓﺎت اﻟﻌﺎﻟﻤﻴﺔ‬ ‫‪ 90‬ﺑﻴﺖ اﻟﺸﻌﺮ ‪ /‬اﻟﻌﺪد ‪49‬‬

‫ﰲ ﻛﻞ ﻓﻦ ﻣﻦ اﻟﻔﻨﻮن وﻋﻨﺎوﻳﻦ ﻣﺎ ﻛﺘﺒﻮه‪.‬‬ ‫وﻳﺬﻛﺮ أﻧﻪ ﺑﺪأ ﺑﻜﺘﺎﺑﺔ »ﺗﺎرﻳﺦ اﻷدب اﻟﻌﺮيب«‬ ‫ﰲ ‪ 1898‬وﻇﻞ ﻳﻌﻤﻞ ﺑﻪ ﺣﺘﻰ ﺗﺎرﻳﺦ ‪،1902‬‬ ‫ﻟﻴﻜﺘﺐ ﺑﻌﺪه ”ﻧﺤﻮ اﻟﴪﻳﺎﻧﻴﺔ وآداﺑﻬﺎ“‬ ‫‪ ،1899‬واﳌﻌﺠﻢ اﻟﴪﻳﺎين ‪ ،1928‬ﺛﻢ ”اﻟﻨﺤﻮ‬ ‫اﻟﻌﺮيب“ ﻋﺎم ‪.1941‬‬ ‫ﺗﺎرﻳﺦ اﻷﺳﺘﺬة‬ ‫ﺗﻌﺮف ﻛﺎرل إﱃ أوﻳﺘﻨﻎ‬ ‫ﰲ ﺳﱰاﺳﺒﻮرغ‪ّ ،‬‬ ‫‪ ،Euting‬ﻣﺪﻳﺮ اﻟﻘﺴﻢ اﻟﴩﻗﻲ ﰲ اﳌﻜﺘﺒﺔ‪،‬‬ ‫وﻫﻮ اﻟﺬي ﺳﺒﻘﻪ إﱃ اﻟﴩق ﻓﻮﺻﻔﻪ ﻟﻪ‬ ‫وﻋ ّﻠﻤﻪ اﻟﺨﻂ اﻟﻌﺮيب ﻋﲆ أﺻﻮﻟﻪ‪.‬‬ ‫وﺑﻌﺪ أن ﻧﺎل ﺷﻬﺎدة اﻟﺪﻛﺘﻮراة‪ ،‬ﻛﻠﻔﻪ‬ ‫»ﻧﻮﻟﺪﻛﻪ« دراﺳﺔ اﻟﻌﻼﻗﺔ ﺑني ﻛﺘﺎب »اﻟﻜﺎﻣﻞ‬ ‫ﰲ اﻟﺘﺎرﻳﺦ« ﻻﺑﻦ اﻷﺛري‪ ،‬وﻛﺘﺎب »أﺧﺒﺎر اﻟﺮﺳﻞ‬ ‫واﳌﻠﻮك« ﻟﻠﻄﱪي‪ .‬وﻗﺪ ﻧﺎﻟﺖ رﺳﺎﻟﺘﻪ ﻫﺬه‬ ‫ﺟﺎﺋﺰة ﺗﻘﺪﻳﺮﻳﺔ وﻃﺒﻌﺖ ﰲ ﺳﱰاﺳﺒﻮرغ ﻋﺎم‬ ‫‪1890‬م‪ .‬ﻓﻌني ﺑﺮوﻛﻠامن‪ ،‬إﺛﺮ ذﻟﻚ ﻣﺪرﺳﺎً‬ ‫ﻣﺘﻤﺮﻧﺎً ﰲ اﳌﺪرﺳﺔ اﻟﺜﺎﻧﻮﻳﺔ اﻟﱪوﺗﺴﺘﻨﺘﻴﺔ ﰲ‬ ‫ﺗﻠﻚ اﳌﺪﻳﻨﺔ‪.‬‬ ‫ﻣﻊ ﻧﻮدﻟﻜﻪ أﻳﻀﺎً‪ ،‬ﻗﺮأ ﻛﺎرل »دﻳﻮان ﻟﺒﻴﺪ«‬ ‫ﻗﺒﻞ أن ﻳﻘﺮر اﻟﺴﻔﺮ إﱃ ﺑﺮﺳﻼو واﻟﺤﺼﻮل‬ ‫ﻋﲆ دﻛﺘﻮراة اﻟﺘﺄﻫﻴﻞ ﻟﻠﺘﺪرﻳﺲ ﻋﻦ رﺳﺎﻟﺘﻪ‪:‬‬ ‫»اﺑﻦ اﻟﺠﻮزي‪ :‬ﺗﻠﻘﻴﺢ ﻓﻬﻮم أﻫﻞ اﻵﺛﺎر ﰲ‬ ‫ﻣﺨﺘﴫ اﻟﺴري واﻷﺧﺒﺎر« ﻣﻦ دون أن ﻳﺘﻮﻗﻒ‬ ‫ﻣﴩوﻋﻪ ﰲ ﺗﻌﺠﻴﻢ اﻟﻠﻐﺔ اﻟﴪﻳﺎﻧﻴﺔ‪ ،‬إذ‬ ‫ﻛﺎﻧﺖ اﻟﺤﺎﺟﺔ ﻣﻠﺤﺔ ﳌﺜﻞ ﻫﺬا اﳌﻌﺠﻢ‪ .‬وﰲ‬ ‫ذات اﻟﻮﻗﺖ ﻗﺎم ﺑﻨﺴﺦ ﻃﺒﻘﺎت اﺑﻦ ﺳﻌﺪ‪،‬‬ ‫و»ﻋﻴﻮن اﻷﺧﺒﺎر« ﻻﺑﻦ ﻗﺘﻴﺒﺔ‪.‬‬ ‫ﻛﺎﻧﺖ ﻣﻴﺰة ﻛﺎرل أﻧﻪ ﻳﻌﻤﻞ ﻋﲆ أﻛرث ﻣﻦ‬ ‫ﻣﴩوع ﻣﻌﺎً‪ ،‬ﻓﻜﺘﺐ ﺑﻨﻔﺲ اﻟﻔﱰة »ﺗﺎرﻳﺦ‬ ‫اﻵداب اﳌﺴﻴﺤﻴﺔ ﰲ اﻟﴩق«‪ ،‬وﻓﻴﻪ ﺗﻨﺎول‬ ‫ﺗﺎرﻳﺦ اﻷدب اﻟﴪﻳﺎين‪ ،‬وﺗﺎرﻳﺦ اﻷدب اﻟﻌﺮيب‬ ‫اﳌﺴﻴﺤﻲ‪ .‬وﻗﺎم ﺑﻔﻬﺮﺳﺔ ﻣﺠﻤﻮﻋﺔ ﺻﻐرية ﻣﻦ‬ ‫اﳌﺨﻄﻮﻃﺎت اﻟﴩﻗﻴﺔ ﰲ ﻣﻜﺘﺒﺔ اﻟﺒﻠﺪﻳﺔ ﰲ‬ ‫ﺑﺮﺳﻼو‪.‬‬ ‫ً‬ ‫أول اﻟﻘﺮن اﻟﻌﴩﻳﻦ‪ ،‬ﻗﺎم ﻛﺎرل أﻳﻀﺎ ﺑﻔﻬﺮﺳﺔ‬ ‫ﻣﺠﻤﻮﻋﺔ ﻛﺒرية ﻣﻦ اﳌﺨﻄﻮﻃﺎت اﻟﴩﻗﻴﺔ‬ ‫ﰲ ﻣﻜﺘﺒﺔ ﺑﻠﺪﻳﺔ ﻫﺎﻣﺒﻮرج‪ .‬وﰲ رﺑﻴﻊ ‪1903‬‬ ‫دﻋﻲ ﺑﺮوﻛﻠامن ﻟﻴﻜﻮن أﺳﺘﺎذ ﻛﺮﳼ ﰲ ﺟﺎﻣﻌﺔ‬ ‫”ﻛﻴﻨﺠﺰﺑﺮج“ ﻣﻜﺎن ﺟﻮﺳﺘﺎف ﻳﺎن اﻟﺸﻬري‪،‬‬ ‫وﺑﻘﻰ ﰲ ﻫﺬا اﳌﻨﺼﺐ ﻣﻦ ‪ 1903‬إﱃ ‪.1910‬‬

‫أﻟﻒ ﺧﻼﻟﻬﺎ ”ﻣﻮﺟﺰ اﻟﻨﺤﻮ اﳌﻘﺎرن ﻟﻠﻐﺎت‬ ‫اﻟﺴﺎﻣﻴﺔ“‪.‬‬ ‫ﻧﺤﻮ ﺗﺮﻛﻴﺎ‬ ‫ﺗﺰوج ﻛﺎرل ‪ 1909‬ﻣﻦ زوﺟﺔ ﺗﻮﻓﻴﺖ ﺑﺎﻛﺮاً‬ ‫ﺛﻢ ﺗﺰوج ﺑﺄﺧﺮى‪ ،‬ومل ﻳﺘﻮﻗﻒ ﻋﻦ اﻹﻧﺘﺎج إﻻ‬ ‫ﺧﻼل اﻟﺤﺮب اﻟﻌﺎﳌﻴﺔ اﻷوﱃ اﻟﺘﻲ اﻣﺘﺪت‬ ‫ﻣﻦ ‪ 1914‬ﺣﺘﻰ ‪ ،1918‬ﺣﻴﺚ اﻫﺘﻢ ﻛﺎرل‬ ‫ﺧﻼل ﺗﻠﻚ اﻟﻔﱰة ﺑﺎﻟﻠﻐﺔ اﻟﱰﻛﻴﺔ‪ ،‬وﻗﺪ ﻛﺎن‬ ‫ﻛﺘﺎب ”دﻳﻮان اﻟﱰك“ ﳌﺤﻤﻮد ﺑﻦ اﻟﺤﺴني‬ ‫اﻟﻜﺎﺷﻐﺮي ﻗﺪ ﻧﴩ إﺑﺎن اﻟﺤﺮب اﻷوﱃ ﰲ‬ ‫اﺳﺘﻤﺒﻮل ﺷﺎرﺣﺎً ﻟﻬﺠﺎت اﻟﺸﻌﻮب اﻟﱰﻛﻴﺔ ﰲ‬ ‫آﺳﻴﺎ اﻟﻮﺳﻄﻰ‪ ،‬ﻓﺮاﺟﻌﻪ ﺑﺮوﻛﻠامن واﺳﺘﺨﻠﺺ‬ ‫ﻣﻨﻪ ﺧﻮاﺻﺎً ﻣﺸﱰﻛﺔ ﻷﺑﻨﻴﺔ اﻟﻔﻌﻞ ﰲ اﻟﻠﻐﺔ‬ ‫اﻟﱰﻛﻴﺔ‪ ،‬وﻛﺘﺐ اﻟﱰﻛﻴﺔ ﺑﺎﻷﺣﺮف اﻟﻼﺗﻴﻨﻴﺔ‬ ‫مبﻘﺎﺑﻞ اﻟﻌﺮﺑﻴﺔ يك ﻳﺘﺴﻨﻰ ﻗﺮاءﺗﻬﺎ وﻧﻄﻘﻬﺎ‬ ‫ﺑﺸﻜﻞ ﺻﺤﻴﺢ‪ .‬وﻗﺪ ﻃﺒﻊ ﻫﺬا اﻟﻜﺘﺎب‪،‬‬ ‫مبﻌﻮﻧﺔ اﻷﻛﺎدميﻴﺔ اﻟﻬﻨﻐﺎرﻳﺔ ﻟﻠﻌﻠﻮم‪.‬‬ ‫واﺻﻞ ﻛﺎرل ﺑﻌﺪﻫﺎ دراﺳﺘﻪ ﻟﻠﻐﺔ اﻟﱰﻛﻴﺔ ﻟﻴﺒﺪأ‬ ‫ﻣﺆﻟﻔﻪ ﰲ ﺗﺎرﻳﺦ اﻟﻠﻐﺎت اﻟﱰﻛﻴﺔ اﳌﻜﺘﻮﺑﺔ‪،‬‬ ‫واﻟﺬي أﻧﺠﺰ ﻣﻨﻪ ﻣﺠﻠﺪاً ﺑﻌﻨﻮان‪» :‬ﻧﺤﻮ اﻟﻠﻐﺔ‬ ‫اﻟﱰﻛﻴﺔ اﻟﴩﻗﻴﺔ اﻟﻮارد ﰲ اﻟﻠﻐﺎت اﳌﻜﺘﻮﺑﺔ‬ ‫اﻹﺳﻼﻣﻴﺔ ﰲ آﺳﻴﺎ اﻟﻮﺳﻄﻰ« وﻓﻴﻪ ﺗﻨﺎول‬ ‫ﺗﺎرﻳﺦ اﻟﻨﻄﻖ وﴏف وﻧﻈﻢ اﻟﻠﻬﺠﺎت اﻟﺘﻲ‬ ‫اﺳﺘﻌﻤﻠﺘﻬﺎ اﻟﺸﻌﻮب اﻟﱰﻛﻴﺔ ﰲ وﺳﻂ آﺳﻴﺎ‬ ‫ﻣﻨﺬ اﻋﺘﻨﺎﻗﻬﺎ ﻟﻺﺳﻼم ﰲ اﻟﻘﺮن اﻟﻌﺎﴍ ﺣﺘﻰ‬ ‫ﻓﻘﺪاﻧﻬﺎ ﻻﺳﺘﻘﻼﻟﻬﺎ‪.‬‬ ‫ﰲ ﺻﻴﻒ ‪ 1953‬ﺗﻘﺎﻋﺪ ﺑﺮوﻛﻠامن إﻻ أﻧﻪ واﺻﻞ‬

‫اﻟﺘﺪرﻳﺲ ﻣﻊ ذﻟﻚ‪ .‬وﻫﻮ ﻳﻌﻤﻞ ﻋﲆ ﻣﻨﺠﺰه‬ ‫اﻷﺧري ”ﻧﻈﻢ اﻟﻠﻐﺔ اﻟﻌﱪﻳﺔ“ اﻟﺬي ﻇﻬﺮ ﺑﻌﺪ‬ ‫وﻓﺎﺗﻪ ﺣﻴﺚ ﺗﻮﰲ إﺛﺮ ﻧﺰﻟﺔ ﺑﺮد ﺗﺪﻫﻮرت‬ ‫ﺻﺤﺘﻪ ﺑﻌﺪﻫﺎ وﻣﺎت ﻋﺎم ‪.1956‬‬ ‫ﻟﻘﺪ ﺗﺮك ﺑﺮوﻛﻠامن ﰲ ﻓﻘﻪ اﻟﻠﻐﺎت اﻟﻐﺮﺑﻴﺔ‬ ‫واﻟﴩﻗﻴﺔ‪ ،‬ﻣﺎ ﻻ ﻳﺤﴡ ﻣﻦ ﻛﺘﺐ ودراﺳﺎت‪،‬‬ ‫ٌ‬ ‫رﺟﻞ ﻣﻨﻬﺠﻲ ﺑﻨﺸﺎط ﻋﻠﻤﻲ ﻻ ﻳﻮﺻﻒ وﻏﺰارة‬ ‫ً‬ ‫إﻧﺘﺎج ﻫﺎﺋﻠﺔ‪ .‬إﺿﺎﻓﺔ إﱃ ﺷﻐﻔﻪ اﻟﻜﺒري ﺑﺎﻟﴩق‬ ‫وﻟﻐﺎﺗﻪ ﻣام ﺟﻌﻠﻪ ﻋﻀﻮاً ﻣﻨﺘﺨﺒﺎً ﰲ ﻣﺠﺎﻣﻊ‬ ‫ﻟﻐﻮﻳﺔ ﻛﺜرية ﰲ اﻟﴩق واﻟﻐﺮب ﻣﺜﻞ‪ :‬ﺑﺮﻟني‪،‬‬ ‫ﻻﻳﺒﺰغ‪ ،‬ﺑﻮداﺑﺴﺖ‪ ،‬ﺑﺮن‪ ،‬دﻣﺸﻖ‪ ،‬إﺿﺎﻓﺔ إﱃ‬ ‫ﻋﺪة ﺟﻤﻌﻴﺎت ﻋﻠﻤﻴﺔ آﺳﻴﻮﻳﺔ‪.‬‬ ‫أﻛﺘﻮﺑﺮ‪89 2016 /‬‬

‫ﻣﻦ اﻟﻐﺮب‬ ‫‪baytelshear‬‬

‫ﻛﺎرل ﺑﺮوﻛﻠﻤﺎن‬ ‫اﻟﻤﻨﺠﺰ اﻟﻌﻤﻼق وا ﻛﺎدﻳﻤﻴﺔ اﻟﺤ ّﻘﺔ‬ ‫ﻫﺎﻧﻲ ﻧﺪﻳﻢ‬

‫أﺳﻤﻲ ﻛﺘﺎﺑﺎ واﺣﺪاً ﻛﺘﺒﻪ‬ ‫ﺑﺸﻜﻞ ﺷﺨﴢ‪ ،‬إن أردت أن ّ‬ ‫ٌ‬ ‫ﻣﺴﺘﴩق‪ ،‬ﻓﺈﻧﻨﻲ ﺳﺄﺳﻤﻲ ﻣﻦ دون ﺗﺮدد ”ﺗﺎرﻳﺦ‬ ‫اﻷدب اﻟﻌﺮيب“ ﻟﻜﺎرل ﺑﺮوﻛﻠامن ﺑﺄﺟﺰاﺋﻪ اﻟﺴﺘﺔ‪ ،‬ﻧﻈﺮاً‬ ‫ﻟﺠﻬﺪ ﻣﺆﻟﻔﻪ اﻟﻜﺒري وﺗﻘﺼﻴﻪ اﳌﻨﻬﺠﻲ ودﻗﺘﻪ اﻟﻬﺎﺋﻠﺔ‪.‬‬ ‫ﻫﻮ ﻛﺎرل ﺑﺮوﻛﻠامن اﻟﺬي مل ﻳﻮﺛﻖ اﳌﺨﻄﻮﻃﺎت‬ ‫وﻳﻌﻠﻖ اﻟﻬﻮاﻣﺶ وﺣﺴﺐ‪ ،‬ﺑﻞ وﺛﻖ أﻣﺎﻛﻦ وﺟﻮدﻫﺎ‬ ‫ﻣﺮﺟﻌني‪،‬‬ ‫وﻣﺘﺎﺣﻒ اﺣﺘﻔﺎﻇﻬﺎ ﻟﻴﺼﺒﺢ ﻛﺘﺎﺑﻪ ﻫﺬا‬ ‫ْ‬ ‫واﺣﺪ ﻟﻸدب اﻟﻌﺮيب‪ ،‬واﻟﺜﺎين ﻟﻠﻤﺨﻄﻮﻃﺎت اﻟﻌﺮﺑﻴﺔ‬ ‫ٌ‬ ‫وأﻣﺎﻛﻦ ﺗﻮاﺟﺪﻫﺎ‪.‬‬ ‫وﻟﺪ ﻛﺎرل ﺑﺮوﻛﻠامن ‪ Carl Brockelmann‬ﺳﺒﺘﻤﱪ‬ ‫ﻷب ﺗﺎﺟﺮ ﻳﻌﻤﻞ‬ ‫‪ 1868‬ﰲ ﻣﺪﻳﻨﺔ روﺳﺘﻮك ﺑﺄﳌﺎﻧﻴﺎ‪ٍ ،‬‬ ‫ﺑﺴﻠﻊ اﳌﺴﺘﻌﻤﺮات وﻷ ٍم ﻛﺎﻧﺖ ﻣﻴﺎﻟﺔ ﻟﻠﻌﻠﻮم واﻟﻌﻠﻢ‪،‬‬ ‫ﺣﻴﺚ وﺻﻔﻬﺎ ﰲ ﺳريﺗﻪ اﻟﺬاﺗﻴﺔ ﺑﺄﻧﻬﺎ ”ﺳﻴﺪة ﻣﻮﻫﻮﺑﺔ‬ ‫روﺣﻴﺎً‪ ،‬وﻣﻨﻬﺎ ورﺛﺖ ﻣﻴﻮﱄ اﻟﻌﻠﻤﻴﺔ“ إﻻ أن أﺣﻮال‬ ‫أﺑﻴﻪ اﳌﺎﻟﻴﺔ ﺳﺎءت ﻓﻌﺎﺷﺖ اﻷﴎة ﰲ ﺿﻴﻖ ﻓﱰ ًة‬ ‫ﻃﻮﻳﻠ ًﺔ ﻣﻦ اﻟﺰﻣﻦ‪.‬‬ ‫ﺑﺎﺗﺠﺎه ﺣﺐ اﻟﺸﺮق‬ ‫اﺗﺠﻪ ﻛﺎرل إﱃ اﻟﺪراﺳﺎت اﻟﴩﻗﻴﺔ ﻗﺒﻞ أن‬ ‫ﻳﻨﻬﻲ دراﺳﺘﻪ اﻟﺜﺎﻧﻮﻳﺔ ﺣﻴﺚ اﻧﺘﻤﻰ إﱃ‬ ‫ﺟﻤﻌﻴﺔ ﻣﺤﺒﻲ اﳌﺠﻼت اﻟﻌﻠﻤ ّﻴﺔ اﻟﺠﻐﺮاﻓ ّﻴﺔ‪،‬‬ ‫وﺗﻨﺒﻪ ﻣﻦ وﻗﺘﻬﺎ إﱃ اﻟﴩق وارﺗﺒﻂ ﺧﻴﺎﻟﻪ ﺑﻪ‪.‬‬ ‫وﺑﺪأ ﺑﺎﻟﻔﻌﻞ ﺑﺪراﺳﺔ اﻟﻠﻐﺔ اﻵراﻣﻴﺔ اﻟﻜﺘﺎﺑﻴﺔ‬ ‫واﻟﻠﻐﺔ اﻟﴪﻳﺎﻧﻴﺔ واﻟﻌﺮﺑﻴﺔ واﻟﻌﱪﻳﺔ وﻫﻮ ﰲ‬ ‫ﻫﺬا اﻟﻌﻤﺮ‪.‬‬ ‫ﻳﻘﻮل ﻛﺎرل‪» :‬ﻛﻨﺖ أﻫﺘﻢ ﰲ اﳌﻘﺎم اﻷول مبﺎ‬ ‫ﻳﺮد ﻓﻴﻬام ﻣﻦ أﺧﺒﺎر ﻋﻦ اﻟﻠﻐﺎت‪ .‬وﻟﻬﺬا‪،‬‬ ‫ﻓﺈﻧﻨﻲ وأﻧﺎ ﻣﺎ أزال ﺗﻠﻤﻴﺬاً ﰲ اﳌﺪرﺳﺔ اﻟﺜﺎﻧﻮﻳﺔ‬ ‫وﺿﻌﺖ ﻣﴩوﻋﺎً ﻟﻜﺘﺎب ﻧﺤﻮ ﻟﻬﺠﺔ اﻟﺒﺎﻧﺘﻮ‬ ‫اﻟﺘﻲ ﻛﺎن ﻳﺘﻜﻠﻢ ﺑﻬﺎ ﰲ اﳌﺴﺘﻌﻤﺮة اﻟﱪﺗﻐﺎﻟﻴﺔ‪:‬‬ ‫أﻧﺠﻮﻻ‪ ،‬وﻗﺪ اﺣﺘﻔﻈﺖ ﺑﻬﺬا اﳌﺨﻄﻂ وﻗﺘﺎً‬ ‫ﻗﻠﻴ ًﻼ‪ .‬وﻛﺎﻧﺖ أﺷﺪ أﻣﺎ ّين إﻟﺤﺎﺣﺎً ﻋ ّ‬ ‫ﲇ أن أﻋﻴﺶ‬ ‫ﻓﻴام وراء اﻟﺒﺤﺎر«‪.‬‬ ‫ﻛﺎن ﻣﻦ اﻟﻄﺒﻴﻌﻲ أن ﻳﺘﺠﻪ ﻛﺎرل ﺑﺎﺗﺠﺎه‬ ‫‪ 88‬ﺑﻴﺖ اﻟﺸﻌﺮ ‪ /‬اﻟﻌﺪد ‪49‬‬

‫اﺗﺠﻪ ﻛﺎرل إﻟﻰ اﻟﺪراﺳﺎت‬ ‫اﻟﺸﺮﻗﻴﺔ ﻗﺒﻞ أن ﻳﻨﻬﻲ‬ ‫دراﺳﺘﻪ اﻟﺜﺎﻧﻮﻳﺔ ﺣﻴﺚ اﻧﺘﻤﻰ إﻟﻰ‬ ‫ﺟﻤﻌﻴﺔ ﻣﺤﺒﻲ اﻟﻤﺠﻼت اﻟﻌﻠﻤ ّﻴﺔ‬ ‫اﻟﺠﻐﺮاﻓ ّﻴﺔ‬ ‫ﺗﻌﺪه اﻟﻜﺜﻴﺮ ﻣﻦ اﻟﻤﺮاﺟﻊ اﻟﻴﻮم‬ ‫ﺑﺄﻧﻪ أﻛﺒﺮ ﺑﺎﺣﺚ ﻋﺮﻓﺘﻪ اﻟﺠﺎﻣﻌﺎت‬ ‫اﻻوروﺑﻴﺔ ﻓﻲ اﻟﻨﺼﻒ اﻷول ﻣﻦ‬ ‫اﻟﻘﺮن اﻟﻌﺸﺮﻳﻦ ﻓﻲ ﻣﺠﺎﻻت‬ ‫اﻟﺪراﺳﺎت اﻟﺴﺎﻣﻴﺔ وﺗﺎرﻳﺦ‬ ‫اﻟﺘﺮاث اﻟﻌﺮﺑﻲ‬

‫اﻟﺪراﺳﺎت اﻟﺴﺎﻣﻴﺔ ﺣﻴﺚ ﺗﺨﺮج ﻣﻨﻬﺎ وﻋﻤﻞ‬ ‫أﺳﺘﺎذاً ﰲ ﺟﺎﻣﻌﺎت ﺑﺮﺳﻼو وﺑﺮﻟني ﺑﻌﺪﻫﺎ‬ ‫ﺣﺼﻞ ﻋﲆ اﻟﺪﻛﺘﻮراة ﻣﻦ ﺟﺎﻣﻌﺔ ﺳﱰاﺳﺒﻮرغ‬ ‫ﻋﺎم ‪ .1890‬وﺗﻌﺪه اﻟﻜﺜري ﻣﻦ اﳌﺮاﺟﻊ اﻟﻴﻮم‬ ‫ﺑﺄﻧﻪ أﻛﱪ ﺑﺎﺣﺚ ﻋﺮﻓﺘﻪ اﻟﺠﺎﻣﻌﺎت اﻻوروﺑﻴﺔ‬ ‫ﰲ اﻟﻨﺼﻒ اﻷول ﻣﻦ اﻟﻘﺮن اﻟﻌﴩﻳﻦ ﰲ‬ ‫ﻣﺠﺎﻻت اﻟﺪراﺳﺎت اﻟﺴﺎﻣﻴﺔ وﺗﺎرﻳﺦ اﻟﱰاث‬ ‫اﻟﻌﺮيب‪.‬‬ ‫ﺗﺘﻠﻤﺬ ﺑﺮوﻛﻠامن ﻋﲆ أﻳﺪي ﻣﻌﻠﻤني ﻛﺒريﻳﻦ‬ ‫ﻫام‪ :‬ﻓﻴﴩ وﻧﻮﻟﺪﻛﻪ‪ .‬وﻧﺎل ﺷﻬﺮة واﺳﻌﺔ‬ ‫ﺑﺴﺒﺐ ﻋﻤﻠﻪ اﳌﻮﺳﻮﻋﻲ اﻟﺸﻬري »ﺗﺎرﻳﺦ‬ ‫اﻷدب اﻟﻌﺮيب«‪ ،‬وﻫﻮ ﺗﺎرﻳﺦ ﻟﻠﻜﺘﺎﺑﺔ اﻟﻌﺮﺑﻴﺔ‬ ‫ﻋﱪ اﻟﻌﺼﻮر‪ ،‬وﰲ ﺷﺘﻰ اﻟﻔﻨﻮن‪ ،‬ﺣﻴﺚ أ ّرخ‬ ‫ﻟﻠﻔﱰة ﻣﻦ اﻟﻘﺮن اﻟﺜﺎﻟﺚ ﺣﺘﻰ اﻟﺜﺎﻟﺚ ﻋﴩ‬ ‫ﻗﺴﻢ ﺑﺮوﻛﻠامن اﻟﻜﺘﺎﺑﺔ اﻟﻌﺮﺑﻴﺔ‬ ‫ﻫﺠﺮي‪ .‬إذ ّ‬ ‫إﱃ ﺣﻘﺐ وﻋﺼﻮر‪ ،‬ﻛام ﻗﺴﻤﻬﺎ ﺟﻐﺮاﻓﻴﺎً‬ ‫وﻣﻨﺎﻃﻘﻴﺎً ﻣﻦ دون أن ﻳﻐﻔﻞ ﺗﺮاﺟﻢ اﳌﺆﻟﻔني‬

‫ﺷﺒﻴﻬﺔ دﻧﻴﺘﻲ‬ ‫ﻟﻴﻢ ﺣﺴﻦ‬

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87 2016 /‫أﻛﺘﻮﺑﺮ‬

‫ﻣﺎﺳﺎت‬ baytelshear

‫ﺿﺤﻜﺎﺗﻨﺎ ذاﺑﻠﻪ‬ ‫ﻋﻠﻲ اﻟﺨﺰﻳﻤﻲ اﻟﺸﻤﺮي‬ @ nabadatgalb

@@ BHv@@ @ @~@ @8 @@ @ ~@ @ 6H @@ {@ @ Jb@@ < y@@ @ @ @ ²* v@@ @ Db@@ @ 1 b@@ @ J @@ @ Bb@@ @ : b@@ @ @ @ @ @ @ @ @Db@@ @ @ @ E%*H b@@ @ @ @ @ @ @ @ EÉ@@ @ @ @0&* @@ @z@ @ @ @ @ @ g@ @ J @@ B¡@@ @ @º Í@@ @ @ @ @D* @@ @~@ @ 6¡@@ @+ 2b@@ @ @ @ @~@ @ @z@ @ @D* ¢@@ @ Q @ @ @1 @@ Bb@@ g@ @~@ @{@ @E i¡@@ @ @ @ @ @ D @@ @ @ @ @ @ @E&°* ¡@@ @ @ @ @ E2 @@ @ @ @ @ @ @@ @ BHw@@ @ < h@@ @ @ @ @ @ +3 @@ @ @ @E @@ @ @ @ @ @ @ @ +*3 b@@ @ @ @ -b@@ @ @ @ p@ @ ~@ @ 9 @@ @Bb@@ @+ b@@ @ @ @ @D iv@@ @ @ @ @ @ @ G*H b@@ @ @ @ Gb@@ @ @ @ ~@ @ 7 h@@ @ @ @ ~@ @ z@ @ g@ @ +(* @@ @ @ @ @ BH3 @@ @ @ @ @ E Ñ*H b@@ @ @ @ @ @ @D @@ @ @ @ @ £Q @ @ @ @ @ @AH Ã*2 @@ @BÉ@@ @1* @@ @ @ @ ¸ @@ @ @< @@ @ @ @ A @@ @p@ @ ´ @@ £@ @ @ @ @ @ @@ B¡@@ @ @< @@ @ @ D @@ @ @ @ @ @ J b@@ @ @ @ @ @ @ D* @@ @ @ ; @@ z@ @ @ @~@ @{@ @ @ @D @@ Bb@@ @ @<* h@@ @ @~@ @{@ @ @ @F*H @@ @ @~@ @6 @@ @ @ @ ½ @@ @£@ @ @ @ D*H @@B¡@@ @ ~@ {@ E @@ @ @; b@@ @ @J*Hy@@ @ @D* Iv@@ @ @ @0* @@ @ E @@ @0¡@@ @D @@ @Bb@@ @~@ @ |@ @ D(* v@@ @ @ @ + @@ @ @ E b@@ @ @ @ )y@@ @/ ,v@@ @ @ Jb@@ @ @ A @@ @ @ @ 7H @@B¡@@~@ {@ @ E @@ ~@ }@ p@ + @@ {@ £@ @ J @@ @ @p@ @J ¡@@ ~@ @{@ @ @ @E @@ @Bb@@ @ @ @ < f@@ @ @ @ @² q@@ @ @ EÉ@@ @ @ E @@ @ -b@@ @ g@ @ @~@ @ @7 @@ @ @ @ m@ @ J @@ @ @ BHw@@ @ @ JR @@ @ @ @ @ @ @ B*H ¯ ¢@@ @ @ @ @ @ D f@@ @ @ @ @£@ @ @= Q @ @ @ @ @ @ @ @ @ @-H Q b@@ @ @ @E v@@ @ @ @ @+ q@@ @g@ @ @ @ J Hv@@ @ @ @ @ @ @~@ @ @ @8 @@ @ @ BÉ@@ @ @ =(* ®

49 ‫ اﻟﻌﺪد‬/ ‫ ﺑﻴﺖ اﻟﺸﻌﺮ‬86

‫و«اﳌﺮﺑﻌﺔ« اﺳﻢ ﻳﻌﻨﻲ اﻟﻜﺜري ﰲ اﻟﻌني‪،‬‬ ‫وﻣﻜﺎن ﻟﻪ ﻣﻜﺎﻧﺘﻪ ﰲ ﻗﻠﻮب أﻫﻠﻬﺎ ﻣﻤﻦ‬ ‫ﻋﺎﴏوا ﺣﻘﺒﺔ ﺗﺎرﻳﺨﻴﺔ ﻣﻬﻤﺔ ﻣﻦ ﻣﺮاﺣﻞ‬ ‫اﻟﺒﻨﺎء اﻟﺘﻲ ﻗﺎدﻫﺎ اﳌﻐﻔﻮر ﻟﻪ ﺑﺈذن اﻟﻠﻪ ﺗﻌﺎﱃ‬ ‫اﻟﺸﻴﺦ زاﻳﺪ ﺑﻦ ﺳﻠﻄﺎن رﺣﻤﻪ اﻟﻠﻪ ـ اﻟﺬي‬ ‫ﻛﺎن ﻟﻪ اﻟﻔﻀﻞ ﰲ ﺑﻨﺎء اﳌﺪﻳﻨﺔ‪ .‬وﻳﺬﻛﺮ أﻧﻪ‬ ‫رﺣﻤﺔ اﻟﻠﻪ ﻋﻠﻴﻪ‪ ،‬اﺳﺘﻘﺪم ﺑﻨﺎّ ًء‪ ،‬وﺣﺪد ﺑﻌﺼﺎه‬ ‫ﻟﻪ ﻣﻮﻗﻊ اﳌﺮﺑﻌﺔ‪ ،‬وﻣﺴﺎﺣﺘﻬﺎ‪ ،‬وﻗﺎل ﻟﻪ‪» :‬ﻫﻨﺎ‬ ‫ﺗﺒﻨﻰ اﳌﺮﺑﻌﺔ«‪ ،‬وﻛﺎن ﻳﴩف ﺑﻨﻔﺴﻪ ﻋﲆ‬ ‫ﻣﺮاﺣﻞ اﻟﺒﻨﺎء أوﻻً ﺑﺄول‪.‬‬ ‫وأﺗﺖ ﻣﺸﺎرﻛﺔ ﻫﻴﺌﺔ أﺑﻮﻇﺒﻲ ﻟﻠﺴﻴﺎﺣﺔ‬ ‫واﻟﺜﻘﺎﻓﺔ ﻟﺘﻌﺮﻳﻒ اﻟﺠﻤﻬﻮر واﻟﺴﻴﺎح‬ ‫ﺑﺎﻟﻔﻨﻮن اﻟﱰاﺛﻴﺔ اﻟﻌﺮﻳﻘﺔ واﻟﺼﻨﺎﻋﺎت اﻟﻴﺪوﻳﺔ‬ ‫اﻟﺘﻘﻠﻴﺪﻳﺔ وﻏريﻫﺎ ﻣﻦ ﻣﻼﻣﺢ اﻟﱰاث اﻹﻣﺎرايت‬ ‫اﻷﺻﻴﻞ‪ ،‬وﻗﺪ ﺷﻬﺪ اﻟﺠﻨﺎح إﻗﺒﺎﻻً ﻣﻠﺤﻮﻇﺎً‬ ‫ﺑﻔﻀﻞ ﻋﺮوﺿﻪ اﳌﺘﻤﻴﺰة وﺑﺮاﻣﺠﻪ اﳌﺨﺘﻠﻔﺔ‬ ‫وﺗﻨﻮﻋﻪ اﻟﺜﻘﺎﰲ‪.‬‬ ‫ﰲ اﻟﺠﻨﺎح اﻹﻣﺎرايت اﻟﻜﺜري ﻣﻦ اﻟﻘﺼﺺ ﻟﱰوى‬ ‫ﻟﻠﺰوار‪ ،‬ﺣﻴﺚ ﻳﺄيت ﻟﻠﺠﻤﻬﻮر اﻻﺳﺘامع إﱃ‬ ‫اﻟﻘﺼﺎﺋﺪ اﻟﱰاﺛﻴﺔ واﻷﻗﻮال اﻟﺸﻌﺒﻴﺔ اﳌﺄﺛﻮرة‬ ‫واﻟﺘﻲ ﺗﻔﺎﻋﻞ ﻣﻌﻬﺎ اﻟﺠﻤﻬﻮر ﺑﺸﻜﻞ ﻻﻓﺖ‪،‬‬ ‫ﻛام اﺳﺘﻘﻄﺐ اﻟﺴﻮق اﻟﻨﺴﺎيئ اﻹﻣﺎرايت ﰲ‬ ‫اﻟﺠﻨﺎح ﻣﺰﻳﺪاً ﻣﻦ اﻟﻌﺎﺋﻼت اﻟﺘﻲ اﻃﻠﻌﺖ‬ ‫ﻋﲆ اﻟﺤﺮف اﻟﻴﺪوﻳﺔ اﻹﻣﺎراﺗﻴﺔ اﻟﺘﻲ ﺗﺒﺪﻋﻬﺎ‬ ‫أﻧﺎﻣﻞ اﻹﻣﺎراﺗﻴﺎت‪ ،‬ﻓﻔﻲ اﻟﺴﻮق ﺣﻜﺎﻳﺔ ﺛﻼﺛﻴﺔ‬ ‫اﻷﺑﻌﺎد ﺗﺘﻴﺢ ﻟﻠﺰاﺋﺮ ﻣﺸﺎﻫﺪة اﻟﺤﻴﺎة اﻟﻘﺪميﺔ‬ ‫ﻋﲆ ﻃﺒﻴﻌﺘﻬﺎ‪ ،‬وﻳﴩح ﻣﻦ ﺧﻼﻟﻬﺎ اﻟﻘﺎمئﻮن‬ ‫ﻋﲆ اﳌﺤﺎل اﻟﻌﺎدات واﻟﺘﻘﺎﻟﻴﺪ اﻟﻘﺪميﺔ ﻷﻫﺎﱄ‬

‫اﻹﻣﺎرات‪ ،‬إﺿﺎﻓﺔ إﱃ ﺗﻔﺎﺻﻴﻞ اﻟﺒﻴﺌﺔ اﳌﺤﻠﻴﺔ ﺗﺸﺠﻊ ﻋﲆ اﻻﺑﺘﻜﺎر‪ ،‬واﳌﺤﺎﻓﻈﺔ ﻋﲆ اﻷﺻﺎﻟﺔ‪.‬‬ ‫اﻟﻘﺪميﺔ‪ ،‬وﻛﻞ ﻣﺎ ﻳﺘﻌﻠﻖ ﻣﻦ ﺣﺮف ﺗﻘﻠﻴﺪﻳﺔ‪،‬‬ ‫وﻋﺎدات‪ ،‬وﺗﻘﺎﻟﻴﺪ‪ ،‬وﺳﻠﻮﻛﻴﺎت إﻧﺴﺎﻧﻴﺔ ﺗﺼﻤﻴﻢ ﻣﻌﻤﺎري آﺧﺎذ‬ ‫واﺟﺘامﻋﻴﺔ‪ ،‬وﻗﺪ ﺷﻜﻠﺖ ﻣﺠﺴامﺗﻬﺎ ﺣﻜﺎﻳﺔ وﻣﻦ ﺟﻬﺔ أﺧﺮى ﻓﻘﺪ ﺷﻜﻞ ﻣﻬﺮﺟﺎن اﳌﺮﺑﻌﺔ‬ ‫ﻟﺘﺎرﻳﺦ اﻹﻣﺎرات ﻣﻴﺰت رﻛﻨﻬﺎ ﰲ اﳌﻬﺮﺟﺎن‪ .‬اﻟﱰايث ﻓﺮﺻﺔ ﺳﺎﻧﺤﺔ ﻻﻟﺘﻘﺎء اﻟﻜﺜري ﻣﻦ‬ ‫اﻟﺤﺮﻓﻴني واﻟﺤﺮﻓﻴﺎت اﻟﺬﻳﻦ اﻣﺘﻠﻜﻮا ﻣﻬﺎرات‬ ‫ﺻﻮرة ﻣﺼﻐﺮة ﺗﺤﺎﻛﻲ اﻟﺤﻴﺎة ﻓﻲ‬ ‫ﺧﺎﺻﺔ ﰲ ﻣامرﺳﺔ اﻟﺤﺮف اﻟﺘﻲ ﻋﺮﻓﻬﺎ‬ ‫اﻹﻣﺎرات‬ ‫ﻣﺠﺘﻤﻊ اﻹﻣﺎرات ﻣﻨﺬ اﻟﻘﺪم‪ ،‬وﺣﺎﻓﻈﻮا ﻋﻠﻴﻬﺎ‬ ‫ﺑﺎﻹﺿﺎﻓﺔ إﱃ أنّ اﻟﺘﻨﻮع ﰲ اﳌﺸﺎرﻛﺔ اﻹﻣﺎراﺗﻴﺔ ﻋﱪ اﻟﺰﻣﻦ‪ ،‬ﻛام أﻧﻪ ﻣﺤﻄﺔ ﻣﻬﻤﺔ ﻟﺪراﺳﺔ‬ ‫اﻟﺘﻲ أﻋﻄﺖ ﻟﻠﺰاﺋﺮ ﺻﻮرة ﻣﺼﻐﺮة ﺗﺤﺎيك واﻗﻊ ﻫﺬه اﻟﺤﺮف وﺗﺤﺪﻳﺪ آﻓﺎق ﺗﻄﻮﻳﺮﻫﺎ‪،‬‬ ‫اﻟﺤﻴﺎة ﰲ اﻹﻣﺎرات ﻣﻦ ﺑﺪاﻳﺎﺗﻬﺎ وﺣﺘﻰ ﺧﺎﺻﺔ أن اﻟﱰاث ﺑﺮﻣﻮزه اﻷﺻﻴﻠﺔ ﻳﻌﺪ ﻣﻮﺟﻬﺎً‬ ‫ﻋﻬﺪﻫﺎ اﻟﺤﺎﴐ‪ .‬ﻛام اﺣﺘﻮى اﻟﺠﻨﺎح اﻹﻣﺎرايت وﻣﻨﺎرة ُﻳﻬﺘﺪى ﺑﻬﺎ ﰲ ﺗﻌﺰﻳﺰ ﻣﺸﺎﻋﺮ اﻻﻧﺘامء‬ ‫ﻋﲆ ﻛﺘﺐ ﺗﺮاﺛﻴﺔ وﺻﻮر ﻧﺎدرة وﺷﻬﺪ ﻗﺴﻢ ﻟﻠﻮﻃﻦ‪.‬‬ ‫اﻟﺼﻨﺎﻋﺎت اﻟﺘﻘﻠﻴﺪﻳﺔ اﻟﻨﺴﺎﺋﻴﺔ ﻋﺮوﺿﺎً‬ ‫ﻣﺘﻤﻴﺰة وراﺋﻌﺔ ﻟﻠﻌﺪﻳﺪ ﻣﻦ اﻟﺤﺮف اﻟﻘﺪميﺔ وﺗﺴﻤﻴﺔ اﳌﺮﺑﻌﺔ ﺟﺎءت ﻧﻈﺮاً ﻟﻠﺘﺼﻤﻴﻢ‬ ‫ﻣﺜﻞ ّ‬ ‫اﻟﺘﲇ واﻟﺴﺪو واﻟﺨﻮص‪ ،‬وﻓﻦ ﻧﻘﻮش اﳌﻌامري اﻵﺧﺎذ ﻟﻠﻘﻠﻌﺔ اﻟﺬي ﻳﺄﺧﺬ ﺷﻜﻞ‬ ‫اﻟﺤﻨﺎء‪ ،‬وﻃﻬﻲ اﻷﻛﻼت اﻟﺸﻌﺒﻴﺔ اﻟﺘﻘﻠﻴﺪﻳﺔ‪ ،‬اﳌﺮﺑﻊ واﳌﻌﺮوف ﻛﻨﻈﺎم ﺑﻨﺎء ﻳﻮﺟﺪ ﰲ ﻋﺪد‬ ‫ﻣﻊ وﺟﻮد رﻛﻦ ﺧﺎص ﻟﺒﻴﻊ ﻫﺬه اﳌﻨﺘﺠﺎت‪ ،‬ﻣﻦ ﻣﺪن اﻟﺪوﻟﺔ اﻷﺧﺮى اﻟﺘﻲ ﺗﺤﺘﻀﻦ ﺑﻌﺾ‬ ‫وﻣﺠﻠﺲ ﺧﺎص ﺑﺎﻟﻨﺴﺎء ﻳﺴﺘﻀﻴﻒ زاﺋﺮات اﳌﺮﺑﻌﺎت ﻫﻲ اﻷﺧﺮى وﻗﺪ ﻃﺎل اﻻﺳﻢ‬ ‫اﻟﺠﻨﺎح‪.‬‬ ‫اﳌﻨﻄﻘﺔ ﺑﺄﴎﻫﺎ ﺣﺘﻰ ﻏﺪت ﻣﻨﻄﻘﺔ اﳌﺮﺑﻌﺔ‬ ‫ﻛام أنّ اﻟﺘﻨﻮع ﰲ اﻟﻔﻌﺎﻟﻴﺎت ﻗﺪ ﺳﺎﻫﻢ ﰲ ﰲ وﺳﻂ ﻣﺪﻳﻨﺔ اﻟﻌني‪ .‬و»اﳌﺮﺑﻌﺔ« ﻫﻲ ﻗﻠﻌﺔ‬ ‫ﺑﻌﺚ اﻟﺒﻬﺠﺔ ﰲ ﻗﻠﻮب اﻟﺰاﺋﺮﻳﻦ وﺳﺎﻫﻢ ﻣﺮﺑﻌﺔ اﻟﺸﻜﻞ‪ ،‬ﻓﺮﻳﺪة ﰲ ﺗﺼﻤﻴﻤﻬﺎ‪ ،‬وﺗﺤﺘﻞ‬ ‫اﳌﻬﺮﺟﺎن ﰲ ﺗﺴﻠﻴﻂ اﻟﻀﻮء ﻋﲆ أﻫﻤﻴﺔ اﻟﺤﺮف ﻣﻮﻗﻌﺎً ﻣﻬ ًام ﰲ وﺳﻂ اﳌﺪﻳﻨﺔ‪ ،‬وﻛﺎﻧﺖ ﻓﻴام‬ ‫واﻟﺼﻨﺎﻋﺎت اﻟﺘﻘﻠﻴﺪ ّﻳﺔ ﰲ اﻟﱰاث اﻹﻣﺎرايت‪ ،‬ﻗﺒﻞ ﺗﺘﻤﺘﻊ ﺑﺸﻬﺮة واﺳﻌﺔ‪ ،‬وأﻗﻴﻤﺖ ﻟﺘﻜﻮن‬ ‫وﺗﻌﺰﻳﺰ اﻟﺠﻬﻮد اﻟﺘﻲ ﻳﻘﻮم ﺑﻬﺎ ﻣامرﺳﻮ ﻫﺬه ﺑﺮﺟﺎً ﻟﻠﻤﺮاﻗﺒﺔ وﻣﻘﺮا ﻟﻠﺤﺮس وﻗﺪ اﺧﺘﺎر ﻟﻬﺎ‬ ‫اﻟﺤﺮف ﻣﻦ أﺟﻞ ﺻﻮﻧﻬﺎ وإﺣﻴﺎﺋﻬﺎ وﺗﻌﻠﻴﻤﻬﺎ اﻟﺸﻴﺦ زاﻳﺪ ﻣﻮﻗﻌﺎً اﺳﱰاﺗﻴﺠﻴﺎً ﻟﺘﺤﺘﻠﻪ ﻋﻨﺪ‬ ‫ﻟﻸﺟﻴﺎل اﻟﻘﺎدﻣﺔ ﺑﺎﻋﺘﺒﺎرﻫﺎ ﻣﻜﻮﻧﺎً أﺳﺎﺳﺎً ﺣﺎﻓﺔ اﳌﺪﻳﻨﺔ‪ .‬واﳌﺮﺑﻌﺔ مبﻮﻗﻌﻬﺎ ﻫﺬا ﻛﺎﻧﺖ‬ ‫ﻟﻠﻬﻮﻳﺔ اﻟﻮﻃﻨﻴﺔ‪ ،‬ﻫﺬه اﻟﺤﺮف اﻟﱰاﺛﻴﺔ اﻟﺘﻲ ﺗﴩف ﻋﲆ ﻣﺪﻳﻨﺔ اﻟﻌني وﺗﺆﻣﻦ ﻟﻬﺎ اﻟﺤامﻳﺔ‬ ‫ﻛﺎن ﻟﻬﺎ دور وﻇﻴﻔﻲ ﰲ اﻟﺤﻴﺎة اﻟﻘﺪميﺔ‪ ،‬ﻛام اﳌﻄﻠﻮﺑﺔ‪.‬‬ ‫أﻛﺘﻮﺑﺮ‪85 2016 /‬‬

‫ﻣﻬﺮﺟﺎﻧﺎت‬ ‫‪baytelshear‬‬

‫اﻟﱰايث ﺑﺬل أﻗﴡ اﻟﺠﻬﻮد ﻟﺘﻘﺪﻳﻢ اﻟﱰاث‬ ‫ﺑﺎﻟﺸﻜﻞ اﻷﻣﺜﻞ‪ ،‬ومبﺎ ﻳﻠﻴﻖ ﺑﻬﺬا اﻟﻘﻄﺎع وﻣﺎ‬ ‫ميﺜﻠﻪ ﻣﻦ ﻗﻴﻤﺔ وإرث ﺣﻀﺎري ﻣﻬﻢ‪.‬‬

‫اﻹﻣﺎرايت ﻟﻺدارات اﻟﺤﻜﻮﻣﻴﺔ ﻗﺒﻞ ﺣﻘﺒﺔ‬ ‫اﻟﻨﻔﻂ‪.‬‬ ‫واﳌﻬﺮﺟﺎن ﻋﺒﺎرة ﻋﻦ ﺣﺪث ﺳﻴﺎﺣﻲ وﺛﻘﺎﰲ‪،‬‬ ‫متﻜﻦ اﻟﺠﻤﻬﻮر اﻟﺰاﺋﺮ ﻣﻦ ﺧﻼﻟﻪ رؤﻳﺔ اﻟﺘﺎرﻳﺦ‬ ‫اﻟﻘﺪﻳﻢ ﻟﻠﴩﻃﺔ ﰲ اﻟﺴﺎﺑﻖ‪ ،‬ورؤﻳﺔ ﺑﺪﻟﺔ وزي‬ ‫أول ﴍﻃﻲ ﻣﺮور ﰲ اﻟﻌني‪ ،‬ﻟﺘﻌﺮﻳﻒ اﻷﺟﻴﺎل‬ ‫اﻟﺤﺪﻳﺜﺔ ﺑﻜﻴﻔﻴﺔ ﺗﻄﻮر اﻟﴩﻃﺔ‪ ،‬ﻟﻴﻌﻜﺲ‬ ‫اﻟﺘﺎرﻳﺦ اﻟﻨﺎﺻﻊ ﻟﴩﻃﺔ أﺑﻮﻇﺒﻲ‪ ،‬ﺣﻴﺚ‬ ‫ﺷﺎرك ﰲ اﻟﻔﻌﺎﻟﻴﺎت ﻛﻞ ﻋﻨﺎﴏ اﻟﴩﻃﺔ ﻣﻦ‬ ‫اﻹدارات اﳌﺨﺘﻠﻔﺔ‪ .‬إﺿﺎﻓﺔ إﱃ اﻟﻌﺪﻳﺪ ﻣﻦ‬ ‫اﻟﻔﻘﺮات اﳌﺘﻨﻮﻋﺔ‪ ،‬وﻣﺸﺎرﻛﺔ ﻋﺪة ﺟﻬﺎت‬ ‫وﻣﺆﺳﺴﺎت وﻫﻴﺌﺎت ﺣﻜﻮﻣﻴﺔ ﻣﻦ ﺧﻼل‬ ‫أﺟﻨﺤﺔ ﻣﺨﺼﺼﺔ ﻟﻬﻢ‪.‬‬

‫‪ 6‬آﻻف زاﺋﺮ ﺧﻼل ‪ 6‬أﻳﺎم‬ ‫واﺳﺘﻘﻄﺒﺖ ﻓﻌﺎﻟﻴﺎت اﳌﻬﺮﺟﺎن ‪ 6‬آﻻف زاﺋﺮ‬ ‫ﺧﻼل ‪ 6‬أﻳﺎم‪ ،‬واﺣﺘﻀﻦ ﻣﻬﺮﺟﺎن اﳌﺮﺑﻌﺔ‬ ‫اﻟﱰايث‪ ،‬اﻟﻌﺪﻳﺪ ﻣﻦ اﻟﻔﻌﺎﻟﻴﺎت اﻟﱰاﺛﻴﺔ‬ ‫اﻟﻌﺮﻳﻘﺔ‪ ،‬اﻟﺘﻲ ﺣﺎزت رﺿﺎ وإﻋﺠﺎب اﻟﺰوار‬ ‫اﻟﺬﻳﻦ ﺗﻌﺮﻓﻮا إﱃ ﺣﻜﺎﻳﺎ اﻟﺘﺎرﻳﺦ واﻟﺤﻀﺎرة‬ ‫واﻟﺘﻄﻮر ﺑﺘﻨﺎﻏﻢ ﺟﻤﻴﻞ‪ ،‬ﺑني ﻋﺮاﻗﺔ وأﺻﺎﻟﺔ‬ ‫اﳌﺎﴈ وﺣﺪاﺛﺔ اﻟﺤﺎﴐ‪ ،‬ﻛام أﺗﺎح ﻓﺮﺻﺔ‬ ‫اﻟﺘﻌﺮف إﱃ اﻟﻌﺎدات واﻟﺘﻘﺎﻟﻴﺪ اﻹﻣﺎراﺗﻴﺔ‪.‬‬ ‫ﻛام واﺳﺘﻤﺘﻊ اﻟﺠﻤﻬﻮر ﺑﺎﻟﻠﻮﺣﺎت واﻷﻏﺎين‬ ‫اﻟﱰاﺛﻴﺔ اﻟﺘﻲ ﺗﺸﻜﻞ ﺣﺎﴐاً ﺣﻴﺎً ﰲ ﺛﻘﺎﻓﺔ اﺳﺘﻌﺎدة إرث اﻟﻘﺎﺋﺪ اﻟﻜﺒﻴﺮ‬ ‫اﻷﺟﻴﺎل‪ ،‬واﻟﺘﻲ ﻗﺪﻣﺘﻬﺎ ﺑﺤﻔﺎوة اﻟﻔﺮق وﻳﺄيت اﳌﻬﺮﺟﺎن ﺗﺘﻮﻳﺠﺎً ﻟﻠﺠﻬﺪ اﻟﺪؤوب ﰲ‬ ‫اﻟﺸﻌﺒﻴﺔ اﻹﻣﺎراﺗﻴﺔ‪ ،‬واﺳﺘﻜﺸﺎف ﻓﻦ اﻟﻌامرة اﻟﻌﻤﻞ ﻋﲆ ﺗﻌﺰﻳﺰ اﻻﻫﺘامم ﺑﺎﻟﱰاث واﻟﺜﻘﺎﻓﺔ‬ ‫‪ 84‬ﺑﻴﺖ اﻟﺸﻌﺮ ‪ /‬اﻟﻌﺪد ‪49‬‬

‫اﻹﻣﺎراﺗﻴﺔ ﻟﺪى ﺟﻤﻬﻮر إﻣﺎرة أﺑﻮﻇﺒﻲ‪،‬‬ ‫ﻟﻼﺣﺘﻔﺎء ﺑﺎﻟﱰاث وأدواﺗﻪ‪ ،‬ودﻋ ًام وﺗﻘﺪﻳﺮاً‬ ‫ﻟﻠﱰاث‪ ،‬واﻟﻌﻤﻞ ﻋﲆ إﺣﻴﺎﺋﻪ واﻟﺤﻔﺎظ ﻋﻠﻴﻪ‪،‬‬ ‫وﺗﺤﻔﻴﺰ اﻟﺠﻤﻬﻮر ﻋﲆ اﻟﻨﻈﺮ إﱃ ﺳﻨﻮات‬ ‫ﻣﻀﺖ‪ ،‬واﺳﺘﻌﺎدة إرث اﻟﻘﺎﺋﺪ اﻟﻜﺒري‪ ،‬اﳌﻐﻔﻮر‬ ‫ﻟﻪ اﻟﺸﻴﺦ زاﻳﺪ ﺑﻦ ﺳﻠﻄﺎن آل ﻧﻬﻴﺎن‪ ،‬اﻟﺬي‬ ‫ﺣﺎﻓﻆ ﻋﲆ ﻫﻮﻳﺔ اﻟﺘﺎرﻳﺦ اﻟﻌﺮيب واﳌﺤﲇ‪،‬‬ ‫وأﺳﺲ ﳌﺎ ﺗﻌﻴﺸﻪ اﻟﻴﻮم دوﻟﺔ اﻹﻣﺎرات ﻣﻦ‬ ‫ازدﻫﺎر ومنﺎء ﰲ ﻇﻞ اﻻﺗﺤﺎد‪ .‬ﻣﺸﺪداً ﻋﲆ‬ ‫أن اﻟﺤﻔﺎظ ﻋﲆ اﻟﱰاث واﻟﺘﺎرﻳﺦ واﻷﺻﺎﻟﺔ‬ ‫ﻳﻌﺪ ﻣﻦ اﻷﻫﺪاف اﻟﺮﺋﻴﺴﺔ ﰲ اﺳﱰاﺗﻴﺠﻴﺔ‬ ‫اﻟﻬﻴﺌﺔ وﺧﻄﻄﻬﺎ اﻟﺤﺎﻟﻴﺔ واﳌﺴﺘﻘﺒﻠﻴﺔ‪ ،‬وذﻟﻚ‬ ‫ﻣﻦ ﺧﻼل اﻟﺤﻔﺎظ ﻋﲆ اﳌﻮروث اﻟﺜﻘﺎﰲ‬ ‫واﻻﺟﺘامﻋﻲ‪ ،‬وإﴍاك وﺗﻌﺮﻳﻒ اﳌﺠﺘﻤﻊ‬ ‫ﺑﻔﻌﺎﻟﻴﺎﺗﻪ اﻟﺜﻘﺎﻓﻴﺔ واﻟﻔﻨﻴﺔ‪ ،‬وﺗﻔﻌﻴﻞ وﺗﻨﺸﻴﻂ‬ ‫اﻟﺤﺮﻛﺔ اﻟﺜﻘﺎﻓﻴﺔ ﰲ اﻹﻣﺎرات‪ ،‬وﻧﴩ وإﺑﺮاز‬ ‫روح اﻷﺻﺎﻟﺔ اﻹﻣﺎراﺗﻴﺔ ﻣﺤﻠﻴﺎً وﻋﺮﺑﻴﺎً وﻋﺎﳌﻴﺎً‪.‬‬

‫ﻛام وﺷﻬﺪ أول أﻳﺎم اﳌﻬﺮﺟﺎن ﺗﺨﺮﻳﺞ‬ ‫دﻓﻌﺔ ﺟﺪﻳﺪة ﻣﻦ رﺟﺎل اﻟﴩﻃﺔ‪ ،‬واﻟﺘﻲ‬ ‫ﺗﺘﻀﻤﻦ ‪ 129‬ﻓﺮداً ﻣﻦ ﻣﻨﺘﺴﺒﻲ اﻟﴩﻃﺔ‪.‬‬ ‫وﻳﻬﺪف ﻣﻬﺮﺟﺎن اﳌﺮﺑﻌﺔ اﻟﱰايث إﱃ اﻟﱰوﻳﺞ‬ ‫واﻟﺘﻌﺮﻳﻒ ﺑﻘﻠﻌﺔ اﳌﺮﺑﻌﺔ ﰲ ﻣﺪﻳﻨﺔ اﻟﻌني‬ ‫اﻟﺘﻲ ﺗﻌﺘﱪ أﺣﺪ اﳌﻌﺎمل اﻟﺜﻘﺎﻓﻴﺔ اﻟﺘﺎرﻳﺨﻴﺔ‬ ‫اﻟﺒﺎرزة ﺑﺪوﻟﺔ اﻹﻣﺎرات اﻟﻌﺮﺑﻴﺔ اﳌﺘﺤﺪة‪.‬‬ ‫وأىت ﻫﺬا اﳌﻬﺮﺟﺎن ﻟﻴﻘﻮل »ﻟﻘﺪ اﺑﺘﻜﺮ‬ ‫أﺟﺪادﻧﺎ ﻣﺠﻤﻮﻋﺔ ﻣﻦ اﻟﻌامرة اﻟﻬﻨﺪﺳﻴﺔ‬ ‫اﻟﺘﻲ ﻳﺴﺘﺤﻖ أنّ ﻳﺤﺘﻔﻰ ﺑﻬﺎ‪ ،‬إﱃ ﺟﺎﻧﺐ‬ ‫ﻣﺠﻤﻮﻋﺔ ﻣﻦ اﻟﺤﺮف اﻟﻴﺪوﻳﺔ واﻟﺼﻨﺎﻋﺎت‬ ‫اﻟﺘﻘﻠﻴﺪﻳﺔ ﺗﻠﺒﻴﺔ ﻻﺣﺘﻴﺎﺟﺎﺗﻬﻢ اﻟﻴﻮﻣﻴﺔ‪ ،‬وﻫﻲ‬ ‫ﻗﻄﻊ ﻓﻨﻴﺔ وأﺳﺎﻟﻴﺐ ﺗﻌﺒريﻳﺔ ﻻ ﺗﺨﻠﻮ ﻣﻦ‬ ‫ﺟامل وإﺑﺪاع‪ ،‬ﻏري أﻧﻬﺎ اﻧﺤﴪت ﺗﺤﺖ‬ ‫وﻃﺄة اﻟﺼﻨﺎﻋﺎت اﻟﺤﺪﻳﺜﺔ ﻓﺎﺋﻘﺔ اﻟﺘﻄﻮر‪،‬‬ ‫ﻟﺬﻟﻚ ﻓﺈنّ ﻣﺜﻞ ﻫﺬه اﳌﻬﺮﺟﺎﻧﺎت ﺗﻌﻤﻞ ﻋﲆ‬ ‫ﺗﺸﺠﻴﻊ اﳌﺠﺘﻤﻊ ﻋﲆ اﻟﺤﻔﺎظ ﻋﲆ ﻣﻬﺎرات‬ ‫اﻟﺤﺮﻓﻴني‪ ،‬وﺗﺤﻔﻴﺰ اﳌﺸﺎرﻛني ﻋﲆ اﻻﺑﺘﻜﺎر مبﺎ‬ ‫ﻳﺘﻼءم ﻣﻊ روح اﻟﻌﴫ«‪.‬‬ ‫ﻣﺴﻴﺮة ﺗﺮاﺛﻴﺔ‬ ‫وﺷﺎرك اﻟﻘﺎﺋﺪ اﻟﻌﺎم ﻟﴩﻃﺔ أﺑﻮﻇﺒﻲ اﻟﻠﻮاء‬ ‫ﻣﺤﻤﺪ ﺧﻠﻔﺎن اﻟﺮﻣﻴﺜﻲ‪ ،‬واﳌﺪﻳﺮون اﻟﻌﺎﻣﻮن‬ ‫ﰲ ﻣﺴرية ﺗﺮاﺛﻴﺔ اﻧﻄﻠﻘﺖ ﰲ اﺗﺠﺎه ﻗﻠﻌﺔ‬ ‫اﳌﺮﺑﻌﺔ ﻣﻦ أﺣﺪ اﻟﻄﺮق اﻟﻘﺮﻳﺒﺔ ﻣﻨﻬﺎ‪ ،‬ﰲ‬ ‫أﺟﻮاء ﺗﺮاﺛﻴﺔ مبﺼﺎﺣﺒﺔ ﻣﻮﺳﻴﻘﻰ اﻟﴩﻃﺔ‪،‬‬ ‫وﻣﺸﺎرﻛﺔ ﻋﻨﺎﴏ اﻟﴩﻃﺔ واﳌﺮور ﺑﺰﻳﻬﻢ‬ ‫اﻟﻘﺪﻳﻢ وﺟﻤﻬﻮر ﻣﻦ ﻣﺪﻳﻨﺔ اﻟﻌني‪ ،‬ﻛام‬ ‫ﻗﺪﻣﺖ ﻣﻦ ﺧﻼﻟﻬﺎ اﻟﻔﺮق اﻟﺸﻌﺒﻴﺔ اﻟﻌﺪﻳﺪ‬ ‫ﻣﻦ اﻟﻠﻮﺣﺎت واﻷﻏﺎين اﻟﱰاﺛﻴﺔ‪ ،‬اﻟﺘﻲ ﺗﺸﻜﻞ‬ ‫ﺣﺎﴐاً ﺣﻴﺎً ﰲ ﺛﻘﺎﻓﺔ اﻷﺟﻴﺎل اﻋﺘﺰازاً ﺑﻬﺬا‬ ‫اﻟﺘﺎرﻳﺦ اﳌﲇء ﺑﺎﳌﻔﺨﺮة‪ ،‬وﻣﺴرية ﺣﻴﺎة ﻣﻠﻴﺌﺔ‬ ‫ﺑﺎﻟﺒﺬل واﻟﺠﻬﻮد اﻟﺠﺒﺎرة‪ ،‬ﻟﻴﻜﻮن ﺗﺎرﻳﺦ‬ ‫اﻷﺟﺪاد ﺣﻴﺎً وﻣﺜﺎﻻً وﻗﺪوة ﻳﺴﺘﻔﻴﺪ ﻣﻨﻬﺎ‬ ‫اﻟﺸﺒﺎب‪ ،‬وﻹﺗﺎﺣﺘﻬﺎ ﻟﻠﺒﺎﺣﺜني واﻟﺪارﺳني‪،‬‬ ‫وﺗﻮﻓري اﳌﻌﻠﻮﻣﺎت اﻟﻮاﻓﻴﺔ ﺣﻮل اﻟﱰاث‬ ‫اﻟﺸﻌﺒﻲ ﺑﻜﻞ ﻣﻔﺮداﺗﻪ‪.‬‬ ‫وأﻛﺪ اﻟﺮﻣﻴﺜﻲ اﻓﺘﺨﺎر ﴍﻃﺔ أﺑﻮﻇﺒﻲ ﺑﺎﻧﻄﻼق‬ ‫ﻣﻬﺮﺟﺎن اﳌﺮﺑﻌﺔ اﻟﱰايث ﰱ ﻗﻠﻌﺔ اﳌﺮﺑﻌﺔ‪،‬‬ ‫اﻟﺘﻲ ﻋﺮﻓﺖ ﺑـ» ﻣﺮاﺑﻌﺔ اﻟﻌني«‪ ،‬وﺷﻬﺪت‬ ‫ﻗﻴﺎم أول ﻣﺮﻛﺰ ﴍﻃﺔ ‪ ،1948‬مبﺎ ﻳﻌﻜﺲ ﻫﺬا‬ ‫اﻟﺘﺎرﻳﺦ اﳌﻤﻠﻮء ﺑﺎﻟﻌﻄﺎء واﻟﺒﺬل واﻟﺠﻬﻮد ‪.‬‬

‫وأﺷﺎد اﻟﺮﻣﻴﺜﻲ ﺑﺎﻟﺠﻬﺎت اﳌﺸﺎرﻛﺔ ﰲ‬ ‫اﳌﻬﺮﺟﺎن وﻫﻲ ﻫﻴﺌﺔ أﺑﻮﻇﺒﻲ ﻟﻠﺴﻴﺎﺣﺔ‪،‬‬ ‫اﻟﺘﻲ ﺗﻌﻜﺲ اﻻﻫﺘامم ﺑﺎﻟﱰاث‪ ،‬ﻛام ﻳﺸﺎرك‬ ‫ﰲ اﻟﻔﻌﺎﻟﻴﺎت وزارة ﺷﺆون اﻟﺮﺋﺎﺳﺔ ﻣﻤﺜﻠﺔ‬ ‫ﰲ اﻷرﺷﻴﻒ اﻟﻮﻃﻨﻲ وﴍﻛﺔ أﺑﻮﻇﺒﻲ ﻟﻺﻋﻼم‬ ‫وداﺋﺮة اﻟﺸﺆون اﻟﺒﻠﺪﻳﺔ وﴍﻛﺔ اﻹﻣﺎرات‬ ‫ﻟﻺﻃﻔﺎء واﻹﻧﻘﺎذ‪ ،‬وذﻟﻚ ﻣﻦ ﺧﻼل ﻣﺸﺎرﻛﺘﻬﺎ‬ ‫ﰲ ﻣﻨﺼﺎت ﻋﺮض ﺗﻌﻜﺲ ﺗﺮاﺛﻨﺎ‪ ،‬اﻟﺬي ﻳﻌﺘﱪ‬ ‫ﻣﻔﺨﺮة ﻟﻺﻣﺎراﺗﻴني‪ ،‬وﻣﺎ ﻟﻘﻴﻪ ﻣﻦ إﻗﺒﺎل‬ ‫وإﻋﺠﺎب اﻟﻌﺎمل ﺧﻼل اﳌﺸﺎرﻛﺎت ﰲ اﳌﻌﺎرض‬ ‫اﻟﺪوﻟﻴﺔ اﳌﺘﻌﻠﻘﺔ ﺑﺎﻟﱰاث ﺣﻮل اﻟﻌﺎمل‪.‬‬ ‫ﻣﺘﺤﻒ »اﻟﻤﺮﺑﻌﺔ ﻟﻠﻤﻮروث اﻟﺸﺮﻃﻲ«‬ ‫ﻛام ﻗﺎم اﻟﻘﺎﺋﺪ اﻟﻌﺎم ﻟﴩﻃﺔ أﺑﻮﻇﺒﻲ ﺑﺎﻓﺘﺘﺎح‬

‫ﻣﺘﺤﻒ »اﳌﺮﺑﻌﺔ ﻟﻠﻤﻮروث اﻟﴩﻃﻲ«‪ ،‬اﻟﺬي‬ ‫ﻳﺸﺘﻤﻞ ﻋﲆ ﻣﺮﻛﺒﺎت ﻗﺪميﺔ ﻟﻠﴩﻃﺔ وﺻﻮر‬ ‫ﺗﻮﺛﻖ ﻟﺘﺎرﻳﺦ ﴍﻃﺔ أﺑﻮﻇﺒﻲ‪ ،‬واﻟﻌﺪﻳﺪ ﻣﻦ‬ ‫اﳌﻘﺘﻨﻴﺎت اﻟﴩﻃﻴﺔ‪ ،‬واﻟﺘﺎرﻳﺦ اﻟﺬي ميﺜﻞ‬ ‫ﻋﺮاﻗﺔ وﺗﺮاث اﻟﴩﻃﺔ‪.‬‬ ‫وﺟﺎل اﻟﺮﻣﻴﺜﻲ ﰲ ﻣﻨﺼﺎت اﳌﻌﺮض اﻟﱰايث‬ ‫اﳌﺨﺘﻠﻔﺔ اﻟﺬي ﻳﺸﺎرك ﻓﻴﻪ اﻟﻌﺪﻳﺪ ﻣﻦ‬ ‫اﻟﺠﻬﺎت‪ ،‬إﺿﺎﻓﺔ اﱃ ﺳﻮق ﺷﻌﺒﻴﺔ وﻋﺮوض‬ ‫ﺗﻘﺪﻣﻬﺎ اﻟﻔﺮق اﻟﺸﻌﺒﻴﺔ‪ ،‬وأﻋﺮب اﻟﺮﻣﻴﺜﻲ ﻋﻦ‬ ‫إﻋﺠﺎﺑﻪ مبﺎ ﺷﺎﻫﺪه ﻣﻦ ﻋﺮوض‪ ،‬ﻣﺆﻛﺪاً أﻫﻤﻴﺔ‬ ‫ﻣﺜﻞ ﻫﺬه اﻟﻔﻌﺎﻟﻴﺎت اﻟﱰاﺛﻴﺔ‪ ،‬اﻟﺘﻲ ﺗﻌﺘﱪ‬ ‫ﻣﻦ أﻫﻢ ﻣﻘﻮﻣﺎت وﻋامد اﻟﺴﻴﺎﺣﺔ‪ ،‬واﻟﺘﻲ‬ ‫ﺗﺴﺘﻘﻄﺐ اﻫﺘامم اﻟﺰوار واﻟﺴﻴﺎح ﺣﻮل‬ ‫اﻟﻌﺎمل‪ ،‬ﻣﺎ ﻳﺴﺘﻮﺟﺐ ﻣﻦ اﻟﻘﺎمئني ﻋﲆ اﻟﻘﻄﺎع‬ ‫أﻛﺘﻮﺑﺮ‪83 2016 /‬‬

‫ﻣﻬﺮﺟﺎﻧﺎت‬ ‫‪baytelshear‬‬

‫ﻣﻬﺮﺟﺎن اﻟﻤﺮﺑﻌﺔ اﻟﺘﺮاﺛﻲ ﻓﻲ أوﻟﻰ دوراﺗﻪ‬ ‫اﻫﺘﻤﺎم ﺧﺎص ﺑﺎﻟﺘﺮاث واﻟﺜﻘﺎﻓﺔ ا‪,‬ﻣﺎراﺗﻴﺔ‬ ‫دارﻳﻦ ﻗﺼﻴﺮ‬

‫أﻗﻴﻢ ﻣﻬﺮﺟﺎن اﳌﺮﺑﻌﺔ اﻟﱰايث اﻷول اﻟﺬي ﺗﻨﻈﻤﻪ اﻟﻘﻴﺎدة اﻟﻌﺎﻣﺔ ﻟﴩﻃﺔ أﺑﻮﻇﺒﻲ‪ ،‬ﺑﺎﻟﺘﻨﺴﻴﻖ ﻣﻊ ﻫﻴﺌﺔ أﺑﻮﻇﺒﻲ ﻟﻠﺴﻴﺎﺣﺔ ﺑﻘﻠﻌﺔ اﳌﺮﺑﻌﺔ ﰲ اﻟﻌني‬ ‫ﰲ دورﺗﻪ اﻷوﱃ ﻟﻬﺬا اﻟﻌﺎم‪ ،‬وﻳﻌﺘﱪ ﻫﺬا اﳌﻬﺮﺟﺎن ﺧﻄﻮة ﻣﻬﻤﺔ ﰲ ﻣﺴرية ﺗﻌﺰﻳﺰ اﻻﻫﺘامم ﺑﺎﻟﱰاث واﻟﺜﻘﺎﻓﺔ اﻹﻣﺎراﺗﻴﺔ ﰲ إﻣﺎرة أﺑﻮﻇﺒﻲ‪ .‬ﺣﻴﺚ‬ ‫ﺗﺮﺟﻊ أﻫﻤﻴﺔ ﻗﻠﻌﺔ اﳌﺮﺑﻌﺔ اﻟﱰاﺛﻴﺔ إﱃ اﻟﻌﺎم ‪ 1948‬ﻋﻨﺪﻣﺎ ﻗﺎم اﳌﻐﻔﻮر ﻟﻪ ﺑﺈذن اﻟﻠﻪ ﺗﻌﺎﱃ اﻟﺸﻴﺦ زاﻳﺪ ﺑﻦ ﺳﻠﻄﺎن آل ﻧﻬﻴﺎن ”ﻃﻴﺐ اﻟﻠﻪ ﺛﺮاه“‬ ‫ﺑﺒﻨﺎﺋﻬﺎ وﺟﻌﻠﻬﺎ ﻣﺮﻛﺰاً ﻟﻺدارة اﻷﻣﻨﻴﺔ وﻣﻘﺮاً ﻟﻠﴩﻃﺔ ﰲ اﳌﺪﻳﻨﺔ ﺣﻴﺚ ﻇﻠﺖ ﻫﻜﺬا ﻟﻔﱰة ﻃﻮﻳﻠﺔ‪ ،‬ﺛﻢ ﺗﺤﻮﻟﺖ ﺑﻌﺪﻫﺎ إﱃ ﻣﻌﻠﻢ ﺳﻴﺎﺣﻲ ﺑﺎرز‬ ‫مبﻨﻄﻘﺔ اﻟﺴﻮق ﻳﺰوره اﻟﻌﺪﻳﺪ ﻣﻦ اﻟﺴﻴﺎح واﳌﻘﻴﻤني ﺑﺸﻜﻞ داﺋﻢ‪.‬‬

‫‪ 82‬ﺑﻴﺖ اﻟﺸﻌﺮ ‪ /‬اﻟﻌﺪد ‪49‬‬

тАля║о╪зя╗Уя║КтАмWWWWWWтАля╗гтАм baytelshear

..тАля║Ся║О╪▒ ┘М╪п я╗гя╗ж ╪п┘Ия╗зя╗Ъ ╪зя╗Яя║Тя╗┤я║Ц я╗Ыя║Ья╗┤я║о ┘Л╪зтАм (3)

(1)

┬дc┬гc0 bJ ┬д┬Ы┬Х┬ТNQ ~7 ┬еwD* bJ ├Бb=&┬░b+ Ph┬гB*┬б┬гD*H R pO BR O&┬░* Px RG5N H ┬Э*┬б ┬ЦN N┬ХQ + ┬еwD* bJ ┬д+b~{<&* N * 4b┬АE&b+ ┬ЭbR ┬ЫN ┬▓ ┬д┬Ы┬Х~8H&* ┬еwD* bJ R ┬░* xNQ + ┬ЭbE& O NhF&* ┬Оx┬Ж- ┬░ ┬в┬Ы┬ЖE O * ,L &*xE* zP NQ ┬л ┬Э& fL ┬М)b1 RhN┬Х~8N HN vB b┬ЮFNQ &* R ┬░* xNQ +N ┬ЭbE&

dQM 0 fDb0 ┬п bF& * O ┬дc┬гc0 bJ ┬ЗL )*4 ┬п ,O &*x┬┤* Nv┬й ┬Э&* b┬ЮcP Fb/ P┬ЯJ2b┬Ы- R┬ЬEN ┬дc┬гc0 {L PGvE ,O &*x┬┤* qN g┬М- ┬Э&* ┬ЗE b┬Ю┬гR ┬ЫN ┬г< xP m┬МD* b┬Ю~zN ┬МR FN ┬в┬ПN ┬ХR gN DP xp+ ┬п fK B4b= Pd┬г:

(2) ┬дc┬гc0 bJ N ┬УFH2 ┬ЬE L 24b+ *├МjC Oh┬гcD* N ┬УFH2 ┬ЬE L 24b+ *├МjC xO ┬Ш┬ЖD* ┬ЪR ┬бNQ ┬Т-&* ┬╡ ┬Э(* bF&* ┬УN ┬гQP P~6xR CO h┬л ┬е&OQ * ┬д┬Ы_N AP vR JO R┬ЬDN R ┬Эb┬ТE

81 2016 /тАл╪гя╗Ыя║Шя╗оя║Ся║отАм

тАля║│я╗Мя║О╪п я╗гя║дя╗дя║к ╪зя╗Яя║╝я║Тя║О╪нтАм тАля║╖я╗Мя║о] я║ОтАм ]тАля╗Мя║отАм тАля║╖я╗Мя║отАм тАля║╖тАм тАля╗Уя╗▓ ╪░я╗Ыя║о┘Й ╪▓┘И╪зя║Яя╗ия║О ╪зя╗Яя║┤я║О╪пя║│я║Ф ┘И╪зя╗Яя║ия╗дя║┤я╗┤я╗жтАм

‫اﻟﺠﺎﻫﻠﻲ‬ ‫‪baytelshear‬‬ ‫‪Q CkR CCCCCcU CCCCCqCCCC‬‬ ‫*‪fN CCCCCCªCCCCCC/‬‬ ‫‪S 4Q N*4 S{CCCCCCCkQ CCCCCCC U CCCCCCCHR CCCC‬‬ ‫‪S CDQ‬‬ ‫وﻗﺪ ﻋﻔﺎ ﻋﻨﻪ ﻋﻤﺮ ﻣﺤﺬرا إﻳﺎه ﻣﻦ ﻫﺠﺎء اﻟﻨﺎس‪.‬‬ ‫‪Q‬‬ ‫‪Q‬‬ ‫‪Q‬‬ ‫‪ ¸fCCC CCC¡V CCCG* CCCC¡U CCCCHS hCCCCCCCCCC‬‬ ‫‪C QJ4U &* §S CCCCU CCCC Q CCCCSG‬‬ ‫‪R‬‬ ‫‪*zCCCC CCCCG* fCCCC CCCCH «CCCCC+ ¢CC‬‬ ‫‪U C CCC CCC CCC CCC- ÑCCCCCD‬‬ ‫ﺷﻌﺮه‪I‬‬ ‫‪ ¸fCCCCC/Q |CCCC‬‬ ‫‪S CG* QlCCCCCM SzCCCCC RJ «CCCC¡X CCCC Q CCCCFS §CCCC-R ¸K‬‬ ‫ﺷﻌﺮ اﻟﺤﻄﻴﺌﺔ ﻳﻨﺘﻤﻲ إﱃ اﻟﺒﻴﺌﺔ اﻟﺠﺎﻫﻠﻴﺔ‪ ،‬وﻗﺪ ﻛﺎن اﻟﺤﻄﻴﺌﺔ ﻗﺮﻳﺒﺎً‬ ‫‪£fCCCCCE|CCCCC+ T~CCCCCG* ¢CCCCCCH Ô‬‬ ‫‪O CCCCCCCC1 CCCCCCCIT (fCCCCCCCD‬‬ ‫ﻣﻦ ﺷﻌﺮ زﻫري اﺑﻦ أيب ﺳﻠﻤﻰ وﻛﺎن راوﻳﺎ ﻟﻪ‪ ،‬وﻗﺪ اﺳﺘﻔﺎد ﻣﻦ ﺷﻌﺮ‬ ‫* ‪Q‬‬ ‫&‪Q ¸N fCCCCCCC Q CCCCCCCIQ WzCCCCCCC CCCCCCC7‬‬ ‫‪¸*§CCCCCCCIQ ÔCCCCCCCCCCCC‬‬ ‫ ‪1K‬‬ ‫‪OU‬‬

‫زﻫري واﻛﺘﺴﺐ ﻣﻨﻪ اﻟﻌﺪﻳﺪ ﻣﻦ اﻟﺼﻔﺎت اﻟﺸﻌﺮﻳﺔ‪ ،‬ﻛام ﻳﺮى ﺑﻌﺾ‬ ‫اﻟﻨﻘﺎد أن اﻟﺤﻄﻴﺌﺔ أمل ﺑﺸﻌﺮ اﻟﻨﺎﺑﻐﺔ اﻟﺬﺑﻴﺎين واﺳﺘﻔﺎد ﻣﻨﻪ‪ ،‬وﻳﻜﺎد‬ ‫ﻳﺠﻤﻊ اﻟﻨﻘﺎد ﻋﲆ أن اﻟﺤﻄﻴﺌﺔ اﻣﺘﻠﻚ ﻧﺎﺻﻴﺔ اﻟﺸﻌﺮ‪ ،‬ووﺿﻌﻮه ﰲ‬ ‫ﻣﻜﺎﻧﺔ ﻣﺮﻣﻮﻗﺔ ﺑني ﺷﻌﺮاء اﻟﻌﴫ اﻟﺠﺎﻫﲇ‪ ،‬وﻗﺪ وﺿﻌﻪ اﺑﻦ ﺳﻼم ﰲ‬ ‫اﻟﻄﺒﻘﺔ اﻟﺜﺎﻧﻴﺔ‪ ،‬ﻛام وﺿﻌﻪ اﻷﺻﻔﻬﺎين ﺑني ﻓﺤﻮل اﻟﺸﻌﺮ‪.‬‬ ‫وﻗﺪ ﺗﺄﺛﺮت اﻟﺘﺠﺮﺑﺔ اﻟﺸﻌﺮﻳﺔ ﻟﻠﺤﻄﻴﺌﺔ ﺑﺤﻴﺎﺗﻪ اﳌﻀﻄﺮﺑﺔ ﻓﻜﺎن‬ ‫ﺷﻌﺮه ﻣﺮآة ﻟﺤﺎﻟﺘﻪ اﻟﻨﻔﺴﻴﺔ اﻟﺘﻲ ﻳﻌﱰﻳﻬﺎ اﻟﻘﻠﻖ واﻟﺘﻘﻠﺐ‪ ،‬ﻟﻘﺪ ﻛﺎن‬ ‫اﻟﺴﺨﻂ ﻋﲆ اﳌﺠﺘﻤﻊ واﻟﻨﺎس واﻟﺰﻣﻦ اﻟﺬي ﻋﺎش ﻓﻴﻪ أﻫﻢ اﻻﺳﺒﺎب‬ ‫اﻟﺘﻲ دﻓﻌﺖ ﺑﻪ إﱃ ﻓﻦ اﻟﻬﺠﺎء ﺳﻼﺣﻪ اﻟﻮﺣﻴﺪ اﻟﻔﺘﺎك ﳌﻮاﺟﻬﺔ ﻣﺤﻨﺘﻪ‪،‬‬ ‫ﻟﺪرﺟﺔ أن أﺣﺪا مل ﻳﻨﺞ ﻣﻦ ﻟﺴﺎﻧﻪ ﺣﺘﻰ أﻣﻪ وأﺑﻴﻪ اﻟﺬي ﻻ ﻳﻌﻠﻤﻪ‪.‬‬ ‫ﺑﻞ إن اﻟﺤﻄﻴﺌﺔ ﻫﺠﺎ ﺣﺘﻰ ﻧﻔﺴﻪ ﰲ ﻣﺮة ﻧﺎدرة ﻳﻬﺠﻮ ﻓﻴﻬﺎ ﺷﺎﻋﺮ ذاﺗﻪ‪:‬‬

‫وﺻﻴﺘﻪ اﻟﻐﺮﻳﺒﺔ‪I‬‬ ‫ﻋﻤﺮ اﻟﺤﻄﻴﺌﺔ زﻣﻨﺎ ﻃﻮﻳﻼ ﰲ اﻟﺠﺎﻫﻠﻴﺔ واﻹﺳﻼم‪ ،‬وﺗﺸري اﻟﺮواﻳﺎت إﱃ‬ ‫أﻧﻪ ﻋﺎش ﻣﺎ ﻳﻘﺮب ﻣﻦ ‪ 100‬ﻋﺎم‪ ،‬وﻟﻜﻦ ﻻ ﻳﻌﺮف ﻋﲆ وﺟﻪ اﻟﺘﺤﺪﻳﺪ‬ ‫ﰲ أي ﻋﺎم ﺗﻮﰲ‪ ،‬وﻗﺪ اﺧﺘﻠﻒ رواة ﺳريﺗﻪ ﰲ ﻋﴫ أي ﺧﻠﻴﻔﺔ رﺣﻞ‪،‬‬ ‫ﻓﻤﻨﻬﻢ ﻣﻦ ﻳﻘﻮل إﻧﻪ ﻣﺎت ﰲ أواﺧﺮ ﺧﻼﻓﺔ ﻋﻤﺮ ﺑﻦ اﻟﺨﻄﺎب وﻣﻨﻬﻢ‬ ‫ﻣﻦ ﻳﺸري إﱃ رﺣﻴﻠﻪ ﰲ ﺧﻼﻓﺔ ﻣﻌﺎوﻳﺔ‪.‬‬ ‫وﻟﻜﻦ مثﺔ رواﻳﺔ ﺗﺸري إﻟﻴﻬﺎ ﻏﺎﻟﺒﻴﺔ اﳌﺼﺎدر اﻟﺘﺎرﻳﺨﻴﺔ اﻟﺘﻲ ﺗﻨﺎوﻟﺖ‬ ‫ﺳرية اﻟﺤﻄﻴﺌﺔ وﺗﺘﻌﻠﻖ ﺑﺎﻟﻠﺤﻈﺎت اﻷﺧرية ﻣﻦ ﺣﻴﺎﺗﻪ ووﺻﻴﺘﻪ وﻫﻮ‬ ‫ﻋﲆ ﻓﺮاش اﳌﻮت‪ ،‬إﻧﻬﺎ اﻟﻮﺻﻴﺔ اﻟﺘﻲ ﺗﺠﻤﻊ ﺑني اﻟﻐﺮاﺑﺔ واﻟﻄﺮاﻓﺔ‪،‬‬ ‫ورﻏﻢ أن ﺑﻌﺾ اﻟﻨﻘﺎد ﺗﺸﻜﻜﻮا ﻓﻴﻬﺎ إﻻ أﻧﻬﺎ ﰲ اﻟﻨﻬﺎﻳﺔ ﺗﻌﻜﺲ ﺗﻠﻚ‬ ‫*&‪ fN C C C- ¸(* §CCªCCCCCG* ¬fCCkCC CCCCC CC7 lCCCCCCC+‬‬ ‫اﻟﺤﻴﺎة اﻟﻨﻔﺴﻴﺔ اﳌﻀﻄﺮﺑﺔ ﻟﻠﺤﻄﻴﺌﺔ‪ ،‬واﻟﻮﺻﻴﺔ ﺗﺠﻤﻊ ﺑني ﻋﺎﻣﻠني‪:‬‬ ‫‪¥CC CC)fCCE fCCCCCI&* ¢CCC¼ ¬42&* fCC CCCCCD P$§CC CC CCCCC+‬‬ ‫اﻷوﱃ ﻧﻈﺮة اﻟﺤﻄﻴﺌﺔ ﻟﻠﺤﻴﺎة واﺳﺘﻬﺘﺎره ﺑﻬﺎ ﺣﺘﻰ ﰲ ﻟﺤﻈﺔ اﻟﻔﺮاق‪،‬‬ ‫واﻟﺜﺎﻧﻴﺔ ﻫﻮﺳﻪ ﺑﺎﻟﺸﻌﺮ ﻣﻮﻫﺒﺘﻪ اﻟﻮﺣﻴﺪة وﺳﻼﺣﻪ اﻟﻔﺘﺎك ﰲ اﻟﺤﻴﺎة‪.‬‬ ‫ورﻏﻢ أن ﺷﻬﺮة اﻟﺤﻄﻴﺌﺔ ﻛﺎﻧﺖ ﰲ اﻟﻬﺠﺎء إﻻ أن ﻟﻪ ﺷﻌﺮاً ﺟﻴﺪاً ﰲ‬ ‫اﳌﺪﻳﺢ ﻟﻜﻦ مل ﻳﺼﻞ إﻟﻴﻨﺎ ﻣﻨﻪ إﻻ اﻟﻘﻠﻴﻞ‪ ،‬وﻏﺎﻟﺒﻴﺔ ﻣﺪاﺋﺢ اﻟﺤﻄﻴﺌﺔ‬ ‫ﰲ ﺑﻨﻲ أﻧﻒ اﻟﻨﺎﻗﺔ‪ ،‬ﻛﺎﻧﻮا ﻣﻦ ﻗﺒﺎﺋﻞ اﻟﺪرﺟﺔ اﻟﺜﺎﻧﻴﺔ ﺑني اﻟﻌﺮب اﻟﺘﻲ‬ ‫اﺣﺘﻘﺮﺗﻬﻢ ﺑﺴﺒﺐ اﺳﻤﻬﻢ‪ ،‬ﻟﺪرﺟﺔ ﻗﻴﻞ ان أﺣﺪﻫﻢ إذا ﺳﺌﻞ ‪ :‬ﻣﻦ أي‬ ‫اﻟﻘﺒﺎﺋﻞ أﻧﺖ؟ ﻗﺎل وﻫﻮ ﻏﺎض ﻃﺮﻓﻪ ‪ :‬أﻧﺎ ﻣﻦ ﺑﻨﻲ أﻧﻒ اﻟﻨﺎﻗﻪ‪ ،‬ﻓﻠﺠﺄوا‬ ‫إﱃ اﻟﺤﻄﻴﺌﺔ اﻟﺬي ﻣﺪﺣﻬﻢ ورﻓﻊ ﻣﻦ ﺷﺄﻧﻬﻢ ﺑني ﻗﺒﺎﺋﻞ اﻟﻌﺮب وﻣﻦ‬ ‫ﻣﺪاﺋﺤﻪ ﻓﻴﻬﻢ ﺑﺎﺋﻴﺘﻪ اﻟﺸﻬرية اﻟﺘﻲ ﻳﻘﻮل ﻓﻴﻬﺎ‪:‬‬ ‫‪ CCCJ4fCCC¹ N*zCCCC CCCC< *KzCCCC CCCC< *3* §CCCCCE‬‬ ‫‪fCC+|CC CCG* ¥CCE§CCD *KzCCC CCC7K sfCC¡CC CCG* *KzCC CC7‬‬ ‫*&‪jCC CC CC CC CCH zCCC CCC CCC6 «CCC¡CCC+ ,*|CCCC CCCC6 CCCC CCCC+‬‬ ‫‪fCC+{CCF ¸K fN CCCCkCCCCG&* ¸ jCCCGfCCC CCC6|CCCG* zCC¤CC/‬‬ ‫‪ CC CCG fCCCCCC+&* ¸ CC CCªCC CC+ hCCCCCI3 £fCCCCCF fCCCCH‬‬ ‫· ‪fg R 7R fN C CC¡CCM&* KzCCtCCM $fCCC/ CP C CC)fCC+‬‬

‫ﻛام ﻟﻠﺤﻄﻴﺌﺔ أﺑﻴﺎت ﰲ ﻣﺪح اﻟﺨﻠﻴﻔﺔ ﻋﻤﺮ ﺑﻦ اﻟﺨﻄﺎب ﻳﺮﻓﻌﻪ إﱃ‬ ‫أﻋﲆ اﳌﻨﺎزل ﺣﺘﻲ ﻳﻌﻠﻮ ﻧﺴﺐ ﻗﺮﻳﺶ اﻟﺬي ﻛﺎن ﻳﺤﻠﻢ ﺑﻪ ﻛﻞ ﻋﺮيب‪:‬‬ ‫‪ §CCCC CCCC6|CCC‬‬ ‫*&‪R CH‬‬ ‫‪T CG* zCCC CCC+ jCCC CCCªCCC CCC»* ÕCCCCCCCC‬‬ ‫‪ ¸fCCCgCCC0 fN CCC CCCªCCC CCC/ CCCP C CCCCM|CCCCE ¨CCCCCCCCCCDK&*K‬‬ ‫‪jCC CC CC CC+ LzCCCCCC¡T CCCCCCG* · CCCC‬‬ ‫‪U C¤CCCCCG§CCCCC:&* K‬‬ ‫‪ ¸N fCCCC CCCCD *KzCCCCCCCCCC‬‬ ‫‪WR C< ÕCCCCC0 CCCC¤CCCC CCCC CCCC CCCCD&*K‬‬ ‫*&‪V C CCCCDQ O£fCCCCC CCCCQ C CCCCCGS «CCCCCCS¡CCCCCCUkCCCCCC-Q Q‬‬ ‫‪fCCCC¤CCCCkR CCCC+U {CCC‬‬ ‫‪ ¸fCCC CCC- £&* fCCCCCCJ4{CCCCCC0&* RlCCCC¡CCCCF fCCCCCCHK‬‬ ‫‪ P jCCCCCCH|CCCCCC/ ÑCCCCCCC+ ,fCCCCCC CCCCCC7§CCCCCCG* £&fCCCCCCCCCCC+‬‬ ‫*&‪ ¸fCCCCtCCCC¼* CCCCMzCCCCG *§CCCCCCH*|CCCCCCD §CCCCCCCCCC-‬‬ ‫ﻌﺪد ‪4499‬‬ ‫اﻟﻌﺪدد‬ ‫ﻌﺮ ‪ /‬ﻟﻌﺪ‬ ‫اﻟﺸﻌﺮﺮ‬ ‫ﺸﻌ‬ ‫ﺑﻴﺖ ﻟاﻟﺸ‬ ‫‪ 8800‬ﺑﻴﻴﺖ‬

‫ﻫﻮ ﺟﺮول ﺑﻦ أوس ﺑﻦ ﻣﺎﻟﻚ اﻟﻌﺒﴘ‪ ،‬ﻳﻨﺘﻬﻲ ﻧﺴﺒﻪ إﱃ ﻣﴬ ﺑﻦ‬ ‫ﻧﺰار‪ ،‬ﻳﻜﻨﻲ ﺑﺄيب ﻣﻠﻴﻜﺔ وﻫﻲ اﺑﻨﺘﻪ‪ ،‬اﻣﺎ ﻟﻘﺒﻪ اﻟﺬي اﺷﺘﻬﺮ ﺑﻪ ﻓﻬﻮ‬ ‫»اﻟﺤ َﻄﻴﺌﺔ« ﻓﻘﺪ ﻋﺮف ﺑﻪ ﻟﻘﴫ ﻗﺎﻣﺘﻪ إذ ﺗﺼﻔﻪ اﳌﺼﺎدر اﻟﺘﻲ ﺗﺆرخ‬ ‫ُ‬ ‫ﻟﺴريﺗﻪ ﺑﺄﻧﻪ ﻛﺎن ﻗﺮﻳﺒﺎً ﻣﻦ اﻻرض ﺑﺎﻹﺿﺎﻓﺔ إﱃ ﻗﺒﺢ ﻣﻨﻈﺮه‪.‬‬ ‫وﻟﺪ ﰲ ﺑﻨﻲ ﻋﺒﺲ ﻻ ﻳﻌﺮف ﻟﻪ ﻧﺴﺐ‪ ،‬ﻓﺄﻣﻪ »اﻟﴬاء« ﻻ ﺗﺪري ﻣﻦ‬ ‫أي رﺟﻞ ﺣﻤﻠﺖ ﻓﻴﻪ‪ ،‬وﻧﺸﺄ ﰲ ﺑﻴﺖ زوج أﻣﻪ »أوس« اﻟﺬي ﻣﺎت ﻣﻦ‬ ‫دون أن ﻳﻌﱰف ﺑﻪ اﺑﻨﺎً‪ ،‬وروي أﻧﻪ ﻛﺎن ﻷوس زوﺟﺔ ﻣﻦ ﺑﻨﻲ ُذﻫﻞ‬ ‫ﻟﻬﺎ ﺷﻘﻴﻖ أﻓﻘﻢ ودﻣﻴﻢ وﺟﺎء اﻟﺤﻄﻴﺌﺔ ﺷﺒﻴﻬﺎً ﺑﻪ ﻓﻨﺴﺒﺘﻪ اﻟﴬاء إﻟﻴﻪ‬ ‫ومل ﺗﺠﺮؤ ﻋﲆ ﻧﺴﺒﺘﻪ ﻷوس‪.‬‬ ‫وﻗﺪ ورد ﰲ ﺷﻌﺮه ﻣﺎ ﻳﺪل ﻋﲆ أﻧﻪ ﻋﺎىن ﻣﻦ ﻣﺴﺄﻟﺔ اﻟﻨﺴﺐ اﻟﺘﻲ‬ ‫ﻛﺎﻧﺖ اﻟﺴﺒﺐ ﰲ ﻧﺸﺄﺗﻪ اﳌﻀﻄﺮﺑﺔ‪ ،‬ﻓﻔﻲ ﺷﻌﺮه ﻣﺎ ﻳﻔﻴﺪ أﻧﻪ ﻛﺎن‬ ‫ﻳﺴﺄل أﻣﻪ اﻟﴬاء ﻋﻦ أﺑﻴﻪ‪ ،‬ﻓﻘﺎل‪:‬‬ ‫‪Q S §CC‬‬ ‫‪R C CCC-Q‬‬ ‫‪zCC‬‬ ‫‪S CGS QlCC CC CCGQ $*|CC‬‬ ‫‪P C0*§CC‬‬ ‫ ¿ *‪R C CCQC CCCG‬‬ ‫‪Q‬‬ ‫‪Q‬‬ ‫‪Q‬‬ ‫‪R‬‬ ‫‪R‬‬ ‫‪Q‬‬ ‫‪Q‬‬ ‫‪f ScGK&* |CC CCS 7 ªF | ISfD Õ‬‬ ‫‪S C ¡C .S* ¸KQ‬‬ ‫‪R¥kQ Q 9Q zCCCEQ fN CCCC+Q&* «CC CCgCC-Q O'K|CCCC‬‬ ‫ ‪R CHS* QlCCCCCIQ&*KQ‬‬ ‫‪fCC CCGS ÑCC CCQ 9 ¢CCCCHS CC S C kQ C CC CC-Q fCCCCCCCT¼Q Q&* QlCCC CCCgS CCC QJ‬‬

‫وﻗﺪ ﺳﺎﻫﻤﺖ ﻫﺬه اﳌﺤﻨﺔ اﻻﺟﺘامﻋﻴﺔ اﳌﺮﻳﺮة اﻟﺘﻲ ﻣﺮ ﺑﻬﺎ اﻟﺤﻄﻴﺌﺔ‬ ‫ﰲ ﺗﺤﺪﻳﺪ ﻣﻌﺎمل ﺗﺠﺮﺑﺘﻪ اﻟﺸﻌﺮﻳﺔ‪ ،‬ﻟﻘﺪ ﻛﺎن ﻟﻬﺬه اﻟﺤﻴﺎة اﻟﺒﺎﺋﺴﺔ أﺛﺮ‬ ‫ﻛﺒري ﰲ ﺷﻌﺮه‪ ،‬ﻟﻘﺪ ﻋﺎش ﺣﻴﺎة ذﻟﻴﻠﺔ ﻻ ﻳﻌﺮف ﻣﻦ أي أب أىت‪ ،‬وﻋﺎش‬ ‫ﺣﻴﺎة اﻟﻔﻘﺮ واﻟﺤﺮﻣﺎن‪ ،‬واﻛﺘﻤﻠﺖ ﺣﻴﺎﺗﻪ اﳌﺄﺳﺎوﻳﺔ ﺑﻘﴫه ودﻣﺎﻣﺘﻪ‪.‬‬

‫ورد ﻓﻲ ﺷﻌﺮه ﻣﺎ ﻳﺪل ﻋﻠﻰ أﻧﻪ ﻋﺎﻧﻰ ﻣﻦ ﻣﺴﺄﻟﺔ‬ ‫اﻟﻨﺴﺐ اﻟﺘﻲ ﻛﺎﻧﺖ اﻟﺴﺒﺐ ﻓﻲ ﻧﺸﺄﺗﻪ اﻟﻤﻀﻄﺮﺑﺔ‬ ‫ﻗﺼﺔ دﺧﻮل اﻟﺤﻄﻴﺌﺔ اﻹﺳﻼم ﺗﺤﻮم ﺣﻮﻟﻬﺎ اﻟﻜﺜﻴﺮ‬ ‫ﻣﻦ اﻟﺮواﻳﺎت‪ ،‬ﻓﻬﻨﺎك ﻣﻦ ﻳﺮوي أﻧﻪ دﺧﻞ اﻹﺳﻼم ﻋﻠﻲ‬ ‫ﻋﻬﺪ اﻟﻨﺒﻲ ﺻﻠﻲ ا‪ b‬ﻋﻠﻴﻪ وﺳﻠﻢ‪ ،‬وﻟﻜﻦ رواﻳﺎت أﺧﺮى‬ ‫ﺗﻨﻔﻰ ذﻟﻚ‬ ‫ﺷﻌﺮ اﻟﺤﻄﻴﺌﺔ ﻳﻨﺘﻤﻲ إﻟﻲ اﻟﺒﻴﺌﺔ اﻟﺠﺎﻫﻠﻴﺔ‪ ،‬وﻗﺪ ﻛﺎن‬ ‫اﻟﺤﻄﻴﺌﺔ ﻗﺮﻳﺒﺎ ﻣﻦ ﺷﻌﺮ زﻫﻴﺮ اﺑﻦ أﺑﻲ ﺳﻠﻤﻰ وﻛﺎن‬ ‫راوﻳﺎ ﻟﻪ‬ ‫ﻓﻬﻨﺎك ﻣﻦ ﻳﺮوي أﻧﻪ دﺧﻞ اﻹﺳﻼم ﻋﲆ ﻋﻬﺪ اﻟﻨﺒﻲ ﺻﻞ« اﻟﻠﻪ ﻋﻠﻴﻪ‬ ‫وﺳﻠﻢ‪ ،‬وﻟﻜﻦ رواﻳﺎت أﺧﺮى ﺗﻨﻔﻰ ذﻟﻚ ﻷﻧﻪ مل ﻳﺬﻛﺮ ﻓﻴﻤﻦ وﻓﺪ ﻋﲆ‬ ‫اﻟﻨﺒﻲ‪ ،‬ورواﻳﺎت أﺧﺮى ﺗﺤﺪد دﺧﻮﻟﻪ اﻹﺳﻼم ﰲ ﺧﻼﻓﺔ أيب ﺑﻜﺮ‪.‬‬ ‫وﺑﻐﺾ اﻟﻨﻈﺮ ﻋﻦ اﻟﺠﺪال ﺣﻮل ﺗﺎرﻳﺦ دﺧﻮﻟﻪ اﻹﺳﻼم ﻓﻘﺪ أﺟﻤﻌﺖ‬ ‫اﳌﺼﺎدر اﻟﺘﺎرﻳﺨﻴﺔ أن اﺳﻼم اﻟﺤﻄﻴﺌﺔ ﻛﺎن رﻗﻴﻘﺎ‪ ،‬ومل ﻳﻜﻦ اﻟﺤﻄﻴﺌﺔ‬ ‫اﳌﻀﻄﺮب ﺻﺎدق اﻟﻌﻘﻴﺪة‪ ،‬وﺷﺨﺼﻴﺘﻪ اﻟﺘﻲ متﻴﻞ إﱃ اﻟﺸﻚ واﻟﺘﻘﻠﺐ‬ ‫ﻛﺎﻧﺖ ﺣﺎﺋﻼ ﺑﻴﻨﻪ وﺑني اﻹﺳﻼم اﻟﺤﻘﻴﻘﻲ‪ ،‬وإمنﺎ دﺧﻞ اﻹﺳﻼم ﻟيك‬ ‫ﻳﺠﺎري زﻣﻨﻪ‪ ،‬وﻟﺬا ﻓﻘﺪ ارﺗﺪ ﻣﻊ اﳌﺮﺗﺪﻳﻦ ﺑﻌﺪ وﻓﺎة اﻟﻨﺒﻲ‪.‬‬

‫رﺟﻞ ﺧﺎﻣﻞ اﻟﺬﻛﺮ ﻛام ﻳﺼﻔﻪ ﻃﻪ ﺣﺴني‪ ،‬ﻛﺎن ﻻﺑﺪ أن ﻳﺒﺤﺚ ﻋام‬ ‫ﻳﻌﻮﺿﻪ ﻋﻦ ﺗﻠﻚ اﻟﻌﻘﺪ اﻻﺟﺘامﻋﻴﺔ واﻟﻨﻔﺴﻴﺔ‪ ،‬وﻛﺎن اﻟﺸﻌﺮ ﻫﻮ‬ ‫ﺳﻼﺣﻪ ﰲ ﻣﻮاﺟﻬﺔ ﻛﻞ ذﻟﻚ‪ ،‬ﻟﻜﻨﻪ ﺣﻮل اﻟﺸﻌﺮ إﱃ ﺳﻼح ﺣﺎد ﻳﻨﺘﻘﻢ‬ ‫وﺗﻘﻔﺰ ﺑﻨﺎ اﻟﺮواﻳﺎت اﻟﺘﻲ ﺗﺆرخ ﻟﺴريﺗﻪ إﱃ ﺧﻼﻓﺔ ﻋﻤﺮ ﺑﻦ اﻟﺨﻄﺎب‬ ‫ﺑﻪ ﻣﻦ اﻟﺠﻤﻴﻊ ﺣﺘﻰ ﻣﻦ ﻧﻔﺴﻪ ﻋﻦ ﻃﺮﻳﻖ اﻟﻬﺠﺎء اﻟﺴﻠﻴﻂ‪ ،‬ﻛﺎن‬ ‫ﻟﻺﺷﺎرة إﱃ رﻗﺔ إﺳﻼﻣﻪ‪ ،‬ﻓﻘﺪ ﻫﺠﺎ اﻟﺰﺑﺮﻗﺎن ﺑﻦ ﺑﺪر اﻟﺘﻤﻴﻤﻲ ﺳﻴﺪ‬ ‫اﻟﻬﺠﺎء وﺳﻴﻠﺘﻪ اﻟﺪﻓﺎﻋﻴﺔ ﺿﺪ ﻇﻠﻢ اﳌﺠﺘﻤﻊ‪ ،‬وﻫﻮ ﻳﺠﺴﺪ ذﻟﻚ ﰲ‬ ‫ﻗﻮﻣﻪ واﻟﺬي ﻋﻤﻞ ﻟﻠﻨﺒﻲ ﺻﲆ اﻟﻠﻪ ﻋﻠﻴﻪ وﺳﻠﻢ وأيب ﺑﻜﺮ وﻋﻤﺮ رﴈ‬ ‫ﺷﻌﺮه‪:‬‬ ‫اﻟﻠﻪ ﻋﻨﻬام‪ ،‬وﻛﺎن ﻳﺠﻤﻊ زﻛﺎة ﻗﻮﻣﻪ وﻳﺆدﻳﻬﺎ ﻟﻬﻢ‪ ،‬وﻗﺪ ﻫﺠﺎه ﻫﺠﺎء‬ ‫‪Q‬‬ ‫‪Q‬‬ ‫* ‪Q‬‬ ‫‪X‬‬ ‫‪ CC‬‬ ‫(‪U ¤R CCT- UzCC/Q KQ R fCCcCC C G* R §U CCC CCCG* CCCDfCCC1 *3‬‬ ‫‪ RzCCCM|CCC-K «CC¤CCkCC CC CC- fCCCCH ¾(* fN CCC<*|CCC CCC6‬ﻣﻘﺬﻋﺎ‪.‬‬ ‫‪ R¥CCG *§CCgCC CC CCI P $L|CCCCH* |V C CC7 *§CCC¡CCCH&* £(*K‬‬ ‫<‪ RzCCªCCtCCM ¦R K&*4 fCCCCCCCCCHT (* CCCCC¤CCCCC-*K*zCCCCC‬‬ ‫‪ CC‬‬ ‫‪U C¤R CCCGV S{CCC-R ¨CCCkT CCC0 |CC‬‬ ‫‪U C SJSK*zCCCCCD‬‬ ‫‪X C CCV C CCCGfCCC+ CCCC‬‬ ‫‪ RzCCªCC CC0 *3 QlCCCCCCH4 fCCCCH *3(* lCCCCCCCI&*K‬‬ ‫‪Q C¡U CHS *§+f 8&* U£(* CC‬‬ ‫‪ N j Q U =Q *3 · C‬‬ ‫‪U RJK‬‬ ‫‪ RzCCCCCªCCCCC<KK CCC‬‬ ‫*&‪R C¤CCCC¡CCCCH OzCCCCCªCCCCC<K fCCCCCCCCCC-‬‬ ‫‪ CU C¤CCIV (fC D ¤ª < ¢CU C CC CC1*K ¤ w‬‬‫‪ ÑCCD‬‬ ‫‪U‬‬ ‫*(‪2R §CCC CCC6&* fCCCªCCC CCCX CCCG* CC¡CCH *§CCCC¡CCCCH&* *3‬‬

‫رﻗﺔ إﺳﻼﻣﻪ‪I‬‬ ‫ﻗﺼﺔ دﺧﻮل اﻟﺤﻄﻴﺌﺔ اﻹﺳﻼم ﺗﺤﻮم ﺣﻮﻟﻬﺎ اﻟﻜﺜري ﻣﻦ اﻟﺮواﻳﺎت‪،‬‬

‫ﻓﺸﻜﺎه اﻟﺰﺑﺮﻗﺎن ﻟﻌﻤﺮ ﺑﻦ اﻟﺨﻄﺎب ﻓﺤﺒﺴﻪ‪ ،‬ﻓﺮاح ﻳﺴﺘﻌﻄﻒ ﻋﻤﺮ‬ ‫ﺷﻌﺮا وﻳﺬﻛﺮه ﺑﺄﺣﻮال أوﻻده وﺗﴩدﻫﻢ ﺑﺴﺒﺐ ﺳﺠﻨﻪ‪:‬‬ ‫‪Q * *3fCCCCCCCH‬‬ ‫‪ yP |CCCCC‬‬ ‫&‪¸ m24‬‬ ‫&‪Q CHQ ¬{CCCC+ y*|CCCCCCCD‬‬ ‫‪S‬‬ ‫‪ |q 7‬‬ ‫‪ ¸K $fCCC‬‬ ‫‪R‬‬ ‫‪O CH ¸ CC CC8*§CCº* |CC CC‬‬ ‫‪R‬‬ ‫ ‪R 0‬‬ ‫ *&‪j H |CC CCE · CC¤CCgQ C CC6fCCF QlCCCªCCC CCCG‬‬ ‫‪|CR C CC< fCCCM Ù* ÑCCCCC CC6 CCªCC CC< |CC CC=fCCD‬‬ ‫*&‪ ¥g0f 8 zCC CC+ ¢CCH ¬{CCCG* ÕCCCCH&¸* lCCCI‬‬ ‫*‪|C gG‬‬ ‫‪ ¨C‬‬ ‫‪C‬‬ ‫‪¤C‬‬ ‫‪C‬‬ ‫‪¡C‬‬ ‫‪C‬‬ ‫*‪G‬‬ ‫ ‬ ‫‪C‬‬ ‫‪ªC‬‬ ‫‪C‬‬ ‫‪GfC‬‬ ‫‪C‬‬ ‫‪ C‬‬ ‫‪C‬‬ ‫‪H‬‬ ‫(‪ CCªCCG‬‬ ‫*&‪* ¨CC CCG‬‬ ‫‪QzC‬‬ ‫‪R‬‬ ‫½ ‪f¤G §CCCHzCCCE U3(* fCC¤CC+ K|CCCC.'§CCCCM‬‬ ‫‪ÔCCCCCCCS‬‬ ‫‪R Q »* CCC+ lCCCIfCCCF CC¤CC CC CC CCI&¸ ¢CC CCG‬‬

‫أﻛﺘﻮﺑﺮ‪016 /‬‬ ‫أﻛﺘﺘﻮﻮﺑﺮ‪/‬‬ ‫ﻛ‬ ‫‪79 2016‬‬ ‫‪79‬‬

‫اﻟﺠﺎﻫﻠﻲ‬ ‫‪baytelshear‬‬

‫اﻟﺤ َﻄﻴ َﺌﺔ‪..‬‬ ‫ُ‬

‫اﻟﺸﻌﺮ ﺳﻼﺣﻪ‬ ‫اﻟﻮﺣﻴﺪ ﻟ‪6‬ﻧﺘﻘﺎم‬ ‫ﻣﻦ اﻟﺠﻤﻴﻊ‬

‫ﻣﺤﻤﺪ أﻧﻮر‬

‫ﻳﺠﺴﺪ اﻟﺸﺎﻋﺮ اﻟﺤﻄﻴﺌﺔ ﻧﻤﻮذﺟﺎ ﻓﺮﻳﺪا ﻟﻠﺸﺨﺼﻴﺔ اﻟﻘﻠﻘﺔ اﻟﺜﺎﺋﺮة واﻟﻨﺎﻗﻤﺔ ﻋﻠﻰ ﻛﻞ ﺷﻲء‪ ،‬ﻛﻤﺎ ﻳﻌﺘﺒﺮ ﻣﺜﺎ ًﻻ ﺻﺎرﺧ ًﺎ ﻟﺘﺄﺛﻴﺮ اﻟﺤﻴﺎة اﻟﻨﻔﺴﻴﺔ‬ ‫ﻋﻠﻰ اﻟﺘﺠﺮﺑﺔ اﻟﺸﻌﺮﻳﺔ ﻟﻠﺸﺎﻋﺮ‪ ،‬ﻧﺸﺄ وﻫﻮ ﻻ ﻳﻌﺮف ﻟﻪ أب‪ ،‬وﻛﺎن دﻣﻴﻤ ًﺎ وﻗﺼﻴﺮاً‪ ،‬ﻋﺎش ﺣﻴﺎة اﻟﻔﻘﺮ واﻟﺒﺆس واﻟﺤﺮﻣﺎن‪ ،‬ﻓﺒﺎدل اﻟﻤﺤﻴﻂ‬ ‫اﻟﺬي ﻋﺎش ﻓﻴﻪ ﻛﺮﻫ ًﺎ ﺑﻜﺮه‪ ،‬وﻟﻢ ﻳﻜﻦ ﻳﻤﻠﻚ ﺳﻮى ﺷﻌﺮ اﻟﻬﺠﺎء ﺳﻼﺣ ًﺎ ﻟﻴﻨﺘﻘﻢ ﺑﻪ ﻣﻦ اﻟﺠﻤﻴﻊ ﺣﺘﻰ ﻣﻦ ﻧﻔﺴﻪ‪ ،‬واﻟﺤﻄﻴﺌﺔ ﺷﺎﻋﺮ ﻣﺨﻀﺮم‬ ‫ﻋﺎش ﻓﻲ اﻟﺠﺎﻫﻠﻴﺔ وأدرك اﻹﺳﻼم‪V‬‬

‫‪ 78‬ﺑﻴﺖ اﻟﺸﻌﺮ ‪ /‬اﻟﻌﺪد ‪49‬‬

‫اﻟﻨﺼﻴﺐ ﻳﺼﻴﺐ‬ ‫ﻓﺘﺎة ﺗﻬﺎﻣﺔ‬ @ftat_t

d@@ £@ @-x@@ @ @ - É@@ @ @ @ @ + @@ @ @ @ @ @ @D @@ @ @ @ D¡@@ @ @ @ ~@ @ 6* ob@@ @ @ @ @ g@ @ @ @ @ @0* * b@@ £@ @ @ @ @ @ @ @+ ¤@@ @ @ @ -¡@@ @ @ @ ~@ @ 8 Iv@@ @ @ @ @ @ @ @ @ ~@ @ 8 2R x@@ @ @ @ @ @ @ @ @ @ @ @ @ A*H d@@ Jw@@ @ @g@ @ @ @ @ @D @@ @ @ ~@ @|@ @ @ @A ¡@@ @ @ @ Gb@@ @ @ @ E d@@ @ @ @ @ @ p@O @ @ @ @ @ @ D*

*¡@@ @p@ @ @ @ @A ¤@@ @ @ @ @ A v@@ @ ~@ @ @|@ @ @ @ @ @D* @@ @j@ @ @ @ @E d@@ @ @p@O @ @ @ @ @ @ D* d@@ £@ @~@ @{@ @ @ @ @ @D @@ @ @Ey@@ @ @ @ @ @ @ @ @ @ @ @ @D x@@ @ Q @ @ @ @ @ @ @ @ @ @ @ @J b@@ @ @ @ @ @ @ @ @ @ E* b@@ @ @ @ @ @ @ @ @E @@ @ @ @ @ @ @ @ < v@@ @£@ @ @ @ @p@ @ @ @ @F @@ @ 7É@@ @ @ @ @ @ @ @ + °*H d@@ £@ @ @ @~@ @7 x@@ @ @ @ @ @ @ @ @ + @@ @ @ c@ @ @ @0 ¯ h@@ @ @~@ @ @ {@ @ @ < ¡@@ @ @ @ @D b@@ @ ~@ @ @6x@@ @ @ @ @ E ¤@@ @ @ @ @ @ A h@@ @ £@ @ @ @ @ @/ ¥¡@@ @ @ @ @ @ @ @ - @@ @ z@ @ @ @ @ @ @ @ @ 0* d@@ £@ @ @ @ @ @ D*H b@@ @ A¡@@ @ @ @ @ D* Í@@ @ @ @ @ + ¤@@ c@ @ @ @ 0b@@ @ @ ~@ @ 8 b@@ @ @ @ @ @ @J É@@ @ @ £@ @ @ @D ¢@@ @ @ @ @ @ @ @ @< b@@ @ @ @ Q @ @ @ @ @ = Mx@@ @ @ @ @ <b@@ @ @ @ @ ~@ @ @7 @@ @ @ @ @ @ @ @ @ C d@@ £@ @< b@@ @ @ J*¡@@ @ @ @ @ @ @ @ @ @ D* 4v@@ @ @ @ @ @ @ = @@ @ @ @ @ @ @ @ @ @ @E @@ @ @ @ @ @ E b@@ @c@ @ @ @ @=* b@@ @ @ @ @ E @@ @ G¡@@ @ @ @ @ D* @@ Jv@@ @ @ ~@ @ |@ @ @ @ - ¡@@ @ @ @ @ @ @ @ B* d@@£@ ~@ |@ @ @J d@@ £@ @~@ @|@ @ @ @ @ @D* * x@@ @ @ @ @ @ @- @@ @ @ @ @ @ @ @ E*2 b@@ @ @ @ Bx@@ @ @ @ A ¢@@ @ @ @ @ @ @ @ @< d@@ @ @ @ @ @ @ @ @g@ @ @ @ @- ° d@@ @ @ @ @ @ @ @ @ @ @ @ @ @D* d@@ Jw@@ @ @ @ @g@ @ @ @D* @@ @ @ @ Av@@ @ @ @ F @@ @ @ @ @ @ @£@ @ @ @ @+H ¤@@ @ @ @ @ @ @ £@ @ @ @ + b@@ @ @ @ @ @ @c@ @ @ @E t@M @ @ @ @ Eb@@ @ @ @ @ @ @~@ @ 7 M *x@@ @ @ @ @ @ @ @ @ @ @ @ @ = ¤@@ @ @ @ @ @ @ @ @c@ @ @ @ @FH d@@ @Jx@@ @ @ @ D* °* H @@ @~@ @ {@ @ @ @ @D* b@@ @ m@ @ @ @ @ @E @@ @ @ @ @ @ @ @ +°H É@@ @ @ @ @ JH b@@ @ @ @ @ J d@@ @ @p@O @ @ @ @ @ @ D* ¡@@ @ @ @ @ @ @ @ @ @ @/ x@@ @ @ @ @ @ @ @ @ @<* d@@ £@ @: @@ @ @ @D x@@ @ @ @ @ @ @ @ @ @ @F*H @@ @ @ @ £@ @ @ @ @ @ @D d@@ @ ~@ @ {@ @ @ @ @ <* *¡@@ @ @ @ @ @G*H @@ @ @ @ @ @ @E ¤@@ @~@ @ 9b@@ @ @ @ @ @ @D* @@ @ /Æ@@ @ @ @ @ ~@ @ @ 6*H

77 2016 /‫أﻛﺘﻮﺑﺮ‬

‫ﻣﺎﺳﺎت‬ baytelshear

‫ﺳﻨﻴﻦ اﻟﻌﻤﺮ‬ ‫اﻟﺸﺎذﻟﻲ اﻟﻌﺠﺐ‬ @ AlshathalyAlajb

2Hy@@ J *x@@ @ @ @ D* x@@ @ @<H @@|@ @ @ - x@@ @ @ D*D* Í@ Í @ @ ~@ 6 oÉ@@ @< b@@ @ @ @ ~@ @ {@ @ DR h@@ £@ @ @ @Db@@ E M *x@@ @ @ @ @ = Ñ* ¢@@ @ ² 2¡@@ @ ~@ 6b@@J x@@~@ {@ c@ D* Í@@ @ 0 @@c@ ~@ {@ J ¡@@ @ E ¤@@ @ £@ @ 0 ob@@£@ ~@ 6 ¡@@ @ @~@ @}@ @D* ev@@ @ 0 Q @@ @ CH o¡@@ @ @ @ 1 ¥2*¡@@ @ @ @A 2¡@@ @ @ @ D* Q @@ @ @ @<w@@ @ @ @<3 b@@ @ @ @ @ @ C 5*Æ@@ @ @ @ @ @ @ @ @J* *x@@ @ @ @ @ ob@@g@ ¹ ¡@@ @ GH d@@ @ Jb@@ @ c@ @ @²* @@ 6b@@ @ @Fb@@ + x@@ @ Cw@@ @ 2¡@@ @ @-H ¤@@ @© d@@ Jb@@ c@ @ @ @D*H h@@ @ @ @ +* @@ @ @ @ JH*x@@ @0 o*x@@ @ @+*H *¡@@ ~@ @6 @@ +b@@ E x@@ @ @ D* ¡@@ J @@ ~@ @6x@@ D* ¤@@ G 2¡@@ @ @ @ D* v@@ @ @ @ - M ¡@@ @ @ @ @ @ @0* @@ @ @ @ B4b@@ @ @ @ E @@ @£Q @ @ @ @ < ob@@m@~@z@D* ¤@@Bb@@~@ 6 @@ G¡@@ D* @@ @E @ R @£@ ~@ 7* 2¡@@ @C b@@ @ F*H 2Hx@@ @ @ @ @´* ¢@@ @ @ @ < Áb@@ @ @ @ @ @E°* v@@ @ @ @ + @@ @j@ @ E M2b@@ @ @ @ @ @ + o*2H°* @@ @ @E b@@ @ Jb@@ @ @ @ @´* ex@@ @ @ @ B @@ @j@ @ E Me*x@@ @ @ @ @ @ B 2H2x@@ @ @ E É@@ @ + h@@ @ @ @ 0*4 b@@ @ @ C ¡@@ @ D @@ @ @ D ¤@@ -b@@ £@ @ 0 o*4 ¡Q @ @ @ @D x@@ @ @ @ @D* ¤@@ @ @+* @@ @ £@ @ < ¤@@ @ @c@ @+* 2¡@@ @ D* r¡@@ @ @ @ JH eHw@@ @ J ,x@@ @ @ @ ±* ¢@@ @ <b@@ E @@ j@ E o*x@@ @ P @ @ D* @@ @E ¥xQ @ @ ~@ @ 6 rb@@ @ @ AH *x@@ @ @ @ @ @ D* Áb@@ @ @ G2 2¡@@ @ ~@ 6b@@J @@ @ @+ Á¡@@ @ @ @ ; Ì@Q @ @ @ @ E* Ñ*H Áb@@ @ @E ob@@ E @@ g@ @« @@ @ @ @94°* h@@ /b@@ E ¡@@ @D @@ c@ @±* @@ @ @D 2¡@@ @ D* e¡@@ c@ @G @@ E °H @@ @ @ E É@@ 1b@@ E ¢@@~@ z@ < o*x@@ @ @+*H *¡@@ ~@ @6 @@ +b@@ E * ¡@@ @J I¡@@ @ @ @ D* ¡@@ ~@ @ 64

49 ‫ اﻟﻌﺪد‬/ ‫ ﺑﻴﺖ اﻟﺸﻌﺮ‬76

‫‪ ÑCCCCCCC CCCCCCC9 T CCCCCCCCCCCCCCCCCF QlCCCCCCCC CCCCCCCC CCCCCCCC CCCCCCCC9‬‬ ‫‪ ¥CCCCCCCHfCCCCCCC<~CCCCCCCG* zCCCCCCCCCC CCCCCCCCCC-R ½K‬‬ ‫‪ QlCCC¡CCCF {CCCCCCH hCCC‬‬ ‫‪R CtCCCC CCCC CCCC- QlCCCCCCCCCCG5 fCCCCCCH‬‬ ‫· *‪ ¥CCCCCCHÑCCCCCC CCCCCC CCCCCCG* fCCCCCCgCCCCCC CCCCCC CCCCCCG‬‬ ‫‪Q‬‬ ‫‪ QlCCCCCCCC CCCCCCCCqCCCCCCCC1R&*K mÐCCCCCCCCCCCCC‬‬ ‫‪C< ¨CCCCCCkCCCCCC0‬‬ ‫‪¥CCCCCCCH%fCCCCCCC CCCCCCS C CCCCCCCG* vfCCCCCCC CCCCCCC CCCCCCCkCCCCCCCDfCCCCCCC+‬‬ ‫‪ lCCCCCCCCCCCCCC‬‬ ‫‪CEK CCCCCCCCCCCCCCCF · ÙfCCCCCCCCCCCCCCCCCCC+‬‬ ‫‪P‬‬ ‫‪ ¥CCCHfCCCqCCC CCC CCCI* ifCCC‬‬ ‫‪C‬‬ ‫‪tCCC‬‬ ‫‪C‬‬ ‫‪ CCC‬‬ ‫‪C‬‬ ‫‪ CCC‬‬ ‫‪C‬‬ ‫‪G* ¬zCCCC‬‬ ‫‪CgCCCCCM‬‬ ‫‪R‬‬ ‫‪ÕCCCC0 CCCCCCCCCCCCF · |CCCCCCCCCCCCCCJ~CCCCCCCCCCCCCCG*K‬‬ ‫‪¥CCCCCCCCCCCCCHfCCCCCC CCCCCCFS ¥CCCCCCCC¡CCCCCCCC< T CCCCCCCC CCCCCCCC CCCCCCCCM‬‬ ‫‪QlCCCCCCCC¡CCCCCCCCF §CCCCCCCCCG‬‬ ‫ ‪ ¬4{CCCCCCCCCCCC< CCCCC CCCCC CCCCC-‬‬ ‫‪R‬‬ ‫‪¥CCCCCCCHÑCCCCCCC¼* i|CCCCCCCCCCCCCCCCC‬‬ ‫‪C= QlCCCCCCC CCCCCCC CCCCCCCF‬‬ ‫‪Q‬‬

‫وﰲ اﺑﻴﺎت ﻏﺰﻟﻴﺔ ﴏﻳﺤﺔ ﺗﻜﺸﻒ ﺣﻔﺼﺔ ﻋﻦ ﺣﺒﻬﺎ وﻻ ﺗﺒﺎﱄ ﺑﻜﱪﻳﺎء‬ ‫اﳌﺮأة ودﻻﻟﻬﺎ ﰲ ﻋﺪم اﻟﺒﻮح ﺑﺤﺒﻬﺎ ﳌﻦ ﺗﺤﺐ‪.،‬‬ ‫إن ﺷﻌﺮ ﺣﻔﺼﺔ اﻟﻐﺰﱄ ﻳﻨﻢ ﻋﻦ ﺟﺮأﺗﻬﺎ ﰲ اﻟﺒﻮح‪ ،‬وﻟﻜﻨﻬﺎ ﺗﺨﻄﺖ ﻛﻞ‬ ‫ﺣﺪود اﻟﺠﺮأة ﺑﺄن ذﻫﺒﺖ إﱃ ﺑﺎب ﺑﻴﺖ ﺣﺒﻴﻬﺎ ﻟﺘﻌﻠﻦ ﻟﻪ ﻋﻦ ﺣﺒﻬﺎ‪،‬‬ ‫ﻓﺬات ﻟﻴﻠﺔ ذﻫﺒﺖ ﺣﻔﺼﺔ إﱃ دار ايب ﺟﻌﻔﺮ وﻃﺮﻗﺖ اﻟﺒﺎب ﻓﻔﺘﺤﺖ‬ ‫اﻟﺠﺎرﻳﺔ ﻓﻘﺎﻟﺖ ﻟﻬﺎ‪ :‬ﺳﻠﻤﻲ ﻫﺬه اﻟﺮﻗﻌﺔ إﱃ ﺳﻴﺪك‪ ،‬وﻛﺎن اﺑﻮ ﺟﻌﻔﺮ‬ ‫ﻳﺠﻠﺲ ﻣﻊ رﻓﺎﻗﻪ وﻋﻨﺪﻣﺎ ﺳﻠﻤﺘﻪ اﻟﺠﺎرﻳﺔ اﻟﺮﻗﻌﺔ راح ﻳﻘﺮأ ﺑﺼﻮت‬ ‫ﺧﺎﻓﺖ اﺑﻴﺎﺗﻬﺎ‪:‬‬ ‫‪ *~CCCCCC CCCCCCG* SzCCCCCªCCCCCqCCCCC+ ¨CCCCCCCCCCC-&* |CCCCCCCCCCC)*5‬‬ ‫‪ ÑCCCCC¤CCCCCG* S¥CCCCCtCCCCC¡CCCCC/ lCCCCCCC³ CCCC CCCC CCCCH‬‬ ‫‪Q‬‬ ‫‪CtCC CC6 ¢CCCH fCC‬‬ ‫‪UlCC CC¡CC CCR 8 CCC+fCCC+ |C‬‬ ‫ ‪P CtCCC CCC+‬‬ ‫‪ ¸zCCCCCCCG* QlCCCCC¡CCCCC+ §CCCCC CCCCCM ifCCCCCC‬‬ ‫‪C‬‬ ‫‪ CCCCCC‬‬ ‫‪C‬‬ ‫‪94K‬‬ ‫‪P‬‬ ‫ ‪z1 ¥CC¡CCH L§CCCC0 fCCCH 2R 4§CCCCCCCG* uCR C CC CC CCM‬‬ ‫‪¿%ÑCCCCCCG uCCCC CCCC9fCCCCD |CCCC‬‬ ‫‪R C CCCCCnCCCCCG* *{CCCCCCCCCCFK‬‬ ‫‪ P£3(* zCCCC CCCC+ ¥CCCCCG§CCCCC12 · L|CCCCCCC- fCCCCCH‬‬ ‫*&‪ fCCC CCC CCC CCCI* · CCCP C94fCCCC CCCCG ¦*|CCCCCCC- K‬‬

‫ﻳﻨﻢ ﺷﻌﺮ ﺣﻔﺼﺔ اﻟﻐﺰﻟﻲ ﻋﻦ ﺟﺮأﺗﻬﺎ ﻓﻲ‬ ‫ّ‬ ‫اﻟﺒﻮح‪ ،‬وﻟﻜﻨﻬﺎ ﺗﺨﻄﺖ ﻛﻞ ﺣﺪود اﻟﺠﺮأة ﺑﺄن‬ ‫ذﻫﺒﺖ إﻟﻰ ﺑﺎب ﺑﻴﺖ ﺣﺒﻴﻬﺎ ﻟﺘﻌﻠﻦ ﻟﻪ ﻋﻦ ﺣﺒﻬﺎ‬ ‫ﻟﻢ ﺗﻜﺘﻒ ﺣﻔﺼﺔ ﺑﺮﺛﺎء اﺑﻲ ﺟﻌﻔﺮ ﺣﺒﻴﺒﻬﺎ اﻟﻤﻘﺘﻮل‪،‬‬ ‫ﺑﻞ ﻟﺒﺴﺖ اﻟﺴﻮاد ﺣﺪادا وﺟﻬﺮت ﺑﺎﻟﺤﺰن ﻋﻠﻴﻪ‬ ‫وان ﻛﺎﻧﺖ ﺑﻌﺾ اﳌﺼﺎدر اﻟﺘﺎرﻳﺨﻴﺔ ﻣﺜﻞ ﻣﻌﺠﻢ اﻷدﺑﺎء ﻟﻴﺎﻗﻮت‬ ‫اﻟﺤﻤﻮي ﺗﺸري إﱃ أن اﻟﺬي ﺗﻮﻟﻊ ﺑﺤﻔﺼﺔ ﻟﻴﺲ ﻋﺜامﻧﺎً وإمنﺎ ﻫﻮ اﻷب‬ ‫اﳌﺆﺳﺲ ﻟﺪوﻟﺔ اﳌﻮﺣﺪﻳﻦ ﻋﺒﺪ اﳌﺆﻣﻦ‪ ،‬وﻫﻮ ﻣﺎ ﻻ ﻳﺘﻔﻖ ﻋﻠﻴﻪ اﻟﻜﺜري‬ ‫ﻣﻦ اﳌﺆرﺧني ﻣﺴﺘﺪﻟني ﺑﺬﻟﻚ ﻋﲆ واﻗﻌﺔ ﺗﺤﻘري ايب ﺟﻌﻔﺮ ﻟﻠﻮن ﻋﺜامن‬ ‫اﻷﺳﻮد واﻟﺬي ﻛﺎن ﺳﺒﺒﺎ إﺿﺎﻓﻴﺎ ﰲ ﺣﻘﺪه ﻋﻠﻴﻪ‪ ،‬ﺑﻴﻨام ﻛﺎن اﺑﻮه ﻋﺒﺪ‬ ‫اﳌﺆﻣﻦ ﺻﺎﺣﺐ ﺑﴩة ﺑﻴﻀﺎء‪.‬‬ ‫ﻓريوى أن اﺑﺎ ﺟﻌﻔﺮ ﻗﺎل ﻟﺤﻔﺼﺔ‪» :‬ﻣﺎ ﺗﺤﺒني ﰲ ذﻟﻚ اﻷﺳﻮد وأﻧﺎ‬ ‫أﻗﺪر أن أﺷﱰي ﻟﻚ ﻣﻦ ﺳﻮق اﻟﻌﺒﻴﺪ ﺑﻌﴩﻳﻦ دﻳﻨﺎراً ﺧرياً ﻣﻨﻪ« ﻓﻠام‬ ‫ﻧﻘﻞ اﻟﻮاﺷﻮن إﻟﻴﻪ اﻟﺨﱪ أﴎﻫﺎ ﻋﺜامن ﰲ ﻧﻔﺴﻪ ووﺟﺪ اﻟﺤﺴﺎد ﰲ ذﻟﻚ‬ ‫ﺳﺒﻴ ًﻼ إﱃ إﻏﺮاء اﻟﺴﻠﻄﺎن ﺑﻪ ﻓﻠام وﺟﺪ ﻓﺮﺻﺔ ﻣﻮاﺗﻴﺔ ﻓﻘﺘﻠﻪ‪.‬‬ ‫ﻛﺎن اﺑﻮ ﺟﻌﻔﺮ ﻫﻮ اﳌﻠﻚ اﳌﺘﻮج ﻋﲆ ﻋﺮش ﻗﻠﺐ ﺣﻔﺼﺔ‪ ،‬ﻟﻜﻦ اﳌﻠﻚ‬ ‫اﻟﺠﺎﻟﺲ ﻋﲆ ﻛﺮﳼ اﻟﻌﺮش ﻓﺸﻞ ﰲ اﻣﺘﻼك ﻗﻠﺐ ﺣﻔﺼﺔ‪ ،‬ﻓﺎﺳﺘﺨﺪم‬ ‫ﺳﻠﻄﺎﺗﻪ وﻗﻮﺗﻪ ﰲ اﻟﺘﺨﻠﺺ ﻣﻦ ﻏﺮميﻪ ﻟﻌﻠﻬﺎ ﺗﻨﺴﺎه ﺑﻌﺪ اﻟﺮﺣﻴﻞ وﺗﺼﻔﻮ‬ ‫إﻟﻴﻪ‪ ،‬ﻛﺎﻧﺖ اﻟﺘﻬﻤﺔ اﻟﺘﻲ ﻗﺘﻞ ﺑﺴﺒﺒﻬﺎ ايب ﺟﻌﻔﺮ ﻫﻲ اﻟﺘﺂﻣﺮ ﻋﲆ دوﻟﺔ‬ ‫اﳌﻮﺣﺪﻳﻦ ﻣﻊ اﺑﻦ ﻣﺮدﻧﻴﺶ اﻟﺬي ﺛﺎر ﻋﲆ اﳌﻮﺣﺪﻳﻦ واﺳﺘﻮﱃ ﻋﲆ‬ ‫ﴍق اﻷﻧﺪﻟﺲ‪ ،‬وﻛﺎن ﻗﺘﻠﻪ مبﺪﻳﻨﺔ ﻣﺎﻟﻘﺔ‪ ،‬وﺑﻌﺪ أن ﻓﺠﻌﺖ ﺣﻔﺼﺔ‬ ‫ﺑﻘﺘﻠﻪ ﺑﺄﻣﺮ ﻣﻦ ﻏﺮميﻪ رﺛﺘﻪ ﺑﻘﺼﻴﺪة ﻃﻮﻳﻠﺔ وﺣﺰﻳﻨﺔ ﺗﻘﻮل ﰲ ﻣﻄﻠﻌﻬﺎ‪:‬‬

‫‪ ¬|CC;fCCI £fCCCCF fCCC¼ fN CCC CCCÅ ¢CC CC- ½ §CCCCGK‬‬ ‫‪N‬‬ ‫‪¦4§CCCI zCC CC+ fC CC CC CCH ¥CC¡CC< lCCgCC= zCCCCEK‬‬ ‫وﺑﻌﺪ أن ﻗﺮأ اﻟﺮﻗﻌﺔ ﻗﺎل‪ :‬ورب اﻟﻜﻌﺒﺔ ﻣﺎ ﺻﺎﺣﺐ ﻫﺬه اﻟﺮﻗﻌﺔ إﻻ ‪r 7 ¢CCCH ¢CC CC6fCCtCC¼* CC CC- ¨CC CC< ÑCCC CCC6‬‬ ‫ﺣﻔﺼﺔ‪ ،‬ﻓﺒﺎدر إﱃ اﻟﺒﺎب ﻓﻠﻢ ﻳﺠﺪﻫﺎ‪ ،‬ﻓﻜﺘﺐ إﻟﻴﻬﺎ أﺑﻴﺎت ﻳﻘﻮل ﻓﻴﻬﺎ‪:‬‬ ‫‪¦4K|CCCC CCCC6 hCCCCªCCCC:K ¦fCCC CCC CCC¡CCC+ m$fCCCC¡CCCC‬‬‫*¼‪ R §CCCCC CCCCCMQ hCCCCCtCCCCC‬‬ ‫* ‪ ¢CCCCC< CCC CCC CCC7 ¬&W‬‬ ‫‪X‬‬ ‫‪W‬‬ ‫‪R K|CC‬‬ ‫ ‬ ‫‪C‬‬ ‫‪ CC‬‬ ‫‪C‬‬ ‫‪ CC‬‬ ‫‪C‬‬ ‫*‪G‬‬ ‫‪ ¥C‬‬ ‫‪C‬‬ ‫‪¡C‬‬ ‫‪C‬‬ ‫‪H‬‬ ‫ ‬ ‫*‬ ‫‪ zCC‬‬ ‫‪C‬‬ ‫‪E‬‬ ‫‪ fC‬‬ ‫‪C‬‬ ‫‪0fC‬‬ ‫‪C‬‬ ‫‪gC‬‬ ‫‪C‬‬ ‫‪ C‬‬ ‫‪C‬‬ ‫‪8‬‬ ‫‪ fCC‬‬ ‫‪C‬‬ ‫‪M‬‬ ‫‪Q£%‬‬ ‫‪N‬‬ ‫ومل ﺗﻜﺘﻒ ﺣﻔﺼﺔ ﺑﺮﺛﺎء ايب ﺟﻌﻔﺮ ﺣﺒﻴﺒﻬﺎ اﳌﻘﺘﻮل‪ ،‬ﺑﻞ ﻟﺒﺴﺖ‬ ‫‪CªCCG(* ¨CC¤CC CC7&* lCCCI&fCCCD U CCCCC CCCCS C8*KK U CCC CCC8‬‬ ‫‪ " R §CC CC CCI *3 CC CCD ¨CCC¡CCC fCR¼C¡C* {CC‬اﻟﺴﻮاد ﺣﺪادا وﺟﻬﺮت ﺑﺎﻟﺤﺰن ﻋﻠﻴﻪ ﻣام أﻏﻀﺐ اﻟﺴﻠﻄﺎن وﺣﺎﺷﻴﺘﻪ‪،‬‬ ‫‪CM{CCCG ¢CCCCHS‬‬ ‫ﻓﺘﻮﻋﺪت ﺑﺎﻟﻘﺘﻞ ﻓﻘﺎﻟﺖ ﰲ ذﻟﻚ‪:‬‬ ‫‪v§CC‬‬ ‫¸ ‪O CgCCC CCC8 hCCCCªCCCC CCCCMQ ¸ CCCCªCCCCgV CCCC0K‬‬ ‫=‪2*zCCCCCº* CC CCgCCG CCCCCC/&* ¢CCCCH ÉK2R VzCCCCCCCCCJ R §CCCCgCCCC= hCCCCªCCCC CCCCMQ ¸K ¥CCCC¡CCCC< lCCCCgCCCC‬‬ ‫‪2S *zCCCCCCºfCCCCCC+ ¿ ¦K24&* hCCCCªCCCCgCCCCº‬‬ ‫‪Q * 3K‬‬ ‫¸ ‪X‬‬ ‫‪«CCCEÑCCCkCCCG* X~CCCCCCCC<K fCCCCC CCCCC¹‬‬ ‫‪ CCC‬‬ ‫‪Q C04 R CCCM|CCC CCCG* V~CCCCCC< ¥CCCCCªCCCCCG(* fCCCC CCCCkCCCC/*K‬‬ ‫‪P CHzCCCC+ 2R §CCCCCCqCCCCCCM ¢CCCCCCH Ù* CCCCCCCCC‬‬ ‫‪¬2fCCCCCCCC<&¸* CCCªCCCkCCCE ¨CCC CCC< v§CCCC¡CCCC+‬‬ ‫*&‪ K‬‬ ‫‪P‬‬

‫ﻧﻬﺎﻳﺔ اﻟﺤﺐ واﻟﺸﻌﺮ‪I‬‬ ‫ﺷﺒﻪ اﻟﻜﺜري ﻣﻦ اﻟﻨﻘﺎد ﻗﺼﺔ ﺣﺐ ﺣﻔﺼﺔ وأيب ﺟﻌﻔﺮ ﺑﺤﺐ وﻻدة ﻛﺎن ﻣﻘﺘﻞ ايب ﺟﻌﻔﺮ إﻳﺬاﻧﺎ ﺑﺈﻏﻼق اﻟﺴﺘﺎر ﻋﲆ ﻗﺼﺔ ﺣﺒﻬام‪ ،‬ﻛام‬ ‫ﺑﻨﺖ اﳌﺴﺘﻜﻔﻲ ﻻﺑﻦ زﻳﺪون‪ ،‬وإن ﻛﺎن اﻟﻐﺮﻳﻢ ﰲ ﻗﺼﺔ وﻻدة واﺑﻦ ﻛﺎﻧﺖ اﻟﻨﻬﺎﻳﺔ ﻟﻘﻮل اﻟﺸﻌﺮ ﺑﺎﻟﻨﺴﺒﺔ ﻟﺤﻔﺼﺔ‪ ،‬ﺣﻴﺚ روي أﻧﻬﺎ مل ﺗﻘﻞ‬ ‫زﻳﺪون ﻫﻮ اﻟﻮزﻳﺮ اﺑﻦ ﻋﺒﺪوس‪ ،‬ﻟﻜﻨﻪ ﰲ ﻗﺼﺔ ﺣﻔﺼﺔ وايب ﺟﻌﻔﺮ أﻣري ﺷﻌﺮا ﺑﻌﺪﻫﺎ‪ ،‬وأورد ﻳﺎﻗﻮت اﻟﺤﻤﻮي أن ﺣﻔﺼﺔ اﻟﺮﻛﻮﻧﻴﺔ ﺗﻮﻓﻴﺖ‬ ‫مبﺮاﻛﺶ ﻧﺤﻮ ﻋﺎم ‪586‬ﻫـ‪.‬‬ ‫ﻏﺮﻧﺎﻃﺔ وﺳﻴﺪﻫﺎ ﻋﺜامن ﺑﻦ ﻋﺒﺪ اﳌﺆﻣﻦ‪.‬‬

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‫ﻴﺎت‬WWWWWWW‫أﻧﺪﻟﺴ‬ baytelshear

R R ¥CCCCªCCCCD fCCCCCCCCCC¡CCCCCCCCCCÊ CCCCCCCCCCCCC CwCCCCCCCCCCCCC C-Q ‫وﻳﺒﺪو ﻏﺮﻳﺒﺎ ﺟﺮأة ﺣﻔﺼﺔ ﰲ اﻟﺘﻌﺒري ﻋﻦ ﻫﺬا اﻟﺤﺐ ﰲ ﺑﻴﺌﺔ ﻣﺤﺎﻓﻈﺔ‬ ‫ ﻟﻜﻦ ﺣﻔﺼﺔ مل ﺗﻬﺘﻢ ﺑﺬﻟﻚ‬،‫ ¦] ذات ﺻﺒﻐﺔ دﻳﻨﻴﺔ ﰲ ﻋﴫ اﳌﻮﺣﺪﻳﻦ‬QzCCCCCCCCCCCCCCCCCCCC0K Ù zCCCCCCCCCCCC CCCCCCCCCCCCº*^ ‫ ومتﺘﻠﺊ اﳌﺼﺎدر اﻟﺘﺎرﻳﺨﻴﺔ‬،‫وﻋﱪت ﻋﻦ ﺣﺒﻬﺎ ﺑﺠﺮأة ﺗﺤﺴﺪ ﻋﻠﻴﻬﺎ‬ ‫ ﻓﻘﺪ روي أن اﺑﺎ ﺟﻌﻔﺮ ﻃﻠﺐ‬،‫وﻛﺎﻧﺖ ﺗﺸري ﺑﻘﻮﻟﻬﺎ إﱃ اﻟﻌﻼﻣﺔ اﻟﺴﻠﻄﺎﻧﻴﺔ اﻟﺘﻲ ﻛﺎن ﻳﻜﺘﺒﻬﺎ ﻋﺒﺪ ﺑﻬﺬه اﳌﺴﺎﺟﻼت ﺑﻴﻨﻬﺎ وﺑني ايب ﺟﻌﻔﺮ‬ :‫اﳌﺆﻣﻦ ﰲ رأس ﻣﺎ ﻳﻨﴩ ﻋﻨﻪ وﻫﻲ »اﻟﺤﻤﺪ ﻟﻠﻪ وﺣﺪه« واﻟﺘﻲ ﻛﺎﻧﺖ رؤﻳﺘﻬﺎ ﻓامﻃﻠﺘﻪ ﺷﻬﺮﻳﻦ ﻓﻜﺘﺐ إﻟﻴﻬﺎ‬ |CCCCCCCCF3 hCCCCCCCCCCCCIfCCCCCCCCCCCC/* ¢CCCCCCCCCCCCH fCCCCCCCCCCCCM .‫ ﻓﻤﻦ ﻋﻠﻴﻬﺎ اﻟﺴﻠﻄﺎن وﻛﺘﺐ ﻟﻬﺎ ﺑﻴﺪه ﻣﺎ ﻃﻠﺒﺖ‬،‫ﺷﻌﺎر دوﻟﺔ اﳌﻮﺣﺪﻳﻦ‬ ¥CCCCCHÑCCCCC< «CCCCCgCCCCC CCCCC CCCCC0K ¥CCCCCC CCCCCC CCCCCC6* ¨CC CC CC CCM zCCCCCC<§CCCCCCG* L4&* £(* fCCCCCCH ¥CCCCCH*|CCCCC CCCCC CCCCCI* ¨CCCCCC CCCCCC CCCCCC1&* |CCCCCC CCCCCC CCCCCCG*K

£&* ¸ §CCCCCCCCCCCCCCCCCCCCC/4&* §CCCCCCCCCªCCCCCCCCCG* ¥CCCCCCHfCCCCCCªCCCCCC CCCCCCG* · ¿ £§CCCCCCCCCC CCCCCCCCCC-

¿fCCCCCtCCCCC+ m|CCCCCCC CCCCCCC CCCCCCC+ zCCCCCCCCCCE §CCCCCCCCCCG ¥CCCCCHÑCCCCC; ¨CCCCCCCCCCCCCCCCCCC14&* CCCCCCCCªCCCCCCCC CCCCCCCCG*K

‫ ﻟﻜﻨﻪ‬،‫ﻳﺨﱪﻫﺎ أﺑﻮ ﺟﻌﻔﺮ ﺑﺄﻧﻪ ﺗﺠﻨﺐ ذﻛﺮ اﺳﻤﻬﺎ رﻏﻢ وﻟﻌﻪ ﺑﻬﺎ‬ ‫ وﺗﺠﻴﺒﻪ‬،‫ﻳﺨﴙ اﻟﻮاﺷني ﻣﺼﻮرا رﻓﻀﻬﺎ ﻟﻠﻘﺎﺋﻪ ﺑﺎﻧﻬﺎ اﻟﻘﻴﺎﻣﺔ ﺑﺎﻟﻨﺴﺒﺔ ﻟﻪ‬ :‫ﺣﻔﺼﺔ ﺑﺄﺑﻴﺎت ﺗﻘﻮل ﻓﻴﻬﺎ‬

I‫ﻗﺼﺔ ﺣﺐ أﻧﺪﻟﺴﻴﺔ‬ ‫ ﺣﻴﺚ ﻳﻌﺘﻘﺪ اﻟﻨﻘﺎد‬،‫ﺗﺤﺘﻔﻆ ﻛﺘﺐ اﻟﺘﺎرﻳﺦ ﺑﺸﻌﺮ ﺣﻔﺼﺔ ﰲ اﻟﻐﺰل‬ ‫ وﻛﺎن اﻟﺪاﻓﻊ ﻟﻬﺬا اﻟﺸﻌﺮ‬،‫أﻧﻪ أرق ﻣﺎ ﻗﺎﻟﺘﻪ ﻣﻦ ﺷﻌﺮ وأﻛرثه ﺟﺮأة‬ ‫ ﻛام ﺗﺮوي اﳌﺼﺎدر اﻟﺘﺎرﻳﺨﻴﺔ ﻗﺼﺔ ﺣﺒﻬﺎ ﻟﻠﻮزﻳﺮ‬،‫اﻟﻐﺰﱄ اﻟﺠﺮيء‬ ‫ وﻫﻲ ﻗﺼﺔ ﺣﺐ ﺗﺸﺒﻪ ﺣﻜﺎﻳﺔ‬،‫اﻟﺸﺎﻋﺮ ايب ﺟﻌﻔﺮ أﺣﻤﺪ ﺑﻦ ﺳﻌﻴﺪ‬ .‫وﻻدة ﺑﻨﺖ اﳌﺴﺘﻜﻔﻲ واﺑﻦ زﻳﺪون‬ ‫ﻛﺎن اﺑﻮ ﺟﻌﻔﺮ ﺷﺎﻋﺮا ﻣﺠﻴﺪا وﻫﻮ ﻣﻤﻦ ﺷﺎرك ﰲ ﺗﺄﻟﻴﻒ ﻛﺘﺎب‬ ‫»ا ُﳌ ْﻐﺮب ﰲ ﺣﲆ اﳌﻐﺮب« وﻛﺎن ﰲ اﻟﺒﺪء ﻣﻘﺮﺑﺎً ﻣﻦ اﳌﻠﻚ ﻋﺜامن‬ ‫ ووﻗﻊ ﰲ ﻋﺸﻖ ﺣﻔﺼﺔ ودارت ﺑﻴﻨﻬام ﻗﺼﺔ ﺣﺐ‬،‫وﺻﺎر وزﻳﺮاً ﻟﻪ‬ ‫ وﻗﺪ ﺳﺠﻞ اﻟﺸﻌﺮ ﻗﺼﺔ‬،‫أﻧﺪﻟﺴﻴﺔ ﻣﻌﺮوﻓﺔ ﻣﻠﻴﺌﺔ ﺑﺎﻟﺴﺠﺎل واﻟﺸﻌﺮ‬ :‫ ﺗﻘﻮل ﺣﻔﺼﺔ‬،‫ﺣﺐ ﺣﻔﺼﺔ وايب ﺟﻌﻔﺮ‬

L§CCCCCCCC¤CCCCCCCCG* · «CCCCCCCCCCC< TzCCCCCCCCCCCH fCCCCCCCCCCCM ¥CCCCCCHfCCCCCCH(¸* S *|CCCCCCCCC CCCCCCCCCG*K ¢CCCC CCCC CCCCº* Q C CCCCCCCR C CCCCCCCCM|CCCCCCCCE ¨CCCCCCCCCCCCCCCCCC-&* ifCCCkCCC CCCG «CCC¡CCCnCCC¡CCCM ¸K hCCCªCCCgCCC0 ¿ ¢CCCC CCCCG CCCCCCC Q C94&* ½ fCC¤CCªCC- 2*5 R¥CCCCCkR CCCCCF|CCCCC- fCCCCCCH *3(*K ¥CCCCCHfCCCCC CCCCCIS ¥CCCCCC¡CCCCCCH CCCCCCCCCCCCCCCCCCC ¥ªg 7 ¢CCCH ¿ lCCCCCM&*4 CCCJ ¿ fCC CCD «CCCC¡CCCCnCCCCM hCCCCCCCCCCCCCCCCº* «CCCCCCCCCCCC C< TzCCCCCCCCCCCCCH&* P T "f¤ªg 7 ¿S L|CCC- U CCCC QJK fN CC CC CCM&* RlCC CCE "¥CCCCCCCHQ fCCCCCCCH5 hCCCCC S CªCCCCCCgCCCCCCº* CCCCCCCC R C6&fCCCCCCCCCM 49 ‫ اﻟﻌﺪد‬/ ‫ ﺑﻴﺖ اﻟﺸﻌﺮ‬74

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‫أﻧﺪﻟﺴ‪WWWWWWW‬ﻴﺎت‬ ‫‪baytelshear‬‬

‫اﺷﺘﻬﺮت ﺑﺠﻤﺎﻟﻬﺎ وﺛﻘﺎﻓﺘﻬﺎ وﺟﺮأﺗﻬﺎ‬

‫ﺣﻔﺼﺔ اﻟﺮﻛﻮﻧﻴﺔ‪ » :‬ﻟﻲ ﺣﺒﻴﺐ وﻻ ﻳﻨﺜﻨﻲ ﻟﻌﺘﺎب«‬ ‫ﻣﺤﻤﺪ أﻧﻮر‬

‫ﻛﺎن ﻟﻠﻤﺮأة ﺣﻀﻮر ﺑﺎرز ﻓﻲ اﻟﻤﺸﻬﺪ اﻟﺸﻌﺮي اﻻﻧﺪﻟﺴﻲ‪ ،‬وﻣﻦ ﻳﻠﻘﻲ ﻧﻈﺮة ﻋﻠﻰ ﺗﺎرﻳﺦ اﻟﺸﻌﺮ اﻻﻧﺪﻟﺴﻲ ﻳﺪﻫﺸﻪ اﻟﻌﺪد اﻟﻜﺒﻴﺮ ﻣﻦ‬ ‫اﻟﺸﺎﻋﺮات اﻷﻧﺪﻟﺴﻴﺎت اﻟﻠﻮاﺗﻲ ﻧﺒﻐﻦ ﻓﻲ اﻟﺸﻌﺮ‪ ،‬وﺣﻔﺼﺔ اﻟﺮﻛﻮﻧﻴﺔ ﺷﺎﻋﺮة ﻏﺮﻧﺎﻃﺔ واﺣﺪة ﻣﻦ ﻫﺆﻻء‪ ،‬ﻛﺎﻧﺖ ﻣﻌﻠﻤﺎ ﺑﺎرزا ﻓﻲ ﻫﺬا‬ ‫اﻟﻤﺸﻬﺪ اﻟﺸﻌﺮي اﻷﻧﺪﻟﺴﻲ ﻓﻲ اﻟﻘﺮن اﻟﺴﺎدس اﻟﻬﺠﺮي‪ ،‬اﺷﺘﻬﺮت ﺣﻔﺼﺔ ﺑﺎﻟﺠﻤﺎل واﻟﺜﻘﺎﻓﺔ وﺳﺮﻋﺔ اﻟﺨﺎﻃﺮة واﻣﺘﻠﻜﺖ ﻧﺎﺻﻴﺔ‬ ‫اﻟﺸﻌﺮ‪ ،‬وﻗﺪ ﻋﺮف ﻋﻨﻬﺎ ﺟﺮأﺗﻬﺎ ﻓﻲ ﻗﻮل اﻟﻐﺰل‪ ،‬ﻟﻢ ﺗﺠﺪ ﺣﻔﺼﺔ ﺣﺮﺟ ًﺎ ﻓﻲ اﻹﻋﻼن ﺻﺮاﺣﺔ ﻋﻦ ﻟﻬﻔﺘﻬﺎ وﺷﺪة اﺷﺘﻴﺎﻗﻬﺎ ﻟﺤﺒﻴﺒﻬﺎ‪ ،‬وﻟﻬﺎ‬ ‫ﻗﺼﺔ ﺣﺐ أﻧﺪﻟﺴﻴﺔ ﻣﺸﻬﻮرة ﻣﻊ اﻟﻮزﻳﺮ اﻟﺸﺎﻋﺮ اﻟﻜﺎﺗﺐ أﺑﻲ ﺟﻌﻔﺮ أﺣﻤﺪ ﺑﻦ ﺳﻌﻴﺪ اﻧﺘﻬﺖ ﺑﻤﻘﺘﻠﻪ ﻋﻠﻰ ﻳﺪ ﻏﺮﻳﻤﻪ أﻣﻴﺮ ﻏﺮﻧﺎﻃﺔ اﻟﻤﻮﺣﺪي‬ ‫أﺑﻮ ﺳﻌﻴﺪ ﻋﺜﻤﺎن ﺑﻦ ﻋﺒﺪ اﻟﻤﺆﻣﻦ ﻓﻠﺒﺴﺖ اﻟﺤﺪاد وﺟﺎﻫﺮت ﺑﺮﺛﺎﺋﻪ واﻟﺒﻜﺎء ﻋﻠﻴﻪ‪V‬‬

‫اﻟﺮﻛﻮين‪ ،‬ﺷﺎﻋﺮة وأدﻳﺒﺔ‪ ،‬ﻟﻘﺒﺖ ﺑﺎﻟﺮﻛﻮﻧﻴﺔ ﺑﺎﻟﺠامل اﻟﻔﺎﺗﻦ وﻗﺪ وﺻﻔﻬﺎ اﺑﻦ دﺣﻴﺔ‪» :‬ﻣﻦ أﴍاف ﻏﺮﻧﺎﻃﺔ رﺧﻴﻤﺔ‬ ‫ﻫﻲ ﺣﻔﺼﺔ ﺑﻨﺖ اﻟﺤﺎج ﱠ‬ ‫ﻧﺴﺒﺔ إﱃ »رﻛﻮﻧﺔ« وﻫﻲ ﺑﻠﺪة أﻧﺪﻟﺴﻴﺔ ﻗﺪميﺔ ﺗﻘﻊ ﻏﺮيب ﺑﻠﻨﺴﻴﺔ‪ ،‬اﻟﺸﻌﺮ رﻗﻴﻘﺔ اﻟﻨﻈﻢ واﻟﻨرث«‪ ،‬ﻛام ﻗﺎل ﻋﻨﻬﺎ اﺑﻦ ﺑﺸﻜﻮال‪» :‬إﻧﻬﺎ أﺳﺘﺎذة‬ ‫وﺻﻔﻬﺎ ﻳﺎﻗﻮت اﻟﺤﻤﻮي ﺑﻘﻮﻟﻪ‪» :‬ﻣﺪﻳﻨﺔ ﻟﻄﻴﻔﺔ ﻣﻦ أﻋامل ﺑﻠﻨﺴﻴﺔ«‪ ،‬وﻗﺘﻬﺎ«‪.‬‬ ‫ﰲ ﻫﺬه اﳌﺪﻳﻨﺔ وﻟﺪت ﺣﻔﺼﺔ ﻟﻜﻦ ﻻ ﻳﻌﺮف ﺗﺎرﻳﺦ وﻻدﺗﻬﺎ ﻋﲆ وﺟﻪ‬ ‫وﻋﲆ ﻣﺎ ﻳﺒﺪو ﻓﻘﺪ ﻧﺸﺄت ﺣﻔﺼﺔ ﰲ ﺑﻴﺌﺔ ﺗﻌﺸﻖ اﻷدب واﻟﺸﻌﺮ‬ ‫اﻟﺘﺤﺪﻳﺪ‪ ،‬ﻟﻜﻨﻪ ﻋﲆ ﻣﺎ ﻳﺒﺪو ﻛﺎن ﻣﻊ ﺑﺪاﻳﺔ اﻟﻘﺮن اﻟﺴﺎدس اﻟﻬﺠﺮي‪.‬‬ ‫وﺗﺨﻠﻮ اﳌﺼﺎدر اﻟﺘﺎرﻳﺨﻴﺔ اﻟﺘﻲ ﺗﺘﻨﺎول ﺳرية ﺣﻔﺼﺔ ﻣﻦ أي ﺣﺪﻳﺚ وﻫﻮ ﻣﺎ ﺟﻌﻠﻬﺎ ﺗﺤﺐ اﻟﺸﻌﺮ وﻓﻴام ﺑﻌﺪ أﻧﺸﺪت ﺷﻌﺮا رﻗﻴﻘﺎ ﻣﻠﻴﺌﺎ‬ ‫ﻋﻦ ﻃﻔﻮﻟﺘﻬﺎ أو ﻧﺸﺄﺗﻬﺎ ﰲ » رﻛﻮﻧﺔ«‪ ،‬وإمنﺎ أﺧﺒﺎرﻫﺎ ﰲ ﻫﺬه اﳌﺼﺎدر ﺑﺎﻟﻌﺎﻃﻔﺔ واﻟﺼﺪق‪ ،‬وﻗﺪ اﺷﺘﻬﺮت ﺣﻔﺼﺔ ﺑﴪﻋﺔ اﻟﺒﺪﻳﻬﺔ ﰲ ﻗﻮل‬ ‫اﻟﺘﻲ ﺗﺘﺪاول ﺳريﺗﻬﺎ ﺗﺒﺪأ ﰲ أﻳﺎم ﺣﻜﻢ اﳌﻮﺣﺪﻳﻦ‪ ،‬ﺣﻴﺚ اﺗﺼﻠﺖ اﻟﺸﻌﺮ‪ ،‬وﻋﺮﻓﺖ ﺑﻘﺪرﺗﻬﺎ ﻋﲆ ارﺗﺠﺎﻟﻪ‪ ،‬وﻳﺮوى أن ﺳﻴﺪة ﻣﻦ أﻋﻴﺎن‬ ‫ﺑﺎﻟﺴﻠﻄﺎن اﳌﻨﺼﻮر ﻋﺒﺪ اﳌﺆﻣﻦ ﺑﻦ ﻋﲇ أول اﻟﺤﻜﺎم اﳌﻮﺣﺪﻳﻦ ﰲ ﻏﺮﻧﺎﻃﺔ ﻃﻠﺒﺖ أن ﺗﻜﺘﺐ ﻟﻬﺎ ﺷﻴﺌﺎً ﺑﺨﻄﻬﺎ‪ ،‬ﻓﺎرﺗﺠﻠﺖ ﺑﻴﺘني ﺗﻘﻮل‬ ‫اﻷﻧﺪﻟﺲ واﻟﺨﻠﻴﻔﺔ اﳌﺆﺳﺲ ﻟﺪوﻟﺔ اﳌﻮﺣﺪﻳﻦ واﻟﺘﻲ ﺣﻜﻤﻬﺎ ﻣﻦ ﻓﻴﻬام‪:‬‬ ‫‪ |CC CCG* jCCCCC+T 4 fCCCM CCC+ ¢CC CC CCº* jCCCC‬‬ ‫‪C+T 4 fCCCM‬‬ ‫‪S‬‬ ‫ﻣﺮاﻛﺶ‪.‬‬ ‫ﻣﻦ ﻏﺮﻧﺎﻃﺔ ﻟﺪار اﻟﺴﻠﻄﺎن‪I‬‬ ‫وﺗﺸري ﻫﺬه اﳌﺼﺎدر إﱃ أن ﺣﻔﺼﺔ ﻋﺎﺷﺖ ﰲ ﻏﺮﻧﺎﻃﺔ‪ ،‬اﻟﺘﻲ ﺷﺒﻬﺖ‬ ‫ﺑﺪﻣﺸﻖ ﺑﻼد اﻟﺸﺎم‪ ،‬واﻟﺘﻲ وﺻﻔﻬﺎ أﺣﻤﺪ ﺑﻦ ﻣﺤﻤﺪ اﳌﻘﺮي اﻟﺘﻠﻤﺴﺎين‬ ‫ﰲ ﻛﺘﺎﺑﻪ اﻟﺸﻬري »ﻧﻔﺢ اﻟﻄﻴﺐ ﻣﻦ ﻏﺼﻦ اﻷﻧﺪﻟﺲ اﻟﺮﻃﻴﺐ« ﺑﻘﻮﻟﻪ‪:‬‬ ‫»أﻣﺎ ﻏﺮﻧﺎﻃﺔ ﻓﺈﻧﻬﺎ دﻣﺸﻖ ﺑﻼد اﻷﻧﺪﻟﺲ وﻣﴪح اﻷﺑﺼﺎر وﻣﻄﻤﺢ‬ ‫اﻷﻧﻔﺲ ومل ﺗﺨﻞ ﻣﻦ أﴍاف أﻣﺎﺛﻞ وﻋﻠامء أﻛﺎﺑﺮ وﺷﻌﺮاء أﻓﺎﺿﻞ وﻟﻮ‬ ‫مل ﻳﻜﻦ ﻟﻬﺎ إﻻ ﻣﺎ ﺧﺼﻬﺎ اﻟﻠﻪ ﺗﻌﺎﱃ ﻣﻦ اﳌﺮج اﻟﻄﻮﻳﻞ وﻧﻬﺮ ﺷﻨﻴﻞ‬ ‫ﻟﻜﻔﺎﻫﺎ«‪.‬‬ ‫وﻗﺪ اﺷﺘﻬﺮت ﻏﺮﻧﺎﻃﺔ ﺑﺎﻟﻜﺜري ﻣﻦ اﻟﺸﺎﻋﺮات اﻟﻨﺠﻴﺒﺎت وﻣﻨﻬﻦ ﺣﻔﺼﺔ‬ ‫اﻟﺮﻛﻮﻧﻴﺔ‪ ،‬وﺗﺸري اﳌﺼﺎدر أﻧﻬﺎ ﻛﺎﻧﺖ ذات ﺣﺴﺐ وﻧﺴﺐ ومتﻴﺰت‬ ‫‪ 72‬ﺑﻴﺖ اﻟﺸﻌﺮ ‪ /‬اﻟﻌﺪد ‪49‬‬

‫=‪Q C T CCC1 fCCC T CCC< CCI§CC CC/ «CC CC CC‬‬ ‫‪T‬‬ ‫‪«CC CC CCE ¥CC‬‬ ‫‪jCC CC CC¡CCHR 2T §CCCCCCCG* CC‬‬ ‫‪S CtCCC CCC+ S¥CCªCCtCC T C CC CC‬‬‫‪T‬‬ ‫ ‪ CC CC CCG*K‬‬ ‫‪ CCCCC»* $¬2|CCCCCC+ «C‬‬ ‫¸ ‪C CC CC³‬‬ ‫‪S‬‬

‫اﺗﺼﻠﺖ ﺣﻔﺼﺔ ﺑﺎﻟـﺴﻠﻄﺎن اﳌﻨـﺼﻮر ﻋـﺒﺪ اﻟـﻤﺆﻣﻦ ﺑـﻦ ﻋﻠـﻲ أول‬ ‫اﻟﺤـﻜـﺎم اﳌـﻮﺣﺪﻳـﻦ واﳌﺆﺳﺲ ﻟﻬﺎ‪ ،‬وﻛﺎن ﻳﻠﻘﺐ ﺑﺄﻣري اﳌﺆﻣﻨني‪ ،‬وﻛﺎن‬ ‫ﻳﻬﺘﻢ ﺑﺎﻟﺘﻌﻠﻴﻢ واﻗﺎم ﰲ داره ﻣﺪرﺳﺔ ﻟﺘﻌﻠﻴﻢ اﻟﻨﺴﺎء‪ ،‬ووﻟﻴﺖ ﺣﻔﺼﺔ‬ ‫ﺗﺄدﻳﺒﻬﻦ ﰲ ﻫﺬه اﳌﺪرﺳﺔ‪ ،‬وﻗﺪ وﻗﻔﺖ أﻣﺎﻣﻪ وﻗﺎﻟﺖ ﻣﺮﺗﺠﻠﺔ‪:‬‬ ‫‪ ¢CCCCHfCCCCM CCCCCCC6fCCCCCCCT‬‬ ‫‪¡CCCCCCCG* QzCCCCCCªT CCCCCC CCCCCC6 fCCCCCCCM‬‬ ‫‪S‬‬ ‫‪¦ TzCCCCCCCCCCCCCD4 CCCCCCCC6fCCCCCCCC¡CCCCCCCCG* CCCCCCCCCCHT §CCCCCCCCCCM‬‬ ‫‪ CCCCCCC‬‬ ‫‪P C6|CCCCCCC‬‬ ‫‪U C S CCCCCCCC+ «CCCCCCCC‬‬ ‫*&‪T C CCCCCCCCC< ÓCCCCCCCCCCCCCCCCCH‬‬ ‫‪ ¦ TzCCCCCCCCCCCCCCCCCCCC< |CCCCCCCJzCCCCCCC CCCCCCCG £§CCCCCCCCC CCCCCCCCCM‬‬

‫اﻟﻤﺪﻫﺎل واﻟﺪﻳﺮه‬ ‫ﻟﻄﻴﻔﺔ‬ @HHLatifa

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71 2016 /‫أﻛﺘﻮﺑﺮ‬

‫ﻣﺎﺳﺎت‬ baytelshear

‫روس ﺣﺎن ﻗﻄﺎﻓﻬﺎ‬ ٍ ‫وﺻﺎﻳﻒ ﺗﻬﺎﻣﻴﺔ‬ @ wsaiv

b@@~@ {@ - @@ @ g@ @ D* @@ E °* H @@ @ ~@ z@ @ - b@@ J*¡@@ @ @D* ¡@@ D b@@ @ Ab@@~@ 7 ¡@@ @ @ E 2¡@@ ~@ @z@ @D* ¡@@ @ @ @ @D* b@@ @.%b@ @ + $b@@ @ + b@@ @E b@@ @ ±* b@@ ~@ @8H f@@_@£@ @1 b@@ @ ±* (* *v@@ @ E @@ @ D b@@ @Ab@@ @m@R @+ I¡@@ @ @F* @@ @ @94&* @@ @ B ° x@@/b@@ @ ´* 4w@@ @< b@@s@ J b@@ E @@ @ D H @@ @ 0 x@@ @- @@p@ m@ ´* µb@@ @ @ D b@@ @ Ab@@p@ /* 4v@@~@ |@ A M @@ @0 x@@ N @ @ D* rb@@ @ E4 e¡Q @ @~@ @8 ° b@@ @F @@-b@@£@ F x@@ @ : @@ E @@ @Ab@@~@7 H @@£@ @F @@c@£@< b@@ @ Ab@@ @ F ¡@@ @ @C @@ @z@ @ FQ 2 b@@ @ @ 0H ¯ @@ @ @ D* Í@@ @D b@@ @ D b@@Gb@@Jb@@ @ 1 ¤@@ -b@@ - b@@ @ @ @ @ + rH4 @@g@ ~@ 7* H b@@ @ Ab@@ N @ R @ + h@@ @/ k@@ £@ @0 @@ @E b@@ @ @ G24 b@@ @JÈ@@ @D* v@@ @ @< b@@ @1 b@@£@ Fv@@D* @@E @@ @ @F ¢@@~@z@< b@@J @@ @ @; @@ @ @D* b@@ @ Ab@@ @ 1 @@£@ ~@ {@ F ° H b@@ @ @Db@@ @ @. 45H @@£@ ~@ {@ F ° b@@ @´* b@@ : ¡@@D 4Hv@@ - ,b@@£@ ²* 4¡@@ / @@E @@=x@@Db@@+ b@@ @ Ab@@~@ |@ Fb@@+ @@_@ /b@@ @ g@ + ,b@@ @£@ @ ²* @@z@ @ F b@@ @G2x@@ @E É@@1 ¥Ä@@~@ 8 ¢@@ @ < ° H b@@Gv@@ @ = ¯ ¤@@-v@@£@~@|@B b@@ @ Ab@@ @ £@ E b@@ @ @~@ @6 ¤@@ @ @ @ D* Hx@@ @ @²b@@ @ @J ,¡@@ @ @ B x@@ @ @ @ D* b@@m@ @ Db@@G x@@~@{@g@~@z@- ° b@@ @ Fb@@ @ ~@ 6 24* Md@@~@ |@ = b@@ @Ab@@ @B b@@ 0 H Mk@@c@ 1 h@@ @ @ J* @@ @6H4 @@ + * @@ =4

49 ‫ اﻟﻌﺪد‬/ ‫ ﺑﻴﺖ اﻟﺸﻌﺮ‬70

‫ﻧﻘﻄﺘﺎن‬ ‫اﻟﻌﻼج ﺑﺎﻟﻘﺮاءة‬ ‫ﻳﺤﺪث أن ﻳﻨﻈﺮ إﻟﻴﻚ أﺣﺪﻫﻢ ﺑﻜﺜري ﻣﻦ اﻟﺪﻫﺸﺔ‪ ،‬وأﺣﻴﺎﻧﺎ اﻻﺳﺘﻨﻜﺎر‪ ،‬إذا ﻗﺮرت‬ ‫أن ﺗﺮﺗﻜﺐ ﻓﻌﻞ اﻟﻘﺮاءة ﰲ ﻣﻜﺎن مل ﻳﻌﺘﺪ ﻓﻴﻪ اﻟﻨﺎس ﻋﲆ ﻣﺜﻞ ﻫﺬه »اﳌامرﺳﺔ‬ ‫اﻟﺼﺤﻴﺔ« ‪ .‬ﻫﻨﺎ ﻗﺪ ﻧﺒﺪو أﻗﺮب إﱃ ﻛﺎﺋﻨﺎت ﻣﻦ ﻛﻮﻛﺐ آﺧﺮ ﻳﻔﻀﻞ أﻫﻠﻪ اﻟﺼﻤﺖ‬ ‫ﻋﲆ اﻟﺼﺨﺐ اﳌﺤﻤﻮد اﻟﺬي ميﺎرﺳﻪ اﻟﻨﺎس ﻋﺎدة ﰲ اﳌﻘﺎﻫﻲ واﻷﺳﻮاق وﻋﻴﺎدات‬ ‫اﻷﺳﻨﺎن وﻣﺤﻄﺎت اﳌﱰو و »ﻛﻮرﻳﺪورات« اﻟﺠﺎﻣﻌﺎت‪ .‬ﻫﺬا ﻣﺎ ﻻ ﻳﺪرﻛﻪ ﻫﺆﻻء اﻟﺬﻳﻦ‬ ‫ﺣﺮﻣﻬﻢ اﻟﻘﺪر ﻣﻦ ﻣﺘﻌﺔ اﻟﻘﺮاءة‪ ،‬وﻫﻲ ﻣﺘﻌﺔ اﻟﻌﻴﺶ ﰲ ﺣﺎﻟﺔ ﺻﺨﺐ وﺿﻮﺿﺎء‬ ‫وﻓﻮﴇ‪ .‬وﺑﻌﺒﺎرة ﻋﻠﻤﻴﺔ ﺣﺎﻟﺔ ﺑﻴﻮﻟﻮﺟﻴﺔ وﻋﺼﺒﻴﺔ ﺗﺤﺪث ﰲ اﻟﺪﻣﺎغ ﻓﺘﺠﻌﻠﻪ ﰲ‬ ‫وﺿﻊ اﺳﺘﺜﺎرة واﺳﺘﻨﻔﺎر ﻟﺬﻳﺬ‪ ،‬اﻷﻣﺮ اﻟﺬي ﻗﺪ ﻳﺴﺘﻤﺮ ﻷﻳﺎم ﺑﻌﺪ ﻗﺮاءة رواﻳﺔ ﻋﻈﻴﻤﺔ‪،‬‬ ‫اﻟﺸﺤﻲ‬ ‫ﺸﺤﻲ‬ ‫ﺻﻔﻴﺔ اﻟﺸ‬ ‫ﺻﻔﻔﻴﺔ‬ ‫أذﻛﺮ ﻣﺜﻼ رواﻳﺔ »اﻟﺤﺐ ﰲ زﻣﻦ اﻟﻜﻮﻟريا«‪ .‬وﺑﺸﻜﻞ ﺷﺨﴢ أذﻛﺮ ﻣﺪى ﺗﺄﺛﺮي ﺑﻮﻓﺎة‬ ‫زوج ﻓريﻣﻴﻨﺎ‪ ،‬وﻣﺎ ﺗﲆ ذﻟﻚ ﻣﻦ ﻫﺰات ﺷﻌﻮرﻳﺔ ﺗﻠﺘﻬﺎ ﻫﺰات ﻗﺼرية ﻣﺘﻮاﺗﺮة‪ ،‬ﻳﺘﺴﺒﺐ‬ ‫ﻓﻴﻬﺎ ﺗﺤﺮك ﻟﻮح ﰲ اﻟﻮﻋﻲ واﻧﻔﺼﺎﻟﻪ ﻋﻦ اﻟﻨﺴﻖ اﻟﻌﺎم اﻟﺬي ﻳﻌﻴﺸﻪ اﳌﺮء‪ ،‬ﻟﻮﺻﻒ اﻟﺤﺎﻟﺔ اﻟﺘﻲ ﻳﺘﺴﺒﺐ ﻓﻴﻬﺎ ﻛﺘﺎب ﻋﻈﻴﻢ‬ ‫اﻟﺘﻘﻄﺘﻪ ﰲ ﻣﻌﺮض ﻋﺎﺑﺮ أو اﺳﺘﻌﺮﺗﻪ ﻣﻦ ﺻﺪﻳﻖ‪.‬‬ ‫وﻋﻨﺪﻣﺎ أﺻﻒ ﻛﺘﺎﺑﺎ ﺑـ »اﻟﻌﻈﻴﻢ« ﻓﺄﻧﺎ أﻋﻨﻲ ﺑﺎﻟﺘﺤﺪﻳﺪ ﺗﻠﻚ اﻟﻜﺘﺐ اﻟﺘﻲ ﻣﺜﻠﺖ ﻋﻼﻣﺎت ﻓﺎرﻗﺔ ﰲ اﻟﺘﺠﺮﺑﺔ اﻹﻧﺴﺎﻧﻴﺔ‪ ،‬واﻟﺘﻲ‬ ‫أﻟﻔﻬﺎ أﺷﺨﺎص أﺣﺪﺛﻮا ﺛﻮرة ﻣﻌﺮﻓﻴﺔ وﻋﻠﻤﻴﺔ وﻓﻜﺮﻳﺔ واﺟﺘامﻋﻴﺔ‪ ،‬وﻏريوا اﻟﻌﺎمل ﻣﺜﻞ اﺑﻦ ﺧﻠﺪون وﻧﻴﻮﺗﻦ وﻛﺎرل ﻣﺎرﻛﺲ‬ ‫وداروﻳﻦ وﻓﺮوﻳﺪ وﻏريﻫﻢ‪ .‬ﻛﺘﺐ ﻛﻬﺬه اﺳﺘﻄﺎﻋﺖ أن ﺗﺜﺒﺖ أن اﻟﻔﻜﺮة أﺧﻄﺮ ﻣﻦ اﻟﻔﻌﻞ ﰲ اﻟﺘﺄﺛري واﻟﺘﻐﻴري‪.‬‬ ‫و ﻟيك ﻧﺼﻞ إﱃ ﺟﻮﻫﺮ ﻫﺬه اﻟﺘﺠﺮﺑﺔ اﻟﻔﺮﻳﺪة‪ ،‬ﻻ ﺑﺪ وأن ﻧﻨﻄﻠﻖ ﻣﻦ اﻟﻜﺘﺎب اﻷول‪ ،‬وﻻ أﺟﺪ ﻣﺎﻧﻌﺎ ﻣﻦ ﺗﺸﺒﻴﻪ اﳌﻮﺿﻮع »ﺑﺎﻟﻠﻘﺎء‬ ‫اﻷوﱃ« اﻟﺬي ﺳﻴﻘﻮل اﻟﻜﺜري ﻋﻦ ﻋﻼﻗﺘﻚ ﻻﺣﻘﺎ ﺑﺎﻟﻘﺮاءة‪ .‬ﻫﺬا اﻟﻠﻘﺎء ﻫﻮ اﻟﺘﺤﺪي اﻟﺬي ﻳﺤﻤﻞ ﻋﲆ ﻋﺎﺗﻘﻪ ﺗﺸﻜﻴﻞ ﺧﺎرﻃﺔ‬ ‫اﻟﻄﺮﻳﻖ‪ ،‬ﻟﻮن اﻟﺤﱪ اﻟﺬي ﺗﻜﺘﺐ ﺑﻪ‪ ،‬ﻣﻠﻤﺲ اﻷوراق اﻟﺘﻲ ﺳﺘﻠﻒ ﺑﻬﺎ أﻓﻜﺎرك‪ ،‬و ﻣﺼﺎدرك اﻟﺘﻲ ﺳﺘﻌﺘﻤﺪﻫﺎ وﺗﺜﻖ ﺑﻬﺎ ﻟﻠﺒﺤﺚ‬ ‫ﻋﻦ إﺟﺎﺑﺔ ﺳﺆال ﻳﻄﺮق اﻟﺴﺎﺋﻞ اﻷﻣﻨﻴﻮﺳﻨﻲ اﻟﺬي ﻳﻠﻒ وﺟﻮدك »وأﻧﺎ ﻫﻨﺎ ﻻ أﺗﺤﺪث ﻋﻦ اﻟﻜﺎﺗﺐ وﺣﺪه« واﻟﺬي ﻳﺤﺘﺎج اﱃ‬ ‫أن ﻳﻌﻴﺶ إدﻣﺎﻧﻪ ﻣﻊ اﻟﻜﺘﺐ ﰲ ﻛﻞ وﻗﺖ« ﺑﻞ أﺗﺤﺪث ﻋﻨﺎ ﻛﺒﴩ أﻳﻀﺎ وﻋﻦ ﺣﺎﺟﺘﻨﺎ اﳌﻠﺤﺔ ﻷن ﻧﻌﺮف وﻧﺒﻮح وﻧﺠﺎدل وﻧﺪاﻓﻊ‬ ‫ﻋﻦ ﻓﻜﺮة وﻟﻮ ﻛﺎﻧﺖ ﻣﺘﻮاﺿﻌﺔ‪.‬‬ ‫ﻟﻜﻦ دﻋﻮين أوﺿﺢ أﻣﺮا ﳌﻦ ﻳﻌﺘﻘﺪ ﺑﺄن اﻟﻘﺮاءة ﻣﺤﺾ ﻣﻌﱪ ﻟﻠﺤﺼﻮل ﻋﲆ إﺟﺎﺑﺔ ﰲ اﻣﺘﺤﺎن _)ﻣﺤﺮك اﻟﺒﺤﺚ ﻗﺪ ﻳﻔﻲ ﺑﺎﻟﻐﺮض‬ ‫ﰲ ﻫﺬا اﳌﻮﻗﻒ(‪ ،‬ﻓﻔﻲ ﺣﻘﻴﻘﺔ اﻷﻣﺮ ﻫﻲ ﻻ ﺗﺤﺮرك ﻣﻦ ﻋﺬاب اﻟﺴﺆال ﺑﻞ ﺗﺰﻳﺪك ﺗﻌﻄﺸﺎ وﻏﺰارة ﰲ ﻧﻔﺲ اﻟﻮﻗﺖ‪ ،‬وﻟﻜﻦ إﱃ‬ ‫أي ﺣﺪ ميﻜﻨﻚ ﻗﺒﻮل اﻟﻨﻈﺮ ﰲ ﻋني اﻟﺸﻤﺲ دون أن ﻳﺮف ﻟﻚ ﺟﻔﻦ ‪،‬ﻷﻧﻚ إذا ﻗﺒﻠﺖ أن ﺗﻌﱪ ﻫﺬه اﻟﻐﺎﺑﺔ ﻻ ميﻜﻨﻚ أن ﺗﻔﻌﻞ‬ ‫ذﻟﻚ وأﻧﺖ ﻣﻐﻤﺾ اﻟﻌﻴﻨني ‪،‬متﺎﻣﺎ ﻣﺜﻞ ﻣﺎ أﻧﻪ ﻻ ميﻜﻨﻚ أن ﺗﺮﺗﻜﺐ ﺟﺮميﺔ اﻟﺴﻬﻮ أﻣﺎم ﻛﻞ ﻫﺬه اﻟﻜﺘﺐ ‪ ،‬وﻻ ميﻜﻦ ﻟﻀﻤريك‬ ‫ﺑﺄن ﻳﻜﻮن ﻣﺮﺗﺎﺣﺎ وأﻧﺖ ﺗﺪﻳﺮ ﻇﻬﺮك ﻟﻜﻞ اﻟﻔﺮص اﻟﺘﻲ ﺗﻨرثﻫﺎ اﻟﺤﻴﺎة أﻣﺎم ﺑﺎﺑﻚ ﻋﲆ ﺷﻜﻞ ﻛﻠامت ﺗﻨﺘﻘﻲ ﻣﻨﻬﺎ وﺟﻌﺎ أو ﺿﺤﻜﺔ‬ ‫أو ﻧﻜﺘﺔ ﺧﺎﻟﺼﺔ ‪ ..‬ﻋﻨﺪﻣﺎ ﺗﺨﺘﺎر ﺗﺠﺎﻫﻞ ﻫﺬه اﳌﺘﻌﺔ ﻓﺄﻧﺖ ﺑﺒﺴﺎﻃﺔ ﺗﻘﻮل ﻻ ﻟﻠﺤﻴﺎة ﺑﻞ اﻟﺤﻴﻮات اﻟﺘﻲ ﻛﺎن ميﻜﻦ أن ﺗﻌﻴﺸﻬﺎ‬ ‫وأﻧﺖ ﻣﺴﺘﻠﻖ ﰲ ﻓﺮاﺷﻚ أو ﺗﻨﺘﻈﺮ دورك ﰲ ﻃﺎﺑﻮر ﻃﻮﻳﻞ ﻟﺪﻓﻊ ﻓﺎﺗﻮرة ﻣﺎ‪ .‬ﻳﻘﻮل ﻓﻠﻮﺑري ‪ :‬ﻛﻔﻰ ﺑﺎﳌﺮء ﺣﻜﻤﺔ ﻟﻮ ﻋﺮف ﺟﻴﺪا‬ ‫ﻧﺼﻒ درزﻳﻨﺔ ﻣﻦ اﻟﻜﺘﺐ«‪ .‬و ﻟﻬﺬا ﺑﺎﻟﺘﺤﺪﻳﺪ ﻳﺠﺐ أن ﻧﻘﺮأ‪ ،‬ﻟﻨﺤﺼﻞ ﻋﲆ ﻓﺮﺻﺔ ﻟﻠﻨﻈﺮ ﰲ اﻻﺗﺠﺎه اﻵﺧﺮ ﰲ ﻛﺘﺎب ﻟﻠﺸﻌﺮ أو‬ ‫اﻟﻔﻠﺴﻔﺔ‪ ،‬وﻟﻨﺠﺪ اﻟﺤﻞ ﰲ ﻛﺘﺎب ﺣﻮل ﺗﺎرﻳﺦ اﻷدﻳﺎن‪ ،‬وﻟﻨﻨﺠﻮ ﺑﺄﻧﻔﺴﻨﺎ ﰲ ﻛﺘﺎب ﻟﻠﺨﻴﺎل اﻟﻌﻠﻤﻲ‪،‬‬ ‫أو ﻫﻞ ﻳﻜﻔﻲ أن أﻗﻮل ‪ :‬ﻟﻨﻌﺎﻟﺞ وﻧﺸﻔﻲ أرواﺣﻨﺎ ﺑﺎﻻﺳﺘﻐﺮاق ﰲ اﳌﻌﺮﻓﺔ اﻟﺠﻴﺪة‪.‬‬

‫‪@safiaalshehi‬‬ ‫أﻛﺘﻮﺑﺮ‪20016 /‬‬ ‫أﻛﺘﺘﻮﺑﺮ‪/‬‬ ‫ﻛ‬ ‫‪69 2016‬‬

‫ﺧﺎرج اﻟﻨﺺ‬ ‫‪baytelshear‬‬

‫ﺗﻌﺰﻳﺰ ﻣﻔﻬﻮم اﻟﺘﻼﺣﻢ واﻟﱰاﺑﻂ اﳌﺠﺘﻤﻌﻲ‪،‬‬ ‫ودﻋﻢ اﻟﻔﺌﺎت اﳌﺤﺘﺎﺟﺔ ﻟﻠﺮﻋﺎﻳﺔ ﰲ اﳌﺠﺘﻤﻊ‪،‬‬ ‫وآﺧﺮ ﻫﺬه اﻟﻔﻌﺎﻟﻴﺎت ﻛﺎﻧﺖ ﻓﻌﺎﻟﻴﺔ ﻳﻮم‬ ‫اﻟﻌﻴﺪ ﺣﻴﺚ زرﻧﺎ داراً ﻟﻠﻤﺴﻨني ﰲ رأس‬ ‫اﻟﺨﻴﻤﺔ‪ ،‬وﻗﺒﻠﻬﺎ أﻗﻤﺖ ﻓﻌﺎﻟﻴﺔ ﰲ ﻟﻴﻠﺔ اﻟﻨﺼﻒ‬ ‫ﻣﻦ ﺷﻌﺒﺎن ﻛﺎن اﺳﻤﻬﺎ »ﻣﻠﺒﺲ« ﺷﺎرك ﻓﻴﻬﺎ‬ ‫أﻛرث ﻣﻦ ‪ 1500‬ﻃﻔﻞ وذﻟﻚ ﰲ ﻗﺎﻋﺔ أرﻳﻨﺎ ﰲ‬ ‫أﺑﻮﻇﺒﻲ‪.‬‬ ‫ﰲ ﻇﻞ اﻧﺘﺸﺎر وﺳﺎﺋﻞ اﻟﺘﻮاﺻﻞ اﻻﺟﺘامﻋﻲ‪،‬‬ ‫ﻛﻴﻒ ﺗﺼﻔني ﻋﻼﻗﺘﻚ ﻣﻌﻬﺎ‪ ،‬وﻣﺎذا أﺿﺎﻓﺘﻚ‬ ‫ﻟﻚ؟‬ ‫ﻣﻮاﻗﻊ اﻟﺘﻮاﺻﻞ اﻻﺟﺘامﻋﻲ أﺻﺒﺤﺖ ﻛﺜرية‬ ‫وﻣﺘﺸﻌﺒﺔ‪ ،‬وﻟﻬﺎ إﻣﻜﺎﻧﻴﺎت ﻻ ﻣﺤﺪودة‪ ،‬ﻓﻘﺪ‬ ‫أﺻﺒﺤﺖ ﺟﺰءاً ﻣﻬ ًام ﰲ ﺣﻴﺎﺗﻨﺎ اﻟﻴﻮﻣﻴﺔ‪.‬‬ ‫ﺳﺎﻋﺪﺗﻨﻲ ﻫﺬه اﳌﻮاﻗﻊ ﻋﲆ اﻟﺘﻮاﺻﻞ أﻛرث‬ ‫ﻣﻊ ﻣﻦ ﺣﻮﱄ‪ ،‬ﻛام ﺟﻤﻌﺘﻨﻲ ﺑﺼﺪﻳﻘﺎت مل‬ ‫أﻗﺎﺑﻠﻬﻦ ﻣﻦ أﻳﺎم اﻟﺪراﺳﺔ‪ ،‬ﻟﻘﺪ ﺟﻌﻠﺘﻨﻲ‬ ‫ﻣﺘﺎﺑﻌﻲ‪ ،‬وﻋﺮﻓﺘﻬﻢ ﻋﲆ ﻣﻨﺎل‬ ‫أﻗﺮب إﱃ‬ ‫ّ‬ ‫ﺑﺸﻜﻞ أﻓﻀﻞ‪.‬‬

‫ﻻ أﻓﻜﺮ ﻓﻲ اﻟﻤﺸﺎرﻛﺔ ﻓﻲ‬ ‫اﻷﻓﻼم واﻟﻤﺴﻠﺴﻼت اﻟﺘﻘﻠﻴﺪﻳﺔ‪،،‬‬ ‫ﻟﻜﻦ ﻟﺪي رﻏﺒﺔ ﻓﻲ اﻟﺘﻤﺜﻴﻞ ﻓﻲ‬ ‫اﻷﻓﻼم اﻟﻘﺼﻴﺮة اﻟﺘﻲ ﻻ ﻳﺘﺠﺎوز‬ ‫ﻃﻮﻟﻬﺎ اﻟﺨﻤﺲ دﻗﺎﺋﻖ‬ ‫ﺳﻤﻮ اﻟﺸﻴﺨﺔ ﻓﺎﻃﻤﺔ ﺑﻨﺖ‬ ‫ﻣﺒﺎرك ﺣﻔﻈﻬﺎ ا‪ b‬ﻗﺪﻣﺖ‬ ‫ﻛﻞ اﻟﺪﻋﻢ ﻟﻺﻣﺎراﺗﻴﺎت ﻟﻴﻜﻦ‬ ‫إﻋﻼﻣﻴﺎت ﻧﺎﺟﺤﺎت‬

‫اﻟﻌﻮدة‬ ‫أﻣﻞ اﻟ ة‬ ‫ﻋﲆ أ ﻞ‬ ‫اﻟﺠﻨﻮﺑﻴﺔ ﲆ‬ ‫ﻛﻮرﻳﺎ اﻟ ﺔ‬ ‫ﻧﻘﺎﻫﺔ ﰲ ﻛ ﺎ‬ ‫ﻫﺬا ﻘﺎ ﺔ‬ ‫ومبﺎذا ﺗﻨﺼﺤني اﻟﺮاﻏﺒﺎت ﰲ دﺧﻮل ﺬا‬ ‫ﰲ ﺷﻬﺮ ﻧﻮﻓﻤﱪ اﻟﻘﺎدم‪.‬‬ ‫اﳌﺠﺎل؟‬ ‫ﻳﺸﻬﺪ اﳌﺠﺎل اﻹﻋﻼﻣﻲ ﰲ اﻟﺪوﻟﺔ ﺗﻄﻮراً‬ ‫ﰲ أوﻗﺎت اﻟﻔﺮاغ‪ ،‬ﻣﺎ اﻟﻬﻮاﻳﺎت اﻟﺘﻲ‬ ‫ﻛﺒرياً‪ ،‬ﺣﻴﺚ ﺳﺨﺮت اﻟﺪوﻟﺔ ﻛﻞ اﻹﻣﻜﺎﻧﻴﺎت‬ ‫اﳌﻤﻜﻨﺔ ﰲ ﺳﺒﻴﻞ ﺗﻄﻮﻳﺮ ﻫﺬا اﳌﺠﺎل‪ ،‬ﻛام أن متﺎرﺳﻴﻨﻬﺎ؟‬ ‫ﺳﻤﻮ اﻟﺸﻴﺨﺔ ﻓﺎﻃﻤﺔ ﺑﻨﺖ ﻣﺒﺎرك ﺣﻔﻈﻬﺎ أﺣﺐ اﻟﻘﺮاءة واﳌﻄﺎﻟﻌﺔ ﰲ أوﻗﺎت اﻟﻔﺮاغ‪،‬‬ ‫اﻟﻠﻪ ﻗﺪﻣﺖ ﻛﻞ اﻟﺪﻋﻢ ﻟﻺﻣﺎراﺗﻴﺎت ﻟﻴﻜﻦ وأﺣﺐ اﻟﺘﻔﻜري ﰲ ﻓﻌﺎﻟﻴﺎت وﻣﺒﺎدرات‬ ‫ﻛﻴﻒ أﺛﺮت ﻣﻮاﻗﻊ اﻟﺘﻮاﺻﻞ اﻻﺟﺘامﻋﻲ إﻋﻼﻣﻴﺎت ﻧﺎﺟﺤﺎت ﻓﻬﻦ اﻷﻓﻀﻞ ﻟﻨﻘﻞ ﻣﺎ ﺟﺪﻳﺪة‪ ،‬ﻓﻼ ميﻜﻦ ﻟﺸﻬﺮ أن ميﺮ دون أن أﻗﻮم‬ ‫ﻋﲆ ﻣﻜﺎﻧﺔ اﳌﺬﻳﻊ اﻟﺘﻘﻠﻴﺪي‪ ،‬ﺧﺼﻮﺻﺎً أن‬ ‫ﺗﺮﻳﺪه وﺗﻔﻜﺮ ﺑﻪ اﳌﺮأة اﻹﻣﺎراﺗﻴﺔ‪.‬‬ ‫ﺑﻌﻤﻞ ﺧريي إﻧﺴﺎين‪.‬‬ ‫ﻛﺜريﻳﻦ ﺑﺎﺗﻮا ﻳﻔﻀﻠﻮﻧﻬﺎ ﻋﲆ ﺷﺎﺷﺎت اﻟﺘﻠﻔﺰة‪.‬‬ ‫ﻟﻘﺪ أﻓﺮزت ﻫﺬه اﳌﻮاﻗﻊ إﻋﻼﻣﺎً ﺟﺪﻳﺪاً‬ ‫ﺗﺘﺒﻨني ﺷﻌﺎر اﻻﻧﺴﺎﻧﻴﺔ‪ ،‬وﻟﻌﻞ اﻫﻢ‬ ‫ﻣﺎذا ﻋﻦ اﳌﺴﺘﻘﺒﻞ‪ ،‬وﻣﺎ اﻟﺤﻠﻢ اﻟﺬي‬ ‫وﻣﺨﺘﻠﻔﺎً‪ ،‬إﻋﻼﻣﺎً ﴎﻳﻌﺎً وﻣﻨﺨﻔﺾ اﻟﺘﻜﻠﻔﺔ‪،‬‬ ‫اﳌﻮاﻗﻒ ﻫﻲ أن ﺗﺘﱪﻋﻲ ﺑﺠﺰء ﻣﻦ ﻛﺒﺪك ﻳﺮاودك ﺑﺎﺳﺘﻤﺮار؟‬ ‫ﻓﺄﺻﺒﺤﺖ ﻣﻨﺎﻓﺴﺎً ﻗﻮﻳﺎً ﻟﻺﻋﻼم اﻟﺘﻘﻠﻴﺪي‪،‬‬ ‫وﻣﻦ ﻫﻨﺎ ﻛﺎن ﺣﺮﻳﺎً ﺑﺎﻹﻋﻼﻣﻲ أن ﻳﺒﺪع ﰲ ﻟﻮاﻟﺪك؟ ﻛﻴﻒ اﻗﺪﻣﺖ ﻋﲆ ﻫﺬه اﻟﺨﻄﻮة أﻓﺨﺮ مبﺎ ﺣﻘﻘﺘﻪ إﱃ اﻟﻴﻮم‪ ،‬وﻫﻨﺎك اﻟﻜﺜري‬ ‫اﻟﺬي أﺳﻌﻰ إﱃ ﺗﺤﻘﻴﻘﻪ‪ ،‬أمتﻨﻰ أن ﺗﺘﺎح‬ ‫اﳌﺠﺎﻟني ﻣﻌﺎً‪ ،‬ﻓﺎﻟﻬﺎﺗﻒ اﻟﺬيك اﻟﻴﻮم ﻳﻐﻨﻴﻚ ﻋﻦ اﻟﻌﻈﻴﻤﺔ‪ ،‬ﺣﺪﺛﻴﻨﺎ ﻋﻦ ﻫﺬه اﻟﺘﺠﺮﺑﺔ‪.‬‬ ‫اﻟﻜﺎﻣريات اﻟﻐﺎﻟﻴﺔ اﻟﺜﻤﻦ وﻣﻌﺪات اﻟﺘﺼﻮﻳﺮ ﰲ ﻣﺜﻞ ﻫﺬه اﳌﻮاﻗﻒ ﻻ ﻣﺠﺎل ﻟﻠﺘﻔﻜري اﻟﻔﺮﺻﺔ ﱄ ﻟﺘﻘﺪﻳﻢ ﺑﺮﻧﺎﻣﺞ اﺟﺘامﻋﻲ‪،‬‬ ‫اﻟﺜﻘﻴﻠﺔ واﳌﻌﻘﺪة‪ ،‬ﻛام أﻧﻪ أﴎع ﺑﻜﺜري‪ ،‬ﻫﺬا أو اﻟﱰدد‪ ،‬ﻋﻨﺪﻣﺎ ﻳﺘﻌﻠﻖ اﻷﻣﺮ ﺑﺎﻟﻮاﻟﺪﻳﻦ ﻣﺘﺨﺼﺺ ﰲ ﻛﻞ اﻟﻘﻀﺎﻳﺎ اﻻﺟﺘامﻋﻴﺔ‬ ‫ﻋﺪا ﻋام ﻳﻮﻓﺮه ﻣﻦ ﻣﺠﺎل ﺣﺮﻳﺔ أوﺳﻊ ﺑﻜﺜري ﻳﻜﻮن ﻟﺪﻳﻚ اﺣﺘامل واﺣﺪ‪ ،‬وﻫﻮ اﻟﺘﻀﺤﻴﺔ واﻟﺤﻴﺎﺗﻴﺔ ﰲ ﺑﻴﺌﺘﻨﺎ اﳌﺤﻠﻴﺔ‪ ،‬ﻣﺜﻞ اﻹﺑﺪاع‪،‬‬ ‫ﰲ ﺳﺒﻴﻠﻬام‪ ،‬ﻓﻘﺪ ﺣﺎن اﻟﻮﻗﺖ ﻟﺮد اﻟﺠﻤﻴﻞ‪ ،‬اﻻﺑﺘﻜﺎر‪ ،‬رﻋﺎﻳﺔ اﻟﻄﻔﻮﻟﺔ‪ ،‬اﻟﺸﻴﺨﻮﺧﺔ‪ ،‬ﻗﻀﺎﻳﺎ‬ ‫ﻣﻦ ذﻟﻚ اﻟﺬي ﻳﻮﻓﺮه اﻹﻋﻼم اﻟﺘﻘﻠﻴﺪي‪.‬‬ ‫وأﺣﻤﺪ اﻟﻠﻪ أن ﻣﻜﻨﻨﻲ ﻣﻦ ﺧﻼل ﻫﺬه اﳌﺮأة وﻏريﻫﺎ ﻣﻦ اﻟﻘﻀﺎﻳﺎ اﻟﺘﻲ ﺗﺤﺘﺎج ﻷن‬ ‫ﻟﻮ ﻋﺎد ﺑﻚ اﻟﺰﻣﻦ إﱃ اﻟﻮراء‪ ،‬ﻫﻞ اﻟﻌﻤﻠﻴﺔ ﻋﲆ رد ﺟﺰء ﺑﺴﻴﻂ ﺟﺪاً ﻣﻦ ﺣﻘﻬام ﺗﺒﻘﻰ ﰲ داﺋﺮة اﻟﻀﻮء‪.‬‬ ‫ﺳﺘﺨﺘﺎرﻳﻦ اﻹﻋﻼم ﺛﺎﻧﻴﺔ‪ ،‬أم رمبﺎ ﺗﺨﺘﺎرﻳﻦ ﻋﲇ‪.‬‬ ‫ﻛﻠﻤﺔ أﺧرية ﺗﻮﺟﻬﻴﻨﻬﺎ إﱃ ﻗﺮاء ﻣﺠﻠﺔ‬ ‫ﻣﺠﺎ ًﻻ آﺧﺮ ﻣﺜﻞ ﺗﺼﻤﻴﻢ اﻷزﻳﺎء؟‬ ‫ﺳﺆال ﻣﺤري‪ ،‬ﻟﻜﻨﻲ ﻋﲆ اﻷﻏﻠﺐ ﺳﺄﺧﺘﺎر ﺑﻌﺪ ﻣﺮور ﺷﻬﺮ ﺗﻘﺮﻳﺒﺎً ﻋﲆ اﻟﻌﻤﻠﻴﺔ‪ ،‬ﻛﻴﻒ ﺑﻴﺖ اﻟﺸﻌﺮ؟‬ ‫ﻣﺠﺎل اﻹﻋﻼم‪ ،‬ﻓﺄﻧﺎ ﻻ أرى ﻧﻔﴘ ﰲ ﻣﺠﺎل ﻫﻲ ﺻﺤﺔ ﻣﻨﺎل أﺣﻤﺪ اﻟﻴﻮم‪ ،‬وﻛﻴﻒ ﺻﺤﺔ أﺷﻜﺮ ﻣﺠﻠﺔ ﺑﻴﺖ اﻟﺸﻌﺮ ﻋﲆ ﻫﺬا اﻟﻠﻘﺎء‪،‬‬ ‫وأﻧﺎ ﻣﻦ اﳌﺪاوﻣﺎت ﻋﲆ ﻗﺮاءة ﻫﺬه اﳌﺠﻠﺔ‬ ‫اﻟﻮاﻟﺪ أﻃﺎل اﻟﻠﻪ ﰲ ﻋﻤﺮه؟‬ ‫آﺧﺮ‪ ،‬أﺷﻌﺮ وﻛﺄين وﻟﺪت ﻷﻛﻮن إﻋﻼﻣﻴﺔ‬ ‫اﻟﺤﻤﺪ ﻟﻠﻪ‪ ،‬أﻧﺎ وواﻟﺪي ﺑﺼﺤﺔ ﺟﻴﺪة‪ ،‬اﻟﺮاﺋﻌﺔ‪ ،‬اﻟﺘﻲ مل ﺗﺪع ﺟﺎﻧﺒﺎً ﻣﻦ ﺟﻮاﻧﺐ‬ ‫ﻛﻴﻒ ﺗﺼﻔني اﻹﻋﻼم اﻹﻣﺎرايت ﺣﺎﻟﻴﺎً‪ ،‬وﻧﺘﺤﺴﻦ ﺑﺸﻜﻞ ﻣﺴﺘﻤﺮ‪ ،‬وﺣﺎﻟﻴﺎً ﻧﻘﴤ ﻓﱰة اﻟﺸﻌﺮ واﻹﺑﺪاع إﻻ وﺳﻠﻄﺖ اﻟﻀﻮء ﻋﻠﻴﻪ‪.‬‬ ‫‪ 68‬ﺑﻴﺖ اﻟﺸﻌﺮ ‪ /‬اﻟﻌﺪد ‪49‬‬

‫اﻟﺘﻘﻠﻴﺪﻳﺔ‪ ،‬ﻟﻜﻦ ﻟﺪي رﻏﺒﺔ ﰲ اﻟﺘﻤﺜﻴﻞ ﰲ‬ ‫اﻷﻓﻼم اﻟﻘﺼرية اﻟﺘﻲ ﻻ ﻳﺘﺠﺎوز ﻃﻮﻟﻬﺎ‬ ‫اﻟﺨﻤﺲ دﻗﺎﺋﻖ‪ ،‬واﻟﺘﻲ ﺗﻜﻮن مبﻌﻈﻤﻬﺎ‬ ‫ﻫﺎدﻓﺔ وﺗﻮﻋﻮﻳﺔ‪.‬‬ ‫ﻣﺎ رأﻳﻚ ﰲ ﻇﺎﻫﺮة اﻟﻔﻨﺎن اﻟﺸﺎﻣﻞ‪ ،‬ﺣﻴﺚ‬ ‫أﺻﺒﺤﻨﺎ ﻧﺮى اﳌﺬﻳﻊ ميﺜﻞ وﻳﻘﺪم وﻳﺨﺮج‬ ‫وﻳﻜﺘﺐ وﻳﺼﻮر‪ ،‬أﻟﻴﺲ اﻻﺧﺘﺼﺎص ﰲ ﻣﺠﺎل‬ ‫واﺣﺪ أﻓﻀﻞ؟‬ ‫ﻟﻜﻞ إﻧﺴﺎن ﺷﺨﺼﻴﺘﻪ وﻃﺮﻳﻘﺔ ﺗﻔﻜريه‪،‬‬ ‫ﺑﺎﻟﻨﺴﺒﺔ ﱄ ﻻ أﺣﺐ اﻟﻌﻤﻞ ﰲ أﻛرث ﻣﻦ ﻣﺠﺎل‪،‬‬ ‫وﻻ أﻓﻀﻞ أن أﻛﻮن ﻣﻤﺜﻠﺔ وﻣﺬﻳﻌﺔ وﻣﻘﺪﻣﺔ‬ ‫ﰲ اﻟﻮﻗﺖ ﻧﻔﺴﻪ‪ ،‬أﺣﺐ اﻟﱰﻛﻴﺰ ﻋﲆ ﻋﻤﻞ‬

‫ﻣﻦ ﴍﻛﺔ ﻓﺎﺷﻦ أرﻳﺒﻴﺎ‪ ،‬وﻫﻲ إﺣﺪى أﻛﱪ‬ ‫واﺣﺪ واﻹﺑﺪاع ﻓﻴﻪ‪.‬‬ ‫ﴍﻛﺎت اﻷزﻳﺎء واﻷﻧﺎﻗﺔ اﻟﻌﺮﺑﻴﺔ‪ ،‬وﺑﺎﻟﻨﺴﺒﺔ‬ ‫ﺳﻔرية اﻟﺜﻼﺳﻴﻤﻴﺎ‪ ،‬ﺳﻔرية اﻷزﻳﺎء‪ ،‬ﺳﻔرية ﻟﻠﻘﺐ وﺳﺎم اﳌﺴﺆوﻟﻴﺔ اﻻﺟﺘامﻋﻴﺔ ﻋﲆ‬ ‫اﻟﻨﻮاﻳﺎ اﻟﺤﺴﻨﺔ‪ ،‬وﻏريﻫﺎ‪ ،‬ﻣﺎ ﻫﻲ ﻣﻬﺎم ﻧﻄﺎق اﻷﻣﻢ اﳌﺘﺤﺪة ﻓﻘﺪ ﻗﻠﺪين إﻳﺎه ﺻﺎﺣﺐ‬ ‫اﻟﺴﻤﻮ اﳌﻠيك اﻷﻣري ﺗﺮيك ﺑﻦ ﻣﺤﻤﺪ ﺑﻦ ﻧﺎﴏ‬ ‫اﻟﺴﻔري‪ ،‬وﻛﻴﻒ ﻳﺘﻢ اﺧﺘﻴﺎره؟‬ ‫ﻟﻜﻞ ﻣﻦ ﻫﺬه اﻷﻟﻘﺎب ﻗﺼﺔ وأﻧﺎ ﺳﻌﻴﺪة ﺑﻬﺎ ﺑﻦ ﻋﺒﺪ اﻟﻌﺰﻳﺰ‪.‬‬ ‫ﺟﻤﻴﻌﻬﺎ‪ .‬ﺣﺼﻠﺖ ﻋﲆ ﻟﻘﺐ ﺳﻔرية أﻃﻔﺎل‬ ‫ﻣﺎ اﻹﻧﺠﺎزات اﻟﺘﻲ ﺗﻔﺨﺮ ﻣﻨﺎل ﺑﺘﺤﻘﻴﻘﻬﺎ‬ ‫اﻟﺜﻼﺳﻴﻤﻴﺎ وﻣﻦ ﺧﻼل ﻫﺬا اﻟﻠﻘﺐ أﺻﺒﺤﺖ‬ ‫ﻣﺴﺆوﻟﺔ ﻋﻦ اﻻﻫﺘامم ﺑﺎﻷﻃﻔﺎل اﻟﺬﻳﻦ ﺧﻼل ﺳﻔﺎراﺗﻬﺎ اﳌﺘﻌﺪدة‪.‬‬ ‫ﻳﻌﺎﻧﻮن ﻣﻦ ﻫﺬا اﳌﺮض‪ ،‬وإﻗﺎﻣﺔ اﻟﻔﻌﺎﻟﻴﺎت ﻛﺜرية ﻫﻲ اﻹﻧﺠﺎزات اﻟﺘﻲ أﻓﺨﺮ ﺑﻬﺎ‪،‬‬ ‫اﻟﺘﻲ ﺗﻬﺘﻢ ﺑﻬﻢ‪ ،‬وإﻃﻼق اﳌﺒﺎدرات اﻟﺘﻲ وﻣﻌﻈﻤﻬﺎ ﰲ اﳌﺠﺎل اﻹﻧﺴﺎين‪ ،‬ﺣﻴﺚ أﻋﻤﻞ‬ ‫ﺗﻌﻤﻞ ﻋﲆ رﻋﺎﻳﺘﻬﻢ‪.‬‬ ‫ﻣﻊ ﻣﺠﻤﻮﻋﺔ ﻣﻦ اﳌﺘﻄﻮﻋني ﻋﲆ إﻗﺎﻣﺔ‬ ‫أﻣﺎ ﻟﻘﺐ ﺳﻔرية اﻷزﻳﺎء ﻓﻘﺪ ﺣﺼﻠﺖ ﻋﻠﻴﻪ اﻟﻔﻌﺎﻟﻴﺎت وإﻃﻼق اﳌﺒﺎدرات اﻟﺘﻲ ﻣﻦ ﺷﺄﻧﻬﺎ‬ ‫أﻛﺘﻮﺑﺮ‪67 2016 /‬‬

‫ﺧﺎرج اﻟﻨﺺ‬ ‫‪baytelshear‬‬

‫ﺗﻔﻀﻞ اﻟﻌﻤﻞ ﻓﻲ أﻛﺜﺮ ﻣﻦ ﺗﺨﺼﺺ‬ ‫ﺗﻬﺘﻢ ﺑﺎﻟﻌﻤﻞ ا‪,‬ﻧﺴﺎﻧﻲ وﻻ ّ‬

‫وﻟﺪت ﻛﻮن إﻋﻼﻣﻴﺔ‬ ‫ﻣﻨﺎل أﺣﻤﺪ‪:‬‬ ‫ُ‬ ‫ﺣﻮار‪ :‬ﻣﺼﻄﻔﻰ أﺣﻤﺪ‬

‫أن ﺗﻜﻮن ﻧﺎﺟﺤ ًﺎ أﻣﺮ راﺋﻊ‪ ،‬ﻟﻜﻦ أن ﺗﺴﺘﺜﻤﺮ ﻧﺠﺎﺣﻚ ﻓﻲ ﺧﺪﻣﺔ اﻟﻨﺎس أﻣﺮ أروع‪ V‬ﻛﺜﻴﺮون ﻫﻢ اﻟﺬﻳﻦ أﻧﺴﺘﻬﻢ ﻧﺠﺎﺣﺎﺗﻬﻢ وﺷﻬﺮﺗﻬﻢ إﻧﺴﺎﻧﻴﺎﺗﻬﻢ‪،‬‬ ‫ﻋﺎل‪ ،‬وﻟﻬﺎ ﻗﻠﻮب ﺗﻨﺒﺾ‪ ،‬ﻟﻜﻨﻬﺎ ﺧﺎﻟﻴﺔ ﻣﻦ‬ ‫ﻓﺒﺎﺗﻮا ﺗﻤﺎﺛﻴﻞ ﺗﺸﺒﻬﻨﺎ‪ ،‬ﺗﺘﺤﺮك ﻣﺜﻠﻨﺎ‪ ،‬ﺗﺮﺗﺪي أﻓﻀﻞ اﻷزﻳﺎء‪ ،‬ﺗﺴﺘﻄﻴﻊ أن ﺗﺘﻜﻠﻢ ﺑﻄﻼﻗﺔ وﺗﻀﺤﻚ ﺑﺼﻮت ٍ‬ ‫أي ﻣﺸﺎﻋﺮ‪ ،‬ﻓﻼ ﻳﻠﺒﺜﻮا ﻃﻮﻳ ًﻼ إﻻ وﻏﻄﺎﻫﻢ ﻏﺒﺎر اﻟﺰﻣﻦ ﻟﻴﺨﺘﻔﻮا ﻣﻦ دون أﺛﺮ‪ ،‬وﻫﻨﺎك ﻣﻦ ﻛﺎن ﻧﺠﺎﺣﻬﻢ داﻓﻌ ًﺎ ﻟﻬﻢ ﻟﻠﻤﺰﻳﺪ ﻣﻦ اﻟﻌﻄﺎء واﻟﺒﺬل‪ ،‬ﻟﻢ‬ ‫ﺗﻨﺴﻬﻢ ﺷﺎﺷﺎت اﻟﺘﻠﻔﺰة وﻛﺎﻣﻴﺮات اﻟﺘﺼﻮﻳﺮ واﺟﺒﻬﻢ اﻹﻧﺴﺎﻧﻲ‪ ،‬ﻓﺠﺪوا وﺳﻌﻮا ﻓﻲ ﻫﺬا اﻟﻤﺠﺎل ﻓﻜﺎﻧﻮا ﻗﺪوة ﺗﺤﺘﺬى‪ ،‬وﺿﻴﻔﺘﻨﺎ اﻟﻴﻮم ﻣﻦ اﻟﻘﺴﻢ‬ ‫اﻟﺜﺎﻧﻲ‪ ،‬ﻓﺎﺳﺘﺤﻘﺖ اﻟﻌﺪﻳﺪ ﻣﻦ اﻷﻟﻘﺎب‪ ،‬ﻣﺜﻞ ﻟﻘﺐ ﺳﻔﻴﺮة اﻟﺜﻼﺳﻴﻤﻴﺎ‪ ،‬وﻟﻘﺐ وﺳﺎم اﻟﻤﺴﺆوﻟﻴﺔ اﻟﻤﺠﺘﻤﻌﻴﺔ ﻋﻠﻰ ﻧﻄﺎق اﻷﻣﻢ اﻟﻤﺘﺤﺪة‪ ،‬إﻧﻬﺎ‬ ‫اﻹﻋﻼﻣﻴﺔ ﻣﻨﺎل أﺣﻤﺪ‪ ،‬وﻣﻌﻬﺎ ﻛﺎن ﻟﻨﺎ ﻫﺬا اﻟﺤﻮار]‬

‫ﻟﻮ ﻋﺪﻧﺎ إﱃ اﻟﺒﺪاﻳﺎت‪ ،‬ﺣﺪﺛﻴﻨﺎ ﻋﻦ ﻟﺤﻈﺎﺗﻚ‬ ‫اﻷوﱃ ﰲ ﻋﺎمل اﻹﻋﻼم‪ ،‬وﳌﺎذا اﺧﱰت ﻣﻬﻨﺔ‬ ‫اﳌﺘﺎﻋﺐ؟‬ ‫دامئﺎً ﻣﺎ ﻛﺎن اﻹﻋﻼم ﺣﻠﻤﻲ وﻃﻤﻮﺣﻲ‪ ،‬وﻫﻮ‬ ‫ﻫﺪف ﺳﻌﻴﺖ ﻟﺘﺤﻘﻴﻘﻪ‪ ،‬واﻟﺤﻤﺪ ﻟﻠﻪ أﻧﺠﺰت‬ ‫ﻳﺨﺘﻠﻒ ﻣﺬﻳﻊ اﻷﺧﺒﺎر ﻋﻦ ﺑﺎﻗﻲ‬ ‫اﻟﻜﺜري ﻣﻨﻪ‪ ،‬وﻣﺎ زال ﻫﻨﺎ اﻟﻜﺜري ﻷﻧﺠﺰه‪ .‬ﻗﺪ‬ ‫اﻟﻤﺬﻳﻌﻴﻦ‪ ،‬ﻓﻌﻠﻴﻪ أن ﻳﺘﺴﻢ‬ ‫ﺗﻜﻮن ﻫﺬه اﳌﻬﻨﺔ ﰲ ﺑﻌﺾ ﺟﻮاﻧﺒﻬﺎ ﻣﺘﻌﺒﺔ‪،‬‬ ‫ﻟﻜﻨﻬﺎ ﻣﻤﺘﻌﺔ‪ ،‬ﻳﺴﺘﻄﻴﻊ اﻹﻧﺴﺎن أن ﻳﺒﺪع ﺑﺎﻟﺮﺻﺎﻧﺔ واﻟﺠﺪﻳﺔ‪ ،‬ﺧﺼﻮﺻﺎً ﻋﻨﺪ‬ ‫ﻓﻴﻬﺎ‪ ،‬وأن ﻳﻜﻮن ﻣﺆﺛﺮاً‪ ،‬وأن ﻳﻜﻮن ﻟﻪ دور ﰲ‬ ‫ﺗﻘﺪﻳﻢ اﻷﺧﺒﺎر اﻟﺴﻴﺎﺳﻴﺔ أو‬ ‫ﺗﻐﻴري ﺣﻴﺎة اﻵﺧﺮﻳﻦ إﱃ اﻷﻓﻀﻞ‪ .‬ﰲ اﻟﺒﺪاﻳﺎت‬ ‫اﻻﻗﺘﺼﺎدﻳﺔ‬ ‫أﺑﻌﺪﺗﻨﻲ ﻫﺬه اﳌﻬﻨﺔ ﺑﻌﺾ اﻟﴚء ﻋﻦ أﻫﲇ‪،‬‬ ‫ﻟﻜﻨﻬﺎ ﴎﻋﺎن ﻣﺎ ﺟﻤﻌﺘﻨﻲ ﺑﻬﻢ وﺑﺄﺻﺪﻗﺎيئ‬ ‫ﻣﻦ ﺟﺪﻳﺪ‪.‬‬ ‫ﻣﻦ ﻣﻮاﻗﻒ ﻣﺤﺮﺟﺔ‪ ،‬ﻓﺬات ﻣﺮة ﻛﻨﺖ ﰲ‬ ‫ﺗﻐﻄﻴﺔ إﻋﻼﻣﻴﺔ ﺣﻮل أﺳﻌﺎر اﻷﺿﺎﺣﻲ ﰲ‬ ‫ﺧﻼل ﻣﺴريﺗﻚ اﻟﻄﻮﻳﻠﺔ‪ ،‬أي اﻟﱪاﻣﺞ اﻟﺘﻲ اﻟﻌﻴﺪ اﻷﺿﺤﻰ‪ ،‬وأﺛﻨﺎء زﻳﺎريت ﻹﺣﺪى ﺣﻈﺎﺋﺮ‬ ‫ﻗﺪﻣﺘﻬﺎ ﻫﻮ اﻷﺣﺐ إﱃ ﻗﻠﺒﻚ‪ ،‬وﻫﻞ ﻣﻦ اﳌﺎﻋﺰ‪ ،‬ﻗﺎﻣﺖ اﻟﺤﻴﻮاﻧﺎت ﺑﺎﻟﺘﻬﺎم أﺟﺰاء ﻣﻦ‬ ‫ﺑﺮاﻣﺞ ﺗﺘﻤﻨني ﻟﻮ أﻧﻚ مل ﺗﻌﻤﲇ ﺑﻬﺎ‪.‬‬ ‫ﺷﻴﻠﺘﻲ وﻋﺒﺎءيت أﺛﻨﺎء اﻟﺘﺼﻮﻳﺮ‪ ،‬ﻛﺎن ﻣﻮﻗﻔﺎً‬ ‫ﺑﺪاﻳﺘﻲ ﻛﺎﻧﺖ ﻛﻤﺘﺪرﺑﺔ ﰲ ﻗﻨﺎيت ديب وﺳام ﻣﺤﺮﺟﺎً وﻣﻀﺤﻜﺎً ﰲ اﻟﻮﻗﺖ ﻧﻔﺴﻪ‪.‬‬ ‫ديب‪ ،‬وﻣﻦ ﺛﻢ اﻧﺘﻘﻠﺖ إﱃ أﺑﻮﻇﺒﻲ ﻷﻋﻤﻞ‬ ‫ﰲ ﺗﻠﻔﺰﻳﻮن أﺑﻮﻇﺒﻲ ﻛﻤﺬﻳﻊ ﻣﻘﺪم ﰲ ﻧﴩة وﻣﺎذا ﻋﻦ اﳌﻮاﻗﻒ اﻟﺠﻤﻴﻠﺔ؟‬ ‫ﻋﻠﻮم اﻟﺪار‪ ،‬وﺑﻌﺪ ﺳﺒﻊ ﺳﻨﻮات وﻧﺼﻒ اﳌﻮاﻗﻒ اﻟﺠﻤﻴﻠﺔ ﻛﺜرية ﻟﻜﻦ أﺟﻤﻠﻬﺎ ذﻟﻚ‬ ‫اﻫﺘﻤﻤﺖ ﺑﺎﻟﻔﻌﺎﻟﻴﺎت‪ ،‬وأﺻﺒﺤﺖ أﻗﺪم اﻟﺬي ﺣﺼﻞ ﻣﻌﻲ ﻋﻨﺪ إﺟﺮايئ أﺣﺪ اﻟﺘﻘﺎرﻳﺮ‬ ‫اﻟﺤﻔﻼت اﻟﺮﺳﻤﻴﺔ ﰲ ﻛﻞ إﻣﺎرات اﻟﺪوﻟﺔ‪.‬‬ ‫اﻟﺼﺤﻔﻴﺔ ﰲ إﻣﺎرة رأس اﻟﺨﻴﻤﺔ‪ ،‬ﻛﺎن اﻟﺘﻘﺮﻳﺮ‬ ‫ﺣﻮل إﻣﺮأة ﻣﻮاﻃﻨﺔ ﺗﻌﻴﺶ وﺣﻴﺪة ﰲ أﻋﺎﱄ‬ ‫ﻣﺎ ﻫﻲ أﺻﻌﺐ اﻟﻠﺤﻈﺎت اﻟﺘﻲ واﺟﻬﺘﻬﺎ‪ ،‬اﻟﺠﺒﺎل ﺑﻌﺪ وﻓﺎة زوﺟﻬﺎ واﺧﺘﻬﺎ‪ ،‬وﰲ ﻧﻬﺎﻳﺔ‬ ‫وﻣﺎ ﻫﻲ أﺟﻤﻠﻬﺎ؟‬ ‫اﻟﻠﻘﺎء أﺧﱪﺗﻨﻲ ﺑﺄن ﻟﺪﻳﻬﺎ أﻣﻨﻴﺔ وﺣﻴﺪة ﰲ‬ ‫مل ﺗﻮاﺟﻬﻨﻲ ﺗﻠﻚ اﻟﻠﺤﻈﺎت اﻟﺼﻌﺒﺔ ﺑﻜﻞ ﻣﺎ ﺣﻴﺎﺗﻬﺎ وﻫﻲ أن ﺗﺮى ﺻﺎﺣﺐ اﻟﺴﻤﻮ اﻟﺸﻴﺦ‬ ‫ﺗﻌﻨﻴﻪ اﻟﻜﻠﻤﺔ ﻣﻦ ﻣﻌﻨﻰ‪ ،‬ﻟﻜﻦ مل ﻳﺨﻞ اﻷﻣﺮ ﻣﺤﻤﺪ ﺑﻦ زاﻳﺪ آل ﻧﻬﻴﺎن ﺣﻔﻈﻪ اﻟﻠﻪ‪،‬‬

‫اﻹﻋﻼﻣﻲ ﻳﺴﺘﻄﻴﻊ أن ﻳﺒﺪع وأن‬ ‫ﻳﻜﻮن ﻣﺆﺛﺮاً‪ ،‬وﺻﺎﺣﺐ دور ﻓﻲ‬ ‫ﺗﻐﻴﻴﺮ ﺣﻴﺎة اﻵﺧﺮﻳﻦ إﻟﻰ اﻷﻓﻀﻞ‬

‫‪ 66‬ﺑﻴﺖ اﻟﺸﻌﺮ ‪ /‬اﻟﻌﺪد ‪49‬‬

‫وﺷﺎءت اﻟﺼﺪف أن ﻳﺸﺎﻫﺪ ﺻﺎﺣﺐ اﻟﺴﻤﻮ‬ ‫اﻟﺘﻘﺮﻳﺮ ﺧﻼل ﺑﺜﻪ ﻋﲆ ﺷﺎﺷﺔ ﺗﻠﻔﺰﻳﻮن‬ ‫أﺑﻮﻇﺒﻲ‪ ،‬ﻓام ﻛﺎن ﻣﻨﻪ إﻻ أن رﻛﺐ ﺳﻴﺎرﺗﻪ ﰲ‬ ‫اﻟﻴﻮم اﻟﺘﺎﱄ وﺗﻮﺟﻪ إﱃ ﺑﻴﺖ اﻟﺴﻴﺪة اﻟﻌﺠﻮز‬ ‫ﻣﺤﻘﻘﺎً أﻣﻨﻴﺘﻬﺎ‪ ،‬ﻫﻜﺬا ﻫﻢ ﺷﻴﻮﺧﻨﺎ ﻋﻮدوﻧﺎ‬ ‫ﻋﲆ اﻟﺤﺐ واﻟﻌﻄﺎء‪.‬‬ ‫ﺗﻘﺪﻣني اﻷﺧﺒﺎر ﰲ ﺑﺮﻧﺎﻣﺞ ﻋﻠﻮم اﻟﺪار‪ ،‬مبﺎذا‬ ‫ﻳﺠﺐ أن ﻳﺨﺘﻠﻒ ﻣﺬﻳﻊ اﻷﺧﺒﺎر ﻋﻦ ﻏريه؟‬ ‫ﻳﺨﺘﻠﻒ ﻣﺬﻳﻊ اﻷﺧﺒﺎر ﻋﻦ ﺑﺎﻗﻲ اﳌﺬﻳﻌني‪،‬‬ ‫ﻓﻌﻠﻴﻪ أن ﻳﺘﺴﻢ ﺑﺎﻟﺮﺻﺎﻧﺔ واﻟﺠﺪﻳﺔ‪ ،‬ﺧﺼﻮﺻﺎً‬ ‫ﻋﻨﺪ ﺗﻘﺪﻳﻢ اﻷﺧﺒﺎر اﻟﺴﻴﺎﺳﻴﺔ أو اﻻﻗﺘﺼﺎدﻳﺔ‪،‬‬ ‫ﻛام ﻋﻠﻴﻪ أن ﻳﻘﺪم اﻟﺨﱪ ﺑﻄﺮﻳﻘﺔ ﺗﺸﻌﺮ‬ ‫اﻟﻨﺎس ﺑﺎﻟﺜﻘﺔ واﳌﺼﺪاﻗﻴﺔ‪.‬‬ ‫ﺷﺎرﻛﺖ ﺑﺘﻤﺜﻴﻞ ﺻﻮيت ﰲ اﳌﺴﻠﺴﻞ‬ ‫اﻟﻜﺮﺗﻮين »ﺷﻌﺒﻴﺔ اﻟﻜﺮﺗﻮن«‪ ،‬ﺣﺪﺛﻴﻨﺎ ﻋﻦ‬ ‫ﻫﺬه اﻟﺘﺠﺮﺑﺔ ﺧﺼﻮﺻﺎً أﻧﻚ ﻇﻬﺮت ﺑﺼﻮﺗﻚ‬ ‫ﻻ ﺑﺼﻮرﺗﻚ‪.‬‬ ‫ﻛﺎﻧﺖ ﺗﺠﺮﺑﺘﻲ ﰲ »ﺷﻌﺒﻴﺔ اﻟﻜﺮﺗﻮن« راﺋﻌﺔ‪،‬‬ ‫ﺣﻴﺚ اﻛﺘﺸﻔﻨﻲ اﻟﺼﺪﻳﻖ ﺣﻴﺪر ﻣﺤﻤﺪ‪،‬‬ ‫وﻃﻠﺐ ﻣﻨﻲ ﺗﺄدﻳﺔ دور رميﺎﻧﺔ اﻟﺪﻟﻮﻋﺔ‪،‬‬ ‫وﻫﻲ ﻣﺬﻳﻌﺔ ﺗﺤﺐ ﺻﻮر اﻟﺴﻠﻔﻲ ﻛﺜرياً‪،‬‬ ‫ﻋﲆ ﻣﺪار ﺳﻨﺘني ﺷﺎرﻛﺖ ﰲ ﻫﺬا اﳌﺴﻠﺴﻞ‬ ‫اﻟﻜﺮﺗﻮين اﻟﻨﺎﺟﺢ‪.‬‬ ‫ﻫﻞ ﺗﻔﻜﺮﻳﻦ ﰲ إﻋﺎدة ﺗﺠﺮﺑﺔ اﻟﺘﻤﺜﻴﻞ؟‬ ‫ﻻ أﻓﻜﺮ ﰲ اﳌﺸﺎرﻛﺔ ﰲ اﻷﻓﻼم واﳌﺴﻠﺴﻼت‬

‫ﻟﻰ ﻣﺘﻰ ﻳﺎﻟﻴﻞ‬ ‫ﻣﺤﻤﺪ اﻟﻤﺼﻌﺒﻲ‬ @moh50103

d@@ £@ @c@ @: ¤@@ @ @ @ £@ @ @ @ ~@ @ z@ @ D @@ @ @£@ @ @ Db@@ @ @J ¢@@ @ @g@ @ @ E ¶ e*x@@ @ @~@ @ @ 6 @@ @ @ @ /É@@ @ @ @ <H 2¡@@ @ @ @ @ @ @F rHx@@ @ @ @ @ @ @ @ @ @ ±*H d@@ @£@ @ =&* ¤@@ @ @£@ @<v@@ - @@ z@ @ @ @~@ @{@ @D* Hx@@ @ @~@ @ @ 7 @@ @ @< e*¡@@ @ @ @ / ¤@@ @ @ @ £@ @ @ @ ~@ @ 6 @@ @ @ @ < ¤@@ @ @ @ @£@ @ @Db@@ @ J ib@@ @ @ @ @ @G d@@ @ Jx@@ @ = ¤@@ @ @ @ @ @ @ -*H*v@@ @ @ @ @ @ @ E ¯ @@ @ @ c@ @ @ @: @@ @ @ £@ @ @ @D e*w@@ @ @ @< ¤@@ @ @ @ Jx@@ @~@ @ z@ @ - ¡@@ @ @~@ @ @ 7 @@ @ g@ @ J¡@@ @ ~@ @ 9 ° d@@ £@ @ @ @: ¤@@ @ @ @ @~@ @ @{@ @ @Jb@@ @ < eÉ@@ @ @ @ @ @ : @@ @ ~@ @ @ {@ @ @ Jb@@ @ < e*x@@ @ @ @ @ @²* ib@@ @ @ @ @ @ @ @ @ @ @+ ¢@@ @ Ab@@ @ ~@ @ @|@ @ @g@ @ @F @@ @ @£@ @ @ C d@@ £@ @ @ @E q@@ @ @Eb@@ @ @ @ @ @ @ @ @ D @@ @ @ @ @ @ @ @ D* (* Ñ*H eb@@ @£@ @ = b@@ @ £@ @ @ @ @ @ @ @ @D* @@ @ @ @ < d@@ @ c@ @ @~@ @ @6 ° @@ @ @|@ @ @ 1 d@@ £@ @p@ @F f@@ @ p@ @ @+ Iv@@ @ @ ~@ @ @ @8 ·b@@ @ @ @ @ @ @ @E%* i4b@@ @ @ @~@ @ @ @ 8 eb@@ @ @ @ G3 @@ @ @-b@@ @ @ @ @ @ ~@ @ @ 8H @@ @ 6b@@ @ @ @ ~@ @ z@ @ F b@@ @ @ @ G2b@@ @ @ @ B d@@£@ s@ - @@ @ @ @Db@@ @ @ @E%* v@@ @Gb@@ @~@ @ 7 (* b@@ @ m@ @ @~@ @ @{@ @ @D*H eb@@ @ 1 @@ @ @ @ @²* ix@@ @ @ @ @C 4w@@ @ @ @ @ @ Db@@ @ @+ ¢@@ @ @~@ @ @ 94b@@ @ @E d@@£@ ~@ |@ = b@@ @ @Gw@@ @ @1 H&* d@@ @£@ @ @ @ Db@@ @+ b@@ @ @ @ @Db@@ @ : eb@@ @ @Jw@@ @ @D* b@@ @ @ @ @JH $b@@ @~@ @ {@ @ @ @ Db@@ @A x@@ @~@ @ 7b@@ @s@ @ - ¡@@ @ @ D d@@ £@ @ @ @C @@ @ @ @ @E f@@ @ @ @ @ @ D3 @@ @ @6b@@ @ @~@ @ @ z@ @ @ / @@ @ @ c@ @ @ Bb@@ @ @ E eb@@ @ @ @ @ @ @ @ @ D*H d@@ @ @~@ @ @ 6b@@ @ @ @ @ @ g@ @ @ D*H f@@ @ @ +x@@ @ @ B @@ @ @ @ @ =4 d@@£@ ~@ |@ E b@@ @ @ @ £@ @ A @@ @ @ E b@@ @ @ @ @ @JH b@@ @ @ @ @ @F&* h@@ @ @ @ @ @F*H eb@@ @~@ @ }@ @ @ @ D* q@@ @ @ @ ~@ @ 6 ¢@@ @ @ @ @< @@ @Cb@@ @p@ @ g@ @ F ¡@@ @ @ @ @J d@@£@ ~@ |@ @ D* ¡@@ @ @ @ @ @ -H b@@ @m@ @ ~@ @ 7 @@ @ @£@ @ @ /&* ¡@@ @ @ @J eb@@ @ @ Cx@@ @ @ D* x@@ @ p@ @ @ F @@ @ j@ @ @ E Áx@@ @ p@ @ @ @ @ @ - h@@ @ @ @ @ B

65 2016 /‫أﻛﺘﻮﺑﺮ‬

‫ﻣﺎﺳﺎت‬ baytelshear

‫ﻣﺎﻧﻲ ﺑﺤﺎﺟﺘﻚ‬ ‫ﻣﺤﻤﺪ اﻟﻔﺎﻟﺢ‬

¤@@ @ @£@ @ @ @ @ @J @@ @ @ @ @ @ E Áb@@ @ @ @ @ @ @ D ¤@@ @ @~@ @ @ 7 h@@ @ @ @ @ @ +b@@ @ @J 2b@@ @ @ @ @J5 @@ @ p@ @ @Jx@@ @ © ¤@@ @ @ @ @Ab@@ @ 1 @@ @ @ @ g@ @ p@ @ Jb@@ @E ¤@@ @ £@ A b@@ @ @ @ @ @ ³* Í@@ @ D¡@@ @ @ @ @- @@ @ @ @ @D Í@@ @ @ @ s@ @ 2b@@ @ @ < ¤@@ @c@ @ 0b@@ @~@ @ 8b@@ @J b@@ @ @ @ @³b@@ @ + @@ @ @ D @@ @ @Cb@@ @ @E ¤@@ @ @£@ @ @ @c@ @JH ¤@@ @ @ +x@@ @ @ B ¯ b@@ @ @ @ @ @ @ @ +* H* @@ @ @ @E 2b@@ @ @ @ +* ¥x@@ @ @~@ @ @ 7*H ¥2b@@ @ @ @ @ @ +* ¥x@@ ~@ @{@ @J ¡@@ @ @£@ @ @ D*H ¤@@ @ @ £@ @ @ @ @ @ ´* 2x@@ @ @ @ @ @: ¢@@ @ @ @ @ @ < ÁÄ@@ @ @ @ @ @/ Ñb@@ @ @ @ @ @E 2b@@ @ @ @F @@ @ c@ @ @0b@@ @ ~@ @ @8 b@@ @ @ @ @ @ @B° ¡@@ @ @D¡@@ @ @ @ @ @ J ·* ¤@@ @ @£@ @£@ @p@ @JH ¤@@ @ @ @ @p@ @ @+w@@ @ J d@@ @ @ ²b@@ @ @ + b@@ @ @ @C¡@@ @ @ @D 2b@@ @ @ @ @ @ < f@@ @ c@ @ @~@ @ @6 v@@ @ @ @ @ @ @J 2b@@ @ @ @ @ @ @ @ @ + r*4 @@ @ @ @ E ¤@@ @ £@ @ @ E @@ @ @ @ @< ¤@@ @ @ @ @+4 @@ @ g@ @ /b@@ @ p@ @ + Áb@@ @ @ @ @E 2b@@ @ @ @ @ @ ~@ @ @ 8*H b@@ @ @ @ £@ @ ~@ @ {@ @ @ @ D ¥b@@ @ @ @ @ @ £@ @ + x@@ @ @~@ @ @ 7* ¤@@ @ £@ @ @ Jb@@ E ¢@@ @ @ @ @ F2* b@@ @ @ @ @ F*H v@@ @ @ @ @ /*H eb@@ @ @c@ @ @ 0° 2b@@ @~@ @ z@ @ 0 *w@@ @ @ @ @ @ @ @ @ @ @D*H rHx@@ @ @ @ @ @ ¸ d@@ @ @ @ @ @ @ @ @ D*H ¤@@ @ @£@ @ @ @s@ @J @@ @ @ @ E ¤@@ @ @ @ @s@ @ @J ¤@@ @ c@ @ @ @ @ @B h@@ @ @ @ @ @ +b@@ @ @J 2b@@ @ @ @ @ @ J5H @@ @z@ @ @ @ F ,y@@ @ @ @ @ @ <H f@@ @ @ @E*x@@ @ @ @C ¥v@@ @ @ @ @ @ <

49 ‫ اﻟﻌﺪد‬/ ‫ ﺑﻴﺖ اﻟﺸﻌﺮ‬64

‫ﻧﻘﻄﺔ أول اﻟﺸﻄﺮ‬

‫اﻟﺘﺮﻛﻴﺒﺔ اﻟﺜﻘﺎﻓﻴﺔ‬ ‫ﱄ ﻋﺘﺐ ﻋﲆ ﻛﺜري ﻣﻦ اﻷدﺑﺎء اﳌﺒﺘﻌﺪﻳﻦ ﻋﻦ اﻟﺴﺎﺣﺔ اﻟﺜﻘﺎﻓﻴﺔ‪ ،‬ﻓﺄﺳﺒﺎب‬ ‫اﺑﺘﻌﺎدﻫﻢ ﻟﻴﺴﺖ ﻣﻘﻨﻌﺔ أﺑﺪا‪ ،‬وﻻ ﻣﻨﻄﻖ ﻟﻬﺎ‪ ،‬ﻓﺎﻻﺑﺘﻌﺎد ﻻ ﻳﺴﺘﻄﻴﻊ أن‬ ‫ﻳﻜﻮن ﻧﺘﻴﺠ ًﺔ أو ردة ﻓﻌﻞ ﻷي ﻋﺎﻣﻞ ﻣﺆﺛﺮ ﻋﲆ اﻟﻔﻌﻞ اﻷديب أو اﻟﺜﻘﺎﰲ‬ ‫ﰲ ﺑﻴﺌﺘﻪ اﻻﺟﺘامﻋﻴﺔ‪ ،‬اﳌﺜﻘﻒ ﰲ اﻟﻨﻬﺎﻳﺔ ﻟﻴﺲ ﻣﻦ اﳌﺨﻠﻮﻗﺎت اﻟﺘﻲ ﺗﺴﺘﻄﻴﻊ‬ ‫ﺗﻐﻴري ﺟﻠﺪﻫﺎ‪ ،‬واﻟﺜﻘﺎﻓﺔ ﻟﻴﺴﺖ ﺑﻴﺌﺔ ﻳﺨﺮج ﻣﻨﻬﺎ اﳌﺜﻘﻒ أو ﻳﻨﺘﻤﻲ إﻟﻴﻬﺎ‪ ،‬ﺑﻞ‬ ‫ﻫﻲ ﻣﺴﺆوﻟﻴﺔ ﻻ ﻳﺴﺘﻄﻴﻊ اﳌﺜﻘﻒ أن ﻳﱰﻛﻬﺎ ﺑﻌﺪ أن ﻳﻘﺪم ﻧﻔﺴﻪ إﱃ اﻟﺠﻤﻬﻮر‪،‬‬ ‫ﻷن ذﻟﻚ ﻳﱰك أﺛﺮاً ﺑﺎﻟﻐﺎً ﻋﲆ اﻟﻌﻼﻗﺎت اﻟﻘﺎمئﺔ ﺑني اﻷﺟﻴﺎل واﻷﻓﻜﺎر‪ ،‬وﻳﺆﺛﺮ‬ ‫ﻋﲆ ﺣﻔﻆ ﻫﻮﻳﺔ اﳌﺠﺘﻤﻊ وﺛﻘﺎﻓﺘﻪ‪ ،‬ﻟﺬا أمتﻨﻰ رﺟﻮع ﺟﻤﻴﻊ اﳌﺜﻘﻔني إﱃ‬ ‫اﻟﻔﻌﺎﻟﻴﺎت اﻷدﺑﻴﺔ‪ ،‬ﻓﺎﻟﺴامء ﺗﺴﺘﻮﻋﺐ ﺟﻤﻴﻊ اﻟﻨﺠﻮم وﻟﻦ ﻳﺘﺸﻜﻞ ﻗﻤﺮﻫﺎ إﻻ‬ ‫ﺣني ﺗﺠﺘﻤﻊ اﻟﻨﺠﻮم ﰲ ﻣﻜﺎن واﺣﺪ‪ ،‬واﺑﺘﻌﺎد ﺑﻌﺾ اﳌﺜﻘﻔني ﻋﻦ ﺳﺎﺣﺘﻬﻢ ﻳﺆﺛﺮ‬ ‫ﻋﲆ ﺻﺪﻗﻴﺘﻬﻢ واﻋﺘﺒﺎرﻫﻢ‪.‬‬ ‫ﻛﺎﻧﺖ ﱄ ﺗﺠﺮﺑﺔ ﻣﺘﻮاﺿﻌﺔ ﰲ ﺗﺸﺠﻴﻊ اﻟﻜ ّﺘﺎب اﻟﺼﻐﺎر ﻋﲆ ﻧﴩ أﻋامﻟﻬﻢ‬ ‫اﻹﺑﺪاﻋﻴﺔ‪ ،‬إﱃ أن ﺑﺰﻏﺖ ﻧﺠﻮﻣﻬﻢ ﺑﴪﻋﺔ ﻓﺎﺋﻘﺔ‪ ،‬وﻣﻦ ﺣﻴﻨﻬﺎ أﺻﺒﺤﺖ ﻣﻘﺘﻨﻌﺎً‬ ‫أن اﻟﺤﺎﺟﺔ إﱃ اﻟﻨﺠﻮم ﻛﺒرية‪ ،‬وﻳﺴﺘﻄﻴﻊ أي ﻣﺒﺪع ﻣﻬام ﻛﺎن ﻣﺒﺘﺪﺋﺎً أن ﻳﺠﺪ‬ ‫ﻟﻪ ﻣﻮﻃﺊ ﻗﺪم ﰲ ﻫﺬا اﳌﻴﺪان‪ ،‬أو ﻣﺴﺎﺣﺔ ﰲ ﻫﺬا اﻟﻔﻀﺎء ﻟﻴﻠﻤﻊ ﻧﺠﻤﻪ‪ ،‬وﻻ‬ ‫أﻃﺎﻟﺐ ﻫﻨﺎ اﻷدﺑﺎء اﻟﻜﺒﺎر أن ﻳﺒﺪﻋﻮا‪ ،‬ﺑﻞ أﻃﺎﻟﺒﻬﻢ ﺑﺘﺒﻨﻲ إﺑﺪاﻋﺎت اﻷﻃﻔﺎل‬ ‫واﻟﺸﺒﺎب وإﻓﺴﺎح اﻟﻄﺮﻳﻖ ﻟﻬﻢ يك ﻳﺘﻘﺪﻣﻮا اﳌﺸﻬﺪ اﻟﺜﻘﺎﰲ‪ ،‬ﻷﻧﻬﻢ ﻳﻜﺘﺒﻮن‬ ‫اﻟﺤﻴﺎة أو اﻟﺒﻘﺎء‪ ،‬ﺑﻴﻨام اﻟﻜ ّﺘﺎب اﻟﺬﻳﻦ ﺗﻌﺪوا ﻣﻨﺘﺼﻒ اﻟﻌﻤﺮ _وأﻧﺎ ﻣﻨﻬﻢ_‬ ‫أﺻﺒﺤﻮا ﻳﻜﺘﺒﻮن ﺧﻮﻓﺎً ﻣﻦ اﻟﻔﻨﺎء واﳌﻮت‪ ،‬وﻫﺬه اﻟﻔﻠﺴﻔﺔ اﻟﺘﻲ ﺗﻌﱰﻳﻨﺎ ﺑﻌﺪ‬ ‫أزﻣﺔ ﻣﻨﺘﺼﻒ اﻟﻌﻤﺮ‪.‬‬ ‫ﻟﺬا أرﺟﻮ أن ﻧﻘﻒ ﺧﻠﻒ اﻟﻜﺜري ﻣﻦ اﳌﺒﺎدرات‪ ،‬وﻣﻨﻬﺎ ﻣﺒﺎدرة أﻋﻮام اﻟﻘﺮاءة‪.‬‬

‫ﻣﺤﻤﺪ ﻧﻮر اﻟﺪﻳﻦ‬

‫‪@khaligalb‬‬ ‫أﻛﺘﻮﺑﺮ‪20016 /‬‬ ‫أﻛﺘﺘﻮﺑﺮ‪/‬‬ ‫ﻛ‬ ‫‪63 2016‬‬

‫ﻣﺒﺪﻋﻮن‬ ‫‪baytelshear‬‬

‫ﺑﺪﻋﻢ ﻣﻦ ﺳﻤﻮ اﻟﺸﻴﺦ ﺳﻴﻒ ﺑﻦ زاﻳﺪ آل‬ ‫ﻧﻬﻴﺎن ﺣﻔﻈﻪ اﻟﻠﻪ ﺗﻌﺎﱃ ﻧﺎﺋﺐ رﺋﻴﺲ ﻣﺠﻠﺲ‬ ‫اﻟﻮزراء وزﻳﺮ اﻟﺪاﺧﻠﻴﺔ‪ ،‬ومبﺘﺎﺑﻌﺔ ﻣﺒﺎﴍة ﻣﻦ‬ ‫اﻟﻘﺎﺋﺪ اﻟﻌﺎم ﻟﴩﻃﺔ أﺑﻮﻇﺒﻲ اﻟﻠﻮاء ﻣﺤﻤﺪ‬ ‫ﺧﻠﻔﺎن اﻟﺮﻣﻴﺜﻲ«‪.‬‬ ‫وﻳﺸﻴﺪ راﺷﺪ ﺑﺎﳌﺴﺘﻮى اﻟﺬي وﺻﻠﺖ إﻟﻴﻪ‬ ‫اﻟﺪوﻟﺔ ﰲ ﻣﺠﺎل أﻟﻌﺎب اﻟﻘﻮى وﻳﻘﻮل‪:‬‬ ‫»أوﻟﺖ اﻟﺪوﻟﺔ ﻣﺸﻜﻮرة ﺟﻬﻮداً ﻛﺒرية ﻟﺘﻄﻮﻳﺮ‬ ‫‪ 62‬ﺑﻴﺖ اﻟﺸﻌﺮ ‪ /‬اﻟﻌﺪد ‪49‬‬

‫ﻛﻞ أﻧﻮاع اﻟﺮﻳﺎﺿﺔ وﻣﻦ ﺑﻴﻨﻬﺎ رﻳﺎﺿﺔ أﻟﻌﺎب‬ ‫اﻟﻘﻮى‪ ،‬ﻟﻜﻨﻨﺎ ﻣﺎ زﻟﻨﺎ ﻧﻌﺎين ﻣﻦ ﻧﻘﺺ ﰲ‬ ‫اﻟﻜﻔﺎءات اﻟﺮﻳﺎﺿﻴﺔ اﻟﻘﺎدرة ﻋﲆ اﳌﻨﺎﻓﺴﺔ ﰲ‬ ‫اﳌﺤﺎﻓﻞ اﻟﺪوﻟﻴﺔ‪ ،‬ﻳﻠﺰﻣﻨﺎ اﻟﺘﺴﻮﻳﻖ اﳌﻨﺎﺳﺐ‬ ‫ﻷﻟﻌﺎب اﻟﻘﻮى‪ ،‬ﺑﻬﺪف ﺗﺮﻏﻴﺐ اﻟﺸﺒﺎب ﺑﻬﺎ‬ ‫وﺟﺬﺑﻬﻢ إﱃ ﻣامرﺳﺘﻬﺎ‪ ،‬ﺣﻴﺚ ﻻ ﻳﺘﻤﺘﻊ‬ ‫ﻻﻋﺐ اﻟﻘﻮى ﺑﺎﻟﺸﻬﺮة واﻟﺸﻌﺒﻴﺔ اﻟﺘﻲ‬ ‫ﻳﺘﻤﺘﻊ ﺑﻬﺎ ﻻﻋﺐ ﻛﺮة اﻟﻘﺪم أو اﻟﺴﻠﺔ أو‬

‫اﻟﺴﻴﺎرات‪ ،‬ﻓﺎﻟﺨﻠﻞ ﻳﻜﻤﻦ ﰲ إﻳﺠﺎد أﺷﺨﺎص‬ ‫ﻳﺤﺒﻮن اﻟﻠﻌﺒﺔ وﻗﺎدرﻳﻦ ﻋﲆ ﺗﺤﻤﻞ اﻟﺘامرﻳﻦ‬ ‫اﻟﺼﻌﺒﺔ‪ ،‬ﻓﻜﺜريون ﻫﻢ ﻣﻦ ﻳﺒﺪؤون اﻟﺘﺪرب‬ ‫ﻋﲆ أﻟﻌﺎب اﻟﻘﻮى‪ ،‬ﻟﻜﻨﻬﻢ ﻻ ﻳﺴﺘﻄﻴﻌﻮن‬ ‫اﻻﺳﺘﻤﺮار‪ ،‬ﻓﻴﻔﻀﻠﻮن اﻻﻧﺴﺤﺎب واﻟﺘﻮﺟﻪ إﱃ‬ ‫أﻟﻌﺎب أﺧﺮى«‪.‬‬ ‫وﻋﻦ اﳌﻤﻴﺰ ﰲ أﻟﻌﺎب اﻟﻘﻮى ﻳﻘﻮل راﺷﺪ‪:‬‬ ‫»ﻗﺪ ﺗﻜﻮن ﻛﺮة اﻟﻘﺪم أﻛرث ﺷﻌﺒﻴﺔ وأﻛرث‬ ‫ﻣﺘﻌﺔ‪ ،‬ﻟﻜﻨﻬﺎ أﻗﴫ ﻋﻤﺮاً‪ ،‬ﻓﻼﻋﺐ ﻛﺮة اﻟﻘﺪم‬ ‫ﻳﺘﻘﺎﻋﺪ ﻏﺎﻟﺒﺎً ﰲ ﺑﺪاﻳﺔ اﻟﺜﻼﺛﻴﻨﻴﺎت ﻣﻦ اﻟﻌﻤﺮ‪،‬‬ ‫وأي إﺻﺎﺑﺔ ﺗﺆدي إﱃ اﻻﻋﺘﺰال‪ ،‬ﺑﻴﻨام ﻳﺴﺘﻄﻴﻊ‬ ‫ﻻﻋﺐ أﻟﻌﺎب اﻟﻘﻮى اﻻﺳﺘﻤﺮار ﰲ اﻟﻌﻄﺎء‬ ‫ﺳﻨﻮات أﻛرث ﺑﻜﺜري‪ ،‬وﺗﻌﺮﺿﻪ ﻷي إﺻﺎﺑﺔ ﻻ‬ ‫ﻳﻌﻨﻲ اﻻﻋﺘﺰال‪ ،‬ﺣﻴﺚ ميﻜﻨﻪ ﻣامرﺳﺔ ﻟﻌﺒﺔ‬ ‫أﺧﺮى ﻣﻦ أﻟﻌﺎب اﻟﻘﻮى ﻻ ﺗﻀﻐﻂ ﻋﲆ ﻣﻜﺎن‬ ‫اﻹﺻﺎﺑﺔ‪ ،‬ﻟﺬﻟﻚ أﻧﺼﺢ اﻟﺮﻳﺎﺿﻴني اﻹﻣﺎراﺗﻴني‬ ‫ﺑﺎﻟﺘﻔﻜري أﻛرث وﻣامرﺳﺔ ﻫﺬه اﻟﻠﻌﺒﺔ‪ ،‬وﰲ ﻇﻞ‬ ‫ﻗﻠﺔ اﻟﻼﻋﺒني ﺣﺎﻟﻴﺎً ﺳﺘﻜﻮن اﳌﻨﺎﻓﺴﺔ أﺳﻬﻞ‪،‬‬ ‫وﺳﺘﻜﻮن ﻓﺮﺻﺘﻬﻢ ﰲ متﺜﻴﻞ اﻟﺪوﻟﺔ أﻛﱪ‪،‬‬ ‫ﻣﻘﺎرﻧﺔ ﻓﻴام ﻟﻮ أﻧﻬﻢ ﺗﻮﺟﻬﻮا إﱃ ﻣامرﺳﺔ ﻛﺮة‬ ‫اﻟﻘﺪم أو ﻏريﻫﺎ ﻣﻦ اﻷﻟﻌﺎب اﻟﺸﻌﺒﻴﺔ«‪.‬‬

‫اﳌﺮﻛﺰ اﻷول ﰲ ﺑﻄﻮﻟﺔ اﻹرﺑﺎﺛﺎﻟﻮن اﻷوﱃ ﰲ‬ ‫اﻟﴩق اﻷوﺳﻂ‪ ،‬ﻛﺎﻧﺖ اﳌﻨﺎﻓﺴﺔ ﺷﺪﻳﺪة ﺟﺪاً‬ ‫ﻣﺎ ﻋﺮﺿﻨﻲ ﻟﻮﻋﻜﺔ ﺻﺤﻴﺔ‪ ،‬أﻗﻤﺖ ﺑﺴﺒﺒﻬﺎ ﰲ‬ ‫اﳌﺸﻔﻰ ﻟﻌﴩﻳﻦ ﻳﻮﻣﺎً‪ .‬وﰲ ﺑﻄﻮﻟﺔ ﻣﺤﺎرب‬ ‫اﻟﺼﺤﺮاء ﺣﻘﻘﺖ اﳌﺮﻛﺰ اﻷول ﻋﲆ ﻣﺴﺘﻮى‬ ‫اﻷﻓﺮاد‪ ،‬واﳌﺮﻛﺰ اﻷول ﻟﻠﻔﺮق ﻋﲆ ﻣﺴﺘﻮى‬ ‫اﻟﴩق اﻷوﺳﻂ‪ ،‬اﻓﺨﺮ ﺑﻬﺬا اﻹﻧﺠﺎز ﻛﺜرياً‪،‬‬ ‫ﻛﻮين أول إﻣﺎرايت وﻋﺮيب وآﺳﻴﻮي ﻳﺤﺼﺪ ﻫﺬا‬ ‫اﻟﻠﻘﺐ‪ ،‬وذﻟﻚ ﺑﻌﺪ ﻣﻄﺎردة اﺳﺘﻤﺮت ﻟﺨﻤﺲ‬ ‫ﺳﻨﻮات‪ ،‬وﻗﺪ ﺷﻤﻠﺖ اﳌﻨﺎﻓﺴﺔ ﰲ ﻫﺬه‬ ‫اﻟﺒﻄﻮﻟﺔ ﻋﲆ اﻟﺠﺮي ﳌﺴﺎﻓﺔ ‪ 40‬ﻛﻴﻠﻮﻣﱰاً‪،‬‬ ‫وﺗﺨﻄﻲ ‪ 35‬ﺣﺎﺟﺰاً‪ ،‬واﻟﺴﺒﺎﺣﺔ ﳌﺴﺎﻓﺔ ‪300‬‬ ‫ﻣﱰ ﰲ درﺟﺔ ﺣﺮارة ‪ 5‬ﺗﺤﺖ اﻟﺼﻔﺮ“‪.‬‬ ‫ﺳﻨﻮات ﻃﻮﻳﻠﺔ ﻣﺮت ﻋﲆ ﻣامرﺳﺔ راﺷﺪ‬ ‫اﻟﻘﺒﻴﴘ ﻟﺮﻳﺎﺿﺔ أﻟﻌﺎب اﻟﻘﻮى ﻟﻜﻨﻪ ﻻ ﻳﻔﻜﺮ‬ ‫ﰲ اﻻﻋﺘﺰال‪ ،‬ﻳﻘﻮل اﻟﻘﺒﻴﴘ‪» :‬ﺳﺄﺳﺘﻤﺮ ﰲ‬ ‫دﺧﻮل اﻟﺒﻄﻮﻻت واﳌﻨﺎﻓﺴﺔ ﻃﺎﳌﺎ أين ﻗﺎدر‬ ‫ﻋﲆ اﻟﻌﻄﺎء‪ ،‬وﺳﺄﺳﺘﻔﻴﺪ ﻣﻦ اﻟﻠﻌﺐ ﺿﻤﻦ‬ ‫اﻟﻔﺌﺔ اﻟﻌﻤﺮﻳﺔ اﳌﻨﺎﺳﺒﺔ ﱄ‪ ،‬ﻣﻜﺎين اﳌﻔﻀﻞ‬ ‫ﻫﻮ ﻣﻴﺪان اﳌﻨﺎﻓﺴﺎت‪ ،‬وﻻ أﻓﻜﺮ ﰲ ﺗﺮﻛﻪ ﰲ‬ ‫اﻟﻮﻗﺖ اﻟﺤﺎﱄ«‪.‬‬ ‫ﺧﻼل ﻣﺴريﺗﻪ اﻟﻄﻮﻳﻠﺔ ﺗﻌﺮض راﺷﺪ ﻹﺻﺎﺑﺎت‬

‫ﺗﻔﻮق راﺷﺪ ﻓﻲ ﺑﻄﻮﻻت‬ ‫اﻟﺘﺤﺪي وﻫﻲ أﺻﻌﺐ اﻟﺮﻳﺎﺿﺎت‬ ‫اﻟﺘﻲ ﻳﻤﺎرﺳﻬﺎ اﻹﻧﺴﺎن‪ ،‬ﺣﻴﺚ‬ ‫ﺗﺘﻜﻮن ﻣﻊ ﻣﺰﻳﺞ ﻣﻦ اﻟﺮﻳﺎﺿﺎت‬ ‫اﻟﻤﺨﺘﻠﻔﺔ ﻓﻲ ﻇﺮوف ﺻﻌﺒﺔ‬ ‫ﺣﺘﻰ ﺗﺤﻘﻖ اﻟﻨﺠﺎح ﻋﻠﻴﻚ أن‬ ‫ﺗﻜﻮن ﻣﻨﺘﻈﻤﺎً ﻓﻲ ﻛﻞ ﺷﻲء‪،‬‬ ‫ﺗﺪرﻳﺒﺎﺗﻚ‪ ،‬ﻋﻤﻠﻚ‪ ،‬ﻣﻮاﻋﻴﺪك‪،‬‬ ‫ﻃﻌﺎﻣﻚ وﺷﺮاﺑﻚ‪ ،‬ﻋﻼﻗﺎﺗﻚ ﻣﻊ‬ ‫ﻋﺎﺋﻠﺘﻚ وأﺻﺪﻗﺎﺋﻚ‬ ‫أوﻟﺖ اﻟﺪوﻟﺔ ﻣﺸﻜﻮرة ﺟﻬﻮداً‬ ‫ﻛﺒﻴﺮة ﻟﺘﻄﻮﻳﺮ ﻛﻞ أﻧﻮاع‬ ‫اﻟﺮﻳﺎﺿﺔ وﻣﻦ ﺑﻴﻨﻬﺎ رﻳﺎﺿﺔ أﻟﻌﺎب‬ ‫اﻟﻘﻮى‬

‫ﻋﺪﻳﺪة وﺧﻄرية‪ ،‬ﻟﻜﻦ اﻟﺨﱪة ﻟﻌﺒﺖ دورا‬ ‫ﻛﺒريا ﰲ ﺗﻐﻠﺒﻪ ﻋﲆ ﻫﺬه اﻹﺻﺎﺑﺎت وﻋﻮدﺗﻪ‬ ‫إﱃ اﳌﻨﺎﻓﺴﺔ ﺧﻼل وﻗﺖ ﻗﺼري‪ ،‬ﻳﻘﻮل راﺷﺪ‪:‬‬ ‫»ﻳﻜﻤﻦ ﴎ اﻟﺸﻔﺎء ﰲ اﻻﻟﺘﺰام ﺑﻨﺼﺎﺋﺢ‬ ‫اﻟﻄﺒﻴﺐ‪ ،‬واﻻﻟﺘﺰام ﺑﺎﻟﺘامرﻳﻦ اﻟﴬورﻳﺔ ﰲ‬ ‫ﻣﺮﺣﻠﺔ إﻋﺎدة اﻟﺘﺄﻫﻴﻞ‪ ،‬اﻟﻌﻤﻠﻴﺔ اﻟﺠﺮاﺣﻴﺔ‬ ‫ﻣﻬﻤﺔ‪ ،‬ﻟﻜﻦ اﻷﻫﻢ ﻫﻮ ﻣﺮﺣﻠﺔ ﻣﺎ ﺑﻌﺪ‬ ‫اﻟﻌﻤﻠﻴﺔ اﻟﺠﺮاﺣﻴﺔ‪ ،‬واﻟﺘﻲ ﻻ ﻳﻮﻟﻴﻬﺎ اﻟﻜﺜري‬ ‫ﻣﻦ اﻟﺮﻳﺎﺿﻴني اﻻﻫﺘامم اﳌﻄﻠﻮب‪ ،‬وﻋﺪم‬ ‫اﻻﻫﺘامم ﻳﻄﻴﻞ ﻓﱰة اﻟﻌﻼج‪ ،‬وﻳﺆﺧﺮ ﻣﺮﺣﻠﺔ‬ ‫اﻟﺸﻔﺎء‪ ،‬ﻛام ﻳﺘﺴﺒﺐ ﰲ آﻻم ﻣﺴﺘﻤﺮة‪،‬‬ ‫ﺑﺎﻟﻨﺴﺒﺔ ﱄ ﻛﻨﺖ أﻋﺘﻤﺪ ﺗﻜﺘﻴﻜﺎً ﻣﻌﻴﻨﺎً‪ ،‬ﻓﻘﺪ‬ ‫ﻛﻨﺖ أﺣﺮص ﻋﲆ اﻟﻘﻴﺎم ﺑﺎﻟﺘامرﻳﻦ اﻟﺨﻔﻴﻔﺔ‬ ‫ﳌﺪة ﻃﻮﻳﻠﺔ‪ ،‬وﰲ ﺣﺎل ﺷﻌﺮت ﺑﺄي أمل أﻟﺠﺄ‬ ‫إﱃ متﺎرﻳﻦ اﻟﺼﺎﻟﺔ واﻷﺛﻘﺎل‪ ،‬ﻛام أﺣﺮص ﻋﲆ‬ ‫اﻟﺘﺪرب ﻋﲆ اﻟﻌﺸﺐ اﻟﻄﺒﻴﻌﻲ‪ ،‬ﳌﺎ ﻟﻪ ﻣﻦ‬ ‫دور ﻣﻬﻢ ﰲ اﻣﺘﺼﺎص اﻟﺼﺪﻣﺎت«‪.‬‬ ‫ﻳﻌﻤﻞ راﺷﺪ اﻟﻴﻮم ﻣﺪرﺑﺎً ﻟﻔﺮﻳﻖ ﴍﻃﺔ‬ ‫أﺑﻮﻇﺒﻲ‪ ،‬وﻋﻦ ﻣﻬﺎﻣﻪ ﰲ ﻫﺬه اﻟﻮﻇﻴﻔﺔ ﻳﻘﻮل‪:‬‬ ‫»ﻣﻬﻤﺘﻲ ﺗﻘﻮم ﻋﲆ ﺗﺄﻫﻴﻞ ﻋﻨﺎﴏ اﻟﻜﺎدر‬ ‫اﻟﴩﻃﻲ‪ ،‬ﻹﺑﺮاز اﻟﺠﺎﻧﺐ اﻟﺮﻳﺎﴈ اﻟﴩﻃﻲ‬ ‫ﰲ اﳌﺤﺎﻓﻞ اﳌﺤﻠﻴﺔ واﻟﻌﺮﺑﻴﺔ واﻟﺪوﻟﻴﺔ‪ ،‬وذﻟﻚ‬ ‫أﻛﺘﻮﺑﺮ‪61 2016 /‬‬

‫ﻣﺒﺪﻋﻮن‬ ‫‪baytelshear‬‬

‫أول ﻋﺮﺑﻲ وآﺳﻴﻮي ﻳﺤﻘﻖ ﺑﻄﻮﻟﺔ ﻣﺤﺎرﺑﻲ اﻟﺼﺤﺮاء‬

‫ﺑﻄﻲ راﺷﺪ اﻟﻘﺒﻴﺴﻲ‪ :‬أﻟﻌﺎب اﻟﻘﻮى‬ ‫ﺗﺤﺘﺎج إﻟﻰ اﻟﻤﺰﻳﺪ ﻣﻦ اﻟﺘﺴﻮﻳﻖ‬ ‫ﻣﺼﻄﻔﻰ أﺣﻤﺪ‬

‫ﺑﺎﻟﻨﺴﺒﺔ ﱄ‪ ،‬ﻻ أﺟﺪ ﰲ ﻧﻔﴘ ﻫﺬه اﻷﻳﺎم‬ ‫اﻟﺤامﺳﺔ اﻟﻜﺒرية ﳌامرﺳﺔ اﻟﺮﻳﺎﺿﺔ‪ ،‬وﻣﺜﲇ‬ ‫ﻛﺜريون‪ .‬دامئﺎً ﻣﺎ أﺑﺮع ﰲ ﺧﻠﻖ اﻟﺤﺠﺞ ﻟيك‬ ‫ﻻ أرﺗﺪي ﺣﺬايئ اﻟﺮﻳﺎﴈ وأﻣﴚ وأرﻛﺾ‬ ‫وأﻣﺎرس ﺑﻌﺾ اﻟﺘامرﻳﻦ‪ ،‬ﻟﻜﻦ ﺑﻄﻠﻨﺎ اﻟﻴﻮم‬ ‫ﻋﲆ ﻋﻜﴘ وﻋﲆ ﻋﻜﺲ اﻟﻐﺎﻟﺒﻴﺔ اﻟﻌﻈﻤﻰ‬ ‫ﻣﻨﺎ‪ ،‬ﻓﻬﻮ ﻳﺠﺪ ﺻﻌﻮﺑﺔ ﰲ ﺧﻠﻊ ﺣﺬاﺋﻪ‬ ‫اﻟﺮﻳﺎﴈ‪ ،‬وﻛﺄﻧﻪ ﻳﻮم وﻟﺪ‪ ،‬ﻛﺎن ﻳﺮﺗﺪﻳﻪ‪.‬‬ ‫ﻻ ﻳﻔﻜﺮ إﻻ ﰲ اﻟﺮﻳﺎﺿﺔ‪ ،‬أو مبﻌﻨﻰ أدق ﻻ‬ ‫ميﻜﻨﻪ اﻟﺘﻔﻜري إﻻ ﺑﺎﻟﺮﻳﺎﺿﺔ‪ .‬ميﴤ ﻣﻌﻈﻢ‬ ‫ﻳﻮﻣﻪ وﻫﻮ ﻳﺠﺮي‪ ،‬وﻻ أﺑﺎﻟﻎ إذا ﻗﻠﺖ إﻧﻪ‬ ‫ﻳﺘﻨﺎول ﻃﻌﺎﻣﻪ وﻫﻮ ميﺎرس متﺎرﻳﻨﻪ اﻟﺮﻳﺎﺿﻴﺔ‬ ‫اﳌﻜﺜﻔﺔ‪ ،‬ﻗﺪ ﺗﺸﻐﻠﻪ ﺑﻌﺾ اﻷﻣﻮر ﻋﻦ ﺣﻀﻮر‬ ‫اﳌﻨﺎﺳﺒﺎت اﻻﺟﺘامﻋﻴﺔ‪ ،‬ﻟﻜﻦ ﻻ ﳾء ﻳﺸﻐﻠﻪ‬ ‫ﻋﻦ ﺗﺪرﻳﺒﺎﺗﻪ اﻟﻴﻮﻣﻴﺔ‪.‬‬ ‫إﻧﻪ اﻟﺒﻄﻞ اﻹﻣﺎرايت راﺷﺪ ﺑﻄﻲ اﻟﻘﺒﻴﴘ‪،‬‬ ‫اﻟﻌﻀﻮ اﻟﺴﺎﺑﻖ ﰲ اﳌﻨﺘﺨﺐ اﻹﻣﺎرايت ﻷﻟﻌﺎب‬ ‫اﻟﻘﻮى‪ ،‬وﻣﺪرب ﻓﺮﻳﻖ ﴍﻃﺔ أﺑﻮﻇﺒﻲ‬ ‫ﻷﻟﻌﺎب اﻟﻘﻮى ﺣﺎﻟﻴﺎً‪ ،‬واﻟﺤﺎﺋﺰ ﻋﲆ اﻟﻜﺜري ﻣﻦ‬ ‫اﻟﺘﻜﺮميﺎت واﻟﺠﻮاﺋﺰ واﻟﺒﻄﻮﻻت‪ ،‬ﻣﻦ آﺧﺮﻫﺎ‬ ‫ﺑﻄﻮﻟﺔ »ﺳﺒﺎرﺗﻦ رﻳﺲ« اﻟﺘﻲ أﻗﻴﻤﺖ ﰲ‬ ‫‪ 60‬ﺑﻴﺖ اﻟﺸﻌﺮ ‪ /‬اﻟﻌﺪد ‪49‬‬

‫ﻣﻤﻠﻜﺔ اﻟﺒﺤﺮﻳﻦ‪.‬‬ ‫ﺑﺪأ ﺷﻐﻒ راﺷﺪ ﺑﻄﻲ اﻟﻘﺒﻴﴘ ﺑﺮﻳﺎﺿﺔ‬ ‫أﻟﻌﺎب اﻟﻘﻮى ﻣﻨﺬ اﻟﺼﻐﺮ‪ ،‬وﰲ ﻋﻤﺮ اﻟﺜﺎﻟﺜﺔ‬ ‫ﻋﴩة اﻟﺘﺤﻖ ﺑﻨﺎدي اﻟﺠﺰﻳﺮة اﻟﺮﻳﺎﴈ‪ ،‬ﺣﻴﺚ‬ ‫ﺗﻢ اﻛﺘﺸﺎﻓﻪ ﻣﻦ ﻗﺒﻞ اﳌﺪرب واﻟﻌﺪاء اﻟﻜﺒري‬ ‫ﻣﺤﻤﺪ اﻷﻣني ﺳﺎك‪ ،‬وﻣﻦ وﻗﺘﻬﺎ ﺗﻔﺮغ ﺑﺸﻜﻞ‬ ‫ﻛﺒري ﻟﻬﺬه اﻟﺮﻳﺎﺿﺔ‪ ،‬ﺣﻴﺚ اﺣﺘﻜﺮ ﺑﻄﻮﻻت‬ ‫اﻷﻧﺪﻳﺔ ﻷﻛرث ﻣﻦ ‪ 16‬ﻋﺎﻣﺎً ﻣﺘﺘﺎﻟﻴﺔ‪ ،‬ﻳﻘﻮل‬ ‫اﻟﻘﺒﻴﴘ‪” :‬أﻋﺘﱪ ﻧﻔﴘ ﻣﻦ اﻟﺮﻋﻴﻞ اﻟﺮﻳﺎﴈ‬ ‫اﻷول‪ ،‬اﻟﺬي متﻴﺰ ﺑﺤﺒﻪ وإﺧﻼﺻﻪ وﺗﻔﺎﻧﻴﻪ‬ ‫ﺑﺎﻟﻌﻤﻞ اﻟﺮﻳﺎﴈ‪ ،‬ﻛﺎن ﻣﺎ ﻳﻬﻤﻨﺎ ﰲ ذﻟﻚ‬ ‫اﻟﻮﻗﺖ ﻫﻮ اﻻرﺗﻘﺎء ﺑﺎﳌﺴﺘﻮى اﻟﺮﻳﺎﴈ ﰲ ﻛﻞ‬ ‫اﻷﻟﻌﺎب‪ ،‬ﻓﻜﻨﺎ منﺎرس أﻟﻌﺎب اﻟﻘﻮى‪ ،‬اﻟﺠﻤﺒﺎز‪،‬‬ ‫ﻛﺮة اﻟﻘﺪم‪ ،‬اﻟﺴﺒﺎﺣﺔ وﻏريﻫﺎ‪ ،‬وﻋﻨﺪﻣﺎ وﺟﺪت‬ ‫ﻧﻔﴘ ﻣﺘﻔﻮﻗﺎً ﰲ أﻟﻌﺎب اﻟﻘﻮى ﻓﺮﻏﺖ ﻧﻔﴘ‬ ‫ﻟﻬﺎ‪ ،‬وﻛﻨﺖ أول ﻻﻋﺐ إﻣﺎرايت ﻳﺨﺘﺺ ﰲ‬ ‫ﻣﻨﺎﻓﺴﺎت اﻟﻌﺸﺎري‪ ،‬واﻟﺘﻲ ﺗﺴﻤﻰ أﻟﻌﺎب‬ ‫اﳌﻀامر‪ ،‬وﺗﺸﻤﻞ ﻋﲆ ﺳﺒﻴﻞ اﳌﺜﺎل‪ ،‬رﻣﻲ‬ ‫اﻟﻘﺮص‪ ،‬اﻟﺠﻠﺔ‪ ،‬اﻟﻮﺛﺐ اﻟﻌﺎﱄ‪ ،‬اﻟﻮﺛﺐ اﻟﻄﻮﻳﻞ‪،‬‬ ‫اﻟﺠﺮي وﻏريﻫﺎ“‪.‬‬ ‫ﻣﺎ ﻛﺎن ﻟﺮاﺷﺪ أن ﻳﺼﻞ إﱃ ﻫﺬا اﳌﺴﺘﻮى ﻟﻮﻻ‬ ‫اﻟﺠﻬﺪ اﻟﻜﺒري اﻟﺬي ﺑﺬﻟﻪ‪ ،‬وﻋﻦ ﴎ ﻧﺠﺎﺣﻪ‬

‫ﻳﻘﻮل‪» :‬اﻟﴪ ﰲ اﻟﺘﻨﻈﻴﻢ واﻻﻧﻀﺒﺎط‪ ،‬ﺣﺘﻰ‬ ‫ﺗﺤﻘﻖ اﻟﻨﺠﺎح ﻋﻠﻴﻚ أن ﺗﻜﻮن ﻣﻨﺘﻈ ًام ﰲ ﻛﻞ‬ ‫ﳾء‪ ،‬ﺗﺪرﻳﺒﺎﺗﻚ‪ ،‬ﻋﻤﻠﻚ‪ ،‬ﻣﻮاﻋﻴﺪك‪ ،‬ﻃﻌﺎﻣﻚ‬ ‫وﴍاﺑﻚ‪ ،‬ﻋﻼﻗﺎﺗﻚ ﻣﻊ ﻋﺎﺋﻠﺘﻚ وأﺻﺪﻗﺎﺋﻚ‪،‬‬ ‫ﻳﺠﺐ أن ﺗﻌﻤﻞ ﻣﺜﻞ اﻟﺴﺎﻋﺔ‪ ،‬وأي ﺧﻠﻞ ﰲ‬ ‫اﳌﻮازﻳﻦ‪ ،‬ﺳﺘﻤﻴﻞ اﻟﻜﻔﺔ ﺿﺪك‪ ،‬وﺳﺘﺸﻌﺮ‬ ‫ﺑﺄﻧﻚ ﻓﻘﺪت ﺗﻮازﻧﻚ وﺗﺮﻛﻴﺰك‪ .‬ﻛﻨﺖ ﰲ‬ ‫ﺑﺪاﻳﺎيت ﻣﻠﺘﺰم ﻣﻊ اﳌﻨﺘﺨﺐ اﻟﻮﻃﻨﻲ‪ ،‬وﺑﻌﺪ أن‬ ‫ﺗﺮﻛﺖ اﳌﻨﺘﺨﺐ‪ ،‬ﺗﻔﺮﻏﺖ ﻟﺒﻄﻮﻻت اﻟﺘﺤﺪي‪،‬‬ ‫أﺗﺪرب ﻳﻮﻣﻴﺎً ﺻﺒﺎﺣﺎً وﻣﺴﺎء‪ ،‬وأﻟﺘﺰم ﺑﻨﻈﺎم‬ ‫ﺣﻴﺎيت ﺻﺎرم‪ ،‬وﻫﺬا اﻟﴪ وراء ﻧﺠﺎﺣﻲ«‪.‬‬ ‫ﺗﻔﻮق راﺷﺪ ﰲ ﺑﻄﻮﻻت اﻟﺘﺤﺪي وﻫﻲ أﺻﻌﺐ‬ ‫اﻟﺮﻳﺎﺿﺎت اﻟﺘﻲ ميﺎرﺳﻬﺎ اﻹﻧﺴﺎن‪ ،‬ﺣﻴﺚ‬ ‫ﺗﺘﻜﻮن ﻣﻊ ﻣﺰﻳﺞ ﻣﻦ اﻟﺮﻳﺎﺿﺎت اﳌﺨﺘﻠﻔﺔ‬ ‫ﰲ ﻇﺮوف ﺻﻌﺒﺔ‪ ،‬ﻣﺜﻞ اﻟﺮﻛﺾ وﺗﺴﻠﻖ‬ ‫اﻟﺠﺪران واﻟﺤﺒﺎل‪ ،‬وﺗﺨﻄﻲ اﻟﻌﻮاﺋﻖ اﳌﺎﺋﻴﺔ‬ ‫واﻟﻄﻴﻨﻴﺔ‪ ،‬واﻟﺴﺒﺎﺣﺔ‪ ،‬وﺣﻤﻞ اﻷﺛﻘﺎل واﻟﺮﻛﺾ‬ ‫ﺑﻬﺎ‪ ،‬وﻛﻞ ذﻟﻚ ﻋﲆ ﻣﻴﺪان أﺷﺒﻪ ﻣﺎ ﻳﻜﻮن‬ ‫ﺑﺄرض ﻣﻌﺮﻛﺔ‪ ،‬وﻫﻨﺎ ﺗﺘﺠﺴﺪ ﻗﺪرات اﻟﺮﻳﺎﴈ‬ ‫اﻟﺒﺪﻧﻴﺔ واﻟﻔﻜﺮﻳﺔ‪ ،‬وﻗﺪرﺗﻪ ﻋﲆ ﺗﺨﻄﻲ‬ ‫اﻟﺤﻮاﺟﺰ ﺑﺄﻗﻞ ﻣﺠﻬﻮد ﻣﻤﻜﻦ‪ ،‬وﻋﻦ إﻧﺠﺎزاﺗﻪ‬ ‫ﰲ ﻫﺬه اﻟﺮﻳﺎﺿﺔ ﻳﻘﻮل راﺷﺪ‪» :‬ﺣﺼﻠﺖ ﻋﲆ‬

‫ﻓﻲ اﻟﺸﻌﺮ‬

‫اﻟﺸﻌﺮ ﻓﻲ ﺧﺪﻣﺔ اﻟﻮﻃﻦ ﻻ اﻟﺴﻴﺎﺳﺔ ‬ ‫ﻳﺨﻠﻂ اﻟﻜﺜريون ﺑني ﻣﺼﻄﻠﺤني ﻫام »اﻟﻮﻃﻦ واﻟﺴﻴﺎﺳﺔ«‪ .‬ﻓﻔﻲ ﺣﺪﻳﺚ‬ ‫ﱄ ﻣﻊ ﻣﺠﻤﻮﻋﺔ ﻣﻦ اﻟﻜﺘﺎب واﻟﺸﻌﺮاء‪ ،‬ذﻛﺮ أﺣﺪﻫﻢ ﻋﺒﺎرة »اﻟﺸﻌﺮ‬ ‫اﻟﺴﻴﺎﳼ« ﻓﺴﺄﻟﺘﻪ‪ :‬ﻣﺎذا ﺗﻘﺼﺪ ﺑﻬﺬه اﻟﻌﺒﺎرة؟ ﻣﺎ ﻫﻮ اﻟﺸﻌﺮ اﻟﺴﻴﺎﳼ؟‬ ‫ﻓﺄﺟﺎب‪ :‬أن ﺗﻜﺘﺐ ﻗﺼﻴﺪة ﺗﺨﺪم ﺳﻴﺎﺳﻴﺎت ﺑﻌﻴﻨﻬﺎ؟ ﺛﻢ دﺧﻠﻨﺎ ﰲ ﺣﻮار‬ ‫ﻋﺮﻳﺾ‪ ،‬ﺣﺘﻰ وﺻﻠﻨﺎ إﱃ ﺣﻘﻴﻘﺔ ﻣﻔﺎدﻫﺎ أﻧﻪ ﻻ ﻳﻮﺟﺪ ﳾء ﻳﺴﻤﻰ »ﺷﻌﺮ‬ ‫ﺳﻴﺎﳼ«‪ .‬ﻟﻜﻦ ﻫﻨﺎك ﻣﻦ ﺗﺨﺘﻠﻂ اﻷﻣﻮر ﻟﺪﻳﻪ‪ ،‬ﻓﻴﻔﻬﻢ أن ﺷﻌﺮ ﻣﺤﻤﻮد‬ ‫دروﻳﺶ ﻣﺜﻼ‪ ،‬ﻫﻮ ﺷﻌﺮ ﺳﻴﺎﳼ‪ ،‬ﻟﻜﻦ اﻟﻮاﻗﻊ ﻳﻘﻮل إن ﺷﻌﺮه وﻃﻨﻲ ﰲ‬ ‫اﳌﻘﺎم اﻷول‪ ،‬ﻷﻧﻪ ﻳﺨﺪم ﻗﻀﻴﺔ ﺷﻌﺐ ﻳﻌﺎين اﻻﺣﺘﻼل‪ ،‬وﻫﻮ ﺷﻌﺮ ﻳﺤﺮث‬ ‫ﰲ أرض اﳌﻌﻨﻰ واﻟﺪﻻﻟﺔ ﻟﻴﺰرع ﺷﺠﺮ اﻟﺤﻘﻮق اﻟﻔﻠﺴﻄﻴﻨﻴﺔ اﳌﺴﺘﻠﺒﺔ‪.‬‬ ‫ﻛﺬﻟﻚ ﻧﻘﺮأ واﻗﻊ اﻟﺸﻌﺮ ﰲ ﻣﻨﻄﻘﺔ اﻟﺨﻠﻴﺞ‪ ،‬ﻓرنى أﻧﻪ ﺷﻌﺮ ُﻳﺨﻠﺺ ﻟﻸرض‬ ‫وﻋﺮوﺑﺘﻬﺎ‪ ،‬وﻳﻘﻒ ﰲ ﺻﻔﻮف ﻣﺘﻘﺪﻣﺔ ﻋﲆ أرض اﳌﻌﺮﻛﺔ‪ ،‬ﺧﻠﻒ ﺟﻨﻮد‬ ‫ﻳﺪاﻓﻌﻮن ﻋﻦ أوﻃﺎﻧﻬﻢ وﺷﻌﻮﺑﻬﻢ ﺑﺄﻏﲆ ﻣﺎ ميﻠﻜﻪ اﻹﻧﺴﺎن‪ ،‬وﻫﺬه ﻗﻴﻢ‬ ‫وﻃﻨﻴﺔ ﺧﺎﻟﺼﺔ‪ ،‬ﻻ ﻋﻼﻗﺔ ﻟﻠﺴﻴﺎﺳﺔ ﻓﻴﻬﺎ‪ ،‬ﻛام ﻻ ميﻜﻦ ﻓﻬﻤﻬﺎ ﰲ ﻏري ﻗﻴﻤﺘﻬﺎ‬ ‫اﻟﻌﻈﻤﻴﺔ ﻫﺬه‪.‬‬ ‫وﻟﻌﻞ ﻋﺒﺎرة »ﺷﻌﺮ ﺳﻴﺎﳼ« ﻗﺎﴏة ﻷﺳﺒﺎب ﻋﺪﻳﺪة‪ ،‬ﻣﻨﻬﺎ أن اﻟﺸﻌﺮ ﻓﻦ‪،‬‬ ‫ﻛام ﻫﻲ اﻟﺴﻴﺎﺳﺔ‪ ،‬ﻓﻦ أﻳﻀﺎ‪ ،‬وﻻ ﻳﺠﻴﺪه اﻟﺠﻤﻴﻊ‪ .‬وﻫﺬه اﻟﻔﻨﻮن‪ ،‬ﺗﻘﻒ‬ ‫ﻣﺠﺘﻤﻌﺔ ﰲ ﺧﺪﻣﺔ اﻟﻮﻃﻦ‪ ،‬وﻫﻮ اﻟﻔﻜﺮة اﻷﺷﻤﻞ واﻷﺟﻤﻞ‪ ،‬اﻟﺘﻲ ﺗﺴﺘﺤﻖ‬ ‫أن ﺗﺤﴬ ﰲ اﻟﺸﻌﺮ‪ ،‬وأن ﻧﺨﻠﺺ إﻟﻴﻬﺎ ﻋﱪ ﻓﻨﻮن اﻟﺴﻴﺎﺳﺔ واﻟﺪﺑﻠﻮﻣﺎﺳﻴﺔ‪.‬‬ ‫اﻟﺸﻌﺮ وﻃﻨﻲ‪ ،‬واﻟﺴﻴﺎﺳﺔ أﻳﻀﺎ وﻃﻨﻴﺔ‪ ..‬وﻫﺬه ﻣﺼﻄﻠﺤﺎت ﺗﺒﺪو أﻛرث‬ ‫وﺿﻮﺣﺎ ﻣﻦ ﻏريﻫﺎ‪..‬‬

‫أﺑﻮﺑﻜﺮ‬ ‫ﻋﺒﺪا‪ b‬أ ﻜ‬ ‫ا‪b‬‬

‫‪@abdabubaker1‬‬ ‫‪20016‬‬ ‫أﻛﺘﻮﺑﺮ‪1 /‬‬ ‫أﻛ‬ ‫‪59 2016‬‬

‫أدب ﻧﺴﺎﺋﻲ‬ ‫‪baytelshear‬‬

‫ﺑﻌﺪ وﻓﺎﺗﻨﺎ ﺛﻢ إﻧﻨﺎ أﺻﺤﺎب رﺳﺎﻟﺔ‪ ،‬وﻟﺬﻟﻚ‬ ‫ﻓﻨﺤﻦ ﻧﻘﻮم ﺑﺈﻳﺼﺎﻟﻬﺎ‪.‬‬ ‫مبﻦ ﺗﺄﺛﺮت مبﺴريﺗﻚ اﻷدﺑﻴﺔ ﻋﻤﻮﻣﺎً؟‬ ‫مل ﺗﺘﺄﺛﺮ ﻣﺴرييت اﻷدﺑﻴﺔ ﺑﻜﺎﺗﺐ أو أدﻳﺐ‬ ‫ﻣﻌني‪ ،‬أو ﺷﺨﺺ ﻣﻌني و ﻟﻜﻨﻨﻲ ﺣﺮﻳﺼﺔ ﺟﺪاً‬ ‫ﻋﲆ أن أﺟﻌﻞ اﻟﻜﺘﺎﺑﺔ‪ ،‬و اﻟﻘﺮاءة ﺟﺰءاً ﻣﻦ‬ ‫ﻳﻮﻣﻴﺎيت‪ ،‬ﻓﺎﻟﻜﺘﺎﺑﺔ ﻫﻲ ﻛﺎﻟﺤﺮﻓﺔ ﺑﺤﺎﺟﺔ إﱃ‬ ‫ﺻﻘﻞ‪.‬‬ ‫ﻣﺎ ﻫﻲ أﻫﻢ اﻟﺮﻛﺎﺋﺰ اﻷﺳﺎﺳﻴﺔ ﻟﻨﺠﺎح‬ ‫اﻟﻘﺼﺔ ﰲ رأﻳﻚ؟‬ ‫ﻗﺒﻞ أن ﻳﻔﻜﺮ اﻟﻜﺎﺗﺐ أو ﻳﺘﺴﺎءل ﻣﺎ ﻫﻲ‬ ‫اﻟﺮﻛﺎﺋﺰ اﻷﺳﺎﺳﻴﺔ ﻟﻜﺘﺎﺑﺔ اﻟﻘﺼﺔ؟! ﻗﺒﻞ ذﻟﻚ‬ ‫ﻋﻠﻴﻪ أن ﻳﺴﺘﺸﻌﺮ ﺿﻤريه‪ ،‬أو أن ﻳﺘﻌﺎﻣﻞ ﻣﻊ‬ ‫اﻟﻘﻠﻢ ﻋﲆ أﻧﻪ أﻣﺎﻧﺔ‪ ،‬و ﺑﻨﺎء ﻋﻠﻴﻪ ﻳﺠﺐ أن‬ ‫ﻳﺤﺴﻦ اﺳﺘﺨﺪاﻣﻪ‪ ،‬وأن ﻳﻔﻜﺮ وﻳﺴﺄل ﻧﻔﺴﻪ‬ ‫ﻗﺒﻞ اﻟﴩوع إﱃ اﻟﻜﺘﺎﺑﺔ ﻳﺎ ﺗﺮى ﻣﺎ ﻫﻲ‬ ‫اﻟﺮﺳﺎﻟﺔ اﻟﺘﻲ أرﻏﺐ أن أرﺳﻠﻬﺎ ﻟﻘﺮايئ؟‬

‫اﻹﻧﺴﺎﻧﻴﺔ‪ ،‬ﻓﻬﻲ اﻟﻜﺎﺋﻦ اﻟﺤﴘ اﻟﻨﺎري اﻟﺬي ﺗﺠﺮده ﻣﻦ اﻷﻧﺎ‪ ،‬وﻳﺤﻤﻞ ﻟﻮاء اﳌﻮﺿﻮﻋﻴﺔ‪.‬‬ ‫ﺗﻼﻣﺲ ﺣﺮارﺗﻪ اﻟﺘﻔﺎﺻﻴﻞ‪ ،‬وأﻋﺘﻘﺪ أنّ أﻧﻮﺛﺘﻬﺎ‬ ‫ﻣﺎ ﻫﻲ رؤﻳﺘﻚ ﻟﻠﻤﺸﻬﺪ اﻟﺜﻘﺎﰲ اﻟﻨﺴﺎيئ‬ ‫ﺗﺪﻋﻢ متﻴﺰﻫﺎ ﰲ اﻟﻜﺘﺎﺑﺔ‪ ،‬ﻓﻼ أروع ﻣﻦ أن‬ ‫ﺗﻜﺘﺐ اﳌﺮأة ﻋﻦ أﻣﻮر اﻟﺤﻴﺎة ﺑﻨﻈﺮﺗﻬﺎ اﻟﻌﺮيب؟‬ ‫اﻟﺤﺴﻴﺔ وﻗﻮﺗﻬﺎ اﻟﻌﻘﻠﻴﺔ‪.‬‬ ‫أﺟﺪ أنّ ﻫﻨﺎك ﻧﻬﻀﺔ ﻣﻬﻤﺔ ﻗﺎﻣﺖ ﺑﻬﺎ اﻟﺤﺮﻛﺔ‬ ‫اﻟﻨﺴﺎﺋﻴﺔ ﰲ اﳌﺸﻬﺪ اﻷديب اﻟﻌﺮيب مبﺠﻤﻠﻪ‪ ،‬إن‬ ‫ﳌﺎذا ﻫﺬا اﻻﻟﺘﺼﺎق ﺑﺎﻟﺬات ﰲ ﻛﺘﺎﺑﺎت ﻛﺎن ﰲ اﻟﺮواﻳﺔ أو اﻟﺸﻌﺮ أو اﻟﻘﺼﺔ‪ ،‬ﻧﺠﺪﻫﺎ‬ ‫ﺣﺎﴐة ﰲ ﻛﻞ ﳾء‪ ،‬وﻗﺪ رﺳﺨﺖ ﻣﻜﺎﻧﺘﻬﺎ ﰲ‬ ‫اﳌﺮأة؟‬ ‫اﳌﺮأة ﻛﺎﺋﻦ ﻣﺘﺠﺎﻧﺲ ﺟامﻟﻴﺎً‪ ،‬وﻫﻲ ﻣﺨﻠﻮﻗﺔ اﳌﺸﻬﺪ اﻟﺜﻘﺎﰲ اﻟﻌﺮيب‪.‬‬ ‫ﻟﺘﺘﻮاءم ﻣﻊ اﻵﺧﺮ ﻟﻠﺤﻔﺎظ ﻋﲆ اﻟﻨﺴﻞ‬ ‫ﳌﻦ ﺗﻜﺘﺒني ؟‬ ‫اﻟﺒﴩي وﻟﺘﺤﻘﻴﻖ اﻟﻜﻴﻨﻮﻧﺔ اﻟﺒﴩﻳﺔ‪ ،‬وﻟﻴﺲ‬ ‫دﻓﺎﻋﺎً ﻋﻦ اﳌﺮأة ﻣﺎ ﺳﺄﻗﻮﻟﻪ وﻟﻜﻦ ﻛﻞ ﻛﺎﺗﺐ ﰲ ﻣﺴﺘﻮى ﻣﺎ ﻧﺤﻦ ﻧﻜﺘﺐ ﺑﺪاﻳﺔ ﻟﺬاﺗﻨﺎ‪،‬‬ ‫ﻣﻬام ﺗﺠﺮد ﻣﻦ أﻧﺎه أو ﻣﻦ ذاﺗﻪ اﳌﻨﻌﻜﺴﺔ ﻟرنﴈ ﺗﻄﻠﻌﺎﺗﻨﺎ‪ ،‬وﰲ ﻣﺴﺘﻮى آﺧﺮ ﻧﺤﻦ‬ ‫داﺧﻠﻴﺎً ﻋﲆ ﻓﻌﻠﻪ‪ ،‬ﻓﻬﻮ ﻳﻨﻘﻞ ﺑﺸﺨﻮﺻﻪ أو ﻧﻜﺘﺐ ﻟﺘﺤﻘﻴﻖ ﺧﻠﻮد أديب‪ ،‬واﻟﻜﺘﺎﺑﺔ ﺗﺤﺎﻳﻞ‬ ‫ﻣﻮاﺿﻴﻌﻪ وﺟﻬﺔ ﻧﻈﺮه‪ ،‬ﺣﺘﻰ ﺣني ﻳﺪﻋﻲ ﻣﻌﻨﻮي‪ ،‬ذﻟﻚ أﻧﻪ ﻳﺘﻴﺢ ﻷﺳامﺋﻨﺎ اﻻﺳﺘﻤﺮار‬ ‫‪ 58‬ﺑﻴﺖ اﻟﺸﻌﺮ ‪ /‬اﻟﻌﺪد ‪49‬‬

‫ﻛﻴﻒ ﺗﺮﻳﻦ اﳌﺸﻬﺪ اﻟﺜﻘﺎﰲ اﻹﻣﺎرايت؟‬ ‫ﻛام ﻫﻮ واﺿﺢ اﻷدب اﻻﻣﺎرايت ﻗﻔﺰ ﻗﻔﺰة‬ ‫ﻫﺎﺋﻠﺔ‪ ،‬ﻣﻦ ﺧﻼل ﻇﻬﻮر ﻋﺪد ﻛﺒري ﻣﻦ اﻟﻜﺘﺎب‪،‬‬ ‫واﻟﺮواﺋني‪ ،‬واﳌﺒﺪﻋني ﰲ ﻋﺪة ﻣﺠﺎﻻت‪ ،‬وﰲ‬ ‫ﻓﱰة ﻗﺼرية ﻻ ﺗﺘﻌﺪى اﻟﺨﻤﺴﺔ اﻷﻋﻮام‪ ،‬أﺻﺒﺢ‬ ‫ﻟﺪﻳﻨﺎ ﻣﺎ ﻳﻘﺎرب ﻣﺎﺋﺔ دار ﻧﴩ اﻣﺎرﺗﻴﺔ‪ ،‬وﻛﻞ‬ ‫دار ﺗﺼﺪر ﻣﺎ ﻳﻘﺎرب ﻣﻦ ﺛﻼﺛني إﱃ أرﺑﻌني‬ ‫ﻋﻨﻮاﻧﺎ ﰲ ﻣﺨﺘﻠﻒ اﳌﺠﺎﻻت‪ ،‬وﻏﺎﻟﺒﻴﺔ اﻟﻜﺘﺎب‬ ‫ﻫﻢ ﻛﺘﺎب اﻣﺎراﺗﻴﻮن‪ ،‬ﺣﺘﻰ أن ﺑﻌﺾ اﻟﻌﻨﺎوﻳﻦ‬ ‫رﺷﺤﺖ ﻟﺠﻮاﺋﺰ ﻋﺎﳌﻴﺔ ﻛﺠﺎﺋﺰة اﻟﺒﻮﻛﺮ ﻟﻠﺮواﻳﺔ‪،‬‬ ‫وﻻ ﻧﻨﴗ أن ﺣﻜﺎﻣﻨﺎ و ﺷﻴﻮﺧﻨﺎ ﻳﻬﺘﻤﻮن ﻋﲆ‬ ‫اﻟﺪوام ﺑﻨﴩ اﻟﺜﻘﺎﻓﺔ واﻟﻮﻋﻲ ﰲ ﻣﺠﺘﻤﻊ دوﻟﺔ‬ ‫اﻻﻣﺎرات‪ ،‬وﻟﺬا ﻧﺮى أﻋﺮاﺳﺎً ﺛﻘﺎﻓﻴﺔ ﻋﺪة ﻳﺘﻢ‬ ‫ﺗﻨﻈﻴﻤﻬﺎ ﻋﲆ ﻣﺪار اﻟﻌﺎم ﰲ ﻣﺨﺘﻠﻒ اﻹﻣﺎرات‬ ‫ﻣﺜﻞ أﺑﻮﻇﺒﻲ‪ ،‬واﻟﺸﺎرﻗﺔ‪ ،‬وﻣﺪﻳﻨﺔ اﻟﻌني‪ ،‬وﰲ‬ ‫اﻟﺨﺎرج أﻳﻀﺎ ﻛﻤﻌﺮض ﻓﺮاﻧﻜﻔﻮرت ﰲ أﳌﺎﻧﻴﺎ‪،‬‬ ‫وﺟﺎﺋﺰة اﻻﻣﺎرات ﻟﻠﺮواﻳﺔ‪ ،‬ﻟﺬا ﻻ ﻳﺴﻌﻨﻲ أن‬ ‫أﻗﻮل ﺳﻮى أن اﻷدب اﻹﻣﺎرايت ﻫﻮ أﺣﺪ أﻫﻢ‬ ‫ﻣﻈﺎﻫﺮ اﻟﺘﻘﺪم اﻟﺜﻘﺎﰲ ﰲ اﻟﺪوﻟﺔ‪.‬‬

‫ﻋﻠﻰ اﻟﻜﺎﺗﺐ أن ﻳﺴﺘﺸﻌﺮ‬ ‫ﺿﻤﻴﺮه‪ ،‬وأن ﻳﺘﻌﺎﻣﻞ ﻣﻊ اﻟﻘﻠﻢ‬ ‫ﻋﻠﻰ أﻧﻪ أﻣﺎﻧﺔ‬

‫ﻣﺮﺣﻠﺘﻲ اﻹﻋﺪادﻳﺔ ﻻﺣﻈﺖ ﻣﺪرﺳﺎيت ﻫﺬا‬ ‫اﻟﺸﻐﻒ ّﰲ‪ ،‬ﻓﻘﻤﻦ ﺑﺈﴍايك ﰲ ﻣﺠﻤﻮﻋﺎت‬ ‫ﻗﺮاءة وﺻﺪﻳﻘﺎت اﳌﻜﺘﺒﺔ‪ ،‬واﳌﺠﻼت اﻟﺪورﻳﺔ‪،‬‬ ‫وﺑﺎﻟﺘﺄﻛﻴﺪ ﻛﻞ ذﻟﻚ ﻛﺎن ﻟﻪ ﺗﺄﺛرياً ﻋﲆ ﺣﻴﺎة‬ ‫ﻫﻮﻳﺪا اﻟﺸﺨﺼﻴﺔ وﻛﻜﺎﺗﺒﺔ‪.‬‬ ‫ﻋﲆ اﻟﺮﻏﻢ ﻣﻦ اﺷﺘﻐﺎﻟﻚ اﳌﺒﻜﺮ ﺑﺎﻟﻜﺘﺎﺑﺔ‬ ‫وأﻳﻀﺎ ﺗﻮﺟﻬﻚ ﻟﻜﺘﺎﺑﺔ اﻟﻘﺼﺔ اﻟﻘﺼرية إﻻ أن‬ ‫ﻣﺠﻤﻮﻋﺘﻚ اﻷوﱃ »رﺻﻴﻒ أﺳﻔﻞ اﻟﻘﻠﺐ« مل‬ ‫ﺗﻨﴩ إ ّﻻ ﻣﺘﺄﺧﺮاً ﰲ ﻋﺎم ‪ ..2015‬ﳌﺎذا؟‬ ‫مل ﻳﻜﻦ ﻟﺪي ﻧﻴﺔ ﻟﻨﴩﻫﺎ‪ ،‬ﻛﻨﺖ أﻋﺘﱪﻫﺎ‬ ‫ﺗﺠﺎرب ﺗﺤﺘﺎج ﻟﻮﻗﺖ أﻃﻮل ﻟﺼﻘﻠﻬﺎ‪ ،‬وﻋﻨﺪﻣﺎ‬ ‫ﺷﻌﺮت أن ﻟﺪي ﺷﻴﺌﺎ ﻣﺎ ﻛﺎن ﻳﺠﺐ أن أﺿﻴﻔﻪ‬ ‫وأﻋﺪﻟﻪ ﻋﲆ اﳌﺠﻤﻮﻋﺔ‪ .‬ﻗﺮرت ﻧﴩﻫﺎ‪ ،‬رمبﺎ‬ ‫ﺗﺄﺧﺮت ﰲ ﻧﴩ اﳌﺠﻤﻮﻋﺔ وﻟﻜﻨﻬﺎ ﰲ ﻧﻔﺲ‬ ‫اﻟﺴﻨﺔ ﻻﻗﺖ ﻧﺠﺎﺣﺎ ﺟﻤﻴﻼ‪.‬‬ ‫ﺗﻄﺮﺣني ﰲ ﻗﺼﺺ اﳌﺠﻤﻮﻋﺔ وﰲ ﻛﺘﺎﺑﺎﺗﻚ‬ ‫ﻋﺎﻣﺔ ﻗﻀﺎﻳﺎ ﺟﺮﻳﺌﺔ ﺣﻮل اﻟﻮﺿﻊ اﻻﺟﺘامﻋﻲ‬ ‫ﻟﻠﻤﺮأة وﻃﻤﻮﺣﺎﺗﻬﺎ وأﺣﻼﻣﻬﺎ وﻣﺎ ﺗﺸﺘﺒﻚ‬ ‫ﻣﻌﻪ ذاﺗﻴﺎً‪ ،‬ﻣﺎ ﴎ ﻫﺬه اﻟﺠﺮأة وﳌﺎذا ﺗﺮﻛﺰﻳﻦ‬ ‫ﻋﲆ اﳌﺮأة؟‬ ‫أﻋﺘﻘﺪ أن ﺗﻮﺟﻬﻲ إﻧﺴﺎين ﺑﺎﻟﺪرﺟﺔ اﻷوﱃ‪،‬‬ ‫ﺑﻞ إين ﺣﺎوﻟﺖ ﺗﺤﺪي ﻧﻔﴘ ﻋﲆ ﻣﺴﺘﻮى‬ ‫اﻟﻘﺼﺔ ﻣﺜ ًﻼ ﻓﻜﺘﺒﺖ ﺑﻌﻘﻠﻴﺔ اﻟﺮﺟﻞ ﰲ ﺑﻌﺾ‬ ‫أﺟﺰاء اﻟﻘﺼﺺ‪ .‬وإن ﻛﺎن ﻫﻨﺎك ﺗﻄﺮق ﻟﻠﻤﺮأة‬ ‫ﻓﻠﻴﺲ ﺑﻘﺼﺪ اﻟﱰﻛﻴﺰ ﻋﲆ ﻗﻀﺎﻳﺎ ﻣﻌﻴﻨﺔ‪ ،‬ﻟﻜﻨﻲ‬ ‫ﻣﺸﻐﻮﻟﺔ ﺑﻜﻞ ﻣﺎ ﻫﻮ إﻧﺴﺎين ﻣﻦ ﺣﻮﱄ‪ ،‬أﻣﺎ‬ ‫اﻟﺠﺮأة ﻓﻬﻲ ﺗﻌﺘﻤﺪ ﻋﲆ اﻟﻘﻀﻴﺔ اﻟﺘﻲ أﻛﺘﺐ‬ ‫ﻋﻨﻬﺎ‪.‬‬ ‫إﱃ أي ﻣﺪى ﺗﺘامس ﻗﺼﺼﻚ ﻣﻊ ﺣﻴﺎﺗﻚ‬ ‫اﻟﺨﺎﺻﺔ إﻧﺴﺎﻧﻴﺎً وإﺑﺪاﻋﻴﺎً؟‬

‫ﻫﻨﺎك ﻧﻬﻀﺔ ﻣﻬﻤﺔ ﻗﺎﻣﺖ ﺑﻬﺎ‬ ‫اﻟﺤﺮﻛﺔ اﻟﻨﺴﺎﺋﻴﺔ ﻓﻲ اﻟﻤﺸﻬﺪ‬ ‫اﻷدﺑﻲ اﻟﻌﺮﺑﻲ ﺑﻤﺠﻤﻠﻪ‪ ،‬إن ﻛﺎن‬ ‫ﻓﻲ اﻟﺮواﻳﺔ أو اﻟﺸﻌﺮ أو اﻟﻘﺼﺔ‬

‫اﻟﺜامﻧﻴﻨﻴﺎت واﻟﺘﺴﻌﻴﻨﻴﺎت‪ .‬ﺑﺎﻹﺿﺎﻓﺔ ﻟﺬﻟﻚ‬ ‫اﳌﻨﺎخ اﻟﺜﻘﺎﰲ أﺻﺒﺢ ﻣﺘﻘﺎرﺑﺎً ﺑﺤﻜﻢ اﻟﻌﻮﳌﺔ‬ ‫واﻹﻧﱰﻧﺖ وﻏريﻫﺎ وﻫﺬا ﺳﺎﻫﻢ ﰲ اﻟﺘﺤﺮر ﻣﻦ‬ ‫اﻟﻨﺎس ﺑﺮأﻳﻲ أﺻﺒﺤﻮا أﻛﺜﺮ ﺛﻘﺎﻓﺔ اﻟﻘﻴﻮد واﳌﻮاﺿﻴﻊ اﻟﻮاﺣﺪة اﳌﺘﺸﺎﺑﻬﺔ‪.‬‬ ‫إنّ اﻹﻣﺎرات ﺑﺸﻜﻞ ﺧﺎص ﺗﻌﻴﺶ ﺣﺮاﻛﺎً‬ ‫ووﻋﻴﺎً واﻫﺘﻤﺎﻣﺎً‪ ،‬واﻟﻤﺮأة أﻳﻀﺎً‬ ‫ﺛﻘﺎﻓﻴﺎً ﺟﻤﻴ ًﻼ وﻣﺒﻬﺮاً‪ ،‬ﻋﲆ ﻣﺴﺘﻮى اﻻﻫﺘامم‬ ‫أﺻﺒﺤﺖ أﻛﺜﺮ ﻗﺪرة ﻋﻠﻰ اﻟﺘﻨﻮﻳﻊ ﺑﺎﻟﻨﴩ ﻟﻸدﺑﺎء اﻟﺠﺪد واﻟﺸﺒﺎب وإﻋﺎدة‬ ‫ﻃﺒﺎﻋﺔ ﻟﻸدﺑﺎء اﻟﺬﻳﻦ ﺳﺒﻘﻮﻧﺎ ﰲ اﻟﻨﴩ‪،‬‬ ‫ﻓﻲ ﻣﺎ ﺗﻜﺘﺒﻪ وأﻛﺜﺮ ﺗﺤﺮراً ﻣﻦ‬ ‫وﻣﺴﺎﺑﻘﺎت أدﺑﻴﺔ ﻟﻬﺎ ﺣﻀﻮر ﻟﻴﺲ ﻣﺤﻠﻴﺎً‬ ‫اﻟﻌﺎﻃﻔﺔ اﻟﺘﻲ ﻛﺎﻧﺖ اﻟﻤﺤﻮر ﻓﻲ ﻓﻘﻂ وﻟﻜﻦ ﻋﲆ ﻣﺴﺘﻮى ﻋﺮيب ﻣﺜﻞ ﺟﺎﺋﺰة‬ ‫اﻟﺜﻤﺎﻧﻴﻨﻴﺎت واﻟﺘﺴﻌﻴﻨﻴﺎت‬ ‫اﻟﺒﻮﻛﺮ اﻟﻌﺮﺑﻴﺔ وﺟﺎﺋﺰة اﻟﺸﻴﺦ زاﻳﺪ ﻟﻠﻜﺘﺎب‬ ‫وﻏريﻫﺎ ﻣﻦ اﻟﺠﻮاﺋﺰ‪ .‬ﻫﺬا اﻻﻫﺘامم اﻟﺠﻤﻴﻞ‬ ‫واﳌﺤﻔﺰ ﺳﺎﻫﻢ ﰲ ﺗﺴﻠﻴﻂ اﻟﻀﻮء واﻻﻧﺘﺒﺎه‬ ‫أﻧﺎ ﻣﺆﻣﻨﺔ أنّ اﻟﻜﺎﺗﺐ ﻟﺪﻳﻪ إﺣﺴﺎس أﻛرث ﻣﻦ ﻷﻗﻼم إﻣﺎراﺗﻴﺔ ﺟﻤﻴﻠﺔ ﺟﺪاً إﻧﺎﺛﺎً وذﻛﻮراً‪.‬‬ ‫ﻏريه مبﺎ ﻳﺪور ﰲ ﻣﺤﻴﻄﻪ‪ ،‬وﻳﻘﻒ دامئﺎً ﻋﻨﺪ‬ ‫ﺗﻌﺪﻳﻦ اﻵن ﻟﻨﴩ ﻣﺠﻤﻮﻋﺔ ﻗﺼﺼﻴﺔ‬ ‫ﺗﻔﺎﺻﻴﻞ ﻻ ﻳﻘﻒ ﻋﻨﺪﻫﺎ اﻟﺸﺨﺺ اﻟﻌﺎدي‪.‬‬ ‫أﻧﺎ ﻣﺴﺘﻤﻌﺔ ﺟﻴﺪة وأﻧﺘﺒﻪ ﻛﺜرياً ﻟﻠﺘﻔﺎﺻﻴﻞ ﺟﺪﻳﺪة‪ ،‬أﻻ ﺗﺮﻳﻦ أن اﻧﺸﻐﺎﻻﺗﻚ ﻛﺜرية وأن‬ ‫ﻣﻦ ﺣﻮﱄ‪ ،‬ﻟﺬﻟﻚ ﻣﻦ اﻟﻄﺒﻴﻌﻲ أن ﻳﻜﻮن ﰲ ذﻟﻚ ميﻜﻦ أن ﻳﺆﺛﺮ ﺳﻠﺒﺎً ﻋﲆ اﻹﺑﺪاع؟‬ ‫ﻣﺎ أﻛﺘﺒﻪ ﺟﺰءاً ﻣﻦ اﻷﺷﻴﺎء اﻟﺘﻲ ﺗﺼﺎدﻓﻨﻲ‪ ،‬أﻧﺎ اﻣﺮأة ﻋﻤﻠﻴﺔ ﺟﺪاً‪ ،‬وأﺣﺐ أن أﻃﻮر ﻣﻦ‬ ‫ﻣﻮﻗﻒ أو ﺷﺨﺼﻴﺔ ﻣﺎ أو ﺣﺘﻰ ﺣﻜﺎﻳﺔ ﻧﻔﴘ وﻣﺎ ﺣﻮﱄ‪ ،‬وﻷين أﺣﺐ اﳌﻌﺮﻓﺔ ﻛﻨﺖ‬ ‫دامئﺎً ﻣﺘﻔﻮﻗﺔ ﰲ دراﺳﺘﻲ‪ ،‬وواﻟﺪيت ﺗﺸﺠﻌﻨﻲ‬ ‫ﺗﺴﺘﻔﺰين‪.‬‬ ‫ﻋﲆ ﻋﺪم اﻟﺘﻮﻗﻒ واﳌﻮاﺻﻠﺔ‪ ،‬اﻟﻘﺼﺔ أو أي‬ ‫ﻛﻴﻒ ﺗﻨﻈﺮﻳﻦ ﻟﻮﺿﻊ اﳌﺮأة اﳌﺒﺪﻋﺔ ﻧﻮع ﻣﻦ اﻹﺑﺪاع اﻷديب ﻟﻴﺴﺖ ﻣﺮﺗﺒﻄﺔ ﺑﻮﻗﺖ‬ ‫ﰲ اﻹﻣﺎرات ﺧﺎﺻﺔ واﻟﺨﻠﻴﺞ ﻋﺎﻣﺔ ﻫﻞ ﻋﲆ ﻛﻞ ﺣﺎل‪ ،‬وﻣﺠﻤﻮﻋﺘﻲ اﻟﻘﺼﺼﻴﺔ اﻟﺜﺎﻟﺜﺔ‬ ‫اﺳﺘﻄﺎﻋﺖ اﻟﺘﺤﺮر ﰲ ﻛﺘﺎﺑﺘﻬﺎ وﻣﻌﺎﻟﺠﺎﺗﻬﺎ؟ ﺳﻠﻤﺘﻬﺎ‪ ،‬وﺳﺘﻨﴩ ﻋﻦ وزارة اﻟﺜﻘﺎﻓﺔ وﺗﻨﻤﻴﺔ‬ ‫ﻧﻌﻢ و ﺑﻘﻮة‪ .‬ﻣﺎ ﻛﺎن ﻳﺸﻜﻞ ﻣﺤﺮﻣﺎت ﰲ اﳌﺠﺘﻤﻊ ﺗﺤﺖ ﻋﻨﻮان »ﻧﻬﺎﻳﺎت ﻣﺆﺟﻠﺔ«‪.‬‬ ‫اﻟﻄﺮح‪ ،‬أﺻﺒﺢ ﻋﺎدﻳﺎً‪ ،‬ﻓﺎﻟﺘﺤﻴﺰ ﻟﺠﻨﺲ اﻟﻜﺎﺗﺐ‬ ‫وأن »ﻳﺠﻮز ﻟﻠﺮﺟﻞ أن ﻳﻜﺘﺐ ﰲ ذﻟﻚ وﻻ ﻫﻞ ﺗﻨﻔﺼﻞ اﻟﻘﺎﺻﺔ ﻋﻦ ﻛﻴﻨﻮﻧﺘﻬﺎ اﻷﻧﺜﻮﻳﺔ‬ ‫ﻳﺠﻮز ﻟﻠﻤﺮأة اﻟﺨﻮض ﻓﻴﻪ« أﺻﺒﺢ ﻣﻦ ﺣني ﺗﻜﺘﺐ؟‬ ‫ﻣﺨﻠﻔﺎت اﳌﺎﴈ‪ ،‬ﻓﺎﻟﻨﺎس ﺑﺮأﻳﻲ أﺻﺒﺤﻮا أﻛرث ﻻ ﺗﻨﻔﺼﻞ اﻟﻘﺎﺻﺔ ﻋﻦ ﻛﻴﻨﻮﻧﺘﻬﺎ وذاﺗﻬﺎ وﻋﻦ‬ ‫ﺛﻘﺎﻓﺔ ووﻋﻴﺎً واﻫﺘامﻣﺎً‪ ،‬واﳌﺮأة أﻳﻀﺎً أﺻﺒﺤﺖ ﻃﺒﻴﻌﺘﻬﺎ اﻷﻧﺜﻮﻳﺔ ﰲ ﻣﻌﻈﻢ اﳌﻮاﺿﻴﻊ اﻟﺘﻲ‬ ‫أﻛرث ﻗﺪرة ﻋﲆ اﻟﺘﻨﻮﻳﻊ ﰲ ﻣﺎ ﺗﻜﺘﺒﻪ وأﻛرث ﺗﺘﻨﺎوﻟﻬﺎ‪ .‬ﺧﺎﺻﺔ ﺗﻠﻚ اﻟﺘﻲ ﺗﺘﻌﻠﻖ ﺑﺄﻣﻮر‬ ‫ﺗﺤﺮراً ﻣﻦ اﻟﻌﺎﻃﻔﺔ اﻟﺘﻲ ﻛﺎﻧﺖ اﳌﺤﻮر ﰲ اﳌﺠﺘﻤﻊ‪ ،‬وﻗﻀﺎﻳﺎ اﳌﺮأة واﻟﺤﺐ‪ ،‬واﻟﻨﻔﺤﺎت‬ ‫أﻛﺘﻮﺑﺮ‪57 2016 /‬‬

‫أدب ﻧﺴﺎﺋﻲ‬ ‫‪baytelshear‬‬

‫ﺗﻜﺘﺐ ﻓﻲ ﺣﻘﻞ اﻟﻘﺼﺔ وﻟﻬﺎ ﻣﺠﻤﻮﻋﺘﺎن وﺛﺎﻟﺜﺔ ﻗﻴﺪ اﻟﻄﺒﻊ‬

‫ﻫﻮﻳﺪا اﻟﻈﻨﺤﺎﻧﻲ‪ :‬اﻟﻘﻠﻢ أﻣﺎﻧﺔ!‬ ‫ﺣﻮار‪ :‬دارﻳﻦ ﻗﺼﻴﺮ‬

‫ﻛﺎﺗﺒﺔ ﻣﺪﻫﺸﺔ ﺗﺤﻤﻞ ﻛﺘﺎﺑﺘﻬﺎ ورؤﻳﺘﻬﺎ روﺣ ًﺎ ﺗﻮاﻗﺔ ﻟﻺﺑﺪاع واﻟﺤﻴﺎة‪ ،‬ﻟﻠﻌﻄﺎء واﻟﺤﺐ‪ ،‬ﻟﻠﻮﻃﻦ‬ ‫اﻟﺬي ﺗﻨﺘﻤﻲ إﻟﻴﻪ‪ ،‬إﻧﻬﺎ اﻟﻜﺎﺗﺒﺔ اﻹﻣﺎراﺗﻴﺔ اﻟﺸﺎﺑﺔ اﻟﺘﻲ ﺗﺸﻖ ﻃﺮﻳﻘﻬﺎ اﻷدﺑﻲ واﻹﺑﺪاﻋﻲ ﺑﺨﻄﻰ‬ ‫واﺛﻘﺔ‪ ،‬إﻧﻬﺎ ﻫﻮﻳﺪا اﻟﻈﻨﺤﺎﻧﻲ اﻟﺘﻲ ﺣﺎزت ﻛﺘﺎﺑﺘﻬﺎ ﻣﻨﺬ اﻧﻄﻼﻗﺘﻬﺎ ﻋﻠﻰ اﻟﻜﺜﻴﺮ ﻣﻦ اﻻﻫﺘﻤﺎم‪،‬‬ ‫أﺳﻠﻮﺑﻬﺎ ﺳﺮدي ﺷﺎﺋﻖ ﺗﻤﺘﻌﻨﺎ ﻓﻴﻪ ﺑﺠﻤﻠﻬﺎ اﻟﻘﺼﻴﺮة ﺟﺪ ًا‪ ،‬ﺟﻤﻞ ﻳﻨﺒﺾ ﻓﻴﻬﺎ اﻟﺸﻌﺮ اﻟﻨﺜﺮي‬ ‫اﻟﺠﻤﻴﻞ وﻳﺘﺄﻟﻖ اﻟﺨﻴﺎل اﻟﻤﺠﻨﺢ واﻟﺼﻮر اﻟﻔﻨﻴﺔ اﻟﻤﺒﺘﻜﺮة‪ V‬ﺛﻢ ﻳﺘﻀﺢ ﻟﻨﺎ إﺿﺎﻓﺔ ﻟﺬﻟﻚ أن اﻟﻘﺎﺻﺔ‬ ‫ﺗﻤﺘﻠﻚ أدواﺗﻬﺎ اﻟﻔﻨﻴﺔ وﺗﺒﺮع ﻓﻲ ﺗﻮﻇﻴﻒ ﻟﻐﺘﻬﺎ اﻟﻔﺼﺤﻰ اﻟﺴﻬﻠﺔ واﺳﺘﺨﺪام اﻟﻠﻐﺔ اﻟﺸﻌﺒﻴﺔ‬ ‫اﻟﺪارﺟﺔ أﻳﻀ ًﺎ واﻟﻤﺰاوﺟﺔ ﺑﻴﻨﻬﻤﺎ ﺧﺪﻣﺔ ﻷﻏﺮاض وﻣﻀﻤﻮن اﻟﻘﺼﺔ‪ V‬ﻣﻌﻬﺎ ﻛﺎن ﻫﺬا اﻟﺤﻮار]‬

‫‪ 56‬ﺑﻴﺖ اﻟﺸﻌﺮ ‪ /‬اﻟﻌﺪد ‪49‬‬

‫ﻣﺎ اﻟﺬي أﺛﺮ ﰲ ﻛﺘﺎﺑﺔ ﻫﻮﻳﺪا اﻟﻈﻨﺤﺎين؟‬ ‫ﻟﻘﺪ اﻛﺘﺸﻔﺖ ﻣﻮﻫﺒﺘﻲ ﻣﻦ ﺧﻼل زﻣﻼيئ ﰲ‬ ‫ﻗﻨﺎة أﺑﻮﻇﺒﻲ أﺛﻨﺎء ﻓﱰة ﺗﺪرﻳﺒﻲ‪ ،‬وﺑﻌﺪﻫﺎ‬ ‫اﻧﺸﻐﻠﺖ مبﻌﱰك اﻟﺤﻴﺎة اﻟﻌﻤﻠﻴﺔ اﻟﺘﻲ ﻟﻴﺴﺖ‬ ‫ﺑﻌﻴﺪة ﻋﻦ اﻟﻜﺘﺎﺑﺔ‪ ،‬ﻛﻨﺖ آﻧﺬاك ﻣﺤﺮرة ﰲ‬ ‫ﻣﺠﻠﺔ ﺷﺎﻋﺮ اﳌﻠﻴﻮن‪ ،‬واﳌﻜﺘﺐ اﻹﻋﻼﻣﻲ ﰲ‬ ‫ﻟﺠﻨﺔ إدارة اﳌﻬﺮﺟﺎﻧﺎت واﻟﱪاﻣﺞ اﻟﺜﻘﺎﻓﻴﺔ‬ ‫واﻟﱰاﺛﻴﺔ‪ ،‬وﻣﻨﺬ ﻓﱰة ﻟﻴﺴﺖ ﺑﻌﻴﺪة‪ ،‬ﻗﺮرت‬ ‫اﻟﺒﺪء ﰲ ﻣﴩوع ﻧﴩ اﻟﻘﺼﺺ اﻟﺘﻲ ﻛﺘﺒﺘﻬﺎ‬ ‫ﰲ أوﻗﺎت ﻣﺨﺘﻠﻔﺔ‪.‬‬ ‫ﻟﺤﻈﺔ اﻟﺒﺪاﻳﺔ ﻣﻊ اﻟﻜﺘﺎﺑﺔ؟‬ ‫ﻛﻨﺖ ﻣﺤﻈﻮﻇﺔ ﻷن ﰲ ﻛﻞ ﻣﺪرﺳﺔ‬ ‫ﺑﺎﻹﻣﺎرات ﻣﻜﺘﺒﺔ ﻣﺘﻨﻮﻋﺔ‪ ،‬ﻛﻨﺖ ﰲ ﺳﻦ‬ ‫ﻣﺒﻜﺮة أﻟﺘﻬﻢ ﻣﺎ ﺗﻴﴪ ﱄ ﻣﻦ ﻛﺘﺐ‪ ،‬وﰲ‬

‫اﻟﻘﻠﺐ ﻣﻨﻜﻮب‬ ‫ﺳﻌﻴﺪ ﺑﻦ ﻏﻠﻴﻄﻪ اﻟﻐﻔﻠﻲ‬ @S_BinGhulaita

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55 2016 /‫أﻛﺘﻮﺑﺮ‬

‫ﻣﺎﺳﺎت‬ baytelshear

‫ﻳﺎﻣﺤﺮم اﻟﻌﻴﻦ‬ ‫راﺷﺪ اﻻﺣﺒﺎﺑﻲ‬ @rashedbb123

x@@ ~@ @{@ @- ° ¡@@ @ @ @ @ @ D* ¡@@ @ @ @ 0 Í@@ @ @ @ @D* xQ @ @ @ @ @ @¹ b@@ @ @J ¤@@ @ @ @ @£@ @ @ @ @ @E ¤@@ @ @ @ @ @ @D* b@@ @ @ @ @ @ @J @@ @ @ @ @ @F* ¤@@ @ @ @ @ @ @ @Jb@@ @ E x@@ @ @+ @@ @c@ @ -b@@ @ @ @ EH x@@ @ @ @ ~@ @ z@ @ D* Áb@@ @ @ @ @ @ J 4b@@ @ ~@ @ @8 ¤@@ @ £@ < b@@ @ @ @ JH ¤@@ @c@ @ @ @ B b@@ @ @ J @@ @ @6b@@ @ @+ ° ¡@@ @ @ @ @ @B* H x@@ @ @Q @ @ A Iw@@ @ @ @ @C @@ @ c@ @ @0 ¢@@ @ @ @ @< ¤@@ @ @ @ @ @ c@ @ / Ñ* ¤@@ @ @ @ @ J2¡@@ J @@ @ @ D ¤@@ @c@ @ @ @ B v@@ @ @ @ @ @ @ @ ~@ @ @8&* ¡@@ @ @ @ @ D ¢@@ @ g@ @ @0 Æ@@ ~@ @ z@ @ E @@ @ @ @J4b@@ @ @ @: ¢@@ @ @ @ @ @ < ¥x@@ @ @ @ @~@ @ @7 4b@@ @ @ @ @ @ @+ ¤@@ @ £@ @ ~@ z@ J ¤@@ @ @ @ @D* v@@ £@ @~@ @|@ @ @ @D* @@ @£@ @ A 4b@@ @ @ g@ @ @ @1*H x@@ @ @ @ @ @/*H *¡@@ @ @ @ @ @ @ E ¤@@ @ ~@ @ @z@ @ @/b@@ @ G @@ @ @ @ E d@@ @ @ £@ @ @ @ /* ¤@@ @ @£@ @ @ @ @ @Jb@@ E ¤@@ @ @ @ @£@ @ @A v@@ @ @ @/¡@@ @ @ @ D* @@ @ @ @ E b@@ @ @ @ @ @ @F*H x@@ @ @ m@ @ @ @E *¡@@ @ @ @ @ @~@ @ @ @ @ @ 7&°*H v@@ @ @ @ @c@ @ @D* Áw@@ @ @ @ 1&b@ @ @ @ J ¤@@ @ @ £@ @ c@ @ p@ @ ´* ib@@ @ @Ab@@ @ @~@ @ @ z@ @ @ E @@ @ @ @ @ @ @ B*H @@ @ @ {@ @ @ @£@ @ @ @<*H x@@ @ @ E* v@@ @ @<¡@@ @ @E x@@ @ @ @ @ @ @ 1%*H ¤@@ @ @ @ @+2 @@ @ @ E ¥x@@ @ @ ~@ @ @ @ 6* ¤@@ @ @ @ £@ @ +H @@ @ @ @ @£@ @ @+b@@ @ E @@ @ @ @ @ @ / M b@@ @ @ @ @ @ @ @ @E x@@ @ @ @ @ @1* Ä@@ @ @Cb@@ @ @J d@@ @ @ @ @ @ @ ²*H É@@ @ @ @ @ @ @D* b@@ @ @ ~@ @ @ @7 Ä@@ @ @ Cb@@ @ @ J ¤@@ @ @ Jv@@ Â 2b@@ @ @ @ @ < b@@ @ @ @E ¤@@ @ -v@@ @ ~@ @ @8 ¢@@ @ @ @ @< ¢@@ @ g@ @ @0

49 ‫ اﻟﻌﺪد‬/ ‫ ﺑﻴﺖ اﻟﺸﻌﺮ‬54

‫ﻣﺎ ﻳﺴﺘﻮي ﻳﺎ ﺻﺎﻓﻲ اﻟﺨﺪ‬ :‫ وﻧﺨﺘﺎر ﻣﻨﻪ ﻫﺬه اﻟﻘﺼﻴﺪة اﻟﺠﻤﻴﻠﺔ‬،‫أﻣﺎ ﺷﻌﺮه ﰲ اﻟﻐﺰل ﻓﻮاﺳﻊ وﻣﺘﻌﺪد وﻣﻤﻴﺰ‬

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2¡@@ @ @ @ @ @ @ @D* ¤@@ @ @ @ @ @ @ @ @ @ @~@ @ @{@ @ @E f@@ @ @ @ @ 04b@@ @ @ @ @ c@ @ @ @ @ @D* v@@ @ @ @ @³* ¯b@@ @ @ @~@ @ @ @ 8 b@@ @ @ @ @J ¥¡@@ @ @g@ @ @ ~@ @ @ z@ @ @ J b@@ @ @ @ @E v@@ @ @ @ @ @ @.R * @@ @ @ F¡@@ @ @ £@ @ @ <* b@@ @ @ @ @p@ @ @ @ @ CR * @@ @ @ g@ @ @ @F* v@@ @ @ Bx@@ @ @ - ¡@@ @ @ @ @ @ @ @ @ @ @D* ¤@R @ @ @ @ @ @ @ @ @G @@ @ @ @ @ g@ @ @ @ @ @F*H v@@ @ @ @ @ @ @ @E4* ¤@@ @ @ @ @ Q @ @ @ @ @ C Ì@M @ @ @ @ @ @ @ @ ~@ @ @ @ 6 h@@ @ @ @ @Jb@@ @ @ @ @+ v@@ @g@ @ » h@@ @ @p@ @ @ :H h@@ @£@ @ ~@ @ }@ @ = @@ @ @ @E @@ @ @ @C v@@ @ @ g@ @ @ @DR (* ¤@@ @ @ @ @j@ @ @E ¤@@ @ @ Q @ @ @ @D* ,x@@ @ ~@@R @ z@ @ @ 0 b@@ @ @ J v@@ @ @ @ @ ²* ¤@@ @ @ @~@ @ @ @ 9b@@ @ @ @§ d@@ @ @ @J¡@@ @ @ @~@ @ @ @ 8 ÁQ v@@ @ @ @ @ @JN y@@ @ @ @ @ @-R H @@ @ @ @ @ @ £@ @ @ @ @ @ D* ¤@@ @ @ @ @+ h@@ @ @ @ Db@@ @ @ @ : v@@ @ @ @E @@ @ @ @g@ @ @ @ 0x@@ @ @ @B i¡Q @ @ @ @ @ @ @ ~@ @ @ @ @ @ @ 6H rxQ @ @ @ @ @ @ @ @ @ @ B

‫أﺳﺎﻃﻴﻦ اﻟﺸﻌﺮ‬ baytelshear mf ª º* mfCCCªCCC+&¸* 4fCCCkCCC1*K lCC CC CCT CCI ‫ﺗﻘﺪﻣﻪ ﰲ اﻟﻌﻤﺮ أﺻﻴﺐ مبﺮض اﻟﺴﻜﺮي اﻟﺬي أﺻﺒﺢ ﻳﺘﻌﺐ ﺟﺴﺪه‬ m*{CCCGfCCC+ zCCªCC CCG* jCCC0|CCCD · fCC¤CCkCC<zCC+ ‫ واﻧﺘﻘﻞ إﱃ رﺣﻤﺔ اﻟﻠﻪ ﻋﻦ ﻋﻤﺮ ﻳﻨﺎﻫﺰ‬،‫وﻳﻘﻌﺪه ﺣﺘﻰ اﺳﺘﻔﺤﻞ ﻓﻴﻪ‬ f¤IK| ¡M ¨CC CC CC< §CCCCC/4*K fCC¤CCkCC CCqCT C CC6 :‫ ﻋﺎﻣﺎً· رﺣﻤﻪ اﻟﻠﻪ رﺣﻤﺔ واﺳﻌﺔ‬58 m*4fCCCCCCCCH(¸* , T~CCC CCCH CC CCtCCM fCC¤CCI*§CC¡CC< :‫وﻣﻦ ﻗﺼﺎﺋﺪ اﺑﻦ ﻣﻬﻴﻠﻪ اﻟﻮﻃﻨﻴﺔ‬ fCC¤CCI§CC CC CCM «CCCCC+4 CCC CCCM ¥CCCªT CCCkCCCD jCCCCCC P CGK2 mfCCC CCT C CCC+U * CCCMfCCCnCCC¼* «CCgCC CCE ¢CCCH §CCCCCCE&* mfCCªCC+* «CCgCC CCE ¨CC CC< m4*2 CCnCCH zCCCCC+&* fCCC¤CCCI§CCC+5 ¿fCCCCCC= zCCCqCCC¼fCCC+ jCCCCCCC P CGK2 · m¸fCC CC¼* CC CCI lCC CC CC8 ¿*|CCCC: CC CCMfCCJ mÑCCM~CC/ ÉfCC¤CC- CC CCMT |CCG* ¾* CCCCD4*K f¤I§¡D · CC CC CC6 ¢CCCH i|CCC CCC- mfCCCªCCC+* f¤I§g tM §CCCG TzCC CC- ¸K fCC CC CCtCC¡CC-fCCH fCCCC¤CCCCIK5K hCCCCCCCCC-T 4&*K fCCC¤CCCªCCCD*§CCCE CCCC CCCCI&* m* TzCCCCCHK ¥CCCCCCCCG§CC:K P fCCC CCCD* ¥CCCCCCCCG «CCC T CCCM

‫ﺣﻲ اﻟﺠﻮاﺑﻲ‬ ّ ‫ﻳﻬ ًﻠﺎ‬ :‫وﻣﻦ ﻗﺼﺎﺋﺪ اﺑﻦ ﻣﻬﻴﻠﺔ ﰲ اﻟﻨﺼﺢ ﻗﺼﻴﺪﺗﻪ »ﻳﺎ أوﻻدي ﺑﻮﺻﻴﻜﻢ« اﻟﺘﻲ ﻳﻘﻮل ﻓﻴﻬﺎ‬

*v@@ @ @ @ @ @ @ @ @ @ @ @ g@ @ @ @ @ @ c@ @ @ @ @ @ EH ·¡@@ @ @ @ @ @ @ @ @ @ @ @ B ¤@@ @ @ @ @ @ @ @ @ @ @ @ A b@@ @ @ @ @ @ @ @ @ @ @ ~@ @ @ @ @ @ @ @ @ @ @ 8H @@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ <2Q ¡@@ @ @ @ @ @ @ @ @ @ @ @+ b@@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @<2R * e¡@@ @ @ @ @ @ @ @ @ @ @ @G i¡@@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ ´*H b@@ @ @ @ @ @ @ @ @ ~@ @ @ @ @ @ @ @ @ @94R * ¡@@ @ @ @ c@ @ @ @ @~@ @ @ @ @z@ @ @ @ @ @ @ @ @ @- @@ @ @ @ @ @ @ @ . É@@ @ @ @ @~@ @ @ @ @ |@ @ @ @ @ D* ¯H @@ @ @ @ @ @ @ Jv@@ @ @ @ @ @ @ D* ¯ b@@ @ @ @ @ @ @ @ A¡@@ @ @ @ @ @ @ @ Db@@ @ @ @ @ @ @ @ + @@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ GHQ2*H É@@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ -*H @@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @DHQ &* @@ @ @ @ @ @ @ @ @ @ @E b@@ @ @ @ @ @ @ Cy@@ @ @ @ @ @ @ Db@@ @ @ @ @ @ @ + @@ @ @ @ @ @ @ @ @ @ @ @ @ @ £@ @ @ @ @ @ @ ~@ @ @ @ @ @ @ 8H*H b@@ @ @ @ @ @ @~@ @ @ @ @ @ @ }@ @ @ @ @ @ @ B* ¡@@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @J 5° *4v@@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ E @@ @ @ @ @ @ @ @ @ D 4b@@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ £@ @ @ @ @ @ @ @ @D*H *Qv@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @+ ¡R @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ 1&°* ¢@@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ <H b@@ @ @ @ @ @ @ ~@ @ @ @ @ @ @ @8¡@@ @ @ @ @ @ @ D* ¡@@ @ @ @ @ ~@ @ @ @ @ @z@ @ @ @ @ @ @ @ @ @ @ @- ° b@@ @ @ @ @ @ @ @ ~@ @ @ @ @ @ @ @ @94R * ¯ *¡@@ @ @ @ @ @ @ @ DHb@@ @ @ @ @ @ @ @ 0 @@ @ @ @ @ @ @ . *4H Mx@@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ /*H d@@ @ @ @ @ @ @ @ ~@ @ @ @ z@ @ @ @ @ @ @ @ E b@@ @ @ @ @ @ @ ~@ @ @ @|@ @ @ @ @ @ @ @E @@ @ @ @ @ @ @ @ @ @ @ @ 0x@@ @ @ @ @ @D* x@@ @ @ @ @ @ @ @ @ @ b@@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ £@ @ @ @²* ¯ *¡@@ @ @ @ @ @ @ @ @ @ @ @ @ @ g@ @ @ @ @E2 b@@ @ @ @ @ @ E b@@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ E @@ @ @ @ @ @ @ @ @ @ @ @ @ D @@ @ @ @ @ @ @ @ @ @ /4 @@ @ @ @ @ @ @ @ @ @ @ C

@@ @ @ @ @ @ @ @ £@ @ @ @ ~@@ @Q @ @8¡@@ @ @ @ @ @ @ @ + ¥2°H&* b@@ @ @ @ @ @ @ J ¤@@ @ @ @ @ c@ @ @ @ @ @Jv@@ @ @ @ @ @ @ @ @ @ @JR * i¡@@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @´* @@ @ @ @ @ c@ @ @ @ @ @B @@ @ @ @ @ £@ @ @ @ @ @ @ @ @ @ @ @< d@@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @/*H M @@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @0 @@ @ @ @ @ @ @ @ @ @ Jv@@ @ @ @ @ @ @ @ @ @ JR * ¤@@ @ @ @ @ @ @ @ @ @ +4 ¡@@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ /4*H @@ @ @ @ @ @ @£@ @ @ @~@ @ @ @8¡R @ @ @ @+ b@@ @ @ @ @ @ @ @ @ @ @ F&* @@ @ @ @ @ @ @. @@ @ @ @ @ @ @ @ @EH @@ @ @~@ @ @ z@ @ @ @ @ @ ³* @@ @ @ @ @ 9Hx@@ @ @ @ @ @ @ @ @ @ @D* *HQ2* @@ @ @ @ @F¡@@ @ @ @ @ Q @ @ @ @ @ s@ @ @ @ @ - ° b@@ @ @ @ @ @ @ ~@ @ @ @ @ @ @ @}@ @ @ @ @ @ @ @E4H @@ @ @ Q@ @ @ @ @ £@ @ @ @ F @@ @ @ @ |@ @ @ @ @ @ @ @ @ @1&b@ @ @ @ @+ *¡@@ @ @ @ @ E¡@@ @ @ @ @ ~@ @ @ @ @ @8 d@@ @ @ @ @ @ @ @ @ @ @ @ @ @ /*H @@ @ @ @M @ @ @ @ 9x@@ @ @ @ @ @ @ @ A n@@ @ @ @ @ @ @ @ @ @ @ @ @ @ ²*H @@ @ @ @ @ @ @ @ @£@ @ @ @ @~@@ @ Q@ @ 8H b@@ @ @ @ @ @ @ E 4b@@ @ @ @ @ @ @ £@ @ @ @ @ @ @ @D* H @@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @D*H* ¤@@ @ @ @ @ @ @c@ @ @ @ @ @ @ @ @ @ @ @ @ @ D* ¢@@ @ @ @ @ @ @g@ @ @ @ @ @ @ 0 ¥2°H* b@@ @ @ @ @ @ @ @ @ @ @J 4w@@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @²*H @@ @ @ @ @ D¡@@ @ @ @ @ @ @ @ @ @ @~@ @ @ @ @ @8&* @@ @ @ @ @ @ @ @ @Jv@@ @ @ @ @ @ @ @ @D*¡@@ @ @ @ @ @ @ @ @D*H @@ @ @ @ @ @ F¡@@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ - ° @@ @ @ @ @ @ @ @ @ @ @ @ 0x@@ @ @ @ @ @ D*H @@ @ @ @ @ @ @ @£@ @ @A ¤@@ @ @ @ @ @ @ @ @ @ @Q @ @ @ @ @ @ @ @; d@@ @ @ @ @ @ £@ @ @ s@ @ @ J ° @@ @ @ @ @ @ @ @ @ @ F¡@@ @ @ @ @ @ ~@ @ @ z@ @ @ @ @ @ - ° x@@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ D*H @@ @ @ @ @ @ @ @ J*x@@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @D* M Hx@@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ AR * 49 ‫ اﻟﻌﺪد‬/ ‫ ﺑﻴﺖ اﻟﺸﻌﺮ‬52

‫وﻟﺪ اﻟﺸﺎﻋﺮ اﺑﻦ ﻣﻬﻴﻠﺔ ﰲ ﻗﺮﻳﺔ اﻟﺴﻨﻴﻨﺔ‪ ،‬ﰲ ﻋﺎم ‪ 1939‬وﻋﺎش ﻓﻴﻬﺎ‬ ‫واﻧﺘﻈﻢ ﰲ اﻟﻜﺘﺎﺗﻴﺐ ﻣﺘﻌﻠ ًام أﺻﻮل اﻟﻘﺮاءة وﺣﻔﻆ اﻟﻘﺮآن اﻟﻜﺮﻳﻢ‪،‬‬ ‫ﺛﻢ ﺗﻨﻘﻞ ﺑني ﻗﺮى ﺣﻔﻴﺖ وﻣﺰﻳﺪ واﻟﱪميﻲ واﻟﻌني· وﻣﺎ إن ﺷﺐ ﻋﻦ‬ ‫اﻟﻄﻮق ﺣﺘﻰ ﻛﺎﻧﺖ ﺧريات اﻟﻨﻔﻂ ﻗﺪ اﻧﺘﴩت ﰲ اﳌﻨﻄﻘﺔ ﻣﻨﺬرة‬ ‫ﺑﺘﻐري ﻛﺒري ﰲ اﺣﻮال اﳌﺠﺘﻤﻊ ﻓﻌﻤﻞ ﰲ ﻧﻬﺎﻳﺔ اﻟﺨﻤﺴﻴﻨﻴﺎت ﰲ إﺣﺪى‬ ‫ﴍﻛﺎت اﻟﻨﻔﻂ ﰲ ﻣﻨﺎﻃﻖ داس وﻃﺮﻳﻒ‪ ،‬وﻣﻊ ﺗﻔﺠﺮ اﻟﻨﻔﻂ‪ ..‬ﺗﻔﺠﺮت‬ ‫ﻗﺮﻳﺤﺘﻪ ﺷﻌﺮاً ﻳﺮﺻﺪ أﺣﻮال اﻟﻨﻔﺲ وأﺣﻮال اﳌﺠﺘﻤﻊ وﻣﺎﻳﻄﺮأ ﻣﻦ‬ ‫ﺗﻐريات ﰲ ﺗﻠﻚ اﻟﺮوح اﻟﺒﺪوﻳﺔ اﻟﺘﻲ ﻋﱪت ﻋﻦ اﻟﺤﺐ ﺑﻔﻄﺮة ﺻﺎدﻗﺔ‬ ‫ﺗﻠﻘﺎﺋﻴﺔ‪ ،‬ﺑﺎدﺋﺎً ذﻟﻚ مبﺤﺎورات وﻣﺠﺎرﻳﺎت ﺷﻌﺮﻳﺔ ﻣﻊ أﻗﺮاﻧﻪ وزﻣﻼﺋﻪ‪.‬‬ ‫وﰲ ﻣﻨﺘﺼﻒ اﻟﺴﺘﻴﻨﻴﺎت‪ ،‬ﻗﺮر اﺑﻦ ﻣﻬﻴﻠﺔ ﺗﺮك اﻟﻌﻤﻞ ﰲ ﴍﻛﺔ اﻟﺒﱰول‬ ‫واﻧﺘﻘﻞ ﻟﻠﻌﻤﻞ ﰲ ﻗﻮة ﺳﺎﺣﻞ ُﻋامن‪ ،‬ﳌﺪة ﺧﻤﺲ ﺳﻨﻮات ﺗﻘﺮﻳﺒﺎً‪ ،‬ﺛﻢ‬ ‫ﺗﻢ ﺗﻌﻴﻴﻨﻪ ﰲ ﴍﻃﺔ‬ ‫ﺗﺮﻛﻬﺎ‪ ،‬واﻟﺘﺤﻖ ﺑﺴﻠﻚ اﻟﴩﻃﺔ ﰲ أﺑﻮﻇﺒﻲ‪ ،‬ﺣﻴﺚ ّ‬ ‫اﻟﻌني‪ .‬وﻛﺎن ﻫﺬا اﳌﻜﺎن ﻓﺮﺻﺔ ﻣﻮاﺗﻴﺔ ﻟﻪ ﻟﻴﺒﺪأ ﺑﺈﻛامل ﺗﻌﻠﻴﻤﻪ وﺗﻘﻮﻳﺔ‬ ‫ﻣﻌﺮﻓﺘﻪ ﺑﺎﻟﻘﺮاءة واﻟﻜﺘﺎﺑﺔ اﻟﺘﻲ ﺑﺪأﻫﺎ ﰲ ﺑﺪاﻳﺎت اﻟﻌﻤﺮ ومل ﺗﻮﻓﺮ ﻟﻪ‬ ‫اﻟﺤﻴﺎة ﻓﺮﺻﺔ إﻛامﻟﻬﺎ‪ ،‬وﺑﺴﺒﺐ ﻫﺬه اﳌﻌﺮﻓﺔ ﺗﻢ ﺿ ّﻤﻪ إﱃ ﻗﺴﻢ اﻟﻘﻠﻢ‬ ‫ﺑﴩﻃﺔ اﻟﻌني‪ .‬وﰲ ﻣﻨﺘﺼﻒ اﻟﺜامﻧﻴﻨﻴﺎت‪ ،‬اﻧﺘﻘﻞ ﻟﻠﻌﻤﻞ ﺑﺪﻳﻮان ﻣﻤﺜﻞ‬ ‫ﺗﻔﺮغ ﺑﻌﺪﻫﺎ ﻣﺘﻘﺎﻋﺪاً ﻋﻦ اﻟﻌﻤﻞ ﻟﻴﻌﻴﺶ‬ ‫اﻟﺤﺎﻛﻢ ﰲ إﻣﺎرة اﻟﻌني‪ ،‬ﺛﻢ ّ‬ ‫ﻣﻊ أوﻻده وﻋﺎﺋﻠﺘﻪ ﰲ ﻣﻨﻄﻘﺔ ﻣﺰﻳﺪ ﺑﺎﻟﻌني·‬ ‫وﻗﺪ أﺻﺪر ﻧﺎدي ﺗﺮاث اﻹﻣﺎرات دﻳﻮاﻧﺎً ﻟﻠﺸﺎﻋﺮ اﺑﻦ ﻣﻬﻴﻠﺔ اﻟﺸﺎﻣﴘ‬ ‫أﻋﺪه اﻟﺪﻛﺘﻮر راﺷﺪاﳌﺰروﻋﻲ‪ ،‬ذﻛﺮ أﻧﻪ ﻣﻦ ﻣﺆﺳﴘ ﺑﺮﻧﺎﻣﺞ ﺷﻌﺮاء‬ ‫اﳌﻨﻄﻘﺔ اﻟﴩﻗﻴﺔ ﺑﺎﻟﻌني‪ ،‬وﻛﺎن ﻣﻌﻪ زﻣﻼؤه اﻟﺸﻌﺮاء ﻣﺤﻤﺪ ﺑﻦ‬ ‫راﺷﺪ اﻟﺸﺎﻣﴘ وﺳﺎمل اﻟﻜﺎس وﻣﺤﻤﺪ ﺑﻦ ﺑﻨﺎن وﻛﻤﻴﺪش ﺑﻦ ﻧﻌامن‬ ‫وﻋﻮض ﺑﺎﻟﺴﺒﻊ وﻋﺒﻴﺪ ﺑﻦ ﻣﻌﻀﺪ وﺳﻌﻴﺪ ﺑﻦ ﻫﻼل اﻟﻈﺎﻫﺮي‪ ،‬وﻫﺆﻻء‬ ‫ﻳﻌﺘﱪون ﻣﻦ أﻋﻤﺪة اﻟﺸﻌﺮ اﻟﻨﺒﻄﻲ ﰲ اﻟﻌني· وﻗﺪ ﺑﻘﻲ »رﺣﻤﻪ اﻟﻠﻪ«‬ ‫ﻋﻀﻮاً ﰲ ﻫﺬا اﻟﱪﻧﺎﻣﺞ ﺣﺘﻰ وﻓﺎﺗﻪ·‬ ‫وﻟﻘﺪ ﺑﺮع اﻟﺸﺎﻣﴘ ﰲ ﻧﻈﻢ ﻗﺼﺎﺋﺪ اﻟﺸﻌﺮ اﻟﻐﺰﱄ‪ ،‬وﰲ ﻫﺬا اﻟﻠﻮن ﻛﺎن‬ ‫ﻟﻪ اﻟﺘﻔﺮد واﻟﺘﻤﻴﺰ‪ ،‬ﺣﻴﺚ ﻳﻄﻐﻰ ﺷﻌﺮ اﻟﻐﺰل ﻋﲆ ﻣﺴريﺗﻪ اﻟﺸﻌﺮﻳﺔ‪.‬‬ ‫وﻗﺪ ﺑﺪا ﻫﺬا واﺿﺤﺎً ﰲ ﺗﻔ ّﻮﻗﻪ ﰲ اﻟﺸﻌﺮ اﻟﻐﺰﱄ‪ ،‬ﺣﻴﺚ رﻛ ّﺰ ﻋﻠﻴﻪ‬ ‫وأﺑﺪع ﻓﻴﻪ أﺟﻤﻞ اﻟﻘﺼﺎﺋﺪ‪ ،‬اﻟﺘﻲ ﻛﺎن ﻳﻠﻘﻴﻬﺎ ﰲ ﻣﺠﻠﺲ ﺷﻌﺮاء اﻟﻘﺒﺎﺋﻞ‬ ‫ﺑﻄﺮﻳﻘﺘﻪ اﳌﻤﻴﺰة ﰲ اﻹﻟﻘﺎء واﻟﺘﻲ ﺗﺠﺬب اﻻﻧﺘﺒﺎه وﺗﺸ ّﺪ اﻷﺳامع إﻟﻴﻪ·‬ ‫وﻫﻨﺎك ﻋﺪد ﻛﺒري ﻣﻦ اﻟﺸﻌﺮاء ﻣﻤﻦ ﺗﺸﺎﻛﻮا ﻣﻌﻪ أﺑﺮزﻫﻢ اﻟﺸﺎﻋﺮ‬ ‫اﳌﻌﺮوف ﻋﻮض ﺑﺎﻟﺴﺒﻊ‪ ،‬وﻋﺒﻴﺪ ﺑﻦ ﻣﻌﻀﺪ اﻟﻨﻌﻴﻤﻲ‪ ،‬وﻣﺤﻤﺪ ﺑﻦ‬ ‫رﻏﺶ اﻟﺸﺎﻣﴘ وراﺷﺪ اﻟﻨﺎﻳﲇ وﻣﺤﻤﺪ ﺑﻦ ﺑ ّﻨﺎن اﻟﻜﻌﺒﻲ وﻣﺤﻤﺪ ﺑﻦ‬ ‫راﺷﺪ اﻟﺸﺎﻣﴘ وﻏريﻫﻢ‪ ،‬وﺑﺴﺒﺐ متﻴﺰ ﺷﻌﺮه اﻟﻐﺰﱄ وﻣﺎﺗﺘﻤﻴﺰ ﺑﻪ ﺗﻠﻚ‬ ‫اﻟﻘﺼﺎﺋﺪ ﻣﻦ روح اﻟﺤﺐ اﻟﺸﻔﺎﻓﺔ ﺑﺄﺳﻠﻮب ﺳﻠﺲ ﻗﺮﻳﺐ اﱃ ﻗﻠﻮب‬ ‫ﻓﻘﺪ أﻧﺸﺪ ﻗﺼﺎﺋﺪه اﻟﻌﺪﻳﺪ ﻣﻦ اﻟﻔﻨﺎﻧني‪ ،‬أﻣﺜﺎل اﳌﻄﺮب ﻣﻴﺤﺪ ﺣﻤﺪ‬ ‫وﺧﺎﻟﺪ ﻣﺤﻤﺪ وﻣﻌﻀﺪ ﺳﺎمل وآﺧﺮﻳﻦ·‬ ‫ﻛام اﺷﺘﻬﺮ ﺑﻘﺼﺎﺋﺪ اﻟﺮزﻳﻒ وﻫﻲ اﻟﻘﺼﺎﺋﺪ اﻟﺘﻲ ﺗﺆدى ﻋﲆ ﻟﺤﻦ‬ ‫ﺧﺎص ﻣﺼﺤﻮﺑﺎً ﺑﺎﻟﻌﺰف وﺗﺆدى ﻋﲆ أﻟﺤﺎﻧﻪ رﻗﺼﺔ )اﻟﺮزﻳﻒ( ﻓﻘﺪ‬ ‫ﻛﺎﻧﺖ ﻟﺪﻳﻪ ﻓﺮﻗﺔ ﺣﺮﺑﻴﺔ ﻣﻌﺮوﻓﺔ ﰲ ﻣﺪﻳﻨﺔ اﻟﻌني‪ ،‬وﻛﺎن ﻫﻮ ﻗﺎﺋﺪﻫﺎ‬ ‫وﺷﺎﻋﺮﻫﺎ‪.‬‬ ‫وﴎت أﺷﻌﺎره ﺑني اﻟﺠﻤﻬﻮر واﺻﺒﺢ ﻟﻪ ﻗﺒﻮل ﻛﺒري ﺑني اﻟﻨﺎس‪ ..‬وﻣﻊ‬ ‫أﻛﺘﻮﺑﺮ‪51 2016 /‬‬

‫أﺳﺎﻃﻴﻦ اﻟﺸﻌﺮ‬ ‫‪baytelshear‬‬

‫ﺷﺎﻋﺮ اﻟﻐﺰل اﻟﺠﻤﻴﻞ‪ ..‬اﻟﺬي أﻗﻌﺪه »اﻟﺴﻜﺮي«‬

‫ﺳﻌﻴﺪ ﺑﻦ ﻣﻬﻴﻠﺔ اﻟﺸﺎﻣﺴﻲ‪..‬‬ ‫ﻣﺴﻴﺮة ﺷﻌﺮ ﻣﻜﺘﻮﺑﺔ ﺑﺤﺮوف اﻟﺤﺐ‬

‫ﻋﻠﻲ اﻟﻤﺴﻌﻮدي‬

‫ﻳﻌﺪ اﻟﺸﺎﻋﺮ اﻻﻣﺎرايت اﻟﺮاﺣﻞ ﺳﻌﻴﺪ ﺑﻦ ﻛﻠﻔﻮت ﺑﻦ ﴎور ﺑﻦ ﻣﻬﻴﻠﺔ اﻟﺸﺎﻣﴘ ﻋﻠ ًام ﻣﻦ أﻋﻼم اﻷدب اﻟﺸﻌﺒﻲ ﰲ اﻹﻣﺎرات ﺧﺎﺻﺔ ودول اﻟﺨﻠﻴﺞ‬ ‫ﻋﺎﻣﺔ ﳌﺎ ﺗﺮك ﻣﻦ ﺗﺮاث ﺷﻌﺮي ﻣﻤﻴﺰ ومبﺎ وﺿﻊ ﻣﻦ ﺑﺼﻤﺔ ﻣﺘﻔﺮدة ﰲ ﻋﺎمل اﻻﺑﺪاع اﻟﺸﻌﺮي‪ ..‬ﻓﻜﺎن ﻣﻦ ﺟﻴﻞ اﻟﺮواد اﻟﺬﻳﻦ ﺗﺠﻤﻠﺖ ﻗﺼﺎﺋﺪﻫﻢ‬ ‫ﺑﺄﻟﻮان اﻷﺻﺎﻟﺔ‪ ،‬واﻻرﺗﺒﺎط اﻟﺤﻘﻴﻘﻲ ﺑﺎﻟﻮاﻗﻊ‪ ،‬واﻟﺘﻌﺒري اﻟﴫﻳﺢ ﻋﻦ ﻫﻤﻮم اﻟﺠﻴﻞ ﺑﻼ ﻣﻮارﺑﺔ‪.‬‬

‫‪ 50‬ﺑﻴﺖ اﻟﺸﻌﺮ ‪ /‬اﻟﻌﺪد ‪49‬‬

‫ﻋﻦ ذات اﻟﺸﺎﻋﺮ ﺑﻘﺪر ﻣﺎ ﻳﺤﻴﻠﻨﺎ ذﻟﻚ ﻟﻘﺮاءة اﻟﻮاﻗﻊ اﻟﺠﻤﻌﻲ‬ ‫ﻟﻠﺘﻜﻮﻳﻦ اﻹﻧﺴﺎين اﻟﺬي ﻳﻨﺘﻤﻲ إﻟﻴﻪ‪ ،‬ﻓﺎﻟﺤﺪﻳﺚ ﻋﻦ اﻟﻘﺼﻴﺪة ﰲ‬ ‫ﻣﻌﻨﺎﻫﺎ اﻟﻔﻠﺴﻔﻲ ﻇﻞ ﻳﻠﺢ ﻋﲆ ﻣﺴﺄﻟﺔ ﺗﺤﻮﻳﻞ اﻟﺸﺨﴢ إﱃ إﻧﺴﺎين‬ ‫وﻛﻮين‪ ،‬وﻇﻞ اﻟﻨﻘﺪ اﻟﺤﺪﻳﺚ ﻳﺸري إﱃ أﻓﻀﻠﻴﺔ اﻟﻘﺼﺎﺋﺪ اﻟﺘﻲ ﺗﺘﻌﺪى‬ ‫ﺟﻐﺮاﻓﻴﺘﻬﺎ‪ ،‬وﺗﺘﺠﺎوز ﺣﺪودﻫﺎ »اﻟﺰﻣﻜﺎﻧﻴﺔ«‪.‬‬ ‫ميﻜﻦ ﻗﺮاءة متﻈﻬﺮات اﻷﻧﺎ‪ ،‬واﻟﺬات اﻟﺸﺎﻋﺮة ﰲ اﻟﺘﺠﺮﺑﺔ اﻟﺸﻌﺮﻳﺔ‬ ‫ذات اﻟﺸﺎﻋﺮ وﺗﻮﻇﻴﻔﻪ ﻷﻧﺎه ﻓﻲ اﻟﻘﺼﻴﺪة ﺗﺘﺠﺎوز‬ ‫اﻹﻣﺎراﺗﻴﺔ ﺑﺎﻟﻮﻗﻮف ﻋﻨﺪ منﺎذج راﺳﺨﺔ ﰲ ﻣﺪوﻧﺔ اﻟﺸﻌﺮ اﻟﺸﻌﺒﻲ ﻛﻞ اﻟﻜﺜﻴﺮ ﻟﺘﺼﺒﺢ ﺗﻜﺜﻴﻔﺎً رﻣﺰﻳﺎً ﻟﻠﺠﻐﺮاﻓﻴﺎ واﻟﻤﻜﺎن‬ ‫اﳌﺤﲇ‪ ،‬ﻓﺎﻟﻜﺜري ﻣﻦ اﻟﺸﻌﺮاء ﻇﻠﺖ ﻗﺼﺎﺋﺪﻫﻢ ﺗﺮاﻫﻦ ﻋﲆ اﻟﺬايت‬ ‫اﻟﺬي ﻳﻨﺘﻤﻲ إﻟﻴﻪ اﻟﺸﺎﻋﺮ‬ ‫ﻟﺘﻨﺘﺢ ﻣﻨﻬﺎ ﺻ ّﻴﻐﺎً ﺟﻤﻌﻴﺔ ميﺘﺜﻞ إﻟﻴﻬﺎ اﻟﻘﺎرئ واﻟﺴﺎﻣﻊ‪ ،‬ﻟﻠﺤﺪ اﻟﺬي‬ ‫ﺑﺎﺗﺖ اﻷﻧﺎ ﰲ اﻟﻨﺺ اﻟﺸﻌﺮي ﻫﻲ ﺗﻌﺪد ﻟﺬوات ﻛﺜرية ﻣﻜﺜﻔﺔ ﰲ ﺳرية‬ ‫اﻟﺸﺎﻋﺮ ﻧﻔﺴﻪ‪.‬‬ ‫ﻣﻦ ﻣﺴﺎرات اﻷﺟﻴﺎل اﻟﺠﺪﻳﺪة‪ ،‬ﻓام ﻳﻘﺪﻣﻪ ﻣﻦ ﺧﻼﺻﺎت ﰲ اﻟﻮﺻﻮل‬ ‫ً‬ ‫ﻳﻜﺘﺐ اﻟﺸﺎﻋﺮ ﺳﺎمل اﻟﺠﻤﺮي أﺑﻴﺎﺗﺎ ﻏﺰﻟﻴﺔ ﺗﻜﺸﻒ واﺣﺪة ﻣﻦ ﺻﻮر إﱃ ﺟﻮﻫﺮ اﳌﻌﻨﻰ ﻳﺘﻌﺪى اﻟﺜﻨﺎء ﻋﲆ ذاﺗﻪ‪ ،‬ﻟﻴﺼﺒﺢ ﺧﻼﺻﺔ ﻟﺘﺠﺮﺑﺘﻪ‪،‬‬ ‫اﻟﺬات ﰲ اﻟﻘﺼﻴﺪة اﻟﺸﻌﺒﻴﺔ اﳌﺤﻠﻴﺔ‪ ،‬إذ ﻳﻘﻮل‪:‬‬ ‫ﻓﻴﻘﻮل‪» :‬ﺗﺮى اﳌﻌﻨﻰ اﻟﻴﺎ ﻣﻨﻪ ﻏﻤﺾ ﻳﺤﺘﺎج ﻟﻪ ﺗﺤﻠﻴﻞ«‪.‬‬ ‫^‪hªg0 *|CCCD&* ¢CCH ¿fCCº* § G* *|CC+‬‬ ‫ ‪ hCCªCC CC CC8 ¦*K2 ¨CCgCC CCE ¨CCC CCC< v|CCCCCC/K‬ﻳﺤﻴﻞ منﻮذج اﻟﻮزان إﱃ اﻟﺼﻮر اﻟﺘﻲ ﻳﺘﺠﲆ ﻓﻴﻬﺎ اﻟﺸﺎﻋﺮ داﺧﻞ‬ ‫ﻣﻌﻨﻲ ﺑﺎﻟﺠامﱄ واﻟﻮﺟﺪاين‪،‬‬ ‫‪ÑH fCCCM |CCC CCCG* CCCJ «CCCCH2 §CC CC CC0 §CCCCGK‬‬ ‫ﻗﺼﻴﺪﺗﻪ‪ ،‬ﻓﻬﻮ ﻣﺮة ﻳﻈﻬﺮ ﻛﺸﺎﻋﺮ ﺧﺎﻟﺺ ّ‬ ‫‪ hCCªCCgCC: ¥CCCMzCCCkCCC¤CCCM «CCCC0|CCCC/ ¢CCCC; ÑCCCCD‬وﻣﺮة ﻳﻈﻬﺮ ﺣﻜﻴ ًام ﺧﺒرياً ﺑﺸﺆون اﻟﺤﻴﺎة‪ ،‬وﺣﻜﻤﺔ اﻟﻌﻴﺶ‪ ،‬وﻣﺮة ﻳﻈﻬﺮ‬ ‫*&‪¬4*§CCC/ §CC CC CC CC- hCCCº* ifCC CC CCH ¢CCCH fCCCCI‬‬ ‫ﺑﻮﺻﻔﻪ ﺷﺨﺼﻪ اﻟﺨﺎﻟﺺ ﻏري ﻗﺎﺑﻞ ﻟﻠﺘﺄوﻳﻞ أو اﻟﺘﻌﻤﻴﻢ ﻟﻠﺤﺪ اﻟﺬي‬ ‫‪ hª¤G ¦*|CCC CCC- $fCCCE|CCC CCCG* ¢CCCH «CCgCC CCEK‬ﺗﺼﺒﺢ ﻓﻴﻪ ﻗﺼﻴﺪﺗﻪ أﺷﺒﻪ ﺑﻴﻮﻣﻴﺎت وﻣﺬﻛﺮات ﺧﺎﺻﺔ‪ ،‬إﺿﺎﻓﺔ إﱃ ﺻﻮرة‬ ‫‪«k < CC CC< ¢CCCH fCCCº* CCªCCqCC CC6 ¿fCCCC0K‬‬ ‫اﻟﺸﺎﻋﺮ اﻟﺮوﺣﺎين اﳌﺘﺄﻣﻞ واﻟﻐﺎرق ﰲ اﻟﺼﻔﻮ‪ ،‬واﻟﺘﺠﲇ‪ ،‬واﻟﺘﺼﻮف‪.‬‬ ‫‪ ]hªg 8 2KzCCCC»* u 8 ¨CC CC< «CC CCH2K‬‬ ‫ﻟﻴﺲ ذﻟﻚ وﺣﺴﺐ ﻓﺬات اﻟﺸﺎﻋﺮ وﺗﻮﻇﻴﻔﻪ ﻷﻧﺎه ﰲ اﻟﻘﺼﻴﺪة ﺗﺘﺠﺎوز‬ ‫ﻛﻞ ذﻟﻚ ﻟﺘﺼﺒﺢ ﺗﻜﺜﻴﻔﺎً رﻣﺰﻳﺎً ﻟﻠﺠﻐﺮاﻓﻴﺎ واﳌﻜﺎن اﻟﺬي ﻳﻨﺘﻤﻲ إﻟﻴﻪ‬ ‫ﻳﺘﺤﻮل اﻟﺸﺎﻋﺮ ﰲ أﺑﻴﺎﺗﻪ ﻫﺬه إﱃ منﻮذج إﻧﺴﺎين ﻟﺼﻮرة اﻟﻌﺎﺷﻖ اﻟﺒﻌﻴﺪ‬ ‫اﻟﺸﺎﻋﺮ‪ ،‬وﻣﺨﺘﻠﻒ ﻣﻼﻣﺢ اﻟﺜﻘﺎﻓﺔ اﻟﺘﻲ ﻳﻨﺘﻤﻲ إﻟﻴﻬﺎ‪ ،‬وﻛﺄن أﻧﺎ اﻟﺸﺎﻋﺮ‬ ‫اﻟﺬي اﻧﻬﻜﻪ اﻟﻌﺸﻖ واﻟﺒﻌﺪ‪ ،‬ﻓﻴﺴﺘﻬﻞ ﻗﺼﻴﺪة ﺑﻔﻌﻞ »ﺑﺮا« ﻛﺎﺷﻔﺎً ﻋﲆ‬ ‫ﰲ ذﻟﻚ اﻟﺴﻴﺎق ﺗﺼﺒﺢ ﺗﻌﺒرياً ﻋﻦ وﻃﻨﻪ ﺑﺎﻟﻜﺎﻣﻞ وﻇﺮوف ﻣﻌﻴﺸﺘﻪ‬ ‫ﺑﻼﻏﺔ وﺻﻔﻴﺔ ﳌﺎ ميﻜﻦ أن ﻳﻔﻌﻠﻪ اﻟﻌﺸﻖ واﻟﻐﻴﺎب ﰲ ﺟﺴﺪ اﳌﻌﺸﻮق‪،‬‬ ‫وﺷﻜﻞ ﺣﻴﺎﺗﻪ‪.‬‬ ‫ﻓﻼ ﺗﺒﺪو ﺗﻮﺻﻴﻔﺎﺗﻪ ﻟﺤﺎﻟﻪ ﺗﻮﺻﻴﻔﺎت ذاﺗﻪ ﺗﴪد ﺣﻜﺎﻳﺔ ﻋﺸﻘﻪ ﺑﻘﺪر‬ ‫ﻳﺘﺄﻛﺪ ذﻟﻚ ﰲ اﻟﻘﺼﻴﺪة اﻟﺘﻲ ﻳﻜﺘﺒﻬﺎ اﻟﺸﺎﻋﺮ ﻣﺤﻤﺪ ﺟﻤﻌﺔ اﻟﻐﻴﻼين‪،‬‬ ‫ﻣﺎ ﺗﺘﺤﻮل إﱃ ﺣﺎﻟﺔ إﻧﺴﺎﻧﻴﺔ ميﻜﻦ ﻟﻜﻞ ﻋﺎﺷﻖ ميﺮ ﺑﻈﺮﻓﻪ أن ميﺘﺜﻞ‬ ‫إذ ﻳﻘﻮل‪:‬‬ ‫ً‬ ‫ﻟﺠامﻟﻴﺎت اﻟﺼﻮر اﻟﺸﻌﺮﻳﺔ‪ ،‬وﻳﻌﻴﺪ اﻧﺘﺎﺟﻬﺎ ذاﺗﻴﺎ‪ ،‬ﻟﺘﺘﺤﻮل ﺳرية اﻟﺸﺎﻋﺮ ‪ «CCkCCgCC0fCC+ fCCCgCCC CCC CCCG* uCCCCCCM4 É|CCCCCF{CCCCCM‬‬ ‫ﰲ ﻫﺬه اﻟﺤﺎﻟﺔ إﱃ ﺳرية ﻣﻘﺎﺑﻠﺔ ﻟﻜﻞ ﻋﺸﺎق ﻗﺒﻴﻠﺘﻪ‪ ،‬وﻛﻞ ﻣﻦ ﻳﻘﺮأ‬ ‫*(‪ lCCgCCJK ÔCCtCC CC CCG* lCCCCEK m|CCC CCC6 fCCCH *3‬‬ ‫ﻧﺼﻪ‪.‬‬ ‫‪«kq¤¯ m4fCCCCC=K m4fCCC CCC6 ÑCC CCG* §CCCCIK‬‬ ‫ ‪ «CCkCCGK2 zCCC+ vfCC CC8 fCCM L§CC¤CCG* CC CCªCC/K‬‬ ‫ﺗﺘﺤﻮل أﻧﺎ اﻟﺸﺎﻋﺮ ﻣﻦ ﻫﺬا اﳌﺴﺎﺣﺔ اﻟﺠامﻟﻴﺔ اﻟﻮﺟﺪاﻧﻴﺔ إﱃ ﻣﺴﺎﺣﺔ‬ ‫أﺧﺮى ﻣﻐﺎﻳﺮة‪ ،‬ﺗﺘﺠﲆ ﻓﻴﻬﺎ ﺻﻮرة أﺧﺮى ﻟﺬات اﻟﺸﺎﻋﺮ‪ ،‬ﻓﺎﳌﻌﺎﻳﻦ‬ ‫ﻟﻘﺼﻴﺪة اﻟﺸﺎﻋﺮ ﺧﺎﻟﺪ اﻟﻌﺒﺪ اﻟﻠﻪ اﻟﻮزان اﻟﺘﻲ ﻳﺴﺘﻬﻠﻬﺎ ﺑﻘﻮﻟﻪ‪» :‬أﻧﺎ ﺗﻜﺸﻒ أﻧﺎ اﻟﺸﺎﻋﺮ ﰲ ﻫﺬا ﻟﺒﻨﺎء اﻟﺸﻌﺮي ﻋﻦ اﳌﺤﻤﻮل اﻟﺬﻫﻨﻲ اﻟﺬي‬ ‫ﻣﺎين ﺑﺨﺮص اﻟﺪرب‪ «..‬ﻳﺠﺪ أﻧﻪ أﻣﺎم منﻮذج آﺧﺮ ﻟﺬات اﻟﺸﺎﻋﺮ ﺗﺘﻌﺪى ﻳﺴﺘﻨﺪ ﻋﻠﻴﻪ‪ ،‬ﻓﺎﺗﺤﺔ اﻟﺒﺎب ﻋﲆ ﻣﻼﻣﺢ اﻟﺜﻘﺎﻓﺔ اﻟﺘﻲ ﻳﻨﺘﺴﺐ إﻟﻴﻬﺎ‪،‬‬ ‫ﺣﻘﻴﻘﺘﻪ اﻟﺠامﻟﻴﺔ إﱃ ﺣﻘﻴﻘﺔ أﺧﺮى ﺗﻜﺸﻒ روح اﻟﺤﻜﻴﻢ‪ ،‬واﳌﺠﺮب‪ ،‬ﻓﺘﻈﻬﺮ ﺗﻌﺎﺑري ﻣﻦ ﻧﻮع‪» :‬رﻳﺢ اﻟﺼﺒﺎ«‪ ،‬و»ﻧﻮق اﻟﻔﻼ«‪ ،‬وﻛﻞ ﻫﺬه‬ ‫اﻟﺘﻌﺎﺑري ﺗﺸري إﱃ ﺣﻴﺎة اﻟﺼﺤﺮاء‪ ،‬ومنﻂ ﻣﻌﻴﺸﺘﻬﺎ‪ ،‬إذ ﻻ ﺗﻈﻬﺮ ﻫﺬه‬ ‫واﻟﺨﺒري ﰲ ﺷﺆون اﻟﺤﻴﺎة‪ ،‬إذ ﻳﻜﺘﺐ‪:‬‬ ‫&‪ ª wkG* ¨ < z 7*4 fM i4zG* 8|w+ ÉfH fI‬‬ ‫*‬ ‫اﻟﺼﻮر ﰲ ﻗﺼﻴﺪة ﺷﺎﻋﺮ ﻳﻨﺘﺴﺐ إﱃ ﺣﻴﺎة اﻟﺮﻳﻒ أو اﳌﺪﻳﻨﺔ‪.‬‬ ‫ *&‪ ¥GfD ¨ < ¬4f G*K i4zG* 7f < ¢< h¡/‬ﺗﻈﻞ أﻧﺎ اﻟﺸﺎﻋﺮ وذاﺗﻪ ﻓﻀﺎ ًء ﻣﴩﻋﺎً ﻋﲆ اﻟﻘﺮاءة واﻟﺘﺄوﻳﻞ ﻟﻠﺤﺪ اﻟﺬي‬ ‫|‪ ª ³ ¥G sfktM = ¥¡H fªG* ¨¡ ¼* L‬‬‫ﺗﺼﺒﺢ ﻫﻲ ﺗﺠﺮﺑﺘﻪ اﻟﺸﻌﺮﻳﺔ ﻛﺎﻣﻠﺔ‪ ،‬وﻫﻲ اﳌﻔﺘﺎح اﻟﺬي ميﻜﻦ أن‬ ‫‪ ¥G¸5 ·f 8 i| 7&f+ z G* m24K «¡H fªG*K‬‬ ‫ﻳﺤﻴﻞ اﻟﻘﺎرئ إﱃ ﻋﻮامل واﺳﻌﺔ ﺗﺘﻮارى ﺧﻠﻒ ذات اﻟﺸﺎﻋﺮ وﺻﻮﺗﻪ‬ ‫اﻟﺸﺨﴢ‪ ،‬ﻓﺘﺤﻤﻞ ﺣﻘﻴﻘﺔ اﻟﺠﻐﺮاﻓﻴﺎ اﻟﺘﻲ ﻳﻨﺘﻤﻲ إﻟﻴﻬﺎ‪ ،‬واﻟﻌﺎدات‬ ‫ﻳﻜﺘﺐ اﻟﻮزان ﻣﺪﻳﺤﺎً ﰲ ﺗﺠﺮﺑﺘﻪ اﻟﺤﻴﺎﺗﻴﺔ‪ ،‬ﻛﺎﺷﻔﺎً ﻋﻦ ﻋﻼﻗﺘﻪ ﻣﻊ اﻟﻠﻐﺔ‬ ‫اﻻﺟﺘامﻋﻴﺔ‪ ،‬واﳌﺮﺟﻌﻴﺎت اﻟﺬﻫﻨﻴﺔ‪ ،‬وﻣﺨﺘﻠﻒ اﻵﻓﺎق اﻟﺠامﻟﻴﺔ اﻟﺘﻲ‬ ‫واﳌﻌﻨﻰ‪ ،‬إﻻ أﻧﻪ ﰲ اﻟﻮﻗﺖ ذاﺗﻪ ﻳﻄﺮح ﺧﱪﺗﻪ ﰲ اﻟﻜﺘﺎﺑﺔ ﻟﺘﻜﻮن واﺣﺪة‬ ‫ﻳﺘﻜﺊ ﻋﻠﻴﻬﺎ ﰲ ﻧﺴﺞ ﻗﺼﻴﺪﺗﻪ‪.‬‬

‫اﻟﻜﺜﻴﺮ ﻣﻦ اﻟﺸﻌﺮاء ﻇﻠﺖ ﻗﺼﺎﺋﺪﻫﻢ ﺗﺮاﻫﻦ‬ ‫ﻋﻠﻰ اﻟﺬاﺗﻲ ﻟﺘﻨﺘﺢ ﻣﻨﻬﺎ ﺻ ّﻴﻐﺎً ﺟﻤﻌﻴﺔ ﻳﻤﺘﺜﻞ إﻟﻴﻬﺎ‬ ‫اﻟﻘﺎرئ واﻟﺴﺎﻣﻊ‬

‫أﻛﺘﻮﺑﺮ‪49 2016 /‬‬

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‫ﻣﻔﺎﺗﻴﺢ ﻣﺎ وراء اﻟﻘﺼﻴﺪة‬

‫ﻣﺤﻤﺪ أﺑﻮ ﻋﺮب‬

‫ﺷﻜ ّﻠﺖ اﻟﺬاﻛﺮة اﻟﺸﺨﺼﻴﺔ ﻟﻠﺸﺎﻋﺮ اﻟﺸﻌﺒﻲ اﻹﻣﺎراﺗﻲ رﻛﻴﺰة أﺳﺎﺳﻴﺔ ﻓﻲ ﺑﻨﺎء ﻧﺼﻪ اﻟﺸﻌﺮي‪ ،‬ﻓﺘﺤﻮﻟﺖ ﺗﺠﺮﺑﺘﻪ‪ ،‬وﺳﻴﺮﺗﻪ‬ ‫ﻓﻀﺎء ﺟﻤﺎﻟﻲ ﻗﺎﺑﻞ ﻟﻠﺘﺤﻮل إﻟﻰ أﺑﻴﺎت ﺷﻌﺮﻳﺔ ﻣﺤﻜﻤﺔ اﻟﺴﺒﻚ‪ ،‬وﻗﺎﺑﻠﺔ ﻟﻼﻧﺘﻘﺎل ﻣﻦ اﻟﻌﺎﺑﺮ‪ ،‬واﻟﺬاﺗﻲ إﻟﻰ اﻟﻌﺎم‪،‬‬ ‫اﻟﻴﻮﻣﻴﺔ إﻟﻰ ٍ‬ ‫واﻹﻧﺴﺎﻧﻲ‪ ،‬اﻷﻣﺮ اﻟﺬي ﻓﺮض ﺟﻤﻠﺔ ﻣﻦ اﻷﺳﺎﻟﻴﺐ اﻟﺸﻌﺮﻳﺔ داﺧﻞ ﻣﺪوﻧﺔ اﻟﺸﻌﺮ اﻟﺸﻌﺒﻲ ﻓﻲ اﻹﻣﺎرات‪V‬‬ ‫ﺗﻨﻈﺮ اﻟﺘﺠﺎرب اﻟﻨﻘﺪﻳﺔ اﻟﻘﺎرﺋﺔ ﻟﺤﺮﻛﺔ اﻟﺸﻌﺮ اﻟﻌﺮيب ﺗﺎرﻳﺨﻴﺎً إﱃ ذاﻛﺮة‬ ‫اﻟﺸﺎﻋﺮ وﺷﻮاﻏﻠﻪ اﻟﺬاﺗﻴﺔ ﺑﺎﻋﺘﺒﺎرﻫﺎ اﳌﺼﺪر اﻷول واﻷﻫﻢ ﰲ ﺑﻨﺎء‬ ‫ﻧﺼﻮﺻﻪ‪ ،‬إﻻ أن اﳌﻌﺎﻳﻦ ﻟﻠﻜﺜري ﻣﻦ اﻟﺘﺠﺎرب اﻟﺸﻌﺮﻳﺔ ﻋﲆ ﻣﺮ اﻟﻌﺼﻮر‬ ‫ﻳﺠﺪ أن ﺑﻌﻀﻬﺎ ﻏ ّﻴﺐ ﺻﻮت اﻷﻧﺎ ﰲ ﻧﺼﻪ‪ ،‬وﺗﺤ ّﻮل إﱃ ﺻﻮت اﻵﺧﺮ‬ ‫ﻟﻴﴩع ﻓﻀﺎء اﻟﺘﺨﻴﻞ ﻋﲆ ﻣﺴﺎﺣﺎت ﺟﺪﻳﺪة ﻣﻦ اﻻﺷﺘﻐﺎل اﻟﺠامﱄ‪ ،‬ﰲ‬ ‫اﻟﻮﻗﺖ اﻟﺬي ﻇﻞ ﺻﻮت اﻷﻧﺎ ﻇﺎﻫﺮاً ﰲ ﺗﺠﺎرب ﺷﻌﺮﻳﺔ أﺧﺮى ﻣﻘﺎﺑﻠﺔ‪.‬‬ ‫ﺗﻨﻜﺸﻒ ﻣﺴﺎرات اﻷﻧﺎ ﰲ اﻟﻘﺼﻴﺪة اﻟﺸﻌﺒﻴﺔ اﳌﺤﻠﻴﺔ ﻋﲆ أﻛرث ﻣﻦ‬ ‫‪ 48‬ﺑﻴﺖ اﻟﺸﻌﺮ ‪ /‬اﻟﻌﺪد ‪49‬‬

‫ﻣﺴﺘﻮى‪ ،‬ﻓﻼ ميﻜﻦ اﻟﻮﺻﻮل إﱃ ﻣﻔﻬﻮﻣﻬﺎ ﺑﺎﻟﺘﻮﻗﻒ ﻋﻨﺪ اﻟﺬاﻛﺮة اﻟﺬاﺗﻴﺔ‬ ‫ﻟﻠﺸﺎﻋﺮ وﺣﺴﺐ‪ ،‬وإمنﺎ ﺗﺘﻌﺪى ذﻟﻚ ﻟﺘﺼﺒﺢ ﻣﻔﺘﺎﺣﺎً ﻟﻘﺮاءة اﻟﻴﻮﻣﻲ‬ ‫واﻟﻌﺎﺑﺮ واﻋﺎدة اﻧﺘﺎﺟﻪ ﺑﻼﻏﻴﺎً ﰲ اﳌﺤﻤﻮل اﻟﺠامﱄ ﻟﻠﻨﺺ اﻟﺸﻌﺮي‪،‬‬ ‫إﺿﺎﻓﺔ إﱃ أﻧﻬﺎ ﺗﻜﺸﻒ اﻟﻌﻼﻗﺔ اﻟﺘﻲ ﻳﺒﻨﻴﻬﺎ اﻟﺸﺎﻋﺮ ﻣﻊ اﳌﺠﻤﻮﻋﺔ اﻟﺘﻲ‬ ‫ﻳﻨﺘﻤﻲ إﻟﻴﻬﺎ‪ ،‬ﻓﻔﻲ ﻟﺤﻈﺔ ﻣﺎ ﻳﺘﺤﻮل اﻟﺸﺎﻋﺮ إﱃ ﻛﻞ ﻋﺸﺎق ﻗﺒﻴﻠﺘﻪ‪،‬‬ ‫وإﱃ ﻛﻞ ﻣﻐﱰﺑﻴﻬﺎ‪ ،‬وﻛﻞ ﺳﺎﻫﺮﻳﻬﺎ‪ ،‬وﻣﺤﺰوﻧﻴﻬﺎ‪.‬‬ ‫ﻟﺬﻟﻚ ﻻ ميﻜﻦ ﻗﺮاءة ﻣﻔﻬﻮم اﻷﻧﺎ ﰲ اﻟﻘﺼﻴﺪة اﻟﺸﻌﺒﻴﺔ ﺑﺎﻟﺘﻮﻗﻒ‬

‫اﻟﻤﺤﺒﺔ واﻟﻐﻼ‬ ‫ﺳﻴﻒ ﺑﻦ ﻃﻤﻴﺸﺎن اﻟﻜﻌﺒﻲ‬ @ saif_tumeishan

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47 2016 /‫أﻛﺘﻮﺑﺮ‬

‫ﻣﺎﺳﺎت‬ baytelshear

‫اﻟﺤﻴﺎة اﻟﺠﺎﻓﻴﺔ‬ ‫ﻋﺒﺪاﻟﺮﺣﻤﻦ اﻟﻤﺮﻳﺴﻲ‬ @ almreasy

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49 ‫ اﻟﻌﺪد‬/ ‫ ﺑﻴﺖ اﻟﺸﻌﺮ‬46

‫ﻣﺬﻛﺮات ﻃﺎﻟﺐ ﺣﻠﻢ‬ ‫ﺗﻠﻤﻴﺬ ﻓﻲ ﺻﻔﻮف ﺗﻼﻣﻴﺬي ‪%‬‬

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‫ﺑﻌﺪ ﻋﻤﻞ اﻋﻼﻣﻲ دام ‪ 16‬ﻋﺎﻣﺎ ﺗﺨﻠﻠﺘﻪ دراﺳﺔ ﰲ ﺑﻌﺾ اﻟﺪورات اﻟﴪﻳﻌﺔ ﻣﺜﻞ ﺗﻘﻨﻴﺎت‬ ‫اﻟﻜﻤﺒﻴﻮﺗﺮ ﺟﺎءت ﻣﺒﺎدرة اﻷﻣري ﻃﻼل ﺑﻦ ﻋﺒﺪاﻟﻌﺰﻳﺰ آل ﺳﻌﻮد ﺑﻨﻘﻞ ﺗﺠﺮﺑﺔ اﻟﺘﻌﻠﻴﻢ‬ ‫اﳌﻔﺘﻮح ﰲ ﺑﺮﻳﻄﺎﻧﻴﺎ إﱃ اﻟﻌﺎمل اﻟﻌﺮيب‪ ،‬ﻓﻜﺎﻧﺖ اﻟﺠﺎﻣﻌﺔ اﻟﻌﺮﺑﻴﺔ اﳌﻔﺘﻮﺣﺔ ﻛﺠﺎﻣﻌﺔ‬ ‫إﻗﻠﻴﻤﻴﺔ ﻏري رﺑﺤﻴﺔ‪ ..‬ﺑﺸﺎرة ﺧري أﺳﻌﺪت ﻗﻠﻮب اﻵﻻف ﻣﻤﻦ ﻓﺎﺗﺘﻬﻢ ﻓﺮﺻﺔ اﺳﺘﻜامل‬ ‫اﻟﺘﻌﻠﻴﻢ اﻟﻌﺎﱄ‪ ،‬وﻣﻦ ﺣﺴﻦ اﻟﺤﻆ أﻧﻪ ﺗﻢ اﺧﺘﻴﺎر اﻟﻜﻮﻳﺖ ﻛﻤﻘﺮ ﻟﻠﺠﺎﻣﻌﺔ‪.‬‬ ‫ﻛﻨﺖ ﻣﻦ أواﺋﻞ اﳌﺴﺠﻠني ﺑﻬﺎ‪ ..‬واﺧﱰت ﺗﺨﺼﺺ اﻵداب ﰲ اﻟﻠﻐﺔ اﻹﻧﺠﻠﻴﺰﻳﺔ‪ ،‬وﻋﲆ‬ ‫اﻟﻔﻮر اﻧﺘﻈﻤﺖ ﰲ دراﺳﺔ ﻛﺎﻧﺖ ﺗﺤﺘﺎج إﱃ ذﻫﻦ ﺧﺎل ووﻗﺖ ٍ‬ ‫ﻛﺎف ﰲ وﻗﺖ ﻛﻨﺖ ﻗﺪ‬ ‫اﻧﺘﻈﻤﺖ ﻓﻴﻪ ﺑﻌﺪ ٍد ﻣﻦ اﻷﻋامل واﻟﻌﻘﻮد‪ ،‬ﺧﺎﺻﺔ وان دراﺳﺔ اﻟﻠﻐﺔ اﻹﻧﺠﻠﻴﺰﻳﺔ وآداﺑﻬﺎ‬ ‫ﻟﻴﺴﺖ ﻣﻬﻤﺔ ﺳﻬﻠﺔ‪.‬‬ ‫وﺑﻌﺪ ﻓﺼﻠني دراﺳﻴني‪ ،‬وﺟﺪت ﻧﻔﴘ ﰲ ﻣﺄزق ﺗﺪين اﻟﺘﻘﻴﻴﻢ‪ ،‬واﻟﺤﺼﻮل ﻋﲆ درﺟﺎت‬ ‫ﻻﺗﺮوق ﱄ‪ ،‬ﻓﻘﺮرت ﻓﻮرا أن أﺗﺤﻮل إﱃ ﺗﺨﺼﺺ »اﻟﱰﺑﻴﺔ« ﺗﻄﺒﻴﻘﺎ ﻟﻨﺼﻴﺤﺔ اﻟﺨﻠﻴﻞ ﺑﻦ‬ ‫أﺣﻤﺪ اﻟﻔﺮاﻫﻴﺪي‪» :‬إذا مل ﺗﺴﺘﻄﻊ ﺷﻴﺌﺎ ﻓﺪﻋﻪ‪ ..‬وﺟﺎوز ُه إﱃ ﻣﺎ ﺗﺴﺘﻄﻴﻊ«‪.‬‬ ‫ﻋﺪت إﱃ ﻣﻘﺎﻋﺪ اﻟﺪراﺳﺔ واﻟﺤﺼﺺ اﻟﺪراﺳﻴﺔ واﻟﻮاﺟﺒﺎت ﺑﻌﺪ ﻋﻤﺮ ﻣﻦ ﻓﺮاق ﻃﻮﻳﻞ‪..‬‬ ‫ﻛﺎﻧﺖ اﳌﻮاد اﻟﱰﺑﻮﻳﺔ ﻣﻤﺘﻌﺔ وﻣﻔﻴﺪة ﺟﺪا‪ ..‬وﺟﺎءت ﰲ وﻗﺘﻬﺎ متﺎﻣﺎ‪ ،‬أﻓﺎدﺗﻨﻲ ﻛﺄب‬ ‫وﺣﺴﻨﺖ ﻋﻼﻗﺘﻲ ﺑﺄﴎيت‪ ..‬ﰲ اﻟﺴﻨﺔ أمتﻤﺖ ﺑﺤﺜﺎ ﻣﻬام ﻋﻦ ﻃﺮﻳﻖ اﻟﺘﻌﻠﻴﻢ ﺑﺎﻟﻠﻌﺐ‬ ‫ﻛﺎﺑﺘﻜﺎر ﺗﻌﻠﻴﻤﻲ ﻳﺨﺮج وﺳﺎﺋﻞ اﻟﺘﻌﻠﻴﻢ ﻣﻦ منﻄﻴﺘﻬﺎ‪ ،‬وﻣﻦ اﳌﻮاد اﳌﻬﻤﺔ اﻟﺘﻲ درﺳﺘﻬﺎ‬ ‫ﻫﻲ ﺻﻌﻮﺑﺎت اﻟﺘﻌﻠﻢ ووﺳﺎﺋﻞ اﻟﺘﻌﺎﻣﻞ ﻣﻊ ﻫﺬه اﻟﻔﺌﺔ‪.‬‬ ‫وﺟﻤﻌﺘﻨﻲ ﻣﻊ اﻷﺳﺎﺗﺬة ﺻﺪاﻗﺎت وﻋﻼﻗﺎت ﻣﻮدة ﻛﺒرية‪ ..‬وﻗﺪ أﻣﻀﻴﺖ ﻓﻴﻬﺎ ﺳﺖ‬ ‫ﺳﻨﻮات ﻣﻦ اﻟﺪراﺳﺔ‪ ،‬وﺳﺒﺐ ذﻟﻚ أن اﻟﺠﺎﻣﻌﺔ ﺗﻌﺮﺿﺖ ﻟﺘﻐﻴري ﰲ ﻣﻨﻬﺠﻬﺎ اﺿﻄﺮت‬ ‫ﻣﻦ ﺧﻼﻟﻪ أن ﺗﻠﻐﻲ ﺑﻌﺾ اﳌﻮاد اﻟﺘﻲ درﺳﻨﺎﻫﺎ‪..‬‬ ‫واﻟﻼﻓﺖ ﻟﻠﻨﻈﺮ أن ﺑﻌﺾ زﻣﻼيئ وأﺻﺪﻗﺎيئ ﻛﺎﻧﻮا أﺳﺎﺗﺬة ﱄ ﰲ اﻟﺠﺎﻣﻌﺔ‪ ،‬ﺑﻞ إن ﺑﻌﻀﻬﻢ‬ ‫ﻛﺎن ﻳﺰورين ﰲ اﻟﺠﺮﻳﺪة ﳌﺴﺎﻋﺪﺗﻪ ﰲ ﺗﺤﻀري رﺳﺎﻟﺔ اﳌﺎﺟﺴﺘري واﻟﺪﻛﺘﻮراه‪ ..‬وﻫﺎﻫﻢ ﻗﺪ‬ ‫ﺣﺼﻠﻮا ﻋﲆ اﻟﺸﻬﺎدة وأﺻﺒﺤﺖ ﺗﻠﻤﻴﺬا ﻟﻬﻢ‪..‬‬ ‫أﺧريا ﺣﺼﻠﺖ ﻋﲆ اﻟﺸﻬﺎدة اﻟﺠﺎﻣﻌﻴﺔ وﻋﲆ اﻟﻔﻮر ﺳﺠﻠﺖ ﻟﺪراﺳﺔ اﳌﺎﺟﺴﺘري ﻓﺠﺎءين‬ ‫ﻗﺒﻮل ﻣﻦ ﺟﺎﻣﻌﺔ اﻟﺨﻠﻴﺞ ﰲ اﻟﺒﺤﺮﻳﻦ وﻗﺒﻮل آﺧﺮ ﻣﻦ اﳌﺪﻳﻨﺔ اﻟﺘﻌﻠﻴﻤﻴﺔ ﰲ ﻗﻄﺮ‬ ‫وﺗﺤﺪﻳﺪا ﻣﻦ ﻛﻠﻴﺔ اﻟﺪراﺳﺎت اﻹﺳﻼﻣﻴﺔ وﻫﻮ اﻟﺬي اﺧﱰﺗﻪ‪.‬‬ ‫أﺛﻨﺎء ذﻟﻚ اﺳﺘﻌﺎﻧﺖ يب اﻟﺠﺎﻣﻌﺔ اﳌﻔﺘﻮﺣﺔ ﰲ ﺗﻨﻈﻴﻢ واﻋﺪاد ﺣﻔﻞ ﺗﺨﺮﻳﺞ ‪1200‬‬ ‫ﻃﺎﻟﺐ ﻣﻦ ﻃﻠﺒﺘﻬﺎ‪ ..‬وﺗﻮﻟﻴﺖ اﳌﻬﻤﺔ‪ ،‬ﺣﻴﺚ أﴍﻓﺖ ﻋﲆ إﻗﺎﻣﺔ اﻟﺤﻔﻞ اﻟﻜﺒري اﻟﺬي‬ ‫أﺣﺘﻔﻆ ﺑﻜﻞ ﺻﻮره وذﻛﺮﻳﺎﺗﻪ اﻟﺮاﺋﻌﺔ اﻟﺘﻲ أﻋﺘﱪﻫﺎ ﻣﻦ اﻹﻧﺠﺎزات اﳌﻤﻴﺰة ﰲ ﺣﻴﺎيت‪..‬‬

‫اﻟﻤﺴﻌﻮدي‬ ‫ﻋﻠﻲ اﻟﻟﻤﺴﻌﻮدي‬ ‫ﻋﻠ‬

‫‪@allmasoudi‬‬ ‫‪20016‬‬ ‫أﻛﺘﻮﺑﺮ‪1 /‬‬ ‫أأﻛ‬ ‫‪45 2016‬‬

‫ﻗﺼﺔ ﻗﺼﻴﺪة‬ baytelshear

: -ً‫رﺣﻤﻬﻢ اﻟﻠﻪ ﺟﻤﻴﻌﺎ‬- ‫ورد ﻋﻠﻴﻬام اﻟﺸﻴﺦ ﺿﻴﻒ اﻟﻠﻪ ﺑﻦ ﺣﻤﻴﺪ وﻗﻴﻞ اﻧﻪ ﻓﺮاج اﻟﺘﻮﻳﺠﺮ اﻟﻌﺘﻴﺒﻲ‬

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:‫وﻗﺎل اﻟﺸﻴﺦ راﻛﺎن ﺑﻦ ﺣﺜﻠني ﰲ ﻣﺠﻠﺲ اﻷﻣري ﺣﻤﻮد ﺑﻦ ﻋﺒﻴﺪ وﻛﺎن اﻷﻣري ﻣﺤﻤﺪ اﻟﻌﺒﺪ اﻟﻠﻪ اﻟﺮﺷﻴﺪ ﺣﺎﴐاً أﻧﺸﺪ ﻗﺎﺋ ًﻼ‬

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‫ ﻫﻮ ﺣﺴﻦ ﺑﻦ ﻣﻬﻨﺎ اﻣﻴﺮ ﺑﺮﻳﺪة‬E‫ﺣﺴﻦ‬ ‫أوﻻد ﻋﻠﻲ ﻫﻢ أﻫﻞ اﻟﻘﺼﻴﻢ‬ ‫ ﻫﻮ اﻷﻣﻴﺮ ﻣﺤﻤﺪ ﺑﻦ ﺳﻌﻮد ﺑﻦ ﻓﻴﺼﻞ ﺑﻦ ﺗﺮﻛﻲ آل ﺳﻌﻮد‬E‫ﻏﺰاﻻن‬

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49 ‫ اﻟﻌﺪد‬/ ‫ ﺑﻴﺖ اﻟﺸﻌﺮ‬44

: ‫وﻗﺪ أﺟﺎﺑﻪ اﻟﺸﻴﺦ راﻛﺎن ﺑﻦ ﺣﺜﻠني ﺑﻬﺬه اﻷﺑﻴﺎت‬

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Ì@@ @ @ @ @ @ @ @ @ 13 Ñ*H ¥Hb@@ @ @ @ @ @ @ @ @ @ @ @ @ J ,x@@ @ @ @ @ @ @ @ @ @£@ @ @ 13

b@@ @ m@ < @@ @ ½ @@ @Eb@@ @/ 1v@ ¹ x@@ @ Cw@@ @ -H

Ì@@ @~@ @ |@ @ B @@ @ @ @ £@ @ @ @ @ @ @ <b@@ @E @@ @c@ @ @ @ @£@ @ g@ @ < °*H

b@@ @ @ @ ~@ @ {@ @ D* ·b@@ @ @ @ @< ·¡@@ @ @ @ @ @D* 4v@@ @ @ @ @ @B x@@ @ @ @ @ @E°*

Ì@@ @ @´b@@ + @@ @ @ @ @ @ @ @ @ @ @ Ex@@ D* n@@ @ @< @@ @ @ @ g@ @ 1* b@@ @£@ @ D

b@@~@ 6x@@A @@ £@ @³* ¢@@ @ < *¡@@ @c@ @ C4 *H b@@ @Ex@@ @C

Ì@@ @~@ @ {@ @ @ @ D* @@ @ +y@@ @ @ @ @ D *w@@ @ @ @ @ G ¥¡@@ @ g@ @ @~@ @ @z@ @ @-b@@ @ E

b@@ @ Gx@@ @ + Ì@@ @ @ @= ¢@@ @ @ @ @< d@@ @ ~@ @ @6 b@@ @ @ @ g@ @ £@ @ c@ @ ~@ @ 6H

x@@ @ J¡@@ @ / ¡@@ @ s@ @ @ @ @ @Jb@@ @ E ¤@@ @ @ @ @ @ D* f@@ @ Jb@@ @ ~@ @ @7 ¯

*Ì@@ @ @ @ @ @ @ @ / @@ @ @ @ @ @ @0°H b@@ @ @ @ @ @ -x@@ @ @Jv@@ @ @+ b@@ @ @ @ @ @ @0H

Ì@@ @ @ @ ~@ @ 6 v@@ @ @ @J*y@@ @ @ @- x@@ @ @ @ @ 0 b@@ @ @ £@ @ @ @D* x@@ @ @ ~@ @ @ @9H

É@@ @1 @@ @ @ @ Jy@@ @D* ¢@@ @ @ @ < @@ @ D b@@ @ @ @ 0 *5 @@ @ E

Ì@@ @~@ @ {@ @ < f@@ @ @ @ @ @ @ @+ q@@ @ c@ @ ~@ @ {@ @ J n@@ @ @ @ @ @ @ @ @+&* @@ @ @ @ C

b@@ £@ @ c@ @ ~@ @ |@ @ + Iy@@ @ @ @ @ @ @ - x@@ @ @ @ @~@ @ @8 b@@ @ @ Fx@@ @ @ J¡@@ @ @ /

x@@ @ @ @ @ @ @J2H 2Hv@@ @ @ @ @ @ @ @ @0 @@ @ @ @ @ D @@ @ @ @ @ C * ¡@@ @ @ @ @ @ @J

b@@ @ @~@ @ @ 6x@@ @ @AH @@ @ £@ @ @s@ @ @+ b@@ @ @ @ @ @ -x@@ @ @ J2 Í@@ @ @ Eb@@ @ @ 0

Ì@@ j@ @C @@ @ @ < @@ @ @ @ Eb@@ @~@ @ 8 ¤@@ @ @ @ @ @ J ox@@ @ @ @ @ @ @ @ D*H

b@@ ~@ @{@ @£@ @F ox@@ @ @ @ @ @ @ @ D* ,v@@ @ @ @ @ @ @ @+5H 2 @@ @ @ Bb@@ @ @ E ‫ ﻫﻮ اﻟﺸﻴﺦ ﻣﺤﻤﺪ اﺑﻦ ﻫﻨﺪي ﺑﻦ ﺣﻤﻴﺪ‬E‫ ﻣﺤﻤﺪ‬1

43 2016 /‫أﻛﺘﻮﺑﺮ‬

O

‫ﻗﺼﺔ ﻗﺼﻴﺪة‬ ‫‪baytelshear‬‬

‫راﻛﺎن ﺑﻦ ﺣﺜﻠﻴﻦ ‪:‬‬

‫ﻓﻨﺠﺎل ﻋﻠﻰ اﻟﺮﻳـﻖ ﻳﻨـﺬاب‬ ‫»ﻗﻢ ﺳﻮ‬ ‫ٍ‬ ‫ﻟﺸﻮارب اﻟﻠﻲ ﻳﻨﻄﺤـﻮن اﻟﻌﻠﻮﻣﻲ«‬ ‫ﻋﻠﻲ اﻟﻤﺴﻌﻮدي‬

‫ﺳﺎرت اﻟﺮﻛﺒﺎن ﺑﺄﺣﺪاث ﻣﻌﺮﻛﺔ ﻋﺮوى اﻟﺘﻲ ﺧﺎﺿﺘﻬﺎ ﻗﺒﻴﻠﺔ ﺷﻤﺮ ﰲ اﻟﺠﺰﻳﺮة‬ ‫اﻟﻌﺮﺑﻴﺔ ﻣﻊ إﺣﺪى اﻟﻘﺒﺎﺋﻞ اﻟﻜﺒرية‪ ..‬ﺣﻴﺚ ﻧﻮت ﺗﻠﻚ اﻟﻘﺒﻴﻠﺔ أن ﺗﻐﺰو ﺣﺎﺋﻞ‬ ‫اﻧﺘﻘﺎﻣﺎً ﻷﺣﺪ ﺷﻴﻮﺧﻬﺎ‪ ،‬إﻻ أن ﺣﺎﻛﻢ ﻧﺠﺪ »اﺑﻦ رﺷﻴﺪ« ﻗﺮر أن ﻳﺴري إﱃ ﺗﻠﻚ‬ ‫اﻟﻘﺒﻴﻠﺔ ﰲ ﻣﻮﻃﻨﻬﺎ‪ ..‬ﻓﺼﺒﺤﻬﺎ ﺑﺠﻴﺸﻪ اﻟﻜﺒري‪ ..‬وﻛﺎن ﻟﻪ اﻟﻨﴫ‪ ،‬وﺑﻌﺪ أن ﻋﺎد‬ ‫ﻣﻨﺘﴫا ﻗﺎل اﺑﻴﺎﺗﺎ ﻣﻮﺟﻬﻪ اﱃ اﻟﺸﻴﺦ راﻛﺎن ﺑﻦ ﺣﺜﻠني أرﺳﻠﻬﺎ ﻟﻪ ﻣﻊ أﺣﺪ ﺷﻴﻮخ‬ ‫اﻟﻌﺠامن وﻫﻮ »ﻟﻴﻞ اﳌﺘﻠﻘﻢ« وﻣام ﺟﺎء ﰲ اﻟﻘﺼﻴﺪة‪:‬‬

‫‪,Ì@@ @ @ @ @ @ E*H M b@@ @ @ @ @ @ @ @J Hy@@ @ @ @ @ @ @ @ @ J5 ¢@@ @ @ @ @ @ < @@ @ @ @ @~@ @ @6 b@@ @ @ @ @C*4 t@@ £@ @~@ @{@ @D* ¢@@ @ @ @ < · @@ @ @~@ @6 @@ @£@ @ Db@@ @J‬‬ ‫‪,Ì@@ @ j@ @ @= @@ @ @ @ @ @ @ @ - IHx@@ @ @ @ @ @ @ @ < ¢@@ @ @ @ @ @ < ¡@@ @ @ @ @ @ J *4b@@ @ @ @ @ @ @ AH *y@@ @ @ @ @ @0 f@@ @ Ab@@ @ ~@ @ @7 b@@ @ @ @ @ @ @ @ A @@ @ @ @ @BH‬‬ ‫‪,Ì@@ @ @ 1 ,b@@ @ @ @ @ @ @ @ @­ ¤@@ @ @ @ @ @ @ Db@@ @ @ + b@@ @ @ @ @ @ @ +x@@ @ @ 0b@@ @ @ E °*y@@ @ @ @ @ @ = @@ @ @ @E b@@ @ @ @ @+x@@ @ 0 ¢@@ @ @ @ @­ ¤@@ @ @ @ @ @ @ @ D*H‬‬ ‫‪,Ì@@ @ @/ @@ @ @ E ¤@@ @EÌ@@ @~@ @ |@ @ D* @@ @~@ @ 6 ex@@ @ @ @ @ ²* *v@@ @ £@ @ @ § 2*x@@ @ @ @ @ : d@@ ~@ @ z@ @ p@ @ Jb@@ E ex@@ @ @ @ @ @ ²*H‬‬ ‫‪,Ì@@ @ @ @ @E b@@ @ @ @ @£@ @ @ @ @ @< @@ @ @ @ @ @ @A É@@ @ @ @ @ + ¡@@ @ @ @ @ @ @ @ @BH b@@ @ @ @ @£@ @ @ @ @ @+ *x@@ @ @ @ @ @ @ @1 @@ @ @ @ @ @ A É@@ @ @ @ @+ ox@@ @ @ @ @ @ G‬‬ ‫< @ @@‪,Ì@@ ~@ @ {@ @ < ¢@@ @ @ BÉ@@ @ @ E @@ @ @ @< Ì@@ @ ~@ @ {@ @ < x@@ @ @ @ @ @ @F *x@@ @ @ @ @ @ B°* x@@ @ @ @A ¤@M @ @ @ @ c@ @ E @@ @ @E b@@ @ @ @ @ -*2b‬‬ ‫‪,Ì@@ ~@ @z@ @E @@ @ @ < f@@ @ -¡@@ @ @ @ @< x@@ @~@ @ |@ @ @ @ F f@@ @ £@ @ @-b@@ @ F *5x@@ @ @ @ @ @ @ @+ Ã b@@ @ @ @ @ @ +x@@ @ @0 b@@ @ @ @ @ @ ­ ¤@@ @ @ @ @ @ @ @ @ @ D*H‬‬ ‫‪,Ì@@ @ @½ b@@ @ @ @ @ @ 0 @@ @ @ £@ @ @ @ @ @ @ @D*H @@ @ @ @ <y@@ @ @ @ D* @@ @ @ @ E É@@ @ @ <5 b@@ @ @ @ @D* ,4b@@ @ @ @= @@ @ E ¡@@ @ G b@@ @ @ C *H‬‬ ‫‪,Ì@@ @ @ @ @ @ @ ´* eb@@ @ @ @ @ @ @ @ @< f@@ @ @ @ @ Â5É@@ @ @ @ @ E @@ @ @c@ @ @ g@ @ @ F *v@@ @ @ @F2 q@@ c@ @~@ @|@ @D* f@@ m@ @A @@ @ E b@@ @ @D b@@ @ @Bx@@ +‬‬

‫‪ 42‬ﺑﻴﺖ اﻟﺸﻌﺮ ‪ /‬اﻟﻌﺪد ‪49‬‬

‫اﻟﻮﻗﺖ ﻳﺎﻣﺎ ﻫ ّﺰﻧﻲ‬ ‫أﺻﻴﻞ اﻟﻜﻨﺪي‬ @a9eelah

ib@@ c@ @j@ @D* iÆ@@ @ @ @ 1* ¤@@ @ @ @ @ @ @ @D ÁyQ @ @ @G b@@ @ Eb@ Q @ @ J h@@ @ B¡@@ @ D* b@@ @ Db@@c@ 0 v@@ ~@ @{@ @- f@@ @ @ £@ @ F&b@ @ @ @ @ @ D*H ¢@@ @ @ @ @J ¡@@ @ @ @ ³* ib@@ @ ~@ z@ D* ¯ y@@ @ C4 ¡@@ @ @ @/4&* É@@ @ @Db@@ A y@@ @ Cx@@ @ -° ° b@@ @Db@@0 @@ D x@@~@ |@ g@ s@ J @@ JÉ@@ ³* @@ @/H ¯ h@@ @ ~@@Q |@ D* ib@@ @ D f@@<¡@@ @ ¸ h@@ @ ~@ |@ D*H f@@ @ @ + Hx@@ @ @E ¡@@ @ @D* b@@ @ D*¡@@B* Ì@@ = @@ 6b@@ @ @D* 4¡@@ @ @E&* @@£Q @ ~@ 9b@@E @@ 6b@@ Q @ @ D*H ,b@@£@ ²* @@E @@Jw@@1b@@E @@ 7H ¤@@ @ ²* ¡@@.¡@@« ¤@@ @ Db@@J b@@ @ Db@@B f@@ @ @ @ @ @ @+ ¢@@ @ @c@ @J x@@ @ @ @ @ @.&°*H ¢@@ @ @ @ @ J v@@ c@ @ @ @ D* ib@@²b@@~@ |@ D* ib@@ £@ @Bb@@ c@ @D*H x@@ @ @ Db@@A Ñ* ¢@@ @ < b@@ @ @F*H b@@ @ @DÉ@@ =*H b@@ @ G4b@@ @ FH @@ £@ @p@ @±* @@ @E @@£@ @ ~@ 6 ¤@@ P @ @ @ @/ ib@@ G h@@ @ @BH @@ J¡@@ : ·b@@ @ + b@@ @ @ @F&*H v@@ <Q ¡@@ g@ @ J h@@ @B¡@@ @D* b@@ @ @Db@@ + ¡Q @ @ @ @ @ @ - @M@ @ @6b@@ @ @F ¢@@ @ @ @ < 4v@@ @ @ @ @Jb@@ @ E h@@ @ @B¡@@ @ @D* ib@@ @ ~@ |@ D* @@ @C ¢@@ @ @< ¤@@ -b@@ BÉ@@ < f@@ @ @ / ¯ h@@ @JxQ @ @ E b@@ @ Db@@j@ E* h@@ @Cx@@ @- b@@ @ @ @ @EH b@@ @ @ U @ @m@O @ + i¡@@ N @ @ ~@ @ 6 b@@ @ @ E i*¡@@ @ D* @@c@B @@E $b@@£@ ~@ 7* Ì@@j@C @@< ¤@@~@z@ @F h@@£@ @ =*H b@@ @ @D*¡@@ @ @E d@@ P @ @g@ @/* f@@ ~@ @z@ @£@ @ @ @g@ @D* ib@@ @Jb@@ @ @ @ @ @ D* b@@ @ @ F* ib@@_@ ´* @@6¡@@ @ @ + eb@@ @ =H b@@ @0xQ @ @ D* v@@~@ 7 Ä@@~@@Q |@ D* ¡@@ @J b@@ @ @Db@@ 0x@@ -H b@@ @ @ @ @0 ¯ Ä@@ ~@ @|@ @Db@@ + h@@ @ Q @ @ « ¤@@ ~@ z@ @ F ib@@c@ J ·b@@ @ + ¯ ¡@@ @ J @@ @C @@ @E *y@@ @ @ A x@@ @ ~@ 7 @@ @D v@@ @B "b@@ @ Db@@~@ 7 @M @ @g@ @ C @@ @ C ¤@@ @ @ @ D* f@@ @ @ @ @²* b@@ @ @ @EH ·b@@ @ @E

41 2016 /‫أﻛﺘﻮﺑﺮ‬

‫ﻣﺎﺳﺎت‬ baytelshear

‫ﻣﻀﺤﻲ‬ ‫ﻧﺎﺻﺮ ﺑﻦ ﻳﺮوان اﻟﻨﻴﺎدي‬ @9weeb

¤@@p@ ~@ }@ E f@@ @ @ @ @ C x@@ ~@ @ z@ @ A rx@@ @ ~@ @ @{@ @ @D* @@ @m@ @ @ @ Eb@@ @J b@@Gb@@ @ @ E @@ m@ @0 @@ @ @ - d@@ @ ~@ 8 x@@ ~@ {@ c@ D* @@}@ @ + ¤@@ 0x@@ ~@ 7 M @@ ~@ @6Æ@@ ~@ @z@ @E *v@@ @ @ + ¥v@@ £@ @~@ @|@ @B ¯ ¡@@ @ D b@@ Gb@@ ~@ @|@ @B&* x@@ @ @ @ J b@@ @ @ @ / ·* ¢@@ @ @< Md@@ @ @~@ @8 ¤@@ 0v@@ E M @@ @ @ Jb@@ @ @ : @@ @ @ + °H ¤@@ @ @ @ ~@ @ 8H b@@ @ @ @ : ° b@@ @ G*x@@ @ @ @ @- @@ @ @£@ @ @ C À*¡@@ @ @ @ @ @ @ @ @ @ D* ¡@@ @ @ @ @ @ @< @@ @ @ @ @ @ D ¤@@ @¹4 x@@ @ @ @ @ @ Db@@ @+ ¥x@@ @ @ @ ~@ @ 7 4v@@ @ ~@ @ @8 ¯ h@@ @ £@ @ @+3 b@@ Gb@@ E x@@ @ @ @ @ @ @F*H ¯*¡@@ @ @ @ @ @ @D* 4v@@ @ ~@ @ @8 h@@ @ @ £@ @ @ @E2*H ¤@@ p@ @+4 @@ @ @ @ @ E&* ¯ 4b@@ @ ~@ @ @z@ @ @1 d@@ @~@ @ z@ @ 0b@@ @E Ñ*H b@@ @Gb@@ @B4 x@@ ~@ @z@ @s@ @J @@ ~@ @z@ @ @ @F y@@ @ @ @ + x@@ @ /b@@ @ - @@ @ @ @ EH ¤@@p@ ~@ }@ -H q@@ c@ @~@ @|@ @- @@ @m@ @ c@ @ ´* y@@ @ Jy@@ @ @ @ D* @@ z@ @ @ @F b@@ @ Gb@@ @ Ex@@ @ E H2 Ã*2 v@@ @ @ @m@ @ @ @ ´* f@@ @ @ @ @ @ B ¯ ¤@@p@~@|@F @@}@ @ + w@@ @ 1H ib@@ g@ @ @ @D* @@ @E @@ Dx@@ ~@ z@ C* b@@Gb@@ @ ~@ z@ E d@@ ~@ @z@ @0 Ã*2 @@ z@ @ @ @ @ @D* d@@ ~@ @6b@@ @ @E ¤@@p@ ~@ |@ A @@ @ @ @ F° @@ Fb@@ ~@ @z@ @D @@ @ E @@ @c@ @ m@ @ @ @ J°H b@@ @ @G*H&b@ @ @ E @@ @ 6b@@ @ @ @ @D* 4Hv@@ @ ~@ @ @|@ @ @A e¡@@ @ @ @ @ @ @ @D* x@@ @~@ @ 6 ¤@@ p@ @ @ @ @ @ Db@@ + H2 y@@ @ @ £@ @ @ @­H Í@@ @ @ @ @ @ A @@ @ @ @ @ @ 1 b@@ @ G*v@@ @ @ @ @- @@ @ @ @ @B @@ @ @ @ @ @ @ @= b@@ @ @ ~@ @ @ {@ @ @ @ @ @ -* @@ @ @ c@ @ @ B ¤@@ @ @ @¹&* @@ @ @ Db@@ @ @ E Ì@@ @ ~@ @ @|@ @ @E ¯ d@@ @g@ @ @ @ @ @ Jb@@ @E b@@ @ @Gb@@ @ @/4 x@@ @ @ +b@@ @ @ 1 @@ @ ~@ @ @z@ @ @ @ @ @FH @@ @ @ @ @ @ @ @ G°(* °&* ¤@@ p@ @ @ @ @ @D* d@@ @ £@ @ @: ,Ì@@ @ ~@ @ @z@ @ @+ @@ @ @ @ @ @ @=* @@ @ @ Dw@@ @ @ D b@@ @ Gb@@ @ A ex@@ @ @ @ @ @ @ @ @ D x@@ @ @ @ @ @ @ @J @@ @ g@ @ £@ @ ~@ @ 8 rb@@ @ @ @ @ @ @ A° ¤@@ p@ @~@ }@ @E ¤@@ @ @ @ c@ @ - @@ @ @ @B*¡@@ @ @ @E @@ @ @ @ B*¡@@ @ @ @ ´* @@ @ @ @D b@@Gb@@~@ z@ @ - d@@ @ @~@ @8 @@ <b@@ ~@ @z@ @A 4¡@@ @~@ @ }@ @ 0 @@ m@ @~@ @6

49 ‫ اﻟﻌﺪد‬/ ‫ ﺑﻴﺖ اﻟﺸﻌﺮ‬40

‫‪ ÕCC¡CC CC6 ¦ TzCCCCCC0 ¿ m§CCCCCC¼* ifCCC¤CCCM fCCCCCHK‬‬ ‫اﻟﺒﻴﺖ ﻟﻴﺴﺖ ﺑﺤﺎﺟﺒﻲ ﻋﻴﻨﻲ اﳌﺤﺒﻮب ﻓﻘﻂ وإمنﺎ اﻷﺷﺨﺎص اﻟﺬﻳﻦ‬ ‫*‪ zCC¤CC CCG‬‬ ‫‪ 4zCCCC‬‬ ‫‪C‬‬ ‫=‬ ‫‪ fCC‬‬ ‫‪C‬‬ ‫‪ CC‬‬ ‫‪C‬‬ ‫‪ CC‬‬ ‫‪C‬‬ ‫*‪G‬‬ ‫*(‪ · ¨CCC T CCCkCCC- £‬‬ ‫ﻳﺤﻮﻟﻮن ﺑني اﻟﺸﺎﻋﺮ ورؤﻳﺔ اﳌﺤﺒﻮب‪ ،‬وﻫﺬا ﻣﺎ ﺗﺆﻛﺪه اﻷﺑﻴﺎت اﻷﺧرية‪:‬‬ ‫*& ‪ ÕCC CC+ CCCCG §CCCCCCCCCI4&*K hCCC CCC CCC+U CCCCªCCCC CCCC-T‬‬ ‫<‪ zCCCC<K ¸K fCCCCC CCCCC8K ¸ Ù* , T~CCCCCCCC‬‬ ‫ﻫﻨﺎ ﻳﺨﺘﴫ اﻟﺸﺎﻋﺮ ﰲ اﻟﺒﻴﺖ اﻷﺧري ﻛﻠام اﺳﺘﻨﺘﺠﻨﺎه ﺳﺎﺑﻘﺎً ﻋﻦ ﺟﺮأﺗﻪ‬ ‫وﻋﺪم ﺧﻮﻓﻪ ﻣﻦ اﳌﻮت‪ ،‬وﻟﻜﻦ ﻳﺠﻌﻞ ذﻟﻚ ﻣﴩوﻃﺎً ﺑﺎﻟﻮﻓﺎء ﺑﺎﻟﻌﻬﺪ <‪ ÕCC¡CC CC CCG* i42 ¨CCC CCC< ËfCCCCCJ CC CC CC7fCC‬‬ ‫‪ zCC CC CTC CCGfCC+ |CCC CCC CCC+*K fCCCCCCCCCCM&¸*K lCCCCCCI*K‬‬ ‫واﻟﺒﻘﺎء ﻋﻠﻴﻪ‪ ،‬أي أن اﻟﺸﺎﻋﺮ ﻟﻦ ﻳﻴﺄس ﻣﻦ اﳌﺤﺎوﻟﺔ وﻛﺬﻟﻚ ﻳﺮﻳﺪ‬

‫ﻣﻦ اﳌﺤﺒﻮب أﻻ ﻳﻴﺄس ﻣﻦ اﻻﻧﺘﻈﺎر‪ ،‬وﻫﺬا اﳌﻌﻨﻰ ﻣﺨﺘﺒﺊ ﰲ »ﺑﻌﺪ‬ ‫ﺣني« ﻛﺄن اﻟﺤﺴﺎد واﳌﺒﻐﻀني ﻳﺤﺎوﻟﻮن أن ميﻨﻌﻮا وﺻﺎﻟﻬﻢ ﻛام ﺟﺎء‬ ‫ﰲ »اﻟﺒﻐﻴﺾ ميﻮت واﻟﺤﺎﺳﺪ ﻧﻜﺪ«‪ ،‬وﻟﻜﻦ ﺑﻘﺎء اﳌﺤﺒﻮب واﺳﺘامﺗﺘﻪ‬ ‫ﰲ اﻟﺘﻤﺴﻚ ﺑﺎﳌﺤﺒﻮب‪ ،‬ﻻﺑﺪ أن ﻳﺠﻤﻌﻪ ﺑﺎﻟﺸﺎﻋﺮ وﺣﻴﻨﻬﺎ ﻟﻦ ﻳﺴﻌﺪ‬ ‫ﺑﺎﻟﻮﺻﻞ ﻓﻘﻂ وإمنﺎ ﻛام ﻳﻘﻮل »اﻟﺒﻐﻴﺾ ميﻮت واﻟﺤﺎﺳﺪ ﻧﻜﺪ« ﺳﻴﻘﻊ‬ ‫اﻟﺤﺴﺎد واﳌﺒﻐﻀني ﰲ ﴍ أﻋامﻟﻬﻢ‪.‬‬ ‫إذن ﰲ ﻫﺬه اﻷﺑﻴﺎت ﻳﻄﻠﺐ اﻟﺸﺎﻋﺮ ﻃﻠﺒﺎً واﺿﺤﺎً ﻣﻦ اﳌﺤﺒﻮب وﻫﻮ‬ ‫اﻟﺘﻤﺴﻚ ﺑﺎﻟﻌﻬﺪ يك ميﴤ ﺷﺎﻣﺨﺎً ﻣﻄﻤﺌﻨﺎً ﻻ ﻳﻬﺎب ﻏﺪراً‪ ،‬ﻛام أﺷﺎر ﰲ‬ ‫»إن ﺗﺘﻘّﻰ ﰲ اﻟﻘﻔﺎ ﻏﺪر اﻟﻌﻬﺪ« ﻟﻴﻄﻠﺐ وﺻﺎل اﳌﺤﺒﻮب وﻫﻮ ﻋﺰﻳ ٌﺰ‬ ‫ٍ‬ ‫ﺿﻌﻒ ﺳﻮى أن ﻗﻠﺒﻪ رﻫني ﻋﻨﺪ‬ ‫ﻣﺮﻓﻮع اﻟﺮأس‪ ،‬ﻻ ﻳﺸﻜﻮ أي ﻧﻘﻄﺔ‬ ‫اﳌﺤﺒﻮب‪ ،‬وﻳﺮﻳﺪ ﻣﻦ اﳌﺤﺒﻮب أن ﻳﻌﺘﺰ ﺑﻪ وﻳﺪﻋﻢ ﻣﻮﻗﻔﻪ ﻛام ﻳﺸري‬ ‫إﱃ ذﻟﻚ ﰲ »ﻳﺎ ﻏﻼ ﺑﻚ ﻋ ّﺰيت وآﻧﺎ رﻫني«‪ ،‬وأﻻ ﻳﻘﻠﻞ ﻣﻦ ﺷﺄن اﻟﺸﺎﻋﺮ‬ ‫ﻷن ذﻟﻚ ﻗﺪ ﻳﺆدي إﱃ أﻣﺮ ﰲ ﻏري ﻣﺼﻠﺤﺘﻬام‪ ،‬ﻓﺎﻟﺸﺎﻋﺮ وﺑﺎﻟﺮﻏﻢ ﻣﻦ‬ ‫ﺣ ّﺒﻪ اﻟﻜﺒري إﻻ أﻧﻪ ﻳﻌﺘﺰ ﺑﻘﻴﻤﻪ وﻣﺒﺎدﺋﻪ وﻟﻦ ﻳﺮﺿﺨﻬﺎ أﺑﺪاً ﺣﺘﻰ ﻟﻮ‬ ‫ﺑﻠﻎ اﻷﻣﺮ أن ﻳﻀﺤﻲ ﺑﻘﻠﺒﻪ ﰲ ﻫﺬا اﻟﻄﺮﻳﻖ‪ ،‬وﻫﺬا اﳌﻌﻨﻰ واﺿﺢ ﰲ‬ ‫»ﻻ ّ‬ ‫أوﻃﻲ راﳼ ْﻟﻘﻠﺒﻲ أﺑﺪ« ‪:1‬‬ ‫أﻣﺎ ﰲ ﻫﺬا اﻟﺒﻴﺖ ‪:‬‬

‫‪ ÕCCCgCCC/fCCC0K fCCC CCC CCC0 CCC¡CCCªCCC+K «CCC¡CCCªCCC+‬‬ ‫‪ 2ÌCCCG* CCCnCCCGK CCC CCC/ÒCCCG* CC CCE £K2‬‬

‫ﻳﺼﻒ اﻟﺸﺎﻋﺮ ﻣﺤﺎﺳﻦ اﳌﺤﺒﻮب‪ ،‬وﻳﺸﺒﻪ أﻧﻒ اﳌﺤﺒﻮب ﺑﺎﻟﺤﺴﺎم‪،‬‬ ‫واﻟﺨﺪ ﺑﺎﻟرنﺟﺲ‪ ،‬واﻟﻮﺻﻒ ﻫﻨﺎ ﻇﺎﻫﺮة ﻣﻦ ﻇﻮاﻫﺮ اﳌﺪرﺳﺔ اﻟﺸﻌﻮرﻳﺔ‬ ‫ﺣني ﻳﺄيت ﰲ ﺳﻴﺎق اﻟﻘﺼﺔ‪ ،‬وﻟﻜﻦ اﻟﺸﺎﻋﺮ ﻳﺨﺘﴫ اﻟﻮﺻﻒ ﰲ ﺑﻴﺖ‬ ‫واﺣﺪ ﺑﺪﻻً ﻣﻦ أن ﺗﻜﻮن ﻋﺪة أﺑﻴﺎت ﻛام ﻋﺮﻓﻨﺎ ﰲ اﳌﺪرﺳﺔ اﻟﺸﻌﻮرﻳﺔ‪،‬‬ ‫وﻳﱪع ﻛﺬﻟﻚ ﰲ اﻟﱰﻣﻴﺰ واﻟﻜﻨﺎﻳﺔ يك ﻳﺤﺎﻓﻆ ﻋﲆ اﻟﺴﻴﺎق ﻣﻦ دون‬ ‫دﺧﻮل ﻣﺤﻮ ٍر ﺟﺪﻳﺪ‪ ،‬ﻓﺎﻟﺤﺴﺎم ﻫﻨﺎ ﻟﻴﺲ أﻧﻒ اﳌﺤﺒﻮب ﻓﻘﻂ‪ ،‬وإمنﺎ‬ ‫إﺷﺎرة إﱃ اﻟﺒﻴﺖ اﻟﺜﺎين »ﺣﺪب اﳌﺸﺎﻓﺮ« وﻛﺬﻟﻚ »اﻟﺤﺎﺟﺒني » ﰲ ﻫﺬا‬

‫ﻓﺎﻟﺸﺎﻋﺮ ﻳﺮﻧﻮ ﺑﻄﺮﻓﻪ يك ﻳﺮى اﳌﺤﺒﻮب ﻣﻦ دون أن ﻳﻠﻔﺖ اﻻﻧﺘﺒﺎه إﱃ‬ ‫ذﻟﻚ‪ ،‬ﻷﻧﻪ ﻳﺨﴙ ﻣﺤﺒ ًﺔ ‪ -‬ﻛام ﻳﻘﻮل ﰲ »أﺗﻘﻴﻚ ﺑﻘﻠﺐ« ‪ -‬أن ﻳﻜﻮن‬ ‫ﺳﺒﺒﺎً ﰲ أن ميﺲ اﳌﺤﺒﻮب ﺑﺄذى‪ ،‬وﻟﻜﻨﻪ ﰲ ﻧﻔﺲ اﻟﻮﻗﺖ ﻳﻠﻘﻰ ﺻﻌﻮﺑ ًﺔ‬ ‫ﰲ ﻣﺨﺎﻃﺒﺔ اﳌﺤﺒﻮب واﻟﺤﺼﻮل ﻋﲆ وﻋﺪ ﻣﻨﻪ ﻋﲆ أﻗﻞ ﺗﻘﺪﻳﺮ‪ ،‬ﻟﺬا‬ ‫ﻳﺠﺪ اﻟﺸﺎﻋﺮ اﻟﻌﺎﺷﻖ ﻧﻔﺴﻪ ﻫﺎمئﺎً ﺑﺎﻟﺮﻏﻢ ﻣﻦ ﻃﻮل اﻷﻳﺎم وﻛ ّﻠﻪ أﻣﻞ‬ ‫ﺑﺎﻟﺴﻌﺪ«‪ ،‬وﻫﺬه اﻟﻌﺒﺎرة‬ ‫مي ّﻨﻲ اﻟﻨﻔﺲ أن ﻳﺴﻤﻊ ﻋﺒﺎرة اﻟﻮﺻﻞ »اﺑﴩ ّ‬ ‫ﺳﺘﺄيت ﺑﺎﻟﺘﺄﻛﻴﺪ وﻟﻜﻨﻬﺎ ﺿﺎﺋﻌﺔ ﺑني »اﻧﺖ واﻷﻳﺎم« أي إﻧﻬﺎ ﻗﺎدﻣﺔ ﻓــ‬ ‫ﻣﻌﻠﻮم‬ ‫ﻣﻌﻠﻮم ﻟﻜﻦ »اﻷﻳﺎم« ﺑﺼﻴﻐﺔ اﻟﺠﻤﻊ ﻟﻴﺲ‬ ‫»اﻧﺖ« ﺑﺼﻴﻐﺔ اﳌﻔﺮد‬ ‫ٌ‬ ‫ٌ‬ ‫ﻋﺪدﻫﺎ‪ ،‬وﻳﺤﺎول اﻟﺸﺎﻋﺮ اﺧﺘﺼﺎر أﻳﺎم اﻟﻔﺮاق يك ﻳﺼﻞ إﱃ اﳌﺤﺒﻮب‬ ‫ﺑﺄﻗﺮب ﻓﺮﺻﺔ‪ ،‬وﻫﺬا ﻟﻦ ﻳﺘﻢ إﻻ ﺑﺎﳌﻮاﺟﻬﺔ اﳌﺒﺎﴍة وﺣﻞ اﳌﻮﺿﻮع‪.‬‬ ‫ﺑﺎﻟﺴﻌﺪ« ﻛﺄﻧﻪ اﺳﻢ‬ ‫ﻧﻼﺣﻆ ﰲ ﻫﺬا اﻟﺒﻴﺖ اﺳﺘﺨﺪام ﻋﺒﺎرة »اﺑﴩ ّ‬ ‫ﻛام ﻫﻮ اﻟﺤﺎل ﻣﻊ ﺑﺎﻗﻲ اﻷﺳامء ﰲ اﻟﺴﻴﺎق »اﻧﺖ واﻷﻳﺎم« وﻫﻮ ﻣﻦ‬ ‫ﻇﻮاﻫﺮ اﳌﺪرﺳﺔ اﻟﻮاﻗﻌﻴﺔ أو ﻣﺪرﺳﺔ اﻟﻨﺺ ﻛام أﺣﺐ ﺗﺴﻤﻴﺘﻬﺎ‪ ،‬ﺣﻴﺚ‬ ‫ﻳﻬﺘﻢ اﻟﺸﺎﻋﺮ ﻓﻴﻬﺎ ﺑﺘﺸﻜﻴﻞ وﺻﻴﺎﻏﺔ ﻧﺼﻪ ﺣﺴﺐ ﺣﺎﺟﺔ اﻟﺴﻴﺎق أو‬ ‫اﳌﻮﺿﻮع أو ﺣﺘﻰ ﻟﻐﺮض ﺟامﱄ ﴏف‪ ،‬ﻛام ﻫﻮ واﺿﺢ ﰲ ﺗﻘﺴﻴﻢ‬ ‫اﻟﺸﻄﺮ اﻷول »أﺗﻘﻴﻚ ﺑﻘﻠﺐ وأرﻧﻮ ﻟﻚ ﺑﻌني« اﻟﺬي ﺟﺎء ﺑﻜﻞ ﺳﻼﺳﺔ‪،‬‬ ‫وﻗﺪ ﻳﻜﻮن اﻟﺸﺎﻋﺮ ﻣﺘﻜﻠﻔﺎً ﺟﺪاً ﰲ ذﻟﻚ وﻟﻜﻦ ﻻ ﻳﻈﻬﺮ ذﻟﻚ ﻟﻨﺎ‪.‬‬ ‫ﻻﺣﻈﻨﺎ ﰲ ﻫﺬه اﻟﻘﺼﻴﺪة ورود ﻣﺼﺪر اﻟﻔﻌﻞ وإﻟﻐﺎء اﻟﺰﻣﺎن ﺑﺸﻜﻞ‬ ‫ﻛﺒري‪ ،‬ﻓﺎﻟﺰﻣﺎن ﻫﻮ اﳌﻀﺎرع ﻗﺪ ﺣﴬ ﰲ ﺑﻌﺾ أﺑﻴﺎت اﻟﻘﺼﻴﺪة‪ ،‬ومل ﻳﻜﻦ‬ ‫اﻟﺰﻣﺎن اﳌﺎﴈ إﻻ ﰲ ﻣﻄﻠﻊ اﻟﻘﺼﻴﺪة ﰲ ﻓﻌﻞ »ﻗﺎﻟﺖ« وﺑﻌﺾ اﻷﻓﻌﺎل‬ ‫اﻟﺠﺎﻧﺒﻴﺔ ﻏري اﳌﺆﺛﺮة ﻋﲆ اﳌﻮﺿﻮع ﻛـ »ورد« و»ﺧﻠﺪ«‪ ،‬وﻛﺎﻧﺖ ﳌﺼﺎدر‬ ‫اﻷﻓﻌﺎل دور ﻛﺒري ﺟﺪا ﻓﻤﻦ »ﺣ ّﺪك« و»ﺷﻔﻚ« ﻣﺮوراً ﺑـ »ﺣﺪب« اﱃ‬ ‫ﻋﺪد آﺧﺮ ﻏري ﻗﻠﻴﻞ ﻣﻦ ﻣﺼﺎدر اﻷﻓﻌﺎل ﺣﺘﻰ ﻧﻬﺎﻳﺔ اﻟﻘﺼﻴﺪة‪ ،‬وﻫﺬه‬ ‫أدﻟﺔ ﻛﺎﻓﻴﺔ ﻋﲆ ﻫﺬا اﻟﻘﻮل‪ ،‬وﺑﻬﺎ ﺗﻢ ﺗﻐﻴري ﻣﻼﻣﺢ اﻟﻘﺼﻴﺪة ﺣﺘﻰ‬ ‫أﺻﺒﺤﺖ ﻗﻠﻴﻠﺔ اﻟﺸﺒﻪ ﺑﺎﳌﺪارس اﻟﺴﺎﺑﻘﺔ ومتﺜﻞ ﺗﺠﺮﺑﺔ ﺟﺪﻳﺪة مت ّﻴﺰ‬ ‫ﺷﺎﻋﺮﻫﺎ‪.‬‬

‫أﻛﺘﻮﺑﺮ‪39 2016 /‬‬

‫أﺳﺮار ﻓﻲ أﺷﻌﺎر‬ ‫‪baytelshear‬‬

‫وﺿﻮﺣﺎً ﰲ اﻟﺒﻴﺖ اﻟﺜﺎين ﺣني ﺗﺮد ﻣﻔﺮدة »اﳌﺸﺎﻓﺮ« أي ﻛﺎﻟﺴﻴﻮف ﺣﻴﻠﺘﻪ ﰲ ﻫﺬا اﻟﻮﺿﻊ اﳌﻌﻘﺪ‪:‬‬ ‫واﻟﺮﻣﺎح واﻟﺨﻨﺎﺟﺮ وﻏريﻫﺎ ﻣﻦ اﻵﻻت اﻟﺤﺎدة اﻟﺘﻲ ﺳﻴﻮاﺟﻬﻬﺎ اﻟﺸﺎﻋﺮ‬ ‫ﻣﺎض ﺑﻨﻴﺔ‬ ‫ﰲ ﻫﺬا اﻟﻄﺮﻳﻖ‪ ،‬ومبﺎ إن اﻟﺸﺎﻋﺮ ﻻ ﻳﻮاﺟﻪ أﻋﺪا ًء ﻟﻪ وﻫﻮ ٍ‬ ‫ﺣﺴﻨﺔ‪ ،‬ﻓﻤﻦ اﻟﻄﺒﻴﻌﻲ أن ﻳﻘﻊ ﰲ اﻷﴎ أي ﰲ ﺟﺪال ﻣﻊ اﻵﺧﺮﻳﻦ‬ ‫ﻟﺘﻮﺿﻴﺢ ﻣﻮﻗﻔﻪ‪ ،‬وﻫﺬا اﳌﻌﻨﻰ مل ﻳﺮد ﰲ اﻟﺒﻴﺖ اﻟﺜﺎين وﻟﻜﻨﻨﺎ ﻧﺴﺘﺸﻔﻪ‬ ‫ﺣﻴﻨام ﻳﺴﻬﺐ اﳌﺤﺒﻮب ﰲ اﻟﴩح وﻳﻘﻮل »ﻋﻨﺪﻧﺎ ﻣﺎ ﻟﻪ ﺷﻔﻴﻊ وﻻ‬ ‫ﺳﻨﺪ« ﻓﺎﻟﺸﻔﺎﻋﺔ واﳌﺴﺎﻧﺪة ﻻ ﺗﺄيت إﻻ ﺑﺴﻮء ﻇﻦ اﻵﺧﺮﻳﻦ ﺑﺎﻟﺸﺎﻋﺮ‬ ‫وﻋﺪم ﻣﻌﺮﻓﺘﻬﻢ ﺑﺴﻤﻮ أﺧﻼﻗﻪ وﻗﺼﺪه اﻟﴩﻳﻒ‪ ،‬وﻫﺬا ﺑﺎﻟﻀﺒﻂ ﰲ ﻫﺬه اﻷﺑﻴﺎت ﻳﺮد اﻟﺸﺎﻋﺮ ﻋﲆ ﺗﺴﺎؤﻻت اﳌﺤﺒﻮب ﺑﻜﻞ ﺟﺪﻳﺔ‬ ‫ﻣﺎ ﻧﻘﺼﺪه ﰲ وﺟﻮد ﺣﻮا ٍر دﻳﺎﻟﻮﺟﻲ ﺧﻔﻲ ﻳﺘﻨﺎﻗﺶ ﻓﻴﻪ اﳌﺤﺒﻮب وﻳﻘﻮل ﺑﺄﻧﻪ ﻟﻴﺲ ﺧﺎﺋﻔﺎً ﻣﻦ اﳌﻮاﻧﻊ واﻟﺜﻮاﺑﺖ اﻻﺟﺘامﻋﻴﺔ ﻛﺎﻟﻌﺎدات‬ ‫ﻣﻊ اﻟﺸﺎﻋﺮ دون أن ﻧﺴﻤﻊ إﺟﺎﺑﺎت اﻟﺸﺎﻋﺮ‪ ،‬وﻟﻜﻦ ﺗﻜﻔﻴﻨﺎ ﻋﺒﺎرات واﻟﺘﻘﺎﻟﻴﺪ واﻷﻋﺮاف واﻟﺘﻲ ﺟﺎءت ﻛﻨﺎﻳﺔ ﰲ اﻟﺒﻴﺖ اﻟﺜﺎين ﺣﻴﻨام ﺟﺎء‬ ‫اﳌﺤﺒﻮب ﻟﻨﻌﺮف ﻧﺘﺎﺋﺞ ﻫﺬا اﻟﺤﻮار وﺑﻌﺾ أﴎاره اﻟﺘﻲ ﺗﺘﻀﺢ ﰲ اﳌﺤﺒﻮب ﺑﻌﺒﺎرات »اﳌﺸﺎﻓﺮ واﻟﻄﻌني« و»ﺑﺮوق ورﻋﺪ« وﻳﻘﻮل ﺑﻜﻞ‬ ‫اﻷﺑﻴﺎت اﻟﻘﺎدﻣﺔ‪:‬‬ ‫ﺟﺮأة »وﻣﻦ ﻳﻀﻤﻦ ﺣﻴﺎﺗﻪ ﻣﺮﺗني« وﻫﻲ ﻛﻨﺎﻳﺔ أن اﳌﻮت ﻣﺮة واﺣﺪة‬ ‫‪ ÕC‬‬ ‫‪C‬‬ ‫‪ C‬‬ ‫‪C‬‬ ‫‪H fCCCCCC‬‬ ‫‪C‬‬ ‫‪I24§CCCCCC‬‬ ‫‪C‬‬ ‫ ‪HK‬‬ ‫‪i{CCCCCCCC< fCC‬‬ ‫‪C¡CCC+|CCC CCC7‬‬ ‫‪P‬‬ ‫ﻻ ﺗﺘﻜﺮر‪ ،‬وﻟﻴﺲ ﻟﻐري اﳌﺠﺮب أن ﻳﻬﺎب ﻣﻦ اﳌﺠﻬﻮل‪ ،‬وإن اﳌﻌﻠﻮم ﻫﻮ‬ ‫‪ zCCCC0&* CCC CCCgCCCE 24K fCCCCCCHK m24K §CCCCG‬إﻧﻘﺎذ ﺣﻴﺎﺗﻪ ﺑﻮﺻﺎل اﳌﺤﺒﻮب‪ ،‬وﻫﻲ ﻛﻨﺎﻳﺔ أﻳﻀﺎً ﻋﻦ أن اﻟﺤﻴﺎة ﻛام ﻫﻮ‬ ‫‪ Õ D fCCCM CC CCwCCgCC-K CC¤CC± fCCCH lCCCCCI*K‬‬ ‫‪ 24K CCC CCCgCCCE ¢CCCCCCHK fCCCCCC¼* 24K CCCªCCCF‬اﳌﻮت ﻣﺮة واﺣﺪة‪ ،‬وأن اﻟﺤﻴﺎة اﻟﻘﺼرية ﻣﻦ دون اﳌﺤﺒﻮب ﻟﻴﺲ ﻟﻬﺎ‬ ‫ﻗﻴﻤﺔ وﻣﻌﻨﻰ‪ ،‬وﰲ ﺟﻤﻴﻊ اﻷﺣﻮال ﻟﻦ ﻳﺨﻠﺪ أﺣﺪ ﻓﻴﻬﺎ‪ ،‬ﻟﺬا ﻳﺘﻤﻨﻰ أن‬ ‫ﻳﺘﺨ ّﻠﺪ اﻟﺸﺎﻋﺮ مبﻮاﻗﻔﻪ وأﻓﻌﺎﻟﻪ وأﻗﻮاﻟﻪ ﻛام ﻳﺸري إﱃ ذﻟﻚ ﰲ »ذﻛﺮ«‬ ‫ﻫﻨﺎ واﺿﺢ أن اﳌﺤﺒﻮب ﻳﺴﺘﻨﺠﺪ ﺑﺎﻟﺸﺎﻋﺮ ﻳﺎﺋﺴﺎً‪ ،‬وﻳﴫح ﺑﺼﻮرة‬ ‫ﻟﺒﻘﺎء ذﻛﺮه ﻛﺠﺰء ﻣﻦ اﻟﺨﻠﻮد‪ ،‬وﰲ »ﺗﺠﻮد« ﻷﻓﻌﺎﻟﻪ وﰲ »ﺑﻴﺖ ﺷﻌﺮ«‬ ‫ﻏري ﻣﺒﺎﴍة ﻋﻦ اﳌﺸﻜﻠﺔ‪ ،‬ﻓﺎﳌﻮرد ﻫﻮ ﻧﺒﻊ اﳌﺎء ﺑﺪﻻﻟﺘﻪ اﳌﺠﺘﻤﻌﻴﺔ‬ ‫ﻷﻗﻮاﻟﻪ وأﻫﻢ ﻫﺬه اﻷﻗﻮال ﻫﻮ »ﻛﻠﻤﺘني« ﻳﺨﺘﴫ ﻓﻴﻪ اﻟﺸﺎﻋﺮ ﺣﺒﻪ‬ ‫واﳌﻌﺠﻤﻴﺔ وﻟﻜﻦ اﳌﺤﺒﻮب ﻳﺴﺘﺨﺪﻣﻪ ﻛﻨﺎﻳﺔ ﻋﻦ ارﺗﻮاء اﳌﺤﺐ‬ ‫وﻳﻮاﺟﻪ اﻟﻌﺎمل ﺑﻬام ﻟﻴﻈﻔﺮ ﺑﺎﳌﺤﺒﻮب‪ ،‬وﻟﻦ ﻳﻬﻤﻪ ﻧﺘﺎﺋﺞ اﻟﻜﻠﻤﺘني ﺣﺘﻰ‬ ‫مبﺤﺒﻮﺑﻪ أي وﺻﻠﻪ اﻟﺪاﺋﻢ‪ ،‬واﻟﻌﺎﺋﻖ ﻫﻮ ﺗﺄﺧﺮ اﻟﺸﺎﻋﺮ ﰲ ﺑﻠﻮغ ﻫﺬه‬ ‫إذا أدت إﱃ ﻟﻘﺎء ﺣﺘﻔﻪ ﻷﻧﻪ ﻳﺆﻣﻦ أن ﺟﻤﻴﻌﻬﻢ ﺳﻴﺤﺴﺪه ﻋﲆ ﺟﺮأﺗﻪ‬ ‫اﻟﻐﺎﻳﺔ وﻫﺬا اﳌﻌﻨﻰ واﺿﺢ ﰲ ﺗﻜﺮار »ﻗﺒﻠﻚ« ﰲ »ﻣﺎ ورد ﻗﺒﻠﻚ أﺣﺪ«‬ ‫وﺻﺪق ﻣﺤﺒﺘﻪ ﻛام ﻳﺘﻤﻨﻰ ﻫﻮ ذﻟﻚ ﰲ »و ّدي ٍ‬ ‫مبﻮت ﻳﻮرﺛﻨﻲ ﺣﺴﺪ«‪.‬‬ ‫وﰲ »وﻣﻦ ﻗﺒﻠﻚ ورد« أي أن ﻫﻨﺎك ﺷﺨﺼﺎً ﺗﻘ ّﺪم ﻟﺨﻄﺒﺔ اﳌﺤﺒﻮب‬ ‫وﻟﻜﻦ ﻣﻦ ﻧﺎﺣﻴ ٍﺔ أﺧﺮى ﻓﺈن أﻣﻠﻪ ﺑﺒﻠﻮغ اﳌﺤﺒﻮب ﻛﺒري ﻷن ﺛﺮوﺗﻪ‬ ‫وﻳﺸ ّﻜﻞ ﻣﺎﻧﻌﺎً أﻣﺎم اﻟﺸﺎﻋﺮ وﺳﺒﺒﺎً ﻹﺑﻌﺎده ﻋﻦ ﻣﺤﺒﻮﺑﻪ‪ ،‬وﻫﺬا اﻷﻣﺮ‬ ‫ﻛام ﻳﻘﻮل ﰲ »راس ﻣﺎﱄ ﺑﻴﺖ ﺷﻌﺮ« ﻫﻲ ﺷﺨﺼﻴﺘﻪ اﳌﻌﺮوﻓﺔ ﻛﺸﺎﻋﺮ‬ ‫أﺻﺒﺢ ﻳﺆرﻗﻬام ﻛام ﻧﻼﺣﻆ ﰲ ﺗﻜﺮار ﺟﺬر »ورد« ﺧﻤﺲ ﻣﺮات ﰲ‬ ‫وﺳﻤﻌﺘﻪ اﻟﻄﻴﺒﺔ ﺑﺎﻹﺿﺎﻓﺔ إﱃ ﺳﻼﻣﺔ اﻟﻌﻘﻴﺪة واﻟﺪﻳﻦ واﻟﺴﺨﺎء‬ ‫أﻓﻌﺎل وأﺳامء ﻣﺨﺘﻠﻔﺔ ﰲ ﻫﺬﻳﻦ اﻟﺒﻴﺘني‪ .‬وﻫﺬا اﻟﺘﻜﺮار ﺗﻌﺒري ﻋﻦ‬ ‫واﻟﻌﻤﻞ‪ ،‬وﻫﺬه اﳌﻌﺎين ﻳﺨﺘﴫﻫﺎ ﺑﱪاﻋﺔ ﰲ اﻟﺒﻴﺖ اﻷﺧري »واﻟﺮﺟﺎل‬ ‫متﺴﻚ اﳌﺤﺒﻮب ﺑﺎﻟﺸﺎﻋﺮ‬ ‫ﺗﺄزم اﳌﻮﻗﻒ ﻛام أﴍﻧﺎ ﺳﺎﺑﻘﺎً‪ ،‬وﺗﻌﺒري ﻋﻦ ّ‬ ‫زﻫﺎﺑﻬﺎ ‪ » ....‬ﻟﻨﺴﺘﻤﺮ ﻣﻊ ﺑﺎﻗﻲ اﻷﺑﻴﺎت ‪..‬‬ ‫وﻋﺪم ﻗﺒﻮﻟﻪ ﺑﺎﻵﺧﺮﻳﻦ‪ ،‬ﻟﺬﻟﻚ ﻳﺤﺘﺎج اﳌﻮﻗﻒ إﱃ ﺗﺪﺧﻞ اﻟﺸﺎﻋﺮ ﺗﺪﺧ ًﻼ‬ ‫ً‬ ‫ً‬ ‫ﻣﺒﺎﴍا وﻓﺎﻋﻼ‪ .‬وﺗﺄيت ﻫﺬه اﻟﻘﺼﻴﺪة ﻟﺘﻀﻊ اﻟﻨﻘﺎط ﻋﲆ اﻟﺤﺮوف‪ ،‬ﻟﻬﺬه ‪ ÕCCCJ4 fCCCCCCCCCI%*K «CCCCC- T~CCCCC< CCCCC+ ÑCCCCC= fCCCCCM‬‬ ‫اﻷﺳﺒﺎب ﺑﺪأت اﻟﻘﺼﻴﺪة ﺑﺄرﺑﻌﺔ أﺑﻴﺎت ﻋﲆ ﻟﺴﺎن اﳌﺤﺒﻮب‪ .‬وﺑﻬﺬا‬ ‫‪ zCCCCC+&* «CCCgCCC CCC CCCGU «CCCCC CCCCC6*4 «CCCCCCCCCC T:K&* ¸K‬‬ ‫اﻷﺳﻠﻮب ﻳﻮد اﻟﺸﺎﻋﺮ اﻟﺘﺄﻛﻴﺪ ﻋﲆ ﺗﻔﻬﻤﻪ ﻟﻜﺎﻣﻞ اﳌﻮﻗﻒ ﻗﺒﻞ أن ‪ ÕCC0 zCC CC+ §CCCG 24§CCCCCCH fCCCCCCI24K £(*K‬‬ ‫ﻳﺠﻴﺐ اﳌﺤﺒﻮب ﺑﻜﻞ ﺣﺰم وﺟﺮأة ﰲ ﻣﻌﺎﻟﺠﺔ اﳌﻮﻗﻒ ﺑﺎﻟﺮﻏﻢ ﻣﻦ ﻗ ّﻠﺔ‬ ‫*‪ zCC CCI zCCCC CCCC6fCCCCº*K m§CCCCCCÊ CCC CCCªCCC CCCgCCCG‬‬

‫‪ Í@@ @-x@@ @E @@ @ -b@@ @ £@ @ @0 @@ @ @ @ ~@ @ }@ @ J @@ @ @ @ @ EH h@@ @ @ @ @B‬‬ ‫‪ "v@@ @ @ @ 1 ¤@@ @ @c@ @B @@ @ @ EH ,xQ @ @ @ @ @E x@@ @ @ @ @ @ D*H‬‬ ‫‪ Í@@ @g@ @ @ @ @ @ CH x@@ @ @ @ @~@ @ @7 h@@ @ @£@ @ @ + ·b@@ @ @ @ @ @E @@ @ @ @ @ @ @ 6*4‬‬ ‫‪ v@@ @~@ @ z@ @ 0 ¤@@ @ @ @ @ @ @ @ @ @ .4U ¡@@ @ @ @ @J Mi¡@@ @ @ @ @ @ @ @ @ § ¥Q2HH‬‬ ‫‪ @@ @ @ @ @J2H xM @ @ @ @ @ @ @ @ @C3 b@@ @ @ @ @ @ @ @ @+b@@ @ @ @ G5R b@@ @ @ @ @ @ /x@@ @ @ @ @ @ D*H‬‬ ‫‪ v@@ @ @/ b@@ @ @ @ @ @ @+R 2¡@@ @ @ @ @ © ¤@@ @ @ @ @ @ @D* @@ @ @6¡@@ @ @ @ @ @ @ @ @ D*H‬‬ ‫ ‬

‫‪ 38‬ﺑﻴﺖ اﻟﺸﻌﺮ ‪ /‬اﻟﻌﺪد ‪49‬‬

‫»ﻋﻨﺪﻧﺎ« ﺛﻢ »ﴍﺑﻨﺎ« و«ﻣﻮردﻧﺎ«‪ ،‬واﺳﺘﺨﺪام ﺻﻴﻐﺔ اﻟﺠﻤﻊ ﻫﻨﺎ ﻣﺎ‬ ‫ﻣﺤﻤﺪ ﻧﻮر اﻟﺪﻳﻦ‬ ‫ﻫﻲ إﻻ ﻃﺮﻳﻘﺔ ذﻛﻴﺔ ﻳﻄﻮ ّﻋﻬﺎ اﻟﺸﺎﻋﺮ ﻟﻔﺘﺢ ﺣﻮار ﻏري واﺿﺢ اﳌﻼﻣﺢ‬ ‫^‪ Õ nG* h G* ¨ < TzCC0 U CC7 lCCGfCCE‬‬ ‫ﺑني اﻟﺸﺎﻋﺮ واﳌﺤﺒﻮب‪ ،‬وﻟﻜﻨﻪ واﺿﺢ اﳌﻘﺼﺪ ﻛام ﺳﻨﻼﺣﻆ ﰲ اﻟﺒﻴﺖ‬ ‫‪ zCCC‬‬ ‫‪C‬‬ ‫‪<4K‬‬ ‫‪ K|CCCCCCC‬‬ ‫‪C‬‬ ‫‪+K‬‬ ‫‪ m§CCCCC‬‬ ‫‪C‬‬ ‫‪H‬‬ ‫‪ CCC T CCC CCC7 £K2‬‬ ‫اﻟﺬي ﻳﲇ‪:‬‬ ‫‪ ÕCCC CCC T CCCG*K |CCCDfCCC CCC CCC¼* izCCCCCC0 fCCC‬‬ ‫ﺗﺒﺪو ﻗﺼﻴﺪة اﻟﺸﺎﻋﺮ ﻳﻌﻘﻮب اﻟﺸﺎﻣﴘ ﺣﻮارﻳﺔ ﻟﻠﻮﻫﻠﺔ اﻷوﱃ‪ ،‬ﺣﻴﺚ ‪S C¡CCCCIK2‬‬ ‫<‪ zCC¡CC CC6 ¸K CCCªCCC CCC CCC7 ¥CCCCCG fCCCCCH fCCCIzCCC¡CCC‬‬ ‫ﺗﺒﺪأ اﻟﻘﺼﻴﺪة ﺑﺎﳌﺤﺎورة ﻋﱪ اﻟﻔﻌﻞ »ﻗﺎﻟﺖ«‪ ،‬ﺣني ﻳﺴﺄل اﳌﺤﺒﻮب‬

‫»ش ﺣ ّﺪك ﻋﲆ اﻟﺼﻌﺐ اﻟﺜﻤني‪ .«..‬إﱃ أن ﻳﺮد اﻟﺸﺎﻋﺮ ﰲ أﺣﺪ أﺑﻴﺎت‬ ‫اﻟﻘﺼﻴﺪة‪ ،‬ﻋﱪ اﻟﻔﻌﻞ »ﻗﻠﺖ«‪ .‬وﻻ أﻇﻦ أﻧﻪ ﻳﺮد ﻋﲆ ﻫﺬا اﻟﺴﺆال ﺣني‬ ‫ﻳﻘﻮل »ﻣﻦ ﻳﻀﻤﻦ ﺣﻴﺎﺗﻪ ﻣﺮﺗني«‪ ،‬ﻷن اﻟﺸﺎﻋﺮ أﺟﺎد ﰲ ﻃﺮح اﻷﺳﺌﻠﺔ‬ ‫واﻹﺟﺎﺑﺔ ﻋﻠﻴﻬﺎ ﻣﻦ دون ﺗﻜﺮار اﺳﺘﺨﺪام أﻓﻌﺎل »ﻗﺎﻟﺖ« و»ﻗﻠﺖ«‬ ‫ﻓﻔﻲ اﻟﺒﻴﺖ اﻟﺜﺎين ﻳﻜﺮر »دون« اﻟﺬي ﺟﺎء ﰲ اﻟﺸﻄﺮ اﻟﺜﺎين ﻣﻦ‬ ‫اﻟﺒﻴﺖ اﻷول ﺑﺎﺳﺘﺨﺪام »دوﻧﻨﺎ« ﺑﺼﻴﻐﺔ اﻟﺠﻤﻊ‪ ،‬وﺑﻌﺪ ذﻟﻚ ﻳﺴﺘﺨﺪم‬

‫ﻓﺎﳌﺤﺒﻮب ﻳﺴﺘﻌﺮض اﳌﺼﺎﻋﺐ اﻟﺘﻲ ﺳﺘﻮاﺟﻪ اﻟﺸﺎﻋﺮ إذا ﻣﴣ ﰲ‬ ‫ﻃﺮﻳﻖ اﻟﻮﺻﻮل إﻟﻴﻪ‪ ،‬ﻓﻬﻨﺎك »اﳌﻮت« أو اﻟﻔﻨﺎء ﻛام ﻗﺎل اﳌﺤﺒﻮب‬ ‫ﰲ اﻟﺒﻴﺖ اﻷول‪ ،‬واﳌﻮت ﻳﺄيت ﻣﻦ ﺧﻼل »اﻟﱪوق« و»اﻟﺮﻋﺪ«‪ ،‬وﻫام‬ ‫دﻻﻟﺔ ﻋﲆ اﻟﻮﺿﻊ اﻟﻌﺎم اﳌﺘﺄزم ﻋﻨﺪ اﳌﺤﺒﻮب‪ ،‬وﻗﺪ ﻻ ﻳﻜﻮن ﻟﻠﻤﻮت‬ ‫ذﻟﻚ اﳌﺴ ّﻮغ اﻟﻘﻮي ﰲ ﻫﺬه اﻷﺟﻮاء اﻟﻌﺎﺻﻔﺔ‪ ،‬ﻟﺬا ﻧﺠﺪ اﻟﺸﺎﻋﺮ أﻛرث‬

‫أﻛﺘﻮﺑﺮ‪37 2016 /‬‬

‫أﺳﺮار ﻓﻲ أﺷﻌﺎر‬ baytelshear

: ‫ﻳﻌﻘﻮب اﻟﺸﺎﻣﺴﻲ ﻳﺨﺎﻃﺐ اﻟﻤﺤﺒﻮب ﺑﻜﻞ ﻣﺎ ﻳﻤﻠﻚ‬

«!‫»راس ﻣﺎﻟﻲ ﺑﻴﺖ ﺷﻌﺮ وﻛﻠﻤﺘﻴﻦ‬ Í@@ @ @j@ @D* d@@ @ @ @ ~@ @ |@ @ D* ¢@@ @ @ @ < Qv@ @ @ @ @ @0 R @@ @ @7 h@@ @ Db@@ @ B v@@ @ @ @ @ @<4H Hx@@ @ @ @ @ @ @ @ @ @ @ @+H i¡@@ @ @ @ @ @ @ @E @@ @ @ @ Q @ @ @ @ ~@ @ @ @ 7 H2 Í@@ @ @ @ @E b@@ @ @ @ @ @ @ @ @ F24¡@@ @ @ @ @ @ @ @ @ EH Mew@@ @ @ @ @ @ @ @ @ @ @ < b@@ @ @ @ @ @ @ @ +x@@ @ @ @~@ @ @ @ 7 v@@ @ @ @ @ @0&* @@ @ @ @ @ @ @c@ @ @ @B 24H b@@ @ @ @ @ @ @ @EH i24H ¡@@ @ @ @ @ @D Í@@ @ @A b@@ @ @ @ J @@ @ |@ @ @ s@ @ @ c@ @ @ -H @@ @ @ @ @ @ © b@@ @ @ @ E h@@ @ @ @ @ @ @ @F*H 24H @@ @ @ @ @ @ @c@ @ @ @B @@ @ @ @ @ @ @ @ EH b@@ @ @ @ @ @ @ @ ´* 24H @@ @ @ @ £@ @ @ @ C Í@@ @ -x@@ @ E @@ @ @ -b@@ @ @ £@ @ @ @0 @@ @ @ @ @~@ @ @}@ @ @J @@ @ @ @ @ @ EH h@@ @ @ @ @ @ @B "v@@ @ @ @ @1 ¤@@ @ @ @ c@ @ B @@ @ @ @ @ EH ,xQ @ @ @ @ @ @ @E x@@ @ @ @ @ @ @ @ @ D*H Í@@ @ g@ @ @ @ @ @ @ @ @CH x@@ @ @ @ @ @ ~@ @ @ 7 h@@ @ @ @£@ @ @ @ + ·b@@ @ @ @ @ @ @ @E @@ @ @ @ @ @ @ @ @ @6*4 v@@ @ ~@ @ @z@ @ @0 ¤@@ @ @ @ @ @ @ @ @ @ @ @ .4U ¡@@ @ @ @ @ @ J Mi¡@@ @ @ @ @ @ @ @ @ @ @ @§ ¥Q2HH @@ @ @ @ @ @ J2H Mx@@ @ @ @ @ @ @ @ @ @ C3 b@@ @ @ @ @ @ @ @ @ @ @+b@@ @ @ @ @ G5R b@@ @ @ @ @ @ @ @ /x@@ @ @ @ @ @ @ @ D*H v@@ @ @ @ / b@@ @ @ @ @ @ @ @ @+R 2¡@@ @ @ @ @ @ @ © ¤@@ @ @ @ @ @ @ @ @D* @@ @ @ @6¡@@ @ @ @ @ @ @ @ @ @ @ @ D*H Í@@ @ @ @ G4 b@@ @ @ @ @ @ @ @ @ @ @ @ @F%*H ¤@@ @ @ @ @ @ -yQ @ @ @ @ @ @ @< @@ @ @ @ @ @ + É@@ @ @ @ @ @ = b@@ @ @ @ @ @ J Q * °H v@@ @ @ @ @ @+&* ¤@@ @ @ c@ @ @ @ @ @ @ @ @ @ @ @DR ¤@@ @ @ @ @ @~@ @ @ @ @ @ 6*4 ¤@@ @ @ @ @ @ @ @ @ @ @ @ @ @:H& Í@@ @ @ 0 v@@ @ @ @ @ @ + ¡@@ @ @ @ @D 24¡@@ @ @ @ @ @ @ @ @ @E b@@ @ @ @ @ @ @ @ @ @F24H (*H v@@ @ @ @ F v@@ @ @ @ @ ~@ @ @ @ @ @6b@@ @ @ @ @ ²*H i¡@@ @ @ @ @ @ @ @ Â @@ @ @ }@ @ @ @£@ @ @ @ @ @ @ @c@ @ @ @D* Í@@ @ @ @ @~@ @ @6 Qv@ @ @ @ @ @ @ @ @ 0 · i¡@@ @ @ @ @ @ @ @ ´* eb@@ @ @ @ @ @ @ @ @J b@@ @ @ @ @ @ @EH v@@ @ @ @ @ @ @ @ @ D* 4v@@ @ @ @ @ @ @= b@@ @ @ @ @ @ @ @ @ @ @D* ¯ ¢@@ @ @ Q @ @ @ @g@ @ @ @- (* Í@@ @ @ c@ @ @ @/b@@ @ @ 0H b@@ @ @ @ ~@ @ @ @ z@ @ @ @ 0 @@ @ @ @ @ @ @ @ £@ @ @ @ +H ¤@@ @ @ @ @ @ @£@ @ @ @+ 2Ä@@ @ @ @ @ D* @@ @ @ @ j@ @ @ @ @DH @@ @ @ @z@ @ @ @ /Ê@@ @ @ @D* @@ @ @ @ @ @ @B H2 Í@@ @ @ @ + @@ @ @ @ @ D ¡@@ @ @ @ @ @ @ @ @ @ @ @ @F4&*H d@@ @ @ @ @ @ @ @ @ @ @+R @@ @ @ @ @£@ @ @ @ @ @ @ @ @ @ -Q &* v@@ @ @ @ @<H °H b@@ @ @ @ @ @ @ ~@ @ @ @ @ @ @ @8H ° Ñ* ,yQ @ @ @ @ @ @ @ @ @ @ @ @ @< Í@@ @ @ @ ~@ @ z@ @ D* e42 ¢@@ @ @ @ @ @ @< Ãb@@ @ @ @ @ @ @G @@ @ @ @ @ @ ~@ @ @ 7b@@ @ @< v@@ @ @ @ @~@@Q @ z@ @ @Db@@ @ + x@@ @ @ @ ~@ @ @ @ {@ @ @ @ +*H b@@ @ @ @ @ @ @ @ @ @ @ @ @ @ J&°*H h@@ @ @ @ @ @ @ @ @F*H

49 ‫ اﻟﻌﺪد‬/ ‫ ﺑﻴﺖ اﻟﺸﻌﺮ‬36

‫اﻟﺠامل ﺑﺎﻟﺰﻫﻮر ﻟﻴﺆﻛﺪ ﻟﻨﺎ أﻛرث ﻫﺬه اﻟﺤﺎﻟﺔ اﻟﺘﺄﻣﻠﻴﺔ اﻟﺘﻲ ﻳﺮاﻫﺎ ﰲ اﻟﻌﻨﺎﴏ‬ ‫اﻟﺘﻲ ذﻛﺮﻧﺎﻫﺎ‪ ،‬ﻓﺎﳌﻄﺮ اﻟﻐﺰﻳﺮ » ﻳﻌﻨﻲ اﻟﻔﺮح واﻟﻔﺮج« ﻋﺎد ًة ‪ ،‬ﻷنّ اﻟﺠﻔﺎف‬ ‫ﻻ َﻳ ﱡ‬ ‫ﺪل ﻋﲆ اﻟﺤﺎﻟﺔ اﻟﺠﻴﺪة ﰲ اﻟﺸﻌﺮ ‪ ،‬وﻳﺮﻳﺪ ﺷﺎﻋﺮﻧﺎ أن ﻳﺤﻠﻢ أﻛرث ﻛام‬ ‫ﻗﺎل » ﻟيك ﻳﺨﺮج ﻣﻦ أﺑﻮاب اﻟﺴﻜﻮت اﻟﺠﻬﻮري« ﻫﻲ أﻳﻀﺎً ﺣﺎﻟﺔ اﻻﻧﻄﻼق‬ ‫ﻣﻦ ﻋﺰﻟﺔ اﻷمل إﱃ ﺿﺤﻜﺔ اﻟﺤﻠﻢ‪.‬‬ ‫ﱡ‬ ‫وﺣﻤﺮة وردة اﻟﺠﻮري َﻳﻄﻞ ﻋﻠﻴﻨﺎ اﻟﺸﺎﻋﺮ‬ ‫وﺑني اﻟﺴﺤﺮ واﻟﺪﻫﺸﺔ واﻟﺮوع ُ‬ ‫اﻟﺴﻌﻮدي ﻋﲇ اﻟﺴﺒﻌﺎن ﺑﻘﺼﻴﺪة ﺑﻌﻨﻮان » اﻟﺴﺎﺣﺮة « ﻳﻘﻮل ﰲ أﺑﻴﺎﺗ ِﻪ ‪:‬‬ ‫= ‪ ª 8f - ¥ ª 8f - |0f G*K |tU S G* f‬‬ ‫‪f¤Êfµ zCCªCC/ ¨CC CC< «CCkCC CC T C<K f¤ªk gG‬‬ ‫‪ ªGf H ¥+ 2| - +f+ · ]mK4fJ^ |t 6‬‬ ‫‪T‬‬ ‫<‪f¤ÊÑ; ¢H L4f¤ 6 l-f+ L§¤G* J&* £§ª‬‬ ‫‪ ª/ j¡-fD «kMz= ¥<K|G* ¢H TI&* uªt 8‬‬ ‫‪f¤ÊÑ< ¡M Tzw+ ¬4§CC¹* ,24K ,|CC CC0K‬‬ ‫‪R‬‬ ‫‪ ª -K gª<ÑH D|- «-~< ¢ GK‬‬ ‫‪f¤¼f; *zE&* l³ « I «¡t¡- ¨ 94* ¸K‬‬ ‫&‪ G «+ l/ 4fM2U ¬* ¢H ¬4*zE‬‬ ‫‪* j 0 «kª I‬‬ ‫‪T‬‬ ‫‪f¤Êf¤- ¨ E&* l¡ 6 « G* ]i§¡¹*^ 4fM2U ¢H‬‬ ‫‪ ª-f H KT &* Ô 8&* «1§ U 7 D|M «+§¡/‬‬ ‫ ‪f¤Êf < ¥TG{G* ¨ < h‬‬‫‪P « J* ¸K‬‬ ‫‪T §E‬‬

‫ﺗﻘﻞ ﺟامﻻً وﻓﺘﻮﻧﺎً‬ ‫ﰲ ﻣﻄﻠﻊ اﻟﻘﺼﻴﺪة ﻳﺒﺪأ اﻟﺴﺤﺮ واﻟﻔﺘﻮن ﺑﺎﻷﻧﺜﻰ اﻟﺘﻲ ﻻ ّ‬ ‫ّ‬ ‫ﻳﺒني ﻟﻨﺎ ﺷﺎﻋﺮﻧﺎ ﻫﺬه اﳌﻘﺎرﻧﺔ ﻣﺆﻛﺪاً ﺑﺄﻧّﻬﺎ‬ ‫ﻋﻦ اﻟﺰﻫﺮة‪ ،‬وﰲ اﻟﺒﻴﺖ اﻟﺘﺎﱄ ّ‬ ‫ﻓﺎﺗﻨﺔ ﺟﻴﻠﻬﺎ‪ ،‬وأنّ » ُﺣﻤﺮة اﻟﺠﻮري ﺑﺨ ّﺪﻳﻨﻚ ﻋﻼميﻬﺎ« ﻛام ﻗﺎل‪ ،‬أي أنّ‬ ‫ﺧﺪود ﻋﺸﻴﻘﺘ ِﻪ ﻣﺸﻌﺔ َﻛﺸﻌﺎع ُﺣﻤﺮة اﻟﺠﻮري اﻟﺠﻤﻴﻞ واﻷﻧﻴﻖ‪ ،‬وﻟﻮن‬ ‫اﻷﺣﻤﺮ اﻟﺠﻮري ﻳﻌﻨﻲ اﻟﻜﺜري ﻟﻠﻌﺸّ ﺎق وﻟﻠﻨﺴﺎء ﺧﺎﺻﺔ‪ .‬ﻫﻲ زﻫﺮة اﻟﺤﺐ‬ ‫واﻟﺤﻤﺮ‬ ‫واﻟﻐﺮام واﻟﻌﺎﻃﻔﺔ اﻟﺠ ّﻴﺎﺷﺔ‪ ،‬وﺷﺎﻋﺮﻧﺎ أﺑﺪع ﺣني ذﻛﺮ اﻟﺠﻮري ُ‬ ‫واﻟﺨﺪود‪ ،‬إذ ﺗﻨﺎﺳﺒﺖ اﻟﺮﻣﻮز ﻣﻊ ﺑﻌﻀﻬﺎ‪ّ ،‬‬ ‫وإﻻ‪ ،‬ﳌﺎذا مل ﻳﺬﻛﺮ زﻫﺮة أﺧﺮى‬ ‫اﻟﺤﻤﺮة اﳌﺘﻮﻫﺠﺔ‬ ‫ﻏري اﻟﺠﻮري ﰲ ﻫﺬه اﻟﻘﺼﻴﺪة ؟ أﻟﻴﺲ ﻷنّ اﻟﺠﻮري ﻣﻠﻚ ُ‬ ‫واﻟﺠامل اﻟﺒﻠﻴﻎ ؟ أﻟﻴﺲ ﻷ ّﻧ ُﻪ ﻳﺼﻨﻊ روح اﻻﺣﺴﺎس واﳌﺸﺎﻋﺮ ﰲ وﺟﺪان‬ ‫اﻷﻧﺜﻰ ﺣني ﺗﻔﻮح راﺋﺤﺘ ُﻪ ؟ و»ﺑﺎﺑﻞ« اﻟﺘﻲ ذﻛﺮﻫﺎ ﻫﻲ ﺣﺪاﺋﻖ ﻛﺎﻟﺠ ّﻨﺔ ﻣﻦ‬ ‫اﻟﺰﻫﻮر‪.‬‬ ‫ّ‬ ‫ﻇﻞ ﺷﺎﻋﺮﻧﺎ ُﻳﺤ ّﻠﻖ ﰲ ﺗﺮاﺑﻂ ﺟﻤﻴﻞ ﺑني اﳌﻜﺎن واﻟﺰﻫﺮة‪ ،‬ﻣﺘﺤﺪﺛﺎ ﻋﻦ ﻋﻼﻗﺔ‬ ‫ﺑﻼد ِه مبﺼﺪر اﻟﺠامل اﻟﻨﺎﺑﻊ ﻣﻨﻬﺎ‪.‬‬ ‫ﻫﻜﺬا ﻫﻲ أوﻃﺎن اﻟﺸﻌﺮاء‪ ،‬ﻛﺎﻟ ّﺰﻫﻮر ﰲ ﺑﺴﺎﺗني اﻟﻘﺼﺎﺋﺪ‪ ،‬ﺑﻞ إن ﻗﺼﺎﺋﺪ‬ ‫اﻟﺸﻌﺮاء أوﻃﺎن ﻣﻦ زﻫﻮر! واﻟﺠﻮري اﻷﺣﻤﺮ واﻷﺑﻴﺾ ﻛﺎﻷﻋﻼم ﺗﺮﻗﺺ ﻣﻊ‬ ‫اﻟﻨﺴﻴﻢ ﻣﺜﻞ اﻣﺮأ ٍة ﺗﻬﺪي ﺷﻌﺮﻫﺎ ﻟﻠﻔﻀﺎء اﻟﺮﺣﺐ‪،‬و ﺗﺰرع ﻓﻴﻨﺎ اﻷﻣﻞ ﺑﺎﻟﻔﺠﺮ‬ ‫ﻣﺮﺗﻊ اﻟﺸﻌﺮاء اﻷول اﻟﺬي ﻻ ﻳﻐﻴﺐ أﺑﺪاً‪ ،‬و َﻳ ﱡ‬ ‫ﻈﻞ‬ ‫اﳌﴩق ﰲ اﻟﻘﻠﻮب‪ ،‬ﻓﺎﻟﺤﺐ ِ‬ ‫ﻓﻴﻬﻢ وﻣﻌﻬﻢ ﻛﺎﻟﻨﺒﺾ اﳌﺴﺘﻤﺮ ﰲ ﴍاﻳني اﻟﺤﻴﺎة‪.‬‬

‫اﻟﺤﺎﻟﺔ اﻟﺘﺄﻣﻠﻴﺔ ﻓﻲ زﻫﺮة اﻟﺠﻮري ﺗﺮﻣﺰ أﺣﻴﺎﻧﺎً‬ ‫إﻟﻰ أﺣﻼم اﻟﺸﻌﺮاء وﺗﻄﻠﻌﺎﺗِﻬﻢ ﻧﺤﻮ اﻟﺤﺐ واﻟﻤﺼﻴﺮ‬ ‫أﻛﺘﻮﺑﺮ‪35 2016 /‬‬

‫راﺋﺤﺔ اﻟﺸﻌﺮ‬ ‫‪baytelshear‬‬

‫»اﻟﺠﻮري« ﻓﻲ اﻟﺸﻌﺮ ‪..‬‬

‫ﻗﺼﺎﺋﺪ ﺣﻤﺮاء ﻛﺨﺪود اﻟﺤﺒﻴﺒﺔ!‬ ‫ﺑﺎﺳﻞ ﻋﺒﺪاﻟﻌﺎل‬

‫َﺮﺷﺢ أﻟﻮاﻧﺎً َوﻋﻄﺮاً‪َ ،‬ﻛﺄﻧَﻬﺎ اﻟﺮوح إذ ﺗُﺤ ُﻠﻖُ ﺟﺬﱃ ﰲ‬ ‫أَزﻫﺎر اﻟﺠﻮري ﺗ ُ‬ ‫ﻫﻲ زﻫﺮ ُة اﻟﺠﻮري‬ ‫ﺛﻨﺎﻳﺎ إﻧﺴﺎﻧﻬﺎ وﻣﺸﺎﻋﺮه اﳌﺜﻘﻠﺔ ﺑﺎﻟﺮﻏﺒﺎت اﻟﻌﺎﻃﻔﻴﺔ‪َ .‬‬ ‫ﻟﻜﻦ راﺋﺤﺘﻬﺎ واﺣﺪة وﻣﻤﻴﺰة‪ ،‬وﻟﻬﺎ‬ ‫ﻣﺘﻌ ّﺪدة اﻟﺠامﻟﻴﺎت وﻛﺜرية اﻷﻟﻮان‪ّ ،‬‬ ‫رﻣﺰ ّﻳﺘﻬﺎ َوﻣﻌﻨﺎﻫﺎ اﻟﺨﺎص واﻟﻔﺮﻳﺪ‪ ،‬ﺣﻴﺚ اﺗﺨﺬت ﺣ ّﻴﺰاً َوﻓرياً ﰲ ﻗﺼﺎﺋﺪ‬ ‫ﺷﻌﺮا ِء اﻹﻣﺎرات واﻟﺨﻠﻴﺞ اﻟﻌﺮيب ‪ ،‬ﺗﺎر ًة ﻛﺎﻧﺖ اﻟﺤﺒﻴﺒﺔ َوﺗﺎر ًة أﺧﺮى‬ ‫َﺻﺎرت اﻟﺤﻠﻢ ا ُﳌﺰﻫﺮ ﰲ اﻟﻘﺼﻴﺪة‪ ،‬إﻧّﻬﺎ ﻣِﻠﺢ اﻷرض واﻟﻄﺒﻴﻌﺔ‪ ،‬ﺷﻜﻞ‬ ‫ِ‬ ‫ِ‬ ‫ﺻﻔﺤﺎت اﻟﻐﺰل اﻟﺸﻌﺮي‪.‬‬ ‫اﻟﻜﻠامت ا ُﳌﺒﺪﻋﺔ واﻟﺼﺎدﻗﺔ ﻋﲆ‬ ‫ُ‬ ‫ً‬ ‫ﻧَﻔﺘﺢ دﻳﻮان اﻟﺸﻌﺮ اﻟﺸﻌﺒﻲ ﻣﻌﺎ ﻧﺠﺪ ﺧﻠﻒ ﻛ ﱢﻞ ﻗﺼﻴﺪ ٍة وردة اﻟﺠﻮري‪،‬‬ ‫ﺣﻤﺮا َء وﺑﻴﻀﺎ َء‪ ،‬ﻫﺪ ّﻳﺔ اﻟﺸﻌﺮاء ُﻟﻌﺸّ ﺎقِ اﻟﺸﻌﺮ َو ُﻫﻢ ُﻳﻐﻮﺻﻮنَ ﰲ ِﻣﺮاﻳﺎ‬ ‫اﻟﻄﺒﻴﻌﺔ اﻟﺘﻲ ﺗﻌ ِﺰ ُف أﻟﺤﺎن اﻟﺤﺐ اﳌﻨﺸﻮد َوﺟﻮﻫﺮ اﻹﻧﺴﺎﻧﻴﺔ اﻟﻨﺎﺑﻀﺔ‬ ‫ﺑﺎﻟﺸﻮق واﻟﺤﻨني إﱃ اﻟﺤﺒﻴﺒﺔ‪ ،‬ﻧﺒﺪأ ﻣﻊ اﻟﺸﺎﻋﺮ اﻹﻣﺎرايت ﺳﺎمل ﺳﻴﻒ‬ ‫اﻟﺨﺎﻟﺪي ﺣﻴﺚ ذﻛﺮ وردة اﻟﺠﻮري ﻟﻠﺘﻌﺒري ﻋﻦ اﻟﺸﻮق إﱃ اﻟﺤﺒﻴﺒﺔ ﰲ‬ ‫ﻓﺼﻞ اﻟﺮﺑﻴﻊ‪ ،‬ﺣﻴﺚ ﻳﺰﻫﺮ اﻟﺠﻮري ﻣﻊ اﻟرنﺟﺲ ﰲ وﺣﺪ ٍة رﻣﺰ ّﻳ ٍﺔ ذات‬ ‫ﻣﻌﻨﻰ ﺟﻤﻴﻞ أﺑﺪع ﺑﻪ ﺷﺎﻋﺮﻧﺎ ﺣني ﻗﺎل ﰲ أﺑﻴﺎت اﻟﻘﺼﻴﺪة اﻟﺘﻲ ﺟﺎءت‬ ‫ﺑﻌﻨﻮان » رﻫﻴﺐ«‪:‬‬

‫‪¦zCCCCCCCM|CCCCCCC- fCCCCCCCCCCH ¨CCCCCCC CCCCCCC< |CCCCCCCCHfCCCCCCCC‬‬‫*&‪ CCCªCCC CCCH ¥CCCCCCCCCG fCCCCCCCCCCCCCCCCCI&*K |CCCCCCCCCCCCCCCCCH‬‬ ‫*‪,zCCCCªCCCC CCCC CCCC CCCCG* ,fCCCCCCCCCªCCCCCCCCCº* lCCCCCCCCCCCI‬‬ ‫‪ CCCCCªCCCCC+|CCCCCG* CCCCC CCCCC CCCCCD 24K fCCCCCCCCCM‬‬ ‫‪¬2fCCCCCCCCCCCFK CCCCCC CCCCCC/|CCCCCCIK ¬4§CCCCCCCCCCCCC/‬‬ ‫‪hCCCCªCCCC CCCCM CCCCCCC+|CCCCCCC CCCCCCC+ «CCCCCCCC0|CCCCCCCC/‬‬

‫ﺗﺮﻧﻴﻤﺔ ﺷﻌﺮﻳﺔ ﻏﻨﺎﺋ ّﻴﺔ ﻟﻠﺤﺒﻴﺒﺔ اﻟﺘﻲ ﻧﺎﺷﺪﻫﺎ ﺷﺎﻋﺮﻧﺎ ورﻣﺰ إﱃ ﺻﻮرﺗﻬﺎ‬ ‫ﺑﻮرد اﻟﺮﺑﻴﻊ ﺣني ﻗﺎل » ﺟﻮري وﻧﺮﺟﺲ وﻛﺎدي »‪ ،‬ﻛﺄ ّﻧ ُﻪ ﻳﻘﻮل ‪ :‬أﻫﻨﺎك‬ ‫أﺟﻤﻞ ﻣﻦ ﻓﺼﻞ اﻟﺮﺑﻴﻊ اﳌﲇء ﺑﺰﻫﺮ اﻟﺠﻮري واﻟرنﺟﺲ وﻏريه ‪...‬أن‬ ‫ﻳﻜﻮن وﺟﻬﺎً ﺑﻬ ّﻴﺎً ﻟﺤﺒﻴﺒﺘ ِﻪ اﻟﻐﺎﺋﺒﺔ اﻟﺤﺎﴐة ﰲ اﻟﻨﺺ ؟ واﻟﺘﻲ ﻫﻲ ﻣﺼﺪر‬ ‫اﻟﺤﻴﺎة اﻟﺴﻌﻴﺪة ﺑﺎﻟﻨﺴﺒﺔ ﻟﻪ‪َ ،‬وﻧﺮى ﺑﺄنّ اﻟﺠﻮري ُﻫﻨﺎ أىت ﺑﺮﻣﺰ ّﻳﺔ اﻟﺪواء‬ ‫اﻟﺸﺎﰲ ﻟﺠﺮاح ﺷﺎﻋﺮﻧﺎ اﻟﺘﻲ ﻳ ﱡﱧ ﻣﻨﻬﺎ وﻫﻮ ُﻳﺨﺎﻃﺐ ﺣﺒﻴﺒﺘ ُﻪ ﻣﻦ ﺑﻌﻴﺪ‪ ،‬ﻣﺎ‬ ‫زال ﺷﻮﻗ ُﻪ ﻳﺸﺘﻌﻞ ﻟﻬﺎ َو ُﻳﻨﺎدﻳﻬﺎ ﺑﺄﺟﻤﻞ ٍ‬ ‫أﺑﻴﺎت ﺷﻌﺮﻳ ٍﺔ ﻣﺨﻤﻮر ٍة ﺑﺮاﺋﺤ ِﺔ‬ ‫اﻟﺠﻮري‪.‬‬ ‫ً‬ ‫اﻟﺤﺎﻟﺔ اﻟﺘﺄﻣﻠﻴﺔ ﰲ زﻫﺮة اﻟﺠﻮري ﺗﺮﻣﺰ أﺣﻴﺎﻧﺎ إﱃ أﺣﻼم اﻟﺸﻌﺮاء‬ ‫وﺗﻄﻠﻌﺎﺗِﻬﻢ ﻧﺤﻮ اﻟﺤﺐ واﳌﺼري ﻣﻦ ﻧﺎﺣﻴ ٍﺔ َوﻧﺤﻮ اﻟﺘﻔﺎؤل ﺑﺎﻵيت ودﻓﻊ‬ ‫‪«CCCCC+fCCCCCªCCCCC= · ¿ fCCCCCCkCCCCCC CCCCCC CCCCCC‬‬‫اﻟﻨﻔﺲ إﱃ أﺧﺬ ﻗﺴﻂ ﻣﻦ اﻟﺮاﺣﺔ اﻟﻨﺴﺒﻴﺔ ﺑﻠ ّﺬة اﻟﻨﻈﺮ إﱃ اﻟﺰﻫﻮر‬ ‫‪4§CCCCCCJ~CCCCCC CCCCCCG LzCCCCCCCCCC¡CCCCCCCCCCG* §CCCCCCCC CCCCCCCC7‬‬ ‫وراﺋﺤﺘﻬﺎ ﻣﻦ ﻧﺎﺣﻴ ٍﺔ أﺧﺮى‪ ،‬ﻋﻨﺪ اﻟﺸﺎﻋﺮ اﻟﺴﻌﻮدي ﻣﻬﺪي ﺑﻦ ﺳﻌﻴﺪ ﰲ‬ ‫‪«CCCCC+*{CCCCC< fCCCCCCCCM CCCCCCCCG fCCCCCCCkCCCCCCC CCCCCCC7*K‬‬ ‫· =‪ 4§CCCCCCC CCCCCCC CCCCCCCº*K CCCCCCkCCCCCCgCCCCCCªCCCCCC‬ﻗﺼﻴﺪﺗ ِﻪ » ذل اﳌﻄﺮ« ﻧﺠﺪ ﺗﻠﻚ اﻟﺤﺎﻟﺔ اﻟﺘﺄﻣﻠﻴﺔ ﰲ اﻟﺰﻫﺮة واﻟﺤﻠﻢ ﻣﻌﺎً‬ ‫ﻛام ﻳﺮى اﻟﺸﺎﻋﺮ‪ ،‬ﻳﻘﻮل ﰲ أﺑﻴﺎﺗ ِﻪ ‪:‬‬ ‫*‪¬2*|CCCCCCCCCCCCCCCCCCCHK ¬fCCCCCCCCCC¡CCCCCCCCCCH lCCCCCCCCCCCCCCCI‬‬ ‫‪hCCCCªCCCC CCCC CCCC¡CCCCG*K fCCCCCCCC/|CCCCCCCCG* CCCCCCªCCCCCCD‬‬

‫‪h¡/ ¨ < ^ *{CCJK ¥ 6f+ L~k<* *{CCJ‬‬ ‫*‪¬4§CCCC/ 24K fCCC¤CCC CCC6*|CCCF ¨CCC CCC< CCCC CCCC64‬‬ ‫*= *‪h G* 1z- ¤HÑ0* ÕG‬‬ ‫‪¬4§CC¤CC¹* m§ G* i*§CCC+* ¢CCH s|CCC1*K‬‬ ‫<§‪h 8 h = P ¤ 6 mzk<*K ¤-2‬‬ ‫‪¬4§ F ÌCC±‬‬ ‫‪T ¥ t 9 CC CCº* 4fCC CC8‬‬ ‫‪hº* jMf= v| G*K É~0 §M ¢H‬‬ ‫*‪¬4K|CCCC CCCC6 ¨CCC CCC¡CCC¼ ¥CCCkCCC CCC CCC6§CCC- «CCCC CCCCG‬‬ ‫‪h0fH H4 v| G* 2Kz0 ¨ < ÉK2‬‬ ‫*¸ ‪¬4§CCCCnCCCC< ¢CCCCCH fCCCC¤CCCC-§CCCCE i§CCCCgCCCCJ‬‬ ‫*‪i|< ¢H ¢M2 ¢H5 · « Gf+ m| H‬‬ ‫‪¬4K{/ | 7*K H|G*K | ¼* 3‬‬

‫ورد اﻟﺠﻮري واﻷﺣﻼم واﳌﻄﺮ واﻟﻌﺸﺐ ﻫﻲ ﺣﺎﻻت اﻟﺘﻔﺎؤل‬ ‫اﻟﺠﻤﻴﻠﺔ واﻟﺘﻔ ّﻜﺮ ﺑﺎﻟﻨﻔﺲ‪ ،‬وﻳﺒﻘﻰ ﰲ ﻫﺬه اﻷﺑﻴﺎت ﳾء واﺣﺪ‬ ‫ﻳﴤء ﻋﻠﻴﻪ ﺷﺎﻋﺮﻧﺎ وﻫﻮ اﻟﻄﺒﻴﻌﺔ ﺛﻢ اﻟﺤﻠﻢ‪ ،‬ﻓﻴﺤﺎول رﺳﻢ ﺷﻜﻞ‬ ‫‪48‬‬ ‫‪ 34‬ﺑﻴﺖ اﻟﺸﻌﺮ ‪ /‬اﻟﻌﺪد ‪49‬‬

‫اﻟﺪامئﺔ ﰲ اﻟﻠﻮﻓﺮ أﺑﻮﻇﺒﻲ‪ :‬منﻮذﺟﺎً ﻓﺮﻳﺪاً‬ ‫ﻷﻣرية ﻣﻦ ﺑﺎﺧﱰﻳﺎ واﻗﻔﺔ ﺗﻌﻮد إﱃ ﻧﻬﺎﻳﺔ‬ ‫اﻷﻟﻔﻴﺔ اﻟﺜﺎﻟﺜﺔ ﻗﺒﻞ اﳌﻴﻼد‪ ،‬وﻣﺠﻤﻮﻋﺔ أرﺿﻴﺔ‬ ‫ﻣﺮﺻﻮﻓﺔ وﻧﺎﻓﻮرة ﻣﺤﻔﻮﻇﺔ ﺑﻄﺮﻳﻘﺔ ﺟﻤﻴﻠﺔ‬ ‫ﻳﻌﻮد ﺗﺎرﻳﺨﻬﺎ إﱃ ﺑﺪاﻳﺔ اﻟﻔﱰة اﻟﻌﺜامﻧﻴﺔ‪،‬‬ ‫ﺳﻮاراً ﻣﺰ ّﻳﻨﺎً ﺑﺄﺳﺪﻳﻦ ﻣﻦ ﻣﻨﻄﻘﺔ اﻟﴩق‬ ‫اﻷوﺳﻂ‪ ،‬ﻳﻌﻮد إﱃ ﻣﺎ ﻗﺒﻞ ‪ 3000‬ﺳﻨﺔ ﺗﻘﺮﻳﺒﺎً‪،‬‬ ‫وﻟﻮﺣﺔ ”اﻟﺴﺎﻣﺮي اﻟﺼﺎﻟﺢ“ ﻟﻠﺮﺳﺎم واﻟﻨﺤﺎت‬ ‫”ﺟﺎﻛﻮب ﺟﻮرداﻧﺲ“‪ ،‬أﺣﺪ أﺷﻬﺮ اﻟﺮﺳﺎﻣني‬ ‫اﻟﻔﻠﻤﻨﻜﻴني ﻣﻦ اﻟﻘﺮن اﻟﺴﺎﺑﻊ ﻋﴩ‪ ،‬وﻟﻮﺣﺔ‬ ‫”أﻣري ﺷﺎب ﻣﻨﻜﺐ ﻋﲆ اﻟﺪراﺳﺔ“ ﻣﻦ اﻟﻌﺎم‬ ‫‪ ،1878‬ﻟﻌﺜامن ﺣﻤﺪي ﺑﺎي‪.‬‬ ‫أﻣﺎ اﻷﻋامل اﳌﻌﺎﴏة‪ ،‬ﻓﺘﻀﻢ ﻣﺠﻤﻮﻋﺔ ﻣﻦ‬ ‫ﺗﺴﻊ ﻟﻮﺣﺎت زﻳﺘﻴﺔ ﻟﻠﻔﻨﺎن اﻟﺸﻬري »ﺳﺎي‬ ‫ﺗﻮﻣﺒﲇ«‪ .‬وﻳﺤﺘﻮي اﻟﻠﻮﻓﺮ أﺑﻮﻇﺒﻲ أﻳﻀﺎً‬ ‫ﻋﲆ ﻣﺠﻤﻮﻋﺔ ﺻﻮر ﻓﻮﺗﻮﻏﺮاﻓﻴﺔ‪ ،‬ﺗﺸﺘﻤﻞ‬ ‫ﻋﲆ أﻗﺪم ﺻﻮرة ﻓﻮﺗﻮﻏﺮاﻓﻴﺔ ﻣﻌﺮوﻓﺔ ﻷﻣرية‬ ‫ﻣﺤﺠﺒﺔ ﺗﺤﻤﻞ ﻋﻨﻮان »ﻋﻴﻮﺷﺔ«‪ ،‬ﻟﻠﻔﻨﺎن‬ ‫ﺟﻮزﻳﻒ ﻓﻴﻠﻴﺒري ﺟريوﻟﺪ دي ﺑﺮاﻧﺠﻲ‪.‬‬ ‫ﺗﺼﻤﻴﻢ أﺧﺎذ‬ ‫روﻋﻲ ﰲ ﺗﺼﻤﻴﻢ اﳌﺘﺤﻒ أن ﻳﻈﻬﺮ وﻛﺄﻧﻪ‬ ‫ﻣﺪﻳﻨﺔ ﺻﻐرية ﻗﺎمئﺔ ﺑﺤﺪ ذاﺗﻬﺎ‪ ،‬ﺣﻴﺚ‬ ‫اﺳﺘﻮﺣﻰ اﳌﺼﻤﻢ اﻟﻌﻤﺮاين ﺟﺎن ﻧﻮﻓﻴﻞ‪،‬‬ ‫واﻟﺤﺎﺋﺰ ﻋﲆ ﺟﺎﺋﺰة ﺑﺮﺗﺰﻛﺮ اﻟﻌﺎﳌﻴﺔ‪ ،‬اﳌﻤﺮات‬ ‫اﳌﺎﺋﻴﺔ اﻟﺠﺎرﻳﺔ ﺿﻤﻦ اﳌﺘﺤﻒ ﻣﻦ ﻧﻈﺎم‬ ‫اﻷﻓﻼج اﳌﻌﺮوف ﰲ اﻟﻬﻨﺪﺳﺔ اﻟﻌﺮﺑﻴﺔ‬ ‫اﻟﻘﺪميﺔ‪ .‬وﺗﺄيت اﻟﺘﺨﺮميﺎت اﻟﻬﻨﺪﺳﻴﺔ ﰲ ﻗﺒﺔ‬

‫اﳌﺘﺤﻒ ﻣﻦ ﺳﻌﻒ أﺷﺠﺎر اﻟﻨﺨﻴﻞ اﳌﺘﺪاﺧﻠﺔ‬ ‫اﻟﺘﻲ ﻛﺎن ﻳﺘﻢ اﺳﺘﺨﺪاﻣﻬﺎ ﰲ ﺳﻘﻒ اﳌﻨﺎزل‬ ‫اﻟﺘﻘﻠﻴﺪﻳﺔ واﻟﺘﻲ ﺗﺴﻤﺢ ﻷﺷﻌﺔ اﻟﺸﻤﺲ‬ ‫ﺑﺎﻟﻨﻔﺎذ ﻣﻦ ﺧﻼﻟﻬﺎ ﻟﺘﺸﻜﻞ ﻣﺎ أﺻﺒﺢ ﻳﻌﺮف‬ ‫ﺑـ»ﺷﻌﺎع اﻟﻨﻮر«‪.‬‬ ‫أﻣﺎ اﻟﺸﻜﻞ اﻟﻬﻨﺪﳼ اﳌﻌﻘﺪ ﻟﻠﻘﺒﺔ‪ ،‬ﻓﻬﻮ‬ ‫ﺣﺼﻴﻠﺔ اﻟﺘﺼﻤﻴﻢ اﳌﻌامري اﻟﻌﺮيب ﺿﻤﻦ‬ ‫أﺣﺠﺎم وزواﻳﺎ ﻣﺘﻨﻮﻋﺔ ﺗﺘﺸﻜﻞ ﻣﻦ مثﺎين‬ ‫ﻃﺒﻘﺎت ﻣﺨﺘﻠﻔﺔ‪ ،‬ﻣﻨﻬﺎ أرﺑﻊ ﻃﺒﻘﺎت ﺧﺎرﺟﻴﺔ‬ ‫وأرﺑﻊ أﺧﺮى داﺧﻠﻴﺔ ﺿﻤﻦ ﺗﺮﺗﻴﺐ ميﻨﺢ اﻟﻘﺒﺔ‬ ‫ﻣﺰﻳﺪاً ﻣﻦ اﻟﺰرﻛﺸﺔ واﻟﺠامل‪ ،‬ﻣام ﻳﻌﻜﺲ‬ ‫اﻟﺘﻀﺎد اﳌﺴﺘﻤﺮ ﺑني اﻟﻈﻞ واﻟﻀﻮء‪،‬‬ ‫وﺣﻮل ﻫﺬه اﻟﻨﻘﻄﺔ ﺗﻘﻮل اﻟﻈﺎﻫﺮي‪» :‬ﻛﺎن‬ ‫اﻟﺘﺼﻤﻴﻢ ﻋﲆ اﻟﻮرق ﻣﺬﻫ ًﻼ‪ ،‬وﻋﻨﺪﻣﺎ أﺻﺒﺢ‬ ‫واﻗﻌﺎً زاد ﺟامل اﻟﺒﻨﺎء ﺳﺤﺮاً‪ ،‬ﻓﺎﻟﻨﻮاﻓﺬ اﻟﺘﻲ‬ ‫ﺗﺸﻜﻞ ﻣﻄﺮاً ﻣﻦ اﻷﺿﻮاء ﺗﻀﻔﻲ روﻋﺔ ﻻ ﻣﺜﻴﻞ‬ ‫ﻟﻬﺎ ﻟﻠﻤﻜﺎن‪ ،‬ﻫﺬا وﻻ ﻳﺘﻤﺜﻞ ﺟامل اﻟﺘﺼﻤﻴﻢ‬ ‫ﰲ اﻟﺒﻨﺎء اﻟﺮﺋﻴﴘ ﻓﺤﺴﺐ‪ ،‬ﺑﻞ ﻳﺘﻌﺪاه إﱃ‬ ‫ﻛﻞ اﳌﺴﺎﺣﺔ اﳌﺮﻓﻘﺔ ﺑﺎﳌﺘﺤﻒ‪ ،‬واﻟﺘﻲ ﺳﺘﻀﻢ‬ ‫ﺣﺪاﺋﻖ وﻣﻄﺎﻋﻢ وﻣﺮاﻓﻖ ﺗﺮﻓﻴﻬﻴﺔ‪ ،‬ﺗﺠﻌﻞ ﻣﻦ‬ ‫زﻳﺎرة اﳌﺘﺤﻒ ﻧﺸﺎﻃﺎً ﻋﺎﺋﻠﻴﺎً ﻣﺤﺒﺒﺎً«‪.‬‬ ‫وﺗﺒﻠﻎ اﳌﺴﺎﺣﺔ اﳌﺒﻨﻴﺔ ﰲ اﻟﻠﻮﻓﺮ أﺑﻮﻇﺒﻲ ﻧﺤﻮ‬ ‫‪ 87‬أﻟﻒ ﻣﱰ ﻣﺮﺑﻊ‪ ،‬ﻣﻊ ﻣﺴﺎﺣﺔ ‪ 9,200‬ﻣﱰ‬ ‫ﻣﺮﺑﻊ ﻟﻠﺼﺎﻻت اﻟﻔﻨﻴﺔ‪ ،‬ﻣﻨﻬﺎ ‪ 6,000‬ﻣﱰ ﻣﺮﺑﻊ‬ ‫ﻣﺨﺼﺼﺔ ﻟﻌﺮض اﻷﻋامل اﻟﻔﻨﻴﺔ اﻟﺪامئﺔ‪ ،‬ﺑﻴﻨام‬ ‫ﺧُ ّﺼﺺ ‪ 2,000‬ﻣﱰ ﻣﺮﺑﻊ ﻟﻠﻤﻌﺎرض اﳌﺆﻗﺘﺔ‪.‬‬ ‫ﺳﻴﻮاﺻﻞ ﻣﺘﺤﻒ اﻟﻠﻮﻓﺮ أﺑﻮﻇﺒﻲ ﺗﺴﻠﻴﻂ‬ ‫اﻟﻀﻮء ﻋﲆ ﻣﺠﻤﻮﻋﺔ ﻣﻘﺘﻨﻴﺎﺗﻪ اﳌﺘﻨﺎﻣﻴﺔ‬

‫ﻣﻦ ﺧﻼل ﺑﺮﻧﺎﻣﺞ ﺗﻔﺎﻋﲇ ﻳﻬﺪف إﱃ ﺗﻌﺰﻳﺰ‬ ‫ﻣﺸﺎرﻛﺔ أﻓﺮاد اﳌﺠﺘﻤﻊ ﻣﻦ ﻣﺨﺘﻠﻒ اﻟﺜﻘﺎﻓﺎت‬ ‫واﻻﻫﺘامﻣﺎت واﻷﻋامر‪ .‬واﻟﺘﻲ ﺳﺘﺘﻴﺢ‬ ‫ﻟﻠﺠﻤﻬﻮر ﻓﺮﺻﺔ اﻹﻃﻼع ﻋﲆ ﻣﺠﻤﻮﻋﺔ‬ ‫ﻣﻘﺘﻨﻴﺎت اﳌﺘﺤﻒ وﻣﺮاﺣﻞ ﺗﻄﻮرﻫﺎ ﻗﺒﻴﻞ‬ ‫اﻓﺘﺘﺎﺣﻪ رﺳﻤﻴﺎً‪.‬‬

‫ﻳﺴﺎﻋﺪ اﻟﺤﻮار ﺑﻴﻦ اﻷﻋﻤﺎل‬ ‫اﻟﻔﻨﻴﺔ واﻟﻤﻨﺤﻮﺗﺎت واﻟﻘﻄﻊ‬ ‫اﻷﺧﺮى ﻋﻠﻰ ﺗﻤﻜﻴﻦ اﻟﺰوار ﻣﻦ‬ ‫اﻛﺘﺸﺎف اﻟﺘﺄﺛﻴﺮات اﻟﻤﺸﺘﺮﻛﺔ‬ ‫واﻟﻌﻼﻗﺎت اﻟﻤﺜﻴﺮة ﺑﻴﻦ اﻟﺜﻘﺎﻓﺎت‬ ‫اﻟﻤﺨﺘﻠﻔﺔ ﺣﻮل اﻟﻌﺎﻟﻢ‬ ‫ﺳﻴﻌﺮض اﻟﻠﻮﻓﺮ أﺑﻮﻇﺒﻲ‬ ‫اﻷﻋﻤﺎل اﻟﻔﻨﻴﺔ ﻣﻦ ﻣﺨﺘﻠﻒ‬ ‫اﻟﺤﻀﺎرات وﻟﻜﻦ ﺑﻄﺮﻳﻘﺔ‬ ‫ﻣﺘﺮاﺑﻄﺔ‪ ،‬ﺣﻴﺚ ﺳﻴﺒﺮز اﻟﻔﻦ‬ ‫واﻟﻤﺨﻄﻮﻃﺎت واﻷﺷﻴﺎء اﻟﺘﻲ‬ ‫ﺗﻤﺘﻠﻚ أﻫﻤﻴﺔ ﺗﺎرﻳﺨﻴﺔ وﺛﻘﺎﻓﻴﺔ‬ ‫واﺟﺘﻤﺎﻋﻴﺔ ﺿﻤﻦ ﺟﺪول زﻣﻨﻲ‬ ‫ﺷﺎﻣﻞ‬

‫أﻛﺘﻮﺑﺮ‪33 2016 /‬‬

‫ﻋﻄﺮ اﻟﻤﻜﺎن‬ ‫‪baytelshear‬‬

‫أﻋامل اﻟﻔﻨﺎن ﻟﻴﻮﻧﺎردو دا ﻓﻴﻨﴚ وﻫﻲ‬ ‫»ﺑﻮرﺗﺮﻳﻪ ﻻﻣﺮأة ﻣﺠﻬﻮﻟﺔ« )ﺣﻮاﱄ ‪1495‬م(‬ ‫واﻟﺘﻲ ﺗﻌﺮف أﻳﻀﺎً ﺑﺎﺳﻢ ”ﺟﻤﻴﻠﺔ اﻟﺤﺪاد“‬ ‫ﻣﻦ ﻣﺘﺤﻒ اﻟﻠﻮﻓﺮ ﰲ ﺑﺎرﻳﺲ‪ ،‬وﻟﻮﺣﺔ ”ﻋﺎزف‬ ‫اﳌﺰﻣﺎر“ )‪ (1866‬ﻟﻠﺮﺳﺎم اﻻﻧﻄﺒﺎﻋﻲ اﻟﻔﺮﻧﴘ‬ ‫إدوارد ﻣﺎﻧﻴﻪ‪ ،‬و“ﻣﺤﻄﺔ ﺳﺎن ﻻزار“ )‪(1877‬‬ ‫ﻟﻠﻔﻨﺎن ﻛﻠﻮد ﻣﻮﻧﻴﻪ ﻣﻦ ﻣﺘﺤﻒ أورﺳﻴﻪ‪،‬‬ ‫وﻣﻨﺤﻮﺗﺔ ”اﳌﻼﺣﺔ“ ﻣﻦ إﻣﱪاﻃﻮرﻳﺔ ﺑﻨني ﻣﻦ‬ ‫ﻣﺘﺤﻒ ﺑﺮاﻧﲇ‪ ،‬ﺑﺎﻹﺿﺎﻓﺔ إﱃ ﻟﻮﺣﺔ ”ﻃﺒﻴﻌﺔ‬ ‫ﺻﺎﻣﺘﺔ ﻣﻊ ﻣﺎﻏﻨﻮﻟﻴﺎ“ )‪ (1941‬ﻟﻠﻔﻨﺎن ﻫرني‬ ‫ﻣﺎﺗﻴﺲ ﻣﻦ ﻣﺮﻛﺰ ﺑﻮﻣﺒﻴﺪو‪.‬‬ ‫وﻋﻦ ﻋﻤﻠﻴﺔ اﺧﺘﻴﺎر اﳌﻘﺘﻨﻴﺎت ﺗﻘﻮل اﻟﻈﺎﻫﺮي‪:‬‬ ‫»متﺖ ﻋﻤﻠﻴﺔ اﺧﺘﻴﺎر اﻷﻋامل اﻟﻔﻨﻴﺔ ﺑﺈﴍاف‬ ‫ﻛﻞ ﻣﻦ ﻫﻴﺌﺔ أﺑﻮﻇﺒﻲ ﻟﻠﺴﻴﺎﺣﺔ واﻟﺜﻘﺎﻓﺔ‪،‬‬ ‫ووﻛﺎﻟﺔ ﻣﺘﺎﺣﻒ ﻓﺮﻧﺴﺎ‪ ،‬واﳌﺘﺎﺣﻒ اﻟﻮﻃﻨﻴﺔ‬ ‫اﻟﻔﺮﻧﺴﻴﺔ مبﺎ ﻳﺘﻮاﻓﻖ ﻣﻊ اﻟﱪﻧﺎﻣﺞ اﻟﻌﻠﻤﻲ‬ ‫واﻟﺜﻘﺎﰲ ﻟﻠﻤﺘﺤﻒ‪ .‬وﻣﻦ ﺿﻤﻦ اﳌﺮاﻛﺰ‬ ‫اﻟﺜﻘﺎﻓﻴﺔ اﻟﻔﺮﻧﺴﻴﺔ اﻟﺘﻲ ﺷﺎرﻛﺖ ﰲ ﻋﻤﻠﻴﺔ‬ ‫إﻋﺎرة اﻷﻋامل اﻟﻔﻨﻴﺔ ﰲ اﻟﻌﺎم اﻻﻓﺘﺘﺎﺣﻲ‬ ‫»ﻣﺘﺤﻒ اﻟﻠﻮﻓﺮ«‪ ،‬و»ﻣﺘﺤﻒ أورﺳﻴﻪ«‪،‬‬ ‫و»ﻣﺮﻛﺰ ﺑﻮﻣﺒﻴﺪو«‪ ،‬و» ﻣﺘﺤﻒ ﻛﺎي ﺑﺮاﻧﲇ«‪،‬‬ ‫و»ﻣﺘﺤﻒ ﺟﻴﻤﻴﻪ« )اﳌﺘﺤﻒ اﻟﻮﻃﻨﻲ‬ ‫ﻟﻠﻔﻨﻮن اﻵﺳﻴﻮﻳﺔ(‪ ،‬و»اﳌﺘﺤﻒ اﻟﻮﻃﻨﻲ ﻟﻘﴫ‬ ‫‪ 32‬ﺑﻴﺖ اﻟﺸﻌﺮ ‪ /‬اﻟﻌﺪد ‪49‬‬

‫روﻋﻲ ﻓﻲ ﺗﺼﻤﻴﻢ اﻟﻤﺘﺤﻒ‬ ‫أن ﻳﻈﻬﺮ وﻛﺄﻧﻪ ﻣﺪﻳﻨﺔ ﺻﻐﻴﺮة‬ ‫ﻗﺎﺋﻤﺔ ﺑﺤﺪ ذاﺗﻬﺎ‬ ‫ﻻ ﻳﺘﻤﺜﻞ ﺟﻤﺎل اﻟﺘﺼﻤﻴﻢ ﻓﻲ‬ ‫اﻟﺒﻨﺎء اﻟﺮﺋﻴﺴﻲ ﻓﺤﺴﺐ‪ ،‬ﺑﻞ‬ ‫ﻳﺘﻌﺪاه إﻟﻰ ﻛﻞ اﻟﻤﺴﺎﺣﺔ‬ ‫اﻟﻤﺮﻓﻘﺔ ﺑﺎﻟﻤﺘﺤﻒ‪ ،‬واﻟﺘﻲ‬ ‫ﺳﺘﻀﻢ ﺣﺪاﺋﻖ وﻣﻄﺎﻋﻢ‬ ‫وﻣﺮاﻓﻖ ﺗﺮﻓﻴﻬﻴﺔ‪ ،‬ﺗﺠﻌﻞ ﻣﻦ‬ ‫زﻳﺎرة اﻟﻤﺘﺤﻒ ﻧﺸﺎﻃﺎً ﻋﺎﺋﻠﻴﺎً‬ ‫ﻣﺤﺒﺒﺎً« ‬ ‫ﻓﺮﺳﺎي«‪ ،‬و» ﻣﺘﺤﻒ رودﻳﻦ«‪ ،‬و»ﻣﻜﺘﺒﺔ‬ ‫ﻓﺮﻧﺴﺎ اﻟﻮﻃﻨﻴﺔ«‪ ،‬و»ﻣﺘﺤﻒ ﻛﻠﻮين« )اﳌﺘﺤﻒ‬ ‫اﻟﻮﻃﻨﻲ ﻟﻠﻌﺼﻮر اﻟﻮﺳﻄﻰ(‪ ،‬و»ﻣﺘﺤﻒ ﺳﻴﻔﺮ«‬ ‫)اﳌﺘﺤﻒ اﻟﻮﻃﻨﻲ ﻟﻠﺨﺰف(‪ ،‬و»اﳌﺘﺤﻒ‬ ‫اﻟﻮﻃﻨﻲ ﻟﺼﻨﺎﻋﺔ اﻟﺨﺰف«‪ ،‬و«ﻣﺘﺤﻒ اﻟﻔﻨﻮن‬ ‫اﻟﺰﺧﺮﻓﻴﺔ«‪ ،‬و»اﳌﺘﺤﻒ اﻷﺛﺮي اﻟﻮﻃﻨﻲ ﰲ‬ ‫ﺳﺎن ﺟريﻣﺎن«‪ ،‬و»ﻗﴫ ﻓﻮﻧﺘﻴﻨﺒﻠﻮ‪ ،‬ﺣﻴﺚ‬ ‫ﻋﻤﻞ اﻟﺒﺎﺣﺜﻮن وﺧﱪاء اﻟﺘﺤﻒ ﻋﲆ اﺧﺘﻴﺎر‬ ‫اﻷﻋامل اﻟﺘﻲ ﺗﺴﺎﻋﺪ ﻋﲆ اﻛﺘامل اﻟﴪد‪،‬‬ ‫ﺑﺤﻴﺚ ﺗﺘﻜﻮن ﰲ اﳌﺘﺤﻒ ﻗﺼﺔ ﻛﺎﻣﻠﺔ ﺗﺤﻜﻴﻬﺎ‬

‫أﻛرث ﻣﻦ ‪ 900‬ﻋﻤﻞ إﺑﺪاﻋﻲ ﺧﺎﻟﺪ“‪.‬‬ ‫ﺳﺮد ﺗﺎرﻳﺨﻲ ﻣﺤﻜﻢ‬ ‫ﻳﻌﺘﱪ اﻟﻠﻮﻓﺮ أﺑﻮﻇﺒﻲ ﻣﺘﺤﻔﺎً ﻋﺎﳌﻴﺎً ﻳﻌﻤﻞ‬ ‫ﻋﲆ ﺗﻄﻮﻳﺮ ﻣﺠﻤﻮﻋﺘﻪ اﻟﺨﺎﺻﺔ اﻟﺪامئﺔ اﻟﺘﻲ‬ ‫ﻳﻘﺪﻣﻬﺎ ﻟﻠﺠﻤﻬﻮر اﳌﻘﻴﻢ واﻹﻗﻠﻴﻤﻲ واﻟﺪوﱄ‬ ‫ﺑﺪﻋﻢ ﻣﻦ وﻛﺎﻟﺔ ﻣﺘﺎﺣﻒ ﻓﺮﻧﺴﺎ‪ .‬وﻳﺴﺎﻋﺪ‬ ‫اﻟﺤﻮار ﺑني اﻷﻋامل اﻟﻔﻨﻴﺔ واﳌﻨﺤﻮﺗﺎت‬ ‫واﻟﻘﻄﻊ اﻷﺧﺮى ﻋﲆ متﻜني اﻟﺰوار ﻣﻦ‬ ‫اﻛﺘﺸﺎف اﻟﺘﺄﺛريات اﳌﺸﱰﻛﺔ واﻟﻌﻼﻗﺎت‬ ‫اﳌﺜرية ﺑني اﻟﺜﻘﺎﻓﺎت اﳌﺨﺘﻠﻔﺔ ﺣﻮل اﻟﻌﺎمل‪،‬‬ ‫وﺳﻴﻌﺮض اﻟﻠﻮﻓﺮ أﺑﻮﻇﺒﻲ اﻷﻋامل اﻟﻔﻨﻴﺔ‬ ‫ﻣﻦ ﻣﺨﺘﻠﻒ اﻟﺤﻀﺎرات وﻟﻜﻦ ﺑﻄﺮﻳﻘﺔ‬ ‫ﻣﱰاﺑﻄﺔ‪ ،‬ﺣﻴﺚ ﺳﻴﱪز اﻟﻔﻦ واﳌﺨﻄﻮﻃﺎت‬ ‫واﻷﺷﻴﺎء اﻟﺘﻲ متﺘﻠﻚ أﻫﻤﻴﺔ ﺗﺎرﻳﺨﻴﺔ وﺛﻘﺎﻓﻴﺔ‬ ‫واﺟﺘامﻋﻴﺔ ﺿﻤﻦ ﺟﺪول زﻣﻨﻲ ﺷﺎﻣﻞ‪.‬‬ ‫وﺳﺘﺘﻨﺎول اﳌﻌﺮوﺿﺎت ﻣﺤﺎور رﺋﻴﺴﻴﺔ ﻫﻲ‪:‬‬ ‫اﻷﺷﻜﺎل‪ ،‬اﻟﻌﻮامل اﻟﻘﺪميﺔ‪ ،‬اﳌﻘﺪﺳﺎت‪ ،‬اﻟﺼﻮرة‬ ‫اﻟﴩﻗﻴﺔ‪ ،‬اﻟﻨﻈﺮة اﻟﻐﺮﺑﻴﺔ‪ ،‬ﺣﻮار اﻟﺜﻘﺎﻓﺎت‪ .‬أﻣﺎ‬ ‫اﳌﻘﺘﻨﻴﺎت ﻓﱰﻛﺰ ﻋﲆ أرﺑﻊ ﻓﱰات رﺋﻴﺴﻴﺔ ﻫﻲ‪:‬‬ ‫ﻋﻠﻢ اﻵﺛﺎر وﻧﺸﺄة اﻟﺤﻀﺎرة‪ ،‬اﻟﻘﺮون اﻟﻮﺳﻄﻰ‬ ‫وﻇﻬﻮر اﻹﺳﻼم‪ ،‬اﻟﻔﱰة اﻟﻜﻼﺳﻴﻜﻴﺔ ﻣﻦ اﻟﺤﺮﻛﺔ‬ ‫اﻹﻧﺴﺎﻧﻴﺔ إﱃ ﻣﺮﺣﻠﺔ اﻟﺘﻨﻮﻳﺮ‪ ،‬اﻟﻔﱰة اﻟﺤﺪﻳﺜﺔ‬ ‫واﳌﻌﺎﴏة‪ ،‬وﺗﺒﺪأ ﻣﻦ ﻧﻬﺎﻳﺔ اﻟﻘﺮن ‪ 18‬وﺣﺘﻰ‬ ‫ﻳﻮﻣﻨﺎ اﻟﺤﺎﱄ‪ .‬وﺗﻀﻢ ﻣﺠﻤﻮﻋﺔ اﳌﻘﺘﻨﻴﺎت‬

‫ﻣﺼﻄﻔﻰ أﺣﻤﺪ‬

‫إن ﻛﻨﺖ ﻗﺎدﻣ ًﺎ إﻟﻰ أﺑﻮﻇﺒﻲ ﻋﺒﺮ ﻃﺮﻳﻖ اﻟﺸﻴﺦ ﺧﻠﻴﻔﺔ ﺑﻦ زاﻳﺪ اﻟﺬي ﻳﻤﺮ ﺑﺠﺰﻳﺮﺗﻲ ﻳﺎس واﻟﺴﻌﺪﻳﺎت‪ ،‬ﺳﺘﺼﻌﺪ ﺟﺴﺮ اﻟﺸﻴﺦ ﺧﻠﻴﻔﺔ ﺑﻦ‬ ‫زاﻳﺪ‪ ،‬وﺗﻠﻔﺖ ﻧﻈﺮك ﻗﺒﺔ ﺿﺨﻤﺔ ذات ﺗﺼﻤﻴﻢ ﻫﻨﺪﺳﻲ راﺋﻊ‪ ،‬ﺗﺘﻸﻷ اﺿﻮاؤﻫﺎ ﻟﻴ ًﻼ ﺑﻄﺮﻳﻘﺔ ﺗﺴﺤﺮ اﻷﻟﺒﺎب‪ ،‬ﻣﻊ أن ﺳﺮﻋﺔ اﻟﻄﺮﻳﻖ ﻗﺪ ﺗﺤﺮﻣﻚ‬ ‫ﻣﻦ اﻟﺘﻤﻌﻦ أﻛﺜﺮ ﻓﻲ ﻫﺬا اﻟﺒﻨﺎء اﻟﺮاﺋﻊ‪ ،‬ﻟﻜﻦ ﻫﺬا ﻟﻴﺲ ﺑﺎﻟﻤﺸﻜﻠﺔ اﻟﻜﺒﻴﺮة‪ ،‬ﻓﻤﺎ ﻫﻲ إﻻ ﺷﻬﻮر ﻗﻠﻴﻠﺔ ﺣﺘﻰ ﻳﺼﺒﺢ ﺑﺈﻣﻜﺎﻧﻚ وﺑﺈﻣﻜﺎن ﺟﻤﻴﻊ‬ ‫ﺳﻜﺎن أﺑﻮﻇﺒﻲ وزوارﻫﺎ اﻻﻗﺘﺮاب ﻣﻦ ﻫﺬا اﻟﺒﻨﺎء اﻟﻔﺮﻳﺪ‪ V‬ﻟﻴﺲ ﻫﺬا ﻓﺤﺴﺐ‪ ،‬ﺑﻞ ﺳﺘﺘﻤﻜﻨﻮن ﻣﻦ دﺧﻮﻟﻪ واﻻﺳﺘﻤﺘﺎع ﺑﻤﺸﺎﻫﺪة اﻟﻜﻨﻮز‬ ‫اﻟﻨﻔﺴﻴﺔ اﻟﺘﻲ ﻳﻀﻤﻬﺎ‪ ،‬واﻟﺘﻲ ﺗﺨﺘﺼﺮ ﺗﺎرﻳﺦ اﻟﺒﺸﺮﻳﺔ‪ ،‬وﻟﻮ أردت ﻣﻌﺮﻓﺔ اﺳﻢ ﻫﺬا اﻟﺼﺮح اﻟﻜﺒﻴﺮ‪ ،‬ﻓﻨﺨﺒﺮك ﺑﻜﻞ ﻓﺨﺮ ﺑﺄﻧﻪ ﻣﺘﺤﻒ اﻟﻠﻮﻓﺮ‬ ‫أﺑﻮﻇﺒﻲ‪V‬‬

‫ﺟﺎء اﻟﻠﻮﻓﺮ أﺑﻮﻇﺒﻲ مثﺮة ﻻﺗﻔﺎق ﺑني ﺣﻜﻮﻣﺘﻲ‬ ‫اﻹﻣﺎرات اﻟﻌﺮﺑﻴﺔ اﳌﺘﺤﺪة واﻟﺠﻤﻬﻮرﻳﺔ‬ ‫اﻟﻔﺮﻧﺴﻴﺔ ﰲ اﻟﻌﺎم ‪ ،2007‬وﻳﻌﺪ اﳌﺘﺤﻒ‬ ‫اﻟﻌﺎﳌﻲ اﻷول ﰲ اﻟﻌﺎمل اﻟﻌﺮيب اﻟﺬي ﻳﺠﺴﺪ‬ ‫روح اﻻﻧﻔﺘﺎح واﻟﺤﻮار ﺑني اﻟﺜﻘﺎﻓﺎت‪ .‬وﻣﻦ‬ ‫ﺧﻼل رﺑﻂ اﺳﻢ أﺑﻮﻇﺒﻲ ﻣﻊ اﺳﻢ ”اﻟﻠﻮﻓﺮ“‪،‬‬ ‫ﺳﻴﻌﺮض ﻫﺬا اﳌﺘﺤﻒ اﻟﻌﺎﳌﻲ ﻟﻠﻌﺎمل أﻋامﻻً‬ ‫ﺗﺎرﻳﺨﻴﺔ وﺛﻘﺎﻓﻴﺔ واﺟﺘامﻋﻴﺔ ﻫﺎﻣﺔ ﺑﺪءاً ﻣﻦ‬ ‫اﻟﻔﱰات اﻟﺘﺎرﻳﺨﻴﺔ اﻟﻘﺪميﺔ‪ ،‬وﺣﺘﻰ اﳌﻌﺎﴏة‬ ‫وﻣﻦ ﻣﺨﺘﻠﻒ اﻟﺤﻀﺎرات ﺣﻮل اﻟﻌﺎمل‪ .‬وﺳﻴﺘﻢ‬

‫ﺗﺴﻠﻴﻂ اﻟﻀﻮء ﻋﲆ اﻟﺘﺄﺛريات اﳌﺸﱰﻛﺔ‬ ‫واﳌﻮاﺿﻴﻊ اﻟﻌﺎﳌﻴﺔ ﻹﻇﻬﺎر أوﺟﻪ اﻟﺘﺸﺎﺑﻪ‬ ‫واﻟﻘﻮاﺳﻢ اﳌﺸﱰﻛﺔ ﻟﻠﺘﺠﺮﺑﺔ اﻹﻧﺴﺎﻧﻴﺔ اﻟﺘﻲ‬ ‫ﺗﺘﺠﺎوز ﺣﺪود اﻟﺠﻐﺮاﻓﻴﺎ واﻟﻘﻮﻣﻴﺔ واﻟﺘﺎرﻳﺦ‪،‬‬ ‫وﻋﻦ اﳌﺮﺣﻠﺔ اﻟﺘﻲ وﺻﻠﺖ إﻟﻴﻬﺎ اﻷﻋامل‬ ‫اﻹﻧﺸﺎﺋﻴﺔ ﰲ اﳌﺒﻨﻰ ﺗﻘﻮل ﻣﺮﻳﻢ اﻟﻈﺎﻫﺮي ﻣﻦ‬ ‫ﻓﺮﻳﻖ اﻻﺗﺼﺎل‪” :‬اﳌﺮاﺣﻞ اﻹﻧﺸﺎﺋﻴﺔ اﻧﺘﻬﺖ‬ ‫وميﻜﻦ ﻟﻠﺠﻤﻴﻊ ﻣﺸﺎﻫﺪة اﻟﺒﻨﺎء وأﺿﻮاءه‬ ‫اﻟﱪاﻗﺔ ﻣﻦ ﺟﴪ اﻟﺸﻴﺦ ﺧﻠﻴﻔﺔ‪ ،‬واﻟﻌﻤﻞ‬ ‫ﻣﺴﺘﻤﺮ ﻋﲆ ﻗﺪم وﺳﺎق ﻟﻴﻜﻮن اﳌﺘﺤﻒ‬

‫ﺟﺎﻫﺰاً ﻻﺳﺘﻘﺒﺎل اﻟﺰوار ﰲ ﻋﺎم ‪ .2017‬ﺑﻌﺪ‬ ‫اﻻﻧﺘﻬﺎء ﻣﻦ اﳌﺒﻨﻰ‪ ،‬ﺳﻨﺪﺧﻞ ﰲ ﻣﺮﺣﻠﺔ ﺗﺜﺒﻴﺖ‬ ‫اﳌﻘﺘﻨﻴﺎت‪ ،‬واﻟﻌﻤﻞ ﻋﲆ اﻟﱪاﻣﺞ واﻟﺠﺪاول‬ ‫اﻟﺘﻲ ﺗﻨﻈﻢ ﻣﻮاﻋﻴﺪ اﻟﺰﻳﺎرة ودﺧﻮل اﻟﺰوار‪،‬‬ ‫وﻋﻨﺪ اﻻﻧﺘﻬﺎء ﻣﻦ ﻫﺬا ﻛﻠﻪ‪ ،‬ﺳﻴﺘﻢ ﺗﺤﺪﻳﺪ‬ ‫ﻣﻮﻋﺪ اﻻﻓﺘﺘﺎح اﻟﺮﺳﻤﻲ ﻟﻠﻤﺘﺤﻒ“‪.‬‬ ‫ﺳﻴﻌﺮض اﻟﻠﻮﻓﺮ أﺑﻮﻇﺒﻲ ‪ 600‬ﻋﻤﻞ ﺗﻘﺮﻳﺒﺎً‬ ‫ﻣﻦ ﻣﺠﻤﻮﻋﺔ اﳌﻘﺘﻨﻴﺎت وأﻛرث ﻣﻦ ‪ 300‬ﻋﻤﻞ‬ ‫ﻣﺴﺘﻌﺎر ﻣﻦ ‪ 13‬ﻣﺘﺤﻔﺎً وﻃﻨﻴﺎً ﻓﺮﻧﺴﻴﺎً‪.‬‬ ‫ﺗﻀﻢ ﻗﺎمئﺔ اﻷﻋامل اﳌﻌﺎرة واﺣﺪة ﻣﻦ أﻫﻢ‬

‫أﻛﺘﻮﺑﺮ‪31 2016 /‬‬

‫ﻋﻄﺮ اﻟﻤﻜﺎن‬ ‫‪baytelshear‬‬

‫اﻟﻠﻮﻓﺮ‬ ‫أﺑﻮﻇﺒﻲ‪..‬‬ ‫ا‪,‬ﻧﺴﺎﻧﻴﺔ ﻓﻲ‬ ‫ﻣﺴﺎﺣﺔ واﺣﺪة‬

‫‪ 30‬ﺑﻴﺖ اﻟﺸﻌﺮ ‪ /‬اﻟﻌﺪد ‪49‬‬

тАля╗гя╗мя║О╪пя╗│я╗Т ╪зя╗Яя║┤я╗ия╗┤я╗ия╗▓тАм тАля╗Уя╗о╪з╪▓ я╗гя║оя╗│я║░я╗│я╗ЦтАм @fawazmuraiziq

┬д@@ ┬Ы@ @┬г@ @┬Ы@ @~@ @z@ @D* ┬Н@@ @ @J2b@b @ @ @┬Ю@ @ @ E ┬д@@ @ @ ┬ЫQ @ @ @ @< *┬б@@ @ ┬Й@ @ @ ┬Х@ @ @ + ┬д@@ @ @ C*┬б@@ @ @ + b@@ @ @ Gb@@ @ @ Bx@@ @ @ ┬М@ @ @ @D M┬Э┬б@@ @ @ @ @┬г@ @ @ @ @ < ┬╖b@@ @ @ @ @ @ E ┬д@@ ┬Ы@ ┬г@ c@ / f@@ ┬Х@ @┬г@ @c@ @┬П@ @g@ @D ┬Н@@ @ @ Bb@@ @ @ - h@@ @ ┬Й@ @ @+ ┬Э(* ┬д@@ @C*├Ж@@ @E yQ @ @ @ ┬Ж@ @ @ D* ┬в@@ @┬Х@ @ < b@@ @ @ @ @ F&*H b@@ @ @┬Ю@ @ @ D┬б@@ @ @: ┬д@@ @┬Ы@ @ ┬г@ @ ┬Ы@ @ C ┬╖ q@@ @ @ @ ┬гQ @ @ @ @ @c@ @ @ @ @-┬░ *w@@ @ @ @ @ @ @ G ├М@@ @ @ @ @ = ┬д@@Cb@@~@ {@ + ├Бb@@ @ @ E ┬Ц@@ @ c@ @ @┬▒* v@@ @┬г@ @ 0 ┬в@@ ┬Т@ @~@ @7 ┬б@@ @ D ┬д@@┬Ы@ ┬г@ ┬Ж@ + x@@ @ ┬Й@ @ @~@ @ @8&*H ┬д@@ ┬Ы@ @p@ @Fb@@ E ├Б(* ├С*H ┬д@@C├Й@@G @@ |@ @Bx@@ J ┬д@@ -┬б@@ ┬А@ @1 x@@ @ @ 1%* ┬в@@ ┬Х@ @< ┬б@@ @D ┬д@@┬Ы@ ┬г@ ├В x@@ ~@ @ |@ @ ┬П@ @ - ┬д@@ @ c@ @ @- ┬в@@ @ ┬Ы@ @ @├В x@@ ~@ @z@ @┬Т@ @┬Ы@ @┬д@@ Cb@@ g@ @ ┬┤* ┬Ц@@ @ @ @ G* ┬Э* ┬З@@ @ @E ┬д@@ @ Cb@@ @ - ┬Ц@@ @ @c@ @ @ ┬▒*H ┬д@@ ┬Ы@ @Jv@@ J f@@ @ @ @ @ 0*4 ┬п ┬Ф┬б@@ @ ~@ @ @{@ @ @D* ┬Э┬б@@ @ @ @<4y@@ @ @ @J ┬д@@ @ @C*Hy@@ @ @D* 4b@@ @ @ @ G5&┬░b@@ @ @ @ + ┬д@@ @┬Ы@ @ Jv@@ @J h@@ @c@ @ ┬Ы@ @ -H ┬д@@ @┬Ы@ @ ┬г@ @ m@ @ ┬Ю@ @ D*H b@@ @┬Ю@ @ g@ @ m@ @ ┬Ю@ @ m@ @ GH ├Н@@ @ m@ @ @┬Ю@ @ @D* ┬д@@ @ C*├Ж@@ @ ~@ @ 7*H ┬╖b@@ @ @ @E @@ @ @ @ @6*4 ┬Ь@@ @ @E ix@@ @ @m@Q @ @ @G ┬д@@ ┬Ы@ @┬г@ @┬Ы@ @0 ┬Щ@@ @ ┬ХQ @ @ @~@ @ @6 ┬Ь@@ @ @ @E 4b@@ @ @ Ey@@ @ @ ┬┤b@@ @ @ J Q┬Ь@@ @ @ @ @ = ┬д@@ @ Cb@@ @ c@ @ g@ @ EH ┬д@@ @ @ Cb@@ @ @ + ┬Ц@@ @ @ @ C x@@ @ ┬Ю@ @ @┬Г@ @ @- ├Н@@ @ @ @ D ┬д@@ ┬Ы@ @ J├Ж@@ ┬л ┬д@@ @ @ ┬Х@ @ @ @D* ,├М@@ @ @ @ @ @ ┬▓* 4┬б@@ @ ┬Ж@ @ @~@ @ @7b@@ @ J ┬д@@ Cb@@ ┬Т@ @ ┬М@ @ F* *w@@ @ @ @ G b@@ @ @ @ @ @F*H ┬У@@ @ Db@@ @ c@ @ @0 ┬еw@@ @ @ @ G ┬д@@ ┬Ы@ @┬г@ @┬А@ @Bb@@ J ┬еQv@ @ @ @ @ @ @< @@ @{@ @ ┬г@ @ D 24b@@ @ @ @ @ @ - @@ @ z@ @ @+ ┬д@@ @ C*┬б@@ @ E b@@ @┬Ю@ @ ┬г@ @ Ab@@ @E ┬Б@@ @ @┬Х@ @ @ < X┬еH4 ┬п

29 2016 /тАл╪гя╗Ыя║Шя╗оя║Ся║отАм

‫ﻣﺎﺳﺎت‬ baytelshear

‫اﺧﺘﻼف اﻟﻮﻗﺖ‬ ‫ﻓﻬﺪ اﻟﺼﻌﻴﺮي‬ @ FahadAlse3eri

@@ £@ @ @ @D*H q@@ @c@ @ ~@ @ |@ @ D*H h@@ @ @B¡@@ @ @D* É@@ @ @g@ @ @ 1* *x@@ @ @ @ 2b@@ @ @ c@ @ @ @ @ @ @ @D 2b@@ @ @ @ c@ @ @ @ @ @ @ @ @ @D* e4 @@ @ @ @ @ @E ib@@ @ @ @ @ @ @ @ @ @J* @@ @ £@ @ @~@ @ @8b@@ @ @ @ @g@ @ @D* 2* ¯ @@ @ @ @ Bv@@ @ @ @ J ¤@@ @ @ @ @ @ @ @ @D* 2b@@ @ @ @ g@ @ ~@ @ z@ @ ´* @@ @ @ @ @ @ @ @ @ ²* b@@ @ @ @ @£@ @ @A ¡@@ @ ~@ @ @{@ @ @£@ @ @+ @@ @ J¡@@ @ D*H Å@@ @ @ @ @ @ @D*H y@@ @ @ @ @ ²* @@ @£@ @ @ @ < b@@ @ @ @ @ +° 2b@@ @ @ @ @~@ @ @z@ @ @D* @@ @ £@ @ @ @ @ @< x@@ @ @~@ @ @ {@ @ @ - b@@ @ @ @ E v@@ @ @ @ + ° @@ £@ @ @ @D* ¤@@ @ @g@ @ @ @J h@@ @ @ @ g@ @ F* ° Æ@@ @ @ @ A @@ @ £@ @ @ @ D* 2b@@ @ £@ @ @~@ @ @z@ @ @D* @@ @ £@ @ @ @ @ @±* q@@ @ c@ @ @~@ @ @|@ @ @D* @@ @ @ @ @~@ @ @z@ @ @JH @@ @ @ @JH%b@ @ @ @ - v@@ @ Jb@@ @ ~@ @ @|@ @ @ @ @ @ @ @ @DH x@@ @ @~@ @ @ 6 @@ @ @ @ @p@ @ @ @ @ @DH 2b@@ @ @ @ @ @ <* b@@ @ @ @ @ @ £@ @ @ Ab@@ @ @E @@ @ @ -b@@ @ @ @ @ @ @² x@@ @ @ @ @ @ @ @ @ @ @ @ D*H @@ @ £@ @ +b@@ @ @ @ ´* @@ @ @ Av@@ @ @ G @@ @ @ @ < @@ @ F¡@@ @ @ @ @ @ @ @~@ @ @{@ @ @J° 2b@@ @ @ ~@ @ @ @7* @@ @ @ +b@@ @ @ E 5b@@ @ @ @ @ @ @ @ @½°* @@ @ @c@ @ @ B y@@ @ @ @ @ @ @ ½*H @@ @ JÄ@@ @ m@ @ @+ Ñ* y@@ @ @ @ @ @ @ @ @ F* ¤@@ @ @ @ @ @ @ @ @D* x@@ @ @ @ Cw@@ @ @ @ 2°¡@@ @ @ @ @ @ @ D* ¡@@ @ @ @ @ @J $*4w@@ @ @ @ @ @ @ @ @ @ @ @ D* @@ @ @ @ + x@@ @ @ ~@@ Q @ @ {@ @ @ @+H @@ @ £@ @ @½°* b@@ @ @ @ @ @ @ @ @<*H b@@ @ @£@ @ @ Fv@@ @ @D* @@ @ @ @+ 4b@@ @ @ @ @ @ + 2É@@ @ @ @ @c@ @ @ @ @ D Ì@@ @ @ @ @ @ @ @ @ 1H @@ @ @ @ @ @ -v@@ @ @ @ @ @ D*¡@@ @ @ @ @ @ + Mx@ @ @ @ @ @ @ @ @ @ + @@ £@ @j@ @­ @@ @ @£@ @ @ A ¡@@ @ @ @ @j@ @ @E ¤@@ @ @ @ @ @ @D* @@ @ @ @ G @@ @ @ E¡@@ @ @ B 2b@@ @ @ @c@ @ @ @ < ¯ Mf@ @ @ @ @ @ @ @ @ @ @ @ 04 ¤@@ @ @ @ @ @ @ @ +4 @@ @ @ @ @ @ @ @ @ @ @ @ A4H @@ @£@ @ +*x@@ @=H @@ @ @ @ ; @@ @ 6b@@ @ @ @ @D* ¡@@ @ @ @ @g@ @ @+* b@@ @£@ @ Db@@ @A 2*4°*H @@ @ @ @ @ @ E°b@@ @ @ @ @ @ + Ñ*H @@ @ @ £@ @ @ @ @ @ @ @< @@ £@ @ @ @ @ @- @@ @ @£@ @ @ A @@ @ @Gv@@ @ @£@ @ @ C @@ @ @ @ @m@ @ @J Ñ*H 2*¡@@ @~@ @ z@ @ + v@@ @c@ @ g@ @ ~@ @ 6* b@@ @ £@ @ @D* É@@ @ @ @ @ @ D* ¤@@ @ @ @ @ @ JH @@ @£@ @ /b@@ @Jx@@ @D* ¡@@ @ @ @ @ @ A @@ @ @ @ @ @ J @@ @ @ E @@ @ @ @ @/b@@ @ J 2b@@ @ @ @ @ @ ~@ @ @ {@ @ @ D* ¡@@ @ @ @ @ @ @ @ @J 4v@@ @ @ @ @ @ @ @ Jb@@ @ @ @E i¡@@ @ @ @ @ @ @Â 49 ‫ اﻟﻌﺪد‬/ ‫ ﺑﻴﺖ اﻟﺸﻌﺮ‬28

‫ﻟﻘﺪ أﺻﺒﺢ اﻟﻜﺜﻴﺮ ﻣﻦ اﻟﺸﻌﺮاء ﻓﻲ‬ ‫ﻋﺼﺮﻧﺎ اﻟﺤﺎﻟﻲ ﻳﺴﺘﺴﻬﻠﻮن اﻟﻘﺼﻴﺪة‪ ،‬وﻻ‬ ‫ﻳﻮﻟﻮﻧﻬﺎ أﻫﻤﻴﺔ ﻛﺒﻴﺮة‪ ،‬وﺑﺬﻟﻚ ﻓﻘﺪت اﻟﻜﺜﻴﺮ‬ ‫ﻣﻦ اﻟﻨﺼﻮص ﻫﻴﺒﺘﻬﺎ‬ ‫اﺳﺘﺴﻬﺎل اﻟﻜﺘﺎﺑﺔ ﻻ ﺗﻤﻨﺤﻨﺎ ﻣﻨﺘﺠﺎً ﻓﺎرﻗﺎً‬ ‫وﻻ ﻛﺎﺗﺒﺎً أو ﺷﺎﻋﺮاً ﻓﺬاً وﻻ ﺗﺠﺮﺑﺔ ﺣﻘﻴﻘﻴﺔ‬ ‫راﺋﺪة ﺗﺴﺘﺤﻖ اﻟﺘﻮﻗﻒ ﻋﻨﺪﻫﺎ‬ ‫ﺑﺪر ﺑﻦ ﻋﺒﺪاﳌﺤﺴﻦ‬

‫ﺧﺎﻟﺪ اﻟﻔﻴﺼﻞ‬

‫وأﺻﺒﺤﺖ ﺗﺼﻞ إﱃ اﻟﻘﺎرئ ﺑﻠﻐﺔ رﻛﻴﻜﺔ ﻣﺴﺘﻬﻠﻜﺔ ﻓﻘرية ﰲ ﺻﻮرﻫﺎ‪،‬‬ ‫ﺿﻌﻴﻔﺔ ﰲ ﺳﺒﻜﻬﺎ‪ ،‬ﺗﺘﺤﺮك ﰲ ﻣﺴﺎﺣﺎت ﺿﻴﻘﺔ وﺑﺄﺟﻨﺤﺔ ﻣﻜﺴﻮرة‬ ‫ﻻ ﺗﺴﺘﻄﻴﻊ ﻣﻦ ﺧﻼﻟﻬﺎ اﻟﺘﺤﻠﻴﻖ ﰲ اﻟﺨﻴﺎل اﻟﺬي ﻳﺨﺮج اﻟﻜﻼم ﻣﻦ‬ ‫ﺗﻘﺮﻳﺮﻳﺘﻪ وﺧﻄﺎﺑﻴﺘﻪ‪ ،‬إﱃ ﻣﺮاﺗﺐ اﻟﺪﻫﺸﺔ وﻣﺤﺮاب اﻹﺑﺪاع‪ ،‬ومل ﺗﻌﺪ‬ ‫ﺗﻠﻚ اﻟﻌﻤﻠﻴﺔ اﻟﺘﻲ ﺗﻔﺮز اﻟﻨﺼﻮص وﺗﻈﻬﺮ ﻏﺜﻬﺎ ﻣﻦ ﺳﻤﻴﻨﻬﺎ ﻣﻮﺟﻮدة‪،‬‬ ‫ورﻛﺐ اﻟﻜﺜري ﻣﻦ اﳌﺴﺘﺸﻌﺮﻳﻦ اﳌﻮﺟﺔ وﻃﺒﻘﻮا اﳌﺜﻞ اﻟﻘﺎﺋﻞ »ﺣﴩ‬ ‫ﻣﻊ اﻟﻨﺎس ﻋﻴﺪ« ﻓﺎﳌﻌﺎﻧﺎة ﻣﻊ ﻣﺘﻌﺔ اﻟﻜﺘﺎﺑﺔ وﻣﺮاوﻏﺔ أﺑﻴﺎت اﻟﻨﺺ‬ ‫ﻗﻠﺖ ﺑﻜﺜري ﻟﺪى اﻟﺒﻌﺾ‪ ،‬وﺑﺪون ﻧﺎر اﳌﻌﺎﻧﺎة ﻟﻦ ﺗﺨﺮج اﻟﻘﺼﻴﺪة ﻣﺜﻞ‬ ‫ﺳﻼﺳﻞ اﻟﺬﻫﺐ اﻟﺘﻲ ﺗﺨﺮج ﻣﻦ اﻟﺤﺠﺮ ﺑﻌﺪ أن ﺗﺼﻬﺮﻫﺎ اﻟﻨﺎر‪ ،‬وﰲ‬ ‫ﻫﺬا اﻟﺴﻴﺎق ﻳﻘﻮل اﻷﻣري ﺧﺎﻟﺪ اﻟﻔﻴﺼﻞ‪:‬‬ ‫‪¨CC CC0* zCCMfCC CCG* L|CCC- ÕCC‬‬ ‫‪T C¤CCCG* 4KT zCCCCCH fCCCM‬‬ ‫*(‪«CCEK|CC CCG* m*zCCCCMfCCCCF «CCT¡CC CCH &fCCCC CCCC6‬‬ ‫*‪¨CC CC=* ¢CCCCCCCCCM5&¸* ¢CCC CCCG ¿fCCCCC= ¢CCCCM~CCCCG‬‬ ‫‪«CCCE§CCC CCC6K ¥CCC<fCCC CCC CCC+ ¬*|CCCC‬‬ ‫‪P C CCCCC7 CCCC CCCCGK‬‬

‫أﺿﻒ إﱃ ذﻟﻚ اﻟﻜﻠﻤﺔ اﳌﻐﻨﺎة اﻟﺘﻲ ﺿﻌﻔﺖ ﰲ اﻟﻐﺎﻟﺐ ﺑﺈﻳﻌﺎز ﻣﻦ‬ ‫ﺑﻌﺾ أﻋﻤﺪﺗﻬﺎ ﻛﺎﳌﻠﺤﻦ أو اﳌﻄﺮب‪ ،‬ﻟﺪرﺟﺔ أن ﺑﻌﺾ اﳌﻠﺤﻨني ﻳﻘﺪﻣﻮن‬ ‫ﻟﻠﺸﺎﻋﺮ ﻟﺤﻨﺎً ﺟﺎﻫﺰاً أﺟﱪوا ﻛﴪ ﻣﻮﺳﻴﻘﺎه ﺑﺎﳌﺮاوﻋﺔ واﻟﺘﻼﻋﺐ ﰲ‬ ‫ﺗﻔﺎﻋﻴﻠﻪ وﻳﻄﻠﺒﻮن ﻣﻨﻪ ﺗﻄﻮﻳﻊ ﻣﻔﺮداﺗﻪ ﺣﺴﺐ اﻟﻠﺤﻦ اﳌﺮﺗﺒﻚ‪ ،‬وﺑﺬﻟﻚ‬ ‫ﻇﻬﺮت ﺑﻌﺾ اﻟﻨﺼﻮص وﺑﻬﺎ ﻫﻨﺎت وزﻧﻴﺔ ﻋﺮوﺿﻴﺔ ﻛﺜرية‪ ،‬ﻧﺎﻫﻴﻚ‬ ‫ﻋﻦ اﻟﻠﻐﺔ اﻟﺒﺴﻴﻄﺔ ﺟﺪاً واﻟﺘﻲ وﺻﻠﺖ إﱃ اﻹﺳﻔﺎف ﻣﻦ ﺑﺎب أن‬ ‫»اﻟﺠﻤﻬﻮر ﻋﺎوز ﻛﺪه« وأن اﻟﺤﻴﺎة ﻻ ﺗﺤﺘﻤﻞ اﻟﺘﻌﻘﻴﺪ واﳌﺘﻠﻘﻲ ﻟﻴﺲ‬ ‫ﻋﲆ اﺳﺘﻌﺪاد ﻟﻠﺘﻮﻗﻒ ﻋﻨﺪ ﻣﻔﺮدة أو ﺻﻮرة ﻟﺘﺤﻠﻴﻠﻬﺎ وﻓﻬﻢ ﻣﻐﺰاﻫﺎ‬ ‫ﻓﻬﻮ ﻳﺮﻳﺪ اﻟﺒﺴﺎﻃﺔ‪ ،‬ﻟﻜﻦ ﺑﻬﺬه اﻟﺸامﻋﺔ اﻟﺘﻲ مل ﺗﺮ ِاع أﺳﺲ اﻹﺑﺪاع‬ ‫وﻓﻨﻴﺎت اﻟﻜﺘﺎﺑﺔ ﺗﺮﻫﻠﺖ اﻟﻨﺼﻮص وﻓﻘﺪت ﻫﺰة اﻟﺸﻌﻮر واﺳﺘامﻟﺔ‬ ‫اﻟﻘﻠﻮب وإدﻫﺎش اﻟﻌﻘﻮل‪.‬‬ ‫إن اﺳﺘﺴﻬﺎل اﻟﻜﺘﺎﺑﺔ ﻻ متﻨﺤﻨﺎ ﻣﻨﺘﺠﺎً ﻓﺎرﻗﺎً وﻻ ﻛﺎﺗﺒﺎً أو ﺷﺎﻋﺮاً ﻓﺬاً وﻻ‬ ‫ﺗﺠﺮﺑﺔ ﺣﻘﻴﻘﻴﺔ راﺋﺪة ﺗﺴﺘﺤﻖ اﻟﺘﻮﻗﻒ ﻋﻨﺪﻫﺎ ﻟﺪراﺳﺔ ﻣﻨﺘﺠﻬﺎ اﻷديب‬ ‫ﻣﻦ ﻗﺒﻞ ﻣﺘﺨﺼﺼني‪ ،‬وﺣني ﻧﻄﻠﻊ ﻋﲆ ﻣﺸﻬﺪ اﻟﻘﺼﻴﺪة اﻟﺸﻌﺒﻴﺔ ﰲ‬ ‫اﻟﺨﻠﻴﺞ اﻟﻌﺮيب ﺗﺤﺪﻳﺪاً وﻣﻦ ﺧﻼل اﻟﺘﺄﻣﻞ ﰲ ﺻﻮرة ﺑﺎﻧﻮراﻣﻴﺔ ﻧﺠﺪ‬

‫أن اﻷﺳامء اﻟﺸﻌﺮﻳﺔ اﻟﺴﺎﺑﻘﺔ اﻟﺘﻲ ﻋﺎﻧﺖ وﺗﻌﺒﺖ وﻛﺎﻓﺤﺖ ﻣﻦ أﺟﻞ‬ ‫اﻟﻈﻬﻮر‪ ،‬ﻗﺪﻣﺖ ﻟﻨﺎ ﺗﺠﺎرب وﻣﺪارس ﻣﺨﺘﻠﻔﺔ‪ ،‬وأﺷﺎر إﻟﻴﻬﺎ اﻟﻌﺪﻳﺪ‬ ‫ﻣﻦ اﻟﺒﺎﺣﺜني‪ ،‬ومتﻴﺰت ﻋﻦ ﻏريﻫﺎ ﻣﻦ اﻟﺘﺠﺎرب اﻟﺮاﺋﻌﺔ واﳌﺪﻫﺸﺔ‬ ‫اﻟﺘﻲ مل ﺗﺼﻞ إﱃ اﻟﺮﻳﺎدة أو ﺳﺎرت ﻋﲆ ﻧﻬﺞ ﻫﺆﻻء‪ ،‬ﻓﻘﺪ ﻟﻘﺐ اﻷﻣري‬ ‫ﺑﺪر ﺑﻦ ﻋﺒﺪاﳌﺤﺴﻦ ﻋﲆ أﻧﻪ ﻣﻬﻨﺪس اﻟﻜﻠﻤﺔ اﻟﺸﻌﺮﻳﺔ ﳌﺎ ﺗﺤﻤﻠﻪ‬ ‫ﺗﺠﺮﺑﺘﻪ اﻟﺸﻌﺮﻳﺔ ﻣﻦ ﺳامت ﻓﻨﻴﺔ‪ ،‬ﻓﻬﻮ ﻣﺠﻴﺪ ﰲ اﻟﺴﻮرﻳﺎﻟﻴﺔ وﻗﺪ‬ ‫ﻏﺎص ﰲ اﻟﺮﻣﺰﻳﺔ وأﺧﺬ ﻣﻨﻬﺎ ﻣﺎ ﺟﻌﻠﻪ ﻗﺎدراً ﻋﲆ ﺗﻘﺪميﻬﺎ ﺑﻌﺪة أوﺟﻪ‪،‬‬ ‫ﻛام وﺻﻒ ﺷﻌﺮ اﻷﻣري ﺧﺎﻟﺪ اﻟﻔﻴﺼﻞ ﺑﺎﻟﺴﻬﻞ اﳌﻤﺘﻨﻊ اﻟﺬي ﺗﺠﺪه ﰲ‬ ‫ﻣﺘﻨﺎول ﻳﺪك ﻟﻜﻨﻚ ﻻ ﺗﺴﺘﻄﻴﻊ ﺗﻘﻠﻴﺪه أو ﺗﺘﻌﺐ ﻛﺜرياً ﻣﻦ أﺟﻞ أن‬ ‫ﺗﺨﺮج داﻧﺔ ﺷﺒﻴﻬﺔ ﺑﻜﻨﻮزه‪.‬‬ ‫ﻛﺬﻟﻚ ﻗﺪﻣﺖ ﻟﻨﺎ اﻟﺴﺎﺣﺔ اﻟﺸﻌﺮﻳﺔ اﻟﺸﻌﺒﻴﺔ ﺳﺎﺑﻘﺎً أﺳامء ﺧﺎﻟﺪة ﻣﻦ‬ ‫ﻋﺪة دول ﺧﻠﻴﺠﻴﺔ‪ ،‬وﰲ اﻹﻣﺎرات ﺑﺮزت ﻋﺪة أﺳامء ﻣﻨﻬﺎ ﻋﲆ ﺳﺒﻴﻞ‬ ‫اﳌﺜﺎل اﻟﺸﺎﻋﺮ راﺷﺪ اﻟﺨﴬ اﻟﺬي مل ﻳﻜﻦ ﻟﻴﺼﻞ إﱃ ﻣﺎ وﺻﻞ إﻟﻴﻪ ﻣﻦ‬ ‫ﺟامل ﻟﻮﻻ ﻣﻌﺎﻧﺎﺗﻪ ﻣﻊ اﻟﺤﻴﺎة‪ ،‬ﻓﺠﻌﻠﺘﻪ ميﻴﻞ ﻋﲆ اﻟﻘﺼﻴﺪة ﻟﻴﺒﺚ‬ ‫ﻣﻮاﺟﺪه وﻫﻤﻮﻣﻪ وأوﺟﺎﻋﻪ‪ ،‬ﻟﺘﺴﺘﻘﺒﻠﻪ ﺑﺤﻨﺎن وﻳﺨﺮج ﺑﻬﺎ ﻓﺎﺗﻨﺔ ذات‬ ‫ﻓﻜﺮ وﺛﻘﺎﻓﺔ ﻋﺎﻟﻴﺔ‪ ،‬وﻟﻴﺲ ﺑﻐﺎﺋﺐ ﻋﻨﺎ ﺑﻴﺘﻪ اﻟﺨﺎﻟﺪ اﻟﺬي ﻳﻘﻮل ﻓﻴﻪ‬ ‫ﻣﺘﺤﺪﺛﺎً ﻋﻦ اﻟﻘﻨﺎﻋﺔ ﰲ اﺧﺘﺰال ﻓﻨﻲ ﺑﺪﻳﻊ ‪:‬‬ ‫‪£fCCCªCCC CCCH K2 ¥CCCC<fCCCC¡CCCC CCCCG* CCCCC6fCCCCCF‬‬ ‫‪¥CCªCCD §CCCCCCGK ¿fCCCCCC1 CCC CCC CCCG* CCCCC6fCCCCCFK‬‬

‫إﻧﻨﻲ ﻻ أرﺳﻢ ﺑﻬﺬا اﻟﻘﻮل ﺻﻮرة ﺳﻮداوﻳﺔ ﻟﺤﺎل اﻟﻘﺼﻴﺪة اﻟﺸﻌﺒﻴﺔ ﰲ‬ ‫ﻋﴫﻧﺎ اﻟﺤﺎﱄ‪ ،‬ﻓﻬﻨﺎك أﺳامء ﻛﺜرية ﺟﺪﻳﺮة ﺑﺎﻟﺘﻮﻗﻒ ﻋﻨﺪﻫﺎ‪ ،‬وﺑﻌﻀﻬﺎ‬ ‫ﻣﻮاﻫﺐ ﺷﺎﺑﺔ ﺣﻘﻴﻘﻴﺔ‪ ،‬وﺳﺎﻋﺪت ﺑﻌﺾ اﻟﱪاﻣﺞ اﻟﺘﻲ أﺳﻬﻤﺖ دوﻟﺔ‬ ‫اﻹﻣﺎرات اﻟﻌﺮﺑﻴﺔ اﳌﺘﺤﺪة ﺗﺤﺪﻳﺪاً ﰲ ﺗﻘﺪميﻬﺎ ﻣﺜﻞ ﺑﺮﻧﺎﻣﺞ ﺷﺎﻋﺮ‬ ‫اﳌﻠﻴﻮن وﺑﻌﺾ اﻟﻔﻌﺎﻟﻴﺎت واﳌﺴﺎﺑﻘﺎت اﻟﺘﻲ ﺗﻘﻴﻤﻬﺎ وزارة اﻟﺜﻘﺎﻓﺔ‬ ‫وداﺋﺮة اﻟﺜﻘﺎﻓﺔ واﻹﻋﻼم وﺑﻴﻮت اﻟﺸﻌﺮ ﻣﺜﻞ ﺑﻴﺖ اﻟﺸﻌﺮ ﰲ أﺑﻮﻇﺒﻲ‬ ‫وﻣﺮﻛﺰ اﻟﺸﺎرﻗﺔ ﻟﻠﺸﻌﺮ اﻟﺸﻌﺒﻲ وﻏريﻫﺎ ﻣﻦ اﻷﻧﺸﻄﺔ ﰲ ﺗﺤﻔﻴﺰ‬ ‫اﻟﺸﻌﺮاء اﻟﺸﺒﺎب ﻋﲆ ﻛﺘﺎﺑﺔ ﻧﺼﻮص ﺷﻌﺮﻳﺔ ﺗﺤﺘﻮي ﻋﲆ ﻓﻜﺮ ﻋﺎل‬ ‫ﻳﺴﺘﻘﻲ وﻳﻨﻬﻞ ﻣﻦ ﻣﺸﺎرب ﺛﻘﺎﻓﻴﺔ ﻋﺪﻳﺪة ﻟﻴﻌﻴﺪ ﻟﻠﻘﺼﻴﺪة اﻟﺸﻌﺒﻴﺔ‬ ‫وﻫﺠﻬﺎ وﻛﻨﺰﻫﺎ اﻟﻜﺒري‪.‬‬ ‫أﻛﺘﻮﺑﺮ‪27 2016 /‬‬

‫اﻟﻤﻔﺮدة اﻟﺸﻌﺒﻴﺔ‬ ‫‪baytelshear‬‬

‫اﻟﻘﺼﻴﺪة اﻟﺸﻌﺒﻴﺔ واﻟﻜﻨﺰ اﻟﻤﻔﻘﻮد‬ ‫ﻣﺤﻤﺪ ﻋﺒﺪا‪ ¢‬اﻟﺒﺮﻳﻜﻲ‬

‫أرض اﻟﺒﻮح ﺑﻌﻠﻮ وﻓﺨﺮ ووﺟﺎﻫﺔ وﺗﺠﻞ وﺧﺸﻮع‪ ،‬ﻷن اﻟﺸﺎﻋﺮ واﻟﺒﺎﺣﺚ‬ ‫ﻣﻊ ﺗﺮاﺟﻊ دور اﻟﻜﺘﺐ اﻟﺘﻲ ﺗﻌﻨﻰ ﺑﺎﻟﺪراﺳﺎت واﻟﺒﺤﻮث واﻟﺪواوﻳﻦ ﻛﺎﻧﺎ ﰲ ﻗﻠﻖ داﺋﻢ وﰲ ﻫﻢ ﻛﺒري ﻣﻦ أﺟﻞ اﺳﺘﻌﺎدة اﻟﻜﻨﺰ اﳌﻔﻘﻮد أو‬ ‫اﻟﺸﻌﺮﻳﺔ‪ ،‬وﺗﺮاﺟﻊ اﳌﻄﺒﻮﻋﺎت واﳌﻼﺣﻖ ﰲ اﻟﺜﻘﺎﻓﺔ اﻟﺸﻌﺒﻴﺔ‪ ،‬وﺗﺼ ّﺪر اﻟﺤﺼﻮل ﻋﻠﻴﻪ ﻛام ﻳﻘﻮل ﺑﺪر ﺑﻦ ﻋﺒﺪاﳌﺤﺴﻦ وﻫﻮ ﻳﺨﺎﻃﺐ اﳌﺤﺒﻮﺑﺔ‪/‬‬ ‫وﺳﺎﺋﻞ اﻟﺘﻮاﺻﻞ اﻻﺟﺘامﻋﻲ اﳌﺸﻬﺪ‪ ،‬ودﺧﻮل اﻟﺘﻜﻨﻮﻟﻮﺟﻴﺎ اﻟﺤﺪﻳﺜﺔ‪ ،‬اﻟﻘﺼﻴﺪة ﺑﻠﻐﺔ ﺷﻔﺎﻓﺔ ﻟﻜﻨﻬﺎ ﺑﻠﻴﻐﺔ ﻋﺬﺑﺔ‪:‬‬ ‫وﻛرثة اﻟﻘﻨﻮات اﻟﻔﻀﺎﺋﻴﺔ ﰲ ﻧﺴﻴﺞ اﳌﺠﺘﻤﻌﺎت ﺑﺼﻔﺘﻬﺎ اﳌﺴﺎﻧﺪ ‪2§< K&* izJ ¬4zH fI&* «¡ª< |: « G* § -‬‬ ‫*&‪«H*zE § 7fH f¤+f 8 « G* ¢H É* 0‬‬ ‫اﻷول واﻟﺪﻟﻴﻞ اﻷﺑﺮز واﳌﺴﺘﻜﺸﻒ اﻟﺤﺎذق اﻟﴪﻳﻊ ﰲ اﻟﺤﺼﻮل ﻋﲆ‬ ‫اﳌﻌﻠﻮﻣﺎت ﺑﺴﻬﻮﻟﺔ وﻳﴪ ﻣﻦ ﺧﻼل ﻣﺤﺮﻛﺎت اﻟﺒﺤﺚ؛ مل ﺗﻌﺪ اﻟﻘﺼﻴﺪة ‪2§ G* £§ª G* |t+ ¨ < ·fw- ¸ l EK l t 9‬‬ ‫< ¨ ‪«H*zE* 9§H *{J lM|H t G* 7‬‬ ‫اﻟﺸﻌﺒﻴﺔ ﺗﻠﻚ اﻟﻔﺎﺗﻨﺔ اﳌﻼوﻋﺔ اﳌﺮاوﻏﺔ اﻟﺘﻲ ﺟﻌﻠﺖ اﻟﺸﺎﻋﺮ ﻳﻘﺪم‬ ‫اﻟﻐﺎﱄ واﻟﻨﻔﻴﺲ ﻣﻦ أﺟﻞ اﺻﻄﻴﺎد ﻓﺎﺗﻨﺔ ﻓﺮﻳﺪة ﻳﺘﺒﺎﻫﻰ ﺑﻬﺎ ﺑني أﻗﺮاﻧﻪ‪،‬‬ ‫وﻳﺮﺟﻊ ﺳﺒﺐ ﻫﺬا اﻟﺘﺠﲇ ﰲ اﻟﺼﻮرة واﻟﺘﺤﻠﻴﻖ ﰲ ﻋﻮامل اﻟﻠﻐﺔ ﻫﻮ‬ ‫وﺗﺤﻔﺰ ﺻﺎﺣﺐ اﻟﻔﻜﺮ اﻟﺬي ﻳﺒﺤﺚ ﺧﻠﻒ ﻣﻔﺎﺗﻨﻬﺎ ﻣﻦ أﺟﻞ أن ﻳﻘﺪم‬ ‫ﻣﻌﺎﻧﺎﺗﻪ ﻣﻊ ﻟﻮﻋﺔ اﻟﻨﺺ واﻋﺘﺒﺎره ﻣﺤﺒﻮﺑﺔ ﺗﺘﻐﲆ ﻋﲆ ﺣﺒﻴﺒﻬﺎ وﺗﺘﻌﺒﻪ‬ ‫ﻋﻤ ًﻼ ﻋﻠﻤﻴﺎً ﺑﺤﺜﻴﺎً ﻳﱪز ﻓﻴﻪ ﻣﻮاﺿﻊ اﻟﺠامل وﻳﺸري إﱃ ﻣﺎ ﻳﺸﻮب أﻧﺎﻗﺘﻬﺎ‬ ‫ﰲ اﻟﺒﺤﺚ واﻟﺘﻘﴢ ﻟﻠﻮﺻﻮل إﻟﻴﻬﺎ مبﺤﺒﺔ ﻓﺘﻤﻨﺤﻪ ﻋﻄﺮﻫﺎ وﺣﻨﺎﻧﻬﺎ‬ ‫أو ﻳﺸﻮه ﺻﻮرﺗﻬﺎ‪ ،‬وأﺻﺒﺢ اﻟﻜﻨﺰ اﻟﺬي ﻛﺎن اﻟﺸﺎﻋﺮ واﻟﺒﺎﺣﺚ ﰲ ﺳﺒﺎق‬ ‫ودﻫﺸﺘﻬﺎ‪:‬‬ ‫ً‬ ‫ﻣﻦ أﺟﻞ اﻟﺤﺼﻮل ﻋﻠﻴﻪ ﻛﻨﺰا ﺑﻼ ﻗﻴﻤﺔ‪ ،‬ﻓﻔﻲ اﻟﺴﺎﺑﻖ ﻛﺎن اﻟﺸﻌﺮ ﺑﺎﻟﻨﺴﺒﺔ *&‪2§ ¼* ¬~¡F fMf + ¬| < hJ3 ¢< 4K2‬‬ ‫ﻟﻠﺸﺎﻋﺮ ﻫﻮ اﻟﻐﺬاء واﻟﻬﻮاء‪ ،‬وﻛﺎﻧﺖ اﻟﻘﺼﻴﺪة ﺑﺎﻟﻨﺴﺒﺔ ﻟﻪ ﻫﻲ ﺻﺎﺣﺒﺔ‬ ‫‪«HfM* hF|H |t¡M s§¼* ¬§ M s§¼* § 7&*K‬‬ ‫اﳌﻬﺮ اﻟﻐﺎﱄ‪ ،‬وﻟﺬﻟﻚ ﻓﻬﻮ ﻻ ﻳﺒﺎﱄ ﺑﻐﻼء ﻣﻬﺮﻫﺎ وﻳﻘﺪﻣﻪ ﺑﺴﺨﺎء‪ ،‬وﺣني ﻟﻘﺪ أﺻﺒﺢ اﻟﻜﺜري ﻣﻦ اﻟﺸﻌﺮاء ﰲ ﻋﴫﻧﺎ اﻟﺤﺎﱄ ﻳﺴﺘﺴﻬﻠﻮن اﻟﻘﺼﻴﺪة‪،‬‬ ‫ﻳﺪﺧﻞ اﻟﺸﺎﻋﺮ ﰲ ﻟﺤﻈﺔ اﻟﻜﺘﺎﺑﺔ ﻳﺮﺗﻘﻲ ﺑﻨﻔﺴﻪ إﱃ ﻣﻌﺎرج ﺗﻄﻞ ﻋﲆ وﻻ ﻳﻮﻟﻮﻧﻬﺎ أﻫﻤﻴﺔ ﻛﺒرية‪ ،‬وﺑﺬﻟﻚ ﻓﻘﺪت اﻟﻜﺜري ﻣﻦ اﻟﻨﺼﻮص ﻫﻴﺒﺘﻬﺎ‪،‬‬ ‫‪ 26‬ﺑﻴﺖ اﻟﺸﻌﺮ ‪ /‬اﻟﻌﺪد ‪49‬‬

‫ﻇﻠﻢ اﻟﻤﺪﻳﻨﺔ‬ ‫ﻋﺒﺪاﻟﺮﺣﻤﻦ اﻟﻄﻔﻴﻞ‬ @altufayl2

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‫ﻣﺎﺳﺎت‬ baytelshear

‫ﻳﺎﺑﺤﺮ‬ ‫راﺷﺪ اﻟﺮﻣﻴﺜﻲ‬ @R_AlRomaithi

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‫د‪.‬ﺳﻴﻒ اﳌﺤﺮوﻗﻲ‬

‫ﻋﻴﻀﺔ ﺑﻦ ﻣﺴﻌﻮد‬

‫ﻋﲇ اﻟﻘﺤﻄﺎين‬

‫وﺣﺘﻰ ﰲ ﻋﴫﻧﺎ اﻟﺤﺪﻳﺚ وﻣﻦ ﺧﻼل اﻟﻌﺪﻳﺪ‬ ‫ﻣﻦ اﻟﺒﺤﻮث ﻻزاﻟﺖ اﻟﻘﺼﻴﺪة اﻟﺸﻌﺒﻴﺔ ﺗﺠﺪ‬ ‫اﳌﻌﺎرﺿﺔ وﻋﺪم اﻻﻫﺘامم ﻣﻦ اﻟﻜﺜري ﻣﻦ‬ ‫ﻋﻠامء اﻟﻠﻐﺔ‪ ،‬وﺧﺎﺻﺔ ﻓﻴام ﻳﺘﻌﻠﻖ ﺑﺈﴍاﻛﻬﺎ‬ ‫ﻣﻊ اﻟﻘﺼﻴﺪة اﻟﻔﺼﺤﻰ ﰲ ﻣﻨﺎﻫﺠﻨﺎ اﻟﺪراﺳﻴﺔ‬ ‫وﻛﺘﺒﻨﺎ و وﺳﺎﺋﻞ إﻋﻼﻣﻨﺎ اﳌﺨﺘﻠﻔﺔ‪.‬‬ ‫أﻣﺎ ﺣﺠﺘﻬﻢ ﰲ ذﻟﻚ ﻓﻬﻲ اﻟﺤﻔﺎظ ﻋﲆ‬ ‫ﻗﺪﺳﻴﺔ اﻟﻠﻐﺔ اﻟﻌﺮﺑﻴﺔ اﻟﻔﺼﺤﻰ وﺗﺮﺳﻴﺨﻬﺎ‬ ‫ﺑني أﻓﺮاد اﳌﺠﺘﻤﻊ‪ ،‬ﻓﻬﻲ اﻟﻠﻐﺔ اﻟﻘﻮﻣﻴﺔ وﻫﻲ‬ ‫ﻟﻐﺔ اﻟﻘﺮآن وﻛﺜريا ﻣﻨﻬﻢ ﻳﻌﺘﻘﺪون أن إﴍاك‬ ‫اﻟﻘﺼﻴﺪة اﻟﺸﻌﺒﻴﺔ وﺗﻮاﺟﺪﻫﺎ ﺧﺼﻮﺻﺎ وأﻧﻬﺎ‬ ‫ﻟﻐﺔ اﻟﺸﻌﺐ واﻟﻌﺎﻣﺔ ﺳﻴﺠﻌﻠﻬﺎ أﻛرث ﺗﺪاوﻻً‬ ‫ﻣﻦ اﻟﻔﺼﺤﻰ‪ ،‬اﻟﴚء اﻟﺬي ﺳﻴﻀﻌﻒ ﻣﻦ‬ ‫ﻣﻜﺎﻧﺘﻬﺎ وﻳﻘﻠﻞ ﻣﻦ ﻗﻮة اﻟﻠﻐﺔ اﻟﻔﺼﺤﻰ‬ ‫وﺧﺎﺻﺔ ﻟﺪى اﻷﺟﻴﺎل اﻟﻘﺎدﻣﺔ‪.‬‬ ‫وﻟﻜﻦ وﻛام أورد اﻟﺒﺎﺣﺚ واﻟﺼﺪﻳﻖ اﻟﺪﻛﺘﻮر‬ ‫ﺳﻌﺪ اﻟﺼﻮﻳﺎن ﰲ ﻛﺘﺎﺑﻪ )ذاﺋﻘﺔ اﻟﺸﻌﺐ‬ ‫وﺳﻠﻄﺔ اﻟﻨﺺ( ﻫﻨﺎك ﻋﺪة ﻧﻘﺎﺋﺾ وآراء‬ ‫ﺗﺨﺎﻟﻒ ﺗﻠﻚ اﻟﺤﺠﺞ واﻵراء اﻟﺘﻲ ذﻛﺮﻫﺎ‬

‫أﻏﻠﺐ اﻟﺮاﻓﻀني ﻟﺘﻮاﺟﺪ اﻟﻘﺼﻴﺪة اﻟﺸﻌﺒﻴﺔ‬ ‫ذات اﻟﻠﻬﺠﺔ اﻟﻌﺎﻣﻴﺔ‪ ،‬وﻫﻲ ﻧﻘﺎﺋﺾ وآراء ﻻ‬ ‫ﺗﻘﻠﻞ ﻣﻦ أﻫﻤﻴﺔ اﻟﻔﺼﺤﻰ وﻟﻜﻨﻬﺎ ﺗﻮﺿﺢ أﻧﻪ‬ ‫ﻻ ﺗﺄﺛري ﻋﲆ اﻟﻔﺼﻴﺤﺔ ﻣﻦ اﻟﺸﻌﺒﻴﺔ‪.‬‬ ‫وأﻋﺘﻘﺪ أن ﻫﺬه اﻵراء اﳌﺨﺎﻟﻔﺔ إﻣﺘﺪت إﱃ‬ ‫اﻟﻘﺎمئني ﻋﲆ ﻣﻨﺎﻫﺠﻨﺎ اﻟﺪراﺳﻴﺔ‪ ،‬وأﻧﺎ ﻟﻸﻣﺎﻧﺔ‬ ‫ﻣﻌﻬﻢ ﰲ ﻋﺪم ﺗﻮاﺟﺪﻫﺎ ﺑﻨﺴﺒﺔ ﻛﺒرية ﰲ‬ ‫اﳌﻘﺮرات اﻟﺪراﺳﻴﺔ اﻟﺨﺎﺻﺔ ﺑﻜﺘﺐ )اﻟﻠﻐﺔ‬ ‫اﻟﻌﺮﺑﻴﺔ(‪ ،‬وﻟﻜﻦ ﻻﺑﺪ ﻣﻦ ﺗﻮاﺟﺪﻫﺎ واﻟﺘﻌﺮﻳﻒ‬ ‫ﺑﻬﺬه اﻟﺜﻘﺎﻓﺔ وﺑﻌﺾ رﻣﻮزﻫﺎ ﺑﻨﺴﺒﺔ ﻛﺒرية‬ ‫ﰲ ﻛﺘﺎب اﻟﱰﺑﻴﺔ اﻟﻮﻃﻨﻴﺔ واﻟﺨﺎص ﺑﺜﻘﺎﻓﺘﻨﺎ‬ ‫اﻟﺸﻌﺒﻴﺔ واﻻﺟﺘامﻋﻴﺔ واﻟﺘﻌﺮﻳﻒ ﺑﺪوﻟﺘﻨﺎ‬ ‫وﺗﺎرﻳﺨﻬﺎ‪.‬‬ ‫ﻓﺄﻧﺎ أﻋﺘﱪ أن اﻟﻘﺼﻴﺪة اﻟﺸﻌﺒﻴﺔ ﻫﻲ اﻟﻨﺎﻗﻞ‬ ‫اﻟﺤﻀﺎري واﻟﺜﻘﺎﰲ واﻹﻋﻼﻣﻲ ﻟﻠﻤﻮروث‬ ‫واﻟﻌﺎدات واﻟﺘﻘﺎﻟﻴﺪ واﻟﺘﺎرﻳﺦ ﰲ اﻹﻣﺎرات‬ ‫واﻟﺪول اﻟﺤﺪﻳﺜﺔ‪ ،‬ﺧﺎﺻﺔ ﺑﺤﻜﻢ أﻧﻬﺎ ﻛﺎﻧﺖ‬ ‫وﻻزاﻟﺖ ﻣﻦ اﻟﻮﺳﺎﺋﻞ اﻟﺮﺋﻴﺴﻴﺔ ﻟﻨﻘﻞ اﻷﺧﺒﺎر‬ ‫واﻷﺣﺪاث وﺗﻮﺻﻴﻒ اﻟﺒﻴﺌﺎت اﳌﺨﺘﻠﻔﺔ‬

‫واﻟﺤﻴﺎة اﻹﺟﺘامﻋﻴﺔ‪ ،‬وﻣﺎ ﻣﺮت ﺑﻬﺎ ﻣﻦ‬ ‫ﻇﺮوف وﺗﻘﻠﺒﺎت‪ ،‬ﻛام أن اﻟﻘﺼﻴﺪة اﻟﺸﻌﺒﻴﺔ‬ ‫)اﻟﻨﺒﻄﻴﺔ( ﻻ ﺗﺨﺘﻠﻒ ﻛﺜرياً ﻋﻦ اﻟﻔﺼﺤﻰ‬ ‫ﰲ ﺗﻨﺎوﻟﻬﺎ ﻟﻠﻤﻮاﺿﻴﻊ اﳌﺨﺘﻠﻔﺔ‪ ،‬وﻻ ﻓﻴام‬ ‫ﻳﺘﻌﻠﻖ ﺑﺎﻟﻨﻮاﺣﻲ اﻟﺒﻨﺎﺋﻴﺔ اﻟﻔﻨﻴﺔ واﳌﻮﺳﻴﻘﻰ‬ ‫اﻟﺪاﺧﻠﻴﺔ واﻟﺨﺎرﺟﻴﺔ‪ ،‬ﺣﺘﻰ ﻓﻴام ﻳﺘﻌﻠﻖ‬ ‫ﺑﺈﺣﺴﺎس اﻟﺸﺎﻋﺮ وأوﺟﻪ اﻟﺘﻌﺒري اﻟﺘﺼﻮﻳﺮﻳﺔ‬ ‫اﻟﺠامﻟﻴﺔ اﳌﺨﺘﻠﻔﺔ وﰲ ﻛﻞ ﺟامﻟﻴﺎت اﻟﻠﻐﺔ‬ ‫ﻣﻦ ﻣﺤﺴﻨﺎت ﺑﺪﻳﻌﻴﺔ وﻟﻔﻀﻴﺔ‪ ،‬إﺿﺎﻓﺔ إﱃ‬ ‫أن أﻏﻠﺐ اﻟﻘﺼﺎﺋﺪ اﻟﺸﻌﺒﻴﺔ اﻟﻴﻮم ﻻ ﺗﺨﺘﻠﻒ‬ ‫ﻛﺜرياً ﻋﻦ ﻟﻐﺔ اﻟﻘﺼﻴﺪة اﻟﻔﺼﺤﻰ ﺳﻮى ﰲ‬ ‫اﻟﺴﻮاﻛﻦ واﳌﺘﺤﺮﻛﺎت ﻣﻦ ﺣﺮوﻓﻬﺎ‪.‬‬ ‫ﻟﺬا ﻓﻤﻦ اﳌﻬﻢ اﻻﻫﺘامم ﺑﻬﺎ وﺗﻮاﺟﺪﻫﺎ ﺑﺸﻜﻞ‬ ‫ﻣﺪروس وﻣﻠﻤﻮس وﺑﻨﺴﺒﺔ ﻛﺎﻓﻴﺔ ﰲ ﻣﻨﺎﻫﺠﻨﺎ‬ ‫وﻣﻘﺮراﺗﻨﺎ اﻟﺪراﺳﻴﺔ ووﺳﺎﺋﻠﻨﺎ اﻹﻋﻼﻣﻴﺔ وﻫﺬا‬ ‫اﻟﺬي ﻻﺑﺪ أن ﻳﻌﺮﻓﻪ اﳌﻌﺎرﺿﻮن ﻟﺘﻮاﺟﺪ ﻫﺬا‬ ‫اﻟﺠﻨﺲ اﻷديب‪ ،‬اﻟﺬي ﺗﻜﺎﺛﺮ وأﺻﺒﺢ اﻹﻋﱰاف‬ ‫ﺑﻪ ﻣﻦ اﻟﻜﻞ وﺗﻮاﺟﺪه ﺑﺸﻜﻞ رﺳﻤﻲ وﻓﻌﲇ‬ ‫ﴐورة ﻣﻠﺤﺔ‪.‬‬

‫أﻛﺘﻮﺑﺮ‪23 2016 /‬‬

‫اﺳﺘﻄﻼع‬ ‫‪baytelshear‬‬

‫اﳌﺤﻠﻴﺔ ﻟﺪوﻟﺔ اﻹﻣﺎرات‪ ،‬ﳌﺎ ﻳﺤﻤﻠﻪ اﻟﺸﻌﺮ‬ ‫ﻣﻦ وﺟﺪاﻧﻴﺎت وأﻓﻜﺎر ورؤى ﻳﻄﺮﺣﻬﺎ‬ ‫اﻟﺸﺎﻋﺮ ﻣﻦ ﺧﻼل ﻗﺼﻴﺪة ﺗﻨﺘﻈﻢ ﰲ ﺑﺤﺮ‬ ‫ﻣﻦ ﺑﺤﻮر اﻟﺸﻌﺮ ومبﺴﺘﻮى ﻟﻐﻮي ﻫﻮ أﻗﺮب‬ ‫إﱃ ﻣﺴﺘﻮى اﻟﻠﻐﺔ اﳌﺤﻜﻴﺔ‪ ،‬وإن ﻛﺎﻧﺖ ﻟﻐﺔ‬ ‫اﻟﺸﻌﺮ اﻟﺸﻌﺒﻲ أو ﻣﺎ ﻳﺴﻤﻰ ﺑﺎﻟﻨﺒﻄﻲ ﺗﺒﺘﻌﺪ‬ ‫ﺷﻴﺌﺎ ﻋﻦ اﻟﻠﻐﺔ اﻟﻌﺮﺑﻴﺔ اﻟﻔﺼﺤﻰ ﻓﻬﺬا ﻫﻮ‬ ‫ﻟﺴﺎن ﺷﺎﻋﺮﻫﺎ اﻟﺬي ﺗﻌﺎﻳﺶ ﻣﻌﻬﺎ وﻧﺴﺞ ﻣﻨﻬﺎ‬ ‫ﻧﻐام وﻟﺤﻨﺎ ﻟﻠﺤﻴﺎة‪.‬‬ ‫وﻳﻀﻴﻒ‪ :‬إن اﻟﺸﻌﺮ ﻣﺎ وﺟﺪ إﻻ ﺗﻌﺒريا ﺻﺎدﻗﺎ‬ ‫ﻋﻦ ﺗﻠﻚ اﻟﻌﻼﻗﺔ اﻷزﻟﻴﺔ اﻟﺘﻲ ﺗﺮﺑﻂ اﻹﻧﺴﺎن‬ ‫مبﺎ ﺣﻮﻟﻪ‪ ،‬ﻓﻴﻐﺪو اﻹﻧﺴﺎن اﻟﺸﺎﻋﺮ واﻹﻧﺴﺎن‬ ‫اﳌﺘﻠﻘﻲ مبﺜﺎﺑﺔ اﻟﺮوح واﻟﺠﺴﺪ ﻓﻼ ﻳﺘﺼﻮر‬ ‫أﺣﺪﻫام مبﻌﺰل ﻋﻦ اﻵﺧﺮ‪ .‬وﻟﻌﻞ ﻣﻦ أﻫﻢ‬ ‫أﺳﺒﺎب ﻏﻴﺎب اﻟﺸﻌﺮ اﻟﺸﻌﺒﻲ ﻋﻦ اﳌﻨﺎﻫﺞ‬ ‫اﻟﺪراﺳﻴﺔ وﻛﺬﻟﻚ اﻟﺼﺤﻒ اﻟﻴﻮﻣﻴﺔ ﻧﺴﺒﻴﺎ‬ ‫ﻳﺮﺟﻊ إﱃ ﻧﻈﺮة اﳌﺠﺘﻤﻊ ﻟﻠﻐﺔ اﻟﺘﻲ ﻧﻈﻤﺖ‬ ‫ﺑﻬﺎ ﻫﺬه اﻟﻘﺼﻴﺪة‪ ،‬وﻻ ﺳﻴام ﻣﺤﺒﻮ اﻟﻠﻐﺔ‬ ‫اﻟﻌﺮﺑﻴﺔ اﻟﻔﺼﻴﺤﺔ‪ ،‬وﻟﻬﻢ ﻣﺎ ﻳﱪر ﻣﻮﻗﻔﻬﻢ ﰲ‬ ‫ﻇﻞ ﺗﺮاﺟﻊ ﻣﺴﺘﻮى اﺳﺘﺨﺪام اﻟﻠﻐﺔ اﻟﻌﺮﺑﻴﺔ‬ ‫اﻟﻔﺼﻴﺤﺔ وﺗﻘﻬﻘﺮﻫﺎ أﻣﺎم ﻟﻐﺔ ﺛﺎﻧﻴﺔ ﺗﻮﺷﻚ‬ ‫أن ﺗﺒﺘﻠﻊ ﻟﻐﺘﻨﺎ اﻷم ﺑﻜﻞ ﻣﺎ ﺗﺤﻤﻠﻪ ﻟﻐﺘﻨﺎ ﻣﻦ‬ ‫ﻣﻜﻮﻧﺎت اﻟﻬﻮﻳﺔ واﻷﺻﺎﻟﺔ واﻻﻧﺘامء‪ ،‬ﻓﻮﺟﻮد‬ ‫ﻟﻬﺠﺔ ﻋﺎﻣﻴﺔ ﰲ ﻣﻀامر اﻟﺘﺤﺪي اﻟﺬي ﺗﻌﻴﺸﻪ‬ ‫اﻟﻠﻐﺔ اﻟﻌﺮﺑﻴﺔ ﻳﺸﻜﻞ ﻣﺼﺪر ﺗﻬﺪﻳﺪ ﻟﻔﺼﺎﺣﺔ‬ ‫اﻟﻌﺮﺑﻴﺔ وﻗﻮاﻋﺪﻫﺎ اﻟﻨﺤﻮﻳﺔ‪ ،‬ﻓﺎﻟﺜﻨﺎﺋﻴﺔ‬ ‫واﻻزدواﺟﻴﺔ ﻳﻨﻈﺮ إﻟﻴﻬام أﻧﻬام ﻣﺼﺪرا ﺧﻄﺮ‬ ‫ﻋﲆ ﻓﺼﺎﺣﺘﻨﺎ وﺑﻼﻏﺘﻨﺎ‪ .‬إﻧﻨﺎ إذا ﻣﺎ ﺑﻠﻐﻨﺎ ﺣﺪ‬

‫اﻟﺜﻘﺔ ﺑﺄن ﻟﻐﺘﻨﺎ اﻟﻌﺮﺑﻴﺔ اﻟﻔﺼﺤﻰ ﻣﺤﺎﻃﺔ‬ ‫ﺑﺪرع ﺣﺼني وأﻧﻬﺎ ﻧﺎﻟﺖ ﻣﺎ ﺗﺴﺘﺤﻘﻪ ﻣﻦ‬ ‫اﻟﻌﻨﺎﻳﺔ واﻟﺮﻋﺎﻳﺔ ﻓﺤني ذاك ﺳ ُﻴﺼ ِﺒﺢ ﻣﻦ‬ ‫اﳌﻤﻜﻦ اﻻﻟﺘﻔﺎت إﱃ ﺗﻐﺬﻳﺔ اﻟﺮوح ﺑﺸﺎﻋﺮﻳﺔ‬ ‫اﻟﻌﺎﻣﻴﺔ ﰲ ﻣﻨﺎﻫﺠﻨﺎ‪ ،‬وميﻜﻦ أن ﻳﻜﻮن ﻫﺬا ﻣﻦ‬ ‫ﺧﻼل ﺑﻌﺾ اﻷﻧﺸﻄﺔ اﻹﺛﺮاﺋﻴﺔ أو ﻣﻦ ﺧﻼل‬ ‫اﺳﺘﺤﺪاث ﻣﺎدة أو ﺟﺰء ﻣﻨﻬﺎ ﺑﺎﺳﻢ اﻟﺸﻌﺮ‬ ‫اﻟﺸﻌﺒﻲ ﺗﻄﺮح ﻛامدة ﻣﺴﺘﻘﻠﺔ أو ﻣﻦ ﺿﻤﻦ‬ ‫ﻣﻘﺮرات اﻟﱰﺑﻴﺔ اﻟﻮﻃﻨﻴﺔ أو اﻻﺟﺘامﻋﻴﺔ‪،‬‬ ‫ورمبﺎ ﺗﺴﺎﻫﻢ ﰲ اﻛﺘﺸﺎف ﻣﻮاﻫﺐ ﻣﺤﻠﻴﺔ‬ ‫ﺗﻠﺞ ﻋﺎمل اﻟﺸﻌﺮ اﻟﺸﻌﺒﻲ ﻓﺘﻀﻊ ﻟﻬﺎ ﻣﻮﻃﺊ‬ ‫ﻗﺪم ﰲ ﻣﺴرية اﻟﻘﺼﻴﺪة اﻟﺸﻌﺒﻴﺔ ‪.‬‬ ‫ذﻫﺐ اﻟﻤﺎﺟﺪي‬ ‫ﺧﻴﺮ ﻣﻦ ﻓﻀﺔ أدوﻧﻴﺲ!‬ ‫اﻟﺸﺎﻋﺮ ﻋﲇ اﻟﻘﺤﻄﺎين ﻳﺮى أن ﻋﻠﻴﻨﺎ أن‬ ‫ﻧﻌﱰف ﺑﺄن اﻟﺸﺎرع اﻟﻌﺮيب واﻟﺸﺎرع اﻹﻣﺎرايت‬ ‫ﻋﲆ وﺟﻪ اﻟﺨﺼﻮص ﺣﺎﻟﻴﺎً مل ﺗﻌﺪ ﺗﺆﺛﺮ ﻓﻴﻪ‬ ‫ﻗﺼﻴﺪة اﻟﻔﺼﺤﻰ‪ ،‬أو ﺗﺤﺮﻛﻪ ﻛام ﻳﻌﺘﻘﺪ‬ ‫اﻟﺒﻌﺾ‪ .‬وذﻟﻚ ﻷﺳﺒﺎب ﻋﺪة ﻳﻄﻮل ﴍﺣﻬﺎ‪،‬‬ ‫وﻻ ﺑﺪ ﻣﻦ اﻹﺷﺎرة اﱃ أن اﻟﻘﺼﻴﺪة اﻟﺸﻌﺒﻴﺔ‬ ‫ﺗﺤﻈﻰ ﺑﺎﻫﺘامم أﻛﱪ وﻳﺘﻢ ﺗﻨﺎﻗﻠﻬﺎ ﺑﺸﻜﻞ‬ ‫ﻳﻮﻣﻲ ﺑني ﻣﻌﻈﻢ أوﺳﺎط اﳌﺠﺘﻤﻊ ﻷﻧﻬﺎ‬ ‫ﺗﺨﺎﻃﺒﻬﻢ مبﺎ ﻳﺘﺨﺎﻃﺒﻮن ﺑﻪ أﺳﺎﺳﺎً‪ ،‬و ﻷﻧﻬﺎ‬ ‫ﻛﺎﻧﺖ وﺳﻴﻠﺔ اﻟﺘﻮﺛﻴﻖ اﻟﻮﺣﻴﺪة ﻟﻔﱰة زﻣﻨﻴﺔ‬ ‫ﻟﻴﺴﺖ ﺑﺎﻟﻘﺼرية‪ -‬ﻋﺎﺷﻬﺎ أﺳﻼﻓﻬﻢ مبﺘﻐرياﺗﻬﺎ‬‫وﺣﺮوﺑﻬﺎ وﺷﺠﻮﻧﻬﺎ‪ ،‬ﻟﺬﻟﻚ ﻫﻲ ﺣﺎﴐه ﻛﻠام‬ ‫اﺳﺘﺤﴬوا ﻣﺎﺿﻴﻬﻢ وﻗﺼﺼﻪ وﻛﻠام ﺗﺴﺎﻣﺮوا‬

‫ﰲ اﳌﺠﺎﻟﺲ‪.‬‬ ‫وﺑﺎﻟﺤﺪﻳﺚ ﻋﻦ واﻗﻊ اﻟﻌﻼﻗﺔ ﺑني اﻹﻋﻼم‬ ‫واﻟﻘﺼﻴﺪة اﻟﺸﻌﺒﻴﺔ أو ﻟﻨﻘﻞ اﻟﻨﺒﻄﻴﺔ إن‬ ‫ﺻﺢ اﻟﺘﻌﺒري ﻓﻬﻲ ﺗﻜﺎد ﺗﻜﻮن ﻋﻼﻗﺔ ﻣﻌﺪوﻣﺔ‬ ‫نث ﺻﻔﺤﺔ ﻳﺘﻴﻤﺔ ﰲ أﺣﺪ اﳌﻼﺣﻖ‬ ‫إذا مل ﻧﺴﺘ ِ‬ ‫اﻷﺳﺒﻮﻋﻴﺔ ﰲ ﺟﺮﻳﺪة واﺣﺪة ﻣﻦ أﺻﻞ أﻛرث‬ ‫ﻣﻦ ﺗﺴﻊ ﺻﺤﻒ ﻳﻮﻣﻴﺔ ﰲ اﻟﺪوﻟﺔ‪.‬‬ ‫أﻣﺎ ﺑﺎﻟﻨﺴﺒﺔ ﻟﺤﻀﻮر اﻟﻘﺼﻴﺪة اﻟﺸﻌﺒﻴﺔ ﰲ‬ ‫اﳌﻨﺎﻫﺞ اﻟﺪراﺳﻴﺔ ﻓﻬﻲ ﻣﻐ ّﻴﺒﺔ ﺑﺎﻟﻜﺎﻣﻞ ﺣﻴﺚ‬ ‫ﻻ ﻳﻮﺟﺪ ﻣﺴﺎق أو ﻛﺘﺎب أو ﺣﺘﻰ أي إﺷﺎرة‬ ‫ﻟﻬﺎ ﻣﻦ ﻗﺮﻳﺐ أو ﺑﻌﻴﺪ‪ .‬وﻫﺬا إﺟﺤﺎف ﰲ‬ ‫ﺣﻖ ﻫﺬا اﻷدب اﻟﺸﻌﺒﻲ اﻟرثي‪ ،‬واﻟﺬي ﻳﻌﺪ‬ ‫رﻛﻴﺰة أﺳﺎﺳﻴﺔ ﻟﱰﺳﻴﺦ اﻟﻬﻮﻳﺔ اﻟﻮﻃﻨﻴﺔ ﻟﺪى‬ ‫اﻷﺟﻴﺎل‪ ،‬ﻻ ﺳﻴام وﻧﺤﻦ ﰲ ﺑﻠ ٍﺪ ﻣﻨﻔﺘﺢ ﻋﲆ‬ ‫اﻟﻌﺪﻳﺪ ﻣﻦ اﻟﺜﻘﺎﻓﺎت وﻳﺤﻮي ﰲ أرﺟﺎﺋﻪ أﻛرث‬ ‫ﻣﻦ ﻣﺎﺋﺘﻲ ﺟﻨﺴﻴﺔ وﻟﻐﺔ‪ .‬ﻟﺬا أرى أﻧﻪ ﻣﻦ‬ ‫اﻟﻮاﺟﺐ أن ﻳﻜﻮن ﻟﻠﻘﺼﻴﺪة اﻟﺸﻌﺒﻴﺔ ﺗﻮاﺟﺪ‬ ‫و ان ﻳﺴﺘﺤﺪث ﻟﻬﺎ ﻧﻮاﻓﺬ ﻳﺘﻮاﺻﻞ ﻣﻦ‬ ‫ﺧﻼﻟﻬﺎ ﻋﺸﺎق ﻫﺬا اﻷدب وﻣﺤﺒﻮه ﻟﻀامن‬ ‫ﺳريه وﻓﻖ اﻻﺗﺠﺎه اﻟﺼﺤﻴﺢ و ﻟﻠﺤﻔﺎظ ﻋﲆ‬ ‫إرﺛﻨﺎ اﳌﺤﲇ وﻟﻬﺠﺘﻨﺎ ﻣﻦ اﻟﺘﺸﻮه واﻟﻀﻤﻮر‪،‬‬ ‫ﻣﻦ ﺧﻼل ﺗﻜﺜﻴﻒ ﻫﺬا اﻷدب ﰲ اﻟﺼﺤﻒ‬ ‫اﻟﻴﻮﻣﻴﺔ ﻟﻴﺘﻌﺮف أﺑﻨﺎؤﻧﺎ ﻋﲆ ذﻫﺐ اﳌﺎﺟﺪي‬ ‫ﺑﻦ ﻇﺎﻫﺮ ﻋﻮﺿﺎً ﻋﻦ ﻓﻀﺔ أدوﻧﻴﺲ وﻏريه‪.‬‬ ‫وﺧﺘﺎﻣﺎً أﻋﺘﻘﺪ اﻧﻪ ﻗﺪ آن اﻷوان ﻟرنى ﻗﺼﻴﺪﺗﻨﺎ‬ ‫اﻟﺸﻌﺒﻴﺔ ﻣﺪرﺟﺔ ﰲ اﳌﻨﺎﻫﺞ اﳌﺪرﺳﻴﺔ ﻋﲆ‬ ‫اﻷﻗﻞ إن مل ﺗﻜﻦ اﻟﺠﺎﻣﻌﻴﺔ‪ ،‬ﻹﻟﻘﺎء اﻟﻀﻮء‬ ‫ﻋﻠﻴﻬﺎ و ﻋﲆ ﻣﺎ ﻗﺪﻣﻪ روادﻫﺎ و ﺷﻌﺮاؤﻫﺎ‬ ‫ﺑﺄن ﺗﻜﻮن ﻣﻠﺤﻘﺔ ﺑﺎﻟﻠﻐﺔ اﻟﻌﺮﺑﻴﺔ أﺳﻮ ًة‬ ‫ﺑﺎﳌﻘﺮرات اﻟﺘﻲ ﺗﺘﺒﻌﻬﺎ ﻛﺎﻟﻨﺤﻮ واﻟﻨﺼﻮص‬ ‫واﻟﻘﺼﺔ واﻟﺮواﻳﺔ‪.‬‬ ‫ﻣﻌﺎﻧﺎة اﻟﻘﺼﻴﺪة اﻟﺸﻌﺒﻴﺔ‬ ‫اﻟﺸﺎﻋﺮ واﻹﻋﻼﻣﻲ ﻋﻴﻀﻪ ﺑﻦ ﻣﺴﻌﻮد أوﺿﺢ‬ ‫أن ﻣﻌﺎﻧﺎة اﻟﻘﺼﻴﺪة اﻟﺸﻌﺒﻴﺔ ﺑﺪأت ﻣﻨﺬ‬ ‫ﺑﺪاﻳﺎت ﻇﻬﻮرﻫﺎ ووﻻدﺗﻬﺎ‪ ،‬ﺣﻴﺚ ﺣﺎوﻟﺖ‬ ‫أﻳﺪي ﻋﻠامء اﻟﻠﻐﺔ واﻟﻔﻘﻪ وأدﻫﺎ ﺑﺤﺠﺔ‬ ‫ﺧﺮوج ﻟﻐﺘﻬﺎ ﻋﻦ اﻟﻠﻐﺔ اﻟﻔﺼﺤﻰ‪ ،‬وﻋﺪم‬ ‫ﺗﻘﻴﺪﻫﺎ ﺑﴩوط ﻋﻠﻢ اﻟﺨﻠﻴﻞ ﺑﻦ أﺣﻤﺪ‬ ‫اﻟﻔﺮاﻫﻴﺪي )ﻋﻠﻢ اﻟﻌﺮوض(‪.‬‬

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‫ﺑﺪر ﺻﻔﻮق‬

‫ﺳﺎمل ﺑﻮﺟﻤﻬﻮر‬

‫اﻟﺸﻌﺒﻲ وﻟﻮﻻ ﻇﻬﻮرﻫﺎ ﺑﺬﻟﻚ اﻟﻜﻢ اﻟﻜﺒري‬ ‫اﻟﺬي أﴐ ﺑﺎﻟﺸﻌﺮ ﻛﺜريا ﻟﻜﺎﻧﺖ ﻫﻲ اﻷرض‬ ‫اﻟﺨﺼﺒﺔ ﻟﻠﻤﺤﺎﻓﻈﺔ ﻋﲆ اﻟﺠﻴﺪ ﻣﻦ اﻟﺸﻌﺮ‪،‬‬ ‫وﻗﺪ ﻛﺎن ﻟﻸدﺑﺎء ﰲ ذﻟﻚ اﻟﺤني ﺗﻄﻠﻌﺎت‬ ‫ﺻﺎﺣﺒﺖ اﻟﻌﴫ اﻟﺬﻫﺒﻲ ﻟﻠﻘﺼﻴﺪة اﻟﺸﻌﺒﻴﺔ‪.‬‬ ‫ﻣﻨﻬﺎ ﻣﺜﻼ أن ﻳﻜﻮن ﻫﻨﺎك ﻛﺮﳼ أﻛﺎدميﻲ‬ ‫وﻟﻜﻦ ﴎﻋﺎن ﻣﺎ ﺗﻀﺎءل ذﻟﻚ اﻻﻣﻞ ﺑﺴﺒﺐ‬ ‫اﻟﱰف اﻟﺬي اﺑﺘﲇ ﺑﻪ اﻟﺸﻌﺮ اﻟﺸﻌﺒﻲ‪ ،‬ﻓﻄﻐﻰ‬ ‫اﻟﻜﻢ واﻟﻜﺴﺐ اﳌﺎدي وﺗﻮﻇﻴﻒ اﻟﺸﻌﺮ‬ ‫ﻟﻐﺎﻳﺎت أﺑﻌﺪ ﻣﺎ ﺗﻜﻮن ﻋﻦ اﻟﻐﺎﻳﺔ اﳌﺮﺟﻮة‪،‬‬ ‫ﻓﻠﻢ ﻳﺘﺒﻖَ اﻵن ﻣﻦ ﺳﺎﺣﺎت اﻟﺸﻌﺮ اﻟﺨﻠﻴﺠﻴﺔ‬ ‫إﻻ اﻟﺴﺎﺣﺔ اﻻﻣﺎراﺗﻴﺔ‪ ،‬مبﺎ ﻓﻴﻬﺎ ﻣﻦ ﻣﻘﻮﻣﺎت‬ ‫اﻻﻧﺘﺸﺎر اﻹﻋﻼﻣﻲ اﻟﺼﺤﻴﺢ‪.‬‬ ‫ﻳﺤﺘﺎج اﳌﻮﺿﻮع اﱃ اﻟﺘﻔﻜري اﻟﺠﺎد ﻹﻧﻘﺎذ‬ ‫اﻟﻘﺼﻴﺪة اﻟﺸﻌﺒﻴﺔ وﻣﺴﺄﻟﺔ اﻧﺘﺸﺎرﻫﺎ ﺑﺎﻟﺸﻜﻞ‬ ‫اﻟﺼﺤﻴﺢ‪ ،‬وﻟﻦ ﻳﺘﺄىت ذﻟﻚ اﻻ مبﺆمتﺮ ﻳﺸﺎرك ﻓﻴﻪ‬ ‫اﻷدﺑﺎء واﻟﻨﻘﺎد واﻟﺒﺎﺣﺜﻮن ﻟﺘﺸﺨﻴﺺ ﻣﻮاﺿﻊ‬ ‫اﻟﺨﻠﻞ واﻗﱰاح اﻟﺤﻠﻮل اﻟﺘﻲ ﻣﻦ ﺷﺄﻧﻬﺎ أن‬ ‫ﺗﺤﺎﻓﻆ ﻋﲆ اﻟﻘﺼﻴﺪة اﻟﺸﻌﺒﻴﺔ وإﻋﺎدﺗﻬﺎ ﻛام‬ ‫ﻛﺎﻧﺖ ﰲ ﻗﻠﻮب وأﺳامع ﻣﺤﺒﻴﻬﺎ‪.‬‬ ‫اﻟﻌﺰوف ﻋﻦ اﻟﺼﻨﺎﻋﺔ اﻟﻤﺤﻠﻴﺔ!!‬ ‫ﺳﺎمل ﺑﻮﺟﻤﻬﻮر ﺷﺎﻋﺮ إﻣﺎرايت ﻗﺪﻳﺮ ﻳﻘﻮل‪:‬‬ ‫اﻟﻘﺼﻴﺪة اﻟﺸﻌﺒﻴﺔ ﺗﻈﻞ اﻷﻗﺮب اﱃ ﻗﻠﻮب‬ ‫اﻟﺠامﻫري ﻣﻦ اﳌﺤﻴﻂ اﱃ اﻟﺨﻠﻴﺞ ﻟﻜﻨﻬﺎ‬ ‫ﻣﺜﻠﻬﺎ ﻣﺜﻞ أي ﻣﻨﺘﺞ ﺷﻌﺒﻲ! ﻓﺎﻟﻜﺜري ﻣﻦ‬ ‫اﳌﺠﺘﻤﻌﺎت ﻻ ميﻴﻞ ﻟﻠﺼﻨﺎﻋﺔ اﳌﺤﻠﻴﺔ ﺑﻔﻌﻞ‬ ‫دﻋﺎﻳﺎت ودﻋﻢ اﳌﻨﺘﺞ اﳌﺴﺘﻮرد اﻟﺬي ﺗﻘﻒ‬ ‫وراءه ﻗﻮى اﻗﺘﺼﺎدﻳﺔ ﻋﺎﳌﻴﺔ ‪.‬‬ ‫ﻟﺬﻟﻚ دامئﺎ ﻣﺎ ﻳﻮاﺟﻪ اﳌﻨﺘﺞ اﻟﺸﻌﺒﻲ‬ ‫اﳌﺼﺎﻋﺐ‪ ،‬ﺳﻮاء ﰲ اﻟﻔﻦ و اﻷدب‪ ،‬أو ﰲ‬ ‫اﻟﺼﻨﺎﻋﺔ واﻟﺴﻴﺎﺳﺔ واﻟﺘﺠﺎرة‪ .‬وﻳﺘﺴﺎءل‬ ‫ﺑﻮﺟﻤﻬﻮر‪ :‬ﻛﻴﻒ ﻧﺪرس اﻟﺮﺳﻢ واﻟﺮﻗﺺ‬

‫د‪.‬ﻋﺎرف اﻟﺸﻴﺦ‬

‫واﻟﻐﻨﺎء واﳌﻮﺳﻴﻘﻰ واﳌﴪح وﻻ ﻧﺪرس اﻟﺸﻌﺮ‬ ‫اﻟﺸﻌﺒﻲ ؟ وﻣﻬام ﻛﺎﻧﺖ اﻹﺟﺎﺑﺔ ﻓﺴﺘﻌﺮب ﻋﻦ‬ ‫ﺿﻌﻒ ﺛﻘﺎﻓﺘﻨﺎ وإرادﺗﻨﺎ اﻟﺸﻌﺒﻴﺔ ‪ .‬وﺳﺘﻌﺮب‬ ‫ﻋﻦ ﻣﻔﻬﻮﻣﻨﺎ اﻟﺒﺴﻴﻂ ﻟﻠﺜﻘﺎﻓﺔ‪.‬‬ ‫وﻳﻀﻴﻒ‪ :‬اﻟﺜﻘﺎﻓﺔ اﻟﺘﻲ ﺗﻘﺪم ﱄ ﻫﻲ ﻣﻦ‬ ‫ﻗﺒﻴﻞ ﺷﻜﺴﺒري ﻣﱰﺟام وﻃﺎﻏﻮر و ﺑﻮﺷﻜني‪،‬‬ ‫ﻓﺄﻗﺮأﻫﻢ ﺑﺎﻟﻌﺮﺑﻴﺔ‪ ،‬ﺛﻢ أﻋﺠﺰ ﻋﻦ اﻟﺘﺄﻗﻠﻢ ﻣﻊ‬ ‫ﺷﻌﺮي وأديب اﻟﺸﻌﺒﻲ اﻟﺬي ﻟﻴﺲ ﺑﻴﻨﻲ و ﺑﻴﻨﻪ‬ ‫ﻟﻐﺔ! ﺑﻞ ﻟﻬﺠﺔ ﻋﺮﺑﻴﺔ‪ .‬واﻟﻐﺮﻳﺐ ﰲ اﻟﻠﻬﺠﺔ‬ ‫اﻟﺸﻌﺒﻴﺔ اﻟﻌﺮﺑﻴﺔ أﻧﻬﺎ ﺣﺘﻰ اﻵن ﻻ ﻳﻮﺟﺪ ﻟﻬﺎ‬ ‫ﻣﺠﻤﻊ! ﻣﺎذا ﻟﻮ اﺻﺒﺢ ﻟﻜﻞ اﻟﻠﻬﺠﺎت اﻟﻌﺮﺑﻴﺔ‬ ‫ﻣﺠﻤﻊ ؟! اﻋﺘﻘﺪ أن وﺟﻮد ﻣﺠﻤﻊ ﻟﻠﻬﺠﺎت‬ ‫اﻟﻌﺮﺑﻴﺔ ﻣﻦ اﳌﺤﻴﻂ اﱃ اﻟﺨﻠﻴﺞ ﺳﻴﻜﻮن‬ ‫راﻓﺪا ﺛﺮﻳﺎ ﻟﻠﻐﺔ اﻟﻌﺮﺑﻴﺔ اﻟﻔﺼﺤﻰ ‪ .‬وﺳﻴﻜﻮن‬ ‫ﻣﻌﺰزا ﻟﻠﻬﺠﺎت اﻟﺸﻌﺒﻴﺔ ﰲ اﻟﻮﻃﻦ اﻟﻌﺮيب ‪.‬‬ ‫واﻇﻦ أن ﻛﻞ ﻣﻦ ﺳﻴﻌﻮد اﱃ مثﺎﻧﻴﻨﻴﺎت اﻟﻘﺮن‬ ‫اﳌﺎﴈ ﺛﻢ ﻳﻨﻈﺮ ﻟﻮاﻗﻊ اﻟﻘﺼﻴﺪة اﻟﺸﻌﺒﻴﺔ ﰲ‬ ‫ﻫﺬا اﻟﻴﻮم ﺳﻴﻼﺣﻆ ﺗﻄﻮر اﻟﻘﺼﻴﺪة اﻟﺸﻌﺒﻴﺔ‬ ‫ﺗﻄﻮراً ﺟﻤﻴ ًﻼ و ﴎﻳﻌﺎً و ﻓﻨﻴﺎ‪ ،‬ﻓﺸﻌﺮاء اﻟﻴﻮم‬ ‫ﻟﺪﻳﻬﻢ ﻣﻦ اﻻﻃﻼع واﻟﺜﻘﺎﻓﺔ ﻣﺎمل ﻳﺘﻴﴪ‬ ‫ﻟﻠﻜﺜري ﻣﻦ ﺷﻌﺮاء اﳌﺎﴈ‪.‬‬ ‫واﺧﺘﺘﻢ‪ :‬ﺗﻈﻞ اﻟﻘﺼﻴﺪة اﻟﺸﻌﺒﻴﺔ ﺑﻨﺖ‬ ‫اﻟﺸﻌﺐ اﳌﺠﻴﺪة وﻋﲆ اﻟﺸﻌﺐ ان ﻳﺘﻌﺎﻣﻞ‬ ‫ﻣﻌﻬﺎ مبﺤﺒﺔ وﻻ ﻳﺤﺮﻣﻬﺎ ﻣﻦ اﻟﺘﻌﻠﻴﻢ وﻻ‬ ‫ﻳﻔﺮض ﻋﻠﻴﻬﺎ اﻟﺤﺠﺎب اﻟﺜﻘﺎﰲ ‪.‬‬ ‫ﺟﻤﻌﻴﺔ ﻧﻔﻊ ﻋﺎم‬ ‫اﻟﺸﺎﻋﺮ واﻟﺒﺎﺣﺚ ﻣﺤﻤﺪ ﻧﻮر اﻟﺪﻳﻦ ﻳﻘﻮل‪:‬‬ ‫ﻛﺎن ﳌﺠﺎﻟﺲ اﻟﺸﻌﺮاء اﻟﺘﻲ ﺗﻌﺮض ﻋﲆ‬ ‫اﻟﺘﻠﻔﺰﻳﻮن وﻗﻊ ﺧﺎص ﰲ ﻧﻔﴘ ﻓﻤﻨﻬﺎ‬ ‫ﺗﻌﺮﻓﺖ ﻋﲆ أﻫﻢ اﻟﺸﻌﺮاء‪ ،‬وﻛﺬﻟﻚ ﻛﺎﻧﺖ‬ ‫اﻟﱪاﻣﺞ اﻟﱰاﺛﻴﺔ اﻟﺘﻲ ﺗﺒﺚ ﻳﻮﻣﻴﺎ ﰲ إذاﻋﺔ‬ ‫أﺑﻮﻇﺒﻲ واﻟﺘﻲ ﻛﺎن ﻟﻬﺎ ﻧﻔﺲ اﻟﻮﻗﻊ ﰲ ﻧﻔﴘ‬

‫ﻋﺒﺪاﻟﻠﻪ ﺧﻠﻒ اﻟﺪوﴎي‬

‫ﺣﻴﺚ ﻛﻨﺖ أﺗﻔﺎﻋﻞ ﻣﻌﻬﺎ ﻛام أﺗﻔﺎﻋﻞ ﻣﻊ‬ ‫وﺳﺎﺋﻂ اﻟﺘﻔﺎﻋﻞ اﻻﺟﺘامﻋﻲ اﻟﻴﻮم‪ .‬وأذﻛﺮ‬ ‫أﻳﻀﺎ ﺻﻔﺤﺎت اﻟﺸﻌﺮ اﻟﺸﻌﺒﻲ ﰲ اﻟﺠﺮاﺋﺪ‬ ‫اﻟﻴﻮﻣﻴﺔ واﳌﺠﻼت اﻟﺘﻲ ﻛﺎﻧﺖ ﺑﺎﻟﻨﺴﺒﺔ ﱄ‬ ‫دواوﻳﻦ ﺷﻌﺮ ﻣﺘﺠﺪدة‪ ،‬وﻟﻬﺎ وﻗﻊ ﻛﺒري ﰲ‬ ‫ﻧﻔﻮﺳﻨﺎ‪ .‬وﻟﻜﻦ ﻣﺎ ﺑني ﺳﻨﺔ وأﺧﺮى أﺻﺒﺤﻨﺎ‬ ‫ﻧﻔﻘﺪ ﻫﺬه اﻷﻣﻮر اﻟﺠﻤﻴﻠﺔ ﺷﻴﺌﺎ ﻓﺸﻴﺌﺎ ﻛام‬ ‫ﻧﻔﻘﺪ أﺻﺪﻗﺎءﻧﺎ دون ﺳﺎﺑﻖ ﺗﻮﻗﻊ‪ .‬وﻗﺪ ﺗﻜﻮن‬ ‫اﻟﺘﻜﻨﻮﻟﻮﺟﻴﺎ ﺳﺒﺒﺎ رﺋﻴﺴﻴﺎ ﰲ ذﻟﻚ‪ ،‬وﻟﻜﻨﻨﺎ‬ ‫أﻳﻀﺎ‪ ،‬ﻛﻨﺎ ﻛﺬﻟﻚ ﺳﺒﺒﺎ ﻣﻬام ﺑﻌﺪم اﺳﺘﻤﺮار‬ ‫ﺗﻔﺎﻋﻠﻨﺎ ﻣﻊ اﻟﻘﻨﻮات اﻹﻋﻼﻣﻴﺔ اﻟﻘﺪميﺔ‪،‬‬ ‫ﻓﺎﻷﻣﺴﻴﺎت أﺻﺒﺤﺖ ﺧﺎﻟﻴﺔ ﻣﻦ اﻟﺠﻤﻬﻮر‬ ‫واﻟﺼﻔﺤﺎت اﻟﺸﻌﺮﻳﺔ أﺿﺤﺖ ﺗﺮﻛﺾ وراء‬ ‫اﻟﺸﻌﺮاء‪ ،‬واﻟﺸﻌﺮاء ﻻ ﻳﺘﻔﺎﻋﻠﻮن ﻣﻊ اﻟﱪاﻣﺞ‬ ‫اﻟﺘﻘﻠﻴﺪﻳﺔ‪ ،‬واﻟﻨﻘﺪ واﻟﺪراﺳﺎت ﰲ اﳌﺠﺎل‬ ‫اﻟﺸﻌﺒﻲ ﺻﺎرت ﻗﻠﻴﻠﺔ ﰲ اﻟﺴﺎﺣﺔ‪ ،‬وﺑﻌﺾ‬ ‫ذﻟﻚ ﻳﻜﻔﻲ ﻋﺬرا ﻟﺘﻮﻗﻒ اﻟﻘﻨﻮات اﻹﻋﻼﻣﻴﺔ‬ ‫ﻋﻦ ﺗﻘﺪﻳﻢ اﻟﺸﻌﺮ اﻟﺸﻌﺒﻲ‪ .‬أرى أن اﻟﺸﻌﺮاء‬ ‫أﺻﺒﺤﻮا أﺷﺒﻪ ﺑﺎﻷﻳﺘﺎم اﻟﺬﻳﻦ ﺗﺒﻨﺘﻬﻢ اﻟﺸﺒﻜﺔ‬ ‫اﻟﻌﻨﻜﺒﻮﺗﻴﺔ‪ ،‬ﻓﺎﳌﺆﺳﺴﺎت اﻟﺜﻘﺎﻓﻴﺔ ﻣﻦ‬ ‫وزارات ودواﺋﺮ وﻫﻴﺌﺎت ﺛﻘﺎﻓﻴﺔ مل ﺗﺴﺘﻄﻊ‬ ‫أن ﺗﻀﻤﻬﻢ )ﺟﻤﻴﻌﻬﻢ(‪ .‬واﻷﺟﺪر أن ﻳﺠﺘﻤﻊ‬ ‫اﻟﺸﻌﺮاء اﻟﺸﻌﺒﻴﻮن ﺗﺤﺖ راﻳﺔ ﺟﻤﻌﻴﺔ ﻧﻔﻊ‬ ‫ﻋﺎم‪ ،‬وأن ﻳﺸﻜﻠﻮا ﻫﻮﻳﺘﻬﻢ ووﺟﻮدﻫﻢ ﰲ‬ ‫اﳌﺠﺘﻤﻊ اﳌﺪين ﻟﻴﻜﻮﻧﻮا ﺟﺰءا ﻣﻦ اﻟﺜﻘﺎﻓﺔ‬ ‫اﻟﻔﺎﻋﻠﺔ واﳌﻮﺟﻬﺔ واﳌﺆﺛﺮة‪ ،‬وﻫﺬا ﻻ ﻳﺘﺄىت‬ ‫ﺑﺎﻟﺠﻬﻮد اﻟﻔﺮدﻳﺔ أو اﻟﺠﻤﻌﻴﺔ اﻟﻌﺸﻮاﺋﻴﺔ‬ ‫ﻣﻬام ﻛﺎﻧﺖ ﻣﺒﺪﻋﺔ وﻫﺎدﻓﺔ‪.‬‬ ‫ﺑﻌﺪ ﺣﻤﺎﻳﺔ اﻟﻔﺼﺤﻰ‬ ‫اﻟﺪﻛﺘﻮر ﺳﻴﻒ اﳌﺤﺮوﻗﻲ وﻛﻴﻞ ﻛﻠﻴﺔ اﻟﻌﻠﻮم‬ ‫اﻹﻧﺴﺎﻧﻴﺔ_ ﺟﺎﻣﻌﺔ اﻹﻣﺎرات ﻗﺎل‪ :‬اﻟﺸﻌﺮ‬ ‫اﻟﺸﻌﺒﻲ ﻣﻜﻮن ﻣﻦ ﻣﻜﻮﻧﺎت اﻟﺜﻘﺎﻓﺔ‬ ‫أﻛﺘﻮﺑﺮ‪21 2016 /‬‬

‫اﺳﺘﻄﻼع‬ ‫‪baytelshear‬‬

‫اﺳﺘﻄﻼع‬

‫اﻟﺸﻌﺮ اﻟﺸﻌﺒﻲ ﻓﻲ وﺳﺎﺋﻞ ا‪,‬ﻋﻼم واﻟﻤﻨﺎﻫﺞ‬

‫ﻣﻮﺟﻮد‬ ‫وﻏﻴﺮ‬ ‫ﻣﻮﺟﻮد!‬ ‫ﻣﺤﻤﺪ ﻋﺒﺪاﻟﺴﻤﻴﻊ‬

‫ﻳﺮى اﻟﺒﻌﺾ أن اﻟﻘﺼﻴﺪة اﻟﺸﻌﺒﻴﺔ ﻟﻬﺎ ﺟﺮﺣﻬﺎ اﻟﺨﺎص‪ ،‬ﻓﻬﻲ ﻣﺴﺘﺒﻌﺪة ﻣﻦ اﻟﻤﻘﺮرات اﻟﺪراﺳﻴﺔ‪ ،‬وﻣﻦ ﺟﺎﻧﺐ اﻟﻌﺪﻳﺪ ﻣﻦ وﺳﺎﺋﻞ اﻹﻋﻼم‪ V‬ﺣﻴﺚ ﻳُﻨﻈﺮ‬ ‫ﻛﻨﺺ ﻋُ ﻤﻮﻣﻲ أو ﺷﻌْ ﺒﻲ ﺑﻤﺎ ﺗﺤﻤ ُﻠﻪ ﻫﺎﺗﺎن اﻟﻜﻠﻤﺘﺎن ﻣﻦ ﻣﺘﺮادﻓﺎت‪V‬‬ ‫إﻟﻴﻬﺎ اﻟﻴﻮم ﱟ‬ ‫ُ‬ ‫اﻟﻔﻜ‪ª‬ﺮ واﻟ ّﻠﻐﺔ واﻟﺒﻨﺎء اﻟﻔ ّﻨﻲ ﺑﻬﺪف اﻟ ّﺘﻌﺒﻴﺮ ﻋﻦ‬ ‫إﻟﻰ ﺟﺎﻧﺐ إﻏﻔﺎل أﻧﻬﺎ ﻗﺼﻴﺪة ﻣﺒﻨﻴّﺔ‪ ،‬ﺗﺘﻐ ّﺬى ﻣﻦ ﻣﺼﺎد َر ٍﺷﻌﺮﻳﺔ وﺛﻘﺎﻓﻴﺔ واﺳﻌﺔ‪ ،‬ﻳﺘﺸﺎﺑﻚ داﺧ َﻠﻬﺎ ِ‬ ‫ﻣﻮﻗﻒ ّ‬ ‫ُ‬ ‫رؤﻳﺎ ِﺷﻌﺮﻳﺔ ﻣﻜﺜﻔﺔ‪ُ ،‬ﺗ ُ‬ ‫َ‬ ‫وﺗﻜﺸﻒ ﻋﻦ ﻧﻈﺮﺗﻪ ﻟﻠﻮﺟﻮد وﻟﻠﻌﺎﻟﻢ‪V‬‬ ‫اﻟﺸﺎﻋﺮ ﻣﻦ اﻟ ّﺬات واﻵﺧﺮ‬ ‫ﻌﻠﻦ‬ ‫ﻓﻤﺎ ﻫﻮ واﻗﻊ اﻟﻘﺼﻴﺪة اﻟﺸﻌﺒﻴﺔ ﻓﻲ اﻟﺼﺤﻒ اﻟﻴﻮﻣﻴﺔ واﻟﻤﻨﺎﻫﺞ اﻟﺪراﺳﻴﺔ‪ ،‬وﻣﺎ ﻫﻲ ﺣﻘﻴﻘﺔ دورﻫﺎ؟‬ ‫ﻃﺮﺣﻨﺎ اﻟﺴﺆال ﻋﻠﻰ ﻋﺪد ﻣﻦ اﻟﺸﻌﺮاء اﻟﺸﻌﺒﻴﻴﻦ ﻓﻜﺎﻧﺖ ﻫﺬه اﻹﺟﺎﺑﺎت ﻛﺎﻟﺘﺎﻟﻲ]‬

‫اﻟﻘﺼﻴﺪة اﻟﺸﻌﺒﻴﺔ ﻓﻲ ﻛﻞ ﻣﻜﺎن‬ ‫اﻟﺸﺎﻋﺮ ﺑﺪر اﻟﺼﻔﻮق ﻋﻀﻮ اﻟﻠﺠﻨﺔ اﻻﺳﺘﺸﺎرﻳﺔ‬ ‫ﳌﺴﺎﺑﻘﺔ ﺷﺎﻋﺮ اﳌﻠﻴﻮن ﻳﻘﻮل‪ :‬اﻟﺪور اﻟﺤﻘﻴﻘﻲ‬ ‫ﻟﻠﻘﺼﻴﺪة اﻟﺸﻌﺒﻴﺔ ﺗﺠﺪه ﰲ ﻛﻞ وﺳﺎﺋﻞ‬ ‫اﻹﻋﻼم واﻟﺴﻮﺷﻴﺎل ﻣﻴﺪﻳﺎ ﻣﻦ ﺧﻼل ﻛﻞ‬ ‫ﺣﺪث وﻃﻨﻲ وإﻧﺴﺎين‪ ،‬وﻫﻮ اﻟﻄﺎﻏﻲ اﻵن‬ ‫ﻣﻦ ﺧﻼل ﻣﻦ ﻳﻜﺘﺒﻪ وﻣﻦ ﻳﺘﻠﻘﺎه‪ ،‬واﻟﺸﻮاﻫﺪ‬ ‫ﻛﺜرية ﺟﺪاً ﳌﻦ ﻳﺮﻳﺪ اﻟﻨﻈﺮ ﺑﺈﻧﺼﺎف ﻟﻠﻮاﻗﻊ‬ ‫اﻷديب اﳌﻮﺟﻮد‪ .‬وﻟﻮ ﻻﺣﻈﻨﺎ ﺗﻔﺎﻋﻞ اﻟﻨﺺ‬ ‫اﻟﺸﻌﺒﻲ ﻣﺜ ًﻼ ﰲ اﻟﺘﻌﺎﻣﻞ ﻣﻊ ﻋﺎﺻﻔﺔ اﻟﺤﺰم‬ ‫واﻷﺧﻄﺎر اﳌﺤﻴﻄﺔ ﺑﺎﳌﻨﻄﻘﺔ ﺳﺘﺠﺪه ﺛﺎين‬ ‫ﺧﻂ دﻓﺎع ﺑﻌﺪ ﺟﻨﻮدﻧﺎ اﻷﺑﻄﺎل‪ ،‬ﻧﻈﺮا ﻟﺪوره‬ ‫ﰲ ﺗﻮﻋﻴﺔ اﳌﺘﻠﻘﻲ اﻟﺨﻠﻴﺠﻲ وزﻳﺎدة إﺣﺴﺎﺳﻪ‬ ‫ﺑﻬﻢ اﻟﻮﻃﻦ وﺣﺎﺟﺘﻪ واﻟﺘﻀﺤﻴﺔ ﻣﻦ أﺟﻠﻪ‬ ‫‪ 20‬ﺑﻴﺖ اﻟﺸﻌﺮ ‪ /‬اﻟﻌﺪد ‪49‬‬

‫ﺑﻜﻞ ﻏﺎل وﻧﻔﻴﺲ‪ .‬ﻣﻦ ﻳﻨﻈﺮ ﻟﻠﺸﻌﺮ اﻟﺸﻌﺒﻲ‬ ‫وﻳﺠﺪ أﻧﻪ أدب »ﻣﻈﻠﻮم« ﻓﻠﻴﻨﻈﺮ ﻣﻦ ﺣﻮﻟﻪ‬ ‫ﺟﻴﺪاً وﻳﺮى ﻣﺪى اﻟﺘﺄﺛري اﻟﺬي أﺣﺪﺛﻪ ﻫﺬا‬ ‫اﻷدب‪ .‬وﻟﻮ ﺟﻤﻌﺖ ﻛﻞ ﻗﺼﻴﺪة ﻛﺘﺒﺖ ﻣﻨﺬ‬ ‫اﻧﻄﻼﻗﺔ ﻋﺎﺻﻔﺔ اﻟﺤﺰم ﻋﲆ ﺳﺒﻴﻞ اﳌﺜﺎل‬ ‫ﻷﺻﺒﺢ ﺑﺈﻣﻜﺎﻧﻚ ﻃﺒﻊ أﻛرث ﻣﻦ دﻳﻮان ﻳﻌﺰز‬ ‫اﻟﻘﻴﻤﺔ اﻟﻮﻃﻨﻴﺔ ﰲ اﻟﻨﻔﻮس‪ ،‬وﺗﺴﺘﻄﻴﻊ أن‬ ‫ﺗﻘﺎرن ذﻟﻚ مبﺎ ﻛﺘﺐ ﰲ اﻟﻔﺼﻴﺢ ﻣﻊ ﺗﻘﺪﻳﺮﻧﺎ‬ ‫ﻟﻠﺸﻌﺮ اﻟﻔﺼﻴﺢ‪ ،‬وﺳﺘﺠﺪ ﺑﻮﻧﺎً ﺷﺎﺳﻌﺎً‪.‬‬ ‫اﻟﺴﺎﺣﺔ اﻹﻣﺎراﺗﻴﺔ ﻫﻲ اﻟﺒﺎﻗﻴﺔ‬ ‫ﻋﺒﺪاﻟﻠﻪ ﺧﻠﻒ اﻟﺪوﴎي أﻣني ﻋﺎم ﻣﺠﻠﺲ‬ ‫اﻟﻨﻮاب اﻟﺒﺤﺮﻳﻨﻲ أﺷﺎر إﱃ أن ﻣﻮﺿﻮع اﻧﺘﺸﺎر‬ ‫اﻟﻘﺼﻴﺪة اﻟﺸﻌﺒﻴﺔ إﻋﻼﻣﻴﺎ ﺑﻬﺬا اﻟﺰﺧﻢ اﻟﻜﺒري‬

‫ﺷﻐﻞ ﺗﻔﻜري اﻟﻨﻘﺎد‪ .‬ﻓﻠﻢ ﻳﺤﻆ أي ﻟﻮن ﺷﻌﺮي‬ ‫ﻛام ﺣﻈﻴﺖ ﺑﻪ اﻟﻘﺼﻴﺪة اﻟﺸﻌﺒﻴﺔ ﻣﻦ اﻧﺘﺸﺎر‬ ‫اﻋﻼﻣﻲ واﺳﻊ اﻟﻨﻄﺎق ﺗﻌﺪى ﻛﻞ ﺣﺪود‬ ‫اﻟﺘﻔﻜري اﻟﻨﻘﺪي ﻟﻪ‪ .‬ﻓﻤﻨﺬ ﺑﺪاﻳﺔ مثﺎﻧﻴﻨﻴﺎت‬ ‫اﻟﻘﺮن اﳌﺎﴈ‪ ،‬ﺷﻬﺪﻧﺎ اﻧﻄﻼق اﻻﻧﺘﺸﺎر‬ ‫اﻻﻋﻼﻣﻲ ﻟﻸدب اﻟﺸﻌﺒﻲ ﻋﻤﻮﻣﺎ‪ ،‬واﻟﻘﺼﻴﺪة‬ ‫اﻟﺸﻌﺒﻴﺔ ﻋﲆ وﺟﻪ اﻟﺨﺼﻮص‪ ،‬ﻓام ﻣﻦ‬ ‫ﻣﻄﺒﻮﻋﺔ ﺧﻠﻴﺠﻴﺔ ﻛﺎﻧﺖ ﻳﻮﻣﻴﺔ أو أﺳﺒﻮﻋﻴﺔ‬ ‫أو ﺷﻬﺮﻳﺔ إﻻ واﻓﺮدت ﻟﻠﺸﻌﺮ اﻟﺸﻌﺒﻲ ﺣﻴﺰا‬ ‫ﻹﺷﺒﺎع اﳌﺘﻠﻘﻲ اﻟﺬي ﻛﺎن ﻳﺘﻠﻬﻒ ﳌﺘﺎﺑﻌﺔ‬ ‫اﻟﺸﻌﺮ وﻧﺠﻮﻣﻪ‪ .‬ﺛﻢ أﺧﺬ اﻟﺘﻠﻔﺰﻳﻮن إﱃ‬ ‫ﺟﺎﻧﺐ اﻹذاﻋﺔ ﻧﻔﺲ اﳌﻨﺤﻰ ﻓﻜﺎﻧﺖ ﻫﻨﺎك‬ ‫ﺑﺮاﻣﺞ إذاﻋﻴﺔ وﺗﻠﻔﺰﻳﻮﻧﻴﺔ واﺳﻌﺔ اﻻﻧﺘﺸﺎر‪.‬‬ ‫ﺛﻢ ﻇﻬﺮت اﳌﺠﻼت اﳌﺘﺨﺼﺼﺔ ﺑﺎﻟﺸﻌﺮ‬

‫ﻳﺎﻟﻄﻴﻒ اﻟﺮوح‬ ‫ ﺑﻦ ﻧﻮره اﻟﺮاﺷﺪي‬¢‫ﻋﺒﺪا‬ @ 3bdlh_bn_noorh

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19 2016 /‫أﻛﺘﻮﺑﺮ‬

‫ﻣﺎﺳﺎت‬ baytelshear

‫درب اﻟﻤﺤﺒﺔ‬ ‫ ﺳﺤﻴﻢ ﺑﻦ أﺣﻤﺪ آل ﺛﺎﻧﻲ‬/‫اﻟﺸﻴﺦ‬ @ suhaimbinahmad

@@+ ·b@@ @ @ @ E ¡@@ @ ~@ @ @ {@ @ @ D* e42H @@ @ c@ @ @p@ @ @´* e42 Á*v@@ @ @ @D* b@@ @ @ @ @ @ @ @J5H 4¡@@ @~@ @ |@ @ @ @ D* b@@ @ @ @ @EH ·b@@ @ @ @E f@@ @c@ @ J4 ¤@@ @ Ex@@ @ @ @ @Eb@@ @ J ¤@@ @ @ @ @Ab@@ @ 1 ¯ b@@ @ @ @ @C ¡@@ @ @ D Áb@@ @ @£@ @G d@@ @ @ @ @ @ @ @D*H ¤@@ @g@ @ c@ @ J4 @@ @ @ < h@@ @Jv@@ @~@ @ 8 @@ c@ £@ : b@@ @ @ @ @+ b@@ @ @ @E @@ @ c@ @ @p@ @ @´* * ¥42* b@@ @ @ @ @F* Áb@@ @ A b@@ @ Gx@@ @ @ @ @< @@ @ c@ @ @p@ @ @´* * ¥42* b@@ @ @ @ @ @F*H @@ c@ £@ @ ~@ {@ + @@ @ £@ @ @C ¤@@ @c@ @ £@ @ c@ @ 0 @@ @ @Db@@ @ @~@ @ @ 8H °* Áb@@ @ Jx@@ @ ~@ @ 7H ¤@@ @c@ @ @ @ B @@ @ @ @ g@ @ ­ ¥w@@ @ @ @ @ D* h@@ @ @ @ @ F*H @@c@ £@ s@ ~@ |@ J b@@ @ @ @C ¤@@ c@ @£@ @c@ @0 ¤@@ c@ @ @ @B @@ @ 7b@@ @ < ° Áb@@ @ . Mv@@ @ @ @ @ @ @ @ 0*H @@ @ Cv@@ @ @ @ @ + 4H2* ¡@@ @ @ @ @ @ ~@ @ @ 7H @@ @c@ @ £@ @ EH* b@@ @ @ E x@@ @m@ @ @ @ D* @@ @£@ @ ~@ @ 6 Ñ*H Ñ*H Áb@@~@ z@ @ - @@ @£@ @ A ¤@@ c@ @£@ @c@ @0 M ¡@@ @ £@ @ @ + ¢@@ @ ~@ @ @ 94* °H @@ c@ £@ ~@ |@ E Ä@@ @ @ @ @ @ C*H b@@ @ @ F*¡@@ @ @ G @@ @ @ @ £@ @ @ @ = Ä@@ @ @ @ @C* Á*v@@ @ E* b@@ @E ex@@ @ @ @ @D*H I¡@@ @ @ @ D* e*w@@ @ @ < v@@ @ @+ @@ c@ @ J4b@@ ~@ @ {@ @ E @@ @ @ E @@ @ @ +*w@@ @ @ < ¤@@ @c@ @ @ @ B b@@ @ @ C¡@@ @ @ D Áb@@ @C °H ¥v@@ @ @ @ @+ I¡@@ @ @ @ @ @ D* 4b@@ @ @ @: @@ @ 7b@@ @ < ° @@+ ·b@@ @ @E ¡@@ @~@ @ {@ @ D*H I¡@@ @ @ @ D* e42 b@@ @ @C *H Áb@@ @ @ @ C4* @@ @ Cb@@ @ ~@ @ 6 ¤@@ @ @ @ J d@@ @ @ @ @ @ D* @@ Gb@@ g@ @ ~@ @ z@ @ -

49 ‫ اﻟﻌﺪد‬/ ‫ ﺑﻴﺖ اﻟﺸﻌﺮ‬18

‫ﻓﻜﺮة اﻟﻘﺼﻴﺪة أو ﻋﲆ ﺑﻨﻴﺎﻧﻬﺎ اﻷﺳﺎﳼ‪ ،‬ﻓﻼ‬ ‫ﺑﺪ أن أﺗﺪﺧﻞ ﻫﻨﺎ ﻷﻋﻴﺪ اﻷﻣﻮر إﱃ ﻧﺼﺎﺑﻬﺎ‪،‬‬ ‫وﻛﺬﻟﻚ إذا مل ﺗﺘﺠﻪ اﻷﻏﻨﻴﺔ ﰲ اﻻﺗﺠﺎه اﻟﺮاﻗﻲ‬ ‫اﻟﺬي ﺗﻌﻮدت ﻋﻠﻴﻪ ﻣﻦ ﺧﻼل ﻃﺮﺣﻲ ﻟﻸﻏﺎين‪.‬‬ ‫ﻛﻴﻒ ﺗﻨﻈﺮ إﱃ ﺗﺠﺮﺑﺘﻚ ﻛﻌﻀﻮ ﻟﺠﻨﺔ‬ ‫ﺗﺤﻜﻴﻢ ﰲ ﺑﺮﻧﺎﻣﺞ »اﻟﻴﻮﻟﺔ«؟‬ ‫ﺗﺠﺮﺑﺔ ﻣﻤﺘﺎزة ﺗﻌﺮﻓﺖ ﻣﻦ ﺧﻼﻟﻬﺎ ﻋﲆ اﻟﻜﺜري‬ ‫ﻣﻦ اﻟﺸﺒﺎب اﳌﺒﺪع‪ ،‬وﺟﻌﻠﺘﻨﻲ أﺳﺎﻫﻢ ﰲ‬ ‫ﻧﴩ ﺛﻘﺎﻓﺔ وﺗﺮاث وﻃﻨﻲ‪ ،‬و»اﻟﻴﻮﻟﺔ« ﻟﻴﺴﺖ‬ ‫ﺑﺎﻟﻐﺮﻳﺒﺔ ﻋﲇ‪ ،‬ﻓﺄﻧﺎ أﻋﻴﺸﻬﺎ ﰲ ﻛﻞ ﻣﻨﺎﺳﺒﺔ‬ ‫ﺳﻌﻴﺪة ﱄ ﻣﻨﺬ ﻃﻔﻮﻟﺘﻲ وإﱃ اﻵن‪.‬‬ ‫ﻣﻘﺎم اﻟﺸﻌﺮ‪I‬‬ ‫ﻣﺎ أﻫﻤﻴﺔ وﺟﻮد ﺑﺮاﻣﺞ ﻣﺜﻞ »ﺷﺎﻋﺮ‬ ‫اﳌﻠﻴﻮن‪ ،‬واﻟﻴﻮﻟﺔ‪ ،‬وأﻣري اﻟﺸﻌﺮاء« وﻏريﻫﺎ‪،‬‬ ‫ﰲ اﻟﻨﻬﻮض ﺑﺎﻟﺤﺮﻛﺔ اﻟﺸﻌﺮﻳﺔ ﰲ اﻹﻣﺎرات‬ ‫واﻟﻌﺎمل اﻟﻌﺮيب؟‬ ‫ﺟﻤﻴﻌﻬﺎ ﺳﺎﻫﻢ ﰲ ﻧﴩ اﻟﺜﻘﺎﻓﺔ واﻻﺑﺪاع‪،‬‬ ‫وﺳﺎﻫﻢ ﰲ اﻻرﺗﻘﺎء ﺑﺎﻟﺸﻌﺮ واﻟﱰاث ﰲ أرﺟﺎء‬ ‫اﻟﻮﻃﻦ اﻟﻌﺮيب‪ ،‬وﻓﺘﺢ اﳌﺠﺎل ﻹﺑﺮاز اﻟﻜﺜري ﻣﻦ‬ ‫اﳌﻮاﻫﺐ اﻟﺘﻲ ﻟﻮﻻ ﻫﺬه اﻟﱪاﻣﺞ ﳌﺎ ﺳﻌﺪﻧﺎ‬ ‫مبﻌﺮﻓﺘﻬﺎ وﻻ ﺗﻌﺮف ﻋﻠﻴﻬﺎ اﻟﺠﻤﻬﻮر اﻟﻌﺮيب‪.‬‬

‫ﻛﻴﻒ ﺗﻨﻈﺮ إﱃ اﻟﺤﺮﻛﺔ اﻟﺸﻌﺮﻳﺔ ﰲ‬ ‫اﻟﺪوﻟﺔ؟‬ ‫اﻫﺘامم اﻟﺪوﻟﺔ ﺑﺎﻟﺸﻌﺮ واﻟﺸﻌﺮاء ﻳﺠﻌﻞ‬ ‫اﻟﺴﺎﺣﺔ اﻟﺸﻌﺮﻳﺔ ﰲ اﻹﻣﺎرات ﰲ وﻫﺞ داﺋﻢ‪،‬‬ ‫وﻳﺠﻌﻠﻬﺎ ﺳﺎﺣﺔ و ّﻻدة ﻟﻠﺸﻌﺮاء‪ ،‬ﻓﻤﻦ مل‬ ‫ﻳﺴﺘﻄﻊ اﻟﻈﻬﻮر واﻟﱪوز ﻣﻦ اﻟﺸﻌﺮاء اﻟﺠﺪد‬ ‫ﰲ وﺳﻂ ﻫﺬا اﻻﻫﺘامم ﻓﻠرياﺟﻊ ﻧﻔﺴﻪ‪ ،‬ﻓﻬﻲ‬ ‫ﺳﺎﺣﺔ ﺧﺼﺒﺔ ﻟﻠﻤﺒﺪﻋني ﻣﻦ اﻟﺸﻌﺮاء ﺑﻮﺟﻮد‬ ‫اﻻﻫﺘامم اﻻﻋﻼﻣﻲ واﻟﻜﺜري ﻣﻦ اﻟﱪاﻣﺞ‬ ‫اﻟﺘﻠﻔﺰﻳﻮﻧﻴﺔ واﻹذاﻋﻴﺔ واﳌﻨﺎﺑﺮ اﻟﺸﻌﺮﻳﺔ ﰲ‬ ‫اﻟﺼﺤﻒ واﳌﺠﻼت‪ ،‬ﺑﺎﻹﺿﺎﻓﺔ إﱃ وﺳﺎﺋﻞ‬ ‫اﻟﺘﻮاﺻﻞ اﻻﺟﺘامﻋﻲ اﻟﺘﻲ ﺗﺘﻴﺢ ﻟﻠﺸﺎﻋﺮ‬ ‫اﻟﻮﺻﻮل إﱃ اﻟﻘﻠﻮب ﺑﺄﻗﴫ اﻟﻄﺮق‪.‬‬ ‫ﻓﺎﻟﺸﻌﺮ ﰲ اﻹﻣﺎرات واﻟﺨﻠﻴﺞ ﻋﲆ وﺟﻪ‬ ‫اﻟﻌﻤﻮم ﻳﻌﻴﺶ دامئﺎً ﰲ ﻣﺮﺣﻠﺔ ذﻫﺒﻴﺔ‪ ،‬وذﻟﻚ‬ ‫ﻟﺘﻌﻠﻖ ﺷﻌﻮﺑﻨﺎ وﻗﺎدﺗﻨﺎ ﺑﺎﻟﺸﻌﺮ‪ ،‬ﻓﻤﻘﺎم‬ ‫اﻟﺸﺎﻋﺮ ﻟﺪﻳﻨﺎ ﻻزال ﻣﻘﺎﻣﺎً ﻣﺮﻣﻮﻗﺎً ﻳﺤﱰﻣﻪ‬ ‫وﻳﻘﺪره اﻟﺠﻤﻴﻊ‪ ،‬ﻓﻬﻮ مبﺜﺎﺑﺔ اﻟﺴﻔري اﻟﺬي‬

‫ﺳﻴﺮة ﺷﺎﻋﺮ ‬

‫ ﺷﺎﻋﺮ إﻣﺎرايت‪ ،‬ورﺋﻴﺲ ﻣﺠﻠﺲ إدارة ﻣﺠﻤﻮﻋﺔ ﴍﻛﺔ أﻏﺎين‪.‬‬‫ ﺷﺎرك ﰲ أﻛرث ﻣﻦ ﻣﻬﺮﺟﺎن ﻋﺮيب ﻟﻠﺸﻌﺮ‪.‬‬‫ ﻛﺘﺐ أﻛرث ﻣﻦ ﻣﺎﺋﺔ أﻏﻨﻴﺔ وﻗﺼﻴﺪة وﻃﻨﻴﺔ وﻏﻨﺎﺋﻴﺔ ﻋﺎﻃﻔﻴﺔ‪ ،‬وﻏﻨﻰ ﻟﻪ اﻟﻜﺜري ﻣﻦ‬‫اﻟﻔﻨﺎﻧني‪.‬‬ ‫ ﻛﺮم أﻛرث ﻣﻦ ﻣﺮة‪ ،‬وﻓﺎز ﺑﻌﺪة ﺟﻮاﺋﺰ ﻣﻨﻬﺎ ﺟﺎﺋﺰة أﻓﻀﻞ ﻧﺺ ﻋﺮيب ﰲ ﻣﻬﺮﺟﺎن اﻷﻏﻨﻴﺔ‬‫اﻟﻌﺮﺑﻴﺔ ﰲ اﳌﻨﺎﻣﺔ ﺳﻨﺔ ‪ .1996‬ﻛام ﻓﺎز ﺑﻠﻘﺐ »ﻓﺎرس« اﻷﻏﻨﻴﺔ اﻹﻣﺎراﺗﻴﺔ ﺳﻨﺔ ‪.1995‬‬ ‫‪ -‬أﺻﺪر ﻋﺪة دواوﻳﻦ ﻣﺴﻤﻮﻋﺔ ﻣﻨﻬﺎ »روﻣﻨﺴﻴﺎت اﻟﺨﻮار« و»ﻛﻼم اﻟﺼﻤﺖ«‪.‬‬

‫اﻫﺘﻤﺎم اﻟﺪوﻟﺔ ﺑﺎﻟﺸﻌﺮ‬ ‫واﻟﺸﻌﺮاء ﻳﺠﻌﻞ اﻟﺴﺎﺣﺔ‬ ‫اﻟﺸﻌﺮﻳﺔ ﻓﻲ اﻹﻣﺎرات‬ ‫ﻓﻲ وﻫﺞ داﺋﻢ‬ ‫ﻋﻨﺪﻣﺎ أﻟﺘﻘﻂ ﺻﻮرة ﺷﻌﺮﻳﺔ‬ ‫ﺟﻤﻴﻠﺔ ﻓﻲ ﻗﺼﻴﺪة ﻣﺎ‪ ،‬ﺗﺠﺪﻧﻲ‬ ‫ﺳﻌﻴﺪاً‪ ،‬وﻛﺄﻧﻨﻲ أﺻﺪرت‬ ‫دﻳﻮاﻧﺎً‬ ‫ﻣﻊ ﻛﻞ ﻧﺒﻀﺔ ﻣﻦ ﻗﻠﺒﻲ‬ ‫ﺗﻜﺘﺒﻨﻲ ﻗﺼﻴﺪة ﻓﻲ اﻹﻣﺎرات‬

‫ﻳﺤﻤﻞ اﳌﺸﺎﻋﺮ اﻟﻨﺒﻴﻠﺔ إﱃ ﻛﻞ اﻟﻘﻠﻮب‪.‬‬ ‫ﳌﻦ ﺗﻘﺮأ ﻣﻦ اﻟﺸﻌﺮاء‪ ،‬وﳌﺎذا؟‬ ‫أﻗﺮأ ﻟﻜﻞ اﻟﺸﻌﺮاء وﺑﺎﻟﺘﺤﺪﻳﺪ اﻟﺸﺎﻋﺮ اﻟﺬي‬ ‫ﻳﺒﺤﺚ ﻋﻦ اﻟﺠﺪﻳﺪ دامئﺎً ﰲ ﻗﺼﺎﺋﺪه‪ ،‬ﻷﻧﻨﻲ‬ ‫أﺑﺤﺚ ﻋﻦ اﻟﻨﺺ اﻟﺠﻤﻴﻞ ﻻ ﻋﻦ اﺳﻢ اﻟﺸﺎﻋﺮ‪.‬‬ ‫ﺣﻘﻘﺖ اﻟﻜﺜري ﻣﻦ ﺧﻼل ﻣﺴريﺗﻚ‬ ‫اﻟﺸﻌﺮﻳﺔ‪ ،‬ﻓام اﻟﺬي ﺗﻄﻤﺢ إﻟﻴﻪ ﻣﺴﺘﻘﺒ ًﻼ ﰲ‬ ‫ﻫﺬا اﳌﺠﺎل؟‬ ‫أﻃﻤﺢ ﻹﺻﺪار ﺑﻌﺾ اﻟﺪواوﻳﻦ اﳌﻘﺮوءة اﻟﺘﻲ‬ ‫ﺗﻮﺛﻖ ﺗﺠﺮﺑﺘﻲ اﻟﺸﻌﺮﻳﺔ وﺗﺆرﺧﻬﺎ‪ ،‬وأﻧﺎ ﺣﺎﻟﻴﺎً‬ ‫ﺑﺼﺪد ﺟﻤﻊ وﻃﺒﺎﻋﺔ اﻟﻌﺪﻳﺪ ﻣﻦ اﻟﺪواوﻳﻦ‬ ‫اﻟﺸﻌﺮﻳﺔ ﱄ وﻟﺒﻌﺾ زﻣﻼيئ اﻟﺸﻌﺮاء وﻣﻨﻬﻢ‬ ‫أﺧﻲ ورﻓﻴﻖ دريب اﻟﺸﺎﻋﺮ ﺣﺴﺎن اﻟﻌﺒﻴﺪﱄ‪.‬‬ ‫أﻛﺘﻮﺑﺮ‪17 2016 /‬‬

‫ﺣﻮار اﻟﻌﺪد‬ ‫‪baytelshear‬‬

‫ﻣﺎ ﺑﻴﻨﻬﻢ‪ ،‬واﻹﴍاف ﻋﲆ اﻟﻌﻤﻠﻴﺎت اﻟﻔﻨﻴﺔ‬ ‫واﻟﺤﺮص ﻋﲆ ﻇﻬﻮر اﻟﻌﻤﻞ ﺑﺎﻟﺸﻜﻞ اﻟﺬي‬ ‫ﻳﻠﻴﻖ ﺑﻪ وﺑﺎﻻﺳﻢ اﻟﻜﺒري اﻟﺬي ﻳﻘﻒ وراءه‪.‬‬ ‫ﻣﺎ اﻟﺬي ﻳﻌﻨﻴﻪ ﺑﺎﻟﻨﺴﺒﺔ ﳌﺴريﺗﻚ اﻟﺸﻌﺮﻳﺔ‬ ‫أن ﺗﻔﻮز ﺑﺎﳌﺮﻛﺰ اﻟﺜﺎين ﻋﻦ ﺗﻜﻤﻠﺔ ﻗﺼﻴﺪة‬ ‫ﺻﺎﺣﺐ اﻟﺴﻤﻮ اﻟﺸﻴﺦ ﻣﺤﻤﺪ ﺑﻦ راﺷﺪ آل‬ ‫ﻣﻜﺘﻮم ﻧﺎﺋﺐ رﺋﻴﺲ اﻟﺪوﻟﺔ رﺋﻴﺲ ﻣﺠﻠﺲ‬ ‫اﻟﻮزراء ﺣﺎﻛﻢ ديب‪ ،‬ﺧﻼل ﻣﺴﺎﺑﻘﺔ ﻧﻈﻤﺘﻬﺎ‬ ‫وزارة اﻟﺜﻘﺎﻓﺔ ﰲ اﻟﻌﺎم ‪2008‬؟‬ ‫ﻣﺮة‬ ‫ﻟﻘﺪ ﻓﺰت ﻣﺮﺗني ﰲ ﻫﺬه اﳌﺴﺎﺑﻘﺔ‪ّ ،‬‬ ‫وﻣﺮة ﺑﺎﳌﺮﻛﺰ اﻟﺜﺎين‪ ،‬وﻛام ﻗﻠﺖ‬ ‫ﺑﺎﳌﺮﻛﺰ اﻟﺮاﺑﻊ ّ‬ ‫ﺳﺎﺑﻘﺎً ﻓﺄﻧﺎ أﺿﻊ ﻛﻞ ﻫﺬه اﳌﺸﺎرﻛﺎت ﻛﺄوﺳﻤﺔ‬ ‫ﴍف ﻋﲆ ﺻﺪر ﻣﺴرييت وﺗﺠﺮﺑﺘﻲ اﻟﺸﻌﺮﻳﺔ‪،‬‬ ‫ﻓﺼﺎﺣﺐ اﻟﺴﻤﻮ اﻟﺸﻴﺦ ﻣﺤﻤﺪ ﺑﻦ راﺷﺪ آل‬ ‫ﻣﻜﺘﻮم ﺣﻔﻈﻪ اﻟﻠﻪ ورﻋﺎه‪ ،‬ﻫﻮ اﻟﻘﺎﺋﺪ واﻷب‬ ‫واﳌﻠﻬﻢ اﻟﺬي ﻧﺴﺘﻨري ﺑﺮؤاه ﰲ اﻟﺸﻌﺮ وﰲ‬ ‫‪ 16‬ﺑﻴﺖ اﻟﺸﻌﺮ ‪ /‬اﻟﻌﺪد ‪49‬‬

‫ﺷﺘﻰ ﻣﻨﺎﺣﻲ اﻟﺤﻴﺎة‪.‬‬ ‫اﻟﻘﺼﻴﺪة وﻓﻜﺮﺗﻬﺎ واﻟﺠﺪﻳﺪ اﻟﺬي ﻃﺮﺣﺘﻪ‬ ‫ﻣﻦ ﺧﻼﻟﻬﺎ‪ ،‬واﻟﺴﺒﺐ اﻵﺧﺮ ﻫﻮ أن أﻛﻮن‬ ‫اﻟﻘﺼﺎﺋﺪ اﻟﺘﻲ ﺗﻜﺘﺒﻨﻲ‪I‬‬ ‫ﻛﺘﺒﺘﻬﺎ ﺗﻌﺒرياً ﻋﻦ ﻧﻔﴘ وﻟﻴﺲ ﻋﻦ ﻣﻨﺎﺳﺒﺔ‬ ‫ﻫﻞ ﻟﺪﻳﻚ ﻃﻘﻮس ﻣﻌﻴﻨﺔ ﻋﻨﺪ ﻛﺘﺎﺑﺔ ﻣﻌﻴﻨﺔ‪ ،‬واﻟﺤﻘﻴﻘﺔ أﻧﻨﻲ أﻣﻴﻞ إﱃ اﻟﻘﺼﺎﺋﺪ‬ ‫اﻟﺸﻌﺮ؟‬ ‫اﻟﺘﻲ ﺗﻜﺘﺒﻨﻲ أﻛرث ﻣﻦ اﻟﻘﺼﺎﺋﺪ اﻟﺘﻲ أﻛﺘﺒﻬﺎ‪.‬‬ ‫ﺑﻄﺒﻴﻌﺘﻲ ﻻ أﺣﺐ أن أﺿﻊ ﻟﻨﻔﴘ ﻋﺮاﻗﻴﻞ‬ ‫أو أﻋﻘّﺪ ﻋﲆ ﻧﻔﴘ ﺣﻴﺎيت‪ ،‬وﻫﺬا ﻳﻨﻄﺒﻖ‬ ‫ﻏﻨﻰ ﻟﻚ اﻟﻜﺜري ﻣﻦ أﺷﻬﺮ اﻟﻔﻨﺎﻧني‪ ،‬ﻓﻬﻞ‬ ‫ﻋﲆ ﻛﻞ ﳾء وﻣﻦ ﺿﻤﻨﻬﺎ اﻟﻜﺘﺎﺑﺔ‪ ،‬وﻟﻜﻦ أﻧﺖ راض ﻋﻦ اﻷﻏﺎين ﺟﻤﻴﻌﻬﺎ؟‬ ‫ﻟﺪي ﺑﻌﺾ اﻟﻄﻘﻮس اﻟﺼﻐرية وﻫﻲ‪ :‬اﻟﻨﻮم ﻗﺪ أﻛﻮن راﺿﻴﺎً ﻋﻦ ﻣﺎ ﻧﺴﺒﺘﻪ ‪ % 99‬ﻣﻨﻬﺎ‪ ،‬أﻣﺎ‬ ‫أرض ﻋﻨﻪ ﻓﻘﺪ ﻳﻌﻮد‬ ‫ﻗﺒﻞ اﻟﻜﺘﺎﺑﺔ‪ ،‬واﻟﻜﺘﺎﺑﺔ ﺑﻌﺪ ﻣﻨﺘﺼﻒ اﻟﻠﻴﻞ‪ ،‬اﻟﻮاﺣﺪ ﰲ اﳌﺌﺔ اﻟﺬي مل َ‬ ‫واﻟﻬﺪوء اﻟﺘﺎم‪ ،‬وﻗﻠﻢ اﻟﺮﺻﺎص‪.‬‬ ‫اﻟﺴﺒﺐ ﻓﻴﻬﺎ ﻟﻠﺤﻦ أو أداء ﻓﻨﺎن أو اﻟﺘﺴﺠﻴﻞ‬ ‫اﳌﻮﺳﻴﻘﻲ ﻟﻸﻏﻨﻴﺔ‪.‬‬ ‫ﻫﻞ ﺗﻔﺎﺿﻞ ﺑني ﻗﺼﺎﺋﺪك وﺗﺸﻌﺮ ﺑﺄن‬ ‫إﺣﺪاﻫﺎ أﻫﻢ ﻣﻦ اﻷﺧﺮى أو أﺣﺐ ﻋﲆ ﻗﻠﺒﻚ ﻫﻞ ﺗﺘﺪﺧﻞ أﺣﻴﺎﻧﺎً ﰲ ﻗﺼﻴﺪة ﻟﻚ ﺳﺘﺘﺤﻮل‬ ‫ﻣﻦ ﻏريﻫﺎ؟‬ ‫إﱃ أﻏﻨﻴﺔ وﻣﺎ ﻃﺒﻴﻌﺔ ﻫﺬا اﻟﺘﺪﺧﻞ؟‬ ‫ﺑﺎﻟﻄﺒﻊ‪ ،‬ﻓﻬﻨﺎك ﻗﺼﺎﺋﺪ أﻗﺮب وأﺣﺐ إﱃ ﻗﻠﺒﻲ أﺗﺪﺧﻞ إذا اﺳﺘﺪﻋﻰ اﳌﻮﺿﻮع اﻟﺘﺪﺧﻞ‪ ،‬ﻓﺈذا‬ ‫ﻣﻦ اﻷﺧﺮى‪ ،‬واﻟﺴﺒﺐ ﻳﻌﻮد إﱃ ﻣﻮﺿﻮع وﺟﺪت أن اﻟﻠﺤﻦ أو اﻷﻏﻨﻴﺔ ﺳﺘﺆﺛﺮ ﻋﲆ‬

‫ﺟﻨﺖ ﻋﻠﻴﻬﺎ اﳌﺼﻄﻠﺤﺎت اﻟﻄﺒﻴﺔ ﻓﺄﻟﺤﻘﺘﻬﺎ‬ ‫ﺑﺮﻛﺐ اﻟﺠﻨﻮن وﺣﺒﺴﺘﻬﺎ ﰲ اﳌﺼﺤﺎت‬ ‫واﻟﺴﺠﻮن وﻣﺨﺘﱪات اﳌﻮاد اﳌﺨﺪرة‪ ،‬ﻣﻊ أﻧﻨﺎ‬ ‫ﺟﻤﻴﻌﺎً ﻧﻬﻠﻮس ﺑﺸﻜﻞ أو ﺑﺂﺧﺮ‪.‬‬ ‫ﻫﻠﻮﺳﺔ ﺛﻼﺛﻴﺔ اﻷﺑﻌﺎد‪I‬‬ ‫ﻫﻨﺎك ﻣﺰج ﺑني اﻟﺼﻮرة واﳌﻘﻄﻊ اﻟﺸﻌﺮي‪،‬‬ ‫ﻓام اﻟﺴﺒﺐ اﻟﺬي ﺟﻌﻠﻚ ﺗﺠﻤﻊ ﺑني اﻻﺛﻨني‪،‬‬ ‫وﻣﻦ أﻳﻦ اﺧﱰت اﻟﺼﻮر اﳌﻮﺟﻮدة ﰲ‬ ‫اﻟﺪﻳﻮان؟‬ ‫ﺣﺎوﻟﺖ أن أﺟﻌﻞ ﻣﻦ اﻟﻬﻠﻮﺳﺔ اﻟﺸﻌﺮﻳﺔ‬ ‫ﻫﻠﻮﺳﺔ ﺛﻼﺛﻴﺔ اﻷﺑﻌﺎد‪ ،‬أي أن اﻷﺑﻴﺎت‬ ‫واﻟﺼﻮرة واﻟﻌﻨﻮان ﺗﻜ ّﻤﻞ ﺑﻌﻀﻬﺎ اﻟﺒﻌﺾ‬ ‫ﻟﺘﻌﻄﻲ اﳌﺘﻠﻘﻲ ﺻﻮرة واﺿﺤﺔ ﻋﻦ اﳌﻀﻤﻮن‪،‬‬ ‫وﻟيك ﻳﺴﺘﻤﺘﻊ اﳌﺘﻠﻘﻲ ﺑﺎﻟﻌﻨﻮان واﻟﺼﻮرة‬ ‫ﻛﺎﺳﺘﻤﺘﺎﻋﻪ ﺑﻘﺮاءة اﻷﺑﻴﺎت اﻟﺸﻌﺮﻳﺔ‪ ،‬أﻣﺎ‬ ‫اﻟﺼﻮر ﻓﻘﺪ ﺣﺮﺻﺖ أن ﺗﻜﻮن ﻋﺎﻟﻴﺔ اﻟﺠﻮدة‬ ‫واﻻﺣﱰاﻓﻴﺔ ﻟﺬﻟﻚ ذﻫﺒﺖ إﱃ اﳌﺼﺎدر اﻷﺻﻠﻴﺔ‬ ‫ﻟﻬﺎ واﺷﱰﻳﺘﻬﺎ ﺑﺸﻜﻞ ﻗﺎﻧﻮين ﻣﻦ اﳌﻮاﻗﻊ‬ ‫اﻻﻟﻜﱰوﻧﻴﺔ اﻟﺘﻲ متﺘﻠﻚ ﺣﻘﻮق ﻧﴩﻫﺎ‪.‬‬

‫اﻟﺼﻮر ﰲ اﻟﺸﻌﺮ ﻗﺎدرة ﻋﲆ إﺛﺎرة اﻟﻘﺎرئ‪،‬‬ ‫ﻓﺈﱃ أي ﻣﺪى اﺷﺘﻐﻠﺖ ﻋﲆ ﻫﺬا ﺧﻼل‬ ‫ﺗﺠﺮﺑﺘﻚ؟‬ ‫أﻧﺎ أﺑﺤﺚ ﻋﻦ اﻟﺼﻮرة اﻟﺸﻌﺮﻳﺔ ﻗﺒﻞ اﻟﺼﻮرة‬ ‫اﻟﻌﺎدﻳﺔ اﻟﺘﻲ أﺿﻌﻬﺎ ﻣﻊ اﻷﺑﻴﺎت‪ ،‬ﻓﺎﻟﺼﻮرة‬ ‫اﻟﺸﻌﺮﻳﺔ دامئﺎً ﻣﺎ ﺗﻜﻮن أﺟﻤﻞ ﻷﻧﻬﺎ أﺧﺬت‬ ‫ﺑﻌﺪﺳﺔ ﻗﺮﻳﺤﺔ اﻟﺸﺎﻋﺮ‪ ،‬وﻫﻲ دامئﺎً ﻣﺎ‬ ‫ﻳﻜﻮن ﻟﻬﺎ أﺑﻌﺎد ﻛﺜرية‪ ،‬وﻋﻨﺪﻣﺎ أﻟﺘﻘﻂ ﺻﻮرة‬ ‫ﺷﻌﺮﻳﺔ ﺟﻤﻴﻠﺔ ﰲ ﻗﺼﻴﺪة ﻣﺎ‪ ،‬ﺗﺠﺪين ﺳﻌﻴﺪا‬ ‫ﺟﺪاً ﺑﻬﺬه اﻟﺼﻮرة وﻛﺄﻧﻨﻲ أﺻﺪرت دﻳﻮاﻧﺎً‬ ‫ﻣﻦ اﻟﺸﻌﺮ‪.‬‬ ‫ﺳﺘﺼﺪر دﻳﻮاﻧﺎً آﺧﺮ ﺳﻴﻜﻮن ﻣﺤﺘﻮاه‬ ‫وﻃﻨﻴﺎً‪ ،‬ﻫﻞ ﻫﻮ ﺟﺎﻫﺰ وﻫﻞ ﺳﻴﺤﺘﻮي ﻋﲆ‬ ‫ﻗﺼﺎﺋﺪ مل ﻳﺘﻌﺮف ﻋﻠﻴﻬﺎ اﻟﻨﺎس ﻣﻦ ﻗﺒﻞ؟‬ ‫اﻟﺪﻳﻮان اﻟﻮﻃﻨﻲ ﻣﺎزال ﰲ ﻃﻮر اﻹﻋﺪاد‬ ‫واﻟﺘﺠﻤﻴﻊ واﻟﺘﺤﻘﻖ‪ ،‬وﺳﻴﺤﺘﻮي ﻋﲆ ﻗﺼﺎﺋﺪ‬ ‫ﻛﺜرية ﻣﻨﻬﺎ اﻟﺘﻲ ﺗﻌﺮف اﻟﺠﻤﻬﻮر ﻋﻠﻴﻬﺎ وﻣﻨﻬﺎ‬ ‫ﻣﺎ ﺳﻴﻜﻮن ﻣﻔﺎﺟﺄة ﺗﻈﻬﺮ ﻟﻠﻤﺮة اﻷوﱃ ﻣﻦ‬ ‫ﺧﻼل اﻟﺪﻳﻮان‪ ،‬ﻛام ﺳﻴﻀﻢ اﻟﺪﻳﻮان ﻛﻠامت‬ ‫ﺟﻤﻴﻊ اﻷﻏﺎين اﻟﻮﻃﻨﻴﺔ اﻟﺘﻲ ﻛﺘﺒﺘﻬﺎ وﻇﻬﺮت‬

‫ﻫﻠﻮﺳﺎت دﻳﻮاﻧﻲ اﻷول اﻟﻤﻄﺒﻮع‪ ،‬ﺷﻄﺤﺎت ﻣﺘﻤﺮدة ﻋﻠﻰ اﻟﻨﻤﻂ‬ ‫اﻟﺴﺎﺋﺪ واﻷﻋﺮاف اﻟﺘﻘﻠﻴﺪﻳﺔ ﻟﺪواوﻳﻦ اﻟﺸﻌﺮ اﻟﻨﺒﻄﻲ‬ ‫ﺗﺠﺮﺑﺘﻲ ﻓﻲ اﻹﺷﺮاف ﻋﻠﻰ ﺗﺴﺠﻴﻞ وﺗﺼﻮﻳﺮ اﻟﻘﺼﺎﺋﺪ اﻟﻤﻐﻨﺎة‬ ‫ﻟﻠﻤﻐﻔﻮر ﻟﻪ ‪-‬ﺑﺈذن ا‪ -b‬اﻟﺸﻴﺦ زاﻳﺪ وﺳﺎم ﺷﺮف أﺿﻌﻪ‬ ‫ﻋﻠﻰ ﺻﺪري ﻣﺎ ﺣﻴﻴﺖ‬ ‫ﻟﻠﺠﻤﻬﻮر ﺑﺼﻮت اﻟﻌﺪﻳﺪ ﻣﻦ اﻟﻔﻨﺎﻧني‪.‬‬ ‫ﻛﻴﻒ اﺳﺘﻄﻌﺖ أن ﺗﱰﺟﻢ ﺣﺒﻚ ﻟﻺﻣﺎرات‬ ‫ﻣﻦ ﺧﻼل اﻟﺸﻌﺮ؟‬ ‫ﺗﺮﺟﻤﺔ ﺣﺒﻲ ﻟﻺﻣﺎرات ﻣﻦ ﺧﻼل اﻟﺸﻌﺮ ﻫﻲ‬ ‫ﺑﺎﺧﺘﺼﺎر ﺷﺪﻳﺪ ‪» :‬ﻣﻊ ﻛﻞ ﻧﺒﻀﺔ ﻣﻦ ﻗﻠﺒﻲ‬ ‫ﺗﻜﺘﺒﻨﻲ ﻗﺼﻴﺪة ﰲ اﻹﻣﺎرات«‪.‬‬ ‫وﺳﺎم ﺷﺮف‪I‬‬ ‫ﻫﻞ ﻟﻚ أن ﺗﺤﺪﺛﻨﺎ ﻋﻦ ﺗﺠﺮﺑﺘﻚ ﰲ‬ ‫اﻹﴍاف ﻋﲆ ﺗﺴﺠﻴﻞ وﺗﺼﻮﻳﺮ اﻟﻘﺼﺎﺋﺪ‬ ‫اﳌﻐﻨﺎة ﻟﻠﻤﻐﻔﻮر ﻟﻪ ‪-‬ﺑﺈذن اﻟﻠﻪ‪ -‬اﻟﺸﻴﺦ زاﻳﺪ‬

‫ﺑﻦ ﺳﻠﻄﺎن آل ﻧﻬﻴﺎن؟‬ ‫ﻫﺬه اﻟﺘﺠﺮﺑﺔ أﺿﻌﻬﺎ وﺳﺎم ﴍف ﻋﲆ‬ ‫ﺻﺪري ﻣﺎ ﺣﻴﻴﺖ‪ ،‬ﻓﻘﺪ ارﺗﺒﻂ اﺳﻤﻲ ﺑﻘﺼﺎﺋﺪ‬ ‫ﻗﺎﺋﺪ مل ﻳﻨﺠﺐ اﻟﺪﻫﺮ ﻣﺜﻠﻪ‪ ،‬ودوري ﻛﺎن ﻳﺒﺪأ‬ ‫ﺑﻌﺪ اﻧﺘﻬﺎء اﳌﻐﻔﻮر ﻟﻪ ﺑﺈذن اﻟﻠﻪ اﻟﺸﻴﺦ زاﻳﺪ‬ ‫ﺑﻦ ﺳﻠﻄﺎن ﻣﻦ ﻛﺘﺎﺑﺔ اﻟﻘﺼﻴﺪة إﱃ أن ﺗﺼﻞ‬ ‫إﱃ أرﺟﺎء اﻟﻮﻃﻦ اﻟﻌﺮيب‪ ،‬ﺑﺄﺻﻮات اﻟﻜﺜري ﻣﻦ‬ ‫ﻧﺠﻮم اﻟﻐﻨﺎء اﻟﻌﺮب‪ ،‬ﻣﺮوراً ﺑﻜﻞ اﳌﺮاﺣﻞ‬ ‫اﻟﻔﻨﻴﺔ واﻟﺘﻨﻔﻴﺬﻳﺔ اﻟﺘﻲ ﻳﺨﻀﻊ ﻟﻬﺎ ﻛﻞ ﻋﻤﻞ‬ ‫ﻓﻨﻲ ﺑﺪءاً ﻣﻦ ﻟﺤﻈﺔ ﻣﺜﻮﻟﻪ ﻋﲆ اﻟﻮرق‬ ‫ﺣﺘﻰ ﻟﺤﻈﺔ ﻣﺼﺎﻓﺤﺘﻪ ﻵذان اﻟﺠﻤﻬﻮر‪ ،‬مبﺎ‬ ‫ﰲ ذﻟﻚ اﻻﺟﺘامع ﺑﺄﻃﺮاف اﻟﻌﻤﻞ واﻟﺘﻨﺴﻴﻖ‬ ‫أﻛﺘﻮﺑﺮ‪15 2016 /‬‬

‫ﺣﻮار اﻟﻌﺪد‬ ‫‪baytelshear‬‬

‫ﻓﺎرس ا ﻏﻨﻴﺔ ا‪,‬ﻣﺎراﺗﻴﺔ وﺷﺎﻋﺮ اﻟﻮﻃﻦ‬

‫ﻋﻠﻲ اﻟﺨﻮار‪ :‬اﻟﺸﺎﻋﺮ اﻟﺬي ﻻ ﻳﺴﺘﻄﻴﻊ اﻟﻈﻬﻮر‬ ‫ﻓﻲ ا‪,‬ﻣﺎرات ﻋﻠﻴﻪ أن ﻳﺮاﺟﻊ ﻧﻔﺴﻪ!‬ ‫ﺣﻮار‪ :‬ﺑﺸﺮى ﻋﺒﺪا‪¢‬‬

‫ﺣﻴﻦ ﻳﺬﻛﺮ اﻟﺸﻌﺮ اﻟﺤﺪﻳﺚ ﻓﻲ اﻹﻣﺎرات‪ ،‬ﻻ ﺑﺪ وأن ﻳﺤﻀﺮ ﺑﻘﻮة اﺳﻢ‬ ‫اﻟﺸﺎﻋﺮ اﻹﻣﺎراﺗﻲ ﻋﻠﻲ اﻟﺨﻮار‪ ،‬اﻟﺬي ﺑﺪأ ﻛﺘﺎﺑﺔ اﻟﺸﻌﺮ ﻣﺒﻜﺮ ًا‪ ،‬وﻛﺎن‬ ‫ﻋﻤﺮه ﺣﻴﻨﻬﺎ ‪ 16‬ﻋﺎﻣ ًﺎ‪ ،‬وﻣﺎ ﺑﻴﻦ ذﻟﻚ اﻟﺘﺎرﻳﺦ واﻵن‪ ،‬ﺷﻜﻞ ﺗﺠﺮﺑﺘﻪ‬ ‫اﻹﺑﺪاﻋﻴﺔ واﺷﺘﻬﺮ ﻛﺸﺎﻋﺮ أﻏﻨﻴﺔ‪ ،‬وﻛﺘﺐ ﻓﻲ ﻫﺬا اﻟﻤﺠﺎل أﻛﺜﺮ ﻣﻦ‬ ‫ﻣﺎﺋﺔ أﻏﻨﻴﺔ وﻗﺼﻴﺪة وﻃﻨﻴﺔ وﻏﻨﺎﺋﻴﺔ ﻋﺎﻃﻔﻴﺔ‪ ،‬وﻏﻨﻰ ﻟﻪ أﺷﻬﺮ اﻟﻔﻨﺎﻧﻴﻦ‬ ‫اﻟﺨﻠﻴﺠﻴﻴﻦ‪V‬‬ ‫ﻗﻮة ﺷﻌﺮه أﻫﻠﺘﻪ ﻟﻠﺤﺼﻮل ﻋﻠﻰ اﻟﻌﺪﻳﺪ ﻣﻦ اﻟﺠﻮاﺋﺰ‪ ،‬وﻏﻨﻰ ﺗﺠﺮﺑﺘﻪ أﻫﻠﻪ‬ ‫ﻟﻠﺘﺤﻜﻴﻢ ﻓﻲ اﻟﻌﺪﻳﺪ ﻣﻦ اﻟﻤﺴﺎﺑﻘﺎت‪ ،‬ﻣﻨﻬﺎ ﻣﺴﺎﺑﻘﺔ »اﻟﻴﻮﻟﺔ«‪ V‬ﻛﻤﺎ ﻗﺎم‬ ‫ﺑﺈﻋﺪاد وﺗﻘﺪﻳﻢ اﻟﻌﺪﻳﺪ ﻣﻦ اﻟﺒﺮاﻣﺞ اﻹذاﻋﻴﺔ واﻟﺘﻠﻔﺰﻳﻮﻧﻴﺔ‪V‬‬ ‫أﺻﺪر دواوﻳﻦ ﺷﻌﺮﻳﺔ ﻣﺴﻤﻮﻋﺔ‪ ،‬وﻣﻦ ﺛﻢ ﻗﺮر أﺧﻴﺮ ًا إﺻﺪار دﻳﻮان‬ ‫ﻣﻄﺒﻮع‪ ،‬ﺗﺤﺪث ﻋﻨﻪ ﻟ‪ª‬ﻤﺠﻠﺔ »ﺑﻴﺖ اﻟﺸﻌﺮ« ﻛﻤﺎ ﻛﺸﻒ ﻋﻦ اﻟﻌﺪﻳﺪ ﻣﻦ‬ ‫ﺟﻮاﻧﺐ ﺗﺠﺮﺑﺘﻪ ﻣﻦ ﺧﻼل اﻟﺤﻮار اﻟﺘﺎﻟﻲ]‬

‫اﺧﱰت »ﻫﻠﻮﺳﺎت ﻋﲇ اﻟﺨﻮار« ﻋﻨﻮاﻧﺎً‬ ‫ﻟﺪﻳﻮاﻧﻚ اﳌﻄﺒﻮع اﻷول‪ ،‬اﻟﺬي ﺳﻴﺼﺪر‬ ‫ﻗﺮﻳﺒﺎً‪ .‬ﳌﺎذا ﻫﺬا اﻟﻌﻨﻮان ﺑﺎﻟﺬات‪ ،‬وﻫﻞ‬ ‫ﺗﻌﺘﻘﺪ أﻧﻪ ﻣﺜري ﻟﻠﺠﺪل؟‬ ‫ﻻ أﺑﺤﺚ ﻋﻦ إﺛﺎرة اﻟﺠﺪل ﺣﻮل اﻟﺪﻳﻮان أو‬ ‫ﻋﻨﻮاﻧﻪ‪ ،‬ﺑﻘﺪر ﻣﺎ أﺑﺤﺚ ﻋﻦ اﺳﺘﻤﺘﺎع‬ ‫اﻟﻘﺎرئ ﺑﻬﺬا اﻟﺪﻳﻮان‪ ،‬وﻗﺪ اﺧﱰت‬ ‫ﻫﺬا اﻻﺳﻢ ﺑﺎﻟﺬات ‪ -‬ﻛام أﴍت‬ ‫ﰲ ﻣﻘﺪﻣﺔ اﻟﺪﻳﻮان ‪ -‬ﻷين أﺗﻔﻖ‬ ‫ﻛﺜرياً ﻣﻊ اﻵراء اﻟﻌﻠﻤﻴﺔ اﻟﺘﻲ‬ ‫ﺗﻌﺮف اﻟﻬﻠﻮﺳﺔ ﺑﺄﻧﻬﺎ اﻟﺤﻠﻢ ﰲ‬ ‫ّ‬ ‫ﺣﺎﻟﺔ اﻟﻴﻘﻈﺔ‪ ،‬ﻓﻬﻲ ﻫﻠﻮﺳﺎت‬ ‫ﺷﺎﻋﺮ‪ ،‬ﺗﺸﺒﻪ اﻷﺣﻼم ﻣﻦ ﺣﻴﺚ‬ ‫ﻻ ﻣﻌﻘﻮﻟﻴﺘﻬﺎ وﺗﺠﺎوزﻫﺎ ﻟﻠﻤﻨﻄﻖ‪،‬‬ ‫وﻫﻠﻮﺳﺎت دﻳﻮاين ﻫﻲ ﺷﻄﺤﺎت ﻣﺘﻤﺮدة‬ ‫ﻋﻨﻮاﻧﺎً وﻣﻀﻤﻮﻧﺎً‪ -‬ﻋﲆ اﻟﻨﻤﻂ اﻟﺴﺎﺋﺪ‬‫واﻷﻋﺮاف اﻟﺘﻘﻠﻴﺪﻳﺔ ﻟﺪواوﻳﻦ اﻟﺸﻌﺮ اﻟﻨﺒﻄﻲ‪،‬‬ ‫ﻛام أﻧﻬﺎ ﻣﺤﺎوﻟﺔ ﻟﺮ ّد اﻋﺘﺒﺎر »اﻟﻬﻠﻮﺳﺔ« اﻟﺘﻲ‬ ‫‪ 14‬ﺑﻴﺖ اﻟﺸﻌﺮ ‪ /‬اﻟﻌﺪد ‪49‬‬

‫ﺟﺎﻣﻌﺔ ﺧﻠﻴﻔﺔ اﻷﻋﻠﻰ ﺗﺼﻨﻴﻔ ًﺎ ﺑﻴﻦ‬ ‫ﻣﺆﺳﺴﺎت اﻟﺘﻌﻠﻴﻢ اﻟﻌﺎﻟﻲ ﺑﺎﻟﺪوﻟﺔ‬ ‫ﺣﻘﻘﺖ ﺟﺎﻣﻌﺔ ﺧﻠﻴﻔﺔ إﻧﺠﺎزاً ﺟﺪﻳﺪاً‪ ،‬ﺣﻴﺚ دﺧﻠﺖ ﰲ‬ ‫اﻟﺘﺼﻨﻴﻒ اﻷﻋﲆ ﺑني ﺟﺎﻣﻌﺎت اﻟﺪوﻟﺔ‪ ،‬ﺣﺴﺐ اﻟﺘﺼﻨﻴﻒ‬ ‫اﻟﻌﺎﳌﻲ ﻟﻠﺠﺎﻣﻌﺎت ﻟﻠﻌﺎم اﻷﻛﺎدميﻲ اﻟﺤﺎﱄ واﻟﺬي‬ ‫أﺻﺪرﺗﻪ ﻣﺆﺳﺴﺔ ﺗﺎميﺰ ﻟﻠﺘﻌﻠﻴﻢ اﻟﻌﺎﱄ‪ ،‬واﻟﺘﻲ ﺗﺤﻈﻰ‬ ‫ﺑﺴﻤﻌﺔ واﺳﻌﺔ ﰲ ﻣﺠﺎل ﺗﺼﻨﻴﻒ ﻣﺆﺳﺴﺎت اﻟﺘﻌﻠﻴﻢ‬ ‫اﻟﻌﺎﱄ ﺣﻮل اﻟﻌﺎمل‪ .‬وﺣﺴﺐ اﻟﺘﻘﺮﻳﺮ‪ ،‬ﺳﺠﻠﺖ اﻟﺠﺎﻣﻌﺔ‬ ‫اﻟﺘﺼﻨﻴﻒ اﻷﻋﲆ ﰲ اﻟﺪوﻟﺔ ﰲ ‪ 3‬ﻣﻦ أﺻﻞ ‪ 5‬ﻣﻌﺎﻳري‬ ‫ﺗﻨﺎوﻟﻬﺎ اﻟﺘﺼﻨﻴﻒ‪ ،‬وﻫﻲ ﺟﻮدة اﻟﺘﺪرﻳﺲ ودﻋﻢ اﻷﺑﺤﺎث‬ ‫اﻟﺘﻲ ﺗﺴﺎﻫﻢ ﰲ ﺗﻌﺰﻳﺰ أداء اﻟﻘﻄﺎﻋﺎت اﻟﺼﻨﺎﻋﻴﺔ وﻣﺪى‬ ‫ﻓﺎﻋﻠﻴﺔ اﻷﺑﺤﺎث اﳌﻌﺘﻤﺪة ﻛﻤﺼﺎدر أﻛﺎدميﻴﺔ‪ .‬وﻳﻌﺪ‬ ‫ﻫﺬا اﻟﺘﺼﻨﻴﻒ اﻟﻮﺣﻴﺪ ﻋﲆ ﻣﺴﺘﻮى اﻟﻌﺎمل اﻟﺬي ﻳﻀﻊ‬ ‫ﻗﻮاﺋﻢ ﺟﺎﻣﻌﺎت ﺗﻌﺘﻤﺪ ﻋﲆ اﻷداء وﺗﺘﺒﻊ ﻣﻌﺎﻳري ﺗﻘﻴﻴﻢ‬ ‫ﻟﻠﺠﺎﻣﻌﺎت اﻟﺒﺤﺜﻴﺔ ﰲ ﺟﻤﻴﻊ رﺳﺎﺋﻠﻬﺎ اﻷﺳﺎﺳﻴﺔ‪.‬‬

‫ﻓﺮﻳﻖ ﻋﻤﻞ إﻣﺎراﺗﻲ ﺑﺮﻳﻄﺎﻧﻲ‬ ‫ﻟﻤﻜﺎﻓﺤﺔ اﻟﺘﻄﺮف‬

‫ﺷ ّﻜﻠﺖ اﻹﻣﺎرات وﺑﺮﻳﻄﺎﻧﻴﺎ‪ ،‬ﻓﺮﻳﻖ ﻋﻤﻞ ﻟﺘﻨﻔﻴﺬ‬ ‫ﺧﻄﻂ ﺗﻜﺎﻓﺢ اﻟﺘﻄﺮف ﻋﱪ دﻋﻢ ﻣﺮﻛﺰ »ﻫﺪاﻳﺔ«‬ ‫وﻣﻘﺮه ﰲ أﺑﻮﻇﺒﻲ‪ .‬واﻟﺘﻘﻰ ﺳﻤﻮ اﻟﺸﻴﺦ ﻋﺒﺪ‬ ‫اﻟﻠﻪ ﺑﻦ زاﻳﺪ آل ﻧﻬﻴﺎن وزﻳﺮ اﻟﺨﺎرﺟﻴﺔ واﻟﺘﻌﺎون‬ ‫اﻟﺪوﱄ ﰲ ﻧﻴﻮﻳﻮرك‪ ،‬وزﻳﺮ اﻟﺨﺎرﺟﻴﺔ اﻟﱪﻳﻄﺎين‬ ‫ﺑﻮرﻳﺲ ﺟﻮﻧﺴﻮن‪ ،‬اﻟﺬي أﺛﻨﻰ ﻋﲆ اﻟﺪﻋﻢ‬ ‫اﻻﺳﱰاﺗﻴﺠﻲ واﳌﺎﱄ‪ ،‬اﻟﺬي ﺗﻘﺪﻣﻪ دوﻟﺔ اﻹﻣﺎرات‬ ‫إﱃ ﻣﺮﻛﺰ ﻫﺪاﻳﺔ‪ .‬وأﻋﻠﻦ ﺟﻮﻧﺴﻮن‪ ،‬ﺗﻮﺳﻴﻊ ﻧﻄﺎق‬ ‫دﻋﻢ ﺑﻼده ﻟﻠﻤﺮﻛﺰ‪ ،‬ﻣﺸرياً إﱃ ﺧﻄﺔ ﻟﺘﻮﻓري متﻮﻳﻞ‬ ‫ﺳﻨﻮي ﺑﻘﻴﻤﺔ ‪ 1.4‬ﻣﻠﻴﻮن دوﻻر‪ ،‬ﻟﺘﻤﻮﻳﻞ ﻋﺪد ﻣﻦ‬ ‫ﺑﺮاﻣﺞ ﻣﻜﺎﻓﺤﺔ اﻟﺘﻄﺮف اﻟﺪوﻟﻴﺔ اﻟﺘﻲ ﺗﺘﻢ إدارﺗﻬﺎ‬ ‫ﻣﻦ ﺧﻼل اﳌﺮﻛﺰ‪ .‬ﻛام ﻳﺘﻢ اﺳﺘﺨﺪام اﻟﺘﻤﻮﻳﻞ ﰲ‬ ‫إﻃﻼق ﻓﺮﻳﻖ ﻋﻤﻞ‪ ،‬ﻟﺘﻨﻔﻴﺬ ﺧﻄﻂ وﻃﻨﻴﺔ ﻣﻌﻨﻴﺔ‬ ‫مبﻨﻊ وﻣﻜﺎﻓﺤﺔ اﻟﺘﻄﺮف ﻋﱪ ﻣﻜﺘﺐ »ﻫﺪاﻳﺔ«‬ ‫اﻟﺠﺪﻳﺪ ﰲ واﺷﻨﻄﻦ‪ ،‬ﻓﻴام ﻳﺘﻌﺎون اﻟﻔﺮﻳﻖ ﻣﻊ‬ ‫ﻣﺨﺘﻠﻒ اﻟﺤﻜﻮﻣﺎت ﰲ ﺟﻤﻴﻊ أﻧﺤﺎء اﻟﻌﺎمل‪ ،‬ﻟﻮﺿﻊ‬ ‫ﺧﻄﻂ ﻋﻤﻞ وﻃﻨﻴﺔ‪ ،‬ﺗﻬﺪف ﻟﻠﺤﺪ ﻣﻦ ﺗﻬﺪﻳﺪ‬ ‫اﻟﺘﻄﺮف‪ .‬وﻗﺎل وزﻳﺮ اﻟﺨﺎرﺟﻴﺔ اﻟﱪﻳﻄﺎين ﻟﺪى‬ ‫ﺗﻮﻗﻴﻊ إﻋﻼن اﻟﻨﻮاﻳﺎ اﳌﺸﱰك‪” :‬اﻟﺘﻄﺮف اﻟﻌﻨﻴﻒ‬ ‫ﻣﺸﻜﻠﺔ ﻋﺎﳌﻴﺔ‪ ،‬ﺗﺘﻄﻠﺐ ﻣﻌﺎﻟﺠﺘﻪ ﻗﻴﺎدة ﻋﺎﳌﻴﺔ‬ ‫وﴍاﻛﺎت ﻣﺤﻠﻴﺔ“‪.‬‬

‫اﻟﺼﺤﺔ اﻟﻌﺎﻟﻤﻴﺔ ﺗﺆﻛﺪ أن اﻹﻣﺎرات ﺗﺆدي دور ًا ﻣﺤﻮرﻳ ًﺎ‬ ‫ﻓﻲ ﻣﻜﺎﻓﺤﺔ اﻷوﺑﺌﺔ ﺣﻮل اﻟﻌﺎﻟﻢ‬ ‫أﺷﺎدت ﻣﻨﻈﻤﺔ اﻟﺼﺤﺔ اﻟﻌﺎﳌﻴﺔ ﺑﺘﻮﺟﻴﻬﺎت ﺻﺎﺣﺐ اﻟﺴﻤﻮ اﻟﺸﻴﺦ ﺧﻠﻴﻔﺔ ﺑﻦ زاﻳﺪ آل‬ ‫ﻧﻬﻴﺎن‪ ،‬رﺋﻴﺲ اﻟﺪوﻟﺔ‪ ،‬ﺣﻔﻈﻪ اﻟﻠﻪ‪ ،‬وﻣﺒﺎدرة ﺻﺎﺣﺐ اﻟﺴﻤﻮ اﻟﺸﻴﺦ ﻣﺤﻤﺪ ﺑﻦ زاﻳﺪ آل‬ ‫ﻧﻬﻴﺎن‪ ،‬وﱄ ﻋﻬﺪ أﺑﻮﻇﺒﻲ ﻧﺎﺋﺐ اﻟﻘﺎﺋﺪ اﻷﻋﲆ ﻟﻠﻘﻮات اﳌﺴﻠﺤﺔ‪ ،‬ﻻﺳﺘﺌﺼﺎل ﻣﺮض ﺷﻠﻞ‬ ‫اﻷﻃﻔﺎل ﰲ اﻟﻌﺎمل‪ ،‬واﻟﺠﻬﻮد اﻟﺘﻲ ﺗﻘﺪﻣﻬﺎ دوﻟﺔ اﻹﻣﺎرات ﻟﺪﻋﻢ ﺑﺮاﻣﺞ وﺧﻄﻂ اﻷﻣﻢ‬ ‫اﳌﺘﺤﺪة ﻟﻠﺤﺪ ﻣﻦ اﻧﺘﺸﺎر اﻷوﺑﺌﺔ‪ .‬وأﻛﺪت اﳌﻨﻈﻤﺔ‪ ،‬ﰲ ﺗﻘﺮﻳﺮ‪ ،‬أن دوﻟﺔ اﻹﻣﺎرات ﺗﺆدي‬ ‫دوراً ﻣﺤﻮرﻳﺎً ﰲ دﻋﻢ ﺟﻬﻮد اﺳﺘﺌﺼﺎل اﻷوﺑﺌﺔ واﻷﻣﺮاض ﻋﺎﳌﻴﺎً‪ ،‬ودﻋﻢ وﻣﺴﺎﻋﺪة‬ ‫اﳌﻨﻈﻤﺔ ﰲ ﺟﻬﻮدﻫﺎ ﻟﻠﻘﻀﺎء ﻋﲆ وﺑﺎء ﺷﻠﻞ اﻷﻃﻔﺎل ﰲ اﳌﻨﺎﻃﻖ اﻷﻛرث ﺻﻌﻮﺑﺔ ﰲ‬ ‫ﺟﻤﻬﻮرﻳﺔ ﺑﺎﻛﺴﺘﺎن اﻹﺳﻼﻣﻴﺔ‪ .‬وﻧﻮه اﻟﺘﻘﺮﻳﺮ اﻷﻣﻤﻲ ﺑﺤﻤﻠﺔ اﻹﻣﺎرات ﻟﻠﺘﻄﻌﻴﻢ ﺿﺪ‬ ‫ﺷﻠﻞ اﻷﻃﻔﺎل اﻟﺘﻲ ُأﻃﻠﻘﺖ ﺑﺘﻮﺟﻴﻬﺎت ﻣﻦ ﺻﺎﺣﺐ اﻟﺴﻤﻮ اﻟﺸﻴﺦ ﺧﻠﻴﻔﺔ ﺑﻦ زاﻳﺪ آل‬ ‫ﻧﻬﻴﺎن‪ ،‬رﺋﻴﺲ اﻟﺪوﻟﺔ‪ ،‬ﺣﻔﻈﻪ اﻟﻠﻪ‪ ،‬وﺿﻤﻦ ﻣﺒﺎدرة ﺻﺎﺣﺐ اﻟﺴﻤﻮ اﻟﺸﻴﺦ ﻣﺤﻤﺪ ﺑﻦ‬ ‫زاﻳﺪ آل ﻧﻬﻴﺎن‪ ،‬ﳌﺴﺎﻋﺪة ﺟﻤﻬﻮرﻳﺔ ﺑﺎﻛﺴﺘﺎن اﻹﺳﻼﻣﻴﺔ ﻋﲆ اﺳﺘﺌﺼﺎل اﳌﺮض‪.‬‬ ‫أﻛﺘﻮﺑﺮ‪13 2016 /‬‬

‫اﻷﺧﺒﺎر‬ ‫‪baytelshear‬‬

‫اﻹﻣﺎرات ﻟﻠﻄﺎﻗﺔ اﻟﻨﻮوﻳﺔ‪ E‬إﻧﺠﺎز ‪ % 70‬ﻣﻦ ﻣﻔﺎﻋﻞ »ﺑﺮاﻛﺔ«‬ ‫ﻛﺸﻒ اﳌﻬﻨﺪس ﻣﺤﻤﺪ إﺑﺮاﻫﻴﻢ اﻟﺤامدي‪ ،‬اﻟﺮﺋﻴﺲ اﻟﺘﻨﻔﻴﺬي ﳌﺆﺳﺴﺔ‬ ‫اﻹﻣﺎرات ﻟﻠﻄﺎﻗﺔ اﻟﻨﻮوﻳﺔ‪ ،‬اﻟﻨﻘﺎب ﻋﻦ أن ﻧﺴﺒﺔ اﻹﻧﺠﺎز اﻟﻜﻠﻴﺔ ﰲ‬ ‫ﻣﴩوع اﻟﱪﻧﺎﻣﺞ اﻟﻨﻮوي اﻟﺴﻠﻤﻲ اﻹﻣﺎرايت ﰲ »ﺑﺮاﻛﺔ« ﰲ اﳌﻨﻄﻘﺔ‬ ‫اﻟﻐﺮﺑﻴﺔ‪ ،‬وﺻﻞ إﱃ ﻧﺤﻮ ‪ ،%70‬وﻫﻮ ﻣﺎ ﻳﻌﺪ إﻧﺠﺎزاً ﻛﺒرياً ﺑﺎﻟﻨﻈﺮ إﱃ‬ ‫ﺑﺪء ﻋﻤﻠﻴﺎت إﻧﺸﺎء اﳌﺤﻄﺎت ﻗﺒﻞ ﻧﺤﻮ أرﺑﻌﺔ أﻋﻮام‪ .‬وﻗﺎل ﰲ ﺗﴫﻳﺢ‬ ‫مبﻨﺎﺳﺒﺔ ﻣﺸﺎرﻛﺔ اﻹﻣﺎرات ﰲ أﻋامل اﳌﺆمتﺮ اﻟﻌﺎم اﻟـ ‪ 60‬ﻟﻠﻮﻛﺎﻟﺔ اﻟﺪوﻟﻴﺔ‬

‫ﻟﻠﻄﺎﻗﺔ اﻟﺬرﻳﺔ‪ ،‬وﻣﺮور ‪ 40‬ﻋﺎﻣﺎً ﻋﲆ ﻋﻀﻮﻳﺔ اﻟﺪوﻟﺔ ﰲ اﻟﻮﻛﺎﻟﺔ اﻟﺪوﻟﻴﺔ‬ ‫»ﻧﻔﺨﺮ ﰲ ﻣﺆﺳﺴﺔ اﻹﻣﺎرات ﻟﻠﻄﺎﻗﺔ اﻟﻨﻮوﻳﺔ ﺑﺎﻟﺘﻘﺪم اﻟﺬي ﺣﻘﻘﻨﺎه‬ ‫ﰲ ﺗﻄﻮﻳﺮ اﻟﱪﻧﺎﻣﺞ اﻟﻨﻮوي اﻟﺴﻠﻤﻲ اﻹﻣﺎرايت‪ ،‬وﻧﺤﻦ ﻣﻠﺘﺰﻣﻮن ﺗﻘﺪﻳﻢ‬ ‫ﻃﺎﻗﺔ ﻧﻮوﻳﺔ آﻣﻨﺔ وﻓﻌﺎﻟﺔ وﺻﺪﻳﻘﺔ ﻟﻠﺒﻴﺌﺔ ﻟﺪﻋﻢ اﻟﻨﻤﻮ اﳌﺴﺘﻘﺒﲇ‬ ‫ﻟﺪوﻟﺔ اﻹﻣﺎرات اﻟﻌﺮﺑﻴﺔ اﳌﺘﺤﺪة‪ ،‬وﻫﻮ ﻣﺎ ﻳﻈﻬﺮ ﺟﻠﻴﺎً ﰲ ﺗﺤﻘﻴﻖ اﳌﺰﻳﺪ‬ ‫ﻣﻦ اﻹﻧﺠﺎزات ﰲ ﻣﺤﻄﺎت اﻟﻄﺎﻗﺔ اﻟﻨﻮوﻳﺔ ﰲ ﺑﺮاﻛﺔ«‪.‬‬

‫اﻹﻣﺎرات ﺗﺘﺼﺪر دول اﻟﻌﺎﻟﻢ ﻓﻲ ﺗﺪﻧﻲ اﻟﺤﺮاﺋﻖ ووﻓﻴﺎﺗﻬﺎ‬ ‫ﺗﻔﻮﻗﺖ دوﻟﺔ اﻹﻣﺎرات ﺑﻨﺘﺎﺋﺞ ﻗﻴﺎﺳﺎت دوﻟﻴﺔ ﳌﻌﺪﻻت‬ ‫اﻟﺤﺮاﺋﻖ واﻟﻮﻓﻴﺎت اﻟﻨﺎﺟﻤﺔ ﻋﻨﻬﺎ ﺧﻼل اﻷﻋﻮام ﺑني‬ ‫)‪ ،(2014 - 2010‬ﻣﻘﺎرﻧﺔ ﺑﻨﻈرياﺗﻬﺎ ﻣﻦ دول اﻟﻌﺎمل‬ ‫اﳌﺘﻘﺪﻣﺔ‪ ،‬ﺣﻴﺚ ﺑﻠﻎ ﻣﻌﺪل اﻟﺤﺮاﺋﻖ ﻟﻜﻞ ‪ 10،000‬ﻧﺴﻤﺔ‬ ‫ﻣﻦ اﻟﺴﻜﺎن )‪ 2.19‬ﺣﺮﻳﻘﺎً( وﻣﻌﺪل ﻋﺪد اﻟﻮﻓﻴﺎت ﻟﻜﻞ‬ ‫‪ 10،000‬ﻧﺴﻤﺔ ﻣﻦ اﻟﺴﻜﺎن )‪ 0.023‬وﻓﺎة(‪ ،‬ﻣﺘﻔﻮﻗﺔ‬ ‫ﺑﺬﻟﻚ ﻋﲆ دول ﻋﺎﳌﻴﺔ ﻣﺘﻘﺪﻣﺔ ﻋﺪﻳﺪة‪ ،‬ﻣﻦ ﺑﻴﻨﻬﺎ ﻓﺮﻧﺴﺎ‬ ‫واﳌﻤﻠﻜﺔ اﳌﺘﺤﺪة واﻟﻴﺎﺑﺎن واﻟﺴﻮﻳﺪ واﻟﻮﻻﻳﺎت اﳌﺘﺤﺪة‬ ‫اﻷﻣريﻛﻴﺔ‪ ،‬وﻓﻘﺎً ﳌﻘﺎرﻧﺔ ﻣﻊ اﻟﺘﻘﺮﻳﺮ اﻟﺪوري اﻟﺬي ﻧﴩﺗﻪ‬ ‫اﳌﻨﻈﻤﺔ اﻟﻌﺎﳌﻴﺔ ﻟﺨﺪﻣﺎت اﻹﻃﻔﺎء واﻹﻧﻘﺎذ )‪(CTIF‬‬ ‫وﻣﻘﺮﻫﺎ ﺑﺎرﻳﺲ‪ .‬وأﻛﺪ اﻟﻔﺮﻳﻖ ﺳﻤﻮ اﻟﺸﻴﺦ ﺳﻴﻒ‬ ‫ﺑﻦ زاﻳﺪ آل ﻧﻬﻴﺎن ﻧﺎﺋﺐ رﺋﻴﺲ ﻣﺠﻠﺲ اﻟﻮزراء‪ ،‬وزﻳﺮ‬ ‫اﻟﺪاﺧﻠﻴﺔ ﺧﻼل ﺗﺮؤﺳﻪ اﻻﺟﺘامع اﻷول ﳌﺠﻠﺲ اﻟﺴﻌﺎدة‬ ‫واﻹﻳﺠﺎﺑﻴﺔ ﻟﻌﺎم ‪ ،2016‬أﻫﻤﻴﺔ ﺗﻀﺎﻓﺮ اﻟﺠﻬﻮد ﻟﺪﻋﻢ‬ ‫ﻣﺴﺎﻋﻲ اﻟﺤﻜﻮﻣﺔ اﻹﻣﺎراﺗﻴﺔ اﻟﻌﺎزﻣﺔ ﻋﲆ ﺻﺪارة دول‬ ‫اﻟﻌﺎمل ﺑﺈﺳﻌﺎد اﳌﺘﻌﺎﻣﻠني‪ ،‬وﺗﻮﻓري أﻛﱪ ﻗﺪر ﻣﻦ اﻟﺴﻼﻣﺔ‬ ‫اﻟﻌﺎﻣﺔ واﻟﺤﻔﺎظ ﻋﲆ أرواح وﻣﻤﺘﻠﻜﺎت ﺳﻜﺎن اﻟﻮﻃﻦ‬ ‫ﻣﻦ ﻣﻮاﻃﻨني وﻣﻘﻴﻤني وزاﺋﺮﻳﻦ‪ .‬وﻧﺎﻗﺶ اﻻﺟﺘامع‪،‬‬ ‫اﻟﺬي ﻋﻘﺪ ﻣﺆﺧﺮاً ﰲ ﻣﻘﺮ وزارة اﻟﺪاﺧﻠﻴﺔ‪ ،‬ﻣﺠﻤﻮﻋﺔ ﻣﻦ‬ ‫اﳌﺒﺎدرات اﻟﴩﻃﻴﺔ واﳌﺆﴍات اﻻﺳﱰاﺗﻴﺠﻴﺔ ذات اﻟﺼﻠﺔ‬ ‫ﺑﺘﻄﻮﻳﺮ اﻟﻌﻤﻞ اﻟﴩﻃﻲ واﻷﻣﻨﻲ‪.‬‬ ‫‪ 12‬ﺑﻴﺖ اﻟﺸﻌﺮ ‪ /‬اﻟﻌﺪد ‪49‬‬

‫ﺳﻠﻄﺎن ﺑﻦ زاﻳﺪ ﻳﻬ ّﻨﺊ ﺧﺎدم اﻟﺤﺮﻣﻴﻦ اﻟﺸﺮﻳﻔﻴﻦ ﺑﺎﻟﻴﻮم اﻟﻮﻃﻨﻲ اﻟﺴﻌﻮدي اﻟ‪86a‬‬ ‫ﺑﻌﺚ ﺳﻤﻮ اﻟﺸﻴﺦ ﺳﻠﻄﺎن ﺑﻦ زاﻳﺪ آل ﻧﻬﻴﺎن ﻣﻤﺜﻞ‬ ‫ﺻﺎﺣﺐ اﻟﺴﻤﻮ رﺋﻴﺲ اﻟﺪوﻟﺔ ﺑﺮﻗﻴﺔ ﺗﻬﻨﺌﺔ إﱃ ﺧﺎدم‬ ‫اﻟﺤﺮﻣني اﻟﴩﻳﻔني اﳌﻠﻚ ﺳﻠامن ﺑﻦ ﻋﺒﺪ اﻟﻌﺰﻳﺰ آل‬ ‫ﺳﻌﻮد ﻋﺎﻫﻞ اﳌﻤﻠﻜﺔ اﻟﻌﺮﺑﻴﺔ اﻟﺴﻌﻮدﻳﺔ وذﻟﻚ مبﻨﺎﺳﺒﺔ‬ ‫اﻟﻴﻮم اﻟﻮﻃﻨﻲ اﻟـ‪ 86‬ﻟﻠﻤﻤﻠﻜﺔ‪.‬‬ ‫وأﻋﺮب ﺳﻤﻮه ﰲ اﻟﱪﻗﻴﺔ ﻋﻦ ﺗﻬﺎﻧﻴﻪ اﻟﺤﺎرة ﺳﺎﺋﻼ اﻟﻠﻪ ﻋﺰ‬ ‫وﺟﻞ أن ﻳﻌﻴﺪ ﻫﺬه اﳌﻨﺎﺳﺒﺔ اﻟﻮﻃﻨﻴﺔ اﻟﻐﺎﻟﻴﺔ ﻋﲆ ﺟﻼﻟﺘﻪ‬ ‫واﻟﺸﻌﺐ اﻟﺴﻌﻮدي اﻟﻜﺮﻳﻢ ﺑﺎﻟﺨري واﻟﻴﻤﻦ واﻟﱪﻛﺎت وأن‬ ‫ﻳﺪﻳﻢ ﻋﻠﻴﻪ وﻋﲆ اﳌﻤﻠﻜﺔ اﻟﺸﻘﻴﻘﺔ وﺷﻌﺒﻬﺎ اﻟﺨري واﻟﻌﺰة‬ ‫واﻟﺮﻓﻌﺔ‪.‬‬ ‫ومثﻦ ﺳﻤﻮ اﻟﺸﻴﺦ ﺳﻠﻄﺎن ﺑﻦ زاﻳﺪ آل ﻧﻬﻴﺎن ﰲ ﺑﺮﻗﻴﺘﻪ‬ ‫ﻣﻮاﻗﻒ وﺟﻬﻮد ﺟﻼﻟﺔ اﳌﻠﻚ ﺳﻠامن ﺑﻦ ﻋﺒﺪ اﻟﻌﺰﻳﺰ ﰲ‬ ‫ﺧﺪﻣﺔ وﻃﻨﻪ واﳌﻨﻄﻘﺔ واﻷﻣﺘني اﻟﻌﺮﺑﻴﺔ واﻹﺳﻼﻣﻴﺔ ﰲ‬ ‫ﺷﺘﻰ اﳌﺠﺎﻻت‪.‬‬ ‫ﻛام ﺑﻌﺚ ﺳﻤﻮ اﻟﺸﻴﺦ ﺳﻠﻄﺎن ﺑﻦ زاﻳﺪ آل ﻧﻬﻴﺎن ﺑﺮﻗﻴﺘﻲ‬ ‫ﺗﻬﻨﺌﺔ ﻣامﺛﻠﺘني ﺑﻬﺬه اﳌﻨﺎﺳﺒﺔ اﻟﻮﻃﻨﻴﺔ إﱃ ﺻﺎﺣﺐ‬ ‫اﻟﺴﻤﻮ اﳌﻠيك اﻷﻣري ﻣﺤﻤﺪ ﺑﻦ ﻧﺎﻳﻒ آل ﺳﻌﻮد وﱄ اﻟﻌﻬﺪ‬ ‫وزﻳﺮ اﻟﺪاﺧﻠﻴﺔ وﺻﺎﺣﺐ اﻟﺴﻤﻮ اﳌﻠيك اﻷﻣري ﻣﺤﻤﺪ ﺑﻦ‬ ‫ﺳﻠامن آل ﺳﻌﻮد وﱄ وﱄ اﻟﻌﻬﺪ وزﻳﺮ اﻟﺪﻓﺎع ﺑﺎﳌﻤﻠﻜﺔ‬ ‫اﻟﻌﺮﺑﻴﺔ اﻟﺴﻌﻮدﻳﺔ‪.‬‬

‫ﺣﻤﺪان ﺑﻦ زاﻳﺪ‪ E‬اﻟﺪوﻟﺔ ﺳﻨﺪ ﻗﻮي ﻟﺼﻮن اﻟﻜﺮاﻣﺔ اﻹﻧﺴﺎﻧﻴﺔ‬ ‫ﺷﺪد ﺳﻤﻮ اﻟﺸﻴﺦ ﺣﻤﺪان ﺑﻦ زاﻳﺪ آل‬ ‫ﻧﻬﻴﺎن ﻣﻤﺜﻞ اﻟﺤﺎﻛﻢ ﰲ اﳌﻨﻄﻘﺔ اﻟﻐﺮﺑﻴﺔ‪،‬‬ ‫رﺋﻴﺲ ﻫﻴﺌﺔ اﻟﻬﻼل اﻷﺣﻤﺮ‪ ،‬أن اﻹﻣﺎرات‬ ‫ﺳﺘﻈﻞ اﻟﺪرع اﻟﻮاﻗﻴﺔ ﻟﻼﺟﺌني ﻣﻦ ﺗﺪاﻋﻴﺎت‬ ‫اﻟﻠﺠﻮء اﻟﻘﺎﺳﻴﺔ‪ ،‬واﻟﺤﺼﻦ اﳌﻨﻴﻊ ﻟﻠﺤﺪ ﻣﻦ‬ ‫ﻣﻌﺎﻧﺎﺗﻬﻢ اﳌﺘﻔﺎﻗﻤﺔ‪ ،‬واﻟﺴﻨﺪ اﻟﻘﻮي ﻟﺼﻮن‬ ‫ﻛﺮاﻣﺘﻬﻢ اﻹﻧﺴﺎﻧﻴﺔ‪.‬‬ ‫وأﻛﺪ ﺳﻤﻮه‪ ،‬أن اﻹﻣﺎرات‪ ،‬ﺗﻮﱄ اﻫﺘامﻣﺎً‬ ‫ﻛﺒرياً ﻟﺘﺪاﻋﻴﺎت اﻷزﻣﺔ اﻟﺴﻮرﻳﺔ ﻋﲆ ﺣﻴﺎة‬ ‫اﳌﺘﺄﺛﺮﻳﻦ ﻣﻦ اﻷﺑﺮﻳﺎء‪ .‬وﻗﺎل إن اﻹﻣﺎرات‬ ‫ﺗﻀﻄﻠﻊ ﺑﺪور ﻣﺤﻮري ﰲ ﺗﻌﺰﻳﺰ اﻟﺠﻬﻮد‬ ‫اﻟﺪوﻟﻴﺔ ﻟﻠﺤﺪ ﻣﻦ ﺗﻔﺎﻗﻢ ﻣﻌﺎﻧﺎة اﻟﻼﺟﺌني‬ ‫اﻟﺴﻮرﻳني‪ .‬وﻗﺎل ﺳﻤﻮه‪ ،‬ﰲ ﺗﴫﻳﺢ مبﻨﺎﺳﺒﺔ‬ ‫إﻋﻼن اﻹﻣﺎرات اﺳﺘﻘﺒﺎﻟﻬﺎ ‪ 15‬أﻟﻒ ﻻﺟﺊ‬ ‫ﺳﻮري ﻋﲆ ﻣﺪى اﻟﺴﻨﻮات اﻟﺨﻤﺲ‬

‫اﳌﻘﺒﻠﺔ‪ ،‬إن ﻫﺬه اﳌﺒﺎدرة ﺗﺄيت ﺿﻤﻦ اﻟﺘﺰام اﻟﺴﺎﻣﻴﺔ ﻟﺸﺆون اﻟﻼﺟﺌني إﻋﻼن اﻹﻣﺎرات‬ ‫اﻟﺪوﻟﺔ مبﺴﺆوﻟﻴﺘﻬﺎ اﻹﻧﺴﺎﻧﻴﺔ ﺗﺠﺎه اﻷﺷﻘﺎء ﺑﺎﺳﺘﻀﺎﻓﺔ ‪ 15‬أﻟﻒ ﻻﺟﺊ ﺳﻮري ﺧﻼل‬ ‫اﻟﺴﻮرﻳني‪ .‬ﻣﻦ ﺟﻬﺘﻬﺎ‪ ،‬مثﻨﺖ اﳌﻔﻮﺿﻴﺔ اﻟﺴﻨﻮات اﻟﺨﻤﺲ اﳌﻘﺒﻠﺔ‪.‬‬ ‫أﻛﺘﻮﺑﺮ‪11 2016 /‬‬

‫اﻷﺧﺒﺎر‬ ‫‪baytelshear‬‬

‫ﺧﻠﻴﻔﺔ وﻣﺤﻤﺪ ﺑﻦ راﺷﺪ وﻣﺤﻤﺪ ﺑﻦ زاﻳﺪ ﻳﻬ ّﻨﺌﻮن ﺧﺎدم اﻟﺤﺮﻣﻴﻦ اﻟﺸﺮﻳﻔﻴﻦ‬ ‫ﺑﻌﺚ ﺻﺎﺣﺐ اﻟﺴﻤﻮ اﻟﺸﻴﺦ ﺧﻠﻴﻔﺔ ﺑﻦ زاﻳﺪ‬ ‫آل ﻧﻬﻴﺎن رﺋﻴﺲ اﻟﺪوﻟﺔ‪ ،‬ﺣﻔﻈﻪ اﻟﻠﻪ‪ ،‬ﺑﺮﻗﻴﺔ‬ ‫ﺗﻬﻨﺌﺔ إﱃ ﺧﺎدم اﻟﺤﺮﻣني اﻟﴩﻳﻔني اﳌﻠﻚ‬ ‫ﺳﻠامن ﺑﻦ ﻋﺒﺪاﻟﻌﺰﻳﺰ آل ﺳﻌﻮد ﻣﻠﻚ اﳌﻤﻠﻜﺔ‬ ‫اﻟﻌﺮﺑﻴﺔ اﻟﺴﻌﻮدﻳﺔ اﻟﺸﻘﻴﻘﺔ‪ ،‬ﺑﺎﻟﻴﻮم اﻟﻮﻃﻨﻲ‬ ‫اﻟـ‪ .86‬ﻛام ﺑﻌﺚ ﺻﺎﺣﺐ اﻟﺴﻤﻮ اﻟﺸﻴﺦ‬ ‫ﻣﺤﻤﺪ ﺑﻦ راﺷﺪ آل ﻣﻜﺘﻮم ﻧﺎﺋﺐ رﺋﻴﺲ‬ ‫اﻟﺪوﻟﺔ رﺋﻴﺲ ﻣﺠﻠﺲ اﻟﻮزراء ﺣﺎﻛﻢ ديب‪،‬‬ ‫وﺻﺎﺣﺐ اﻟﺴﻤﻮ اﻟﺸﻴﺦ ﻣﺤﻤﺪ ﺑﻦ زاﻳﺪ آل‬ ‫ﻧﻬﻴﺎن وﱄ ﻋﻬﺪ أﺑﻮﻇﺒﻲ ﻧﺎﺋﺐ اﻟﻘﺎﺋﺪ اﻷﻋﲆ‬ ‫ﻟﻠﻘﻮات اﳌﺴﻠﺤﺔ‪ ،‬ﺑﺮﻗﻴﺘﻲ ﺗﻬﻨﺌﺔ ﻣامﺛﻠﺘني إﱃ‬ ‫ﺧﺎدم اﻟﺤﺮﻣني اﻟﴩﻳﻔني‪.‬‬

‫ﻣﺤﻤﺪ ﺑﻦ راﺷﺪ وﻣﺤﻤﺪ ﺑﻦ زاﻳﺪ‪ E‬ﺷﻬﺪاؤﻧﺎ ّ‬ ‫ﺳﻄ‪a‬ﺮوا دروﺳ ًﺎ أﺻﻴﻠﺔ ﺧﺪﻣﺔ ﻟﻠﻌﺮوﺑﺔ واﻹﺳﻼم‬ ‫ﻗﺪم ﺻﺎﺣﺐ اﻟﺴﻤﻮ اﻟﺸﻴﺦ ﻣﺤﻤﺪ ﺑﻦ راﺷﺪ آل ﻣﻜﺘﻮم‪ ،‬ﻧﺎﺋﺐ رﺋﻴﺲ‬ ‫اﻟﺪوﻟﺔ رﺋﻴﺲ ﻣﺠﻠﺲ اﻟﻮزراء ﺣﺎﻛﻢ ديب‪ ،‬وﺻﺎﺣﺐ اﻟﺴﻤﻮ اﻟﺸﻴﺦ‬ ‫ﻣﺤﻤﺪ ﺑﻦ زاﻳﺪ آل ﻧﻬﻴﺎن‪ ،‬وﱄ ﻋﻬﺪ أﺑﻮﻇﺒﻲ ﻧﺎﺋﺐ اﻟﻘﺎﺋﺪ اﻷﻋﲆ‬ ‫ﻟﻠﻘﻮات اﳌﺴﻠﺤﺔ‪ ،‬واﺟﺐ اﻟﻌﺰاء ﰲ ﺷﻬﻴﺪ اﻟﻮﻃﻦ واﻟﻮاﺟﺐ ﺳﻌﻴﺪ‬ ‫ﻋﻨﱪ ﺟﻤﻌﺔ اﻟﻔﻼﳼ‪ ،‬اﻟﺬي ارﺗﻘﻰ ﺷﻬﻴﺪاً ﻣﺘﺄﺛﺮاً ﺑﺠﺮوح أﺻﻴﺐ ﺑﻬﺎ‬ ‫أﺛﻨﺎء ﻣﺸﺎرﻛﺘﻪ ﺿﻤﻦ ﻗﻮاﺗﻨﺎ اﳌﺴﻠﺤﺔ اﻟﺒﺎﺳﻠﺔ ﰲ ﻋﻤﻠﻴﺔ إﻋﺎدة اﻷﻣﻞ‬ ‫واﻟﴩﻋﻴﺔ ﰲ اﻟﻴﻤﻦ اﻟﺸﻘﻴﻖ‪ ،‬واﻟﺘﻲ ﺗﻘﻮدﻫﺎ اﻟﺴﻌﻮدﻳﺔ اﻟﺸﻘﻴﻘﺔ‬

‫‪ 10‬ﺑﻴﺖ اﻟﺸﻌﺮ ‪ /‬اﻟﻌﺪد ‪49‬‬

‫ﻋﲆ رأس اﻟﺘﺤﺎﻟﻒ اﻟﻌﺮيب‪ .‬ﻓﻘﺪ ﻗﺎم ﺻﺎﺣﺐ اﻟﺴﻤﻮ اﻟﺸﻴﺦ ﻣﺤﻤﺪ‬ ‫ﺑﻦ راﺷﺪ آل ﻣﻜﺘﻮم‪ ،‬ﺑﺰﻳﺎرة ﻣﺠﻠﺲ ﻋﺰاء اﻟﺸﻬﻴﺪ اﻟﺒﻄﻞ ﰲ ﻣﻨﻄﻘﺔ‬ ‫اﻟﻮﺻﻞ ﰲ ديب‪ .‬ﻛام أﻋﺮب ﺻﺎﺣﺐ اﻟﺴﻤﻮ اﻟﺸﻴﺦ ﻣﺤﻤﺪ ﺑﻦ زاﻳﺪ‬ ‫آل ﻧﻬﻴﺎن‪ ،‬ﺧﻼل زﻳﺎرﺗﻪ ﻣﺠﻠﺲ اﻟﻌﺰاء‪ ،‬ﻋﻦ ﺧﺎﻟﺺ ﺗﻌﺎزﻳﻪ وﺻﺎدق‬ ‫ﻣﻮاﺳﺎﺗﻪ ﻟﻮاﻟﺪ وذوي اﻟﺸﻬﻴﺪ‪ .‬وأﻛﺪ ﺳﻤﻮه ﺧﻼل ﺣﺪﻳﺜﻪ ﻣﻊ واﻟﺪ‬ ‫اﻟﺸﻬﻴﺪ وإﺧﻮاﻧﻪ‪ ،‬ﻓﺨﺮه واﻋﺘﺰازه ﺑﺄﺑﻨﺎء اﻟﻮﻃﻦ اﻟﺬﻳﻦ ﻳﺴﻄﺮون‬ ‫ﻣﻌﺎين ﺧﺎﻟﺪة وﻧﺒﻴﻠﺔ ﰲ اﻟﺘﻀﺤﻴﺔ واﻟﺸﺠﺎﻋﺔ واﻟﺒﻄﻮﻟﺔ‪.‬‬

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‫ﻣﺠﻠﺔ ﺷﻬﺮﻳﺔ ﺷﺎﻣﻠﺔ‬ ‫ﺗﺼﺪر ﻋﻦ ﻣﺮﻛﺰ ﺳﻠﻄﺎن ﺑﻦ زاﻳﺪ ﻟﻠﺜﻘﺎﻓﺔ واﻹﻋﻼم‬

‫اﻟﻌﺪد ‪ - 49‬أﻛﺘﻮﺑﺮ ‪2016‬‬

‫رﺋﻴﺲ اﻟﺘﺤﺮﻳﺮ‬

‫ﻣﻨﺼﻮر ﺳﻌﻴﺪ اﻟﻤﻨﺼﻮري‬ ‫اﻹﺷﺮاف اﻟﻌﺎم‬

‫زﺑﻦ ﺑﻦ ﻋﻤﻴﺮ‬ ‫‪@zabin2011‬‬ ‫ﻣﺴﺘﺸﺎر اﻟﺘﺤﺮﻳﺮ‬

‫ﻋﻠﻲ اﻟﻤﺴﻌﻮدي‬ ‫‪@allmasoudi‬‬

‫‪36‬‬ ‫‪42‬‬ ‫‪56‬‬ ‫‪60‬‬ ‫‪72‬‬ ‫‪78‬‬ ‫‪88‬‬ ‫‪90‬‬

‫ﻳﻌﻘﻮب اﻟﺸﺎﻣﺴﻲ ﻳﺨﺎﻃﺐ اﻟﻤﺤﺒﻮب ﺑﻜﻞ ﻣﺎ ﻳﻤﻠﻚ ‪E‬‬ ‫»راس ﻣﺎﻟﻲ ﺑﻴﺖ ﺷﻌﺮ وﻛﻠﻤﺘﻴﻦ!«‬ ‫ﻓﻨﺠﺎل ﻋﻠﻰ اﻟﺮﻳ‪a‬ﻖ ﻳﻨ‪a‬ﺬاب‬ ‫راﻛﺎن ﺑﻦ ﺣﺜﻠﻴﻦ ‪ E‬ﻗﻢ ﺳﻮ‬ ‫ٍ‬ ‫ﻫﻮﻳﺪا اﻟﻈﻨﺤﺎﻧﻲ‪ E‬اﻟﻘﻠﻢ أﻣﺎﻧﺔ!‬ ‫ﺑﻄﻲ راﺷﺪ اﻟﻘﺒﻴﺴﻲ‪ E‬أﻟﻌﺎب اﻟﻘﻮى ﺗﺤﺘﺎج إﻟﻰ اﻟﻤﺰﻳﺪ ﻣﻦ اﻟﺘﺴﻮﻳﻖ‬ ‫ﺣﻔﺼﺔ اﻟﺮﻛﻮﻧﻴﺔ‪ E‬ﻟﻲ ﺣﺒﻴﺐ وﻻ ﻳﻨﺜﻨﻲ ﻟﻌﺘﺎب‬ ‫اﻟﺤ َُﻄﻴ َﺌﺔ‪ ..‬اﻟﺸﻌﺮ ﺳﻼﺣﻪ اﻟﻮﺣﻴﺪ ﻟﻺﻧﺘﻘﺎم ﻣﻦ اﻟﺠﻤﻴﻊ‬ ‫ﻛﺎرل ﺑﺮوﻛﻠﻤﺎن ‪..‬اﻟﻤﻨﺠﺰ اﻟﻌﻤﻼق واﻷﻛﺎدﻳﻤﻴﺔ اﻟﺤ ّﻘﺔ‬ ‫اﻟﻤﻮروﺛﺎت اﻟﻜﻨﺪﻳﺔ‪..‬ﺑﻮﺗﻘﺔ ﺟﻠﻴﺪﻳﺔ ُﺗﺼﻬﺮ أﻋﺮق اﻟﺜﻘﺎﻓﺎت اﻟﻌﺎﻟﻤﻴﺔ‬

‫ﻣﺪﻳﺮ اﻟﺘﺤﺮﻳﺮ‬

‫ﻋﺒﺪا‪ ¢‬أﺑﻮﺑﻜﺮ‬ ‫‪@abdabubaker1‬‬ ‫اﻹﺧﺮاج اﻟﻔﻨﻲ & ﺳﻜﺮﺗﺎرﻳﺔ اﻟﺘﺤﺮﻳﺮ‬

‫ﺳﻌﺎد ﺣﺴﻨﺔ‬ ‫‪@HasnaSuad‬‬ ‫اﻟﺘﺼﻮﻳﺮ‬ ‫ﺟﻌﺒﻞ ﻋﺒﺪا‪¢‬‬ ‫ﻃﺎرق اﻟﺒﻮرﻳﻨﻲ‬

‫ﻣﺴﺆول اﻟﺘﻮزﻳﻊ‬ ‫أﺣﻤﺪ ﻋﺒﺎس‬

‫ﺳﻌﺮ اﻟﻨﺴﺨﺔ‬

‫‪marketing@cmc.ae‬‬

‫اﻹﻣﺎرات اﻟﻌﺮﺑﻴﺔ اﻟﻤﺘﺤﺪة] ‪ 10‬دراﻫﻢ اﻟﻤﻤﻠﻜﺔ اﻟﻌﺮﺑﻴﺔ اﻟﺴﻌﻮدﻳﺔ ‪ 10‬رﻳﺎﻻت اﻟﻜﻮﻳﺖ دﻳﻨﺎر واﺣﺪ‬ ‫‪ -‬ﺳﻠﻄﻨﺔ ﻋﻤﺎن ‪ 800‬ﺑﻴﺴﺔ ﻗﻄﺮ ‪ 10‬رﻳﺎﻻت ﻣﻤﻠﻜﺔ اﻟﺒﺤﺮﻳﻦ دﻳﻨﺎر واﺣﺪ‪V‬‬

‫ﻋﻨﻮان اﻟﻤﺠﻠﺔ]‬ ‫اﻹﻣﺎرات اﻟﻌﺮﺑﻴﺔ اﻟﻤﺘﺤﺪة‪ -‬أﺑﻮﻇﺒﻲ‬

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

‫ﻫﺎﺗﻒ] ‪009712-6666130‬‬ ‫ﻓﺎﻛﺲ] ‪009712-6663088‬‬ ‫ص‪V‬ب] ‪ 6420‬أﺑﻮﻇﺒﻲ إ‪V‬ع‪V‬م‬

‫‪baitshir@cmc.ae‬‬ ‫أﻛﺘﻮﺑﺮ‪9 2016 /‬‬

‫ﻣﺤﺘﻮﻳﺎت‬ ‫‪baytelshear‬‬

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‫‪18‬‬ ‫ﻛﺘﺎب اﻟﻌﺪد‬

‫ﺑﻴﺖ اﻟﺸﻌﺮ ‪ /‬اﻟﻌﺪد ‪49‬‬

‫‪24‬‬ ‫ﺷﻌﺮاء اﻟﻌﺪد‬

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‫ﻋﻠﻲ اﻟﻤﺴﻌﻮدي‬ ‫زﺑﻦ ﺑﻦ ﻋﻤﻴﺮ‬ ‫ﻋﺒﺪا‪ ¢‬أﺑﻮﺑﻜﺮ‬ ‫ﻣﺤﻤﺪ ﻧﻮراﻟﺪﻳﻦ‬ ‫ﻣﺤﻤﺪ اﻟﺒﺮﻳﻜﻲ‬ ‫ﺻﻔﻴﺔ اﻟﺸﺤﻲ‬ ‫ﻣﺤﻤﺪ أﻧﻮر‬

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‫ﺳﺤﻴﻢ ﺑﻦ أﺣﻤﺪ آل ﺛﺎﻧﻲ‬ ‫ﻋﺒﺪا‪ ¢‬ﺑﻦ ﻧﻮره اﻟﺮاﺷﺪي‬ ‫راﺷﺪ اﻟﺮﻣﻴﺜﻲ‬ ‫ﻋﺒﺪاﻟﺮﺣﻤﻦ اﻟﻄﻔﻴﻞ‬ ‫ﻓﻬﺪ اﻟﺼﻌﻴﺮي‬ ‫ﻓﻮاز ﻣﺮﻳﺰﻳﻖ‬ ‫ﻧﺎﺻﺮ اﻟﻨﻴﺎدي‬

‫‪47‬‬ ‫أﺻﻴﻞ اﻟﻜﻨﺪي‬ ‫ﻋﺒﺪاﻟﺮﺣﻤﻦ اﻟﻤﺮﻳﺴﻲ‬ ‫ﺳﻴﻒ ﺑﻦ ﻃﻤﻴﺸﺎن‬ ‫راﺷﺪ اﻷﺣﺒﺎﺑﻲ‬ ‫ﺳﻌﻴﺪ ﺑﻦ ﻏﻠﻴﻄﻪ اﻟﻐﻔﻠﻲ‬ ‫ﻣﺤﻤﺪ اﻟﻔﺎﻟﺢ‬ ‫ﻣﺤﻤﺪ اﻟﻤﺼﻌﺒﻲ‬

‫‪86‬‬ ‫وﺻﺎﻳﻒ ﺗﻬﺎﻣﻴﺔ‬ ‫ﻟﻄﻴﻔﺔ‬ ‫اﻟﺸﺎذﻟﻲ اﻟﻌﺠﺐ‬ ‫ﻓﺘﺎة ﺗﻬﺎﻣﺔ‬ ‫ﻋﻠﻲ اﻟﺨﺰﻳﻤﻲ اﻟﺸﻤﺮي‬ ‫ﻟﻴﻢ ﺣﺴﻦ‬

‫ﻣﻦ أﻗﻮال ﺳﻤﻮ اﻟﺸﻴﺦ‬

‫ﺳﻠﻄﺎن ﺑﻦ زاﻳﺪ آل ﻧﻬﻴﺎن‬ ‫ُ‬ ‫ﻳﺸﻜﻞ داﻓﻌ ًﺎ‬ ‫اﻹﺑﺪاع ﺑﻤﺨﺘﻠﻒ اﺗﺠﺎﻫﺎﺗﻪ وأﺷﻜﺎﻟﻪ‪،‬‬ ‫ﻛﺒﻴﺮ ًا ﻻرﺗﻘﺎء ﻣﺠﺘﻤﻌﺎﺗﻨﺎ وﺗﻘﺪّﻣﻬﺎ‪ ،‬وﻧﺴﺘﻄﻴﻊ ﻣﻦ‬ ‫ﺧﻼﻟﻪ ﺗﻘﻴﻴﻢ اﻷﻓﺮاد‪ ،‬ﻋﺒﺮ ﻧﺘﺎﺟﺎﺗﻬﻢ وﻧﺠﺎﺣﺎﺗﻬﻢ‪،‬‬ ‫وﺗﻤﻴّﺰﻫﻢ ﻓﻲ ﻣﺨﺘﻠﻒ اﻟﻤﺠﺎﻻت‪V‬‬

‫أﻛﺘﻮﺑﺮ‪7 2016 /‬‬

‫ذﻫﺐ اﻟﻜﻼم‬ ‫‪baytelshear‬‬

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‫ﺑﻴﺖ اﻟﺸﻌﺮ ‪ /‬اﻟﻌﺪد ‪49‬‬

‫ﺣﺎﻳﺰ ﺳﻤﺖ واﻣﻌﺎﻧﻲ‬ Áb@@ @ @ @ @ @ E*H h@@ @ @ @ ~@ @ 6 y@@ @ @Jb@@ @ @0 @@ @ Ax@@ @ ~@ @ @7 @@ @ @ @ @ C ¤@@ @ @ @ @ Eb@@ @ @ @ @ 0H Áb@@ @ @ @ @ @ . @@ @ @ @ @ @ + d@@ @ @ @ @ @ 04b@@ @ @ @ @ @ + @@ @ @ @ @ @ @ @ B¡@@ @ @ @E y@@ @ @ @ @ @£@ @ @ @ @ @ E · Á*y@@ @ @ @ £@ @ @ @ @E É@@ @ @ @ @ @ @ @ @ @ @ D · @@ @ @ @ @Ax@@ @ @ @ @0b@@ @ @ @ @E v@@ @ @ @ @ @ @ @ @ @ @ @ @ @ @< Áb@@ @ @ @+ 4v@@ @ @ @ @ @ @ @ @ @ B y@@ @ @ @ @ @ @ @ @ @ @ @ D* @@ @ @ Ax@@ @ @ <* b@@ @ @ @ @E @@ @ @ @ Ab@@ @ @ @ g@ @ @ @ @D*H Áb@@ @ @ @ :¡@@ @ @ @ D @@ @ @ @ @ @ + y@@ @ @ g@ @ @ @ @ @ @ @ @@ @ @Ax@@ @ @~@ @ @ 7* ¯ ·b@@ @ @ @ @ @ @= · Áb@@ @ @ @ @ @ ´* ¯ ¡@@ @ @ @ @ @ G ·H @@ @ @ @ @ @ B¡@@ @ @E ¯ x@@ @ @ ~@ @ @ z@ @ @ s@ @ @ J Áb@@ @ +x@@ @ @ @ @ D* @@ @ @ @E @@ @~@ @ {@ @ @ @ J @@ @ @Ax@@ @ @~@ @ @ 7b@@ @ @E @@ @ @ @ @ @ @ @ @ @ ~@ @ @ @ @ 8*H Áb@@ @ ~@ @ @z@ @ @F° @@ @ @ @ @ @ @ @ @ <* °* @@ @c@ @ ~@ @ |@ @ @ @ E @@ @ @ @ @ Ax@@ @ @ @ @ J · Á*2 @@ @ @ @ @ @ @ @A b@@ @ @ @ @ @C *H @@ @ @+x@@ @ @<* v@@ @ @ @ @ @ < @@ @ @|@ @ @ 1x@@ @ @J ‫اﻟﺸﻴﺦ زاﻳﺪ ﺑﻦ ﺳﻠﻄﺎن آل ﻧﻬﻴﺎن‬ - ‫ﻃﻴﺐ اﻟﻠﻪ ﺛﺮاه‬-

2016 016 /‫أﻛﺘﻮﺑﺮ‬ /‫ﺘﻮﺑﺮ‬ ‫أأﻛﻛﻛﺘﻮﻮﺑ‬ 5 220

‫ﺣﻜﻴﻢ اﻟﻌﺮب‬ ‫‪baytelshear‬‬

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‫ﺑﻴﺖ اﻟﺸﻌﺮ ‪ /‬اﻟﻌﺪد ‪49‬‬

‫ﺻﻮت اﻟﺼﻮرة‬ ‫‪baytelshear‬‬

‫وﻳﻦ اﺳﺎﻓﺮ واﻧﺖ ﻟﻌﻴﻮﻧﻲ ﻣﺪى‬ ‫وﻳﻦ اﻫﺎﺟﺮ واﻧﺖ ﺳﺎﻛﻦ ﻓﻲ ﺣﺸﺎي‬ ‫ﺑﺢ ﺻﻮﺗﻲ ﻟﻴﻪ ﻣﺎ ﻛﻨﺖ اﻟﺼﺪى‬ ‫اﺛﺮك ﺑﻘﻠﺒﻲ ‪ VV‬وﻟﻜ‪ª‬ﻦ ﻣﻮ ﻣﻌﺎي !‬ ‫ﻣﺤﻤﺪ اﻟﻮﺑﻴﺮ‬ ‫أﻛﺘﻮﺑﺮ‪3 2016 /‬‬

‫اﻟﻤﺠﻠﺔ اﻷوﻟﻰ اﻟﻤﺘﺨﺼﺼﺔ ﺑﺎﻹﺑﻞ‬ ‫ﻣﺠﻠﺔ ﺷﻬﺮﻳﺔ‬

‫ﺗﺼﺪر ﻋﻦ ﻣﺮﻛﺰ ﺳﻠﻄﺎن ﺑﻦ زاﻳﺪ ﻟﻠﺜﻘﺎﻓﺔ واﻹﻋﻼم‬

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