bayt alshier_77_April_2019 بيت الشعر أبريل by SBZC Mags

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baytelshear ‫اﻟﺸﻌﺮ‬ ِ ‫ﺑﻴﺖ‬

‫ ‪ ĮšĪ‬‬

‫اﻟﺸﻌﺮ ﻓﻲ ﻛﻞ ﻳﻮم‬ ‫ﻳﺤﺘﻔﻲ اﻟﻌﺎمل ﰲ اﻟﺤﺎدي واﻟﻌﴩﻳﻦ ﻣﻦ ﺷﻬﺮ ﻣﺎرس ﻛﻞ ﻋﺎم ﺑﺎﻟﺸﻌﺮ‪ ،‬ﰲ ﻣﺒﺎدرة ﻃﻴﺒﺔ‬ ‫ﻳﻌﱪ ﻋﻦ ﺣﺎل اﳌﺠﺘﻤﻌﺎت‬ ‫ﺗﻌﻜﺲ أﻫﻤﻴﺔ اﻟﺸﻌﺮ ﰲ ﻋﺎﳌﻨﺎ‪ ،‬وﻫﻮ اﻟﻔﻦ اﻷﺻﻴﻞ اﻟﺬي ّ‬ ‫وواﻗﻌﻬﺎ‪ ،‬ﺑﻞ وﻳﻌ ّﺪ دﻟﻴ ًﻼ ﻋﲆ ﺗﻘﺪﻣﻬﺎ وﺣﻀﺎرﺗﻬﺎ‪.‬‬ ‫وﻧﺤﻦ ﰲ اﻹﻣﺎرات‪ ،‬ﻧﻔﺨﺮ وﺑﺜﻘﺔ ﻛﺒرية أﻧﻨﺎ ﻧﺤﺘﻔﻲ ﺑﺎﻟﺸﻌﺮ واﻟﺸﻌﺮاء ﰲ ﻛﻞ ﻳﻮم ﻣﻦ أﻳﺎم‬ ‫اﻟﺴﻨﺔ‪ ،‬إميﺎﻧﺎً ﻣﻨﺎ ﺑﺪور اﻟﺸﻌﺮ ﰲ ﺗﻮﺛﻴﻖ اﻟﻮاﻗﻊ وﺻﻨﺎﻋﺔ اﻟﺠامل واﻟﺪﻻﻻت اﻷدﺑﻴﺔ اﻟﺮاﻗﻴﺔ‬ ‫اﻟﺘﻲ ﺗﺴﻬﻢ ﺑﺸﻜﻞ ﻛﺒري ﰲ ارﺗﻘﺎء اﻟﺬاﺋﻘﺔ اﻟﻌﺎﻣﺔ ومتﺪّدﻫﺎ ﰲ ﺟﻤﻴﻊ اﳌﺴﺎﺣﺎت‪.‬‬ ‫ﻋﴩات اﻟﺠﻮاﺋﺰ اﻟﺸﻌﺮﻳﺔ اﻧﻄﻠﻘﺖ ﰲ اﻹﻣﺎرات‪ ،‬ﻣﻨﻬﺎ‪ :‬اﳌﺴﺎﺑﻘﺔ اﻟﺸﻌﺮﻳﺔ ﳌﻬﺮﺟﺎن ﺳﻠﻄﺎن‬ ‫ﺑﻦ زاﻳﺪ اﻟﱰايث‪ ،‬ﻣﺴﺎﺑﻘﺔ ﺷﺎﻋﺮ اﳌﻠﻴﻮن‪ ،‬وأﻣري اﻟﺸﻌﺮاء‪ ،‬ﺟﺎﺋﺰة اﻟﻌﻮﻳﺲ‪ ،‬ﺟﺎﺋﺰة اﻟﺸﺎرﻗﺔ‪،‬‬ ‫اﻟﱪدة وﻏريﻫﺎ ﻣﻦ اﻟﺠﻮاﺋﺰ اﻟﺘﻲ ﻻ ميﻜﻦ ذﻛﺮﻫﺎ ﻛﻠﻬﺎ ﰲ ﻫﺬه اﳌﺴﺎﺣﺔ‪ ،‬واﻟﺘﻲ ﺗﺤﺘﻔﻲ‬ ‫ﺑﺠﻤﻴﻊ ﻛﺘﺎب اﻟﺸﻌﺮ ﺻﻐريﻫﻢ وﻛﺒريﻫﻢ‪ ،‬ﰲ ﻣﺨﺘﻠﻒ دول اﻟﻌﺎمل‪ .‬وﻟﻌﻞ ﻣﺎ ﺗﻘﻮم ﺑﻪ‬ ‫اﻹﻣﺎرات ﻋﲆ ﺻﻌﻴﺪ ﺧﺪﻣﺔ اﻟﺸﻌﺮ واﻟﺸﻌﺮاء ﻳﻔﻮق ﺑﻜﺜري ﻣﺎ ﺗﻘﻮم ﺑﻪ ﺟﻤﻴﻊ دول اﻟﺠﻮار‬ ‫اﻟﻌﺮﺑﻴﺔ ﻣﺠﺘﻤﻌﺔ‪ ،‬ﻓﻬﻲ اﻟﻴﻮم ﻗﺒﻠﺔ اﻟﺸﻌﺮاء وﻣﻨﺼﺔ اﻟﺘﺘﻮﻳﺞ اﻷﺣﺐ ﻋﲆ ﻗﻠﺐ ﻛﻞ ﺷﺎﻋﺮ‬ ‫أﻛﺎن ﻓﺼﻴﺤﺎً أو ﺷﻌﺒﻴﺎً‪.‬‬ ‫ﰲ ﻛﻞ ﻳﻮم ُﺗﻜﺘﺐ ﰲ اﻹﻣﺎرات ﻗﺼﻴﺪة‪ ،‬ﺑﻞ ﻗﺼﺎﺋﺪ ﻻ ﻳﺠﻒ ﺣﱪ ﻛﺎﺗﺒﻬﺎ‪ ،‬وﻻ ﺗﻀﻴﻖ ﻣﺴﺎﺣﺎﺗﻬﺎ‬ ‫وأﺑﻴﺎﺗﻬﺎ‪ ،‬ﻓﺘﻈﻞ ﺗﻜﱪ وﺗﻔﺘﺢ أﻣﺎم اﻟﻘﺎرئ اﻟﻜﺜري ﻣﻦ ﻧﻮاﻓﺬ اﻟﺪﻫﺸﺔ واﳌﻌﺮﻓﺔ‪ ،‬ﻟﺘﻤﺪ ﻟﻪ ﻳﺪ‬ ‫اﳌﻌﻨﻰ واﻷﻓﻜﺎر‪ ،‬ﰲ ﻣﺼﺎﻓﺤﺔ أدﺑﻴﺔ وﺟامﻟﻴﺔ ﺻﺎدﻗﺔ وﺑﺎﻋﺜﺔ ﻋﲆ اﻷﻣﻞ واﻟﺜﻘﺎﻓﺔ‪ .‬وﻧﻜﺎد‬ ‫ﻧﺠﺰم أن اﻟﺸﻌﺮ أﻛرث ﻣﺎ ﻧﺤﺘﻔﻲ ﺑﻪ ﰲ اﻹﻣﺎرات‪ ،‬ﻋﲆ اﻟﺼﻌﻴﺪ اﻟﺜﻘﺎﰲ واﻷديب‪ ،‬ﻷﻧﻪ ميﺜﻞ‬ ‫ﺟﺰءاً ﻣﻦ ﺗﺮاﺛﻨﺎ اﻷﺻﻴﻞ وﻫﻮﻳﺘﻨﺎ اﻷوﱃ‪ ،‬وﻫﻨﺎ ﻧﺸري إﱃ اﻟﺪﻋﻢ اﻟﻜﺒري اﻟﺬي ﻳﺤﻈﻰ ﺑﻪ‬ ‫اﻟﺸﻌﺮ واﻟﺸﻌﺮاء ﻣﻦ ﻗﺒﻞ ﺷﻴﻮﺧﻨﺎ وﺣﻜﺎﻣﻨﺎ‪ ،‬وﺗﺤﺮص ﻋﲆ ﻣﻮاﺻﻠﺘﻪ ﻗﻴﺎدﺗﻨﺎ اﻟﺮﺷﻴﺪة اﻟﺘﻲ‬ ‫ﺗﻄﻠﻖ اﳌﺒﺎدرات ﺗﻠﻮ اﳌﺒﺎدرات‪ ،‬ﺑني ﺟﻮاﺋﺰ وﻣﺴﺎﺑﻘﺎت وﺑﺮاﻣﺞ ﺷﻌﺮﻳﺔ ﻷﺟﻞ اﻻرﺗﻘﺎء‬ ‫ﺑﺎﻟﺸﻌﺮ وﺗﻌﺰﻳﺰ ﻣﻜﺎﻧﺘﻪ اﻟﺠامﻟﻴﺔ ﰲ اﳌﺠﺘﻤﻊ اﳌﺤﲇ واﻟﻌﺮيب ﻋﻤﻮﻣﺎً‪.‬‬ ‫ﻓﺸﻜﺮاً ﻟﻺﻣﺎرات‪ ،‬اﻟﺘﻲ ﺗﺮﻓﻊ ﺷﻌﺎر اﻟﺸﻌﺮ ﻋﺎﻟﻴﺎً‪ ،‬وﺗﺤﺘﻔﻲ ﺑﻪ ﰲ ﻛﻞ ﻳﻮم وﻟﺤﻈﺔ‪.‬‬

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‫اﻟﻌﺪد ‪ ، 77‬أﺑﺮﻳﻞ ‪2019‬‬

‫د‪/‬ﻋﺒﻴﺪ ﻋﻠﻲ راﺷﺪ اﻟﻤﻨﺼﻮري‬

‫رﺋﻴﺲ اﻟﺘﺤﺮﻳﺮ‬

ĘıĘŕ

‫ﻣﺮﻳﻢ اﻟﻨﻘﺒﻲ‬ @sjaya_maryam

@@ @ @EH4&* b@@ @ @E ¤@@ @ @ @ @ @ < x@@ @ @ @ @~@ @ @{@ @ @D* ¡@@ @ ~@ @ @8H f@@ E¡@@ E&°* @@ 6b@@ ~@ @z@ @0* @@ + @@ ~@@P 8H&* v@@ J4* @@ @E¡@@ @0x@@ @D* &°* f@@ @ @ @ @ @ @ @ @ ~@ @ |@ @ B @@ @/x@@ @-&*H @@ @ EHx@@ @ p@N @ @ § R ¤@@ @ G °H f@@ @ @ @ @0x@@ @ D* @@ @ E @@ @ E¡@@ @ D&* °H ¥v@@ @ @ @ @< x@@ @ @ @ @~@ @ @{@ @ @D* i¡@@ @ Â @@ @E¡@@ @~@ @ 6&* ¥x@@ @ @ @ ~@ @ {@ @ + @@ @}@ @ A4* b@@ @GÉ@@ @=H @@ @ EHv@@ @ G ¯ ¥x@@ @ @ @ @< ¡@@ @ : ¢@@ @ @ @ @+&* ¡@@ @ D @@ @ @ E¡@@ @ @ J4 H b@@ @ @ Â4 H @@ @ @ E¡@@ @ @ Jx@@ @ @ E b@@ @ @ F* @@ @E¡@@ @ @ @ FH @@ @ @ @ @ @ +R ¤@@ @ @ @ @ @ @ @ @ @ @ @J2b@@ @ @ @ -R @@ @+N H @@ @ E¡@@ @ @ @ @G i2*5 ¡@@ @ D @@ @ £@ @ @~@ @ @}@ @ @J b@@ @ E v@@ @ +* @@ @EHy@@ @< I¡@@ @ @ @ @ @ @ @ @ @ @ @ @ @ - b@@ @ @ @ + ¤@@ @c@ @ @ @ B b@@ @F&* @@ @ E¡@@ @ ½ IHb@@ @ @ @ @g@ @ @- x@@ @ @ @ @ @ @ @D* @@ @ z@ @ @0* @@ @ @E¡@@ @ @~@ @ @ 64H @@ @ @R P´b@@ @ @ @ @ @ E @@ @ @+ @@ @ @£Q @ @ @ ~@ @ @ 9*H @@ @ EHv@@ @ J ¤@@ @ @ @ @ @ @ @ +4 b@@ @ @ @ @ Q @ @ @; b@@ @ @ @ @£@ @ @ @ @ @<H @@ E¡@@ £@ @ =H d@@ p@ @ ~@ @ z@ @ D* b@@ G4*2 ¤@@ @ @ ~@ @ z@ @ JH

baytelshear ‫اﻟﺸﻌﺮ‬ ِ ‫ﺑﻴﺖ‬

ũƸǃƸǌŢ ƆţƉŸŢ @@ @E¡@@ @~@ @ 8&* °H ¤@@ @ @ @ < x@@ @ @~@ @{@ @D* ¡@@ ~@ @|@ @J @@ /b@@ p@ @+ @@ g@ @c@ @DP b@@ : x@@ @ @~@ @{@ @D* x@@ p@ @+ b@@ J v@@ Jb@@ ~@ @|@ @ @ @D* ¢@@ @ @=&* ¢@@ @ @< x@@ @ @A&* Hy@@ D b@@ @ Gb@@ @ @ @ @<H d@@ @ £@ @ @ @ @ @Db@@ @ + Ñ* b@@ @ Gb@@ @ c@ @ @0 ¥v@@ £@ @~@ @|@ @B b@@ @ @D* h@@ c@ @g@ @C ¡@@ @ @D ¤@@ @ @ @ @E&* ¯ ¢@@ @ @ @ =&*H ¢@@ @ @ @ ~@ @ 6&*H x@@ @ @ @ @ @ @ @ @ c@ @ C&* b@@ @ @ @ @ @ @ @ @ F° ¤@@ @ @ @ R @ @ Â °H b@ @ @ @ @ @ @ ~@ @ }@ @ 0 f@@ @ @ @ @ @ : b@@ @F* PP b@@ Gx@@ @ @F ¯ ,Ì@@ @ @~@ @|@ @D* @@ @ @ @ @ @ @D* b@@ F* ¤@@ @+ x@@ @s@ @ g@ @ @ @ - ¤@@ @ @ @ D* v@@ @ @ @ ¹ * b@@ @F*H 42b@@ @ @F d@@ @ @ @ @ @ B b@@ @ @Gb@@ @ @~@ @ @ {@ @ @ p@ @ @ + ¤@@ @ @E&* b@@ @ @F* v@@ @ 0*H ¡@@ @ J @@ @ |@ @ ~@ @ |@ @ s@ @ J µb@@ @ @ @ D* ¡@@ @ D b@@ @ @ @ @Jv@@ @ J @@ @ cQ @ @ @B* b@@ @ @ @ @ @ @ @ @E ¡@@ @ @ @ @ @ @ @ @J ¯ *3(*H 4b@@ @ A @@ @ £@ @ @A ¤@@ @ @ @ @Db@@ @ + ¡@@ @ @ @ @D* @@ @ z@ @ @0&*H d@@ @ Jb@@ @ c@ @ @²* h@@ @ ~@ @ @6 ¤@@ @ g@ @ @ @ @ @/ Ñ* ¢@@ @ <4 @@ @ ~@ z@ - x@@ Gv@@ D* Hx@@ ~@ 8 @@ E b@@ Gb@@ ~@ z@ <H

ĘıĘŕ

‫ﻣﺤﻤﺪ اﻟﻤﺼﻌﺒﻲ‬ @mo7mmed.s

ũŧŹƹƴŢ ƞţƬ x@@ / b@@ @ @+ b@@ @ E f@@ c@ @p@ @´* b@@ @ @ B h@@ £@ @~@Q @ z@ @< b g 0 Hv@@c@ D* ¡@@ J h@@£@ / b@@E b@@ / @@ 7H 4w@@ < @@ 7H v@@£@ @ - h@@£@ D b@@ J @@+b@@£@ = *w@@ G b@@ @g@ @< *y@@ @ @ @ E°* b@@ £@ @²* d@@ @ < b@@ @ B ¯ È@@C @@E @@~@8¡@@D* ¡@@½ dmpJ @@£@ @D* b@@ @g@ @: @@ @ JH @@Cb@@ @ ~@ 6 d@@ Bx@@ - Í@@ @ @ @ D*H x~{ D* b@@A É@@ <°* ¢gE ¥4v@@E £A b@@E b g ~8 @@z@ @³* @@9Hx@@ @ D* v@@Jx@@- ¤@@ @ D* x@@ @A ¢@@ @ < @@c@ ~@ 6 É@@ + b@@ @ @+*H eb@@ @= @@ E b@@ @g@ @~@7 2¡@@ @ @ D* ¡@@ @ @F $b@@ @ / ¡@@ D @@g@ @ £@ 1 x@@ @ @ Db@@< v@@ ~@ 8 f@@c@ ¹ °* b@@Fv@@ @ <b@@E b@@ @ g@ @ PE @@ {@ @JH ¥4v@@ @ @ E @@g@ c@ ¹ @@ @g@ @ F*H Ä@@< @@Ey@@Db@@A b@@ Fw@@ 1&*H v@@ @ /*H @@6b@@ @ D* b@@ @ g@ @ 1 @@ @ 6b@@ @ F ¤@@ @ @c@ @- b@@ @ @ @ @< @@ @£@ @ Ab@@ @E x@@ @+ ¥v@@g@ c@ JH ¡@@ @ J ¤@@ @£@D d@@ @0&* b@@ EH b g E b@@ @ ~@ 6°* @@ @ Db@@~@ z@ D* h@@Db@@: *H 2019 ‫ أﺑﺮﻳﻞ‬، 77 ‫اﻟﻌﺪد‬

‫اﳌﻬﺮﺟﺎن‪ ،‬وأدﺗﻬﺎ اﻟﻔﺮﻗﺔ اﻟﻜﻮرﻳﺔ اﻟﻮﻃﻨﻴﺔ‪،‬‬ ‫إذ ﺗﻌﺪ ﻛﻮرﻳﺎ ﺿﻴﻒ اﳌﻬﺮﺟﺎن ﻟﻬﺬا اﻟﻌﺎم‪،‬‬ ‫ﺗﻢ اﻻﺣﺘﻔﺎء ﺑﻔﻨﻮﻧﻬﺎ وﺛﻘﺎﻓﺘﻬﺎ اﻟﻐﻨﻴﺔ وﻣﺎ‬ ‫ﺗﺘﻤﻴﺰ ﺑﻪ ﻣﻦ ﻣﻮروث ﻋﺮﻳﻖ وﺣﺪاﺛﺔ ﺗﻮاﻛﺐ‬ ‫اﻟﻌﴫ‪ ،‬وﻋﻜﺲ ﻋﺮض "ﺟﺰﻳﻞ" ﻣﻦ ﺧﻼل‬ ‫اﻟﻠﻮﺣﺎت اﻟﺮاﻗﺼﺔ اﻟﺘﻲ ﺗﺠﻤﻊ ﺑني ﺣﺮﻓﻴﺔ‬ ‫اﻷداء وﻋﺒﻘﺮﻳﺔ اﳌﻮﺳﻴﻘﻰ‪ ،‬ﺟامﻟﻴﺔ "اﻟﺒﺎﻟﻴﺔ"‬ ‫اﻟﺘﻲ ﻇﻬﺮت ﰲ ﻋﺮوض أﺧﺮى ﺑﺎﻟﻴﻪ "ﺟﻮﻧﺰ"‬ ‫ﻟﺪار أوﺑﺮا ﺑﺎرﻳﺲ‪ ،‬اﳌﺆﻟﻒ ﻣﻦ ‪ 3‬ﻟﻮﺣﺎت‬ ‫راﻗﺼﺔ‪ ،‬واﳌﺴﺘﻮﺣﻰ ﻣﻦ أﻋــامل ﻣﺼﻤﻢ‬ ‫اﳌﺠﻮﻫﺮات "ﻛﻠﻮد أرﻳﻞ" ﻟﻴﻌﻴﺶ اﻟﺠﻤﻬﻮر ﰲ‬ ‫ﻋﺮوض أﺧﺮى ﺣﺎﻟﺔ ﻣﻦ اﻻﺳﺘﻤﺘﺎع‪ ،‬ﺑﻨﻮع آﺧﺮ‬ ‫ﻣﻦ اﻻﺳﺘﻌﺮاض ﻣﻦ ﺧﻼل ﻋﺮض "ﺳﻮﻣﱪاس"‬ ‫أو "اﻟﻈﻼل" اﻟﺬي ﻋﻜﺴﺖ ﻣﻦ ﺧﻼﻟﻪ راﻗﺼﺔ‬ ‫اﻟﻔﻼﻣﻨﻜﻮ اﻹﺳﺒﺎﻧﻴﺔ ﺳﺎرا ﺑﺎراس إﺑﺪاﻋﺎﺗﻬﺎ‬ ‫ﺑﺎﻟﺮﻗﺺ وﺗﺠﺮﺑﺘﻬﺎ اﻟﻮاﺛﻘﺔ اﻟﺘﻲ متﺘﺪ ﻟﻌﴩﻳﻦ‬ ‫ﺳﻨﺔ ﻓﺤﻠﻘﺖ ﻋﲆ اﳌﴪح ﻛﻔﺮاﺷﺔ ﺗﺘﻨﻘﻞ‬ ‫ﺣﺮة ﺑﻼ ﻗﻴﻮد ﺣﻴﺚ ﺗﻘﻮدﻫﺎ اﻷﻧﻐﺎم واﻷﻓﻜﺎر‪.‬‬ ‫وﰲ ﺣﻔﻞ آﺧــﺮ رﺣــﻞ اﻟﺠﻤﻬﻮر ﻣﻊ ﻗﻮة‬ ‫اﻟــﺼــﻮت واﻟﻘﺼﺔ واﳌﻮﺳﻴﻘﻰ ﰲ ﻋﺮض‬ ‫"ﺗﻮﺳﻜﺎ" اﻷوﺑــﺮا اﻟﺘﻲ وﺿــﻊ ﻣﻮﺳﻴﻘﺎﻫﺎ‬ ‫"ﺟﺎﻛﻮﻣﻮ ﺑﻮﺗﺸﻴﻨﻲ" ﻟﻨﺺ ُﻛﺘﺐ ﻣﻦ ﻗﺒﻞ‬ ‫ﻟﻮﻳﺠﻲ إﻳﻠﻴﻜﺎ‪ ،‬وﻏﻮﻳﺴﻴﺒﻲ ﻏﻴﺎﻛﻮﺳﺎ‪ .‬وﻛﺎﻧﺖ‬ ‫"ﺗﻮﺳﻜﺎ" ﻗﺪ ﻋﺮﺿﺖ ﻟﻠﻤﺮة اﻷوﱃ ﰲ اﻟﻌﺎم‬ ‫‪ 1900‬ﰲ روﻣﺎ ﻟﺘﺴﻌﺮض ﻓﱰة ﻳﻮﻧﻴﻮ ﻣﻦ ﻋﺎم‬ ‫‪ 1800‬ﰲ روﻣﺎ‪ ،‬واﻟﺘﻲ ﻛﺎﻧﺖ ﺗﻬﺪدﻫﺎ ﺟﻴﻮش‬ ‫ﻧﺎﺑﻠﻴﻮن ﺑﻮﻧﺎﺑﺮت‪.‬‬ ‫ﰲ ﻫﺬا اﻟﻌﺮض اﻟﺬي ﻗﺪم ﻛام ﻏريه اﻟﻜﺜري‬ ‫ﻣﻦ اﻟﻌﺮوض ﻋﲆ ﻣﴪح ﻗﴫ اﻹﻣــﺎرات‬ ‫ﰲ أﺑﻮﻇﺒﻲ أﺑــﺪاع اﻟﺴري "ﺑﺮﻳﻦ ﺗريﻓﻞ"‬ ‫اﻟﺤﺎﺋﺰ ﺧﻤﺲ ﻣﺮات ﻋﲆ ﺟﻮاﺋﺰ ﻏﺮاﻣﻲ‪،‬‬ ‫ﺑﺪور"ﺳﻜﺎرﺑﻴﺎ" واﻟﺬي ﻳﻌﺘﱪه ﺗﺤﺪﻳﺎً دامئﺎً ﰲ‬ ‫ﻛﻞ ﻣﺮة ﻳﻘﺪم ﻓﻴﻬﺎ اﻟﻌﺮض ﻣﻦ ﺟﺪﻳﺪ‪.‬‬ ‫وﺑﻘﻲ اﻟﺘﻨﻮع اﻟﻔﻨﻲ ﺳﻤﺔ اﳌﻬﺮﺟﺎن إذ ﻗﺪﻣﺖ‬ ‫اﻷورﻛــﺴـﱰا اﻟﻜﻮرﻳﺔ اﻟﺴﻴﻔﻤﻮﻧﻴﺔ ﺣﻔﻠﻬﺎ‬ ‫ﺑﻘﻴﺎدة اﳌﺎﻳﺴﱰو "ﺗﴚ ﻳﻮﻧﻎ" وﻣﺸﺎرﻛﺔ‬ ‫ﻋﺎزف اﻟﺒﻴﺎﻧﻮ اﳌﻨﻔﺮد ﺟﺎي ﻫﻴﻮك ﺗﺸﻮ‪ ،‬ﺑﻴﻨام‬ ‫ﻗﺪم ﺟﺎﺳﺘني ﻛﺎﻟﻔني ﰲ ﺣﻔﻞ آﺧﺮ إﺑﺪاﻋﻪ ﰲ‬ ‫ﻣﻮﺳﻴﻘﻰ اﻟﺠﺎز ﰲ ﺟﺎﻣﻌﺔ ﻧﻴﻮﻳﻮرك ‪ -‬أﺑﻮﻇﺒﻲ‪.‬‬

‫‪ǳǾǔǾǈƖũ ǀōƳŔ‬‬

‫اﻟﻔﻨﻮن اﻟﺘﺸﻜﻴﻠﻴﺔ إﺑــﺪاع آﺧــﺮ ﻗﺪﻣﻪ‬ ‫ﻣﻬﺮﺟﺎن أﺑﻮﻇﺒﻲ‪ ،‬إذ أﺗﺎح اﻟﻔﺮﺻﺔ ﻟﺠﻤﻬﻮره‬ ‫اﻹﻃﻼع ﻋﲆ اﳌﺠﻤﻮﻋﺔ اﻷﻣريﻳﺔ اﻟﺸﻬرية‬ ‫ﰲ "ﻟﺨﺘﻨﺸﺘﺎﻳﻦ" ﻣﻦ ﺧﻼل ﻣﻌﺮض "آﻓﺎق‬ ‫ﺑﻌﻴﺪة" واﻟﺬي أﻗﻴﻢ ﻟﻠﻤﺮة اﻷوﱃ ﰲ ﻣﻨﻄﻘﺔ‬ ‫اﻟﴩق اﻷوﺳﻂ‪ ،‬واﺳﺘﻄﺎع اﻟﻌﻮدة ﺑﺰواره‬ ‫إﱃ ‪ 400‬ﻋﺎم ﻣﴣ‪ ،‬ﻟﻴﻄﻠﻌﻮا ﻣﻦ ﺧﻼل ﻋﺪد‬ ‫ﻛﺒري ﻣﻦ اﻟﻠﻮﺣﺎت اﻟﻜﻼﺳﻴﻜﻴﺔ ﻋﲆ إﺑﺪاﻋﺎت‬ ‫ﻣﺸﺎﻫري اﻟﻔﻨﺎﻧني ﰲ أوروﺑﺎ‪ ،‬أﻣﺜﺎل راﻣﱪﻧﺖ‪،‬‬ ‫وروﺑﻨﺰ‪ ،‬وﺟﻴﻮﻓﺎين أﻧﻄﻮﻧﻴﻮ وﻏريﻫﻢ اﻟﻜﺜري‪.‬‬ ‫وﻛﺎن ﻟﺘﻨﻮع اﳌﻮاﺿﻴﻊ اﻟﺘﻲ ﺗﺘﻼﳽ درﺟﺎت‬ ‫ﻟﻮﻧﻴﺔ ﻻ ﻣﺤﺪودة ﻋﲆ ﺳﻄﻮح اﻷﻗﻤﺸﺔ‪،‬‬ ‫ﺳﺒﺐ ﰲ ﺗﻘﺴﻴﻢ اﳌﻌﺮض إﱃ أﻗﺴﺎم ﻋﺪة‬ ‫ﺗﺠﻤﻊ اﻟﻔﻜﺮة اﻷﺳﺎﺳﻴﺔ ﻣﻦ اﻟﻠﻮﺣﺎت‪،‬‬ ‫ﻟﻜﻦ ﺑﺮؤﻳﺔ وأﺳﻠﻮب ﻣﺨﺘﻠﻒ ﺗﻌﻜﺲ‬

‫ﺗﺠﺮﺑﺔ اﻟﻔﻨﺎن اﻟﺬي رﺳﻢ ﻟﻮﺣﺎﺗﻪ‪ ،‬ﻓﻔﻲ‬ ‫ﻗﺴﻢ اﳌﻨﺎﻇﺮ اﻟﻄﺒﻴﻌﻴﺔ اﻷوروﺑﻴﺔ‪ ،‬ﺧﺼﺺ‬ ‫ﻗﺴﻢ ﻟﻠﻤﻨﺎﻇﺮ اﻟﺒﺤﺮﻳﺔ‪ ،‬ﺣﻴﺚ ﺣﴬ اﻟﺒﺤﺮ‬ ‫ﺑﺄﻣﻮاﺟﻪ وﺳﻮاﺣﻠﻪ‪ ،‬أﻣــﺎ ﻗﺴﻢ اﳌﻨﺎﻇﺮ‬ ‫اﻟﻄﺒﻴﻌﻴﺔ ﻓﺘﺸﺒﻌﺖ ﻟﻮﺣﺎﺗﻪ مبﻌﺎمل أﺑﺮز‬ ‫اﳌﺪن اﻷوروﺑﻴﺔ ﻣﺜﻞ ﻣﺪﻳﻨﺔ "اﻟﺒﻨﺪﻗﻴﺔ"‬ ‫وﻏريﻫﺎ‪.‬‬ ‫ﻳﻜﺘﻒ ﻓﻨﺎﻧﻮ ﺗﻠﻚ اﳌﺮﺣﻠﺔ ﺑﺮﺻﺪ اﻟﺠامل‬ ‫ومل ِ‬ ‫ﺑﻞ رﺳﻤﻮا ﻣﺸﺎﻫﺪاً ﻣﻦ اﳌﻌﺎرك واﻟﺤﺮوب‪،‬‬ ‫وﻫﻮ ﻣﺎ ﻳﱪزه ﻗﺴﻢ ﺧﺎص ﺑﻬﺬا اﳌﻮﺿﻮع‪،‬‬ ‫ﺣﻴﺚ ﻳﻈﻬﺮ اﳌﺤﺎرﺑﻮن ﻳﺘﻘﺎﺗﻠﻮن ﺑني ﺑﻴﺌﺎت‬ ‫ﻃﺒﻴﻌﺔ ﻣﺘﻨﻮﻋﺔ ﻣﻦ أوروﺑﺎ‪.‬‬ ‫وﰲ ﻗﺴﻢ آﺧﺮ ﻣﻌﻨﻮن ﺑـ "اﻟﺼﻴﺪ" ﺑﺮزت‬ ‫ﻟﻮﺣﺎت زﻳﺘﻴﺔ ﻣﺘﻨﻮﻋﺔ ﻟﻌﺪة ﻓﻨﺎﻧني‪ ،‬ﻣﻦ‬ ‫ﺑﻴﻨﻬﻢ اﻟﻔﻨﺎن ﺑﻴﱰ ﺑﺎول روﺑﻨﺰ اﻟﺬي رﺳﻢ‬ ‫"دﻳﺎﻧﺎ" وﻫﻲ آﻟﻬﺔ اﻟﺼﻴﺪ ﰲ اﳌﺜﻴﻮﻟﻮﺟﻴﺔ‬ ‫اﻟﺮوﻣﺎﻧﻴﺔ‪ ،‬ﰲ وﺿﻴﻌﺔ ﻣﻦ اﳌﻄﺎردة ﺑﺎﻷﺳﻠﺤﺔ‬ ‫اﳌﺘﺎﺣﺔ ﺣﻴﻨﻬﺎ وﻫﻲ اﻟﺴﻬﺎم واﻟﺮﻣﺎح‪ ،‬ﻛام‬ ‫ﺿﻢ ﻫﺬا اﻟﻘﺴﻢ ﻟﻮﺣﺎت ﺗﻮﺛﻖ ﻣﺸﺎﻫﺪ ﻣﻦ‬ ‫اﻟﺼﻴﺪ ﺑﺎﻟﺼﻘﻮر وﻫﻮ ﺗﻘﻠﻴﺪ ﻋﺮﻳﻖ ﻣﺎ زال‬ ‫ﻣﺘﺒﻌﺎً ﰲ اﻟﻌﺼﻮر اﻟﺤﺪﻳﺜﺔ‪.‬‬ ‫ﻛام وﻓﺮت اﻟﴩاﻛﺔ ﻣﻊ "ﻟﻴﺨﺘﻨﺸﺘﺎﻳﻦ" ﺑﻨﺎء‬ ‫منﻮذج ﻟﻠﺘﺒﺎدل اﻟﺜﻘﺎﰲ‪ ،‬ﻣﺘﻤﺜﻞ ﰲ اﻹﻗﺎﻣﺔ‬ ‫اﻟﻔﻨﻴﺔ ﻟﺨﻤﺴﺔ ﻣﻦ اﻟﺘﺸﻜﻴﻠﻴني اﻹﻣﺎراﺗﻴني‬ ‫اﻟﺸﺒﺎب ﰲ اﻹﻣﺎرة اﻷوروﺑﻴﺔ وﻣﺪﻳﻨﺔ ﻓﻴﻴﻨﺎ‪،‬‬ ‫ﻣﻊ ﺑﺮﻧﺎﻣﺞ ﻳﺘﻀﻤﻦ زﻳــﺎرات ﻟﻠﻤﺘﺎﺣﻒ‬ ‫واﻟﻘﺼﻮر واﳌﺆﺳﺴﺎت اﻟﻔﻨﻴﺔ اﻟﻜﱪى‪ ،‬ﺑﻬﺪف‬ ‫اﻹﻃﻼع ﻋﲆ ﻣﺠﻤﻮﻋﺎت اﻷﻋامل اﻟﻔﻨﻴﺔ‪،‬‬ ‫واﻟﺘﻌﺮف إﱃ اﻟﻄﺮق واﳌﻌﺎﻳري اﻟﻌﺎﳌﻴﺔ‬ ‫ﻟﻠﺤﻔﺎظ ﻋﲆ اﳌﻮروث اﻟﻔﻨﻲ واﻟﻌﻨﺎﻳﺔ ﺑﻪ‪.‬‬ ‫‪ƋȃŌǷŵ‬‬

‫ﻣﻨﺢ ﻣﻬﺮﺟﺎن أﺑﻮﻇﺒﻲ ﺟﻮاﺋﺰه ﻟﻬﺬا اﻟﻌﺎم‬ ‫إﱃ اﳌﻴﺘﺰو ﺳﻮﺑﺮاﻧﻮ‪ ،‬ﺟﻮﻳﺲ دي دوﻧﺎﺗﻮ‪،‬‬ ‫وأورﻳــﲇ دﻳﺒﻮن‪ ،،‬وأﻛﺎدميﻴﺔ ﺑﺮﻳﻨﺒﻮﻳﻢ ‪-‬‬ ‫ﺳﻌﻴﺪ‪ ،‬وإﱃ اﺳﻢ اﻟﺸﺎﻋﺮة اﻹﻣﺎراﺗﻴﺔ اﻟﺮاﺣﻠﺔ‬ ‫ﻋﻮﺷﺔ ﺑﻨﺖ ﺧﻠﻴﻔﺔ اﻟﺴﻮﻳﺪي‪" ،‬ﻓﺘﺎة اﻟﻌﺮب"‬ ‫ﺗﻜﺮميﺎً ﻹﺳﻬﺎﻣﺎﺗﻬﺎ اﻟﺸﻌﺮﻳﺔ اﻻﺳﺘﺜﻨﺎﺋﻴﺔ‪،‬‬ ‫اﻟﺘﻲ أﺛﺮت ﻣﻜﺘﺒﺔ اﻟﺸﻌﺮ ﰲ اﻹﻣﺎرات‪.‬‬ ‫اﻟﺸﻌﺮ ‪baytelshear‬‬ ‫ﺑﻴﺖ ِ‬

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‫‪ ĘŘĘĤĮŜŕ‬‬ ‫‪ ǼƃǿǷƒǕŌ ǳƲǾǔƁ ŧǜş ǳƗǷƫ ǲƉƫōƖǕŌ ōǤǜǙ ŋōǘƓȏ ǢƋȃŌǷŵ ŻǜǙ‬‬

‫ﻣﻬﺮﺟﺎن أﺑﻮﻇﺒﻲ‬ ‫ ‪ŻǙōƒŨǕŌ ǖōƫ ƨōǂǿŒ ǻǔƫ ǳǾǜƳ ǳǿƉƪƗ‬‬

‫ﺑﺸﺮى ﻋﺒﺪا‪:6‬‬

‫إن اﻹﻳﻘﺎع اﻟﺬي ﻳﺴﻜﻦ اﻟﻘﺼﻴﺪة‪ ،‬ﻳﺘﺒﺪد‬ ‫إﻳﻘﺎﻋﺎً ﻣﻦ ﻧﻮع ﻣﺨﺘﻠﻒ وﻫﻮ ﻳﺘﻤﻮج ﺑني‬ ‫أﻧﻐﺎم اﳌﻮﺳﻴﻘﻰ‪ ،‬أو ﻳﺤﻠﻖ ﻣﻊ اﻻﺳﺘﻌﺮاﺿﺎت‬ ‫اﻟﺮاﻗﺼﺔ‪ ،‬أو ﻳﺘﻼﳽ ﺑﺪرﺟﺎت ﻟﻮﻧﻴﺔ ﻏري‬ ‫ﻣــﺤــﺪودة‪ ،‬وﻳﺠﺬب ﺑﺎﻟﺘﺎﱄ اﻟﺠﻤﻬﻮر ﰲ‬ ‫أﺑﻮﻇﺒﻲ ﻣﻦ ‪ 25‬ﻓﱪاﻳﺮ وﻟﻐﺎﻳﺔ ‪ 30‬ﻣﺎرس‬ ‫اﳌﺎﺿﻴني‪ ،‬ﻣﻦ ﺧــﻼل ﻓﻌﺎﻟﻴﺎت ﻣﻬﺮﺟﺎن‬ ‫أﺑﻮﻇﺒﻲ ‪ 2019‬ﻟﻴﺸﻜﻞ ﻣﺮآة ﺑﺮاﻗﺔ ﺗﻌﻜﺲ‬ ‫ﺛﻘﺎﻓﺔ اﻟﺘﺴﺎﻣﺢ واﻟﺤﻮار ﻣﻊ اﻵﺧﺮ ﻣﺜﻠام‬

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‫اﻟﻌﺪد ‪ ، 77‬أﺑﺮﻳﻞ ‪2019‬‬

‫ﻳﻔﻌﻞ اﻟﺸﻌﺮ‪ ،‬ﻓﺎﻟﻔﻨﻮن واﻵداب ﻋﲆ اﺧﺘﻼﻓﻬﺎ‬ ‫ﺗﻘﻮدﻧﺎ ﻟﻠﻘﻮل إن اﻹﺑﺪاع ﻓﻌﻞ إﻧﺴﺎين‪ ،‬ﻣﻦ‬ ‫ﺧﻼﻟﻪ ميﻜﻦ ﻓﻬﻢ اﻵﺧــﺮ واﻻﺳﺘﻤﺘﺎع مبﺎ‬ ‫ﻳﻘﺪﻣﻪ‪ ،‬ﻟﺪرﺟﺔ اﻟﺴﻤﻮ ﺑﺎﳌﺸﺎﻋﺮ اﻹﻧﺴﺎﻧﻴﺔ‬ ‫إﱃ آﻓﺎق ﻏري ﻣﺤﺪودة‪ ،‬آﻓﺎق ﺗﻌﱪ ﻋﻦ أﻛرث‬ ‫اﻷﺣﺎﺳﻴﺲ ﻋﻤﻘﺎً‪ ،‬وﺗﺨﺎﻃﺒﻬﺎ ﻋﲆ ﻣﺮ اﻟﻌﺼﻮر‪.‬‬ ‫‪ǚǷǜƲǕŌ ŦōǾǔŴũ‬‬

‫اﺗﺨﺬ ﻣﻬﺮﺟﺎن أﺑﻮﻇﺒﻲ ﺷﻌﺎر "ﺛﻘﺎﻓﺔ اﻟﻌﺰم"‬ ‫ﻟﺪورﺗﻪ اﻟﺴﺎدﺳﺔ ﻋﴩة‪ ،‬ﻣﺤﺘﻔﻴﺎً ﺑﺄﺻﺤﺎب‬ ‫اﻟﻬﻤﻢ‪ ،‬ﺑﺎﻟﺘﻮازي ﻣﻊ اﺳﺘﻀﺎﻓﺔ دوﻟﺔ اﻹﻣﺎرات‬

‫اﻟﻌﺮﺑﻴﺔ اﳌﺘﺤﺪة‪ ،‬ﻟﻸﻟﻌﺎب اﻟﻌﺎﳌﻴﺔ اﻷوﳌﺒﻴﺎد‬ ‫اﻟﺨﺎص أﺑﻮﻇﺒﻲ ‪.2019‬‬ ‫ووﻗﻊ اﳌﻬﺮﺟﺎن ﻣﺬﻛﺮة ﺗﻌﺎون‪ ،‬ﻣﻊ اﻷوﳌﺒﻴﺎد‬ ‫اﻟﺨﺎص‪ ،‬وﻧﻈﻢ اﳌﻬﺮﺟﺎن أﻛــرث ﻣﻦ ‪100‬‬ ‫ﻓﻌﺎﻟﻴﺔ‪ ،‬مبﺸﺎرﻛﺔ ‪ 543‬ﻓﻨﺎﻧﺎً ﻋﺎﳌﻴﺎً ﻣﻦ ‪17‬‬ ‫دوﻟﺔ‪ ،‬وﰲ ﻛﻞ ﻣﺮة ﺗﻘﺎم ﻓﻌﺎﻟﻴﺔ ﻣﻦ ﻫﺬه‬ ‫اﻟﻔﻌﺎﻟﻴﺎت‪ ،‬ﺗﻘﻮد ﻟﻠﻘﻮل ﺑﺄﻧﻬﺎ ﻋﺎمل ﻗﺎﺋﻢ‬ ‫ﺑﺬاﺗﻪ‪ ،‬ﻳﺪﻋﻮ اﻟﻨﺎس إﱃ زواﻳﺎه وﺗﻔﺎﺻﻴﻠﻪ‬ ‫ﻣﺜﻠام ﺗﻔﻌﻞ اﻟﻘﺼﻴﺪة‪ ،‬ﻟﻴﺼﺒﺢ اﳌﺘﻠﻘﻲ أﻣﺎم‬ ‫ﺷﻌﺮﻳﺔ ﺑﴫﻳﺔ‪ ،‬أو ﺳﻴﻤﻔﻮﻧﻴﺔ ﺑﴫﻳﺔ‪،‬‬ ‫وﻫﻮ ﻳﺸﺎﻫﺪ ﺑﺎﻟﻴﻪ "ﺟﺰﻳﻞ" اﻟﺘﻲ اﻓﺘﺘﺢ ﺑﻬﺎ‬

‫اﻟﻜﺎﻛﺎو اﳌﺴﺘﺨﻠﺺ ﻣﻦ اﻟﺸﺠﺮة وﻻ ُﻳﻘﺒﻞ‬ ‫أن ﻳﺼﻨﻌﻬﺎ اﻟﺮﺟﺎل إﻃﻼﻗﺎً اﺣﱰاﻣﺎً ﻟﻠﺸﺠﺮة‬ ‫اﻷﻧﺜﻰ‪ .‬ﻛام ﻳﺘﻢ اﻻﺣﺘﻔﺎل ﺑﺄي ﻓﺘﺎة ﺑﺘﺰﻳﻴﻨﻬﺎ‬ ‫ﺑﺄوراق اﻟﻜﺎﻛﺎو ﺣﻴﻨام ﻳﺘﻢ ﺑﻠﻮﻏﻬﺎ‪ ،‬وﻛﺬﻟﻚ‬ ‫ﻳﻮم ﻋﺮﺳﻬﺎ‪ .‬واﻵن ﺗﺤﺘﻜﺮ اﻟﻨﺴﺎء ﻣﻦ اﻟﺴﻜﺎن‬ ‫اﻷﺻﻠﻴني ﺻﻨﺎﻋﺔ اﻟﺸﻮﻛﻮﻻﺗﻪ اﻟﻌﻀﻮﻳﺔ ﺑﺎﻫﻈﺔ‬ ‫اﻟﺜﻤﻦ ﻣﻦ اﻟﻜﺎﻛﺎو‪ ،‬وﻫﻲ ﻣﺎ ﺗﺴﺎﻋﺪﻫﻢ ﻋﲆ‬ ‫اﻻﺳﺘﻤﺮار ﰲ ﻣﻌﻴﺸﺘﻬﻢ اﳌﺘﻮاﺿﻌﺔ وﺳﻂ‬ ‫اﻟﻐﺎﺑﺎت‪.‬‬ ‫‪ ŜƉƮǕŌ ǽƳ ǛǙōǉ ƉƖǕŌ‬‬

‫ﺑﻪ‪ .‬وﺗﻌﺘﱪ إﱃ اﻵن ﻋﻠﻮم "‪ "awa‬ﴎﻳﺔ وﻳﺘﻢ‬ ‫ﺗﻨﺎﻗﻠﻬﺎ ﺷﻔﻬﻴﺎً ﺑني اﻟﻄﺒﻴﺐ اﻟﺨﱪة إﱃ اﻷﺻﻐﺮ‬ ‫ﻣﻨﻪ ﺳﻨﺎً وﻫﻜﺬا‪ .‬ﻋﲆ اﻟﺠﺎﻧﺐ اﻵﺧﺮ ﺗﺮﻣﺰ‬ ‫ﻣﻨﺎزل ﻗﺒﺎﺋﻞ اﻟﱪﻳﱪي اﳌﺨﺮوﻃﻴﺔ إﱃ اﻟﻜﻮن‪،‬‬ ‫ﺣﻴﺚ ﻳﺘﻜﻮن ﻫﻴﻜﻠﻬﺎ اﻟﺮﺋﻴﺲ ﻣﻦ ‪ 8‬أﻋﻤﺪة‬ ‫متﺜﻞ اﻷرﻛــﺎن واﻷﻋﻤﺪة اﻟﺘﻲ ﺗﺤﻤﻞ ﺳﺎﺋﺮ‬ ‫اﻟﻜﻮن ﺑﺤﺴﺐ اﳌﻮروﺛﺎت واﻷﺳﺎﻃري اﻟﻘﺪميﺔ‪.‬‬ ‫وﻳﺘﻜﻮن اﳌﻨﺰل ﻣﻦ ‪ 4‬ﻃﻮاﺑﻖ ﺻﻐرية‪ ،‬ميﺜﻞ‬ ‫أوﻟﻬﺎ اﻷرض اﻟﺘﻲ ﻳﻌﻴﺶ ﻋﻠﻴﻬﺎ اﻹﻧﺴﺎن‪،‬‬ ‫واﻟﻄﺎﺑﻖ اﻟﺜﺎين ﻫﻮ أرواح اﻟﺤﻴﻮاﻧﺎت واﻟﻨﺒﺎﺗﺎت‬ ‫واﻷﻧﻬﺎر‪ ،‬أﻣﺎ اﳌﺴﺘﻮى اﻟﺜﺎﻟﺚ ﻓﺘﺴﻜﻦ ﻓﻴﻪ‬ ‫اﻷرواح واﻟﻘﻮى اﻟﴩﻳﺮة اﻟﺘﻲ ﺗﺴﺒﺐ اﻷﻣﺮاض‬ ‫واﻟﻜﻮارث اﻟﻄﺒﻴﻌﻴﺔ اﻟﺘﻲ ﺗﴬ اﻹﻧﺴﺎن ﻋﲆ‬ ‫اﻷرض‪ ،‬وﰲ اﻟﻄﺎﺑﻖ اﻟﺮاﺑﻊ اﻷﻋﲆ ﻣﻨﺰﻟﻪ ﻓﻬﻲ‬ ‫اﻟﻨﺴﻮر اﻟﺘﻲ متﺜﻞ اﻟﻘﻮى اﻟﺨرية اﻟﺘﻲ ﺗﺴﺘﻄﻴﻊ‬ ‫اﻟﺘﻐﻠﺐ ﻋﲆ ﻛﻞ اﻟﴩ اﻟﺘﻲ ﺗﻘﺒﻊ ﺗﺤﺘﻬﺎ‪.‬‬ ‫ﺑﺎﻹﺿﺎﻓﺔ إﱃ اﻷرﺑﻌﺔ ﻃﻮاﺑﻖ‪ ،‬ﻳﻮﺟﺪ ﻃﺎﺑﻖ‬ ‫ﺳﻔﲇ وﻫﻮ ﻷرواح اﻟﺒﴩ ﺣﻴﺚ ﻳﺘﻢ اﻟﺪﻓﻦ‪ .‬ﻻ‬ ‫ﺗﺰال ﻛﻞ ﺗﻠﻚ اﳌﻮروﺛﺎت وﻃﻘﻮﺳﻬﺎ ﻳﻘﻮم ﺑﻬﺎ‬ ‫ﺷﻌﺐ اﻟﱪﻳﱪي ﺣﺘﻰ اﻟﻴﻮم‪.‬‬

‫ميﺜﻞ اﳌﺤﻴﻂ اﻟﻬﺎدئ ﰲ اﻟﻐﺮب ﺑﺎﻟﻨﺴﺒﺔ‬ ‫ﻟﻠﺴﻜﺎن اﻷﺻﻠﻴني ﻣﺼﺪر ﻗﻮى اﻟﴩ‪ ،‬ﺣﻴﺚ‬ ‫ﻳﻌﺘﻘﺪون ﺣﺘﻰ اﻵن أن ﺟﻤﻴﻊ اﻷﻣﺮاض ﺗﺄيت‬ ‫ﻣﻨﻪ‪ ،‬ﻛام ﻳﺘﻢ ﻋﻼج اﻷﻣــﺮاض ﺑﺸﻜﻞ أﻛرث‬ ‫ﻏﺮاﺑﺔ‪ ،‬ﺣﻴﺚ ﻳﺘﻮﱃ ﻋﻤﻠﻴﺔ اﻟﻌﻼج واﻻﺳﺘﺸﻔﺎء‬ ‫أﺣﺪ اﻷﻃﺒﺎء واﳌﻠﻘﺐ ﺑـ )‪ .(awa‬ﻳﻘﻮم اﻟﻄﺒﻴﺐ‬ ‫ﺑﻌﻼج اﳌــﺮﴇ ﺑﺎﻷﻋﺸﺎب‪ .‬وﻟﻜﻦ ﺑﺤﺴﺐ‬ ‫اﳌﻮروﺛﺎت اﻟﻘﺎمئﺔ ﻋﲆ اﻷﺳﺎﻃري‪ ،‬ﻓﺈن اﻟﻄﺒﻴﺐ‬ ‫ﻋﺎدة ﻣﺎ ﻳﻜﻮن ﻣﺘﻮاﺻ ًﻼ ﻣﻊ ﺛﻼث ﻣﻦ اﻟﻘﻮى‬ ‫اﻟﺨﺎرﻗﺔ اﳌﺘﺼﻠﺔ ﻓﻴام ﺑﻴﻨﻬﺎ ﻣﻊ اﻟﻨﺒﺎﺗﺎت‪،‬‬ ‫وﻣﻦ ﺧﻼل ﻣامرﺳﺔ ﺑﻌﺾ اﻟﻄﻘﻮس ﻳﻀﺦ ‪ǒōǾƀǕŌ ōǤũōǘƓ ưƉŽ‬‬ ‫ﺗﻠﻚ اﻟﻘﻮى ﻗﺪرﺗﻬﺎ ﰲ اﻷﻋﺸﺎب واﻟﻨﺒﺎﺗﺎت ﺑﺤﻜﻢ اﻟﻌﻴﺶ ﰲ اﻟﻐﺎﺑﺎت واﳌﻌﺘﻘﺪات‬ ‫ﻟﻠﺘﻌﺠﻴﻞ ﺑﺸﻔﺎء اﳌﺮﴇ أﻳﺎً ﻛﺎن اﳌﺮض اﳌﺼﺎب واﳌﻮروﺛﺎت اﻷﺳﻄﻮرﻳﺔ‪ ،‬ﻓﻘﺪ ﻛﺎﻧﺖ ﻫﻨﺎك‬

‫ﺣﺮف ﻓﻨﻴﺔ ﻳﺘﻘﻨﻬﺎ اﻟﺴﻜﺎن اﻷﺻﻠﻴﻮن ﻟﺒﻨام‪،‬‬ ‫ﺣﻴﺚ ﻳﻮﱄ ﻗﺒﺎﺋﻞ اﻟﱪﻳﱪي أﻫﻤﻴﺔ ﻛﱪى ﻟﺤﺠﺮ‬ ‫اﻟـ " ﺟﺎدﻳﺖ" ﺑﻠﻮﻧﻪ اﻷﺧﴬ اﳌﻤﻴﺰ‪ ،‬اﻟﺬي‬ ‫ﻟﻌﺐ دوراً ﺣﻴﻮﻳﺎً ﰲ ﺗﺸﻜﻴﻞ وﺟﺪان اﻟﺴﻜﺎن‬ ‫اﻷﺻﻠﻴني ﻫﻨﺎك‪ ،‬ﺣﻴﺚ ﻳﺼﻨﻌﻮن ﻣﻨﻪ إﱃ اﻵن‬ ‫اﻟﺘامﺛﻴﻞ اﻟﺼﻐرية واﻟﺘامﺋﻢ ﻟﺘﺰﻳﻦ ﺟﺴﻢ‬ ‫اﻹﻧﺴﺎن وﻣﻨﺤﻪ اﻟﻘﻮة اﻟﻜﻮﻧﻴﺔ ﻟﻴﻌﻴﺶ ﻃﻮﻳ ًﻼ‪.‬‬ ‫وﺗﺠﻠﺖ اﻟﻠﻤﺴﺎت اﻟﻔﻨﻴﺔ ﰲ اﻟﺤﺠﺮ ﻣﻦ ﺧﻼل‬ ‫ﻧﺤﺘﻪ وﻋﻤﻞ ﺷﻘﻮق وﺧﻄﻮط ﻣﻨﺤﻨﻴﺔ ﺑﻪ‬ ‫وﺻﻘﻠﻪ ﰲ اﻟﻨﻬﺎﻳﺔ ﻟﻴﺘﻤﻜﻨﻮا ﻣﻦ ﺟﻌﻠﻪ ﻗﻼﺋﺪ‬ ‫ﻻﻣﻌﺔ ﺑﺪﻳﻌﺔ ﺗﺰﻳﻦ ﻣﻼﺑﺲ اﻹﻧﺴﺎن‪.‬‬ ‫ﻛام ﻳﺘﻘﻦ أﻓ ـﺮاد اﻟﻘﺒﺎﺋﻞ اﳌﺨﺘﻠﻔﺔ ﺻﻨﺎﻋﺔ‬ ‫اﻷﻗﻨﻌﺔ اﻟﺘﻲ متﺜﻞ ﻗﻮى اﻟﺨري واﻟﴩ ﻣﻦ أﺟﻞ‬ ‫اﺳﺘﺨﺪاﻣﻬﺎ ﰲ ﻣﺨﺘﻠﻒ اﻟﻄﻘﻮس واﻻﺣﺘﻔﺎﻻت‬ ‫اﻟﱰاﺛﻴﺔ‪ .‬وﻳﻌﺪ ﻣﻦ اﻟﻜﻨﻮز اﻟﱰاﺛﻴﺔ اﻟﺘﻲ ﻳﺘﻘﻨﻬﺎ‬ ‫اﻷﺟﻴﺎل ﻋﲆ ﻣﺮ اﻟﻌﺼﻮر‪ .‬وﻳﺘﻘﻦ أﻫﻞ ﻗﺮﻳﺔ‬ ‫"ري ﻛﺎري" ﺻﻨﺎﻋﺔ اﻷﻗﻨﻌﺔ ﺑﱪاﻋﺔ ﻋﺎﻟﻴﺔ‪ ،‬وﺗﻌﺪ‬ ‫ﻓﻨﻮن اﻟـ "دﻳﻜﺴﻦ ﻣﻮرا" ﻫﻲ اﳌﺴﻴﻄﺮة ﻋﲆ‬ ‫ﻫﺬه اﻟﺤﺮﻓﺔ‪ ،‬ﺣﻴﺚ ﺗﻘﻮم ﻋﲆ ﻣﻌﺘﻘﺪ أﺳﻄﻮري‬ ‫ﻗﺪﻳﻢ ﻳﻘﻮل إن أﺷﺠﺎر اﻟﻐﺎﺑﺎت ﻗﺪ ﻫﻤﺴﺖ‬ ‫ذات ﻳﻮم ﰲ أذن أﻫﻞ "ري ﻛﺎري" ووﻫﺒﺘﻬﻢ‬ ‫أﴎار ﺗﺼﻨﻴﻊ أﻗﻨﻌﺔ ﻗﻮى اﻟﺨري واﻟﴩ ﻟﻴﺘﻤﻜﻦ‬ ‫اﻟﺒﴩ ﰲ اﻟﺪﺧﻮل إﱃ اﳌﻌﺮﻛﺔ واﻻﻧﺘﺼﺎر‬ ‫ﻟﻠﺨري دامئﺎً‪ .‬وﺗﻜﻤﻦ اﻟﺤﺮﻓﺔ ﰲ ﺗﻘﻄﻴﻊ ﺑﻌﺾ‬ ‫اﻷﺷﺠﺎر ﰲ أوﻗﺎت ﻣﻌﻴﻨﺔ ﺑﺤﺴﺐ اﻟﺘﻘﻮﻳﻢ‬ ‫اﻟﻘﻤﺮي وﻣﺮاﻋﺎة اﻟﻌﻮاﻣﻞ اﻟﺠﻮﻳﺔ ﻟﻠﻤﺤﻴﻂ‪،‬‬ ‫ﺑﺤﺚ ﻳﺠﺐ أن ﺗﻜﻮن اﻷﺷﺠﺎر ﺟﺎﻓﺔ ﺟﺪاً‪.‬‬ ‫وﻣﻦ ﺛﻢ ﻳﺘﻢ ﺗﻘﻄﻴﻊ اﻟﺸﺠﺮ إﱃ أﺟﺰاء وﻧﺤﺖ‬ ‫اﻷﻗﻨﻌﺔ ﻣﻨﻪ مبﺨﺘﻠﻒ اﻷﺣﺠﺎم واﻷﺷﻜﺎل‪ .‬ﻛام‬ ‫ﺗﻨﺘﴩ ﺣﺮف اﻟﻨﺴﻴﺞ اﻟﺬي ﻳﺼﻨﻊ ﻣﻦ اﻟﻘﻄﻦ‬ ‫اﳌﺼﺒﻮغ ﺑﻌﻨﺎﻳﺔ ﺷﺪﻳﺪة‪ ،‬ﻓﻀ ًﻼ ﻋﻦ ﺻﻨﺎﻋﺔ‬ ‫ﺑﻌﺾ أﻧﻮاع اﻷواين اﻟﺘﻲ ﻻ ﺗﺰال ﺗﺘﻢ ﺑﺎﻟﻄﺮق‬ ‫اﻟﺘﻘﻠﻴﺪﻳﺔ ومتﺜﻞ ﻣﺼﺪر رزق ﻟﻶﻻف داﺧﻞ‬ ‫اﻟﻐﺎﺑﺎت‪ .‬ﻛام أﺑﺪع اﻟﺴﻜﺎن اﻷﺻﻠﻴﻮن ﰲ ﻧﺤﺖ‬ ‫اﻟﻔﺎﻛﻬﺔ ﻛﺒرية اﻟﺤﺠﻢ ﻛﺎﻟﺒﻄﻴﺦ وﻏريه‪ ،‬ﺣﻴﺚ‬ ‫ﻛﺎﻧﻮا ﻳﺨﺘﺎرون أﺻﻠﺐ ﺗﻠﻚ اﻟﻔﻮاﻛﻪ وﻳﻘﻮﻣﻮن‬ ‫ﺑﺘﺠﻔﻴﻔﻬﺎ ﺛﻢ ﻧﺤﺘﻬﺎ ﺑﺪﻗﺔ وﺗﻠﻮﻳﻨﻬﺎ وإﻋﺎدة‬ ‫اﺳﺘﺨﺪاﻣﻬﺎ ﰲ ﻣﺨﺘﻠﻒ اﻷﻏـﺮاض ﻛــﺄوانٍ أو‬ ‫ﺣﺘﻰ ﻛﺪﻳﻜﻮر ﻣﻠﻮن داﺧﻞ اﳌﻨﺎزل‪.‬‬ ‫اﻟﺸﻌﺮ ‪baytelshear‬‬ ‫ﺑﻴﺖ ِ‬

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‫‪ Ęġ¯ ŝŕ‬‬ ‫ﻛﺎري )‪ (Rey Curre‬ﺧﻼل ﺷﻬﺮي دﻳﺴﻤﱪ‬ ‫وﻓﱪاﻳﺮ ﻋﲆ اﻟﺘﻮاﱄ‪ .‬وﻳﺒﺪع اﻟﺴﻜﺎن اﻷﺻﻠﻴﻮن‬ ‫مبﺨﺘﻠﻒ اﻧﺘامءاﺗﻬﻢ ﺧﻼل ﻓﻌﺎﻟﻴﺎت اﳌﻬﺮﺟﺎن‬ ‫اﻟﺬي ﻳﻌﱪ ﻋﻦ ﻫﻮﻳﺘﻬﻢ ﻋﻦ ﻃﺮﻳﻖ ارﺗﺪاء‬ ‫اﻷﻗﻨﻌﺔ اﳌﺮﻋﺒﺔ اﻟﺘﻲ ﺗﺮﻣﺰ إﱃ اﻟﺸﺨﺼﻴﺎت‬ ‫اﻟﴩﻳﺮة ﰲ اﻷﺳﺎﻃري اﻟﻘﺪميﺔ‪ ،‬وﻳﺘﻔﻨﻦ آﺧﺮون‬ ‫ﰲ ارﺗﺪاء ﻣﻼﺑﺲ ﺟﻤﻴﻠﺔ ﻛﺄﻧﻬﻢ ﻗﻮى اﻟﺨري‬ ‫اﻟﺘﻲ ﺗﺴﺘﻤﺮ ﰲ ﻣﺤﺎرﺑﺔ اﻟﻘﻮى اﻟﴩﻳﺮة ﻣﻦ‬ ‫أﺻﺤﺎب اﻷﻗﻨﻌﺔ اﳌﺮﻋﺒﺔ ﻣﻦ ﺧﻼل رﻗﺼﺎت‬ ‫ﻓﻠﻜﻠﻮرﻳﺔ وﻣﻮﺳﻴﻘﻰ ﺻﺎﺧﺒﺔ ﻟﺘﻨﺘﻬﻲ اﳌﻌﺎرك‬ ‫ﺑﺎﻧﺘﺼﺎر ﻗﻮى اﻟﺨري وﻫﻼك اﻟﺸﻴﺎﻃني اﻟﺼﻐﺎر‪.‬‬ ‫وﺧﻼل اﻟﻔﻌﺎﻟﻴﺎت ﻳﻘﻮم ﻣﺮﺗﺪو اﻷﻗﻨﻌﺔ ﺑﺮﻗﺼﺔ‬ ‫" ‪ "Bruncas‬واﻟﺘﻲ ﺗﻌﻨﻲ "رﻗﺼﺔ اﻟﺸﻴﻄﺎن"‪،‬‬ ‫وﻫﻮ ﻃﻘﺲ ميﺎرس ﻣﻨﺬ أﻛرث ﻣﻦ ‪ 500‬ﻋﺎم‪،‬‬ ‫وﻳﺮﻣﺰ ﺧﻼﻟﻪ ﻗــﻮى اﻟــﴩ ﺑﺎﳌﺴﺘﻌﻤﺮﻳﻦ‬ ‫اﻹﺳﺒﺎن‪ ،‬واﻟﺬﻳﻦ ﻳﺘﻢ ﻫﺰميﺘﻬﻢ ﰲ اﻟﻨﻬﺎﻳﺔ ﻋﲆ‬ ‫ﻗﻮى اﻟﺨري اﻟﺘﻲ متﺜﻠﻬﺎ اﻟﻘﺒﺎﺋﻞ‪.‬‬ ‫‪ǳǃƈōƁ ǺǷǃ ǼƉŞǿƉŞǕŌ ƉǾƣōƓŐ‬‬

‫ﺑﺎﻟﻌﺎﺻﻤﺔ وﻋــﺪد ﻣﻦ اﻟﺴﺎﺣﺎت اﻷﺧــﺮى‪.‬‬ ‫وﻋﲆ ﻋﻜﺲ اﻟﻨﻤﻂ اﻟﺘﻘﻠﻴﺪي ﻟﻠﻤﺼﺎرﻋﺔ ﻋﻦ‬ ‫ﻃﺮﻳﻖ "اﳌﺎﺗﺎدور"‪ ،‬ﻳﺘﺎح ﻟﺒﻌﺾ ﻣﻦ اﻟﺠﻤﻬﻮر‬ ‫اﻟﻨﺰول إﱃ أرض اﻟﺴﺎﺣﺔ وﻣﻮاﺟﻬﺔ اﻟﺜريان‪،‬‬ ‫وﻫﻮ ﻣﺎ ﻳﻨﺘﺞ ﻋﻨﻪ ﺣﺎﻟﺔ ﻫﻠﻊ وﻫﺮوب ﻛﺒرية‬ ‫وأﺻﻮات ﻣﺘﻌﺎﻟﻴﺔ‪ ،‬ﺑﺠﺎﻧﺐ ﺑﻌﺾ اﻟﻌﺮوض‬ ‫اﳌﺪﻫﺸﺔ واﻟﺘﻲ ﺗﻠﻬﺐ ﺣامس اﳌﺘﻔﺮﺟني‪.‬‬ ‫ﻻ ﺗﻘﺘﴫ اﳌﻮروﺛﺎت اﻟﺒﻨﻤﻴﺔ ﻋﲆ ﻣﺼﺎرﻋﺔ‬ ‫اﻟﺜريان اﻹﺳﺒﺎﻧﻴﺔ‪ ،‬ﺑﻞ متﺘﺪ أﻳﻀﺎً إﱃ منﻂ ﺣﻴﺎة‬ ‫وﺛﻘﺎﻓﺔ رﻋﺎة اﻟﺒﻘﺮ "اﻟﻜﺎوﺑﻮي" اﳌﻨﺘﴩة ﰲ‬ ‫اﻷﻣﺮﻳﻜﻴﺘني‪ ،‬ﺣﻴﺚ ﻳﻌﺪ ﻣﻬﺮﺟﺎن "‪Fiestas‬‬ ‫‪ "Palmares‬اﻟﺬي ميﺘﺪ ﻷﺳﺒﻮﻋني ﻛﺎﻣﻠني ﺧري‬ ‫ﻣﺜﺎل ﻋﲆ ﻋﺸﻖ اﻟﺸﻌﺐ ﻟﺘﻠﻚ اﻟﺮﻳﺎﺿﺎت‬ ‫اﻟﺘﻲ ﺗﻌﻜﺲ اﻟﺒﻄﻮﻟﺔ واﻟﺸﺠﺎﻋﺔ واﻹﻗﺪام‪،‬‬

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‫اﻟﻌﺪد ‪ ، 77‬أﺑﺮﻳﻞ ‪2019‬‬

‫ﻓﺒﺠﺎﻧﺐ ﻋﺮوض اﻟﻜﺎوﺑﻮي اﻟﺬﻳﻦ ميﺘﻄﻮن‬ ‫ﻇﻬﻮر ﺧﻴﻮﻟﻬﻢ وﻳﻬﺮﻋﻮن ﺧﻠﻒ اﳌﺎﺷﻴﺔ‬ ‫ﻻﺻﻄﻴﺎدﻫﺎ‪ ،‬ﺗﻘﺎم ﺧﻼل اﳌﻬﺮﺟﺎن اﻟﻌﺪﻳﺪ‬ ‫ﻣﻦ ﻣﻮاﻛﺐ ﻓﺮﺳﺎن اﻟﻜﺎوﺑﻮي اﻟﺘﻲ ﺗﻄﻮف‬ ‫ﻣﺨﺘﻠﻒ اﳌﺪن ﰲ ﺷﻬﺮ أﺑﺮﻳﻞ ﻣﻦ ﻛﻞ ﻋﺎم‪،‬‬ ‫وﻫﻲ ﺑﺎﻟﻄﺒﻊ أﺟﻮاء ﺗﺴﻤﺢ ﺑﻌﺰف اﳌﻮﺳﻴﻘﻰ‬ ‫وأداء ﻣﺨﺘﻠﻒ اﻟﺮﻗﺼﺎت ﺧﻼل اﳌﻮاﻛﺐ‪.‬‬ ‫ﻳﻌﺪ ﻣﻬﺮﺟﺎن "‪"Fiestas de los Diablitos‬‬ ‫واﻟﺬي ﻳﻌﻨﻲ ﻣﻬﺮﺟﺎن "اﻟﺸﻴﺎﻃني اﻟﺼﻐﺎر" ﻫﻮ‬ ‫أﻛرث اﳌﻬﺮﺟﺎﻧﺎت رﻋﺒﺎً‪ ،‬ﺣﻴﺚ ﻳﺮﺗﺒﻂ ﺑﺄﺳﺎﻃري‬ ‫ﻗﺒﺎﺋﻞ "اﻟــﱪﻳــﱪي" اﻟﺬﻳﻦ ﻛﺎﻧﻮا ﻳﺸﻜﻠﻮن‬ ‫اﻟﺴﻜﺎن اﻷﺻﻠﻴني ﻗﺒﻞ ﻗﺪوم اﳌﺴﺘﻌﻤﺮات‬ ‫اﻹﺳﺒﺎﻧﻴﺔ‪ .‬و ُﺗﻨﻈﻢ ﻓﻌﺎﻟﻴﺎت اﳌﻬﺮﺟﺎن‬ ‫ﺑﺎﻟﺘﻌﺎون ﻣﻊ ﻗﺒﺎﺋﻞ اﻟﱪوﺳﺎ )‪ (Boruca‬واﻟﺮي‬

‫ﺗﱰﺟﻢ ﺛﻘﺎﻓﺔ ﺷﻌﻮب وﻗﺒﺎﺋﻞ اﻟﱪﻳﱪي ﰲ‬ ‫ﻋﺪد ﻣﻦ اﻷﻧﺸﻄﺔ اﻟﱰﻓﻴﻬﻴﺔ واﻟﺴﻴﺎﺣﻴﺔ‪،‬‬ ‫وﻋﲆ ﻋﻜﺲ اﻟﻌﺪﻳﺪ ﻣﻦ اﻟﺸﻌﻮب‪ ،‬ﻓﻼ زاﻟﻮا‬ ‫ﻳﺘﻤﺴﻜﻮن ﺑﻌﺎداﺗﻬﻢ وﺗﻘﺎﻟﻴﺪﻫﻢ ﰲ ﻗﻠﺐ‬ ‫اﻟﻐﺎﺑﺎت اﻟﺒﻌﻴﺪة‪ .‬ﺗﻘﻮم ﻣﻮروﺛﺎت اﻟﱪﻳﱪي‬ ‫ﻋﲆ اﻷﺳﺎﻃري واﻟﻘﻮى اﻟﺨﺎرﺟﻴﺔ اﻟﺨﺎرﻗﺔ‬ ‫وﴐورة اﻻﻣﺘﺜﺎل ﻟﻬﺎ وﻹرادﺗﻬﺎ وﻣﺤﺎرﺑﺔ ﻗﻮى‬ ‫اﻟﴩ ﺑﺎﻻﺳﺘﻌﺎﻧﺔ ﺑﻬﺎ ﰲ اﻟﺤﻴﺎة‪ ،‬وﺑﺎﻟﺘﺄﻛﻴﺪ‬ ‫ﻓﺈن ﺗﻠﻚ اﻟﻘﻮى ﺑﺤﺴﺐ ﻣﻮروﺛﺎﺗﻬﻢ ﺗﺘﻤﺜﻞ‬ ‫ﰲ ﻋﻨﺎﴏ ﰲ اﻟﻄﺒﻴﻌﺔ ﻣﻦ ﺣﻮﻟﻬﻢ‪ .‬ﺗﺄيت ﻋﲆ‬ ‫رأس ﺗﻠﻚ اﻟﻌﻨﺎﴏ أﺷﺠﺎر اﻟﻜﺎﻛﺎو‪ .‬ﻓﺘﻠﻚ‬ ‫اﻷﺷﺠﺎر متﺜﻞ ﻋﺼﺐ اﻗﺘﺼﺎدﻫﻢ وﺻﻨﺎﻋﺎﺗﻬﻢ‬ ‫وﺣﺮﻓﻬﻢ ﻣﻨﺬ آﻻف اﻟﺴﻨني‪ ،‬وﻫﻲ ﰲ اﻟﻮاﻗﻊ‬ ‫إﺣﺪى اﻟﻘﻮى اﻟﻐﺎﻣﻀﺔ واﻟﻜﺒرية اﻟﺘﻲ متﻨﺤﻬﻢ‬ ‫اﻟﺤﻴﺎة‪ .‬ومتﺜﻞ اﻟﺸﺠﺮة ﻟﺪﻳﻬﻢ اﻣﺮأة وآﻟﻬﺔ‬ ‫ﺗﺘﻤﺜﻞ ﰲ ﺷﺠﺮة اﻟﻜﺎﻛﺎو‪ .‬ﻟــﺬا ﻓﺒﺠﺎﻧﺐ‬ ‫ﻣﺤﺼﻮل اﻟﻜﺎﻛﺎو ﻻ ﻳﻘﺪم اﻟﺴﻜﺎن اﻷﺻﻠﻴﻮن‬ ‫ﻋﲆ ﺣﺮق اﻷوراق اﻟﺨﴬاء اﻟﻌﺮﻳﻀﺔ أو‬ ‫ﻓﺮوع اﻟﺸﺠﺮة ﻟﻠﺘﺪﻓﺌﺔ ﻋﲆ اﻹﻃﻼق‪ ،‬ﻛام أن‬ ‫اﻟﻨﺴﺎء ﻓﻘﻂ ﻫﻦ اﳌﺨﻮﻻت ﺑﺼﻨﺎﻋﺔ ﴍاب‬

‫ﻟﻘﺒﻬﺎ اﻟﻜﺜريون ﺑﺄرض اﻟﻜﻨﻮز ﳌﺎ ﺗﺰﺧﺮ ﺑﻪ‬ ‫ﻣﻦ ﺳﺤﺮ وﺛﺮاء اﻣﺘﺪ ﻃﻴﻠﺔ ﻗﺮون ﻣﻦ اﻟﺰﻣﻦ‪،‬‬ ‫ﻓﺎﻟﺴﻌﺎدة ﺗﻐﻤﺮﻫﺎ ﰲ ﺷﺘﻰ ﻣﺠﺎﻻت اﻟﺤﻴﺎة‬ ‫وميﻜﻨﻚ أن ﺗﺮى اﻟﺒﺴﻤﺔ ﺗﺮﺗﺴﻢ ﻋﲆ وﺟﻮه‬ ‫ﺷﻌﺒﻬﺎ وﻛــﻞ ﻣﻦ ﺗﻄﺄ ﻗﺪﻣﻪ ﻋﲆ أرﺿﻬﺎ‬ ‫اﻟﺨﻼﺑﺔ‪ ،‬ﻓﺘﻠﻚ اﻟﺒﻠﺪ اﻟﺼﻐرية ﰲ أﻣﺮﻳﻜﺎ‬ ‫اﻟﻮﺳﻄﻰ‪ ،‬ميﻜﻨﻬﺎ أن متﻨﺤﻚ ﺟﺮﻋﺔ ﺛﻘﺎﻓﻴﺔ‬ ‫ﻫﺎﺋﻠﺔ اﻟﺘﻨﻮع ﻻ ﻣﺜﻴﻞ ﻟﻬﺎ ﰲ اﻟﻌﺎمل ﻣﻦ ﺣﻴﺚ‬ ‫اﻟﻌﺮاﻗﺔ واﻟﺮﻗﻲ واﻟﺒﻬﺠﺔ اﻟﺘﻲ ﻻ ﻧﻬﺎﻳﺔ ﻟﻬﺎ‪.‬‬ ‫ﻓام ﺑني ﻓﻨﻮن ﺣﺠﺮ "اﻟﺠﺎدﻳﺖ" اﻟﻨﻔﻴﺲ‬ ‫واﻷﺳــﺎﻃــري اﻷﻓﺮﻳﻘﻴﺔ اﳌﺮﻋﺒﺔ وﺣﻜﺎﻳﺎت‬ ‫اﳌﺴﺘﻌﻤﺮات اﻷوروﺑﻴﺔ اﻷوﱃ‪ ،‬ﻧﺮى أﻧﻔﺴﻨﺎ ﰲ‬ ‫ﻣﻮاﺟﻬﺔ ﻧﺴﻴﺞ ﻣﻦ اﳌﻮروﺛﺎت اﳌﺘﺸﺎﺑﻜﺔ اﻟﺘﻲ‬ ‫اﻣﺘﺰﺟﺖ ﻋﲆ ﻣﺮ اﻟﻘﺮون ﻣﻨﺘﺠﺔ ﻟﻨﺎ واﺣﺪة‬ ‫ﻣﻦ أﻋﺮق اﻟﺜﻘﺎﻓﺎت وأﻛرثﻫﺎ متﺎﺳﻜﺎً ﰲ اﻟﻌﺎمل‪.‬‬ ‫ﻻ ﺗﻘﺘﴫ اﳌﻮروﺛﺎت اﻟﺒﻨﻤﻴﺔ ﻋﲆ اﻟﺜﻘﺎﻓﺔ‬ ‫اﻷوروﺑﻴﺔ أو اﻹﺳﺒﺎﻧﻴﺔ ﺗﺤﺪﻳﺪاً ﻛﺒﻘﻴﺔ ﻏﺎﻟﺒﻴﺔ‬ ‫اﻟﺸﻌﻮب اﻷﻣﺮﻳﻜﻴﺔ‪ ،‬وﻟﻜﻨﻬﺎ ﻧﺘﺎج ﺗﺂﻟﻒ‬ ‫اﻟﻌﺪﻳﺪ ﻣﻦ ﺛﻘﺎﻓﺎت اﻷﻋــﺮاق اﻷوروﺑﻴﺔ‬ ‫واﻵﺳﻴﻮﻳﺔ واﻷﻓﺮﻳﻘﻴﺔ‪ ،‬ﻓﻀ ًﻼ ﻋﻦ ﻗﺒﺎﺋﻞ‬ ‫اﻟﺸﻌﻮب اﻷﺻﻠﻴﺔ ﻟﻠﻤﻨﻄﻘﺔ‪ ،‬واﻟﺬﻳﻦ ﻻ‬ ‫ﻳﺰاﻟﻮا ميﺎرﺳﻮن ﻛﺎﻓﺔ ﻃﻘﻮﺳﻬﻢ وﻋﺎداﺗﻬﻢ‬ ‫اﻟﺘﻲ ﺗﻄﻮرت ﻟﺘﻮاﻛﺐ وﺗﺴﺘﻮﻋﺐ ﺛﻘﺎﻓﺎت‬ ‫اﻟﺸﻌﻮب اﻷﺧﺮى‪ ،‬ﻟﺬا ﻓﻘﺪ ﻛﺎﻧﺖ وﻻ ﺗﺰال‬ ‫ﺛﻘﺎﻓﺘﻬﺎ ﻟﻬﺎ ﻧﻜﻬﺘﻬﺎ اﳌﻤﻴﺰة واﻟﺘﻲ ﺗﱪز إﻟﻴﻨﺎ‬ ‫ﻣﻦ ﺧﻼل ﻓﻨﻮن اﳌﻮﺳﻴﻘﻰ واﻟﺮﻗﺺ واﻟﻨﺤﺖ‬ ‫واﳌﺸﻐﻮﻻت اﻟﻴﺪوﻳﺔ اﳌﺘﺄﺻﻠﺔ ﰲ ﺑﻨام ﻋﲆ ﻳﺪ‬ ‫ﺳﻜﺎﻧﻬﺎ اﻷﺻﻠﻴني‪.‬‬

‫ميﺘﺎز ﺷﻌﺐ ﺑﻨام ﺑﺎﻟﺒﻬﺠﺔ وﺣﺐ اﻟﺤﻴﺎة‬ ‫واﻻﻧﻄﻼق‪ ،‬وﻋﲆ أرﺿﻬﺎ ازدﻫﺮت اﻟﺤﺮﻛﺎت‬ ‫اﳌﻮﺳﻴﻘﻴﺔ واﻧــﺘــﴩت ﰲ أرﺟـــﺎء ﻣﻨﻄﻘﺔ‬ ‫اﻟﻜﺎرﻳﺒﻲ وﻋﲆ رأﺳﻬﺎ اﻟـ " ‪،"Guanacaste‬‬ ‫وﺗﻌﺪ ﺗﻠﻚ اﳌﻮﺳﻴﻘﻰ اﻟﺤﺪﻳﺜﺔ ﻧﺘﺎﺋﺞ ﺟﻬﻮد‬ ‫اﺳﺘﻤﺮت ﻟﻘﺮون ﻣﻦ ﻣامرﺳﺔ اﳌﻮﺳﻴﻘﻰ‬ ‫اﻟﻔﻠﻜﻠﻮرﻳﺔ اﻟﺘﻲ متﺘﺪ ﺟﺬورﻫﺎ ﻟﻠﺴﻜﺎن‬ ‫اﻷﺻﻠﻴني‪ .‬ﻛﺎن اﻟﺘﺄﺛري اﻷﻓﺮﻳﻘﻲ ﺣﺎﴐاً ﺑﻘﻮة‬ ‫ﰲ اﳌﻮﺳﻴﻘﻲ اﻟﺒﻨﻤﻴﺔ ﻣﻦ ﺧﻼل اﻟﻌﺪﻳﺪ ﻣﻦ‬ ‫اﻟﻨﻐامت واﻵﻻت اﳌﻮﺳﻴﻘﻴﺔ ﻣﺜﻞ "اﳌﺎرميﺒﺎ"‬ ‫اﻟﺘﻲ ﻛﺎﻧﺖ اﻟﺴﺎﺋﺪة ﰲ ﻣﻨﻄﻘﺔ ﻏﺮب أﻓﺮﻳﻘﻴﺎ‬ ‫ﻣﻨﺬ ﻗــﺮون‪ ،‬ﻓﻀ ًﻼ ﻋﻦ ﻣﻮﺳﻴﻘﻰ اﻟﺮوﻣﺒﺎ‬ ‫واﻟﺮﻳﻐﻲ‪.‬‬ ‫‪ǽǤŨǜǿ ȍ ƱƮƗ ŦōǝōŵƉǤǘǕŌ‬‬

‫ﺗﺘﺄﻟﻖ ﺑﻨام ﻃﻴﻠﺔ اﻟــﻌــﺎم ﺑﺎﻟﻌﺪﻳﺪ ﻣﻦ‬ ‫اﳌﻬﺮﺟﺎﻧﺎت اﻟﺼﺎﺧﺒﺔ واﳌﻠﻬﻤﺔ ﻟﻠﻤﻼﻳني‬ ‫ﺣﻮل اﻟﻌﺎمل‪ .‬وﻟﻌﻞ أﻫﻢ ﺗﻠﻚ اﳌﻬﺮﺟﺎﻧﺎت‬ ‫"ﻛﺮﻧﻔﺎل اﻟﻠﻴﻤﻮن" اﻟﺬي ﻳﺤﻤﻞ ﻣﻼﻣﺢ اﻟﺜﻘﺎﻓﺔ‬ ‫اﻷﻓﺮﻳﻘﻴﺔ اﻟﻐﻨﻴﺔ ﰲ اﻟﺒﻼد‪ ،‬وﺗﻘﻮم اﻻﺣﺘﻔﺎﻻت‬ ‫ﰲ ﺟﻤﻴﻊ أرﺟﺎء ﺑﻨام ﻋﲆ ﻋﺮوض ﺗﻜﻮن ﻓﻴﻬﺎ‬ ‫ﻓﻮاﻛﻪ اﻟﺤﻤﻀﻴﺎت ﻋﲆ رأس اﻟﻌﻨﺎﴏ اﻟﻔﻨﻴﺔ‬ ‫اﳌﺴﺘﺨﺪﻣﺔ‪ .‬ﻳﺒﺪأ اﻻﺣﺘﻔﺎل ﰲ أﻛﺘﻮﺑﺮ ﻣﻦ ﻛﻞ‬ ‫ﻋﺎم ﳌﺪة ﺗﱰاوح ﺑني ‪ 5‬إﱃ ‪ 7‬أﻳﺎم وﺗﺘﺄﻟﻒ‬ ‫ﻣﻦ ﻋﺪة ﻣﻮاﻛﺐ ﻳﺘﺨﻠﻠﻬﺎ اﻟﺮاﻗﺼﻮن ﰲ أزﻳﺎء‬ ‫ﻣﻔﻌﻤﺔ ﺑﺎﻷﻟﻮان ﻳﱰاﻗﺼﻮن ﻋﲆ ﻗﺮع اﻟﻄﺒﻮل‬ ‫واﳌﻮﺳﻴﻘﻰ "اﻷﻓــﺮو ﻛﺎرﻳﺒﻴﺎن" اﻟﺼﺎﺧﺒﺔ‬ ‫وﻳﺠﺮون اﻟﻌﺪﻳﺪ ﻣﻦ اﳌﺠﺴامت اﻟﻔﻨﻴﺔ‬

‫اﻟﻀﺨﻤﺔ اﳌﻜﻮﻧﺔ ﻣﻦ اﻟﺤﻤﻀﻴﺎت‪ ،‬ﻓﻀ ًﻼ ﻋﻦ‬ ‫إﻗﺎﻣﺔ ﻋﺪة ﺗﺸﻜﻴﻼت ﻓﻨﻴﺔ ﺑﺎﻫﺮة ﻣﻦ مثﺎر‬ ‫اﻟﺤﻤﻀﻴﺎت ﰲ ﺷﻮارع اﳌﺪﻳﻨﺔ‪ .‬وﻛﻞ ﻋﺎم ﺗﻘﻮد‬ ‫اﳌﻮاﻛﺐ ﻣﺎ ﻳﻄﻠﻖ ﻋﻠﻴﻬﺎ "ﻣﻠﻜﺔ اﻟﻠﻴﻤﻮن"‬ ‫وﺗﻜﻮن إﺣﺪى اﻟﺮاﻗﺼﺎت اﳌﺤﱰﻓﺎت اﻟﻼيت‬ ‫ﻳﺒﺪﻋﻦ ﰲ اﻟﺮﻗﺺ واﻟﻐﻨﺎء‪.‬‬ ‫إذا ﻛﻨﺖ ﻣﻦ اﳌﻮﻟﻌني ﺑﺎﻟﻔﻨﻮن ﻏري اﳌﻌﺘﻤﺪة‬ ‫ﻋﲆ ﻗﻮاﻋﺪ ﻣﻌﻴﻨﺔ ومنﻂ اﻟﺤﻴﺎة اﻟﻐﺮﻳﺐ‬ ‫واﻟﺮﻗﺺ ﻋﲆ ﻣﻮﺳﻴﻘﻰ ﻣﺠﻬﻮﻟﺔ اﳌﺼﺪر‬ ‫اﻋﺘﻤﺪ ﻣﺆﻟﻔﻮﻫﺎ ﻋﲆ ﺧﻴﺎﻟﻬﻢ ﻟﺘﺄﻟﻴﻔﻬﺎ‬ ‫وﻣامرﺳﺔ أﻟﻌﺎب رﻳﺎﺿﻴﺔ ﻏﺮﻳﺒﺔ ﻣﺸﺘﻘﺔ ﻣﻦ‬ ‫اﻟﻴﻮﺟﺎ وﻏريﻫﺎ‪ ،‬ﻗﺪ ﻳﻜﻮن "ﻣﻬﺮﺟﺎن اﻟﺘﺼﻮر"‬ ‫ﻫﻮ وﺟﻬﺘﻚ اﻟﺘﺎﻟﻴﺔ‪ .‬ﻓﺎﳌﻬﺮﺟﺎن اﻟﺬي ﻳﻘﺎم‬ ‫ﻛﻞ ﻋﺎم ﰲ ﺷﻬﺮ ﻓﱪاﻳﺮ ﻳﺤﺘﻮي ﻋﲆ أﻧﺸﻄﺔ‬ ‫ﻣﺘﻜﺎﻣﻠﺔ متﺘﺪ ﻟﻌﺪة أﻳﺎم ﻣﺜﻞ دروس اﻟﻴﻮﺟﺎ‬ ‫واﻟﺮﻗﺺ وورش اﻟﻌﻤﻞ ﻟﺘﻌﻠﻴﻢ ﺑﻌﺾ اﻷمنﺎط‬ ‫اﻟﻔﻨﻴﺔ اﻟﻐﺮﻳﺒﺔ واﳌــﻌــﺮوﻓــﺔ ﻋــﻦ ﺷﻌﺐ‬ ‫ﺑﻨام وﺑﺨﺎﺻﺔ ﺳﻜﺎﻧﻬﺎ اﻷﺻﻠﻴني‪ ،‬ﻓﻀ ًﻼ ﻋﻦ‬ ‫اﻟﺤﻔﻼت اﻟﻠﻴﻠﻴﺔ اﻟﺼﺎﺧﺒﺔ واﳌﺨﻴامت ﻋﲆ‬ ‫ﺷﺎﻃﺊ اﻟﺒﺤﺮ‪ ،‬وﻏريﻫﺎ ﻣﻦ اﻟﻔﻌﺎﻟﻴﺎت اﻟﺘﻲ‬ ‫ﺗﻄﻠﻖ اﻟﻌﻨﺎن ﻟﻠﻤﺒﺪﻋني واﻟﻌﺎﺷﻘني ﻟﻺﻟﻬﺎم‪.‬‬ ‫ﺑﺎﻟﻄﺒﻊ ﻻ ﺗﺨﻠﻮ ﺑﻨام ﻣﺜﻞ ﺑﻠﺪان أﻣﺮﻳﻜﺎ‬ ‫اﻟﺠﻨﻮﺑﻴﺔ ﻣﻦ ﺟﻨﻮن ووﻟﻊ ﻣﺼﺎرﻋﺔ اﻟﺜريان‬ ‫اﻟﺬي ﺗﻌﻮد أﺻﻮﻟﻬﺎ إﱃ إﺳﺒﺎﻧﻴﺎ‪ ،‬وﻳﻌﺪ ﻣﻬﺮﺟﺎن‬ ‫"‪ "Fiestas Zapote‬ﻣﻦ أﻫﻢ اﻟﻜﺮﻧﻔﺎﻻت‬ ‫اﻟﺘﻲ ﺗﻘﺎم ﰲ ﻳﻨﺎﻳﺮ ﻣﻦ ﻛﻞ ﻋﺎم‪ ،‬ﺣﻴﺚ ﻳﺤﺘﺸﺪ‬ ‫اﻵﻻف ﺧﻼل ﻓﻌﺎﻟﻴﺎت متﺘﺪ ﻷﻳﺎم ﳌﺸﺎﻫﺪة‬ ‫ﻣﺼﺎرﻋﺔ اﻟﺜريان داﺧــﻞ اﻟﺤﻠﺒﺔ اﻟﺮﺋﻴﺴﺔ‬ ‫اﻟﺸﻌﺮ ‪baytelshear‬‬ ‫ﺑﻴﺖ ِ‬

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‫‪ Ęġ¯ ŝŕ‬‬

‫اﻟﻤﻮروﺛﺎت اﻟﺒﻨﻤﻴﺔ‬ ‫‪ǗǕōƪǕŌ ǼƉƢƗ ǛǾş ǳǾƳōǂŬǕŌ ƉƖŞǕŌ Ʃȃōƞş Ǔǂǜũ ǲōǜǃ‬‬

‫ﻣﺤﻤﺪ دروﻳﺶ‬

‫مل ﺗﻘﺘﴫ ﻗﻨﺎﺗﻬﺎ اﻟﺸﻬرية ﻋﲆ ﻧﻘﻞ اﻟﺴﻔﻦ واﻟﺒﴩ‪ ،‬ﺑﻞ ﻛﺎﻧﺖ مبﺜﺎﺑﺔ ﺑﻮاﺑﺔ ﻟﻌﺒﻮر اﻟﻌﺎدات واﻟﺘﻘﺎﻟﻴﺪ واﻟﻔﻦ واﳌﻮﺳﻴﻘﻰ ﺑني‬ ‫ﺷﻄﺮي اﻟﻌﺎمل اﻟﻘﺪﻳﻢ واﻟﺤﺪﻳﺚ‪ ،‬وﺗﺸﻜﻞ ﻧﻘﻄﺔ اﻟﺘﻘﺎء ﻟﺒﻀﺎﺋﻊ اﻟﻌﺎمل اﻟﺜﻘﺎﻓﻴﺔ ﻟﺘﺘﻼﻗﻰ إﺑﺪاﻋﺎﺗﻬﻢ وﺗﻨﺼﻬﺮ ﰲ ﺑﻮﺗﻘﺔ ﺗﺮاﺛﻴﺔ‬ ‫ﻓﺮﻳﺪة ﻣﻦ ﻧﻮﻋﻬﺎ ﺗﻌﻜﺲ أﻟﻮاﻧﺎً ﻣﻦ اﻟﻄﻘﻮس ﻣﻦ ﻛﻞ ﻗﺎرات اﻟﻌﺎمل ﻟﺘﻌﱪ ﻋﻦ اﻟﺤﻀﺎرة اﻟﺒﴩﻳﺔ ﰲ أزﻫﻰ وأﺑﻬﻰ ﺻﻮرﻫﺎ ﰲ‬ ‫ﻣﻬﺮﺟﺎﻧﺎت ﺑﺪﻳﻌﺔ وﺣﻴﺎة ﺑﺴﻴﻄﺔ ووﺟﻮه ﺑﺎﺳﻤﺔ ﺗﺘﺤﺪى اﻟﺼﻌﺎب وﺗﺒﺤﺚ دامئ ُﺎ ﻋﻦ اﻟﺴﻌﺎدة وﺳﻂ اﻟﻄﺒﻴﻌﺔ ﻋﲆ أرض‬ ‫ﺑﻨام‪.‬‬

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‫اﻟﻌﺪد ‪ ، 77‬أﺑﺮﻳﻞ ‪2019‬‬

‫ﻋﺎﺷﻮا ﰲ اﻟﺴﻨﻮات اﻷﻟــﻒ اﻷوﱃ ﻗﺒﻞ‬ ‫اﻹﺳﻼم‪ ،‬ﻓﺒﻠﻎ ﻋﺪدﻫﻢ ‪ 590‬ﻋﺎﳌﺎً‪.‬‬ ‫• "ﻣﻌﺠﻢ اﻟﺒﻠﺪان" ﻟﻴﺎﻗﻮت اﻟﺤﻤﻮي‬ ‫• "أﴎة اﻟﺰﺑري" ﻟﻠﺪﻣﺸﻘﻲ‬ ‫• "ﻧﻈﺎم اﻟﺠﻴﻮش ﻋﻨﺪ اﳌﺴﻠﻤني"‪ ،‬وﻫﻮ‬ ‫ﻣﺒﺤﺚ ﺧﺎص اﻋﺘﻤﺪ ﻓﻴﻪ ﻋﲆ اﻟﺴرية وﻣﺎ‬ ‫ذﻛﺮه اﳌﺆرﺧﻮن ﻣﺜﻞ اﻟﺤﻤﻮي واﺑﻦ ﻋﺴﺎﻛﺮ‬ ‫واﺑﻦ ﺧﻠﻜﺎن وﻏريﻫﻢ‪.‬‬ ‫• "ﻣﻌﺠﻢ ﻣﺎ اﺳﺘﻌﺠﻢ" ﻟﻠﺒﻜﺮي‪.‬‬

‫ﺑﺤﺚ ﺧــﺎص ﺟﻤﻊ ﻓﻴﻪ ﻫرنﻳﺶ أﻫﻢ‬ ‫اﳌﺠﻤﻌﺎت اﻟﻌﻠﻤﻴﺔ اﻟﻌﺮﺑﻴﺔ ﰲ ﺑﻐﺪاد‬ ‫ودﻣﺸﻖ واﻟﻘﺎﻫﺮة واﻟﻘﺪس وﻧﻴﺴﺎﺑﻮر‬ ‫وﻳﱰﺟﻢ ﻟﻸﺳﺎﺗﺬة ﻣﻤﻦ درﺳــﻮا ﻓﻴﻬﺎ إﱃ‬ ‫ﺟﺎﻧﺐ أﻧﻪ أﻓﺮد ﻓﺼ ًﻼ ﺗﺮﺟﻢ ﻓﻴﻪ "ﻃﺒﻘﺎت‬ ‫اﻟﺸﺎﻓﻌﻴﺔ" ﻻﺑﻦ ﻗﺎﴈ ﺷﻬﺒﺔ‪.‬‬ ‫• "ﺗﺎرﻳﺦ اﻷﻃﺒﺎء واﻟﻌﻠامء اﻟﻌﺮب"‪ :‬ﻳﻠﺨﺺ‬ ‫ﻛﺘﺎب اﺑﻦ أيب أﺻﻴﺒﻌﺔ ﻛام ﻳﺒﺤﺚ ﰲ أﻃﺒﺎء‬ ‫اﻟﺸﺎﻓﻌﻴﺔ ﻣﻤﻦ أوردﻫﻢ اﺑﻦ ﻗﺎﴈ‪.‬‬ ‫• "ﻛﺘﺎب ﺗﻬﺬﻳﺐ اﻷﺳامء"‪ ،‬ﻟﻠﻨﻮوي وﻳﻘﻊ‬ ‫ب‪ 800‬ﺳﻔﺤﺔ‬ ‫• "رﺳﺎﻟﺔ اﳌﻘﺮﻳﺰي"‪ ،‬ﻋﻦ ﻗﺒﺎﺋﻞ اﻟﻌﺮب اﻟﺘﻲ‬ ‫ﻫﺎﺟﺮت إﱃ ﻣﴫ‬ ‫• "ﺟﺪول أﻧﺴﺎب اﺑﻦ ﻋﺴﺎﻛﺮ"‬ ‫• "اﳌــﺸــﱰك وﺿﻌﺎً واﳌﻬﺘﻠﻒ ﺻﻘﻌﺎً"‪،‬‬ ‫ﻟﻴﺎﻗﻮت اﻟﺤﻤﻮي‬ ‫• "ﻋــﺠــﺎﺋــﺐ اﳌــﺨــﻠــﻮﻗــﺎت وﻏ ـﺮاﺋــﺐ‬ ‫اﳌﻮﺟﻮدات" ﻟﻠﻘﺰوﻳﻨﻲ‬ ‫• "اﳌﻌﺎرف" ﻻﺑﻦ ﻗﺘﻴﺒﺔ واﻟﺬي ﻳﻌﺪ أول‬ ‫ﻛﺘﺎب ﻋﺮيب ﺻﻨﻔﻪ ﻋﺎمل‪ ،‬وﻗﺪ زوده ﺑﻔﻬﺎرس‬ ‫ﻟﻸﻣﺎﻛﻦ واﻷﻋﻼم‪.‬‬ ‫• "اﻻﺷﺘﻘﺎق" ﻻﺑﻦ درﻳﺪ‬ ‫• "ﺳرية اﺑﻦ ﻫﺸﺎم"‪ ،‬وﻗﺪ وﺿﻌﻬﺎ اﳌﺆﻟﻒ‬ ‫ﰲ ﺛﻼﺛﺔ أﺟﺰاء ﻣﻌﺘﻤﺪاً ﻋﲆ اﺑﻦ ﻫﺸﺎم‬ ‫ﻛﻤنت ﺷﺎرﺣﺎً ﺑﺎﻟﻬﻮاﻣﺶ واﻟﺘﻌﻠﻴﻘﺎت اﻟﻌﺪﻳﺪ‬

‫ﻣﻦ اﻷﺧﺒﺎر اﻟﺘﻲ اﻋﺘﻤﺪ ﻋﻠﻴﻬﺎ ﻣﻦ ﺧﺎرج‬ ‫اﻟﺴرية‪ ،‬وﰲ ذﻟﻚ ﻳﺆﻛﺪ اﳌﺴﺘﴩق اﻷﳌﺎين‬ ‫ﻛﺎرل ﺑﺮوﻛﻠامن‪ ،‬أن آﺛﺎر اﺑﻦ ﻫﺸﺎم‪ ،‬أو‬ ‫ﺳرية ﻣﺤﻤﺪ رﺳﻮل اﻟﻠﻪ‪ ،‬ﻧﴩﻫﺎ "ﻓﺴﺘﻨﻔﻠﺪ"‬ ‫ﻣﻌﺘﻤﺪًا ﻋﲆ ﻣﺨﻄﻮﻃﺎت ﻣﺨﺘﻠﻔﺔ‪.‬‬ ‫• "أﺧﺒﺎر ﻣﻜﺔ"‪ ،‬وﻫﻮ ﻛﺘﺎب ﺟﻤﻊ ﻓﻴﻪ‬ ‫ﻓﺴﺘﻨﻔﻠﺪ ﻣﺆﻟﻔﺎت ﺧﻤﺴﺔ ﻣﺆﻟﻔني اﻷزرﻗﻲ‬ ‫واﺑﻨﻪ‪ ،‬واﻟﻔﺎﻛﻬﻲ واﺑﻦ ﻇﻬرية واﻟﺨﺎﻣﺲ‬ ‫ﻟﻘﻄﺐ اﻟﺪﻳﻦ ﻣﺤﻤﺪ ﺑﻦ أميﻦ اﻷﺻﻔﻬﺎين‬ ‫اﻟﺸﺎﻓﻌﻲ‪ ،‬اﻟﻌﺎمل اﻟﺬي ﺟﺎور ﰲ ﻣﻜﺔ ودرس‬ ‫ﻓﻴﻬﺎ‪.‬‬ ‫• "ﺗﺎرﻳﺦ اﳌﺪﻳﻨﺔ اﳌﻨﻮرة" واﻟﺬي أﺳﺘﻨﺪ ﻓﻴﻪ‬ ‫ﻋﲆ ﻛﺘﺎب ﺧﻼﺻﺔ اﻟﻮﻓﺎ‪ ،‬وﻫﻮ ﻧﻔﺴﻪ ﻧﺴﺨﺔ‬ ‫ﻣﺨﺘﴫة ﻣﻦ ﻛﺘﺎب »وﻓﺎء اﻟﻮﻓﺎ ﺑﺄﺧﺒﺎر دار‬ ‫اﳌﺼﻄﻔﻰ« اﻟﺬي أﻟﻔﺔ ﻋﲇ ﺑﻦ ﻋﺒﺪ اﻟﻠﻪ‬ ‫اﻟﺴﻤﻬﻮدي‪.‬‬ ‫• ”ﻣﺆرﺧﻮ اﻟﻌﺮب وﻣﺆﻟﻔﺎﺗﻬﻢ" وﻫﻮ ﻣﺒﺤﺚ‬ ‫ﻣﻬﻢ ﻋﻦ اﻟﻜﺘﺎﺑﺔ اﻟﺘﺎرﻳﺨﻴﺔ ﻋﻨﺪ اﳌﺴﻠﻤني‪،‬‬ ‫وﻗﺪ أﺷﺎر اﳌﺴﺘﴩق اﻹﻧﺠﻠﻴﺰي اﳌﻌﺮوف‬ ‫”دﻓﻴﺪ ﻣﺮﺟﻠﻴﻮث“ ﺑﺄن ”ﻓﺴﺘﻨﻔﻠﺪ“ ﻗﺎم‬ ‫ﺑﺘﺘﺒﻊ ﻣﺠﻤﻮﻋﺔ ﻣﻦ اﳌﺆرﺧني اﻟﻌﺮب اﻟﺬﻳﻦ‬

‫ﰲ ﺣﻘﻴﻘﺔ اﻷﻣﺮ‪ ،‬إﻧﻬﺎ ﺳرية ذاﺗﻴﺔ ﳌﺼﻨﻊ‬ ‫ﻛﺘﺐ‪ ،‬ﻣﺎﻧﻔﻴﺴﺖ ﻟﺨﻂ إﻧﺘﺎج ﻣﻌﺮﰲ ﻻ‬ ‫ﻳﻌﺮف اﻟﻜﻠﻞ‪ ،‬ﺑــﺪأ ﻋــﺎم ‪ 1808‬واﻧﺘﻬﻰ‬ ‫‪ .1899‬ﻓﺤﺘﻰ ﻋﲆ ﻣﻮﻗﻊ ﺟﺎﻣﻌﺔ ﺟﻴﺘﺠﻦ‪،‬‬ ‫وﺑﺎﻟﺒﺤﺚ ﻋﻦ "ﻫرنﻳﺶ ﻓﺴﺘﻨﻔﻠﺪ" ﺳﺘﻘﺮأ‬ ‫اﻵيت‪" :‬ﻗﴣ ﺣﻴﺎﺗﻪ اﻷﻛﺎدميﻴﺔ ﺑﺄﻛﻤﻠﻬﺎ‬ ‫ﺗﻘﺮﻳ ًﺒﺎ ﰲ ﻏﻮﺗﻨﻐﻦ‪ ،‬ﺣﺼﻞ ﻋﲆ دﻛﺘﻮراه ﰲ‬ ‫اﻟﻔﻠﺴﻔﺔ ﻋﺎم ‪ ،1831‬ﰲ اﻟﻌﺎم اﻟﺘﺎﱄ ﺣﺼﻞ‬ ‫ﻋﲆ درﺟﺔ اﻟﺪﻛﺘﻮراه اﻟﺜﺎﻧﻴﺔ )اﻟﺘﺄﻫﻴﻞ(‬ ‫وﺑﻌﺪ ﻋﴩة أﻋﻮام ﻋني أﺳﺘﺎ ًذا ﺛﻢ رﺋﻴﺴﺎً‬ ‫ﻋﺎم ‪ ، 1879‬ﻛﺎن ﺗﻌﻴﻴﻨﻪ اﻟﺮﺋﻴﺲ ﻣﺪﻳﺮاً‬ ‫ﳌﻜﺘﺒﺔ اﻟﺠﺎﻣﻌﺔ‪.‬‬ ‫وﺗﻀﻴﻒ ﻣﻌﻠﻮﻣﺎت اﻟﺠﺎﻣﻌﺔ‪" :‬ﻛــﺮس‬ ‫ﻓﺴﺘﻨﻔﻴﻠﺪ ﻛــﻞ وﻗﺘﻪ ﺗﻘﺮﻳ ًﺒﺎ ﻟﺪراﺳﺔ‬ ‫اﻟﻠﻐﺔ اﻟﻌﺮﺑﻴﺔ‪ ،‬وﻛﻠام ﻃﺎل أﻣﺪ دراﺳﺘﻪ‪،‬‬ ‫زاد ﺗﺮﻛﻴﺰه ﺑﺸﻜﻞ ﺣــﴫي ﻋﲆ اﻟﻠﻐﺔ‬ ‫اﻟﻌﺮﺑﻴﺔ ﺑﺎﻟﺮﻏﻢ ﻣﻦ أﻧﻪ درس ﰲ اﻟﺒﺪاﻳﺔ‬ ‫ﺟﻤﻴﻊ اﻟﻠﻐﺎت اﻟﴩﻗﻴﺔ‪ ،‬مبﺎ ﰲ ذﻟﻚ اﻟﻠﻐﺔ‬ ‫اﻟﺴﻨﺴﻜﺮﻳﺘﻴﺔ‪ .‬ﺗﺪﻳﻦ اﻟﺪراﺳﺎت اﻟﻌﺮﺑﻴﺔ‬ ‫واﻹﺳﻼﻣﻴﺔ إﱃ ﺣامس ﻓﺴﺘﻨﻔﻴﻠﺪ اﻻﺳﺘﺜﻨﺎيئ‬ ‫ﺑﺎﻟﻜﺜري‪ ،‬وﻗﺪ ﻛﺎﻧﺖ أﻋامﻟﻪ ﻻ ﻏﻨﻰ ﻋﻨﻬﺎ‬ ‫ﺣ ًﻘﺎ ﻟﻔﱰة ﻃﻮﻳﻠﺔ‪ ،‬وﺑﻌﻀﻬﺎ ﻣﺎ زال ﻣﻨﺘﻬﺠﺎً‬ ‫ﺣﺘﻰ اﻟﻴﻮم"‪.‬‬ ‫وﻳﺨﺘﻢ ﻣﺤﺮر ﺻﻔﺤﺔ ﻓﺴﺘﻨﻔﻴﻠﺪ ﻋﲆ‬ ‫ﺻﻔﺤﺔ اﻟﺠﺎﻣﻌﺔ اﻟﻌﺮﻳﻘﺔ‪" :‬مل ﻳﻔﻌﻞ ﻫرنﻳﺶ‬ ‫ﰲ ﺣﻴﺎﺗﻪ ﺗﻘﺮﻳﺒﺎً إﻻ اﻟﺘﺪرﻳﺲ اﻷﻛﺎدميﻲ!"‪.‬‬ ‫اﻟﺸﻌﺮ ‪baytelshear‬‬ ‫ﺑﻴﺖ ِ‬

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‫‪ ĮŇŒ ŗŕ‬‬

‫‪ɰ‬‬ ‫‪ōǙōƫ ǛǾƪŞƓ ƐƈƂǶ ŜōŨǉ ǽŨȂǙ ǛǙ ƉŬǉŐ ƩƟǶ‬‬

‫ﻫﻨﺮﻳﺶ ﻓﺴﺘﻨﻔﻠﺪ‪ ..‬ﺳﻴﺮة ذاﺗﻴﺔ ﻟﻜﺎﺗﺐ!‬ ‫ﻫﺎﻧﻲ ﻧﺪﻳﻢ‬

‫ ‬ ‫‪ɰ‬‬ ‫‪ōƖǙōǥ ǲōǾżǕŌ ǚǷǈũ ǚŐ‬‬

‫ﻗﺪﻣﺖ أﳌﺎﻧﻴﺎ ﻟﻼﺳﺘﴩاق واﻟﺒﺤﻮث‬ ‫اﻟﻌﺮﺑﻴﺔ أﺳام ًء ﻛﺒرية ﻋﱪ ﺗﺎرﻳﺨﻬﺎ‪ ،‬ﺗﺤﻘﻴﻘﺎً‬ ‫وﺗﺮﺟﻤ ًﺔ وﻧﴩاً وﻛﺘﺎﺑ ًﺔ وﺑﺤﺜﺎً وﺗﺄﺻﻴ ًﻼ‪ ،‬إذ‬ ‫ﻳﺸري اﻷﺳﺘﺎذ ﺻﻼح اﻟﺪﻳﻦ اﳌﻨﺠﺪ ﰲ ﻛﺘﺎﺑﻪ‬ ‫اﳌﺴﺘﴩﻗﻮن اﻷﳌﺎن‪" :‬أن ﻣﺠﻤﻮع ﻣﺎ ﻧﴩه‬ ‫اﻷﳌﺎن ﻣﻦ ﺑﺤﻮث ﻋﺮﺑﻴﺔ ﻳﻔﻮق ﻣﺎ ﻧﴩﺗﻪ‬ ‫ﻓﺮﻧﺴﺎ وﺑﺮﻳﻄﺎﻧﻴﺎ ﻣﻌﺎً"‪ .‬ﻫﺬا ﻏري اﳌﻨﻬﺞ‬ ‫اﻷﳌﺎين اﳌﺨﺘﻠﻒ واﻟﺬي ﺗﺮك ﻟﻨﺎ ﻋامﻟﻘﺔ‬ ‫ﺣﻘﻴﻘﻴني ﰲ ﻋﻠﻢ اﻻﺳﺘﴩاق‪ ،‬ﻣﺜﻞ راﻳﺴﻜﻪ‬ ‫وزﻳﻐﺮﻳﺪ ﻫﻮﻧﻜﻪ وأوﻏﺴﺖ ﻓﻴﴩ وﺛﻴﻮدور‬ ‫ﻧﻮﻟﺪﻛﻪ وﻫﻠﻤﻮت رﻳﱰ وﻏريﻫﻢ اﻟﻜﺜري‪.‬‬ ‫ﺑﺎﻟﻨﺴﺒﺔ ﱄ‪ ،‬وﻟﻠﻜﺜري ﻣﻦ اﳌﻬﺘﻤني ﺑﺸﺄن‬ ‫اﻻﺳـــﺘـــﴩاق‪ ،‬ﻳﻘﻒ "ﻫــرنﻳــﺶ ﻓﺮﻧﺎﻧﺪ‬ ‫ﻓﺴﺘﻨﻔﻠﺪ" ‪Ferdinand Wüstenfeld‬‬ ‫مبﺴﺎﺣ ٍﺔ ﺧﺎﺻ ٍﺔ ﻳﺸﻐﻠﻬﺎ وﺣــﺪه‪ ،‬إذ ﺗﺮك‬ ‫ﺑني ﻳﺪي اﻟﺒﺎﺣﺜني اﻷوروﺑﻴني واﻟﻌﺮب أﻛرث‬ ‫ﻣﻦ ﻣﺌﺘﻲ ﻣﺆﻟﻒ وﺣﺪه‪ ،‬وﻫﻮ ﻣﺎ ﻳﻌﺠﺰ‬ ‫ﻋﻨﻪ ﻣﺠﻤﻊ ﻋﻠﻤﻲ ﺑﺄﻛﻤﻠﻪ ﺑﺤﺴﺐ وﺻﻒ‬ ‫"ﻧﺪرﻟﻴﻚ"‪.‬‬

‫ﰲ اﻟﺒﺤﺚ ﻋﻦ ﺣﻴﺎة ﻓﺴﺘﻨﻔﻠﺪ وﻫﻮاﻣﺶ‬ ‫ﺳريﺗﻪ اﻟﻌﺎﻣﺔ‪ ،‬مل أﺟﺪ اﻟﻜﺜري ﻣام ﻳﺮوى ﰲ‬ ‫ﻛﻞ اﳌﺮاﺟﻊ اﻟﻌﺮﺑﻴﺔ واﻷﳌﺎﻧﻴﺔ واﻹﻧﺠﻠﻴﺰﻳﺔ‪،‬‬ ‫ﺑﻞ ﺣﺘﻰ أﻛﺎد أﻗﻮل‪ :‬مل أﺟﺪ ﻣﺎ ﻳﺮوى أﺑﺪاً‪،‬‬ ‫وﻛــﺄن ﻻ ﺣﻴﺎة ﻟﻪ ﺧــﺎرج اﻟﻜﺘﺐ‪ ،‬وﻫﺬا‬ ‫ﻃﺒﻴﻌﻲ إذ أﻧﻪ ﺑﻘﻠﻴﻞ ﻣﻦ اﻟﺘﻔﻜري ﻧﺠﺪ أﻧﻪ‬ ‫مل ﻳﻐﺎدر ﻃﺎوﻟﺘﻪ ﻹﻧﺠﺎز ﻛﻞ ﻫﺬا اﳌﻨﺠﺮ‪.‬‬ ‫وﻟﺪ ﻓﺴﺘﻨﻔﻠﺪ ﰲ "ﻫﺎن ﻣﻮﻧﺪن" مبﻘﺎﻃﻌﺔ‬ ‫ﻫﺎﻧﻮﻓﺮ ﰲ أﳌﺎﻧﻴﺎ ﻋﺎم ‪ ،1808‬ودرس ﰲ‬ ‫ﻣﺪارس ﻗﺮﻳﺘﻪ ﻟﻴﻨﺘﻘﻞ إﱃ ﻫﺎﻧﻮﻓﺮ ﺑﺎﻟﺜﺎﻧﻮﻳﺔ‬ ‫ﺣﻴﺚ ﻋــﺎش ﰲ ﺑﻴﺖ ﻧــﺎﻇــﺮ ﻣﺪرﺳﺘﻪ‬ ‫"ﺟﺮوﺗﻔﻨﺪ" ومنﺖ ﺑﻴﻨﻬام ﺻﺪاﻗﺔ ﻋﻠﻤﻴﺔ‬ ‫اﻧﺘﻬﺖ ﺑﻮﻓﺎة اﻟﻨﺎﻇﺮ ‪.1853‬‬ ‫ﰲ ﺟﺎﻣﻌﺔ "ﺟﻴﺘﺠﻦ" ﻛﺎﻧﺖ ﻋﻼﻗﺘﻪ اﻷوﱃ‬ ‫ﺑﺎﻟﴩق واﻟﻠﻐﺎت اﻟﺴﺎﻣﻴﺔ‪ ،‬ﻓﺪرس اﻟﻌﺮﺑﻴﺔ‬ ‫واﻟﻔﺎرﺳﻴﺔ واﻟﺴﻨﺴﻜﺮﻳﺘﻴﺔ واﻟﴪﻳﺎﻧﻴﺔ‪.‬‬ ‫وﺗﺨﺼﺺ ﰲ اﻟﻠﻐﺎت اﻟﴩﻗﻴﺔ‪ ،‬ﺛﻢ اﻧﺘﻘﻞ إﱃ‬ ‫ﺑﺮﻟني ﻟﻴﺘﻮﺳﻊ ﰲ ﻫﺬا اﳌﺠﺎل أﻛرث ﻟﺘﺒﺪأ ﻣﻦ‬

‫ ‪ōǜŨǙ ŝŨǈǕŌǶ‬‬

‫‪84‬‬

‫اﻟﻌﺪد ‪ ، 77‬أﺑﺮﻳﻞ ‪2019‬‬

‫ﻫﻨﺎك رﺣﻠﺘﻪ اﻟﻌﻠﻤﻴﺔ اﻟﺘﻲ اﺳﺘﻤﺮت ﻗﺮاﺑﺔ‬ ‫ﺳﺒﻌني ﻋﺎﻣﺎً‪.‬‬ ‫ﻧﺎل ﺷﻬﺎدة اﻟﺪﻛﺘﻮراة وﻋﺎد ﻟﻴﻌني أﻣني‬ ‫ﻣﻜﺘﺒﺔ ﺟﺎﻣﻌﺔ ﺟﻴﺘﺠﻦ ﺛﻢ أﺳﺘﺎذ ﻛﺮﳼ‪،‬‬ ‫وﻳﻘﴤ ﺑﻘﻴﺔ ﺣﻴﺎﺗﻪ ﰲ اﻟﻜﺘﺎﺑﺔ واﻟﺒﺤﺚ‪.‬‬ ‫ﻫرنﻳﺶ ﻫﻮ ﻋﻀﻮ ﰲ أﻛرث ﻣﻦ ﺗﺠﻤﻊ ﻋﻠﻤﻲ‬ ‫ﺣﻮل اﻟﻌﺎمل‪ ،‬وﻣﻦ ذﻟﻚ أﻛﺎدميﻴﺔ اﻟﻌﻠﻮم‬ ‫ﰲ ﻏﻮﺗﻴﻨﻐﻦ‪ ،‬واﻷﻛﺎدميﻴﺔ اﻟﺮوﺳﻴﺔ ﻟﻠﻌﻠﻮم‪،‬‬ ‫واﻷﻛﺎدميﻴﺔ اﻟﱪوﺳﻴﺔ ﻟﻠﻌﻠﻮم‪.‬‬ ‫‪ ǲƈǷƖǜǘǕŌ ǣǕōǘƫŐ‬‬

‫ﺗﺮك ﻓﺴﺘﻨﻔﻠﺪ أﻛرث ﻣﻦ ﻣﺌﺘﻲ ﻋﻤﻞ وﻻ‬ ‫ﻳﻮازﻳﻪ ﰲ ذﻟﻚ ﺳﻮى ﺟﻮﺳﺘﺎف ﻓﻠﻮﺟﻞ‪ ،‬إﻻ‬ ‫أن ﺷﻬﺮﺗﻪ ﺑﺪأت ﻣﻊ ﺗﺤﻘﻴﻖ وﺗﺮﺟﻤﺔ ﺳرية‬ ‫اﺑﻦ ﻫﺸﺎم ﺑﻞ وﻟﻌﻞ ﺷﻐﻔﻪ ﻛﻠﻪ ﺟﺎء ﻣﻨﻬﺎ‪،‬‬ ‫ﻓﻬﻲ اﻟﺘﻲ ﻗﺎدﺗﻪ ﺑﻌﺪ ذﻟﻚ إﱃ اﻟﻜﺘﺎﺑﺔ ﻋﻦ‬ ‫ﻣﻜﺔ واﳌﺪﻳﻨﺔ‪.‬‬ ‫وﻣﻦ أﻋامﻟﻪ اﳌﻨﺸﻮرة ﻧﺬﻛﺮ‪:‬‬ ‫• "وﻓﻴﺎت اﻷﻋﻴﺎن" ﻻﺑﻦ ﺧﻠﻜﺎن‬ ‫• "أﻛﺎدميﻴﺎت اﻟﻌﺮب وأﺳﺎﺗﺬﺗﻬﺎ"‪ ،‬وﻫﻮ‬

ĘıĘŕ

‫ﻋﻠﻲ ﺷﺎﻳﺢ اﻟﻘﺮﻧﻲ‬ @ vxxv428

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baytelshear ‫اﻟﺸﻌﺮ‬ ِ ‫ﺑﻴﺖ‬

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ĘıĘŕ

‫ اﻟﻄﻠﺤﻲ‬6‫ﻋﺒﺪا‬ @talhi_abdullah

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ƯƸţŸƂŘ ƟƙƭŬ ǐ v@@£@ <¡@@D* @@ @ @ ~@ {@ JH @@ @ Eb@@ @ 04* @@ @ @ - ° v@@£@ @ < @@ @ @ @ F* ¡@@ @ @D x@@ @~@ @ z@ @ s@ @ - ° ¡@@ @ @ @ @ @ 1*H v@@Jy@@- b@@ @E Hb@@ @ @ 0 @@ c@ @ ²* v@@ ~@ @7 b@@ @ @C *H v@@£@ @g@~@z@J b@@ E @@ <y@@ D* h@@ @ BH @@p@ ~@ |@ @ - °H v@@Jv@@ @ ~@ 6 ¥*4 @@ @ @ @< @@ @ @ @ J*4 d@@ @ : b@@ £@ @ @ @D*H v@@£@ @ J b@@ @ E 5b@@ @ @ @ @´* ex@@ @ @B Ix@@ @ @- x@@ @ @ @ <*H v@@ £@ @ + y@@ @ @ @ @ @ @ @- °H ex@@ @ @ @ @ @ @ @- ° @@ @ @ @ @D v@@J4¡@@ @ D @@ @ @ 0 2¡@@ @ @ D* b@@ c@ @ 0 @@ @ @ @ 0*H v£~}< ¢@@ @ c@ J @@~@ |@ 0 b@@ @ @ E ¡@@ @ 1°* Ix@@ @ v@@ £@ @0H ¤@@ @ @ @ D* eb@@ @ @ @ - b@@ @ E Ã*2 @@ @6b@@ @ @ @ D*

2019 ‫ أﺑﺮﻳﻞ‬، 77 ‫اﻟﻌﺪد‬

ǇƹǉơƽƴŢ ǇƼţŧǈƃŽƴŢ ſƕơƸ ƻŦ ſǉŧƠ ƃƠţƍƴŢ ſŠţƑƬ ƻƸ

ťǉƑŭƉƸ ǇŧƵƬ ƃǉŽƴŢ ďǆǃż ţǈ

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‫ ‪ĮńĴŝŊŘ‬‬ ‫‪ǳǿƉƪƖǕŌ ǢƈōŭŔ‬‬

‫ﺻﺪر ﻟﻪ دﻳﻮان ﺷﻌﺮي‬ ‫ﻋﻦ ﻧﺎدي ﺗﺮاث اﻹﻣﺎرات‬ ‫ﺿﻤﻦ »ﺳﻠﺴﻠﺔ ﺷﻌﺮاء‬ ‫ﻣﻦ اﻹﻣﺎرات« ﻋﺎم‬ ‫‪ 2008‬‬

‫ ‪ǢƂȎǾǙǶ ǣŞƒǝ‬‬ ‫ﻋﺒﻴﺪ ﺑﻦ ﻣﻌﻀﺪ ﺑﻦ ﻋﺒﻴﺪ ﺑﻦ ﻣﻌﻀﺪ اﻟﺨﺮﻳﺒﺎﻧﻲ‬ ‫اﻟﻨﻌﻴﻤﻲ‪ ،‬وﻟﺪ ﻋﺎم ‪1929‬م ﻓﻲ ﻣﻨﻄﻘﺔ ﻣﺰﻳﺪ ‬

‫‪ŪŌƉŨǕŌ Ǔŵƈ‬‬

‫‪ǒōŽƉŨǕŌ ǲōǾŽ‬‬

‫أﻃﻠﻖ ﻋﻠﻴﻪ اﻟﻤﻐﻔﻮر ﻟﻪ اﻟﺸﻴﺦ زاﻳﺪ‬ ‫ﻃﻴﺐ ا‪p‬‬ ‫ﺑﻦ ﺳﻠﻄﺎن آل ﻧﻬﻴﺎن ّ‬ ‫ﺛﺮاه‪ ،‬ﻟﻘﺐ »رﺟﻞ اﻟﺘﺮاث‹‹ ﻟﺤﻔﻈﻪ‬ ‫اﻟﻜﺜﻴﺮ ﻣﻦ اﻷﺷﻌﺎر اﻟﻘﺪﻳﻤﺔ‬ ‫واﻟﺘﻐﺎرﻳﺪ واﻟﺤﻜﺎﻳﺎت اﻟﺸﻌﺒﻴﺔ‪ ،‬ﻛﻤﺎ‬ ‫ﻃﻮﻳﻞ ﻓﻲ ّ‬ ‫ٌ‬ ‫ﻓﻦ اﻟﺸ ّﻼت‬ ‫ﻛﺎن ﻟﻪ ﺑﺎ ٌع‬ ‫واﻟﺮدح واﻟﻮ ّﻧﻪ واﻟﻄﺎرج ‬

‫ﻗﻀﻰ ﻓﺘﺮة ﺻﺒﺎه ﻣﺘﻨﻘ ًﻼ‬ ‫ﻣﻊ أﺳﺮﺗﻪ ﺑﻴﻦ ﻋﺪة ﻣﻨﺎﻃﻖ‬ ‫ﺣﺎﻟﻪ ﺣﺎل ﺑﻘﻴﺔ أﺑﻨﺎء اﻟﺒﺎدﻳﺔ‬ ‫اﻟﻤﺘﻨﻘﻠﻴﻦ ﻓﻲ ذﻟﻚ اﻟﻮﻗﺖ‬ ‫ﻃﻠﺒ ًﺎ ﻟﻠﻜﻸ واﻟﻤﺮﻋﻰ ‬ ‫‪ǳǿƉƪƗ ƜŌƉƯŐ‬‬

‫ﺗﻄ ّﺮق ﻓﻲ ﻗﺼﺎﺋﺪه إﻟﻰ ﻣﺨﺘﻠﻒ‬ ‫أﻏﺮاض وأﺑﻮاب اﻟﺸﻌﺮ اﻟﻨﺒﻄﻲ‪،‬‬ ‫وﻣﻨﻬﺎ أﻏﺮاض اﻟﻤﺪح واﻟﺮﺛﺎء‬ ‫واﻟﻨﻘﺪ اﻻﺟﺘﻤﺎﻋﻲ وﺷﻌﺮ‬ ‫اﻟﻨﺼﺎﺋﺢ واﻟﺤﻜﻢ واﻟﺘﻐﺮودة‬ ‫واﻟﻐﺰل واﻟﻤﺸﺎﻛﺎة ‬ ‫‪ǲƃǾƚǃ 1200‬‬

‫ﻛﺘﺐ ﺧﻼل ﻣﺴﻴﺮﺗﻪ‬ ‫اﻟﻄﻮﻳﻠﺔ ﻣﻊ اﻟﺸﻌﺮ أﻛﺜﺮ‬ ‫ﻣﻦ ‪ 1200‬ﻗﺼﻴﺪة ‬

‫‪ſƕơƸ ƻŦ ſǉŧƠ‬‬ ‫ ‪ǇƹǉơƽƴŢ ǇƼţŧǈƃŽƴŢ‬‬

‫‪ǣũōƳǶ‬‬

‫اﻧﺘﻘﻞ إﻟﻰ رﺣﻤﺔ ا‪ p‬ﺗﻌﺎﻟﻰ‬ ‫ﻋﺎم ‪ 2014‬إﺛﺮ ﻣﺮض ﻋﻀﺎل‬ ‫داﻫﻤﻪ ﻗﺒﻞ وﻓﺎﺗﻪ ﺑﺸﻬﻮر ‬ ‫‪ŦōǉƈōƖǙ‬‬

‫ﺳﺎﻫﻢ ﻓﻲ ﺑﺮاﻣﺞ اﻹذاﻋﺔ‬ ‫واﻟﺘﻠﻔﺰﻳﻮن ﻓﻲ أﺑﻮﻇﺒﻲ ودﺑﻲ‪،‬‬ ‫وﻛﺎن ﺿﻤﻦ أﻋﻀﺎء ﻣﺠﻠﺲ ﺷﻌﺮاء‬ ‫اﻟﻌﻴﻦ اﻟﺮﺋﻴﺴﻴﻴﻦ ﻣﻨﺬ ﺑﺪاﻳﺔ‬ ‫ﺗﺄﺳﻴﺴﻪ ‬

‫اﳌﺼﺪر‪ :‬دﻳﻮان اﻟﺸﺎﻋﺮ ﻋﺒﻴﺪ ﺑﻦ ﻣﻌﻀﺪ اﻟﺨﺮﻳﺒﺎين اﻟﻨﻌﻴﻤﻲ‪ ،‬ﻧﺎدي ﺗﺮاث اﻹﻣﺎرات‪ ،‬ﺟﻤﻊ وإﻋﺪاد د‪.‬راﺷﺪ أﺣﻤﺪ اﳌﺰروﻋﻲ‪.‬‬

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‫اﻟﻌﺪد ‪ ، 77‬أﺑﺮﻳﻞ ‪2019‬‬

~ ïĬľ~ ~ąõ ïį ĮĚ ăďõ óĚĵİĬ óĹĠïĤø óĹø~ąõ óĪüĬ

@turath_cmc 79

baytelshear ‫اﻟﺸﻌﺮ‬ ِ ‫ﺑﻴﺖ‬

@turath_sbzc

‫ ‪şœśĘĥŒ‬‬ ‫‪fK @ @c@ @J4 @N @ ~@P@ z@ @ @ @ @ @D R xO @ @ @ @ @ @ @ -&* @@ @ @A Oh@@ @ @ @ @0‬‬ ‫‪" O )P b:N ¡@@ @GH Mf@ @ @ @EQ &* H3 R @@ @ N @ @ .N R&b@ @ JN @@ @GH‬‬ ‫‪10‬‬

‫ﻟﻘﺪ ﺑﺴﻂ اﻟﻨﺎﺑﻐﺔ ﻗﻀﻴﺘﻪ ﰲ ﻣﺮاﻓﻌﺘﻪ اﻟﺸﻌﺮﻳﺔ اﻟﺘﻲ دارت ﺑني‬ ‫ﺛﻨﺎﺋﻴﺔ اﻟﺤﻖ واﻟﺒﺎﻃﻞ‪ ،‬ووﺻﻒ وﺿﻌﻪ ﺑﻬﺬه اﻟﺜﻨﺎﺋﻴﺔ ﰲ ﻛﻞ ﺑﻴﺖ‬ ‫ﻋﲆ ﺣﺪة ﺑﻄﺮﻳﻘﺔ ﻣﺨﺘﻠﻔﺔ؛ ﻏري أن ﺑﻴﺘﺎً أﺧرياً ﺑﺪﻳﻌﺎً ﰲ ﻫﺬه‬ ‫اﻟﻘﺼﻴﺪة ﻫﻮ ﻣﺎ ﻏري ﺣﻴﺎة اﻟﻨﺎﺑﻐﺔ وأﻧﻬﻰ ﺣﻴﺎة اﳌﻨﺨﻞ؛ ﺣﻴﺚ َﺷ ﱠﻔ َﺮ‬ ‫ﻓﻴﻪ اﻟﻨﺎﺑﻐﺔ ﻟﺨﻴﺎﻧﺔ ﻏﺮميﻪ ﻓﺎﻗﺘﺪح ﴍارة اﻟﺸﻚ واﻟﴩ ﰲ دواﺧﻞ‬ ‫اﻟﻨﻌامن؛ ﻳﻘﻮل اﻟﻨﺎﺑﻐﺔ‪:‬‬

‫‪h@@ @ @ @ @ @ @ @ @ @ @A*v@@ @ @ @ @ g@ @ @ @ @ @A b@@ @ @ @ @ @ @ @ @ @ @ @ @ @ g@ @ @ @ @ @ @ @ @ @ @ @ @ @ A2H‬‬ ‫‪x@@ @ Jv@@ @ @ @ D* ¶(* ,b@@ @ @ @ @ @ @ @ @ @ @ @ D* ¤@@ @ ~@ @ {@ @ E‬‬ ‫‪h@@ @ @~@ @ @ z@ @ @ Q @ @ @ @ @ @ g@ @ @ A 15b@@ @ @ @ @ @ @ @ @ @ @g@ @ @ @ @ @ @ @ @ @ @ @j@ @ @ @ @ @DH‬‬ ‫‪x@@ @ @ Jx@@ @ @ @ @ @ @D* ¤@@ @ @ @ @c@ @ @ @ @ @Q @ @ @ @ @D* @@ @ @ z@ @ @ @ Q @ @ @ @ @ @ @ @g@ @ @ @C‬‬ ‫‪ @@ @ s@Q @ @ @ @ @E b@@ @ @ @ @ J h@@ @ @ @ @ Db@@ @ @ @ @ BH 16i&b@ @ @ @ @ @ @ @ @ @ @ @ @ @ @FH‬‬ ‫‪¥4Hx@@ @ @ @ @ @ @ @ 0 @@ @ @ @ @ @ E @@ @ @ @ @ @ ~@ @ @ z@ @ @ m@ @ @ + b@@ @ @ @ @ @ E‬‬ ‫‪ @@ @ cQ @ @ @0 Ì@@ @ @ @ @= ¤@@ @ @ @ @~@ @ @z@ @ @/ Q @@ @ @ @ ~@ @ @ @ 7 b@@ @ @ @ @E‬‬ ‫‪¥Ì@@ @ @ @ @ @~@ @ @ @ @ @ 6H ¤@@ @ @ @ @ @ @ Q @ @ @ @ @ @ @ @< ¥v@@ @ @ @ @ @ @ @ @Gb@@ @ @ @ @ @ @ @ @A‬‬ ‫‪¤@@ @ @ @ @ @ @ @ @ @ @ @ @cQ @ @ @ @ @ @ @«H b@@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @cQ @ @ @ @ @ @ @ @ @ @ @ @0&*H‬‬ ‫‪¥Ì@@ @ @ @ @ @ @ @ + b@@ @ @ @ @ @ @ @ @ g@ @ @ @ @ Bb@@ @ @ @ @F d@Q @ @ @ @ @ @ @ @ p@ @ @ @ @ @ @ @ JH‬‬ ‫‪14‬‬

‫"‪ @@ @gN @ @ Cx@@ @-H Max@@ @ @ @ @ E* d@N @ @ @ @ F3 ¤ g Q 0H‬‬ ‫ﺛﻢ‬ ‫‪ " O -P *4N ¡@@GH Ì@O @ = IN¡@ R @ JO 11xQP @ O @ D* ¥w@@C‬ﻓﻘﺎل اﻟﻨّﻌامن‪ :‬ﺻﺪﻗﺖ! ﻟﻮ مل ﺗﺘﺤﺎ َﺑ َﺒﺎ ﳌﺎ ﻛﻨﺘام ﻛﺬي ]اﻟﻌﺮ[ ّ‬ ‫‪12‬‬

‫واﻟﺒﻴﺖ ﻣﻦ ﺑﺪاﺋﻊ اﻟﺘﺼﻮﻳﺮ اﻟﻘﺪﻳﻢ؛ ﺑﺤﻴﺚ وﻇﻒ ﻓﻴﻪ اﻟﺸﺎﻋﺮ‬ ‫ﺗﻘﻠﻴﺪاً ﻟﺪى اﻟﻌﺮب‪ ،‬ﻓﻠﺨﺺ ﻓﻴﻪ ﺣﺎﻟﻪ وﺣﺎل اﳌﻨﺨﻞ‪.‬‬ ‫"ذو اﻟﻌﺮ" ﻫﻮ اﻟﺠﻤﻞ اﻷﺟﺮب اﳌﺮﻳﺾ اﻟﺬي ﻳﺨﺎف ﺻﺎﺣﺒﻪ ﻣﻦ‬ ‫أن ﻳﻨﻘﻞ اﻟﻌﺪوى ﻟﻠﺠامل اﻷﺻﺤﺎء ﰲ ﻗﻄﻴﻌﻪ؛ اﻟﻐﺮﻳﺐ أن اﻟﻌﺮب‬ ‫ﻛﺎﻧﺖ ﺗﻜﻮي اﻟﺼﺤﻴﺢ اﻟﺴﺎمل وﺗﱰك اﳌﺮﻳﺾ اﳌﻮﺑﻮء !! ﻓريﺗﻊ‬ ‫اﳌﻮﺑﻮء ﻣﻄﻤﺌﻨﺎً و ُﻳﻜﻮى اﻟﺼﺤﻴﺢ ﻇﻠ ًام‪..‬‬ ‫َ‬ ‫اﻟﻨﻌامن؛ ﻓﻌﻠﻢ ﻓﻮ َرﻫﺎ أن اﳌﻨﺨﻞ ﻫﻮ‬ ‫ﻫﺬا اﻟﺘﺸﻔري اﻟﺒﺪﻳﻊ مل ﻳﻔﺖ‬ ‫وﻧﺼﺐ ﻟﻪ ُﻧ ْﺼ َﺒ ًﺔ ﻟﻴﺘﻴﻘﻦ ﻣﻦ ﺻﺤﺔ ﺧﻴﺎﻧﺘﻪ" ﻓﻘﺎل‪ :‬ﻳﺎ‬ ‫)ذو اﻟﻌﺮ(‪،‬‬ ‫َ‬ ‫ّ‬ ‫ﻣﻨﺨﻞ‪ ،‬اﺧﻠﻔﻨﻲ ﰲ أﻫﲇ ﺣﺘّﻰ أﻣﴤ أﺗﺼ ّﻴﺪ وأﻋﻮد‪ .‬ﻗﺎل‪ :‬ﻧﻌﻢ‪،‬‬ ‫ﺛﻢ ﻋﺎد إﱃ ﺑﻴﺘﻪ ﻟﻴﻼ ﻓﻮﺟﺪ ّ‬ ‫اﳌﻨﺨﻞ‬ ‫وﺧﺮج اﻟﻨّﻌامن ﺑﺰﻋﻤﻪ ّ‬ ‫ﻟﻠﺼﻴﺪ‪ّ ،‬‬ ‫واﳌﺘﺠ ّﺮدة ﻳﴩﺑﺎن اﻟﺨﻤﺮ وﺳﺎﻗﻴﻬﺎ ﰲ وﺳﻄﻪ‪ ،‬وﻫام ﻗﺪ أﻣﻨﺎ ﻣ ّﻤﻦ‬ ‫ﻳﺘﺠﺴﺲ ﻋﻠﻴﻬام ﻟﻐﻴﺒﺔ اﻟﻨّﻌامن‪ّ .‬‬ ‫ﻓﻠام رآﻫام ﻋﲆ ذﻟﻚ ﻫﺠﻢ‬ ‫ّ‬ ‫ﻋﻠﻴﻬام وﻗﺎل‪ :‬ﻳﺎ ّ‬ ‫ﻣﻨﺨﻞ‪ ،‬أﻟﺴﺖ اﻟﻘﺎﺋﻞ‪ّ :‬إن اﻟﻨّﺎﺑﻐﺔ ﻟﻮ مل ﻳﻌﺎﻳﻦ مل‬ ‫ﻳﻘﻞ؟ أﻧﺸﺪين ﻗﻮﻟﻚ‪ :‬إن ﻛﻨﺖ ﻋﺎذﻟﺘﻲ ﻓﺴريى‪:‬‬

‫ﻗﺘﻠﻬام ﺟﻤﻴﻌﺎً‪ ،‬وﻛﺘﺐ إﱃ اﻟﻨّﺎﺑﻐﺔ وأﻋﻠﻤﻪ ﺑﺬﻟﻚ وأﻋﺎده ﺑﺎﻟﻘﺴﻢ أ ّﻧﻪ‬ ‫آﻣﻦ ﻣﻨﻪ ﻣ ّﱪأ ّ‬ ‫أﺣﺐ اﻟﻨﺎس‬ ‫ﻣام ا ّﺗﻬﻢ ﺑﻪ‪ .‬ﻓﻌﺎد إﻟﻴﻪ اﻟﻨّﺎﺑﻐﺔ‪ ،‬ﻓﻜﺎن ّ‬ ‫إﻟﻴﻪ وأوﻓﺮﻫﻢ ّ‬ ‫ﺣﻈﺎً ﻋﻨﺪه"‪.17‬‬ ‫وأﻋﺘﻘﺪ أن اﻟﻨﺎﺑﻐﺔ اﺳﺘﻔﺎد ﻣﻦ ﻫﺬا اﳌﻌﻄﻰ ﰲ ﻗﻠﺐ ﺷﻌﺮ اﳌﻨﺨﻞ‬ ‫ﻋﻠﻴﻪ‪ ،‬ﻛام ﻛﺎن ﻗﺪ ﻗﻠﺐ اﳌﻨﺨﻞ ﻋﲆ اﻟﻨﺎﺑﻐﺔ ﺷﻌﺮه ﻣﻦ ﻗﺒﻞ‪.‬‬ ‫إن اﻟﺨﻴﺎﻧﺔ وﻏريﻫﺎ ﻣﻦ اﻟﺴﻠﻮﻛﺎت اﻟﺴﻠﺒﻴﺔ أو اﻹﻳﺠﺎﺑﻴﺔ ﰲ ﺣﻴﺎة‬ ‫اﻟﺸﺎﻋﺮ ﻟﻴﺴﺖ ﺳﻮى ﻧﻈﺎم دﻻﱄ ﻳﻔﺠﺮ ﺷﺎﻋﺮﻳﺘﻪ إن ﺗﺸﻔرياً أو‬ ‫ﺗﴫﻳﺤﺎً‪.‬‬

‫*( ‪¥Ì@@ @ ~@ @ @z@ @ @A ¤@@ @ @ @ g@ @ @ @ @D3b@@ @ @ @ < h@@ @ @ @ @ @ @ @ C‬‬ ‫‪¥4¡@@ @ @ @ @ @ @« °H *x@@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ D* ¡@@ @ @ @ p@ @ @ @ @F‬‬ ‫‪b@@ @ E Q @ @ @ @ @ @ @ @ @ @ @/ @@ @ @ @ @ @ @ @< ·&b@ @ @ @ @ @ ~@ @ @ @ @ @ z@ @ @ @ @ @ - °‬‬ ‫· ‪¥Ì@@ @ @ @ @ 1H ¤@@ @ @ @ Ex@@ @ @ @ C ·&b@ @ @ @ @ @ @ @~@ @ @ @ @ @ @ @6*H‬‬ ‫‪b@@ @ @g@ @ @ @ @ @ D* ¢@@ @ @ @ @ @ @ @ @< h@@ @ @ @ @ @ @ @ @ @ @ 12 v@@ @ @ @ @ @ @ @ @ @ @ DH‬‬ ‫‪13‬‬ ‫‪Ì@@ @ @ @ @´* ¡@@ @ @ @ @£@ @ @ @ @ D* ¯ 4v@@ @ @ @ @ @ @ @ @ @ @ ³* ,‬‬ ‫اﻟﻤﺮاﺟﻊ واﻟﺸﺮوﺣﺎت‪:‬‬ ‫)‪ (10‬اﻟﺪواداري )ت ﺑﻌﺪ ‪736‬ه(‪ ،‬ﻛﻨﺰ اﻟﺪرر‪ ،‬ج‪ ،2‬ص ‪.473‬‬ ‫)‪ (11‬اﻟﺠﻤﻞ اﻷﺟﺮب‪.‬‬ ‫)‪ (12‬اﻟﺬي ﻳﺮﻋﻰ ﻣﻄﻤﺌﻨﺎ‪.‬‬ ‫)‪ (13‬ﻣﻜﺎن ﺧﻠﻮة اﳌﺮأة ﻗﺪميﺎ‪.‬‬

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‫اﻟﻌﺪد ‪ ، 77‬أﺑﺮﻳﻞ ‪2019‬‬

‫)‪ (14‬اﻟﻘﻄﺎة اﻟﺤامم‪.‬‬ ‫)‪ (15‬اﻟﻠﺜﻢ اﻟﺘﻘﺒﻴﻞ‪.‬‬ ‫)‪ (16‬اﺑﺘﻌﺪت ﻏﻨﺠﺎ‪.‬‬ ‫)‪ (17‬اﻟﺪواداري )ت ﺑﻌﺪ ‪736‬ه(‪ ،‬ﻛﻨﺰ اﻟﺪرر‪ ،‬ج‪ ،2‬ص ‪.474-475‬‬

‫ّ‬ ‫واﳌﻨﺨﻞ اﻟﻴﺸﻜﺮيّ ﻛﺎﻧﺎ "ﰲ ﻣﻨﺎدﻣﺔ‬ ‫وﻗﺪ روي أن اﻟﻨّﺎﺑﻐﺔ اﻟ ّﺬﺑﻴﺎ ّين‬ ‫اﻟﻨّﻌامن ﺑﻦ اﳌﻨﺬر‪ ،‬وﻛﺎن اﻟﻨّﺎﺑﻐﺔ ﻣﻠﻴﺤﺎً ﻋﻔﻴﻔﺎً‬ ‫ّ‬ ‫واﳌﻨﺨﻞ اﻟﻴﺸﻜﺮيّ‬ ‫ﻗﺒﻴﺤﺎً ﻓﺎﺳﻘﺎً‪ .‬وﻛﺎﻧﺖ اﳌﺘﺠ ّﺮدة ﺗﻬﻮى ّ‬ ‫اﳌﻨﺨﻞ ﻟﻔﺴﻘﻪ‪ .‬وﻛﺎن اﻟﻨّﻌامن‬ ‫ﻣﺒﺠﻼ ﻟﻪ ﻣﻦ دون ّ‬ ‫اﳌﻨﺨﻞ‪ ،‬ﻓﻌﻤﻞ اﻟﺤﻴﻠﺔ ﰲ إﺑﻌﺎده‬ ‫ﻣﻜ ّﺮﻣﺎ ﻟﻠﻨّﺎﺑﻐﺔ ّ‬ ‫‪1‬‬ ‫ﻋﻦ اﻟﻨّﻌامن أو ﻗﺘﻠﻪ" ‪.‬‬ ‫إن اﻟﻨﻴﺔ اﳌﺒﻴﺘﺔ ﻟﻠﻤﻨﺨﻞ اﻟﻴﺸﻜﺮي ﻻ ميﻜﻦ ﺗﱪﻳﺮﻫﺎ ﺑﺤﺴﺪ ﻃﺒﻴﻌﻲ‬ ‫ﻣﻦ ﺗﻠﻘﺎء اﻟﺮﻏﺒﺎت اﳌﺎدﻳﺔ ﻟﻠﻨﻔﺲ؛ إﻧﻨﺎ ﻧﻠﻤﺢ إﱃ ﻋﻤﻖ اﻟﺤﺴﺪ‬ ‫اﻟﺸﻌﺮي ﻧﻔﺴﻪ‪ ،‬ﺣﻴﺚ ﻣﻦ اﳌﻤﻜﻦ أن ﺗﺘﺄﺳﺲ ﺗﻔﺎﺿﻠﻴﺔ ﻣﺎ‪ ،‬ﻟﺪى‬ ‫ﺳﻠﻄﺎن ﻣﺎ‪ ،‬ﺑني ﺷﺎﻋﺮﻳﻪ‪ ،‬ﺑﻨﺎ ًء ﻋﲆ ﻣﺪى ﺷﻌﺮﻳﺔ ﻛﻞ واﺣﺪ ﻣﻨﻬام؛‬ ‫وﺗﺎرﻳﺦ اﻷدب اﻟﻘﺪﻳﻢ ﻛﺮس ﻫﺬه اﻟﺘﻔﺎﺿﻠﻴﺔ ﰲ ﻣﺠﻤﻞ ﻧﻘﺪﻳﺎﺗﻪ‪،‬‬ ‫ﺑﺪءا ﻣﻦ "ﻓﺤﻮﻟﺔ اﻟﺸﻌﺮاء" و "اﳌﻔﻀﻠﻴﺎت" و"اﻟﻄﺒﻘﺎت" وﻏريﻫﺎ‪...‬‬ ‫ﻧﺎﻫﻴﻚ ﻋﻦ ﺻﻴﻐﺔ اﻟﺘﻔﻀﻴﻞ ﻧﻔﺴﻬﺎ اﻟﺘﻲ ﻛﺎﻧﺖ أﺷﺒﻪ ﺑﺄوﺳﻤﺔ ﺗﻌﻠﻖ‬ ‫ﻋﲆ ﺳرية ﺷﺎﻋﺮ ﻣﻦ دون آﺧﺮ؛ ﻓﻤﻨﻬﻢ ﻣﻦ ُوﺻﻒ أﻧﻪ‪" :‬ﺻﺎﺣﺐ‬ ‫أﻏﺰل ﺑﻴﺖ"‪ ،‬وﻏريه‪" :‬ﺻﺎﺣﺐ أﻣﺪح ﺑﻴﺖ"‪ ،‬وآﺧ ُﺮ‪" :‬ﺻﺎﺣﺐ أﻓﺨﺮ‬ ‫ﺑﻴﺖ"‪ ،‬وﻫﻨﺎك ﻛﺬﻟﻚ‪" :‬ﺻﺎﺣﺐ أﻫﺠﻰ ﺑﻴﺖ"‪..‬‬ ‫ﻏري أﻧﻨﺎ ﻻ ﻧﻨﻜﺮ أن ﺷﻌﺮﻳﺔ ﻛﻞ ﺷﺎﻋﺮ ﻋﲆ ﺣﺪة ﺗﺨﺘﻠﻒ إن زﻳﺎدة‬ ‫أو ﻧﻘﺼﺎن ﻋﻦ ﻗﺮﻳﻨﻪ‪ ،‬وﰲ ﻏﻴﺎب ﻣﻌﻴﺎرﻳﺔ ﻧﻘﺪﻳﺔ ﺣﻘﻴﻘﻴﺔ ﺗﺒﻘﻰ‬ ‫ﺻﻴﻎ اﻟﺘﻔﻀﻴﻞ َﺣ َﻜ ًام ﰲ ﺗﻮﺻﻴﻒ ﻫﺬه اﻟﺸﻌﺮﻳﺎت‪.‬‬ ‫ﻋﺮف ﻋﻦ اﻟﻨﺎﺑﻐﺔ أﻧﻪ ﻛﺎن أوﺣﺪ زﻣﺎﻧﻪ ﰲ أﻏﻠﺐ أﻏﺮاض اﻟﺸﻌﺮ؛‬ ‫ﻫﻜﺬا ﺗﺬﻫﺐ اﻟﺮواﻳﺎت‪ .‬وﻗﺪ ا ّﺗﻔﻖ ‪-‬ﰲ ﺑﻌﻀﻬﺎ‪ّ -‬أن اﻟﻨّﻌامن ﻗﺎل ﻟﻪ‪:‬‬ ‫"اﻣﺪح ﱄ اﳌﺘﺠ ّﺮدة‪ 2‬واذﻛﺮ ﺟﻤﻴﻊ ﻣﺤﺎﺳﻨﻬﺎ‪ .‬ﻓﻔﻌﻞ ﻫﺬه اﻷﺑﻴﺎت‬ ‫ا ّﻟﺘﻲ أ ّوﻟﻬﺎ ﻳﻘﻮل‪:‬‬

‫ﻓﺘﺨ ّﻴﻞ‪ 3‬اﻟﻨّﻌامن ﻣﻦ ﻗﻮﻟﻪ‪ ،‬وﻗﺎل ﻟﻪ اﻟﻨّﻌامن‪ :‬ﻛﻴﻒ رأﻳﺖ ﻳﺎ‬ ‫ﻓﺘﻐري اﻟﻨ ُ‬ ‫ّ‬ ‫ّﻌامن ﻋﲆ اﻟﻨّﺎﺑﻐﺔ‪.‬‬ ‫ﻣﻨﺨﻞ؟ ﻓﻘﺎل‪ :‬ﻟﻮ مل ُﻳ َﻌﺎ ِﻳﻦْ مل ﻳﺬﻛﺮ‪ّ .‬‬ ‫وﺑﻠﻎ اﻟﻨّﺎﺑﻐ ُﺔ َ‬ ‫ﻗﻮل ّ‬ ‫اﳌﻨﺨﻞ‪ ،‬ﻓﻌﻠﻢ أ ّﻧﻪ ﻣﻘﺘﻮل إن ﻗﻌﺪ‪ ،‬ﻓﻬﺮب إﱃ‬ ‫اﻟﻴﻤﻦ وﻗﺎل‪ :‬ﻳﻜﻮن ّ‬ ‫اﳌﻨﺨﻞ اﻟﺨﺎﺋﻦ وأﻧﺎ اﻷﻣني‪ ،‬وأﻧﺴﺐ دوﻧﻪ إﱃ‬ ‫‪4‬‬ ‫اﻟﺨﻴﺎﻧﺔ وﻗﺪ ﻋﻤﻞ ﻋﲆ ﻗﺘﲇ "‪.‬‬ ‫ُ‬ ‫اﻟﻨﻌامن اﻟﻨﺎﺑﻐ َﺔ ﺑﺪﺳﻴﺴﺔ اﳌﻨﺨﻞ؛ ﺣﻴﺚ ﻋﻤﻞ ﻋﲆ ﺳﻮء‬ ‫ﻟﻘﺪ أﺧ َﺬ‬ ‫ودس ود ﱠﻟ َﺲ ﻋﻠﻴﻪ ُﻣﺨﺮﺟﺎ ﺧﻴﺎﻟﻴﺔ اﻟﻮﺻﻒ إﱃ‬ ‫ﺗﺄوﻳﻞ أﺑﻴﺎت ﻏﺮميﻪ‪ ،‬ﱠ‬ ‫ﺗﺤﻘﻴﻖ اﻟﻮاﻗﻊ‪ ،‬وﻟﻘﺪ ﻛﺎﻧﺖ اﳌﺘﺠﺮدة ﻣﻦ اﻟﺠامل ُ‬ ‫واﻟﻐﻨ ِْﺞ ﺑﺤﻴﺚ‬ ‫َﺳ ُﻬ َﻞ ﻋﲆ اﻟﻨﻌامن ﺗﺼﺪﻳﻖ اﺳﺘﺜﺎرة أي رﺟﻞ ﺑﻬﺎ‪ ..‬وﻟﻌﻞ ﻣﺒﺎﻟﻐﺔ‬ ‫اﻟﻨﺎﺑﻐﺔ ﰲ ﺗﺠﺮﻳﺪ اﻷوﺻﺎف ﻟﻠﻤﺘﺠﺮدة أﻛﺪ اﻟﺠﺮ َم ﻋﻠﻴﻪ زوراً !!‬ ‫ﴍد اﻟﻨﺎﺑﻐﺔ ﰲ ﺑﻼد اﻟﻠﻪ ﻫﺎرﺑﺎً ﻣﻦ ﺑﻄﺶ اﻟﻨﻌامن‪ ،‬إﻻ أﻧﻪ ﻛﺎن داﺋﻢ‬ ‫اﻟﺘﻮﺟﺲ واﻟﻘﻠﻖ واﻟﺨﻮف ﻣﻦ أن ﺗﻄﺎﻟﻪ ﻳﺪ اﻟﻨﻌامن‪ ،‬وﺧﻮﻓﻪ ﻫﺬا‬ ‫ﺗﺠﺴﺪ ﰲ ﻗﻮﻟﻪ اﻟﺸﻬري‪:‬‬ ‫‪¤@@ @ C4v@@ @ EO ¡@@ @ @G ¥w@@ @ @ @ @D* @@ £@ @ @ @ Db@@ C @@ @ @ @ @ @F(*H‬‬ ‫‪ O @ @ ~@ @ 6*H @@ @ @< I&b@ @ g@ @ @ @ ´* &* Oh@@ @ @ @ 1 (*H‬‬

‫ﺿﺎق اﻟﺨﻨﺎق ﻋﲆ اﻟﻨﺎﺑﻐﺔ وﻫﻮ ﻫﺎﺋﻢ ﻋﲆ وﺟﻬﻪ ﺑني ﻗﺒﻴﻠﺔ‬ ‫وﺻﺤﺮاء‪ ،‬ﺣﺘﻰ أﻳﻘﻦ أن اﻟﻌﺪول إﱃ اﻟﺤﻜﻤﺔ أﻓﻀﻞ ﻣﻦ اﻟﻨﻔري إﱃ‬ ‫اﻟﻔﺮار‪ ،‬وﻣﻦ مثﺔ؛ أﻧﻔﺬ ﻟﻠﻨﻌامن ﻗﺼﻴﺪﺗﻪ اﻟﻌﻴﻨﻴﺔ اﳌﺸﻬﻮرة اﻟﺘﻲ‬ ‫ﻳﻘﻮل ﻓﻴﻬﺎ‪:‬‬

‫"*&‪¤@@ @ g@ ´O @@ @ @ @ FQ &* 6 @N @ @ @ @ Q @ @ D* Nh@@ @ £@ @ @+&* 5Áb-‬‬ ‫‪ O @ @ PEb@@ ~@N @ z@ @N ´* b@@ @ @ E @T @ gN @ @~@R@ z@ @-N ¤@@ @g@ @ DQ * @@ @ @-H‬‬ ‫‪fL @ @ £@ _@ ~@ 9 7¤@@ @ @ P @ @ @ @-R 4N HN b@@ @ @ ~@@N @ @ 6 Á&Q b@ @ @ @ @ @C Th@@ @ c@ @ @A‬‬ ‫*&‪¥v@@ g@ @ @ @E H&* q@@ @ @ @ @ )*4 f@@ @ @£Q @ @ @ E %* @@ @ @ @ @ E‬‬ ‫‪ @@Bb@@F Q @ @~@Q @ z@ @D* b@@ @ +b@@£@ F&* ¯ 8 @@ {@ @ BR xT @ @ D* @@ E‬‬ ‫<@ @ @ @ @‪2HQ y@@ @ @ @ @ @ @E Ì@@ @ @ @ @ @ @=H 2*5 *3 É@@ @ @ @ m‬‬ ‫‪Í@@ @ @ @ + ¤@Q @ @ @ @ @ @ < ¥x@@ @ @ @ @ @ < b@@ @ @ @ @EH ¥x@@ @ @ @ @ @ @ @D‬‬ ‫‪N @ @ @ @R @ @ @+O Rh@@ @ N @ @ @ @N @ @ FN v@@ @ @D‬‬ ‫‪ O 4b@@ @ @ @ @ B&°* ¤@Q @ @ @ @ < É‬‬ ‫إﱃ أن وﺻﻞ ﰲ ﺻﻔﺘﻬﺎ ﺷﻴﺌﺎً ﻓﺸﻴﺌﺎً إﱃ ﻗﻮﻟﻪ‪:‬‬ ‫‪b@@ @GÌ‬‬ ‫*&‪N @ @ = Hb@@ @ @ @ @ @ 0&* ° Kb@ @ @ @ A¡R @ @ @ @ <N O 4P b@@ @ @ @ @ @ @ @ @ @ BN O‬‬ ‫@‪ v‬‬ ‫‪M @ @ g@ ~@ z@ E ¯ Oh@@ @ @ @ @ : Oh@@ @ @ @ @ : *3(*H‬‬ ‫‪N O @ @ @E ¤@@ P @ @g@ @c@ @- M2Hx@@ @ @ @ @ B O ¡@@ @ @ @ @ /H‬‬ ‫@ © @ @ @ @ @ @@‪ O 2P b‬‬ ‫‪N‬‬ ‫@‬ ‫@‬ ‫@‬ ‫‪E‬‬ ‫‪x‬‬ ‫@‬ ‫@‬ ‫@‬ ‫ ‬ ‫@‬ ‫@‬ ‫@‬ ‫‪E‬‬ ‫‪ P‬‬ ‫‪Ì‬‬ ‫@‬ ‫@‬ ‫‪c‬‬ ‫@‬ ‫@‬ ‫ ‬ ‫@‬ ‫@‬ ‫‪D‬‬ ‫@‪b‬‬ ‫@‬ ‫@‬ ‫‪+‬‬ ‫@‪ f‬‬ ‫@‬ ‫@‬ ‫@~‬ ‫@‪Pv‬‬ ‫‪NR O‬‬ ‫‪Q@ @z@ @ m@ @ ´* ¤@@ @ @ @ +*4‬‬ ‫*&‪ @@ ~@@N }@ @ +O · @L @ P @ @ @ @g@ @~@ @z@ @E L'Hx@@ @ @ @ @ @E* b@@ @ @ @ @-‬‬ ‫‪ @M @~@ |@ p@ g@ ~@ z@ E @@ @< Oh@@ @<y@@ @F Oh@@ @<y@@ @F *3(*H‬‬ ‫‪ O @ @~@ @8b@@ F ¡@@ @ G ¥w@@ @ @ @ @DQ * @Q @ @ ²b@@ @ + Pi&b@ @ @ @ @ J µH‬‬ ‫‪N * N y@@ @ @ @F‬‬ ‫‪ @@ @ @ @DN ¡@@ @ @ @B&° @@ @ @ @ @ @ @C&* µ M ¡@@ @ @ @ @ @ @ @ + b@@ @ @ @ @ @ @ @-&* Pv@@ @~@@N @|@ @ p@R @ @O´* $b@@ @~@ @ 7xQ @ @ Db@@ @+ P4HS yN @ @ @ @ @ @ @ @ @²‬‬ ‫‪9‬‬ ‫‪ O @ @ E*¡@@ @±* S¥v@@ @<b@@ @~@ @ 6 @@ @E Rh@@ @N @ @ cP @ @ CO ¡@@ @ @DH‬‬

‫اﻟﺸﺮوﺣﺎت واﻟﻤﺮاﺟﻊ‪:‬‬ ‫)‪ (1‬اﻟﺪواداري‪ ،‬أﺑﻮ ﺑﻜﺮ ﺑﻦ ﻋﺒﺪ اﻟﻠﻪ ﺑﻦ أﻳﺒﻚ )ت ﺑﻌﺪ ‪736‬ه(‪ ،‬ﻛﻨﺰ اﻟﺪرر وﺟﺎﻣﻊ‬ ‫اﻟﻐﺮر‪ ،‬ﺗﺤﻘﻴﻖ إدوارد ﺑﺪﻳﻦ‪ ،‬ج‪ ،2‬ﻋﻴﴗ اﻟﺒﺎيب اﻟﺤﻠﺒﻲ‪ ،1994 ،‬ص ‪.472‬‬ ‫)‪ (2‬اﳌﺘﺠﺮدة‪ :‬اﺳﻢ زوﺟﺔ اﳌﻠﻚ اﻟﻨﻌامن‪.‬‬ ‫)‪ (3‬ارﺗﺎب وﺷﻚ‪.‬‬ ‫)‪ (4‬اﻟﺪواداري )ت ﺑﻌﺪ ‪736‬ه(‪ ،‬ﻛﻨﺰ اﻟﺪرر‪ ،‬ج‪ ،2‬ص ‪.472‬‬ ‫)‪ (5‬ﺑﻠﻐﻨﻲ‪.‬‬

‫)‪ (6‬دﻋﺎء ﻋﲆ اﻟﻨﻔﺲ‪.‬‬ ‫)‪ (7‬ﺳﺎورﺗﻨﻲ ﻳﻘﺼﺪ ﺑﻬﺎ ﻟﺪﻏﺘﻨﻲ‪.‬‬ ‫)‪ (8‬أﻓﻌﻰ ﺻﻐرية ﺳﺎﻣﺔ‪.‬‬ ‫)‪ (9‬ﻛﺒﻠﺖ ﻗﻴﺪت‪.‬‬

‫اﻟﺸﻌﺮ ‪baytelshear‬‬ ‫ﺑﻴﺖ ِ‬

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‫ ‪şœśĘĥŒ‬‬

‫‪ɷ‬‬ ‫ ‪ ǳǝōǾƀǕŌǶ ƃǾǈǕŌ ōǤƪƳŌƂ‬‬

‫ﻛﻴﻒ واﺟﻪ اﻟﺬﺑﻴﺎﻧﻲ ﻣﻜﻴﺪة اﻟﻴﺸﻜﺮي‬ ‫وﻧﺠﺎ ﻣﻦ ﺳﻴﻒ اﻟﻨﻌﻤﺎن!‬ ‫د‪/‬ﻳﺎﺳﻴﻦ ﺣﺰﻛﺮ‬

‫ﻣﻨﺬ ﻗﺪﻳﻢ اﻟﺨﻴﺎﻧﺔ ‪ ،‬واﻟﺒﴩ ﻻ ﻳﺮﺿﻮن مبﺎ ﺑني أﻳﺪﻳﻬﻢ ﻣﻦ ِﻧ َﻌ ٍﻢ‪،‬‬ ‫وﻛﺎﻧﺖ أﻋﻨﺎﻗﻬﻢ دامئ َﺔ اﻟﺘﻄﻠﻊ إﱃ أﻋﲆ ﻣام ﻗﺪ ﺗﺼﻠﻪ ﻗﺎﻣﺎﺗﻬﻢ‪،‬‬ ‫وﻇﻠﺖ أﻋﻴﻨﻬﻢ ﺗﱰاﻣﻰ أﺑﻌﺪ ﻣام ﻗﺪ ميﺘﺪ إﻟﻴﻪ ﺣﺪ أﺑﺼﺎرﻫﻢ؛‬ ‫ﻛﺎﻧﺖ اﻟﺮﻏﺒﺔ دامئﺎً ﰲ ﺣﻄﺐ اﻟﺨﻴﺎﻧﺔ اﻟﺬي ُﺗﻮﻗﺪ ﻧﺎ ُرﻫﺎ ﰲ اﻟﻘﻠﻮب‬ ‫اﻟﻄﺎﻣﺤﺔ اﻟﻄﺎﻣﻌﺔ‪.‬‬ ‫ﻣﺴ ِﺔ ﻧﺎ ِرﻫﺎ‬ ‫مل ﺗﻘﺘﴫ اﻟﺨﻴﺎﻧﺔ ﻋﲆ ﻋﺎﻣﺔ اﻟﻨﺎس‪ ،‬ﻛام أﻧﻪ مل ﻳﺴﻠﻢ ﻣﻦ ﱠ‬ ‫ﺧﺎﺻﺔ اﻷﻋﻔﺎء ﻣﻤﻦ ﻋﺮﻓﻮا ﺑﺎﻟﺰﻫﺪ واﻟﺘﺪﻳﻦ واﻟﻜﻔﺎف واﻟﻌﻔﺎف‪..‬‬ ‫وﺑني أدىن اﻟﻌﺎﻣﺔ وأﻋﲆ اﻟﺨﺎﺻﺔ ﻧﺠﺪ أﻣﺜﻠﺔ ﻣﻦ اﻟﺸﻌﺮاء اﻟﺬﻳﻦ‬ ‫ﺗﻮرﻃﻮا ﰲ ﻗﻀﺎﻳﺎ أﺧﻼﻗﻴﺔ ﻓﺘﺤﺖ ﻟﻬﻢ أﺑﻮاب ﺧﻴﺎﻧﺔ أوﻟﻴﺎء ﻧﻌﻤﻬﻢ‪.‬‬

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‫اﻟﻌﺪد ‪ ، 77‬أﺑﺮﻳﻞ ‪2019‬‬

‫إن ﻋﺎمل اﻟﺸﻌﺮاء اﻟﻴﻮم ﻫﻮ ﻋﺎمل اﻟﺸﻌﺮاء اﻟﺒﺎرﺣﺔ !! ﻣﺎ زال ﺑﻌﻀﻬﻢ‬ ‫ﻳﻜﻴﺪ ﻟﺒﻌﺾ‪ ،‬وﻣﺎ زال أردأﻫﻢ ُﻳﺨﺎ ِﺗﻞ أﺟﻮدﻫﻢ‪ ،‬وﻣﺎ زاﻟﺖ اﳌﺮأة‬ ‫اﻟﺘﻲ ﰲ ﻇﺎﻫﺮﻫﺎ اﻟﺤﺴﻦ‪ ،‬ﺗﻐﺮي اﻟﺮديء اﻟﺪينء ﻟﻴﺪﻓﻊ اﳌﺤﺴﻦُ‬ ‫اﳌﺠﻴﺪ مثﻦ ﺗﺄﻟﻘﻪ ﻛﻤﺪاً ووﻗﺘﺎً وﻗﻠﻘﺎً‪ .‬ﻛﻢ ﺑﻮدي أن أﻛﺘﺐ ﻋﻦ ﺷﻌﺮاء‬ ‫اﻟﻴﻮم‪ ،‬وﻟﻜﻦ ﻻ ﺣﺎﺟﺔ إﱃ ذﻟﻚ ﻣﺎ داﻣﺖ اﻟﻌﱪة ﻗﺎمئﺔ ﰲ اﻟﻘﺪﻳﻢ‬ ‫اﳌﻌﺘﻖ‪.‬‬ ‫ً‬ ‫ﺗﺨﺘﻠﻒ ﺧﻴﺎﻧﺔ اﻟﺸﻌﺮاء ﻟﺒﻌﻀﻬﻢ ﺑﻌﻀﺎ‪ ،‬ﻣﻦ ﺣﻴﺚ إﻧﻬﺎ ﺗﻨﻔﺠﺮ‬ ‫دﻓﻘﺎت ﺷﻌﺮﻳﺔ ﻣﺘﺘﺎﻟﻴﺔ‪) :‬أﺧﺬاً وردٍّا( ﺑني ﻏﺮميني أﺣﺪﻫام ﻳﺤﺎول‬ ‫اﻟﻨﻴﻞ ﻣﻦ اﻵﺧﺮ؛ ﰲ ﺣني أن ﻫﺬا اﻷﺧري ﻳﺤﺎول أن ﻳﱪئ ﻧﻔﺴﻪ‪،‬‬ ‫وﻫﻨﺎ "ﺗﱰاﻓﻊ" اﻟﻘﺼﻴﺪة ﻋﻦ َﺗ َﺮ ّﻓ ِﻊ اﻟﺤﻖ ﰲ وﺟﻪ ﺳﻄﻮة اﻟﺒﺎﻃﻞ‬ ‫وﺧﺴ ِﺘﻪ‪..‬‬ ‫ﱠ‬

ĮńĵŒ ŝšŃ ŗŕ

ɳ ɳ ǔŞɳ ƫ ɳ ɴ ƣ ǽǝōũ ɳ ɳ ǖōǜ ǘǕŌ ǽƳ ǳ ƱǾ Ő ɵ ‫ﻋﻨﺘﺮة ﺑﻦ ﺷﺪاد‬

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¤@@ ~@ @z@ @ @ @ N @ @+P ¡@@ @ @ @ @ @ @ @ 1N&* ¤@@ @ @ @ @ @ @ @ @ @ @FNQ N&* °¡@@ @ @ @ @ @ @ @ DN HN ÁN°& P ¡@@ @ @ @ @ @ ~@ @ @ 7N&* @@ @ @ @ @ @ CN HN ¢@K @ @ @ @ ~@ @ @ @ 6N&* Oh@@ @ @ @ @ @O ´N

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¤@@ Q @ @~@N @ z@ @gN @ @D* @N @ @ £@ @ @CN @M @ @ @DP b@@ @ @E fN @ @ @ N @ @ @ +*P b@@ @ @ @ @JN&* b@@ E¡@@ JN ex@ N @ @ O @ @ @D* @P @ @ @ @ PE 4 O H4N&* @N @ @ £@ @ @CN HN

P *x@@ @ @ P @ @ @ @D* Nh@@ @ @ @ @ @ +P b@@ @ @J PÄ@ @ @~@@ N@ |@ @ @D* Ì@P @ @ @ N @ @ @ @+P 6 O * Pex@@ @~@@N @9 HN&* q@P @ @ ExO @ @ D* @P @ @ @ @N @ +P P b~z²

¤@@ c@ @ @ @BN Oh@@ @ @ @ @ @ @ @ JHN *2 ° P *¡@@ @ @ @ @ @ @ GN @QP @ @ @ @ @ @ @ @ 0N HN ·b@@ @ @ @ @N ´* oN 4N 2N ¤@@ @ @ @ @ @ @ @ @ @ -N 4N&* N&* ¶P(*

‫ أرﻳﺪ وأرﺟﻮ‬:‫ أروم‬:4 ‫ ﻣﺄواه ﰲ اﻷدﻏﺎل‬:‫ أﺟﺎم اﻷﺳﺪ‬:5 ‫ اﻟﺴﻴﻒ اﻟﻘﺎﻃﻊ‬: ‫ اﻟﺤﺴﺎ ُم‬:6

N P b@@ @ @ @ @ @ @N´* ¯ fN @ @ @ N @ @ @ c@ @ @ <N @O @ @ @ £@ @ @ @: Áb@ @ @ @ @ @ @ @ @-N&* b@@ c@ @£@ @ @ @DN ¤@@ @ @ @ @ @ @ @ @ @ <N 2N HN&b@ @ @ @ @ AN ¤@@ @ @ @ @ @ @ @ @ @ @ @ @ @ <N 2NQ HN HN

baytelshear ‫اﻟﺸﻌﺮ‬ ِ ‫ﺑﻴﺖ‬

‫ ﻗﻨﺎع ﻳﻮﺿﻊ ﻋﲆ اﻟﻔﻢ أو اﻟﺸﻔﺔ ﻹﺧﻔﺎء اﻟﻮﺟﻪ‬:‫ اﻟﻠﺜﺎم‬:1 ‫ ﺷ ّﺪة اﻟﻐﺮام واﻟﻌﺸﻖ‬:‫ ﺟﻮى اﻟﻐﺮام‬:2 ‫ ﻗﻄﻊ اﻟﻮﻟﺪ ﻋﻦ اﻟﺮﺿﺎع‬: ‫ اﻟﻔﻄﺎم‬:3

‫ ‪ ĘšĲŒĬŘ‬‬ ‫‪b@@ @ + b@@ @ @ c@ B *Hx@@ @.&b@ @ g@ @ ~@ @ 6* @@ @ Jw@@ @ D* @@ @ J&b@ @ @A‬‬ ‫ﻗﺼﻴﺪة ﰲ ﻣﺪﻳﺢ اﻟﺮﺳﻮل )ص( وﺑﻠﻐﺔ أﻫﻞ اﻹﺳﻼم !!‬ ‫ ‪ b@@~@ 8 °H k@@Jv@@0 @@E (* b@@ @ A *¡@@Eb@@ @ D‬ﺗﻘﻮل اﻟﻘﺼﻴﺪة ﰲ ﻣﻘﻄﻌﻬﺎ اﻟﺜﺎين‪:‬‬ ‫‪4‬‬ ‫‪ @@E @@ 8É@@ ³* @@£@ @ A b@@ £Q @ @= b@@ @ + h@@ @ @ @ G3O‬‬ ‫ ‪ ·b@@ +x@@ ~@ 6 h@@ @ B *3(* ¤@@ @ £@ ~@Q @z@ @ - e¡@@ @ @ @ D‬‬ ‫‪¤@@ g@ @+¡@@ - v@@ @ £@ @ @<*¡@@ @ E ¤@@ @ @ @ E h@@ @ @ @ @< v@@ @ @ @BH‬‬ ‫ ‪ b@@ Q @ @ @ @+ @@ z@ @£@ @DH ¥w@@ @ @ J ¢@@ g@ @ @ @D* &Q b@ @ @ @ @ +‬‬

‫ﻳﺠﺐ وﻧﺤﻦ ﻧﻘﺮأ ﻫﺬه اﻟﺘﺤﻔﺔ اﻟﻔﺮﻳﺪة أن ﻧﺴﺘﺤﴬ ذاﻛﺮة اﻟﺒﻴﺖ‬ ‫اﻷﺻﲇ ﻛﻞ ﻣﺮة ﻧﻘﺮأ ﺻﺪر اﻟﻘﺼﻴﺪة اﻟﺬي وﺿﻌﻪ اﺑﻦ ﺟﺰي اﻟﻜﻠﺒﻲ‬ ‫ﻣﻜﺎن ﺻﺪور اﻣﺮئ اﻟﻘﻴﺲ‪ ،‬ﻛام ﻳﺠﺐ –ﰲ اﳌﻘﺎﺑﻞ‪ -‬أن ﻧﺤﺎول‬ ‫ﺗﻜﻬﻦ ﺷﻌﺮﻳﺔ اﳌﺤﺬوف ﰲ اﻷﻋﺠﺎز )ﻋﺠﺮ اﻟﺒﻴﺖ( اﻟﺘﻲ ﻛﺎن ﻣﻦ‬ ‫اﳌﻤﻜﻦ أن ﻳﺒﺪﻋﻬﺎ اﺑﻦ ﺟﺰي اﻟﻜﻠﺒﻲ ﻟﻮ أﻧﻪ مل ﻳﻘﻢ ﺑﺎﺳﺘﺨﺪام اﻟﺸﻖ‬ ‫اﻟﺜﺎين ﻣﻦ ﺷﻌﺮ اﻣﺮئ اﻟﻘﻴﺲ؛ إﻧﻨﺎ أﻣﺎم ﺳﺆاﻟني أﺣﺪﻫام ﻳﻨﻄﺮح ﰲ‬ ‫ﺟامﻟﻴﺔ اﳌﺤﺬوف اﳌﻌﻠﻮم ﻣﻦ ﺻﺪور اﻣﺮئ اﻟﻘﻴﺲ‪ ،‬واﻟﺜﺎين ﻳﻨﻄﺮح‬ ‫ﰲ ﺟامﻟﻴﺔ اﳌﺤﺬوف اﳌﺠﻬﻮل ﻣﻦ أﻋﺠﺎز اﺑﻦ ﺟﺰي اﻟﻜﻠﺒﻲ !!‬ ‫ﻫﺬه اﻷﺳﺌﻠﺔ ﻻ ﺗﺘﻮﻗﻒ ﻋﻦ اﻟﺘﻨﺎﺳﻞ واﻟﺘﻜﺎﺛﺮ ﺗﺤﺖ ﺗﺄﺛري دﻫﺸﺔ‬ ‫ﻫﺬا اﻟﻨﺺ اﻟﻔﺮﻳﺪ؛ ﺣﻴﺚ ﻳﻜﱪ إﱃ أن ﻳﺼري ﺳﺆاﻻً ﺣﻮل ﻫُ ﻮﻳﺔ اﻟﻨﺺ‬ ‫وأﺣﻘﻴﺔ ﻧﺴﺒﻪ إﱃ ﺷﺎﻋﺮ ﺑﻌﻴﻨﻪ؟؟‬ ‫ﻣﺎذا ﺗﺒﻘﻰ ﻣﻦ روح اﻣﺮئ اﻟﻘﻴﺲ ﰲ ﻫﺬا اﻟﻨﺺ؟؟‬ ‫ﻻ أﻣﻠﻚ ﺣﻘﻴﻘﺔ ﻏري ﺣﺮﻗﺔ اﻟﺴﺆال؛ أﻣﺎ اﻹﺟﺎﺑﺎت ﻓﺒﻌﻴﺪة ﻋﻦ‬ ‫ﻣﺘﻨﺎوﱄ اﻟﺴﺎﻋﺔ‪...‬‬ ‫إن ﻫﻮﻳﺔ اﻟﻨﺺ مل ﺗﺘﺄﺛﺮ ﻣﻦ ﺣﻴﺚ اﻟﺸﻜﻞ اﻟﻬﻨﺪﳼ ﻟﻠﻘﺼﻴﺪة ﻓﻘﻂ؛‬ ‫ﺑﻞ ﻣﻦ ﺣﻴﺚ ﺗﻐﻴري ﻏﺮﺿﻴﺔ اﻟﻘﺼﻴﺪة ﰲ ﻣﻘﻄﻌﻬﺎ اﻷول ﻣﻦ اﻟﻐﺰل‬ ‫اﻟﴫﻳﺢ ﻋﻨﺪ اﻣﺮئ اﻟﻘﻴﺲ إﱃ ﺑﻜﺎء اﻟﺸﺒﺎب وذم اﻟﺸﻴﺐ ﻋﻨﺪ اﺑﻦ‬ ‫ﺟﺰي اﻟﻜﻠﺒﻲ‪.‬‬ ‫إﻧﻨﺎ أﻣﺎم ﺣﺎﻟﺘني ﻧﻔﺴﻴﺘني ﻣﺨﺘﻠﻔﺘني إﺣﺪاﻫام ﺗﺰﻋﻢ اﻟﻘﻮة واﻟﺸﺒﺎب‬ ‫واﻟﺤﺐ وإﺣﺪاﻫام ﺗﻌﻜﺲ اﻟﻌﺠﺰ واﻟﺸﻴﺐ واﻟﺘﻌﺐ؛ ﺛﻢ إن ﻫﺎﺗني‬ ‫اﻟﺤﺎﻟﺘني اﳌﺘﻨﺎﻓﺮﺗني أﺷﺪ ﻣﺎ ﻳﻜﻮن اﻟﺘﻨﺎﻓﺮ‪ ،‬ﺗﺤﻘﻘﺘﺎ ﺑﻨﺴﺐ ﻣﺘﻨﺎﻏﻤﺔ‬ ‫ﻣﻦ ﻗﺒﻞ اﻟﺸﺎﻋﺮ اﻟﺜﺎين اﻟﺬي أﻋﺎد ﺑﺮﻣﺠﺔ اﻟﻨﺺ ﻟﻴﻘﻮل ﺑﻪ ﻣﺎ مل ﻳﻜﻦ‬ ‫اﳌﻠﻚ اﻟﻀﻠﻴﻞ ﻟﻴﻘﻮﻟﻪ؛ ﺑﺤﻴﺚ ﺗﺤﺎﻳﻞ ﻋﲆ ﺳﻴﺎﻗﺎت اﻟﻘﻮل ﻓﺤﻮل‬ ‫اﻟﻜﻼم ﻣﻦ اﻟﺘﺸﺒﻴﺐ إﱃ ﻣﻌﺎﺗﺒﺔ اﻟﺸﻴﺐ؛ وﺗﺤﺎﻳﻞ ﻋﲆ اﻟﺴﻴﺎﻗﺎت‬ ‫اﻟﺘﺎرﻳﺨﻴﺔ ﻓﺠﻌﻞ ﺷﺎﻋﺮاً ﺟﺎﻫﻠﻴﺎً مل ﻳﺴﻤﻊ ﺑﴚء اﺳﻤﻪ اﻹﺳﻼم ﻳﻘﻮل‬

‫اﻟﺸﺮوﺣﺎت واﻟﻤﺮاﺟﻊ‪:‬‬ ‫)‪ (1‬اﻟﻨﺪى‪.‬‬ ‫)‪ (2‬ﺗﺴﻴﻄﺮ ﻋﲆ ﻗﻠﺒﻚ‪.‬‬ ‫)‪ (3‬ﺧﺮاﺋﺐ ﻓﺎرﻏﺔ‪.‬‬

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‫اﻟﻌﺪد ‪ ، 77‬أﺑﺮﻳﻞ ‪2019‬‬

‫‪v@@ @ ¹ d@Q @ @ @p@ @ @ + ¤@@ ~@ @z@ @ @ @F h@@ @ @ @ @ @ .H w@@ @ @ @ EH‬‬ ‫ ‪ b@@ £Q @ @E t@@J4b@@ @ ~@ 7 ¥3 @@~@ |@ @ + ix@@ ~@ |@ G‬‬ ‫‪b@@_@ ~@ 6b@@1 f@@ @ J*¡@@ @ N @ @ @D* b@@ @ @£@ @~@ @7 q@@ @ c@ @ @~@ @ @8&*H‬‬ ‫ <@ @ @ @‪ b@@ @ c@ @ @D*H Q @@ @ @Q @ @ D* $¤@Q @ @ ~@ @ @6 b@@ @g@ @ B @@ £‬‬ ‫*&‪¤@@ @ )*y@@ < ¡@@ @ @ @ - @@ @ G ¥x@@ @ @~@ @7 h@@ £@ @D °‬‬ ‫ ‪ b@@ @ @ @ @ @ /(* v@@ @ @ @ + ,xQ @ @ @ @ @ C ¥xQ @ @ @ @ @ C ¤@@ @ @ @ £@ @ ³‬‬ ‫‪b@@ @ @ @ @ @ Jy@@ @F ¤@Q @ @ @c@ @ @ Q @ @ @ @ @ @ D *4*2 y@@ @ @ @ @ F&b@ @ @ @ @ @A‬‬ ‫ ‪ b@@ @ @ /H&b@ @ @ @+ h@@ £@ @c@ @J b@@ @ @E ¡@@ @ @ @ @G @@ @£@ @ @ @ B‬‬ ‫‪ @@~@ 6x@@E Ì@@ @1 i4Hb@@ @ @ @/ @@z@ @ @ D ¢@@ +¡@@ @ @A‬‬ ‫ ‪ ·b@@ @ @< x@@ @ @ @ F b@@ @ @ @ @ G4*2 ¢@@ @ @ @ @ F2&* eÈ@@ @ @£@ @ @ +‬‬ ‫‪ix@@ @Q @ @ @- ¡@@ @c@ @ @ @ D* v@@ @ @ @ < x@@ @ @ @ C3 @@ @ @ EH‬‬ ‫ ‪ b@@ @ Q @ @ @B 5b@@ @ @ @ @ @ E ¯ &b@ @ @ @ @ @~@ @ @7H b@@ @c@ @ ~@ @ 8‬‬ ‫‪ @@ @ @ .Q '¡@ @ @ @E v@@ @ @ @¸ Ñ* ¡@@ @ @ @~@ @ @ @ 64 4*¡@@ @ @ @ @ @ /‬‬ ‫ ‪ ·b@@ @j@ @ E&* @@ @ .Q '¡@ @ @ ´* v@@ m@ @´* 4v@@ @ @ J v@@ @ @ BH‬‬ ‫‪v@@BH Ix@@~@Q @z@ D* b@@ @ < ¤@@ @j@J ¥w@@ @D* *3 @@ EH‬‬ ‫ ‪ b@@ @´* @@ E É@@£@ @ B d@@ @ @:&* µH Áb@@ @ @C‬‬ ‫*&‪ @@+ h@@ @ @ ~@ {@ g@ ~@ 6* f@@ £@ @c@ @ @Q @ D* &Q * x@@ @ - µ‬‬ ‫ @ @ @‪ b@@ @ @ @ ¸ Ì@@ @ @= f@@ @ F¡@@ @ G @@ £@ @ @ @< @@ @ £‬‬ ‫‪ @@ @ F @@ @ @D h@@ @Db@@ @ @ @ A ¥2¡@@ @ @ @ @ < b@@ @ @ @ D b@@ @ @ @ @BH‬‬ ‫ ‪ ·b@@ ~@ @8H&*H @@Jv@@D ¤@@ ~@ @6&*4 *¡@@ @ @ B ¡@@ @DH‬‬ ‫‪b@@ @ D @@ @ )b@@ @ B I¡@@ @ @ @ @ @ @ @ D*H @@ @ @ £@ @ @ D(* i2b@@ @ @ @ @ @ A‬‬ ‫ ‪ ·b@@ + ¢@@ @ < ¤@@ @ E @@{@ 0¡@@D* $*v@@ @ < b@@ @ CH‬‬

‫إن ﻫﺬا اﳌﻘﻄﻊ اﻟﺜﺎين اﻟﺬي اﺧﱰﻧﺎه ﺑﻌﻨﺎﻳﺔ؛ ﻳﺨﻔﻲ ﰲ اﻋﺘﻘﺎدﻧﺎ‬ ‫أﺑﻌﺎداً ﺗﺄوﻳﻠﻴﺔ ﺑﻌﻀﻬﺎ دﻳﻨﻲ وﺑﻌﻀﻬﺎ ﻋﺠﺎﺋﺒﻲ؛ أﻣﺎ اﻟﺪﻳﻨﻲ ﻣﻨﻬﺎ‬ ‫ﻓﻬﻮ أن اﻟﺸﺎﻋﺮ ﻋﻤﻞ ﻋﻦ ﻗﺼﺪ ﻋﲆ ﺗﻘﻮﻳﻞ اﻣﺮئ اﻟﻘﻴﺲ ﻣﺎ مل‬ ‫ﻳﻘﻠﻪ؛ ذﻟﻚ أﻧﻪ ﺣ ﱠﻮر ﻗﺼﻴﺪﺗﻪ اﻟﺘﺸﺒﻴﺒﻴﺔ وﺟﻌﻠﻬﺎ ﻣﺪﺣﻴﺔ ﻟﺮﺳﻮل‬ ‫اﻟﻠﻪ )ص(‪.‬‬ ‫وﻳﴪي ﰲ اﳌﺘﺨﻴﻞ اﻷديب اﻟﻘﺪﻳﻢ أن ﻣﻦ ميﺪح اﻟﺮﺳﻮل ﻳﻨﺎل‬ ‫ﺷﻔﺎﻋﺘﻪ؛ ﻓﻬﻞ ﻛﺎن اﺑﻦ ﺟﺰي اﻟﻜﻠﺒﻲ ﺑﻬﺬا اﻟﻨﺺ اﳌﺰدوج ﻳﺴﺘﺸﻔﻊ‬ ‫ﻻﻣﺮئ اﻟﻘﻴﺲ؟؟ ﺧﺎﺻﺔ إذا أﺧﺬﻧﺎ ﺑﻌني اﻻﻋﺘﺒﺎر ﻗﻮل اﻟﺮﺳﻮل )ص(‬ ‫ﰲ اﻣﺮئ اﻟﻘﻴﺲ ﻋﻨﺪﻣﺎ ﺳﺌﻞ ﻋﻨﻪ؛ ﻓﺄﺧﱪﻫﻢ "أﻧﻪ رﺟﻞ ﻛﺮﻳﻢ ﰲ‬ ‫اﻟﺪﻧﻴﺎ ذﻟﻴﻞ ﰲ اﻵﺧﺮة ﺣﺎﻣﻞ ﻟﻮاء اﻟﺸﻌﺮاء إﱃ ﺟﻬﻨﻢ"!‬

‫)‪ (4‬أدﻫﺸﺖ ﺑﻬﺎ‪.‬‬ ‫)‪ (5‬ﻟﺴﺎن اﻟﺪﻳﻦ ﺑﻦ اﻟﺨﻄﻴﺐ‪ ،‬اﻹﺣﺎﻃﺔ ﰲ أﺧﺒﺎر ﻏﺮﻧﺎﻃﺔ‪ ،‬ج‪ ،1‬ص ‪.55‬‬

‫د‪/‬ﻳﺎﺳﻴﻦ ﺣﺰﻛﺮ‬

‫ﻻ ﺑﺪ ﻟﻜﻞ ﺷﻌﺮﻳﺔ ﺣﻴﺔ أن ﺗﺴﺘﻤﺮ ﰲ ﻣﺴﺘﻘﺒﻠﻬﺎ ﺑﺄﺷﻜﺎل ﻣﺨﺘﻠﻔﺔ‬ ‫وﻣﻐﺎﻳﺮة ﻋﻦ ﻣﺎﺿﻴﻬﺎ؛ ﺷﻌﺮﻳ ُﺔ اﻷﻧﺪﻟﺲ ﻟﻴﺴﺖ ﻫﻲ ﺷﻌﺮﻳﺔ اﳌﴩق‪،‬‬ ‫وﻟﻜﻨﻬﺎ ﻛﺎﻧﺖ ﻣﺴﺘﻘﺒﻠﻬﺎ اﻟﺬي ﺗﺠﲆ ﰲ أﺷﻜﺎل ﺗﺠﺪﻳﺪﻳﺔ ﻣﺨﺘﻠﻔﺔ‬ ‫ﻣﺄﺻ َﻠﻬﺎ اﻟﻘﺪﻳﻢ‪.‬‬ ‫إن ﻗﻠﻴ ًﻼ أو ﻛﺜرياً‪ -‬ﻋﻦْ ِ‬‫ﻧﺰﻋﻢ أن ﻣﺎ ﻳﺆﺛﺮ ﰲ اﺧﺘﻼف أي ﺷﻌﺮﻳﺔ ﻋﻦ أﺧﺮى ‪-‬ﺧﺎﺻﺔ إن ﻛﺎﻧﺘﺎ‬ ‫ﺗﻨﻄﻠﻘﺎن و ُﺗ ْﻨﺘَﻄﻘﺎن )ﻣﻦ( وﺑﻠﻐﺔ واﺣﺪة‪ -‬ﻫﻮ اﻟﺘﻌﺪد اﻟﻌﺮﻗﻲ اﻟﺬي‬ ‫ﻳﺠﻠﺐ ﻣﻌﻪ ﺗﻨﻮﻋﺎً ﺛﻘﺎﻓﻴﺎً وﺣﻀﺎرﻳﺎً ﻳﻐﻨﻲ اﻵداب واﻟﻔﻨﻮن ﻋﺎﻣﺔ‬ ‫واﻟﺸﻌﺮ ﺧﺎﺻﺔ‪ ،‬وﻟﻴﺲ ﺧﻔﻴﺎً ﻋﻦ ﻋﺎﻣﺔ وﺧﺎﺻﺔ اﳌﺘﺄدﺑني اﻟﻌﺮب أن‬ ‫اﻷﻧﺪﻟﺲ ﺣﻤﻠﺖ ﺗﺮﻛﺔ اﻷدب اﳌﴩﻗﻲ ﻛﺎﻣﻠﺔ إﻻ ﰲ متﻴﺰﻫﺎ اﻟﻌﺮﻗﻲ‬ ‫اﳌﺨﺘﻠﻒ ﻋﻦ اﻟﱰﻛﻴﺒﺔ اﻟﻌﺮﻗﻴﺔ اﳌﴩﻗﻴﺔ‪ ،‬وﻣﻦ مثﺔ؛ ﻓﺈن اﻟﺤﺪﻳﺚ‬ ‫ﻋﻦ ﺻﻠﺔ ﺗﻘﻠﻴﺪ ﻣﻦ اﻷﻧﺪﻟﺲ ﻟﻠﻤﴩق ﻫﻮ ﺣﺪﻳﺚ ﻣﺒﺘﺬل وﻣﺒﻄﻦ‬ ‫ﺑﺎﻷﺑﻮﻳﺔ اﻟﺰاﺋﻔﺔ‪.‬‬ ‫اﻟﺸﻌﺮﻳﺔ اﻷﻧﺪﻟﺴﻴﺔ ﻛﺎﻧﺖ اﻻﻣﺘﺪا َد اﻟﻄﺒﻴﻌﻲ واﻟﺼﺤﻲ اﻟﺬي ﻳﺜﺒﺖ‬ ‫ﺗﻄﻮر اﻟﺸﻌﺮ اﻟﻌﺮيب ﻋﺎﻣﺔ وﺧﻮﺿﻪ ﰲ ﻣﺴﺎﻟﻚ ﺗﺠﺪﻳﺪﻳﺔ ﻣﺨﺘﻠﻔﺔ‪ .‬إن‬ ‫ﻗ َﺪ َر اﻟﻘﺼﻴﺪة اﻷﻧﺪﻟﺴﻴﺔ ﻣﺨﺘﻠﻒ ﻛﻞ اﻻﺧﺘﻼف ﻋﻦ ﻗﺪر اﻟﻘﺼﻴﺪة‬ ‫اﳌﴩﻗﻴﺔ؛ وﻋﲆ اﻟﺮﻏﻢ ﻣﻦ ذﻟﻚ‪ -‬وﻣﻊ ﻛﻞ ﻣﺎ أﺳﻠﻔﻨﺎه‪ ،‬ﻓﺈن اﻟﻌﺮق‬ ‫دﺳﺎس واﻟﺤﻨني ﻣﻮﺻﻮل دامئﺎً إﱃ ﻣﺴﻘﻂ رأس اﻟﻘﺼﻴﺪة‪ -‬مل ﺗﺘﱪأ‬ ‫اﻟﺸﻌﺮﻳﺔ اﻷﻧﺪﻟﺴﻴﺔ ﻣﻦ أﺻﻮﻟﻬﺎ؛ ﺑﻞ ﻛﺎﻧﺖ ﺗﻠﺘﻔﺖ ﺑني اﻟﺤني واﻵﺧﺮ‬ ‫إﱃ ﻣﺎﺿﻴﻬﺎ ﻟيك ﻻ ﺗﻨﴗ ﻫُ ﻮﻳﺘﻬﺎ ﻗﺒﻞ أن َ‬ ‫متﴤ إﱃ إﺛﺒﺎت وﺟﻮدﻫﺎ‪.‬‬ ‫ﻟﻘﺪ ﺗﻌﺪدت أﺷﻜﺎل ﻋﺮﻓﺎن اﻟﻘﺼﻴﺪة اﻷﻧﺪﻟﺴﻴﺔ واﻋﱰاﻓﻬﺎ ﺑﺎﻧﺘامﺋﻬﺎ‬ ‫ﻟﻠﻘﺼﻴﺪة اﳌﴩﻗﻴﺔ؛ ﻣﻦ ﺣﻴﺚ ﻛرثة رﺟﻮﻋﻬﺎ إﱃ أﺻﻠﻬﺎ ﻋﲆ ﻣﺴﺘﻮى‬ ‫اﺳﺘﻤﺮار ﺑﻌﺾ اﻷﻏﺮاض ﻓﻴﻬﺎ‪ ،‬وﺑﻨﺎء اﻟﻘﺼﻴﺪة ﻋﲆ منﻂ ﺗﺮﺗﻴﺒﻲ ﻣﻌني‬ ‫ﻟﻠﺜﻴامت اﻟﺼﻐﺮى‪ ،‬أو ﺣﺘﻰ ﻣﻦ ﺣﻴﺚ "اﻟﺘﻨﺎص" ﻣﻊ ﺑﻌﺾ اﻟﻨﺼﻮص‬ ‫اﻟﻌﺮﻳﻘﺔ‪ ،‬أو ﻣﺠﺎراﺗﻬﺎ ﺗﺄﺛﺮا ﺑﻬﺎ ﺗﺎرة واﻧﺘﻘﺎدا ﻟﻬﺎ ﺗﺎرة أﺧﺮى‪ ...‬ﻏري‬ ‫أن أﻏﺮب ﻣﺎ ﺻﺎدﻓﻨﺎ وﻧﺤﻦ ﻧﺒﺤﺚ ﰲ اﻟﺨﺰاﻧﺔ اﻟﺸﻌﺮﻳﺔ اﻷﻧﺪﻟﺴﻴﺔ‬ ‫ﻫﻮ ﻧﺺ ﺷﻌﺮي ﻓﺮﻳﺪ اﻋﺘﻤﺪ ﰲ ﺑﻨﺎﺋﻪ ﻃﺮﻳﻘﺔ ﻏري ﻣﺴﺒﻮﻗﺔ ﻋﴫﺋﺬ؛‬ ‫ﺑﺤﻴﺚ مل ﻧﺠﺪ –ﺣﺴﺐ اﻃﻼﻋﻨﺎ اﻟﻘﺎﴏ‪ -‬ﻣﻦ اﻟﻨﻘﺎد ﻣﻦ أﻃﻠﻖ‬ ‫ﻋﲆ ﻫﺬه اﻟﻘﺼﻴﺪة ﰲ ﺑﻨﺎﺋﻬﺎ ﺗﺴﻤﻴﺔ ﻧﻘﺪﻳﺔ ﻣﻌﻴﻨﺔ؛ ﻓﻼ ﻫﻲ ﺗﻨﺎص‬ ‫إذا أردﻧﺎ اﺧﺘﺼﺎﺻﻬﺎ ﺑﺎﻟﺘﻨﺎص‪ ،‬وﻻ ﻫﻲ اﻗﺘﺒﺎس إذا أردﻧﺎ ﱠﱄ ﻋﻨﻘﻬﺎ‬ ‫ووﺻﻒ ﺑﻨﺎﺋﻬﺎ ﺑﺎﻻﻗﺘﺒﺎس‪ ،‬وﻻ ﻫﻲ ﻣﻌﺎرﺿﺔ ﻣﻊ أﻧﻬﺎ ﺗﺤﻤﻞ وﺗﺤﺘﻤﻞ‬ ‫روح اﳌﻌﺎرﺿﺔ !! ﻻ أﻛﺎد أﺟﺰم ﻣﺎ ﻫﻲ ﺑﺎﻟﻀﺒﻂ‪ ،‬وﻻ أرﻳﺪ ﻟﻬﺬه‬ ‫اﻟﺤﺎﻟﺔ اﳌﻄﻠﻘﺔ اﻟﺪﻫﺸﺔ أﻣﺎﻣﻬﺎ أن ﺗﻨﺤﴫ ﰲ اﺻﻄﻼح ﻧﻘﺪي ﺟﺎﻣﻊ‬ ‫أو ﻣﻔﻬﻮم إﺟﺮايئ ﺑﺎرد‪..‬‬ ‫وﻟﻜﻨﻬﺎ ﻓﻴام ﻧﺤﺲ ﻗﺼﻴﺪة ﺣﻠﻮل واﺗﺤﺎد ﺑني اﻟﺸﻌﺮﻳﺔ اﳌﴩﻗﻴﺔ‬ ‫واﻟﺸﻌﺮﻳﺔ اﻷﻧﺪﻟﺴﻴﺔ‪ ،‬ﺑني اﳌﺎﴈ )اﻟﺠﺎﻫﲇ( واﻟﺤﺎﴐ اﻷﻧﺪﻟﴘ‪،‬‬

‫‪ ǛǾş ƂōżũŌǶ ǒǷǔŽ ǲƃǾƚǃ‬‬ ‫‪ ǳǿƉƪƖǕŌǶ ǳǾǃƉƖǘǕŌ ǳǿƉƪƖǕŌ‬‬ ‫‪ ǽƟōǘǕŌ ǛǾş ɐǳǾƒǕƃǝȏŌ‬‬ ‫ ‪ ɐǽƒǕƃǝȏŌ ƉƟōżǕŌǶ ǽǔǥōŴǕŌ‬‬ ‫‪ǛǾũƉƫōƗ ǛǾŽǶƈ ǛǾş‬‬ ‫‪ ǳǾƀǿƈōŨǕŌ ŦōǃōǾƒǕŌ ǻǔƫ Ǔǿōżũ‬‬ ‫‪ɰ‬‬ ‫‪ɰ‬‬ ‫ ‪ Ʃǘƒǿ ǗǕ ōǾǔǥōŵ‬‬ ‫‪ŌƉƫōƗ ǓƪŴƳ‬‬ ‫‪ ǒǷǂǿ ǖȎƓȑŌ ǣǘƓŌ ŋǽƖş‬‬ ‫‪ Ƙ ǒǷƓƉǕŌ ŻǿƃǙ ǽƳ ǲƃǾƚǃ‬‬ ‫‪ ǖȎƓȑŌ ǓǥŐ ǳƮǔşǶ‬‬ ‫‪ ǽşƂȏŌ ǓǾƀŨǘǕŌ ǽƳ ǼƉƒǿ‬‬ ‫‪ ǒǷƓƉǕŌ źƃǘǿ ǛǙ ǚŐ ǗǿƃǂǕŌ‬‬ ‫‪ ǛşŌ ǚōǉ ǓǤƳ ɑǣŨƫōƲƗ ǒōǜǿ‬‬ ‫‪ ŲǶƂƋǘǕŌ ƙǜǕŌ ŌƅǤş ǽŞǔǈǕŌ ǼƋŵ‬‬ ‫‪ ɒƑǾǂǕŌ ȀƉǙȍ ƩƲƖŨƒǿ‬‬

‫ﺑني روﺣني ﺷﺎﻋﺮﺗني؛ ﻳﻘﻮل اﻟﺸﺎﻋﺮ‪ ،‬أو ﻳﻘﻮل اﻟﺸﺎﻋﺮان )اﺑﻦ ﺟﺰي‬ ‫اﻟﻜﻠﺒﻲ واﻣﺮؤ اﻟﻘﻴﺲ(‪:‬‬ ‫*&‪·b@@ @ @ @ <&* q@@ Db@@ ~@ @|@ @D H&* ¤@@ @Ey@@ @² ¡@@ @ @ @ @B‬‬ ‫‪Q‬‬ ‫ *&‪ ·b@@c@ D* @@ @ @@D* b@@ @ @J&* b@@0b@@c@ ~@ 8 @@ < °‬‬ ‫*&‪¤@@ g@ Q ´ ¡@@ @ @ A b@@ @ @~@ @6 d@@ £@ @~@ @7 ¤@@ @ @ @ @<*H b@@ @ @ @ E‬‬ ‫‪1‬‬ ‫ ‪ b@@ @0 ¢@@ @ < °b@@ @ 0 $b@@ @ @´* eb@@ @c@ @ 0 ¡Q @ @ @ @~@ @6‬‬ ‫*&‪ @@ @ @F&b@ @ @ C eb@@ @ @ c@ @ @ ~@@Q @ @ {@ @ @ D* @@ @ @£@ @ @ D @@ @ @ @ + 4b@@ @ @ @ @ @ @ @ F‬‬ ‫ ‪ b@@ @ Q @ @ @ @ D d@Q @ @~@ @ {@ @ - b@@ @ c@ @ @ G4 q@@ £@ @+b@@ ~@ @|@ @E‬‬ ‫‪b@@ @ @ @ cQ @ @ @ @ E b@@ @ @ @ @ @ @ BH ¤@X @ @ @ @ @ @= @@ @ @ @ < Áb@@ @ @ @ @ @ @ F‬‬ ‫ *&‪" ·*¡@@ 0&* @@6b@@ @D*H 4b@@ S @~@T@z@D* Ix@@- h@@~@z@D‬‬ ‫‪f@@ @ Gx@@ @ + @@ @ @ @ @ @ @ @g@ @ @D Ì@Q @ @ @ @ @ @ @ @= ¡@@ @ @ D¡@@ @ @ @ @ @ @J‬‬ ‫ ‪" ·b@@³* x~| D* ¯ b@@C E J @@GH‬‬ ‫*&=@ @ @ @@‪¤@@ @ @ @ F&* @@ @ @ @ @ @ J ¡@@ @ @ @ GH ¥x@@ @ @ @ @ G2 @@ @ @ @Db‬‬ ‫ ‪ ·b@@ j@ @E&* ¡@@ @ @ D* @@~@z@p@J ° &*H iÄ@@ @ C‬‬ ‫‪ ¡@@ @ @D q@@ c@ @ @ @J d@@ @£@ @ ~@Q@ @{@ @ D* 4b@@ @ @ F @@ @ z@ @ @F'¡@ @ @EH‬‬ ‫‪Q‬‬ ‫‪Q‬‬ ‫ ‪ b@@ @ j@ @ @ @@ @ @ @ @ 1 b@@ @ @ @ @ @ @F&b@ @ @ @C f@@ @ @~@ @ @ z@ @ @ F%b@ @ @ +‬‬ ‫*&‪ x@@ @ < b@@ @ @C @@ @E @@ @ @A ¤@@ @ -&b@ @ @-H b@@ s@ @£@ @~@ @7‬‬ ‫ ‪" *¡@@ @ @ @ @0&* f@@ .É@@ . ¯ *x@@ @ @~@ @7 Í@@ @.É@@ @.‬‬ ‫‪b@@ @g@ @ @~@7 (* b@@ @ EH b@@ £@ @ FvQ @ @ D* 2 @@ @ @ ~@ {@ -H‬‬ ‫ ‪ ·b@@ @Q @ D* @@ /x@@ D* ,$¡@@ @ @ ´* @@ @ ~@ 7 b@@ @ C‬‬ ‫*&‪b@@ @ -Ä@@ g@ <* b@@ @ E *3(* b@@ @£@ @ Fv@@ @D* b@@ @ @ @ @ @ FQ (* °‬‬ ‫‪3‬‬ ‫ ‪ b@@ @1 ¥w@@ @ + ib@@ £@ @ Ab@@ @< ¢@@ @ @ ~@ z@ D 4b@@ @ @ @J2‬‬ ‫اﻟﺸﻌﺮ ‪baytelshear‬‬ ‫ﺑﻴﺖ ِ‬

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‫ ‪ ĘšĲŒĬŘ‬‬

‫‪ ǽŞǔǈǕŌ ǼƋŵ ǛşŌ‬‬ ‫ ‪ǓǿōżŨǿ‬‬ ‫ ‪ ŦōǃōǾƒǕŌ ǻǔƫ‬‬ ‫‪ǳǾƀǿƈōŨǕŌ‬‬

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‫اﻟﻌﺪد ‪ ، 77‬أﺑﺮﻳﻞ ‪2019‬‬

‫ﻫﻞ ﻣﺪح اﻣﺮؤ اﻟﻘﻴﺲ‬ ‫ﻓﻲ اﻟﺠﺎﻫﻠﻴﺔ اﻟﺮﺳﻮل ﻣﺤﻤﺪ )ص(؟!‬

ĘıĘŕ

‫ﻣﺘﻌﺐ اﻟﻨﺼﺎر اﻟﺸﺮاري‬ @Mt3bN

¥Hb@@ @ @ @ @ = f@@ @ c@ @ @p@ @ @´b@@ @ + ¥x@@ @ @ @ @ @ @A ¡@@ @ £@ @ @ @ @ @ + ¥Hb@@ ~@ @z@ @-b@@ E y@@ @ @ @ @²* ib@@ @ @ @ J¡@@ @~@ @ 6 v@@ @ @ @ @< ¥Hb@@ @ @ @ @ @ D* @@ Jv@@ @ @c@ @E 3*¡@@ @ @ @ @ @ @ D* b@@ @ @ @ @< ¥H*3 *¡@@ @ @ ~@ @ @ @ 7&°* 4b@@ @ @ F @@ @ E ¡@@ @ @ GH h@@ @ @ @+*3 ¥Hb@@ ~@ @9 eb@@ @ @c@ @ @ 0&°* e¡@@ @ @ @ @+ É@@ @ @ @ D* ¡@@ @ @J ¥Hb@@ @~@ @ z@ @ g@ @ Db@@ @+ É@@ @ @ @ @²* b@@ @ @ @ £@ @ A M 5¡@@ @ @ @ g@ @ @ @ @E ¥Hb@@ @ @B *v@@ @ @ @ @ @ @ +(°* x@@ J¡@@ ~@ @|@ @- ¢@@ @ @ @ < Ñ*H ¥H*¡@@ @ @ @ @ @ @D*H I¡@@ @ @ @ @ @ D* Í@@ @ @+ f@@ @ @ @ Q @ @ @ @ g@ @ EH ¥H*x@@ @ @ ²b@@ @ @ + ¤@@ @ @ © °H rHx@@ @ @ @ @ - Me¡@@ @ @ @ @ @ FH ¥H*v@@ @ @ @ @D* ¡@@ @£@ @ @ @ D* b@@ @Bx@@ @A ¢@@ @ @ < M y@@ @ @ @ 0 ¥Hb@@ @ p@ @ @ @ D* 4¡@@ @ @£@ @ @ : @@ @ @ E MÌ@ @ @ @ @: ¡@@ @ @ @ @ @ ¥Hb@@ @ - Í@@ Cb@@ ~@ @ z@ @ ´* e¡@@ @ @ @ B ¢@@ @ @ < i4b@@ @ ~@ @ @8 ¥HÉ@@ @ c@ @ @D* 4b@@ @ c@ @ @C @@ @ @E I¡@@ @ @ @ @+ ¡@@ @~@ @ {@ @ J ¥Hb@@ @ @ /x@@ @ @ D* ib@@ @ @ @ @ @ :b@@ @ @B b@@ @ @ g@ @ ~@ @ z@ @ Ab@@ @ @ §

baytelshear ‫اﻟﺸﻌﺮ‬ ِ ‫ﺑﻴﺖ‬

ǆǂǑŧƴŢ Ƃţŧư b@@ @ @ @ G4v@@ @ @ @ BH ,b@@ @ @ @ @ £@ @ @ @ @ @²* ¡@@ @ @ @ @ @ @0b@@ @ @ J Ñ* b@@ G4v@@ C @@ @ < v@@ ~@ @{@ @F °H ,b@@ @ £@ @ @²* @@ @7b@@ @< b@@Gx@@ @ ~@ 7 ¯ x@@ @ @ @ @D* @@ ~@ @7 $b@@ @ @ @ D f@@ @ @² b@@Gx@@ @ ~@ 8 d@@ Jb@@ c@ @ ²* ¡@@ @~@ @ 7 @@ @ @DH f@@ @ @ ~@ 7 b@@ @Gx@@ @ @ @ B b@@ @ Gb@@ @ @ @ @~@ @ @6 @@ @ @ @ @ @ @JQ 5 Mf@ @ @ @ @ @ £@ @ @ D ¯ b@@Gx@@~@ |@ g@ s@ J ¤@@ @ @ @ 0 @@ @ Eb@@ @ E @@ g@ @+¡@@ c@ @¹ b@@ @ Gx@@ @ @ @ @0H b@@ @ @ @ @ @ @±b@@ @ @ + b@@ @ @ @ @ @ @ @ @B54 Ñ* b@@ @ Gx@@ @ @ @ @s@ @ @+R H b@@ @ @ @ @ @ )Hv@@ @ @ @ @ @ + ,y@@ @ @£Q @ @ @ @ @ @ g@ @ @ E b@@ @Gx@@ @ @ @ EH Hy@@ @ @ @ @ @ ´* @@ @ j@ @ E ¤@@ @ @ © Me¡@@ @ @ @ @ F b@@Gx@@ @ g@ @ J ¡@@ @ @ @GH d@@ @£Q @ @ ~@ @ 7 h@@ @ @D¡Q @ @ @ : *H b@@ Gx@@ @ @F q@@ c@ @~@ @{@ @J ¡@@ @ @ @ J ¤@@ @ @ @ @D* 2b@@ @ @ @ @ @ ±* b@@ @ G4¡N @ @ @0 ¯ f@@ @ @ @ @ @ .*H ¤@@ @ Gb@@ @ E È@@ @ @C @@ @ @E Q b@@ @ @ @ Ab@@ @~@ @ 7 @@ @ @ E b@@ @ G4¡N @ @ @~@ @ @8 ox@@ @ @ @ @ @ - °H b@@ Gx@@ p@ + ¯ Mf@ @ @ @ @ @ F I4*w@@ @ @ @ @ @ @ @ D* @@ ~@ @z@ @0

‫‪ĶřŒ ĘĪ‬‬ ‫ﺗﻌﺎﻣﻠﺖ ﻣﻊ "ﺗﻮرﻛﺎن" اﳌﻠﻜﺔ؟‬ ‫ﻓﻜﻴﻒ‬ ‫ِ‬ ‫■ ﺑﺪاﻳﺔ ﻛﻨﺖ ﻗﺪ ﻗﺮأت رواﻳﺔ "ﺳﻤﺮﻗﻨﺪ"‬ ‫ﻟﻠﻜﺎﺗﺐ أﻣني ﻣﻌﻠﻮف اﻟﺘﻲ اﻗﺘﺒﺲ ﻣﻨﻬﺎ‬ ‫اﳌﺴﻠﺴﻞ‪ ،‬ﻣﻦ زﻣﻦ وأﻋﺠﺒﺖ ﺑﻬﺎ ﻛﺜرياً‪،‬‬ ‫ﻓﺄﻧﺎ ﻗﺎرﺋﺔ ﻧﻬﻤﺔ رﺑــﺎين واﻟــﺪي ﻋﲆ ﺣﺐ‬ ‫اﻟﻘﺮاءة‪ ،‬وﻗﺮأت ﻣﻨﺬ ﻛﺎن ﻋﻤﺮي ‪ 5‬ﺳﻨﻮات‬ ‫رواﻳﺔ "اﻟﺰﻧﺒﻘﺔ اﻟﺴﻮداء" وﻣﺎ زﻟﺖ إﱃ اﻵن‬ ‫أﻗﺮأ ﺑﺎﻟﻌﺮﺑﻴﺔ واﻻﻧﺠﻠﻴﺰﻳﺔ واﻟﻔﺮﻧﺴﻴﺔ‪ ،‬وﻛﺎن‬ ‫ﺣﻠﻤﻲ ﻋﻨﺪ ﻗ ـﺮاءة "ﺳﻤﺮﻗﻨﺪ" ﰲ اﻟﻌﺎم‬ ‫‪ 2009‬أن أﺣﻮﻟﻬﺎ إﱃ ﻓﻴﻠﻢ ﺳﻴﻨاميئ‪ ،‬وذﻟﻚ‬ ‫ﻷﺑﻌﺎدﻫﺎ اﻟﺴﻴﺎﺳﻴﺔ واﻟﺜﻘﺎﻓﻴﺔ واﻟﻔﻨﻴﺔ‪ ،‬وﻟﻬﺬا‬ ‫ﻋﻨﺪﻣﺎ ﻋــﺮض ﻋـ ﱠ‬ ‫ﲇ اﳌﺨﺮج إﻳــﺎد اﻟﺨﺰوز‬ ‫اﳌﺸﺎرﻛﺔ ﺑﺎﳌﺴﻠﺴﻞ‪ ،‬ﻗﻠﺖ ﻟﻪ أﻧﺎ ﻣﻌﻚ ﻣﻦ‬ ‫دون اﳌﻨﺎﻗﺸﺔ ﺑﺎﻷﺟﺮ واﻟﺘﻔﺎﺻﻴﻞ اﻷﺧﺮى‪،‬‬ ‫ﻷن "ﺣﺴﻦ اﻟﺼﺒﺎح" ﻣﺎ زال ﻣﻮﺟﻮداً ﰲ ﻛﻞ‬ ‫ﻣﺠﺘﻤﻊ ﻣﺘﻄﺮف‪ ،‬ﻓﺎﻟﺘﺎرﻳﺦ ﺣﺎﴐ ﺑﺄوﺟﻪ‬ ‫اﻟﻔﻜﺮ اﻻﻧﺘﺤﺎري ﺣﺘﻰ وإن ﻏري وﺟﻬﻪ أو‬ ‫أﺳﻠﻮﺑﻪ أو أدواﺗﻪ‪.‬‬ ‫وﺑﺎﻟﻌﻮدة إﱃ اﳌﺴﻠﺴﻞ ﴎرت ﺑﺎﻟﻌﻤﻞ ﻣﻊ‬ ‫اﻟﻔﻨﺎن ﻋﺎﺑﺪ ﻓﻬﺪ‪ ،‬ﻛام أن ﺷﺨﺼﻴﺔ "ﺗﻮرﻛﺎن"‬ ‫اﺳﺘﻬﻠﻜﺖ ﻣﻦ وﻗﺘﻲ ﺷﻬﺮاً ﻣﻦ اﻟﺒﺤﺚ ﰲ‬ ‫اﻟﻜﺘﺐ اﻟﺘﺎرﻳﺨﻴﺔ واﻷﺑﺤﺎث ﻷﻋﺮف ﻋﻨﻬﺎ‬ ‫اﳌﺰﻳﺪ‪ ،‬وﻣﺎذا ﻛﺎﻧﺖ ﺗﺮﺗﺪي ﻣﻦ ﻣﻼﺑﺲ‪ ،‬ﺣﺘﻰ‬ ‫أين أرﺳﻠﺖ ﻓﺮﻳﻘﺎً إﱃ ﺗﺮﻛﻴﺎ ﻹﺣﻀﺎر ﻣﻼﺑﺲ‬ ‫وإﻛﺴﺴﻮارات أﺑﺪو ﻓﻴﻬﺎ ﺑﺬات اﻟﺸﻜﻞ اﻟﺬي‬ ‫ﻛﺎﻧﺖ ﺗﻈﻬﺮ ﺑﻪ‪ ،‬رﻏﻢ أﻧﻬﺎ ﻛﺎﻧﺖ أﻛﱪ ﻣﻨﻲ‬ ‫وﻫﻲ أم ﻟﺸﺎﺑﺔ وأﻧﺎ مل أﻋﺶ ﻫﺬه اﻟﺘﺠﺮﺑﺔ‪،‬‬ ‫ﻛام ﻛﺎﻧﺖ ﻣﺘﺰوﺟﺔ ﻣﻦ إﻣﱪاﻃﻮر‪ ،‬وﻛﺎﻧﺖ‬ ‫اﻟﺴﺒﺐ اﻟﺨﻔﻲ ﰲ اﻧﻬﻴﺎر اﻹﻣﱪاﻃﻮرﻳﺔ‪ ،‬ﻟﻘﺪ‬ ‫ﻛﺎن ﺑﺎﻟﻨﺴﺒﺔ ﻟﻬﺎ اﻟﺰوج واﻟﺤﺒﻴﺐ واﻟﻌﺪو‪ ،‬ﻛﻞ‬ ‫ﻫﺬا اﻟﺨﻠﻴﻂ اﺟﺘﻤﻊ ﰲ "ﺗﻮرﻛﺎن"‪.‬‬ ‫‪ ǳŞƪƚǕŌ ƈŌǶƂȏŌ‬‬

‫ﻛﻴﻒ ﺗﻨﻈﺮﻳﻦ إﱃ ﺗﺠﺮﺑﺔ اﳌﺴﻠﺴﻼت‬ ‫اﻟﻌﺮﺑﻴﺔ اﳌﺸﱰﻛﺔ؟‬ ‫■ ﰲ اﻟﻌﺎم ‪ 2017‬ﻗﻤﺖ ﺑﺈﻧﺘﺎج "ﻗﻠﺒﻲ ﻣﻌﻲ"‬ ‫وﻛﺎن ﻋﻤ ًﻼ ﻣﺸﱰﻛﺎً‪ ،‬ﻓﺄﻧﺎ ﻣﻊ اﻷﻋامل اﳌﺸﱰﻛﺔ‬ ‫ﰲ ﺣﺎل ﻛﺎﻧﺖ أﺣﺪاﺛﻬﺎ واﻗﻌﻴﺔ‪ ،‬ﻓﻌﻨﺪﻣﺎ آيت‬ ‫إﱃ أرﺿﻴﺔ أﺣــﺪاث ﻣﺜﻞ أﺑﻮﻇﺒﻲ أو ديب‬

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‫اﻟﻌﺪد ‪ ، 77‬أﺑﺮﻳﻞ ‪2019‬‬

‫‪ ǖȎƓǶ ǳŞżǙ‬‬

‫ﻫﻞ ﻫﻨﺎك ﻣﺎ ﺗﺤﴬﻳﻦ ﻟﻪ ﺧﻼل اﳌﻮﺳﻢ‬ ‫اﻟﺮﻣﻀﺎين؟‬ ‫■ ﻟﺪيّ ارﺗﺒﺎط وﺗﺠﻬﻴﺰ ﻟﻌﻤﻞ ﺑﻌﻨﻮان "ﻗﺒﻞ‬ ‫وﺑﻌﺪ" ﻳﻌﺮض ﺧﻼل اﻟﺸﻬﺮ اﻟﻔﻀﻴﻞ‪ ،‬وﻫﻮ‬ ‫ﺧﻠﻴﺠﻲ ﻳﺘﻨﺎول ﻗﻀﺎﻳﺎ ﻋﺎمل اﻟﺘﺠﻤﻴﻞ وﻓﻴﻪ‬ ‫أؤدي ﺷﺨﺼﻴﺔ اﺧﺼﺎﺋﻴﺔ ﻧﻔﺴﻴﺔ وﺗﺠﻤﻴﻠﻴﺔ‪،‬‬ ‫وﻳﺸﺎرﻛﻨﻲ ﰲ اﻟﻌﻤﻞ ﻣﺤﻤﻮد ﺑﻮﺷﻬﺮي‪ ،‬إﱃ‬ ‫ﺟﺎﻧﺐ ﺿﻴﻮف ﴍف ﻣﻦ ﺳﻮرﻳﺎ وﻣﴫ‪،‬‬ ‫وﺷﺒﺎب ﺟﺪد ﻣﻦ اﻟﺴﻌﻮدﻳﺔ أﺗﻮﺳﻢ ﺑﻬﻢ‬ ‫ﺧرياً‪.‬‬

‫ﻓﻬﻲ ﺗﺤﺘﻮي ﻛﻞ اﻟﺠﻨﺴﻴﺎت وﺗﺼﻠﺢ ﻟﻌﻤﻞ‬ ‫ﻣﺸﱰك‪ ،‬ﻟﻜﻦ ﻋﻨﺪﻣﺎ أذﻫــﺐ ﻟﺪوﻟﺔ ﻣﺜﻞ‬ ‫ﺳﻮرﻳﺎ أو اﳌﻐﺮب ﻓﻴﻬﺎ ﻧﺴﻴﺞ واﺣﺪ‪ ،‬ﻳﻜﻮن‬ ‫اﻟﻌﻤﻞ اﳌﺸﱰك ﻧﺸﺎز ﻋﻦ اﻟﻮاﻗﻊ‪ ،‬وﻏري‬ ‫ﺣﻘﻴﻘﻲ‪.‬‬ ‫أرى ﰲ اﻟﻌﺎدة أن اﳌﺴﻠﺴﻼت اﳌﺸﱰﻛﺔ أﻛرث‬ ‫ﺣﻈﺎً ﰲ اﻻﻧﺘﺸﺎر‪ ،‬ﺑﴩط أن ﺗﻜﻮن أﺣﺪاﺛﻬﺎ‬ ‫واﻗﻌﻴﺔ وﻣﻘﻨﻌﺔ‪ ،‬واﳌﺴﻠﺴﻼت اﻟﺘﺎرﻳﺨﻴﺔ‬ ‫متﻨﺢ ﻓﺮﺻﺔ أﻛﱪ ﻟﻸﻋامل اﳌﺸﱰﻛﺔ‪.‬‬ ‫ﻫﻞ ﻫﻨﺎك أدوار ﺗﺘﻤﻨني ﻟﻮ ﺗﺆدﻳﻨﻬﺎ؟‬ ‫■ أﺣﺐ أن أؤدي دوراً ﻹﺣﺪى ﺷﺨﺼﻴﺎت‬ ‫ذوي اﻻﺣﺘﻴﺎﺟﺎت اﻟﺨﺎﺻﺔ "أﺻﺤﺎب اﻟﻬﻤﻢ"‬ ‫اﻣﺮأة ﻛﻔﻴﻔﺔ أو ﺻامء‪ ،‬أو أن أﻗﺪم أدواراً ﻟﻬﺎ‬ ‫ﻋﻼﻗﺔ ﺑﻘﻀﺎﻳﺎ ﻣﻌﻴﻨﺔ ﻣﺜﻞ ﺷﺨﺼﻴﺔ ﻣﻬﺎﺟﺮة‬ ‫أو اﻣﺮأة ﰲ اﻟﺴﺠﻦ ﺑﺴﺒﺐ ﻗﻀﻴﺔ ﻣﺎ‪.‬‬

‫ذﻛﺮت أﻧﻚ ﻣﻌﺘﺎدة ﻋﲆ اﻟﻘﺮاءة ﻓام أﻫﻤﻴﺔ‬ ‫ِ‬ ‫اﻟﻘﺮاءة ﺑﺎﻟﻨﺴﺒﺔ ﻟﻠﻔﻨﺎن؟‬ ‫■ ﻟﻴﺴﺖ اﻟﻘﺮاءة ﻫﺎﻣﺔ ﺑﺎﻟﻨﺴﺒﺔ ﻟﻠﻔﻨﺎن ﻓﻘﻂ‪،‬‬ ‫إذ ﻻ ﻗﻴﻤﺔ ﻟﻺﻧﺴﺎن ﺑﺪون ﻗﺮاءة‪ ،‬ﻷﻧﻬﺎ أدوات‬ ‫اﻹﻧﺴﺎﻧﻴﺔ‪ ،‬وﻫﻲ ﻣﻬﻤﺔ ﻟﻠﻔﻨﺎن ﻛﻮﻧﻬﺎ ﺗﺸﻜﻞ‬ ‫ﻣﺨﺰوﻧﺎً وﺗﻨﻤﻲ اﻟﺨﻴﺎل‪ ،‬وﻳﻌﺮف ﺑﺎﻟﺘﺎﱄ ﻛﻴﻒ‬ ‫ﺗﺘﻄﻮر اﻟﺸﺨﺼﻴﺎت‪.‬‬ ‫وأﻧﺎ ﻻ أﺗﺨﻴﻞ أن ﻳﻜﻮن اﻹﻧﺴﺎن ﻏري ﻗﺎرئ‪،‬‬ ‫وﻫﻨﺎك ﻓﺮص وﻣﺸﺎرﻳﻊ أﺷﺠﻌﻬﺎ ﻣﺜﻞ اﳌﻜﺘﺒﺔ‬ ‫اﻟﺼﻮﺗﻴﺔ‪ ،‬اﻟﺘﻲ متﻜﻦ ﻣﻦ اﻻﺳﺘامع ﻷﺻﻮات‬ ‫ﻣﺮﻳﺤﺔ ﺗﻘﺮأ ﻣﻦ اﻷدب اﻟﻌﺮيب أو اﻟﻌﺎﳌﻲ‪،‬‬ ‫وﻟﻬﺬا ﻻ أﻋﺘﻘﺪ أن ﺿﻴﻖ اﻟﻮﻗﺖ ذرﻳﻌﺔ ﻟﻌﺪم‬ ‫اﻟﻘﺮاءة‪ ،‬ﻷﻧﻪ ﻣﻦ اﳌﻤﻜﻦ أن ﻳﺨﺼﺺ ﻟﻨﻔﺴﻪ‬ ‫ﺳﺎﻋﺔ ﻳﻮﻣﻴﺎً ﻟﻠﻘﺮاءة ﺣﺘﻰ ﻟﻮ ﻗﺴﻤﻬﺎ ﻋﲆ‬ ‫ﻣﺪار اﻟﻴﻮم‪.‬‬ ‫ﻣﺎ اﻟﺠﺪﻳﺪ اﻟﺬي ﺗﻌﻤﻠني ﻋﻠﻴﻪ ﻫﺬه اﻟﻔﱰة؟‬ ‫■ ﻧﻌﻤﻞ ﻋﲆ ﻓﻴﻠﻢ )ﺛــﺮي‪ ،‬ﺗﻮ‪ ،‬ون( وﻫﻮ‬ ‫"ﻻﻳــﻒ ﻛﻮﻣﻴﺪي" ﻳﺤيك ﻋﻦ اﻟﻔﻦ وﻋﻦ‬ ‫اﻟﺘﺼﻮﻳﺮ وﻧﺤﺎول أن ﻳﻜﻮن ﻫﺬا اﻟﻔﻴﻠﻢ‬ ‫ﺟﺎﻫﺰاً ﻟﻠﻌﺮض ﺧﻼل ﻋﻴﺪ اﻷﺿﺤﻰ اﳌﺒﺎرك‪.‬‬ ‫أﺧري ًا ﻣﺎ اﻟﺬي ﺗﺮﻏﺒني ﺑﻘﻮﻟﻪ؟‬ ‫■ أمتﻨﻰ ﻟﻠﺠﻤﻴﻊ ﺗﺤﻘﻴﻖ اﻟﺤﺐ ﻣﻊ اﻟﺬات‬ ‫وﻣﻊ اﻵﺧﺮﻳﻦ‪ ،‬ﻓﻨﺤﻦ اﻟﺬﻳﻦ ﻧﺸﺘﻐﻞ ﺑﺎﻟﻔﻦ‬ ‫ﻟﻐﺘﻨﺎ اﳌﺤﺒﺔ واﻟﺴﻼم وﻧﻘﻮل ﻟﻠﻌﺎمل ﻛﻔﺎﻛﻢ‬ ‫ﺣﺮوﺑﺎً‪ ،‬وﻧﺪﻋﻮ إﱃ اﳌﺤﺒﺔ واﻟﺴﻼم‪.‬‬

‫ﺗﻮاﺟﺪت ﰲ‬ ‫ﰲ ﺷﻬﺮ أﺑﺮﻳﻞ ﻣﻦ اﻟﻌﺎم اﳌﺎﴈ‬ ‫ِ‬ ‫أﺑﻮﻇﺒﻲ‪ ،‬ﻟﻠﻌﻤﻞ ﻋﲆ إﺧﺮاج ﻓﻴﻠﻢ "وﺟﻮه‬ ‫ﻣﺤﺮﻣﺔ" اﳌﺄﺧﻮذ ﻋﻦ رواﻳﺔ اﻟﻜﺎﺗﺐ اﻟﺴﻌﻮدي‬ ‫ﺧﺎﻟﺪ اﻟﺮاﺟﺢ‪ ،‬ﻓﻜﻴﻒ ﺗﻠﺨﺼني ﺗﺠﺮﺑﺘﻚ ﻣﻊ‬ ‫اﻹﺧﺮاج؟‬ ‫■ اﳌﺨﺮج ﰲ اﳌﻘﺎم اﻷول ﻫﻮ ﻣﻦ ﻳﺠﻴﺪ إدارة‬ ‫اﳌﻤﺜﻞ‪ ،‬ﻛام أن اﻟﺘﻘﻨﻴﺎت ﻣﻬﻤﺔ ﺟﺪاً‪ ،‬وﻫﻨﺎك‬ ‫ﻣﻦ ﻫﻮ أﻓﻀﻞ ﻣﻦ اﳌﺨﺮج وراء اﻟﺘﺼﻮﻳﺮ‪ ،‬ﻟﻜﻦ‬ ‫اﻷﻫﻢ إدارة اﻟﻔﺮﻳﻖ‪ ،‬وﻫﻨﺎ ﻋﲆ اﳌﺨﺮج أن‬ ‫ﻳﻌﺮف ﻛﻴﻒ ﻳﺴﺘﺨﺪم أدواﺗﻪ‪ ،‬وﻛﻴﻒ ﻳﺤﺴﻦ‬ ‫إدارة اﳌﻤﺜﻞ‪ ،‬وﻟﻬﺬا ﻓﺈن اﳌﺨﺮﺟني اﻟﺬﻳﻦ‬ ‫ﻣﺎرﺳﻮا اﻟﺘﻤﺜﻴﻞ ﻳﺴﻬﻞ ﻋﻠﻴﻬﻢ‪ ،‬إدارة اﳌﻤﺜﻞ‬ ‫ﻋﻦ اﻟﺬﻳﻦ مل ميﺎرﺳﻮا اﻟﺘﻤﺜﻴﻞ ﻣﻦ ﻗﺒﻞ‪ ،‬وﻣﻦ‬ ‫ﻫﺬا اﳌﻨﻄﻠﻖ ﻧﺮى أن اﳌﺨﺮﺟني ﻣﻦ ﺳﻮرﻳﺎ أو‬ ‫ﻏريﻫﻢ ﻣﻦ دول اﻟﻌﺎمل اﻟﻌﺮيب اﻟﺬﻳﻦ ﺗﺨﺮﺟﻮا‬ ‫ﻣﻦ ﻣﻌﺎﻫﺪ اﻟﻔﻨﻮن اﳌﴪﺣﻴﺔ ﻫﻢ اﻷﻗﺪر ﻋﲆ‬ ‫إدارة اﳌﻤﺜﻞ‪.‬‬

‫"ﻣﺎﻣﺎ ﺗﻮﺣﺔ" أﺿﺎﻓﺖ ﻟﻠﻌﻤﻞ‪ ،‬ﺑﻞ ﻫﻲ ﺗﺎج‬ ‫اﻟﻔﻴﻠﻢ‪ ،‬وأﻧﺎ ﺳﻌﻴﺪة ﺟﺪاً إﻧﻬﺎ أﻣﻨﺘﻨﺎ ﻋﲆ‬ ‫ﺗﺎرﻳﺨﻬﺎ‪ ،‬ﻛــﻮن اﻟﻔﻴﻠﻢ ﻳﺴﺘﻌﺮض ﺗﺠﺮﺑﺔ‬ ‫ﻣﻄﺮﺑﺔ‪ ،‬وﻟﻬﺬا أﻧﺎ ﻓﺨﻮرة وﻣﻤﺘﻨﺔ ﻟﻮﺟﻮدﻫﺎ‪،‬‬ ‫وأﻋﻮد ﻟﻠﻘﻮل ﺷﻜﺮاً ﻟﻬﺎ‪ ،‬وأﻃﺎل اﻟﻠﻪ ﺑﻌﻤﺮﻫﺎ‪.‬‬

‫ﺗﻜﺘﻒ ﺑﺎﻟﻮﻗﻮف ﺧﻠﻒ اﻟﻜﺎﻣريا‪ ،‬ﺑﻞ ﺷﺎرﻛﺖ‬ ‫مل ِ‬ ‫ﰲ اﻟﺘﻤﺜﻴﻞ ﺑﺎﻟﻔﻴﻠﻢ‪ ،‬ﻓام ﻃﺒﻴﻌﺔ دورك؟‬ ‫■ ﻛﻨﺖ ﰲ اﻟﺒﺪاﻳﺔ أرﻏﺐ ﺑﺘﺄدﻳﺔ دور اﻷم‬ ‫"ﺻﻴﺘﻪ" ﻟﻜﻦ ﻻ أﻋﺘﻘﺪ أن ﻣﻦ ﻳﻘﻮﻣﻮن‬ ‫ﺑﺎﻹﺧﺮاج ﻗــﺎدرون ﻋﲆ أن ﻳــﺆدون ﺑﺬات‬ ‫اﻟﻌﻤﻞ دور اﻟﻜﺒﺎر ﰲ اﻟﺴﻦ‪ ،‬ﻷن ﻫﺬا ﺻﻌﺐ‬ ‫ﻟﻠﻐﺎﻳﺔ وﺷﺒﻪ ﻣﺴﺘﺤﻴﻞ‪ ،‬ﻛﻨﺖ أؤدي اﻟﺪور‬ ‫وﻣﻦ ﺛﻢ أﺷﺎﻫﺪه وأﻋﻴﺪه ﻣﻦ ﺟﺪﻳﺪ‪ .‬ﻛﺎن‬ ‫ﻣﻦ اﻟﺼﻌﺐ أن أﺟﻤﻊ ﺑني ﻫﺬا اﻟﺪور وﺑني‬ ‫دوري ﻛﻤﺨﺮﺟﺔ اﻟﻌﻤﻞ‪ ،‬ﻓﺮﺟﺤﺖ ﰲ اﻟﻨﻬﺎﻳﺔ‬ ‫ﻛﻔﺔ اﳌﺨﺮج‪ ،‬ﺧﺎﺻﺔ وأﻧﻬﺎ أول ﺗﺠﺮﺑﺔ إﺧﺮاج‬ ‫ﺳﻴﻨاميئ ﻟﻬﺎ ﻋﻼﻗﺔ ﺑﺎﳌﺮأة واﻟﻔﻦ‪ ،‬ﻓﺎﻛﺘﻔﻴﺖ‬ ‫ﺑﺎﻟﻈﻬﻮر ﰲ اﻟﻔﻴﻠﻢ ﻣﻦ ﺧﻼل ﺧﻤﺴﺔ ﻣﺸﺎﻫﺪ‪،‬‬ ‫‪ ŲŌƉƁȑŌ ǗǕōƫ ǽƳ‬‬ ‫ﻗﺪﻣﺖ رواﻳﺔ "وﺟﻮه ﻣﺤﺮﻣﺔ" ﺛﻼث ﻣﺮات ﺳﻴﺘﻌﺮف ﻋﻠﻴﻬﺎ اﳌﺸﺎﻫﺪ ﻋﻨﺪ ﻋﺮﺿﻪ‪.‬‬ ‫ﻣﻦ ﻗﺒﻞ ﻋﲆ ﺷﻜﻞ ﻣﺴﻠﺴﻞ ﺗﻠﻔﺰﻳﻮين‪ ،‬ﻓﻬﻞ‬ ‫ﻛﺎن ﺗﻘﺪميﻬﺎ ﻣﻦ ﺟﺪﻳﺪ ﻛﻔﻴﻠﻢ ﺳﻴﻨاميئ ﺗﺤﺪﻳ ًﺎ ‪ ǽǜƳ ŜōƢǂŨƓŌ‬‬ ‫ﺑﺎﻟﻨﺴﺒﺔ ﻟﻚ؟‬ ‫ﺗﻢ ﺗﺼﻮﻳﺮ اﻟﻔﻴﻠﻢ ﺑني اﻟﺴﻌﻮدﻳﺔ‪ ،‬وﺑني‬ ‫■ ﻧﺤﻦ ﻧﺘﻨﺎول ﰲ ﻓﻴﻠﻢ "وﺟﻮه ﻣﺤﺮﻣﺔ" ﻓﻜﺮة أﺑﻮﻇﺒﻲ إذ ﺗﻢ ﺑﻨﺎء اﺳﺘﻮدﻳﻮ ﺧﺎص ﺑﺎﻟﻌﻤﻞ‬ ‫ﺗﺤﺮﻳﻢ اﻟﻔﻦ ﺑﺎﳌﺠﻤﻞ‪ ،‬وﻣﻦ ﻳﻘﺮأ اﻟﺮواﻳﺔ ﰲ ﻣﺪﻳﻨﺔ "ﻛﻴﺰاد" ﻓﻜﻴﻒ وﺟﺪت اﻟﺘﺼﻮﻳﺮ‬ ‫ﺳﻴﺸﻌﺮ ﺑﺎﻻﺧﺘﻼف‪ ،‬ﻷﻧﻨﺎ أﺧﺬﻧﺎ اﻹﺣﺪاﺛﻴﺎت ﰲ أﺑﻮﻇﺒﻲ؟‬ ‫مبﺎ ﻳﻮاﻛﺒﻬﺎ ﻣﻦ ﺗﻐريات ﺳﻴﺎﺳﻴﺔ واﺟﺘامﻋﻴﺔ‪ ■ ،‬ﺑﺪاﻳﺔ أﺗﻮﺟﻪ ﺑﺎﻟﺸﻜﺮ ﻟﺤﻜﻮﻣﺔ أﺑﻮﻇﺒﻲ‪،‬‬ ‫ﻓﺠﺎءت "اﻟﺤﺘﻮﺗﺔ" ﻣﺨﺘﻠﻔﺔ ُﺗﺨﺘَﴫ ﺑﺎﻟﻐﻨﺎء وﳌﻌﺎﱄ ﻣﺮﻳﻢ اﳌﻬريي اﻟﺮﺋﻴﺲ اﻟﺘﻨﻔﻴﺬي‬ ‫واﻟﺸﻌﺮ واﻟﺮﺳﻢ‪ ،‬وﻇﻬﺮت اﻷﺣﺪاث أﻗﺮب إﱃ ﻟﻬﻴﺌﺔ اﳌﻨﻄﻘﺔ اﻹﻋﻼﻣﻴﺔ – أﺑﻮﻇﺒﻲ‪" ،‬ﺗﻮ ﻓﻮر‬ ‫اﻟﺴرية اﻟﺬاﺗﻴﺔ‪ ،‬ﻟﻜﻦ ﰲ اﳌﺴﻠﺴﻞ ﺗﻢ ﻣﻌﺎﻟﺠﺔ ‪ "54‬إذ ﻗﺪﻣﺖ "ﺗﻮ ﻓﻮر ‪ "54‬اﻟﺪﻋﻢ ﻣﺎ‬ ‫اﻟﻘﻀﻴﺔ ﺑﺸﻜﻞ أﺷﻤﻞ‪.‬‬ ‫ﻗﺒﻞ اﻻﻧﺘﺎج وﻣﺎ ﺑﻌﺪ اﻹﻧﺘﺎج‪ ،‬ﻛام وﻓﺮت ﻟﻨﺎ‬ ‫اﻻﺳﺘﻮدﻳﻮﻫﺎت‪.‬‬ ‫ﺷﺎرﻛﺖ ﰲ اﻟﻔﻴﻠﻢ اﻟﻔﻨﺎﻧﺔ اﻟﺴﻌﻮدﻳﺔ "ﺗﻮﺣﺔ" وﻫــﺬا ﻟﻴﺲ ﻣﺴﺘﻐﺮﺑﺎً ﻓــﺎﻹﻣــﺎرات ﺑﺎﺗﺖ‬ ‫ﻓﻜﻴﻒ ﺗﻨﻈﺮﻳﻦ إﱃ ﻫﺬه اﳌﺸﺎرﻛﺔ؟‬ ‫ﺗﺴﺘﻘﻄﺐ اﳌﻨﺘﺠني واﳌﺨﺮﺟني ﻟﺘﺼﻮﻳﺮ‬ ‫■ أﺣﺐ أن أﻗﻮل إن ﺗﻮﺣﺔ إﻧﺴﺎﻧﺔ‪ ،‬وﻣﺜﺎل أﻓﻼﻣﻬﻢ اﻟﻌﺎﳌﻴﺔ ﻣﻦ ﻫﻮﻟﻴﻮود وﻣﻦ ﺑﻮﻟﻴﻮود‪.‬‬ ‫ﻳﺤﺘﺬى ﺑﻬﺎ ﰲ اﻟﺘﻮاﺿﻊ وﰲ اﻹﻧﺴﺎﻧﻴﺔ وﰲ رﻗﻲ‬ ‫اﻷﺧﻼق‪ ،‬إﻧﻬﺎ أﺧﻼق اﻟﻜﺒﺎر‪ ،‬اﻟﺬﻳﻦ ﻳﺒﻘﻮن أﻳﻦ ﺳﻴﺘﻢ إﻃﻼق اﻟﻔﻴﻠﻢ؟‬ ‫ﻛﺒﺎراً ﰲ ﺗﻌﺎﻣﻠﻬﻢ‪ ،‬أﻣﺎ اﻹزﻋﺎج واﻟﺘﴫﻓﺎت ﻏري ■ ﺳﻴﺘﻢ إﻃﻼﻗﻪ ﰲ ﺻﺎﻻت اﻟﺴﻴﻨام ﰲ اﳌﻤﻠﻜﺔ‬ ‫اﻻﺋﻘﺔ ﻓﻬﻲ ﺗﺄيت ﻣﻦ اﻟﺼﻐﺎر ﻓﻨﺎً‪.‬‬ ‫اﻟﻌﺮﺑﻴﺔ اﻟﺴﻌﻮدﻳﺔ‪.‬‬

‫ﻟﻘﺪ ﻛــﺎن إﺧـﺮاﺟــﻚ ﻟﻠﻔﻴﻠﻢ ﻋﲆ ﺣﺴﺎب‬ ‫ﻇﻬﻮرك ﰲ ﻣﺴﻠﺴﻼت اﳌﻮﺳﻢ اﳌﺎﴈ ﻣﻦ‬ ‫ﺷﻬﺮ رﻣﻀﺎن اﳌﺒﺎرك‪ ،‬ﻟﻜﻦ ﻛﺎن أﺛﺮ دورك‬ ‫"اﳌﻠﻜﺔ ﺗﻮرﻛﺎن" ﰲ ﻣﺴﻠﺴﻞ "ﺳﻤﺮﻗﻨﺪ" ﻣﺎ‬ ‫زال ﺣﺎﴐًا‪ ،‬ﻓﻜﻢ ﺗﺸﺒﻬني ﺷﺨﺼﻴﺔ "ﺗﻮرﻛﺎن"‬ ‫ﰲ اﻟﻮاﻗﻊ؟‬ ‫■ ﰲ ﺷﺨﺼﻴﺔ "ﺗﻮرﻛﺎن" ﻣﻦ اﻟﻘﻮة أﻛرث ﻣﻦ‬ ‫اﻟﻀﻌﻒ‪ ،‬وﰲ ﺷﺨﺼﻴﺔ ﻛﻞ إﻧﺴﺎن ﻣﺰﻳﺞ‬ ‫ﻣﻦ اﻟﻀﻌﻒ واﻟﻘﻮة‪ ،‬وﻟﻜﻨﻲ أﻣﻴﻞ ﻟﻠﻘﻮة‬ ‫وأﺣﺐ اﻹﻧﺴﺎن اﻟﻘﻮي ﺑﺈميﺎﻧﻪ وﺑﺜﺒﺎﺗﻪ ﻋﲆ‬ ‫ﻣﺒﺎدﺋﻪ وإﴏاره‪ ،‬وأﻛﺮه اﻟﻀﻌﻒ ﺣﺘﻰ إن‬ ‫"اﻟﻠﻪ ﺳﺒﺤﺎﻧﻪ وﺗﻌﺎﱃ" ﻳﺤﺐ اﳌﺆﻣﻦ اﻟﻘﻮي‪،‬‬ ‫ﻓﺄﻧﺎ ﻗﻮﻳﺔ وﻗﻴﺎدﻳﺔ ﺑﻄﺒﻌﻲ ﻟﻜﻨﻲ ﻟﺴﺖ‬ ‫دﻳﻜﺘﺎﺗﻮرﻳﺔ‪ ،‬ﻛام أين ﻣﻔﻀﻮﺣﺔ اﳌﺸﺎﻋﺮ ﻷن‬ ‫وﺟﻬﻲ ﻛﺎﳌﺮآة ﻳﻌﻜﺲ ﻣﺸﺎﻋﺮي‪ ،‬وﻟﻬﺬا ﻓﺄﻧﺎ‬ ‫أﻟﺘﻘﻲ ﻣﻌﻬﺎ ﺑﺼﻔﺔ اﻟﻘﻮة‪.‬‬ ‫اﻟﺸﺨﺼﻴﺎت اﻟﺘﺎرﻳﺨﻴﺔ ﻟﻬﺎ ﺗﺤﻀري ﻣﺨﺘﻠﻒ‬ ‫اﻟﺸﻌﺮ ‪baytelshear‬‬ ‫ﺑﻴﺖ ِ‬

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‫‪ǳǿƈǷũōŨǈǿƂ ŧƒǕǶ‬‬

‫ﺣﻮار‪ :‬ﺑﺸﺮى ﻋﺒﺪا‪6‬‬

‫ﺑﻌﺪ أن وﻗﻔﺖ اﻟﻔﻨﺎﻧﺔ ﻣﻴﺴﺎء ﻣﻐﺮيب ﻛﺜرياً أﻣﺎم اﻟﻜﺎﻣريا‪ ،‬وﺗﺄﻟﻘﺖ‪ ،‬اﺧﺘﺎرت ﻣﺆﺧﺮاً أن ﺗﻘﻒ وراءﻫﺎ ﻟﺘﺨﻮض ﺗﺠﺮﺑﺔ اﻹﺧﺮاج‪ ،‬ﺑﻌﺪ أن‬ ‫اﺳﺘﻄﺎﻋﺖ ﺗﺤﻘﻴﻖ اﻟﺘﻤﻴﺰ ﺧﻼل ﻣﺴريﺗﻬﺎ اﻟﻔﻨﻴﺔ اﻟﺘﻲ ﺑﺪأت ﻣﻨﺬ اﻟﻌﺎم ‪ ،2000‬أدت ﺧﻼﻟﻬﺎ أدوراً ﺗﺒني ﻣﻘﺪرﺗﻬﺎ اﻟﻔﻨﻴﺔ وﻣﻮﻫﺒﺘﻬﺎ‪ ،‬وﻫﻮ ﻣﺎ‬ ‫ﺟﻌﻠﻬﺎ ﺗﺤﺼﺪ اﻟﺸﻬﺮة ﻣﻦ ﺧﻼل اﻟﻌﺪﻳﺪ ﻣﻦ اﳌﺴﻠﺴﻼت ﻣﺜﻞ "اﻟﺪﻧﻴﺎ ﻟﺤﻈﺔ" و"ﻓﻨﺠﺎن دم" و"ﻟﻌﺒﺔ اﻟﺸﻴﻄﺎن" وﻏريﻫﺎ‪.‬‬ ‫إذ ﻗﺪﻣﺖ ﰲ ﻛﻞ ﻣﺴﻠﺴﻞ ﻣﻨﻬﺎ دوراً ﻣﺨﺘﻠﻔﺎً وأدﺗﻪ ﺑﺤﺮﻓﻴﺔ ﻋﺎﻟﻴﺔ‪ ،‬ﻣﻨﺘﺰﻋﺔ إﻋﺠﺎب اﳌﺸﺎﻫﺪﻳﻦ ﰲ اﻟﻌﺎمل اﻟﻌﺮيب‪.‬‬ ‫ﺗﻜﺘﻒ ﺑﺎﻟﺘﻤﺜﻴﻞ ﺑﻞ ﻗﺎﻣﺖ ﺑﺎﻟﺘﺄﻟﻴﻒ واﻹﴍاف ﻋﲆ إﻧﺘﺎج ﰲ ﻣﺴﻠﺴﻞ "ﻗﻠﺒﻲ ﻣﻌﻲ" اﻟﺬي ﻛﺎﻧﺖ ﺑﻄﻠﺘﻪ إﱃ ﺟﺎﻧﺐ اﻟﻌﺪﻳﺪ‬ ‫وﻟﻜﻦ ﻣﻴﺴﺎء مل ِ‬ ‫ﻣﻦ اﻟﻔﻨﺎﻧني‪ ،‬وﻟﻬﺬا مل ﻳﻜﻦ ﻣﺴﺘﻐﺮﺑﺎً ﳌﻦ اﺧﺘﱪت اﻟﻜﺎﻣريا أن ﺗﻘﻒ وراءﻫﺎ ﻟﺘﺨﺮج اﻟﻔﻴﻠﻢ اﻟﺴﻌﻮدي "وﺟﻮه ﻣﺤﺮﻣﺔ"‪.‬‬ ‫ﻋﻦ ﻫﺬه اﻟﺘﺠﺮﺑﺔ ﺗﺤﺪﺛﺖ ﻣﻴﺴﺎء إﱃ "ﺑﻴﺖ اﻟﺸﻌﺮ" ﻛام ﻛﺸﻔﺖ ﻋﻦ ﺟﺪﻳﺪﻫﺎ ﻣﻦ ﺧﻼل اﻟﺤﻮار اﻟﺘﺎﱄ‪:‬‬

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‫اﻟﻌﺪد ‪ ، 77‬أﺑﺮﻳﻞ ‪2019‬‬

ĘıĘŕ

‫ﻋﻠﻲ ﺑﻦ ﻓ ّﻘﺎس‬ @Bu7esan

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baytelshear ‫اﻟﺸﻌﺮ‬ ِ ‫ﺑﻴﺖ‬

ĘıĘŕ

‫ﻇﺎﻫﺮ اﻟﻜﺘﺒﻲ‬ @DhaherAlketbi

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‫ﺑﻌﺾ أﻋﻀﺎء ﻓﺮﻗﺔ "اﻟﻌﻴﺎﻟﺔ" وﻫﻢ ﻣﻦ ﻫﻮاة‬ ‫ﻓﻦ "اﻷﻫﻞ" وﻳﺸﺎرﻛﻬﻢ ﺑﻌﺾ اﻟﺤﻀﻮر ﻣﻦ‬ ‫ﻋﺎﺷﻘﻲ اﻟﻔﻦ اﻟﻘﺪﻳﻢ‪ ،‬ﻳﺠﻠﺴﻮن ﰲ ﺣﻠﻘﺔ‬ ‫ﺻﻐرية وﻳﺒﺪأ ﻛﻞ واﺣــﺪ ﻣﻨﻬﻢ ﺑﺈﻟﻘﺎء‬ ‫ﻗﺼﻴﺪﺗﻪ‪ ،‬وﻋﻘﺐ ﻛﻞ ﺑﻴﺖ ﻳﺮد ﻋﻠﻴﻪ زﻣﻼؤه‬ ‫ﺑﻘﻮﻟﻬﻢ "أﻫﻠﻪ" مبﺪ اﻟﻼم ﻓﻴﻨﻄﻘﻬﺎ "أﻫﻼه"‪،‬‬ ‫وﻟﻬﺬا ﺳﻤﻲ ﻓﻦ "اﻷﻫﻞ" أو "اﻷﻫﻠﻪ" ﺑﻬﺬا‬ ‫اﻻﺳﻢ‪.‬‬ ‫وﻣــﻦ ﺧﺼﺎﺋﺺ ﻫــﺬا اﻟﻔﻦ أن أداءه ﻻ‬ ‫ﺗﺼﺎﺣﺒﻪ أي آﻟﺔ ﻣﻮﺳﻴﻘﻴﺔ ﻓﻬﻮ ﻟﻴﺲ ﻏﻨﺎ ًء‬ ‫وﻧﻈ ًام ﻣﻠﺤﻨﺎً‪ ،‬وإمنﺎ ﻣﺠﺮد إﻟﻘﺎء ﻗﺼﺎﺋﺪ‬ ‫ﺷﻌﺮﻳﺔ ﻧﺒﻄﻴﺔ ﰲ ﺻﻮرة ﻣﻄﺎرﺣﺔ ﺷﻌﺮﻳﺔ‪،‬‬ ‫وﺑﻬﺬا ﻓﺈن ﻓﻦ اﻷﻫﻠﻪ ﻳﻌﺪ واﺣــﺪاً ﻣﻦ‬ ‫أﺷﻜﺎل أو أﻗﺴﺎم اﻷدب اﻟﺸﻌﺒﻲ اﻟﺨﻠﻴﺠﻲ‪.‬‬ ‫وأﻫﻢ اﳌﻮﺿﻮﻋﺎت اﻟﺘﻲ ﻳﺘﻨﺎوﻟﻬﺎ ﺷﺎﻋﺮ ﻓﻦ‬ ‫"اﻷﻫﻠﻪ" ﻫﻮ اﻟﻐﺰل‪ ،‬إذ ﻳﺼﻮر ﺑﺄﺳﻠﻮﺑﻪ‬ ‫اﻟﺨﺎص اﳌﻌﺎﻧﺎة اﻟﺘﻲ ﻳﻠﻘﺎﻫﺎ وﻳﻜﺎﺑﺪﻫﺎ‬ ‫اﳌﺤﺐ ﰲ ﺳﺒﻴﻞ ﺣﺒﻪ وﻗﺴﻮة اﻟﻬﺠﺮ وﻟﻮﻋﺔ‬ ‫اﻟﺒﻌﺪ واﻟﻔﺮاق‪ ،‬وأﺣﻴﺎﻧﺎً ميﺰج ﺷﺎﻋﺮ "اﻷﻫﻞ"‬ ‫ﺑني اﻟﻐﺰل واﻟﻌﺎﻃﻔﺔ اﻟﺪﻳﻨﻴﺔ‪ ،‬ﰲ ﻧﺺ واﺣﺪ‬ ‫ﻛﻌﻬﺪﻧﺎ ﺑﺎﻟﺸﻌﺮ ﰲ ﺻﺪر اﻹﺳﻼم واﻟﺸﻌﺮ‬ ‫اﻷﻣﻮي‪.‬‬

‫وﻫﻨﺎك أﻳﻀ ُﺎ ﻣﻦ ﻳﺆدﻳﻬﺎ ﺑﻨﻔﺲ اﻟﺤﺮﻛﺎت‬ ‫ﰲ ﺑﺎدﻳﺔ ﺣﴬﻣﻮت ﰲ ﺟﻨﻮب اﻟﺠﺰﻳﺮة‬ ‫اﻟﻌﺮﺑﻴﺔ‪ ،‬وﺗﻌﻮد ﺗﺴﻤﻴﺔ اﻟﺮﻗﺼﺔ ﻧﺴﺒﺔ إﱃ‬ ‫ﻗﺒﻴﻠﺔ "اﳌﻨﺎﻫﻴﻞ"‪.‬‬ ‫وﺗــﺴــﻤــﻰ ﻫـــﺬه اﻟــﺮﻗــﺼــﺔ أﻳــﻀــﺎً ﴍح‬ ‫‪ǓǾǥōǜǘǕŌ‬‬ ‫"اﳌﻨﺎﻫﻴﻞ"‪ ،‬واﻟــﴩح ﻛﻠﻤﺔ ﻣﺸﺘﻘﺔ ﻣﻦ‬ ‫اﳌﻨﺎﻫﻴﻞ‪ ..‬ﻫﻲ إﺣﺪى اﻟﺮﻗﺼﺎت اﳌﻤﻴﺰة اﻧﴩاح أي اﻟﺴﻌﺎدة‪ ،‬وﺗﺘﻤﻴﺰ ﻫﺬه اﻟﺮﻗﺼﺔ‬ ‫اﻟﺘﻲ ﻳﻘﺒﻞ ﻋﻠﻴﻬﺎ اﻟﻜﺜري ﻣﻦ رﺟﺎل اﻟﺒﺎدﻳﺔ‪ ،‬ﺑﺄﻧﻬﺎ ﺗﻌﺪ أﻃﻮل اﻟﺮﻗﺼﺎت اﻟﺸﻌﺒﻴﺔ ﰲ‬

‫اﻟﺠﺰﻳﺮة اﻟﻌﺮﺑﻴﺔ ﻛﻠﻬﺎ‪ ،‬وذﻟﻚ ﻷن ﺑﺪاﻳﺘﻬﺎ‬ ‫ﻋﺎدة ﻣﺎ ﺗﻜﻮن ﺑﻌﺪ ﺻﻼة اﻟﻌﺸﺎء‪ ،‬وﺗﺴﺘﻤﺮ‬ ‫ﺑﻨﻔﺲ اﳌﺸﻬﺪ وﻧﻔﺲ اﻟﺨﻄﻮات وﺣﺮﻛﺎت‬ ‫اﻷﻳـــﺪي واﻷرﺟـــﻞ وﺑﻨﻔﺲ اﻷﺷــﺨــﺎص‬ ‫اﳌﺸﺎرﻛني ﺣﺘﻰ ﻗﺒﻴﻞ أذان اﻟﻔﺠﺮ ﺣﻴﺚ‬ ‫ﻳﺘﻮﻗﻔﻮن ﻟﻴﺆدي اﻟﻨﺎس اﻟﺼﻼة ﺛﻢ ﻳﻌﻮدون‬ ‫ﺣﺘﻰ ﻣﻴﻌﺎد ﺗﻨﺎول اﻟﻐﺪاء ﻋﻨﺪﺋﺬ ﻳﺒﺪأ‬ ‫اﻟﻨﺎس ﺑﺎﻻﻧﴫاف‪.‬‬ ‫و"اﳌﻨﺎﻫﻴﻞ" ﻳﻌﺮﻓﻮن اﻟﺮﻗﺺ ﻋﲆ ﻧﻮﻋني‪:‬‬ ‫اﻟﻨﻮع اﻷول وﻳﻄﻠﻘﻮن ﻋﻠﻴﻪ "اﻟﺰاﻣﻞ"‪،‬‬ ‫واﻟﻨﻮع اﻵﺧﺮ ﻳﺴﻤﻮﻧﻪ "اﻟﴩح"‪.‬‬ ‫‪ǳŞżƒǕŌ‬‬

‫ﻫــﻲ رﻗﺼﺔ ﺗﺰﺧﺮ ﺑــﺎﻷﻏــﺎين واﻷﻟــﺤــﺎن‬ ‫اﻟﺸﻌﺒﻴﺔ‪ ،‬وﺗﺸﺘﻬﺮ ﻋﻨﺪ ﻗﺒﺎﺋﻞ ﰲ اﻹﻣﺎرات‪،‬‬ ‫وﻫﻲ رﻗﺼﺔ ﻣﺨﺘﻠﻄﺔ ﻳﺸﱰك ﻓﻴﻬﺎ اﻟﺮﺟﺎل‬ ‫واﻟﻨﺴﺎء ﰲ ﺻﻔني ﻣﺘﻘﺎﺑﻠني ﺑﻴﻨﻬام ﻃﺎرﺑﻮ‬ ‫اﻟﻄﺒﻮل وﺗﺘامﻳﻞ أﺛﻨﺎءﻫﺎ اﻷﺟﺴﺎد إﱃ اﻷﻣﺎم‬ ‫وإﱃ اﻟﺨﻠﻒ ﰲ ﺣﺮﻛﺔ ﺧﻔﻴﻔﺔ وودﻳﻌﺔ‪.‬‬ ‫اﻟﺸﻌﺮ ‪baytelshear‬‬ ‫ﺑﻴﺖ ِ‬

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‫‪şĺĘŖŒ ŗŕ‬‬ ‫ﺑﻨامذج إﻳﻘﺎﻋﻴﺔ ﺗﺨﺘﻠﻒ ﻫﻲ اﻷﺧﺮى ﻋﻦ‬ ‫"اﻟﻌﻴﺎﻟﺔ"‪ ،‬وﻣﻦ وﻗﺖ ﻵﺧﺮ ﺗﺘﺤﻮل ﺑﻌﺾ‬ ‫آﻻت اﻟﺪف ﻋﻦ ﻫﺬه اﻹﻳﻘﺎﻋﺎت‪ ،‬ﻟﺘﻘﻮم‬ ‫ﺑﺄداء إﻳﻘﺎع "اﻟﺼﺠﻠﺔ"‪ ،‬وﰲ ﻧﻔﺲ اﻟﻮﻗﺖ‬ ‫ﻳﻠﺘﺰم ﻋﺎزﻓﺎ اﻟﻄﻮس "اﻵﻻت اﻟﻨﺤﺎﺳﻴﺔ"‬ ‫ﺑﺄداء منﻮذﺟني إﻳﻘﺎﻋﻴني ﻣﺤﺪدﻳﻦ‪.‬‬ ‫وﻣﻦ أﺷﻬﺮ أﺷﻌﺎر )اﻟﻮﻧﻪ( ﰲ اﻹﻣﺎرات‪:‬‬ ‫وﺟﺮﻳﻨﺎ اﻟﻮﻧﺔ واﻟﺒﺎرﺣﻪ ﺳﺎﻫﺮﻳﻦ‬ ‫وﺟﺮﻳﻨﺎ اﻟﻮﻧﻪ‬ ‫وﺟﺮﻳﻨﺎ اﻟﻮﻧﻪ واﻟﺤﻲ ﻛام اﻟﻮرق واﻟﺤﻲ‬ ‫ﻟﻜﻦ أﻫﺬى ﺑﻪ‬ ‫وﺟﺮﻳﻨﺎ اﻟﻮﻧﻪ وﻳﺎﻫﻴﻪ ﺑﺎﱄ ﻛﻼم اﻟﺒﺪو‬ ‫اﻟﺒﺪو ﺗﻨﺤﻰ ﺑﻪ‬ ‫واﻟﻮﻧﻪ‪ ،‬ﻓﻦ ﻗﺪﻳﻢ ﻣﻌﺮوف ﰲ ﻏﻨﺎء أﻫﻞ‬

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‫اﻟﻌﺪد ‪ ، 77‬أﺑﺮﻳﻞ ‪2019‬‬

‫ﻣﻦ اﻷﺷﺨﺎص ﻳﺼﻞ ﻋﺪدﻫﻢ إﱃ اﻟﻌﴩﻳﻦ‬ ‫وﻻ ﻳﻘﻞ ﻋﻦ ﻋﴩة وذﻟﻚ ﻟﻴﺆدوا "اﻟﻄﺮق"‬ ‫أي اﻟﻠﺤﻦ‪ ،‬ﻓﻴﺠﻠﺴﻮن ﻋﲆ اﻷرض ﰲ ﺻﻔني‬ ‫ﻣﺘﻘﺎﺑﻠني ﺟﺜﻮاً ﻋﲆ اﻟﺮﻛﺐ‪ ،‬وﻳﺤﻤﻞ اﻟﻔﺮﻳﻖ‬ ‫اﻷول ﻣﻨﻬﻢ اﻟﺪﻓﻮف "اﻟﻄريان"‪.‬‬ ‫وﻏﻨﺎء اﻟﺴﺎﻣﺮي ﻳﺒﺪأ ﺑﺸﺨﺺ واﺣﺪ ﻟﻴﻠﻘﻦ‬ ‫اﻟﻔﺮﻳﻖ اﻟﺜﺎين اﳌﺸﻄﻮر ﰲ اﻟﻘﺼﻴﺪة ﻓريد‬ ‫ﻋﻠﻴﻪ ﻫﺬا اﻟﻔﺮﻳﻖ ﺑﺎﻟﺸﻌﺮ واﻷداء اﻟﻠﺤﻨﻲ‬ ‫ﻧﻔﺴﻪ ﻟﻴﺄﺧﺬ اﻟﻔﺮﻳﻖ اﻷول ﻣﺎ ﺑﺪأ ﺑﻪ‬ ‫اﻟﻔﺮﻳﻖ اﻟﺴﺎﺑﻖ‪.‬‬

‫اﻟﺒﺎدﻳﺔ‪ ،‬وﰲ اﻟﺠﺰﻳﺮة اﻟﻌﺮﺑﻴﺔ واﻟﺨﻠﻴﺞ‬ ‫اﻟﻌﺮيب‪ ،‬وﻗﺪ ﻋﺮف أﻳﻀﺎً ﺑﺎﻟﻐﻨﺎء اﻟﺮﻛﺒﺎين‪،‬‬ ‫ﻓﻔﻲ اﻹﻣــﺎرات ﺗﻐﻨﻲ اﻟﻘﺒﺎﺋﻞ اﻟﺒﺪوﻳﺔ‬ ‫اﳌﻌﺮوﻓﺔ ﻫﺬا اﻟﻔﻦ ﻋﲆ ﺻﻮت اﻟﺮﺑﺎﺑﺔ‬ ‫ﻏﻨﺎء "ﺳﺎﻣﺮ"‪ ،‬ﺑﺸﻜﻞ ﻣﻤﺘﺎز ﺑﺈﻃﻼق أواﺧﺮ‬ ‫ﻛﻠامت ﺻﺪر اﻟﺒﻴﺖ وﻋﺠﺰه‪ ،‬ﺣني إﻧﺸﺎده‬ ‫ﰲ ﻗﺼﻴﺪة ﺗﻼزم ﺷﻄﺮﻳﻬﺎ ﻗﺎﻓﻴﺔ واﺣﺪة‪ ،‬إذ‬ ‫ﻳﻘﻮل اﳌﻐﻨﻲ‪:‬‬ ‫ﻳﺎوﻧﺘﻲ وﻧﺔ ﻗﻄﻴﻊ ﺗﺪوج ﺣﻴﺎم‬ ‫ﺑﺮا ﺣﺎﻟﻬﺎ ﻛﺜري اﻟﺘﺼﺪي وﻫﻲ ﺿﺎم‬ ‫ﻋﲆ ﺻﺎﺣﺒﻲ ﺗﻘﻀﻦ ﺟﺮوﺣﻲ وﻫﻲ ﻛﺪام‬ ‫اﺗﺠﺪد ﺻﻮاب ﻛﻞ ﻣﺎزال ﻟﻪ ﻋﺎم ‪ǣǔǥȏŌ‬‬ ‫»اﻷﻫﻞ« أو »اﻷﻫﻠﻪ« ﻣﻦ اﻟﻔﻨﻮن اﻟﺨﺎﺻﺔ‬ ‫وﰲ ﺣﺎﻟﺔ "ﻏﻨﺎء اﻟﺴﺎﻣﺮي"‪ ،‬ﻳﺘﻜﻮن ﻓﺮﻳﻘﺎن ﺑﺎﻹﻣﺎرات وﻳﺆدى ﺑﻜرثة ﰲ اﳌﻨﺎﻃﻖ اﻟﻘﺮﻳﺒﺔ‬ ‫ﻣﻦ اﻟﺒﺎدﻳﺔ وﻏﺎﻟﺒﺎً ﻣﺎ ﻳﻜﻮن ﻣﺆدو ﻫﺬا‬ ‫اﻟﻔﻦ ﻫﻢ ﰲ اﻷﺻﻞ ﻣﻦ ﻧﻔﺲ اﳌﺆدﻳﻦ ﻟﻔﻦ‬ ‫»اﻟﻌﻴﺎﻟﺔ«‪ .‬وﻓﻦ »اﻷﻫﻞ« ﻫﻮ ﻣﻦ اﻟﻔﻨﻮن‬ ‫اﻟﻌﺮﻳﻘﺔ ﰲ اﳌﻨﻄﻘﺔ وﻋﺮف ﻗﺪميﺎً ﺑﺎﺳﻢ‬ ‫آﺧﺮ وﻫﻮ »اﻟﻬﺎﻫﻠﻪ«‪ .‬وﺗﻮﺟﺪ ﻋﻼﻗﺔ وﺛﻴﻘﺔ‬ ‫ﺑني ﻓﻨﻲ »اﻷﻫــﻞ« و»اﻟﻌﻴﺎﻟﺔ«‪ ،‬ﻓﺎﻷﻫﻞ‬ ‫ميﺎرس وﻳﺆدي ﺧﻼل ﻣامرﺳﺔ ﻓﻦ "اﻟﻌﻴﺎﻟﺔ"‬ ‫أو ﻋﻘﺐ ﻛﻞ وﺻﻠﺔ ﻣﻦ وﺻﻼﺗﻪ‪ ،‬وﻟﻜﻦ‬ ‫"اﻷﻫﻞ" ﻳﺘﻄﻠﺐ ﻣﻦ ﻣﺆدﻳﻪ رﺻﻴﺪاً ﻛﺒرياً‬ ‫ﻣﺤﻔﻮﻇﺎً ﻣﻦ اﻟﺸﻌﺮ اﻟﺸﻌﺒﻲ ﺑﺤﻴﺚ ﻳﺠﻠﺲ‬

‫‪ǼƊōƪǕŌ‬‬

‫‪ƂǶƉƮŨǕŌ‬‬

‫‪ǣǝǷǕŌ‬‬

‫ﰲ اﻟﺒﺪاﻳﺔ ﻧﺘﺤﺪث ﻋﻦ ﻓﻦ اﻟﻌﺎزي‪ ..‬وﻫﻮ‬ ‫اﺣﺘﻔﺎل أو ﻏﻨﺎء ﻳﻘﺎم ﰲ ﻧﻬﺎﻳﺔ اﻟﻌﺮس‬ ‫اﻟﺒﺪوي‪ ،‬وﻳﺮﻣﺰ إﱃ ﻧﻬﺎﻳﺔ اﻟﻌﺮس‪ ،‬وﺑﻌﺪ أن‬ ‫ﺗﻜﻒ اﻟﻄﺒﻮل ﻋﻦ اﻟﻘﺮع وﻳﺴﻜﺖ اﻟﻘﻮم ﻋﻦ‬ ‫اﻟﻐﻨﺎء وﻳﺘﻮﻗﻒ إﻃﻼق اﻟﻌﻴﺎرات اﻟﻨﺎرﻳﺔ ﰲ‬ ‫اﻟﻔﻀﺎء وﻳﺠﺘﻤﻊ اﳌﺤﺘﻔﻠﻮن ﻋﲆ ﺷﻜﻞ داﺋﺮة‬ ‫ﻳﺘﻮﺳﻄﻬﺎ "اﻟﻌﺎزي"‪ ،‬وﻫﻮ اﻟﺸﺎﻋﺮ اﻟﺬي ميﺘﺎز‬ ‫ﺑﺠامل اﻟﺼﻮت‪ ،‬وﻗﻮة اﻟﺤﺠﺔ وﻳﺤﻤﻞ ﺑﻴﺪﻳﻪ‬ ‫ﺳﻴﻔﺎً وﺗﺮﺳﺎً وﻳﺘﺒﻌﻪ ﻧﻔﺮ ﻣﻦ اﻟﺮﺟﺎل اﻟﺬﻳﻦ‬ ‫ﻳﺤﻤﻠﻮن اﻟﺒﻨﺎدق ﺑﺄﻳﺪﻳﻬﻢ واﻟﻜﻞ ﻳﺪورون‬ ‫داﺧﻞ اﻟﺪاﺋﺮة‪ ،‬ﻳﺒﺪأ اﻟﺸﺎﻋﺮ ﰲ إﻟﻘﺎء ﻗﺼﺎﺋﺪ‬ ‫اﻟﻔﺨﺮ واﻟﺤامﺳﺔ وﻳــﺮدد ﺣﻤﻠﺔ اﻟﺒﻨﺎدق‬ ‫ﻣﻦ ﺧﻠﻔﻪ ﻋﺒﺎرات ﺧﺎﺻﺔ أو ﺟﻤ ًﻼ ﺷﻌﺮﻳﺔ‬ ‫ﻣﻌﺮوﻓﺔ‪ ،‬وذﻟﻚ ﺑﻌﺪ ﻛﻞ ﺑﻴﺘني ﻣﻦ أﺑﻴﺎت‬ ‫اﻟﻘﺼﻴﺪة‪ ،‬وﻫﻢ ﻳﻄﻠﻘﻮن اﻟﻌﻴﺎرات اﻟﻨﺎرﻳﺔ‬ ‫ﰲ اﻟﻔﻀﺎء ﺑني اﻟﻔﻴﻨﺔ واﻷﺧــﺮى‪ ،‬وﻳﺘﻤﻴﺰ‬ ‫"اﻟﻌﺎزي" أن ﻛﻞ ﻣﻘﻄﻊ ﻣﻦ ﻣﻘﺎﻃﻌﻪ ﻳﺆدى‬ ‫ﺑﺄﻧﻐﺎم ﻣﺨﺘﻠﻔﺔ واﻟﻌﺎزي ﻣﻦ "اﻟﻌﺰوة" أي‬ ‫اﻟﻌﺰة واﻟﻘﻮة واﻟﻐﻠﺒﺔ واﳌﻨﻌﺔ‪.‬‬

‫أﻣﺎ اﻟﺘﻐﺮود‪ ،‬ﻓﻬﻮ ﻓﻦ ﺷﻌﺒﻲ أﺻﻴﻞ ﻳﺤﻮي‬ ‫ﻗﺼﺎﺋﺪ ﻣﻐﻨﺎة ﻳﱰﻧﻢ ﺑﻬﺎ اﻟﻔﺮد وﻳﺤﺎول‬ ‫اﳌﻨﺸﺪ ﻓﻴﻬﺎ أن ﻳﺮﻓﻊ ﺻﻮﺗﻪ وﻳﻄﺮب ﻋﲆ‬ ‫ﺗﻐﺮﻳﺪه اﻟﻌﺬب ﺑﻨﻔﺴﻪ وﻣﻌﻪ ﻣﺠﻤﻮﻋﺔ ﻣﻦ‬ ‫اﳌﺴﺘﻤﻌني‪.‬‬ ‫وﻳﻨﺸﺪ اﻟﻘﻮم أﻏﺎين "اﻟﺘﻐﺮودة" وﻫﻢ ﻋﲆ‬ ‫ﻇﻬﻮر اﻟﻬﺠﻦ ﻣﺮﺗﺤﻠني ﻣﻦ ﻣﻜﺎن إﱃ آﺧﺮ‪ ،‬أو‬ ‫ﻣﺴﺎﻓﺮﻳﻦ ﰲ رﺣﻠﺔ ﺗﺠﺎرة‪ ،‬ﺑﻴﻨام اﻟﻨﻮق ﺗﺨﺐ‬ ‫أو ﺗﻬﺮول وﻫﺬه ﺗﺴﻤﻰ ﺑﺘﻐﺮودة "اﻟﺒﻮش"‬ ‫ﺣﻴﺚ اﻟﺼﻮرة اﻟﻨﻔﺴﻴﺔ ﻟﻠﻐﻨﺎء اﻟﺠامﻋﻲ ﺛﺎﺑﺘﺔ‬ ‫وﻻ ﺗﺘﻐري ﺑﺘﻐﻴري اﳌﻜﺎن‪ ،‬وﺗﺘﻤﻴﺰ ﺑﺎﺳﺘﻄﺎﻟﺔ‬ ‫ﺣﺮوف اﳌﺪ ﰲ ﻣﻮﺟﺔ ﻧﻐﻤﻴﺔ ﻣﺘﻤﻴﺰة ﻫﻲ‬ ‫اﻟﺼﻮرة اﳌﺴﻤﻮﻋﺔ ﻟﺤﺮﻛﺔ ﺳري اﻟﺮﻛﺎب‪.‬‬ ‫وﻫﻨﺎك أﻳﻀﺎً "اﻟﺘﻐﺮودة"‪ ،‬اﻟﺘﻲ ﺗﺆدى ﻋﲆ‬ ‫ﻇﻬﻮر اﻟﺨﻴﻞ وﺗﺴﻤﻰ ﺑﺘﻐﺮودة اﻟﺨﻴﻞ‪،‬‬ ‫ووﻇﻴﻔﺘﻬﺎ اﻷﺳﺎﺳﻴﺔ ﻫﻲ ﺣﺚ اﻟﺨﻴﻞ ﻋﲆ‬ ‫اﻹﴎاع وﺗﺤﻤﻴﺲ راﻛﺒﻴﻬﺎ ﻣﻦ اﻟﻔﺮﺳﺎن‬ ‫وﺗﺰﺧﺮ "ﺷــﻼت" ﺗــﻐــﺮودة اﻟﺨﻴﻞ مبﻌﺎين‬ ‫اﻟﺸﺠﺎﻋﺔ واﻹﻗﺪام واﻟﺸﻬﺎﻣﺔ‪.‬‬

‫اﻟﻮﻧﻪ ﻓﻦ ﻋﺮيب أﺻﻴﻞ‪ .‬دور ﻣﻮﺳﻴﻘﻲ أو‬ ‫ﻧﺸﻴﺪ ﻳﺄيت ﺿﻤﻦ أدوار وأﻧﺎﺷﻴﺪ ﻋﺮوض‬ ‫"اﻟﻌﻴﺎﻟﺔ"‪ ،‬وﻳﺘﻤﻴﺰ ﻫﺬا اﻟﻔﻦ ﰲ ﺻﻴﺎﻏﺘﻪ‬ ‫اﻟﻠﺤﻨﻴﺔ واﻹﻳﻘﺎﻋﻴﺔ ﺑﻄﺎﺑﻊ ﺧﺎص ميﻴﻞ إﱃ‬ ‫اﻟﻬﺪوء واﻟﺮوﻣﺎﻧﺴﻴﺔ ﻣﻦ ﺣﻴﺚ ﻃﺒﻴﻌﺔ‬ ‫اﻷداء‪ ،‬ﻧﻈﺮاً ﻷن ﻛﻠامﺗﻬﺎ ﻏﺰﻟﻴﺔ اﳌﻀﺎﻣني‬ ‫واﳌﻌﺎين ﺑﻌﻜﺲ ﻣﺎ ﺗﺤﻔﻞ ﺑﻪ ﻛﻠامت أﻧﺎﺷﻴﺪ‬ ‫"اﻟﻌﻴﺎﻟﺔ" ﻣﻦ ﻣﻌﺎين اﻟﺤامس واﳌﺪﻳﺢ‬ ‫واﻟﺒﻄﻮﻻت‪.‬‬ ‫واﻟﻮﻧﻪ أﻳﻀﺎً ﻣﻦ أﻏﺮاض اﻟﺸﻌﺮ اﻟﻨﺒﻄﻲ ﰲ‬ ‫اﻹﻣﺎرات ﺣﻴﺚ ﺗﺼﻄﺒﻎ أﻟﻔﺎظ اﻟﻘﺼﻴﺪة‬ ‫مبﺴﺤﺔ ﻣﻦ اﻟﺤﺰن واﻷﻧني‪ ،‬ﻓﻴﻘﺎل "ﻓﻼن‬ ‫ﻳﻜﻮس اﻟﻮﻧﺎت" أي ﻳﻐﻨﻲ ﻏﻨﺎء "اﻟﻮﻧﻪ" وﻗﺪ‬ ‫ﻳﺸﱰك ﰲ ﻫﺬا اﻟﴬب ﻣﻦ اﻟﻐﻨﺎء اﺛﻨﺎن‬ ‫ﻳﺘﺒﺎدﻻن وﻳﺘﻨﺎوﺑﺎن اﻟﻐﻨﺎء‪.‬‬ ‫وﺗــﺆدى "اﻟﻮﻧﻪ" ﺑﺈﻳﻘﺎع أﺑﻄﺄ ﻣﻦ إﻳﻘﺎع‬ ‫"اﻟﻌﻴﺎﻟﺔ"‪ ،‬وﻫﻨﺎك أﻳﻀﺎً منﺎذج إﻳﻘﺎﻋﻴﺔ‬ ‫ﻣﺤﺪدة ﻳﻠﺘﺰم ﺑﻬﺎ ﻋﺎزﻓﻮ اﻟﻄﺒﻮل اﻟﺘﺨﺎﻣري‪،‬‬ ‫ﺑﻴﻨام ﻳﻠﺘﺰم ﻋﺎزﻓﻮ آﻻت اﻟﺪﻓﻮف "اﻟﻄﺎرات"‬ ‫اﻟﺸﻌﺮ ‪baytelshear‬‬ ‫ﺑﻴﺖ ِ‬

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‫‪şĺĘŖŒ ŗŕ‬‬

‫‪ƉƚǜǕōş ŦȍōƲŨŽȍŌ ǶŐ ƐŌƉƫȏŌ ǶŐ ǳǾƫōǘŨŵȍŌ ŦōŞƓōǜǘǕōş ơŞũƉũ‬‬

‫اﻟﻔﻨﻮن اﻟﺒﺪوﻳﺔ‪..‬‬

‫ﺗﺘﻐﻨﻰ ﺑﻤﺎﺿﻲ اﻟﻄﻴﺒﻴﻦ‬

‫ﻣﺤﻤﺪ ﺳﻠﻄﺎن‬

‫ﺗﺘﻌﺪد اﻟﻔﻨﻮن اﻟﺸﻌﺒﻴﺔ ﺑﺪوﻟﺔ اﻹﻣﺎرات اﻟﻌﺮﺑﻴﺔ اﳌﺘﺤﺪة‪ ،‬وﺗﺘﻨﻮع ﺣﺴﺐ اﻟﺒﻴﺌﺔ اﻟﺒﺤﺮﻳﺔ واﻟﺒﺪوﻳﺔ واﻟﺼﺤﺮاوﻳﺔ واﻟﺰراﻋﻴﺔ أﻳﻀﺎً‪ ،‬اﻷﻣﺮ‬ ‫اﻟﺬي ﻳﺆﻛﺪ اﻟرثاء اﻟﺒﻴﺌﻲ ﰲ اﻹﻣﺎرات‪ ،‬اﻟﺘﻲ متﺘﻠﻚ ﻣﻮروﺛﺎت ﻏﻨﻴﺔ ﺗﺘﻮارﺛﻬﺎ اﻷﺟﻴﺎل ﻋﲆ ﻣﺮ اﻟﻌﺼﻮر ﻣﻦ زﻣﻦ اﻟﻄﻴﺒني وﺣﺘﻰ اﻵن‪..‬‬ ‫وﻫﻨﺎ ﻧﺘﺘﻄﺮق إﱃ اﻟﻔﻨﻮن اﻟﺒﺪوﻳﺔ اﻟﺸﻬرية ﰲ اﻹﻣﺎرات‪ ،‬واﻟﺘﻲ ﺗﺮﺗﺒﻂ ﺑﺎﳌﻨﺎﺳﺒﺎت اﻻﺟﺘامﻋﻴﺔ أو اﻷﻋﺮاس أو اﻻﺣﺘﻔﺎﻻت ﺑﺎﻟﻨﴫ ﰲ‬ ‫ﻣﻌﺮﻛﺔ ﻣﺎ‪ ،‬وﻫﺬه اﻟﻔﻨﻮن ﻳﺘﻐﻨﻰ ﺑﻬﺎ اﻟﺒﺪو‪ ،‬وﻳﺤﻔﻈﻮﻧﻬﺎ ﻋﻦ ﻇﻬﺮ ﻗﻠﺐ‪ ،‬ﻷﻧﻬﺎ ﻣﻦ ﻣﻔﺮدات اﻟﱰاث اﻟﺘﻲ ﺗﻌﻴﺶ وﺗﺪوم ﻣﺘﺤﺪﻳﺔ اﻟﺰﻣﻦ‪،‬‬ ‫وﻛﺄﻧﻬﺎ ﺗﺪب ﻓﻴﻬﺎ اﻟﺤﻴﺎة ﻧﺘﻴﺠﺔ ارﺗﺒﺎﻃﻬﺎ ﺑﺎﻹﻧﺴﺎن اﻹﻣﺎرايت‪ ،‬ﻷﻧﻬﺎ ﺟﺰء ﻻ ﻳﺘﺠﺰأ ﻣﻦ ﻫﻮﻳﺘﻪ اﻟﻮﻃﻨﻴﺔ‪ ،‬وﻣﻮروﺛﺎﺗﻪ وأﺻﺎﻟﺘﻪ اﻟﺘﻲ ﻳﻔﺘﺨﺮ ﺑﻬﺎ‬ ‫وﻳﺼﻮﻧﻬﺎ ﺑﺎﻋﺘﺒﺎرﻫﺎ ﻣﻦ أﺳﺎﺳﻴﺎت ﻣﺎﺿﻴﻪ وﺣﺎﴐه وﻣﺴﺘﻘﺒﻠﻪ‪ ،‬وﺗﺎرﻳﺨﻪ اﻟﻀﺎرب ﰲ أﻋامق اﻟﺰﻣﻦ‪ ،‬ﻟﻴﺸﻬﺪ ﻋﲆ وﻃﻦ ﻳﺘﻐﻨﻰ ﺑﱰاﺛﻪ ﻋﲆ‬ ‫أوﺗﺎر اﻟﻐﺰة واﻟﻜﺮاﻣﺔ‪..‬‬

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‫اﻟﻌﺪد ‪ ، 77‬أﺑﺮﻳﻞ ‪2019‬‬

baytelshear ‫اﻟﺸﻌﺮ‬ ِ ‫ﺑﻴﺖ‬

‫‪Ĝšřņ ¯ ĬšĸŌ‬‬ ‫ﻳﺼﻞ إﱃ إﺟﺎﺑﺔ"‪.‬‬ ‫وﺑﻌﻴﺪًا ﻋﻦ اﻟﺴﻴﺎق اﻟﺤﺰﻳﻦ اﻟﺬي ﻃﺮح ﻓﻴﻪ‬ ‫اﻟﺸﺎﻋﺮ ﺳﺆاﻟﻪ‪ ،‬أرى أن اﳌﻘﺎرﻧﺔ ﻧﻔﺴﻬﺎ ﺗﺼﻠﺢ‬ ‫ﻟﺘﺄﻣﻞ ﻋﻼﻗﺔ دروﻳﺶ ﺑﺎﳌﺮأة‪ ،‬ﻓﺒﺎﺳﺘﺜﻨﺎء أﻣﻪ‬ ‫اﻟﺘﻲ متﺜﻞ اﻟﻘﻠﺐ ﻣﻦ ﻛﻞ اﻟﻨﺴﺎء‪ ،‬مل ﻳﻘﻢ‬ ‫دروﻳﺶ ﰲ ﻋﻼﻗﺘﻪ ﺑﺎﻣﺮأ ٍة ﻃﻮﻳ ًﻼ‪ ،‬واﻟﻘﺼﺎﺋﺪ‬ ‫اﻟﻜﺜرية اﻟﺘﻲ ﻗﺎﻟﻬﺎ ﰲ اﻟﺤﺐ وﻋﻦ اﻟﺤﺐ ﻛﺎن‬ ‫ﺟﻠﻬﺎ ﻟﻠﺤﺐ ﻧﻔﺴﻪ أﻣﺎ ﻧﺴﺎء ﺣﻴﺎﺗﻪ ﻓﻄﺎﳌﺎ‬ ‫ﻧﻈﺮ إﻟﻴﻬﻦ ﻣﻦ زاوﻳﺔ اﻟﻔﺮاق‪:‬‬ ‫ﺗﻘﻮل ﱄ‪ :‬ﺗﺰ ّوج أ ّﻳﺔ اﻣﺮأة ﻣﻦ‬ ‫اﻟﺤﻲ‪.‬‬ ‫اﻟﻐﺮﺑﺎء‪ ،‬أﺟﻤﻞ ﻣﻦ ﺑﻨﺎت ّ‬ ‫ﻟﻜﻦ‪ ،‬ﻻ ﺗﺼﺪّق أ ّﻳﺔ اﻣﺮأة ﺳﻮاي‪.‬‬ ‫وﻻ ﺗﺼﺪّق ذﻛﺮﻳﺎﺗﻚ دامئﺎً‪.‬‬ ‫وﻣﻌﺮوف أن ﺑﺤﻴﺎة ﻣﺤﻤﻮد دروﻳﺶ ﺛﻼث‬ ‫ﻧﺴﺎء ﻫﻦ‪ :‬متﺎر ﺑﻦ ﻋﺎﻣﻲ أو "رﻳﺘﺎ" اﻟﻴﻬﻮدﻳﺔ‬ ‫اﻹﴎاﺋﻴﻠﻴﺔ اﻟﺘﻲ ﺗﺤﺪث ﻋﻨﻬﺎ ﰲ ﻗﺼﻴﺪيت "رﻳﺘﺎ‬ ‫واﻟﺒﻨﺪﻗﻴﺔ" و "ﺷﺘﺎء رﻳﺘﺎ اﻟﻄﻮﻳﻞ"‪ ،‬و رﻧﺎ ﻗﺒﺎين‬ ‫زوﺟﺘﻪ اﻷوﱃ اﺑﻨﺔ ﺷﻘﻴﻖ اﻟﺸﺎﻋﺮ ﻧﺰار ﻗﺒﺎين‪،‬‬ ‫ﺛﻢ اﳌﱰﺟﻤﺔ اﳌﴫﻳﺔ ﺣﻴﺎة اﻟﻬﻴﻨﻲ‪.‬‬ ‫ﻋــﺎم ‪ 1995‬اﻋــﱰف ﻣﺤﻤﻮد دروﻳــﺶ ﺑﺄن‬ ‫ﻗﺼﺔ ﺣﺐ ﺟﻤﻌﺘﻪ ﺑﻔﺘﺎة إﴎاﺋﻴﻠﻴﺔ ﻣﻦ أﺻﻞ‬ ‫أورويب‪ ،‬ووﺻﻔﻬﺎ ﻓﻴام ﺑﻌﺪ ﺑﺄﻧﻬﺎ "ﻛﺎﻧﺖ‬ ‫ﻗﺼﺔ ﺣﻘﻴﻘﻴﺔ ﻣﺤﻔﻮر ًة ﻋﻤﻴﻘﺎً ﰲ ﺟﺴﺪي"‪،‬‬ ‫واﻧﺘﻬﺖ ﻋﻘﺐ ﻧﻜﺴﺔ ‪ 1967‬ﺑﻌﺪ اﻟﺘﺤﺎق‬ ‫ﺣﺒﻴﺒﺘﻪ ﺑﺎﻟﺠﻨﺪﻳﺔ اﻹﴎاﺋﻴﻠﻴﺔ‪" :‬دﺧﻠﺖ اﻟﺤﺮب‬ ‫ﺑني اﻟﺠﺴﺪﻳﻦ ﺑﺎﳌﻌﻨﻰ اﳌﺠﺎزي‪ ،‬وأﻳﻘﻈﺖ‬ ‫ﺣﺴﺎﺳﻴﺔ ﺑني اﻟﻄﺮﻓني مل ﺗﻜﻦ واﻋﻴﺔ ﻣﻦ‬ ‫ﻗﺒﻞ‪ .‬ﺗﺼﻮر أن ﺻﺪﻳﻘﺘﻚ ﺟﻨﺪﻳﺔ ﺗﻌﺘﻘﻞ ﺑﻨﺎت‬ ‫ﺷﻌﺒﻚ ﰲ ﻧﺎﺑﻠﺲ ﻣﺜ ًﻼ‪ ،‬أو ﺣﺘﻰ ﰲ اﻟﻘﺪس‪.‬‬ ‫ذﻟﻚ ﻟﻦ ﻳﺜﻘﻞ ﻓﻘﻂ ﻋﲆ اﻟﻘﻠﺐ‪ .‬وﻟﻜﻦ ﻋﲆ‬ ‫اﻟﻮﻋﻲ أﻳﻀﺎً"‪.‬‬ ‫رﻏﻢ اﳌﻔﺎرﻗﺔ ﺗﻌﺪ ﻫﺬه اﻟﻘﺼﺔ وﻧﻬﺎﻳﺘﻬﺎ‪ ،‬ﻫﻲ‬ ‫وﺿﻮﺣﺎ ﺑني ﻋﻼﻗﺎت دروﻳﺶ‪ ،‬ﻓﺒﻌﺪﻫﺎ‬ ‫اﻷﻛرث‬ ‫ً‬ ‫ﺑﻌﴩ ﺳﻨﻮات ﺗــﺰوج اﻟﺸﺎﻋﺮ ﻣﻦ اﻟﻜﺎﺗﺒﺔ‬ ‫اﻟﺴﻮرﻳﺔ رﻧﺎ ﻗﺒﺎين‪ ،‬اﻟﺘﻲ ﻃﻠﺐ اﻟﺰواج ﻣﻨﻬﺎ ﰲ‬ ‫أول ﻟﻘﺎء ﻓﻮاﻓﻘﺖ‪ ،‬ومل ﻳﺪم زواﺟﻬام أﻛرث ﻣﻦ‬ ‫ﺛﻼث ﺳﻨﻮات‪ ،‬ﻓﻴام داﻣﺖ ﻗﻄﻴﻌﺘﻬام ﺣﺘﻰ‬

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‫اﻟﻌﺪد ‪ ، 77‬أﺑﺮﻳﻞ ‪2019‬‬

‫ﻣﺤﻤﻮد دروﻳﺶ ﻣﻊ متﺎر ﺑﻦ ﻋﺎﻣﻲ‬

‫‪..‬وﻣﻊ رﻧﺎ ﻗﺒﺎين‬

‫‪ɰ‬‬ ‫ ‪ ƕǿǶƈƂ ƈƅŨƫŌ ƅǜǙ ōǙōƫ ǚǷƪşƈŐ‬‬ ‫‪ ǣǈƗ ǻǔƫ ŦōǘǔǈǕŌ ǢƅǤş ǣǙȏ‬‬ ‫‪ ǣũƈŌƊ ǚŐ ǻǕŒ ɐǢōǿŒ ōǤŨŞżǙ ǽƳ‬‬ ‫‪ ɐŦōǾǜǾŨƒǕŌ ƱƚŨǜǙ ǣǔǂŨƪǙ ǽƳ‬‬ ‫ ‪ƋŞƁǶ‬‬ ‫‪ǲǷǤǃ ǛǙ ǛǿƃǾş‬‬ ‫‪ɲ‬‬ ‫‪ɲ‬‬ ‫‪ ɐōǥƂȎǾǙ ǛǙ ŦŌǷǜƓ ƉƖƫ ƃƪş‬‬ ‫‪ɲ‬‬ ‫‪ ǻǔƫ mǽǙŐ ǻǕŒ} ǲƃǾƚǃ ŧǝōǉ‬‬ ‫ ‪ ƃǿ ǻǔƫ ɐƃǿƃŵ‬‬ ‫ ‪ƂȎǾǙ ƩǙ‬‬ ‫‪ƃƫǷǙ‬‬ ‫‪ɲ‬‬ ‫‪ɲ‬‬ ‫‪ɲ‬‬ ‫‪ ǓǾƓƈōǙ ǽǝōǜŞǔǕŌ ǽǂǾƓǷǘǕŌ‬‬ ‫‪1976 ǖōƫ ǳƲǾǔƁ‬‬

‫وﻗﺖ ﻗﺮﻳﺐ ﻣﻦ وﻓﺎﺗﻪ‪ ،‬إذ ﺗﺮﻛﺘﻪ رﻧﺎ ﻟﻠﺤﺼﻮل‬ ‫ﻋﲆ درﺟﺔ اﻟﺪﻛﺘﻮراة ﻣﻦ ﺟﺎﻣﻌﺔ ﻛﺎﻣﱪﻳﺪج‪،‬‬ ‫وﻳﺒﺪو أن ذﻟﻚ آﳌﻪ ﻛﺜرياً ﺣﺘﻰ أﻧﻪ ﻗﺮر ﺗﺠﺎﻫﻞ‬ ‫ﻫﺬه اﻟﻌﻼﻗﺔ وﻣﺤﻮﻫﺎ ﻣﻦ ذاﻛﺮﺗﻪ‪" :‬ﻳﻘﺎل ﱄ‬ ‫ﻣﺘﺰوﺟﺎ‪ ،‬ﻟﻜﻨﻨﻲ ﻻ أﺗﺬﻛﺮ اﻟﺘﺠﺮﺑﺔ"‪.‬‬ ‫ﻛﻨﺖ‬ ‫ً‬ ‫ً‬ ‫اﻷﻛرث ﻏﻤﻮﺿﺎ ﻛﺎن زواﺟﻪ اﻟﻘﺼري ﻣﻦ اﳌﱰﺟﻤﺔ‬ ‫اﳌﴫﻳﺔ ﺣﻴﺎة اﻟﻬﻴﻨﻲ ﻣﻨﺘﺼﻒ اﻟﺜامﻧﻴﻨﻴﺎت‪،‬‬ ‫اﻟﺘﻲ ﻇﻞ ﻳﻔﺘﺶ ﻋﻨﻬﺎ ﻷﻛرث ﻣﻦ ﻋﺎم‪ ،‬وﺗﺰوﺟﻬﺎ‬ ‫ﻟﺒﻀﻌﺔ أﺷﻬﺮ!‪ ،‬ﻟﻜﻨﻬﺎ اﻟﺘﺠﺮﺑﺔ اﻷﻗﻞ ﻣﺮارة ﰲ‬ ‫ﺣﻴﺎﺗﻪ وﻛﺘﺐ دروﻳﺶ ﻋﻨﻬﺎ ﻗﺎﺋ ًﻼ‪" :‬مل ُﻧﺼﺐ‬ ‫ﺑﺄي ﺟﺮاح‪ ،‬اﻧﻔﺼﻠﻨﺎ ﺑﺴﻼم"‪ .‬ﻓﻴام ﻗﺎﻟﺖ ﻫﻲ‪:‬‬ ‫اﻟﺘﻘﻴﻨﺎ ﻣﺤﺒني واﻓﱰﻗﻨﺎ ﻣﺤﺒني"‪ ،‬وﻋﻨﺪﻣﺎ ﻃﻠﺐ‬

‫‪..‬وﻣﻊ ﺣﻴﺎة اﻟﻬﻴﻨﻲ‬

‫ﻣﻨﻬﺎ أن ﺗﺤيك ﻋﻦ ﻋﻼﻗﺘﻬام ﺿﻤﻦ أﺣﺪ اﻷﻓﻼم‬ ‫ﻋﻨﻪ اﺑﺘﺴﻤﺖ وردت ﺑﺠﻤﻠ ٍﺔ واﺣﺪة‪" :‬ﺳﺘﺒﻘﻰ‬ ‫ﺑﻌﻴﻨﻲ وﻟﺤﻤﻲ ﻣﻼك"‪.‬‬ ‫ﻛﺎﻧﺖ اﻟﻬﻴﻨﻲ اﻟــﺰوﺟــﺔ اﻷﺧــرية ﰲ ﺣﻴﺎة‬ ‫دروﻳﺶ‪ ،‬وﻻ ﻧﻌﻠﻢ إن ﻛﺎﻧﺖ اﳌﺮأة اﻷﺧرية‬ ‫ﻟﻜﻨﻪ ﻛﺘﺐ ً‬ ‫ﻗﺎﺋﻼ‪ :‬مل أﺗﺰوج ﻣﺮة ﺛﺎﻟﺜﺔ وﻟﻦ‬ ‫أﺗــﺰوج‪ ،‬إﻧﻨﻲ ﻣﺪﻣﻦ ﻋﲆ اﻟﻮﺣﺪة‪ .‬مل أﺷﺄ‬ ‫أﺑﺪاً أن ﻳﻜﻮن ﱄ أوﻻد‪ ،‬وﻗﺪ أﻛﻮن ﺧﺎﺋﻔﺎً ﻣﻦ‬ ‫أﻏري‬ ‫اﳌﺴﺆوﻟﻴﺔ‪ ،‬ﻣﺎ أﺣﺘﺎﺟﻪ اﺳﺘﻘﺮار أﻛرث‪ّ ،‬‬ ‫رأﻳﻲ‪ ،‬أﻣﻜﻨﺘﻲ‪ ،‬أﺳﺎﻟﻴﺐ ﻛﺘﺎﺑﺘﻲ‪ ،‬اﻟﺸﻌﺮ ﻣﺤﻮر‬ ‫ﺣﻴﺎيت‪ ،‬ﻣﺎ ﻳﺴﺎﻋﺪ ﺷﻌﺮي أﻓﻌﻠﻪ وﻣﺎ ﻳﴬه‬ ‫أﺗﺠﻨﺒﻪ"‪.‬‬ ‫ﻟﻜﻦ ﺣﺘﻰ ﰲ إدﻣﺎﻧﻪ ﻟﻠﻮﺣﺪة اﺧﺘﺎر دروﻳﺶ‬ ‫أن ﺗﺆﻧﺴﻪ اﻣــﺮأة‪ ،‬ﻓﻜﺎﻧﺖ أم ﻛﻠﺜﻮم اﻟﺘﻲ‬ ‫وﺻﻔﻬﺎ ﻣﺮ ًة ﺑﺄﻧﻬﺎ "إدﻣﺎين اﻟﻮﺣﻴﺪ" واﳌﻠﻜﺔ‬ ‫واﻟﻔﺮاﺷﺔ‪ ،‬ﻟﻜﻨﻪ ﻛﺎن ﻳﻘﺼﺪ أم ﻛﻠﺜﻮم اﻟﺼﻮت‬ ‫واﻟﺤﻨﺠﺮة‪ ،‬أﻣﺎ اﻟﻘﻠﺐ ﻓﻘﺪ وﺻﻔﻪ ﺑﺄﻧﻪ ﻣﺜﻞ‬ ‫"مثﺮة ﺟﻮ ٍز ﻳﺎﺑﺴﺔ" وﻳﺒﺪو أن ﺗﻠﻚ ﻛﺎﻧﺖ‬ ‫ﻓﻜﺮة دروﻳﺶ ﻋﻦ أي اﻣﺮأة ﺑﺎﺳﺘﺜﻨﺎء أﻣﻪ‬ ‫وأﺧﺘﻪ اﻟﺘﻲ ﻇﻬﺮت ﰲ ﻋﺪد ﻣﻦ ﻧﺼﻮﺻﻪ‪.‬‬ ‫وﺑﺎﺳﺘﺜﻨﺎﺋﻬام ﻛﺎن ﺣﻀﻮر اﳌــﺮأة ﰲ ﺷﻌﺮ‬ ‫دروﻳﺶ أﺟﻤﻞ ﻣﻦ اﻟﻮاﻗﻊ‪.‬‬ ‫ﻟﻜﻦ دروﻳــﺶ اﻟﺬي ﻣﺮت اﻟﺬﻛﺮى اﻟﺜﺎﻣﻨﺔ‬ ‫واﻟﺴﺒﻌني ﳌﻴﻼده ﻣﻨﺘﺼﻒ ﻣﺎرس اﳌﺎﴈ‪،‬‬ ‫ﺷﻬﺮ اﻷم واﳌﺮأة‪ ،‬رﻏﻢ اﳌﺮارات اﻟﺸﺨﺼﻴﺔ ﻣﺎ‬ ‫ﺗﺰال ﻛﻠامﺗﻪ ﺗﻬﺪى ﻟﻠﻨﺴﺎء ﺑﺪﻻً ﻣﻦ اﻟﻮرود‪:‬‬ ‫"وأﻧــﺖ اﻟﻬﻮاء اﻟﺬى ﻳﺘﻌ ّﺮى أﻣﺎﻣﻲ ﻛﺪﻣﻊ‬ ‫اﻟﻌﻨﺐ‬ ‫ْ‬ ‫وأﻧﺖ ﺑﺪاﻳﺔ ﻋﺎﺋﻠﺔ اﳌﻮج ﺣني ﺗﺸ ّﺒﺚ ﺑﺎﻟ ّﱪ‬ ‫اﻏﱰب"‪.‬‬ ‫ﺣني ْ‬

‫ﻣﺤﻤﻮد دروﻳﺶ ﻣﻊ واﻟﺪﺗﻪ‬

‫ﻣﺎ ﻳﺪ ﱢوﻧﻬﺎ ﻋﻠﻴﻪ‪ ،‬ﻓﻜﺘﺒﻬﺎ ﻋﲆ ﻏﻼف ﻋﻠﺒﺔ‬ ‫ﺳﺠﺎﺋﺮه‪ ،‬وﻫﺮﺑﻬﺎ ﺑﻌﺪ ﺧﺮوﺟﻪ ﻣﻦ ﻣﺤﺒﺴﻪ‪:‬‬ ‫ﻛﻄﻔﻞ‬ ‫"ﳌﺎ ﺳﻤﺤﻮا ﻟﻬﺎ ﺑﺎﻟﺪﺧﻮل اﺣﺘﻀﻨﺘﻨﻲ‬ ‫ٍ‬ ‫ﺻﻐري وﻫﻲ ﺗﺒيك ﻓﺒﺪأت ُأﻗ ﱢﺒﻞ ﻳﺪﻳﻬﺎ ﻛام مل‬ ‫أﻓﻌﻞ ﻣﻦ ﻗﺒﻞ‪ ،‬وﻋﻨﺪﺋ ٍﺬ اﻧﻬﺎر ذﻟﻚ اﻟﺠﺪار‬ ‫اﻟﺬي ﻛﺎن ﺑﻴﻨﻲ وﺑﻴﻨﻬﺎ‪ ،‬واﻛﺘﺸﻔﺖ أين ﻇﻠﻤﺖ‬ ‫أﻣﻲ ﻋﻨﺪﻣﺎ اﻋﺘﻘﺪت أﻧﻬﺎ ﺗﺤﺒﻨﻲ أﻗﻞ ﻣﻦ‬ ‫ﺑﺎﻗﻲ إﺧﻮاين‪ ،‬وﻋﻨﺪﻣﺎ ﻏﺎدرت ومل أﻛﻦ ﻗﺎدراً‬ ‫ُ‬ ‫ﻣﻜﺜﺖ ذﻟﻚ‬ ‫ﻋﲆ اﻟﺒﻮح ﻟﻬﺎ ﺑﺄﺣﺎﺳﻴﴘ‪،‬‬ ‫اﳌﺴﺎء ﻧﺎدﻣﺎً وﻗﺮرت اﻻﻋﺘﺬار ﻟﻬﺎ ﰲ ﻗﺼﻴﺪة‪،‬‬ ‫ﻓﻜﺘﺒﺘﻬﺎ وأﺳﻤﻴﺘﻬﺎ "ﻗﺼﻴﺪة اﻋﺘﺬار" ومل ﻳﻜﻦ‬ ‫ﻣﺴﻤﻮﺣﺎ ﻟﻨﺎ ﺑﻮرق اﻟﻜﺘﺎﺑﺔ ﻓﻜﺘﺒﺘﻬﺎ ﻋﲆ ورﻗﺔ‬ ‫اﻷﻟﻮﻣﻨﻴﻮم ﻟﺒﺎﻛﻴﺖ اﻟﺴﺠﺎﺋﺮ وأﺧﺬﺗﻬﺎ ﻣﻌﻲ‬ ‫ﺧﻠﺴ ًﺔ ﻋﻨﺪﻣﺎ ﺧﺮﺟﺖ ﻣﻦ اﻟﺴﺠﻦ" ‪..‬‬ ‫‪ƃǿƃŵ ƂȎǾǙ‬‬

‫ُ‬ ‫أﺣﺴﺴﺖ أن ﻃﻌﻢ ﺧﺒﺰ أﻣﻪ‬ ‫"ﻣﻨﺬ اﻟﺒﺪاﻳﺔ‬ ‫ﻛﻄﻌﻢ ﺧﺒﺰ أﻣﻲ‪ ،‬وﻗﻬﻮة أﻣﻪ ﻛﻘﻬﻮة أﻣﻲ‪،‬‬ ‫وﺟﻮاز ﺳﻔﺮه ﻳﺤﻤﻞ ﺻﻮريت أﻧﺎ‪ ...‬وﻛﺄن ﺷﻌﺮ‬ ‫دروﻳﺶ أﻧﺰل ﻋ ّ‬ ‫ﲇ وﱄ"‪" ....‬ﻣﺎرﺳﻴﻞ ﺧﻠﻴﻔﺔ"‬ ‫ﺳﻨﻮات ﻣﻦ ﻣﻴﻼدﻫﺎ‪ ،‬ﻛﺎﻧﺖ ﻗﺼﻴﺪة‬ ‫ﺑﻌﺪ ﻋﴩ‬ ‫ٍ‬ ‫"إﱃ أﻣﻲ" ﻋﲆ ﻣﻮﻋ ٍﺪ ﻣﻊ ﻣﻴﻼ ٍد ﺟﺪﻳ ٍﺪ‪ ،‬ﻋﲆ‬ ‫ﻳﺪ اﳌﻮﺳﻴﻘﻲ اﻟﻠﺒﻨﺎين ﻣﺎرﺳﻴﻞ ﺧﻠﻴﻔﺔ ﻋﺎم‬ ‫ﺳﻨﻮات ﻳﻐﻨﻲ‬ ‫‪ ،1976‬واﻟــﺬي ﻇﻞ ﻟﻌﴩ‬ ‫ٍ‬ ‫ً‬ ‫ﻣﺘﺨﻴﻼ أن‬ ‫ﻗﺼﺎﺋﺪ ﻣﺤﻤﻮد دروﻳﺶ دون إذﻧﻪ‪،‬‬ ‫ﻫﺬه اﻷﺷﻌﺎر اﻟﺘﻲ ﻛﺎﻧﺖ ﻣﻨﺬ ﺑﺪاﻳﺎﺗﻬﺎ ﺻﻮت‬ ‫اﻟﻘﻀﻴﺔ اﻟﻔﻠﺴﻄﻴﻨﻴﺔ‪" ،‬ﻣﺸﺎع" ﻛﺎﻟﻬﻢ اﻟﻌﺮيب‬

‫اﻟﺬي اﻧﺴﺎب ﻣﻦ أﺣﺮﻓﻬﺎ‪.‬‬ ‫ﻛﺎﻧﺖ "أﺣﻦ إﱃ أﻣﻲ" ﺿﻤﻦ أول أرﺑﻊ ﻗﺼﺎﺋﺪ‬ ‫ﻏﻨﺎﻫﺎ ﺧﻠﻴﻔﺔ ﻣﻦ ﺷﻌﺮ دروﻳــﺶ وﺿ ﱠﻤﻨﻬﺎ‬ ‫أﻟﺒﻮﻣﻪ اﻷول اﻟﺬي ﺣﻤﻞ ﻋﻨﻮان إﺣﺪى ﻗﺼﺎﺋﺪ‬ ‫اﻟﺸﺎﻋﺮ "وﻋﻮد ﻣﻦ اﻟﻌﺎﺻﻔﺔ"‪ ،‬واﻟﻘﺼﻴﺪﺗﺎن‬ ‫إﱃ ﺟﺎﻧﺐ "رﻳﺘﺎ واﻟﺒﻨﺪﻗﻴﺔ" و"ﺟﻮاز ﺳﻔﺮ"‬ ‫أﺣﺪﺛﺖ ﺟﻤﻴﻌﻬﺎ ﻧﻘﻠ ًﺔ ﻧﻮﻋﻴﺔ ﰲ ﺗﻠﻘﻲ ﻗﺼﺎﺋﺪ‬ ‫دروﻳﺶ وأﻏﺎين وأﻟﺤﺎن ﻣﺎرﺳﻴﻞ ﺧﻠﻴﻔﺔ ﻋﲆ‬ ‫اﻟﺴﻮاء‪ ،‬وﻛﺎﻧﺖ متﻬﻴﺪًا ﻟﺤﺎﻟﺔ اﻟﺘﻮأﻣﺔ اﻟﻔﻨﻴﺔ‬ ‫اﻟﺘﻲ ﺟﺮت ﺑني ﺷﻌﺮ وﻣﻮﺳﻴﻘﻰ دروﻳﺶ‬ ‫وﺧﻠﻴﻔﺔ ﺣﺘﻰ اﻟﻴﻮم‪.‬‬ ‫ﻫﺬه اﻟﻘﺼﺎﺋﺪ وﰲ اﻟﻘﻠﺐ ﻣﻨﻬﺎ "أﺣﻦ إﱃ‬ ‫أﻣﻲ" ﻫﻲ إﱃ اﻵن اﻷﻛرث ﺷﻬﺮ ًة وﻗﺮﺑﺎً ﻣﻦ‬ ‫ذاﺋﻘﺔ اﻟﺠﻤﻬﻮر اﻟﻌﺮيب‪ ،‬رﻏﻢ ﻣﺎ ﺗﻼﻫﺎ ﻣﻦ‬ ‫ﻗﺼﺎﺋﺪ وأﻟﺤﺎن‪ ،‬وﻛﺎﻧﺖ ﻃﻠﺒﺎً دامئﺎً ﻣﻦ ﻗﺒﻞ‬ ‫اﻟﺠﻤﻬﻮر ﰲ ﻛﺎﻓﺔ أﻣﺎﳼ دروﻳﺶ اﻟﺸﻌﺮﻳﺔ‬ ‫ﺧﻼل ﺣﻴﺎﺗﻪ‪ ،‬ورمبﺎ ﺻﺎدرت ﻋﲆ ﺗﻠﻘﻲ اﻟﻜﺜري‬ ‫ﻣﻦ ﺗﺠﺎرﺑﻪ وﻧﻘﻼﺗﻪ اﻟﻔﻨﻴﺔ اﻷﺣﺪث واﻷﻛرث‬ ‫رﻣﺰﻳﺔ‪.‬‬ ‫ﻛام أﻧﻬﺎ ﺗﻈﻞ ﻟﻶن ﻓﻘﺮ ًة ﺷﺒﻪ ﺛﺎﺑﺘﺔ ﺧﻼل‬ ‫ﺣﻔﻼت ﻣﺎرﺳﻴﻞ‪ ،‬اﻟﺬي ﻗﺮر ﰲ ﻓﱰ ٍة ﻣﺎ أن‬ ‫ﻳﺘﺨﻔﻒ ﻣﻦ اﻟﻜﻠامت ﻟﺼﺎﻟﺢ اﳌﻮﺳﻴﻘﻰ‬ ‫وﺣﺪﻫﺎ ﻓﻨﺎدﺗﻪ ﻣﻦ ﺟﺪﻳﺪ ﻧﺼﻮص دروﻳﺶ‪.‬‬ ‫وإذا ﻛــﺎن ﺷﻌﺮ دروﻳـــﺶ مبﻮﺿﻮﻋﺎﺗﻪ‪،‬‬ ‫وﻣﻮﺳﻴﻘﺎه اﻟﻔﻴﺎﺿﺔ وﺻــﺪق وإﻧﺴﺎﻧﻴﺔ‬ ‫ﻫﻤﻮﻣﻪ‪ ،‬ﺣﻤﻞ ﻋﲆ اﻟــﺪوام ﺑﻄﺎﻗﺔ ﻋﺒﻮره‬ ‫إﱃ اﻟﺠﻤﻬﻮر اﻟﻌﺮيب واﻹﻧﺴﺎين‪ ،‬ﻓﺈن ﻣﺎرﺳﻴﻞ‬

‫ﺧﻠﻴﻔﺔ اﻟﺘﻘﻂ ﺑﺤﺴﺎﺳﻴﺘﻪ اﻟﻔﻨﻴﺔ وﺗﻘﺎرب‬ ‫اﻟﻬﻢ واﻟﺮؤﻳﺔ ﻛﻠامت دروﻳﺶ‪ ،‬ﻣﺎﻧﺤﺎً إﻳﺎﻫﺎ ﻣﺎ‬ ‫ميﻜﻦ أن متﻨﺤﻪ اﳌﻮﺳﻴﻘﻰ ﻟﻠﻜﻼم‪ ،‬ﺧﺎﺻ ًﺔ وأﻧﻪ‬ ‫ﻣﻊ ﺷﺎﻋﺮ ﻳﻘﺪر اﳌﻮﺳﻴﻘﻰ‪ ،‬وﻳﺪرك أﻫﻤﻴﺘﻬﺎ‬ ‫ﻟﻠﺸﻌﺮ وﺣﺎﺟﺔ اﻟﺸﻌﺮ إﻟﻴﻬﺎ؛ ﻓﻤﺤﻤﻮد ﻛﺎن‬ ‫أﺣﺪ ﺗﻼﻣﺬة وﻣﺤﺒﻲ اﻟﺸﺎﻋﺮ اﻹﺳﺒﺎين ﻟﻮرﻛﺎ‪،‬‬ ‫واﻟﺬي وﺻﻔﻪ دروﻳﺶ ﻣﺮ ًة ﻗﺎﺋ ًﻼ‪" :‬ﻛﺎن ﻟﻮرﻛﺎ‬ ‫ﻳﻘﻮل إن اﻟﺸﻌﺮ ﻳﺤﺘﺎج إﱃ ﻧﺎﻗﻞ‪ ،‬ﻳﺤﺘﺎج إﱃ‬ ‫ﻛﺎﺋﻦ ﺣﻲ‪ ،‬ﺳﻮاء ﻛﺎن ﻫﺬا اﻟﻨﺎﻗﻞ ﻣﻐﻨ ًﻴﺎ أو‬ ‫ﻣﻨﺸﺪًا‪ .‬وﻛﺎن ﻟﻮرﻛﺎ ميﺘﺤﻦ ﺣﺎﺳﺔ اﻟﺬوق‪،‬‬ ‫وميﺘﺤﻦ اﻟﻘﺼﻴﺪة ذاﺗﻬﺎ ﺑﺎﻹﻟﻘﺎء‪ .‬ﻛﺎن ﻳﺒﺤﺚ‬ ‫ﻋﻦ اﻟﻌﻼﻗﺔ اﳌﺒﺎﴍة ﺑني اﻟﺼﻮت واﻟﻘﻠﺐ‪،‬‬ ‫ﻓﺎﻟﺸﻌﺮ ﻟﻴﺲ ﻓﻨٍّﺎ ﺑﴫ ٍّﻳﺎ‪ ،‬ﻻ ﺑﺪ ﻣﻦ أذن‪ .‬ﻻ‬ ‫ﺑﺪ ﻣﻦ َﺟ ْﺮس«‪.‬‬ ‫ﻫﻜﺬا وﺟﺪ ﻣﺤﻤﻮد دروﻳــﺶ ﰲ ﻣﺎرﺳﻴﻞ‬ ‫ﺧﻠﻴﻔﺔ ﻣﻨﺸﺪه وﻣﻐﻨﻴﻪ‪ ،‬ﻓﻴام وﺟﺪ ﻓﻴﻪ اﻷﺧري‬ ‫ﻧﻔﺴﻪ‪ ،‬وﻗﺪ ﻟﺨﺺ ﻫﺬا ﺑﻘﻮﻟﻪ ﻳﻮ ًﻣﺎ‪" :‬أﻧﺎ أرى‬ ‫أن اﻟﻠﻪ أوﺟﺪىن ﰱ ﻫﺬه اﻟﺤﻴﺎة ﻣﻦ أﺟﻞ أن‬ ‫أﻟﺤﻦ ﻗﺼﺎﺋﺪه"‪.‬‬ ‫‪ŝǔǃǶ ǲƉƪƗ ƱǕŐ‬‬ ‫‪ɲ‬‬

‫"ﳌﺎذا ﺧﻠﻖ اﻟﻠﻪ ﻟﻺﻧﺴﺎن ﻣﻠﻴﻮن ﺷﻌﺮة وﻗﻠﺒﺎً‬ ‫واﺣﺪاً؟!"‪.‬‬ ‫روى اﻟﻜﺎﺗﺐ اﻟﺼﺤﻔﻲ اﳌﴫي ﻣﺤﻤﺪ ﺷﻌري‬ ‫ﻋﻦ ﻏﺎﻧﻢ زرﻳﻘﺎت‪ ،‬ﺻﺪﻳﻖ ﻣﺤﻤﻮد دروﻳﺶ‬ ‫ً‬ ‫ﻣﻨﺸﻐﻼ ﰲ أﻳﺎﻣﻪ اﻷﺧرية ﺑﻬﺬا‬ ‫أن اﻟﺸﺎﻋﺮ ﻛﺎن‬ ‫اﻟﺴﺆال‪ ،‬ﻛﺎن ﻳﻄﺮﺣﻪ ﻋﲆ أﺻﺪﻗﺎﺋﻪ‪ ،‬ﻟﻜﻨﻪ "مل‬ ‫اﻟﺸﻌﺮ ‪baytelshear‬‬ ‫ﺑﻴﺖ ِ‬

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‫‪Ĝšřņ ¯ Ĭšĸŉ‬‬

‫}‪ǳǿƈǷŽ ǻǕŒ ƕǿǶƈƂ mƈŌƅŨƫŌ‬‬

‫»إﻟﻰ أﻣﻲ«‪..‬‬ ‫‪ɶ‬‬ ‫ ‬ ‫‪ǚǶƃǘǕŌ ǛǾǜżǕŌ‬‬ ‫ ‪ ƭŞŨǕŌ ǀŌƈǶŐ ǻǔƫ‬‬ ‫ﻋﺰة ﺣﺴﻴﻦ‬ ‫"‪ ..‬وراح‪ ..‬ﻳﺎ ِوﻟــﺪي ﻋﻠﻴﻚ ﻳﺎ ﻣﺤﻤﻮد‪..‬‬ ‫راح َﻗ ْﺒﲇ‪ ..‬راح وﺗﺮﻛﻨﻲ"‪ ..‬ﻣﻦ ﺑني ﻛﻠامت‬ ‫ﻣﺘﻘﻄﻌﺔ وﻣﺘﻨﺎﺛﺮة ﺣﺎول اﻹﻋﻼﻣﻴﻮن اﻧﺘﺰاﻋﻬﺎ‬ ‫ﻣﻦ ﺷﻔﺘﻲ واﻟﺪة اﻟﺸﺎﻋﺮ اﻟﺮاﺣﻞ ﻣﺤﻤﻮد‬ ‫دروﻳﺶ ﻋﺸﻴﺔ وﻓﺎﺗﻪ ﻋﺎم ‪ ،2008‬ﻟﻔﺘﺘﻨﻲ ﻫﺬه‬ ‫اﻟﺠﻤﻠﺔ ﻋﻦ اﻟﻠﻮﻋﺔ اﻟﺘﻲ ﻳﺨﻠﻔﻬﺎ رواح اﻷﺑﻨﺎء‬ ‫ﻗﺒﻞ أﻣﻬﺎﺗﻬﻢ وآﺑﺎﺋﻬﻢ؛ ﺗﻠﻚ اﻟﻜﻠامت اﳌﺤﻴﻠﺔ‬ ‫ﺗﻠﻘﺎﺋ ًﻴﺎ ﻟﻘﺼﻴﺪة ﺻﺪﻳﻘﻪ اﻟﺸﺎﻋﺮ اﳌﴫي ﻋﺒﺪ‬ ‫اﻟﺮﺣﻤﻦ اﻷﺑﻨﻮدي ﻋﲆ ﻟﺴﺎن ﻋﻤﺘﻪ "ﻳﺎﻣﻨﺔ"‪:‬‬ ‫"اوﻋﻰ ﺗﻌﻴﺶ ﻳﻮم واﺣﺪ ﺑﻌﺪ ﻋﻴﺎﻟﻚ‪..‬اوﻋﻰ‬ ‫ﻳﺎ ﻋﺒﺪ اﻟﺮﺣﻤﻦ‪ ..‬ﰲ اﻟﺪﻧﻴﺎ أوﺟﺎع وﻫﻤﻮم‬ ‫أﺷﻜﺎل واﻟﻮان‪ /‬اﻟﻨﺎس ﻣﺎﺑﺘﻌﺮﻓﻬﺎش‪ ...‬أَ ْو َﻋ ْﺮﻫﻢ‬ ‫ﻟﻮ ﺣﺘﻌﻴﺶ ﺑﻌﺪ ﻋﻴﺎﻟﻚ ﻣﺎمتﻮت؛ ﺳﺎﻋﺘﻬﺎ ﺑﺲ‬ ‫‪..‬ﺣﺎﺗﻌﺮف إﻳﻪ ﻫ ّﻮه اﳌﻮت"‪.‬‬ ‫ﻻ أﻇﻦ أن اﻟﺸﺎﻋﺮة اﻟﻔﻄﺮﻳﺔ‪ ،‬اﻟﺘﻲ ﻛﺎﻧﺘﻬﺎ‬ ‫اﻟﺴﻴﺪة ﺣﻮرﻳﺔ ﺳﻤﻌﺖ ﺑﻜﻠامت اﻷﺑﻨﻮدي‬ ‫ﻗﺒﻞ‪ ،‬وﻻ أﻇﻨﻬﺎ ﻛﺎﻧﺖ ﺗﺤﺘﺎج‪ ،‬ﻟﻜﻨﻬﺎ ﺧﱪة اﻷمل‪.‬‬ ‫‪ƈŌƅŨƫŌ‬‬

‫"أﺣﻦ إﱃ ﺧﺒﺰ أﻣﻲ‪ /‬وﻗﻬﻮة أﻣﻲ‪ /‬وﳌﺴﺔ‬ ‫أﻣﻲ‪..‬‬ ‫ﻳﻮم"‪..‬‬ ‫وﺗﻜﱪ ﱠﰲ اﻟﻄﻔﻮﻟﺔ‪ /‬ﻳﻮﻣﺎً ﻋﲆ ﺻﺪر ِ‬

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‫اﻟﻌﺪد ‪ ، 77‬أﺑﺮﻳﻞ ‪2019‬‬

‫أرﺑﻌﻮن ﻋﺎﻣﺎً ﻣﻨﺬ اﻋﺘﺬر دروﻳﺶ ﻷﻣﻪ ﺑﻬﺬه‬ ‫اﻟﻜﻠامت ﻋﲆ ﺷﻜﻪ ﰲ ﻣﺤﺒﺘﻬﺎ إﻳﺎه‪ ،‬إﱃ أن‬ ‫زارﺗﻪ ﰲ ﻣﻌﺘﻘﻠﻪ ﻣﻨﺘﺼﻒ اﻟﺴﺘﻴﻨﻴﺎت‪ ،‬ﺑﻴﺪﻳﻦ‬ ‫ﻣﻦ ﻗﻬﻮ ٍة وﺧﺒ ٍﺰ ﻳﺤﺒﻬام وﺟﺴﺪ ﻣﻦ ﻟﻬﻔ ٍﺔ‬ ‫ودﻣﻮع‪ ،‬اﺳﺘﻘﺘﻠﺖ أﻣﺎم ﺳﺠﺎﻧﻴﻪ اﻹﴎاﺋﻴﻠﻴني‬ ‫يك ﺗﻠﻘﻴﻬﻢ ﰲ ِﺣﻀﻨﻪ‪ ،‬ﻛﺎﻧﻮا ﻛﻔﺎﻳ ًﺔ ﻟﺘﺪرك‬ ‫اﻷم واﻟﺸﺎﻋﺮ أﻧﻬﺎ ﻛﺎﻧﺖ اﳌﺮأة اﻷوﱃ واﻷﻛرث‬ ‫ﺣﻀﻮ ًرا وﺑﻘﺎ ًء ﰲ ﺣﻴﺎﺗﻪ‪ ،‬ﻣﺎ ﺟﻌﻠﻬﺎ ﺗﺮى ﰲ‬ ‫رﺣﻴﻠﻪ ﻗﺒﻠﻬﺎ ﻣﻨﺤﺔ ﻋﺪم ﺗﺄﳌﻪ ﻋﻠﻴﻬﺎ‪ ،‬ﻓﻘﺎﻟﺖ‬ ‫ﻣﻦ ﺑني دﻣﻮﻋﻬﺎ "اﻟﺤﻤﺪ ﻟﻠﻪ اﻟﺬي أراﺣﻨﻲ‬ ‫ﻣﻦ ﺣﴪة اﻟﻐﺎﱄ ﻋ ّ‬ ‫ﲇ"‪ ،‬وﻛﺄﻧﻬﺎ ﺗﺮد ﺑﻌﺪ ﻛﻞ‬ ‫ﻫﺬه اﻟﺴﻨﻮات ﻋﲆ ﻗﻮﻟﻪ‪" :‬وأﻋﺸﻖ ﻋﻤﺮي‬ ‫ﻷين‪ /‬إذا ﻣﺖ أﺧﺠﻞ ﻣﻦ دﻣﻊ أﻣﻲ"‪.‬‬ ‫ﻫﺬه اﻟﺴﻨﻮات ﻛﺎﻧﺖ ﻛﻔﺎﻳ ًﺔ ً‬ ‫أﻳﻀﺎ ﻟﺘﺼري‬ ‫أم اﻟﺸﺎﻋﺮ أﻛرث اﻷﻣﻬﺎت ﺷﻬﺮ ًة ﰲ اﻟﻌﴫ‬ ‫اﻟﺤﺪﻳﺚ‪ ،‬إذ ﻣﺜﻠﺖ ﺑﺘﺠﺮﺑﺘﻬﺎ وﺷﻜﻞ ﻋﻼﻗﺘﻬﺎ‬ ‫ﺑﺄﺑﻨﺎﺋﻬﺎ‪ ،‬وﺑﺼﻮرة اﺑﻨﻬﺎ ﻋﻨﻬﺎ أﻳﻘﻮﻧ ًﺔ ﺟﺪﻳﺪة‪،‬‬ ‫ﻳﺤﻴﻞ اﻟﻨﻈﺮ إﻟﻴﻬﺎ إﱃ ﻋـﴩات اﻟﺘﻔﺎﺻﻴﻞ‬ ‫اﳌﺤﺒﺒﺔ ﻋﻦ اﻷم وﺧﺒﺰﻫﺎ وﻗﻬﻮﺗﻬﺎ ودﻣﻌﻬﺎ‪،‬‬ ‫وﺣﻀﻨﻬﺎ‪ ،‬وﻗﻨﺎع ﻗﺴﻮﺗﻬﺎ‪ ،‬وﺣﺒﻞ اﻟﺤﻨني‬ ‫اﳌﺸﺪود ﻋﲆ آﺧﺮه ﺑني اﻟﺮوح وﻛﻞ ﻣﺎ ﻳﺘﺼﻞ‬ ‫ﺑﻬﺬه اﻷم رﻏﻢ اﻟﺤﻮاﺟﺰ‪.‬‬ ‫ﺧﺬﻳﻨﻲ‪ ،‬إذا ﻋـ ُ‬ ‫ـﺪت ﻳﻮﻣﺎً وﺷﺎﺣﺎً ﻟﻬﺪﺑﻚ‪/‬‬

‫ّ‬ ‫ﺑﻌﺸﺐ ﺗﻌ ﱠﻤﺪ ﻣﻦ ﻃﻬﺮ‬ ‫وﻏﻄﻲ ﻋﻈﺎﻣﻲ‬ ‫ٍ‬ ‫ﻛﻌﺒﻚ‪ُ /‬‬ ‫وﺷﺪﱢي وﺛﺎﻗﻲ ‪..‬ﺑﺨﺼﻠﺔ ﺷﻌ ٍﺮ‪ ..‬ﺑﺨﻴﻂٍ‬ ‫ﻳﻠ ﱢﻮح ﰲ ذﻳﻞ ﺛﻮﺑﻚ‪.‬‬ ‫‪..‬ﺿﻌﻴﻨﻲ‪ ،‬إذا ﻣﺎ رﺟﻌﺖ وﻗﻮداً ﺑﺘﻨﻮر ﻧﺎرك ‪..‬‬ ‫ﻏﺴﻴﻞ ﻋﲆ ﺳﻄﺢ دارك‪ /‬ﻷين ﻓﻘﺪت‬ ‫وﺣﺒﻞ‬ ‫ٍ‬ ‫اﻟﻮﻗﻮف ﺑﺪون ﺻﻼة ﻧﻬﺎرك‪ /‬ﻫﺮﻣﺖ‪ ،‬ﻓﺮدﱢي‬ ‫ﻧﺠﻮم اﻟﻄﻔﻮﻟﺔ ﺣﺘﻰ أﺷﺎرك‪ ،‬ﺻﻐﺎر اﻟﻌﺼﺎﻓري‬ ‫درب اﻟﺮﺟﻮع ‪ ..‬ﱢ‬ ‫ﻟﻌﺶ إﻧﺘﻈﺎرك"‪.‬‬ ‫ﻣﺎ ﻳﻌﺮﻓﻪ ﻏﺎﻟﺒﻴﺔ ﻋﺸﺎق دروﻳــﺶ ورواه‬ ‫ﺑﻨﻔﺴﻪ ﻋﻦ ﻇﺮوف ﻛﺘﺎﺑﺘﻪ ﻟﻘﺼﻴﺪﺗﻪ اﳌﺆﻧﺴﺔ‬ ‫ﻫﺬه "اﻋﺘﺬار" أو "أﺣﻦ إﱃ ﺧﺒﺰ أﻣﻲ" أن‬ ‫ﻫﺬا اﻟﺸﺎﻋﺮ اﺣﺘﺎج ﻗﺮاﺑﺔ رﺑﻊ ﻗﺮنٍ ﻟﻴﺪرك‬ ‫ﻛﻢ ﻛﺎﻧﺖ أﻣﻪ ﺗﺤﺒﻪ‪ ،‬وأن ﻣﻈﻬﺮﻫﺎ اﻟﺬي‬ ‫اﺧﺸﻮﺷﻦ ﺑﺴﺒﺐ ﻧﺪوب اﻟﺘﴩد ﻣﻦ اﻷرض‬ ‫وﻣﺮارة اﻟﻠﺠﻮء ﰲ اﻟﺪاﺧﻞ واﻟﺨﺎرج‪ ،‬ﻛﺎن ﻗﻨﺎ ًﻋﺎ‬ ‫ﻟﺮﻗﺘﻬﺎ اﻟﺘﻲ ﺗﺘﺠﻨﺐ اﻟﺨﺪش ﺧﺸﻴﺔ اﻻﻧﻬﻴﺎر؛‬ ‫ﻟﺬا ﻋﻨﺪﻣﺎ اﻗﺘﻔﺖ أﺛﺮه وﻻﺣﻘﺘﻪ إﱃ ﺳﺠﻮن‬ ‫اﻟﻌﺪو ﻛﺄم ﻣﻮﳻ‪ ،‬واﻟﺘﻘﻰ ﺣﻀﻨﺎﻫام ﻷول‬ ‫ﻣﺮ ٍة ﺑﻼ ﺣﺎﺟﺰ اﻟﻮﻫﻢ اﻟﺬي ﺟﻌﻠﻪ ﻳﻈﻦ ـ وﻫﻮ‬ ‫اﻻﺑﻦ اﻷوﺳﻂ ـ أﻧﻬﺎ ﻻ ﺗﻔﻀﻠﻪ ﻣﺜﻞ اﻟﻜﺒﺎر وﻻ‬ ‫ﺗﺪﻟﻠﻪ ﻛﺎﻟﺼﻐﺎر‪ ،‬ﺷﻌﺮ ﻣﺤﻤﻮد ﺑﺎﻟﺨﺠﻞ وﻧﺪم‬ ‫رﺟﻌﻲ‪ ،‬وﺣﺎول اﻻﻋﺘﺬار‪ ،‬ﻓﻜﺎن اﻟﺤﻨني‬ ‫ﺑﺄﺛ ٍﺮ‬ ‫ٍ‬ ‫اﻟﺬي ﺗﻼ ﺛﻮاين رﺣﻴﻠﻬﺎ أول ﺧﺎﻃﺮ ٍة مل ﻳﺠﺪ‬

ĘıĘŕ

‫أﺣﻤﺪ ﻋﻤﺮ اﻟﺸﺎﻣﺴﻲ‬ @10ar_

ib@@ @ @´b@@ + ¤@@ @ G¡@@ @ D b@@ @~@ @ }@ @ £@ @ ²* 24b@@ @ @ @ @ @FH ib@@ £@ @ A*¡@@ D* @@ @~@ @ 8H Í@@ @ A*¡@@ @ D* ¤@@ @ @ @ @FH ib@@ @ @ @ Jb@@ @ @ @ D* ¢@@ @ Bx@@ @ J Í@@ @ Db@@ @ J @@ @ @ @ <v@@ @F ib@@ @ £@ @ @Db@@ @ @ @ @D* ¡@@ @ @ @ @ A x@@ @ @ @ @ @ @ @ F b@@ @ @ @ @ @ @ @ F2Q H i*v@@ ~@ @6b@@ ²* Ä@@ @ @1H v@@ @ @ ²* @@ @ p@ Fb@@ E ib@@ c@ @F ¢@@ @ @ @ @ ´* I4H @@ @ E 4HQ v@@ @ @ @ @ F b@@ @ E ib@@ @ @~@ @|@ @D* @@ @ @C ¢@@ @ @ @ < @@ @ Jb@@ @ + @@ @Fv@@ @ @ @ E ib@@ @ @´* d@@ @ @< ¡@@ @ D Ì@@ @ @ ³* @@ {@ £@ @ J @@ @ + ib@@ c@ @~@ @6 @@ @ @ £Q @ @ @ @ @ @ @ @D*H ¤@@ @ ~@ @ @7 @@ @g@ @ c@ @ @ @ :b@@ @E ib@@ @ @ @ @D* h@@ @£@ @ / °H ¡@@ @ @ B @@ g@ @ @ @ @ @1b@@ E ib@@ @ @ @ =H ¯ ¡@@ @ @ @ D b@@ @ @ @ @ @ Ey@@ @ @F Hy@@ @ @ @ @ @ @ @ @ @ @D*

baytelshear ‫اﻟﺸﻌﺮ‬ ِ ‫ﺑﻴﺖ‬

ŪţǉƨŢǃƴŢ ƧƐǂ 4b@@ @ @~@ @8 b@@ @ Fv@@ @ < @@ @ @E ib@@ @ @ £@ @ @ @+°* d@@ g@ @ @ @F Q @ @ @ @ @ @ @ D* x@@ @ @ @ @ @ FH 4b@@ c@ @ @ @Db@@ E @@ @ @£@ @~@ @7 i°y@ 4b@@ @ @Fb@@ E @@ @ Q @ @ 0 ¡@@ @ @ @ ¹ q@@ @ ½ *H 4b@@ @ @BH @@ @ @~@ @{@ @0 @@ c@ @ @ @~@ @|@ @F È@@ @ @ @ - *H 4b@@ @c@ @ g@ @ <b@@ @+ ¥2b@@ @ @ @ @ @ @ @ @ J°* ¡@@ @ @ @ @ A b@@ @ @ @Fv@@ @ @ @J* 4b@@~@ z@ £@ D* ¥4v@@ @ -b@@ @ E ¥b@@ @ @ @ Â h@@ @ @< * 4*v@@ @ g@ @ B&b@ @ + @@ @ Jb@@ @ + b@@ @ @ @+ * @@ @ £@ @ @~@ @ @8&°* 4b@@ . Ì@@ @ @³* @@ @ @E 4b@@ @ @. * @@ £@ @~@ @{@ @²*H 4b@@ ~@ z@ ´b@@ E @@ g@ @Ax@@ < @@ @c@ @ B* ° ¥2x@@ @ @ @ @ @D*H 4b@@ ~@ @6 ¡@@ @ @ @J @@ @ @E d@K @ @ Jb@@ @ ~@ @ 7 Ñ* @@ @ 0x@@ @ J 4b@@ @/ @@ @ @ @ @D* °*H h@@ @ @B¡@@ @ @D* Ì@@ @m@ @ J ¡@@ @ @D

ĘıĘŕ

‫ دﻟﻴﻬﻲ‬6‫ﻋﺒﺪا‬ @a_dlaihi

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ǇƸţƈ ťŹƴŢ @@ £@ @Eb@@ ~@ @6* @@ @ @£@ @ @ @B ¡@@ @ @ D ¤@@ @ Eb@@ @ ~@ @ 6 d@@ @ @ @ ²* @@£@ @ @ J b@@ @ @E @@ @ @Ey@@ @ @D* @@ @ @E b@@ @ @ / d@@ @ @ @ @ @ D* @@ @J5b@@ @m@ @ J ¤@@ @ @ @ +4 @@ @ @ @ / ¤@@ @ @ @ @ @ : ¤@@ @ @ @ @ @ @D*H @@ @JHÉ@@ @+ H b@@ @ @ Ey@@ @ @ D* @@ @ @E h@@ @ Ax@@ @ < b@@ @ @ @F* @@£@ @ =*b@@E 2H5 @@ @ @EH @@ c@ @0 b@@ @E È@@ @C @@ @E @@ £@ @ @ @º Áb@@ @ @ @ @ E @@ @ £@ @ @ @ @ @ 1* 4v@@ @ @ @ @ @ @B* ¡@@ @ @ @ @ DH @@ £@ @~@ @6b@@ @ @+ Á°H ¤@@ @ @ @ £@ @ < @@ @ @ E Hw@@ @ @ @ @ @1 @@ @J4b@@ @: ¡@@ c@ @£@ @m@ @J ¤@@ @ @ @ @D* Ì@@ @j@ @ C ·¡@@ @ @ @0 @@ @ @£@ @ @ F*3* x@@ @ @~@ @z@ @J 4v@@ @ @ @ @ @ J @@ @ @ E @@ @ @ 0 b@@ @ @ J @@ J4b@@ ~@ @{@ @´* ¡@@ @ @~@ @{@ @ @ @J *H4b@@ @ @~@ @ @ 8 @@ @6b@@ @ @ @ D* @@ £@ @g@ @D*H ew@@ @ @ @ @D* ¢@@ @ @< @@ @ @ @ J4b@@ @/* 4v@@ @ @ @B* @@ @J2b@@ @c@ @ E 2Q x@@ @ @ @ @ @ @ - ¤@@ @ @ @ @ @ D* Ì@@ @ c@ @ @ @ @ @D* b@@ @ @ @ @F* @@£@A 4v@@ @= @@ @ Jv@@~@ 8 ¤@@ @ @D* @@Jv@@~@ |@ D* b@@ @ F*H @@ J¡@@ ~@ @6* 4v@@ @ @ @ @B* ¤@@ @~@ @ 7 ¥v@@ @ £@ @ @+ 2b@@ @ @ @< b@@ @ @ @EH

2019 ‫ أﺑﺮﻳﻞ‬، 77 ‫اﻟﻌﺪد‬

‫ ¯‪ĜŠ‬‬

‫اﻟﺤﻴﺎة‬ ‫ﻟﺤﻴﻴﺎ‬ ‫ﺤﻴ‬ ‫ﻓﻲ ﻟﺤ‬ ‫ﺖ ﻓﻲ‬ ‫»اﻟﺜﺎﺑﺖ‬ ‫»اﻟﻟﺜ ﺑﺖ‬ ‫»»ااﻟ‬ ‫ﻤﺮ«‬ ‫اﻟﻤﺴﺘﻤﺮ«‬ ‫ﺴﺘﻤﺮ‬ ‫ﺴﺘﻤ‬ ‫ﻤﺴ‬ ‫ﺴ‬ ‫اﻟﺘﻐﻴﻴﺮ ااﻟﻤ‬ ‫ﻤ‬ ‫ﻴﻴﺮ‬ ‫ﻴﺮ‬ ‫ﻴﻴﺮ‬ ‫اﻟﺘﻐﻴﻴﻴ‬ ‫ﻮا ﻴ‬ ‫ﻫﻮ‬ ‫ﻫ‬ ‫اﻟﻤﺴﺘﻤﺮ«!‬ ‫ﺧﻼل ﺟﻠﺴﺔ ﻣﻊ ﻣﺠﻤﻮﻋﺔ ﻣﻦ ﺻﺪﻳﻘﺎت وزﻣﻴﻼت اﻟﺤﺮف‬ ‫ﻓﻜﺮت ﰲ ﺗﻐﻴري اﻫﺘامﻣﺎﺗﻚ‬ ‫واﳌﺴرية اﻷدﺑﻴﺔ‪ ،‬ﺳﺄﻟﺘﻨﻲ إﺣﺪاﻫﻦ‪ :‬ﻫﻞ ِ‬ ‫واﻷوﻟﻮﻳﺎت؟ وﻫﺬا اﻟﺴﺆال رﻏﻢ ﴎﻋﺘﻪ وﺧﻔﺘﻪ إﻻ أﻧﻪ ﻳﻌﺘﱪ ﻣﻦ‬ ‫اﻷﺳﺌﻠﺔ اﻟﻜﺒرية‪ ،‬واﻟﺘﻲ ﺗﺤﺘﺎج ﻟﻠﺘﻤﻌﻦ واﻟﺘﻔﻜري ﻗﺒﻞ اﻹﺟﺎﺑﺔ‪ ،‬وذﻟﻚ‬ ‫ﻟﻌﺪة أﺳﺒﺎب ﻣﻨﻬﺎ أن اﻟﺘﻐﻴري ﺣﺘﻤﻲ وﰲ ﺑﻌﺾ اﻷوﻗﺎت ﻳﻜﻮن‬ ‫إﻳﺠﺎﺑﻴﺎً ﻷﻧﻪ ﻳﺴﺎﻳﺮ ﺗﻄﻮر اﻟﺘﻔﻜري وﺗﻄﻮر اﳌﻬﺎرات‪ ،‬وﻷن اﻟﺮﻛﻮن‬ ‫واﻟﺴﻜﻮن ﻳﺨﺎﻟﻒ اﻹﺑﺪاع اﻟﺬي ﻳﺤﺘﺎج ﻟﻠﺤﺮﻛﺔ واﻟﻨﺸﺎط‪ ،‬وأﻳﻀﺎً‬ ‫ﻷن ﺗﻐﻴري اﻷوﻟﻮﻳﺎت ﻗﺪ ﻻ ﻳﻜﻮن ﻣﻌﻀﻠﺔ‪ ،‬ﺑﻞ ﻋﲆ اﻟﻌﻜﺲ ﻗﺪ‬ ‫ﻳﺤﻤﻞ ﻓﺎﺋﺪة وﻫﻲ ﻓﺘﺢ اﻟﺬﻫﻦ واﻟﻌﻘﻞ ﻟﺘﻠﻘﻲ ﻣﻌﻠﻮﻣﺎت ﺟﺪﻳﺪة‪،‬‬ ‫ﺑﺒﺴﺎﻃﺔ ﻛﺄﻧﻚ ﺗﻔﺘﺢ ﻧﺎﻓﺬة ﺟﺪﻳﺪة ﺗﺤﺘﻮي ﻋﲆ أﻣﻮر وﺟﻮاﻧﺐ‬ ‫ﻛﻨﺖ ﺗﺠﻬﻠﻬﺎ أو ﻛﻨﺖ ﺑﻌﻴﺪاً ﻋﻨﻬﺎ‪ .‬رﻏﻢ ﻫﺬا مل أمتﻜﻦ ﻣﻦ اﻹﺟﺎﺑﺔ‬ ‫ﺑﻨﻌﻢ ومل أﺳﺘﻄﻊ اﻟﻘﻮل‪ :‬ﻻ‪ ..‬ﻷن ﻛﻼ اﻹﺟﺎﺑﺘني ﺗﺘﻄﻠﺒﺎن ﴍﺣﺎً‬ ‫وﺗﻔﺼﻴ ًﻼ‪ ،‬وأﻳﻀﺎً ﺗﺘﻄﻠﺐ اﻟﻜﺸﻒ ﻋﻦ ﺟﻮاﻧﺐ ذاﺗﻴﺔ‪ ،‬ﻓﺎﻟﺒﻌﺾ ﻣﻦ‬ ‫ﻗﺮاراﺗﻨﺎ اﳌﺴﺘﻘﺒﻠﻴﺔ رﻏﻢ أﻧﻬﺎ ﺗﺤﻤﻞ اﳌﻈﻬﺮ اﻟﻌﺎم إﻻ أن ﻣﻨﻄﻠﻘﻬﺎ‬ ‫ﰲ اﻟﻌﺎدة ﻳﻜﻮن ﺷﺨﺼﻴﺎً وﺧﺎﺻﺎً‪ .‬ﻟﻘﺪ راﻓﻘﻨﻲ ﻫﺬا اﻟﺴﺆال ﻟﺒﻌﺾ‬ ‫اﻟﻮﻗﺖ‪ ،‬ﻷﻧﻨﻲ ﻣﻦ اﻟﻨﺎس اﻟﺬﻳﻦ ﻳﺆﻣﻨﻮن ﺑﺤﺘﻤﻴﺔ اﻟﺘﻐﻴري‪ ،‬ﻓﺄﻧﺎ‬ ‫أزﻋﻢ أﻧﻨﻲ ﻣﻦ ﻣﺪرﺳﺔ اﻟﻔﻴﻠﺴﻮف اﻟﻴﻮﻧﺎين ﻫرياﻗﻠﻴﻄﺲ‪ ،‬اﳌﺘﻮﰲ‬ ‫‪ 480‬ﻗﺒﻞ اﳌﻴﻼد واﻟﺬي ﻋﺮف ﺑﺎﻟﻔﻴﻠﺴﻮف اﻟﺒﺎيك‪ ،‬ﻷن ﻛﺘﺎﺑﺘﻪ دوﻣﺎً‬ ‫ﻏﺎﻣﻀﺔ وﺣﺰﻳﻨﺔ‪ ،‬ﺣﻴﺚ ﻗﺎل‪ " :‬اﻟﴚء اﻟﻮﺣﻴﺪ اﻟﺜﺎﺑﺖ ﰲ اﻟﺤﻴﺎة‬ ‫ﻫﻮ اﻟﺘﻐﻴري اﳌﺴﺘﻤﺮ"‪ .‬ومبﺎ أن اﻟﺘﻐﻴري ﺣﺘﻤﻲ أو ﻫﻮ ﺣﺎﺟﺔ‪ ،‬إﻻ‬ ‫أﻧﻪ وﻛام ﻫﻮ واﺿﺢ ﺗﻨﺘﺎﺑﻨﺎ اﳌﺨﺎوف ﻋﻨﺪ اﻟﺘﻔﻜري ﰲ ﺗﻐﻴري اﻟﺒﻌﺾ‬ ‫ﻣﻦ ﻋﺎداﺗﻨﺎ أو ﺗﻐﻴري ﻃﺮﻳﻘﺔ اﻋﺘﺪﻧﺎ ﻋﻠﻴﻬﺎ‪ ،‬وﻳﻜﻮن ﻣﺆرﻗﺎً وﻣﺘﻌﺒﺎً‪،‬‬ ‫واﳌﺸﻜﻠﺔ اﻷﺧﺮى أن ﻋﻤﻠﻴﺔ اﻟﺘﻐﻴري ﻗﺪ ﺗﺒﺪأ ﺑﺨﻄﻮة ﺻﻐرية ﻟﻜﻨﻬﺎ‬ ‫ﺗﺘﺤﻮل ﻟﻬﺮوﻟﺔ ورﻛﺾ‪ ،‬مبﻌﻨﻰ ﻗﺪ ﺗﺒﺪأ ﺑﻌﻤﻠﻴﺔ ﺻﻐرية ﻟﺘﻐﻴري‬ ‫ﻣﺘﻮاﺿﻊ ﻟﻜﻨﻪ ﻳﻨﻤﻮ وﻳﺘﺼﺎﻋﺪ وﻳﻜﱪ ﻟﻠﺪرﺟﺔ اﻟﺘﻲ ﻻ ﺗﺴﺘﻄﻴﻊ‬

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‫اﻟﻤﺰروﻋﻲ‬ ‫وﻋﻲ‬ ‫اﻟﻤﺰ ووﻋ‬ ‫ﻃﻤﺔ ﻤﻤﺰ‬ ‫ﻤﺔ‬ ‫ﻓﺎﻃﻤﺔ‬ ‫ﻤ‬ ‫ﻃﻤ‬

‫اﻟﺴﻴﻄﺮة ﻋﻠﻴﻪ أو إﻳﻘﺎﻓﻪ‪ ،‬وﻣﻦ ﻫﻨﺎ ﺗﻜﻮن اﳌﺨﺎوف ﻟﺪى ﴍﻳﺤﺔ‬ ‫واﺳﻌﺔ ﻣﻦ اﻟﻨﺎس‪..‬‬ ‫ﰲ ﻋﺎمل اﻟﻜﺘﺎﺑﺔ واﻟﺘﺄﻟﻴﻒ ﻋﲆ وﺟﻪ اﻟﺘﺤﺪﻳﺪ‪ ،‬ﺣﺘﻤﻴﺔ اﻟﺘﻐﻴري واﻗﻊ‬ ‫ﻻ ﻣﻨﺎص ﻣﻨﻪ‪ ،‬وﻣﻦ ﻻ ﻳﻄﺮﻗﻪ وﻻ ﻳﺘﻮﺟﻪ ﻧﺤﻮه ﺳﻴﻜﻮن ﻣﺆﻟﻔﺎً‬ ‫اﻋﺘﻴﺎدﻳﺎً وﻣﺘﻮاﺿﻌﺎً أو ﻣﻜﺮراً وﻣﻤ ًﻼ‪ .‬ﻟﻜﻦ اﳌﻮﺿﻮع أﺷﻤﻞ ﻣﻦ‬ ‫ﺣﻘﻞ ﺣﻴﺎيت أو ﻣﻦ ﺗﻮﺟﻪ واﺣﺪ‪ ،‬ﻷن ﻣﻔﻬﻮم اﻟﺘﻐﻴري ﺷﺎﻣﻞ وﻋﺎم‬ ‫ميﺲ ﻣﺨﺘﻠﻒ ﺗﻔﺎﺻﻴﻞ اﻹﻧﺴﺎن‪ ،‬مبﻌﻨﻰ ﻻ ميﻜﻨﻚ ﺗﻔﺼﻴﻠﻪ وﻓﻖ‬ ‫ﻣﺎ ﺗﺮﻳﺪه‪ ،‬ﻓﺘﺒﺪأ ﰲ ﺗﻐﻴري ﺟﺎﻧﺐ ﻣﻦ ﺷﺨﺼﻴﺘﻚ ﻣﻦ دون ﺟﻮاﻧﺐ‬ ‫أﺧﺮى‪ ،‬ﻛﻴﻒ ﳌﺆﻟﻒ أن ﻳﻐري ﻃﺮﻳﻘﺘﻪ ﰲ اﻟﻜﺘﺎﺑﺔ واﻟﺘﺄﻟﻴﻒ وﻳﻨﺠﺢ‪،‬‬ ‫وﻫﻮ ﻳﻔﻜﺮ ﺑﻨﻔﺲ اﻟﻄﺮﻳﻘﺔ وﻳﻨﻈﺮ ﻟﻸﻣﻮر ﺑﻨﻔﺲ اﻟﻨﻈﺮة وﻳﺘﻌﺎﻃﻰ‬ ‫ﻣﻊ اﻷﺣﺪاث ﺑﻨﻔﺲ اﳌﻨﻄﻖ؟‪ .‬ﻛام ﻗﻠﺖ ﻋﻨﺪﻣﺎ ﺗﺒﺪأ ﻋﻤﻠﻴﺔ اﻟﺘﻐﻴري‬ ‫ﻟﻦ ﺗﺘﻮﻗﻒ ﰲ ﻣﺠﺎل أو ﻣﻜﺎن ﻣﺤﺪد‪ ،‬ورﻏﻢ ﻫﺬا ﻓﺈن ﻋﲆ ﻛﻞ‬ ‫واﺣﺪ ﻣﻨﺎ أن ﻳﻌﻤﻞ ﻋﲆ ﺗﻐﻴري ﻋﺎداﺗﻪ وﻃﺮق ﺗﻔﻜريه ﻟﺘﻜﻮن أﻛرث‬ ‫ﺣﻀﻮراً وﻓﻬ ًام ﻟﻠﻮاﻗﻊ‪ ،‬وﻣﺘامﺷﻴﺔ ﻣﻊ ﺗﻄﻮر اﻹﻧﺴﺎن وﻫﺬه ﻋﻤﻠﻴﺔ‬ ‫ﺣﺘﻤﻴﺔ ﳌﻦ ﻳﻨﺸﺪ اﻹﺑﺪاع وﻳﺮﻳﺪ أن ﻳﻜﻮن إﻧﺴﺎﻧﺎً ﻣﺒﺘﻜﺮاً‪ .‬ﻧﻌﻢ‬ ‫ﻟﻠﺘﻐﻴري‪ ،‬وﻟﻜﻦ وﻓﻖ ﻣﺤﻄﺎت‪ ،‬ووﻓﻖ ﻣﺮاﺣﻞ‪ ،‬ﻓﺎﻟﺘﻐﻴري ﻟﻠﺘﻄﻮر‬ ‫وﻟﻴﺲ ﻟﻠﺘﻐﻴري ﺑﺤﺪ ذاﺗﻪ‪..‬‬

‫اﻟﺸﻌﺮ ‪baytelshear‬‬ ‫ﺑﻴﺖ ِ‬

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‫‪şĚĮŃ şěńĴ‬‬ ‫أﻋامل ﻫﺬه اﻟﻔﱰة أﻏﻨﻴﺎت‪" :‬ﻗﻮم ﻳﺎ ﻣﴫي"‪،‬‬ ‫"ﺷﺪ اﻟﺤﺰام"‪" ،‬اﻟﺤﻠﻮة دي ﻗﺎﻣﺖ ﺗﻌﺠﻦ ﰲ‬ ‫اﻟﻔﺠﺮﻳﺔ"‪ ،‬وأوﺑﺮﻳﺘﺎت‪" :‬اﻟﻌﴩة اﻟﻄﻴﺒﺔ"‪،‬‬ ‫"اﻟﻮارﺛني"‪" ،‬اﻟﻘﻠﻞ اﻟﻘﻨﺎوي" وﻏريﻫﺎ ﻣﻦ‬ ‫اﻷﻋــامل اﻟﺘﻲ مل ﺗﻨﻘﻄﻊ ﺣﺘﻰ وﻓﺎة ﺳﻴﺪ‬ ‫دروﻳﺶ اﳌﻔﺎﺟﺌﺔ ﻋﺎم ‪ ،1923‬واﻟﺘﻲ أﺛﺮت‬ ‫ﻛﺒرياً ﰲ ﻧﻔﺲ ﺑﺪﻳﻊ ﺧريي ورﺛﺎه ﰲ أﻛرث ﻣﻦ‬ ‫ﻗﺼﻴﺪة‪:‬‬ ‫"ﺟﻴﺖ اﺑﻮﺳﻚ ﻳﺎﺗﺮاب اﺳﻜﻨﺪرﻳﺔ – ﻟﻴﺎ‬ ‫ﰲ أرﺿــﻚ ﻓﻘﻴﺪ ﻏﺎﱄ ﻋﻠﻴﺎ – اﺳﻤﻪ ﺳﻴﺪ‬ ‫واﻟﺴﻴﺎدة ﻓﻴﻪ ﻣﺰﻳﺔ – ﻟﻠﺘﻔﻮق واﻟﻨﺒﻮغ‬ ‫واﻟﻌﺒﻘﺮﻳﺔ"‪.‬‬ ‫ﺑﻌﺪ ﻫﺬا اﻟﺘﺎرﻳﺦ ﺑﺄرﺑﻌني ﻋﺎﻣﺎً ﺳﻴﻔﻘﺪ ﺑﺪﻳﻊ‬ ‫ﺧريي اﺑﻨﻪ اﳌﻤﺜﻞ اﳌﴪﺣﻲ ﻋﺎدل ﺧريي‬ ‫ﰲ ﻧﻔﺲ ﻋﻤﺮ ﺳﻴﺪ دروﻳﺶ ﺗﻘﺮﻳﺒﺎً ﻣﺘﺄﺛﺮاً‬ ‫ﺑﺪاء اﻟﺴﻜﺮي‪ ،‬وﺳريﺣﻞ ﻣﺘﺄﺛﺮاً ﺑﻔﺠﻴﻌﺔ اﺑﻨﻪ‬ ‫ﺳﻨﻮات ﻋﺎم ‪ ،1966‬ﺗﺎرﻛﺎً رﺻﻴﺪاً‬ ‫ﺑﻌﺪﻫﺎ ﺑﺜﻼث‬ ‫ٍ‬ ‫ﻫﺎﺋ ًﻼ ﻣﻦ اﻷﺷﻌﺎر واﻷزﺟﺎل واﳌﴪﺣﻴﺎت‬ ‫وﺳﻴﻨﺎرﻳﻮﻫﺎت اﻷﻓﻼم واﻷوﺑﺮﻳﺘﺎت اﻟﻐﻨﺎﺋﻴﺔ‬ ‫واﳌﻮﻧﻮﻟﻮﺟﺎت واﻟﻌﺪﻳﺪ ﻣﻦ اﻟﺪورﻳﺎت‬ ‫اﻟﺼﺤﻔﻴﺔ اﻟﺘﻲ ﺣﻤﻠﺖ اﺳﻤﻪ أو وﻗﻌﻬﺎ ﺑﺎﺳﻢ‬ ‫ﻣﺴﺘﻌﺎر‪ .‬رﺻﻴﺪ اﺷﱰك ﻣﺠﻤﻠﻪ ﰲ وﺣﺪة‬ ‫اﻟﻬﻢ اﻟﻮﻃﻨﻲ واﻹﻧﺴﺎين‪ ،‬واﻹميــﺎن ﺑﺪور‬ ‫وﻃﻦ ﺣﺮ ﻣﺴﺘﻘﻞ ﻳﺘﺴﺎوى‬ ‫اﻟﻔﺮد وﺣﻘﻪ ﰲ ٍ‬ ‫ﻓﻴﻪ اﻟﺠﻤﻴﻊ؛ ﻓﻘﺪ ﺣﺮص ﺧريي ﰲ ﻣﺠﻤﻞ‬ ‫ﻛﺘﺎﺑﺎﺗﻪ ﻋﲆ اﺧﺘﻴﺎر أﺑﻄﺎﻟﻪ ﻣﻦ اﳌﻬﻤﺸني‪،‬‬ ‫ﻣﺨﺎﻟ ًﻔﺎ ﺑﺬﻟﻚ اﻷﻋامل اﻟﻔﻨﻴﺔ اﻟﺴﺎﺋﺪة ﰲ‬ ‫زﻣﻨﻪ اﻟﺘﻲ اﺧﺘﺎرت ﻟﺮواﻳﺘﻬﺎ ﻗﺼﻮر اﻷﻏﻨﻴﺎء‪،‬‬ ‫ﺗﺄﺛ ًﺮا ﺑﺎﻷدب اﻟﻜﻼﺳﻴيك اﻹﻏﺮﻳﻘﻲ‪ ،‬اﻟﺬي ﻛﺎن‬ ‫أﺑﻄﺎﻟﻪ دامئًﺎ أﻧﺼﺎف آﻟﻬﺔ‪.‬‬ ‫‪ƉƫōƗ ǛǙ ƉŬǉŐ‬‬

‫إن اﳌﺘﺘﺒﻊ ﻟﻠﱰاث اﻟﻔﻨﻲ اﳌﴫي ﺧﻼل اﳌﺎﺋﺔ‬ ‫ﻋﺎم اﻷﺧرية‪ ،‬ﺳﻴﺠﺪ إرث اﻟﺸﺎﻋﺮ ﺑﺪﻳﻊ ﺧريي‬ ‫ﻣﺘﻘﺎﻃﻌﺎً ﻣﻊ أﻏﻠﺐ اﻷﻋامل اﻟﻔﻨﻴﺔ مبﺨﺘﻠﻒ‬ ‫ﺗﻨﻮﻳﻌﺎﺗﻬﺎ‪ ،‬وإن ﻧﺴﺒﺖ أﻋامﻟﻪ ﻟﻐريه ﺑﺤﻜﻢ‬ ‫ﺛﻘﺎﻓﺔ ﻧﺠﻢ اﻟﺸﺒﺎك‪ ،‬ﻓﻬﻮ اﻟﺸﺎﻋﺮ واﻟﻜﺎﺗﺐ‬

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‫اﻟﻌﺪد ‪ ، 77‬أﺑﺮﻳﻞ ‪2019‬‬

‫اﳌﴪﺣﻲ واﻟﺴﻴﻨﺎرﻳﺴﺖ ﻟﻨﺨﺒﺔ ﻣﻦ درر‬ ‫اﳌﴪح واﻟﺴﻴﻨام ﰲ اﻟﻘﺮن اﻟﻌﴩﻳﻦ‪ً ،‬‬ ‫ﻓﻀﻼ‬ ‫ﻋﻦ ﻗﻴﺎﻣﻪ ﺑﺎﻟﺘﻤﺜﻴﻞ واﻟﺘﻠﺤني‪ .‬وﻫﻮ اﻟﺼﺤﻔﻲ‬ ‫اﻟﺬي أرخ ﰲ ﻣﺠﻠﺘﻪ اﻟﺸﻬرية "أﻟﻒ ﺻﻨﻒ"‬ ‫ﻟﺤﺎل اﻟﻔﻨﻮن ﰲ زﻣﻨﻪ‪ ،‬ﻓﻀ ًﻼ ﻋﻦ دورﻳﺎﺗﻪ‬ ‫اﻟﺼﺤﻔﻴﺔ اﻷﺧﺮى اﻟﺘﻲ اﺳﺘﺨﺪﻣﻬﺎ ﳌﻌﺎرﺿﺔ‬ ‫اﻻﺣﺘﻼل اﻹﻧﺠﻠﻴﺰي واﻟﺤﻜﻮﻣﺎت اﳌﻮاﻟﻴﺔ ﻟﻪ‪،‬‬ ‫ﻣﺎ ﺟﻌﻠﻪ ﻣﻬﺪدًا ﻃﻮال اﻟﻮﻗﺖ ﺑﺎﻟﻨﻔﻲ ﺧﺎرج‬ ‫اﻟﺒﻼد ﻋﲆ ﻏﺮار زﻣﻴﻠﻪ ﺑريم اﻟﺘﻮﻧﴘ‪.‬‬ ‫وﻟﻠﺘﻮﻧﴘ ﻣﻊ ﺑﺪﻳﻊ ﺧريي واﻗﻌﺔ إﻧﺴﺎﻧﻴﺔ‬ ‫ﻃﺮﻳﻔﺔ روﺗﻬﺎ ﺣﻔﻴﺪﺗﻪ ﻋﻄﻴﺔ ﺧريي‪ ،‬وﻫﻲ‬ ‫أﻧﻪ رﻏﻢ ﻛﻮن اﻟﺘﻮﻧﴘ اﳌﻨﺎﻓﺲ اﻷﺑﺮز ﻟﺠﺪﻫﺎ‬ ‫ﰲ اﻟﺸﻌﺮ إﻻ أﻧﻪ ﻛﺎن ﻳﻨﴩ زﺟﻠﻴﺎﺗﻪ وأﺷﻌﺎره‬ ‫مبﺠﻠﺘﻪ "أﻟﻒ ﺻﻨﻒ"‪ ،‬وﻛﺎن ﻳﺮﺳﻞ إﻟﻴﻪ راﺗﺒﻪ‬ ‫اﻟﺸﻬﺮي ﰲ ﻣﻨﻔﺎه ﺑﻔﺮﻧﺴﺎ‪ ،‬وﻋﻨﺪﻣﺎ ﺗﻮﻗﻔﺖ‬ ‫اﳌﺠﻠﺔ ﻇﻞ ﺑﺪﻳﻊ ﻳﺮﺳﻞ ﻟﺒريم راﺗﺒﻪ ﻣﻦ دون‬ ‫إﺧﺒﺎره ﺑﴚء‪ ،‬ﻟﻌﻠﻤﻪ مبﺪى ﺣﺎﺟﺘﻪ ﻟﻠامل‪،‬‬ ‫ومل ﻳﻌﺮف اﻷﺧري ﺑﺬﻟﻚ ﺣﺘﻰ ﺗﺄﺧﺮ راﺗﺒﻪ ﻣﺮة‬ ‫ﻓﺴﺄل أﺣﺪ أﺻﺪﻗﺎﺋﻪ وﻋﻠﻢ ﺑﺘﻮﻗﻒ اﳌﺠﻠﺔ‪.‬‬ ‫وإذا ﻛﻨﺎ ﻣﻌﻨﻴني ﻫﻨﺎ ﺑﺒﺪﻳﻊ ﺧريي اﻟﺸﺎﻋﺮ‪،‬‬ ‫واﻟﺰﺟﺎل اﳌﺠﺪد وأﺣﺪ آﺑﺎء ﺷﻌﺮ اﻟﻌﺎﻣﻴﺔ‪،‬‬ ‫ﻓﺈﻧﻪ ﺗﺠﺪر اﻹﺷﺎرة إﱃ اﻟﺠﻬﺪ اﻟﺬي ﺑﺬﻟﻪ‬ ‫اﻟﻨﺎﻗﺪ اﳌﴪﺣﻲ اﻟﺪﻛﺘﻮر ﻧﺒﻴﻞ ﺑﻬﺠﺖ ﰲ‬ ‫ﺟﻤﻊ وﺗﺤﻘﻴﻖ اﻷﻋامل اﻟﺸﻌﺮﻳﺔ اﻟﻜﺎﻣﻠﺔ‬ ‫ﻟﻠﺸﺎﻋﺮ ﺑﺪﻳﻊ ﺧريي‪ ،‬ﰲ ﻛﺘﺎب ﻣﻦ ‪900‬‬ ‫ﺻﻔﺤﺔ‪ ،‬ﺗﺘﺒﻊ ﰲ اﻟﺠﺮء اﻷول ﻣﻨﻪ اﻟﺴرية‬ ‫اﻟﺬاﺗﻴﺔ واﻟﺸﻌﺮﻳﺔ واﳌﴪﺣﻴﺔ واﻟﺼﺤﻔﻴﺔ‬ ‫ﻟﻠﺸﺎﻋﺮ‪ً ،‬‬ ‫ﻓﻀﻼ ﻋﻦ ﺟﻤﻊ وﺗﺼﻨﻴﻒ ﺗﺮاﺛﻪ‬

‫اﻟﺸﻌﺮي ﻣﺎ ﺑني وﻃﻨﻲ وﻋﺎﻃﻔﻲ واﺟﺘامﻋﻲ‬ ‫وﺷﻌﺮ ﻣﻨﺎﺳﺒﺎت‪ ،‬وﺣﺘﻰ اﻓﺘﺘﺎﺣﻴﺎت‬ ‫وإﻋﻼﻧﺎت ﻣﺠﻠﺘﻪ اﻟﺘﻲ ﻛﺎن ﻳﺴﺘﺨﺪم ﻓﻴﻬﺎ‬ ‫اﻟﺰﺟﻞ‪.‬‬ ‫أﻳﻀﺎً ﺿﻢ ﻛﺘﺎب ﺑﻬﺠﺖ اﻟﺤﺎﺻﻞ ﻋﲆ دراﺳﺔ‬ ‫اﳌﺎﺟﺴﺘري ﰲ ﻣﴪح ﺑﺪﻳﻊ ﺧريي ﻛﺎﻓﺔ ﻣﺎﺗﻢ‬ ‫اﻟﻌﺜﻮر ﻋﻠﻴﻪ ﻣﻦ أﻏﻨﻴﺎت اﻟﺸﺎﻋﺮ ﻣﺼﻨﻔ ًﺔ إﱃ‪:‬‬ ‫أﻏﺎنٍ ﻋﺎﻣﺔ‪ ،‬أﻏﺎين ﻣﴪﺣﻴﺎت‪ ،‬أﻏﺎين أﻓﻼم‬ ‫وﻏريﻫﺎ‪ ،‬وﻣﻮﺛﻘ ًﺔ مبﺼﺎدرﻫﺎ ﰲ ﺑﻴﺒﻠﻴﻮﺟﺮاﻓﻴﺎ‬ ‫ﻷﻏﺎين وﻣﴪﺣﻴﺎت اﻟﺸﺎﻋﺮ‪.‬‬ ‫وﻣﻌﺮوف أن ﺑﺪﻳﻊ ﺑﻌﺪ اﻟﺮﺣﻴﻞ اﻟﺪراﻣﻲ‬ ‫ﻟﺘﻮأﻣﻪ ﺳﻴﺪ دروﻳﺶ ﻧﺸﺄت ﺻﺪاﻗﺔ ﺑﻴﻨﻪ‬ ‫وﺑني اﳌﻠﺤﻦ اﻟﺸﻴﺦ زﻛﺮﻳﺎ أﺣﻤﺪ‪ ،‬وواﺻﻞ‬ ‫ﻛﺘﺎﺑﺔ اﻷﻏﺎين واﻷدوار ﻟﻜﺒﺎر ﻣﻄﺮيب ﻋﴫه‬ ‫ﺑﺪءاً مبﻨرية اﳌﻬﺪﻳﺔ وإﺑﺮاﻫﻴﻢ ﺣﻤﻮدة ورﺟﺎء‬ ‫ﻋﺒﺪه وﻧﺠﺎة ﻋﲇ وﻟﻴﲆ ﻣﺮاد وﻣﺤﻤﺪ ﻓﻮزي‬ ‫وأﺳﻤﻬﺎن وﻏريﻫﻢ‪ ،‬ﻛام ﻛﺘﺐ ﻷم ﻛﻠﺜﻮم دور‬ ‫"ﻫﻮ ده ﻳﺨﻠﺺ ﻣﻦ اﻟﻠﻪ" وﻟﺤﻨﻪ ﻟﻬﺎ اﻟﺸﻴﺦ‬ ‫زﻛﺮﻳﺎ أﺣﻤﺪ‪ ،‬وﻋﻦ ذﻟﻚ ﻛﺘﺒﺖ اﳌﺆرﺧﺔ‬ ‫اﳌﻮﺳﻴﻘﻴﺔ رﺗﻴﺒﺔ اﻟﺤﻔﻨﻲ ﻗﺎﺋﻠ ًﺔ‪" :‬ﻛﺎن ﻓﻦ‬ ‫اﻟﺪور ﻳﻮﺷﻚ أن ﻳﻄﻮي أوراﻗﻪ وﻳﻮدع اﻟﺪﻧﻴﺎ‬ ‫ﻋﻨﺪﻣﺎ ﺑﺪأ زﻛﺮﻳﺎ أﺣﻤﺪ ﰲ ﺗﻠﺤني اﻷدوار ﻷم‬ ‫ﻛﻠﺜﻮم‪ ،‬وذﻟﻚ ﺑﺪاﻳﺔ ﻣﻦ ﻋﺎم ‪ 1931‬وﻫﻮ‬ ‫دور "ﻫﻮ دا ﻳﺨﻠﺺ ﻣﻦ اﻟﻠﻪ" ﻣﻦ ﺗﺄﻟﻴﻒ‬ ‫ﺑﺪﻳﻊ ﺧــريي‪ ،‬وﻛــﺎن زﻛﺮﻳﺎ أﺣﻤﺪ ﻳﺤﺎول‬ ‫ﺗﻄﻮﻳﺮ ﻓﻦ اﻟﺪور‪ ،‬ﺑﻴﻨام ﻓﻦ اﻟﺪور ﻳﻐﺎدر‬ ‫ﺳﺎﺣﺔ اﻟﻐﻨﺎء اﳌﻌﺎﴏ‪ ..‬وﻳﺒﺪو أن زﻛﺮﻳﺎ‬ ‫أﺣﻤﺪ ﻟﺤﻦ ﻫﺬا اﻟﺪور ﺑﻨﺎء ﻋﲆ رﻏﺒﺔ أم‬ ‫ﻛﻠﺜﻮم ﻟﺘﻌﻠﻘﻬﺎ ﺑﻬﺬا اﻟﻠﻮن ﻣﻦ اﻟﻐﻨﺎء‪."..‬‬ ‫ﻫﺬا ومل ﻳﻜﻦ ﺑﺪﻳﻊ ﺧريي ﻣﻮﻟ ًﻌﺎ ﺑﺎﻷﻏﺎين‬ ‫اﻟﻌﺎﻃﻔﻴﺔ‪ ،‬وأﻏﻨﻴﺎﺗﻪ اﻟﻘﻠﻴﻠﺔ ﻧﺴﺒﻴﺎً ﻣﻨﻬﺎ‪،‬‬ ‫ﻛﺎن ﻳﺤﻠﻮ ﻟﻪ ﺗﻄﻌﻴﻤﻬﺎ ﺑﺨﻴﻂ دراﻣﻲ أو‬ ‫ﻗﺼﺔ أو ﺣﻮارﻳﺔ ﻋﲆ ﻏﺮار دوﻳﺘﻮ "ﺷﺤﺎت‬ ‫اﻟﻐﺮام" ﻟﻠﻴﲆ ﻣﺮاد وﻣﺤﻤﺪ ﻓﻮزي‪ ،‬اﻟﻠﺬﻳﻦ‬ ‫ﻛﺎن ﻳﺤﺐ ﺻﻮﺗﻴﻬام ﻛﺜرياً‪ ،‬وﻛﺎن ﻣﻴﺎﻻً ﻃﻮل‬ ‫اﻟﻮﻗﺖ ﻟﻠﻨﻘﺪ اﻟﺴﺎﺧﺮ‪ ،‬واﻟﻔﻜﺎﻫﺔ‪ ،‬ﺑﺤﻜﻢ‬ ‫ﺗﻜﻮﻳﻨﻪ ﻛﺰﺟﺎل‪.‬‬

‫اﻟﻴﻮﻣﻴﺔ ﻟﻠﺒﺴﻄﺎء واﻟﻜﺎدﺣني‪ ،‬وﻣﻦ ﻫﻨﺎ‬ ‫ﺑﺪأت ﻋﻼﻗﺘﻪ ﺑﺎﻟﺸﺎﻋﺮ ﺑﺪﻳﻊ ﺧريي )‪1893-‬‬ ‫‪ ،(1966‬اﺑــﻦ ﺣﻲ اﳌﻐﺮﺑﻠني واﻟﻘﺎﻫﺮة‬ ‫اﻟﻘﺪميﺔ‪ ،‬ورﺑﻴﺐ ﻛﺘﺎﺗﻴﺒﻬﺎ وﻣﺪارﺳﻬﺎ اﻷﻣريﻳﺔ‬ ‫وﻣﻘﺎﻫﻴﻬﺎ اﻟﺸﻌﺒﻴﺔ اﻟﺘﻲ ﻗﺎل ﻋﻨﻬﺎ‪" :‬ﻫﻲ‬ ‫ﻣﺪرﺳﺘﻲ اﻷوﱃ ﰲ اﻟﺘﺄﻟﻴﻒ اﳌﴪﺣﻲ‪ ،‬ﺣﺘﻰ‬ ‫ﻟﻬﺠﺎت اﻟﺒﻼد اﻟﻌﺮﺑﻴﺔ ﻋﺮﻓﺘﻬﺎ وﺣﻔﻈﺘﻬﺎ ﰲ‬ ‫ﻫﺬه اﳌﻘﺎﻫﻲ‪ ،‬إذ ﻛﺎن ﻳﱰدد ﻋﻠﻴﻬﺎ أﺑﻨﺎء ﺗﻠﻚ‬ ‫اﻟﺒﻼد اﻟﺸﻘﻴﻘﺔ اﻟﺬﻳﻦ ﻳﺪرﺳﻮن أو ﻳﺘﺎﺟﺮون‬ ‫أو ﻳﺴﻴﺤﻮن ﰲ اﻟﻘﺎﻫﺮة"‪.‬‬ ‫ﻛﺎن ﺑﺪﻳﻊ ودروﻳﺶ ﰲ ﻧﻔﺲ اﻟﺴﻦ ﺗﻘﺮﻳ ًﺒﺎ‪،‬‬ ‫ﻓﻘﻂ ﻳﻜﱪه دروﻳﺶ ﺑﺒﻀﻌﺔ أﺷﻬﺮ‪ .‬ورﻏﻢ‬ ‫اﻧﺘﺴﺎب اﻟﺸﺎﻋﺮ ﻷﴎة ﻣﻴﺴﻮرة ﻣﺎد ًﻳﺎ وذات‬ ‫أﺻــﻮل ﺗﺮﻛﻴ ٍﺔ إﻻ أن ﻧﻈﺮﺗﻪ ﻟﻠﻔﻦ ﻛﺎﻧﺖ‬ ‫ﻣامﺛﻠﺔ ﻟﺮؤﻳﺔ ﺳﻴﺪ دروﻳﺶ‪ ،‬ﻟﺬا ﻓﻘﺪ ﺗﺨﲆ‬ ‫ﺑﻌﺪ ﻓﱰ ٍة ﻗﺼري ٍة ﻋﻦ ﻛﺘﺎﺑﺔ اﻟﺸﻌﺮ ﺑﺎﻟﻠﻐﺔ‬ ‫ﺗﺮﺣﺎب‪ ،‬ﺟﻌﻞ‬ ‫اﻟﻔﺼﺤﻰ رﻏﻢ ﻣﺎ ﻻﻗﺎه ﻣﻦ‬ ‫ٍ‬ ‫أﺑﻮاب وﺻﻔﺤﺎت ﻛﱪﻳﺎت اﻟﺼﺤﻒ اﳌﴫﻳﺔ‬ ‫اﳌﻮﺟﻮدة أواﺋــﻞ اﻟﻘﺮن اﻟﻌﴩﻳﻦ ﺗﻔﺘﺢ‬ ‫أﻣﺎﻣﻪ‪ ،‬ﻟﻜﻨﻪ آﺛﺮ ﻓﻦ اﻟﺰﺟﻞ اﻟﺬي أراد أن‬ ‫ﻳﻀﻊ ﻓﻴﻪ ﺑﺼﻤﺘﻪ اﻟﺨﺎﺻﺔ‪ ،‬وﻋﻦ ذﻟﻚ ﻳﻘﻮل‬ ‫ﰲ ﻣﺬﻛﺮاﺗﻪ‪:‬‬ ‫”ﻛﻨﺖ ﻣﻦ ﻛﺘﺎب اﻟﺸﻌﺮ اﻟ ّﻼﻣﻌني ﻣﻨﺬ‬ ‫أﻛرث ﻣﻦ ﺛﻼﺛني ﻋﺎﻣﺎً‪ ،‬وﻛﺎﻧﺖ ﻫﺬه اﻟﻬﻮاﻳﺔ‬ ‫اﻟﺠﻤﻴﻠﺔ ﻫﻲ اﻟﻬﻮاﻳﺔ اﻟﻮﺣﻴﺪة اﳌﺘﻤﻠﻜﺔ‬ ‫ﻋﲆ زﻣﺎم ﻧﻔﴘ وﻣﺸﺎﻋﺮي‪ ،‬ﻓﻘﺪ ﻓﻜﺮت‬ ‫ﰲ إرﺳﺎل ﺑﻌﺾ أﺷﻌﺎري إﱃ اﻟﺠﺮاﺋﺪ اﻟﺘﻲ‬ ‫ﺗﺼﺪر ﰲ اﻟﻘﺎﻫﺮة‪ ..‬وﻳﺒﺪو أن ﻫﺬه اﻷﺷﻌﺎر‬ ‫اﻟﺘﻲ أرﺳﻠﺘﻬﺎ إﱃ اﻟﺠﺮاﺋﺪ ﻗﺪ ﻻﻗﺖ ﻣﻨﻬﻢ‬ ‫اﻟﱰﺣﻴﺐ‪ ..‬ﻓﻠﻢ ﻳﺒﺨﻠﻮا ﺑﻨﴩ ﺑﻌﻀﻬﺎ‪..‬‬ ‫وﺑﺪأت أﺷﻌﺎري ﺗﻨﴩ ﻋﲆ ﺻﻔﺤﺎت اﻷﻫﺮام‬ ‫واﳌﻘﻄﻢ واﻷﻓﻜﺎر واﳌﺆﻳﺪ‪ .‬وﻛﺎﻧﺖ ﻫﺬه‬ ‫اﻟﺼﺤﻒ ﻣﻦ أوﺳﻊ اﻟﺼﺤﻒ اﳌﴫﻳﺔ اﻧﺘﺸﺎراً‬ ‫ﰲ ذﻟﻚ اﻟﺤني‪ ،‬وﻟﻜﻦ ﻛﻞ ﻫﺬا اﻟﺮواج اﻟﺬي‬ ‫ﻻﻗﻴﺘﻪ ﻛﺸﺎﻋﺮ ﻣﺒﺘﺪئ مل ﻳﺮض ﻃﻤﻮﺣﻲ ومل‬ ‫ﻳﺸﺒﻊ آﻣﺎﱄ"‪.‬‬ ‫مل ﻳﻌﺒﺄ اﻟﺸﺎﻋﺮ ﺑﺎﻟﻨﻈﺮة اﻟﺪوﻧﻴﺔ ﻟﻠﺰﺟﺎﻟني‬

‫اﳌﺮوﻧﺔ ﻣﺴﺎﺣﺔ وﺳﻄﻰ ﺑني اﻟﺰﺟﻞ وﺷﻌﺮ‬ ‫اﻟﻌﺎﻣﻴﺔ اﻟﺬي اﺳﺘﺤﻖ ﻣﻊ ﺑريم اﻟﺘﻮﻧﴘ‬ ‫وآﺧﺮﻳﻦ أن ﻳﻮﺻﻔﻮا ﺑﺂﺑﺎﺋﻪ اﻷواﺋﻞ‪ ،‬ﻗﺒﻞ أن‬ ‫ﻳﺘﻄﻮر ﻫﺬا اﻟﻔﻦ اﻟﺸﻌﺮي وﺗﺘﺒﻠﻮر ﺳامﺗﻪ‬ ‫ﻋﲆ ﻳﺪ اﻟﺸﻌﺮاء‪ :‬ﻓﺆاد ﺣﺪاد وﺻﻼح ﺟﺎﻫني‬ ‫واﻷﺑﻨﻮدي وﺳﻴﺪ ﺣﺠﺎب وﻧﺠﻢ وﻏريﻫﻢ‪،‬‬ ‫واﻟﺬﻳﻦ ﻳﻘﺎل إن ﺷﻌﺮ ﺑﺪﻳﻊ ﺧريي ﺗﻮزع‬ ‫ﻋﲆ إﻧﺘﺎﺟﻬﻢ‪ ،‬ﰲ إﺷﺎرة ﻷﺑﻮﺗﻪ اﻟﺸﻌﺮﻳﺔ‬ ‫ﳌﺎ اﺻﻄﻠﺢ ﻋﲆ ﺗﺴﻤﻴﺘﻪ ﺑﻌﺪ ذﻟﻚ ﺑﺸﻌﺮ‬ ‫اﻟﻌﺎﻣﻴﺔ‪.‬‬ ‫‪ƕǿǶƈƂ ƃǾƓ ǛǙ ŜƉǂǕōş‬‬ ‫‪ ƉƖƫ ƩƓōŨǕŌ ǚƉǂǕŌ ƱƚŨǜǙ ƅǜǙ‬‬ ‫‪ ǲōǾżǕŌ ƙǾǔƀŨǕ ǀǷũ ǆōǜǥǶ‬‬ ‫‪ ǛǙ ǳǿƉƚǘǕŌ ǚǷǜƲǕŌǶ ǳǾƫōǘŨŵȍŌ‬‬ ‫‪ǳǾǉƉŨǕŌ ǳƫƋǜǕŌ‬‬ ‫ ‪ ǳǾǝǶƃǕŌ ǲƉƦǜǕōş ƉƫōƖǕŌ őŞƪǿ ǗǕ‬‬ ‫‪ ŋŌƉƪƗ ǓşōǂǙ ǽƳ ǛǾǕōŵƋǔǕ‬‬ ‫‪ ǛƲǕŌ Ōƅǥ ƈōŨƁŌ ƃǂƳ ɐǻżƚƲǕŌ‬‬ ‫‪ɰ‬‬ ‫‪ɰ‬‬ ‫‪ ǢƉǾǾƮũ ǳǕōƓƉǕ ȎǙōŽǶ ɐō‬‬ ‫‪ŞƯŌƈ‬‬ ‫‪ǢƃǉŌǶƈ ǇǿƉżũǶ‬‬

‫‪ ǳǾǜƯŐ 75 ǛǙ ƉŬǉŐ ōǤŨǃǶ ǛżǕ‬‬ ‫‪ Ʃǿƃş Ŧōǘǔǉ ǛǙ ōǤŨǾŞǕōƯ ŧǝōǉ‬‬ ‫‪ɼ‬‬ ‫‪ Ɲƪş ōǥƈƃǃ ǳŞƒǜş ɐǼƉǾƁ‬‬

‫‪ ǳȃōǘǕōş 90Ȍş ǻǂǾƓǷǘǕŌ ǽƁƈǹǙ‬‬ ‫‪ǽȃōǜƮǕŌ ƕǿǶƈƂ ƃǾƓ ŪŌƉũ ǛǙ‬‬

‫ﰲ ﻣﻘﺎﺑﻞ ﺷﻌﺮاء اﻟﻔﺼﺤﻰ‪ ،‬ﻓﻘﺪ اﺧﺘﺎر‬ ‫ً‬ ‫وﺣﺎﻣﻼ ﻟﺮﺳﺎﻟﺔ ﺗﻐﻴريه‬ ‫ﻫﺬا اﻟﻔﻦ راﻏ ًﺒﺎ‪،‬‬ ‫وﺗﺤﺮﻳﻚ رواﻛــﺪه؛ إذ ﻛﺎن اﻟﺰﺟﻞ ﻳﺆﻟﻒ‬ ‫ﻣﻦ أرﺑﻌني أو ﺧﻤﺴني ﺑﻴﺘًﺎ ﻛﻠﻬﺎ ﻣﻦ ﺑﺤﺮ‬ ‫واﺣ ٍﺪ‪ ،‬ﻟﻜﻦ ﺑﺪﻳﻊ ﺧريي ﻛﺘﺐ أزﺟﺎﻟﻪ ﻋﲆ‬ ‫أوزان ﻣﺨﺘﻠﻔﺔ‪ ،‬وﺑﺴﺒﺐ ذﻟﻚ ﻫﻮﺟﻢ ﻛﺜ ًريا‬ ‫ﻣﻦ زﺟﺎﱄ ﻋﴫه اﻟﺬﻳﻦ وﺻﻔﻮه ﺑﺎﻟﺸﺎب‬ ‫اﻟﻌﺎﺑﺚ ﺑﻘﻮاﻋﺪ ﻓﻨﻬﻢ‪ ،‬ﻟﻜﻨﻪ ﺧﻠﻖ ﺑﻬﺬه‬

‫ﻣﺎ ﺑني ﻋﺎﻣﻲ ‪ 1918‬وأول ‪ 1919‬اﻟﺘﻘﻰ‬ ‫ﺑﺪﻳﻊ ﺧريي ﺑﺴﻴﺪ دروﻳﺶ ﻷول ﻣﺮة‪ ،‬أﺛﻨﺎء‬ ‫ﺑﺈﻟﺤﺎح‬ ‫أداء اﻷﺧري ﻟﻌﺮض "ﻓريوز ﺷﺎه"‪،‬‬ ‫ٍ‬ ‫ﻣﻦ ﺻﺪﻳﻖ ﻟﻪ أراد أن ﻳﻌﺮﻓﻪ ﻋﲆ اﳌﻠﺤﻦ‬ ‫اﻟﺴﻜﻨﺪري اﻟﺸﺎب اﻟــﺬي ﻳﺤﻤﻞ دﻣﺎء‬ ‫ﻣﻮﺳﻴﻘﻴﺔ ورؤﻳﺔ ﺟﺪﻳﺪة‪ ،‬وﻋﻨﺪﻫﺎ ﻓﻮﺟﺊ‬ ‫اﻟﺸﺎﻋﺮ ﺑﻬﺬا اﳌﻠﺤﻦ ﻳﺤﺘﻀﻨﻪ وﻳﺒﺎﻟﻎ ﰲ‬ ‫اﻟﱰﺣﻴﺐ ﺑﻪ ﻛام ﻟﻮ ﻛﺎﻧﺎ ﺻﺪﻳﻘني‪ ،‬ﻗﺒﻞ أن‬ ‫ﻳﻌﺮف أن ﺻﺪاﻗ ًﺔ ﺟﺮت ﺑﺎﻟﻔﻌﻞ ﺑني ﻛﻠامﺗﻪ‬ ‫اﳌﻨﺸﻮرة ﺑﺈﺣﺪى اﻟﺼﺤﻒ اﻟﺴﻜﻨﺪرﻳﺔ‬ ‫وأﻟﺤﺎن ﺳﻴﺪ دروﻳﺶ‪ ،‬وﻫﻲ ﻗﺼﻴﺪة "دﻧﺠﺎ‬ ‫دﻧﺠﺎ" اﳌﻜﺘﻮﺑﺔ ﺑﺎﻟﻠﻬﺠﺔ اﻟﺴﻮداﻧﻴﺔ ﺗﻌﻠﻴﻘﺎً‬ ‫ﻋﲆ ﻣﺤﺎوﻻت ﻣﺒﻜﺮة ﻟﻔﺼﻞ ﻣﴫ ﻋﻦ‬ ‫اﻟﺴﻮدان‪.‬‬ ‫ﺑﻌﺪ ﻫﺬا اﻟﻠﻘﺎء أﻗﻨﻊ ﺑﺪﻳﻊ اﻟﺸﻴﺦ ﺳﻴﺪ‬ ‫ﺑﱰك اﻹﺳﻜﻨﺪرﻳﺔ واﻻﻧﻀامم إﻟﻴﻪ ﺑﻔﺮﻗﺔ‬ ‫اﻟﺮﻳﺤﺎين‪ ،‬وﺑﻌﺪﻫﺎ ﺑﻘﻠﻴﻞ اﻧﺪﻟﻌﺖ ﺛﻮرة‬ ‫‪ ،1919‬وﺗﺄﺛﺮ ﺑﻬﺎ دروﻳﺶ ﻛﺜرياً‪ ،‬ﻓﻜﺎن ﻋﺎﻣﻬﺎ‬ ‫أﻛرث ﻓﱰات ﻋﻄﺎﺋﻪ اﻟﻔﻨﻲ‪ ،‬ﻓﻠﺤﻦ وﻗﺘﻬﺎ أﻛرث‬ ‫ﻣﻦ ‪ 75‬أﻏﻨﻴﺔ ﻛﺎﻧﺖ ﻏﺎﻟﺒﻴﺘﻬﺎ ﻣﻦ ﻛﻠامت‬ ‫ﺑﺪﻳﻊ ﺧريي‪ ،‬ﺑﻨﺴﺒﺔ ﻗﺪﱠرﻫﺎ ﺑﻌﺾ ﻣﺆرﺧﻲ‬ ‫اﳌﻮﺳﻴﻘﻰ ﺑـــ‪ 90‬ﺑﺎﳌﺎﺋﺔ ﻣﻦ ﺗ ـﺮاث ﺳﻴﺪ‬ ‫دروﻳﺶ اﻟﻐﻨﺎيئ‪ ،‬ﻣﺎ ﺟﻌﻠﻪ ﻳﻌﺪ ﺷﺎﻋﺮ ﺛﻮرة‬ ‫‪ 1919‬ﺑﻼ ﻣﻨﺎزع ﻣﺜﻠام ﻛﺎن ﻋﺒﺪ اﻟﻠﻪ اﻟﻨﺪﻳﻢ‬ ‫ﺷﺎﻋﺮ وﺧﻄﻴﺐ اﻟﺜﻮرة اﻟﻌﺮاﺑﻴﺔ‪ .‬وﻛﺎن أﺑﺮز‬ ‫اﻟﺸﻌﺮ ‪baytelshear‬‬ ‫ﺑﻴﺖ ِ‬

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‫‪şĚĮŃ şěńĴ‬‬ ‫‪ ǽǝōżǿƉǕŌǶ ƕǿǶƈƂ ƃǾƓ ǁǾƳƈǶ ǖƉǾŞǕ ǓǾŞǜǕŌ ƑƳōǜǘǕŌ‬‬

‫اﻟﺸﺎﻋﺮ ﺑﺪﻳﻊ ﺧﻴﺮي ‪»..‬ﻧﺪﻳﻢ« ﺛﻮرة ‪1919‬‬ ‫ﻋﺰة ﺣﺴﻴﻦ‬

‫ﰲ ﴎادق ﻋ ـﺰاء ﻣﻤﺘﲆء‪ ،‬ﺻﻮت اﻟﺸﻴﺦ‬ ‫ﻣﺤﻤﺪ رﻓﻌﺖ ﻳﻔﺮض ﺣــﻀــﻮره‪ ،‬وﻛﺒﺎر‬ ‫اﳌﻄﺮﺑني وﻧﺠﻮم ﺳﻴﻨام وﻣﴪح اﻟﻨﺼﻒ‬ ‫اﻷول ﻣﻦ اﻟﻘﺮن اﻟﻌﴩﻳﻦ ﺟﺎءوا ﳌﻮاﺳﺎة‬ ‫اﻟﺸﺎﻋﺮ ﺑﺪﻳﻊ ﺧريي ﰲ وﻓﺎة واﻟﺪﺗﻪ‪ ،‬ﱠ‬ ‫ﺗﺤني‬ ‫ﻧﺠﻴﺐ اﻟﺮﻳﺤﺎين أول ﻓﺮﺻ ٍﺔ وﻣﺎل ﻋﲆ ﺑﺪﻳﻊ‬ ‫ً‬ ‫ﻣﻨﺪﻫﺸﺎ‪ :‬ﻫﻮ اﻧﺖ ﻣﺴﻠﻢ؟‬ ‫ﻳﺴﺄﻟﻪ‬ ‫• أﻳﻮه ﻣﺴﻠﻢ‪.‬‬ ‫• وﻟﻴﻪ ﻣﺎ ﻗﻠﺘﻠﻴﺶ ﻗﺒﻞ ﻛﺪة؟‬ ‫• ﻣﺎ اﻧﺖ ﻣﺎ ﺳﺄﻟﺘﻨﻴﺶ ﻗﺒﻞ ﻛﺪة!‪.‬‬ ‫ﻟﻜﻞ ﻣﻨﻬام‬ ‫ﻣﻊ اﻷداء اﳌﴪﺣﻲ اﻟﺘﺎرﻳﺨﻲ ٍ‬ ‫واﻟــﺼــﻮت اﳌــﻤــﻴــﺰ‪ ،‬ﺑــﺪا اﳌﺸﻬﺪ أﻗــﺮب‬ ‫ﻟﻠﻤﻮﻧﻮﻟﺠﺎت اﻟﺘﻲ ﻃﺎﳌﺎ اﺷﱰك ﰲ إﻧﺘﺎﺟﻬﺎ‬ ‫ﺑﺪﻳﻊ واﻟﺮﻳﺤﺎين ﻃﻴﻠﺔ اﻟﺴﻨﻮات اﻟﺘﻲ‬ ‫ﺟﻤﻌﺘﻬام‪ ،‬وﻛﺎد اﻟﴪادق ﻳﺘﺤﻮل إﱃ ﻣﴪح‪،‬‬ ‫وﺻﺎرت ﻧــﺎدر ًة ﺣﻤﻠﺖ ﰲ ﻃﻴﺎﺗﻬﺎ اﻹﺷﺎرة‬ ‫اﻟــﺪامئــﺔ ﳌﴫ اﻟﺴﻤﺤﺔ ﻗﺒﻞ ﻣﺎﺋﺔ ﻋﺎم‪،‬‬ ‫اﻟﺘﻲ ﺗﺘﺠﺎور ﻓﻴﻬﺎ اﻷﻋ ـﺮاق واﻷدﻳــﺎن ﻣﻦ‬ ‫دون ﺗﻔﺮﻗ ٍﺔ أو ﺗﺤﻔﻆ‪ ،‬ﻣﺤﻴﻠ ًﺔ إﱃ ﺻﻮرة‬ ‫اﻟﻘﺴﺎوﺳﺔ واﻷمئﺔ ﻳﺘﻘﺪﻣﻮن ﺻﻔﻮف اﻟﺜﻮار‬ ‫ﺟﻨ ًﺒﺎ إﱃ اﻟﻌامل واﻟﻔﻼﺣني وﻃﻠﺒﺔ وﻃﺎﻟﺒﺎت‬ ‫اﳌــﺪارس واﻟﺠﺎﻣﻌﺎت ﺧﻼل ﺛﻮرة ‪.1919‬‬ ‫ﻫﺬه اﻟﺜﻮرة اﻟﻌﻈﻤﻰ اﻟﺘﻲ ﻣﺮت ﻣﺌﻮﻳﺘﻬﺎ‬ ‫ﻣﻨﺘﺼﻒ ﻣــﺎرس اﻟﻔﺎﺋﺖ‪ ،‬واﻟﺘﻲ ﻳﺼﻌﺐ‬ ‫اﺳﺘﺪﻋﺎؤﻫﺎ ﻣﻦ دون ﺗﺬﻛﺮ ﺷﺎﻋﺮﻫﺎ اﻟﺤﺎمل‬ ‫ﺑﺪﻳﻊ ﺧريي ورﻓﻴﻖ درﺑﻪ اﳌﻮﺳﻴﻘﺎر اﻟﻔﺮﻳﺪ‬ ‫ﺳﻴﺪ دروﻳﺶ وأﻧﺎﺷﻴﺪﻫام اﻟﺨﺎﻟﺪة‪" :‬ﻗﻮم‬ ‫ﻳﺎﻣﴫي"‪ ،‬و "ﻳﺎ ﺑﻠﺢ زﻏﻠﻮل"‪ ،‬و"ﻣﴫﻧﺎ‬ ‫وﻃﻨﻨﺎ‪ ..‬ﺳﻌﺪﻫﺎ أﻣﻠﻨﺎ" وﻏريﻫﻢ ﻣﻦ اﻟﺮواﺋﻊ‪.‬‬ ‫''إن ﻛﻨﺖ ﺻﺤﻴﺢ ﺑﺪك ﺗﺨﺪم‪ ..‬ﻣﴫ أم‬ ‫اﻟﺪﻧﻴﺎ وﺗﺘﻘﺪم‪ ..‬ﻻ ﺗﻘﻮل ﻧﴫاين وﻻ ﻣﺴﻠﻢ‪..‬‬

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‫اﻟﻌﺪد ‪ ، 77‬أﺑﺮﻳﻞ ‪2019‬‬

‫اﻟﺪﻳﻦ ﻟﻠﻪ ﻳﺎ ﺷﻴﺦ اﺗﻌﻠﻢ‪ ..‬اﻟﲇ أوﻃﺎﻧﻬﻢ‬ ‫ﺗﺠﻤﻌﻬﻢ‪ ..‬ﻋﻤﺮ اﻷدﻳﺎن ﻣﺎ ﺗﻔﺮﻗﻬﻢ''‪.‬‬ ‫‪źǶƉǕŌ ǲƂǷƫ‬‬

‫ﻣﻨﺬ ﻣﻨﺘﺼﻒ اﻟﻘﺮن اﻟﺘﺎﺳﻊ ﻋﴩ وﻫﻨﺎك‬ ‫ﺗﻮق ﻟﺘﺨﻠﻴﺺ اﻟﺤﻴﺎة اﻻﺟﺘامﻋﻴﺔ واﻟﻔﻨﻮن‬ ‫اﳌﴫﻳﺔ ﻣﻦ اﻟﻨﺰﻋﺔ اﻟﱰﻛﻴﺔ وﰲ اﻟﻘﻠﺐ‬ ‫ﻣﻦ ذﻟﻚ اﳌﻮﺳﻴﻘﻰ واﻟﻐﻨﺎء؛ ﻓﻤﻨﺬ ﺗﺄﺳﻴﺲ‬ ‫ﻣﺤﻤﺪ ﻋﲇ ﻟﺪوﻟﺘﻪ ﻋﲆ أﻧﻘﺎض اﻟﺤﻜﻢ‬ ‫اﳌﻤﻠﻮيك اﻟﱰيك اﺗﺠﻬﺖ اﻷﻧﻈﺎر اﳌﴫﻳﺔ إﱃ‬ ‫أوروﺑﺎ واﻟﻐﺮب ﰲ ﻣﺤﺎوﻟﺔ ﻟﻠﺤﺎق مبﺪﻧﻴﺘﻬﻢ‬ ‫ﻣﻦ ﺟﻬﺔ‪ ،‬واﻟﺒﺤﺚ ﻋﻦ اﻟﺸﺨﺼﻴﺔ واﻟﺮوح‬ ‫اﳌﴫﻳﺔ وﺑﻌﺜﻬﺎ ﻣﻦ ﺟﻬﺔ أﺧﺮى‪ ،‬ﺑﻌﺪﻣﺎ ﺗﺄﻛﺪ‬ ‫دور اﻟﺸﻌﺐ ﰲ اﺧﺘﻴﺎر ﺣﻜﺎﻣﻪ إﺛﺮ ﻣﻘﺎوﻣﺔ‬ ‫اﳌﴫﻳني ﻟﻠﺤﻤﻠﺔ اﻟﻔﺮﻧﺴﻴﺔ واﺧﺘﻴﺎر ﻣﺤﻤﺪ‬ ‫ﻋﲇ واﻟﻴﺎً‪ ،‬وﻣﻘﺎوﻣﺔ اﻻﺣﺘﻼل اﻹﻧﺠﻠﻴﺰي‬ ‫ً‬ ‫ﻣﻤﺜﻼ ﰲ ﺣﻤﻠﺔ ﻓﺮﻳﺰر ‪ .1807‬ﻟﻜﻦ اﻟﻨﻬﻀﺔ‬ ‫اﻟﺤﻘﻴﻘﻴﺔ وﺑﻌﺚ اﻟــﺮوح ﰲ اﳌﻮﺳﻴﻘﻰ‬ ‫اﳌﴫﻳﺔ اﺣﺘﺎج ﻟﻘﺮاﺑﺔ ﻗﺮن ﻣﻦ اﻟﺰﻣﺎن‬

‫واﻛﺐ ﻇﻬﻮر اﳌﻮﺳﻴﻘﺎر اﻟﺮاﺋﺪ ﺳﻴﺪ دروﻳﺶ‬ ‫)‪ (1923-1892‬ﺻﺎﺣﺐ اﻟﻌﻤﺮ اﻟﻘﺼري واﻷﺛﺮ‬ ‫اﻟﻜﺒري ﰲ اﳌﻮﺳﻴﻘﻰ اﳌﴫﻳﺔ واﻟﻌﺮﺑﻴﺔ إﱃ‬ ‫ﻳﻮﻣﻨﺎ ﻫﺬا‪.‬‬ ‫ﻛــﺎن دروﻳـــﺶ‪ ،‬اﺑــﻦ اﻟــﺤــﺎرات اﻟﺸﻌﺒﻴﺔ‬ ‫واﻟﻄﺒﻘﺎت اﻟــﻜــﺎدﺣــﺔ‪ ،‬رﺑﻴﺐ اﳌﺸﺎﻳﺦ‬ ‫واﳌﻘﺮﺋني‪ ،‬ﻳﺸﻌﺮ ﺑﺎﻻﻏﱰاب ﻣﻊ اﻟﻘﻮاﻟﺐ‬ ‫اﳌﻮﺳﻴﻘﻴﺔ اﻟﺘﻘﻠﻴﺪﻳﺔ اﳌﻨﺴﻮﺧﺔ ﻣﻦ اﻟﻨﻮﺗﺔ‬ ‫اﻟﱰﻛﻴﺔ وأرﺗﺎﻣﻬﺎ‪ ،‬ﻟﺬا ﻗﺮن ﻣﺎ ﺑني آﻣﺎل‬ ‫اﻟﺸﻌﺐ اﳌﻌﻠﻘﺔ ﺑﺜﻮرة ‪ 1919‬ﰲ اﻟﺤﺮﻳﺔ‬ ‫واﻟﻌﺪل واﻟﺘﻤﺘﻊ ﺑﺨريات اﻟﺒﻼد‪ ،‬وﺑني ﺣﻖ‬ ‫ﻫﺬا اﻟﺸﻌﺐ ﰲ ﺻﻨﻊ وإﻳﺠﺎد ﻣﻮﺳﻴﻘﻰ ﺗﻌﱪ‬ ‫ﻋﻨﻪ‪ ،‬ﻓﺎﺿﻄﻠﻊ ﺑﻬﺬا اﻟﺪور‪ ،‬وﻗﺪم اﳌﻮﺳﻴﻘﻰ‬ ‫اﻟﺘﻌﺒريﻳﺔ اﻟﻘﺎمئﺔ ﻋﲆ ﻓﻦ اﻷوﺑريﻳﺖ‬ ‫واﳌــﴪح اﻟﺸﻌﺮي وﻏريﻫﺎ ﻣﻦ أﺷﻜﺎل‬ ‫اﻟﺘﻮاﺻﻞ اﳌﺒﺎﴍ‪ ،‬ﻏري اﳌﺘﻌﺎﻟﻴﺔ أو اﳌﺘﻤﺜﻠﺔ‬ ‫ﻟﻔﻜﺮة اﻟﻔﻦ ﻟﻠﻔﻦ‪ ،‬ﻣﺴﺘﻌﻴﻨﺎً ﰲ ذﻟﻚ ﺑﻜﻠامت‬ ‫وأﺷﻌﺎر آﺗﻴﺔ ﻣﻦ ﻧﻔﺲ اﻟﺮؤﻳﺔ اﻟﻔﻨﻴﺔ ﻟﻠﱰاث‬ ‫اﻟﺸﻌﺒﻲ‪ ،‬وﻣﺘﻔﺎﻋﻠﺔ ﻣﻊ اﳌﺸﻜﻼت واﻟﻬﻤﻮم‬

‫واﻟﺠامﻟﻴﺔ‪.‬‬ ‫ميﻜﻦ اﻟﻘﻮل إن ﻣﻔﻬﻮم اﻟﺸﻌﺮ ﰲ ﻫﺬا‬ ‫اﻟﺴﻴﺎق ﻫﻮ ﺗﺠﺮﺑﺔ ﻫــﺮوب‪ ،‬واﻧﻔﻼت ﻣﻦ‬ ‫اﳌﺎدي واﻟﻮاﻗﻌﻲ اﳌﻌﺎش‪ ،‬إﱃ اﻟﻐﻴﺒﻲ‪ ،‬وﻏري‬ ‫اﳌــﺪرك‪ ،‬واﳌﺤﺠﻮب ﻋﻦ اﻟﻌﺎﻣﺔ‪ ،‬وﻫﻮ ﻣﺎ‬ ‫ﻳﻔﴪ ﻗﻴﻤﺔ اﻟﺸﺎﻋﺮ اﻟﺘﺎرﻳﺨﻴﺔ ﰲ اﻟﻜﺜري ﻣﻦ‬ ‫اﻟﺤﻀﺎرات‪ ،‬إذ ﻛﺎن وﻳﻜﺎد ﻳﻈﻞ ﺳﻴﺪ ﻗﻮﻣﻪ‬ ‫وﻛﺒري ﻣﻌﺮﻓﺘﻬﻢ ورﻣﺰﻫﻢ اﻟﺬي ﻳﺘﺒﺎﻫﻮن ﺑﻪ‬ ‫وﻳﺆﻣﻨﻮن مبﺎ ﻳﻜﺸﻔﻪ ﻣﻦ ﺗﺠﻠﻴﺎت ﺟامﻟﻴﺔ‪،‬‬ ‫ﻣﺜﻠام ﻳﻨﻈﺮ اﳌﺠﺘﻤﻊ اﻹﻣــﺎرايت اﻟﻴﻮم إﱃ‬ ‫اﳌﺎﺟﺪي ﺑﻦ ﻇﺎﻫﺮ‪.‬‬ ‫ذﻟﻚ متﺎﻣﺎً ﻣﺎ ﻳﻔﴪ ﺗﺮاﺟﻊ ﺣﻀﻮر اﻟﺸﺎﻋﺮ ﰲ‬ ‫اﻟﻌﴫ اﻟﺤﺪﻳﺚ‪ ،‬ﻟﻴﺲ ﻋﺮﺑﻴﺎً‪ ،‬وﺣﺴﺐ‪ ،‬وإمنﺎ‬ ‫ﻋﺎﳌﻴﺎً أﻳﻀﺎً‪ ،‬ﻓﻬﺬه اﳌﺴﺎﺣﺔ اﻟﺘﻲ ﻛﺎﻧﺖ ﻧﺎﻓﺬة‬ ‫اﳌﺠﺘﻤﻌﺎت إﱃ اﻟﻐﻴﺒﻲ وﻏري اﳌﺪرك‪ ،‬ﺑﺎت‬ ‫ﻳﺴﺪ ﻣﻜﺎﻧﻬﺎ اﻟﻌﻠﻢ ﺑﻜﺎﻣﻞ ﻗﺪراﺗﻪ اﳌﻌﺮﻓﻴﺔ‪،‬‬ ‫ﻓﺎﻟﻴﻮم مل ﻳﻌﺪ ﻣﺪﻫﺸﺎً أن ﻳﺼﻒ اﻟﺸﺎﻋﺮ‬ ‫وﺟﻪ ﻋﺎﺷﻘﺘﻪ ﺑﺎﻟﺒﺪر‪ ،‬ﻓﻬﺬا اﻟﻜﻮﻛﺐ اﳌﺠﻬﻮل‬ ‫ﻗﺒﻞ ﻗﺮون ﻃﻮﻳﻠﺔ‪ ،‬ﺑﺎت ﻣﻔﻬﻮﻣﺎً‪ ،‬وﻣﻠﻤﻮﺳﺎً‪،‬‬ ‫وﺻﺎرت دﻻﻟﺘﻪ اﻟﺠامﻟﻴﺔ ﺗﻔﻘﺪ ﺑﺮﻳﻘﻬﺎ وﻳﻨﺰاح‬ ‫ﺣﻀﻮره ﻣﻦ اﻟﺠامﱄ إﱃ اﻟﻌﻠﻤﻲ اﻟﻘﺎﺋﻢ ﻋﲆ‬ ‫ﻣﺒﺎدئ اﻟﻔﻠﻚ ودراﺳﺔ اﻟﻀﻮء‪.‬‬ ‫ﻗﺒﻞ ﻋﻘﻮد ﻣﻦ اﻟﻴﻮم‪ ،‬ﻛﺎن ﻗﻮل اﻟﺸﺎﻋﺮ‬ ‫اﻟﺸﻌﺒﻲ اﻹﻣﺎرايت راﺷﺪ ﺑﻦ ﺳﺎمل اﻟﺨﴬ‪:‬‬ ‫" ﻧﻮر ﺧﺪه ﺑﺪر ﻟﻐﻼﳼ‬ ‫ﺳﻮى ازﻟﻮف اﻟﻠﻴﻞ وازﻟﻮﻓﻪ"‬

‫اﻟﺸﺎﻋﺮ ﻳﻌﻴﺪ ﺗﻮﺻﻴﻒ ﻋﻼﻗﺘﻪ ﻣﻊ أﺻﺪﻗﺎﺋﻪ‬ ‫ﻣﻦ ﻗﺮاءﺗﻪ ﻟﺘﺠﺮﺑﺔ اﻟﻬﻮاﺗﻒ اﻟﻨﻘﺎﻟﺔ‪ ،‬ﻳﻨﺸﻐﻞ‬ ‫‪ɶ‬‬ ‫‪ ǖƃǂǿ ǖǷǾǕŌ ǻǕŌ ǷƢƓƈŐ ƅǜǙ‬‬ ‫‪ ǽƫŌƃşȑŌ ǖǷǤƲǘǕŌ ǣƲƛǷş ƉƪƖǕŌ‬ﺑﺘﻔﺎﺻﻴﻞ اﻟﻴﻮﻣﻲ وﻛﺄﻧﻬﺎ ﻣــﺎدة ﻗﺼﻴﺪﺗﻪ‬ ‫اﻟﺤﻴﺔ‪ ،‬اﻟﺘﻲ ﻻ ميﻜﻨﻪ ﺑﻨﺎء ﻧﺼﻪ اﻟﺸﻌﺮي ﻣﻦ‬ ‫‪ǗǤƲǕŌ ǻǔƫ ǽƚƪǕŌ ǽǝōƒǝȑŌ‬‬ ‫دوﻧﻬﺎ‪ ،‬وﻫﺬا ﻣﺎ ﻳﻈﻬﺮ ﰲ ﻗﺼﻴﺪة ﻟﻠﺸﺎﻋﺮ‬ ‫اﻹﻣﺎرايت ﻣﺤﻤﺪ اﻷﺳﻤﺮي‪:‬‬ ‫‪ ǛǾŬŽōŞǕŌǶ ƂōǂǜǕŌ Ɲƪş ƅƁőǿ‬‬ ‫‪ ǳŽōƒǙ ǻǕŒ ƉƪƖǕŌ ǛǿƉƛōƪǘǕŌ‬ﻋرثت ﺑﺎﻫﺪاﺑﻚ وﻃﺤﺖ وﺗﺸﻘﻘﺖ‬ ‫واﻧﺎ امتﺎدى ﰲ اﺧﺘﺼﺎر اﳌﺴﺎﻓﺔ‬ ‫‪ɰ‬‬ ‫‪ ɐǳƮǔǕŌ ōǤǾƳ ƊǶōŴŨǿ ōƫōƒũŌ ƉŬǉŐ‬‬ ‫وﺷﻒ ﻗﻴﻤﺘﻚ ﻳﺎ ﺣﻠﻢ ﻻ ﻣﻦ ﺗﺤﻘﻘﺖ‬ ‫‪ ɐƕǾƫ ŜǷǔƓŐ ōǤǾƳ ŻŞƚǿǶ‬‬ ‫وأﺻﺒﺤﺖ واﻗﻊ ﻣﻤﺘﲇ ﺑﺎﻟﺴﺨﺎﻓﺔ‬ ‫‪ƂǷŵǷǕŌǶ ǚǷǈǔǕ ǓǙőũ ǳƲƒǔƳǶ‬‬ ‫ذاﻛﺮة ﺗﺄﺳﻴﺴﻴﺔ ﻟﻠﻘﺼﻴﺪة اﳌﻌﺎﴏة اﻟﺸﻌﺒﻴﺔ‬ ‫ﻣﻨﻬﺎ واﻟﻔﺼﻴﺤﺔ‪.‬‬ ‫ميﻜﻦ اﻟﻘﻮل إن ﻣﻬﻤﺔ اﻟﺸﻌﺮ واﻟﺸﺎﻋﺮ اﻟﻴﻮم‬ ‫ﺧﺎﺿﺖ ﺗﺠﺮﺑﺔ اﻧﺰﻳﺎح ﺟﻮﻫﺮﻳﺔ‪ ،‬ﻓﺒﺎﺗﺖ‬ ‫ﻣﻬﻤﺔ اﻟﺸﺎﻋﺮ اﻟﻴﻮم أن ﻳﺤﻮل اﻟﻌﺎدي‬ ‫واﳌﺴﺘﻬﻠﻚ واﻟﻌﺎﺑﺮ إﱃ ﻣﻔﺎرق وﺟامﱄ‪،‬‬ ‫وﺑﺎﺗﺖ اﻟﻘﺼﻴﺪة ﻋﺪﺳﺔ ﻣﻜﱪة ﻟﺮؤﻳﺔ اﻷﺷﻴﺎء‬ ‫واﻷﺣــﺪاث واﳌﺸﺎﻋﺮ واﳌﻔﺎﻫﻴﻢ ﻋﻦ ﻗﺮب‬ ‫وﻣﻦ ﻣﻜﺎن ﺟﺪﻳﺪ مل ﻳﻔﺘﺢ ﻧﻮاﻓﺬه اﻟﺸﻌﺮاء‬ ‫ﺧﻼل اﻟﻌﺼﻮر اﻟﺴﺎﺑﻘﺔ‪.‬‬ ‫رمبﺎ ﻳﻜﻮن ﻫﺬا ﻣﺎ ﺗﻨﺒﻪ إﻟﻴﻪ اﳌﺸﺘﻐﻠﻮن‬ ‫ﰲ اﻟﻘﺼﻴﺪة اﻟﺸﻌﺒﻴﺔ اﻹﻣﺎراﺗﻴﺔ‪ ،‬إذ ﺑﺎت‬

‫اﻟﺒﺤﺚ ﻋﻦ ﻣﻔﻬﻮم اﻟﺸﻌﺮ ﰲ ﻫﺬا اﻟﺴﻴﺎق‬ ‫ﻳﻘﺪﻣﻪ ﻛﺤﺎﻟﺔ اﻧﻜﺸﺎف وﻳﻜﺮس ﺣﻀﻮر‬ ‫اﻟﺸﺎﻋﺮ ﻛﻌﺎرف وﻗﺎدر ﻋﲆ ﺗﺠﺎوز اﻟﻈﺎﻫﺮ‪،‬‬ ‫وﰲ اﻟﻮﻗﺖ ﻧﻔﺴﻪ ﻳﻌﻴﺪ ﺗﻮﺻﻴﻒ أدوات‬ ‫اﻟﻨﺺ اﻟﺸﻌﺮي؛ اﻟﻮزن‪ ،‬واﻟﺼﻮرة‪ ،‬واﳌﻔﺮدة‪،‬‬ ‫واﻟﺒﻨﺎء‪ ،‬ﻛﻮﺳﺎﺋﻂ ﺟامﻟﻴﺔ ﻟﻬﺎ دور اﻟﻮﺻﻮل إﱃ‬ ‫اﳌﺘﻠﻘﻲ‪ ،‬وﻟﻴﺴﺖ ﻫﻲ اﳌﻤﻴﺰات واﻟﻌﻼﻣﺎت‬ ‫اﻟﺘﻲ ميﻜﻦ ﻣﻦ ﺧﻼﻟﻬﺎ ﺗﺤﺪﻳﺪ ﻫﻮﻳﺔ اﻟﻨﺺ‪.‬‬ ‫ﻳﻈﻞ ﺑﺎب اﻟﺘﺴﺎؤل ﺣﻮل ﺟﻮﻫﺮ اﻟﺸﻌﺮ‬ ‫ﻣﻔﺘﻮﺣﺎً ﻋﲆ اﻟﻘﺮاءة واﻟﺘﺄوﻳﻞ‪ ،‬وﺗﻈﻞ ﺗﺠﺮﺑﺔ‬ ‫اﻟﺸﻌﺮ اﻟﺸﻌﺒﻲ واﺣﺪة ﻣﻦ أﻛرث اﻟﺘﺠﺎرب‬ ‫اﻟﺸﻌﺮﻳﺔ اﳌﺤﻜﻴﺔ وﻓﺮة وﺗﻮﺛﻴﻘﺎً ﻟﻘﺮاءة ﺗﺎرﻳﺦ‬ ‫وذاﻛﺮة اﻟﻨﺺ اﻟﺠامﱄ ﻓﻴﻬﺎ‪.‬‬

‫ﻳﻌﺪ ﺗﻮﺻﻴﻔﺎً ﺟامﻟﻴﺎً ﻻﻓﺘﺎً‪ ،‬وﺗﺄﻛﻴﺪاً ﻋﲆ رﻣﺰﻳﺔ‬ ‫اﻟﺒﺪر ﰲ اﻟﺸﻌﺮي اﻟﻌﺮيب اﻟﻔﺼﻴﺢ واﻟﺸﻌﺒﻲ‪،‬‬ ‫أﻣﺎ اﻟﻴﻮم ﻓﺘﻜﺎد ﺗﻜﻮن ﻫﺬه اﻟﺼﻮر واﺣﺪة‬ ‫ﻣﻦ اﻻﺷﺘﻐﺎﻻت اﻟﺴﻬﻠﺔ‪ ،‬واﳌﻌﺮوﻓﺔ اﻟﺘﻲ‬ ‫ﻻ ﺗﺸﻜﻞ ﺻﻴﺎﻏﺘﻬﺎ ﺳﻮى اﺳﺘﻜامل ﻟﺒﻨﺎء‬ ‫اﻟﻘﺼﻴﺪة وﻟﻴﺴﺖ إﺿﺎﻓﺔ ﻋﻠﻴﻬﺎ‪.‬‬ ‫ﻳﻀﻊ ﻫﺬا اﻟﻮاﻗﻊ اﻟﺸﺎﻋﺮ اﻟﻴﻮم أﻣﺎم ﺗﺤﺪﻳﺎت‬ ‫اﻟﺨﺮوج إﱃ ﻋﺎمل ﻏﻴﺒﻲ وﺳﺤﺮي أﻛرث ﺑﻌﺪاً‪،‬‬ ‫مل ﻳﺼﻠﻪ اﻟﻌﻠﻢ ﺑﻌﺪ‪ ،‬وﻳﺤﻮل ﺟامﻟﻴﺎﺗﻪ إﱃ‬ ‫أرﻗــﺎم وﻣــﺎدة وﻛﺘﻠﺔ‪ ،‬وﰲ اﻟﻮﻗﺖ ﻧﻔﺴﻪ‬ ‫ﻳﻜﺸﻒ اﻟﻨﻮاﻓﺬ اﻟﺠامﻟﻴﺔ اﻟﺘﻲ ﻇﻞ ﻳﻄﻞ ﻣﻨﻬﺎ‬ ‫اﻟﺸﻌﺮاء ﻋﺮﺑﻴﺎً‪ ،‬وﻋﺎﳌﻴﺎً‪ ،‬واﻟﺘﻲ مل ﺗﻌﺪ ﺳﻮى‬ ‫اﻟﺸﻌﺮ ‪baytelshear‬‬ ‫ﺑﻴﺖ ِ‬

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‫‪ɶ‬‬ ‫‪ɒƉƪƖǕŌ ưƉƪǝ ƱǾǉ‬‬

‫ً‬ ‫أﻧﻤﻮذﺟﺎ‬ ‫اﻟﻘﺼﻴﺪة اﻟﺸﻌﺒﻴﺔ اﻹﻣﺎراﺗﻴﺔ‬ ‫ﻛﺘﺐ – ﻣﺤﻤﺪ أﺑﻮ ﻋﺮب‬

‫مل ﻳﺘﻮﻗﻒ اﻟﺤﺪﻳﺚ ﻋﻦ اﻟﺸﻌﺮ ﺗﺎرﻳﺨﻴﺎً‪ ،‬ﻓﻤﻨﺬ أرﺳﻄﻮ اﱃ اﻟﻴﻮم ﻳﻘﺪم اﻟﺸﻌﺮ ﺑﻮﺻﻔﻪ اﳌﻔﻬﻮم اﻹﺑﺪاﻋﻲ اﻹﻧﺴﺎين اﻟﻌﴢ ﻋﲆ اﻟﻔﻬﻢ‪،‬‬ ‫اﻟﺬي ﻳﺘﻘﺎﺳﻢ اﻟﻨﻘﺎد ﻓﻬﻤﻪ ﺑني أﻏﺮاﺿﻪ اﻟﻮﻇﻴﻔﻴﺔ وأﻏﺮاﺿﻪ اﻟﺠامﻟﻴﺔ‪ ،‬وﻛﺄن ﺟﻮﻫﺮه ﻗﺎﺋﻢ ﻋﲆ ﻣﺴﺎرﻳﻦ اﻷول ﻳﺄﺧﺬ ﺷﻜﻠﻪ ﰲ اﳌﺪﻳﺢ‪،‬‬ ‫واﻟﻬﺠﺎء‪ ،‬واﻟﻐﺰل‪ ،‬واﻟﺜﺎين ﰲ اﻟﺘﻌﺒري ﻋﻦ اﻟﺤﺎﻟﺔ اﻟﻮﺟﻮدﻳﺔ ﻟﻺﻧﺴﺎن وﻗﺪرﺗﻪ ﻋﲆ ﺗﺠﺴﻴﺪ اﻟﻠﻐﺔ ﻟﺘﺤﻤﻞ اﻷﻓﻜﺎر واﳌﻌﺎين واﻟﺪﻻﻻت ﰲ‬ ‫ﺳﻴﺎق ﻓﻬﻢ اﻹﻧﺴﺎن ﻟﺘﺠﺮﺑﺔ ﻋﻴﺸﻪ‪.‬‬

‫ﻳﻈﻬﺮ ﻫﺬا اﻟﺠﺪال ﰲ اﻟﻜﺜري ﻣﻦ ﻛﺘﺐ اﻟﻨﻘﺪ‬ ‫اﻟﻘﺪميﺔ ﻣﻨﻬﺎ واﳌﻌﺎﴏة‪ ،‬ﰲ اﻟﻮﻗﺖ اﻟﺬي‬ ‫ﻳﺄﺧﺬ ﺑﻌﺾ اﻟﻨﻘﺎد واﻟﺒﺎﺣﺜني اﳌﻌﺎﴏﻳﻦ‬ ‫اﻟﺸﻌﺮ إﱃ ﻣﺴﺎﺣﺔ أﻛرث اﺗﺴﺎﻋﺎً ﻳﺘﺠﺎوز ﻓﻴﻬﺎ‬ ‫اﻟﻠﻐﺔ‪ ،‬وﻳﺼﺒﺢ ﻓﻴﻬﺎ أﺳﻠﻮب ﻋﻴﺶ‪ ،‬وﻓﻠﺴﻔﺔ‬ ‫ﺗﺄﻣﻞ ﻟﻠﻜﻮن واﻟــﻮﺟــﻮد‪ ،‬وﻧﺎﻓﺬة ﻣﴩﻋﺔ‬ ‫ﻋﲆ أﺳﺌﻠﺔ اﻟﻌﺎمل‪ ،‬وﻛﺄن ﻣﺤﺎوﻻت ﺗﻌﺮﻳﻒ‬ ‫اﻟﺸﻌﺮ اﻷوﱃ ﻫﻲ ﻣﺤﺎوﻻت ﺗﻜﺜﻴﻒ ﺣﻘﻴﻘﺘﻪ‬ ‫واﺧﺘﺰاﻟﻬﺎ ﰲ ﻗﺎﻟﺐ اﻟﻠﻐﺔ‪.‬‬ ‫ﺗﺒﺪو ﻛﻞ اﻹﺟﺎﺑﺎت اﳌﻘﺪﻣﺔ ﻟﻔﻬﻢ اﻟﺸﻌﺮ ﻓﻴﻬﺎ‬ ‫ﻣﻦ اﻷدﻟﺔ ﻣﺎ ﻳﺠﻌﻠﻬﺎ ﻛﺎﻓﻴﺔ ﻟﺘﻌﺮﻳﻒ اﻟﺸﻌﺮ‪،‬‬ ‫إﻻ أن اﳌﻌﺎﻳﻦ ﻟﻠﻌﻼﻗﺔ ﺑني اﻟﺸﻌﺮ واﻟﻐﻴﺒﻲ‬ ‫واﻟﺴاموي واﻟﺴﺤﺮي ﻳﺠﺪ أن اﻟﺸﻌﺮ ميﻜﻦ‬ ‫أن ﻳﻜﻮن اﻟﺸﻜﻞ اﻟﺘﻌﺒريي ﻋﻦ ﻓﺮادة اﻟﺸﺎﻋﺮ‬

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‫اﻟﻌﺪد ‪ ، 77‬أﺑﺮﻳﻞ ‪2019‬‬

‫واﻧﺘامﺋﻪ إﱃ ﻋﺎمل أﺑﻌﺪ ﻗﻠﻴ ًﻼ ﻋﻦ اﻟﻮاﻗﻊ‪.‬‬ ‫اﻟﻜﺜري ﻣﻦ اﻟﺸﻮاﻫﺪ ﺗﺆﻛﺪ ﻫﺬا اﻟﺘﺼﻮر‪،‬‬ ‫ﻓﻜﻴﻒ ميﻜﻦ ﻗﺮاءة رﻣﺰﻳﺔ "وادي ﻋﺒﻘﺮ" ﰲ‬ ‫ذاﻛﺮة اﻟﺸﻌﺮ اﻟﻌﺮيب‪ ،‬وﻛﻴﻒ ميﻜﻦ ﺗﺼﻮر‬ ‫ﻋﻼﻗﺔ ﻫــﻮﻣــريوس ﻣﻊ اﻟﻌﺎمل اﻟﺴﻔﲇ ﰲ‬ ‫اﻟﺜﻘﺎﻓﺔ اﻹﻏﺮﻳﻘﻴﺔ‪ ،‬أو "اﻟﻜﻮﻣﻴﺪﻳﺎ اﻹﻟﻬﻴﺔ"‬ ‫ﻟﺪاﻧﺘﻲ أﻟﻴﻐﻴريي ﰲ اﻟﺜﻘﺎﻓﺔ اﻻوروﺑﻴﺔ؟‬ ‫أﻻ ﻳﺒﺪو اﻟﺸﻌﺮ ﰲ ﻫﺬا اﻟﺴﻴﺎق ﻫﻮ ﺣﺎﻟﺔ‬ ‫وﺗﺠﻞ ﻟﻠﺸﺎﻋﺮ ﻋﲆ اﻟﻌﺎمل ﻏري اﳌﺮيئ‬ ‫ﻛﺸﻒ‬ ‫ٍ‬ ‫واﳌﻠﻤﻮس؟‬ ‫اﻟﻨﻈﺮ إﱃ اﻟﺸﻌﺮ ﻣﻦ ﻫﺬا اﳌﺴﺎﺣﺔ اﻟﺘﺄوﻳﻠﻴﺔ‬ ‫ﻳﺄﺧﺬ اﻟﻜﺜري ﻣﻦ اﻟﺘﺠﺎرب اﻟﺸﻌﺮﻳﺔ اﻟﻌﺮﺑﻴﺔ‬ ‫واﻟﻌﺎﳌﻴﺔ إﱃ أﻓﻖ أﻛرث اﺗﺴﺎﻋﺎً وﻏﻤﻮﺿﺎً‪،‬‬ ‫ورمبﺎ ﻓﻬ ًام‪ ،‬ﻓﻤﻬﻤﺔ اﻟﺸﺎﻋﺮ ﰲ ﻫﺬا اﻟﺴﻴﺎق‬

‫ﻫﻲ ﻣﻬﻤﺔ اﳌﺘﺼﻮف‪ ،‬واﻟﻌﺎرف‪ ،‬اﳌﺼﺎب‬ ‫ﺑﺤﻤﻰ اﻟﻜﺮاﻣﺔ اﻹﻟﻬﻴﺔ‪ ،‬ﺣﻴﺚ ﻳﺜﺒﺖ ﺟﺪارﺗﻪ‬ ‫اﻟﺸﻌﺮﻳﺔ ﰲ ﻗﺪرﺗﻪ ﻋﲆ ﺗﺤﻮﻳﻞ اﻟﻮاﻗﻌﻲ‬ ‫واﻟﻴﻮﻣﻲ واﳌﻌﺎش إﱃ ﻣﻔﺎﺗﻴﺢ ﳌﺎ وراءﻫﺎ؛‬ ‫ﻣﻔﺎﺗﻴﺢ ﻟﻠﻐﻴﺒﻲ واﳌــﺘــﻮاري‪ ،‬وﻏري اﳌﺪرك‬ ‫ﺑﺎﻟﺤﻮاس‪.‬‬ ‫ﺑﺎﻟﻮﻗﻮف ﻋﻨﺪ ﺗﺠﺮﺑﺔ اﻟﺸﻌﺮ اﻟﺸﻌﺒﻲ‬ ‫اﻹﻣﺎرايت ﺑﺄدوات اﻟﺘﺄوﻳﻞ ﻫﺬه ميﻜﻦ إﻋﺎدة‬ ‫ﺗﻌﺮﻳﻒ اﻟﺸﻌﺮ واﻟﺸﺎﻋﺮ واﳌﺘﻠﻘﻲ ﰲ اﻟﻮﻗﺖ‬ ‫ﻧﻔﺴﻪ‪ ،‬ﻓﺈن ﻛﺎن اﻟﺸﻌﺮ ﻣﺎدة ﻣﻦ ﻣﺎ وراء‬ ‫اﻟﻮاﻗﻊ‪ ،‬واﻟﺸﺎﻋﺮ ﻫﻮ اﻟﻌﺎرف اﳌﻜﺸﻮف ﻋﻨﻪ‪،‬‬ ‫ﻓﺈن اﳌﺘﻠﻘﻲ ﻫﻮ اﻟﻘﺎرئ أو اﻟﺴﺎﻣﻊ اﳌﺼﺎب‬ ‫ﺑﺎﻟﺪﻫﺸﺔ‪ ،‬واﻟﺮاﻏﺐ ﰲ اﻟﻮﺻﻮل ﻣﻊ اﻟﺸﺎﻋﺮ‬ ‫إﱃ اﻟﻌﺎمل اﻟﺬي ﻳﻨﻬﻞ ﻣﻨﻪ ﺻﻮره اﻹﺑﺪاﻋﻴﺔ‬

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¤@@ @ @ @ @ @´&* ¤@@ @ @ @ @ @ @ @ @ @ @ @ =&* ¡@@ @ @ @ ~@ @ @ @ @{@ @ @ @ @D* x@@ @ @ @ @)b@@ @ @ @ @: @M @ @ @ @ @ @ @g@ @ @ @p@ @ @ @´* 42b@@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ D* ¤@@ @ @ @ @ @ @ @ @ @ @ @ ©H ¤@@ @ @ @E2 ¯ i*x@@ @ @ @ @ @ @ @ @ @ @ @ / Á*¡@@ @ @ @ @ @ @ @j@ @ @ @ @ @ @ @ D*H

@@ @ @ @ @ @ J&* Kb@ @ @ @ @ E¡@@ @ @ @ @J i45 Kb@ @ @ c@ @ @ £@ @ @ c@ @ @ 0 b@@ @ @ @ @J @@ @ @ @ @ @ @ @ @ ´* v@@ @ @ @ @ @ @ @ @ @ @ ´* $b@@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ +(* @@ @ @ @ @ @ D ¤@@ @ @ @ @ @ @ @~@ @ @9&* ¥¡@@ @ @ @ @ @ @ @ J @@ @ @ @ @D ¤@@ @ @ @ @ £@ @ @ @ @ @ 0H

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Q¥v@@ @ @ @ J @@ @ @ @ @ @ @ @ @:&* ¤@@ @ @g@ @ @ Jx@@ @ @0 ¤@@ @ @ @ @ @ @ @ @ @ @<&* ¤@@ @ ~@ |@ @ E ¢@@ @ @ @ @ @ @ @E2&* v@@ @ @ £@ @ @ B @@ @ @ @E %* b@@ @ @ ~@ |@ - µ M2¡@@ @ @ @ @ @ @ @+ ¤@@ @;b@@ @ @ @ g@ @ 0* b@@ @ @E

L @ @ @ @ @ @ @ @ @ @ @/H @L @ @ @ @ c@ @ @ @ @F @@ @ @ £@ @ @ @A R $b@@ @ @ @ @ £@ @ @ @ @ @0H É@ $b@@ @ JÄ@@ @ @ @ @D* ¤@@ @ @ @ ~@ @ 7 @@ @ ~@ @ @z@ @ @²* µb@@ @ @ @ @ ; $b@@ @~@ @ z@ @ ´* É@@ @ @ @0&b@ @ @ @ C x@@ @ @ @ @ @ @D* @@ @ Gb@@ @ ~@ @ @6

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¢@@ @ @ @ @ @ ~@ @ @ 6H $b@@ @ @ @ @ @ @ @ @~@ @ @ @ @6 h@@ @ @ @ @ @ fL @ @ @ @ @ @ @ @ @ @g@ @ @ @ @A L @ @ @ @ @ @ @ @£@ @ @ @ @ @ @ @ 1H b@@ @ @ @ F2 @@ @ @ @ @ @ @ @ @E xL @ @ @ @ @ @ @)b@@ @ @ @ @ @ 0 b@ b@@ @ @ @ D @@ @ @ @ @ 6&b@ @ @ @ @ @ @ @ @ @ @ @D* v@@ @ @ @ @ @ @ @ B OÃv@@ @ @ @ @ @ @ @ @ @ @ @ FH b@@ @ @ @ D¡@@ @0 M b@@ @ @ @ @£@ @ @ @ @ 1 @@ @ @ @ @E b@@ @ @ @ @£@ @ @ @ @ @+ @@ @ @ @ @C b@@ @ @ @ @ @ c@ @ B P @ @ @ @ @ £@ @ @ @ @ A fO @ @ @ @ @ 0x@@ @ @ @ @ @ @ @ @ @ D* d@@ @ @ @j@ @ @ @ b@@ @ @ @ @ @ Q @ @ @ ; b@@ @ @ @ @ @ @ @ @ c@ @ @ ~@ @ @ z@ @ @ A b@@ @ @ @ @ @ @ @ FHQ v@@ @ @ @ @ @ @ @ <H

@@ @+ h@@ @ @ @ @ @ @ @ @ @F&* @@ @ @ z@ @ @ @ @ @ @ @¸ ¤@@ @ @ @ @ @ @ @ E @@ @ @ @ @ @ @ @J* O @ @ @ @ @)b@@ @ @ @ G d@L @ @ @ @ @ @ @ @ @ @ @ @ @ BH d@L @ @ @ @ @ @ @ @ @0 b@@ @ @ @ @ @ @ @ @ @ @ @ @ F&*H L @ @ @ @ @ @~@ @ @ @ @ @ 64 ¡@@ @ @ @~@ @ @ @ {@ @ @ @ D* @@ @ @ @ @ @ @EH b@@ @ @ @ @£@ @+ ¡@ b@@ @ @ j@ E I4b@@ @ @ @ @ @ ~@ @ @ 6 d@@ @ @ @ @²* I&*4 @@ @ @ @G xM @ @ @ @ @ @ @ @ @E @@ @ @ @ Jx@@ @ @ @ : ¢@@ @ @ @ @ A b@@ @ @ @ @ @ £@ @ @ ~@ @ @ {@ @ @ EH Kb@ @ @ @ E PÍ@ @ @ @ @ @ @ @ @: @@ @p@ @ ~@ @ 9 b@@ @ @ @ @ @ p@ @ ~@ @ 9H

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@@ @£@ @ 0x@@ @D* *5 b@@ @ @ E v@@ @ @ @ @+ b@@ @ @ @ @ @ c@ @ g@ @ F*H Ix@@ @ @ @ @ D* É@@ @ @ @ @0&b@ @ @ @ @ + h@@ @ @ 0b@@ @ @ : f@@ @ @ @ @ @ @ @J L @ @ @ @ Db@@ @ @ @: xL @ @ @ @ @ @ Jw@@ @ @ @ @ @F 4¡@@ @ @ @ @ @ @ @ @ @ @ @ D* *3(*H b@@ @ @ @ Ax@@ @ @ @ F b@@ @ @ @ @ @ @C b@@ @ @ @ £@ @ @ @ @Fv@@ @ @ @ D* *3(*H

baytelshear ‫اﻟﺸﻌﺮ‬ ِ ‫ﺑﻴﺖ‬

‫‪ ĬšĸŌ ĜĸŌ‬‬

‫‪ǲƉƁőŨǙ ǓƚŨǕ ǁǿƉƢǕŌ ƱƚŨǜǙ ǽƳ ƉŬƪŨũ ŦōǾǕōǘŵ‬‬

‫اﻷﻃﻼل‪ ..‬ﻗﺼﺔ ﻧﺠﺎح ﻏﺎب ﻋﻨﻬﺎ اﻟﺒﻄﻞ‬ ‫ﻋﻠﻲ اﻟﻤﺴﻌﻮدي‬

‫مل ﻳﻜﺘﺐ ﻹﺑﺮاﻫﻴﻢ ﻧﺎﺟﻲ أن ﻳﺮى ﻧﺠﺎح‬ ‫ﻣﺤﺒﻮﺑﺘﻪ اﻟﺸﻌﺮﻳﺔ "اﻷﻃــﻼل" اﻟﺘﻲ ذاع‬ ‫ﺻﻴﺘﻬﺎ‪ ،‬وﻫﻲ اﳌﻘﻄﻮﻋﺔ اﻟﺸﻌﺮﻳﺔ اﻟﺘﻲ‬ ‫ﻳﻘﺎل أﻧﻬﺎ ﺗﺮوي ﻗﺼﺔ ﺣﺒﻴﺒﺘﻪ‪ ،‬اﻟﺘﻲ ﺗﻌﻠﻖ‬ ‫ﺑﻬﺎ ﻗﻠﺒﻪ ﰲ رﻳﻌﺎن اﻟﺸﺒﺎب ﻟﻜﻨﻪ مل ﻳﺴﺘﻄﻊ‬ ‫اﻻرﺗﺒﺎط ﺑﻬﺎ وﺑﺴﺒﺐ ﻇﺮوف ﻣﺎ ﻫﺠﺮﻫﺎ أو‬ ‫ﻫﺠﺮﺗﻪ ﻟيك ﻳﻜﻤﻞ دراﺳﺔ اﻟﻄﺐ‪ ،‬وﻋﻨﺪﻣﺎ‬ ‫ﻋﺎد اﱃ ﺑﻠﺪﺗﻪ ﺑﻌﺪ اﻟﺘﺨﺮج وﺟﺪﻫﺎ ﻗﺪ‬ ‫ﺗﺰوﺟﺖ‪ ،‬وﺑﻴﻨام ﻛﺎن ﻣﺴﺘﻐﺮﻗﺎً ﰲ ﺷﺆوﻧﻪ‬ ‫ﺑﻌﺪ ﻋﻮدﺗﻪ ﻣﻦ ﻋﻤﻠﻪ ﰲ ﻟﻴﻠﺔ ﻣﻦ اﻟﻠﻴﺎﱄ‬ ‫إذا ﺑﺠﺮس اﻟﺒﺎب ﻳﺮن وﻣﻦ ﺧﻠﻔﻪ رﺟﻞ‬

‫ﻳﻄﻠﺐ اﳌﺴﺎﻋﺪة‪ ..‬ﻓﺰوﺟﺘﻪ ﰲ ﺣﺎﻟﺔ ﻃﻠﻖ‬ ‫ﻣﺘﻌﴪة‪ ..‬ذﻫﺐ ﻧﺎﺟﻲ ﻣﴪﻋﺎ ﻟﻴﻘﻒ وﺟﻬﺎ‬ ‫ﻟﻮﺟﻪ ﻣﻊ اﻟﺤﺒﻴﺒﺔ اﻟﺘﻲ ﻓﺎرﻗﻬﺎ‪..‬‬ ‫ﻛﺎﻧﺖ ﻟﺤﻈﺎت ﺗﺸﺒﻪ اﻟﺤﻴﺎة وﺗﺸﺒﻪ اﳌﻮت‪..‬‬ ‫ﻗﺎم ﺑﺎﻟﻼزم وﻫﻮ ﰲ ﺣﺎل ﻣﻦ اﻟﺘﻮﻫﺎن‪..‬‬ ‫وﻋﻨﺪﻣﺎ ﻋﺎد اﱃ ﻣﻨﺰﻟﻪ ﻛﺘﺐ ﺗﻠﻚ اﻟﻘﺼﻴﺪة‬ ‫اﻟﺤﺰﻳﻨﺔ‪ ،‬وﺳﻤﻌﺘﻬﺎ أم ﻛﻠﺜﻮم ورﻏﺒﺖ ﰲ‬ ‫ﻏﻨﺎﺋﻬﺎ ﻟﻜﻦ اﻧﺪﻻع ﺛﻮرة ﻳﻮﻟﻴﻮ أوﻗﻒ ﻫﺬا‬ ‫اﻟﻌﻤﻞ‪ ،‬ﺣﺘﻰ ﻗﺎﻣﺖ ﺑﻐﻨﺎﺋﻬﺎ ﺑﻌﺪ وﻓﺎﺗﻪ‬ ‫ﺑـ‪13‬ﻋﺎﻣﺎً‪ ،‬وﻗﺪ اﺧﺘﺎرت أم ﻛﻠﺜﻮم‪ 32 ،‬ﺑﻴﺘﺎً‬ ‫ﻣﻦ ﻣﻮاﺿﻊ ﻣﺘﻔﺮﻗﺔ ﻣﻦ ﻗﺼﻴﺪة اﻷﻃﻼل‬ ‫اﻟﻄﻮﻳﻠﺔ‪ ،‬وﻟﻸﻃﻼل ﻗﺼﺔ ﻏﺮﻳﺒﺔ‪ ،‬ﺑﻌﺪ أن‬ ‫أﺧﺬ اﻟﺴﻨﺒﺎﻃﻲ اﻟﻘﺼﻴﺪة‪ ،‬واﻧﺘﻬﻰ ﻣﻦ‬

‫‪I¡@@ @ @ @ @ @ D* @@ @ @ @ @ J* @@ @ ~@ @ @z@ @ @- ° ¥2*'¡@ @ @ @ @ @ @ @ @ @ A b@@ @ @ @ J‬‬ ‫*‪ @@ @ @ @DÉ@@ @ @ @:&* ¢@@ @ @ @ @ @ < ex@@ @ @ @ @ ~@ @ @ @ @ @7*H ¤@@ @ @ @ @ @ @ @ @ ~@ @ @ 6‬‬ ‫‪K*Ä@@ @ @ @ @1 ¢@@ @ @ @~@ @ @ @ z@ @ @ @ E&* d@@ @ @ @ @ @ ²* *3 @@ @ @ £@ @ @ C‬‬

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‫اﻟﻌﺪد ‪ ، 77‬أﺑﺮﻳﻞ ‪2019‬‬

‫أﻟﺤﺎﻧﻬﺎ وﺟﺎء وﻗﺖ ﺗﺪرﻳﺐ أم ﻛﻠﺜﻮم ﻋﲆ‬ ‫اﻷﻏﻨﻴﺔ‪ ،‬وﰲ اﳌﻘﻄﻊ اﻷﺧري ﻣﻦ اﻟﻘﺼﻴﺪة‬ ‫وﻫﻮ ”ﻻ ﺗﻘﻞ ﺷﺌﻨﺎ‪ -‬ﻓﺈن اﻟﺤﻆ ﺷﺎء“‪ ،‬ﻃﻠﺒﺖ‬ ‫أم ﻛﻠﺜﻮم ﻣﻦ اﻟﺴﻨﺒﺎﻃﻲ ﺗﻐﻴري اﻟﻘﻔﻠﺔ‪ ،‬ﰲ‬ ‫ﻫﺬا اﳌﻘﻄﻊ ﻣﻦ اﻟﻌﺎﻟﻴﺔ إﱃ اﻟﻘﻔﻠﺔ اﻟﻬﺎدﺋﺔ‪،‬‬ ‫ﻟﻜﻦ اﻟﺴﻨﺒﺎﻃﻲ رﻓــﺾ وﻏــﺎدر اﳌﻜﺎن‪،‬‬ ‫ﺗﻮﻗﻔﺖ ﺑﻌﺪﻫﺎ اﻷﻃﻼل ‪ 4‬ﺳﻨﻮات ﺣﺘﻰ‬ ‫ﺗﻢ اﻟﺼﻠﺢ ﺑني أم ﻛﻠﺜﻮم واﻟﺴﻨﺒﺎﻃﻲ‪ ،‬وﺑﻌﺪ‬ ‫ﻏﻨﺎء اﻷﻃﻼل ﻋﲆ اﻟﺠﻤﻬﻮر وﻻﻗﺖ إﻋﺠﺎ ًﺑﺎ‬ ‫ﻛﺒ ًريا‪ ،‬مل ﺗﺬﻫﺐ أم ﻛﻠﺜﻮم ﻟﺒﻴﺘﻬﺎ ﻛﻌﺎدﺗﻬﺎ‬ ‫ﺑﻞ ذﻫﺒﺖ ﻟﺒﻴﺖ اﻟﺴﻨﺒﺎﻃﻲ ﺗﻌﺘﺬر‪ ،‬ﻷﻧﻬﺎ‬ ‫أوﻗﻔﺖ ﻫﺬه اﻟﺘﺤﻔﺔ ‪ 4‬ﺳﻨﻮات ﻋﲆ ﺧﻼف‬ ‫ﺑﺴﻴﻂ‪.‬‬

‫ ‪ I¡@@ @ @ @ A M b@@ @ @ @ £@ @ @ @ @1 @@ @ @ @ E Kb@ @ @ @0x@@ @ @ ~@ @ @ @8 b@@ @ @ @ @ @C‬‬ ‫‪ IH4 @@ @ @ @ @Ev@@ @ @ @ @D* b@@ @ @ @´b@@ @ @ @: ¤@@ @ @ @ @ @ @< HP 4*H‬‬ ‫‪I¡@@ @ @ @ @±* k@@ @ @ @ @ @ J2b@@ @ @ @ @ @ 0&* @@ @ @ @ @E Kb@ @ @ @ @j@ @ @ @ @Jv@@ @ @ @ 0H‬‬

ĘıĘŕ

‫ ﺑﻦ ﻟﻬﻤﻮد اﻟﺒﺪري‬6‫ﻋﺒﺪا‬ @77Albadri

@@ @ @ £@ @ @ @ Ab@@ @ @ ³* rHx@@ @ @ ±* h@@ @ @ @ @ @ @ £@ @ @ @ + @@ @ @ £@ @ @ @ D @@ @ @ £@ @ @ @ Ab@@ @ @ @ @ @ @ D* @@ @ @ ² h@@ @ @ Jx@@ @ @ /b@@ @ @ E @@ @ @ C @@ @£@ @ Ab@@ @ @ @ Db@@ @+ @@ @ @ @ ~@ @ 6 b@@ @ £@ @ @D* @@ @ }@ @ @Jx@@ @ ´b@@ @ C @@ @ £@ @ @ Ab@@ @ 0 @@ @ D ¤@@ @ @ @ @ g@ @ @ @ @ @ - x@@ @ <b@@ @ ~@ @ @ {@ @ @ ´*H @@ @£@ @ Ab@@ @: v@@ @ @ @ + b@@ @~@ @ {@ @ @ @ D* f@@ @ @ @ @ @ ~@ @ 7H @@ @ @ £@ @ @ @ A*H b@@ @ @ Jb@@ @ @ m@ @ @ @ ~@ @ @ @ z@ @ @ @ D* @@ @ @ £@ @ @ @ AH ¯*H @@ @ £@ @ @Ab@@ @ @ @ @ @ @ @+ @@ @ Db@@ @ s@ @ @g@ @ @E @@ @ ~@ @ @z@ @ @ @ @ @Db@@ @ C @@ @ @ @ £@ @ @ @ Ab@@ @ @ @ / Áb@@ @ @ @ E°*H ,2b@@ @ @ @ @ @ @ @ ~@ @ @ @ z@ @ @ @ D*H @@ @ £@ @ A*2 @M @ @ 6¡@@ @ @ @ : @@ @ + @@ @ @ @ ~@ @ }@ @ 0 h@@ @ F*H @@ @ @ £@ @ @ @Ab@@ @ @ ~@ @ @ @8 b@@ @ @ J*¡@@ @ @ @ @ @ @D*H @@ @ @ D ¯b@@ @ @ ~@ @ @ @8 @@ @ @£@ @ @ Ab@@ @ @= 3*¡@@ @ @ @ @ @ D* @@ @ @/¡@@ @ @+ b@@ @ @ @ @ @ @ @ @ 1H

baytelshear ‫اﻟﺸﻌﺮ‬ ِ ‫ﺑﻴﺖ‬

ƯƴţƐǂ ƫƍƠŘ b@@ @ @ @ @D f@@ @ @ @ @² ¢@@ @ @ @ @< ¤@@ @ @ @ @<¡@@ @ @ @ @E b@@ @ @ @ J b@@ @ @ @ @ @ / ¯ ¤@@ @ @ @ @ @ g@ @ @ +w@@ @ @< v@@ @ @Jb@@ @ @~@ @ @ |@ @ @ @ @ @ D* *x@@ : @@ +b@@ c@ @0* @@ E Mv@@ 0* h@@ @ @ @ @~@ @6 *H É@@ @ G @@ @ +42 ¡@@ @ DH @@ @ Db@@ @ ~@ @ @8H @@ @ ~@ @ @{@ @ @<&* b@@ @ £@ @ @~@ @ @9 b@@ @ £@ @ @Fv@@ @ D* 4¡@@ @ @ @ @J ix@@ @ ~@ @ @}@ @ @0 * *¡@@ @ @ g@ @ @ @~@ @ @ @z@ @ @ @E K @ @ @ @£@ @ @ @A4 @@ @ @ @ @ @ @J5 ¯ h@@ @ @ F* b@@ @ @ @ @ ~@ @ @ 7 ¯ d@@ @ -b@@ @ @ @ @ ´* ox@@ @ G x@@ @ Â @@ @ E b@@ @ @ c@ @ @ @-4°* f@@ @ @ @ @ @ @ @ @ @ @D @@ @ @ C @@ @ @ +b@@ @ @ £@ @ @ @= ¯ b@@ @ @Av@@ @ @D ¡@@ @ @ @ @ @ @ @ @ E *2Ä@@ @ @D* ¤@@ @ @c@ @ @ @ @ @ B b@@ @ ~@ @ @9x@@ @ + 2¡@@ @ C ¤@@ @ @ @ @Ab@@ @ 1 x@@ @ @ @ @ @ @ @Jb@@ @ E b@@ ~@ @ z@ @ F b@@ @E ¤@@ @ @ @ D* ¢@@ @ @ @ < @@ @ @ @ £@ @ < ¯ v@@ @D

ĘıĘŕ

‫ﺳﺎﻟﻢ ﺑﻦ ﻧﺎﻳﻊ‬ @salem_naya

¡@@ ~@ 7H v@@ @ @ 0HH @@ +x@@ = @@ @ @ ~@ z@ - ° @@ c@ B ¡@@ ~@ @z@ @JHR ib@@ @ Jx@@ @ Cw@@ @ D* v@@ £@ @ J °Q * @@ @Db@@ @E Hx@@ @J @@ @ @~@ @8H · b@@ @ @ @ @´* v@@£@ ~@ |@ @ Db@@+ ¡@@ g@ @J @@ c@ @ @ @B b@@ @ @ @ BH n@@ ~@ @z@ @J x@@ @ @ @ @A b@@ @ @ B ¡@@ E @@ @ @0 ¢@@ @ @< Ä@@ @ @ @ @D*H v@@£@ Gb@@ @ g@ Db@@+ ¡@@ @ @º d@@ @ @ 0* @@ c@ @ @ @B ¢@@ @ @ @ < @@ @ @ F* Ñ*H HÄ@@ @ D* @@£@ s@ - HM v@@ @ @+ @@ j@ E @@ @ £@ s@ g@ ~@ z@ JH ¡@@ @ < @@ ~@ @8*¡@@ ´* *3 d@@ @ < @@ @ £@ @ @ D*H ¡@@< v@@~@ z@ JH x@@~@ z@ C Ä@@m@ J 4w@@ @< @@ D h@@£@ D Hx@@~@ {@ D* b@@ £@ @+ ¶* eHx@@ @ @ @ D* *H5 @@ E ¡@@~@ 7H v@@ @ @ 0HH @@ +x@@ = @@p@ +w@@- ° @@c@ B

ƃƩƉƴŢ Ǉƴţǉƴ x@@ @~@z@D* ·b@@ £@ @Db@@ J @@~@ {@ 0H @@£@ @ D* @@ @ ~@ z@ x@@ @ FH n@@~@ 9 @@£@ @ D* ¥4*¡@@ @ @ : @@ E ¥w@@ @ @ D*H x ; ¢@@ @ +* ° @@z@ + ¤@@ @c@E @@ @ E @K @z@ /b@@G x@@ @< ¤@M @ c@ ; i*x@@ @ @ @ ³* @@ E @@ D *x@@ @: *H x@@ A5H ¡@@ @ ~@ }@ D* Í@@ + @@ @ @g@ @CR *H @@z@ @ F w@@ 1 x@@ @ : @@ @ +b@@ @ £@ @ = @@ @ @ E @@ @ @ @ @ @ D b@@ @ @ @ @ @ A43b@@ @ @E x@@ @ B ·b@@ @s@ @ A @@ @Fb@@ @ @ @ D* f@@ @ @c@ @- @@ @ @c@ @g@ @J x@@ @ ~@ 6 @@ @ Db@@ @ ~@ @ @8H @@ @ @< Í@Q @ @ @cN @ @ @ - °H r*4 x@@ @ g@ @ J b@@ @ E d@@ @ @ F3 @@ @+b@@ @£@ @ = ¯ @@ @ D @@ @ 0 x@@ @1 @@ +b@@ ~@ @9H @@ @ @ @ J4H2 @@ £@ @ @ @D* ¤@@~@ }@ @ J x@@ @ ~@ z@ D* ·b@@ @ £@ @ @D b@@ @ @J ¥v@@ @ @ @< Ñb@@ @ @ @+ Ì@@ @ @=

2019 ‫ أﺑﺮﻳﻞ‬، 77 ‫اﻟﻌﺪد‬

‫ ‪ĜľōŘ‬‬ ‫ ¯« ‪ ĮľĵŒ‬‬

‫دﻳﻮان اﻟﻤﺎﺟﺪي‬

‫‪@khaligalb‬‬

‫ﻧﻮر اﻟﺪﻳﻦ‬ ‫ﻦ‬ ‫ﻣﺤﻤﺪ ﻮر‬ ‫ﻮر‬ ‫ﻤﺪ‬

‫ﺻﺪر ﻣﺆﺧﺮاً دﻳﻮان اﳌﺎﺟﺪي ﺑﻦ ﻇﺎﻫﺮ ﰲ ﺣﻠﺔ أﻧﻴﻘﺔ مبﺮاﺟﻌﺔ اﻟﺸﺎﻋﺮة اﻟﻘﺪﻳﺮة‪ /‬ﺷﻴﺨﺔ‬ ‫ﻣﺤﻤﺪ اﻟﺠﺎﺑﺮي وﺟﺎء اﻟﺪﻳﻮان اﻧﻄﻼﻗﺎً ﻣﻦ ﻣﺴﺆوﻟﻴﺔ دور اﻟﻨﴩ ﰲ ﺣﻔﻆ اﻟﱰاث اﳌﺤﲇ‪،‬‬ ‫وﺗﻮﻓري اﳌﺼﺎدر اﻟﺘﻲ ﻗﺪ ﻻ ﺗﻜﻮن ﰲ ﻣﺘﻨﺎول اﳌﻬﺘﻤني‪ ،‬ومبﺎ أن ﻫﺬا اﻟﺪﻳﻮان اﳌﻬﻢ ﻗﺪ ﻧﻔﺪ‬ ‫ﺳﺎﺑﻘﺎ ﻣﻦ اﻷﺳﻮاق ﻣﻨﺬ ﺳﻨني ومل ﺗﻌﺪ ﻗﺼﺎﺋﺪ "اﳌﺎﻳﺪي ﺑﻦ ﻇﺎﻫﺮ" )وﻫﻮ اﻟﺸﺎﻋﺮ اﻟﺸﻌﺒﻲ‬ ‫اﻷﻗﺪم ﰲ اﻹﻣﺎرات‪ ،‬وﻣﻦ أﻫﻢ ﺷﻌﺮاﺋﻬﺎ إن مل ﻳﻜﻦ اﻷﻫﻢ ﻋﲆ اﻹﻃﻼق( ﻣﺘﻮﻓﺮة ﻟﻠﺠﻴﻞ‬ ‫اﻟﺠﺪﻳﺪ‪ ،‬ﻓﺈن اﻟﺪﻳﻮان ﺑﺤﻠﺘﻪ اﻟﺠﺪﻳﺪة ﺗﻌﺪ إﺿﺎﻓﺔ ﻟﺠﻤﻬﻮر اﳌﺎﺟﺪي ﰲ ﻛﻞ اﻷرﺟﺎء‪.‬‬ ‫وﻗﺪ ﻧﴩت ﻫﺬه اﻟﻘﺼﺎﺋﺪ ﺳﺎﺑﻘﺎً ﺑﺠﻬﻮد ﻛﺒﺎر اﻟﺒﺎﺣﺜني ودُوﻧﺖ ﻗﺒﻠﻬﺎ ﰲ أﻫﻢ اﳌﺨﻄﻮﻃﺎت‬ ‫اﻟﺸﻌﺮﻳﺔ‪ ،‬وﻟﻜﻦ ﺗﻈﻞ اﳌﻜﺘﺒﺔ اﻟﺸﻌﺒﻴﺔ ﰲ ﺣﺎﺟﺔ إﱃ ﺗﻮﻓريه ﻟﻌﺎﻣﺔ اﻟﺠﻤﻬﻮر‪ ،‬ﻟﻴﺒﻘﻰ أﻣﺎم‬ ‫أﻧﻈﺎر اﳌﺘﻠﻘني ﰲ اﳌﻜﺘﺒﺎت واﳌﻌﺎرض واﳌﻮاﻗﻊ اﻹﻟﻜﱰوﻧﻴﺔ‪ ،‬وأﻳﻀﺎً ﻟﻴﻜﻮن ﻣﺼﺪراً وﻣﺮﺟﻌﺎً‬ ‫ﻟﻠﺒﺎﺣﺜني إﱃ ﺟﺎﻧﺐ اﻟﻜﺘﺐ اﻟﺴﺎﺑﻘﺔ اﻟﺘﻲ أوردت ﻫﺬه اﻟﻘﺼﺎﺋﺪ‪ .‬وأرﺟﻮ أن ُﻳﻌﺎد ﻧﴩ‬ ‫ﻫﺬا اﻟﺪﻳﻮان ﻣﻦ ﻗﺒﻞ ﺟﻤﻴﻊ اﳌﻌﻨﻴني ﺑﻨﴩ اﻟﺸﻌﺮ اﻟﺸﻌﺒﻲ ﻛام ﺗﻔﻌﻞ اﻟﻜﺜري ﻣﻦ اﻷﻣﻢ‬ ‫ﻣﻊ ﺗﺴﻮﻳﻖ ﻧﺘﺎج ﻣﺒﺪﻋﻴﻬﺎ ﺑﺎﻟﺮﻏﻢ ﻣﻦ رﺣﻴﻠﻬﻢ ﻣﻨﺬ ﻗﺮون‪.‬‬ ‫أﻣﺎ ﻫﺬا اﻟﻜﺘﺎب‪ ،‬ﻓﺈﻧﻪ ﻳﺄيت ﻟﻴﺆﻛﺪ ﻋﲆ أن ﻛﺒﺎر ﺷﻌﺮاﺋﻨﺎ ﻻ ﻳﺰاﻟﻮن ﻳﺠﺪون ﰲ اﳌﺎﺟﺪي‬ ‫ﺑﻦ ﻇﺎﻫﺮ وﻗﺼﺎﺋﺪه روﺣﺎً ﺣ ﱠﻴﺔ ﻣﺘﺠﺪدة‪ ،‬ﺗﺤ ّﺮك ﻓﻴﻬﻢ اﻟﻬﻤﺔ واﻟﻌﺰميﺔ ﻋﲆ إﻋﺎدة‬ ‫ﺗﺤﻘﻴﻖ اﻟﻘﺼﺎﺋﺪ أو دراﺳﺘﻬﺎ أو ﴍح ﻣﻌﺎﻧﻴﻬﺎ أو ﻛﺘﺎﺑﺔ ﺳريﺗﻪ‪ ...‬وﻛﻞ ذﻟﻚ ﻷﻧﻨﺎ ﻧﻘﻒ‬ ‫أﻣﺎم ﻫﺎﻣﺔ ﺑﺎﺳﻘﺔ وﻣﻌﻄﺎء ﻛﻨﺨﻴﻞ ﺑﻼدﻧﺎ‪ ،‬وﺣﻜﻤﺔ وارﻓﺔ اﻟﻈﻼل ﻛﺄﺑﻴﺎﺗﻪ اﻟﺨﺎﻟﺪة‪ّ ،‬‬ ‫وﻟﻌﻞ‬ ‫ﺟﻬﺪ اﻟﺸﺎﻋﺮة اﻟﻘﺪﻳﺮة‪ /‬ﺷﻴﺨﺔ ﻣﺤﻤﺪ اﻟﺠﺎﺑﺮي ﰲ إﻋﺪاد ﻫﺬا اﻟﺪﻳﻮان ﻟﺪﻟﻴﻞ واﺿﺢ ﻋﲆ‬ ‫اﻧﺼﺐ ﺟﻬﺪُ ﻫﺎ ﻋﲆ ﻣﺮاﺟﻌﺔ‬ ‫اﻷﻫﻤﻴﺔ اﻟﻜﺒرية اﻟﺘﻲ ﺗﺤﻈﻰ ﺑﻬﺎ ﻫﺬه اﻟﻘﺼﺎﺋﺪ‪ ،‬ﻟﺬﻟﻚ‬ ‫ﱠ‬ ‫اﻻﺧﺘﻼف ﺑني اﻟﻨﺼﻮص وإﻋﺪاد اﻟﺪﻳﻮان مبﻨﻬﺞ واﺿﺢ ﻛام ﺟﺎء ﰲ ﻣﻘﺪﻣﺔ اﻟﺪﻳﻮان‪ ،‬ﻟﺘﻘﺪم‬ ‫ﻟﻨﺎ اﺑﻦ ﻇﺎﻫﺮ ﻷول ﻣﺮة مبﺮاﺟﻌﺔ ﻗﻠﻢ أﻧﺜﻮي ّ‬ ‫ﻳﺘﴩب ﻣﻦ ﺟﺬور اﻟﱰاث‪ ،‬وميﺘﻠﻚ ﻧﺎﺻﻴﺔ‬ ‫اﻟﻘﺼﻴﺪ وﻳﺴﺘﻠﻬﻢ ﻣﻦ اﺑﻨﺔ اﻟـامﻳﺪي ﺑﻦ ﻇﺎﻫﺮ اﻟﺮﻓﻌﺔ واﻟﺴﻤﻮ‪.‬‬

‫اﻟﺸﻌﺮ ‪baytelshear‬‬ ‫ﺑﻴﺖ ِ‬

‫‪45‬‬

‫‪ĘŐŖŒ ĮľŃ‬‬ ‫ﻧﺴﺨﺎً ﻣﻦ اﻟﻄﺒﻌﺎت اﻟﻘﺪميﺔ ﻟﻠﻘﺮآن اﻟﻜﺮﻳﻢ ﰲ‬ ‫ﺷﻜﻞ ﻣﻴﻜﺮوﻓﻴﺶ‪.‬‬ ‫وميﻜﻦ ﻟﺰوار ﻣﻜﺘﺒﺔ ﺟﺎﻣﻊ اﻟﺸﻴﺦ زاﻳﺪ اﻹﺑﺤﺎر‬ ‫ﰲ ﻣﺤﻴﻂ ﻣﻦ اﻟﻜﺘﺐ اﻟﻨﻔﻴﺴﺔ‪ ،‬اﻟﺘﻲ ﺗﺠﺴﺪ‬ ‫ﻣﻌﺎين اﻟﺪﻳﻦ اﻹﺳﻼﻣﻲ اﻟﺴﻤﺤﺔ‪ ،‬وﺗﻘﺮب‬ ‫وﺟﻬﺎت اﻟﻨﻈﺮ ﺑني ﻛﺎﻓﺔ اﻷﻃﻴﺎف اﻹﻧﺴﺎﻧﻴﺔ‪،‬‬ ‫وﺗﺆﻛﺪ ﻋﲆ أن اﻟﻔﻄﺮة اﻹﻧﺴﺎﻧﻴﺔ ﺟﺒﻠﺖ ﻋﲆ‬ ‫اﳌﺤﺒﺔ واﻟﺘﻌﺎون واﻟﺘﺂﻟﻒ‪.‬‬ ‫ﻛام ميﻜﻨﻬﻢ اﻟﺘﻌﺮف ﻋﲆ اﻹرث اﻟﺤﻀﺎري‬ ‫اﻟﻜﺒري ﻟﻠﺜﻘﺎﻓﺔ اﻹﺳﻼﻣﻴﺔ‪ ،‬ﻣﺎ ﺟﻌﻠﻬﺎ ﻣﻦ أﻫﻢ‬ ‫اﻟﺤﻀﺎرات اﻟﺘﻲ ﺷﻬﺪﺗﻬﺎ اﻹﻧﺴﺎﻧﻴﺔ‪.‬‬ ‫‪ǲƉǘŨƒǙ ǳǾǝōƒǝŒ ŦōǾǕōƪƳ‬‬

‫وﻳﺤﺘﻀﻦ ﻣﺮﻛﺰ ﺟﺎﻣﻊ اﻟﺸﻴﺦ زاﻳــﺪ ﻋﲆ‬ ‫اﻟﺪوام اﻟﻔﻌﺎﻟﻴﺎت اﻟﺪاﻋﻴﺔ ﻟﻠﺘﺴﺎﻣﺢ‪ ،‬ﺳﻮاء‬ ‫ﰲ اﻟﻴﻮم اﻟﻌﺎﳌﻲ ﻟﻠﺘﺴﺎﻣﺢ اﻟﺬي ﻳﺼﺎدف ‪16‬‬ ‫ﻧﻮﻓﻤﱪ ﻣﻦ ﻛﻞ ﻋﺎم‪ ،‬أو ﰲ اﻷﻳﺎم اﻟﻌﺎدﻳﺔ‪،‬‬ ‫ﺣﻴﺚ ﻳﻌﺘﻤﺪ ﻣﺮﻛﺰ اﻟﺠﺎﻣﻊ ﻗﻴﻤﺔ اﻟﺘﺴﺎﻣﺢ‬ ‫ﻛﻘﻴﻤﺔ إﻧﺴﺎﻧﻴﺔ رﺋﻴﺴﺔ ﻳﺪﻋﻮ ﻟﻬﺎ ﻋﲆ اﻟﺪوام‪،‬‬ ‫وذﻟﻚ اﻧﻄﻼﻗﺎً ﻣﻦ رﺳﺎﻟﺘﻪ اﻟﺤﻀﺎرﻳﺔ‪ ،‬ودوره‬ ‫اﻟﺮاﺋﺪ ﰲ إﻳﺠﺎد ﻗﻨﻮات ﻟﻠﺤﻮار ﻣﻊ اﻵﺧﺮ‪،‬‬ ‫وﺗﻮﻓري ﻓﺮص ﻟﻠﺘﻘﺎرب ﺑني اﻷدﻳﺎن واﻟﺜﻘﺎﻓﺎت‪،‬‬ ‫واﻣﺘﺪاداً ﻟﻨﻬﺞ اﻟﻘﻴﺎدة اﻟﺮﺷﻴﺪة اﳌﺴﺘﻠﻬﻢ‬ ‫ﻣﻦ إرث اﻟﻮاﻟﺪ اﳌﺆﺳﺲ اﳌﻐﻔﻮر ﻟﻪ اﻟﺸﻴﺦ‬ ‫زاﻳﺪ ﺑﻦ ﺳﻠﻄﺎن آل ﻧﻬﻴﺎن‪ ،‬ﻃﻴﺐ اﻟﻠﻪ ﺛﺮاه‪،‬‬ ‫ﰲ إرﺳﺎء ﻗﻴﻢ اﻟﺘﺴﺎﻣﺢ واﻟﺘﻌﺎﻳﺶ واﻻﻧﻔﺘﺎح‬ ‫ﻋﲆ اﻟﺜﻘﺎﻓﺎت‪.‬‬ ‫‪ƈǷǝ ǛǙ ŦŌŋōƞƳ‬‬

‫وﺗﺄﻛﻴﺪاً ﻋﲆ اﻟﺪور اﻟﺬي ﻳﻠﻌﺒﻪ ﺟﺎﻣﻊ اﻟﺸﻴﺦ‬ ‫زاﻳﺪ ﰲ ﻧﴩ ﻗﻴﻤﺔ اﻟﺘﺴﺎﻣﺢ‪ ،‬ﻛﺎن اﻟﺘﺴﺎﻣﺢ ﻫﻮ‬ ‫ﻋﻨﻮان اﻟﺜﻴﻤﺔ اﻟﺮﺋﻴﺴﺔ ﻟﻠﻨﺴﺨﺔ اﻟﺴﺎﺑﻌﺔ ﻣﻦ‬ ‫ﺟﺎﺋﺰة »ﻓﻀﺎءات ﻣﻦ ﻧﻮر ﻟﻠﺘﺼﻮﻳﺮ اﻟﻀﻮيئ«‪،‬‬ ‫اﻟﺘﻲ ﻳﻨﻈﻤﻬﺎ ﻣﺮﻛﺰ ﺟﺎﻣﻊ اﻟﺸﻴﺦ زاﻳﺪ اﻟﻜﺒري‬ ‫ﺣﺘﻰ ‪ 31‬ﻳﻮﻟﻴﻮ اﳌﻘﺒﻞ ﺑﺮﻋﺎﻳﺔ ﺳﻤﻮ اﻟﺸﻴﺦ‬ ‫ﻣﻨﺼﻮر ﺑﻦ زاﻳﺪ آل ﻧﻬﻴﺎن ﻧﺎﺋﺐ رﺋﻴﺲ ﻣﺠﻠﺲ‬ ‫اﻟﻮزراء وزﻳﺮ ﺷﺆون اﻟﺮﺋﺎﺳﺔ‪ ،‬وﻳﺄيت إﻃﻼق‬ ‫اﻟﺠﺎﺋﺰة ﺗﺮﺳﻴﺨﺎً ﻟﺮؤى وﺗﻄﻠﻌﺎت اﻟﻘﻴﺎدة‬ ‫اﻟﺮﺷﻴﺪة ﰲ دﻋﻢ ﻗﻴﻢ اﻟﺘﺴﺎﻣﺢ واﻟﻮﺳﻄﻴﺔ‪،‬‬

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‫اﻟﻌﺪد ‪ ، 77‬أﺑﺮﻳﻞ ‪2019‬‬

‫وﻣﻮاﻛﺒﺔ ﻹﻋﻼن ﺻﺎﺣﺐ اﻟﺴﻤﻮ اﻟﺸﻴﺦ ﺧﻠﻴﻔﺔ اﻟﺘﻌﺒريي اﳌﺆﺛﺮ ﰲ اﻟﺠﺎﻣﻊ وﺣﻮل اﻟﻌﺎمل‪.‬‬ ‫ﺑﻦ زاﻳﺪ آل ﻧﻬﻴﺎن رﺋﻴﺲ اﻟﺪوﻟﺔ‪ ،‬ﺣﻔﻈﻪ اﻟﻠﻪ‪،‬‬ ‫‪ 2019‬ﻋﺎﻣﺎً ﻟﻠﺘﺴﺎﻣﺢ‪ ،‬وﺗﺨﻠﻴﺪاً ﳌﺂﺛﺮ اﳌﻐﻔﻮر ‪ŻǙōƒŨǔǕ ǲƈōǜǙ ǻǂŞǿǶ‬‬ ‫ﻟﻪ اﻟﺸﻴﺦ زاﻳﺪ ﺑﻦ ﺳﻠﻄﺎن آل ﻧﻬﻴﺎن‪ ،‬ﻃﻴﺐ ﻋﲆ ﻣﺪار اﻟﺴﻨﻮات اﳌﺎﺿﻴﺔ ﻋﺰز اﻟﺠﺎﻣﻊ‬ ‫اﻟﻠﻪ ﺛﺮاه‪ ،‬اﻟﺘﻲ ﺗﺤﻤﻞ روح اﻟﺘﺴﺎﻣﺢ‪ ،‬وإميﺎﻧﺎً دوره اﻟﺮﻳﺎدي ﰲ إﻋﻼء ﻗﻴﻢ اﻟﺘﺴﺎﻣﺢ‪ ،‬وﻏﺮس‬ ‫ﺑﺎﻟﺪور اﳌﺆﺛﺮ ﻟﻠﺼﻮرة ﰲ إﻳﺼﺎل رﺳﺎﻟﺔ اﻟﺠﺎﻣﻊ‪ .‬ﻣﻔﺎﻫﻴﻢ اﻹﺳﻼم اﻟﺼﺤﻴﺢ ﰲ ﻋﻘﻮل اﻟﻨﺶء‪،‬‬ ‫ﻛام ﻳﺄيت إﻃﻼق اﻟﺠﺎﺋﺰة‪ ،‬ﺑﺸﻜﻞ دوري‪ ،‬دﻋ ًام ﻣﻦ ﺧﻼل اﻟﻔﻌﺎﻟﻴﺎت واﻷﻧﺸﻄﺔ واﻟﺰﻳﺎرات‬ ‫ﻟﻠﺤﺮﻛﺔ اﻟﺜﻘﺎﻓﻴﺔ ﰲ اﻟﺪوﻟﺔ‪ ،‬واﺣﺘﻔﺎ ًء ﺑﺎﻟﻘﻴﻢ اﻟﺮﺳﻤﻴﺔ اﻟﺘﻲ ﻳﻨﻔﺬﻫﺎ‪ ،‬إﺿﺎﻓﺔ إﱃ ﺗﻨﻈﻴﻢ‬ ‫اﻷﺻﻴﻠﺔ واﳌﻌﺎين اﻟﺤﻀﺎرﻳﺔ اﻟﺴﺎﻣﻴﺔ وﻣﺒﺎدئ واﺳﺘﻀﺎﻓﺔ اﳌﺒﺎدرات اﻟﺨريﻳﺔ واﻹﻧﺴﺎﻧﻴﺔ‬ ‫اﻟﺘﻌﺎﻳﺶ واﻟﺘﻮاﺻﻞ ﺑني اﻷﻣﻢ ﻋﲆ اﺧﺘﻼف واﳌﺤﺎﴐات اﻟﺪﻳﻨﻴﺔ‪ ،‬ﻟﻴﺼﺒﺢ اﻟﻴﻮم ﻧﻘﻄﺔ ﺗﻼق‬ ‫ﺛﻘﺎﻓﺎﺗﻬﻢ‪ ،‬إﱃ ﺟﺎﻧﺐ اﻻﺣﺘﻔﺎء ﺑﺠامﻟﻴﺎت ﻟﺤﻮار اﻹﻧﺴﺎن ﻣﻊ أﺧﻴﻪ اﻹﻧﺴﺎن مبﺎ ميﺜﻠﻪ ﻣﻦ‬ ‫اﻟﺠﺎﻣﻊ وﻓﻨﻮن اﻟﻌامرة اﻹﺳﻼﻣﻴﺔ اﳌﺘﺠﻠﻴﺔ ﰲ ﺑﻴﺌﺔ ﻓﻜﺮﻳﺔ وﺛﻘﺎﻓﻴﺔ ﻣﺘﻔﺘﺤﺔ ميﻜﻦ أن ﺗﻮﻓﺮ‬ ‫ﺟﻤﻴﻊ أروﻗﺘﻪ وﻣﻘﺘﻨﻴﺎﺗﻪ‪.‬‬ ‫اﳌﺴﺎﺣﺔ اﳌﻨﺎﺳﺒﺔ ﻟﻄﺮح اﻟﻘﻀﺎﻳﺎ واﳌﻮﺿﻮﻋﺎت‬ ‫وﺳﺘﻤﻨﺢ اﻟﺠﺎﺋﺰة اﳌﺼﻮرﻳﻦ ﻓﺮﺻﺔ ﺗﺮﺟﻤﺔ اﻟﺘﻲ ﺗﺸﻐﻞ ﻋﺎمل اﻟﻴﻮم ﻟﺘﺠﺴﻴﺪ رؤى اﳌﻐﻔﻮر‬ ‫وﺗﺠﺴﻴﺪ ﻣﻌﻨﻰ »اﻟﺘﺴﺎﻣﺢ« ﺑﻌﺪﺳﺘﻬﻢ‪ ،‬ﻋﲆ ﻟﻪ اﻟﺸﻴﺦ زاﻳﺪ ﺑﻦ ﺳﻠﻄﺎن آل ﻧﻬﻴﺎن‪ ،‬ﻃﻴﺐ‬ ‫اﺧﺘﻼف أﺷﻜﺎﻟﻪ وﻣﺠﺎﻻﺗﻪ‪ ،‬مبﻔﻬﻮﻣﻪ اﻟﺒﴫي اﻟﻠﻪ ﺛﺮاه‪ ،‬ﰲ اﻟﺘﺴﺎﻣﺢ وﻗﺒﻮل اﻵﺧﺮ‪.‬‬

‫‪ƉǘŨƒǙ ƈǷƢũ‬‬

‫ﻣﻨﺬ اﻓﺘﺘﺎح اﻟﺠﺎﻣﻊ ﻣﻨﺬ ﻣﺎ ﻳﻘﺎرب ﻣﻦ اﺛﻨﻲ‬ ‫ﻋﴩ ﻋﺎﻣﺎً‪ ،‬واﻟﺠﺎﻣﻊ ﰲ ﺗﻄﻮر ﻣﺴﺘﻤﺮ‪ ،‬ﻣﺮاﻓﻖ‬ ‫ﺟﺪﻳﺪة ﺗﻔﺘﺘﺢ‪ ،‬وﺧﺪﻣﺎت ﺟﺪﻳﺪة ﺗﻄﻠﻖ‪،‬‬ ‫وﺗﺼﺎﻣﻴﻢ راﺋﻌﺔ ﺗﻀﺎف‪ ،‬وﻟﻌﻞ آﺧﺮ إﺿﺎﻓﺔ‬ ‫ﻋﻤﺮاﻧﻴﺔ ﻟﻠﺠﺎﻣﻊ ﻛﺎﻧﺖ ﰲ اﻓﺘﺘﺎح اﻟﻘﺴﻢ‬ ‫اﻟﺠﺪﻳﺪ اﳌﻘﺎﺑﻞ ﻟﻮاﺣﺔ اﻟﻜﺮاﻣﺔ‪ ،‬واﻟﺬي ﻳﻀﻢ‬

‫ﻋﺪداً ﻣﻦ اﳌﺮاﻓﻖ ﺑﺎﻹﺿﺎﻓﺔ ﻟﻜﻮﻧﻪ ﻣﻨﻄﻠﻘﺎً‬ ‫ﺟﺪﻳﺪاً ﻟﻠﺠﻮﻻت اﻟﺴﻴﺎﺣﻴﺔ اﻟﺘﻲ ﻳﺼﺤﺐ‬ ‫ﻓﻴﻬﺎ ﻣﻮﻇﻔﻮ اﻟﺠﺎﻣﻊ اﻟﺰوار ﰲ رﺣﻠﺔ ﻟﻠﺘﻌﺮف‬ ‫ﻋﲆ ﻣﺮاﻓﻖ اﻟﺠﺎﻣﻊ وأﻗﺴﺎﻣﻪ واﻟﻘﻴﻢ اﻟﺪﻳﻨﻴﺔ‬ ‫واﻹﻧﺴﺎﻧﻴﺔ اﻟﺘﻲ ﻳﻌﻜﺴﻬﺎ‪.‬‬ ‫وأﻫﻢ أﻗﺴﺎم اﻟﺘﻮﺳﻌﺔ اﻟﺠﺪﻳﺪة ﻫﻲ ﻣﻜﺘﺒﺔ‬ ‫ﺟﺎﻣﻊ اﻟﺸﻴﺦ زاﻳﺪ‪ ،‬واﻟﺘﻲ ﺗﻢ ﻧﻘﻠﻬﺎ ﻣﻦ ﻣﻘﺮﻫﺎ‬ ‫اﻟﻘﺪﻳﻢ ﰲ إﺣﺪى اﳌﻨﺎرات إﱃ ﻣﻘﺮﻫﺎ اﻟﺠﺪﻳﺪ‪،‬‬ ‫وذﻟﻚ ﻟيك ﺗﻜﻮن أﻗﺮب إﱃ ﻣﺤﺒﻲ اﻟﻜﺘﺐ‬ ‫واﳌﻄﺎﻟﻌﺔ‪ ،‬وﺗﻀﻢ اﳌﻜﺘﺒﺔ ﻣﺠﻤﻮﻋﺔ واﺳﻌﺔ‬ ‫ﻣﻦ اﻟﻜﺘﺐ اﻟﻘﻴﻤﺔ‪ ،‬اﻟﺘﻲ ﺗﺪﻋﻮ ﰲ ﻣﻌﻈﻤﻬﺎ‬ ‫إﱃ اﳌﺤﺒﺔ واﻹﺧﺎء واﻹﻧﺴﺎﻧﻴﺔ واﻟﺘﺴﺎﻣﺢ‪.‬‬ ‫وﺗﻌﺪ ﻣﻜﺘﺒﺔ ﺟﺎﻣﻊ اﻟﺸﻴﺦ زاﻳﺪ اﻟﻜﺒري اﻟﺘﻲ‬ ‫اﻓﺘﺘﺤﻬﺎ ﺳﻤﻮ اﻟﺸﻴﺦ ﻣﻨﺼﻮر ﺑﻦ زاﻳﺪ آل‬ ‫ﻧﻬﻴﺎن ﰲ ﻧﻮﻓﻤﱪ ‪ 2010‬ﻣﻦ أﻫﻢ ﻣﻨﺎرات اﻟﻌﻠﻢ‬ ‫ﰲ دوﻟﺔ اﻹﻣــﺎرات اﻟﻌﺮﺑﻴﺔ اﳌﺘﺤﺪة ومتﺜﻞ‬ ‫راﻓﺪاً ﻣﻬ ًام ﻟﻠﻤﻨﺠﺰ اﻟﺜﻘﺎﰲ واﻟﻌﻠﻤﻲ واﳌﻌﺮﰲ‬ ‫ﻟﻠﺪوﻟﺔ‪ ،‬وﺗﻌﺰز دور اﻟﺠﺎﻣﻊ ﻛﻤﻨﺎرة إﺷﻌﺎع‬ ‫ﺛﻘﺎﰲ مبﺎ ﻳﺘﻮﻓﺮ ﻓﻴﻬﺎ ﻣﻦ ﻣﺼﺎدر وﻣﺎ ﺗﺤﺘﻮﻳﻪ‬ ‫ﻣﻦ وﺳﺎﺋﻞ ﺗﻘﻨﻴﺔ ﺣﺪﻳﺜﺔ ﺗﺴﺎﻋﺪ اﻟﺒﺎﺣﺜني ﻋﲆ‬ ‫اﻻﺳﺘﻔﺎدة اﻟﻘﺼﻮى ﻣﻦ ﻣﺤﺘﻮﻳﺎﺗﻬﺎ ‪.‬‬ ‫وﺗﺤﺘﻮي اﳌﻜﺘﺒﺔ ﻋﲆ اﻟﻌﺪﻳﺪ ﻣﻦ اﻟﻜﺘﺐ‬ ‫واﳌـﺮاﺟــﻊ اﳌﺘﺨﺼﺼﺔ ﰲ ﻣﺠﺎل اﻟﺤﻀﺎرة‬

‫اﻹﺳــﻼﻣــﻴــﺔ‪ ،‬وﻓــﻨــﻮن اﻟــﻌــامرة اﻹﺳﻼﻣﻴﺔ‪،‬‬ ‫واﻟﺨﻄﻮط اﻟﻌﺮﺑﻴﺔ واﻹﺳﻼﻣﻴﺔ‪ ،‬واﳌﺴﻜﻮﻛﺎت‬ ‫اﻹﺳﻼﻣﻴﺔ اﻟﻘﺪميﺔ‪ ،‬واﻟﺴﺠﺎد اﻟﴩﻗﻲ‪ ،‬إﺿﺎﻓﺔ‬ ‫إﱃ اﻟﻌﺪﻳﺪ ﻣﻦ اﳌﺼﺎدر اﻟﺘﺎرﻳﺨﻴﺔ اﻟﺸﺎﻣﻠﺔ‬ ‫واﻟﺪاﻋﻴﺔ ﻟﻠﺘﺴﺎﻣﺢ‪ ،‬واﻟﺘﻔﺎﻋﻞ ﺑني اﻟﺤﻀﺎرات‪،‬‬ ‫وﺗﻀﻢ اﳌﻜﺘﺒﺔ ﻋﺪة ﻣﺼﺎدر أﺳﺎﺳﻴﺔ ﻣﺘﺨﺼﺼﺔ‬ ‫ﰲ اﻟﻌامرة اﻹﺳﻼﻣﻴﺔ وﻓﻨﻮﻧﻬﺎ وﻋﻠﻮﻣﻬﺎ وﺑﻠﻎ‬ ‫ﻋــﺪد اﻟﻜﺘﺐ اﳌﻘﺘﻨﺎة ﺳﺒﻌﺔ آﻻف ﻛﺘﺎب‬ ‫وﻫﻲ ﺗﱰاوح ﺑني ﻛﺘﺐ ودورﻳﺎت ﻋﻦ اﻟﻔﻨﻮن‬ ‫واﻟﻌامرة اﻹﺳﻼﻣﻴﺔ وﺗﺎرﻳﺨﻬﺎ ﻛﺘﺒﺖ ب ‪12‬‬ ‫ﻟﻐﺔ ﺣ ّﻴﺔ أو ﻣﺎ ﻳﺰﻳﺪ ﻛام ﺗﺘﻮﻓﺮ ﰲ اﳌﻜﺘﺒﺔ‬ ‫ﻣﺠﻤﻮﻋﺎت ﻣﻦ ﻧﻔﺎﺋﺲ اﻟﻜﺘﺐ اﻟﻨﺎدرة ذات‬ ‫اﻟﻄﺒﻌﺎت اﻟﻔﺮﻳﺪة ﰲ ﻗﻴﻤﺘﻬﺎ اﻟﻌﻠﻤ ّﻴﺔ أو‬ ‫اﻟﺘﺎرﻳﺨﻴﺔ واﻷﺧــﺮى اﻟﻘﺪميﺔ واﳌﻤﻴﺰة ﰲ‬ ‫أﺑﻮاﺑﻬﺎ ‪.‬‬ ‫ﻛام ﺗﻘﺘﻨﻲ اﳌﻜﺘﺒﺔ ﻣﺎ ﻳﺰﻳﺪ ﻋﲆ ‪ 100‬ﻛﺘﺎب‬ ‫ﻣﻦ اﻟﻜﺘﺐ اﻟﻔﺮﻳﺪة واﻟــﻨــﺎدرة‪ ،‬وﻳﻮﺟﺪ‬ ‫ﺑﺎﳌﻜﺘﺒﺔ ﻗﺴﻢ ﺧﺎص ﻟﻠﻤﺮاﺟﻊ واﻟﻘﻮاﻣﻴﺲ‬ ‫واﳌﻮﺳﻮﻋﺎت وﻗﺴﻢ ﺧﺎص ﻟﻸﻃﻔﺎل ﻳﻀﻢ‬ ‫ﻣﺎ ﻳﺰﻳﺪ ﻋﲆ ‪ 800‬ﻋﻨﻮان ﻣﻦ ﻛﺘﺐ اﻷﻃﻔﺎل‬ ‫وﻳﻮﺟﺪ أﻳﻀﺎً ﺑﺎﳌﻜﺘﺒﺔ ﻗﺴﻢ اﳌﺼﻐﺮات‬ ‫اﻟﻔﻴﻠﻤﻴﺔ اﳌﻴﻜﺮوﻓﻴﺶ وﻳﻀﻢ ﻣﺎ ﻳﺰﻳﺪ ﻋﲆ‬ ‫‪ 50‬أﻟﻒ ﻣﺨﻄﻮﻃﺔ ﻋﺮﺑﻴﺔ وإﺳﻼﻣﻴﺔ‪ ،‬ﺗﺸﻤﻞ‬ ‫اﻟﺸﻌﺮ ‪baytelshear‬‬ ‫ﺑﻴﺖ ِ‬

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‫‪ĘŐŖŒ ĮľŃ‬‬

‫‪ ǲƉǈŨŞǙ ŦŌƈƂōŞǙǶ ǲƃǿƃŵ ǁƳŌƉǙ ǗƟ‬‬

‫ﺟﺎﻣﻊ اﻟﺸﻴﺦ زاﻳﺪ‪..‬‬

‫رﻣﺰ ﻋﺎﻟﻤﻲ ﻟﻠﺘﺴﺎﻣﺢ‬

‫ﻣﺼﻄﻔﻰ أﺣﻤﺪ‬

‫ﻻ ﻳﺨﺘﻠﻒ اﺛﻨﺎن ﻋﲆ أن دوﻟﺔ اﻹﻣﺎرات ﺑﺎﺗﺖ أمنﻮذﺟﺎً ﻓﺮﻳﺪاً ﻟﻠﺘﺴﺎﻣﺢ واﻟﺴﻼم ﰲ اﻟﻌﺎمل‪ ،‬ﻓﻤﻊ أﻛرث ﻣﻦ ‪ 200‬ﺟﻨﺴﻴﺔ ﻳﻌﻴﺸﻮن ﻋﲆ‬ ‫أرﺿﻬﺎ ﺑﻜﻞ اﻧﺴﺠﺎم وﻣﺤﺒﺔ ﻻ ﺗﻌﻜﺮ ﺻﻔﻮ اﻟﻌﻼﻗﺎت اﻟﺘﻲ ﺗﺮﺑﻄﻬﻢ ﺷﺎﺋﺒﺔ‪ ،‬ﻛﺎن ﻣﻦ اﻟﻄﺒﻴﻌﻲ أن ﺗﺼﺒﺢ دار زاﻳﺪ دار اﻟﺘﺴﺎﻣﺢ واﻷﻟﻔﺔ‬ ‫واﻷﻣﻦ واﻷﻣﺎن‪.‬‬ ‫وإذا ﻣﺎ أردﻧﺎ أن ﻧﺘﻜﻠﻢ ﻋﻦ ﻣﻜﺎن ﻳﺠﺴﺪ ﻗﻴﻤﺔ اﻟﺘﺴﺎﻣﺢ ﰲ ﻋﺎم اﻟﺘﺴﺎﻣﺢ اﻟﺬي أﻋﻠﻦ ﻋﻨﻪ ﺻﺎﺣﺐ اﻟﺴﻤﻮ اﻟﺸﻴﺦ ﺧﻠﻴﻔﺔ ﺑﻦ زاﻳﺪ آل‬ ‫ﻧﻬﻴﺎن رﺋﻴﺲ اﻟﺪوﻟﺔ ﺣﻔﻈﻪ اﻟﻠﻪ‪ ،‬ﻓﺈﻧﻨﺎ ﻟﻦ ﻧﺠﺪ أﻓﻀﻞ ﻣﻦ ﺟﺎﻣﻊ اﻟﺸﻴﺦ زاﻳﺪ اﻟﻜﺒري‪ ،‬اﻟﺬي ﻋﺪا ﻋﻦ ﻛﻮﻧﻪ ﻣﻌﻠ ًام إﺳﻼﻣﻴﺎً ﻣﻬ ًام‪ ،‬وﺗﺤﻔﺔ‬ ‫ﻋﻤﺮاﻧﻴﺔ ﻗﻞ ﻣﺜﻴﻠﻬﺎ‪ ،‬إﻻ أﻧﻪ أﺻﺒﺢ رﻣﺰاً ﻟﻠﺘﺴﺎﻣﺢ واﻟﺘﻘﺎرب واﻟﺘﺂﻟﻒ ﺑني ﺷﻌﻮب اﻟﻌﺎمل‪.‬‬

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‫اﻟﻌﺪد ‪ ، 77‬أﺑﺮﻳﻞ ‪2019‬‬

‫ﻣــﻦ أﺻــﺪﻗــﺎﺋــﻪ ﺑﺈﻗﺎﻣﺔ أﻣﺴﻴﺔ ﺗﺤﺖ‬ ‫ﻋﻨﻮان »ﻧﺎﴏ اﻟﻈﻔريي‪ ..‬رواﻳــﺔ اﻟﻮﻃﻦ‬ ‫واﻟﻐﺮﺑﺔ«‪ .‬اﺧﺘﻠﻄﺖ ﻓﻴﻬﺎ اﻟﺼﺪاﻗﺔ ﺑﺬاﻛﺮة‬ ‫اﳌﻜﺎن »اﻟﺠﻬﺮاء«‪ ،‬ﺑﺄمل ﻗﻀﻴﺔ »اﻟﻮﻃﻦ«‬ ‫وﺑﺸﺨﺼﻴﺎﺗﻪ اﻟﺮواﺋﻴﺔ اﻟﺘﻲ ﺣﴬت ﰲ‬ ‫ﻛﻠامت أﺻﺪﻗﺎﺋﻪ وﺑﺎﳌﺸﻬﺪ اﻟﺘﻤﺜﻴﲇ اﻟﺬي‬ ‫ﻗــﺪم‪ ،‬ﺑﺪﻣﻮع اﻟﺤﻀﻮر وﺑﺬﻟﻚ اﻟﺸﺠﻦ‬ ‫اﻟﺬي ﰲ ﻛﻠﻤﺘﻪ اﻟﺘﻲ أﺑﻜﺖ اﻟﺤﺎﴐﻳﻦ‪ .‬ﻗﺎل‬ ‫ﻓﻬﺪ اﳌﺸﻌﻞ‪» :‬ﻫﻮ أﺣﺪ أﺻﺤﺎب اﻟﺘﺠﺮﺑﺔ‬ ‫اﻻﻧﺴﺎﻧﻴﺔ اﻟﺘﻲ اﺗﺼﻠﺖ ﺑﺎﻹﻧﺴﺎن وﻣﺎﺿﻴﻪ‬ ‫وﺣﺎﴐه وﻣﺴﺘﻘﺒﻠﻪ«‪ ،‬ﻣﻀﻴﻔﺎً ﺑﺄﻧﻬﺎ‬

‫»ﺗﺠﺮﺑﺔ اﻧﺴﺎﻧﻴﺔ ﻏﻔﻠﺖ ﻋﻨﻬﺎ وﺳﺎﺋﻞ‬ ‫اﻹﻋﻼم واﻫﺘﻤﺖ مبﺎ ﻫﻮ دوﻧﻬﺎ"‪.‬‬ ‫وﻗﺎﻟﺖ ﺳﻌﺪﻳﺔ ﻣﻔﺮح‪ :‬ﻋﻨﺪﻣﺎ ﻗﺮر ﻧﺎﴏ‬ ‫اﻟﻬﺠﺮة إﱃ ﻛﻨﺪا ﻻﺣــﻘـﺎً‪ ،‬ﺗﺤﺖ وﻃﺄة‬ ‫ﺷﻌﻮره ﺑﴬورة ﻋﻤﻠﻪ ﻋﲆ ﺗﺄﻣني ﻣﺴﺘﻘﺒﻞ‬ ‫أﴎﺗﻪ اﻟﺼﻐرية‪ ،‬ﻛﺎﻧﺖ ﻗﺪ ﻓﺮﻗﺘﻨﺎ ﻇﺮوف‬ ‫اﻧﺘﻘﺎل ﻛﻞ ﻣﻨﺎ إﱃ ﻋﻤﻞ ﺟﺪﻳﺪ ﺑﻌﻴﺪ ﻋﻦ‬ ‫اﻵﺧﺮ‪ .‬وﻗﺒﻞ ﺳﻔﺮه ﺑﺄﻳﺎم زارين ﰲ ﻣﻜﺘﺒﻲ‬ ‫ﻟﻴﻮدﻋﻨﻲ‪ ،‬ﻓﻔﻮﺟﺌﺖ ﺑﻘﺮاره‪ ،‬وﺣﺎوﻟﺖ ﺛﻨﻴﻪ‬ ‫ﻋﻨﻪ‪ .‬ﻗﻠﺖ ﻟﻪ ﻳﻮﻣﻬﺎ »أﻧﺖ ﻣﻮﻫﻮب ﺟﺪاً‬ ‫ﻳﺎ ﻧﺎﴏ‪ ،‬وأﻧﺎ ﻣﺆﻣﻨﺔ أﻧﻚ أﻫﻢ اﺳﻢ روايئ‬

‫ﻛﻮﻳﺘﻲ ﻇﻬﺮ ﰲ اﻟﻌﻘﺪﻳﻦ اﻷﺧريﻳﻦ‪ ،‬ﻓﻠامذا‬ ‫ﺗﻐﺎدر وﻃﻨﻚ؟«‪ .‬ﻟﺤﻈﺘﻬﺎ وﻗﻒ ﻧﺎﴏ ﻟريد‬ ‫ﻋ ٍّ‬ ‫ﲇ »وﻃﻨﻲ؟ وﻃﻨﻚ؟ أﻧﺖ متﺰﺣني ﻃﺒﻌﺎً«!‬ ‫اﻟﺮوايئ ﻋﺒﺪاﻟﻠﻪ اﻟﺒﺼﻴﺺ ﻗﺎل‪ :‬أﻓﻜﺎر ﻧﺎﴏ‬ ‫ﰲ »ﺳامء ﻣﻘﻠﻮﺑﺔ« و»اﻟﺼﻬﺪ« و»ﻛﺎﻟﻴﺴﻜﺎ«‬ ‫وﰲ »اﳌﺴﻄﺮ« ﺗﻮﺣﻲ ﺑﻘﻴﻢ ﻋﺎﻟﻴﺔ ﰲ‬ ‫اﻟﺼﺪاﻗﺔ اﻟﺘﻲ ﻳﻔﺘﻘﺪﻫﺎ وﻳﻌﻄﻴﻬﺎ ﻷﺑﻄﺎﻟﻪ‬ ‫ﺑﺸﻜﻞ ﺷﺨﺼﻴﺎت ﻣﺴﺎﻧﺪة ﺗﻜﻮن ﰲ ﻗﻤﺔ‬ ‫اﻻﺳﺘﻌﺪاد ﻟﻠﺘﻀﺤﻴﺔ ﻣﻦ أﺟﻞ اﻟﺼﺪﻳﻖ‪.‬‬ ‫اﻟﺸﺎﻋﺮ ﻋﺒﺪاﻟﻠﻪ اﻟﻔﻼح ﻗﺎل‪ .. :‬اﻟﺬي ﻛﺎن‬ ‫ﰲ »ﺳــامء ﻣﻘﻠﻮﺑﺔ« ﺻﻮﺗﺎً ﺧﺎرﺟﺎً ﻋﻦ‬ ‫ﺿﺠﻴﺞ اﳌﺮاﻳﺎ‪ ..‬ﻋﻠﻤﻨﺎ ﺣﻜﺎﻳﺔ اﻟﺤﻨني اﻟﺬي‬ ‫ﺗﺮﻋﺮع ﰲ دواﺧﻠﻨﺎ وﺗﺮﻋﺮﻋﻨﺎ ﰲ داﺧﻠﻪ!‬ ‫اﻟﺬي ﺣﻤﻞ »أﻏﺮار« ﺗﺮك ﻋﻴﻨﻴﻪ ﻣﻌﻠﻘﺘني‬ ‫ﻋﲆ ﺑﺎب اﻟﺠﻬﺮاء‪ ..‬وﻫﺎﺟﺮ! اﻟﺬي ﺟﻌﻞ‬ ‫»ﻛﺎن« ﻫﻲ اﻵيت ﰲ »اﻟﺼﻬﺪ«‪ .‬وﻏﺴﻞ وﺟﻪ‬ ‫اﻟﺰﻣﻦ ﺑﺎﻟﺠﺮاح‪ ،‬واﻟﺼﺤﺮاء ﺗﻌﻮي! اﻟﺬي‬ ‫أﺛﺚ ﻟﻨﺎ اﳌﻨﻔﻰ ﰲ »ﻛﺎﻟﻴﺴﻜﺎ«! اﻟﺬي وﺿﻊ‬ ‫»اﳌﺴﻄﺮ« ﻣﻌ ّﺮﻳﺎً اﻟﺘﺎرﻳﺦ‪ ..‬اﻟﺘﺎرﻳﺦ اﻟﺬي‬ ‫ﺻﺎر ﺟﻨﺎزة ﻋﲆ ﻛﺘﻒ اﻟﺮﻳﺢ! اﻟﺬي ﻛﺘﺐ‬ ‫اﻷﻣﻞ ﻟﻠﺬﻳﻦ ﻻ ﻟﻮن ﻷﺣﻼﻣﻬﻢ ﻣﻦ ﻛرثة‬ ‫اﻟﻴﺄس اﻟﺬي ﻧﻌﺮﻓﻪ دﻣﻌﺔ دﻣﻌﺔ‪ ،‬ﻳﻜﺘﺒﻨﺎ‬ ‫ﻟﻨﺎ ﻟﻴﻌﻴﺪ ﺗﺮﻣﻴﻢ أرواﺣﻨﺎ! اﻟﺬي ﻳﻜﻔﻲ أن‬ ‫ﻳﻜﺘﺐ ﻟﻨﻌﺎﻧﻖ ﺣﺮﻳﺘﻨﺎ!‬ ‫اﻟﺸﻌﺮ ‪baytelshear‬‬ ‫ﺑﻴﺖ ِ‬

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‫ ‪ Ę§§§ĺ‬‬

‫‪ɰ‬‬ ‫‪ǛƣǶ ŋưƂ Ǜƫ ōŬżş ƂƉŞǕŌ ǻǕŒ Ɖŵōǥ ǼƅǕŌ ǽȃŌǶƉǕŌ‬‬

‫ﻧﺎﺻﺮ اﻟﻈﻔﻴﺮي‪ ..‬رﺣﻴﻞ وﻃﻦ وﺑﻘﺎء ﻣﻌﻨﻰ‬ ‫ﻋﻠﻲ اﻟﻤﺴﻌﻮدي‬ ‫ﻣﻨﺬ ﻣﺠﻤﻮﻋﺘﻪ اﻟﻘﺼﺼﻴﺔ اﻷوﱃ »وﻟﻴﻤﺔ‬ ‫اﻟﻘﻤﺮ« إﱃ آﺧﺮ ﻣﺠﻤﻮﻋﺔ ﻗﺼﺼﻴﺔ أﻧﺘﺠﻬﺎ‬ ‫ﺑﻌﻨﻮان »اﻷﺑﻴﺾ ﻳﺘﻮﺣﺶ« اﻣﺘﺪ ﻧﺎﴏ‬ ‫اﻟﻈﻔريي ﰲ اﻟﺤﺰن وﰲ اﻟﺤﻠﻢ‪.‬‬ ‫ﻛﺎن ﻳﺒﺤﺚ ﰲ ذاﻛﺮة اﻟﻮﻃﻦ‪ ،‬ﻳﺒﺤﺚ ﻣﺎ ﺑني‬ ‫اﻟﺴﻄﻮر ﻋﻦ اﻟﻮﻃﻦ‪ ،‬وﻛﺎن ﻳﺤﺰن وﻳﺤﻠﻢ‬ ‫ﺑﺼﻤﺖ‪ ،‬ﻳﺠﻠﺲ ﰲ ﻧﺎﺻﻴﺔ اﳌﻜﺘﺐ ﻳﺘﺄﻣﻞ‬ ‫اﻟﺤﻴﺎة ﻳﺘﺄﻣﻞ ذاﻛﺮة ﺗﺘﻜﺪس ﻓﻴﻬﺎ اﻵﻻم ﺛﻢ‬ ‫ﻳﻜﺘﺐ‬ ‫ﻛﺎن ﻳﻜﺘﺐ ﻛﺜرياً وﻳﺤﻠﻢ ﻛﺜرياً‬ ‫ﻛﻨﺎ ﻧﺬﻫﺐ ﰲ ﺳﻴﺎرة واﺣﺪة وﻻ ﻧﺘﺤﺪث إﻻ‬ ‫ﻋﻦ اﻟﻜﺘﺎﺑﺔ وﻋﻦ اﻟﻮﻃﻦ‪.‬‬ ‫وﻧﺎﴏ ﻻ ﻳﺘﺤﺪث إﻻ ﻋﻦ ﻫﺬﻳﻦ اﻟﺸﻴﺌني‬ ‫أو ﻣﺎ ﻳﺘﻌﻠﻖ ﺑﻬام‪.‬‬ ‫ﻣﺎ ﻳﺘﻌﻠﻖ ﺑﺎﻟﻜﺘﺎﺑﺔ ﻣﻦ ﻛﻠﻤﺔ وﻣﻦ ﺣﻨني‬ ‫وﻟﺤﻦ ورواﻳــﺔ وﻣﺸﺎﻋﺮ‪ ،‬وﻛﻞ ﻣﺎ ﻳﺘﻌﻠﻖ‬

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‫اﻟﻌﺪد ‪ ، 77‬أﺑﺮﻳﻞ ‪2019‬‬

‫ﺑﺎﻟﻮﻃﻦ ﻣﻦ إﻧﺠﺎز وﻣﻦ اﻧﺘامء وﻣﻦ ﻇﻠﻢ!‬ ‫اﺗﺠﻪ ﺑﻌﺪ اﻟﻘﺼﺔ إﱃ اﻟﺮواﻳﺔ ﻋﱪ ﺗﻄﻠﻌﻪ‬ ‫وﺗﺄﻣﻠﻪ اﻟﻄﻮﻳﻞ ﰲ اﻟﴪد ﻟﻴﴩع ﰲ إﻧﺘﺎج‬ ‫ﻧﻮع أديب ﺧﺎص وﺟﺪﻳﺪ اﺳﻤﻴﻪ )أدب‬ ‫اﻟﻐﺮﺑﺔ داﺧﻞ اﻟﻮﻃﻦ(‬ ‫ﺛﻢ رﺣﻞ ﻧﺎﴏ‬ ‫وﺿﻊ ﻧﻘﻄﺔ ﰲ آﺧﺮ اﻟﺴﻄﺮ‬ ‫ﻻ مل ﻳﻀﻊ ﻧﻘﻄﺔ ﺑﻞ ﺗﺮك اﻷﻗﻮاس ﻣﻔﺘﻮﺣﺔ‬ ‫ﻋﲆ اﳌﺪى‬ ‫ﺳﻼﻣﺎً ﻳﺎ ﺻﺪﻳﻘﻲ ﻧﺎﴏ‬ ‫ﺳﻼﻣﺎً ﻋﲆ أﻳﺎﻣﻨﺎ ﰲ اﻟﺠﻬﺮاء‬ ‫ﺳﻼﻣﺎً ﻋﲆ اﳌﻜﺘﺐ اﻟﺼﻐري اﻟﺬي ﺟﻠﺴﻨﺎ‬ ‫ﻓﻴﻪ ﻟﻨﻌﻤﻞ ﺳﻮﻳﺎً ﰲ ﺻﺤﻴﻔﺔ واﺣﺪة‬ ‫ﺳﻼﻣﺎً ﻋﲆ ﻟﺤﻈﺎت ﺟﻤﻌﺘﻨﺎ ﰲ اﻟﺴﻔﺮ وﰲ‬ ‫اﻟﺤﴬ وﰲ اﻟﻨﺪوات وﰲ ﻣﻌﺎرض اﻟﻜﺘﺐ‬ ‫وﰲ ﻣﻜﺘﺐ اﺳامﻋﻴﻞ ﻓﻬﺪ اﺳامﻋﻴﻞ‬ ‫ﺳﻼﻣﺎً أﻳﻬﺎ اﻟﺪاﻓﺊ اﻟﺠﻤﻴﻞ‬ ‫رﺣﻞ اﻟﻜﺎﺗﺐ اﻟﻈﻔريي ﺻﺒﺎح اﻷرﺑﻌﺎء ‪20‬‬

‫ﻣﺎرس ‪ 2019‬ﺑﻌﺪ ﴏاع ﻃﻮﻳﻞ ﻣﻊ ﻣﺮض‬ ‫اﻟﴪﻃﺎن ﰲ ﻛﻨﺪا اﻟﺘﻲ ﻫﺎﺟﺮ إﻟﻴﻬﺎ ﻣﻨﺬ ﻋﺎم‬ ‫‪ ،2001‬ﺑﺤ ًﺜﺎ ﻋﻦ ﻣﺴﺘﻘﺒﻞ ﻟﻪ وﻷﴎﺗﻪ‪ ،‬رﺣﻞ‬ ‫إﻟﻴﻬﺎ ﺑﺤﺜﺎً ﻋﻦ دفء وﻃﻦ‪ ..‬ﻓامت ﰲ ﺑﺮد‬ ‫اﻟﻐﺮﺑﺔ‪..‬‬ ‫وﻷﻧــﻪ مل ﻳﻨﻞ أي ﺗﻜﺮﻳﻢ رﺳﻤﻲ وﻗﻮﺑﻞ‬ ‫ﺑﺎﻟﺘﺠﺎﻫﻞ اﻟﺘﺎم اﻟﺘﻒ ﺣﻮﻟﻪ اﻷﺻﺪﻗﺎء‪ ،‬ﻛﺎن‬ ‫دوﻣﺎً ﻣﺤﻞ ﺣﻔﺎوة اﻷﺻﺪﻗﺎء‪ ،‬ﺧﺎﺻﺔ أوﻟﺌﻚ‬ ‫اﻟﺬﻳﻦ ﻛﺎﻧﻮا ﻋﲆ متﺎس ﻣﻊ ﻫﻤﻪ اﻟﻜﺒري‬ ‫اﻟﺬي ﺗﺤﻮل ﻣﻦ اﻟﺨﺼﻮﺻﻴﺔ واﻟﺸﺨﺼﺎﻧﻴﺔ‬ ‫إﱃ اﻟﻬﻢ اﻟﻌﺎم‪ ..‬وﻛﺄﻧﻬﻢ اﺳﺘﺒﻘﻮا اﻟﺮﺣﻴﻞ‪،‬‬ ‫إذ ﻗﺎﻣﻮا ﺑﺠﻤﻊ ﺗﱪﻋﺎت ﺷﺨﺼﻴﺔ وأﻗﺎﻣﻮا‬ ‫ﺣﻔ ًﻼ ﺗﻜﺮميﻴﺎً ﻟﻠﻈﻔريي‪ ،‬ﻛﺘﺒﺖ ﻋﻨﻪ ﻟﻴﻼس‬ ‫ﺳﻮﻳﺪان‪:‬‬ ‫ﺗﻜﺮﻳﻢ اﻷﺻﺪﻗﺎء ﻟﺼﺪﻳﻖ ﻣﺒﺪع‪ ،‬رمبﺎ ﻛﺎن‬ ‫أﺟﻤﻞ ﻛﺜرياً ﻣﻦ ﺗﻜﺮﻳﻢ ﻣﺆﺳﺴﺎت ﻟﻬﺎ‬ ‫ﺣﺴﺎﺑﺎﺗﻬﺎ‪ ،‬ﺗﻐ ّﻴﺐ ﺑﻌﻀﻬﻢ ﺑﻴﻨام ﺗﻔﺴﺢ‬ ‫ﻣﻨﺼﺎﺗﻬﺎ ﻵﺧﺮﻳﻦ‪ .‬ﺣﻴﺚ ﺑﺎدر ﻣﺠﻤﻮﻋﺔ‬

ĘıĘŕ

‫ﻏﺪﻳﺮ ﺑﻦ ﻣﻄﺮ اﻟﻜﺘﺒﻲ‬ @Gedayer35

@@C¡@@c@~@{@E H2 lv@@ ²b@@ + @@ AHx@@ ; @M @~@ 9¡@@D @@ @CHÄ@@ @E ib@@ @ @ @ @² @@ @£@ @ A 4b@@ @ @ @ @ @ F M ¡@@ @ @£@ @ @ + @@CH4v@@E Ì@@ = M,x@@ @ @F ¥x@@ @ @ + ¤@@ @ D* b@@ @ @F&*H @@ CHÆ@@ E ib@@ @ @ @ p@ @ ´*H @@ Jb@@ @ @ @ @D* h@@ @ @ @ ~@@N @8HP @@C¡@@ @~@|@E e*¡@@ @ @ +°* @@ C @@ @ /¡@@+ b@@Gv@@ @ + @@CHx@@ @ E @@ @²* f@@Av@@~@ 8 b@@ G*x@@ - x@@ @ @ D @@C¡@@ @ ~@ 7H @@ @ @D* ox@@ @ @J ¤@@ @ @D* @@ @+4 I¡@@ ~@ @6 @@CHx@@~@ {@ E Ì@@ @= @@ @ £@ @ < v@@ 0¡@@ E @@ @-¡@@ @<2 @@C¡@@+ h@@ @=xQ @ @ A Mf@ @ @ @ < @@ A¡@@ m@ @+ ¤@@ @ @ D* b@@ @ @C @@C¡@@ @ @E @@£@ A x@@~@ {@ c@ D*H d@@ J*¡@@ @ @D* ¡@@ @ @G @@C¡@@ @ » rHx@@ @ @ @ D* @@ @ PGxR @ @ @E @@c@ p@ + ¤@@ @ @ @ D*H

baytelshear ‫اﻟﺸﻌﺮ‬ ِ ‫ﺑﻴﺖ‬

ƿưǂƃŧƸ ŪţƝŹƴ @@0 @@ E °H x@@ @ @ 1%°* @@ @ @JH x@@ @ ~@ {@ D* x@@ Â @@ @- ¤@Q @ @ @< ¤@@ @ £@ < 4¡@@ Fb@@ J ¢@@g@ E Ñ* ¢@@ @ < E ¥Ä@@~@8H ¥x@@ @< É@@0b@@+ @@ E&°* i¡@@Â @@ @ D* x@@ @ @ + @@ J*v@@ c@ @D*H @@Jb@@ @ @ D* h@@ @ ~@ 8H y@@ @ -H @@ £@ @Db@@ = Mf@ @ ~@ @ 8x@@ @A Í@Q @ @ @ « 4¡Q @ @ ~@ @ |@ @ " @@« @@ JH @@ @<b@@~@z@Jb@@E @@ @ 0 4b@@~@ 8 *3(* &b~z- E ÌpJ B¡E ~|0 * 8¡~|1 Q 3b@@ E b@@ ½ @@ + ¤@@m@g@ @J @@ E b@@ /x@@ D* @@£@ @< @@~@z@ @E *v@@ @= Md@@ ~@ @8 b@@ p@ @+ Hx@@ @ J @@ @ @ + @@1 @@ D °H @@ D ¤@@ @ g@ ~@ {@ J M @@ Jv@@ ~@ @8 @@ D °H v@@ D* Í@@~@ z@ 0 · ¢@@ @.4 °H h@@ £@ .4 @@ Db@@ ²

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‫ﻣﺤﻤﺪ اﻟﺴﻜﺮان‬ @M_saakran

É@@ @ D* b@@ @ @ @ J&* x@@ @ @ 1%* i¡@@ @ @~@ @z@ @D* b@@ @ @ J* H* É@@0 b@@ @ £@ Ab@@E @@ gR @ @/b@ N @ p@ @+ b@@ @ @F*H @@ @g@ @ 0H4 É@@ @´* ¡@@ @ £@ @ @< @@ @ < b@@ @ @ @ @ G4*3 ¯ I4*¡@@ @ @ @ @ @ @ -%* É@@½* @@ {@ @JH ¢@@ @ < ¥4v@@ @ @E Ñ*H É@@ @ ½* É@@c@ D* @@ A2b@@ J ¡@@ ~@ {@ D* f@@ @ @ D @@ @ @«* b@@ E É@@~@6 b@@ @E v@@ @ @ @0*HH É@@ ~@ @z@ @JH @@ Dv@@ J Mv@@ @ @ @0*H ¢@@ @ gN @ c@ O ´* 4b@@ ~@ @z@ @ @ @Fb@@ + ¤@@ @ g@ c@ ´* @@z@ p@ J ¡@@ @D É@@³b@@A ¤@@ <¡@@ E2 È@@ @ F*H @@6b@@ @ @ D @@~@ z@ g@ +* $°¡@@ @ D* @@ £@ j@ H @@ @J°¡@@ @D* @@ @ ; @@ @E %* É@@ @ + @@ £@ @cQ @ @D h@@ @Dv@@ @+ ¡@@ @ @J ·b@@ @ @0 ¥x@@ @ @ @+H ¢@@ @g@E* Í@@D y@@ @²* @@£@ A d@@~@ 8 Md@@ @ B Ì@@=

ťŹƴŢ ƻƸ ƃƹƠ ǅǁŭƼŢ Ŋ

Í@@g@Cb@@~@6 b@@ Q @ @ P0H b@@ @~@z@ @/ @@ E b@@ FÉ@@ + @@ @7H @@Jy@@0 ¤@@ @ @ D rHx@@ @ - 2H @@ @F* ¥42* Íg C 2*¡@@ g@ @F @@c@ B @@ @ E @@ @ ~@ 6* ¥2H Í@@ @~@z@D* x@@~@ 6b@@J d@@ ²* @@ E Mx@ @ < ¢@@ @ g@ F* Í ²* E b@@1&* f/b0 ¥&* E ¤ <bE Í@@ @ .* w@@ 1b@@ - b@@ @E Ä@@ @ @D* b@@ @ @ C @@ @ /*¡@@ @ ´* Í~7 @@{@£@ @ @g@D*H x@@ EO b : @@Jb@@ @ @D* Í@@´b@@ @ D* e4 Ì@@ @= I42 b@@ @E Ñ* @@ @ @ J Í@@ @ @0*x@@ D* Í@@ @ c@ @ ´* µb@@ @ @ @ D* e¡@@ @ @ B b@@ @J @@Jx@@1°* @@j@E ¡@@ C* ° @@c@B ¤@@ @£@< v@@ @~@6 @@J2 @@ Jx@@ ~@ 7* ¡@@ @DH Ä@@~@ |@ J d@@ @ B ·H4H2

2019 ‫ أﺑﺮﻳﻞ‬، 77 ‫اﻟﻌﺪد‬

‫‪·b@@ £@ @ @ @D*H b@@ @ Fb@@c@ £@ ~@ 7 *Hx@@ @~@ @ 7b@@ @c@ @ -H‬‬ ‫‪ @@£@ Q @ @ J @@ J¡@@ 1 b@@ @ / @@ @ @ E @@ @ @ @ D*H‬‬ ‫‪·É@@;* £ < Ñ* ¡~{JH *¡@@0x@@A‬‬ ‫< @ @@‪ @@£@ £Q @ « Í@@ @ @ <H @@ @ cQ @ @ 0 Ix@@ @ @ - Í‬‬ ‫‪·b@@c@ @D*H ¢@@ @ @D* ¢ J @@ @E° @@E‬‬ ‫¯ ‪ @@£@Fb@@~@z@0 @@~@ 8¡@@- b@@ E t@@£@~@7 d@@ 0‬‬ ‫*&‪·*y@@ @ D* ¡@@ @ ~@ }@ D*H I4b@@ @ @ D*¡@@ +‬‬ ‫‪ JvmJ @@E b@@ @D b@@E ¤@@ @ D* d@@Jb@@~@{@D*H‬‬ ‫‪·b£ D* £~9 b@@~@7 Ì@@ @A @@E @@CH‬‬ ‫‪ @@£@ @ @J t@@£@ ~@ {@ D*H w@@ 1b@@ - @@g@ E¡@@ @ 0‬‬ ‫‪·b@@c@- b@@E x@@ @~@{@- e¡@@ @ ~@ 7 @@E @@ CH‬‬ ‫‪ @@J4b@@ @+ @@ @~@z@- @@z@ + @@Ax@@ @ - b@@ E ¡@@ D‬‬ ‫‪·*y@@ J ° @@ @ @B¡@@ §*H @@ @ BH @@ @ @ E‬‬ ‫‪ @@J2b@@c@ E Ì@@ @ J b@@ E @@ ~@ @6*4 d@@£@ : @@ E‬‬ ‫‪·É@@ ±* y@@ Jy@@ < @@ E @@ D @@ @ @-*¡@@ <2‬‬ ‫*‪ @@£@A *¡@@ @ <2 4*2 d@@ @ ~@ 7 *¡@@ @ <2 ¤@@ @ D‬‬ ‫‪·b@@ B ¡@@ @ @ J b@@ @ ~@ {@ Db@@ + @@ @ D b@@ @ @ <2 @@ @ C‬‬ ‫‪ @@£@ @~@{@JH 2x@@ @ @J ¤@@ @ +4 ¢@@~@ z@ < *¡@@ Db@@ B‬‬ ‫‪·*y@@/ @@D¡@@ @ A ¤@@ @ D* h@@J¡@@ @ D* t@@£@~@7‬‬ ‫=@‪ £DbpJ t@@£@~@7 @@C b@@E @@:¡@@D* k@@£‬‬ ‫‪·É@@ @/* d@@ £@ @~@ @8b@@ ´* @@ @ @/° @@£@ @ 0‬‬ ‫‪ @@£@ <b@@~@ z@ E Ñ* @@ @ @ AH ¥*4 @@ £@ @ @ @0‬‬ ‫‪·*'¡@ ~@ 6H e*¡@@ @/ @@< @@+b@@+ @@~@ 8 b@@E‬‬ ‫‪ @@Jv@@J* iv@@ E @@£@Ab@@C @@ @£@< i*x@@ @ FH‬‬ ‫¯ = @‪·b@@ @ 1 b@@ @ £@ @ < b@@ @/ b@@ @E @@g@ c@ £‬‬ ‫‪ @@£@<*x@@J v@@£@ @+ ¡@@G ¡@@D @@:¡@@D* d@@ @~@7‬‬ ‫*‪·°2H b@@ @ @ @ @ E&* ¯ @@ @ @ @ @- 4*v@@ @ @ @ @ D‬‬ ‫*&‪ £ ~zJ +¡D* ¢~z< ¤ D* hJ¡ D* 94‬‬ ‫¯ ;@@ ‪·b@@-H H&* b@@G4¡@@~@ 6 @@G @@E‬‬ ‫*‪ £ c- v@@m@ ´* ¢@@ @< ¤@@ @ D* rb@@c@~@|@D* %‬‬ ‫‪·b@@ 1 @@ @ @ +* *w@@ @ @ @GH @@ @ < v@@ @ @ DH *w@@ @ @ G‬‬ ‫‪ @@£@ Cy@@-* @@ D¡@@ @ @A* t@@£@ ~@ 7 b@@ @ Db@@B v@@ @B‬‬ ‫*‪·b jD* b@@ @< b@@~@7 ¡@@G @@E @@£@/¡@@g@+‬‬ ‫*‪ @@£@~@8*¡@@F ¯ v@@ @ ~@ z@ D* @@ @ / v@@ @ A¡@@+‬‬ ‫‪·b@@£@ E @@ +b@@ / h@@ B¡@@ D* b@@ @ C b@@ @ @Â‬‬ ‫‪ £Ab1 @@~@|@³* Í@@+H b@@Ey@@D* q@@~@7H‬‬ ‫*&‪·b: @@ @²* ¢ < @@E JÉ~6 @@g@F‬‬ ‫‪ JHb G x~8b - ~|1 gc£G @@E‬‬

‫*‪·É@@ @ D* ¯ b@@ @ @ 0 ¤@@ @ D* 4b@@ @c@ @ E‬‬ ‫‪ @@Jv@@« @@ @Fb@@ @E5 ¯ *¡@@ @ @ - v@@ @0 b@@ @E‬‬ ‫‪·b@@c@ ²* x@@ E ¡@@ @ J ,x@@ @Jy@@ @±* @@c@ ~@ 6‬‬ ‫‪ £CbpJ $b@@/ b@@£@D* ~}sJ @@Cb@@0 @@C‬‬ ‫‪·b@@/x@@D* ¡@@ p@ @A* b@@G¡@@D¡@@- @@c@ @ <H‬‬ ‫‪ @@£@ @ @- @@ @²* ¤@@ @ @<*4H @@ 0 r*4 b@@ E‬‬ ‫*‪·É@@~@ z@ D* d@@ £@ G4 ¯ b@@G¡@@ @ 0 ¤@@ @ D‬‬ ‫‪ @@ JHÉ@@ + 4b@@ j@ @C ¤@@ @ @D* b@@ @ Ey@@ @ D* ¡@@ @ J‬‬ ‫‪·b@@ @E H&b@ @ @+ h@@ @ B b@@E ¢@@ @ < @@ @ /4*H‬‬ ‫‪ £ sF b@@E µb@@ < ¤@@ @ D* @@E d@@ @ :&*H‬‬ ‫@ @@‪·b@@ = @@ @ C b@@ @ @ @ F4*2 @@ z@ c@ @ -H @@ @/x‬‬‫‪ @@£@ @ @-H @@c@ « d@@ @ ~@ 7 @@ @ c@ @ g@ ~@ z@ JH‬‬ ‫‪·*¡@@ @E* ¤@@0b@@c@ ~@ |@ @ D ¤@@ @ D* b@@ @ D¡@@ @ J‬‬ ‫‪ @@£@ @/4H @@ @ C ¡@@ A @@£@~@{@E ¡@@ J @@E‬‬ ‫‪·b@@¸ b@@ / ° Hx@@ @ @´* v@@p@m@J b@@ E‬‬ ‫‪ J¡ E @@²* @@< @@+4 vp/ ¤@@ @D*H‬‬ ‫‪·b£³* ¡ 0 E x@@ @E&*H G b@@EH‬‬ ‫< ‪ £~7b» *HÌ@@~@ 6H *¡ ~8 ¤c D* ¤‬‬ ‫وﻋﺮف ﻋﻦ اﻟﻌﺰب أﻧﻪ ﻛﺎن ﻣﻘ ًﻼ ﰲ ﻛﺘﺎﺑﺔ اﻟﺸﻌﺮ‪ ،‬وﻗﴫ ﻗﺼﺎﺋﺪه ﻋﲆ‬ ‫اﳌﻨﺎﺳﺒﺎت اﻟﻮﻃﻨﻴﺔ ﻓﻘﻂ‪ ..‬أﻣﺎ ﺧﺎرج اﻟﺸﻌﺮ اﻟﺮﺳﻤﻲ‪ ،‬ﻓﻜﺎن ﻛﺜرياً ﻣﺎ‬ ‫ﻳﺮﺗﺠﻞ اﻟﺒﻴﺖ واﻟﺒﻴﺘني ﰲ أﻏﺮاض اﻟﺪﻋﺎﺑﺔ واﻟﻔﻜﺎﻫﺔ‪ ،‬وﻛﺎن ﻳﺮدد أﻧﻨﺎ‬ ‫و)اﻟﻘﺼﺎد( واﻷﺧري ﻫﻮ اﻟﺬي ﻳﻨﺸﺪ اﻟﺒﻴﺖ‬ ‫ﻳﺠﺐ أن ﻧﻔﺮق ﺑني اﻟﺸﺎﻋﺮ‬ ‫َ‬ ‫واﻟﺒﻴﺘني أو اﻟﻘﺼﺎﺋﺪ ﻗﻠﻴﻠﺔ اﻟﻌﺪد ﰲ زﻣﻦ ﻣﺘﺒﺎﻋﺪ‪ ،‬وﻛﺎن اﻟﻌﺰب ﻳﺤﻔﻆ‬ ‫أﻛرث ﻣام ﻳﺒﺘﺪع‪ ،‬ﺛﻢ إﻧﻪ اﺑﺘﻌﺪ ﻋﻦ ﺗﻘﺪﻳﻢ ﺑﺮﻧﺎﻣﺞ اﻟﺪﻳﻮاﻧﻴﺔ ﻓﱰة‬ ‫ﻣﻦ اﻟﺰﻣﻦ ﻣﻌﺮﺑﺎً ﻋﻦ ﻋﺪم رﻏﺒﺘﻪ ﺑﺘـــﻘﺪﻳﻢ اﻟﺤﻠﻘــﺎت واﻻﻛﺘـــﻔﺎء‬ ‫ﺑﺈﻟــﻘﺎء اﻟﺸﻌﺮ اﻟﻨﺒﻄﻲ‪ ،‬ذﻟــﻚ ﻟﺤﺒﻪ اﻟﻜﺒري ﻟﺤﻔــﻆ اﻟﻘﺼﺎﺋﺪ اﳌﻬﻤﺔ‬ ‫اﻟﺘﻲ أﺻﺒﺢ ﻳﺠﻬﻠﻬﺎ اﻟﻜﺜري‪.‬‬ ‫وﻛﺎن اﻟﻌﺰب ﺑﺪأ ﻣﺸﻮاره ﺑﺠﺎﻧﺐ اﻟﺮاﺣﻞ ﺳﻠﻴامن اﻟﻬﻮﻳﺪي ﻋﺎم ‪1964‬‬ ‫ﻣﻦ ﺧﻼل »ﻓﻨﻮن ﻣﻦ اﻟﺼﺤﺮاء« وﻫﻮ ﺑﺮﻧﺎﻣﺞ ﺷﻌﺒﻲ ﻳﻀﻢ ﻣﺠﻤﻮﻋﺔ‬ ‫ﻣﻦ اﻟﺸﻌﺮاء وﺑﻌﺪ ذﻟﻚ اﻧﺘﻘﻞ ﻛﻌﻀﻮ ﰲ ﺑﺮﻧﺎﻣﺞ »دﻳﻮاﻧﻴﺔ ﺷﻌﺮاء‬ ‫اﻟﻨﺒﻂ« اﻟﺘﻲ أﻣﺮ ﺑﺘﺄﺳﻴﺴﻬﺎ اﻟﺮاﺣﻞ ﺟﺎﺑﺮ اﻷﺣﻤﺪ‪ ،‬رﺣﻤﻪ اﻟﻠﻪ‪ ،‬وﺑﺪأ‬ ‫ﻳﺴﻠﻚ ﻣﺠﺎل اﻟﺘﻘﺪﻳﻢ ﻟﻬﺬا اﻟﻨﻮع ﻣﻦ اﻟﱪاﻣﺞ ﻟﻔﱰة ﻃﻮﻳﻠﺔ اﻛﺴﺒﺘﻪ‬ ‫ﺷﻬﺮة أﻛﱪ‪.‬‬

‫اﻟﺸﻌﺮ ‪baytelshear‬‬ ‫ﺑﻴﺖ ِ‬

‫‪37‬‬

‫ ‪ĮńĵŒ ŗšĽĘı‬‬

‫‪ Ɖşōŵ ſǾƖǕŌ ƩǙ ǻƒǜũȍ ƱǃŌǷǙ‬‬

‫ﺣﻤﺪ اﻟﻌﺰب‪..‬‬ ‫اﻟﻔﺮق ﺑﻴﻦ )اﻟﺸﺎﻋﺮ( و َ‬ ‫)اﻟﻘ َﺼﺎد(!‬ ‫ﻋﻠﻲ اﻟﻤﺴﻌﻮدي‬

‫ﻣﺜﻠﺖ دﻳﻮاﻧﻴﺔ ﺷﻌﺮاء اﻟﻨﺒﻂ ﻋﱪ ﺑﺮﻧﺎﻣﺠﻬﺎ اﻟﺘﻠﻔﺰﻳﻮين اﻷﺳﺒﻮﻋﻲ اﻟﺬي‬ ‫ﻳﺒﺚ ﻣﺴﺎء ﻛﻞ أﺣﺪ ﻧﺎﻓﺬة ﻋﲆ ﻋﺎمل ﺟﻤﻴﻞ ﻳﻨﻘﻞ اﻟﺼﺤﺮاء وﺗﻔﺎﺻﻴﻠﻬﺎ اﱃ‬ ‫ﻣﻦ ﻓﻘﺪوﻫﺎ وﺳﻜﻨﻮا اﳌﺪﻳﻨﺔ وﻳﺸﻌﺮون ﺑﺸﻮق ﻋﺎرم إﱃ ﻣﺎﺿﻴﻬﻢ اﻟﺠﻤﻴﻞ‬ ‫اﻟﺒﺴﻴﻂ‪ ..‬ﺷﻌﺮ‪ ،‬وﺣﻜﺎﻳﺔ‪ ،‬وﻗﺼﺔ ﻣﻦ اﻟﺒﺎدﻳﺔ‪ ،‬وﻟﻐﺰ‪ ..‬وﻓﻨﻮن ﺷﻌﺒﻴﺔ‪..‬‬ ‫وﻣﺠﺎرات ﻟﻌﻴﻮن اﻟﺸﻌﺮ اﻟﻨﺒﻄﻲ‪..‬‬ ‫ﻟﻘﺪ ﻣﺜﻞ ذﻟﻚ اﳌﺠﻠﺲ اﻟﻬﺎدئ اﻟﺬي ﻳﺠﻤﻊ اﳌﻮاﻫﺐ اﻟﺸﺎﺑﺔ ﻣﻊ اﻟﻘﺎﻣﺎت‬ ‫اﻟﺸﻌﺮﻳﺔ اﻟﻜﺒرية‪ ..‬ﺟﻬﺔ راﺋﻌﺔ ﻟﺤﻀﻮر اﻟﺸﻌﺮ واﻟﺜﻘﺎﻓﺔ‪ ،‬وﻗﺪ ﻟﻘﻲ اﻫﺘامﻣﺎً‬ ‫ورﻋﺎﻳﺔ ﻣﻦ أﻣري اﻟﻜﻮﻳﺖ آﻧﺬاك اﻟﺸﻴﺦ ﺟﺎﺑﺮ اﻷﺣﻤﺪ اﻟﺬي ﺣﺮص ﻋﲆ‬ ‫زﻳﺎرة اﻟﺪﻳﻮاﻧﻴﺔ ﰲ اﳌﻨﺎﺳﺒﺎت واﻻﺳﺘامع اﱃ اﻟﻘﺼﺎﺋﺪ ﻣﻦ أﺻﺤﺎﺑﻬﺎ‪..‬‬ ‫وﻗﺪ ﺟﻤﻌﺖ اﻟﺸﺎﻋﺮ ﺣﻤﺪ اﻟﻌﺰب ﺑﺎﻟﺸﻴﺦ ﺟﺎﺑﺮ ﻋﺪد ﻣﻦ اﳌﻮاﻗﻒ ﻣﻨﻬﺎ‬ ‫ذﻟﻚ اﳌﻮﻗﻒ اﻟﺠﻤﻴﻞ اﻟﺬي ﻻ ﻳﻨﺴﺎه‪ ..‬ﺣﻴﺚ ﻗﺎم أﺣﺪ اﳌﺴﺆوﻟني ﰲ اﻹﻋﻼم‬ ‫ﺑﺈﺻﺪار ﻗﺮار ﻏري مبﻮﺟﺒﻪ ﺗﻮﻗﻴﺖ ﺑﺚ اﻟﱪﻧﺎﻣﺞ وﺗﻐﻴري اﻟﻴﻮم اﻟﺬي ﻳﺒﺚ ﻓﻴﻪ‬ ‫ﻣام أﻓﻘﺪه ﻣﺸﺎﻫﺪﻳﻪ‪ ..‬ﻓام ﻛﺎن ﻣﻦ اﻟﻌﺰب إﻻ أن ﻳﻠﺠﺄ ﻟﻸﻣري اﻟﺮاﺣﻞ ﺟﺎﺑﺮ‬ ‫اﻷﺣﻤﺪ ‪ -‬رﺣﻤﻪ اﻟﻠﻪ ‪ -‬ﻹﻋﺎدة ﺗﻮﻗﻴﺖ ﻋﺮض ﺑﺮﻧﺎﻣﺠﻪ اﻟﺸﻌﺮي‪ ..‬وﻗﺪ ﺗﻔﻬﻢ‬ ‫اﻷﻣري وﺟﻬﺔ ﻧﻈﺮ اﻟﻌﺰب وأﻣﺮ اﳌﺴﺆول أن ﻳﻌﻴﺪ اﻟﱪﻧﺎﻣﺞ ﻟﻮﻗﺘﻪ اﻟﺴﺎﺑﻖ‪،‬‬ ‫وﻛﺎن ﻣﺮض اﻟﺸﻴﺦ ﺟﺎﺑﺮ ﰲ أﻳﺎﻣﻪ اﻷﺧرية ﻗﺎﺳﻴﺎً ﻋﲆ اﻟﻌﺰب‪ ..‬اﻟﺬي ﺑﺪا‬ ‫ﻣﺘﺄﺛﺮاً ﺟﺪاً ﺑﺎﻟﺤﺎل اﻟﺼﺤﻴﺔ ﻟﻸﻣري‪ ..‬وﻋﻨﺪﻣﺎ ﻋﺎد ﻣﻦ رﺣﻠﺔ اﻟﻌﻼج أﻧﺸﺪ‬ ‫ﻫﺬه اﻷﺑﻴﺎت‪..‬‬ ‫‪·b@@ @ = @@ @ @ C ¤@@ @ ~@ @ z@ @ c@ @ D*H ¤@@ @ @ @ = 4*2 b@@ @ @ J‬‬ ‫‪ @@£@ U @ 1 4*2 b@@ @ J y@@ @ @ @ @²*H rx@@ @ @ @ @D* e¡@@ @ @ .‬‬ ‫‪·b@@ < @@ @ @ @ @ 6&*4 ¯ 4*2 b@@ @ J rx@@ @ @ @ @D* ¥54‬‬ ‫‪ @@£@ @ £@ ~@ 7H ¤@@ @ Q @ @ = 4b@@ @ @~@ @{@ @D* *¡@@ @ Db@@ @ B b@@ @ @ EH‬‬ ‫‪P b@@ @ @ @ ±* b@@ ~@ @ z@ @ C *4w@@ @ @ @ < b@@ @ @ C ¥Ì@@ @ ~@ @ 8‬‬ ‫‪ @@£@ Q @ AP @@ @ @6&*x@@ @ @D* x@@ @ @~@ @7*H 4b@@ @c@ @ E ¡@@ @ @+°‬‬ ‫< @ @ @@‪·*5 x@@ @~@ @ {@ @ D*H b@@ @ @ @ @~@ @7 b@@ @ @ c@ @ D* d‬‬ ‫‪ @@£@/x@@FH @@ +*w@@ < ¢@@~@{@s@F @@ E @@~@}@A @@ E‬‬ ‫<@ @ @ @ ‪·b@@ @ @~@ @7H ex@@ @ @ @ =H x@@ @ ~@ @ 7 rx@@ @ @ @ @D* Q‬‬ ‫‪ @@£@ <v@@J 24¡@@ @ @ @D* f@@ p@ @Jx@@ + e¡@@ @ @ @ ±* @@ @ CH‬‬

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‫اﻟﻌﺪد ‪ ، 77‬أﺑﺮﻳﻞ ‪2019‬‬

‫ ‪ ĘğľōŘ‬‬

‫اﻟﻠﻌﺒﺔ اﻟﻤﺮﻋﺒﺔ!‬ ‫ﻋﲆ ﻣﺪى ﻋﴩة ﻋﻘﻮد اﻣﺘﺪت ﺣﻜﺎﻳﺔ ﻣﺎﻛﻮﻧﺪو اﻟﻘﺮﻳﺔ اﻟﺨﻴﺎﻟﻴﺔ‬ ‫اﻟﺘﻲ اﺑﺘﻜﺮﻫﺎ " ﻏﺎﺑﻮ" أو ﻏﺎﺑﺮﻳﻞ ﻏﺎرﺛﻴﺎ ﻣﺎرﻛﻴﺰ ﻟﺘﻜﻮن ﻣﺤﻮر رواﻳﺘﻪ‬ ‫اﻟﺸﻬرية "ﻣﺌﺔ ﻋﺎم ﻣﻦ اﻟﻌﺰﻟﺔ " واﻟﺘﻲ ﻛﺘﺒﻬﺎ ﰲ ﻋﺎم ‪ 1965‬ﻟﺘﻜﻮن‬ ‫واﺣﺪة ﻣﻦ أﻫﻢ اﻷﻋامل اﻹﺳﺒﺎﻧﻴﺔ اﻷﻣﺮﻳﻜﻴﺔ‪ ،‬وأﻛرثﻫﺎ ﻗﺮاءة‬ ‫وﺗﺮﺟﻤﺔ‪ .‬ﻋﺎمل ﻣﺎﻛﻮﻧﺪو اﻟﺒﺴﻴﻂ ﻏري ﺧﺎل ﻣﻦ اﻟﴫاﻋﺎت واﻟﺼﻌﺎب‬ ‫اﻟﺘﻲ أﺳﻬﻤﺖ ﻓﻴﻬﺎ ﺷﺨﺼﻴﺎت ﺑﺮع اﳌﺆﻟﻒ ﰲ ﺗﺸﻜﻴﻞ ﻣﻼﻣﺤﻬﺎ‬ ‫وﺗﺼﻮر ﺗﻔﺎﺻﻴﻠﻬﺎ اﻟﺼﻐرية‪ ،‬وﺑﺎﻟﺘﺎﱄ ﺻﻨﺎﻋﺔ ﺗﺎرﻳﺦ ﻛﺎﻣﻞ ﻻ ﻳﺴري ﰲ‬ ‫ﺧﻂ ﻣﺴﺘﻘﻴﻢ ﺑﻞ ﰲ داﺋﺮة ﻣﻦ اﻟﺬﻛﺮﻳﺎت اﳌﺘﻜﺮرة اﻟﺘﻲ ﻳﻌﻴﺪﻫﺎ‬ ‫اﻟﻜﻮن ﰲ ﺷﺨﺼﻴﺎت وأزﻣﻨﺔ ﻣﺨﺘﻠﻔﺔ‪.‬‬ ‫إن اﳌﻔﺎﺟﺄة اﻟﺘﻲ ﻳﻌﻴﺸﻬﺎ اﻟﻘﺎرئ ﻋﲆ ﻃﻮل اﻟﺨﻂ ﻣﻊ ﺷﺨﺼﻴﺎت‬ ‫اﻟﺮواﻳﺔ ﻣﺜﻞ أورﻟﻴﺎﻧﻮ‪ ،‬أرﻛﺎﻳﺪو وﺑﻮﻳﻨﺪﻳﺎ ﻫﻲ ﻣﻦ ﺻﻨﻊ ﺳﺤﺮ‬ ‫اﻟﻜﻠﻤﺔ اﻟﺘﻲ اﺳﺘﻄﺎﻋﺖ أن ﺗﺼﻮر ﻟﻪ اﻛﺘﺸﺎﻓﺎت ﻻ ﺗﻘﺪر ﺑﺜﻤﻦ‬ ‫ﺣني ﻳﺠﺪ ﻧﻔﺴﻪ ﻋﲆ ﺑﺴﺎط ﻃﺎﺋﺮ ﺧﻠﻔﻪ اﻟﻐﺠﺮ‪ ،‬أو ﺗﺤﺖ أﻣﻄﺎر‬ ‫مل ﺗﺘﻮﻗﻒ ﻷرﺑﻊ ﺳﻨﻮات‪ ،‬ﺣﺘﻰ أن أﺣﺪ اﻟﻘﺮاء ﻛﺎد أن ﻳﺠﺰم أن‬ ‫اﻟﻜﺎﺗﺐ ﻣﻤﺴﻮس‪ ،‬وﻫﻲ ﺗﻔﺴري ﺣﻘﻴﻘﻲ ﺣني ﻳﺤﻮل ﻋﻤﻞ ﻣﺎ ﻗﺎرﺋﻪ‬ ‫إﱃ ﻣﺘﻄﺮف ﺿﻤﻦ ﻓﻌﻞ اﻟﻘﺮاءة ﻧﻔﺴﻪ ﺣﺪ إﺷﻬﺎر اﻟﺤﺮب ﻋﲆ أي‬ ‫ﻣﺤﺎوﻟﺔ ﻟﺴﻠﺐ ﻫﺬه اﻟﺘﺠﺮﺑﺔ ﻣﻊ ﻣﺌﺎت اﻟﺼﻔﺤﺎت ﻣﻦ اﻟﺸﻌﺮ‬ ‫واﻟﺮﻳﺢ واﳌﺮاﻳﺎ‪.‬‬ ‫ﻻ أﻋﺮف ﻣﺎذا ﻛﺎﻧﺖ ردة ﻓﻌﻞ اﻟﻘﺮاء ﻏري اﻟﻌﺮب ﻋﲆ ﻗﺮار ﴍﻛﺔ‬ ‫ﻧﺘﻔﻠﻜﺲ ﺗﺤﻮﻳﻞ اﻟﺮواﻳﺔ إﱃ ﻣﺴﻠﺴﻞ ﺗﻠﻔﺰﻳﻮين ﺑﺎﻟﻠﻐﺔ اﻹﺳﺒﺎﻧﻴﺔ ﻣﻦ‬ ‫إﻧﺘﺎج اﺑﻨﻲ ﻣﺎرﻛﻴﺰ ﺣﻴﺚ ﺳﻴﺘﻢ ﺗﺼﻮﻳﺮه ﰲ ﻛﻮﻟﻮﻣﺒﻴﺎ ﻣﺴﻘﻂ رأس‬ ‫اﳌﺆﻟﻒ اﻟﺮاﺣﻞ‪ ،‬إذ أن ردود ﻓﻌﻞ اﻟﻘﺮاء اﻟﻌﺮب ﻛﺎﻧﺖ ﻣﻌﺎرﺿﺔ‬ ‫ﻟﻠﻔﻜﺮة ﻣﺴﺘﺸﻬﺪة ﺑﺮﻓﺾ ﻣﺎرﻛﻴﺰ ﻧﻔﺴﻪ ﻟﻸﻣﺮ ﻋﲆ ﻣﺮ ﺳﻨﻮات‬ ‫وذﻟﻚ ﻻﻗﺘﻨﺎﻋﻪ ﺑﺄن ﺻﻴﻐﺔ اﻟﻔﻴﻠﻢ اﻟﺮوايئ ﻏري ﺻﺎﻟﺤﺔ ﻟﻠﺘﻌﺒري ﻋﻦ‬ ‫اﻟﺮواﻳﺔ‪ ،‬ﺣﺘﻰ وإن ﻛﺎن اﻟﻌﻤﻞ ﻫﺬه اﳌﺮة ﺳﻴﻌﺮض ﻋﱪ ﺳﻠﺴﻠﺔ‬

‫‪@safiaalshehi‬‬

‫ﺻﻔﻴﺔ اﻟﺸﺤﻲ‬

‫ﺣﻠﻘﺎت ﻣﺘﻠﻔﺰة ﻋﺎﻟﻴﺔ اﻟﺠﻮدة ﻳﺘﻮﻗﻊ أن ﺗﺤﺼﺪ ﻣﺸﺎﻫﺪة ﻋﺎﳌﻴﺔ‬ ‫اﺳﺘﺜﻨﺎﺋﻴﺔ اﻋﺘامدا ﻋﲆ اﻟﺸﻌﺒﻴﺔ اﻟﻜﺒرية اﻟﺘﻲ ﺗﺤﻘﻘﻬﺎ ﺳﻼﺳﻞ‬ ‫ﻧﺘﻔﻠﻜﺲ ﻋﻤﻮﻣﺎً‪.‬‬ ‫إن ﺗﺤﻮﻳﻞ أﻳﻘﻮﻧﺔ اﻟﻮاﻗﻌﻴﺔ اﻟﺴﺤﺮﻳﺔ إﱃ دراﻣﺎ ﻳﺠﺴﺪﻫﺎ ﻣﻤﺜﻠﻮن‬ ‫ﻣﻦ دم وﻟﺤﻢ ﰲ ﺻﻴﻐﺔ ﺷﻌﺒﻴﺔ ﺗﻄﺮح ﺗﺴﺎؤﻻت ﻛﺜرية ﺣﻮل ﻗﺪرة‬ ‫ﻃﺎﻗﻢ اﻹﻧﺘﺎج ﻣﻦ ﺗﻘﺪﻳﻢ ذات اﻟﺮوح اﳌﺘﺸﻌﺒﺔ ﻋﱪ ﻣﺤﻄﺎت زﻣﻨﻴﺔ‬ ‫ﻣﺨﺘﻠﻔﺔ واﻟﺘﻲ ﺗﻌﻠﻖ ﺑﻬﺎ ﻣﻼﻳني اﻟﻘﺮاء ﻋﲆ ﻣﺮ ﻋﻘﻮد‪ ،‬وﻳﺮﺳﻢ‬ ‫ﻋﻼﻣﺎت اﺳﺘﻔﻬﺎم ﺣﻮل ﺣﻘﻴﻘﺔ ﻫﺬه اﻟﺨﻄﻮة ﻣﻦ ﴍﻛﺔ أﻣﺮﻳﻜﻴﺔ‬ ‫ﺗﺮﻓﻴﻬﻴﺔ متﺜﻞ ﻋﻜﺲ ﻛﻞ ﻣﺎ آﻣﻦ ﺑﻪ ﻣﺎرﻛﻴﺰ ﻳﻮﻣﺎ‪ ،‬ﻓﻼ ﺷﻚ أﻧﻨﺎ‬ ‫ﻧﺘﺤﺪث ﰲ ﻫﺬه اﻟﻠﺤﻈﺔ ﻋﻦ ﻣﺘﻌﺔ اﻟﻨﺴﻴﺎن اﻟﺘﻲ ﺗﺤﻘﻘﻬﺎ اﻟﺪراﻣﺎ‬ ‫ﳌﻼﻳني اﻟﻘﺮاء اﻟﺬﻳﻦ رمبﺎ مل ﻳﺴﻤﻌﻮا ﺑﺎﺳﻢ ﻣﺎرﻛﻴﺰ ﻳﻮﻣﺎ‪ ،‬ﻻ ﻣﻔﻬﻮم‬ ‫اﻻﻧﻐامس ﻣﻊ اﳌﻌﻨﻰ واﻷمل اﻟﺬي ﺗﺜريه ﺻﻔﺤﺎت اﻟﺮواﻳﺔ ﻓﻴﻤﻦ‬ ‫ﻳﻘﺮؤﻫﺎ‪ ،‬ﻛام أن اﻟﺨﺸﻴﺔ اﳌﺤﺘﻤﻠﺔ ﻫﻲ ﻣﻦ أن ﻳﺘﻢ اﻟﺘﻌﺎﻣﻞ ﻣﻊ‬ ‫اﻻإﻧﺘﺎج اﻟﺜﻘﺎﰲ ﻛﻨﻤﻂ ﻳﺴﺘﺤﻴﻞ ﻋﺪم ﻣﻼﺣﻈﺔ ﻣﺼﻠﺤﺔ اﳌﻨﺘﺠني‬ ‫ﻣﻦ وراﺋﻪ‪ ،‬ﻣﻦ دون أن ﻧﻨﴗ إﺷﻜﺎﻟﻴﺔ اﻹﺧﻔﺎق واﻹﺣﺒﺎط اﳌﺴﺒﻖ‬ ‫اﻟﺬي ﻳﺸﻌﺮ ﺑﻪ ﻗﺮاء اﻟﺮواﻳﺎت اﻟﺨﺎﻟﺪة اﻟﺘﻲ ﺗﺤﻮﻟﺖ إﱃ أﻋامل‬ ‫ﺗﺼﻮﻳﺮﻳﺔ وﻫﻲ ﻛﺜرية‪ ،‬ﻓﻬﺬه اﻟﺘﻘﻨﻴﺔ اﻟﺴﻴﻨامﺋﻴﺔ ﺗﻌﻴﺪ اﻹﻧﺘﺎج‬ ‫وﺗﻠﻐﻲ اﻟﻬﺎﻟﺔ اﻟﺘﻲ ﺗﺤﻴﻂ ﺑﺄي ﻋﻤﻞ ﻣﻜﺘﻮب وﺗﻘﴤ ﻋﲆ ﺗﻔﺮده‬ ‫وأﺻﺎﻟﺘﻪ‪.‬‬ ‫ﻟﻘﺪ ﻗﺮر ورﺛﺔ ﻣﺎرﻛﻴﺰ ﺧﻮض "اﻟﻠﻌﺒﺔ اﳌﺮﻋﺒﺔ" وﻻ ﻧﺪري إن ﻛﺎﻧﻮا‬ ‫أﺣﺴﻨﻮا ﺻﻨﻌﺎً أو أﺳﺎؤوا ﻣﻦ ﺣﻴﺚ ﺗﻘﺪﻳﻢ اﻟﱰﻛﺔ ﻟﻠﻤﻼﻳني ﺑﻮﺟﻪ‬ ‫ﺟﺪﻳﺪ ﻟﻦ ﻳﺤﺒﻪ اﻟﻘﺮاء أﺑﺪاً " ﻣﺎدام اﻟﻠﻪ ميﻨﺤﻬﻢ ﺣﻴﺎة " ﻷﻧﻬﻢ‬ ‫ﻳﻌﻠﻤﻮن ﻋﻠﻢ اﻟﻴﻘني أن ﻛﻞ ﻫﻮ ﻣﺎ ﻣﻜﺘﻮب ﰲ ﻗﺮن اﻟﻌﺰﻟﺔ ذاك ﻫﻮ‬ ‫ﺟﻨﻮن ﻻ ميﻜﻦ أن ﻳﺘﻜﺮر‪.‬‬ ‫اﻟﺸﻌﺮ ‪baytelshear‬‬ ‫ﺑﻴﺖ ِ‬

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‫ ‪ĜšĻŌ‬‬

‫أﻫ ْﻞ ﻋﻔﺮ ُ‬ ‫ﻣﺎ ْ‬ ‫ﺣﺠﻪ‬ ‫اﻗﻜ ْﻢ ّ‬ ‫ﻇﻞ ﻳﺎ ِ‬ ‫ﻳﺎ َﻏﻼ اﻟﺮوح ﻳﺎ ﻋ ﱢﺰ اﻷﺣﺒﺎب‬ ‫وﻣﻦ أﺷﻬﺮ ﺷﻌﺮاﺋﻪ اﻟﺸﺎﻋﺮ ﻳﻮﺳﻒ ﻋﲇ‬ ‫ﺣﺴﻮﻧﺔ أو ﻳﻮﺳﻒ اﻟﺤﺴﻮن‪ ،‬وإذا ﻛﺎﻧﺖ‬ ‫ﺗﻠﻚ اﻷﻣﺜﻠﺔ اﻟﺴﺎﺑﻘﺔ ﺗﻨﺴﺐ ﻟﺸﻌﺮاء‬ ‫ﻣﻌﺮوﻓني‪ ،‬ﻟﻜﻦ اﻟﻘﺎﻟﺐ ذاﺗــﻪ ﻫﻮ إﻃﺎر‬ ‫ﻣﻮروث ﻟﻪ ﻗﻮاﻋﺪه وﻣﺮوﻳﺎﺗﻪ‪ ،‬واﻟﺘﻲ ﻻ‬ ‫ﻳﻌﺮف ﻋﲆ وﺟﻪ اﻟﺪﻗﺔ ﻣﻦ ﻫﻮ ﻣﺆﻟﻔﻬﺎ ﻛام‬ ‫ذﻛﺮﻧﺎ‪.‬‬ ‫أﻣﺎ ﺷﻌﺮ اﻟﻌﺎﻣﻴﺔ ﻓﻔﻀ ًﻼ ﻋﻦ ﻛﻮن ﻗﺼﻴﺪﺗﻪ‬ ‫ﻣﻜﺘﻮﺑﺔ ﺑﺎﻟﻠﻐﺔ اﻟﻌﺎﻣﻴﺔ – ﺑﺎﻟﴬورة ‪ -‬أﻳﻀﺎً‪،‬‬ ‫ﻟﻜﻦ ﻟﻴﺲ ﴍﻃﺎ أن ﻳﺴﺘﺤﻖ ﻣﻀﻤﻮﻧﻪ دامئﺎ‬ ‫وﺻﻔﻪ ﺑﺎﻟـ " اﻟﺸﻌﺒﻲ" ﺑﺎﳌﻌﻨﻰ اﻟﺴﺎﺑﻖ‬ ‫ﴍﺣﻪ‪ ،‬ﺑﻞ ﻗﺪ ﺗﺘﺼﺪى ﻗﺼﻴﺪة اﻟﻌﺎﻣﻴﺔ ﳌﺎ‬ ‫ﺗﺘﺼﺪى ﻟﻪ ﻗﺼﻴﺪة اﻟﻔﺼﺤﻰ ﻣﻦ ﻫﻤﻮم‬ ‫اﻟﺘﻌﺒري ﻋﻦ اﻟــﺬات اﻟﻔﺮدﻳﺔ ﰲ ﻣﻮاﺟﻬﺔ‬ ‫اﻟﻌﺎمل‪) ،‬وﻟﻴﺴﺖ اﻟــﺬات اﻟﺠامﻋﻴﺔ ﻛام‬ ‫ﰲ اﻟﺸﻌﺒﻲ( واﻟﺘﻌﺒري ﻛﺬﻟﻚ ﻋﻦ آﻻﻣﻬﺎ‬ ‫وﺗﺠﺎرﺑﻬﺎ اﻟﺨﺎﺻﺔ‪ ،‬ﺑﻞ ﻗﺪ ﺗﺤﻤﻞ ﻗﺼﻴﺪة‬ ‫ﺷﻌﺮ اﻟﻌﺎﻣﻴﺔ ﻣﺎ ﺗﺤﻤﻠﻪ ﻗﺼﻴﺪة اﻟﻔﺼﺤﻰ‬

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‫اﻟﻌﺪد ‪ ، 77‬أﺑﺮﻳﻞ ‪2019‬‬

‫ﻣﻦ أﺑﻌﺎد ﻓﻠﺴﻔﻴﺔ‪ ،‬ﰲ ﻣﺤﺎوﻟﺔ أن ﺗﻠﺤﻖ‬ ‫ﺑﻬﺎ ﺟامﻟﻴﺎ وﻓﻨﻴﺎ‪ ،‬وﻣﺠﺎراﺗﻬﺎ ﰲ اﻟﻜﺜري‬ ‫ﻣﻦ ﺗﻘﻨﻴﺎﺗﻬﺎ وﺟامﻟﻴﺎﺗﻬﺎ وﻋﻮاﳌﻬﺎ‪ ،‬وﻟﺸﻌﺮ‬ ‫اﻟﻌﺎﻣﻴﺔ ﺑﻬﺬا اﳌﻔﻬﻮم ﺑﺎع ﻛﺒري وﻟﻪ أﺳﺎﻃﻴﻨﻪ‬ ‫ﰲ اﻟﺨﻠﻴﺞ واﻟﺸﺎم وﻟﻪ ﺗﺠﺎرب ﺷﻌﺮﻳﺔ‬ ‫ﺑﺎذﺧﺔ ﻻﺳﻴام ﰲ ﻣﴫ ﻣﻦ أﻣﺜﺎل اﻟﺮاﺣﻠني ‪:‬‬ ‫ﺻﻼح ﺟﺎﻫني‪ ،‬ﻋﺒﺪ اﻟﺮﺣﻤﻦ اﻷﺑﻨﻮدي‪ ،‬ﺳﻴﺪ‬ ‫ﺣﺠﺎب ‪ ،‬أﺣﻤﺪ ﻓﺆاد ﻧﺠﻢ ‪ ،‬وﺧﻠﻔﻬﻢ أﺟﻴﺎل‬ ‫ﻻ ﺣﴫ ﻟﻬﺎ ﻳﺴريون ﻋﲆ اﻟﺪرب‪.‬‬ ‫وميﺜﻞ اﻟﺸﻌﺮ اﻟﻨﺒﻄﻲ ﰲ اﻟﺠﺰﻳﺮة اﻟﻌﺮﺑﻴﺔ‬ ‫واﻟﺸﺎم وﺟﻬﺎ آﺧﺮ‪ ،‬واﻟﺸﻌﺮ اﻟﻨﺒﻄﻲ ﻫﻮ‬ ‫اﻟﺸﻌﺮ اﳌﻨﻈﻮم ﺑﻠﻬﺠﺎت ﺷﺒﻪ اﻟﺠﺰﻳﺮة‬ ‫ودول اﻟﺨﻠﻴﺞ اﻟﻌﺮيب وﻛﺜري ﻣﻦ اﻟﺒﻠﺪان‬ ‫اﻟﻌﺮﺑﻴﺔ‪ ،‬وﻫﻮ ﺗﻄﻮر ﻃﺒﻴﻌﻲ ﻟﻠﺸﻌﺮ اﻟﻌﺮيب‬ ‫اﻟﺠﺎﻫﲇ وﻫﻮ ﻳﻀﺎﻫﻲ ﻛﺜريا ﺷﻌﺮ اﻟﻌﺎﻣﻴﺔ‬ ‫ﰲ ﻣﴫ وﻗــﺪ ﻣﺮ مبﺮاﺣﻞ ﺗﻄﻮر ﻛﺒرية‬ ‫)ﺳﻨﻌﻮد إﻟﻴﻬﺎ ﺑﺎﻟﺘﻔﺼﻴﻞ(‪ .‬وﻣﻦ اﻟﺸﻌﺮ‬ ‫اﻟﻨﺒﻄﻲ أﻳﻀﺎ ﻣﺎ ﻳﺴﺘﺤﻖ وﺻﻔﻪ ﺑﺄﻧﻪ ﺷﻌﺒﻲ‬ ‫وﻣﺎ ميﻜﻦ وﺻﻔﻪ ﻓﻘﻂ ﺑﺄﻧﻪ ﺷﻌﺮ ﻋﺎﻣﻲ ﻻ‬ ‫ﺳﻴام ﰲ اﻟﺠﺎﻧﺐ اﻟﺘﺠﺎري ﻣﻨﻪ اﻟﺬي ﺗﺤﻮل‬ ‫إﱃ أﻏﻨﻴﺎت ﺷﻬرية ﺗﻐﻨﻰ ﺑﻪ ﻣﻄﺮﺑﻮن ﻛﺒﺎر‪،‬‬

‫وﻟﻠﺸﻌﺮ اﻟﻨﺒﻄﻲ ﻛﺬﻟﻚ ﺗﻘﺎﻟﻴﺪه وﻃﺮاﺋﻘﻪ‪.‬‬ ‫ﻟﻘﺪ اﻧﺠﺮﻓﺖ ﻗﺼﻴﺪة اﻟﻌﺎﻣﻴﺔ ﻣﻨﺬ ﻋﻘﻮد‬ ‫ﰲ ﻣﴫ ﻣﺜﻼ ﳌﺴﺎرات ﻗﺼﻴﺪة اﻟﻨرث وﻗﺪم‬ ‫اﻟﺸﺎﻋﺮ اﻟﺮاﺣﻞ ﻣﺠﺪي اﻟﺠﺎﺑﺮي ﺗﺠﺮﺑﺔ‬ ‫ﻻﻓﺘﺔ ﰲ ﻫﺬا اﻟﺴﻴﺎق وﺗﺒﻌﻪ ﻋﺪد ﻣﻦ‬ ‫اﻟﺸﻌﺮاء ﻋﲆ اﻟﺪرب ﻧﻔﺴﻪ ﻓﻘﺪﻣﻮا ﺗﺠﺎرب‬ ‫ﻣﻬﻤﺔ ﰲ" ﻧرث اﻟﻌﺎﻣﻴﺔ" وﻫﻮ ﻣﺎ ﻳﺘﻨﺎﰱ متﺎﻣﺎً‬ ‫ﻣﻊ ﻣﻔﻬﻮم وﺟﻮﻫﺮ اﻟﺸﻌﺮ اﻟﺸﻌﺒﻲ‪ .‬ﻳﻘﻮل‬ ‫ﻣﺠﺪي اﻟﺠﺎﺑﺮي ﻣﺜ ًﻼ ﰲ دﻳﻮاﻧﻪ " اﻟﺤﻴﺎة‬ ‫ﻣﺶ ﺑﺮوﻓﺔ " ﺗﻜﺘﻜﺔ اﻵﻟﺔ اﻟﻜﺎﺗﺒﺔ‪ /‬وﺣﺮﻛﺔ‬ ‫رﺟﻠني أﻣﻲ ﻋﲆ دواﺳﺔ ﻣﻜﻨﺔ اﻟﺨﻴﺎﻃﻪ‪ /‬ده‬ ‫اﻟﲇ ﻟﺤﻘﺘﻪ ﻣﻦ ﺟﺴﻤﻲ اﻧﻬﺎرده‪ /‬ﺑﻌﺪ ﻣﺎ‬ ‫اﺗﺒﻌﱰ ع اﻟﺴﻠﻢ‪ /‬وأﻧﺎ ﻣﺰوغ م اﻟﺸﻐﻞ‪ /‬ﻫﺎ‬ ‫ﺣﺎول أﳌﻪ ﻋﲆ ﻣﻬﲇ‪ /‬وأﻋﻤﻞ ﻣﻨﻪ ﺣﻜﺎﻳﻪ‪/‬‬ ‫أﺣﻜﻴﻬﺎ ﻟﻨﻔﴘ وأﻧﺎ ﻧﺎﻳﻢ‪".‬‬ ‫إذن ﻟﻴﺴﺖ ﻛﻞ ﻗﺼﻴﺪة ﻋﺎﻣﻴﺔ ﺗﺴﺘﺤﻖ‬ ‫وﺻﻒ " ﺷﻌﺮ ﺷﻌﺒﻲ" ﺑﺎﻟﴬورة‪ ،‬ﻓﻬﺎ ﻫﻲ‬ ‫ﻛام رأﻳﻨﺎ ﻗﺼﻴﺪة اﻟﻌﺎﻣﻴﺔ ﺗﻜﺘﺐ ﺑﺎﻟﻠﻬﺠﺔ‬ ‫اﳌﺤﻜﻴﺔ وﺗﺘﺠﺎﻫﻞ ﻣﻮﺳﻴﻘﻰ اﻟﺸﻌﺮ وﻟﻴﺲ‬ ‫ﺑﻴﻨﻬﺎ وﺑني ﻣﻔﻬﻮم اﻟﺸﻌﺒﻲ ﺳﻮى ﻟﻬﺠﺔ‬ ‫اﻟﻌﺎﻣﺔ‪.‬‬

‫ﺟﻤﺎل ﻓﺘﺤﻲ‬ ‫ﻛﺒري ﻫﻮ اﻟــﻔــﺎرق ﺑني اﳌﻘﺼﻮد ﺑﺸﻌﺮ‬ ‫اﻟﻌﺎﻣﻴﺔ أو اﻟﺸﻌﺮ اﳌﻜﺘﻮب ﺑﺎﻟﻠﻬﺠﺔ‬ ‫اﻟﻌﺎﻣﻴﺔ )اﳌﺤﻜﻴﺔ( ﻣﻦ ﻧﺎﺣﻴﺔ‪ ،‬وﻣﺎ ﻳﺤﻴﻞ‬ ‫إﻟﻴﻪ ﻣﻔﻬﻮم اﻟﺸﻌﺮ اﻟﺸﻌﺒﻲ ﻣﻦ ﻧﺎﺣﻴﺔ‬ ‫أﺧﺮى؛ ﻓﺎﳌﻔﻬﻮﻣﺎن ﻻ ﻳﺘﻄﺎﺑﻘﺎن متﺎﻣﺎً ﻛام‬ ‫ﻳﺘﺼﻮر اﻟﺒﻌﺾ رﻏﻢ ﻣﺎ ﺑﻴﻨﻬام ﻣﻦ متﺎس‬ ‫ﻛﺒري‪ ،‬وﻳﺤﺪث ﻛﺜرياً أن ﻧﺼﻒ ﻗﺼﻴﺪة ﺑﺄﻧﻬﺎ‬ ‫ﻗﺼﻴﺪة ﺷﻌﺮ ﺷﻌﺒﻲ ﺑﻴﻨام ﻫﻲ ﻗﺼﻴﺪة‬ ‫ﺷﻌﺮ ﻣﻜﺘﻮﺑﺔ ﺑﺎﻟﻌﺎﻣﻴﺔ ﻓﻘﻂ‪ ،‬وﻟﻴﺲ ﻓﻴﻬﺎ‬ ‫ﻣﻦ "اﻟﺸﻌﺒﻲ" إﻻ اﻟﻠﻐﺔ اﻟﺪارﺟﺔ اﻟﺘﻲ‬ ‫ﻳﺴﺘﺨﺪﻣﻬﺎ اﻟﻌﺎﻣﺔ ﰲ اﻟﺸﻮارع واﻷﺳﻮاق‪،‬‬ ‫وﻫﻨﺎ ﻧﺤﺎول أن ﻧﻀﻊ أﻳﺪﻳﻨﺎ ﻋﲆ اﻟﻔﺮق‬ ‫ﻧﻔﺾ ﺟﺎﻧﺒﺎً‬ ‫اﻟﺠﻮﻫﺮي ﺑني اﳌﻔﻬﻮﻣني وأن ّ‬ ‫ﻣﻦ اﻻﻟﺘﺒﺎس اﻟﺨﻔﻲ؛ ﻓﺎﻟﺸﻌﺮ اﻟﺸﻌﺒﻲ‬ ‫ﻓﻀ ًﻼ ﻋﻦ ﻛﻮﻧﻪ ﻣﻜﺘﻮﺑﺎً ‪ -‬ﺑﺎﻟﴬورة ‪-‬‬ ‫ﺑﺎﻟﻠﻐﺔ اﳌﺤﻜﻴﺔ‪ ،‬ﻟﻜﻨﻪ ﺑﺎﻷﺳﺎس رﻛﻦ ﻣﻦ‬ ‫أرﻛﺎن اﻷدب اﻟﺸﻌﺒﻲ‪ ،‬وﺣﻠﻘﺔ ﻣﻦ ﺣﻠﻘﺎﺗﻪ‪،‬‬ ‫واﻷدب اﻟﺸﻌﺒﻲ ﻫﻮ ﻣﻔﻬﻮم أﻛﱪ وأﺷﻤﻞ‬ ‫وأﻛرث اﺗﺴﺎﻋﺎً‪ ،‬وﻫﻮ اﻵن ﻣﺠﺎل ﻣﺴﺘﻘﻞ‬ ‫ﻟﻠﺒﺤﺚ ﻳﺘﻮﻓﺮ ﻋﻠﻴﻪ اﻟﺒﺎﺣﺜﻮن وﺗﻬﺘﻢ ﺑﻪ‬ ‫اﻟﺠﺎﻣﻌﺎت ﺑﺎﻋﺘﺒﺎره ﺧﺰاﻧﺔ ﻟﻠﻤﻮروث‬ ‫اﻟﺸﻌﺒﻲ؛ وﻳﺤﻴﻠﻨﺎ ﻣﻔﻬﻮم اﻷدب اﻟﺸﻌﺒﻲ‬ ‫إﱄ ﻛﻞ أﺷﻜﺎل وﻓﻨﻮن اﻟﻘﻮل اﻟﺸﻔﺎﻫﻲ‬ ‫ﺷﻌﺮاً وﻧرثاً مبﺎ ﰲ ذﻟﻚ اﻷﺳﺎﻃري واﻟﺴري‬ ‫اﻟﺸﻌﺒﻴﺔ اﳌﺘﻮارﺛﺔ واﻟﻘﺼﺎﺋﺪ‪ ،‬واﻷﻏﺎين‪،‬‬ ‫واﻟــﻄــﻘــﻮس‪ ،‬واﻷﻟــﻐــﺎز وﻏــريﻫــﺎ‪ ،‬وﻫﻲ‬ ‫اﻟﻔﻨﻮن اﻟﺘﻲ ﻋﺮﻓﺘﻬﺎ ﻛﻞ اﻟﺸﻌﻮب ﺗﻘﺮﻳﺒﺎً‬ ‫ﰲ ﻣﺮاﺣﻠﻬﺎ اﻟﺤﻀﺎرﻳﺔ اﳌﺨﺘﻠﻔﺔ ﻻ ﺳﻴام‬ ‫اﳌﺒﻜﺮة ﻣﻨﻬﺎ‪ ،‬واﻟﺸﻌﺮ اﻟﺸﻌﺒﻲ ﻫﻮ ﻧﺘﺎج‬ ‫ﻃﺒﻴﻌﻲ ﻟﺒﻴﺌﺘﻪ اﻟﺸﻌﺒﻴﺔ اﻟﺘﻲ ﺗﺨﺘﻠﻒ ﻣﻦ‬ ‫ﺑﻠﺪ إﱃ ﺑﻠﺪ‪ ،‬وﻣﻦ إﻗﻠﻴﻢ إﱃ إﻗﻠﻴﻢ ﺣﺘﻰ‬ ‫داﺧﻞ اﻟﺒﻠﺪ اﻟﻮاﺣﺪ‪ ،‬وﻫﻮ دﻳﻮان اﻟﺸﻌﻮب‬ ‫ﻏري اﻟﺮﺳﻤﻲ وﺳﺠﻞ ﻟﻠﻜﺜري ﻣﻦ ﻃﻘﻮﺳﻬﻢ‬ ‫وأﻓﻜﺎرﻫﻢ وﺣﻜﻤﺘﻬﻢ‪ ،‬وﻫﻮ اﺑﻦ اﻟﺸﻔﺎﻫﺔ‬ ‫واﳌﻮروث‪ ،‬وﻗﺪ ﻇﻞ ﻣﺜﻠﻪ ﻣﺜﻞ ﻛﻞ أﻟﻮان‬ ‫وأﺟﻨﺎس اﻷدب اﻟﺸﻌﺒﻲ اﻷﺧﺮى ذا ﻃﺎﺑﻊ‬

‫‪ ŲōŨǝ Ƿǥ ǽŞƪƖǕŌ ƉƪƖǕŌ‬‬ ‫‪ ǽŨǕŌ ǳǾŞƪƖǕŌ ǣŨȂǾŞǕ ǽƪǾŞƣ‬‬ ‫‪ ǛǙǶ ɐƃǔş ǻǕŒ ƃǔş ǛǙ ƱǔŨƀũ‬‬ ‫‪ ǓƁŌƂ ǻŨŽ ǗǾǔǃŒ ǻǕŒ ǗǾǔǃŒ‬‬ ‫‪ ǚŌǷǿƂ ǷǥǶ ɐƃŽŌǷǕŌ ƃǔŞǕŌ‬‬ ‫‪ǽǘƓƉǕŌ ƉǾƯ ŜǷƪƖǕŌ‬‬ ‫ ‪ Ǜƫ ȎƞƲƳ ǳǾǙōƪǕŌ ƉƪƗ ōǙŐ‬‬ ‫‪ ǳƮǔǕōş ǳşǷŨǈǙ ǣũƃǾƚǃ ǚǷǉ‬‬ ‫‪ɰ‬‬ ‫‪ ɐōƞǿŐ ǲƈǶƉƞǕōş ĳ ǳǾǙōƪǕŌ‬‬ ‫ ‬ ‫‪ɰ‬‬ ‫‪ōƣƉƗ ƑǾǕ ǛǈǕ‬‬ ‫ ‪ ōǘȃŌƂ ǣǝǷǘƞǙ ǁżŨƒǿ ǚŐ‬‬ ‫‪mǽŞƪƖǕŌ} ȌǕōş ǣƲƛǶ‬‬ ‫ ‪ ƉǾŞƪŨǕŌ Ǘǥ ǓǘŽ ǽŞƪƖǕŌ‬‬ ‫‪ ǚǷǜǈǙǶ ŜǷƪƖǕŌ źǶƈ Ǜƫ‬‬ ‫‪ ǼƈōƞżǕŌ ōǤŭǶƈǷǙǶ ōǤǝŌƃŵǶ‬‬ ‫‪ǖōƪǕŌ ōǤǘǥǶ‬‬

‫ﻋﻤﻮﻣﻲ؛ ﻓﺤﻤﻞ ﻫﻢ اﻟﺘﻌﺒري ﻋﻦ روح‬ ‫اﻟﺸﻌﻮب وﻣﻜﻨﻮن وﺟﺪاﻧﻬﺎ وﻣﻮروﺛﻬﺎ‬ ‫اﻟﺤﻀﺎري وﻫﻤﻬﺎ اﻟﻌﺎم وﻟﻴﺲ ﻣﻨﻄﻠﻘﺎً‬ ‫ﻣﻦ ﺗﺠﺮﺑﺔ ﻓﺮدﻳﺔ‪ ،‬ﻟﺬا ﺗﺸري اﻟﻜﺜري ﻣﻦ‬ ‫اﻟﺪراﺳﺎت اﻟﺸﻌﺒﻴﺔ إﱃ أن اﻷدب اﻟﺸﻌﺒﻲ‬ ‫واﻟﺸﻌﺮ اﻟﺸﻌﺒﻲ ﺣﻠﻘﺔ ﻣﻨﻪ‪ ،‬أدب ﻻ‬ ‫ﻳﻌﺮف ﻗﺎﺋﻠﻪ‪ ،‬وﻻ ﻳﻌﺮف ﻟﻪ ﻣﺆﻟﻒ ﻣﺤﺪد‬ ‫ﻷﻧﻪ ﰲ اﻟﺤﻘﻴﻘﺔ اﺑﻦ اﻟﻘﺮﻳﺤﺔ اﻟﺸﻌﺒﻴﺔ‬ ‫واﻟﺨﻴﺎل اﻟﺸﻌﺒﻲ اﳌﺸﱰك ورمبﺎ اﺷﱰﻛﺖ ﰲ‬

‫ﺗﺄﻟﻴﻔﻪ أﺟﻴﺎل ﻣﺘﻌﺎﻗﺒﺔ؛ إذ ﻳﺼﺒﺢ اﳌﺆﻟﻒ‬ ‫ﻫﻮ ﺟﻤﻴﻊ أﻓﺮاد اﻟﺸﻌﺐ‪ ،‬ﻣﻦ ذﻟﻚ ﻣﺜﻼ‬ ‫‪ :‬ﻗﺼﺺ أﻟﻒ ﻟﻴﻠﺔ وﻟﻴﻠﺔ واﻟﺴري اﻟﺸﻌﺒﻴﺔ‪،‬‬ ‫وﻗــﺪ ﻇــﻞ ﻟﻠﺸﻔﺎﻫﺔ دور اﻟﺒﻄﻮﻟﺔ ﰲ‬ ‫ﺣﻔﻆ وﺗﺴﺠﻴﻞ ذﻟﻚ اﻷدب ﺑﻜﻞ أﺷﻜﺎﻟﻪ‬ ‫وﻣﺮوﻳﺎﺗﻪ‪ ،‬ﺣﺘﻰ ﻗﺎﻣﺖ اﻟﻜﺘﺎﺑﺔ واﻟﺘﺪوﻳﻦ‬ ‫مبﻬﻤﺔ اﻟﺤﻔﻆ واﻟﺘﺴﺠﻴﻞ‪ ،‬وﻃﺒﻴﻌﻲ أن ﻛﻞ‬ ‫ﺑﻴﺌﺔ ﺷﻌﺒﻴﺔ ﺗﻨﺘﺞ أدﺑﻬﺎ اﻟﺨﺎص وﺷﻌﺮﻳﺘﻬﺎ‬ ‫اﳌﺎﺋﺰة‪ ،‬ﻓﺎﻟﺒﻴﺌﺔ اﻟﺴﺎﺣﻠﻴﺔ ﻣﺜﻼ ﰲ ﺷامل‬ ‫ﻣﴫ ﻟﻬﺎ إﺑﺪاﻋﻬﺎ اﻟﺨﺎص اﳌﺨﺘﻠﻒ ﻋام‬ ‫أﻧﺘﺠﺘﻪ اﻟﻘﺮﻳﺤﺔ اﻟﺼﻌﻴﺪﻳﺔ ﰲ ﺟﻨﻮب‬ ‫ﻣﴫ‪ ،‬وﻛﺬﻟﻚ اﻷﻣﺮ ﰲ اﻟﺠﺰﻳﺮة اﻟﻌﺮﺑﻴﺔ‬ ‫وﻣﻌﻈﻢ ﺑﻠﺪان اﻟﺨﻠﻴﺞ اﻟﻌﺮيب وﻛﺬﻟﻚ‬ ‫اﳌﻐﺮب اﻟﻌﺮيب واﻟﺸﺎم‪.‬‬ ‫وﻣﻦ أﻣﺜﻠﺔ اﻹﺑﺪاع اﻟﺸﻌﺮي اﻟﺸﻔﺎﻫﻲ اﻟﺬي‬ ‫اﺳﺘﺤﻖ وﺻﻔﻪ أو ﺗﺴﻤﻴﺘﻪ ﺑﺎﻟﺸﻌﺮ اﻟﺸﻌﺒﻲ‬ ‫ﻣﺎ ﻳﻄﻠﻖ ﻋﻠﻴﻪ ﰲ ﺻﻌﻴﺪ ﻣﴫ "ﻓﻦ اﻟﻮاو"‬ ‫أو "اﳌﺮﺑﻊ" وﻫﻮ ﻓﻦ ﻗﻮﱄ ﺷﻔﺎﻫﻲ ﻧﺒﺖ ﰲ‬ ‫ﺻﻌﻴﺪ ﻣﴫ اﻟﺠﻮاين وﺗﺤﺪﻳﺪا ﰲ ﻣﺤﺎﻓﻈﺔ‬ ‫" ﻗﻨﺎ" وﻟﻬﺬه اﻟﺘﺴﻤﻴﺔ أﺳﺒﺎب ﺳﻨﻌﻮد ﻟﻬﺎ‬ ‫ﺑﺎﻟﺘﻔﺼﻴﻞ ﰲ ﺣﻴﻨﻬﺎ‪ ،‬وﻟﻬﺬا اﻟﻠﻮن ﺷﻌﺮاء‬ ‫ﺑــﺎرزون‪ ،‬وأﻋــﻼم ﻣﻌﺮوﻓﻮن ﻣﻨﻬﻢ‪ :‬ﻋﺒﺪ‬ ‫اﻟﺴﺘﺎر ﺳﻠﻴﻢ‪ ،‬وﻋﺎدل ﺻﺎﺑﺮ‪ ،‬وﻟﻸﺧري ﻧﻮرد‬ ‫ﻣﺜﻼ ﻗﻮﻟﻪ ‪:‬‬ ‫اﺣﺬر ﻣﻦ اﻟﻜﻠﺐ ﻟﻮ ﺟﺎع‬ ‫واﻟﺤﺮﻣﺔ ﻟﻮ ﺗﻬﻮى ﻏريك‬ ‫ُ‬ ‫اﻟﺨﻞ ﻟﻮ ﺑﺎع‬ ‫واﺣﺬر ﻣﻦ ِ‬ ‫ﻳﻨﴗ ﺟامﻳﻠﻚ وﺧريك‬ ‫وﻣــﻦ أﻣﺜﻠﺔ اﻟﺸﻌﺮ اﻟﺸﻌﺒﻲ أﻳﻀﺎً ﻓﻦ‬ ‫"اﻟﻌﺘﺎب " اﳌﻌﺮوف ﰲ اﻟﺸﺎم واﻟﻌﺮاق‬ ‫وﻛﺜري ﻣﻦ ﺑﻠﺪان اﳌﻨﻄﻘﺔ اﻟﻌﺮﺑﻴﺔ وﻟﻪ‬ ‫ﻃﺮﻳﻘﺘﻪ اﳌﻮروﺛﺔ ﰲ ﻛﺘﺎﺑﺘﻪ وإﻟﻘﺎﺋﻪ‪ ،‬وﻳﻘﺎل‬ ‫إن أﺻﻠﻪ ﻓﻠﺴﻄﻴﻨﻲ وﻣﻨﻪ ﻗﻮل اﻟﺸﺎﻋﺮ ﻛﺮم‬ ‫زﻋﺮور ‪:‬‬ ‫ﺣﺠﻪ‬ ‫ﻳﺎ راﻳﺢ ﻏﺮﺑﺎ ﺳ ﱢﻠﻢ ﻋﲆ ّ‬ ‫ﺳﻠﻢ ع اﻟﻮﻃﻦ ع اﻟﺤﺎج واﻟﺤﺠﺔ‬ ‫اﻟﺸﻌﺮ ‪baytelshear‬‬ ‫ﺑﻴﺖ ِ‬

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‫اﻟﻔﺮق ﺑﻴﻦ‬ ‫اﻟﺸﻌﺮ اﻟﻌﺎﻣﻲ‬ ‫واﻟﺸﻌﺒﻲ‬ ‫اﺧﺘﻼف اﻟﻤﻌﻨﻰ‬ ‫واﻟﻤﺒﻨﻰ‬

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‫اﻟﻌﺪد ‪ ، 77‬أﺑﺮﻳﻞ ‪2019‬‬

‫اﻟﺮاﺋﻌﺔ اﻟﺘﻲ اﺳﺘﻄﺎع ﻣﻦ ﺧﻼﻟﻬﺎ أن ميﺮر ﻣﻮﺿﻮﻋﺎً ﻣﻬ ًام وﻳﻌﻮد ﻣﻦ‬ ‫‪ ǳƯȎŞş ƱǾƚƁ Ǜş ǲƃǾƚǃ ŦƊōŨǙŌ‬‬ ‫دون أن ﻳﺤﺪث رﺑﻜﺔ مبﻀﻤﻮن اﻟﻘﺼﻴﺪة وﺳﻴﺎﻗﻬﺎ‪ ،‬واﺳﺘﻄﺎع أﻳﻀﺎً‬ ‫‪ɼ‬‬ ‫‪ ōǤǾƳ ŧƪƲũƈŌǶ ɐǇŞƒǕŌ ǛƒŽǶ ƉǾŞƪŨǕŌ‬‬ ‫أن ﻳﺪﺧﻞ ﻋﲆ رﻣﺰﻳﺘﻪ اﻟﻜﺜري ﻣﻦ اﻟﺘﺄوﻳﻞ واﻟﺘﻔﺴري واﻟﺬي ﻳﻄﺎﺑﻖ‬ ‫‪ ǳǾǝōƒǝȑŌ ǲƉŞǝ ƨōƲũƈōş ƨŌƃşȑŌ ǳŵƈƂ‬‬ ‫ﺟﻤﻴﻊ اﻵراء وﻻ ﻳﺨﺮج ﻋﻦ ﻧﻄﺎق ﻗﺼﻴﺪة اﳌﺠﺎراة ﺑﻘﻮﻟﻪ ‪:‬‬ ‫‪ǣǾŵǷŨǕŌ ǀƃƛǶ ŝżǕŌǶ‬‬ ‫‪Áb@@ @ @ @£@ @ @ @ c@ @ @ @ g@ @ @ @ D* @@ @ @ @ @ @ @ @ D @@ @ @ @ @ @ @~@ @ @ @ @ @ @ 8H‬‬ ‫‪2H2x@@ @ @ @ @ @ @ @ @ @ E d@@ @ @ @ @ @ @ @G eb@@ @ @ @ @ @ @ @ @ c@ @ @ @ @ @ @ @ @ D*H‬‬ ‫‪ ŦōŞŭŒ ǛǙ ōǤǕȎƁ ǛǙ ƱǾƚƁ Ǜş Ǜǈǘũ‬‬ ‫‪Áb@@ @ @ @c@ @ @ @ ~@ @ @ @ {@ @ @ @ @ @ @ @ D r¡@@ @ @ @ @ @ @g@ @ @ @ @ @ @ @ @ @ @ @ @ @ E‬‬ ‫· ‪2¡@@ @ @ @ @ @ @ @ @ @ @ @ D @@ @ @ @ @ @ @ @ @ @ @ @ @Ab@@ @ @ @ @ @ 0‬‬ ‫‪ ǳǿƉǾŞƪũ ǳƮǕ ơǂƳ ƑǾǕ ƉƪƖǕŌ ǚŐ‬‬ ‫ @ @ @ @ @ @‪Á*v@@ @ @ @ @ @ @ @ @ @ @ @ @ @±* f@@ @ @ @ @ @A¡@@ @ @ @ @ @ @ @ @ @ @ @ s‬‬‫‪ɰ‬‬ ‫‪ ǳǾǕȍƃŨƓŌ ǳǔǾƓǶ ōƞǿŐ Ƿǥ ōǘǝŒǶ‬‬ ‫<@ @ @ @ @ @ @ @ @ @ @ @ @@‪2¡@@ @ @ @ @ @ @ @ @ @ @ @ @+H @@ @ @ @ @ @ @ @ @ @ @~@ @ @ @ @ @6 ¢‬‬ ‫‪ǳǾǂǾŭǷũ ǳǾƀǿƈōũ‬‬ ‫‪Á*v@@ @ @ @ @ @ £@ @ @ @ @ @ @ ´* ¯ @@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ D*H‬‬ ‫‪2¡@@ @ @ @ ~@ @ @ @ @6 ·b@@ @ @ @ @ @ £@ @ @ @ @ @ @ @ @ @ @ @ @ @ D* ¡@@ @ @ @ @ @ @ @ @ @ @ J‬‬ ‫‪Á*¡@@ @ @ @ @ @ @ @ @ @ @ ³* ¢@@ @ @ @ @ @ @ @ @ @ @< *H24‬‬ ‫‪2¡@@ @ @ c@ @ @ @ @ @ @ @D* v@@ @ @ @ @ @ @ @ @< *¡@@ @ @ @ @~@ @ @ @ @ |@ @ @ @ @ BH‬‬ ‫واﻟﻘﻴﺎدة اﻟﻮﻓﻴﺔ اﻟﺤﻜﻴﻤﺔ‪ ،‬وﻣﻦ ﻫﻨﺎ وﻣﻦ ﻫﺬا اﻟﻨﻬﺞ اﺧﺘﺘﻢ اﻟﺸﺎﻋﺮ‬ ‫ﺑﻦ ﺧﺼﻴﻒ ﻗﺼﻴﺪﺗﻪ ﺑﻘﻮﻟﻪ ‪:‬‬ ‫وﻫﻜﺬا ﺗﺘﺼﺎﻋﺪ رؤﻳﺔ اﻟﺸﺎﻋﺮ وﺗﻄﻮر اﻟﻘﺼﻴﺪة ﺑﺎﻧﺘﻘﺎﻟﻬﺎ اﱃ ﻣﺮﺣﻠﺔ‬ ‫‪Áb@@ @ @ @c@ @ @ @ D* eb@@ @ @ @c@ @ @ @ ~@ @ @ @ {@ @ @ @ D* *3 b@@ @ @ @ @ J‬‬ ‫أﺧﺮى أﻛرث ﻋﻤﻘﺎً‪ ،‬ﺣﻴﺚ متﻜﻦ ﺑﻦ ﺧﺼﻴﻒ ﻣﻦ ﺧﻼﻟﻬﺎ ﻣﻦ إﺛﺒﺎت‬ ‫‪2¡@@ @ @ @ @ @ @ @ @ @ @E @@ @ @ @ @ @ @ @+ ¥*x@@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ D*H‬‬ ‫‪Áb@@ @ @ @ @ @ @ @ @ @ @ @ @ C4°* ¢@@ @ @ @ @ @ @ @ @ @ @+ v@@ @ @ @ @ @ @ @ @ @ @ @ @ J*5‬‬ ‫أن اﻟﺸﻌﺮ ﻟﻴﺲ ﻓﻘﻂ ﻟﻐﺔ ﺗﻌﺒريﻳﺔ وإمنﺎ ﻫﻮ أﻳﻀﺎً وﺳﻴﻠﺔ اﺳﺘﺪﻻﻟﻴﺔ‬ ‫‪2¡@@ @ @ @ @ @ @ @ @ @ @ @ @m@ @ @ @ @ @ @´*H y@@ @ @ @ @ @ @ @ @ @ @ @ @ @ @Db@@ @ @ @ @ @ @ +‬‬ ‫ﺗﺎرﻳﺨﻴﺔ ﺗﻮﺛﻴﻘﻴﺔ‪ ،‬ميﻜﻦ ﻣﻦ ﺧﻼﻟﻬﺎ اﻟﺘﺄرﻳﺦ ﳌﺴرية اﳌﻨﻄﻘﺔ‪ .‬وﻳﺘﺒني‬ ‫‪Áb@@ @ @ @ @ @ @ @ @ @ @ @ @ @:H°* f@@ @ @ @ @ @ @ @ @ @ @ @ @ @J*4 w@@ @ @ @ @ @ @ @ 1‬‬ ‫ذﻟﻚ ﻣﻦ اﻻﺳﺘﺪﻻل ﺑــ )رﺑﺪان( وﻫﻮ ﻣﻦ اﻟﺨﻴﻮل اﳌﺸﻬﻮرة ﰲ‬ ‫‪2¡@@ @ @ @ @ @ ~@ @ @ 8 d@@ @ @ @ @ ~@ @ @ @ @ @7H ¢@@ @ @ @ @ @ @ ~@ @ @ @ @ @ @ @64*H‬‬ ‫اﳌﻨﻄﻘﺔ وﺑﻬﺬا اﻻﺳﺘﺪﻻل اﺳﺘﻄﺎع اﻟﺸﺎﻋﺮ ﻣﻦ أن ﻳﺴﺘﺤﴬ ﺣﻘﺒﺔ‬ ‫‪Áb@@ @ @ ~@ @ @ @{@ @ @ @D* y@@ @ @ @ @ Jy@@ @ @ @ @ < @@ @ @ @ @ @ g@ @ @ @ @ @ @F*H‬‬ ‫< @ @ @ @ @ @ @ @ @ @@‪2Hv@@ @ @ @ @ @ @ @ @ @ E ex@@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ D* v‬‬ ‫ﻣﻦ اﻟﺰﻣﻦ وأن ﻳﺆﻛﺪ ﻋﲆ اﻻﻫﺘامم ﺑﺎﻟﺨﻴﻮل اﻟﻌﺮﺑﻴﺔ اﻷﺻﻴﻠﺔ ﻛﻮﻧﻬﺎ‬ ‫‪Áb@@ @ @ @ @ @ ~@ @ @ 6 ¡@@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @D* ib@@ @ @ @ @ @ @ @ @ G‬‬ ‫ﺟﺰءاً ﻣﻦ ﺗﺎرﻳﺨﻨﺎ وﺗﺮاﺛﻨﺎ وﻣﻮروﺛﻨﺎ اﻟﺸﻌﺒﻲ؛ ﺟﺎء ذﻟﻚ ﺑﻘﻮﻟﻪ‪:‬‬ ‫‪2¡@@ @ @ @ @ @ @ @ - b@@ @ @ @ @ @ @ @ @ @/x@@ @ @ @ @ @ @ @ @ @D* ¡@@ @ @ @ @ @ @ @ @ @ @ J‬‬ ‫‪ Áb@@ @ @ £@ @ @ c@ @ @ ~@ @ @ 9 @@ @ @ @ @ @ @ D v@@ @ @ @ @ @ ~@ @ @ {@ @ @ J‬‬ ‫‪ÁÉ@@ @ @ @ @ @ @ @ @ @ @ @ ³* @@ @ @ @ @ @ @ @ @+b@@ @ @ @ @ @ @ @ @-* °‬‬ ‫‪2¡@@ @ @ @ @ @ @ @ @ @ @ @ @ @~@ @ @ @ @z@ @ @ @ @D* v@@ @ @ @ @ @ @ @ @ JÉ@@ @ @ @ @ @ @ @ @ -H‬‬ ‫· ‪2¡@@ @ @ @ @ @ @ @ @ @ @B4 Í@@ @ @ @ @ @ @ @ @ @ @£@ @ @ @ @ @ @ @ @ @ @ @E‬‬ ‫‪Á*v@@ @ @ @ @ @ @ @ @ @ +4 @@ @ @ @ @ @ @ @ @ @ D v@@ @ @ @ @ @ @ @ ~@ @ @ @ {@ @ @ @ J‬‬ ‫ ‪2H4b@@ @ @ @ @ @ @ @ @c@ @ @ @ @ @ @ @ @ D*H @@ @ @ @ @£@ @ @ @ @ ~@ @ @ @ @ z@ @ @ @ @ D*H‬‬ ‫ً‬ ‫ﻟﻘﺪ ﺗﻀﻤﻨﺖ ﻗﺼﻴﺪة اﻟﺸﻴﺦ زاﻳﺪ‪ ،‬رﺣﻤﻪ اﻟﻠﻪ‪ ،‬ﻣﺴﺘﻮى ﻛﺒريا ﻣﻦ‬ ‫وﻣﻦ ﺛﻢ ﻳﻨﺘﻘﻞ اﻟﺸﺎﻋﺮ إﱃ اﻟﻔﺼﻞ اﻷﺧري ﻣﻦ ﻗﺼﻴﺪﺗﻪ وﻫﻮ اﳌﻨﺎداة اﻹﺑﺪاع ﻋﲆ ﻣﺴﺘﻮى اﳌﻀﻤﻮن واﻟﻔﻜﺮة واﻟﻮزن واﻟﺘﻨﺎول‪ ،‬اﻷﻣﺮ‬ ‫واﻟﺘﻮﺟﻴﻪ واﻟﻨﺼﺢ واﻟﺘﺤﻔﻴﺰ واﻟﺘﺸﺠﻴﻊ ﻋﲆ اﻻﻟﺘﺰام واﳌﺜﺎﺑﺮة اﻟﺬي أﺳﻬﻢ ﰲ اﻟﺘﻔﺎﻋﻞ ﻣﻌﻬﺎ ﺑﺄﺳﺎﻟﻴﺐ وأﺷﻜﺎل ُﻣﺨﺘﻠﻔﺔ ﻣﻦ ﻗﺒﻞ‬ ‫واﻟﺤﻔﺎظ ﻋﲆ اﻟﻌﺎدات واﻟﺘﻘﺎﻟﻴﺪ واﻟﻘﻴﻢ واﻷﺧﻼق اﻟﺘﻲ ﻧﻨﻬﻠﻬﺎ اﻟﺸﻌﺮاء اﳌﺸﺎرﻛني ﰲ اﳌﺴﺎﺑﻘﺔ‪ ،‬وميﻜﻦ أن ﻧﻘﻮل ﺑﻌﺒﺎرة أﺧﺮى إن‬ ‫ﻣﻦ ﺗﻌﺎﻟﻴﻢ دﻳﻨﻨﺎ اﻻﺳﻼﻣﻲ‪ ،‬وارﺗﺒﺎﻃﻨﺎ ﺑﺎﻷرض وﻫﻮﻳﺔ اﳌﻜﺎن اﻟﺘﻲ ﻃﺎﻗﺔ اﻹﺑﺪاع ﰲ اﻟﻘﺼﻴﺪة ﻛﺎﻧﺖ ﻋﺎﻣ ًﻼ ﻣﺆﺛﺮاً ﰲ اﳌﺘﻠﻘﻲ وﻣﺤﺮﺿﺎً‬ ‫ﺗﺪﻓﻌﻨﺎ وﺗﺤﺜﻨﺎ ﻋﲆ اﻟﺬود ﻋﻦ اﻟﻮﻃﻦ واﳌﺤﺎﻓﻈﺔ ﻋﲆ ﻣﻜﺘﺴﺒﺎﺗﻪ ﻋﲆ اﻹﺑﺪاع واﻟﻜﺘﺎﺑﺔ‪ .‬وﻗﺪ اﻣﺘﺎزت ﻗﺼﻴﺪة ﺑﻦ ﺧﺼﻴﻒ ﺑﺒﻼﻏﺔ‬ ‫اﻟﺴﺒﻚ‪ ،‬إﺿﺎﻓﺔ إﱃ اﻟﻮزن وﺣﺮﻛﺔ اﻹﻳﻘﺎع وارﺗﻔﻌﺖ‬ ‫وﻣﻨﺠﺰاﺗﻪ واﻟﻮﻻء ﻟﻘﻴﺎداﺗﻪ‪ ،‬إﺿﺎﻓﺔ إﱃ اﻟﺤﺚ ﻋﲆ اﺧﺘﻴﺎر اﻷﺻﺪﻗﺎء اﻟﺘﻌﺒري وﺣﺴﻦ ﱠ‬ ‫اﻟﺼﺎﻟﺤني وﺗﺠﻨﺐ رﻓﻘﺎء اﻟﺴﻮء‪ ،‬ﺟﺎء ذﻟﻚ ﻣﻦ ﺧﻼل ﺑﺪاﻳﺔ ﻫﺬا ﻓﻴﻬﺎ درﺟﺔ اﻹﺑﺪاع ﺑﺎرﺗﻔﺎع ﻧﱪة اﻹﻧﺴﺎﻧﻴﺔ واﻟﺤﺐ وﺻﺪق اﻟﺘﻮﺟﻴﻪ‬ ‫اﻟﻔﺼﻞ ﺑﺸﻄﺮ ﻣﻦ أﺷﻄﺮ ﻗﺼﻴﺪة اﻟﺸﻴﺦ زاﻳﺪ )ﻳﺎ ذا اﻟﺸﺒﺎب اﻟﺒﺎين( واﻟﺤﺚ ﻋﲆ اﻻﻟﺘﺰام ﺑﺎﻟﺴﻠﻮك اﻟﻘﻮﻳﻢ‪ .‬واﺗﻀﺢ ﻓﻴﻬﺎ ﺑﺮاﻋﺔ اﻟﺸﺎﻋﺮ‪،‬‬ ‫ﺣﻴﺚ إن اﻟﺸﻴﺦ زاﻳﺪ رﺣﻤﻪ اﻟﻠﻪ ﻛﺎن ﻳﺆﻣﻦ إميﺎﻧﺎً ﺗﺎﻣﺎً ﺑﺄن اﻟﺸﺒﺎب وذﻛﺎؤه اﳌﺘﻮﻗﺪ ﰲ ﺻﻴﺎﻏﺔ اﻷﻓﻜﺎر ﰲ ﻗﺎﻟﺐ ﺷﻌﺮي ﻻ ﺗﻄﻐﻰ ﻓﻴﻪ‬ ‫ﻫﻮ اﻟرثوة اﻟﺤﻘﻴﻘﻴﺔ وﻫﻮ درع اﻟﻮﻃﻦ وﺳﻴﻔﻪ واﻟﺴﻴﺎج اﻟﺬي ﺗﻘﺮﻳﺮﻳﺔ اﻟﻔﻜﺮة ﻋﲆ ﻋﺬوﺑﺔ اﻟﺸﻌﺮ‪ ،‬ﻓﺎﺳﺘﺤﻘﺖ ﺑﺤﻖ اﻟﺤﺼﻮل‬ ‫ﻳﺤﻤﻴﻪ ﻣﻦ اﻟﻄﺎﻣﻌني‪ ،‬وﻫﻮ أﻳﻀﺎً رؤﻳﺔ وﻧﻬﺞ اﻧﺘﻬﺠﻪ أﻧﺠﺎﻟﻪ اﻟﻜﺮام ﻋﲆ اﳌﺮﻛﺰ اﻷول ﰲ اﳌﺴﺎﺑﻘﺔ‪.‬‬ ‫اﻟﺸﻌﺮ ‪baytelshear‬‬ ‫ﺑﻴﺖ ِ‬

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‫‪ ĮŌ‬‬ ‫‪ǒǶȏŌ ƋǉƉǘǕōş ōǤǕȎƁ ǛǙ ƊōƳ‬‬

‫‪ mǽǝōŞǕŌ ŜōŞƖǕŌ ŌƄ ōǿ} ǲŌƈōŴǙ ǽƳ ƱǾƚƁ Ǜş ƃǾŞƫ ǲƃǾƚǃ‬‬

‫ﻧﺒﺮة إﻧﺴﺎﻧﻴﺔ وﺑﻼﻏﺔ ﺗﻌﺒﻴﺮﻳﺔ‬ ‫ﻧﺎﺻﺮ اﻟﺸﻔﻴﺮي‬

‫ﺗﻄﻞ ﻋﻠﻴﻨﺎ اﳌﺴﺎﺑﻘﺔ اﻟﺸﻌﺮﻳﺔ ﳌﻬﺮﺟﺎن ﺳﻠﻄﺎن ﺑﻦ زاﻳﺪ‬ ‫اﻟﱰايث ﻛﻞ ﻋﺎم‪ ،‬وﺗﻘﺎم ﻋﲆ ﻫﺎﻣﺶ ﻓﻌﺎﻟﻴﺎت اﳌﻬﺮﺟﺎن‬ ‫مبﻨﻄﻘﺔ ﺳﻮﻳﺤﺎن‪ ،‬وﺗﺴﺘﻘﻄﺐ ﻛﺒﺎر اﻟﺸﻌﺮاء ﻣﻦ دول اﻟﺨﻠﻴﺞ‬ ‫اﻟﻌﺮيب‪ ،‬وﺗﺤﻈﻰ ﺑﺪﻋﻢ وﺗﻜﺮﻳﻢ ﻣﻦ راﻋﻲ اﳌﻬﺮﺟﺎن ﺳﻤﻮ‬ ‫اﻟﺸﻴﺦ ﺳﻠﻄﺎن ﺑﻦ زاﻳﺪ آل ﻧﻬﻴﺎن ﻣﻤﺜﻞ ﺻﺎﺣﺐ اﻟﺴﻤﻮ‬ ‫رﺋﻴﺲ اﻟﺪوﻟﺔ‪ ،‬ﺣﻔﻈﻪ اﻟﻠﻪ‪ .‬اﻷﻣﺮ اﻟﺬي ﺑﻮأﻫﺎ ﻣﻨﺰﻟﺔ رﻓﻴﻌﺔ‪،‬‬ ‫ﺳﻮاء ﻣﻦ ﺣﻴﺚ ﻋﺪد اﳌﺸﺎرﻛﺎت اﻟﺬي ﻳﺰداد ﻋﺎﻣﺎ ﺑﻌﺪ ﻋﺎم‬ ‫أو ﻣﻦ ﺣﻴﺚ اﳌﺴﺘﻮى اﻟﻨﻮﻋﻲ واﻟﺮﺻني ﻟﻠﻘﺼﺎﺋﺪ اﳌﺸﺎرﻛﺔ ﰲ‬ ‫اﻟﺠﺎﺋﺰة‪ ،‬ﻋﻼوة ﻋﲆ ﻣﺴﺘﻮى اﻹﻗﺒﺎل واﻟﺘﻠﻘﻲ اﻟﻨﻘﺪي وﻋﲆ‬ ‫ﻣﺴﺘﻮى اﻹﺷﻌﺎع اﻹﻋﻼﻣﻲ‪.‬‬ ‫ﰲ اﻟﻨﺴﺨﺔ اﻷﺧرية ﻣﻦ اﳌﺴﺎﺑﻘﺔ واﻟﺘﻲ ﺷﻬﺪت ﺗﻨﺎﻓﺴﺎً ﻛﺒرياً ﻣﻦ‬ ‫اﳌﺸﺎرﻛني‪ .‬ﺣﻴﺚ ﻛﺎن ﻣﻮﺿﻮع اﳌﺴﺎﺑﻘﺔ ﻣﺠﺎراة ﻷﺑﻴﺎت ﻗﺼﻴﺪة‬ ‫اﳌﻐﻔﻮر ﻟﻪ اﻟﺸﻴﺦ زاﻳﺪ ﺑﻦ ﺳﻠﻄﺎن آل ﻧﻬﻴﺎن )ﻳﺎ ذا اﻟﺸﺒﺎب اﻟﺒﺎين(‬ ‫وﻫﻲ ﻣﻦ اﻟﻘﺼﻴﺪة اﻟﺘﻲ ﺗﺤﻤﻞ ﰲ أﺑﻴﺎﺗﻬﺎ ﻗﻴ ًام إﻧﺴﺎﻧﻴﺔ ووﻃﻨﻴﺔ‬ ‫ﻛﺒرية اﱃ ﺟﺎﻧﺐ دورﻫﺎ اﻟﱰﺑﻮي واﻟﺘﺎرﻳﺨﻲ اﻟﻜﺒري واﻟﺬي أﺳﻬﻢ ﰲ‬ ‫ﺷﻬﺮﺗﻬﺎ واﻧﺘﺸﺎرﻫﺎ ﻋﲆ ﻣﺴﺘﻮى اﻟﻮﻃﻦ اﻟﻌﺮيب‪.‬‬ ‫وﻣﻦ أﺑﻴﺎت ﻗﺼﻴﺪة اﻟﺸﻴﺦ زاﻳﺪ رﺣﻤﻪ اﻟﻠﻪ اﻟﺘﻲ ﻛﺎﻧﺖ ﻃﺮﺣﺘﻬﺎ‬ ‫اﳌﺴﺎﺑﻘﺔ ﻟﻠﻤﺠﺎراة‪:‬‬ ‫‪Áb@@ @ @ @c@ @ @ @ D* eb@@ @ @ @c@ @ @ @ ~@ @ @ @ {@ @ @ @ D* *3 b@@ @ @ @ @ J‬‬ ‫‪2¡@@ @ @ @ @ @ @ @ m@ @ @ @ + @@ @ @ @ @ @ @ @ @ @ @ @ BH 42b@@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @+‬‬ ‫‪Áb@@ @ @ @ @ @ @ @ @ @ DvQ @ @ @ @ @ D* v@@ @ @ @ Q @ @ @ @ @ @ @ @ @ @- °H‬‬ ‫· ‪2H5 @@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ G*4H b@@ @ @ @ @ @ @ @ @ E‬‬ ‫‪Á*Qv@ @ @ @ @ @ @ @ @ @ D*H ¥Q2x@@ @ @ @ @ @ @ @ @ @ @ @D* Ix@@ @ @ @ @ @ @ @ -H‬‬ ‫¯ ‪2¡@@ @ @ @ @ @ @ @ @ @ @ @ E @@ @ @ @ @ @ @ @ £@ @ @ @ @ @ @ @ ~@ @ @ @ 6‬‬ ‫‪Á*5 Mh@@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @BH x@@ @ @ @ @ @ @ @ @ @ @ @ ~@ @ @ @ @ @ 7‬‬ ‫‪2Hv@@ @ @ @ £@ @ @ @ @D Ix@@ @ @ @ @ ~@ @ @ @ @ @ 7 @@ @ @ @ @ @ @ @ @ @ @ @ @ @ <*H‬‬ ‫‪Áb@@ @ @ @ @ @ @ @ @ :H&* eb@@ @ @ c@ @ @ @~@ @ @ @7 ¢@@ @ @ ~@ @ @ @z@ @ @ @<H‬‬ ‫‪2¡@@ @ @ @ A HR v@@ @ @ @ m@ @ @ @ @ § ¢@@ @ @ @ @ @ @ @ p@ @ @ @ J‬‬

‫إﻣﺎرايت ﻣﺘﻤﻴﺰ ﺷﺎرك ﰲ اﻟﻜﺜري ﻣﻦ اﳌﺴﺎﺑﻘﺎت وﺣﺼﻞ ﻋﲆ ﻣﺮاﻛﺰ‬ ‫ﻣﺘﻘﺪﻣﺔ‪ .‬اﺳﺘﻄﺎع ﺑﻜﻮﻧﻪ اﺑﻦ اﻟﺒﻴﺌﺔ واﳌﻜﻮن اﻻﺟﺘامﻋﻲ واﻟﺠﻐﺮاﰲ‬ ‫واﻟﺜﻘﺎﰲ واﻟﺤﻀﺎري ﻟﻬﺬه اﻷرض‪ ،‬أن ﻳﺘﻤﻴﺰ ﻋﻦ ﻏريه ﻣﻦ اﻟﺸﻌﺮاء‪،‬‬ ‫ﰲ ﻣﺠﺎراة اﻟﻘﺼﻴﺪة وأن ﻳﺘﻔﺎﻋﻞ ﻣﻊ ﻣﻔﺮداﺗﻬﺎ وﻓﻜﺮﺗﻬﺎ وﻣﻮﺿﻮﻋﻬﺎ‬ ‫ﺑﺸﻜﻞ ﻳﺘﻮاﻓﻖ ﻣﻊ اﳌﻌﺎﻳري اﻟﺘﻲ وﺿﻌﺘﻬﺎ ﻟﺠﻨﺔ اﻟﺘﺤﻜﻴﻢ ﰲ ﺗﻘﻴﻴﻤﻬﺎ‬ ‫ﻟﻠﻘﺼﺎﺋﺪ اﳌﺸﺎرﻛﺔ‪ .‬وﻟﻘﺪ أﺛﺒﺘﺖ اﻟﻘﺼﺎﺋﺪ اﳌﺸﺎرﻛﺔ ﰲ اﳌﺴﺎﺑﻘﺔ أن‬ ‫اﻟﻘﺼﻴﺪة ﺗﺮاث أﻣﺔ‪ ،‬وأﻧﻬﺎ ﺳﺠﻞ أﺑﻨﺎﺋﻬﺎ اﻟﺨﺎﻟﺪ‪ ،‬وﻟﺬﻟﻚ ﻓﻬﻲ ﺑﺎﻗﻴﺔ‬ ‫ﻻ ﺗﺰول‪ ،‬ﺗﺘﻮارﺛﻬﺎ اﻷﺟﻴﺎل وﺗﺘﻨﺎﻗﻠﻬﺎ ﻋﱪ اﻟﻌﺼﻮر‪.‬‬ ‫وﻣﻦ اﳌﺘﻌﺎرف ﻋﻠﻴﻪ وﻣﻦ اﻟﴩوط اﻷﺳﺎﺳﻴﺔ ﰲ ﻗﺼﺎﺋﺪ اﻟﺮدﻳﺎت‬ ‫واﳌﺠﺎراة ﻫﻮ اﻻﻟﺘﺰام ﺑﺎﻟﻮزن واﻟﻘﺎﻓﻴﺔ وﻋﺪم اﻟﺨﺮوج ﻋﻦ اﳌﻀﻤﻮن‪،‬‬ ‫وﻗﺪ اﻟﺘﺰم ﺑﻦ ﺧﺼﻴﻒ ﺑﻮزن وﻗﺎﻓﻴﺔ وﻣﻮﺿﻮع اﻟﻘﺼﻴﺪة ووﻓﻖ ﰲ‬ ‫ﻣﺠﺎراﺗﻪ ﻟﻠﻘﺼﻴﺪة‪ ،‬ﺣﻴﺚ ﺑﺪا ﺑﻦ ﺧﺼﻴﻒ ﻣﺠﺎراﺗﻪ ﺑﻨﻔﺲ اﻷﺳﻠﻮب‬ ‫وﺗﻌﺎﻣﻞ ﻣﻌﻬﺎ ﺑﺎﺣﱰاﻓﻴﺔ ﻋﺎﻟﻴﺔ وﻛﺄﻧﻨﺎ أﻣﺎم ﻧﺺ وﺟﺪاين؛ ﺑﻘﻮﻟﻪ ‪-:‬‬ ‫‪Áb@@ @ @ @ g@ @ @ @ @ @ @ @ @ @D* @@ @ @ @ @ @94b@@ @ @ @ @ @ @ @ @ @ @ @ Db@@ @ @ @ @ @J‬‬ ‫‪2¡@@ @ @ @ @ @ @ @ D* @@ @ @ @ @ @ £@ @ @ @ @ @ @ @ @ @ @ @ @ @B @@ @ @ @ @ @ £@ @ @ @ @ @ @E‬‬ ‫‪ÁÉ@@ @ @ £@ @ @ @p@ @ @ @C b@@ @ @ @ @ @ @ @ @ @ D *y@@ @ @ @ @ @ @ @ @ @ @ @ @ @ @<*H‬‬ ‫‪2¡@@ @ @ @ ~@ @ @ @ @{@ @ @ @ @ @ @ @ @ @´* @@ @ @ @ @ @ @ @ @D @@ @ @ @ @ @ @ ~@ @ @ @ @ @ @ @8H‬‬

‫وﰲ ﻫﺬا اﻟﻌﺪد ﺳﻮف ﻳﻜﻮن ﻣﺤﻮر إﺿﺎءﺗﻨﺎ ﻋﲆ اﻟﻘﺼﻴﺪة اﻟﺤﺎﺻﻠﺔ وﺑﺎﻧﺘﻘﺎل اﻟﻜﻌﺒﻲ اﱃ اﻟﺒﻴﺖ اﻟﺜﺎﻟﺚ واﻟﺮاﺑﻊ واﻟﺨﺎﻣﺲ واﻟﺴﺎدس‬ ‫ﻋﲆ اﳌﺮﻛﺰ اﻷول ﻟﻠﺸﺎﻋﺮ ﻋﺒﻴﺪ ﺑﻦ ﺧﺼﻴﻒ اﻟﻜﻌﺒﻲ وﻫﻮ ﺷﺎﻋﺮ ﺗﺒﺪا وﺗﱪز ﺧﱪة وﺣﻨﻜﺔ ومتﻜﻦ اﻟﺸﺎﻋﺮ‪ ،‬وذﻟﻚ ﻣﻦ ﺧﻼل اﻟﺮﻣﺰﻳﺔ‬

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‫اﻟﻌﺪد ‪ ، 77‬أﺑﺮﻳﻞ ‪2019‬‬

ĘıĘŕ

‫ اﻟﺠﺎﺑﺮي‬6‫ﻋﺒﺪا‬ @abdullhaljaberi

Ì R @D*H R ~|0 Áb@@E&°* @@E4 ¢ < 7x J v@@<¡@ Ì~|´* £~8H @@B*¡@@D* bg~7 E ¤ Q ~}JH Ì@@ @J @@ Q @ @ D @@ @ @ E @@ @ @B*H x@@ @ @ D* @@j@ E x@@Jx@@~@ 9 Áb@@ @ @E5 @@ @ @ FQ (* ¡@@ D b@@ @ @²* @@ p@ @ C*H Ì ~8 b@@ @DR ~6* ¥4v@ @~@8 bc£+ 1 · R Ì D* @Q @C @@j@E Á¡@@£@< ¯ @@ E°* 4b@@~@ 8H Ì~zC ¤@@ CQ y@@ ´* Í@@< @@~@ 6H @@~@z@ @F ¡@@~@ {@ J Ì ~8 94b N - ° ÁbEyD *¡D¡B h@@+R Hb@@/ Ì ~9 +bE 4v~|AR Ì ~9 ,¡p~8 i*Hx~7 R Ì@@:*H ¤@@0b@@ @ / 2x@@ @A* ¤@Q @ @ < ¢@@ Q @ c@ - ¤@@ @ D*H Ì@@c@ <H *x@@ @ @ @ @<5 f@@ @p@ @ J4 y@@ @ @ D Q @ @ @ ~@ @ @ 7%*H Ìj D* h£~94 bE * £ D* ¤~94* Hbp+ Ì@@1&É@D @@ @:¡@@E @@ Q @m@J @@0¡@@ @: x@@<b@@~@7 Ì= @@ R @ E x@@ @ P~@@{@D* * *2 £ ~|- @@Jv@@G(* Ì ~6 @@ @ G° 4b@@~@ 8 @@ E*v@@ EN @@~@ 8¡@@J Qv@ @ +° Ì~|J @@ @» ¤@@~@7 ¥x@@ @A eb@@g@C ¯ @@ 1*H Ì~z´* ¡@@ : @@cR @ @ -* eb@@p@~@z@D* ¡@@ B* b@@ F*H N xJy= @@ @ E2 Q @ @ F*H b@@ @ @D* ¡@@ @ / ¢@@ @14*H ÌjC ¢@@ Q @ c@ - ·HP Ì@@j@ @ D* @@ R @ E iÈ@@ @F

baytelshear ‫اﻟﺸﻌﺮ‬ ِ ‫ﺑﻴﺖ‬

ťŭơƴŢ ŷǉƙǈ ţƽǀ

R É@@ C b@@ J*Hy@@ D* @@£@~@9 @@ E @@£@ @ D* @@z@ @ @g@J b@@£@1 ¯Hx@@ @ ; *v@@£@ + ¢@@ @ < d@@~@|@ @J @@ @ ²* É; {£<* Á* =4 y@@²* x ~|g~6&* b@@ F&°* ¡@@£@ < ¯ ¤@@0¡@@ @: @@z@ @<* Hb@@ @0* b@@£@ @ D* rb@@ @ J4 ¤@@<¡@@ @ ~@ 9 ¢@@ @ < h@@cQ @ G @@Cb@@J b~|1H ¡@@ @G b@@£@Fv@@D* @@E ¤~z F h 0 b@@B @@£@A ¢@@ ~@ @6&°*H @@ @ E2 rb@@ : *3(* ¤@@ @ D* É@@E @@Fb@@E5 @@ Q @ « ° Ì@@ @~@8 · *¡@@Db@@B O *x@@ @ @D* 4Hx@@ @ @ E ¤@@ @ £@ < ¯ b@@ @ @ @ E%°* xQ @ @ @ @ b@@E&É@ D ¤@@-x@@ @ FH r¡@@ @ @ D* h@@ @~@6 ¡@@£@ D*H b@@ @0 v@@Jb@@~@|@ @D* *¡@@ @A* @@E x@@Ax@@- b@@ @G É@@~@z@D*H b@@ A¡@@ D*H @@E*x@@ @ D* @@ @94&* ¡@@£@ @D b N D* 4v~8 N ¤ cg J qc~|D* HQ * ¢~z< b@@< ¡@@0 @@D b@@: g ~8 x@@<b@@~@7 4*2 b@@J *x@@ @ ´* v@@£@ @ + Ì@@ ~@ @6 ¯ v@@ m@ @´* 5b@@ @ @ J ¡@@ @D b@@ N @ @D* @@g@C ¡@@A @@E d@@g@ N @D* q£ J b@@ @G *v@@ @~@8°* @@E ªb@@F x@@ @´* ¡@@ @J ¥Ì@@= b~z±* Hx D* ¡ 0 E sJ ¤ cJ R EN v + ¤ jE É D* h ~8 h ~|D* ¤ N gN 1b

ĘıĘŕ

‫ﺣﺴﻴﻦ ﺑﻦ ﻫﻨﺪي‬ @Binhindi11

4¡@@ @ @ @ D* f@@ Q @ @~@ @7 b@@ G¡@@ ~@ @9 @@c@ ~@ z@ J 4b@@ @ @ @ @ @ D*H 4Hv@@ @Db@@ @+ @@ @£@ @ /b@@ @/x@@ @D* Í@@ @ + @M @ @ D*¡@@ @ ~@ @ @6H 4¡@@ j@ @JH @@ £@ @ @ @D* @@ @ @ J ¤@@ @ @ @ D* @@ @ @£@ @Ab@@ E 4¡@@p@ + f@@ @ £@ ~@ 8 @@ @ @- b@@ @ @J4b@@ c@ @1 @@ @ M@ @ @ 94&* R P @ @ @ @ D* ¡@@ @ @J M @@ @ @ CH 4¡@@ @ »H x@@ ~@@P }@ @º b@ 4¡@@ @ @j@ @< @@ @ @ C M @ @ @ @ £@ @ ~@ @ 6 b@@ @ @Bx@@ @ @J b@@ @ @ @ @ @ @ J2H 4¡@@ @ < f@@ @ @ / ¢@@ @ @< @@ @p@ @ J4 d@@ @ @= q@M @ @ @ J4 4Hv@@ @0H ¡@@ @A b@@ @ -¡@@~@ 8 @@6x@@m@ @ - h@@ Eb@@ B 4¡ Db+ @@£@ ~@ 7 @@ @ ~@ z@ D* @@ @ : ¢@@ @ < M2H5 4¡@@ ;b@@ F H2 @@ @E ¡@@ ~@ @{@ @D* v@@ @E ¡@@ ~@ {@ 4¡@@ @ @ :b@@ E i¡@@ ~@ @8 °H @M @ c@ @~@ @7 b@@ Gv@@ @ @<b@@ E 4¡@@ @ D* yNQ @ @ @ @ FN ¤@@c@ ~@ |@ D* ¢@@g@ 0 h@@ @£N @ @ GN M x@@ @ @J 4¡@@ @ @ @ @ R @ @EN @@ @ @ £@ @A °H M @ @ @ @ E @@ @ @ @ FP *Ì@@ @0 4¡@@ @ : @@ @ @- @@ Eb@@ @ @~@ @6 M x@@ @Jb@@ @~@ @ {@ @ < ¤@@ @ @g@ @J 4¡@@ @ @ F ¢@@ @ @< M4¡@@ @ @ @F 4b@@ @ ~@ @ @8H v@@ @Jv@@ @/ x@@ @ @ @ +H 4¡@@ Jv@@ E @@ @ @ @ ²* ¢@@ @ @< Md@@ @ @J2b@@ @ @+2 @@ @Gy@@ @J 4Hy@@ @ @ @ D* f@@ @ @ @ cNQ @ @ D b@@ @ @ @ @ @ s@ + @@ @ @ @ @- v@@ @ @ @ @ 0H 4¡@@ @+b@@ @: @@ @ @ @ - M @ @ -b@@ @ @ ~@ @ {@ @ E ¢@@ @ @ @ < M2b@@ @ @ @ @ @BH 4Hx@@~@ z@ E 4b@@ ~@ 8 @@G4b@@ @ ~@ 8 rx@@ @E b@@ ~@ 7 ° 4¡@@ @ @ g@ @~@ @62 x@@ @ @ £@ @1 @@ @ g@ @ ~@ 6 ¤@@ @ @ @ @D* b@@ @ @ £@ c@ F

ƃƙƹƴŢ ŷŧƐ

@@ @ @ DNQ 2 q@@ c@ @~@ @|@ @D* f@@ @ m@NQ @ @ A @@ @ E É@@ @ 0 b@@ @ E b@@ @ J @@ Q @ @Â b@@ @ @ E @@ @ @ @ Gv@@ @ J @@ @ @ E @M @ @ z@ @ @ @ ¸ ¯ @@ DQ Mh@@ ~@ @|@ @ @ @E *3 @@ @ @< v@@ @ @ @0*H eb@@ @ @/ (* @@ Q @ : @@ @ @ 94°* ¢@@ @ < ¤@@ Bb@@ + x@@ @ @´* q@@c@ ~@ 8 @@ Q @ @ - x@@ @ @Jy@@ @ @±* @@ c@ @~@ @7 ¢@@ @ @< Md@@ @p@ @ ~@ @ 6H @@ DQ xN @ @ @ @ @ +N @@ @ @j@ @EH ¤@@ ~@ @{@ @Â @@ @ Ex@@ @ D* 2*H @@ DQ q@M @ @ Jb@@ @ A @@ @ @ @ @ D*H *x@@ @ @ ~@ @}@ @1 @@ @ @ @ @ 94°*H @@ Q @ C i¡@@ ~@ @|@ @D* @@ Ax@@ - µb@@ ~@ @6 * h@@ @ @~@ @7H @@ DQ Mf@ @ @ @ @ A ¡@@ @ @0 b@@ @J ¥v@@ @ @ £@ @+y@@ D* h@@ @ @~@ @7H Q@ @ @~zE b@@ @ @ Gv@@ @ @ 1 rM *x@@ @ @ @ @ @ @ @ + @@ @M @ @ @ 94* @@ @ Q @ @ AN d@@ @£@ @ B*x@@ @ @ @ D* @@ @7x@@ @ @ @ 0 b@@ @ @ @ + b@@ @ <x@@ @ @@ @DQ @M @ @ @/x@@ @ @J b@@ @ @ ~@ @z@ @´b@@ + @M @ @c@ @ ~@ @ 7 @@ £@ @ Ab@@ @ @ E @@ DQ @@ @ @N @ @ @ E5P 4R * @@ @ G4b@@ @ @ ~@ 8 @@ @ @ @ @ @ EN 5P 4R b@@ @ £@ D* @@ @ DQ xM @ @ @ @ @ @ @ @ @J Mw@@ @ @ @ @ @ 1° M @ @ @ @ @ @p@ @ @A M @ @ @ @ @ @ @ @ EH @@ Q @ ¹ $b@@ @ @ / x@@ @ @+¡@@ @ @D*H @@ @ @ @ @ @ G*43* t@@ Q @ @~@ @7 @@ DQ M @ @c@ @~@ @{@ @J 2x@@ @ @ @ c@ @ D* ¡@@ @ @ D b@@ @ @C q@M @ @ @ @ ~@ @ 9H DQ q@M @:b@@F ¢@@p@~@}@D* @@z@ @~@7 h@@Bx@@~@ 7 b@@£@ D* @@ @ DQ @M @ @ @ @ @ @ @ @ <H M @ @ @Db@@ @ £@ @ @ @ @ @D @M @ @ @ @ @ @ BH @@ @ @ @ @ . @@ @DQ @@ @ @ /H HQ v@@ @ @ @ @ @ @ ´* i¡@@ @ @ @ ~@ @ 8 @M @ @ Q @ @ ~@ @ z@ @ -H @@ Q @ E Ì@@ @1 ¢@@ @ @< ¥2b@@ @ @ @ @D* ¢@@ @ @< *¡@@ @ @~@ @8H

2019 ‫ أﺑﺮﻳﻞ‬، 77 ‫اﻟﻌﺪد‬

‫¸‬ ‫ ‪ Ġšħ‬‬

‫اﻟﺬاﺋﻘﺔ اﻟﻤﺮاوﻏﺔ‬

‫‪@allmasoudi‬‬ ‫‪di‬‬

‫اﻟﻤﺴﻌﻮدي‬ ‫ﻮدي‬ ‫اﻟﻤﺴ‬ ‫ﻋﻠﻲ ﻤ‬

‫ﻣﺎﻫﻲ اﻟﺬاﺋﻘﺔ اﻟﺘﻲ ﻧﺤﻜﻢ ﻣﻦ ﺧﻼﻟﻬﺎ ﻋﲆ ﻧﺺ ﺷﻌﺮي ﻣﺎ‪ ..‬ﺑﺎﻟﺠﻮدة أو ﻋﺪﻣﻬﺎ؟‬ ‫ﻫﻞ ﻫﻲ اﻟﻨﻘﺪ أم ﻫﻲ ﳾء آﺧﺮ؟‬ ‫ﻫﻞ ﻫﻲ ﺧﺎﻃﺮ وﺟﺪاين ﻋﺎﻃﻔﻲ ﻳﻌﺘﻤﺪ ﻋﲆ ﻣﺸﺎﻋﺮ ﻣﺠﻬﻮﻟﺔ ﻻميﻜﻦ ﺗﺤﺪﻳﺪﻫﺎ أم ميﻜﻦ‬ ‫ﻗﻴﺎﺳﻬﺎ؟‬ ‫ﻫﻞ ﻫﻨﺎك ذاﺋﻘﺔ ﻓﺎﺳﺪة؟‬ ‫ﻫﻞ ﻫﻲ ﺗﺮاﻛﻢ ﻣﻌﺮﰲ؟‬ ‫ﻫﻞ ﻫﻲ ﻣﺸﺎﻋﺮ وأﺣﺎﺳﻴﺲ ﻣﺆﻗﺘﺔ ﺑﺤﻴﺚ ﺗﻘﻮل ﻋﻦ ﻧﺺ ﻗﺮأﺗﻪ اﻟﻴﻮم إﻧﻪ ﺟﻴﺪ‪ ،‬ﺛﻢ ﺗﺘﻐري ﺗﻠﻚ‬ ‫اﻟﺬاﺋﻘﺔ اﳌﺮاوﻏﺔ ﻟﺴﺒﺐ ﻣﺎ ﰲ ﻳﻮم آﺧﺮ وﺗﺘﻐري ﺑﻨﺎء ﻋﻠﻴﻬﺎ ﻣﺸﺎﻋﺮك ﺗﺠﺎه اﻟﻨﺺ ﻧﻔﺴﻪ ﻓﺘﻘﻮل‬ ‫إﻧﻪ رﻛﻴﻚ‪.‬‬ ‫ﻫﻞ ﺗﺘﻄﻮر اﻟﺬاﺋﻘﺔ أم ﻫﻲ ﺛﺎﺑﺘﺔ؟‬ ‫ﻫﻞ اﻟﺒﻴﺌﺔ اﻟﺜﻘﺎﻓﻴﺔ اﻟﺘﻲ ﻳﻌﻴﺸﻬﺎ اﻹﻧﺴﺎن ﺗﺆﺛﺮ ﻋﲆ ذاﺋﻘﺘﻪ‪ .‬وﺗﺸﻜﻠﻬﺎ وﺗﻮﺟﻬﻬﺎ؟‪..‬‬ ‫ﻛﺬﻟﻚ‪ ..‬ﺣﻴﺎﺗﻪ‪ ،‬ﻋﻤﻠﻪ‪ ،‬وﺿﻌﻪ اﻻﺟﺘامﻋﻲ‪ ،‬ﺑﻴﺌﺘﻪ وﻣﻨﺎﺧﻪ وﻣﺴﺘﻮاه اﳌﺎدي‪ ،‬ﻫﻞ ﻟﻬﺎ ﻋﻼﻗﺔ‬ ‫ﺑﱰﻛﻴﺐ اﻟﺬوق اﻟﻔﻨﻲ ﰲ ﺷﺨﺼﻴﺘﻪ؟‬ ‫دﻳﻨﻪ‪ ،‬أﺧﻼﻗﻴﺎﺗﻪ وﺳﻠﻮﻛﻪ ﻫﻞ ﺗﺤﺪد ذاﺋﻘﺘﻪ‪ ...‬ﻫﻞ ميﻜﻦ أن ﻳﻜﻮن اﻹﻧﺴﺎن اﳌﺤﺎﻓﻆ ﻣﺜ ًﻼ أﻋﲆ‬ ‫ذاﺋﻘﺔ ﻣﻦ ذﻟﻚ اﳌﻨﺤﻞ اﻟﺬي ﻳﺘﻌﺎﻣﻞ ﻣﻊ ﻗﻮاﻧني اﳌﺠﺘﻤﻊ واﻟﺪﻳﻦ واﻟﻌﺎدات ﺑﺎﻧﺤﻼل‪ ..‬أم أن‬ ‫ﻫﺬا أﻣﺮ آﺧﺮ‪ ..‬ﺑﻞ ميﻜﻦ أن ﻳﻜﻮن اﻟﻌﻜﺲ متﺎﻣﺎً ﰲ اﻟﺬاﺋﻘﺔ؟‬ ‫أﻳﻀﺎً ﻣﺤﻴﻄﻪ اﻻﺟﺘامﻋﻲ وﻣﻦ ﺣﻮﻟﻪ ﻣﻦ أﺻﺪﻗﺎء وﺛﻘﺎﻓﺔ ﻋﺎﻣﺔ ﺗﺘﺒﻨﺎﻫﺎ اﻟﺪوﻟﺔ‪ ،‬ﻫﻞ ﻟﻬﺎ أﺛﺮ ﰲ‬ ‫ﻋﻤﻠﻴﺔ اﻟﺬوق اﻟﺨﺎص ﺑﺘﻠﻘﻲ اﻷﻋامل اﻹﺑﺪاﻋﻴﺔ وﺗﻌﺎﻃﻴﻬﺎ ﺑﺎﻟﺸﻜﻞ اﳌﻔﱰض؟‬ ‫وأﺧرياً‪ ..‬ﻫﺪﻓﻪ ﰲ اﻟﺤﻴﺎة‪ ،‬ﻫﻞ ﻟﻪ ﻋﻼﻗﺔ ﺑﺘﻄﻮر ذاﺋﻘﺘﻪ واﻧﺤﺪارﻫﺎ‪ ..‬وﺗﻠﻚ اﻟﺰاوﻳﺔ اﻟﺘﻲ ﻳﻨﻈﺮ‬ ‫ﻣﻦ ﺧﻼﻟﻬﺎ ﳌﺎ ﺣﻮﻟﻪ ﻣﻦ اﻋﺘامﻻت‪ ..‬وﻫﻞ ﻫﻲ اﻟﺘﻲ ﺗﻐﺬي اﳌﻌﺎرف أم اﳌﻌﺎرف ﺗﻐﺬﻳﻬﺎ؟‬ ‫ﻻﺑﺪ ﻣﻦ اﺳﺘﻜﺸﺎف ﺣﺎﻟﺔ اﻟﺘﻘﻴﻴﻢ اﳌﺮاوﻏﺔ ﺗﻠﻚ اﻟﺘﻲ ﺗﺮﻓﺾ اﻻﻧﺼﻴﺎع ﻟﻠﻘﺎﻧﻮن اﻷديب وﺗﺮﻳﺪ أن‬ ‫ﺗﻜﻮن ﺣﺮة ﻃﻠﻴﻘﺔ ﻻ ﻳﺤﻜﻤﻬﺎ ﳾء‪ ..‬وﺗﺘﺤﻜﻢ مبﺰاﺟﻬﺎ ﰲ ﻣﺎ ﺣﻮﻟﻬﺎ‪ ..‬وﺑﺎﻟﺘﺎﱄ ﻻﺑﺪ ﻣﻦ ﺗﺄﻃريﻫﺎ‬ ‫ﰲ ﻗﺎﻧﻮن ﻣﺘﻔﻖ ﻋﻠﻴﻪ ﻟﺘﺨﺮج ﻣﻦ ﻛﻮﻧﻬﺎ ﺣﻜ ًام اﻋﺘﺒﺎﻃﻴﺎً وﺗﺪﺧﻞ ﰲ ﻋﺎمل اﻟﺘﺪرج اﻟﻮﻇﻴﻔﻲ‬ ‫اﻹﺑﺪاﻋﻲ اﻟﺬي ﻧﺴﺘﻄﻴﻊ أن ﻧﺘﻌﺎﻣﻞ ﻣﻌﻪ وﻧﻘﺒﻞ ﻣﻨﻪ اﻟﺤﻜﻢ ﻋﲆ ﻧﺺ ﺟﻴﺪ ﺑﺄﻧﻪ ﺟﻴﺪ‪ ..‬وﻧﺮﻓﺾ‬ ‫ﺗﺼﻨﻴﻔﻪ ﻟﻨﺺ ﺑﺪﻳﻊ ﻋﲆ أﻧﻪ ﻣﻜﺮور ﺑﺤﺠﺔ "ﻫﺬه ذاﺋﻘﺘﻲ"!‬ ‫اﻟﺸﻌﺮ ‪baytelshear‬‬ ‫ﺑﻴﺖ ِ‬

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‫ ‪¥ũľğı‬‬

‫ﻫﺎين ﺧﻠﻒ‬

‫ﻫﻴﺎم اﻟﻌﺠﻼن‬

‫ﻣﺤﻤﺪ اﻟﺼﻴﺎدي‬

‫اﻟﺨﺎل ﻋامر‬

‫اﻟﻄﻔﻮﻟﺔ ﺗﺤﴬ ﺑﻜﻞ أﻣﻮﻣﺔ وﺣﻨﺎن‪ ،‬وﰲ اﳌﺪرﺳﺔ ﺗﺤﴬ ﺑﺎﻟﺼﱪ‬ ‫واﻟﺴﻬﺮ واﳌﺜﺎﺑﺮة وﺑﺎﻟﺸﺒﺎب‪.‬‬

‫وﺗﻜﱪ ّﰲ اﻟﻄﻔﻮﻟ ُﺔ ﻳﻮﻣﺎ‬ ‫ﻋﲆ ﺻﺪر ﻳﻮم‬ ‫وأﻋﺸﻖ ﻋﻤﺮي ّ‬ ‫ﻷين إذا ُ‬ ‫ﻣﺖ‬ ‫أﺧﺠﻞ ﻣﻦ دﻣﻊ أ ّﻣﻲ‬ ‫واﻟﺤﺪﻳﺚ ﻫﻨﺎ ﻳﻄﻮل وﻳﻄﻮل ﺟﺪا‪ ،‬ﻓﺎﻷم ﻫﻲ ﺣﺠﺮ اﻟﺰّاوﻳﺔ ﰲ‬ ‫اﻷﴎة ﻣﻨﺬ اﻷزل وﻗﺪ ْ‬ ‫أﻛﺪت ﺟﻤﻴﻊ اﻟﺪﻳﺎﻧﺎت اﻟﺴاموﻳﺔ ﻋﲆ ﻋﻈﻤﺔ‬ ‫دورﻫﺎ واﺟﺰم ان ﻟﻴﺲ ﻫﻨﺎﻟﻚ ﺷﺎﻋﺮ ﻗﺪ اﻏﻔﻞ ذﻛﺮ أ ّﻣﻪ اﻟﺒﺘﺔ‪.‬‬

‫رﺣﻤﺔ ﻟﻨﺎ‬

‫ﻳﻮم ﻻ ﻳﻨﻔﻊ اﻟﻨﺪم‬

‫ﻳﻀﻴﻒ اﻟﺸﺎﻋﺮ ﻫﺎين ﺧﻠﻒ أن اﻟﻨﺒﻲ ﻋﻠﻴﻪ اﻟﺼﻼة واﻟﺴﻼم وﻟﺪ‬ ‫وﺗﺮىب ﻳﺘﻴﻢ اﻷﺑﻮﻳﻦ‪ ،‬وﻗﺪ أوﺻﺎﻧﺎ ﺑﻬام ﺧرياً وأﺧﱪﻧﺎ ﺑﺄن اﻟﺠﻨﺔ ﺗﺤﺖ‬ ‫أﻗﺪام اﻷﻣﻬﺎت اﻟﻼيت ُﺧﻠﻘﻦ رﺣﻤﺔ ﻣﻦ اﻟﻠﻪ ﻟﻨﺎ‪ ،‬ﻓﺎﻷم ﻣﻦ ﺗﺘﺤﻤﻞ‬ ‫ﻣﻦ أﺟﻞ أﺑﻨﺎﺋﻬﺎ ﻣﺎ ﻻ ﺗﺘﺤﻤﻠﻪ ﻣﻦ أﺟﻞ ﻧﻔﺴﻬﺎ‪ ،‬وﺣني متﻮت اﻷم‬ ‫ﺗﺬﻫﺐ اﻟﺘﻲ ﻛﺎن اﻟﻠﻪ ﻳﻜﺮم أﺑﻨﺎءﻫﺎ ﻣﻦ أﺟﻠﻬﺎ‪ .‬ﻓﺎرﺣﻢ اﻟﻠﻬﻢ ﻛﻞ‬ ‫أﻣﻬﺎﺗﻨﺎ وأﻣﻬﺎت اﳌﺴﻠﻤني ﰲ اﻟﺤﻴﺎة اﻟﺪﻧﻴﺎ واﻵﺧﺮة‪.‬‬

‫ﻳﻘﻮل اﻟﺸﺎﻋﺮ أﺣﻤﺪ اﻟﻔﻬﺪي‪ :‬رمبﺎ ﻓﻘﺪت واﻟﺪيت ﰲ ﺳﻦ ﻣﺒﻜﺮة‪ ،‬ومل‬ ‫ﻳﺮزﻗﻨﻲ اﻟﻠﻪ ﺑﺮﻫﺎ‪ ،‬وﻫﻲ ﻋﲆ ﻗﻴﺪ اﻟﺤﻴﺎة‪ ،‬وأﺳﺄﻟﻪ أن ﻳﺮزﻗﻨﻲ ﺑﺮﻫﺎ‬ ‫وﻫﻲ ﺗﺤﺖ رﺣﻤﺘﻪ‪.‬‬ ‫وﻟﻜﻨﻨﻲ أﻋﺘﺐ ﻋﲆ ﻛﻞ رﺟﻞ واﻣﺮأة وﺷﺎب وﻓﺘﺎة أدرك واﻟﺪﺗﻪ‬ ‫ومل ﻳﻮﻓﻴﻬﺎ ﺣﻘﻬﺎ ﰲ ﺑﺮﻫﺎ‪ ،‬ومل ﻳﺮﺧﺺ اﻟﻐﺎﱄ واﻟﻨﻔﻴﺲ ﻣﻦ اﺟﻞ‬ ‫إرﺿﺎﺋﻬﺎ‪ .‬ﻳﺤﺰﻧﻨﻲ أﻧﻨﺎ ﻻ زﻟﻨﺎ ﻧﻮاﺟﻪ وﻧﻌﺎين ﻣﻦ ﻣﺸﻜﻠﺔ ﻋﻘﻮق‬ ‫اﻟﻮاﻟﺪﻳﻦ‪ ،‬وﺑﻌﻀﻬﻢ ﻻ ﻳﺪرﻛﻮن ﻗﺪر اﻟﻨﻌﻤﺔ اﻟﺘﻲ ﻫﻢ ﻓﻴﻬﺎ‪ ،‬وأﺧﴙ‬ ‫أن ﻳﺪرﻛﻮﻧﻬﺎ ﺑﻌﺪ ﻓﻮات اﻷوان ﻳﻮم ﻻ ﻳﻨﻔﻊ اﻟﻨﺪم‪.‬‬

‫‪ x@@ @J2 4b@@ ~@ @8 @@ @:¡@@ @D* @@ j@ E x@@~@ {@ c@ D* @@}@ @ +‬‬ ‫*‪ @@ @ @ @ EQ * v@@ @ @ Bb@@ @ @ A Ä@@ @ g@ @ @ @ @ @- @@ @ @ -v@@ @ @ @ @ @ A *3‬‬ ‫ @ @ @‪ Ì@@ @c@ @ < @@ @ @ +w@@ @ @ JH @@ @ @m@ @ @ @ @ @ @ @ @ DQ * @@ @ @gQ @ @ @ £‬‬‫‪ @@ Â‬‬ ‫*(‪Q ¡@@ @ @ B @@ @ E ¡@@ @ £@ @ + h@@ @ Ex@@ @ p@ @ @F* *3‬‬ ‫@‪ Ì@@ @ ~@ @ z@ @ E @@ @ @ @ @ @ @ @ @DH Hx‬‬ ‫‪M @ @ @ @ @ @ @ @ @ @ 0 f@@ @ @ @ .É@@ @ @ @ .‬‬ ‫‪ @@ @ @ F @@ @ @ J5*¡@@ @ @ -b@@ @ @ E @@ @ Jb@@ @ @ @ ~@ @ {@ @ D* Í@@ @ @ @ @+‬‬

‫ﻟﻴﺲ ﻫﻨﺎﻟﻚ ﺷﺎﻋﺮ ﻗﺪ أﻏﻔﻞ ذﻛﺮ ّ‬ ‫أﻣﻪ‬

‫وﻳﻘﻮل اﻟﺸﺎﻋﺮ ﻣﺤﻤﺪ ﻣﺴﻌﺪ اﻟﺼﻴﺎدي‪ :‬اﻟﺸﻌﺮ ﰲ اﻟﻔﺼﻴﺢ‬ ‫واﻟﻌﺎﻣﻲ‪ ،‬اﻫﺘﻢ ﺑﻞ اﻧﺘﺒﻪ ﻟﺪور اﻷم ﻣﻨﺬ اﻷزل‪ ،‬وﺑﺎﻟﺘﺎﱄ ﻓﺎﻟﺸﻌﺮاء‬ ‫ﻣﻴﻨﺎء اﻟﺴﻼم‬ ‫ﺗﺴﺎﺑﻘﻮا ﰲ ﻛﺘﺎﺑﺔ ﻣﺸﺎﻋﺮﻫﻢ ﺗﺠﺎه أﻣﻬﺎﺗﻬﻢ‪ ،‬وﰲ ﻣﺨﺘﻠﻒ اﻟﻌﺼﻮر‪،‬‬ ‫أﻣﺎ اﻟﺸﺎﻋﺮ اﻟﺨﺎل ﻋامر ﺟامﻋﻲ ﻓﻘﺎل‪ :‬ﻟﻴﺴﺖ " ّميﺔ " ﻛام ﻧﻨﻄﻘﻬﺎ‬ ‫وﺟﻤﻴﻌﻨﺎ ﻗﺮأﻧﺎ ﻗﻮل أﻣري اﻟﺸﻌﺮاء أﺣﻤﺪ ﺷﻮﻗﻲ ﰲ اﻷم‪:‬‬ ‫ﰲ ﺟﻨﻮﺑﻨﺎ اﻟﺘﻮﻧﴘ ﻣﺠ ّﺮد ﻣﻨﺎدى أو ﺗﻌﻴني ﻟﺸﺨﺺ‪ ،‬إ ّﻧﻬﺎ اﺗﺼﺎل‬ ‫*‪b@@ @ @ @ @ @ @-2v@@ @ @ <* *3(* f@@ @ @ @ ~@ @ @ @ 64v@@ @ @ @ E &°‬‬ ‫*< @ @ @ @ @ @ @ @ @@‪ *x@@ @ @ @ @ @ @ @ @ <&°* d@@ @ @ @£Q @ @ @ @ : b@@ @ c@ @ @ @ @ @~@ @ @7 i2v‬روﺣﺎين ﻳﻌﻴﺪﻧﺎ دامئﺎ ل" ﻣﻴﻨﺎء اﻟﺴﻼم " وﺳﻂ رﻳﺎح اﻟﺤﻴﺎة‪ .‬وﻟﻜﻦ‬ ‫ﻛ ّﻠام زﻣﻤﻨﺎ ﺷﻔﺎﻫﻨﺎ ﺑﺄ ّول ﻟﻔﻆ ﻧﻄﻘﻨﺎه ﻧﺸﻌﺮ أﻧﻨﺎ ﻧﻌﻴﺪ ﻟﻠﺒﻮﺻﻠﺔ‬ ‫ﻛام أﻧﻨﺎ ﻧﺘﺬﻛﺮ ﺟﻴﺪاً ﻣﺎ ﻗﺎﻟﻪ اﻟﺸﺎﻋﺮ ﻣﺤﻤﻮد دروﻳﺶ ﰲ ﻗﺼﻴﺪﺗﻪ اﺗﺠﺎﻫﻬﺎ وﻏﺮﺿﻬﺎ‪ .‬اﻟﺸﻌﺮ اﻟﺸﻌﺒﻲ و ﺷﺎﻋﺮه ﻋﻨﺪي أﻗﺮب إﱃ "‬ ‫اﻟﻠﻐﺔ اﻟﻄﻔﻮﻟﻴﺔ " ﻗﺒﻞ ﺑﻼﻏﺎت اﻟﺘﻘﻌﻴﺪ‪ ،‬ﻟﻬﺬا ﻫﻮ أﺑﺮع ﰲ اﻟﺘﻌﺒري‬ ‫اﻟﺸﻬرية ﺧﺒﺰ أ ّﻣﻲ واﻟﺘﻲ ﻣﻄﻠﻌﻬﺎ‪:‬‬ ‫ﻋﻦ اﻟﺸﻌﻮر اﻷ ّول مبﺤ ّﺒﺔ اﻷم‪ ،‬وأﺣﺴﺐ ّأن اﻟﺪﻳﻦ واﳌﺠﺘﻤﻊ ﺟﺎءا‬ ‫اﺣﻦ إﱃ ﺧﺒﺰ أﻣﻲ‬ ‫وﻗﻬﻮة أﻣﻲ ‪ /‬وﳌﺴﺔ أ ّﻣﻲ‬ ‫ﻓﺮﺳﺨﺎ ﺟﻮﻫﺮ اﻷﻣﻮﻣﺔ ‪..‬‬ ‫ﺗﺎﻟﻴني ﻋﲆ اﻟﻄﺒﻴﻌﺔ اﻹﻧﺴﺎﻧﻴﺔ ّ‬

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‫اﻟﻌﺪد ‪ ، 77‬أﺑﺮﻳﻞ ‪2019‬‬

‫أﻛﺮم ﻗﻨﺒﺲ‬

‫ﺣﻤﺪة اﻟﻌﻮﴈ‬

‫ﻣﻦ دوﻧﻬﺎ اﻟﺤﻴﺎة ﻣﻮﺣﺸﺔ‬

‫أﺷﺎر اﻟﺸﺎﻋﺮ اﻟﺪﻛﺘﻮر أﻛﺮم ﺟﻤﻴﻞ ُﻗﻨﺒﺲ إﱃ أن اﻷم ﻫﻲ أوﻛﺴﺠني‬ ‫اﻟﺤﻴﺎة ﻟﻸﺑﻨﺎء‪ ،‬وﻣﻦ دوﻧﻬﺎ ﺗﺼﺒﺢ اﻟﺤﻴﺎة ﻣﻮﺣﺸﺔ وﻣﻈﻠﻤﺔ‪.‬‬ ‫ﻛام أن اﻷم ﻫﻲ ﻣﺪرﺳﺔ اﻷﴎة ﰲ اﻟﺤﻴﺎة‪ ،‬يك ﻳﻨﺸﺄ اﻷﺑﻨﺎء‬ ‫ﻋﲆ اﻷﺧﻼق اﻟﺤﻤﻴﺪة واﻟﻘﺪوة اﻟﺼﺎﻟﺤﺔ وﻣﺤﺒﺔ اﻟﻮﻃﻦ‬ ‫وﺧﺪﻣﺘﻪ‪.‬‬ ‫‪vO @ @~@R@ 7xT @ @D*H O @ @ R @ @ P @ @ D*H O4¡@@ @ Q @ @ D* b@@Gb@@ @ ~@N @6 ¯ b@@ @ @DN‬‬ ‫‪O * b@@ @ GxS @ @ @+N @R @ @ @ @N P´ Rh@@ @ BN b@@ @ - b@@ @ P @ ~@ }@ AN ¯H‬‬ ‫‪vO @ @ R @ @ ³‬‬ ‫‪¤@@ g@ @ DQ * Pf@ @ @ @ @ @ 0xU @ @ @ D*H P b@@ @ @ E%É@ @ @ @D T O&°* ¤N @ @ @ @G‬‬ ‫‪vO @ @ <R ¡N @ @ D* xO @ ~@ {@ c@ g@ ~@ z@ JH b@@ @£@ @ FvT @ @ D* O @ @ @ - b@@ @ +‬‬ ‫‪b@@ GxN @ @ @ @ P< Od@@ @ @~@ @z@ @- P @ @ £@ @ @ @ D* N ¡@@ @ £@ @ @< Q &b@ @ @ @ @ C‬‬ ‫<@ @ @@‪2O 4R ¡N @ @ @ @ @ @ D* b@@ @ O @ ~@ {@ @ J N$b@@ @ @ Q @ @ @ = Mf@ @ @ ~@ @ @ 9H4 ¢‬‬ ‫‪b@@ @ @ @ @ @ @FQ &* O @ @ @ @ @ @ @ @ @ FH Kb@ @ @ @ @ @cQ @ @ @ @ @ @ O0 b@@ @ @ @ O @ @ @ @ ~@ @ z@ @ -H‬‬ ‫‪vO @ @m@ @´* P @ @ @ @ +P b@@ £@ @p@ @J P$b@@ @£@ @ @ @ @ @ D* @N @ @ @ E L4*v@@ @ @ @ @ @EN‬‬ ‫‪b@@ FxP @ @m@ @AN wO @ @ @ @ E b@@ @ @cP @ @ @ @B I4b@@ @ @ ~@ @ @ @6&* @O @ @ p@ @ @FH‬‬ ‫‪2T ¡@@ @ @ @D* O xO @ @ @ @ @ @ @ @ @J Od@@ @ @ @ @ @ D* *w@@ @ @ @G N *5b@@ @ @ @ @ @ @ EH‬‬ ‫‪b@@ @ ~@@P}@ c@ FN O4b@@ @ @ @ ~@ @ 6&* P2b@@ @ @ @ @ @¸&°* P @@ @ @ @ ¹ ¯H‬‬ ‫‪vO @ @ @ @ @ @D*H xO @ @ @ @ @ @ D* xN @ @ @ @ @ @.&* b@@ @ E b@@ @ @+ b@@ @ @ FR&*x@@ @ @ BN‬‬ ‫@ @ @ @‪,K 2b@@ @ @ @ ~@ @ 6 ¤@@ @ @ @ c@ @ -HN Kb@ @ @ @ @ @ R @ @ @ O0 b@@ @ @ @ + @O @ {@ @£‬‬‫‪2O HR wS @ @ @ @ @ D* N4v@@ @ g@ @ @+* *3(* Kb@ @ Ey@@ @< b@@ @ @+ ¤@@ ~@ @}@ @¿H‬‬ ‫‪iR xN @ @ @ @ .&* Uv@ @ @ @ ±‬‬ ‫*(‪P * Pv@@ <b@@ ~@ @6 @@ @< Rh@@ N @ ~@ {@ C *3‬‬ ‫‪vO @ @ @ @ @ @ AR 4P b@@ @ @ @ @ @ +P Í@N @ @ @ ´b@@ @ @ @ @ @ D* U @ @ @ @ @ O @ @ @ @ @DP ,L b@@ @ @ £@ @ @ @ 0‬‬ ‫‪O @ @ @ @ Ax@@ @ @ @ -O‬‬ ‫@‪O @ @ @ @ @ @ @ J*4 x‬‬ ‫@‪b@@ @ cP @ @ @ + P É@@ @ @ ~@@Q @ @ z@ @ @ D* ib‬‬ ‫‪vO @ @ @ @ ~@S@ z@ @ D* On@ @ @ @ g@ @ c@ @ JH i*QL 2¡@@ @ @ @ @ @ @ @ @ E ¡@@ @ @Gy@@ @ @-H‬‬ ‫*&‪b@@ @ ~@N @z@ @ F P ¡@@ @ @ @ @D* ¶(* Rh@@ @ @ @ @ AS 5N ,K &*x@@ @ @ @ @ @E* b@@ @ @ J‬‬ ‫‪vO @ @ @ @±*H O @ @£@ @±* Nd@@ ~@ @|@ @1&* v@@ B @@ @+P K$b@@ £@ @~@ @9‬‬

‫أﺣﻤﺪ اﻟﻔﻬﺪي‬

‫ﻋﺒﺪاﻟﻠﻪ ﺻﻼل اﻟﻌﺴﺎف‬

‫مل ﻧﻮﻓﻴﻬﺎ ﻗﺪرﻫﺎ ومل ﻧﻌﻄﻬﺎ ﺣﻘﻬﺎ‪ ،‬وﻗﺼﺎﺋﺪﻧﺎ ﻣﻬام ﺗﻐﻨﺖ ﻷﺟﻞ‬ ‫ﻫﺬه اﻟﻬﺎﻣﻪ اﻟﻌﻈﻴﻤﺔ ﻟﻦ ﺗﻔﻲ ﺑﺎﳌﻄﻠﻮب‪ .‬وأﻧﺎ ﻛﺸﺎﻋﺮة ﻛﺘﺒﺖ ﰲ‬ ‫ﺣﺐ اﻷم وﻛﺘﺒﺖ ﰲ ﻋﻄﺎﺋﻬﺎ وﻛﺘﺒﺖ ﰲ اﺣﺘﻮاﺋﻬﺎ وﻛﺘﺒﺖ ﰲ ﺻﱪﻫﺎ‪،‬‬ ‫ﻛﻐريي ﻣﻦ اﻟﺸﻌﺮاء‪ ،‬وﻟﻜﻦ مل أﺷﻌﺮ ﻣﻊ أي ﻗﺼﻴﺪة أﻧﻬﺎ أﺷﺒﻌﺖ ﻣﺎ‬ ‫ﺑﺪاﺧﲇ أو ﺣﺎزت ﻋﲆ واﺣﺪ ﺑﺎﳌﺌﺔ ﻣﻦ اﳌﻄﻠﻮب‪.‬‬ ‫اﻷم ﻫﻲ اﻟﻘﺼﻴﺪة اﻟﻮﺣﻴﺪة اﻟﺘﻲ ﻣﻦ اﳌﻤﻜﻦ أن ﻧﻄﻠﻖ ﻋﻠﻴﻬﺎ‬ ‫اﻟﻘﺼﻴﺪة اﻟﻌﺎﻃﻔﻴﺔ واﻻﺟﺘامﻋﻴﺔ واﻟﻮﻃﻨﻴﺔ ﻣﻌﺎً‪..‬‬ ‫‪2¡ ~{E c EH £~8* Ì gJ d ~8 v EbJ‬‬ ‫‪ b~{ D* ,&b ; b cp+ ¥Hx- xGb: 0H4bJ‬‬ ‫‪2¡ ´* b + 4v~6H D*H £ D* rH4b@@J‬‬ ‫ ‪ É³*H G°* ~8HH ¡ ~7 cp´* b‬‬‫ﻧﺒﻊ اﻟﻌﺎﻃﻔﺔ‬

‫ﺗﻘﻮل اﻟﺸﺎﻋﺮة ﺣﻤﺪه اﻟﻌﻮﴈ إن اﻟﺸﺎﻋﺮ ﻛﺎﺋﻦ ﺣﺴﺎس ﺗﻔﻴﺾ‬ ‫ﻣﺸﺎﻋﺮه وﺗﻨﺘﻔﺾ ﳌﺎ ﺣﻮﻟﻪ ﻣﻦ ﻣﺆﺛﺮات‪ ،‬واﻷم ﻫﻲ ﻧﺒﻊ اﻟﻌﺎﻃﻔﺔ‬ ‫واﳌﺆﺛﺮ اﻷول ﰲ ﺣﻴﺎة ﻛﻞ إﻧﺴﺎن مبﺎ ﻓﻴﻬﻢ اﻟﺸﺎﻋﺮ‪ ،‬وﻟﺬﻟﻚ ﺗﺠﺪ‬ ‫أن ﻛﻞ ﻗﺼﻴﺪة ﺗﺘﻜﻠﻢ ﻋﻦ ﻫﺬا اﻟﻜﺎﺋﻦ اﳌﺤﺒﻮب ﻟﻬﺎ ﻣﻦ اﻟﻘﺪاﺳﺔ‬ ‫واﻷﻫﻤﻴﺔ ﻋﻨﺪ ﺷﺎﻋﺮﻫﺎ‪ ،‬ﺳﻮاء ﻛﺎن ﻫﺬا اﻟﺸﻌﺮ ﻓﺼﻴﺤﺎً أم ﻋﺎﻣﻴﺎً‬ ‫ﺷﻌﺒﻴﺎً‪ .‬واﻟﺸﻌﺮ اﻟﺸﻌﺒﻲ ﻣﻦ أدوات اﻟﺸﻌﻮب ﰲ ﻋﻜﺲ ﻛﻞ ﻣﺎ‬ ‫ﻳﺘﻌﻠﻖ ﻓﻴﻬﺎ ﻣﻦ ﻗﻴﻢ دﻳﻨﻴﺔ وﺗﺮاﺛﻴﺔ واﺟﺘامﻋﻴﺔ ﻓﻤﻦ اﳌﺆﻛﺪ أن‬ ‫ﻣﻜﺎﻧﺔ اﻷم ﰲ اﻷدب اﻟﺸﻌﺒﻲ ﻋﻈﻴﻤﺔ وﻣﻮﺛﻘﺔ ﻋﻨﺪ ﻛﻞ ﺷﺎﻋﺮ وﰲ‬ ‫ﻛﻞ دﻳﻮان‪.‬‬ ‫اﻟﻘﺼﻴﺪة اﻟﺘﻲ ﻟﻢ ﺗﻜﺘﺐ‬

‫وﻳﺆﻛﺪ اﻟﺸﺎﻋﺮ ﻋﺒﺪاﻟﻠﻪ ﺻﻼل اﻟﻌﺴﺎف أن اﻷم أﺑﺠﺪﻳﺔ اﻟﺤﺐ‬ ‫اﻟﺤﻨﺎن واﻟﺘﻀﺤﻴﺎت‬ ‫اﻟﺸﺎﻋﺮة ﻫﻴﺎم أﺣﻤﺪ اﻟﻌﺠﻼن أﺷﺎرت إﱃ أن اﻟﻜﺜري ﻣﻦ اﻟﺸﻌﺮاء اﻟﺤﻘﻴﻘﻲ وﻫﻲ اﻟﻘﺼﻴﺪة اﻟﺘﻲ مل ﺗﻜﺘﺐ وإن ﻛﺘﺒﺖ‪ ،‬وﻫﻲ أرﺣﺐ‬ ‫واﻟﺸﺎﻋﺮات ﺗﺤﺪﺛﻮا ﰲ ﻛﻞ ﻣﻜﺎن وﻛﻞ زﻣﺎن ﻋﻦ ﻣﻜﺎﻧﺔ اﻷم ﺷﺎﻃﺊ وأوﰱ ﻣﺮﳻ ﻟﻜﻞ ﺑﺤﻮر اﻟﺸﺎﻋﺮ وﻣﺸﺎﻋﺮه‪ ،‬ﻓﻬﻲ اﻟﻜﻔﻮف‬ ‫وﻋﻄﺎﺋﻬﺎ وﺣﺒﻬﺎ وﺣﻨﺎﻧﻬﺎ وﺗﻀﺤﻴﺎﺗﻬﺎ‪ ،‬وﻟﻜﻦ أراﻫﻦ أﻧﻨﺎ اﱃ اﻵن اﻟﺘﻲ ﺻﺎﻓﺤﺘﻪ ﺑﺎﻟﻌﻄﺎء وﻟﻬﺎ ﻧﺼﻴﺐ اﻷﺳﺪ ﺑﺤﻴﺎﺗﻪ وذﻛﺮﻳﺎﺗﻪ‪ ،‬ﻓﻔﻲ‬ ‫اﻟﺸﻌﺮ ‪baytelshear‬‬ ‫ﺑﻴﺖ ِ‬

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‫ ‪¥ũľğı‬‬

‫اﻟﺸﻌﺮاء ﻓﻲ ﻳﻮم اﻷم‪:‬‬

‫أﺟﻤﻞ اﻟﻘﺼﺎﺋﺪ ﻧﻜﺘﺒﻬﺎ ﻟﻬﺎ‬ ‫ﻣﺤﻤﺪ ﻋﺒﺪاﻟﺴﻤﻴﻊ‬

‫ﻟﻴﺲ ﻏﺮﻳﺒﺎً أن ﻳﻘﺎل‪» :‬اﻟﺠﻨﺔ ﺗﺤﺖ أﻗﺪام اﻷﻣﻬﺎت«‪ ،‬ﻓﻬﺬه اﻟﺪﻋﻮة ﻟﻠﱪ ﺑﺎﻷﻣﻬﺎت مل ﺗﺼﺪر ﻣﻦ ﻓﺮاغ‪ ،‬ﻓﻜﻠﻨﺎ ﻳﻌﺮف ﻣﺎ ﺗﻜﻦ اﻷﻣﻬﺎت‬ ‫ﻷﺑﻨﺎﺋﻬﻦ ﻣﻦ ﺣﻨﺎن ورﻋﺎﻳﺔ وﻣﺤﺒﺔ‪ ،‬وﻣﺎ ﻳﺘﻤﻨني ﻟﻬﻢ ﻣﻦ ﻣﺴﺘﻘﺒﻞ ﻳﻠﻴﻖ ﺑﻬﻢ‪.‬‬ ‫إﻧﻬﺎ اﻷم‪ ،‬اﻟﺤﻀﻦ اﻟﺬي اﺳﺘﻘﺒﻠﻨﺎ أول ﻟﺤﻈﺔ ﰲ ﻫﺬه اﻟﺤﻴﺎة وأدﻓﺄﻧﺎ ومل ﻧﻐﺎدره إﻻ ﺑﺈرادة ﻣﻨﺎ وﻇﻞ ﻳﺮﻗﺒﻨﺎ وﻳﺮﻋﺎﻧﺎ وﻳﺤﻨﻮ ﻋﻠﻴﻨﺎ‪.‬‬ ‫ﻫﻲ ﻛﻞ ﺗﻌﺒري ﺻﺎدق ميﻜﻦ أن ﻳﻘﺎل وﺗﻨﻈﻢ ﻓﻴﻪ اﻟﻘﺼﺎﺋﺪ‪ ،‬وﻫﻲ اﻷم ﻗﺼﻴﺪة اﻟﺮوح‪ .‬ﻓام ﻫﻮ ﻣﻮﻗﻒ اﻟﺸﻌﺮ اﻟﺸﻌﺒﻲ ﻣﻦ ﻫﺬه اﻟﻘﻴﻤﺔ‬ ‫اﻹﻧﺴﺎﻧﻴﺔ اﻟﻌﻈﻴﻤﺔ؟ وﻣﺎذا أﺑﺪع اﻟﺸﻌﺮاء واﻟﺸﺎﻋﺮات ﻣﻦ ﺷﻌﺮ ﻳﻌﱪ ﻋﻦ ﻣﻜﺎﻧﺔ اﻷم وﻋﻄﺎﺋﻬﺎ؟‬

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‫اﻟﻌﺪد ‪ ، 77‬أﺑﺮﻳﻞ ‪2019‬‬

‫ﺷﻌﺮﻳﺔ ّ‬ ‫ﺗﺪل ﻋﲆ دﻗﺔ ﺻﻴﺎﻏﺘﻬﺎ وﻣﺼﺪاق ذﻟﻚ إﺧﺘﻴﺎرﻫﺎ "ﺣﺺ"‬ ‫و"ﺟﻴﻮن" وﺻــﻮﻻً إﱃ "ﻟﻮﻟﻮ" وﻛﺄﻧﻬﺎ ﻛﺎﻟﻄﻮاش ﺗﺨﺘﺎر اﻷﺣﺠﺎم‬ ‫واﻷﺷﻜﺎل اﳌﺘﻨﻮﻋﺔ ﻣﻦ اﻟﻠﺆﻟﺆ يك ﺗﺸ ّﻜﻞ ﻋﻘﺪاً ﻣﻨﻈ ًام ﻳﺒﻬﺮ اﳌﺸﺎﻫﺪ‬ ‫مبﺎ ﻳﺮاه ﻣﻦ دﻗﺔ ﰲ اﻻﺧﺘﻴﺎر‪.‬‬ ‫< @ @ @ @@‪P b@@ @~@ @ 7 ex@@ @ @ @ @ @ D* ¯ @@ @ @D · v‬‬ ‫@ @ @‪ 4¡@@ @ @ @ Eb@@ @ @ @ EH @@ @ @ @ @ @ @ @0 @@ @ j@ @ @g‬‬ ‫‪P b@@ @ @ @ @ @ :H°* Ã4 @@ @ @E @@ @ @+ @@ @~@ @ 7‬‬ ‫‪ 4¡@@ @ @~@ @ @ z@ @ @ CR Ä@@ @ £@ @ @g@ @ @- b@@ @ @ @ E b@@ @ @ @ @ @0‬‬ ‫¯ ‪Áb@@ @ @ @ @g@ @ @E H2 2*2H‬‬ ‫‪ 4¡@@ @ @ @ 1w@@ @ @ @ EH v@@ @ @ @ @ @ @ @ / M 3b@@ @ @ @ @ @ @ @ @ +‬‬ ‫ﰲ ﻫﺬه اﻷﺑﻴﺎت ﺗﺒﺪأ "ﻓﺘﺎة اﻟﻌﺮب" ﺑﴩح ﻣﻮﺿﻮع ﻗﺼﻴﺪة اﻟﺸﻴﺦ‬ ‫زاﻳﺪ وﺗﻠﺘﻔﺖ إﱃ اﻟﺠﺎﻧﺐ اﻟﻮﺟﺪاين ﻣﻨﻬﺎ وﺗﺸري إﱃ أن ﻣﺎ ﺧﻠﻔﻪ‬ ‫اﳌﺤﺒﻮب ﻣﻦ ﻛﺴﻮر ﻻ ﺗﺘﺠﱪ ﻫﻮ ﺣﺎل اﳌﺤﺐ اﳌﺘﻔﺎين اﻟﺬي ﻳﺒﺬل‬ ‫اﳌﺠﻬﻮد وﻛﻞ ﻣﺎ ميﻠﻚ ﰲ ﺳﺒﻴﻞ اﳌﺤﺒﻮب‪ ،‬وﻫﺬا ﻻ ﻳﺄيت إﻻ ﻣﻦ ﻗﻨﺎﻋﺔ‬ ‫اﳌﺤﺐ ﺑﺄن ﻣﺎ ﻳﻀﺤﻲ ﻫﻮ ﻷﺟﻞ ﻣﻦ ﻳﺴﺘﺤﻖ‪ ،‬ﻟﺬﻟﻚ ﻳﺠﺐ أن ﻳﻜﻮن‬ ‫اﳌﺤﺐ ﰲ رﺿﺎ ﺗﺎم وﰲ ﺣﺎﻟﺔ اﺳﺘﻘﺮار وﻃأمﻧﻴﻨﺔ‪ ،‬وﻫﺬا ﻣﺎ ﺳﺘﺆﻛﺪه‬ ‫اﻷﺑﻴﺎت اﻟﺘﺎﻟﻴﺔ‪:‬‬ ‫‪P *y@@ @ @ @£@ @ @ @ E d@@ @ @ @ @ @²* ¯ @@ @ @ @ @ @ @ @£@ @ @+‬‬ ‫@‪ 4¡@@ @ @ @ @ @ @< q‬‬ ‫@‬ ‫@‬ ‫ ‬ ‫@‬ ‫@‬ ‫ ‬ ‫@‬ ‫@‬ ‫‬‫@‪ 2b‬‬ ‫‪@ @ @c@ @ @ g@ @ @ Db@@ @ @+‬‬ ‫‪R‬‬ ‫=@ @ @} @ @@ ‪P b@@ @ @c@ @ @ D* ,4¡@@ @ @ @ @ @ B @@ @c@ @ ~@ @ {@ @ J‬‬ ‫@ @‪ 4¡@@ @~@ @ }@ @ 0 4¡@@ @ @ @ @ F @@ @ @ E n@@ @ @g@ @c‬‬‫‪P b@@ @ @ @ @ @ @ @/H°* ¡@@ @ @ @ @ A q@@ @ gQ @ @ @ @ @ @E @@ @ @ @D‬‬ ‫وﺗﻘﻮل إن "ﻇﻔﻮ وإﺣﺴﺎن" اﻟﻄﺒﻊ ﻣﻦ أﻃﺒﺎع ﻣﺤﺒﻮب اﻟﺸﺎﻋﺮ وإن‬ ‫‪ 4¡@@ @ @ @ @ @ G5H 24¡@@ @ @ @ @ @ @ @D* ¡@@ @ @ @ @ D ¡@@ @ @ @ @ F‬‬ ‫اﳌﻘﺼﻮد ﺑﺎﻷﺑﻴﺎت اﻟﺨﻤﺴﺔ اﻷﺧرية ﻣﻦ ﻗﺼﻴﺪة اﻟﺸﻴﺦ زاﻳﺪ ﻫﻮ‬ ‫اﳌﺤﺒﻮب ﻧﻔﺴﻪ وﻟﻴﺲ ﻣﺤﻮراً ﺑﻌﻴﺪاً ﻋﻦ اﻟﻘﺼﻴﺪة‪ ،‬ﻟﺬﻟﻚ ﺗﻜﺸﻒ‬ ‫ﺗﺒﺪأ "ﻓﺘﺎة اﻟﻌﺮب" ﻫﺬا اﳌﺤﻮر ﻣﻦ ﻗﺼﻴﺪﺗﻬﺎ وﻫﻲ ﺗﺆﻛﺪ أن ﻫﻨﺎك "ﻓﺘﺎة اﻟﻌﺮب" ﰲ ﻗﺼﻴﺪﺗﻬﺎ ﻋﻦ ذﻟﻚ وﺗﻠ ّﻤﺢ أن اﳌﺤﺒﻮب ﻻﺑﺪ أن‬ ‫ﺗﻮازﻧﺎً ﺑني ﻃﺮﰲ اﻟﺤﺐ أي ﺗﺒﺎدل ﺑﺎﳌﺤﺒﺔ ﺑني اﳌﺤﺐ واﳌﺤﺒﻮب ﻟﺪرﺟﺔ ﻳﻌﻮد وﴎﻋﺎن ﻣﺎ ﺳﺘﺰول اﻷﻛﺪار ﻋﻦ ﻫﺬه اﻟﻌﻼﻗﺔ‪ ،‬وﺗﺴ ّﻮغ ﻟﻠﺸﺎﻋﺮ‬ ‫أن اﻷﺟﻮاء ﺗﺘﻌﻄﺮ ﻣﻦ اﳌﺤﺒﺔ اﻟﻜﺒرية اﻟﺘﻲ ﻳﻜﻨﻬﺎ ﻛﻞ ﻃﺮف ﻟﻠﻄﺮف اﳌﺘﻴﻢ ﰲ ﻫﻮى اﳌﺤﺒﻮب ﻋﺪم اﺳﺘﻐﻨﺎﺋﻪ ﻋﻨﻪ ووﻓﺎﺋﻪ ﻟﻬﺬا اﳌﺤﺒﻮب‬ ‫اﻵﺧﺮ‪ ،‬ومبﺎ أن اﻟﺸﺎﻋﺮة وﺻﻔﺖ اﳌﺤﺐ ﺳﺎﺑﻘﺎ ﻓﺈن اﻟﺴﻴﺎق أﺻﺒﺢ اﳌﺜﺎﱄ‪:‬‬ ‫ﺟﺎﻫﺰا ﻻﺳﺘﻘﺒﺎل أوﺻﺎف اﳌﺤﺒﻮب وﻫﻮ اﺳﺘﻌﺮاض ﻟﻘﺪرة اﻟﺸﺎﻋﺮة‬ ‫*´@ @ @ @ @ @ @ @ @ @ @ @ @@‪P b@@ @ @ @ @ @ @ @ @ @ @ @ @:H°*H @@ @ @ @ @ + 5b‬‬ ‫‪ 4¡@@ @ @ @ @ @ @ @ @ E yQ @ @ @ @ @ @ @ @ Db@@ @ @ @+ b@@ @ @ @ @ @ @ @ @ @ @J‬‬ ‫ﰲ اﻟﻮﺻﻒ وﺗﺴﺘﻐﻞ ذﻟﻚ ﰲ إﺿﻔﺎء اﻷﺟﻮاء اﳌﺒﻬﺠﺔ ﻟﻠﻘﺼﻴﺪة وﻻ‬ ‫‪P b@@ @ @0x@@ @ @A b@@ @ @ £@ @ @ @F2 ¯ h@@ @ ~@ @ @{@ @ @<H‬‬ ‫أﺟﻤﻞ ﻣﻦ وﺻﻒ ﻣﻨﻈﺮ اﳌﺤﺒﻮب وﻣﺸﻬﺪ ﻟﻘﺎء اﳌﺤﺒﻮب ﰲ آن‬ ‫‪ 4¡@@ @ @ @ @ @:H @@ @ @ @ @ @ c@ @ @ -H d@@ @ £@ @ @c@ @ @²b@@ @ +‬‬ ‫واﺣﺪ يك متﺰج ﺑﺬﻛﺎء ﻣﺸﺎﻋﺮ اﻟﻠﻘﺎء مبﺘﻌﺔ اﻟﻨﻈﺮ إﱃ ﺟامل اﳌﺤﺒﻮب‪:‬‬ ‫· ‪P b@@ @ ~@ @ @z@ @ @0*H ¡@@ @ @ @ ; @@ @<¡@@ @c@ @ :‬‬ ‫وأﺧرياً ﺗﻨﻬﻲ ﺷﺎﻋﺮﺗﻨﺎ اﻟﻘﺼﻴﺪة إﱃ إﺷﺎرة ﻟﻄﻴﻔﺔ ﻣﻦ ﺧﻼل دﻋﺎﺋﻬﺎ‬ ‫‪ 4¡@@ @ @~@ @{@ @E @@ @ 6b@@ @ @ @ @D* v@@ @ @ @ < H2‬‬ ‫‪Áb@@ @ 0 @@ @ @ @ @+ ¤@@ @ @ @ @ @ D* É@@ @ @ @ @J b@@ @ @ @E‬‬ ‫ﺑﺒﻘﺎء اﳌﺤﺒﻮب ﻣﻼزﻣﺎ ﻟﻠﻤﺤﺐ ﰲ ﺣﻠﻪ وﺗﺮﺣﺎﻟﻪ ﺑني ﻣﺨﺘﻠﻒ‬ ‫¯ ‪ 4¡@@ @ @ @ @~@ @ @7 @@ @ @ @£Q @ @ @ @ - @@ @ @ @ G*¡@@ @ @ @ G‬‬ ‫اﳌﻨﺎزل وﰲ أﺟﻤﻞ اﻷوﻗﺎت وأﺳﻌﺪ اﻟﺤﺎﻻت ﻛام ﺟﺎء ﰲ آﺧﺮ أﺑﻴﺎت‬ ‫‪Áb@@ @ @ @ g@ @ E h@@ @ @ @ @ C @@ @ @ @+ · *3‬‬ ‫اﻟﻘﺼﻴﺪة‪ ،‬وﻫﻲ ﺑﺬﻟﻚ ﺗﺘﻤﻨﻰ اﻟﺴﻌﺎدة اﻟﺪامئﺔ ﻟﺸﺎﻋﺮ ﴏح ﺑﻜﻞ‬ ‫‪ 4H2‬‬ ‫‪ °H‬‬ ‫@¡‪ I‬‬ ‫@‬ ‫@‬ ‫@‬ ‫ ‬ ‫@‬ ‫@‬ ‫@‬ ‫~‬ ‫@‬ ‫@‬ ‫< @ @ @ @ @ @@ ‪@ 6 °‬‬ ‫ﻣﺸﺎﻋﺮه أﳌﺎ ومل ﻳﺬﻛﺮ إﻻ ﻣﺤﺎﺳﻦ اﳌﺤﺒﻮب ﺗﺴﺎﻣﺤﺎ وﺣﺒﺎ ﰲ ﺗﻌﻤﻴﻢ‬ ‫اﻟﺨري ﰲ ﻛﻞ اﻷرﺟﺎء‪ ،‬وﻛﺎﻧﺖ اﻟﻘﺼﻴﺪة ﻫﻲ اﻟﺮﺳﺎﻟﺔ اﻟﺘﻲ ﺣﻤﻠﺖ‬ ‫ﻫﻨﺎ ﺗﺄيت اﻟﺸﺎﻋﺮة ﺑﺈﺣﺪى ﺗﺮاﻛﻴﺐ ﻗﺼﻴﺪة اﻟﺸﻴﺦ زاﻳﺪ وأﻣﻴﺰﻫﺎ‬ ‫ﻫﺬه اﻟﻘﻴﻢ اﻷﺧﻼﻗﻴﺔ إﱃ ﻋﺎﻣﺔ اﻟﻨﺎس‪.‬‬ ‫اﻟﺸﻌﺮ ‪baytelshear‬‬ ‫ﺑﻴﺖ ِ‬

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‫ ‪ ĘńĴ şŉ Įı‬‬

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‫اﻟﺨري ﺧﺎﻟﺪاً ﰲ اﻟﻨﻬﺎﻳﺔ ﻛام ﻳﺸري ﰲ آﺧﺮ اﻷﺑﻴﺎت وﻳﺴﺠﻠﻪ اﻟﺘﺄرﻳﺦ‬ ‫ﰲ ﺳﻄﻮره يك ﻻ ﺗﺘﻮارث اﻷﺟﻴﺎل اﻟﻼﺣﻘﺔ أي ﺣﻘﺪ وﻋﺪاوة‪ ،‬وﻫﺬه‬ ‫اﳌﻔﺮدات ﻻ ﺗﺮد ﰲ ﻗﺼﻴﺪة اﻟﺸﻴﺦ زاﻳﺪ وإمنﺎ ﻳﺬﻛﺮ أﺿﺪادﻫﺎ يك ﻻ‬ ‫ﻳﺨﺮج اﻟﻘﺼﻴﺪة ﻣﻦ ﺳﻴﺎﻗﻬﺎ اﻟﺠامﱄ اﻵﺧﺎذ‪.‬‬ ‫وﻟﻜﻦ ﻳﺒﻘﻰ اﻟﺴﺆال اﻷﻫﻢ وﻫﻮ ﴎ إدراج ﻫﺬا اﳌﺤﻮر اﻟﺬي ﻻ‬ ‫ﻳﺒﺪو وﺟﺪاﻧﻴﺎً ﰲ ﻫﺬه اﻟﻘﺼﻴﺪة اﻟﻐﺰﻟﻴﺔ‪ ،‬وﺳﻨﱰك اﻹﺟﺎﺑﺔ ﻟﻘﺼﻴﺪة‬ ‫اﳌﺠﺎراة اﻟﺘﺎﻟﻴﺔ ﻟﻠﺸﺎﻋﺮة ﻋﻮﺷﺔ ﺑﻨﺖ ﺧﻠﻴﻔﺔ "ﻓﺘﺎة اﻟﻌﺮب" ﻟﻌﻠﻬﺎ‬ ‫ﺗﻔﴪ ﻟﻨﺎ ﻣﻦ أﴎار ﻫﺬه اﻟﻘﺼﻴﺪة ﻣﺎ مل ﻧﺴﺘﻄﻊ اﺳﺘﻨﺘﺎﺟﻪ‪.‬‬ ‫‪P b@@ @ @~@ @ @ z@ @ @ F° Ì@@ @ @ @ @ @³* d@@ @ @ @ ¹ b@@ @ @ @ J‬‬ ‫‪ 4H2 5x@@ @ @ @ + ¤@@ @ @ @ @D* @@ @ z@ @ @£@ @ @)x@@ @ D*H‬‬ ‫*´@ @ @ @ @ @ @ @ @ @ @ @ @@‪Áb@@ @ @ @ j@ @ @ @ @D* v@@ @ @ @ @ @ @ @ @ @ J*5 Iv‬‬ ‫@‪ 4¡@@ @ ~@ @ @|@ @ @< v‬‬ ‫‪R @ @ @/b@@ @ @E @@ @ @ @ £@ @ @ @ 1¡@@ @+‬‬ ‫‪Áb@@ @ @ @ @~@ @6H ¥x@@ @ @ @ @ 13 ¥v@@ @ @ @ ~@ @ z@ @ E‬‬ ‫· < @ @ @ @‪ 4¡@@ @ c@ @ @~@ @ @7 h@@ @ @ Db@@ @ @ : b@@ @ @ @ £‬‬

‫ﻓﻄﺮﺗﻪ اﻹﻧﺴﺎﻧﻴﺔ ﺗﺪﻋﻮ إﱃ ﻧﴩ اﻟﺨري وﺑﺬﻟﻚ ﻳﺘﻜﺎﻣﻞ اﻹﻧﺴﺎن ﻣﻦ‬ ‫ﻣﺴﺘﻮى ﻛامﱄ إﱃ ﻣﺴﺘﻮى أﻋﲆ ﰲ اﻟﻜامل‪ ،‬واﻟﺸﺎﻋﺮة اﺧﺘﴫت ذﻟﻚ‬ ‫ﰲ وﺻﻔﻪ ﺑـ "ﻣﺤﺐ اﻟﺨري" ﻷن ﻓﻌﻞ اﻟﺨري مل ﻳﻜﻦ ﻓﻌ ًﻼ اﺧﺘﻴﺎراً وإمنﺎ‬ ‫أﺻﺒﺢ ﻓﻌﻞ اﻟﺨري ﻋﻨﺪ اﻟﺸﻴﺦ زاﻳﺪ ﻓﻌﻼ ﻣﺤﺒﺒﺎً إﻟﻴﻪ ﻳﺴﺘﻤﺘﻊ ﺑﻨﴩه‬ ‫ورؤﻳﺘﻪ وﻫﺬه درﺟﺔ ﻋﺎﻟﻴﺔ ﻣﻦ درﺟﺎت اﻟﺴﻤﻮ اﻹﻧﺴﺎين ﻻ ُﺗﺒﻠﻎ إﻻ‬ ‫ﺑﺒﺬل ﻛﻞ ﻣﺎ ﻳﺴﺘﻄﻴﻊ اﻟﺸﺎﻋﺮ ﻷﺟﻞ اﻵﺧﺮﻳﻦ‪.‬‬ ‫‪ Áb@@ @ J · q@@ @Jx@@ @~@ @ |@ @ g@ @ @ @ D h@@ @ @ @ @B‬‬ ‫‪ 4Hv@@ @ @ @ @ @ E b@@ @ ~@ @ @ {@ @ @ D* *Æ@@ @ @ @0b@@ @ @ @+‬‬ ‫*&‪Áb@@ @ @ @ @ @ D d@@ @ @ £@ @ @ @0Æ@@ @ @ D* ¤@@ @ @ @ @ @ @ @ @.‬‬ ‫‪ 4Hx@@ @~@ @ z@ @ E @@ z@ @ @ @ @ @+ @@ @£@ @ m@ @ g@ @ D*H‬‬ ‫‪P b@@ @ @ @ @ @ @.* ·b@@ @ @ @ @ = M @@ @ @ £@ @ @ @/ @@ @ @ @ @ @ F‬‬ ‫‪ 4¡@@ @ g@ @ @ ~@ @ @ 62H @@ @ <Hx@@ @ ~@ @ @{@ @ @E @@ @ @ @ @E‬‬ ‫‪P *3%°* @@ @ @ ~@ @ 7 ¡@@ @ £@ @ @/ @@ @|@ @ 0‬‬ ‫‪ 4¡@@ @ @ @ @~@@R @ 6 ¡@@ @ D¡@@ @ @ @ @Db@@ @ C @@ @ @ g@ @ @ @ -‬‬

‫ﺗﺒﺪأ ﻓﺘﺎة اﻟﻌﺮب ﻗﺼﻴﺪﺗﻬﺎ مبﺪح اﻟﺸﻴﺦ زاﻳﺪ ﰲ أﺑﻴﺎت ﺛﻼﺛﺔ وﺗﺼﻔﻪ‬ ‫ﰲ اﻟﺸﻄﺮ اﻷول ﺑﺼﻔﺎت ﺧﺎﺻﺔ ﺗﻨﺎﺳﺐ ﻣﻮﺿﻮع ﻗﺼﻴﺪﺗﻪ ﻓﺘﻘﻮل‬ ‫واﺻﻔﺔ إﻳﺎه ﺑـ"ﻣﺤﺐ اﻟﺨري" و"اﻹﻧﺴﺎن" وﻫﺬه اﻷوﺻﺎف اﻟﺘﻲ ﺗﺄيت‬ ‫ﰲ ﻣﻄﻠﻊ ﻗﺼﻴﺪة اﳌﺠﺎراة ﺗﺨﺘﴫ ﻟﻨﺎ ﻣﻌﺎنٍ ﻣﻬﻤﺔ‪ ،‬ﻓﺎﻷﻓﻜﺎر واﻷﻓﻌﺎل‬ ‫اﻟﺤﺴﻨﺔ ﻻ ﺗﺄيت إﻻ ﻣﻦ ﺷﺨﺺ ﻧﻘﻲ ﻣﻦ اﻟﺪاﺧﻞ وﺣﻴﻨام ﺗﺼﻠﺢ‬ ‫اﻟﴪﻳﺮة ﻳﻨﻌﻜﺲ ذﻟﻚ ﻋﲆ اﻷﻓﻜﺎر واﻷﻓﻌﺎل‪ ،‬ومل ﺗﺠﺪ اﻟﺸﺎﻋﺮة‬ ‫وﺻﻔﺎً أﺑﻠﻎ وأﺷﻤﻞ وأدق ﻣﻦ "اﻹﻧﺴﺎن" ﻟﻠﺸﻴﺦ زاﻳﺪ وﻫﺬا اﻟﻮﺻﻒ‬ ‫ﻳﺸري إﱃ ﻋﻈﻤﺔ اﻹﻧﺴﺎن ﰲ داﺧﻞ اﻟﺸﻴﺦ زاﻳﺪ وﻧﻈﺮﺗﻪ اﻟﺸﻤﻮﻟﻴﺔ إﱃ‬ ‫اﻟﻌﺎمل ﺣﻮﻟﻪ ﻓﺘﺠﺪه ﻳﻨﴩ اﻟﺨري ﻓﻘﻂ ﻷﺟﻞ ﺳﻌﺎدﺗﻪ اﻟﺸﺨﺼﻴﺔ ﻷن‬

‫ﻫﻨﺎ ﺗﺼ ﱢﻮر ﻓﺘﺎة اﻟﻌﺮب ﴎورﻫﺎ ﺑﺘﻠﻘﻴﻬﺎ ﺗﴫﻳﺤﺎً ﻣﻦ اﻟﺸﻴﺦ زاﻳﺪ‬ ‫وﻫﻲ ﻛﻨﺎﻳﺔ ﻋﻦ ﻗﺮاءﺗﻬﺎ ﻗﺼﻴﺪة اﻟﺸﻴﺦ زاﻳﺪ واﻋﺘﺒﺎرﻫﺎ ﻣﺮﺳﻠﺔ‬ ‫إﻟﻴﻬﺎ يك ﺗﺴ ّﻮغ ﻟﺸﺎﻋﺮﻳﺘﻬﺎ ﻣﺠﺎراة ﻫﺬه اﻟﻘﺼﻴﺪة‪ ،‬أو إﻧﻬﺎ ﺑﺎﻟﻔﻌﻞ‬ ‫اﺳﺘﺄذﻧﺖ أن ﺗﻘﻮم مبﺠﺎراة ﻫﺬه اﻟﻘﺼﻴﺪة ﳌﺎ أﺛﺎرﺗﻬﺎ ﰲ اﳌﺘﻠﻘني ﻣﻦ‬ ‫أﺛﺮ ﺑﻠﻴﻎ؛ ﻓرناﻫﺎ ﰲ اﻟﺒﺪء ﺗﺠﺴﺪ أﻫﻤﻴﺔ ﻗﺼﻴﺪة اﻟﺸﻴﺦ زاﻳﺪ وﺗﺼﻮر‬ ‫ذﻟﻚ ﰲ ﻣﺸﻬﺪ وﻗﻮﻓﻬﺎ اﺣﱰاﻣﺎً ﻟﺘﻠﻚ اﳌﻌﺎين اﻟﺴﺎﻣﻴﺔ‪.‬‬ ‫وﺗﻀﻴﻒ ﻛﺬﻟﻚ اﻧﺒﻬﺎرﻫﺎ ﺑﱪاﻋﺔ ﻧﻈﻤﻬﺎ اﻟﺘﻲ ﺗﺸﺒﻪ ﺣﺒﺎت اﻟﻠﺆﻟﺆ‬ ‫اﳌﺘﻨﺎﺳﻘﺔ ﰲ اﻟﱰﺗﻴﺐ واﻟﻐﺎﻟﻴﺔ ﰲ اﻟﺜﻤﻦ واﻟﺠﻤﻴﻠﺔ ﰲ اﳌﻨﻈﺮ وﺑﺬﻟﻚ‬ ‫ﺗﺒﺪع اﻟﺸﺎﻋﺮة ﰲ ﺟﻤﻊ ﺻﻔﺎت ﻣﺘﻌﺪدة ﰲ وﺻﻒ واﺣﺪ ﰲ ﺻﻮرة‬

‫اﻟﻌﺪد ‪ ، 77‬أﺑﺮﻳﻞ ‪2019‬‬

‫وﻟﻜﻦ ﻗﺒﻞ أن ﻳﺼﻞ اﻟﺸﺎﻋﺮ إﱃ ﻣﻮازﻧﺔ اﳌﺸﺎﻋﺮ ﻻﺑﺪ ﻟﻪ ﻣﻦ ﺗﺴﻮﻳﻎ‬ ‫ﺗﻠﻚ اﻟﺤﺎﻟﺔ اﻟﺸﻌﻮرﻳﺔ اﻟﺠﻴﺎﺷﺔ اﻟﺘﻲ ﺑﺪأ ﺑﻬﺎ اﻟﻘﺼﻴﺪة‪ ،‬وﰲ ﻣﻌﻈﻢ‬ ‫اﻷﺣﻴﺎن ﻳﻜﻮن ﺟامل اﳌﺤﺒﻮب وﻓﺘﻨﺘﻪ ﻫﻮ اﻟﺴﺒﺐ اﻟﺮﺋﻴﺲ‪ ،‬ﻟﺬﻟﻚ‬ ‫دامئﺎ ﻣﺎ ﻧﻼﺣﻆ أن اﻟﺸﻴﺦ زاﻳﺪ ﻳﻔﺮد ﻣﺤﻮراً ﺧﺎﺻﺎً ﻟﻮﺻﻒ اﳌﺤﺒﻮب‬ ‫وﻓﻴﻪ ﻳﺴﻬﺐ ﰲ اﻟﻮﺻﻒ وﻳﻮﺻﻞ اﳌﺤﺒﻮب إﱃ ﻣﻨﺰﻟﺔ اﻟﻜامل ﻟﻴﺴ ّﻮغ‬ ‫ﻣﺎ ﺟﺮى ﻋﻠﻴﻪ ﺑﺴﺒﺐ ﺟامل اﳌﺤﺒﻮب‪ ،‬وﻛام درج ﻋﻠﻴﻪ اﻟﺸﻌﺮاء ﰲ‬ ‫ﻫﺬه اﳌﺪرﺳﺔ ﻓﻠﻴﺲ ﺑﺎﻟﴬورة أن ﻳﻜﻮن ﻫﻨﺎك ﻣﺤﺒﻮب ﺣﻘﻴﻘﻲ‬ ‫وإمنﺎ ﻳﻜﻔﻲ اﻟﺸﺎﻋﺮ أن ﻳﺼﻒ ﻣﺤﺒﻮﺑﺎ اﻓﱰاﺿﻴﺎً ﻛﺎﻣ ًﻼ ﰲ اﻟﺠامل‬ ‫واﻟﺨﺼﺎل‪ ،‬أو ﻳﺼﻒ ﺑﻌﺾ اﻷوﺻﺎف اﻟﺘﻲ ﻗﺪ ﺗﻜﻮن ﻗﺮﻳﺒﺔ ﳌﺤﺒﻮب‬ ‫ﺣﻘﻴﻘﻲ يك ﻳﺤﻘﻖ ﻟﻠﻘﺼﻴﺪة ﺗﻮازﻧﻬﺎ اﳌﻨﺸﻮد‪ ،‬وﻟﻜﻦ ﻻ ﻳﻜﻔﻲ أن‬ ‫ﻳﻜﻮن ﺟامل اﳌﺤﺒﻮب ﺳﺒﺒﺎً ﰲ ﻣﺎ وﺻﻞ إﻟﻴﻪ اﻟﺸﺎﻋﺮ ﻣﻦ أمل وﺷﺠﻦ‬ ‫ﺑﺴﻬﻢ ﻣﻦ‬ ‫ﻟﺬﻟﻚ ﻳﺄﺧﺬ ﻣﻦ ﻫﺬه اﻷوﺻﺎف ﺻﻮرة ﻹﺻﺎﺑﺔ اﳌﺤﺐ‬ ‫ٍ‬ ‫ﻋﻴﻨﻲ اﳌﺤﺒﻮب ﻟﻴﻜﻤﻞ ﻣﻌﻨﻰ ﻣﻄﻠﻊ اﻟﻘﺼﻴﺪة ﺣﻴﻨام ﺑﺪأﻫﺎ ﺑﻜﺴﻮ ٍر‬ ‫ﻻ ﺗﺘﺠﱪ‪:‬‬ ‫‪P *5H° ob@@ @ @ @ @ @ @ @ <2* b@@ @ @ @£@ @ @ @ N @ @ @ @ D*H‬‬ ‫‪ 4¡@@ @ @ EN @R @ @ 7¡@@ @ E4R b@@ @ @DR H 4R ¡@@ @ @ 0O‬‬ ‫‪P b@@ @ £@ @ @<É@@ @ D b@@ @ @ @ @ @ @ @ PE @@ @ @ N @ @ @ ~@@S @ @z@ @ @ D*H‬‬ ‫@¡*¯ ‪ 4N ¡@@ @ @ @ @ @ R1‬‬ ‫· ‪P @ @ @ @ @ @ @ JR b@@ @ @ @G*x@@ @ @ @JN‬‬

‫ ‬ ‫‪ɰ‬‬ ‫‪ɰ‬‬ ‫ ‪ ōŞŽǶ‬‬ ‫‪ōżǙōƒũ ŜǷŞżǘǕŌ ǛƓōżǙ ȍŒ Ɖǉƅǿ ǗǕ‬‬ ‫‪ ǲƃǾƚǂǕŌ ŧǝōǉǶ ɐŋōŵƈȏŌ Ǔǉ ǽƳ ƉǾƀǕŌ ǗǾǘƪũ ǽƳ‬‬ ‫ ‪ǳǾǃȎƁȏŌ ǗǾǂǕŌ Ǣƅǥ ŧǔǘŽ ǽŨǕŌ ǳǕōƓƉǕŌ ǽǥ‬‬ ‫ ‪ƐōǜǕŌ ǳǙōƫ ǻǕŒ‬‬

‫اﻟﻌﻴﻮن ﻟﻬﺎ أوﺻﺎف دﻗﻴﻘﺔ وﻫﺬه اﻟﺪﻗﺔ دﻻﻟﺔ ﻋﲆ ﻗﻮﺗﻬﺎ ﰲ اﻟﺘﺄﺛري‬ ‫ﻋﲆ اﳌﺤﺐ‪ ،‬ﺣﻴﺚ ﺟﺎء وﺻﻒ "أدﻋﺎج" و"ﺣﻮر" و"رﻣﻮش ﻣﻈﻔﻮرة"‬ ‫أو "ﻣﻀﻔﻮرة" ﻟﺘﺄﻛﻴﺪ ﺣﻀﻮرﻫﺎ وأﺛﺮﻫﺎ ﰲ ﻧﻔﺲ اﻟﺸﺎﻋﺮ ﻟﺬﻟﻚ ﺗﺨ ّﻴﻞ‬ ‫أﻧﻬﺎ أرﺳﻠﺖ ﺳﻬ ًام ﻟﺘﺼﻴﺒﻪ إﺻﺎﺑﺔ ﺧﻄرية‪ ،‬وﻫﺬه اﻹﺻﺎﺑﺔ ﻫﻲ اﻟﺘﻲ‬ ‫أدت إﱃ ﺑﺪء اﻟﻘﺼﻴﺪة ﺑـ"آه"‪ ،‬وﺑﺬﻟﻚ اﺳﺘﻄﺎع اﻟﺸﺎﻋﺮ ﰲ ﻫﺬه‬ ‫اﻷﺑﻴﺎت اﻟﺴﺘﺔ اﻷوﱃ أن ﻳﻨﺠﺢ ﰲ ﻣﻮازﻧﺔ ﻗﺼﻴﺪﺗﻪ ﺑﴪﻋﺔ‪ ،‬ﻟﻴﱪﻫﻦ‬ ‫ﻋﲆ متﻜﻨﻪ ﻣﻦ ﺗﺮوﻳﺾ اﻟﻘﺼﻴﺪة ﺑﺎﻟﺮﻏﻢ ﻣﻦ ﺣﺎﻟﺘﻬﺎ اﻟﺠﻴﺎﺷﺔ‪،‬‬ ‫وﺑﺎﻟﻨﺘﻴﺠﺔ ﻓﺈن اﺳﺘﻘﺮار اﻟﻘﺼﻴﺪة إﺷﺎرة إﱃ اﻧﺘﻬﺎﺋﻬﺎ أي ﺗﻔﺮﻳﻎ‬ ‫اﻟﺸﺤﻨﺔ اﻟﻌﺎﻃﻔﻴﺔ اﻟﺘﻲ ﻛﺎن ﻳﻮد اﻟﺸﺎﻋﺮ إﺧﺮاﺟﻬﺎ ﰲ ﺻﻮرة أﺑﻴﺎت‬ ‫ﺷﻌﺮﻳﺔ‪ ،‬وﻟﻜﻨﻨﺎ ﻻ ﻧﺠﺪ ذﻟﻚ ﻳﺤﺪث ﰲ ﺗﺎﱄ اﻟﻘﺼﻴﺪة ﻷن اﻟﺨﺎمتﺔ‬ ‫ﺗﺄيت مبﺤﻮر إﺑﺪاﻋﻲ ﻏري ﻣﺘﻮﻗﻊ‪:‬‬ ‫*‪P b@@ @~@ @ 7 @@ @ @ DN R x@@ @ @ @ N @ @ @ @ D*H R @ @ @ @ ~@@S @ {@ @ D‬‬ ‫<@ @ @ ‪ 4H2 @@ @ @ PE H @@ @N @ @ j@ @ PE · Pv@@ @ R‬‬ ‫· ‪P b@@ @ @+ Rv@ @ @ @ @ @cN @ @ @D* ¯ @@ @ O @ @ @ @ @ @ N @ @ @<N‬‬ ‫‪ 4¡@@ @ @ @ ~@@R @{@ @ EN Uv@ @ @ @ @/ H *Æ@@ @ @ @0b@@ @ @ @+‬‬ ‫· ‪P b@@ @~@ @ z@ @ 0É@@ @+ R @ @ O @ @ £@ @ <b@@ @~@ @ z@ @ EN‬‬ ‫‪N‬‬ ‫@‪ 4N ¡@@ @ @ @/ b‬‬ ‫‪O @ @ @ @ D b@@ @ E x@@ @JP b@@ @~@ @ {@ @ P @ @ D* ¯P‬‬ ‫‪P b@@ @ @ ~@ @ @ @z@ @ @ @F(* H M b@@ @ @ @ ~@ @ @ @ @z@ @ @ @ @F(* RÍ@ @ @ @ @ @ +‬‬ ‫‪ 4¡@@ @ @. 4v@@ @ @ P @ @ @ @D* P *¡@@ @ @ @ @ @0*5 U @ @ @ @ @ CN‬‬ ‫@‪P b@@ @ ~@ @ @z@ @ @0° H ¢‬‬ ‫*‪@ @ @ @ c@ @ JP ¡@@ @ @ @ @ @N @ @ D‬‬ ‫‪R‬‬ ‫‪ 4N ¡@@ @ @ @ @~@@R @ z@ @ @+P H @@ @ @ @ @ @ RG° Mv@@ @ @ DP b@@ @ @ 1‬‬

‫أﻓﺮد اﻟﺸﺎﻋﺮ ﺧﻤﺴﺔ أﺑﻴﺎت ﻟﻬﺬا اﳌﺤﻮر ﻣﻦ أﺻﻞ أﺑﻴﺎت اﻟﻘﺼﻴﺪة اﻟـ‬ ‫‪ 11‬وﻫﺬا ﺑﺤﺪ ذاﺗﻪ ﻳﺸري إﱃ أﻫﻤﻴﺔ ﺧﺎمتﺔ اﻟﻘﺼﻴﺪة‪ ،‬ﻓﻠﻮ ﻧﻈﺮﻧﺎ إﻟﻴﻬﺎ‬ ‫ﻣﻦ زاوﻳﺔ ﺳﻨﺠﺪﻫﺎ ﻗﺼﻴﺪة ﻣﻮﺟﺰة وﻣﺘﻜﺎﻣﻠﺔ ﰲ اﻟﺤﻜﻤﺔ واﻟﻨﺼﻴﺤﺔ‬ ‫ﺗﺆﻛﺪ ﻋﲆ أﻫﻤﻴﺔ اﻟﻌﻤﻞ واﻟﺴﻌﻲ ﰲ ﻃﺮﻳﻖ اﻟﺨري واﻹﺣﺴﺎن‪ ،‬وإزاﺣﺔ‬ ‫اﻟﻜﺪر واﻟﻜﺮاﻫﻴﺔ ﺑني إﻧﺴﺎن وآﺧﺮ وﻳﺨﺘﺰل ﻫﺬا اﳌﻌﻨﻰ ﰲ اﻟﺒﻴﺖ‬ ‫اﻟﺬي ﻳﻘﻮل ﻓﻴﻪ "ﺑني إﻧﺴﺎن وإﻧﺴﺎنِ ﻛﻢ زاﺣﻮا م اﻟﻜﺪر ﺛﻮره" وﻫﻮ‬ ‫ﺑﻴﺖ ﻻ ﻳﺪﻋﻮ إﱃ اﻟﺘﺴﺎﻣﺢ ﺑني ﻃﺮﻓني ﻣﺘﻨﺎزﻋني ﻓﻘﻂ‪ ،‬وإمنﺎ ﻳﺪﻋﻮ‬ ‫إﱃ اﻟﺴﻌﻲ ﰲ ﻧﴩ اﻟﺘﺴﺎﻣﺢ ﻋﲆ ﻣﺴﺘﻮى اﻹﻧﺴﺎﻧﻴﺔ ﺑﻐﺾ اﻟﻨﻈﺮ ﻋﻦ‬ ‫"ﻛﻢ" اﻟﺘﻲ ﺗﺸري إﱃ ﻛرثة‬ ‫أﺟﻨﺎﺳﻬﻢ وأﺳﺒﺎب اﺧﺘﻼﻓﻬﻢ وﻟﻌﻞ ﻣﻔﺮدة ّ‬ ‫اﻟﺴﻌﻲ وﻣﻔﺮدة "ﺛﻮرة" اﻟﺘﻲ ﺗﺸري إﱃ اﻟﺤﺠﻢ اﻟﻜﺒري ﻟﻼﺧﺘﻼف ﻟﻬام‬ ‫دﻻﻻت أﻛﻴﺪة ﻋﲆ أﻧﻪ ﻣﻬام ﻛﺎﻧﺖ اﻟﻨﺰاﻋﺎت وﺣﺠﻤﻬﺎ ﻓﺈن إرادة‬ ‫اﻟﺨريﻳﻦ ﻳﺠﺐ أﻻ ﺗﺘﺜﺎﻗﻞ ﰲ ﻃﺮﻳﻖ ﻣﺼﺎﻟﺤﺔ ﻫﺬه اﻷﻃﺮاف يك ﻳﺒﻘﻰ‬

‫‪ ŻŴǜǿ ǚŐ ǻǕǶȏŌ ǳŨƒǕŌ ŦōǾşȏŌ ǽƳ ƉƫōƖǕŌ ƨōƢŨƓŌ‬‬ ‫ ‪ ǣǜǈǘũ ǻǔƫ ǛǥƉŞǾǕ ɐǳƫƉƒş ǣũƃǾƚǃ ǳǝƊŌǷǙ ǽƳ‬‬ ‫‪ǳƗōǾŴǕŌ ōǤŨǕōŽ ǛǙ ǗƯƉǕōş ǲƃǾƚǂǕŌ ƝǿǶƉũ ǛǙ‬‬ ‫‪ɰ‬‬ ‫‪ɰ‬‬ ‫ ‪ ǣǾǕŒ ōŞŞżǙ‬‬ ‫‪ȎƪƳ ƃǿŌƊ ſǾƖǕŌ ƃǜƫ ƉǾƀǕŌ ǓƪƳ ŻŞƛŐ‬‬ ‫ ‪ ǳǾǕōƫ ǳŵƈƂ ǢƅǥǶ ǣŨǿǸƈǶ ǢƉƖǜş ƩŨǘŨƒǿ‬‬ ‫‪ǽǝōƒǝȑŌ ǷǘƒǕŌ ŦōŵƈƂ ǛǙ‬‬

‫اﻟﺸﻌﺮ ‪baytelshear‬‬ ‫ﺑﻴﺖ ِ‬

‫‪21‬‬

‫ ‪ ĘńĴ şŉ Įı‬‬

‫‪ŜƉƪǕŌ ǲōŨƳ ōǤũƈōŵ‬‬

‫ﻗﺼﻴﺪة اﻟﺸﻴﺦ زاﻳﺪ‬

‫ ‪ǳŞżǘǔǕ ǳǃōƣǶ ŻǙōƒũ ǳǕōƓƈ ŻŞƚũ ōǙƃǜƫ‬‬ ‫‪ƜƑĸō Ɨ Ĺ£ƘIť ƐII¬ƍ ĸƝ ®Ɠī‬‬ ‫‪[ I£ļIƞIłI¬Ł ĸIIƍ ®ĹƘII ť‬‬ ‫‪ƓŗƘIIŞIƅ ŘI‬‬ ‫ﻣﺤﻤﺪ ﻧﻮر اﻟﺪﻳﻦ‬

‫ﻟﻠﻤﻐﻔﻮر ﻟﻪ اﻟﺸﻴﺦ زاﻳﺪ ﺑﻦ ﺳﻠﻄﺎن آل ﻧﻬﻴﺎن‪ ،‬رﺣﻤﻪ اﻟﻠﻪ‪ ،‬ﻗﺼﺎﺋﺪ‬ ‫ﻳﻌﱪ ﻓﻴﻬﺎ مبﺸﺎﻋﺮ ﺟﻴﺎﺷﺔ ﻋﻦ آﻻم اﳌﺤﺒني وﺷﻜﻮاﻫﻢ‬ ‫وﺟﺪاﻧﻴﺔ ﻛﺜرية ّ‬ ‫ً‬ ‫ﺑﺄﺑﻠﻎ اﻟﻌﺒﺎرات واﻟﺼﻮر‪ ،‬وﻳﻌﺪ ذﻟﻚ ﻏﺮﺿﺎ ﻣﻦ أﻏﺮاض اﻟﺸﻌﺮ اﻟﺸﻌﺒﻲ‬ ‫ﺣني ﻳﺤﺎول اﻟﺸﺎﻋﺮ اﻟﺘﻌﺒري ﻋﻦ ﺣﺎﻟﺘﻪ اﻟﺸﻌﻮرﻳﺔ ﺑﺘﻔﺮﻳﻐﻬﺎ ﰲ ﻗﺼﻴﺪة‬ ‫وﺟﺪاﻧﻴﺔ‪ ،‬وﰲ ﻫﺬه اﻟﺮاﺋﻌﺔ ﻣﻦ رواﺋﻊ اﻟﺸﻴﺦ زاﻳﺪ ﺳﺘﻜﻮن ﻟﻨﺎ ﺟﻮﻟﺔ‬ ‫ﻣﻦ ﺟﻮﻻت ﻗﺮاءاﺗﻨﺎ اﻟﺸﻌﺮﻳﺔ‪:‬‬ ‫*‪Áb@@ @ 0 H e¡S @ @ @ @~@ @ @ @8 @@ @ @ @ PE b@@ @ @ J R %‬‬ ‫@¡‪ 4¡@@ @ ~@ @ @z@ @ @CR Ä@S @ @ @£@ @ @ g@ @ @ -P b@@ @ @ E e‬‬ ‫‪R @ @ @ ~@ @ @ @8‬‬ ‫‪R‬‬ ‫‪P b@@ @ @ @ @ @ @:H°* Ã4 b@@ @ @ J ¤@@ @ @ + H4‬‬ ‫‪ 4H2 R @ @ @ @£N @ @ @ @DP b@@ @ @E @@ @ U @ @ ~@ @ z@ @ PE @R @ @ @ @ @ DP‬‬ ‫ﻟ ّﻌﻞ ﺑﺪاﻳﺔ اﻟﻘﺼﻴﺪة ﺑـ "آه" ﺗﺤﻤﻞ ﺷﺤﻨﺔ ﻋﺎﻃﻔﻴﺔ ﻛﺒرية وﻫﻲ‬ ‫اﻟﺸﺤﻨﺔ اﻟﺘﻲ اﺣﺘﺎﺟﻬﺎ اﻟﺸﺎﻋﺮ ﻟﻠﺘﻌﺒري ﻋﻦ ﺣﺎﻟﺘﻪ ﺣﻴﺚ أﺻﺎﺑﺘﻪ‬

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‫اﻟﻌﺪد ‪ ، 77‬أﺑﺮﻳﻞ ‪2019‬‬

‫اﳌﺤﺒﺔ إﺻﺎﺑﺔ ﺑﻠﻴﻐﺔ ﺗﺴﺒﺒﺖ ﺑﻜﺴﻮ ٍر ﻣﺎ ﻋﺎدت ﺗﺘﺠﱪ‪ ،‬ﻟﺬﻟﻚ أﺻﺒﺢ‬ ‫ﺑﺘﻌﺒريه "ﺣﺎين" وﻫﻮ ﺗﻌﺒري ﺷﻌﺮي ﻳﺴﺘﺨﺪﻣﻪ اﻟﺸﻌﺮاء ﻟﺒﻴﺎن ﻋﻈﻢ‬ ‫اﳌﺼﺎب اﻟﺬي ﻗﺪ ﻳﻮﺷﻚ ﻋﲆ ﻫﻼك اﳌﺤﺐ أي اﻟﺪرﺟﺔ اﻟﻘﺼﻮى‬ ‫ﻣﻦ اﻟﻔﻨﺎء ﰲ ﻃﺮﻳﻖ اﻟﺘﻤﺴﻚ ﺑﺎﳌﺤﺒﻮب‪ ،‬وﻫﺬا أﻳﻀﺎ ﺗﻌﺒري ﻋﻦ ﻗﻠﺔ‬ ‫اﻟﺤﻴﻠﺔ أﻣﺎم ﻋﻈﻤﺔ اﳌﺤﺒﺔ وﻣﺎ ﻳﺴﺘﻄﻴﻊ ﻓﻌﻠﻪ ﺑﺎﳌﺤﺐ‪ ،‬ﻟﺬﻟﻚ ﻳﻠﺠﺄ‬ ‫اﳌﺤﺐ إﱃ اﺳﺘﻌﻄﺎف اﳌﺤﺒﻮب ﻟﻔﻚ ﻫﺬه اﳌﻌﻀﻠﺔ‪ ،‬ﻓﺎﳌﺤﺒﻮب‬ ‫واﳌﺤﺐ ﻃﺮﻓﺎن ﻳﺴﺘﻄﻴﻌﺎن ﻣﻊ ﺑﻌﻀﻬام اﻟﺴﻴﻄﺮة ﻋﲆ ﻫﺬه‬ ‫اﳌﺸﺎﻋﺮ‪ ،‬وﻳﺘﺨﺬ اﻟﺸﺎﻋﺮ اﻟﻘﺼﻴﺪة وﺳﻴﻠﺔ ﻟﺘﺪارك ﺣﺎﻟﺔ اﻟﻼ اﺳﺘﻘﺮار‪،‬‬ ‫ﻓﺎﻟﻘﺼﻴﺪة اﻟﺮوﻣﺎﻧﺴﻴﺔ ﻫﻲ ﻗﺼﻴﺪة ﻧﺸﺄت ﻣﻦ ﺣﺎﻟﺔ ﻋﺪم اﺳﺘﻘﺮار‬ ‫اﻟﻌﻮاﻃﻒ ووﻇﻴﻔﺘﻬﺎ إﻋﺎدة ﺣﺎﻟﺔ اﻟﺘﻮازن وﻗﺪ ﺗﻜﻮن ﻫﺬه اﻟﻘﺼﻴﺪة‬ ‫ﻣﺜﺎﻻ ﻣﻨﺎﺳﺒﺎً ﻛام ﺳﻨﻼﺣﻆ‪:‬‬ ‫· ‪Áb@@ @. b@@ @ @ @ DN b@@ @ E @@ @~@@P@8¡@@ @s@ @ ~@@P @7‬‬ ‫‪R‬‬ ‫‪ 4¡@@ @~@ @ |@ @ 1 H R HÄ@@ @ @ @ @ @ @N ´* Uv@ @ @ @ @ @BN H‬‬ ‫‪P b@@ @ @ + Rv@ @ @ @ @ @ @ @ S @ @ @ @D* @@ @ £@ @ @A Mx@@ @ @ @ p@N @ @ @ @ FR H‬‬ ‫‪ 4¡@@ @ @ @F H @@ @ @ N @ @ @ @~@ @ @ @8HN ¯ M @@ @ @ @ JP b@@ @ @ @ A‬‬

ĘıĘŕ

‫ﻣﺤﻤﺪ ﻣﺮﻳﺒﺪ اﻟﻌﺎزﻣﻲ‬ @mrebd_

ƫƍơƴŢ ſǉƑƬ

oÉ@@< @@ @ £@ ~@ }@ D*H Í@@c@ p@ ´* *x@@ @ @ @ D h@@£@ D @@ @~@6 ¯ b@@ @ @F*H @@6b@@ @ @ D h@@ @ D¡@@~@ 6 b@@ E b@@ @ C obm0 f p~9 @@E q ~6 Mx@ :b@@1 · Mv@@Bb@@A @@ @E Áw@@ @1b@@ @J °*H *w@@ @ 1 ¤@@ @ @D* 2x@@ @ J b@@ @J N @ B*x@@ A @@ E ¢@@ @ D* ° h@@£@£@< Mv@@ @ 0*H o*x@@ 1 @ @@ @ c@ -*H Áb@@~@ |@ < ¤@@c@ @ B @@z@ + v@@ @ @+* ¥2H ob@@ N @ N @ D* v@@ @ D* ¢@@ @ < 24%* ¤@@ @ J2b@@p@ + Ñ* b@@E @@ @+P 2¡Q @ @ < * @@ @£@c@J @@E *¡@@Db@@B ex@@ @ @D*H ob~8 d£G b@@E x~{cD* e¡@@ @B Ix@@- ex@@< b@@J - @@ @ @C ¥* d@@£@ Gb@@E @@~@ 7b@@ @ D* @M @|@ 1 o*x@@ @ F* @@£@~@}@ @DH @@ @£@E h@@B¡@@ @ D * ¥42* @@<2x@@-N @@B¡@@c@ ~@ 6 MÌ@ @ : d@@ @ @ D* * ¥42*H o*y@@´* d~zR 0N ¢ < -¡~8 jE ~8H h£D @@ @c@~@8b@@+ x@@ ~@ 7&b@ JH @@ @ Jv@@J · @@ Ax@@ J @@c@ B ob< ~{ D* v£~|B zcQ D&* ¡@@J Á* I42b@@E ~zJ ¤@@+ *¡@@ @D¡@@~@6 ° b@@~@7 @@E x@@~@ {@ F*H o*x~6 f ~7 ¤GbE ¤ £ ²*x ~{D* f ~7 f@@ @ @B°* v@@£@~@|@ @D* @@£@ /H @@< h@@0b@@: ¡@@ J

baytelshear ‫اﻟﺸﻌﺮ‬ ِ ‫ﺑﻴﺖ‬

ĘıĘŕ

‫ﺳﻴﻒ اﻟﺴﻌﺪي‬ @saifalsa3di

ƳǈǂŢǃƸ

@@£@ @Db@@+ @@£@ @ D* x@@ @Q @ @ E b@ R @ J x@@ @ ~@U @{@ D* ¤@@ @ @0R HN @@ @ £@ ~@ 8&* x@@<b@@~@ {@ E ,x@@ @ @ E @@ @D h@@ @ /R xN @ @ @~@@R @ 6&* @@£@ /b@@ @ A Áb@@ @ @ @ ´* h@@ R @ @~@P@ 6 x@@ P @ @ P @ @ D* @@ @ @ @ER HP @@ @ £@ GN @@ @6b@@ @ @ @ F*H @Q @ @ @ @ @ cP @ @D* b@@ @ JQ xN @ @ @+ h@@ @Ab@@ @: @@ Jv@@ @ @B @@ £@ @ Db@@ £@ @ D ¯ ¥x@@ @ @ @ @< i4R wN @ @ @ @ @ @ @ F @@ @ £@ D v@@ @ @ R @ @ @ @ +N Mf@ @ @ @ @ @£@ @ @D ¢@@ @ @ @ @ @ J *v@@ @ @ @ @ @ @ J @@ £@ @~@ @8*¡@@ ´* @@ £@ c@ ~@ 6 ¯ ¤@@ @ @£@ @<4¡@@ F wR @ @ @ @ P1 @@ @ £@ @ B Á*¡@@ @ @ @. ¤@@ @ @ @ @ P< b@@ @ @~@ @|@ @D* @@ @ @ @ @ER HP @@ £@ @+*x@@ @ @D* eb@@ @ £@ @ @. yN @ @ @ @ @ @ @ FR * @@ @ @ @ + ¥Q2HP @@ @ £@ @ / Meb@@ @ £@ @ @. f@@ m@ @ @ @c@ @D* @@ @ E @R @ @ z@ @ @cN @ @ @D*H @@ £@ @Db@@ C&* f@@ @cQ @ @ p@ @ ´* 24R HN @@ @ E @@ @ @ J Pv@@ @ @ RG*H @@ @£@ @1 ¥v@@£@ ~@ |@ B @@ E @@-b@@£@ 0 @@ @ N @ @ @/*H R @@ @JH*¡@@ @E ·b@@ £@ @ @ @ D* b@@ @ N @ @ ~@@R @7 ¢@@ @ @< @@ @ g@ @ F*H @@ @ £@ ~@ }@ @ D* @@ £@ @~@ @z@ @F @@ @ @+ x@@ @ @Q @ @ @ @ - Mx@ @ @ @ @ @C3

2019 ‫ أﺑﺮﻳﻞ‬، 77 ‫اﻟﻌﺪد‬

‫ﻣﺤﻤﻞ ﺑﺎﻟﺤﺰن واﻷﳻ‪ ،‬وأﻧﺎ أرى أن اﻟﺤﺰن ﻫﻮ ﻫﺬه اﻟﻘﺮارات ﰲ ﻣﻌﻈﻤﻬﺎ ﺗﻜﻮن اﺑﻨﺔ اﻟﻠﺤﻈﺔ‪،‬‬ ‫اﻟﺸﻌﻮر اﻟﺬي ﻳﺠﻌﻞ اﻟﺸﺎﻋﺮ ﻳﻜﺘﺐ ﺑﺼﺪق ﻓﻤﻦ ﻳﺪري ﻓﻘﺪ أﻛﻮن ﻣﻦ ﺑني اﳌﺸﺎرﻛﺎت ﰲ‬ ‫أﻛﱪ‪ ،‬وﺑﺎﻟﺮﻏﻢ ﻣﻦ اﻻﺳﻢ إﻻ أين دﻳﻮاين ﻳﺬﺧﺮ اﻟﻨﺴﺨﺔ اﻟﻘﺎدﻣﺔ ﻣﻦ اﻟﱪﻧﺎﻣﺞ"‪.‬‬ ‫ﺑﺎﻟﻘﺼﺎﺋﺪ اﻟﻮﻃﻨﻴﺔ‪ ،‬واﻟﻮﺟﺪاﻧﻴﺔ وﺣﺘﻰ اﻟﻐﺰﻟﻴﺔ‪،‬‬ ‫ﻛام ﻳﺬﺧﺮ ﺑﺎﻟﻘﺼﺎﺋﺪ اﻟﺘﻲ ﺗﻌﱪ ﻋﻦ اﻻﻋﺘﺰاز ﺛﻘﺎﻓﺔ اﻟﺸﻌﺮ‬ ‫ﺑﺎﻟﻨﻔﺲ واﻟﺘﻲ أﺟﺪﻫﺎ ﻗﺮﻳﺒﺔ ﻣﻦ ﺷﺨﺼﻴﺘﻲ‪ ،‬وﻣﺎ ﻛﺎن ﻟﻨﺎ أن ﻧﻠﺘﻘﻲ ﺑﺴﻠﻴﻤﺔ اﳌﺰروﻋﻲ ﻣﻦ‬ ‫ﻓﺄﻧﺎ ﻣﻦ ﻣﻮاﻟﻴﺪ ﺑﺮج اﻷﺳﺪ‪ ،‬اﳌﻌﺮوﻓني ﺑﺎﻟﻜﱪﻳﺎء دون أن ﻧﻌﺮج ﻋﲆ ذﻛﺮ ﺑﻴﺖ اﻟﺸﻌﺮ اﻟﺬي‬ ‫واﻷﻧﻔﺔ"‪.‬‬ ‫ﻫﻲ ﻣﺪﻳﺮﺗﻪ‪ ،‬وﻋﻦ ﺑﻴﺖ اﻟﺸﻌﺮ ﰲ اﻟﻔﺠرية‬ ‫وﺗﺴﺘﺒﻌﺪ ﺳﻠﻴﻤﺔ ﰲ اﻟﻮﻗﺖ اﻟﺤﺎﱄ ﻓﻜﺮة ﺗﻘﻮل‪" :‬ﺗﺄﺳﺲ ﺑﻴﺖ اﻟﺸﻌﺮ ﰲ اﻟﻔﺠرية ﻣﻨﺬ‬ ‫اﳌﺸﺎرﻛﺔ ﰲ ﺑﺮﻧﺎﻣﺞ ﺷﺎﻋﺮ اﳌﻠﻴﻮن‪ ،‬واﻟﺬي ﻗﺮاﺑﺔ اﻟﻌﺎم وﻫﻮ ﺗﺎﺑﻊ ﻟﺠﻤﻌﻴﺔ اﻟﻔﺠرية‬ ‫أﺻﺒﺢ اﻟﻴﻮم ﻣﺤﻂ أﻧﻈﺎر ﺟﻤﻴﻊ ﺷﻌﺮاء اﻻﺟﺘامﻋﻴﺔ اﻟﺜﻘﺎﻓﻴﺔ‪ ،‬وﻧﺤﺎول ﻣﻦ ﺧﻼل‬ ‫اﳌﻨﻄﻘﺔ‪ ،‬ﺣﻴﺚ ﺗﻌﺘﱪ ﺑﺄن اﻟﻮﻗﺖ ﻣﺎزال ﻣﺒﻜﺮاً ﺑﻴﺖ اﻟﺸﻌﺮ ﻧﴩ ﺛﻘﺎﻓﺔ اﻟﺸﻌﺮ‪ ،‬واﻟﺘﻌﺮﻳﻒ‬ ‫ﻟﺘﻌﺘﲇ ﻣﻨﺼﺔ ﺑﺤﺠﻢ ﻣﻨﺼﺔ ﺷﺎﻋﺮ اﳌﻠﻴﻮن‪ ،‬ﺑﺄﻫﻤﻴﺔ اﻟﺸﻌﺮ ﰲ اﳌﺠﺘﻤﻌﺎت‪ ،‬ﻣﻦ ﺧﻼل‬ ‫وﺗﻘﻮل‪" :‬اﻟﻮﻗﻮف ﻋﲆ ﺧﺸﺒﺔ ﺷﺎﻃﺊ اﻟﺮاﺣﺔ إﻗﺎﻣﺔ اﻷﻣﺴﻴﺎت وﺟﻠﺴﺎت اﻟﺤﻮار وﺗﻨﻈﻴﻢ‬ ‫ﺿﻤﻦ ﺑﺮﻧﺎﻣﺞ ﺷﺎﻋﺮ اﳌﻠﻴﻮن ﻟﻴﺲ ﺑﺎﻷﻣﺮ اﻟﻔﻌﺎﻟﻴﺎت واﳌﺸﺎرﻛﺔ ﰲ اﻟﻔﻌﺎﻟﻴﺎت اﻟﺘﻲ‬ ‫اﻟﺴﻬﻞ‪ ،‬وأﻧﺎ أرﻏﺐ ﰲ اﻟﱰﻳﺚ ﻗﺒﻞ اﻹﻗﺪام ﻋﲆ ﺗﻘﻴﻤﻬﺎ اﻟﺠﻬﺎت اﻻﺗﺤﺎدﻳﺔ واﻟﺨﺎﺻﺔ‪ ،‬وﻣﻦ‬ ‫ﺧﻄﻮة ﺑﻬﺬا اﻟﺤﺠﻢ‪ ،‬وﺑﻜﻞ اﻷﺣﻮال ﻓﺈن ﻣﺜﻞ اﻟﻔﻌﺎﻟﻴﺎت اﻟﺘﻲ ﻧﻌﺘﺰ ﰲ ﺑﻴﺖ اﻟﺸﻌﺮ ﺑﺎﻟﻔﺠرية‬

‫ﺑﺎﳌﺸﺎرﻛﺔ ﺑﻬﺎ ﻫﻲ ﻓﻌﺎﻟﻴﺔ ﻣﻬﺮﺟﺎن اﻟﺠﺒﻞ‬ ‫اﻟﺜﻘﺎﰲ‪ ،‬واﻟﺬي أﻗﻴﻢ ﺑﺎﻟﺘﺰاﻣﻦ ﻣﻊ اﺧﺘﻴﺎر ﻫﺬا‬ ‫اﻟﻌﺎم ﻟﻴﻜﻮن ﻋﺎم اﻟﺘﺴﺎﻣﺢ‪ ،‬ﺟﻤﻊ اﳌﻬﺮﺟﺎن‬ ‫أﺷﺨﺎﺻﺎً ﻣﻦ ﺟﻨﺴﻴﺎت ﻣﺨﺘﻠﻔﺔ ﺗﺤﺖ ﻣﻈﻠﺔ‬ ‫اﻟﺜﻘﺎﻓﺔ‪ ،‬وﺷﻬﺪ ﻗﺮاءات وﻧﻘﺎﺷﺎت ﺷﻌﺮﻳﺔ‬ ‫ﻣﻦ ﻣﺪارس ﺷﻌﺮﻳﺔ ﻣﺘﻌﺪدة‪ ،‬ﺗﻨﻮع اﻟﻄﺮح‬ ‫وأﺳﺎﻟﻴﺐ اﻟﻌﺮض واﻟﺘﻘﺪﻳﻢ‪ ،‬ﻟﻘﺪ ﻛﺎﻧﺖ‬ ‫ﻓﻌﺎﻟﻴﺔ ﻣﻤﻴﺰة‪ ،‬وﺳﻨﺤﺮص ﻋﲆ ﺗﻜﺮارﻫﺎ‬ ‫ﺑﺸﻜﻞ ﻣﺴﺘﻤﺮ"‪.‬‬ ‫وﺗﺆﻛﺪ ﺳﻠﻴﻤﺔ ﻋﲆ أن ﻋﻤﻠﻬﺎ ﻣﺴﺘﻘﺒ ًﻼ ﺳﻮاء‬ ‫ﻋﲆ اﻟﺼﻌﻴﺪ اﻟﺸﺨﴢ أو ﻣﻦ ﺧﻼل ﻛﻮﻧﻬﺎ‬ ‫ﻣﺪﻳﺮة ﻟﺒﻴﺖ اﻟﺸﻌﺮ ﺳﻴﻨﺼﺐ ﻋﲆ ﻧﴩ ﺛﻘﺎﻓﺔ‬ ‫اﻟﺸﻌﺮ مبﻌﻨﺎﻫﺎ اﻟﺤﻘﻴﻘﻲ‪ ،‬ﺗﺮﻳﺪ أن ﻳﻌﻮد‬ ‫ﻟﻠﺸﻌﺮ أﻟﻘﻪ ﻛام ﻛﺎن ﻗﺒﻞ آﻻف اﻟﺴﻨني‪ ،‬ﺗﺮﻳﺪ‬ ‫ﻟﻠﻨﺎس أن ﻳﺪرﻛﻮا اﻟﻔﺮق ﺑني اﻟﺸﻌﺮ اﻷﺻﻴﻞ‪،‬‬ ‫وﺑني ﻛﺜري ﻣﻦ اﻟﺰﺑﺪ اﻟﺬي ﻇﻬﺮ ﻋﲆ اﻟﺴﻄﺢ‬ ‫وﺳﻤﻲ إﺟﺤﺎﻓﺎً )ﺷﻌﺮاً(‪.‬‬

‫اﻟﻌﻠﻮم اﻟﺪاﻳﻤﺔ‬ ‫‪ b@@ B x@@ @ @ @0HR x@@ @ @ P< yQ @ @ @A HR x@@ @ @+N @@ 9b@@ F‬‬

‫‪ ¡@@ @ @ @ @p@J b@@£@ @ @ D* *43 ¯ @M@ }@ @Jx@@ B @@ @ P @ @E‬‬

‫@‪ b@@ @ @ @ @ N @ D* Ì@@ @ @ @~@ 6 *w@@P @ @ @ @ 0 @@ Ax@@ J Æ‬‬ ‫‪M @ @ @E‬‬

‫‪ ¡@@ @ @ D* rb@@ @ g@ @ @/*H‬‬ ‫‪R 2*Qv@ @ @ @ G @R @ @ @N @ @ PG (R *H‬‬

‫‪ b@@ @ @gQ @ @D* ¤@Q @ @ @ P/b@@ @ @< *Qv@ @ @ @ @ @ D* Í@@ @ @ @ .P @@ @ E‬‬ ‫*‪ *v@@ @ @g@ @ @ 0* ‬‬ ‫‪R ¡Q @ @ @ @~@ @ @ @6 Qv@ @ @ @ @ @ D* b@@ @ @ @0 Í@@ @ @0‬‬

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‫= @ @ @ @ @ @@‪ *x@@ @ @ @N ´* i¡@@ @ @ A @@ ~@ @{@ @£Q @ @: ¤@@ @ Q @ @ @D* ¥PP 5b‬‬

‫< @@‪ ¡@@ @1xQ @ @ Db@@ @+ @@ @ @ OG b@@ @ E Hx@@ @ @ @ BR @@ @ @ @ @ £@ @J5b‬‬

‫‪N‬‬ ‫‪ *y@@ @ P0 @@ @ j@ E · @@£@ ~@Q @z@ D* @@ ~@R@ {@ @1 H2‬‬

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‫‪ ¡@@ @ C ¡@@ @ @ @ @ @ @ @ @ @ @´*H ib@@ @ @ @ £@ @ @ @ @+&* ib@@ @ @£@ @ @ Bb@@ @ @+‬‬

‫‪ É@@ @Q @ D* o*2 d@@ @ < P4¡@@ @ @ @ EO x@@ ~@P@ z@ @ Pp@@ R @ @JN‬‬

‫@‪ Hv@@ @ - @@ @ E¡@@ @ @ @ <H rHx‬‬ ‫‪@ @ @ @ @JR ¤@Q @ @ @ 0 Q @ @ @ @C‬‬ ‫‪R‬‬

‫َﺳﻠﻴﻤﺔ اﻟﻤﺰروﻋﻲ‬

‫اﻟﺸﻌﺮ ‪baytelshear‬‬ ‫ﺑﻴﺖ ِ‬

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‫‪ ĬńŒ ŝħ‬‬ ‫اﻧﺘﺒﺎﻫﻲ ﻣﻮﺿﻮع اﳌﺴﺎﺑﻘﺔ وﻫﻮ ﻣﺠﺎراة‬ ‫ﻗﺼﻴﺪة ﻟﻠﻤﻐﻔﻮر ﻟﻪ اﻟﺸﻴﺦ زاﻳﺪ ﺑﻦ ﺳﻠﻄﺎن‬ ‫آل ﻧﻬﻴﺎن ﻃﻴﺐ اﻟﻠﻪ ﺛﺮاه‪ ،‬ﻋﻦ اﻟﺸﺒﺎب‪ ،‬وﻫﻲ‬ ‫ﻣﻦ اﻟﻘﺼﺎﺋﺪ اﳌﺸﻬﻮرة ﺟﺪا‪ ،‬وﻛﻮين ﻣﻦ اﻟﻔﺌﺔ‬ ‫اﻟﺸﺎﺑﺔ‪ ،‬وﻫﺬه اﻟﻘﺼﻴﺪة ﺗﻌﻨﻴﻨﻲ أﻧﺎ ﺑﺎﻟﺬات‪،‬‬ ‫و ّﻟﺪت ﰲ ﻧﻔﴘ رﻏﺒﺔ ﻛﺒرية ﳌﺠﺎراﺗﻬﺎ‪ ،‬وﻣﻦ‬ ‫اﻟﺒﺪاﻳﺔ مل ﻳﻜﻦ ﻫﺪﰲ اﳌﺸﺎرﻛﺔ ﻓﻘﻂ‪ ،‬ﺑﻞ‬ ‫أردت أن أﺗﺮك اﺛ ـﺮاً‪ ،‬أردت ﳌﺸﺎرﻛﺘﻲ أن‬ ‫ﺗﻜﻮن ﻣﻤﻴﺰة‪ ،‬وﺑﺎﻟﺮﻏﻢ ﻣﻦ ﻣﻌﺮﻓﺘﻲ ﺑﺄين‬ ‫ﺳﺄﻧﺎﻓﺲ ﻓﻄﺎﺣﻞ اﻟﺸﻌﺮ اﻟﺸﻌﺒﻲ ﰲ دول‬ ‫اﻟﺨﻠﻴﺞ‪ ،‬إﻻ أين ﻛﻨﺖ ﻋﲆ ﺛﻘﺔ ﺑﺄين ﺳﺄﻛﻮن‬ ‫ﻣﻦ ﺑني اﻷﻓﻀﻞ‪ ،‬ﻛﻴﻒ ﻻ وأﻧﺎ اﺑﻨﺔ دار زاﻳﺪ‪،‬‬ ‫أﺟﺎري ﻗﺼﻴﺪة ﻛﺘﺒﻬﺎ ﻣﺆﺳﺲ اﻟﺪوﻟﺔ ﺑﻠﻬﺠﺔ‬ ‫اﻟﺪوﻟﺔ ﻋﻦ ﺷﺒﺎب اﻟﺪوﻟﺔ اﻟﺬﻳﻦ أﻧﺘﻤﻲ إﻟﻴﻬﻢ‪،‬‬ ‫وﺑﺎﻟﻔﻌﻞ ﻛﺘﺒﺖ اﻟﻘﺼﻴﺪة وارﺳﻠﺘﻬﺎ ﻗﺒﻞ‬ ‫اﻟﺪﻳﻮان اﻷول‬ ‫إﻏﻼق ﺑﺎب اﳌﺸﺎرﻛﺔ ﺑﻴﻮم واﺣﺪ‪ ،‬واﻧﻬﻤﻜﺖ‬ ‫وﺗﺆﻛﺪ ﺳﻠﻴﻤﺔ ﻋﲆ أن ﻓﻮزﻫﺎ ﺑﻬﺬه اﳌﺴﺎﺑﻘﺔ‬ ‫ﰲ ﻋﻤﲇ ﻟﺪرﺟﺔ ﻧﺴﻴﺖ ﻋﻨﺪﻫﺎ ﻣﻮﺿﻮع‬ ‫ ‪ ǚǷǉőƓ ǽǝőş ǳǂŭ ǻǔƫ ŧǜǉ‬‬ ‫ً‬ ‫‪ ōǝŐǶ ȍ ƱǾǉ ɐǓƞƳȏŌ ǛǾş ǛǙ‬اﳌﻬﻤﺔ ﻛﺎن داﻓﻌﺎ ﻟﻬﺎ ﻟﻼﺳﺘﻤﺮار وﺗﻘﺪﻳﻢ‬ ‫اﳌﺴﺎﺑﻘﺔ‪ ،‬إﱃ أن أﺗﺎين اﺗﺼﺎل ﻳﺒﴩين ﺑﺄين ﻣﻦ‬ ‫ﺑني اﻟﻔﺎﺋﺰﻳﻦ ﺑﺎﳌﺴﺎﺑﻘﺔ‪ ،‬ذﻫﺒﺖ إﱃ ﺳﻮﻳﺤﺎن ‪ ōǤŞŨǉ ǲƃǾƚǃ ǼƈōŵŐ ɐƃǿŌƊ ƈŌƂ ǳǜşŌ‬اﳌﺰﻳﺪ‪ ،‬وﻋﻦ اﻟﺨﻄﻮة اﻟﻘﺎدﻣﺔ ﺗﻘﻮل‪" :‬ﻛﻨﺖ‬ ‫وﻛﻢ ﻛﺎﻧﺖ ﻓﺮﺣﺘﻲ ﻛﺒرية ﻋﻨﺪﻣﺎ ﻋﻠﻤﺖ ﺑﺄين ‪ Ǜƫ ǳǕǶƃǕŌ ǳŴǤǔş ǳǕǶƃǕŌ ƑƓǹǙ‬ﺑﺪأت ﰲ ﺗﺠﻤﻴﻊ دﻳﻮاين اﻟﺸﺨﴢ اﻷول ﻣﻨﺬ‬ ‫ﻣﺪة‪ ،‬وﻓﻮزي ﺑﺎﳌﺴﺎﺑﻘﺔ ﺟﻌﻠﻨﻲ أﺣﺚ اﻟﺨﻄﻰ‬ ‫ﻓﺰت ﺑﺎﳌﺮﻛﺰ اﻟﺜﺎين‪ ،‬وﺑﺄين أول ﻓﺘﺎة ﺗﻨﺎل‬ ‫‪ǳǕǶƃǕŌ ŜōŞƗ‬‬ ‫ﻟﻼﻧﺘﻬﺎء ﻣﻨﻪ‪ ،‬أردت ﻟﻬﺬا اﻟﺪﻳﻮان أن ﻳﺠﻤﻊ‬ ‫ﴍف اﻟﻔﻮز ﺑﻬﺬا اﳌﺮﻛﺰ ﰲ اﻟﺠﺎﺋﺰة‪ ،‬ﺑﻌﺪ أن‬ ‫اﺣﺘﻜﺮه اﻟﺸﻌﺮاء اﻟﺮﺟﺎل ﻣﻨﺬ اﻧﻄﻼﻗﺘﻬﺎ‪ ،‬وﻣﺎ ‪ Ǜƫ ūżŞǿ ǼƅǕŌ Ƿǥ ƨƃŞǘǕŌ ƉƫōƖǕŌ‬ﺑني دﻓﺘﻴﻪ أﻫﻢ ﻗﺼﺎﺋﺪي اﻟﺘﻲ ﻛﺘﺒﺘﻬﺎ ﺧﻼل ‪15‬‬ ‫زﻟﺖ أذﻛﺮ ﻣﺎ ﻗﺎﻟﻪ اﻟﺸﺎﻋﺮ ﻋﺒﻴﺪ ﺑﻦ ﺧﺼﻴﻒ ‪ ŌƅǥǶ ɐōǤǾƳ ǁǔżǿ ǲƃǿƃŵ ŦŌŋōƞƳ‬ﻋﺎﻣﺎً ﻗﻀﻴﺘﻬﺎ ﺑﺮﻓﻘﺔ اﻟﺸﻌﺮ‪ ،‬أﺣﻔﻆ ﻣﻦ ﺧﻼﻟﻪ‬ ‫اﻟﻜﻌﺒﻲ ﱄ ﻣامزﺣﺎً )ﻣﻦ ﺣﻈﻨﺎ أﻧﻚ مل ﺗﻔﻮزي ‪ ǽƫȎƣŌ ǒȎƁ ǛǙ ǣǾǕŒ ŧǔƛǶ ōǙ‬أﻋــامﱄ‪ ،‬ﺣﻴﺚ ﻻ أرﻳﺪ ﻟﻐريي أن ﻳﺠﻤﻊ ﻣﺎ‬ ‫‪ ƉżŞǕŌǶ ŋŌƉżƚǕŌ ŋŌƉƪƗ ǒōǘƫŐ ǻǔƫ‬أﻧﺘﺠﺘﻪ وﻳﺘﴫف وﻳﺤﺮف ﻓﻴﻪ‪ ،‬وﻫﻮ متﺎﻣﺎً ﻣﺎ‬ ‫ﺑﺎﳌﺮﻛﺰ اﻷول"(‪.‬‬ ‫ﻛﺎﻧﺖ ﻓﺘﺎة اﻟﻌﺮب ﻣﺘﺨﻮﻓﺔ ﻣﻨﻪ‪ ،‬ﺣﻴﺚ ﻛﺎﻧﺖ‬ ‫ﺗﺮﻓﺾ أن ﺗﺠﻤﻊ أﻋامﻟﻬﺎ ﰲ دﻳﻮان ﻣﺨﺎﻓﺔ أن‬ ‫اﻟﻤﻔﺮدة اﻷﺻﻴﻠﺔ‬ ‫‪ ǽǝŌǷǿƂ ƩǾǘŴũ ǽƳ ŦŐƃş‬‬ ‫اﻟﻼﻓﺖ ﰲ دورة ﻫﺬا اﻟﻌﺎم ﻣﻦ اﳌﺴﺎﺑﻘﺔ أن ‪ ǼƊǷƳǶ ɐǲƃǙ ƅǜǙ ǒǶȏŌ ǽƚƀƖǕŌ‬ﻳﺨﻄﺄ اﻟﺠﺎﻣﻊ ﰲ اﻟﻜﺘﺎﺑﺔ واﻟﻮزن‪ ،‬ﻓﻘﺼﺎﺋﺪﻫﺎ‬ ‫اﳌﺮﻛﺰﻳﻦ اﻷول واﻟﺜﺎين راﺣﺎ ﻟﺸﺎﻋﺮ وﺷﺎﻋﺮة ‪ ǻƢƀǕŌ ūŽŐ ǽǜǔƪŵ ǳǂşōƒǘǕōş‬ﻛﺎﻧﺖ ﰲ ﻏﺎﻳﺔ اﻷﻫﻤﻴﺔ ﺑﺎﻟﻨﺴﺒﺔ ﻟﻬﺎ‪ ،‬وﻛﺎﻧﺖ‬ ‫ﺗﺮﻓﺾ أن ﺗﺘﻌﺮض ﻟﻠﺘﺤﺮﻳﻒ أو اﻟﺘﺸﻮﻳﻪ ﺑﺄي‬ ‫ﻣﻦ أﺑﻨﺎء اﻟﺠﺒﺎل‪ ،‬ﻓﺎﳌﺮﻛﺰ اﻷول ﻛﺎن ﻣﻦ‬ ‫‪ǣǜǙ ŋōǤŨǝȎǕ‬‬ ‫ﻃﺮﻳﻘﺔ ﻛﺎﻧﺖ‪ ،‬وأﻧﺎ ﻋﻨﺪﻣﺎ أﺟﻤﻊ دﻳﻮاين ﺑﻨﻔﴘ‬ ‫ﻧﺼﻴﺐ ﻋﺒﻴﺪ ﺑﻦ ﺧﺼﻴﻒ اﻟﻜﻌﺒﻲ ﻣﻦ ﻣﻨﻄﻘﺔ‬ ‫ﻣﺼﻔﻮت‪ ،‬واﻟﺜﺎين ﻣﻦ ﻧﺼﻴﺐ اﻟﺸﺎﻋﺮة ﺳﻠﻴﻤﺔ اﻟﺘﺰﻣﻨﺎ ﺑﺎﳌﻔﺮدة اﻹﻣﺎراﺗﻴﺔ اﳌﺤﻠﻴﺔ‪ ،‬وﻫﻲ وأﴍف ﻋﻠﻴﻪ وﻋﲆ ﻃﺒﺎﻋﺘﻪ‪ ،‬أﻛﻮن ﻣﺘﺄﻛﺪة‬ ‫اﺑﻨﺔ ﺟﺒﺎل اﻟﺤﺠﺮ‪ ،‬ﻓﻬﻞ ﻛﺎن ﻟﻠﻤﻔﺮدة اﻟﺠﺒﻠﻴﺔ اﳌﻔﺮدة اﻟﺘﻲ ﻛﺘﺐ ﺑﻬﺎ اﳌﻐﻔﻮر ﻟﻪ اﻟﺸﻴﺦ ﺑﺄﻧﻪ ﻳﺘﻀﻤﻦ ﻗﺼﺎﺋﺪي ﻛام ﻛﺘﺒﺘﻬﺎ أﻧﺎ"‪.‬‬ ‫دور ﰲ ﻫﺬا اﻟﺘﻤﻴﺰ‪ ،‬وﺣﻮل ﻫﺬه اﻟﻨﻘﻄﺔ زاﻳﺪ ﺑﻦ ﺳﻠﻄﺎن آل ﻧﻬﻴﺎن ﻗﺼﻴﺪﺗﻪ‪ ،‬ﺑﻴﻨام أﻧﻬﺖ ﺳﻠﻴﻤﺔ ‪ %70‬ﻣﻦ ﺣﺠﻢ اﻟﻌﻤﻞ ﻋﲆ‬ ‫ﺗﻘﻮل ﺳﻠﻴﻤﺔ‪" :‬ﻻ أﻋﺘﻘﺪ أن اﻟﺒﻴﺌﺔ اﻟﺠﺒﻠﻴﺔ اﺳﺘﺨﺪم اﻟﺸﻌﺮاء اﻵﺧﺮون اﻟﻠﻬﺠﺔ اﻟﺒﻴﻀﺎء دﻳﻮاﻧﻬﺎ اﻟﺬي أﻃﻠﻘﺖ ﻋﻠﻴﻪ ﺑﺸﻜﻞ ﻣﺒﺪأي‬ ‫مبﻔﺮداﺗﻬﺎ ﻛﺎﻧﺖ ﻋﺎﻣﻞ اﻟﺤﺴﻢ‪ ،‬ﻟﻜﻨﻲ وﻣﻦ اﳌﻔﻬﻮﻣﺔ ﻣﻦ اﻟﺠﻤﻴﻊ‪ ،‬وأﻋﺘﻘﺪ ﺑﺄن اﻟﺘﺰاﻣﻲ اﺳــﻢ ﻫﺸﻴﻢ‪ ،‬وﻫــﻲ ﺗــﺪرك أن ﻫــﺬا اﻻﺳﻢ‬ ‫ﺧﻼل ﻣﺸﺎرﻛﺘﻲ ﰲ اﻷﻣﺴﻴﺔ اﻟﺘﻲ أﻗﻴﻤﺖ وﻋﺒﻴﺪ ﺑﺎﳌﻔﺮدة اﻹﻣﺎراﺗﻴﺔ ﺟﺎء ﳌﺼﻠﺤﺘﻨﺎ ﻳﻌﻄﻲ ﻟﻠﺪﻳﻮان ﺻﻔﺔ اﻟﺴﻮداوﻳﺔ رﻏﻢ أﻧﻪ‬ ‫ﻟﻠﺸﻌﺮاء اﻟﻔﺎﺋﺰﻳﻦ‪ ،‬ﻻﺣﻈﺖ ﺑﺄين وﻋﺒﻴﺪ ﻗﺪ ورﺷﺢ ﻛﻔﺘﻴﻨﺎ ﻟﻠﻔﻮز"‪.‬‬ ‫ﻟﻴﺲ ﻛﺬﻟﻚ‪ ،‬وﺗﻘﻮل‪" :‬أﺣﺐ ﻫﺬا اﻻﺳﻢ‪ ،‬اﺳﻢ‬

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‫اﻟﻌﺪد ‪ ، 77‬أﺑﺮﻳﻞ ‪2019‬‬

‫‪ ǒōǘƫȏŌ ǲƈŌƂŒ ŧƓƈƂ‬‬ ‫‪ ōǤǾƳ ŦƃŵǶ ǽǝǷǉ‬‬ ‫‪ɰ‬‬ ‫‪ ŧŞŨǉǶ ɐǓƞƳŐ ȎŞǂŨƒǙ‬‬ ‫‪ ǁǾƳƈ ǣǝǷǉ ƉƪƖǕŌ‬‬ ‫‪ǽũōŽōŞƛ‬‬ ‫‪ ɐōşƂ ǳǂƢǜǙ ǳǜşŌ ōǝŐ‬‬ ‫‪ źǷƲƓ ǛǾş ŧƫƉƫƉũ‬‬ ‫‪ ƨƈŌƋǘǕŌ ūǾŽ ɐƉŴżǕŌ ǒōŞŵ‬‬ ‫‪ ǳƪǾŞƢǕŌǶ ǢōǾǘǕŌ ƩǾşōǜǿǶ‬‬ ‫‪ǲƉŽōƒǕŌ‬‬

‫ﻟﻚ أن ﺗﻜﻮن ﺷﺎﻋﺮاً أو ﻛﺎﺗﺒﺎً‪ ،‬ﺑﻜﻞ ﺗﺄﻛﻴﺪ‬ ‫ﺳﺘﺠﺪ ﻗﻠﻤﻚ ﻣﻨﺤﺎزا ﻧﺤﻮ اﻟﺒﻴﺌﺔ اﻟﺘﻲ ﻋﺸﺖ‬ ‫ﻓﻴﻬﺎ‪ ،‬وﻫﺬا ﻣﺎ أﺟﺪه ﰲ أﺷﻌﺎري‪ ،‬ﻻ أﻗﻮل‬ ‫إﻧﻬﺎ ﺗﺘﺼﻒ ﺑﺎﻟﻘﺴﻮة‪ ،‬ﻟﻜﻦ ﻳﻄﻐﻰ ﻋﻠﻴﻬﺎ ﻋﺰة‬ ‫اﻟﻨﻔﺲ واﻟﻜﱪﻳﺎء واﻷﻧﻔﺔ‪ ،‬وﻛﻮين ﻗﺮﻳﺒﺔ ﻣﻦ‬ ‫اﻟﺒﺤﺮ‪ ،‬ﻓﺘﺠﺪ ﻓﻴﻬﺎ اﻟﻐﻤﻮض واﻟﻌﻤﻖ‪ ،‬وﻗﺪ‬ ‫ﺗﺤﺘﺎج ﻟﻠﻐﻮص ﻋﻤﻴﻘﺎً ﻟﺘﻜﺘﺸﻒ ﻣﺎ أﻋﻨﻴﻪ"‪.‬‬ ‫ورﻏﻢ ﻛﻮﻧﻬﺎ اﺑﻨﺔ ﺑﻴﺌﺔ ﺟﺒﻠﻴﺔ‪ ،‬إﻻ أﻧﻬﺎ اﺑﻨﺔ‬

‫اﻹﻣﺎرات ﺑﻜﻞ ﺑﻴﺌﺎﺗﻬﺎ‪ ،‬ﺣﻴﺚ مل ﺗﻠﺰم ﺳﻠﻴﻤﺔ‬ ‫ﻧﻔﺴﻬﺎ مبﺎ متﻠﻴﻪ ﻋﻠﻴﻬﺎ ﺑﻴﺌﺘﻬﺎ‪ ،‬ﻓﺘﻘﻮل‪" :‬ﻟﻮ‬ ‫دﻗﻘﻨﺎ ﰲ اﻟﺒﻴﺌﺔ اﻟﺠﺒﻠﻴﺔ‪ ،‬ﻟﻮﺟﺪﻧﺎﻫﺎ أﻗﻞ ﺛﺮاء‬ ‫ﺑﺎﻟﻨﺴﺒﺔ ﻟﻠﻤﻔﺮدات واﻟﱰاﻛﻴﺐ اﻟﱰاﺛﻴﺔ ﻣﻘﺎرﻧﺔ‬ ‫ﺑﺎﻟﺼﺤﺮاء واﻟﺒﺤﺮ‪ ،‬واﻟﺸﺎﻋﺮ اﳌﺒﺪع ﻫﻮ اﻟﺬي‬ ‫ﻳﺒﺤﺚ ﻋﻦ ﻓﻀﺎءات ﺟﺪﻳﺪة ﻳﺤﻠﻖ ﻓﻴﻬﺎ‪،‬‬ ‫وﻫﺬا ﻣﺎ وﺻﻠﺖ إﻟﻴﻪ ﻣﻦ ﺧﻼل اﻃﻼﻋﻲ ﻋﲆ‬ ‫أﻋامل ﺷﻌﺮاء اﻟﺼﺤﺮاء واﻟﺒﺤﺮ‪ ،‬ﺗﻌﺮﻓﺖ إﱃ‬

‫ﻣﻔﺮداﺗﻬﻢ وأﺳﺎﻟﻴﺒﻬﻢ اﻟﺸﻌﺮﻳﺔ‪ ،‬ﻣﺎ ﺟﻌﻠﻨﻲ‬ ‫أﻛرث ﻗﺪرة ﻋﲆ اﻟﻜﺘﺎﺑﺔ ﻟﻜﻞ أﻫﻞ اﻹﻣﺎرات‬ ‫ﻣﻦ ﻣﴩﻗﻬﺎ ﳌﻐﺮﺑﻬﺎ"‪.‬‬ ‫وﻳﺼﻞ ﺑﻨﺎ اﻟﺤﻮار إﱃ اﳌﺴﺎﺑﻘﺔ اﻟﺸﻌﺮﻳﺔ‬ ‫ﳌﻬﺮﺟﺎن ﺳﻠﻄﺎن ﺑﻦ زاﻳــﺪ اﻟــﱰايث‪ ،‬واﻟﺘﻲ‬ ‫ﻛﺎﻧﺖ ﺳﻠﻴﻤﺔ ﻓﺎرﺳﺔ ﻣﻦ ﻓﺮﺳﺎﻧﻬﺎ ﻟﻬﺬا اﻟﻌﺎم‪،‬‬ ‫وﻋﻦ ﻣﺸﺎرﻛﺘﻬﺎ ﺗﻘﻮل‪" :‬ﺳﻤﻌﺖ ﺑﺎﻟﺠﺎﺋﺰة‬ ‫ﻣﻦ ﺧﻼل ﻣﻮاﻗﻊ اﻟﺘﻮاﺻﻞ اﻻﺟﺘامﻋﻲ‪ ،‬وأﺛﺎر‬ ‫اﻟﺸﻌﺮ ‪baytelshear‬‬ ‫ﺑﻴﺖ ِ‬

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‫‪ ĬńŒ ŝħ‬‬ ‫‪ɰ‬‬ ‫‪ɶ‬‬ ‫‪ǽŭŌƉŨǕŌ ƃǿŌƊ Ǜş ǚōƢǔƓ ǚōŵƉǤǘǕ ǳǿƉƪƖǕŌ ǳǂşōƒǘǕŌ ǽƳ ōǾǝōŭ ŧ‬‬ ‫‪ǔŽ‬‬

‫َﺳﻠﻴﻤﺔ اﻟﻤﺰروﻋﻲ‪ǽǂǾǂżǕŌ ƉƪƖǕŌ ǳƳōǂŭ ƉƖǝ ǻǔƫ ǓǘƫŐ :‬‬ ‫ﻣﺼﻄﻔﻰ أﺣﻤﺪ‬ ‫اﺑﻨﺔ اﻟﺠﺒﻞ وﺟﺎرة اﻟﺒﺤﺮ‪ ،‬أﺧﺬت ﻣﻦ اﻷول‬ ‫ﻋﺰة اﻟﻨﻔﺲ‪ ،‬وﻣﻦ اﻟﺜﺎين اﻻﺗﺴﺎع‪ ،‬ﰲ ﺻﻤﺘﻬﺎ‬ ‫ﺑﻼﻏﺔ‪ ،‬وﰲ ﻗﻮﻟﻬﺎ رﺻﺎﻧﺔ‪ ،‬ﻛﻼﻣﻬﺎ ﻣﻮزون وإن‬ ‫مل ﻳﻜﻦ ﺷﻌﺮاً‪ ،‬وﺷﻌﺮﻫﺎ ﻳﻄﺮب ﺣﺘﻰ ﻣﻦ دون‬ ‫ﻟﺤﻦ‪ ،‬ﺣﻀﻮرﻫﺎ ﻻﻓﺖ‪ ،‬وﺣﺪﻳﺜﻬﺎ ﻏﻨﻲ‪ ،‬دﻗﻴﻘﺔ‬ ‫اﻟﻮﺻﻒ‪ ،‬ﺟﺮﻳﺌﺔ ﰲ اﻟﺮد‪ ،‬ﺗﺨﺘﺎر ﻣﻔﺮداﺗﻬﺎ‬ ‫ﺑﻌﻨﺎﻳﺔ‪ ،‬ﻓﺘﻘﻊ ﰲ اﻟﻌﻘﻞ ﻗﺒﻞ اﻟﻘﻠﺐ‪ ،‬ﻓﺘﱰك‬ ‫اﺛـﺮاً ﻛﺬاك اﻟﺬي ﺗﱰﻛﻪ اﻟﺤﻜﻢ واﻟﺘﺠﺎرب‬ ‫اﻟﺘﻲ ﻻ ﺗﻨﴗ‪ ،‬إﻧﻬﺎ اﻟﺸﺎﻋﺮة اﻹﻣﺎراﺗﻴﺔ ﺳﻠﻴﻤﺔ‬ ‫اﳌﺰروﻋﻲ ﻣﺪﻳﺮة ﺑﻴﺖ اﻟﺸﻌﺮ ﰲ اﻟﻔﺠرية‪،‬‬ ‫واﻟﺤﺎﺋﺰة ﻋﲆ اﳌﺮﻛﺰ اﻟﺜﺎين ﰲ اﳌﺴﺎﺑﻘﺔ‬ ‫اﻟﺸﻌﺮﻳﺔ ﳌﻬﺮﺟﺎن ﺳﻠﻄﺎن ﺑﻦ زاﻳﺪ اﻟﱰايث ﰲ‬ ‫ﺑﺄين واﻟﺸﻌﺮ ﺳﻨﺴري ﰲ درب واﺣﺪ‪ ،‬ﻓﺎزداد‬ ‫ﻣﺪﻳﻨﺔ ﺳﻮﻳﺤﺎن‪.‬‬ ‫مل ﺗﺜﻨﻨﺎ اﳌﺴﺎﻓﺎت اﻟﻄﻮﻳﻠﺔ ﻋﻦ زﻳﺎرﺗﻬﺎ ﰲ ﺗﻌﻠﻘﻲ ﺑﺎﻟﺸﻌﺮ ﺑﺸﻜﻠﻴﻪ اﻟﻨﺒﻄﻲ واﻟﻔﺼﻴﺢ‪،‬‬ ‫إﻣﺎرة اﻟﻔﺠرية‪ ،‬ﻓﻜﺎن ﻟﻨﺎ ﻣﻌﻬﺎ ﻫﺬا اﻟﺤﻮار‪ :‬وﺗﻌﺪدت ﻣﺤﺎوﻻيت‪ ،‬وﻛرثت ﻗﺮاءايت‪ ،‬وﺗﻮﺳﻊ‬ ‫إدرايك ﳌﻌﺎين اﻟﺸﻌﺮ‪ ،‬وﻓﻬﻤﻲ ﻟﻠﻮزن‬ ‫واﻟﻘﺎﻓﻴﺔ‪ ،‬وﺑﺎﺗﺖ ﺟﻌﺒﺘﻲ ﻏﻨﻴﺔ ﺑﺎﳌﻔﺮدات‪،‬‬ ‫اﻟﺒﺪاﻳﺎت‬ ‫ﺗﺼﻒ ﺳﻠﻴﻤﺔ ﻋﻼﻗﺘﻬﺎ ﻣﻊ اﻟﺸﻌﺮ ﺑﺎﻟﺸﻐﻒ ﻛﻨﺖ أﺣﺐ اﻟﻜﺘﺎﺑﺔ‪ ،‬وﻻ ميﻜﻨﻨﻲ ﺗﺤﺪﻳﺪ إن‬ ‫اﻟﺬي متﻠﻚ ﻗﻠﺒﻬﺎ ﻣﻨﺬ ﻧﻌﻮﻣﺔ أﻇﻔﺎرﻫﺎ‪ ،‬ﺣﻴﺚ ﻛﺎﻧﺖ ﻛﺘﺎﺑﺎيت ﰲ ﺗﻠﻚ اﻟﻔﱰة ﻧرثاً أم ﺷﻌﺮاً‪،‬‬ ‫ﻛﺎﻧﺖ ﰲ اﳌﺮﺣﻠﺔ اﻻﺑﺘﺪاﺋﻴﺔ ﻋﻨﺪﻣﺎ اﻛﺘﺸﻔﺖ ﻛﻨﺖ أﻛﺘﺐ ﳌﺠﺮد اﻟﻜﺘﺎﺑﺔ‪ ،‬ﻛﺜرياً ﻣﺎ اﻟﺘﺰﻣﺖ‬ ‫ﺑﺄن ﻟﻠﺸﻌﺮ ﰲ ﻗﻠﺒﻬﺎ ﻣﻜﺎﻧﺔ وﰲ ﻋﻘﻠﻬﺎ ﻣﻜﺎﻧﺎً‪ ،‬ﺑﺎﻟﻘﻮاﰲ‪ ،‬ﻟﻜﻨﻲ مل أﺗﻘﻴﺪ ﺑﺎﻟﻮزن"‪.‬‬ ‫ﺗﻘﻮل ﺳﻠﻴﻤﺔ‪" :‬ﻛﺎن ﻟﻠﺒﻴﺌﺔ اﳌﺤﻴﻄﺔ يب دور وﺗﺆﻛﺪ ﺳﻠﻴﻤﺔ ﻋﲆ اﻟــﺪور اﻟﻜﺒري اﻟﺬي‬ ‫ﻛﺒري ﰲ ﺗﻌﻠﻘﻲ ﺑﺎﻟﺸﻌﺮ‪ ،‬وﻫﻨﺎ أﻗﺼﺪ ﻋﺎﺋﻠﺘﻲ ﻟﻌﺒﺘﻪ اﳌﻨﺎﻫﺞ اﳌﺪرﺳﻴﺔ ﺣﻴﻨﻬﺎ ﰲ اﺳﺘﻴﻌﺎﺑﻬﺎ‬ ‫وﻣﺪرﺳﺘﻲ‪ ،‬ﻓﻮاﻟﺪي رﺣﻤﻪ اﻟﻠﻪ ﻛﺎن ﻣﺮﺗﺠ ًﻼ ﻟﻠﺸﻌﺮ ووزﻧــﻪ وﺑﺤﻮره ﺣﻴﺚ ﺗﻘﻮل‪" :‬ﰲ‬ ‫ﻟﻠﺸﻌﺮ وﻣﺤﺒﺎً ﻟﻪ‪ ،‬وﺑﺎﻟﺮﻏﻢ ﻣﻦ ﺗﻔﺎوت ﻃﺮق ﻣﺮﺣﻠﺔ ﻣﺎ ﻛﻨﺎ ﻧﺪرس اﻟﺸﻌﺮ اﻟﻌﺮيب اﻟﻔﺼﻴﺢ‪،‬‬ ‫اﻟﺘﻔﻜري ﺑﻴﻨﻲ وﺑﻴﻨﻪ‪ ،‬إﻻ أﻧﻪ ﻛﺎن ﻳﺸﺠﻌﻨﻲ واﳌﻮﺷﺤﺎت اﻷﻧﺪﻟﺴﻴﺔ وﻛﻴﻔﻴﺔ ﻧﻈﻤﻬﺎ‬ ‫دامئﺎً ﻋﲆ اﻻﺳﺘﻤﺮار‪ ،‬أﻣﺎ اﳌﺪرﺳﺔ ﻓﻜﺎﻧﺖ ﻫﻲ وﺑﺤﻮرﻫﺎ وأوزاﻧﻬﺎ‪ ،‬ﻫﺬا اﻷﻣﺮ وﺿﻌﻨﻲ ﻋﲆ‬ ‫اﳌﻜﺎن اﻟﺬي اﻛﺘﺸﻔﺖ ﻓﻴﻪ ﺑﺄين ﻣﺘﻴﻤﺔ ﺑﺎﻟﺸﻌﺮ ﺑﺪاﻳﺔ اﻟﻄﺮﻳﻖ ﰲ ﻣﺠﺎل اﻟﺸﻌﺮ اﳌــﻮزون‪،‬‬ ‫وﺑﺎﻟﻠﻐﺔ اﻟﻌﺮﺑﻴﺔ‪ ،‬وﻛﺎﻧﺖ ﺗﺠﺮﺑﺘﻲ اﻷوﱃ ﻣﻦ ﻻﺳﺘﻤﺮ ﺑﻌﺪﻫﺎ ﰲ اﻟﺘﻌﻠﻢ ﻣﻦ ﺧﻼل اﻻﻃﻼع‬ ‫ﺧﻼل ﻣﺸﺎرﻛﺘﻲ ﰲ إﺣﺪى ﻣﺴﺎﺑﻘﺎت إﻟﻘﺎء واﻟﻘﺮاءة اﳌﺴﺘﻤﺮة"‪.‬‬ ‫اﻟﺸﻌﺮ ﻋﲆ ﻣﺴﺘﻮى إﻣﺎرة اﻟﻔﺠرية‪ ،‬وﻓﺰت ﻋﺸﻘﺖ ﺳﻠﻴﻤﺔ اﻟﺸﻌﺮ‪ ،‬ﻟﻜﻦ ﻫﺬا اﻟﻌﺸﻖ‬ ‫ﺣﻴﻨﻬﺎ ﺑﺎﳌﺮﻛﺰ اﻷول‪ ،‬ﻣﻦ ﺗﻠﻚ اﻟﻠﺤﻈﺔ ﺷﻌﺮت مل ﻳﺪﻓﻌﻬﺎ ﻟﺪراﺳﺘﻪ أﻛﺎدميﻴ ُﺎ‪ ،‬ﺣﻴﺚ إن واﻗﻊ‬

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‫اﻟﻌﺪد ‪ ، 77‬أﺑﺮﻳﻞ ‪2019‬‬

‫اﻟﺤﻴﺎة ﻳﻔﺮض ﻧﻔﺴﻪ‪ ،‬ﺗﻘﻮل ﺳﻠﻴﻤﺔ‪" :‬ميﻜﻦ‬ ‫أن ﺗﻜﺘﺐ ﰲ أي وﻗﺖ‪ ،‬ﰲ أي ﻣﻜﺎن‪ ،‬ﻟﻴ ًﻼ‬ ‫أو ﻧﻬﺎراً‪ ،‬ﻟﻴﺲ ﻫﻨﺎك ﻣﺎ ﻳﻠﺰﻣﻚ ﺑﺎﻟﺸﻌﺮ أو‬ ‫ميﻨﻌﻚ ﻋﻦ اﻻﺳﺘﻤﺘﺎع ﺑﻨﻈﻤﻪ‪ ،‬ﻟﻜﻦ اﻟﺤﻴﺎة‬ ‫ﺗﻔﺮض ﻋﲆ اﻹﻧﺴﺎن أن ﻳﻜﻮن أﻛرث واﻗﻌﻴﺔ‪،‬‬ ‫درﺳﺖ إدارة اﻷﻋامل‪ ،‬ﻛﻮن ﻫﺬه اﻟﺪراﺳﺔ‬ ‫ﺗﻔﺘﺢ ﱄ أﺑﻮاب اﻟﻌﻤﻞ اﻟﻮﻇﻴﻔﻲ‪ ،‬وﺗﺠﻌﻠﻨﻲ‬ ‫أﻛرث ﻗﺪرة ﻋﲆ ﻣﻮاﺟﻬﺔ اﻟﻈﺮوف اﻟﺘﻲ ﻛﻨﺖ‬ ‫أﻣﺮ ﻓﻴﻬﺎ ﰲ ﺗﻠﻚ اﻟﻔﱰة‪ ،‬درﺳﺖ إدارة اﻷﻋامل‬ ‫ﻛﻮين وﺟﺪت ﻓﻴﻬﺎ ﻣﺴﺘﻘﺒ ًﻼ أﻓﻀﻞ‪ ،‬وﻛﺘﺒﺖ‬ ‫اﻟﺸﻌﺮ ﻛﻮﻧﻪ رﻓﻴﻖ ﺻﺒﺎﺣﺎيت اﳌﺒﻜﺮة وﺟﻠﻴﺲ‬ ‫أﻣﺴﻴﺎيت"‪.‬‬ ‫ﺑﻴﻦ اﻟﻔﺼﻴﺢ واﻟﻨﺒﻄﻲ‬

‫ﺗﺪرك ﺑﺄن ﺳﻠﻴﻤﺔ ﺷﺎﻋﺮة اﺳﺘﺜﻨﺎﺋﻴﺔ ﻋﻨﺪﻣﺎ‬ ‫ﺗﻌﻠﻢ ﺑﺄﻧﻬﺎ ﺗﻜﺘﺐ اﻟﺸﻌﺮ اﻟﻨﺒﻄﻲ واﻟﺸﻌﺮ‬ ‫اﻟﻔﺼﻴﺢ‪ ،‬وﻫﻮ ﻣﺎ ميﻴﺰﻫﺎ ﻋﻦ اﻟﺸﻌﺮاء اﻟﺬﻳﻦ‬ ‫اﻟﺘﺰﻣﻮا ﻧﻮﻋﺎً واﺣﺪاً‪ ،‬وﺗﻀﻴﻒ ﺳﻠﻴﻤﺔ ﺑﺎﻟﻘﻮل‪:‬‬ ‫"أﺣﺐ اﻟﺸﻌﺮ اﻟﻜﻼﺳﻴيك اﻟﻌﺎﻣﻮدي اﻟﻘﺪﻳﻢ‪،‬‬ ‫ﻟﻜﻦ اﻟﺒﻴﺌﺔ اﳌﺤﻠﻴﺔ ﺟﻌﻠﺖ أﻛرث ﻧﺘﺎﺟﺎيت‬ ‫ﺑﺎﻟﺸﻌﺮ اﻟﻨﺒﻄﻲ‪ ،‬ﺣﻴﺚ إﻧﻪ أﻗﺮب إﱃ ﻋﻘﻮل‬ ‫اﳌﺤﻴﻄني يب‪ ،‬ﻳﺴﺘﻄﻴﻌﻮن ﻓﻬﻤﻪ واﺳﺘﻴﻌﺎﺑﻪ‬ ‫واﻻﺳﺘﻤﺘﺎع ﺑﻪ‪ ،‬ﻛام أن اﻟﺸﻌﺮ اﻟﻨﺒﻄﻲ أﺳﻬﻞ‬ ‫ﺑﻌﺾ اﻟــﴚء‪ ،‬ﻛﻮﻧﻪ ﻏري ﻣﺤﻜﻮم ﺑﺎﻟﻌﺪﻳﺪ‬ ‫ﻣﻦ اﻟﻘﻮاﻋﺪ اﳌﻌﻘﺪة اﳌﻔﺮوﺿﺔ ﻋﲆ اﻟﺸﻌﺮ‬ ‫اﻟﻔﺼﻴﺢ"‪.‬‬ ‫وﺗﻌﱰف ﺳﻠﻴﻤﺔ وﺗﻌﺘﺰ ﺑﺄﺛﺮ اﻟﺒﻴﺌﺔ اﳌﺤﻴﻄﺔ‬ ‫ﺑﺸﻌﺮﻫﺎ‪ ،‬ﻓﻬﻲ اﺑﻨﺔ ﺟﺒﺎل اﻟﺤﺠﺮ اﻟﺸﺎﻣﺨﺔ‪،‬‬ ‫اﻟﺘﻲ ﺗﻜﺘﻨﺰ ﻛ ًام ﻻ ﻳﺴﺘﻬﺎن ﺑﻪ ﻣﻦ اﻟﺴﺤﺮ‪،‬‬ ‫وﻋﻦ ﻫﺬا اﻷﺛﺮ ﺗﻘﻮل‪" :‬أﻧﺎ اﺑﻨﺔ ﻣﻨﻄﻘﺔ دﺑﺎ‪،‬‬ ‫ﺗﺮﻋﺮﻋﺖ ﺑني ﺳﻔﻮح ﺟﺒﺎل اﻟﺤﺠﺮ‪ ،‬ﺣﻴﺚ‬ ‫اﳌﺰارع وﻳﻨﺎﺑﻴﻊ اﳌﻴﺎه واﻟﻄﺒﻴﻌﺔ اﻟﺴﺎﺣﺮة‪،‬‬ ‫ﻓﺘﺨﻴﻞ أن ﺗﻨﺸﺄ ﰲ ﻫﻜﺬا ﻣﻜﺎن وﻳﻜﻮن ﻣﻘﺪراً‬

‫‪ ƃǿŌƊ Ǜş ǚōƢǔƓ ƋǉƉǙ ǽƳ ǛǿƃǕŌ ŋȎƫ ƃǾǕǶ‬‬

‫ ‪ ȀƈōǂǕŌ ǓǂƪǔǕ ŜōŨǉ ǣǔǉ ǗǕōƪǕŌ‬‬

‫ﻧﻈﻢ ﻣﺮﻛﺰ ﺳﻠﻄﺎن ﺑﻦ زاﻳﺪ ﺟﻠﺴﺔ ﻧﻘﺎش‬ ‫ﻣﻨﻬﺠﺎ ﻟﻠﺘﻔﻜري‪،‬‬ ‫ﺗﺤﺖ ﻋﻨﻮان "اﻟﻘﺮاءة‬ ‫ً‬ ‫ﻛﻴﻒ ﻳﻜﻮن اﻟﻌﻘﻞ ﻗﺎر ًﺋﺎ واﻟﻜﻮن ﻛﺘﺎ ًﺑﺎ؟"‬ ‫ﻗﺪﻣﻬﺎ اﻟﺮوايئ واﻹﻋﻼﻣﻲ اﳌﴫي وﻟﻴﺪ ﻋﻼء‬ ‫اﻟﺪﻳﻦ ﻣﺪﻳﺮ ﺗﺤﺮﻳﺮ ﻣﺠﻠﺔ ﺗﺮاث‪ ،‬ﺿﻤﻦ‬ ‫اﻟﱪﻧﺎﻣﺞ اﻟﺜﻘﺎﰲ ﻟﻠﻤﺮﻛﺰ ﰲ إﻃﺎر ﻓﻌﺎﻟﻴﺎت‬ ‫ﺷﻬﺮ اﻟﻘﺮاءة ﰲ دوﻟﺔ اﻹﻣــﺎرات اﻟﻌﺮﺑﻴﺔ‬ ‫اﳌﺘﺤﺪة‪.‬‬ ‫ﰲ ﻣﺴﺘﻬﻞ اﻟﺠﻠﺴﺔ ﻗﺎل وﻟﻴﺪ ﻋﻼء اﻟﺪﻳﻦ‬ ‫إن واﺣــﺪة ﻣﻦ أﺑــﺮز ﻣﺸﻜﻼت اﻟﻌﻘﻞ‬ ‫اﻟﻌﺮيب؛ اﻟﺘﻌﺎﻣﻞ ﻣﻊ اﳌﺼﻄﻠﺤﺎت اﳌﻐﻠﻘﺔ‪،‬‬ ‫ﻣﻦ دون إﻋﺎدة اﻟﻨﻈﺮ ﰲ دﻻﻻﺗﻬﺎ مبﺎ ﻳﺴﻤﺢ‬ ‫ﺑﺘﻄﻮﻳﺮ ﻓﻬﻤﻨﺎ ﻟﻬﺎ ﰲ إﻃﺎر ﻣﺘﻐريات اﻟﻌﴫ‬ ‫وﻣﻨﺠﺰات اﻟﺤﻀﺎرة‪ .‬وأﺿﺎف‪ :‬إن اﻻﻃﻤﺌﻨﺎن‬

‫ﻟﻠﻤﺼﻄﻠﺤﺎت واﺳﺘﻌامﻟﻬﺎ ﻣــﻦ دون‬ ‫ﺗﺤﺮﻳﺮﻫﺎ ﻣﻦ أﴎ اﳌﻌﻨﻰ –اﻟﺬي ﻛﺎﻧﺖ‬ ‫ﺗﺤﻘﻘﻪ ﰲ ﺗﺎرﻳﺦ ﻧﺸﺄﺗﻬﺎ أو اﺳﺘﺨﺪاﻣﻬﺎ‪-‬‬ ‫ُﻳﺰﻳﻒ اﻟﺪﻻﻟﺔ‪ ،‬و ُﻳﻠﻐﻲ وﻇﻴﻔﺔ اﻟﻌﻘﻞ‬ ‫اﻷﺳﺎﺳﻴﺔ وﻫﻲ اﻟﺘﺴﺎؤل ﺑﺤ ًﺜﺎ ﻋﻦ اﳌﻌﻨﻰ‪..‬‬

‫وﻗــﺎل إن اﻟﺸﻴﻮع اﳌﺬﻫﻞ ﳌﺼﻄﻠﺤﻲ‬ ‫اﻟﻘﺮاءة واﻟﻜﺘﺎب‪ ،‬ﻣﻦ دون إﺷﺎﻋﺔ اﻟﻨﻘﺎش‬ ‫ﺣﻮل اﳌﻌﺎين اﻷوﺳﻊ ﻟﻠﻘﺮاءة وﻟﻠﻜﺘﺎب‪،‬‬ ‫ﻳﺘﺴﺒﺐ ﰲ اﻟﻮﺻﻮل إﱃ ﻧﺘﺎﺋﺞ ﻣﻐﻠﻮﻃﺔ ﺣﻮل‬ ‫أﻧﻔﺴﻨﺎ وﺣﻮل اﻷﺟﻴﺎل اﻟﺠﺪﻳﺪة‪ ،‬وﻳﺠﻌﻠﻨﺎ‬ ‫ﻣﺜ ًﻼ ﻧﻌﺘﻘﺪ ﺧﻄﺄ أﻧﻨﺎ أﻓﻀﻞ ﻣﻦ اﻷﺟﻴﺎل‬ ‫اﻟﺠﺪﻳﺪة ﳌﺠﺮد أن ﻋﻼﻗﺘﻬﻢ ﺑﺎﻟﻜﺘﺎب ﻻ‬ ‫ﺗﺸﺒﻪ ﻋﻼﻗﺘﻨﺎ ﺑﻪ وأن اﻷﺟﻴﺎل اﻷﻗﺪم أﻓﻀﻞ‬ ‫ﺣﺎﻻً ﻟﻠﺴﺒﺐ ﻧﻔﺴﻪ‪ .‬وأن ﻧﻜﺮر ﻋﺒﺎرات ﻣﻦ‬ ‫ﻗﺒﻴﻞ "أﻣﺔ ﻻ ﺗﻘﺮأ"‪ ،‬و"ﺷﺒﺎب ﺑﻌﻴﺪ ﻋﻦ‬ ‫اﻟﻜﺘﺎب" وﻏري ذﻟﻚ ﻣام ﻳﺤﺪث ﻗﻄﻴﻌﺔ ﺑني‬ ‫اﻷﺟﻴﺎل أو ﻳﺘﺴﺒﺐ ﰲ ﺿﻌﻒ ﺛﻘﺔ اﻟﺸﺒﺎب‬ ‫ﺑﻘﺪراﺗﻬﻢ اﻟﻌﻘﻠﻴﺔ واﻟﻔﻜﺮﻳﺔ ومبﻌﻠﻮﻣﺎﺗﻬﻢ‬ ‫وﺑﻘﺪرﺗﻬﻢ ﻋﲆ إﻧﺘﺎج اﳌﻌﺮﻓﺔ‪...‬‬

‫‪ ǖȏŌ ǖǷǾş Ȍş ǓƲŨżǿ ŦŌƈōǙȑŌ ŪŌƉũ ǼƂōǝ‬‬ ‫ﻧﻈﻤﺖ ﺳﻴﺪات ﻧﺎدي ﺗﺮاث اﻹﻣﺎرات ﺣﻔﻼ‬ ‫مبﴪح إدارة اﻷﻧﺸﻄﺔ اﻟﺘﺎﺑﻊ ﻟﻠﻨﺎدي مبﻨﺎﺳﺒﺔ‬ ‫ﻳﻮم اﻷم ﺑﺤﻀﻮر ﻣﻮﻇﻔﺎت اﻟﻨﺎدي وﻣﺮﻛﺰ‬ ‫ﺳﻠﻄﺎن ﺑﻦ زاﻳﺪ وﻣﻌﻠامت وﻃﺎﻟﺒﺎت ﻣﻦ‬ ‫ﻣﺪرﺳﺔ اﻹﺧﻼص ﰲ اﺑﻮﻇﺒﻲ‪.‬‬ ‫وﻗﺪﻣﺖ ﻓﺎﻃﻤﺔ ﻣﺴﻌﻮد اﳌﻨﺼﻮري رﺋﻴﺲ‬ ‫ﻟﺠﻨﺔ ﺳﻴﺪات ﻧﺎدي ﺗﺮاث اﻹﻣﺎرات رﺳﺎﻟﺔ‬

‫ﺷﻜﺮ ﻟﺴﻤﻮ اﻟﺸﻴﺨﺔ ﻓﺎﻃﻤﺔ ﺑﻨﺖ ﻣﺒﺎرك‬ ‫رﺋﻴﺴﺔ اﻻﺗﺤﺎد اﻟﻨﺴﺎيئ اﻟﻌﺎم رﺋﻴﺴﺔ اﳌﺠﻠﺲ‬ ‫اﻷﻋﲆ ﻟﻸﻣﻮﻣﺔ واﻟﻄﻔﻮﻟﺔ اﻟﺮﺋﻴﺲ اﻷﻋﲆ‬ ‫ﳌﺆﺳﺴﺔ اﻟﺘﻨﻤﻴﺔ اﻷﴎﻳﺔ ﻋﲆ اﻟﺪﻋﻢ اﻟﻜﺒري‬ ‫اﻟــﺬي ﺗﻮﻟﻴﻪ ﻟﻠﻤﺮأة اﻹﻣﺎراﺗﻴﺔ ‪ ..‬ﻣﺆﻛﺪة‬ ‫ﻋﲆ دور اﻷم ووﺟﻮدﻫﺎ ﰲ ﻣﺴرية اﻟﺤﻴﺎة‪،‬‬ ‫وﺧﺼﺖ ﺑﺎﻟﺸﻜﺮ أﻣﻬﺎت اﻟﺸﻬﺪاء اﻟﻼيئ‬

‫ﻗﺪﻣﻦ درﺳﺎً ﻋﻈﻴ ًام ﰲ اﻟﺘﻀﺤﻴﺔ واﻟﻔﺪاء‪.‬‬ ‫وﺗﺨﻠﻞ اﻟﺤﻔﻞ ﺟﻠﺴﺔ ﺣﻮارﻳﺔ ﳌﺠﻤﻮﻋﺔ‬ ‫ﻣﻦ ﺳﻴﺪات اﻟﻨﺎدي ﺗﺤﺪﺛﻦ ﻓﻴﻬﺎ ﻋﻦ اﻷم‬ ‫وﻣﺴرية ﺣﻴﺎﺗﻬﺎ وﺗﻨﺎوﻟﻦ ﺗﺠﺮﺑﺘﻬﻦ ﰲ اﻟﺤﻴﺎة‬ ‫وﻣﺸﻮارﻫﻦ اﻟﺨﺎص ﻣﻊ أﺑﻨﺎﺋﻬﻦ‪ ،‬وﻛﻴﻔﻴﺔ‬ ‫ﺗﺤﻘﻴﻖ اﳌﻮاءﻣﺔ ﺑني اﻟﻌﻤﻞ وﻣﺘﻄﻠﺒﺎت‬ ‫اﻷﴎة‪.‬‬ ‫اﻟﺸﻌﺮ ‪baytelshear‬‬ ‫ﺑﻴﺖ ِ‬

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‫ ‪ ĬŒ ĘěĪ‬‬ ‫ ‬ ‫‪ɰ‬‬ ‫‪ɰ‬‬ ‫ ‪Ōƃǿƃŵ‬‬ ‫‪ōşōŨǉ ƈƃƚǿ ƃǿŌƊ Ǜş ǚōƢǔƓ ƋǉƉǙ‬‬ ‫‪ǽǘǾǂǕŌ ŋōǜŞǕŌ ǲƉǾƒǙǶ ƃǿŌƊ ǒǷŽ‬‬ ‫أﺻﺪر ﻣﺮﻛﺰ ﺳﻠﻄﺎن ﺑﻦ زاﻳﺪ ﻛﺘﺎﺑﺎً ﺟﺪﻳﺪاً‬ ‫ﻳﺤﻤﻞ ﻋﻨﻮان " زاﻳﺪ‪ ..‬وﻣﺴرية اﻟﺒﻨﺎء اﻟﻘﻴﻤﻲ‪..‬‬ ‫اﻟﻘﻴﻢ اﳌﺠﺘﻤﻌﻴﺔ ﰲ دوﻟﺔ اﻹﻣــﺎرات‪ :‬ﻗﺮان‬ ‫اﻷﺻﺎﻟﺔ واﳌﻌﺎﴏة" ﻟﻠﺪﻛﺘﻮر ﻣﺤﻤﺪ ﻓﺎﺗﺢ‬ ‫ﺻﺎﻟﺢ زﻏﻞ اﻟﺒﺎﺣﺚ ﰲ ﻣﺮﻛﺰ زاﻳﺪ ﻟﻠﺪراﺳﺎت‬ ‫واﻟﺒﺤﻮث‪ ،‬ﻣﺪﻳﺮ ﺗﺤﺮﻳﺮ ﻣﺠﻠﺔ اﻹﻣــﺎرات‬ ‫اﻟﺜﻘﺎﻓﻴﺔ‪.‬‬ ‫وﺗﻨﻔﺮد ﻫﺬه اﻟﺪراﺳﺔ ﺑﺎﻻﺣﺘﻔﺎء ﺑﺎﳌﻨﺠﺰ‬ ‫اﻟﻘﻴﻤﻲ واﻷﺧﻼﻗﻲ واﻹﻧﺴﺎين ﻟﻠﻤﻐﻔﻮر ﻟﻪ‬ ‫ّ‬ ‫اﻟﺸﻴﺦ زاﻳﺪ ﺑﻦ ﺳﻠﻄﺎن آل ﻧﻬﻴﺎن ﻃﻴﺐ‬ ‫اﻟﻠﻪ ﺛــﺮاه‪ ،‬ﻣﻦ ﺧــﻼل اﻟﻮﻗﻮف ﻋﲆ أﺛﺮه‬ ‫اﻟﺮاﺳﺦ ﻓﻠﺴﻔ ًﺔ وﻓﻜﺮاً وﻓﻌ ًﻼ وﻗــﻮﻻً ﰲ‬ ‫اﻟﻘﻴﻤﻲ ﻟﻠﻤﺠﺘﻤﻊ اﻹﻣﺎرايت‪،‬‬ ‫ﺻﻴﺎﻏﺔ اﻟﻨﻈﺎم‬ ‫ّ‬ ‫أﺳﺎس‬ ‫اﳌﺘﻤﺤﻮر ﺣﻮل ﺑﻨﺎء اﻹﻧﺴﺎن ﺑﻮﺻﻔﻪ َ‬ ‫اﻟﺤﻀﺎرة‪ ،‬وﻛﻨ َﺰ اﻹﻣﺎرات وﺛﺮو َﺗﻬﺎ اﻟﺒﺎﻗﻴﺔ‪،‬‬ ‫وﻗﺪ ﻋ ّﻮل ﻋﻠﻴﻪ رﺣﻤﻪ اﻟﻠﻪ ﰲ ﺑﻨﺎء اﻟﺪوﻟﺔ‬ ‫اﳌﺤﺼﻨﺔ ﺑﻘﻴﻢ اﻷﺻﺎﻟﺔ واﳌﻌﺎﴏة‪،‬‬ ‫اﻟﺤﺪﻳﺜﺔ‬ ‫ّ‬ ‫وﰲ ﺣامﻳﺔ ﻣﻨﺠﺰﻫﺎ اﳌــﺎدي‪ ،‬ﺣﻴﺚ ﻗﺎل‪:‬‬ ‫"اﻹﻧﺴﺎن ﻫﻮ أﺳﺎس أيّ ﻋﻤﻠﻴﺔ ﺣﻀﺎرﻳﺔ‪،‬‬ ‫واﻫﺘامﻣﻨﺎ ﺑﺎﻹﻧﺴﺎن ﴐوري‪ ،‬ﻷﻧﻪ ﻣﺤﻮر‬ ‫ﻛﻞ ﺗﻘﺪم ﺣﻘﻴﻘﻲ ﻣﺴﺘﻤﺮ‪ .‬ﻣﻬام أﻗﻤﻨﺎ ﻣﻦ‬ ‫ﻣﺒﺎن وﻣﻨﺸﺂت وﻣــﺪارس وﻣﺴﺘﺸﻔﻴﺎت‪،‬‬ ‫وﻣﻬام ﻣﺪدﻧﺎ ﻣﻦ ﺟﺴﻮر وأﻗﻤﻨﺎ ﻣﻦ زﻳﻨﺎت‪،‬‬ ‫ﻓﺈن ذﻟﻚ ﻛﻠﻪ ﻳﻈﻞ ﻛﻴﺎﻧﺎً ﻣﺎدﻳﺎً ﻻ روح ﻓﻴﻪ‪،‬‬ ‫وﻏري ﻗﺎدر ﻋﲆ اﻻﺳﺘﻤﺮار‪ ..‬إن روح ﻛﻞ ذﻟﻚ‬ ‫اﻹﻧﺴﺎن؛ اﻹﻧﺴﺎن اﻟﻘﺎدر ﺑﻔﻜﺮه‪ ،‬اﻟﻘﺎدر ﺑﻔﻨﻪ‬ ‫وإﻣﻜﺎﻧﻴﺎﺗﻪ ﻋﲆ ﺻﻴﺎﻧﺔ ﻛﻞ ﻫﺬه اﳌﻨﺸﺂت‪،‬‬ ‫واﻟﺘﻘﺪم ﺑﻬﺎ واﻟﻨﻤﻮ ﻣﻌﻬﺎ"‪.‬‬ ‫وﺟﺎء اﻟﻜﺘﺎب ﻣﻮزﻋﺎً ﻋﲆ‪ :‬ﻣﺪﺧﻞ‪ ،‬وﺗﺴﻌﺔ‬ ‫ﻓﺼﻮل‪ ،‬وﺧﺎمتﺔ‪ ..‬ﻋ ّﺮف اﻟﺒﺎﺣﺚ ﰲ اﳌﺪﺧﻞ‬ ‫وﺑني دور اﻟﻘﺪوة اﳌﺠﺘﻤﻌﻴﺔ‬ ‫مبﻔﻬﻮم اﻟﻘﻴﻤﺔ ّ‬ ‫ﻣﻤﺜﻠﺔ ﺑﺸﺨﺺ اﻟﻘﺎﺋﺪ ﰲ ﺑﻨﺎء اﻟﻨﻈﺎم‬ ‫اﳌﺠﺘﻤﻌﻲ‪ ،‬وﺧﺼﺺ اﻟﻔﺼﻞ اﻷول ﻟﻠﺤﺪﻳﺚ‬ ‫ﻋﻦ اﳌﻐﻔﻮر ﻟﻪ اﻟﺸﻴﺦ زاﻳﺪ‪ ،‬ﻃﻴﺐ اﻟﻠﻪ ﺛﺮاه‪،‬‬ ‫وﺗﺠﻠﻴﺎت ﻓﻜﺮه ﰲ ﺑﻨﺎء اﻹﻧﺴﺎن واﻟﻮﻃﻦ‪،‬‬

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‫اﻟﻌﺪد ‪ ، 77‬أﺑﺮﻳﻞ ‪2019‬‬

‫وأﻓﺮد اﻟﻔﺼﻮل اﻟﺴﺒﻌﺔ اﻟﻼﺣﻘﺔ ﻟﻠﺤﺪﻳﺚ ﻋﻦ‬ ‫اﻟﻘﻴﻢ اﳌﺠﺘﻤﻌﻴﺔ ﰲ دوﻟﺔ اﻹﻣــﺎرات ﻣﺮﺗﺒﺔ‬ ‫ﺣﺴﺐ اﻷﻫﻤﻴﺔ؛ ﻓﻔﻲ اﻟﻔﺼﻞ اﻟﺜﺎين ﺗﺤﺪث‬ ‫اﻟﺒﺎﺣﺚ ﻋﻦ اﻟﻘﻴﻤﺔ اﳌﺠﺘﻤﻌﻴﺔ اﻷوﱃ‪ ،‬وﻫﻲ‬ ‫ﻗﻴﻤﺔ اﳌﻮاﻃﻨﺔ وﺗﺤ ّﻮل اﻻﻧﺘامء ﰲ اﳌﺠﺘﻤﻊ‬ ‫اﻹﻣــﺎرايت ﻣﻦ اﻟﻘﺒﻴﻠﺔ واﻷﴎة إﱃ اﻟﻮﻻء‬ ‫ﻟﻠﻮﻃﻦ=اﻻﺗﺤﺎد‪ ،‬واﻻﻧﺘامء إﻟﻴﻪ‪ ،‬وﻫﻲ ﻗﻴﻤﺔ‬ ‫ﺑﻨﺎﺋﻴﺔ ﻣﺜﲆ ﺑﺎﻟﻐﺔ اﻷﻫﻤﻴﺔ‪ ،‬وﻗﺪ ﻣﺜﻠﺖ ﰲ‬ ‫ﻓﻜﺮ اﳌﻐﻔﻮر ﻟﻪ اﻟﺸﻴﺦ زاﻳﺪ رﻫﺎن وﺟﻮد ﻷن‬ ‫اﻟﻬني‪ ،‬وﻷن اﻻﻧﺪﻣﺎج‬ ‫ﺗﺤﻘﻴﻘﻬﺎ مل ﻳﻜﻦ ﺑﺎﻷﻣﺮ ّ‬ ‫واﻻﻧﺘامء أﻣﺮان اﺧﺘﻴﺎرﻳﺎن ﻻ ﻳﺤﺪﺛﺎن ﻗﴪاً‪،‬‬ ‫وإذا ﺣﺪﺛﺎ ﻗ ـﴪاً ﻓﺎﻟﺨﺮاب اﻟﺤﺘﻤﻲ ﻫﻮ‬ ‫اﻟﻨﺘﻴﺠﺔ‪ ،‬وﻣﻦ ﻫﻨﺎ ﻛﺎن ﺳﻌﻴﻪ ﻟﺘﺠﺬﻳﺮ ﻓﻜﺮة‬ ‫اﻻﻧﺘامء ﻟﻠﻮﻃﻦ= اﻻﺗﺤﺎد‪ ،‬ﻷﻧﻬﺎ اﻟﻀﺎﻣﻦ‬ ‫اﻟﻮﺣﻴﺪ ﻻﺳﺘﻤﺮار دوﻟﺔ اﻹﻣﺎرات وﻧﻬﻀﺘﻬﺎ‬ ‫‪ ..‬ومتﺤﻮر اﻟﻔﺼﻞ اﻟﺜﺎﻟﺚ ﺣﻮل ﻗﻴﻤﺔ اﻟﻌﻠﻢ؛‬ ‫إذ أدرك اﳌﻐﻔﻮر ﻟﻪ أﻧﻬﺎ اﻟﺴﺒﻴﻞ اﻟﻮﺣﻴﺪ‬ ‫ﻹﺣﺪاث اﻟﻨﻬﻀﺔ اﳌﺮﺟﻮة‪.‬‬ ‫ﻓﺼﻞ اﻟﺒﺎﺣﺚ اﻟﻘﻮل ﰲ‬ ‫وﰲ اﻟﻔﺼﻞ اﻟﺮاﺑﻊ ّ‬ ‫ﻗﻴﻤﺔ اﻟﺘﻮازن ﺑني اﻷﺻﺎﻟﺔ واﳌﻌﺎﴏة‪ ،‬ﻷن‬ ‫ﺗﻐﻠﻴﺐ ﻗﻴﻢ اﻷﺻﺎﻟﺔ‪ ،‬واﻻﻧﻐﻼق ﻋﲆ اﻟﺬات‪،‬‬ ‫وﻗﻤﻊ رﻳﺎح اﻟﺘﻐﻴري ﻳﻌﻨﻲ اﻟﺠﻤﻮد واﳌﻮت‪،‬‬ ‫وﻷن اﻻﻧﺴﻴﺎق وراء ﻣﻈﺎﻫﺮ اﳌﻌﺎﴏة وﺣﺪﻫﺎ‬ ‫ﻳﺸﻜﻞ ﺗﻬﺪﻳﺪاً ﻟﻠﻬﻮﻳﺔ اﻟﻘﻮﻣﻴﺔ وﻣﺮﺗﻜﺰاﺗﻬﺎ‬ ‫اﻟﻮﻃﻨﻴﺔ ﻣﻦ ﺗﺮاث وﺛﻘﺎﻓﺔ وﻣﻮروث ﺷﻌﺒﻲ‬ ‫وﻟﻐﺔ ‪ ..‬ومتﺤﻮر اﻟﻔﺼﻞ اﻟﺨﺎﻣﺲ ﺣﻮل ﻗﻴﻤﺔ‬ ‫رﺋﻴﺴﺔ ﻫﻲ ﻗﻴﻤﺔ اﻟﺘﺴﺎﻣﺢ اﻟﺘﻲ ﺗﺠﻠﺖ ﰲ‬ ‫أﺑﻬﻰ ﺻﻮرﻫﺎ ﰲ اﳌﺠﺘﻤﻊ اﻹﻣــﺎرايت اﻟﺬي‬ ‫ﴐب ﻣﺜ ًﻼ ﰲ اﻟﺘﻌﺎﻳﺶ اﻟﺴﻠﻤﻲ واﻻﻧﻔﺘﺎح‬ ‫ﻋﲆ اﻵﺧﺮ‪.‬‬ ‫وﺧﺼﺺ اﻟﻔﺼﻞ اﻟﺴﺎدس ﻟﻠﺤﺪﻳﺚ ﻋﻦ‬ ‫ﻗﻴﻤﺘني رﺋﻴﺴﺘني ﻣﺘﻌﺎﻟﻘﺘني‪ ،‬وﻻ ﺳﺒﻴﻞ إﱃ‬ ‫اﻟﻔﺼﻞ ﺑﻴﻨﻬام ﰲ ﻧﻬﺞ اﳌﻐﻔﻮر ﻟﻪ اﻟﻘﺎﺋﺪ‬ ‫اﳌﺆﺳﺲ‪ ،‬وﻫام‪ :‬ﻗﻴﻤﺔ اﻟﺘﻜﺎﻓﻞ اﻻﺟﺘامﻋﻲ‬ ‫ذات اﻟﺠﺬور اﻟﺪﻳﻨﻴﺔ واﻟﻘﺒﻠﻴﺔ‪ ،‬وﺑﺪت‬

‫واﺿﺤﺔ ﻣﻦ ﺧﻼل ﻧﻈﺎم اﻟﺮﻋﺎﻳﺔ اﻻﺟﺘامﻋﻴﺔ‬ ‫ﰲ اﻹﻣﺎرات‪ ،‬وﻗﻴﻤﺔ اﻟﻌﻤﻞ اﻟﺨريي اﻹﻧﺴﺎين‪،‬‬ ‫وﺗﺠﻠﺖ ﻣﻦ ﺧﻼل ﻧﻮازﻋﻪ اﻹﻧﺴﺎﻧﻴﺔ ﰲ دﻋﻢ‬ ‫اﳌﻨﻜﻮﺑني ﰲ اﻟﻌﺎمل ﻣﻦ ﺿﺤﺎﻳﺎ اﻟﺤﺮوب‬ ‫واﳌﺠﺎﻋﺎت واﻟﻜﻮارث اﻟﻄﺒﻴﻌﻴﺔ‪.‬‬ ‫أﻣﺎ اﻟﻔﺼﻞ اﻟﺴﺎﺑﻊ ﻓﺘﻤﺤﻮر ﺣﻮل ﻗﻴﻤﺔ اﺣﱰام‬ ‫اﳌﺆﺳﺴﺎت‪ ،‬وﻫﻲ ﻣﺮﺗﻜﺰة ﰲ اﻟﺒﻨﺎء اﻟﻘﻴﻤﻲ‬ ‫اﳌﺠﺘﻤﻌﻲ ﻋﲆ ﻗﻴﻢ اﻟﺤﺮﻳﺔ وﻧﻈﺎم اﻟﺸﻮرى‬ ‫اﻟﻠﺬﻳﻦ أﺳﺴﺎ ﻟﻌﻼﻗﺔ ﺑني اﻟﺸﻌﺐ وﻣﺆﺳﺴﺎت‬ ‫اﻟﺪوﻟﺔ ﺗﻘﻮم ﻋﲆ اﻻﺣﱰام واﻻﻟﺘﺰام‪.‬‬ ‫واﻧﻔﺮد اﻟﻔﺼﻞ اﻟﺜﺎﻣﻦ ﺑﺎﻟﻘﻴﻤﺔ اﻷﺧرية وﻫﻲ‬ ‫اﺣﱰام اﻟﺒﻴﺌﺔ‪ ،‬وﻟﻬﺬه اﻟﻘﻴﻤﺔ أﻫﻤﻴﺘﻬﺎ اﻟﺨﺎﺻﺔ‬ ‫ﰲ اﻹﻣــﺎرات ﻷن اﻟﺒﻴﺌﺔ اﻟﺠﻐﺮاﻓﻴﺔ ﻛﺎﻧﺖ‬ ‫واﺣﺪة ﻣﻦ ﺟﻤﻠﺔ ﻣﻮاﻧﻊ ﺑﻨﺎء اﻟﺪوﻟﺔ‪ ،‬وﻛﺎن‬ ‫اﻟﺘﺤﻮل اﻟﺒﻴﺌﻲ ﻣﻈﻬﺮاً ﻣﻦ ﻣﻈﺎﻫﺮ اﻟﺒﻨﺎء‬ ‫ﻏري وﺟﻪ اﻟﺤﻴﺎة ﻓﻴﻬﺎ‪.‬‬ ‫اﻟﺤﻀﺎري اﻟﺒﺎﻫﺮ اﻟﺬي ّ‬ ‫وأﻓﺮد اﻟﺒﺎﺣﺚ اﻟﻔﺼﻞ اﻟﺘﺎﺳﻊ‪ ،‬وﻋﻨﻮاﻧﻪ "مثﺮة‬ ‫اﻟﻨﻈﺎم اﻟﻘﻴﻤﻲ‪ :‬اﻟﻘﻮة اﻟﻨﺎﻋﻤﺔ اﻹﻣﺎراﺗﻴﺔ"‪،‬‬ ‫ﻟﺘﻔﺼﻴﻞ اﻟﻘﻮل ﰲ "اﻟﻘﻮة اﻟﻨﺎﻋﻤﺔ" اﻟﺘﻲ ﺗﻌ ّﺪ‬ ‫ﺳﻤﺔ رﺋﻴﺴﺔ ﻣﺎزت ﺗﺠﺮﺑﺔ اﻟﺒﻨﺎء اﻹﻣﺎراﺗﻴﺔ‪،‬‬ ‫وﻗﺪ ﺗﺠﻠﺖ ﻣﱰاﻓﻘﺔ ﻣﻊ "اﻟﻘﻮة اﻟﺼﻠﺪة"‪،‬‬ ‫ﻣﻦ ﺧﻼل ﻣامرﺳﺔ اﻟﻨﻈﺎم اﻟﻘﻴﻤﻲ اﻹﻣﺎرايت‬ ‫ﻋﲆ اﳌﺴﺘﻮﻳني اﻻﺟﺘامﻋﻲ واﻟﺴﻴﺎﳼ‪ ،‬وذﻟﻚ‬ ‫اﻋﺘامداً ﻋﲆ ﻣﻔﻬﻮم "اﻟﻘﻮة اﻟﻨﺎﻋﻤﺔ"‪ ،‬ﻛام‬ ‫ﻋﺮﻓﻪ ﻋﺎمل اﻻﺟﺘامع "ﺟﻮزﻳﻒ ﻧﺎي"‬

‫‪ǽǃŌƉƪǕŌ ƑǾȃƉǕŌ ǼƋƪǿ ƃǿŌƊ Ǜş ǚōƢǔƓ‬‬ ‫‪ɶ‬‬ ‫‪ǲƈōŞƪǕŌ ǀƉƯ ŪƂōŽ ōǿōżƞş‬‬ ‫ﺑﻌﺚ ﺳﻤﻮ اﻟﺸﻴﺦ ﺳﻠﻄﺎن ﺑﻦ زاﻳﺪ آل‬ ‫ﻧﻬﻴﺎن ﻣﻤﺜﻞ ﺻﺎﺣﺐ اﻟﺴﻤﻮ رﺋﻴﺲ‬ ‫اﻟﺪوﻟﺔ‪ ،‬ﺑﺮﻗﻴﺔ ﺗﻌﺰﻳﺔ إﱃ ﻓﺨﺎﻣﺔ اﻟﺪﻛﺘﻮر‬ ‫ﺑﺮﻫﻢ ﺻﺎﻟﺢ رﺋﻴﺲ ﺟﻤﻬﻮرﻳﺔ اﻟﻌﺮاق‬ ‫اﻟﺸﻘﻴﻖ ﺑﻀﺤﺎﻳﺎ ﺣﺎدث ﻏﺮق ﻋﺒﺎرة وﺳﻂ‬ ‫ﻧﻬﺮ دﺟﻠﺔ ﰲ ﻣﺪﻳﻨﺔ اﳌﻮﺻﻞ‪.‬‬

‫وأﻋــﺮب ﺳﻤﻮه ﰲ ﺑﺮﻗﻴﺘﻪ ﻋﻦ ﺧﺎﻟﺺ‬ ‫اﻟﺘﻌﺎزي وﺻﺎدق اﳌﻮاﺳﺎة ﰲ ﻫﺬا اﳌﺼﺎب‬ ‫اﻟﺠﻠﻞ ‪..‬ﺳﺎﺋ ًﻼ اﳌﻮﱃ ﻋﺰ وﺟﻞ أن ﻳﺘﻐﻤﺪ‬ ‫اﻟﻀﺤﺎﻳﺎ ﺑﻮاﺳﻊ رﺣﻤﺘﻪ وأن ﻳﻠﻬﻢ ذوﻳﻬﻢ‬ ‫اﻟﺼﱪ واﻟﺴﻠﻮان وأن ﻳﺤﻔﻆ اﻟﻌﺮاق‬ ‫وﺷﻌﺒﻪ اﻟﺸﻘﻴﻖ ﻣﻦ ﻛﻞ ﻣﻜﺮوه‪.‬‬

‫ ‪ǼƃǿǷƒǕŌ ǳƲǾǔƁ ƃǘŽŐ ǖƉŽ ǲōƳǷş ǼƋƪǿǶ‬‬

‫ﻛام ﻗ ّﺪم ﺳﻤﻮ ﻣﻤﺜﻞ ﺻﺎﺣﺐ اﻟﺴﻤﻮ رﺋﻴﺲ‬ ‫اﻟﺪوﻟﺔ واﺟﺐ اﻟﻌﺰاء إﱃ ﻣﻌﺎﱄ أﺣﻤﺪ‬ ‫ﺧﻠﻴﻔﺔ اﻟﺴﻮﻳﺪي ﻣﻤﺜﻞ ﺻﺎﺣﺐ اﻟﺴﻤﻮ‬ ‫رﺋﻴﺲ اﻟﺪوﻟﺔ ﰲ وﻓﺎة اﳌﻐﻔﻮر ﻟﻬﺎ ﺣﺮﻣﻪ‬

‫آﻣﻨﺔ ﺑﻨﺖ ﻋﺒﺪاﻟﻠﻪ ﺑﻦ ﺷﻴﺒﺎن اﳌﻬريي‪،‬‬ ‫وأﻋﺮب ﺳﻤﻮه ﺧﻼل زﻳﺎرﺗﻪ ﻟﺨﻴﻤﺔ اﻟﻌﺰاء داﻋﻴﺎً اﻟﻠﻪ اﻟﻌﲇ اﻟﻘﺪﻳﺮ أن ﻳﺘﻐﻤﺪﻫﺎ‬ ‫مبﻨﻄﻘﺔ اﻟﻘﺼﻮر ﰲ أﺑﻮﻇﺒﻲ ﻋﻦ ﺻﺎدق ﺑﻮاﺳﻊ رﺣﻤﺘﻪ وﻳﺴﻜﻨﻬﺎ ﻓﺴﻴﺢ ﺟﻨﺎﺗﻪ‬ ‫وﻳﻠﻬﻢ أﻫﻠﻬﺎ وذوﻳﻬﺎ اﻟﺼﱪ واﻟﺴﻠﻮان‪.‬‬ ‫ﺗﻌﺎزﻳﻪ ﻷﴎة وذوي اﻟﻔﻘﻴﺪة ‪..‬‬

‫‪ ơƢƁ ǷǈƒǝǷǾǕŌ ƩǙ ƜƉƪŨƒũ ǽǘƓōǂǕŌ ƈǶƃş‬‬ ‫‪2019 ŜōŨǈǔǕ ǳǾǘǕōƫ ǳǘƛōƫ ǳǃƈōƖǕōş ŋōƲŨŽȍŌ‬‬ ‫أﻛﺪت اﻟﺸﻴﺨﺔ ﺑﺪور ﺑﻨﺖ ﺳﻠﻄﺎن اﻟﻘﺎﺳﻤﻲ‬ ‫ﻧﺎﺋﺐ رﺋﻴﺲ اﻻﺗﺤﺎد اﻟﺪوﱄ ﻟﻠﻨﺎﴍﻳﻦ رﺋﻴﺲ‬ ‫اﻟﻠﺠﻨﺔ اﻻﺳﺘﺸﺎرﻳﺔ ﻟﻠﺸﺎرﻗﺔ ﻋﺎﺻﻤﺔ ﻋﺎﳌﻴﺔ‬ ‫ﻟﻠﻜﺘﺎب أن اﺧﺘﻴﺎر اﻟﺸﺎرﻗﺔ ﻋﺎﺻﻤﺔ ﻋﺎﳌﻴﺔ‬ ‫ﻟﻠﻜﺘﺎب ﻣﻦ ﻗﺒﻞ ﻣﻨﻈﻤﺔ اﻷﻣــﻢ اﳌﺘﺤﺪة‬ ‫ﻟﻠﱰﺑﻴﺔ واﻟﻌﻠﻢ واﻟﺜﻘﺎﻓﺔ "اﻟﻴﻮﻧﺴﻜﻮ" ﻳﻌ ّﺪ‬ ‫ﺗﺘﻮﻳﺠﺎً ﳌﴩوع اﻹﻣﺎرة اﻟﺜﻘﺎﰲ اﻟﺬي ﺗﺒﻨﻰ‬ ‫اﳌﻌﺮﻓﺔ واﻟﻜﺘﺎب ﺳﺒﻴ ًﻼ ﻟﻠﻨﻬﻀﺔ اﻟﺤﻀﺎرﻳﺔ‬ ‫وﻣﻨﻄﻠﻘﺎً ﻟﻠﺤﻮار اﻹﻧﺴﺎين ﻣﻊ ﻣﺨﺘﻠﻒ‬ ‫ﺛﻘﺎﻓﺎت اﻟﻌﺎمل‪.‬‬ ‫ﺟﺎء ذﻟﻚ ﺧﻼل زﻳﺎرة اﻟﺸﻴﺨﺔ ﺑﺪور ﺑﻨﺖ‬ ‫ﺳﻠﻄﺎن اﻟﻘﺎﺳﻤﻲ ﻣﻘ ّﺮ ﻣﻨﻈﻤﺔ اﻟﻴﻮﻧﺴﻜﻮ‬

‫ﰲ ﺑﺎرﻳﺲ ﺣﻴﺚ اﻟﺘﻘﺖ اﻟﺪﻛﺘﻮرة أودري‬ ‫أزوﻻي اﳌﺪﻳﺮة اﻟﻌﺎﻣﺔ ﻟﻠﻤﻨﻈﻤﺔ وﻋﺪداً ﻣﻦ‬ ‫اﳌﺴﺆوﻟني ﻣﺴﺘﻌﺮﺿﺔ اﻟﻌﻼﻗﺎت اﻟﺘﺎرﻳﺨﻴﺔ‬ ‫اﻟﺘﻲ ﺗﺮﺑﻂ إﻣــﺎرة اﻟﺸﺎرﻗﺔ ﺑﺎﻟﻴﻮﻧﺴﻜﻮ‬ ‫وﻣﺠﺎﻻت اﻟﺘﻌﺎون اﳌﺸﱰك ﺑني اﻹﻣــﺎرة‬ ‫واﳌﻨﻈﻤﺔ ﻛام ﻛﺸﻔﺖ اﻟﺨﻄﻂ واﻟﺘﺠﻬﻴﺰات‬ ‫اﻟﺨﺎﺻﺔ اﻟﺘﻲ وﺿﻌﺘﻬﺎ اﻹﻣــﺎرة ﻟﻼﺣﺘﻔﺎء‬ ‫ﺑﺎﻟﺸﺎرﻗﺔ اﻟﻌﺎﺻﻤﺔ اﻟﻌﺎﳌﻴﺔ ﻟﻠﻜﺘﺎب‪.‬‬ ‫وﻗﺎﻟﺖ اﻟﺸﻴﺨﺔ ﺑﺪور ﺑﻨﺖ ﺳﻠﻄﺎن اﻟﻘﺎﺳﻤﻲ‬ ‫إن اﻹﻣﺎرة وﺿﻌﺖ ﻟﻼﺣﺘﻔﺎل ﺑﻨﻴﻠﻬﺎ اﻟﻠﻘﺐ‬ ‫ﺳﺘﺔ ﻣﺤﺎور رﺋﻴﺴﺔ ﺗﻜﺸﻒ رؤﻳﺘﻬﺎ ﰲ إﴍاك‬ ‫ﺟﻤﻴﻊ أﺑﻨﺎء اﳌﺠﺘﻤﻊ ﰲ اﻟﻌﻤﻞ اﻟﺜﻘﺎﰲ‬

‫وﺗﺆﻛﺪ أن اﻟﺜﻘﺎﻓﺔ ﻗﻴﻤﺔ إﻧﺴﺎﻧﻴﺔ ميﻜﻦ‬ ‫ﻣﻦ ﺧﻼﻟﻬﺎ ﻣﺪ ﺟﺴﻮر اﻟﺘﻮاﺻﻞ واﻟﺤﻮار‬ ‫ﻣﻊ ﺷﺘﻰ اﻟﺤﻀﺎرات ﺣﻮل اﻟﻌﺎمل إﺿﺎﻓﺔ‬ ‫إﱃ ﺗﺴﻬﻴﻞ وﺻــﻮل اﻟﻜﺘﺎب إﱃ ﻣﺨﺘﻠﻒ‬ ‫اﻟﻔﺌﺎت اﳌﺠﺘﻤﻌﻴﺔ واﳌﴤ ﻗﺪﻣﺎً ﰲ ﺗﻌﺰﻳﺰ‬ ‫واﻗﻊ اﻟﻨﴩ اﳌﺤﲇ واﻟﻌﺮيب ﺑﺎﻋﺘﺒﺎره اﳌﺤﺮك‬ ‫اﻟﺮﺋﻴﺲ ﻟﺒﻨﺎء اﳌﻨﻈﻮﻣﺔ اﻟﺜﻘﺎﻓﻴﺔ ﺑﺄوﺟﻬﻬﺎ‬ ‫اﳌﺨﺘﻠﻔﺔ‪.‬‬ ‫اﻟﺸﻌﺮ ‪baytelshear‬‬ ‫ﺑﻴﺖ ِ‬

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‫ ‪ ĬŒ ĘěĪ‬‬ ‫‪ɰ‬‬ ‫‪ɰ‬‬ ‫ ‪ǼƂōżũȍŌ ŋōƞǂǕŌ ǽƳ ǛǾŨǾƟōǃ ǛǾǾƪŨş ōǿƂōżũŌ‬‬ ‫‪ōǙǷƓƉǙ ƈƃƚǿ ǳǕǶƃǕŌ ƑǾȃƈ‬‬ ‫أﺻﺪر ﺻﺎﺣﺐ اﻟﺴﻤﻮ اﻟﺸﻴﺦ ﺧﻠﻴﻔﺔ ﺑﻦ‬ ‫زاﻳﺪ آل ﻧﻬﻴﺎن رﺋﻴﺲ اﻟﺪوﻟﺔ "ﺣﻔﻈﻪ اﻟﻠﻪ"‬ ‫اﳌﺮﺳﻮم اﻻﺗﺤﺎدي رﻗﻢ ‪ 27‬ﻟﺴﻨﺔ ‪2019‬‬ ‫ﺑﺘﻌﻴني اﻟﻘﺎﴈ ﺧﺪﻳﺠﺔ ﺧﻤﻴﺲ ﺧﻠﻴﻔﺔ‬ ‫اﳌﻠﺺ‪ ،‬واﻟﻘﺎﴈ ﺳﻼﻣﺔ راﺷﺪ ﺳﺎمل اﻟﻜﺘﺒﻲ‬ ‫ﰲ اﻟﻘﻀﺎء اﻻﺗﺤﺎدي‪.‬‬ ‫وﻧﺺ اﻟﻘﺮار ﻋﲆ ﺗﻌﻴني اﻟﺴﻴﺪة ﺧﺪﻳﺠﺔ‬ ‫ﺧﻤﻴﺲ ﺧﻠﻴﻔﺔ اﳌﻠﺺ ﰲ وﻇﻴﻔﺔ ﻗﺎﴈ‬ ‫اﺳﺘﺌﻨﺎف‪ ،‬واﻟﺴﻴﺪة ﺳﻼﻣﺔ راﺷــﺪ ﺳﺎمل‬ ‫اﻟﻜﺘﺒﻲ ﰲ وﻇﻴﻔﺔ ﻗﺎﴈ اﺑﺘﺪايئ وذﻟﻚ ﰲ‬ ‫اﳌﺤﺎﻛﻢ اﻻﺗﺤﺎدﻳﺔ‪.‬‬ ‫ومتﺜﻞ اﻟﻘﺎﺿﻴﺘﺎن "ﺧﺪﻳﺠﺔ اﳌﻠﺺ وﺳﻼﻣﺔ‬ ‫اﻟﻜﺘﺒﻲ" أول اﻣﺮأﺗني ﺗﺸﻐﻼن ﻫﺬا اﳌﻨﺼﺐ‬ ‫ﻋﲆ اﻟﺼﻌﻴﺪ اﻻﺗﺤﺎدي ﰲ دوﻟﺔ اﻹﻣﺎرات‪،‬‬ ‫مبﺎ ﻳﺘﻮاﻓﻖ ﻣﻊ اﻟﺘﻮﺟﻬﺎت اﻟﺤﻜﻮﻣﻴﺔ ﰲ‬ ‫دﻋﻢ دور اﳌﺮأة ﻛﺠﺰء ﻻ ﻳﺘﺠﺰأ ﻣﻦ ﻣﺴرية‬ ‫اﻟﺘﻨﻤﻴﺔ واﻟﺘﻘﺪم ﰲ اﻟﺪوﻟﺔ‪ ،‬ﻛام ﻳﺪﻋﻢ‬

‫اﻟﻘﺮار ﺗﻌﺰﻳﺰ دور أﻋﻀﺎء اﻟﺴﻠﻄﺔ اﻟﻘﻀﺎﺋﻴﺔ‬ ‫وﻣﺴﺆوﻟﻴﺎﺗﻬﻢ ﰲ ﺗﺤﻘﻴﻖ اﻟﻌﺪاﻟﺔ واﻟﺤﺮص‬ ‫اﻟــﺪاﺋــﻢ ﻋﲆ ﺗﻄﺒﻴﻖ ﻧﺼﻮص اﻟﺪﺳﺘﻮر‬ ‫واﻟﻘﻮاﻧني اﳌﺮﻋﻴﺔ ﻛﺄﺳﺎس ﻟﻸداء ﰲ اﻟﻌﻤﻞ‬ ‫اﻟﻘﻀﺎيئ‪.‬‬

‫وﻳﺘﺰاﻣﻦ اﻟﻘﺮار ﻣﻊ اﻹﻧﺠﺎزات اﻟﻨﻮﻋﻴﺔ‬ ‫ﻟﻠﻤﺮأة اﻹﻣﺎراﺗﻴﺔ‪ ،‬وﺗﻮﺟﻴﻬﺎت ﺻﺎﺣﺐ‬ ‫اﻟﺴﻤﻮ اﻟﺸﻴﺦ ﻣﺤﻤﺪ ﺑﻦ راﺷﺪ آل ﻣﻜﺘﻮم‬ ‫ﻧﺎﺋﺐ رﺋﻴﺲ اﻟﺪوﻟﺔ رﺋﻴﺲ ﻣﺠﻠﺲ اﻟﻮزراء‬ ‫ﺣﺎﻛﻢ ديب "رﻋﺎه اﻟﻠﻪ"‪ ،‬ﺑﺈﴍاك اﻟﻌﻨﴫ‬ ‫اﻟﻨﺴﺎيئ ﰲ اﻟﻌﻤﻞ اﻟﻘﻀﺎيئ ﻋﲆ ﻣﺴﺘﻮى‬ ‫اﳌﺤﺎﻛﻢ اﻻﺗﺤﺎدﻳﺔ ﰲ اﻟــﺪوﻟــﺔ‪ ،‬ﺣﻴﺚ‬ ‫اﺳﺘﻄﺎﻋﺖ اﳌﺮأة أن ﺗﺼﺒﺢ ﴍﻳﻜﺎً ﻓﺎﻋ ًﻼ‬ ‫ﰲ رﻳﺎدة اﻟﻌﻤﻞ اﻟﻘﻀﺎيئ‪ ،‬ﻣﻦ ﺧﻼل ﺗﻌﻴني‬ ‫أول ﻗﺎﺿﻴﺔ ﻋﲆ اﳌﺴﺘﻮى اﳌﺤﲇ ووﻛﻴﻠﺔ‬ ‫ﻧﻴﺎﺑﺔ وأﺧرياً ﻗﺎﺿﻴﺔ ﰲ اﳌﺤﺎﻛﻢ اﻻﺗﺤﺎدﻳﺔ‪..‬‬ ‫إﱃ ﺟﺎﻧﺐ ﺣﺰﻣﺔ اﻟﻘﺮارات واﻟﺴﻴﺎﺳﺎت‬ ‫اﻟﺘﻲ اﻋﺘﻤﺪﻫﺎ ﻣﺠﻠﺲ اﻟـــﻮزراء ﻟﺪﻋﻢ‬ ‫اﳌﺮأة ومتﻜﻴﻨﻬﺎ ﰲ اﳌﺠﺘﻤﻊ‪ ،‬ﻛﺈﺻﺪار أول‬ ‫ﺗﴩﻳﻊ ﻣﻦ ﻧﻮﻋﻪ ﻟﻠﻤﺴﺎواة ﰲ اﻟﺮواﺗﺐ ﺑني‬ ‫اﻟﺠﻨﺴني‪ ،‬ورﻓﻊ ﻧﺴﺒﺔ متﺜﻴﻞ اﳌﺮأة اﻹﻣﺎراﺗﻴﺔ‬ ‫ﰲ اﳌﺠﻠﺲ اﻟﻮﻃﻨﻲ اﻻﺗﺤﺎدي إﱃ ‪.%50‬‬

‫‪ǳǂǿƃƚǕŌ ǚŌƃǔŞǕŌ ƩǙ ŦōǉŌƉƖǕŌ ųǤǝ ƊƋȌƪũ ŦŌƈōȌǙȑŌ ƃȌǿŌƊ Ǜş ƃȌǘżǙ‬‬ ‫أﻛﺪ ﺻﺎﺣﺐ اﻟﺴﻤﻮ اﻟﺸﻴﺦ ﻣﺤﻤﺪ ﺑﻦ زاﻳﺪ‬ ‫آل ﻧﻬﻴﺎن وﱄ ﻋﻬﺪ أﺑﻮﻇﺒﻲ ﻧﺎﺋﺐ اﻟﻘﺎﺋﺪ‬ ‫اﻷﻋﲆ ﻟﻠﻘﻮات اﳌﺴﻠﺤﺔ‪ ،‬أن دوﻟﺔ اﻹﻣﺎرات‬ ‫ﺣﺮﻳﺼﺔ دوﻣﺎً ﻋﲆ ﺗﻌﺰﻳﺰ ﻧﻬﺞ اﻟﴩاﻛﺎت‬ ‫اﻻﺳﱰاﺗﻴﺠﻴﺔ ﻣﻊ اﻟﺒﻠﺪان اﻟﺼﺪﻳﻘﺔ‪ ،‬مبﺎ‬ ‫ﻳﺴﻬﻢ ﰲ اﻟﺪﻓﻊ ﻗﺪﻣﺎً ﺑﺘﺒﺎدل اﳌﻌﺮﻓﺔ‬ ‫واﻟﺨﱪات واﻟﺘﻜﻨﻮﻟﻮﺟﻴﺎ اﳌﺘﻄﻮرة‪ ،‬وﺗﻮﺛﻴﻖ‬ ‫اﻟﺘﻌﺎون واﻻﺳﺘﺜامرات اﳌﺸﱰﻛﺔ‪ ،‬ﻟﻀامن‬ ‫اﻟﻨﻤﻮ اﻻﻗﺘﺼﺎدي واﻻﺟﺘامﻋﻲ اﳌﺴﺘﺪام‪.‬‬ ‫وﺑﺤﺚ ﺳﻤﻮه ﻣﻊ ﺳﻴﺒﺎﺳﺘﻴﺎن ﻛﻮرﺗﺰ‬ ‫ﻣﺴﺘﺸﺎر ﺟﻤﻬﻮرﻳﺔ اﻟﻨﻤﺴﺎ‪ ،‬ﻋﻼﻗﺎت‬ ‫اﻟﺼﺪاﻗﺔ واﻟﺘﻌﺎون اﳌﺘﻤﻴﺰة اﻟﺘﻲ ﺗﺠﻤﻊ‬ ‫دوﻟﺔ اﻹﻣــﺎرات واﻟﻨﻤﺴﺎ‪ ،‬وﺳﺒﻞ ﺗﻨﻤﻴﺘﻬﺎ‬

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‫اﻟﻌﺪد ‪ ، 77‬أﺑﺮﻳﻞ ‪2019‬‬

‫ﰲ اﳌﺠﺎﻻت ﻛﺎﻓﺔ‪ ،‬مبﺎ ﻳﺤﻘﻖ ﻣﺼﺎﻟﺤﻬام‬ ‫اﳌﺸﱰﻛﺔ‪.‬‬ ‫ورﺣﺐ ﺳﻤﻮه ﺧﻼل اﻟﻠﻘﺎء ‪ -‬اﻟﺬي ﺟﺮى‬ ‫ﰲ أﺑﻮﻇﺒﻲ ‪ -‬مبﺴﺘﺸﺎر اﻟﻨﻤﺴﺎ‪ ،‬اﻟﺬي أﻋﺮب‬ ‫ﻋﻦ اﻋﺘﺰازه ﺑﻌﻼﻗﺎت اﻟﺼﺪاﻗﺔ اﳌﺘﻤﻴﺰة‬ ‫اﻟﺘﻲ ﺗﺠﻤﻊ دوﻟﺔ اﻹﻣﺎرات وﺑﻼده‪ ،‬ﻣﺘﻄﻠﻌﺎً‬ ‫إﱃ أن ﺗﺴﻬﻢ زﻳﺎرﺗﻪ ﰲ دﻋﻢ ﻋﻼﻗﺎت‬ ‫اﻟﺒﻠﺪﻳﻦ‪ ،‬واﳌﴤ ﺑﻬﺎ إﱃ آﻓﺎق أرﺣﺐ ﻋﲆ‬ ‫اﳌﺴﺘﻮﻳﺎت ﻛﺎﻓﺔ‪.‬‬ ‫واﺳﺘﻌﺮض ﺳﻤﻮه واﳌﺴﺘﺸﺎر اﻟﻨﻤﺴﺎوي‪،‬‬ ‫ﺟﻮاﻧﺐ اﻟﺘﻌﺎون اﻟﺜﻨﺎيئ واﻟﻌﻤﻞ اﳌﺸﱰك اﻟﻨﻈﺮ ﺣﻮل اﻟﻘﻀﺎﻳﺎ اﻹﻗﻠﻴﻤﻴﺔ واﻟﺪوﻟﻴﺔ‪،‬‬ ‫ﰲ ﻋﺪد ﻣﻦ اﳌﺠﺎﻻت‪ ،‬ﺧﺎﺻﺔ اﻻﺳﺘﺜامرﻳﺔ وﺗــﻄــﻮرات اﻷﺣـــﺪاث اﻟﺘﻲ ﺗﺸﻬﺪﻫﺎ‬ ‫واﻻﻗﺘﺼﺎدﻳﺔ واﻟﺜﻘﺎﻓﻴﺔ‪ ،‬وﺗﺒﺎدﻻ وﺟﻬﺎت ﻣﻨﻄﻘﺔ اﻟﴩق اﻷوﺳﻂ‪.‬‬

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‫اﻟﻌﺪد ‪ - 77‬أﺑﺮﻳﻞ ‪2019‬‬

‫رﺋﻴﺲ اﻟﺘﺤﺮﻳﺮ‬

‫د‪ /‬ﻋﺒﻴﺪ ﻋﻠﻲ راﺷﺪ اﻟﻤﻨﺼﻮري‬ ‫اﻹﺷﺮاف اﻟﻌﺎم‬

‫زﺑﻦ ﺑﻦ ﻋﻤﻴﺮ‬ ‫‪@zabin2011‬‬ ‫ﻣﺴﺘﺸﺎر اﻟﺘﺤﺮﻳﺮ‬

‫ﻋﻠﻲ اﻟﻤﺴﻌﻮدي‬

‫ﺷﻌﺮاء اﻟﻌﺪد‬ ‫ﺳﻴﻒ اﻟﺴﻌﺪ‬ ‫ﻣﺤﻤﺪ ﻣﺮﻳﺒﺪ اﻟﻌﺎزﻣﻲ‬ ‫ﻋﺒﺪا‪ 6‬اﻟﺠﺎﺑﺮي‬ ‫ﺣﺴﻴﻦ ﺑﻦ ﻫﻨﺪي‬ ‫ﻣﺤﻤﺪ اﻟﺴﻜﺮان‬ ‫ﺳﺎﻟﻢ ﺑﻦ ﻧﺎﻳﻊ‬

‫‪@allmasoudi‬‬ ‫ﻏﺪﻳﺮ ﺑﻦ ﻣﻄﺮ‬ ‫ﻋﺒﺪا‪ 6‬ﺑﻦ ﻟﻬﻤﻮد اﻟﺒﺪري‬ ‫ﻋﺒﺪا‪ 6‬دﻟﻴﻬﻲ‬ ‫أﺣﻤﺪ ﻋﻤﺮ اﻟﺸﺎﻣﺴﻲ‬ ‫ﻇﺎﻫﺮ اﻟﻜﺘﺒﻲ‬ ‫ﻋﻠﻲ ﺑﻦ ﻓ ّﻘﺎس‬

‫ﻣﺘﻌﺐ اﻟﻨﺼﺎر اﻟﺸﺮاري‬ ‫ﻋﺒﺪا‪ 6‬اﻟﻄﻠﺤﻲ‬ ‫ﻋﻠﻲ ﺷﺎﻳﺢ اﻟﻘﺮﻧﻲ‬ ‫ﻣﺤﻤﺪ اﻟﻤﺼﻌﺒﻲ‬ ‫ﻣﺮﻳﻢ اﻟﻨﻘﺒﻲ‬

‫ﻣﺪﻳﺮ اﻟﺘﺤﺮﻳﺮ‬

‫ﻋﺒﺪا‪ 6‬أﺑﻮﺑﻜﺮ‬ ‫‪@abdabubaker1‬‬ ‫اﻹﺧﺮاج اﻟﻔﻨﻲ & ﺳﻜﺮﺗﺎرﻳﺔ اﻟﺘﺤﺮﻳﺮ‬

‫ﺳﻌﺎد ﺣﺴﻨﺔ‬ ‫‪@HasnaSuad‬‬ ‫ﻣﺴﺆول اﻟﺘﻮزﻳﻊ‬ ‫أﺣﻤﺪ ﻋﺒﺎس‬

‫‪marketing@sbzc.ae‬‬

‫‪51‬‬ ‫ﻛﺘﺎب اﻟﻌﺪد‬

‫ﻋﻨﻮان اﻟﻤﺠﻠﺔ ‬ ‫اﻹﻣﺎرات اﻟﻌﺮﺑﻴﺔ اﻟﻤﺘﺤﺪة‪ -‬أﺑﻮﻇﺒﻲ‬ ‫ﻫﺎﺗﻒ ‪009712-6666130‬‬ ‫ﻓﺎﻛﺲ ‪009712-6663088‬‬ ‫ص‪/‬ب ‪ 6420‬أﺑﻮﻇﺒﻲ إ‪/‬ع‪/‬م‬

‫د‪/‬ﻋﺒﻴﺪ ﻋﻠﻲ اﻟﻤﻨﺼﻮري‬ ‫ﻋﻠﻲ اﻟﻤﺴﻌﻮدي‬ ‫ﻣﺤﻤﺪ ﻧﻮر اﻟﺪﻳﻦ‬ ‫ﺻﻔﻴﺔ اﻟﺸﺤﻲ‬

‫ﻓﺎﻃﻤﺔ اﻟﻤﺰروﻋﻲ‬ ‫ﻧﺎﺻﺮ اﻟﺸﻔﻴﺮي‬ ‫د‪/‬ﻳﺎﺳﻴﻦ ﺣﺰﻛﺮ‬ ‫ﻋﺰة ﺣﺴﻴﻦ‬

‫‪baitshir@sbzc.ae‬‬ ‫‪@bait_alshe3r‬‬

‫‪@baytelshear‬‬

‫اﻟﺸﻌﺮ ‪baytelshear‬‬ ‫ﺑﻴﺖ ِ‬

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‫ ‪ ĘŠŝğĨŖŒ‬‬

‫‪ 27‬اﻟﺬاﺋﻘﺔ اﻟﻤﺮاوﻏﺔ‬ ‫‪ 30‬ﻗﺼﻴﺪة ﻋﺒﻴﺪ ﺑﻦ ﺧﺼﻴﻒ ﻓﻲ ﻣﺠﺎراة »ﻳﺎ ذا اﻟﺸﺒﺎب اﻟﺒﺎﻧﻲ« ‬ ‫ﻧﺒﺮة إﻧﺴﺎﻧﻴﺔ وﺑﻼﻏﺔ ﺗﻌﺒﻴﺮﻳﺔ‬ ‫‪ 32‬اﻟﻔﺮق ﺑﻴﻦ اﻟﺸﻌﺮ اﻟﻌﺎﻣﻲ واﻟﺸﻌﺒﻲ اﺧﺘﻼف اﻟﻤﻌﻨﻰ واﻟﻤﺒﻨﻰ‬ ‫‪ 48‬اﻷﻃﻼل ﻗﺼﺔ ﻧﺠﺎح ﻏﺎب ﻋﻨﻬﺎ اﻟﺒﻄﻞ‬ ‫‪ 50‬ﻛﻴﻒ ﻧﻌ ّﺮف اﻟﺸﻌﺮ؟‬ ‫‪ 52‬اﻟﺸﺎﻋﺮ ﺑﺪﻳﻊ ﺧﻴﺮي »ﻧﺪﻳﻢ« ﺛﻮرة ‪1919‬‬ ‫‪ 62‬اﻟﻔﻨﻮن اﻟﺒﺪوﻳﺔ ﺗﺘﻐﻨﻰ ﺑﻤﺎﺿﻲ اﻟﻄﻴﺒﻴﻦ‬ ‫‪ 80‬اﻧﻔﻮﺷﻌﺮ ﻋﺒﻴﺪ ﺑﻦ ﻣﻌﻀﺪ اﻟﺨﺮﻳﺒﺎﻧﻲ اﻟﻨﻌﻴﻤﻲ‬ ‫‪ 84‬ﻫﻨﺮﻳﺶ ﻓﺴﺘﻨﻔﻠﺪ ﺳﻴﺮة ذاﺗﻴﺔ ﻟﻜﺎﺗﺐ!‬ ‫‪ 90‬ﻣﻬﺮﺟﺎن أﺑﻮﻇﺒﻲ ﺷﻌﺮﻳﺔ ﻓﻨﻴﺔ ﻋﻠﻰ إﻳﻘﺎع ﻋﺎم اﻟﺘﺴﺎﻣﺢ‬ ‫اﻻﺷﺘﺮاﻛﺎت‬ ‫ﻟﻼﺷﺘﺮاك ﺑﺎﻟﺒﺮﻳﺪ داﺧﻞ اﻟﺪوﻟﺔ ‪ 90‬درﻫﻢ اﺷﺘﺮاك ‪ VIP‬داﺧﻞ اﻟﺪوﻟﺔ ‪ 120‬درﻫﻢ ﺳﻨﻮﻳ ًﺎ اﻟﻤﻤﻠﻜﺔ اﻟﻌﺮﺑﻴﺔ اﻟﺴﻌﻮدﻳﺔ ‪ 300‬درﻫﻢ ﺳﻨﻮﻳ ًﺎ‬ ‫ﺑﺎﻗﻲ اﻟﺪول ‪ 130‬دوﻻر أﻣﺮﻳﻜﻲ ﺳﻨﻮﻳ ًﺎ‬

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‫اﻟﻌﺪد ‪ ، 77‬أﺑﺮﻳﻞ ‪2019‬‬

‫»ﻧﻘ ّﺪر دور اﻟﺸﻌﺮ ﻓﻲ اﺳﺘﻨﻬﺎض اﻟﺮوح‬ ‫اﻟﻮﻃﻨﻴﺔ‪ ،‬وﺧﺪﻣﺔ ﻗﻀﺎﻳﺎ اﻟﻤﺠﺘﻤﻊ‪ ،‬وﻧﺤﺮص‬ ‫ﻋﻠﻰ ﺗﺸﺠﻴﻊ اﻟﺸﻌﺮاء ﻟﻼﺳﺘﻤﺮار‬ ‫ﻓﻲ اﻟﻜﺘﺎﺑﺔ وإﺑﺪاع أﺟﻤﻞ اﻟﻘﺼﺎﺋﺪ‬ ‫اﻟﻤﻤﻴﺰة واﻟﻬﺎدﻓﺔ« ‬ ‫‪ ŻǉƍƴŢ ǃƹƈ ƲŢǃƬŘ ƻƸ‬‬ ‫‪ ƺţǉǁƼ ƲŖ ſǈŢƄ ƻŦ ƺţƙƵƈ‬‬ ‫‪ņŢ ƿƝƩŸ‬‬ ‫اﻟﺸﻌﺮ ‪baytelshear‬‬ ‫ﺑﻴﺖ ِ‬

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‫ ‪¬ũŐŒ ęś‬‬

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‫اﻟﻌﺪد ‪ ، 77‬أﺑﺮﻳﻞ ‪2019‬‬

‫ﻟﺖ ﻧﻔﺴﻲ ﻋﻦ ﻫَ ﻮاﻛﻢ‬ ْ ‫ِﻋ َﺬ‬ º`` ` ` ` ` cGƒ`` ` ` ` ` gn ø`` ` ` ` ` ` Y »`` ` ` °` ` ` `ù` ` ` `Ø` ` ` `f râ`` ` ` ` ` ` ` ` `dòn ` ` ` ` ` ` ` ` ` pY vQ @ @ @ @ @ @ BN @@ @ @ @ @ @ O @ @ @ @ @ @ DP ¤@@ @ @ @ @ @ @ @ Db@@ @ @ @+ b@@ @ @ @ @ @ @g@ @ @ @ @ @ @ @ @ @ @ @B*H @@ @ @ @CO *x@@ @ @ @~@ @ @ @ 7 *H4b@@ @ @ @ @ @ @ @~@@ @ @ @N @ @ @ @8 b@@ @ @ @ @ @E Í@@ @ @ @ AP b@@ @ @ @ ~@ @ @ @ @9 v@@ @ @ @0 @ N @ @ @ @ @ @ @ @ £@ @ @ @ @ @ @ @ @FP HO2 @@ @ @ @ @ @ @ @ @ @ DH HHO x@@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ JN @@ @ @ Cb@@ @ @ @ @ @ @ P0 @@ @ @ @ @ @< ¤@@ @ @~@ @ @ z@ @ @ @ @ @ F iv@@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ +R *H vQ @ @ @ @ + · h@@ @ @ @ @ @ @ @ @ @ @ @JR 4N 2b@@ @ @ @ @ @ @ @ @ @ @ @ Q @ @ @ @ @ @ D* @@ @ @ @ @ @ @ @EH @@ @ Cb@@ @ @ @ @ < @@ @ @ @ @ @ E ¤@@ @ @~@ @ @ z@ @ @ @ @ @ F h@@ @ @ @~@ @ @ @ |@ @ @ @ @ @ @ @ 1*H v@@ @ @ @ @ @ N @ @ @ @ @ @ +R &* @@ @ @ @ @ @ @ @ @ @ @< ¤@@ @ @ c@ @ @ @ @ @ @ @B ¡@@ @ @ @ @ @ @ £@ @ @ @ @ @ @ D*H @@ @ @ @ @ @ @ @C*wN @ @ @ @ @ @ @ @ 0N ¡@@ @ @ @ @ @ @ @G b@@ @ @ @ @ @ @ @E M,¡@@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ +4 ¯ v@@ @ @ P @ @ @ @ ~@ @ @ @ z@ @ @ @ JN HR x@@ @ @ @ @~@@ @ @N @ @}@ @ @ @ @ 1&* t@M @ @ @ @ Eb@@ @ @ @ ~@ @ @ @ @7 ¯ @@ @ @ CO b@@ @ @ E d@@ @ @ @ @ P @ @ @ @ @ P< ex@@ @ @ @ @ @ ~@ @ @ @ @ @ @ 7N&* v@@ @ @ @ @ @ @ ~@@ Q@ @ {@ @ @ @ D*H 2Q ¡N @ @ @ @~@ @ @ @z@ @ @ @ PE H 4R Pv@@ @ @ @ @ @ R @ @ @ @ @ @ @ PE @M @ @ @ @ @ @ P0Rv@ @ @ @ @ @ @ PE ·N @@ @ @ @ @ @ CO *v@@ @ @ @ @ @ P/ @R @ @ @ @ @ @ @ @ E M4w@@ @ @ @ @ @ @ @ @ @ < @@ @ @ @ @9¡@@ @ @ @ @Ax@@ @ @ @ @E R @ @ @ @ @ @ @ @ @ @ @ @ @ @ @¹H 2x@@ @ @ - @@ @ @ @ @+P ¡@@ @ @ @ @~@@ @ @O @ @8 ¤@@ @ ~@ @ @ z@ @ @ @ @ @ F b@ N N @@ @ @ Cb@@ @ @ / ¡@@ @ @ @ @ @ @ @ @£O @ @ @ @ @ @ @ @ @ D* ¤@@ @ @ @ @ @ @ +*¡@@ @ @ @ @ @ @ / *w@@ @ @ @ @ @ @ @ @ @G vQ @ @ @ @ @ ~@@ @N @ @ @z@ @ @ @ @ F*P H nR @ @ @ @ @ @ @ @ @ @ @ @ P= @@ @ @ @ @ @ @ @ @ < eb@@ @ @ @ @ @ c@ @ @ @ @ @ @D*H @@ @ @ @ CO b@@ @ @ @ @ @ @ @ @~@@ @P @ @ 6 4Qv@ @ @ @ @ @ @ @ @ @ @ @ @C ·N b@@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ 1PQ 2 vQ @ @ @ @ @ c@ @ @ @ @ J(* Ì@@ @ @ @ @ @ @ @1 @M @ @ @ @ @£@ @ @ @ @ = e¡@ R @ @ @ @ @ @ @ @ @ @ @ @GO b@@ @ @ @ @ @E @@ @ @ CO *¡@@ @ @ g@ @ @ @~@@ R@ @ z@ @ @ @ PE d@R @ @ @ @ @ @ @ @ GN ¤@@ @ @ @ P @ @ @ @ ~@@ @ P@ @ 9b@@ @ @ @ <N · vQ @ @ @ @ B H ¥v@@ @ @ @ @ @ @ R @ @ @ @ @ @ @ P< @@ @ @ @ Eb@@ @ @ @ @ @ @ @ @ PE ·b@@ @ @ @ @ @ @ @ @ @<N @@ @ @ @ @ @ @C*Nv@ @ @ @ @ @ @ P< @@ @ @ @ @ @<b@@ @ @ @ @ @c@ @ @ @ @ @ :*H É@@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @1&*H R @ @ @ @ @ @£@ @ @ @ @ @ P/ R @ @ @ @ @ @ @ @ @ FN *Qv@ @ @ @ @ @ @ @ @ @D* @@ @ @ @ @E ¡@ v@@ @ @ K @ @ @ @ N @ @ @ @JP ib@ ƿƴ ƂǃƩƥƹƴŢ

ƺţǉǁƼ ƲŖ ƺţƙƵƈ ƻŦ ſǈŢƄ ŻǉƍƴŢ ƾŢƃŰ ņŢ ťǉƘ

bbaytelshear aytelshear ‫اﻟﺸﻌﻌﺮ‬ ِ ‫ﺑﻴﺖ‬

‫‪ ĮńŒ ŔšŐħ‬‬

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‫اﻟﻌﺪد ‪ ، 77‬أﺑﺮﻳﻞ ‪2019‬‬

ŝĸŒ ŝķ

a aÊÊ9Ê:Ê/Ê Ò ²bÊÊ;Ê CÊÊ/ÊÛ Ê;Ê _Ê× Ê=Ê aÊÊ ÊÛ Ê RÊÊ ?ÊÊ CÊÊ CÊÊ Ê dÊÊ9Ê =Ê <Ê ÊÛ Ê ± CÊÊ4Ê /Ê aÊÊ Ê PÊÊ;Ê GÊÊ=Ê 5Ê CÊÊ FÊÊ :Ê Ê ±Ò FÊÊ Ê ¼Û RÊÊ Ê aÊÊ CÊÊ öÊÊ Ê ³bÊÊ Ê » CÊÊ:Ê Ê CÊÊ CÊÊ <Ê ±RÊÛ Ê ‫ﺳﻴﻒ ﺳﺎﻟﻢ اﻟﻤﻨﺼﻮري‬

baytelshear ‫اﻟﺸﻌﺮ‬ ِ ‫ﺑﻴﺖ‬

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