bayt alshier_85_Jan 2020 by SBZC Mags

‫‪ťŭư ũƠţŧƘ ƺǑƠŜ‬‬

‫وﻓﻘﺎً ُﻟﺨ ﱠﻄﺔ ﻣﺮﻛﺰ ﺳﻠﻄﺎن ﺑﻦ زاﻳﺪ اﻟﺘﻲ أرادﻫﺎ اﳌﻐﻔﻮر ﻟﻪ ّ‬ ‫اﻟﺸﻴﺦ ﺳﻠﻄﺎن ﺑﻦ زاﻳﺪ آل ﻧﻬﻴﺎن "ﻃ ﱠﻴﺐ اﻟﻠﻪ ﺛﺮاه" ﻟﺮﻓ ِﺪ اﳌﺸﻬ ِﺪ اﻟ ّﺜﻘﺎ ّﰲ اﻹﻣﺎرا ّيت واﻟﻌﺮ ّيب‬ ‫ات ﻣﺘﻨ ّﻮﻋ ٍﺔ ﱠ‬ ‫وﺗﻔﺘﺢ ﻣﻨﺎﻓ َﺬ ﻣﻌﺮﻓ ّﻴﺔ ﺟﺪﻳﺪة أﻣﺎم اﻟﺒﺎﺣﺚ اﻟﻌﺮيبّ‪ ،‬وذﻟﻚ ﺑﺪﻋﻮة اﳌﺆ ّﻟﻔني واﻟﺒﺎﺣﺜني‬ ‫ﻋﺎم ﻣﻦ ﺷﺄﻧﻬﺎ أن ُﺗﻐﻨﻲ اﳌﻜﺘﺒ َﺔ اﻟﻌﺮﺑ ّﻴﺔ‪،‬‬ ‫ﺑﺈﺻﺪار ٍ‬ ‫َ‬ ‫ﻛﻞ ٍ‬ ‫ُ‬ ‫ّ‬ ‫واﻟﻜﺘّﺎب إﱃ ﻃﺒﺎﻋﺔ ﻛﺘﺒﻬﻢ وﺗﺴﻬﻴﻞ ﻧﴩﻫﺎ وﺗﻮزﻳﻌﻬﺎ ﰲ اﳌﻌﺎرض واﻟﻔﻌﺎﻟ ّﻴﺎت اﻟ ّﺜﻘﺎﻓ ّﻴﺔ‪ ،‬ميﻜﻦ ﻟﻠﺮاﻏﺒني ﰲ ذﻟﻚ إرﺳﺎل ﻣﺆﻟﻔﺎﺗﻬﻢ ﰲ ﻓﺮوع اﳌﻌﺮﻓﺔ ﻛﺎﻓﺔ؛‬ ‫اﳌﺨﺘﺼني‪.‬‬ ‫ﻟﻨﴩﻫﺎ ﺑﻌﺪ أن ُﻳ ِﻘ ّﺮﻫﺎ ﻓﺮﻳﻖُ ﺗﺤﻜﻴﻢ ﻣﻦ‬ ‫ّ‬ ‫ّ‬ ‫ً‬ ‫ُﻳﻘﺪ ُﱢم اﳌﺮﻛ ُﺰ ﳌﺆﻟﱢﻒ اﻟﻜﺘﺎب اﳌﻌﺘﻤﺪ ﻟﻠﻨﴩ ﻣﻜﺎﻓﺄ ًة ﻣﺎﻟ ّﻴﺔ ﺗﱰاوح ﺑني )ﺛﻼﺛﺔ آﻻف إﱃ ﺧﻤﺴﺔ آﻻف دوﻻ ٍر أﻣﺮﻳيك(‪َ .‬ﻳ ْﺸﻤﻞ ﻫﺬا ُ‬ ‫َ‬ ‫اﻟﺘﻌﻮﻳﺾ ﻋﻦ‬ ‫اﳌﺒﻠﻎ‬ ‫َﻮات ﻣﻦ ﺗﺎرﻳﺦ إﺑﺮام اﻟ َﻌ ْﻘ ِﺪ ﺑني اﳌﺮﻛﺰ واﳌﺆﻟﱢﻒ‪ .‬ﻛام ُﻳﻘﺪﱢم اﳌﺮﻛﺰ )ﻣﺎﺋﺔ ﻧﺴﺨﺔ( ﻟﻠﻤﺆ ّﻟﻒ ﺑﻌﺪ‬ ‫ُﺣﻘﻮق َﻧ ْﴩ اﻟﻜﺘﺎب‪ ،‬وﻃﺒﺎﻋﺘﻪ‪ ،‬وﺗﺮﺟﻤﺘﻪ‪ُ ،‬ﳌﺪة َﺧ ْﻤ ِﺲ َﺳﻨ ٍ‬ ‫ﻃﺒﺎﻋﺔ اﻟﻜﺘﺎب‪.‬‬

‫ﺷﺮوط اﻟﻨّﺸﺮ‬

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‫ﺑﺎﻟﺠﺪّة‪ ،‬واﳌﻮﺿﻮﻋ ّﻴﺔ‪ ،‬وﺷﻤﻮل اﳌﻌﺎﻟﺠﺔ‪ ،‬واﻟﻔﺎﺋﺪة اﳌﻌﺮﻓ ّﻴﺔ‪ ،‬وأ ّﻻ ﻳ ﱠ‬ ‫أن َ‬ ‫ُﺨﻞ ﺑﺎﻟﻘﻴﻢ اﻟﻌﺮﺑ ّﻴﺔ اﻷﺻﻴﻠﺔ‪.‬‬ ‫ﻳﻜﻮن ﻣﻮﺿﻮعُ اﻟﻜﺘﺎب ﻣﺘّﺼﻔﺎً ِ‬ ‫ً‬ ‫ً‬ ‫أ ّﻻ َ‬ ‫اﻟﻜﺘﺎب رﺳﺎﻟﺔ ﻣﻦ رﺳﺎﺋﻞ اﳌﺎﺟﺴﺘري أو اﻟﺪﻛﺘﻮراه أو ﺟﺰءا ﻣﻦ ﻫﺬه اﻟ ّﺮﺳﺎﺋﻞ‪.‬‬ ‫ﻳﻜﻮن‬ ‫ُ‬ ‫أ ّﻻ َ‬ ‫اﻟﻜﺘﺎب ﻣﻨﺸﻮراً ﺳﺎﺑﻘﺎً‪ ،‬وﻏ َري ﻣُﻘﺪّم ﻟﻠﻨ ّْﴩ ﰲ ﺟﻬﺔ أﺧﺮى‪.‬‬ ‫ﻳﻜﻮن‬ ‫ُ‬ ‫اﻟﻜﺘﺎب ﻣﱰﺟام‪ً.‬‬ ‫أ ّﻻ َ‬ ‫ﻳﻜﻮن‬ ‫ُ‬ ‫اﻟﻜﺎﺗﺐ ﺑﺎﳌﻨﻬﺠ ّﻴﺔ اﻟﻌﻠﻤ ّﻴﺔ ﰲ اﻟﺘّﺄﻟﻴﻒ‪ ،‬وﺧﺼﻮﺻﺎً اﻷﻣﺎﻧﺔ اﻟﻌﻠﻤ ّﻴﺔ‪ ،‬واﻹﺣﺎﻃﺔ ﺑﺎﳌﻮﺿﻮع‪ ،‬واﻻﻋﺘامد ﻋﲆ اﳌﺼﺎدر اﻷﺻﻴﻠﺔ‪ ،‬وﺗﺪوﻳﻦ‬ ‫أن ﻳﻠﺘﺰ َم‬ ‫ُ‬ ‫اﻟﻬﻮاﻣﺶ ﰲ أﻣﻜﻨﺘﻬﺎ ﻣﻦ ّ‬ ‫ﻛﻞ ﺻﻔﺤﺔ‪.‬‬ ‫ً‬ ‫ً‬ ‫ً‬ ‫ّ‬ ‫ّ‬ ‫ُ‬ ‫ّ‬ ‫أن ُﺗﺪ ﱠو َن اﳌﺼﺎد ُر واﳌﺮاﺟﻊُ ﰲ ﻧﻬﺎﻳﺔ ﻛﻞ ﻛﺘﺎب ﻣﺮﺗﺒﺔ ﺗﺮﺗﻴﺒﺎ أﻟﻔﺒﺎﺋ ّﻴﺎ ﺑﺤﺴﺐ ﻟﻘﺐ اﳌﺆﻟﻒ‪ ،‬أو أﴎﺗﻪ‪ ،‬أو ﻗﺒﻴﻠﺘﻪ‪ ،‬وأن ﺗﻘﺴﻢ ﺑﺤﺴﺐ‬ ‫أﻧﻮاﻋﻬﺎ‪ :‬اﳌﺼﺎدر‪ ،‬اﳌﺮاﺟﻊ‪ ،‬اﻟ ّﺪراﺳﺎت‪ ،‬وﺑﺤﺴﺐ ﻟﻐﺘﻬﺎ اﻟﻌﺮﺑ ّﻴﺔ أو اﻷﺟﻨﺒ ّﻴﺔ‪.‬‬ ‫ً‬ ‫اﻟﻜﺘﺎب ﻣ ﱠ‬ ‫أن َ‬ ‫ُﺼﺤﺤﺎ‪ ،‬وﻳﺮﺳﻞ ﺑﻨﺴﺨﺘني واﺣﺪة ﺑﺼﻴﻐﺔ )‪ (Word‬واﻟﺜﺎﻧﻴﺔ ﺑﺼﻴﻐﺔ‬ ‫ﻳﻜﻮن‬ ‫ُ‬ ‫ُﻨﻀﺪاً ﺑﺎﻟﺤﺎﺳﻮب ﺑﺎﻟ ّﻠﻐﺔ اﻟﻌﺮﺑ ّﻴﺔ اﻟﻔﺼﻴﺤﺔ‪ ،‬وﻣ ّ‬ ‫)‪ (PDF‬ﻹﺟﺮاء اﳌﻄﺎﺑﻘﺔ‪.‬‬ ‫ﺗﺘﻀﻤﻦ اﺳﻤﻪ اﻟﺜﻼ ّيث‪ ،‬وﺑﻠﺪه‪ ،‬وﻋﻨﻮاﻧﻪ اﻟﱪﻳﺪيّ واﻹﻟﻜﱰو ّين‪ ،‬وﻋﻤﻠﻪ‪ ،‬وﺻﻮرة‬ ‫ﻳُﺮ ِﻓ ُﻖ‬ ‫ُ‬ ‫اﻟﻜﺎﺗﺐ ﻣﻊ اﻟﻜﺘﺎب ﻧﺒﺬ ًة ﻣﺨﺘﴫ ًة ﻋﻦ ﺣﻴﺎﺗﻪ اﻟﻌﻠﻤ ّﻴﺔ‪ ،‬ﱠ‬ ‫ّ‬ ‫ﺷﺨﺼ ّﻴﺔ ﻣﻠ ّﻮﻧﺔ ﺣﺪﻳﺜﺔ ﻟﻪ‪ .‬ﻣﻊ ﺧﻼﺻﺔ واﻓﻴﺔ ﻋﻦ اﻟﻜﺘﺎب ﰲ ﺣﺪود ﻣﺎﺋﺘﻲ ﻛﻠﻤﺔ ﺑﺎﻟﻠﻐﺔ اﻟﻌﺮﺑ ّﻴﺔ‪.‬‬ ‫أ ّﻻ ﱠ‬ ‫ﻳﻘﻞ ﻋﺪ ُد ﺻﻔﺤﺎت اﻟﻜﺘﺎب ﻋﻦ )ﻣﺎﺋﺔ وﺧﻤﺴني ﺻﻔﺤﺔ(‪ ،‬وأ ّﻻ ﻳﺰﻳ َﺪ ﻋﻦ )ﻣﺎﺋﺘني وﺧﻤﺴني ﺻﻔﺤﺔ(‪ ،‬ﻋﲆ ﻗﻴﺎس ‪ A4‬وﺑﻮﻧﻂ‬ ‫‪ Simplified Arabic 14‬أو ‪.Times New Roman‬‬ ‫َﺗﺘ ﱠ‬ ‫ﻣﺨﺘﺼﺔ ﻣﺮاﺟﻌ َﺔ اﻟﻜﺘﺎب و َﺗﻘﻴﻴﻤﻪ وإﺻﺪار ﻗﺮار ِﻧﻬﺎ ﱟيئ ﰲ أﻣﺮ ﻃﺒﺎﻋﺘﻪ‪.‬‬ ‫ﺗﺤﻜﻴﻢ‬ ‫َﻮﱃ ﻫﻴﺌ ُﺔ‬ ‫ّ‬ ‫ٍ‬ ‫اﻟﻜﺎﺗﺐ‪ ،‬ﰲ ﺣﺎل اﳌﻮاﻓﻘﺔ ﻋﲆ ﻃﺒﺎﻋﺔ اﻟﻜﺘﺎب‪ ،‬ﺑﺈﺟﺮاء اﻟﺘﻌﺪﻳﻼت اﳌﻘﱰﺣﺔ ﻣﻦ ﻫﻴﺌﺔ اﻟﺘﺤﻜﻴﻢ‪.‬‬ ‫ﻳﻠﺘﺰمُ‬ ‫ُ‬ ‫َ‬ ‫ُ‬ ‫ﺪُ‬ ‫ﻣﺨﺎﻟﻒ ﻟﻠﴩوط اﳌﺬﻛﻮرة‪.‬‬ ‫اﻟﻜﺘﺐ اﳌﻌﺘﺬ ُر ﻋﻦ ﻧﴩﻫﺎ إﱃ أﺻﺤﺎﺑﻬﺎ‪ .‬وﻳﺴﺘﺒ َﻌ أيّ ﻛﺘﺎب‬ ‫ﻻ ُﺗ َﺮ ﱡد‬ ‫ُ‬ ‫ٍ‬

‫ُـﺮﺳـﻞ اﻟـﻜـﺘـﺐ ﻋـﻠـﻰ اﻟـﻌـﻨــﻮان‪Janna_dz@sbzc.ae :‬‬ ‫ﺗ َ‬ ‫‪sbzc‬‬

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@sbzc_ad

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‫ﻣﺒﺎدرات ﻋﻈﻴﻤﺔ‬ ‫ﻓﻲ ﺧﺪﻣﺔ اﻟﺸﻌﺮ واﻟﺸﻌﺮاء‬

‫د ﻋﺒﻴﺪ ﻋﻠﻲ راﺷﺪ اﻟﻤﻨﺼﻮري‬

‫ﺑﺎﻟﺴﺎﺣﺔ ّ‬ ‫اﻟﺸﻌﺮﻳﺔ واﳌﺘﺎﺑﻌني ﻟﻨﺸﺎﻃﻬﺎ‪ ،‬ﻋﲆ ﺗﻠﻚ اﻟﺨﺪﻣﺎت اﻟﺠﻠﻴﻠﺔ اﻟﺘﻲ ﻗﺪّﻣﻬﺎ‬ ‫ﻳﺸﻬﺪ ﺟﻤﻴﻊ اﳌﻬﺘ ّﻤني ّ‬ ‫اﳌﻐﻔﻮر ﻟﻪ اﻟﺸﻴﺦ ﺳﻠﻄﺎن ﺑﻦ زاﻳﺪ آل ﻧﻬﻴﺎن ﻃﻴﺐ اﻟﻠﻪ ﺛﺮاه‪ ،‬ﻟﻠﺸﻌﺮ واﻟﺸﻌﺮاء‪ .‬ﺑﺪءا ﺑﺮﻋﺎﻳﺘﻪ ﻟﻸﻧﺸﻄﺔ‬ ‫اﻟﺸﻌﺮﻳﺔ اﻟﻜﺜرية اﻟﺘﻲ أﴍف ﻋﻠﻴﻬﺎ ودﻋﻤﻬﺎ رﺣﻤﻪ اﻟﻠﻪ‪ ،‬ﻛﺎﳌﺴﺎﺑﻘﺔ اﻟﺸﻌﺮﻳﺔ ﰲ ﻣﻬﺮﺟﺎﻧﻪ اﻟﱰايث‪ ،‬وﻣﺴﺎﺑﻘﺔ‬ ‫ﺳﻠﻄﺎن ﺑﻦ زاﻳﺪ اﻟﺸﻌﺮﻳﺔ ﻟﻄﻠﺒﺔ اﻟﺠﺎﻣﻌﺎت‪ ،‬اﻟﺘﻲ ﻛﺎﻧﺖ آﺧﺮ ﻣﺒﺎدراﺗﻪ اﻟﺸﻌﺮﻳﺔ‪ ..‬ﻣﺮورا ﺑﺘﻮﺟﻴﻬﺎﺗﻪ ﺑﻄﺒﺎﻋﺔ‬ ‫ﻋﴩات اﻹﺻﺪارات اﻟﺸﻌﺮﻳﺔ ﻷﺑﺮز ﺷﻌﺮاء اﻹﻣﺎرات ودول اﻟﺨﻠﻴﺞ‪ ،‬وﻗﺮاره رﺣﻤﻪ اﻟﻠﻪ ﺑﺈﺻﺪار ﻣﺠﻠﺔ ُﺗﻌﻨﻰ‬ ‫ﺑﺎﻟﺸﻌﺮ وﻗﻀﺎﻳﺎه‪ ،‬ﻫﻲ ﻣﺠﻠﺔ ﺑﻴﺖ اﻟﺸﻌﺮ‪ ،‬اﻟﺘﻲ ﺗﻌﺘﱪ اﻟﻴﻮم واﺣﺪة ﻣﻦ أﺑﺮز اﳌﺠﻼت ﰲ اﻟﺴﺎﺣﺔ اﻟﺸﻌﺮﻳﺔ‬ ‫اﳌﺤﻠﻴﺔ واﻟﺨﻠﻴﺠﻴﺔ‪.‬‬ ‫أﺗﺤﺪث ﻫﻨﺎ ﻋﻦ ﺧﺪﻣﺎت ﻋﺎﻣﺔ وﻣﻌﺮوﻓﺔ‪ ،‬ﻗﺎم ﺑﻬﺎ اﳌﻐﻔﻮر ﻟﻪ اﻟﺸﻴﺦ ﺳﻠﻄﺎن ﺑﻦ زاﻳﺪ‪ ،‬وأﺿﻴﻒ إﻟﻴﻬﺎ ﻋﴩات‬ ‫اﳌﺒﺎدرات اﻟﺸﺨﺼﻴﺔ ﻟﻪ ﰲ دﻋﻢ اﻟﺸﻌﺮاء‪ ،‬ودﻓﻌﻬﻢ ﳌﻮاﺻﻠﺔ ﻣﺎ أﻧﺠﺰوه ﰲ ﺗﺠﺎرب ﺷﻌﺮﻳﺔ ﻫﺎﻣﺔ وﻣﺆﺛﺮة‪.‬‬ ‫وﻛﻢ ﻛﻨﺖ ﻣﺤﻈﻮﻇﺎ ﰲ ﻋﻤﲇ ﺑﺎﻟﻘﺮب ﻣﻨﻪ رﺣﻤﻪ اﻟﻠﻪ‪ ،‬وﰲ إدارة ﻋﺪد ﻣﻦ اﻷﻧﺸﻄﺔ اﻟﺜﻘﺎﻓﻴﺔ اﻟﺘﻲ َ‬ ‫أﴍف‬ ‫ﻋﻠﻴﻬﺎ ورﻋﺎﻫﺎ‪ ،‬وأرادﻫﺎ أن ﺗﻜﻮن ﻓﺎﻋﻠﺔ‪ ،‬وذات ﻋﺎﺋﺪ ﺛﻘﺎﰲ وﻣﻌﺮﰲ ﻷﺑﻨﺎء اﳌﺠﺘﻤﻊ‪.‬‬ ‫ﻋﻤﻠﺖ ﻣﻌﻪ رﺣﻤﻪ اﻟﻠﻪ‪ ،‬وﻛﻨﺖ ﺷﺎﻫﺪا ﻋﲆ ﺣﺮﺻﻪ اﻟﻜﺒري ﳌﺘﺎﺑﻌﺔ ﻗﻀﺎﻳﺎ ﻣﺠﺘﻤﻌﻪ‪ ،‬وإرادﺗﻪ اﻟﻌﻈﻴﻤﺔ ﰲ‬ ‫اﻟﺤﻔﺎظ ﻋﲆ اﻟﱰاث واﻟﻬﻮﻳﺔ‪ ،‬وﻣﻮاﺻﻠﺔ ﻣﺎ ﺑﺪأه واﻟﺪه اﳌﺆﺳﺲ اﳌﻐﻔﻮر ﻟﻪ اﻟﺸﻴﺦ زاﻳﺪ ﺑﻦ ﺳﻠﻄﺎن آل ﻧﻬﻴﺎن‬ ‫رﺣﻤﻪ اﻟﻠﻪ‪ ،‬إذ ﻋﻤﻞ ﻣﻌﻪ ﻣﻨﺬ ﺑﺪاﻳﺎت اﻟﺘﺄﺳﻴﺲ‪ ،‬واﻛﺘﺴﺐ ﻣﻨﻪ اﻟﻜﺜري ﻣﻦ اﻟﺨﱪة‪ ،‬واﳌﻘﺪرة ﻋﲆ ﺧﺪﻣﺔ‬ ‫اﻵﺧﺮﻳﻦ ورﻋﺎﻳﺔ ﺷﺆوﻧﻬﻢ‪.‬‬ ‫رﺣﻞ اﳌﻐﻔﻮر ﻟﻪ اﻟﺸﻴﺦ ﺳﻠﻄﺎن ﺑﻦ زاﻳﺪ ﻃﻴﺐ اﻟﻠﻪ ﺛﺮاه‪ ،‬ﻟﻴﱰك ﻟﻨﺎ إرﺛﺎً ﻣﻤﺘ ّﺪاً‪ ،‬وﺳري ًة ﺣﺎﻓﻠ ًﺔ ﺑﺎﻟﻌﻤﻞ اﻟﺪؤوب‬ ‫اﻟﻬﺎدف‪ ،‬ﻣﺤﺎﻃﺎً مبﺤﺒﺔ اﻟﻜﺜريﻳﻦ ﻣﻦ أﺑﻨﺎء وﻃﻨﻪ‪ ،‬وﺟﻤﻴﻊ ﻣﻦ ﻋﺮﻓﻮه‪ ،‬وﺗﺎﺑﻌﻮا ﻣﻨﺠﺰاﺗﻪ اﻟﱰاﺛﻴﺔ واﻟﺜﻘﺎﻓﻴﺔ‬ ‫واﻟﺸﻌﺮﻳﺔ‪ ،‬واﺳﺘﻄﺎﻋﻮا أن ﻳﻘﱰﺑﻮا ﻣﻦ ﻓﻜﺮه‪ ،‬وإرادﺗﻪ اﻟﻌﻈﻴﻤﺔ اﻟﺘﻲ ارﺗﺄت دامئﺎ أن ﺗﺼﻨﻊ اﻷﻓﻀﻞ‪ ،‬وأن ﺗﻨﴩ‬ ‫اﻟﺨري ﰲ ﻛﻞ اﻟﺠﻬﺎت‪ ،‬وأن ﺗﺪﻓﻊ اﻟﺠﻤﻴﻊ ﻧﺤﻮ اﻹﻧﺠﺎز‪ ،‬وﺗﻘﺪﻳﻢ ﻛﻞ ﻣﺎ ﻳﺨﺪم اﻟﻮﻃﻦ وأﺑﻨﺎءه‪.‬‬ ‫ﰲ ﻫﺬا اﻟﻌﺪد ﻣﻦ ﻣﺠﻠﺔ ﺑﻴﺖ اﻟﺸﻌﺮ‪ ،‬ﺧﺼﺼﻨﺎ ﻣﺴﺎﺣﺔ ﻟﻠﺤﺪﻳﺚ ﻋﻦ ﻣﻨﺠﺰاﺗﻪ ﻃ ّﻴﺐ اﻟﻠﻪ ﺛﺮاه ﰲ دﻋﻢ‬ ‫اﻟﺤﺮﻛﺔ اﻟﺸﻌﺮﻳﺔ‪ ،‬وﺳريﺗﻪ وﻣﻮاﻗﻔﻪ اﻟﺨﺎﻟﺪة‪ ،‬وﻻ ﻳﺴﻌﻨﺎ ﺳﻮى أن ﻧﻄﻠﺐ ﻟﻪ اﻟﺮﺣﻤﺔ واﳌﻐﻔﺮة‪ ،‬وأن ﻳﺴﻜﻨﻪ‬ ‫اﻟﻠﻪ اﻟﻔﺮدوس اﻷﻋﲆ‪.‬‬

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‫اﻟﻌﺪد ‪ ، 85‬ﻳﻨﺎﻳﺮ ‪2020‬‬

‫رﺋﻴﺲ اﻟﺘﺤﺮﻳﺮ‬

‫ﻟﻮﻟﻮه اﻟﺪوﺳﺮي‬ @LAldossari3

‫اﻟﻌﻠﻢ اﻟﺼﺤﻴﺢ‬

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baytelshear ‫اﻟﺸﻌﺮ‬ ِ ‫ﺑﻴﺖ‬

‫ﺻﺢ ﻟﺴﺎﻧﻚ‬ َ

‫ﻧﻮاف اﻟﺘﺮﻛﻲ‬ @nawafalturky

@@ @ 0x@@´*H @@ @ @±* *w@@ @G e*x@@ @~@ @ 6&* o4b@@ @ 1 /R £~{ D* xQ @ = ¡@@D xs~|D* h@@p@ @FH @@ @ GN @@ @+*x@@ @E x@@ @ @ J b@@ @E x ~{D* @@ @ @D @@ @p@» b@@ F4Hv@@ ~@ @8 (* ¡@@ D b@@ @ g@ @ g@ D* °H p J ¤@@c@J ¤@@ @ D* Ì@@= Í@@ @ D* ¢@@ @< b@@E @@ @ @ @ DH&°* b@@ @ £@ @ ~@ 6 @@ @gR @ @ N @ @ C v@@ @ B b@@ FÄ@@ ~@ @8 @@ @ +v@@JH @@ Bb@@ @ @D* k@Q @ @ @ @ J M4¡@@ ~@ @}@ @0 °H @@ @ G5(* ¡@@ @BH ¢@@ @ @- @@ @D* b@@ @ ~@ 6H4 h@@c@ £Q @ ~@ 7 @@ @ @ ¿ b@@ @ E ib@@ Gx@@ ~@ @{@ @Db@@ + @@ @ R @ @ 0É@@ @g@ @ F(* @@ @ c@ @ E @@ £Q @ @ @ @ @ @E Í@@ @ + b@@ @ E ·b@@ @ £@ @ @ @ @ @D*H @@ @D2H Ì@@m@ g@ ~@ z@ E q@@ @JQ x@@ @- @@ @C I4w@@ @ Db@@ @ A @@D¡@@D* i¡@@~@ 8 xQ @ @ /H d@@£@ @ @D* b@@ G Ì@@ E @@ @ 0x@@´*H @@ @ @±* *w@@ @G e*x@@ @~@ @ 6&* o4b@@ @ 1

‫أﺳﺮاب‬ Ä@@ / b@@ FÄ@@ / °H É@@ @ @ @ D* b@@ @ @ ~@ z@ <b@@E Ä@@ @²*H 4¡@@ @Db@@ @+ v@@Jb@@~@ |@ @ D* ¡@@c@ g@ @ J Ä@@ @CH 4Hx@@ @ @ @ @= b@@ @ @£@ @A b@@ @ @E Ñ* @@ @ @ @ @J R v@ @ @ B x@@+2 @@ E @@£@ @ @E ¤@@ @ D* b@@ F4¡@@ @ ; *HQ Ä@@1 ¤@@ Q @ @ < 2Q 4H 42(* ¥4v@@ @ @ - b@@ @E b@@ @ @C Ä@@~@ 8 b@@ Fb@@ @ @E b@@ @ E b@@ @ Q @ @ @0H b@@ @ FHv@@ @ 0vR @ @ @0 Ä@@ @ D* b@@ £@ @ @ @Db@@ G f@@ @ +*x@@ @ = @@ @ < Mf@ @ +x@@ @ = Ä@@ <H @@ @ @ @ 6H42 b@@ £@ @Fv@@ D* @@ @E b@@ @ @ @ J¡@@ @-4(* Ä@@~@7 @@ @ /*x@@ @ ´* @@ @< @@ £@ @Â b@@ @ @Jv@@ 0 ¡@@ @D Ä@@ @D* °H @@6b@@ @D* H2 4v@@~@|@D* b@@ @Db@@J

x@@ +H @@ @E v@@ £Q @ @~@ @{@ @E i¡@@ £@ @c@ @D* 2b@@ @ < ¡@@ @ J Ä@@ @ FR b@@ @Ey@@ @D* @@ @ @AP b@@ @ @ @ 1 b@@ @E @@ @½ b@@ @J Ä/ b@@ FÄ@R @ / °H É@@ @ @D* b@@ @ @ ~@ z@ < b@@ E

2020 ‫ ﻳﻨﺎﻳﺮ‬، 85 ‫اﻟﻌﺪد‬

ŪŢƂŢſƐŜ ƺţƙƵƈ ƅưƃƸ ſǈŢƄ ƻŦ

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

baytelshear ‫اﻟﺸﻌﺮ‬ ِ ‫ﺑﻴﺖ‬

@sbzc_ad

sbzc.ae

www.sbzc.ae

‫‪ ĘŘĘĤĮŜŕ‬‬

‫ﺟﺎﻧﺐ اﻟﺰﻣﻴﺘﺔ‪ ،‬وﻫﻲ أﻛﻠﺔ ﺻﺤﻴﺔ ﺗﺨﻠﻂ‬ ‫ﺑﺰﻳﺖ اﻟﺰﻳﺘﻮن واﻟﻌﺴﻞ اﻟﺤﺮ‪.‬‬ ‫ﻛام ﻳﻘﺪم اﻟﺠﻨﺎح ﻟــﺰواره ﻣﺠﻤﻮﻋﺔ ﻣﻦ‬ ‫أﺷﻬﺮ اﻷﻃﺒﺎق اﻟﺘﻘﻠﻴﺪﻳﺔ‪ ،‬ﺣﻴﺚ ﻳﻀﻢ ﻣﺤﻞ‬ ‫اﻟﻄﺒﺦ أرﺑﻌﺔ أرﻛﺎن‪ ،‬ﻫﻲ‪ :‬رﻛﻦ اﳌﺄﻛﻮﻻت‬ ‫واﻷﻃﺒﺎق اﻷﻛرث ﺷﻌﺒﻴﺔ‪ ،‬ورﻛﻦ اﻟﺤﻠﻮﻳﺎت‪،‬‬ ‫ورﻛﻦ اﳌﺨﺒﻮزات‪ ،‬ورﻛﻦ اﻟﺸﺎي اﳌﻐﺮيب‪،‬‬ ‫وﻳﻘﺪم ﻟﻠﺰوار أﻃﺒﺎق اﻟﻄﺎﺟني ﺑﺎﻟﱪﻗﻮق‬ ‫واﻟﻄﺎﺟني ﺑﺎﻟﺪﺟﺎج واﻟﺰﻳﺘﻮن وﻃﺎﺟني‬ ‫اﻟﺨﴬاوات وﺷﻮرﺑﺔ اﻟﺤﺮﻳﺮة واﳌﺸﺎوي‬ ‫ﻋﲆ اﻟﻄﺮﻳﻘﺔ اﳌﻐﺮﺑﻴﺔ واﻹﺳﻔﻨﺞ‪ .‬وﻳﻌﺘﱪ‬ ‫اﳌﴪح اﻟﺬي ﻳﺘﻮﺳﻂ ﺳﺎﺣﺔ اﻟﺠﻨﺎح ﻧﻘﻄﺔ‬ ‫ﺟﺬب واﺳﺘﻤﺘﺎع ﻣﻬﻤﺔ ﻟﻠﺰوار‪ ،‬ﺣﻴﺚ ﻳﻘﺪم‬ ‫ﻋﴩات اﻟﻌﺮوض اﻟﻔﻨﻴﺔ واﻟﻮﺻﻼت اﻟﻐﻨﺎﺋﻴﺔ‬ ‫ﻟﻔﺮﻗﺔ اﻟﻄﺮب اﻷﻧﺪﻟﴘ واﺳﺘﻌﺮاﺿﺎت ﻟﻔﺮﻗﺔ‬ ‫ﻗﻨﺎوي اﻟﺸﻌﺒﻴﺔ اﻟﺘﻲ ﺗﻘﺪم ﻣﺨﺘﻠﻒ اﻷﻟﻮان‬ ‫اﻻﺳﺘﻌﺮاﺿﻴﺔ واﳌﻮﺳﻴﻘﻴﺔ ﰲ ﻣﻨﺎﻃﻖ اﻟﺠﻨﻮب‬ ‫اﳌﻐﺮيب‪.‬‬ ‫‪ǓǾǜǕŌ ǼƂŌǶ ǲƈōƞŽ‬‬

‫أﻣﺎ اﻟﺠﻨﺎح اﻟﺴﻮداين ﰲ اﳌﻬﺮﺟﺎن ﻓﻴﺤﻔﻞ‬ ‫ﺑﺎﻟﻌﺪﻳﺪ ﻣﻦ اﻟﺤﺮف اﻟﻴﺪوﻳﺔ واﻟﺼﻨﺎﻋﺎت‬

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‫اﻟﻌﺪد ‪ ، 85‬ﻳﻨﺎﻳﺮ ‪2020‬‬

‫اﻟﺘﻘﻠﻴﺪﻳﺔ‪ ،‬اﻟﺘﻲ ﺗﻌﱪ ﻋﻦ ﺟﺰء ﻣﻬﻢ ﻣﻦ‬ ‫ﺣﻀﺎرة وادي اﻟﻨﻴﻞ‪ ،‬ﻛﻮن اﻟﺴﻮدان ﻳﻨﺘﻤﻲ‬ ‫إﱃ ﻫﺬا اﻟﻨﺴﻴﺞ اﻟﺤﻀﺎري اﻟﻘﺪﻳﻢ‪ ،‬ﻓﻘﺪ‬ ‫ﻗﺪم اﳌﺸﺎرﻛﻮن ﻣﻨﺘﺠﺎت ﺗﺠﺴﺪ اﻟﻌﺎدات‬ ‫واﻟﺘﻘﺎﻟﻴﺪ واﳌﻨﺘﺠﺎت اﻟﺤﺮﻓﻴﺔ ﻓﻀ ًﻼ ﻋﻦ‬ ‫ﻋــﺮوض اﻟﻔﻨﻮن اﻟﺸﻌﺒﻴﺔ‪ ،‬ﺑﺎﻹﺿﺎﻓﺔ إﱃ‬ ‫ﻓﻨﻮن اﻟﺮﺳﻢ اﻟﺘﻲ ﻳﺴﺘﻠﻬﻢ ﻣﻨﻬﺎ اﳌﺒﺪﻋﻮن‬ ‫أﻋامﻟﻬﻢ اﻟﻔﻨﻴﺔ‪ ،‬وﻫﻮ ﻣﺎ ﺷﻜﻞ ﻣﻨﻈﻮﻣﺔ‬ ‫ﻣﺘﻜﺎﻣﻠﺔ ﻣﻦ اﻹﺑﺪاﻋﺎت اﻟﺴﻮداﻧﻴﺔ اﻟﺘﻲ‬ ‫متﺜﻞ ﻋﻨﺎﴏ اﻟﺤﺎﴐ وﻣﻔﺮدات اﳌﺎﴈ‪ ،‬ﻛام‬ ‫اﻫﺘﻢ اﻟﺠﻨﺎح ﺑﻌﺮض اﳌﻨﺘﺠﺎت اﻟﺰراﻋﻴﺔ‬ ‫اﻟﻄﺒﻴﻌﻴﺔ اﻟﻌﻀﻮﻳﺔ وﻣــﻦ ﺛﻢ اﻟﻌﻄﻮر‬ ‫اﻟﺘﻘﻠﻴﺪﻳﺔ‪ ،‬ﻣﻊ ﻋﺮض ﺣﻲ ﻟﺠﻠﺴﺎت »ﺣﻨﺎء‬ ‫اﻟﻌﺮوس« ﻛام ﻫﻮ ﻣﻌﺮوف ﰲ اﳌﻮروث‬ ‫اﻟﺸﻌﺒﻲ اﻟﺴﻮداين‪ ،‬ﻓﻀ ًﻼ ﻋﻦ اﳌﻨﺘﺠﺎت‬ ‫اﻟﺠﻠﺪﻳﺔ ﻣﻦ اﻟﺤﻘﺎﺋﺐ واﻹﻛﺴﺴﻮارات‬ ‫اﳌﺼﻨﻮﻋﺔ ﻣﻦ اﻟﺠﻠﻮد اﻟﻄﺒﻴﻌﻴﺔ اﻟﺨﺎﻟﺼﺔ‪،‬‬ ‫وﺻﻨﺎﻋﺎت ﺗﻘﻠﻴﺪﻳﺔ أﺧﺮى ﺗﻌﱪ ﻋﻦ اﻷﺻﺎﻟﺔ‬ ‫وﻣﺎ متﺜﻠﻪ اﻟﺮﻗﻌﺔ اﻟﻮاﺳﻌﺔ اﻟﺨﴬاء ﰲ‬ ‫اﻟﺴﻮدان ﻣﻦ ﻣﻨﺘﺠﺎت زراﻋﻴﺔ ﻣﺨﺘﻠﻔﺔ‪،‬‬ ‫ﺗﻌﱪ ﻋﻦ ﺛﻘﺎﻓﺔ وﺣﻀﺎرة ﻫﺬا اﻟﺒﻠﺪ اﻟﺬي‬ ‫ﻳﻜﺘﻨﺰ اﻟﻔﻦ وﻳﻌﺘﻤﺮ ﺑﺎﻟرثوات اﻟﻄﺒﻴﻌﻴﺔ‪.‬‬

‫‪ǽǜǘǿ ǁǾǂƫ‬‬

‫وﻳﺘﺰﻳﻦ اﻟﺠﻨﺎح اﻟﻴﻤﻨﻲ ﺑﺎﻟﻌﻘﻴﻖ واﻟﺼﻨﺎﻋﺎت‬ ‫اﻟﺘﻘﻠﻴﺪﻳﺔ ﰲ اﳌﻬﺮﺟﺎن‪ ،‬إﺿﺎﻓﺔ إﱃ ﺻﻨﺎﻋﺔ‬ ‫اﻟﺨﻨﺎﺟﺮ واﻟﺴﻴﻮف ﺑﺎﻟﻄﺮﻳﻘﺔ اﻟﺘﻘﻠﻴﺪﻳﺔ‬ ‫اﻟﺨﺎﻟﺼﺔ‪ ،‬ﺧﺎﺻﺔ اﻟﺠﻨﺒﻴﺔ وﻫﻲ ﻧﻮع ﻣﻦ‬ ‫اﻟﺨﻨﺎﺟﺮ اﻟﻌﺮﺑﻴﺔ‪ ،‬وﻳﻄﻠﻖ ﻫﺬا اﻟﻮﺻﻒ‬ ‫ﻋﺎدة ﰲ وﺻﻒ اﻟﺨﻨﺎﺟﺮ اﻟﺘﻲ ﺗﺮﺑﻂ ﺑﺤﺰام‬ ‫ﺣــﻮل اﻟــﺨــﺎﴏة‪ ،‬وﺗﺴﺘﺨﺪم اﻟﺠﻨﺎيب ﰲ‬ ‫اﻟﻴﻤﻦ وﻋامن وﺟﻨﻮب اﻟﺴﻌﻮدﻳﺔ ﻛﺰﻳﻨﺔ‬ ‫ﻟﻠﻤﻼﺑﺲ‪ ،‬وﺻﻨﺎﻋﺔ اﻟﺠﻨﺒﻴﺔ ﻫﻲ إﺣﺪى‬ ‫اﻟﺤﺮف اﻟﺘﻘﻠﻴﺪﻳﺔ اﻟﺘﻲ ﻳﻜرث اﻧﺘﺸﺎرﻫﺎ ﰲ‬ ‫اﻟﻴﻤﻦ‪ ،‬وﻫﻲ ﻋﺒﺎرة ﻋﻦ آﻟﺔ ﺣﺎدة ﺗﺜﺒﺖ‬ ‫ﻋﲆ ﻣﻘﺒﺾ ﺧﺎص‪ ،‬ﻳﺘﻤﻴﺰ ﺑﺎﻟﻠﻮن اﻟﻔﴤ‪،‬‬ ‫أﻣﺎ اﻟﺠﻨﺒﻴﺔ ﻓﻴﺼﻨﻊ رأﺳﻬﺎ ﻣﻦ ﻗﺮون وﺣﻴﺪ‬ ‫اﻟﻘﺮن وﻗﺮون اﻟﻮﻋﻞ وﺳﻦ اﻟﻔﻴﻞ‪ ،‬وﻳﺘﻢ‬ ‫ﺗﺜﺒﻴﺖ اﻟﺠﻨﺎيب ﰲ ﻏﻤﺪ وﻫﻮ اﻟﺤﺰام اﻟﺬي‬ ‫ﻳﺴﺘﻄﻴﻊ اﻟﺮﺟﻞ ارﺗﺪاءه أﺳﻔﻞ ﺑﻄﻨﻪ‪ ،‬ﺣﻴﺚ‬ ‫ﻳﺘﻢ ﻟﻒ اﻟﺤﺰام ﻋﲆ اﻟﺨﴫ‪ ،‬وﻟﺼﻨﺎﻋﺔ‬ ‫اﻷﺣﺰﻣﺔ ﻃﺎﺑﻌﻬﺎ اﻟﺨﺎص وﻓﻨﻮﻧﻬﺎ اﳌﺘﻤﻴﺰة‪،‬‬ ‫وﻳﺘﻢ ﺗﻄﺮﻳﺰ اﻷﺣﺰﻣﺔ ﺑﻮاﺳﻄﺔ »اﻟﺨﻴﻮط«‪،‬‬ ‫واﻟﺘﻄﺮﻳﺰ اﻟﺠﻴﺪ ﻫﻮ اﻟــﺬي ﻳﺘﻢ ﻳﺪوﻳﺎً‪،‬‬ ‫ﻓﻴﺄﺧﺬ ﻋﺪة أﻟﻮان ورﺳﻮﻣﺎت ﻣﺘﻨﺎﺳﻘﺔ‪.‬‬

‫ﻋﲆ ﺧﻄﻰ اﻟﺠﺪات اﻟﻼيت ﻧﺠﺤﻦ ﰲ ﺣﻔﻆ‬ ‫اﳌــﻮروث وﺻﻮﻧﻪ‪ .‬إﺿﺎﻓﺔ إﱃ اﻷﻫﺎزﻳﺞ‬ ‫واﻟﻔﻨﻮن اﻟﺸﻌﺒﻴﺔ اﻹﻣﺎراﺗﻴﺔ اﻟﺸﻬرية ﻣﺜﻞ‬ ‫اﻟﻌﻴﺎﻟﺔ واﻟﺤﺮﺑﻴﺔ‪ ،‬وﻏريﻫﺎ‪ ،‬ﻓﻜﻞ ﺟﻨﺎح ﰲ‬ ‫اﳌﻬﺮﺟﺎن ﻳﻀﻢ اﻟﻌﺪﻳﺪ ﻣﻦ اﻟﻔﺮق اﳌﻮﺳﻴﻘﻴﺔ‬ ‫واﻟــﻔــﺮق اﻟﺸﻌﺒﻴﺔ اﳌﺤﻠﻴﺔ واﻟﺨﻠﻴﺠﻴﺔ‬ ‫واﻟﻌﺎﳌﻴﺔ‪ ،‬وﻳﻠﺘﻘﻲ اﻟﺠﻤﻴﻊ ﻳﻮﻣﻴﺎً ﰲ »ﻣﺴرية‬ ‫اﻟﺤﻀﺎرات«‪ ،‬اﻟﺘﻲ ﺗﺠﻤﻊ ‪ 15‬دوﻟﺔ وﺗﻘﺪم‬ ‫ﻓﺮﻗﻬﺎ اﺳﺘﻌﺮاﺿﺎت وﻓﻨﻮﻧﺎً ﻋﺎﳌﻴﺔ‪ ،‬مبﺎ ﻳﺆﻛﺪ‬ ‫أﻫﻤﻴﺔ اﳌﻬﺮﺟﺎن ﰲ أن ﻳﻜﻮن ﻣﻠﺘﻘﻰ‬ ‫اﻟﺤﻀﺎرات ﻋﲆ أرض اﻹﻣﺎرات‪ ،‬ﺣﻴﺚ ﺗﻢ‬ ‫ﺗﺠﻬﻴﺰ ﺷﺎﺷﺔ ﺿﺨﻤﺔ ﺑﺘﻘﻨﻴﺔ ‪ 360‬درﺟﺔ‬ ‫ﳌﺸﺎﻫﺪة اﳌﺴرية ﻣﻦ ﺟﻤﻴﻊ اﻷرﻛﺎن‪.‬‬ ‫وﻳﺸﻜﻞ اﻷﻃﻔﺎل ﻋﻨﴫاً رﺋﻴﺴﺎً ﰲ ﻣﻮﻗﻊ‬ ‫اﳌﻬﺮﺟﺎن‪ ،‬ﺣﻴﺚ ﻳﺘﻮاﺟﺪون ﺑﻜرثة ﻋﻨﺪ‬ ‫اﻷﺟﻨﺤﺔ وﺑني اﻷﺣﻴﺎء‪ ،‬وﰲ ﺻﻔﻮف ﻃﻠﺒﺎت‬ ‫اﻷﻃﻌﻤﺔ‪ ،‬وﻫﻢ ﻻ ﻳﱰﻛﻮن ﺗﻔﺼﻴ ًﻼ ﺗﺮﻓﻴﻬﻴﺎً‬ ‫إﻻ وﻳﻌﻴﺸﻮﻧﻪ وﻳﺴﺘﻤﺘﻌﻮن ﺑﻪ‪ ،‬ﺧﺎﺻﺔ‬

‫اﻻﺳﺘﻌﺮاﺿﺎت اﻟﻔﻠﻜﻠﻮرﻳﺔ اﻟﺠﻮاﻟﺔ وأﺷﻐﺎل‬ ‫اﻟﺤﺮف ﻟﻴﻨﺘﻬﻲ ﺑﻬﻢ اﻷﻣﺮ ﰲ أرض اﻷﻟﻌﺎب‬ ‫اﻟﻐﺮاﺋﺒﻴﺔ‪.‬‬ ‫وﻳــﺄيت اﻟﺘﻔﺎﻋﻞ اﻟﻮاﺿﺢ ﻣﻦ ﻓﺌﺔ ﺻﻐﺎر‬ ‫اﻟﺴﻦ ﻟﻴﺆﻛﺪ رﺳﺎﻟﺔ اﳌﻬﺮﺟﺎن ﰲ ﻧﴩ ﺛﻘﺎﻓﺔ‬ ‫اﻟﺘﻌﺎﻳﺶ واﻻﻧﻔﺘﺎح ﻋﲆ اﻟﺤﻀﺎرات ﺑني‬ ‫ﺻﻔﻮف اﻟﻨﺶء‪ ،‬ﻓﻬﻢ ﻳﺘﻌﺮﻓﻮن ﻣﻦ ﻗﺮب‬ ‫إﱃ اﳌــﻮروث اﳌﺤﲇ ﳌﺠﺘﻤﻊ اﻹﻣــﺎرات‪،‬‬ ‫وﻳﻄﻠﻌﻮن ﺑﺎﻫﺘامم ﻋﲆ ﻓﻠﻜﻠﻮر اﻟﺸﻌﻮب‬ ‫وﻋﺎداﺗﻬﻢ ﻣﻦ ﺧﻼل ﺻﻨﺎﻋﺎﺗﻬﻢ واﻷﺷﻐﺎل‬ ‫اﻟﻴﺪوﻳﺔ اﻟﺘﻲ ﻳﻌﺮﺿﻮﻧﻬﺎ‪.‬‬ ‫‪ǳǾşƉƮǙ ŦōƫŌƃşŒ‬‬

‫وﻳﺄيت ﺟﻨﺎح اﳌﻤﻠﻜﺔ اﳌﻐﺮﺑﻴﺔ ﰲ اﳌﻬﺮﺟﺎن‪،‬‬ ‫ﻟﻴﻘﺪم ﺻﻮرة ﺣﻴﺔ وﻣﻠﻬﻤﺔ ﻟﻠﺜﻘﺎﻓﺔ واﻟﺘﺎرﻳﺦ‬ ‫اﳌﻐﺮيب مبﺨﺘﻠﻒ ﻣﻜﻮﻧﺎﺗﻪ‪ ،‬ﺣﻴﺚ ميﺘﺪ ﻋﲆ‬ ‫ﻣﺴﺎﺣﺔ ‪ 2500‬ﻣﱰ ﻣﺮﺑﻊ‪ ،‬ﻟﺘﺸﻜﻞ ﻣﻨﺘﺠﺎت‬ ‫اﻟﻜﺜري ﻣﻦ اﻟﺤﺮف اﻟﺘﻘﻠﻴﺪﻳﺔ اﳌﻐﺮﺑﻴﺔ ﻣﺰﻳﺠﺎً‬

‫ﻣﺘﻨﺎﻏ ًام ﻣﻦ ﺛﻘﺎﻓﺔ أﺑﻨﺎء اﳌﻐﺮب ﻋﱪ ﻃﻴﻒ‬ ‫ﻛﺒري ﻣﻦ اﻟﺼﻨﺎﻋﺎت واﻟﺤﺮف اﻟﺘﻘﻠﻴﺪﻳﺔ‬ ‫واﻟﻔﻨﻮن اﻟﺸﻌﺒﻴﺔ‪ ،‬اﻟﺘﻲ ﺣﴬت ﺑﺘﻔﺎﺻﻴﻠﻬﺎ‬ ‫ﻣﻦ ﻣﺨﺘﻠﻒ اﳌﺪن اﳌﻐﺮﺑﻴﺔ ﻟﺘﺸﻜﻞ متﻴﺰاً‬ ‫وﺗﻔﺮداً ميﻨﺢ اﻟﺠﻨﺎح ﻃﺎﺑﻌﺎً ﺧﺎﺻﺎً وﻣﻤﻴﺰاً‪.‬‬ ‫وﻳﺴﺘﻤﺘﻊ زوار اﻟﺠﻨﺎح اﳌﻐﺮيب ﺑﺈﺑﺪاﻋﺎت ‪20‬‬ ‫ﺣﺮﻓﻴﺎً ميﺎرﺳﻮن ﻋﺪداً ﻣﻦ اﻟﺤﺮف اﻟﻴﺪوﻳﺔ‬ ‫واﻟﺘﻘﻠﻴﺪﻳﺔ اﳌﻐﺮﺑﻴﺔ‪ ،‬ﻣﻨﻬﺎ اﻟﻔﺨﺎر واﻟﺰﻟﻴﺞ‬ ‫واﻟﺘﻄﺮﻳﺰ واﻟﻨﻘﺶ ﻋﲆ اﻟﻨﺤﺎس واﻟﻔﻀﺔ‬ ‫وﴎوج اﻟﺨﻴﻞ ﻟﻬﻮاة اﻟﻔﺮوﺳﻴﺔ وﻓﻨﻮن‬ ‫اﻟﻄﺒﺦ‪ ،‬وﻏريﻫﺎ اﻟﻜﺜري ﻣﻦ اﻟﺤﺮف اﻟﺘﻲ‬ ‫ﺗﺤﺎيك اﳌﻮروث اﻟﻌﺮيب اﻹﺳﻼﻣﻲ واﻟﺘﺄﺛريات‬ ‫اﻷﻣﺎزﻳﻐﻴﺔ ﻟــﱰوي ﻗﺼﺔ ﻫﺬه اﻟﺤﺮف ﰲ‬ ‫ﻣﺨﺘﻠﻒ ﻣﻨﺎﻃﻖ اﳌﻐﺮب‪ ،‬ﻛام ﻳﻌﺮض اﻟﺠﻨﺎح‬ ‫ﻣﺠﻤﻮﻋﺔ ﻣﺘﻨﻮﻋﺔ ﻣﻦ اﳌﻨﺘﺠﺎت اﻟﻐﺬاﺋﻴﺔ‬ ‫واﻷﻛﻼت اﳌﻐﺮﺑﻴﺔ ﺑﻄﺮﻳﻘﺔ ﺻﺤﻴﺔ‪ ،‬ﺣﻴﺚ‬ ‫ﺗﻌﺪ أﻛرث ﻣﻦ ‪ 35‬ﺳﻴﺪة‪ ،‬اﻟﻜﺴﻜﴘ ﺑﺎﻟﻌري‬ ‫واﻟﺪرة واﻟﻔﻮة وﻏريﻫﺎ ﻣﻦ اﳌﻨﺘﺠﺎت‪ ،‬إﱃ‬ ‫اﻟﺸﻌﺮ ‪baytelshear‬‬ ‫ﺑﻴﺖ ِ‬

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‫‪ ĘŘĘĤĮŜŕ‬‬

‫‪ǇŰŢƃŭƴŢ ſǈŢƄ ŻǉƍƴŢ ƺţŴƃǁƸ‬‬ ‫‪ŪŢƂţƕŹƴŢ ǅƭŭƵƸ‬‬ ‫ﻣﺤﻤﺪ ﺳﻠﻄﺎن‬

‫ﺗﺤﺖ ﻋﻨﻮان »اﻹﻣﺎرات ﻣﻠﺘﻘﻰ اﻟﺤﻀﺎرات«‪ ،‬اﻧﻄﻠﻖ ﻣﻬﺮﺟﺎن اﻟﺸﻴﺦ زاﻳﺪ اﻟﱰايث ﻋﲆ أرض ﻣﻨﻄﻘﺔ اﻟﻮﺛﺒﺔ ﺑﺄﺑﻮﻇﺒﻲ ﻳﻮم ‪ 29‬ﻧﻮﻓﻤﱪ‬ ‫اﳌﺎﴈ‪ ،‬وﻳﺴﺘﻤﺮ ﺣﺘﻰ ‪ 1‬ﻓﱪاﻳﺮ ‪ ،2020‬وﻳﺤﻈﻰ اﳌﻬﺮﺟﺎن ﺑﺮﻋﺎﻳﺔ ﻛﺮميﺔ ﻣﻦ ﺻﺎﺣﺐ اﻟﺴﻤﻮ اﻟﺸﻴﺦ ﺧﻠﻴﻔﺔ ﺑﻦ زاﻳﺪ آل ﻧﻬﻴﺎن رﺋﻴﺲ‬ ‫اﻟﺪوﻟﺔ‪ ،‬ﺣﻔﻈﻪ اﻟﻠﻪ‪ ،‬وﻳﻘﺎم ﺑﺘﻮﺟﻴﻬﺎت ودﻋﻢ ﻣﻦ ﺻﺎﺣﺐ اﻟﺴﻤﻮ اﻟﺸﻴﺦ ﻣﺤﻤﺪ ﺑﻦ زاﻳﺪ آل ﻧﻬﻴﺎن وﱄ ﻋﻬﺪ أﺑﻮﻇﺒﻲ ﻧﺎﺋﺐ اﻟﻘﺎﺋﺪ‬ ‫اﻷﻋﲆ ﻟﻠﻘﻮات اﳌﺴﻠﺤﺔ‪ ،‬وﺑﺈﴍاف وﻣﺘﺎﺑﻌﺔ ﺳﻤﻮ اﻟﺸﻴﺦ ﻣﻨﺼﻮر ﺑﻦ زاﻳﺪ آل ﻧﻬﻴﺎن ﻧﺎﺋﺐ رﺋﻴﺲ ﻣﺠﻠﺲ اﻟﻮزراء‪ ،‬وزﻳﺮ ﺷﺆون اﻟﺮﺋﺎﺳﺔ‪.‬‬ ‫ ‪ǳǾǘǕōƫ ǳǾǕōƪƳ 3000‬‬

‫ﻳﺸﻬﺪ اﳌﻬﺮﺟﺎن ﺗﻨﻈﻴﻢ أﻛرث ﻣﻦ ‪3000‬‬ ‫ﻓﻌﺎﻟﻴﺔ ﺛﻘﺎﻓﻴﺔ ﻋﺎﳌﻴﺔ ﻋﲆ ﻣــﺪى أﻳﺎم‬ ‫إﻗﺎﻣﺘﻪ‪ ،‬إﺿﺎﻓﺔ إﱃ ورش ﻋﻤﻞ ﺣﻴﺔ‪،‬‬ ‫ودروس ﻋﻤﻠﻴﺔ ﻋﲆ أﻳﺪي ﺧﱪاء وﺧﺒريات‬ ‫اﻟﱰاث‪ ،‬واﻟﺘﻲ ﺟﻌﻠﺖ ﻣﻦ اﳌﻬﺮﺟﺎن ﻣﺪرﺳﺔ‬ ‫ﺗﺮاﺛﻴﺔ ﺑﺎﻣﺘﻴﺎز‪ ،‬ﺗﺘﻮاﻓﺪ ﻋﻠﻴﻬﺎ أﻋﺪاد ﻛﺒرية‬ ‫ﻣﻦ اﻷﻃﻔﺎل ﺑﺼﺤﺒﺔ أوﻟﻴﺎء أﻣﻮرﻫﻢ‪ ،‬ﻓﻘﺪ‬ ‫أﺗﺎﺣﺖ اﻟﻨﺴﺨﺔ اﻟﺤﺎﻟﻴﺔ ﻣﻦ اﳌﻬﺮﺟﺎن‬ ‫ﻟﻠﺠﻤﻬﻮر‪ ،‬ﺧﺎﺻﺔ ﻣــﻦ ﺻﻐﺎر اﻟﺴﻦ‪،‬‬ ‫ﻓﺮﺻﺔ ﺧــﻮض ﺗﺠﺮﺑﺔ ﻓﺮﻳﺪة‪ ،‬ﻳﺒﺤﺮون‬ ‫ﻣﻦ ﺧﻼﻟﻬﺎ إﱃ أﻋامق اﻟـﱰاث اﻹﻣــﺎرايت‪،‬‬ ‫وﻳﻨﻬﻠﻮن ﻣﻦ إرث اﻵﺑﺎء واﻷﺟﺪاد‪ ،‬إﺿﺎﻓﺔ‬ ‫إﱃ ﻣﻄﺎﻟﻌﺔ منــﺎذج ﻣﻦ ﺗـﺮاث وﺛﻘﺎﻓﺎت‬ ‫اﻟﺒﻠﺪان اﳌﺸﺎرﻛﺔ‪ ،‬ﻣﺎ ﻳﺠﻌﻞ ﻣﻦ زﻳﺎرﺗﻪ‬ ‫واﻻﺳﺘﻤﺘﺎع ﺑﺄﺟﻮاﺋﻪ وﺟﺒﺔ ﺗﺮاﺛﻴﺔ وﺛﻘﺎﻓﻴﺔ‬ ‫ﺛﺮﻳﺔ ﺗﺼﻘﻞ ﺷﺨﺼﻴﺎﺗﻬﻢ‪ ،‬وﺗﺮﺳﺦ ﻓﻴﻬﻢ‬ ‫ﻗﻴﻢ اﻟﻬﻮﻳﺔ واﻻﻧﺘامء‪ ،‬ﺧﺎﺻﺔ ﻋﱪ »اﻟﺤﻲ‬ ‫اﻹﻣﺎرايت«‪ ،‬اﻟﺬي ﻳﻀﻢ ورش »ﻗﺮض اﻟﱪﻗﻊ«‬ ‫اﻟﺘﻲ ﺗﴪد ﻗﺼﺔ »ﺣﺸﻤﺔ اﳌﺮأة«‪ ،‬وورﺷﺔ‬ ‫»ﺳﻒ اﻟﺨﻮص« اﻟﺘﻲ ﺗﺴﺘﻌﻴﺪ اﻟﺬﻛﺮﻳﺎت‬ ‫وﺗﺘﻐﻨﻰ ﺑﺄﺻﺎﻟﺔ اﳌﻮروث ﰲ رﻛﻦ اﻟﺤﺮف‬ ‫اﻟﻨﺴﺎﺋﻴﺔ اﻟﺬي ﻳﺤﺘﻔﻲ مبﻬﺎراﺗﻬﻦ‪ ،‬وﺳريﻫﻦ‬

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‫اﻟﻌﺪد ‪ ، 85‬ﻳﻨﺎﻳﺮ ‪2020‬‬

‫ﻣﻨﻮﻋﺔ ﺑﺄﻟﻮان زاﻫﻴﺔ ﻣﺒﻬﺠﺔ‪ .‬واﻟﻼﻓﺖ أن‬ ‫اﻟﺰي اﻟﻮاﺣﺪ ميﻜﻦ أن ﻳﺤﺘﻮي ﻋﲆ اﻟﻌﺪﻳﺪ‬ ‫ﻣﻦ اﻟﻘﻄﻊ أي ﴎاوﻳﻞ وﻓﺴﺎﺗني أو ﻗﻤﺼﺎن‬ ‫ﰲ آن واﺣﺪ ﻣﻌﺎً‪ .‬ﺗﻘﺪم ﻣﻦ وﺣﻴﻬﺎ اﻟﻌﺪﻳﺪ‬ ‫ﻣﻦ اﻟﺘﺼﺎﻣﻴﻢ‪ ،‬وﺗﺄيت اﻟﻌﺒﺎءات اﳌﻄﺮزة‬ ‫واﻟﺠﻤﻴﻠﺔ ﺑﺄﺳﻠﻮب ﻳﻄﻐﻰ ﻋﻠﻴﻪ ﻣﺰﻳﺞ ﻣﻦ‬ ‫اﻷﻟﻮان واﻷﻗﻤﺸﺔ واﻟﺰﺧﺮﻓﺎت واﻟﺘﻄﺮﻳﺰات‪.‬‬ ‫ﻳﻌﺘﱪ اﻟﺰي اﻟﺒﺎﻛﺴﺘﺎين اﳌﻜ ّﻮن اﺳﺎﺳﺎً ﻣﻦ‬ ‫ﻗﻤﻴﺺ ﻃﻮﻳﻞ‪ ،‬وﴎوال واﺳــﻊ أﺑــﺮز ﻣﺎ‬ ‫ٌ‬ ‫ﻫﻮﻳﺔ‬ ‫مي ّﻴﺰ اﻟﻠﺒﺎس ﰲ ﺑﺎﻛﺴﺘﺎن‪ ،‬ﻓﺎﻟﻠﺒﺎس‬

‫وﻳﺤﺘﻔﻞ ﺑﻪ اﻟﺒﺎﻛﺴﺘﺎﻧﻴﻮن ﺳﻨﻮﻳﺎ‪ ،‬وﺑﺎﻟﺮﻏﻢ‬ ‫ﻣﻦ وﺟﻮد اﻟﻜﺜري ﻣﻦ اﳌﺤﺎوﻻت ﻹدﺧﺎل‬ ‫ﺗﻐﻴري ﰲ اﻟﻠﺒﺎس اﻟﺒﺎﻛﺴﺘﺎين‪ ،‬إ ّﻻ أن اﻟﺸﻌﺐ‬ ‫ﻳﻨﻈﺮ إﱃ ز ّﻳــﻪ ﻋﲆ أﻧﻪ أﺳــﺎس اﺣﱰاﻣﻪ‬ ‫وﻫﻮﻳﺘﻪ‪.‬‬ ‫اﻟﻠﺒﺎس اﻟﺘﻘﻠﻴﺪي ﰲ اﻗﻠﻴﻢ اﻟﺴﻨﺪ ﻟﻪ‬ ‫اﺣﺘﻔﺎﻟﻴﺔ ﺳﻨﻮﻳﺔ ﺧﺎﺻﺔ‪ ،‬واﻟﻘﺒﻌﺔ اﻟﺴﻨﺪﻳﺔ‬ ‫ﻫﻲ ﻣﺎ متﻴﺰﻫﻢ ﻋﻦ ﻏريﻫﻢ‪ ،‬ﺑﻞ متﺜﻞ ﻣﺼﺪر‬ ‫ﻓﺨﺮ وﺗﺒﺎه‪ .‬ﻛام ميﺘﺎز اﻟﺒﻠﻮﳾ ﺑﺎﻟﺮﺳﻮم‬ ‫اﻟﻬﻨﺪﺳﻴﺔ‪ ..‬واﻟﺒﻨﺠﺎيب ﺑﻄﻮل اﻟﻠﺒﺎس وﻏﺮاﺑﺔ‬

‫اﻷﻟﻮان‪ ،‬واﻟﺒﺸﺘﻮين ﺑﺎﻟﻠﺒﺎس اﻟﻘﺼري ﻧﺴﺒﻴﺎً‪.‬‬ ‫ﻳﻌﺘﱪ اﻟﺤﺼﻮل ﻋﲆ ﻫﺬا اﻟﺤﺬاء‪ ،‬اﻟﺬي‬ ‫ﻳﺴﻤﻰ ﺑﺎﻟـ "ﻛﻮﺳﺎ"‪ ،‬أﺣﺪ أﻫﻢ أﺟﺰاء اﻟﻠﺒﺎس‬ ‫اﻟﺘﻘﻠﻴﺪي اﻟﺒﺎﻛﺴﺘﺎين‪ .‬ﻓﻬﺬه اﻷﺣﺬﻳﺔ‬ ‫اﻟﻴﺪوﻳﺔ اﻟﺼﻨﻊ‪ ،‬ﻫﻲ أﻛرث ﻣﺎ ﻳﻘﺒﻞ ﻋﻠﻴﻪ‬ ‫اﻟﺒﺎﻛﺴﺘﺎﻧﻴﻮن ﻻﺳﺘﻜامل ز ّﻳﻬﻢ اﻟﺘﻘﻠﻴﺪي‪،‬‬ ‫وﺑﺮﻏﻢ ﻗﻠﺔ اﻟﺮﺑﺢ اﻟﺬي ﻳﺤﺼﻞ ﻋﻠﻴﻪ ﺻﻨﺎع‬ ‫وﺑﺎﺋﻌﻲ اﳌﻼﺑﺲ اﻟﺘﻘﻠﻴﺪﻳﺔ‪ ،‬إﻻ أﻧﻬﻢ ﻳﺒﻘﻮن‬ ‫ﻋﲆ ﻫﺬا اﻹﻧﺘﺎج متﺴﻜﺎ ﺑﺘﻘﺎﻟﻴﺪ ﺑﻼدﻫﻢ‪.‬‬ ‫وﺑﺎﻟﺮﻏﻢ ﻣﻦ وﺟﻮد اﻟﻜﺜري ﻣﻦ اﳌﺤﺎوﻻت‬ ‫ﻹدﺧﺎل ﺗﻐﻴري ﰲ اﻟﻠﺒﺎس اﻟﺒﺎﻛﺴﺘﺎين‪ ،‬إ ّﻻ‬ ‫أن اﻟﺸﻌﺐ ﻳﻨﻈﺮ إﱃ ز ّﻳﻪ ﻋﲆ أﻧﻪ أﺳﺎس‬ ‫اﺣﱰاﻣﻪ وﻫﻮﻳﺘﻪ‪ ،‬ﻟﺬا‪ ،‬ﻻ ﻳﻘﺒﻞ اﻟﺘﻨﺎزل ﻋﻨﻪ‪.‬‬ ‫اﻟﺸﻌﺮ ‪baytelshear‬‬ ‫ﺑﻴﺖ ِ‬

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‫‪ Ęġ¯ ŝŕ‬‬

‫وﻳﺸﻬﺪ ﺣﻔﻞ اﻟﺰﻓﺎف اﻟﻜﺜري ﻣﻦ اﻷﻣﻮر ﻛﺎﻧﺖ ﻣﻜﻠﻔﺔ‪ ،‬وﻳﻌﻤﻠﻮن ﻋﲆ ﺗﻮرﻳﺜﻬﺎ ﻣﻦ‬ ‫اﻟﻄﺮﻳﻔﺔ واﻟﺘﻲ ﺗﺴﺒﺐ ﺣﺮﺟﺎً ﻛﺒرياً ﻟﻠﻌﺮﻳﺲ ﺟﻴﻞ ﻵﺧﺮ‪.‬‬ ‫ﻓﻤﺜﻼ ﻣﻦ اﳌﺘﻌﺎرف ﻋﻨﺪ اﻟﺒﺎﻛﺴﺘﺎﻧﻴني ﰲ‬ ‫ﺣﻔﻞ اﻟﺰﻓﺎف ﻋﺪم ارﺗــﺪاء اﻟﺤﺬاء أﺛﻨﺎء ‪ǳǾƫōǘŨŵŌ ŦŌƂōƫ‬‬ ‫اﻟﺠﻠﻮس ﺑﺠﺎﻧﺐ اﻟﻌﺮوس‪ ،‬ﺣﻴﺚ ﺗﻘﻮم ﻳﺘﺴﻢ اﻟﺸﻌﺐ اﻟﺒﺎﻛﺴﺘﺎىن ﺑﺎﻟﱰاﺑﻂ اﻷﴎى‬ ‫أﺧــﺖ اﻟﻌﺮوس ﺑﺈﺧﻔﺎﺋﻪ وﻳﺘﻢ ﻣﻄﺎﻟﺒﺔ وﻳﺤﺮﺻﻮن ﻋﲆ إﻧﺠﺎب أﻋﺪاد ﻛﺒرية ﻣﻦ‬ ‫اﻟﻌﺮﻳﺲ ﺑﺪﻓﻊ اﳌﺒﺎﻟﻎ اﻟﺘﻲ ﺗﻢ إﻧﻔﺎﻗﻬﺎ ﻋﲆ اﻷﻃﻔﺎل ﻓﻴﺰﻳﺪ ﻋﺪد أﻃﻔﺎل اﻷﴎة اﻟﻮاﺣﺪة‬ ‫ﻣﻨﺰل اﻟﺰوﺟﻴﺔ ﺣﺘﻰ ﻳﺘﻤﻜﻦ ﻣﻦ اﺳﱰداد ﻋﻦ ﺳﺘﺔ أﻓ ـﺮاد‪ ،‬وﻫﻨﺎك ﺗﺮاﺑﻂ ﻛﺒري ﺑني‬ ‫اﻟﺠريان وﺑﻌﻀﻬﻢ اﻟﺒﻌﺾ وﻳﺘﺸﺎرﻛﻮن ﰲ‬ ‫اﻟﺤﺬاء‪.‬‬ ‫وﺑﺼﻔﺔ ﻋﺎﻣﺔ ﻳﻌﺘﱪ اﻟــﺰواج ﰲ ﺑﺎﻛﺴﺘﺎن ﻛﺎﻓﺔ اﳌﻨﺎﺳﺒﺎت اﻟﺪﻳﻨﻴﺔ وﻏريﻫﺎ‪ ،‬ﻛام ﻳﺤﺮص ‪ǚŌǷǕȏōş ǳǘƪƲǙ ƑşȎǙ‬‬ ‫أﻣﺮ ﻣﻜﻠﻒ ﻟﻠﻐﺎﻳﺔ وﻳﺘﺤﻤﻞ أﻫﻞ اﻟﻌﺮوس اﻷﻫﻞ ﻋﲆ ﺗﺒﺎدل اﻟﺰﻳﺎرات وﺗﻘﻮﻳﺔ اﻟﺮواﺑﻂ ﺗﻨﻔﺮد اﻷزﻳﺎء اﻟﺒﺎﻛﺴﺘﺎﻧﻴﺔ مبﻤﻴﺰات ﻋﺪة‪،‬‬ ‫اﻟﺠﺰء اﻷﻛﱪ وﻳﺤﺮص اﻟﺸﻌﺐ اﻟﺒﺎﻛﺴﺘﺎين اﻷﴎﻳﺔ وﺗﻌﻠﻴﻢ ﻫﺬه اﻟﻌﺎدات واﻟﺘﻘﺎﻟﻴﺪ أﻫﻤﻬﺎ اﻋﺘامدﻫﺎ ﻋﲆ اﻷﻗﻤﺸﺔ اﳌﻜﻠﻔﺔ‬ ‫ﻋﲆ اﻻﻟﺘﺰام ﺑﺎﻟﻌﺎدات واﻟﺘﻘﺎﻟﻴﺪ ﺣﺘﻰ وﻟﻮ ﻟﻸﺟﻴﺎل اﻟﺼﻐرية‪.‬‬ ‫ذات اﻟﺠﻮدة اﻟﻌﺎﻟﻴﺔ‪ ،‬إﺿﺎﻓﺔ إﱃ ﺗﻄﺮﻳﺰات‬ ‫ووﻓﻘﺎ ﻟـ ﻋﺎدات وﺗﻘﺎﻟﻴﺪ اﻟﺒﺎﻛﺴﺘﺎﻧﻴني ﻧﺠﺪ‬ ‫اﻷم ﺗﺤﺘﻞ اﻟﺪور اﻷﻛﱪ ﰲ ﺗﺮﺑﻴﺔ اﻷﺑﻨﺎء‬ ‫وﺗﺘﻮﱃ ﻣﻬﻤﺔ ﺗﻌﻠﻴﻤﻬﻢ اﻷﺳﺲ اﻟﺪﻳﻨﻴﺔ‬ ‫ﺑﺠﺎﻧﺐ ﻣﻬﻤﺔ اﻟﺘﻌﻠﻴﻢ وإﺻﻼح ﺳﻠﻮﻛﻴﺎﺗﻬﻢ‪،‬‬ ‫ﻓﻬﻲ ﺗﺘﺤﻤﻞ ﻋﺒﺌﺎ ﻛﺒرياً ﰲ ﺗﺮﺑﻴﺔ اﻷﻃﻔﺎل‪،‬‬ ‫وﺗﻬﺘﻢ اﻷم ﺑﻐﺮس ﻋﺎدات وﺗﻘﺎﻟﻴﺪ اﻟﺸﻌﺐ‬ ‫اﻟﺒﺎﻛﺴﺘﺎين ﰲ أوﻻدﻫــﺎ وﺗﻜﺴﺒﻬﻢ ﻛﺎﻓﺔ‬ ‫اﻟﺼﻔﺎت اﻟﺘﻲ ميﺘﺎز ﺑﻬﺎ اﻟﺒﺎﻛﺴﺘﺎﻧﻴني‪.‬‬

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‫اﻟﻌﺪد ‪ ، 85‬ﻳﻨﺎﻳﺮ ‪2020‬‬

‫أﻣﺎ ﻣﻮﺿﻮﻋﺎت ﻫﺬا اﻟﻨﻮع ﻣﻦ اﳌﻮﺳﻴﻘﻰ‬ ‫ﻓﺘﺘﻌﻠﻖ ﺑﺎﻟﺤﻴﺎة اﻟﻴﻮﻣﻴﺔ ﺑﺄﻗﴫ اﻟﻌﺒﺎرات‬ ‫اﻟﺒﺴﻴﻄﺔ ﻣﻦ اﻟﺤﺐ واﻟﻌﺎﻃﻔﺔ‪ ،‬أي اﻟﺴﻬﻞ‬ ‫اﳌﻤﺘﻨﻊ‪ .‬أﻣﺎ اﳌﻮﺳﻴﻘﻰ اﻹﺳﻼﻣﻴﺔ اﻟﺘﻘﻠﻴﺪﻳﺔ‬ ‫ﻓﺘﻌﺮف ﺑﺎﻟﻘ ّﻮاﱄ اﻟﺘﻲ ﻻﻗﺖ رواﺟﺎً ﻋﺎﳌﻴﺎً‬ ‫ﻣﻦ ﺧﻼل أﻋامل اﳌﻮﺳﻴﻘﻲ اﻟﺮاﺣﻞ ﻧﴫت‬ ‫ﻓﺘﺢ ﻋﲇ ﺧﺎن‪ .‬واﻟﻘﻮاﱄ أو ﻣﺤﻔﻞ اﻟﺴامء‬ ‫ﻛام ﻳﻌﺮف ﰲ ﺑﺎﻛﺴﺘﺎن ﻫﻮ ﺗﻘﻠﻴﺪ ﻣﻮﺳﻴﻘﻲ‬ ‫ﻧﺎﺑﺾ ﺑﺎﻟﺤﻴﺎة ميﺘﺪ ﻷﻛرث ﻣﻦ ‪ 700‬ﺳﻨﺔ‪،‬‬ ‫وﻗﺪ اﻛﺘﺴﺐ ﺷﻌﺒﻴﺔ واﺳﻌﺔ ﺣﺘﻰ ﻳﻮﻣﻨﺎ‬ ‫ﻫﺬا‪.‬‬ ‫‪ǲōǾŽ ŜǷǔƓŐ ƙǃƉǕŌ‬‬

‫وﻳﻌﺘﱪ اﻟﺒﺎﻛﺴﺘﺎﻧﻴﻮن اﻟﺮﻗﺺ أﺳﻠﻮب ﺣﻴﺎة‬ ‫وﻏﺬاء ﻟﻠﺮوح‪ ،‬وﻣﻦ اﻟﺮﻗﺼﺎت اﻟﺸﻌﺒﻴﺔ ﰲ‬ ‫ﺑﺎﻛﺴﺘﺎن اﻟﺮﻗﺼﺎت اﻟﺤﺮﺑﻴﺔ اﻟﺘﻲ ﺗﺒﺚ روح‬ ‫اﻟﺸﺠﺎﻋﺔ واﻟﻨﴫ‪ ،‬ورﻗﺼﺔ "ﺟﺎرﺑﻪ" اﻟﺘﻲ‬ ‫ﺗﺮﻗﺼﻬﺎ اﻟﻨﺴﺎء‪ ،‬ﺑﻴﻨام ﻳﺮﻗﺺ اﻟﺮﺟﺎل رﻗﺼﺔ‬ ‫"داﻧﺪﻳﺎراس"‪ ،‬وﻣﻦ اﻟﺮﻗﺼﺎت اﻟﻜﻼﺳﻴﻜﻴﺔ‬ ‫رﻗﺼﺔ " ﺑــﻬــﺎرات ﻧﺎﻳﺘﺎم" وﻫــﻲ ﻗﺼﺔ‬ ‫ﺗﻌﺒريﻳﺔ ﰲ أداء راﻗﺺ‪ ،‬و"اﻟﻜﻮﺗﺸﻴﻮدي"‬ ‫و"اﻷودﻳــﴘ"‪ ،‬ورﻗﺼﺔ "اﳌﺎﻧﺒﻴﻮري" اﻟﺘﻲ‬ ‫اﺷﺘﻬﺮت ﺑﻬﺎ ﻣﻤﻠﻜﺔ ﻣﺎﻧﺒﻴﻮر ﰲ آﺳﺎم‪.‬‬ ‫متﺜﻞ اﻟﻌﺎدات واﻟﺘﻘﺎﻟﻴﺪ اﻟﺒﺎﻛﺴﺘﺎﻧﻴﺔ ﻣﺰﻳﺠﺎً‬ ‫ﻫﺎﺋ ًﻼ ﻣﻦ اﻟﻔﻨﻮن واﻟﻌﻠﻮم واﳌــﺪارس‬ ‫اﻟﻔﻜﺮﻳﺔ اﻟﺘﻲ ﺗﻨﻘﻞ اﻹﻧﺴﺎن إﱃ ﻋﺎمل‬ ‫ﺧﺎص ﻣﻦ اﻹﺑﺪاع‪ ،‬ﺣﻴﺚ ﺗﺤﻈﻰ اﻟﻌﺎدات‬ ‫اﻟﺒﺎﻛﺴﺘﺎﻧﻴﺔ ﺑﺘﻨﻮع ﻫﺎﺋﻞ‪ ،‬وﻳﻜﻤﻦ ﺑﺮﻳﻘﻬﺎ‬ ‫ﰲ اﻣﺘﺪادﻫﺎ ﻵﻻف اﻟﺴﻨني وﺗﺠﺴﻴﺪﻫﺎ‬ ‫ﻟﻠﻌﺪﻳﺪ ﻣﻦ اﻟﻔﻨﻮن واﻟﺘﻘﺎﻟﻴﺪ اﻟﻌﺮﻳﻘﺔ‪.‬‬ ‫وﻷن ﺑﺎﻛﺴﺘﺎن دوﻟــﺔ ﺗﻘﻊ ﻋﲆ ﻣﻔﱰق‬ ‫ﻃﺮق ﺣﻀﺎرات ﻣﺘﻨﻮﻋﺔ‪ ،‬ﻣﻦ ﺟﻨﻮب آﺳﻴﺎ‬ ‫إﱃ آﺳﻴﺎ اﻟﻮﺳﻄﻰ واﻟﴩق اﻷوﺳــﻂ‪ ،‬ﻟﺬا‬ ‫ﻛﺎﻧﺖ اﻟﺘﺄﺛريات ﻣﺘﻌ ّﺪدة ﻋﲆ اﳌﻮﺳﻴﻘﻰ‬ ‫اﻟﺒﺎﻛﺴﺘﺎﻧﻴﺔ اﻟﺘﻲ ﺻﻬﺮت ﻛﻞ ﻫﺬه اﻟﺜﻘﺎﻓﺎت‬ ‫اﻟﺼﻮﺗﻴﺔ ﰲ أﻟﺤﺎن ﺑﺎﻛﺴﺘﺎﻧﻴﺔ ﻣﻤﻴﺰة‪ .‬ﺗﺼﻨﻒ‬

‫اﻟﺜﻘﺎﻓﺔ اﻟﺒﺎﻛﺴﺘﺎﻧﻴﺔ اﻟﺴﺎﺋﺪة اﳌﻮﺳﻴﻘﻰ‬ ‫ﻛﺠﺰء ﺣﻴﻮي ﻣﻦ اﳌﺠﺘﻤﻊ اﻟﺒﺎﻛﺴﺘﺎين‪.‬‬ ‫وﺗﺸﻤﻞ اﳌﻮﺳﻴﻘﻰ اﻟﺒﺎﻛﺴﺘﺎﻧﻴﺔ ﻋﻨﺎﴏ‬ ‫ﻣﺘﻨ ّﻮﻋﺔ ﺗـﱰاوح ﺑني اﳌﻮﺳﻴﻘﻰ اﻟﺸﻌﺒﻴﺔ‬ ‫ﻣﻦ آﺳﻴﺎ اﻟﻮﺳﻄﻰ وﻛﺬﻟﻚ ﻣﻦ ﺟﻨﻮب آﺳﻴﺎ‬ ‫واﳌﻮﺳﻴﻘﻰ اﻟﻔﺎرﺳﻴﺔ واﳌﻘﺎﻣﺎت اﻟﱰﻛﻴﺔ‪.‬‬ ‫أﻣــﺎ اﳌﻮﺳﻴﻘﻰ اﻟﺸﻌﺒﻴﺔ اﻟﺒﺎﻛﺴﺘﺎﻧﻴﺔ‬ ‫ﻓﺘﺘﻀﻤﻦ اﻷﺷﻜﺎل اﻟﺘﻘﻠﻴﺪﻳﺔ ﻣﻦ اﻷﻏﺎين‬ ‫اﻟﺸﻌﺒﻴﺔ وﺗﻠﻚ اﳌﻨﺤﺪرة ﻣﻦ اﻷﺻــﻮل‬ ‫اﻟﺒﻠﻮﺷﻴﺔ واﻟﺒﺎﺷﺘﻮﻧﻴﺔ واﻟﺒﻨﺠﺎﺑﻴﺔ‬ ‫واﻟﱪاﻫﻮﻳﺔ واﻟﺴﻨﺪﻳﺔ واﻟﻜﺸﻤريﻳﺔ‪ .‬وﺣﺘﻰ‬ ‫أن ﻟﻜﻞ ﻣﻘﺎﻃﻌﺔ ﰲ ﺑﺎﻛﺴﺘﺎن أﻟﺤﺎﻧﺎً‬ ‫ﺧﺎﺻﺔ ﰲ اﳌﻮﺳﻴﻘﻰ اﻟﺸﻌﺒﻴﺔ ﺗﻌﺮف ﺑﻬﺎ‪.‬‬

‫‪ŲŌǶƋǕŌ ŦŌƂōƫ‬‬

‫ﻳﺤﻈﻰ اﻟﺰواج ﺑﺄﻫﻤﻴﺔ ﻛﺒرية ﻟﺪى اﻟﺸﻌﺐ‬ ‫اﻟﺒﺎﻛﺴﺘﺎىن وﻳﺮﺗﺒﻂ ﻣﻌﻬﻢ ﺑﺒﻌﺾ اﻟﻌﺎدات‬ ‫واﻟﺘﻘﺎﻟﻴﺪ وﻗﺪ ﻳﺮاﻫﺎ اﻟﺒﻌﺾ ﻋﺎدات ﻏﺮﻳﺒﺔ‬ ‫ﻋﲆ ﻣﺠﺘﻤﻌﺎﺗﻨﺎ اﻟﻌﺮﺑﻴﺔ‪ ،‬ﻓﻌﲆ ﺳﺒﻴﻞ اﳌﺜﺎل‬ ‫ﻓﻌﲆ ﺳﺒﻴﻞ اﳌﺜﺎل ﰲ ﺑﻌﺾ اﳌﻨﺎﻃﻖ ﺗﺘﺤﻤﻞ‬ ‫اﻟﻌﺮوس أﻋﺒﺎء ﻣﺼﺎرﻳﻒ اﻟﺰواج وﺑﻨﺴﺒﺔ‬ ‫ﺗﻔﻮق اﻟﺮﺟﻞ ﺑﻜﺜري‪ ،‬ﻓﻬﻲ ﻣﻦ ﺗﺘﻜﻔﻞ‬ ‫ﺑﺘﺠﻬﻴﺰ اﳌﻨﺰل ﻣﻦ ﻛﺎﻓﺔ اﻷﻏﺮاض ﻛﺎﻷﺛﺎث‬ ‫واﻷﺟــﻬــﺰة‪ ،‬واﻷﻏــﺮب ﻣﻦ ﻫــﺬا اﻷﻣــﺮ أن‬ ‫اﻟﻌﺮوس ﺗﺴﱰد أﻏﻠﺐ ﻣﺎ ﺗﻨﻔﻘﻪ ﻣﻦ أﻣﻮال‬ ‫ﰲ ﻟﻴﻠﺔ اﻟﺰﻓﺎف ﺣﻴﺚ ﻳﻄﺎﻟﺐ أﻫﻞ اﻟﻌﺮوس‬ ‫ﺑﺴﺪاد ﻣﺎ ﻗﺎﻣﻮا ﺑﺈﻧﻔﺎﻗﻪ ﻋﲆ ﻋﺶ اﻟﺰوﺟﺔ‪.‬‬ ‫اﻟﺸﻌﺮ ‪baytelshear‬‬ ‫ﺑﻴﺖ ِ‬

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‫‪ Ęġ¯ ŝŕ‬‬

‫‪ ƶǑƈǎŢ ţǁŸǂƂǂ ƺŢǃƴǌŢ ţǁŭǈǃǀ‬‬

‫‪ũǉƼţŭƉưţŧƴŢ ŪţŰǂƂǃƹƴŢ‬‬

‫ ‪ ǇŦƃơƴŢ ųǉƵŽƴŢ şƘŢǃƌ ǅƵƠ ƗŹŬǂ ţǉƈŖ ƪǃƨ ƫƵŹŬ ũǉƨţƭŰ ũƵŸƂ‬‬ ‫ﻣﺤﻤﺪ دروﻳﺶ‬

‫ﰲ ﻣﻮﻗﻊ ﻓﺮﻳﺪ ﺑني ﺣﻀﺎرﺗني ﺿﺎرﺑﺘني ﰲ ﺟﺬور اﻟﺘﺎرﻳﺦ ﺗﻘﺒﻊ واﺣﺪة ﻣﻦ أﻛرث اﻟﺒﻼد ﺗﻔﺮداً ﰲ اﻟﺜﻘﺎﻓﺔ واﻟﻌﺎدات واﳌﻮروﺛﺎت اﻟﻘﺪميﺔ‬ ‫اﻟﺘﻲ ﻻ ﺗﺰال ﺗﻬﻴﻤﻦ ﻋﲆ ﻣﺠﺘﻤﻌﻬﺎ ﻣﻨﺬ آﻻف اﻟﺴﻨني‪ .‬ﻓام ﺑني ﺷﻄﺮي آﺳﻴﺎ واﻟﺨﻠﻴﺞ اﻟﻌﺮيب‪ ،‬ﺗﱪز ﺑﺎﻛﺴﺘﺎن ﺑﻬﻮﻳﺔ ﺗﺮاﺛﻴﺔ ﻫﻮﻳﺘﻬﺎ‬ ‫اﻷﻟﻮان وروﺣﻬﺎ اﻹﺳﻼم‪ .‬ﻓام ﺑني اﻟﻌﺎدات اﻵﺳﻴﻮﻳﺔ ﺑﺄﻟﻮاﻧﻬﺎ اﳌﺒﻬﺠﺔ واﻟﺘﻘﺎﻟﻴﺪ اﻹﺳﻼﻣﻴﺔ اﻟﺘﻲ ﺗﻌﱪ ﻋﻦ ﻫﻮﻳﺔ اﻟﺸﻌﺐ اﻟﻮﻃﻨﻴﺔ‪ ،‬ﺗﱪز‬ ‫اﳌﻮروﺛﺎت اﻟﺒﺎﻛﺴﺘﺎﻧﻴﺔ ﻛﻤﻠﺘﻘﻰ ﻟﻠﺤﻀﺎرات واﻟﻔﻨﻮن واﻟﻌﺎدات اﻷﺻﻴﻠﺔ اﻟﺘﻲ ﻛﻠام ﻃﺎل ﺑﻬﺎ اﻟﺰﻣﻦ‪ ،‬ازدادت أﺻﺎﻟﺘﻬﺎ وﳌﻊ ﺑﺮﻳﻘﻬﺎ ﰲ‬ ‫أﻋني اﻟﻌﺎمل‪.‬‬

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‫اﻟﻌﺪد ‪ ، 85‬ﻳﻨﺎﻳﺮ ‪2020‬‬

‫ﺧﻠﻴﻔﺔ ﺑﻦ ﻣﺼﺒﺢ اﻟﻜﻌﺒﻲ‬

@alkaabikhalifa

‫ﺿﺮﺑﺔ ﻣﻌ ّﻠﻢ‬

@@ Q @ @ @ @-* b@@ @ @£@ @ @ ²* $b@@ @ @ @ @ @ @1&* @@ @ @ @E @@ g@ @£@ @D @@ @ Q @ @ @ @ -* H ¤@@ @ @ @ g@ @ ~@ @ {@ @ - ¤@@ @ @ Q @ @ @ @E 2b@@ @ @ @ @ < ° µ¡@@ @ @ - HR *x@@ @ @ @ @ @ @ @ @D* e42 ¢@@ @ @ @ @< 4HQ 2 @@ Q @ @ @~@ z@ @ @E · Md@@ @ -b@@ @ @ @ @ C Ñ* b@@ @ @§ b@@ @ @ @F* H @@ @ Q @ @ @; @@ @JHb@@ @ @ @ 1 É@@ @ @ +R @@ @Jx@@ @ @ @ D* * H @@ Q @ @c@ @- x@@ @ <b@@ @ ~@ @ @{@ @ @´* x@@ @ J3b@@ @ @ @ @E x@@ @ @ @ @ @ @1%* H @@ Q @ @ @ @ -* ° H @@ @Fb@@ @~@ @ z@ @ D ¡@@ @~@ @ |@ @ - @@ @ @ @ @ @ FQ (* µb@@ @ @ -%* h@@ @0x@@ @½* ° ¤@@ @ @ D* b@@ @ @F* e¡@@ @ @G b@@ @E @@ Q @ @~@ @6 h@@ @ @B¡@@ @ @D* @@ @ @D q@@ @ @~@ @z@ @J *3* @@ @ @ @ D @@ Q @ @ @ @E f@@ @ +x@@ @ ~@ @ 9 b@@ @ @ @ @ C @@ @ @ B*x@@ @ @ A ¢@@ @ g@ @ 0

@@ /*w@@ ~@ @6 x@@ @<b@@ @~@ @ {@ @ ´* * ¡@@ @ @ @ @- ¤@@ @ Q @ @ @Db@@ @ J @@ /b@@ 0 @@ @ @C ¢@@ @ @ @ < v@@ @ @ @ @< d@@ @ gN @ @ @ @ D* *2 @@ /b@@ /y@@ D* @@ @ < @@ @ D Ä@@ ~@ @8 @@ ~@ @8H *3* H @@ /*y@@ E H @@ @ @£@ @C @@ @ @ @+R @@ {@ @Jb@@ < @@ @ @ /4 b@@ @ @ @ F&* @@/b@@£@ g@ 0* H ¥x@@ @ :b@@ @ 1 f@@ c@ @=x@@ + ¥42* H @@ /*x@@ ~@ @6 HR ¡@@ @ @ @ @ ³* ¤@@ @ ; ¢@@ @ @ @ : @@ @ @ @ D @@ /É@@ < ¤@@ @ @£@ @c@ @: É@Q @ @ @ @ @D* *x@@ @ @ @ @ @ @D* *w@@ @ @ @ @D @@ /b@@ m@ @0 v@@ @ Q @ @ @< h@@ @ B¡@@ @ Db@@ @ G ¡@@ @ @D H ¢@@ @g@ @ 0 @@ @/*¡@@ @g@ @ FR *x@@ @ @ @ @ @ @D* v@@ @ @ @ + @@ @ @E @@ @ @ @;* b@@ @ @E @@ /b@@ 0 @@ @ @C ¢@@ @ @ @ < K*v@@ @ @ @ @/ x@@ @ @ @ @~@ @ @7&* b@@ @ @ @ @F&*

baytelshear ‫اﻟﺸﻌﺮ‬ ِ ‫ﺑﻴﺖ‬

‫ﺻﺢ ﻟﺴﺎﻧﻚ‬ َ

‫زﻳﻨﺐ اﻟﺮﻓﺎﻋﻲ‬ @zainabmh

Ì@@~@6 É@@ @ 0°* @@{@ E4 @@E h@@ @Bb@@~@z@-H Ì@@~@ |@ B ¥v@@ @ @ @J* h@@ @ Fb@@ @ CH h@@ @ @ @ @0 b@@ @ @ @F&* Ì@@ 1 h@@ @ B¡@@ @ D* ·b@@ @ @ - @@ @ @Â ¡@@ @ @ @ @ @B%*H Ì@@~@ z@ E y@@ @ @ @ - @@ @ @ @ D* ¡@@ @ £@ @ @1H °(* Ì@@~@ |@ + @@ Q @ @E ¡@@ @£@ @ D* b@@ £@ ~@ }@ DR ¢@@ @ @ @ D&* Ì@@ @ @~@ @8 b@@ @ £@ @ @F2 b@@ @ @ @ ~@ @ {@ @ <H 4b@@ @ c@ @ @C b@@ @ @ @ @F(* Ì@@c@ C b@@ @ @ @ F* @@ @ E ¤@@ @ c@ - b@@ @ @~@ @z@ @D* *2 x@@ @ @J2 @@ @ @C ¯ @@ @ @ @²* ,*x@@ @ @ @ < ¤@@ ~@ @z@ @ @ @-

.. ‫ﻳﺎ ﺻﺒﺢ‬ Áb@@ @ @ E&* ·b@@ @£@ @ @ @ D* 4v@@ @~@ @ 8 ¢@@ @ @< h@@ @Eb@@ @F Áb@@ @ @E ¯ b@@ @ @ @ @ F*H ÁHQv@ @ @ @ @ @ @ @ - ¤@@ @ @ @ Db@@ @J Áb@@ @ @ @ ´* @@ @g@ @ C yQ @ @ @ @ @ @ G*H Iv@@ @ @ @ @´* b@@ @ ~@ @ @9 Á*¡@@ j@ @+ b@@ @ £@ @ < Qv@ @ ~@ @ |@ @ - N h@@ @ B¡@@ @ D*H Áb@@~@ z@ <H b@@ @ E v@@ 0¡@ Q @ -* b@@ @F* q@@c@ ~@ 8 b@@ J Áb@@ Ey@@ + 4b@@ @ @~@ @|@ @Db@@ G @@ @ Q @ @ < q@@ c@ @~@ @8 b@@ @ J Áb@@ @ F b@@ @ @ 0*H @@ @Ev@ R @ @D* d@@ Jx@@ = ¡@@ G b@@ E Áb@@ @ @ @ @E&°* @@ @z@ @ + @@ @ @ @0 I4b@@ @ @ @ @ @ A b@@ @ @ @ 0

2020 ‫ ﻳﻨﺎﻳﺮ‬، 85 ‫اﻟﻌﺪد‬

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

baytelshear ‫اﻟﺸﻌﺮ‬ ِ ‫ﺑﻴﺖ‬

@sbzc_ad

sbzc.ae

www.sbzc.ae

‫‪ ĮŇŒ ŗŕ‬‬ ‫اﻟﺸﻴﺦ ﻣﺤﻤﺪ إﺑﺮاﻫﻴﻢ‪ ،‬ﻓﺘﺰوج إﺑﻨﺘﻪ ﻋﺎم‬ ‫‪ ،1934‬وﻗﺪ أﻧﺠﺒﺖ ﻟﻪ أرﺑﻌﺔ أﺑﻨﺎء‪ ،‬ﻓﺘﺎﺗﺎن‪،‬‬ ‫وﺻﺒﻴﺎن ﻛﺎن آﺧﺮﻫﻢ "ﻋﺒﺪ اﻟﻮاﺣﺪ" اﻟﺬي‬ ‫وﻟﺪ ﺑﻌﺪ ﻣﻮﺗﻪ ﺑﺄﺷﻬﺮ‪.‬‬ ‫ﻋﺎش ﺟﻴﻨﻮ ﰲ ﻣﴫ ﻣﺎ ﻳﺸﺒﻪ اﻟﻌﺰﻟﺔ‪ ،‬إﻻ أن‬ ‫اﻟﻌﺎمل ﺑﺄﴎه ﻛﺘﺐ ﻋﻨﻪ وﻋﻦ ﻛﺘﺒﻪ وﺑﺤﻮﺛﻪ‬ ‫اﻟﺘﻲ أﺻﺒﺤﺖ ﻣﻦ اﳌﺒﺎﺣﺚ اﳌﻌﺘﻤﺪة‬ ‫اﻟﻴﻮم ﰲ اﻟﺠﺎﻣﻌﺎت ﻣﺜﻞ‪" :‬ﺻﻮﻓﻴﺔ داﻧﺘﻲ"‪،‬‬ ‫"اﻟﺘﻠﻔﻴﻖ اﻟﺮوﺣﻲ وﺗﺤﻘﻴﻘﻪ"‪" ،‬ﳌﺤﺎت ﰲ‬ ‫اﻟﺘﺼﻮف اﳌﺴﻴﺤﻲ"‪" ،‬ﻣﻠﻚ اﻟﻌﺎمل"‪" ،‬ﳌﺤﺎت‬ ‫ﰲ اﻟﺘﺼﻮف"‪" ،‬رﻣﺰﻳﺔ اﻟﺼﻠﻴﺐ"‪" ،‬أزﻣﺔ اﻟﻌﺎمل‬ ‫اﳌﻌﺎﴏ"‪" ،‬ﻣﺒﺎدئ اﻟﺤﺴﺎب اﻟﺘﻔﺎﺻﲇ"‪،‬‬ ‫وﻏريﻫﺎ اﻟﻜﺜري‪.‬‬ ‫اﻋﺘﻨﻰ ﺟﻴﻨﻮ ﺑﺎﻟﺼﻮﻓﻴﺔ ﺑﺸﻜﻞ ﻋﺎم‪،‬‬ ‫ورﻏﻢ ﺗﻌرث ﻣﴩوع ﺟﻤﻊ ﻣﺤﺘﻮى اﻟﺼﻮﻓﻴني أو اﻟﻌﻘﺎﺋﺪ اﻟﺸﺨﺼﻴﺔ اﻟﺼﺎﻣﺘﺔ ﻋﻠﻰ‬ ‫وﺗﺮاﺟﻊ اﻟﻨﺎﴍ ﻋﻦ متﻮﻳﻞ اﻟﻜﺘﺎب‪ ،‬إﻻ أن‬ ‫ﺣﺪ ﺗﻌﺒﻴﺮه‪ ،‬وﻗﺪﻣﻬﺎ ﻟﻠﻔﺮﻧﺴﻴﻦ‬ ‫ﻣﻦ ﺧﻼل دراﺳﺎت ﻋﺪة‬ ‫ﺟﻴﻨﻮ مل ﻳﻌﺪ إﱃ ﻓﺮﻧﺴﺎ‪ .‬ورﻓﺾ ﻛﻞ دﻋﻮات‬ ‫أﺻﺪﻗﺎﺋﻪ اﳌﻘﺮﺑني إﱃ اﻟﻌﻮدة‪ ،‬رﻏﻢ ﺻﺤﺘﻪ‬ ‫درس ﺟﻴﻨﻮ اﻟﻌﺮﺑﻴﺔ وﺗﻔﻮق‬ ‫اﻟﻌﻠﻴﻠﺔ ووﺿﻌﻪ اﳌﺎدي اﻟﺼﻌﺐ‪ .‬وﺑﻘﻰ ﰲ‬ ‫اﻟﻘﺎﻫﺮة ﻳﻌﻴﺶ ﺿﻨﻚ اﻟﺤﻴﺎة وﺷﻈﻔﻬﺎ دون ﻓﻲ ﻓﻬﻤﻬﺎ وﻧﻄﻘﻬﺎ‪ ،‬ﻗﺎرﺋ ًﺎ ﻣﻌﻈﻢ‬ ‫ﻣﺎ ﺗﺮﻛﻪ اﻟﺼﻮﻓﻴﻮن ﻣﻦ ﻛﺘﺐ‬ ‫أن ﻳﻮﺿﺢ أﺳﺒﺎب رﻓﻀﻪ ﻟﻠﻌﻮدة‪ ،‬وﻋﺎش ﰲ‬ ‫ﻛﺎﻟﻔﺘﻮﺣﺎت اﻟﻤﻜﻴﺔ ﻻﺑﻦ ﻋﺮﺑﻲ‬ ‫ﺣﻲ اﻷزﻫﺮ ﰲ ﺑﻴﺖ ﻣﺘﻮاﺿﻊ ﻣﻨﻌﺰل ﻋﲆ‬ ‫وإﺣﻴﺎء ﻋﻠﻮم اﻟﺪﻳﻦ ﻟﻠﻐﺰاﻟﻲ‬ ‫ﻏري ﻋﺎدة اﻷوروﺑﻴني اﻟﺬﻳﻦ ﻳﻌﻴﺸﻮن ﰲ‬ ‫ﻣﴫ‪.‬‬ ‫ﻧﺎل اﻟﺠﻨﺴﻴﺔ اﻟﻤﺼﺮﻳﺔ ﻋﺎم ‪1949‬‬ ‫وﻟﻌﻞ ﺟﻴﻨﻮ ﺗﺮك اﻟﻐﺮب ﺑﻜﻞ ﻣﺎ ﻓﻴﻪ ﻣﻦ‬ ‫ﺛﻢ ﺗﻮﻓﻲ ﺑﻌﺪ ذﻟﻚ ﺑﻌﺎﻣﻴﻦ ﻓﻲ‬ ‫إﻋﻼء ﻟﻠﺮوح اﳌﺎدﻳﺔ ﻋﲆ ﺣﺴﺎب اﻟﺮوﺣﻴﺔ‪ ،‬اﻟﻘﺎﻫﺮة ﻳﻮم ‪ 7‬ﻳﻨﺎﻳﺮ ‪ ،1951‬ﻧﺎﻃﻘ ًﺎ‬ ‫إذ ﻳﻘﻮل‪" :‬إن أﻳﺪﻳﻮﻟﻮﺟﻴﺔ اﻟﻌﺎمل اﻟﺤﺪﻳﺚ‬ ‫ﻟﻔﻆ ﺧﺘﻢ ﺑﻪ ﺣﻴﺎﺗﻪ‬ ‫ﻛﻠﻤﺔ »ا_« ﻛﺂﺧﺮ ٍ‬ ‫ﺗﺘﺴﻢ ﺑﺜﻼث ﻧﻘﺎط‪ :‬ﻗﻠﺐ اﻟﺘﺪرج اﻟﻬﺮﻣﻲ‬

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‫اﻟﻌﺪد ‪ ، 85‬ﻳﻨﺎﻳﺮ ‪2020‬‬

‫ﰲ ﻛﺎﻓﺔ اﳌﻴﺎدﻳﻦ‪ ،‬واﻟﺘﻘﻠﻴﻞ ﻣﻦ أﻫﻤﻴﺔ‬ ‫اﳌﺠﺎل اﻟﻔﻜﺮي‪ ،‬واﳌﺒﺎﻟﻐﺔ ﰲ اﳌﺠﺎل اﳌﺎدي‬ ‫واﻟﻌﺎﻃﻔﻲ‪ .‬وﻳﺘﻠﺨﺺ اﻟﺘﺒﺸري ﰲ ﻓﺮض‬ ‫اﳌﻌﺘﻘﺪات ﺑﺄﻳﺔ وﺳﻴﻠﺔ ﻋﲆ اﻵﺧﺮﻳﻦ‪.‬‬ ‫واﻷوروﺑ ﱡﻴﻮن ﻳﺮﻳﺪون إﺟﺒﺎر اﻟﺠﻤﻴﻊ ﻋﲆ‬ ‫اﻻﻫﺘامم ﺑﺎﻫﺘامﻣﺎﺗﻬﻢ ﻫﻢ‪ ،‬وﺗﺒﻨﻲ ﻧﻔﺲ‬ ‫ﻧﻈﺎﻣﻬﻢ اﻟﺴﻴﺎﳼ‪ ،‬وذﻟﻚ أﻧﻬﻢ ﻳﺤﺎوﻟﻮن دامئًﺎ‬ ‫أن ﻳﺒﺪوا واﺛﻘني ﻣﻦ أﻧﻔﺴﻬﻢ وﻣام ﻳﻘﻮﻟﻮن‪،‬‬ ‫وإﺧﻔﺎء اﻟﺼﻌﺎب اﻟﺘﻲ ﻳﻌﺎﻧﻮن ﻣﻨﻬﺎ‪ ،‬وأن ﻻ‬ ‫ﻳﻨﻄﻘﻮا ﺑﺄي ﳾء ﺑﺼﻮرة ﻣﺸﻜﻮك ﻓﻴﻬﺎ"‪.‬‬ ‫ﻛﺮس ﺟﻴﻨﻮ آﺧﺮ أﻳﺎﻣﻪ ﻟﻠﻌﻴﺶ ﰲ ﻣﻨﺘﻬﻰ‬ ‫اﻟﺒﺴﺎﻃﺔ وﻇــﻞ ﻳﻜﺘﺐ إﱃ آﺧــﺮ ﻳــﻮم ﰲ‬ ‫ﺣﻴﺎﺗﻪ‪ .‬ﻧﺎل اﻟﺠﻨﺴﻴﺔ اﳌﴫﻳﺔ ﻋﺎم ‪،1949‬‬ ‫وﺗﻮﰲ ﺑﻌﺪ ذﻟﻚ ﺑﻌﺎﻣني ﰲ اﻟﻘﺎﻫﺮة ﻳﻮم ‪7‬‬ ‫ﻳﻨﺎﻳﺮ ‪ ،1951‬ﻧﺎﻃﻘﺎً ﻛﻠﻤﺔ "اﻟﻠﻪ" ﻛﺂﺧﺮ ﻟﻔﻆٍ‬ ‫ﺧﺘﻢ ﺑﻪ ﺣﻴﺎﺗﻪ‪.‬‬

‫ﻣﺮﺟﻌﺎً ﻋﻠﻤﻴﺎً ﻳﺒني اﻟﻔﺮاغ اﻟﻔﻜﺮي واﳌﺨﺎﺗﻠﺔ‬ ‫ﰲ اﻟﺤﺮﻛﺔ اﻟﺘﻨﺠﻴﻤﻴﺔ اﻟﻔﺮﻧﺴﻴﺔ‪ ،‬ﺣﻴﺚ‬ ‫ﻳﺨﻠﺺ اﻟﻜﺘﺎب إﱃ وﺻﻔﻬﺎ ﺑﺄﻧﻬﺎ "ﺗﻔﺎﻫﺔ‬ ‫ﺷﺎﻣﻠﺔ"‪ ،‬ﻛام ﻳﻮﺿﺢ ﺧﻄﺮﻫﺎ ﺑﺴﺒﺐ اﺧﱰاق‬ ‫اﻟﻌﺪﻳﺪ ﻣﻦ اﻷﺷﺨﺎص ذوي اﻟﻄﺒﻴﻌﺔ اﻟﺸﺎذة‬ ‫واﻟﴩﻳﺮة‪.‬‬ ‫دراﺳﺎﺗﻪ ﺗﻠﻚ‪ ،‬وﺟﻤﻌﻪ ﺑني اﻟﺮﻳﺎﺿﻴﺎت‬ ‫واﻟﻔﻠﺴﻔﺔ واﻟﻌﻠﻮم اﳌﻴﺘﺎﻓﻴﺰﻳﻘﻴﺔ‪ ،‬ﻗﺎدﺗﻪ‬ ‫ﺑﺎﻟﴬورة إﱃ اﻟﻌﻠﻮم اﻟﺮوﺣﻴﺔ اﻟﴩﻗﻴﺔ‬ ‫ﻛﺎﻟﻬﻨﺪوﺳﻴﺔ واﻟﻄﺎوﻳﺔ واﳌﺘﺼﻮﻓﺔ ﰲ ﻛﻞ‬ ‫ﻣﻜﺎن‪ ،‬وﻣﻦ ﻫﺬا اﳌﺪﺧﻞ وﻟﺞ ﺟﻴﻨﻮ إﱃ‬ ‫اﻹﺳﻼم ﻟﺪراﺳﺘﻪ واﻟﺘﻌﻤﻖ ﺑﻪ‪ ،‬ﻣﺎ أﻓﴣ ﺑﻪ‬ ‫ﻣﺴﻠ ًام ﰲ ﻧﻬﺎﻳﺔ اﳌﻄﺎف‪.‬‬ ‫‪ƃǀǃŵƴŢǂ ŶǂƃƴŢ ¤ũǉƬƃƍƴŢ ſŠţƭơƴŢ‬‬

‫اﻋﺘﻨﻰ ﺟﻴﻨﻮ ﺑﺎﻟﺼﻮﻓﻴﺔ ﺑﺸﻜﻞ ﻋــﺎم‪ ،‬أو‬ ‫اﻟﻌﻘﺎﺋﺪ اﻟﺸﺨﺼﻴﺔ اﻟﺼﺎﻣﺘﺔ ﻋﲆ ﺣﺪ ﺗﻌﺒريه‪،‬‬ ‫وﻗﺪﻣﻬﺎ ﻟﻠﻔﺮﻧﺴني ﻣﻦ ﺧــﻼل دراﺳــﺎت‬ ‫ﻋﺪة‪ ،‬وإﻣﻌﺎﻧﺎً ﰲ اﻟﻌﻠﻢ واﻟﺘﺤﺮي‪ ،‬درس‬ ‫ﺟﻴﻨﻮ اﻟﻌﺮﺑﻴﺔ وﺗﻔﻮق ﰲ ﻓﻬﻤﻬﺎ وﻧﻄﻘﻬﺎ‪،‬‬ ‫ﻗﺎرﺋﺎً ﻣﻌﻈﻢ ﻣﺎ ﺗﺮﻛﻪ اﻟﺼﻮﻓﻴﻮن ﻣﻦ ﻛﺘﺐ‬ ‫ﻛﺎﻟﻔﺘﻮﺣﺎت اﳌﻜﻴﺔ ﻻﺑﻦ ﻋﺮيب‪ ،‬وإﺣﻴﺎء ﻋﻠﻮم‬ ‫اﻟﺪﻳﻦ ﻟﻠﻐﺰاﱄ وﺑﻘﻴﺔ اﻟﻜﺘﺐ‪ ،‬وأوﺿﺢ ﰲ‬ ‫ﻣﻘﺎل ﻟﻪ أن ﻋﲆ اﻟﻘﺮاء اﻟﻐﺮﺑﻴني أن ﻳﻌﻴﺪوا‬ ‫ﻓﻬﻢ ﻣﺎ ﻳﺄﺗﻴﻬﻢ ﻣﻦ اﻟﴩق وﺧﺎﺻ ًﺔ اﻟﻔﻠﺴﻔﺔ‬ ‫واﻟﺮوﺣﺎﻧﻴﺎت‪ ،‬وﻫﻮ ﻣﺎ ﺟﻌﻞ ﻛﺘﺒﻪ وﻣﻘﺎﻻﺗﻪ‬ ‫ﺗﱰﺟﻢ إﱃ أﻛرث ﻣﻦ ﻋﴩﻳﻦ ﻟﻐﺔ ﺣﻮل اﻟﻌﺎمل‪.‬‬

‫اﻟﺤﺮب اﻟﻌﺎﳌﻴﺔ اﻟﺜﺎﻧﻴﺔ أوزارﻫـــﺎ‪ ،‬ﻓﱰك‬ ‫اﻟﺘﺪرﻳﺲ وﺗﻔﺮغ ﻟﻠﺒﺤﻮث واﻟﻜﺘﺎﺑﺔ‪ ،‬وأﻛﻤﻞ‬ ‫ﻣﴩوﻋﻪ اﻟﻌﻠﻤﻲ ﰲ اﻟﺪراﺳﺎت اﻟﴩﻗﻴﺔ‬ ‫ﻟﻠﻌﻘﺎﺋﺪ اﻟﺼﻮﻓﻴﺔ‪ ،‬ﻓﻮﺿﻊ ﻛﺘﺎﺑﻪ اﳌﺆﺟﻞ‬ ‫"ﻣﻘﺪﻣﺔ ﻟﺪراﺳﺔ اﻟﻌﻘﺎﺋﺪ اﻟﻬﻨﺪوﺳﻴﺔ"‬ ‫‪Introduction to the Study of Hindu‬‬ ‫‪ Doctrines‬ﰲ ﻋﺎم ‪ ،1921‬ﻛام مل ﻳﻨﻘﻄﻊ‬ ‫ﻋﻦ إرﺳﺎل اﳌﻘﺎﻻت واﻟﺒﺤﻮث إﱃ اﳌﺠﻼت‬ ‫اﻟﻔﺮﻧﺴﻴﺔ‪.‬‬

‫وﻗﺪ أﻓﺎد ﺟﻴﻨﻮ ﻣﻦ ﺻﺪاﻗﺘﻪ ﻣﻊ اﻟﺮﺳﺎم‬ ‫واﳌﻔﻜﺮ اﻟﺴﻮﻳﺪي ﺟﺎن ﻏﻮﺳﺘﺎف أﻏﻮﻳﲇ‬ ‫اﻟﺬي اﻋﺘﻨﻖ اﻹﺳﻼم ﻋﺎم ‪1897‬م‪ ،‬وأﺻﺒﺢ‬ ‫ﻳﻠﻘﺐ ﺑﺎﻟﺸﻴﺦ ﻋﺒﺪ اﻟﻬﺎدي‪ ،‬إذ ﻛﺎن ﻳﻜﺘﺐ‬ ‫وﻳﺤﺮر ﻣﺠﻠﺔ ﻋﺮﺑﻴﺔ إﻳﻄﺎﻟﻴﺔ اﺳﻤﻬﺎ اﻟﻨﺎدي‪،‬‬ ‫ﻓﻨﴩ ﻟﺪﻳﻪ ﺟﻴﻨﻮ اﻟﻌﺪﻳﺪ ﻣﻦ اﳌﻘﺎﻻت‬ ‫اﻟﺘﻲ ﺗﺘﻌﻠﻖ ﺑﺎﻟﺼﻮﻓﻴﺔ‪ ،‬ومنﺖ ﺑني اﻟﺮﺟﻠني‬ ‫ﺻﺪاﻗﺔ ﺧﺎﺻﺔ‪ ،‬وﻋ ّﺮﻓﻪ ﻻﺣﻘﺎً ﻋﲆ اﻟﺸﻴﺦ‬ ‫ﻋﻠﻴﺶ‪ ،‬ﻣﻦ ﻛﺎن ﺳﺒﺒﺎً ﰲ إﺳﻼم أﻏﻮﻳﲇ‪،‬‬ ‫ﻓﺘﺒﺎدﻻ اﻟﺮﺳﺎﺋﻞ واﻵراء‪ .‬إﱃ أن اﻋﺘﻨﻖ اﻟﺪﻳﻦ‬ ‫‪ũǈƃǀţƭƴŢ ũǈţǁƽƴŢ‬‬ ‫اﻹﺳﻼﻣﻲ ﻋﺎم ‪1912‬م‪.‬‬ ‫ﰲ اﻟﻌﺎم ‪ ،1917‬ﺷﺪ ﺟﻴﻨﻮ اﻟﺮﺣﺎل إﱃ ﻣﺪﻳﻨﺔ ﺳﺎﻓﺮ رﻳﻨﻴﻪ إﱃ اﻟﻘﺎﻫﺮة ﰲ ﺳﻨﺔ ‪،1930‬‬ ‫ﺳﻄﻴﻒ ﰲ اﻟﺠﺰاﺋﺮ ﺣﻴﺚ د ّرس اﻟﻔﻠﺴﻔﺔ وذﻟﻚ ﰲ ﺳﺒﻴﻞ ﺟﻤﻊ وﺗﺮﺟﻤﺔ ﻣﺴﺘﻨﺪات‬ ‫ﻟﻠﻄﻼب ﰲ اﻟﺠﺎﻣﻌﺔ ﻫﻨﺎك إﱃ أن وﺿﻌﺖ ﺗﺘﻌﻠﻖ ﺑﺎﻟﺘﺼﻮف‪ ،‬وﺗﻌﺮف ﻫﻨﺎك ﻋﲆ‬ ‫اﻟﺸﻌﺮ ‪baytelshear‬‬ ‫ﺑﻴﺖ ِ‬

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‫‪ ĮŇŒ ŗŕ‬‬

‫‪ǃƽǉŴ ƿǉƽǈƂ‬‬

‫ ‪ƂŢǃƵƴŢ ƃǁƼ ƦţƩƔ ƻƸ‬‬ ‫ ‪ ƃǀƄǌŢ ǇŸ ǅƴŜ‬‬ ‫ﻫﺎﻧﻲ ﻧﺪﻳﻢ‬

‫ﰲ ﺣﻘﻴﻘﺔ اﻷﻣﺮ‪ ،‬إن اﻟﻜﺘﺎﺑﺔ ﻋﻦ رﻳﻨﻴﻪ ﺟﻴﻨﻮ ‪ René Guénon‬ﻳﺘﻄﻠﺐ ﺟﻬﺪاً ﻣﻮﻓﻮراً ﻟﻺﺣﺎﻃﺔ مبﺎ ﺗﺮﻛﺖ ﻫﺬه اﻟﺸﺨﺼﻴﺔ اﻟﻐﺮﻳﺒﺔ‬ ‫ﺧﻼل ﺣﻴﺎﺗﻪ‪ ،‬إﻧﻪ ﻓﻴﻠﺴﻮف ورﺟﻞ دﻳﻦ وﺑﺎﺣﺚ ﻣﻨﻬﺠﻲ اﻋﺘﻤﺪ اﻟﺘﺠﺮﺑﺔ واﳌﻌﺎﻳﺸﺔ ﻟﻴﺼﻞ إﱃ ﻣﺒﺎﺣﺜﻪ وﻛﺘﺒﻪ‪ ،‬واﻫﺘﻢ ﺑﺎﻟﻐﺮﻳﺐ‬ ‫ﻣﻦ اﻟﻌﻠﻮم ﻟﻴﻨﺘﻬﻲ ﺑﻪ اﻷﻣﺮ ﻣﺴﻠ ًام ﻳﻨﻬﻲ أواﺧﺮ ﺣﻴﺎﺗﻪ ﰲ اﻟﻘﺎﻫﺮة وميﻮت ﻓﻴﻬﺎ‪.‬‬ ‫ﻣﻜﺎن‬ ‫وﻟﻨﺎ أن ﻧﻌﻠﻢ أن رﻳﻨﻴﻪ ﻋﺎش ﺣﻮاﱄ اﻟﻌﺎﻣني ﺑني اﳌﻨﺠﻤني واﻟﺴﺤﺮة ﰲ ﺑﺎرﻳﺲ وﻫﻮ ﰲ ﻃﺮﻳﻘﻪ اﻟﻌﻠﻤﻲ‪ .‬ﻟﻴﻘﻮده اﻟﺪرب ﻣﻦ ٍ‬ ‫إﱃ آﺧﺮ مبﺎ ﻳﺸﺒﻪ اﻟﺤﻜﺎﻳﺎ واﻷﺳﺎﻃري ﰲ رﺣﻠﺔ ﺗﺴﺘﺤﻖ أن ﺗﻜﻮن ﻓﻴﻠ ًام ﺳﻴﻨامﺋﻴﺎً‪.‬‬ ‫‪ƶǑƈǎŢ ǅƴŜ ƷǉŵƽŭƴŢ ƻƸ‬‬

‫وﻟﺪ رﻳﻨﻴﻪ ﺟﻴﻨﻮ ﰲ ﻣﺪﻳﻨﺔ ﺑﻠﻮا اﻟﻔﺮﻧﺴﻴﺔ‬ ‫ﻋﲆ ﺿﻔﺎف ﻧﻬﺮ اﻟﻠﻮار "ﻧﻮﻓﻤﱪ ‪"1886‬‬ ‫ﻟﻌﺎﺋﻠﺔ ﻣﺘﺪﻳﻨﺔ‪ ،‬وأب ﻛﺎن ﻣﻬﻨﺪﺳﺎً ذا ﺷﺄن‪،‬‬ ‫مل ﻳﻠﺘﺤﻖ ﺟﻴﻨﻮ ﺑﺪاﻳﺔ ﻋﻤﺮه ﺑﺎﳌﺪارس‬ ‫ﺑﺴﺒﺐ ﺻﺤﺘﻪ اﻟﻌﻠﻴﻠﺔ وﺑﻨﻴﺘﻪ اﻟﻀﻌﻴﻔﺔ‪ ،‬إﻻ‬ ‫أن ﻋﻼﻣﺎت اﻟﻨﺒﻮغ واﻟﻌﺒﻘﺮﻳﺔ ﺗﻔﺮض ﻧﻔﺴﻬﺎ‪،‬‬ ‫ﻓﻨﻘﻠﻪ واﻟــﺪاه ﻣﻄﻠﻊ اﻟﻘﺮن إﱃ ﺑﺎرﻳﺲ‬ ‫ﻟﺪراﺳﺔ اﻟﺮﻳﺎﺿﻴﺎت واﻟﻔﻠﺴﻔﺔ ﰲ ﺟﺎﻣﻌﺔ‬ ‫"روﻻن ﻛﻮﻟﻴﺞ"‪ ،‬وﺑﻬﺬا اﻧﻔﺘﺤﺖ ﻋﻠﻴﻪ‬ ‫آﻓﺎق ﻋﻠﻮم اﻟﺤﺴﺎب واﻟﺘﻨﺠﻴﻢ اﻟﺘﻲ ﻛﺎﻧﺖ‬ ‫راﺋﺠﺔ ﺟﺪاً ﰲ ﺑﺎرﻳﺲ‪ ،‬ﻓﻘﺮر أن ﻳﺪﺧﻞ إﱃ‬ ‫اﻷوﺳﺎط اﻟﺘﻨﺠﻴﻤﻴﺔ ّ‬ ‫ﻟﻔﻚ رﻣﻮزﻫﺎ وﻣﻌﺮﻓﺔ‬ ‫أﴎارﻫﺎ‪ ،‬وﻛﺎن ﺑﺎﺑﻮس "‪ "Papus‬أو ﺟريارد‬ ‫إﻧﻜﻮس ﻗﺪ ﺳﻴﻄﺮ ﻋﲆ اﻷوﺳﺎط اﻟﺒﺎرﻳﺴﻴﺔ‬ ‫ﺑﻨﻮع ﻣﻦ اﻟﻌﻠﻮم اﻟﻐﺎﻣﻀﺔ اﻟﺘﻲ ﺗﻌﺘﻤﺪ‬

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‫اﻟﻌﺪد ‪ ، 85‬ﻳﻨﺎﻳﺮ ‪2020‬‬

‫اﻟﺤﺴﺎﺑﺎت واﻟﻘﺮاءات واﻟﻜﺮوت اﻟﻮرﻗﻴﺔ‪،‬‬ ‫وﻛــﺎن ﻋﺎﳌﺎً ﰲ اﻟﻜﺎﺑﺎﻻ واﻟﺘﺎرو وﻣﺤﺪﺛﺎً‬ ‫ﻟﻜﺘﺎﺑﺎت إﻳﻠﻔﻴﺎس ﻟﻴﻔﻲ ﰲ اﻟﺸﻌﻮذة‪ ،‬ﻓﺘﺢ‬ ‫ﻋﻴﺎدة ﰲ ﺷﺎرع رودﻳﻦ ﻻﻗﺖ ﻧﺠﺎﺣﺎً وإﻗﺒﺎﻻً‬ ‫أرﻋﺐ اﻟﺴﻠﻄﺎت وﻧﺎل اﻫﺘامﻣﺎً ﻋﺎﳌﻴﺎً ﺣﺘﻰ‬ ‫أن اﻻﻣﱪاﻃﻮرﻳﺔ اﻟﺮوﺳﻴﺔ اﻋﺘﻤﺪت ﻋﻠﻴﻪ ﰲ‬ ‫ﻓﱰة ﻣﻦ ﻓﱰاﺗﻬﺎ‪ ،‬وﻗﺪ ﺗﻨﺒﺄ ﺑﺰواﻟﻬﺎ ﻋﲆ ﻳﺪ‬ ‫اﻟﺜﻮار ﻗﺒﻞ ﻣامﺗﻪ‪.‬‬ ‫اﻟﺘﺤﻖ ﺟﻴﻨﻮ ﺑﺎﻟﺘﻨﺠﻴﻢ ﺗﺤﺖ ﻟﻘﺐ "ﺗﺎو‬ ‫ﺑﺎﻟﻴﻨﺠﻴﻨﻴﻮس" وﴎﻋــﺎن ﻣﺎ أﺑﺪى ﺗﻔﻮﻗﻪ‬ ‫اﻟﺬﻫﻨﻲ وذاع اﺳﻤﻪ وﺧﺎﺻﺔ ﺑﻌﺪ ﻣﻮت‬ ‫ﺑﺎﺑﻮس ‪ ،1914‬ﻓﺸﺎرك ﰲ ﻣﺮاﺟﻌﺔ اﻟﺤﺴﺎﺑﺎت‬ ‫اﻟﻐﻨﻮﺻﻴﺔ ﻟﻠﻜﻨﺎﺋﺲ وﺗﻌﻤﻖ ﰲ اﳌﺎﺳﻮﻧﻴﺔ‬ ‫اﻟﺘﻲ وﺻﻔﻬﺎ ﺑﺎﻟﺰاﺋﻔﺔ‪ ،‬ﻟﻴﻨﺘﻬﻲ ﺑﻪ اﻷﻣﺮ إﱃ‬ ‫اﻋﺘﺒﺎر أن ﺗﻠﻚ اﻟﻌﻘﺎﺋﺪ ﻳﺠﺐ أن ﺗﺼﻨﻒ‬ ‫ﺑﺄﻧﻬﺎ ﻋﻘﺎﺋﺪ ﺗﺨﺮﻳﺒﻴﺔ وﺳﻴﺌﺔ وﺗﻌﺘﻤﺪ ﻋﲆ‬

‫اﻟﺰﻳﻒ واﻟﺨﺪاع ﻃﻮال اﻟﻮﻗﺖ‪ ،‬ﻓﻼ ميﻜﻦ‬ ‫أن ﻧﺴﻤﻴﻬﺎ ﻋﻠﻮﻣﺎً وﻻ ﻧﺼﻔﻬﺎ ﺑﺄﻧﻬﺎ "ﴏح‬ ‫ﺛﺎﺑﺖ"‪.‬‬ ‫واﺳﺘﻄﺎع ﺑﻌﺪ ﺗﻠﻚ اﻟﺘﺠﺮﺑﺔ أن ﻳﻀﻊ ﺑني‬ ‫ﻳﺪي اﻟﺒﺎﺣﺜني ﻣﺮﺟﻌﺎً ﰲ ﻏﺎﻳﺔ اﻷﻫﻤﻴﺔ‬ ‫ﻳﻔﻨﺪ ﻓﻴﻪ ﻣﺰاﻋﻢ اﳌﺘﻨﻮرﻳﻦ وأﺻﺤﺎب ﻣﻌﺒﺪ‬ ‫اﻟﻔﺠﺮ اﻟﺬﻫﺒﻲ‪ ،‬وﻳﻮاﺟﻪ ﺑﺎﻟﺤﺠﺔ اﳌﻨﻈامت‬ ‫اﻟﺒﺎﻃﻨﻴﺔ أو اﻟﺒﺎروﻧﺎﺳﻮﻧﻴﻚ‪ ،‬اﻟﺘﻲ ﻛﺎﻧﺖ‬ ‫راﺋﺠﺔ ﻋﲆ ﻳﺪ ﺑﺎﺑﻮس واﳌﻌﺎﻟﺞ اﻟﺮوﺣﻲ‬ ‫"أﻧﺘﻴﻠﻤﻲ ﻓﻴﻠﻴﺐ"‪ ،‬وراﺟﻊ اﻟﻜﺘﺎب اﳌﻌﺘﻤﺪ‬ ‫ﻟﻬﺬه اﳌﻨﻈامت "‪Nuctemeron of‬‬ ‫‪ "Apollonius of Tyana‬وﻋﻠﻖ ﻋﻠﻴﻪ‪.‬‬ ‫وﻣﺎ زال اﻟﺒﺎﺣﺜﻮن إﱃ ﻳﻮﻣﻨﺎ ﻫﺬا ﻳﺘﺪاوﻟﻮن‬ ‫ﻛﺘﺎب ﺟﻴﻨﻮ اﻟﺸﻬري "زﻣﻦ اﻟﻜﻤﻴﺔ وﻋﻼﻣﺎت‬ ‫اﻟﻌﴫ" & ‪The Reign of Quantity‬‬ ‫‪ The Signs of The Times‬وﻳﻌﺪوﻧﻪ‬

‫‪ P @ @ @ @ @ @ @ ~@@ @ @P @ @ @ @6b@@ @ @ @ @ @ @ N @ @ @ @ @ @ @ 1R N&* fO @ @ @ @ @ @ @ @ @ @ @ .N É@N @ @ @ @ @ @ @ @ @ @ .N‬‬ ‫‪26‬‬ ‫‪ P Pv@@ @ @ @ @ @ @ R @ @ @ @ @ @ @ @+N R @@ @ @ @ @ @ @ @ PE ¤@N @ @ @ @ P @ @ @ @ @£R @ @ @ @ @ N @ @ @ @ @DP‬‬ ‫إن ﻫﺬه اﻟﻨامذج اﻟﺘﻲ اﺳﺘﻌﺮﺿﻨﺎﻫﺎ ﻋﻦ اﳌﺪاﻋﺒﺎت واﻷﺣﺠﻴﺎت ﰲ‬ ‫اﻟﺸﻌﺮ اﻷﻧﺪﻟﴘ؛ ﺗﺜﺒﺖ ﰲ اﻋﺘﻘﺎدﻧﺎ ﻛﻴﻒ ﻳﻠﺘﻘﻲ اﻹﻧﺴﺎين واﻟﺠامﱄ‬ ‫واﻻﺟﺘامﻋﻲ واﻟﺸﻌﺮي ﰲ ﺻﻮرة ﺣﻀﺎرﻳﺔ ﻣﺘﻘﺪﻣﺔ‪ ،‬ﻏري أﻧﻨﺎ ﻧﺤﺐ‬ ‫أن ﻧﻨﺒﻪ إﱃ ﳾء ﺑﺎﻟﻎ اﻷﻫﻤﻴﺔ‪ ،‬وﻫﻮ ﻣﺴﺘﻮى ﺷﺎﻋﺮﻳﺔ اﳌﺪاﻋﺒﺎت‬ ‫ﰲ ﻣﻘﺎﺑﻞ اﻷﺣﺠﻴﺎت‪.‬‬ ‫ﻛام ﻳﺒﺪو ﻣﻦ اﻟﻨامذج اﻟﺴﺎﺑﻘﺔ‪ ،‬ﻓﺈن اﳌﺪاﻋﺒﺎت أﻛرث ﺷﺎﻋﺮﻳﺔ ﻣﻦ‬ ‫اﻷﺣﺠﻴﺎت؛ ﻣﻊ أن اﻷوﱃ ارﺗﺠﺎﻟﻴﺔ وﰲ ﻛﺜري ﻣﻦ اﻷﺣﻴﺎن ﺗﺤﺘﻮي‬ ‫ﻧﻔﺴﺎ ﺷﻌﺒﻴﺎ اﺟﺘامﻋﻴﺎ‪ ،‬أﻣﺎ اﻟﺜﺎﻧﻴﺔ ﻓﺘﻤﺘﻠﺊ ﺑﺎﻟﺼﻨﻌﺔ واﻟﺘﻜﻠﻒ ﻋﲆ‬ ‫ﻣﺴﺘﻮى اﻟﻜﺘﺎﺑﺔ‪ ،‬وﺗﺮﺗﻬﻦ ﺑﺎﻟﺘﺄﻣﻞ واﻟﺘﻔﻜﺮ ﻋﲆ ﻣﺴﺘﻮى اﻟﺘﻠﻘﻲ؛ إﻧﻬﺎ‬ ‫ﺑﺒﺴﺎﻃﺔ ﺛﻘﻴﻠﺔ رﻳﺎﺿﻴﺔ ﺗﺤﺘﺎج إﱃ ذﻫﻦ ﻣﺘﻮﻗﺪ ﻣﺘﻴﻘﻆ‪ ،‬ﻣﺎ ميﻨﻌﻬﺎ‬ ‫ﻣﻦ أن ﺗﺒﻠﻎ ﻣﺴﺎ ﱠم اﻟﺸﻌﻮر اﻹﻧﺴﺎين وﺗﺤﺮﻛﻪ‪ ،‬إﻧﻬﺎ ﺑﺒﺴﺎﻃﺔ ﺗﻌﻠﻖ‬ ‫ﰲ اﻟﺠﺎﻧﺐ اﻟﻌﻘﲇ‪.‬‬ ‫ﻟﻘﺪ اﺳﺘﻄﻌﻨﺎ ﺗﺤﺪﻳﺪ أﻧﻮاع ﻛﺜرية ﻣﻦ اﻷﺣﺠﻴﺎت ﻣﺜﻞ‪) :‬اﻟﺘﻌﻤﻴﺔ‬ ‫واﻟﺘﻮرﻳﺔ واﻟﺘﺠﻨﻴﺲ واﻟﺘﻠﻐﻴﺰ( وﻫﻲ ﻛﻠﻬﺎ ﺗﺸﱰك ﰲ ﻋﻨﴫ اﻟﺘﺴﻠﻴﺔ‬ ‫وإﺷﻐﺎل وإﺷﻌﺎل ﻓﻜﺮ اﳌﺘﻠﻘﻲ وﺗﻨﻤﻴﺔ ﻗﺪراﺗﻪ اﻟﺬﻫﻨﻴﺔ‪.‬‬

‫اﻟﺸﺮوﺣﺎت واﻟﻤﺮاﺟﻊ‪:‬‬ ‫)‪ (1‬اﻟﻐﺰال ﻟﻘﺐ اﻟﺸﺎﻋﺮ ﻳﺤﻴﻰ ﺑﻦ اﻟﺤﻜﻢ‬ ‫)‪ (2‬أرىب‪ :‬زاد‪.‬‬ ‫)‪ (3‬رﻳﺐ‪ :‬ﺷﻚ‪.‬‬ ‫)‪ (4‬أﻏﻼل‪ :‬ﻗﻴﻮد‪.‬‬ ‫)‪ (5‬اﺑﻦ ﻋﺬارى اﳌﺮاﻛﴚ‪ ،‬اﻟﺒﻴﺎن ا ُﳌﻐﺮب ﰲ أﺧﺒﺎر اﻷﻧﺪﻟﺲ واﳌَﻐﺮب‪ ،‬ﺗﺤﻘﻴﻖ‬ ‫وﻣﺮاﺟﻌﺔ ج‪.‬س‪ .‬ﻛﻮﻻن وإ‪ .‬ﻟﻴﻔﻲ ﺑﺮوﻓﻨﺴﺎل‪ ،‬ط‪ ،2‬ج‪ ،2‬دار اﻟﺜﻘﺎﻓﺔ‪ ،‬ﺑريوت‪،‬‬ ‫‪ ،1980‬ص ‪.93‬‬ ‫)‪ (6‬ﻣﺤﺎﻛﺎة ﻟﺼﻮت اﻟﻘﻂ‪.‬‬ ‫)‪ (7‬ﻟﻔﻈﺔ ﻋﺎﻣﻴﺔ أﻧﺪﻟﺴﻴﺔ ﻣﻐﺮﺑﻴﺔ ﻳﺮاد ﺑﻬﺎ ﻃﺮد اﻟﻘﻂ ﻣﻦ اﻟﺒﻴﺖ‪.‬‬ ‫)‪ (8‬ﻛﻼم ﺳﻮ‪ :‬ﻛﻼم ﺳﻮء؛ وﻗﺪ ﺗﻢ ﺗﺨﻔﻴﻒ اﻟﻬﻤﺰة ﻟﻐﺮض ﻏﻘﺎﻣﺔ اﻟﻮزن‬ ‫وإﺛﺒﺎت روي اﻟﻮاو‪.‬‬ ‫)‪ (9‬ﻟﻔﻈﺔ ﻋﺎﻣﻴﺔ أﻧﺪﻟﺴﻴﺔ ﻣﻐﺮﺑﻴﺔ وﻫﻲ اﺳﻢ ﻣﻦ أﺳامء اﻟﻘﻂ‪.‬‬ ‫)‪ (10‬اﺑﻦ زﻣﺮك‪ ،‬دﻳﻮان‪ ،‬ﺟﻤﻊ اﳌﻠﻚ ﻳﻮﺳﻒ اﻟﺜﺎﻟﺚ‪ ،‬ﺗﺤﻘﻴﻖ ﻣﺤﻤﺪ ﺗﻮﻓﻴﻖ‬ ‫اﻟﻨﻴﻔﺮ‪ ،‬ط‪ ،1‬دار اﻟﻐﺮب اﻹﺳﻼﻣﻲ‪ ،‬ﺑريوت‪ ،1997 ،‬ص ‪.342-343‬‬ ‫)‪ (11‬اﳌﺼﺪر‪ ،‬ص ‪.227‬‬ ‫)‪ (12‬اﳌﺠﺎدة‪ ،‬ﻣﺼﺪر ﻟﻔﻈﺔ ﻣﺠﺪ‪.‬‬ ‫)‪ (13‬اﺑﻦ زﻣﺮك‪ ،‬ﻣﺼﺪر ﺳﺎﺑﻖ‪ ،‬ص ‪.227‬‬ ‫)‪ (14‬اﻹﻟﻒ اﻟﺤﺒﻴﺐ‪.‬‬

‫)‪ (15‬اﻟﺘﻌﻤﻴﺔ ﻫﻨﺎ مبﻌﻨﻰ اﻹﺧﻔﺎء‪.‬‬ ‫)‪ (16‬ﻋﺪدي‪ ،‬أي أﻧﻪ ﻳﺸﺘﻐﻞ ﺑﺎﻟﺮﻳﺎﺿﻴﺎت‪.‬‬ ‫)‪ (17‬اﺑﻦ اﻟﺤﺪاد‪ ،‬دﻳﻮان‪ ،‬ﺗﺤﻘﻴﻖ وﺟﻤﻊ وﴍح ﻳﻮﺳﻒ ﻋﲇ اﻟﻄﻮﻳﻞ‪ ،‬ط‪،1‬‬ ‫دار اﻟﻜﺘﺐ اﻟﻌﻠﻤﻴﺔ‪ ،‬ﺑريوت‪ ،1990 ،‬ص ‪.308‬‬ ‫)‪ (18‬اﺑﻦ اﻟﺨﻄﻴﺐ‪ ،‬ﻟﺴﺎن اﻟﺪﻳﻦ‪ ،‬دﻳﻮان‪ ،‬ﺻﻨﻌﺔ وﺗﺤﻘﻴﻖ وﺗﻘﺪﻳﻢ ﻣﺤﻤﺪ‬ ‫ﻣﻔﺘﺎح‪ ،‬ج‪ ،1‬ط‪ ،2‬دار اﻟﺜﻘﺎﻓﺔ‪ ،‬اﻟﺪار اﻟﺒﻴﻀﺎء‪ ،2007 ،‬ص ‪.389‬‬ ‫)‪ (19‬اﺑﻦ ﺧﺎمتﺔ اﻷﻧﺼﺎري‪ ،‬دﻳﻮان‪ ،‬ﺗﺤﻘﻴﻖ وﴍح وﺗﻘﺪﻳﻢ ﻣﺤﻤﺪ رﺿﻮان‬ ‫اﻟﺪاﻳﺔ‪ ،‬ط‪ ،1‬دار اﻟﻔﻜﺮ اﳌﻌﺎﴏ ودار اﻟﻔﻜﺮ‪ ،‬ﺑريوت ودﻣﺸﻖ‪ ،1994 ،‬ص‬ ‫‪.206‬‬ ‫)‪ (20‬ﻣﻦ اﻟﻜﻮاﻛﺐ اﻟﺴﻴﺎرة‪.‬‬ ‫)‪ (21‬اﻓﺘﺨﺮت‪.‬‬ ‫)‪ (22‬ل‪ .‬د‪ .‬اﺑﻦ اﻟﺨﻄﻴﺐ‪ ،‬دﻳﻮان‪ ،‬ج‪ ،1‬ﻣﺼﺪر ﺳﺎﺑﻖ‪ ،‬ص ‪.146‬‬ ‫)‪ (23‬اﳌﺼﺪر ﻧﻔﺴﻪ‪ ،‬ص ‪.147‬‬ ‫)‪ (24‬ﺳﻠﻴامن ﺑﻦ ﻋﺒﺪ اﻟﻠﻪ أﺑﻮ اﻟﺮﺑﻴﻊ‪ ،‬دﻳﻮان‪ ،‬ﺗﺤﻘﻴﻖ ﻣﺤﻤﺪ ﺑﻦ ﺗﺎوﻳﺖ‬ ‫اﻟﻄﻨﺠﻲ وﻣﺤﻤﺪ ﺑﻦ ﺗﺎوﻳﺖ اﻟﺘﻄﻮاين وﻣﺤﻤﺪ ﺑﻦ اﻟﻌﺒﺎس اﻟﻘﺒﺎج وﺳﻌﻴﺪ‬ ‫أﻋﺮاب‪ ،‬ﺟﺎﻣﻌﺔ ﻣﺤﻤﺪ اﻟﺨﺎﻣﺲ‪ ،‬ﻣﻨﺸﻮرات ﻛﻠﻴﺔ اﻵداب‪ ،‬ص ‪.109‬‬ ‫)‪ (25‬اﳌﺼﺪر ﻧﻔﺴﻪ‪ ،‬ص ‪.113‬‬ ‫)‪ (26‬ﻧﻔﺴﻪ‪ ،‬ص ‪.116‬‬

‫اﻟﺸﻌﺮ ‪baytelshear‬‬ ‫ﺑﻴﺖ ِ‬

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‫ ‪ ĘšĲŒĬŘ‬‬ ‫ﺟﻬﺔ أﺧﺮى‪.‬‬ ‫وﺗﻨﻘﺴﻢ اﻷﺣﺠﻴﺎت إﱃ أﻧﻮاع ﻛﺜرية ﻛﺎﻧﺖ ﺗﺼﻨﻒ ﻗﺪميﺎ ﺿﻤﻦ‬ ‫ﺗﺼﻨﻴﻔﺎت ﺑﻼﻏﻴﺔ‪) :‬ﻛﺎﻟﺘﺠﻨﻴﺲ واﻟﺘﻮرﻳﺔ واﻟﺘﻀﻤني واﻟﺘﻌﻤﻴﺔ( وﻣﻨﻬﺎ‬ ‫ﻣﺎ وﺻﻔﺖ‪) :‬ﺑﺎﻟﺘﻠﻐﻴﺰ واﻷﺣﺎﺟﻲ(‪ ،‬وﺳﻨﺪرج ﻟﻜﻞ واﺣﺪة ﺷﺎﻫﺪَﻫﺎ‬ ‫اﻟﺸﻌﺮي‪:‬‬ ‫اﻟﺘﻌﻤﻴﺔ‪ :‬إن أﻗﺪم ﻫﺬه اﻷﺣﺠﻴﺎت اﻟﺘﻲ ﺣﺎﻓﻈﺖ ﻋﻠﻴﻬﺎ اﳌﺪوﻧﺔ‬ ‫اﻷﻧﺪﻟﺴﻴﺔ ﻣﻮﺟﻮدة ﰲ دﻳﻮان اﺑﻦ اﻟﺤﺪاد اﻷﻧﺪﻟﴘ ﺣني ﻗﺎل ﻣﻌﻤﻴﺎ‬ ‫ﻻﺳﻢ ﺣﺒﻴﺒﺘﻪ ﻧﻮﻳﺮة‪:‬‬ ‫‪ P @£@ U @~@N @6&* ° N Kb@ @+R&*vN @ @AN 14¤@@ P @ DR (* N @ ~@R @6* Oh@@ R @~@@O8‬‬ ‫‪15‬‬ ‫‪ P @ @ @£@ @ @ U @ @ @<N &* ¥P5b@@ @ @ N @ @ @ DR (b@ @ @ +P *O 5N N&* °N HN‬‬ ‫‪ P @ +P iO yR @ @ @ @EN 4N Rv@ @ BN 16 W¥P2vN @ @ @ @ @<N ¤@@cP @ P0b@@~@@N 8HN‬‬ ‫‪R N @ @EN P2*Nv@ @ @ @ @ @ <R &*N Px@ @ @CR Pw@@ @ +P‬‬ ‫@‪ P @ £@ FP b@@ cN @ EN ¥P¡@ @ @ @ « b‬‬ ‫‪ P xP @ @ @ @ @ @ @ @ @ P1%° P L @ @ @ @ @ @ @ +R 4O P @ @ @ @ @ @ @ @ @ @ @DP HS N&* 4O wR @ @ @ @ @m@N @ @ @ @ AN‬‬ ‫‪ P @ @ @£@ @ @FP b@@ @ jN @ @ @DP L @ @ @ @ @ @ @ +R 4O P xP @ @ @ @ @ @ @ @ @ @ P1%* 4O wR @ @ @ @ @ @ @ @ /H‬‬ ‫‪N‬‬ ‫‪ P @ @ @jP @ @ @DP b@@ @ jN @ @ @DP @L @ @ z@ @ @ R @ @ @1O O @ @ @ £N @ @ @ FP b@@ @ @.N S (*HN‬‬ ‫‪17‬‬ ‫@‪ P £PAb1N P b@@ N @ @AR É‬‬ ‫‪& N R @ DP rN °N Rv@ N @ AN R @ N @ AR b@@AN‬‬

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‫وﻟﻘﺪ ﺟﺮت اﻟﺘﻌﻤﻴﺔ ﰲ ﻗﺼﻴﺪ ٍة ﻻﺑﻦ اﻟﺨﻄﻴﺐ ﺑﺄﺳﻠﻮب اﻻﺳﺘﻔﻬﺎم‬ ‫ﻣام ﻳﺆﻛﺪ ﻋﲆ ﺗﻘﺎﻃﻌﻬﺎ ﻣﻊ اﻟﺘﻠﻐﻴﺰ واﻷﺣﺠﻴﺔ ﻛام ﺳرنى ﻻﺣﻘﺎ‪.‬‬ ‫اﻟﺘﻮرﻳﺔ‪ :‬ﻫﻲ مبﻌﻨﻰ ﻣﻮاراة اﻟﴚء ﺑﴚء آﺧﺮ ﺷﺒﻴﻪ ﻟﻪ ﻋﲆ ﻧﺤﻮ‬ ‫ﺑﺎﺳﻤﻲ ﻛﺘﺎيب ﻣﺸﺎرق اﻷﻧﻮار وﻣﻨﺎﻗﺐ‬ ‫ﺗﻮرﻳﺔ اﺑﻦ ﺧﺎمتﺔ اﻷﻧﺼﺎري‬ ‫ْ‬ ‫اﻷﺑﺮار ﰲ ﻗﻮﻟﻪ‪:‬‬ ‫‪N * 5N b@@ @ @ @ 0N‬‬ ‫‪fM @ @ JS xP @ @ N @ @ BN M,4N ¡@@ @ ~@@ O@ |@ @ @+P N b@@ @ @ N @ @ @ @±‬‬ ‫‪RN‬‬ ‫© @ @ ‪ P4*¡N @ @ @ @ @ @ FR N&°* N 4P b@@ @~@N@ @{@ @ EN @N @ £R @ @N @ @<N ¡@@ @ O‬‬ ‫‪fM @ @JS xP @ @ N @ @<O M,4N ¡@@ @~@@O @|@ @ +P N b@@ @ N @ @ N @ @ D* I¡N @ @ @ @ @0N HN‬‬ ‫‪19‬‬ ‫‪ P4*xN @ @ @ @ @ @ +R N&°* d@N @ BP b@@ N @ @EN @N @ £R @ @N @ @<N ¡@@ O @ gR @ -N‬‬ ‫وﻣﻦ اﻟﺘﻮرﻳﺔ ﻛﺬﻟﻚ ﻗﻮل اﺑﻦ اﻟﺨﻄﻴﺐ ﺑﺨﱪ ﻣﻔﺎده "وﻗﻠﺖ‪ ،‬وﳌﺎ‬ ‫ﻗﻠﺪين اﻟﺴﻠﻄﺎن ﰲ زﻣﻦ اﻟﻔﺘﺎء ﻛﺘﺎب اﻟﴪ‪ُ ،‬ﻣ َﻮ ﱢر ّﻳﺎً ﺑﺎﻟﻜﺎﺗﺐ‪ 20‬ﻣﻦ‬ ‫اﻟﺴﻴﺎرة‪ ،‬وﻫﻮ اﻟﺬي ﺑﻴﺘﻪ ﻓﻴﻪ ﴍﻓ ُﻪ ﺑﺨﻼف ﻏريه ﻣﻦ اﻟﻜﻮاﻛﺐ‪:‬‬ ‫‪fK @ @ @ S @ @ @ PG ¤@@ @ @ @ P @ @ @ @ EN 5N ¢@@ @ @N @ @ @ <N 21iO HR N&b@ @ @ @ @ @ @ @ @ @ @ @ @+N‬‬ ‫‪d@O @ @ -P b@@ @ N @ @ @ D* @O @ @ @ @ EN yS @ @ @ @ @D* ¤@@ @ @ P @ @ @ cN @ @ @ gN @ @ @ <R N&b@ @ @ AN‬‬ ‫‪O ¤@@ @ @ P @ @ @ @AN xS @ @ @ @~@@N @ @ 7HN‬‬ ‫*‪ ¤@@ @ @ P @ @ @ P:¡R @ @ @ EN ¯P Ñ‬‬ ‫‪"22dPO -b N D* O xO @ @ @~@@R @ {@ @ @JN P @ @ gP @ @ £R @ @ +N ¯P HN‬‬ ‫اﻟﺘﺠﻨﻴﺲ‪ :‬وﻣﻦ ذﻟﻚ ﻗﻮل اﺑﻦ اﻟﺨﻄﻴﺐ‪:‬‬ ‫@‪b@@ N @ P @ PEb@@ @N @EN ¯ ¤‬‬ ‫@‪P @~@P @z@ R @ FN eO wU @ @ @ @ <N &* · b‬‬ ‫‪P @ EN‬‬ ‫‪¤P+ ¥ Pw@@ R @ -N HN ¤@@cP @J Pw@@ R @gN @+P ¥P4yR @ @ -O @O @z@ R @ S @D*HN‬‬ ‫‪fM @ +N xP @ m@R @gN @ +P Mx@@ @ @ RGN2 ¢@@ N @ <N Oh@@ R @ N @ gN @ ~@R @6* *3N (*HN‬‬ ‫‪23‬‬ ‫ ©@ ‪R N HN ¤@@cP @JxP‬‬ ‫‪R N xO @J2P b@@ N @N ´* ¢@@+N R&b@-N‬‬ ‫©@ @‪¤P+ ¥Px‬‬ ‫اﻟﺘﻠﻐﻴﺰ‪ :‬وﺗﺒﺪو ﻫﺬه اﻷﺣﺠﻴﺎت ﰲ ﻏﺎﻳﺔ اﻷﻫﻤﻴﺔ ﺧﺼﻮﺻﺎ ﺣني‬ ‫ﻧﻌﺮف أن ُﻣ َﺼﻨ َﱢﻒ دﻳﻮان اﻷﻣري أيب اﻟﺮﺑﻴﻊ ﻗﺪ وﺿﻊ ﺑﺎﺑﺎ ﻛﺎﻣﻼ ﻓﻴﻪ‬ ‫ﺳامه "ﺑﺎب اﻷﻟﻐﺎز"‪ ،24‬وﻫﻮ ﺑﺬﻟﻚ ﻳﻄﺮق اﻷﺣﺠ ﱠﻴﺎت ﻣﻦ ﺑﺎب‬ ‫اﻟﺘﻠﻐﻴﺰ ﺑﺎﺳﺘﻌامل أﺳﻠﻮب اﻻﺳﺘﻔﻬﺎم ﺑﺸﻜﻞ ﻣﺘﻜﺮر ﻛﻘﻮﻟﻪ‪:‬‬ ‫‪ O 5N b@@ @ @ N @ @ @ @DR (* Nh@@ @_R @ @ ~@@P @7 b@@ @ @EN *3N (* L @ @ @~@@R @ 6* b@@ @ @EN‬‬ ‫‪"b@@ ~@N @ {@ @gP @ @AO *3N (* Ph@@ @ £R @ @ @cN @ @ @D* P xO @ @ @ @ @ @ @ @ 0R N&* ¯P‬‬ ‫‪ (R b@ @ @ @ @ @ @ @ @ AN O @ @ @ @ @ @ R @ @ @ @ @ @ <N O @ @ @ @ @ gN @ @ @ @ @ R @ @ @ @ @ JO @R @ @ @ @ @ @ @ @ +N‬‬ ‫‪25‬‬ ‫*&‪¢@@ @ @~@@N @ @7HN P @ @ @ @ £R @ @ @ @ DN (* Áb@P @ @ jS @ @ @ @ @ @DP Nh@@ @ @ @ £R @ @ @ @ FN N‬‬ ‫اﻷﺣﺠﻴﺔ‪ :‬وﻗﺪ ﻳﻄﺮق اﻷﻣري أيب اﻟﺮﺑﻴﻊ اﻟﺘﻠﻐﻴﺰ ﺑﺎﺳﻤﻪ اﻟﺬي اﺧﱰﻧﺎه‬ ‫ﻟﻪ وﻫﻮ اﻷﺣﺠﻴﺔ ﻣﺎ ﻳﻈﻬﺮ اﻟﺘﻌﺎﻟﻖ ﺑﻴﻨﻬام ﻣﻊ اﺧﺘﻼف اﻟﺘﺴﻤﻴﺎت‪،‬‬ ‫وذﻟﻚ ﰲ ﻗﻮﻟﻪ‪:‬‬ ‫* ‪¥ Pw@@ @ @ @ @ D* O @ @ @ @ @~@@ @R @ @ 6* b@@ @ @ @ @ EN @N @ @ @ @ @£@ @ @ @ @ P/b@@ @ @ @ @0&N‬‬ ‫‪"P vU @ @ @ @ @ @~@@ @ @N @ @ 8 ¯P N xN @ @ @ @ @ @ @ @ @~@@ @ @ @R @ @ @ @ 6N&* Rv@ @ @ @ @ @ @ @BN‬‬

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‫اﻟﻌﺪد ‪ ، 85‬ﻳﻨﺎﻳﺮ ‪2020‬‬

‫‪O @ N @ @JO‬‬ ‫@‪¢@@ @-N N&* b@@ EN k@O @ £R @ @0 N R @@ @ PE 7d@U @ ~@S@ 6(* O @ @ DN b‬‬ ‫‪8‬‬ ‫ ‪¡R ~6‬‬ ‫‪P @ @O @ O @ D* @P @ R @ P< ¯ P d@U @ ~@S @ 6(*HN‬‬ ‫@¡ ‪N O É@N @ @CN‬‬ ‫‪U E O ¡R @ @<N 2N É@S @ N @AN‬‬ ‫‪*¡R @ <N 2N *3N (* @R @{@EN @R @{@EN 9 {N‬‬ ‫ ‪U E *¡DO ¡ O JN µ‬‬ ‫‪R N (R *HN‬‬ ‫‪R E {N‬‬ ‫‪R E {N‬‬ ‫ ‪¡R 0‬‬ ‫‪N bO N JO {N‬‬ ‫‪b@@ @ N @ @ FS (b@ @ AN nX @ @ @ @AN @N @ @ R @ @ @DN O ¡@@ O @ @ P @@ ~@R@ z@ @ JO °N HN‬‬ ‫‪O @ @ N @ @ -O‬‬ ‫@‪*HR ¡N @ @ @ @<N *3N (* PeÉ@N @ @ P @ @ @D* P *3N 4R °N& P b‬‬ ‫‪É@K @:O xR @ +O N2b@@ @<N ¡R @ @DN P4*Sv@ @ @D* @S @ BP Nh@@£R @ DN b@@ @JN HN‬‬ ‫‪10‬‬ ‫‪N @ P0 P4*Sv@ D* P R ~zPN + qO £~|P JN‬‬ ‫‪ ¡R / O‬‬ ‫‪N ¡mO JN Í‬‬

‫إن ﻣﻦ أﻗﺪم اﳌﺪاﻋﺒﺎت ﰲ اﻟﺸﻌﺮ اﻷﻧﺪﻟﴘ ﺗﻠﻚ اﳌﻨﺴﻮﺑﺔ ﻟﻠﺸﺎﻋﺮ‬ ‫"ﺟﺎ َء اﻷ ِﻣ ُري‬ ‫اﻟﻐﺰال؛ ﻓﻘﺪ ورد ﰲ ﺧﱪ ﻃﺮﻳﻒ ﻳﺤيك أن اﻷﻣري ﻗﺎل ﻟﻪ‪َ :‬‬ ‫وﺟ َامﻟِ ِﻪ‬ ‫ِﺑ ُﺤ ْﺴ ِﻨ ِﻪ َ‬ ‫ﻓﻘﺎل ﻟﻪ اﻟﻮزﻳﺮ‪ :‬أﺟ ْﺰ ﻣﺎ ﺑﺪأ ﺑﻪ اﻷﻣري ﻓﻘﺎل اﻟﻐﺰال ]ﻛﺎﻣﻞ[‪:‬‬ ‫ § @ @ ‪ P @ @ DP b@@ @ N‬‬ ‫‪N P Kb@ @ @ c@ @ @ P<*Nv@ @ @ EO Ì‬‬ ‫‪O @ @ @ @ @ @ @ PEN&°* N b@@ @ @ @ BN‬‬ ‫‪ P @ @ DP b@@ N @ @ /H P‬‬ ‫‪N @ @ P @ @~@R @ z@ @p@O @ +P 1 *O yN @ @ @ N @ @ @ D* N$b@@ @ @ /N‬‬ ‫‪O @ N @ @±‬‬ ‫*&‪N * @N @ @ JR N‬‬ ‫ *‪¢@@N @<N 2¢@@ @ @+N 4R N&* MaPx@ @ @E‬‬ ‫@‪R @P @ PE b‬‬ ‫‪"P @ @ @ @DP *¡N @ @ @ @0R N&* R @@ @ PE Í@N @ P @ @cR @ @~@S @ z@ @D* P2vU @ @ N @ @ gN @ @ EO‬‬ ‫‪O @ N @ ±‬‬ ‫‪O @ N @ ±‬‬ ‫@‪N * O @ @DN b‬‬ ‫‪N * P @@ @GN HN‬‬ ‫ *‪MaPx@ @E‬‬ ‫@‪R @P @ PE b‬‬ ‫*&‪ ?4 P @ @ @DP É@N @ @ =R N&* ¯ Px@ @ RGSv@ @ D* 3d@O @ @ @ JR 4N O b@@ @ N @ @ DR N‬وﻗﺪ ﺗﻄﻮرت ﻫﺬه اﳌﺪاﻋﺒﺎت ﰲ اﺗﺠﺎه اﻷﺣﺠﻴﺎت اﻟﺘﻲ ﺗﺒﺘﻌﺪ ﻋﻦ‬ ‫ﻟﻐﺔ اﻟﻌﺎﻣﺔ إﱃ ﻟﻐﺔ اﻟﻨﺨﺒﺔ اﳌﻠﻴﺌﺔ ﺑﺎﻷﺳﺎﻟﻴﺐ اﻟﺒﻼﻏﻴﺔ اﳌﺘﻜﻠﻔﺔ؛‬ ‫‪¢@@ N @ @+P P @ @ @ @-P vS @ @ @ @ P/ Pv@@ @ R @ @ @+N R @@ @ @ PE O 2N b@@ @ @ @ @ @ @ @ @ <N N&*HN‬‬ ‫ﻣﺪاﻋﺒﺎت ﻧﺨﺒﻮﻳﺔ ﺗﻬﺪف إﱃ‬ ‫‪ z5 P @ @ DP b@@ 0 N R @@ @ <N P @ @ P @ @ /R HN N @ @ @ @ FN HR 4N N b@@ @ @ @ @0N N&*HN‬وﻣﻦ مثﺔ ﻓﻠﻴﺴﺖ اﻷﺣﺠﻴﺎت ﺳﻮى‬ ‫ٍ‬ ‫اﳌﺪاﻋﺒﺔ ﺑﺈﻋامل اﻟﻌﻘﻞ وﺷﺤﺬ اﻟﺘﻔﻜري ﻣﺴﺘﻌﻤﻠ ًﺔ ﻟﻐﺔ ﻧﺨﺒﻮﻳﺔ‬ ‫ﴐب ﻣﻦ اﳌﻼﻃﻔﺎت واﻹﺛﻼج اﻟﺬي ﻳﺤﺴﻦ راﻗﻴﺔ ﻗﺪ ﻳﺤﺘﺎج ﻓﻬﻤﻬﺎ وﻓﻚ ﺷﻴﻔﺮاﺗﻬﺎ إﱃ وﻗﺖ ﺗﺪﺑﺮ وﺗﻔﻜﺮ ﻣﻦ‬ ‫ﻟﻴﺴﺖ اﳌﺪاﻋﺒﺎت ﺳﻮى ٍ‬ ‫اﻟﻌﻼﻗﺎت اﻹﻧﺴﺎﻧﻴﺔ اﻷﻓﻘﻴﺔ واﻟﻌﻤﻮدﻳﺔ ﻋﲆ وﺟﻪ اﻟﺘﺨﺼﻴﺺ؛ إذ ﻗﺒﻞ اﳌﺘﻠﻘﻲ‪ .‬وﻟﻘﺪ ﻛﺎﻧﺖ ﺷﺎﺋﻌﺔ ﰲ اﻟﺸﻌﺮ اﻷﻧﺪﻟﴘ ﻻﻗﱰاﻧﻬﺎ‬ ‫أﻧﻬﺎ ﺗﻜﴪ إﱃ ﺣﺪ ﻣﺎ اﻟﺤﻮاﺟﺰ اﻟﺴﻠﻄﻮﻳﺔ وﺗﻔﺴﺢ ﻣﺠﺎﻻ ﻟﻠﻀﺤﻚ ﺑﺎﻹﺧﻮاﻧﻴﺎت واﻣﺘﺪادﻫﺎ ﻋﻦ اﳌﺪح؛ وﻳﻈﻬﺮ ذﻟﻚ ﺟﻠﻴﺎ ﰲ ﻗﻮل اﳌﻠﻚ‬ ‫واﻟﻔﻜﺎﻫﺔ واﳌﺒﺎﺳﻄﺔ واﳌـﺰاح ﻏري اﻟﺠﺎرح‪ ،‬ﻣام ﻳﻄﺮب اﻟﻨﻔﺲ اﻟﻐﺮﻧﺎﻃﻲ ﻳﻮﺳﻒ اﻟﺜﺎﻟﺚ واﺻﻔﺎ إﻳﺎﻫﺎ ﰲ دﻳﻮان اﺑﻦ زﻣﺮك ﺑﻘﻮﻟﻪ‪:‬‬ ‫»وﻣﻦ ﻣﻘﺎﺻﺪه اﻷدﺑﻴﺔ‪ ،‬ورﻳﺎﺿﺔ ﻃﺮف اﻟﺤﺠﻰ مبﺠﺎل اﻷﺣﺠﻴﺔ‪،‬‬ ‫وﻳﺮوح ﻋﻨﻬﺎ‪.‬‬ ‫‪11‬‬ ‫َ‬ ‫وﻧﻌﺘﻘﺪ أن اﳌﺪاﻋﺒﺔ ﻏﺮض ﺻﻌﺐ اﳌﺮاس ﻛﻮﻧﻪ ﻳﻔﱰض ﰲ اﻟﺸﺎﻋﺮ ﻗﻮﻟﻪ ﻳﺨﺎﻃﺐ اﻟﻘﺎﴈ أﺑﺎ اﻟﻌﺒﺎس اﻟﴩﻳﻒ ﻣﻠﻐﺰا ﰲ َﺟ َﻤ ٍﻞ «‪:‬‬ ‫ﻋﻦ اﻟﺠﺰاﻟﺔ إﱃ ﻟﻐﺔ اﻟﻌﺎﻣﺔ وﻧﻜﺎﺗﻬﻢ ‪¢@@ N @ gT @ D*HN 12,P 2N b@@ @m@N @ @N ´* N @ N @ <N b@@ JN Nh@@£@ P/¡@@0O‬‬ ‫اﻟﻨﺰول‪ ،‬ﰲ أﺣﻴﺎن ﻛﺜرية‪ِ ،‬‬ ‫‪13‬‬ ‫‪N‬‬ ‫‪O‬‬ ‫‪O‬‬ ‫‪N‬‬ ‫‪N‬‬ ‫‪R‬‬ ‫‪R‬‬ ‫* ‬ ‫‪P xN @ @ @ ~@@ @ @7&°* Pf@ @cN @ @s@R @ F R @@ @ PE ¢@@ @ @g@ @ @ @´*HN‬‬ ‫وﺑﺴﺎﻃﺔ أرواﺣﻬﻢ‪ .‬وﻧــﺪرك ﻫﺬا اﻷﻣﺮ ﻣﻊ ﻣﺪاﻋﺒﺔ اﺑﻦ زﻣﺮك‬ ‫ﻟﻠﺴﻠﻄﺎن اﻟﻐﻨﻲ ﺑﺎﻟﻠﻪ‪:‬‬ ‫وﻟﻌﻞ ﻫﺬا اﳌﻄﻠﻊ اﻟﺬي اﻛﺘﻔﻴﻨﺎ ﺑﺈﻳﺮاده ﻧﻴﺎﺑﺔ ﻋﻦ ﺑﺎﻗﻲ اﻟﻘﺼﻴﺪة‬ ‫*&‪ O @ -O ¡R @ ~@@N 8 qS @ @ +N Rv@ @ BN P4*Sv@ @ @ D* @T @ @BP N¥°N ¡R @ @ @ @ @ EN N‬‬ ‫@‪ 6¡R £N PE R @@ PE Peb@@cN @DR b@@+P rN b@@~@@N 8 Rv@ BN b@@EN P,È‬ﻳﺪل ﺗﴫﻳﺤﺎ ﺑﺎرﺗﺒﺎط اﻷﺣﺠﻴﺔ ﺑﺎﻹﺧﻮاﻧﻴﺎت ﻣﻦ ﺟﻬﺔ واﳌﺪح ﻣﻦ‬ ‫‪N R @ N @ DP‬‬

‫اﻟﺸﻌﺮ ‪baytelshear‬‬ ‫ﺑﻴﺖ ِ‬

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‫ ‪ ĘšĲŒĬŘ‬‬

‫ﺻ َﻨﻌﺖ اﻻﺑﺘﺴﺎﻣﺔ واﻣﺘﻸت ﺑﺄﺳﺎﻟﻴﺐ اﻟﺒﻼﻏﺔ‬

‫ ‪ŪţǉŵŸǌŢǂ ũǀţƱƩƴŢ‬‬ ‫ ‪ǇƉƴſƼǌŢ ƃơƍƴŢ Ǉƨ‬‬ ‫د ﻳﺎﺳﻴﻦ ﺣﺰﻛﺮ‬

‫أﺣﺐ اﻷﻧﺪﻟﺴﻴﻮن اﻟﻔﻜﺎﻫﺔ وآﺛﺮوا اﳌﺰاح‬ ‫ﰲ ﺣﻴﺎﺗﻬﻢ اﻟﻴﻮﻣﻴﺔ؛ ﻓﺼﻨﻌﻮا اﻻﺑﺘﺴﺎﻣﺔ‬ ‫ووزﻋﻮﻫﺎ ﺻﺪﻗﺎت ﺟﺎرﻳﺔ ﻓﻴام ﺑﻴﻨﻬﻢ‪،‬‬ ‫ﻏري أﻧﻬﻢ مل ﻳﻔ ّﻮﺗﻮا ﻋﻠﻴﻬﻢ ﺗﺤﻮﻳﻞ ﻫﺬه‬ ‫اﻟﻔﻜﺎﻫﺔ ﻣﻦ ﺣﺎﻟﺘﻬﺎ اﻹﻧﺴﺎﻧﻴﺔ اﻻﺟﺘامﻋﻴﺔ‬ ‫اﻟﻌﺎدﻳﺔ إﱃ ﺣﺎﻟﺘﻬﺎ اﻟﺠامﻟﻴﺔ اﻟﻔﻨﻴﺔ؛‬ ‫ﻓﺎﺧﱰﻋﻮا وﻧ ّﻮﻋﻮا ﻋﲆ ﻫﺬه اﻟﻔﻜﺎﻫﺎت‬ ‫أﻏﺮاﺿﺎ ﺷﻌﺮﻳﺔ ﻛﺎﳌﺪاﻋﺒﺎت واﻷﺣﺠﻴﺎت‪،‬‬ ‫واﺳﺘﺜﻤﺮوا ﰲ ﺗﻐﺬﻳﺘﻬﺎ وﺗﻨﻮﻳﻌﻬﺎ أﺳﺎﻟﻴﺐ‬ ‫ﺑﻼﻏﻴﺔ ﻛﺎﻟﺘﻌﻤﻴﺔ واﻟﺘﻮرﻳﺔ واﻟﺘﺠﻨﻴﺲ‬ ‫واﻟﺘﻠﻐﻴﺰ؛ وﻣــﻦ مثــﺔ ﻛﺎﻧﺖ ﻋﺒﻘﺮﻳﺔ‬ ‫اﳌﺰج ﺑﺘﻨﺎﺳﺒﺎت ﻛﺒرية ﺑني َﺗ َﻘﺎ َﻧ ِﺔ اﻟﻠﻐﺔ‬ ‫ﺑﻜﻞ أدواﺗﻬﺎ وﺑﺴﺎﻃﺔ اﻟﺮوح اﻹﻧﺴﺎﻧﻴﺔ‬ ‫اﻷﻧﺪﻟﺴﻴﺔ‪.‬‬ ‫وﻧﺒﺪأ ﻣﻦ ﺣﻴﺚ اﳌﺪاﻋﺒﺎت اﻟﺘﻲ ميﻜﻦ أن‬ ‫ﺗﺆﺧﺬ ﻣﺄﺧ َﺬ اﻟﺴﺨﺮﻳﺔ أو اﻟﺘﻌﺮﻳﺾ ﻣﻦ‬ ‫ِﻗ َﺒ ِﻞ اﳌﺘﻠﻘﻲ إذا مل ﻳﻜﻦ واﻋﻴﺎ ﺑﻄﺒﻴﻌﺔ‬ ‫اﻟﻌﻼﻗﺔ ﺑني اﻟﻘﺎﺋﻞ واﳌﻘﻮل ﻓﻴﻪ؛ ﻟﻬﺬا‬ ‫وﺟﺐ اﺳﺘﻘﺼﺎء ﻇﺮف وﻣﻨﺎﺳﺒﺔ اﻟﻘﻮل‬ ‫ﻣﻊ ﻫﺬا اﻟﻐﺮض ﺣﺘﻰ ﻻ ﻧﻔﻬﻢ اﳌﺪاﻋﺒﺔ‬ ‫ﺑﺄﻧﻬﺎ ﺳﺨﺮﻳﺔ أو ﺗﻌﺮﻳﺾ ُ‬ ‫ﻓﻨﻀ ﱠﻤﻬﺎ ﺑﺬﻟﻚ‬ ‫إﱃ ﺟﻬﺔ اﻟﻬﺠﺎء‪.‬‬

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‫اﻟﻌﺪد ‪ ، 85‬ﻳﻨﺎﻳﺮ ‪2020‬‬

‫ﺑﺪر اﻟﻤﺤﻴﻨﻲ‬ @Bader_Almhaini

@@F¡@@ @ Â b@@ E ¡@@ @ @Â *¡@@ @DHb@@ @0 ¡@@ D x@@~@ {@ c@ D*H F¡£< @@ E v@ R @ 0H @@A¡@@~@{@J ¤@@ @ D* ¡@@£@ < ¯ F¡ ~}E ¤@@G N b@@£@ Fv@@D*H ¡@@ @~@}@E É@@ @ D* R @~@}@1 ¡@@ A 2¡@@ @´* Ì@@: Iv@@~@ 7b@@E @@F¡@@~@|@= x@ F¡ J b@@E @@z@ @~@{@D* v@@ @+ @@6b@@ @ D* @@; @@z@+ @@F¡@@ @; d@@~@ z@ 0 v@@c@ @ @D ¡@@ @GH Ñb@@ @+ b@@ /x@@ D*H @@F¡@@D Ì@Q @ @ @ =H ¤@@ @ @ @ /H ¯ b@@ @ @+ Md@@ £@ @c@ @0 b@@ @ J @@ FH2 @@ E b@@ @F*H b@@£@ 0* @@£@p@g@~@z@E Md@@£@ c@ 0 b@@ J @@ F¡@@ @ +R ¡@@ @ @ @ J ¤@@ @ @+4 ¢@@ ~@ z@ < ¤@@ c@ @ B b@@ @ J %* @@ FHy@@ @ @J µb@@ @ @ @ @ @ D*H Mx@@ @ Eb@@ @ . @M @ ~@ @|@ @= @@ @jR @ @ E @@F¡@@~@z@ @J ¤@@c@ J ¥4v@@ @ J ¡@@ @GH @@ Q @ E *¡@@ @ c@ ~@ 7*H F¡² Ì@@= É@@ :°* ¢@@ @< x@@<b@@~@{@D* @@E b@@E @@F¡@@ @ @E ¢@@ @ < x@@<b@@~@ {@ D* @@9x@@p@ J @@£@~@z@ @D*H @@ F¡@@ 0¡@@ J @@ @ ´ ·b@@ @ @ @ ²*H x@@ <b@@ ~@ @{@ @D xQ @ @ @ @ @EO @@FHx@@~@ {@ J b@@ E *¡@@ @ @ E°* @@ G @@F¡@@E¡@@~@ z@ J ¡@@ D @@F¡@@ @ R @ p@N @JH i*2b@@ ~@ @z@ @D* ,2b@@ ~@ @6 @@F¡@@ @ @ ~@ z@ J @@ FH5¡@@ E ¤@@ @ GH @@Fb@@~@ z@ @ + ib@@ @£@ @ +°* x@@~@ z@ @ JH

baytelshear ‫اﻟﺸﻌﺮ‬ ِ ‫ﺑﻴﺖ‬

‫رﺑﻴﻊ اﻟﻌﻤﺮ‬

·b@@ 1 @@ Fb@@ @ @EH q@@ ~@ 8 v@@ @Bb@@ @A Á* Ñ*H ·b@@g@ D* h@@ @ F&*H x@@ @ @ D* @@£@ +4 b@@ J H&°* h@@ @ F&* ·b@@ @ D* b@@ @ @E ¯ °(* @@ @ @Q @ @0&* b@@ @EH ·b@@ @= ·b@@+ ¯ @@ @ Cb@@~@ 6 Ix@@ @ C3 @@ C Ñ* ¢@@ @ ~@ 6 b@@ J · ¢ cJ ¤cJ ¤ ; * d~z0*H ¤ ; h C R @ @ Dy@@ @ F b@@ @ @ @ @F*H Áx@@ @ @ @ @ Í@ R @ @ @~@ @z@ @D* ·b@@ @ @² h@ ·b@@c@B eb@@£@ @ D* ¡@@ @: v@@ @ + @@c@£@m@J @@ @ @ / ·b@@ 0x@@ - ¯H ¤@@ @ Q @ @ 0 ¯ 4b@@ @~@ @ 8 Md@@ £@ @c@ @0 b@@ @J ·b@@ 0 @@ @ Q @ @ @CH Á¡@@ @£@ @ < @@ @ Q @ @ C Md@@ £@ @c@ @0 b@@ @ J ·b@@ @ @ @ D* b@@ @ @ @ @ @ ´* ¡@@ @ @ A ÁyQ @ @ @ @ @ @ J Í@@ @ @ @ @²* ·b@@ ²* x@@ @ @. @@ Gb@@ @ @<*H x@@ @ ´* @@ @ : *3 ·É@@:* @@E · ¤@ @Bb@@+ @@7H ¡@@~@7* h@@Jv@@+ ° R ·*¡@@0* £~z D rx@@~@7*H i¡~|D* x@@/* h B ·b@@ ²* É@@ @ @D* x@@ @´* @@ E @@ @~@|@J x@@ @ ~@ {@ D*H ·b@@ @ g@ ´* Ñ*H Ñ* @@ E @@ c@ GH x@@ @ ~@ {@ D*H ·b@@ + @@ @ +¡@@ @ .H Ä@Q @ @ @ @ E @@ @ @ @ /H x@@ <b@@ ~@ @7 @@ @ C ·É@@ JH x@@ @ ~@ 7H eb@@ £@ . ¥x@@~@ {@ J v@@ @ 0*H @@ @CH

‫ﺻﺢ ﻟﺴﺎﻧﻚ‬ َ

‫ﻋﺒﺪاﻟﻤﺠﻴﺪ اﻟﺬﻳﺎﺑﻲ‬ @Sh96F

2¡@@½ b@@ @§ 2¡@ R @ @© ·b@@ £@ @ D* i*4H2 h@@£@ D 2Hv@@~@6 @@D ¤@@ @c@JH ¥4v@@~@ |@ +R M2Hv@@ ~@R @ 6 v@@ R @ J 2Hv~zD* q~}A cB ¤E¡ G ~| Q JR @@ Q @C 2¡<¡D* b G&* E -x~z1 ¤ D* ix~z1bE 2¡@@< @@C xQ @ ~@ 8H Áb@@ @ E&°* 4¡@@ @G5 x@@ @ 0&*H 2¡@@~@ 6 b@@ @ @ @ J&°*H yR @ @ @ @²* b@@ @ Q @ ~@ 9 ·b@@ £@ @ D* 2¡@@/H ¥v@@ @ /H b@ R @ JH @@B*x@@A @@E ¤@@+*w@@<b@@J 2¡ < @@+4* eb~z0 ~6*¡E @@+4* £A h~{< 2¡@@< q@@ @ @J4H 2b@@ @ @+5 @@ @ £@ ~@ z@ F M ¡@@ @ @J *v@@ @g@ @ +*H R @£@ @ D °H 2Hv@@ 0 @@ @ -*2¡@@ @ /H Ì@@ @ 1 v@@ @ ´ h@ 2¡@@~@z@0 ,x@@ @ @F @@g@ Q @ @ DR x@@ @ @ - MÍ@ @ < @@ C 2¡E @@DR * @@0H µb D* ¤Bb+ @@DR * 2¡@@E 0 2¡ < b E w1&*H exQ ¸ f ~8H w1&* h B 2Hy@@ - Ã*2 @@ @ @ @DH&°* @@ @ £@ @ D* &* @@ D @@ @ BP R 2¡@@ @J @@ @Â ° ¤@@~@7 ¢@@ @< @@D @@~@Q @z@ « ° 2¡ ~8 H&* 2¡@@ @~@|@D* 4*x@@ B ¯ @@Eb@@ @g@G&*

‫ﺿﻴﻢ اﻟﻤﻔﺎرق‬ %* ,v@@ J2x@@ - @@ @EH 4b@@ @ @´* @@£@ ~@ 9 @@ E %* *¡@@ @< ¤@@ @ B¡Q @ ~@ {@ J @@ -¡@@ ~@ 8 x@@ @/ Md@@ @ @J3 @@ @C b/ *xm D*H ~{ D* E Áb@@/ bE jE b½ ,Æ~6 ¤ E x 0&°* xpcD* hJy= ¡D R b@@£@ ²* b@@~@ }@ Jx@@+ @@c@ p@ ´* @@}@£@B ¡@@ g@ @/&* b@@ @c@ @ g@ @ F(°* v@@ ~@ @{@ @J ¤@M @ @~@ @ 7 @@ @ C Á¡@@ @£@ @ < ¯ b@@ /4 ¯ ¤@@c@ @ BH Áb@@~@ z@ F ¤@@ @ D* r*4 ¡@@ @J b@@ @~@6 @@ @ ;* N v@@ @ + M @@£@ D ¡@@~@ 64 *x@@ @ @D* bc D* 1 @@E z ~{D* ,xQ @ = h@@Fb@@+ Í@@D b~{E ¤@@ @D* ¡@@ @G ¤@@~@Q @z@ @J Me42 @@+ h@@04 b ~{D* x 1 EH -&°* v£±* b£D E *¡@@~@ 6 @@ < ¶b@@ @ - @@ @ ~@ 8¡@@+ Me4 4¡Q @ @~@ @8 b@@G b@@ @ B ¤@@c@ @ @ + ¤@@c@ @ B h@@ J2b@@ F b@@Gv@@ @ + b g E Md@@£@ @~@8 H&°* d@@ ²* ¡@@ @ J @@E *4H ¤@@ @ D* xR @ @« @@D¡@@ @ . h@@ @ B&* y@@ E @@ C b@@c@ - ¤@M @ ~@ @7 ¢@@ @ < ¥Hb@@ @ @ @ ³* @@ @ /x@ Q @ - °

2020 ‫ ﻳﻨﺎﻳﺮ‬، 85 ‫اﻟﻌﺪد‬

ŪŢƂŢſƐŜ ƺţƙƵƈ ƅưƃƸ ſǈŢƄ ƻŦ

ţǈŚƃƴŢ ǅƴŜ ƏƭƴŢ ƻƸ ƃƹƴŢ ſƹŹƸ ƳƑǉƩƴŢ ǇŸǂƂ ƃƹƈ ž

baytelshear ‫اﻟﺸﻌﺮ‬ ِ ‫ﺑﻴﺖ‬

@sbzc_ad

sbzc.ae

www.sbzc.ae

‫‪ŝŃĬěŕ‬‬ ‫ﺟﻌﻠﺖ اﻟﺘﺼﻮﻳﺮ ﺑﻬﺬه اﻟﺘﻘﻨﻴﺔ ﻣﺘﻌﺔ‬ ‫ﺣﻘﻴﻘﻴﺔ"‪.‬‬ ‫ﻃﻮر ﻫﺸﺎم ﻣﻬﺎراﺗﻪ ﰲ اﻟﺘﺼﻮﻳﺮ ﺑﺎﺳﺘﺨﺪام‬ ‫اﻟﻄﺎﺋﺮات اﳌﺴرية‪ ،‬ﻋﻤﻞ ﻋﲆ اﺗﻘﺎن اﻟﺘﺼﻮﻳﺮ‬ ‫ﺑﻬﺬه اﻟﺘﻘﻨﻴﺎت اﻟﺤﺪﻳﺜﺔ‪ ،‬وﻋــﻦ ﻫﺬه‬ ‫اﻟﺨﻄﻮة ﻳﻘﻮل‪" :‬ﻣﻨﺬ اﻟﺒﺪاﻳﺔ أردت اﻟﺨﺮوج‬ ‫ﺑﻔﻴﺪﻳﻮﻫﺎت ﺗﺒﻬﺮ اﳌﺸﺎﻫﺪﻳﻦ‪ ،‬أردت‬ ‫اﻻرﺗﻘﺎء ﺑﻬﺬا اﻟﻔﻦ ﻟﺘﻘﺪﻳﻢ اﻷﻓﻀﻞ‪ ،‬ﻓﺮﺣﺖ‬ ‫أﺗﺪرب ﻋﲆ ﻛﻴﻔﻴﺔ اﻟﺘﺤﻜﻢ ﺑﺎﻟﻄﺎﺋﺮة ﺑﺸﻜﻞ‬ ‫أﻓﻀﻞ‪ ،‬ﺗﻌﻠﻤﺖ ﻛﻴﻒ اﻧﺘﻘﻞ ﻣﻦ ﻣﺸﻬﺪ‬ ‫إﱃ آﺧــﺮ‪ ،‬ﺑﺤﻴﺚ أﺧــﺮج ﺑﻌﻤﻞ ﻣﺘﻜﺎﻣﻞ‪،‬‬ ‫ﺛﻢ اﻧﺘﻘﻠﺖ إﱃ ﻣﺮﺣﻠﺔ ﺗﺼﻮﻳﺮ اﻟﻔﺎﺻﻞ‬ ‫اﻟﺰﻣﻨﻲ ﺑﺎﺳﺘﺨﺪام اﻟﻄﺎﺋﺮات اﳌﺴرية‪ ،‬وﻣﻦ‬ ‫أﻓﻀﻞ ﺗﺠﺎريب ﰲ ﻫﺬا اﳌﺠﺎل‪ ،‬ﻫﻮ ﻓﻴﺪﻳﻮ‬ ‫ﻟﺠﺎﻣﻊ اﻟﺸﺎرﻗﺔ ﺻﻮرﺗﻪ ﺑﺘﻘﻨﻴﺔ اﻟﻔﺎﺻﻞ‬ ‫اﻟﺰﻣﻨﻲ‪ ،‬ﺣﻴﺚ ﺗﻮﺟﻬﺖ إﱃ اﻟﺠﺎﻣﻊ ﰲ أﺣﺪ‬ ‫اﻟﺼﺒﺎﺣﺎت اﻟﻀﺒﺎﺑﻴﺔ‪ ،‬ﻛﺎن اﻟﻀﺒﺎب ﻛﺜﻴﻔﺎً‪،‬‬ ‫ومل أﻛﻦ اﺗﺨﻴﻞ ﻛﻴﻒ ﺳﻴﻜﻮن اﳌﺸﻬﺪ ﰲ‬ ‫اﻷﻋﲆ‪ ،‬ﺟﻬﺰت ﻣﻌﺪايت‪ ،‬وﺗﺄﻛﺪت ﻣﻦ ﺧﻼل‬ ‫ﺗﻄﺒﻴﻖ ﺧــﺎص ﺑــﺄن اﻟﺘﺼﻮﻳﺮ ﺑﺎﺳﺘﺨﺪام‬ ‫اﻟﻄﺎﺋﺮات ﻣﺴﻤﻮح ﰲ ﻣﻨﻄﻘﺔ اﳌﺴﺠﺪ‪ ،‬ﺛﻢ‬ ‫ﻗﻤﺖ ﺑﺈﻃﻼق اﻟﻄﺎﺋﺮة‪ ،‬ﰲ اﻟﺒﺪاﻳﺔ دﺧﻠﺖ‬ ‫اﻟﻄﺎﺋﺮة ﰲ ﺳﺤﺎﺑﺔ ﺿﺒﺎﺑﻴﺔ ﻛﺜﻴﻔﺔ ﻛﺎﻧﺖ‬ ‫ﺧﻼﻟﻬﺎ اﻟﺮؤﻳﺔ ﻣﻌﺪوﻣﺔ‪ ،‬وﻣﺎ أن ﺗﺠﺎوز‬ ‫ارﺗﻔﺎﻋﻬﺎ ارﺗﻔﺎع ﻣﻨﺘﺼﻒ اﳌــﺂذن‪ ،‬ﺣﺘﻰ‬ ‫وﺿﺤﺖ اﻟﺮؤﻳﺔ‪ ،‬وﻛــﺎن اﳌﺸﻬﺪ ﻣﺬﻫ ًﻼ‪،‬‬ ‫ﻓﺎﻟﺘﻘﻄﺖ ﻋﺪداً ﻣﻦ اﻟﺼﻮر اﻟﻔﻮﺗﻐﺮاﻓﻴﺔ‪،‬‬ ‫ﺛﻢ ﺻﻮرت ﻣﺸﻬﺪاً ﺑﺎﺳﺘﺨﺪام ﺗﻘﻨﻴﺔ اﻟﻔﺎﺻﻞ‬ ‫اﻟﺰﻣﻨﻲ ﺗﻈﻬﺮ ﺣﺮﻛﺔ اﻟﻀﺒﺎب ﺑني أﻋﻤﺪة‬ ‫وﻗﺒﺎب اﻟﺠﺎﻣﻊ"‪.‬‬ ‫وﻳﺆﻛﺪ ﻫﺸﺎم ﻋﲆ ﴐورة أن ﻳﺴﺘﻤﺘﻊ‬ ‫اﳌﺼﻮر مبﺎ ﻳــﺮاه متﺎﻣﺎً ﻛﺎﺳﺘﻤﺘﺎﻋﻪ مبﺎ‬ ‫ﻳﺼﻮره‪ ،‬ﻳﻘﻮل ﻫﺸﺎم‪" :‬ﻣﻌﻈﻢ اﳌﺼﻮرﻳﻦ‬ ‫وﺣﺘﻰ اﻟﻨﺎس اﻟﻌﺎدﻳني ﺑﺎﺗﻮا ﻳﻨﺸﻐﻠﻮن‬ ‫ﺑﺘﺼﻮﻳﺮ ﻣﺎ ﻳﺮوﻧﻪ دون أن ﻳﻌﻄﻮا أﻧﻔﺴﻬﻢ‬ ‫اﻟﻔﺮﺻﺔ ﻟﻼﺳﺘﻤﺘﺎع مبﺎ ﻳﻌﻴﺸﻮﻧﻪ‪ ،‬ﻓﺒﺎت‬ ‫ﻟﺪﻳﻬﻢ ﺗﺼﻮﻳﺮ ﺻﺤﻦ اﻟﻄﻌﺎم أﻟــﺬ ﻣﻦ‬

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‫اﻟﻌﺪد ‪ ، 85‬ﻳﻨﺎﻳﺮ ‪2020‬‬

‫ﺗﺬوﻗﻪ‪ ،‬وﺗﺼﻮﻳﺮ ﴍوق اﻟﺸﻤﺲ أﺟﻤﻞ‬ ‫ﻣﻦ اﻻﺳﺘﻤﺘﺎع ﺑﻨﻮرﻫﺎ‪ ،‬وﺗﺼﻮﻳﺮ اﻟﻄﻴﻮر‬ ‫أﻓﻀﻞ ﻣﻦ اﻻﺳﺘﻤﺘﺎع ﺑﺮؤﻳﺔ ﺣﺮﻛﺎﺗﻬﺎ وﺳامع‬ ‫ﺗﻐﺮﻳﺪﻫﺎ‪ ،‬وﻣﻦ ﻫﻨﺎ أﻧﺼﺢ ﺟﻤﻴﻊ اﳌﺼﻮرﻳﻦ‬ ‫أن ﻳﻌﻄﻮا أﻧﻔﺴﻬﻢ ﻓﺮﺻﺔ ﻟﻼﺳﺘﻤﺘﺎع مبﺎ‬ ‫ﻳﺤﻴﻂ ﺑﻬﻢ‪ ،‬وأن ﻻ ﻳﻜﻮن ﺷﻐﻠﻬﻢ اﻟﺸﺎﻏﻞ‬ ‫ﻫﻮ اﻟﺘﻘﺎط اﻟﺼﻮر ﻓﻘﻂ‪ ،‬ﻓﻌﻨﺪﻣﺎ ﺗﺴﺘﻤﺘﻊ‬ ‫ومتﻌﻦ اﻟﺒﴫ وﺗﺼﻐﻲ ﺟﻴﺪاً إﱃ ﻣﺤﻴﻄﻚ‪،‬‬ ‫ﺳﺘﻜﺘﺸﻒ ﻣﻜﺎﻣﻦ اﻟﺠامل ﺑﺸﻜﻞ أﻓﻀﻞ‪،‬‬ ‫وﺳﺘﻜﻮن أﻛرث ﻗﺪرة ﻋﲆ اﻟﺘﻘﺎط اﻟﺼﻮر‬ ‫اﻷﻓﻀﻞ"‪.‬‬ ‫وﰲ اﻟﻨﻬﺎﻳﺔ ﻳﻨﺼﺢ ﻫﺸﺎم ﺑﻦ ﺳﻮﻳﻒ‬ ‫اﳌﺼﻮرﻳﻦ وﺧﺼﻮﺻﺎً اﻟﺮاﻏﺒني ﰲ اﻟﺘﺼﻮﻳﺮ‬

‫ﺑﺎﺳﺘﺨﺪام اﻟﻄﺎﺋﺮات اﳌﺴرية‪ ،‬ﻓﻴﻘﻮل‪:‬‬ ‫"ﺑﺪاﻳﺔ ﻋﲆ ﺟﻤﻴﻊ اﳌﺼﻮرﻳﻦ أن ﻳﻌﺮﻓﻮا‬ ‫ﻗﻮاﻧني اﻟﺪوﻟﺔ وﻳﺤﱰﻣﻮﻫﺎ‪ ،‬وأن ميﺎرﺳﻮا‬ ‫اﻟﺘﺼﻮﻳﺮ ﺑﺄﺳﻠﻮب ﺣﻀﺎري دون اﻹﺳﺎءة‬ ‫ﻟﻶﺧﺮﻳﻦ وﻣﻤﺘﻠﻜﺎﺗﻬﻢ‪ ،‬وﻋﲆ اﳌﺼﻮرﻳﻦ‬ ‫ﻋﱪ اﺳﺘﺨﺪام اﻟﻄﺎﺋﺮات اﳌﺴرية أن ﻳﺤﺼﻠﻮا‬ ‫ﻋﲆ اﻟﱰاﺧﻴﺺ اﻟﻼزﻣﺔ‪ ،‬وذﻟﻚ ﻣﻦ ﺧﻼل‬ ‫إﺟﺮاءات ﺑﺴﻴﻄﺔ ﻋﱪ اﻹﻧﱰﻧﺖ‪ ،‬ﻛام ﻋﻠﻴﻬﻢ‬ ‫أن ﻳﺘﻌﺮﻓﻮا إﱃ اﻷﻣﺎﻛﻦ اﻟﺘﻲ ﻳﺴﻤﺢ ﺑﻬﺎ‬ ‫اﻟﺘﺼﻮﻳﺮ ﺑﺎﺳﺘﺨﺪام اﻟﻄﺎﺋﺮات اﳌﺴرية‪،‬‬ ‫وﻫﺬا ﻣﻤﻜﻦ ﻣﻦ ﺧﻼل ﺗﻄﺒﻴﻖ ﺧﺎص ﻳﺰود‬ ‫اﳌﺼﻮرﻳﻦ ﺑﻜﻞ ﻣﺎ ﻳﺮﻳﺪون ﻣﻌﺮﻓﺘﻪ ﻋﻦ‬ ‫أﻣﺎﻛﻦ اﺳﺘﺨﺪام ﻃﺎﺋﺮاﺗﻬﻢ"‪.‬‬

‫اﳌﺤﻴﻄني يب‪ ،‬ﻓﺨﻼل اﻟﺮﺣﻼت اﻟﺘﻲ ﻛﻨﺎ ﻧﻘﻮم‬ ‫ﺑﻬﺎ ﺟﻤﻴﻌﺎً ﻛﻨﺎ ﻧﺘﻌﻠﻢ ﻣﻦ ﺑﻌﻀﻨﺎ اﻟﺒﻌﺾ‬ ‫ﻛﻴﻔﻴﺔ اﻟﺘﻌﺎﻣﻞ ﻣﻊ اﻟﻈﺮوف اﳌﺨﺘﻠﻔﺔ‪،‬‬ ‫واﻟﺘﻘﺎط ﺻﻮر ﺟﻴﺪة ﰲ ﻣﺨﺘﻠﻒ اﻟﻈﺮوف‪،‬‬ ‫وﻫﻲ أﻣﻮر ﻟﻦ ﺗﺴﺘﻄﻴﻊ ﻣﻮاﻗﻊ اﻟﺘﺼﻮﻳﺮ‬ ‫وﺻﻔﺤﺎت اﻟﻴﻮﺗﻴﻮب ﺗﻌﻠﻴﻤﻚ أﻳﺎﻫﺎ"‪.‬‬ ‫ﻳﻌﺸﻖ ﻫﺸﺎم ﺗﺠﺮﺑﺔ ﻛﻞ ﺟﺪﻳﺪ ﺣﻴﺚ‬ ‫دﺧﻞ ﰲ اﻟﻌﺎم اﳌﺎﴈ ﻋﺎمل ﺗﺼﻮﻳﺮ اﻟﻔﻴﺪﻳﻮ‪،‬‬ ‫وﻋــﻦ ﻫــﺬه اﻟﺘﺠﺮﺑﺔ ﻳﻘﻮل‪" :‬اﺳﺘﺜﻤﺮت‬ ‫ﻣﺒﻠﻐﺎً ﻣﻌﻴﻨﺎً ﰲ ﴍاء ﺑﻌﺾ اﻷﺟﻬﺰة‪ ،‬ﻛام‬ ‫أين اﺗﺒﻌﺖ ﻋﺪدا ﻣﻦ اﻟــﺪورات اﳌﺨﺘﺼﺔ‪،‬‬ ‫ودﺧﻠﺖ ﰲ ﻧﻬﺎﻳﺔ ﻫﺬه اﻟﺪورات ﰲ ﻣﺴﺎﺑﻘﺔ‬ ‫ﻋﺎﳌﻴﺔ‪ ،‬ﴍﻃﻬﺎ اﻟﻮﺣﻴﺪ أن ﺗﻌﺪل اﻟﻔﻴﺪﻳﻮ‬ ‫اﳌﺼﻮر ﻣﻦ ﺧﻼل ﺟﻬﺎز "اﻵﻳﺒﺎد"‪ ،‬واﻟﺤﻤﺪ‬

‫ﻟﻠﻪ اﺳﺘﻄﻌﺖ اﻟﺤﺼﻮل ﻋﲆ اﳌﺮﻛﺰ اﻷول‪،‬‬ ‫ﻫﺬا اﻷﻣﺮ أﻋﻄﺎين داﻓﻌﺎً ﻛﺒرياً ﻟﻼﺳﺘﻤﺮار‪،‬‬ ‫ﻟﻘﺪ ﺗﻌﻠﻤﺖ ﻣﻦ ﻫﺬه اﻟﺘﺠﺮﺑﺔ ﺑﺄن ﺣﺐ‬ ‫اﻟﻌﻤﻞ ﻫﻮ اﻷﻫﻢ‪ ،‬ﻓﻤﻬام ﻛﺎﻧﺖ اﻷﺟﻬﺰة‬ ‫اﻟﺘﻲ ﺗﺴﺘﻌﻤﻠﻬﺎ‪ ،‬ﻓﺈﻧﻚ ﻟﻦ ﺗﺴﺘﻄﻴﻊ اﻟﻨﺠﺎح‬ ‫إن مل ﺗﻜﻦ ﻣﺆﻣﻨﺎً وﻣﺤﺒﺎً ﻟﻠﻌﻤﻞ اﻟﺬي ﺗﻘﻮم‬ ‫ﺑﻪ"‪.‬‬ ‫إن اﻟﺠﻬﻮد اﻟﻜﺒرية اﻟﺘﻲ ﺑﺬﻟﻬﺎ ﻫﺸﺎم ﰲ‬ ‫ﺗﻌﻠﻢ اﻟﺘﺼﻮﻳﺮ زادﺗﻪ رﻏﺒﺔ ﰲ ﺗﻌﻠﻴﻢ ﻣﻦ‬ ‫ﺣﻮﻟﻪ‪ ،‬ﻓﺮاح ﻳﻨﴩ ﻓﻴﺪﻳﻮﻫﺎت ﺧﺎﺻﺔ ﻋﲆ‬ ‫ﻣﻮاﻗﻊ اﻟﺘﻮاﺻﻞ اﻻﺟﺘامﻋﻲ‪ ،‬ﻳﻌﺮف ﻣﻦ‬ ‫ﺧﻼﻟﻬﺎ اﳌﺘﺎﺑﻌني ﺑﻜﻴﻔﻴﺔ اﻟﺘﺼﻮﻳﺮ وﻗﻮاﻋﺪه‪،‬‬ ‫وﺗﻌﺪﻳﻞ اﻟﺼﻮر‪ ،‬وذﻟﻚ ﺑﻨﺎء ﻋﲆ اﻟﺘﺠﺎرب‬ ‫اﻟﻜﺜرية اﻟﺘﻲ ﺧﺎﺿﻬﺎ ﰲ ﻫﺬا اﻟﻔﻦ‪.‬‬

‫ﰲ ﻋﺎم ‪ 2007‬دﺧﻞ ﻫﺸﺎم ﺑﻦ ﺳﻮﻳﻒ ﻣﺠﺎﻻً‬ ‫ﺟﺪﻳﺪاً‪ ،‬وﻫﻮ اﻟﺘﺼﻮﻳﺮ ﺑﺎﺳﺘﺨﺪام اﻟﻄﺎﺋﺮات‬ ‫اﳌﺴرية‪ ،‬وﻋﻦ ﻫﺬه اﻟﺘﺠﺮﺑﺔ ﻳﻘﻮل‪" :‬اﻟﺒﺪاﻳﺔ‬ ‫ﻛﺎﻧﺖ ﺻﻌﺒﺔ ﺟﺪاً‪ ،‬ﺣﻴﺚ مل ﻳﻜﻦ اﻟﺘﺤﻜﻢ‬ ‫ﺑﺎﻟﻄﺎﺋﺮات أﻣﺮاً ﺳﻬ ًﻼ‪ ،‬وﻛﺎﻧﺖ ﺗﺤﺘﺎج إﱃ‬ ‫ﺷﺨﺼني‪ ،‬ﺷﺨﺺ ﻳﺘﺤﻜﻢ ﺑﺎﻟﻄﺎﺋﺮة‪ ،‬وﺷﺨﺺ‬ ‫ﻳﻠﺘﻘﻂ اﻟﺼﻮر‪ ،‬ﻛام ﻛﺎﻧﺖ ﺗﻠﻚ اﻟﻄﺎﺋﺮات ﰲ‬ ‫ﺑﺪاﻳﺔ ﻇﻬﻮرﻫﺎ ﻋﺮﺿﺔ ﻟﻠﻀﻴﺎع‪ ،‬ﻫﺬا اﻷﻣﺮ‬ ‫ﺟﻌﻠﻨﻲ أﺗﺮك ﻫﺬا اﳌﺠﺎل ﻟﻌﺪة ﺳﻨﻮات‪ ،‬ﺛﻢ‬ ‫ﻋﺪت إﻟﻴﻪ ﻋﺎم ‪ ،2017‬ﻋﻨﺪﻣﺎ ﺑﺪأت ﺗﻈﻬﺮ‬ ‫اﻟﻄﺎﺋﺮات ذات اﻟﺠﻮدة اﻟﻌﺎﻟﻴﺔ‪ ،‬واﻟﺘﻲ‬ ‫ﺗﺤﺘﻮي ﻣﻮاﺻﻔﺎت ﺗﺴﺎﻋﺪ اﳌﺼﻮر ﻣﺜﻞ‬ ‫اﻟﻌﻮدة إﱃ ﻧﻘﻄﺔ اﻻﻧﻄﻼق‪ ،‬واﻟﻜﺎﻣريات‬ ‫ﻋﺎﻟﻴﺔ اﻟﺪﻗﺔ وﻏريﻫﺎ ﻣﻦ اﳌﻮاﺻﻔﺎت اﻟﺘﻲ‬ ‫اﻟﺸﻌﺮ ‪baytelshear‬‬ ‫ﺑﻴﺖ ِ‬

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‫‪ŝŃĬěŕ‬‬ ‫‪ũƩƵŭŽƸ ŪŢǂžŘ ƃŧƠ ƃǈǃƑŭƴŢ ƻƭŭǈ‬‬

‫‪"Ƨǈǃƈ ƻŦ ƶţƍǀ‬‬

‫‪ ţǀƂǃƐŘ ƷŰ ŕţǉƌǌŢ ũǈŚƃŦ ƟŭƹŭƈŢ‬‬

‫ﻣﺼﻄﻔﻰ أﺣﻤﺪ‬ ‫ﰲ ﺣني ميﻜﻦ ﺗﻠﺨﻴﺺ ﻓﻦ اﻟﺮﺳﻢ مبﻮﻫﺒﺔ‬ ‫وﺑﻀﻌﺔ أوراق ورﻳﺸﺔ وﻋﻠﺒﺔ أﻟﻮان‪ ،‬وﰲ‬ ‫ﺣني ﻳﺨﺘﴫ اﻟﺸﻌﺮ ﺑﻔﻜﺮ وﻗﻠﻢ وورﻗﺔ‪،‬‬ ‫ﻛﺎن اﻟﺘﺼﻮﻳﺮ ﻫﻮ اﻟﻔﻦ اﻟﻮﺣﻴﺪ ﺗﻘﺮﻳﺒﺎً اﻟﺬي‬ ‫رﻛﺐ ﻣﻮﺟﺔ اﻟﺜﻮرة اﻟﺘﻘﻨﻴﺔ ﻓﺘﺄﺛﺮ ﺑﻬﺎ ﺷﺪﻳﺪ‬ ‫اﻟﺘﺄﺛﺮ‪ ،‬وﰲ ﻛﻞ ﻳﻮم ﺗﺨﺮج ﻋﻠﻴﻨﺎ اﻟﴩﻛﺎت‬ ‫اﳌﻨﺘﺠﺔ ﺑﺄﻧﻮاع ﺟﺪﻳﺪة ﻣﻦ آﻻت اﻟﺘﺼﻮﻳﺮ‬ ‫واﻛﺴﺴﻮراﺗﻬﺎ وﻣﻠﺤﻘﺎﺗﻬﺎ‪ ،‬ﻫﺬا اﻟﺰﺧﻢ اﻟﻜﺒري‬ ‫ﺧﻠﻖ ﻧﻮﻋﺎً ﻣﻦ اﻹرﺑﺎك ﻟﺪى اﳌﺼﻮرﻳﻦ ﰲ‬ ‫اﺧﺘﻴﺎر اﻷﻧﺴﺐ‪ ،‬ﻛام ﺟﻌﻞ اﻹﻣﻜﺎﻧﻴﺎت‬ ‫اﳌﺎدﻳﺔ ﻣﺆﺛﺮة ﺑﺸﻜﻞ ﻓﻌﲇ ﰲ ﻫﺬا اﻟﻔﻦ‪،‬‬ ‫وﻣﺒﺪﻋﻨﺎ اﻟﻴﻮم ﻋﺎش ﺳﻨني ﻣﻦ اﻟﺘﺠﺎرب‬ ‫ﻟﻠﻮﺻﻮل إﱃ اﻟﺘﻘﻨﻴﺎت اﻷﻓﻀﻞ‪ ،‬وﻫﻮ إﱃ‬ ‫ﻳﻮﻣﻨﺎ ﻫﺬا ﻻ ﻳﻔﺘﺄ ﻳﺠﺮب ﻛﻞ ﺟﺪﻳﺪ ﺑﻐﺎﻳﺔ‬ ‫ﺗﻘﺪﻳﻢ أﻋامل ﻓﻨﻴﺔ ﻏري ﻣﻌﻬﻮدة‪ .‬ﻣﺒﺪﻋﻨﺎ‬

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‫اﻟﻌﺪد ‪ ، 85‬ﻳﻨﺎﻳﺮ ‪2020‬‬

‫ﻫﺬا اﻟﻌﺪد ﻫﻮ اﳌﺼﻮر اﻹﻣﺎرايت ﻫﺸﺎم ﺑﻦ‬ ‫ﺳﻮﻳﻒ‪.‬‬ ‫ﺑﺪاﻳ ُﺔ ﻫﺸﺎم ﺑﻦ ﺳﻮﻳﻒ ﻛﺎﻧﺖ ﻣﻦ ﻗﺒﻞ أن‬ ‫ﻳﻌﺮف ﻓﻦ اﻟﺘﺼﻮﻳﺮ ﺑﺎﻟﻜﺎﻣريات اﻟﺮﻗﻤﻴﺔ‪،‬‬ ‫ﺣﻴﺚ ﺑﺮع ﰲ اﺳﺘﺨﺪام ﻛﺎﻣريات اﻷﻓﻼم‬ ‫اﻟﺘﻲ اﺧﺘﻔﺖ ﺗﻘﺮﻳﺒﺎً ﰲ ﻳﻮﻣﻨﺎ ﻫﺬا ومل ﺗﻌﺪ‬ ‫ﻣﺴﺘﻌﻤﻠﺔ إﻻ ﻣﻦ ﻗﺒﻞ ﻓﺌﺔ ﺑﺴﻴﻄﺔ ﺟﺪاً‬ ‫ﻣﻦ اﳌﺼﻮرﻳﻦ‪ ،‬وﻋﻦ ﺑﺪاﻳﺎﺗﻪ ﻳﻘﻮل ﻫﺸﺎم‪:‬‬ ‫"ﺧﻼل أﺳﻔﺎري ﻣﻊ اﻟﻌﺎﺋﻠﺔ ﻛﻨﺖ أﺣﺮص ﻋﲆ‬ ‫اﻟﺘﻘﺎط اﻟﺼﻮر اﻟﺘﻮﺛﻴﻘﻴﺔ ﻟﻠﻤﻨﺎﻃﻖ اﻟﺠﻤﻴﻠﺔ‬ ‫اﻟﺘﻲ ﻛﻨﺖ أزورﻫـــﺎ‪ ،‬ﺣﺘﻰ أﻋﺮﺿﻬﺎ ﻋﲆ‬ ‫اﻷﻗﺮﺑﺎء واﻷﺻﺪﻗﺎء‪ ،‬وﻣﻊ ﻇﻬﻮر اﻹﻧﱰﻧﺖ‪،‬‬ ‫متﻜﻨﺖ ﻣﻦ اﻻﻃﻼع ﻋﲆ اﳌﺠﻼت واﳌﻮاﻗﻊ‬ ‫اﻻﻟﻜﱰوﻧﻴﺔ اﳌﺨﺘﺼﺔ ﺑﺎﻟﺘﺼﻮﻳﺮ‪ ،‬واﻟﺘﻲ ﻛﺎﻧﺖ‬ ‫ﺗﻌﺮض ﺻﻮراً ﻏﺎﻳﺔ ﰲ اﻟﺮوﻋﺔ‪ ،‬ﻫﺬا اﻷﻣﺮ‬ ‫دﻓﻌﻨﻲ ﻟﻠﺒﺤﺚ ﻋﻦ اﻟﻜﻴﻔﻴﺔ واﻷدوات اﻟﺘﻲ‬

‫اﺳﺘﺨﺪﻣﻬﺎ اﳌﺼﻮرون ﻻﻟﺘﻘﺎط ﻫﺬه اﻟﺼﻮر‪،‬‬ ‫ورﺣﺖ أﺟﺮب ﻣﺨﺘﻠﻒ أﻧﻮاع آﻻت اﻟﺘﺼﻮﻳﺮ‬ ‫ﻣﻦ ﻣﺨﺘﻠﻒ اﻟﴩﻛﺎت‪ ،‬ﻛام ﻋﻜﻔﺖ ﻋﲆ‬ ‫ﺗﻌﻠﻢ ﺗﻌﺪﻳﻞ اﻟﺼﻮر‪ ،‬وﺣﺮﺻﺖ ﻋﲆ اﻟﺘﻐﺬﻳﺔ‬ ‫اﻟﺒﴫﻳﺔ وﺣﻀﻮر اﳌﻌﺎرض اﳌﺘﺨﺼﺼﺔ"‪.‬‬ ‫ﻗﴣ ﻫﺸﺎم ﻋﺪة ﺳﻨﻮات ﰲ اﻟﺘﻌﺮف ﻋﲆ‬ ‫ﺧــﻮاص اﻟﻜﺎﻣريات وﺗﺠﺮﺑﺔ ﻛﻞ إﺻــﺪار‬ ‫ﺟــﺪﻳــﺪ‪ ،‬ﻛــﺎن ﻣﻬﺘ ًام ﺑــﺄدق اﻟﺘﻔﺎﺻﻴﻞ‪،‬‬ ‫ﺑﺎﺣﺜﺎً ﻋﻦ اﻟﻔﺮوق واﻻﺧﺘﻼﻓﺎت ﺑني ﻫﺬه‬ ‫اﳌﻨﺘﺠﺎت‪ ،‬ﻟﻴﻘﻮم ﺑﻌﺪﻫﺎ ﺑﺈﻧﺸﺎء ﻣﺠﻤﻮﻋﺔ‬ ‫ﻋﲆ ﺗﻄﺒﻴﻖ "واﺗﺲ اب" ﺗﻀﻢ ﻋﺪداً ﻣﻦ‬ ‫اﳌﺼﻮرﻳﻦ اﳌﺤﱰﻓني‪ ،‬ﻳﺘﺒﺎدﻟﻮن ﺧﻼﻟﻬﺎ‬ ‫اﳌﻌﺎرف واﻟﺨﱪات‪ ،‬ﻳﺘﻨﺎﻗﺸﻮن ﰲ ﻛﻞ ﺟﺪﻳﺪ‬ ‫ﺑﻌﺎمل اﻟﺘﺼﻮﻳﺮ وﺗﻘﻨﻴﺎﺗﻪ وأﴎاره‪ ،‬وﻳﻀﻴﻒ‬ ‫ﻫﺸﺎم ﺑﺎﻟﻘﻮل‪" :‬إن أﻛــرث اﳌﻌﻠﻮﻣﺎت‬ ‫واﻟﺨﱪات اﻛﺘﺴﺒﺘﻬﺎ ﻣﻦ ﺧﻼل اﳌﺼﻮرﻳﻦ‬

‫ﻣﺤﻤﺪ ﺻﺎﻟﺢ اﻟﻘﺤﻄﺎﻧﻲ‬ @_Gx500

@@ @E*x@@ @ @ @ D*H @@ @ @ @ /x@@ @´* eH42 @@ @£Q @ @ ~@ @ }@ @ J° @@Eb@@ @ 0 ¥4*¡@@ @ @ @ @ @ @ @DH 4*x@@ @ @ @0 x@@ C*¡@@ @ @ @ @DH @@ @Eb@@ @<5 b@@ E*v@@ @ @ @ @DH ¡@@ @ @~@ @6 ¢@@Eb@@~@ {@ @ @ DH @@ E*v@@ F @@ @ Db@@ @ @ @ @±*H @@ Db@@ @ @ / @@ @ Eb@@ @ m@ @ @´*H @@ @Eb@@ @14 @@ @ @ Dw@@ @ @ ´*H @@ @ Dw@@ @ E @@ @Ab@@ @ @ @ ~@ @ }@ @ D*H @@EÉ@@C v@@ ~@ @|@ @J ¡@@ @ @B @@ Jb@@ B @@ Cb@@ E @@ z@ @+ @@ @ E*x@@ @ BH 2 @@ @£@ @ A v@@ @ @ @ @0*H @@ @ Cb@@ @ E @@ @z@ @ + @@ Eb@@ GH @@ @ @G d@@ £@ @ @ @D* @@ @ @ + @@ Db@@ E b@@ @ C @@ E*y@@ 0 Ã*y@@ @ @ @ Db@@ @+ É@@ @Â y@@ @ @ @ D* d@@ @Db@@ @ :H @@ Eb@@ E* e¡@@ @ G b@@ @E *2 @@ @D @@ ~@ @8H @@ @ @ J° @@EÉ@@~@z@D* @@ gR @ @ A*4H @@£@ A v@@c@ < b@@J ¢@@ @ ~@ 6*H @@E*v@@ @ D* b@@ @ g@ b@@1 @@D¡@@m@ @ D* @@6¡@@ @ @ D*H @@Eb@@B Í@@ @ ~@ z@ - h@@ @« ¡@@ @ 0 b@@ @E ¤@@ @ @ - °H @@Eb@@p@ g@ B* @@c@ B t@@ J4b@@ g@ @D* ox@@ s@ @§ x@ R @ R @ @F @@Eb@@ @~@6 @@ D h@@ EvQ @ @B @@D¡@@ @ A ¤@@ @ D* x@@ R @ @ FH @@Eb@@£@ @ D* ¡@@ @ @ JH @@ @ @ @ ±*H 4b@@ @ @ @ D* x@@ @ R @ @ @FH

baytelshear ‫اﻟﺸﻌﺮ‬ ِ ‫ﺑﻴﺖ‬

‫دروب اﻟﻜﺮاﻣﺔ‬ @@D¡@@D3 ,¡@@ @ ~@ 8 y@@ @ Db@@+ b@@ @ g@ E* ° @@ /x@@ D* @@D¡@@ @ < @@ Jb@@ @ @m@ @ @ @DH ¡@@ £@ @~@ @6 @@ B*¡@@ @ @ @ @D @@ @DH2 @@£@ Db@@ @ @ @ DH @@ cR @ @: @@£@ Db@@ @ ~@ |@ @ DH @@D¡@@/4 @@<b@@m@ ~@ {@ D*H @@<b@@m@ ~@ 7 ¤@@~@ 9b@@ @ g@ D* @@D¡@@ @ + @@Eb@@ @ ~@ {@ D*H @@Eb@@ @ ~@ 7 @@ ~@ @9*¡@@ g@ @D*H @@D¡@@ @ F 4v@@ @ @F ¡@@ @ B @@ @E @@ @ @ ~@ z@ F b@@ @E @@ @C @@ D¡@@ @ @0H 4*2H Hy@@ @ @ @ < @@ @ @ DH v@@ @ @ @ 0*H @@ @ C @@D¡@@0 d@@ £@ @Gb@@ E r*v@@ @ @ @ E°* f@@ @ @B ¤@@ c@ @J @@ @E @@D¡@@£@ 1 ox@@ ~@ @z@ @J 2b@@ @¸É@@ @D v@@ m@ @ ´* d@@ Db@@ : @@D¡@@~@ 8H @@ @ « b@@ @E @@ @ @E*2 @@ @ @²* 24b@@ @ @ :H @@ D¡@@ :H @@ ~@ @9x@@ < 2¡@@ c@ @ @ @´* Ñ* ¡@@ @ @C @@ @D @@D¡@@m@ @ D* @@ 6¡@@ @ @ @ @D* @@ £@ Gb@@ @ E Ì@@ @ @ @ -°H @@ DHy@@ F d@@ @ ~@ |@ J ¤@@ ~@ @7 y@@ @ @ @ - Hb@@ @ @ « °H @@D¡@@12 f@@ @ Jx@@: @@ 1*v@@ D* x@@ @ J b@@ E @@j@ E @@D¡@@ @ ²b@@+ @@ @ Q @ p@ FR @@c@ B @@£@ @ ~@R @7 x@@ @ R @ @ FH @@D¡@@~@ 64 x@@ @ @FH Ñ* h@@ £@ @+H Ñ* x@@ @ R @ @ FH

‫ﺻﺢ ﻟﺴﺎﻧﻚ‬ َ

‫ﺳﻌﺪ ﺑﺘﺎل اﻟﻌﺎزﻣﻲ‬ @ saadbtal

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‫ﻧﻮاﻓﺬ اﻟﺒﻮح‬ *Æ@@0* q£p~|D* x ~{ D Hw@@D* E E b@@ @ @F&°* ¡@@ £@ @< @@ < ¢@@ @ @ E y@@p@ @ D i4HQ 2 b@@ @E ·b@@£@ @ D* v@@ @ ~@O @6 @@ < @@ @m@ @D i4HQ 2H b@@ @ ²* i¡@@~@ |@ D ¤@@ @ @ - b@@ E r¡@@ c@ @D* w@@ A*¡@@ F É D*H ~} ~} D* @D b ~}D* É@@E ¥4v~8 b< cB ¥Æ@@A2 @@+ Hx@@ ²* }£+ h£ Q ~8 b@@ @g@G* @@C x@@ @~@{@D* h@@£@ @<b@@E È@P @ C ¢@@ @< É@@´* h£ + * 6b~z0°* v A @@E eb@@-x@@E b D* Í@@+ h@@B¡@@D* b ~6x= ¤@@ @D* D*H b@@£@ @ D* 2¡@@ £@ @B x@@ @ @1%* @@ @ J ¤@@0b@@c@ ~@ 8 *¡@@ @ @1 b@@± ¢@@ @ @ - @@£@ ³* @@j@ E *¡@@ @ @ @A&°* * ¡@@ D *x@@ @ @ @ D*H b@@ @ @ @ ±*H ·b@@ £@ @ @ @D* Hx@@ @ @; b@@ @ @F*H b@@ @ @ @ D f@@ £@ @G*x@@ D* @@ 6¡@@ m@ @ D* P5* h@@c@ @ -

2020 ‫ ﻳﻨﺎﻳﺮ‬، 85 ‫اﻟﻌﺪد‬

‫*(‪N 3N R y@@ @ @ D‬‬ ‫‪ fK @ ~@ 8b@@~@@N |@ 1N Nh@@£@ @ D (*H *4‬‬ ‫‪4O *v@@ @ @ @ @ 1(°* O @ @ @ DN b@@ @ 0 Æ@O @ @~@ @ z@ @ JN k@O @ £@ @ Q @ @ Db@@ A‬‬ ‫ ‪ iNv@ @ @ @=N b@@ @ Q ´ q@M @ @Db@@ @~@ @ 8 fO @ @ Bb@@ @F P4v@@ @ @ @-N µ‬‬ ‫*& ‪4O *v@@ @ @ @ @BO @@ @£@ @ A OQ @ @ @ @ p@N @ @ @ @JO rN *HxQ @ @ @ @ @ @ @ @ @ D* S‬‬ ‫اﻟﺮوح‪ ،‬ﺣني ذﻛﺮ‬ ‫ﻧﺮى ﺷﺎﻋﺮﻧﺎ ﰲ ﻫﺬه اﻟﻘﺼﻴﺪة‪َ ،‬ﻳﺰرع اﻷﻣﻞ ﰲ‬ ‫ِ‬ ‫ُ‬ ‫اﻟﺒﺪر‪ ،‬ﱠ‬ ‫ﻳﻜﻤﻞ‪ ،‬ﻫﻮ اﻟﻮﻋﺪ ﺑﺎﻟﻀﻮ ِء ﰲ ﻇﻠﻤ ِﺔ‬ ‫ﻷن اﻟﺒﺪر اﻟﺬي ﺳﻮف‬ ‫اﻟﺪﻫﺮ‪ ،‬وﻳﲇ ذﻟﻚ ﺗﺄﻛﻴﺪ ُه ﺑﻔﻌﻞ اﻷﻣﺮ‪" ،‬إﻟﺰم ذراك"‪ ،‬ﻳﺪﻋﻮ ُه إﱃ‬ ‫اﻟﴫاط اﳌﺴﺘﻘﻴﻢ‪ ،‬وﻳﻌﻮد ﰲ اﻟﺒﻴﺖ اﻟﺘﺎﱄ‪ ،‬ﻳﻘﻮل‪ ":‬ﻓﺎﻟﻠﻴﺚ ُ ُ‬ ‫ﻳﺴﱰ‬ ‫ﴎ ﺣﺎﻟ ِﻪ ﻷﺣ ٍﺪ‪ ،‬وﻧﺎﻗ ُﺔ‬ ‫ﺣﺎﻟ ُﻪ اﻹﺧــﺪا ُر"‪ ،‬ﺗﻌﻨﻲ اﻟﻘﻮيﱡ ﻻ ﻳﻜﺸﻒ ّ‬ ‫ﺻﺎﻟﺢ مل ﺗﺪر‪ّ ،‬‬ ‫ﻷن اﻟﻠﻴﺚ ّ‬ ‫ﴪ ِه ﻟﻬﺎ‪ ،‬ﻫﻲ وﺻ ّﻴﺔ‬ ‫ﺗﺴﱰ ﻋﻦ اﻟﺒﻮح ﺑ ﱢ‬ ‫ٍ‬ ‫ً‬ ‫دروس اﻟﻘ ّﻮة واﻟﺼﱪ واﻹرادة‪.‬‬ ‫ﻣﻦ‬ ‫ﺎ‬ ‫درﺳ‬ ‫وﺻﺎرت‬ ‫‪،‬‬ ‫ﻪ‬ ‫ﻟﻘﺎرﺋ‬ ‫ﺷﺎﻋﺮﻧﺎ‬ ‫ِ‬ ‫ِ‬ ‫‪ O @ @p@ @)*v@@ E Á¡@@ ~@ @z@ @ @ @-N @@ ~@@Q }@ @ O @ @ D b@@ @ J‬‬ ‫‪ P @@ @ @F&°* Px@ @ @N @ @ R @ @N ´* @N @ 6b@@ c@ @DP Oh@@ @ @ 1 v@@ @ BH‬‬ ‫@¡*‪ L2v@@ / b@@c@ ~@@QP|@ D* e‬‬ ‫ ‪O @ @ @ @.&*H Oh@@ @£@ @ PGO25* b@@ EH‬‬ ‫‪O‬‬ ‫‪ P @@ @ 1 b@@c@ ~@ 8 @@ E Me¡@@ j@ @+ ¢@@ @ @ @G5&* @@£@ @ A‬‬ ‫‪RixN @ @ @ /H‬‬ ‫ ‪N Ix@@ @ /N Mx@@ @ @EO @@ @ PE N 4OQ 2N PÑ‬‬ ‫‪P @@gO @ O @ D* fO @ @ R @ ~@@N 8 Rh@@+b@@s@ A ¤@@ C*w@@N ´* @O @ gR @ <O‬‬ ‫ *( ‪ Md@@jN @ CN @@E N ¡@@ N @ D* ¤@@ @cR @-N b@@ @jR @ N @+ b@@ FQ‬‬ ‫‪P @@ AO &°* @@E K*2¡@@ @~@|@EN @P @m@R @ Q @Db@@+ Nh@@_@ Pm@@A‬‬ ‫اﻟﻘﺼﻴﺪة اﻟﺤﻜﻤﺔ ﻣﺎﺛﻠﺔ أﻣﺎﻣﻨﺎ‪ ،‬واﻟﻌﻤﻴﻖ مل ﻳﻐﺐ ﻣﻦ أﺑﻴﺎﺗﻬﺎ‪،‬‬ ‫ﺗﻘﺮأﻫﺎ ﻣﺮاراً وﺗﻔ ّﻜﺮ ﺑﻬﺎ‪ ،‬ﺗﺴﺤ ُﺒ َﻚ إﱃ ﺗﻔﺴريات ﻋﺪﻳﺪة‪ ،‬وﻫﻨﺎك‬ ‫ﻣﺘﻌﺔ ﺧﺎﺻﺔ ﱢ‬ ‫ﺑﻔﻚ اﻟﺮﻣﻮز اﻟﺠﻤﻴﻠﺔ ﺑﻬﺎ‪ ،‬اﻟﺜﻮب واﳌﻨﻈﺮ اﻷﻧﻖ‪ ،‬وﻣﻦ‬ ‫ﺛﻢ‪ ،‬ﻳﻘﻔﺰ إﱃ اﻟﺨﻠﻖ واﻟﺒﻌﺚ‪ ،‬وﻳﺨﺘﻢ ﺑﺎﻟﻨﺠﻮﻣ ّﻴﺔ اﳌﺼﻔﻮدة ﰲ‬ ‫ّ‬

‫اﻷﻓﻖ اﻟﺘﻲ ﻳﻌﺘﱪﻫﺎ ﺟامﻟﻴﺔ ﻛﺎﻣﻨﺔ ﰲ إﻧﺴﺎﻧﻬﺎ‪ ،‬إ ّﻧﻬﺎ أﺟﻤﻞ ﻣﺎ ﻗﺎﻟ ُﻪ‬ ‫اﳌﻌ ّﺮي‪ ،‬ﻛام أ ّﻧﻬﺎ ﻣﻦ اﻟﻘﺼﺎﺋﺪ اﻟﺸﻬرية ﰲ اﻟﺸﻌﺮ اﻟﻌﺮيب اﻟﻘﺪﻳﻢ‪.‬‬ ‫‪ O @ @ @DO b@@ @ @ @ @A&* ¥w@@ @ @ @ @D* Q2¡O @ @ @ @ @ @ @ D* ¤@N @ @ @ @ @ @<*4 b@@ @ @J‬‬ ‫‪ b@@ @ gP @ @ FN @@ @< b@@ @ @GxP @ @ @ E&* Px@ @Gb@@ @ @+ ¤@@ @ @ @ @-O‬‬ ‫‪ 4 Pw@@g@ <b@@A @@gO @ @ @ BN b@@ E Kb@ @£Q @ @0 Nh@@ @ @C ¡@@ D‬‬ ‫<@ @ @ @ @@‪O @N @ @ @ @£@ @ @ @ D(* ¤‬‬ ‫‪ b@@ @ @ @ gQ @ @ E&b@ @ + Mf@ @ @ @ @ Q @ @ @ @ @ ³‬‬ ‫‪ L xQ @ @~@ @|@ @gN @ @EO ¤@@ @ @ @ @FQ &* O @ @ N @ @ @ @ -N @@O @ @ 94R &°b@@ @ @ A‬‬ ‫‪N @ @ E ¤@@ @ @ @ @FQ &b@ @ @CH b@@ @ @ @ BP ¡R @ @ A @@ @ E‬‬ ‫@ «@ @ ‪ b@@ @ @gP‬‬ ‫‪Md@@0b@@~@ |@ E OQ @ @ @ @CH b@@ £@ @FvQ @ @D* ¤@N @ @+ Ri4N vN @ @ @ @ @ =N‬‬ ‫‪b@@ @ gP @ 1&bO @ + P b@@ @ @~@Q @ {@ @D* 4N vR @ @ @ @ =N O @ gO @ c@ 0b@@~@ 8‬‬ ‫ﻳﺨﺎﻃﺐ ﻇ ﱠﻠ ُﻪ‪ ،‬وميﺰج ﺑني اﻟـ أﻧﺎ واﻟـ ﻫﻮ‪،‬‬ ‫ﻳﺨﺎﻃﺐ ﻧﻔﺴﻪُ‪ ،‬ﻛﺄ ّﻧ ُﻪ‬ ‫ُ‬ ‫وﴎﻋــﺎن ﻣﺎ ُﻳ ّﺒني أﻧــﺎ ُه ﰲ ﻧﻬﺎﻳﺔ اﻟﻘﺼﻴﺪة‪ ،‬ﻫﻲ ﻟﻌﺒﺔ اﻟﺸﻌﺮاء‪،‬‬ ‫ﻟﻠﺪﻻﻟﺔ ﻋﲆ اﻟﺤﻜﻤﺔ ا ُﳌﺮاد ﻃﺮﺣﻬﺎ ﻟﻠﻤﺘﻠﻘﻲ‪ ،‬ﻻ ﻳﺒﺪأ ﻣﺜﻠام ﻳﻨﺘﻬﻲ‪،‬‬ ‫وﻻ ﻳﻨﺘﻬﻲ ﻣﺜﻠام ﻳﺒﺪأ‪ ،‬وﻳﻘﻠﺐ اﻷرض ﻣﻦ ﻓﻮق إﱃ ﺗﺤﺖ‪ ،‬ﻳﻘﻮل‪":‬‬ ‫َﴫ ٌف ‪ /‬ﻣﻦ ﻓ ْﻮ ِﻗﻬﺎ وﻛﺄ ّﻧﻨﻲ ﻣﻦ َﺗﺤ ِﺘﻬﺎ"‪ّ ،‬رمبﺎ‪،‬‬ ‫ﻓﺎﻷ ْر ُض َﺗﻌ َﻠ ُﻢ أ ّﻧﻨﻲ ُﻣﺘ ّ‬ ‫ﺗﻐري واﻧﻌﻜﺲ ﻣﻦ ﻓﻮق إﱃ ﺗﺤﺖ‪ ،‬ﺳﻮء اﻟﺤﺎل‪ ،‬وﻏﺪر اﻟﺪﻧﻴﺎ‬ ‫اﻟﺬي ّ‬ ‫ﻳﺪﻓﻌﻨﺎ ﱢ‬ ‫ﻟﻠﺸﻚ ﺑﺎﻟﻌﻤﻰ اﻟﺬي ﱠ‬ ‫ﺣﻞ‬ ‫اﻟﺬي ذﻛﺮﻫﺎ ﰲ آﺧﺮ اﻟﺒﻴﺖ‪ ،‬ذﻟﻚ ُ‬ ‫ﺑﻪ‪ّ ،‬‬ ‫ﻓﻔﻀﻞ اﻟﻌﺰﻟﺔ‪ ،‬واﻹﻧﺼﺎت ﻟﺬاﺗ ِﻪ‪ ،‬واﻟﺘﻔﻜري ﰲ ﺻﻨﺎﻋﺔ اﳌﺴﺘﻘﺒﻞ‬ ‫اﻟﺸﻌﺮي وﺟامﻟ ّﻴﺔ اﻟﻠﻐﺔ‪.‬‬ ‫ذﻛﺮﻧﺎ ﺑﻌﺾ اﻟﻘﺼﺎﺋﺪ اﳌﺸﻬﻮرة ﻟﻠﻤﻌ ّﺮي‪ ،‬وﻟﻪ اﻟﻜﺜري ﻣﻦ اﻟﻘﺼﺎﺋﺪ‬ ‫اﳌﺪﻫﺸﺔ‪ ،‬ﻟﻜﻦّ أﻫﻤﻬﺎ ﺗﻠﻚ اﳌﺸﺤﻮﻧﺔ ﺑﺎﻟﻔﻠﺴﻔﺔ واﻟﻌﺰﻟﺔ‪ ،‬واﻟﺮؤﻳﺔ‬ ‫اﳌﺤ ّﺪﻗﺔ إﱃ اﳌﺴﺘﻘﺒﻞ اﻟﺸﻌﺮي‪ ،‬ﺧﻠﺪ ﻫﺬا اﻟﺸﺎﻋﺮ اﻟﻌﻈﻴﻢ ﰲ ﺷﻌﺮﻧﺎ‬ ‫اﻟﻌﺮيب اﻟﻘﺪﻳﻢ‪ ،‬وﺗﺠﺪد ﰲ اﻟﺤﺪﻳﺚ‪ ،‬ﱠ‬ ‫وﻇﻞ " رﻫني اﳌﺤﺒﺴني"‪ ،‬ﻳﺬﻛﺮ ُه‬ ‫اﻟﻜﺒري واﻟﺼﻐري ﰲ ﺗﻔﺎﺻﻴﻞ اﻟﺤﻴﺎة وأﺣﺪاﺛﻬﺎ اﻟﺮاﻫﻨﺔ‪.‬‬

‫اﻟﺸﻌﺮ ‪baytelshear‬‬ ‫ﺑﻴﺖ ِ‬

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‫ ‪ ĬŒĘĪ ĘšĚ‬‬

‫‪ ǆƃơƹƴŢ ŕǑơƴŢ ǃŦŘ‬‬

‫‪ũƴƅơƴŢǂ ũƩƉƵƩƴŢ ƃƠţƌ‬‬ ‫ﺑﺎﺳﻞ ﻋﺒﺪاﻟﻌﺎل‬ ‫*&‪Á¡@@ m@ ~@O @ 6 @@ @ @ PE Pf@ @ @.N É@@ @ jN @ @ @D* ¯ Á*4N‬‬ ‫‪N * @P @ @ @<N N&b@ @ ~@ @ z@ @ -N É@@ @ AN‬‬ ‫‪ Pk@@ £@ c@ N @ D* Ä@NP @ @ @ @ ³‬‬ ‫‪¤@@g@ £@ +N P Hy@@ @ @ @ @ @ @ DO HN ¥x@@ @ @ P;b@@ @ @F N¥ Pv@@ @ @ @ @ N @ @ @ DP‬‬ ‫‪N * Pv@@ ~@N @ z@ @±‬‬ ‫‪N * ¯ @P @z@ @ N @ D* P ¡@@ @ @ @CN HN‬‬ ‫‪Pk@@£@ c@ ³‬‬

‫ُﻳﺜري ﻓﻴﻨﺎ اﻟﻔﺨﺮ واﻟﺴﺤﺮ ﺣني ﻧﻘﺮأهُ‪ ،‬ﻫﺬا ﻫﻮ اﻟﺸﺎﻋﺮ اﻟﻌﻈﻴﻢ أﺑﻮ‬ ‫اﻟﻌﻼء اﳌﻌ ّﺮي )رﻫ ُني اﳌﺤﺒﺴني(‪ ،‬ﻳﻄﺮح أﺳﺌﻠ ًﺔ ﻛﺜرية داﺧﻠﻨﺎ‪ .‬ﻛﻴﻒ‬ ‫اﺳﺘﻄﺎع اﻣﺘﻼك اﻟﺮؤﻳﺔ اﻟﻔﻠﺴﻔﻴﺔ ﰲ ﺷﻌﺮ ِه‪ ،‬وﻫﻮ أﻋﻤﻰ؟ ﻓﻼ ﻧﺠﺪ‬ ‫ﺑﻴﺘﺎً ﰲ ﻗﺼﺎﺋﺪه‪ ،‬ﺧﺎﻟﻴﺎً ﻣﻦ اﻟﻌﻤﻖ واﻟﻔﻠﺴﻔﺔ‪ ،‬وﻫﻮ ﺻﺎﻧﻊ اﻟﺠامل‬ ‫ﻣﻦ ﻋﺒﻘﺮﻳﺘ ِﻪ‪ ،‬ﻟﻪ ﻧﻈﺮﺗ ُﻪ اﳌﺨﺘﻠﻔﺔ ﰲ اﻟﺸﻌﺮ‪ ،‬وﻟ ُﻪ ﻃﺮﺣ ُﻪ اﻟﺨﺎص‬ ‫اﻟﺬي أﺻﻘﻞ اﻟﺼﻮرة واﳌﺨﻴﻠﺔ ﰲ اﻟﺸﻌﺮ اﻟﻌﺮيب اﻟﻘﺪﻳﻢ واﻟﺤﺪﻳﺚ‬ ‫ﻋﲆ ﻣ ّﺮ اﻟﻌﺼﻮر‪ ،‬ﻣﻦ أﺑﻴﺎﺗ ِﻪ اﻟﺨﺎﻟﺪة‪:‬‬ ‫*&‪R P @@ @ @ @£@cP @ @~@N @6 ¯ P °N N‬‬ ‫ *´ ‪ O @ P<b@@AN b@@ @ FN &*N b@@ EN Pv@@ m@R @ N‬‬ ‫‪L @ @ @ N @ @<N‬‬ ‫@‪ O @ @ @ @P @ )b@@ @ @ FN HN L yR @ @ @ @ @ @0N HN L *Nv@ @ @ @ @ @ @ BR P(*HN b‬‬ ‫*&‪O @cR @ EO @N @ @N @D ¤@@ P @ @ @FS N&* ¥P2HOv@ @ @~@@O 8 @T @ @ @ @ BN N‬‬ ‫‪ }@P‬‬ ‫‪ O @ @ P0*4N @N @ @ R @ <N ¤@@ @ P @ FS N&* ¥Px@ @m@R N@ @ @G x@@ @O @~@z@R @JN&*HN‬‬ ‫‪ ,L xN @ @ @ @ @£@jP @ @ @CN M ¡R @ @ @ @ @ @BN Nv@ @ @ R @ P< ¤@@+P ¡@@ @O @ @ @F3O Tv@@ O @ @ @ -O‬‬ ‫‪ O @ )P b@@~@@N }@ N @DR *HN ¢@@N @ @ @ O @DR * °S P(* ¤@@ @DP d@N @ @ @ FR 3N °N HN‬‬ ‫ *‪ O @ @ @ @ FO b@@EN 5N Ì@N @ @ @ @ @ P1°‬‬ ‫‪& N R Oh@@ R @ @ @ CO R P (*HN ¤@@ @U @ @ @ @ @F(*P HN‬‬ ‫‪ O @ @ @ @ )P *HN N°* O‬‬ ‫‪& R @ R @ P @N@ @ @ @g@~@R @z@ @- R @ @ @DN b@@ @ @ N @ @ @+P Mi%°N‬‬ ‫ﻫُ ﻨﺎ ﺗﻜﻤﻦ اﻹﺛﺎرة واﳌﺠﺪ‪ ،‬ﰲ ﻫﺬه اﻷﺑﻴﺎت اﻟﺘﻲ ﺗﺤﺘﻮي ﻋﲆ رؤﻳﺔ‬ ‫واﺳﻌﺔ‪ ،‬وﻣﺤﺪّﻗﺔ ﻧﺤﻮ اﻟﻌﻤﻖ اﻟﺸﻌﺮي اﳌﺘﺠﺪد‪ ،‬ﻛﺄ ّﻧﻬﺎ ﻛﺘﺒﺖ ﻟﻠﺘ ّﻮ‪.‬‬ ‫ﺗﻔﺘﺢ اﻟﺼﻮرة اﻟﺸﻌﺮﻳﺔ أﺑﻮاﺑﻬﺎ ﻛﺎﻣﻠﺔ ﳌﺨﻴﻠﺔ اﳌﺘﻠﻘﻲ‪ ،‬وﻻﺳﻴام ﺣني‬ ‫ﻳﻘﻮل‪َ :‬وإِﻧــ ﱢــﻲ َوإِ ْن ُﻛــﻨ ُْﺖ ْاﻷَ ِﺧــ َري َز َﻣﺎ ُﻧـــ ُﻪ ‪َ /‬ﻵ ٍت ِﺑــ َﻤــﺎ ﻟَ ْـﻢ‬ ‫ﺗـﺴﺘـــَ ِﻄ ْﻌ ُﻪ ْاﻷَ َوا ِﺋ ُﻞ‪ ،‬ﻫﺬا اﻷﺧري ﻫﻮ اﻟﺤﺎﴐ اﻷول‪ ،‬ﻓﺎﻟﺬﻧﺐ اﻟﺬي‬ ‫ْ‬ ‫ُ‬ ‫واﻟﻔﻀﺎﺋﻞ‪ .‬ﻻ ﻳﺼﺪّق َﻣﻦ ﻳﻘﺮأ‬ ‫اﻟﻌﲆ‬ ‫ارﺗﻜﺒﻪُ‪ ،‬أن ﻻ ذﻧﺐ ﻟ ُﻪ ﺳﻮى ُ‬ ‫ﺗﻠﻚ اﻷﺑﻴﺎت‪ّ ،‬أن َﻣﻦ ﻛﺘﺒﻬﺎ ﺷﺎﻋ ٌﺮ ﴐﻳ ٌﺮ‪ ،‬ﻓﻬﺬه اﻟﺮؤﻳﺔ اﻟﻨﺎﺿﺠﺔ‬

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‫اﻟﻌﺪد ‪ ، 85‬ﻳﻨﺎﻳﺮ ‪2020‬‬

‫ﺗﻮﺣﻲ ﺑﺄ ّﻧ ُﻪ ﺑﺼﺤ ٍﺔ ﺑﴫ ّﻳ ٍﺔ ﺟ ّﻴﺪة‪.‬‬ ‫َوﻳﻜﻤﻞ ﻧﺸﻴﺪ ُه اﻟﺬي ﻻ ﻳﺘﻮ ّﻗﻒ ﰲ ﺣﴬ ِة اﻟﺪﻧﻴﺎ‪ ،‬وﻣﺎ ﺗﺤﻤ ُﻠ ُﻪ‬ ‫ﺻﺒﺤﻬﺎ اﻟﺮوﺣﻲ إﱃ ﻣﺴﺎﺋﻬﺎ اﻟﺴﺎﺑﺢ ﺑﺎﳌﻮج‬ ‫ﻣﻦ ﻓﻀﺎ ِء اﻟﻔﻜﺮة‪ ،‬ﰲ ِ‬ ‫واﻟﺸﻔﻖ‪ ،‬ﻳﻘﻮل‪:‬‬ ‫‪ O$b@@ ~@ z@ E(*H rL b@@ c@ @~@@R 8(* P @@ @ ³* ¢@@ @ < ¤@@ -&b@ @JN‬‬ ‫@‪ O$b@@ @~@Q@ @z@ @ FN Px@ @ @ @GvQ @ @ @ @D* Hx‬‬ ‫‪P @ @ ~@ @ |@ @ D b@@ @ @ @ T @ @ CH‬‬ ‫‪ O @ O @ Cb@@~@ {@ EO H&* W¥x@@ @ m@N @ @ GN ¢@@~@ }@ EN @@ @ @CN H‬‬ ‫‪*H$b@@~@N @6 &* @N @6b@@ @D* *HxQ @ ~@N @6 Hb@@ @ N ´* @@E‬‬ ‫‪O @ @ @O ´* I¡@@ gR @ @-N‬‬ ‫@¡ ‪ @@ PGÌ@Q @ @ -N ¯ xL @ ~@ |@ PEH‬‬ ‫‪$O b@@~@z@0&R * O$b@@~@R @z@ 0&°*HN Pv@@ @ N @D* ¢ < xL @~@@R|@E‬‬ ‫‪ b@@ @D U O&b@ @ @A b@@£@ F Tv@@D* b@@ @ @EQ O&* b@@J Ph@@~@ z@ ~@P @z@ 1N‬‬ ‫‪N * ¡@@ @ @+N‬‬ ‫‪$O b@@ @~@Q@ @z@ @ P1&* @L@ @ @ 7b@@ @ @ +N H&* Pf@ ~@ z@ £@ ~@ z@ ³‬‬ ‫ُ‬ ‫اﻷﺑﻴﺎت ﺗﻨﺘﻘﺪ اﻟﺪّﻫﺮ‪ ،‬إ ّﻧﻬﺎ أﺷﺒﻪ مبﺮاﺟﻌﺔ ﺷﻌﺮ ّﻳﺔ ﳌﺎ وﺻﻠﺖ إﻟﻴ ِﻪ‬ ‫ﻫﺬه اﻟﺪﻧﻴﺎ ﻣﻦ ﺧﺬﻻن وﻫﺰاﺋﻢ‪ ،‬وﻫﻮ ﻳﺮى اﻟﻴﻮم ﺑﻌﻴﻮن اﻟﻐﺪ ﰲ‬ ‫اﻟﻘﺼﻴﺪة‪ ،‬ﻳﻜﺘﺐ ﻟيك ﻳﻌﺎﻟﺞ ﺑﻔﻜﺮﺗ ِﻪ ﺟﺮح أ ّﻣ ِﻪ اﻟﺪﱡ ﻧﻴﺎ‪ ،‬ﻻ ﻳﺒﺪو‬ ‫ُﻣﺘﺸﺎمئﺎً‪ ،‬ﺑﻞ‪ ،‬واﻋﻴﺎً‪ ،‬ﻳﻘﻈﺎً ﻋﲆ ﺣﺪﺳ ِﻪ اﻟﻌﻔﻮيﱢ ﰲ اﻟﺘﻌﺎﻣﻞ ﻣﻊ‬ ‫اﻟﻨﺺ‪.‬‬ ‫*‪ ¢@@ @ @0K 4N @@ @ D 4O ¡@@ @ @ @ @ @ E&°*H d@L @ @ @ @ BO d@OQ @ @ @ OQ @ @ @ @D‬‬ ‫‪ 4O *v@@ @ @ @ @ @ @ @-O H b@@ @ @ @ @ @ OQ @ @ @ C xO @ @ @ @ @ @ @ +NQ vN @ @ @ @ @ @ @ -O P @ @ @ @£@ @ @ @A‬‬ ‫‪O @ @ @p@ @ @ ´*H O @ @ O @ @ @ @ J 4O v@@ @ c@ @ @D*H‬‬ ‫@‪ O @ @ @DO %b@ @ @E b‬‬ ‫‪ 4O *v@@ @ @ @ @ @+(°* b@@ @ @ @ cO @ @ R @ @ <O fO @ @ @ @ Q @ @ @ @ PG&°* *w@@ @ @ @ @CHN‬‬

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‫ﻧﺎﺣﻴﺔ واﻟﻌﺎر واﻟﺨﻄﺮ واﻟﺘﴩﻳﺪ ﻣﻦ ﻧﺎﺣﻴﺔ أﺧﺮى‪ ،‬ﺣﻴﺚ ﻳﺮوي‬ ‫اﻟﻜﺎﺗﺐ اﳌﴫي ﻣﺤﻤﺪ اﳌﻨﴘ ﻗﻨﺪﻳﻞ ﰲ ﻛﺘﺎﺑﻪ "ﻟﺤﻈﺔ ﺗﺎرﻳﺦ‪30 -‬‬ ‫ﺣﻜﺎﻳﺔ ﻣﻦ اﻟﺰﻣﻦ اﻟﻌﺮيب" أن ﻋﻨﱰة اﻟﺬي ﻓﻮﺟﺊ ﺑﻌﺪ ﻋﻮدﺗﻪ ﻣﻦ‬ ‫ﺑﻼد اﳌﻠﻚ اﻟﻨﻌامن ﺑﺎﻟﻨﻮق اﻟﺤﻤﺮ اﻟﺘﻲ ﻃﻠﺒﻬﺎ ﻋﻤﻪ ﻣﻬﺮاً ﺗﻌﺠﻴﺰﻳﺎً‬ ‫ﻻﺑﻨﺘﻪ‪ ،‬ﺑﺄن ﻋﺒﻠﺔ اﺧﺘﻄﻔﺘﻬﺎ إﺣﺪى اﻟﻘﺒﺎﺋﻞ اﳌﻐرية‪ ،‬اﻛﺘﺸﻒ ﺑﻌﺪ‬ ‫ذﻟﻚ أﻧﻬﺎ ذﻫﺒﺖ ﺑﺈرادﺗﻬﺎ ﻣﻊ ﺧﺎﻃﻔﻴﻬﺎ ﻓـ"ﺑىك ﻣﻦ ﺷﺪة اﻟﻘﻬﺮ‪،‬‬ ‫وذﺑﺢ اﻟﻨﻮق اﻟﺤﻤﺮ‪ ،‬ومل ﻳﻬﺒﻂ ﻋﲆ ﻟﺤﻮﻣﻬﺎ ﻧﺎدرة اﻟﻄﻌﻢ ﺳﻮى‬ ‫ﻋﻈﻤﻲ ﻫﻲ ﻛﻞ أﻃﻼل ﺣﺒﻪ"‪ .‬ﻟﻜﻦ‬ ‫ﻫﻴﻜﻞ‬ ‫اﻟﻐﺮﺑﺎن‪ ،‬ﺗﺎرﻛني ﻟﻪ ﻣﺎﺋﺔ‬ ‫ٍ‬ ‫ٍ‬ ‫واﻟﺪﺧﻮل ﰲ ﻣﻨﺎﻓﺴﺔ ﻣﻊ ﻋﴩات ﻓﺮﺳﺎن اﻟﻘﺒﺎﺋﻞ اﻟﺬﻳﻦ أﻏﺮاﻫﻢ‬ ‫ﻫﺬه اﻟﴪدﻳﺔ ﺗﻘﺎﺑﻠﻬﺎ ﴎدﻳ ًﺔ أﺧﺮى ﻣﺜﺒﺘﺔ ﰲ ﺳرية ﻋﻨﱰة اﳌﻄﻮﻟﺔ‬ ‫ﺟامل ﻋﺒﻠﺔ ورﻓﺾ أﺑﻴﻬﺎ وأﺧﻴﻬﺎ اﻟﻘﺎﻃﻌني ﻟﺰواﺟﻬﺎ ﻣﻦ ﻋﻨﱰة‪ ،‬ﻣﻬام‬ ‫وﰲ ﺷﻌﺮه ﺣﻴﺚ ﻳﻘﻮل‪:‬‬ ‫ﻗﺪم ﻣﻦ ﻣﻬﻮر ﻣﺴﺘﺤﻴﻠﺔ‪ .‬رﻏﻢ ذﻟﻚ ﻇﻠﺖ اﻟﻨﻬﺎﻳﺔ اﻟﺴﻌﻴﺪة اﻟﺘﻲ‬ ‫‪b@@ @ @ £@ @ 1 ¡@@ @ s@ @ @- &* f@@ @ @c@ @ @ @D b@@ @~@ @ 7b@@ @0‬‬ ‫ﺗﻄﻮﻋﺖ اﳌﺨﻴﻠﺔ اﻟﻌﺮﺑﻴﺔ ﺑﺈﻟﺤﺎﻗﻬﺎ ﺑﻘﺼﺔ ﻫﺬﻳﻦ اﻟﻌﺎﺷﻘني ﻣﺤﻞ‬ ‫ ‪xP @ @~@ @|@ @ @ @ @ @D* Ãx@@ @ @ @ C b@@ @ @G42b@@ @ @ @ @ @ J @@ @ @ @ @+‬‬ ‫ٍ‬ ‫ﺷﻚ‪ ،‬ﻓﻼ ﺧﱪ ﻣﺆﻛﺪ ﺣﻮل زواج ﻋﻨﱰة ﻣﻦ ﻋﺒﻠﺔ‪ ،‬ﻛام أن ﻣﺼﺎدر *& ‪ @@ @ J µH @@ {@ @ Jx@@ ±* ¤@@ @ @+ i24&* ¢@@ @ @ @ FQ‬‬ ‫ﻛﺜري ًة ﺗﺆﻛﺪ زواج ﻋﻨﱰة ﺑﺄﻛرث ﻣﻦ اﻣﺮأ ٍة ﻏريﻫﺎ‪ ،‬وإﻧﺠﺎﺑﻪ ﻋﺪداً ﻣﻦ‬ ‫‪¥x@@ s@ @ @ @E @@ @ @ @ D3 v@@ @ @ @ + ¤@@ @ @ @ @ @ JH b@@ @ @ @ @ E‬‬ ‫ﻛﻐﺼﻮب اﻟﺬي ُﻗﺘﻞ ﰲ‬ ‫اﻟﺬﻛﻮر اﻟﺬﻳﻦ وردت أﺳامؤﻫﻢ ﰲ ﺷﻌﺮه‬ ‫ٍ‬ ‫ﺣﻴﺎة أﺑﻴﻪ‪ ،‬وﻋﺮوة وﻣﻴﴪة اﻟﻠﺬﻳﻦ وﻗﻌﺎ ﰲ اﻷﴎ‪ ،‬ﻓﻜﺘﺐ ﻳﺼﻒ وﰲ ﺳﻴﺎقٍ آﺧﺮ ﻳﺬﻛﺮ أن ﻋﺒﻠﺔ ﻗﺪ ﺗﺰوﺟﺖ ﺑﻌﺪ رﺣﻴﻞ ﻋﻨﱰة ﻣﻦ‬ ‫ﺣﺎﻟﻪ ﰲ ﻓﺮاﻗﻬﻢ ً‬ ‫ﻗﺎﺋﻼ‪:‬‬ ‫اﻟﺸﺎﻋﺮ "ﻋﺎﻣﺮ ﺑﻦ ﻃﻔﻴﻞ"‪ ،‬وأﻧﻬﺎ ﺑﺎﻟﻐﺖ ﰲ اﺳﺘﻔﺰازه مبﻘﺎرﻧﺘﻪ‬ ‫‪Me¡@@ @~@ @ |@ @ = *x@@ @ @ @ @ @A ¢@@ @ @ @ @< ¥Ä@@ @ @~@ @ @ 8 S @ @ @ @ @B‬‬ ‫ﺑﻌﻨﱰة ﺣﺘﻰ ﻗﺘﻠﻬﺎ‪ ،‬ﺛﻢ ﻗﺘﻞ أﺑﺎﻫﺎ وأﺧﺎﻫﺎ ﻋﻨﺪﻣﺎ ﻗﺪﻣﺎ ﻟﻠﺴﺆال ﻋﻨﻬﺎ‪،‬‬ ‫ ‪ ¥2b@@ @ @ @ @gP @ @ @<*H ¤@@ @ @ -vS @ @ @ @<O b@@ @ @ C v@@ @ @B ¡@@ @ @ @ RGH‬ﺑﻴﻨام ﺗﺬﻛﺮ ﺳرية ﻋﻨﱰة أن "ﻋﺎﻣﺮ ﺑﻦ اﻟﻄﻔﻴﻞ" ﻛﺎن أﺣﺪ أﺻﺪﻗﺎء‬ ‫ ‪ ,x@@ @ @ ~@ @ @ @z@ @ @ @£@ @ @ @EH L ,Hx@@ @ @ @ @ @ @ @ @ @ @ < *w@@ @ @ @ @ @ @ @ @ @ @ CH‬‬ ‫ﻋﻨﱰة وﻣﺤﺒﻴﻪ!‪.‬‬ ‫‪2P b@@ £@ @±* *v@@ @ @~@@R 8* v@@ @ @ P< b@@ FN b@@ @ @0 ¤@@ Eb@@ 0‬‬ ‫أﻣﺎ اﻟﺮواﻳﺔ اﻷﻛرث ﺟﺪﻻً وﻣﻔﺎﺟﺄ ًة ﻓﻘﺪ ﺗﺒﻨﺎﻫﺎ اﻟﺒﺎﺣﺚ واﻟﻨﺎﻗﺪ‬ ‫ ‪Md@@ @ Jx@@ @ B @@ @ @ < R @ @ @ @ @ OGxN @ @ @ @ @ ~@@ @R @ @ @6N&* Q @@ @ @ @ @ S @ @ @ @ @ @AO N&°‬‬ ‫‪ 2P b@@ @ @~@@S @ @z@ @ @ ²‬اﻷردين د‪.‬أﺣﻤﺪ اﻟﺤﺮاﺣﺸﺔ‪ ،‬اﻟﺬي ذﻫﺐ ﰲ دراﺳ ٍﺔ ﻟﻪ ﺑﻌﻨﻮان‬ ‫‪O *H P$*v@@ @ @ @ @ @ @ @ @ @<N&°* ¥P2b@@ @ @ @ @ @ @ @J&* R @@ @ @ @E‬‬ ‫"ﻋﻨﱰة وﻋﺒﻠﺔ ﺑني اﻟﺤﻘﻴﻘﺔ واﻟﺨﻴﺎل" إﱃ أن ﻋﺒﻠﺔ ﻛﺎﻧﺖ ﺷﺨﺼﻴﺔ‬ ‫وﻫﻲ اﻟﻘﺼﻴﺪة اﻟﺘﻲ ﻗﺎل ﰲ ﻣﻄﻠﻌﻬﺎ‪" :‬ﺗﺬﻛﺮت ﻋﺒﻠﺔ ﻳﻮم ﺟﺎءت ﺧﻴﺎﻟﻴﺔ ﻣﻦ ﺻﻨﻊ ﻋﻨﱰة أو ﻋﲆ ﺣﺪ وﺻﻔﻪ ﻣﺠﺮد "اﺳﺘﻌﺎرة"‪،‬‬ ‫ﻟﻮداﻋﻲ واﻟﻬﻢ واﻟﻮﺟﺪ ﺑﺎدي"‪ ،‬ﻫﺬا ﺑﺨﻼف اﻟﺒﻴﺖ اﻟﺬي ﻳﻘﺎرن ﻣﺴﺘﺸﻬﺪاً ﺑﻐﻴﺎب ذﻛﺮﻫﺎ ﻋﲆ أﻟﺴﻨﺔ ٍأي ﻣﻤﻦ أدرﻛﻮا اﻹﺳﻼم‪ ،‬وأﻧﻬﺎ‬ ‫دﻟﻴﻼ ﻋﲆ "مل ُﻳﻌﺮف ﻟﻬﺎ ﻧﺴﺐ ﻣﻦ ﻧﺎﺣﻴﺔ أ ﱢﻣﻬﺎ‪ ،‬ومل ُﻳﻌﺮف ﻟﻬﺎ ﻧﺴﺐ ﴏﻳﺢ‬ ‫ﻓﻴﻪ ﻋﻨﱰة ﻧﻔﺴﻪ ﺑـ"ﺑﻌﻞ" ﻋﺒﻠﺔ‪ ،‬واﻟﺬي ﻳﻌﺘﱪه اﻟﺒﻌﺾ ً‬ ‫ﻣﻦ ﻧﺎﺣﻴﺔ أﺑﻴﻬﺎ‪ ،‬ومل ُﻳﻌﺮف ﻟﻬﺎ ﻧﻬﺎﻳﺔ؛ ﻧﻬﺎﻳﺔ ﺣﻴﺎة أو ﻧﻬﺎﻳﺔ ﺣﺐ‪،‬‬ ‫زواﺟﻬﺎ ﻣﻦ ﻏريه‪:‬‬ ‫ومل ﺗﺬﻛﺮ اﻟﺮواﻳﺎت اﳌﻮﺛﻘﺔ ﻗﺼﺔ زواﺟﻬﺎ ﺑﻌﻨﱰة أو ﺑﻐريه"‪ ،‬ﻣﺎ ﺟﻌﻠﻪ‬ ‫@‪M 2b@@ @ @ @ @+ @P @ @ @ @ @ @ @ @+ @@ @ j@ @ @E nN @ @ @ @ @ @ @ @ @ @+&* ex‬‬ ‫‪S @ @ @ @ @ @ @A‬‬ ‫‪N‬‬ ‫‪ @@ £Q @ @ @ @EO 2*¡@@ @ @ @ @ ±* x@@ @ @ @ ; ¢@@ @ @ @ < @M @ @ Rs@@ @ ~@@ @ 9‬ﻳﺆﻛﺪ أن "ﻋﺒﻠﺔ مل ﺗﻜﻦ ﻓﺘﺎة ﻋﺒﺴ ﱠﻴﺔ ﻛام رﻛﺰ ﰲ اﻟﺜﻘﺎﻓﺔ اﻟﻌﺮﺑ ﱠﻴﺔ‬ ‫ = @ @ @ @ @ @@‪ @@ @ @ Db@@ @ @ ~@ @ @ @8H&* K*x@@ @ @ @ @ @ @ @ @ g@ @ @ E O @ @ @ @ @ @ @-42b‬‬ ‫ﳌﺪة أﻟﻒ وأرﺑﻌﻤﺔ ﺳﻨﺔ‪ ،‬ﱠ‬ ‫وإمنﺎ ﻫﻲ ﻣﻦ اﺑﺘﺪاع اﻟﺸﻌﺮﻳﺔ واﻟﻔﻦ"!‪.‬‬ ‫‪@ @ @ @ + O ¡@@ @ @ @ @ @ @ @ @ @ @ @ D*H‬‬ ‫‪N‬‬ ‫@‪ M v@@ @ @ @ @ @¸H rM x@@ @ @ @ @ @ @ @ @¸ Í‬وﻫﻜﺬا ﺗﻈﻞ ﺳرية ﻋﻨﱰة وﻋﺒﻠﺔ‪ ،‬اﻟﺘﻲ مل ﺗﻨﺎﻓﺴﻬﺎ ﺳري ًة ﻋﺮﺑﻴ ًﺔ أﺧﺮى‬ ‫‪ŨƂǃƙƈǌŢ ƯǉƱƩŬ‬‬ ‫ﻣﻦ ﺣﻴﺚ ﻗﻴﻤﺘﻬﺎ اﻟﻔﻨﻴﺔ وأﺛﺮﻫﺎ ﰲ اﻟﺬاﻛﺮة‪ ،‬واﳌﺨﻴﺎل اﻟﺸﻌﺒﻲ‪،‬‬ ‫ﰲ ﺑﻌﺾ اﳌﺼﺎدر ﻳﺸﺎر إﱃ أن ﺣﺐ ﻋﻨﱰة اﻷﺳﻄﻮري ﻟﻌﺒﻠﺔ ﻛﺎن ﻣﻦ دامئﺔ اﻟﺘﺠﺪد واﻟﺤﻴﺎة‪ ،‬ﺑﻌﺪد رواﺗﻬﺎ وﻣﺘﻠﻘﻴﻬﺎ‪ ،‬ورواﻳﺎﺗﻬﺎ اﳌﺘﻌﺎرﺿﺔ‬ ‫ٍ‬ ‫ﻃﺮف واﺣ ٍﺪ‪ ،‬وأﻧﻬﺎ ﻋﲆ اﻷﻛرث ﻛﺎﻧﺖ ﺗﺤﺐ ﺷﻌﺮه اﳌﻜﺘﻮب ﻓﻴﻬﺎ‪ ،‬واﳌﺘﻨﺎﻗﻀﺔ أﻏﻠﺐ اﻟﻮﻗﺖ‪ ،‬وﻳﻈﻞ اﻟﺸﻌﺮ ﺟﺪارﻳﺘﻬﺎ اﻟﺨﺎﻟﺪة‪،‬‬ ‫ﻗﺒﻞ أن ﻳﺘﺤﻮل ﻫﺬا اﻟﺤﺐ ﻟﻠﻌﻨﺔ ﺗﺠﻠﺐ ﻟﻬﺎ ﺣﺴﺪ ﺻﺪﻳﻘﺎﺗﻬﺎ ﻣﻦ ووﺟﻬﻬﺎ اﻷﺟﻤﻞ واﻷﺟﲆ‪ ،‬اﻟﻌﺎﺑﺮ ﻟﻌﻮارض اﻟﺰﻣﻦ وﺗﺤﻮل اﳌﺂﻻت‪.‬‬

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‫اﻟﻌﺪد ‪ ، 85‬ﻳﻨﺎﻳﺮ ‪2020‬‬

‫ﻛام ﻏﻨﺖ اﻟﺒﻴﺘني اﻵﺧﺮﻳﻦ اﻟﻠﺬﻳﻦ أﺿﻴﻔﺎ ﻟﻠﻮﺣﺎت "ﻣﻮﺷﺤﺎت"‪.‬‬ ‫وإذا ﻛﺎن اﻟﺮﺣﺎﺑﻨﺔ ﻗﺪ وﺟﺪوا ﰲ ﻓﻦ اﳌﻮﺷﺤﺎت ـــ ﺑﺤﺴﺐ‬ ‫ﻣﺤﻤﺪ ﻣﻨﺼﻮرــــ "ﻣﻌﻄﻴﺎت ﻓﺮﺟ ٍﺔ ﻣﴪﺣﻴ ٍﺔ ﺗﺮاﺛﻴ ٍﺔ ميﻜﻦ أن‬ ‫ﺗﻐﺘﻨﻲ ﺑﻠﻤﺴﺎت اﻟﻌﴫ ﻋﲆ ﺻﻌﻴﺪ اﻟﻠﺤﻦ واﻟﺘﻮزﻳﻊ وﺣﺘﻰ‬ ‫اﻟﺮﻗﺺ اﻟﺘﻌﺒريي واﻟﺘﺸﻜﻴﻞ واﻷزﻳــﺎء"‪ ،‬ﻓﺮمبﺎ ﻛﺎن ﻫﺬا اﻟﺒﻌﺪ‬ ‫اﻟﺪراﻣﻲ ً‬ ‫أﻳﻀﺎ وراء اﳌﺰج اﻟﺴﻠﺲ ﺑني اﻟﺸﻌﺮ اﻟﻘﺪﻳﻢ ﺑﻄﺎﺑﻌﻪ‬ ‫اﻟﺴريي واﳌﻠﺤﻤﻲ‪ ،‬وأﺳﺎﻃريه اﻟﻐﺰﻟﻴﺔ وﺑني اﳌﻮﺷﺤﺎت ﰲ أﻏﺎﻧﻴﻬﻢ‪،‬‬ ‫ﺣﺘﻰ أن ﻏري اﻟﻌﺎرف ﺑﺎﳌﺼﺎدر اﻟﺸﻌﺮﻳﺔ ﻗﺪ ﻻ ﻳﻠﺤﻆ أن ﻓريوز‬ ‫ﺗﻨﺘﻘﻞ ﺧﻼل ﻧﻔﺲ اﻷﻏﻨﻴﺔ ﻣﻦ أﺑﻴﺎت ﻋﻨﱰة اﳌﺒﺪوءة ﺑــ"وﻟﻘﺪ‬ ‫ذﻛﺮﺗﻚ" إﱃ أﺑﻴﺎت اﻟﺸﺎﻋﺮ اﻷﻧﺪﻟﴘ ﻟﺴﺎن اﻟﺪﻳﻦ ﺑﻦ اﻟﺨﻄﻴﺐ‬ ‫ﻣﻦ ﻣﻮﺷﺢ "ﺟﺎدك اﻟﻐﻴﺚ"‪ ،‬ﺛﻢ أﺑﻴﺎت راﺋﺪ اﳌﴪح اﻟﺴﻮري أيب‬ ‫ﺧﻠﻴﻞ اﻟﻘﺒﺎين اﳌﺘﻮﰲ أواﺋﻞ اﻟﻘﺮن اﻟـ ‪ 19‬واﻟﻌﻮدة ﺛﺎﻧﻴ ًﺔ إﱃ اﺑﻦ‬ ‫اﻟﺨﻄﻴﺐ‪ .‬أو ﺗﻨﺘﻘﻞ ﻣﻦ أﺑﻴﺎت ﻋﻨﱰة "ﻟﻮ ﻛﺎن ﻗﻠﺒﻲ ﻣﻌﻲ" إﱃ‬ ‫أﺑﻴﺎت اﻟﺸﺎﻋﺮ اﻟﻔﺎرﳼ ﻧﺼري اﻟﺪﻳﻦ اﻟﻄﻮﳼ ﻣﻦ اﻟﻘﺮن اﻟﺴﺎدس‬ ‫اﻟﻬﺠﺮي‪ ،‬وﻏريﻫﻢ ﻣﻦ اﻟﺸﻌﺮاء‪ ،‬ﻛﺎﻟﺒﺤﱰي اﻟﺬي ﺟﻤﻌﺖ ﻓريوز‬ ‫ﺑﻴﻨﻪ وﺑني ﻗﻴﺲ ﺑﻦ اﳌﻠﻮح واﳌﺘﻨﺒﻲ ﰲ أﻏﻨﻴﺔ واﺣﺪة‪.‬‬

‫ﻓﻦ اﻟﻤﻮﺷﺤﺎت اﻟﺬي ﺗﻨﺘﻤﻲ ﻟﻪ أﻏﻠﺐ‬ ‫ﻧﺼﻮص أﻟﺒﻮم »أﻧﺪﻟﺴﻴﺎت« اﻟﻤﺘﻀﻤﻦ ﻟﺒﻴﺘﻲ‬ ‫ﻋﻨﺘﺮة اﻟﺴﺎﺑﻘﻴْﻦ ﻫﻮ اﻟﻤﺪﺧﻞ اﻟﺤﻘﻴﻘﻲ‬ ‫ﻟﻠﺘﺮاث اﻟﺸﻌﺮي اﻟﻌﺮﺑﻲ ﻓﻲ ﺗﺠﺮﺑﺔ اﻟﺮﺣﺎﺑﻨﺔ‬

‫وﻛﺬﻟﻚ أﺑﻴﺎﺗﻪ اﻟﺘﻲ ﻗﺎﻟﻬﺎ ُﻗﺒﻴﻞ ﻣﺒﺎرزة ﺧﺎﻃﻒ ﻋﺒﻠﺔ اﻟﺬي ﺳﺒﻖ وأن‬ ‫‪ũƵŧƠ ƃŰŘ Ǉƨ‬‬ ‫ﺑﺎﻟﻌﻮدة ﻟﺒﻴﺘﻲ ﻋﻨﱰة اﻟﻠﺬﻳﻦ ذﻛﺮ ﻣﻨﺼﻮر رﺣﺒﺎين ﰲ ﺣﺪﻳﺜﻪ ﻟﻬرني ﺗﻘﺪم ﻟﺨﻄﺒﺘﻬﺎ‪ُ ،‬ﻣﺴﺤﻞ ﺑﻦ ﻃﺮاقٍ اﻟﻜﻨﺪي وﻗﺘﻠﻪ‪:‬‬ ‫*&‪O @ @ @ @ @ @ D* @@ @ @ @ @c@ @ @D* b@@ @ @ @ @ @ F‬‬ ‫@‪ @@ @ @< iÄ@U @ @ @ @ @ @ @ @1 ¥w‬‬ ‫زﻏﻴﺐ ﻗﺼﺔ ﻋﺒﻮرﻫام ﻟﻠﻐﻨﺎء‪ ،‬ﻓﺈن ﻗﺼ ًﺔ أﺧﺮى ﺗﺮوى ﺣﻮل ﻣﻨﺎﺳﺒﺔ‬ ‫ ‪P b@@ @ @ @ @ @ @ @ A&°* @@ @ @ @ C ¯ b@@ @ @ ~@ @ @ @7 ¥x@@ @ @ @ @ @ @ @ @ @C3P H‬‬ ‫ﻗﻮل ﻋﻨﱰة ﻟﻬام‪ ،‬ﻣﻠﺨﺼﻬﺎ أن اﻣﺮأ ًة ﻣﻦ ﻗﺒﻴﻠﺔ ﻛﻨﺪة ﻗﺪ ﻃﻠﺒﺖ ﻣﻨﻪ *(‪M b@@ @ @ E w@@ @ c@ @ @ + b@@ @ @ c@ @ @ @±* x@@ @s@ @ g@ @ A* *3‬‬ ‫اﻟﺒﻘﺎء ﻋﻨﺪﻫﺎ ﻋﲆ أن ﺗﺰوﺟﻪ ﻣﻦ ﻳﺮد ﻣﻦ ﺑﻨﺎﺗﻬﺎ‪ ،‬ﻟﻜﻨﻪ اﻋﺘﺬر ﻟﻬﺎ‬ ‫ ‪P b@@ @ @g@ @ @ @ @ @ D* ,x@@ @ @ @ @ ~@ @ @ }@ @ @ ´b@@ @ @+ ¥x@@ @ @s@ @ @ @ @ @ A‬‬ ‫ﻣﻌﻠﻨًﺎ وﻓﺎءه ﻟﺤﺐ ﻋﺒﻠﺔ‪ ،‬وأﻧﺸﺪ ﻫﺬﻳﻦ اﻟﺒﻴﺘني‪ ،‬اﻟﻠﺬﻳﻦ ﻋُ ﺪّا ﻣﻦ *&‪ *x@@ @ @ @ @- b@@ @ @ @ @E ,v@@ @ @ @ @ @ @ @ @ D Ä@@ @ @ @1b@@ @ @ @A °‬‬ ‫ ‪P b@@ @ @ @ ¹ @@ @ @ @ E b@@ @ @ g@ @ @ @ B @@ @ @ @ E Kb@ @ @ @c@ @ @ @Jx@@ @ @ B‬‬ ‫وﻗﺘﻬﺎ ﺿﻤﻦ ﻋﻴﻮن ﺷﻌﺮ اﻟﻐﺰل واﻟﺤﺐ‪.‬‬ ‫ﻫﺬه اﻟﻘﺼﺔ ﺗﺮد ﻛﺜرياً ﺿﻤﻦ ﻣﺼﺎدر ﺳرية ﻋﻨﱰة‪ ،‬اﻟﺬي ﻛﺎن ﻗﺪ ‪ @@ @ @ @ @E 4b@@ @ g@ @ @ s@ @ @ - b@@ @ @ @§ @@ @ @ @ @ @ @£@ @ @ @~@ @ @ @8H&*H‬‬ ‫ ‪"¤BÉgD* v@@ @ @ @ @+ f@@ @ @ @ @ @ @/4 @@ @ Db@@ @ @ @ @A‬‬ ‫ذﻫﺐ إﱃ ﻛﻨﺪة ﻣﻘﺘﻔﻴﺎً أﺛﺮ ﻋﺒﻠﺔ ﻟﺘﺨﻠﻴﺼﻬﺎ وأﺑﻴﻬﺎ وأﺧﻴﻬﺎ ﻣﻦ‬ ‫اﻷﴎ‪ ،‬ﺑﻌﺪﻣﺎ أﺿﺎﻋﻬﺎ أﺑﻮﻫﺎ ﰲ إﺣﺪى ﻣﺮات ﻫﺮوﺑﻪ اﳌﺘﻜﺮر ﺑﻬﺎ‪،‬‬ ‫ﺑﺤﺴﺐ ﺳرية ﻋﻨﱰة أو إﺣﺪى ﻋﺪﻳﺪ رواﻳﺎﺗﻬﺎ‪ ،‬ﻋﺎد ﻋﻨﱰة ﺑﻌﺒﻠﺔ‬ ‫ﻟﻠﺘﻤﻠﺺ ﻣﻦ وﻋﺪ إمتﺎم زواﺟﻬﺎ ﺑﻌﻨﱰة‪.‬‬ ‫وإذا ﻛﺎﻧﺖ ﺳرية ﻋﻨﱰة ﺧﻀﻌﺖ ﻣﺆﺧﺮاً ﻟﻠﻜﺜري ﻣﻦ ﻣﺤﺎوﻻت وأﺑﻴﻬﺎ إﱃ دﻳﺎر ﻋﺒﺲ‪ ،‬ﻟﻜﻦ ﻫﺬا مل ﻳﻜﻦ ﻧﻬﺎﻳﺔ اﻟﻘﺼﺔ اﻟﺘﻲ ﺻﻮرﺗﻬﺎ‬ ‫اﻟﺘﺤﻘﻴﻖ واﻟﺘﻮﺛﻴﻖ؛ ﺑﻌﺪﻣﺎ ﺗﺎﻫﺖ أﺣﺪاﺛﻬﺎ ﰲ اﻟﻜﺜري ﻣﻦ اﳌﺒﺎﻟﻐﺎت اﻷﻋامل اﻟﺴﻴﻨامﺋﻴﺔ واﳌﴪﺣﻴﺔ واﻟﺪراﻣﻴﺔ‪ ،‬وﺣﺘﻰ ﺑﻌﺾ اﻟﺮواﻳﺎت‬ ‫واﳌﻐﺎﻟﻄﺎت اﻟﺘﻲ أﻗﺤﻤﺖ ﻋﻠﻴﻬﺎ ﻣﻦ ﻛرثة ﺗﻨﺎوﻟﻬﺎ اﻟﻔﻨﻲ واﻟﺪراﻣﻲ‪ ،‬اﳌﻜﺘﻮﺑﺔ ﺑﻄﺮﻳﻘﺔ ﺷﺪﻳﺪة اﻻﺧﺘﺰال واﻻﺳﺘﺴﻬﺎل‪ ،‬ﻓﺎﳌﺘﺘﺒﻊ ﻟﻬﺬه‬ ‫ﻓﺈن واﻗﻌﺔ زﻳﺎرة ﻋﻨﱰة ﻷرض ﺑﻨﻲ ﻛﻨﺪة ﻣﺆرﺧﺔ ﺷﻌﺮ ًﻳﺎ ﺿﻤﻦ اﻟﺴرية ﻳﺠﺪ أن ﺳﻌﻲ ﻋﻨﱰة اﻟﺪاﺋﻢ وراء ﻋﺒﻠﺔ‪ ،‬وﻧﻀﺎﻟﻪ ﻣﻦ أﺟﻠﻬﺎ‬ ‫ﻛﺎن أﺷﺒﻪ ﺑﺎﳌﻼﺣﻢ اﻹﻏﺮﻳﻘﻴﺔ اﳌﻤﺘﺪة‪ ،‬اﻟﺘﻲ ﻣﺎ إن ﺗﻨﺘﻬﻲ ﻣﻌﺮﻛﺔ ﺑﻬﺎ‬ ‫دﻳﻮاﻧﻪ ﰲ أﻛرث ﻣﻦ ﻣﻮﺿﻊ ﻣﺜﻞ‪:‬‬ ‫ﺣﺘﻰ ﺗﺒﺪأ أﺧﺮى‪ ،‬أو ﺑﺎﻟﻮﺣﻮش اﻷﺳﻄﻮرﻳﺔ اﻟﺘﻲ ﻣﺎ أن ﺗﻘﻄﻊ رأس‬ ‫‪N‬‬ ‫"‪¥HRv@ @ @- ¤@@ @ GH ,Nv@ @ @ R @ @ @ CP 4b@@ @ @ J2 OhBR xN :‬‬ ‫‪ 2b@@ @£@ @ ±* @@P @ @}@ @ @ C4 R @@ @ @ @ E Pv@@ @ @ <x@@ @ @ D* S¥H2‬أﺣﺪﻫﺎ ﺣﺘﻰ َ‬ ‫ﺗﻨﺒﺖ ﻟﻪ ﻋﺪﻳﺪُ اﻟﺮؤوس‪.‬‬ ‫ ‪b@@ @ @Gb@@ @ @+4O ¯ @@N @ @ @ 64P *¡@@ @ @ @ N @ @ @ @ @D* iRO 2vS @ @ @ @ @ @ @ @ @ @ @ @+N H‬‬ ‫ﻣﻦ أﺟﻞ ﻋﺒﻠﺔ اﺿﻄﺮ ﻋﻨﱰة ﺗﻘﺮﻳﺒﺎ ﳌﻘﺎﺗﻠﺔ أﻏﻠﺐ ﻗﺒﺎﺋﻞ ﺷﺒﻪ‬ ‫ ‪ "P2*y@@ @ @ @ @ @ @ @ @´* *¡@@ @ @ @ @ @ @ @ @ @ A&* P @@ @ @ j@ @ @ @E @M @ @ @ @ @ @ @ @ @ +‬اﻟﺠﺰﻳﺮة اﻟﻌﺮﺑﻴﺔ وﺣﻠﻔﺎﺋﻬﺎ‪ ،‬وﻣﻠﻮك اﻟﺤرية‪ ،‬وﻛــﴪى ﻓﺎرس‪،‬‬ ‫اﻟﺸﻌﺮ ‪baytelshear‬‬ ‫ﺑﻴﺖ ِ‬

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‫‪Ĝšřņ ¯ ĬšĸŌ‬‬

‫»إﻛﺮاﻣﺎ« ﻟﺬﻛﺮﻳﺎت ﻣﻨﺼﻮر وﻋﺎﺻﻲ‪..‬‬ ‫ﻏﻨﺖ ﻟﻪ ﻓﻴﺮوز‬ ‫ً‬

‫ﻋﻨﺘﺮة ﺑﻦ ﺷﺪاد‪..‬‬ ‫ا&ﺧﻮﻳﻦ رﺣﺒﺎﻧﻲ‬ ‫ﻓﺎرس ﻃﻔﻮﻟﺔ‬ ‫ْ‬ ‫ﻋﺰة ﺣﺴﻴﻦ‬ ‫"ﺣني ﻳﺘﻔ ّﺮق اﻟﺰﺑﺎﺋﻦ آﺧﺮ اﻟﻠﻴﻞ‪ ،‬ﻛﺎن أيب ﻳﺠﻠﺲ ﻟﻮﺣﺪه أو ﻣﻊ‬ ‫أﺣﺪ أﺻﺪﻗﺎﺋﻪ‪ ،‬وﻳﺮوح ﻳﻌﺰف ﻋﲆ اﻟﺒﺰق أﻧﻐﺎﻣﺎً ﺷﺠ ّﻴﺔ ﺗﻄﺮﺑﻨﺎ‪ ،‬ﻋﲆ‬ ‫ﻧﻮر ﻗﻨﺪﻳﻞ ﻛﺒري ّ‬ ‫ﻳﺘﺪﱃ ﻣﻦ اﻟﺴﻘﻒ‪ ،‬ﻟﻪ إﻃﺎر ﻛﺒري ﻳﻔﻴﺾ اﻟﻨﻮر ﻣﻦ‬ ‫ﺛﻢ ﻳﻐﺮق ﻛﻞ ﳾء ﺧﺎرﺟﻬﺎ‬ ‫ﺗﺤﺘﻪ إﱃ داﺋﺮة ﻣﻌ ّﻴﻨﺔ ﺣﻮل اﳌﻘﻬﻰ‪ّ ،‬‬ ‫ﰲ اﻟﻌﺘﻤﺔ اﻟﻜﱪى‪ .‬ﻛﺎﻧﺖ أﺳﺌﻠﺘﻨﺎ ﺗﺒﺪأ ﻣﻦ ﺣﺪود ﺗﻠﻚ اﻟﻌﺘﻤﺔ‪ :‬ﻣﺎ‬ ‫اﻟﺬي ﻫﻨﺎك؟ ﻣﺎذا ﻳﺠﺮي ﺧﻠﻒ ﺣﺪود اﻟﻀﻮء؟‬ ‫ﻛﻨّﺎ ﻧﺠﻠﺲ‪ ،‬ﻋﺎﴆ وأﻧﺎ‪ ،‬ﺻﺎﻣﺘَني‪ُ ،‬ﻧﺼﻐﻲ إﱃ أﺑﻴﻨﺎ ﻳﻐﻨّﻲ ﺑﺼﻮﺗﻪ‬ ‫اﻟﺠﻬﻮري‪ .‬وﻣﻦ ﺗﻠﻚ اﻟﺴﻬﺮات‪ ،‬ﺣﻔﻈﻨﺎ ﻣ ّﻮاﻻً ﻟﻌﻨﱰة ﻛﺎن ﻏﺎﻟﺒﺎً‬ ‫ﻳﺮدّده‪:‬‬ ‫‪O @ @ @1* b@@ E ¤@@ @ E ¤@@c@ @ B b@@ @C ¡@@ D‬‬ ‫@‪ O @ CÌ@@= iÆ‬‬ ‫‪°v@@ @ + I¡@@ @ @ @ D* ¯ @@ C*¡@@ ~@ @ 6 h@@ £@ @~@ @94 °H‬‬ ‫‪ @@ @ +wQ @ @ @ @ @ @ J @@ @ @ @ @E ¯ d@L @ @ @ @ @ @ @ @ @ @=*4 @@ @ @ Q @ @ @ @ @ @ @ @D‬‬ ‫‪°w@@ @ @ < °H b@@ @ @ EK ¡@@ @ @ D ° @@ @c@ @ @ @ J @@ @z@ @ £@ @ DH‬‬

‫أﺑﻌﺪ ﻣﻦ ﻣﺠﺮد ﺷﺎﻋﺮﻳﺘﻬام وﻏﻨﺎﺋﻴﺘﻬام اﻟﻀﺎﻓﻴﺘني‪ ،‬وإمنﺎ اﺳﺘﺠﺎﺑﺔ‬ ‫ﻟﺬﻛﺮى ﻗﺪميﺔ‪ ،‬مل ﻳﻨﻤﺢ أﺛﺮﻫﺎ ﰲ ﻧﻔﴘ اﻟﺸﻘﻴﻘني اﻟﻠﺬ ْﻳﻦ ﻛﺎﻧﺎ أﻗﺮب‬ ‫ﺗﻮأم ﻣﺨﺘﻠﻒ اﻟﻌﻤﺮ‪ ،‬ﻋﻦ أﺑﻴﻬام ﺻﺎﺣﺐ اﻟﺸﺨﺼﻴﺔ اﻟﺪراﻣﻴﺔ‬ ‫إﱃ ٍ‬ ‫ُ‬ ‫ﻣﻲ‪ ،‬اﻟﺬي "ﻛﺎن ﻳﺮوي ﻗﺼﺎﺋﺪ ﻛﺎﻣﻠﺔ ﻣﻦ‬ ‫ﺣﻨﺎ اﻟﺮﺣﺒﺎين‪ ،‬اﻟﺮﺟﻞ اﻷ ّ‬ ‫ً‬ ‫ﻋﻨﱰة ﻟﺸ ّﺪة إﻋﺠﺎﺑﻪ ﺑﻪ‪ ،‬ﺣﺘﻰ أﻧﻪ ﺑﺎع ﻳﻮﻣﺎ ﻃﻨﺠﺮ ًة ﻣﻦ اﳌﻘﻬﻰ ‪-‬‬ ‫اﻟﺬي ميﻠﻜﻪ ‪ -‬ﻟﻴﺸﱰي ﺑﻬﺎ دﻳﻮان ﻋﻨﱰة ﺑﺘﺤﻘﻴﻖ اﺑﺮاﻫﻴﻢ اﻟﻴﺎزﺟﻲ"‪.‬‬ ‫وﰲ ﺳﻴﺎقٍ آﺧﺮ ذﻛﺮ اﻟﺒﺎﺣﺚ ﻣﺤﻤﺪ ﻣﻨﺼﻮر ﰲ ﻛﺘﺎﺑﻪ "اﻟﺨﺎرﻃﺔ‬ ‫اﻟﺸﻌﺮﻳﺔ ﰲ اﻷﻏﻨﻴﺔ اﻟﺮﺣﺒﺎﻧﻴﺔ" أن ﻓﻦ اﳌﻮﺷﺤﺎت اﻟﺬي ﺗﻨﺘﻤﻲ ﻟﻪ‬ ‫اﻟﺴﺎﺑﻘني‬ ‫أﻏﻠﺐ ﻧﺼﻮص أﻟﺒﻮم "أﻧﺪﻟﺴﻴﺎت" اﳌﺘﻀﻤﻦ ﻟﺒﻴﺘﻲ ﻋﻨﱰة‬ ‫ْ‬ ‫ﻫﻮ اﳌﺪﺧﻞ اﻟﺤﻘﻴﻘﻲ ﻟﻠﱰاث اﻟﺸﻌﺮي اﻟﻌﺮيب ﰲ ﺗﺠﺮﺑﺔ اﻟﺮﺣﺎﺑﻨﺔ‪،‬‬ ‫إذ وﺟﺪ ﻓﻴﻪ اﻷﺧﻮان ﻣﻨﺼﻮر وﻋﺎﴆ ﺗﺠﺴﻴﺪاً ﻟﻠﺮوح اﻟﺮوﻣﺎﻧﺴﻴﺔ‬ ‫اﳌﺘﺄﺻﻠﺔ ﰲ أﻏﻨﻴﺎﺗﻬام‪ ،‬ﺧﺼﻮﺻﺎً ﻋﲆ ﺻﻌﻴﺪي اﻟﻐﺰل ووﺻﻒ‬ ‫ﻣﺘﻨﻘﻠني‬ ‫اﻟﻄﺒﻴﻌﺔ‪ .‬ﻟﻜﻨﻬام مل ﻳﺘﻮﻗﻔﺎ ﻋﻨﺪ ﺣﺪود اﳌﻮﺷﺤﺎت وﻓﺎرﻗﺎﻫﺎ‬ ‫ْ‬ ‫ﺑني ﻣﻌﻈﻢ ﻋﺼﻮر اﻟﺸﻌﺮ اﻟﻌﺮيب‪ ،‬ﺑﺪءاً ﻣﻦ اﻟﺸﻌﺮ اﻟﺠﺎﻫﲇ‪ ،‬ﺣﻴﺚ‬ ‫ﻛﺎن ﻋﻨﱰة ﺑﻦ ﺷﺪاد أﺣﺪ أﺑﺮز ﺷﻌﺮاء ﻣﺎ ﻗﺒﻞ اﻹﺳﻼم اﻟﺬﻳﻦ ﻏﻨﺖ‬ ‫ﻟﻬﻢ ﻓريوز‪:‬‬

‫وإﻛﺮاﻣﺎً ﻟﺘﻠﻚ اﻟﺬﻛﺮﻳﺎت‪ ،‬أدﺧﻠﻨﺎ ﻻﺣﻘﺎً ﻫﺬﻳﻦ اﻟﺒﻴﺘني ﰲ ﻟﻮﺣﺔ‬ ‫ّ‬ ‫ﻣﻮﺷﺤﺎت"‪.‬‬ ‫ ‪ @L @ @ PG*¡@@ @ FN rO b@@ @ @ @ExQP @ @ @ @ D*H P @@ @ @ -O x@@ @ @ CN 3N v@@ @ @ N @ @ @ DN HN‬‬ ‫ﰲ ﻛﺘﺎﺑﻪ "اﻷﺧﻮﻳﻦ رﺣﺒﺎين ‪ -‬ﻃﺮﻳﻖ اﻟﻨﺤﻞ" روى اﻟﺸﺎﻋﺮ اﻟﻠﺒﻨﺎين‬ ‫ ‪¤@@ E2N @@ PE xO @ @O @ @ -N Pv@@ @ P @ D* @O @}@ £@ +P H ¤@@ Q @ @ PE‬‬ ‫ﻫرني زﻏﻴﺐ ﻋﻦ اﻟﺸﺎﻋﺮ ﻣﻨﺼﻮر رﺣﺒﺎين ﻛﻮاﻟﻴﺲ ﻏﻨﺎء ﻓريوز ‪O 2¡N @ @ @ @ @ @ @ @ @AN‬‬ ‫@¡ ‪ b@@ @ @ @ @ @ FNQ N&°‬‬ ‫‪P @ @£@ @ ~@@O @z@ @ D* N @ @£@ @c@ @ @ @-N i2N‬‬ ‫ ‪ @P @ @~@@QP @z@ @ cN @ @ gN @ @ O ´* P Px@ @ @ @ @ @ @ @.N P P4b@@ @ @ @c@ @ @ @ CN h@@ @ @ N @ @ @ N ´N‬‬ ‫ﻟﻠﺒﻴﺘني اﻟﺴﺎﺑﻘني ﻣﻦ ﺷﻌﺮ ﻋﻨﱰة‪ ،‬واﻟﻠﺬﻳﻦ ﻛﺎن ﻣﺎ وراء اﺧﺘﻴﺎرﻫام‬

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‫اﻟﻌﺪد ‪ ، 85‬ﻳﻨﺎﻳﺮ ‪2020‬‬

‫اﻟﻘﺼﻴﺪة‪ ،‬وﻫﻮ ﻣﺎ ﻛﺮره ﻛﺜريا ﰲ ﻣﻮاﺿﻊ أﺧﺮى‪ ،‬ﻟﻜﻨﻪ ﺗﺠﺎوز إﱃ أﺑﻨﺎﺋﻪ وأﺣﻔﺎده أﻳﺔ ﻏﻀﺎﺿﺔ ﰲ اﻟﺘﺴﻠﻴﻢ ﺑﺄﺣﻘﻴﺘﻪ وﺟﺪارﺗﻪ ﺑﺬﻟﻚ‬ ‫ﺣﺪ وﺻﻒ ﻧﻔﺴﻪ ﺑﺎﻟـ " اﻟﻔﻬﻴﻢ" ﻛﻨﻮع ﻣﻦ اﻻﺳﺘﻐﺮاق ﰲ اﻟﺘﻔﺎﺧﺮ اﻟﻠﻘﺐ؛ ﻓﺼﺎر ﺣﺪاد " واﻟﺪ اﻟﺸﻌﺮاء" ﻓﻌﻼ ﺑﺮﻳﺎدﺗﻪ وﺗﺪﻓﻖ ﻣﻮﻫﺒﺘﻪ‬ ‫وﺗﺴﻠﻴﻢ اﻟﺠﻤﻴﻊ ﻟﻪ؛ إذ ﻳﻘﻮل ﺣﺪاد ﰲ إﺣﺪى ﻗﺼﺎﺋﺪه اﻟﺸﻬرية‪:‬‬ ‫واﻻﻋﺘﺰاز ﺑﺎﻟﻨﺒﺎﻫﺔ واﻟﻨﺒﻮغ اﻟﺸﻌﺮي‬ ‫*&‪2*Qv0 2*'¡A $*x ~{D* vD*H bF‬‬ ‫ﻓﻔﻲ إﺣﺪى ﻗﺼﺎﺋﺪه ﻳﻘﻮل ‪:‬‬ ‫ *&‪2°H bEbJH vD*¡D* bF&* ¡J‬‬ ‫‪x@@ @ @~@ @7 ib@@ @ @ @ @£@ @ @ @ @ +&* ¥v@@ @ @ @ @Jb@@ @ @ @ @´* ¡@@ @ @ @ @ @ @J‬‬ ‫ ‪ 2*2H + g£+U 4N f~zPQ cBN Áb@@ @ c@ @ @´* i°v@@ @ @ @ @ @ < @@ @ @ £@ @ @ @±* 2*v@@ @ @ @ @ @ J‬‬

‫‪2*v<(*H ·P HQ &* w£ - f~6Q Pv N+‬‬ ‫وإذا ﻛﺎن اﻟﺒﺪء ﺑﻠﻔﻈﺔ " ﻳﻘﻮل اﻟﺸﺎﻋﺮ" ﻋﺮف ﺷﻌﺮي وﺳﻤﺔ رﺋﻴﺴﻴﺔ *‪ £A2b~|- b0 ¢gE*H b£F2 bJ +‬‬ ‫ﻣﻦ ﺳامت اﻟﺸﻌﺮ اﻟﺸﻌﺒﻲ اﻟﺬي ﻳﻌﺘﻤﺪ أﺳﺎﺳﺎ ﻋﲆ اﻟﺸﻔﺎﻫﺔ‪ @@ @ £A 2b~8 CH xp+ ¶*¡Q E ،‬‬ ‫‪¤ A t£~7 h C ¢ ~6 x ~8 E‬‬ ‫‪O‬‬ ‫إذ ﺗﻠﻌﺐ ﻣﻔﺮدة " ﻳﻘﻮل" دور اﻹﺷﺎرة إﱃ اﻟﺤﻀﻮر ﺑﺄن اﻟﺸﺎﻋﺮ‬ ‫ﺳﻮف ﻳﺒﺪأ اﻹﻧﺸﺎد وﻋﻠﻴﻬﻢ أن ﻳﺴﺘﻌﺪوا ﻟﻺﻧﺼﺎت ﻻﻗﺘﻨﺎص اﳌﺘﻌﺔ‬ ‫واﻟﺪﻫﺸﺔ‪ ،‬ﻓﺈن اﳌﺎﺟﺪي و ﻧﺪرة ﻣﻦ اﻟﺸﻌﺮاء اﻟﻜﺒﺎر ﺗﺠﺎوزوا إﱃ‬ ‫اﻟﺘﴫﻳﺢ ﺑﺄﺳامﺋﻬﻢ ﺑﻞ وﻣﻨﺤﻮا أﻧﻔﺴﻬﻢ أﻟﻘﺎﺑﺎ وﺻﻔﺎت ﻛام رأﻳﻨﺎ‪،‬‬ ‫وﰲ اﻟﺒﻴﺖ اﻟﺴﺎﺑﻖ ﺗﺄيت ﺟﻤﻠﺔ "ﻳﻘﻮل اﳌﺎﻳﺪي" ﻛﺘﺄﻛﻴﺪ ﻣﻨﻪ ﻋﲆ‬ ‫ﻓﺤﻮﻟﺘﻪ اﻟﺸﻌﺮﻳﺔ وﺳﻴﻄﺮﺗﻪ‪ ،‬وﻗﺪ ﻓﻌﻠﻬﺎ ﻛﺬﻟﻚ ﺷﻌﺮاء ﻗﻠﻴﻠﻮن ﻣﻨﻬﻢ‬ ‫ﻣﺜﻼ ﻳﻌﻘﻮب اﻟﺤﺎمتﻲ إذ ﻳﻘﻮل‪:‬‬ ‫‪ @@~@6¡@@J v@@ @DH ¤@@ b@@ ²* e¡@@ @ @ J ¡@@ @ J‬‬ ‫ *&‪b@@ @Db@@j@g@E* Ì@@ @ ~@ }@ D* @@ E x@@ @~@7 ib@@ £@ @+‬‬ ‫وﻛﺮرﻫﺎ ﻻﺣﻘﺎ اﻟﺸﺎﻋﺮ ﻣﺒﺎرك اﻟﻌﻘﻴﲇ ﺣني ﻗﺎل‪:‬‬ ‫‪ *v@@ @ @ @+(°* d@@ £@ @C*x@@ - ¯ ¤@@ @ £@ @ @ D* b@@ @ B‬‬ ‫ *&‪¤@@ @ <*H @@ @ C É@@ @ @´* ¯ ex@@ @ @ @ - b@@ @ j@ @ @E‬‬ ‫‪ b@@E I¡@@ ±* 4b@@ F ¡@@ @~@8 @@E x@@Eb@@~@9 @@E‬‬ ‫ ‪¤@@ <b@@ £@ g@ D* @@ £@ @ A @@ @ 0 d@@ @ @ B @@ @ @ JH b@@ @ J‬‬ ‫وﻗﺪ ﻓﻌﻠﻬﺎ ﻛﺬﻟﻚ اﻟﺸﺎﻋﺮ اﻟﺸﻌﺒﻲ اﳌﴫي اﳌﻌﺮوف ﻓﺆاد ﺣﺪاد‬ ‫ﺑﺸﻜﻞ ﻣﺨﺘﻠﻒ وﻣﺮاوغ ﻳﺒﺪو أﻛرث ﺗﻮاﺿﻌﺎ ﰲ اﻟﺼﻴﺎﻏﺔ ﻣﻊ أﻧﻪ ﰲ‬ ‫اﳌﻌﻨﻰ واﻟﺪﻻﻟﺔ‪ .‬وﺣﺪاد ﺻﺎﺣﺐ اﻟﻜﺜري ﻣﻦ اﻷﻟﻘﺎب ﻳﺄيت ﻋﲆ رأﺳﻬﺎ‬ ‫ﻟﻘﺒﻪ" واﻟﺪ اﻟﺸﻌﺮاء " وﻫﻮ اﻟﻠﻘﺐ اﻟﺬي أﻃﻠﻘﻪ ﻓﺆاد ﺣﺪاد ذاﺗﻪ‬ ‫ﻋﲆ ﻧﻔﺴﻪ وﻃﺮﺣﻪ ﰲ ﻗﺼﺎﺋﺪه وﺣﻮاراﺗﻪ ﺑﺸﻜﻞ ﻣﺘﻌﻤﺪ وﻣﻘﺼﻮد‬ ‫وواع‪ ،‬ﻓﻴام مل ﻳﺠﺪ ﺟﻤﻬﻮره وﻋﺸﺎﻗﻪ ﻣﻦ أﻗﺮاﻧﻪ وﻣﺠﺎﻳﻠﻴﻪ وﻣﻦ ﺛﻢ‬

‫ﻓﺎﻟﺮﺟﻞ ﻳﺆﻛﺪ أﻧﻪ ﺑﺤﺮ ﺑﻜﻞ ﻣﺎ ﻳﻌﻨﻴﻪ ﻣﻔﻬﻮم اﻟﺒﺤﺮ ﻣﻦ ﻋﻤﻖ‬ ‫واﺗﺴﺎع‪ ،‬وﺛﺮاء وﻳﺆﻛﺪ "ﻛﻠﻬﻢ" أي اﻟﺸﻌﺮاء اﻵﺧﺮﻳﻦ‪ ،‬اﻟﺬﻳﻦ راﺣﻮا‬ ‫ﻳﺒﺤﺜﻮن ﰲ ﺑﺤﺮ إﺑﺪاﻋﻪ ﻋام ميﻜﻦ ﺗﻘﻠﻴﺪه أو إﻋﺎدة ﺻﻴﺎﻏﺘﻪ ﻣﻦ‬ ‫ﺟﺪﻳﺪ‪ ،‬وﻫﻨﺎ ﻧﺆﻛﺪ ﻋﲆ ﻣﺎ ﺳﺒﻖ وذﻛﺮﻧﺎ أﻧﻪ ﻟﻮﻻ متﻜﻦ اﻟﺸﺎﻋﺮ وﺛﻘﺘﻪ‬ ‫ﰲ ﺣﺠﻢ ﻣﻮﻫﺒﺘﻪ اﻟﻜﺒرية وإﻗﻨﺎع اﳌﺴﺘﻤﻊ ﺑﻬﺎ وﺳﻠﻄﺎﻧﻪ ﻋﲆ اﳌﻌﺎين‬ ‫اﻟﺘﻲ ﺗﺄمتﺮ ﺑﺄﻣﺮه ﻣﺎ ﻛﺎن ﻟﻴﺠﺮؤ أن ﻳﻘﺪم ﻋﲆ اﺣﺘﻼل ﺗﻠﻚ اﳌﻨﺰﻟﺔ‬ ‫اﻟﻌﺎﻟﻴﺔ اﻟﺘﻲ ﺗﻈﻞ ﺗﺮﺗﺒﻂ ﺑﺎﺳﻤﻪ‪ ،‬ﺛﻢ ﻻ ﻳﺴﺘﻄﻴﻊ أي ﺷﺎﻋﺮ ﺑﻌﺪ ذﻟﻚ‬ ‫أن ﻳﻨﺎزﻋﻪ ﻓﻴﻬﺎ‪.‬‬ ‫وﻫﻜﺬا ﺻﺎر اﻟﻠﻘﺐ "واﻟﺪ اﻟﺸﻌﺮاء" ﻣﺎرﻛﺔ ﻣﺴﺠﻠﺔ وﻋﻼﻣﺔ ﺗﺪل‬ ‫ﻋﻠﻴﻪ وﻳﺪل ﻋﻠﻴﻬﺎ‪ ،‬ﻓﻴام مل ﻳﺠﺮؤ ﺷﺎﻋﺮ أو ﻏري ﺷﺎﻋﺮ ﻳﻮﻣﺎ ﻋﲆ‬ ‫ﻣﻌﺎرﺿﺘﻪ ﻓﻴام ذﻫﺐ إﻟﻴﻪ أو ﺣﺘﻰ ﺣﺎول ﺗﻔﻨﻴﺪ اﻟﻠﻘﺐ أو ﺳﺤﺒﻪ‬ ‫ﺳﻮاء ﰲ ﺣﻴﺎة ﺣﺪاد أو ﺑﻌﺪ رﺣﻴﻠﻪ‪ ،‬وﻫﻮ اﻟﻠﻘﺐ اﻟﺬي ﻳﺤﻤﻞ ﺣﻜام‬ ‫ﺗﺎرﻳﺨﻴﺎ وﻗﻴﻤﺔ ﻻ ميﻜﻦ ﺗﺠﺎﻫﻠﻬﺎ‪.‬‬ ‫وﻣﻦ اﻟﻼﻓﺖ أن ﻫﺬا اﻟﻨﻮع ﻣﻦ اﻟﺸﻌﺮاء اﻟﻜﺒﺎر أﺻﺤﺎب اﻟﻘﺎﻣﺎت‬ ‫اﻟﻌﻤﻼﻗﺔ ﺗﺰﺧﺮ ﺗﺠﺎرﺑﻬﻢ اﻟﺸﻌﺮﻳﺔ ﻋﺎدة وﺑﺸﻜﻞ زاﺋﺪ ﻋﻦ ﺑﻘﻴﺔ‬ ‫اﻟﺸﻌﺮاء ﺑﺎﻟﻔﻠﺴﻔﺔ واﻟﺤﻜﻤﺔ واﻟﺮؤى اﻟﺜﺎﻗﺒﺔ واﻟﺒﺼرية اﻟﻨﺎﻓﺬة‪ ،‬ﻣام‬ ‫ﻳﺠﻌﻞ اﻟﺸﺎﻋﺮ ﻣﻨﻬﻢ ﻟﺴﺎن ﺣﺎل ﻗﻮﻣﻪ وﺗﺮﺟامن آﻣﺎﻟﻬﻢ وآﻻﻣﻬﻢ‬ ‫وﻣﺴﺘﻮدع ﺣﻜﻤﺘﻬﻢ وﺗﺠﺎرﺑﻬﻢ اﻹﻧﺴﺎﻧﻴﺔ‪ ،‬وﺻﺎﺣﺐ ﻣﻨﺰﻟﺔ ﻛﺒرية‬ ‫وﻣﻘﺎم رﻓﻴﻊ ﰲ أﻫﻠﻪ وﻋﺸريﺗﻪ وﻣﺠﺘﻤﻌﻪ‪ ،‬ﻣﻨﺰﻟﺔ ﻻ ﻳﺼﻞ إﻟﻴﻬﺎ ﺷﺎﻋﺮ‬ ‫آﺧﺮ ﺑﺴﻬﻮﻟﺔ‪ ،‬إذ ﻻ ﻳﺤﺘﻞ ﻫﺆﻻء اﻟﺸﻌﺮاء ﻣﻜﺎﻧﺘﻬﻢ ﺗﻠﻚ ﻣﻦ ﻓﺮاغ‪.‬‬

‫اﻟﺸﻌﺮ ‪baytelshear‬‬ ‫ﺑﻴﺖ ِ‬

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‫‪ĜšĻŌ‬‬

‫‪ ƂǂƃƤǂ ǆƃơƌ ŕǑơŭƈŢ‬‬ ‫‪ ¦ ƂŢſŭƬŢǂ ũƭŰ ƶŘ‬‬ ‫ﺟﻤﺎل ﻓﺘﺤﻲ‬

‫اﻟﺸﻌﺮاء ﻛﺜريون‪ ،‬ﻟﻜﻦ ﻗﻠﻴ ًﻼ ﺟﺪا ﻣﻨﻬﻢ ﻣﻦ ﺣﺎز ﻣﻮﻫﺒﺔ اﺳﺘﺜﻨﺎﺋﻴﺔ‬ ‫ﻣﻜﻨﺘﻪ ﻣﻦ أن ﻳﺴﻜﻦ ﻗﻤﺔ ﻋﺎﻟﻴﺔ ﻳﺼﻌﺐ ﻋﲆ ﻏريه اﻟﻮﺻﻮل إﻟﻴﻬﺎ‪،‬‬ ‫وﻣﻦ ﻫﺆﻻء ﻣﻦ دﻓﻌﺘﻪ ﺛﻘﺘﻪ اﻟﻜﺒرية ﰲ ﻣﻘﺪرﺗﻪ اﻟﺸﻌﺮﻳﺔ ودﻓﻌﻪ‬ ‫ﻛﺬﻟﻚ ﺗﻘﺪﻳﺮه ﻟﺬاﺗﻪ واﻹﻋﺠﺎب ﺑﻬﺎ إﱃ ﺗﻘﺪﻳﻢ ﻧﻔﺴﻪ إﱃ ﺟﻤﻬﻮره‬ ‫ﻛﺼﻮت ﻣﺘﻔﺮد ومنﻮذج ﺷﻌﺮي ﻧﺎﺻﻊ ﻻ ﻳﻀﺎﻫﻴﻪ أﺣﺪ‪ ،‬ﺑﻞ إن ﺑﻌﻀﻬﻢ‬ ‫ﻛﺎن ﻳﺨﻠﻊ ﻋﲆ ﻧﻔﺴﻪ اﻷوﺻﺎف واﻷﻟﻘﺎب اﻟﺘﻲ ﻳﺮى أﻧﻪ ﻳﺴﺘﺤﻘﻬﺎ‬ ‫ﺑﺠﺪارة وميﺘﺪح ﻧﻔﺴﻪ وﻣﺎ ﻳﻜﺘﺐ ﻣﺒﺎﻫﻴﺎ وﻣﺘﺤﺪﻳﺎ ﺷﻌﺮاء زﻣﺎﻧﻪ‬ ‫وﻣﺘﻔﺎﺧﺮا أﻣﺎم ﻋﺸﺎﻗﻪ وﻣﺮﻳﺪﻳﻪ وﺟﻤﻬﻮره اﻟﻌﺮﻳﺾ ﻣﻦ ﻋﺸﺎق‬ ‫اﻟﻘﺼﻴﺪة ﰲ ﻛﻞ ﻣﻜﺎن‪ ،‬وﰲ ﺗﺎرﻳﺦ اﻟﺸﻌﺮ اﻟﻌﺮيب اﻟﻔﺼﻴﺢ ﺑﺼﻔﺔ‬ ‫ﻋﺎﻣﺔ ﺣﻴﺚ ﺗﻌﻮد اﻟﻘﺼﻴﺪة ﻗﺮوﻧﺎ إﱃ اﻟﻮراء ﺣﺪث ﻛﺜريا أن ﺗﻔﺎﺧﺮ‬ ‫اﻟﻜﺜري ﻣﻦ اﻟﺸﻌﺮاء اﻟﻔﺤﻮل ﺑﺴﻠﻄﺎﻧﻬﻢ ﻋﲆ اﻟﻜﻠﻤﺔ وﺳﻴﻄﺮﺗﻬﻢ ﻋﲆ‬ ‫اﻟﻠﻐﺔ وأﴎﻫﻢ ﻟﻠﻤﻌﺎين وﻗﻴﺎدﺗﻬﻢ ﻟﻠﻘﻮاﰲ وﻛﺜريا ﻣﺎ ﺗﻔﺎﺧﺮوا ﻋﲆ‬ ‫أﻗﺮاﻧﻬﻢ وﺷﻌﺮاء زﻣﺎﻧﻬﻢ مبﺎ ﺣﺎزوا ﻣﻦ ﺳﻄﻮة ﺷﻌﺮﻳﺔ‪ ،‬وﻗﺪ ورث‬ ‫اﻟﺸﻌﺮاء اﻟﺸﻌﺒﻴﻮن ﺗﻠﻚ اﻟﺴﻤﺔ وذﻟﻚ اﻟﻌﺠﺐ ﺑﺎﻟﻨﻔﺲ ﻋﲆ اﻣﺘﺪاد‬ ‫رﻗﻌﺔ اﻟﻮﻃﻦ اﻟﻌﺮﺑﻴﺔ‪ ،‬ﺑﴫف اﻟﻨﻈﺮ ﻋﻦ اﻟﻔﺮوق اﳌﻌﺮوﻓﺔ ﺑني ﺗﺎرﻳﺦ‬ ‫اﻟﻘﺼﻴﺪﺗني اﻟﻔﺼﻴﺤﺔ واﻟﺸﻌﺒﻴﺔ‪ .‬ﻓﻬﻞ ﻛﺎن ﻣﺎ ﻳﺪﻓﻊ اﻟﺸﺎﻋﺮ إﱃ ذﻟﻚ‬ ‫اﳌﻮﻗﻒ ﻫﻮ اﻟﻐﺮور أو اﻻﺳﺘﻌﻼء اﻟﺸﻌﺮي ‪ -‬إذا ﺟﺎز اﻟﺘﻌﺒري – أم‬ ‫ﻧﺘﺞ ذﻟﻚ ﻋﻦ ﺗﻘﺪﻳﺮ ﺣﻘﻴﻘﻲ ﻣﻦ اﻟﺸﺎﻋﺮ ﻟﺬاﺗﻪ وﺛﻘﺘﻪ اﻟﻜﺎﻣﻠﺔ مبﺎ‬ ‫ﻳﺘﻤﺘﻊ ﺑﻪ دون ﻏريه ﻣﻦ ﻃﻼﻗﺔ وﻣﻘﺪرة ﺷﻌﺮﻳﺔ وﻣﻮﻫﺒﺔ اﺳﺘﺜﻨﺎﺋﻴﺔ‪،‬‬ ‫ورمبﺎ ﰲ اﳌﻘﺎﺑﻞ ﺧﻠﻮ اﻟﺴﺎﺣﺔ أﻣﺎﻣﻪ ﻣﻦ ﻗﺎﻣﺔ ﻛﺒرية أو ﻣﻨﺎﻓﺲ‬ ‫ﺣﻘﻴﻘﻲ ﻳﻘﺎرﻋﻪ ﰲ ﻣﻮﻫﺒﺘﻪ اﻟﻜﺒرية‪ .‬وإذا ﻋﺪﻧﺎ ﻣﺜﻼ ﻟﱰاث أﺣﺪ‬

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‫اﻟﻌﺪد ‪ ، 85‬ﻳﻨﺎﻳﺮ ‪2020‬‬

‫أﺑﺮز رواد اﻟﻘﺼﻴﺪة اﻟﺸﻌﺒﻴﺔ ﰲ ﺗﺎرﻳﺦ اﻹﻣﺎرات وﻫﻮ اﳌﺎﺟﺪي أو"‬ ‫اﳌﺎﻳﺪي" ﺑﻦ ﻇﺎﻫﺮ وﻫﻮ ﻣﻦ آﺑﺎء اﻟﺸﻌﺮ اﻟﻨﺒﻄﻲ اﳌﻌﺮوﻓني ﻧﺠﺪ‬ ‫اﻟﻜﺜري ﻣﻦ اﻷﻣﺜﻠﺔ اﻟﺪاﻟﺔ؛ ﻓﻬﺎ ﻫﻮ ﻳﺒﺪأ ﺑﺬﻛﺮ اﺳﻤﻪ ﻣﺘﻔﺎﺧﺮا ﰲ ﺑﺪاﻳﺔ‬ ‫إﺣﺪى ﻗﺼﺎﺋﺪه ﺣﻴﺚ ﻳﻘﻮل‪:‬‬ ‫‪ x@@Gb@@; @@ @+ ¥v@@ @ /b@@ @ ´* @@£@ @ @ D* ¡@@ @ @J‬‬ ‫‪b@@G4¡@@~@ |@ B b@@Jb@@ @ + ¤@@ @ @ @~@z@- b@@ @ j@ @ @E&°*H‬‬ ‫‪ ¢~|0 °H @@|@m@+ ¤@@ @c@F ° b@@ @ @A&°b@@ +‬‬ ‫‪ b@@G4¡@@~@ 6 @@~@ |@ 0 ¤@@ BÊ@@ J b@@ E f@@E¡@@ @ ¹‬‬ ‫وﻫﻮ ﰲ اﻷﺑﻴﺎت ﻳﻨﻔﺼﻞ ﻋﻦ ذاﺗﻪ اﻟﺸﻌﺮﻳﺔ وﻳﺮوي ﻋﻨﻬﺎ ﺑﻨﻮع ﻣﻦ‬ ‫اﻟﺘﻔﺨﻴﻢ واﻟﺘﻘﺪﻳﺮ ﻟﻬﺎ واﻻﻋﺘﺰاز ﺑﻬﺎ ومبﺎ ﺗﻘﻮل‪ ،‬ﺣﺘﻰ إﻧﻪ ﻳﺼﻒ‬ ‫ﻗﺼﺎﺋﺪه ﺑﺎﻟﻘﺼﻮر ﻟﺸﺪة ﺟامﻟﻬﺎ وروﻋﺔ ﺑﻨﻴﺎﻧﻬﺎ وأن ﻣﻌﺎﻧﻴﻬﺎ ﺛﻘﻴﻠﺔ‬ ‫ﻛﺎﻟﺠﺺ واﻟﺤﴡ وﻳﻔﺨﺮ ﻣﻌﻬﺎ ﺑﺬﻛﺮ اﺳﻤﻪ ﻧﺼﺎ ﰲ اﻷﺑﻴﺎت‪ ،‬ﻟﻴﺒﻘﻰ‬ ‫ﻣﺨﻠﺪا ﺑﺸﻜﻞ إﺿﺎﰲ ﻣﺎ ﻋﺎﺷﺖ اﻷﺑﻴﺎت اﻟﺘﻲ ﻻ ﻳﺰال ﻳﺮوﻳﻬﺎ ﺟﻴﻞ ﺑﻌﺪ‬ ‫ﺟﻴﻞ‪ ،‬واﳌﺎﺟﺪي ﺑﺎﻟﻔﻌﻞ ﻫﻮ أﺣﺪ أﻫﻢ ﺷﻌﺮاء اﻹﻣﺎرات اﻟﺸﻌﺒﻴني ﻻ‬ ‫ﺳﻴام أﻧﻪ أﺑﺪع ﰲ ﻣﺮﺣﻠﺔ زﻣﺎﻧﻴﺔ ﻗﺪميﺔ ﻧﺴﺒﻴﺎ ﰲ ﺗﺎرﻳﺦ اﻟﻘﺼﻴﺪة‬ ‫اﻟﺸﻌﺒﻴﺔ اﻹﻣﺎراﺗﻴﺔ ) ﻳﻘﺎل إﻧﻪ ﻋﺎش ﰲ اﻟﻔﱰة ﻣﻦ ‪1781‬إﱃ ‪(1871‬‬ ‫ﻣام ﻳﺠﻌﻠﻪ أﺣﺪ روادﻫﺎ اﻟﻘﻼﺋﻞ وآﺑﺎﺋﻬﺎ اﳌﺆﺳﺴني‪ ،‬اﻟﺬﻳﻦ اﺣﺘﻔﻈﺖ‬ ‫اﻟﺬاﻛﺮة اﻟﺸﻌﺒﻴﺔ اﻹﻣﺎراﺗﻴﺔ مبﺮوﻳﺎﺗﻪ اﻟﺸﻌﺮﻳﺔ ﻗﺒﻞ ﻣﻮﺟﺔ ﺗﺪوﻳﻦ‬ ‫اﻟﺸﻌﺮ اﻟﺸﻌﺒﻲ واﻧﺘﺸﺎر اﻟﻄﺒﻊ وﺷﻴﻮع اﻟﻘﺼﺎﺋﺪ ﻋﲆ اﻻﻧﱰﻧﺖ‬ ‫ووﺳﺎﺋﻞ اﻟﺘﻮاﺻﻞ اﻻﺟﺘامﻋﻲ‪ ،‬وﻳﺘﻀﺢ ﻛﺬﻟﻚ ﻣﻦ اﻋﺘﺰاز اﳌﺎﺟﺪي‬ ‫ﺑﺸﺎﻋﺮﻳﺘﻪ وﺗﻔﺎﺧﺮه ﺑﻬﺎ أﻧﻪ مل ﻳﻜﺘﻒ ﺑﺬﻛﺮ اﺳﻤﻪ ﻓﻘﻂ ﰲ ﻣﻄﻠﻊ‬

‫ﻋﺒﺪا_ ﻋﻮﺟﺎن‬ @Abdullah290ab

b@@ @ @ R @ @~@ @64 @@ @ @ @ @ - ° @@ @ @BÉ@@ @ @1* f@@ @£Q @ @ @ @ E b@@ @ R @ p@ g@ E* Í@@ @ @ ~@ @ z@ @ D*H @@ -b@@ £@ @ 0 @@ @ @ @ @=*H b@@ @ R @~@8 d@@£@ @ D* @@ E @@~@ z@ @ FHR Ñ* x@@~@ 7 b@@ @ R @ m@ ~@ 7 v@@ @ @c@ @JH @@~@ z@ @ F rx@@ @ @A d@@ @ @m@ @JHR b@@ @ R @ ~@ }@ g@ p@ J @@ @ @-v@@ @ @0H @M @ @£@ @ g@ @ J v@@ @ <b@@ @ ~@ @ @6HR b@@ @ R @E @@gR @ Q @ / @@ 6xR @ @= ¤@@ @ ©H @@~@z@ @~@7 b@@ @ R @ :H @@ @ @ @ 0*H É@@ @ @ @ @1&°* @@c@ @ E @@ @ @ CHR b@@ @ R @ @ . @@ @Av@@ @- N @@ gN @ @ R @ @Db@@ ~@ @6 b@@ @~@ @ 7 @@ @ E b@@ @ R @ @ ~@ 9 @@ @0x@ Q @ @J @@ @ £@ ~@ }@ D* ¢@@ @ < Ä@@ ~@ @8 b@@ @ R @ m@N @~@P @6 4v@@ @~@ @ 8 @@ @~@R@ @6H ¯ Mf@ @ £@ ~@ 9 @@ @E b@@ @ R @ @ C @@ @ z@ @ @+° ¡@@ @ @ GH ¤@@ @ @c@ @E @@ @gR @ @ 0x@@ @A b@@ @ @F5H ¤@@ @ @ @ D* @@ @Dv@@ @< @@ -b@@ £@ @0 ¢@@ @ @ @ @ @ -HR b@@ @ @ R @ @< @@ @ 6b@@ @ @ @ @ D* lQv@ @ @ p@ @ @ gR @ @ @ - @@ @ E4b@@ @ @ @ @ E b@@ @ @ R @ @ @ @~@ @9 @@ @ -b@@ @ £@ @ @0 ¯ ¤@@ @ @ @ @ @ D* v@@ @ Q @ @ @ s@ @ @ -H ¢@@ @ @ @ @JH x@@ @ Eb@@ @ J @@ @ 6b@@ @ @ @ @D* Í@@ @ @ + N @@ @ Q @ @ @C b@@ @ @ R @ @EH b@@ @ @£@ @A @@ @ 7b@@ @ < ¤@@ @ @ @ @D* q@@ @ @ @+*x@@ @ @ @D*H

baytelshear ‫اﻟﺸﻌﺮ‬ ِ ‫ﺑﻴﺖ‬

‫اﻏﻨﻢ ﺣﻴﺎﺗﻚ‬ É@@ @ @1°*Ì@@ @ @= @@ @ @ @ @ @ @- b@@ @ @E ¤@@ @ @ @ E2%°b@@ @ @ @ J R @ @£@ @ c@ @ F°* ib@@ @ @ @ ~@ @ 8 @@ @ @c@ @ @ -(* °b@@ @ @E w@@ @ @ @ @ 1*H b@ b@@ @ @ + @@ ~@ @ z@ @ ±*H rHx@@ @ @ @ D* Í@@ @ + b@@ @ E 5*H O * @@~@z@0 b@@~@9 ° 4v@@~@ |@ D* @@D rx@@~@{@J @@ O @ ³ *x@@ @ @+ @@ @J5b@@ @© °HR @@ R @ @ @ @B @@ @E @@ ~@@P@8 *x@@~@ 7* x@@~@ {@ -HR v@@ @ / I4b@@~@ |@ B w@@ @ +*H *54°* w@@ + ¢@@ @ < @@ 8x@@ 0*H I3&°* @Q @ @ CP HR b@@ @ <°* @@ E h@ R @/x@@G ° @@/x@@ @+ v@@ ~@ 8*H Q @ @D Ä@@ @~@ @ 8*H b@@ @ @ J 2b@@ @ < b@@ @E Ä@@ ~@ |@ D* * ¡@ *x@@ @ @0* @@ @ Q @ @ G @@ @Bx@@ @¹ Md@@ £@ @_@ @C v@@ @ P @ @ ~@ @ 6*H b@@g@ ~@ {@ E @@ £@ @0 rx@@ @ @ @ @D @M @ @ Jy@@ @ 0 rPx@ @ @ @ @ @ A*H *v@@ @ @0°* d@@~@@R |@ F @@ gN @ @Fb@@ E* Q @ @ @ 1H v@@ @ @ <*H b@@ cQ @ @~@ @6 Ì@@ s@ @ @ @D 4b@@ @~@ @ 8 @@ @ E ° @@ @ @/x@@ @ @D*H *4H°* @@}@ £@ + ¢@@ @ @< @@ s@ @J4b@@ g@ @+ d@@ g@ @ @ @ -O HR *¡Q @ @ @ @ @ @+H µb@@ @ @ @ ; Q @ @ @ @ @C @@ @ @ < ¢@@ @ @ @ < ¶(*H É@@ @ @ @1°* Ì@@ @ @= @@ @ @ @ @ @ @- b@@ @ @E ¤@@ @ @ @ @ @ @ @ E2%°*H

‫ﺻﺢ ﻟﺴﺎﻧﻚ‬ َ

‫ﺳﺎﻟﻢ اﻟﻜﻌﺒﻲ‬ @salemalkaabi0

‫ﻣﻜﺎرم اﻻﺧﻼق‬

b@@ @ @+¡@@ C d@@ J4b@@ ~@ @{@ @ @ @ @ @D @@ @ @D h@@ @ @EvQ @ @ @ B ¡@@ @ @D b@@ @ @ @ @+H42 ¤@@ @~@ @ 7b@@ @ ° @@ ~@ @z@ @ @ @F *4w@@ @ @ @ @ @0 b@@ @ @ @ +¡@@ @ F3 x@@ @ Jb@@ @ c@ @ @C @@ @ @ @E Ì@@ @ @ m@ @ @ @J Ñ* @@ @ @~@ @z@ @- Ñ* @@ @ @ @ @ @ @ @ -Q *H b@@ @ @ @ G*¡@@ @ @ @ G d@@ @ @ Q @ @ @ @/ b@@ @ +¡@@ @ / @@ @ @ @ @ DQ 3H @@ ~@ @z@ @ @ @F @@ @ @ @ D @@ @~@ @ z@ @ +(* @@ @ £@ ~@ z@ c@ D* @@ @ @ Fb@@ C * @@ @ @Jv@@ @ @D*¡@@ @ @D*H b@@ @+ *¡@@ @ @0 ¤@@ @ @D* ¥Hx@@ @ @ - f@@ @ £@ = Ä@P @ @ @ D* @@ Dw@@ C @@ @ @£@ @~@ @z@ @c@ @D* h@@ @ « @@ @ @ Fb@@ C *H b@@ @ + *¡@@ @ @ @ @ @ <* b@@ @ E ¡@@ @ @DH ¢@@ g@ @0 b@@ @ @+ @@ @ @ @ @<(* f@@ £Q @ @~@ @8H @@ @ @ @ @ @G*4H @@ @ @E @@ g@ @£@ @+ *Ì@@ @ @ @ @ @/H b@@ @ @+¡@@ £@ @/ ¯ @@ @ @ @ @Q @ @g@ @ - ° @@ @ @ @ @ @ @D*¡@@ @ @ 0&* @@ @ £@ @ @ JR b@@ @E @@ @C @@ @ R @ @ 0H 4*¡@@ @ @ ±* @@ R @ @0 b@@ @ @+¡@@ ~@ @8 Qv@ @ @ @ @ @ - ° b@@ @ @+x@@ @ @ @ @ @ D* 4b@@ @ @ @ @ @¹ 24*HH 42b@@ @~@ @ 8 @@ @C @@ @< x@@ ~@ |@ c@ D* @Q@ @}@ @ =H b@@ @ @+¡@@ @ @B ¯ b@@ @ @ E É@Q @ @ @ @ @ @ < x@@ @~@ @ {@ @ c@ @ D* e4 @@ g@ @ @ @04H @@ @ @ @ +Q 4 Æ@@ @~@ @ 6 @@ @ Dw@@ @ + d@@ @ @ @ @ @ :*H

2020 ‫ ﻳﻨﺎﻳﺮ‬، 85 ‫اﻟﻌﺪد‬

‫ ‪ ĘğľōŘ‬‬

‫اﻟﻤﻌﻨﻴﻮن ﺑﺎﻟﻜﺘﺎﺑﺔ‬ ‫"ﰲ اﻟﺮﺳﺎﺋﻞ ﻻ ﻳﻘﺎل ﻛﻞ ﳾء"‪ ..‬ﺗﻘﻮل أﻏﻨﻴﺔ روﺳﻴﺔ ﻗﺪميﺔ‪ .‬وﻗﺪ‬ ‫ﻻ ﻳﻘﺎل ﻛﻞ ﳾء ﻓﻴام ﻧﻜﺘﺐ أﻳﻀﺎ‪.‬‬ ‫ﺗﺨﱪﻧﺎ ﻋﻦ اﻷﻣﺮ "ﻳﻮﻣﻴﺎت اﻟﺘﻠﺼﺺ" اﳌﻐﺰوﻟﺔ ﺑﻌﻨﺎﻳﺔ ذاﻛﺮة ﻛﺎﺗﺒﻬﺎ‬ ‫اﻟﺪﻛﺘﻮر ﺣﺴﻦ ﻣﺪن‪ ،‬وﻫﻮ إذ ميﺎرس اﺳﺘﻨﻄﺎق ﻋﴩات اﳌﺸﺎﻫﺪ‬ ‫واﻟﺸﻮاﻫﺪ ﻋﲆ ﻣﺪار ﺳﻨﻮات‪ ،‬ﻳﻘﺪم ﻟﻨﺎ ﺧﻼﺻﺔ ﻣﻮﻗﻔﻪ ﻣﻦ اﻟﺤﻴﺎة‪،‬‬ ‫وﻳﺮوي ﻟﻨﺎ اﻟﻘﺼﺔ اﻟﺘﻲ ميﺮ ﻋﻠﻴﻬﺎ ﻣﻼﻳني اﻟﺒﴩ دون أن ﻳﻠﺘﻔﺘﻮا‪،‬‬ ‫ﻷﻧﻬﻢ ﺑﺒﺴﺎﻃﺔ ﻣﺸﻐﻮﻟﻮن ﺑﺎﻟﺘﺤﺪﻳﻖ ﰲ أﻣﺎﻛﻦ أﺧﺮى ﺑﻌﻴﺪة‪.‬‬ ‫"ﻣﺘﻰ ﻛﺎﻧﺖ أﺧﺮ ﻣﺮة ﺣﺪﻗﺘﻜﻢ ﻓﻴﻬﺎ؟ " ﻣﺎذا رأﻳﺘﻢ وﺳﻤﻌﺘﻢ‬ ‫وﻗﺮأﺗﻢ؟ ﰲ ﻫﺬه اﻟﻴﻮﻣﻴﺎت ﺗﻄﺮح اﻷﺳﺌﻠﺔ اﻷﻛرث ﺗﻠﻘﺎﺋﻴﺔ وﻧﻔﺎذا‬ ‫إﱃ اﻟﻮﻋﻲ‪ ،‬ﻓام ﻫﻨﺎ ﻟﻴﺲ ﺗﺪوﻳﻨﺎ وﻻ ﺳرية ﻛام ﻳﻔﺼﺢ اﻟﺪﻛﺘﻮر‬ ‫ﻣﺪن‪ ،‬ﺑﻞ ﻫﻮ اﺳﺘﺪﻋﺎء ﻟﻸﻓﻜﺎر واﻟﺬﻛﺮﻳﺎت ﻣﻦ ﻛﺎﺗﺐ "ﻳﺮى ﻣﺎ‬ ‫ﺣﻮﻟﻪ وﻳﺮى داﺧﻠﻪ ﰲ آن واﺣﺪ"‪ .‬وﻷن اﳌﻌﻨﻴني ﺑﺎﻟﻜﺘﺎﺑﺔ ﻳﺤﻴﻄﻮن‬ ‫ﺑﺤﻴﻠﺔ اﻟﻔﻜﺮة‪ ،‬ﻳﻨﻬﺰم اﻟﻜﻼم "وﺗﺴﻴﻄﺮ اﻟﻜﺘﺎﺑﺔ مبﻬﺎرة" ﻛام ﻳﺸري‬ ‫اﻟﻔﻴﻠﺴﻮف اﻷﳌﺎين واﻟﱰ ﺑﻨﻴﺎﻣني‪ ،‬وﻫﻮ اﻟﺬي ﻳﻌﻠﻢ أن اﻟﻄﺮﻳﻘﺔ‬ ‫اﻟﻮﺣﻴﺪة ﻟﻠﺤﺐ ﻫﻲ ﰲ أن ﻧﺤﺐ دون أﻣﻞ‪ ،‬وﻟﺬﻟﻚ ﻳﻌﻠﻢ اﳌﻌﻨﻴﻮن‬ ‫ﺑﺎﻷﻣﺮ‪ ،‬أن اﻷﻣﻞ وﺣﺪه ﻗﺎدر ﻋﲆ ﻫﺰ ﻋﺮش أﺻﻨﺎم اﻟﻮﻋﻲ ﻣﻦ‬ ‫ﺧﻼل اﻟﺘﻠﺼﺺ‪.‬‬ ‫إن اﻟﻜﺘﺎﺑﺔ ﻫﻲ ﻣﴚ ﻋﲆ ﻗﺪم اﻟﺮوح‪ ،‬أﻣﺎ ﻣﺸﺎوﻳﺮﻫﺎ ﻓﻤﻐﺮﻳﺔ‬ ‫ﻻﻛﺘﺸﺎف ﻃﺮق أﻛرث ﻃﻮﻻ ووﻋــﻮرة‪ ،‬ﺗﻘﻮدﻧﺎ إﱃ أﺧــﺮى‪ ،‬ﻏري‬ ‫ﻣﺴﻜﻮﻧني ﺳﻮى ﺑﺎﻟﺸﻌﻮر ﺑﺎﻟﺤﻘﻴﻘﺔ ﺣﺘﻰ ﻧﺼﻞ إﻟﻴﻨﺎ ﰲ ﻧﻬﺎﻳﺔ‬ ‫اﳌﻄﺎف‪ ،‬ﺣﻴﺚ ﻳﺠﺐ أن ﻧﻘﻒ ﺻﺎﻣﺪﻳﻦ أﻣﺎم أﻏﻨﻴﺔ ﻣﻨﻔﺮدة‪ ،‬ﻻ‬ ‫ﻳﻌﺮﻓﻬﺎ ﻏريﻧﺎ‪ ،‬أوﻟﻴﺲ ﻓﻌﻞ اﻟﻜﺘﺎﺑﺔ ﻣﺒﻬﺞ؟ و ﻣﺎذا ﻟﻮ أن ﻣﺎ ﻳﻘﺎل‬ ‫ﻋﻦ ﻣﺮارة اﻟﻔﻜﺮة ﻣﺤﺾ ﻣﺠﺎز؟ ﻛﺎﻟﺸﻮﻛﻮﻻﺗﺔ اﳌﺮة ﰲ ﻟﻮﺣﺎت‬ ‫ﻓﻨﺎﻧﺔ أرادت أن ﺗﻌﻴﺶ اﻟﻮﻃﻦ ﺑﺄﻋﻴﺎده وﻧﻜﺒﺎﺗﻪ‪ ،‬ﺑﺤﻼوﺗﻪ اﳌﺮة‬

‫‪@safiaalshehi‬‬

‫ﺻﻔﻴﺔ اﻟﺸﺤﻲ‬

‫ومبﺮارﺗﻪ اﻟﻼذﻋﺔ ﰲ ﻃﺮف اﻟﻘﻠﺐ‪ ،‬وﻣﺎذا ﻟﻮ أن ﻟﻠﺬاﻛﺮة ﺧﻴﺎرات‬ ‫ﻏري ﻣﻔﻬﻮﻣﺔ " ﺗﻄﺒﻊ اﻷﻣﻮر ﺑﺎﻷﺑﻴﺾ واﻷﺳﻮد‪ ،‬ﻟﻴﻀﻴﻊ اﻟﺮﻣﺎدي"؟‬ ‫ﰲ "اﻟﻴﻮﻣﻴﺎت " ﻻ ﳾء ﻳﻐﺎدر اﳌﺨﻴﻠﺔ‪ ،‬ﻓﻘﺪ ذﻫﺐ اﻟﻜﺎﺗﺐ إﱃ‬ ‫ﻫﻨﺎك ﻣﺌﺎت اﳌﺮات‪ ،‬وﻃﺮق ﰲ زﻣﻦ ﻣﴣ ﻃﺮﻗﺎً ﻣﺤﻔﻮﻓﺔ ﺑﺎﻷﺳﻼك‬ ‫اﻟﺸﺎﺋﻜﺔ‪ ،‬وﻋﺎد ﻛام ﻳﻔﻌﻞ اﳌﻮج‪ ،‬رﻗﻴﻘﺎ وﺷﻔﺎﻓﺎ وﻣﺘﻘﺪا ﺑﺎﻷﻣﻞ‪.‬‬ ‫اﳌﻌﻨﻴﻮن ﺑﺎﻟﻜﺘﺎﺑﺔ ﻳﻌﻠﻤﻮن أﴎار اﻟﺠﻤﻴﻼت اﻟﻨﺎمئﺎت‪ ،‬وأﺣﻀﺎن‬ ‫اﻟﱰاب وﺣﻜﺎﻳﺔ اﻟﺮﻛﺾ ﰲ اﻟﺤﺪاﺋﻖ‪ ،‬ﻛام أﻧﻬﻢ ﻳﻌﻠﻤﻮن ﻛﻴﻒ‬ ‫ﺗﻨﺠﻮ اﻷوﻃﺎن ﺷﻌﺮا وﻧرثا‪ ،‬وﻛﻴﻒ ميﻜﻦ أن ﻳﻜﻮن ﻛﻞ ذﻟﻚ ﻣﺠﺮد‬ ‫ﺗﻮﻃﺌﺔ ﻟﺰﻣﻦ ُﺗﺠﱪ ﻓﻴﻪ اﻟﻜﺘﺎﺑﺔ ﻋﲆ اﻟﺮﺣﻴﻞ "ﻣﺮﻗﻤﻨ ًﺔ " ﻧﺎزﺣ ًﺔ إﱃ‬ ‫ﺣﻴﺚ اﻟﻠﺠﻮء اﻷﻛﱪ ﰲ أراﴈ اﻟﺸﺘﺎت اﻻﻓﱰاﺿﻴﺔ‪ ،‬وﻷن اﳌﻌﻠﻢ‬ ‫ﻳﺘﻨﺎول دروﺳﻪ ﰲ اﻟﺼﺒﺎح ﻣﻊ اﻟﻌﺼﺎﻓري‪ ،‬وﻳﺤﺘﻔﻆ ﺑﺸﻬﺎدات‬ ‫اﻟﻨﺪى اﻷﺧﴬ‪ ،‬ﻓﻬﻮ ﻳﻨري ﻋﻘﻮﻟﻨﺎ ﺑﻜﻠامﺗﻪ اﳌﺨﻄﻮﻓﺔ ﻣﻦ اﻟﻴﻮﻣﻲ‬ ‫واﻟﻌﺎدي‪-‬ﺣﺎﺳام اﳌﻮﻗﻒ ﻣﻊ ﺟﺪب ﻗﺎدم ﻻ ﻣﺤﺎﻟﺔ‪ -‬ﻷن اﻟﴪ‬ ‫ﺑﺎق ﰲ اﳌﻜﺘﻮب‪ ،‬ﻣﺎ اﻧﻜﺐ اﻟﻘﻠﻢ ﻣﺨﻠﺼﺎ ﳌﺪن اﻟﺤﻜﺎﻳﺎ اﳌﺘﻌﺪدة‬ ‫اﻷﻟﻮان واﻟﺮواﺋﺢ واﻟﻮﺟﻮه‪.‬‬

‫اﻟﺸﻌﺮ ‪baytelshear‬‬ ‫ﺑﻴﺖ ِ‬

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‫‪Ĭ§§§§§§ō§§§§§Ř‬‬ ‫‪ Áb@@/ h@@ B¡@@ D* H&* b@@ @/ b@@ E v@@£@ < b@@ J‬‬ ‫‪Á¡@@£@ @ D* @@ ½ d@@ @0H d@@£@ c@ ²* ¢@@Bx@@A‬‬ ‫‪ Áb@@ ~@ @}@ @E4 v@@ £@ @ @ @+ ¤@@ @ @ @ B4b@@ @A v@@ £@ @< b@@ @ J‬‬ ‫‪ÁHv@@ Jb@@ < b@@ @E d@@ @ @< @@ 6b@@ F Í@@ @< @@ @E‬‬ ‫‪Áb@@ @ @E *Hv@@ @ @ @ @ @ - b@@ @ @E Ñ*H v@@ @£@ @ < b@@ @ @J‬‬ ‫‪Á¡@@c@ @ <&*H x@@ @ @ Db@@+ b@@ G¡@@ <v@@ /* Í@@ D‬‬

‫وﻋﲆ اﻟﺮﻏﻢ ﻣﻦ اﺳﺘﺨﺪام أﺳﻠﻮب اﻟﺘﴬع واﻟﺪﻋﺎء ﰲ اﺳﺘﻬﻼﻟﻪ‬ ‫ﻟﻨﺼﻪ اﻟﺸﻌﺮي إﻻ أﻧﻪ ﻇﻞ ﻣﺘﻨﺒﻬﺎً ﻟﺨﻴﺎر اﻟﺘﻜﺜﻴﻒ واﻻﺧﺘﺰال اﻟﺬي‬ ‫مت ّﻴﺰ ﺑﻪ ﻋﻦ ﻏريه ﻣﻦ اﻟﺸﻌﺮاء‪ ،‬ﻓﻠﻢ ﻳﱰك ﻫﺬا اﻷﺳﻠﻮب ﻳﺄﺧﺬه ﰲ‬ ‫اﻟﺴﻴﺎق اﳌﺄﻟﻮف اﻟﺬي ﻏﺎﻟﺒﺎً ﻣﺎ ﻳﺤﻤﻞ اﻟﺸﺎﻋﺮ إﱃ ﻣﺴﺎﺣﺔ اﻟﺘﻜﺮار‬ ‫واﻹﻃﺎﻟﺔ‪ ،‬وإمنﺎ ﺣ ّﻤﻞ اﻟﺪﻋﺎء ﻣﻮﺿﻮع ﻗﺼﻴﺪﺗﻪ اﻟﺮﺋﻴﴘ‪ ،‬ﻓﻮﺟﻪ‬ ‫اﻟﺨﻄﺎب إﱃ ﻣﻦ ﻳﺪﻋﻮ ﻟﻪ‪ ،‬ﺑﻘﻮﻟﻪ‪:‬‬ ‫@ @@‪ ¡@@ @ J ° y@@ m@ @< ¡@@ @ £@ @ D* ¤@@ @ @ @ D* @@ @0x‬‬‫ﻻ ميﻜﻦ ﻗﺮاءة أﺳﻠﻮب اﻟﻨﺪاء ﰲ )اﻟﻠﻌﺒﻮﻧﻴﺎت( ﻣﻦ دون ﻗﺮاءة ذﻫﻨﻴﺔ‬ ‫‪ @@ £@ @ @ @J °H b@@ @ @ @ @ @ @ J ° b@@ @ @ @ @g@ @ @~@ @ @z@ @ @E‬‬ ‫اﻟﺸﺎﻋﺮ اﻟﺸﻌﺒﻲ اﻟﺨﻠﻴﺠﻲ اﻟﺘﻲ ﻛﺎﻧﺖ ﰲ ﻣﺮﺣﻠﺔ ﻣﺎ ﻣﻦ ﺗﺎرﻳﺦ‬ ‫ ‪ ¡@@ @ @ @ ²*H Áb@@ @ @ @ g@ @ D* v@@ £@ @E*x@@ ~@ @6 @@ @ E‬‬ ‫اﻟﻘﺼﻴﺪة اﻟﻨﺒﻄﻴﺔ‪ ،‬ﻓﺎﻟﻨﺪاء ميﻜﻦ اﻻﻧﻄﻼق ﻣﻨﻪ ﰲ ﺗﺠﺴﺪ ﺣﺎﻟﺔ اﻟﻨﺪﻳﺔ‬ ‫ﻻ ﻳﺘﻮﻗﻒ اﺑﻦ ﻟﻌﺒﻮن ﻋﻨﺪ ﻫﺬا اﻟﺤﺪ ﰲ ﺗﻮﻇﻴﻒ اﻟﻨﺪاء واﺳﺘﺨﺪام اﻟﺘﻲ ﻳﺮاﻫﺎ اﻟﺸﺎﻋﺮ ﺑﻴﻨﻪ وﺑني ﻣﻮﺿﻮع ﻗﺼﻴﺪﺗﻪ ومنﻮذج اﳌﺨﺎﻃﺐ‬ ‫ﻗﺪرﺗﻪ اﻟﺒﻨﺎﺋﻴﺔ ﰲ ﺗﻠﻚ اﻟﺴﻴﺎﻗﺎت اﻟﺠامﻟﻴﺔ واﻟﺸﻌﺮﻳﺔ وﺣﺴﺐ‪ ،‬وإمنﺎ ﰲ اﻟﻨﺪاء ﻣﻦ ﺟﻬﺔ‪ ،‬وﻣﻦ ﺟﻬﺔ أﺧﺮى ﰲ ﺗﺸﻜﻴﻞ اﳌﺴﺎﻓﺔ اﻟﻮاﺣﺪة‬ ‫ﻟﺠﺄ ﰲ ﻋﺪد ﻣﻦ اﳌﻮاﺿﻊ إﱃ ﺗﻜﺮار اﻟﻨﺪاء ﻟﻴﺤ ّﻤﻞ اﳌﻮﺿﻮع اﻟﻮاﺣﺪ ﺑني اﻟﺸﺎﻋﺮ وﻣﺤﻮر ﻧﺼﻪ اﻟﺸﻌﺮي‪ ،‬ﻓﺎﻟﻨﺪاء ّ‬ ‫ﺣامل أوﺟﻪ‪ ،‬إذ ميﻜﻦ‬ ‫ﻣﻌﺎين ودﻻﻻت ﻣﺘﻌﺪدة‪ ،‬وﻳﺸﻜﻞ ﻣﻦ ﺧﻼل اﳌﻨﺎدى ﺻﻮراً ﺟﺪﻳﺪة أن ﻳﻜﻮن ﰲ اﻟﺴﻴﺎق اﻟﺠامﱄ واﻟﺒﻼﻏﻲ ﻟﻠﻘﺮﻳﺐ اﳌﺨﺎﻃﺐ‪ ،‬واﻟﺒﻌﻴﺪ‪،‬‬ ‫ﻣﺎض ﻣﺮﺗﺒﻂ ﺑﺤﺎﻟﺔ اﻟﺘﺬﻛﺮ‪.‬‬ ‫وميﻜﻦ أن ﻳﻜﻮن ﻟﻠﺮاﻫﻦ‪ ،‬وﻣﺎ ﻳﻘﺎﺑﻠﻪ ﻣﻦ ٍ‬ ‫ﺗﺨﺪم ﻓﻀﺎء ﻗﺼﻴﺪﺗﻪ‪ ،‬ﺣﻴﺚ ﻛﺘﺐ ﰲ إﺣﺪى ﻧﺼﻮﺻﻪ اﻟﺸﻌﺮﻳﺔ‪:‬‬

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‫اﻟﻌﺪد ‪ ، 85‬ﻳﻨﺎﻳﺮ ‪2020‬‬

‫ﻳﺘﺄﻛﺪ ﻫﺬا ﺑﺎﻟﺮﺟﻮع إﱃ ﻣﺎ ﻳﻌﺮف ﰲ أوﺳﺎط اﻟﺸﻌﺮ اﻟﺸﻌﺒﻲ ﺑـ‬ ‫)اﻟﻠﻌﺒﻮﻧﻴﺎت( وﻫﻲ اﻟﻘﺼﺎﺋﺪ اﳌﻨﺴﻮﺑﺔ إﱃ اﻟﺸﺎﻋﺮ ﻣﺤﻤﺪ ﺑﻦ‬ ‫ﺣﻤﻮد ﺑﻦ ﻟﻌﺒﻮن اﳌﺪﻟﺠﻲ اﻟﻮاﻳﲇ‪ ،‬اﻟﺬي وﻟﺪ ﰲ ﻧﺠﺪ وﺗﻨﻘﻞ ﰲ‬ ‫ﻋﺪد ﻣﻦ ﺑﻠﺪان اﻟﺨﻠﻴﺞ اﻟﻌﺮيب‪ ،‬ﻣﺸﻜ ًﻼ ﺣﺎﻟﺔ إﺑﺪاﻋﻴﺔ اﺳﺘﺜﻨﺎﺋﻴﺔ‬ ‫ﺗﺘﺠﺎوز ﻓﺮادة اﻟﻠﻐﺔ واﳌﻮﺿﻮع‪ ،‬ﻟﺘﺼﻞ إﱃ اﻟﻔﺮادة اﻷﺳﻠﻮﺑﻴﺔ اﻟﻘﺎمئﺔ‬ ‫ﻋﲆ ﺑﻨﺎء اﻟﺠﻤﻠﺔ اﻟﺸﻌﺮﻳﺔ‪ ،‬وﺗﻮﻇﻴﻒ اﻟﱰﻛﻴﺐ اﻟﻠﻐﻮي‪ ،‬واﻟﻌﺒﻮر‬ ‫ﺑﺎﳌﻌﻨﻰ ﻣﻦ اﻟﺪﻻﻟﺔ اﻟﻈﺎﻫﺮة إﱃ ﻣﺎ ﻳﻘﺎﺑﻠﻬﺎ وﻳﺘﺠﺎوزﻫﺎ إﱃ اﻟﺪﻻﻟﺔ‬ ‫اﻟﻜﺎﻣﻨﺔ‪.‬‬ ‫ﺗﻘﻮد أﺳﺌﻠﺔ اﻟﺒﺎﺣﺚ ﰲ ﺗﺠﺮﺑﺔ اﺑﻦ ﻟﻌﺒﻮن إﱃ اﺳﺘﻬﻼﻟﻪ اﻟﺸﻌﺮي‬ ‫اﳌﺘﻜﺮر ﰲ اﻟﻜﺜري ﻣﻦ اﻟﻘﺼﺎﺋﺪ اﳌﻮﺛﻘﺔ ﻟﻪ‪ ،‬ﻓﻬﺬا اﻟﺸﺎﻋﺮ اﻟﺬي اﻋﺘﱪ‬ ‫ﰲ زﻣﺎﻧﻪ أﻣري ﺷﻌﺮاء اﻟﻨﺒﻂ اﳌﻌﺮوف ﺑﻘﺼﺎﺋﺪه اﻟﻐﺰﻟﻴﺔ‪ ،‬ﻧﺠﺢ ﰲ‬ ‫ﺗﻮﻇﻴﻒ ﺗﺮﻛﻴﺐ ﻟﻐﻮي ﻣﻌﺮوف وﻣﺴﺘﺨﺪم ﻛﺜرياً ﰲ اﻟﺸﻌﺮ اﻟﻨﺒﻄﻲ‪،‬‬ ‫وأﻧﺘﺞ ﻣﻨﻪ ﻣﺴﺎراً ﺷﻌﺮﻳﺎً ﻳﺸري إﱃ أﺳﻠﻮﺑﻴﺘﻪ‪ ،‬وﻳﺠﺪد اﻷﺳﺌﻠﺔ ﻛﻠﻬﺎ‬ ‫ﺣﻮل ﻫﺬا اﻟﱰﻛﻴﺐ اﻟﻠﻐﻮي‪.‬‬ ‫ﺗﺘﺠﺴﺪ أﺳﻠﻮﺑﻴﺔ اﺑﻦ ﻟﻌﺒﻮن ﰲ اﺳﺘﺨﺪاﻣﻪ ﻷﺳﻠﻮب اﻟﻨﺪاء ﰲ ﻋﺪد‬ ‫ﻛﺒري ﻣﻦ ﻗﺼﺎﺋﺪه‪ ،‬إذ ﺗﻈﻬﺮ ﻣﻦ ﺑني ﻗﺼﺎﺋﺪه اﻟﺘﻲ وﺻﻠﺖ إﻟﻴﻨﺎ‬ ‫ﻋﴩات اﻟﻘﺼﺎﺋﺪ ﻣﻦ ﺗﻠﻚ اﻟﺘﻲ اﺳﺘﻬﻠﻬﺎ ﺑﺄﺳﻠﻮب اﻟﻨﺪاء‪ ،‬وﻫﻮ ﺑﺬﻟﻚ‬ ‫ﻻ ﻳﺮﻛﻦ إﱃ اﻟﻨﺪاء ﻟﺴﻬﻮﻟﺘﻪ وإمنﺎ ﻻﻧﺤﻴﺎزه إﱃ اﻟﺘﻜﺜﻴﻒ واﻻﺧﺘﺰال‬ ‫ﰲ ﻧﺼﻪ اﻟﺸﻌﺮي‪ ،‬إذ أدرك اﺑﻦ ﻟﻌﺒﻮن أن اﻟﻨﺪاء ﻳﺘﺠﺎوز أﺷﻜﺎل‬ ‫اﻻﺳﺘﻬﻼل اﻟﻘﺎمئﺔ ﻋﲆ اﳌﺨﺎﻃﺒﺔ اﻟﺘﻤﻬﻴﺪﻳﺔ‪ ،‬واﻟﺤﻤﺪﻟﻪ‪ ،‬واﻟﺒﺴﻤﻠﺔ‪،‬‬ ‫واﻟﺘﻔﺎﺧﺮ ﺑﺎﻟﻘﺒﻴﻠﺔ واﻻﻧﻄﻼق ﻣﻦ اﻟﺬايت ﰲ ﻧﺺ اﻟﺸﻌﺮي‪.‬‬ ‫ﺗﺘﺠﲆ ﻃﺎﻗﺔ اﻟﻨﺪاء اﻟﺸﻌﺮﻳﺔ‪ ،‬وﺑﻼﻏﺘﻪ اﻷﺳﻠﻮﺑﻴﺔ ﺑﺎﻟﺮﺟﻮع إﱃ‬ ‫منﺎذج ﻣﻦ ﻗﺼﺎﺋﺪ اﺑﻦ ﻟﻌﺒﻮن‪ ،‬إذ ﻳﻘﻮل ﰲ واﺣﺪ ﻣﻨﻬﺎ‪:‬‬ ‫‪ É@@ g@ @D* 4*2 @@ @< i*Ì@@ @ @ @ @D* @@ @ @ G&* b@@ @J‬‬ ‫‪ @@ @J24 @@ @D 2x@@ @ @J @@ @ < Ñ* b@@ @ < @@ @E‬‬ ‫<@ @ @ @@ ‪ b@@ @ @ @ J b@@ @ @ @ £@ @ A b@@ @ @ @E @@ @ @ @C 4b@@ @ @ @ @ @ J2‬‬ ‫‪ @@£@ ~@ z@ C @@ £@ ~@ 6 @@ @ E É@@ @ @ @JH d@@ @ @C4 b@@ @ J‬‬ ‫ميﻜﻦ اﻟﻮﺻﻮل ﻣﻦ ﺧﻼل ﻫﺬه اﻷﺑﻴﺎت إﱃ أن وﻇﻴﻔﺔ اﻟﻨﺪاء‬ ‫اﺧﺘﴫت اﻟﻄﺮﻳﻖ أﻣﺎم اﻟﺸﺎﻋﺮ ﻟﻠﻮﺻﻮل إﱃ ﻣﻮﺿﻮع ﻗﺼﻴﺪﺗﻪ‪،‬‬ ‫وﻧﻘﻞ اﻟﻘﺎرئ واﳌﺴﺘﻤﻊ إﱃ ﻣﺤﻮر اﻟﻘﺼﻴﺪة اﻷﺻﻴﻞ‪ ،‬اﻟﺬي ميﻜﻦ أن‬ ‫ﻳﻔﺘﺢ ﻗﺮﻳﺤﺔ اﻟﺸﺎﻋﺮ ﻋﲆ ﻣﺰﻳﺪ ﻣﻦ اﻷﺑﻴﺎت ﻣﻦ دون اﻟﺤﺎﺟﺔ إﱃ‬ ‫اﻻﺳﺘﻄﺮاد ﰲ اﻟﺘﻤﻬﻴﺪ‪.‬‬ ‫وﻳﻈﻬﺮ ﻫﺬا ﺑﺼﻮرة أﻛرث وﺿﻮﺣﺎً ﰲ ﻗﺼﻴﺪة ﻗﺎﻟﻬﺎ اﺑﻦ ﻟﻌﺒﻮن‬ ‫ﻳﺨﺎﻃﺐ ﺑﻬﺎ ﻋﻴﺪ اﻟﺨﻴﺎري‪ ،‬ﺣﻴﺚ ﻛﺘﺐ‪:‬‬ ‫‪ ¥4b@@£@s@ @D @@m@ @ Db@@+ 4¡@@ @ 0 v@@£@ ~@ 74 b@@ J‬‬ ‫‪d@@£@ @Db@@+ d@@£@ @ D* ¤@@ @ <*4 ¥5b@@ @ ½ ¤@@c@ F‬‬

‫ﻧﺠﺢ ﻓﻲ ﺗﻮﻇﻴﻒ ﺗﺮﻛﻴﺐ ﻟﻐﻮي ﻣﻌﺮوف‬ ‫وﻣﺴﺘﺨﺪم ﻛﺜﻴﺮ ًا ﻓﻲ اﻟﺸﻌﺮ اﻟﻨﺒﻄﻲ‪ ،‬وأﻧﺘﺞ ﻣﻨﻪ‬ ‫ﻣﺴﺎر ًا ﺷﻌﺮﻳ ًﺎ ﻳﺸﻴﺮ إﻟﻰ أﺳﻠﻮﺑﻴﺘﻪ‬ ‫ﻟﺠﺄ ﻓﻲ ﻋﺪد ﻣﻦ اﻟﻤﻮاﺿﻊ إﻟﻰ ﺗﻜﺮار اﻟﻨﺪاء ﻟﻴﺤﻤّﻞ‬ ‫اﻟﻤﻮﺿﻮع اﻟﻮاﺣﺪ ﻣﻌﺎﻧﻲ ودﻻﻻت ﻣﺘﻌﺪدة‪،‬‬ ‫وﻳﺸﻜﻞ ﻣﻦ ﺧﻼل اﻟﻤﻨﺎدى ﺻﻮر ًا ﺟﺪﻳﺪة ﺗﺨﺪم‬ ‫ﻓﻀﺎء ﻗﺼﻴﺪﺗﻪ‬ ‫ﻻ ﻳﻤﻜﻦ ﻗﺮاءة أﺳﻠﻮب اﻟﻨﺪاء ﻓﻲ )اﻟﻠﻌﺒﻮﻧﻴﺎت(‬ ‫ﻣﻦ دون ﻗﺮاءة ذﻫﻨﻴﺔ اﻟﺸﺎﻋﺮ اﻟﺸﻌﺒﻲ اﻟﺨﻠﻴﺠﻲ‬ ‫اﻟﺘﻲ ﻛﺎﻧﺖ ﻓﻲ ﻣﺮﺣﻠﺔ ﻣﺎ ﻣﻦ ﺗﺎرﻳﺦ اﻟﻘﺼﻴﺪة‬ ‫اﻟﻨﺒﻄﻴﺔ اﻟﺨﻠﻴﺠﻴﺔ‬

‫<@ @‪ ¥4b@@ @ @ @ @D* É@@ @g@ @ 1* @@ c@ @B b@@ @ @+ @@ m‬‬ ‫‪d@@£@ 0x@@-H ¥4b@@£@ s@ @ D ¤@@EÉ@@~@ 6 d@@ g@ @C*H‬‬ ‫‪¥4b@@ @ @ @ @ @ D* r¡@@ @ ~@ @ @9 @@ @j@ @ E Í@@ @c@ @ J @@ @ @ @ 1‬‬ ‫· ‪d£ D* *4H E ex D* D ÍcJ bE‬‬ ‫ﻳﻀﻊ اﻟﺸﺎﻋﺮ ﰲ ﺗﻮﻇﻴﻔﻪ ﻟﻬﺬا اﻷﺳﻠﻮب اﻟﺒﻼﻏﻲ اﻟﻘﺎرئ أﻣﺎم ﻋﻼﻗﺔ‬ ‫داﺋﺮﻳﺔ ﺑني ذاﺗﻪ وﻣﻮﺿﻮع ﻧﺼﻪ اﻟﺸﻌﺮي‪ ،‬ﻓام أن ﻳﺒﺪأ ﺑﺎﻟﻨﺪاء ﺣﺘﻰ‬ ‫ﻳﻌﻠﻦ ﻋﻦ اﻧﻔﺼﺎﻟﻪ اﳌﺆﻗﺖ ﻋﻦ اﳌﺨﺎﻃﺐ ﰲ اﻟﻘﺼﻴﺪة‪ ،‬وﻫﺬا ﻣﺎ‬ ‫ﻳﺠﻌﻞ ﺗﺤﺮﻛﻪ داﺧﻞ ﺑﻨﺎء اﻟﻘﺼﻴﺪة أﻛرث اﺗﺴﺎﻋﺎً‪ ،‬ﻓﻤﺮة ﻳﻌﻮد إﱃ‬ ‫ذاﺗﻪ‪ ،‬وﻣﺮة ﻳﻌﻮد إﱃ اﳌﺨﺎﻃﺐ‪ ،‬ﻟﻴﱰك اﻟﻘﺎرئ أﻣﺎم ﺛﻨﺎﺋﻴﺔ ﺗﺘﻌﺪد‬ ‫ﻓﻴﻬﺎ أﺷﻜﺎل اﻟﺤﻮار واﻟﺘﻼﻗﻲ واﻻﺧﺘﻼف‪.‬‬ ‫وﻳﺘﺒني متﺴﻜﻪ ﺑﻬﺬا اﻷﺳﻠﻮب ﺑﺘﺄﻣﻞ واﺣﺪة ﻣﻦ اﻟﻘﺼﺎﺋﺪ اﻟﺘﻲ أراد‬ ‫أن ﻳﻜﻮن اﺳﺘﻬﻼﻟﻬﺎ ﺷﻜ ًﻼ ﻣﻦ أﺷﻜﺎل اﻟﺘﴬع واﻟﺮﺟﺎء واﻟﺪﻋﺎء ﻟﻠﻪ‬ ‫ﻋﺰ وﺟﻞ‪ ،‬ﻛام ﺟﺮت اﻟﻌﺎدة ﰲ اﻟﻜﺜري ﻣﻦ أﺷﻜﺎل اﻻﺳﺘﻬﻼل ﻟﺪى‬ ‫اﻟﺸﻌﺮاء اﻟﺸﻌﺒﻴني ﰲ اﻟﺨﻠﻴﺞ اﻟﻌﺮيب‪ ،‬إذ ﻟﺠﺄ ﻣﻦ ﺟﺪﻳﺪ إﱃ ﻫﺬا‬ ‫اﻷﺳﻠﻮب واﺗﺨﺬه ﻣﻨﻄﻠﻘﺎً ﻟﻨﺼﻪ اﻟﺸﻌﺮي‪ ،‬ﻛام ﻳﻈﻬﺮ ﰲ ﻗﻮﻟﻪ‪:‬‬ ‫‪ Ãx@@ C b@@ @ J @@ @ @ D @@ @ @ @ @D* ¤@@ @ @1 b@@ @ J‬‬ ‫@ @@‪ ¡@@ @ J ° y@@ m@ @< ¡@@ @ £@ @ D* ¤@@ @ @ @ D* @@ @0x‬‬‫‪ @@ £@ @ @ @J °H b@@ @ @ @ @ @ @ J ° b@@ @ @ @ @g@ @ @~@ @ @z@ @ @E‬‬ ‫‪ ¡@@ @ @ @ ²*H Áb@@ @ @ @ g@ @ D* v@@ £@ @ E*x@@ ~@ @ 6 @@ @ E‬‬ ‫‪ @@£@ @ J @@ @ @+b@@ @ @c@ @ @ 0&* ¥2*H ¯ x@@ @ @ @ @ @ E‬‬ ‫‪ ¡@@ @ /x@@ @ D*H 5b@@ @ @ @ @ @ ´* É@@ @ @ @ @:&* b@@ ~@ @z@ @J‬‬ ‫اﻟﺸﻌﺮ ‪baytelshear‬‬ ‫ﺑﻴﺖ ِ‬

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‫‪Ĭ§§§§§§ō§§§§§Ř‬‬

‫‪ƺǃŧơƴ ƻŦ ſƹŹƸ ƃƠţƍƴŢ ũŦƃŵŬ‬‬

‫‪ŨſǉƑƭƴŢ ũƤǑŧŦ ƲŢƅŭżǐŢǂ ŕŢſƽƴţŦ ƧǉűƱŭƴŢ ŪţǉƼǃŧơƵƴŢ‬‬

‫ﻛﺘﺐ – ﻣﺤﻤﺪ أﺑﻮ ﻋﺮب‬

‫ﺗﻨﻜﺸﻒ ﰲ ﺗﺠﺮﺑﺔ اﻟﺸﻌﺮ اﻟﺸﻌﺒﻲ اﻟﺨﻠﻴﺠﻲ اﻟﻌﺪﻳﺪ ﻣﻦ اﻟﻈﻮاﻫﺮ اﻹﺑﺪاﻋﻴﺔ اﻟﺘﻲ ﺗﺴﺘﺤﻖ اﻟﺘﻮﻗﻒ واﻟﺒﺤﺚ‪،‬‬ ‫ﻓﻌﲆ اﻟﺮﻏﻢ ﻣﻦ ﺧﺼﻮﺻﻴﺔ اﻟﺸﻌﺮ اﻟﺸﻌﺒﻲ ﰲ ﻛﻞ ﺑﻠﺪ ﻣﻦ ﺑﻠﺪان اﻟﺨﻠﻴﺞ إﻻ أن اﻟﺘﻔﺮد اﻟﻈﺎﻫﺮ ﻋﲆ ﻣﺴﺘﻮى‬ ‫اﻟﺸﻌﺮ اﻹﻣﺎرايت‪ ،‬أو اﻟﺴﻌﻮدي أو اﻟﺒﺤﺮﻳﻨﻲ أو ﻏريه ﻣﻦ اﻟﺸﻌﺮ‪ ،‬ميﺘﺪ ﻟﻴﺼﻞ إﱃ اﻟﻔﺮادة اﻟﺨﺎﺻﺔ اﳌﺘﻌﻠﻘﺔ‬ ‫ﺑﺘﺠﺮﺑﺔ ﺷﺎﻋﺮ ﺑﻌﻴﻨﻪ‪ ،‬ﻟﻠﺤﺪ اﻟﺬي ميﻜﻦ اﻟﻮﺻﻮل إﱃ ﻣﺪارس إﺑﺪاﻋﻴﺔ ﻛﺎﻣﻠﺔ ﻟﻬﺎ ﻣﺴامﻫﺎ وﺧﺼﻮﺻﻴﺘﻬﺎ اﻟﻜﺎﻣﻠﺔ‪.‬‬

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‫اﻟﻌﺪد ‪ ، 85‬ﻳﻨﺎﻳﺮ ‪2020‬‬

‫ ¯‪ĜŠ‬‬

‫ﻣﺎ ﻫﻮ اﻟﻤﻬﻢ؟‬ ‫أن ﺗﻜﻮن ﻣﺤﻘﺎ أم أن ﺗﻨﺪﻣﺞ ﻣﻊ اﻟﻤﺠﺘﻤﻊ؟‬ ‫ﰲ اﻟﺘﺠﺮﺑﺔ اﻟﻨﻔﺴﻴﺔ اﻟﺸﻬرية ﻟﻌﺎمل اﻟﻨﻔﺲ اﻻﺟﺘامﻋﻲ ﺳﻮﻟﻮﻣﺎن آش‬ ‫ﺗﻮﺿﻴﺢ ﻟﻠﻄﺮﻳﻘﺔ اﻟﺘﻲ ﻳﻌﻤﻞ ﻓﻴﻬﺎ اﻟﺬﻫﻦ وﺳﻂ اﻟﺠامﻋﺎت‪ .‬ﺗﻀﻤﻨﺖ‬ ‫اﻟﺘﺠﺮﺑﺔ أن ﻳﺸﺎرك ﻋﺪة أﺷﺨﺎص ﰲ ﺗﺤﺪي‪ ،‬وﺟﻤﻴﻌﻬﻢ ﻣﻤﺜﻠﻮن ﺳﻮى‬ ‫ﻣﺸﺎرك واﺣﺪ‪ ،‬وﺳﻴﻄﻠﺐ ﻣﻨﻬﻢ ﻣﻼﺣﻈﺔ ﻣﺎ ُﻳﻌﺮض ﻋﲆ ﻟﻮح أﻣﺎﻣﻬﻢ‪،‬‬ ‫وﻣﻦ ﺛﻢ اﻹﺟﺎﺑﺔ ﻋﲆ أﺳﺌﻠﺔ واﺿﺤﺔ وﻻ ﺗﺤﺘﺎج ﻟﻘﺪر ﻋﺎلٍ ﻣﻦ اﻟﺬﻛﺎء‬ ‫أو ﻗﻮة اﳌﻼﺣﻈﺔ‪ ،‬وﺳﻴﻘﻮم اﳌﺸﺎرﻛﻮن ﻣﻦ اﳌﻤﺜﻠني ﺑﺘﻘﺪﻳﻢ إﺟﺎﺑﺎت‬ ‫ﺧﺎﻃﺌﺔ ﰲ ﻛﻞ ﻣﺮة ُﻳﺴﺄﻟﻮن ﻓﻴﻬﺎ‪ ،‬ﻣام ﻳﺠﻌﻞ اﳌﺸﺎرك اﻟﻮﺣﻴﺪ اﻟﺬي ﻻ‬ ‫ميﻠﻚ أي ﻓﻜﺮة ﻋﻦ اﻟﺘﺠﺮﺑﺔ أن ﻳﻘﻮم ﺑﺘﻘﺪﻳﻢ ﻧﻔﺲ اﻹﺟﺎﺑﺎت اﻟﺨﺎﻃﺌﺔ‬ ‫رﻏﻢ وﺿﻮح ﻣﻼﻣﺢ اﻻرﺗﺒﺎك وﻋﺪم اﳌﻮاﻓﻘﺔ ﻋﻠﻴﻪ‪.‬‬ ‫إن ﺿﻐﻂ اﻷﻗﺮان واﻟﺮﻏﺒﺔ ﰲ اﻻﻧﺘامء ﻗﺪ ﺗﻐري ﻣﻌﺘﻘﺪاﺗﻨﺎ وآراءﻧﺎ‬ ‫وﺗﻮﺟﻬﺎﺗﻨﺎ ﻛﻠﻴﺎ‪ ،‬وﺗﺆﺛﺮ ﻋﲆ ﺗﴫﻓﺎﺗﻨﺎ ﻛﺄﻓﺮاد وﺣﺘﻰ ﻛﻤﺠﺘﻤﻊ‪ ،‬ورﻏﻢ‬ ‫أن ﻣﻌﻈﻢ اﻟﻨﺎس ﻳﺪﻋﻮن اﻟﻘﻮة واﻟﺘامﺳﻚ ﻋﻨﺪﻣﺎ ﻳﺘﻌﻠﻖ اﳌﻮﺿﻮع‬ ‫ﺑﺘﻮﺟﻬﻬﺎ وﻓﻜﺮﻫﺎ‪ ،‬إﻻ أن ﻫﺬه اﻟﺘﺠﺮﺑﺔ أﺛﺒﺘﺖ أن ﻣﻦ اﻟﻄﺒﻴﻌﻲ إن‬ ‫ﻳﺬﻋﻦ وﻳﻐري اﻹﻧﺴﺎن ﻓﻜﺮه ﺗﺤﺖ اﻟﻀﻐﻂ اﻻﺟﺘامﻋﻲ واﻟﻨﻤﻂ اﻟﺴﺎﺋﺪ‪.‬‬ ‫إن اﻹذﻋﺎن ﻟﻀﻐﻂ اﻷﻗﺮان ﻛﺼﻔﺔ اﺟﺘامﻋﻴﺔ‪ ،‬ﻫﻮ أﻣﺮ ﻃﺒﻴﻌﻲ ﺟﺪا‬ ‫وﴐوري ﰲ اﻟﻮاﻗﻊ‪ .‬ذﻟﻚ ﻷن اﻟﺮﻏﺒﺔ اﻟﺪﻓﻴﻨﺔ ﰲ اﻻﻧﺨﺮاط وﺳﻂ‬ ‫ﻣﺠﻤﻮﻋﺔ واﻟﺸﻌﻮر ﺑﺎﻻﻧﺘامء وﻋﺪم اﻻﺧﺘﻼف‪ ،‬واﻹﺣﺴﺎس اﻟﺪﻓني‬ ‫ﺑﺎﻟﺮﺑﻜﺔ واﻟﺤرية ﻋﻨﺪ اﻻﺧﺘﻼف واﻟﻨﺸﻮز‪ ،‬ﻫﺬه اﻻﺣﺎﺳﻴﺲ ﻫﻲ ﰲ‬ ‫اﻟﻮاﻗﻊ ُو ِﺟﺪَت ﻷﺟﻞ اﻟﺒﻘﺎء ﻋﲆ اﻟﺮﺗﻢ اﻟﺒﴩي اﻻﺟﺘامﻋﻲ‪.‬‬ ‫ﺣﻴﺚ أن ﻫﺬه اﳌﺸﺎﻋﺮ اﻟﻼإرادﻳﺔ اﻟﺘﻲ ﺗﻨﺘﺎب اﻟﻔﺮد‪ ،‬ﻣﻦ اﻟﻨﺎﺣﻴﺔ‬ ‫اﻻﺟﺘامﻋﻴﺔ‪ ،‬ﺗﻘﻮم ﺑﺘﺴﻬﻴﻞ ﻣﺴرية اﳌﺠﺘﻤﻊ واﻹﺑﻘﺎء ﻋﲆ ﺟﺮﻳﺎﻧﻪ‬ ‫ومتﺪده اﻟﻄﺒﻴﻌﻲ‪ .‬أﻣﺎ ﻣﻦ اﻟﻨﺎﺣﻴﺔ اﻟﻔﺮدﻳﺔ‪ ،‬ﻓﺈﻧﻬﺎ ﺗﻘﻮم ﺑﺪور ﺟﺮس‬ ‫اﻹﻧﺬار اﻟﺬي ﻳﺤﺬر اﳌﺮء وﻳﺤﻤﻴﻪ ﻣﻦ اﳌﺨﺎﻃﺮ‪.‬‬ ‫ﻋﲆ ﺳﺒﻴﻞ اﳌﺜﺎل ﻟﻮ أن ﻣﺠﻤﻮﻋﺔ ﻣﻦ اﻷﺷﺨﺎص ﻳﻨﻈﺮون إﱃ ﺟﻬﺔ‬ ‫ﻣﻌﻴﻨﺔ وﻗﺎم ﺷﺨﺺ ﺑﺎﻹﻋﺮاض ﻋﻦ اﻟﻨﻈﺮ ﺑﺴﺒﺐ ﻓﺮداﻧﻴﺘﻪ وﻋﺪم‬ ‫ﺷﻌﻮره ﺑﺎﻟﺮﻏﺒﺔ مبﻮاﻛﺒﺔ ﻫﺬا اﻟﺴﻴﻞ اﻟﺠامﻋﻲ اﻟﺬي ﻳﻨﻈﺮ إﱃ ﺗﻠﻚ‬

‫‪@fatima_f1‬‬

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

‫اﻟﺠﻬﺔ‪ ،‬ﻓﺈﻧﻪ ﻣﻦ اﳌﺤﺘﻤﻞ أن ﻳﻌﺮض ﻧﻔﺴﻪ إﱃ ﺧﻄﺮ اﻹﺻﺎﺑﺔ أو اﻟﴬر‬ ‫ﻛﻮن أن ذﻟﻚ اﻟﴚء اﻟﺬي ﻳﻨﻈﺮ إﻟﻴﻪ اﻟﺠﻤﻴﻊ ﻛﺎن ﺳﻴﺎرة ﻣﴪﻋﺔ‪ .‬إن‬ ‫ادﻣﻐﺘﻨﺎ ﺗﻜﻴﻔﺖ ومنَﺖ ﻟيك ﺗﻮﻓﺮ ﻟﻨﺎ أﺳﺲ اﻟﺒﻘﺎء واﻟﻌﻴﺶ‪ .‬واﻹذﻋﺎن‬ ‫ﺗﺤﺖ ﺿﻐﻂ اﻷﻗﺮان واﳌﺠﺘﻤﻊ ﻟﻴﺲ إﻻ أﺣﺪ ﺗﻠﻚ اﻟﻐﺮاﺋﺰ‪.‬‬ ‫ﺗﻜﻤﻦ ﺧﻄﻮرة اﻟﺮﻏﺒﺔ ﰲ اﻹذﻋﺎن واﻻﻧﺪﻣﺎج ﻣﻊ اﻷﻗﺮان ﻋﻨﺪﻣﺎ ﺗﺨﻠﻖ‬ ‫ﺣﺎﻟﺔ ﺗﺪﻋﻰ ﰲ ﻋﻠﻢ اﻟﻨﻔﺲ اﻻﺟﺘامﻋﻲ ﺑﺎﻟﺘﻨﺎﻓﺮ اﳌﻌﺮﰲ وﻫﻲ ﻛام‬ ‫ﻳﻌﺮﻓﻬﺎ ﻟﻴﻮن ﻓﺴﺘﻨﻐﺮ ﻋﺎمل اﻟﻨﻔﺲ اﻟﺸﻬري‪ ،‬ﻋﲆ أﻧﻬﺎ اﻟﺤﺎﻟﺔ اﻟﻌﻘﻠﻴﺔ اﻟﺘﻲ‬ ‫ﺗﻨﺘﺎب اﻟﻔﺮد ﻋﻨﺪﻣﺎ ﻳﺠﺪ ﻧﻔﺴﻪ أﻣﺎم ﻓﻜﺮﺗني ﻣﺘﻨﺎﻗﻀﺘني وﻣﺘﻌﺎﻛﺴﺘني‪،‬‬ ‫وﻫﻲ اﻟﻔﻜﺮة اﻟﺘﻲ ﻳﺆﻣﻦ ﺑﻬﺎ واﻟﻔﻜﺮة اﻟﺴﺎﺋﺪة ﰲ اﳌﺠﺘﻤﻊ‪ ،‬ﻓﻴﻘﻮم‬ ‫اﻟﺬﻫﻦ مبﺤﺎوﻟﺔ اﻟﺘﱪﻳﺮ واﻟﺘﻨﺴﻴﻖ ﺑني اﻟﻔﻜﺮﺗني واﻻﻧﻜﺎر وإﺑﻌﺎد‬ ‫ﻣﺰﻳﺪ ﻣﻦ اﳌﻌﻠﻮﻣﺎت اﻟﺘﻲ ﻗﺪ ﺗﺰﻳﺪ ﻣﻦ ﺣﺎﻟﺔ اﻟﺘﻨﺎﻗﺾ‪ ،‬وﻏريﻫﺎ ﻣﻦ‬ ‫اﳌﺤﺎوﻻت‪ ،‬يك ﻳﺼﻞ ﻟﺤﻞ ﻣﻨﻄﻘﻲ أﺧري ﻟﻴﻌﻴﺶ ﺣﺎﻟﺔ ﻣﻦ اﻻﺗﺴﺎق‬ ‫واﻟﺴﻼم اﻟﺪاﺧﲇ‪.‬‬ ‫اﻟﺨﻄﻮرة اﻷﺧﺮى ﰲ اﻟﺮﻏﺒﺔ ﰲ اﻻﻧﺪﻣﺎج‪ ،‬ﻫﻲ اﻹذﻋﺎن اﳌﻌﻠﻮﻣﺎيت‪.‬‬ ‫وﻫﻲ اﻟﺤﺎﻟﺔ اﻟﺘﻲ ﺗﺠﻌﻞ اﻟﻔﺮد اﻟﺬي ﺗﻨﻘﺼﻪ اﻟﺨﱪة واﳌﻌﺮﻓﺔ ﰲ أﻣﺮ‬ ‫ﻣﺎ أن ﻳﺒﺤﺚ ّ‬ ‫ﻋام ﻫﻮ ﺳﺎﺋﺪ وﻣﺘﻌﺎرف ﻋﻠﻴﻪ ﻟﻴﺼﺒﺢ ﻓﻜﺮه واﻋﺘﻘﺎده‬ ‫اﻟﺸﺨﴢ‪.‬‬ ‫ﻣﻦ اﳌﻬﻢ ﺟﺪا أن ﻳﺘﻌﻠﻢ اﻹﻧﺴﺎن ﻣﻬﺎرة اﻹذﻋﺎن واﻟﺘﻤﻴﺰ‪ .‬وﻫﻲ أن‬ ‫ﻳﻌﺮف ﻣﺘﻰ ﻳﻨﺨﺮط وﻳﺴﺎﻳﺮ اﻟﺘﻴﺎر اﻻﺟﺘامﻋﻲ ومتﺪده‪ ،‬وﻣﺘﻰ ﻳﻜﺒﺢ‬ ‫ﺷﻌﻮره اﻟﺠﺎﻣﺢ ﰲ اﻻﻧﺪﻣﺎج واﻻﺧﺘﻔﺎء وﺳﻂ اﳌﺠﺘﻤﻊ وأن ﻳﺘﺨﺬ‬ ‫ﻣﻮﻗﻔﺎ ﺻﺎدﻗﺎ وﺣﻘﻴﻘﻴﺎ ﻋﲆ اﻷﻗﻞ ﰲ داﺧﻞ ﺣﺎﻟﺘﻪ اﻟﺬﻫﻨﻴﺔ واﻟﻔﻜﺮﻳﺔ‪.‬‬ ‫ﻓﺮﻏﻢ وﺟﻮد ﻓﻮاﺋﺪ اﺟﺘامﻋﻴﺔ وﻓﺮدﻳﺔ ﰲ اﻟﺮﻏﺒﺔ اﻹﻧﺴﺎﻧﻴﺔ اﻟﺪﻓﻴﻨﺔ ﰲ‬ ‫اﻻﻧﺪﻣﺎج واﻟﺘﻄﺎﺑﻖ ﻣﻊ اﳌﺠﻤﻮﻋﺎت واﻷﻗﺮان‪ ،‬إﻻ أن اﻟﻮﻋﻲ ﻋﻦ ﻫﺬه‬ ‫اﻟﺮﻏﺒﺔ وﻃﺮﻳﻘﺔ ﻋﻤﻞ اﻟﺪﻣﺎغ ﺗﺠﺎﻫﻬﺎ أﻣﺮ ﻣﻬﻢ ﻟﻠﻐﺎﻳﺔ‪ ،‬ﻟِام ﺗﻨﻄﻮي‬ ‫ﻋﻠﻴﻪ أﻳﻀﺎ ﻣﻦ ﻣﺨﺎﻃﺮ ﻗﺪ ﺗﺠﻌﻞ اﻹﻧﺴﺎن ﺿﺤﻴﺔ ﻟﻠﺘﻼﻋﺐ واﻟﺘﻐﻴﻴﺐ‬ ‫واﻟﺘﺴﻔﻴﻪ ﺑﻪ وﺑﺄﻓﻜﺎره وﺗﻮﺟﻬﺎﺗﻪ دون أن ﻳﺸﻌﺮ أﺑﺪا‪.‬‬ ‫اﻟﺸﻌﺮ ‪baytelshear‬‬ ‫ﺑﻴﺖ ِ‬

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‫ﰲ ﻟﺤﻈﺔ إﻋﻼن اﻟﻨﺘﺎﺋﺞ ﰲ اﻟﺤﻔﻞ اﻟﺨﺘﺎﻣﻲ؟‬ ‫■ اﻟﺤﻔﻞ ﻛﺎن ﻣﻤﻴﺰا ﺟﺪاً وﻓﺎق ﺟﻤﻴﻊ‬ ‫اﻟﺘﻮﻗﻌﺎت‪ ،‬وﻟﻸﻣﺎﻧﺔ أﻗﻮل إن ﻣﻘﺪم اﻟﺤﻔﻞ‬ ‫ﺣﻤﺪان اﻟﺪرﻋﻲ أﺿﻔﻰ ﻟﻸﺟﻮاء اﻟﺤامﺳﻴﺔ‬ ‫اﻟﴚء اﻟﻜﺜري‪ ،‬وﻣﺎ ﻟﻔﺘﻨﻲ ﰲ اﻟﺤﻔﻞ أن‬ ‫ﺟﻤﻴﻊ ﻣﻦ ﺣﴬوا ﻋﺎﻳﺸﻮا اﻟﻠﺤﻈﺔ ﺑﺄﺟﻤﻞ‬ ‫ﺗﻔﺎﺻﻴﻠﻬﺎ‪ ،‬وﻗﺪ ﺷﺎﻫﺪﻧﺎ ﻧﺤﻦ اﻟﻮاﻗﻔني ﻋﲆ‬ ‫اﳌﴪح ﺗﻠﻚ اﻟﻠﺤﻈﺎت اﳌﻔﺮﺣﺔ واﳌﻌﱪة‪،‬‬ ‫وﺗﻔﺎﻋﻠﻨﺎ ﻣﻊ اﻟﺤﻀﻮر اﻟﻐﻔري‪ ،‬ﺑﻘﺪر ﻣﺎ‬ ‫ﺗﻔﺎﻋﻠﻮا ﻫﻢ ﻣﻌﻨﺎ أﻳﻀﺎً‪.‬‬ ‫ﻟﻘﺪ ﻛﺎﻧﺖ ﻟﺤﻈﺎت ﻻ ﺗﻨﴗ‪ ،‬وﻟﻦ ﺗﻨﴗ ﻣﻦ‬ ‫ذاﻛﺮة اﻟﻔﺎﺋﺰﻳﻦ‪.‬‬ ‫ﻛﻠﻤﺔ ﺗﻮﺟﻬﻬﺎ ﻟﺰﻣﻼﺋﻚ اﻟﻔﺎﺋﺰﻳﻦ ﺑﺎﳌﺮاﻛﺰ‬ ‫اﻟﺘﺎﻟﻴﺔ ﻟﻚ ؟‬ ‫■ ﺗﻨﺎﻓﺴﻨﺎ ﻛﺎن ﻗﻮﻳﺎ وﴍﻳﻔﺎ‪ ،‬وﻻ أﻋﺘﻘﺪ‬ ‫أن ﺑﻴﻨﻨﺎ ﺧﺎﴎ واﺣــﺪ‪ .‬اﳌﺴﺎﺑﻘﺔ اﺣﺘﻮت‬ ‫ﻣﻮﺿﻮﻋﺎ ﺟﻤﻴﻼ وﻫﻮ اﻟﺘﺴﺎﻣﺢ‪ ،‬وﻗﺪ ﻋﺎﻳﺸﻨﺎ‬

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‫اﻟﻌﺪد ‪ ، 85‬ﻳﻨﺎﻳﺮ ‪2020‬‬

‫ﻓﻌﻼ وﻗﻮﻻ ﻓﻴام ﺑﻴﻨﻨﺎ ﻧﺤﻦ اﻟﺸﻌﺮاء‪..‬‬ ‫أﺑﺎرك ﺷﺨﺼﻴﺎ ﻟﻜﻦ ﻣﻦ وﺻﻞ إﱃ ﻣﻨﺼﺔ‬ ‫اﻟﺘﺘﻮﻳﺞ‪ ،‬ﻓﻜﻞ واﺣــﺪ ﻣﻦ ﻫــﺆﻻء ﻓﺎﺋﺰ‬ ‫ﺑﺠﺪارة واﺳﺘﺤﻘﺎق‪ .‬وأﻗﻮل ﺣﻈﺎ أوﻓﺮ ﳌﻦ‬ ‫مل ﻳﺤﺎﻟﻔﻬﻢ اﻟﺤﻆ‪ ،‬وﻛﲇ ﺛﻘﺔ أن اﳌﻮاﺳﻢ‬ ‫اﻟﻘﺎدﻣﺔ ﻣﻦ اﳌﺴﺎﺑﻘﺔ ﺳﺘﺤﻤﻞ اﻟﻜﺜري ﻣﻦ‬ ‫اﳌﻔﺎﺟﺂت‪.‬‬

‫اﻟﺘﻲ ﺗﻨﺎﺳﺒﻬﺎ وﺗﺮﻓﻊ ﻣﻦ ﻗﻴﻤﺘﻬﺎ‪ .‬وﺳﻴﻨﻌﻜﺲ‬ ‫ذﻟﻚ إﻳﺠﺎﺑﺎ ﻋﲆ ﺗﺠﺮﺑﺘﻲ ﻃﺒﻌﺎ‪ ،‬وﻳﺠﺐ‬ ‫ﻋﲆ ﻛﻞ ﺷﺎﻋﺮ ﺟﺎد أن ﻳﻠﺘﺰم ﺑﺬﻟﻚ‪ ،‬ﻣﻦ‬ ‫أﺟﻞ رﻓﻌﺔ اﻟﻘﺼﻴﺪة واﻻرﺗﻘﺎء ﺑﻔﻦ اﻟﺸﻌﺮ‪.‬‬ ‫اﻟﻔﻮز ﺑﺎﳌﺮﻛﺰ اﻟﺜﺎين ﰲ اﳌﺴﺎﺑﻘﺔ ﺗﻜﺮﻳﻢ‬ ‫ﺧﺎص ﱄ ﻟﻦ أﻧﺴﺎه‪ ،‬وﻟﻦ أﻧﴗ أرﺑﻌﺔ ﺷﻬﻮر‬ ‫ﻣﻦ ﻋﻤﺮ اﳌﺴﺎﺑﻘﺔ‪ ،‬ﺗﻌﺮﻓﺖ ﺧﻼﻟﻬﺎ ﻋﲆ‬ ‫ﺑﻌﺾ اﻟﺸﻌﺮاء اﻟﺠﻤﻴﻠني‪ ،‬اﻟﺬﻳﻦ ﺗﻨﺎﻓﺴﺖ‬ ‫ﻣﻌﻬﻢ ﻣﻦ ﺧﻼل ﻣﻮﺿﻮع إﻧﺴﺎين ﻋﻈﻴﻢ ﻫﻮ‬ ‫اﻟﺘﺴﺎﻣﺢ‪.‬‬

‫ﻟﻮ اﺧﺘﴫت ﻓﻬﻤﻚ ﻟﻠﺸﻌﺮ ﺑﻌﻴﺎرة واﺣﺪة‪..‬‬ ‫ﻣﺎذا ﺳﺘﻘﻮل ؟‬ ‫■ اﻟﺸﻌﺮ إرث وﺗﺎرﻳﺦ وﻟﻮن ﺣﻴﺎة‪ .‬وﻃﺮﻳﻖ‬ ‫ﻣﺎ ﻫﻲ ﻣﺸﺎرﻳﻌﻚ اﳌﺴﺘﻘﺒﻠﻴﺔ ﺳﻮاء ﻋﲆ‬ ‫ﻣﻦ ﻃﺮق اﻹﺑﺪاع واﻟﺘﻤﻴﺰ واﻟﺒﻼﻏﺔ‪.‬‬ ‫ﺻﻌﻴﺪ اﻟﺘﻌﻠﻴﻢ أو اﻟﻨﺸﺎط اﻟﺸﻌﺮي؟‬ ‫ﻣــﺎ اﻟـــﺬي ﺳﻴﺘﻐري ﻋﻠﻴﻚ ﺑﻌﺪ اﻟﻔﻮز ■ ﺳﺄﺳﺘﻤﺮ ﰲ ﺗﻄﻮﻳﺮ ﻧﻔﴘ وﺗﺠﺮﺑﺘﻲ‬ ‫ﺑﺎﳌﺴﺎﺑﻘﺔ‪ ..‬ﻛﻴﻒ ﺳﺘﻨﻌﻜﺲ ﻋﲆ ﺗﺠﺮﺑﺘﻚ اﻟﺸﻌﺮﻳﺔ‪ ،‬ﻋﱪ اﻟﻘﺮاءة واﻻﻃﻼع‪ ،‬وﺳﺄواﺻﻞ‬ ‫دراﺳﺘﻲ ﰲ ﻣﺠﺎل اﻹﻋﻼم‪ ،‬وﺳﺄﺣﺎول دامئﺎ‬ ‫اﻟﺸﻌﺮﻳﺔ؟‬ ‫■ ﺳﺄﺳﻌﻰ دامئــﺎ ﻟﻠﻤﺤﺎﻓﻈﺔ ﻋﲆ ﻗﻴﻤﺔ ﻓﺘﺢ اﻟﻜﺜري ﻣﻦ اﻷﺑﻮاب ﻷﻃﻞ ﻋﲆ اﻟﻘﺼﻴﺪة‬ ‫اﻟﺸﻌﺮ اﻟﺤﻘﻴﻘﻴﺔ‪ ،‬وأﻧﺘﻘﻲ ﻟﻘﺼﻴﺪيت اﳌﻔﺮدة ﻣﻦ أوﺳﻊ ﻣﺴﺎﺣﺎﺗﻬﺎ‪.‬‬

‫ﻟﻄﻤﻮﺣﻲ ﺑﺘﺤﻘﻴﻖ اﻟﻔﻮز ﰲ ﺟﺎﺋﺰة ﻛﺒرية‬ ‫ﺗﺤﻤﻞ اﺳﻢ رﺟﻞ ﻋﻈﻴﻢ ‪.‬‬ ‫ﺗﻜﺘﺒﻮن اﻟﺸﻌﺮ‪ ،‬وﰲ اﻟﻮﻗﺖ ذاﺗﻪ ﺗﺴﺘﻤﺮون‬ ‫ﰲ ﻣﺮاﺣﻠﻜﻢ اﻟﺘﻌﻠﻴﻤﻴﺔ‪ ،‬أﻳﻦ ﺗﺠﺪ ﻧﻔﺴﻚ‪،‬‬ ‫وﻛﻴﻒ ﺗﻨﻈﻢ وﻗﺘﻚ ﻣﺎ ﺑني اﻟﺸﻴﺌني؟‬ ‫■ اﻟﻌﻠﻢ واﻟﺸﻌﺮ ﺑﺎﻟﻨﺴﺒﺔ ﱄ‪ ،‬ﻛﻌﻴﻨني ﰲ‬ ‫رأس‪ .‬اﻟﻌﻠﻢ‪ ،‬ﻳﻮﺳﻊ ﻧﻄﺎق ﻓﻜﺮي وﻳﺴﻬﻢ‬ ‫ﰲ ﻧﻀﻮﺟﻲ ﻋﻠﻤﻴﺎً وﻓﻜﺮﻳﺎً‪ ،‬وذﻟﻚ ﺑﻼ ﺷﻚ‬ ‫ﻳﺆﺛﺮ ﻋﲆ وﻋﻴﻲ ﰲ ﺑﻨﺎيئ ﻟﻘﺼﻴﺪيت‪ ،‬وﻏﺎﻟﺒﺎً‬ ‫ﻣﺎ ﻧﺮى أن اﻟﺸﺨﺺ اﳌﺘﻌﻠﻢ ﺗﻜﻮن ﻗﺼﺎﺋﺪه‬ ‫أﻧﻀﺞ ﻣﻦ اﻟﺸﺨﺺ ﻏري اﳌﺘﻌﻠﻢ‪.‬‬ ‫أﻣﺎ ﺑﺎﻟﻨﺴﺒﺔ ﻟﻠﻀﻐﻮﻃﺎت اﻟﺘﻲ أواﺟﻬﻬﺎ‬ ‫أﺛﻨﺎء رﺣﻠﺘﻲ اﻟﻌﻠﻤﻴﺔ‪ ،‬ﻓﻘﺪ ﻻ ﺗﺆﺛﺮ أﺣﻴﺎﻧﺎ ﰲ‬ ‫ﻛﺘﺎﺑﺘﻲ ﻟﻠﺸﻌﺮ‪ ،‬ﻷن ﻛﺘﺎﺑﺔ اﻟﺸﻌﺮ ﺑﺎﻟﻨﺴﺒﺔ‬ ‫ﱄ ﺣﺎﻟﺔ ﺗﺨﻀﻊ ﻟﻌﻮاﻣﻞ ﻛﺜرية ﰲ ﻣﺤﻴﻄﻬﺎ‪.‬‬ ‫وﺣﺘﻰ إن ﺗﻮﻓﺮ اﻟﻮﻗﺖ‪ ،‬ﻗﺪ ﻻ ﻳﻌﻨﻲ ذﻟﻚ‬ ‫أن اﻷﻣﺮ ﻣﺘﺎح ﻟﻠﻜﺘﺎﺑﺔ‪.‬‬ ‫ﺷﺎرﻛﺖ ﰲ ﻋﺪد ﻣﻦ اﳌﺴﺎﺑﻘﺎت واﻟﻔﻌﺎﻟﻴﺎت‬ ‫اﻟﺸﻌﺮﻳﺔ داﺧﻞ اﻹﻣﺎرات‪ ،‬ﻣﺎذا ﺗﻘﻮل ﻋﻦ‬ ‫ﺗﻠﻚ اﳌﺸﺎرﻛﺎت‪ ،‬وﻛﻴﻒ ﺗﻨﻈﺮ ﻟﻠﻤﺸﻬﺪ‬ ‫اﻟﺸﻌﺮي ﰲ اﻟﺪوﻟﺔ؟‬ ‫■ اﳌﺸﻬﺪ اﻟﺸﻌﺮي ﰲ اﻹﻣــﺎرات ﻣﴤء‬ ‫وﺟﺎذب دامئﺎ‪ ،‬واﻟﻘﻴﺎدة اﻟﺮﺷﻴﺪة ﻟﺪوﻟﺔ‬ ‫اﻹﻣــﺎرات اﻟﻌﺮﺑﻴﺔ اﳌﺘﺤﺪة ﺗﺪﻋﻢ ﻣﺠﺎل‬ ‫اﻟﺸﻌﺮ ﺑﺸﻜﻞ ﻛﺒري ﺟﺪاً ﻻ ميﺎﺛﻠﻪ أي دﻋﻢ‬ ‫ﰲ أي دوﻟﺔ أﺧﺮى‪ .‬ﻗﺪ منﺮ أﺣﻴﺎﻧﺎ ﰲ ﻓﱰة‬ ‫ﻧﺸﺎط ﻛﺒري‪ ،‬وأﺣﻴﺎﻧﺎ ﻳﻜﻮن اﻟﻨﺸﺎط أﻗﻞ‪،‬‬ ‫وﻫﺬا ﻋﺎﺋﺪ ﺑﺎﻟﻄﺒﻊ إﱃ ﻃﺒﻴﻌﺔ اﻟﱪاﻣﺞ‬ ‫اﻷدﺑﻴﺔ ﻟﻠﻤﺆﺳﺴﺎت‪ .‬وﺑﺎﻟﻨﺴﺒﺔ ﱄ‪ ،‬دامئﺎ‬ ‫ﻣﺎ أﻟﺒﻲ ﻣﻌﻈﻢ اﻟﺪﻋﻮات ﻟﻠﻤﺸﺎرﻛﺎت‬ ‫وأﺗﴩف ﻃﺒﻌﺎ ﰲ ﻣﺸﺎرﻛﺔ إﺧﻮاين اﻟﺸﻌﺮاء‬ ‫ﻗﺮاءاﺗﻬﻢ‪.‬‬ ‫دامئــﺎ ﻣﺎ ﺗﻜﻮن ﻟﺤﻈﺔ اﻟﺘﺘﻮﻳﺞ ﺧﺎﺻﺔ‬ ‫وﻣﻌﱪة‪ ،‬ﻛﻴﻒ ﺗﺼﻒ وﻗﻮﻓﻚ ﻋﲆ اﳌﴪح‬ ‫اﻟﺸﻌﺮ ‪baytelshear‬‬ ‫ﺑﻴﺖ ِ‬

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‫‪ ŝħ‬‬

‫‪ő‬‬ ‫‪rŪţơƸţŵƴŢ ũŧƵƙƴ ũǈƃơƍƴŢ ſǈŢƄ ƻŦ ƺţƙƵƈ Ǉƨ łǉƼţŰ ƳŸ‬‬

‫ﺷﺎرﻛﺖ &ﻓﻮزَ ﺑﻤﺴﺎﺑﻘﺔ‬ ‫أﺣﻤﺪ ﺳﻨﺪ‪:‬‬ ‫ُ‬ ‫ﻛﺒﻴﺮة ﺗﺤﻤﻞ اﺳﻢ رﺟﻞ ﻋﻈﻴﻢ‬ ‫ﺧﺎص ‪ -‬ﺑﻴﺖ اﻟﺸﻌﺮ‬

‫ﺷﺎﻋﺮ ﺷﺎب متﻴﺰ ﺑﻜﺘﺎﺑﺔ ﻗﺼﻴﺪة واﻋﻴﺔ‪ ،‬ﺗﻨﺤﺎز ﻟﻠﺸﻌﺮﻳﺔ‪ ،‬وﺗﻌﺮف ﻛﻴﻒ ﺗﻌﱪ ﻋﻦ ﺻﺎﺣﺒﻬﺎ ﺑﻜﻞ ﺷﻔﺎﻓﻴﺔ‬ ‫ووﺿﻮح‪.‬‬ ‫ﻳﺪرس اﻹﻋﻼم ﰲ ﻣﺮﺣﻠﺔ اﳌﺎﺟﺴﺘري ﺑﺠﺎﻣﻌﺔ أﺑﻮﻇﺒﻲ‪ ،‬وﻻ ﻳﺮى ﺗﺪاﺧﻼ ﺑني اﻟﺘﺠﺮﺑﺔ اﻟﺸﻌﺮﻳﺔ‪ ،‬واﳌﺮاﺣﻞ‬ ‫اﻟﺘﻌﻠﻴﻤﻴﺔ‪ .‬ﻷن اﻟﻜﺘﺎﺑﺔ ﺗﺨﻀﻊ ﻟﺤﺎﻟﺔ ﺧﺎﺻﺔ ﻻ ﺗﺘﻌﻠﻖ ﺑﻈﺮوف ﺑﻌﻴﻨﻬﺎ‪.‬‬ ‫ﻳﺮى أن اﻟﺘﻨﺎﻓﺲ ﻛﺎن ﻛﺒريا ﺟﺪا ﰲ اﳌﺴﺎﺑﻘﺔ‪ ،‬وأن اﻟﻔﻮز ﺑﺎﳌﺮﻛﺰ اﻟﺜﺎين ﻣﻦ ﺑني ﻣﺌﺎت اﻟﺸﻌﺮاء ﻳﻌﺘﱪ ﻣﺮﻛﺰا‬ ‫ﻣﻤﺘﺎزا ﺟﺪا‪ ،‬وﻳﺆﻛﺪ أن ﻛﻞ اﻟﻔﺎﺋﺰﻳﻦ مبﺨﺘﻠﻒ اﳌﺮاﻛﺰ ﺑﻼ ﺷﻚ ﻣﻦ اﳌﺘﻔﻮﻗني واﳌﺘﻤﻴﺰﻳﻦ‪.‬‬ ‫ﺑﻴﺖ اﻟﺸﻌﺮ اﻟﺘﻘﺖ اﻟﺸﺎﻋﺮ أﺣﻤﺪ ﺳﻨﺪ اﻟﻔﺎﺋﺰ ﺑﺎﳌﺮﻛﺰ اﻟﺜﺎين ﰲ ﻣﺴﺎﺑﻘﺔ ﺳﻠﻄﺎن ﺑﻦ زاﻳﺪ اﻟﺸﻌﺮﻳﺔ ﻟﻄﻠﺒﺔ‬ ‫اﻟﺠﺎﻣﻌﺎت‪ ،‬وﻣﻌﻪ ﻛﺎن ﻫﺬا اﻟﺤﻮار‪:‬‬ ‫إذا أردت أن ﺗﻘﺪم ﻧﻔﺴﻚ ﻟﻠﻘﺎرئ‪ ،‬ﻣﺎذا‬ ‫ﺗﻘﻮل ﺑﺎﺧﺘﺼﺎر؟‬ ‫■ أﺣﻤﺪ ﺳﻨﺪ أﺣﻤﺪ اﳌﻴﴪي‪ 22 ،‬ﺳﻨﺔ‪،‬‬ ‫ﻃﺎﻟﺐ ﺑﻜﺎﻟﻮرﻳﻮس ﰲ ﻛﻠﻴﺔ اﻟﻬﻨﺪﺳﺔ‬ ‫اﻟﻜﻬﺮﺑﺎﺋﻴﺔ ﰲ ﺟﺎﻣﻌﺔ أﺑﻮﻇﺒﻲ‪ ،‬ﺷﺎﻋﺮ‬ ‫ﺷﻌﺒﻲ‪ ،‬أﻫﻮى اﻟﻘﺮاءة واﻟﻔﺮوﺳﻴﺔ وﻛﺮة‬ ‫اﻟﻘﺪم‪.‬‬ ‫ﺣﻘﻘﺖ اﳌﺮﻛﺰ اﻟﺜﺎين مبﺴﺎﺑﻘﺔ ﺳﻠﻄﺎن ﺑﻦ‬ ‫زاﻳﺪ اﻟﺸﻌﺮﻳﺔ ﻟﻄﻠﺒﺔ اﻟﺠﺎﻣﻌﺎت‪ ،‬ﻛﻴﻒ‬ ‫ﺗﺼﻒ ﻫﺬا اﻟﻔﻮز؟‬ ‫■ ﺑﺪاﻳﺔ أﺣﻤﺪ اﻟﻠﻪ ﻟﺤﺼﻮﱄ ﻋﲆ اﳌﺮﻛﺰ‬ ‫اﻟﺜﺎين ﰲ ﻣﺴﺎﺑﻘﺔ ﺗﺤﻤﻞ اﺳﻢ اﳌﻐﻔﻮر ﻟﻪ‬ ‫ﺑﺈذن اﻟﻠﻪ اﻟﺸﻴﺦ ﺳﻠﻄﺎن ﺑﻦ زاﻳﺪ ﻃﻴﺐ‬ ‫اﻟﻠﻪ ﺛﺮاه‪ ،‬ﻫﺬا اﻟﺮﺟﻞ اﻟﺬي ﻗﺪم اﻟﴚء‬ ‫اﻟﻜﺜري ﻟﺪوﻟﺔ اﻹﻣﺎرات اﻟﻌﺮﺑﻴﺔ اﳌﺘﺤﺪة‪،‬‬ ‫وﻫﻮ رﺟﻞ اﻟﱰاث واﻷدب واﻷﺻﺎﻟﺔ‪ .‬رﺣﻞ‬ ‫ﻋﻨﺎ‪ ،‬وﻟﻜﻦ ﻣﻦ ﻣﺜﻠﻪ ﻳﺄىب اﻟﺘﺎرﻳﺦ إﻻ أن‬ ‫ﻳﺨﻠﺪه ﰲ ﺻﻔﺤﺎﺗﻪ‪.‬‬

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‫اﻟﻌﺪد ‪ ، 85‬ﻳﻨﺎﻳﺮ ‪2020‬‬

‫‪ ǳƦżǔǕŌ ŌǷƖǿōƫ ŌǶƉƞŽ ǛǙ ƩǾǘŵ‬‬ ‫‪ ōǝƃǥōƗ ƃǃǶ ɐōǤǔǾƛōƲũ Ǔǘŵőş‬‬

‫‪ Ǉǔũ źƉƒǘǕŌ ǻǔƫ ǛǾƲǃŌǷǕŌ Ǜżǝ‬‬ ‫‪ǲƉŞƪǘǕŌǶ ǳŽƉƲǘǕŌ ŦōƦżǔǕŌ‬‬

‫‪ ŦŌƈōǙȑŌ ǳǕǶƃǕ ǲƃǾƗƉǕŌ ǲƂōǾǂǕŌ‬‬

‫‪ ǒōŴǙ Ǘƫƃũ ǲƃżŨǘǕŌ ǳǾşƉƪǕŌ‬‬ ‫‪ɰ‬‬ ‫‪ ǣǔŭōǘǿ ȍ Ōƃŵ ƉǾŞǉ ǓǈƖş ƉƪƖǕŌ‬‬ ‫‪ǺƉƁŐ ǳǕǶƂ ǼŐ ǽƳ ǗƫƂ ǼŐ‬‬

‫‪ɰ ŌƋǾǘǙ ǚōǉ ǓƲżǕŌ‬‬ ‫‪ɰ‬‬ ‫ ‪ ǀōƳǶ Ōƃŵ‬‬

‫ ‪ ŦōƦżǕ ŧǝōǉ ŦōƪǃǷŨǕŌ ƩǾǘŵ‬‬ ‫‪ǻƒǜũ ȍ‬‬

‫ﻓﺨﻮر ﺣﻘﺎ ﺑﻔﻮزي ﺑﻬﺬه اﳌﺴﺎﺑﻘﺔ‪ ،‬اﻟﺘﻲ‬ ‫متﻨﺢ اﻟﺸﻌﺮاء اﻟﺸﺒﺎب ﻣﺰﻳﺪا ﻣﻦ اﻟﺜﻘﺔ‪،‬‬ ‫وداﻓﻌﺎ ﳌﻮاﺻﻠﺔ اﻟﻜﺘﺎﺑﺔ اﻟﺸﻌﺮﻳﺔ‪ ،‬وﺣﺮﺻﺎ‬ ‫إﺿﺎﻓﻴﺎ ﻋﲆ ﺣامة اﳌﻮروث ورﻓﻌﺔ اﻟﻘﺼﻴﺪة‬ ‫اﻟﺸﻌﺒﻴﺔ‪.‬‬

‫ﻛﺎن اﻟﺘﻨﺎﻓﺲ ﻛﺒريا ﺟﺪا ﰲ اﳌﺴﺎﺑﻘﺔ‪ ،‬واﻟﻔﻮز‬ ‫ﺑﺎﳌﺮﻛﺰ اﻟﺜﺎين ﻣﻦ ﺑني ﻣﺌﺎت اﻟﺸﻌﺮاء ﻳﻌﺘﱪ‬ ‫ﻣﺮﻛﺰا ﻣﻤﺘﺎزا ﺑﺎﻟﻨﺴﺒﺔ ﱄ‪ ،‬وﻛﻞ اﻟﻔﺎﺋﺰﻳﻦ‬ ‫مبﺨﺘﻠﻒ اﳌﺮاﻛﺰ ﺑﻼ ﺷﻚ ﻣﻦ اﳌﺘﻔﻮﻗني‬ ‫واﳌﺘﻤﻴﺰﻳﻦ‪.‬‬ ‫ﺗﻢ اﻹﻋــﻼن ﻋﻦ اﳌﺴﺎﺑﻘﺔ ﻋﱪ وﺳﺎﺋﻞ‬ ‫ﻣﺨﺘﻠﻔﺔ وﻣﺘﻨﻮﻋﺔ‪ ،‬ﻛﻴﻒ وﺻﻠﻚ ﺧﱪ‬ ‫اﳌﺴﺎﺑﻘﺔ وﳌﺎذا ﻗﺮرت اﳌﺸﺎرﻛﺔ ﻓﻴﻬﺎ؟‬ ‫■ ﻛﺎن ﻟﻠﻤﺴﺎﺑﻘﺔ ﺻﺪى ﻛﺒري ﰲ ﻣﻮاﻗﻊ‬ ‫"اﻟﺴﻮﺷﻞ ﻣﻴﺪﻳﺎ" وﺗﺤﺪﻳﺪاً ﰲ ﺗﻄﺒﻴﻖ‬ ‫"اﻻﻧﺴﺘﻐﺮام" ﻣﻦ ﺧــﻼل ﺣﺴﺎب ﻣﺮﻛﺰ‬ ‫ﺳﻠﻄﺎن ﺑﻦ زاﻳــﺪ‪ ،‬وﺣﺴﺎب ﻣﺠﻠﺔ ﺑﻴﺖ‬ ‫اﻟﺸﻌﺮ‪ ،‬وﻣﻦ ﺧﻼل ﻣﺘﺎﺑﻌﺘﻲ ﻟﻬﻢ ﻋﻠﻤﺖ‬ ‫ﺑﺎﳌﺴﺎﺑﻘﺔ‪ ،‬أﻣﺎ ﺗﻔﺎﺻﻴﻞ اﳌﺴﺎﺑﻘﺔ ﻓﻌﻠﻤﺘﻬﺎ‬ ‫ﻣﻦ اﻟﺠﺎﻣﻌﺔ‪ ،‬ﺧــﻼل اﻟﻴﻮم اﻟﺘﻌﺮﻳﻔﻲ‬ ‫ﺑﺎﳌﺴﺎﺑﻘﺔ اﻟﺬي ﻧﻈﻤﺘﻪ اﻟﺠﺎﻣﻌﺔ وﻗﺪﻣﻪ‬ ‫اﳌﴩف اﻟﻌﺎم ﻋﲆ اﳌﺴﺎﺑﻘﺔ اﻟﺸﺎﻋﺮ ﻋﻴﻀﺔ‬ ‫ﺑﻦ ﻣﺴﻌﻮد‪ ..‬أﻣﺎ ﻗﺮار اﳌﺸﺎرﻛﺔ ﻓﻜﺎن ﻧﻈﺮا‬

‫ﻓﺮد اﻟﺸﻴﺦ زاﻳﺪ أن ﻫﺬا ﻫﻮ أﺣﺪ أﻫﺪاﻓﻨﺎ‬ ‫ﻣﻦ ﺳﺒﺎﻗﺎت اﻟﻬﺠﻦ‪ ،‬أﻻ وﻫﻮ ﺗﻌﺎرﻓﻜﻢ ﻋﲆ‬ ‫ﺑﻌﻀﻜﻢ اﻟﺒﻌﺾ‪ ،‬وأن ﺗﻜﻮن ﻫﺬه اﻹﺑﻞ‬ ‫أﺣﺪ ﻣﺼﺎدر اﻟﺮزق ﻟﺪﻳﻜﻢ‪ ،‬وﻻ ﻧﻨﴗ أﻧﻪ‬ ‫ﺳﻴﺸﺎرﻛﻜﻢ ﰲ ﻫﺬه اﻟﺴﺒﺎﻗﺎت إﺧﻮاﻧﻜﻢ ﻣﻦ‬ ‫أﺑﻨﺎء دول ﻣﺠﻠﺲ اﻟﺘﻌﺎون اﻟﺨﻠﻴﺠﻲ وأﻧﺘﻢ‬ ‫ﺳﺘﺸﺎرﻛﻮن ﻣﻌﻬﻢ ﰲ ﺳﺒﺎﻗﺎﺗﻬﻢ‪ ،‬وﺳﺘﻜﻮن‬ ‫اﳌﺼﻠﺤﺔ ﻣﺸﱰﻛﺔ وﺳﻴﻜﻮن ﻟﻜﻢ إﺧﻮان‬ ‫وأﺻﺪﻗﺎء ﻣﻦ أﺑﻨﺎء ﻫﺬه اﻟﺪول«‪.‬‬ ‫‪ƳŦǎŢ ũƽǈŢƅƸ‬‬

‫وﻳﺴﺘﻜﻤﻞ ﺑﻦ ﺣﻤﻮدة ﺣﺪﻳﺜﻪ‪» :‬ﰲ ﻋﺎم‬ ‫‪ 2002‬ﻛﻨﺖ ﰲ زﻳــﺎرة )ﻟﻌﺰﺑﺔ( اﻟﺸﺎﻋﺮ‬ ‫ﺣﻮﻳﺮب اﳌﻨﻬﺎﱄ ﰲ اﻟﻮﺛﺒﺔ‪ ،‬رأﻳﺖ اﻟﻌﺰب‬ ‫واﻹﺑﻞ ﰲ ﺣﺎﻟﺔ ﻳﺮىث ﻟﻬﺎ‪ ،‬ﻧﻈﺮا ﻟﻌﺪم اﻫﺘامم‬ ‫أﻫﻠﻬﺎ ﺑﻬﺎ‪ ،‬وأﺗﺖ ﻋﲆ ﺑﺎﱄ ﻓﻜﺮة ﻣﺰاﻳﻨﺔ‬ ‫اﻹﺑﻞ ﻟيك ﻳﻬﺘﻢ أﻫﻠﻬﺎ ﺑﻬﺎ‪ ،‬وﺳﺄﻟﺖ اﻟﺸﺎﻋﺮ‬ ‫ﺣﻮﻳﺮب ﰲ ﺣﺎل ﺗﻨﻈﻴﻤﻨﺎ ﳌﺰاﻳﻨﺔ ﻟﻺﺑﻞ‪ ،‬ﻋﲆ‬

‫أن ﻧﻘﺪّم ﺟﻮاﺋﺰ ﻧﻘﺪﻳﺔ ﺑﻘﻴﻤﺔ ‪100000‬‬ ‫درﻫــﻢ‪ ،‬ﻣﺎذا ﺳﺘﻜﻮن ردة ﻓﻌﻞ أﺻﺤﺎب‬ ‫اﻹﺑﻞ‪ ،‬ﻓﻘﺎل ﱄ ﻣﻦ اﳌﺆﻛﺪ أﻧﻬﻢ ﺳﻴﻔﺮﺣﻮن‬ ‫ﻛﺜرياً وﺳﻴﻬﺘﻤﻮن ﺑﺈﺑﻠﻬﻢ ﻣﻦ أﺟﻞ اﳌﺸﺎرﻛﺔ‪،‬‬ ‫ﻓﻘﻠﺖ ﻟﻪ أﺑﻠﻐﻬﻢ ﺑﺬﻟﻚ‪ ،‬ﻓﺄﺑﻠﻐﻬﻢ ورﺟﻌﺖ‬ ‫ﻟﻬﻢ ﺑﻌﺪ ﻋ ّﺪة أﻳﺎم ﻗﺒﻞ اﻧﻄﻼق اﳌﺰاﻳﻨﺔ‪،‬‬ ‫وﻗﺪ أﺳﻌﺪين ﻣﺎ رأﻳﺖ ﻣﻦ ﻣﺪى اﻫﺘامم‬ ‫أﺻﺤﺎب اﻹﺑﻞ ﺑﺸﻜﻞ إﺑﻠﻬﻢ‪ ،‬ﻣﻦ ﺗﻨﻈﻴﻒ‬ ‫وﺗﻐﺴﻴﻞ وﺗﺠﻬﻴﺰ ﻟﻬﺎ اﺳﺘﻌﺪاداً ﻟﻠﻤﺸﺎرﻛﺔ‬ ‫ﰲ اﳌﺰاﻳﻨﺔ‪.‬‬ ‫اﻧﻄﻠﻘﺖ اﳌﺰاﻳﻨﺔ ﺑﻌﺪﻫﺎ وﺗﻢ ﺗﺨﺼﻴﺼﻬﺎ‬ ‫ﻟﻔﺌﺔ اﳌﺠﺎﻫﻴﻢ‪ ،‬ﻓﻜﺎن ﻟﻬﺎ ﺻــﺪى ﻛﺒري‬ ‫وﺣﴬ اﳌﺰاﻳﻨﺔ ﻋﺪد ﻛﺒري ﻣﻦ اﳌﻬﺘﻤني‬ ‫ﺑﺎﻹﺑﻞ ﻣﻦ ﺑﻴﻨﻬﻢ اﻟﺸﻴﺦ ﺧﺎﻟﺪ ﺑﻦ ﻃﻨﺎف‬ ‫اﳌﻨﻬﺎﱄ‪ ،‬وأﺧﻴﻪ اﻟﺸﻴﺦ راﻣﺲ‪.‬‬ ‫ووﺻﻞ اﻟﺨﱪ إﱃ اﻟﺸﻴﺦ زاﻳﺪ ﻋﻦ اﳌﺰاﻳﻨﺔ‬ ‫وﻧﺠﺎﺣﻬﺎ‪ ،‬وأﻣــﺮ ﺑﻌﺪﻫﺎ مبﺰاﻳﻨﺔ أﺧﺮى‬ ‫ﺗﺸﺠﻴﻌﺎً ﻷﺻــﺤــﺎب اﻻﺑـــﻞ‪ ،‬واﺳﺘﻤﺮت‬

‫اﳌﺰاﻳﻨﺎت‪ ،‬ﻣﻨﺬ ذﻟﻚ اﻟﻮﻗﺖ‪ ،‬وإﱃ وﻗﺘﻨﺎ‬ ‫اﻟﺤﺎﴐ‪ ،‬ﺣﻴﺚ أﺧﺬت ﺻﻴﺘﺎً وﺻﻞ ﻟﻠﻌﺎﳌﻴﺔ‪،‬‬ ‫ﻣﺜﻞ ﻣﺰاﻳﻨﺔ ﻣﻬﺮﺟﺎن ﺳﻠﻄﺎن ﺑﻦ زاﻳﺪ اﻟﱰايث‬ ‫وﻣﺰاﻳﻨﺔ اﻟﻈﻔﺮة«‪.‬‬ ‫‪ ſǈŢƄ ũƹŸƂ‬‬

‫وﻳﺨﺘﺘﻢ ﺑﻦ ﺣﻤﻮدة ﺣﺪﻳﺜﻪ ﻋﻦ اﻟﺸﻴﺦ‬ ‫زاﻳﺪ ‪»:‬ذات ﻣﺮة ﻛﻨﺖ ﺟﺎﻟﺴﺎً ﰲ ﻣﺠﻠﺲ‬ ‫اﻟﺸﻴﺦ زاﻳﺪ واﻗﱰح أﺣﺪ اﻷﺷﺨﺎص ﻋﲆ‬ ‫اﻟﺸﻴﺦ زاﻳﺪ رﺣﻤﻪ اﻟﻠﻪ ﺗﻘﻠﻴﻞ ﻋﺪد اﻟﻌﺰب‪،‬‬ ‫ﻷن ﻋﺪدﻫﺎ ﻛﺎن ﰲ ازدﻳــﺎد‪ ،‬ﻓﺮد ﻋﻠﻴﻪ‬ ‫اﻟﺸﻴﺦ زاﻳﺪ ﰲ ﺣﺎل ﻗﻠﻠﻨﺎ ﻋﺪد اﻟﻌﺰب أﻳﻦ‬ ‫ﺳﻴﺬﻫﺐ اﻟﻌﺎﻣﻠني ﻋﻠﻴﻬﺎ؟ ﻓﻬﻲ ﻣﺼﺪر‬ ‫رزق ﻟﻬﻢ وﻟﻌﺎﺋﻼﺗﻬﻢ! أﻧﺎ ﺿﺪ ﻓﻜﺮة أن‬ ‫أﻗﻄﻊ رزق أﺣﺪ‪ ،‬ﻓﺮﻓﺾ اﻷﻣﺮ رﺣﻤﻪ اﻟﻠﻪ‬ ‫ﺣﻴﺚ ﻛﺎن ﻫﺪﻓﻪ أن ﻳﺴﺘﻔﻴﺪ اﻟﺠﻤﻴﻊ ﻣﻨﻬﺎ‬ ‫اﳌﻮاﻃﻦ واﻟﻮاﻓﺪ‪ ..‬رﺣﻢ اﻟﻠﻪ زاﻳﺪ رﺣﻤ ًﺔ‬ ‫واﺳﻌﺔ‪.‬‬ ‫اﻟﺸﻌﺮ ‪baytelshear‬‬ ‫ﺑﻴﺖ ِ‬

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‫ ‪ĬŠ Ęōŉ‬‬ ‫ﻣﺪﻳﻨﺔ اﻟﻌني واﳌﺰارع واﻷﻓﻼج‪ ،‬ﻓﻘﻠﺖ ﻟﻪ‬ ‫إن اﳌﺰارع ﺗﴩب ﻣﻦ اﻷﻓﻼج ﻛﻞ أﺳﺒﻮﻋني‬ ‫ﻣﺮة واﺣﺪة‪ ،‬وﻛﺎن ﻫﺪﰲ أن أﻋﻠﻤﻪ ﺑﺎﺣﺘﻴﺎج‬ ‫اﳌﺰارﻋني ﻟﻠﻤﻴﺎه ﰲ ﻣﺪﻳﻨﺔ اﻟﻌني‪ ،‬ﻓﺄﻣﺮ ﻋﲆ‬ ‫اﻟﻔﻮر مبﺘﺎﺑﻌﺔ اﻷﻓﻼج واﳌﺰارع واﺣﺘﻴﺎﺟﺎت‬ ‫اﳌﺰارﻋني ﰲ ﻣﺪﻳﻨﺔ اﻟﻌني«‪.‬‬ ‫‪ ƻŵǁƴŢ ŪţƬţŧƈǂ ſǈŢƄ‬‬

‫أﻣﺎ ﺑﺨﺼﻮص ﺳﺒﺎﻗﺎت اﻟﻬﺠﻦ‪ ،‬واﻟﺮﻳﺎﺿﺎت‬ ‫اﻟﱰاﺛﻴﺔ‪ ،‬ﻓﻴﺆﻛﺪ ﺑﻦ ﺣﻤﻮدة أن ﺗﺸﺠﻴﻊ‬ ‫اﻟﺸﻴﺦ زاﻳــﺪ ﻟﺴﺒﺎﻗﺎت اﻟﻬﺠﻦ ﺑــﺪأ ﰲ‬ ‫اﻟﺨﻤﺴﻴﻨﻴﺎت‪ ،‬رﻏﻢ أن اﻟﺴﺒﺎﻗﺎت مل ﺗﻜﻦ‬ ‫ﻣﻨﻈﻤﺔ ﺑﺎﻟﺸﻜﻞ اﻟﺬي ﻧﺮاه اﻵن‪.‬‬

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‫اﻟﻌﺪد ‪ ، 85‬ﻳﻨﺎﻳﺮ ‪2020‬‬

‫وﻳﻀﻴﻒ أﻧﻪ ﻋﻨﺪ ﻇﻬﻮر اﻟﻌﻤﺮان وﻣﻈﺎﻫﺮ‬ ‫اﻟﺘﻤﺪن ﰲ أﺑﻮﻇﺒﻲ واﻟﻌني ﺗﺮك أﻫﻞ اﻹﺑﻞ‬ ‫اﻻﻫﺘامم ﺑﻬﺎ وأﻫﻤﻠﻮﻫﺎ أﻫﻠﻬﺎ واﻧﺸﻐﻠﻮا‬ ‫ﺑﺄﻋامﻟﻬﻢ‪ ،‬وﻗﺪ ﺣﺪﺛﻨﻲ أﺧﻲ ﺣﻤﻮدة ﺑﻦ‬ ‫ﻋﲇ رﺣﻤﻪ اﻟﻠﻪ أﻧﻪ أﺧﱪ اﻟﺸﻴﺦ زاﻳﺪ ﻃﻴﺐ‬ ‫اﻟﻠﻪ ﺛﺮاه آﻧﺬاك ﺑﺎﻷﻣﺮ‪ ،‬وأﺧﱪه ﻋﻦ ﻋﺪم‬ ‫اﻫﺘامم ﺑﻌﺾ اﳌﻮاﻃﻨني ﻣﻦ أﺻﺤﺎب اﻹﺑﻞ‬ ‫ﺑﻬﺎ‪ ،‬ﻓﺴﺄﻟﻪ اﻟﺸﻴﺦ زاﻳﺪ ﻋﻦ ﺳﺒﺐ إﻫامﻟﻬﻢ‬ ‫ﻟﻬﺎ ﻟﻴﺠﻴﺒﻪ ﺑﺄﻧﻬﻢ اﻧﺸﻐﻠﻮا ﺑﺄﻋامﻟﻬﻢ ﰲ‬ ‫اﻟﴩﻃﺔ واﻟﻘﻮات اﳌﺴﻠﺤﺔ واﻟﻮﻇﺎﺋﻒ‬ ‫اﻷﺧﺮى‪ ،‬وأن أﺑﻨﺎء اﻟﺒﺪو أﺻﺒﺤﻮا ﻳﺬﻫﺒﻮن‬ ‫إﱃ اﳌــﺪارس وﻳﺤﺼﻠﻮن ﻋﲆ اﳌﻜﺎﻓﺂت‬ ‫اﳌﺠﺰﻳﺔ‪ ،‬ﻟﺬا ﻗﻞ اﻫﺘامﻣﻬﻢ ﻛﺜرياً ﺑﺎﻹﺑﻞ‪،‬‬

‫ﻓﺮد ﻋﻠﻴﻪ اﻟﺸﻴﺦ زاﻳﺪ ﻗﺎﺋ ًﻼ‪" :‬ﻫﺬه اﻹﺑﻞ‬ ‫ﺗﺮﻛﻬﺎ اﻵﺑﺎء واﻷﺟﺪاد ﻟﻨﺎ وﻋﻠﻴﻨﺎ اﻻﻫﺘامم‬ ‫ﺑﻬﺎ"‪ ،‬وﺗﻄﺮق إﱃ اﺳﺘﺨﺪاﻣﺎت اﻹﺑــﻞ ﰲ‬ ‫اﻟﺰﻣﻦ اﳌــﺎﴈ ﺣﻴﺚ ﻛﺎﻧﺖ ﻟﻬﺎ ﻣﻜﺎﻧﺔ‬ ‫ﻣﺮﻣﻮﻗﺔ‪ ،‬وأﻧﻬﺎ مل ﺗﻜﻦ وﺳﻴﻠﺔ ﻟﻠﺘﻨﻘﻞ ﻓﻘﻂ‪،‬‬ ‫ﺑﻞ ﻛﺎﻧﺖ أﻳﻀﺎً ﻣﺼﺪراً ﻟﻠﻌﻴﺶ واﻟﺮزق‪.‬‬ ‫وﺑﻌﺪ ﻋـ ّﺪة أﻳــﺎم ﺗﺤﺪث اﻟﺸﻴﺦ زاﻳــﺪ ﰲ‬ ‫ﻣﺠﻠﺴﻪ‪ ،‬وﻗﺎل ﻟﻠﺤﺎﴐﻳﻦ ﺳﻮف اﺧﱪﻛﻢ‬ ‫ﻋﻦ ﻣﴩوع ﺳﻴﺠﻌﻞ أﻫﻞ اﻹﺑﻞ ﻳﻌﻮدون‬ ‫ﻟﻼﻫﺘامم ﺑﻬﺎ ﻣﻦ ﺟﺪﻳﺪ‪ ،‬ﻓﻨﺤﻦ ﻧﺮﻳﺪ ﻣﻦ‬ ‫أﻫﻠﻬﺎ اﻻﻫﺘامم ﺑﻬﺎ‪ ،‬وﻛﺎن ذﻟﻚ اﳌﴩوع‬ ‫ﻫﻮ ﻣﴩوع ﺳﺒﺎﻗﺎت اﻟﻬﺠﻦ اﳌﻨﻈﻤﺔ واﻟﺘﻲ‬ ‫ﺑﺪأت ﰲ ﺑﺪاﻳﺔ اﻟﺴﺒﻴﻌﻨﻴﺎت ﰲ ﻣﻨﻄﻘﺔ اﳌﻘﺎم‬ ‫مبﺪﻳﻨﺔ اﻟﻌني‪ ،‬وﻛﺎن اﻟﺴﺒﺎق ﳌﺴﺎﻓﺔ ‪ 10‬ﻛﻴﻠﻮ‬ ‫)اﻟﺤﻮل( وﻓﺌﺔ‬ ‫ﻣﱰات ﻟﻠﻜﺒﺎر ﻓﻘﻂ ﻣﻦ ﻓﺌﺔ ُ‬ ‫)اﻟﺰﻣﻮل( ﻟﻠﺸﻴﻮخ وأﺑﻨﺎء اﻟﻘﺒﺎﺋﻞ ﻣﻌﺎً‪ ،‬وﻣﻦ‬ ‫ﺛﻢ ﺑﺪأ ﰲ ﺗﺸﺠﻴﻊ اﳌﻮاﻃﻨني ﻋﲆ ﻫﺬه‬ ‫اﻟﺮﻳﺎﺿﺔ ﺣﻴﺚ أﻣﺮ ﺑﴫف رواﺗﺐ ﺷﻬﺮﻳﺔ‬ ‫ﻷﺻﺤﺎب اﻹﺑﻞ‪ ،‬ﻣﺎ ﺳﺎﻫﻢ ﺑﻌﻮدة اﻫﺘامم‬ ‫أﺻﺤﺎب اﻹﺑﻞ ﺑﻬﺎ ﻣﺮ ًة أﺧﺮى‪ ،‬وﺗﻮارث ذﻟﻚ‬ ‫اﻷﺑﻨﺎء ﻋﻦ اﻵﺑﺎء إﱃ ﻳﻮﻣﻨﺎ ﻫﺬا‪.‬‬ ‫وﻳﺬﻛﺮ ﺑﻦ ﺣﻤﻮدة‪» :‬ﰲ أﺣﺪ اﻟﺴﺒﺎﻗﺎت‬ ‫ﰲ اﻟﻮﺛﺒﺔ ﻋﺎم ‪ 1985‬ﺑﺤﻀﻮر اﻟﺸﻴﺦ زاﻳﺪ‬ ‫ﻃﻴﺐ اﻟﻠﻪ ﺛﺮاه واﻟﺮﺋﻴﺲ اﻟﺴﻨﻐﺎﱄ‪ ،‬اﺷﱰﻛﺖ‬ ‫ﰲ اﻟﺴﺒﺎق اﳌﺨﺼﺺ ﻟﻠﻤﻮاﻃﻨني وﻋﻨﺪﻣﺎ‬ ‫ﻓﺎزت ﻧﺎﻗﺘﻲ ﻋﺮﻓﻬﺎ زاﻳﺪ وﻧﻈﺮ إﱄ ﺑﺎﺑﺘﺴﺎﻣﺔ‪،‬‬ ‫ﻓﺬﻫﺒﺖ إﻟﻴﻪ وﻗﻠﺖ ﻟﻪ ﻫﺬه اﻟﻨﺎﻗﺔ ﻫﺪﻳﺔ‬ ‫ﻣﻨﻲ ﻟﻚ‪ ،‬ﻓﻘﺎل ﱄ ﻫﺪﻳﺘﻚ ﻣﻘﺒﻮﻟﺔ وﻧﺎﻣﻮﺳﻚ‬ ‫ﻧﺎﻣﻮﺳﻨﺎ«‪.‬‬ ‫وﻳﻀﻴﻒ‪» :‬ﻣﻦ اﳌﻮاﻗﻒ اﻟﺘﻲ ﺗﻈﻬﺮ ﻣﺪى‬ ‫ﺑﻌﺪ اﻟﻨﻈﺮ واﻟﺮؤﻳﺔ اﻟﺴﻠﻴﻤﺔ اﻟﺘﻲ ميﺘﻠﻜﻬﺎ‬ ‫اﻟﺸﻴﺦ زاﻳــﺪ‪ ،‬أذﻛﺮ أﻧﻪ ﰲ إﺣﺪى اﳌﺮات‬ ‫ﺣﴬ اﻟﺸﻴﺦ زاﻳﺪ ﰲ ﺳﺒﺎق ﻟﻠﻬﺠﻦ مبﻨﻄﻘﺔ‬ ‫اﳌﻘﺎم مبﺪﻳﻨﺔ اﻟﻌني وﻃﻠﺐ ﻋﺒﺪاﻟﻠﻪ اﳌﻬريي‬ ‫اﻟﺬي ﻛﺎن ﺟﺎﻟﺴﺎً ﰲ اﳌﻨﺼﺔ‪ ،‬وﻋﻨﺪ ﺣﻀﻮره‬ ‫ﻗﺎل ﻟﻪ ﻫﻞ ﻛﻨﺖ ﺗﻌﺮف ﻫﺆﻻء اﻷﺷﺨﺎص‬ ‫اﻟﺬﻳﻦ ﺗﺮاﻫﻢ ﺣﻮﻟﻚ اﻵن؟ ﻓﻘﺎل اﳌﻬريي ﻻ‪،‬‬

‫‪ƺţƸǌŢ ƃŦ‬‬

‫ﻳﻘﻮل ﺳــﻌــﺎدة ﻓــﺮج ﻋــﲇ ﺑــﻦ ﺣﻤﻮدة‬ ‫اﻟﻈﺎﻫﺮي ‪":‬ﺳﻤﻌﻨﺎ ﻋﻦ اﳌﻐﻔﻮر ﻟﻪ اﻟﺸﻴﺦ‬ ‫زاﻳﺪ ﺑﻦ ﺳﻠﻄﺎن آل ﻧﻬﻴﺎن ﻃﻴﺐ اﻟﻠﻪ ﺛﺮاه‬ ‫وﻧﺤﻦ ﻻ ﻧﺰال أﻃﻔﺎﻻ‪ ،‬ﻋﻨﺪﻣﺎ ﻛﺎن ﻣﻤﺜ ًﻼ‬ ‫ﻟﻠﺤﺎﻛﻢ ﰲ ﻣﺪﻳﻨﺔ اﻟﻌني‪ ،‬ﺣﻴﺚ ﻛﺎﻧﺖ‬ ‫اﻟﻘﺒﺎﺋﻞ ﰲ ﺑﺪاﻳﺔ ﺣﻜﻤﻪ ُﺗﻐري ﻋﲆ ﺑﻌﻀﻬﺎ‬ ‫اﻟﺒﻌﺾ‪ ،‬وﻛــﺎن زاﻳــﺪ ﻳﺤﺎول دامئــﺎً زرع‬ ‫اﻷﻟﻔﺔ واﳌﺤﺒﺔ واﻹﺧﺎء ﻓﻴام ﺑﻴﻨﻬﻢ‪ ،‬ﻓﻘﺪ‬ ‫وﻗﺖ ﻃﻮﻳﻞ اﻻﺳﺘﻘﺮار‬ ‫ﻛﺎن ﻫﺪﻓﻪ ﻣﻨﺬ‬ ‫ٍ‬ ‫وﺣﺪ ﺻﻒ اﻟﻘﺒﺎﺋﻞ ﰲ‬ ‫ﻟﻠﻤﻨﻄﻘﺔ‪ .‬وﺑﺎﻟﻔﻌﻞ‪ّ ،‬‬ ‫اﻟﻌني وﻗﺎدﻫﻢ إﱃ ﺑﺮ اﻷﻣﺎن"‪.‬‬

‫‪ žţŹŬǐŢ ƇǉƈřŬǂ ſǈŢƄ‬‬

‫وﻳﻀﻴﻒ‪" :‬أﺧﱪين أﺧﻲ ﺣﻤﻮدة ﺑﻦ ﻋﲇ ﺧﻼل ﺗﺄﺳﻴﺲ اﺗﺤﺎد اﻹﻣﺎرات‪ ،‬أن اﻟﺸﻴﺦ زاﻳﺪ‬ ‫ﻛﺎن ﻻ ﻳﺄﻟﻮ ﺟﻬﺪاً‪ ،‬وﻳﻌﻤﻞ ﻟﻴ ًﻼ وﻧﻬﺎراً ﻣﻦ أﺟﻞ اﻟﻮﺣﺪة وﺑﻨﺎء اﻟﻮﻃﻦ وﺗﺄﺳﻴﺴﻪ‪ ،‬وﻛﺎن‬ ‫ﻳﺬﻫﺐ ﰲ ﺟﻮﻻت ﻣﺘﺘﺎﻟﻴﺔ ﻟﺠﻤﻴﻊ اﻹﻣﺎرات وﻳﺘﺎﺑﻊ ﻣﺨﺘﻠﻒ اﳌﺸﺎرﻳﻊ اﻟﺘﻨﻤﻮﻳﺔ"‪.‬‬

‫‪ǇơŵǈǃƹƴŢ ƺţŴƃǁƸ‬‬

‫وﺟﻪ اﻟﺸﻴﺦ زاﻳﺪ‬ ‫وﻳﺬﻛﺮ ﻓﺮج ﺑﻦ ﺣﻤﻮدة‪ّ :‬‬ ‫ﻃﻴﺐ اﻟﻠﻪ ﺛﺮاه ﺑﺈﻗﺎﻣﺔ ﻣﻬﺮﺟﺎن ﰲ ﻣﻨﻄﻘﺔ‬ ‫اﳌﻮﻳﺠﻌﻲ ﰲ ﻣﺪﻳﻨﺔ اﻟﻌني‪ ،‬ﻳﻀﻢ ﻋﺪة‬ ‫أﻧﺸﻄﺔ ﻣﻦ ﺿﻤﻨﻬﺎ ﺳﺒﺎق ﻟﻸﻃﻔﺎل‪ ،‬وﻗﺪ‬ ‫اﺷﱰﻛﺖ ﻓﻴﻪ‪ ،‬وﻛﺎن اﻟﺴﺒﺎق ﻣﻦ ﺷﻮﻃني‪ ،‬أن زاﻳﺪ ﻛﺎن ﻳﺨﻄﻂ ﳌﺨﺘﻠﻒ اﳌﺸﺎرﻳﻊ‬ ‫ﺑﺸﻜﻞ ﺷﺨﴢ‪،‬‬ ‫ﻓﺎز اﻟﺸﻴﺦ ﺧﻠﻴﻔﺔ ﺑﻦ زاﻳــﺪ ﰲ اﻟﺸﻮط اﻟﺘﻨﻤﻮﻳﺔ وﻳﴩف ﻋﻠﻴﻬﺎ‬ ‫ٍ‬ ‫ﺧﺼﻮﺻﺎً ﻣﺎ ﻳﺘﻌﻠﻖ ﻣﻨﻬﺎ ﺑﺸﺆون اﳌﻮاﻃﻦ‬ ‫اﻷول‪ ،‬وﻓﺰت أﻧﺎ ﰲ اﻟﺸﻮط اﻟﺜﺎين" ‪.‬‬ ‫ﻣﻦ ﺳﻜﻦ وﺻﺤﺔ وﺗﻌﻠﻴﻢ وﻃــﺮق‪ ،‬وﻛﺎن‬ ‫ﻳﺘﺎﺑﻊ ﻣﺨﺘﻠﻒ اﳌﺸﺎرﻳﻊ ﻣﻨﺬ اﻟﺘﺨﻄﻴﻂ‬ ‫‪ũǈǃƹƽŭƴŢ ƟǈƂţƍƹƴŢǂ ſǈŢƄ‬‬ ‫وﻋﻦ اﳌﺸﺎرﻳﻊ اﻟﺴﻜﻨﻴﺔ اﻟﻀﺨﻤﺔ اﻟﺘﻲ ﻟﻬﺎ وﺣﺘﻰ ﻧﻬﺎﻳﺘﻬﺎ وﺗﺴﻠﻴﻤﻬﺎ إﱃ اﻟﴩﻛﺎت‬ ‫ﻗﺎﻣﺖ ﰲ اﻹﻣـــﺎرات‪ ،‬ﻳﺆﻛﺪ ﺑﻦ ﺣﻤﻮدة اﳌﺨﺘﺼﺔ‪.‬‬

‫‪ũƠŢƂƅƵƴ ſǈŢƄ ƟǉŵƍŬ‬‬

‫وﻳﺸري ﺑﻦ ﺣﻤﻮدة إﱃ أن اﻟﺸﻴﺦ زاﻳﺪ‬ ‫ﺷﺠﻊ اﳌﻮاﻃﻨني ﻋﲆ اﻟﺰراﻋﺔ‪ ،‬ﺣﻴﺚ ﻛﺎن‬ ‫ﻳﻮزع ﻟﻬﻢ اﳌﺰارع وﻳﺸﱰي ﻟﻬﻢ اﳌﻌﺪات‬ ‫اﻟﺰراﻋﻴﺔ‪ ،‬وﻳﻮﴆ دامئﺎً ﺑﺎﻟﺰراﻋﺔ‪ .‬وﻳﻀﻴﻒ‪:‬‬ ‫»زرت اﻟﺸﻴﺦ زاﻳﺪ ﰲ إﺣﺪى اﳌﺮات ﺑﻘﴫه‬ ‫ﺑﺄﺑﻮﻇﺒﻲ‪ ،‬وﻋﻨﺪ ﺳﻼﻣﻲ ﻋﻠﻴﻪ ﺳﺄﻟﻨﻲ ﻋﻦ‬ ‫اﻟﺸﻌﺮ ‪baytelshear‬‬ ‫ﺑﻴﺖ ِ‬

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‫ ‪ĬŠ Ęōŉ‬‬

‫‪ "ǆƃǀţƝƴŢ ŨžǃƹŸ ƻŦ ǇƵƠ Ųƃƨ‬‬

‫‪ũǉƼţƉƼǎŢǂ ũƹƱŹƴŢ ƳŴƂ ſǈŢƄ‬‬ ‫ﺣﻤﺪان ﺑﻦ ﺻﺮّوخ اﻟﺪرﻋﻲ‬

‫اﺳﺘﻜامﻻ ﳌﺎ ﺑﺪأﻧﺎه ﰲ ﻣﺠﻠﺔ ﺑﻴﺖ اﻟﺸﻌﺮ‪ ،‬ﻋﱪ ﺑﺎب ”رﻓﻘﺎء زاﻳﺪ“‪ ،‬ﻧﺴﺘﻌﺮض ﰲ ﻫﺬا اﻟﻌﺪد‪ ،‬ﺣﺪﻳﺜﺎ ﻟﺴﻌﺎدة ﻓﺮج ﻋﲇ ﺑﻦ‬ ‫ﺣﻤﻮدة اﻟﻈﺎﻫﺮي‪ ،‬اﻟﺬي ﻋﺎﻳﺶ اﳌﻐﻔﻮر ﻟﻪ اﻟﺸﻴﺦ زاﻳﺪ ﺑﻦ ﺳﻠﻄﺎن آل ﻧﻬﻴﺎن ﻃﻴﺐ اﻟﻠﻪ ﺛﺮاه ﰲ ﻛﺜري ﻣﻦ اﳌﻮاﻗﻒ واﳌﻨﺎﺳﺒﺎت‪.‬‬ ‫وﻫﻮ ﺣﺪﻳﺚ ﻣﺸ ّﻮق ﻳﺘﻨﺎول ﻋﺪدا ﻣﻦ اﻟﻘﺮارات اﻟﺤﻜﻴﻤﺔ ﻟﻠﺸﻴﺦ زاﻳﺪ رﺣﻤﻪ اﻟﻠﻪ‪ ،‬اﻟﺘﻲ ﺗﺪل ﻋﲆ إﻧﺴﺎﻧﻴﺘﻪ اﻟﻌﺎﻟﻴﺔ‪ ،‬وﺗﺤ ّﻤﻠﻪ‬ ‫ﳌﺴﺆوﻟﻴﺎت ﻛﺒرية‪ ،‬وﺣﻜﻤﺘﻪ وﺣﺮﺻﻪ ﻋﲆ أﺑﻨﺎء ﺷﻌﺒﻪ‪ ،‬واﳌﻘﻴﻤني ﰲ ﺑﻼده‪.‬‬

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‫اﻟﻌﺪد ‪ ، 85‬ﻳﻨﺎﻳﺮ ‪2020‬‬

‫أﺣﻤﺪ ﺳﺎﻟﻢ اﻟﺸﺎﻣﺴﻲ‬ @ahmad_salem_alshamsi

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baytelshear ‫اﻟﺸﻌﺮ‬ ِ ‫ﺑﻴﺖ‬

‫ﻫﺬا ﺧﻠﻴﻔﻪ‬

@@ @ @Db@@ @ @ @ @ @ -Q * @@ @ £@ @ @ @ @ @< Me4 b@@ @ @ @ J Ñ* b@@ @ @ @ J @@ @ Db@@ @ @ @ @±* eH42 ¤@@ @ @ @ @ @ @ @A¡@@ @ - @@ @ @ @ @ @ @ FQ * @@ DÉ@@ ; b@@ @ @£@ @ @ @< ¤@@ @ @ @ @ D* @@ @ @ @ « @@ @ @ @ @ @ FQ *H @@ @ D*v@@ @ @ @ @-* Hy@@ @ @ @ @ @ @ @ @D* h@@ @ @ @ @ BH b@@ @ @ @ @ @ @ @ @ @ 0*H4* @@ @D*v@@ @ @ @ D*H @@ @£N @ @ ~@ @ {@ @ D*H @@ @ E*x@@ @ @ @ @D* t@@ £@ @~@ @7 @@D ¢@@ @ @ @ @ @ @-4* d@@ @ @ @ ~@ @ 8 @@ @ @ C @@ @ @£@ @ @ @1 *w@@ @ @ @ G @@ @Db@@ @~@ @ 7 @@ @ @ @ @ @ @ @ ²*H lH4¡@@ @ @ @ @ ´b@@ @ @ @ @ + @@ @ @ g@ @ @ @G* @@Db@@ @ ~@ 7 ¤@@ Gb@@ c@ @J @@ @+x@@ @= @@ @ :¡@@ @ D* 4b@@ @ ~@ @ @8H @@ @ Db@@ @ EH Ì@@ @ @ @ @ 1 2*5 @@ @ @£Q @ @ @ @ @ @ ´* ¤@@ @ @ @ @ @ <*4 @@ @ DÉ@@ @ ~@ @ @z@ @ @D*H @@ @ @ @ @ @ @F*¡@@ @ @ D* iÉ@@ @ @ Q @ @ @ ~@ @ @ {@ @ @ ER @@ @ Db@@ @ A ¤@@ @ @ @ 0b@@ @ @ @ JH M b@@ @ @ @ @ £Q @ @ @ @ @ @1 @@ @ £@ @ @s@ @ @ @ @ @DH @@ @Db@@ @ @ @ ~@ @ 6H Ì@@ @ @ @ @1H @@ @ @ @ @ @ F ¯ ¡@@ @ @ @ £@ @ @ @ @D*H @@ DÉ@@ 0 @@ @ @E d@@ @~@ @ z@ @ CH b@@ @ @ @ + Mv@@ @ @ @ @ @ 0*H @@ @ @C @@Db@@+ b@@ ~@ @9 b@@ @E rb@@ @-x@@ @E @@|@ @ @ D* ¤@@ @ @ @<*4H @@ Db@@ @ @ m@ @ +R ¤@@ @ @~@ @ @ 7H @@ @ @ @ cR @ @ ~@ @ 6 ¢@@ @ @ @ @< ¤@M @ @ @~@ @ @ 7 @@ @ @ @D°2 b@@ @ @ @ £@ @ @ @ < ¤@@ @ @~@ @ @ 9b@@ @ @´* P ¡@@ @ @ @ @ @ @ @ AH @@ Db@@ ¸ @@ @ ~@ @ @ 6*H x@@ @p@ @ c@ @ D* ¤@@ @ @ @ <*4 l*x@@ @ @ @ @ -H @@ Db@@ ~@ @64 H4* @@ @ @p@ @J Meb@@ @ g@ @ @C @@ @ E @@ @ @ CH @@ Db@@ c@ @0 @@ @ @.Q ¡@@ @ @E x@@ @ @ G*y@@ @ @ D* b@@ @Fx@@ @~@ @ |@ @ < ¯ @@ Db@@ @ @A* xQ @ @ ~@ @ {@ @ - ¤@@ @ @ @ D* Ãx@@ @ @ @ @D* @@ @<v@@ @+

‫ﺻﺢ ﻟﺴﺎﻧﻚ‬ َ

‫ﺟﺎﺑﺮ ﺳﻴﻒ اﻟﻘﺒﻴﺴﻲ‬ @yaber7

b@@ @ @ R @ @ @ @< b@@ @Fb@@ @ @ @ ~@ @ 6 ¯ @@ @ @ Ax@@ @ @ JH ¤@@ @ @ @ c@ @ E b@@ @ @ R @ @~@ @z@ @FP f@@ @ @<¡@@ @ @A @@ @ @ @D ¡Q @ @ @~@ @ @|@ @ @g@ @ @FH *Ä@@ @ @ @ F b@@ @ R @ @ 0 ¡@@ @ @G b@@ @ @E @@ @ j@ @ @ PE i4b@@ @ @ ~@ @ @ @8H h@@ @ @ @G5 b@@ @ @ @ @ @ @g@ @~@ @6*H b@@ @ @ G5b@@ @ @ G v@@ @ @ @ @ @J*5 ¡@@ @ @ @ J @@ @ @ E b@@ @ R @ ~@ 62 @@ @ + @@ £@ @ < @@ ~@ @9x@@ - b@@ @ @ @ G4*5 · H b@@ @ @Ex@ R @ C @@ @ @E @@ @ @D v@@ @ @ v@@ £@ @ @ @c@ @D* ¢@@ @ g@ @ @0H b@@ @ R @ @ A b@@ @ @E @@ @~@ @ z@ @ ²* *2 @@ £@ @Gb@@ c@ @g@ @E b@@ @ R @ £@ ~@ 7 @@ @ @ + H b@@ @ @ @ Ab@@ @ ~@ @ 8H* @@ @ @ + iy@@ @ @£@ @ @ * b@@ @ R @ @ F @@ @~@@ P@9xR @ @ -H b@@ @ @E4b@@ @ @E @@ @~@@ P@9xR @ @ -H b@@ @ @ R @ @ @ @G iQv@ @ @ ~@ @ @ 7 b@@ @ @ @ @ J4 ¡@@ @ @ @ @C i2b@@ @ @ @ @ J b@@ @ @ R @ @ @ @0 v@@ @ @ @ @ J*5 ¡@@ @ @ @ J @@ @ @ E ix@@ @ @ @ @ @ <y@@ @ @-H b@@ @ @ @ Ev@@ @< °HR Ã*2 b@@ @ @ GÉ@@ @ @ 1 °H

‫اﻟﻌﺎﺻﻤﺔ‬ Í@@ @Eb@@ @£@ @ ´* *x@@ @ @ @ @ @ @ @ @D* 4*2 f@@ @ @ @ @~@ @ @8b@@ @ @ @ @D* Í@@ @ D* ¤@@ Bx@@ ~@ 7 ¶(* ,x@@ @ @ @ @D* ¤@@ +x@@ = @@ @E Í@@D ¤@@ c@ @ ;¡@@ + @@ @~@ @ 64 @@ @ @ F* @@ @ @+ @@ @ @ 0 v@@ @ @ @ J*5 Í@@-b@@~@ z@ + i4b@@ @ ~@ @ @8 @R @ @z@ @ + ¥4b@@ @p@ @ ~@ @ 8 h@@ @Fb@@ @C Í@@ @c@ @ p@ @ ´* @@ @ @ @ @C @@ @ @ @ @ D @@ @ @ @ @c@ @ @B ¤@@ @ @ c@ @ @ @ ;¡@@ @ @ +* Í@@:É@@~@ 6 f@@~@ {@ £@ < @@ 7b@@ < b@@ @ £@ A @@ 7b@@ < · @@ Jy@@ - Ä@@ @ @ @ - b@@ @ @ E @@ @ @ C @@ @ @ JQ v@@ @ @ E 42 Í@@ J*y@@ @ @ @ @D h@@ @ @g@ @ @ @- b@@ @ @ E @@ @~@ @ z@ @ 0 ,2b@@ @ @ @ @ = Í@@ @ @D*H x@@ ~@ z@ @ D* ¢@@ @ @< b@@ Gb@@ Jb@@ @ @< ¤@@ @Gx@@ @Í@@: °H Áb@@ @ @c@ @ @ E ° b@@ @ @ @ @ @ +* i2b@@ @ @ @ @ J b@@ @ @ E Í@@ @ ~@ 6 @@ @ @E @@ @ Ab@@ @ 0 y@@ @ @ @ @D* @@ @ @ + b@@ @ @ @ s@ @ J4b@@ @Í@@ @ @E%* *¡@@ @ @D¡@@ @ @B ¤@@ @ @c@ @ @ ;¡@@ @ @+ ¤@@ @ @ c@ @ J Ñ*

2020 ‫ ﻳﻨﺎﻳﺮ‬، 85 ‫اﻟﻌﺪد‬

‫أﺷﻜﺎل اﻟﺪﻋﻢ ﻟﻠﺸﻌﺮاء‪ ،‬وﻫﻮ اﻟﺬي ﻛﺎن‬ ‫ﻳﺆﻛﺪ ﰲ ﻛﻞ ﻣﻨﺎﺳﺒﺔ ﻋﲆ أﻫﻤﻴﺔ اﻟﺪور‬ ‫اﻟﻜﺒري اﻟﺬي ﻳﻘﻮم ﺑﻪ اﻟﺸﻌﺮاء ﰲ ﺗﻮﺛﻴﻖ‬ ‫وﺗﺄﺻﻴﻞ ﻗﻴﻢ اﻟﱰاث اﳌﺘﻌﺪدة واﻟﺤﻔﺎظ‬ ‫ﻋﻠﻴﻪ وﺻﻮﻧﻪ وﺗﻮﺛﻴﻘﻪ ﻟﺪى ﴍاﺋﺢ اﳌﺠﺘﻤﻊ‬ ‫ﻛﺎﻓﺔ‪.‬‬ ‫وﻋ ّﺪدت اﻟﻨﻘﺒﻲ ﻣﺠﻤﻮﻋﺔ ﻣﻦ إﻧﺠﺎزات‬ ‫واﺳﻬﺎﻣﺎت اﳌﻐﻔﻮر ﻟﻪ اﻟﺸﻴﺦ ﺳﻠﻄﺎن‬ ‫ﺑﻦ زاﻳﺪ ﰲ ﺳﺒﻴﻞ ﺧﺪﻣﺔ اﻟﱰاث واﻟﺸﻌﺮ‬ ‫اﻟﺸﻌﺒﻲ‪ ،‬ﺣﻴﺚ ﻗﺎم رﺣﻤﻪ اﻟﻠﻪ ﺑﺪﻋﻢ‬ ‫وﺗــﺮؤس اﻟﻌﺪﻳﺪ ﻣﻦ اﻟﻘﻨﻮات واﳌﻨﺎﺑﺮ‬ ‫واﻷﻧــﺪﻳــﺔ واﻟــﱪاﻣــﺞ اﻟﺨﺎﺻﺔ ﺑﺎﻟﺸﻌﺮ‬ ‫اﻟﻨﺒﻄﻲ واﳌﻮروث اﻟﺸﻌﺒﻲ واﻟﱰاث‪ ،‬ﻣﻨﻬﺎ‬ ‫ﻧﺎدي ﺗﺮاث اﻹﻣﺎرات اﻟﺬي ﺗﺮأﺳﻪ وأﴍف‬ ‫ﻋﲆ ﻣﺨﺘﻠﻒ أﻧﺸﻄﺘﻪ ﺑﻨﻔﺴﻪ رﺣﻤﻪ اﻟﻠﻪ‪،‬‬ ‫إﱃ ﺟﺎﻧﺐ اﳌﺴﺎﺑﻘﺎت اﻟﺸﻌﺮﻳﺔ اﻟﺘﻲ‬ ‫أﻣﺮ ﺑﺈﻃﻼﻗﻬﺎ‪ ،‬وﻣﻨﻬﺎ اﳌﺴﺎﺑﻘﺔ اﻟﺸﻌﺮﻳﺔ‬ ‫اﳌﺮاﻓﻘﺔ ﳌﻬﺮﺟﺎن ﺳﻠﻄﺎن ﺑﻦ زاﻳﺪ اﻟﱰايث‬ ‫ﰲ ﻣﺪﻳﻨﺔ ﺳﻮﻳﺤﺎن‪ ،‬وﻣﺴﺎﺑﻘﺔ ﺳﻠﻄﺎن ﺑﻦ‬ ‫زاﻳﺪ اﻟﺸﻌﺮﻳﺔ ﻟﻄﻠﺒﺔ اﻟﺠﺎﻣﻌﺎت‪ ،‬ﺑﺎﻹﺿﺎﻓﺔ‬ ‫إﱃ ﻣﺌﺎت اﻷﻧﺸﻄﺔ اﻟﺸﻌﺮﻳﺔ ﻣﻦ أﻣﺴﻴﺎت‬ ‫وإﺻــﺪارات ﺷﻌﺮﻳﺔ وﺑﺮاﻣﺞ ﺗﻠﻔﺰﻳﻮﻧﻴﺔ‬ ‫وﺟﻠﺴﺎت ﺷﻌﺮﻳﺔ واﺳﺘﻀﺎﻓﺎت ﻟﺸﻌﺮاء ﻣﻦ‬ ‫ﻣﺨﺘﻠﻒ دول اﳌﻨﻄﻘﺔ‪ .‬واﺧﺘﺘﻤﺖ اﻟﻨﻘﺒﻲ‬ ‫ﺣﺪﻳﺜﻬﺎ ﺑﺎﻹﺷﺎرة إﱃ ﺗﻮﺟﻴﻬﺎﺗﻪ رﺣﻤﻪ اﻟﻠﻪ‬ ‫ﺑﺈﺻﺪار ﻣﺠﻠﺔ "ﺑﻴﺖ اﻟﺸﻌﺮ" اﻟﺘﻲ ﺗﻌﺘﱪ‬

‫اﻟﻴﻮم واﺣﺪة ﻣﻦ أﺑﺮز اﳌﻄﺒﻮﻋﺎت اﻟﺸﻌﺮﻳﺔ‬ ‫ﺑﺎﳌﻨﻄﻘﺔ‪.‬‬ ‫أﻣــﺎ اﻷﻣﺴﻴﺔ اﻟﺸﻌﺮﻳﺔ اﻟﺘﻲ ﺟــﺎءت ﰲ‬ ‫ﺟﻠﺴﺘني‪ ،‬ﻓﺸﻬﺪت ﻗـــﺮاءات ﻟﺸﺎﻋﺮات‬ ‫ﻣﻌﺮوﻓﺎت ﰲ اﻟﺴﺎﺣﺔ اﻟﺸﻌﺮﻳﺔ‪ ،‬اﻟﺠﻠﺴﺔ‬ ‫اﻷوﱃ ﺿﻤﺖ ﻗ ـﺮاءات ﺷﻌﺮﻳﺔ ﻟﻠﺸﺎﻋﺮة‬ ‫ﻫﻨﺎدي اﳌﻨﺼﻮري‪ ،‬واﻟﺸﺎﻋﺮة ﺧﺎﻃﺮة‬ ‫اﻟﻨﻌﻴﻤﻲ‪ ،‬واﻟﺸﺎﻋﺮة ﻣﻮﻻف‪ ،‬أﻣﺎ اﻟﺠﻠﺴﺔ‬ ‫اﻟﺜﺎﻧﻴﺔ ﻓﻜﺎﻧﺖ ﻟﻠﺸﺎﻋﺮﺗني ﻧﺎﻳﻠﺔ اﻷﺣﺒﺎيب‪،‬‬ ‫وﻣﺮﻳﻢ اﻟﻨﻘﺒﻲ‪ .‬ﺣﻴﺚ ﺗﺤﺪﺛﻦ ﺟﻤﻴﻌﺎً ﰲ‬ ‫ﻗﺼﺎﺋﺪﻫﻦ ﻋﻦ دور اﳌﻐﻔﻮر ﻟﻪ اﻟﺸﻴﺦ‬ ‫ﺳﻠﻄﺎن ﺑﻦ زاﻳﺪ آل ﻧﻬﻴﺎن ﻃﻴﺐ اﻟﻠﻪ ﺛﺮاه‬ ‫ﰲ دﻋﻢ اﻟﺤﺮﻛﺔ اﻟﺸﻌﺮﻳﺔ‪ ،‬وﺗﻘﺪﻳﻢ ﻛﻞ‬ ‫ﻣﺎ ﻣﻦ ﺷﺄﻧﻪ اﻻرﺗﻘﺎء ﺑﺎﳌﻨﺠﺰ اﻟﺸﻌﺮي ﰲ‬ ‫اﻹﻣﺎرات واﳌﻨﻄﻘﺔ‪ .‬ﻛﻞ ذﻟﻚ ﺿﻤﻦ ﻗﺮاءات‬

‫ﺷﻌﺮﻳﺔ ﻣﻌﱪة وﻣــﺆﺛــﺮة‪ ،‬إذ ﻗﺪﻣﺖ ﻛﻞ‬ ‫ﺗﻌﱪ ﻋﻦ ﻣﻘﺪار اﻟﺸﻌﻮر‬ ‫ﺷﺎﻋﺮة ﻗﺼﻴﺪة رﺛﺎء ّ‬ ‫ﺑﺎﻟﻔﻘﺪ واﻟﺤﺰن ﻋﲆ رﺣﻴﻞ اﳌﻐﻔﻮر ﻟﻪ اﻟﺬي‬ ‫ﻛﺎن ﺣﺮﻳﺼﺎً ﻋﲆ رﻋﺎﻳﺔ ﻣﺨﺘﻠﻒ اﻷﻧﺸﻄﺔ‬ ‫اﻟﺸﻌﺮﻳﺔ‪ ،‬واﳌﺴﺎﺑﻘﺎت اﻟﺘﻲ أﻃﻠﻘﻬﺎ ﺑﻨﻔﺴﻪ‬ ‫ﻣﻦ أﺟﻞ دﻓﻊ اﻟﺸﻌﺮاء ﳌﻮاﺻﻠﺔ ﻛﺘﺎﺑﺎﺗﻬﻢ‬ ‫واﳌﺴﺎﻫﻤﺔ ﰲ ﺻﻨﺎﻋﺔ ﻣﺸﻬﺪ ﺷﻌﺮي ﻣﺘﻤﻴﺰ‬ ‫ﻳﺤﺎﻓﻆ ﻋﲆ ﻫﻮﻳﺔ اﳌﺠﺘﻤﻊ وﻣﻮروﺛﻪ‬ ‫اﻷﺻﻴﻞ‪ .‬ﺛﻢ ﻗﺮأت ﻛﻞ ﺷﺎﻋﺮة ﻋــﺪداً ﻣﻦ‬ ‫اﻟﻘﺼﺎﺋﺪ اﻟﻮﻃﻨﻴﺔ‪ ،‬إﱃ ﺟﺎﻧﺐ ﻗﺼﺎﺋﺪ ﻣﺘﻨﻮﻋﺔ‬ ‫ﻋﻜﺴﺖ ﻗﺪرة ﺷﻌﺮﻳﺔ ﻣﺘﻘﺪﻣﺔ ﻟﻠﺸﺎﻋﺮات‪.‬‬ ‫واﺧﺘُﺘﻢ اﳌﻠﺘﻘﻰ ﺑﺘﻜﺮﻳﻢ ﻣﺪﻳﺮ ﻣﺮﻛﺰ زاﻳﺪ‬ ‫ﻟﻠﺪراﺳﺎت واﻟﺒﺤﻮث اﻷﺳﺘﺎذة ﻓﺎﻃﻤﺔ‬ ‫اﳌﻨﺼﻮري ﻟﻠﺸﺎﻋﺮات اﳌﺸﺎرﻛﺎت‪ ،‬وﺿﻴﻮف‬ ‫اﳌﻠﺘﻘﻰ‪.‬‬ ‫اﻟﺸﻌﺮ ‪baytelshear‬‬ ‫ﺑﻴﺖ ِ‬

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‫‪Şōğœŕ‬‬

‫‪ůƴţűƴŢ ƗŧƽƴŢ ŪŢƃƠţƌ ǅƭŭƵƸ‬‬

‫ ‪ƿƴ ƂǃƩƥƹƴŢ Ƃǂž ǅƵƠ ŕǃƕƴŢ ƗƵƈ‬‬ ‫ ‪ǆƃơƍƴŢ ŮǂƂǃƹƴŢ ƷƠž Ǉƨ ſǈŢƄ ƻŦ ƺţƙƵƈ ŻǉƍƴŢ‬‬ ‫ﻧﻈﻢ ﻣﺮﻛﺰ زاﻳﺪ ﻟﻠﺪراﺳﺎت واﻟﺒﺤﻮث اﻟﺘﺎﺑﻊ‬ ‫ﻟﻨﺎدي ﺗﺮاث اﻹﻣﺎرات اﻟﺸﻬﺮ اﳌﺎﴈ‪ ،‬ﻣﻠﺘﻘﻰ‬ ‫ﺷﺎﻋﺮات اﻟﻨﺒﻂ اﻟﺜﺎﻟﺚ ﺗﺤﺖ ﻋﻨﻮان "دور‬ ‫اﳌﻐﻔﻮر ﻟﻪ اﻟﺸﻴﺦ ﺳﻠﻄﺎن ﺑﻦ زاﻳﺪ ﰲ دﻋﻢ‬ ‫اﳌﻮروث اﻟﺸﻌﺮي" وذﻟﻚ ﰲ ﻣﴪح ﻣﺮﻛﺰ‬ ‫اﻟﻌني ﻟﻠﻤﺆمتﺮات‪ ،‬ﺿﻤﻦ اﳌﻮﺳﻢ اﻟﺜﻘﺎﰲ‬ ‫ﻟﻠﻤﺮﻛﺰ وﻓﻌﺎﻟﻴﺎت ﻋﺎم اﻟﺘﺴﺎﻣﺢ‪.‬‬ ‫وﺗﻀﻤﻦ اﳌﻠﺘﻘﻰ ﰲ ﻋﺎﻣﻪ اﻟﺜﺎﻟﺚ‪ ،‬أﻣﺴﻴﺔ‬ ‫ﺷﻌﺮﻳﺔ وﻣﻌﺮﺿﺎ ﻓﻨﻴﺎ ﺗﺮاﺛﻴﺎ‪ ،‬اﺷﺘﻤﻞ ﻋﲆ‬ ‫ﻋﺪد ﻣﻦ إﺻﺪارات ﻧﺎدي ﺗﺮاث اﻹﻣﺎرات‬ ‫إﱃ ﺟﺎﻧﺐ ﻟﻮﺣﺎت ﺗﺸﻜﻴﻠﻴﺔ ﻣﺘﻨﻮﻋﺔ‪.‬‬ ‫ﺑــﺪأت ﻓﻌﺎﻟﻴﺎت اﳌﻠﺘﻘﻰ ﺑﻌﺮض ﻣﺮيئ‬ ‫ﻟﻘﺼﻴﺪة اﻟﺸﺎﻋﺮ أﺣﻤﺪ ﺑﻦ ﻫﻴﺎي اﳌﻨﺼﻮري‬ ‫اﻟــﺬي ﻛﺘﺒﻬﺎ ﰲ رﺛــﺎء اﳌﻐﻔﻮر ﻟﻪ اﻟﺸﻴﺦ‬ ‫ﺳﻠﻄﺎن ﺑﻦ زاﻳﺪ آل ﻧﻬﻴﺎن رﺣﻤﻪ اﻟﻠﻪ‪،‬‬ ‫وﻻﻗﺖ ﺗﻔﺎﻋﻼ ﻛﺒريا ﻣﻦ ﺣﻀﻮر اﳌﻠﺘﻘﻰ‪.‬‬

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‫اﻟﻌﺪد ‪ ، 85‬ﻳﻨﺎﻳﺮ ‪2020‬‬

‫وﰲ ﻛﻠﻤﺘﻬﺎ اﻻﻓﺘﺘﺎﺣﻴﺔ ﺗﺤﺪﺛﺖ ﻓﺎﻃﻤﺔ‬ ‫اﳌﻨﺼﻮري ﻣﺪﻳﺮ ﻣﺮﻛﺰ زاﻳــﺪ ﻟﻠﺪراﺳﺎت‬ ‫واﻟﺒﺤﻮث‪ ،‬ﻋﻦ اﻟﻘﻴﻤﺔ اﻟﻜﺒرية اﻟﺘﻲ ﺗﺮﻛﻬﺎ‬ ‫اﳌﻐﻔﻮر ﻟﻪ اﻟﺸﻴﺦ ﺳﻠﻄﺎن ﺑﻦ زاﻳﺪ ﻃﻴﺐ‬ ‫اﻟﻠﻪ ﺛﺮاه ﰲ ﻧﻔﻮس أﺑﻨﺎء اﻹﻣﺎرات وﺟﻤﻴﻊ‬ ‫اﳌﻬﺘﻤني ﺑــﺎﻟـﱰاث واﻟﺜﻘﺎﻓﺔ واﳌــﻮروث‬ ‫اﻟﺸﻌﺒﻲ‪ ،‬ﺣﻴﺚ ﻇﻞ دامئــﺎ رﺟﻞ اﻟﱰاث‬ ‫واﻟﺜﻘﺎﻓﺔ‪ ،‬وﺻﺎﺣﺐ اﻟﻔﻀﻞ اﻟﻌﻈﻴﻢ ﰲ‬ ‫اﻟﺤﻔﺎظ ﻋﲆ ﻣﻮروﺛﻨﺎ اﻟﺸﻌﺒﻲ‪ ،‬واﻟﺸﻌﺮي‬ ‫ﺑﻮﺟﻪ ﺧﺎص‪ .‬وذﻛﺮت اﳌﻨﺼﻮري ﻋﺪداً ﻛﺒرياً‬ ‫ﻣﻦ اﻹﻧﺠﺎزات اﻟﺘﻲ ﺗﺤﻘﻘﺖ ﺧﻼل ﺗﺮؤﺳﻪ‬ ‫رﺣﻤﻪ اﻟﻠﻪ ﻟﻨﺎدي ﺗﺮاث اﻹﻣﺎرات وإﴍاﻓﻪ‬ ‫ﺑﺸﻜﻞ ﻣﺒﺎﴍ ﻋﲆ ﻣﺨﺘﻠﻒ اﻟﻔﻌﺎﻟﻴﺎت‬ ‫اﻟﱰاﺛﻴﺔ واﻟﺸﻌﺮﻳﺔ اﻟﺘﻲ ﻛﺎن ﻳﻨﻈﻤﻬﺎ اﻟﻨﺎدي‬ ‫ﺑﺘﻮﺟﻴﻬﺎﺗﻪ ﻃﻴﺐ اﻟﻠﻪ ﺛﺮاه‪.‬‬ ‫وﻗﺒﻞ اﻧﻄﻼق اﻷﻣﺴﻴﺔ اﻟﺸﻌﺮﻳﺔ‪ ،‬ﻗﺪﻣﺖ‬

‫اﻟﺸﺎﻋﺮة ﻣﺮﻳﻢ اﻟﻨﻘﺒﻲ ﻋﺮﺿﺎ ﻣﻤﻴﺰا ﻋﻦ‬ ‫ﻣﺨﺘﻠﻒ اﻹﺳﻬﺎﻣﺎت اﻟﺸﻌﺮﻳﺔ واﻟﱰاﺛﻴﺔ‬ ‫ﻟﻠﻤﻐﻔﻮر ﻟﻪ‪ ،‬وﻗﺎﻟﺖ‪ :‬ﻛﺎن اﳌﻐﻔﻮر ﻟﻪ أﺣﺪ‬ ‫أﺑﺮز اﳌﻬﺘﻤني ﺑﺎﻟﺸﻌﺮ واﳌﻮروث اﻟﺸﻌﺒﻲ‪،‬‬ ‫وﻛــﺎن ﻟﻠﺜﻘﺎﻓﺔ واﻷدب ﺣﻀﻮر ﻛﺒري ﰲ‬ ‫ﻣﺠﺎﻟﺴﻪ‪ ،‬ﺣﻴﺚ ُﻳﻌﺮف ﻋﻨﻪ أﻧﻪ ﻛﺎن رﺟﻞ‬ ‫ﺗـﺮاث ﻣﻦ اﻟﻄﺮاز اﻷول وﻻ ﺗﻜﺎد ﺗﺨﻠﻮ‬ ‫ﻣﺠﺎﻟﺴﻪ ﻣﻦ وﺟﻮد اﻟﺸﻌﺮ واﻟﺸﻌﺮاء‪.‬‬ ‫وأﺿﺎﻓﺖ‪ :‬اﻫﺘﻢ رﺣﻤﻪ اﻟﻠﻪ ﺑﺎﻟﱰاث ﻓﻜﺎﻧﺖ‬ ‫ﻟﻪ اﻷوﻟﻮﻳﺔ ﺑني اﻫﺘامﻣﺎﺗﻪ‪ ،‬وﻗﺪم ﻟﻪ اﻟﺪﻋﻢ‬ ‫اﻟﻼﻣﺤﺪود ووﺿﻌﻪ ﰲ اﻟﺼﺪارة‪ ،‬ومل ﻳﻐﺐ‬ ‫اﻟﺸﻌﺮ اﻟﺸﻌﺒﻲ ﻋﻦ داﺋــﺮة اﻫﺘامﻣﺎﺗﻪ‪،‬‬ ‫ﻛﻴﻒ ﻻ وﻫﻮ أﺣﺪ اﻟﺸﻌﺮاء اﻟﺬﻳﻦ ﺗﻔﺘﺨﺮ‬ ‫ﺑﻬﻢ دوﻟﺔ اﻹﻣﺎرات‪ ،‬ﻣﺸرية إﱃ أن اﻟﺸﻴﺦ‬ ‫ﺳﻠﻄﺎن ﺑﻦ زاﻳﺪ آﻣﻦ ﺑﺮﺳﺎﻟﺔ اﻟﺸﻌﺮ ودوره‬ ‫ﰲ ﺧﺪﻣﺔ ﻗﻀﺎﻳﺎ اﳌﺠﺘﻤﻊ‪ ،‬ﻟﺬﻟﻚ ﻗﺪّم ﻛﻞ‬

‫ﻓﻜﺮة اﻟﻤﺴﺎﺑﻘﺔ‪ ،‬ﺟﺎءت ﺑﻨﺎء ﻋﻠﻰ‬ ‫رؤﻳﺔ اﻟﻤﻐﻔﻮر ﻟﻪ اﻟﺸﻴﺦ ﺳﻠﻄﺎن ﺑﻦ‬ ‫زاﻳﺪ آل ﻧﻬﻴﺎن‪ ،‬اﻟﻬﺎدﻓﺔ إﻟﻰ ﺗﺒﻨﻲ‬ ‫أﺳﻤﺎء ﺷﻌﺮﻳﺔ ﺷﺎﺑﺔ‪ ،‬ﻗﺎدرة ﻋﻠﻰ‬ ‫اﻹﺑﺪاع ﻓﻲ ﺣﻘﻞ اﻟﺸﻌﺮ اﻟﺸﻌﺒﻲ‬ ‫ﻗﺒﻞ ﺳﻔﺮه رﺣﻤﻪ ا‪ ،D‬ﻻﺳﺘﻜﻤﺎل‬ ‫اﻟﻌﻼج‪ ،‬ﻛﺎن ﻗﺪ وﻗﻒ ﻋﻠﻰ ﻣﺨﺘﻠﻒ‬ ‫ﺗﻔﺎﺻﻴﻞ اﻟﻤﺴﺎﺑﻘﺔ‪ ،‬وﻛﺎن ﺣﺮﻳﺼ ًﺎ ﻋﻠﻰ‬ ‫ﻧﺠﺎﺣﻬﺎ واﺳﺘﻤﺮارﻫﺎ‬ ‫اﳌﺴﺎﺑﻘﺔ‪ ،‬وﻛــﺎن ﺣﺮﻳﺼﺎ ﻋــﲆ ﻧﺠﺎﺣﻬﺎ‬ ‫واﺳﺘﻤﺮارﻫﺎ‪ ،‬وﺧﺮوﺟﻬﺎ ﺑﺎﻟﺼﻮرة اﻟﺘﻲ‬ ‫ﻳﺴﺘﺤﻘﻬﺎ اﳌﺒﺪﻋﻮن ﻣﻦ أﺑﻨﺎء اﻟﺠﻴﻞ اﻟﺠﺪﻳﺪ‪.‬‬ ‫وﻫﻮ ﻣﺎ أﺳﻬﻢ ﺑﺎﻟﻔﻌﻞ ﰲ ﻧﺠﺎح اﳌﺴﺎﺑﻘﺔ‪،‬‬ ‫اﻟﺘﻲ ﺣﻈﻴﺖ ﺑﺎﻫﺘامم واﺳﻊ‪ ،‬وﺑﺘﻘﺪﻳﺮ ﻛﺒري‬ ‫ﻣﻦ اﳌﺆﺳﺴﺎت اﻟﺠﺎﻣﻌﻴﺔ اﻟﺘﻲ وﺟﺪت‬ ‫أﺑﻨﺎءﻫﺎ اﳌﺒﺪﻋني ﻳﻘﻔﻮن ﻋﲆ ﻣﻨﺼﺎت‬ ‫اﻟﺘﺘﻮﻳﺞ واﻟﺘﻜﺮﻳﻢ ﰲ ﻣﺠﺎﻻت أدﺑﻴﺔ وﺛﻘﺎﻓﻴﺔ‪.‬‬ ‫ﻟﻘﺪ أمثﺮت ﻣﺴﺎﺑﻘﺔ ﺳﻠﻄﺎن ﺑﻦ زاﻳﺪ ﻟﻄﻠﺒﺔ‬ ‫اﻟﺠﺎﻣﻌﺎت ﺑﺮوز ﺛﻼﺛﺔ أﺳامء ﺷﻌﺮﻳﺔ ﻓﺎزت‬ ‫ﺑﺎﳌﺮاﻛﺰ اﻷوﱃ‪ ،‬ﻫﻲ‪ :‬اﻟﺸﺎﻋﺮ زاﻳﺪ ﻣﻨﺼﻮر‬ ‫ﻓﺎﺿﻞ اﻟﺘﻤﻴﻤﻲ اﻟﻔﺎﺋﺰ ﺑﺎﳌﺮﻛﺰ اﻷول‪،‬‬ ‫واﻟﺸﺎﻋﺮ أﺣﻤﺪ ﺳﻨﺪ اﳌﻴﴪي اﻟﻔﺎﺋﺰ ﺑﺎﳌﺮﻛﺰ‬ ‫اﻟﺜﺎين‪ ،‬واﻟﺸﺎﻋﺮ ﺳﻌﻴﺪ ﺧﻤﻴﺲ ﺟﺎر اﻟﻠﻪ‬ ‫اﳌﻨﺼﻮري ﺻﺎﺣﺐ اﳌﺮﻛﺰ اﻟﺜﺎﻟﺚ‪ ،‬وﻗﺪ ﻛﺮﻣﺖ‬ ‫ﻛﺬﻟﻚ ﺳﺒﻌﺔ أﺳامء إﺿﺎﻓﻴﺔ وﺻﻠﺖ ﻟﻠﻘﺎمئﺔ‬ ‫اﻟﻄﻮﻳﻠﺔ ﰲ اﻟﺠﺎﺋﺰة‪ ،‬وﻫﻲ‪ :‬اﻟﺸﺎﻋﺮ ﻣﻮﳻ‬ ‫ﻣﺤﻤﺪ ﺑﻄﻲ اﻟﻘﺒﻴﴘ‪ ،‬واﻟﺸﺎﻋﺮة ﺳﻠﻤﻰ‬ ‫ﻋﺒﺪاﻟﻠﻪ اﻟﻬﺎﻣﲇ‪ ،‬واﻟﺸﺎﻋﺮة ﻣﺮﻳﻢ ﻓﻴﺼﻞ‬ ‫اﻟﻮاﺣﺪي‪ ،‬واﻟﺸﺎﻋﺮ ﻣﺤﻤﺪ ﻋﺒﺪاﻟﻠﻪ ﻣﺤﻤﺪ‬ ‫ﺳﺎمل اﻟﻜﻨﺪي‪ ،‬واﻟﺸﺎﻋﺮ ﺳﻠﻄﺎن ﻃﺎﻟﺐ ﺻﺎﻟﺢ‬ ‫اﻟﺨﻠﻴﻔﻲ‪ ،‬واﻟﺸﺎﻋﺮ ﻫﺰاع ﻋﺒﺪاﻟﻠﻪ ﺻﺎﻟﺢ ﻋﲇ‬ ‫اﳌﻨﺼﻮري‪ ،‬واﻟﺸﺎﻋﺮ ﻣﺤﻤﺪ ﻋﺒﺪاﻟﻠﻪ ﻋﺒﻴﺪ‬

‫اﻟﻌﺎﻣﺮي‪.‬‬ ‫وﺑﺬﻟﻚ ﺗﺤﻘﻖ اﳌﺴﺎﺑﻘﺔ أﻫﺪاﻓﻬﺎ ﻋﱪ ﺧﻠﻘﻬﺎ‬ ‫ﻟﺤﺎﻟﺔ ﻣﻦ اﻟﺘﻔﺎﻋﻞ واﻟﺘﻨﺎﻓﺲ ﺑني اﻟﻄﻠﺒﺔ‬ ‫ﻋﱪوا ﺑﺄدواﺗﻬﻢ اﻟﺨﺎﺻﺔ‬ ‫اﳌﺒﺪﻋني‪ ،‬اﻟﺬﻳﻦ ّ‬ ‫ﻋﻦ ﻗﻴﻢ اﻟﺘﺴﺎﻣﺢ وﻗﺒﻮل اﻵﺧﺮ‪ ،‬ﻟﻴﻨﻌﻜﺲ‬ ‫وﻋﻴﻬﻢ ﰲ ﻣﺴﺎﺣﺎت ﺷﻌﺮﻳﺔ ﺟﻤﻴﻠﺔ وﻣﺆﺛﺮة‪،‬‬ ‫ﺣﻴﺚ ﻛﺎﻧﺖ ﻗﺼﺎﺋﺪﻫﻢ أﺷﺒﻪ مبﺠﻤﻮﻋﺔ ﻣﻦ‬ ‫اﻻﺗﺠﺎﻫﺎت اﻟﺘﻲ ﺗﺆدي ﺟﻤﻴﻌﻬﺎ إﱃ ﺿﻔﺔ‬ ‫واﺣﺪة ﻫﻲ اﻟﺘﺴﺎﻣﺢ‪.‬‬ ‫وﺑﺬﻟﻚ أﻳﻀﺎً‪ ،‬ﻳﺘﺤﻘﻖ ﻣﺎ أراده اﻟﺸﻴﺦ‬ ‫ﺳﻠﻄﺎن ﺑﻦ زاﻳﺪ رﺣﻤﻪ اﻟﻠﻪ ﻣﻦ اﳌﺴﺎﺑﻘﺔ‪ ،‬إذ‬ ‫ﻧﺠﺤﺖ ﰲ اﻟﺒﺤﺚ ﻋﻦ اﳌﺒﺪﻋني ﻣﻦ اﻟﺸﻌﺮاء‬ ‫وﺗﺴﻠﻴﻂ اﻟﻀﻮء ﻋﻠﻴﻬﻢ‪ ،‬وﺗﺒﻨﻲ ﺗﺠﺎرﺑﻬﻢ‬ ‫إﻋﻼﻣﻴﺎ وإﺑﺪاﻋﻴﺎ ﻋﱪ إﺗﺎﺣﺔ اﻟﻔﺮﺻﺔ ﻟﻬﻢ‬

‫ﺑﺎﻟﻈﻬﻮر أﻣــﺎم ﻣﺠﺘﻤﻊ اﻟﺸﻌﺮ وﺗﺤﻘﻴﻖ‬ ‫اﻟﻄﻤﻮﺣﺎت‪.‬‬ ‫وإذا ﻧﻈﺮﻧﺎ إﱃ اﳌﺴﺎﺑﻘﺔ اﻟﺸﻌﺮﻳﺔ ﰲ‬ ‫ﻣﻬﺮﺟﺎن ﺳﻠﻄﺎن ﺑﻦ زاﻳــﺪ اﻟــﱰايث‪ ،‬وإﱃ‬ ‫ﻫﺬه اﳌﺴﺎﺑﻘﺔ اﻟﺘﻲ ﺗﻢ ﺗﺨﺼﻴﺼﻬﺎ ﻟﻄﻠﺒﺔ‬ ‫اﻟﺠﺎﻣﻌﺎت‪ ،‬ﻧﺴﺘﻄﻴﻊ أن ﻧﺪرك ﺗﻠﻚ اﻟﻘﻴﻤﺔ‬ ‫اﻟﻌﺎﻟﻴﺔ‪ ،‬واﳌﻜﺎﻧﺔ اﻟﺨﺎﺻﺔ اﻟﺘﻲ ﻛﺎن ﻳﺤﻈﻰ‬ ‫ﺑﻬﺎ اﻟﺸﻌﺮ ﻋﻨﺪ اﻟﺸﻴﺦ ﺳﻠﻄﺎن ﺑﻦ زاﻳﺪ‪،‬‬ ‫اﻟﺬي أراد ﻣﻦ ﺧﻼل اﳌﺴﺎﺑﻘﺘني‪ ،‬أن ﻳﺸﻤﻞ‬ ‫اﻟﺠﻤﻴﻊ ﺑﺎﻫﺘامﻣﻪ‪ ،‬وأن ﻳﻀﻊ أﻣﺎم ﻛﻞ ﺷﺎﻋﺮ‬ ‫ﻣﻬام ﻛﺎن ﻋﻤﺮه‪ ،‬ﻓﺮﺻﺔ اﻟﺼﻌﻮد ﺑﺎﻟﺸﻌﺮ‪،‬‬ ‫واﻻرﺗﻘﺎء ﺑﻔﻨﻮن اﻟﱰاث اﻷﺻﻴﻞ‪ .‬ﻛﻴﻒ ﻻ‪،‬‬ ‫وﻗﺪ ﻛﺎن رﺣﻤﻪ اﻟﻠﻪ ﺣﺎرس اﻟﱰاث ورﺟﻞ‬ ‫اﻟﺸﻌﺮ‪.‬‬ ‫اﻟﺸﻌﺮ ‪baytelshear‬‬ ‫ﺑﻴﺖ ِ‬

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‫‪ ĘōĚĘĲŕ‬‬

‫‪ŪţơƸţŵƴŢ ũŧƵƙƴ ũǈƃơƍƴŢ ũƭŦţƉƹƴŢ‬‬ ‫‪ſǈŢƄ ƻŦ ƺţƙƵƈ ŻǉƍƵƴ ũǈƃơƌ ŨƂžţŧƸ ƃżŖ‬‬ ‫‪ſǁƍƹƴŢ Ǉƨ ţǁƠǃƼ ƻƸ ǅƴǂǌŢǂ‬‬

‫ﺧﺎص ‪ -‬ﺑﻴﺖ اﻟﺸﻌﺮ‬

‫ﺗﻜﺮﻳﺴﺎ ﻟﻔﻜﺮة اﻻﻫﺘامم ﺑﺎﳌﻮروث اﻟﺸﻌﺒﻲ‬ ‫ﻟﺪى اﻟﺠﻴﻞ اﻟﺠﺪﻳﺪ‪ ،‬وﻧﴩ اﻟﻮﻋﻲ ﻣﻦ ﺧﻼل‬ ‫اﻟﺸﻌﺮ اﻟﺸﻌﺒﻲ ﺑني ﻃﻠﺒﺔ اﻟﺠﺎﻣﻌﺎت‪ ،‬وﺟﻪ‬ ‫اﳌﻐﻔﻮر ﻟﻪ اﻟﺸﻴﺦ ﺳﻠﻄﺎن ﺑﻦ زاﻳﺪ آل ﻧﻬﻴﺎن‬ ‫ﻃﻴﺐ اﻟﻠﻪ ﺛﺮاه‪ ،‬ﺑﺈﻃﻼق ﻣﺴﺎﺑﻘﺔ ﺷﻌﺮﻳﺔ‬ ‫ﺧﺎﺻﺔ ﺑﻄﻠﺒﺔ اﻟﺠﺎﻣﻌﺎت‪ ،‬وذﻟﻚ ﻗﺒﻞ رﺣﻴﻠﻪ‬ ‫رﺣﻤﻪ اﻟﻠﻪ ﺑﺸﻬﻮر ﻣﻌﺪودة‪.‬‬ ‫وﻗﺪ ﺗﻔﺎﻋﻞ ﻣﻊ ﻫﺬه اﳌﺴﺎﺑﻘﺔ اﻟﺘﻲ ﺣﻤﻠﺖ‬ ‫اﺳﻢ اﳌﻐﻔﻮر ﻟﻪ اﻟﺸﻴﺦ ﺳﻠﻄﺎن ﺑﻦ زاﻳﺪ‪،‬‬ ‫ﻋﺪد ﻛﺒري ﻣﻦ ﻃﻠﺒﺔ اﻟﺠﺎﻣﻌﺎت ﰲ اﻟﻌﺎﺻﻤﺔ‬ ‫أﺑﻮﻇﺒﻲ‪ ،‬ﺑﻌﺪﻣﺎ ﺗﻢ اﺧﺘﻴﺎر ﺧﻤﺲ ﺟﺎﻣﻌﺎت‬ ‫ﻣﺸﺎرﻛﺔ‪ ،‬ﻫﻲ‪ :‬ﺟﺎﻣﻌﺔ أﺑﻮﻇﺒﻲ‪ /‬ﴍﻳﻚ‬

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‫اﻟﻌﺪد ‪ ، 85‬ﻳﻨﺎﻳﺮ ‪2020‬‬

‫رﺋﻴﺲ‪ ،‬وﺟﺎﻣﻌﺔ زاﻳــﺪ‪ ،‬وﺟﺎﻣﻌﺔ ﺧﻠﻴﻔﺔ‪،‬‬ ‫وﻛﻠﻴﺎت اﻟﺘﻘﻨﻴﺔ اﻟﻌﻠﻴﺎ‪ ،‬وأﻛﺎدميﻴﺔ رﺑﺪان‪.‬‬ ‫ﻓﻜﺮة اﳌﺴﺎﺑﻘﺔ ﺟــﺎءت ﺑﻨﺎء ﻋﲆ رؤﻳﺔ‬ ‫اﳌﻐﻔﻮر ﻟﻪ اﻟﺸﻴﺦ ﺳﻠﻄﺎن ﺑﻦ زاﻳــﺪ آل‬ ‫ﻧﻬﻴﺎن‪ ،‬اﻟﻬﺎدﻓﺔ إﱃ ﺗﺒﻨﻲ أﺳامء ﺷﻌﺮﻳﺔ‬ ‫ﺷﺎﺑﺔ‪ ،‬ﻗﺎدرة ﻋﲆ اﻹﺑﺪاع ﰲ ﺣﻘﻞ اﻟﺸﻌﺮ‬ ‫اﻟﺸﻌﺒﻲ‪ ،‬ومتﻠﻚ أدوات اﻟﺘﻤﻴﺰ وﻓﻬ ًام واﻋﻴﺎ‬ ‫ﻟﱰاث اﻵﺑﺎء واﻷﺟﺪاد‪ ،‬وﺗﺴﺘﻄﻴﻊ أن ُﺗﺴﻬﻢ‬ ‫ﰲ ﺧﻠﻖ ﺣﺎﻟﺔ ﻣﻦ اﻟﺘﻨﻮع واﻟﺘﺠﺪﻳﺪ ﰲ‬ ‫اﻹﺑﺪاع اﻟﺸﻌﺮي‪ .‬وﻛﻞ ذﻟﻚ ﻣﻦ أﺟﻞ إﺗﺎﺣﺔ‬ ‫اﻟﻔﺮﺻﺔ أﻣﺎم اﻟﺠﻴﻞ اﻟﺠﺪﻳﺪ ﻟﻄﺮح أﻓﻜﺎره‬ ‫ﺑﺄﺳﻠﻮب ﺷﻌﺮي أﺻﻴﻞ‪.‬‬ ‫اﳌﺴﺎﺑﻘﺔ ﺣﻈﻴﺖ ﺑﺎﻫﺘامم واﺳﻊ ﻣﻦ وﺳﺎﺋﻞ‬

‫اﻹﻋﻼم‪ ،‬واﳌﺆﺳﺴﺎت اﻟﺘﻌﻠﻴﻤﻴﺔ اﻟﺠﺎﻣﻌﻴﺔ‪،‬‬ ‫وﺷﺎرك ﻓﻴﻬﺎ ﻣﺎ ﻳﺰﻳﺪ ﻋﲆ ﻣﺌﺘﻲ ﻃﺎﻟﺐ‪ ،‬ﺗﻢ‬ ‫اﺧﺘﻴﺎر ﻋﴩة ﻣﻨﻬﻢ ﰲ ﻗﺎمئﺔ ﻃﻮﻳﻠﺔ‪ ،‬ﻟﺨﻮض‬ ‫اﳌﻨﺎﻓﺴﺔ ﻋﲆ ﻟﻘﺐ اﳌﺴﺎﺑﻘﺔ وﻧﻴﻞ اﳌﺮاﻛﺰ‬ ‫اﻟﺜﻼﺛﺔ اﻷوﱃ‪ ،‬اﻟﺘﻲ ُرﺻﺪت ﻟﻬﺎ ﻣﺒﺎﻟﻎ ﻧﻘﺪﻳﺔ‬ ‫ﻣﺠﺰﻳﺔ‪ ،‬أﻣﺮ ﺑﻬﺎ اﻟﺸﻴﺦ ﺳﻠﻄﺎن ﺑﻦ زاﻳﺪ‬ ‫رﺣﻤﻪ اﻟﻠﻪ‪ ،‬ﺗﺤﻔﻴﺰا ﻟﻠﻄﻠﺒﺔ ﻋﲆ اﳌﺸﺎرﻛﺔ‬ ‫وﺧﻮض ﻏامر اﳌﻨﺎﻓﺴﺔ‪ ،‬إذ ﺣﺼﻞ اﻟﻔﺎﺋﺰ‬ ‫اﻷول ﻋﲆ ﻣﺒﻠﻎ ‪ 50000‬درﻫﻢ‪ ،‬واﻟﺜﺎين ﻋﲆ‬ ‫ﻣﺒﻠﻎ ‪ 25000‬درﻫﻢ‪ ،‬واﻟﺜﺎﻟﺚ ﻋﲆ ‪20000‬‬ ‫درﻫﻢ‪.‬‬ ‫وﻗﺒﻞ ﺳﻔﺮه رﺣﻤﻪ اﻟﻠﻪ‪ ،‬ﻻﺳﺘﻜامل اﻟﻌﻼج‪،‬‬ ‫ﻛــﺎن ﻗــﺪ وﻗــﻒ ﻋــﲆ ﻣﺨﺘﻠﻒ ﺗﻔﺎﺻﻴﻞ‬

‫ﻋــﺎم‪ ،‬وإﺣﻴﺎء اﳌﻈﺎﻫﺮ اﻟﺜﻘﺎﻓﻴﺔ اﳌﻌﺰزة‬ ‫ﻟﻠﺠﺎﻧﺐ اﻟﻔﻜﺮي ﳌﻬﺮﺟﺎن ﺳﻠﻄﺎن ﺑﻦ زاﻳﺪ‬ ‫اﻟﱰايث‪ ،‬وﻛﺎن ﻟﺬﻟﻚ اﻟﺘﻮﺟﻴﻪ ﺑﺎﻟﻎ اﻷﺛﺮ ﰲ‬ ‫ﻧﻔﻮس اﻟﺸﻌﺮاء‪.‬‬ ‫ﻛام آﻣﻦ اﳌﻐﻔﻮر ﻟﻪ اﻟﺸﻴﺦ ﺳﻠﻄﺎن ﺑﻦ زاﻳﺪ‬ ‫ﻣﻨﺬ اﻧﻄﻼق اﳌﺴﺎﺑﻘﺔ‪ ،‬أن أﻫﻤﻴﺘﻬﺎ ﺗﺘﻤﺜﻞ‬ ‫ﺑﻜﻮن اﻟﺸﻌﺮ أﻛرث ﻣﺠﺎﻻت اﻷدب اﻟﺘﻌﺒريي‬ ‫ﺷﻌﺒﻴ ًﺔ واﻧﺘﺸﺎراً ﰲ اﳌﻨﻄﻘﺔ‪ ،‬واﻷﻛرث اﺳﻬﺎﻣﺎ‬ ‫ﰲ ﺗﻮﺛﻴﻖ اﻟﱰاث واﻟﺤﻔﺎظ ﻋﻠﻴﻪ‪ .‬وﻗﺪ ﺟﺎءت‬ ‫اﳌﺴﺎﺑﻘﺔ ﻟﺘﺤﺚ ﻗﺮاﺋﺢ اﻟﺸﻌﺮاء ﻋﲆ اﻟﺘﻐﻨﻲ‬ ‫ﺳﻨﻮﻳﺎً مبﻮﺿﻮع ﻣﺤﺪد ﻣﻦ اﳌﻮاﺿﻴﻊ اﳌﺮﺗﺒﻄﺔ‬ ‫ﺑﱰاث اﳌﻨﻄﻘﺔ اﻷﺻﻴﻞ أو ﺑﺸﺨﺼﻴﺔ ﻟﻬﺎ ﺑﺎﻟﻎ‬ ‫اﻷﺛﺮ ﰲ ﺗﺮاث اﳌﻨﻄﻘﺔ‪ ،‬وﻛﺎن رﺣﻤﻪ اﻟﻠﻪ‬ ‫ﺣﺮﻳﺼﺎ ﻛﻞ اﻟﺤﺮص ﻋﲆ أن ﻳﺨﺘﺎر ﺑﻨﻔﺴﻪ‬

‫ﻣﻮﺿﻮع اﳌﺴﺎﺑﻘﺔ ﰲ ﻛﻞ ﻋﺎم‪ ،‬وﻫﻮ دﻟﻴﻞ‬ ‫ﻋﲆ اﻫﺘامﻣﻪ ﺑﺄدق ﺗﻔﺎﺻﻴﻠﻬﺎ‪ ،‬وﻣﺘﺎﺑﻌﺘﻪ ﻟﻜﻞ‬ ‫ﻣﺮاﺣﻞ اﳌﺴﺎﺑﻘﺔ ﻣﻨﺬ ﺑﺪاﻳﺘﻬﺎ وﺣﺘﻰ ﻧﻬﺎﻳﺘﻬﺎ‪.‬‬ ‫وﻧﺘﻴﺠﺔ ﻟﻜﻞ ذﻟﻚ اﻻﻫﺘامم اﻟــﺬي أوﻻه‬ ‫ﻃﻴﺐ اﻟﻠﻪ ﺛﺮاه ﻟﻠﻤﺴﺎﺑﻘﺔ‪ ،‬أﺻﺒﺤﺖ اﻟﻴﻮم‬ ‫مبﺜﺎﺑﺔ ﻣﻨﺎﺳﺒﺔ وﻣﻮﺳﻢ ﺳﻨﻮي ﻟﻠﺸﻌﺮاء اﻟﺬﻳﻦ‬ ‫ﻳﺤﺮﺻﻮن ﻋﲆ اﳌﺸﺎرﻛﺔ وﺗﺮك ﺑﺼﻤﺔ ﻣﻤﻴﺰة‬ ‫ﰲ ﺳﺎﺣﺔ اﻟﺸﻌﺮ واﻹﺑﺪاع ﻣﻦ ﺧﻼل ﻣﻬﺮﺟﺎن‬ ‫ﺳﻠﻄﺎن ﺑﻦ زاﻳﺪ اﻟﱰايث‪ .‬وأﺻﺒﺢ ﺑﺎﺳﺘﻄﺎﻋﺘﻨﺎ‬ ‫اﻟﻘﻮل إن ﻫﺬه اﳌﺴﺎﺑﻘﺔ اﻟﺸﻌﺮﻳﺔ أﺻﺤﺒﺖ‬ ‫ﺑﻔﻀﻞ دﻋﻢ اﳌﻐﻔﻮر ﻟﻪ اﻟﺸﻴﺦ ﺳﻠﻄﺎن ﺑﻦ‬ ‫زاﻳﺪ‪ ،‬واﺣﺪة ﻣﻦ أﺑﺮز اﳌﺴﺎﺑﻘﺎت اﻟﺸﻌﺮﻳﺔ‬ ‫ﰲ اﳌﻨﻄﻘﺔ‪ ،‬وأﻛرثﻫﺎ اﻧﺘﺸﺎرا وﺣﻀﻮرا ﰲ‬ ‫اﳌﺸﻬﺪ اﻟﺸﻌﺮي‪.‬‬

‫ﻛﺎن رﺣﻤﻪ ا‪ D‬ﺣﺮﻳﺼﺎ ﻛﻞ اﻟﺤﺮص‬ ‫ﻋﻠﻰ أن ﻳﺨﺘﺎر ﺑﻨﻔﺴﻪ ﻣﻮﺿﻮع‬ ‫اﻟﻤﺴﺎﺑﻘﺔ ﻓﻲ ﻛﻞ ﻋﺎم‪ ،‬وﻫﻮ‬ ‫دﻟﻴﻞ ﻋﻠﻰ اﻫﺘﻤﺎﻣﻪ ﺑﺄدق ﺗﻔﺎﺻﻴﻠﻬﺎ‬ ‫وﻧﺠﺎﺣﻬﺎ‬ ‫ﻧﺘﻴﺠﺔ ﻟﻼﻫﺘﻤﺎم اﻟﺬي أوﻻه ﻃﻴﺐ‬ ‫ا‪ D‬ﺛﺮاه ﻟﻠﻤﺴﺎﺑﻘﺔ‪ ،‬أﺻﺒﺤﺖ ﺑﻤﺜﺎﺑﺔ‬ ‫ﻣﻨﺎﺳﺒﺔ وﻣﻮﺳﻢ ﺳﻨﻮي ﻟﻠﺸﻌﺮاء‬ ‫اﻟﺬﻳﻦ ﻳﺤﺮﺻﻮن ﻋﻠﻰ ﺗﺮك ﺑﺼﻤﺔ‬ ‫ﻓﻲ ﺳﺎﺣﺔ اﻟﺸﻌﺮ واﻹﺑﺪاع‬ ‫اﻟﺸﻌﺮ ‪baytelshear‬‬ ‫ﺑﻴﺖ ِ‬

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‫‪ ĘōĚĘĲŕ‬‬

‫‪ǇŰŢƃŭƴŢ ſǈŢƄ ƻŦ ƺţƙƵƈ ƺţŴƃǁƸ Ǉƨ ũǈƃơƍƴŢ ũƭŦţƉƹƴŢ‬‬

‫ ‪ũơƈŢǂ ũŸţƉƸǂ žǂſŹƸ ƃǉƤ ƷƠž‬‬ ‫ ‪ǆƃơƍƴŢ ſǁƍƹƴŢ Ǉƨ‬‬

‫ﺧﺎص ‪ -‬ﺑﻴﺖ اﻟﺸﻌﺮ‬

‫ﻓﺮﺿﺖ اﳌﺴﺎﺑﻘﺔ اﻟﺸﻌﺮﻳﺔ اﳌﺼﺎﺣﺒﺔ‬ ‫ﻟﻔﻌﺎﻟﻴﺎت ﻣﻬﺮﺟﺎن ﺳﻠﻄﺎن ﺑﻦ زاﻳﺪ اﻟﱰايث‬ ‫ﺣﻀﻮرﻫﺎ ﰲ اﻟﺴﺎﺣﺔ اﻟﺸﻌﺮﻳﺔ ﺑﺪوﻟﺔ‬ ‫اﻹﻣﺎرات اﻟﻌﺮﺑﻴﺔ اﳌﺘﺤﺪة وﻣﻨﻄﻘﺔ اﻟﺨﻠﻴﺞ‬ ‫ﻋﻤﻮﻣﺎ‪ ،‬ﺑﻌﺪ اﻹﻋﻼن ﻋﻦ اﻧﻄﻼﻗﺘﻬﺎ اﻷوﱃ‬ ‫ﺿﻤﻦ ﻓﻌﺎﻟﻴﺎت اﳌﻬﺮﺟﺎن ﻋﺎم ‪ ،2013‬ﺑﺪﻋﻢ‬ ‫وﺗﻮﺟﻴﻬﺎت اﳌﻐﻔﻮر ﻟﻪ اﻟﺸﻴﺦ ﺳﻠﻄﺎن ﺑﻦ‬ ‫زاﻳﺪ آل ﻧﻬﻴﺎن ﻃﻴﺐ اﻟﻠﻪ ﺛﺮاه‪ .‬وﻗﺪ ﺣﻈﻴﺖ‬ ‫ﻫﺬه اﳌﺴﺎﺑﻘﺔ ﺑﺮﻋﺎﻳﺘﻪ اﻟﺪامئﺔ ﻟﻬﺎ‪ ،‬وﺗﺘﻮﻳﺠﻪ‬ ‫ﻟﺸﻌﺮاء اﳌﺴﺎﺑﻘﺔ ﰲ ﻛﻞ ﻋﺎم‪ ،‬ﺣﺮﺻﺎ ﻣﻨﻪ‬ ‫ﻋﲆ دﻋﻢ اﻟﺸﻌﺮاء‪ ،‬وإميﺎﻧﺎ ﻣﻨﻪ رﺣﻤﻪ اﻟﻠﻪ‬ ‫ﺑﺄن اﻟﺸﻌﺮ أﺣﺪ أﺑﺮز رﻛﺎﺋﺰ اﻟﱰاث اﻷﺻﻴﻞ‪،‬‬

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‫اﻟﻌﺪد ‪ ، 85‬ﻳﻨﺎﻳﺮ ‪2020‬‬

‫ودﻳﻮان اﻟﻌﺮب‪.‬‬ ‫وﻟﻘﺪ ﺗﺄﻛﺪ ذﻟﻚ اﻟﺤﻀﻮر اﻟﻜﺒري ﻟﻠﻤﺴﺎﺑﻘﺔ‪،‬‬ ‫ﻋﱪ اﳌﺸﺎرﻛﺎت اﻟﻐﺰﻳﺮة اﻟﺘﻲ وﺻﻠﺖ ﺑﺮﻳﺪ‬ ‫اﳌﺴﺎﺑﻘﺔ ﰲ ﻛﻞ دورة ﻣﻦ دوراﺗﻬﺎ‪ ،‬ﺳﻮاء‬ ‫ﻣﻦ داﺧﻞ اﻹﻣﺎرات أو ﻣﻦ ﺧﺎرﺟﻬﺎ‪ ،‬ﺣﻴﺚ‬ ‫ﺷﻬﺪت اﳌﺴﺎﺑﻘﺔ ﰲ ﻛﻞ ﻋﺎم زﻳﺎدة ﻣﻠﺤﻮﻇﺔ‬ ‫ﰲ ﻋــﺪد اﳌــﺸــﺎرﻛــﺎت‪ ،‬واﺳــﺘــﺤــﻮذت ﻋﲆ‬ ‫اﻫﺘامم اﻟﻜﺜري ﻣﻦ اﻟﺸﻌﺮاء اﻟﺬﻳﻦ ﺗﻔﺎﻋﻠﻮا‬ ‫ﻣﻊ ﻣﻮﺿﻮﻋﺎﺗﻬﺎ اﻟﺘﻲ ﺗﻢ اﺧﺘﻴﺎرﻫﺎ ﺑﺪﻗﺔ يك‬ ‫ﺗﻮاﻛﺐ ﻣﻔﺮدات اﻟﱰاث وﻋﺮﺳﻪ ﰲ ﺳﻮﻳﺤﺎن‬ ‫ﻣﻄﻠﻊ ﻛﻞ ﻋﺎم‪.‬‬ ‫وﺑﻔﻀﻞ دﻋﻢ اﳌﻐﻔﻮر ﻟﻪ اﻟﺸﻴﺦ ﺳﻠﻄﺎن‬ ‫ﺑﻦ زاﻳﺪ ﻟﻬﺬه اﳌﺴﺎﺑﻘﺔ‪ ،‬ﻣﻨﺬ اﻟﻠﺤﻈﺔ اﻻوﱃ‬

‫ﻻﻧﻄﻼﻗﻬﺎ‪ ،‬اﺳﺘﻄﺎﻋﺖ اﳌﺴﺎﺑﻘﺔ أن ﺗﺤﻘﻖ‬ ‫ﻧﺠﺎﺣﺎ ﺑﺎﻫﺮا‪ ،‬ﻋﱪ ﺗﻘﺪﻳﻢ ﺻﻮرة ﺷﺎﻣﻠﺔ ﻋﻦ‬ ‫ﻋﻼﻗﺔ اﻟﺸﻌﺮ ﺑﺎﳌﺠﺘﻤﻊ اﻟﺨﻠﻴﺠﻲ‪ ،‬وﺗﻘﺎﻃﻌﻪ‬ ‫ﻣﻊ أﺑﺮز ﻗﻀﺎﻳﺎه وﺗﻔﺼﻴﻼﺗﻪ‪ ،‬ﺣﻴﺚ ﻳﺤﴬ‬ ‫ﰲ ﺟﻤﻴﻊ اﳌﻨﺎﺳﺒﺎت ﻓﻴﺆﺛﺮ وﻳﺘﺄﺛﺮ‪ ،‬وﻳﺒﺪع‬ ‫اﻟﺸﻌﺮاء أﺟﻤﻞ اﻟﻘﺼﺎﺋﺪ‪ ،‬ﻟﻴﻜﻮن اﻟﺸﺎﻋﺮ‬ ‫ﻟﺴﺎن ﺣﺎل ﻣﺠﺘﻤﻌﻪ ﻛام ﻳﻨﺒﻐﻲ ﻟﻪ أن ﻳﻜﻮن‪.‬‬ ‫وﺟﻪ اﻟﺸﻴﺦ ﺳﻠﻄﺎن ﺑﻦ زاﻳﺪ رﺣﻤﻪ‬ ‫ﻟﻘﺪ ّ‬ ‫اﻟﻠﻪ‪ ،‬ﺑﺈﻟﺤﺎق اﳌﺴﺎﺑﻘﺔ اﻟﺸﻌﺮﻳﺔ ﺑﻔﻌﺎﻟﻴﺎت‬ ‫ﻣﻬﺮﺟﺎﻧﻪ اﻟﱰايث ﻣﻨﺬ ﻋﺎم ‪ ،2013‬ﻟﺘﻨﻔﻴﺬ رؤﻳﺔ‬ ‫واﺿﺤﺔ وﻣﺤﺪدة ﻟﻠﻨﻬﻮض مبﺠﺎﻻت اﻹﺑﺪاع‬ ‫اﻟﺸﻌﺮي ﰲ دوﻟﺔ اﻹﻣﺎرات اﻟﻌﺮﺑﻴﺔ اﳌﺘﺤﺪة‬ ‫ﺑﺸﻜﻞ ﺧﺎص وﻣﻨﻄﻘﺔ اﻟﺨﻠﻴﺞ اﻟﻌﺮيب ﺑﺸﻜﻞ‬

‫ﺻﺢ ﻟﺴﺎﻧﻚ‬ َ ŗšńŒ ¥ŝŕ ĝœ̧ś ŒñĎĄĿí ĂĿîě íĐÿ

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baytelshear ‫اﻟﺸﻌﺮ‬ ِ ‫ﺑﻴﺖ‬

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‫ ‪¥ũľğı‬‬

‫اﳌﺮاﻛﺰ اﻟﺘﻲ أﺳﺴﻬﺎ وﺟﻬﺔ ﻟﻠﺘﻌﺮﻳﻒ ﺑﻬﺬا ﻣﺎ أراده اﻟﺸﻴﺦ ﺳﻠﻄﺎن ﺑﻦ زاﻳﺪ "رﺣﻤﻪ‬ ‫اﻟﺠﺎﻧﺐ ﻣﻦ ﺧﻼل "ﺑﻴﺖ اﻟﺸﻌﺮ" واﻷﻧﺸﻄﺔ اﻟﻠﻪ"‪.‬‬ ‫واﻟﻔﻌﺎﻟﻴﺎت‪ .‬وأﺿــﺎف‪ :‬ﻣﺎ ﺗﺄﺳﻴﺲ "ﺑﻴﺖ‬ ‫اﻟﺸﻌﺮ" إﻻ دﻻﻟﺔ اﻫﺘامم وإدارك ﻷﻫﻤﻴﺔ ‪ "ƃơƍƴŢ ũƼţƱƸ‬‬ ‫ﻫﺬا اﻟﺠﺎﻧﺐ ودوره ﺑﺎﻻرﺗﻘﺎء ﺑﺎﻟﺬاﺋﻘﺔ ﰲ ﺑﺪاﻳﺔ ﺣﺪﻳﺜﻪ ﻗﺎل اﻟﺸﺎﻋﺮ واﻟــﺮوايئ‬ ‫ﻫ ـﺰاع ﻋﲇ أﺑﻮاﻟﺮﻳﺶ‪ :‬ﻓﻘﺪت اﻟﺴﺎﺣﺔ‬ ‫وﺑﻨﺎء اﻟﺸﻌﻮب‪.‬‬ ‫وأوﺿﺢ د‪ .‬اﻟﺠﻨﻴﺒﻲ‪ :‬ﺑﺎﻟﻨﺴﺒﺔ ﻟﻺﺻﺪارات اﻹﻣﺎراﺗﻴﺔ واﻟﺨﻠﻴﺠﻴﺔ واﻟﻌﺮﺑﻴﺔ رﺟﻞ اﻟﱰاث‬ ‫اﻟﺸﻌﺮﻳﺔ‪ ،‬ﻛﺎﻧﺖ ﺗﻨﻘﺴﻢ إﱃ إﺻــﺪارات "اﳌﻐﻔﻮر ﻟﻪ" اﻟﺸﻴﺦ ﺳﻠﻄﺎن ﺑﻦ زاﻳﺪ آل‬ ‫ﻣﺴﺘﻤﺮة‪ ،‬وإﺻﺪارات ﻟﺸﻌﺮاء وﻛﺘﺎب‪ ،‬ﻣﻨﻬﺎ‬ ‫ﻣﺠﻠﺔ "ﺑﻴﺖ اﻟﺸﻌﺮ" إﺣــﺪى مثﺎر ﻣﺮﻛﺰ‬ ‫ﺳﻠﻄﺎن ﺑﻦ زاﻳﺪ‪ ،‬اﳌﺆﺳﺴﺔ اﻟﺮاﺋﺪة اﻟﺘﻲ‬ ‫ﺗﺮأﺳﻬﺎ رﺣﻤﻪ اﻟﻠﻪ وﻇﻠﺖ ﻛﺮﺋﺔ ﻟﻠﺜﻘﺎﻓﺔ‪.‬‬ ‫وﻣﺎ ﻫﺬه اﻟﻜﻠامت ﰲ اﺳﺘﺤﻀﺎر اﻟﺮاﺣﻞ‬ ‫اﻟﺸﻴﺦ ﺳﻠﻄﺎن ﺑﻦ زاﻳﺪ "رﺣﻤﻪ اﻟﻠﻪ" وذﻛﺮ‬ ‫ﻣﻨﺠﺰاﺗﻪ إﻻ دﻻﻟﺔ ﻋﲆ أن ﻫﺬه اﻟﻨﺎﻓﺬة‬ ‫ﻣﺴﺘﻤﺮة وﻣﻀﻴﺌﺔ‪.‬‬ ‫وأﺿﺎف اﻟﺠﻨﻴﺒﻲ‪ :‬أﻣﺮ ﻫﺎم ﰲ ﺗﺄﻛﻴﺪ رؤﻳﺔ‬ ‫واﺳﺘﺪاﻣﺔ ﻫﺬا اﻟﺠﺎﻧﺐ ﻫﻮ أن ﻧﺴﺘﻤﺮ‬ ‫ﻣﻦ ﺧﻼﻟﻪ ﰲ اﻟﺘﻌﺒري ﻋﻦ ﻫﻮﻳﺔ اﻟﻮﻃﻦ‬ ‫ﻣﻦ ﺑﻮاﺑﺔ اﻟﻔﻜﺮ‪ ،‬ﻓﺎﻟﻜﺜري ﻣﻦ اﻹﺻﺪارات‬ ‫مبﺎ ﻓﻴﻬﺎ اﻟﺸﻌﺮﻳﺔ اﻟﺘﻲ أﺗﺎﺣﺖ اﻟﻔﺮﺻﺔ‬ ‫ﻟﻺﻃﻼﻟﺔ ﻋﲆ اﻟﻌﺎمل أﺟﻤﻊ‪ ،‬وﻫﺬا ﺑﺎﻟﻀﺒﻂ‬

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‫اﻟﻌﺪد ‪ ، 85‬ﻳﻨﺎﻳﺮ ‪2020‬‬

‫ﻧﻬﻴﺎن "ﻃﻴﺐ اﻟﻠﻪ ﺛﺮاه" اﻟﺬي ﻛﺎن ﺳﻨﺪاً‬ ‫ﻟﻠﱰاث واﻷﺻﺎﻟﺔ‪ .‬وأوﺿــﺢ‪ :‬اﻫﺘﻢ "رﺣﻤﻪ‬ ‫اﻟﻠﻪ" ﺑﺎﻟﺜﻘﺎﻓﺔ واﻹﺑﺪاع مبﺎ ﰲ ذﻟﻚ اﻹﺑﺪاع‬ ‫اﻟﺸﻌﺮي‪ ،‬وﻛﺎن أول ﻣﻦ ﻣﻨﺢ ﻗﻴﻤﺔ ﺣﺼﻴﻨﺔ‬ ‫ورﺻﻴﻨﺔ ﻟﻠﻤﻬﺮﺟﺎﻧﺎت‪ ،‬ﺣﻴﺚ ﻇﻬﺮ اﻟﺸﻌﺮ ﰲ‬ ‫اﳌﻬﺮﺟﺎﻧﺎت اﻟﺜﻘﺎﻓﻴﺔ واﻟﻔﻘﺮات اﻟﺘﻲ ﺗﻘﺪم‬ ‫ﻟﻠﺠﻤﻬﻮر‪ ،‬وﻇﻬﺮ ﻫﺬا ﻣﻦ ﺧﻼل ﻣﻬﺮﺟﺎﻧﻪ‬ ‫اﻟﱰايث ﰲ ﻣﺪﻳﻨﺔ ﺳﻮﻳﺤﺎن‪.‬‬ ‫وأوﺿﺢ أﺑﻮاﻟﺮﻳﺶ‪ :‬ﰲ ﻣﺠﺎﻟﺲ "اﳌﻐﻔﻮر ﻟﻪ"‬ ‫اﻟﺸﻴﺦ ﺳﻠﻄﺎن ﺑﻦ زاﻳﺪ ﻛﺎن ﻫﻨﺎك اﻫﺘامم‬ ‫ﻛﺒري ﺑﺎﻟﺸﻌﺮاء ﻋﲆ أﻧﻬﻢ أﺻﺤﺎب ﻓﻜﺮ‬ ‫ورأي وﻗﻴﻤﺔ‪ ،‬وﻻ ﻧﻨﴗ أن اﻟﺸﻌﺮ ﻟﻪ ﻣﻜﺎﻧﺔ‬ ‫ﰲ ﻧﻔﻮس اﻟﻘﻴﺎدة ﻣﻨﺬ ﻋﻬﺪ "اﳌﻐﻔﻮر ﻟﻪ"‬ ‫اﻟﺸﻴﺦ زاﻳﺪ ﺑﻦ ﺳﻠﻄﺎن آل ﻧﻬﻴﺎن ﻃﻴﺐ‬ ‫اﻟﻠﻪ ﺛﺮاه‪.‬‬ ‫وﻗﺎل‪ :‬إن اﻹﺻﺪارات اﻟﺸﻌﺮﻳﺔ اﻟﺘﻲ ﺻﺪرت‬ ‫ﻋﻦ أﻛرث ﻣﻦ ﺟﻬﺔ ﺳﻮا ًء أﻛﺎﻧﺖ ﻟﺸﻌﺮاء ﻣﻦ‬ ‫اﻟﻔﱰة اﻟﻘﺪميﺔ أو ﻏريﻫﻢ ﻟﺪﻟﻴﻞ ﻛﺒري ﻋﲆ‬ ‫ﻣﻜﺎﻧﺔ اﻟﺸﻌﺮ ﻟﺪى ﻗﺎدة دوﻟﺔ اﻹﻣﺎرات‪.‬‬ ‫وﺷــﺪد ﰲ ﺧﺘﺎم ﺣﺪﻳﺜﻪ ﻋﲆ أن رﺣﻴﻞ‬ ‫اﻟﺸﻴﺦ ﺳﻠﻄﺎن ﺑﻦ زاﻳﺪ رﺣﻤﻪ اﻟﻠﻪ ﻫﻮ‬ ‫ﺧﺴﺎرة ﻛﺒرية ﻟﻠﺴﺎﺣﺔ اﻟﺜﻘﺎﻓﻴﺔ واﻹﺑﺪاﻋﻴﺔ‪.‬‬

‫ﺣﺎرب اﻟﻈﺎﻫﺮي‬

‫ﻣﺤﻤﺪ ﻧﻮراﻟﺪﻳﻦ‬

‫ﺟﻤﻊ اﳌﺰﻳﺪ ﺑﺎﻋﺘﺒﺎر أن أرﺑﻌﺔ وﺳﺘني ﻋﺎﻣﺎً‬ ‫ﻫﻲ ﻋﻤﺮ اﻟﺸﻴﺦ ﺳﻠﻄﺎن ﺑﻦ زاﻳﺪ اﻟﺬي‬ ‫ﻗﻀﺎه ﰲ ﺣﺐ اﻟﺸﻌﺮ واﻟﺸﻌﺮاء‪ ،‬ﻟﻴﺒﺎدﻟﻪ‬ ‫اﻟﺸﻌﺮاء ﻫــﺬه اﳌﺤﺒﺔ اﻟﺘﻲ ُﺣﻔﺮت ﰲ‬ ‫ﻗﻠﻮﺑﻬﻢ ﺣﺘﻰ ﻧﻘﺸﺖ ﺑﻌﺪ وﻓﺎﺗﻪ ﰲ ﻫﺬه‬ ‫اﻟﻘﺼﺎﺋﺪ وﻫﻲ أﺻﺪق ﺗﻌﺎﺑري اﻟﻮﻓﺎء‪.‬‬ ‫‪ "ǇƠŢſŦŜ ŮǂƂǃƸ‬‬

‫ﻗﺎل اﻷدﻳــﺐ واﻟﺸﺎﻋﺮ ﺣﺎرب اﻟﻈﺎﻫﺮي‪:‬‬ ‫اﺻﻄﻔﻰ "اﳌﻐﻔﻮر ﻟــﻪ" اﻟﺸﻴﺦ ﺳﻠﻄﺎن‬ ‫ﺑﻦ زاﻳﺪ آل ﻧﻬﻴﺎن رﺣﻤﻪ اﻟﻠﻪ ﻟﻨﻔﺴﻪ أن‬ ‫ﻳﺆﺳﺲ ﻟﻠﺜﻘﺎﻓﺔ اﻟﺸﻌﺒﻴﺔ اﳌﺤﻠﻴﺔ مبﺎ ﻓﻴﻬﺎ‬ ‫اﻟﺸﻌﺮ‪ ،‬وﻳﻌﻄﻴﻬﺎ ﻣﻜﺎﻧﺘﻬﺎ اﻟﻌﺮﺑﻴﺔ واﻟﻌﺎﳌﻴﺔ‬ ‫وﻫﺬه ﺻﻔﺎت أﺣﺒﻬﺎ اﳌﺆﺳﺲ "اﳌﻐﻔﻮر ﻟﻪ"‬ ‫اﻟﺸﻴﺦ زاﻳﺪ ﻃﻴﺐ اﻟﻠﻪ ﺛﺮاه وﺣﺮص ﻋﻠﻴﻬﺎ‬ ‫ﰲ ﻛﻞ اﳌﺠﺎﻻت‪.‬‬ ‫وأﺿﺎف‪ :‬أﺳﺴﺲ اﻟﺸﻴﺦ ﺳﻠﻄﺎن ﺑﻦ زاﻳﺪ‬ ‫رﺣﻤﻪ اﻟﻠﻪ ﻣﺮﻛﺰ زاﻳﺪ ﻟﻠﺪراﺳﺎت واﻟﺒﺤﻮث‬ ‫ﻟﻠﺘﺄرﻳﺦ ﻟﻠﻤﻨﻄﻘﺔ وﻛــﺎن ﻣﻨﺎرة ﻋﻠﻤﻴﺔ‪،‬‬ ‫ﺣﺘﻰ ﺗﺤﻮل إﱃ ﺻﺒﻐﺔ ﺛﻘﺎﻓﻴﺔ ﺗﺮاﺛﻴﺔ ﺗﻌﻨﻰ‬ ‫ﺑﺎﻟﺸﻌﺮ واﳌﻮروث وﺛﻘﺎﻓﺘﻪ‪ ،‬ﺑﺠﺎﻧﺐ إﺻﺪار‬ ‫ﻧﺎدي ﺗﺮاث اﻹﻣــﺎرات ﻟﺪورﻳﺎت ﺟﻤﻴﻠﺔ‬ ‫وﻣﺘﺨﺼﺼﺔ ﰲ اﳌﺠﺎﻻت اﻟﺘﺎرﻳﺨﻴﺔ ﻛﻮﻧﺖ‬ ‫ﻣﺮاﺟﻊ ﻟﻠﻤﺘﺨﺼﺼني واﻟﺪارﺳني وﺣﺘﻰ‬ ‫ﻟﻌﺎﻣﺔ اﳌﺜﻘﻔني‪.‬‬ ‫وأوﺿﺢ اﻟﻈﺎﻫﺮي‪ :‬إﱃ ﺟﺎﻧﺐ اﻟﺪورﻳﺎت‬

‫ﻃﻼل اﻟﺠﻨﻴﺒﻲ‬

‫ﻃﻼل اﻟﺠﻨﻴﺒﻲ‪w‬‬ ‫اﻫﺘﻤﺎم اﻟﺸﻴﺦ ﺳﻠﻄﺎن‬ ‫ﺑﺎﻟﺸﻌﺮ دﻻﻟﺔ واﻫﺘﻤﺎم‬ ‫ﻋﻠﻰ دوره ﺑﺎﻻرﺗﻘﺎء ﺑﺎﻟﺬاﺋﻘﺔ‬ ‫وﺑﻨﺎء اﻟﺸﻌﻮب‬ ‫ﻫﺰاع أﺑﻮاﻟﺮﻳﺶ‪w‬‬ ‫رﺣﻴﻞ اﻟﺸﻴﺦ ﺳﻠﻄﺎن ﺑﻦ زاﻳﺪ‬ ‫ﺧﺴﺎرة ﻛﺒﻴﺮة ﻟﻠﺴﺎﺣﺔ اﻟﺜﻘﺎﻓﻴﺔ‬ ‫واﻹﺑﺪاﻋﻴﺔ‬ ‫ﻋﻘﺪ اﻟﻨﺎدي اﻟﻜﺜري ﻣﻦ اﻟﻨﺪوات اﻟﺜﻘﺎﻓﻴﺔ‬ ‫واﻷﻣﺴﻴﺎت اﻟﺸﻌﺮﻳﺔ ﻟﱰﺟﻤﺔ اﻟﻮاﻗﻊ‬ ‫اﻹﺑــﺪاﻋــﻲ واﻟـــﱰايث‪ ،‬وأﻋــﻄــﺎه ﺣﻘﻪ وﻣﺎ‬ ‫ﻳﻨﺎﺳﺒﻪ ﻣﻦ اﻫﺘامﻣﺎت ودراﺳــﺎت‪ ،‬وﻫﺬه‬ ‫ﺧﺎﺻﻴﺔ ﺗﻢ اﺗﺒﺎﻋﻬﺎ مبﺘﺎﺑﻌﺔ ﺣﺜﻴﺜﺔ ﻣﻦ إدارة‬ ‫"اﳌﻐﻔﻮر ﻟﻪ" اﻟﺸﻴﺦ ﺳﻠﻄﺎن ﺑﻦ زاﻳﺪ اﻟﺬي‬ ‫ﻳﺴﺘﺤﻖ اﻟﺘﻘﺪﻳﺮ ﰲ ﻫﺬا اﻟﺸﺄن وﻛﺜري ﻣﻦ‬ ‫اﻟﺸﺆون اﻟﻔﻜﺮﻳﺔ واﻟﺜﻘﺎﻓﻴﺔ‪.‬‬ ‫وﻗﺎل اﻟﻈﺎﻫﺮي‪ :‬ﻛﺎن إميﺎن اﻟﺸﻴﺦ ﺳﻠﻄﺎن‬ ‫ﺑﺄن اﻟﺘﺤﺪﻳﺎت ﻛﺒرية وﻛﺎن ﻻﺑﺪ ﻣﻦ ﻣﻮاﺻﻠﺔ‬ ‫اﻟﺤﻔﺎظ ﻋﲆ اﻹﺑﺪاع مبﺎ ﻓﻴﻪ اﻟﺸﻌﺮي إﱃ‬ ‫ﺟﺎﻧﺐ اﳌﻮروث ﰲ ﺣﻴﺎﺗﻨﺎ اﳌﺠﺘﻤﻌﻴﺔ‪ ،‬ﻟﺬا‬ ‫ﻋﻤﻞ "رﺣﻤﻪ اﻟﻠﻪ" ﻋﲆ إﺣﻴﺎء اﳌﺆﺳﺴﺎت‬

‫ﻫﺰاع أﺑﻮاﻟﺮﻳﺶ‬

‫اﻟﺜﻘﺎﻓﻴﺔ وﺗﺄﺳﻴﺲ "ﺑﻴﺖ اﻟﺸﻌﺮ" وﺟﻌﻞ‬ ‫ذﻟﻚ ﺿﻤﻦ اﻟﺤﺮاك‪ ،‬ﺣﺘﻰ أﺻﺒﺤﺖ ﺗﻠﻚ‬ ‫اﻟﺠﻬﻮد وﰲ ﻓــﱰة زﻣﻨﻴﺔ ﻗﺼرية ﺗﻨﻔﺮد‬ ‫ﺑﺎﻟﻨﺠﺎح وﺗﺨﻄﻮ ﺧﻄﻮات واﺳﻌﺔ‪ ،‬ﻋﺰز ﻟﻬﺎ‬ ‫اﻟﻮﺟﻮد واﳌﻜﺎﻧﺔ اﻟﺘﻲ ﺗﺄﺧﺬ ﻣﺪاﻫﺎ اﻟﺜﻘﺎﰲ‬ ‫واﻹﺑﺪاﻋﻲ اﻟﻨري‪.‬‬ ‫وأوﺿــﺢ‪ :‬ﻋﻤﻞ ﺑﺨﻄﻂ ﺣﺜﻴﺜﺔ ﰲ ﺗﺮﺟﻤﺔ‬ ‫اﻟــﻮاﻗــﻊ اﻟﺜﻘﺎﰲ ذو اﻟﺼﻠﺔ ﺑــﺎﻹﺑــﺪاع‬ ‫واﳌــﻮروث‪ ،‬وﺑﻬﺬا اﻟﺨﻄﺎب اﻟﺜﻘﺎﰲ ﻣﻦ‬ ‫اﻟﺪواوﻳﻦ اﻟﺸﻌﺮﻳﺔ واﻟﺒﺤﻮث واﻟﺪراﺳﺎت‬ ‫واﻹﺻﺪارات وﺑﺚ اﻟﺪورﻳﺎت اﻟﺜﻘﺎﻓﻴﺔ اﻟﺘﻲ‬ ‫أﺛﺮت اﳌﻜﺘﺒﺎت ﻋﲆ ﻣﺨﺘﻠﻒ اﳌﺴﺘﻮﻳﺎت‬ ‫اﻟﻔﻜﺮﻳﺔ واﻟﻌﻤﺮﻳﺔ‪.‬‬ ‫واﺧﺘﺘﻢ اﻟﻈﺎﻫﺮي‪ :‬ﻟﻮﻻ اﻫﺘامﻣﺎﺗﻪ "رﺣﻤﻪ‬ ‫اﻟﻠﻪ" ﳌﺎ ﻛﺎن اﻟﱰاث اﻟﻌﺮيب واﳌﺤﲇ مبﺎ‬ ‫ﻓﻴﻪ اﻟﺸﻌﺮي ﰲ متﺎ ٍه ﻣﻊ رﻛﺐ اﻟﺤﻀﺎرة‪،‬‬ ‫ﻓﺒﺒﺼرية اﻟﺸﻴﺦ ﺳﻠﻄﺎن وﻧﻬﺠﻪ متﺖ‬ ‫اﳌﺤﺎﻓﻈﺔ ﻋﲆ اﳌﻮروث اﻟﺜﻘﺎﰲ واﻟﺸﻌﺒﻲ‪.‬‬ ‫‪ "ũƸŢſŭƉƸ ũǈŚƂ‬‬

‫اﻷدﻳﺐ واﻟﺸﺎﻋﺮ واﻷﺳﺘﺎذ اﻟﺠﺎﻣﻌﻲ واﻟﺨﺒري‬ ‫اﻟﺪوﱄ ﺑــﺎﻹدارة اﻟﺴﻠﻮﻛﻴﺔ اﻟﺪﻛﺘﻮر ﻃﻼل‬ ‫ﺳﻌﻴﺪ اﻟﺠﻨﻴﺒﻲ ﻗﺎل‪ :‬ﻓﻄﻦ اﻟﺮاﺣﻞ اﻟﻜﺒري‬ ‫اﻟﺸﻴﺦ ﺳﻠﻄﺎن ﺑﻦ زاﻳﺪ آل ﻧﻬﻴﺎن "رﺣﻤﻪ‬ ‫اﻟﻠﻪ" إﱃ أﻫﻤﻴﺔ اﻟﺠﺎﻧﺐ اﻟﺜﻘﺎﰲ واﻟﱰايث‪،‬‬ ‫ﻓام ﻛﺎن ﻣﻨﻪ إﻻ أن رﻛﺰ ﻋﲆ أن ﻳﺠﻌﻞ ﻣﻦ‬ ‫اﻟﺸﻌﺮ ‪baytelshear‬‬ ‫ﺑﻴﺖ ِ‬

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‫ ‪¥ũľğı‬‬ ‫ ‪ "ƦŢƃƍŭƈŢ‬‬

‫ﻗﺎل اﻟﺸﺎﻋﺮ واﻟﻨﺎﻗﺪ ﻣﺤﻤﺪ ﻧﻮراﻟﺪﻳﻦ‪ :‬إن‬ ‫"اﳌﻐﻔﻮر ﻟﻪ" اﻟﺸﻴﺦ ﺳﻠﻄﺎن ﺑﻦ زاﻳﺪ آل‬ ‫ﻧﻬﻴﺎن‪ ،‬ﻣﻦ أﺑﻨﺎء ﻫﺬا اﻟﻮﻃﻦ اﳌﺨﻠﺼني‬ ‫اﻟﺬﻳﻦ ﺳﺨﺮوا ﺣﻴﺎﺗﻬﻢ ﺧﺪﻣﺔ ﻟﻠﺒﺴﻄﺎء ﻣﻦ‬ ‫اﻟﻨﺎس ﻟﺒﻠﻮغ أﺳﻤﻰ اﻟﻐﺎﻳﺎت واﻷﻫﺪاف‪.‬‬ ‫وأﺿﺎف‪ :‬ﻫﻮﻳﺔ إﻧﺴﺎن ﻫﺬه اﻷرض ﻛﺎﻧﺖ‬ ‫ﺷﻐﻠﻪ اﻟﺸﺎﻏﻞ ﻃﻴﻠﺔ ﺳﻨﻮاﺗﻪ اﻷﺧرية‪ ،‬وﻗﺪ‬ ‫ﳌﺴﺖ ذﻟﻚ ﻣﻦ ﺧﻼل وﺟﻮدي ﻛﻌﻀﻮ ﰲ‬ ‫"ﺑﻴﺖ اﻟﺸﻌﺮ" اﻟﺬي ﺟﺎء ﻛﺄول ﺑﻴﺖ ﻳﺨﺺ‬ ‫اﻟﺸﻌﺮاء ﰲ أﺑﻮﻇﺒﻲ وﺗﺄﺳﺲ ﺑﺘﻮﺟﻴﻬﺎت‬ ‫ﻣﺒﺎﴍة ﻣﻦ اﳌﻐﻔﻮر ﻟﻪ اﻟﺸﻴﺦ ﺳﻠﻄﺎن ﺑﻦ‬ ‫زاﻳﺪ‪.‬‬ ‫وأوﺿﺢ ﻧﻮراﻟﺪﻳﻦ‪ :‬ﻟﻘﺪ ﻛﺎن ﻟﺘﺒﻨﻲ اﻟﺸﻴﺦ‬ ‫ﺳﻠﻄﺎن ﺑﻦ زاﻳﺪ رﺣﻤﻪ اﻟﻠﻪ ﺻﻮت اﻟﺸﻌﺮاء‬ ‫دﻻﻟﺔ واﺿﺤﺔ ﻋﲆ اﻫﺘامﻣﻪ ﺑﺎﻟﱰاث اﳌﻌﻨﻮي‬ ‫واﻟﻔﻜﺮ اﻹﺑﺪاﻋﻲ واﳌﺸﺎﻋﺮ اﻟﻔﻄﺮﻳﺔ اﻟﺘﻲ‬ ‫ﻧﺸﺄ ﻋﻠﻴﻬﺎ اﻹﻧﺴﺎن ﻣﻨﺬ ﺳﺎﻟﻒ اﻷﻳــﺎم‪،‬‬ ‫وﻟﻴﺲ أدل ﻋﲆ ذﻟﻚ ﻣﻦ اﻫﺘامﻣﻪ اﳌﺒﺎﴍ‬ ‫ﺑﺠﻤﻴﻊ ﻣﻔﺮدات اﻟﱰاث ﺑﻐﺾ اﻟﻨﻈﺮ ﻋﻦ‬ ‫ﻛﻮﻧﻪ ﻗﺮﻳﺒﺎً ﻣﻦ اﻟﺸﻌﺮ أو ﺑﻌﻴﺪاً‪ .‬وذﻛﺮ‪:‬‬ ‫إن اﻫﺘامﻣﻪ ﺑﺎﻟﺼﻴﺪ واﻟﻔﺮوﺳﻴﺔ واﻟﻨﺎﻗﺔ‬ ‫واﻟﻔﻨﻮن اﻟﻴﺪوﻳﺔ وﻏريﻫﺎ ﺗﺆﻛﺪ ﻋﲆ‬ ‫اﻫﺘامﻣﻪ ﺑﺠﺬور اﳌﺎﴈ اﻟﺬي ﻧﺴﺘﻤﺪ ﻣﻨﻪ‬

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‫اﻟﻌﺪد ‪ ، 85‬ﻳﻨﺎﻳﺮ ‪2020‬‬

‫اﳌﻌﺎين واﻟﺤﻜﻤﺔ واﻟﻘﻮة‪ .‬وإن اﻫﺘامﻣﻪ‬ ‫ﺑﺎﻟﺸﻌﺮ ودﻋﻤﻪ اﻟﺸﻌﺮاء وﺑﺎﻟﺬات اﻟﺸﻌﺮاء‬ ‫اﻟﺬﻳﻦ مل ﺗﺪون ﻗﺼﺎﺋﺪﻫﻢ ﻣﻦ ﻛﺒﺎر اﻟﺴﻦ‬ ‫وﻣﻨﻬﻢ ﻛﺒﺎر اﻟﺸﻌﺮاء‪ ،‬ﻳﺆﻛﺪ ﻋﲆ رؤﻳﺔ‬ ‫اﺳﺘﴩاﻓﻴﺔ ﻟﻠﻤﺴﺘﻘﺒﻞ‪ ،‬ﺣﻴﺚ ميﺜﻞ اﻟﻴﻮم‬ ‫ﻣﺎ أﴍف ﻋﲆ إﻧﺘﺎﺟﻪ ﻧﺎدي ﺗﺮاث اﻹﻣﺎرات‬ ‫ﻣﻦ دواوﻳـــﻦ ﺷﻌﺮﻳﺔ إﻣﺎراﺗﻴﺔ ﻟﻬﺆﻻء‬ ‫اﻟﺸﻌﺮاء أﻛرث ﻣام ﻧﴩ ﰲ ﻛﻞ اﳌﺆﺳﺴﺎت‬

‫اﻷﺧﺮى ﻟﺘﺼﺒﺢ ﻣﻜﺘﺒﺔ إﻣﺎراﺗﻴﺔ ﻋﺎﻣﺮة وإرﺛﺎً‬ ‫ﻟﻸﺟﻴﺎل اﻟﻘﺎدﻣﺔ‪.‬‬ ‫وأوﺿﺢ ﻧﻮر اﻟﺪﻳﻦ‪ :‬ﳌﺴﺖ ﺑﻨﻔﴘ ﻣﺤﺒﺔ‬ ‫اﻟﺸﻌﺮاء ﻟﻪ وأﻧﺎ أﺟﻤﻊ ﻣﻊ اﻟﺸﺎﻋﺮة ﻣﺮﻳﻢ‬ ‫اﻟﻨﻘﺒﻲ دﻳﻮاﻧﺎً ﺑﻌﻨﻮان "ﰲ رﺛﺎء ﺳﻠﻄﺎن ﺑﻦ‬ ‫زاﻳﺪ" ﺣﻴﺚ ﺗﻢ ﺗﺠﻤﻴﻊ أرﺑﻊ وﺳﺘني ﻗﺼﻴﺪة‬ ‫رﺛﺎء ﰲ ﻏﻀﻮن أﻗﻞ ﻣﻦ أﺳﺒﻮع‪ .‬وأﺿﺎف‪:‬‬ ‫ﻛﺎن اﻟﺮﻗﻢ ﰲ ﺗﺰاﻳﺪ ﻟﻮﻻ أﻧﻨﺎ ﺗﻮﻗﻔﻨﺎ ﻋﻦ‬

‫‪ "ŤƃơƴŢ ƺŢǃǈž‬‬

‫ﻓﺎﻃﻤﺔ اﳌﻨﺼﻮري ﻣــﺪﻳــﺮة ﻣﺮﻛﺰ زاﻳــﺪ‬ ‫ﻟﻠﺪراﺳﺎت واﻟﺒﺤﻮث اﻟﺘﺎﺑﻊ ﻟﻨﺎدي ﺗﺮاث‬ ‫اﻹﻣﺎرات ﻗﺎﻟﺖ‪ :‬إن اﻫﺘامم اﳌﺮﻛﺰ ﺑﺘﻮﺛﻴﻖ‬ ‫اﻟﺘﺠﺎرب اﻟﺸﻌﺮﻳﺔ‪ ،‬ﻛﺎن ﻋﲆ اﻟﺪوام ﻧﺎﺑﻌﺎ‬ ‫ﻣﻦ اﻫﺘامم "اﳌﻐﻔﻮر ﻟﻪ" اﻟﺸﻴﺦ ﺳﻠﻄﺎن ﺑﻦ‬ ‫زاﻳﺪ آل ﻧﻬﻴﺎن "ﻃﻴﺐ اﻟﻠﻪ ﺛﺮاه" ﺑﺎﻟﺸﻌﺮ‪،‬‬ ‫ﻓﺎﻟﺸﻌﺮ ﻛﺎن اﻫﺘامﻣﻪ‪ ،‬ﻛﻮﻧﻪ ﻛﺎن ﺷﺎﻋﺮاً‪،‬‬ ‫إﱃ ﺟﺎﻧﺐ ﻛﻮن اﻟﺸﻌﺮ ﺟــﺰءاً ﻣﻬ ًام ﻣﻦ‬ ‫اﳌﺸﻬﺪ اﻟﺜﻘﺎﰲ اﻟﻮﻃﻨﻲ ﻟﺪوﻟﺔ اﻹﻣﺎرات‬ ‫اﻟﻌﺮﺑﻴﺔ اﳌﺘﺤﺪة‪ .‬وأﺿﺎﻓﺖ‪ :‬اﻟﺸﻌﺮ ﻣﺤﺮك‬ ‫اﻟﺤﺮﻛﺔ اﻟﺜﻘﺎﻓﻴﺔ واﻟﻮﻃﻨﻴﺔ‪ ،‬ﻓﺎﳌﺸﻬﺪ اﻟﺜﻘﺎﰲ‬ ‫ﻻ ﻳﻜﺘﻤﻞ إﻻ ﺑﺎﻟﺸﻌﺮ‪ ،‬ﻛﻮﻧﻪ دﻳﻮان اﻟﻌﺮب‬ ‫ﻳﻮﺛﻖ ﻟﺤﻴﺎﺗﻬﻢ وﺑﻄﻮﻻﺗﻬﻢ‪.‬‬ ‫وأوﺿــﺤــﺖ اﳌﻨﺼﻮري‪ :‬إن اﻹﺻـــﺪارات‬ ‫اﻟﺸﻌﺮﻳﺔ اﻟﺘﻲ ﻧﴩﻫﺎ اﳌــﺮﻛــﺰ ﺟــﺎءت‬ ‫ﺑﺘﻮﺟﻴﻬﺎت اﳌﻐﻔﻮر ﻟﻪ اﻟﺸﻴﺦ ﺳﻠﻄﺎن ﺑﻦ‬ ‫زاﻳﺪ رﺣﻤﻪ اﻟﻠﻪ‪ ،‬وﻣﻦ واﻗﻊ اﻟﺘﺠﺮﺑﺔ ﻻ‬ ‫زاﻟﺖ ﺗﻠﻚ اﻹﺻﺪارات ﺗﺤﻈﻰ ﺑﺠﺎﻧﺐ ﻛﺒري‬ ‫ﻣﻦ ذاﺋﻘﺔ اﳌﺠﺘﻤﻊ‪ ،‬وﻫﻮ ﻣﺎ ﻧﻼﺣﻈﻪ ﺧﻼل‬ ‫ﻣﺸﺎرﻛﺎﺗﻨﺎ ﰲ ﻣﻌﺎرض اﻟﻜﺘﺐ‪.‬‬

‫وﻗﺎﻟﺖ اﳌﻨﺼﻮري‪ :‬ﻳﻌﺘﱪ ﻧــﺎدي ﺗﺮاث‬ ‫اﻹﻣـــﺎرات اﻟــﺬي أﴍف ﻋﻠﻴﻪ وﺗﺮأﺳﻪ‬ ‫اﳌﻐﻔﻮر ﻟﻪ اﻟﺸﻴﺦ ﺳﻠﻄﺎن ﺑﻦ زاﻳﺪ‪ ،‬ﻣﻦ‬ ‫أول اﳌﺆﺳﺴﺎت اﻟﺘﻲ ﺑﺪأت ﺑﺘﻮﺛﻴﻖ اﻟﺸﻌﺮ‪،‬‬ ‫وﻛﺎن ﻫﺬا ﰲ اﻟﻌﺎم ‪ 1993‬ﺣﻴﺚ أﻣﺮ رﺣﻤﻪ‬ ‫اﻟﻠﻪ ﺑﺘﺄﺳﻴﺲ ﻟﺠﻨﺔ ﺧﺎﺻﺔ ﺗﺤﻤﻞ ﻫﺬا اﻟﻠﻮاء‬ ‫وﺗﺤﻮل ﻫﺬا اﻻﻫﺘامم إﱃ ﺟﺰء ﻣﺆﺳﴘ ﻋﱪ‬ ‫اﻟﻌﺪﻳﺪ ﻣﻦ اﳌﺒﺎدرات ﻣﺜﻞ ﺗﺄﺳﻴﺲ "ﺑﻴﺖ‬ ‫اﻟﺸﻌﺮ" اﻟــﺬي ﻟﻌﺐ دورا ﻛﺒريا ﺑﺎﻟﻔﻌﻞ‬ ‫وﺟﺴﺪ ﻣﻌﻨﻰ "اﻟﺒﻴﺖ" ﺑﺎﻟﻨﺴﺒﺔ ﻟﻠﺸﻌﺮاء‪،‬‬ ‫اﻟﺬﻳﻦ ﻳﻨﺎﻗﺸﻮن ﻗﻀﺎﻳﺎﻫﻢ‪ ،‬أو ﻣﻦ ﺧﻼل‬ ‫ﻣﺠﻠﺔ "ﺑﻴﺖ اﻟﺸﻌﺮ" اﻟﺘﻲ ﺗﻌﺪ اﻷﺑــﺮز‬ ‫اﻟﻴﻮم ﰲ اﳌﺠﻼت اﻟﺸﻌﺮﻳﺔ اﻟﻌﺮﺑﻴﺔ‪ ،‬أو‬ ‫ﻋﱪ ﻣﺴﺎﺑﻘﺎت ﻋﺪة أﴍف ﻋﻠﻴﻬﺎ "اﳌﻐﻔﻮر‬ ‫ﻟﻪ" اﻟﺸﻴﺦ ﺳﻠﻄﺎن ﺑﻦ زاﻳﺪ‪ ،‬ﻣﺜﻞ اﳌﺴﺎﺑﻘﺔ‬ ‫اﻟﺸﻌﺮﻳﺔ اﻟﺘﻲ ﻃﺮﺣﺖ ﰲ ﻣﻬﺮﺟﺎﻧﻪ اﻟﱰايث‬ ‫مبﺪﻳﻨﺔ ﺳﻮﻳﺤﺎن ﻣﻨﺬ اﻟﻌﺎم ‪ 2013‬وأﺛﺒﺘﺖ‬ ‫ﺟﺪارﺗﻬﺎ ﺳﻨﺔ ﺑﻌﺪ أﺧــﺮى‪ ،‬أو اﳌﺴﺎﺑﻘﺔ‬ ‫اﻟﺘﻲ ﻃﺮﺣﺖ ﻫﺬا اﻟﻌﺎم ﻟﻄﻠﺒﺔ اﻟﺠﺎﻣﻌﺎت‬ ‫وﺣﻤﻠﺖ اﺳﻤﻪ رﺣﻤﻪ اﻟﻠﻪ‪.‬‬ ‫وأوﺿﺤﺖ اﳌﻨﺼﻮري‪ :‬إن ﺗﻮﺟﻬﺎت اﻟﺸﻴﺦ‬

‫ﻓﺎﻃﻤﺔ اﻟﻤﻨﺼﻮري‪w‬‬ ‫اﻻﻫﺘﻤﺎم ﺑﺘﻮﺛﻴﻖ اﻟﺘﺠﺎرب‬ ‫اﻟﺸﻌﺮﻳﺔ ﻧﺎﺑﻊ ﻣﻦ اﻫﺘﻤﺎم‬ ‫اﻟﺸﻴﺦ ﺳﻠﻄﺎن ﺑﺎﻟﺸﻌﺮ‬ ‫ﻣﺤﻤﺪ ﻧﻮر اﻟﺪﻳﻦ‪w‬‬ ‫ﺗﺒﻨﻲ اﻟﺸﻴﺦ ﺳﻠﻄﺎن ﺻﻮت اﻟﺸﻌﺮاء‬ ‫دﻻﻟﺔ واﺿﺤﺔ ﻋﻠﻰ اﻫﺘﻤﺎﻣﻪ ﺑﺎﻟﺘﺮاث‬ ‫اﻟﻤﻌﻨﻮي واﻟﻔﻜﺮ اﻹﺑﺪاﻋﻲ‬ ‫ﺣﺎرب اﻟﻈﺎﻫﺮي‪w‬‬ ‫ﻋﻤﻞ اﻟﺸﻴﺦ ﺳﻠﻄﺎن ﻋﻠﻰ إﺣﻴﺎء‬ ‫اﻟﻤﺆﺳﺴﺎت اﻟﺜﻘﺎﻓﻴﺔ وﺗﺄﺳﻴﺲ‬ ‫»ﺑﻴﺖ اﻟﺸﻌﺮ« وﺟﻌﻞ ذﻟﻚ ﺿﻤﻦ‬ ‫اﻟﺤﺮاك اﻟﺜﻘﺎﻓﻲ‬ ‫ﺳﻠﻄﺎن "رﺣﻤﻪ اﻟﻠﻪ" أوﺟــﺪت ﺣﺮﻛﺔ‬ ‫ﺣﻘﻴﻘﻴﺔ وﺻﺎدﻗﺔ إميﺎﻧﺎً ﻣﻨﻪ ﺑﺄﻫﻤﻴﺔ اﻟﺸﻌﺮ‬ ‫وأﺛﺮه اﻟﺜﻘﺎﰲ واﻟﺒﺤﺜﻲ‪.‬‬ ‫اﻟﺸﻌﺮ ‪baytelshear‬‬ ‫ﺑﻴﺖ ِ‬

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‫ ‪¥ũľğı‬‬

‫ﻛ ّﺘﺎب وﻣﺜﻘﻔﻮن‪:‬‬

‫ ‪ſǈŢƄ ƻŦ ƺţƙƵƈ‬‬ ‫ ‪ǇƠǃƼǂ ƟƈŢǂ ǆƃƱƨǂ ǆƃơƌ ƮŢƃŹƴ ƇƈŘ‬‬ ‫‪ļ‬‬ ‫اﺳﺘﻄﻼع ﺑﺸﺮى ﻋﺒﺪا_‪:‬‬

‫ﻇﻞ "اﳌﻐﻔﻮر ﻟﻪ" اﻟﺸﻴﺦ ﺳﻠﻄﺎن ﺑﻦ زاﻳﺪ آل ﻧﻬﻴﺎن "ﻃﻴﺐ اﻟﻠﻪ ﺛﺮاه" ﺣﺎﴐاً رﻏﻢ ﻏﻴﺎﺑﻪ‪ ،‬ﻓﻬﺎ ﻫﻲ إﻧﺠﺎزاﺗﻪ ﰲ ﻣﺠﺎﻻت ﻣﺘﻨﻮﻋﺔ‬ ‫ﻛﺎﻟﺜﻘﺎﻓﺔ واﻹﺑﺪاع واﻟﻔﻜﺮ واﻟﱰاث‪ ،‬واﻟﺸﻌﺮ ﻋﲆ اﺧﺘﻼﻓﻪ وﺗﻨﻮﻋﻪ‪ ،‬ﻣﺎﺛﻠﺔ أﻣﺎﻣﻨﺎ‪.‬‬ ‫وﰲ ﻫﺬا اﻻﺳﺘﻄﻼع ﻧﺮﺻﺪ أﻫﻤﻴﺔ ﻣﺎ ﻗﺪﻣﻪ "اﳌﻐﻔﻮر ﻟﻪ" اﻟﺸﻴﺦ ﺳﻠﻄﺎن ﺑﻦ زاﻳﺪ آل ﻧﻬﻴﺎن‪ ،‬ﻟﻠﺴﺎﺣﺔ اﻟﺸﻌﺮﻳﺔ ﻋﱪ آراء ﻋﺪد ﻣﻦ‬ ‫اﻟﺸﻌﺮاء واﻟﻜﺘﺎب اﻟﺬﻳﻦ ﺗﺤﺪﺛﻮا إﱃ "ﺑﻴﺖ اﻟﺸﻌﺮ" وأﻛﺪوا أن اﻫﺘامم اﻟﺸﻴﺦ ﺳﻠﻄﺎن ﺑﻦ زاﻳﺪ "رﺣﻤﻪ اﻟﻠﻪ" ﺑﺎﻟﺸﻌﺮ ﻗﺪ ﺗﺠﲆ‬ ‫ﺑﺎﻟﻌﺪﻳﺪ ﻣﻦ اﳌامرﺳﺎت اﻟﺘﻲ ﻣﺎ زاﻟﺖ ﺣﺎﴐة ﺑﻘﻮة ﻋﲆ اﻟﺴﺎﺣﺔ اﻟﺸﻌﺮﻳﺔ‪:‬‬

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‫اﻟﻌﺪد ‪ ، 85‬ﻳﻨﺎﻳﺮ ‪2020‬‬

‫ﺻﺢ ﻟﺴﺎﻧﻚ‬ َ şŐěŠ ĮńĵŒ ŒăŜĴĿí őčĉ ņñ ĊŔĬē

@@£@ ~@ z@ @ EH b@@ @ Q @ @ @:H ¯ @@ @£Q @ @ 1 y@@ @ @ @ ²* @@ g@ @Jw@@ 1H h@@ £@ @ @ @<b@@ E ¯ @@ @ D e4b@@ @ @ @J @@£@ A b@@ @ @ @ @+4 @@ @g@ @ @ @ @ @ 0H @@ @ @0 i¡@@ @ @ @ @ ´* @@g@£@~@}@BH h@@ @ @ 0b@@E ¯ @@9Æ@@ @ F b@@ E @@£@ @ @ FH @@ @B*x@@ @A b@@ @ ~@ |@ 1b@@+ b@@ @ @ ~@ 6 @@g@£@g@~@{@D* ¡@@ @ :H b@@Bx@@ @ D* ¡N @ @ @R @ E b@@ J @@£@ @ @ FH ¢@@ @Cb@@ @c@ @ g@ @ FR b@@ @ @FÉ@@ @ @1H 42b@@ @ @ @ @= @@g@£@+ @@ ~@R@ 6H *y@@ @< f@@ @ £@ 1 d@@~@ |@ F M @@ @ CH @@£@ @ @ FH @@ c@ @p@ @F ¤@@ @ @ @ D* *x@@ @ @ @ A ¢@@ @ @ @ < @@g@ £@ @ g@ ~@ z@ E ex@@ @ @ @ D* @@ g@ c@ p@ § ¤@ R @ @ @ @ D* @@£@ D*¡@@- @@ @ £@ @ @ D* @@ gR @ @ @ @0x@@ + Ñb@@ @ J @@g@ £@ +H xQ @ @ @ @ @ @E @@ @ ~@ @ @6H2x@@ @ A ¡@@ @ @ @ @-H @@£@ @ +* N ¤@@ ~@ @7 ¢@@ @ @< Á*5Q H x@@ @ ~@ {@ D* @@ @ g@ @ @J5H Á*5HP @@ @ @ @ @ F* ¡@@ @ @ @ @ J @@ @ @ @ @D @@£@ Fb@@ @ E ¯ x@@ @ ~@ {@ D* iyQ @ @ £@ @ E 2b@@ @ < b@@ @E @@g@£@+ h@@ @ £@ ~@ 9 b@@ @ @ @ D* b@@ @ C r¡@@ @ ~@ z@ E @@£@ A*¡@@B ¯ y@@ @ @ @²*H ¤@@ @ c@ J x@@ @ ~@ {@ D* gJw1H @@Jy@@²* xpcD* N Áw@@1 ¡@@J @@£@<b@@~@z@E w@@Ab@@ @ E h@@Bb@@~@ 9 · Ä@@~@ |@ D* @@g@£@ @c@D* ¥¡@@£@ @ D* @@J4b@@ @ E h@@Bb@@~@ 9H @@£@ @ +* ·b@@ @ + ¯ b@@ @ C b@@ @E ¥w@@ @ @D* ¢@@ @ < @@g@ £@ @ +H b@@ @ @Ey@@ @ @D* 4*2 ¤@@ @ @ D @@ @ @ @ @D

baytelshear ‫اﻟﺸﻌﺮ‬ ِ ‫ﺑﻴﺖ‬

‫‪ ĘŖĸĚ‬‬ ‫ﺣﻀﻮر اﻟﺸﺎﻋﺮ اﻟﺨﻠﻴﺠﻲ‬ ‫اﻟﺸﺎﻋﺮ اﻟﺴﻌﻮدي ﻋﺎرف ﺳﺮور‬ ‫ﻟﻠﻤﻐﻔﻮر ﻟﻪ اﻟﺸﻴﺦ ﺳﻠﻄﺎن ﺑﻦ زاﻳﺪ‬ ‫ﻣﻜﺎﻧﺔ ﻛﺒرية ﰲ ﻗﻠﻮب اﻟﺸﻌﺮاء واﳌﺘﺎﺑﻌني‬ ‫ﻟﺤﻘﻞ اﻹﺑﺪاع‪ ،‬ﻓﻘﺪ ﻛﺎن ﻃ ّﻴﺐ اﻟﻠﻪ ﺛﺮاه‬ ‫ﺧﺎﺻ ًﺔ‬ ‫ﻣﻬﺘ ًام ﺑﺎﻟﺸﺄن اﻟﺜﻘﺎﰲ ّأميﺎ اﻫﺘامم‪ّ ،‬‬ ‫ﰲ ﻣﻨﻄﻘﺔ اﻹﻣـــﺎرات واﻟﺨﻠﻴﺞ اﻟﻌﺮيب‪،‬‬ ‫ﻓﻜﺎن واﺣﺪاً ﻣﻦ اﻷﺳامء اﻟﺘﻲ ﺟﻌﻠﺖ ﻣﻦ‬ ‫اﳌﻨﺠﺰ اﻟﺜﻘﺎ ّﰲ ﺣﺎﴐاً وﺑﻘ ّﻮة ﰲ اﳌﻨﻄﻘﺔ‪،‬‬ ‫ﻣﻦ ﺧﻼل ﻣﺘﺎﺑﻌﺘﻪ اﻟﺪامئﺔ ودﻋﻤﻪ اﻟﻜﺎﻣﻞ‬ ‫ّ‬ ‫ﻟﻜﻞ اﳌﺸﺎرﻳﻊ اﻟﺜﻘﺎﻓﻴﺔ‪ ،‬وﻣﺎ ﻣﻬﺮﺟﺎﻧﻪ‬ ‫اﻟ ـﱰايث رﺣﻤﻪ اﻟﻠﻪ إﻻ واﺣــﺪ ﻣﻦ منﺎذج‬ ‫ﻛﺜرية ﻛﺎﻧﺖ ﺗﺤﻈﻰ ﺑﺎﻫﺘامﻣﻪ ورﻋﺎﻳﺘﻪ‪.‬‬ ‫وﻛﺎﻧﺖ اﳌﺴﺎﺑﻘﺎت اﻟﺸﻌﺮﻳﺔ اﻟﺘﻲ رﻋﺎﻫﺎ‬ ‫ﻋﺎﻣ ًﻼ ﻣﻦ ﻋﻮاﻣﻞ ازدﻫﺎر اﻟ ﱠﻨ َﻔﺲ اﻟﺸﻌﺮي‬ ‫وﺗﻘﺪﻳﻢ ﻣﺎدّة ﺗﻠﻴﻖ ﺑﺎﻟﺸﻌﺮ وﻣﻜﺎﻧﺘﻪ اﻷﺛرية‬ ‫ﻟﺪى اﻟﻨﺎس وﻟﺪى اﳌﺠﺎﻟﺲ اﻟﺜﻘﺎﻓ ّﻴﺔ‪ ،‬ﻛام‬ ‫ﺣ ّﻔﺰ اﳌﺒﺪﻋني ﺑﺎﻟﺠﻮاﺋﺰ اﻟﻘ ّﻴﻤﺔ واﳌﺠﺰﻳﺔ‪،‬‬ ‫وازدﻫﺮت ﰲ ﻣﺆﺳﺴﺎﺗﻪ اﻷﻣﺴﻴﺎت اﻟﺸﻌﺮ ّﻳﺔ‬

‫ﻧﺎﻗﺪ ﺣﻘﻴﻘﻲ ﻟﻠﺸﻌﺮ‬ ‫اﻟﺸﺎﻋﺮ اﻟﻜﻮﻳﺘﻲ ﻓﺎﻟﺢ ﺑﻦ ﻋﻠﻮان‬ ‫ﻣﻦ اﳌﻌﺮوف ﻋﻦ اﳌﻐﻔﻮر ﻟﻪ اﻟﺸﻴﺦ‬ ‫ﺳﻠﻄﺎن ﺑﻦ زاﻳﺪ رﺣﻤﻪ اﻟﻠﻪ أ ّﻧﻪ وﻋﻼو ًة‬ ‫ﻋﲆ اﳌﺤﺒﺔ اﻟﻜﺒرية اﻟﺘﻲ ﻳﺘﻤ ّﻴﺰ ﺑﻬﺎ‪ ،‬ﻛﺎن‬ ‫ﻧﺎﻗﺪاً ﺣﻘﻴﻘ ّﻴﺎً ﻟﻠﺸﻌﺮ‪ ،‬وﻋﺎرﻓﺎً ﺑﺘﻔﺎﺻﻴﻠﻪ‬ ‫وأوﺟﻪ ﻛﺘﺎﺑﺘﻪ وﻣﺪارﺳﻪ اﳌﺘﻨﻮﻋﺔ‪ ،‬وﻛﺎن‬ ‫واﺛﻘﺎً ﰲ ﻧﻘﺪه وﻣﺴﺘﻤﻌﺎً ﺟﻴﺪاً ﳌﺎ ﻳﻘﺎل ﻣﻦ‬ ‫ﻗﺼﺎﺋﺪ ﰲ ّ‬ ‫ﻛﻞ اﳌﺠﺎﻻت واﻷﻏﺮاض‪.‬‬ ‫وﻣﻦ اﳌﻌﺮوف ﻋﻨﻪ رﺣﻤﻪ اﻟﻠﻪ أ ّﻧﻪ ﻛﺎن‬ ‫ّ‬ ‫واﻟﺤ َﻜﻢ‬ ‫ﻳﻔﻀﻞ أﻏﺮاض اﻟﺸﻌﺮ اﻻﺟﺘامﻋﻲ ِ‬ ‫ﺗﻌﱪ ﻋﻦ واﻗــﻊ ﺣﺎل‬ ‫واﻟﻘﺼﺎﺋﺪ اﻟﺘﻲ ّ‬ ‫اﻟﻨﺎس وإﺣﺴﺎﺳﻬﻢ اﻟﺠﻤﻴﻞ ﺗﺠﺎه ﻣﻦ‬

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‫اﻟﻌﺪد ‪ ، 85‬ﻳﻨﺎﻳﺮ ‪2020‬‬

‫ﺣﻮﻟﻬﻢ‪ ،‬وﻛﺎن ﻳﺴﻤﻊ ﻣﻦ اﻟﺸﻌﺮاء وﻳﺤﱰم‬ ‫أﺷﻌﺎرﻫﻢ‪ ،‬ﺑﻞ وﻳﺤﻔﻆ ﻣﻨﻬﺎ اﻟﻜﺜري‪ .‬وﻛﺎن‬ ‫ﻣﻦ أﺷ ّﺪ اﻟﺤﺮﻳﺼني ﻋﲆ أن ﺗﻘﺎم ﻣﻬﺮﺟﺎﻧﺎت‬ ‫اﻟﺸﻌﺮ ﰲ ﻣﻮﻋﺪﻫﺎ‪ ،‬وﻫﻲ اﳌﻬﺮﺟﺎﻧﺎت‬ ‫واﳌﻮاﺳﻢ اﻟﺘﻲ ﻇﻠﺖ ﺗﺤﻈﻰ ﺑﺪﻋﻤﻪ رﺣﻤﻪ‬ ‫اﻟﻠﻪ وﻣﺘﺎﺑﻌﺘﻪ ﺣﺘﻰ ﻟﻠﺸﻌﺮاء اﳌﺸﺎرﻛني‬ ‫وﺳﺆاﻟﻪ ﻋﻨﻬﻢ وﻋــﻦ آﺧــﺮ إﺑﺪاﻋﺎﺗﻬﻢ‪،‬‬

‫وﻟﻘﺎءات اﻟﺸﻌﺮاء اﻟﺘﻲ ﻇ ّﻠﺖ ﺗﺪﻋﻢ ﺣﻀﻮر‬ ‫اﻟﺸﺎﻋﺮ اﻟﺨﻠﻴﺠﻲ وﺗﺆ ّﻛﺪ أواﴏ اﳌﺤ ّﺒﺔ ﺑني‬ ‫أﺑﻨﺎء اﻟﺨﻠﻴﺞ واﻟﻮﻃﻦ اﻟﻌﺮيبّ‪.‬‬ ‫وﺟﻪ‬ ‫وﻻﻧﻨﴗ اﻟﺪواوﻳﻦ اﳌﻄﺒﻮﻋﺔ اﻟﺘﻲ ّ‬ ‫ﻃ ّﻴﺐ اﻟﻠﻪ ﺛﺮاه ﺑﺈﺻﺪارﻫﺎ ﻟﻜﺒﺎر ﺷﻌﺮاء‬ ‫اﻹﻣﺎرات واﻟﺨﻠﻴﺞ اﻟﻌﺮيب ﻟﻴﻀﻤﻦ ﺗﻮﺛﻴﻖ‬ ‫اﻟﺠﺰل ﻣﻦ اﻟﺸﻌﺮ‪.‬‬ ‫َ‬ ‫ﻟﻘﺪ ﻛﺎﻧﺖ ﻟﻪ رﺣﻤﻪ اﻟﻠﻪ أﻳــﺎ ٍد ﺑﻴﻀﺎء‪،‬‬ ‫ﻛﻌﻼﻣﺔ ﺑﺎرزة ﰲ ﺗﻘﺪﻳﻢ اﳌﺎدة اﻟﺜﻘﺎﻓ ّﻴﺔ‬ ‫اﻹﻣﺎراﺗ ّﻴﺔ ﺑﺸﻜﻠﻬﺎ اﻟﺬي ﻳﻠﻴﻖ ﺑﻬﺎ ﻟﺪى‬ ‫اﳌﺘﻠﻘﻲ اﻟﻌﺮيب‪ ،‬ﻓﺠﺰاه اﻟﻠﻪ ّ‬ ‫ﻛﻞ اﻹﺣﺴﺎن‬ ‫واﻟﺮﺣﻤﺔ ﻋﲆ ﻣﺎ أﺿــﺎف وﻗــﺪّم ﻃﻴﻠﺔ‬ ‫ﻣﺸﻮاره اﳌﻤﻴﺰ واﻟﻜﺒري‪.‬‬

‫وإﺿﺎﻓ ًﺔ ﻟﺬﻟﻚ ﻛﺎن ﻳﺮى اﻟﺠﻮاﺋﺰ أﻣﺮاً‬ ‫ﻃﺒﻴﻌﻴﺎً ﻳﺴﺘﺤﻘﻪ اﻟﺸﻌﺮاء اﳌﺒﺪﻋﻮن‪ ،‬إذ‬ ‫ﻛﺎﻧﺖ اﳌﺴﺎﺑﻘﺎت اﻟﺸﻌﺮﻳﺔ ﻋﻨﺪه ﻧﻮﻋﺎ‬ ‫ﻣﻦ ﺗﻘﺪﻳﺮ اﻻﺑﺘﻜﺎر واﻹﺿﺎﻓﺔ اﻟﺸﻌﺮﻳﺔ‪،‬‬ ‫وﺣﺎﻓﺰاً ﻟيك ﺗﺰداد ﻣﺴﺎﺣﺔ اﻹﻧﺠﺎز واﻟرثاء‬ ‫واﻟﺒﻘﺎء ﻋﲆ ﺗﻮاﺻﻞ ﻣﻊ اﻟﺸﻌﺮ اﻟﺸﻌﺒﻲ‬ ‫واﻟﻨﺒﻄﻲ‪ّ .‬‬ ‫وﻟﻌﻞ ﻣﻦ أﺑﺮز ﻣﺎ ﻗﺪّم ﰲ ﻫﺬا‬ ‫اﳌﺠﺎل ﻫﻲ اﳌﺴﺎﺑﻘﺔ اﻟﺸﻌﺮﻳﺔ اﳌﺮاﻓﻘﺔ‬ ‫ﻟﻔﻌﺎﻟﻴﺎت ﻣﻬﺮﺟﺎﻧﻪ اﻟﱰايث رﺣﻤﻪ اﻟﻠﻪ‬ ‫ﰲ ﻣﺪﻳﻨﺔ ﺳﻮﻳﺤﺎن‪ ،‬وﻟﺬﻟﻚ ﻛﺎن ﰲ ّ‬ ‫ﻛﻞ‬ ‫ﻣﻮﺳﻢ أو ﻋﺎم ﻳﺨﺘﺎر ﻟﺠﻨﺔ ﻣﺘﺨﺼﺼﺔ‬ ‫وﻣﻮﺿﻮﻋﺎً ﰲ اﻟﺸﻌﺮ ﻳﻜﺘﺐ ﻋﻠﻴﻪ اﻟﺸﻌﺮاء‬ ‫اﳌﺘﻨﺎﻓﺴﻮن‪ ،‬وﻳﺘﺒﺎرون ﰲ اﻹﺣﺎﻃﺔ ﺑﻪ‬ ‫ووﺻﻔﻪ واﻹﺑﺪاع ﻓﻴﻪ‪.‬‬

‫أﻃﻴﺐ اﻷﺛﺮ ﻓﻲ ﻧﻔﻮس اﻟﺸﻌﺮاء‬ ‫اﻟﺸﺎﻋﺮ اﻟﻜﻮﻳﺘﻲ ﻓﻼح ﺑﻦ ذروة اﻟﻬﺎﺟﺮي‬ ‫ﻟﻘﺪ ﺗﺮك اﳌﻐﻔﻮر ﻟﻪ اﻟﺸﻴﺦ ﺳﻠﻄﺎن ﺑﻦ زاﻳﺪ‬ ‫رﺣﻤﻪ اﻟﻠﻪ أﻃﻴﺐ اﻷﺛﺮ ﰲ ﻧﻔﻮس اﻟﺸﻌﺮاء‬ ‫وﺟﻤﻬﻮر اﻟﺸﻌﺮ‪ ،‬وﺣني ﻧﺴﺘﺬﻛﺮ ﺟﻬﻮده ﰲ‬ ‫إﻗﺎﻣﺔ ﻣﻮاﺳﻢ اﻟﺸﻌﺮ واﳌﻨﺎﺳﺒﺎت اﻟﺘﻲ ﺗﻨﺪرج‬ ‫ﺿﻤﻨﻬﺎ‪ّ ،‬‬ ‫ﻓﺈن ﺷﻌﻮراً ﺑﺎﻟﻌﺮﻓﺎن واﻟﺸﻜﺮ ميﻠﺆﻧﺎ‬ ‫ﺗﺠﺎه ﺷﺨﺼ ّﻴﺔ أﻋﻄﺖ ﺑﻼ ﺣﺪود‪ ،‬وﻗﺪّﻣﺖ‬ ‫اﻟﻜﺜري ﻟـﱰاث دوﻟــﺔ اﻹﻣـــﺎرات‪ .‬وﻗﺪ ﻛﺎن‬ ‫ﳌﻮاﺳﻢ اﻟﻘﺼﻴﺪة ﰲ ﺳﻮﻳﺤﺎن واﻷﻣﺴﻴﺎت‬ ‫اﻟﺸﻌﺮ ّﻳﺔ اﳌﺼﺎﺣﺒﺔ ﻟﻠﻔﻌﺎﻟﻴﺎت اﻟﱰاﺛﻴﺔ ﰲ‬ ‫اﳌﺪﻳﻨﺔ‪ ،‬واﻟﱪاﻣﺞ اﻟﺘﻠﻔﺰﻳﻮﻧﻴﺔ واﻹذاﻋ ّﻴﺔ ﻋﲆ‬ ‫اﻟﻘﻨﻮات اﻟﻮﻃﻨﻴﺔ ﻟﻠﺪوﻟﺔ‪ ،‬ﺣﻀﻮراً ﻛﺒرياً ﻟﺪى‬ ‫أﺑﻨﺎء اﻹﻣــﺎرات واﻟﺨﻠﻴﺞ واﻟﻌﺮب‪ ،‬وأذﻛﺮ‬

‫ﰲ ﻫﺬا اﳌﺠﺎل "ﻣﻬﺮﺟﺎن ﺳﻠﻄﺎن ﺑﻦ زاﻳﺪ‬ ‫اﻟﱰايث"‪ ،‬اﻟﺬي ﻛﺎن ﻳﻬﺪف إﱃ ﻧﴩ اﻟﱰاث‬ ‫وﺟﻌﻠﻪ ﻣﺘﺎﺣﺎً ﻟﻠﺠﻤﻴﻊ‪.‬‬ ‫إن ﺷﺨﺼ ّﻴﺔ اﻟﺸﻴﺦ ﺳﻠﻄﺎن ﺑﻦ زاﻳﺪ ﺗﺤﻈﻰ‬ ‫ﺑﻜﺜري ﻣﻦ اﻟﺘﻘﺪﻳﺮ واﻻﺣﱰام‪ ،‬ﻳﺤﺒﻬﺎ اﻟﻨﺎس‪،‬‬ ‫واﻟﺸﻌﺮاء ﻋﲆ وﺟﻪ اﻟﺨﺼﻮص‪ ،‬ﻛﻴﻒ ﻻ وﻗﺪ‬ ‫ﻛﺎن رﺣﻤﻪ اﻟﻠﻪ ﻣﺤﺒﺎ ﻟﻠﺸﻌﺮاء وداﻋام ﻟﻬﻢ‪.‬‬ ‫اﻟﺪﻋﻢ اﻟﻜﺒري اﻟﺬي ﻛﺎن ﻳﻘﺪﻣﻪ رﺣﻤﻪ ﻟﻪ‬ ‫ﻟﻠﺴﺎﺣﺔ اﻟﺸﻌﺮ ّﻳﺔ‪ ،‬ﻣﻦ اﺻﺪارات وﻣﺠﻼت‬

‫وﻃﺒﺎﻋﺔ ودواوﻳﻦ ﻟﺸﻌﺮاء ﻛﺒﺎر وﻣﻬﻤني‬ ‫إﺑﺪاﻋﻴﺎً‪ ،‬أﻣ ٌﺮ ﻳﺠﻌﻠﻨﺎ ﻧﺸﻌﺮ ﺑﺎﻟﺤﺰن ﻋﲆ‬ ‫رﺣﻴﻠﻪ‪ ،‬ﻏري ّأن ﻣﺎ ﺗﺮك ﻣﻦ ﻣﺤ ّﺒﺔ وإدارة‬ ‫ﻗﻮ ّﻳﺔ ﻟﻠﱰاث ُﺗﺒﻘﻲ ﻣﻨﺠﺰاﺗﻪ ﺣ ّﻴ ًﺔ ﰲ‬ ‫ﻧﻔﻮﺳﻨﺎ ﺟﻤﻴﻌﺎً‪ ،‬ﻫﻲ ﻋﺰاؤﻧﺎ ﺑﻌﺪ ﻏﻴﺎﺑﻪ‪.‬‬ ‫وأﻋﺘﻘﺪ ّأن ﺗﻜﺮميﻪ رﺣﻤﻪ اﻟﻠﻪ ﻟﺸﻌﺮاء ﻣﻦ‬ ‫ﻣﺪارس إﺑﺪاﻋ ّﻴﺔ ﻣﺘﻌﺪدة وﻫﻢ ﻣﺎ ﻳﺰاﻟﻮن‬ ‫ﻋﲆ ﻗﻴﺪ اﻟﺤﻴﺎة ﻛﺎن ﺗﻜﺮميﺎ ﻧﺒﻴﻼ ﻣﻨﺤﻨﺎ‬ ‫اﻟﺜﻘﺔ ﺑﺤﻀﻮر اﻟﱰاث اﻹﻣﺎرايت وأﻫﻤ ّﻴﺘﻪ‪.‬‬ ‫ﻓﻌ ًﻼ ﻧﺴﺘﺬﻛﺮه اﻟﻴﻮم وﻧﺴﺘﺬﻛﺮ أﻳﺎدﻳﻪ‬ ‫اﻟﺒﻴﻀﺎء ﰲ ّ‬ ‫ﻛﻞ ﻫﺬا اﻹﺧﻼص ﻟﻠﺸﻌﺮ و‬ ‫اﻟﱰاث‪.‬‬ ‫اﻟﺸﻌﺮ ‪baytelshear‬‬ ‫ﺑﻴﺖ ِ‬

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‫‪ ĘŖĸĚ‬‬ ‫ﺣﺰن اﻟﺸﻌﺮاء‬ ‫اﻟﺸﺎﻋﺮ اﻟﺒﺤﺮﻳﻨﻲ ﻣﺤﺴﻦ اﻟﺤﻤﺮي‬ ‫إﺣﻴﺎء اﻟﱰاث ﻣﺴﺄﻟﺔ ﻣﻬ ّﻤﺔ ﺟﺪاً‪ ،‬ﺣﻈﻴﺖ‬ ‫ﺑﺎﻫﺘامم اﳌﻐﻔﻮر ﻟﻪ اﻟﺸﻴﺦ ﺳﻠﻄﺎن ﺑﻦ‬ ‫زاﻳﺪ رﺣﻤﻪ اﻟﻠﻪ‪ ،‬اﻟﺬي ﺳﻴﻈﻞ أﺑﺪا ﰲ‬ ‫ذاﻛﺮة اﻹﻣﺎراﺗﻴني واﻟﺨﻠﻴﺠﻴني واﻟﻌﺮب‪،‬‬ ‫ّ‬ ‫وﻛﻞ اﳌﻬﺘﻤني ﺑﺎﻟﺤﻔﺎظ ﻋﲆ اﻟﱰاث وﺗﺄﻛﻴﺪ‬ ‫ﺣﻀﻮره‪ ،‬ﻟﻴﺲ ﻓﻘﻂ ﻋﲆ ﻣﺴﺘﻮى اﻟﺪوﻟﺔ‬ ‫ّ‬ ‫أﻋﱪ‬ ‫وإمنﺎ ﻋﲆ ﻣﺴﺘﻮى اﻟﻌﺎمل‪ .‬وﻣﻦ ﻫﻨﺎ ّ‬ ‫ﻋﻦ ﺣﺰين وﺷﻌﻮري اﻟﻜﺒري ﺑﺎﻟﻔﻘﺪ‪ ،‬ﺣﺎﱄ‬ ‫ﻛﺤﺎل ّ‬ ‫ﻛﻞ اﻟﺸﻌﺮاء واﻷدﺑــﺎء واﳌﺜﻘﻔني‬ ‫واﳌﻨﺨﺮﻃني ﰲ ﺣﻘﻞ اﻟ ـﱰاث واﻟﺸﻌﺮ‪،‬‬ ‫ﻟﺮﺣﻴﻞ ﻫﺬه اﻟﻘﺎﻣﺔ اﻟﺘﻲ ﻗﺪّﻣﺖ اﻟﻜﺜري‬ ‫اﻟﺬي ﻻ ميﻜﻦ ﺣﴫه‪.‬‬ ‫ﻟﻘﺪ ﻛﺎﻧﺖ اﺑﺘﺴﺎﻣﺘﻪ رﺣﻤﻪ اﻟﻠﻪ ﺗﺴﺒﻘﻪ‬ ‫إﱃ اﻟﻨﺎس‪ ،‬وﻛﺎن ﻳﺤﻈﻰ مبﺤﺒﺔ واﺣﱰام‬ ‫اﻟﺠﻤﻴﻊ ﻟﻪ‪.‬‬

‫ﻟﻄﺎﳌﺎ أﺧﺬ ﺑﻌني اﻻﻋﺘﺒﺎر ّأن اﻟﱰاث أﻣﺎﻧﺔ‬ ‫ﻳﺠﺐ اﳌﺤﺎﻓﻈﺔ ﻋﻠﻴﻬﺎ‪ ،‬وﻟﻄﺎﳌﺎ ﻛﺮم ﺑﻨﻔﺴﻪ‬ ‫ووﺟﻪ ﺑﺈﺻﺪار‬ ‫اﻟﺸﻌﺮاء واﻷدﺑﺎء واﻟﻜﺘﺎب‪ّ ،‬‬ ‫اﻟﻜﺜري ﻣﻦ اﳌﻄﺒﻮﻋﺎت اﻟﺸﻌﺮﻳﺔ واﻟﺜﻘﺎﻓﻴﺔ‬ ‫اﻟﺘﻲ ﺗﺨﺪم ﺗﺮاﺛﻨﺎ وﺗﺤﻔﻆ ﻣﻮروﺛﻨﺎ اﻷﺻﻴﻞ‪.‬‬ ‫ﻟﻘﺪ ﻓﻘﺪت اﻹﻣــﺎرات واﻟﺨﻠﻴﺞ واﻟﻌﺎمل‬ ‫اﻟﻌﺮيب أﺣﺪ أﻋﻤﺪة اﻟﱰاث واﻟﺜﻘﺎﻓﺔ‪ ،‬وﻻ‬ ‫ﺷﻚ ﰲ أن اﻟﺨﺴﺎرة ﻛﺒرية وﻋﻈﻴﻤﺔ ﺟﺪا‪.‬‬ ‫ﻟﻜﻦ ﺳﺘﻈﻞ اﻧﺠﺎزاﺗﻪ اﻟﺸﻌﺮﻳﺔ واﻟﱰاﺛﻴﺔ‬ ‫واﻟﺜﻘﺎﻓﻴﺔ ﺷﺎﻫﺪاً ﻛﺒرياً ﻋﲆ ﺳرية ﻓﻜﺮﻳﺔ‬ ‫وﺗﺮاﺛﻴﺔ واﺳﻌﺔ وﻣﺆﺛﺮة‪.‬‬

‫ﺗﻜﺮﻳﻢ اﻟﺸﻌﺮاء واﻟﻤﺒﺪﻋﻴﻦ‬ ‫اﻟﺸﺎﻋﺮ اﻟﺴﻌﻮدي ﺻﺎﻟﺢ آل ﻛﺤﻠﺔ‬ ‫ﻛﺎن اﻟﺘﻮاﺿﻊ ﺳﻤ ًﺔ ﺣﻘﻴﻘ ّﻴ ًﺔ وراﺋﻌﺔ ﻋﻨﺪ‬ ‫اﳌﻐﻔﻮر ﻟﻪ اﻟﺸﻴﺦ ﺳﻠﻄﺎن ﺑﻦ زاﻳﺪ رﺣﻤﻪ‬ ‫اﻟﻠﻪ‪ ،‬وﻣﻦ ﻋﺮﻓﻪ ﻋﻦ ﻛﺜﺐ ﻳﺪرك ﻗﻴﻤﺔ‬ ‫ﻫﺬه اﻟﺨﺼﻠﺔ اﻟﺘﻲ ﻛﺎﻧﺖ مت ّﻴﺰه‪ ،‬ﻣﻦ ﺧﻼل‬ ‫اﻟﺴامﺣﺔ اﻟﺘﻲ ﻛﺎﻧﺖ ﺗﻔﻴﺾ ﻣﻦ وﺟﻬﻪ‪،‬‬ ‫ﻋﻼو ًة ﻋﲆ ﺟﺪ ّﻳﺘﻪ اﻟﻮاﺿﺤﺔ ﰲ اﻟﻌﻨﺎﻳﺔ‬ ‫ﺑﺎﻟﱰاث وﺗﺄﺳﻴﺲ ﻗﻮاﻋﺪه اﻷﺻﻴﻠﺔ اﻟﺜﺎﺑﺘﺔ‪،‬‬ ‫ﻓﻠﻴﺲ ﻋﺠﺒﺎً أن ﻳﺤﺒﻪ اﻟﻨﺎس وﻳﺠﺪون‬ ‫ﰲ ﻣﺴﺎﺑﻘﺎت اﻟﺸﻌﺮ واﻷﻣﺴﻴﺎت اﳌﻘﺎﻣﺔ‬ ‫ﻣﺎ ﻳرثي ذاﺋﻘﺘﻬﻢ وﻳﺠﻌﻠﻬﻢ ﻋﲆ اﺗﺼﺎل‬ ‫ﺑﺂﺧﺮ ﻣﺎ أﺑﺪﻋﺘﻪ اﻟﺬاﺋﻘﺔ اﻟﺸﻌﺮ ّﻳﺔ ﰲ‬ ‫ﺷﺘّﻰ اﻹﺑﺪاﻋﺎت‪ .‬ﻛام ﻛﺎن ﳌﺰاﻳﻦ اﻹﺑﻞ‬ ‫واﻟﻌﻨﺎﻳﺔ ﺑﺎﻟﻬﺠﻦ واﻟﺤﺮص ﻋﲆ أن ﺗﺒﻘﻰ‬ ‫اﳌﻔﺮدة اﻟﱰاﺛ ّﻴﺔ ﻧﺎﺻﻌ ًﺔ وﺣــﺎﴐ ًة ﻟﺪى‬

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‫اﻟﻌﺪد ‪ ، 85‬ﻳﻨﺎﻳﺮ ‪2020‬‬

‫اﻹﻋﻼم اﻟﺜﻘﺎﰲ واﻟﱰايث اﻹﻣﺎرايت واﻟﺨﻠﻴﺠﻲ‬ ‫واﻟﻌﺮيب‪ ،‬أﻛﱪ اﻷﺛــﺮ ﰲ ﺗﻜﺮﻳﺲ اﻟﱰاث‬ ‫وأﺻﺎﻟﺘﻪ‪ .‬إﱃ ﺟﺎﻧﺐ ذﻟﻚ ﻧﺴﺘﺬﻛﺮ اﻟﺪﻋﻢ‬ ‫اﻟﻜﺒري اﻟــﺬي ﻛــﺎن ﻳﻘﺪﻣﻪ رﺣﻤﻪ اﻟﻠﻪ‬ ‫ﻋﲆ اﳌﺴﺘﻮى اﻟﺮﺳﻤﻲ ﻣﻦ أﺟﻞ ﺗﻜﺮﻳﻢ‬ ‫اﻟﺸﻌﺮاء ودﻓﻌﻬﻢ ﻟﻼﺳﺘﻤﺮار ﰲ ﻣﻮاﺻﻠﺔ‬ ‫إﺑﺪاﻋﻬﻢ‪ ،‬وﻫﻮ ﻣﺎ أﺳﻬﻢ ﰲ ﻏﺮس روح‬ ‫اﻟﻮﻃﻦ واﻟﱰاث ﰲ ﻧﻔﻮس اﻟﺸﻌﺮاء‪ ،‬وﻫﺬا‬ ‫أﻣﺮ ﻣﻬﻢ ﻟﻠﻐﺎﻳﺔ أن ﻳﺘﻢ ﺗﻨﺎﻗﻞ أﺻﺎﻟﺘﻨﺎ اﻟﺘﻲ‬ ‫ﻧﻌﺘﺰ ﺑﻬﺎ ﻋﱪ اﻷﺟﻴﺎل‪.‬‬

‫ﺗﺬﻟﻴﻞ اﻟﺼﻌﻮﺑﺎت‬ ‫اﻟﺸﺎﻋﺮ اﻟﺴﻌﻮدي‬ ‫ﻋﻠﻲ ﺧﻠﻒ اﻟﺪﻫﻤﺸﻲ‬ ‫ﺣني ﻧﺘﺤﺪث ﻋﻦ اﳌﻐﻔﻮر ﻟﻪ اﻟﺸﻴﺦ‬ ‫ﺳﻠﻄﺎن ﺑﻦ زاﻳﺪ رﺣﻤﻪ اﻟﻠﻪ ﻧﻘﻒ‬ ‫أﻣﺎم ﻗﺎﻣﺔ ﻓﻜﺮ ّﻳﺔ وﺛﻘﺎﻓ ّﻴﺔ راﺋﺪة‬ ‫وداﻋﻤﺔ ﻟﻠﱰاث واﻟﺸﻌﺮ مبﺨﺘﻠﻒ‬ ‫اﻷﺷﻜﺎل واﻟﺠﻮاﻧﺐ‪ ،‬وﻗﺪ أﺳﺲ ّ‬ ‫ﻟﻜﻞ‬ ‫ﻫﺬه اﳌﻜﺎﻧﺔ اﻟﺘﻲ ﻳﺘﻐﻨﻰ ﺑﻬﺎ ﺷﻌﺮاء‬ ‫اﻹﻣـــﺎرات واﻟﺨﻠﻴﺞ واﻟــﻌــﺮب‪ ،‬ﻣﻦ‬ ‫ﺧﻼل ﺗﻮﺟﻴﻬﺎﺗﻪ رﺣﻤﻪ اﻟﻠﻪ ﺑﺈﻗﺎﻣﺘﻪ‬ ‫اﳌﻬﺮﺟﺎﻧﺎت اﻟﱰاﺛﻴﺔ واﻟﺸﻌﺒ ّﻴﺔ‪،‬‬ ‫ﻟﻴﻔﺘﺢ ﺑﺬﻟﻚ اﳌﺠﺎل ﻋﲆ ﻣﴫاﻋﻴﻪ‪،‬‬ ‫ﻓﻴﺠﻌﻞ ﻣــﻦ اﳌــﻔــﺮدة اﻟـﱰاﺛــﻴــﺔ‬ ‫اﻹﻣﺎراﺗﻴﺔ‪ ،‬وﻛﺬﻟﻚ اﻟﺸﻌﺮ‪ِ ،‬ﻗﺒﻠﺔ وﺑﻴﺘﺎً‬ ‫ﻟﻠﺸﻌﺮاء‪ ،‬ﺑﻴﺘﺎً ﻋﺎﻣﺮاً ﺑﺎﻟﺜﻘﺎﻓﺔ وﻣﻠﻴﺌﺎً‬ ‫ﺑﺎﻟﺤﺮﻛﺔ اﻹﺑﺪاﻋﻴﺔ‪ .‬ﻧﺤﻦ ﰲ اﻟﻮاﻗﻊ‬ ‫ﻧﺴﺘﺬﻛﺮ رﺟ ًﻼ ذﻟﻞ ﻛﻞ اﻟﺼﻌﻮﺑﺎت‬ ‫وﺟﻌﻞ اﳌﺒﺪﻋني ﻳﻨرثون ﻧﺘﺎﺟﻬﻢ‬ ‫اﳌﻤﻴﺰ ﰲ دوﻟﺔ اﻹﻣــﺎرات اﻟﺤﺒﻴﺒﺔ‪،‬‬ ‫ﻓﺮﺣﻢ اﻟﻠﻪ اﻟﺸﻴﺦ ﺳﻠﻄﺎن ﺑﻦ زاﻳﺪ‬ ‫رﺣﻤ ًﺔ واﺳﻌﺔ ﻋﲆ ﻣﺎ ﻗﺪّم وأﻋﻄﻰ‬ ‫ﻟﺘﻌﺰﻳﺰ ّ‬ ‫ﻛﻞ ﻫﺬا اﻹرث اﻟﺬي ﻧﻔﺘﺨﺮ‬ ‫ﺑﻪ ﻋﲆ اﻟﺪوام‪.‬‬

‫رؤﻳﺔ واﺿﺤﺔ وﻋﻤﻞ دؤوب‬ ‫ﺧﺒﻴﺮة اﻟﺘﺮاث ﻓﺎﻃﻤﺔ اﻟﻤﻐﻨﻲ‬ ‫أﻋﱪ ﻋﻦ‬ ‫ﻻ ﻳﺴﻌﻨﻲ ﰲ ﻫﺬا اﳌﻘﺎم إﻻ أن ّ‬ ‫ﺷﺪﻳﺪ ﺣﺰين ﻟﺮﺣﻴﻞ اﳌﻐﻔﻮر ﻟﻪ اﻟﺸﻴﺦ‬ ‫ﺳﻠﻄﺎن ﺑﻦ زاﻳﺪ آل ﻧﻬﻴﺎن رﺣﻤﻪ اﻟﻠﻪ‪ ،‬ﻓﻘﺪ‬ ‫ﺑﺤﺐ اﻹﻣــﺎرات وﻋﺸﻖ‬ ‫ﻛﺎن ﻗﻠﺒﺎً ﻧﺎﻃﻘﺎً ّ‬ ‫اﻟــﱰاث واﻷﺻــﺎﻟــﺔ‪ ،‬واﺳﺘﻤ ّﺪ ﻣﻦ اﻟﻮاﻟﺪ‬ ‫اﳌﺆﺳﺲ رﺣﻤﻪ اﻟﻠﻪ اﻟﺸﻴﺦ زاﻳﺪ ﺑﻦ ﺳﻠﻄﺎن‬ ‫ّ‬ ‫ﻛﻞ ﻫﺬا اﻹرث وﻫﺬا اﻟﺤﺮص ﻋﲆ اﺳﺘﻤﺮار‬ ‫اﻟﱰاث وﺗﺄﻛﻴﺪه ﻟﺪى اﻷﺟﻴﺎل‪ ،‬ﺧﺼﻮﺻﺎً‬ ‫ّ‬ ‫وأن اﻟﺸﻴﺦ زاﻳﺪ ﻛﺎن ﺳﻴﺎﺳ ّﻴﺎً ﻣﺤﻨّﻜﺎً ورﺟﻞ‬ ‫دوﻟﺔ ﻣﻦ اﻟﻄﺮاز اﻷ ّول‪.‬‬ ‫وأﻋﺘﻘﺪ ّأن ﺗﺄﺳﻴﺲ اﻟﺸﻴﺦ ﺳﻠﻄﺎن ﻟﻨﺎدي‬

‫ﺗﺮاث اﻹﻣﺎرات ﰲ ﺗﺴﻌﻴﻨﻴﺎت اﻟﻘﺮن اﳌﺎﴈ‬ ‫ﻛﺎن ﺧﻄﻮ ًة ﻣﻬ ّﻤﺔ ﻟﺘﺄﻛﻴﺪ اﻟﻌﻤﻞ اﻟﺠﺎد‬ ‫واﻟﺒﻨّﺎء اﳌﻨﻄﻠﻖ ﻣﻦ اﻟﺮؤﻳﺔ اﻟﻮاﺿﺤﺔ‬ ‫واﻟﻌﻤﻞ اﻟــﺪؤوب ﻟﻪ رﺣﻤﻪ اﻟﻠﻪ‪ ،‬وﻗﺪ‬ ‫ﺗﴩﻓﺖ ﺑــﺄن أﻛــﻮن ﻣﻦ ﺿﻤﻦ أﻋﻀﺎء‬ ‫اﻟﻠﺠﻨﺔ اﻻﺳﺘﺸﺎر ّﻳﺔ اﻟﺜﻘﺎﻓ ّﻴﺔ ﺑﺎﻟﻨﺎدي‪،‬‬ ‫ﻣﻊ ﻧﺨﺒﺔ ﻣﺘﻤ ّﻴﺰة ﻣﻦ اﻟﻌﺎﻣﻠني ﰲ ﻣﺠﺎل‬

‫اﻟﺜﻘﺎﻓﺔ واﻟﱰاث‪ ،‬وﻣﻦ ﺧﻼل ﻋﻤﲇ ﻫﺬا‬ ‫أؤ ّﻛــﺪ ﻋﲆ أﻫﻤﻴﺔ ﻓﻜﺮ اﻟﺮاﺣﻞ اﻟﻜﺒري‬ ‫وﺳــريه ﻋﲆ ﺧﻄﻰ واﻟـــﺪه‪ ،‬ﻓﻘﺪ ﻛﺎن‬ ‫ﻋﺎﺷﻘﺎً ﻟﺴﺒﺎﻗﺎت اﻟﻬﺠﻦ مبﺨﺘﻠﻒ ﻓﺌﺎﺗﻬﺎ‬ ‫وأﻧﻮاﻋﻬﺎ‪ ،‬إﱃ ﺟﺎﻧﺐ اﳌﻌﺎرض اﻟﺜﻘﺎﻓ ّﻴﺔ‬ ‫واﻟﱰاﺛ ّﻴﺔ اﳌﺼﺎﺣﺒﺔ ﻟﻠﻔﻌﺎﻟﻴﺎت‪ ،‬وﻫﺬا ﻛ ّﻠﻪ‬ ‫ﻛﺎن ﻳﺸ ّﻜﻞ ﺟــﺰءاً ﻣﻦ ﻃﻤﻮﺣﻪ رﺣﻤﻪ‬ ‫اﻟﻠﻪ ﰲ ﺧﻠﻖ أﺑﻌﺎد ﺟﺪﻳﺪة ﻹرث اﻟﻮﻃﻦ‬ ‫وﺗﺮاﺛﻪ اﻟﺬي ﻳﺠﻲء ﰲ اﳌﻘﺪّﻣﺔ وﺗﺤﻔﻈﻪ‬ ‫اﻹﻣـــﺎرات اﻟﺘﻲ ﻧﺠﺤﺖ ﰲ ﺗﺮﺳﻴﺨﻪ‬ ‫وﺗﺄﻛﻴﺪه ﻟﺪى ّ‬ ‫ﻛﻞ اﻷﺟﻴﺎل‪.‬‬ ‫اﻟﺸﻌﺮ ‪baytelshear‬‬ ‫ﺑﻴﺖ ِ‬

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‫‪ ĘŖĸĚ‬‬ ‫اﻟﻤﺎﺿﻲ واﻟﻤﺴﺘﻘﺒﻞ‬ ‫اﻟﺸﺎﻋﺮ اﻹﻣﺎراﺗﻲ أﺣﻤﺪ اﻟﺰرﻋﻮﻧﻲ‬ ‫ﻳﻌﻠﻢ اﻟﺠﻤﻴﻊ ّأن ﻣﺴﺘﻘﺒ ًﻼ ﻣﻦ ﻏري‬ ‫أﺻﺎﻟﺔ ﻳﺒﻘﻰ ﻣﺴﺘﻘﺒ ًﻼ ﺧﺎوﻳﺎً‪ّ ،‬‬ ‫وﻷن اﻟﱰاث‬ ‫ﺑﻌﻨﺎﴏه اﻟﺘﻲ ﻧﻌﺮﻓﻬﺎ ﺟﻤﻴﻌﺎً ﻫﻮ أﻳﻘﻮﻧﺔ‬ ‫اﻷﺟﻴﺎل‪ّ ،‬‬ ‫ﻓﺈن ﺗﻜﺮﻳﺲ ﻫﺬا اﻟﱰاث ﰲ ﻋﻤﻞ‬ ‫ﻣﺆﺳﴘ ﻣﺴﺘﻤﺮ ورﻋﺎﻳﺔ ﻗﻮ ّﻳﺔ ﺑﺮؤﻳﺔ‬ ‫ﻣﻨﺼﻔﺔ ﻫﻮ متﺎﻣﺎ ﻣﺎ ﻋﻤﻞ ﻋﻠﻴﻪ اﳌﻐﻔﻮر‬ ‫ﻟﻪ اﻟﺸﻴﺦ ﺳﻠﻄﺎن ﺑﻦ زاﻳﺪ رﺣﻤﻪ اﻟﻠﻪ‪.‬‬ ‫وﻗﺪ ﺣﻈﻲ ﻋﻤﻠﻪ ﻃﻴﺐ اﻟﻠﻪ ﺛﺮاه ﺑﺎﺣﱰام‬ ‫اﻟﻜﺜريﻳﻦ وﺗﻘﺪﻳﺮﻫﻢ‪.‬‬ ‫وﻛــﻮين أﺣﺪ اﻟﻔﺎﺋﺰﻳﻦ ﰲ ﺟﻮاﺋﺰ أدﺑﻴﺔ‬ ‫ﻛﺎن ﻗﺪ رﻋﺎﻫﺎ رﺣﻤﻪ اﻟﻠﻪ‪ ،‬ﻓﺈﻧﻨﻲ أﻗﻮل‬ ‫إ ّﻧﻪ ﻛﺎن ﻋﲆ درﺟﺔ ﻋﺎﻟﻴﺔ ﻣﻦ اﻹﺣﺴﺎس‬ ‫اﻟﻌﺎﱄ ﺑﻘﻴﻤﺔ اﻹﺑﺪاع وﴐورة أن ﻳﺴﺘﻤﺮ‬ ‫ﻣﻦ ﺧﻼل ﺗﺸﺠﻴﻊ اﳌﺒﺪﻋني‪ ،‬ﺧﺼﻮﺻﺎً وأﻧﻪ‬ ‫ﻛﺎن ﻛﺮميﺎ ﺟﺪاً وﻟﻪ أﻳﺎ ٍد ﺑﻴﻀﺎء ﰲ ﺗﻌﺰﻳﺰ‬

‫اﻟﱰاث واﳌﺤﺎﻓﻈﺔ ﻋﻠﻴﻪ ﰲ ﻣﺠﺘﻤﻊ ﺗﺰﺣﻒ‬ ‫إﻟﻴﻪ اﳌﺪﻧ ّﻴﺔ‪ ،‬وﻫﺬا أﻣﺮ ﻣﻬﻢ اﺿﻄﻠﻊ ﺑﻪ‬ ‫رﺣﻤﻪ اﻟﻠﻪ إميﺎﻧﺎً ﻣﻨﻪ ﺑﺄﻧﻨﺎ إن مل ﻧﺤﺎﻓﻆ‬ ‫ﻋﲆ ﺗﺮاﺛﻨﺎ وﻧﻜ ّﺮﺳﻪ ﻋﻤ ًﻼ دامئﺎً ﰲ ﻧﻔﻮس‬ ‫اﻟﺤﻀﻮر واﻟﺰوار واﻟﺸﻌﺮاء وﰲ ﻣﺠﺎﻻت‬ ‫اﻟﻬﺠﻦ واﳌﻮاﺳﻢ‪ ،‬ﻓﺈ ّﻧﻪ ﺣﺘ ًام ﺳﻴﺘﻬﺪد‬ ‫ﺑﺎﻟﻨﺴﻴﺎن ﻟﺪى اﻷﺟﻴﺎل اﻟﻘﺎدﻣﺔ‪.‬‬ ‫رﺣﻢ اﻟﻠﻪ رﺟﻞ اﻟﺸﻌﺮ واﻟﱰاث اﳌﻐﻔﻮر‬ ‫ﻟﻪ اﻟﺸﻴﺦ ﺳﻠﻄﺎن ﺑﻦ زاﻳﺪ آل ﻧﻬﻴﺎن‪،‬‬ ‫وﺳﺘﺒﻘﻰ ذﻛﺮاه ﺧﺎﻟﺪة ﰲ ﻗﻠﻮﺑﻨﺎ وﻧﻔﻮﺳﻨﺎ‬ ‫إﱃ اﻷﺑﺪ‪.‬‬

‫ﻣﺪرﺳﺔ زاﻳﺪ‬ ‫اﻟﺸﺎﻋﺮ اﻟﺴﻌﻮدي ﻣﺤﻤﺪ ﺑﻦ اﻟﺸﺎﻳﺐ‬ ‫ﻟﻘﺪ ﻛﺎن رﺣﻤﻪ اﻟﻠﻪ مبﺜﺎﺑﺔ اﻷب اﻟﺮوﺣﻲ‬ ‫ﻟﻠﺸﻌﺮ‪ ،‬واﻟﻘﻠﺐ اﻟﻨﺎﺑﺾ ﻟﻠﺜﻘﺎﻓﺔ واﻟﱰاث‪،‬‬ ‫ﻓﻘﺪ أﻋﻄﻰ ّ‬ ‫ﺟﻞ اﻫﺘامﻣﻪ ﻟﻠﻤﻮروث اﻟﺬي‬ ‫ّ‬ ‫ﺗﺠﲆ ﰲ ﺣ ّﻠﺔ ﺟﻤﻴﻠﺔ ﻗﺪّﻣﻬﺎ ﻟﻸﺟﻴﺎل‬ ‫اﳌﻌﺎﴏة واﻟﻘﺎدﻣﺔ‪ ،‬وﻟﺬﻟﻚ ﻓﺴﺘﺒﻘﻰ‬ ‫ﺑﺼامﺗﻪ ﺷﻮاﻫﺪ ﺗﻌﻴﺪﻧﺎ إﱃ ﻣﺎ ﻛﺎن ﻋﻠﻴﻪ‬ ‫اﻵﺑﺎء واﻷﺟﺪاد‪.‬‬ ‫اﻟﺤﺰن ﻛﺒري ﻟﻔﻘﺪاﻧﻪ‪ ،‬وﻫﻮ ﻛﺜري وﻋﻈﻴﻢ‪،‬‬ ‫ﺗﺮﺳﺨﺖ ﰲ ﻣﺠﺎل‬ ‫ﺑﺤﺠﻢ ﻗﺎﻣﺘﻪ اﻟﺘﻲ ّ‬ ‫اﻟﱰاث‪ ،‬ﻓﻘﺪ ﻓﺘﺢ ذراﻋﻴﻪ ﻟﻜﻞ اﳌﺜﻘﻔني‬ ‫واﻟﺸﻌﺮاء واﻷدﺑـــﺎء وﻟﻜﻞ ﻣﻦ ﻳﺤﴬ‬ ‫ﻋﻨﺪه ﻓﻌﺎﻟﻴﺎت اﻟﱰاث‪ ،‬إميﺎﻧﺎً ﻣﻨﻪ ﺑﻘﻴﻤﺔ‬ ‫ﺣﺐ ﻫﺬا‬ ‫أن ﻳﻨﺸﺄ اﻷﺑﻨﺎء واﻷﺣﻔﺎد ﻋﲆ ّ‬

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‫اﻟﻌﺪد ‪ ، 85‬ﻳﻨﺎﻳﺮ ‪2020‬‬

‫اﻟﱰاث‪ ،‬وﻟﺬﻟﻚ ﻓﻘﺪ ﺟﻌﻠﻪ دامئﺎً ﺣﺎﴐاً‬ ‫ﻓﻮق ﻣﻨﺼﺎت اﻹﺑﺪاع اﻹﻣﺎرايت‪ .‬أﻣﺎ ﺟﻬﻮده‬ ‫اﻷﺧﺮى ﰲ ﺑﻨﺎء اﻟﻮﻃﻦ‪ ،‬ﻓﻘﺪ ﻗﺎم ﺑﻬﺎ ﺧري‬ ‫ﻗﻴﺎم‪ ،‬وﻻ ﻳﻔﻮﺗﻨﺎ أﻧﻪ ﻋﻤﻞ ﻣﻊ ﻣﺆﺳﺲ‬ ‫اﻻﺗﺤﺎد واﻟﺪه اﳌﻐﻔﻮر ﻟﻪ اﻟﺸﻴﺦ زاﻳﺪ ﺑﻦ‬ ‫ﺳﻠﻄﺎن آل ﻧﻬﻴﺎن رﺣﻤﻪ اﻟﻠﻪ‪ ،‬ﻓﺄﺧﺬ ﻣﻦ‬ ‫ﻣﺪرﺳﺔ زاﻳﺪ اﳌﺤ ّﺒﺔ وﺗﺮﺳﻴﺦ ﻗﻴﻢ اﻟﺤﺐ‬ ‫واﻟﺘﺴﺎﻣﺢ واﻟﻮﻓﺎء ﻟﻸﺻﺎﻟﺔ واﻟﻌﻤﻞ ﻣﻦ‬ ‫أﺟﻞ ﻧﻬﻀﺔ اﻹﻣﺎرات‪.‬‬

‫ﻣﺒﺎدرات وﺟﻮاﺋﺰ‬ ‫اﻟﺸﺎﻋﺮ اﻹﻣﺎراﺗﻲ‬ ‫ﺳﻌﺪ ﻣﺮزوق اﻷﺣﺒﺎﺑﻲ‬ ‫ﻛﺎن رﺣﻤﻪ اﻟﻠﻪ ﻳﺆﻣﻦ ّ‬ ‫ﺑﺄن اﻻرﺗﺒﺎط‬ ‫ﺑﺎﳌﺎﴈ واﻟﻌﻨﺎﻳﺔ ﺑﺎﻟﱰاث ﻳﻘ ّﻮي ﻟﺪى‬ ‫اﻹﻧﺴﺎن اﻷﺧﻼق اﻟﻜﺮميﺔ‪ ،‬وﻳﺠﻌﻠﻪ‬ ‫ﻣﻮﺻﻮﻻً ﺑﻬﺎ ﻋﲆ اﻟ ّﺪوام‪ .‬وﻟﻘﺪ ﻛﺎن‬ ‫اﳌﻐﻔﻮر ﻟﻪ اﻟﺸﻴﺦ ﺳﻠﻄﺎن ﺑﻦ زاﻳﺪ‬ ‫ﺣﺎﻓﻈﺎً ﻟﻠﱰاث واﳌــﻮروث وﻣﻬﺘ ًام‬ ‫ﺟﺪاً ﺑﺎﻷدب واﻟﺜﻘﺎﻓﺔ‪ ،‬وﻳﺤﺮص ّ‬ ‫ﻛﻞ‬ ‫ﺗﻮﺳﻊ‬ ‫اﻟﺤﺮص ﻋﲆ اﳌﺒﺎدرات اﻟﺘﻲ ّ‬ ‫ﻣﻦ داﺋــﺮة اﻻﻫﺘامم ﺑﻬﺬا اﻟ ـﱰاث‪،‬‬ ‫وﺗﺠﻌﻠﻪ ﻳﺘﻄ ّﻮر ﺑﺎﻟﻔﻜﺮ واﳌﻌﺮﻓﺔ‪ ،‬ﻣﻊ‬ ‫اﻟﺤﺮص ﻋﲆ ﻋﺪم ﻧﺴﻴﺎن اﳌﺎﴈ أو‬ ‫ﺗﺠﺎﻫﻠﻪ‪ّ ،‬‬ ‫ﻷن اﻟﺤﻔﺎظ ﻋﲆ اﻷﺻﺎﻟﺔ‬ ‫أﻣﺮ ﻣﻦ اﻷﻣــﻮر اﻟﻴﻘﻴﻨ ّﻴﺔ واﻟﺜﺎﺑﺘﺔ‬ ‫ﻓﺈن ّ‬ ‫ﻟﺪﻳﻪ‪ ،‬وﰲ اﻟﻮاﻗﻊ ّ‬ ‫ﻛﻞ ﻣﺎ ﻧﻘﻮﻟﻪ‬ ‫ﻋﻨﻪ ﻻ ﻳﻔﻴﻪ ﺣﻘﻪ‪ ،‬إذ ﻛﺎن ﻣﻤﻦ ﻳﺸﺎر‬ ‫إﻟﻴﻬﻢ ﰲ ﻣﺠﺎل ﺣﻔﻆ اﻟﱰاث وﺻﻮﻧﻪ‬ ‫ﰲ اﻹﻣﺎرات وﺗﺄﺳﻴﺲ ﻣﺎ ﻳﺪﻋﻢ ﻫﺬا‬ ‫اﻷﻣــﺮ ﻣﻦ ﻣﺴﺎﺑﻘﺎت وﻣﻬﺮﺟﺎﻧﺎت‬ ‫وأﻣﺴﻴﺎت ﺷﻌﺮﻳﺔ ﺗﺠﻤﻊ ّ‬ ‫ﻛﻞ اﻟﻨﺎس‬ ‫ﰲ ﻇﻼل ﻫﺬا اﻟــﱰاث اﻟﻐﻨﻲ اﻟﺬي‬ ‫ﻳﺒﻘﻰ ﰲ اﻟﻨﻔﻮس ﺣﺎﴐاً وﻟﻦ ﻳﺰول‬ ‫ﺑﺈذن اﻟﻠﻪ‪.‬‬

‫ﺣﺎﺿﺮ ﻻ ﻳﻐﻴﺐ‬ ‫اﻟﺸﺎﻋﺮ اﻹﻣﺎراﺗﻲ ﺑﻄﻲ اﻟﻤﻈﻠﻮم‬ ‫دامئ ـﺎً ﻳﺤﺘﻔﻆ اﻟﻨﺎس ﺑﺬﻛﺮى ﻣﻦ ﺗﺮﻛﻮا‬ ‫ﺑﺼﻤ ًﺔ ﰲ ﻫﺬه اﻟﺤﻴﺎة‪ ،‬وﻛﻠﻨﺎ ﻧﻌﺮف أن‬ ‫اﳌﻐﻔﻮر ﻟﻪ اﻟﺸﻴﺦ ﺳﻠﻄﺎن ﺑﻦ زاﻳﺪ ﻃﻴﺐ‬ ‫اﻟﻠﻪ ﺛﺮاه ﻏﺎدر ﻫﺬه اﻟﺪﻧﻴﺎ ﺑﻌﺪ ﻣﺴرية‬ ‫ﻃﻮﻳﻠﺔ ﻣﻦ اﻟﻌﻄﺎء‪ ،‬وإﻧﺠﺎزات ﻣﺸﻬﻮد‬ ‫ﻟﻬﺎ ﰲ ﻣﺠﺎل اﻟﱰاث ورﻋﺎﻳﺔ اﻟﻔﻌﺎﻟﻴﺎت‬ ‫اﻟﺸﻌﺮﻳﺔ واﳌﻮاﺳﻢ اﻹﺑﺪاﻋ ّﻴﺔ واﻟﺠﻮاﺋﺰ‬ ‫اﻟﺘﻲ ﺗﺴري ﰲ رﻛﺎﺑﻬﺎ‪.‬‬ ‫ﻻ ﺷﻚ ﰲ أن رﺣﻴﻠﻪ ﺻﻌﺐ ﺟــﺪاً‪ ،‬وﻻ‬ ‫اﻋـﱰاض ﻋﲆ ﻗﺪر اﻟﻠﻪ وﻗﻀﺎﺋﻪ‪ ،‬وﻟﻜﻦّ‬ ‫ﺑﻌﺪ ﻓﻘﺪ اﻟﻌﻈامء وﻓﺮاﻗﻬﻢ ﻳﺤﺎﴏﻧﺎ‬ ‫اﻷﳻ‪ ،‬واﻟﺤﺰن ﻳﺴﻜﻦ اﻟﻘﻠﻮب‪ ،‬وﺗﺒﻘﻰ‬ ‫اﻟﺬﻛﺮى اﻟﻌﻄﺮة ﰲ ﻣﺎ أرﺳﺎه ﻣﻦ دﻋﺎﺋﻢ‬ ‫ﻗﻮ ّﻳﺔ ﻟﻠﺤﺮﻛﺔ اﻟﺸﻌﺮﻳﺔ وﺣامﻳﺔ اﳌﻮروث‬ ‫اﻟﺸﻌﺒﻲ‪ّ ،‬‬ ‫وﻛﻞ ﻣﻦ ﺗﺴﺄﻟﻪ ﻋﻦ إرث ﻫﺬا‬ ‫اﻟﺮﺟﻞ اﻟﻜﺒري اﻹﻧﺴﺎن ﻳﻘﻮل ﻟﻚ ّإن ﻟﻪ‬

‫ﻣﺂﺛﺮ ﻻ ُﺗﻨﴗ ﰲ اﻟﱰاث واﻟﺜﻘﺎﻓﺔ واﻟﺸﻌﺮ‬ ‫واﻟﻔﻌﻞ اﻟﺜﻘﺎﰲ‪ ،‬وﻫﻮ اﻷﺛﺮ اﻟﺒﺎﻗﻲ ﺑﻼ ﺷﻚ‪.‬‬ ‫وﻻ ﻧﻨﴗ ّأن ﻓﻮز اﳌﻐﻔﻮر ﻟﻪ اﻟﺸﻴﺦ ﺳﻠﻄﺎن‬ ‫ﺑﻦ زاﻳﺪ ﺑﻠﻘﺐ رﺟﻞ اﻟﱰاث ﻋﺎم ‪،2015‬‬ ‫ﻳﺆ ّﻛﺪ أﻫﻤ ّﻴﺔ ﺟﻬﻮده اﻟﺘﻲ أﻫّ ﻠﺘﻪ ﻷن ﻳﻔﻮز‬ ‫ﺛﻢ ّإن ﺳريﺗﻪ اﻟﻌﻄﺮة رﺣﻤﻪ‬ ‫ﺑﻬﺬا اﻟﻠﻘﺐ‪ّ ،‬‬ ‫اﻟﻠﻪ ﰲ ﻣﺄﺳﺴﺔ اﻟﻔﻌﻞ اﻟﺜﻘﺎﰲ‪ ،‬أي ﺟﻌﻠﻪ‬ ‫ﻳﺘﺒﻊ ﻣﺆﺳﺴﺔ ﻣﻨﺘﻈﻤﺔ ﰲ أﻋامﻟﻬﺎ ﻫﻮ‬ ‫أﻣﺮ ُﻳﺤﺴﺐ ﻟﺴﻤﻮه‪ ،‬وﻗﺪ أﺻﺒﺤﺖ ﻫﻨﺎك‬ ‫ﻣﺆﺳﺴﺎت ﺗﺤﻤﻞ اﺳﻤﻪ وﺗﺤﻈﻰ ﺑﺮﻋﺎﻳﺘﻪ‬ ‫وإﴍاﻓﻪ ﻋﻠﻴﻬﺎ‪ ،‬أﺑﺮزﻫﺎ "ﻣﺮﻛﺰ ﺳﻠﻄﺎن ﺑﻦ‬ ‫زاﻳﺪ"‪ ،‬و"ﻧﺎدي ﺗﺮاث اﻹﻣﺎرات"‪ ،‬و"ﻣﺮﻛﺰ‬ ‫زاﻳــﺪ ﻟــﻠــﺪراﺳــﺎت واﻟــﺒــﺤــﻮث"‪ ،‬أﺿﻴﻒ‬

‫إﱃ ذﻟﻚ ﻋــﺪداً ﻛﺒرياً ﻣﻦ اﳌﻬﺮﺟﺎﻧﺎت‬ ‫واﻟﻔﻌﺎﻟﻴﺎت اﻟﺸﻌﺮﻳﺔ واﻟﱰاﺛﻴﺔ‪ ،‬إﱃ‬ ‫ﺟــﺎﻧــﺐ اﳌــﻄــﺒــﻮﻋــﺎت واﻟـــﺪورﻳـــﺎت‪.‬‬ ‫وﺟﻤﻴﻌﻬﺎ أﻋامل ﺟﻠﻴﻠﺔ ﻳﻘﻒ أﻣﺎﻣﻬﺎ‬ ‫اﻹﻋﻼم اﻟﺜﻘﺎﰲ واﻟﱰايث ﻣﻮﻗﻒ اﻹﺟﻼل‬ ‫واﻻﺣــﱰام‪ّ ،‬‬ ‫ﻷن ﻫﺬا اﻟﻔﻌﻞ ﻗﺪ ﺧﻠﻖ‬ ‫ﻃــﺎﻗــﺎت إﺑــﺪاﻋـ ّﻴــﺔ اﺳﺘﻮﻋﺒﺘﻬﺎ ﻫﺬه‬ ‫اﳌﺆﺳﺴﺎت أو اﳌﻬﺮﺟﺎﻧﺎت أو اﻟﻨﻮادي‪.‬‬ ‫ﻛﻞ ﻣﺎ ﻗﺪﻣﻪ رﺣﻤﻪ اﻟﻠﻪ ﻣﻦ دﻋﻢ ﻟﻠﺸﻌﺮ‬ ‫واﻟﺜﻘﺎﻓﺔ ُﻳﺸﻌﺮﻧﺎ اﻟﻴﻮم ﺑﺨﺴﺎرة رﺟﻞ‬ ‫ﻋﻈﻴﻢ وﻣﺨﻠﺺ أﻋﻄﻰ وﻗﺘﻪ ﻟﻠﻌﻨﺎﻳﺔ‬ ‫ﺑﺎﻟﺸﻌﺮ‪ ،‬واﻟﺤﻔﺎظ ﻋﲆ اﻟـﱰاث اﻟﺬي‬ ‫ميﺜﻞ ﺗﻔﺎﺻﻴﻞ ﺣﻴﺎﺗﻨﺎ ورؤﻳﺘﻨﺎ ﻟﻠﺤﻴﺎة‬ ‫ﻣﻦ ﻣﻨﻈﻮر اﻷﺻﺎﻟﺔ‪ ..‬رﺣﻢ اﻟﻠﻪ اﻟﺸﻴﺦ‬ ‫ﺳﻠﻄﺎن ﺑﻦ زاﻳــﺪ‪ ،‬اﻟــﺬي ﻗﺪّم ﻟﻮﻃﻨﻪ‬ ‫وﻟﺠﻤﻬﻮر اﻟﺸﻌﺮ واﻟﺸﻌﺮاء واﻟـﱰاث‬ ‫واﻟﺨﻠﻴﺠﻲ واﻟﻌﺮيب اﻟﻜﺜري‬ ‫اﻹﻣـــﺎرايت‬ ‫ّ‬ ‫واﻟﻜﺜري اﻟﺬي ﻻ ُﻳﻨﴗ‪..‬‬

‫ﻣﺮﺟﻊ ﺗﺮاﺛﻲ‬ ‫اﻟﺸﺎﻋﺮ اﻟﺴﻌﻮدي ﻣﺤﻤﺪ ﺳﻠﻴﻤﺎن اﻟﻌﻨﺰي‬ ‫ﺣني ﻧﺘﺤﺪث ﻋﻦ دور اﳌﻐﻔﻮر ﻟﻪ اﻟﺸﻴﺦ‬ ‫ﺳﻠﻄﺎن ﺑﻦ زاﻳــﺪ رﺣﻤﻪ اﻟﻠﻪ‪ ،‬ﻧﺠﺪ أن‬ ‫إﻧﺠﺎزاﺗﻪ ﻻ ﺗﻘﻒ ﻓﻘﻂ ﻋﻨﺪ اﻫﺘامﻣﻪ‬ ‫ﺑﻄﺒﺎﻋﺔ دواوﻳﻦ اﻟﺸﻌﺮاء وﻋﻨﺎﻳﺘﻪ ﺑﻬﻢ أو‬ ‫ﺑﺈﻗﺎﻣﺔ اﻷﻣﺴﻴﺎت اﻟﺸﻌﺮ ّﻳﺔ واﳌﺴﺎﺑﻘﺎت‬ ‫اﻟﺴﻨﻮ ّﻳﺔ ﻟﻬﻢ‪ .‬ﺣﻴﺚ ﻛﺎن ﻛﻞ ذﻟﻚ ﺟﺰءا‬ ‫ﻣﻦ ﻋﻤﻞ ﺛﻘﺎﰲ وﺗﺮايث ﻛﺒري‪ ،‬ﺿﻤﻦ ﻣﺮاﻛﺰ‬ ‫ﺛﻘﺎﻓﻴﺔ ﺗﺮﻛﺖ ﺑﺼﻤ ًﺔ ﻻ ﺗﻨﴗ ﻟﻬﺬا اﻹﻧﺴﺎن‬ ‫اﻹداريّ اﻟﻨﺎﺟﺢ ﰲ ّ‬ ‫ﻛﻞ ﻣﻔﺮدات اﻟﱰاث‪،‬‬ ‫وﻗﺪ ﺻﺎر ﻣﺮﺟﻌﺎ ﻟﻠﺠﻤﻴﻊ ﰲ ﺷﺆون اﻟﱰاث‬ ‫واﻷﺻﺎﻟﺔ‪ ،‬وأﺣﺪ اﻟﺮﻣﻮز اﻟﺜﻘﺎﻓ ّﻴﺔ اﻟﱰاﺛ ّﻴﺔ ﰲ‬

‫دوﻟﺔ اﻹﻣﺎرات واﻟﻌﺎمل اﻟﻌﺮيب‪ ،‬ﻟﻘﺪ ﻛﺎن‬ ‫رﺣﻤﻪ اﻟﻠﻪ ﺟﺎﻣﻌﺎ ّ‬ ‫ﻟﻜﻞ ﺟﻬﺪ ﺗﺮايث وﺛﻘﺎﰲ‪،‬‬ ‫وﺟﺎذﺑﺎً ّ‬ ‫ﻟﻜﻞ اﻹﺑﺪاﻋﺎت اﻟﺘﻲ ﺻﻨﻊ ﻣﻨﻬﺎ‬ ‫ﻋﺎﳌﺎً ﻣﻠﻴﺌﺎً ﺑﺎﻹﻧﺠﺎز‪.‬‬ ‫وﻻ ﻧﻨﴗ أن ﻣﻬﺮﺟﺎن ﺳﻠﻄﺎن ﺑﻦ زاﻳﺪ‬ ‫اﻟـــﱰايث‪ ،‬مبــﺎ ﻳﺸﺘﻤﻞ ﻋﻠﻴﻪ ﻣــﻦ ﻓﻨﻮن‬ ‫ورﻳﺎﺿﺎت ﺗﺮاﺛ ّﻴﺔ‪ ،‬ومبﺎ ﻳﻀ ّﻤﻪ ﻛﻤﻮﺿﻮع‬ ‫رﺋﻴﴘ‪ ،‬أﻻ وﻫﻮ اﻟﺸﻌﺮ‪ ،‬ﻟﻬﻮ ﻣﻬﺮﺟﺎن‬

‫ﻋﻈﻴﻢ ﻳﺘﻜﺮر ّ‬ ‫ﻛﻞ ﻋﺎم ﺑﺈﺿﺎﻓﺎت ﺟﺪﻳﺪة‬ ‫واﺷﺘﻐﺎﻻت ﻣﻤﻴﺰة وﺑﺼﻤﺔ واﺿﺤﺔ‪،‬‬ ‫وﻟﻬﺬا ﻓﻬﻮ ﻛﻤﻬﺮﺟﺎن ﻳﺘﻜﺮر ّ‬ ‫ﻛﻞ ﺳﻨﺔ‪،‬‬ ‫ﻃﻴﻠﺔ ﺛﻼث ﻋﴩة دورة‪ ،‬ﻣﺎ ﻳﺰال ﻳﻌﻄﻴﻨﺎ‬ ‫أﻣ ًﻼ ّ‬ ‫ﺣﻲ وﻣﺎ ﻳﺰال ﻳﺘﺼﺪر‬ ‫ﺑﺄن اﻟﱰاث ﱞ‬ ‫أﻋامﻟﻨﺎ اﻟﺜﻘﺎﻓ ّﻴﺔ‪ ،‬ﻓﻬﻮ ﻋﻨﻮان اﻷﺻﺎﻟﺔ اﻟﺘﻲ‬ ‫أرﺳﺎﻫﺎ رﺣﻤﻪ اﻟﻠﻪ ﰲ ﻧﻔﻮس اﻟﺸﻌﺮاء‬ ‫واﻟﻨﺎس واﳌﻬﺘﻤني ّ‬ ‫ﺑﻜﻞ ﻣﻔﺮدات اﻟﻔﻨﻮن‬ ‫واﻟﻌﻨﺎوﻳﻦ اﻟــﺒــﺎرزة ﰲ ﺳﺒﺎق اﻟﻬﺠﻦ‬ ‫واﻟﻌﻨﺎﻳﺔ ﺑﻬﺎ ﻛﺸﻜﻞ وﻣﻀﻤﻮن ﺗﺮايث ﻟﺪى‬ ‫دوﻟﺔ اﻹﻣﺎرات اﻟﻐﺎﻟﻴﺔ ﻋﲆ اﻟﻘﻠﻮب‪.‬‬

‫اﻟﺸﻌﺮ ‪baytelshear‬‬ ‫ﺑﻴﺖ ِ‬

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‫‪ ĘŖĸĚ‬‬

‫‪ťǉƥǈ ǐ ƂǃƕŸǂ Ũſƴţż ũǈƃơƌ ŪţƹƑŦ‬‬ ‫ﻣﺤﻤﺪ ﻋﺒﺪاﻟﺴﻤﻴﻊ‬

‫ﺳﻴﻈﻞ ﺣــﺎﴐاً رﻏﻢ اﻟﻐﻴﺎب‪ ،‬وﺳﻴﻈﻞ ﻓﻌﻠﻪ‬ ‫اﻹﺑﺪاﻋﻲ واﻟﺜﻘﺎ ّﰲ ﰲ ﻣﺠﺎل اﻟﺤﻔﺎظ ﻋﲆ اﻟﱰاث‬ ‫ّ‬ ‫ّ‬ ‫ﻣﺘﺄﺻ ًﻼ ﰲ ﻗﻠﻮب ﻛﻞ ﻣﻦ ﻋﺮﻓﻮه‪ ،‬وﺷﻌﺮوا ﻟﺤﻈﺔ‬ ‫رﺣﻴﻞ اﳌﻐﻔﻮر ﻟﻪ اﻟﺸﻴﺦ ﺳﻠﻄﺎن ﺑﻦ زاﻳﺪ ﻃﻴﺐ‬ ‫اﻟﻠﻪ ﺛﺮاه‪ ،‬مبﺮارة اﻟﻔﻘﺪ وﺣﺰن اﻟﺮﺣﻴﻞ‪ .‬ﻓﺎﻟﺘﺄﺳﻴﺲ‬ ‫ﻟﺘﻜﺮﻳﺲ اﻟﱰاث اﻟﺬي اﻧﻄﻠﻖ ﰲ إﻣﺎرة أﺑﻮ ﻇﺒﻲ‬ ‫ﻋﲆ ﻳﺪ ﻣﺆﺳﺲ اﻟﺪوﻟﺔ اﳌﻐﻔﻮر ﻟﻪ اﻟﺸﻴﺦ زاﻳﺪ‬ ‫ﺑﻦ ﺳﻠﻄﺎن آل ﻧﻬﻴﺎن ﻃﻴﺐ اﻟﻠﻪ ﺛﺮاه‪ ،‬وﺗﻌﺰز‬ ‫ﺑﺠﻬﻮد أﺑﻨﺎﺋﻪ‪ ،‬وﻣﻨﻬﻢ اﳌﻐﻔﻮر ﻟﻪ اﻟﺸﻴﺦ ﺳﻠﻄﺎن‬ ‫ﺑﻦ زاﻳﺪ ﻃﻴﺐ اﻟﻠﻪ ﺛﺮاه‪ ،‬ﻫﻮ أﻣ ٌﺮ ﻳﺬﻛﺮه اﻟﻨﺎس‬ ‫وﻳﺴﺘﺬﻛﺮون ﻣﻌﻪ ﺟﻬﻮد ﺻﺎﺣﺐ اﳌﺂﺛﺮ اﻟﺼﺎدﻗﺔ‬ ‫واﻟﻮﻓﺎء اﻟﻨﺒﻴﻞ‪.‬‬ ‫ﻟﻄﺎﳌﺎ أﺟﻤﻊ ﺷﻌﺮاء وﺧـﱪاء ﺗﺮاث إﻣﺎراﺗ ّﻴﻮن‬ ‫وﻋﺮب ﻋﲆ أﻫﻤ ّﻴﺔ ﻣﺎ ﺗﺮﻛﻪ اﳌﻐﻔﻮر ﻟﻪ اﻟﺸﻴﺦ‬ ‫ﺳﻠﻄﺎن ﺑﻦ زاﻳﺪ رﺣﻤﻪ اﻟﻠﻪ ﻣﻦ ﺑﺼﻤﺔ وﻓﻌﻞ‬ ‫ﻣﺆﺳﴘ ﻣﻨﻬﺠﻲ وﻣﻨﻈﻢ ﰲ ﺧﺪﻣﺔ اﻟﺜﻘﺎﻓﺔ‬ ‫واﻟﺸﻌﺮ واﻟﱰاث‪ ،‬واﻫﺘامم ﻣﺘﻮاﺻﻞ ﺑﻜﻞ ﻣﺎ ﻫﻮ‬ ‫أﺻﻴﻞ‪ .‬وﻟﻘﺪ ﺣﻈﻲ اﻟﺸﻌﺮ ﺑﺎﻫﺘامم ﺧﺎص ﻣﻨﻪ‬ ‫رﺣﻤﻪ اﻟﻠﻪ‪ ،‬ﺣﻴﺚ ﻗ ّﺪم ﻟﻠﺸﻌﺮ واﻟﺸﻌﺮاء ﻛﻞ‬ ‫وﺳﺎﺋﻞ اﻟﺪﻋﻢ ﻣﻦ أﺟﻞ اﻟﺤﻔﺎظ ﻋﲆ ﺧﺼﻮﺻﻴﺔ‬ ‫اﻟﻘﺼﻴﺪة اﻹﻣﺎراﺗﻴﺔ‪ ،‬وﺣﻈﻲ ﺑﺬﻟﻚ اﻟﺪﻋﻢ ﺷﻌﺮاء‬ ‫ﻣﻦ ﻣﺨﺘﻠﻒ اﳌﻨﺎﻃﻖ واﻟــﺪول‪ ،‬ﻋﱪ ﻣﺴﺎﺑﻘﺎت‬ ‫واﺳﺘﻀﺎﻓﺎت وﻗﺮاءات ﺷﻌﺮﻳﺔ مل ﺗﺘﻮﻗﻒ ﻳﻮﻣﺎ ﰲ‬ ‫أي ﻣﻦ اﻟﱪاﻣﺞ اﻟﺜﻘﺎﻓﻴﺔ واﻟﱰاﺛﻴﺔ ﰲ اﳌﺆﺳﺴﺎت‬ ‫اﻟﺘﻲ ﻛﺎن رﺣﻤﻪ اﻟﻠﻪ ﻳﴩف ﻋﻠﻴﻬﺎ وﻳﱰأﺳﻬﺎ‪.‬‬ ‫ﻫﻨﺎ ﻣﺠﻤﻮﻋﺔ ﻣﻦ اﻵراء اﻟﺘﻲ ﺗﺘﺤﺪث ﻋﻦ دور‬ ‫اﳌﻐﻔﻮر ﻟﻪ اﻟﺸﻴﺦ ﺳﻠﻄﺎن ﺑﻦ زاﻳﺪ ﻃﻴﺐ اﻟﻠﻪ‬ ‫ﺛﺮاه ﰲ دﻋﻢ اﻟﺤﺮﻛﺔ اﻟﺸﻌﺮﻳﺔ ﺑﺸﻜﻞ ﺧﺎص‪،‬‬ ‫واﻟﱰاﺛﻴﺔ اﻟﺜﻘﺎﻓﻴﺔ ﺑﺸﻜﻞ ﻋﺎم‪.‬‬

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‫اﻟﻌﺪد ‪ ، 85‬ﻳﻨﺎﻳﺮ ‪2020‬‬

‫راﻋﻲ اﻟﺘﺮاث‬ ‫وميﺘﺪح ﻣﺤﻤﺪ ﺑﻦ ﻋﺎﻳﺾ ﺑﻦ ﻫﺎدي اﻷﺣﺒﺎيب ﰲ ﻗﺼﻴﺪة ﻟﻪ مبﻨﺎﺳﺒﺔ أﺣﺪ ﺳﺒﺎﻗﺎت اﻟﻬﺠﻦ اﻟﱰايث اﻟﺘﻲ ﻋُ ﺮف مت ّﻴﺰ اﻟﺸﻴﺦ‬ ‫ﺳﻠﻄﺎن ﺑﺘﻨﻈﻴﻤﻬﺎ‪ ..‬ﺑﺼامت اﳌﻐﻔﻮر ﻟﻪ ﰲ إﺣﻴﺎء اﻟﱰاث وﺣﺮﺻﻪ اﻟﺸﺪﻳﺪ ﻋﲆ ﻧﴩه واﻟﺤﻔﺎظ ﻋﻠﻴﻪ‪ ،‬ﻫﺬا اﻟﺪور اﻟﺬي‬ ‫ﻻ ُﻳ َﺸﻖﱡ ﻟﻪ ﻓﻴﻪ ﻏﺒﺎر‪ ،‬و ُﻳﻜﱪ ﰲ ﻗﺼﻴﺪﺗﻪ دور اﳌﻐﻔﻮر ﻟﻪ ﰲ اﻻﻫﺘامم ﺑﺎﻹﺑﻞ وﺳﺒﺎﻗﺎﺗﻬﺎ وﻣﻨﺎﻓﺴﺎﺗﻬﺎ‪ ،‬إذ ﺗﻌﺪ اﻹﺑﻞ ﻣﻦ‬ ‫رﻛﺎﺋﺰ اﳌﻮروث اﻹﻣﺎرايت‪ ،‬وﻣﻦ أﺳﺎﺳﻴﺎت اﻟﺤﻴﺎة اﻟﺘﻲ اﻋﺘﻤﺪ ﻋﻠﻴﻬﺎ اﻵﺑﺎء واﻷﺟﺪاد‪ ،‬ﻓﻴﻘﻮل اﻟﻨﻴﺎدي‪:‬‬

‫*‪ @@ @ @ £Q @ @ @ @F¡@@ @ @ D* @@ @ @ @ @ @ @+5 *y@@ @ @ @ @ @ @ @ @G ¡@@ @ @ @ @ @ @+* t@@ @ @£@ @ @ ~@ @ @ {@ @ @ D‬‬ ‫*‪¢@@~@ }@ E b@@ @ @E @@ @ 6b@@ @ @ @ @D* x@@ @ @ @ @ @ CQ 3H l*Æ@@ @ @ @ @ @ D* b@@ @ £@ @ @0‬‬ ‫¯ ‪b@@ @ @ @ @D*H @@ @m@ @ @ @ D* ¢@@ @ @ @ < *¡@@ @ ~@ @ @7b@@ @ < @@ @ @ @ g@ @ BH‬‬ ‫‪b@@ @ @ @GxQ @ @ @ @ EH b@@ @ @ @GÉ@@ @ @ @0 b@@ @ @ @ @£@ @ @Db@@ @ £@ @ @D *¡R @ @ @ @ @~@ @ @ @ @6b@@ @ @ @ B‬‬ ‫‪¢@@ @~@ @ }@ @ @ @ F*H @@ @ c@ @ @B ¢@@ @~@ @ }@ @ E M @@ @ @£@ @ @ / b@@ @ @ @ @ @ @-x@@ @ @ CQ 3‬‬ ‫< @ @@‪b@@ @ @ D* ¢@@ @ @ @ < *¡R @ @ @ @-b@@ @ @ EH v@@ @ ~@ @ 8 ¢@@ @ @ @ < *¡R @ @ @~@ @ @7b‬‬ ‫‪ @@ @ @Gx@@ @ @Cw@@ @ @+ x@@ @ @ s@ @ @ @ @ @ @ @FH @@ @ @ @ @ @ @ @ J4b@@ @ @ @: d@@ @ @ p@ @ @ @F‬‬ ‫‪b@@ @ @ @ CÆ@@ @~@ @ 7* l*Æ@@ @ @ @ @ @ @ @D* &b@ @ @ @ @£@ @ @ @ @0(° b@@ @ @ @ c@ @ 0 @@ @ @ @E‬‬

‫‪ b@@ @ @ @ + b@@ @ @ @ @ @ @ @ @AH @@ @ @ @ @ @ @ /*x@@ @ @ @ @ @ @ ´*H Áb@@ @ @ @ @ @ @ @ @ @ @´* @@ @ @ @ @ C‬‬

‫‪ b@@ @ @ @ @+b@@ @ C4 h@@ @ @Ab@@ @ @ @ @ @ - M @@ @ @ £@ @ @ @ / b@@ @ @ @ @ @ @ @ -x@@ @ @ @CQ 3‬‬ ‫‪b@@ @ + I42 b@@ @ @ E @@ @ @ @ @ @ Eb@@ @ @J* Mv@@ @ @ @ @ @ @ 0*H @@ @ @ C‬‬ ‫@ @@‪ b@@ @ + ¢@@ @ @ @ 0 v@@ @ @ J*x@@ @ @ ±* Ä@@ @ @< @@ @ @ @ s@ @ J4b‬‬‫‪ b@@ @ @+b@@ ~@ @z@ @0 v@@ @ @ @ @ @ <H b@@ @ @ @ £@ @ ~@ @ 9b@@ @E i2Qv@ @ @ @ @ @ @ /‬‬ ‫‪b@@ @ + *v@@ @ g@ @ @ @ @ @J @@ @ @ @ £@ @ : @@ @ @ E @@ @ @ @ -b@@ @ @ @ ~@ @ 8‬‬ ‫< @ @ @ @‪b@@ @ @+ b@@ @ @ @E @@ @ j@ @ @E b@@ @ @ @ @ @ +É@Q @ @ @: b@@ @ @ @J @@ @£‬‬ ‫‪b@@ @ @ @ +*¡@@ @/ MÍ@ @ @~@ @ @z@ @ @0 N Mib@@ @ @£@ @ @ Jb@@ @ @+ h@@ @ C4b@@ @ ~@ @ @7‬‬

‫اﻟﻤﺼﺎدر واﻟﻤﺮاﺟﻊ‪:‬‬ ‫ دﻳﻮان ﺑﻦ ﻣﻬﻴﻠﺔ‪ ،‬ﻟﻠﺸﺎﻋﺮ ﺳﻌﻴﺪ ﺑﻦ ﻛﻠﻔﻮت ﺑﻦ ﴎور ﺑﻦ ﻣﻬﻴﻠﻪ اﻟﺸﺎﻣﴘ‪ ،‬ﺟﻤﻊ وﺗﺤﻘﻴﻖ‪ :‬راﺷﺪ أﺣﻤﺪ اﳌﺰروﻋﻲ‪ ،‬أﺑﻮﻇﺒﻲ‪ :‬ﻣﺮﻛﺰ زاﻳﺪ‬‫ﻟﻠﺪراﺳﺎت واﻟﺒﺤﻮث ﺑﻨﺎدي ﺗﺮاث اﻹﻣﺎرات‪2008 ،‬م‪.‬‬ ‫ دﻳﻮان ﺑﻦ ﻧﻌامن‪ ،‬ﻟﻠﺸﺎﻋﺮ ﻣﺤﻤﺪ ﻋﺒﻴﺪ ﺑﻦ ﻧﻌامن اﻟﻜﻌﺒﻲ‪ ،‬إﻋﺪاد‪ :‬اﻟﻌﴫي ﺑﻦ ﻛﺮاز اﳌﻬريي وﻏﺴﺎن اﻟﺤﺴﻦ‪ ،‬أﺑﻮﻇﺒﻲ ‪ :‬ﻟﺠﻨﺔ اﻟﺸﻌﺮ‬‫اﻟﺸﻌﺒﻲ ﺑﻨﺎدي ﺗﺮاث اﻹﻣﺎرات‪ ،‬اﻟﻄﺒﻌﺔ اﻷوﱃ‪2003 ،‬م‪.‬‬ ‫ دﻳﻮان ﺟﺰاء ﺻﺎﻟﺢ اﻟﺤﺮيب‪ ،‬إﻋﺪاد وﺗﺤﺮﻳﺮ‪ :‬إﺑﺮاﻫﻴﻢ أﺣﻤﺪ ﻣﻠﺤﻢ‪ ،‬ﻣﺮاﺟﻌﺔ‪ :‬ﻣﺤﻤﺪ ﺑﻦ ﻳﻌﺮوف اﳌﻨﺼﻮري‪ ،‬أﺑﻮﻇﺒﻲ‪ :‬ﻣﺮﻛﺰ زاﻳﺪ ﻟﻠﺪراﺳﺎت‬‫واﻟﺒﺤﻮث ﺑﻨﺎدي ﺗﺮاث اﻹﻣﺎرات‪ ،‬اﻟﻄﺒﻌﺔ اﻷوﱃ‪2018 ،‬م‪.‬‬ ‫ دﻳﻮان اﻟﺴامﺣﻲ‪ ،‬ﻟﻠﺸﺎﻋﺮ ﺧﻤﻴﺲ ﺑﻦ ﺣﻤﺪ اﻟﺴامﺣﻲ‪ ،‬إﻋﺪاد و ﺗﺤﻘﻴﻖ‪ :‬راﺷﺪ أﺣﻤﺪ اﳌﺰروﻋﻲ‪ ،‬أﺑﻮﻇﺒﻲ‪ :‬ﺑﻴﺖ اﻟﺸﻌﺮ ﺑﻨﺎدي ﺗﺮاث اﻹﻣﺎرات‪،‬‬‫‪2012‬م‪.‬‬ ‫ دﻳﻮان ﻓﺎرس اﻟﺸﻌﺮ‪ ،‬ﻟﻠﺸﺎﻋﺮ ﺻﺎﻟﺢ ﺑﻦ ﻋﲇ ﺑﻦ ﻋﺰﻳﺰ اﳌﻨﺼﻮري‪ ،‬ﺗﺤﻘﻴﻖ‪ :‬ﻋﲇ ﺑﻦ أﺣﻤﺪ اﳌﻄﻴﻮﻋﻲ‪ ،‬أﺑﻮﻇﺒﻲ‪ :‬ﻧﺎدي ﺗﺮاث اﻹﻣﺎرت‪2001،‬م‪.‬‬‫ دﻳﻮان ﻧﺎﻳﻔﺎت اﻟﻘﻮاﰲ‪ ،‬ﻟﻠﺸﺎﻋﺮ ﻣﺤﻤﺪ ﺑﻦ ﻋﺎﻳﺾ ﺑﻦ ﻫﺎدي اﻷﺣﺒﺎيب‪ ،‬إﻋﺪاد وﻣﺮاﺟﻌﺔ‪ :‬راﺷﺪ أﺣﻤﺪ اﳌﺰروﻋﻲ‪ ،‬أﺑﻮﻇﺒﻲ ‪ :‬ﻟﺠﻨﺔ اﻟﺸﻌﺮ‬‫اﻟﺸﻌﺒﻲ ﺑﻨﺎدي ﺗﺮاث اﻹﻣﺎرات‪ ،‬اﻟﻄﺒﻌﺔ اﻷوﱃ‪2008 ،‬م‪.‬‬ ‫ دﻳﻮان اﻟﻨﻴﺎدي‪ ،‬ﻟﻠﺸﺎﻋﺮ ﻋﺒﻴﺪ ﺑﻦ ﻣﺤﻤﺪ ﺑﻦ ﻋﺒﺪاﻟﻠﻪ اﻟﻨﻴﺎدي‪ ،‬إﻋﺪاد وﻣﺮاﺟﻌﺔ‪ :‬راﺷﺪ أﺣﻤﺪ اﳌﺰروﻋﻲ وﻓﺎﻟﺢ ﺣﻨﻈﻞ‪ ،‬أﺑﻮﻇﺒﻲ ‪ :‬ﻟﺠﻨﺔ اﻟﺸﻌﺮ‬‫اﻟﺸﻌﺒﻲ ﺑﻨﺎدي ﺗﺮاث اﻹﻣﺎرات‪2008 ،‬م‪.‬‬ ‫ ﺳﻠﻄﺎن ﺑﻦ زاﻳﺪ آل ﻧﻬﻴﺎن‪ ..‬رﺟﻞ اﻟﺸﻌﺮ ﺗﺮﺛﻴﻪ اﻟﻘﺼﻴﺪة‪ ،‬ﻣﻠﺤﻖ ﺧﺎص ﻣﻊ ﻣﺠﻠﺔ ﺑﻴﺖ اﻟﺸﻌﺮ‪ ،‬أﺑﻮﻇﺒﻲ‪ :‬ﻣﺮﻛﺰ ﺳﻠﻄﺎن ﺑﻦ زاﻳﺪ‪ ،‬اﻟﻌﺪد ‪،84‬‬‫دﻳﺴﻤﱪ ‪2019‬م‪.‬‬

‫اﻟﺸﻌﺮ ‪baytelshear‬‬ ‫ﺑﻴﺖ ِ‬

‫‪21‬‬

‫ ‪ Į§§ŏ‬‬

‫ﻋﻠﻰ ذﻛﺮه ﺷﻬﻮد‬ ‫ميﺠﺪ اﻟﺸﺎﻋﺮ ﻋﺒﻴﺪ ﺑﻦ ﻣﺤﻤﺪ ﺑﻦ ﻋﺒﺪ اﻟﻠﻪ اﻟﻨﻴﺎدي ﺣﺴﺐ اﳌﻐﻔﻮر ﻟﻪ وﻧﺴﺒﻪ وﻧﺒﻞ أﺻﻠﻪ اﻟﻜﺮﻳﻢ‪ ،‬وﻳﺼﻔﻪ ﺑﺎﻟﻜامل‪،‬‬ ‫ّ‬ ‫ﻣﻌ ّﺪدا ﺑﻌﺾ ﺧﺼﺎﻟﻪ ﰲ اﻟﻜﺮم وﻧﴫة اﳌﻈﻠﻮم وﺣامﻳﺔ اﳌﻠﺘﺠﺊ إﻟﻴﻪ واﳌﺤﺘﻤﻲ ﺑﻪ ﻣﻦ ﻣﺤﻦ اﻟﺤﻴﺎة‪ ،‬إذ ﻟﻴﺲ ﻫﺬا ﻛﻠﻪ‬ ‫ﺷﻴﺦ ﺳﻠﻴﻞ أﴎة ﻫﺬه ﺧﺼﺎﻟﻬﺎ وﻫﺬا ﻃﺒﻌﻬﺎ‪ ،‬ﻓﻴﻘﻮل ﰲ ﻗﺼﻴﺪة أﺳامﻫﺎ "زايك اﻟﺠ ﱠﺪﻳﻦ"‪:‬‬ ‫ﺑﻐﺮﻳﺐ ﻋﲆ ٍ‬

‫‪2¡@@ @ @~@ @7 x@@ @ @ @ @ @ C3 ¢@@ @ @ @ @< v@@ @ @ @ @ @ J*5 @@ @ @ + b@@ @ @ @ @ @ ~@ @ 6‬‬ ‫@‪2Hv@@ @ @ @ @ @ @ @ @ @ E* b‬‬ ‫‪R @ @ @ @ @ @ @ @ @ @ ³*H @@ @ @ @ @ @JvQ @ @ @ @ @ @ ±* ¤@@ @ @ @ @ @ @ @ C*5‬‬ ‫¯ *‪2¡@@ @ @ @ @/H @@ @ @ @ @D @@ @ @ @ Jb@@ @ @ @ @ @ @ @ @±*H @@ @ @ Jb@@ @ @ @ @ @ @ @ @ @ @D‬‬ ‫‪2H5 @@ @ @ @ @ @ @ @ AR @@ @ @ @ @ Q @ @ @ @ @ @ @ @ @ @ JR i°b@@ @ @ @ @ @ @ @ @ @ @ @ ²* @@ @ @ @ @Eb@@ @ @ @ @C‬‬ ‫‪2¡@@ @ @ @ @ @ @/H @@ @ {@ @ @£@ @ @m@ @ @+ @@ @ @ @ @ @G4b@@ @ @ @ @ @J2 Í@@ @ @ £@ @ @ @Eb@@ @ @ 0‬‬ ‫‪2¡@@ @ @ @ @ @ @ @Db@@ @ + h@@ @ @ @ @J @@ @ @ @ @ @ +¡@@ @ @~@ @ @ 8 @@ @ @ Jb@@ @ @ c@ @ @ @ @ @ @ @ D*H‬‬ ‫‪2¡@@ ~@ @{@ @²b@@ + *¡R @ @ @ @ @/ @@ @ @+b@@ ~@ @z@ @0 Rv@ @ @ @ @<* 4v@@ @ @ @ B* b@@ @ E‬‬

‫‪ b@@ @ @ @ @ @F2 @@ @ @ @ @ @ @£@ @ @ @A b@@ @ @ @ @ @E b@@ @ @ @£@ @ @ @ @ @ @ @ F f@@ @ @ @DÉ@@ @ @ @~@ @ @ @ 6‬‬

‫‪ *v@@ @ @ / @@ @ @ Db@@ @ @ j@ @ @ E&* ¤@@ @p@ @ @ @ J ¥2b@@ @ @ £@ @ @ @ @ @ @ @D*H‬‬ ‫‪ b@@ @ @ @ < ,4v@@ @ @ @ @ @ B ¢@@ @ @ @ @< ¶¡@@ @ @ @ @ @ ´* v@@ @ @ @ p@ @ F‬‬ ‫‪ b@@ @ @0 ¡@@ @ @G 4b@@ @ @ @ @ @ J2 @@ @ @E É@Q @ @ m@ @ @g@ @ @JR ·H‬‬ ‫‪ b@@ @ ~@ @ @z@ @ @±*H @@ @ @ @ @ @ ´b@@ @+ ¥2b@@ @ @ @ @ @ @ @ @´* @@ @ @ @ @EH‬‬ ‫*‪Q H @@ @ @ @ @G4b@@ @ @ @ @J2 b@@ @ @ @G¡@@ @ @ @Cx@@ @ @ @-‬‬ ‫ @ @ @ @ @ @ @@‪ É@@ @ @A h‬‬ ‫‪ b@@ @ @ @ @~@ @ @6H b@@ @ @ @ J @@ @ @ @ E · v@@ @ @ @ P @ @ @ @ @ D* @@ @ @ @ @ @ @ @ @ @ @J24*H‬‬

‫ﻟﻴﻤﺠﺪ اﳌﻐﻔﻮر ﻟﻪ اﻟﺬي ﻳﻌﺮﻓﻪ اﻟﻘﺎﴆ واﻟﺪاين‪ّ ،‬‬ ‫وﻳﻌﻈﻢ ﺳﻼﻟﺘﻪ اﻟﺘﻲ ﻋﺮف ﻋﻨﻬﺎ‬ ‫وﻳﻌﻮد اﻟﻨﻴﺎدي ﰲ ﻗﺼﻴﺪة أﺧﺮى ّ‬ ‫وﻓﺎؤﻫﺎ وﺣﻔﻈﻬﺎ ﻟﻠﻌﻬﻮد واﳌﻮاﺛﻴﻖ‪ ،‬ﱠ‬ ‫وﺳﻄﺮت ﰲ ﺗﺎرﻳﺨﻬﺎ ﻣﺂﺛﺮ اﻟﺒﺴﺎﻟﺔ واﻟﺮﺟﻮﻟﺔ واﻟﺬود ﻋﻦ اﻟﺤﻤﻰ‪ ،‬ﻓﻴﻘﻮل‪:‬‬

‫‪ b@@ @£@ @ @ @ F f@@ @ @ DÉ@@ @ @ ~@ @ @ 6 v@@ @ @ @ @ @ @ @ J*5 @@ @ @ @ @+ b@@ @ @ @ @ @ @ @ @ ~@ @ @ 6‬‬ ‫‪ *Hv@@ @ @ @ @ < @@ @ @ @C @@ @ @ @E b@@ @ @ @ @ R @ @ @£@ @ @Eb@@ @ 0 @@ @ @ @ @ G4b@@ @ @ @ @ J2R‬‬ ‫*‪ b@@ @ @ @ @ @ @A*H d@@ @ @ £@ @ @ @-*x@@ @ @ - @@ @ @ @ D ¥v@@ @ @ @ @ @ @< ¡@@ @ @ @ @ @ @ @ @D‬‬

‫‪20‬‬

‫اﻟﻌﺪد ‪ ، 85‬ﻳﻨﺎﻳﺮ ‪2020‬‬

‫*&‪n@@ @ @ £@ @ @ @.*¡@@ @ @ ´* 2¡@@ @ @ @ @ @ @ @ @ @ @ @ @ @ D*H ,yQ @ @ @ @ @ @ @ @ @ @ @ @ ´* @@ @ @ @ @ @ @ @ @G‬‬ ‫‪n@@ £@ @ Ab@@ @ @ - 2b@@ @ @ @ @ @ c@ @ @ @ @ @ DH e4Q v@@ @ @ @ @ @ @ @ E @M @ @ {@ @ @£@ @ @m@ @ @+‬‬ ‫@¡‪n@@ @£@ @ Db@@ @s@ @ ´* @@ @ Ax@@ @ @ @ @- t@@ @£@ @ ~@ @ 7 ¶(* @@ @ @ @ /‬‬ ‫‪Q @ @ @ @ EH‬‬

‫راﻋﻲ اﻟﻤﻌ ّﺰة‬ ‫ﻔﺎﺧﺮ اﳌﻐﻔﻮر ﻟﻪ اﻟﺘﻲ ﻳﺤﻖ ﻟﻪ أن ﻳﺰﻫﻮ ﺑﻬﺎ‪ ،‬ﻓﻘﺪ ﺗﺄﺻﻠﺖ ﰲ‬ ‫وﻳﺰﻳﺪ ﺻﺎﻟﺢ ﺑﻦ ﻋﲇ ﺑﻦ ﻋﺰﻳﺰ اﳌﻨﺼﻮري ﰲ ﺗﺄﺻﻴﻞ َﻣ ِ‬ ‫ﻧﻔﺴﻪ "ﻃﻴﺐ اﻟﻠﻪ ﺛﺮاه" ﺟﺬوة اﳌﻌﺰة واﻟﺸﺠﺎﻋﺔ واﻟﻜﺮم اﻟﺘﻲ ورﺛﻬﺎ ﻋﻦ واﻟﺪه وﻋﻦ أﺟﺪاده اﻟﺬﻳﻦ ﱠ‬ ‫ﺳﻄﺮوا ﻣﺂﺛﺮ‬ ‫اﳌﺠﺪ‪ ،‬إذ ﻳﻘﻮل‪:‬‬

‫*‪Áb@@ @ @j@ @ @ D* v@@ @ @ @ @ @ @ @J*5 v@@ @ @ @ @ @ @ @/H v@@ @ @ @ @ @ @ @J*5 ¡@@ @ @ @ @ @ @ @+‬‬ ‫‪ÁÉ@@ @ @ @ <H x@@ @ @~@ @ @ 6 @@ @ @D¡@@ @ @ @ @ @ F M v@@ @ @ @ ~@ @ @ @ 8 É@@ @ @ @ @ @ @CH‬‬ ‫ ‪R P @ <b@@ m@ @~@ @{@ @D* @@ @ @ @ G*H‬‬ ‫@ ‪Á*v@@ £@ @ E @@ @ C ¢@@ @ @ @ @gP @ @ @²‬‬ ‫ ‪ÁÉ@@ @ @<H t@@ @ @J4b@@ @ @- @@ @ @ @ Jb@@ @ @Q @ @D* ¢@@ @ @ @ < @@ @ @ @ @ @ D*H‬‬

‫‪ b@@ @ @£@ @<*4 h@@ @ @ @ @ @FR *H @@ @ @ @-HR yP @ @ @ @ < yQ @ @ @ @ @ @ @ @´* @@ @ @ @ @ @6*4H‬‬

‫‪b@@ @ JvQ @ F @@ @ @²* f@@ R @ @ @ @ CH 4¡@@ @ @F v@@ @~@ @ |@ @ D*H‬‬ ‫‪b@@ @ @J4b@@ B d@@ @ @B @@ @cN @ @ R @ @ - t@@ @ @J4*¡@@ @ @- @@ @ @ @ @D*H‬‬ ‫‪ b@@ @ J4b@@ : @@ @ 0 @@ @ E ¢@@ @ @J M ¡@@ @ @ @B @@ 6¡@@ Eb@@ F‬‬

‫وميﺠﺪ ﻛﺮﻣﻪ وآﺛﺎر وﺟﻮده اﻟﺘﻲ ﺗﻨرث‬ ‫وﻳﺠ ّﺪد اﳌﻨﺼﻮري ﰲ ﻗﺼﻴﺪة أﺧﺮى ﻣﺜﻞ ﻫﺬه اﳌﺂﺛﺮ اﻟﺘﻲ ﺗﺸﺎﺑﻪ ﻣﺂﺛﺮ واﻟﺪه‪ّ ،‬‬ ‫ﻣﺤﺎﺳﻨﺎ وﺗﺰرع ﺑﻬﺠﺔ أﻳﻨام ّ‬ ‫ﺣﻞ‪ ،‬ﻓﻴﻘﻮل‪:‬‬

‫ ‪iÉ@@Jb@@: 4¡@@ c@ @~@ @7* ¤@@ @ Db@@J t@@£@ ~@ 7 b@@ J b@@c@ 0x@@EH‬‬ ‫ ‪ib@@ @ ~@@R 8* @@ Dw@@ 1b@@ EH q@@EÉ@@E v@@ @ J*5 @@ E @@£@ A‬‬ ‫‪ib@@ @ p@ ~@ }@ + @@~@ z@ cS @ - h@@ Eb@@ B 4*v@@ @ @ @D* h@@ £@ @/ ¡@@ @ J‬‬

‫‪b@@ @ @ Db@@ /4* @@ @£@ @ <5 ¤@@ @ @ @ D* 42b@@ @ @ @ @Db@@ @ + b@@ @c@ @ 0x@@ @EH‬‬

‫‪ b@@ @ Db@@B @@ @E b@@ @ Db@@ B @@ @ £Q @ c@ D* ¡@@ @~@ @ 8¡@@ @D*H‬‬ ‫‪b@@ @Db@@A x@@Jb@@ @ ~@Q @z@ D*H @@-x@@J2 @@+ ix@@ @ ~@R @6*H‬‬

‫وﻷن اﳌﺠﺪ واﻟﺠﻮد ﻣﺘﻮارث ﻋﻨﺪ ﺳﻠﻄﺎن‪ ،‬ﻓﻬﻮ ﻣﻤﺘﺪ أﻳﻀﺎ ﻋﻨﺪ إﺧﻮاﻧﻪ‪ ،‬إذ ﻳﻘﻮل اﺑﻦ ﻋﺰﻳﺰ اﳌﻨﺼﻮري ﰲ إﺣﺪى‬ ‫ﻗﺼﺎﺋﺪه اﳌﻬﺪاة إﱃ اﳌﻐﻔﻮر ﻟﻪ اﻟﺸﻴﺦ ﺳﻠﻄﺎن‪:‬‬

‫‪ @@ @ @ Jb@@ j@ @ E ¤@@ @ @ @ @ @ @D* H *y@@ @ @ @ @G¡@@ @ @ @ @+ @@ @ @ |@ @ @ @g@ @ @ @1*H‬‬ ‫‪ @@ @ @ Jb@@ @ @ ~@ @ 7H Í@@ @ @ Â @@ @ @ E ¤@@ @ @ @ @ @ D* @@ @ @ @ @F*¡@@ @ @ @ @1*H‬‬ ‫< @ @ @‪ @@ @ @Jb@@ ~@ @}@ @A b@@ @ @£@ @ @ @< ¤@@ @ @ @ @ @ D* @@ @ £@ @ @<y@@ @ D* b@@ @ @£‬‬ ‫ ‪ @@ @ @ @ JR É@@ @; b@@ @ @ @ £@ @ @ @ < ¤@@ @ @ @ @ @ - @@ @ C4¡@@ @ ~@ @ @ }@ @ @ 0H‬‬

‫‪4b@@ @ @ @ @ @ @DR *H v@@ @ @m@ @ @ ´* @@ @ @ D v@@ @ @ @ @ J*5 @@ @ @ + b@@ @ @ @ @ @ ~@ @ 6‬‬ ‫‪4*v@@ @ @ @ @ @ D*H d@@ @ @ @ ~@ @ {@ @ @ @ D 4¡@@ @ @ @ @ F v@@ @ @ @ @ @ J*5 b@@ @ @ @£@ @ @ @ <H‬‬

‫‪4b@@ @ ¸H ¥b@@ @ @ @ @E h@@ £@ @c@ @D* e4 b@@ @ @ p@ @ JH‬‬ ‫‪4b@@ @ CwR @ @ @ -H ·b@@ @£@ @ @ @ D* ¡@@ @ @ : ¯ t@@ @ @J4b@@ @ @-H‬‬

‫اﻟﺸﻌﺮ ‪baytelshear‬‬ ‫ﺑﻴﺖ ِ‬

‫‪19‬‬

‫ ‪ Į§§ŏ‬‬

‫ﺳﻨﺪ اﻟﺪار‬ ‫وﻳﺸﺎﻃﺮ ﺳﻌﻴﺪ ﺑﻦ ﻛﻠﻔﻮت ﺑﻦ ﴎور ﺑﻦ ﻣﻬﻴﻠﻪ اﻟﺸﺎﻣﴘ زﻣﻴﻠﻪ اﺑﻦ ﻧﻌامن اﻟﻜﻌﺒﻲ ﰲ وﺻﻒ‬ ‫اﻟﺸﻴﺦ ﺳﻠﻄﺎن‪ ،‬ﻓﻴﻌ ّﺪد ﻣﻨﺎﻗﺐ اﳌﻐﻔﻮر ﻟﻪ اﻟﺘﻲ ﺗﺸ ﱠﺒﻊ ﺑﻬﺎ ﻣﻦ واﻟﺪه ﺳﻴﺪ اﳌﺠﺪ"ﻃﻴﺐ اﻟﻠﻪ ﺛﺮاه"‪ ،‬وﻳﻨﺎدﻳﻪ مبﻦ‬ ‫ﺗﺰﺧﺮ ﺑﻪ اﻷوﻃﺎن ﺟ ﱠﻴﺎﺷﺔ مبﺸﺎﻋﺮ اﻟﴪور واﻟﻬﻨﺎء اﻟﺘﻲ ﻳﺒﺜﻬﺎ ﻓﻴﻬﺎ‪ ،‬واﺻﻔﺎ ﻛﺮﻣﻪ وﺟﻮده وﻣﻮاﻗﻔﻪ اﻹﻧﺴﺎﻧﻴﺔ ﻣﻦ‬ ‫ﻛﻞ ﻣﺤﺘﺎج‪ .‬وﻣﻦ أﺑﻴﺎت اﻟﻘﺼﻴﺪة ﻗﻮﻟﻪ‪:‬‬

‫‪x@@ @ Cw@@ @ J v@@ @ @m@ @ @ ´b@@ @ @+ @@ @ @ @ E @@ @ @ @ ½ b@@ @ @ @ J É@@ @ @ @ G‬‬ ‫ ‪x@@ 1y@@ - t@@ £@ @ ~@ @ 7 b@@ @ @ J @@ @ @ + b@@ @ @ :¡R @ @ @ @ D Ix@@ @ @ @ -‬‬ ‫ @ @ @ @ @ @ ‪x@@ @ @~@ @{@ @- ib@@ @ @ @ @ 0*x@@ @ @ @ @ Db@@ @ @ @ @ +H @@ @ @ @ + ¤@@ @ @ Q‬‬‫‪Ä@@ @ @ @ @C&°* v@@ @ £@ @ @ @ @ @D* i*x@@ @ @ ~@ @ @ @7 @@ @ @ + b@@ @ Gb@@ @ @ @ @D‬‬ ‫@‪x@@ @ Gy@@ @ - @@ @ @ @ . @@ @ B¡@@ @ @ @ @~@ @ @7 @@ @ @ @ + d@@ @ @ @ 0x‬‬ ‫ @@@@ ‪Q‬‬‫‪x@@ s@ @ F u¡@@ @ £@ @ @~@ @ @7 b@@ @ @ J @@ @ Cv@@ @ m@ @ @§ b@@ @ @ Q @ @ @ @ 0H‬‬ ‫‪x@@ @ @ F u¡@@ @ £@ @ @~@ @ @7 b@@ @ @ J @@ @ @ @ @~@ @}@ @A @@ @ @ E °H‬‬ ‫‪x@@ @ Cw@@ @ - rv@@ @ @ @ @´b@@ @ @ @ @+ Mf@ @ @£@ @ @~@ @ @|@ @ @s@ @ @~@ @ @7 @@ @ @ @ @ @ DH‬‬ ‫‪x@@ @ @ @ ~@ @ {@ @ - i*Qv@ @ @ @ @ @ @ @´b@@ @ @ @ @ @ @ + v@@ @ @ @ @ @ @ @ @ J°* Ãx@@ @ @ @ @ @ @ C‬‬ ‫‪x@@ ~@ @z@ @ @ @E @@ @ @ @ @ J2 @@ @ @ @+ Mv@@ @ @ @ @ @ @ @0*H @@ @ @ @E @@ @ @ @ @A‬‬

‫‪18‬‬

‫اﻟﻌﺪد ‪ ، 85‬ﻳﻨﺎﻳﺮ ‪2020‬‬

‫*‪b@@ @Gv@@ @ @ @ ~@ @ 6H 4*v@@ @ @ @ @ @ @ @D* b@@ @ £@ @ @0 v@@ @ @ @ @ @ J*5 @@ @ @ @ @ +‬‬

‫‪ b@@Gv@@© @@:¡@@~@ z@ c@ E @@ @ z@ @ F°* d@@ £@ @ +‬‬ ‫@‪ b@@ Gv@@ ~@ @|@ @BH b@@ @Gb@@ @/ ¥w@@ @ Db@@ @ + d@@ @ 0x‬‬ ‫@@ ‪Q‬‬‫‪ b@@Gv@@ @ ~@ 6 @@ @ @E @@ ~@ @z@ @c@ @- r*x@@ @ @ @ A&°b@@ @ @ @ +H‬‬ ‫‪ b@@ @ G2y@@ @ J Ñ*H b@@ @ @ @ @ @ Db@@ @+ v@@ @£@ @ @ @ ~@ @ 6‬‬ ‫‪ b@@ Gv@@ @ @<H x@@ @Jv@@ @ @ @ D @@ 6b@@ ~@ @6 *¡@@ @g@ @ F&b@ @ A‬‬ ‫‪ b@@ @Gv@@ @<H @@ @ Q @ @ @0 · @@ @ @ @ ~@ @ {@ @ D* @@ @ @ @ +‬‬ ‫‪ b@@ Gv@@ @ @g@ @ @ @J @X @ @ @ @ @ C ib@@ @ @ @ @ J*x@@ @ @ @ @ D* @@ @ @ @D‬‬ ‫@ @ @ @ @@‪ b@@ @Gv@@ @ @ @ 0 M @@ @ @ @ @ @ C @@ @ @ @ @ @-vQ @ @ @ @ @ @ EH v‬‬ ‫‪b@@ Gv@@ /H @@ -b@@ c@ @ @ @: b@@ @ @ / @@ @ E @@ @ @ CH‬‬

‫ﻋ ّﺰ اﻟﺪوﻟﺔ‬ ‫وﻳﺼﻒ ﻣﺤﻤﺪ ﻋﺒﻴﺪ ﺑﻦ ﻧﻌامن اﻟﻜﻌﺒﻲ ﰲ ﻗﺼﻴﺪة ﻃﻮﻳﻠﺔ اﻟﺸﻴﺦ ﺳﻠﻄﺎن ﺑﻌ ّﺰ اﻟﺪوﻟﺔ اﻟﺬي ميﺜﻞ اﺳﻤﻪ ﻋﲆ ﺻﺪر‬ ‫ وﻫﻮ اﻟﺠﻮاد ذو‬،‫ ﻓﻬﻮ ﺳﻴﺪ اﻟﺮﺟﺎل اﻟﻈﺎﻓﺮ اﻟﺤﺎزم اﻟﺠﺎزم‬،‫اﻟﻮﻃﻦ ﻧﻴﺸﺎﻧﺎ ﻟﻠﻤﻌﺰة واﻟﻔﺨﺮ؛ إذ أﺣﻴﺎ ﻣﺠﺪ أﺟﺪاده‬ ‫ وﻣﻦ أﺑﻴﺎت‬.‫ ميﺴﺢ أﺣﺰاﻧﻬﻢ وﻳﺴﺎﻧﺪﻫﻢ ﰲ ﻣﺤﻨﻬﻢ وﻛﺮوﺑﻬﻢ‬،‫ ﻓﻴﺤﺴﻦ إﱃ ﺷﻌﺒﻪ‬،‫اﻟﻘﻠﺐ اﻟﻄﻴﺐ اﻟﺬي ﻳﻔﻴﺾ إﻧﺴﺎﻧﻴﺔ‬ :‫اﻟﻘﺼﻴﺪة‬

·b@@ @ @ @ ´* @@ @ @ @ +N Rh@@ @ @ N @ @ @ ~@@N @ @6 ¤@@ @Eb@@ @~@ @ z@ @ D* v@@ @ @ @ @ J*5 @@ @ @ @ +P ·*¡@@ @ @ @ @ JP @@ @ @ @ Q @ @ @ @ @0H @@ @ @ Q @ @ @ @0 b@@ @ @ @ @ @ @ @ @ D* ISv@ @ @ @ @ @ @ @ @+N ·b@@ @ @ @/x@@ @ @ @D* y@@ @ @ @Jy@@ @ @ @< b@@ @ @ @ @J xM @ @ @ @ @ @ ~@ @ @ 7 ib@@ @ @ @ @ @ @ @ @ @ @ J%*H ·b@@ @£@ @ @ @ D* Ì@@ @ @ @ @ @ @-P @@ @ @ @ @ @ @/H ¯ @@ @ z@ @ @ @ @ @~@ @ @{@ @ @D*H ·*¡@@ @ @gQ @ @ @ D* ¤@@ @ Eb@@ @ 0 @@ £@ @p@ @ @ @²* b@@ @ @J @@ @ £@ @ @²* b@@ @ @J ·b@@ @ @ @ @ @ @EN H @@ @ @ @ @ @ @ @+ P5b@@ @ @ @ @ @ @ @ @ @ ±* 5b@@ @ @ @ @ @ @ @ @²* b@@ @ @ @ J

R @ @ @ @ @ @ ~@ @ 6 @@ @ @£@ @ @ B *3* x@@ @ 1b@@ @ @ @ @g@ @ @J x@@ @ @ @ Gv@@ @ @ @ D* b@ b@@ @ @ @Ax@@ @ @ @<H Md@@ @ @ @p@ @ @ @ + Qv@ @ @ @ @ @ @ @g@ @ @ @J d@@ @ @ R @ @ @ @~@ @ @ @{@ @ @ @D*H b@@ @ @ @ @ @²*H @@ @ @ @ @JH*¡@@ @ @ @ @E @R @ @ @ @ @ @D Qv@ @ @ @ @ @ @ B Q @ @ @ @ @ @ @ @ @ @ D*H *¡@@ @ @ @ @ @ @<H M @@ @ @ @£@ @ @ @ D2 x@@ @<b@@ @~@ @ {@ @ @ @ D x@@ @ @ @ @ @ ~@@U @ @{@ @ @ D*H b@@ @ @ @ @£R @ @ @1N @@ @ @ C I43N b@@ @ @ J v@@ @ @ @ @ @ J*5 v@@ @ @ @ @ @ @ DR HP b@@ @ @ J b@@ @ @ @ £Q @ @ @ @ @ N @ @ @ @ @FR fR @ @ @ @ @ @ @ @ @ @ @ @ @ +N °H @@ @ @ @ DHv@@ @ @ @ @ @ @ @ @D yQ @ @ @ @ @ @<b@@ @ @ @ @ J

:‫ ﺑﺎﻟﻘﻮل‬،‫وﻳﺴﺘﻄﺮد اﺑﻦ ﻧﻌامن اﻟﻜﻌﺒﻲ ﰲ أﺑﻴﺎت أﺧﺮى ﻣﻦ اﻟﻘﺼﻴﺪة‬

·b@@ @ @ @ @ @ @ @ ´*H b@@ @ @ @ @ @ @ @ jN @ @ @ @ D* eb@@ @ @ @~@@ Q@ @ @z@ @ @ @ C v@@ @ @ @ @ @ @ @ @ @ DR HP b@@ @ @ @ @J ·b@@ @ @ c@ @ @ @±* ib@@ @ @ @£@ @ @ @ ~@ @ @ @ 6*x@@ @ @ @ D* ¡@@ @ @ @ @ @ @ @ J ¤@M @ @ @ @ @~@@ @N @ @ @7 O * @@ @ @ @ @+* b@@ @ @ J x@@ @ @ @ @ @² O * b@@ @ @ J ·b@@ @ < h@@ @ @£@ @ @ £Q @ @ @ P0 x@@ @ @ @ @ @² ·b@@ @ @/x@@ @ @D* e¡@@ @ @ @ @ @ @=N d@@ @ Db@@ @ @ @ @ D* x@@ @ Ab@@ @ @ @ @ D* b@@ @ @ J ·*¡@@ @ @ @ @ @ ³* Í@@ @ @ @ @ @ Db@@ @ @~@ @ @ z@ @ @ D* v@@ @ @ @ @¸ h@@ @ @ £@ @ @ @ @ @ @ @+H ·b@@ @£@ @ @ @ D* @@ @ Jx@@ @ ~@ @ @z@ @ @ R @ @ @ PE @@ @ @ @ Q @ @ @ @ PE Æ@QN @ @ @ @ @ @~@@ @ @R @ @ @6*H

baytelshear ‫اﻟﺸﻌﺮ‬ ِ ‫ﺑﻴﺖ‬

b@@ ~@ @{@ @£@ @FH yQ @ @ @ @ @ @ @ @ EN @@ @ @ @DHv@@ @ @ @D* ¢@@ @ @ @ < @@ @ N @ @ @~@ @ @6* b@@ @~@ @ z@ @ 0*HN iÉ@@ @£@ @ @ @ P/ @@ @ E @@ c@ @ @ @~@ @7 Rh@@ @ @ @ @ Q @ @ @0N b@@ @ @ @ @ @:H°* 4¡@@ @ @ @ F b@@ @ @ J b@@ @ @ gS @ @ @ @ N @ @ @ @D* x@@ @ @ :b@@ @ @ ´* b@@ @ @ J *v@@ @ @£@ @ @ E @@ @ @ @ @ @CP ¯ Í@@ @ @ -b@@ @ @ @ @ @ @D* P5b@@ @ @ @ @ @ @ @ @ G b@@ @ @ @ J b@@ @ @ @+R x@@ @ @ @CN Rh@@ @ @ @ @ @0xQ @ @ @ @ @ @ AN H M4¡@@ @ @ @~@ @ @ @ 6&b@ @ @ @ E Rh@@ @ @ £@ @ @ @ Q @ @ @ @AN N b@@ @ @ @ @ @ ¹R °* i*Ì@ @ @ @~@ @ @ z@ @ @ P< ,2¡@@ @ @ @ @ @ @ @E Rh@@ @ @ £@ @ @ Q @ @ @ 0H N

‫ ‪ Į§§ŏ‬‬

‫رﻣﺰ ا‪A‬ﻣﺠﺎد‬ ‫ﻳﺮﺳﻢ اﻟﺸﺎﻋﺮ اﻟﻜﻮﻳﺘﻲ ﺟﺰاء ﺑﻦ ﺻﺎﻟﺢ اﻟﺤﺮيب ﺻﻮرة ﺗﺠﻤﻊ ﰲ ﺗﺸﻜﻴﻠﻬﺎ ﺑﻌﻀﺎ ﻣﻦ ﺧﺼﺎﺋﻞ اﳌﻐﻔﻮر ﻟﻪ و ُﻟ َﻤﻌﺎ ﻣﻦ‬ ‫ﻣﻜﺎرم أﺧﻼﻗﻪ‪ ،‬ﻓرناه ﻳﻐﺰل ﺧﻴﻮﻃﺎ ﺗﱪز ﰲ ﻟﻮﺣﺘﻪ ﺳﻠﻄﺎن منﻮذﺟﺎ ﰲ اﻟﺸﺠﺎﻋﺔ واﻟﺮﺟﻮﻟﺔ ورﻣﺰا ﻟﻠﻤﺠﺪ‪ ،‬وﻫﻮ اﻷﺻﻴﻞ ﰲ‬ ‫ﻋﺮوﺑﺘﻪ اﳌﺘﺸ ّﺒﻊ مبﺤﺎﺳﻦ أﺑﻴﻪ‪ ،‬وﻳﺮﺳﻢ اﻟﺤﺮيب ﰲ ﺗﺸﻜﻴﻠﻪ ﺑﻌﺾ ﻣﻼﻣﺢ ﱢ‬ ‫رﺳﺨﺘﻪ رﺣﻤﻪ اﻟﻠﻪ ﻋﻨﻮاﻧﺎ ﻟﻠﻜﺮم‬ ‫اﻟﻄﻴﺐ اﻟﺘﻲ ﱠ‬ ‫واﻟﺠﻮد‪ ،‬إذ ﻳﻔﻴﺾ ﻛﺮﻣﻪ ﻋﲆ وﻃﻨﻪ ﺑﺎﻟﺨري اﻟﻌﻤﻴﻢ‪ ،‬ﻓﻔﻲ ﻗﺼﻴﺪﺗﻪ اﻟﺘﻲ أﺳامﻫﺎ "رﻣﺰ اﻻﻣﺠﺎد" ﻳﻘﻮل اﻟﺤﺮيب‪:‬‬

‫‪2b@@ @ @ @ ¸°* y@@ @ @ @ E4 b@@ @ @ =¡@@ @ @ D* 5x@@ @ @ @ A b@@ @ @ J b@@ @ @ @ @ @ ~@ @ 6‬‬ ‫‪2b@@ @ @ @ @ <S 4 ib@@ @c@ @ £@ @ @ @ ~@ @ |@ @ @ @ D @@ @ ~@ @ @8b@@ @ E @@ @ @8*x@@ @ @ @ @ @ E‬‬ ‫‪2*v@@ @ @ @ @ /&°* exR @ @ @ @ @< b@@ @ J b@@ @=x@@ @~@ @ }@ @ D* b@@ @ J k@@ £@ @ D b@@ @ J‬‬ ‫*‪2b@@ @ g@ @ @ @ @ @E d@@ @ @ @ @£@ @ @ @ @ /*¡@@ @ @ @ @´* @@ @ @ @ @ C ¢@@ @ @ @ @ @ @< @@ @ @ @ g@ @ @ @ @F‬‬ ‫‪S @ @ @ @ / @@ @£@ @ ~@ @ z@ @ Db@@ @+ b@@ @ @ @ @ @ ~@ @ 6 @@ @ @ @ @ @ ~@ @ @ 8%* ¡@@ @ @ D‬‬ ‫‪2É‬‬ ‫‪2É@@ @ @ @ @ @+H Í@@ @ @ -b@@ @ @ ~@ @ @ @z@ @ @ @+ h@@ @ @ @ @ S @ @ @ @ @ < @@ @ @ @ E4b@@ @ @ @ @ @ @ @ @E‬‬ ‫‪2*¡@@ @ @ @/&* @@ @ E @@~@ z@ @ ~@ z@ - ¤@@ @ @ @ D* @@ @£@ @ <y@@ @D* @@ @ + b@@ @ J‬‬

‫‪¥2¡@@ @ @ @ © 4b@@ @ @ @ @ @ @ @ @ @ @´* i*x@@ @ @ @ @ @ @ @ @ @ @+ ¤@@ @ @ @ @ @ @ @ D* b@@ @ @ @ J‬‬ ‫‪¥2¡@@ @ ~@ @ @{@ @ @J @@ @ c@ @ @ @ ~@ @ 7 v@@ @ @ @ @ @ < @@ @ c@ @ £@ @ @ @ + M @@ @ @ @ @ @C‬‬ ‫‪¥2Hv@@ @ @ @ @ @ @±* d@@ @ @ Jx@@ @ @ < exQ @ @ @ @ @ @ @ @ @ @ EH v@@ @ Jv@@ @ @ @ @~@ @ @8‬‬ ‫‪¥2H4¡@@ @ @ @ @ @ D* b@@ @ @ @ @ @ B4H $*x@@ @ ~@ @ @}@ @ @1 M,x@@ @ m@ @ @~@ @ @7 @@ @ @E‬‬ ‫‪¥2¡@@ @ /¡@@ @ Db@@ @ + @@ @~@ @ 8¡@@ @ @ @ - @@ @ Jb@@ @ ~@ @ @8¡@@ @ D* h@@ @ @ @ B‬‬ ‫< @ @ @ @@‪¥2¡@@ @ @ ~@ @ 6 @@ @ @E @@ @ C2¡@@ @ @ @ @~@ @ @6H x@@ @ ~@ @ @{@ @ @D* ¢‬‬ ‫‪¥2H4¡@@ @ @ @ @ @ @ @ @ D* Í@@ @ @ @ @ @ @-b@@ @ @ +H o*4y@@ @ @ @ @ @ @ @ @ @ @ D* 2¡@@ @ @ @ @ @ @ @ A‬‬

‫وﻳﺴﺘﻔﻴﺾ اﻟﺤﺮيب ﰲ ﺗﺸﻜﻴﻠﻪ إﱃ أن ﻳﺼﻞ ﺧﻴﻮط رﺳﻤﻪ ﺑﺎﳌﻐﻔﻮر ﻟﻪ اﻟﺸﻴﺦ زاﻳﺪ وآل ﻧﻬﻴﺎل اﻟﻜﺮام‪ ،‬ﺣﻴﺚ اﳌﺠﺪ‬ ‫واﻟﺘﺎرﻳﺦ واﻟﻌﻠﻴﺎء‪ ،‬ﻓﻴﻘﻮل‪:‬‬

‫‪2b@@ @ £@ @ @ ~@ @ @ 6*H @@ @ £@ @ @;b@@ @ @ @ @- *2¡@@ @ @ @ @ @ @ @ ±* ¢@@ @ @ @ @ < @@ @ @ @ @ D‬‬ ‫‪2b@@ @ @ @ @ @ @ @ @0°*H @@ @ @ @ @ @ @ @ +4 @@ @ @ @ C @@ @ @ @ @ @ @ @ @ @ @+ x@@ @ s@ @ @ @ @ @J‬‬ ‫< @ @ @ @@‪2b@@ @ @ @c@ @ @ @ C°* U @ @ @ @ ~@ @ @ @ 6 @@ @ @ @ E ¡@@ @ @ @ @~@ @ @z@ @ @- @@ @ @ @ CHv‬‬ ‫*´@ @ @ @ @ @ @@‪2*v@@ @ @ @ @ @ @<*H eb@@ @ @~@ @ @ z@ @ @ 0 @@ @ @ @ D b@@ @ @ @ E @@ @ @ @ @£@ @ @A rv‬‬ ‫‪2*v@@ @ @ @ @ @ @ @ /H ib@@ @ @ @ @ @ Âv@@ @ @ @ @ @ B t@M @ @ @ @ @ @ @ @ J4*¡@@ @ @ @ @ @ @ @ - @@ @ @ @ @ @ @ @ D‬‬ ‫‪2*x@@ @ @ @ @ @A*H @@ @ @ @ @/ ¢@@ @ @ @ @< @@ @ @ @ @ @ J5b@@ @ @/* ¡@@ @ @ @ @ ~@ @ @ 7H‬‬ ‫‪2b@@ @ @ @ @~@ @ @7°* ¡@@ @ @£@ @ @ < ¢@@ @ @ @ @< M b@@ @ @ @ @ @ @ @ @ @ +*H b@@ @ @ @ @ @ 0‬‬

‫‪16‬‬

‫اﻟﻌﺪد ‪ ، 85‬ﻳﻨﺎﻳﺮ ‪2020‬‬

‫‪¥2Hy@@ @ @ @ @ @- v@@ @ @ @ @ @ @ J*5 @@ @ @ @ @ @ A @@ @ @ @ E @@ @ @ @ @ @C2b@@ @ @ @ @ @¸*H‬‬ ‫‪¥2¡@@ @ @ @ @ @ J b@@ @ @ @ E b@@ @ @ @ @ F4Hv@@ @ @ @ @ D b@@ @ @~@ @ @ z@ @ @ < Mh@@ @ @ @ B¡@@ @ @ @ +‬‬ ‫‪¥2H2H M4¡@@ @ @ @ @s@ @ @ @ @ A @@ @ @ @ @ £@ @ @ A @@ @ @ @ @ @ @ @ @ Jv@@ @ @~@ @ @ 8H‬‬ ‫‪¥2Hv@@ @ @ @ @ 0 @@ @ @ @D @@ @ @ @ @ ² b@@ @ @ @E Áb@@ @ ~@ @ @z@ @ @D y@@ @m@ @ @ @ J‬‬ ‫‪¥2¡@@ @ @p@ @ @ ±* @@ @}@ @ £@ @ @ @ c@ @ D* Ì@@ @ @ @= x@@ @ @ @ @ @ @ @J b@@ @ @ @E‬‬ ‫‪¥2¡@@ @ @ @~@ @ @ @ 6*H x@@ @ @~@ @ @ 6*¡@@ @ @C @@ @ @ @ @ @ Jb@@ @ ~@ @ 8H @@ @ @ @g@ @ @ @ F*H‬‬ ‫‪¥2¡@@ @ @ @ ~@ @ 7 @@ @ @ D ¤@@ @ c@ @ @J °H q@@ @£@ @ p@ @ ~@ @ |@ @ D* *w@@ @ @ @ @G‬‬

‫‪ ŪŢƂţƸǎŢ ŕŢƃơƌ Ƃţŧư ƿƽƠ ťŭư‬‬

‫‪ƃơƍƴŢ ŨƃƕŸ Ǉƨ ſǈŢƄ ƻŦ ƺţƙƵƈ‬‬

‫ﺧﺎﻟﺪ ﺻﺎﻟﺢ ﻣﻠﻜﺎوي‬

‫ﺗﺮك اﳌﻐﻔﻮر ﻟﻪ اﻟﺸﻴﺦ ﺳﻠﻄﺎن ﺑﻦ زاﻳﺪ‬ ‫آل ﻧﻬﻴﺎن‪ ،‬ﻃﻴﺐ اﻟﻠﻪ ﺛﺮاه‪ ،‬ﺑﺼامت ﺧﺎﻟﺪة‬ ‫ﰲ اﳌﺸﻬﺪ اﻟﺜﻘﺎﰲ اﳌﺤﲇ واﻟﻌﺮيب‪ ،‬ﻻ ﺳﻴام‬ ‫ﰲ ﻣﻴﺪان اﻟﺸﻌﺮ اﻟﻨﺒﻄﻲ‪ ،‬ﻓﻘﺪ ﻛﺎن رﺣﻤﻪ‬ ‫اﻟﻠﻪ‪ ،‬ﺻﺎﺣﺐ ﻓﻜﺮ ﻣﺴﺘﻨري‪ ،‬ﻣﺤﺒﺎً ﻟﻠﱰاث‬ ‫اﳌﺤﲇ ﺑﻜﻞ أﺷﻜﺎﻟﻪ‪ ،‬ﺣﺎﻓﻈﺎً ﻟﻪ وﻣﺤﺎﻓﻈﺎ‬ ‫ﻋﻠﻴﻪ‪ ،‬وداﻋ ـ ًام ﻟﻠﺜﻘﺎﻓﺔ واﻷدب‪ ،‬ﻣﻬﺘ ًام‬ ‫ﺑﺎﻟﺸﻌﺮ واﻟﺸﻌﺮاء‪ ،‬ﻣﺪرﻛﺎً ﻣﺎ ﻟﻸﺷﻌﺎر ﻣﻦ‬ ‫اﻟﺘﺼﺎق ﺑﺎﻟﻮﺟﺪان ورﺳﻮخ ﰲ اﻟﺬاﻛﺮة‪،‬‬ ‫ﻋﺎرﻓﺎ ﺑﺨﺼﻮﺻﻴﺔ اﻟﻌﻼﻗﺔ اﻷزﻟﻴﺔ ﺑني ﻛﻞ‬ ‫ﻫﺬه اﳌﻜﻮﻧﺎت‪ ،‬وﻣﺆﻣﻨﺎً ﺑﺘﺄﺛري ذﻟﻚ ﰲ‬ ‫ﺣﻴﺎة اﻷﻣﻢ واﻷﻓﺮاد‪.‬‬ ‫وﻛﺎن "رﺣﻤﻪ اﻟﻠﻪ" ﻳﺪرك ﻣﺪى ﱡ‬ ‫ﺗﺠﺬر ﻟﻐﺔ‬ ‫اﻟﺸﻌﺮ ﰲ اﳌﻮروث اﻟﺬي أ ﱠرﻗﻪ ﻣﺴﺘﻘﺒﻠﻪ‪،‬‬ ‫ﻟﻴﺒﺪع ﰲ ُﺳﺒﻞ اﻟﺤﻔﺎظ ﻋﻠﻴﻪ‪ ،‬و َر ْﻓﻊ ﻟﻮاﺋﻪ‬ ‫راﻳﺔ ﻟﻠﺤﻀﺎرة ﰲ ﻫﺬا اﻟﻌﴫ اﳌﺘﺴﺎرع‬ ‫رﻛﺒﻪ‪ ،‬ﻓﻐﺪا اﻟﱰاث ﻣﺼﺪر اﻋﺘﺰاز ‪ ،‬وﺻﺎر‬ ‫اﻷﺻﻞ اﻟﻨﻘﻲ ﻟﻠﻬﻮﻳﺔ اﻟﻮﻃﻨﻴﺔ‪ ،‬وأﺻﺒﺢ‬ ‫اﻟﺸﻌﺮ ﻣﻨﻪ ﻟﻐﺔ ﺳﻴﺪة ﰲ اﻟﺘﻮاﺻﻞ‪،‬‬ ‫وﺟﴪا ﺑﺪﻳﻌﺎ ﺗ ْﻌ ُﱪ ﻋﱪه اﻟﻘﻴﺎدة إﱃ واﻗﻊ‬ ‫وﻳﻌﱪ اﳌﻮاﻃﻨﻮن‬ ‫وﺗﻄﻠﻌﺎت أﺑﻨﺎء اﻟﻮﻃﻦ‪ّ ،‬‬ ‫ﺑني ﻃﻴﺎﺗﻪ ﻋﻦ ﻣﻜﻨﻮﻧﺎﺗﻬﻢ ودواﺧﻠﻬﻢ‬ ‫وﺻﺪق وﺟﺪاﻧﻬﻢ‪،‬‬ ‫ً‬ ‫وﻷﻧﻪ "ﻃﻴﺐ اﻟﻠﻪ ﺛﺮاه" ﻛﺎن ﻣﺤﺒﺎ ﻟﻠﺸﻌﺮ‪،‬‬ ‫ﻣﺘﺬوﻗﺎً ﰲ ﺳامﻋﻪ‪ ،‬وﻫﻮ اﻟﺬي ﻳﻜﺘﺐ‬ ‫اﻟﺸﻌﺮ‪ ،‬وﻳﺤﺐ رﻓﻘﺔ اﻟﺸﻌﺮ ﰲ ﺣ ّﻠﻪ‬ ‫وﺗﺮﺣﺎﻟﻪ‪ ،‬ﻓﻘﺪ ﺟﻌﻞ اﻟﺸﻌﺮ داﺋﻢ اﻟﺤﻀﻮر‬ ‫ﰲ ﻣﺨﺘﻠﻒ ﻣﺠﺎﻟﺴﻪ وﺷﺘﻰ اﳌﻴﺎدﻳﻦ اﻟﺘﻲ‬

‫ﻋﱪ اﻟﺸﻌﺮاء اﻟﺬﻳﻦ‬ ‫ﻳﻠﺘﻘﻲ ﻓﻴﻬﺎ اﻷﻫﺎﱄ‪ْ ،‬‬ ‫ﺻﺎر وﺟﻮدﻫﻢ ﰲ ﺣﴬة اﳌﻐﻔﻮر ﻟﻪ ﻋﺎدة‪،‬‬ ‫وأﻣﴗ ﺗﺼﺪﱡ رﻫﻢ اﻟﻨﺪوات واﻷﻣﺴﻴﺎت‬ ‫اﻟﺸﻌﺮﻳﺔ اﻟﺘﻲ ﻳﻮﺟﻪ ﺑﺘﻨﻈﻴﻤﻬﺎ وإﺣﻴﺎﺋﻬﺎ‬ ‫ﻇﺎﻫﺮة‪ ،‬ﻓﻀ ًﻼ ﻋﻦ اﻹﺻﺪارات اﻟﺸﻌﺮﻳﺔ‬ ‫اﻟﺘﻲ أراد ﻟﻬﺎ أن ﺗﺤﻔﻆ إرث ﻋﴩات‬ ‫اﻟﺸﻌﺮاء‪ ،‬وﺗرثي اﳌﺸﻬﺪ اﻟﺜﻘﺎﰲ واﻟﱰايث‬ ‫اﻟﻌﺮيب‪.‬‬ ‫ﰲ ﻣﻬﺮﺟﺎن ﺳﻠﻄﺎن ﺑﻦ زاﻳﺪ اﻟﱰايث‪ ،‬اﻟﺬي‬ ‫ﻏﺪا ﻇﺎﻫﺮة ﺳﻨﻮﻳﺔ ﺗﺮاﺛﻴﺔ وﺛﻘﺎﻓﻴﺔ‪ ،‬وأﺻﺒﺢ‬ ‫أﺣﺪ ﺟﺴﻮر اﻟﺘﻮاﺻﻞ اﻹﻧﺴﺎين واﻟﺜﻘﺎﰲ‪،‬‬ ‫ﺧﺼﺺ اﳌﻐﻔﻮر ﻟﻪ اﻟﺸﻴﺦ ﺳﻠﻄﺎن ﺑﻦ زاﻳﺪ‬ ‫ﻟﻠﺸﻌﺮ ﻣﺴﺎﺣﺔ وﻓرية ﰲ اﳌﻬﺮﺟﺎن‪ ،‬وﺻﺎر‬ ‫إﺑﺪاع اﻟﺸﻌﺮاء ﻟﻘﺼﺎﺋﺪﻫﻢ ﺑني ﻳﺪﻳﻪ ﺑﺎﻗﺔ‬ ‫زﻫﺮ ﻳﻮﻣﻴﺔ ﻳﻨﺘﴚ ﺑﻌﺒﻘﻬﺎ ﻣﻨﺬ اﻟﺼﺒﺎﺣﺎت‬ ‫اﻟﺒﺎﻛﺮة ﻟﻠﻤﻬﺮﺟﺎن‪ ،‬وﻛﺎن "رﺣﻤﻪ اﻟﻠﻪ"‬ ‫ﻳﺘﻮج ﻧﺠﻮم اﻟﺸﻌﺮ اﻟﺨﻠﻴﺠﻴني اﻟﺬﻳﻦ‬ ‫ﻳﻠﻘﻮن ﺑني ﻳﺪﻳﻪ ﻗﺼﺎﺋﺪﻫﻢ اﻟﻔﺎﺋﺰة‬ ‫مبﺴﺎﺑﻘﺔ اﻟﺸﻌﺮ اﻟﺘﻲ أراد ﻟﻬﺎ أن ﺗﺘﻤﻮﺿﻊ‬ ‫ﰲ أﺳﺎس ﺑﻨﻴﺎن اﳌﻬﺮﺟﺎن‪ ،‬ﻓﺎﺳﺘﻘﻄﺒﺖ‬ ‫اﻫﺘامم وﻣﺸﺎرﻛﺔ اﳌﺌﺎت ﻣﻦ اﻟﺸﻌﺮاء ﰲ‬ ‫ﻣﻨﻄﻘﺔ اﻟﺨﻠﻴﺞ اﻟﻌﺮيب‪.‬‬ ‫وﻛام ﻛﺎن ﻟﻠﺸﻌﺮ ﻧﺼﻴﺐ ﺛ ﱞﺮ ﰲ اﻫﺘامﻣﺎﺗﻪ‬ ‫ورﻋﺎﻳﺘﻪ‪ ،‬ﻛﺎن ﻟﻪ ﻧﻔﺴﻪ "ﻃﻴﺐ اﻟﻠﻪ ﺛﺮاه"‬ ‫ﻧﺼﻴﺐ ﻗ ّﻴ ٌﻢ ﰲ ﻣﺎ أﺑــﺪع اﻟﺸﻌﺮاء ﻣﻦ‬ ‫ﻗﺼﺎﺋﺪ‪.‬‬ ‫ﻓﺎﻟﺸﻌﺮاء اﻟﺬﻳﻦ أﺣﺴﻨﻮا واﺟﺐ اﻻﻗﺘﺪاء‬ ‫ﻋﻈﻴﻢ ﻣﺜﻞ ﺳﻠﻄﺎن ﺑﻦ زاﻳﺪ‪،‬‬ ‫ﺑﻔﻀﺎﺋﻞ‬ ‫ٍ‬ ‫أﺑﺪﻋﻮا ﻓﻀﻴﻠﺔ اﻟﺜﻨﺎء ﻋﲆ ﻣﺂﺛﺮ ﻗﺎﻣﺔ‬ ‫ﺑﻘﺎﻣﺔ ﺳﻠﻄﺎن؛ ﻓﻬﻢ‪ ،‬ﺑﺎﻋﺘﺒﺎرﻫﻢ ﻣﻦ أﻛرث‬

‫اﻟﻨﺎس ﺣ ﱠﺪة ﰲ اﻟﺒﴫ ودﻗﺔ ﰲ اﻟﺒﺼرية‪،‬‬ ‫أﺑــﴫوا أﻧﻔﺴﻬﻢ ﻳﻮاﻛﺒﻮن أﺣﺪ ﻓﺮﺳﺎن‬ ‫ﺗﺄﺳﻴﺲ اﻟﻮﻃﻦ‪ ،‬وﻣﺜﺎﻻً ﻟﻼﻟﺘﺰام ﺑﻘﻀﺎﻳﺎ‬ ‫اﻟﻮﻃﻦ واﻟﻌﻤﻞ ﰲ ﺳﺒﻴﻞ رﻓﻌﺘﻪ وﺗﻘﺪﻣﻪ‪،‬‬ ‫ورﻣﺰاً ﻣﻤﻴﺰاً ﰲ اﻟﺘﻀﺤﻴﺔ واﻟﺒﺬل واﻟﻌﻄﺎء‬ ‫واﻷﺻﺎﻟﺔ‪ ،‬وأﺣﺴﻨﻮا اﻟﺘﺄﺛﺮ ﺑﻬﻜﺬا ﻗﺪوة‪...‬‬ ‫أﺑﺪﻋﻮا ﰲ اﻟﻮﻗﺖ ﻧﻔﺴﻪ ﰲ اﻟﺘﻌﺒري ﻋﻦ‬ ‫ﻓﻀﻴﻠﺔ اﻟﻌﺮﻓﺎن مبﺂﺛﺮ ﻫﺬا اﻟﺮﺟﻞ وﺑﺼامﺗﻪ‬ ‫اﳌﺴﺘﺤﻖ ﻋﲆ ﻣﻜﺎرﻣﻪ‬ ‫وﻣﻨﺠﺰاﺗﻪ‪ ،‬واﻟﺜﻨﺎء‬ ‫َ‬ ‫وﻣﺤﺎﻣﺪه وﻣﺴﺎﻋﻴﻪ اﻟﺘﻲ ﺗﺸﻬﺪ ﻋﲆ‬ ‫ﺣﺮﺻﻪ ﻋﲆ رﺳﻮخ ﺗﻮاﺻﻞ أﺻﺎﻟﺔ ﻣﺎ اﻛﺘﻨﺰ‬ ‫آﺑﺎؤه وأﺟﺪاده ﻣﻦ ﻣﺤﺎﺳﻦ وﻣﺂﺛﺮ‪.‬‬ ‫ﻟﻘﺪ أﺗﺖ ﻫﺬه اﻟﻘﺼﺎﺋﺪ‪ ،‬اﻟﺘﻲ اﻧﻄﻠﻖ‬ ‫ﻧﺴﻴﺠﻬﺎ ﻣﻨﺬ ﻋﻘﻮد‪ ،‬ﻟﺘﺸﻬﺪ ﻋﲆ ﻣﺴرية‬ ‫ﺣﺎﻓﻠﺔ وﻣﺠﻴﺪة‪ ،‬ﻋﻜﺴﺖ ﻋﻘ ًﻼ ﺣﻜﻴ ًام ﰲ‬ ‫اﻟﻘﻴﺎدة‪ ،‬وروﺣﺎً أﺻﻴﻠﺔ ﰲ اﻻﻧﺘامء واﻟﻮﻓﺎء‪،‬‬ ‫ﻋﱪ ﺗﺎرﻳﺦ ﻳﺰﻫﻮ ﺑﺒﺼامﺗﻪ ﰲ ذاﻛــﺮة‬ ‫اﻟﻮﻃﻦ‪ ،‬ﻓﻘﺪ ﻛﺎن ﻋﻀﺪاً ﻟﺨري ﺧﻠﻒ ﰲ‬ ‫وﺷﺐ منﺎء ﻫﺬه‬ ‫ﺧﺪﻣﺔ اﻟﻮﻃﻦ وأﺑﻨﺎﺋﻪ‪ ،‬ﱠ‬ ‫اﻟﻘﺼﺎﺋﺪ وﻫﻲ ﺗﺴﺠﻞ ﻣﺎ مت ّﻴﺰ ﺑﻪ ﻣﻦ‬ ‫ﺧﺼﺎل وﻣﺂﺛﺮ‪ ،‬وﻣﺎ ﻗﺪﻣﻪ ﻣﻦ ﻋﻄﺎءات‪ ،‬إذ‬ ‫ﻛﺎن دﻳﺪﻧﻪ اﻟﺘﻔﺎﻋﻞ ﻣﻊ اﻟﻨﺎس واﻻﻧﻔﺘﺎح‬ ‫ﻋﻠﻴﻬﻢ وﻣﺸﺎرﻛﺘﻬﻢ ﰲ أﻓﺮاﺣﻬﻢ وأﺣﺰاﻧﻬﻢ‪،‬‬ ‫وﻛﺎن رﻛﻨﺎ ﻣﻦ أرﻛﺎن اﻟ َﻜ َﺮم‪ ،‬ﻃ ّﻴﺐ اﻟﻘﻠﺐ‬ ‫ﻳﻔﻴﺾ إﻧﺴﺎﻧﻴﺔ‪ ،‬ﻣﻦ ﺷامﺋﻠﻪ اﻹﺣﺴﺎن‬ ‫إﱃ ﺷﻌﺒﻪ‪ ،‬ميﺴﺢ أﺣﺰاﻧﻬﻢ وﻳﺴﺎﻧﺪﻫﻢ‬ ‫ﰲ ﻣﺤﻨﻬﻢ وﻛﺮوﺑﻬﻢ‪.‬‬

‫اﻟﺸﻌﺮ ‪baytelshear‬‬ ‫ﺑﻴﺖ ِ‬

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‫اﻟﻌﺪد ‪ ، 85‬ﻳﻨﺎﻳﺮ ‪2020‬‬

‫ﺧﺎﻟﺪ اﻟﺒﺬال‬ ‫ﰲ ﺣﻮار اﻟﺸﺎﻋﺮ ﺧﺎﻟﺪ اﻟﺒﺬال ﻣﻊ ﻣﺠﻠﺔ ﺑﻴﺖ‬ ‫اﻟﺸﻌﺮ‪ ،‬ذﻛﺮ أن اﳌﻐﻔﻮر ﻟﻪ ﻳﺘﻤﺘﻊ ﺑﺬاﺋﻘﺔ‬ ‫ﺷﻌﺮﻳﺔ رﻓﻴﻌﺔ وﺛﻘﺎﻓﺔ واﺳﻌﺔ ﰲ ﻣﺨﺘﻠﻒ‬ ‫اﻟﻌﻠﻮم‪ ،‬وﻗﺪ ﺗﴩف ﺑﻠﻘﺎﺋﻪ ﻋﺪة ﻣﺮات ﻛﺎن‬ ‫أﺑﺮزﻫﺎ دﻋﻮة ﺧﺎﺻﺔ ﻣﻦ اﳌﻐﻔﻮر ﻟﻪ ﻟﺤﻀﻮر‬ ‫ﻓﻌﺎﻟﻴﺎت ﻣﻬﺮﺟﺎن ﺑﻮذﻳﺐ ﻟﻠﻔﺮوﺳﻴﺔ ﰲ‬ ‫إﺣﺪى دوراﺗــﻪ‪ .‬ﻓﻴﻘﻮل‪» :‬ﺗﴩﻓﺖ ﺑﺪﻋﻮة‬ ‫ﺧﺎﺻﺔ ﻣﻦ اﻟﺸﻴﺦ ﺳﻠﻄﺎن ﺑﻦ زاﻳﺪ آل ﻧﻬﻴﺎن‬ ‫وأﺑﻬﺮين اﻟﱰﺗﻴﺐ واﳌﺠﻬﻮد اﻟﻼﻓﺖ ﻣﻦ ﺣﻴﺚ‬ ‫اﻟﺘﻨﻈﻴﻢ واﻟﺘﻨﺴﻴﻖ ﺑﺸﻜﻞ ﻋﺎم‪ .‬وأرى أن‬ ‫ﻣﻦ أﺑﺮز ﻣﺎ ﺳﺎﻫﻢ ﰲ إﻧﺠﺎح اﳌﻬﺮﺟﺎن ﻫﻮ‬ ‫اﻟﺤﻀﻮر اﻟﺪاﺋﻢ ﻟﻠﺸﻴﺦ ﺳﻠﻄﺎن ﺑﻦ زاﻳﺪ‬ ‫وﻣﺘﺎﺑﻌﺘﻪ ﻟﻜﻞ ﺻﻐرية وﻛﺒرية ﻓﻴﻪ‪ .‬وﻫﺬا‬ ‫ﻓﺨﺮ ﻟﻠﻤﻬﺮﺟﺎن وﻟﻺﻣﺎرات ودول اﻟﺨﻠﻴﺞ‬ ‫ﻋﻤﻮﻣﺎً‪.‬‬

‫راﺷﺪ ﺑﻦ ﻓﻄﻴﻤﻪ اﻟﻤﻨﺼﻮري‬ ‫دامئﺎً ﻣﺎ ﻛﺎن اﻟﺸﺎﻋﺮ راﺷﺪ ﺑﻦ ﻓﻄﻴﻤﺔ ﻳﺸﺎرك ﰲ ﻣﻬﺮﺟﺎن ﺳﻠﻄﺎن‬ ‫ﺑﻦ زاﻳﺪ اﻟﱰايث‪ ،‬وﺧﻼل ﻣﺸﺎرﻛﺘﻪ ﻛﻌﻀﻮ ﰲ ﻟﺠﻨﺔ ﺗﺤﻜﻴﻢ اﳌﺴﺎﺑﻘﺔ‬ ‫اﻟﺸﻌﺮﻳﺔ ﰲ اﳌﻬﺮﺟﺎن‪ ،‬ﻗﺎل ﺑﻦ ﻓﻄﻴﻤﻪ ﳌﺠﻠﺔ ﺑﻴﺖ اﻟﺸﻌﺮ ‪":‬ﻧﻘﺪّر‬ ‫ﺟﻬﻮد اﻟﺸﻴﺦ ﺳﻠﻄﺎن ﺑﻦ زاﻳﺪ‪ ،‬ودﻋﻤﻪ اﻟﻜﺒري ﻟﻠﺸﻌﺮ واﻟﺸﻌﺮاء‪،‬‬ ‫وﻫﻮ اﻟﺬي ﻇﻞ ﺣﺮﻳﺼﺎ دامئﺎ ﻋﲆ إﻇﻬﺎر ﻫﺬا اﻟﻔﻦ اﻟﱰايث اﻷﺻﻴﻞ ﰲ‬ ‫اﻟﺼﻮرة اﻟﺘﻲ ﻳﺴﺘﺤﻖ‪ .‬وﻗﺪ أﻛﺪ ﺑﻦ ﻓﻄﻴﻤﺔ ﰲ ﺣﻮاره ﻋﲆ اﻟﺘﻄﻮر‬ ‫اﳌﻠﺤﻮظ اﻟﺬي ﺷﻬﺪه ﻣﻬﺮﺟﺎن ﺳﻠﻄﺎن ﺑﻦ زاﻳﺪ اﻟﱰايث‪ ،‬ﺣﻴﺚ ﻗﺎل‪":‬‬ ‫ﻣﺎ ﻛﺎن ﻫﺬا اﻟﺘﻄﻮر ﻟﻴﺤﺼﻞ ﻟﻮﻻ اﻹﴍاف اﳌﺒﺎﴍ ﻣﻦ ﻗﺒﻞ اﻟﺸﻴﺦ‬ ‫ﺳﻠﻄﺎن ﺑﻦ زاﻳﺪ آل ﻧﻬﻴﺎن‪ ،‬ﻓﺪامئﺎً ﻣﺎ ﻳﻘﻒ ﻋﲆ ﺳري اﻟﻌﻤﻞ ﺑﺸﻜﻞ‬ ‫ﺷﺨﴢ‪.‬وﻳﻜﺮم ﻣﻦ ﻳﺴﺘﺤﻖ ﻣﻦ أﻫﻞ اﻹﺑﺪاع واﻟﱰاث‪.‬‬

‫ﻫﺎدف اﻟﺪرﻋﻲ‬ ‫اﻟﺸﺎﻋﺮ اﻹﻣــﺎرايت ﻫﺎدف اﻟﺪرﻋﻲ‪ ،‬ﻛﺎن أﺣﺪ اﻟﻔﺎﺋﺰﻳﻦ ﺑﺎﳌﺴﺎﺑﻘﺔ‬ ‫اﻟﺸﻌﺮﻳﺔ اﳌﺮاﻓﻘﺔ ﳌﻬﺮﺟﺎن ﺳﻠﻄﺎن ﺑﻦ زاﻳﺪ اﻟﱰايث ﰲ دورة ﺳﺎﺑﻘﺔ‪.‬‬ ‫ﻗﺎل ﰲ ﺣﻮار ﻟﻪ ﻣﻊ ﺑﻴﺖ اﻟﺸﻌﺮ‪" :‬ﺣﺮﺻﺖ ﻋﲆ اﳌﺸﺎرﻛﺔ ﰲ ﻣﺴﺎﺑﻘﺔ‬ ‫ﺷﻌﺮﻳﺔ ﻳﺮﻋﺎﻫﺎ اﻟﺸﻴﺦ ﺳﻠﻄﺎن ﺑﻦ زاﻳﺪ آل ﻧﻬﻴﺎن‪ ،‬اﳌﺤﺐ ﻟﻠﺸﻌﺮ‬ ‫واﻟﺸﻌﺮاء ورﺟﻞ اﻟﱰاث اﻷول"‪.‬‬ ‫وأﺿﺎف اﻟﺪرﻋﻲ‪ :‬ﻓﻮزي ﰲ اﳌﺴﺎﺑﻘﺔ‪ ،‬ﴍف ﱄ‪ ،‬وﻫﻮ إﻧﺠﺎز ﺑﺤﺪ ذاﺗﻪ‪،‬‬ ‫ﻷن ﻫﺬه اﳌﺴﺎﺑﻘﺔ ﻣﻌﺮوﻓﺔ وﻫﻨﺎك ﻣﺸﺎرﻛﺎت ﻗﻮﻳﺔ ﻋﲆ ﻣﺴﺘﻮى‬ ‫اﻟﺨﻠﻴﺞ ُﺗﻘﺪم ﻟﻬﺎ ﰲ ﻛﻞ ﻋﺎم‪ ،‬وأدﻋﻮ ﺟﻤﻴﻊ اﻟﺸﻌﺮاء ﻟﻠﻤﺸﺎرﻛﺔ ﻓﻴﻬﺎ‬ ‫ﻷﻧﻬﺎ ﺗﺤﻤﻞ اﺳﻢ اﻟﺸﻴﺦ ﺳﻠﻄﺎن ﺑﻦ زاﻳﺪ‪ ،‬وأﺑﻨﺎء زاﻳﺪ ﻳﺴﺘﺤﻘﻮن ﻛﻞ‬ ‫اﻟﺘﻘﺪﻳﺮ واﻻﺣﱰام‪.‬‬ ‫اﻟﺸﻌﺮ ‪baytelshear‬‬ ‫ﺑﻴﺖ ِ‬

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‫‪Ĭ§ķĮŕ‬‬ ‫ﺟﺰاء اﻟﺤﺮﺑﻲ‬ ‫ﺑﺪوره ﺷﺎرك اﻟﺸﺎﻋﺮ ﺟﺰاء اﻟﺤﺮيب ﰲ ﻣﻬﺮﺟﺎن ﺳﻠﻄﺎن ﺑﻦ زاﻳﺪ‬ ‫اﻟﱰايث‪ ،‬رﺋﻴﺴﺎ ﻟﻠﺠﻨﺔ ﺗﺤﻜﻴﻢ اﳌﺴﺎﺑﻘﺔ اﻟﺸﻌﺮﻳﺔ ﰲ اﳌﻬﺮﺟﺎن‪،‬‬ ‫وﻇﻞ اﻟﺸﺎﻋﺮ ﻗﺮﻳﺒﺎ ﻣﻦ اﳌﻐﻔﻮر ﻟﻪ اﻟﺸﻴﺦ ﺳﻠﻄﺎن ﺑﻦ زاﻳﺪ‬ ‫آل ﻧﻬﻴﺎن ﰲ ﻣﺨﺘﻠﻒ اﻷﻧﺸﻄﺔ اﻟﱰاﺛﻴﺔ واﻟﺸﻌﺮﻳﺔ اﻟﺘﻲ رﻋﺎﻫﺎ‪.‬‬ ‫وﰲ ﺣﻮاره ﳌﺠﻠﺔ ﺑﻴﺖ اﻟﺸﻌﺮ ﻗﺎل اﻟﺤﺮيب ‪":‬ﻣﻬﺮﺟﺎن ﺳﻠﻄﺎن‬ ‫ﺑﻦ زاﻳﺪ اﻟ ـﱰايث ﻣﻔﺨﺮة ﻟﻜﻞ ﺧﻠﻴﺠﻲ وﻋــﺮيب‪ ،‬وﻫﻮ دﻟﻴﻞ‬ ‫ﻋﲆ اﻫﺘامم اﻟﺸﻴﺦ ﺳﻠﻄﺎن ﺑﻦ زاﻳﺪ ﺑﺎﻟﱰاث‪ ،‬وﺣﺮﺻﻪ ﻋﲆ‬ ‫ﺗﺜﺒﻴﺖ اﻟﻬﻮﻳﺔ‪ ،‬ﺑﻌﺪﻣﺎ ﻛﺎﻧﺖ ﺑﻌﺾ ﺻﻮر وﻣﻼﻣﺢ اﻟﱰاث ﺗﻈﻞ‬ ‫ﻣﺴﺠﻮﻧﺔ ﰲ اﻟﺬاﻛﺮة‪ ،‬وﻫﺎ ﻫﻲ اﻟﻴﻮم ﺗﺘﺤﺮر ﻣﻦ ﺟﺪﻳﺪ ﺑﻔﻀﻠﻪ‬ ‫ورﻋﺎﻳﺘﻪ ﻟﻜﻞ ﻣﺎ ميﻜﻨﻪ أن ﻳﺪﻋﻢ ﺗﺮاﺛﻨﺎ اﻷﺻﻴﻞ‪ ،‬ﺑﺎﻟﺮﻏﻢ ﻣﻦ‬ ‫ﻃﺒﻴﻌﺔ اﻟﺘﻘﺪم اﳌﺘﺴﺎرﻋﺔ اﻟﺘﻲ ﻓﺮﺿﺖ ﻋﲆ اﻟﻨﺎس اﻟﺘﻌﺎﻃﻲ‬ ‫ﻣﻌﻬﺎ وﻣﺠﺎراﺗﻬﺎ‪.‬‬ ‫وﺗﻘﺪم اﻟﺤﺮيب ﰲ ﺧﻼل ﺣﺪﻳﺜﻪ اﻟﺴﺎﺑﻖ ﺑﺎﳌﺠﻠﺔ ﺑﺎﻟﺸﻜﺮ ﻟﻠﺸﻴﺦ‬ ‫ﺳﻠﻄﺎن ﺑﻦ زاﻳﺪ ﻟﺮﻋﺎﻳﺘﻪ اﻟﻜﺮميﺔ ﻟﻠﻤﻬﺮﺟﺎن اﻟﱰايث اﻟﻀﺨﻢ‬ ‫واﻟﻜﺒري مبﻌﺎﻧﻴﻪ وﻓﻌﺎﻟﻴﺎﺗﻪ وأﻧﺸﻄﺘﻪ اﳌﺨﺘﻠﻔﺔ‪ .‬ﻛام ﺷﻜﺮه ﻋﲆ‬ ‫اﻫﺘامﻣﻪ ﺑﺎﻟﺸﻌﺮ واﻟﺸﻌﺮاء‪ ،‬وﻫﻮ اﻟﺬي أراد ﻟﻠﺸﻌﺮ أن ﻳﺤﴬ‬ ‫ﰲ ﻫﺬا اﳌﻬﺮﺟﺎن ﻷن اﻟﺸﻌﺮ ﺑﻄﺒﻴﻌﺔ اﻟﺤﺎل ﺟﺰء ﻣﻦ ﺗﺮاﺛﻨﺎ‬ ‫اﳌﻤﺘﺪ ﻋﱪ آﻻف اﻟﺴﻨني‪ .‬وﻧﺤﻦ ﻣﺎ ﻧﺰال ﻧﺮاه اﻟﻔﻦ اﻷﻋﺬب‬ ‫واﻷﺟﺪر ﺑﺎﻟﺒﻘﺎء واﻻﺳﺘﻤﺮارﻳﺔ‪ ،‬وﺳﻴﻈﻞ ﻛﺬﻟﻚ إن ﺷﺎء اﻟﻠﻪ‪.‬‬ ‫ﻣﺤﻤﺪ ﺑﻦ ﺣﻤﺎد اﻟﻜﻌﺒﻲ‬ ‫اﻟﺸﺎﻋﺮ اﻹﻣﺎرايت ﻣﺤﻤﺪ ﺑﻦ ﺣامد اﻟﻜﻌﺒﻲ‪ ،‬ﻛﺎن ﻛﺬﻟﻚ واﺣﺪا‬ ‫ﻣﻦ أﺑﺮز أﻋﻀﺎء ﻟﺠﺎن اﻟﺘﺤﻜﻴﻢ اﻟﺘﻲ اﺧﺘﺎرﻫﺎ اﳌﻐﻔﻮر ﻟﻪ اﻟﺸﻴﺦ‬ ‫ﺳﻠﻄﺎن ﺑﻦ زاﻳﺪ ﻟﺘﻘﻴﻴﻢ اﻟﻘﺼﺎﺋﺪ اﻟﺸﻌﺮﻳﺔ اﻟﺘﻲ ﺗﺼﻞ إﱃ ﺑﺮﻳﺪ‬ ‫اﳌﺴﺎﺑﻘﺔ ﰲ ﻛﻞ دورة‪ .‬وﻗﺪ ﻛﺎن اﻟﺸﺎﻋﺮ ﻋﲆ ﺗﻮاﺻﻞ ﻣﺒﺎﴍ‬ ‫ﻣﻊ اﳌﻐﻔﻮر ﻟﻪ اﻟﺸﻴﺦ ﺳﻠﻄﺎن ﺑﻦ زاﻳﺪ‪ ،‬وﺷﻬﺪ ﺑﻨﻔﺴﻪ ﻋﲆ‬ ‫اﻫﺘامﻣﻪ ﺑﺎﻟﺸﻌﺮ‪ ،‬وﺑﺎﳌﺴﺎﺑﻘﺔ اﻟﺸﻌﺮﻳﺔ ﻋﲆ وﺟﻪ اﻟﺨﺼﻮص‪،‬‬ ‫وﻗﺪ أﻛﺪ ﰲ ﺣﻮار ﻟﻪ ﻣﻊ ﻣﺠﻠﺔ ﺑﻴﺖ اﻟﺸﻌﺮ أن اﳌﻐﻔﻮر ﻟﻪ ﻛﺎن‬ ‫ﻳﺨﺘﺎر ﺑﻨﻔﺴﻪ ﻣﻮﺿﻮع اﳌﺴﺎﺑﻘﺔ ﰲ ﻛﻞ دوره‪ ،‬وﻗﺪ ﻛﺎﻧﺖ ﻛﻞ‬ ‫اﺧﺘﻴﺎراﺗﻪ ﰲ ﻣﻜﺎﻧﻬﺎ دامئﺎ‪.‬‬ ‫ﻛام أﺷﺎر ﰲ ﺣﺪﻳﺜﻪ ﻟﻠﻤﺠﻠﺔ إﱃ اﻟﻔﻀﻞ اﻟﻜﺒري ﻟﻠﺸﻴﺦ ﺳﻠﻄﺎن‬ ‫ﺑﻦ زاﻳﺪ ﻋﲆ اﻟﱰاث ﺑﺸﻜﻞ ﻋﺎم‪ ،‬ﻣﻦ ﺧﻼل دﻋﻤﻪ اﳌﺘﻮاﺻﻞ‬ ‫وإﴍاﻓﻪ اﳌﺒﺎﴍ ﻋﲆ اﻟﻜﺜري ﻣﻦ ﺟﻮاﻧﺒﻪ‪ ،‬وﺗﻨﻈﻴﻢ اﳌﺴﺎﺑﻘﺎت‬ ‫اﻟﱰاﺛﻴﺔ ﺧﺼﻮﺻﺎ ﰲ ﻣﻬﺮﺟﺎﻧﻪ اﻟﱰايث ﺑﺴﻮﻳﺤﺎن‪ ،‬اﻟﺬي ﻳﺸﻬﺪ‬ ‫ﻋﺪدا ﻛﺒريا ﻣﻦ اﳌﺴﺎﺑﻘﺎت اﻟﺘﻲ ﺗﺨﺪم اﻟﱰاث واﳌﻬﺘﻤني ﺑﻪ‪،‬‬ ‫ﺣﻴﺚ ﺗﺮﺻﺪ ﺟﻮاﺋﺰ ﺳﺨﻴﺔ ﺟﺪا ﺗﺸﺠﻊ اﳌﻮاﻃﻨني ﻋﲆ اﻟﺘﻤﺴﻚ‬ ‫واﻻﻫﺘامم أﻛرث ﺑﺎﻟﱰاث اﻷﺻﻴﻞ‪.‬‬

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‫اﻟﻌﺪد ‪ ، 85‬ﻳﻨﺎﻳﺮ ‪2020‬‬

‫ﻋﺒﺪا‪ D‬ﺑﻦ ﻋﻮن‬ ‫ﰲ ﺣﻮار ﻟﻠﺸﺎﻋﺮ ﻋﺒﺪاﻟﻠﻪ ﺑﻦ ﻋﻮن‪ ،‬ﻣﻊ ﻣﺠﻠﺔ ﺑﻴﺖ اﻟﺸﻌﺮ‪ ،‬أﺛﻨﻰ‬ ‫اﻟﺸﺎﻋﺮ ﻋﲆ اﻟﺪور اﻟﻜﺒري ﻟﻠﻤﻐﻔﻮر ﻟﻪ اﻟﺸﻴﺦ ﺳﻠﻄﺎن ﺑﻦ زاﻳﺪ‬ ‫آل ﻧﻬﻴﺎن‪ ،‬ﳌﺎ ﻗﺪﻣﻪ ﻣﻦ دﻋﻢ ﻏري ﻣﺤﺪود ﻟﻸﻧﺸﻄﺔ اﻟﱰاﺛﻴﺔ‬ ‫وﻣﺴﺎﺑﻘﺎت اﻟﺸﻌﺮ‪.‬‬ ‫واﻟﺸﺎﻋﺮ ﻋﺒﺪاﻟﻠﻪ ﺑﻦ ﻋﻮن‪ ،‬أﺣﺪ أﺑﺮز اﻟﺸﻌﺮاء اﻟﺬﻳﻦ ﺷﺎرﻛﻮا‬ ‫ﰲ ﻣﻬﺮﺟﺎن ﺳﻠﻄﺎن ﺑﻦ زاﻳﺪ اﻟﱰايث‪ ،‬وراﻓﻘﻮا اﳌﻐﻔﻮر ﻟﻪ اﻟﺸﻴﺦ‬ ‫ﺳﻠﻄﺎن ﺑﻦ زاﻳﺪ ﰲ أﻧﺸﻄﺔ وﻓﻌﺎﻟﻴﺎت ﻛﺜرية‪ ،‬وﻗﺪ رﺑﻄﺘﻪ ﺑﺎﳌﻐﻔﻮر‬ ‫ﻟﻪ ﻋﻼﻗﺔ وﻃﻴﺪة‪ ،‬ﺣﺘﻰ أن اﻟﺸﻴﺦ ﺳﻠﻄﺎن ﺑﻦ زاﻳﺪ رﺣﻤﻪ اﻟﻠﻪ ﻫﻮ‬ ‫ﻣﻦ ﻛﺘﺐ ﺑﻨﻔﺴﻪ ﻣﻘﺪﻣﺔ اﻟﺪﻳﻮان اﻟﺸﻌﺮي اﻟﺬي ﺻﺪر ﻟﻠﺸﺎﻋﺮ‬ ‫ﻋﺒﺪاﻟﻠﻪ ﺑﻦ ﻋﻮن‪ ،‬وﻫﺬا ﻳﻌﻜﺲ ﺗﻠﻚ اﻟﺮوح اﻟﻨﻘﻴﺔ ﻟﻠﻤﻐﻔﻮر ﻟﻪ‪،‬‬ ‫اﻟﺬي أﺣﺐ اﻟﺸﻌﺮ اﻷﺻﻴﻞ‪ ،‬واﺣﱰم اﻟﺸﻌﺮاء أﺻﺤﺎب اﻟﺘﺠﺎرب‬ ‫اﻟﺮﺻﻴﻨﺔ واﳌﺆﺛﺮة‪.‬‬ ‫وﰲ ﺣﻮار اﻟﺸﺎﻋﺮ ﻋﺒﺪاﻟﻠﻪ ﺑﻦ ﻋﻮن ﳌﺠﻠﺔ ﺑﻴﺖ اﻟﺸﻌﺮ‪ ،‬ﻗﺎل‪:‬‬ ‫"ﺟﺎءت ﻓﻜﺮة ﻃﺒﺎﻋﺔ دﻳﻮاين‪ ،‬ﺗﻠﺒﻴﺔ ﻟﺮﻏﺒﺔ اﻟﺸﻴﺦ ﺳﻠﻄﺎن ﺑﻦ زاﻳﺪ‬ ‫اﻟﺬي ﺗﻜﻔﻞ ﺑﻨﻔﻘﺎت اﻟﻄﺒﺎﻋﺔ‪ ،‬وﺗﺎﺑﻊ اﻟﻌﻤﻞ ﺑﺸﻜﻞ ﺷﺨﴢ"‪.‬‬ ‫وأﺷﺎد اﺑﻦ ﻋﻮن ﺑﻨﺠﺎح اﻟﻔﻌﺎﻟﻴﺎت اﻟﱰاﺛﻴﺔ ﰲ ﻣﻬﺮﺟﺎن اﻟﺸﻴﺦ‬ ‫ﺳﻠﻄﺎن ﺑﻦ زاﻳﺪ اﻟﺬي وﻗﻒ ﻓﻴﻪ رﺣﻤﻪ اﻟﻠﻪ ﻋﲆ ﺟﻤﻴﻊ اﻷﻧﺸﻄﺔ‬ ‫وﺗﺎﺑﻌﻬﺎ ﺑﺤﺮص ﻛﺒري‪.‬‬ ‫ﺳﻌﻴﺪ ﺑﻦ ﻣﺼﻠﺢ اﻷﺣﺒﺎﺑﻲ‬ ‫اﺳﺘﻀﺎﻓﺖ ﻣﺠﻠﺔ ﺑﻴﺖ اﻟﺸﻌﺮ اﻟﺸﺎﻋﺮ ﺳﻌﻴﺪ ﺑﻦ ﻣﺼﻠﺢ اﻷﺣﺒﺎيب‪،‬‬ ‫وﻛﺎن اﻟﺤﺪﻳﺚ ﻋﻦ اﻟﻌﻼﻗﺔ اﻟﻄﻴﺒﺔ اﻟﺘﻲ رﺑﻄﺖ اﻟﺸﺎﻋﺮ ﺑﺎﳌﻐﻔﻮر‬ ‫ﻟﻪ اﻟﺸﻴﺦ ﺳﻠﻄﺎن ﺑﻦ زاﻳﺪ آل ﻧﻬﻴﺎن رﺣﻤﻪ اﻟﻠﻪ‪ .‬وﻗﺪ أﺷﺎر اﻷﺣﺒﺎيب‬ ‫ﰲ ﺣﻮاره ﻟﻠﻤﺠﻠﺔ إﱃ ﻛﺘﺎﺑﺘﻪ ﻟﻘﺼﻴﺪة ﻏﺰﻟﻴﺔ )ﺷﻜﻮى( أﻫﺪاﻫﺎ‬ ‫ﻟﻠﺸﻴﺦ ﺳﻠﻄﺎن‪ ،‬ﺑﻌﺪﻣﺎ ﻃﻠﺐ ﻣﻨﻪ ﻣﻮاﺻﻠﺔ اﻟﻜﺘﺎﺑﺔ ﰲ ﻏﺮض اﻟﻐﺰل‪،‬‬

‫ﻣﺜﻠام ﻛﺎن داﺋﻢ اﻟﻜﺘﺎﺑﺔ ﻓﻴﻪ‪ .‬ﻣﺸريا إﱃ أن اﳌﻐﻔﻮر ﻟﻪ رد ﺣﻴﻨﻬﺎ ﻋﻠﻴﻪ‬ ‫ﺑﻘﺼﻴﺪة ﺟﻤﻴﻠﺔ وذات ﻗﻴﻤﺔ ﻛﺒرية‪.‬‬ ‫وأﺿﺎف اﻷﺣﺒﺎيب " ﺷﻌﺮت ﺑﻔﺨﺮ ﻛﺒري‪ ،‬وأﻧﺎ أﻗﺮأ ﻗﺼﻴﺪة مبﻨﺘﻬﻰ اﻟﺮوﻋﺔ‪،‬‬ ‫ﻛﺘﺒﻬﺎ ﺷﺎﻋﺮ ﻣﺒﺪع مبﻘﺎم اﻟﺸﻴﺦ ﺳﻠﻄﺎن ﺑﻦ زاﻳﺪ‪ ..‬ﴍف ﱄ ﺑﺤﻖ أن رد‬ ‫ﻋﲆ ﻗﺼﻴﺪيت اﻟﺸﻴﺦ ﺳﻠﻄﺎن وﻗﺪ رﻓﻊ ذﻟﻚ ﻣﻦ رﺻﻴﺪ ﺗﺠﺮﺑﺘﻲ اﻟﺸﻌﺮﻳﺔ‬ ‫وﻣﺴرييت ﻛﻠﻬﺎ"‪.‬‬ ‫وأﻛﻤﻞ اﻷﺣﺒﺎيب ‪ ":‬أﻋﺠﺒﻨﻲ وأ ّﺛﺮ يب ﻛﺜريا رد اﻟﺸﻴﺦ ﺳﻠﻄﺎن ﺑﻦ زاﻳﺪ‬ ‫اﻟﺬي ﻗﺎل إن ﻣﻦ واﺟﺒﻲ ﻛﺸﺎﻋﺮ ﻣﺠﻴﺪ ﰲ ﻛﺘﺎﺑﺔ اﻟﻐﺰل أن أﺳﺘﻤﺮ دون‬ ‫ﺗﻮﻗﻒ ﺑﴫف اﻟﻨﻈﺮ ﻋﻦ أي ﺳﺒﺐ‪ ،‬ﻷن اﻟﺴﺎﺣﺔ اﻟﺸﻌﺮﻳﺔ ﺑﺤﺎﺟﺔ اﻟﻴﻮم‬ ‫إﱃ وﺟﻮد ﻫﺬا اﻟﻨﻮع ﻣﻦ اﻟﺸﻌﺮ‪ ،‬وإﱃ ﻣﻦ ﻳﺒﺪع ﻓﻴﻪ وﻳﺘﻤﻜﻦ ﻣﻨﻪ"‪.‬‬ ‫وأﺷﺎر اﻷﺣﺒﺎيب إﱃ ﻗﻮل اﳌﻐﻔﻮر ﻟﻪ‪ :‬إن ﻫﻨﺎك ﺟﻤﻬﻮرا ﻳﻨﺘﻈﺮ‪ ،‬وﻻ ميﻜﻦ‬ ‫ﻟﻠﺸﺎﻋﺮ أن ﻳﺨﺬل اﻟﺠﻤﻬﻮر ﻷي ﺳﺒﺐ ﻛﺎن«‪.‬‬ ‫اﻟﺸﻌﺮ ‪baytelshear‬‬ ‫ﺑﻴﺖ ِ‬

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‫‪Ĭ§ķĮŕ‬‬

‫‪Ũƃǉűư ũǈƃơƌ ũƙƍƼŘ ǅƵƠ ƦƃƌŘǂ ſŠţƑƭƴŢ ǄƂţŴǂ ƻǈǂŢǂž ŪţƸſƭƸ ťŭư‬‬

‫‪ŕŢƃơƍƴŢ ƫǉƨƂ ſǈŢƄ ƻŦ ƺţƙƵƈ‬‬ ‫ﺧﺎص ‪ -‬ﺑﻴﺖ اﻟﺸﻌﺮ‬

‫ﻛﺘﺐ اﳌﻐﻔﻮر ﻟﻪ اﻟﺸﻴﺦ ﺳﻠﻄﺎن ﺑﻦ زاﻳﺪ آل ﻧﻬﻴﺎن ﻃﻴﺐ اﻟﻠﻪ ﺛﺮاه اﻟﺸﻌﺮ‪ ،‬وأﺑﺪع ﺑﺘﺄﻟﻴﻒ ﻗﺼﺎﺋﺪ ﺗﺤﺎيك واﻗﻊ اﳌﺠﺘﻤﻊ‬ ‫واﻟﺒﻴﺌﺔ اﳌﺤﻴﻄﺔ‪ .‬وﻗﺪ ﺗﺮك ﻟﻨﺎ رﺣﻤﻪ اﻟﻠﻪ ﻋﺪدا ﻛﺒريا ﻣﻦ ﺗﻠﻚ اﻟﻘﺼﺎﺋﺪ‪ ،‬ﻣﻨﻬﺎ ﰲ اﻟﻮﻃﻨﻴﺎت‪ ،‬واﻟﻐﺰل‪ ،‬واﻻﺟﺘامﻋﻴﺎت‪.‬‬ ‫وﻣﻨﻬﺎ ﻛﺬﻟﻚ ﻣﺎ ﻛﺎن ﻳﺠﺎري ﻣﻦ ﺧﻼﻟﻬﺎ أﺻﺪﻗﺎءه ﻣﻦ ﻛﺒﺎر اﻟﺸﻌﺮاء ﰲ اﻹﻣﺎرات ودول اﻟﺨﻠﻴﺞ اﻟﻌﺮيب‪ ،‬ﻧﺬﻛﺮ ﻣﻨﻬﻢ ﻋﲆ‬ ‫ﺳﺒﻴﻞ اﳌﺜﺎل ﻻ اﻟﺤﴫ‪ ،‬اﻟﺸﺎﻋﺮ اﻟﺴﻌﻮدي اﻟﻜﺒري ﻋﺒﺪاﻟﻠﻪ ﺑﻦ ﻋﻮن‪ ،‬واﻟﺸﺎﻋﺮ اﻹﻣﺎرايت اﻟﻜﺒري ﺳﻌﻴﺪ ﺑﻦ ﻣﺼﻠﺢ اﻷﺣﺒﺎيب‪.‬‬ ‫وﻗﺪ َ‬ ‫ﻋﺎﻳﺸ ُﻪ رﺣﻤﻪ اﻟﻠﻪ ﻋﺪدٌ ﻛﺒ ٌري ﻣﻦ اﻟﺸﻌﺮاء‪ ،‬اﻟﺬﻳﻦ ﻋﻤﻠﻮا ﺑﺘﻜﻠﻴﻒ ﻣﻨﻪ ﰲ ﺗﺤﻜﻴﻢ اﳌﺴﺎﺑﻘﺎت اﻟﺸﻌﺮﻳﺔ‪ ،‬وﺗﻘﺪﻳﻢ‬ ‫اﻟﱪاﻣﺞ اﻟﺘﻠﻔﺰﻳﻮﻧﻴﺔ واﻹذاﻋﻴﺔ‪ ،‬ﻣﻨﻬﻢ اﻟﺸﺎﻋﺮ اﻟﻜﺒري ﺟﺰاء اﻟﺤﺮيب‪ ،‬اﻟﺬي ﺗﺮأس ﻟﺠﻨﺔ اﻟﺘﺤﻜﻴﻢ ﰲ اﳌﺴﺎﺑﻘﺔ اﻟﺸﻌﺮﻳﺔ‬ ‫اﳌﺮاﻓﻘﺔ ﳌﻬﺮﺟﺎن ﺳﻠﻄﺎن ﺑﻦ زاﻳﺪ اﻟﱰايث‪ ،‬ﻷﻛرث ﻣﻦ دورة‪ .‬ﻛام ﺷﺎرك ﰲ ﻟﺠﺎن ﺗﺤﻜﻴﻢ اﳌﺴﺎﺑﻘﺎت اﻟﺘﻲ أﻃﻠﻘﻬﺎ رﺣﻤﻪ‬ ‫اﻟﻠﻪ‪ ،‬ﺧرية ﻣﻦ ﺷﻌﺮاء اﻹﻣﺎرات اﻟﺬﻳﻦ اﺳﺘﻀﺎﻓﺘﻬﻢ ﻣﺠﻠﺔ ﺑﻴﺖ اﻟﺸﻌﺮ ﰲ ﺣﻮارات ﻋﱪ أﻋﺪادﻫﺎ اﻟﺴﺎﺑﻘﺔ‪ ،‬وﺗﺤﺪﺛﻮا ﻋﻦ‬ ‫دور اﻟﺸﻴﺦ ﺳﻠﻄﺎن ﺑﻦ زاﻳﺪ ﰲ دﻋﻢ اﻟﺤﺮﻛﺔ اﻟﺸﻌﺮﻳﺔ‪ ،‬واﻟﺤﻔﺎظ ﻋﲆ اﳌﻮروث اﻟﺸﻌﺒﻲ‪.‬‬ ‫ﰲ ﻫﺬه اﳌﺴﺎﺣﺔ‪ ،‬ﻧﺴﺘﺤﴬ أﻗﻮال ﻫﺆﻻء اﻟﺸﻌﺮاء‪ ،‬اﻟﺬﻳﻦ ﺟﺎروا اﳌﻐﻔﻮر ﻟﻪ اﻟﺸﻴﺦ ﺳﻠﻄﺎن ﺑﻦ زاﻳﺪ ﰲ ﻣﺠﻤﻮﻋﺔ ﻣﻦ‬ ‫اﻟﻘﺼﺎﺋﺪ‪ ،‬وﻋﺮﻓﻮه رﺣﻤﻪ اﻟﻠﻪ ﻋﻦ ﻗﺮب‪ ،‬وﺗﺎﺑﻌﻮا إﻧﺠﺎزاﺗﻪ وﻣﴩوﻋﺎﺗﻪ اﻟﱰاﺛﻴﺔ واﻟﺸﻌﺮﻳﺔ‪ ،‬وﺷﺎرﻛﻮا ﰲ ﺗﻨﻔﻴﺬ ﺑﻌﻀﻬﺎ‪.‬‬

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‫اﻟﻌﺪد ‪ ، 85‬ﻳﻨﺎﻳﺮ ‪2020‬‬

‫اﻟﻌﺪد ‪ - 85‬ﻳﻨﺎﻳﺮ ‪2020‬‬

‫ﺷﻌﺮاء اﻟﻌﺪد‬ ‫رﺋﻴﺲ اﻟﺘﺤﺮﻳﺮ‬

‫د ﻋﺒﻴﺪ ﻋﻠﻲ راﺷﺪ اﻟﻤﻨﺼﻮري‬ ‫اﻹﺷﺮاف اﻟﻌﺎم‬

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‫ﻳﺎﺑﺮ ﺳﻴﻒ اﻟﻘﺒﻴﺴﻲ‬

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‫أﺣﻤﺪ ﺳﺎﻟﻢ اﻟﺸﺎﻣﺴﻲ‬

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‫ﺳﺎﻟﻢ ﻣﺤﻤﺪ اﻟﻜﻌﺒﻲ‬

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‫ﻋﻴﻀﻪ ﺑﻦ ﻣﺴﻌﻮد‬ ‫‪@bnmas3od‬‬

‫ﻋﺒﺪا_ ﻋﻮﺟﺎن‬

‫اﻟﺘﺤ ﺮﻳﺮ‬

‫ﻋﺒﺪا_ أﺑﻮﺑﻜﺮ‬ ‫‪@abdabubaker1‬‬

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‫ﺳﻌﺪ ﺑﺘﺎل اﻟﻌﺎزﻣﻲ‬

‫ﻣﺤﻤﺪ ﺻﺎﻟﺢ اﻟﻘﺤﻄﺎﻧﻲ‬

‫ﻋﺒﺪاﻟﻤﺠﻴﺪ اﻟﺬﻳﺎﺑﻲ‬

‫ﺑﺪر اﻟﻤﺤﻴﻨﻲ‬

‫اﻹﺧﺮاج اﻟﻔﻨﻲ & ﺳﻜﺮﺗﺎرﻳﺔ اﻟﺘﺤﺮﻳﺮ‬

‫ﺳﻌﺎد ﺣﺴﻨﺔ‬ ‫‪@HasnaSuad‬‬ ‫ﻣﺴﺆول اﻟﺘﻮزﻳﻊ‬ ‫أﺣﻤﺪ ﻋﺒﺎس‬

‫‪marketing@sbzc.ae‬‬

‫‪82‬‬ ‫زﻳﻨﺐ اﻟﺮﻓﺎﻋﻲ‬

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‫ﺧﻠﻴﻔﺔ ﻣﺼﺒﺢ اﻟﻜﻌﺒﻲ‬

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‫ﻧﻮاف اﻟﺘﺮﻛﻲ‬

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‫‪+971 55 808 1344‬‬

‫ﻟﻮﻟﻮه اﻟﺪوﺳﺮي‬

‫ﻋﻨﻮان اﻟﻤﺠﻠﺔ‪w‬‬ ‫اﻹﻣﺎرات اﻟﻌﺮﺑﻴﺔ اﻟﻤﺘﺤﺪة‪ -‬أﺑﻮﻇﺒﻲ‬

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

‫ﻋﺰة ﺣﺴﻴﻦ‬ ‫ﻫﺎﻧﻲ ﻧﺪﻳﻢ‬ ‫ﻣﺤﻤﺪ أﺑﻮﻋﺮب‬ ‫ﺟﻤﺎل ﻓﺘﺤﻲ‬

‫ﺣﻤﺪان ﺑﻦ ﺻﺮوخ اﻟﺪرﻋﻲ‬ ‫ﺧﺎﻟﺪ ﺻﺎﻟﺢ ﻣﻠﻜﺎوي‬ ‫ﻣﺼﻄﻔﻰ أﺣﻤﺪ‬ ‫ﻣﺤﻤﺪ ﺳﻠﻄﺎن‬

‫ﻫﺎﺗﻒ‪009712-6666130 w‬‬ ‫ﻓﺎﻛﺲ‪009712-6663088 w‬‬ ‫ص ب‪ 6420 w‬أﺑﻮﻇﺒﻲ إ ع م‬

‫‪baitshir@sbzc.ae‬‬ ‫‪@bait_alshe3r‬‬

‫‪@baytelshear‬‬

‫اﻟﺸﻌﺮ ‪baytelshear‬‬ ‫ﺑﻴﺖ ِ‬

‫‪9‬‬

‫ ‪ ĘŠŝğĨŖŒ‬‬

‫‪ 30‬اﺳﺘﻄﻼع‬

‫ﻛ ّﺘﺎب وﻣﺜﻘﻔﻮن‪ s‬ﺳﻠﻄﺎن ﺑﻦ زاﻳﺪ‪rr‬‬ ‫أﺳﺲ ﻟﺤﺮاك ﺷﻌﺮي وﻓﻜﺮي واﺳﻊ‬ ‫ﱠ‬ ‫وﻧﻮﻋﻲ‬

‫‪ 38‬ﻣﺴﺎﺑﻘﺎت‬

‫اﻟﻤﺴﺎﺑﻘﺔ اﻟﺸﻌﺮﻳﺔ ﻟﻄﻠﺒﺔ اﻟﺠﺎﻣﻌﺎت‬ ‫آﺧﺮ ﻣﺒﺎدرة ﺷﻌﺮﻳﺔ ﻟﻠﺸﻴﺦ ﺳﻠﻄﺎن ﺑﻦ زاﻳﺪ‬ ‫واﻷوﻟﻰ ﻣﻦ ﻧﻮﻋﻬﺎ ﻓﻲ اﻟﻤﺸﻬﺪ‬

‫‪ 58‬ﻗﻀﻴﺔ‬

‫اﺳﺘﻌﻼء ﺷﻌﺮي وﻏﺮور ‪rr‬‬ ‫أم ﺛﻘﺔ واﻗﺘﺪار ؟!‬

‫‪ 64‬أﺑﻴﺎت ﺧﺎﻟﺪة‬

‫أﺑﻮ اﻟﻌﻼء اﻟﻤﻌﺮي‬ ‫ﺷﺎﻋﺮ اﻟﻔﻠﺴﻔﺔ واﻟﻌﺰﻟﺔ‬

‫‪ 68‬ﻣﺒﺪﻋﻮن‬

‫ﻫﺸﺎم ﺑﻦ ﺳﻮﻳﻒ‪s‬‬ ‫اﺳﺘﻤﺘﻊ ﺑﺮؤﻳﺔ اﻷﺷﻴﺎء ﺛﻢ أﺻﻮرﻫﺎ!‬

‫‪ 74‬أﻧﺪﻟﺴﻴﺎت‬

‫اﻟﻔﻜﺎﻫﺔ واﻷﺣﺠﻴﺎت‬ ‫ﻓﻲ اﻟﺸﻌﺮ اﻷﻧﺪﻟﺴﻲ‬

‫‪ 78‬ﻣﻦ اﻟﻐﺮب‬

‫رﻳﻨﻴﻪ ﺟﻴﻨﻮ‬ ‫ﻣﻦ ﺿﻔﺎف ﻧﻬﺮ اﻟﻠﻮار‪rr‬إﻟﻰ ﺣﻲ اﻷزﻫﺮ!‬ ‫اﻻﺷﺘﺮاﻛﺎت‬ ‫ﻟﻼﺷﺘﺮاك ﺑﺎﻟﺒﺮﻳﺪ داﺧﻞ اﻟﺪوﻟﺔ ‪ 90‬درﻫﻢ اﺷﺘﺮاك ‪ VIP‬داﺧﻞ اﻟﺪوﻟﺔ ‪ 120‬درﻫﻢ ﺳﻨﻮﻳ ًﺎ اﻟﻤﻤﻠﻜﺔ اﻟﻌﺮﺑﻴﺔ اﻟﺴﻌﻮدﻳﺔ ‪ 300‬درﻫﻢ ﺳﻨﻮﻳ ًﺎ‬ ‫ﺑﺎﻗﻲ اﻟﺪول ‪ 130‬دوﻻر أﻣﺮﻳﻜﻲ ﺳﻨﻮﻳ ًﺎ‬

‫ﻟﻼﺷﺘﺮاك ﻳﻤﻜﻨﻜﻢ اﻟﺘﻮاﺻﻞ ﻣﻊ ﻣﺴﺆول اﻟﺘﻮزﻳﻊ ‪w‬‬

‫‪8‬‬

‫اﻟﻌﺪد ‪ ، 85‬ﻳﻨﺎﻳﺮ ‪2020‬‬

‫ﻧﺪﻋﻢ اﻟﻌﻤﻞ اﻟﺜﻘﺎﻓﻲ إﻳﻤﺎﻧ ًﺎ ﺑﻀﺮورة اﻟﺜﻘﺎﻓﺔ ودورﻫﺎ ﻓﻲ ﺑﻨﺎء اﻟﻤﺠﺘﻤﻌﺎت‬ ‫واﺗﺴﺎع اﻟﻮﻋﻲ‪r‬‬ ‫اﻟﺴﻠﻮك اﻹﻧﺴﺎﻧﻲ ّ‬ ‫وﺗﻄﻮ ّرﻫﺎ‪ ،‬وﺗﺄﺛﻴﺮﻫﺎ ﻓﻲ ّ‬ ‫‪ƿƴ ƂǃƩƥƹƴŢ‬‬

‫ ‪ƺţǉǁƼ ƲŖ ſǈŢƄ ƻŦ ƺţƙƵƈ ŻǉƍƴŢ‬‬ ‫ ‪ ƾŢƃŰ ņŢ ťǉƘ‬‬

‫اﻟﺸﻌﺮ ‪baytelshear‬‬ ‫ﺑﻴﺖ ِ‬

‫‪7‬‬

‫ ‪¬ũŐŒ ęś‬‬

‫‪6‬‬

‫اﻟﻌﺪد ‪ ، 85‬ﻳﻨﺎﻳﺮ ‪2020‬‬

‫ﺷﺎﻗﻨﻲ ﻓﻲ اﻟﺠﻴﻞ ﻣﻌﻨﺎﻛﻢ‬ @@ Cb@@ @ @ @ @E @@ @ @ £@ @ @ @±* ¯ ¤@@ @ @ @ @BP b@@ @ ~@ @ @7 @@ @ @FP ¡@@ @ @ @ @ @ AHP R @@ @ @ @ @ @ @ @J5N @@ @ @ @ @ @ ~@ @ 7 R ¡@@ @ @ @ @ @ F @@ @ @ C°¡@@ @ @ D eb@@ @ @ @ @ @ @ : b@@ @ @ @ @ E I¡@@ @ @ @ @ @ @ @ @ @ @D* @@ @ @FP ¡@@ @ @C4* v@@ @ £Q @ @ @ ~@ @ @ 7HR b@@ @ @ @ g@ @ ~@ @ 6* °HR R N @ @ @ @ @ @ @c@ @ @ @G*w@@ @ @ E @@ @ @ @ @E @@ @ @ @ @ @C*¡@@ @ @ @ @ @½H @ @@ @ @ @ @ FP ¡@@ @ < @@ @ @ @ D ¡@@ @ @ @ @ @ @ @ JH @@ @{@ @ @ @ g@ @ @ @ J @@ Cb@@ @ @0 @ N @ @ E Rh@@ @ @s@N @ @ @+N b@@ @ J R @ @ @ @AP Q @ @ @ @ @0 @ @@ @ F¡@@ @ D @@ @ @ @ @ @ Q @ @ @ A @@ @ @ @ @E d@@ @ ~@ @ z@ @ g@ @ @ @ J @@ @ C*¡Q @ @ ~@ @ 6 R @@ @ @~@@P @ @z@ @ @ P²b@@ @ @+ R @@ @ @ @ @ EN yQ @ @ @ @ @ @<N @@ @ @ @ FP ¡@@ @£@ @ @ @ DP 4¡N @ @ @ @ @ @ @ @ @ @ 0H b@ O @ @ @ @ @ @ ±b@@ @ @ + @@ @ @ Cb@@ @ @ £Q @ @ @ @¹R ¯ R 5P b@@ @ @ @ @ @ @ @ @ @ @ @ @ +N 4¡R @ @ @ @ @ @ @ @ @ @ FO @@ @ @ @ @ @ @ @ @ @ @ @ @ FP HR 5O HR HP 5HxQ @ @ @ @ @ @ @ @ @ @D* @@ @£@ @ @ @ . b@@ @ @ J Q @ @ @ @ 0N v@@ @ @ @ £@ @ @ @ @ P/H Ã @@ @ @ @CÉ R 4P Qv@ @ @ @ @ @ @1 @@ @F¡@@ @ @ @ D* ¯ nR @ @ @ @ @ @ @ @ P1 @@ @ -*x@@ @ ~@ @ @7 @@ @ @ E @@ @ @C*Hv@@ @ @/ @@ @ @£@ @ @ ±* Rh@@ @ @ £@ @ @ @ N @ @ @ @ P< b@@ @ @ @E @@ @ @ @ @ @ FHQv@ @ @ P @ @ @ -P x@@ @ @Jb@@ @ @~@@Q @ @z@ @ @ D* @@ @ @ @E ¡@@ @ @ @D @@ @Cb@@ @ @ @ @ @ F ¡@@ @ @ @ @ @J ¤@@ @ @ +b@@ @ @ ~@@ @N @ |@ @ @ @² P bR @ @ @ @C @@ @ @ @ F¡@@ @ O @ @ ~@@ R@}@ @ EN HR x@@ @ @ 1b@@ @ @ A M ¡@@ @ @ @£@ @ @ @ P/ @@ @ C*Hx@@ @ ~@ @ @ 7 ¡@@ @ @ @Jy@@ @ @ @E n@R @ @ @ @ @ @ @ @ P1 b@@ @ @ @E @@ @ @ F¡@@ @ @ @ @ @ JR * µb@@ @ @ @ @ @ @ @ @ @ D* ¯ °H ° @@ @ @C*Ì@@ @ @ PE @@ @ @ @ @JH *¡@@ @ @g@ @ @ D&b@ @ @ ~@ @ @ 6 *H @@ @F¡@@ @ @ @ ~@@R @6* ¤@@ @ @ cP @ @ @ @ R @ @ @ @BN *v@@ @ @J¡@@ @ @~@ @ @ 6 ¯ ƿƴ ƂǃƩƥƹƴŢ

ƺţǉǁƼ ƲŖ ƺţƙƵƈ ƻŦ ſǈŢƄ ŻǉƍƴŢ ƾŢƃŰ ņŢ ťǉƘ

baytelshear ‫اﻟﺸﻌﺮ‬ ِ ‫ﺑﻴﺖ‬

‫‪ ĮńŒ ŔšŐħ‬‬

‫‪4‬‬

‫اﻟﻌﺪد ‪ ، 85‬ﻳﻨﺎﻳﺮ ‪2020‬‬

ŝĸŒ ŝķ

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baytelshear ‫اﻟﺸﻌﺮ‬ ِ ‫ﺑﻴﺖ‬