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‫ﻓﻠﺴﻔﺔ ﺍﻟﺒﻌﺪ‬
‫ﻟـ‬
‫ﺃﻣﲑ ﺣﺴﻦ‬
‫ﳏﻤﺪ ﺣﺴﻦ‬

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‫ﲨﻴﻊ ﺍﳊﻘﻮﻕ ﳏﻔﻮﻇﺔ © ﻋﺼﲑ ﺍﻟﻜﺘﺐ ﻟﻠﻨﺸﺮ ﺍﻹﻟﻜﺘﺮﻭﱐ‬

‫‪http://book-juice.com‬‬

‫ﻓﻠﺴﻔﺔ ﺍﻟﺒﻌﺪ‬
‫ﺍﳌﺆﻟﻒ ‪ :‬ﺃﻣﲑ ﺣﺴﻦ‬
‫ﳏﻤﺪ ﺣﺴﻦ‬

‫ﻧﺸﺮ ﰲ ‪ :‬ﺩﻳﺴﻤﱪ ‪٢٠١٤‬‬

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 ‫ﺻﺤﻮﺓ ﺍﺳﲑ‬

‫ﻋﺬﺭﺍ ﺍﻳﻪ ﺍﳌﻼﻙ‬

‫ﻓﺄﻧﺎ ﱂ ﺍﻋﺪ ﺍﰉ ﺍﳉﻨﺎﻥ‪...‬ﻭﱂ ﺍﻋﺪ ﺍﻣﺘﻠﻚ ﻣﻦ ﺍﻃﺮﺍﻑ ﺍﻻﺭﺽ ﺍﻟﻜﺜﲑ‬

‫ﻭﱂ ﻳﺮﺿﻰ ﲝﻤﺎﻳﱴ ﰱ ﺍﻻﻏﻮﺍﺭ ﺍﻟﺒﻌﻴﺪﻩ ﺍﻻ ﺍﻟﻘﻠﻴﻞ‬

‫ﻭﻣﺎ ﰱ ﺟﻌﺒﱴ ﺍﻋﺎﺩ ﻟﻜﻰ ﻋﻄﺮ ﺍﻟﺮﺣﻴﻞ‬

‫ﺍﻃﻴﻌﻰ ﻛﻞ ﻣﻦ ﻫﻮﺍﻛﻰ ﻭﺍﻃﻠﻘﻴﲎ ﻑ ﺍﻟﺰﻓﲑ‬

‫ﺍﺷﻬﻘﻰ ﺑﻜﻞ ﻫﻮﺍﺀ ﻻ ﺍﻛﻮﻥ ﻓﻴﻪ ﺍﺳﲑ‬

‫ﻓﻼ ﺍﻧﺎ ﰱ ﺍﳊﻴﺎﺓ ﻣﺘﻌﻬﺪ ﺍﳌﺴﺘﺤﻴﻞ‬

‫ﻭﻻ ﺍﻧﺖ ﰱ ﻛﻮﻥ ﻳﺮﺿﻰ ﺑﻐﲑﻩ ﺑﺪﻳﻞ‬

‫ﺍﻃﺒﻌﻰ ﻋﻠﻰ ﺟﺒﲔ ﺍﻟﻄﻔﻞ ﺗﺎﺭﻳﺦ ﺍﻟﺘﻨﻮﻳﺮ‬

‫ﻭﺧﻠﺪﻯ ﻟﻪ ﺯﻛﺮﺍﻯ ﻭﺍﻥ ﻛﺎﻧﺖ ﺣﱴ ﺭﺣﻴﻞ‬

‫ﻭﺃﺯﺋﺮﻯ ‪‬ﻤﺴﺎﺕ ﻳﻨﺪﻯ ﳍﺎ ﺍﳉﺒﲔ‬

‫ﻭﺍﺣﺼﺪﻯ ﻗﻠﻮﺑﺎ ﱂ ﺗﺮﺩ ﺑﻌﺪ ﺍﳉﻤﻴﻞ‬

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 ‫ﻓﻤﺎ ﻫﻨﺎﻙ ﻳﻨﺘﻈﺮ ﻣﻦ ﻛﻠﻤﺎﺗﻚ ﺍﻟﺘﱰﻳﻞ‬

‫ﻭﻣﺎ ﻫﻨﺎ ﻻ ﻳﺮﺿﻰ ﺑﻐﲑﻙ ﺑﲔ ﺍﻟﻜﺘﺐ ﺗﺄﻭﻳﻞ‬

‫ﺍﻃﻴﻴﻌﻴﻬﻢ ﻓﺎ‪‬ﻢ ﻗﺪ ﺍﺿﺎﻋﻮﺍ ﻣﻦ ﺍﺟﻠﻚ ﺍﻟﺜﻤﲔ‬

‫ﻭﺍﺭﻓﻀﻴﲎ ﻓﺎﻧﺎ ﻻ ﺍﺟﻴﺪ ﺍﳊﺰﻥ ﻭﺍﻟﻌﻮﻳﻞ‬

‫ﻓﻼ ﰱ ﺍﻟﻘﺒﻮﻝ ﺭﻭﺡ ﺍﻟﺰﺋﲑ‬

‫ﻭﻻ ﰱ ﺍﻟﺮﻓﺾ ﺭﻭﺍﺳﺐ ﺍﳌﺎﺭﻳﻦ‬

‫ﻓﻠﻴﻔﺼﻞ ﺑﻴﻨﻨﺎ ﻣﻦ ﺍﳌﻄﺮ ﺍﻟﻮﺑﻴﻞ‬

‫ﻭﻟﺘﻤﻀﻰ ﺍﻟﺰﻛﺮﻳﺎﺕ ﺑﻴﻨﻨﺎ ﺳﻨﲔ‬

‫ﻓﻠﻴﺲ ﰱ ﻃﻠﻴﺎﻧﺎ ﺳﻮﻯ ﺍﳊﻨﲔ‬

‫" ﳏﻤﺪ ﺣﺴﻦ "‬ ‫‪...................‬‬

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 ‫ﺍﺷﺘﻴﺎﻕ‬

‫ﺭﻗﺼﺖ ﰱ ﻏﻴﺎﺑﻪ ﺃﻭﺗﺎﺭﻯ‬ ‫ﺃﻫﻼ ﺑﺎﳊﺒﻴﺐ ﺍﻟﺬﻯ ﻃﺎﳌﺎ‬

‫ﻛﺎﻥ ﺑﺎﻟﻮﺩ ﻳﺼﻮﻥ ﺃﺷﻮﺍﻗﻰ‬ ‫ﺭﺍﺡ ﻭﰱ ﺍﻻﻧﺘﻈﺎﺭ ﻋﻠﻰ ﺍﳌﺪﻯ‬

‫ﺣﱴ ﺃﺫﺍﺑﺖ ﺃﺣﺒﺎﺭ ﺍﳊﻨﲔ ﺃﻭﺭﺍﻗﻰ‬ ‫ﻛﺘﺒﺖ ﰱ ﺣﺒﻪ ﺷﻮﻗﺎ ﻫﺎﺭﺑﺎ‬

‫ﻭﺻﺎﻝ ﺑﻨﻮﺭﻩ ﻳﺸﻖ ﺃ‪‬ﺎﺭﻯ‬ ‫ﻓﻔﻰ ﻇﻼﻡ ﺍﻟﻠﻴﻞ ﻛﺎﻥ ﺍﻟﻮﺻﺎﻻ‬

‫ﺃﻃﺮﺑﺖ ﺃﺫﺍﻥ ﺍﻟﺴﺎﻣﻌﲔ ﺃﳊﺎﱏ‬ ‫ﻋﺰﻓﺖ ﻣﻘﺎﻣﺎﺕ ﺍﻟﻐﻴﺎﺏ ﺣﱴ‬

‫ﰱ ﻟﻴﻞ ﺳﺎﺗﺮ ﺩﻣﻊ ﺃﻋﻤﺎﻗﻰ‬ ‫ﻓﻴﺎ ﻋﻤﺮﺍ ﺃﻣﻀﻰ ﺍﻧﺘﻈﺎﺭ ﺍﻟﻠﻘﻰ‬

‫ﺑﻌﺾ ﺃﲦﺎﻥ ﰱ ﺣﺐ ﻏﺎﱃ‬ ‫ﺍﻥ ﺍﳊﺒﻴﺐ ﺍﻟﻴﻚ ﻓﻤﺎ ﻣﻀﻰ‬

‫ﺫﻫﺒﺖ ﰱ ﻓﺪﺍ ﺍﻟﻌﺸﺎﻕ‬ ‫ﻓﻜﻢ ﺿﺎﻗﺖ ﺑﺎﳍﻮﻯ ﺃﺭﻭﺍﺣﺎ‬

‫ﺃﱏ ﲝﺒﻚ ﺗﺬﻭﺏ ﻣﺂﺳﺎﺗﻰ‬ ‫ﻳﺎﻗﻠﱮ ﻳﺎﻭﺣﻴﺪﻯ ﺃﻋﻠﻦ ﺍﺫﺍ‬

‫ﻟﻜﲎ ﺑﺎﻟﻮﺻﺎﻝ ﺃﺭﺳﻞ ﲢﻴﺎﺗﻰ‬ ‫ﻭﻳﺎﻋﻤﺮﻯ ﻟﻴﺖ ﺑﻴﻨﻨﺎ ﺍﻟﺴﺒﻴﻞ ﻗﺎﺋﻤﺎ‬

‫ﺃﺯﺍﺡ ﺑﻘﻮﺓ ﺁﻻﻡ ﺯﻣﺎﱏ‬ ‫ﻓﻼ ﺣﺐ ﻳﻌﱪ ﻋﻨﻪ ﻛﻼﻣﺎ‬

‫ﺳﻬﺮ ﺍﻟﻠﻴﻞ ﺑﻠﻮﻋﺔ ﺍﻧﺘﻈﺎﺭﻯ‬ ‫ﻭﻻ ﺻﻤﺖ ﺃﺣﻴﺎ ﺑﺸﺮﺍ‬

‫ﻓﺪﺍﻙ ﻳﺎﻋﻤﺮﻯ ﻭﺃﻛﻮﻥ ﺟﺎﱏ‬ ‫ﻛﻢ ﺩﻣﻊ ﺃﺩﻣﻰ ﻗﻠﱮ ﺣﻨﻴﻨﺎ‬

‫ﺑﻌﻤﺮ ﺍﻟﺪﻧﻴﺎ ﺃﺣﻴﻲ ﺫﻛﺮﻯ ﺁﻫﺎﺗﻰ‬ ‫ﻓﻌﻠﻰ ﺻﻔﺤﺎﺕ ﺍﻷﻳﺎﻡ ﻣﺮﻭﺭﺍ‬

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 ‫ﻣﻜﺘﻮﺑﺎ ﺑﺪﻗﺎﺕ ﻟﻨﺒﺾ ﻓﺆﺍﺩﻯ‬ ‫ﻻ ﺍﻟﻨﺴﻴﺎﻥ ﺃﺫﺍﺏ ﺷﻮﻗﺎ‬

‫ﺑﺪﻻﻟﻪ‪.......‬ﻧﻈﻢ ﺍﻟﻘﻮﺍﰱ‬ ‫ﻭﻻ ﺍﻟﺬﻛﺮﻯ ﺗﻜﻔﻰ ﺃﻳﺎ ﺣﺒﺎ‬

‫ﰱ ﻭﺟﻪ ﺣﺐ ﺃﺯﺍﻝ ﻫﻮﺍﱏ‬ ‫ﺍﻟﺪﻫﺮ ﺃﺑﻜﻰ ﺍﳊﻨﲔ ﺩﻣﺎ‬

‫ﻓﺪﺍﻙ ﺣﱮ ﻳﺎﺻﺎﺣﺐ ﻣﻜﺎﱏ‬ ‫ﻳﺎﺣﺒﻴﱮ ﻟﺘﻜﻮﻥ ﻋﲎ ﺭﺍﺿﻴﺎ‬

‫ﳏﺎﻓﻈﺎ ﻋﻠﻰ ﻋﻬﻮﺩﻯ ﺑﻮﻓﺎﺋﻰ‬ ‫ﻣﺮﱏ ﺑﺎﺀﺧﻼﺹ ﺃﻟﱮ ﻃﺎﺋﻌﺎ‬

‫ﻭﺭﺣﺖ ﺃﺧﻔﻰ ﻋﻦ ﺍﻟﺒﺸﺮ ﺍﺣﺘﺠﺎﰉ‬ ‫ﺣﻔﻈﺖ ﻣﻦ ﺣﺒﻚ ﰱ ﺍﳍﻮﻯ‬

‫ﲟﻦ ﻳﻈﻬﺮ ﻟﻠﻌﻴﻮﻥ ﺍﻧﺘﻘﺎﰉ‬ ‫ﻣﺮﺣﺒﺎ ﺑﻄﻴﻔﻚ ﺃﺧﺮﻯ ﻭﺃﻫﻼ‬

‫ﻇﻬﺮﺕ ﻓﻴﺔ ﺑﺎﳍﻮﻯ ﺣﺴﻨﺎﺗﻰ‬ ‫ﻓﺮﺏ ﻟﻴﻞ ﻟﻠﺤﺐ ﺳﺎﺗﺮﺍ‬

‫ﻭﺃﺷﺪ ﺭﺣﺎﻝ ﻭﺟﺪﻯ ﻭﺃﺯﻣﺎﺗﻰ‬ ‫ﺃﺧﻔﻰ ﻏﲑﺗﻰ ﻋﻦ ﺍﳋﻠﻖ ﺧﻮﻓﺎ‬

‫ﻳﺼﺎﺭﻉ ﺍﳌﻮﺕ ﻭﺍﻟﻴﻚ ﺁﺗﻰ‬ ‫ﻣﻦ ﺑﻌﺪ ﻋﻤﺮﻯ ﻳﻘﻮﻡ ﻗﻠﺒﺎ‬

‫ﺩﻣﻊ ﻳﻄﻔﺊ ﺑﺎﻟﺸﻮﻕ ﺍﺣﺘﺮﺍﻗﻰ‬ ‫ﺃﻛﺴﺮ ﻗﻴﻮ ﺍﳌﻜﺎﻥ ﻭﺍﻥ ﺑﻘﻰ‬

‫ﻋﻠﻰ ﺃﺣﺠﺎﺭ ﺧﻠﻮﺩ ﺍﻟﺰﻣﺎﻥ‬ ‫ﻓﺄﻧﺎ ﻣﻦ ﻛﺘﺐ ﻫﻮﺍﻩ ﻧﻘﺸﺎ‬

‫ﻓﺪﺍﺀ ﺍﳊﺒﻴﺐ ﺫﻭ ﺍﳉﻤﺎﻝ‬ ‫ﻫﻮﻳﺖ ﺍﱃ ﻇﻠﻤﺎﺕ ﻣﺴﺘﺤﻴﻼ‬

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 ‫ﺗﺴﺎﺅﻻﺕ‬
‫ﺍﻧﻔﺮﺍﺩ ‪ ....‬ﺗﻮﺣﺪ‪....‬ﻧﺪﺍﺀ ﺍﳌﺴﺘﺤﻴﻞ‬

‫ﺍﻧﻔﺮﺩ ﺑﻨﻔﺴﻲ ﻭﺃﺳﺄﻝ‬

‫ﳌﺎﺫﺍ ﺃﺟﻠﺲ ﻭﺣﻴﺪﺍ؟؟!‬

‫ﻣﺎﺫﺍ ﻳﺪﻭﺭ ﰲ ﺍﻟﻌﻴﻮﻥ؟‬

‫ﻣﺎﺫﺍ ﲣﻔﻴﻪ ﺍﻟﺒﻄﻮﻥ؟‬

‫ﻣﺎﺫﺍ ﺑﻌﺪ ﺩﻣﻊ ﺍﻟﺴﻜﻮﻥ؟‬

‫ﻓﺮﺣﺔ ﺗﺮﺳﻢ ﻋﻠﻰ ﺍﻟﻮﺟﻮﻩ؟‬

‫ﺃﻡ ﺣﺰﻥ ﻳﻮﺭﺙ ﻋﻠﻰ ﻣﺮ ﺍﻟﻌﺼﻮﺭ؟‬

‫ﺃﻳﻦ ﺑﺪﺍﻳﺔ ﻛﻞ ﺍﻟﺪﺭﻭﺏ؟‬

‫ﺃﻃﺮﻳﻖ ﺗﺰﺭﻋﻪ ﺍﻷﺷﻮﺍﻙ؟‬

‫ﺃﻡ ﻣﺴﲑ ﻣﺮﺳﻮﻡ ﻋﻠﻰ ﺍﻟﻮﺭﻭﺩ؟‬

‫ﻣﱴ ﻧﺒﺪﺃ ﻭ ﺇﱃ ﺃﻳﻦ ﻳﺄﺧﺬﻧﺎ ﺍﳌﻨﺘﻬﻰ؟‬

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 ‫ﺃﻡ ﺃﻧﻨﺎ ﰲ ﺣﻠﻘﺎﺕ ﻧﺪﻭﺭ‬

‫ﻧﺘﺤﺮﻙ ﺑﲔ ﺃﻗﻄﺎﺭﻫﺎ ﻟﻨﺄﰐ ﻭﻧﻘﻮﻝ‬

‫ﻣﺎ ﻓﻌﻠﻨﺎ ﺑﺄﻳﺪﻳﻨﺎ ﺍﻧﻘﻴﺎﺩﺍ ﻷﻣﺎﻧﻴﻨﺎ‬

‫ﻋﺰﻓﻨﺎ ﻋﻠﻰ ﺃﻭﺗﺎﺭﻧﺎ‬

‫ﻓﺮﲰﻨﺎ ﺑﲔ ﺍﳍﻮﻯ ﳘﻮﻣﻨﺎ‬

‫ﻭﲰﻌﻨﺎ ﺃﳊﺎﻧﻨﺎ ﻓﺬﺍﺑﺖ ﻗﻠﻮﺑﻨﺎ‬

‫ﻭﺭﺃﻳﻨﺎ ﺃﻣﺎﻟﻨﺎ ﺗﺬﻫﺐ ﰲ ﻣﻬﺪﻧﺎ‬

‫ﻓﻌﻠﻘﻨﺎ ﺃﻧﻔﺴﻨﺎ ﰲ ﲰﺎﺋﻨﺎ‬

‫ﰲ ﻏﻔﻠﺘﻨﺎ ﻫﻮﻳﻨﺎ ﻋﻠﻰ ﻭﺍﻗﻊ ﺃﺭﺿﻨﺎ‬

‫ﺃﺻﺒﺤﻨﺎ ﻧﺮﺩﺩ ﺃﻧﺸﻮﺩﺓ ﺍﳌﻮﺕ ﰲ ﺣﻴﺎﺗﻨﺎ‬

‫ﻓﻘﺘﻠﻨﺎ ﺃﻧﻔﺴﻨﺎ ﻭﺫﻫﺒﺖ ﺃﺭﻭﺍﺣﻨﺎ‬

‫ﻓﺎﻧﺘﻬﻴﻨﺎ ﻭﺍﻧﻌﺪﻡ ﻣﺎﻟﻨﺎ‬

‫ﻭﺭﺣﻨﺎ ﻧﺒﻜﻰ ﻋﻠﻰ ﻃﻠﻞ‬

‫ﻟﻌﻞ ﻣﺎ ﻓﺎﺕ ﳝﺾ ﺑﻨﺎ‬

‫ﻟﻌﻞ ﻣﺎ ﺣﺪﺙ ﱂ ﻳﻜﻦ ﻟﻨﺎ‬

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 ‫ﻟﻴﺘﻨﺎ ﱂ ﻧﻜﻦ ﰲ ﻭﻗﺘﻨﺎ‬

‫ﺑﺄﻳﺪﻳﻨﺎ ﺳﻠﻤﻨﺎ ﺃﻧﻔﺴﻨﺎ ﻟﻘﺘﻠﻰ ﺃﺣﻼﻣﻨﺎ‬

‫ﻣﺎﺫﺍ ﻧﻨﺘﻈﺮ ﺇﺫﺍ ﻛﺎﻥ ﰲ ﺍﳌﻮﺕ ﺣﻴﺎﺗﻨﺎ‬

‫ﺇﺫﺍ ﻛﺎﻥ ﺍﻟﻌﻤﺮ ﻳﻌﺬﺏ ﰲ ﺃﻋﻨﺎﻗﻨﺎ‬

‫ﰲ ﺻﻮﺗﻨﺎ ﺍ‪‬ﺮﻭﺡ‬

‫ﺑﻨﻈﺮﺍﺕ ﻟﻌﲔ ﺧﻠﻒ ﺳﺘﺎﺋﺮ ﺳﻮﺩﺍﺀ‬

‫ﻳﻈﻬﺮ ﻣﻌﲎ ﺃﻛﱪ ﻣﻦ ﺍﻷﱂ‬

‫ﰲ ﲝﺚ ﻋﻠﻰ ﻣﺴﺘﺤﻴﻞ‬

‫ﺑﲔ ﻧﻮﺭ ﺍﻟﻈﻼﻡ‬

‫ﻧﻨﻈﺮ ﺑﻌﻴﻮﻥ ﺗﻠﺘﻤﺲ ﰲ ﺍﻟﻠﻴﻞ ﺿﻮﺀ ﺍﻟﺸﻤﻮﻉ‬

‫ﳔﻔﻰ ﺑﲔ ﻃﻴﺎﺕ ﺍﻟﻮﺟﻮﻩ ﺃﺳﺮﺍﺭ ﺍﻟﻔﻀﻮﻝ‬

‫ﰲ ﻋﺘﻤﺔ ﺍﻟﻨﻬﺎﺭ ﻧﺴﺮﻕ ﺩﻗﺎﺋﻖ‬

‫ﳊﻈﺎﺕ ﻧﻌﻴﺶ ﻓﻴﻬﺎ ﺃﺣﻼﻡ ﺍﳋﻴﺎﻝ‬

‫ﰲ ﻋﺎﱂ ﺑﲔ ﺍﻟﺘﻮﺣﺪ ﻭﺍﻟﻴﻘﲔ‬

‫ﺗﺴﲑ ﺳﻔﻨﻨﺎ ﺭﺍﻓﻌﺔ ﺃﺷﺮﻋﺘﻬﺎ‬

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 ‫ﺑﲔ ﺃ‪‬ﺎﺭ ﺍﳍﺮﻭﺏ ﻭﺍﻟﺴﺮﺍﺏ‬

‫ﻟﻌﻞ ﺭﺣﻠﺘﻨﺎ ﺗﺼﺎﺩﻑ ﺷﺮﻭﻕ ﺟﺪﻳﺪ‬

‫ﺑﻪ ﲢﻔﻆ ﺃﺳﺮﺍﺭ ﺍﳉﻔﻮﻥ‬

‫ﺑﻪ ﻳﻈﻬﺮ ﻣﻌﲎ ﻛﻠﻤﺎﺕ ﺍﻟﺴﻜﻮﺕ‬

‫ﻧﻐﻔﻞ ﻭﻳﻐﻤﺾ ﻭﺍﻗﻌﻨﺎ‬

‫ﳓﻠﻢ ﻭﻧﺪﻭﺭ ﻭﻧﺮﺳﻢ‬

‫ﻭﻧﻜﺘﺐ ﻋﻠﻰ ﺃﻟﻮﺍﺡ ﻋﻤﺮﻧﺎ‬

‫ﺑﺄﺣﺒﺎﺭ ﺍﳌﺴﺘﺤﻴﻞ ﻏﺎﻳﺘﻨﺎ‬

‫ﻓﺘﺬﻫﺐ ﺳﻔﻨﻨﺎ ﺇﱃ ﺟﺰﺭ ﺍ‪‬ﻬﻮﻝ‬

‫ﻓﻨﻨﺘﻈﺮ ﰲ ﺍﻟﻀﻴﺎﻉ ﻧﺪﺍﺀ ﺍﳌﺴﺘﺤﻴﻞ‬

‫ﻭﻧﻨﺴﻰ‪...............‬‬

‫ﻛﻢ ﻧﺎﺩﻱ ﺍﳌﺴﺘﺤﻴﻞ‬

‫ﻋﻠﻰ ﺩﻗﺎﺕ ﺍﻟﻮﺗﺮ‬

‫ﻋﻠﻰ ﺩﻣﻊ ﺍﳌﻄﺮ‬

‫ﻛﻢ ﻧﺎﺩﻱ ﻋﻠﻰ ﺣﻠﻢ ﺿﺎﻉ ﻭﺍﻧﺘﺤﺮ‬

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 ‫ﻛﻢ ﻧﺎﺩﻱ ﻋﻠﻰ ﺻﻮﺗﻪ ﺍﳌﺬﺑﻮﺡ‬

‫ﻟﻌﻞ ﻣﺎ ﺑﻪ ﻣﻦ ﺟﺮﺡ ﻳﻄﻴﺐ‬

‫ﻟﻌﻞ ﻣﺎ ﻓﺎﺕ ﻣﻦ ﺃﱂ ﻳﺄﺕ ﺑﻔﺮﺡ ﺟﺪﻳﺪ‬

‫ﻟﻴﺖ ﻣﺎﺿﻴﻨﺎ ﱂ ﻳﻮﺭﺙ ﺩﻣﻊ ﺍﳊﺪﻳﺪ‬

‫ﻧﺎﺩﻱ ﺳﺎﺋﻼ ﻛﻴﻒ ﺗﻨﺎﻡ ﺟﻔﻮﻥ ﺍﳊﺰﻳﻦ؟‬

‫ﺃﻳﻦ ﺫﻫﺒﺖ ﺃﺣﻼﻡ ﺍﳌﻌﺎﺩﻥ؟‬

‫ﺇﱃ ﺃﻳﻦ ﺭﺍﺣﺖ ﺑﺴﻤﺔ ﺍﻟﱪﻱﺀ؟‬

‫ﻓﺼﻨﻌﻨﺎ ﺃﻃﻮﺍﻕ ﺍﻷﻣﻞ ﺧﻠﻒ ﻗﻀﺒﺎﻥ ﺍﻷﻣﺎﻛﻦ‬

‫ﻧﻨﺘﻈﺮ ﺍﳋﺮﻭﺝ ﻣﻦ ﺳﺠﻦ ﺍﳌﺴﺘﺤﻴﻞ‬

‫ﻧﻨﺘﻈﺮ ﺍﻟﻌﻮﺩﺓ ﺇﱃ ﻋﺎﱂ ﺍﻟﻴﻘﲔ‬

‫ﻧﺒﺤﺚ ﻋﻠﻰ ﻣﻔﻘﻮﺩ ﰲ ﻋﺎﱂ ﳎﻬﻮﻝ‬

‫ﻧﺒﺤﺚ ﻋﻠﻰ ﻗﻠﻢ ﺑﻼ ﺣﱪ‬

‫ﻋﻠﻰ ﺃﻣﻞ ﺑﻼ ﺣﻠﻢ‬

‫ﻋﻠﻰ ﺳﻜﻦ ﺑﻼ ﻣﺄﻭﻯ‬

‫ﻋﻠﻰ ﻋﻤﺮ ﺩﻭﻥ ﻋﻤﺮ‬

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 ‫ﻋﻠﻰ ﺣﺎﺿﺮ ﺑﻼ ﻣﺎﺿﻲ‬

‫ﻧﺒﺤﺚ ﻋﻠﻰ ﺳﺒﻴﻞ ﺑﻼ ﺩﻟﻴﻞ‬

‫ﻭﰱ ﺍﻷﺧﲑ ‪.........‬ﰲ ‪‬ﺎﻳﺎﺕ ﺍﻟﻜﻼﻡ‬

‫ﻳﺬﻫﺐ ﺍﻟﻌﻤﺮ ﻭﺗﻨﻜﺴﺮ ﺍﻵﻻﻡ‬

‫ﻭﻳﻜﻮﻥ ﻋﺎﱂ ﺟﺪﻳﺪ‪..........‬‬

‫ﻓﻴﻪ ﻳﺮﻓﺮﻑ ﺍﻟﻌﺼﻔﻮﺭ ﻓﻮﻕ ﺳﺤﺐ ﺍﳋﻮﻑ‬

‫ﻳﺮﻓﺮﻑ ﲜﻨﺎﺣﻴﺔ ﺭﺍﻓﻌﺎ ﺭﺍﻳﺔ ﺍﻟﻘﻬﺮ‬

‫ﻣﻌﻠﻨﺎ ﺑﻌﺪ ﺍﳌﻮﺕ ﺷﻬﺎﺩﺓ ﺍﳌﻴﻼﺩ!!!!‬

‫ﻭﻳﻜﻮﻥ ﺍﻟﺴﺆﺍﻝ‪.....‬ﺃﻳﻦ؟؟؟‬

‫ﺍﻷﻣﻞ‪.....‬ﺍﳊﻠﻢ‬

‫ﺍﳊﻘﻴﻘﺔ‪.....‬ﺍﳊﻴﺎﺓ‬

‫ﺇﱃ ﻏﲑ ﺫﻟﻚ ﻣﻦ ﺗﺴﺎﺅﻻﺕ؟؟؟؟؟‬

‫ﺍﳉﻮﺍﺏ ﻳﺄﰐ‬

‫ﻋﻨﺪﻣﺎ ﻳﺬﻭﺏ ﺛﻠﺞ ﺍﳌﺴﺘﺤﻴﻞ!!!!!!!!!‬

‫" ﺃﻣﲑﺣﺴﻦ "‬ ‫‪...................‬‬

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 ‫ﺍﳉﺮﺡ ﺗﺎﱏ ﻣﻨﻚ‬

‫ﺟﺎﻳﻪ ﱄ ﳎﺮﻭﺣﺔ ﻭﺗﺴﺄﻟﻴﲏ ﺃﻃﻴﺐ ﺟﺮﺣﻚ‬

‫ﻧﺴﻴﱴ ﺍﻧﻚ ﻟﻠﻤﻮﺕ ﺭﻣﻴﺘﻴﲎ‬

‫ﻧﺴﻴﱵ ﺟﺮﺣﻰ ﺍﻟﻠﻲ ﻛﺎﻥ ﺿﺮﻳﺒﺔ ﺭﺧﻴﺼﺔ‬

‫ﻭﺍﻟﻠﻲ ﻋﻤﺮﺓ ﻣﺎﻳﻮﻡ ﺷﻜﻰ ﻏﺪﺭﻙ ﻭﺧﻨﺘﻴﲎ‬

‫ﻗﻮﻟﱵ ﻟﻐﲑﻙ ﻫﺎ ﻛﻮﻥ‬

‫ﻭﻟﻠﻤﻮﺕ ﺍﻧﺖ ﻣﻦ ﻏﲑﻯ‬

‫ﻫﺎ ﻣﺸﻰ ﻭﺍﺳﺘﺒﻚ ﻭﺩﻩ ﺫﻧﺒﻚ‬

‫ﺍﻧﻚ ﰲ ﻳﻮﻡ ﺻﺪﻗﱵ‬

‫ﺃﻧﺎ ﺍﻟﻠﻲ ﺧﻨﺘﻚ ﻭﺩﲝﺘﻚ‬

‫ﺃﻧﺎ ﺍﻟﻠﻲ ﻋﻤﻴﺘﻚ ﻭﺧﺮﺳﺘﻚ‬

‫ﺃﻧﺎ ﺍﻟﻠﻲ ﺩﻣﻚ ﻭﺩﻣﻮﻋﻚ‬

‫ﻛﺎﻧﻮﺍ ﺣﻮﺍﻟﻴﺎ ﺑﺴﺘﺎﻥ ﻭﺭﺩ‬

‫ﺃﺯﺭﻉ ﰲ ﻗﻠﺒﻚ ﻭﺿﻠﻮﻋﻚ‬

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 ‫ﺷﻮﻙ ﲝﻨﺎﻧﻚ ﻳﻄﻠﻊ ﻭﺭﺩ‬

‫ﻋﻄﺮﻩ ﻭﺭﲰﻪ ﺳﺒﺤﺎﻥ ﺍﷲ‬

‫ﻣﺎ ﺷﻔﺖ ﺯﻳﻚ ﰱ ﺍﳊﺐ‬

‫ﺍﻧﺖ ﺍﻟﻠﻲ ﻣﻦ ﺣﻨﺎﻥ ﺍﻟﺪﻧﻴﺎ ﺍﺩﻳﺘﲏ‬

‫ﻭﻟﺪﻣﻊ ﻋﻴﲏ ﻧﺴﻴﺘﲏ‬

‫ﻧﻮﺭﺕ ﺍﻟﺪﻧﻴﺎ ﻟﻌﻴﲏ‬

‫ﻭﻓﺮﺷﺖ ﺿﻠﻮﻋﻚ ﺣﺐ‬

‫ﻭﺑﻜﺎﺱ ﺍﻟﻔﺮﺡ ﺳﻘﻴﺘﲏ‬

‫ﻭﻟﻜﺎﺱ ﺍﳊﺐ ﺷﺮﺑﺖ‬

‫ﻫﺎﻣﺸﻰ ﻭﺍﺧﻮﻧﻚ ﺩﺓ ﻣﺼﲑﻙ‬

‫ﻣﻦ ﻏﲑﻱ ﺗﻌﻴﺶ ﻭﲤﻞ‬

‫ﻣﻦ ﻏﲑﻱ ﻣﻠﻜﺶ ﺩﻧﻴﺎ‬

‫ﻭﺍﻧﺎ ﻋﺎﺭﻓﺔ ﺟﺮﺣﺘﻚ‪.......‬ﺁﺳﻔﺔ‬

‫ﻣﻮﺕ ﻣﻦ ﻏﲑﻱ ﻭﺍﻧﺎ ﻣﻦ ﻏﲑﻙ‬

‫ﻫﺎﻋﻴﺶ ﻭﻫﺎﺩﻭﺱ ﻋﺎ ﺍﳊﺐ‬

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 ‫ﺍﳊﺐ ﺍﻟﻠﻲ ﺍﺩﻳﺘﻪ ﻟﻴﺎ ﻣﺴﺘﺤﻴﻞ‬

‫ﻫﺎ ﻳﻜﻮﻥ ﺍﺯﺍﻯ ﻣﻦ ﻭﺍﺣﺪ ﺗﺎﱐ‬

‫ﻭﺍﻧﺖ ﺍﻟﻠﻲ ﻋﺸﺖ ﰱ ﻋﺼﻮﺭ ﺍﳊﺐ‬

‫ﺍﺗﻌﻠﻤﺖ ﻭﻋﻠﻤﺘﲏ‬

‫ﺍﺯﺍﻯ ﺃﺧﻠﺺ ﻭ ﺃﺣﺐ‬

‫ﺑﺲ ﺃﻧﺎ ﻗﻠﱯ ﻏﺪﺍﺭ ﺧﺎﻳﻦ‬

‫ﻫﺎﺑﻴﻌﻚ ﻭﻫﺎﺳﻴﺒﻚ ﻟﻠﻤﻮﺕ‬

‫ﺟﺎﻳﻪ ﻭﻋﺎﺭﻓﺔ ﻫﺎ ﻃﻴﺐ ﺟﺮﺣﻚ‬

‫ﻭﺍﻧﺎ ﻗﻠﱯ ﻣﻨﻚ ﳎﺮﻭﺡ‬

‫ﻣﻘﺪﺭﺵ ﺯﻣﺎﻥ ﻳﺪﺍﻭﻳﺔ‬

‫ﻭﺍﻟﺴﻨﲔ ﺭﺍﳛﺔ ﻋﻠﻴﺔ‬

‫ﻭﺍﻧﺎ ﻣﺴﺘﲏ ﻟﻠﻤﻮﺕ ﻳﺮﻭﺡ‬

‫ﺃﻧﺎ ﺃﺳﻒ ﻳﺎ ﺣﺒﻴﺐ ﻋﻤﺮﻱ‬

‫ﻣﺶ ﻫﺎ ﻧﺴﺎﻙ ﻭﻻ ﳊﻈﺔ ﺃﺑﻴﻊ‬

‫ﻫﺎ ﻃﻴﺐ ﺟﺮﺣﻚ ﻭﺍﻧﺎ ﻋﺎﺭﻑ‬

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 ‫ﺍﻧﻚ ﻟﻐﲑﻯ ﻫﺎ ﺗﺮﻭﺡ‬

‫ﻭﺍﳉﺮﺡ ﺗﺎﱏ ﻣﻨﻚ‬

‫ﻭﺃﻧﺎ ﺩﺍﳝﺎ ﻣﻨﻚ ﻣﺪﺑﻮﺡ‬

‫ﺑﺲ ﺳﺆﺍﱄ ﺩﺓ ﻟﻮ ﻣﺴﻤﻮﺡ‬

‫ﺟﺎﻳﺔ ﺗﺸﻮﰲ ﺩﻣﻮﻋﻲ ؟؟؟؟‬

‫ﺟﻔﺖ ﻭﻻ ‪‬ﺮﻫﺎ ﺑﻴﺠﺮﻯ‬

‫ﻭﻻ ﺟﺎﻳﺔ ﺗﺸﻮﰲ ﺟﺮﻭﺣﻰ ؟؟؟؟‬

‫ﺩﺓ ﺟﺮﺣﻲ ﻣﻨﻚ ﻗﺘﻠﲏ‬

‫ﺧﻼﱐ ﺑﲔ ﺍﻟﻨﺎﺱ ﻣﻴﺖ‬

‫ﰲ ﻃﺮﻳﻘﻬﻢ ﻣﺎﺷﻲ ‪....‬ﻭﻋﻦ ﻋﺎﳌﻬﻢ ﺭﺍﺣﻞ‬

‫ﺟﺎﻳﺔ ﻭﻋﺎﺭﻓﺔ ﻫﺎ ﻃﻴﺐ ﺟﺮﺣﻚ‬

‫ﻭﺩﻣﻮﻋﻚ ﻋﻨﺪﻯ ﲡﻒ‬

‫ﻭﺟﺮﻭﺣﻚ ﻋﻠﻰ ﺍﻳﺪﻯ ﺗﻄﻴﺐ‬

‫ﻭﺍﺭﺟﻊ ﻭﺃﻛﻮﻥ ﺃﻧﺎ ﺍﳉﺎﱏ‬

‫ﻋﻠﻰ ﻣﻌﺮﻭﻑ ﻓﻴﻚ ﻋﻤﻠﺘﻪ‬

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 ‫ﻋﻨﺪﻙ ﻳﻜﻮﻥ ﺫﻧﺐ ﻛﺒﲑ‬

‫ﻭﲤﺸﻰ ﻭﺗﺎﱏ ﻟﻠﻤﻮﺕ ﺗﺮﻣﻴﲏ‬

‫ﺃﺳﻒ ﺃﻧﺎ ﻳﺎ ﺣﺐ ﻋﻤﺮﻱ‬

‫ﺃﺳﻒ ﻋﻠﻰ ﻏﻠﻄﺔ ﻋﻤﺮﻱ‬

‫ﺃﺳﻒ ﻋﻠﻰ ﺇﺧﻼﺻﻲ ﻭﺣﱯ‬

‫" ﺍﻣﲑ ﺣﺴﻦ "‬ ‫‪...................‬‬

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 ‫ﺑﻌﺪ ﺍﻟﺮﺣﻴﻞ‬
‫ﺩﻗﺖ ﺍﻟﺴﺎﻋﺔ‬

‫ﻭﺍﻧﻜﺴﺮ ﻣﻌﲎ ﺍﻻﻧﺘﻈﺎﺭ‬

‫ﻭﲰﻌﺖ ﺍﻵﺫﺍﻥ ﺻﻮﺕ ﺍﻟﻘﻄﺎﺭ‬

‫ﺁﻥ ﺍﻵﻭﺍﻥ ﻭﺍﻟﻜﻞ ﻳﺴﺘﻌﺪ‬

‫ﺣﺎﻥ ﻭﻗﺖ ﺍﻟﺮﺣﻴﻞ‬

‫ﺩﻕ ﻧﺎﻗﻮﺱ ﺍﻟﺴﻔﺮ ﺍﻟﻄﻮﻳﻞ‬

‫ﺣﺎﻥ ﻭﻗﺖ ﻧﻨﺴﻰ ﻓﻴﻪ ﺗﺸﺎﺑﻚ ﺃﻳﺪﻳﻨﺎ‬

‫ﻣﺎﺑﻘﻰ ﻏﲑ ﺩﻣﻊ ﻋﻴﻨﻴﻚ ﺣﺒﻴﺒﱵ‬

‫ﺭﺍﺣﻞ ﻭﻣﻐﺼﻮﺏ ﻋﻠﻰ ﻋﻴﲏ ﺃﻻ ﺗﺮﻯ ﻋﻴﻨﻴﻚ‬

‫ﺭﺍﺣﻞ ﻭﻣﻜﺘﻮﺏ ﻋﻠﻰ ﻳﺪﻱ ﺃﻻ ﺗﻮﺩﻉ ﻳﺪﻳﻚ‬

‫ﺭﺍﺣﻞ ﻭﻟﻦ ﺃﻋﻮﺩ ﺇﻟﻴﻚ‬

‫ﻛﻔﻰ ﺣﺒﻴﱯ ﺍﻟﺪﻣﻊ ﺍﻟﻨﺎﺯﻝ ﻋﻠﻰ ﺧﺪﻳﻚ‬

‫ﻣﺎ ﻳﺆﳌﲏ ﻭﻳﺰﻳﺪ ﻏﺮﺑﱵ ﺃﱏ ﺭﺍﺣﻞ ﻭﻟﻦ ﺃﺭﺍﻙ‬

‫ﺃﻧﻚ ﲜﺎﻧﱯ ﻭﻻ ﺃﺳﺘﻄﻴﻊ ﺗﻘﺒﻴﻞ ﻳﺪﻳﻚ‬

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 ‫ﺗﻘﺒﻀﲔ ﻋﻠﻰ ﻳﺪﻱ ﻭﻻ ﺃﺷﻌﺮ ﺑﺪﰲﺀ ﺍﳊﻨﺎﻥ‬

‫ﺗﻘﺒﻠﻴﻨﲏ ﻭﻻ ﺃﲢﺮﻙ ﻣﻦ ﻣﻜﺎﱐ‬

‫ﺗﻮﺩﻋﻴﻨﲏ ﻭﻟﻦ ﻳﻜﻮﻥ ﺇﻻ ﺻﻤﱵ ﻭﺣﺮﻣﺎﱐ‬

‫ﻛﻔﻰ‪....‬ﻗﺪ ﺣﺎﻥ ﻭﻗﱵ ﻷﻛﻮﻥ ﰲ ﻋﺎﱂ ﺛﺎﱐ‬

‫ﺍﺗﺮﻛﲏ‪...‬؟؟؟ﻓﺎﻟﻘﻄﺎﺭ ﺭﺍﺣﻞ ﻭﺑﻪ ﻣﻜﺎﱐ‬

‫ﺗﺮﻯ ﻋﻴﻮﱐ ﻣﺸﺘﺎﻗﺔ ﺇﱃ ﻣﺎ ﻛﺎﻥ ﻗﺒﻞ ﺍﻵﻭﺍﻥ‬

‫ﺗﺮﻯ ﻳﺎ ﻗﻠﱯ ﻛﻢ ﻛﻨﺖ ﰲ ﺣﺒﻚ ﺇﻧﺴﺎﻥ ﺛﺎﱐ‬

‫ﻗﺒﻞ ﺍﻟﺮﺣﻴﻞ ﺃﺫﻭﻕ ﻣﺮﺍﺭﺓ ﺍﻟﻴﺄﺱ ﺍﻟﻘﺘﺎﻝ‬

‫ﺣﲔ ﺫﻫﺒﺖ ﻋﲏ ﻭﻣﺎ ﺟﻌﻠﺖ ﻟﻠﻤﺎﺿﻲ ﺣﻖ ﺍﻟﺮﺣﻴﻞ‬

‫ﻧﺴﻴﺖ ﺍﻟﺮﺳﺎﺋﻞ ﻭﻣﺎ ﻛﺎﻥ ﻗﺒﻞ ﺍﻟﺮﺣﻴﻞ‬

‫ﻭﻛﻨﺖ ﻋﻠﻰ ﻣﻮﺍﱐ ﺍﻟﺒﻼﺩ ﺃﲝﺚ ﻋﻠﻰ ﻣﺴﺘﺤﻴﻞ‬

‫ﺣﲔ ﺳﺎﻓﺮﺕ ﻭﺗﺮﻛﺘﲏ ﺑﲔ ﺍﻷﻣﻮﺍﺝ ﺃﺻﺎﺭﻉ ﺍﻟﺮﺣﻴﻞ‬

‫ﻭﻋﺸﺖ ﺣﻴﺎﺓ ﺍﻷﻣﻞ ﺍﻟﻮﺍﻫﻢ ﻣﻦ ﺟﺪﻳﺪ‬

‫ﻭﺍﺻﻄﻨﻌﺖ ﺣﺒﺎﻝ ﺍﻟﻠﻘﻰ‬

‫ﻭﺳﺮﺕ ﳓﻮ ﻃﺮﻳﻖ ﺍﳌﻠﺘﻘﻰ‬

‫‪20‬‬
 ‫ﰲ ﲝﺚ ﻋﻠﻰ ﻃﻴﻒ ﰲ ﺍﻟﻮﺭﻯ‬

‫ﻋﻠﻰ ﺍﳌﻴﻨﺎﺀ ﻟﻴﺖ ﻭﺩﺍﻋﻨﺎ ﺍﻟﺘﻘﻰ‬

‫ﻭﻳﺮﺩﺩ ﻟﺴﺎﱐ ﻣﻮﻋﺪﻱ‬

‫ﻭﺗﻘﻮﻝ ﺷﻔﺘﺎﻱ ﻣﺰﻭﺭ‬

‫ﻭﺳﻠﻜﺖ ﺇﻟﻴﻚ ﻃﺮﻳﻘﺎ ﻭﻧﺴﻴﺖ ﺁﻻﻣﻲ‬

‫ﻭﻭﻗﻌﺖ ﺭﺍﻛﻌﺎ ﻭﺗﻜﺴﺮﺕ ﺃﻗﺪﺍﻣﻲ‬

‫ﻭﺑﻘﻰ ﺣﻨﻴﲏ ﻷﺭﺽ ﺃﻭﻃﺎﱐ‬

‫ﻭﻛﺘﺒﺖ ﻣﻦ ﺟﺪﻳﺪ ﺭﺳﺎﺋﻠﻲ‬

‫ﺃﺣﻀﺎﻧﻚ ﺣﺒﻴﱯ ﺷﺮﻳﺎﻥ ﺃﻳﺎﻣﻲ‬

‫ﻭﻛﻢ ﻛﻨﺖ ﰲ ﻇﻼﻡ ﺍﻟﻌﻤﺮ ﺑﺎﺣﺜﺎ ﻋﻨﻚ ﻧﺼﻔﻰ ﺍﻟﺜﺎﱐ‬

‫ﻭﻣﻦ ﺑﻘﺎﻳﺎ ﺍﳉﺮﺡ ﻳﻈﻬﺮ ﺍﲪﺮﺍﺭ ﺃﺟﻔﺎﱐ‬

‫ﺃﻳﻦ ﺃﻧﺖ ﺣﲔ ﻧﺴﻴﺘﲏ ﻭﻟﻐﲑﻱ ﺫﻫﺒﺖ ﻭﻗﻬﺮﺗﲏ‬

‫ﺍﻵﻥ ‪..........‬ﻭﺑﻌﺪ ﺭﺣﻴﻠﻲ ﺗﺄﺗﻰ ﺇﱃ ﺟﺎﱐ‬

‫ﺗﺄﺗﻰ ﺑﺎﻛﻴﺎ ﻣﻌﻠﻨﺎ ﺣﺐ ﻭﺣﻨﺎﻥ‬

‫ﺃﻳﻦ ﻛﻨﺖ ﻗﺒﻞ ﻣﻴﻌﺎﺩﻱ؟؟؟‬

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 ‫ﻗﺒﻞ ﺍﻧﺘﻘﺎﱄ ﺇﱃ ﻣﻮﻋﺪ ﺛﺎﱐ‬

‫ﺍﺫﻫﺐ ﻭﺍﺑﺘﻌﺪ ﻋﲎ‬

‫ﻗﻄﻒ ﺍﻟﺰﻫﻮﺭ‬

‫ﺇﻥ ﱃ ﺣﺒﻴﺒﺎ ﻣﺎ ﺃﺗﻰ ﺇﻻ ﻃﻴﻔﺎ ﺑﺄﺣﻼﻣﻲ‬

‫ﻭﻣﺎ ﺃﺿﺎﻉ ﺍﻟﺮﺑﻴﻊ ﻭﻣﺎ ﻗﻄﻊ ﺍﳋﻴﻮﻁ‬

‫ﺭﺍﺣﻞ ﻭﺇﻟﻴﻪ ﺃﻧﺎ ﻭﺍﻟﻘﻴﻮﺩ‬

‫ﺫﺍﻫﺐ ﺇﻟﻴﻪ ﻭﻣﺎ ﺃﺭﻳﺪ ﻭﻗﺘﺎ ﻳﻔﻮﺕ‬

‫ﺍﺑﺘﻌﺪ ﻋﲎ ﻭﻋﻠﻰ ﻗﱪﻱ ﻻ ﺗﻨﺜﺮ ﻭﺭﻭﺩ‬

‫ﺇﻧﻪ ﺣﺒﻴﱯ ﻛﺸﻒ ﻋﻦ ﺛﻮﰊ ﻭﳏﻰ ﺍﳉﺮﻭﺡ‬

‫ﺭﺣﻞ ﻭﻗﺖ ﺭﺣﻴﻠﻲ ﻭﺇﻟﻴﻪ ﺃﻧﺎ ﻣﺘﺤﺪﻯ ﺍﻟﻘﻴﻮﺩ‬

‫ﺗﺄﺗﻰ ﺍﻵﻥ ﻭﺗﻌﻠﻦ ﺍﻟﺪﻣﻮﻉ‬

‫ﻭﺗﻜﺸﻒ ﻋﻦ ﻭﺟﻬﻲ ﻭﺗﺴﺘﺮ ﺍﳍﻤﻮﻡ‬

‫ﺍﺫﻫﺐ ﻭﺍﺗﺮﻛﲏ ﺃﻣﻀﻰ ﺇﱃ ﲰﺎﻭﺍﰐ‬

‫ﺍﺫﻫﺐ ﻟﻮ ﻻ ﺍﻟﺮﺣﻴﻞ ﻣﺎ ﻛﺎﻥ ﺍﻟﻨﺪﻡ ﺍﻟﻌﻠﻴﻞ‬

‫" ﺃﻣﲑ ﺣﺴﻦ "‬ ‫‪...................‬‬

‫‪22‬‬
 ‫ﻫﻮ ﺩﻩ ﺫﻧﱯ‬

‫ﺫﻧﺐ ﻭﺍﻧﻜﺘﺐ ﻋﻠﻴﺎ ﺃﻛﻮﻥ ﺻﺎﺩﻕ‬

‫ﻛﺎﻥ ﻋﻴﱯ ﺃﱏ ﻣﻘﺪﺭ ﺗﺶ ﺃﺧﱮ ﻭﺑﺼﺎﺭﺡ‬

‫ﻛﺎﻥ ﺍﳊﺐ ﰲ ﻋﻴﲏ ﺑﺎﻳﻦ ﻭﻭﺍﺿﺢ‬

‫ﻛﺎﻥ ﺍﳊﻨﲔ ﻟﻴﻜﻲ ﺳﺎﺑﻖ ﺷﻮﻗﻲ ﻭﺭﺍﻳﺢ‬

‫ﺭﺍﻳﺢ ﻷﺑﻌﺪ ﻣﺪﻯ ﺳﺎﺑﻖ ﺍﻟﺮﻳﺢ‬

‫ﻣﻜﻨﺘﺶ ﺃﻋﺮﻑ ﺇﻥ ﺍﻟﻠﻲ ﺻﺎﺩﻕ ﰲ ﺍﻟﺰﻣﻦ ﺩﻩ‬

‫ﻳﻨﻀﺤﻚ ﻋﻠﻴﻪ ﻭ ﻳﺘﻘﺎﻝ ﻋﻨﻪ ﻏﺮﻳﺐ‬

‫ﻟﻜﻦ ﻭﺍﷲ ﻛﺎﻥ ﺣﺐ ﺣﻘﻴﻘﻲ‬

‫ﻛﺎﻥ ﻋﻴﱯ ﺇﱐ ﺻﺎﺭﺣﺖ ﺑﻴﻪ ﻭﺩﻩ ﻋﻴﺐ‬

‫ﰲ ﺯﻣﻦ ﺍﻟﻌﻴﻮﺏ ‪.....‬ﺑﻘﻰ ﺍﻟﺼﺢ ﻓﻴﻪ ﻋﻴﺐ‬

‫ﺑﻘﺖ ﺍﳊﻘﻴﻘﺔ ﺣﺎﺟﻪ ﻛﺪﻩ ﺃﻭﻫﺎﻡ‬

‫ﻭﺑﻘﻰ ﺍﻟﻠﻲ ﳝﻴﺰ ﺍﻟﻨﺎﺱ ﺍﻟﻜﺪﺏ ﺍﻟﺪﺍﻳﺐ‬

‫ﺃﻧﺎ ﺻﺤﻴﺢ ﺍﳒﺮﺣﺖ ﻟﻜﻦ ﻟﺴﻪ ﺧﺎﻳﻒ‬

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 ‫ﺧﺎﻳﻒ ﻣﻦ ﺍﳌﺎﺿﻲ‬

‫ﳑﻜﻦ ﻳﻜﻮﻥ ﺩﻳﻦ ﻋﻠﻴﺎ‬

‫ﺑﺲ ﺍﳊﻘﻴﻘﺔ ﺃﻧﺎ ﺍﻟﺪﺍﻳﻦ‬

‫ﺃﺻﻞ ﺍﻟﻌﻴﺐ ﻓﻴﺎ ﻛﺎﻥ ﳝﻴﺰﻫﻢ‬

‫ﻭﺍﳌﻴﺰﺓ ﻗﺎﻟﻮﺍ ﻋﻨﻬﺎ ﺧﻴﺎﻝ‬

‫ﺣﺒﻴﺖ ﻭﺻﺪﻗﺖ ﻭﺍﺩﻱ ﺍﻟﻠﻲ ﻛﺎﻥ‬

‫ﻳﺪﻭﺭ ﻋﻠﻴﻪ ﻛﻞ ﺍﻟﻨﺎﺱ‬

‫ﳚﺮﻭﺍ ﻭﻳﺪﻭﺭﻭﺍ ﻭﻟﺴﻪ ﺯﻯ ﻣﺎ ﳘﻪ‬

‫ﻗﺎﻟﻮﺍ ﻣﺶ ﻣﻮﺟﻮﺩ ﺑﺲ ﻧﺎﺳﲔ‬

‫ﺇ‪‬ﻢ ﻏﺪﺍﺭﻳﻦ ﻭﺧﺎﻳﻨﲔ‬

‫ﻳﺒﻴﻌﻮﺍ ﺍﻟﻐﺎﱄ ﺩﺍﳝﺎ ﺑﺎﻟﺮﺧﻴﺺ‬

‫ﺃﻧﺎ ﰲ ﺍﳊﻘﻴﻘﺔ ﻏﻠﻄﺎﻥ ﳌﺎ ﻗﻠﺖ‬

‫ﺃﻛﻮﻥ ﳐﻠﺺ ﻣﺶ ﻫﺎ ﺧﻮﻥ‬

‫ﻭﰱ ﺍﻟﻨﻬﺎﻳﺔ ﻛﺎﻧﺖ ﺍﳋﻴﺎﻧﺔ ﻗﺎﻟﻮﻫﺎ ﻋﲎ‬

‫ﻭﻟﻸﺳﻒ ﺣﺒﻴﱯ ﺍﻟﻠﻲ ﻛﺎﻥ ‪......‬‬

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‫ﻫﻮ ﺃﻭﻝ ﻭﺍﺣﺪ ﻗﺎﻝ ﻟﻮ ﻣﺶ ﺣﻘﻴﻘﻲ ﻣﻜﻨﺶ ﺃﺗﻘﺎﻝ‬

‫ﻳﺎ ﺣﺐ ﺃﻧﺖ ﻟﻴﻪ ﺑﺘﻌﻤﻞ ﻛﺪﺓ‬

‫ﺻﺪﻗﺖ ﻓﻴﻚ ﻭﻛﺎﻧﺖ ﺍﻟﻨﺘﻴﺠﺔ‬

‫ﺃﻧﻌﻰ ﻧﻔﺴﻲ ﻭﺃﻗﻮﻝ ﺃﻧﺎ ﺍﻟﻐﻠﻄﺎﻥ‬

‫ﺃﻧﺎ ﺩﻟﻮﻗﱴ ﺍﺯﺍﻯ ﺃﻛﻮﻥ؟؟؟؟‬

‫ﻗﻠﺐ ﳐﻠﺺ ﻭﻻ ﻏﺪﺍﺭ ﻭﺃﺧﻮﻥ؟؟؟‬

‫ﻟﻮ ﳐﻠﺺ ﻫﺎ ﻛﻮﻥ ﳌﲔ؟؟!!!‬

‫ﻫﺎ ﻛﻮﻥ ﻟﻮﺍﺣﺪ ﺯﻯ ﻛﻞ ﺍﻟﻨﺎﺱ ﺧﺎﻳﻨﲔ‬

‫ﻭﻟﻮ ﻏﺪﺍﺭ ﻣﺎ ﻛﻠﻬﻢ ﻛﺪﻩ ﻏﺪﺍﺭﻳﻦ‬

‫ﺍﻟﻮﻋﺪ ﻋﻨﺪﻫﻢ ﺿﺮﻳﺒﺔ ﺭﺧﻴﺼﺔ‬

‫ﻳﻀﺤﻜﻮﺍ ﺑﻴﻬﺎ ﻋﻠﻰ ﺍﻟﺼﺎﺩﻕ ﻭﺍﻷﻣﲔ‬

‫ﺃﻧﺎ ﺁﺳﻒ ﻳﺎ ﺣﺐ ﺍﻟﻌﻴﺐ ﻣﺶ ﻓﻴﻚ‬

‫ﻫﻮ ﺃﻧﺖ ﺑﺎﻟﻨﺴﺒﺔ ﻟﻴﻬﻢ ﺇﻳﻪ‪....‬ﻟﻌﺒﺔ‬

‫ﻭﻻ ﺣﺎﺟﺔ ﻣﺶ ﻣﻮﺟﻮﺩﺓ‬

‫ﻭﻻ ﺷﻲﺀ ﰲ ﻋﺼﺮ ﻭﳘﻲ‬

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 ‫ﻭﻻﻧﺸﻮﻓﺔ ﰲ ﻣﻨﺎﺳﺒﺎﺕ‬

‫ﻳﺘﺮﺳﻢ ﻋﻠﻰ ﺍﻟﻮﺟﻬﺎﺕ‬

‫ﻳﺒﻘﻰ ﺍﻟﻐﻠﻂ ﻭﺍﻟﻌﻴﺐ ﺃﻳﺔ‬

‫ﻭﻻ ﻳﺒﻘﻰ ﺍﻟﺼﺢ ﻓﲔ‬

‫ﺍﻟﻐﺮﻳﺐ ﺇ‪‬ﻢ ﻳﻘﻮﻟﻮﺍ‬

‫ﳒﺮﻯ ﻭﺭﺍﻩ ﺍﻟﻌﻤﺮ ﺑﻄﻮﻟﺔ‬

‫ﻭﻧﺼﻮﻧﻪ ﰲ ﺑﻄﻦ ﺍﳊﻮﺕ‬

‫ﻭﳕﻮﺕ ﻟﻮ ﻣﺮﺓ ﻧﺴﻴﻨﺎ‬

‫ﺇﻥ ﺇﺣﻨﺎ ﺻﺤﻴﺢ ﺣﺒﻴﻨﺎ‬

‫ﺁﻩ ﻳﺎ ﺣﺒﻴﱯ ﻳﺎ ﻟﻠﻲ ﺧﻠﻴﺘﲏ‬

‫ﺃﻋﻴﺶ ﰲ ﺍﻟﺪﻧﻴﺎ ﺩﻯ ﻏﺮﻳﺐ‬

‫ﻳﺒﻘﻰ ﺩﻩ ﺣﺎﱄ ﺃﻋﻴﺶ ﰲ ﻋﺬﺍﺏ‬

‫ﻭﺃﻧﺖ ﺗﻌﻴﺶ ﻣﺮﺗﺎﺡ ﺍﻟﺒﺎﻝ‬

‫ﺃﻧﺎ ﻭﺍﷲ ﺣﻘﻴﻘﻲ ﲝﺒﻚ‬

‫ﻟﻴﻪ ﺗﻜﺪﺏ ﻭﺗﻘﻮﻝ ﱄ ﲝﺒﻚ‬

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 ‫ﻷ‬ ‫ﻛﺎﻥ ﻓﻴﻬﺎ ﺇﻳﻪ ﻟﻮ ﻗﻠﺘﻠﻲ‬

‫ﻛﻨﺖ ﻫﺎﻗﻮﻝ ﻣﻜﺪﺑﺶ ﻋﻠﻴﺎ‬

‫ﻭﻻ ﺃﻧﺎ ﻳﻌﲎ ﻣﺶ ﺇﻧﺴﺎﻥ‬

‫ﻋﺸﺎﻥ ﺗﺘﺴﻠﻰ ﻭﺗﻀﻴﻊ ﻭﻗﺖ‬

‫ﻓﻴﻚ ﺍﳋﲑ ﻭﺍﷲ ﺧﻠﻴﺘﲏ‬

‫ﺃﺷﻮﻑ ﺍﻟﺪﻧﻴﺎ ﺑﻌﲔ ﻭﺍﺣﺪ ﺗﺎﱏ‬

‫" ﺃﻣﲑ ﺣﺴﻦ"‬ ‫‪................‬‬

‫‪27‬‬
 ‫ﻧﻈﺮﻳﺔ ‪:‬‬

‫" ﺍﻻﺣﺒﻪ ﺍﻟﻌﻘﻼﺀ "‬

‫ﺑﺴﻢ ﺍﷲ ﺍﻟـﺮﲪﻦ ﺍﻟـﺮﺣﻴﻢ ))ﺃﹶﻓﹶﻠﹶـﻢ‪ ‬ﻳ‪‬ﺴِـﲑ‪‬ﻭﺍ ﻓ‪‬ـﻲ ﺍﻟﹾـﺄﹶﺭ‪‬ﺽﹺ ﻓﹶﺘ‪‬ﻜﹸـﻮﻥﹶ ﻟﹶﻬ‪‬ـﻢ‪ ‬ﻗﹸﻠﹸـﻮﺏ‪‬‬
‫ﻳ‪‬ﻌ‪‬ﻘ‪‬ﻠﹸﻮﻥﹶ ﺑﹺﻬ‪‬ﺎ(( ﺻﺪﻕ ﺍﷲ ﺍﻟﻌﻈﻴﻢ‬

‫}ﺍﳊﺞ‪{ ٤٦ :‬‬

‫ﻣﻦ ﻫﺬﺍ ﺍﳌﻨﻄﻠﻖ ﻛﺎﻧﺖ ﻛﻠﻤﺎﺗﻰ‬

‫ﻧﺺ ﺍﻟﻨﻈﺮﻳﻪ‬

‫ﳎﻤﻮﻉ ﻣﺎ ﳚﻨﻴـﻪ ﺍﻟﻘﻠـﺐ ﻣـﻦ ﺣـﺐ ﻳﺴـﺎﻭﻯ "ﻣﻘـﺪﺍﺭﺍ"ﳎﻤـﻮﻉ ﻣـﺎ ﻳﻌـﻮﺩ ﺑـﻪ‬
‫ﺍﻟﻌﻘﻞ ﻣﻦ ﻧﻔﻊ‬

‫"ﺍﲡﻬﺎ"ﳎﻤﻮﻉ ﻣﺎ ﳛﻮﻳﻪ ﺍﻟﻔﺮﺍﻕ ﻣﻦ ﺍﻟـــﻢ‬

‫)‪1‬ﺷﺮﺡ ﺍﻟﻨﻈﺮﻳﺔ‬

‫ﳌﺎ ﻛﺎﻥ ﺍﳊﺐ ﻣﻦ ﺍﲰﻰ ﺍﻻﺣﺎﺳـﻴﺲ ﺍﻟﺒﺸـﺮﻳﻪ ﻛـﺎﻥ ﺍﻟﻌﻘـﻞ ﺑﻌﻴـﺪﺍ ﻋﻨـﻪ ﻣـﻨﻐﻤﺲ‬
‫ـﻦ ﻭﻻﻭﻝ‬
‫ـﻮﻫﻢ ﻭﻟﻜـ‬
‫ـﺒﻪ ﺍﻟـ‬
‫ـﺎ ﳛﺴـ‬
‫ـﺮﻭﺝ ﺍﱃ ﻣـ‬
‫ـﺒﻴﻞ ﻟﻠﺨـ‬
‫ـﺮﺍ ﺍﻟﺴـ‬
‫ـﻪ ﻣﻨﺘﻈـ‬
‫ﰱ ﻣﻨﻄﻘﻴﺘـ‬
‫ﻣﺮﻩ ﺗﻮﺿﻊ ﻧﻈﺮﻳﻪ ﺗﺮﺑﻂ ﺑﲔ ﻛـﻼ ﻣـﻦ )ﺍﳊـﺐ&ﺍﻟﻌﻘـﻞ&ﺍﻟﻔـﺮﺍﻕ(ﻛﻠـﻬﺎ ﻣﻌـﺎﱏ‬

‫ـﺐ‬
‫ـﻪ ﰱ ﺍﻏﻠـ‬
‫ـﺎﻙ ﺍﻧـ‬
‫ـﺎ ﻫﻨـ‬
‫ـﻦ ﻣـ‬
‫ـﻪ ﻭﻟﻜـ‬
‫ـﺪ ﺍﻻﺣﺒـ‬
‫ـﻊ ﻋﻨـ‬
‫ـﺐ ﺍﻥ ﲡﺘﻤـ‬
‫ـﺪ ﻑ ﺍﻟﻐﺎﻟـ‬
‫ﻻ ﺑـ‬

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‫ﺍﻻﺣﻴﺎﻥ ﳛﻜﻢ ﻋﻠﻴﻬﺎ ﺑﺎﻟﻔﺸﻞ ﻣـﻦ ﺍﻟﺒﺪﺍﻳـﻪ ﺳـﻮﺍﺀ ﻣـﻦ ﻗﺒـﻞ ﺍ‪‬ﺘﻤـﻊ ﺍﻡ ﻣـﻦ ﻗﺒـﻞ‬
‫ﺍﺣــﺪ ﺍﳊﺒــﻴﱭ ﻭﻛــﺜﲑﺍ ﻣــﺎ ﻧــﺮﻯ ﺍﻟــﺪﻣﻮﻉ ﻭﺍﻻﻫــﺎﺕ ﰱ ﳊﻈــﺎﺕ‬
‫ﺍﻟﻔﺮﺍﻕ‪.....‬ﻭﻟﻜﻦ ﻭﺍﻻﻥ‬

‫ﺍﺍﺍﺍﻥ ﻟﻨﺎ ﺍﻥ ﻧﻀﻊ ﺣﺪﺍ ﳍـﺬﺍ ﺍﻧـﻪ ﺍﻻﻣﺘـﺰﺍﺝ ﺑـﲔ ﺍﻭﺗـﺎﺭ ﺍﻟﻘﻠـﺐ ﻭﻛﻬﺮﺑﻴـﺔ ﺍﻟﻌﻘـﻞ‬
‫ﻟﻴﺴﲑ ﺍﳉﺴـﻢ ﻋﻠـﻰ ﺳـﻨﻔﻮﻧﻴﻪ ﻣﺸـﺘﺮﻛﺔ ﺍﻟﻌـﺰﻑ ﻭﻻ ﻳﻜـﻮﻥ ﺍﻟﻔـﺮﺍﻕ ﺷـﺎﺋﺒﻪ ﰱ‬
‫ﺣﻴﺎﺓ ﻫﺬﻩ ﺍﻟﺴﻤﻔﻮﻧﻴﻪ‬

‫)‪2‬ﺍﻟﺘﺠﺮﺑﻪ"ﺍﻟﺘﻄﺒﻴﻖ ﺍﻟﻌﻤﻠﻰ"‬

‫)*ﺍﻻﺩﻭﺍﺕ‬

‫"ﺑﺴﻴﻄﻪ ﺍﻯ ﺍﺛﻨﺎﻥ ﻣﻦ ﺍﻻﺣﺒﻪ ﻋﺰﻣﻮﺍ ﻋﻠﻰ ﺍﻟﻔﺮﺍﻕ‬

‫)**ﺍﳋﻄﻮﺍﺕ‬

‫‪1/‬ﺍﻟﺘﺤﻠﻰ ﺑﺎﻟﺸﻌﻮﺭ ﺍﻟﺬﺍﺗﻰ ﺑﺎﻟﻨﻔﺲ‬

‫‪2/‬ﺗﻘﺪﻳﺮ ﺍﻟﻄﺮﻑ ﺍﻻﺧﺮ ﻭﺗﺬﻛﺮ ﻣﺎ ﺑﺬﻟﻪ ﻟﻚ ﻣﻦ ﻋﻄﺎﺀ‬

‫‪3/‬ﺍﻟﺘﻐﺎﺿﻰ ﻋﻦ ﺍﻯ ﻓﻌﻠﻪ ﻗﺎﻡ ‪‬ﺎ ﺍﻟﻄﺮﻑ ﺍﻻﺧﺮ‬

‫‪4/‬ﲡﻬﻴﺰ ﺍﻟﻌﻘﻞ ﺑﺎﻟﱪﳎﻪ ﺍﻟﺴﻠﻴﻤﻪ‬

‫‪5/‬ﺍﻻﳛﺎﺀ ﺑﺎﻟﻌﺒﺎﺭﺍﺕ ﺍﻻﳚﺎﺑﻴﻪ ﻣﻊ ﻋﺪﻡ ﺍﻟﺘﺠﺮﻳﺢ ﰱ ﺍﻻﺧﺮ‬

‫‪6/‬ﺍﻟﻮﺻﻮﻝ ﺍﱃ ﺣﺎﻟﺔ ﺍﻻﻣﺘﺰﺍﺝ ﺑﲔ ﺍﻟﻘﻠﺐ ﻭﺍﳌﺸﺎﻋﺮ ﻭﺍﻟﺘﻨﺴﻴﻖ ﺑﻴﻨﻬﻤﺎ‬

‫)***ﺍﳌﺸﺎﻫﺪﻩ‬

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‫ﰱ ﺍﻟﺒﺪﺍﻳﻪ‪ . . .‬ﻇﻬﻮﺭ ﻧﻈـﺮﺍﺕ ﺍﻟـﺬﻫﻮﻝ ﻋﻠـﻰ ﺍﻟﻄـﺮﻑ ﺍﻻﺧـﺮ ﻭﻭﺿـﻮﺡ ﺫﻟـﻚ‬
‫ﰱ ﺻﻮﺗﻪ‬

‫ـﻮﻥ‬
‫ـﺮﻩ ﺗﻜـ‬
‫ـﻴﺤﺘﺎﺝ ﺍﱃ ﻓﺘـ‬
‫ـﻞ ﺳـ‬
‫ـﺘﺢ ﺍﻟﻌﻘـ‬
‫ـﺎﻥ ﻣﺘﻔـ‬
‫ـﻮ ﻛـ‬
‫ــﻞ‪ . . .‬ﻟـ‬
‫ـﺪ ﻗﻠﻴــــ‬
‫ﺑﻌـ‬
‫ﻣﻌﻪ ﻓﻴﻬﺎ ﻟﺸﺮﺡ ﺍﻟﺘﺠﺮﺑﻪ‬

‫ﰱ ﺍﻟﻨﻬﺎﻳﻪ‪ . . .‬ﻳـﺘﻔﻬﻢ ﻛﻴـﻒ ﻛﻨـﺖ ﲢﺒـﻪ ﻭﻛﻴـﻒ ﺗﻜﺒـﺪﺓ ﻋﻨـﺎﺀ ﺍﳌﻮﺍﺟﻬـﺔ ﻣـﻦ‬
‫ﺍﺟﻠﻪ‬

‫)****ﺍﻻﺳﺘﻨﺘﺎﺝ‬

‫ﻭﺣﺪﺍﻧﻴﺔ ﺍﳌﺸﺎﻋﺮ ﻭﺍﻟﻔﻜﺮ ﺗﺆﺛﺮ ﺑﺎﻻﳚﺎﺏ ﻋﻠﻰ ﺍﻯ ﻋﻼﻗﻪ ﻣﺘﺰﻧﻪ‬

‫)‪3‬ﺷﻮﺍﺫ ﺍﻟﻨﻈﺮﻳﺔ‬

‫‪1/‬ﺍﻻﻃﺮﻑ ﺫﺍﺕ ﺍﻟﺜﻘﺎﻓﻪ ﺍﳌﺘﺪﻧﻴﻪ‬

‫‪2/‬ﺍﻻﻓﺮﺍﺩ ﺍﻟﻼﻏﻴﻪ ﻟﻠﻌﻘـﻞ ﺍﳌﻌﺘﻤـﺪﻩ ﻋﻠـﻰ ﺍﻟﻘﻠـﺐ ﺍﻟﻐـﲑ ﳑﺘﺜﻠـﻪ ﻟﻠﻄﺒﻴﻌـﻪ ﺍﳍﺎﻭﻳـﻪ‬
‫ﻟﻠﻔﺸﻞ‬

‫‪3/‬ﺍﻯ ﺷﺨﺺ ﻻ ﳝﻜﻨﻪ ﺍﻻﺣﺴﺎﺱ ﺑﺎﳌﻌﺎﻧﺎﻩ ﰱ ﺍﻟﻔﺮﺍﻕ‬

‫*******‬

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 ‫ﺍﳌﺒﺪﺃ ﺍﻟﺘﺠﺮﻳﺪﻱ ﰲ ﺍﻟﻔﻜﺮ ‪:‬‬

‫ﻟﻨﺮﻯ ﺍﻥ ﻛﻞ ﻣـﺎ ﳛـﺪﺙ ﰱ ﻫـﺬﻩ ﺍﳊﻴـﺎﻩ ﻋﺒـﺎﺭﻩ ﻋـﻦ ﲤﺤـﻮﺭ ﻻ ‪‬ـﺎﺋﻰ ﺍﺑـﺪﻯ‬
‫ﺑﻄﺮﻳﻘﻪ ﺗﺴـﻤﻮ ﻋـﻦ ﺍﺩﺭﺍﺟﻬـﺎ ﲢـﺖ ﺑﻨـﺪ ﺍﻟﺘﻨﻈـﻴﻢ ﻭﺗـﻨﺤﻂ ﻗـﺪﺭﺍ ﻋـﻦ ﻛﻮ‪‬ـﺎ‬
‫ﻋﺸﻮﺍﺋﻴﻪ ﺍﻧـﻪ ﺍﳌـﺰﻳﺞ ﺍﳌﺨـﺘﻠﻂ ﺑـﲔ ﺗﻜﺘـﻞ ﺍﳌﺸـﺎﻋﺮ ﻭﺑﻘﺎﻳـﺎ ﺍﻟﻔﻜـﺮ ﻻ ﺍﺩﺭﻯ ﺍﻥ‬
‫ﻛﺎﻧﺖ ﻣﻦ ﺑﲔ ﺍﻟﻌﻠﻮﻡ ﺧﺮﺟﺖ ﺍﻡ ﺍ‪‬ـﺎ ﻭﻓﻘـﻂ ﻋـﺎﺩﺕ ﻣـﻦ ﻣـﺎ ﺑـﲔ ﺍﻟﻌـﻮﺍﱂ ﻓﻤـﺎ‬
‫ﻛﺎﻥ ﳝﻀﻰ ﺳـﻴﺤﺘﻮﻳﲎ ﻭﻻ ﻫﻨـﺎ ﺑـﲔ ﻃﻴـﺎﺕ ﺍﻟﻌﺸـﻖ ﻳﺴـﻤﻮ ﻟﲑﺗـﻮﻳﲎ ﻓﺎﻻﺑﺪﻳـﻪ‬
‫ـﺎ‬
‫ـﺪﻩ ﻓﻤـ‬
‫ـﺰﺍﻝ ﰱ ﻣﻬـ‬
‫ـﻬﻤﺎ ﻻﻳـ‬
‫ـﺮﺍﻉ ﺑﻴﻨـ‬
‫ـﻪ ﻭﺍﻟﺼـ‬
‫ـﻪ ﺑﺎﳌﺎﺩﻳـ‬
‫ـﺎﻋﺮ ﻣﻌﺪﻭﻣـ‬
‫ـﻪ ﺑﺎﳌﺸـ‬
‫ﳏﺘﻮﻣـ‬
‫ﺍﺧﺮﺟﻪ ﻟﻨﺎ ﺍﻟﺘﻔﻜﲑ ﻭﻣﺎ ﺭﻭﺩﻧـﺎ ﻣـﻦ ﺍﺣـﻼﻡ ﻭﺑﻮﺿـﻊ ﺍﻟﺮﻣـﺎﺩ ﻋﻠـﻰ ﻛﻮﻣـﻪ ﺍﻟﻨـﺎﺭ‬
‫ـﻮﺏ‬
‫ـﺒﲑ ﺍﻟﻘﻠـ‬
‫ـﺮﻛﻦ ﺍﱃ ﻋـ‬
‫ـﻮﺕ ﻭﻧـ‬
‫ـﺪﻳﺎﺕ ﺍﳌـ‬
‫ـﺎﻩ ﺑـ‬
‫ـﺮﻭﻯ ﺑﺎﳊﻴـ‬
‫ـﻖ ﻭﻧـ‬
‫ـﺮﻕ ﺍﻻﻓـ‬
‫ﳛﺘـ‬
‫ﺑﺎﻻﻧﻐﻤﺎﺱ ﺍﱃ ﺣﺮﻳﻪ ﺍﻟﺘﻌـﺒﲑ ﻓﻤـﺎ ﻛـﺎﻥ ﻫﻨـﺎﻙ ﻻ ﻳﻨﺘﻈـﺮ ﺍ‪‬ـﺊ ﻭﻻ ﻫﻨـﺎ ﻧﺮﺿـﻰ‬
‫ﺑﻐﲑﻩ ﻟﻠﻬﻮﺍﻯ ﻃﻮﻋـﺎ ﻓﺎﻟﻌﺸـﻖ ﻣﻨﻄـﻖ ﰱ ﺣﻴـﺎﻩ ﻓﻮﺿـﺎﻭﻳﻪ ﻻ ﳕﻠـﻚ ﻣﻨـﻬﺎ ﺳـﻮﻯ‬
‫ـﺎﻭﺭﻳﻨﺎ‬
‫ـﺎﻻﻗﻼﻡ ﻭﺗﺴـ‬
‫ـﺎ ﺑـ‬
‫ـﺎ ﺗﺮﺍﻭﺩﻳﻨـ‬
‫ـﺎ ﻫﻨـ‬
‫ـﻰ ﻫـ‬
‫ـﺎ ﺍﻻﺭﺍﺩﻩ ﻓﻠﺘﺒﻘـ‬
‫ـﺎﺀ ﺍ‪‬ـ‬
‫ـﺜﻤﻦ ﻟﻠﻔﻨـ‬
‫ﺍﻟـ‬
‫ﺑﺎﻻﺣﻼﻡ ﻓﻤـﺎ ﺑـﺎﺕ ﰱ ﺍﻟـﺪﻧﻴﺎ ﺍﻟﻜـﻼﻡ ﻭﻻ ﻏـﺮﻕ ﰱ ﺳـﺒﻴﻠﻬﺎ ﺍﻟﻮﺳـﺎﻡ ﻫـﺎ ﻫﻨـﺎ‬
‫ـﻮﺥ‬
‫ـﻬﺎﻩ ﻭﻻ ﰱ ﺍﻟﺮﺿـ‬
‫ـﺎﻝ ﻣﻨﺘـ‬
‫ـﻼ ﺍﳋﻴـ‬
‫ـﻪ ﻓـ‬
‫ـﺘﻜﻢ ﺍﱃ ﺍﻟﻨﻬﺎﻳـ‬
‫ـﻪ ﻭﳓـ‬
‫ـﻦ ﺍﻟﺒﺪﺍﻳـ‬
‫ﻧﻨﺘـﻬﻰ ﻣـ‬
‫ﳏﺘﻮﺍﻩ ﻓﻠﻴﺲ ﻟﻨﺎ ﺳﻮﻯ ﺍﻟﻨﺠﺎﻩ‬

‫ﳏﻤﺪ ﺣﺴﻦ‬

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 ‫ﺭﺳﺎﻟﺔ ‪:‬‬

‫ﲡﺴﻴﺪ ﺍﻟﻜﻠﻤﺎﺕ‬

‫ﺷﻲﺀ ﻣﻦ ﺍﳊﻘﻴﻘﺔ‬

‫ﺃﻳﺎ ﻣﻮﺗﺎ ﻟﻴﺲ ﺫﻧﺒﻚ ﻭﻟﻜﻦ ﱄ ﻋﻠﻴﻚ ﻋﺘﺎﰊ‬

‫ﻟﻴﺲ ﺣﻘﺎ ﻭﻟﻜﻦ ﻣﻠﻠﺖ ﺍﻧﺘﻈﺎﺭ ﺭﺣﻴﻠﻲ‬

‫ﺧﺮﺟﺖ ﺭﻭﺣﻲ ﻓﻠﺴﺖ ﺑﻄﺎﻟﺐ ﻟﻠﺒﻘﺎﺀ ﺑﻌﺪ ﺍﻟﻔﻨﺎﺀ‬

‫ﻓﻤﺎﺫﺍ ﻳﻔﻌﻞ ﻣﻦ ﻋﻠﻘﺖ ﺭﻭﺣﺔ ﺑﲔ ﺃﺭﺽ ﻭﲰﺎﺀ‬

‫ﻣﻦ ﻛﺎﻥ ﺟﺴﻤﻪ ﺑﲔ ﺍﻷﺣﻴﺎﺀ ﻭﻫﻮ ﰲ ﻋﺪﺍﺩ ﺍﻷﻣﻮﺍﺕ‬

‫ﺃﻧﺘﻈﺮﻙ ﺑﻌﺪ ﺃﻥ ﺃﺧﺬﺕ ﻣﺎ ﺗﻌﺪﻯ ﺣﺪﻭﺩﻱ ﻣﻦ ﺍﻟﻌﺬﺍﺏ‬

‫ﻟﺴﺖ ﺗﻔﻌﻞ ﺍﻟﻜﺜﲑ ﻭﻟﻜﻦ ﺃﻣﺮ ﺑﺪﻓﲏ ﰲ ﺍﻟﺘﺮﺍﺏ‬

‫ﻣﱴ ﺗﺄﺗﻰ ﻭﲣﻠﺼﲏ ﻣﻦ ﻋﺬﺍﰊ؟!‬

‫ﺿﺎﻗﺖ ﰉ ﺍﻟﺪﻧﻴﺎ ﻓﻠﻴﺲ ﱄ ﺍﻻﻙ ﺃﻳﺎ ﺳﺒﻴﻞ ﺧﻼﺻﻲ‬

‫ﺃﻃﻠﺒﻚ ﺭﺍﺟﻴﺎ ﻣﻨﺎﺷﺪﺍ ﻣﻌﻠﻨﺎ ﺍﺫﻻﱃ‬

‫ﻓﻤﺎ ﺍﳊﻴﺎﺓ ﺑﻌﺪ ﻋﻤﻖ ﺍﳉﺮﺍﺡ ﺇﻻ ﻧﺰﻳﻒ ﺃﻋﻤﺎﺭ‬

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 ‫ﻭﻻ ﺍﻟﺪﻧﻴﺎ ﺗﻜﻮﻥ ﺳﺮﺏ ﺃﻣﺎﱄ‬

‫ﻋﺠﻞ ﻗﺪﻭﻣﻚ ﺃﻭ ﺃﺧﱪﱐ ﺃﺗﻰ ﻟﻚ ﺑﺎﳌﻜﺎﻥ‬

‫ﻗﺪ ﻣﺎﺗﺖ ﻋﻴﻮﱐ ﻓﺄﻧﺖ ﻛﻞ ﺃﻣﺎﱄ‬

‫ﺃﻛﺘﺐ ﺇﻟﻴﻚ ﻓﻼ ﺗﺮﺩ ﺑﺎﺑﻚ ﰲ ﺍﺳﺘﻘﺒﺎﻝ ﺭﺳﺎﻻﰐ‬

‫ﻭﻣﺎﺕ ﺻﻮﰐ ﻓﻠﻴﺘﻚ ﺗﻌﻲ ﲡﺴﻴﺪ ﻛﻠﻤﺎﰐ‬

‫ﺍﻧﺼﺮﱐ ﻋﻠﻰ ﻗﻬﺮﻱ ﻭﺧﺬﱐ ﳊﺮﻳﺎﰐ‬

‫ﻳﺎ ﻣﻮﺕ ﱄ ﻣﻦ ﺍﻷﺳﺒﺎﺏ ﻣﺎ ﻳﻜﻔﻰ ﻟﺰﻳﺎﺭﰐ‬

‫ﺃﻗﻮﻡ ﻣﻦ ﻧﻮﻡ ﻻ ﺃﻧﺎﻣﺔ ﻋﻠﻰ ﺻﺮﺧﺎﰐ‬

‫ﻭﺗﻜﻠﻤﲏ ﺍﻟﺪﻧﻴﺎ ﲝﺴﺎﺏ ﺩﻣﻌﺎﰐ‬

‫ﻭﻟﻴﺲ ﺇﻻ ﺍﳉﺮﺍﺡ ﺑﻌﺪ ﺇﺧﻼﺹ ﺭﺟﺎﺋﻲ‬

‫ﺑﻌﺪ ﺻﺪﻕ ﲨﻴﻞ ﻭﺻﱪ ﻃﻮﻳﻞ ﺃﲪﻞ ﻣﺎ ﺣﻄﻢ ﺍﳉﺒﺎﻝ‬

‫ﻣﺎﻓﺠﺮ ﻳﻨﺎﺑﻴﻊ ﺍﻟﺬﻝ ﻭﺃﺧﺮﺝ ﺍﻻﻧﻜﺴﺎﺭ ﻭﺍﳍﻮﺍﻥ‬

‫ﺃﻳﻦ ﺃﻧﺖ ﺍﻵﻥ ﻓﻼ ﻳﻜﻔﻰ ﻛﻼﻡ ﻋﺠﺰ ﻋﻦ ﺗﺼﻮﻳﺮ ﻣﺂﺳﺎﺗﻰ‬

‫ﻋﺬﺍﰊ ﻣﻦ ﺣﺒﻴﺐ ﻭﻻ ﺃﻣﻠﻚ ﻋﻠﻴﺔ ﺷﻜﻮﺍﰐ‬

‫ﺇﻥ ﺷﻜﻮﺗﻪ ﻓﺮﻭﺣﻲ ﻋﻨﺔ ﺗﺪﻓﻊ ﺍﻷﻫﻮﺍﻝ‬

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 ‫ﻭﺃﻥ ﺩﻟﻠﺘﻪ ﺟﺎﺀ ﻋﻠﻰ ﲟﺎ ﻳﻘﻬﺮ ﺍﻷﻧﻔﺎﺱ‬

‫ﺣﺒﻴﱯ ﳌﺎﺫﺍ؟ﻭﺗﻌﻠﻢ ﺃﻧﻚ ﺣﺒﻴﱯ‬

‫ﺗﻌﻠﻢ ﺃﱐ ﰲ ﺣﺒﻚ ﻓﻌﻠﺖ ﻣﺎ ﱂ ﻳﻔﻌﻠﻪ ﺍﻟﺮﺟﺎﻝ‬

‫ﻭﻛﻢ ﻧﺰﻓﺖ ﺩﻣﻮﻋﻲ ﻭﻣﺎ ﻛﺎﻥ ﰲ ﺍﳊﺴﺒﺎﻥ‬

‫ﻭﻛﻢ ﻛﺎﻥ ﺧﺼﺎﻡ ﺭﻭﺡ ﻋﻠﻰ ﺫﻧﺐ ﱂ ﺃﻋﺮﻑ ﻟﻪ ﺟﺎﱐ‬

‫ﺃﻳﺎ ﻣﻮﺕ ﺇﻥ ﱂ ﺗﺮﲪﲏ ﻓﺨﺬ ﺭﻭﺣﻲ ﺭﲪﺔ ﳊﺒﻴﱯ‬

‫ﰲ ﺑﻘﺎﺋﻲ ﻟﻪ ﻋﺬﺍﺏ ‪......‬ﻭﺟﻮﺩﻱ ﲪﻞ ﻋﻠﻴﻪ ﻣﻦ ﺑﻌﺾ ﻣﺄﺳﺎﰐ‬

‫ﺑﺎﷲ ﻋﺠﻞ ﻗﺪﻭﻣﻚ ﻓﻌﻤﺮﻱ ﻻ ﻳﺮﻳﺪ ﺃﻥ ﻳﻌﻴﺶ ﰊ‬

‫ﺑﺎﷲ ﻋﻠﻴﻚ ﺗﺄﺗﻰ ‪......‬‬

‫ﺧﻠﺼﲏ ﻣﻦ ﻋﺬﺍﰊ ‪......‬ﺧﻠﺼﲏ ﻣﻦ ﺧﻀﻮﻋﻲ‬

‫ﺃﻳﺎ ﻋﻤﺮﻱ‬

‫ﺍﻵﻥ ﻭﻗﺪ ﻓﻘﺪﺕ ﺻﻮﰐ ﻭﺃﺻﺒﺤﺖ ﻋﺎﺟﺰﺍ‬

‫ﺑﻌﺪ ﺃﻥ ﻛﻠﻤﺘﻚ ﺑﻜﻞ ﻣﺎ ﺃﻣﻠﻚ ﻣﻦ ﺃﻋﻀﺎﺋﻲ‬

‫ﻭﺗﺬﻟﻠﺖ ﻟﻚ ﺑﺪﻣﻌﺎﰐ‬

‫ﻧﺰﻟﺖ ﻭﻣﺎ ﺃﻋﺮﺕ ﳍﺎ ﺍﻫﺘﻤﺎﻣﺎ‬

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‫ﺃﺻﺒﺤﺖ ﻋﺎﺟﺰﺍ ﻋﻦ ﻓﻌﻞ ﺃﻱ ﺷﻲﺀ ﻳﺮﺿﻴﻚ ﻋﲏ‬

‫ﺍﻵﻥ ﻭﻗﺪ ﻧﻔﺪﺕ ﺗﻌﺒﲑﺍﰐ‬

‫ﻣﺎ ﺑﻘﻰ ﻏﲑ ﺃﱂ ﻭﺻﻤﺖ ﻋﺠﺰ ﻳﻨﺎﺩﻯ ﻋﻠﻴﻚ ﺑﺂﻫﺎﰐ‬

‫ﻟﻴﺘﻚ ﻳﺎﻋﻤﺮﻱ ﺗﻌﻲ ﺑﻌﺪ ﻣﻮﰐ ﲡﺴﻴﺪ ﻛﻠﻤﺎﰐ‬

‫ﻟﻴﺘﻚ ﺗﻌﻲ ﻭﻻ ﻳﻜﻮﻥ ﺍﻟﻮﻗﺖ ﻗﺪ ﻓﺎﺕ‬

‫ﻟﻴﺘﻚ ﺗﺮﻯ ﻗﺒﻞ ﺃﻥ ﻳﻜﻮﻥ ﺍﻷﻭﺍﻥ ﻣﻦ ﻣﺎﺿﻲ‬

‫ﺃﻳﺎ ﺿﻮﺀ ﺍﻟﻨﻬﺎﺭ ﳌﺎ ﻻ ﺗﺼﻞ ﺇﱃ ﻋﻴﲏ‬

‫ﺃﻡ ﺃﱐ ﺳﺄﻇﻞ ﰲ ﻋﺘﻤﺔ ﺍﳉﺮﺍﺡ‬

‫ﺍﳉﺮﺡ ﻣﻦ ﺍﳊﺒﻴﺐ ﻭﻟﻴﺲ ﱄ ﺍﻻﻩ ﻃﺒﻴﺐ‬

‫ﻭﻣﺎ ﺑﺎﻟﻄﺒﻴﺐ ﺇﻻ ﺗﻌﻤﻴﻖ ﺍﳉﺮﺍﺡ‬

‫ﺣﱴ ﻧﺴﻴﺖ ﺃﱏ ﺇﻧﺴﺎﻥ‬

‫ﻟﻴﺜﲎ ﺣﻔﻈﺘﻚ ﻳﺎ ﻗﻠﱯ ‪...‬ﻟﻴﺘﻚ ﱂ ﲣﺮﺝ ﻣﲎ‬

‫ﻛﺘﺐ ﻋﻠﻴﻚ ﺃﻻ ﺗﺘﻐﲑ ﻋﻠﻰ ﻣﺮ ﺍﻟﺰﻣﺎﻥ‬

‫ﺃﻣﺎ ﻭﻗﺪ ﺗﻐﲑﺕ ﻭﻛﺬﺑﺖ ﻋﻠﻴﻚ‬

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 ‫ﺍﻵﻥ ﺗﺄﰉ ﺃﻥ ﺗﻌﻴﺶ ﺑﺪﺍﺧﻠﻲ‬

‫ﻃﺮﺩﻙ ﺍﳊﺒﻴﺐ ﻭﺃﻭﺻﺪ ﺑﻮﺟﻬﻚ ﺑﺎﺑﻪ ﻭﻣﺎ ﺯﻟﺖ ﻟﻪ ﺑﺎﳌﺨﻠﺺ‬

‫ﺃﻳﺎ ﻣﻮﺗﺎ ﻟﻴﺖ ﺍﻟﻮﺻﻮﻝ ﺇﻟﻴﻚ ﻣﺴﻤﻮﺡ ﺑﻪ‬

‫ﻣﺎ ﻛﺎﻥ ﳌﺄﺳﺎﺓ ﺃﻥ ﺗﻈﻞ ﻋﻠﻰ ﺍﻷﺭﺽ ﻭﻣﺎ ﻛﻨﺖ ﺃﻧﺎ ﺑﺎﳍﺎﺋﻢ‬

‫ﻣﺎﻛﻨﺖ ﻷﻋﻴﺶ ﻋﻠﻰ ﺃﻣﻞ ﻃﺮﻑ ﻣﻦ ﺣﺒﻠﻪ ﺑﻴﺪﻱ ﻭﺍﻷﺧﺮ ﺑﺎﻟﻈﻼﻡ‬

‫ﻟﻮ ﻛﺎﻥ ﺍﳌﻮﺕ ﰲ ﻣﺴﲑﻱ‬ ‫ﻛﻨﺖ ﺃﺗﻴﺘﻚ‬

‫ﺃﻳﺎ ﻋﻤﺮﻱ ﻛﻴﻒ ﺃﺳﺘﺮﺿﻴﻚ ﺇﺫﺍ‬

‫ﻛﻴﻒ ﺃﺳﺘﺮﺿﻴﻚ ﻛﻲ ﺗﻌﻮﺩ ﺇﱃ ﺻﺪﺭﻱ‬

‫ﻟﻴﺘﻚ ﲢﺴﻲ ﻣﻌﲎ ﺍﻟﻘﻬﺮ ﺗﻌﻠﻤﻲ ﺃﱏ ﺍﺭﻛﺾ ﺇﻟﻴﻚ‬

‫ﻟﻴﺘﻚ ﺗﺸﻌﺮﻱ ﲟﺎ ﻭﺭﺛﺖ ﰲ ﺣﺒﻚ‬

‫ﻓﺎﻓﻌﻠﻲ ﻣﺎ ﺗﺸﺎﺋﲔ ﻭﺍﻃﻌﲏ ﻛﻤﺎ ﺗﺮﻳﺪﻳﻦ‬

‫ﻓﻤﺎ ﱄ ﺇﻻ ﺻﻤﱵ ﻟﻌﻠﻚ ﻋﲎ ﺗﺮﺿﲔ‬

‫ﻟﻴﺖ ﻣﺎ ﰊ ﻣﻦ ﺃﱂ ﳛﺮﻙ ﻓﻴﻚ ﺑﻌﺾ ﺍﳊﻨﲔ‬

‫ﺃﻋﻠﻢ ﺃﱏ ﻟﻮﺫﻗﺖ ﺍﻟﻌﺬﺍﺏ ﺃﻣﺎﻡ ﻧﺎﻇﺮﻙ ﻻ ﺗﺘﺤﺮﻛﲔ‬

‫ﻟﻮ ﻧﺰﻝ ﺩﻣﻰ ﻓﺪﺍﺀ ﳊﺒﻚ ﻻ ﺗﺘﺄﺛﺮﻳﻦ‬

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 ‫ﻭﻟﻮ ﻗﻄﻊ ﺟﺴﺪﻱ ﻷﺟﻠﻚ ﻻ ﺗﺸﻜﺮﻳﻦ‬

‫ﺃﻣﺎ ﻭﺍﱐ ﺃﺫﻭﻕ ﺃﻟﻮﺍﻥ ﺍﻟﻌﺬﺍﺏ ﻭﻻ ﲢﻨﲔ‬

‫ﻭﻟﻜﻦ ﱄ ﻣﻦ ﺍﻷﻣﻞ ﺧﻴﻂ ﺭﻓﻴﻊ‬

‫ﻳﻌﻴﺶ ﻋﻠﻴﻪ ﻗﻠﱯ ﻳﺄﻣﻞ ﰲ ﺟﺮﺣﻚ ﺃﻥ ﻳﻄﻴﺐ‬

‫ﻳﺎ ﻗﻠﱯ ﻻ ﲣﺘﻠﻖ ﺍﻷﻋﺬﺍﺭ‬

‫ﻻﺗﺼﻠﺢ ﻷﻥ ﺗﻜﻮﻥ ﻗﻠﺒﺎ‬

‫ﻃﺮﺩﺗﻚ ﻣﻦ ﺩﺍﺧﻠﻬﺎ ﻓﻤﺎﺫﺍ ﺗﻔﻌﻞ ﺇﺫﺍ؟؟‬

‫ﻻ ﺗﺴﺘﻄﻴﻊ ﺃﻥ ﲢﻴﺎ ﻭﺃﻧﺖ ﻣﻦ ﺍﻟﺒﻘﺎﻳﺎ‬

‫ﻻ ﺗﺴﺘﻄﻴﻊ ﺃﻥ ﲢﻴﺎ ﻭﺃﻧﺎ ﻣﻦ ﺍﳊﻄﺎﻡ‬

‫ﺗﻨﺘﻈﺮ ﻳﺎ ﻗﻠﱯ ﺑﺴﻤﺔ ﺭﻳﺎﺀ‬

‫ﻧﻈﺮﺓ ﻋﻄﻒ ﺗﺘﻌﻠﻖ ‪‬ﺎ ﻣﻦ ﺟﺪﻳﺪ‬

‫ﻳﺎ ﻗﻠﱯ ﺯﺭﻋﺖ ﺇﺧﻼﺻﻚ ﻭﻭﻓﺎﺋﻚ ﻭﻛﺎﻥ ﺣﺼﺎﺩﻙ ﺍﳊﺮﻣﺎﻥ‬

‫ﺗﻘﺎﺳﻴﻪ ﻭﰱ ﺳﺠﻨﻪ ﺗﻨﺘﻈﺮ ﻣﻨﻬﺎ ﻋﺬﺭ ﻣﻘﺒﻮﻝ‬

‫ﻟﻴﺘﻚ ﱂ ﺗﻜﻦ ﻗﻠﱯ ‪....‬ﺇﱃ ﻣﱴ ﰲ ﺻﺪﺭﻱ ﲢﻤﻞ ﺳﻬﻤﻬﺎ‬

‫ﻳﺎﻗﻠﱮ ﻻ ﻳﺒﻜﻰ ﻗﺎﺗﻞ ﻋﻠﻰ ﻣﻘﺘﻮﻝ‬

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 ‫ﻟﻮ ﻛﺎﻧﺖ ﲢﺒﻚ ﻣﺎ ﺗﺮﻛﺘﻚ‬

‫ﻟﻮ ﻛﺎﻧﺖ ﲢﺒﻚ ﻣﺎ ﻃﻌﻨﺘﻚ‬

‫ﻟﻮ ﻛﺎﻧﺖ ﺗﺮﺍﻙ ﻣﺎ ﻛﺴﺮﺗﻚ‬

‫ﺑﺎﻋﺘﻚ ﻭﻛﺎﻥ ﲦﻨﻚ ﺍﻟﺘﺮﺍﺏ‬

‫ﺑﺎﻋﺘﻚ ﻳﺎ ﺃﻏﻠﻰ ﻣﻦ ﺩﻣﻊ ﺍﻟﺴﻤﺎﺀ‬

‫ﻛﻨﺖ ﺗﺮﻭﻯ ﻇﻤﺄﻫﺎ ﻭﺗﺼﻮﻥ ﺣﺒﻬﺎ‬

‫ﻣﺎﺫﺍ ﺃﻗﻮﻝ ﰲ ﻣﺎ ﻛﻨﺖ ﺗﻔﻌﻠﻪ ﻭﻣﺎ ﺗﻔﻌﻠﻪ ﻷﺟﻠﻬﺎ‬

‫ﺑﺎﻋﺘﻚ ﺑﺎﻟﺘﺮﺍﺏ ﻓﻼ ﺗﻄﻠﺐ ﻣﻨﻬﺎ ﲦﻨﺎ‬

‫ﺃﺻﺒﺤﺖ ﳎﺮﺩ ﺫﻭﺑﺎﻥ ﺛﻠﻮﺝ ﻋﻨﺪﻫﺎ ﻣﺜﻞ ﺍﻟﺘﺮﺍﺏ‬

‫ﲤﺸﻰ ﻋﻠﻴﻪ ﻭﻻ ﲤﻠﻚ ﺇﻻ ﺃﻥ ﺗﺘﻌﻠﻖ ﺑﺎﻷﻗﺪﺍﻡ‬

‫ﻣﺎ ﺫﻧﺒﻚ ﺇﺫﺍ؟؟؟ ﺗﺒﻜﻰ ﻭﻻ ﺗﺮﻯ ﺩﻣﻌﺎﺗﻚ‬

‫ﺗﺼﺮﺥ ﻭﻻ ﺗﺴﻤﻊ ﺃﺻﻮﺍﺗﻚ‬

‫ﲤﻮﺕ ﻭﺗﺄﺗﻰ ﻫﻲ ﻟﻌﺬﺍﺑﻚ‬

‫ﻳﺎ ﺭﺏ ﺳﺒﺤﺎﻧﻚ‪....‬ﻻ ﺇﻟﻪ ﺇﻻ ﺃﻧﺖ ﺳﺒﺤﺎﻧﻚ‬

‫ﻻ ﺗﺮﺿﻰ ﻟﻌﺒﺎﺩﻙ ﺍﻟﻜﻔﺮ‪ ......‬ﻳﺎ ﺭﺏ ﺳﺒﺤﺎﻧﻚ‬

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 ‫ﻟﺴﺖ ﻣﻨﺎﺟﻴﺎ ﺍﳌﻮﺕ ﻛﻔﺮﺍ ﺑﻚ ‪.....‬ﺳﺒﺤﺎﻧﻚ ﻳﺎ ﺍﷲ‬

‫ﻳﺎ ﺭﺏ ﻻ ﺃﻣﻠﻚ ﻋﻠﻴﻪ ﺷﻜﻮﻯ‬

‫ﻳﺎ ﺭﺏ ﺟﺮﺣﻰ ﻣﻨﻪ ﻛﺒﲑ‬

‫ﻳﺎ ﺭﺏ ﰲ ﺩﻣﻌﻪ ﺃﻗﺎﺳﻲ ﺃﺷﺪ ﳑﺎ ﺃﻗﺎﺳﻲ‬

‫ﻳﺎ ﺭﺏ ﺇﻧﻪ ﻻ ﻳﺮﲪﲏ ﻳﻄﻌﻨﲏ ﻭﻳﻜﺴﺮﱐ‬

‫ﻳﺎ ﺭﺏ ﻇﻠﻤﲏ ‪......‬ﻳﺎ ﺭﺏ ﻇﻠﻤﲏ‬

‫ﻧﺴﻰ ﺃﱏ ﺑﺸﺮ ﱄ ﻣﻦ ﺍﻟﻄﺎﻗﺔ ﻣﺎ ﻫﻮ ﳏﺪﻭﺩ‬

‫ﻳﺎ ﺭﺏ ﻟﺴﺖ ﲜﺒﻞ ﺃﺳﺘﻄﻴﻊ ﲢﻤﻞ ﻛﻞ ﺍﳍﻤﻮﻡ‬

‫ﻳﺎ ﺭﺏ ﻟﻌﻠﻬﺎ ﺗﻔﻬﻢ ﺃﻥ ﻣﻦ ﳛﺐ ﻳﺼﺪﻕ‬

‫ﻭﺃﻥ ﻣﻦ ﻳﻀﺤﻰ!!!!ﻳﻀﺤﻰ ﻟﻠﺤﺒﻴﺐ ﻭﻟﻴﺲ ﺑﺎﳊﺒﻴﺐ‬

‫ﻟﻌﻠﻚ ﺣﺒﻴﱯ ﺗﻌﻲ ﻣﺎ ﺃﻗﺎﺳﻰ‬

‫ﻟﻌﻞ ﺍﻟﺮﲪﺔ ﺗﺘﺴﻠﻞ ﺇﱃ ﻗﻠﺒﻚ‬

‫ﻟﺘﺮﺣﻢ ﻗﻠﺒﺎ ﰲ ﺣﺒﻚ ﺻﻨﻊ ﻣﺎ ﺗﻌﺠﺰ ﻋﻨﻪ ﺍﻟﻜﻠﻤﺎﺕ‬

‫ﺍﺭﲪﲏ ﺣﺒﻴﱯ ‪....‬ﻭﺍﻏﻔﺮ ﱄ ﻋﻠﻰ ﺃﱏ ﻻ ﺃﺳﺘﻄﻴﻊ ﺍﻟﻨﺴﻴﺎﻥ‬

‫ﺍﻵﻥ ﻭﺑﻴﺪﻙ ﺿﺎﻉ ﺭﲰﻲ‬

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 ‫ﺍﻵﻥ ﻭﺑﻴﺪﻙ ﺿﺎﻉ ﲡﺴﻴﺪ ﻛﻠﻤﺎﰐ‬

‫ﻣﺎ ﺫﻧﱯ ؟!! ﺫﻧﺒﻚ ﻳﺎ ﻗﻠﱯ ﺃﻧﻚ ﺑﺼﺪﻕ ﺃﺣﺒﺒﺖ‬

‫ﺍﺭﺣﻢ ﻋﻤﺮﻱ ﻳﺎ ﻋﻤﺮﻱ‬

‫ﺫﻫﺒﺖ ﻭﺗﺮﻛﺘﲏ ﻭﰱ ﺩﺍﺋﺮ ﺓ ﺍﻻﻧﺘﺤﺎﺭ ﻭﺿﻌﺘﲏ‬

‫ﻣﺎ ﻗﻠﺖ ﱄ ﺍﺧﺘﺎﺭ ﻭﺗﻌﻠﻢ ﺃﻥ ﺍﻹﺟﺒﺎﺭ ﺍﻧﺘﺤﺎﺭ‬

‫ﺃﻃﻠﺐ ﺇﻟﻴﻚ ﺍﻟﺮﺟﻮﻉ‬

‫ﻭﻣﺎ ﻋﺪﺕ ﺃﺩﺭﻯ ﺑﻌﺪ ﺃﻥ ﻏﻠﺐ ﺷﻮﻗﻲ ﺇﻟﻴﻚ ﺍﺣﺘﻴﺎﺟﻲ‬

‫ﻫﻞ ﺃﻃﻠﺐ ﺍﻟﺮﺟﻮﻉ ﺃﻡ ﺃﻧﻪ ﻃﻠﺐ ﻟﻠﺨﻀﻮﻉ؟؟!!!‬

‫ﻳﺎﻋﻤﺮﻯ ﺗﺮﻛﺘﲏ ﻭﰱ ﺍﳊﲑﺓ ﺭﻣﻴﺘﲏ‬

‫ﻭﻣﻊ ﻛﻞ ﺣﱯ ﻭﺑﻜﻞ ﺃﻣﻨﻴﺎﰐ ﻛﺎﻥ ﺍﻟﻘﻬﺮ ﻣﻨﻚ ﻭﺃﻧﺖ ﺃﻏﻠﻰ ﺃﺣﺒﺎﰊ‬

‫ﻭﻏﻔﺮﺕ ﻟﻚ ﻭﺃﻋﻠﻨﺖ ﻟﻚ ﺣﱯ‬

‫ﻭﺃﺩﺭﺕ ﻭﺟﻬﻚ ﻭﺃﻋﻠﻨﺖ ﺇﻋﺮﺍﺿﻚ ﻋﲎ‬

‫ﻭ‪‬ﺠﺮﻙ ﻃﻌﻨﺘﲏ ‪...‬ﺑﻌﺪ ﻛﻞ ﺣﱯ ﻗﺘﻠﺘﲏ‬

‫ﻓﺈﻟﻴﻚ ﻳﺎ ﻣﻦ ﺃﺣﺒﺒﺖ ﻭﻟﻪ ﺃﺧﻠﺼﺖ‬

‫ﺇﱃ ﻣﻦ ﲡﺎﻭﺯ ﺣﱯ ﻟﻪ ﺍﳊﺐ‬

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 ‫ﺭﺟﺎﺋﻲ ﺇﻟﻴﻚ ﺃﻥ ﺗﺮﲪﲏ‬

‫ﺭﺟﺎﺋﻲ ﺇﻟﻴﻚ ﺃﻥ ﺗﺮﲪﲏ‬

‫ﺃﺳﺘﺤﻠﻔﻚ ﺑﺎﷲ ﺃﻥ ﺗﺮﲪﲏ‬

‫ﻳﺎﻋﻤﺮﻱ ﻗﻒ ﻟﻨﻔﺴﻚ ﻣﺮﺓ!!!!‬

‫ﻭﺳﻞ ﻧﻔﺴﻚ ﳌﺎﺫﺍ ﻓﻌﻠﺖ ﺫﻟﻚ ﺑﻘﻠﺐ ﺃﺣﺒﲏ؟؟؟؟‬

‫ﺑﻘﻠﺐ ﺍﺣﺘﻀﻨﲏ ﻭﺿﻤﲏ‬

‫ﳌﺎﺫﺍ ﺩﻣﺮﺗﻪ ﻭﻫﻮ ﻣﻦ ﺍﳌﻮﺕ ﺃﻧﻘﺬﱐ؟؟؟؟؟‬

‫ﻳﺎ ﻗﻠﱯ ﻛﺎﻥ ﰲ ﺑﻴﺘﻚ ﺧﲑ ﻣﺼﻮﻥ‬

‫ﻭﻣﺎﺯﻟﺖ ﳊﺒﻪ ﺗﻔﺪﻯ ﺑﺎﻟﻌﻴﻮﻥ‬

‫ﺃﻣﲑﺣﺴﻦ‬

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 ‫ﺟﻨﻮﻥ‬

‫ﻳﺪﻕ ﺑﺎﰉ‬

‫ﻭﳜﺮﺟﲎ ﻣﻦ ﺃﺭﺿﻰ‬

‫ﻭﻳﺄﺗﻰ ﳊﺼﺎﺩ ﺯﺭﻭﻋﻰ‬

‫ﻳﺘﺴﻠﻞ ﺧﻠﻒ ﺍﻷﺑﻮﺍﺏ‬

‫ﻳﻨﺘﻈﺮ ﻋﻨﺪ ﺍﻟﻘﻀﺒﺎﻥ‬

‫ﰱ ﺑﻴﱴ ﺃﻧﺎ ﻭﺣﺪﻯ‬

‫ﻭﻫﺬﺍ ﺍﻟﺮﺟﻞ ﺛﺎﱏ‬

‫ﻳﺮﺳﻢ ﻗﻠﺒﺎ ﳏﺘﺮﻗﺎ‬

‫ﻭﺃﺟﺮﻯ ﰱ ﺻﻤﺖ ﺟﻨﻮﱏ‬

‫ﻭﺃﻣﺴﻚ ﺳﻜﲔ ﺍﳌﻄﺒﺦ‬

‫ﻭﺃﺳﲑ ﺑﻠﻄﻒ ﺳﺎﺋﻠﺔ‬

‫ﻛﻌﺐ ﺣﺬﺍﺋﻰ ﻻﺗﺼﺪﺭ‬

‫ﺻﻮﺗﺎ ﻳﻔﻀﺢ ﻋﻨﻮﺍﱏ‬

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 ‫ﺃﺑﻘﻴﲎ ﰱ ﺧﻔﺎﺀ ﺗﺎﻡ‬

‫ﺃﺗﻠﺼﺺ ﺧﻠﻒ ﺳﺘﺎﺭﻯ‬

‫ﻷﺭﻯ ﻣﻦ ﻭﻗﻒ ﺑﺄﺑﻮﺍﰉ‬

‫ﻭﻗﻒ ﻭﺍﻟﺸﻮﻕ ﺑﻌﻴﻨﻴﺔ‬

‫ﳛﻤﻞ ﺍﻟﻮﺭﺩ ﻭﻳﻨﺘﻈﺮ‬

‫ﻭﻳﺪﻕ ﺍﻟﺒﺎﺏ ﺃﺧﺮﻯ‬

‫ﻭﺃﻧﺎ ﺧﻠﻒ ﺍﻷﺑﻮﺍﺏ‬

‫ﻭﺃﺧﺮﺝ ﻭﺑﻴﺪﻯ ﺳﻜﻴﲎ‬

‫ﺃﺷﻬﺮﺓ ﺑﻮﺟﻪ ﺳﻠﻄﺎﱏ‬

‫ﻣﻦ ﳌﻌﺔ ﻋﻴﻨﻴﺔ ﲣﺪﺭﺕ‬

‫ﻭﻧﺴﻴﺖ ﺧﻮﻑ ﻋﻴﻮﱏ‬

‫ﻻ ﺃﻋﺮﻑ ﻣﺎﺫﺍ ﺷﺮﺑﺖ‬

‫ﺃﺳﻜﺮ ﻋﻘﻠﻰ ﻭﺟﻔﻮﱏ‬

‫ﻭﺭﺃﻳﺖ ﺍﻟﻮﺣﺪﺓ ﺗﻨﺴﺤﺐ‬

‫ﻣﻦ ﺣﻴﺎﺗﻰ ﻭﺍﻟﺮﻭﺡ ﺗﺴﺘﺠﻴﺐ‬

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 ‫ﻟﻨﺪﺍﺀ ﻣﻦ ﻭﻗﻒ ﺑﺒﺎﰉ‬

‫ﻭﺃﻏﲎ ﻭﺗﺘﺮﺍﻗﺺ ﺃﻳﺎﻣﻰ‬

‫ﻭﻳﺄﺧﺬﱏ ﻓﺎﺭﺱ ﺃﺣﻼﻣﻰ‬

‫ﺃﻣﲑ ﺣﺴﻦ‬

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 ‫ﺭﺣﺎﻝ‬

‫ﻭﻛﺄﻧﺔ ﺫﻧﺐ ﻛﺘﺐ ﻋﻠﻰ ﻣﻦ ﺳﻨﲔ‬

‫ﻛﺘﺐ ﲝﺮﻭﻑ ﺍﻷﺑﺪﻳﺔ ﻧﻘﺸﺎ ﻋﻠﻰ ﺃﺣﺠﺎﺭ ﺍﳋﻠﻮﺩ‬

‫ﺣﻴﺎﺗﻚ ﺍﻟﺒﻘﺎﺀ ﰲ ﺳﺠﻦ ﺍﻟﺮﺣﻴﻞ‬

‫ﺃﻣﺸﻰ ﻋﻠﻰ ﺩﺭﻭﺏ ﺍﻷﺳﲑ‬

‫ﺗﺴﲑ ﺧﻄﺎﻱ ﰲ ﻃﺮﻗﺎﺕ ﺍﳍﺮﻭﺏ‬

‫ﺗﺮﻓﻊ ﺭﺍﻳﺎﺕ ﺍﳉﺮﺡ ﻭ ﺍﳊﻨﲔ‬

‫ﺟﺮﺡ ﺍﳊﺒﻴﺐ ﻭ ﺍﳊﻨﲔ ﺇﱃ ﻣﺎ ﺃﺻﺒﺢ ﻣﺴﺘﺤﻴﻞ‬

‫ﺍﳊﻨﲔ ﺇﱃ ﺃﻳﺎﻡ ﺭﻗﺼﺖ ﻓﻴﻬﺎ ﺃﺣﻼﻡ ﺍﻟﱪﻱﺀ‬

‫ﺍﳊﻨﲔ ﺇﱃ ﻧﻈﺮﺍﺕ ﻛﺴﺮﺕ ﻣﻌﲎ ﺍﻟﺴﻔﺮ ﺍﻟﻄﻮﻳﻞ‬

‫ﺍﳊﻨﲔ ﺇﱃ ﻋﻤﺮﻱ‪.............‬‬

‫ﺣﺒﻴﱯ ﺍﻟﺬﻱ ﺗﺮﻛﲏ ﺃﻫﻮﻯ ﺇﱃ ﻣﻮﺗﻰ ﺫﻟﻴﻞ‬

‫ﺫﻫﺐ ﻭﺗﺮﻛﲏ‪............‬ﺑﻔﺮﺍﻗﻪ ﺫﻫﺐ ﻭ ﻋﺬﺑﲏ‬

‫ﻟﻴﺘﻪ ﻗﺘﻠﲏ‬

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 ‫ﺍﺭﺣﻞ‪...............‬ﺍﺭﺣﻞ‬

‫ﺍﺭﺣﻞ ﺇﱃ ﺑﻼﺩ ﻳﺄﻭﻱ ﺇﻟﻴﻬﺎ ﺍﳉﺮﻳﺢ‬

‫ﺍﺭﺣﻞ ﺇﱃ ﺃﻗﻮﺍﻡ ﲤﺤﻰ ﺩﻣﻊ ﺍﳊﺰﻳﻦ‬

‫ﰲ ﻃﺮﻳﻘﻚ ﺍﻷﺷﻮﺍﻙ ﺩﻣﻰ ﺃﻗﺎﻡ ﺍﶈﺒﲔ‬

‫ﺗﺪﻣﻰ ﺟﺮﻭﺡ ﺍﻟﻮﻓﺎﺀ ﺩﻣﻌﺎ ﺑﲔ ﻳﺪﻱ ﺍﳋﺎﺋﻨﲔ‬

‫ﰲ ﻃﺮﻳﻘﻚ ﻣﻮﺕ ﻻ ﺗﻨﺠﻮﺍ ﻣﻨﺔ ﺃﺭﻭﺍﺡ ﺍﳌﺨﻠﺼﲔ‬

‫ﺍﺭﺣﻞ‪............‬‬

‫ﻭﺍﺫﻫﺐ ﺇﱃ ﺑﻼﺩ ﺗﻘﻬﺮ ﺍﳊﺰﻥ ﻭﺗﻄﻴﺐ ﺍﳉﺮﺡ‬

‫ﻭﺍﻣﺸﻲ ﰲ ﺍﻟﻄﺮﻗﺎﺕ ﻭﺍﻫﺮﺏ ﻣﻦ ﻧﺰﻳﻒ ﺍﻟﻌﻤﺮ‬

‫ﻭﺍﻧﻈﺮ ﰲ ﺍﻟﻮﺟﻮﻩ ﻟﻌﻠﻚ ﺗﺼﺎﺩﻑ ﺩﻟﻴﻼ ﻋﻠﻰ ﺃﻣﻞ ﺍﻟﻔﺮﺡ‬

‫ﻟﻌﻠﻚ ﺗﺼﺎﻑ ﻧﻈﺮﺓ ﺗﻠﺘﻤﺲ ﻣﻌﻚ ﻃﻮﻕ ﺍﻟﻐﻔﺮﺍﻥ‬

‫ﺍﺭﺣﻞ ﻭﺍﺫﻫﺐ ﻣﻦ ﺑﻠﺪ ﺇﱃ ﺑﻠﺪ‪.....‬‬

‫ﻣﻦ ﻋﻤﺮ ﺇﱃ ﻋﻤﺮ‬

‫ﻟﻴﺘﻚ ﺗﻨﺴﻰ ﺃﱂ ﻟﻐﺮﺑﺔ ﻷﻭﻃﺎﻥ‬

‫ﻭﺍﺩﺧﻞ ﰲ ﺣﺮﻭﺏ ﻣﻊ ﺍﳌﺴﺘﺤﻴﻞ‬

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 ‫ﻟﻌﻠﻚ ﺗﻨﺴﻰ ﺃﱂ ﺍﻟﻔﺮﺍﻕ‬

‫ﻭﺗﺄﻛﺪ ﺃﻥ ﻗﻬﺮﻙ ﺃﻋﻈﻢ ﺍﻧﺘﺼﺎﺭ‬

‫ﺍﺫﻫﺐ‪.......‬‬

‫ﻭﺍﺭﲤﻰ ﰲ ﺃﺣﻀﺎﻥ ﺍﻷﻏﺮﺍﺏ‬

‫ﻭﺍﺷﺮﺏ ﻛﺆﻭﺱ ﺍﻻﻧﻜﺴﺎﺭ‬

‫ﻭﻻ ﺗﺒﺤﺚ ﻋﻠﻰ ﻧﻮﺭ ﻳﺸﺮﺡ ﺿﻮﺀ ﺍﻟﻨﻬﺎﺭ‬

‫ﻭﻻ ﺗﻠﺘﻤﺲ ﰲ ﺍﻟﻠﻴﻞ ﻳﺪ ﺍﻟﺪﻟﻴﻞ‬

‫ﻳﺄﺳﻚ ﻃﻐﻰ ﻭﺣﻄﻢ ﺃﻣﻠﻚ‬

‫ﻓﻬﻞ ﺗﺼﻤﺪ؟!!!!!!‬

‫ﻭﻫﺮﻭﺑﻚ ﺃﺫﻫﺐ ﻗﻮﺗﻚ‬

‫ﻓﻬﻞ ﺗﻨﺘﺼﺮ؟!!!‬

‫ﻟﻴﺖ ﻫﺮﻭﺑﻚ ﻋﺎﺩ ﻋﻠﻴﻚ ﺑﺎﻟﻘﻠﻴﻞ‬

‫ﻟﻴﺖ ﺭﺣﻴﻠﻚ ﳝﺤﻰ ﺃﱂ ﺍﻟﺴﻨﲔ‬

‫ﻟﻴﺖ ﺑﺴﻤﺘﻚ ﺗﻌﻮﺩ ﺇﱃ ﻣﺎ ﻛﺎﻧﺖ ﻗﺒﻞ ﺣﲔ‬

‫ﻟﻴﺘﻚ ﺗﻌﻮﺩ ﺇﱃ ﻣﺎ ﻛﻨﺖ‬

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 ‫ﻗﺒﻞ ﺃﻳﺎﻡ‬

‫ﺍﻟﺮﺣﻴﻞ!!!!!!!!!‬

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 ‫ﺳﻬﺮﺓ ﺍﻟﻌﺸﺎﺀ‬

‫ﺣﺒﻴﱯ ﰲ ﻣﻮﻋﺪ ﻋﻠﻰ ﺍﻟﻌﺸﺎﺀ‬

‫ﻣﻮﻋﺪ ﻣﻊ ﺍﻟﻘﻤﻴﺺ ﻭﺍﻟﻔﺴﺘﺎﻥ‬

‫ﻭﺩﺍﻋﺎ ﻧﻈﺎﺭﺓ ﺍﻟﺸﻤﺲ ﻭﺃﻫﻼ‬

‫ﺑﻠﻴﻞ ﻃﻮﻳﻞ‬

‫'ﻳﺴﻄﻊ ﻓﻴﻪ ﻗﻤﺮ ﺍﻷﺷﻮﺍﻕ‬

‫ﻃﻔﻠﺔ ﺣﲔ ﻳﺄﺧﺬﱐ ﺑﲔ ﺫﺭﺍﻋﻴﺔ‬

‫ﻭﺭﺍﺋﺤﺔ ﻋﻄﺮﺓ ﺗﻐﻤﺮ ﻓﺴﺘﺎﱐ‬

‫ﻭﻳﺴﺘﻘﺒﻠﲏ‬

‫ﻋﻠﻰ ﺍﻟﻜﺮﺳﻲ ﳚﻠﺴﲏ‬

‫ﻭﻳﻀﻲﺀﴰﻮﻋﺎﻣﻦ ﺃﺟﻠﻰ‬

‫ﺍﻟﻔﺮﺣﺔ ﻣﻦ ﻋﻴﲏ ﺗﺘﻸﻷ‬

‫ﻭﺍﻟﻨﻮﺭ ﺑﻮﺟﻬﻲ ﻳﺘﺸﻌﺸﻊ‬

‫ﻭﻳﺴﺄﻟﲏ ﺑﻠﻄﻒ ﺣﺒﻴﱯ‬

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‫ﻣﺎﺫﺍ ﺗﺸﺘﻬﻰ ﻧﻔﺴﻚ؟؟؟‬

‫ﻣﻦ ﻫﻮﻝ ﺍﻟﻔﺮﺣﺔ ﻻ ﺃﻧﻄﻖ‬

‫ﺍﻟﻔﺮﺣﺔ ﲢﺒﺲ ﺃﻧﻔﺎﺳﻲ‬

‫ﻭﺍﳉﻮﻉ ﻟﻨﻔﺴﻲ ﻣﺘﻨﺎﺳﻲ‬

‫ﻭﻳﻐﺎﺯﻝ ﺗﺴﺮﳛﺔ ﺷﻌﺮﻱ‬

‫ﻭﺃﻧﺴﻰ ﺯﺭﻗﺔ ﻓﺴﺘﺎﱐ‬

‫ﻭﺃﻧﺴﻰ ﺍﻟﻌﺎﱂ ﺑﲔ ﻳﺪﻳﻪ‬

‫ﻭﺃﺗﻐﺰﻝ ﺑﺄﺯﺭﺍﺭ ﻗﻤﻴﺼﻪ‬

‫ﻭﺍﳋﻴﻂ ﺍﳌﻠﺘﻔﺖ ﳊﺴﻨﺔ‬

‫ﻭﺃﻧﺴﻰ ﲨﺎﻻ ﻓﺘﺎﻧﺎ‬

‫ﻭﺃﺳﺄﻝ ﻧﻔﺴﻲ ﻟﻮ ﺑﻘﻴﺖ‬

‫ﺑﺄﺣﻀﺎﻥ ﺍﻟﻌﺎﱂ ﻣﻦ ﺛﺎﱐ‬

‫ﻭﺗﻨﺘﻬﻲ ﺳﻬﺮﺗﻨﺎ ﺳﺮﻳﻌﺎ‬

‫ﻣﺮﺕ ﺳﺎﻋﺎﺕ ﺩﻗﺎﺋﻘﻨﺎ‬

‫ﻭﺃﻋﻮﺩ ﻭﺳﻬﺮﺗﻨﺎ ﺑﻨﻈﺮﻱ‬

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‫ﻭﺃﻣﺸﻰ ﻭﺟﺴﺪﻱ ﻳﻠﺘﻔﺖ‬

‫ﻭﺗﺸﲑ ﻳﺪﻳﻪ ﻣﻮﺩﻋﺔ‬

‫ﺳﻼﻡ ﺣﺒﻴﺐ ﳊﺒﻴﺐ‬

‫ﻭﺃﺩﺧﻞ ﺑﻴﱵ ﻭﺃﺟﺮﻯ‬

‫ﺃﺟﺮﻯ ﺇﱃ ﻏﺮﻓﺔ ﻧﻮﻣﻲ‬

‫ﻭﺃﻗﻒ ﺃﻣﺎﻡ ﻣﺮﺁﰐ‬

‫ﻭﺃﺿﻢ ﻳﺪﻱ‬

‫ﳌﺴﺖ ﻳﺪﻳﻪ‬

‫ﻭﺃﻗﺒﻞ ﺃﺻﺎﺑﻌﻲ‬

‫ﳌﺴﺖ ﺷﻔﺘﻴﻪ‬

‫ﻭﺃﺷﻢ ﺭﺍﺋﺤﺔ ﻓﺴﺘﺎﱐ‬

‫ﻭﺃﺣﻀﻦ ﻭﺿﻊ ﺫﺭﺍﻋﻴﺔ‬

‫ﺍﻟﻨﻮﻡ ﺗﻄﺎﻳﺮ ﻣﻦ ﻋﻴﲏ‬

‫ﻭﺍﳊﺐ ﺳﻜﻦ ﺑﺄﺭﻛﺎﱏ‬

‫ﻭﺃﲰﻊ ﺻﻮﺕ ﺍﳍﺎﺗﻒ‬

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 ‫ﺣﺒﻴﱯ ﻳﻘﻮﻝ ﺃﻧﺎ ﲢﺖ ﺍﻟﺸﺮﻓﺔ‬

‫ﻫﻼ ﺗﻄﻠﲔ ﺃﻣﲑﰐ‬

‫ﻭﻳﺪﻋﻮﱐ ﺇﱃ ﻣﻮﻋﺪ ﺃﺧﺮ‬

‫ﰲ ﺍﻧﺘﻈﺎﺭﻙ ﻏﺪﺍ ﻳﺎ ﻋﻤﺮﻱ‬

‫ﺍﻣﲑ ﺣﺴﻦ‬

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 ‫ﻋﻤﻠﺔ ‪:‬‬

‫ﻭﰱ ﻣﻘﻄﻮﻋﺔ ﻣﻦ ﻋﺎﱂ ﺃﲪﻖ‪......‬‬

‫ﺗﻮﻗﻒ ﺍﻟﺰﻣﺎﻥ ﻋﻨﺪ ﺑﺎﺋﺲ‪.....‬‬

‫ﻛﺎﻥ ﻗﺪ ﻫﻢ ﻟﻠﻨﻬﻮﺽ ﻣﻦ ﻧﻮﻣﻪ ﻟﲑﻭﻯ ﻟﻨﺎ ﻣﺎ ﺭﺃﻯ‬

‫ﺃ‪‬ﺎ ﺭﺍﺋﺤﺔ ﺍﳊﻴﺎﻩ‬

‫ﻭﻟﻜﻦ‬

‫ﺃﻫﻜﺬﺍ ﺍﻧﱴ ﺃﻳﺘﻬﺎ ﺍﻟﻌﻴﻨﻪ‬

‫ﺃﺑﻌﺪ ﻣﺎ ﻛﻨﺎ ﻋﻠﻴﻪ ﺳﻮﻳﺎ ﻧﻠﺘﻘﻰ ﺑﺎﻟﻔﺮﺍﻕ‬

‫ﻟﻨﺮﻭﻯ ﻗﺼﺘﻨﺎ ‪...‬ﻭﻟﻜﻦ ﻫـﻞ ﻫـﺬﺍ ﻫـﻮ ﺍﻻ‪‬ـﺰﺍﻡ ﺍﻡ ﺍﻧـﻪ ﳎﺮﺩﺧـﺮﻭﺝ ﻣـﻦ ﺩﻧﻴـﺎ‬
‫ﺍﻻﺣﻼﻡ ﺍﱃ ﺩﻧﻴﺎ ﺍﻻﻭﻫﺎﻡ‬

‫ـﻦ‬
‫ـﺔ ﻣـ‬
‫ـﻢ ﺧﺎﺭﺟـ‬
‫ـﻦ ﺍﳊﻠـ‬
‫ـﺎﺋﺲ ﻣـ‬
‫ـﻦ ﺑـ‬
‫ـﺰﺀ ﻣـ‬
‫ـﻪ ﲜـ‬
‫ـﺮﺍﺏ ﳐﻠﻮﻃـ‬
‫ـﺔ ﺳـ‬
‫ﺍ‪‬ـﺎ‪.....‬ﻧﻘﻄـ‬
‫ﺍﻻﻣﻮﺿﻮﻉ ﺍﱃ ﺍﻻﻭﻗﻊ‬

‫ﻭﻟﻜﻦ ‪....‬ﻟﻨﻤﻀﻰ ﻭﻧﺮﻯ‬

‫ﻓﻠﻦ ﺗﺘﻮﻗﻒ ﺍﳊﻴﺎﺓ ﳍﺎ‬

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 ‫ﻭﻟﻦ ﺗﻜﻮﻥ ﻫﻰ ﺍﳌﻨﺘﻬﻰ‬

‫ﺍﻻﻥ ﻟﻨﻈﺮ ﺍﱃ ﺍﻟﻮﺟﻪ ﺍﻟﻘﺎﺑﻊ ﻟﻠﻌﻤﻠﻪ‬

‫ﻋﻤﻠﺔ ﺍﻻﻧﺘﻈﺎﺭ‬

‫ﻭﺟﻪ ﺑﻪ ﺍﻻﻧﻘﻤﺎﻉ ﻑ ﺍﳊﺎﺿﺮ ﻭﺍﻟﻨﻬﻮﺽ ﺍﱃ ﺍﻟﻨﻔﺲ ﻭﺍﱃ ﺍﻟﺪﻧﻴﺎ‬

‫ﻳﺎﺍﺍﺍﺍﺍﺍﺍﺍﺍﺍﻩ‬

‫ﺃﻓﻌﻼ ﻣﻦ ﺳﺒﻘﻮﱏ ﻛﺎﻧﻮﺍ ﻳﻘﻮﻟﻮﻥ ﻣﻦ ﻛﺜﺮﺓ ﻣﺎ ﺍﻻﻗﻰ ﻣﻨﻬﺎ ﻣﻦ ﺃﻭﺟﺎﻉ‬

‫ﻭﻟﻜﻦ ﻟﻠﻨﻈﺮ ﱃ‬

‫ﻓﺄﱏ ﺍﺗﻮﺟﻊ ﻣﻦ ﻣﺘﻌﺘﻬﺎ‬

‫ﻓﻠﻘﺪ ﺃﺧﺬﺕ ﻣﺎ ﻟﻴﺲ ﱃ ﲝﻖ ﻣﻦ ﻣﺘﻌﺔ ﺫﺍﺋﻠﺔ‬

‫ﻣﺎ ﻫﺬﺍ ﻟﻘﺪ ﻧﺴﻴﺖ ﻋﻤﻠﱴ ﺫﻭ ﺍﻟﻮﺟﻬﺎﻥ ﻭﻟﻜﻦ ﺃﻧﻪ ﻣﺮﺟﻮﻋﻨﺎ‬

‫ﺍﳉﺎﻧﺐ ﺍﻻﺧﺮ ﻋﻠﻴﻪ ﺭﲰﺔ ﻟﻮﺟـﻪ ﻃـﺎﻕ ﺑـﻪ ﺍﻟﺰﻣـﺎﻥ ﻭﺟـﺎﻝ ﻭﻛﺎﻧـﻪ ﺧـﺎﺭﺝ ﻟﺘﻠـﻮﻩ‬
‫ﻣﻦ ﻗﱪ ﺍﳌﻨﺘﻬﻰ‬

‫ﻟﻘﺪ ﻇﻞ ﻳﺜﺎﺑﺮ ﰱ ﻫـﺬﻩ ﺍﻟـﺪﻧﻴﺎ ﺍﱃ ﺍﻥ ﺷـﺪﺕ ﺃﺣﺰﺍﻣﻬـﺎ ﻋﻠﻴـﻪ ﻭﱂ ﺗﻀـﻊ ﺃﻭﺯﺍﺭﻫـﺎ‬

‫ﻟﻴﺴﺘﺮﻳﺢ ﻭﻟﻮ ﻟﻠﺤﻈﻪ‬

‫ـﺎ‬
‫ـﻠﻄﺎﻥ ﻋﻠﻴﻬـــ‬
‫ـﻪ ﺳـــ‬
‫ـﻦ ﻟـــ‬
‫ـﺎ ﻣـــ‬
‫ـﻞ ﻣﻨـــ‬
‫ـﻦ‪......‬ﻫـــ‬
‫ﻭﻟﻜـــ‬
‫ﺃﻡ ﻫﻞ ﻣﻨﺎ ﻣـﻦ ﻳﺴـﺘﻄﻴﻊ ﺍﻥ ﳝﺴـﻚ ‪‬ـﺬﻩ ﺍﻟﻌﻤﻠـﺔ ﻛﺎﻟﺼـﱮ ﻑ ﺍﳊـﺎﺭﻩ ﻟﲑﻣـﻰ‬

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‫‪‬ــﺎ ﺑﻌﻴــﺪﺍ ﻑ ﺍﻟﺴــﻤﺎﺀ ﻭﳚﻌﻠــﻬﺎ ﺗﺘــﺮﺟﺢ ﻟــﲑﻯ ﺑﻌــﺪ ﺃﻥ ‪‬ــﻮﻯ ﺍﱃ ﺃﺭﺿــﻨﺎ‬
‫ﺍﻟﻮﻫﺎﺟﻪ ﺍﱃ ﺃﻯ ﻭﺟﻪ ﺳﺘﺴﺘﻘﺮ ﻋﻠﻴﻪ‬

‫ﺃﻧﺎ‬

‫ﺃﻧﺎ ﺃﻗﺪﺭ ‪ ...‬ﺃﻧﺎ ﺳﺄﻓﻌﻞ ‪ ...‬ﺃﻥ ﱂ ﺃﻛﻦ ﻓﻌﻠﺖ‬

‫ﻟﻴﺲ ﻓﻘﻂ ﳎﺮﺩ ﻗﺬﻓﻬﺎ‬

‫ﻭﻟﻜﻦ ﺍﻟﺘﺤﻜﻢ ﰱ ﺃﻭﺗﺎﺭﻫﺎ ﻭﺍﻟﻌﺰﻑ ﻋﻠﻴﻬﺎ‬

‫ﻟﻨﺮﻯ ﺍﱃ ﺍﻯ ﻭﺟﻪ ﺳﺘﻨﺘﻬﻰ ﺍﻟﻌﻤﻠﻪ‬

‫ﻟﻨﺘﺮﻛﻬﺎ ﰱ ﺍﳍﻮﺍﺀ ﻭﻟﻨﺒﺪﺃ ﺍﻟﻌﺰﻑ‪............‬‬

‫ﳏﻤﺪ ﺣﺴﻦ‬

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 ‫ﺷﻮﺍﻃﺊ‬

‫ﻣﻦ ﺃﺻﻌﺐ ﻣﺎ ﻳﻜﻮﻥ ﻋﻠﻰ ﻣﻦ ﻻ ﺃﻫﻮﻯ ﺗﺴﻤﻴﺘﻪ‬

‫ﺃﻥ ﺗﺘــﺎﺭﺟﺢ ﺑــﲔ ﺃﻗــﻼﻡ ﺍﻟﻌــﺬﺍﺏ ﻟﺘــﺮﻯ ﺍﱃ ﺍﻯ ﺷــﺎﻃﺊ ﺗﻨــﻮﻯ ﺍﻥ ﺗﺮﺳــﻰ‬

‫ﺳﻔﻴﻨﺘﻚ‬

‫ﺍﻥ ﲣﺮﺝ ﺍﻋﺒﺎﺋﻬﺎ ﻋﻠﻰ ﺍﳌﻴﻨﺎﺀ ﻛﻤﺎ ﳜﺮﺝ ﺍﳌﻮﻟﻮﺩ ﻣﻦ ﺑﻄﻦ ﺃﻣﻪ‬

‫ﻓﻼ ﻫﻨﺎﻙ ﻣﻦ ﻳﺴﺘﺮﺩ ﺍﻟﻨﻘﻮﺩ‬

‫ﻭﻻ ﻫﻨﺎ ﻣﻦ ﻳﺒﺤﺚ ﰱ ﻏﻴﺎﻫﺐ ﺍﻟﻌﻤﺮ ﻟﲑﺍﻙ ﻭﺍﻧﺖ ﺗﻨﻜﺴﺮ‬

‫ﻓﻤﺎ ﺍﻧﺖ ﺳﻮﻯ ﳊﻈﻪ ﰱ ﺣﻴﺎﺓ ﺍﻻﺷﺨﺎﺹ‬

‫ﻳﻬﻮﻥ ﺍﻟﺘﺮﺍﻣﻰ ﺑﻚ ﻣﻦ ﻫﻨﺎ ﺍﱃ ﺍﻻﻫﻨﺎﻙ‬

‫ﺣﱴ ﻭﺍﻥ ﻛﻨﺖ ﲤﻠﻚ ﺍﻟﺮﺿﺎ ﻭﺍﻟﺘﻘﺒﻞ‬

‫ﻓﺎﱃ ﺃﻳﻦ ﺃﻳﺘﻬﺎ ﺍﻟﺪﻧﻴﺎ‬

‫ﺍﱃ ﻣﱴ ﺳﺄﺑﻘﻰ ﻛﺎﻟﻌﻤﻠﺔ‬

‫ﺍﱂ ﻧﺮﺗﻮﻯ ﺳﻮﻳﺎ‬

‫ﺍﱂ ﻳﻬﺒﲎ ﺭﰉ ﺍﻟﻘﺪﺭﻩ‬

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‫ﺍﱂ ﺃﻛﺘﺐ ﺳﺎﺑﻘﺎ ﻭﺃﻣﻦ ﺑﻘﺪﺭﺗﻰ ﻋﻠﻰ ﺭﻣﻴﻚ ﻣﺘﺎﺭﺟﺤﺔ ﻑ ﺍﳍﻮﺍﺀ‬

‫ﻳﺎ ﻣﻦ ﻳﻌﻠﻢ ﻭﻻ ﺍﻋﻠﻢ‬

‫ﻳﺎ ﻣﻦ ﻳﻘﺪﺭ ﻭﻻ ﺍﻗﺪﺭ‬

‫ﻓﻮﺿﺖ ﺍﻣﺮﻯ ﺍﻟﻴﻚ‬

‫ﻫﺒﻠﻰ ﻣﻦ ﻟﺪﻧﻚ ﻗﻠﺒﺎ ﻗﺎﺳﻴﺎﻛﻘﻠﺐ ﻓﺮﻋﻮﻥ‬

‫ﺍﻭ ﺟﺤﻮﺩﺍ ﻛﻘﻠﺐ ﻗﺎﺭﻭﻥ‬

‫ﻓﻤﺎ ﺃﺩﺭﻯ ﺃﺳﺎﻗﺪﺭ ﺑﻌﺪ ﺫﻟﻚ ﻋﻠﻰ ﺍﻟﺒﻮﺡ ﺑﻌﺬﺭﺍﺀ ﺭﺑﻴﻊ ﺍﻟﻨﺪﻡ‬

‫ﺍﻩ ﻫﻰ ﻣﺜﻠﻬﻢ‬

‫ﺗﻨﺘﻘﻞ ﺑﲔ ﻗﻨﻴﺎﺕ ﺍﳌﻴﺎﻩ ﻟﺘﺮﺗﻮﻯ ﻣﻦ ﺍﻳﻬﺎ‪......‬‬

‫ﰱ ﺭﻭﺣﺢ ﺍﳊﻴﺎﺓ ﺗﻌﻠﻤﺖ ﺍﻻﳝﺎﻥ ﺑﺎﻟﻨﻔﺲ ﺍﻟﺸﻌﻮﺭ ﺑﺎﻟﺬﺍﺕ‬

‫ﻟﻜﲎ ﻣﺎﺯﻟﺖ ﻣﺘﺨﺒﻄﺎ‬

‫ﺃﻣﺎ ﻫﻨﺎﻙ ﻣﻦ ﻳﻨﺤﻰ ﺍﻟﻐﻴﻮﺏ‬

‫ﻗﻠﺖ ﳍﺎ ﻭﺍﻥ ﱂ ﺗﻜﻦ ﺗﺮﻯ ﻓﻠﺘﺒﻘﻰ ﻭﺣﻴﺪﻩ ﻭﺣﻴﺪﻩ‬

‫ﻟﻦ ﻳﻜﻮﻥ ﻫﻨﺎﻙ ﺃﺣﻼﻡ‬

‫ﻭﻻ ﺣﱴ ﻫﺬﻩ ﺍﳌﻤﻠﻜﺔ ﺍﻟﺒﻌﻴﺪﻩ ﲜﻮﺍﺭ ﺍﻟﺒﺤﺮ‬

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 ‫ﻓﻤﺎ ﻫﻨﺎﻙ ﱂ ﻳﻜﻦ ﺃﺑﺪﺍ ﻳﻜﻔﻴﻬﺎ‬

‫ﻭﻻ ﺯﻣﻬﺮﻳﺮ ﺍﻟﻌﺸﻖ ﺃﺿﺎﻉ ﻗﻴﺴﺮﺍﻥ ﻗﻠﱮ ﺑﻮﺍﺩﻳﻬﺎ‬

‫ﻓﺄﻥ ﻛﺎﻧﺖ ﺍﻟﺰﺋﺮﺍﺕ ﻣﻨﺒﻌﺎ ﻓﺎﻥ ﺍﻟﻘﻮﺓ ﺑﺎﻋﺎ‬

‫ﺑﻴﻊ ﺑﺎﻟﻨﺨﺎﺱ‬

‫ﻭﺍﻥ ﻛﺎﻥ ﺍﺭﺟﺎﺀ ﺍﻟﻌﺸﻖ ﲝﻮﺭﺍ‬

‫ﻓﻤﺎ ﺯﺍﻟﺖ ﺍﻟﺴﻔﻴﻨﻪ ﻋﻠﻰ ﻣﺮﺳﻰ ﺍﻟﻌﺸﻖ ﺗﺘﺨﺒﻂ‬

‫ﺃﺭﻫﻘﺖ ﺃﻳﻬﺎ ﺍﻟﻘﻠﻢ‪.......‬‬

‫ﲝﺜﺖ ﻋﻦ ﺍﳌﺎﺿﻰ‬

‫ﺗﺄﺭﺟﺤﺖ ﺑﲔ ﺩﺭﻭﺏ ﺍﻟﻌﺸﻖ‬

‫ﺣﺎﻭﻟﺖ ﺗﻨﺤﻴﺖ ﺍﻟﻐﻴﻮﺏ‬

‫ﺣﱴ ﻟﻘﺪ ﻗﻠﺖ ﻟﻜﻰ ﺃﻋﻮﺩ‬

‫ﻣﻦ ﺃﺳﺘﻤﻊ‬

‫ﻣﻦ ﺃﺩﺭﻙ‬

‫ﻣﻦ ﺃﺣﺲ ﺩﻣﻮﻋﻚ ﺍﳉﺎﺭﻳﻪ‪....‬‬

‫ﱃ ﺍﻟﻌﺠﺐ‬

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 ‫ﺃﻣﻦ ﺩﻣﻮﻋﻚ ﲝﺮ ﺍﻟﻌﺸﻖ‬

‫ﺃﻡ ﻣﻦ ﻋﺸﻘﻚ ﲝﺮ ﺍﻟﺪﻣﻮﻉ‬

‫ﻣﻬﻤﺎ ﻳﻜﻦ ﻓﻠﺘﺒﻘﻰ ﻫﺎﻫﻨﺎ‬

‫ﺗﺮﻯ‪.....‬ﲢﻠﻢ‪.....‬ﺗﻨﺘﺸﻰ ﺑﺎﻟﻌﺬﺍﺏ ﻧﺸﻮﺗﻚ ﺑﺎﳌﺰﺍﺡ‬

‫ﻫﻨﺎﻙ ﻭﻓﻘﻂ ﺳﺘﺮﻯ ﺍﻯ ﺣﻠﻢ ﻗﺎﺩﻡ ﻳﺘﻬﺪﻡ‬

‫ﺍﻡ ﺍﻯ ﻣﺮﺟﻮﺓ ﻗﺎﺩﻣﺔ ﺗﻮﻯ‬

‫ﺍﻡ ﺍﻥ ﺍﻻﺧﺒﺎﺭ ﻋﻦ ﺟﻨﺎﻥ ‪‬ﻮﻯ ﺍﱃ ﺩﻧﻴﺎ ﺍﻟﺒﺸﺮ ﺍﺻﺒﺢ ﻋﻼﻧﻴﺔ‬

‫ﺃﺻﺒﺤﺖ ﻣﻦ ﺑﲔ ﺍﳋﻼﺋﻖ ﺑﺮﻫﺎﻧﺔ ﳌﻦ ﻳﺮﻳﺪ ﺍﻟﺘﻌﺬﻳﺐ‬

‫‪.....‬ﺍﻟﺘﻌﻠﻢ ﻣﻨﺤﺔ‪.....‬‬

‫‪.....‬ﻭﺍﻟﺘﻌﺬﻳﺐ ﻣﺘﻌﺔ‪.....‬‬

‫‪......‬ﻭﺍﻟﺮﺍﺣﺔ ﺟﻼﻝ‪.....‬‬

‫ﻓﺄﻳﻬﺎ ﺳﺘﺨﺘﺎﺭ؟؟؟؟؟‬

‫ﳏﻤﺪ ﺣﺴﻦ‬

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 ‫ﺣﻮﺍﺭ ﻭﺳﺆﺍﻝ‬

‫‪‬ﻋﺮﻓﺘﲏ ﺷﻮﺍﻃﺊ ﺍﳊﺐ ﻭﻛﻠﻤﺘﲏ ﻧﺴﻤﺎ‪‬ﺎ‬

‫‪‬ﻛﻠﻤﺘﲏ ﺑﻠﻐﺘﻬﺎ ﺍﳌﻌﺮﻭﻓﺔ ﺑﻴﲏ ﻭﺑﻴﻨﻬﺎ‬

‫ﻧﻈﺮﺕ ﺇﱃ‪.........‬ﻣﺪﺩﺕ ﻳﺪﻱ‬

‫ﺍﺑﺘﺴﻤﺖ‪..........‬ﻋﺎﻧﻘﺘﻬﺎ‬

‫ﻧﺎﻣﺖ ﻋﻠﻰ ﺻﺪﺭﻱ‪......‬ﺃﺭﺣﺘﻬﺎ‬

‫ﻧﺰﻟﺖ ﺩﻣﻌﱵ‪....‬ﳏﺘﻬﺎ‬

‫‪‬ﻣﺮﺕ ﻳﺪﻫﺎ ﻋﻠﻰ ﻣﺪﻳﻨﱵ‪....‬ﻗﺒﻠﺘﻬﺎ‬

‫ﻗﺒﻠﺖ ﻳﺪﻱ ﻭﺿﻤﺘﲏ‪...‬ﻗﺒﻠﺖ ﺭﺃﺳﻲ‬

‫‪‬ﺳﺄﻟﺖ؟!ﻣﺎ ﺑﻚ ﺣﺒﻴﱯ؟؟؟؟‬

‫‪‬ﺑﺼﻤﱵ ﺃﺟﺒﺘﻬﺎ‬

‫ﺃﺣﺒﻚ ﻳﺎ ﻛﻞ ﺍﳍﻮﻯ‬

‫ﺃﺣﺒﻚ ﻳﺎ ﻋﻤﺮﺍ ﻣﻀﻰ‬

‫‪‬ﺃﺣﺒﻚ ﻳﺎ ﺃﻧﺎ‬

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 ‫ﺃﺣﺒﻚ‪........‬‬

‫ﺃﺣﺒﻚ ﻳﺎ ﻛﻞ ﺍﳌﲎ‬

‫ﰲ ﻗﻠﱯ ﻣﺎﺯﺍﻝ ﺫﻛﺮﻯ ﺭﺣﻴﻠﻨﺎ‬

‫ﺃﻫﻮﺍﻙ‬

‫ﺃﺗﻨﻔﺴﻚ‬

‫ﻭﺃﺭﺍﻙ‬

‫ﰲ ﻧﻮﺭ ﺍﻟﻘﻤﺮ‬ ‫ﰲ ﺿﻮﺀ ﺍﻟﺸﻤﺲ‬

‫ﰲ ﻭﺟﻮﻩ ﺍﻟﻨﺎﺱ‬ ‫ﰲ ﻗﻄﺮﺍﺕ ﺍﳌﺎﺀ‬

‫ﰲ ﺩﻣﻊ ﺍﻟﻨﺪﻯ‬

‫ﻭﺑﲔ ﺃﺿﻠﻌﻲ‬

‫ﻭﺑﲔ ﻧﻔﺴﻲ ﺃﺗﺴﺄﻝ؟؟؟‬

‫ﺃﻳﻦ ﺃﻧﺖ؟؟؟‬

‫‪‬ﺃﻳﻦ ﻃﻴﻔﻚ ﻳﺎ ﻋﻤﺮﻱ ﺃﻧﺎ؟؟؟؟؟‬

‫‪‬‬

‫ﺍﻣﲑ ﺣﺴﻦ‬

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 ‫ﺻﻤﺖ ﺍﻋﺘﺬﺍﺭ‬

‫ﺍﻧﻜﺴﺮﺕ ﴰﺲ ﺍﻟﻨﻬﺎﺭ‬

‫ﻭﺑﺎﻧﺖ ﻇﻠﻤﺔ ﺍﻟﻠﻴﻞ‬

‫ﺑﺪﺍ ﺳﻜﻮﻥ ﺍﻟﺜﺎﺋﺮﻳﻦ‬

‫ﻭﺗﻜﻠﻢ ﺍﳉﻤﻴﻊ ﺑﻠﺴﺎﻥ ﺍﻟﺼﻤﺖ‬

‫ﻭﺿﻤﺖ ﺟﻮﺍﻧﺢ ﺍﻟﻠﻴﻞ ﺑﺸﺮﻯ‬

‫ﺟﺎﺀﺕ ﻋﻠﻰ ﻧﻮﺭ ﺍﻟﻘﻤﺮ‬

‫ﻭﺑﻘﻰ ﻗﻠﺐ‬

‫ﻳﺘﺄﻣﻞ‬

‫ﻳﻨﺘﻈﺮ ﻭﺭﻭﺩ ﺍﳋﱪ‬

‫ﻳﻨﺘﻈﺮ ﻋﻨﻮﺍﻧﺎ ﳛﻤﻞ ﳏﻮ ﺍﻟﻘﻬﺮ‬

‫ﻳﺒﻜﻰ ﻋﻠﻰ ﻓﺮﺍﻕ‬

‫ﺫﻧﺐ ﻟﻴﺘﻪ ﻳﻐﺘﻔﺮ‬

‫ﻟﻌﻞ‬

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 ‫ﺧﱪ ﺭﺣﻴﻠﻪ ﳝﺤﻰ ﺑﻌﺾ ﺍﻷﺛﺮ‬

‫ﺫﻫﺐ‬

‫ﺇﱃ ﻃﺮﻳﻖ ﺍﻟﺴﻔﺮ‬

‫ﻗﺎﻝ‪........‬‬

‫ﻟﻴﺘﻚ ﺗﻌﻴﺪﻳﻦ ﰲ ﺍﻷﻣﺮ ﻧﻈﺮ‬

‫ﺭﺃﺕ!!!!ﰲ ﺃﺣﻼﻣﻬﺎ ﺃﻥ ﺍﻟﻨﻮﺭ ﺫﻫﺐ ﻭﺗﺮﻙ ﺍﻟﻘﻤﺮ‬

‫ﻗﺎﻣﺖ!!!!!!!!‬

‫ﰲ ﻭﻫﻠﺔ ﺗﺒﻜﻰ‬

‫ﺗﺴﺄﻝ؟!!!!‬

‫ﻛﺄﻧﻚ ﱂ ﺗﺪﺭﻯ ﺃﻥ ﺻﻤﱵ ﻗﺪ ﺍﻋﺘﺬﺭ‬

‫ﺗﺒﻜﻰ !!ﻭﻛﺄﻥ ﺍﳌﻮﺕ ﻗﺪ ﺍﻧﺘﺸﺮ‬

‫ﻻ ﺗﺮﺣﻞ‬

‫ﻣﺎ ﺯﺍﻝ ﰲ ﺍﻟﺴﻤﺎﺀ ﺍﻟﻘﻤﺮ‬

‫ﻻ ﺗﺮﺣﻞ‬

‫ﻣﺎ ﺯﺍﻝ ﺑﺎﻟﻀﻴﺎﺀ ﳝﺪ ﺍﻟﺒﺸﺮ‬

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 ‫ﻋﺪ ﻭ ﻋﺎﺗﺐ‬

‫ﻗﻞ ﻭﻻ ﺗﺒﺨﻞ‬

‫ﺗﻌﺎﻝ ﻭﺍﺭﺣﻢ ﻗﻠﱯ ﻭﻋﻤﺮﻙ‬

‫ﺧﺬﱐ ﻭﺍﺫﻫﺐ‬

‫ﻭﺍﻣﺾ ﰊ ﺇﱃ ﺣﻴﺚ ﺍﳌﻨﺘﻬﻰ‬

‫ﻗﺎﺩﻡ ﺃﻧﺖ‬

‫ﻗﺎﺩﻡ ﺇﱄ‬

‫ﻗﺎﺩﻡ ﺇﱃ ﺑﻔﺠﺮﻱ ﺯﺍﻫﻘﺎ‬

‫ﻇﻠﻤﺔ ﺍﻟﻠﻴﻞ ﺑﻨﻮﺭ ﺍﻟﻀﺤﻰ‬

‫ﻗﺎﻣﺖ ﲡﺮﻯ‬

‫ﺗﻮﻗﻒ ﺣﺎﺋﺮﺍ‬

‫ﻋﺎﺩ ﻫﺎﺭﺑﺎ‬

‫ﺭﺍﻛﻀﺎ ﻟﻄﺮﻳﻘﻬﺎ‬

‫ﻗﺎﺑﻠﺘﻪ‪........‬ﺗﻮﻗﻔﺎ‬

‫ﻭﺍﻧﺘﻈﺮﺍ ﳊﻈﺔ‪......‬‬

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 ‫ﳌﻊ ﻓﻴﻬﺎ ﺑﺮﻳﻖ ﺍﻟﻌﻴﻮﻥ‬

‫ﻭﻋﺎﺩﺕ ﺍﳊﻴﺎﺓ ﻟﺒﺴﻤﺔ‬

‫ﻛﺎﺩﺕ ﰲ ﻣﻬﺪ ﺍﻟﻌﻤﺮ ﺃﻥ ﲤﻮﺕ‬

‫ﺷﻬﺪﺕ ﻋﻠﻰ ﻫﻮﻯ ﺃﰉ ﺃﻥ ﳝﻮﺕ‬

‫ﰒ ﺳﺎﺭﺍ ﲞﻄﻮﺍﺕ ﻭﺍﺣﺪﻩ‬

‫ﳓﻮ ﻟﻘﺎﺀ ﳊﻈﺎﺕ ﻓﺎﺻﻠﻪ‬

‫ﻭﺍﻟﺘﻤﺴﺖ ﺩﻑﺀ ﻗﺮﺑﻪ‬

‫ﻭﺳﺄﻟﺖ؟!!!!‬

‫ﻓﺄﺟﺎﺑﺖ ﺩﻣﻌﺘﻪ ﺇﺟﺎﺑﺔ ﺻﻤﺘﻪ‬

‫ﻭﺍﺷﺘﺒﻜﺖ ﺃﺻﺎﺑﻊ ﺭﲰﺖ‬

‫ﲟﻌﲎ ﺍﳊﺐ‬

‫ﺣﻴﺎﺓ ﺃﻣﻞ‬

‫ﺃﻣﲑﺣﺴﻦ‬

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 ‫ﺣﻠﻢ ﺍﻟﻠﻴﻞ‬

‫ﻳﻨﺎﻡ ﺍﻟﻘﻤﺮ ﻭﻳﺒﻘﻰ ﺍﻟﻠﻴﻞ ﺳﺎﻛﺖ ﺣﺰﻳﻦ‬

‫ﻣﺴﺘﲏ ﻃﻠﻮﻉ ﺍﻟﻘﻤﺮ ﻣﻦ ﺟﺪﻳﺪ‬

‫ﻟﻴﻪ ﻳﺎ ﻗﻤﺮ ﺗﺴﺒﲏ ﻭﲤﺸﻰ‬

‫ﻭﺃﻧﺎ ﻣﻦ ﻏﲑﻙ ﺃﻋﻤﻞ ﺇﻳﻪ‬

‫ﺳﺎﻛﻦ ﻓﻴﺎ ﻭﺗﺒﻘﻰ ﻟﻐﲑﻱ‬

‫ﺃﺭﻭﺡ ﻓﲔ ﻭﻻ ﺃﻋﻤﻞ ﺇﻳﻪ‬

‫ﻳﺎ ﻗﻤﺮ ﺗﻄﻠﻊ ﻓﻴﺎ ﻭﺗﺒﻘﻰ ﺍﻟﻨﻮﺭ‬

‫ﻭﺗﻨﻮﺭ ﺍﻟﺪﻧﻴﺎ ﰲ ﻟﻴﻞ ﺍﻟﺴﻬﺮ‬

‫ﻭﺍﻟﻌﺸﺎﻕ ﻟﻨﻮﺭﻙ ﺗﺰﻭﺭ‬

‫ﻭﲢﺐ ﺍﻟﻠﻴﻞ ﻋﺸﺎﻥ ﺍﻟﻘﻤﺮ‬

‫ﻭﺍﻧﺎ ﻳﺎ ﱄ ﺑﻘﻴﺖ ﻣﻦ ﻏﲑﻙ ﻟﻴﻞ‬

‫ﻫﺎ ﺗﺴﺒﲏ ﻭﺗﺮﻭﺡ ﻓﲔ‬

‫ﻫﻮ ﺃﻧﺖ ﻟﻴﻚ ﻣﻦ ﻏﲑﻱ ﻟﻴﻞ‬

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‫ﺗﻄﻠﻊ ﻓﻴﻪ ﻭﰱ ﺃﻱ ﻣﻜﺎﻥ‬

‫ﻳﻈﻬﺮ ﻧﻮﺭﻙ ﺃﺑﻴﺾ ﻭﲨﻴﻞ‬

‫ﻟﻴﻪ ﻳﺎ ﻗﻤﺮ ﺗﺴﺒﲏ ﻭﲤﺸﻰ‬

‫ﺃﻧﺎ ﻣﻦ ﻏﲑﻙ ﻭﺍﷲ ﺣﺰﻳﻦ‬

‫ﺃﻧﺎ ﻣﻦ ﻏﲑﻙ ﺃﺳﻮﻯ ﺇﻳﻪ‬

‫ﻭﳌﺎ ﺗﺴﺒﲏ ﻫﺎ ﺗﻄﻠﻊ ﻓﲔ‬

‫ﻳﺎ ﻗﻤﺮ ﻣﺴﺘﲏ ﻃﻠﻮﻋﻚ‬

‫ﺗﻈﻬﺮ ﻭﺗﻘﻮﻝ ﱄ ﻋﺎﻣﻞ ﺇﻳﻪ‬

‫ﺃﺩﺍﺭﻯ ﺩﻣﻮﻋﻲ ﻭﺃﻗﻮﻝ‬

‫ﻣﺴﺘﻨﻴﻚ ﻋﻠﻰ ﺷﻮﻕ ﻭﻧﺎﺭ‬

‫ﺗﻄﻠﻊ ﻓﻴﺎ ﻭﺗﺴﻜﻦ ﻓﻴﺎ‬

‫ﻭﺃﻧﺎ ﺧﺎﻳﻒ ﺗﺴﺒﲏ ﻭﲤﺸﻰ‬

‫***********‬

‫ﺗﻄﻠﻊ ﰲ ﺍﻟﺴﻤﺎ ﻭﺗﻈﻬﺮ‬

‫ﺑﲔ ﺍﻟﻨﺠﻮﻡ ﺃﻧﺖ ﺍﻷﲨﻞ‬

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 ‫ﻭﺃﻧﺎ ﻳﺎ ﱄ ﺳﺎﻛﺖ ﻭﺣﺰﻳﻦ‬

‫ﻧﻔﺴﻲ ﺗﻘﻮﻝ ﱄ ﻣﺮﺓ ﲝﺒﻚ‬

‫ﺃﺩﻯ ﺣﻠﻢ ﺍﻟﻠﻴﻞ ﻋﻨﺪ ﺍﻟﻘﻤﺮ‬

‫ﻭﺗﺴﺒﲏ ﻭﲤﺸﻰ ﻭﺃﻧﺎ ﺯﻋﻼﻥ‬

‫ﻣﻜﺴﻮﺭ ﻭﰱ ﻋﻴﲏ ﺍﻟﺸﻮﻕ ﺍﻟﺒﺎﻗﻲ‬

‫*******‬

‫ﻳﺎ ﺭﻳﺘﻚ ﻣﺮﺓ ﲢﺲ ﺑﻴﺎ‬

‫ﻛﻨﺖ ﻋﻠﻰ ﻃﻮﻝ ﻫﺎﺗﻔﻀﻞ ﻓﻴﺎ‬

‫ﻟﻜﻦ ﺍﻋﻤﻞ ﺇﻳﻪ ﻭﺃﻧﺖ ﺍﻟﻘﻤﺮ‬

‫ﻗﻤﺮ ﺍﻟﺪﻧﻴﺎ ﻭﺍﻷﺣﻼﻡ‬

‫ﻳﻈﻬﺮ ﻧﻮﺭﻙ ﺑﲔ ﺍﻟﺒﺸﺮ‬

‫ﺗﺮﺳﻢ ﻋﻠﻴﺔ ﺃﺣﻠﻰ ﺧﻴﺎﻝ‬

‫ﻫﺎﻓﻀﻞ ﺍﺣﺒﻚ ﻭﺍﷲ ﻳﺎ ﻗﻤﺮ‬

‫ﻋﻤﺮﻱ ﰲ ﳊﻈﺔ ﻣﺎﻫﻨﺴﺎﻙ‬

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 ‫ﺃﻧﺖ ﺣﺒﻴﱯ ﻭﻋﻤﺮﻱ ﻭﻗﻤﺮﻱ‬

‫ﻭﺃﻧﺎ ﻣﻦ ﻏﲑﻙ ﻣﻘﺘﻮﻝ ﺯﻋﻼﻥ‬

‫ﺍﻣﲑ ﺣﺴﻦ‬

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 ‫ﻣﻦ ﳛﺘﻀﺮ‬

‫ﻣﻦ ﺍﻧﺎ ﻻﻛﻮﻥ ﻗﺎﺗﻼ‬

‫ﻭﻣﻦ ﺍﻧﺎ ﺣﱴ ﺍﺻﺪﺭ ﻟﻠﺒﺸﺮﻳﺔ ﺍﻣﺮ ﺍﳋﻠﻮﺩ‬

‫ﻫﻞ ﻫﺬﺍﺍﻟﺼﻐﲑ ﻋﺎﳌﻰ ﺍﳌﻜﻨﻮﻥ‬

‫!!! ﺍﻧﲎ ﺍﳌﻮﺕ ﻗﺎﺗﻞ‬

‫ﺍﻡ ﺍﻥ ﻫﺬﺍ ﺳﺤﺮ ﺍﺳﻜﺮ ﺍﻟﻌﻘﻞ ﻭﺍﻧﺎﻡ ﺍﳉﻔﻮﻥ‬

‫ﻣﻦ ﺍﻧﺎ ﻻﻛﻮﻥ ﻣﻦ ﺍﻻﻗﺪﺍﺭ ﻣﺬﻣﻮﻣﺎ‬

‫ﺑﻼ ﺍﻫﻞ ﺑﻼ ﺍﺳﻢ‬

‫ﻣﱰﻭﻉ ﺍﳍﻮﻳﺔ‬

‫ﻣﻦ ﺍﻧﺎ ﻟﺘﻬﺮﺏ ﺍﻻﻭﻃﺎﻥ ﻣﲎ‬

‫!!! ﻳﺎﻟﻠﻨﻔﺲ ﺍﻟﺒﺸﺮﻳﺔ‬

‫ﻳﺎﻟﻐﺮﺑﱴ !! ﺍﻟﻌﺎﱂ ﻣﲎ‬

‫ﻭﻳﺎﻟﻘﻬﺮﻯ !!! ﺍﳊﻴﺎﺓ ﺍﺳﲑﺗﻰ‬

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 ‫ﺍﺫﺍ ﻛﻨﺖ ﺍﻧﺎ ﺍﳌﻮﺕ ﻣﻘﺘﻮﻝ ﻭﺍﳋﻠﻮﺩ ﻗﺎﺋﻢ‬

‫ﻓﻤﻦ ﳛﺘﻀﺮ ؟؟‬

‫ﺃﺃﻧﺎ ﻗﺎﺗﻞ ؟؟ ﺍﻧﺎ ﻗﺎﺗﻞ‬

‫ﻗﻠﺖ ﺍﳌﻮﺕ ﻭﺍﺣﺘﻀﻨﺘﻪ ﺫﺭﺍﻋﻰ‬

‫ﺳﻠﺒﺖ ﺿﻠﻮﻋﻪ ﻭﺷﺮﺑﺖ ﻛﺆﻭﺳﻪ ﻭﲡﺮﻋﺖ ﺍﻟﻮﺍﻧﻪ‬

‫ﻓﻤﻦ ﺍﺫﺍ ﻟﺮﻭﺣﻰ ﺣﺎﺿﺮ‬

‫ﻭﻣﻦ ﻟﻨﻔﺴﻰ ﺟﺎﺀ ﻳﺴﻠﺐ‬

‫ﻭﻣﻦ ﻟﻌﻤﺮﻯ ﺻﺎﺭ ﻳﺘﺮﻗﺐ‬

‫ﺑﻌﺪ ﺷﻴﺐ ﺍﻟﺮﺃﺱ ﺍﻧﺎ ﰱ ﺍﳊﻴﺎﺓ ﻣﻨﺬ ﻳﻮﻣﲔ‬

‫ﺍﻟﻌﻤﺮ ﻣﻀﻰ ﻭﺑﻌﺪ ﺍﻟﻌﺠﺰ ﺟﺎﺀ ﺍﻟﺼﺒﺎ‬

‫ﻭﻋﺪﺕ ﺍﻟﻴﻚ ﺣﺒﻴﺒﱴ ﱃ ﻋﻤﺮ ﺍﻟﻄﻔﻞ ﺍﻟﺮﺿﻴﻊ‬

‫ﻓﻤﻦ ﺍﻧﺎ ﺍﻳﻀﺎ ﻻﻛﻮﻥ ﻗﺎﺗﻼ؟؟‬

‫ﻣﻦ ﺍﻧﺎ ﻻﻛﻮﻥ ﺑﻌﺪ ﺍﳌﻮﺕ ﺧﺎﻟﺪﺍ‬

‫ﻫﻞ ﺑﻘﺘﻠﻰ ﻟﻠﻤﻮﺕ ﺍﻛﻮﻥ ﻟﻠﺤﺐ ﻗﺎﺗﻼ‬

‫ﺍﻡ ﻫﻞ ﺑﺎﺑﻘﺎﺋﻰ ﻟﻠﺤﺐ ﺍﻛﻮﻥ ﻟﻠﻤﻮﺕ ﻗﺎﺗﻼ‬

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 ‫ﺍﻥ ﻛﺎﻥ ﺍﳋﻮﻑ ﻟﻠﺤﺐ ﻗﺎﺗﻼ‬

‫ﻓﻼ ﻋﺠﺐ ﺍﻥ ﻳﻜﻮﻥ ﺍﻟﻀﻌﻒ ﻧﺎﺻﺮﺍ‬

‫ﻣﻦ ﳓﻦ ؟؟ ﻧﻨﻘﺎﺩ ﺍﱃ ﺍﻭﺍﻣﺮ‬

‫ﻭﻻ ﻧﻌﺮﻑ ﻣﺎ ﻧﻮﺍﺟﻪ‬

‫ﻋﻠﻰ ﺧﺸﺒﺔ ﺍﻟﺸﻄﺮﻧﺞ‬

‫ﲢﺮﻛﻨﺎ ﺍﻓﻜﺎﺭ ﻭﳘﻴﺔ‬

‫ﻭﻧﻀﻊ ﺍﻧﻔﺴﻨﺎ ﻟﻄﺎﺋﻠﺔ ﺍﻻﻭﺍﻣﺮ ﺍﻟﻌﺮﻓﻴﺔ‬

‫ﻭﻻ ﺳﺒﻴﻞ ﻟﺪﻣﻮﻋﻨﺎ ﻟﺘﺠﺮﻯ ﻋﻠﻰ ﺧﺪﻭﺩﻧﺎ‬

‫ﺍﻋﺮﺍﻑ ﻣﻦ ﻗﺪﱘ ﺗﻘﻮﺩﻧﺎ‬

‫ﻭﺑﻴﲎ ﻭﺑﻴﻨﻚ ﺳﺮﺏ ﳏﻄﻢ‬

‫ﺍﳌﻮﺕ ﺍﻟﻘﺎﺗﻞ‬

‫ﻭﺍﺟﻬﺘﻚ ﻛﺜﲑﺍ ﻭﻗﺘﻠﺘﻚ‬

‫ﻧﺎﺻﺮﺗﲎ ﻓﺬﲝﺘﻚ‬

‫ﻻﲢﺮﱏ ﺍﻧﱴ ﻣﻦ ﺫﲝﺔ ﻗﻠﱮ‬

‫ﺍﻥ ﰉ ﻃﻌﻨﺎﺕ ﻣﺎﺗﺖ ﻣﻦ ﺍﳋﻄﺐ‬

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 ‫ﺍﻧﱴ ﻳﺎ ﻋﻤﺮﻯ ﻳﺎ ﻧﻮﺭ ﺍﻟﺸﻤﺲ‬

‫ﻣﻦ ﻋﻤﺮﻙ ﻋﻤﺮﻯ ﻭﻛﻴﻒ ﻣﻦ ﺩﻭﻧﻚ ﻧﻔﺴﻰ‬

‫ﻋﺎﺑﺮ ﺳﺒﻴﻞ ﻃﺎﻑ ﰉ ﻗﻤﺮﻯ‬

‫ﺍﺑﻜﻰ ﺩﻣﺎﺀ ﺍﻟﻮﺍﻥ ﻗﻬﺮﻯ‬

‫ﰱ ﻃﺮﻳﻘﻰ ﺍﻣﺸﻰ ﻻ ﲰﺎﺀ ﻭﻻ ﺳﺤﺐ‬

‫ﻻ ﻭﺭﻭﺩ ﻻ ﻣﻄﺮﻯ‬

‫ﺑﺪﺍﺧﻠﻰ ﴰﺲ ﻭﻇﻠﻤﺎﺗﻰ ﲢﺘﺮﻕ‬

‫‪ :‬ﰱ ﻏﺮﺑﱴ ﺍﲪﻞ ﺍﻣﺘﻌﱴ‬

‫ﺍﺣﻼﻣﻰ ﻭﺍﻣﻨﻴﺎﺗﻰ‬

‫ﻭﻭﺍﻗﻌﻰ ﺍﱏ ﺍﲪﻞ ﺍﻛﻔﺎﱏ‬

‫ﻻ ﻣﻬﺮﺏ ﻭﻻ ﻣﻔﺮ ﻣﻦ ﺍﻗﺪﺍﺭﻯ‬

‫ﻗﺪﺭﻯ ﺍﶈﺘﻮﻡ ﻗﺎﺩﻡ‬

‫ﻻ ﺳﺒﻴﻞ ﻻﺳﺘﻌﺠﺎﻝ ﺍﳌﻜﺘﻮﺏ‬

‫ﻭﻻ ﺳﺒﻴﻞ ﻟﻠﺨﺮﻭﺝ ﻋﻦ ﺍﻟﻨﺺ ﺍﳌﻔﺮﻭﺽ‬

‫ﻓﻠﻴﺄﺗﻰ ﺍﻟﻌﺬﺍﺏ ﺍﱏ ﻋﻠﻰ ﺍﺳﺘﻌﺪﺍﺩ‬

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 ‫ﻟﺸﺮﺏ ﲰﻮﻣﺔ ﻭﻻ ﺗﺄﺛﲑ ﻷﻻﻣﺔ‬

‫ﻓﺘﻜﺘﻤﻰ ﻟﺪﻣﻮﻋﻚ ﻭﺗﻈﺎﻫﺮﻯ ﺑﺒﺴﻤﺔ ﻣﻦ ﺍﺣﺰﺍﱏ‬

‫ﻭﲤﺎﻳﻠﻰ ﺑﺮﻗﺼﺔﻛﺸﺠﺮﺓ ﺍﺑﺖ ﺧﺮﻳﻔﺎ ﺑﺎﻟﻌﺼﻴﺎﻥ‬

‫ﺍﱏ ﻭﺍﻥ ﻛﻨﺖ ﺍﱃ ﺍﺩﺭﺍﺝ ﺍﻟﺰﻣﺎﻥ ﻣﺘﺴﻠﻼ‬

‫ﻭﲣﻄﻴﺖ ﻗﻴﺪ ﺍﻟﺴﻨﲔ ﻭﺍﻻﻳﺎﻡ‬

‫ﻓﺬﻫﺒﺖ ﺍﱃ ﻣﺎﻭﺭﺍﺀ ﺍﻟﻘﺮﻭﻥ ﻭﺍﻻﻟﻔﻴﺎﺕ‬

‫ﻭﻃﻔﺖ ﺑﺎﳌﻜﺎﻥ ﻭﺍﻟﻜﻠﻤﺎﺕ‬

‫ﻭﻣﺮﺭﺕ ﺑﺎﻻﻭﻝ ﻭﺍﻻﺧﺮ ﻛﺼﻔﺤﺎﺕ ﺍﻟﻜﺘﻴﺒﺎﺕ‬

‫ﻓﺎﺫﺍ ﺍﰉ ﺍﻥ ﻳﺎﰐ ﺍﻟﺮﺣﻴﻞ‬

‫ﻓﺎﱏ ﻭﺍﻟﻨﻔﺲ ﺗﺄﰉ‬

‫ﻓﺎﱏ ﻭﺍﻟﻨﻔﺲ ﺗﺄﰉ‬

‫ﻟﻘﺪ ﻣﻞ ﻗﻠﱮ ﻗﻀﺒﺎﻥ ﻇﻠﻮﻋﻰ‬

‫ﻭﻏﲑ ﻣﺴﻤﻮﺡ ﻟﺔ ﺍﺳﺘﺒﺎﺣﺔ ﺍﳋﺮﻭﺝ‬

‫ﻗﻠﻴﺒﻜﻰ ﻣﺎ ﺷﺎﺀ ﻟﻪ ﺩﻣﻮﻋﻰ‬

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 ‫ﻓﺴﺠﻦ ﺍﻟﻌﻈﺎﻡ ﺑﺎﳌﺮﺻﺎﺩ ﻟﻪ ﻣﻮﺻﻮﺩ‬

‫ﻳﺎ ﻣﻨﻴﺔ ﺍﻟﻘﻠﺐ ﺍﱏ ﺭﺍﺣﻞ‬

‫ﻓﻠﻦ ﻳﺴﻊ ﻗﻠﱮ ﻣﻦ ﺍﻟﺪﻧﻴﺎ ﻣﺎ ﻳﺬﻝ‬

‫ﺍﻧﲎ ﺑﻌﺪ ﺍﳌﻮﺕ ﺍﺣﺘﻀﺮ‬

‫ﻳﺎ ﻣﻨﻴﺔ ﺍﻟﻘﻠﺐ ﻳﺎ ﺍﻣﻞ ﺍﻟﻐﻔﺮﺍﻥ‬

‫ﻟﻦ ﺗﺴﻜﻦ ﺍﻻﺭﻭﺍﺡ‬

‫ﰱ ﺍﺟﺴﺎﺩ ﺧﺎﻭﻳﺔ ﲤﻸﻫﺎ ﻗﻠﻮﺏ ﻣﺘﻬﺎﻭﻳﺔ‬

‫ﺍﻟﻨﻔﺲ ﺗﺄﰉ ﻭﺍﻟﺮﻭﺡ ﲤﻀﻰ‬

‫ﻭﻫﺬﺍ ﻣﺎ ﺃﺣﻴﻞ ﺍﱃ ﻗﻀﺎﺀ ﺍﶈﺎﻝ‬

‫ﻓﻬﻞ ﱃ ﺣﻆ ﻣﻦ ﻗﺎﻋﺪﺓ ﺍﻻﺳﺘﺜﻨﺎﺀ‬

‫ﻭﻫﻞ ﻳﻨﺎﻟﲎ ﺍﺳﺘﺜﻨﺎﺀ‬

‫ﺍﻧﺎ ﻻﻋﺐ ﻭﻛﻨﺖ ﻋﺎﺷﻖ‬

‫ﻣﺎﻗﺘﻞ ﻣﻜﺴﱮ ﺑﻌﺾ ﺧﺴﺎﺭﺗﻰ‬

‫ﻭﺩﺍﻣﺖ ﻻﺭﺑﺎﺣﻰ ﺣﻈﻮﻅ ﺍﳊﺮﻣﺎﻥ‬

‫ﻧﻘﻄﺘﲔ ﺳﻮﺩﺍﻭﺗﺘﲔ ﺑﻔﻨﺠﺎﱏ‬

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‫ﻣﺼﺎﺩﻓﺔ!!! ﺍﺣﺒﻴﺒﺎﺕ ﺍﻟﻘﻬﻮﺓ ﺍﻡ ﻃﻠﻘﺘﺎ ﺍﻟﻨﲑﺍﻥ‬

‫ﺣﲔ ﺃﻣﺸﻰ ﻭﺗﺘﺨﻄﻔﲎ ﺍﻇﺎﻓﺮ ﺍﻟﺒﻠﺪﺍﻥ‬

‫ﺃﺃﻗﻮﻡ ﺍﺧﺮﻯ ﺍﻡ ﺃﺑﻘﻰ ﰱ ﺿﻤﲑ ﺍﳍﻼﻙ‬

‫ﺍﻧﺎ ﻻﻋﺐ‬

‫ﻋﻠﻰ ﺣﺒﺎﻝ ﺍﳍﻮﻯ ﺃﺷﺘﺮﻯ‬

‫ﻣﻦ ﺍﶈﺒﲔ ﺍﻣﺪﺍﺩ ﺍﻻﺷﻔﺎﻕ‬

‫ﻭﻣﻦ ﺍﻭﻃﺎﻥ ﺍﳊﺐ ﺻﺪﻗﺔ ﺍﻻﺫﻻﻝ ﻭﺍﻻﺭﻫﺎﻕ‬

‫ﻓﻤﺎ ﺗﻨﻔﻊ ﺍﻟﻜﻠﻤﺎﺕ ﰱ ﻭﺟﻪ ﻋﺪﻭﺍﻥ‬

‫ﲡﺪﻯ ﺍﻻﺻﻮﺍﺕ ﰱ ﳏﻔﻞ ﺍﳉﻬﺎﻝ‬

‫ﺍﻥ ﻛﻨﺖ ﻣﻴﺘﺎ ﻓﻠﻴﺲ ﺍﻻ ﺍﻟﺘﺮﺍﺏ ﺣﻆ ﺍﻻﻣﻮﺍﺕ‬

‫‪ .....‬ﻭﺍﻥ ﻛﻨﺖ ﺣﻴﺎ‬

‫ﻓﻤﺼﺎﺋﺮ ﺍﻻﺣﻴﺎﺀ ﺩﻭﺭﺏ ﻣﺘﺎﻫﺎﺕ‬

‫ﻗﺒﻞ ﺍﻟﻨﻬﺎﻳﺔ ﻳﻨﻜﺸﻒ ﺣﺠﺎﰉ‬

‫ﻭﺗﻘﺮﺃ ﺻﻮﺭﺗﻰ ﻭﻳﻮﺿﺢ ﻛﺘﺎﰉ‬

‫ﻭﻣﺎ ﻛﺎﻥ ﻣﻦ ﻗﺘﻞ ﺍﳌﻮﺕ ﺭﺅﻯ ﻧﻴﺎﻡ‬

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‫ﻭﻟﻴﺲ ﺍﳋﻠﻮﺩ ﺍﻻ ﺛﻐﺮﺍﺕ ﺍﺣﻼﻣﻰ ﻓﻠﺘﻔﻌﻞ ﺍﻟﺪﻧﻴﺎ ﻣﺎ ﺗﺸﺎﺀ ﺍﻥ ﺍﳌﻮﺕ ﺍﻣﺮ ﺍﷲ‬

‫ﻟﺘﺴﻜﻦ ﺍﻻﺭﺍﻭﺡ ﻭﻻ ﺗﺘﺒﺎﻫﻰ‬

‫ﲜﻬﻞ ﺻﺪﻗﺖ ﻭﺍﻗﻌﺔ ﻇﻠﻤﺎﺗﻰ‬

‫ﻟﻦ ﻳﻜﻮﻥ ﻟﻚ ﻗﺎﺗﻞ ﺍﻥ ﺫﻟﻚ ﻟﻔﻰ ﺍﻟﻨﻬﺎﻳﺎﺕ‬

‫ﻭﻣﺎ ﻣﻀﻰ ﻣﻦ ﺯﻳﻒ ﻛﺎﻥ ﻣﻦ ﻏﺮﻭﺭ ﺍﳊﻤﺎﻗﺎﺕ‬

‫ﺍﻧﲎ ﺍﻻﻥ ﲢﺘﻀﺮ‬

‫ﻓﻜﻴﻒ ﺍﳋﻠﻮﺩ ﰱ ﺧﺮﻭﺝ ﺍﻻﺭﻭﺍﺡ‬

‫ﻳﺎ ﻣﻨﻴﺔ ﻗﻠﺒﺔ ﻭﺍﻣﻞ ﻏﻔﺮﺍﻧﺔ‬

‫ﺍﻧﺎ ﻻﻋﺐ ﻭﻋﺎﺷﻖ‬

‫ﺍﺣﺒﺒﺖ ﻟﻜﲎ ﻭﻫﻢ‬

‫ﺍﳋﻴﺎﻝ ﺍﳌﺴﺘﻔﻴﺾ ﺍﻣﺴﻰ ﺑﺎﺛﺒﺎﺍﺗﻰ‬

‫ﻭﻣﺎﻛﺎﻥ ﺍﻟﻄﺮﻳﻖ ﻣﻨﺼﺘﺎ ﻻﺭﺷﺎﺩﻯ‬

‫ﺍﺣﻼﻣﻨﺎ ﺍﻥ ﻧﻜﻮﻥ ﺑﻐﲑ ﺍﻟﺰﻣﺎﻥ‬

‫ﺧﺎﺭﺝ ﺍﻟﺪﻧﻴﺎ ﻭﺣﺪﻭﺩ ﺍﻻﻭﻃﺎﻥ‬

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 ‫ﻟﺘﻜﺴﺮ ﻭﺍﻗﻌﺎ ﲤﺘﻊ ﺑﺮﺅﻳﺘﻨﺎ ﻭﺭﺍﺀ ﺍﻟﻘﻀﺒﺎﻥ‬

‫ﻭﺳﺎﻡ‪ :‬ﻳﺎ ﻣﻨﻴﺔ ﺍﻟﻘﻠﺐ ﻭﻣﻞ ﺍﻟﻐﻔﺮﺍﻥ‬

‫ﻣﺎﺫ ﻟﻠﻘﻠﻢ ﺍﺫﺍ ﲢﺮﺭ ﻣﻦ ﻣﺜﻴﺎﻕ ﺍﻟﻜﻠﻤﺎﺕ‬

‫ﻭﺷﺎﻃﺮﺕ ﺣﺮﻭﻓﺔ ﺍﻟﻮﻗﺖ ﻭﺍﻻﺯﻣﺎﺕ‬

‫ﻭﺗﺮﺍﲪﺖ ﻣﻦ ﺳﻄﻮﺗﺔ ﺍﻻﻋﻤﺎﺭ ﻭﺍﻟﺴﻨﻮﺍﺕ‬

‫ﻭ ﺍﱏ ﻷﺧﺸﻰ ﻣﻦ ﻣﺎ ﻣﻀﻰ ﳌﺎ ﻫﻮ ﺃﺕ‬

‫ﻓﻠﺘﻨﺘﺰﻋﻰ ﻳﺎ ﻧﻔﺴﻰ ﻭﻟﺘﻘﺒﻠﻰ ﲦﻦ ﺍﻟﱰﻭﺍﺕ‬

‫ﻭﻻﺗﺴﺄﱃ ﻛﻴﻒ ﺍﻟﻮﻏﻰ ﰱ ﺻﺮﺍﻉ ﺍﻟﺼﺪﺍﻣﺎﺕ‬

‫ﻭﺍﻯ ﻭﺟﻪ ﻗﺎﺗﻞ ﺍﻟﻈﻼﻡ ﺑﻐﲑ ﺟﺮﺡ ﻭﺩﻭﺍﺀ‬

‫ﻭﻫﻞ ﺑﺎﻟﻐﺮﺑﺔ ﺩﻟﻴﻞ ﺍﳊﲑﻯ ﺑﻨﻈﺮ ﺍﻟﺴﻤﺎﺀ‬

‫ﻭﻫﻞ ﺑﺎﳉﺒﺎﻝ ﻗﺼﻮﺭ ﺗﻌﺎﻳﺸﺖ ‪‬ﺎ ﺍﻟﺴﻮﺩﺍﺀ ﻭﺍﻟﺒﻴﻀﺎﺀ‬

‫ﺍﻳﺎﺩﻧﻴﺎ ﺑﺎﳋﺪﺍﻉ ﲤﺎﻳﻞ ﺍﻟﻮﻋﺪ ﻭﺗﺒﻴﺢ ﺍﻟﺪﺍﺀ‬

‫ﺻﺪﻯ ﺍﻷﻻﻡ ﺑﻘﻄﺮﺍﺕ ﺍﻟﺮﻣﺎﻝ ﺗﺰﺍﻣﻦ‬

‫ﻭﻣﻦ ﺑﺎﻟﻠﻴﺎﱃ ﺛﺎﺑﺮ ﺍﳌﻮﺕ ﻭﺗﻌﺬﺭ ﻭﻣﻦ ﺷﻖ ﺟﻮﺭ ﺍﳊﻠﻢ ﻋﻠﻰ ﻳﺄﺱ ﺍﻟﺼﱪ ﻭﺗﺮﺍﺣﻢ‬

‫ﻛﻢ ﺍﺻﺒﺢ ﺍﻟﻮﻫﻢ ﻛﺮﱘ ﰱ ﺗﻌﺎﻳﺶ ﺍﻟﻘﻠﺐ‬

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 ‫ﻓﻌﻤﺮ ﺍﻟﺪﻣﺎﺭ ﺑﻠﻮﻥ ﺍﳊﺮﺑﺎﺀ ﲤﺎﺩﻯ‬

‫ﻭﻧﺼﻞ ﺍﻟﺴﻴﻒ ﺑﺎﻟﻨﺴﻴﺎﻥ ﺗﺮﺍﺿﻰ‬

‫ﻭﺍﳊﺐ ﺑﺎﳊﻴﺎﺓ ﺍﻋﻤﻰ‬

‫ﻭﺍﻣﻞ ﺍﻟﻐﻔﺮﺍﻥ ﺫﻫﺐ‬

‫ﻭﺑﺎﻟﻌﻴﻨﲔ ﻃﺮﻳﻖ ‪‬ﺎﻭﻯ‬

‫ﺗﺸﺎﺑﻜﺖ ﺍﻟﺪﺭﻭﺏ‬

‫ﻭﺗﻀﺎﺭﺑﺖ ﺍﻟﻘﻠﻮﺏ‬

‫ﻭﺍﱏ ﰱ ﺣﲑﺓ ﻣﻦ ﻣﺎﺿﻰ ﳚﻮﺏ‬

‫ﻭﺍﳊﺎﺿﺮ ﻗﻴﺪ ﻭﺍﳌﺴﺘﻘﺒﻞ ﳜﺎﻑ ﺍﻟﻮﺻﻮﻝ‬

‫ﳎﻬﻮﻝ ﻳﺎ ﻋﻤﺮﻯ ﳎﻬﻮﻝ ﻳﺎ ﻗﺪﺭﻯ‬

‫ﺍﳝﺎﻧﻚ ﺗﻼﺷﻰ‬

‫ﺍﻣﻮﺕ ﻭﻋﻴﲎ ﺗﺸﺘﺎﻕ ﺍﱃ ﺭﺅﻳﺎ ﻧﻮﺭ ﺍﻟﻐﻔﺮﺍﻥ‬

‫ﻭﺗﻐﻤﺾ ﻗﺒﻞ ﺍﻻﻭﺍﻥ ﺑﻴﺄﺱ ﺍﳌﺴﺘﺤﻴﻞ‬

‫ﻭﻻ ﻳﻨﻔﻊ ﺍﺣﺘﺮﺍﻕ ﺭﺳﺎﺋﻠﻰ‬

‫ﻭﺍﳊﻨﲔ ﺍﻟﺒﺎﻗﻰ ﺑﻀﻤﺎﺋﺮﻯ‬

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 ‫ﻭﺍﳋﻮﻑ ﻣﻦ ﻗﻠﻢ ﺣﻜﻢ ﺑﻄﻠﻖ ﰱ ﺧﺎﻃﺮﻯ‬

‫ﻳﺎ ﻣﻨﻴﺔ ﺍﻟﻘﻠﺐ ﻭﻋﲔ ﺍﳌﺘﺎﻫﺎﺕ‬

‫ﺃﻣﲑ ﺣﺴﻦ‬

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 ‫ﻣﻦ ﺍﻟﻌﺘﺎﺏ‬

‫ﻭﻟﻴﺲ ﻟﻠﺒﻘﻴﺔ ﻣﻜﺎﻥ‬

‫ﺃﺗﻴﺖ ﱄ ﻭﻃﺮﻗﺖ ﺃﺑﻮﺍﰊ‬

‫ﺃﻃﻠﻘﺖ ﺳﻬﻤﺎ ﰲ ﻓﻀﺎﺀ ﻋﺎﱄ‬

‫ﻭﺭﻣﻴﺖ ﻋﻤﺮﺍ ﰲ ﻇﻼﻡ ﻣﺎﺿﻲ‬

‫ﻭﺩﺧﻠﺖ ﺑﲔ ﺣﺪﺍﺋﻘﻲ‬

‫ﺃﺩﻣﺎﻙ ﺷﻮﻕ ﺍﻟﻌﻄﺮ ﺍﳍﺎﺋﺞ‬

‫ﻭﺭﺣﺖ ﻣﻦ ﺭﺣﻴﻖ ﺯﻫﺮﺓ ﺗﺒﻜﻰ‬

‫ﺩﻣﻮﻉ ﺍﻵﺳﻲ ﻛﺎﳌﻮﺝ ﳚﺮﻯ‬

‫ﺫﺍﺏ ﺣﻨﻴﻨﻚ ﻭﺍﳌﻮﺕ ﻣﺮﺋﻲ‬

‫ﻭﻭﻗﻌﺖ ﺑﲔ ﺃﺷﺠﺎﺭﻱ ﺧﺮﻳﻔﺎ‬

‫ﺁﺧﺮ ﻭﺭﻗﺔ ﻣﻦ ﻋﻤﺮﻙ ﲤﻀﻰ‬

‫ﻣﻐﻤﺾ ﺍﻟﻌﻨﲔ ﺗﺴﺄﻝ ﻧﻔﺴﻚ‪.....‬؟؟!!!‬

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 ‫ﻭﺗﺮﺩﺩ ﺃﻧﺸﻮﺩﺓ ﲢﻠﻢ ‪‬ﺎ‬

‫ﻓﺄﺳﺪﻟﺖ ﺇﻟﻴﻚ ﺭﺩﺍﺋﻲ‬

‫ﻭﻋﻠﻰ ﻛﺘﻔﻴﻚ ﻭﺿﻌﺖ ﺣﻴﺎﰐ‬

‫ﺍﳉﺴﺪ ﺍﳌﺮﲡﻒ ﺻﺎﺭ ﲨﻴﻼ‬

‫ﻭﺍﻟﻠﻮﻥ ﺍﳌﻨﺨﻄﻒ ﺻﺎﺭ ﺭﺑﻴﻌﺎ‬

‫ﻭﺃﻗﺒﻠﺖ ﺇﱃ ﻋﻴﲏ ﺗﻌﺘﺮﻑ‬

‫ﺍﳌﺎﺿﻲ ﺟﻌﻠﻚ ﲣﺘﻨﻖ‬

‫ﻭﺍﻟﻌﻤﺮ ﺑﻮﺟﻬﻚ ﺃﺻﺒﺢ ﳏﺘﺮﻕ‬

‫ﲝﻨﺎﱐ ﺃﺫﻫﺒﺖ ﳘﻚ‬

‫ﻭﺑﻌﻴﲏ ﺩﺍﻭﻳﺖ ﺟﺮﺍﺣﻚ‬

‫ﻭﺑﻮﻓﺎﺋﻲ ﻛﺎﻥ ﺣﺼﺎﺩﻙ‬

‫ﻭﻛﻨﺖ ﺇﻟﻴﻚ ﻃﻔﻠﺔ‬

‫ﺃﺣﺒﺒﺖ ﻓﻴﻚ ﻭﺟﻬﺔ‬

‫ﺭﲰﺖ ﻣﻦ ﺿﻴﺎﻋﻚ ﺑﺴﻤﺔ‬

‫ﻭﻋﺸﺖ ﻣﻌﻚ ﺣﻴﺎﺓ‬

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 ‫ﻭﺃﺧﺬﺕ ﺯﻓﲑﻙ ﺃﻧﻔﺎﺳﺎ‬

‫ﻭﺃﺧﺬﺗﲏ ﺇﱃ ﺩﺭﺏ‬

‫ﻭﺗﺮﻛﺘﲏ ﰲ ﻫﻮﻝ‬

‫ﻭﻇﻬﺮ ﺑﻘﻮﺗﻚ ﺍﻧﺘﻘﺎﻣﺎ‬

‫ﻣﻊ ﲡﺎﻭﺯﻱ ﻟﻠﻮﻓﺎﺀ ﺧﺼﺎﻻ‬

‫ﻭﺃﻋﺮﺿﺖ ﺑﻜﻴﺎﻧﻚ ﻋﲎ‬

‫ﻭﺃﺫﻫﺒﺖ ﰲ ﺣﺒﻚ ﻧﻔﺴﻲ‬

‫ﻭﻣﺎ ﺣﻔﻈﺖ ﺑﺎﳍﻮﻯ ﻋﻬﺪﻱ‬

‫ﻭﺫﲝﺖ ﺭﻭﺣﺎ ﰲ ﻫﻮﺍﻙ ﺗﺄﻟﻘﺖ‬

‫ﻭﻗﻄﻌﺖ ﺃﻭﺭﺩﺓ ﺑﺎﻷﺷﻮﺍﻕ ﺗﻨﻔﺴﺖ‬

‫ﻭﻓﻌﻠﺖ ﺫﻧﺒﺎ ﺷﻨﻴﻌﺎ ﻗﺎﺗﻼ‬

‫ﺁﺩﻣﻰ ﻋﲎ ﺣﻨﻴﻨﺎ ﺻﺎﻣﺪﺍ‬

‫ﻗﺘﻠﺖ ﻗﻠﱯ ﰲ ﻫﻮﺍﻙ ﻭﻟﻴﺘﲏ‬

‫ﺣﻔﻈﺖ ﻧﻔﺴﻲ ﻣﻦ ﺭﺟﻞ ﻏﺎﺩﺭ‬

‫ﻫﺮﺏ ﻣﲎ ﻓﻴﻪ ﻋﻤﺮﻱ‬

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 ‫ﻭﺟﺎﺀ ﻣﻨﺔ ﺷﻴﱯ ﰲ ﺛﺎﻟﺚ ﻋﻘﺪﻱ‬

‫ﻭﺃﺻﺒﺤﺖ ﺟﺴﺪﺍ ﺣﻄﺎﻣﺎ ﻣﺘﻨﺎﺛﺮﺍ‬

‫ﺿﻠﻮﻉ ﰲ ﺍﻟﻀﻠﻮﻉ ﲤﺰﻗﺖ‬

‫ﻗﻠﻮﺏ ﰲ ﺍﻟﻜﺆﻭﺱ ﺗﻜﺴﺮﺕ‬

‫ﻭﺗﻘﻮﻝ ﺫﻧﱯ ﺃﻧﺜﻰ ﻣﺜﻠﻬﺎ‬

‫ﻣﻦ ﻧﻔﺲ ﺟﻨﺴﻲ‪....‬ﻭﻣﺎ ﻣﻠﻜﺖ ﺻﻔﺎﰐ‬

‫ﲢﻤﻞ ﺭﲰﻲ‪....‬ﻭﻣﺎ ﻋﺎﺷﺖ ﺣﻴﺎﰐ‬

‫ﳍﺎ ﺍﲰﻲ ‪....‬ﻭﻣﺎ ﻛﺎﻧﺖ ﻳﻮﻣﺎ ﺫﺍﰐ‬

‫ﻗﺘﻠﺘﻚ‪....‬ﻭﺑﺴﻜﻴﻨﻚ ﻛﺎﻥ ﻫﺠﺮﺍﱐ‬

‫ﺃﺣﺒﺒﺘﻚ‪....‬ﻭﺃﻫﻨﺖ ﻓﻴﻚ ﲰﺎﰐ‬

‫ﻗﺒﻠﺘﻚ‪....‬ﻭﻛﻨﺖ ﻣﻦ ﲪﺎﻗﺎﰐ‬

‫ﺳﺠﻨﺘﲏ‪....‬ﻭﻗﺒﻠﺖ ﻗﻀﺒﺎﱐ‬

‫ﺃﻫﺎﻧﺘﻚ‪....‬ﻭﺯﺭﻋﺖ ﻓﻴﻚ ﻛﱪﻳﺎﺋﻲ‬

‫ﻭﻛﻨﺖ ﺷﺮﻳﺪﺍ‪....‬ﻭﻓﺘﺤﺖ ﻟﻚ ﺃﺑﻮﺍﰊ‬

‫ﻋﻄﺸﺎﻥ‪....‬ﻭﺍﺭﺗﻮﻳﺖ ﺣﻨﺎﱐ‬

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 ‫ﺑﻈﻠﻤﻚ!!!!ﺃﺑﻜﻴﺖ ﻋﲎ ﻭﻓﺎﺀﺍ ﺧﺎﻟﺪﺍ‬

‫ﻭﺑﻜﺮﻫﻚ!!!ﺃﺑﻘﻴﺖ ﻟﻨﻔﺴﻲ ﺷﻘﺎﺀ ﺯﺍﺋﻼ‬

‫ﺍﺫﻫﺐ ﻟﻴﺲ ﺫﻧﱯ ﺫﻧﺒﻬﺎ‬

‫ﺍﺫﻫﺐ ﻣﺜﻠﻚ ﻣﺜﻠﻬﺎ‬

‫ﺍﺫﻫﺐ ﻓﻠﻦ ﻳﻜﻮﻥ ﺍﻟﻌﺘﺎﺏ ﻟﺮﻭﺣﻲ ﻣﻨﺼﻔﺎ‬

‫ﻭﻟﻦ ﻳﻜﻮﻥ ﺍﻟﺴﻤﺎﺡ ﺑﻘﻠﱯ ﻗﺎﺋﻤﺎ‬

‫ﻭﻟﻦ ﻳﻜﻮﻥ ﺍﳌﻮﺕ ﻟﺮﻭﺣﻚ ﺯﺍﻫﻘﺎ‬

‫‪.................‬‬

‫)ﻋﺰﺍﺋﻲ ﻟﻸﻭﻓﻴﺎﺀ ﻳﺘﺤﻤﻠﻮﻥ ﺫﻧﺐ ﻣﻦ ﻣﺎﺗﺖ ﻗﻠﻮ‪‬ﻢ (‬

‫ﺍﻣﲑ ﺣﺴﻦ‬

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 ‫ﻋﺎﺯﻑ ﺍﻟﺒﻴﺎﻧﻮ‬
‫ﻣﺎ ﺃﻣﻬﺮﱏ ﺣﲔ ﺗﻠﻌﺐ ﺃﺻﺎﺑﻌﻰ‬
‫ﻣﺎ ﺃﲨﻞ ﺍﺻﻮﺍﺗﻰ ﺣﲔ ﲣﺮﺝ ﺭﺳﺎﺋﻠﻰ‬
‫ﻭﻣﺎ ﺍﺷﻘﺎﻫﺎ ﺳﻴﻤﻔﻮﻧﻴﺔ ﻟﻌﺒﺘﻬﺎ‬
‫ﻋﻠﻰ ﺍﻭﺗﺎﺭ ﻗﻠﺐ ﺧﺎﱃ ﺍﻟﻮﺳﺎﺋﺪ‬
‫ﻣﺎﻋﺰﻓﺖ ﳊﻨﺎ ﺍﻻ ﻟﻠﻬﻮﻯ‬
‫ﻓﻴﺬﻫﺐ ﺍﺣﺴﺎﺳﻰ ﺑﺎﻃﻴﺎﻑ ﺍﻻﻧﺎﻣﻞ‬
‫ﺭﺃﻳﺘﻬﺎ ﻣﺮﺓ‬
‫ﻗﺎﻣﺖ ﲢﲕ ﺧﺎﻃﺮﻯ‬
‫ﻏﲑ ﺍﻻﻭﺭﺍﻕ ﻣﺎ ﻋﺮﻓﺖ ﻃﺮﻳﻘﺎ‬
‫ﻏﲑ ﺍﳌﻮﺳﻴﻘﻰ ﻣﺎ ﻋﺮﻓﺖ ﺑﺪﺍﺋﻠﻰ‬
‫ﺃﺫﻫﻠﺘﲎ ﻧﻈﺮ‪‬ﺎ‬
‫ﻭﺳﻴﻒ ﺍﳊﺎﺟﺐ ﺍﻟﻘﺎﻃﻊ‬
‫ﺃﻏﺮﻗﺘﲎ ﺑﺴﻤﺘﻬﺎ‬
‫ﻭﻣﺎ ﺩﺭﻳﺖ ﺃﺧﻄﺎﺭ ﺍﻟﺪﻭﺍﺋﺮ‬
‫ﻧﺎﻇﺮ‪‬ﺎ ﻃﻮﻳﻼ‬
‫ﻭﻗﻤﺖ ﺍﺟﺮﻯ ﻣﻦ ﺍﻫﻮﺍﻝ ﺍﻟﻀﻤﺎﺋﺮ‬
‫ﻫﺮﺑﺖ ﻣﻨﻬﺎ ﻓﻌﺪﺕ ﺍﻟﻴﻬﺎ‬

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‫ﻓﻤﻨﻌﺖ ﻣﻨﻬﺎ ﻭﺳﻜﻨﺖ ﻳﺪﻫﺎ‬
‫ﻃﻔﻞ ﺍﻧﺎ ﻻ ﺍﺩﺭﻯ!!!‬
‫ﺭﻓﻘﺎ ﰉ ﻳﺎ ﻋﻤﺮﻯ‬
‫ﻻ ﺗﻨﻮﻯ ﺍﻟﺮﺣﻴﻞ ﻋﻨﻬﺎ‬
‫ﺍﺭﲡﻴﻚ ﻳﺎ ﻗﺪﺭﻯ‬
‫ﻻ ﺗﺄﺧﺪﱏ ﻓﻴﻤﺎ ﻣﻀﻰ ﻣﻨﻬﺎ‬
‫ﻛﻦ ﻳﺎ ﺳﺒﻴﻠﻰ ﻃﺮﻳﻘﻰ‬
‫ﻛﻦ ﻳﺎ ﳊﲎ ﺩﻟﻴﻠﻰ‬
‫ﺟﺎﺀﺕ ﺍﱃ ﻭﺑﻜﺎﺋﻰ‬
‫ﺍﻣﻄﺎﺭ ﺍﺩﺍﻋﺒﻬﺎ‬
‫ﺳﻘﻄﺖ ﻣﻦ ﻋﻴﲎ ﺭﺳﺎﻡ‬
‫ﺗﻜﺘﺐ ﻋﻤﺮﺍ ﻭﺩﻻﺋﻞ‬
‫ﻗﺮﺃﺕ ﻣﻬﺪﻯ ﻭﺭﺑﻴﻌﻰ‬
‫ﻭﺍﺿﺎﻓﺖ ﻟﻠﺤﺴﻦ ﺷﺒﺎﰉ‬
‫ﻻ ﺗﺪﻧﻮﺍ ﻣﻦ ﻗﻠﱮ ﺍﻟﺸﺎﺟﻰ‬
‫ﻭﺍﺳﻜﻦ ﺍﺻﺪﺍﻑ ﺍﻻﺣﺒﺎﺏ‬
‫ﻓﺮﺃﻳﺖ ﺍﻟﺪﻧﻴﺎ ﺑﻌﻴﻮﻥ‬
‫ﺯﺭﻗﺎﺀ ﺗﻔﻮﻕ ﺍﻻﻳﺎﻡ‬
‫ﻓﺴﻜﻨﺖ ﺍﻟﻌﺸﻖ ﺑﺬﺍﻛﺮﺗﻰ‬
‫ﻭﻣﻀﻴﺖ ﺑﻨﻬﺞ ﺍﻻﺷﻮﺍﻕ‬

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 ‫ﻭﻛﺘﺒﺖ ﺍﻟﻠﺤﻦ ﳋﺎﻃﺮﻫﺎ‬
‫ﻭﻋﺰﻓﺖ ﺍﳊﺐ ﺑﺎﺻﺒﻌﻬﺎ‬
‫ﻧﻈﺮﺕ ﻭﺑﻜﻞ ﺷﺠﻮﻥ‬
‫ﺍﻟﻌﺸﻖ ﺟﻨﻮﻥ ﻭﺍﻣﺎﱏ‬
‫ﻭﺟﺎﺀﺕ ﰱ ﺍﻟﻴﻮﻡ ﺍﻟﺘﺎﱃ‬
‫ﻭﻳﺪﻳﻬﺎ ﲢﻤﻞ ﻣﻜﺘﻮﺏ‬
‫ﻭﺑﺮﺩﻭﺓ ﺍﻋﺼﺎﺏ ﺛﻠﻮﺝ‬
‫ﺗﺴﻜﺖ ﻭﻋﻴﻮﻥ ﺗﺘﻜﻠﻢ‬
‫ﺑﻠﻐﺎﺕ ﺍﻟﻐﺪﺭ ﺍﳌﻠﻌﻮﻥ‬
‫ﺗﻀﺤﻚ ﻭﺗﺮﺍﱏ ﺍﺗﺄﱂ‬
‫ﻭﻛﺎﱏ ﺍﳉﺮﻡ ﺍﳌﺸﻬﻮﺩ‬
‫ﻻ ﺫﻧﺐ ﳌﻦ ﻻ ﻳﺘﻌﺬﺏ‬
‫ﻭﺍﻟﺬﻧﺐ ﺑﺄﺣﻀﺎﻧﻚ ﻣﻜﺘﻮﺏ‬

‫ﺃﻣﲑ ﺣﺴﻦ‬

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 ‫ﻗﺼﺔ ‪:‬‬

‫ﻛﺎﻥ ﰲ ﺍﺏ ﺣﻜﻴﻢ ﺟﺪﺍ ﺍﺧﺪﺕ ﺍﺑﻨﻪ ﻭﺍﺩﻱ ﻋﺸﺎﻥ ﻳﻌﺮﻓﺔ ﻋﻠﻲ ﺍﻟﺘﻀﺎﺭﻳﺲ ﻭﻛﺎﻥ ﺻﻌﺐ ﻋﻠﻲ‬
‫ﺍﻟﻄﻔﻞ ﺍﳌﺸﻲ ﰲ ﻭﺳﻂ ﺍﳉﺒﺎﻝ ﺍﳌﺮﺗﻔﻌﺔ ﻭﻗﻊ ﺍﻟﻄﻔﻞ ﻓﺼﺮﺥ ﺑﺼﻮﺕ ﻋﺎﱄ ﻣﻦ ﻛﺘﺮ ﺍﻻﱂ ﻭﻗﺎﻝ‬
‫ﺍﺍﺍﺍﺍﺍﺍﺍﺍﺍﻩ ﻓﺴﻤﻊ ﺻﻮﺕ ﺑﻴﻘﻮﻝ ﺑﻨﻔﺲ ﻧﱪﺓ ﺻﻮﺗﻪ ﺍﺍﺍﺍﺍﺍﺍﺍﺍﺍﺍﺍﻩ ﻧﺴﻲ ﺍﻟﻄﻔﻞ ﺍﳌﻪ ﻭﺍﺳﺘﻐﺮﺏ ﻗﺎﻡ‬
‫ﺳﺄﻝ ﻗﺎﻝ ﻣﻴﲔ ﺍﻧﺖ؟ ﻭﺍﻧﺪﻫﺶ ﳌﺎ ﻟﻘﻲ ﺣﺪ ﺑﻴﻘﻮﻟﻪ ﻣﻴﲔ ﺍﻧﺖ؟ ﻓﺼﺎﺡ ﻏﺎﺿﺒﺎ ﻗﺎﻝ ﺍﻧﺖ ﺟﺒﺎﻥ‬
‫ﻭﰲ ﻧﻔﺲ ﺍﻟﻮﻗﺖ ﺟﺎﻟﻪ ﺍﻟﺮﺩ ﺑﻨﻔﺲ ﺍﻟﻘﻮﺓ ﺍﻧﺖ ﺟﺒﺎﻥ ﻓﻘﺎﻝ ﺍﻟﻄﻔﻞ ﻗﺒﻞ ﻣﺎ ﺍﻏﻠﻂ ﻓﻴﻪ ﺍﺳﺄﻝ ﺑﺎﺑﺎ‬
‫ﺍﻳﻪ ﺍﻟﻠﻲ ﺑﻴﺤﺼﻞ ﺩﻩ ﻭﻓﻘﺎﻝ ﻟﻪ ﺑﺎﺑﺎﻩ ﺭﻛﺰ ﺍﻧﺎ ﻫﻌﻤﻞ ﺍﻳﻪ ﻓﺼﺮﺥ ﺍﻻﺏ ﺑﺼﻮﺕ ﻋﺎﱄ ﰲ ﺍﻟﻮﺍﺩﻱ‬
‫ﻭﻗﺎﻝ ﺍﱐ ﺍﺣﺘﺮﻣﻚ ﻭﺑﺎﻟﻄﺒﻊ ﻛﺎﻥ ﻧﻔﺲ ﺍﻟﺮﺩ ﺍﱐ ﺍﺣﺘﺮﻣﻚ ﻭﺍﻟﻄﻔﻞ ﻭﺍﻗﻒ ﻣﻨﺪﻫﺶ ﺟﺪﺍ ﻭﺑﻌﺪ‬
‫ﺫﻟﻚ ﻗﺎﻝ ﺍﻻﺏ ﺍﻧﺖ ﺭﺍﺋﻊ ﻭﻛﺎﻥ ﺍﻟﺮﺩ ﺍﻧﺖ ﺭﺍﺋﻊ ﻓﻠﻢ ﻳﺴﺘﻄﻴﻊ ﺍﻻﺑﻦ ﺍﻻﻧﺘﻈﺎﺭ ﻓﺴﺄﻝ ﻭﺍﻟﺪﻩ‬
‫ﳌﺎﺫﺍ ﳛﺪﺙ ﻫﺬﺍ ﻭﻣﻦ ﺍﻟﺬﻱ ﻳﺘﺤﺪﺙ ﻓﻘﺎﻝ ﻟﻪ ﺍﻻﺏ ﺍﻥ ﻫﺬﻩ ﻇﺎﻫﺮﺓ ﻓﻴﺰﻳﺎﺋﻴﺔ ﺗﺴﻤﻲ ﺻﺪﻱ‬

‫ﻭﻟﻜﻦ ﺍﻧﺘﺒﻪ ﻓﻬﻲ ﺗﺸﺒﻪ ﺍﳊﻴﺎﻩ‬

‫ﻓﺎﳊﻴﺎﻩ ﻻ ﺗﻌﻄﻴﻚ ﺍﻻ ﺑﻘﺪﺭ ﻣﺎ ﺗﻌﻄﻴﻬﺎ‬

‫ﻭﻻ ﲢﺮﻣﻚ ﺇﻻ ﲟﻘﺪﺍﺭ ﻣﺎ ﲢﺮﻡ ﻧﻔﺴﻚ ﻣﻨﻬﺎ‬

‫ﺍﳊﻴﺎﺓ ﻣﺮﺁﺓ ﺃﻋﻤﺎﻟﻚ ﻭﺻﺪﻯ ﺃﻗﻮﺍﻟﻚ‪..‬‬
‫ﺇﺫﺍ ﺃﺭﺩﺕ ﺃﻥ ﻳﻮﻗﺮﻙ ﺃﺣﺪ ﻓﻮﻗﺮ ﻏﲑﻙ‪...‬‬
‫ﺇﺫﺍ ﺃﺭﺩﺕ ﺃﻥ ﻳﺮﲪﻚ ﺃﺣﺪ ﻓﺎﺭﺣﻢ ﻏﲑﻙ‪..‬‬
‫ﻭﺇﺫﺍ ﺃﺭﺩﺕ ﺃﻥ ﻳﺴﺘﺮﻙ ﺃﺣﺪ ﻓﺎﺳﺘﺮ ﻏﲑﻙ‪..‬‬

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 ‫ﺇﺫﺍ ﺃﺭﺩﺕ ﺍﻟﻨﺎﺱ ﺃﻥ ﻳﺴﺎﻋﺪﻭﻙ ﻓﺴﺎﻋﺪﻏﲑﻙ‪..‬‬
‫ﻭﺇﺫﺍ ﺃﺭﺩﺕ ﺍﻟﻨﺎﺱ ﺃﻥ ﻳﺴﺘﻤﻌﻮﺍ ﺇﻟﻴﻚ ﻟﻴﻔﻬﻤﻮﻙ ﻓﺎﺳﺘﻤﻊ‬

‫ﻟﺬﻟﻚ ﺳﻮﻑ ﻧﺘﺤﺪﺙ ﻋﻦ ﻓﻦ ﺍﻻﺗﺼﺎﻝ ﻭﻛﻴﻔﻴﺔ ﺍﻻﺗﺼﺎﻝ ﺑﺎﻻﺧﺮﻳﲔ‬

‫ﻭﺑﺪﺍﻳﻪ ﺍﳊﻴﺎﺓ ﺍﻟﺴﻌﻴﺪﺓ ﻫﻮ ﰲ ﺍﻻﺗﺼﺎﻝ ﺍﻟﺼﺎﺩﻕ ﺑﺎﷲ ﺳﺒﺤﺎﻧﻪ ﻭﺗﻌﺎﱄ ﰒ ﺑﺎﻟﻨﻔﺲ ﻭﺍﻻﺧﺮﻳﲔ‬

‫ﺃﻧﺖ ﺍﻵﻥ ﻋﻠﻰ ﻣﻮﻋﺪ ﻣﻊ ﻣﻬﺎﺭﺓ ﻣﻦ ﺃﻫﻢ ﺍﳌﻬﺎﺭﺍﺕ ﺍﻟﱵ ﺗﺘﻌﻠﻤﻬﺎ ﰲ ﺣﻴﺎﺗﻚ ﻭﻳﺘﻮﻗﻒ ﻋﻠﻴﻬﺎ‬
‫ﺟﺰﺀ ﻛﺒﲑ ﻣﻦ ﻓﺎﻋﻠﻴﺘﻚ ﻭﺗﺄﺛﲑﻙ ﻭﳒﺎﺣﻚ ﰲ ﺍﳊﻴﺎﺓ ﺇ‪‬ﺎ ﻣﻬﺎﺭﺓ ﺍﻻﺗﺼﺎﻝ ﻣﻊ ﺍﻵﺧﺮﻳﻦ‪.‬‬

‫ﺍﻹﻧﺴﺎﻥ ﺍﺟﺘﻤﺎﻋﻲ ﺑﻄﺒﻌﻪ ﳛﺐ ﺗﻜﻮﻳﻦ ﺍﻟﻌﻼﻗﺎﺕ ﻭﺑﻨﺎﺀ ﺍﻟﺼﺪﺍﻗﺎﺕ‪.‬ﻓﻤﻦ ﺣﺎﺟﺎﺕ ﺍﻹﻧﺴﺎﻥ‬

‫ﺍﻟﻀﺮﻭﺭﻳﺔ ﺣﺎﺟﺘﻪ ﻟﻼﻧﺘﻤﺎﺀ ﻭ ﻣﻦ ﺍﻟﻔﻄﺮﺓ ﺇﻥ ﻳﻜﻮﻥ ﺍﻹﻧﺴﺎﻥ ﺍﺟﺘﻤﺎﻋﻴﺎ‪ .‬ﻭﺍﻟﻔﻄﺮﺓﺍﻟﺴﻠﻴﻤﺔ‬
‫ﺗﺮﻓﺾ ﺍﻻﻧﻄﻮﺍﺀ ﻭ ﺍﻻﻧﻌﺰﺍﻝ ﻭﺗﺮﻓﺾ ﺃﻳﻀﺎ ﺍﻻﻧﻘﻄﺎﻉ ﻋﻦ ﺍﻵﺧﺮﻳﻦ‬
‫ﻭﺍﻟﻔﺮﺩ ﻣﻬﻤﺎ ﻛﺎﻥ ﺍﻧﻄﻮﺍﺋﻴﺎ ﻓﺎﻧﻪ ﻳﺴﻌﻰ ﻟﺘﻜﻮﻳﻦ ﻋﻼﻗﺎﺕ ﻣﻊ ﺍﻵﺧﺮﻳﻦ ﻭﺍﻥ ﻛﺎﻧﺖ ﳏﺪﻭﺩﺓ‬
‫ﻭﻳﺼﻌﺐ ﻭ ﺭﲟﺎ ﻳﺴﺘﺤﻴﻞ ﻋﻠﻴﻪ ﺍﻻﻧﻜﻔﺎﺀ ﻋﻠﻰ ﺍﻟﺬﺍﺕ ﻭﺍﻻﺳﺘﻐﻨﺎﺀ ﻋﻦ ﺍﻵﺧﺮﻳﻦ‪.‬‬

‫ﻣﺎﻫﻮ ﺍﻻﺗﺼﺎﻝ؟‬
‫ﻫﻮ ﺍﻟﻌﻼﻗﺔ ﺍﻟﱵ ﺗﻜﻮﻥ ﺑﲔ ﻓﺮﺩ ﻭﳎﻤﻮﻋﺔ ﻭﻳﻜﻮﻥ ﳍﺎ ﺭﺳﺎﻟﺔ ﻟﺘﺤﻘﻴﻖ ﻫﺪﻑ ﻣﻌﲔ ﻭﳍﺎ ﺛﻼﺛﺔ‬
‫ﺍﺭﻛﺎﻥ ﺍﳌﺮﺳﻞ ﻭﺍﳌﺮﺳﻞ ﺍﻟﻴﻪ ﻭﺍﻟﺮﺳﺎﻟﺔ‬

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 ‫ﰒ ﺗﻮﺻﻴﻞ ﻫﺬﻩ ﺍﻟﺮﺳﺎﻟﻪ ﺍﻭ ﺍﻟﺸﻌﻮﺭ ﺑﺸﻜﻞ ﻭﺍﺿﺢ ﺍﱄ ﺍﻟﻄﺮﻑ ﺍﻻﺧﺮ ﻟﺘﺒﺎﺩﻝ ﺍﻻﻓﻜﺎﺭ‬
‫ﻭﺍﳌﻌﻠﻮﻣﺎﺕ ﺑﺈﺳﻠﻮﺏ ﻓﻌﺎﻝ‬

‫)ﺍﻥ ﺍﻻﺗﺼﺎﻝ ﻣﺜﻞ ﺍﻟﻠﻤﺒﺔ ﻣﻬﻤﺎ ﻛﺎﻧﺖ ﺍﻟﺪﻧﻴﺎ ﺿﻠﻤﺔ ﻓﻬﻮ ﺍﻟﺬﻱ ﻳﻀﺊ ﺍﻣﺎﻣﻚ ﺍﻟﻄﺮﻳﻖ ﺩﺍﺋﻤﺎ‬
‫ﺩ‪/‬ﺍﺑﺮﺍﻫﻴﻢ ﺍﻟﻔﻘﻲ(‬

‫ﻭﻗﺪ ﺑﺪﺃﻧﺎ ﺍﳊﺪﻳﺚ ﺑﺎﻟﺘﻌﺮﻳﻒ ﺍﻟﻠﻐﻮﻱ ﻟﻼﺗﺼﺎﻝ ﻭﻣﻦ ﺧﻼﻟﻪ ﻧﺴﺘﻨﺘﺞ ﺛﻼﺙ ﻧﺘﺎﺋﺞ ﺃﻭﻟﻴﺔ‪:‬‬

‫‪١‬ـ ﺃﻥ ﺍﻻﺗﺼﺎﻝ ﳛﺘﻮﻱ ﻋﻠﻰ ﺻﻠﺔ ﺃﻱ ﻋﻼﻗﺔ ﺑﻴﻨﻚ ﻭﺑﲔ ﻣﻦ ﺗﺘﺼﻞ ﺑﻪ‪.‬‬

‫‪٢‬ـ ﺃﻥ ﺍﻻﺗﺼﺎﻝ ﻳﻘﺘﻀﻲ ﺍﻟﺒﻼﻍ ﻭﻫﻮ ﺗﻮﺻﻴﻞ ﻣﺎ ﺗﺮﻳﺪﻩ ﺇﱃ ﺍﻵﺧﺮﻳﻦ ﺑﺼﻮﺭﺓ ﺻﺤﻴﺤﺔ‪.‬‬

‫‪٣‬ـ ﺃﻥ ﺍﻻﺗﺼﺎﻝ ﻳﻌﲏ ﺍﻻﲢﺎﺩ ﻭﻫﻮ ﺍﻻﺗﻔﺎﻕ ﻭﺍﻻﻧﺴﺠﺎﻡ ﻣﻊ ﺍﻵﺧﺮﻳﻦ‪.‬‬

‫ﻭﺣﻮﻝ ﻫﺬﻩ ﺍﳌﻌﺎﱐ ﺗﻘﻮﻝ ﺃﺧﺼﺎﺋﻴﺔ ﺍﻟﻌﻼﺝ ﺍﻟﺸﻬﲑﺓ ﻓﺮﺟﻴﻨﻴﺎ ﺳﺎﺗﺮ‪ ' :‬ﺍﻻﺗﺼﺎﻝ ﻫﻮ ﻋﻤﻠﻴﺔ‬
‫ﺃﺧﺬ ﻭﻋﻄﺎﺀ ﻟﻠﻤﻌﺎﱐ ﺑﲔ ﺷﺨﺼﲔ ' ﻭﺗﻘﻮﻝ ﺃﻳﻀ‪‬ﺎ‪:‬‬

‫'ﺇﻥ ﺍﻻﺗﺼﺎﻝ ﺑﺎﺧﺘﺼﺎﺭ‬

‫ﺇﻗﺎﻣﺔ ﻋﻼﻗﺔ ﻣﻊ ﺍﻟﺸﺨﺺ ﺍﻵﺧﺮ'‪.‬‬ ‫ﻫﻮ‬

‫ﺇﻥ ﻫﺬﻩ ﺍﻟﺘﻌﺮﻳﻔﺎﺕ ﺟﻴﺪﺓ ﻟﻠﻐﺎﻳﺔ ﺇﻻ ﺃﻥ ﺃﻓﻀﻞ ﺗﻌﺮﻳﻒ ﻭﺻﻠﺖ ﺇﻟﻴﻪ ﻫﻮ ﻣﺎ ﺫﻛﺮﻩ ﺍﻟﺪﻛﺘﻮﺭ‬
‫ﻋﻮﺽ ﺍﻟﻘﺮﱐ ﰲ ﻛﺘﺎﺑﻪ'ﺣﱴ ﻻ ﺗﻜﻮﻥ ﻛﻼﹰ' ﻓﻘﺎﻝ ﻋﻦ ﺍﻻﺗﺼﺎﻝ‪' :‬ﺳﻠﻮﻙ ﺃﻓﻀﻞ ﺍﻟﺴﺒﻞ‬
‫ﻭﺍﻟﻮﺳﺎﺋﻞ ﻟﻨﻘﻞ ﺍﳌﻌﻠﻮﻣﺎﺕ ﻭﺍﳌﻌﺎﱐ ﻭﺍﻷﺣﺎﺳﻴﺲ ﻭﺍﻵﺭﺍﺀ ﺇﱃ ﺃﺷﺨﺎﺹ ﺁﺧﺮﻳﻦ ﻭﺍﻟﺘﺄﺛﲑ ﰲ‬
‫ﺃﻓﻜﺎﺭﻫﻢ ﻭﺇﻗﻨﺎﻋﻬﻢ ﲟﺎ ﺗﺮﻳﺪ ﺳﻮﺍﺀ ﻛﺎﻥ ﺫﻟﻚ ﺑﻄﺮﻳﻘﺔ ﻟﻐﻮﻳﺔ ﺃﻭ ﻏﲑ ﻟﻐﻮﻳﺔ'‪.‬‬

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 ‫ﳑﺎ ﺳﺒﻖ ﻧﺴﺘﻔﻴﺪ ﻋﺪﺓ ﻧﻘﺎﻁ ﻫﺎﻣﺔ‪:‬‬

‫‪ -١‬ﻟﻮ ﺗﻌﺎﻣﻠﻨﺎ ﻣﻊ ﺍﻟﻨﺎﺱ ﻣﻦ ﺧﻼﻝ ﺻﻮﺭﺓ ﻣﺴﺒﻘﺔ ﱂ ﻧﻜﻮ‪‬ﺎ ﺑﻨﺎﺀ ﻋﻠﻰ ﺭﺳﺎﺋﻠﻬﻢ ﺃﻭ‬
‫ﺭﺩﻭﺩ ﺃﻓﻌﺎﳍﻢ ﺍﳊﻘﻴﻘﻴﺔ ﻓﻼ ﳝﻜﻦ ﺃﻥ ﻳﺘﻢ ﺃﻱ ﻧﻮﻉ ﻣﻦ ﺍﻟﺘﻮﺍﺻﻞ ﺍﻟﻔﻌﺎﻝ؛ ﻷﻥ ﻫﻨﺎﻙ‬
‫"ﺗﺸﻮﻳﺸﺎ" ﻋﻠﻰ ﻓﻬﻤﻨﺎ‪ ،‬ﺑﺎﻟﻀﺒﻂ ﻛﻤﺎ ﻟﻮ ﻛﻨﺎ ﻻ ﻧﺘﺤﺪﺙ ﻧﻔﺲ ﺍﻟﻠﻐﺔ‪ .‬ﺍﻟﺼﺤﻴﺢ ﺃﻥ ﻧﺒﺪﺃ‬
‫ﺍﻟﺘﻮﺍﺻﻞ ﰲ ﺣﺎﻟﺔ ﻣﻦ ﺍﳊﻴﺎﺩ‪ ،‬ﻭﳒﺘﻬﺪ ﰲ ﺗﻔﺴﲑ ﻣﺎ ﻳ‪‬ﺮﹺﺩ ﺇﻟﻴﻨﺎ ﻣﻦ ﺍﻟﺮﺳﺎﺋﻞ ﻋﻠﻰ ﺍﻟﻮﺟﻪ‬
‫ﺍﻟﺼﺤﻴﺢ‪ ،‬ﰒ ﻧﺮﺳﻞ ﺭﺩ ﺍﻟﻔﻌﻞ ﺗﺒﻌ‪‬ﺎ ﻟﺬﻟﻚ‪.‬‬

‫‪ -‬ﺍﻟﺸﻜﻞ ﺍﳌﺜﺎﱄ ﻟﺪﺍﺋﺮﺓ ﺍﻻﺗﺼﺎﻝ ﺫﻭ ﻃﺮﻓﲔ ‪Two-way‬‬

‫‪ ،communication‬ﻛﻞ ﻭﺍﺣﺪ ﻣﻨﻬﺎ ﻣﺮﺳﻞ ﻭﻣﺴﺘﻘﺒﻞ ﰲ ﺍﻟﻮﻗﺖ ﻧﻔﺴﻪ ﺑﺎﺳﺘﻤﺮﺍﺭ‪ ،‬ﺃﻣﺎ‬
‫ﺍﻟﺸﻜﻞ ﺍﳌﺘﺒﻊ ﰲ ﻧﻈﻢ ﺍﻟﺘﺪﺭﻳﺲ ﻋﻨﺪﻧﺎ ﻓﻴﻠﻐﻲ ﺍﳉﺰﺀ ﺍﻟﺴﻔﻠﻲ ﻣﻦ ﺍﻟﺮﺳﻢ )ﺍﳋﺎﺹ ﺑﺮﺩ‬
‫ﺍﻟﻔﻌﻞ(‪ ،‬ﻭﻳﺼﺒﺢ ﻧﻮﻋ‪‬ﺎ ﻗﺎﺻﺮ‪‬ﺍ ﻣﻦ ﺍﻟﺘﻮﺍﺻﻞ ﻏﲑ ﺍﻟﻔﻌﺎﻝ ﻳﺴﻤﻰ ‪One-‬‬
‫‪ waycommunication‬ﺃﻱ ﺍﺗﺼﺎﻝ ﻣﻦ ﻃﺮﻑ ﻭﺍﺣﺪ‪ ،‬ﻭﻫﻮ ﻏﲑ ﻓﻌﺎﻝ؛ ﻷﻧﻪ ﻳﻠﻐﻲ‬
‫ﻣﺼﺪﺭ‪‬ﺍ ﻫﺎﻣ‪‬ﺎ ﻟﻠﻤﻌﻠﻮﻣﺎﺕ ﻋﻦ ﻣﺴﺘﻮﻯ ﺍﺳﺘﻴﻌﺎﺏ ﺍﳌﺘﻠﻘﻲ ﻭﺍﺳﺘﻌﺪﺍﺩﻩ ﻟﻠﻤﺰﻳﺪ ﻣﻦ ﻋﺪﻣﻪ!‪.‬‬

‫ﻋﻨﺎﺻﺮ ﺍﻻﺗﺼﺎﻝ‬
‫‪ .١‬ﺍﳌﺮﺳﻞ‬
‫‪ .٢‬ﺍﳌﺴﺘﻘﺒﻞ‬
‫‪ .٣‬ﺍﻟﺮﺳﺎﻟﺔ‬

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 ‫ﺍﻭﻻ ‪/‬ﺍﳌﺮﺳﻞ ‪:‬‬
‫ﻫﻮ ﺍﻟﺸﺨﺺ ﺍﻟﺬﻱ ﳛﻤﻞ ﻣﻌﻠﻮﻣﺎﺕ ﺃﻭ ﺭﺳﺎﻟﺔ ﻣﻌﻴﻨﺔ ﻳﺮﻳﺪ ﺇﻥ ﻳﻮﺻﻠﻬﺎ ﺇﱃ ﺍﻵﺧﺮﻳﻦ ﻭﳜﺘﺎﺭ‬
‫ﺃﻓﻀﻞ ﺍﻟﺴﺒﻞ ﻟﻠﻨﻘﻞ ﻫﺬﻩ ﺍﻟﺮﺳﺎﻟﺔ ﺣﱴ ﺗﻜﻮﻥ ﻣﺆﺛﺮﻩ ﺃﻛﺜﺮ ‪..‬‬

‫ﺛﺎﻧﻴﺎ ‪/‬ﺍﳌﺴﺘﻘﺒﻞ ‪:‬‬

‫ﻫﻮ ﺍﻟﺸﺨﺺ ﺍﻟﺬﻱ ﻳﺴﺘﻘﺒﻞ ﺍﻟﺮﺳﺎﻟﺔ‬

‫ﺛﺎﻟﺜﺎ ‪/‬ﺍﻟﺮﺳﺎﻟﺔ ‪-:‬‬

‫ﳜﻀﻊ ﺍﺧﺘﻴﺎﺭ ﺍﻟﺮﻣﻮﺯ ﺍﻟﱵ ﺗﺸﻜﻞ ﺍﻟﺮﺳﺎﻟﺔ ﻟﻘﻮﺍﻋﺪ ﻓﻨﻴﺔ ﻭﺩﻻﻟﻴﺔ ﻭﻧﻔﺴﻴﺔ ﻟﻜﻲ ﻳﺼﺒﺢ ﳍﺬﻩ‬
‫ﺍﻟﺮﺳﺎﻟﺔ ﺃﻗﺼﻲ ﻗﺪﺭ ﻣﻦ ﺍﻟﻔﺎﻋﻠﻴﺔ ﻭﺍﻟﺘﺄﺛﲑ ﺇﺫﺍ ﻣﺎ ﺻﺎﺩﻓﺖ ﻇﺮﻭﻓﺎ ﻣﻼﺋﻤﺔ ﻋﻨﺪ ﺍﳌﺴﺘﻘﺒﻞ ﻭﰱ‬
‫ﻣﻮﻗﻒ ﺍﻻﺗﺼﺎﱄ ﺑﺼﻔﺔ ﻋﺎﻣﺔ‬

‫ﺭﺍﺑﻌﺎ‪ /‬ﺍﺩﺍﻩ ﻧﻘﻞ ﺍﻟﺮﺳﺎﻟﻪ‬

‫ﺧﺎﻣﺴﺎ\ ﺍﳌﻨﺎﺥ ﺍﻭ ﺍﻟﺒﺌﻴﻪ‬

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 ‫ﺷﺮﻭﻁ ﺍﻟﻨﺠﺎﺡ ﺍﻻﺗﺼﺎﻝ‬
‫‪١‬ـ ﻭﺟﻮﺩ ﺭﻏﺒﺔ ﻭﺣﺎﻓﺰ ﻟﺪﻯ ﺍﳌﺮﺳﻞ ﻭﻫﺬﺍ ﻳﺴﺘﺪﻋﻲ ﺃﻥ ﻳﻜﻮﻥ ﻟﻪ ﻫﺪﻑ ﻭﺍﺿﺢ‪.‬‬

‫‪٢‬ـ ﲢﺪﻳﺪ ﺻﻴﻐﺔ ﺍﻟﺮﺳﺎﻟﺔ ﻭﻻ ﺑﺪ ﺃﺛﻨﺎﺀ ﺫﻟﻚ ﻣﻦ ﺗﻮﻗﻊ ﺭﺩ ﻓﻌﻞ ﺍﳌﺴﺘﻘﺒﻞ‪:‬ﻭﺍﻟﺮﺳﺎﻟﺔ ﺍﻟﻨﺎﺟﺤﺔ‬
‫ﻫﻲ ﺍﻟﱵ ﲡﻴﺐ ﻋﻠﻰ ﲬﺴﺄﺳﺌﻠﺔ‪:‬‬

‫ﺃـ ﻣﺎﺫﺍ ﺃﺭﻳﺪ ﻣﻦ ﻫﺬﻩ ﺍﻟﺮﺳﺎﻟﺔ ؟‬

‫ﺏ ـ ﻣﱴ ﺃﺭﻳﺪ ﺫﻟﻚ ؟‪.‬‬

‫ﺝ ـ ﺃﻳﻦ ﺃﺭﻳﺪﻩ ؟‬

‫ﺩ ـ ﻛﻴﻒ ﺃﺭﻳﺪ ﺃﻥ ﻳﺘﺤﻘﻖ ؟‬

‫ﻩ ـ ﳌﺎﺫﺍ ﺃﻧﺎ ﺃﺭﻳﺪﻩ ؟‪.‬‬

‫‪٣‬ـ ﺇﳒﺎﺯ ﺍﻟﺮﺳﺎﻟﺔ ﻓﻌﻼﹰ ﻭﺗﻨﻔﻴﺬﻫﺎ ﻋﻠﻰ ﺃﺭﺽ ﺍﻟﻮﺍﻗﻊ‪.‬‬

‫‪٤‬ـ ﺍﺳﺘﻘﺒﺎﻝ ﺍﳌﺮﺳﻞ ﺇﻟﻴﻪ ﻟﺮﺳﺎﻟﺘﻚ‪.‬‬

‫‪٥‬ـ ﺭﺩ ﻓﻌﻞ 'ﺍﳌﺴﺘﻘﺒﻞ ﺃﻭ ﺍﳌﺮﺳﻞ ﺇﻟﻴﻪ ﲡﺎﻩ ﺭﺳﺎﻟﺘﻚ ﻭﻫﻮ ﺍﳍﺪﻑ ﺍﻟﺬﻱ ﺗﺴﻌﻰ ﻟﺒﻠﻮﻏﻪ‬
‫ﻭﺍﻟﻮﺻﻮﻝ ﺇﻟﻴﻪ‪.‬‬

‫ﺇﺫﻥ ﺗﺴﺘﺨﻠﺺ ﳑﺎ ﻣﻀﻰ ﺃﻥ ﺍﻻﺗﺼﺎﻝ ﺣﱴ ﻳﻜﻮﻥ ﻧﺎﺟﺤ‪‬ﺎ ﻻ ﺑﺪ ﻣﻦ ﺭﻛﻨﲔ ﺃﺳﺎﺳﲔ‪:‬‬

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 ‫‪١‬ـ ﺇﻗﺎﻣﺔ ﻋﻼﻗﺎﺕ ﻗﻮﻳﺔ ﻣﻊ ﺍﻵﺧﺮﻳﻦ ﻭﺍﻟﺘﻮﺍﻓﻖ ﻣﻌﻬﻢ‪.‬‬

‫‪٢‬ـ ﻧﻘﻞ ﺍﳌﻌﻠﻮﻣﺎﺕ ﻭﺍﻷﻓﻜﺎﺭ ﺇﱃ ﺍﻵﺧﺮﻳﻦ ﻭﺍﻟﺘﺄﺛﲑ ﻓﻴﻬﻢ ﲟﺎ ﺗﺮﻳﺪ‪.‬‬

‫ﻣﺒﺎﺩﺉ ﺍﻻﺗﺼﺎﻝ ﺍﻟﻨﺎﺟﺢ‬

‫ﺍﳌﺒﺪﺃ ﺍﻷﻭﻝ‪ :‬ﺍﻻﺗﺼﺎﻝ ﻳﻘﻮﻡ ﻋﻠﻰ ﻓﻬﻢ ﺍﻵﺧﺮﻳﻦ ﻭﺍﻟﺘﺂﻟﻒ ﻣﻌﻬﻢ‪:‬‬

‫ﺍﳕﺎﻁ ﺍﻟﺸﺨﺼﻴﺎﺕ‬

‫‪١‬ـ ﺍﻟﺒﺼﺮﻱ‪:‬‬

‫ﻫﺬﺍ ﺍﻟﺸﺨﺺ ﻳﺮﻯ ﺍﻟﻌﺎﱂ ﺣﻮﻟﻪ ﻣﻦ ﺧﻼﻝ ﺍﻟﺼﻮﺭ ﻭﺍﻟﺮﺅﻳﺔ ﺑﺎﻟﻌﲔ ﺣﱴ ﺃﻧﻪ ﻋﻨﺪ ﺍﳊﺪﻳﺚ ﻋﻦ‬
‫ﺍﳌﻌﺎﱐ ﺍ‪‬ﺮﺩﺓ ﳛﻮﳍﺎ ﺇﱃ ﺻﻮﺭ ﻣﺸﺎﻫﺪﺓ ﻓﻬﻮ ﻳﺮﻛﺰ ﺃﻏﻠﺐ ﺍﻧﺘﺒﺎﻫﻪ ﻋﻠﻰ ﺻﻮﺭ ﻭﺃﻟﻮﺍﻥ ﺍﻟﺘﺠﺮﺑﺔ‪،‬‬
‫ﻭﻋﻨﺪﻣﺎ ﻳﺼﻒ ﺣﺎﺩﺛﺔ ﻣﻌﻴﻨﺔ ﻳﺼﻔﻬﺎ ﻣﻦ ﺧﻼﻝ ﺍﻟﺼﻮﺭ‪ ،‬ﻭﲡﺪ ﻋﺒﺎﺭﺍﺗﻪ ﻳﻜﺜﺮ ﻓﻴﻬﺎ‪ :‬ﺃﺭﻯ ـ ﺃﻧﻈﺮ‬
‫ـ ﻳﻈﻬﺮ ـ ﻣﺸﻬﺪ ـ ﻭﺿﻮﺡ ـ ﳌﻌﺎﻥ ـ ﻣﻼﺣﻈﺔ ـ ﻣﺮﺍﻗﺒﺔ ـ ﻣﻨﻈﺮ ـ ﺃﻟﻮﺍﻥ ـ ﻇﻼﻡ‬
‫ـ ﻇﻼﻝ ـ ﺷﺮﻭﻕ‪.‬‬

‫ﻫﺬﺍ ﺍﻟﺸﺨﺺ ﲡﺪﻩ ﺳﺮﻳﻌ‪‬ﺎ ﰲ ﺣﺮﻛﺘﻪ ﺳﺮﻳﻌ‪‬ﺎ ﰲ ﻛﻼﻣﻪ ﰲ ﺃﻛﻠﻪ‪ ،‬ﺣﻴﺎﺗﻪ ﻋﻠﻰ ﳕﻂ ﺳﺮﻳﻊ ﻭﺫﻟﻚ‬
‫ﺑﺴﺒﺐ ﺗﺄﺛﺮﻩ ﺑﺎﻟﻨﻤﻂ ﺍﻟﺼﻮﺭﻱ ﺍﻟﻘﺎﺋﻢ ﻋﻠﻰ ﺍﻟﺼﻮﺭ ﺍﳌﺘﻼﺣﻘﺔ ﻭﺍﻟﻀﻮﺀ‪.‬‬

‫‪٢‬ـ ﺍﻟﺴﻤﻌﻲ‪:‬‬

‫ﻫﺬﺍ ﺍﻟﺸﺨﺺ ﺍﳊﺎﺳﺔ ﺍﻟﻐﺎﻟﺒﺔ ﻋﻠﻴﻪ ﰲ ﺍﺳﺘﻘﺒﺎﻝ ﺍﳌﻌﻠﻮﻣﺎﺕ ﻭﰲ ﺭﺅﻳﺔ ﺍﻟﻌﺎﱂ ﻣﻦ ﺣﻮﻟﻪ ﻫﻮ‬
‫ﺍﻟﺴﻤﻊ‪ ،‬ﻫﺬﺍ ﺍﻟﺸﺨﺺ ﳛﺐ ﺍﻻﺳﺘﻤﺎﻉ ﻛﺜﲑ‪‬ﺍ ﻭﻟﻪ ﻣﻘﺪﺭﺓ ﻓﺎﺋﻘﺔ ﻋﻠﻰ ﺍﻻﺳﺘﻤﺎﻉ ﺩﻭﻥ ﻣﻘﺎﻃﻌﺔ‬

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 ‫ﻭﻳﻬﺘﻢ ﻛﺜﲑ‪‬ﺍ ﺑﺎﺧﺘﻴﺎﺭ ﺍﻷﻟﻔﺎﻅ ﻭﺍﻟﻌﺒﺎﺭﺍﺕ ﻭﲡﺪ ﻛﻼﻣﻪ ﺑﻄﻴﺌﹰﺎ‪ ،‬ﻭﻳﺮﻛﺰ ﻋﻠﻰ ﻧﱪﺍﺕ ﺻﻮﺗﻪ ﻋﻨﺪ‬
‫ﺍﻟﻜﻼﻡ ﻛﻤﺎ ﺃﻧﻪ ﳝﻴﻞ ﻟﻠﻤﻌﺎﱐ ﺍﻟﺘﺠﺮﻳﺪﻳﺔ ﺍﻟﻨﻈﺮﻳﺔ ﻛﺜﲑ‪‬ﺍ‪.‬‬

‫ﻭﲡﺪ ﻋﺒﺎﺭﺍﺗﻪ ﻳﻜﺜﺮ ﻓﻴﻬﺎ‪ :‬ﺍﲰﻊ ـ ﺍﻧﺼﺖ ـ ﺇﺻﻐﺎﺀ ـ ﺻﻮﺕ ـ ﺭﻧﲔ ـ ﳍﺠﺔ ـ ﺍﺯﻋﺎﺝ‬
‫ـ ﺻﻴﺎﺡ ـ ﳘﺲ ـ ﺛﺮﺛﺮﺓ ـ ﺻﻬﻴﻞ ـ ﺯﺋﲑ ـ ﺭﻋﺪ‪.‬‬

‫ﺍﻟﺸﺨﺺ ﺍﻟﺴﻤﻌﻲ ﻳﺘﺄﱏ ﰲ ﺍﲣﺎﺫ ﺍﻟﻘﺮﺍﺭ ﻭﳚﻤﻊ ﺃﻛﱪ ﻗﺪﺭ ﻣﻦ ﺍﳌﻌﻠﻮﻣﺎﺕ ﻗﺒﻞ ﺍﲣﺎﺫﻩ ﻭﻳﻘﻠﻞ ﺇﱃ‬
‫ﺃﺩﱏ ﺩﺭﺟﺔ ﻣﺴﺘﻮﻯ ﺍﳌﺨﺎﻃﺮﺓ‪ ،‬ﻓﻬﻮ ﺭﺟﻞ ﻗﺮﺍﺭ ﺣﺬﺭ‬

‫ﻣﺜﺎﻝ‬

‫ﻗﺎﻝ ﺍﺣﺪ ﺍﳊﻜﻤﺎﺀ ‪ :‬ﺍﳌﺴﺘﻤﻊ ﺍﳉﻴﺪ ﺧﻄﻴﺐ ﺟﻴﺪ‬

‫‪٣‬ـ ﺍﳊﺴﻲ‪:‬‬

‫ﻫﺬﺍ ﺍﻟﺸﺨﺺ ﻳﻨﺼﺐ ﺍﻫﺘﻤﺎﻣﻪ ﺍﻟﺮﺋﻴﺴﻲ ﻋﻠﻰ ﺍﻟﺸﻌﻮﺭ ﻭﺍﻷﺣﺎﺳﻴﺲ‪ ،‬ﻭﺇﺫﺍ ﺣﻜﻰ ﻟﻚ ﻋﻦ‬
‫ﲡﺮﺑﺔ ﻣﻌﻴﻨﺔ ﺳﻴﺤﻜﻴﻬﺎ ﻟﻚ ﻣﻦ ﺧﻼﻝ ﻣﺎ ﺷﻌﺮ ﺑﻪ ﻭﻣﺎ ﺃﺣﺲ ﺑﻪ‪ ،‬ﻭﻟﺬﻟﻚ ﻓﺈﻥ ﻗﺮﺍﺭﺍﺗﻪ ﻣﺒﻨﻴﺔ‬
‫ﻋﻠﻰ ﺍﳌﺸﺎﻋﺮ ﻭﺍﻟﻌﻮﺍﻃﻒ ﺍﳌﺴﺘﻨﺒﻄﺔ ﻣﻦ ﺍﻟﺘﺠﺮﺑﺔ‪.‬‬

‫ﻫﺬﺍ ﺍﻟﺸﺨﺺ ﲡﺪ ﻛﻼﻣﻪ ﺃﻛﺜﺮ ﺑﻄﺌﹰﺎ ﻣﻦ ﺳﺎﺑﻘﻴﻪ ﻭﻳﺴﺘﺸﻌﺮ ﺛﻘﻞ ﺍﳌﺴﺆﻭﻟﻴﺔ ﺃﻛﺜﺮ ﻣﻦ ﻏﲑﻩ‬
‫ﻭﻟﺬﻟﻚ ﻳﻨﻔﻌﻞ ﻟﻠﻤﺒﺎﺩﺉ ﻭﻳﻨﺪﻓﻊ ﻟﻠﻌﻤﻞ ﳍﺎ ﻭﲡﺪ ﻋﺒﺎﺭﺍﺗﻪ ﻳﻜﺜﺮ ﻓﻴﻬﺎ‪:‬‬

‫ﺷﻌﻮﺭ ـ ﺇﺣﺴﺎﺱ ـ ﳌﺲ ـ ﺇﻣﺴﺎﻙ ـ ﺣﺎﺭ ـ ﺑﺎﺭﺩ ـ ﺿﻐﻂ ـ ﺷﺪﺓ ـ ﺃﱂ ـ ﺣﺰﻥ ـ‬

‫ﺳﺮﻭﺭ ـ ﺛﻘﻞ ـ ﺟﺮﺡ ـ ﺿﻴﻖ‪.‬‬

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 ‫ﻭﻫﻜﺬﺍ ﺇﺫﺍ ﻓﻬﻤﺖ ﺷﺨﺼﻴﺔ ﺍﻵﺧﺮ‪ ،‬ﻭﺣﺪﺩﺕ ﳕﻂ ﺇﺩﺭﺍﻛﻪ‪،‬ﻓﺈﻥ ﻫﺬﺍ ﺳﻴﺴﺎﻋﺪﻙ ﻛﺜﲑ‪‬ﺍ ﰲ‬
‫ﲢﻘﻴﻖ ﺍﻟﺘﺂﻟﻒ ﻣﻌﻪ‪.‬‬

‫ﺍﳋﻄﻮﺓ ﺍﻟﺜﺎﻧﻴﺔ‪ /‬ﺍﻟﻘﻴﺎﺩﺓ‪:‬‬

‫ﺗﻮﻟﺪ ﺍ‪‬ﺎﺭﺍﺓ ﺍﻟﺘﺂﺯﺭ ﻭﺍﻻﺗﺼﺎﻝ ﺍﻟﻘﻮﻱ‪ ،‬ﺃﻣﺎ ﺍﻵﻥ ﻭﰲ ﻫﺬﻩ ﺍﳋﻄﻮﺓ ﺁﻥ ﻟﻚ ﺃﻥ ﺗﻘﻮﺩ ﺍﻟﺸﺨﺺ‬
‫ﺍﻵﺧﺮ ﺑﻌﺪﻣﺎ ﺣﺼﻞ ﻫﺬﺍ ﺍﻻﺗﺼﺎﻝ ﻭﻫﺬﺍ ﺍﻟﺘﺂﺯﺭ‪ ،‬ﻫﻴﺎ! ﺧﺬ ﺍﻵﻥ ﺑﺰﻣﺎﻡ ﺍﳌﺒﺎﺩﺭﺓ! ﻗﻢ ﺑﺘﻐﻴﲑ‬
‫ﻣﻘﺼﻮﺩ ﰲ ﺳﻠﻮﻛﻚ‪ ،‬ﻭﺳﺘﺠﺪ ﺃﻥ ﺍﳌﻘﺎﺑﻞ ﳚﺎﺭﻳﻚ ﺑﺪﻭﺭﻩ ﺃﻭ ﻳﺘﺒﻌﻚ‪ ،‬ﺇﺫﺍ ﺣﺪﺙ ﺫﻟﻚ ﻓﺈﻥ ﻫﺬﺍ‬
‫ﺍﻟﺸﺨﺺ ﻳﺘﺒﻊ ﻗﻴﺎﺩﺗﻚ ﻭﻟﺪﻳﻚ ﻋﻼﻗﺔ ﺍﺗﺼﺎﻝ ﳑﺘﺎﺯﺓ‪ ،‬ﺍﻵﻥ ﰲ ﻫﺬﻩ ﺍﻟﻠﺤﻈﺔ ﺗﺴﺘﻄﻴﻊ ﻗﻴﺎﺩﺗﻪ ﳓﻮ‬
‫ﺍﻟﻨﺘﻴﺠﺔ ﺍﳌﺮﻏﻮﺑﺔ ﻣﺜﻞ ﺃﻥ ﺗﻘﻨﻌﻪ ﲟﺎ ﺗﺮﻳﺪ ﺃﻭ ﺗﺪﻓﻌﻪ ﳓﻮ ﻋﻤﻞ ﺃﻭ ﺳﻠﻮﻙ ﻣﻌﲔ‪.‬‬

‫ﻣﺜﺎﻝ ‪ :‬ﺻﺎﺣﺐ ﻣﻌﺮﺽ ﻋﺮﺑﻴﺎﺕ ﻳﺴﺘﺨﺪﻡ ﺍﳕﺎﻁ ﺍﻟﺸﺨﺼﻴﺎﺕ ﺑﺎﻧﻮﺍﻋﻬﺎ ﰱ ﺍﻟﺘﻌﺎﻣﻞ ﺍﻟﺰﺑﺎﺋﻦ‬

‫ﺍﳊﺴﻰ ‪ :‬ﳚﻌﻠﻪ ﻳﻠﻤﺲ ﺍﻟﺴﻴﺎﺭﻩ ﻭﳚﻠﺲ ﺑﺪﺍﺧﻠﻬﺎ ﻣﻌﻈﻢ ﺍﻟﻮﻗﺖ‬

‫ﺍﻟﺴﻤﻌﻰ ‪ :‬ﻳﺘﺤﺪﺙ ﻣﻌﻪ ﻣﻌﻈﻢ ﺍﻟﻮﻗﺖ ﻋﻦ ﳑﻴﺰﺍﺕ ﺍﻟﺴﻴﺎﺭﻩ‬

‫ﺍﻟﺒﺼﺮﻯ‪ :‬ﻳﻠﻔﺖ ﻧﻈﺮﻩ ﺑﺎﻟﻮﺍﻥ ﺍﻟﻌﺮﺑﻴﻪ ﻭﳚﻌﻠﻪ ﻳﺮﻯ ﳑﻴﺰﺍ‪‬ﺎ‬

‫ﺍﳌﺒﺪﺃ ﺍﻟﺜﺎﱏ ‪ /‬ﺛﻼﺛﻴﺔ ﺍﻻﺗﺼﺎﻝ‪:‬‬

‫ﻳﻌﺘﻘﺪ ﺑﻌﺾ ﺍﻟﻨﺎﺱ ﺃﻧﻪ ﺣﱴ ﻳﺆﺛﺮ ﻋﻠﻰ ﺍﻵﺧﺮﻳﻦ ﻭﻳﺘﺼﻞ ‪‬ﻢ ﺍﺗﺼﺎﻻﹰ ﺟﻴﺪ‪‬ﺍ ﻓﺴﲑﻛﺰ ﻋﻠﻰ‬
‫ﺍﻟﻜﻠﻤﺎﺕ ﺍﳌﺆﺛﺮﺓ ﻭﻳﺮﺗﺒﻬﺎ ﺑﻨﻈﺎﻡ ﻣﻌﲔ ﻋﻠﻰ ﺣﺴﺐ ﺷﺨﺼﻴﺔ ﺍﻵﺧﺮ‪ ،‬ﻭﺑﺬﻟﻚ ﻗﺪ ﺃﰎ ﻋﻤﻠﻴﺔ‬
‫ﺍﻻﺗﺼﺎﻝ‪ ،‬ﻭﺍﻟﻮﺍﻗﻊ ﺃﻧﻪ ﺑﺬﻟﻚ ﻗﺪ ﺣﺼﻞ ‪ %٧‬ﻓﻘﻂ ﻣﻦ ﻋﻤﻠﻴﺔ ﺍﻻﺗﺼﺎﻝ‪.‬‬

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 ‫ﻓﻘﺪ ﺃﺟﺮﻳﺖ ﺩﺭﺍﺳﺎﺕ ﰲ ﺑﺮﻳﻄﺎﻧﻴﺎ ﰲ ﻋﺎﻡ ‪١٩٧٠‬ﻡ ﺣﻮﻝ ﺗﺄﺛﲑ ﺍﻟﻜﻼﻡ ﻋﻠﻰ ﺍﻵﺧﺮﻳﻦ‬
‫ﻓﻮﺟﺪﻭﺍ ﻧﺴﺒﺔ ﺍﻟﺘﺄﺛﲑ ﰲ ﺍﻵﺧﺮﻳﻦ ﺃﺗﺖ ﻋﻠﻰ ﺍﻟﻮﺟﻪ ﺍﻟﺘﺎﱄ‪:‬‬

‫ﺍﻟﻜﻠﻤﺎﺕ ﻭﺍﻟﻌﺒﺎﺭﺍﺕ ‪ %٧‬ﻣﻦ ﺍﻟﺘﺄﺛﲑ‪.‬‬

‫ﻧﱪﺍﺕ ﺍﻟﺼﻮﺕ ‪ %٣٨‬ﻣﻦ ﺍﻟﺘﺄﺛﲑ‪.‬‬

‫ﺗﻌﺒﲑﺍﺕ ﺍﳉﺴﻢ ﺍﻷﺧﺮﻯ ﻣﻦ ﻋﻴﻮﻥ ﻭﻭﺟﻪ ﻭﺃﻳﺪﻱ ﻭﺟﺴﻢ ‪ %٥٥‬ﻣﻦ ﺍﻟﺘﺄﺛﲑ ﻭﻋﻠﻰ ﺍﻟﺮﻏﻢ‬
‫ﻣﻦ ﻫﺬﻩ ﺍﻟﻨﺴﺒﺔ ﺍﻟﻀﺌﻴﻠﺔ ﻟﻠﻜﻠﻤﺎﺕ ﻭﺍﻟﻌﺒﺎﺭﺍﺕ ﺇﻻ ﺃ‪‬ﺎ ﻗﺪ ﺗﺒﻠﻎ ‪ %١٠٠‬ﻋﻨﺪ ﺍﻟﺸﺨﺺ‬
‫ﺍﻵﺧﺮ ﻟﺬﻟﻚ ﺍﺧﺘﺮ ﻛﻠﻤﺎﺗﻚ ﺑﻌﻨﺎﻳﺔ‪.‬‬

‫ﺍﳌﺒﺪﺃ ﺍﻟﺜﺎﻟﺚ‪ /‬ﺃﳘﻴﺔ ﺍﻟﺪﻗﺔ ﺍﻟﻠﻐﻮﻳﺔ ﰲ ﺍﻻﺗﺼﺎﻝ‪:‬‬

‫ﰲ ﻋﻤﻠﻴﺔ ﺍﻻﺗﺼﺎﻝ ﳓﺘﺎﺝ ﺇﱃ ﺃﻥ ﺗﻜﻮﻥ ﺩﻗﻴﻘﹰﺎ ﺟﺪ‪‬ﺍ ﰲ ﺍﻟﻠﻐﺔ ﺍﻟﱵ ﺗﺴﺘﻌﻤﻠﻬﺎ‪ ،‬ﻭﻋﻠﻴﻚ ﺃﻥ‬
‫ﺗﺮﻛﺐ ﺍﳉﻤﻞ ﺑﺼﻮﺭﺓ ﺻﺤﻴﺤﺔ ﳏﺘﻮﻳﺔ ﻋﻠﻰ ﺍﳌﻌﻠﻮﻣﺎﺕ ﺍﳌﻄﻠﻮﺑﺔ ﻣﻦ ﺃﺟﻞ ﺍﳊﺼﻮﻝ ﻋﻠﻰ‬
‫ﺍﻹﺟﺎﺑﺔ ﺍﳌﺘﻮﻗﻌﺔ‪.‬‬

‫ـ ﻭﻣﻦ ﻧﺎﺣﻴﺔ ﺃﺧﺮﻯ ﻓﺈﻥ ﺍﻵﺧﺮﻳﻦ ﺃﺛﻨﺎﺀ ﺣﺪﻳﺜﻬﻢ ﻭﺑﺪﻭﻥ ﺃﻥ ﻳﺸﻌﺮﻭﺍ ﻛﺜﲑ‪‬ﺍ ﻣﺎ ﻳﺮﺗﻜﺒﻮﻥ‬
‫ﺃﺧﻄﺎﺀ ﺷﻨﻴﻌﺔ ﰲ ﺍﻟﺘﻌﺒﲑ ﻋﻤﺎ ﺑﺪﺍﺧﻠﻬﻢ‪ ،‬ﺃﻛﺜﺮ ﺍﻷﺧﻄﺎﺀ ﺍﻟﱵ ﲢﺪﺙ ﻫﻲ‪ :‬ﺍﳊﺬﻑ ﻭﺍﻟﺘﺸﻮﻳﻪ‬
‫ﻭﺍﻹﻟﻐﺎﺀ‪،‬‬

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‫ﻟﻜﻨﻚ ﲢﺘﺎﺝ ﺃﺛﻨﺎﺀ ﺍﺗﺼﺎﻟﻚ ﺑﺎﻟﻨﺎﺱ ﺇﱃ ﺍﺳﺘﺪﺭﺍﻙ ﻫﺬﻩ ﺍﻷﺧﻄﺎﺀ ﻣﻦ ﺧﻼﻝ ﺍﻟﺴﺆﺍﻝ‬
‫ﻭﺍﻻﺳﺘﻔﺴﺎﺭ ﻭﺍﻟﺘﺄﻛﺪ ﺣﱴ ﺗﻔﻬﻢ ﺍﻵﺧﺮﻳﻦ ﺑﺼﻮﺭﺓ ﺻﺤﻴﺤﺔ ﻭﺗﺼﻞ ﺇﻟﻴﻚ ﺍﳌﻌﻠﻮﻣﺎﺕ‬
‫ﺍﳌﻘﺼﻮﺩﺓ‪ ،‬ﻭﺇﻟﻴﻚ ﺷﺮﺡ ﻟﻸﺧﻄﺎﺀ ﺍﻟﺜﻼﺛﺔ ﺍﻟﺸﺎﺋﻌﺔ ﰲ ﺍﺳﺘﻌﻤﺎﻝ ﻟﻠﻐﺔ‪:‬‬

‫‪١‬ـ ﺍﳍﺪﻑ‪:‬‬

‫ﻗﺪ ﳜﺎﻃﺐ ﺷﺨﺺ ﻭﳛﺬﻑ ﻭﺳﻂ ﺍﻟﻜﻼﻡ ﻣﻌﻠﻮﻣﺎﺕ ﺃﻧﺖ ﲢﺘﺎﺟﻬﺎ ﻣﺜﺎﻝ‬
‫]‪ [١‬ﻗﹸﺘ‪‬ﻞﹶ ﺍﻟﺮﺟﻞ!‬

‫ﻧﻘﻮﻝ ﻟﻪ‪ :‬ﻣﻦ ﺍﻟﻘﺎﺗﻞ؟‬

‫]‪ [٢‬ﻗﺘﻠﻪ ﺍﻷﺳﺪ‪.‬‬

‫ﻧﻘﻮﻝ ﻟﻪ‪ :‬ﻣﻦ ﺍﳌﻘﺘﻮﻝ؟‬

‫]‪ [٣‬ﺃﻧﺎ ﺃﻛﺜﺮ ﺣﻜﻤﺔ!‬

‫ﻧﻘﻮﻝ ﻟﻪ‪ :‬ﻣﻘﺎﺭﻧﺔ ﲟﻦ؟‬

‫‪٢‬ـ ﺍﻟﺘﺸﻮﻳﻪ‪:‬‬
‫]‪ [١‬ﻣﺜﻞ ﺃﻥ ﻳﻘﻮﻝ ﻟﻚ‪ :‬ﺇﻧﻪ ﻳﺆﺫﻳﲏ‪.‬‬

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 ‫ﻧﻘﻮﻝ ﻟﻪ‪ :‬ﻣﺎ ﻫﻮ ﻧﻮﻉ ﺍﻷﺫﻯ؟‬

‫]‪ [٢‬ﺃﻭ ﻳﺼﺪﺭ ﺣﻜﻤ‪‬ﺎ ﻣﻌﻴﻨ‪‬ﺎ ﻓﻴﻘﻮﻝ ﻣﺜﻼﹰ‪ :‬ﻣﻦ ﺍﳌﺆﻛﺪ ﺃﻧﻚ ﺗﻔﻬﻢ ﻣﺎ ﺃﻗﻮﻝ‪.‬‬

‫ﻓﻨﻘﻮﻝ‪ :‬ﻣﻦ ﺍﳌﺆﻛﺪ ﺑﺎﻟﻨﺴﺒﺔ ﳌﻦ؟ ﺃﻭ ﻣﺎ ﺍﻟﺬﻱ ﺟﻌﻠﻪ ﻣﺆﻛﺪ‪‬ﺍ؟‬

‫]‪ [٣‬ﺃﻭ ﻳﺮﺑﻂ ﺳﺒﺒ‪‬ﺎ ﺑﻨﺘﻴﺠﺔ‪ :‬ﻛﺄﻥ ﻳﻘﻮﻝ‪ :‬ﺃﻧﺖ ﻻ ﺗﺘﺼﻞ ﰊ ﺃﻧﺖ ﻻ ﲢﺒﲏ‪.‬‬

‫ﻓﻨﻘﻮﻝ‪ :‬ﻛﻴﻒ ﺃﻥ ﳎﺮﺩ ﻋﺪﻡ ﺍﻻﺗﺼﺎﻝ ﻳﻌﲏ ﻋﺪﻡ ﺍﶈﺒﺔ؟‬

‫‪ -٣‬ﺍﻟﺘﻌﻤﻴﻢ‪:‬‬
‫]‪ [١‬ﻣﺜﻞ ﺃﻥ ﻳﻘﻮﻝ‪ :‬ﱂ ﺃﳒﺢ ﰲ ﺃﻱ ﺷﻲﺀ ﰲ ﺣﻴﺎﰐ‪.‬‬

‫ﻓﻨﻘﻮﻝ ﻟﻪ‪ :‬ﰲ ﻛﻞ ﺣﻴﺎﺗﻚ! ﻫﻞ ﳒﺤﺖ ﰲ ﺃﻱ ﺷﻲﺀ ﰲ ﺣﻴﺎﺗﻚ ﻭﻟﻮ ﻣﺮﺓ ﻭﺍﺣﺪﺓ؟‬

‫]‪ [٢‬ﺃﻭ ﻧﻘﻮﻝ‪ :‬ﻛﻞ ﺍﻟﺮﺟﺎﻝ ﺻﻨﻒ ﺧﺎﺋﻦ ﱂ ﺃﻗﺎﺑﻞ ﺭﺟﻼﹰ ﺃﻣﻴﻨ‪‬ﺎ‪.‬‬

‫ﻓﻨﻘﻮﻝ ﳍﺎ‪ :‬ﻻ ﺃﺣﺪ ﻋﻠﻰ ﺍﻹﻃﻼﻕ؟ ﻣﺎﺫﺍ ﻋﻦ ﻭﺍﻟﺪﻙ؟‬

‫ﻛﻞ ﻫﺬﻩ ﺍﻷﺧﻄﺎﺀ ﺗﻘﺘﻀﻲ ﻣﻨﻚ ﺃﻥ ﺗﻜﻮﻥ ﰲ ﺗﺮﻛﻴﺰ ﺷﺪﻳﺪ ﺃﺛﻨﺎﺀ ﺍﺗﺼﺎﻟﻚ ﻣﻊ ﺍﻵﺧﺮﻳﻦ ﺟﺎﻋﻼﹰ‬
‫ﺣﻮﺍﺳﻚ ﻣﻨﺘﺒﻬﺔ ﳌﺎ ﳛﺪﺙ‪.‬‬

‫ﻭﻗﺪ ﻻ ﻳﺘﺮﺗﺐ ﻋﻠﻰ ﻫﺬﻩ ﺍﻷﺧﻄﺎﺀ ﺿﺮﺭ ﻳﺬﻛﺮ ﰲ ﻏﺎﻟﺐ ﺍﻷﺣﻴﺎﻥ‪ ،‬ﻭﻟﻜﻦ ﻫﻨﺎﻙ ﺃﺣﻴﺎﻥ ﺃﺧﺮﻯ‬
‫ﻳﻜﻠﻒ ﺍﳋﻄﺄ ﻓﻴﻬﺎ ﺣﻴﺎﺓ ﺍﻹﻧﺴﺎﻥ ﺑﻞ ﺣﻴﺎﺓ ﺃﻣﺔ ﺑﺄﻛﻤﻠﻬﺎ‪.‬‬

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 ‫ﺃﺳﺎﻟﻴﺐ ﻋﻤﻠﻴﺔ ﰲ ﻓﻦ ﺍﻻﺗﺼﺎﻝ ﻭﺍﻟﺘﻌﺎﻣﻞ ﻣﻊ ﺍﻵﺧﺮﻳﻦ‪:‬‬

‫ﺍﻟﻘﺎﻋﺪﺓ ﺍﻷﻭﱃ‪ /‬ﻗﺪﺭ ﺍﻟﺸﺨﺺ‪:‬‬

‫ﺍﻟﺘﻘﺪﻳﺮ ﺣﺎﺟﺔ ﻓﻄﺮﻳﺔ ﻳﺒﺤﺚ ﻋﻨﻬﺎ ﺍﻟﺒﺸﺮ ‪ ،‬ﻛﻞ ﺍﻟﺒﺸﺮ ﻳﺮﻏﺒﻮﻥ ﰲ ﺃﻥ ﻳﻜﻮﻧﻮﺍ ﺷﻴﺌﹰﺎ ﻣﺬﻛﻮﺭ‪‬ﺍ‬
‫ﻓﺎﻹﻧﺴﺎﻥ ﺑﺪﺍﻳﺔ ﻳﺒﺤﺚ ﻋﻦ ﺍﻟﻄﻌﺎﻡ ﻭﺍﻟﺸﺮﺍﺏ ﻓﺈﺫﺍ ﲤﻜﻦ ﻣﻦ ﺫﻟﻚ ﲝﺚ ﻋﻦ ﺍﻷﻣﻦ‪ ،‬ﻓﺈﺫﺍ ﲤﻜﻦ‬
‫ﻣﻦ ﺫﻟﻚ ﲝﺚ ﻋﻦ ﺍﻟﺘﻘﺪﻳﺮ ﻓﺈﺫﺍ ﲤﻜﻦ ﻣﻦ ﺫﻟﻚ ﲝﺚ ﻋﻦ ﺍﻹﳒﺎﺯ‪.‬‬

‫ﻳﻘﻮﻝ ﺍﻷﺳﺘﺎﺫ ﺟﻮﻥ ﺩﻳﻮﻱ 'ﺃﻋﻤﻖ ﻭﺍﻗﻊ ﻟﻺﻧﺴﺎﻥ ﺇﱃ ﺍﻟﻌﻤﻞ ﻫﻮ ﺍﻟﺮﻏﺒﺔ ﰲ ﺃﻥ ﻳﻜﻮﻥ ﺷﻴﺌﹰﺎ‬
‫ﻣﺬﻛﻮﺭ‪‬ﺍ'‪.‬‬

‫ﻭﻫﺎ ﻫﻮ ﺃﺣﺪ ﺍﳌﺪﻳﺮﻳﻦ ﺍﻟﻨﺎﺟﺤﲔ ﻳﺴﻤﻰ ﺗﺸﺎﺭﱄ ﺷﻮﺍﺏ ﻳﺴﺄﻝ ﻋﻦ ﺳﺮ ﳒﺎﺣﻪ ﰲ ﺍﻟﺘﻌﺎﻣﻞ ﻣﻊ‬
‫ﺍﻟﻨﺎﺱ ﻓﻴﻘﻮﻝ‪' :‬ﺇﻧﲏ ﺃﻋﺘﱪ ﻣﻘﺪﺭﰐ ﻋﻠﻰ ﺑﺚ ﺍﳊﻤﺎﺳﺔ ﰲ ﻧﻔﻮﺱ ﺍﻟﻨﺎﺱ ﻫﻲ ﺃﻋﻈﻢ ﻣﺎ ﺃﻣﺘﻠﻚ‬
‫ﻭﺳﺒﻴﻠﻲ ﺇﱃ ﺫﻟﻚ ﻫﲔ ﻭﻣﻴﺴﻮﺭ ﻓﺈﱐ ﺃﺟﺰﻝ ﳍﻢ ﺍﳌﺪﻳﺢ ﻭﺍﻟﺜﻨﺎﺀ ﻭﺃﺳﺮﻑ ﰲ ﺍﻟﺘﻘﺪﻳﺮ‬
‫ﻭﺍﻟﺘﺸﺠﻴﻊ'‪.‬‬

‫ﺇﻥ ﺍﻟﻨﺎﺱ ﻳﺒﺤﺜﻮﻥ ﻋﻤﻦ ﻳﻘﺪﺭﻫﻢ ﰲ ﻫﺬﻩ ﺍﳊﻴﺎﺓ ﻭﺇﺫﺍ ﻭﺟﺪﻭﻩ ﲤﺴﻜﻮﺍ ﺑﻪ ﻭﺃﺣﺒﻮﻩ ﺣﺒ‪‬ﺎ ﺷﺪﻳﺪ‪‬ﺍ‪،‬‬
‫ﻭﺇﻟﻴﻚ ﻫﺬﻩ ﺍﻟﻘﺼﺔ ﺍﻟﻌﺠﻴﺒﺔ ﻟﺘﺪﺭﻙ ﻣﺪﻯ ﺣﺎﺟﺔ ﺍﻟﻨﺎﺱ ﺇﱃ ﺍﻟﺘﻘﺪﻳﺮ‪ :‬ﻳﻘﻮﻝ ﺍﻟﻜﺎﺗﺐ ﺍﻟﺸﻬﲑ‬
‫ﺩﻳﻞ ﻛﺎﺭﻧﻴﺠﻲ‪' :‬ﺍﺭﲢﻞ ﻣﺴﺘﺮ 'ﺳﻲ' ﻋﻘﺐ ﺍﻧﻀﻤﺎﻣﻪ ﺇﱃ ﻣﻌﻬﺪﻱ ﲟﺪﺓ ﻭﺟﻴﺰﺓ ﺇﱃ ﻟﻮﻧﺞ ﺍﻳﻼﻧﺪ‬

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‫ﰲ ﺻﺤﺒﺔ ﺯﻭﺟﺘﻪ ﻟﻴﺰﻭﺭﻭﺍ ﺑﻌﺾ ﺃﻗﺎﺭ‪‬ﺎ ﺍﻵﺧﺮﻳﻦ‪ ،‬ﻭﳌﺎ ﻛﺎﻥ ﻳﺘﺤﺘﻢ ﻋﻠﻰ ﻣﺴﺘﺮ 'ﺳﻲ' ﺃﻥ ﳜﱪ‬
‫ﻃﻠﺒﺔ ﻓﺼﻠﻪ ﺑﻨﺘﻴﺠﺔ ﺗﻄﺒﻴﻘﻪ ﳌﺒﺪﺃ 'ﺇﻇﻬﺎﺭ ﺍﻟﺘﻘﺪﻳﺮ ﻟﻠﻨﺎﺱ' ﻓﻘﺪ ﻓﻜﺮ ﰲ ﺃﻥ ﻳﺒﺪﺃ ﺑﺎﻟﻌﻤﺔ ﺍﻟﻌﺠﻮﺯ‬

‫ﻭﺃﻟﻘﻰ ﻣﺴﺘﺮ 'ﺳﻲ' ﻧﻈﺮﺓ ﰲ ﺃﺭﺟﺎﺀ ﺍﻟﺒﻴﺖ ﻟﲑﻯ ﺃﻱ ﺍﻷﺷﻴﺎﺀ ﻓﻴﻪ ﻳﺴﻌﻪ ﺃﻥ ﻳﺒﺪﻱ ﺗﻘﺪﻳﺮﻩ ﻟﻪ‬
‫ﻭﻣﺎ ﻟﺒﺚ ﺃﻥ ﺳﺄﻝ ﺍﻟﻌﻤﺔ ﺍﻟﻌﺠﻮﺯ‪ :‬ﺃﱂ ﻳﺸﻴﺪ ﻫﺬﺍ ﺍﻟﺒﻴﺖ ﰲ ﳓﻮ ﻋﺎﻡ ‪١٨٩٠‬؟ ﻓﺄﺟﺎﺑﺘﻪ‪ :‬ﺑﻠﻰ‬
‫ﻫﺬﺍ ﻋﻠﻰ ﻭﺟﻪ ﺍﻟﺘﺤﺪﻳﺪ ﻫﻮ ﺍﻟﻌﺎﻡ ﺍﻟﺬﻱ ﺑﲏ ﻓﻴﻪ‪.‬‬

‫ﻓﻘﺎﻝ‪ :‬ﺇﻧﻪ ﻳﺬﻛﺮﱐ ﺑﺎﻟﺒﻴﺖ ﺍﻟﺬﻱ ﻭﻟﺪﺕ ﻓﻴﻪ‪ ،‬ﺇﻧﻪ ﲨﻴﻞ‪ ،‬ﻗﻮﻱ ﺍﻟﺒﻨﺎﺀ‪ ،‬ﻓﺴﻴﺢ ﺍﻷﺭﺟﺎﺀ‪ ،‬ﻣﺘﻌﺪﺩ‬
‫ﺍﻟﻐﺮﻑ‪ ،‬ﻭﺇﻧﻪ ﳌﻦ ﺳﻮﺀ ﺍﳊﻆ ﺃﻥ ﻣﺜﻞ ﻫﺬﻩ ﺍﻟﺒﻴﻮﺕ ﱂ ﺗﻌﺪ ﺗﺸﻴﺪ ﰲ ﻫﺬﻩ ﺍﻷﻳﺎﻡ‪.‬‬

‫ﻓﻮﺍﻓﻘﺘﻪ ﺍﻟﻌﻤﺔ ﺍﻟﻌﺠﻮﺯ ﻋﻠﻰ ﺫﻟﻚ‪ ،‬ﻭﺃﺧﺬﺕ ﲢﻜﻲ ﻟﻪ ﺫﻛﺮﻳﺎﺕ ﺍﳌﺎﺿﻲ ﻳﻮﻡ ﻛﺎﻧﺖ ﻣﻊ ﺯﻭﺟﻬﺎ‬
‫ﺍﳌﺘﻮﰱ ﰒ ﺃﺧﺬﺕ ﺗﻄﻮﻑ ﺑﻪ ﰲ ﺍﻟﺒﻴﺖ ﻓﺄﺑﺪﻯ ﻣﺴﺘﺮ 'ﺳﻲ' ﺗﻘﺪﻳﺮﻩ ﺍﳌﺨﻠﺺ ﻟﻠﺘﺬﻛﺎﺭﺍﺕ‬
‫ﺍﳉﻤﻴﻠﺔ ﺍﻟﱵ ﲨﻌﺘﻬﺎ ﺧﻼﻝ ﺭﺣﻼ‪‬ﺎ ﻣﻊ ﺯﻭﺟﻬﺎ ﺑﻘﻮﻝ ﻣﺴﺘﺮ 'ﺳﻲ' ﻓﻠﻤﺎ ﻓﺮﻏﻨﺎ ﻣﻦ ﺟﻮﻟﺘﻨﺎ‬
‫ﺑﺄﳓﺎﺀ ﺍﳌﱰﻝ ﺍﻗﺘﺎﺩﺗﲏ ﺍﻟﻌﻤﺔ ﺇﱃ ﺍﳊﺪﻳﺜﺔ ﺣﻴﺚ ﺍﳉﺎﺭﺍﺝ‪ ،‬ﻭﻫﻨﺎﻙ ﻭﺟﺪﺕ ﺳﻴﺎﺭﺓ ﺑﺎﻛﺎﺭ ﻓﺨﻤﺔ‬
‫ﺗﻜﺎﺩ ﺗﻜﻮﻥ ﺟﺪﻳﺪﺓ ﱂ ﲤﺲ ﻭﻗﺎﻟﺖ ﱄ ﺍﻟﻌﻤﺔ ﰲ ﳍﺠﺔ ﺭﻗﻴﻘﺔ‪:‬‬

‫ﻟﻘﺪ ﺍﺷﺘﺮﻯ ﺯﻭﺟﻲ ﻫﺬﻩ ﺍﻟﺴﻴﺎﺭﺓ ﻗﺒﻞ ﺃﻥ ﳝﻮﺕ ﲟﺪﺓ ﻗﺼﲑﺓ ﻭﱂ ﺃﺭﻛﺒﻬﺎ ﻗﻂ ﻣﻨﺬ ﻭﻓﺎﺗﻪ‪ ،‬ﺇﻧﻚ‬
‫ﻳﺎ ﻣﺴﺘﺮ 'ﺳﻲ' ﺗﻘﺪﺭ ﺍﻷﺷﻴﺎﺀ ﺍﳉﻤﻴﻠﺔ ﺫﺍﺕ ﺍﻟﺬﻛﺮﻯ ﺍﻟﻌﺰﻳﺰﺓ ﻓﺨﺬ ﻫﺬﻩ ﺍﻟﺴﻴﺎﺭﺓ ﺇ‪‬ﺎ ﻟﻚ ﻣﻊ‬
‫ﺃﺧﻠﺺ ﲢﻴﺎﰐ'‪.‬‬

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 ‫ﻓﻔﻮﺟﺊ ﻣﺴﺘﺮ 'ﺳﻲ' ‪‬ﺬﻩ ﺍﳌﻔﺎﺟﺄﺓ ﻗﺎﻝ‪ :‬ﻛﻴﻒ ﻳﺎ ﻋﻤﱵ؟ ﺇﻧﲏ ﺃﻗﺪﺭ ﻛﺮﻣﻚ ﻃﺒﻌ‪‬ﺎ ﻭﻟﻜﲏ ﻻ‬
‫ﺃﺳﺘﻄﻴﻊ ﺃﻥ ﺃﻗﺒﻞ ﻋﻄﻴﺘﻚ‪ ،‬ﺇﻧﲏ ﻟﺴﺖ ﻗﺮﻳﺒ‪‬ﺎ ﻟﻚ ﻭﻟﺪﻳﻚ ﺃﻗﺎﺭﺏ ﻛﺜﲑﻭﻥ ﻳﻮﺩﻭﻥ ﺃﻥ ﺗﻜﻮﻥ ﳍﻢ‬
‫ﻫﺬﻩ ﺍﻟﺒﺎﻛﺎﺭ‪ .‬ﻓﻘﺎﻟﺖ ﰲ ﺍﺯﺩﺭﺍﺀ‪ :‬ﺃﻗﺎﺭﺏ؟ ﻧﻌﻢ ﻟﺪﻱ ﺃﻗﺎﺭﺏ ﻟﻴﺲ ﳍﻢ ﺳﻮﻯ ﺍﻧﺘﻈﺎﺭ ﻣﻮﰐ ﻛﻲ‬
‫ﻳﻈﻔﺮﻭﺍ ‪‬ﺬﻩ ﺍﻟﺴﻴﺎﺭﺓ ﻭﻟﻜﻦ ﺑﻌﺪ‪‬ﺍ ﳍﻢ‪.‬‬

‫ﻓﻌﺪﺕ ﺃﻗﻮﻝ ﳍﺎ‪ :‬ﺣﺴﻨ‪‬ﺎ ﺇﺫﺍ ﻛﻨﺖ ﻻ ﺗﺮﻳﺪﻳﻦ ﺃﻥ ﺗﻌﻄﻴﻨﻬﺎ ﻷﺣﺪ ﻣﻨﻬﻢ ﻓﻠﻤﺎﺫﺍ ﻻ ﺗﺒﻴﻌﻴﻨﻬﺎ ؟‬
‫ﻓﻬﺘﻔﺖ ﻣﺮﺓ ﺃﺧﺮﻯ ﺃﺑﻴﻌﻬﺎ ؟ ﺃﲢﺒﲏ ﺃﺑﻴﻊ ﻫﺬﻩ ﺍﻟﺴﻴﺎﺭﺓ ؟ ﺃﻭ ﺗﻈﻦ ﺃﻧﲏ ﺃﻃﻴﻖ ﺃﻥ ﺃﺭﻯ ﺍﻟﻐﺮﺑﺎﺀ‬
‫ﻳﺮﻭﺣﻮﻥ ﺃﻣﺎﻣﻲ ﻭﻳﻐﺪﻭﻥ ‪‬ﺬﻩ ﺍﻟﺴﻴﺎﺭﺓ ؟ ﻫﺬﻩ ﺍﻟﺴﻴﺎﺭﺓ ﺍﻟﱵ ﺍﺷﺘﺮﺍﻫﺎ ﺯﻭﺟﻲ ﱄ ﺃﻧﺎ ؟ ﺇﻧﲏ‬
‫ﺳﺄﻫﺪﻳﻬﺎ ﻟﻚ ﻳﺎ ﻣﺴﺘﺮ 'ﺳﻲ' ﻓﺄﻧﺖ ﺗﻘﺪﺭ ﺍﻟﺘﺬﻛﺎﺭﺍﺕ ﺣﻖ ﻗﺪﺭﻫﺎ'‪.‬‬

‫ﻫﺬﻩ ﺍﻟﻌﺠﻮﺯ ﻛﺎﻧﺖ ﺗﺘﻠﻬﻒ ﺇﱃ ﺷﻲﺀ ﻣﻦ ﺍﻟﺘﻘﺪﻳﺮ ﻭﺍﻻﻋﺘﺮﺍﻑ ﺑﺄﳘﻴﺘﻬﺎ ﻓﻠﻤﺎ ﻭﺟﺪﺕ ﻣﻦ ﻳﻐﺪﻕ‬
‫ﻋﻠﻴﻬﺎ ﻫﺬﺍ ﺍﻟﺘﻘﺪﻳﺮ ﱂ ﲡﺪ ﺃﻗﻞ ﻣﻦ ﺳﻴﺎﺭﺓ ﺑﺎﻛﺎﺭ ‪‬ﺪﻳﻬﺎ ﻟﻪ ﻟﺘﻌﱪ ﻋﻦ ﺍﻣﺘﻨﺎ‪‬ﺎ ﻭﺷﻜﺮﻫﺎ'‪.‬‬

‫ﻭﺇﱃ ﺟﺎﻧﺐ ﺫﻟﻚ ﻓﺈﻥ ﺍﻟﺘﻘﺪﻳﺮ ﻳﻌﻄﻲ ﺍﻟﺸﺨﺺ ﺩﻓﻌﺔ ﺇﳚﺎﺑﻴﺔ ﻗﻮﻳﺔ ﺟﺪ‪‬ﺍ ﺇﱃ ﺍﻷﻣﺎﻡ ‪ ،‬ﻭﻳﺒﲏ ﰲ‬
‫ﺍﻟﺸﺨﺺ ﺍﻟﺜﻘﺔ ﺑﺎﻟﻨﻔﺲ ﻭﺍﻟﺸﻌﻮﺭ ﺑﺎﻟﻨﺠﺎﺡ ﻭﻳﺜﺒﺖ ﺍﻹﻧﺴﺎﻥ ﰲ ﻣﻮﺍﻗﻒ ﺍﻟﺸﺪﺍﺋﺪ ﻭﺍﶈﻦ‪ ،‬ﻛﻤﺎ‬
‫ﻓﻌﻠﺖ ﺧﺪﳚﺔ ﺭﺿﻲ ﺍﷲ ﻋﻨﻬﺎ ﺣﻴﻨﻤﺎ ﺭﺟﻊ ﺇﻟﻴﻬﺎ ﺭﺳﻮﻝ ﺍﷲ ﺻﻠﻰ ﺍﷲ ﻋﻠﻴﻪ ﻭﺳﻠﻢ ﺑﻌﺪﻣﺎ ﻧﺰﻝ‬
‫ﻋﻠﻴﻪ ﺟﱪﻳﻞ ﺃﻭﻝ ﻣﺮﺓ ﻓﻘﺎﻝ ﳍﺎ‪ :‬ﻟﻘﺪ ﺧﺸﻴﺖ ﻋﻠﻰ ﻧﻔﺴﻲ‪ .‬ﻓﻘﺎﻟﺖ ﻟﻪ‪' :‬ﻛﻼ ﻭﺍﷲ ﻻ ﳜﺰﻳﻚ‬
‫ﺍﷲ ﺃﺑﺪ‪‬ﺍ ﺇﻧﻚ ﻟﺘﺼﻞ ﺍﻟﺮﺣﻢ ﻭﲢﻤﻞ ﺍﻟﻜﻞ ﻭﺗﻜﺴﺐ ﺍﳌﻌﺪﻭﻡ‪ ،‬ﻭﺗﻘﺮﻱ ﺍﻟﻀﻴﻒ ﻭﺗﻌﲔ ﻋﻠﻰ‬
‫ﻧﻮﺍﺋﺐ ﺍﳊﻖ'‪.‬‬

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 ‫ﺍﻟﻘﺎﻋﺪﺓ ﺍﻟﺜﺎﻧﻴﺔ‪ /‬ﺍﻇﻬﺮ ﺍﻫﺘﻤﺎﻣ‪‬ﺎ ﺣﻘﻴﻘﻴﺎ ﺑﺎﻟﺸﺨﺺ‪:‬‬

‫ﻋﻠﻰ ﻗﺪﺭ ﺍﻫﺘﻤﺎﻣﻚ ﺑﺎﻟﻨﺎﺱ ﻋﻠﻰ ﻗﺪﺭ ﻣﺎ ﻳﻬﺘﻢ ﺑﻚ ﺍﻟﻨﺎﺱ‪ ،‬ﻓﺎﻟﻨﺎﺱ ﺗﺒﺤﺚ ﻋﻤﻦ ﻳﻬﺘﻢ ‪‬ﻢ‬
‫ﻭﻳﺘﻔﻘﺪ ﺃﺣﻮﺍﳍﻢ ﻭﻳﺴﺄﻝ ﻋﻠﻴﻬﻢ ﻻﺳﻴﻤﺎ ﰲ ﻫﺬﺍ ﺍﻟﺰﻣﺎﻥ ﺍﻟﺬﻱ ﺍﻧﺸﻐﻞ ﻓﻴﻪ ﻛﻞ ﺍﻣﺮﺉ ﻧﻔﺴﻪ‪.‬‬

‫ﻭﻗﺪ ﺭﺃﻳﺖ ﰲ ﺣﺎﺟﺔ ﺍﻟﻨﺎﺱ ﻭﺗﻌﻄﺸﻬﻢ ﺇﱃ ﻣﻦ ﻳﻬﺘﻢ ‪‬ﻢ ﺍﳉﺐ ﺍﻟﻌﺠﺎﺏ ﻓﺒﻤﺠﺮﺩ ﺃﻥ ﺗﺮﻓﻊ‬
‫ﲰﺎﻋﺔ ﺍﳍﺎﺗﻒ ﻟﺘﺴﺄﻝ ﻋﻠﻰ ﺷﺨﺺ ﺃﻭ ﺗﺮﺳﻞ ﺇﻟﻴﻪ ﺭﺳﺎﻟﺔ ﻋﻠﻰ ﺍﳉﻮﺍﻝ ﺣﱴ ﲡﺪ ﻫﺬﺍ ﺍﻟﺸﺨﺺ‬
‫ﳝﱳ ﻟﻚ ﻫﺬﺍ ﺍﻟﺼﻨﻴﻊ ﺍﻟﻌﻈﻴﻢ ﺍﻣﺘﻨﺎﻧ‪‬ﺎ ﻋﻈﻴﻤ‪‬ﺎ‪ ،‬ﻭﻳﻄﻠﺐ ﻣﻨﻚ ﺃﻥ ﺗﺰﻳﺪ ﻣﻦ ﻫﺬﺍ ﺍﻟﻌﻤﻞ ﺑﻘﺪﺭ‬
‫ﺍﺳﺘﻄﺎﻋﺘﻚ‪ ،‬ﺑﻞ ﺃﺣﻴﺎﻧ‪‬ﺎ ﺗﻮﺍﺟﻬﲏ ﻣﻮﺍﻗﻒ ﳏﺮﺟﺔ ﻣﻦ ﺑﻌﺾ ﺍﻹﺧﻮﺓ ]ﻭﻫﻢ ﺇﺧﻮﺓ ﺃﻛﻔﺎﺀ ﻛﺮﺍﻡ‬
‫ﻣﺘﻌﻠﻤﻮﻥ ﻭﻣﺜﻘﻔﻮﻥ[ ﺣﻴﻨﻤﺎ ﻳﺴﺄﻟﻮﻧﲏ ﺃﻭ ﻳﻄﻠﺒﻮﻥ ﻣﲏ ﺃﻥ ﺃﻫﺘﻢ ‪‬ﻢ ﺃﻭ ﺃﻥ ﺃﺳﺄﻝ ﻋﻠﻴﻬﻢ ﺣﻴﻨﻬﺎ‬
‫ﺃﺷﻌﺮ ﺑﺘﻘﺼﲑﻱ ﲡﺎﻫﻬﻢ ﻭﺃﻃﻠﺐ ﻣﻨﻬﻢ ﺍﻟﻌﻔﻮ ﻭﺍﻟﺼﻔﺢ‪.‬‬

‫ﻟﻘﺪ ﻛﺎﻥ ﺭﺳﻮﻝ ﺍﷲ ﺻﻠﻰ ﺍﷲ ﻋﻠﻴﻪ ﻭﺳﻠﻢ ﻳﻬﺘﻢ ﺑﺄﺻﺤﺎﺑﻪ ﻭﻳﺘﻔﻘﺪ ﺃﺣﻮﺍﳍﻢ ﻭﻳﺴﺄﻝ ﻋﻦ‬
‫ﻏﺎﺋﺒﻬﻢ‪ ،‬ﻭﻳﺰﻭﺭ ﻣﺮﻳﻀﻬﻢ‪ ،‬ﻭﻛﺎﻥ ﺃﺑﻮ ﺑﻜﺮ ﺭﺿﻲ ﺍﷲ ﻋﻨﻪ ﻭﻫﻮ ﺧﻠﻴﻔﺔ ﺍﳌﺴﻠﻤﲔ ﻳﺬﻫﺐ ﺇﱃ‬
‫ﺑﻴﺖ ﺍﻣﺮﺃﺓ ﻋﺠﻮﺯ ﻟﻴﺘﻔﻘﺪ ﺃﺣﻮﺍﳍﺎ ﻭﻳﻨﻈﻒ ﳍﺎ ﺑﻴﺘﻬﺎ ﻭﳛﻠﺐ ﺷﺎ‪‬ﺎ ﰒ ﻳﻨﺼﺮﻑ‪ ،‬ﻭﻫﻜﺬﺍ ﻛﺎﻥ‬
‫ﻋﻤﺮ ﻳﻔﻌﻞ ﺭﺿﻲ ﺍﷲ ﻋﻨﻪ‪.‬‬

‫ﻓﻠﻤﺎﺫﺍ ﻻ ‪‬ﺘﻢ ﳓﻦ ﺑﺄﺣﻮﺍﻝ ﺍﻟﻨﺎﺱ ﻭﻻ ﻧﺴﺄﻝ ﻋﻠﻴﻬﻢ ﻭﻻ ﻧﻈﻬﺮ ﺍﻫﺘﻤﺎﻣ‪‬ﺎ ‪‬ﻢ؟ ﺃﻋﺮﻑ ﺃﺣﺪ‬
‫ﺍﻟﺼﺪﻳﻘﺎﺕ ﻛﺎﻧﺖ ﺇﺫﺍ ﺟﺎﺀﺕ ﺃﻳﺎﻡ ﺍﻻﻣﺘﺤﺎﻧﺎﺕ ﺗﺘﺼﻞ ﲜﻤﻴﻊ ﺍﻟﺼﺪﻳﻘﺎﺕ ﺻﺪﻗﺎﺋﻪ ﻟﻴﻄﻤﺌﻦ‬
‫ﻋﻠﻴﻬﻢ ﻭﻛﻨﺖ ﻣﻦ ﲨﻠﺔ ﻣﻦ ﻳﺘﺼﻞ ‪‬ﻢ‪ ،‬ﻭﻛﻨﺖ ﺃﺳﻌﺪ ‪‬ﺬﻩ ﺍﳌﻜﺎﳌﺔ ﺍﻟﱵ ﱂ ﺗﻜﻦ ﺗﺴﺘﻐﺮﻕ ﺃﻛﺜﺮ‬
‫ﻣﻦ ﺩﻗﻴﻘﺔ 'ﻣﺎﺫﺍ ﻓﻌﻠﺖ ﰲ ﺍﻻﻣﺘﺤﺎﻥ ﺍﻟﻴﻮﻡ؟ ﻣﺎ ﻫﻮ ﺍﻻﻣﺘﺤﺎﻥ ﺍﻟﻘﺎﺩﻡ؟ ﺭﺑﻨﺎ ﻳﻮﻓﻘﻚ‪.‬‬

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 ‫ﻭﺣﻴﻨﻤﺎ ﺗﻜﻠﻤﺖ ﻣﻊ ﺑﻌﺾ ﺻﺪﻳﻘﺎﺗﻰ ﲞﺼﻮﺹ ﻫﺬﺍ ﺍﳌﻮﺿﻮﻉ ﺫﻛﺮﻭﺍ ﱄ ﺃﻳﻀ‪‬ﺎ ﺍﻷﺛﺮ ﺍﻹﳚﺎﰊ‬
‫ﺍﻟﺬﻱ ﺗﻄﺒﻌﻪ ﻫﺬﻩ ﺍﳌﻜﺎﳌﺔ ﰲ ﻧﻔﻮﺳﻬﻢ ﺣﱴ ﺇﻥ ﺃﺣﺪ ﺍﻟﺒﻨﺎﺕ ﻗﺎﻝ ﱄ‪' :‬ﰲ ﺃﺣﺪ ﺍﻻﻣﺘﺤﺎﻧﺎﺕ ﱂ‬
‫ﺗﺘﺼﻞ ﻓﻼﻧﻪ ﰊ ﻓﺎﺗﺼﻠﺖ ﺃﻧﺎ ‪‬ﺎ'‪.‬‬

‫ﻓﺘﺄﻣﻞ ﻛﻴﻒ ﺍﺳﺘﻄﺎﻋﺖ ﻫﺬﺍ ﺍﻟﺼﺪﻳﻘﺔ ﺃﻥ ﺗﻘﻴﻢ ﺍﺗﺼﺎﻻﹰ ﻧﺎﺟﺤ‪‬ﺎ ﻣﻦ ﺧﻼﻝ ﺗﺼﺮﻑ ﺑﺴﻴﻂ‬
‫ﻭﺳﻬﻞ‪.‬‬

‫ﺍﺷﺘﻜﻴﺖ ﺃﺣﺪ ﺍﻟﻔﺘﻴﺎﺕ ﰲ ﻓﺘﺮﺓ ﻣﻦ ﺍﻟﻔﺘﺮﺍﺕ ﻣﻦ ﺗﺮﺩﻱ ﻭﺿﻌﻬﺎ ﺍﻹﳝﺎﱐ ﻭﻣﻦ ﻋﺪﻡ ﻗﺪﺭ‪‬ﺎ‬
‫ﻋﻠﻰ ﻣﻮﺍﺟﻬﺔ ﺍﻟﺬﻧﻮﺏ ﻭﺍﳌﻌﺎﺻﻲ‪ ،‬ﻭﻛﺎﻧﺖ ﺍﳌﺸﻜﻠﺔ ﻋﺪﻡ ﻭﺟﻮﺩ ﺻﺪﻳﻘﺔ ﳍﺎ ﻋﻼﻗﺔ ﻗﻮﻳﺔ ﻣﻌﻪ‬
‫ﺣﱴ ﻳﺴﺎﻋﺪﻩ ﰲ ﺍﺟﺘﻴﺎﺯ ﻫﺬﻩ ﺍﶈﻨﺔ‪ ،‬ﺣﱴ ﺑﺮﺯ ﺃﺣﺪ ﺍﻹﺧﻮﺓ ﻭﺳﺎﻋﺪﻩ ﰲ ﲡﺎﻭﺯ ﻫﺬﻩ ﺍﶈﻨﺔ‪،‬‬
‫ﻓﺴﺄﻟﺖ ﻫﺬﺍ ﺍﻟﻔﺘﺎﻩ ﺍﻟﺬﻱ ﺳﺎﻋﺪ ‪‬ﺎ ﻓﻘﻠﺖ ﻟﻪ‪ :‬ﻛﻴﻒ ﺍﺳﺘﻄﻌﺖ ﺃﻥ ﺗﻘﻴﻢ ﻋﻼﻗﺔ ﻗﻮﻳﺔ ﻣﻌﻬﺎ ﻣﻊ‬
‫ﺃﱐ ﻻ ﺃﺭﺍﻙ ﺗﻌﱪ ﻋﻦ ﻣﺸﺎﻋﺮﻙ ﻭﻋﻮﺍﻃﻔﻚ ﲡﺎﻫﻪ ﻭﻫﻮ ﺷﺨﺺ ﻋﺎﻃﻔﻲ؟ ﻓﻘﺎﻝ ﱄ‪ :‬ﺇﻧﻪ ﺍﻻﻫﺘﻤﺎﻡ‬
‫ﺑﺎﻟﺸﺨﺺ‪.‬‬

‫ﻭﻫﻜﺬﺍ ﺍﻫﺘﻢ ﺑﺎﻟﺸﺨﺺ ﻭﺗﻔﻘﺪ ﺃﺣﻮﺍﻟﻪ ﲡﺪ ﻧﻔﺴﻚ ﻗﻄﻌﺖ ﺷﻮﻃﹰﺎ ﻛﺒﲑ‪‬ﺍ ﰲ ﺍﻻﺗﺼﺎﻝ ﻣﻌﻪ‪.‬‬

‫ﺍﻟﻘﺎﻋﺪﺓ ﺍﻟﺜﺎﻟﺜﺔ ‪ /‬ﺃﻇﻬﺎﺭ ﺍﳊﺐ ‪..‬‬

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 ‫ﺍﻟﻘﺎﻋﺪﺓ ﺍﻟﺮﺍﺑﻌﺔ ‪ /‬ﺣﺪﺙ ﺍﻵﺧﺮﻳﻦ ﲟﺠﺎﻝ ﺍﻫﺘﻤﺎﻣﻬﻢ ‪-:‬‬

‫ﻓﺎﻟﻔﺮﺩ ﳝﻴﻞ ﺇﱃ ﻣﻦ ﳛﺎﻭﺭﻩ ﻭ ﳛﺪﺛﻪ ﰲ ﺍﳌﻴﺪﺍﻥ ﺍﻟﺬﻱ ﻳﺘﺨﺼﺺ ﻓﻴﻪ ﻭ ﳝﻴﻞ ﺇﻟﻴﻪ‬

‫ﺍﻟﻘﺎﻋﺪﺓ ﺍﳋﺎﻣﺴﺔ ‪ /‬ﺃﺣﺴﻦ ﳌﻦ ﺗﺘﻌﺎﻣﻞ ﻣﻌﻬﻢ ﺗﺄﺳﺮﻋﻮﺍﻃﻔﻬﻢ ‪-:‬‬

‫ﻛﻤﺎ ﻗﺎﻝ ﺍﻟﺸﺎﻋﺮ ‪ :‬ﺃﺣﺴﻦ ﺇﱃ ﺍﻟﻨﺎﺱ ﺗﺴﺘﻌﺒﺪ ﻗﻮ‪‬ﻢ ﻓﻄﺎﳌﺎ ﺍﺳﺘﻌﺒﺪ ﺍﻹﻧﺴﺎﻧﺈﺣﺴﺎﻧﺎ‬

‫ﺍﻟﻘﺎﻋﺪﺓ ﺍﻟﺴﺎﺩﺳﺔ ‪/‬ﺍﺳﺘﺨﺪﻡ ﺃﺳﻠﻮﺏ ﺍﳌﺪﺡ ‪-:‬‬

‫ﺍﻣﺪﺡ ﺍﻵﺧﺮﻳﻦ ﺇﺫﺍ ﺃﺣﺴﻨﻮﺍ ﻓﻠﻠﻤﺪﺡ ﺃﺛﺮﻩ ﰲ ﺍﻟﻨﻔﺲ ﻭﻟﻜﻦ ﻻ ﺗﺒﺎﻟﻎ‬

‫ﺍﻟﻘﺎﻋﺪﺓ ﺍﻟﺴﺎﺑﻌﺔ ‪ :‬ﲡﻨﺐ ﺗﺼﻴﺪ ﻋﻴﻮﺏ ﺍﻵﺧﺮﻳﻦ ﻭﺍﻧﺸﻐﻞ ﺑﺈﺻﻼﺡ ﻋﻴﻮﺑﻚ‪..‬‬

‫ﺍﻟﻘﺎﻋﺪﺓ ﺍﻟﺜﺎﻣﻨﺔ ‪ :‬ﺗﻮﺍﺿﻊ ﻓﺎﻟﻨﺎﺱ ﺗﻨﻔﺮ ﳑﻦ ﻳﺴﺘﻌﻠﻲ ﻋﻠﻴﻬﻢ‪..‬‬

‫ﺍﻟﻘﺎﻋﺪﺓ ﺍﻟﺘﺎﺳﻌﺔ ‪ :‬ﺗﻌﻠﻢ ﻓﻦ ﺍﻹﻧﺼﺎﺕ ﻓﺎﻟﻨﺎﺱ ﲢﺐ ﻣﻦ ﻳﺼﻐﻲ ﳍﺎ ‪..‬‬

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‫ﺍﻟﻘﺎﻋﺪﺓ ﺍﻟﻌﺎﺷﺮﻩ ‪ :‬ﻟﻠﻨﺎﺱ ﺃﻓﺮﺍﺡ ﻭ ﺃﺗﺮﺍﺡ ﻓﺸﺎﺭﻛﻬﻢ ﻭﺟﺪﺍﻧﻴﺎ ﻭ ﻟﻠﻤﺸﺎﺭﻛﺔ ﰲ ﺍﳌﻨﺎﺳﺒﺎﺕ‬
‫ﺍﳌﺨﺘﻠﻔﺔ ﻣﻜﺎﻧﺘﻬﺎ ﰲ ﻧﻔﻮﺱ ﺍﻟﻨﺎﺱ ‪..‬‬

‫ﺍﻟﻘﺎﻋﺪﺓ ﺍﳊﺎﺩﻳﻪ ﻋﺸﺮ ‪ :‬ﺣﺎﻭﻝ ﺃﻥ ﺗﻜﻮﻥ ﻭﺍﺿﺤﺎﹰ ﰲ ﺗﻌﺎﻣﻠﻚ ‪..‬‬

‫ﻭﺍﺑﺘﻌﺪ ﻋﻦ ﺍﻟﺘﻠﻮﻥ ﻭﺍﻟﻈﻬﻮﺭ ﺑﺄﻛﺜﺮ ﻣﻦ ﻭﺟﻪ ‪ ..‬ﻓﻬﻤﺎ ﺑﻠﻎ ﳒﺎﺣﻚ ﻓﺴﻴﺄﰐ ﻋﻠﻴﻚ ﻳﻮﻡ‬
‫ﻭﺗﺘﻜﺸﻒ ﺃﻗﻨﻌﺘﻚ ‪ ..‬ﻭﺗﺼﺒﺢ ﺣﻴﻨﺌﺬ‪ ‬ﻛﻤﻦ ﻳﺒﲏ ﺑﻴﺘﺎﹰ ﻳﻌﻠﻢ ﺃﻧﻪ ﺳﻴﻬﺪﻡ‬

‫ﺍﻟﻘﺎﻋﺪﺓ ﺍﻟﺜﺎﻧﻴﻪ ﻋﺸﺮ ‪ :‬ﺣﺎﻓﻆ ﻋﻠﻰ ﻣﻮﺍﻋﻴﺪﻙ ﻣﻊ ﺍﻟﻨﺎﺱ ﻭﺍﺣﺘﺮﻣﻬﺎ‪..‬‬

‫ﻓﺎﺣﺘﺮﺍﻣﻚ ﳍﺎ ﻣﻌﻬﻢ‪ ..‬ﺳﻴﻜﻮﻥ ﻣﻦ ﺍﺣﺘﺮﺍﻣﻚ ﳍﻢ‪ ..‬ﻭﺑﺎﻟﺘﺎﱄ ﺳﻴﺒﺎﺩﻟﻮﻧﻚ ﺍﻻﺣﺘﺮﺍﻡ ﺫﺍﺗﻪ‪.‬‬

‫ﺍﻟﻘﺎﻋﺪﺓ ﺍﻟﺜﺎﻟﺜﻪ ﻋﺸﺮ ‪ :‬ﺍﺑﺘﻌﺪ ﻋﻦ ﺍﻟﺘﻜﻠﻒ ﺑﺎﻟﻜﻼﻡ ﻭﺍﻟﺘﺼﺮﻓﺎﺕ‪..‬‬

‫ﻭﺩﻋﻚ ﻋﻠﻰ ﻃﺒﻴﻌﺘﻚ ﻣﻊ ﺍﳊﺮﺹ ﻋﻠﻰ ﻋﺪﻡ ﻓﻘﺪﺍﻥ ﺍﻻﺗﺰﺍﻥ‪ ..‬ﻭﻓﻜﺮ ﲟﺎ ﺗﻘﻮﻟﻪ ﻗﺒﻞ ﺃﻥ ﺗﻨﻄﻖ‬
‫ﺑﻪ‪.‬‬

‫ﺍﻟﻘﺎﻋﺪﺓﺍﻟﺮﺍﺑﻌﺔ ﻋﺸﺮ ‪ :‬ﺣﺎﻭﻝ ﺃﻥ ﺗﻨﺘﻘﻲ ﻛﻠﻤﺎﺗﻚ‪..‬‬

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 ‫ﻓﻜﻞ ﻣﺼﻄﻠﺢ ﲡﺪ ﻟﻪ ﺍﻟﻜﺜﲑ ﻣﻦ ﺍﳌﺮﺍﺩﻓﺎﺕ ﻓﺎﺧﺘﺮ ﺃﲨﻠﻬﺎ‪ ..‬ﻛﻤﺎ ﻋﻠﻴﻚ ﺃﻥ ﲣﺘﺎﺭ ﻣﻮﺿﻮﻋﺎﹰ‬
‫ﳏﺒﺒﺎﹰ ﻟﻠﺤﺪﻳﺚ‪ ..‬ﻭﺃﻥ ﺗﺒﺘﻌﺪ ﻋﻤﺎ ﻳﻨﻔﺮ ﺍﻟﻨﺎﺱ ﻣﻦ ﺍﳌﻮﺍﺿﻴﻊ‪ ..‬ﻓﺤﺪﻳﺜﻚ ﺩﻟﻴﻞ ﺷﺨﺼﻴﺘﻚ‬

‫ﺍﻧﻮﺍﻉ ﺍﻻﺗﺼﺎﻝ‬
‫)ﺍﻻﺗﺼﺎﻝ ﺑﺎﷲ‪،‬ﺍﻻﺗﺼﺎﻝ ﺑﺎﻟﺬﺍﺕ‪،‬ﺍﻻﺗﺼﺎﻝ ﺑﺎﻻﺧﺮﻳﲔ(‬

‫ﺍﻭﻻ‪:‬ﺍﻻﺗﺼﺎﻝ ﺑﺎﷲ‬

‫ﻳﻘﻮﻝ ﺍﻻﻣﺎﻡ ﺍﺑﻦ ﺍﻟﻘﻴﻢ ﺭﲪﻪ ﺍﷲ‬

‫)ﰲ ﺍﻟﻘﻠﺐ ﺷﻌﺚ ﻻ ﻳﻠﻤﻪ ﺍﻻ ﺍﻻﻗﺒﺎﻝ ﻋﻠﻲ ﺍﷲ ﻭﰲ ﺍﻟﻘﻠﺐ ﻭﺣﺸﺔ ﻻ ﻳﺰﻳﻠﻬﺎ ﺇﻻ ﺍﻻﻧﺲ ﺑﺎﷲ‬
‫ﻭﰲ ﺍﻟﻘﻠﺐ ﺧﻮﻑ ﻭﻗﻠﻖ ﻻ ﻳﺬﻫﺐ ﺇﻻ ﺑﺎﻟﻔﺮﺍﺭ ﺇﱄ ﺍﷲ ﻭﰲ ﺍﻟﻘﻠﺐ ﺣﺴﺮﺓ ﻻ ﻳﻄﻔﺌﻬﺎ ﺇﻻ ﺍﻟﺮﺿﺎ‬
‫ﺑﺎﷲ (‬

‫*ﺍﻋﻈﻢ ﺍﺗﺼﺎﻝ ﻳﻘﻮﻡ ﺑﻪ ﺍﻻﻧﺴﺎﻥ ﻫﻮ ﺍﻻﺗﺼﺎﻝ ﺑﺎﷲ ﻋﺰ ﻭﺟﻞ ﻭﻫﻮ ﺍﻟﺮﻛﻴﺰﺓ ﺍﻻﻭﱄ ﻟﻜﻞ‬
‫ﻋﻤﻠﻴﺎﺕ ﺍﻻﺗﺼﺎﻝ ﺍﻻﺧﺮﻱ ﻭﺍﻻﺗﺼﺎﻝ ﺍﻟﺼﺎﺩﻕ ﺑﺎﷲ ﻫﻮ ﺍﳌﻄﻬﺮ ﻭﺍﳌﻨﻘﻲ ﻟﻠﻨﻔﺲ ﺍﻟﺒﺸﺮﻳﺔ‬

‫ﻭﺗﺬﻛﺮ ﻗﻮﻝ ﺍﷲ ﺗﻌﺎﱄ )ﻭﻣﻦ ﺍﻋﺮﺽ ﻋﻦ ﺫﻛﺮﻱ ﻓﺈﻥ ﻟﻪ ﻣﻌﻴﺸﺔ ﺿﻨﻜﺔ ﻭﳓﺸﺮﻩ ﻳﻮﻡ ﺍﻟﻘﻴﺎﻣﺔ‬
‫ﺍﻋﻤﻲ(‬

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‫ﺧﻠﻴﻚ ﺩﺍﳝﺎ ﻋﻠﻲ ﺍﺗﺼﺎﻝ ﺑﺎﷲ ﺍﻓﻌﻞ ﻛﻞ ﻣﺎ ﻳﺄﻣﺮ ﺍﷲ ﺑﻪ ﻻﻥ ﺍﻟﻄﺎﻋﺎﺕ ﻭﺍﻻﻋﻤﺎﻝ ﺍﻟﺼﺎﳊﺔ ﻫﻲ‬
‫ﺭﺻﻴﺪ ﺍﺗﺼﺎﻟﻚ ﺑﺎﷲ ﻛﻞ ﻣﺎ ﺗﺰﻳﺬ ﻣﻦ ﺍﻟﻌﺒﺎﺩﺓ ﻭﺍﻟﺘﻘﺮﺏ ﺑﺎﻟﻄﺎﻋﺎﺕ ﻛﻞ ﻣﺎ ﻫﻴﻜﻮﻥ ﺍﻻﺗﺼﺎﻝ‬
‫ﺍﻗﻮﻱ‬

‫ﺛﺎﻧﻴﺎ‪:‬ﺍﻻﺗﺼﺎﻝ ﺑﺎﻟﺬﺍﺕ‬

‫ﺗﺪﻭﺭ ﺃﺣﺪﺍﺙ ﺍﻟﻘﺼﺔ ﺣﻮﻝ ﻣﺰﺍﺭﻉ ﻧﺎﺟﺢ ﻋﻤﻞ ﰲ ﻣﺰﺭﻋﺘﻪ ﲜﺪ ﻭﻧﺸﺎﻁ ﺇﱃ ﺃﻥ ﺗﻘﺪﻡ ﺑﻪ ﺍﻟﻌﻤﺮ‬
‫‪..‬ﻭﺫﺍﺕ ﻳﻮﻡ ﲰﻊ ﻫﺬﺍ ﺍﳌﺰﺍﺭﻉ ﺃﻥ ﺑﻌﺾ ﺍﻟﻨﺎﺱ ﻳﺴﺎﻓﺮﻭﻥ ﲝﺜﺎﹰ ﻋﻦ ﺍﻷﳌﺎﺱ ‪ ..‬ﻭﺍﻟﺬﻱ‬
‫ﳚﺪﳘﻨﻬﻢ ﻳﺼﺒﺢ ﻏﻨﻴﺎ ً ﺟﺪﺍﹰ ‪ ..‬ﻓﺘﺤﻤﺲ ﺍﳌﺰﺍﺭﻉ ﻟﻠﻔﻜﺮﻩ ﻭﺑﺎﻉ ﺣﻘﻠﻪ ﻭﺍﻧﻄﻠﻖ ﺑﺎﺣﺜﺎﹰ ﻋﻦ‬
‫ﺍﻷﳌﺎﺱ ‪.‬‬

‫ﻇﻞ ﺍﳌﺰﺍﺭﻉ ﻳﺒﺤﺚ ﻋﻦ ﺍﻷﳌﺎﺱ ﻃﻴﻠﺔ ﺛﻼﺛﺔ ﻋﺸﺮﺓ ﻋﺎﻣﺎﹰ ‪ ..‬ﻭﻟﻜﻦ ﳏﺎﻭﻻﺗﻪ ﺑﺎﺀﺗﺒﺎﻟﻔﺸﻞ ‪ ..‬ﻭﱂ‬
‫ﳚﺪ ﺷﻴﺌﺎﹰ ﺣﱴ ﺃﺩﺭﻛﻪ ﺍﻟﻴﺄﺱ ﻭﱂ ﳛﻘﻖ ﺣﻠﻤﻪ ‪ ..‬ﻓﻤﺎ ﻛﺎﻥ ﻣﻨﻪ ﺇﻻ ﺃﻥ ﺃﻟﻘىﻨﻔﺴﻪ ﰲ ﺍﻟﺒﺤﺮ ﺣﱴ‬
‫ﻳﻜﻮﻥ ﻃﻌﺎﻣﺎﹰ ﻟﻸﲰﺎﻙ ‪..‬‬

‫ﻏﲑ ﺃﻥ ﺍﳌﺰﺍﺭﻉ ﺍﳉﺪﻳﺪ ﺍﻟﺬﻱ ﻛﺎﻧﻘﺪ ﺍﺷﺘﺮﻯ ﺣﻘﻞ ﺻﺪﻳﻘﻨﺎ ﺍﳌﺰﺍﺭﻉ ﺑﺪﺃ ﻳﻌﻤﻞ ﲜﺪ ﻭﻧﺸﺎﻁ ﰲ‬
‫ﺣﻘﻠﻪ ‪ ..‬ﻓﻘﺎﻡ ﺑﺈﻗﺘﻼﻉ ﺍﻷﻋﺸﺎﺑﺎﻟﻀﺎﺭﺓ ‪ ..‬ﻭﻗﺎﻡ ﺑﻐﺮﺱ ﺷﺠﲑﺍﺕ ﺟﺪﻳﺪﺓ ‪ ..‬ﻭﺧﻼﻝ ﻓﺘﺮﺓ‬
‫ﻭﺟﻴﺰﺓ ﺃﺻﺒﺢ ﺍﳊﻘﻞ ﻣﻦ ﺃﻏﺰﺭ ﺣﻘﻮﻻﳌﻨﻄﻘﺔ ﺇﻧﺘﺎﺟﺎﹰ ‪ ..‬ﻭﺃﺣﺪ ﺍﻷﻳﺎﻡ ﻭﺑﻴﻨﻤﺎ ﻫﻮ ﻳﻌﻤﻞ ﰲ ﺣﻘﻠﻪ‬
‫‪ ..‬ﻭﺟﺪ ﺷﻴﺌﺎﹰ ﻳﻠﻤﻊ ‪ ..‬ﻭﳌﺎﺍﻟﺘﻘﻄﻪ ﻓﺈﺫﺍ ﻫﻲ ﻗﻄﻌﺔ ﺃﳌﺎﺱ ﺻﻐﲑﺓ ‪ ..‬ﻓﺘﺤﻤﺲ ﺃﻛﺜﺮ ﻭﺑﺪﺃ ﳛﻔﺮ‬
‫ﻭﻳﻨﻘﺐ ﻓﻮﺟﺪ ﺛﺎﻧﻴﻪ ﻭﺛﺎﻟﺜﺔ ‪ ..‬ﻭﻳﺎ ﻟﻠﻤﻔﺎﺟﺄﺓ ﻓﻘﺪ ﺃﻛﺘﺸﻒ ﺃﻥ ﲢﺖ ﻫﺬﺍ ﺍﳊﻘﻞ ﻣﻨﺠﻢ ﻣﻦ‬
‫ﺍﻷﳌﺎﺱ ‪..‬‬

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 ‫ﻧﺴﺘﻔﻴﺪ ﻣﻦ ﻫﺬﻩ ﺍﻟﻘﺼﺔ ﺃﻥ ﺍﻟﺴﻌﺎﺩﺓ ﻗﺮﻳﺒﺔ ﻣﻨﻚ ﺟﺪﺍﹰ ‪ ..‬ﺇ‪‬ﺎ ﰲ ﺣﻘﻠﻜﺎﻟﺪﺍﺧﻠﻲ ﺍﻟﺬﻱ ﺇﻥ‬
‫ﺍﻋﺘﻨﻴﺖ ﺑﻪ ﻭﺭﻋﻴﺘﻪ ‪ ..‬ﺳﻮﻑ ﲡﲏ ﺍﻟﺴﻌﺎﺩﺓ ﻭﺍﻟﻨﺠﺎﺡ ) ﺍﻷﳌﺎﺱ ( ‪ ..‬ﻭﺇﻧﻠﻢ ﺗﺘﻌﻬﺪ ﺣﻘﻠﻚ‬
‫ﺑﺎﻟﻌﻨﺎﻳﺔ ﻭﺍﻟﺴﻘﺎﻳﺔ ‪ ..‬ﻓﺴﺘﺠﺘﺎﺣﻪ ﺍﻟﻨﺒﺎﺗﺎﺕ ﺍﻟﻀﺎﺭﺓ ) ﺍﻷﻓﻜﺎﺭ ﻭﺍﻟﻌﺎﺩﺍﺗﺎﻟﺴﻠﺒﻴﺔ ( ﻭﺍﻟﱵ ﺳﺘﺆﺛﺮ‬
‫ﺳﻠﺒﺎﹰ ﻋﻠﻰ ﺳﻌﺎﺩﺗﻚ ﻭﻃﺮﻳﻘﺔ ﺣﻴﺎﺗﻚ ﺇﻥ ﱂ ﺗﻘﻢ ﺑﺈﻗﺘﻼﻋﻬﺎ ﻭﻏﺮﺳﻨﺒﺎﺗﺎﺕ ) ﺃﻓﻜﺎﺭ ﻭﻋﺎﺩﺍﺕ‬
‫ﺇﳚﺎﺑﻴﺔ ( ﻣﻜﺎ‪‬ﺎ‬

‫ﺍﺗﺼﻞ ﺑﺬﺍﺗﻚ ﺣﺎﺳﺒﻬﺎ ﲢﺪﺙ ﻣﻌﻬﺎ ﻭﻗﻴﻢ ﻧﻔﺴﻚ‬

‫ﻛﻴﻒ ﻟﻚ ﺍﻥ ﺗﻔﻬﻢ ﺍﻻﺧﺮﻳﲔ ﻭﺗﻘﺪﺭﻫﻢ ﻭﺗﻨﺠﺢ ﰲ ﺍﻻﺗﺼﺎﻝ ﻣﻌﻬﻢ ﻭﺍﻧﺖ ﱂ ﺗﻔﻬﻢ ﻧﻔﺴﻚ‬
‫ﻭﺗﻘﺪﺭﻫﺎ ﺣﻖ ﻗﺪﺭﻫﺎ‬

‫*ﺍﺧﺮ ﻣﺎ ﻳﻨﻈﺮ ﺍﻻﻧﺴﺎﻥ ﻟﻪ ﻫﻲ ﻧﻔﺴﻪ ﻟﻴﺒﺤﺚ ﻓﻴﻬﺎ ﻋﻦ ﺿﺎﻟﺘﻪ ﻭﺍﺧﺮﺍﺝ ﺍﻟﻜﻨﻮﺯ ﻭﺍﻟﺜﺮﻭﺍﺕ‬
‫ﺍﻟﻜﺎﻣﻨﻪ ﺑﺪﺍﺧﻠﻚ‬

‫ﺍﺑﺪﺃ ﺑﻨﻔﺴﻚ ﺩﺍﺋﻤﺎ ﻟﺘﺒﲏ ﺣﻴﺎﺗﻚ ﻭﺗﻌﻤﺮ ﺍﻻﺭﺽ ﺍﻟﱵ ﺍﺳﺘﺨﻠﻔﻚ ﺍﷲ ﻓﻴﻬﺎ‬

‫ﻗﺎﻝ ﺗﻌﺎﱄ )ﻭﻫﻮ ﺍﻟﺬﻱ ﺟﻌﻠﻜﻢ ﺧﻼﺋﻒ ﰲ ﺍﻻﺭﺽ ﻭﺭﻓﻊ ﺑﻌﻀﻜﻢ ﻓﻮﻕ ﺑﻌﺾ ﺩﺭﺟﺎﺕ‬
‫ﻟﻴﺒﻠﻮﻛﻢ ﰲ ﻣﺎ ﺍﺗﺎﻛﻢ ﺇﻥ ﺭﺑﻚ ﺳﺮﻳﻊ ﺍﻟﻌﻘﺎﺏ ﻭﺍﻧﻪ ﻟﻐﻔﻮﺭ ﺭﺣﻴﻢ(‬

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 ‫ﲤﺮﻳﻦ ﻟﻼﺗﺼﺎﻝ ﺑﺎﻟﻨﻔﺲ‬

‫‪_١‬ﺍﺫﻫﺐ ﺇﱄ ﻣﻜﺎﻥ ﻫﺎﺩﺉ‬

‫‪_٢‬ﺍﺟﻠﺲ ﰲ ﺿﻮﺀ ﺧﻔﻴﻒ‬

‫‪_٣‬ﺍﺳﺘﺮﺥ ﻭﺍﻏﻤﺾ ﻋﻴﻨﻴﻚ‬

‫‪_٤‬ﺧﺬ ﻧﻔﺲ ﳌﺪﺓ ‪٤‬ﺛﻮﺍﱐ ﰒ ﺍﻛﺘﻤﻪ ﳌﺪﺓ ﺛﺎﻧﻴﺘﲔ ﰒ ﺍﺧﺮﺟﻪ ﺑﺒﻄﺊ ﰲ ﻣﺪﺓ ‪ ٨‬ﺛﻮﺍﱐ‬

‫‪_٥‬ﻻ ﺗﻔﻜﺮ ﰲ ﺍﻱ ﺷﺊ‬

‫ﻫﺬﺍ ﺍﻟﺘﻤﺮﻳﻦ ﻟﻠﺘﺨﻠﺺ ﻣﻦ ﺿﻐﻮﻁ ﺍﳊﻴﺎﺓ ﺍﻟﻴﻮﻣﻴﺔ ﻭﻻ ﳛﺘﺎﺝ ﺍﻛﺜﺮ ﻣﻦ ‪ ١٠‬ﺩﻗﺎﺋﻖ‬

‫ﻭﺗﺬﻛﺮ ﺩﺍﺋﻤﺎ‬

‫ﺍﻥ ﱂ ﺗﻌﺘﲏ ﺍﻧﺖ ﺑﻨﻔﺴﻚ ﻓﻤﻦ ﺳﻮﻑ ﻳﻌﺘﲏ ﺑﻴﻚ‬

‫ﻭﺗﺬﻛﺮ ﺍﻳﻀﺎ ﺍﻥ ﻧﻔﺴﻚ ﺍﻥ ﱂ ﺗﺸﻐﻠﻬﺎ ﺑﺎﻟﻄﺎﻋﺔ ﺷﻐﻠﺘﻚ ﺑﺎﳌﻌﺼﻴﺔ ﻓﻼ ﺗﻈﻠﻢ ﻧﻔﺴﻚ ﺑﺴﻮﺀ‬
‫ﺍﺗﺼﺎﻟﻚ ﻣﻌﻬﺎ‬

‫*ﻟﻺﺗﺼﺎﻝ ﺑﺎﻻﺧﺮﻳﲔ ﳚﺐ ﺍﻥ ﻳﻜﻮﻥ ﻟﺪﻳﻚ ﺛﻘﺔ ﺑﻨﻔﺴﻚ ﻟﻜﻦ ﺗﺜﻖ ﰲ ﺍﻻﺧﺮﻳﲔ ﻭﺗﻘﺪﺭ ﻋﻠﻲ‬
‫ﺍﻟﺘﻮﺍﺻﻞ ﻣﻌﻬﻢ‬

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 ‫ﺃﻧﻮﺍﻉ ﺍﻟﺜﻘﺔ ﺑﺎﻟﻨﻔﺲ ‪:‬‬
‫‪_١‬ﺍﻟﺜﻘﺔ ﺍﻟﺪﺍﺧﻠﻴﺔ ‪:‬‬

‫ﻭﻫﻲ ﻣﺎ ﻳﻮﺟﺪ ﺑﺪﺍﺧﻞ ﺍﻻﻧﺴﺎﻥ ﻣﻦ ﻫﺪﻭﺀ ﻭﺍﻃﻤﺌﻨﺎﻥ ﻭﺍﻟﻘﺪﺭﺓ ﻋﻠﻲ ﻣﻮﺍﺟﻬﺔ ﺍﻟﺘﺤﺪﻳﺎﺕ‬

‫‪_٢‬ﺍﻟﺜﻘﺔ ﺍﳋﺎﺭﺟﻴﺔ ‪:‬‬

‫ﻣﺎ ﻳﺮﺍﻩ ﺍﻻﻧﺴﺎﻥ ﰲ ﺣﻴﺎﺗﻪ ﻭﺍﻻﺧﺮﻭﻥ ﻣﻦ ﺳﻠﻮﻛﻴﺎﺕ ﺷﺨﺼﻴﺔ ﺍﻟﱵ ﺗﻈﻬﺮ ﺛﻘﺔ ﺍﻟﺸﺨﺺ ﰲ‬
‫ﻧﻔﺴﻪ‬

‫*ﻋﻨﺪﻣﺎ ﺗﺘﺤﺪ ﺍﻟﺜﻘﺔ ﺍﻟﺪﺍﺧﻠﻴﺔ ﻣﻊ ﺍﻟﺜﻘﺔ ﺍﳋﺎﺭﺟﻴﺔ ﲢﺪﺙ ﺍﻟﻘﻮﺓ ﺍﻟﺬﺍﺗﻴﺔ ﺍﳊﻘﻴﻘﻴﺔ‬

‫*******‬

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 ‫ﺍﻟﺸﺨﺼﻴﺔ ﺍﳌﺆﺛﺮﺓ‬
‫ﳛﻜﻰ ﺃﻥ ﺃﺣﺪ ﺍﻷﻃﻔﺎﻝ ﻛﺎﻧﻠﺪﻳﻪ ﺳﻠﺤﻔﺎﺓ ﻳﻄﻌﻤﻬﺎ ﻭﻳﻠﻌﺐ ﻣﻌﻬﺎ‪..‬‬

‫ﻭﰲ ﺇﺣﺪﻯ ﻟﻴﺎﱄ ﺍﻟﺸﺘﺎﺀ ﺍﻟﺒﺎﺭﺩﺓ‬

‫ﺟﺎﺀﺍﻟﻄﻔﻞ ﻟﺴﻠﺤﻔﺎﺗﻪ ﺍﻟﻌﺰﻳﺰﺓ ﻓﻮﺟﺪﻫﺎ ﻗﺪ ﺩﺧﻠﺖ ﰲ ﻏﻼﻓﻬﺎ ﺍﻟﺼﻠﺐ ﻃﻠﺒﺎ ﻟﻠﺪﻑﺀ‪.‬‬

‫ﻓﺤﺎﻭﻷﻥ ﳜﺮﺟﻬﺎ ﻓﺄﺑﺖ‪..‬‬

‫ﺿﺮ‪‬ﺎ ﺑﺎﻟﻌﺼﺎ ﻓﻠﻢ ﺗﺄﺑﻪ ﺑﻪ‪..‬‬

‫ﺻﺮﺥ ﻓﻴﻬﺎ ﻓﺰﺍﺩﺕ ﲤﻨﻌﺎ ‪.‬‬

‫ﻓﺪﺧﻞ ﻋﻠﻴﻪ ﺃﺑﻮﻩ ﻭﻫﻮﻏﺎﺿﺐ ﺣﺎﻧﻖ‬

‫ﻭﻗﺎﻝ ﻟﻪ ‪ :‬ﻣﺎﺫﺍ ﺑﻚ ﻳﺎ ﺑﲏ ؟‬
‫ﻓﺤﻜىﻠﻪ ﻣﺸﻜﻠﺘﻪ ﻣﻊ ﺍﻟﺴﻠﺤﻔﺎﺓ ‪،‬‬

‫ﻓﺎﺑﺘﺴﻢ ﺍﻷﺑﻮﻗﺎﻝ ﻟﻪ ﺩﻋﻬﺎ ﻭﺗﻌﺎﻝ ﻣﻌﻲ‪.‬‬

‫ﲦﺄﺷﻌﻞ ﺍﻷﺏ ﺍﳌﺪﻓﺄﺓ ﻭﺟﻠﺲ ﲜﻮﺍﺭﻫﺎ ﻫﻮ ﻭﺍﻻﺑﻦ ﻳﺘﺤﺪﺛﺎﻥ ‪..‬‬

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 ‫ﺭﻭﻳﺪﺍًﺭﻭﻳﺪﺍً ﻭﺇﺫﺑﺎﻟﺴﻠﺤﻔﺎﺓ ﺗﻘﺘﺮﺏ ﻣﻨﻬﻢ ﻃﺎﻟﺒﺔ ﺍﻟﺪﻑﺀ‪.‬‬

‫ﻓﺎﺑﺘﺴﻢ ﺍﻷﺏ ﻟﻄﻔﻠﻪ‬

‫ﻭﻗﺎﻝ ‪ :‬ﻳﺎ ﺑﻨﻴﺎﻟﻨﺎﺱ ﻛﺎﻟﺴﻠﺤﻔﺎﺓ‬

‫ﺇﻥ ﺃﺭﺩ‪‬ﻢ ﺃﻥ ﻳﱰﻟﻮﺍ ﻋﻨﺪ ﺭﺃﻳﻚ ﻓﺄﺩﻓﺌﻬﻢ ﺑﻌﻄﻔﻚ‪،‬‬

‫ﻭﻻﺗﻜﺮﻫﻬﻢ ﻋﻠﻰ ﻓﻌﻞ ﻣﺎ ﺗﺮﻳﺪ ﺑﻌﺼﺎﻙ‪.‬‬

‫ﻭﻫﺬﻩ ﺇﺣﺪﻯ ﺃﺳﺮﺍﺭ ﺍﻟﺸﺨﺼﻴﺎﺕ ﺍﻟﺴﺎﺣﺮﺓﺍﳌﺆﺛﺮﺓ‬

‫ﰲ ﺍﳊﻴﺎﺓ‪ ...‬ﻓﻬﻢ ﻳﺪﻓﻌﻮﻥ ﺍﻟﻨﺎﺱ ﺇﱃ ﺣﺒﻬﻢ ﻭﺗﻘﺪﻳﺮﻫﻢ ﻭﻣﻦ ﰒ ﻃﺎﻋﺘﻬﻢ‪..‬‬

‫ﻋﱪ ﺇﻋﻄﺎﺋﻬﻢ ﻣﻦ ﺩﻑﺀ ﻗﻠﻮ‪‬ﻢ ﻭﻣﺸﺎﻋﺮﻫﻢ ﺍﻟﻜﺜﲑ ﻭﺍﻟﻜﺜﲑ‪.‬‬

‫ﻛﺬﻟﻚ ﺍﻟﺒﺸﺮﻟﻦ ﺗﺴﺘﻄﻴﻊ ﺃﻥ ﺗﺴﻜﻦ ﰲ ﻗﻠﻮ‪‬ﻢ ﺇﻻ‬

‫ﺑﺪﻑﺀ ﻣﺸﺎﻋﺮﻙ‪..‬‬
‫ﺻﻔﺎﺀ ﻗﻠﺒﻚ‪..‬‬

‫ﻭﻧﻘﺎﺀﺭﻭﺣﻚ ‪.‬‬

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 ‫ﺭﺳﻮﻟﻨﺎ ‪ -‬ﺻﻠﻰ ﺍﷲ ﻋﻠﻴﻪ ﻭﺁﻟﻪ ﻭﺳﻠﻢ ‪-‬‬

‫ﳜﱪ ﺍﻟﻄﺎﻣﺢ ﻟﻜﺴﺐ ﻗﻠﻮﺑﺎﻟﻨﺎﺱ ﺑﺄﳘﻴﺔ ﺍﳌﺸﺎﻋﺮ ﻭﺍﻷﺣﺎﺳﻴﺲ ‪،‬‬

‫ﻓﻴﻘﻮﻝ ‪:‬‬

‫ﺇﻧﻜﻢ ﻟﻦ ﺗﺴﻌﻮﺍ ﺍﻟﻨﺎﺳﺒﺄﻣﻮﺍﻟﻜﻢ‬

‫ﻟﻜﻦ ﻳﺴﻌﻬﻢ ﻣﻨﻜﻢ ﺑﺴﻂ ﺍﻟﻮﺟﻪ ﻭﺣﺴﻦ ﺍﳋﻠﻖ‬

‫ﻣﻬﺎﺭﺍﺕ ﺍﻻﺗﺼﺎﻝ ﺍﻟﺸﺨﺼﻲ ﺍﻟﺘﺴﻊ ‪-:‬‬

‫ﺍﳌﻬﺎﺭﺓ ﺍﻷﻭﱃ ‪ /‬ﺍﺗﺼﺎﻝ ﺍﻟﻌﲔ ‪-:‬‬

‫ﺍﳍﺪﻓﺎﻟﺴﻠﻮﻛﻲ ‪/‬‬
‫ﻳﻘﻮﻝ ﺭﺍﻟﻒ ﻭﺍﻟﺪﻭ ﺍﳝﻮﺳﻮﻥ ‪ /‬ﺍﻟﻌﲔ ﳝﻜﻦ ﺃﻥ ‪‬ﺪﺩ ﻛﻤﺎ ‪‬ﺪﺩ ﺑﻨﺪﻗﻴﺔ ﻣﻌﺒﺄﺓﻭ ﻣﺼﻮﺑﺔ ﺃﻭ ﳝﻜﻦ‬
‫ﺃﻥ ‪‬ﲔ ﻛﺎﻟﺮﻛﻞ ﻭ ﺍﻟﺮﻓﺲ ‪ .‬ﺃﻣﺎ ﺇﺫﺍ ﻛﺎﻧﺖ ﻧﻈﺮ‪‬ﺎ ﺣﺎﻧﻴﺔ ﻭ ﻟﻄﻴﻔﺔ ﻓﺎ‪‬ﻴﻤﻜﻨﻬﺎ ﺑﺸﻌﺎﻉ ﺭﻗﺘﻬﺎ ﻭ‬
‫ﻋﻄﻔﻬﺎ ﺃﻥ ﲡﻌﻞ ﺍﻟﻘﻠﺐ ﻳﺮﻓﺺ ﺑﻜﻞ ‪‬ﺠﺔ‪.‬‬
‫ﻧﺸﺎﻁ ‪:.‬‬
‫‪.١‬ﺃﻳﻨﺘﻨﻈﺮ ﻋﻨﺪﻣﺎ ﺗﺘﺤﺪﺙ ﺇﱃ ﺷﺨﺺ ﺁﺧﺮ ؟‬
‫‪.٢‬ﺃﻳﻦ ﺗﻨﻈﺮ ﻋﻨﺪﻣﺎ ﺗﺴﺘﻤﻊ ﺇﱃ ﺷﺨﺺ ﺃﺧﺮ‬

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 ‫‪.٣‬ﻛﻤﻬﻲ ﺍﳌﺪﺓ ﺍﻟﱵ ﻳﺘﻮﺍﺻﻞ ﻓﻴﻬﺎ ﻧﻈﺮﻙ ﺇﱃ ﺷﺨﺺ ﰲ ﳏﺎﺩﺛﺔ ﻭﺣﺒﻬﺎ ﻟﻮﺟﻪ ؟‬
‫‪.٤‬ﻛﻢ ﻫﻲ ﺍﳌﺪﺓﺍﻟﱵ ﻳﺘﻮﺍﺹ ﻓﻴﻬﺎ ﻧﻈﺮﻙ ﻣﻊ ﺃﺷﺨﺎﺹ ﻣﻌﻴﻨﲔ ﻋﻨﺪﻣﺎ ﻧﺘﺤﺪﺙ ﺇﱃ ﲨﻬﻮﺭ ﻛﺒﲑ‬
‫؟‬

‫ﺃﻳﻨﺘﻨﻈﺮ ﻋﻨﺪﻣﺎ ﺗﻨﺼﺮﻑ ﻋﻴﻨﻚ ﻋﻦ ﺷﺨﺺ ﺗﺘﻮﺍﺻﻞ ﻣﻌﻪ ﰲ ﺍﳊﺪﻳﺚ ؟‬

‫ﻛﻴﻒ ﲢﺴﻦ ﺍﺗﺼﺎﻟﻚ ﺑﺎﻟﻌﲔ‪:‬‬

‫ﺍﺗﺼﺎﻝ ﺍﻟﻌﲔ ﻫﻮ ﺍﳌﻬﺎﺭﺓ ﺍﻷﻛﺜﺮ ﺗﺄﺛﲑﺍ ﺑﲔ ﺗﺄﺛﲑﺍﺗﻚ ﺍﻟﺸﺨﺼﻴﺔ ﺍﳌﺘﻌﺪﺩﺓ ‪،‬ﻋﻴﻮﻧﻚ ﻫﻲ ﺍﳉﺰﺀ‬
‫ﺍﻟﻮﺣﻴﺪ ﻣﻦ ﺟﻬﺎﺯﻙ ﺍﻟﻌﺼﱯ ﺍﳌﺮﻛﺰﻱ ﺍﻟﺬﻱ ﻳﺮﺗﺒﻂ ﺑﺎﻟﺸﺨﺺ ﺍﻵﺧﺮ ﺑﺸﻜﻞ ﻣﺒﺎﺷﺮ‪،‬‬
‫ﻭﻟﻼﺗﺼﺎﻝ ﺑﺎﻟﻌﲔ ﺁﺛﺎﺭ ﺛﻼﺛﺔ–‬
‫ﺍﻷﻟﻔﺔ‬
‫ﺃﻭ ﺍﻟﺘﺠﻮﻳﻒ‬
‫ﺃﻭ ﺍﳌﺸﺎﺭﻛﺔ‬
‫ﺍﻷﻟﻔﺔ ﺃﻭ ﺍﻟﺘﺨﻮﻳﻒ ﺗﻨﺘﺠﺎﻥ ﻋﻦ ﺍﻟﻨﻈﺮ ﺇﱃ ﺍﻟﺸﺨﺺ ﺍﻵﺧﺮ ﳌﺪﺓ ﻋﺸﺮ ﺛﻮﺍﱐ ﺇﱃ ﺩﻗﻴﻘﺔ‪.‬‬
‫ﺃﻣﺎ ﺍﳌﺸﺎﺭﻛﺔ ﻭﻫﻲ ﺍﻟﱵ ﺗﺸﻜﻞ ﺃﻛﺜﺮ ﻣﻦ ‪ %٩٠‬ﻣﻦ ﺍﺗﺼﺎﻟﻨﺎ ﺍﻟﺸﺨﺼﻲ ﺧﺎﺻﺔ ﰲ ﳎﺎﻝ‬
‫ﺍﻟﻌﻤﻠﻔﺈ‪‬ﺎ ﺗﺴﺘﺪﻋﻲ ﺃﻥ ﺗﻨﻈﺮ ﺇﱃ ﺍﻟﺸﺨﺺ ﺍﻟﺬﻱ ﺗﺘﺤﺪﺙ ﻣﻌﻪ ﻣﻦ ﲬﺲ ﺇﱃ ﻋﺸﺮ ﺛﻮﺍﱐ ﻗﺒﻞ‬
‫ﲢﻮﻳﻼﻟﻨﻈﺮ ﻋﻨﻪ ﺇﱃ ﻣﻜﺎﻥ ﺁﺧﺮ ﻭﻫﺬﺍ ﻫﻮ ﺍﻟﻄﺒﻴﻌﻲ ﺇﻥ ﻛﻨﺖ ﺗﺘﻜﻠﻢ ﻣﻊ ﺷﺨﺺ ﺃﻭ ﺁﻟﻒ‬
‫ﺷﺨﺺ‪.‬‬
‫ﺃﺣﺬﺭﻣﻦ‪:.‬‬
‫‪.١‬ﺃﻥ ﺗﻨﻈﺮ ﺇﱃ ﺃﻱ ﺷﺮﻉ ﻭﰲ ﻛﻞ ﺟﺎﻧﺐ ﺍﻻﻣﺴﺘﻤﻌﻚ ﻓﺎﻥ ﺫﻟﻚ ﻳﻘﻮﺽ ﻣﺼﺪﺍﻗﻴﺘﻚ‬
‫ﻭﻳﺒﻌﺜﻌﻠﻰ ﺍﻟﺘﻮﺗﺮ ﻭﻋﺪﻡ ﺍﻟﻄﻤﺎﻧﻴﻨﻪ‬

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 ‫‪.٢‬ﺇﻥ ﺗﻐﻤﺾ ﻋﻴﻨﻚ ﳌﺪﺓ ﺛﺎﻧﻴﺘﲔ ﺃﻭ ﺃﻛﺜﺮ ﻓﺎﻧﻚ ‪‬ﺬﺍ ﺍﻟﻔﻌﻠﺘﻘﻮﻝ ﻻ ﺃﺭﻳﺪ ﺃﻥ ﺃﻛﻮﻥ ﻫﻨﺎ ﺃﻭ ﻻ‬
‫ﺃﺭﻳﺪ ﺃﻥ ﺍﲰﻊ ﻫﺬﺍ ﻭﻫﺬﺍ ﺍﻟﺸﻌﻮﺭ ﺳﻴﻨﺘﻘﻞ ﺇﱃ ﻣﺴﺘﻤﻌﻴﻜﻮﻳﺸﺎﻃﺮﻭﻧﻚ ﻋﺪﻡ ﺭﻏﺒﺘﻬﻢ ﰲ‬
‫ﺍﻻﺳﺘﻤﺎﻉ ﺇﻟﻴﻚ‪.‬‬
‫‪.٣‬ﺃﻥ ﺗﺮﻛﺰ ﻧﻈﺮﻙ ﻋﻠﻰ ﺷﺨﺺ ﺃﻭ ﺍﲡﺎﻩ ﻣﻌﻴﻨﻌﻨﺪﻣﺎ ﲣﺎﻃﺐ ﳎﻤﻮﻋﺔ ﻛﺒﲑﺓ ﺑﻞ ﺗﻘﻞ ﻋﻴﻨﻚ ﺇﱃ‬
‫ﻛﻞ ﺍﲡﺎﻩ ﺃﻋﻂ ﲬﺲ ﺛﻮﺍﱐ ﻣﻦ ﺍﻟﺘﺮﻛﻴﺰ ﰲ ﻛﻼﲡﺎﻩ‪.‬‬

‫ﺟﺰﺀ ﻋﻤﻠﻰ‬

‫ﻛﻞ ﺍﲡﺎﻩ ﺃﻋﻂ ﲬﺲ ﺛﻮﺍﱐ ﻣﻦ ﺍﻟﺘﺮﻛﻴﺰ ﰲ ﻛﻼﲡﺎﻩ‪.‬‬

‫ﺍﳌﻬﺎﺭﺓﺍﻟﺜﺎﻧﻴﺔ ‪ /‬ﻣﻬﺎﺭﺓ ﺍﻟﻮﺿﻊ ﻭﺍﳊﺮﻛﺔ‪-:‬‬

‫ﺍﳍﺪﻑ ﺍﻟﺴﻠﻮﻛﻲ ‪/‬‬
‫ﻧﺸﺎﻁ‪:.‬‬
‫ﺱ‪ / ١‬ﻫﻞ ﺗﺘﻜﺊ ﻋﻠىﺄﺣﺪ ﺍﻟﻮﺭﻛﲔ ﻋﻨﺪﻣﺎ ﺗﺘﺤﺪﺙ ﰲ ﳎﻤﻮﻋﺔ ﺻﻔﲑﻩ ؟‬
‫ﺱ‪ / ٢‬ﻫﻞ ﺗﻀﻊ ﺳﺎﻗﺎﹰ ﻋﻠﻰ ﺳﺎﻕ ﻋﻨﺪﻣﺎ ﺗﻘﻔﻨﺘﺤﺪﺙ ﺑﺸﻜﻞ ﻏﲑ ﺭﲰﻲ ؟‬
‫ﺱ‪ / ٣‬ﻫﻞ ﺍﳉﺰﺀ ﺍﻷﻋﻠﻰ ﻣﻦ ﺟﺴﻤﻚ ﻣﻨﺘﺼﺒﺎﹰ ؟‬
‫ﺱ‪ ٣‬ﻫﻼﻛﺘﻨﺎﻓﻚ ﰲ ﺧﻂ ﻣﺴﺘﻘﻴﻢ ﺃﻭ ﻣﺘﻘﻮﺳﺔ ﺇﱃ ﺍﻟﺪﺍﺧﻞ ﳓﻮ ﺻﺪﺭﻙ ؟‬
‫ﺱ‪ / ٤‬ﻋﻨﺪﻣﺎ ﺗﺘﻜﻠﻢ ﻓﻴﻤﻨﺎﺳﺒﺔ ﺭﲰﻴﺔ ﻫﻞ ﺗﻀﻊ ﻧﻔﺴﻚ ﻭﺭﺍﺀ ﻃﺎﻭﻟﺔ ؟‬
‫ﺱ‪ / ٥‬ﻫﻞ ﺗﻌﱪ ﻋﻦ ﻧﻔﺎﺫ ﺻﱪﻙ ﺑﻨﻘﺮﺓ ﻗﺪﻣﻚ ﺃﻭﻧﻘﺮﺓ ﻗﻠﻤﻚ ﻋﻨﺪﻣﺎ ﺗﺴﺘﻤﻊ ﺇﱃ ﺃﺣﺪ ؟‬
‫ﺱ‪ / ٦‬ﻫﻞ ﻟﺪﻳﻚ ﺣﺮﻛﺎﺕ ﻋﺼﺒﻴﺔ ﺃﻭ ﻋﺎﺩﺍﺕ ﻻﺯﻣﺔ ﻟﻜﻌﻨﺪﻣﺎ ﺗﺘﺤﺪﺙ ﰲ ﳎﻤﻮﻋﺔ ﻛﺒﲑﺓ ؟‬
‫ﺱ‪ / ٧‬ﻫﻞ ﺗﺘﺤﺪﺙ ﰲ ﺃﺭﺟﺎﺀ ﺍﳌﻜﺎﻥ ﻋﻨﺪﻣﺎ ﺗﺘﺤﺪﺙ ﺑﺸﻜﻠﻐﲑ ﺭﲰﻲ ؟‬

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‫ﺗﻌﻠﻢ ﺃﻥ ﺗﻘﻒ ﻣﻨﺘﺼﺒﺎﹰ ﻭﺗﺘﺤﺮﻙ ﺑﺼﻮﺭﺓ ﻃﺒﻴﻌﻴﺔ ﻭﺳﻬﻠﺔ ‪ ٠‬ﳚﺐ ﺃﻥ ﺗﻜﻮﻥ ﻗﺎﺩﺭﺍﹰﻋﻠﻰ ﺗﺼﺤﻴﺢ‬
‫ﺍﻻﲡﺎﻩ ﺍﻟﻌﺎﻡ ﺍﻟﺬﻱ ﻳﺮﲣﻲ ﻓﻴﻪ ﺍﳉﺰﺀ ﺍﻷﻋﻠﻰ ﻣﻦ ﺍﳉﺴﻢ ‪ .‬ﻓﻌﻨﺪ ﻗﻴﺎﻣﻚ ﺑﻌﻤﻠﻴﺔﺍﻻﺗﺼﺎﻝ ﻳﻜﻮﻥ‬
‫ﺍﻟﻮﺿﻊ ﺃﻛﺜﺮ ﻓﻌﺎﻟﻴﺔ ﻋﻨﺪﻣﺎ ﺗﻜﻮﻥ ﻣﺮﻧﺎﹰ ‪،‬ﻻ ﺃﻥ ﺗﻜﻮﻥ ﻣﻐﻠﻘﺎ ﰲ ﻭﺿﻌﻴﺔﻣﺘﻮﺗﺮﺓ ﻫﺬﺍ ﻳﻨﻄﺒﻖ ﻋﻠﻰ‬
‫ﻛﻞ ﺍﳌﻼﻣﺢ ﻭ ﺍﳊﺮﻛﺎﺕ ﻭﻳﻨﻄﺒﻖ ﺃﻛﺜﺮ ﻋﻠﻰ ﺍﻟﺴﺎﻕ ﻭﺍﻟﻘﺪﻡ ؟‬
‫ﻟﺜﻘﺔﺗﻈﻬﺮ ﻋﺎﺩﺓ ﻣﻦ ﺧﻼﻝ ﺍﻟﻮﺿﻌﻴﺔ ﺍﳌﻤﺘﺎﺯﺓ‪.‬‬
‫ﺃﻥ ﺍﻟﻄﺮﻳﻘﺔ ﺍﻟﱵ ﺗﻈﻬﺮ ‪‬ﺎ ﻧﻔﺴﻚ ﺟﺴﻤﻴﺎﹰﳝﻜﻦ ﺇﻥ ﺗﻌﻜﺲ ﻛﻴﻒ ﺗﻈﻬﺮ ﻧﻔﺴﻚ ﻋﻘﻠﻴﺎﹰ ﻭ‬
‫ﺍﻟﻄﺮﻳﻘﺔ ﺍﻟﱵ ﺗﻨﻈﺮ ‪‬ﺎ ﺇﱃ ﻧﻔﺴﻚ ﻫﻲ ﻋﺎﺩﺓﺍﻻﻧﻄﺒﺎﻉ ﺍﻟﺬﻱ ﻳﻜﻮﻧﻪ ﻋﻨﻚ ﺍﻵﺧﺮﻭﻥ‪.‬‬
‫ﻗﻒ ﻣﻨﺘﺼﺒﺎﹰ ‪ :‬ﻣﻈﻬﺮ ﺍﳉﺰﺀ ﺍﻟﻌﻠﻮﻱ ﻣﻦ ﺟﺴﻤﻚ ﻳﺪﻟﻌﻠﻰ ﺭﺃﻳﻚ ﰲ ﻧﻔﺴﻚ ﻫﺬﺍ ﺍﳊﻜﻢ ﻟﻴﺲ‬
‫ﰲ ﻛﻞ ﺍﻷﺣﻮﺍﻝ ﻟﻜﻦ ﻋﻠﻰ ﺍﻷﻗﻞ ﻫﺬﺍ ﻫﻮ ﺭﺃﻯ ﺍﻵﺧﺮﻳﻨﻔﻴﻚ ﺣﱴ ﺗﺘﻜﻮﻥ ﻟﺪﻳﻬﻢ ﻣﻌﻠﻮﻣﺎﺕ‬
‫ﺃﺧﺮﻯ ﻛﺎﻓﻴﺔ ﻟﺘﻐﲑ ﻫﺬﺍ ﺍﻟﺮﺃﻱ‪.‬‬
‫ﺭﺍﻗﺐ ﺍﳉﺰﺀ ﺍﻷﺳﻔﻞ ﻣﻨﺠﺴﻤﻚ ‪ .‬ﻋﻨﺪﻣﺎ ﺗﺘﺤﺪﺙ ﺇﱃ ﺍﻵﺧﺮﻳﻦ ﻓﻘﺪ ﺗﻘﻠﻞ ﻣﻦ ﺗﺄﺛﲑﻙ ﺑﺴﺒﺐ‬
‫ﺍﻟﻄﺮﻳﻘﺔ ﺍﻟﱵ ﺗﻘﻒ ‪‬ﺎ ‪ .‬ﻭﻗﺪ ﲢﻮﻝ ﻃﺎﻗﺔ ﺍﺗﺼﺎﻟﻚ ﺍﻟﺸﺨﺼﻲ ﺑﻌﻴﺪﺍﹰ ﻋﻦ ﻣﺴﺘﻤﻌﻴﻚ ﻣﻦ ﺧﻼﻝ‬
‫ﻟﻐﺔ ﺍﳉﺴﻢ ﻏﲑ ﺍﳌﻼﺋﻤﺔ‪.‬‬
‫ﻭﻣﻦ ﺃﻛﺜﺮ ﺍﻷﳕﺎﻁ ﺍﻟﺸﺎﺋﻌﺔ ﻟﻠﻮﺿﻌﻴﺔ ﺍﳋﺎﻃﺌﻪ ﻫﻲ ‪:.‬‬
‫‪.١‬ﺍﻟﺘﺮﺍﺟﻊ ﺇﱃ ﺍﳋﻠﻒ‬
‫‪.٢‬ﺍﳌﻴﻞ ﻣﻦ ﺟﻨﺐ ﺇﱃ ﺟﻨﺐ ﺃﻭ ﺍﻻﻋﺘﻤﺎﺩ ﻋﻠﻰ ﺭﺟﻞ ﻭ ﺍﻟﺘﺤﻮﻝ ﺇﱃ ﺍﻟﺮﺟﻞ ﺍﻷﺧﺮﻯ‪.‬‬
‫·ﺍﺳﺘﻌﻤﻞ ﻭﺿﻊ ﺍﻻﺳﺘﻌﺪﺍﺩ‪:‬‬
‫ﶈﺎﺭﺑﺔ ﻫﺬﻩ ﺍﻟﻌﺎﺩﺍﺕ ﺍﻟﺴﻠﺒﻴﺔ ﺧﺬ ﻭﺿﻊ ﺍﻻﺳﺘﻌﺪﺍﺩﻭﻭﺯﻧﻚ ﺇﱃ ﺍﻹﻣﺎﻡ – ﻓﺎﻻﺗﺼﺎﻝ ﳛﺘﺎﺝ ﺇﱃ‬
‫ﺍﻟﻄﺎﻗﺔ ﻭﻭﺿﻊ ﺍﻻﺳﺘﻌﺪﺍﺩ ﺃﻓﻀﻞ ﺍﻟﻄﺎﻗﺔ ‪٠‬‬
‫ﲢﺮﻙ ﰲ ﺃﺭﺟﺎﺀ ﺍﳌﻜﺎﻥ ‪.‬‬

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 ‫ﺍﻻﺗﺼﺎﻝ ﻭ ﺍﻟﻄﺎﻗﺔ ﻻ ﳝﻜﻦ ﻓﺼﻞ ﺃﺣﺪﳘﺎ ﻋﻦ ﺍﻵﺧﺮ‪.‬‬
‫ﻋﻨﺪﻣﺎ ﻧﺘﺤﺪﺙ ﺇﱃ ﺍﻵﺧﺮﻳﻦ ‪ ،‬ﲢﺮﻙ ﰲ ﺃﺭﺟﺎﺀ ﺍﳌﻜﺎﻥ – ﺍﺧﺮﺝ ﻣﻦ ﺧﻠﻒ ﻃﺎﻭﻟﺔ ﺍﳋﻄﺎﲝﱴ ﻟﻮ‬
‫ﻛﻨﺖ ﰲ ﻭﺿﻊ ﺭﲰﻲ – ﻫﺬﺍ ﺳﻴﺰﻳﻞ ﺍﳊﻮﺍﺟﺰ ﺑﻴﻨﻚ ﻭﺑﲔ ﺍﻵﺧﺮﻳﻦ ﺣﺮﻙ ﻳﺪﻳﻚ ﻭ‬
‫ﺫﺭﺍﻋﻴﻜﻮﲢﺮﻛﻴﻤﻨﺔ ﻭﻳﺴﺮﻩ – ﻻ ﺗﺒﺎﻟﻎ ﰲ ﺫﻟﻚ ﺑﻞ ﲢﺮﻙ ﺿﻤﻦ ﻣﺴﺘﻮﻯ ﻃﺎﻗﺘﻚ ﺍﻟﻄﺒﻴﻌﻴﺔ‬
‫·ﻟﻜﻸﺳﻠﻮﺑﻪ ﺍﳋﺎﺹ‪:.‬‬
‫ﻟﻴﺴﺖ ﻫﻨﺎﻙ ﻃﺮﻳﻘﺔ ﺻﺤﻴﺤﺔ ﺃﻭ ﻃﺮﻳﻘﺔ ﺧﺎﻃﺌﺔ ﻟﻠﻮﻗﻮﻑ ﺃﻭ ﺍﻟﺘﺤﺮﻙ ﻟﻜﻨﻬﻨﺎﻙ ﻣﻔﺎﻫﻴﻢ ﻣﻔﻴﺪﺓ‬
‫ﺗﻨﻔﻊ ﰲ ﻫﺬﺍ ﺍﻟﺴﻴﺎﻕ ﻭﻣﻦ ﻫﺬﻩ ﺍﳌﻔﺎﻫﻴﻢ ﻣﻔﻬﻮﻣﺎﻥ ﳘﺎ‪.‬‬
‫‪.١‬ﺍﻟﻮﻗﻮﻓﻤﻨﺘﺼﺒﺎﹰ‬
‫‪.٢‬ﺍﳌﻴﻞ ﺑﻮﺯﻧﻚ ﺇﱃ ﺍﻹﻣﺎﻡ‬

‫ﺍﳌﻬﺎﺭﺓ ﺍﻟﺜﺎﻟﺜﺔ ‪ /‬ﻣﻼﻣﺢ ﻭﺗﻌﺎﺑﲑ ﺍﻟﻮﺟﻪ ‪-:‬‬

‫ﺍﳍﺪﻑ ﺍﻟﺴﻠﻮﻛﻲ‪ /‬ﺃﻥ ﺗﺘﻌﻠﻢ ﺃﻥ ﻧﻜﻮﻥ ﻣﺴﺘﺮﳛﲔ ﻭ ﻃﺒﻴﻌﻴﲔ ﻋﻨﺪﻣﺎ ﻧﺘﻜﻠﻢ‬
‫ﰲ ﺍﻟﻮﺍﻗﻊ ﺃﻧﻨﺎ ﺃﺣﻴﺎﻧﺎ ﻻ ﻧﻌﺮﻑ ﻋﻦ ﻗﻴﺎﺩﺍﺗﻨﺎ ﺍﻟﻜﺜﲑ ﺃﻭ ﻟﻨﻘﻞ ﻛﻤﺜﻞ ﺃﻗﺮﺏ ﻋﻨﺄﺳﺎﺗﺬﺗﻨﺎ ﰲ ﻫﺬﺍ‬
‫ﺍﻟﱪﻧﺎﻣﺞ ﻭﻟﺬﻟﻚ ﲡﺪﻧﺎ ﻧﺮﺍﻗﺒﻬﻢ ﺑﺸﻜﻞ ﻣﺘﻘﻄﻊ ﻭﳕﻌﻦ ﺍﻟﻨﻈﺮ ﰲ ﻣﻼﻣﺢ ﻭﺗﻌﺎﺑﲑ ﻭﺟﻮﻫﻬﻢ‬
‫ﻟﻨﺴﺘﻨﺘﺞ ﻣﻦ ﺑﻌﺾ ﺍﻹﺷﺎﺭﺍﺕ ﻭﺭﺩﻭﺩ ﺍﻷﻓﻌﺎﻝ ﺑﻌﺾ ﺍﻻﻧﻄﺒﺎﻋﺎﺕ ﺍﻷﻭﻟﻴﺔ ﻭﻧﺒﻨﻴﻌﻠﻴﻬﺎ ﺣﻜﻤﺎﹰ‬
‫ﻋﻠﻰ ﺷﺨﺼﻴﺔ ﻫﺬﺍ ﺍﻹﺳﻨﺎﺩ ﺃﻭ ﺫﺍﻙ ‪ .‬ﺇﺫﺍ ﻓﻨﺤﻦ ﻧﻌﺘﻤﺪ ﻋﻠﻰ ﺣﺪﺳﻨﺎ ﻭﻋﻠﻰ ﻣﻘﺪﺭ‪‬ﻤﻔﻲ ﻗﻠﻴﻞ‬
‫ﻣﻦ ﺍﻟﻮﻗﺖ ﻋﻠﻰ ﻋﺮﺽ ﺍﻟﺼﻔﺎﺕ ﺍﻟﱵ ﺗﻌﺠﺒﻨﺎ ﻭ ﳓﺘﺮﻣﻬﺎ‪.‬‬
‫ﻧﺸﺎﻁ‪:‬‬
‫ﺑﲔ ﻳﺪﻳﻜﻤﺠﻤﻮﻋﺔ ﻣﻦ ﺍﻷﺳﺌﻠﺔ ﺣﺪﺩ ﻟﻜﻞ ﻣﻨﻬﺎ ﺟﻮﺍﺑﺎﹰ ﻣﻨﺎﺳﺒﺎﹰ ﻣﻦ ﻭﺍﻗﻊ ﺷﺨﺼﻴﺘﻚ‪:.‬‬

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 ‫‪.١‬ﻫﻞ ﺗﺒﺘﺴﻢ ﲢﺘﺎﻟﻀﻐﻮﻁ ﺃﻭ ﺃﻥ ﻭﺟﻬﻚ ﻳﺘﺠﻬﻢ ؟‬
‫‪.٢‬ﻋﻨﺪﻣﺎ ﻧﺘﺤﺪﺙ ﻋﻠﻰ ﺍﳍﺎﺗﻒ ﻫﻞ ﲡﺪ ﻧﻔﺴﻚ ﺗﺒﺘﺴﻢ ﺃﻭ ﺗﻌﺒﺲ؟‬
‫‪.٣‬ﻫﻞ ﻋﻨﺪﻙ ﺣﺮﻛﺔ ﺗﻌﱪ ﻋﻦ ﺍﻹﺣﺒﺎﻁ ﺃﻭ ﻣﻜﺎﻥ ﻏﲑ ﻣﻼﺋﻢ ﺗﺘﺤﺮﻙ ﻓﻴﻪ ﻳﺪﻝ ﻋﻨﺪﻣﺎ‬
‫ﻧﺘﺤﺪﺛﺘﺤﺖ ﺿﻐﻂ ؟‬
‫‪.٤‬ﻫﻞ ﺗﺘﻜﻰ ﻟﻸﻣﺎﻡ ﻭﺗﺮﻓﻊ ﻳﺪﻳﻚ ﻓﻮﻕ ﻣﻨﻄﻘﺔ ﺍﳊﻮﺽ ﻋﻨﺪﻣﺎ ﺗﻘﺪﻡ ﻋﺮﺿﺎﹰ؟‬
‫‪. ٥‬ﻫﻞ ﺗﻌﱪ ﻋﻦ ﻧﻔﺎﺫ ﺻﱪﻙ ﺑﺎﻟﻨﻘﺮ ﺑﺄﺻﺎﺑﻌﻚ ﻋﻠﻰ ﺍﻟﻄﺎﻭﻟﺔ ﻋﻨﺪﻣﺎ ﺗﺴﺘﻤﻊ ؟‬
‫‪.٦‬ﻫﻠﺘﺠﺪ ﺻﻌﻮﺑﺔ ﰲ ﺇﺑﻘﺎﺀ ﺃﺻﺎﺑﻌﻚ ﻗﺮﻳﺒﺔ ﻣﻦ ﺟﺴﻤﻚ ﻋﻨﺪﻣﺎ ﺗﺘﻜﻠﻢ ﺇﱃ ﳎﻤﻮﻋﺔ ؟‬

‫ﻟﻜﻴﺘﻜﻮﻥ ﻓﻌﺎﻻﹰ ﰲ ﺍﺗﺼﺎﻝ ﺍﻟﺸﺨﺼﻲ‬

‫‪.١‬ﳚﺐ ﺃﻥ ﺗﻜﻮﻥ ﻳﺪﺍﻙ ﻭ ﺫﺭﺍﻋﻴﻚ ﻣﺴﺘﺮﳛﺔ ﻭ ﻃﺒﻴﻌﻴﺔﲜﺎﻧﺒﻚ‬
‫‪.٢‬ﳚﺐ ﺃﻥ ﺗﻜﻮﻥ ﺣﺮﻛﺎﺗﻚ ﻭﺇﳝﺎﺀﺍﺗﻚ ﻃﺒﻴﻌﻴﺔ ﻋﻨﺪﻣﺎ ﺗﻜﻮﻥ ﻧﺸﻴﻄﺎﹰ ‪٠‬‬
‫‪.٣‬ﳚﺐ ﺃﻧﺘﺘﻌﻠﻢ ﺃﻥ ﺗﺒﺘﺴﻢ ﲢﺖ ﺍﻟﻀﻐﻮﻁ ﺍﻟﻨﻔﺴﻴﺔ ﺑﻨﻔﺲ ﺍﻟﻄﺮﻳﻘﺔ ﺍﻟﱵ ﺗﻜﻮﻥ ﻓﻴﻬﺎ ﺍﺑﺘﺴﺎﻣﺎﺗﻚ‬
‫ﻃﺒﻴﻌﻴﺔﰲ ﺍﻟﻈﺮﻭﻑ ﺍﻟﻌﺎﺩﻳﺔ‬
‫ﲢﺴﲔ ﻣﻼﻣﺢ ﻭﺗﻌﺎﺑﲑ ﻭﺟﻬﻚ ‪:‬‬
‫ﻣﺎ ﺍﻟﺬﻱ ﻳﻔﻴﺪ ﰲ ﻫﺬﺍ ؟‬
‫ﻟﻜﻴﺘﺘﻮﺍﺻﻞ ﺑﺸﻜﻞ ﻓﻌﺎﻝ ﻓﺎﻧﻚ ﲢﺘﺎﺝ ﺇﱃ‪:‬‬
‫‪.١‬ﺃﻥ ﺗﻜﻮﻥ ﻣﺒﺘﻬﺠﺎﹰ ﰲ ﻭﺟﻬﻚ ﻭ ﺇﳝﺎﺀﺍﺗﻚ‬
‫‪.٢‬ﺗﻔﻌﻞ ﺫﻟﻚ ﻭﻛﺄﻧﻪ ﺷﺊ ﻃﺒﻴﻌﻲ ‪٠‬‬
‫ﻭﻫﻨﺎﻙ ﻋﺪﺓ ﻃﺮﻕ ﳝﻜﻦ ﻣﻦ ﺧﻼﳍﺎ ﺃﻥ ﺗﻀﻤﻦ ﻣﻼﳏﻮﺟﻪ ﺃﻓﻀﻞ‪:.‬‬
‫‪.١‬ﺍﻛﺘﺸﻒ ﻛﻴﻒ ﺗﻨﻈﺮ ﺇﱄ ﺍﻵﺧﺮﻳﻦ ﻋﻨﺪﻣﺎ ﺗﻜﻮﻥ ﲢﺖ ﺿﻐﻮﻁ ﻭ ﺍﺟﻌﻞ ﻫﺬﺍ ﻓﻴﻤﺴﺘﻮﻯ‬

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 ‫ﺍﻟﻮﻋﻲ ﻟﺪﻳﻚ ﻭﺍﻥ ﺗﻌﺮﻑ ﺍﻟﺸﻲﺀ ﺍﻟﻄﺒﻴﻌﻲ ﻭ ﺍﻟﺸﻲﺀ ﻏﲑ ﺍﻟﻄﺒﻴﻌﻲ ﻭﺗﺪﺭﻙ ﺍﻟﻔﺮﻕ ﺑﻴﻨﻬﻤﺎ‪.‬‬
‫‪.٢‬ﻛﻠﻨﺎ ﻟﺪﻳﻪ ) ﺇﺷﺎﺭﺍﺕ ﻋﺼﺒﻴﺔ ( ﲡﻌﻞ ﺍﻟﻮﺍﺣﺪ ﻣﻨﺎ ﻳﺬﻫﺐ ﺑﻴﺪﻳﻪ ﻫﻨﺎ ﻭ ﻫﻨﺎﻙ ﻋﻨﺪﻣﺎﻧﺘﻜﻠﻢ ﻭ‬
‫ﻟﻴﺲ ﺃﻣﺎﻣﻨﺎ ﺃﻭ ﲜﺎﻧﺒﻨﺎ ﺃﻱ ﺷﺊ ﳕﺴﻚ ﺑﻪ‪.‬‬

‫ﺃ ‪/‬ﺍﻛﺘﺸﻒ ﺗﻠﻚ ﺍﻹﺷﺎﺭﺍﺕ ﺍﻟﺮﺋﻴﺴﻴﺔﻭﺑﻌﺪ ﺫﻟﻚ ﺍﺣﺮﺹ ﻋﻠﻰ ﺃﻥ ﻻ ﺗﻌﻤﻞ ﺗﻠﻚ ﺍﻹﺷﺎﺭﺍﺕ‪.‬‬
‫ﺏ ‪/‬ﺣﺎﻭﻝ ﺃﻻ ﺗﻮﻣﻰﺀ ﺃﻭ ﺗﺆﺛﺮ ﰲ ﺑﻌﻀﺎﻟﻜﻠﻤﺎﺕ ﺃﻭ ﺍﻟﻌﺒﺎﺭﺍﺕ ﻓﺎﻥ ﺍﻹﳝﺎﺀﺍﺕ ﻟﻴﺴﺖ ﺟﻴﺪﺓ )‬
‫ﺭﻛﺰ ﻋﻠﻰ ﺃﻻ ﺗﻘﻮﻡ ﺑﺈﺷﺎﺭﺗﻚ ﺍ ﻟﻌﺼﺒﻴﺔ‪) 0‬‬
‫ﺝ ‪/‬ﺣﺎﻭﻝ ﺃﻥ ﲡﻌﻞ ﻳﺪﻳﻚ ﲜﺎﻧﺒﻴﻚ ﻋﻨﺪﻣﺎ ﻻ ﺗﺮﻏﺐ ﰲ ﺗﺄﻛﻴﺪ ﻓﻜﺮﺓ ﺃﻭ ﻧﻘﻄﺔ ﻭﻋﻨﺪﻣﺎﺗﺮﻳﺪ‬
‫ﺍﻟﺘﺄﻛﻴﺪ ﺑﺼﻮﺭﺓ ﻧﺎﺑﻌﺔ ﻣﻦ ﺍﳊﻤﺎﺳﺔ ﺍﻟﻄﺒﻴﻌﻴﺔ ﺳﻴﺤﺪﺙ ﺫﻟﻚ ﻃﺒﻴﻌﻴﺎﹰ ﻟﻜﻦ ﻻ ﳝﻜﻦ ﺃﻧﻴﻜﻮﻥ ﺫﻟﻚ‬
‫ﺇﺫﺍ ﻛﺎﻧﺖ ﻳﺪﺍﻙ ﻣﺘﺤﺮﻛﺔ ﺑﺸﻜﻞ ﻣﺴﺘﻤﺮ ﻹﺷﺎﺭﺍﺕ ﻋﺼﺒﻴﻪ ﻋﻨﺪﻫﺎ ﱂ ﻳﻌﺪ ﺍﳌﺴﺘﻤﻊ ﻳﺪﺭﻛﻤﱵ‬
‫ﺗﻜﻮﻥ ﺍﻟﻨﻘﻄﺔ ﲪﺎﺳﻴﺔ ﻭﻫﺎﻣﺔ ﻣﻦ ﻋﺪﻣﻬﺎ ‪٠‬‬
‫‪.٣‬ﺑﺘﺴﻢ ﺑﻐﺾ ﺍﻟﻨﻈﺮ ﻋﻦ ﺍﻟﻔﺌﺔ ﺇﱃ ﺃﻧﺘﻔﻴﻬﺎ‪.‬‬
‫ﺍﻟﻨﺎﺱ ﺛﻼﺛﺔ ﺃﺻﻨﺎﻑ‪:.‬‬
‫·ﻭﺟﻮﻩ ﺑﻄﺒﻌﻬﺎ ﻣﻨﻔﺘﺤﺔ ﻭ ﻣﺒﺘﺴﻤﺔ‬
‫·ﻭﺟﻮﺍ ﳏﺎﻳﺪﺓﳝﻜﻦ ﺃﻥ ﺗﺘﺤﻮﻝ ﻣﻦ ﺍﺑﺘﺴﺎﻣﻪ ﺇﱃ ﻧﻈﺮﺓ ﺣﺎﺭﺓ ﻭ ﺣﺎﺩﺓ‬
‫·ﻭﺟﻮﻩ ﺟﺪﻳﻪ ﻭ ﺣﺎﺭﺓ ﺳﻮﺍﺀ ﺍﻋﺘﻘﺪﻭﺍﺑﺄ‪‬ﻢ ﻳﺒﺘﺴﻤﻮﻥ ﺃﻭ ﻻ ﻳﺒﺘﺴﻤﻮﻥ‬
‫ﺍﻛﺘﺸﻒ ﻣﻦ ﺃﻱ ﻫﺬﻩ ﺍﻷﻧﻮﺍﻉ ﺃﻧﺖ ؟‬
‫·ﻓﺎﻥ ﻛﻨﺖ ﻣﻨﺎﻟﺼﻨﻒ ﺍﻷﻭﻝ ﻓﺎﻧﻚ ﺳﺘﻜﻮﻥ ﻣﺘﻤﻴﺰﺍﻥ ﰲ ﺍﺗﺼﺎﻟﻚ ﻣﻊ ﺍﻵﺧﺮﻳﻦ‬
‫·ﺇﺫﺍ ﻛﻨﺖ ﻣﻦ ﺍﻟﺼﻨﻒ ﺍﻟﺜﺎﻧﻴﻮ ﺗﺴﺘﻄﻴﻊ ﺃﻥ ﺗﺘﻐﲑ ﺑﺴﻬﻮﻟﺔ ﻣﻦ ﻭﺟﻪ ﻣﺒﺘﺴﻢ ﺇﱃ ﻭﺟﻪ ﺟﺪﻱ‬
‫ﻓﺎﻧﻚ ﺗﺘﻤﺘﻊ ﲟﺮﻭﻧﺔﺟﻴﺪﻩ‬

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 ‫·ﻭﺇﺫﺍ ﻛﻨﺖ ﻣﻦ ﺍﻟﺼﻨﻒ ﺍﻟﺜﺎﻟﺚ ﻓﻴﺠﺐ ﺃﻥ ‪‬ﺘﻢ ﺑﺎﻷﻣﺮ ﻭﺗﻌﻤﻞ ﲜﺪ ﰲ ﻫﺬﺍ ﺍ‪‬ﺎﻟﻠﺘﺤﺴﲔ‬
‫ﻗﺪﺭﺗﻚ ﻋﻠﻰ ﺍﻻﺗﺼﺎﻝ ﻓﻤﻦ ﺍﶈﺘﻤﻞ ﺃﻥ ﺗﺒﺘﺴﻢ ﻣﻦ ﺍﻟﺪﺍﺧﻞ ﻭ ﻟﻜﻦ ﻭﺟﻬﻚ ﻳﻌﻜﺲ ﻛﺂﺑﺔ‬
‫ﻣﻨﺎﳋﺎﺭﺝ – ﻭﻫﺬﻩ ﺍﻟﻜﺂﺑﺔ ﻫﻲ ﻃﺮﻳﻘﺘﻚ ﰲ ﺍﻻﺗﺼﺎﻝ ﺑﺎﻵﺧﺮﻳﻦ ‪٠‬ﺇﻥ ﻣﺎ ﻳﺪﺭﻛﻪ ﺍﻵﺧﺮﻳﻦ‬
‫ﻓﻴﺎﻟﻈﺎﻫﺮ ﻫﻮ ﺍﳊﻘﻴﻘﺔ ﺑﺎﻟﻨﺴﺒﺔ ﳍﻢ‬
‫ﺍﳋﻼﺻﺔ ‪ /‬ﺇﻥ ﺇﺷﺎﺭﺍﺗﻚ ﺧﺼﻮﺻﺎﹰ ﺗﻌﺎﺑﲑ ﻭﺟﻬﻚ ﺳﺘﻈﻬﺮﺍﻧﻚ ﻣﺘﻔﺘﺢ ﻭ ﻗﺮﻳﺐ ﺃﻭ‬
‫ﻣﻨﻐﻠﻘﺔ‪………….‬‬

‫ﺍﳌﻬﺎﺭﺓﺍﻟﺮﺍﺑﻌﺔ ‪ /‬ﺍﻟﻠﺒﺲ ﻭ ﺍﳌﻈﻬﺮ ‪-:‬‬

‫ﺍﳍﺪﻑ ‪ /‬ﺃﻥ ﺗﻠﺒﺲ ﻭ ﺗﺘﺰﻳﻦ ﻭ ﺗﻈﻬﺮ ﲟﻈﻬﺮ ﻻﺋﻖ ﻟﻨﻔﺴﻚ ﻭﻟﻠﺒﻴﺌﺔ ﺍﻟﱵ ﺃﻧﺖ ﻓﻴﻬﺎ‪.‬‬
‫ﳚﺐ ﺃﻥ ﺗﻌﻠﻢ ﺇﻥ ﺍﻻﻧﻄﺒﺎﻉ ﺍﻟﺬﻱ ﺗﺘﺮﻛﻪ ﻟﺪﻯ ﺍﻵﺧﺮﻳﻦ ﰲ ﺃﻭﳌﻘﺎﺑﻠﺔ ﻻ ﳝﻜﻦ ﺗﻜﺮﺍﺭﻩ‪.‬‬
‫ﻧﺸﺎﻁ‪:.‬‬
‫ﺣﺪﺩ ﺟﻮﺍﺑﺎﹰ ﻟﻜﻞ ﺳﺆﻝ ﻓﻴﻤﺎ ﻳﻠﻲ ﺑﻮﺿﻊ ﻛﻠﻤﺔ ﻧﻌﻤﺄﻭ ﻻ ﺃﻣﺎﻡ ﻛﻞ ﺳﺆﺍﻝ ‪٠‬‬
‫ﺱ‪ / ١‬ﻫﻞ ﺗﺒﺪﻭ ﺃﻓﻀﻞ ﻭ ﻣﻼﺑﺴﻚ ﻣﺼﻔﻮﻓﺔ ﺑﻄﺮﻳﻘﺔ ﻣﻌﻴﻨﺔ؟‪....................‬‬
‫ﺱ‪ / ٢‬ﻫﻞ ﻧﻈﺎﺭﺗﻚ ﲤﻨﻊ ﻣﻦ ﺍﻟﺘﻮﺍﺻﻞ ﺍﻟﻔﻌﺎﻝ ﺑﺎﻟﻌﲔ ؟‪....................‬‬
‫ﺱ‪ / ٣‬ﻫﻞ ﺗﺒﺪﻭ ﳐﺘﻠﻔﺎﹰ ﺑﺎﻟﻨﻈﺎﺭﺍﺕ ؟‪....................‬‬
‫ﺱ‪ /٤‬ﻫﻞ ﻫﻨﺎﻙ ﻓﺮﺹ ﰲ ﺍﻟﺘﺄﺛﲑ ؟‪....................‬‬
‫ﺱ‪ / ٥‬ﻫﻞ ﺗﻨﻈﻢ ﺍﳌﻼﺑﺲ ﰲ ﺩﻭﻻﺑﻚ ﺑﻄﺮﻳﻘﺔ ﻋﺸﻮﺍﺋﻴﺔ ؟ ‪....................‬‬
‫ﺱ‪ / ٦‬ﻫﻠﺘﻠﺒﺲ ﻣﻼﺑﺴﻚ ﳉﺬﺏ ﺍﻧﺘﺒﺎﻩ ﺍﻟﻨﺎﺱ ﺃﻭ ﻟﻠﺘﺄﺛﲑ ﻋﻠﻴﻬﻢ ﺃﻭ ﻷﻱ ﺳﺒﺐ ﺁﺧﺮ ﻏﲑ ﺗﻐﻄﻴﺔ‬
‫ﺟﺴﻤﻚ ؟‪....................‬‬

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 ‫ﺱ‪ / ٧‬ﻫﻞ ﺃﻧﺖ ﺩﺍﺋﻤﺎﹰ ﻣﺘﻨﺒﻪ ﳌﻈﻬﺮﻙ ؟‪....................‬‬
‫ﺱ‪ / ٨‬ﻫﻞ ﺃﻇﺎﻓﺮﻙ ﻣﻘﺼﻮﺻﺔ ﻭ ﻧﻈﻴﻔﺔ ؟‪....................‬‬
‫ﺱ‪ /٩‬ﻫﻞ ﻣﻼﺑﺴﻚ ﺩﺍﺋﻤﺎﹰ ﻧﻈﻴﻔﺔ ﻭ ﻣﻜﻮﻳﺔ ؟‪....................‬‬

‫ﺗﺘﻜﻮﻥ ﻟﺪﻳﻨﺎ ﺍﻧﻄﺒﺎﻋﺎﺕ ﺃﻧﻴﺔ ﻭﺍﺿﺤﺔ ﻋﻦ ﺍﻟﻨﺎﺱ ﺧﻼﻻﻟﺜﻮﺍﱐ ﺍﳋﻤﺲ ﺍﻷﻭﱃ ﺍﻟﱵ ﺗﺮﺍﻫﻢ ﻓﻴﻬﺎ ‪.‬‬
‫ﻭﻳﻘﺪﺭ ﺍﳋﱪﺍﺀ ﺃﻧﻨﺎ ﻧﺄﺧﺬ ﲬﺲ ﺩﻗﺎﺋﻖ ﺃﺧﺮىﻠﻨﻀﻴﻒ ﲬﺴﲔ ﰲ ﺍﳌﺎﺋﻪ ﻣﻦ ﺍﻧﻄﺒﺎﻋﻨﺎ ) ﺍﻟﺴﻠﱯ ﺃﻭ‬
‫ﺍﻻﳚﺎﰊ ( ﺇﱃ ﺍﻻﻧﻄﺒﺎﻉ ﺍﻟﺬﻱ ﺗﻜﻮﻧﻔﻲ ﺍﻟﺜﻮﺍﱐ ﺍﳋﻤﺲ ﺍﻷﻭﱃ ‪ .‬ﻭﲟﺎ ﺃﻥ ﺗﺴﻌﲔ ﺑﺎﳌﺎﺋﺔ ﻣﻦ‬
‫ﺷﺨﺼﻴﺘﻨﺎ ﻳﺘﻢ ﺗﻐﻄﻴﺘﻬﺎ ﺑﺎﻟﻠﺒﺎﺱ ‪،‬ﻟﺬﻟﻚ ﻣﻦ ﺍﻟﻀﺮﻭﺭﻱ ﺃﻥ ﻧﻜﻮﻥ ﻣﺪﺭﻛﲔ ﻟﻠﺮﺳﺎﺋﻞ ﺍﻻﺗﺼﺎﻟﻴﺔ‬
‫ﺍﻟﱵ ﲢﻤﻠﻬﺎ ﻣﻼﺑﺴﻨﺎ‬
‫ﺇﻧﺎﻟﻌﺸﺮﺓ ﺑﺎﳌﺎﺋﺔ ﻏﲑ ﺍﳌﻌﻄﺎﺓ ﻣﻦ ﺟﺴﻤﻨﺎ ﻫﻲ ﰲ ﺍﻟﻌﺎﺩﺓ ﻭﺟﻮﻫﻨﺎ ﻭﺃﺣﻴﺎﻧﺎ ﻏﻄﺎﺀ ﺍﻟﺮﺃﺱ( ﺍﻟﻐﺘﺮﺓ (‬
‫ﻭﻫﺬﻩ ﺍﻟﻌﺸﺮ ﺑﺎﳌﺎﺋﺔ ﺍﻷﻛﺜﺮ ﺃﳘﻴﺔ ﻣﻦ ﻛﻞ ﺍﳉﺴﻢ ﻷ‪‬ﺎ ﺍﳌﻜﺎﻥ ﺃﻭ ﺍﳌﻨﻄﻘﺔﺍﻟﱵ ﻳﻨﻈﺮ ﺇﻟﻴﻬﺎ ﺍﻟﻨﺎﺱ‬
‫‪.‬‬
‫ﻭﻻﺷﻚ ﺃﻥ ﺍﻻﻧﻄﺒﺎﻉ ﺍﻟﺬﻱ ﻳﺴﺘﻘﺒﻠﻪ ﺍﻵﺧﺮﻭﻥ ﻳﺘﺄﺛﺮ ﻛﺜﲑﺍﹰﺑﺄﺳﻠﻮﺏ ﺍﻟﺰﻳﻨﺔ ﺍﻟﺬﻱ ﻧﺰﻳﻦ ﺑﻪ ﺭﺃﺳﻨﺎ‬
‫‪.‬‬
‫ﻛﻦ ﻻﺋﻘﺎﹰ‬
‫ﺍﻟﻜﻠﻤﺘﺎﻥ ﺍﻷﻛﺜﺮ ﺃﳘﻴﺔ ﻟﻠﺒﺎﺳﺎﳌﺆﺛﺮ ﳘﺎ – ﻛﻦ ﻻﺋﻘﺎﹰ‬
‫ﺍﻟﻠﺒﺲ ﰲ ﺍﳌﺴﺘﻮﻯ ﺍﻟﻮﺍﻋﻲ ‪.‬‬
‫ﺧﺬ ﻧﻈﺮﺓ ﻓﺎﺣﺼﺔ ﺇﱃ ﻃﺮﻳﻘﺔﻟﺒﺴﻚ ﻭﺗﺰﻳﻨﻚ… ‪٠‬‬

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 ‫ﻧﺸﺎﻁ‬
‫ﻗﻴﻢ ﻋﺎﺩﺍﺗﻚ‬

‫ﻣﻬﺎﺭﺓﲢﺴﲔ ﺻﻮﺗﻚ ﻭ ﺍﻟﺘﻨﻮﻉ ﺍﻟﺼﻮﰐ‪:.‬‬

‫ﺻﻮﺗﻚ ‪ .:‬ﻫﻮ ﺍﻟﻮﺳﻴﻠﺔ ﺍﻟﺮﺋﻴﺴﻴﺔ ﺍﻟﱵ ﲢﻤﻞ ﺭﺳﺎﻟﺘﻜﺎﻧﻪ ﻣﺜﻞ ﻭﺳﻴﻠﺔ ﺍﻟﻨﻘﻞ‪.‬‬
‫ﺻﻮﺗﻚ ﺭﺳﻮﻝ ﺍﳊﻴﻮﻳﺔ ﻭ ﺍﻟﻄﺎﻗﺔ ‪.‬‬
‫ﳚﺐ ﺃﻥ ﻳﻨﻘﻞ ﺻﻮﺗﻚ ﺑﺸﻜﻼﻹﺛﺎﺭﺓ ﻭ ﺍﳊﻤﺎﺱ ﺍﻟﻠﺘﺎﻥ ﺗﺸﻌﺮ ‪‬ﻤﺎ ﺍﻏﻠﺒﻨﺎ ﻳﺼﺒﺢ ﺑﺸﻜﻞ ﺳﺮﻳﻊ‬
‫ﺣﺒﻴﺴﺎ ﻷﳕﺎﻁ ﻋﺎﺩﺍ‪‬ﺎﻟﺼﻮﺗﻴﺔ ﺍﻟﱵ ﻣﻦ ﺍﻟﺼﻌﺐ ﺗﻐﻴﲑﻫﺎ‪.‬‬
‫ﺑﻴﻨﻤﺎ ﰲ ﺍﳊﻘﻴﻘﺔ ﺃﻧﻪ ﳝﻜﻦ ﺃﻥ ﻧﻐﲑ ﻋﺎﺩﺗﻨﺎ ﻭﻧﺘﻌﻠﻢ ﻋﺎﺩﺍﺕ ﺟﺪﻳﺪﺓ ‪ .‬ﻧﻐﻤﺘﻚ ﺍﻟﺼﻮﺗﻴﺔ ﻭ ﻧﻮﻋﻴﺘﻬﺎ‬
‫ﺗﺸﻜﻞ ‪ %٨٤‬ﻣﻦ ﺭﺳﺎﻟﺘﻚ ﻛﻤﺎ ﺃﺷﺎﺭ ﺇﱃ ﺫﻟﻜﺪﻛﺘﻮﺭ ﻣﻬﺮﺑﻴﺎﻥ ﰲ ﺩﺭﺍﺳﺘﻪ‪.‬‬
‫ﲟﻌﲎ ﺁﺧﺮ ﺇﻥ ﻧﻐﻤﺔ ﺣﺒﺎﻟﻚ ﺍﻟﺼﻮﺗﻴﺔ ﻭ ﺍﻟﺮﻧﲔ ﻭﺍﻹﻟﻘﺎﺀﺗﺸﻜﻞ ‪ %٨٤‬ﻣﻦ ﺍﳌﺼﺪﺍﻗﻴﺔ ﺍﻟﱵ‬
‫ﺗﻜﻮﻥ ﻟﺪﻳﻚ ﻋﻨﺪﻣﺎ ﻻ ﻳﺴﺘﻄﻴﻊ ﺍﻟﻨﺎﺱ ﺭﺅﻳﺘﻚ ﻛﺄﻥ ﺗﻜﻮﻥ ﺗﺘﺤﺪﺛﻌﻠﻰ ﺍﳍﺎﺗﻒ ﻣﺜﻼ‪.‬‬

‫ﺃﺻﻮﺍﺕ ﺍﻟﻜﻠﻤﺔ ﺍﻟﻮﺍﺣﺪﺓ ‪:.‬‬

‫ﺍﳋﺼﺎﺋﺺ ﺍﻟﺪﻗﻴﻘﺔ ﻟﻠﺼﻮﺕ ﺃﻛﱪﺃﺛﺮﺍ ﳑﺎ ﻧﻌﺘﻘﺪ ‪ .‬ﻭ ﳝﻜﻨﻨﺎ ﺃﻥ ﻧﻘﺮﺃ ﺍﻟﻜﺜﲑ ﻣﻦ ﺃﻣﺰﺟﺔ ﺍﻟﻨﺎﺱ‬
‫ﻭﺣﺎﻻ‪‬ﻢ ﺍﻟﻨﻔﺴﻴﺔ ﻣﻨﺎﻟﻨﻐﻤﺔ ﺍﻟﺼﻮﺗﻴﺔ ﻋﻠﻰ ﺍﳍﺎﺗﻒ ﺧﻼﻝ ﺍﻟﺜﻮﺍﱐ ﺍﻷﻭﱃ ﺍﻟﻘﻠﻴﻠﺔ ‪٠‬‬
‫ﲰﺎﺕ ﺍﻟﺼﻮﺕ ﺍﻷﺭﺑﻊ ‪:.‬‬

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 ‫ﺍﳌﻜﻮﻧﺎﺕ ﺍﻷﺭﺑﻊ ﺍﻟﱵ ﺗﻜﻮﻥ ﺗﻌﺒﲑﻙ ﺍﻟﺼﻮﰐ ﻫﻲ‬
‫‪.١‬ﺍﻻﺳﺘﺮﺧﺎﺀ‬
‫‪.٢‬ﻭ ﻃﺮﻳﻘﺔﺍﻟﺘﻨﻔﺲ‬
‫‪.٣‬ﻭ ﺍﻹﻟﻘﺎﺀ‬
‫‪.٤‬ﻭﺗﺄﻛﻴﺪ ﺍﳌﻘﺎﻃﻊ ‪.‬‬
‫ﻭﻛﻞ ﻣﻜﻮﻥ ﻣﻦ ﻫﺬﻩ ﺍﳌﻜﻮﻧﺎﺕ ﳝﻜﻨﺘﻌﺪﻳﻠﻪ ﻣﻦ ﺧﻼﻝ ﺍﻟﺘﺪﺭﻳﺒﺎﺕ ﻟﺘﻮﺳﻴﻊ ﺗﺄﺛﲑﻙ ﺍﻟﺼﻮﰐ‪.‬‬
‫ﺍﺳﺘﻌﻤﻞ ﺍﻟﺘﻨﻮﻉ ﺍﻟﺼﻮﰐ‬
‫ﺍﻟﺘﻨﻮﻉ ﺍﻟﺼﻮﰐ ﻭﺳﻴﻠﺔ ﻋﻈﻴﻤﺔ ﲡﻌﻞ ﺍﻟﻨﺎﺱ ﻣﻬﺘﻤﲔ ﲟﺎ ﻳﺴﻤﻌﻮﻥ ﻭ ﻣﻨﺸﻐﻠﲔ ﺑﻪ‪.‬‬
‫ﺗﺪﺭﻳﺐ ﻋﻠﻰ ﺗﺴﺠﻴﻞ ﺻﻮﺗﻚ ﺑﺎﻟﺔ ﺗﺴﺠﻴﻞ ‪ .‬ﺳﺠﻞ ﺑﺼﻮﺕ ﻣﺮﺗﻔﻊ ﻭ ﺁﺧﺮ ﻣﻨﺨﻔﺾ ﻭ ﺣﺎﻭﻝ‬
‫ﺃﻥ ﺗﻨﻮﻋﻔﻲ ﺍﳊﺪﻳﺚ‪.‬‬
‫ﻫﺬﺍ ﺍﻟﺘﺪﺭﻳﺐ ﺳﻴﺠﻌﻠﻚ ﺗﺪﺭﻙ ﺭﺗﺎﺑﺔ ﺍﻟﺼﻮﺕ ﻭﻳﺴﺎﻋﺪﻙ ﻋﻠﻰ ﺗﻄﻮﻳﺮ ﻋﺎﺩﺓ ﺍﻟﺘﻨﻮﻋﻔﻲ ﺻﻮﺗﻚ‬
‫‪.‬‬
‫ﻻ ﺗﻘﺮﺃ ﺍﳋﻄﺎﺑﺎﺕ ‪:.‬‬
‫ﻳﻜﻤﻦ ﺃﺧﻄﺮ ﺃﺷﻜﺎﻝ ﺍﻷﺩﺍﺀ ﺍﻟﺮﺗﻴﺐ ﰲ ﺍﻟﻘﺮﺍﺀﺓﺑﺼﻮﺕ ﻋﺎﻝ ‪ .‬ﺇﻥ ﺍﻟﻜﺘﺎﺑﺔ ﻭ ﺍﻟﻘﺮﺍﺀﺓ ﻭ ﺍﻟﻜﻼﻡ‬
‫ﻭﺳﺎﺋﻂ ﺍﺗﺼﺎﻝ ﳐﺘﻠﻔﺔ ﻟﺬﺍ ﻧﻨﺼﺤﻚ ﺑﺎﺳﺘﻌﻤﺎﻻﳌﻼﺣﻈﺎﺕ ﻭﳐﻄﻂ ﺍﻷﻓﻜﺎﺭ ﺍﻟﺮﺋﻴﺴﺔ ﻋﻨﺪﻣﺎ‬
‫ﺗﺘﻜﻠﻢ ﻫﺬﺍ ﺳﻴﺴﻤﺢ ﻟﻚ ﺑﺄﻥ ﺗﺘﺮﻙ ﻟﺬﻫﻨﻚ ﺣﺮﻳﺔﺍﻟﻜﻠﻤﺎﺕ ﺍﳌﻨﺘﻘﺎﺓ ﺁ ﻧﻴﺎﹰ ﻭﻫﺬﺍ ﺃﻳﻀﺎ ﺳﻴﺠﱪ‬
‫ﺻﻮﺗﻚ ﻋﻠﻰ ﺃﻥ ﻳﻜﻮﻥ ﻧﺸﻴﻄﺎﹰ ﻭﻃﺒﻌﺎ ﻭ ﻣﻠﻴﺌﺎﹰﺑﺎﳊﺮﻛﺔ ﻷﻧﻚ ﺗﻔﻜﺮ ﺑﺎﺳﺘﻤﺮﺍﺭ ﻭ ﺗﻜﻴﻒ ﻭ ﺗﻌﺪﻝ‬
‫ﳏﺘﻮﻯ ﺭﺳﺎﻟﺘﻚ ﻭﺃﻓﻜﺎﺭﻙ‪.‬‬

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 ‫ﺍﳌﻬﺎﺭﺓﺍﻟﺴﺎﺩﺳﺔ ‪/‬ﺍﻟﻠﻐﺔ ﻏﲑ ﺍﳌﻨﻄﻮﻗﺔ ) ﻭﻗﻔﺎﺕ ‪ ،‬ﻛﻠﻤﺎﺕ‪):.‬‬

‫ﺍﳍﺪﻑ ﺍﻟﺴﻠﻮﻛﻲ ‪/‬ﺍﺳﺘﻌﻤﺎﻝ ﻟﻐﺔﻭﺍﺿﺤﺔ ﻭ ﻣﻼﺋﻤﺔ ﻣﻊ ﻣﺴﺘﻤﻌﻴﻚ ﺑﻮﻗﻔﺎﺕ ﳐﻄﻂ ﳍﺎ ﻣﺒﺘﻌﺪﺍﹰ‬

‫ﻋﻦ ﺍﻷﺳﺎﻟﻴﺐ ﺍﳌﻔﺮﻏﺔ ﻣﻦ ﻣﻌﻨﺎﻫﺎﺃﻭ ﺍﻷﺻﻮﺍﺕ ﺍﻟﱵ ﻻ ﻣﻌﲏ ﳍﺎ‪.‬‬

‫ﺍﳉﺰﺀ ﺍﻟﻌﻤﻠﻰ‬
‫ﺣﺪﺩ ﺟﻮﺍﺑﺎﹰ ﻟﻜﻞ ﺳﺆﺍﻝ ﻓﻴﻤﺎ ﻳﻠﻲ ﺑﻮﺿﻌﻜﻠﻤﺔ ﻻ ﺃﻭ ﻧﻌﻢ ﺃﻣﺎ ﺍﻟﺴﺆﺍﻝ ‪٠‬‬
‫ﺱ‪/١‬ﻫﻞ ﺗﻌﺮﻑ ﻣﺮﺍﺕ ﺗﻮﻗﻔﻚ ﻭﻣﺪ‪‬ﺎ ﻋﻨﺪﻣﺎ ﺗﺘﺤﺪﺙ ﻓﻴﻤﻨﺎﺳﺒﺎﺕ ﺭﲰﻴﺔ ؟‪.................‬‬
‫ﺱ‪/٢‬ﻫﻞ ﺗﺴﺘﻌﻤﻞ ﺍﻟﻠﻐﺔ ﺍﻟﻌﺎﻣﻴﺔ ﺃﻭ ﻛﻠﻤﺎﺕ ﳍﺎ ﺭﻣﻮﺯﺧﺎﺻﺔ ﺃﻭ ﻟﻐﺔ ﺧﺎﺻﺔ ﰲ ﳏﺎﺩﺛﺎﺗﻚ‬
‫ﺍﻟﻄﺒﻴﻌﻴﺔ ﺩﻭﻥ ﺃﺩﺭﻙ ﺫﻟﻚ؟‪......................‬‬
‫ﺱ‪/٣‬ﻫﻞ ﺗﺘﺬﻛﺮ ﺃﺧﺮ ﻣﺮﺓ ﲝﺜﺖ ﻓﻴﻬﺎ ﻋﻦ ﻛﻠﻤﺔ ﰲ ﺍﻟﻘﺎﻣﻮﺱ؟‪......................‬‬
‫ﺱ‪/٤‬ﻫﻞ ﺗﻌﺮﻑ ﺑﺎﻟﻀﺒﻂ ﺍﻟﻄﻮﻝ ﺍﳌﻌﺘﺎﺩ ﻟﻠﺘﻮﻗﻒ ) ﺃﻱ ﺍﻟﺰﻣﺎﻧﺎﳌﻌﺘﺎﺩ ﻭﺍﻟﺬﻱ ﺗﺴﺘﻐﺮﻗﻪ ﺍﻟﻮﻗﻔﺎﺕ‬
‫( ﺃﺛﻨﺎﺀ ﺣﺪﻳﺜﻚ؟‪...............................‬‬
‫ﺱ‪/٥‬ﻫﻞ ﺗﺴﺘﻌﻤﻞ ﺍﻟﻮﻗﻔﺎﺕ ﺁﻟﻴﺎ؟‪........................‬‬
‫ﺱ‪/٦‬ﻫﻞ ﺗﺴﺘﻄﻴﻊ ﺃﻥ ﺗﺘﻮﻗﻒ ﻣﻦ ﺍﺟﻞ ﺃﺣﺪﺍﺙ ﻧﺘﻴﺠﺔ ﻣﺜﲑﺓ؟‪...............................‬‬
‫ﺱ‪/٧‬ﻫﻞ ﺗﻌﺮﻑ ﺍﻷﺳﺎﻟﻴﺐ ﻏﲑ ﺍﳌﻨﻄﻮﻗﺔ )) ﺍﻷﻛﺜﺮﺷﻴﻮﻋﺎﹰ (( ؟‪............................‬‬
‫ﲢﺴﲔ ﺍﺳﺘﻌﻤﺎﻝ ﺍﻟﻠﻐﺔ‪/‬ﺇﺿﺎﻓﺔ ﺍﻟﻮﻗﻔﺎﺗﺎﳌﻨﺎﺳﺒﺔ ﻭ ﺍﻟﺘﺨﻠﺺ ﻣﻦ ﺍﻷﺻﻮﺍﺕ ﺇﻟﱵ ﻻ ﻣﻌﲎ ﳍﺎ‪:.‬‬
‫ﺗﺘﻜﻮﻥ ﺍﻟﻠﻐﺔ ﻣﻦ ﺍﻟﻜﻠﻤﺎﺗﺎﳌﻔﻬﻮﻣﺔ ﻭﺍﻷﺻﻮﺍﺕ ﻏﲑ ﺍﳌﻔﻬﻮﻣﺔ ‪ .‬ﻳﻜﻮﻥ ﺗﻮﺍﺻﻞ ﺍﻟﻨﺎﺱ ﺃﻓﻀﻞ ﻋﻨﺪ‬
‫ﻗﺪﺭ‪‬ﻢ ﻋﻠﻰ ﺍﺧﺘﻴﺎﺭﺍﻟﻜﻠﻤﺎﺕ ﺍﻟﺼﺤﻴﺤﺔ ﻭﻳﺘﻄﻠﺐ ﺫﻟﻚ ﺍﺳﺘﺨﺪﺍﻡ ﻣﻔﺮﺩﺍﺕ ﻏﻨﻴﺔ ﻣﻼﺋﻤﺔ‬
‫ﻟﻠﺴﻴﺎﻕ ﻭﻻ ﻳﻨﺒﻐﻲ ﺃﻥ ﻳﺘﺤﺪﺛﺄﺣﺪﻧﺎ ﺇﱃ ﻃﻔﻞ ﺑﻨﻔﺲ ﺍﻟﻄﺮﻳﻘﺔ ﺇﱃ ﻳﺘﺤﺪﺙ ‪‬ﺎ ﺇﱃ ﳎﻤﻮﻋﺔ ﻣﻦ‬

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 ‫ﻋﻠﻤﺎﺀ ﺍﻟﻔﻴﺰﻳﺎﺀ ﻣﺜﻼ ‪٠‬‬
‫ﺍﻟﻜﻠﻤﺎﺕ ﻏﲑ ﺍﳌﻔﻬﻮﻣﺔ ﺣﻮﺍﺟﺰ ﺗﻘﻒ ﰲ ﻭﺟﻪ ﺍﻻﺗﺼﺎﻝ ﺍﻟﻔﻌﺎﻝ ﺍﻟﻮﺍﺿﺢ ﻭﻣﻦ ﺃﻣﺜﻠﺔ ﺫﻟﻚ ( ﺁﻩ‬
‫‪ -٠٠٠‬ﺃﻭﻩ‪ - .....‬ﻳﻌﲏ ‪ -‬ﻛﻤﺎ ﺗﻌﺮﻑ ‪ -‬ﺣﺴﻨﺎﹰ )‬
‫ﺍﻟﻮﻗﻔﺎﺕ ﻋﻨﺼﺮ ﻣﻜﻤﻞ ﻟﻠﻐﺔ ‪ ،‬ﻓﻜﻴﻔﻴﺘﻢ ﺗﻮﻇﻴﻔﻬﺎ ﺍﻟﺘﻮﻇﻴﻒ ﺍﳉﻴﺪ ؟‬
‫ﺍﳌﺘﺤﺪﺙ ﺍﻟﺒﺎﺭﻉ ﻳﺴﺘﻌﻤﻞ ﻭﻗﻔﺎﺕ ﻃﺒﻴﻌﻴﺔ ﺑﲔ ﺍﳉﻤﻞ ‪،‬ﻭﺍﳋﻄﺒﺎﺀ ﺍﻟﺒﺎﺭﺯﻭﻥ ﻳﺘﻮﻗﻔﻮﻥ ﺃﺣﻴﺎﻧﺎﹰ ﻭ‬
‫ﳜﺘﺎﺭﻭﻥ ﺃﻣﺎﻛﻦ ﺍﻟﻮﻗﻔﺎﺕ ﺑﻌﻨﺎﻳﺔ ﻟﻠﺘﺄﺛﲑ ﻓﻴﻤﺴﺘﻤﻌﻴﻬﻢ‪.‬‬
‫ﺍﻟﻠﻐﺔ ﺍﳌﺒﺎﺷﺮﺓ ‪:.‬‬
‫ﺣﺪﺩ ﻣﺎ ﺗﻌﻨﻴﻪ ﺃﺳﺎﻝ ﻋﻤﺎ ﺗﺮﻳﺪﻩ ﺑﺸﻜﻞ ﻭﺍﺿﺢ ﺃﻧﺘﻘﻮﻝ ﻣﺜﻼ ) ﺳﺄﺣﺎﻭﻝ ﻭﺃﺗﻰ ﲜﻮﺍﺏ ﻟﻚ (‬
‫ﻗﻞ ) ﺳﺄﲝﺜﻔﻲ ﺍﳌﺮﺟﻊ ﻭﺳﺄﺗﺼﻞ ﺑﻚ ﻹﺧﺒﺎﺭﻙ ﻗﺒﻼﻟﺜﺎﻧﻴﺔ ﻭ ﺍﻟﻨﺼﻒ ﻇﻬﺮﺍﹰ)‬
‫ﺗﺘﻜﻮﻥ ﺍﻟﺜﺮﻭﺓ ﺍﻟﻠﻐﻮﻳﺔ ﺑﺎﻻﺳﺘﻌﻤﺎﻝ ‪.‬‬
‫ﺗﺰﺩﺍﺩ ﻣﻔﺮﺩﺍﺗﺎﻷﻃﻔﺎﻝ ﺍﻟﻠﻐﻮﻳﺔ ﻣﻦ ﺧﻼﻝ ﺍﻷﺳﺮﺓ ﻭﺍﳌﺪﺭﺳﺔ ﺃﻣﺎ ﺍﻟﺒﺎﻟﻐﲔ ﻓﻠﻴﺲ ﻟﺪﻳﻬﻢ ﺍﻟﺘﺪﺭﺝ‬
‫ﰲ ﻣﺴﺘﻮىﻤﻌﲔ ﻷﻧﻪ ﻻ ﻳﻘﻮﻣﻬﻢ ﺃﺣﺪ ﻟﻜﻦ ﻣﺴﺘﻮﻯ ﺗﻌﻠﻤﻨﺎ ﻭﺍﺭﺗﻔﺎﻉ ﺩﺭﺟﺔ ﺍﻟﻮﺿﻮﺡ ﻭ ﺍﻟﺘﺄﺛﲑ‬
‫ﻓﻴﺎﺗﺼﺎﻟﻨﺎ ﻳﺰﻳﺪ ﻣﻔﺮﺩﺍﺗﻨﺎ ﺧﻼﻝ ﺍﻻﺳﺘﻴﻌﺎﺏ ﺍﻟﻨﺸﻂ ﻟﻠﻜﻠﻤﺎﺕ ﺍﳉﺪﻳﺪﺓ‬
‫ﺃﺣﺬﺭ ﻣﻦ ﺍﳌﺼﻄﻠﺤﺎﺕ ‪.‬‬
‫ﺃﺣﺬﺭ ﻣﻦ ﺍﻷﺳﺎﻟﻴﺐ ﻭ ﺍﳌﺼﻄﻠﺤﺎﺕ ﺍﻟﱵ ﻳﺼﻄﻠﺢ ﻋﻠﻴﻬﺎ ﺃﻫﻞ ﲣﺼﺺ ﻣﻌﲔ ﺃﻭ ﻓﺌﺔ ﻣﻌﻴﻨﺔﻣﻦ‬
‫ﺍﻟﻨﺎﺱ ‪،‬ﻓﻬﺬﻩ ﺍﻷﺳﺎﻟﻴﺐ ﺻﺎﳊﺔ ﻷﻫﻞ ﺍﻻﺧﺘﺼﺎﺹ ﺑﻮﺻﻔﻬﺎ ﻃﺮﻳﻔﺔ ﺳﻬﻠﺔ ﻭﳐﺘﺼﺮﺓ ﻭﻣﻌﱪﺓ‬
‫ﻋﻤﺎﻳﺮﻳﺪﻭﻥ ﻏﲑ ﺃﻥ ﻫﺬﻩ ﺍﻷﺳﺎﻟﻴﺐ ﻭﺍﻥ ﻛﺎﻧﺖ ﻣﻔﻬﻮﻣﺔ ﻟﻠﻔﺌﺔ ﺍﳌﺘﺨﺼﺼﺔ ﺃﻻ ﺃﻥ ﺃﻏﻠﺐ ﺍﻟﻨﺎﺱ‬
‫ﻻﻳﻔﻬﻤﻮ‪‬ﺎ‬

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 ‫ﺍﻟﻮﻗﻔﺔ ﺃﺩﺍﺓ ﻣﻬﻤﺔ‪:.‬‬
‫ﻧﻌﻢ ﺗﺴﺘﻄﻴﻊ ﺃﻥ ﺗﺘﻮﻗﻒ ﻃﺒﻴﻌﻴﺎﹰ ﳌﺪﺓ ﲤﺘﺪ ﻣﻨﺜﻼﺙ ﺇﱃ ﺃﺭﺑﻊ ﺛﻮﺍﱐ ﺣﱴ ﰲ ﻣﻨﺘﺼﻒ ﺍﳉﻤﻠﺔ ‪،‬‬
‫ﻟﻜﻦ ﺍﳌﺸﻜﻠﺔ ﻫﻲ ﺃﻧﻨﺎ ﻏﲑ ﻣﻌﺘﺎﺩﻳﻦ ﻋﻠﻴﻬﺎﻭﻋﻨﺪﻣﺎ ﻧﻘﻮﻡ ‪‬ﺎ ﻓﺎﻥ ﺍﻟﻮﻗﻔﺔ ﺍﻟﱵ ﺗﻜﻮﻥ ﻣﻦ ﺛﻼﺙ ﺃﻭ‬
‫ﺃﺭﺑﻊ ﺛﻮﺍﱐ ﺗﺒﺪﻭ ﻣﺜﻞ ﻋﺸﺮﻳﻦ ﺛﺎﻧﻴﺔﰲ ﻋﻘﻮﻟﻨﺎ ‪.‬‬
‫ﺇﺫﺍ ﺣﺎﻭﻝ ﺃﻥ ﲤﺎﺭﺱ ﻭﻗﻔﺎﺕ ﻃﺒﻴﻌﻴﺔ ﰒ ﻓﻜﺮ ﰲ ﻧﺘﻴﺠﺔ ﻫﺬﻩ ﺍﻟﻮﻗﻔﺎﺕ ‪ .‬ﺣﺎﻭﻝ ﺍﳌﺒﺎﻟﻐﺔ ﰲ‬
‫ﺍﻟﻮﻗﻔﺎﺕ ﰲ ﺍﻟﺘﻤﺮﻳﻦ ﻭﺳﺘﺠﺪ ﺃﻧﻚ ﺳﺘﻮﻇﻒ ﺍﻟﻮﻗﻔﺎﺕ ﺑﺸﻜﻞ ﺃﻓﻀﻞ ﻓﻴﻤﺤﺎﺩﺛﺎﺗﻚ ﺍﻟﻄﺒﻴﻌﻴﺔ‪.‬‬
‫ﲣﻠﺺ ﻣﻦ ﺍﻷﺳﺎﻟﻴﺐ ﻭﺍﻷﺻﻮﺍﺕ ﺍﻟﱵ ﻻ ﻣﻌﲎ ﳍﺎ ﺃﻭ ﻏﲑ ﻣﻔﻬﻮﻣﺔﻭﺃﺑﺪﳍﺎ ﺑﺎﻟﻮﻗﻔﺎﺕ‪.‬‬
‫ﺑﻘﻲ ﻟﻨﺎ ﺃﻥ ﻧﺘﺨﻠﺺ ﻣﻦ ﺍﻷﺳﺎﻟﻴﺐ ﻏﲑ ﺍﳌﺮﻏﻮﺑﺔ ﻭ ﺍﻟﺰﺍﺋﺪﺓ ﻋﻨﺎﳊﺎﺟﺔ ﻭﺍﻟﱵ ﲤﺜﻞ ﺣﻮﺍﺟﺰ ﲤﻨﻊ‬
‫ﺍﻻﺗﺼﺎﻝ ﻻ ﺗﺴﺘﻌﻤﻞ )) ﺍﳌﻬﻤﺔ (( ﻭﲣﻠﺺ ﻣﻦ ﺃﻱ ﻭﻗﻔﺎﺗﻐﲑ ﺿﺮﻭﺭﻳﺔ‬
‫ﺳﺠﻞ ﻧﻔﺴﻚ ﻋﻠﻰ ﺷﺮﻳﻂ ﻣﺴﻤﻮﻉ ﺃﻭ ﻣﺮﺋﻲ ﻭﺍﻃﻠﺐ ﺭﺃﻯ ﺍﻵﺧﺮﻳﻦ ﺣﱴ ﺗﺘﻌﺮﻑ ﻋﻠﻰ‬

‫ﺍﳌﻬﺎﺭﺓ ﺍﻟﺜﺎﻣﻨﺔ ‪ /‬ﺍﺳﺘﺨﺪﺍﻡ ﺍﳌﺮﺡ‪-:‬‬

‫ﺍﳍﺪﻑ ﺍﻟﺴﻠﻮﻛﻲ ‪ /‬ﺍﻟﻘﺪﺭﺓ ﻋﻠﻰ ﺃﻥ ﲡﻌﻞ ﺑﻴﻨﻚ ﻭﺑﲔ ﻣﺴﺘﻤﻌﻴﻜﻌﻼﻗﺔ ﻭ ﺍﺗﺼﺎﻝ ﺟﻴﺪ‬
‫ﻭﻣﺴﺎﻋﺪ‪‬ﻢ ﰲ ﺍﻟﺘﻤﺘﻊ ﺑﺎﻻﺳﺘﻤﺘﺎﻉ ﺇﻟﻴﻚ‬

‫ﻧﺸﺎﻁ ‪:.‬‬
‫ﻣﻦ ﺧﻼﻟﺘﺠﺎﺭﺑﻚ ﺍﻟﻄﻮﻳﻠﺔ ﻭﺗﻘﻒ ﻛﺜﲑﺍﹰ ﺃﻣﺎﻡ ﻓﺮﺩ ﺃﻭ ﳎﻤﻮﻋﺔ ﻣﻦ ﺍﳌﻌﻠﻤﻴﻨﻠﺘﺪﺭﻳﺐ ﺃﻭ ﻟﺘﻘﺪﻳﺮ‬
‫ﺍﺟﺘﻤﻌﺎﹰ ﺃﻭ ﻏﲑ ﺫﻟﻚ ‪ ،‬ﺍﻧﻄﻼﻗﺎﹰ ﻣﻦ ﻫﺬﻩ ﺍﻟﺘﺠﺮﺑﺔ ﺣﺎﻭﻝ ﺍﻹﺟﺎﺑﺔ ﻋﻠىﺎﻷﺳﺌﻠﺔ ﺁﻻﺗﻴﺔ‪.‬‬
‫ﺱ‪/١‬ﻫﻞ ﺃﻧﺖ ﻣﺮﺡ ؟ ﻭﻫﻞ ﺗﺴﺨﺮ ﻣﻦ ﻧﻔﺴﻚ ؟‬
‫ﺱ‪/٢‬ﻫﻞ ﺗﻘﻮﻝ ﺃﻛﺜﺮ ﻣﻨﻨﻜﺘﺘﲔ ﰲ ﺍﻷﺳﺒﻮﻉ ؟‬

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 ‫ﺱ‪/٣‬ﻫﻞ ﻳﺮﻏﺐ ﺍﻟﻨﺎﺱ ﰲ ﺍﻟﻀﺤﻚ ﻋﻨﺪﻣﺎ ﻳﻜﻮﻧﻮﻥ ﻣﻌﻚ ؟‬
‫ﺱ ‪/٤‬ﻫﻠﺘﻌﺮﻑ ﺍﻟﺸﻲﺀ ﺍﻟﺬﻱ ﳚﻌﻠﻚ ﺗﻀﺤﻚ؟‬
‫‪.......................................١‬‬
‫‪.......................................٢‬‬
‫‪.......................................٣‬‬
‫‪.......................................٤‬‬
‫ﲢﺴﻴﻨﺎﺳﺘﻌﻤﺎﻟﻚ ﻟﺮﻭﺡ ﺍﻟﺪﻋﺎﺑﺔ ‪/‬‬
‫ﺍﻟﺪﻋﺎﺑﺔ ﻭﺍﺣﺪﺓ ﻣﻦ ﺍﻛﱪ ﺍﳌﻬﺎﺭﺍﺕ ﺍﳌﻬﻤﺔ ﻟﻠﺘﺄﺛﲑ ﻓﻴﻌﻤﻠﻴﺔ ﺍﻻﺗﺼﺎﻝ ﻟﻜﻨﻬﺎ ﰲ ﺍﻟﻮﻗﺖ ﻧﻔﺴﻪ‬
‫ﻭﺍﺣﺪﺓ ﻣﻦ ﺍﻛﱪ ﺃﺳﺎﻟﻴﺐ ﺍﳌﺮﺍﻭﻏﺔ‪.‬‬
‫ﺑﻌﺾ ﺍﻟﻨﺎﺳﺠﺬﺍﺑﻮﻥ ﻭﳏﺒﻮﺑﻮﻥ ﺑﻄﺒﻌﻬﻢ ﻭﺁﺧﺮﻭﻥ ﳚﺐ ﺃﻥ ﻳﻌﻠﻤﻮﺍ ﻟﻴﻜﻮﻧﻮﺍ ﻛﺬﻟﻚ ﻭﺭﻭﺡ‬
‫ﺍﻟﺪﻋﺎﻳﺔ ﻣﻬﺎﺭﺓﻗﺎﺑﻠﺔ ﻟﻠﺘﻌﻠﻢ ﻭﳝﻜﻦ ﺃﻥ ﺗﺘﻌﻠﻢ ﺍﺳﺘﻌﻤﺎﻝ ﻫﺬﻩ ﺍﳌﻬﺎﺭﺓ ﺑﻜﻞ ﻳﺴﺮ ﻭﺳﻬﻮﻟﺔ‪.‬‬
‫ﺗﻨﺒﻴﻬﺎﺕ ‪/‬‬
‫ﻻ ﺗﺮﻭ ﺍﻟﻨﻜﺎﺕ‪ .:‬ﻗﻠﻴﻠﻮﻥ ﻫﻢ ﺍﻟﺬﻳﻦ ﳚﺪﻭﻥ ﺭﻭﺍﻳﺔ ﺍﻟﻨﻜﺎﺕ ﻭﺃﺿﻌﺎﻓﻬﻢ ﻳﻌﺘﻘﺪﻭﻥ ﺃﻧﺒﺈﻣﻜﺎ‪‬ﻢ‬
‫ﺭﻭﺍﻳﺔ ﺍﻟﻨﻜﺎﺕ ﺟﻴﺪﺍﹰ ‪ .‬ﻭﻟﺬﺍ ﻓﺎﻥ ﱂ ﺗﻜﻦ ﻣﻦ ﻫﺆﻻﺀ ﻭﻻ ﻣﻦ ﺃﻭﻟﺌﻚ ﻓﻼ ﲢﺎﻭﻟﺮﻭﺍﻳﺔ ﺍﻟﻨﻜﺎﺕ ﰲ‬
‫ﺍﳌﻮﺍﻗﻒ ﺍﻟﺮﲰﻴﺔ‪.‬‬
‫ﺍﻟﻔﻜﺎﻫﺔ ﻟﻴﺴﺖ ﻫﺪﻓﺎ ﲝﺪ ﺫﺍ‪‬ﺎ ‪:.‬‬
‫ﰲ ﺃﻛﺜﺮﺟﻮﺍﻧﺐ ﻋﻤﻠﻴﺔ ﺍﻻﺗﺼﺎﻝ ﺍﻟﺸﺨﺼﻲ ﻟﻴﺴﺖ ﺍﻟﻔﻜﺎﻫﺔ ﻫﺪﻓﺎﹰ ﲝﺪ ﺫﺍ‪‬ﺎ ﻭﻟﻜﻨﻬﺎ ﻭﺳﻴﻠﺔ‬
‫ﻟﻠﻮﺻﻮﻝ ﺇﻟىﺎﻵﺧﺮﻳﻦ ﻭﺍﻻﺭﺗﺒﺎﻁ ﻣﻌﻬﻢ ﻋﻠﻰ ﻣﺴﺘﻮﻯ ﺷﺨﺼﻲ ‪ .‬ﻭﻫﺬﺍ ﺍﻻﺭﺗﺒﺎﻁ ﻳﺘﻤﺜﻞ ﰲ‬
‫ﻋﺪﺓ ﻣﺴﺘﻮﻳﺎﺕ ﺃﳘﻬﺎﻣﺴﺘﻮﻯ )ﺍﶈﺒﺔ ( ﻭﻳﺘﻜﻮﻥ ﻣﻦ ﺧﻼﻝ ﻋﺪﺓ ﻋﻮﺍﻣﻞ ﻣﺜﻞ ﺍﻟﺒﻌﺪ ﻋﻦ ﺍﻷﻧﺎﻧﻴﺔ‬
‫‪ ،‬ﺍﻟﺜﻘﺔ ‪ ،‬ﺍﻹﺭﺍﺣﺔ‪.‬‬

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 ‫ﺍﺑﺘﺴﺎﻣﺘﻚ ﻫﻲ ﻣﺎ ﻳﺮﺍﻩ ﺍﻟﻨﺎﺱ‬
‫ﻋﻨﺪﻣﺎ ﻧﺘﺤﺪﺙ ﻓﺎﻟﻨﺎﺱ ﻳﻨﻈﺮﻭﻥ ﺇﱃ ﻭﺟﻮﻫﻨﺎ ﻭﻣﻴﺰﺗﻨﺎﺍﻟﺴﺎﺋﺪﺓ ﻫﻲ ﺍﺑﺘﺴﺎﻣﺘﻨﺎ ‪ .‬ﻫﺬﻩ ﺍﻟﺴﻤﺔ‬
‫ﺍﳌﻬﻤﺔ ﻣﻦ ﺳﻴﻤﺎﺀ ﻭﺟﻮﻫﻨﺎ ﺗﻈﻬﺮ ﺑﺸﻜﻞ ﺳﺮﻳﻊ ﰲ ﻛﻠﺤﺎﻻﺗﻨﺎ‪.‬‬
‫*ﺍﻟﻨﺎﺱ ﻳﺘﻌﻠﻤﻮﻥ ﺃﻓﻀﻞ ﻣﻦ ﺧﻼﻝ ﺍﳌﺮﺡ ﻭﺍﻟﻔﻜﺎﻫﺔ‪.‬ﻭﻻ ﺗﻨﺴﻰ ﺃﻥ ﺍﻟﻠﺤﻈﺎﺗﺎﻟﻌﺎﻃﻔﻴﺔ ﻫﻲ ﺃﻓﻀﻞ‬
‫ﺍﻷﻭﻗﺎﺕ ﻹﻳﺼﺎﻝ ﺭﺳﺎﻟﺘﻚ ﻭﺃﻥ ﺑﺎﺳﺘﻄﺎﻋﺘﻚ ﺍﻟﻮﺻﻮﻝ ﺇﱃ ﺍﳉﺎﻧﺐ ﺍﻷﳝﻨﻮﺍﳉﺎﻧﺐ ﺍﻷﻳﺴﺮ ﻣﻦ‬
‫ﺍﻟﺪﻣﺎﻍ ﳌﺴﺘﻤﻌﻴﻚ ﺑﺎﺳﺘﻌﻤﺎﻝ ﺍﳌﺮﺡ ﻭﺭﻭﺡ ﺍﻟﺪﻋﺎﺑﺔ ﻭ ﺍﳌﻮﺍﻗﻔﺎﻹﻧﺴﺎﻧﻴﺔ ﺍﻹﳚﺎﺑﻴﺔ‬

‫ﺍﳌﻬﺎﺭﺓ ﺍﻟﺘﺎﺳﻌﺔ ‪/‬ﺍﻟﺬﺍﺕ ﺍﻟﻄﺒﻴﻌﻴﺔ‪-:‬‬

‫ﺍﳍﺪﻑ ﺍﻟﺴﻠﻮﻛﻲ ‪/‬‬
‫‪.١‬ﺇﻥ ﺗﻜﻮﻥ ﺃﺻﻴﻼﺻﺎﺩﻗﺎﹰ ﺗﻌﻜﺲ ﺷﺨﺼﻴﺘﻚ ﺍﳊﻘﻴﻘﻴﺔ ﰲ ﻛﻞ ﻇﺮﻭﻑ ﺍﻻﺗﺼﺎﻝ‬
‫‪.٢‬ﺇﻥ ﺗﻔﻬﻢ ﻗﻮﺍﻙ ﺍﻟﻄﺒﻴﻌﻴﺔﻭﺗﺴﺘﻌﻤﻠﻬﺎ ﰲ ﺍﻻﺗﺼﺎﻝ‬
‫‪.٣‬ﺇﻥ ﲢﻮﻝ ﻧﻘﺎﻁ ﺍﻟﻀﻌﻒ ﰲ ﺍﻻﺗﺼﺎﻝ ﺇﱃ ﻧﻘﺎﻁ ﻗﻮﺓ‬
‫‪.٤‬ﺇﻧﻴﻜﻮﻥ ﻟﺪﻳﻚ ﺍﻟﺜﻘﺔ ﰲ ﻧﻔﺴﻚ ﻟﻠﺘﻜﻴﻒ ﻣﻊ ﳐﺘﻠﻒ ﺍﻟﻈﺮﻭﻑ‬

‫ﺍﳉﺰﺀ ﺍﻟﻌﻤﻠﻰ‬
‫ﻗﻒ ﻣﻊ ﻧﻔﺴﻜﻘﻠﻴﻼ ﻭﺣﺎﻭﻝ ﺃﻥ ﲡﺐ ﻋﻠﻰ ﻫﺬﻳﻦ ﺍﻷﺳﺌﻠﺔ ﺑﻮﺍﻗﻌﻴﺔ ﻣﻦ ﺧﻼﻝ ﺷﺨﺼﻴﺘﻚ‪.‬‬
‫ﺱ‪/١‬ﻫﻞ ﺗﺘﻜﻠﻤﺒﺎﺭﺗﻴﺎﺡ ﺃﻛﺜﺮ ﺇﱃ ﺍ‪‬ﻤﻮﻋﺔ ﺍﻟﺼﻐﲑﺓ ﻣﻦ ﺍﻟﻨﺎﺱ ﺃﻭ ﺃﻣﺎﻡ ﲨﻬﻮﺭ ﻛﺒﲑ ؟‬
‫ﺱ‪/٢‬ﻫﻞ ﺗﺘﻜﻠﻤﺒﺎﺭﺗﻴﺎﺡ ﺃﻛﺜﺮ ﲢﺖ ﺍﻟﻀﻐﻂ ؟‬

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 ‫ﺱ‪/٣‬ﻫﻞ ﺗﻌﺮﻑ ﺃﻗﻮﻯ ﺛﻼﺙ ﻣﻬﺎﺭﺍﺕ ﺍﺗﺼﺎﻝ ﻟﺪﻳﻚ ؟‬
‫ﺱ‪/٥‬ﻫﻞ ﳝﻜﻦ ﺃﻥ ﺗﻌﺪﺩ ﻧﻘﺎﻁ ﻗﻮﺗﻚ ﻭﺿﻌﻔﻚ ﰲ ﺍﻻﺗﺼﺎﻝ ؟‬
‫ﺱ‪/٥‬ﻫﻞ ﺗﺘﺤﺪﺙ ﰲ ﺃﺭﺟﺎﺀ ﺍﳌﻜﺎﻥ ﻋﻨﺪﻣﺎ ﺗﺘﺤﺪﺙ ﺑﺸﻜﻞ ﻏﲑ ﺭﲰﻲ؟‬
‫‪.......................................١‬‬
‫‪.......................................٢‬‬
‫‪.......................................٣‬‬
‫‪.......................................٤‬‬
‫‪.......................................٥‬‬
‫‪.......................................٦‬‬

‫*******‬

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 ‫ﻓﻦ ﺍﻻﺳﺘﻤﺎﻉ‬
‫ﻋﻨﺪﻣﺎ ﻧﺘﺤﺪﺙ‪ ..‬ﳓﺐ ﺃﻥ ﻳﺴﺘﻤﻊ ﺇﻟﻴﻨﺎ ﺍﻵﺧﺮﻭﻥ‪ ..‬ﻟﻌﻞ ﻫﺬﻩ ﻃﺒﻴﻌﺔ ﻋﺎﻣﺔ ﻓﻴﻨﺎ ﲨﻴﻌﺎﹰ‪ ..‬ﻷﻥ‬

‫ﺍﻻﺳﺘﻤﺎﻉ ﻳﺸﻌﺮﻧﺎ ﺑﺎﻟﺜﻘﺔ ﻭﺍﻻﺣﺘﺮﺍﻡ‪ ..‬ﻭﳛﺴﺴﻨﺎ ﺑﺎﻷﳘﻴﺔ‪..‬‬

‫ﻭﻗﺪ ﺃﺛﺒﺖ ﻋﻠﻤﺎﺀ ﺍﻟﻨﻔﺲ ﺍﻻﺟﺘﻤﺎﻋﻲ ﺃﻥ ﺍﻻﺳﺘﻤﺎﻉ ﺍﳉﻴﺪ ﺇﱃ ﺍﻵﺧﺮﻳﻦ ﻟﻴﺲ ﺑﺎﻟﻀﺮﻭﺭﺓ ﻳﻨﺘﻬﻲ‬

‫ﺇﱃ ﺍﻟﺘﺄﺛﲑ ﺍﻟﻜﺎﻣﻞ ﻋﻠﻴﻬﻢ ﺇﻻ ﺃﻧﻪ ﻳﺰﻳﺪ ﻣﻦ ﺃﻭﺍﺻﺮ ﺍﶈﺒﺔ ﻭﺍﻟﺘﻘﺎﺭﺏ ﺍﻟﺮﻭﺣﻲ ﻭﺍﻟﻌﺎﻃﻔﻲ ﺑﲔ‬

‫ﺍﻟﻨﺎﺱ‪..‬‬

‫ﻛﻤﺎ ﺃﻥ ﻣﻦ ﺃﺑﺮﺯ ﲰﺎﺕ ﺍﻟﻌﻈﻤﺎﺀ ﻭﺃﺻﺤﺎﺏ ﺍﻟﻨﻔﻮﺫ ﻭﺍﻟﺘﺄﺛﲑ ﰲ ﺍ‪‬ﺘﻤﻌﺎﺕ ﻫﻲ ﺍﻻﺳﺘﻤﺎﻉ‬

‫ﻭﺍﻹﺻﻐﺎﺀ ﺇﱃ ﻛﻼﻡ ﺍﻵﺧﺮﻳﻦ‪..‬‬

‫ﻓﻠﻴﺲ ﻛﺜﺮﺓ ﺍﻟﻜﻼﻡ ﺩﻟﻴﻼﹰ ﻋﻠﻰ ﻗﻮﺓ ﺍﻟﺸﺨﺼﻴﺔ ﻭﻻ ﻗﻮﺓ ﺍﻟﺘﺄﺛﲑ ﺑﻞ ﺭﲟﺎ – ﺃﻭ ﰲ ﺍﻟﻐﺎﻟﺐ –‬

‫ﻳﻨﺘﻬﻲ ﻛﺜﺮﺓ ﺍﻟﻜﻼﻡ ﺇﱃ ﻣﺎ ﻻ ﳛﻤﺪ ﻋﻘﺒﺎﻩ ﻣﻦ ﺍﻟﻨﺘﺎﺋﺞ‪..‬‬

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‫ﻓﺈﻥ ﺍﻟﻜﻼﻡ ﺍﻟﻜﺜﲑ ﻳﻌﺮ‪‬ﺽ ﺻﺎﺣﺒﻪ ﺇﱃ ﺍﻟﻮﻗﻮﻉ ﰲ ﺍﻷﺧﻄﺎﺀ ﺍﻟﻜﺜﲑﺓ ﺃﻳﻀﺎﹰ ﻭﺍﻟﺪﺧﻮﻝ ﰲ ﳎﺎﻻﺕ‬

‫ﺑﻌﻀﻬﺎ ﻫﺎﻣﺸﻴﺔ ﻗﺪ ﺗﻀﺮ ﻭﻻ ﻧﻔﻊ ﻣﻀﺎﻓﺎﹰ ﺇﱃ ﺃﻥ ﺍﳌﻠﻞ ﺍﻟﻨﺎﺟﻢ ﻣﻨﻪ ﺭﲟﺎ ﻳﱰﻝ ﲟﺴﺘﻮﻯ ﺍﳊﺪﻳﺚ‬

‫ﺇﱃ ﻣﺼﺎﻑ ﺍﳊﺪﻳﺚ ﺍﻟﻌﺎﺩﻱ ﻭﺍﻟﻜﻠﻤﺎﺕ ﻓﺎﻗﺪﺓ ﺍﻟﻘﻴﻤﺔ ﺃﻭ ﺍﻟﺸﻌﺎﺭﺍﺕ ﺍﻟﱵ ﺗﻔﺘﻘﺪ ﺇﱃ ﺍﳌﺰﻳﺪ ﻣﻦ‬

‫ﺍﻟﻮﺍﻗﻌﻴﺔ‪..‬‬

‫ﻭﺑﺎﻟﺘﺎﱄ ﻓﺎﻥ ﻣﻦ ﻛﺜﺮ ﻛﻼﻣﻪ ﻛﺜﺮ ﺧﻄﺄﻩ‪..‬‬

‫ﺍﻧﺘﺒﻪ ﺟﻴﺪﺍ ‪ :‬ﺃﻥ ﺍﻹﻧﺴﺎﻥ ﺇﺫﺍ ﺃﺣﺲ‪ ‬ﲝﺎﺟﺘﻪ ﺇﱃ ﺍﻟﻜﻼﻡ ﺳﻴﻜﻮﻥ ﻣﺸﺪﻭﺩﺍﹰ ﺇﱃ ﺍﻟﺒﻮﺡ ﺑﻪ ﻭﺭﲟﺎ‬

‫ﺗﻨﺸﺤﻦ ﻧﻔﺴﻪ ﺑﺬﻟﻚ ﻭﺗﻜﱪ ﺍﻟﺸﺤﻨﺎﺕ ﻭﺗﺘﻔﺎﻋﻞ ﻣﻌﻪ ﻛﻠﻤﺎ ﺗﺄﺧﺮ ﺇﻓﺮﺍﻏﻬﺎ ﻭﺇﺛﺎﺭ‪‬ﺎ‪ .‬ﻭﻋﻠﻴﻪ ﻓﻼ‬

‫ﺑﺪ ﳍﺬﻩ ﺍﻟﺸﺤﻨﺎﺕ ﻣﻦ ﺗﻔﺮﻳﻎ ﻓﺎﺫﺍ ﻭﺟﺪ ﺍﻹﻧﺴﺎﻥ ﺃﻣﺎﻣﻪ ﻣﻦ ﻳﺴﺘﻤﻊ ﺇﻟﻴﻪ ﻣﻦ ﺍﻷﻓﺮﺍﺩ ﺍﻟﺬﻳﻦ‬

‫ﻳﻬﻤﻪ ﲰﺎﻋﻬﻢ ﺃﻭ ﻳﺮﻳﺪ ﺇﻳﺼﺎﻝ ﻛﻼﻣﻪ ﺇﻟﻴﻬﻢ ﻳﻜﻮﻥ ﻗﺪ ﺷﻌﺮ ﺑﺄﻧﻪ ﺃﺩﻯ ﻣﺎ ﻋﻠﻴﻪ ﻭﺣﻘﻖ ﺑﻌﺾ‬

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 ‫ﻏﺮﺿﻪ ﻭﺃﻣﺎ ﺇﺫﺍ ﻭﺟﺪ ﺃﻣﺎﻣﻪ ﺍﻟﺒﺎﺏ ﻣﻮﺻﺪﺍﹰ ﻓﺈﻥ ﺫﻟﻚ ﺳﻴﻨﻌﻜﺲ ﻋﻠﻴﻪ ﺳﻠﺒﺎﹰ ﻭﺭﲟﺎ ﻳﺼﺪﻣﻪ‬

‫ﻧﻔﺴﻴﺎﹰ ﻭﻳﻌﻮﺩ ﺇﱃ ﻣﺎ ﻻ ﳛﻤﺪ ﻋﻘﺒﺎﻩ ﻣﻦ ﺭﺩﻭﺩ ﺍﻟﻔﻌﻞ‪.‬‬

‫ﻷﻥ ﺍﻟﻜﻼﻡ ﺷﺤﻨﺔ ﻛﺒﲑﺓ ﰲ ﺍﻟﻨﻔﺲ ﻭﻃﺎﻗﺔ ﺟﺒﺎﺭﺓ ﻻﺑﺪ ﺃﻥ ﻧﻮﺟﺪ ﳍﺎ ﻣﻨﺎﻓﺬ ﻟﻠﺘﻨﻔﻴﺲ ﺃﻭ‬

‫ﺍﻟﺘﻨﻈﻴﻢ ﻟﻜﻲ ﻧﺴﺘﺜﻤﺮ ﺇﳚﺎﺑﻴﺎﺗﻪ ﻭﳓﺪ ﻣﻦ ﺳﻠﺒﻴﺎﺗﻪ‪.‬‬

‫ﻭﻳﻨﺒﻐﻲ ﺃﻥ ﻻ ﻧﻨﺴﻰ ﺃﺑﺪﺍﹰ ﺃﻥ ﺍﻟﺴﻴﻞ ﺍﳉﺎﺭﻑ ﻳﺘﻜﻮﻥ ﻣﻦ ﺍﻟﻘﻄﺮﺍﺕ ﻭﺍﻟﻘﺸﺔ ﺭﲟﺎ ﺗﻘﺼﻢ ﻇﻬﺮ‬

‫ﺍﻟﺒﻌﲑ‪..‬‬

‫* ﺍﻟﻜﺜﲑ ﻣﻦ ﺍﳌﺸﺎﻛﻞ ﺍﻟﻌﻮﻳﺼﺔ ﻭﺍﻷﺯﻣﺎﺕ ﺍﳋﻄﲑﺓ ﻛﺎﻧﺖ ﰲ ﺑﺎﺩﺉ ﺃﻣﺮﻫﺎ ﺻﻐﲑﺓ ﻭﳌﺎ ﱂ‬

‫ﻧﻠﺘﻔﺖ ﺇﱃ ﺍﺣﺘﻮﺍﺀﻫﺎ ﻭﲢﺪﻳﺪﻫﺎ ﺗﻜﱪ ﰒ ﺗﻨﻔﺠﺮ ﻭﺗﻌﻮﺩ ﻋﻠﻰ ﺍﳉﻤﻴﻊ ﺑﺎﻟﻀﺮﺭ‪.‬‬

‫ﻭﻳﻨﺒﻐﻲ ﺃﻥ ﻻ ﻧﻐﻔﻞ ﺃﻳﻀﺎﹰ –‬

‫‪- ‬ﺇﺫﺍ ﱂ ﻧﺴﺘﻤﻊ ﺇﱃ ﺍﻵﺧﺮﻳﻦ ﺑﺸﻜﻞ ﺟﻴﺪ ﻭﻓﻌﺎﻝ – ﺃﻥ ﺫﻟﻚ ﻗﺪ ﻳﺰﺭﻉ ﻟﻨﺎ ﺻﻮﺭﺓ ﰲ‬
‫ﺃﺫﻫﺎﻥ ﺃﺻﺪﻗﺎﺋﻨﺎ ﺗﺼﻮﺭﻫﻢ ﺑﺄﻧﻨﺎ ﻻ ﺃﺑﺎﻟﻴﻮﻥ ﺃﻭ ﺃ‪‬ﻢ ﻳﺘﺮﻓﻌﻮﻥ ﻋﻦ ﳎﺎﻟﺴﺔ ﺃﺻﺪﻗﺎﺋﻬﻢ‬
‫ﻭﺍﳌﺘﻌﺎﻭﻧﲔ ﻣﻌﻬﻢ ﻭﻣﺎ ﻳﺘﺮﺗﺐ ﻋﻠﻰ ﻫﺬﺍ ﺍﻻﻧﻄﺒﺎﻉ ﺍﻟﺴﻴﺊ ﻣﻦ ﺍﻟﻨﺘﺎﺋﺞ ﺍﳋﻄﲑﺓ ﻣﻦ‬
‫ﺧﺴﺎﺭﻩ ﺍﻟﺒﻌﺾ ﺩﻭﻥ ﻗﺼﺪ ﻣﻨﺎ‬

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‫ﻫﻮﻋﺒﺎﺭﺓ ﻋﻦ ﺫﻟﻚ ﺍﻻﺗﺼﺎﻝ ﺍﻟﺬﻱ ﻳﺘﺤﻘﻖ ﻣﻌﻪ ﺍﻟﺘﻔﺎﻋﻞ ﺍﻟﻜﺎﻣﻞ ﺑﲔ ﺍﻷﻃﺮﺍﻑ ﺍﳌﺸﺘﺮﻛﺔﰲ‬
‫ﺍﻻﺗﺼﺎﻝ ‪ ،‬ﻭﻣﻦ ﺧﻼﻟﻪ ﺗﺘﺤﻘﻖ ﺍﻻﺳﺘﺠﺎﺑﺔ ﺍﳌﻄﻠﻮﺑﺔ ﻭﺍﻟﺪﻗﻴﻘﺔ ﻛﻤﺎ ﺧﻄﻂ ﳍﺎﻣﺮﺳﻞ ﺍﻻﺗﺼﺎﻝ‬
‫‪ ،‬ﻭﻫﻲ ﲢﻘﻖ ﻫﺪﻑ ﺍﻻﺗﺼﺎﻝ ‪.‬‬

‫*******‬

‫ﻋﻮﺍﻣﻞ ﻗﻴﺎﻡ ﺍﻻﺗﺼﺎﻝ ﺍﻹﺩﺍﺭﻱ ﺍﻟﻔﻌﺎﻝ ‪:‬‬

‫·ﺗﻮﻓﲑ ﻧﻈﺎﻡ ﺍﻻﺗﺼﺎﻻﺕ ﺑﲔ ﻣﺴﺘﻮﻳﺎﺕ ﺍﻹﺩﺍﺭﺓ ‪.‬‬

‫·ﺗﻮﻓﲑ ﻧﻈﺎﻡ ﺍﳌﻌﻠﻮﻣﺎﺕ ﻭﺍﻟﺒﻴﺎﻧﺎﺕ ﺣﱴ ﻳﺘﻢ ﻧﻘﻠﻬﺎ ﺑﻄﺮﻕ ﺳﻬﻠﺔ ﻭﻭﺍﺿﺤﺔ‪.‬‬

‫·ﻣﻌﺮﻓﺔ ﻗﺪﺭﺍﺕ ﺍﳌﺴﺘﻘﺒﻠﲔ ﻟﻼﺗﺼﺎﻝ ﻣﻦ ﺍﻟﻨﻮﺍﺣﻲ ﺍﻟﻌﻠﻤﻴﺔ ﻭﺍﻟﻔﻨﻴﺔ ﻭﺍﻟﺴﻠﻮﻛﻴﺔ ﻭﺍﻟﻨﻔﺴﻴﺔ‪.‬‬

‫·ﺗﻄﺎﺑﻖ ﺍﻟﻠﻐﺔ ﺍﳌﺸﺘﺮﻛﺔ ﺑﲔ ﺍﳌﺮﺳﻞ ﻭﺍﳌﺴﺘﻘﺒﻞ ﻟﻼﺗﺼﺎﻝ‪.‬‬

‫·ﺍﻟﺘﻮﻗﻴﺖ ﺍﳌﻼﺋﻢ ﻟﻼﺗﺼﺎﻝ‪.‬‬

‫·ﺍﻟﺘﺮﻛﻴﺰ ﻋﻠﻰ ﻫﺪﻑ ﺍﻻﺗﺼﺎﻝ‪.‬‬

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 ‫ﻋﻮﺍﺋﻖ ﺍﻻﺗﺼﺎﻝ ﺍﻹﺩﺍﺭﻱ‬

‫*ﻧﻔﺴﻴﺔ‪:‬‬

‫‪1-‬ﺗﺰﻋﺰﻉ ﺍﻟﻌﻼﻗﺔ ﺑﲔ ﺍﻟﺮﺋﻴﺲ ﻭﺍﳌﺮﺅﻭﺳﲔ ﳑﺎ ﻳﺆﺩﻱ ﺇﱃ ‪ ...‬ﻋﺪﻡ ﺍﻟﺜﻘﺔ ‪.‬‬

‫‪2-‬ﺗﺮﺩﺩ ﺍﻟﺮﺅﺳﺎﺀ ﺍﻟﺘﻨﻔﻴﺬﻳﲔ ﻭﺍﳌﺮﺅﻭﺳﲔ ﰲ ﻧﻘﻞ ﺍﳊﻘﻴﻘﺔ ﺍﻟﺪﻗﻴﻘﺔ ﺫﺍﺕ ﺍﻟﻄﺒﻴﻌﺔ ﺍﻟﺴﻠﺒﻴﺔ‬
‫ﻭﺍﻟﻐﲑ ﺳﺎﺭﺓ ‪.‬‬

‫‪3-‬ﺗﺮﺩﻱ ﺍﳊﺎﻟﺔ ﺍﳌﻌﻨﻮﻳﺔ ﻟﻠﻌﺎﻣﻠﲔ ‪.‬‬

‫*ﻋﻮﺍﺋﻖ ﺳﻠﻮﻛﻴﺔ ‪:‬‬

‫ﺩﻛﺘﺎﺗﻮﺭﻳﺔ ﺑﻌﺾ ﺍﻟﺮﺅﺳﺎﺀ ﻭﺍﳌﺪﺭﺍﺀ ﰲ ﺍﻟﺘﻌﺎﻣﻞ ﻣﻊ ﻏﲑﻫﻢ ‪ ،‬ﻭﺑﺬﻟﻚ ﺗﺘﺴﻊ ﺍﻟﻔﺠﻮﺓ ﺑﲔ‬
‫ﺍﳌﺪﺭﺍﺀ ﻭﺍﳌﻮﻇﻔﲔ‪.‬‬

‫*ﺗﻨﻈﻴﻤﻴﺔ‪:‬‬
‫‪1-‬ﺟﻬﻞ ﻭﻋﺪﻡ ﺩﺭﺍﻳﺔ ﺍﳌﺴﺌﻮﻟﲔ ﰲ ﺍﻟﻮﻇﺎﺋﻒ ﺍﻹﺷﺮﺍﻓﻴﺔ ﻭﺍﳌﻮﻇﻔﲔ ﺑﺎﳉﻮﺍﻧﺐ ﺍﻟﺘﻨﻈﻴﻤﻴﺔ‬
‫ﺍﳍﺎﻣﺔ ﻟﻠﻤﻨﻈﻤﺔ ‪.‬‬

‫‪2-‬ﺣﺐ ﺍﳌﺪﺭﺍﺀ ﻟﻠﺴﻠﻄﺔ ‪.‬‬

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 ‫‪3-‬ﺍﳌﻨﻈﻤﺔ ﻭﺗﻌﺪﺩ ﻣﺴﺘﻮﻳﺎ‪‬ﺎ ﺑﺼﻮﺭﺓ ﻏﲑ ﺳﻠﻴﻤﺔ ﺇﺩﺍﺭﻳﺎﹰ ‪.‬‬

‫‪4-‬ﺿﻌﻒ ﺍﻟﻮﻻﺀ ﻭﺍﻻﻧﺘﻤﺎﺀ ﻟﻠﻤﻨﻈﻤﺔ ﺑﺴﺒﺐ ﻋﺪﻡ ﺍﻻﻫﺘﻤﺎﻡ‪.‬‬

‫*ﺑﻴﺌﻴﺔ‪:‬‬

‫‪1-‬ﺗﺄﺧﺮ ﺍﻷﺟﻬﺰﺓ ﻭﺍﳌﻌﺪﺍﺕ ﻭﺍﻷﺩﻭﺍﺕ ﺍﳌﻜﺘﺒﻴﺔ ﻭﻋﺪﻡ ﻣﺴﺎﻳﺮ‪‬ﺎ ﻟﻠﺘﻘﻨﻴﺔ ﺍﳊﺪﻳﺜﺔ ‪.‬‬

‫‪2-‬ﺗﺒﺎﻋﺪ ﻣﻮﺍﻗﻊ ﺍﻷﻗﺴﺎﻡ ﺍﻟﱵ ﺗﻨﺘﻤﻲ ﺇﱃ ﺇﺩﺍﺭﺓ ﻭﺍﺣﺪﺓ‪.‬‬

‫‪3-‬ﻭﺟﻮﺩ ﻣﻌﻮﻗﺎﺕ ﺿﻮﺿﺎﺋﻴﺔ ﻣﺰﻋﺠﺔ ‪.‬‬

‫*ﻟﻐﻮﻳﺔ ‪:‬‬

‫‪1-‬ﺍﺧﺘﻼﻑ ﺍﻟﻠﻐﺔ ﺑﲔ ﺍﳌﺮﺳﻞ ﻭﺍﳌﺴﺘﻘﺒﻞ‪.‬‬

‫‪2-‬ﺍﺭﺗﻔﺎﻉ ﻣﺴﺘﻮﻯ ﺟﻮﺩﺓ ﺍﻟﻠﻐﺔ ﻣﻘﺎﺭﻧﺔ ﺑﺎﳌﺴﺘﻘﺒﻞ‪.‬‬

‫‪3-‬ﺿﻌﻒ ﺍﳌﺴﺘﻮﻯ ﺍﻟﻌﻠﻤﻲ ﻟﻠﺮﺳﺎﻟﺔ‪.‬‬

‫*****ﰎ ﲝﻤﺪ ﺍﷲ *****‬

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