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‫ا رة ذا ةُ ا‬

‫ن‬


‫ن‬

‫ا رة ذا ةُ ا‬

C H A R L E S W. C U S H M A N

A 10-day photograph journey across Lebanon in

1965 ‫ن‬

‫ا‬

‫ أ َ م‬10 ‫ر‬ ‫رع ن‬

‫أ َ َ َّ ه و َ َّ م‬

‫يز‬

‫رات‬ ‫ا اث ا‬ From the Charles Cushman photograph collection at the Indiana University Archives


‫ﺑﻄﺎﻗﺔ ﻣﻜﺘﺒﻴﺔ‬ ُ ‫ذاﻛﺮة اﳌﻜﺎن‬ ‫ اﻟﺼﻮرة‬: ‫اﻟﻜﺘﺎب‬ ‫ ﺗﺸﺎرﻟﺰ ﻛﻮﺷﲈن‬: ‫اﳌﺼﻮر‬ ‫ﱢ‬ َ ‫ ﻣﺮﻛﺰ اﻟﱰاث اﻟﻠﺒﻨﺎﲏ ﰲ اﳉﺎﻣﻌﺔ اﻟﻠﺒﻨﺎﻧﻴﺔ اﻷﻣﲑﻛﻴﺔ‬: ‫اﻟﻨﺎﴍ‬ 1965 ‫ ﳎﻤﻮﻋﺔ ُﺻ َﻮر ﻋﻦ ﺑﲑوت وﺟﺒﻴﻞ وﺑﻌﻠﺒﻚ ﺳﻨﺔ‬: ‫اﳌﻮﺿﻮع‬ ‫ ﻋﺮﺑﻴﺔ ِوإﻧﻜﻠﻴﺰﻳﺔ‬: ‫اﻟﻠﻐﺔ‬ ‫ ﺻﻔﺤﺔ‬144 : ‫اﳊﺠﻢ‬ ‫ ﺳﻢ‬22.5 × 33 : ‫اﻟﻘﻴﺎس‬ ُ ‫اﻟﻄﺒﻌﺔ ا‬ 2018 : ‫ﻷوﱃ‬ .‫م‬.‫م‬.‫ درﻏﺎم ش‬: ‫ﺗﺼﻤﻴﻢ ِوإﺧﺮاج‬ LAU ‫اﳉﺎﻣﻌﺔ اﻟﻠﺒﻨﺎﻧﻴﺔ اﻷَﻣﲑﻛﻴﺔ‬ ‫ ﳏﻔﻮﻇﺔ ﻟـ‬،‫وﺗﻌﻠﻴﻘﺎت‬ ‫ ُﺻ َﻮ ًرا‬،‫© ﺣﻘﻮق اﻟﻄﺒﻌﺔ اﻟﻌﺮﺑﻴﺔ‬ ٍ َ ‫ داﺋﺮة اﳌﺤﻔﻮﻇﺎت ﻟﺪى ﺟﺎﻣﻌﺔ ِإﻧﺪﻳﺎﻧﺎ ا‬:‫ ﻣﻊ ﺻﺎﺣﺒﺔ اﳊﻘﻮق‬2017/5/16 ‫ﻋﻘﺪ ﻣﻮﻗﱠ ﻊ ﰲ‬ .‫ﻷﻣﲑﻛﻴﺔ‬ ٍ ‫ﺑـﻤﻮﺟﺐ‬ © Indiana University – Office of the University Archives & Records Management Charles Cushman Collection – Indiana University Archives ‫ﻣﺮﻛﺰ اﻟﱰاث اﻟﻠﺒﻨﺎﲏ‬

(+ 961 1) 78 64 64 : ‫ﻫﺎﺗﻒ‬ ‫ – ﺑﲑوت – ﻟﺒﻨﺎن‬1102 2801 ‫ ﺷﻮران‬13 - 5053 :‫ ص ب‬: ‫ﺮﻳﺪﻳﺎ‬ ًّ ‫َﺑ‬ clh@lau.edu.lb : ‫ـﱰوﻧﻴﺎ‬ ًّ ‫ِإ ِﻟ ْﻜ‬ www.lau.edu.lb/centers-institutes/clh : ‫ﻣﻮﻗ ًـﻌﺎ‬ ِ ISBN: 9953-461-46-5 EAN: 978-995346146-5 2018 © Center for Lebanese Heritage at Lebanese American University All rights reserved for this edition. No part of it may be reproduced or transmitted – in any means electronic or mechanical including photocopy recording or any information storage and retrieval system – without written permission from the Lebanese American University. Design and layout by Dergham s.a.r.l.


‫ت‬ 9

. ............. . . . . . . . . . . . . . . . . . . . . . . . . . .

‫ا‬ ِ ُ َ ْ َ‫ٌ و‬ ‫سا‬

‫ﻘﺪﻣﺔ ﻫﻨﺮي زﻏﻴﺐ‬ ‫ُﻣ ﱢ‬

‫ت‬ ٌ ُ – ‫وت‬

19

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99

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117

. ............. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .  BAALBECK

BEIRUT

BIOGRAPHY

143

–‫اﻟﺴﲑة اﻟﺬاﺗﻴﺔ‬ ‫ر و‬

.............. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . َ ْ ُ .............. . . . . . . . . . . . . . . . . . . . . . . . . . . . . CHARLES WEEVER CUSHMAN

TABLE OF CONTENTS 140


‫ِ‬

‫ُ ّ‬

‫يز‬

‫ت‬ ‫ٌ‬ ‫ُ‬

‫ٌ وَ ْ َ ُ ِ‬ ‫سا‬

‫اﻟﻔﻨﺎدق اﻟﻔﺨﻤﺔ‪ :‬اﻟ ـ ‪‬ﻓﻴﻨﻴﺴﻴﺎ‪‬‬ ‫ﺴﻮره‬ ‫ُ‬ ‫ﺣﻲ ٍ‬ ‫راق ﻣﻦ ْﻗﻠﺐ ﺑﲑوت ُﺗ ﱢ‬ ‫ﰲ ﱟ‬ ‫ﻏﺮﺑﺎ‪ ،‬واﻟ ـ ‪‬ﭬـﺎﻧﺪوم‪‬‬ ‫وﺳ ًﻄﺎ‪ ،‬واﻟـ ‪‬ﺳﺎن ﺟﻮرج‪ً ‬‬ ‫ﺷﲈﺎًﻟ‪ ،‬واﻟ ـ ‪‬ﭘـﺎﱂ ﺑﻴﺘﺶ‪َ ‬‬ ‫ﻛﺌﻴﺐ‪َ ،‬‬ ‫اﻟﺴﻨﻮات ﰲ ﳏﻄﺔٍ‬ ‫ﻛﺄﻧﻪ ﻗﻄﺎر ﺟﺎﰒٌ َﺻ ِﺪ َﺋﺖ ﻋﻠﻴﻪ‬ ‫ﻛﺒﲑ‬ ‫ُ‬ ‫ٌ‬ ‫ﺟﻨﻮﺑﺎ‪ ،‬ﻣﺒﻨﻰ ٌ‬ ‫ً‬ ‫ﺻﻔﺎرة اﻟﻘﻄﺎر‪.‬‬ ‫زﻣﺎن ﺻﻮت ّ‬ ‫ﻧﺴﻴﺖ ﻣﻦ‬ ‫ٍ‬ ‫َ‬ ‫ﺣﺪا َأو‬ ‫اﻋﺘﺎد اﻟﻨﺎس اﳌﺮور ﲠﺬا اﳌﺒﻨﻰ اﳌﻬﺠﻮر‪ ،‬ﻣﻦ دون َأن َﻳ‬ ‫ﺴﺘﻠﻔﺖ َأ ً‬ ‫َ‬ ‫ﻀﻮﻟﻴﺎ َ‬ ‫ﻳﺒﻖ ﻣﻨﻪ ﻋﲆ ﺟﺪاره‬ ‫َﻳ‬ ‫َ‬ ‫ﻳﺴﺄل ﻋﻦ ﺣﻜﺎﻳﺔ ﻫﺬا اﻟﴫح اﻟﺬي ﱂ َ‬ ‫ﺴﺘﻮﻗﻒ ُﻓ ًّ‬ ‫وﺷﻌﺎر ﻟ َـﻤ ْﻌ َﻠﻢ ٍ ﻛﺎن ﻣﻘﺼﺪ اﻟﻄﺒﻘﺔ اﳌﺨﻤﻠﻴﺔ ﰲ ﺳﺘﻴﻨﺎت‬ ‫ﺣﺮﻓ ُﻪ اﻟﺮﻣﺰ‬ ‫اﳌﻴﺖ ِإﺎّﻟ ُ‬ ‫ٌ‬ ‫ﺸﻌﺔ ﺑﺎﳊﻴﺎة ﻟﻴﺎًﻠ َأﻛﺜﺮ ﻣﻦ اﻟﻨﻬﺎر‪.‬‬ ‫ﺑﲑوت اﻟ ُـﻤ ّ‬ ‫ﻬﺖ ﻟﻪ‪،‬‬ ‫ﻣﺮورا ِإﱃ ﻣﻜﺘﺒﻲ ﰲ ‪‬ﻣﺮﻛﺰ اﻟﱰاث اﻟﻠﺒﻨﺎﲏ‪) ‬اﳉﺎﻣﻌﺔ‬ ‫ﺗﻨﺒ ُ‬ ‫ً‬ ‫ﺣﲔ ﱠ‬ ‫ت َأ ُ‬ ‫اﻟﻠﺒﻨﺎﻧﻴﺔ ا َ‬ ‫ﻷﻣﲑﻛﻴﺔ – ‪َ ،(LAU‬أ ْ‬ ‫ﺗﺰال‬ ‫اﻟﻌﻤﻴﻖ‬ ‫ﻗﺮأ ﰲ ﺻﻤﺘﻪ‬ ‫ذﻛﺮﻳﺎت ﻻ ُ‬ ‫ٍ‬ ‫ﺧﺬ ُ‬ ‫ِ‬ ‫ﻣﺮﺳﻮﻣﺔً ِﺑﻌﻨﻜﺒﻮت اﻟﺴﻜﻮت ﻋﲆ ﺟﺪراﻧﻪ‪ ،‬ﰲ زواﻳﺎه‪ ،‬ﰲ ﻏُ َﺮﻓﻪ اﻟﺘﻲ ﻛﺎﻧﺖ‬ ‫ﺣﻴ ّﻮﻳﺔَ ﺑﲑوت ْﻟﺆ َﻟﺆ ِة اﻟﴩق ﻋﲆ‬ ‫ﻳﻮﻣﺎ ُﺳﻜﻨﻰ ُر ﱠو ٍاد ُ‬ ‫ً‬ ‫ﺗﺬوﻗﻮا َ‬ ‫ﺎح ﻛﻢ ﱠ‬ ‫وز ﱠو ٍار ّ‬ ‫وﺳﻴ ٍ‬ ‫ﺻﺪر اﳌﺘﻮﺳﻂ‪.‬‬ ‫ﻛﺴ ْﻠ ْﺴ ُﻴﻮر‪.(Excelsior) ‬‬ ‫ﻫﺬا ﻫﻮ اﻟﻴﻮم ﻓﻨﺪق ِ‪‬إ ِ‬ ‫ﻣﺎ ﺣﻜﺎﻳﺔ ﻫﺬا ُاﻟﻔﻨﺪق؟ وﻣﺎ اﻟﺬي ﻗﺎدﲏ ِإﻟﻴﻪ؟‬ ‫* * *‬

‫‪(1‬‬

‫ُا‬

‫ب‬

‫ﻣﻮﻗﻊ ِإﻟﻜﱰوﲏ ﻓﻴﻪ ﳎﻤﻮﻋﺔُ ُﺻ َﻮ ٍر ﻋﻦ ﺑﲑوت‬ ‫ﺣﲔ َﻫ َﺪ ْﺗﻨﻲ َﻟﻔﺘﺔٌ ﻏﺎﻟﻴﺔٌ ِإﱃ‬ ‫ٍ‬ ‫دﺧﻠﺖ ِإﱃ اﳌﻮﻗﻊ‪،‬‬ ‫ﺑﲑوت وﻧﺠﻤﺔَ ﺑﲑوت‪،‬‬ ‫اﻟﻌﺎﺷﻖ‬ ‫ﻗﺒﻞ ﻧﺼﻒ ﻗﺮن‪َ ،‬وأﻧﺎ‬ ‫ُ‬ ‫َ‬ ‫ُ‬ ‫َ‬ ‫ﳎﻤﻮع ُﺻﻮ ٍر ﺑﻜﺎﻣﲑا اﻟ ُـﻤﺼﻮر ا َ‬ ‫ﻮﺷ َـﻤﻦ‬ ‫ﻷﻣﲑﻛﻲ اﳍﺎوي ﺗﺸﺎرﻟﺰ ُﻛ ْ‬ ‫ِﻓﺈذا ﻫﻮ‬ ‫ُ‬ ‫ّ‬ ‫َ‬ ‫ﻗﺴﻢ اﻟﻔﻮﺗﻮﻏﺮاﻓﻴﺎ – ﺑﺮﻧﺎﻣﺞ اﳌﻜﺘﺒﺔ اﻟﺮﻗﻤﻴﺔ –‬ ‫)‪،(Cushman‬‬ ‫ٍ‬ ‫ﻣﻮﺟﻮدة ﻟﺪى ْ‬ ‫اﻟﻔﻮﺗﻮﻏﺮاﻓﻴﺔ‬ ‫ﻮﺷ َـﻤﻦ‬ ‫‪‬ﳎﻤﻮﻋﺎت ﺗﺸﺎرﻟﺰ ُﻛ ْ‬ ‫ﺣﻴﺚ‬ ‫ُ‬ ‫ﰲ َأرﺷﻴـﭫ ﺟﺎﻣﻌﺔ ِإﻧﺪﻳﺎﻧﺎ‬ ‫ُ‬ ‫ّ‬ ‫وﻣﺪن ﻛﺜﲑة ﺣﻮل‬ ‫ﻋﻮاﺻﻢ‬ ‫اﳌﺘﻌﺪدة ﻋﲆ‬ ‫اﻟﻜﺎﻣﻠﺔ‪ ،‬وﻫﻲ ﺣﺼﻴﻠﺔُ ﺟﻮﻻﺗﻪ‬ ‫ٍ‬ ‫ّ‬ ‫َ‬ ‫وﺟ ْﻮ َﻟ ُﺘ ُﻪ اﻟﺘﺼﻮﻳﺮﻳﺔ‪.‬‬ ‫اﻟﻌﺎﱂ‪ ،‬ﺑﻴﻨﻬﺎ َﻣ ُ‬ ‫ـﺠﻴﺌ ُﻪ ِإﱃ ﻟﺒﻨﺎن َ‬ ‫ﻛﻮﺷ َـﻤﻦ اﻟﻠﺒﻨﺎﻧﻴﺔ‬ ‫وﻳﻜﻮنُ َأنّ ﳎﻤﻮﻋﺔ ْ‬ ‫اﻟﺼﻮر ا ْﻟ َ‬ ‫ﺘﻘﻄﻬﺎ ﰲ ﺑﲑوت‪،‬‬ ‫ﻣﻦ ﺗﻠﻚ‬ ‫َ‬ ‫َ َ‬ ‫وﺷﻮارع‪ ،‬وﰲ ﳖﺮ‬ ‫ﺣﻴﺎء‬ ‫ﺷﺎﻃﺌﺎ‬ ‫َ‬ ‫ً‬ ‫وﻣﻮاﻗﻊ وأ َ‬ ‫ﻮرا‪ ،‬وﰲ ﺟﺒﻴﻞ ﻗﻠﻌﺔً ﺗﺎرﳜﻴﺔ‪،‬‬ ‫اﻟﻜﻠﺐ ُﻋ ُﺒ ً‬ ‫ﻫﻴﺎﻛﻞ َﻣﻬﻴﺒﺔ‪.‬‬ ‫وﰲ ﺑﻌﻠﺒﻚ‬ ‫َ‬ ‫ﻛﻞ ذﻟﻚ ﰲ ﺟﻮﻟﺔٍ داﻣﺖ ﻋﴩة‬ ‫َأ ّﻳﺎم ﻓﻘﻂ‪ ،‬ﻣﻦ ‪ِ 1‬إﱃ ‪َ 10‬أ ّﻳﺎر ‪.1965‬‬

‫ا ـ » ِإ ِ ْ ْ ُ ر«‬ ‫أَن ه ا ه‬


‫ﻧﺎدرة ﻟﻠﺒﻨﺎن ﻗﺒﻞ ﻧﺼﻒ ﻗﺮن!‬ ‫ﻫﺎ ﻧﺤﻦ ِإ ًذا ﰲ ُﺻ َﻮ ٍر‬ ‫ٍ‬ ‫ﺣﻔ َﺰﲏ ﻫﺬا ا َ‬ ‫ﻻﺋﻖ‬ ‫ﻛﺘﺎب‬ ‫ﻛﻮﺷ َـﻤﻦ ﰲ‬ ‫ْ‬ ‫ﲨﻊ ُﺻ َﻮر‬ ‫ﻷﻣﺮ‬ ‫َ‬ ‫ٍ‬ ‫ﻧﻮﺳﺘﺎﳉﻴﺎ ِإﱃ ْ‬ ‫ٍ‬ ‫ًّ‬ ‫ﻌﻬ َﺪ ﻣﻨﺬ ْﺗﺄﺳﻴﺴﻪ ﻗﺒﻞ‬ ‫ُأ ُ‬ ‫ﺿﻴﻔ ُﻪ ِإﱃ ﻣﻨﺸﻮرات ‪‬ﻣﺮﻛﺰ اﻟﱰاث اﻟﻠﺒﻨﺎﲏ‪ ‬اﻟﺬي َﺗ ﱠ‬ ‫َ‬ ‫ﻳﺪونَ ﰲ ﺗﺎرﻳﺦ اﳉﺎﻣﻌﺔ اﻟﻠﺒﻨﺎﻧﻴﺔ ا َ‬ ‫ً‬ ‫ذاﻛﺮة ﻟﱰاث‬ ‫ﻷﻣﲑﻛﻴﺔ‬ ‫‪ 16‬ﺳﻨﺔ )‪ (2002‬أن ﱢ‬ ‫ﺑﺎﻟﺼﻮرة‬ ‫ﺴﺠ ُﻞ‬ ‫ﻃﺒﻌﺎ ٌ‬ ‫ِ‬ ‫اﻟﻐﻨﻴﺔ اﻟ ﱢ‬ ‫ﺗﺮاث ﻓﻮﺗﻮﻏﺮاﻓ ﱞـﻲ ُﻳ ّ‬ ‫ـﻤﺘﻌﺪدة‪ ،‬وﻣﻨﻬﺎ ً‬ ‫ﻟﺒﻨﺎن ﰲ ُوﺟﻮﻫِ ﻪ ّ‬ ‫ً‬ ‫ﻗﺮن ﻣﻦ ﺗﺎرﻳﺦ ﻟﺒﻨﺎن اﳊﺪﻳﺚ‪.‬‬ ‫ذاﻛﺮة ﻟﻠﻤﻜﺎن ﻋﻦ َأﺟﻮاء ﺑﲑوت ﻗﺒﻞ ﻧﺼﻒ ٍ‬ ‫ْ‬ ‫ﺖ ﺟﺎﻣﻌﺔ ِإﻧﺪﻳﺎﻧﺎ‪،‬‬ ‫وﻓﻖ اﻟﻘﻨﻮات اﻟﻘﺎﻧﻮﻧﻴﺔ‪،‬‬ ‫ﻛﺎن ﻻ ُﺑ ﱠـﺪ ﻣﻦ اﻟﻌﻤﻞ ْ‬ ‫ﻓﺮاﺳﻠ ُ‬ ‫ْ‬ ‫ﻗﺴﻢ اﻟﻔﻮﺗﻮﻏﺮاﻓﻴﺎ ﻓﻴﻬﺎ‪ :‬ﺑﺮادﱄ ُﻛﻮك‬ ‫وﺗﻮاﺻﻠ ُ‬ ‫ﺖ ﻣﻊ ﻣﺪﻳﺮ ْ‬ ‫ً‬ ‫وﻣﻐﺘﺒﻄﺎ ﻟﺼﺪور اﳌﺠﻤﻮﻋﺔ اﻟﻔﻮﺗﻮﻏﺮاﻓﻴﺔ اﻟﻠﺒﻨﺎﻧﻴﺔ ﻟﺪى ﺟﺎﻣﻌﺔٍ‬ ‫ﻓﻜﺎنَ ﻣﺘﻌﺎو ًﻧﺎ‬ ‫اﻟﻌﻘﺪ ﺑﲔ ﺟﺎﻣﻌﺔ ِإﻧﺪﻳﺎﻧﺎ واﳉﺎﻣﻌﺔ اﻟﻠﺒﻨﺎﻧﻴﺔ‬ ‫ﺗﻮﻗﻴﻊ ْ‬ ‫ﻛﱪى ﰲ ﻟﺒﻨﺎن‪َ ،‬و َﺗ ﱠـﻢ‬ ‫ُ‬ ‫َ‬ ‫ا َ‬ ‫ﻳﻠﻴﻖ‬ ‫وﺑﺪأ اﻟﻌﻤﻞ ﰲ ﲢﻀﲑ ﻫﺬا اﻟﻜﺘﺎب ِﻹﺻﺪاره‬ ‫ﻷﻣﲑﻛﻴﺔ‪،‬‬ ‫ﻃﺒﺎﻋﻴﺎ ﻛﲈ ُ‬ ‫ًّ‬ ‫ﺑﺘﻠﻚ اﳌﺠﻤﻮﻋﺔ اﻟﻨﺎدرة‪.‬‬

‫ا ْﻟ َﺘ َﻘﻄـﻪ ﻣـﻦ َﻓـﻮق ِﻟ َﻤﺴـﺒﺢ اﻟﻔﻨـﺪق‪ ،‬ﺗـﺪل ﻋـﲆ ﻋﺮاﻗـﺔ اﻟﻔﻨـﺪق وﻓﺨﺎﻣـﺔ ﺑﻴﺌﺘﻪ‪.‬‬ ‫ﺑﲑوت اﻟﻔﺨﻤﺔ‬ ‫ﻣﻮﺟﻮدا ﺑﲔ ﻓﻨﺎدق‬ ‫َأﻳﻦ ﻫﻮ ﻫﺬا اﻟﻔﻨﺪق؟ و ِﻟ َـﻢ َﻟـﻢ ُﻳﻌﺪ‬ ‫ً‬ ‫َ‬ ‫اﳊﺎﻟﻴﺔ؟‬ ‫ْ‬ ‫ﻳﻄﻞ ﰊ ا َ‬ ‫اﻟﺘﻘ ّﺼﻲ‪ ،‬وﱂ ُ‬ ‫ﺟﺎرا ﻟﻔﻨﺪق‬ ‫ﻷﻣﺮ ﺣﺘﻰ‬ ‫ت رﺣﻠﺔ َ‬ ‫ﺑﺪأ ُ‬ ‫اﻛﺘﺸﻔﺘﻪ ً‬ ‫ُ‬ ‫ﻛﺒﲑ‬ ‫ﻗﻠﺖ ﰲ ﻣﻄﻠﻊ ﻫﺬه اﳌﻘﺪﻣﺔ‪ ،‬ﻣﺒﻨﻰ‬ ‫‪‬ﭘــﺎﱂ ﺑﻴﺘﺶ‪ ‬اﳊﺎﱄ‪ ،‬ﻟﻜﻨﻪ‪ ،‬ﻛﲈ‬ ‫ُ‬ ‫ٌ‬ ‫ﻛﺌﻴﺐ‪َ ،‬‬ ‫ﻛﺄﻧﻪ ﻗﻄﺎر ﺟﺎﰒٌ َﺻ ِﺪ َﺋﺖ ﻋﻠﻴﻪ اﻟﺴﻨﻮات‪.‬‬ ‫ٌ‬ ‫دﻓﻌ ْـﺘﻨﻲ ﻟﻠﺪﺧﻮل ِإﱃ ذاﻛﺮة ﻫﺬا اﻟﻔﻨﺪق اﻟﺬي ﻛﺎن‬ ‫ﻫﺬه اﻟﻜﺂﺑﺔ اﳉﺮﳛﺔ َ‬ ‫ﺑﲑوت َز ْﻫ ُ‬ ‫َز ْﻫ َ‬ ‫اﻟﱰاث اﳊﻔﺎظُ‬ ‫ﻆ‬ ‫ﻓﺒﻌﺾ ْ‬ ‫ﻮة ُﻣ ُﺪ ِن اﻟﴩق‪.‬‬ ‫ﻳﺎم‬ ‫ﻮة‬ ‫ِ‬ ‫ﺣﻔ ِ‬ ‫ُ‬ ‫َ‬ ‫ﺑﲑوت َأ َ‬ ‫ُ‬ ‫وﺗﺪوﻳﻨﻬﺎ ﰲ ﺳﺠﻞ اﳌﺴﺘﻘﺒﻞ‪.‬‬ ‫ﻋﲆ ذاﻛﺮﺗﻪ‬ ‫ُ‬ ‫ﺻﺎﺣﺒﻪ‪/‬اﳌﺆ ﱢﺳﺲ ﭘـﺮوﺳـﭙـﲑ ﻏﻴـﭙـﺎرا‪ ،‬ﰲ ‪ 5‬ﺷﺒﺎط‬ ‫ﰲ ذاﻛﺮة ﻫﺬا اﻟﻔﻨﺪق َأنّ‬ ‫َ‬ ‫ﺐ َ‬ ‫‪‬اﳌﻔﻮض اﻟﻌﺎم ﻟﻠﺴﻴﺎﺣﺔ واﻻﺻﻄﻴﺎف‪َ ‬‬ ‫ﻳﺴﺄ ُﻟﻪ ﻓﻴﻪ‬ ‫ﺗﻘﺪم ﻣﻦ‬ ‫‪ ،1955‬ﱠ‬ ‫ﺑﻄﻠ ٍ‬ ‫ّ‬

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‫ﻋﻄﺎءه اﻟﺮﺧﺼﺔَ اﳌﻄﻠﻮﺑﺔ ﻻﺳﺘﺜﲈر‬ ‫‪‬ﺗﻜﻠﻴﻒ َﻣﻦ ﻳﻠﺰم ِﺑﺈﺟﺮاء‬ ‫ْ‬ ‫اﻟﻜﺸﻒ‪ِ ‬وإ َ‬ ‫ﺑﻨﺎؤه‪.‬‬ ‫‪‬ﻓﻨﺪق ﻓﺨﻢ ﰲ ﺑﲑوت‪ ‬ﺑﻌﺪﻣﺎ ‪‬اﻧﺘﻬﻰ ُ‬

‫ﻛﺴ ْﻠ ْﺴ ُﻴﻮر‪‬؟‬ ‫ﻛﻞ ذﻟﻚ ﺑﻔﻨﺪق ِ‪‬إ ِ‬ ‫ﻣﺎ ﻋﻼﻗﺔُ ّ‬ ‫ـﻮرة ﰲ ﳎﻤﻮﻋـﺔ ﻛﻮﺷ َـﻤﻦ‪َ ،‬أﻧـﻪ ا ْﻟﺘﻘﻄﻬـﺎ ‪‬ﻋـﻦ ﺳـﻄﺢ‬ ‫َﺗﻔﺼﻴ ُـﻞ َأﻛﺜـﺮ ﻣـﻦ ﺻ ٍ‬ ‫ﻋﻬﺪﺋﺬ‪ ،‬وﺑﻌﻀﻬﺎ‬ ‫ﻄﻞ ﻋﲆ َﺷﻂّ ﺑﲑوت وﻋﲆ َأﺑﻨﻴﺘﻬﺎ‬ ‫ٍ‬ ‫ﻓﻨﺪق ِإ ِ‬ ‫ﻛﺴ ْﻠ ْﺴ ُﻴﻮر‪ ،‬اﻟ ُـﻤ ّ‬

‫ورﻗﺔُ اﻟﻄﻠﺐ ﺗﻠﻚ‪َ ،‬‬ ‫ﲪﻠﺖ ﰲ َأﻋﲆ زاوﻳﺘﻬﺎ اﻟﻴﻤﻨﻰ‪ ،‬ﺗﻔﺎﺻﻴﻞ‪:‬‬ ‫ُأوﺗﻴﻞ ِإ ْﻛ ِﺴ ْﻠ ْﺴ ُﻴﻮر – ﺳﺒﻮرﺗﻨﻎ ﻛﻠﻮب – ِﻟﻪ ﻛﺎڤ دي روا – ﻣﻴﻨﺎء اﳊﺼﻦ –‬

‫‪(2‬‬

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‫ﺑﲑوت‪.‬‬


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‫يز‬

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‫ﻗﺒﻠﺬاك ﻛﺎن ﻏﻴـﭙـﺎرا‪ ،‬ﰲ ‪ 24‬ﻛﺎﻧﻮن اﻟﺜﺎﲏ ‪ ،1952‬ﺣﺼﻞ ﻋﲆ رﺧﺼﺔ‬ ‫ﺳﺎﺑﻘﺔ ﺑﺎﺳﺘﺜﲈر ﻓﻨﺪق ‪‬ﭘــﺎﱂ ﺑﻴﺘﺶ‪) ‬ﻗﺒﻞ َأن ﻳﺒﻨﻲ ِ‪‬إ ْﻛ ِﺴ ْﻠ ْﺴ ُﻴﻮر‪.(‬‬

‫ا‬

‫ت‬

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‫« وا ـ » ِإ ْ ِ ْ ْ ُ ر«‬


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‫يز‬

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‫‪‬اﳌﻔﻮض‬ ‫ﺗﻘﺪم ﻣﻦ‬ ‫ﰲ ﺗﴩﻳﻦ اﻟﺜﺎﲏ ‪ّ 1963‬‬ ‫ّ‬ ‫اﻟﻌﺎم ﻟﻠﺴﻴﺎﺣﺔ واﻻﺻﻄﻴﺎف‪ ‬ﺑﻄﻠﺐ ‪‬رﺧﺼﺔ اﻓﺘﺘﺎح‬ ‫ﻛﺎﺑﺎرﻳﻪ ﺟﺪﻳﺪ ﻣﻦ ﻧﻮﻋﻪ‪ ‬ﺑﺎﺳﻢ ‪Le Grenier des‬‬

‫اﻟﺴﻔﲇ ﻣﻦ اﻟﻌﻘﺎر اﳌﻮاﺟﻪ‬ ‫‪ ...Arts‬ﰲ اﻟﻄﺎﺑﻖ ُ‬ ‫ﻟﻔﻨﺪق ِإ ْﻛ ِﺴ ْﻠ ْﺴ ُﻴﻮر واﳌﻼﺻﻖ ﻟﻔﻨﺪق ﭘـﺎﱂ ﺑﻴﺘﺶ‬ ‫– ﺷﺎرع ﻓﻴﻨﻴﻘﻴﺎ – ﻣﻠﻚ ﺟﺎن ﭘـﺮوﺳـﭙـﲑ ﻏﻴـﭙـﺎرا‪.‬‬ ‫‪‬ﺳﻴﺨﺼﺺ ﻫﺬا اﻟﻜﺎﺑﺎرﻳﻪ ﻻﺟﺘﲈع‬ ‫وﰲ اﻟﺘﻔﺼﻴﻞ َأنْ‬ ‫ﱠ‬ ‫اﻟﺮﺳﺎﻣﲔ واﻟﻨﺤﺎﺗﲔ واﻟﺸﻌﺮاء واﳌﻤﺜﻠﲔ وﲨﻴﻊ‬ ‫وﻹﻗﺎﻣﺔ ﻣﻌﺎرض ﻟﻠﺘﺤﻒ‬ ‫اﻟﻔﻨﺎﻧﲔ ﻣﻊ َأﺻﺪﻗﺎﺋﻬﻢ‪ِ ،‬‬ ‫اﻟﻔﻨﻴﺔ ﻣﻦ ﻟﻮﺣﺎت ﺗﺼﻮﻳﺮ وﲤﺎﺛﻴﻞ وﺧﻼﻓﻬﺎ‪ ،‬وﺗﻨﻈﻴﻢ‬ ‫اﳌﻬﺮﺟﺎﻧﺎت واﻻﺣﺘﻔﺎﻻت واﻻﺳﺘﻘﺒﺎﻻت اﳌﺨﺘﻠﻔﺔ‬ ‫ﻟﺮواد‬ ‫ﻣﻊ اﻟﱪاﻣﺞ اﳌﻮﺳﻴﻘﻴﺔ واﻻﺳﺘﻌﺮاﺿﺎت‬ ‫اﳌﺸﻮﻗﺔ ّ‬ ‫ﱢ‬ ‫ﻫﺬا اﳌﺤﻞ وﰲ َﺟ ﱟـﻮ ﲨﻴﻞ وﺟﺪﻳﺪ ﻣﻦ ﻧﻮﻋﻪ ﰲ ﻟﺒﻨﺎن‪ .‬وﰲ َ‬ ‫ﻃﻠﺐ اﻟﺮﺧﺼﺔ‬ ‫ﻗﺪﻣﻪ ﳏﺎﻣﻲ ِ‪‬إ ْﻛ ِﺴ ْﻠ ْﺴ ُﻴﻮر‪َ ‬أن ‪‬اﻟﺴﻴﺪ ﭘـﺮوﺳـﭙـﲑ ﻏﻴـﭙـﺎرا‪ ،‬اﻟﺬي َأﻣﴣ‬ ‫اﻟﺬي ّ‬ ‫وﺷﺎﻫﺪ ﻫﺬا اﻟﻨﻮع ﻣﻦ ا َ‬ ‫اﳌﺸﻮﻗﺔ‪ ،‬ﻳﺮﻏﺐ ﰲ‬ ‫ﻷﻣﺎﻛﻦ‬ ‫ﺳﺖ ﺳﻨﻮات ﰲ اﳋﺎرج‬ ‫َ‬ ‫ﱢ‬ ‫ِإﻧﺸﺎء ﻫﺬا اﻟﻨﻮع اﳉﺪﻳﺪ ﻣﻦ اﻟﻜﺎﺑﺎرﻳﻪ ﰲ ﻟﺒﻨﺎن‪ ،‬ﻟﺘﺸﺠﻴﻊ اﻟﻔﻦ اﻟﺮاﻗﻲ وﺗﻌﺰﻳﺰ‬ ‫ﲨﻴﻊ ا َ‬ ‫ﻷﺷﺨﺎص اﻟﺬﻳﻦ ﻳﺘﻌﺎﻃﻮن اﻟﻔﻨﻮن اﳉﻤﻴﻠﺔ‪ ،‬وﰲ ﺟﻮ ﻓﺮﻳﺪ ﻣﻦ ﻧﻮﻋﻪ‪،‬‬

‫ﻣﻊ ﻛﺎﻓﺔ اﻟﺘﺠﻬﻴﺰات‪ ،‬وﺣﺪﻳﻘﺔ ّ‬ ‫اﳌﺸﻮﻗَ ﺎت‪ ‬ﻋﲆ َأن ﻳﻜﻮن‬ ‫ﺟﺬاﺑﺔ ﺗﻜﻤﻞ ﻫﺬه‬ ‫ﱢ‬ ‫ﻛﻞ ذﻟﻚ ‪ ...‬ﲢﺖ ِإﴍاف ِوإدارة ﻓﻨﺪق ِإ ْﻛ ِﺴ ْﻠ ْﺴ ُﻴﻮر‪.‬‬ ‫ﰲ اﻟﻔﱰة ذاﲥﺎ َأ َ‬ ‫ﻧﺸﺄ ﻣﻠﻬﻰ ‪ِ ‬ﻟﻴﻪ ﻛﺎڤ دو ْر َوى‪Les Caves du) ‬‬ ‫ﻣﻌﺮ ًﻓﺎ ﻋﻨﻪ ‪‬ﻣﻮﻋﺪ اﻟﻌﺎﱂ ﱢ‬ ‫ﻛﻠﻪ‪(Rendez-vous du monde entier) ‬‬ ‫‪ّ (Roy‬‬ ‫‪‬ﰲ َأﺟﻮاء اﻟﻘﺮون اﻟﻮﺳﻄﻰ‪ ،(Atmosphère Médiévale) ‬ﻣﻦ ﻫﻨﺎ ﻛﺘﺎﺑﺔُ‬


‫ﻻ ا م‬ ‫ا ق وا‬ ‫َ ر ا‬ ‫ﲢﻮ َﻟﺖ اﻟﻜﻠﻤﺔ ﰲ ﻋﴫ‬ ‫‪ Roy‬ﻛﲈ ﻛﺎﻧﺖ ُﺗ َ‬ ‫ﻜﺘﺐ ﰲ اﻟﻌﺼﻮر اﻟﻮﺳﻄﻰ‪ ،‬ﰒ ﱠ‬ ‫ذات ا َ‬ ‫ﻷﻃﺒﺎق اﻟﺒﺎﻫﻈﺔ‬ ‫اﻟﻨﻬﻀﺔ اﻟﻔﺮﻧﺴﻴﺔ ِإﱃ ‪ .Roi‬وﺑﺪا ﻣﻦ ﻻ ِﺋﺤﺔ اﻟﻄﻌﺎم‪،‬‬ ‫ِ‬ ‫اﳋﺪﻣﺎت‬ ‫ﺗﺪ ّل ﻋﲆ ﻧﻮﻋﻴﺔ‬ ‫اﻟﺜﻤﻦ ِﺑﺈﻋﺪاد ُﻃ ٍ‬ ‫ِ‬ ‫ﻬﺎة ﻋﺎ َﻟ ِـﻤ ّﻴﲔ‪َ ،‬أﳖﺎ َأﻃﻌﻤﺔٌ ﻓﺨﻤﺔٌ ُ‬ ‫َ‬ ‫ﺳﻬﻤﺖ ﰲ‬ ‫اﻟﻌﺎﻟﻴﺔِ‬ ‫ِ‬ ‫اﳉﻮدة اﻟﻌﺎ َﻟـﻤﻴﺔِ اﻟﺘﻲ ﻛﺎن ﱢ‬ ‫ﻟﺮواده‪ ،‬وﻫﻲ أ َ‬ ‫ﻳﻘﺪﻣﻬﺎ اﻟﻔﻨﺪق ّ‬ ‫اﻟﺴﻴﺎح ﻣﻦ ﻛﻞ اﻟﻌﺎ َﻟـﻢ‬ ‫ﳏﻠﻴﺎ‬ ‫وﺗﺎﻟﻴﺎ ﻛﺎﻧﺖ ﺗﺴﺘﻘﻄﺐ ِإﻟﻴﻪ ﱠ‬ ‫ودوﻟﻴﺎ‪ً ،‬‬ ‫ًّ‬ ‫ُذﻳﻮع ﺷﻬﺮﺗﻪ ًّ‬ ‫ﻋﻬﺪﺋﺬ ﺑﲔ ﺳﺎ ِﺋﺮ اﻟﻔﻨﺎدق‪.‬‬ ‫ـﻤﻴ ًﺰا‬ ‫ٍ‬ ‫ِﻟ َﻜﻮﻧﻪ َﻣـ ْـﻌـ َـﻠـ ًـﻤﺎ ُﻣ ﱠ‬

‫ا‬

‫ا‬

‫ا ا‬

‫وﻻﺣﻘﺎ‪ ،‬ﺑﻌﺪ ْﺗﺄﺳﻴﺲ وزارة اﻟﺴﻴﺎﺣﺔ ﺳﻨﺔ‬ ‫ً‬ ‫‪ ،1961‬ﻋﺎد ﻏﻴـﭙـﺎرا‬ ‫ﻓﺎﺳﺘﺤﺼﻞ ﰲ ‪ 13‬ﺗﴩﻳﻦ‬ ‫َ‬ ‫اﻟﺜﺎﲏ ‪ 1968‬ﻣﻦ ‪‬وزارة اﻟﺴﻴﺎﺣﺔ – اﳌﺪﻳﺮﻳﺔ‬ ‫)رﻗﻤﻬﺎ‬ ‫اﻟﻌﺎﻣﺔ‬ ‫ﻟﻠﺸﺆون اﻟﺴﻴﺎﺣﺔ‪ ،‬ﻋﲆ ِ‪‬إ ٍ‬ ‫ُ‬ ‫ﺟﺎزة ُ‬ ‫‪ 279‬ب‪ ،(‬ﺑﺎﺳﺘﺜﲈر ﻓﻨﺪق ِإ ْﻛ ِﺴ ْﻠ ْﺴ ُﻴﻮر‬ ‫ﰲ ﺑﲑوت‪ ،‬ﺷﺎرع ﻣﻴﻨﺎء اﳊﺼﻦ‪ِ ،‬ﺑ ُـﻤ ْﻠ ِﻜﻪ‬ ‫اﳌﺎدة ا ُ‬ ‫ﻷوﱃ ﻣﻦ‬ ‫اﳋﺎص‪ ،‬وذﻟﻚ‬ ‫‪‬ﺑﻨﺎء ﻋﲆ ﱠ‬ ‫ً‬ ‫ﻗﺎﻧﻮن اﺳﺘﺜﲈر اﻟﻔﻨﺎدق واﳌﻼﻫﻲ واﳌﻄﺎﻋﻢ‬ ‫واﳌﻘﺎﻫﻲ واﳊﺎﻧﺎت اﻟﺼﺎدر ﺑﺘﺎرﻳﺦ ‪ 14‬ﻛﺎﻧﻮن‬ ‫ا َ‬ ‫ﻷ ّول ﻋﺎم ‪.1950‬‬

‫ا ـ » ِإ ِ ْ ْ ُ ر«‬


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‫ﻫﺬه ﺑﻌﺾ ُاﻟﻠﻤﺢ ﻣِ ﻦ ﻣﻐﺎﻣﺮة ﭘـﺮوﺳـﭙـﲑ ﻏﻴـﭙـﺎرا اﻟﻨﺎﺟﺤﺔ ﰲ ِإ ِ‬ ‫ﻓﻨﺪ ٍق‬ ‫ﻧﺸﺎء ُ‬ ‫َ‬ ‫َ‬ ‫ﻓﺨﻢٍ‪ٍ ،‬‬ ‫ـﺨﺒﺔ ُاﻟﻨﺨﺒﺔ ﻣﻦ أﻋﻼمِ‬ ‫ﻟﻴﲇ ﻧﺎدر َﻓ ْﺘ َﺮ َﺗﺌِ ٍﺬ‪ ،‬وﻣﻠﻬﻰ َﺟ َـﻤ َﻊ ﰲ أﺟﻮاﺋﻪ ُﻧ َ‬ ‫وﻧﺎد ﱟ‬ ‫ً‬ ‫ﺻﻮرة راﺋﻌﺔً‬ ‫ورو ًادا‪ ،‬ﻛﺎﻧﻮا َﻳـﺠﺪون ﰲ ﻫﺬا اﻟ َـﻤ ْﻌ َﻠﻢ‬ ‫وﻓﻨﻮ ًﻧﺎ‬ ‫ﻟﺒﻨﺎنَ ﺳﻴﺎﺳﺔً ُ‬ ‫ﱠ‬ ‫ﻟﺒﲑوﺗﻨﺎ اﻟﺮاﺋﻌﺔ‪.‬‬

‫يز‬

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‫ﻼث‬ ‫ا‬ ‫أو اﻹ ار‬

‫وات‬

‫ا ـ » ِإ ِ ْ ْ ُ ر«‬ ‫)‪(1967‬‬ ‫ا‬ ‫ﻣﺮرت ﺑﺎﻟـ ِ‪‬إ ْﻛ ِﺴ ْﻠ ْﺴ ُﻴﻮر‪ ‬اﳍﺎﻣﺪ‪،‬‬ ‫اﳌﻘﺪﻣﺔ‪،‬‬ ‫ﻗﺒﻞ ﻳﻮﻣﲔ ﻣﻦ ﻛﺘﺎﺑﺘﻲ ﻫﺬه ﱢ‬ ‫ُ‬ ‫َﻓﺮ َأ ُ َ‬ ‫ﻣﺪﺧﻠﻪِ اﳌﻬﺪوم‪،‬‬ ‫ﺑﺎﻗﻴﺎ ﻣﻨﻪ ﺳﻮى ﺣﺮف ‪ E‬ﻋﲆ ﺟﺪار‬ ‫ِ‬ ‫ﻳﺖ أنْ َﻟـﻢ َﻳ ُﻌ ْﺪ ً‬ ‫ﺑﺎق ﻫﻨﺎك‪،‬‬ ‫وﻟﻜﻦ‪ ...‬ﻻ ُ‬ ‫وﲢﺘﻪ ﺑﻘﺎﻳﺎ ﺷﻌﺎر ‪،Les Caves du Roy‬‬ ‫اﻟﻔ ُ‬ ‫َ‬ ‫ﻨﺪ ُق ٍ‬ ‫ْ‬ ‫وﻻ ‪‬اﻟﻜﺎڤ دو ْر َوى‪.‬‬ ‫ذﻛﺮﻳﺎت ﺣﺰﻳﻨﺔٌ ﻣﻦ زﻣﺎن اﻟﻔﺮح ﰲ ذاﻛﺮة ﺑﲑوت‪ ،‬وﰲ‬ ‫ﻛﻞ ﻣﺎ َﺑﻘِ َﻲ‪:‬‬ ‫ٌ‬ ‫ﱡ‬ ‫اﻟﻐﻨﻲ‪.‬‬ ‫ﺣﻔﻆ اﻟﺬاﻛﺮة ﰲ ُﺗـﺮاﺛﻨﺎ‬ ‫ﻌﻤﻞ ﻋﲆ ْ‬ ‫ِ‬ ‫ذاﻛﺮة َﻣﻦ َﻳ َ‬ ‫ّ‬ ‫* * *‬

‫أ ﻼم ورد‬ ‫ف‬ ‫ا ـ » ِإ ِ ْ ْ ُ ر« )‪(1971‬‬ ‫نا فا‬

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‫‪(3‬‬

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‫ا ُ َ ّر ا‬

‫ﻛﻮﺷ َـﻤﻦ َ‬ ‫ﺳﻜ َﻦ ﻓﻴﻪ‪ِ ،‬إ ّﺑﺎن ِإﻗﺎﻣﺘﻪ‬ ‫ْ‬ ‫واﺿﺢ ﻣﻦ ﻓﺨﺎﻣﺔ ﻫﺬا اﻟﻔﻨﺪق َأنّ‬ ‫ِإ ًذا‪،‬‬ ‫ٌ‬ ‫ﻋﺸ َ‬ ‫ـﺤﻀ ُﻨﻬﺎ‬ ‫وﻏﺎد َر ُه ﺣﺎﻣﺎًﻠ‬ ‫ﺮة َأﻳﺎمٍ ﰲ ﻟﺒﻨﺎن‪،‬‬ ‫ْ‬ ‫اﻟﺼ َﻮر اﻟﻠﺒﻨﺎﻧﻴﺔَ اﻟﺘﻲ َﻳ ُ‬ ‫َ‬ ‫َ‬ ‫ﳎﻤﻮﻋﺔَ ُ‬ ‫ﻫﺬا اﻟﻜﺘﺎب‪.‬‬

‫ﺰاﺟﻪ‬ ‫ﻳﺪ ّل ﻋﲆ‬ ‫ﻋﻦ ﺳﲑﺗﻪ )ص‪ 140 .‬ﻣﻦ ﻫﺬا اﻟﻜﺘﺎب(‪ ،‬ﻣﺎ ُ‬ ‫ﺑﻮﻫﻴﻤﻴ ِـﺘﻪ وﻣِ ِ‬ ‫ﱠ‬ ‫اﳋﺎﺻﺔ واﳌﻬﻨﻴﺔ‪.‬‬ ‫اﻟﻐﺎﻣﺾ ﰲ ﺣﻴﺎﺗﻪ‬ ‫اﻟﻐﺮﻳﺐ‬ ‫ِ‬ ‫ﱠ‬ ‫ِ‬

‫ﺷﺨﺎﺻﺎ‬ ‫ﺸﺎﻫﺪ َوأ‬ ‫وﻣ‬ ‫ﻣﻨﺎﻇﺮ‬ ‫ﺴﺘﻌﻴﺪ‬ ‫اﻟﺼ َﻮر اﻟﻴﻮم‪َ ،‬أﳖﺎ َﺗ‬ ‫َ‬ ‫ٍ‬ ‫ُ‬ ‫ً‬ ‫َ‬ ‫ﻗﻴﻤﺔُ ﻫﺬه ُ‬ ‫وواﺣﺎت َ‬ ‫ﺑﻌﻀﻬﺎ ﻣﺎ‬ ‫وﻣﻌﺎ ِﻟ َـﻢ‬ ‫وﳊﻈﺎت ﻛﺎﻧﺖ ﻧﺎﺑﻀﺔً ﺑﺎﳊﻴﺎة ﻗﺒﻞ ﻧﺼﻒ ﻗﺮن ﻣﻦ اﻟﻴﻮم‪ُ ،‬‬ ‫ٍ‬ ‫ﻓﻐﺎﺑﺖ‬ ‫ـﺤﻮﻳﺮ َأو ﺗﺮﻣﻴﻢ‪،‬‬ ‫ﺗﻌﺪﻳﻞ َأو َﺗ‬ ‫ﺑﺎﻗﻴﺎ ﻣﻊ‬ ‫وﺑﻌﻀﻬﺎ َ‬ ‫ُ‬ ‫اﻵﺧ ُـﺮ اﻧﺪﺛﺮ ُﻛ ﱢﻠ ًّﻴﺎ َ‬ ‫ٍ‬ ‫زال ً‬ ‫ٍ‬ ‫ﻛﻮﺷ َـﻤﻦ‬ ‫ﻧﻮﺳﺘﺎﳉﻴﺔٌ َﺟ ﱠـﻤ َـﺪ ْﺗﻬﺎ ﻛﺎﻣﲑا ﺗﺸﺎرﻟﺰ ْ‬ ‫ﻣﻼﳏﻪ و َﻟـﻢ َﺗ ْﺒ َﻖ ﻣﻨﻪ ِإ ﱠﻻ ﳊﻈﺔٌ‬ ‫ُ‬ ‫ّ‬ ‫ذات َأﻳﺎر ‪.1965‬‬ ‫َ‬ ‫ﺟﻮدة ﻓﻮﺗﻮﻏﺮاﻓﻴﺔٍ ﻋﺎﻟﻴﺔ‪،‬‬ ‫اﻟﺼ َﻮر‪ِ ،‬ﺗ ْﻘ ًّﻨﻴﺎ‪ ،‬ﻗﺪ ﻻ ﻳﻜﻮن ذا‬ ‫ٍ‬ ‫ُﻣﺴﺘﻮى ﻫﺬه ُ‬ ‫وﻣﻌﺪاﺗﻪ ﻗﺒﻞ ﲬﺴﲔ ﺳﻨﺔ‪ .‬ﻟﺬا ﻛﺎن‬ ‫ﻗﺪرﻣﺎ ﻛﺎﻧﺖ ﺗﻜﻨﻮﻟﻮﺟﻴﺎ اﻟﺘﺼﻮﻳﺮ‬ ‫ّ‬ ‫ﻋﲆ ْ‬ ‫وﻓﻖ‬ ‫ﲤﺮﻳﺮﻫﺎ ﻋﲆ ﳐﺘ ٍﱪ‬ ‫ﴐورﻳﺎ‬ ‫وﺗ ْﻨﻘِ َﻴ ِﺘﻬﺎ ْ‬ ‫اﻟﺼ َﻮر اﻟﻌﺘﻴﻘﺔ‪َ ،‬‬ ‫ُ‬ ‫ﺧﺎص ﻟﺘﻨﻈﻴﻒ ُ‬ ‫ًّ‬ ‫ﱟ‬ ‫ﺴﺘﻌﻴﺪ ﻣﺎ َأ َ‬ ‫ﻣﻜﻦ ﻣﻦ َو ْﻫ ِﺠﻬﺎ وﻣﻌﺎﻧﻴﻬﺎ وﻣﺪﻟﻮ ِﻟـﻬﺎ‬ ‫اﻟﺘﻘﻨﻴﺎت‪ ،‬ﻛﻲ َﺗ‬ ‫َأﺣﺪث ْ‬ ‫َ‬ ‫ﻛﻮﺷ َـﻤﻦ‪ .‬ﻓﻬﻮ ﱂ ُ‬ ‫دار ﻋﲆ‬ ‫ﺤﱰﻓﺎ‪ ،‬ﺑﻞ‬ ‫ْ‬ ‫ﳊﻈﺔَ ا ْﻟ َﺘ َﻘ َﻄﻬﺎ‬ ‫ﻳﻜﻦ ُﻣ َﺼ ﱢﻮ ًرا ُﻣ ً‬ ‫ﻫﺎوﻳﺎ َ‬ ‫ً‬ ‫ﺳﻠﻔﺎ‪ .‬وﰲ َ‬ ‫اﻟﻨﺒﺬة‬ ‫ﻣﻌﻴ ٍﻦ ﻣﺮﺳﻮمٍ ً‬ ‫اﻟﻌﺎ َﻟـﻢ ُﻳ َﺼ ﱢﻮر ﻣﺎ َﻳﺤﻠﻮ ﻟﻪ‪ ،‬وﻟﻮ ِﺑ ُﺪون َ‬ ‫ﻫﺪف ﱠ‬

‫يز‬

‫| ‪17‬‬

‫ر‬

‫ءا‬

‫ء ا ـ » ن رج« و ل ا ـ » ِإ ِ ْ ْ ُ ر«‬


‫ﺷﺎﻫﺪا ﻋﲆ َﻣﻌﺎ ِﻟ َﻢ ﻣﻦ ﻟﺒﻨﺎن‪ ،‬ﻋﺎﺻﻤﺔً‬ ‫ﻫﻲ ذي ﻏﺎﻳﺔُ ﻫﺬا اﻟﻜﺘﺎب‪َ ،‬أن َﻳﻜﻮنَ‬ ‫ً‬ ‫وﺑ ْﻌ َﻠ َﺒ ًّـﻜﺎ‪ ،‬ﺣﺘﻰ ﺗﻜﻮنَ ا َ‬ ‫ً‬ ‫ﺟﺎﻣﺪة‪،‬‬ ‫ـﺾ اﻟﺼﻮرة‪ ،‬وﻟﻮ‬ ‫ُ‬ ‫وﺟﺒﻴﺎًﻠ َ‬ ‫ﻷﻣﻜﻨﺔُ ﳏﻔﻮﻇﺔً ﰲ َﻧـ ْـﺒ ِ‬ ‫ﻧﺎﺑﻀﺎ ﻋﲆ اﻟﺰﻣﺎن‪.‬‬ ‫ﻛﲈ َﻳ َـﺘ َﺠ ﱠﻤ ُﺪ‬ ‫ﻮﺣ ُﻪ ً‬ ‫اﻟﻌﻨﱪ ﰲ ذاﻛﺮة اﳌﻜﺎن وﻳﺒﻘﻰ َﻓ ُ‬ ‫ُ‬ ‫ُ‬ ‫وﻓﻴـﺔً ﻟﺬاﻛﺮة اﻟـﻤﻜﺎن‪.‬‬ ‫ﻫﻜﺬا ﺗﻜﻮنُ‬ ‫اﻟﺼﻮرة ﱠ‬

‫ُ‬ ‫ً‬ ‫وزارة اﻟﺴﻴﺎﺣﺔ ِﺧ ﱢﺼـﻴ ًـﺼﺎ ﳍﺬا اﻟﻜﺘﺎب‪.‬‬ ‫ﻣﺸﻜﻮرة‪،‬‬ ‫زو َد ْﺗﻨﺎ ﲠﺎ‪،‬‬ ‫ﺴﺘ َﻨﺪات اﻟﻌﺎﺋﺪة ﻟﻔﻨﺪق ِ‪‬إ ِ‬ ‫– اﻟ ُـﻤ َ‬ ‫ﻛﺴ ْﻠ ِﺴ ُﻴﻮر‪ ‬ﱠ‬ ‫ﺣﴫا ﻟ ـ ‪‬ﻣﺮﻛﺰ اﻟﱰاث اﻟﻠﺒﻨﺎﲏ‪ ‬ﰲ اﳉﺎﻣﻌﺔ اﻟﻠﺒﻨﺎﻧﻴﺔ ا َ‬ ‫ٌ‬ ‫ﻷﻣﲑﻛﻴﺔ‪.‬‬ ‫ﻋﺎﺋﺪة‬ ‫ﺣﻘﻮق اﻟﺘﻌﻠﻴﻖ ﻋﲆ ُﺻ َﻮر اﻟﻜﺘﺎب‬ ‫–‬ ‫ُ‬ ‫ً‬ ‫اﻟﺼﻮر ْﻣﺄ ٌ‬ ‫ﺧﻮذ‪ ،‬ﻛﲈ ﻫﻮ‪ ،‬ﻣﻊ ﺗﺎرﳜﻬﺎ‪ ،‬ﻣﻦ ﻗﺴﻢ اﻟﻔﻮﺗﻮﻏﺮاﻓﻴﺎ ﰲ ﺟﺎﻣﻌﺔ ِإﻧﺪﻳﺎﻧﺎ‪.‬‬ ‫– اﻟﺘﻌﻠﻴﻖ ِاﻹﻧﻜﻠﻴﺰي ﻋﲆ‬ ‫َ‬


‫وت‬

‫‪BEIRUT‬‬ ‫و ُ ا رة وا ُ‬ ‫ِ‬ ‫ﻋﻴﻮﻧـﻚ ﺩﻣﻌـ ًﺔ‬ ‫ﺑﻴـﺮﷁﺕ ﻫـﻞ ﺫﺭﻓَـﺖ‬ ‫ﻛــﻢ ٍ‬ ‫ﻟﻴﻠــﺔ ﻋــﺬﺭﺍﺀَ ﺟﺎ َﺫ َﺑﻬــﺎ ﺍﻟﻬــﻮﻯ‬ ‫‪‬ــﻢ‬ ‫ﻣــﺎ ﺟ ْﺌ َﺘﻬــﺎ ِﺇﻻ‪َ ‬ﻫ َ‬ ‫ــﺪﺍﻙ ﻣﻌﻠ ٌ‬ ‫ﻭﻃـﻦ ﺍﻟﺤﻀـﺎﺭﺓ ﻭﺍﻟ ُﻨﻬـﻰ‬ ‫ﺑﻴـﺮﷁﺕ ﻳـﺎ َ‬ ‫ُ‬

‫ﺍﻟــــﻤﻐ‪ُ َ‬ﻡ‬ ‫ِﺇﻻ‪ ‬ﵙﺮَ ‪‬ﺷﻔـﻬــــﺎ ﻓُـــ َﺆﺍﺩﻱ‬ ‫ُ‬ ‫َﻧﺠـــﻢ‬ ‫ﺃَﻧـــﺎ ﻭﺍﻟﻌﻨـــﺎﺩ ُﻝ ﻭﺍﻟﺮُﺑــــﻰ ﻭﺍﻷ ُ‬ ‫ـــﻢ‬ ‫ﻓـــﻮﻕ ﺍﻟﻤﻨﺎﵘـــﺮ ِ ﺃَﻭ‬ ‫َ‬ ‫ﺷـــﺠﺎﻙ ُﻣ َﺘ ‪‬ﻴ ُ‬ ‫ﺍﻟﺤـــﺐ َﻳﺒﻨـــﻲ‪ ...‬ﻭﺍﻟﺠﻔـــﺎﺀُ ُﻳ َﻬـــ ‪‬ﺪ ُﻡ‬ ‫‪‬‬ ‫ﺍﻷَﺧﻄﻞ ﺍﻟﺼﻐﲑ‬


21 |

BEIRUT •

‫ا رة ذا ة ا ن‬

.‫ر‬

‫قإ‬

Excelsior Hotel. May 1, 1965

‫ن‬

‫و‬


«...‫؟‬ (

‫)ر‬

‫ا‬

ً ّ ‫زُر ُ ا‬ .‫قإ ِ ِ ُ ر‬ Mediterranean morning from top of Excelsior Hotel. May 1, 1965

»


23 |

BEIRUT •

‫ا رة ذا ة ا ن‬

.‫ن ا اء‬

... ‫ُ ت و َ و‬

Apartment house in Minet el-Hosn. May 1, 1965


ّ ‫ٌ أُر ا‬ . ‫ءا‬

‫ا‬

Minet el-Hosn section raspberry colored apartment house near Sea. May 1, 1965


25 |

BEIRUT •

‫ا رة ذا ة ا ن‬

‫ا ا‬ . ‫ا ت اﻷ ُر ا‬

‫أ م‬

Residential section near Sea in Minet el-Hosn. May 1, 1965


. ‫فا‬ ‫ٍ ٍط ّي‬ ، ُّ . ‫وت ا‬

‫ُّ ُ ا‬ ‫د‬ ‫وا‬

Beirut water front, Fisherman on mossy rocks. May 1, 1965


27 |

BEIRUT •

‫ا رة ذا ة ا ن‬

‫ا وب‬ ‫ا ُ رداء‬ ‫وت‬ .‫و ا ج داود‬ Evening sunlight along sea-toward David Restaurant. May 1, 1965


«‫ر‬ ‫» ِإ‬ «‫وا ـ» ن رج‬ .‫و و وت‬ Sea front Beirut. May 2, 1965


29 |

BEIRUT •

‫ا رة ذا ة ا ن‬

‫ا دا‬ ‫ا‬ ‫وت‬ .«‫ق ا ـ» ن رج‬ Beirut Sea front with St. George Hotel. May 2, 1965


The Flatiron Building. The iconic New York City skyscraper, The Flatiron, bordered by Broadway on the left and Fifth Ave on the right. Circa 1903

‫رك‬ .‫وت‬ . ‫ا‬

‫ﻼ ون‬ ‫ه ا رة‬ ‫ر‬

‫ا‬ ّ

Port area-almost a flat iron bldg (Flatiron-like). May 2, 1965


31 |

BEIRUT •

‫ا رة ذا ة ا ن‬

. َّ ‫ُ ا‬ .( ‫ا‬

‫ا ُ ا اء وا‬ ) ‫رع ش‬

Minaret of Mosque Marechal Foch street. May 2, 1965


. ‫ذا ة ا‬ .‫رع ش‬

‫ا‬

‫أر ُج ا‬

Minaret of Mosque Marechal Foch. May 2, 1965

‫أ‬


33 |

BEIRUT •

‫ا رة ذا ة ا ن‬

. ‫ار ا‬ .(‫ا ّ اب‬

‫ﻻ ما ر‬ ) ‫ا‬

Mosque near Parliament Square. May 2, 1965

‫ب‬


‫و‬ ‫ا‬ ‫ا دا‬ ‫وا‬ ٍ ‫ن و رُون ر‬ ّ ، ‫زُ ق ّ ب ا‬ .‫ا اب‬ Street scences near Parliament Square, including frenetic market. May 2, 1965


35 |

BEIRUT •

‫ا رة ذا ة ا ن‬

. ‫ر رج ا‬ ، ‫ب ا‬ .‫ا اب‬

‫ا‬

Street scenes near Parliament Square, including frenetic market. May 2, 1965


‫ا ن )ا ن‬ ( ‫لا‬ ‫ون ا‬ ، ‫ا‬ .‫ا اب‬ Street scenes near Parliament Square, including frenetic market. May 2, 1965


37 |

BEIRUT •

‫ا رة ذا ة ا ن‬

، ‫ا‬ -َ‫ر‬ .‫ا اب‬

‫اﻷول ل‬ ‫واﻵ‬ ، ‫ا‬

Street scenes near Parliament Square, including frenetic market. May 2, 1965


‫ن ور ا‬ .‫ا اب‬ ، ‫ا‬ Street scenes near Parliament Square, including frenetic market. May 2, 1965


39 |

BEIRUT •

‫ا رة ذا ة ا ن‬

‫أ مز ن‬ ‫ر‬ . ‫ا اء ا‬ ‫ل شا‬ ، ‫ب ا‬ .‫ا اب‬ Street scenes near Parliament Square, including frenetic market Sidewalk merchant. May 2, 1965


، ‫ا‬ .‫ا اب‬

‫وا‬

‫ب‬

Sidewalk merchant Parliament Square. May 2, 1965

‫ا ري‬


41 |

BEIRUT •

‫ا رة ذا ة ا ن‬

، ‫ا‬ .‫ا اب‬

‫ب‬

‫آ‬

Street scenes near Parliament Square, including frenetic market. May 2, 1965


.‫أ اق وت‬ Street scenes near Parliament Square, including frenetic market. May 2, 1965


43 |

BEIRUT •

‫ا رة ذا ة ا ن‬

.

‫وء وت‬

Beirut from mountain road S.E. of city. May 3, 1965


‫ا‬

‫طا‬ .‫رأس وت‬ Green carpeted rocks in Beirut water-front. May 4, 1965


45 |

BEIRUT •

‫ا رة ذا ة ا ن‬

‫نز ُ ا ُ ش‬ .‫ارع وت‬ Native gentleman. May 4, 1965


. .‫وت‬

‫ﻼ وا وا‬ ‫ن‬ ‫دون‬

Fishers and net. May 4, 1965


47 |

BEIRUT •

‫ا رة ذا ة ا ن‬

‫ّ اﻷم ﻷوﻻد ح اﻷ‬ .‫ر ا رة‬ Local children and woman. May 4, 1965


‫»و ؟ و ؟‬ .« ‫ر وادي و‬ . ‫و‬ Open house. May 5, 1965


49 |

BEIRUT •

‫ا رة ذا ة ا ن‬

. ‫ا وّار‬ ً

Beirut street scenes. May 5, 1965

‫ُّ ا رج‬


. ‫رع و‬ House with balcony. May 5, 1965


51 |

BEIRUT •

‫ا رة ذا ة ا ن‬

.«‫ ا را ا‬...‫»را ا‬ ‫زا ا وا‬ .‫ارع وت‬ َ‫ور‬ Beirut street scenes. May 5, 1965


.

‫ا رع‬ ‫ﻻ ُ َ شا ءا‬

Narrow street and high buildings. May 5, 1965


53 |

BEIRUT •

‫ا رة ذا ة ا ن‬

‫ز‬

‫اﷲ‬ .‫ا اي وت‬ Tram on Parliament Square. May 5, 1965


‫أ م نا ا م‬ ‫ز ا ‪.‬‬ ‫ّ‬ ‫ا اي ا‬ ‫ر ضا ‪.‬‬ ‫‪Trolley car.‬‬ ‫‪May 5, 1965‬‬


55 |

BEIRUT •

‫ا رة ذا ة ا ن‬

.‫ﻼن ا ن و ة وا ة‬ . ‫ا‬ Bulky red-head Parliament Square. May 5, 1965


‫ا‬

.‫ا اب‬

‫ا‬

Natives Parliament Square. May 5, 1965

ُ


‫ا رة ذا ة ا ن‬

‫ا ﻸت ا‬ ‫رج ا‬

‫أ ‪.‬‬ ‫دا ا وار ‪،‬‬ ‫ا ‪.‬‬ ‫‪City center.‬‬ ‫‪May 5, 1965‬‬

‫• ‪BEIRUT‬‬

‫| ‪57‬‬


.

‫ا‬

Mobil Oil Company. May 6, 1965


59 |

BEIRUT •

‫ا رة ذا ة ا ن‬

. ‫ا‬ ‫اﻷرض‬ .‫ن ن وت‬ Along Beirut-Damascus highway. May 6, 1965


.‫ة ﻼة‬ ‫ة‬ .‫وت‬

‫اﻷ ب واﻷز ر‬ ‫دا‬

Little shrine in a flower garden. May 7, 1965


61 |

BEIRUT •

‫ا رة ذا ة ا ن‬

.

‫و ا ا‬ ‫ا ا‬ ( 1965) ‫دق‬ .‫و ن رج رأس وت‬ Hotels along sea front. May 7, 1965


‫أ ا ر ا م‬ ‫ا ج داود؟‬ View up coast. May 7, 1965


63 |

BEIRUT •

‫ا رة ذا ة ا ن‬

‫دئٌ وت‬ . ‫وا‬ ‫وت‬ . ‫ر‬ Beirut roofs and shore line from top of Starco Bldg. North. May 7, 1965


‫َ ُ ا اﻷ‬ . ‫ارٌ و ٌّ دا‬ ‫نا‬ ً ‫ًا‬ .‫ب وت‬ ( ‫ر‬ ) Roofs seen from top of Starco Bldg. May 7, 1965


65 |

BEIRUT •

‫ا رة ذا ة ا ن‬

...‫ ُ ح‬...‫ُ ٌح‬ . ‫أ م ا‬ View northward. May 7, 1965


‫ار ا ﻼ‬ .« ‫ا ـ»ﻻ « وا ـ»� ـ ـ ـ دور‬ Narrowest building. May 7, 1965


67 |

BEIRUT •

‫ا رة ذا ة ا ن‬

.‫وت‬

‫را‬

‫ب‬

Green-covered rocks along shore. May 7, 1965


ٌ‫ُ ر‬ .‫ا اء‬

‫ّ دة ا‬

Green-covered rocks along shore. May 7, 1965


69 |

BEIRUT •

‫ا رة ذا ة ا ن‬

‫دا ً ِإ‬ .« ‫»ا‬

‫ا‬

Odd stone building. May 7, 1965

‫ا م‬

‫أ‬


.

‫َ ا‬

Key-hole windows. May 7, 1965

‫تﻻ‬

‫ا‬


71 |

BEIRUT •

‫ا رة ذا ة ا ن‬

، ‫ِإ ا‬ . ‫أو ا‬ Balconies. May 7, 1965

ُ

‫إ ا‬


‫ت‬ ‫ور ا ُّد وا ت‪.‬‬ ‫ن و دون‬ ‫رة‪،‬‬ ‫وت‪.‬‬ ‫‪Cove and rocks.‬‬ ‫‪May 7, 1965‬‬


73 |

BEIRUT •

‫ا رة ذا ة ا ن‬

.‫ن‬

‫ا‬

‫ن اﻷ ا‬

Yellow bldg. with two balconies. May 7, 1965

‫ن‬

‫ا‬


ً .‫ق‬

‫َّ ا‬ ً َ‫در‬ ‫إ‬

A very narrow court. May 8, 1965


75 |

BEIRUT •

‫ا رة ذا ة ا ن‬

.

‫ا‬

‫ا‬

Street scenes Tenement. May 8, 1965

‫ن‬


... ‫ا‬

Street scenes shopping street. May 8, 1965

‫ا ا‬


‫ا رة ذا ة ا ن‬

‫ف ا ن ر )‪(1965‬‬ ‫إذا رأ ا م ا ا ب؟‬ ‫أمٌّ و‬ ‫وت‪.‬‬ ‫‪Kalifa girls.‬‬ ‫‪May 8, 1965‬‬

‫• ‪BEIRUT‬‬

‫| ‪77‬‬


‫نا ا‬ ‫إ ا اﻷ‬ .(‫)رأس وت‬ Once proud building in Ras Beirut. May 9, 1965


79 |

BEIRUT •

‫ا رة ذا ة ا ن‬

.

‫ة ّ ُ را‬ ‫ُ را ا‬

Arab in Ras Beirut. May 9, 1965

‫ا‬ ‫وﻻ‬


‫ا ة أذ‬ .‫ن ا ار ا رع‬ Native woman in Ras Beirut. May 9, 1965

‫رأ‬


81 |

BEIRUT •

‫ا رة ذا ة ا ن‬

‫َت ُ ا رع أ َ ن‬ .( ‫)أ َ م‬ Sunday morning near mosque in Ras Beirut. May 9, 1965


‫أ م‪ :‬ا ؟ أم ا و ؟‬ ‫ة ا و ‪ ،‬رة ا م‪.‬‬ ‫‪Pigeon rock.‬‬ ‫‪May 9, 1965‬‬


‫ا رة ذا ة ا ن‬

‫نا ن‬ ‫ان أس وت‬ ‫أ ما ر ‪.‬‬ ‫‪Pigeon rocks.‬‬ ‫‪May 9, 1965‬‬

‫• ‪BEIRUT‬‬

‫| ‪83‬‬


.‫وت‬ . ‫ةا و‬

‫أ‬

‫ار اﻷ ل‬

New buildings near Pigeon rocks. May 9, 1965


85 |

BEIRUT •

‫ا رة ذا ة ا ن‬

. ‫او‬ Pigeon rocks. May 9, 1965


‫ة ا ة ّش‬ .‫وت‬ Hibiscus. May 9, 1965


87 |

BEIRUT •

‫ا رة ذا ة ا ن‬

.‫رع ا اء‬ Little girl in Hamra. May 9, 1965

‫ر‬

‫ﻼل‬


...‫زة‬ ...‫زة‬ ...‫زة‬ ‫ي؟‬

‫ا‬

‫ا‬ ‫ا‬

Crescent vendor. May 9, 1965


89 |

BEIRUT •

‫ا رة ذا ة ا ن‬

.

‫اء‬ ‫ءا‬

Freak turret. May 9, 1965

‫ا‬


... َ ‫ا‬ ... ‫ق ا‬ . ‫ا ا‬

‫ا‬

‫و ﻼُ ذ َ إ‬

Arab with strange hat. May 9, 1965


‫ا رة ذا ة ا ن‬

‫ِ كا د‬ ‫ا لأ ما َ‬ ‫وت‪.‬‬ ‫ر ل‬ ‫‪Drying nets.‬‬ ‫‪May 10, 1965‬‬

‫• ‪BEIRUT‬‬

‫| ‪91‬‬


‫عا ف‬ ‫أ م ا ا ا دئ‬ . ‫و‬ Old apt. bldg. May 10, 1965


93 |

BEIRUT •

‫ا رة ذا ة ا ن‬

‫ن ن‬ . ‫ا ا ا و اﻷ‬ Old apt. bldg. May 10, 1965


،‫ا ا ة‬ . ‫رع‬ .‫وت‬

‫وا‬ ‫ﻼ ة ر‬

Little school boys. May 10, 1965


95 |

BEIRUT •

‫ا رة ذا ة ا ن‬

‫ف ر ا رة‬ ،‫ا ج داود‬ ‫ا دي إ‬ . ‫ا رة اﻷ‬ Shore line east of U.S.A. embassy. May 10, 1965


.‫ّ ّ ا ر‬ ‫ل ور ء‬ .‫وت‬ Construction workers. May 10, 1965


97 |

BEIRUT •

‫ا رة ذا ة ا ن‬

‫ن‬ ‫ن‬ ،‫ة‬ .(

‫در‬ ‫و‬ ‫و وا‬ ‫) رع ر‬

Rue de Paris – old apt. bldg. May 10, 1965


، ‫ ا‬-30 ‫ا‬ ، ‫ا‬ -61 ‫ا رع‬ ...142 ‫ا ر‬ . ‫ا‬ ‫و‬ Street sign RUE IBN SINA. May 9, 1965


‫‪BYBLOS‬‬ ‫ُ‬

‫َّ ٍ ُ‬

‫ِ ُّ‬

‫‪ ...‬ﻛﺎﻧﺖ ﺍﻟﻤﺪﻳﻨ ُﺔ ﺍﻟﺘﻲ ﵙﺪﻋﻰ ﺑﻴﺒﻠﻮﺱ ﻣ ِ‬ ‫ﺒﺎﻋﺪ ًﺓ ﻓﻲ ﺍﻟﻘﺪﻡ‪ ،‬ﻣﺘﻌ ‪‬ﺪﺩ َﺓ ﺍﻟﻘﺒﺎﺏ ﺷﺎﻣﺨﺔ‪.‬‬ ‫ُ‬ ‫ٍ‬ ‫ﺫﻫﺐ ﺗﻤﵧ ‪‬ﺪ ِﺇﻟﻰ ِﺁﺧﺮ ﺍﻷَﺭﺽ‪.‬‬ ‫ﺳﻼﻙ ﻣﻦ‬ ‫ــﺒــ ْﻴــﻞ« ﻟﻪ ﺃَ ٌ‬ ‫ﻛﺎﻧﺖ ﺑﻴﺒﻠﻮﺱ ﺣﺎﺿﺮﺓ ﺍﻟﺪﻳﻦ ﻭﺍﻟﺜﻘﺎﻓﺔ‪ ،‬ﻗﺎﺋﻤ ًﺔ ﻋﻠﻰ ﺷﺎﻃﺊٍ ﺳﺎﺣﺮ ٍ ﻓﻮﻕ ﺟﺒﻞ ﺻﻐﻴﺮ ُ‬ ‫»ﺟ َ‬ ‫ٍ‬ ‫ً‬ ‫»ﺑـﻴـﺒـﻼ« ﻣﺸﵧ ّﻘ ًﺔ ِﺇﻳﺎﻩ ﻣﻦ ﺍﺳﻢ ﺑﻴﺒﻠﻮﺱ‪.‬‬ ‫ﺟﻤﻴﻊ ﻟﻐﺎﺕ ﺍﻟﻤﺪﻧ ّﻴﺔ ﵙﺪﻋﻮ ﺍﻟﻜﺘﺎﺏ‬ ‫ﻭﻋﻠﻰ ﺃَﺭﺿﻬﺎ ُﻭﻟِ َﺪ ﺃَﻭ‪‬ﻝ‬ ‫ﻛﺘﺎﺏ ﻋﺮﻓَ ُﻪ ﺍﻟﻌﺎﻟﻢ‪ ،‬ﻓﺮﺍﺣﺖ ُ‬ ‫ﻭﺻﺎﺭﺕ ﺑﻴﺒﻠﻮﺱ ﻫﻲ ﺍﻟﻜﺘﺎﺏ‪.‬‬ ‫ﺳﻌﵪﺪ ﻋﻘﻞ‬ ‫)ﻟﺒﻨﺎﻥ ِﺇﻥ ﺣﲃ(‬


101 |

BYBLOS •

‫ا رة ذا ة ا ن‬

( 1965 ) ‫ا ا‬ ‫ق ا‬ .(‫) إ ء اﻷو اد‬ Modern bridge over Dog river Christ above Dog river. May 2, 1965


‫ا‬ ‫ّ ٌح‬ . ‫و ه ل عا‬ Statue of Christ above Dog river. May 2, 1965


103 |

BYBLOS •

‫ا رة ذا ة ا ن‬

‫ّ ن‬ ‫ن ا اب ا‬ . ‫ا‬ Arab refugees along Dog river. May 2, 1965


.

‫ا‬

‫ا‬

‫او‬

‫ا‬

Arab refugees on Dog river. May 2, 1965


105 |

BYBLOS •

‫ا رة ذا ة ا ن‬

‫رع أ ي‬ .‫س‬ Byblos ruins. May 2, 1965

ّ ‫ز ٌق‬


.‫س‬ Ancient Wall Byblos. May 2, 1965

ٌ‫ار‬


107 |

BYBLOS •

‫ا رة ذا ة ا ن‬

.‫س‬

‫ا‬

‫ا ا‬ ‫اﻵ ر أ م‬

Only the foundations are left. May 2, 1965


. ‫ا‬ ‫اﻵ ر‬ .‫س‬

‫اﻵ ر ى ا‬

Byblos foundations of ancient city. May 2, 1965


109 |

BYBLOS •

‫ا رة ذا ة ا ن‬

.‫س‬ Ancient fortress. May 2, 1965

ٍ

‫ّ ٌح‬


ً ً . ‫ّى زر ا‬ .‫س‬ ‫آر‬ Ancient foundations above the Mediterranian. May 2, 1965


111 |

BYBLOS •

‫ا رة ذا ة ا ن‬

.‫س‬

( 1965)

‫ٌت‬ ‫أ م ٍ ا‬

Ancient next to modern city of Byblos. May 2, 1965


‫ت ا ر‬ . ‫ا ةا‬ ‫د ي‬ .‫س‬ Ancient archway. May 2, 1965


113 |

BYBLOS •

‫ا رة ذا ة ا ن‬

.

‫سا‬

Ancient fortress. May 2, 1965


. ‫ا د أ ِ وا ء‬ ‫أ ة‬ ‫آ‬ .‫س‬ Ruins of ancient Byblos. May 2, 1965


115 |

BYBLOS •

‫ا رة ذا ة ا ن‬

‫ًا و ا‬ .‫س ا ي‬ Harbor at Byblos. May 2, 1965

‫ا‬


‫ا ن جا ا‬ . ‫سا‬ Byblos harbor all that’s left. May 2, 1965


‫‪BAALBECK‬‬ ‫ﻳـــﺎ ﻗﻠـﺒــــﻲ ﻻ ِ‬ ‫ﻚ‬ ‫ﻗﻠــــﺒ ْ‬ ‫ﺗﺘﻌـــﺐ َ‬ ‫ﺑِ ْﺘــﺮﷁﺡ ﻛﺘﻴــﺮ ﻭﺑِ ْﺘﻐﻴــﺐ ﻛﺘﻴــﺮ‬

‫ــــﺤ ‪‬ﺒﻚ ﻋﻠـــﻰ ﻃـــﻮﻝ ْﺑ ِ‬ ‫ﻭ ْﺑ ِ‬ ‫ﻚ‬ ‫ــــﺤ ‪‬ﺒ ْ‬ ‫ﻚ‬ ‫ﻭ ْﺑ ِﺘﺮﺟـــﻊ َﻉ ﺩﺭﺍﺝ‬ ‫ﺑﻌﻠــــﺒ ْ‬ ‫َ‬

‫ﻃﻠ‪‬ﻴﺖ ﻉ َﺑﻌﻠﺒﻚ َﺑﻌﺪ ﻋﺸﺮﻳﻦ ﺳﵩِﻪ‬ ‫ﻚ َﻫﻮﻥ‪َ ،‬ﺑﻌ ُﺪﻭ َﻉ ﺍﻟ ْﺪ َﺭﺍﺝ‬ ‫ﻻ ﺗﻘﻮﻝ َﻣﻨ‪ْ ‬‬

‫ﺕ ِﵜﺪﻟّﻨـﻲ‬ ‫ِﺇﺳـﺄَﻝ ِﺇﺫﺍ ﺷـﺎﻓَﻚ َﺣـﺪﺍ َ‬ ‫ﻓﻴﻚ ﺍﻟﺪﻧﻲ‬ ‫ﺧﻴﺎﻟَﻚ‪ ...‬ﻭﺑﻌﺪﺍ ﻃﺎﵜﺮﻩ ْ‬ ‫ﻣﻦ ِﺷﻌ‪ ‬ﺍﻷَﺧﻮﻳﻦ ﺭﺣﺒﺎﱐ‬


119 |

BAALBECK •

‫ا رة ذا ة ا ن‬

‫ا ع‬ . ‫ا ا‬

‫إ‬

‫ُ ُا‬

West across Lebanese fields toward snow-covered Mountain of Lebanon. May 3, 1965


.

‫نز ق‬

Group in small town along road from Beirut to Damascus. May 3, 1965


121 |

BAALBECK •

‫ا رة ذا ة ا ن‬

. Baalbeck. May 3, 1965

‫ار ا رة ا‬


. Baalbeck. May 3, 1965

‫أ‬

‫ًﻼ‬

‫ن‬


123 |

BAALBECK •

‫ا رة ذا ة ا ن‬

. .

‫ار اﻷ ة ﻼ‬

Baalbeck. May 3, 1965


ِّ . ‫واﻵ رح و‬ (

‫)ر‬

Baalbeck. May 3, 1965


125 |

BAALBECK •

‫ا رة ذا ة ا ن‬

‫ة‬ .

‫أ ة‬

Baalbeck. May 3, 1965


‫ى‬ .

‫ى وف ا‬

Baalbeck. May 3, 1965

‫ه اﻷ ة‬


127 |

BAALBECK •

‫ا رة ذا ة ا ن‬

: ‫اﻷ ﻼل‬ . َ Baalbeck. May 3, 1965

‫ا‬


.‫اﻷ ﻼل‬ Baalbeck. May 3, 1965

‫ا رس ا د ا‬


129 |

BAALBECK •

‫ا رة ذا ة ا ن‬

‫رؤوس اﻷ ة‬ . ‫ا‬ Baalbeck. May 3, 1965

‫و‬ ‫ا‬


... ... .

(

‫وح‬ ‫َع دراج‬

‫)ر‬

Baalbeck. May 3, 1965

‫و‬

‫و‬


131 |

BAALBECK •

‫ا رة ذا ة ا ن‬

( ) .‫و ن‬

‫ً أ ةا ا‬ ً‫ا‬

Columns of Jupiter temple. May 3, 1965


، ، ً ‫َ أَر‬ ،‫اﻷرض‬ ‫و‬، .َ Baalbeck. May 3, 1965


133 |

BAALBECK •

‫ا رة ذا ة ا ن‬

،‫ة ا رأس د‬ .‫س ا اﻷ ة‬ Ruins of Jupiter Temple. May 3, 1965

‫ا‬


ً .‫س‬ Baalbeck. May 3, 1965

ّ ‫ا‬ ‫ا رج ا ُ َ ّدي ِإ‬


135 |

BAALBECK •

‫ا رة ذا ة ا ن‬

ٍ ‫ىا ة‬ .‫ق‬ . ‫س ا ا‬ Temple of Bachus. May 3, 1965

‫س در‬


.‫ي‬ .‫س‬

‫ش را‬

Fragments of ceiling of Bachus Temple. May 3, 1965


137 |

BAALBECK •

‫ا رة ذا ة ا ن‬

.‫س‬ Fragments of ceiling of Bachus Temple. May 3, 1965

‫ات‬


.‫س‬ Bachus Temple. May 3, 1965

‫أ م‬

‫ح‬


139 |

BAALBECK •

‫ا رة ذا ة ا ن‬

.‫ا ع أ اءات ا و ن‬ Central Lebanon seen from coach traveling from Baalbek to Beirut. May 3, 1965


‫ا ةا ا‬

‫ر و‬

‫ُ َْ‬

‫ذات‬ ‫ﻻدﺗﻪ )‪ّ 30‬ﲤﻮز( ﰲ ﻣﺪﻳﻨﺔ ﭘـﻮزﻳـﭭـﻴﻞ ‪) Poseyville‬وﻻﻳﺔ ِإﻧﺪﻳﺎﻧﺎ( ﻣﻦ ُأ ٍ‬ ‫‪ِ :1896‬و ُ‬ ‫ﴎة ِ‬ ‫ٍ‬ ‫ﻋﲈل‬ ‫واﻟﺪه ِو ْﻳﻠ ُﺒﺮ ‪Wilbur Davis‬‬ ‫ورﺧﺎء ُ‬ ‫ﺛﻘﺎﻓﺔٍ‬ ‫وﺷ ٍ‬ ‫رﺟﻞ َأ ٍ‬ ‫ﻬﺮة ﰲ اﳌﺪﻳﻨﺔ‪ .‬ﻛﺎن ُ‬ ‫َ‬ ‫وﺻﺎﺣﺐ ﻣﻄﺎﺣﻦ‪،‬‬ ‫وﻣﺴﺆوﻟﺔَ ﻣﻜﺘﺒﺔ‪.‬‬ ‫ﺪرﺳﺔً‬ ‫ُ‬ ‫َ‬ ‫ﻣﺎﺑﻞ ‪ُ Mabel Thomas‬ﻣ ﱢ‬ ‫ُ‬ ‫وواﻟﺪﺗﻪ ِ‬

‫ﳏﺮ ٌر وﻣﺴﺘﺸﺎر َأﺑﺤﺎث ﻟﺪى ﻓﺮع ﺟﺎﻣﻌﺔ ﻻﺳﺎل ‪ LaSalle‬ﰲ ﺷﻴﻜﺎﻏﻮ‪.‬‬ ‫‪) :1922‬ﺷﺒﺎط( ّ‬

‫ﱡ‬ ‫وﺗﻮﻇ ُﻔ ُﻪ ﻟﺪى ﻣﴫف ﺑﻮزﻣِ ﻦ ووﺗﺮز ‪Bozeman-‬‬ ‫ﲣﺮ ُﺟﻪ ﻣﻦ ﺛﺎﻧﻮﻳﺔ ﭘـﻮزﻳـﭭـﻴﻞ‪،‬‬ ‫‪:1913‬‬ ‫ﱡ‬ ‫‪ Waters‬اﻟﻮﻃﻨﻲ ﰲ اﳌﺪﻳﻨﺔ‪.‬‬

‫زواﺟ ُﻪ ﻣﻦ ِإﻟﺴﺎ ﺟﲔ َﻫ ِـﻤ ُﻠﺘﻦ ‪ Elsa Jean Hamilton‬اﺑﻨﺔِ رﺟﻞ‬ ‫‪ 21) :1924‬ﺣﺰﻳﺮان(‬ ‫ُ‬ ‫ﻋﲈل ﰲ ﺣﻘﻞ ِاﻹﻋﻼﻧﺎت‪ ،‬وﻧﺴﻴﺒﺔِ اﻟﻜﺎﺗﺐ ﺟﻮن ﺷﺘﺎﻳﻨﺒﻚ ‪.John Steinbeck‬‬ ‫َأ ٍ‬

‫)ﺑﻠﻮﻣﻨﻐﺘﻦ‬ ‫اﻧﺘﺴﺎﺑ ُﻪ ِإﱃ ﻛﻠﻴﺔ اﳊﻘﻮق ﰲ ﺟﺎﻣﻌﺔ ِإﻧﺪﻳﺎﻧﺎ‬ ‫‪) :1914‬ﻛﺎﻧﻮن اﻟﺜﺎﲏ(‬ ‫ُ‬ ‫ُ‬ ‫َ‬ ‫ﻀﻤﺮا أن ُﺗﻌِ َﻴﻨﻪ دراﺳﺔُ اﻟﻘﺎﻧﻮن اﻟﺘﺠﺎري ﻋﲆ ﺣﻴﺎﺗﻪ اﳌﻬﻨﻴﺔ‬ ‫‪ُ (Bloomington‬ﻣ ً‬ ‫ﻻﺣﻘﺎ‪ .‬وﰲ اﳉﺎﻣﻌﺔ ﱠ‬ ‫ﺗﺮأس ﲢﺮﻳﺮ اﻟﻘﺴﻢ اﻟﺮﻳﺎﴈ ﰲ ﻧﴩﲥﺎ اﻟﻄﺎّﻠﺑﻴﺔ‪ ،‬واﻧﺘﺴﺐ‬ ‫ً‬ ‫ﺷﺒﺎﺑﻴﺔ‪.‬‬ ‫ذات َأﻧﺸﻄﺔٍ‬ ‫ﻧﻮاد‬ ‫ِ‬ ‫ِإﱃ ٍ‬ ‫ّ‬

‫ﱠ‬ ‫ﻣﻮﻇ ًﻔﺎ ﻟﺪى ﴍﻛﺔ ِإﺣﺼﺎءات ﰲ‬ ‫ﻓﺮع اﳉﺎﻣﻌﺔ‪ ،‬واﻧﺘﻘﺎ ُﻟ ُﻪ ِإﱃ ﻧﻴﻮﻳﻮرك‬ ‫‪:1928‬‬ ‫ُ‬ ‫ﻣﻐﺎدرﺗ ُﻪ َ‬ ‫وﳏﺮ َر ﻧﴩﲥﺎ اﳌﺎﻟﻴﺔ‪.‬‬ ‫ﻧﻴﻮﻳﻮرك‪ ،‬ﱢ‬

‫ﻳﺘﺴﻠﻢ ِإﺎّﻟ ﰲ ‪ 16‬ﺗﴩﻳﻦ ا َ‬ ‫)ﺻﻴﻔﺎ( ﻟﻜﻨﻪ‪َ ،‬‬ ‫ﱠ‬ ‫ﻷول‬ ‫ﺳﺒﺎب ِإدارﻳﺔ‪ ،‬ﱂ‬ ‫ﻷ‬ ‫ً‬ ‫‪ :1917‬ﳖﺎﻳﺔ دروﺳﻪ‬ ‫ٍ‬ ‫ﺷﻬﺎدة اﻟﺒﻜﺎﻟﻮرﻳﻮس ﰲ اﻟﻔﻨﻮن‪.‬‬ ‫)ﺑﻠﻮﻣﻨﻐﺘﻦ(‪ ،‬واﻧﺘﻘﺎ ُﻟ ُﻪ ﰲ آب ِإﱃ ﻓﺮع‬ ‫‪) :1917‬ﲤﻮز( َﺗ َﻮ ﱡﻇ ُﻔ ُﻪ ﰲ ﴍﻛﺔ اﳋﻄﻮط اﳊﺪﻳﺪﻳﺔ‬ ‫ُ‬ ‫ِإﻧﺪﻳﺎﻧﺎﭘـﻮﻟﻴﺲ ﻣﻌﺎونَ ﻣﺪﻳﺮ اﻟﻔﺮع‪ .‬ﻟﻜﻨﻪ ﰲ َأواﺧﺮ ﺗﴩﻳﻦ ا َ‬ ‫ﻷول ﺗﺮكَ اﻟﻌﻤﻞ وﻋﺎد‬ ‫ِإﱃ ﻣﺪﻳﻨﺘﻪ ﭘـﻮزﻳـﭭـﻴﻞ ﺑﺴﺒﺐ ﻣﺮض واﻟﺪه ورﻏﺒﺘﻪ ﰲ اﻻﻟﺘﺤﺎق ﺑﺎﳊﺮﺑﻴﺔ َأو اﻟﺒﺤﺮﻳﺔ‪.‬‬ ‫‪َ 18) :1918‬أﻳﺎر( ِإ ْﻟﺘﺤﺎﻗُ ُﻪ ﺑﻮﺣﺪة اﻟﻘﻮات اﻟﺒﺤﺮﻳﺔ ﰲ ﺷﻴﻜﺎﻏﻮ‪ُ .‬‬ ‫واﻟﺪه ﰲ ﺣﺰﻳﺮان‪.‬‬ ‫وﻓﺎة ِ‬ ‫‪ 22) :1918‬ﻛﺎﻧﻮن ا َ‬ ‫َ‬ ‫ﻛﻠﻴﭭﻠﻨﺪ ‪)ُ Cleveland‬أوﻫﺎﻳﻮ(‪ .‬إﳕﺎ‬ ‫ﺗﴪﳛ ُﻪ ﻣﻦ اﳋﺪﻣﺔ ﰲ‬ ‫ﻷول(‬ ‫ُ‬ ‫‪‬ﺑﺤﺎر ﻣﻦ اﻟﺪرﺟﺔ اﻟﺜﺎﻧﻴﺔ‪ ،‬ﻟﻜﻨﻪ‬ ‫ﺑﻘﻲ‬ ‫ﻣﺘﻄﻮ ًﻋﺎ ﺣﺘﻰ ‪َ 30‬أﻳﻠﻮل ‪ً 1921‬‬ ‫ﺑﺎﻟﻐﺎ رﺗﺒﺔ ّ‬ ‫ّ‬ ‫ﻔﺼﻞ ِإﱃ َأ ّي ﻣﻬﻤﺔ ﺧﺎرج اﻟﺒﻼد‪.‬‬ ‫ﱂ ُﻳ َ‬

‫‪) :1922 – 1919‬ﻛﺎﻧﻮن اﻟﺜﺎﲏ( َﺗ َﻨ ﱡﻘ ُﻠ ُﻪ ﱠ‬ ‫ﻣﻮﻇ ًﻔﺎ ﰲ ﺷﻴﻜﺎﻏﻮ ﻟﺪى ﴍﻛﺎت ﳐﺘﻠﻔﺔ‪.‬‬

‫رﺋﻴﺲ ﻗﺴﻢ ِاﻹﺣﺼﺎءات ﰲ ﻓﺮع اﻟﴩﻛﺔ ﻧﻔﺴﻬﺎ‪.‬‬ ‫ﻋﻮدﺗ ُﻪ ِإﱃ ﺷﻴﻜﺎﻏﻮ‬ ‫‪) :1929‬ﻧﻴﺴﺎن(‬ ‫ُ‬ ‫َ‬ ‫ﻣﲔ اﻟﴪ واﻟﺼﻨﺪوق ﰲ‬ ‫ﻣﻐﺎدرﺗ ُﻪ‬ ‫‪) :1932‬ﲤﻮز(‬ ‫وﺗ َﻮ ﱡﻇ ُﻔ ُﻪ )ﰲ َأﻳﻠﻮل( َأ َ‬ ‫اﻟﻌﻤﻞ ﰲ اﻟﴩﻛﺔ‪َ ،‬‬ ‫ُ‬ ‫َ‬ ‫ﴍﻛﺔ دروري ‪ Drewry‬ا َ‬ ‫ﻷﻣﲑﻛﻴﺔ‪.‬‬ ‫ﺳﻨﻮات )ﺣﺘﻰ‬ ‫ﲬﺲ‬ ‫وﺑﻘﺎؤ ُه‬ ‫اﻟﻌﻤﻞ ﰲ ﺗﻠﻚ اﻟﴩﻛﺔ‪،‬‬ ‫ﻣﻐﺎدرﺗ ُﻪ‬ ‫‪) :1937‬ﻛﺎﻧﻮن اﻟﺜﺎﲏ(‬ ‫ُ‬ ‫ٍ‬ ‫ُ‬ ‫َ‬ ‫َ‬ ‫ﻋﻤﻞ‪.‬‬ ‫‪ (1942‬ﺑﺪون َ‬ ‫‪) :1942‬آب( َﺗ َﻮ ﱡﻇ ُﻔ ُﻪ ُﻣ َﺼ ّﻔﻲ ﺣﺴﺎﺑﺎت ﰲ ﴍﻛﺔ ﺧﺎﺻﺔ‪ .‬ﺑﻌﺪ ﻫﺬا اﻟﺘﺎرﻳﺦ ﻻ ﻣﻌﻠﻮﻣﺎت‬ ‫َ‬ ‫ﺣﻀﻮر اﳌﴪﺣﻴﺎت‬ ‫ﺷﻐﻠﻬﺎ‪ ،‬وﻻ ﻋﻦ ﺣﻴﺎ ِﺗﻪ اﳋﺎﺻﺔ ﺳﻮى ُﺣ ﱢﺒﻪ‬ ‫ﻋﻦ َأ ﱢي وﻇﻴﻔﺔٍ‬ ‫َ‬ ‫ُوأﻣﺴﻴﺎت َوأﻋﲈل ا ُ‬ ‫ﳎﻤﻮﻋﺎت‬ ‫ﺳﺠ َﻠ ْـﺘﻬﺎ‬ ‫ﻷو ـﺮا‪ ،‬وﺳﻮى‬ ‫ٍ‬ ‫ُ‬ ‫رﺣﻼت ﻣﻊ اﻟﻜﺎﻣﲑا ّ‬ ‫َ‬ ‫وﻋﺮ َﺿﻬﺎ ﰲ‬ ‫اﳌﺘﻌﺪدة ﰲ‬ ‫اﻟﺘﻘﻄﻬﺎ ِإ ّﺑﺎن ﺟﻮﻻﺗﻪ‬ ‫ﺟﺪا‬ ‫ﺻﻮر‬ ‫ٍ‬ ‫ِ‬ ‫ّ‬ ‫ﻛﺜﲑة ًّ‬ ‫ﻣﺪن اﻟﻌﺎﱂ‪َ ،‬‬ ‫ٍ‬ ‫َ‬ ‫اﺣﺘﻔﺎﻻت ﻋﺎﻣﺔ‪.‬‬ ‫ﺣﻠﻘﺎت ﺧﺎﺻﺔ أو ﰲ‬ ‫ٍ‬ ‫ٍ‬


‫ا ةا ا‬

‫اﳉﻠﻮس َ‬ ‫ﻣﺘﺄ ﱢﻣﺎًﻠ ﻣﻦ ﴍﻓﺔ ﻣﻨﺰﻟﻪ‬ ‫‪ :1956‬اﻧﺘﻘﺎ ُﻟ ُﻪ ِإﱃ ﺳﺎن ﻓﺮﻧﺴﻴﺴﻜﻮ ﺣﻴﺚ ﻛﺎن ﳛﺐ‬ ‫َ‬ ‫ﻣﻴﺎه اﳌﺤﻴﻂ ﻋﻨﺪ اﻟﻐﺮوب‪.‬‬ ‫َ‬ ‫ﻋﺎﻣﺎ‪.‬‬ ‫‪) :1969‬ﺣﺰﻳﺮان( وﻓﺎة زوﺟﺘﻪ ِإﻟﺴﺎ ﺟﲔ ﻋﻦ ‪ً 66‬‬ ‫زواﺟ ُﻪ ﺛﺎﻧﻴﺔً ‪ ،‬وﻫﻮ ﰲ اﻟﺮاﺑﻌﺔ واﻟﺴﺒﻌﲔ‪ ،‬ﻣﻦ ِإﻟﻴﺰاﺑﻴﺖ ِﭘﻨـﻴ َـﻤﻦ‬ ‫‪) :1970‬ﺗﴩﻳﻦ اﻟﺜﺎﲏ(‬ ‫ُ‬ ‫ﻋﺎﻣﺎ(‪.‬‬ ‫ً‬ ‫)ﺗﻮﻓﻴﺖ‬ ‫‪Elizabeth Penniman‬‬ ‫ﻻﺣﻘﺎ ﰲ ‪ 14‬آب ‪ 2003‬ﻋﻦ ‪ً 86‬‬ ‫َ‬ ‫ﻋﺎﻣﺎ‪ .‬وﰲ ﱢ‬ ‫ﻣﺬﻛﺮات زوﺟﺘﻪ اﻟﺜﺎﻧﻴﺔ ِإﻟﻴﺰاﺑﻴﺖ َأﻧﻪ‬ ‫‪:1972‬‬ ‫ُ‬ ‫وﻓﺎﺗ ُﻪ ﰲ ‪ 8‬ﺣﺰﻳﺮان ﻋﻦ ‪ً 76‬‬ ‫اﳊﻴﺎة وا َ‬ ‫َ‬ ‫َ‬ ‫ﻷﺳﻔﺎر‪ ،‬ﻫﺎوي ﺳﲈع‬ ‫اﳊﺬر‪ُ ،‬ﻣ ِﺤ ًّﺒﺎ‬ ‫‪‬ﺣﺎد اﻟﺬﻛﺎء‪ ،‬ﺷﺪﻳﺪ‬ ‫ﻛﺎن‬ ‫ﱠ‬ ‫اﳌﻮﺳﻴﻘﻰ‪ ،‬وﻋﺮوض اﳌﴪح وا ُ‬ ‫ﻷوﭘـﺮا‪ ،‬وﻗﺮاءة اﻟﻜﺘﺐ‪ ،‬واﻟﺮﻳﺎﺿﺔَ واﻟﻨﺰﻫﺎت‬ ‫واﻟﺮﺣﻼت‪.‬‬

‫–‬

‫ﻣﻘﺘﻄﻔﺎت ﻣﻦ ﺳﲑﺗﻪ ﲨﻌﻬﺎ ﺑﺮادﱄ د‪ُ .‬ﻛﻮك ﻣﺪﻳﺮ ﻗﺴﻢ اﻟﻔﻮﺗﻮﻏﺮاﻓﻴﺎ ﰲ ﳏﻔﻮﻇﺎت ﺟﺎﻣﻌﺔ ِإﻧﺪﻳﺎﻧﺎ‬ ‫اﻟﻔﻮﺗﻮﻏﺮاﻓﻴﺔ ‪ /‬ﺑﺮﻧﺎﻣﺞ اﳌﻜﺘﺒﺔ اﻟﺮﻗﻤﻴﺔ(‪.‬‬ ‫ﻮﺷ َـﻤﻦ‬ ‫)ﳎﻤﻮﻋﺔ ﺗﺸﺎرﻟﺰ ُﻛ ْ‬ ‫ّ‬ ‫‪Biography compiled by Bradley D. Cook, Photograph Curator‬‬ ‫‪at the Indiana University Archives.‬‬

‫| ‪141‬‬


To edit a new financial magazine projected by the company. However, in developing material through outside sources, I started a line of work that led [the] company to establish its field analytical staff, and was given the opportunity of handling the Middle-West territory... Thus, in April of 1929, Charles moved back to Chicago to head up the field analytical staff in the midwest for Standard Statistics Co. In this position, he was responsible for: Securing first-hand information (much of it confidential) on principal business firms in Middle West, through personal acquaintance with company officials; developing collateral data through banking and other sources; analyzing conditions and trends in key industries and commodities. Charles left Standard Statistics Co. in July of 1932. The following September he became one of the organizers, and later the the treasurer and secretary, of Drewry’s Limited in the United States. His initial duty: ...was to set up a financial program and make it work. As our business grew, I took over other responsibilities as well, including our relations with suppliers, transportation services, Federal and State commissions, trade associations. I was also placed in charge of jobber appointments and territorial assignments, and of the basic price policy of the business. Elizabeth, Charles’ second wife, believed that it was Charles’ father-in-law, Joe Hamilton, that had secured the franchise for Drewry’s Ale. Charles left Drewry’s in January of 1937 and from that point until August of 1942 Charles explained on his Application for Federal Employment that he was: Not employed during this period and had no permanent residence. Traveled extensively. Looked after personal interests, principal of which was

interest in contract of sale of Drewry’s business, a provision of which barred me from re-engaging in same industry for ten years. In August of 1942, Charles became the senior liquidator-at-large for the federal Office of the Alien Property Custodian. Then in on March 1, 1944, he began work in the War Department’s Chicago Ordnance District where he was responsible for conducting contract termination work. At this point, with the exception of what may be gleaned from his images, virtually nothing is known about Charles’ career and life. It is known that Charles enjoyed attending the opera and the theater, and presenting shows of his slide collection. After moving to San Francisco sometime in the 1950s he would enjoy having a five o’clock drink while overlooking the ocean. Charles’ first wife, Jean Hamilton, was born January 3, 1903 at Oakley, California. She graduated from Hyde Park High School in Chicago and attended The University of Chicago from 1921–1924. Jean died in June of 1969. On Nov. 24, 1970, Charles married Elizabeth Juliana Gergely Penniman. Elizabeth was born November 25, 1917 and attended Gary Junior College in Gary, Indiana. Elizabeth moved to Washington D.C. when she began working for Senator Homer E. Capehart. It was while living in Washington D.C. that she met and married William F. Penniman. Elizabeth later worked for The Social Security Administration in San Francisco. She died on August 14, 2003. Charles Weever Cushman died on June 8, 1972. Elizabeth said, “Charles was a shrewd individual … a sharp evaluator of people, and was very prudent and shrewd in his securities selection. He loved life-music, good books, sports, the outdoors, travel, integrity… and could not tolerate ignorance.”


BIOGRAPHY

CHARLES WEEVER CUSHMAN Photograph Curator at the

University Archives.

Charles Weever Cushman was born “…pretty close to the soil” in Poseyville, Indiana, on July 30, 1896. He was the son of Wilbur Davis and Mabel Thomas Cushman. Charles had an elder sister, Ethel, who died before she was ten years of age. Charles’ family were said to be a “… above average … cultural family…” and were “… leaders of the town …” Wilbur Cushman was a miller and a businessman; Mabel Cushman was a teacher and a librarian. Following graduation from Posey Ville High School in 1913, Charles worked for The Bozeman-Waters National Bank of Poseyville. Then, in January of 1914, he enrolled at Indiana University in Bloomington, Indiana. Cushman’s education “… was heavily accented on law…” He felt that his courses in commercial law were of the greatest value to him in his business career. While at Indiana University he was a member of Delta Tau Delta fraternity, Sigma Delta Chi honorary journalism fraternity, the Boosters’ Club, Le Çercle Francais, Arbutus yearbook staff, and was the sporting editor newspaper. Charles completed his studies during for the the summer of 1917. However, due to a bookkeeping problem he was not officially awarded his degree until October 16, 1917. At this time he received the AB degree in English. On July 30, 1917, he began working as a Freight Clerk for the Illinois Central Railroad Company’s freight office in Bloomington, Indiana. Shortly thereafter, in August of 1917, he was moved up to the Indianapolis, Indiana office and began working as the Assistant to the District Passenger Agent. Because of his father’s illness and his “… desire to enlist in [the] Army or Navy ”, Charles left the Illinois Central R.R. sometime during the latter half of November 1917 and returned to Poseyville.

On May 18, 1918, he enlisted in the United States Navy Auxiliary Reserve Force at Municipal Pier in Chicago, Illinois. His father died in June of 1918, and as a result of this Charles’ mother moved to Chicago to be near her son (at some point, Mabel was remarried, to a man by the name of A.E. Roome). Charles was released at Cleveland, Ohio on Dec. 22, 1918. He did, however, continue to be a member of the reserves until the time he was honorably discharged on Sep. 30, 1921. While in the service he attained the rank of Seaman 2nd Class but never went overseas. Sometime after his release Cushman wrote the Indiana University Alumni Secretary and said, “About as unpoetic a military career as any of the war. Essentially a fresh-water sailor, as I never got farther east than Buffalo, N.Y.” From January of 1919 through January of 1922, Charles worked for several companies in Chicago, Illinois. These included Carson, Pirie, Scott; Albert Pick & Co.; Addressograph Co. (worked out of the Indianapolis, Indiana office); Montgomery Ward & Co.; and the South Side Rugwashers. In February of 1922, Charles became editor and research consultant at the LaSalle Extension University in Chicago. His duties here were to prepare business bulletins and newsletters, as well as to edit various courses on business management, business financing, organization and reorganization, credits and collections, business law, and accounting. Charles married Elsa Jean Hamilton on June 21, 1924. Her father, Joe R. Hamilton, was a leading advertiser in Chicago, Illinois. Elsa Jean was a first cousin to author John Steinbeck. In August of 1928, Charles left the LaSalle Extension University to become an editor at the Standard Statistics Company in New York, N.Y. His job here was:


Charles W. Cushman Photography collection  

A 10-day photographer journey across Lebanon (1965).

Charles W. Cushman Photography collection  

A 10-day photographer journey across Lebanon (1965).