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    The document discusses Yemeni poet Muhammad al-Fatah and analyzes some of the reasons for his move from Sana'a to Aden, including declining financial stability. It mentions he was more financially stable earlier in his career when working for the central bank compared to his later role in the antiquities department. The political unrest occurring in Yemen at the time also likely contributed to his relocation. The document provides historical context about al-Fatah's career and analysis of factors influencing his move from Sana'a to Aden.

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    The document discusses Yemeni poet Muhammad al-Fatah and analyzes some of the reasons for his move from Sana'a to Aden, including declining financial stability. It mentions he was more financially stable earlier in his career when working for the central bank compared to his later role in the antiquities department. The political unrest occurring in Yemen at the time also likely contributed to his relocation. The document provides historical context about al-Fatah's career and analysis of factors influencing his move from Sana'a to Aden.

    Copyright:

    © All Rights Reserved
    Download as PDF, TXT or read online from Scribd
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    18 views1 page

    الفتيح 3

    Uploaded by

    hythamalkadasi
    The document discusses Yemeni poet Muhammad al-Fatah and analyzes some of the reasons for his move from Sana'a to Aden, including declining financial stability. It mentions he was more financially stable earlier in his career when working for the central bank compared to his later role in the antiquities department. The political unrest occurring in Yemen at the time also likely contributed to his relocation. The document provides historical context about al-Fatah's career and analysis of factors influencing his move from Sana'a to Aden.

    Copyright:

    © All Rights Reserved
    Download as PDF, TXT or read online from Scribd
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    ‫‪17‬‬ ‫ﺍﺩﺏ ﻭﺛﻘﺎﻓﺔ‬

    ‫اﻟﺨﻤﻴﺲ ‪ 9 :‬رﻣﻀﺎن ‪1434‬ﻩ < ‪ 18‬ﻳﻮﻟﻴﻮ ‪2013‬م < اﻟﻌﺪد ‪17773‬‬


    ‫‪Thuresday : 9 Rmdan 1434 > 18 July > Issue No. 17773‬‬

    ‫ﻣﺸﻘﺮ ﺍﻟﻮﻃﻦ ﺍﻟﺬﻱ ﺣﻠﻖ ﻓﻮﻕ ﺣﻴﺎﺓ ﺳﻮﺩﺍﺀ‬


    ‫ﺍﻟﺜــــﻮﺭﺓ‬
    ‫‪ALTHAWRAH‬‬

    ‫‪3-3‬‬ ‫ﺯﺧﺎﺕ ﺍﺳﺘﻘﺮﺍﺋﻴﺔ ﻣﻦ ﻛﻔﺎﺡ ﺳﲑﺓ ﻭﺗﺠﺮﺑﺔ‬


    ‫ﺍﻟﻔﺘﻴﺢ ﺍﻹﺑﺪﺍﻋﻴﺔ‬
    ‫ﻭﻏﻨﺎ ﺍﻟﻔﻨﺎﻥ ﺟﺎﺑﺮ ﻋﲇ ﺃﺣﻤﺪ »ﻛﺬﺍ ﻓﻠﻴﻌﺸﻘﻮﺍ«‬
    ‫ﻭﺍﻷﻏﻨﻴﺔ ﺑﻠﺤﻨﻬﺎ ﺍﻟﺠﻤﻴﻞ ﻣــﻦ ﺍﻟﺼﻌﻮﺑﺔ‬
    ‫ﺍﻟﺤﺼﻮﻝ ﻋﻠﻴﻬﺎ‪.‬‬
    ‫ﻣﻦ ﺫﻟﻚ ﺍﻗﺘﴫﺕ ﻣﻌﻈﻢ ﺍﻟﺪﺭﺍﺳﺎﺕ ﺍﻷﺩﺑﻴﺔ ﻟﺸﻌﺮ‬
    ‫ﺑﻌﻨﻮﺍﻥ ﻋﺸﺎﻕ ﺗﻌﺰ‪ . .‬ﺳﺎﻕ ﺟﻤﻠﺔ ﻣﻦ ﺍﻻﺳﻤﺎﺀ‬

    ‫ﺍﻟﻔﻀﻮﻝ ‪ ,‬ﺍﳌﺮﺷﺪﻱ ‪ ,‬ﺃﻳﻮﺏ ﻃﺎﺭﺵ ‪ ,‬ﻣﺤﻤﺪ ﻋﺒﺪ‬


    ‫ﺍﻟﺴﻼﻡ ‪ ,‬ﻣﺒﺎﺭﻙ ﺳﺎﳌني ‪ ,‬ﺳﻠﻄﺎﻥ ﺍﻟﴫﻳﻤﻲ‬
    ‫ﺍﻟﻜﺒﲑﺓ ﺃﻣﺜﺎﻝ‪:‬‬
    ‫ﺑﻀﻌﺔ ﺳﻨﻮﺍﺕ ﻫﺬﺍ ﺟﺎﻧﺐ ﻭﺟﺎﻧﺐ ﺁﺧﺮ ﻛﺎﻥ‬
    ‫ﺍﻟﻔﻀﻮﻝ ﺃﻛرث ﺍﺳﺘﻘﺮﺍﺭﺍً ﻣﻦ ﻧﺎﺣﻴﺘﻲ ﺍﻟﺪﺧﻞ‬
    ‫ﺍﳌﺎﺩﻱ ﻭﺍﻻﺳﺘﻘﺮﺍﺭ ﺍﳌﻌﻴﴚ ﻋﲆ ﻋﻜﺲ ﺍﻟﻔﺘﻴﺢ‬
    ‫ﺍﻟﺬﻱ ﺃﺧﺬ ﺩﺧﻠﻪ ﺍﳌﺎﺩﻱ ﻳﺘﺪﻫﻮﺭ ﻋﲆ ﺇﺛﺮ ﻧﻘﻠﻪ‬
    ‫ﻳﺎ ﺃﻡ ﻣﻄﺮ‬
    ‫ﺇﻥ ﻣﺰّﻗﻨﻲ ﺍﻟﻔﺎﺷﺴﺖ‬
    ‫ﻏﺪﺍَ ﺃﻭ ﺑﻌﺪ ﻏﺪ‬
    ‫ﻻ ﺗﺒﺘﺌﴘ‬
    ‫ﻣﻨﺼﻮﺭ ﺍﻟﴪﻭﺭﻱ‬ ‫‪‬‬
    ‫ﺍﻟﻔﺘﻴﺢ ﻋﲆ ﺍﻟﺘﻲ ﺗﻐﻨﻰ ﺑﻬﺎ ﻋﺒﺪ ﺍﻟﺒﺎﺳﻂ ﻋﺒﴘ‬ ‫‪ ,‬ﻣﺤﻤﺪ ﻭﺃﺣﻤﺪ ﺍﳌﺠﺎﻫﺪ‪ ،‬ﻭﻫﻲ ﺃﺳﻤﺎﺀ ﻛﺒﲑﺓ‬ ‫ﻟﻌﻤﻠﻪ ﻣﻦ ﺍﻟﺒﻨﻚ ﺍﳌﺮﻛﺰﻱ ﺍﻟﺬﻱ ﺗﺘﻮﻓﺮ ﻓﻴﻪ ﻣﺰﺍﻳﺎ‬ ‫ﻛﻮﻧﻲ ﻛﻘﺪﺭ‬
    ‫ﻓﻘﻂ‪ ،‬ﻭﻟﻢ ﺗﺘﻨﺎﻭﻝ ﺑﻘﻴﺔ ﻗﺼﺎﺋﺪه ﺍﻟﺘﻲ ﻓﻴﻬﺎ ﻣﻦ‬ ‫ﻭﺣﺎﴐﺓ ﰲ ﺍﻷﻭﺳﺎﻁ ﺍﻻﺑﺪﺍﻋﻴﺔ ﺍﻻﺩﺑﻴﺔ ﻭﺍﻟﻔﻨﻴﺔ‬ ‫ﺇﺿﺎﻓﻴﺔ ﻻ ﺗﻮﺟﺪ ﰲ ﻋﻤﻠﻪ ﺍﻟﺠﺪﻳﺪ ﺑﻤﻜﺘﺐ ﺍﻵﺛﺎﺭ‬ ‫ﻛﻮﻧﻲ ﺯﻣﺰﻣﺔ ﻟﺮﻋﻮﺩﻱ‬ ‫ﺗﻌﺰ ﺍﻻﻏﱰﺍﺏ ﺍﻟﺪﺍﺧﻠﻲ‬
    ‫ﺍﻟﻌﻤﻘﻴﺔ ﻣﺎ ﻟﻢ ﺗﺤﻤﻠﻪ ﻗﺼﺎﺋﺪه ﺍﻟﻐﻨﺎﺋﻴﺔ‪ ،‬ﻭﻳﻌﺰﻯ‬ ‫ﻭﺍﻟﻔﻜﺮﻳﺔ ﻭﺣﺘﻰ ﻳﻘﺪﻡ ﺃﺳﻤﺎﺀ ﻣﺒﺪﻋﺔ ﻗﺪ ﺗﻜﻮﻥ‬ ‫ﺑﺘﻌﺰ ﺧﺎﺻﺔ ﺑﻌﺪ ﻭﺻﻮﻝ )ﺻﺎﻟﺢ( ﻟﻠﺴﻠﻄﺔ‬ ‫ﻛﻮﻧﻲ ﻋﺮﺑﺪﺓ ﻟﺮﻳﺎﺣﻲ‬
    ‫ﺍﻟﺴﺒﺐ ﺇﱃ ﺍﻧﺘﺸﺎﺭ ﻗﺼﺎﺋﺪه ﺑﺎﻟﻘﺪﺭ ﺍﻟﻜﺎﰲ ﺭﻏﻢ‬ ‫ﻣﻐﻤﻮﺭﺓ ﻭﻣﻄﻤﻮﺭﺓ ﻳﻀﻴﻒ ﺇﱃ ﺗﻠﻚ ﺍﻻﺳﻤﺎﺀ‬ ‫ﻋﺎﻡ ‪1978‬ﻡ ﺍﻟﺬﻱ ﻋﻤﻞ ﻋﲆ ﺇﻫﻤﺎﻝ ﻗﻄﺎﻉ ﺍﻵﺛﺎﺭ‬ ‫ﻼ ﺷﻼ ً‬
    ‫ﻻ‬ ‫ﻛﻮﻧﻲ ﺳﻴ ً‬ ‫ﺃﺳﺒﺎﺏ ﻛﺜﲑﺓ ﺃﺩﺕ ﺇﱃ ﺍﻧﺘﻘﺎﻟﻪ ﺇﱃ ﺗﻌﺰ‪ . .‬ﻭﻳﺒﺪﻭ ﺃﻥ‬
    ‫ﻃﺒﺎﻋﺔ ﺩﻳﻮﺍﻧﻪ " ﻣﺸﻘﺮ ﺑﺎﻟﺴﺤﺎﺑﺔ " ﻣﺮﺗني ﻧﻔﺬﺗﺎ‬ ‫ﺍﻟﻜﺒﲑﺓ ﺍﻻﺳﻤﺎﺀ ﺍﳌﻐﻤﻮﺭﺓ ﰲ ﻣﻘﺎﻟﺘﻪ ﻛﺼﻔﻮﺍﻥ‬ ‫ﻻ ﻣﺘﻌﻤﺪﺍً ﻛﺎﻥ ﺍﻟﻔﺘﻴﺢ ﻭﺍﺣﺪﺍً‬ ‫ﻭﻣﻮﻇﻔﻴﻪ ﺇﻫﻤﺎ ً‬ ‫ﻟﻠﻤﻄﺮ ﺍﻟﻘﺎﺩﻡ‬ ‫ﺍﻟﺤﺮﺍﻙ ﺍﻟﺴﻴﺎﳼ ﺍﻟﴪﻱ ﺍﻟﺬﻱ ﻛﺎﻧﺖ ﺗﺸﻬﺪه‬
    ‫ﻛﻠﻴﺔ ﻣﻦ ﺍﻷﺳــﻮﺍﻕ‪ ،‬ﻭﺑﺎﳌﻨﺎﺳﺒﺔ ﻫﺬﺍ ﺍﻟﻌﻨﻮﺍﻥ‬ ‫ﺍﳌﺸﻮﱄ ‪ ,‬ﺻﻔﻮﺍﻥ ﺍﻟﻘﺒﺎﻃﻲ ‪ ,‬ﻭﺃﺑﻮ ﻣﻄﺮ ) ﻳﻘﺼﺪ‬ ‫ﻣﻦ ﺿﺤﺎﻳﺎه ﺍﻟﺬﻳﻦ ﺃﺧﺬﺕ ﺇﻳﺮﺍﺩﺍﺗﻬﻢ ﺍﳌﺤﺪﻭﺩﺓ‬ ‫ﻳﺎ ﺃﻡ ﻣﻄﺮ‬ ‫ﺍﻟﺤﺪﻳﺪﺓ ﺣﻴﻨﺬﺍﻙ ﻭﻣﻨﻬﺎ )ﺣــﺰﺏ ﺍﻟﻄﻠﻴﻌﺔ‬
    ‫ﺍﺧﺘﺎﺭه ﻛﻞ ﻣﻦ ﺍﻷﺩﻳﺒني »ﻋﲇ ﺍﳌﻘﺮﻱ‪ ،‬ﻭﻣﺤﻤﺪ‬ ‫ﻧﻔﺴﻪ( ﻭﺁﺧﺮ ﻋﺸﺎﻕ»ﺗﻌﺰ« ﻫﻮ ﺍﻟﺸﺎﻋﺮ ﺍﳌﺒﺪﻉ‬ ‫ﺗﻔﺮﺽ ﻋﻠﻴﻪ ﺍﻻﻧﻘﻄﺎﻉ ﻋﻦ ﻣﻮﺍﺻﻠﺔ ﺍﻫﺘﻤﺎﻣﺎﺗﻪ‬ ‫****‬ ‫ﺍﻟﺸﻌﺒﻴﺔ( ﻛﺎﻥ ﻟﻪ ﺍﻟﺪﻭﺭ ﺍﻟﺮﺋﻴﺲ ﰲ ﺍﻧﺘﻘﺎﻟﻪ ﺇﱃ‬
    ‫ﻋﺒﺪ ﺍﻟﻮﻫﺎﺏ ﺍﻟﺸﻴﺒﺎﻧﻲ « ﻣﻦ ﺟﻤﻠﺔ ﺑﺈﺣﺪﻯ‬ ‫ﻋﺒﺪﺍﻟﻔﺘﺎﺡ ﺍﻷﺳﻮﺩﻱ ﺍﳌﻤﺘﻠﺊ ﺻﺪﺭه ﺑﺸﻼﻻﺕ‬ ‫ﺍﻹﺑﺪﺍﻋﻴﺔ‪ ،‬ﻭﻋﻦ ﺍﳌﺸﺎﺭﻛﺔ ﰲ ﺍﻟﻔﻌﺎﻟﻴﺎﺕ ﺍﻷﺩﺑﻴﺔ‬ ‫ﻳﺎ ﺃﻡ ﻣﻄﺮ ﺇﻧﻲ ﺭﺍﺣﻞ‬ ‫ﻣﺪﻳﻨﺔ ﺗﻌﺰ‪.‬‬
    ‫ﻗﺼﺎﺋﺪه ﻫﻲ » ﺇﱃ ﺷﻤﺴﺎﻥ ﺍﻷﺷﻢ «‪.‬‬ ‫ﻣﻦ ﺍﻟﺠﻤﺎﻝ ﻭﻗﻴﻤﻪ ﺍﻟﺮﻓﻴﻌﺔ ﻭﺍﻟﺮﺍﻗﻴﺔ‪ ..‬ﻓﻘﺪ‬ ‫ﺃﻭ ﺍﻟﻠﻘﺎﺀﺍﺕ ﻭﺍﻟﺠﻠﺴﺎﺕ ﺍﳌﺘﻮﺍﺻﻠﺔ ﻣﻊ ﺍﻟﺸﻌﺮﺍﺀ‪،‬‬ ‫ﻟﻜﻦ ﺭﺣﻴﲇ‬ ‫ﻏﲑ ﺃﻥ ﺍﻟﻔﺘﻴﺢ ﻻ ﻳﺨﻔﻲ ﺃﻥ ﺍﻟﻄﻔﺮﺓ ﺍﻟﺘﻲ ﺣﺪﺛﺖ‬
    ‫ﺃﻳﻀﺎً ﻟﻠﻔﺘﻴﺢ ﻗﺼﺎﺋﺪ ﺃﺧﺮﻯ ﻧﴩﺕ ﰲ ﺍﻟﻜﺜﲑ ﻣﻦ‬ ‫ﻓﺎﺟﺄﻧﺎ ﺑﻘﺼﻴﺪﺗﻪ»ﰲ ﺭﺑﻮﻉ ﺍﻟﺤﺎﳌﺔ ﺗﻌﺰ« ﻣﻦ‬ ‫ﻭﺍﳌﺒﺪﻋني ﺍﳌﻘﻴﻤني ﰲ ﺗﻌﺰ‪.‬‬ ‫ﺳﻴﻬ ّﺰ ﺷﻴﻮﺥ ﺍﻟﻘﻴﻌﺎﻥ‬ ‫ﺃﺛﻨﺎﺀ ﺣﻜﻢ ﺍﻟﺤﻤﺪﻱ ﺷﺠﻌﺘﻪ ﻋﲆ ﻧﻘﻞ ﻭﻇﻴﻔﺘﻪ‬
    ‫ﺍﻟﺼﺤﻒ ﻭﺍﳌﺠﻼﺕ‪ ،‬ﻭﺗﻨﺎﻭﻟﺘﻪ ﻋﺪﺩ ﻣﻦ ﺍﻹﺫﺍﻋﺎﺕ‬ ‫ﻗﺮﺃﻫﺎ ﺃﻋﺎﺩﺗﻪ ﺇﱃ ﺃﻳــﺎﻡ ﺍﻟﺼﺒﺎ‪ ,‬ﻭﻣﻦ ﺳﻤﻌﻬﺎ‬ ‫ﻭﻣﻊ ﺫﻟﻚ ﻛﻤﺎ ﺃﻛﺪ ﺍﻟﻔﺘﻴﺢ ﱄ ﻛﺎﻧﺖ ﺗﺤﺪﺙ‬ ‫ﻭﺷﺒﺎﻥ ﺍﻟﺴﺎﺣﻞ‬ ‫ﻣﻦ ﺍﻟﺒﻨﻚ ﺇﱃ ﻭﺯﺍﺭﺓ ﺍﻟﺜﻘﺎﻓﺔ ﺍﻟﺘﻲ ﻳﺘﺒﻌﻬﺎ ﻗﻄﺎﻉ‬
    ‫ﺍﻟﻌﺮﺑﻴﺔ ﰲ ﺍﻟﺴﺘﻴﻨﻴﺎﺕ ﻭﻛﺎﻥ ﻗﺪ ﺟﻤﻌﻬﺎ ﰲ ﺩﻳﻮﺍﻥ‬ ‫ﻣﻐﻨﺎﺓ ﺃﺧﺬﺗﻪ ﺇﱃ ﻋﻮﺍﻟﻢ ﻣﻦ ﺍﻟﻔﻦ ﺍﻟﺠﻤﻴﻞ‬ ‫ﻟﻘﺎﺀﺍﺕ‪ ،‬ﻭﺟﻠﺴﺎﺕ ﻣﺘﻘﻄﻌﺔ ﻣﻊ ﺍﻟﻔﻀﻮﻝ‪ ،‬ﻭﻛﺎﻥ‬ ‫ﻭﻳﻤﺰﻕ ﻫﺬﺍ ﺍﻟﻠﻴﻞ‬ ‫ﺍﻵﺛﺎﺭ ﻭﺍﳌﺘﺎﺣﻒ ﺣﻴﺚ ﻳﻜﻤﻦ ﻓﻴﻬﺎ ﺗﺨﺼﺼﻪ‬
    ‫ﺑﻌﻨﻮﺍﻥ " ﺳﻴﻞ ﺍﻟﻔﺠﺮ " ﺩﻓﻊ ﺑﻤﺨﻄﻮﻃﺔ ﻣﻨﻪ ﺇﱃ‬ ‫ﻭﺍﻟﻨﺒﻴﻞ‪ ............ ...‬ﺛﻢ ﻳﺜﻨﻲ ﻋﻠﻴﻪ‪ . .‬ﻓﺒﻮﺭﻛﺖ‬ ‫ﺍﻟﻔﻀﻮﻝ ﻳﺄﺧﺬ ﺑﻤﻼﺣﻈﺎﺗﻪ ﻋﲆ ﺑﻌﺾ ﺍﳌﻔﺮﺩﺍﺕ‬ ‫ﻭﺣﺮﺍﺱ ﺍﻟﻠﻴﻞ‬ ‫ﺍﻟﻌﻠﻤﻲ‪.‬‬
    ‫ﻣﻄﺎﺑﻊ ﺍﻟﻬﻤﺪﺍﻧﻲ ﰲ ﻋﺪﻥ ﺑﺪﺍﻳﺔ ﺍﻟﺜﻤﺎﻧﻴﻨﻴﺎﺕ‬ ‫ﺃﻳﻬﺎ ﺍﻷﺳﻮﺩﻱ ﺍﳌﺒﺪﻉ‪ ،‬ﻭﻳﺴﻮﻕ ﻧﺺ ﺍﻟﻘﺼﻴﺪﺓ‬ ‫ﺃﻭ ﺍﻟﺼﻮﺭ ﺍﻟﺸﻌﺮﻳﺔ ﺃﻭ ﻛﻤﺎ ﻳﻘﻮﻝ ﺍﻟﻔﺘﻴﺢ ﻧﻔﺴﻪ "‬ ‫ﻳﺨﲇ ﻋﺎﻟﻴﻬﻢ ﺳﺎﻓﻞ‬ ‫ﺛﻤﺔ ﺩﻻﻻﺕ ﰲ ﺃﺷﻌﺎﺭه ﺍﻟﺘﻲ ﻛﺘﺒﻬﺎ ﰲ ﻣﺴﺘﻘﺮ‬
    ‫ﻭﻓــﺺ ﻣﻠﺢ ﻭﺫﺍﺏ‪ ،‬ﻭﻣــﻦ ﺿﻤﻦ ﻗﺼﺎﺋﺪه‬ ‫ﺍﻗﺘﻄﻒ ﻣﻨﻬﺎ ﻫﺬﺍ ﺍﻟﺠﺰﺀ‬ ‫ﻛﻨﺖ ﺃﺣﻴﺎﻧﺎً ﺃُﺳﻤﻜﺮ ــ ﺃﺻﻠﺢ ــ ﺑﻌﺾ ﺍﻟﻘﺼﺎﺋﺪ‬ ‫ﺇﻧﻲ ﺭﺍﺣﻞ‬ ‫ﺇﻗﺎﻣﺘﻪ ﺍﻷﺧﲑﺓ ﺑﺘﻌﺰ ﻣﻨﺬ ﺍﻟﻌﺎﻡ ‪ 1975‬ﻡ ﺣﺘﻰ‬
    ‫ﺍﻟﻘﺼﻴﺪﺗﺎﻥ ﺍﻟﻠﺘني ﻭﺭﺩﺗﺎ ﺑﻬﺬه ﺍﳌﻘﺎﻟﺔ‪.‬‬ ‫ـﺖ ﰲ ﻣﺪﻳﻨﻪ‬ ‫ﺭﻭﺡ ﺇﺑــــﺪﺍﻉِ ﺗــﺠــﻠـ ْ‬ ‫ﺍﻟﺘﻲ ﻳﺴﻤﻌﻨﻴﻬﺎ ﺍﻟﻔﻀﻮﻝ " ﺍﻟﻠﻪ ﻳﺮﺣﻤﻪ ــ‬ ‫ﺗﻘﺎﻋﺪه ﻋﻦ ﺍﻟﻮﻇﻴﻔﺔ ﻋﺎﻡ ‪ 2002‬ﻡ‪ ،‬ﻭﺣﺘﻰ‬
    ‫ﻭﻋــﺮﺽ ﻋﲇ ﺫﺍﺕ ﻣﺮﺓ ﺑﺤﺚ ﺑﻌﻨﻮﺍﻥ "ﺃﺻﺎﻟﺔ‬ ‫ﺍﻷﺭﻭﺍﺡ ﺃﻓــﻴــﺎﺀ ﺍﻟﺴﻜﻴﻨﻪ‬ ‫َ‬ ‫ﺗﻤﻨﺢ‬ ‫ﻭﻛﺬﻟﻚ ﻓﻌﻠﺖ ﻣﻊ ﺑﻌﺾ ﻗﺼﺎﺋﺪ ﻋﺜﻤﺎﻥ ﺃﺑﻮ‬ ‫ﻋﻼﻗﺘﻪ ﺍﻟﻔﻀﻮﻝ‪ ،‬ﻭﺃﺑﻮ ﻣﺎﻫﺮ‬ ‫ﻭﻓﺎﺗﻪ‪ . .‬ﺩﻻﻻﺕ ﺗﺒني ﺃﺻﺎﻟﺔ ﺍﻟﻔﺘﻴﺢ ﻭﻋﻤﻘﻴﺘﻬﺎ‬
    ‫ﺷﻌﺮﻧﺎ ﺍﻟﻌﺎﻣﻲ ﻭﻗﻀﻴﺔ ﺍﻹﻧﺴﺎﻥ ﻭﺍﻷﺭﺽ ﰲ‬ ‫ﺫﺍﺕ ُﺣ ْﻠ ٍﻢ ﺗﺤﻔﻆ ﺍﻟﺪﻧﻴﺎ ﺣﻨﻴﻨَﻪ‬ ‫ﻣﺎﻫﺮ‪.‬‬ ‫ﺍﻹﻧﺴﺎﻧﻴﺔ ﺍﻟﻨﺒﻴﻠﺔ ﻛﻘﻮﻟﻪ‬
    ‫ﺷﻌﺮﻧﺎ ﺍﻟﻌﺎﻣﻲ "‪ ،‬ﻭﺍﻗﱰﺣﺖ ﻋﻠﻴﻪ ﺗﻐﻴﲑ ﻋﻨﻮﺍﻥ‬ ‫ﺃﺳﻤﻮﻫﺎ)ﻋ َﺪ ْﻳﻨﻪ(‬
    ‫ُ‬ ‫ﻣﻨﺬ ﺃﻫﻞ ﺍﻟﻠﻪ‬ ‫ﻫﺎﺷﻢ ﻋﲇ ﻳﺴﺘﻮﺣﻲ ﻣﻦ ﻗﺼﺎﺋﺪه ﺑﻌﺾ‬ ‫ﻋﻨﺪﻣﺎ ﺳﺄﻟﺘﻪ ﻋﻦ ﻋﻼﻗﺘﻪ ﺑﺎﻟﺸﺎﻋﺮ ﺍﻟﻜﺒﲑ‬ ‫َﺷﺄﻛﻞ ﺣﻼﻝ‪ .. ...‬ﻣﻦ ﻏﺎﱄ ﺯﻧﺪﻱ‪ ... ...‬ﺍﻟﺮﻳﺎﻝ‬
    ‫ﺇﱃ " ﺍﻷﺭﺽ ﻭﺍﻹﻧﺴﺎﻥ ﰲ ﺃﺻﺎﻟﺔ ﺷﻌﺮﻧﺎ ﺍﻟﻌﺎﻣﻲ "‬ ‫ﱪ( ﻟﻬﺎ ﻣﻐﺎﻧﻲ‬ ‫ﻋﺒﺪﺍﻟﻠﻪ ﻋﺒﺪﺍﻟﻮﻫﺎﺏ ﻧﻌﻤﺎﻥ "ﺍﻟﻔﻀﻮﻝ" ﻫﻞ‬ ‫ﻳﻤﻸ ﻳﺪﻱ‪ . . .‬ﻫﺬﺍ ﺍﳌﻘﻄﻊ ﻣﻦ ﻗﺼﻴﺪﺓ ﻏﻨﺎﻫﺎ‬
    ‫)ﺻ ّ‬‫ﰲ َ‬ ‫ﻟﻮﺣﺎﺗﻪ‬
    ‫ﻭﻛﺎﻥ ﰲ ﻏﺎﻳﺔ ﺍﻟﴪﻭﺭ ﺑﻬﺬﺍ ﺍﻻﻗﱰﺍﺡ ‪ . .‬ﻭﻻ ﺃﺩﺭﻱ ﻣﺎ‬ ‫ٍ‬
    ‫ﺣﺎﻓﻼﺕ ﺑﺎﳌﻌﺎﻧﻲ‬ ‫ﻭﰲ ﻫﺬه ﺍﻟﻔﱰﺓ ﺑﺘﻌﺰ ﺗﻮﻃﺪﺕ ﻋﻼﻗﺘﻪ ﺑﻌﻤﻴﺪ‬ ‫ﻧﺸﺄﺕ ﻋﻼﻗﺔ ﺑﻴﻨﻬﻤﺎ ﰲ ﺗﻌﺰ ﺃﺗﺬﻛﺮ ﺃﻧﻪ ﺟﺮ ﻧﻬﺪﺓ‪،‬‬ ‫ﺍﻟﻔﻨﺎﻥ ﻣﺤﻤﺪ ﺻﺎﻟﺢ ﺷﻮﻗﻲ‬
    ‫ﻣﺼﲑ ﻫﺬﺍ ﺍﻟﺒﺤﺚ ؟‬ ‫ﺑـ)ﺍﺑﻦ ﻋﻠﻮﺍﻥ( ﺍﻟﻴﻤﺎﻧﻲ‬ ‫ﻭﻗﺎﻝ ‪:‬‬ ‫ﰲ ﺃﻭﻝ ﴍﻳﻂ ﻧﺰﻝ ﻟﻪ ﺇﱃ ﺍﻷﺳﻮﺍﻕ‪ . .‬ﻫﺬﺍ ﺍﳌﻘﻄﻊ‬
    ‫ﺍﻟﺤﺮﻛﺔ ﺍﻟﻔﻨﻴﺔ ﺍﻟﺘﺸﻜﻴﻠﻴﺔ ﻭﻣﺆﺳﺴﻬﺎ ﺍﻷﻭﻝ ﰲ‬
    ‫ﻭﻟﻠﻌﻠﻢ ﻳﺤﺴﺐ ﻟﻠﻔﺘﻴﺢ ﺃﻧﻪ ﺻﺎﺣﺐ ﻣﺼﻄﻠﺢ‬ ‫ﻓﻤﻌﺮﻭﻑ ﻋﻦ ﺍﻟﻔﺘﻴﺢ ﺃﻧﻪ ﻣﻦ ﺍﻟﻌﺎﺯﻓني ﻋﻦ‬ ‫ﺍﻟﻔﻀﻮﻝ ﻛﺎﻥ ﺭﺟﻼ ﻏﲑ ﻋﺎﺩﻱ‪ . .‬ﺍﻟﻔﻀﻮﻝ ﻛﺎﻥ‬ ‫ﻳﺪﻝ ﺩﻻﻟﺔ ﻋﲆ ﺃﻥ ﺍﻟﻔﺘﻴﺢ ﻟﻦ ﻳﺄﻛﻞ ﺍﻟﺤﺮﺍﻡ ﻭﺇﻥ‬
    ‫ﺍﻟﻴﻤﻦ ﺍﻷﺳﺘﺎﺫ )ﺍﳌﻌﻠﻢ ( ﻫﺎﺷﻢ ﻋﲇ‪.‬‬
    ‫) ﺍﻷﺭﺽ‪ ،‬ﻭﺍﻹﻧﺴﺎﻥ ( ﻭﺣــﻮﻝ ﻫﺬﺍ ﺍﳌﺼﻄﻠﺢ‬ ‫ﺍﻟﻜﺘﺎﺑﺔ ﻣﻨﺬ ﻣﺎ ﻳﺰﻳﺪ ﻋﻦ ﺛﻼﺛني ﺳﻨﺔ ﺇﻻ ﻣﺎ ﻧﺪﺭ‪،‬‬ ‫ﻓﻠﺘﺔ ﻣﻦ ﺍﻟﻔﻠﺘﺎﺕ‪ ،‬ﺑﻌﺪ ﻓﺸﻞ ﺛﻮﺭﺓ ‪48‬ﻡ ﺍﻟﺘﻲ‬ ‫ﻛﺎﻥ ﻣﺘﺎﺣﺎً ﺃﻣﺎﻣﻪ ﺑﺄﺷﻜﺎﻝ ﻭﺻﻮﺭ ﻻ ﺣﴫ ﻟﻬﺎ‪.‬‬
    ‫ﺍﺳﺘﻘﺎﻣﺖ ﺍﻟﻌﻼﻗﺔ ﺑني ﺍﻻﺛﻨني ﻋﲆ ﺗﻨﺎﻏﻢ‬
    ‫ﺛﻤﺔ ﺩﺭﺍﺳﺔ ﺃﺧﺮﻯ ﻣﺨﻄﻮﻃﺔ ﻋﻨﻮﺍﻧﻬﺎ ) ﺍﻷﺭﺽ‬ ‫ﻭﻫﺬﺍ ﺍﻟﻨﺎﺩﺭ ﻏﺎﻟﺒﺎً ﻣﺎ ﻳﻜﻮﻥ ﺍﻟﻬﺪﻑ ﻣﻨﻪ ﺗﻘﺪﻳﻢ‬ ‫ََ‬ ‫ﺃﻋﺪﻡ ﺍﻹﻣــﺎﻡ ﻓﻴﻬﺎ ﺃﺑﺎه ﺍﻟﺸﻴﺦ "ﻋﺒﺪﺍﻟﻮﻫﺎﺏ‬ ‫ﻣﻘﻄﻊ ﻳﻌﱪ ﻋﻦ ﺍﻟﻈﺮﻭﻑ ﺍﻟﺘﻲ ﺟﺒﻠﺘﻪ ﻋﲆ‬
    ‫ﻣﺸﱰﻛني ﺑني ﺍﻟﺸﺎﻋﺮ‪،‬‬ ‫ﺇﻳﻘﺎﻋﻲ ﺑني ﻋﻨﴫﻳﻦ‬
    ‫ﻭﺍﻹﻧﺴﺎﻥ ﰲ ﻓﻠﺴﻔﺔ ﺍﻟﻔﺘﻴﺢ ﺍﻟﺸﻌﺮﻳﺔ ( ﺃﺗﺤني‬ ‫ﻣﺒﺪﻉ ﻭﻫﻮ ﻫﻨﺎ ﻳﺮﻳﺪ ﺃﻥ ﻳﻘﻮﻝ ﻟﻨﺎ ﺍﻷﺳﻮﺩﻱ‬ ‫ﻧﻌﻤﺎﻥ " ﻟﻢ ﻳﺴﺘﺴﻠﻢ ﺍﻟﻔﻀﻮﻝ ﺑﻌﺪ ﻫﺬه ﺍﳌﺄﺳﺎﺓ‬ ‫ﺍﻟﻌﻮﺩﺓ ﺇﱃ ) ُﻋﺪﺓ ﺍﻟﺒﻨﺎﺀ ( ﺍﻟﺘﻲ ﻟﻢ ﻳﺘﺨﻠﺺ ﻣﻨﻬﺎ‬
    ‫ﻭﺍﻟﺮﺳﺎﻡ ﻫﻤﺎ ﻓﻦ ﺍﻟﺨﻴﺎﻝ ﺍﻟﻠﻐﻮﻱ‪ ،‬ﻭﻓﻦ ﺍﻟﺨﻴﺎﻝ‬
    ‫ﺍﻟﻠﺤﻈﺔ ﺍﳌﻨﺎﺳﺒﺔ ﻟﻄﺒﺎﻋﺘﻬﺎ ﻭﻧﴩﻫﺎ ﻟﺘﻜﻮﻥ ﻣﻊ‬ ‫ﺷﻮﻓﻮﺍ ﺃﺩﻳﺐ ﻭﻣﺒﺪﻉ ﺣﻘﻴﻘﻲ‪.‬‬ ‫ﺍﻟﻜﺒﲑﺓ‪ . .‬ﺍﺳﺘﻄﺎﻉ ﺃﻥ ﻳﻠﻤﻠﻢ ﺟﺮﺍﺣﺎﺗﻪ‪ ،‬ﻭﺃﺣﺰﺍﻧﻪ‬ ‫ﻷﻧﻪ ﻳﻌﻠﻢ ﺃﻥ ﺍﻟﺰﻣﻦ ﺟﺎﺋﺮ‪ ،‬ﻭﻫﺎﻫﻮ ﻳﺠﻮﺭ ﻋﻠﻴﻪ ﻣﻊ‬
    ‫ﺍﻟﺘﺸﻜﻴﲇ‪ . .‬ﺍﻷﻭﻝ ﻳﺮﺳﻢ ﺻﻮﺭ ﻭﺻﻔﻴﺔ ﻣﻦ‬
    ‫ﻫﺬه ﺍﳌﻘﺎﻟﺔ ﺃﺷﺒﻪ ﻳﺴﺘﻔﻴﺪ ﻣﻨﻪ ﺍﻟﺒﺎﺣﺜﻮﻥ ﻣﻦ‬ ‫ﻛﻴﻒ ﻧﻘﺮﺃ ﺗﺠﺮﺑﺔ ﺍﻟﻔﺘﻴﺢ ؟‬ ‫ﻣﻦ ﺍﻟﻌﺪﻡ ﺗﻌﺮﻑ ﻛﻴﻒ ﻣﻦ ﺍﻟﻌﺪﻡ ؟ ــ ﺍﻟﺬﻳﻦ‬ ‫ﻓﺎﺭﻕ ﺑﺴﻴﻂ ﺃﻧﻪ ﻟﻢ ﻳﺸﺘﻚ ﻣﻦ ﻫﺬﺍ ﺍﻟﺠﻮﺭ‪.‬‬
    ‫ﺍﳌﻔﺮﺩﺍﺕ ﺍﻟﻠﻔﻈﻴﺔ ﻋﲆ ﺍﻟﺼﻔﺤﺎﺕ‪ ،‬ﻭﺍﻵﺧﺮ‬
    ‫ﺍﻷﺩﺑﺎﺀ‪ ،‬ﻭﺍﻟﻜﺘﺎﺏ ﺧﺼﻮﺻﺎً ﻭﺃﻥ ﻟﻜﻞ ﻗﺼﻴﺪﺓ ﻣﻦ‬ ‫ﻳﺆﻛﺪ ﺷﺎﻋﺮ ﺍﻟﻴﻤﻦ ﺍﻷﻛﱪ ﺍﻷﺳﺘﺎﺫ ﻋﺒﺪ ﺍﻟﻠﻪ‬ ‫ﻳﻌﺮﻓﻮﻧﻪ ﺳﻴﺬﻛﺮﻭﻥ ﺍﻟﻄﺮﻳﻘﺔ ﺍﻟﺘﻲ ﻳﻄﺮﺡ ﺑﻬﺎ‬ ‫ﻓﻀﻞ ﺃﻥ ﻳﻌﻴﺶ ﰲ ﺍﻟﻈﻞ ﻭﰲ ﻣﻘﺪﻭﺭه ﺃﻥ ﻳﻌﻴﺶ‬
    ‫ﻳﺮﺳﻢ ﺻــﻮﺭﺍ ﻭﺻﻔﻴﺔ ﻭﻟﻜﻦ ﻣﻦ ﺍﻷﻟــﻮﺍﻥ ﻋﲆ‬
    ‫ﻗﺼﺎﺋﺪه ﻇﺮﻭﻓﻬﺎ ﺍﻟﺰﻣﻜﺎﻧﻴﺔ ﺍﻟﺨﺎﺻﺔ‪ ،‬ﻭﺣﻜﺎﻳﺎﺗﻬﺎ‬ ‫ﺍﻟﱪﺩﻭﻧﻲ ﰲ ﻛﺘﺎﺑﻪ ﺍﻟﺸﻌﺮ ﺍﻟﻴﻤﻨﻲ ﻗﺪﻳﻤﻪ ﻭﺣﺪﻳﺜﻪ‬ ‫ﺍﻟﻔﺘﻴﺢ ﺃﺳﺌﻠﺘﻪ ــ ﻳﻬﺰ ﺭﺃﺳﻪ ﻭﻳﺤﺮﻙ ﻳﺪﻳﻪ ﻷﻋﲆ‬ ‫ﺍﻟﺸﻬﺮﺓ ﺍﻟﺘﻲ ﻛﺎﻧﺖ ﺗﻄﺮﻕ ﺑﺎﺑﻪ‪ . .‬ﺍﺳﺘﻌﺼﺖ‬
    ‫ﺍﻟﻘﻤﺎﺵ‪ ،‬ﻭﺑﺤﺴﺐ ﺗﺄﻛﻴﺪ ﺍﻟﻔﺘﻴﺢ ﰲ ﺇﺣﺪﻯ‬
    ‫ﺍﳌﺤﺘﺸﺪﺓ ﺑﻌﻤﻘﻴﺔ ﻓﻠﺴﻔﻴﺔ ﺳــﻮﺍﺀ ﺍﻟﻐﻨﺎﺋﻴﺔ‬ ‫ﺃﻧﻪ ﻟﺘﻘﻴﻴﻢ ﺃﻭ ﻗﺮﺍﺀﺩ ﺗﺠﺮﺑﺔ ﺇﺑﺪﺍﻋﻴﺔ ﻳﺠﺐ ﺃﻥ‬ ‫ﻭﺃﺳﻔﻞ‪ ،‬ﻭﺑﺠﺮﺱ ﺻﻮﺗﻲ ﻣﻮﺳﻴﻘﻲ ﻻ ﻳﻤﺘﻠﻜﻪ ﺇﻻ‬ ‫ﺃﺻﺎﻟﺘﻪ ﺍﻟﺨﻨﻮﻉ ﻟﻠﺸﻬﺮﺓ ﺍﳌﺰﻳﻔﺔ‪ . .‬ﻋﺼﻴﺎﻥ‬
    ‫ﺟﻠﺴﺎﺗﻲ ﺇﻟﻴﻪ ) ﻋﻜﺲ ﻫﺎﺷﻢ ﻋﲇ ﰲ ﺑﻌﺾ‬
    ‫ﻣﺜﻞ ﺃﻏﻨﻴﺔ " ﻟﻴﻨﻪ ﺷﺘﺴﺎﻓﺮ ﻭﻋﻨﺪﻟﻴﺐ ﺗﺬﺭ ﺑﺎﺑﻚ‬ ‫ﺗﻘﻮﻡ ﻋﲆ ﺑﻌﺪﻳﻦ ﻫﻤﺎ ) ﺍﳌﻌﺎﻳﺸﺔ ﻟﻠﺸﺎﻋﺮ ﻋﻦ‬ ‫ﺃﺩﻳﺒﺎ ﻭﺃﺩﻳﺒﺎ ﺣﻘﻴﻘﻴﺎ ﺗﻨﺜﺎﻝ ﻣﻔﺮﺩﺍﺕ ﺳﺆﺍﻟﻪ ﺇﱃ‬ ‫ﻛﺎﻧﺖ ﻛﻠﻔﺘﻪ ﺑﺎﻫﻈﺔ ﺍﻟﺘﻲ ﻣﻦ ﺻﻮﺭﻫﺎ ﺍﻟﺤﻜﻢ‬
    ‫ﻟﻮﺣﺎﺗﻪ ﺍﻟﻔﻨﻴﺔ ﻋﺪﺩﺍ ﻣﻦ ﺍﻟﺼﻮﺭ ﺍﻟﺸﻌﺮﻳﺔ ﱄ‪،‬‬
    ‫ﻭﺭﻭﻧﻘﻪ ؟ " ﻳﺮﺩ ﺑﻬﺎ ﻋﲆ ﺍﻟﺸﺎﻋﺮ ﺃﺣﻤﺪ ﺍﻟﺠﺎﺑﺮﻱ‬ ‫ﻗﺮﺏ‪ ،‬ﻭﺍﻧﺘﺎﺟﻪ ﺍﻟﺸﻌﺮﻱ ﺍﳌﻄﺒﻮﻉ ﰲ ﺩﻭﺍﻭﻳﻦ (‬ ‫• ﺍﻟﻔﺘﻴﺢ‬ ‫ﻭﺟﺪﺍﻧﻚ ﻭﻋﻘﻠﻚ ﻻ ﺗﺴﺘﻄﻴﻊ ﺣﻴﺎﻟﻬﺎ ﺫﺍﻛﺮﺗﻚ‬ ‫ﻋﻠﻴﻪ ﺑﺎﻟﻐﻴﺎﺏ ﻣﻊ ﻭﻗﻒ ﺍﻟﺘﻨﻔﻴﺬ ﺇﱃ ﺣﺪ ﺃﻥ‬
    ‫ﻭﳌﻄﻬﺮ ﺍﻻﺭﻳﺎﻧﻲ‪ . .‬ﻋﻜﺲ ﻣﻦ ﺃﻋﻤﺎﱄ ﺍﻟﺸﻌﺮﻳﺔ‬
    ‫ﺇﻻ ﺃﻥ ﺗﻌﻠﻘﻬﺎ ﻛﻠﻮﺣﺔ ﺟﺪﺭﺍﻳﺔ ﻋﲆ ﺃﺣﺪ ﺣﻴﻄﺎﻥ‬ ‫ﺍﻟﻜﺜﲑﻳﻦ ﻛﺎﻧﻮﺍ ﻳﻈﻨﻮﺍ ﺃﻥ ﺍﻟﻔﺘﻴﺢ ﻗﺪ ﺗﻮﰲ ﺑﻴﻨﻤﺎ‬
    ‫ﺍﻟﺬﻱ ﻛﺘﺐ ﻗﺼﻴﺪﺓ " ﺃﺷﺘﻲ ﺍﺳﺎﻓﺮ ﺑﻼﺩ ﻣﺎ ﺗﻌﺮﻑ‬ ‫ﻭﻻ ﻳﻌﻨﻲ ﻫﺬﺍ ﺃﻥ ﺍﻧﻌﺪﺍﻡ ﺃﺣﺪ ﺍﻟﺒﻌﺪﻳﻦ ﻫﺬﻳﻦ‬ ‫ﻟﻮﺣﺎﺕ ﻓﻨﻴﺔ ﰲ ﻟﻮﺣﺎﺕ " ﺍﻟﻠﻴﻞ ﻭﺍ ﺑﻠﺒﻞ ﺩﻧﺎ‪،‬‬
    ‫ﺍﳌﺆﺭﺷﻔﺔ ﻷﺟﻤﻞ ﺍﻟﺬﻛﺮﻳﺎﺕ ﺍﻟﺘﻲ ﺗﺄﺑﻰ‬ ‫ِ‬ ‫ﻏﺮﻓﻬﺎ‬ ‫ﻫﻮ ﻋﲆ ﻗﻴﺪ ﺍﻟﺤﻴﺎﺓ‪.‬‬
    ‫ﺍﻻ ﺍﻟﺤﺐ " ﻭﻏﻨﻰ ﺍﻟﻘﺼﻴﺪﺗﺎﻥ ﻋﺒﺪ ﺍﻟﺒﺎﺳﻂ‬ ‫ﻳﻤﻨﻌﺎﻧﻨﺎ ﻣﻦ ﻧﻘﺪ ﺃﻭ ﻗﺮﺍﺀﺓ ﺗﺠﺮﺑﺔ ﺍﻟﺸﺎﻋﺮ‪ ،‬ﻭﺇﻧﻤﺎ‬ ‫ﺍﻟﺘﻲ ﺍﺳﺘﻀﻴﻒ ﻓﻴﻬﺎ ﺇﱃ ﺟﺎﻧﺐ ﺍﻟﺰﻛﺮﻱ‬ ‫ﻛﺒﺢ ﺃﺯﻳــﺰ ﺻــﺪﺭه ﺍﻟﻨﺎﺷﺞ ﺑﻬﻤﺴﺎﺕ ﺍﻟﺸﻜﺮ‬ ‫ﻭﺍﻹﻧﺴﺎﻥ ﻭﺍﻷﺭﺽ‪ ،‬ﻭﻗﺼﻴﺪﺓ ﺳﻴﻞ ﺍﻟﻔﺠﺮ "‬
    ‫ﺍﻟﻨﺴﻴﺎﻥ‪.‬‬ ‫ﻛﺎﻥ ﰲ ﻣﻘﺪﻭﺭ ﺍﻟﺤﻴﺎﺓ ﺃﻥ ﺗﻤﻨﺤﻪ ﻋﻮﺿﺎً ﻋﻦ ﺍﻟﻔﻘﺮ‬
    ‫ﻋﺒﴘ ﻟﻜﻨﻪ ﺃﺧﺮ ﻗﺼﻴﺪﺓ ﺍﻟﻔﺘﻴﺢ ﺍﻛرث ﻣﻦ ﻋﴩﻳﻦ‬ ‫ﻳﺠﺐ ﺍﻻﻋﺘﻤﺎﺩ ﻋﻠﻴﻬﻤﺎ ﻛﻌﺎﻣﻠني ﺃﺳﺎﺳﻴني ﺇﱃ‬ ‫ﻭﺍﻟﻔﻘﻴﻪ‪ ! . .‬ﻓﺎﺟﺄ ﺍﻟﻔﺘﻴﺢ ﺍﻟﺠﻤﻴﻊ ﺑﺈﻋﻼﻧﻪ‬ ‫ﻟﻠﴫﻳﻤﻲ‪.‬‬ ‫ﻭﻟﻼﺭﻳﺎﻧﻲ ﻋﻜﺲ ﻗﺼﻴﺪﺗﻪ ﺍﻟﺸﻬﲑﺓ " ﺣﺎﺭﺱ‬
    ‫ﺍﻟﻐﻨﻰ ﺇﻥ ﻫﻮ ﺳﺎﺭ ﻋﲆ ﺩﺭﺏ ﺍﻟﻜﺜﲑﻳﻦ ﺍﻟﺬﻳﻦ‬
    ‫ﺳﻨﺔ‪ ،‬ﻭﻫﻲ ﻗﺼﻴﺪﺓ ﻭﺍﻏﻨﻴﺔ ﺗﺤﺘﺎﺝ ﻟﺤﻠﻘﺔ ﻛﺎﻣﻠﺔ‬ ‫ﺟﺎﻧﺐ ﺍﻟﻌﻮﺍﻣﻞ ﺍﻟﺜﺎﻧﻮﻳﺔ‪.‬‬ ‫ﺍﻻﻧﻀﻤﺎﻡ ﻟﻠﻌﺮﺍﻃﻴﻂ‬ ‫ﰲ ﺍﻟﻴﻮﻡ ﺍﻟﺜﺎﻟﺚ ﻳﺘﻜﺮﺭ ﻣﺸﻬﺪ ﺍﻧﻬﻤﺎﺭ ﺍﳌﻄﺮ ﻣﻦ‬ ‫ﺍﻟنب " ﰲ ﻭﺍﺣﺪﺓ ﻣﻦ ﻟﻮﺣﺎﺗﻪ ﺣﻤﻠﺖ ﻫﺬﺍ ﺍﻻﺳﻢ (‪.‬‬ ‫ُ‬
    ‫ﻣﺘﺤﺪﺛﺎ ﻋﻦ ﺍﻟﻔﻀﻮﻝ ‪:‬‬ ‫ﻳﺴﺘﺘﻠﻲ‬ ‫ﻧﻜﺼﻮﺍ ﺍﳌﺒﺎﺩﺉ ﺍﻟﻘﻴﻤﻴﺔ ﺍﻟﻜﺒﲑﺓ ﺍﻟﺘﻲ ﻋﺎﻫﺪﻭﺍ‬
    ‫ﳌﺎ ﻓﻴﻬﺎ ﻣﻦ ﻋﻨﺎﴏ ﻭﺣﻜﺎﻳﺎﺕ ﻣﱰﺍﺑﻄﺔ‪ ،‬ﻭﺳﻮﺍﺀ‬ ‫ﻭﺃﺣﺴﺒﻨﻲ ﺃﻧﻨﻲ ﺑﺎﻗﱰﺍﺑﻲ ﻣﻦ ﺍﻟﺸﺎﻋﺮ ﺍﻟﻜﺒﲑ‬ ‫ﻣﻔﺼﺤﺎً ﻋﻦ ﻓﺮﺣﺘﻪ ﺍﻟﻐﺎﻣﺮﺓ ﳌﺸﺎﺭﻛﺘﻪ ﰲ ﻫﺬه‬ ‫ﻋﻴﻨﻲ ﺃﺑﻮ ﻣﻄﺮ ﺍﻟﺬﻱ ﻣﻨﺢ ﻓﻴﻪ ﺩﺭﻉ ﻣﺆﺳﺴﺔ‬ ‫ﰲ ﺍﺳﺘﻄﻼﻉ ﳌﺠﻠﺔ " ﺍﻟﻌﺮﺑﻲ " ﻋﻦ ﺍﻟﻴﻤﻦ ﺑﺪﺍﻳﺔ‬
    ‫ﺍﻷﻣﺴﻴﺔ ﻗﺎﺋ ً‬ ‫ﺃﻧﻔﺴﻬﻢ ﻋﲆ ﺗﺠﺴﻴﺪﻫﺎ ﰲ ﻭﺍﻗﻊ ﺍﻟﻨﺎﺱ‪ ،‬ﻭﻟﻜﻨﻬﺎ‬
    ‫ﺍﻟﻘﺼﺎﺋﺪ ﺍﻟﺸﻌﺒﻴﺔ ﺍﻟﺘﻲ ﻛﺎﻥ ﻳﺮﺩ ﺑﻬﺎ ﻋﲆ ﺷﺎﻋﺮ‬ ‫ﻣﺤﻤﺪ ﻋﺒﺪﺍﻟﺒﺎﺭﻱ ﺍﻟﻔﺘﻴﺢ ﻭﺟﻠﻮﳼ ﻣﻌﻪ‪،‬‬ ‫ﻼ ﱄ ‪" :‬ﺻﺪﻗﻨﻲ ﺃﻧﻨﻲ ﺷﻌﺮﺕ‬ ‫ﺍﻟﻌﻔﻴﻒ ﺑﻴﻨﻤﺎ ﻛﺎﻥ ﻳﻘﻮﻝ ‪ :‬ﺃﺷﻜﺮ ﻣﺆﺳﺴﺔ‬ ‫ﻋﻘﺪ ﺍﻟﺜﻤﺎﻧﻴﻨﻴﺎﺕ ﺫﻛﺮﺕ ﻓﻴﻪ ﺍﻥ ﺍﻟﻔﺘﻴﺢ ﻭﺍﺣﺪ ﻣﻦ‬ ‫ــ ﻟﻘﺪ ﻣﺜﻠﺖ ﺟﺮﻳﺪﺓ ﺍﻟﻔﻀﻮﻝ ﻓﺘﺤﺎ ﺟﺪﻳﺪﺍ ﰲ‬
    ‫ﻭﻛﺘﺎﺑﺔ ﻫﺬه ﺍﳌﻘﺎﻟﺔ ﺍﳌﻄﻮﻟﺔ ﺃﻛﻮﻥ ﻣﻦ ﻧﺎﺣﻴﺔ ﻗﺎﺩﺭﺍً‬ ‫ٍ‬ ‫ﺑﻤﻘﺎﺑﻞ ﺍﻟﻔﻘﺮ ﻣﻨﺤﺘﻪ ﻏﻨﺎً ﺁﺧﺮ‪ . .‬ﺛﺮﻭﺓ ﺍﻣﺘﻼﻙ‬
    ‫ﺍﻟﺮﻳﻒ ﻭﺍﳌﺪﻳﻨﺔ ﻣﻘﺒﻞ ﻋﲇ‪ ،‬ﻭﻋﲆ ﺍﺻﺪﻗﺎﺋﻪ‬ ‫ﻣﻜﺎﻥ ﺁﺧﺮ‬ ‫ﺃﻱ‬
    ‫ﺑﻨﻔﴘ ﺑﻴﻨﻬﻢ ﻛﻤﺎ ﻟﻢ ﺃﺷﻌﺮ ﺑﻬﺎ ﰲ ّ‬ ‫ﺍﻟﻌﻔﻴﻒ ﺍﻟﺜﻘﺎﻓﻴﺔ‪ ،‬ﻭﺭﺋﻴﺴﻬﺎ ﺍﻻﺳﺘﺎﺫ ﺍﻟﻘﺪﻳﺮ‬ ‫ﻗﻼﺋﻞ ﺟﺪﺍً ﻣﻤﻦ ﻳﺤﻤﻠﻮﻥ ﺷﻬﺎﺩﺓ ﺍﳌﺎﺟﺴﺘﲑ‬ ‫ﺗﺎﺭﻳﺦ ﺍﻟﺼﺤﺎﻓﺔ ﺍﻟﻴﻤﻨﻴﺔ ﺑﺄﺳﻠﻮﺏ ﺭﺻني ﻭﺃﻛرث‬ ‫ﺍﻷﺣﺎﺳﻴﺲ ﺍﳌﺮﻫﻔﺔ ﻭﻧﺒﻞ ﺍﻷﺧﻼﻕ ﻭﺍﺑﺘﺴﺎﻣﺔ‬
    ‫ﺍﻷﺩﺑــﺎﺀ ﺧﺼﻮﺻﺎً ﺍﻟﺬﻳﻦ ﻛﺎﻥ ﻟﻬﻢ ﻣﻮﻗﻒ ﻣﻦ‬ ‫ﻋﲆ ﺍﺳﺘﻘﺮﺍﺀ ﺗﺠﺮﺑﺘﻪ ﺍﻟﺸﻌﺮﻳﺔ‪ ،‬ﻭﻣﻦ ﻧﺎﺣﻴﺔ‬ ‫ﺣﺘﻰ ﰲ ﺍﻟﻔﻌﺎﻟﻴﺎﺕ ﺍﻟﺘﻲ ﻛﺎﻧﺖ ﺗﺴﺘﻀﻴﻔﻨﻲ ﻣﻦ‬ ‫ﻭﺍﳌﻨﺎﺿﻞ ﺃﺣﻤﺪ ﺟﺎﺑﺮ ﻋﻔﻴﻒ‪ . .‬ﺃﺷﻜﺮﻛﻢ ﺟﻤﻴﻌﺎً‬ ‫ﻭﻳﻌﻤﻠﻮﻥ ﰲ ﻣﻬﻨﺔ ﺍﻟﺒﻼﻁ‪ ،‬ﻭﻫﻲ ﺇﺷﺎﺭﺓ ﺗﺆﻛﺪ ﺃﻧﻪ‬ ‫ﻣﻦ ﺳﺎﺧﺮ‪ . .‬ﻋﻨﺪﻣﺎ ﻛﻨﺖ ﰲ ﻋﺪﻥ ﻛﺎﻥ ﻳﻄﺎﻟﻌﻨﺎ‬ ‫ﺍﻟﺘﻔﺎﺅﻝ ﺑﺎﳌﺴﺘﻘﺒﻞ‪ ،‬ﻭﺍﻟﻜﺮﺍﻣﺔ‪ ،‬ﻭﻋﺰﺓ ﺍﻟﻨﻔﺲ‪،‬‬
    ‫ﺍﻟﺸﻌﺮ ﺍﻟﻌﺎﻣﻲ ﺃﻭ ﻻ ﻳﻌﱰﻓﻮﻥ ﺑﻪ‪.‬‬ ‫ﺛﺎﻧﻴﺔ ﻗﺪ ﺳﺎﻋﺪﺕ ﺍﻟﺒﺎﺣﺜني ﻋﲆ ﺇﺑﺮﺍﺯ ﺍﻟﺠﻮﺍﻧﺐ‬ ‫ﺍﳌﺆﺳﺴﺎﺕ ﺍﻟﺮﺳﻤﻴﺔ‪.‬‬ ‫ﻭﺍﺣﺪﺍً ﻭﺍﺣﺪﺍً ﻷﻧﻜﻢ ﻧﻔﻀﺘﻢ ﺍﻟﻐﺒﺎﺭ ﻋﻦ ﻭﺟﻬﻲ‬ ‫ﻛﺎﻥ ﻳﻌﻴﺶ ﺷﻈﻒ ﺍﻟﻌﻴﺶ ﻭﻗﻠﺔ ﺍﳌﺆﻧﺔ ﻳﺤﺪﺛﻨﻲ‬ ‫ﺑﻜﻞ ﻋﺪﺩ ﺑﺮﻭﺍﺋﻊ‪ ،‬ﻭﺑﺪﺍﺋﻊ ﺗﺠﻌﻞ ﻛﻞ ﻣﻦ ﰲ ﻋﺪﻥ‬ ‫ﻭﺍﻷﺧﲑﺓ ﺣﺪﺕ ﺑﻪ ﺃﻥ ﻳﺤﻴﺎ ﻣﺮﻓﻮﻉ ﺍﻟﻬﺎﻣﺔ ﺩﻭﻧﻤﺎ‬
    ‫ﺇﻥ ﻗﺮﺍﺀﺓ ﺷﻌﺮ ﺍﻟﻔﺘﻴﺢ ﰲ ﻣﻨﺄﻯ ﻋﻦ ﺇﺩﺭﺍﻙ ﺗﺠﺮﺑﺘﻪ‬ ‫ﺍﻟﺘﻲ ﻛﺎﻧﺖ ﻏﺎﺋﺒﺔ ﻋﻨﻬﻢ ﻣﻦ ﺳﲑﺓ ﺍﻟﻔﺘﻴﺢ‪.‬‬ ‫ﻭﺍﻟﻠﻪ ﻫﻜﺬﺍ ﻗﻠﺖ ﻟﻬﻢ‪ ...... ...‬ﻳﺤﺮﻙ ﻛﻮﻓﻴﺘﻪ ﻋﲆ‬ ‫ﻭﺭﺍﺡ ﻳﻘﺮﺃ ﻣﺠﻤﻮﻋﺔ ﻣﻦ ﻗﺼﺎﺋﺪه‪.‬‬ ‫ﺍﻟﻔﺘﻴﺢ ﻋﻦ ﻫﺬه ﺍﻟﻔﱰﺓ ﻣﻦ ﻋﻘﺪ ﺍﻟﺜﻤﺎﻧﻴﻨﻴﺎﺕ‬ ‫ﻳﺤﺠﺰ ﻧﺴﺨﺘﻪ ﻣﻨﻬﺎ ﻗﺒﻞ ﺻﺪﻭﺭﻫﺎ ﺇﱃ ﺩﺭﺟﺔ‬ ‫ﻳﻨﺘﻈﺮ ﻣﻦ ﺃﺣﺪ ﻭﺳﺎﻃﺔ ﺗﺤﺴﻦ ﻣﺮﻛﺰه ﺍﻟﻮﻇﻴﻔﻲ‬
    ‫ﺍﻟﻌﻤﻠﻴﺔ ﻭﺍﻟﺪﺭﺍﺳﻴﺔ ﻭﻋﺪﻡ ﺇﺩﺭﺍﻙ ﺳﻌﺔ ﺛﻘﺎﻓﺘﻪ‬ ‫ﻟﻘﺪ ﺍﺗﺴﻤﺖ ﻣﻌﻈﻢ ﺍﻟﻜﺘﺎﺑﺎﺕ ﻋﻦ ﺷﻌﺮ ﺍﻟﻔﺘﻴﺢ‬ ‫ﺭﺃﺳﻪ ﻭﻳﻬﻤﻬﻢ )ﺃﻳﻮﺍﺍﺍﺍﺍﺍﺍﺍﺍه( ﻭﻳﺮﺩﻑ ﻭﻗﻠﺖ ﻟﻬﻢ "‬ ‫ﺑﺄﻧﻬﺎ ﻛﺎﻧﺖ ﺃﺻﻌﺐ ﻭﺃﺗﻌﺐ ﻓﱰﺍﺕ ﺣﻴﺎﺗﻪ ﻋﲆ‬ ‫ﺃﻥ ﺍﻻﺣﺘﻼﻝ ﰲ ﻋﺪﻥ ﺃﻭﻗﻔﻬﺎ ﺑﺈﻳﻌﺎﺯ ﻣﻦ ﺍﻹﻣﺎﻡ‬ ‫ﺃﻭ ﺍﳌﺎﱄ ﺍﻟﻠﺬﻳﻦ ﻳﺴﺘﺤﻘﻴﻬﻤﺎ ﺑﺠﺪﺍﺭﺓ‪.‬‬
    ‫ﻭﻣﺨﺰﻭﻧﻬﺎ ﺍﳌﺘﻌﺪﺩ ﺍﳌﱰﺍﻛﻢ ﻣﻦ ﺍﻟﱰﺍﺙ ﺍﻟﺸﻌﺒﻲ‬ ‫ﺑﺎﻟﻄﺎﺑﻊ ﺍﻷﺩﺑــﻲ ﺇﱃ ﺣﺪ ﺃﻧﻬﺎ ﻛﺎﻧﺖ ﺃﺣﻴﺎﻧﺎ‬ ‫ﻭﺑﺄﻱ ﻣﺮﺗﺒﺔ ﺗﺤﺒﻮﻥ‪. .‬‬
    ‫ّ‬ ‫ﺃﻋﻠﻦُ ﻋﻦ ﺍﻧﻀﻤﺎﻣﻲ ﺇﻟﻴﻜﻢ‬ ‫ﺍﻻﻃﻼﻕ ﻭﻣﺎ ﺃﺗﺬﻛﺮ ﻣﻦ ﺣﺪﻳﺜﻪ ﺳﻮﻯ ﺍﳌﻀﻤﻮﻥ‬ ‫ﻧﻔﺴﻪ‪.‬‬ ‫ﻟﻘﺪ ﻛﺎﻥ ﻋﺎﻡ ‪1981‬ﻡ ﻣﻦ ﺃﺗﻌﺐ ﺍﻷﻋــﻮﺍﻡ ﺍﻟﺘﻲ‬
    ‫ﻭﺍﻟﻌﺮﺑﻲ ﻭﻣﻌﺎﴏﺗﻪ ﻭﻣﻤﺎﺭﺳﺘﻪ ﻟﺜﻘﺎﻓﺔ ﺍﳌﺮﺣﻠﺔ‪.،،‬‬ ‫ﺗﺤﻤﻞ ﺍﻟﻨﺼﻮﺹ ﻣﺤﻤﻮﻻﺕ ﻻ ﺗﻤﺖ ﺑﺼﻠﺔ‬
    ‫ﻭﺍﻟﻨﻀﺎﻝ ﻋﻼﻭﺓ ﻋﲆ ﻣﺎ ﺃﺻﺎﺑﻪ ﻣﻦ ﺇﺟﺤﺎﻑ‬ ‫ﺇﱃ ﻣﻀﺎﻣﻴﻨﻬﺎ ﺍﺗﺠﻬﺖ ﻣﻌﻈﻤﻬﺎ ﺇﱃ ﺍﻟﻘﺼﺎﺋﺪ‬
    ‫ﻓﺄﻧﺘﻢ ﺍﻣﺘﺪﺍ ٌﺩ ﻟﻨﺎ‪" . .‬‬
    ‫ﻭﻫﺬﺍ ﺍﳌﻮﻗﻒ ﻟﻴﺲ ﺇﻻ ﻭﺍﺣﺪ ﻣﻦ ﻣﻮﺍﻗﻔﻪ ﺍﻟﺘﻲ‬
    ‫ﺍﻧﺤﻴﺎﺯﺍﺕ ﺍﻟﻔﺘﻴﺢ ﺍﻷﺧﻼﻗﻴﺔ ﻟﻺﺑﺪﺍﻉ‬ ‫ﻣﻨﻪ ﻭﺍﳌﺼﺤﻮﺏ ﺑﻴﻨﻪ ﺑﻌﻀﺎً ﻣﻦ ﺟﻤﻠﻪ ﻭﻣﻤﺎ ﻗﺎﻟﻪ‬ ‫ﻭﻳﺆﻛﺪ ﻻ ﺃﻇﻦ ﰲ ﺍﻷﺭﺑﻌﻴﻨﻴﺎﺕ ﻭﺍﻟﺨﻤﺴﻴﻨﻴﺎﺕ‬ ‫ﻋﺎﺷﻬﺎ ﺍﻟﻔﺘﻴﺢ‪ . .‬ﺣﻴﺚ ﺗﻜﺎﻟﺒﺖ ﻋﻠﻴﻪ ﺍﳌﺸﺎﻛﻞ‬
    ‫ﻭﺗﻘﺪﻳﻢ ﺍﳌﺒﺪﻋﲔ‬ ‫ﺣﻴﻨﻬﺎ ﺃﻥ ﻫﺬه ﺍﻟﻔﱰﺓ ﺣﻘﺎً ﺗﺮﺟﻤﺘﻬﺎ ﺟﻤﻠﺔ ﻣﻦ‬ ‫ﻣﻦ ﺍﻟﻘﺮﻥ ﺍﻟﻌﴩﻳﻦ ﺃﻥ ﻫﻨﺎﻙ ﻣﻦ ﻛﺎﻥ ﻳﻤﺎﺛﻠﻪ ﰲ‬ ‫ﻣﻦ ﻛﻞ ﺍﻻﺗﺠﺎﻫﺎﺕ‪ ،‬ﻭﺻﻠﺖ ﺇﱃ ﺣﺪ ﺗﻬﺪﻳﺪه‬
    ‫ﳌﺆﻫﻼﺗﻪ ﻭﻗﺪﺭﺍﺗﻪ‪ ،‬ﻭﻣﺎ ﻟﺤﻘﻪ ﻣﻦ ﺇﻗﺼﺎﺀ ﻭﺗﻬﻤﻴﺶ‬ ‫ﺍﻟﻐﻨﺎﺋﻴﺔ ﻻﻧﺘﺸﺎﺭﻫﺎ ﺑﺄﺻﻮﺍﺕ ﺍﻟﺬﻳﻦ ﻏﻨﻮﻫﺎ‬ ‫ﺗﺠﺴﺪ ﺃﺻﺎﻟﺔ ﺍﻟﺴﺠﺎﻳﺎ ﺍﻟﻘﻴﻤﻴﺔ ﺍﻟﺘﻲ ﻳﺴﺘﻤﺘﻊ‬ ‫ﻗﺼﺎﺋﺪه‪.‬‬ ‫ﻫﺬﺍ ﺍﻷﺳﻠﻮﺏ ﻏﲑ ﺍﻟﺪﻛﺘﻮﺭ ﺳﻌﻴﺪ ﻋﺒﺪه ﰲ ﻣﴫ‬ ‫ﺑﺎﻟﻘﺘﻞ ﻫﻮ ﻭﺃﻡ ﻣﻄﺮ ﻣﻦ ﺑﻌﺾ ﺍﳌﻮﺗﻮﺭﻳﻦ ﰲ ﺗﻌﺰ‬
    ‫ﻭﺗﺠﺎﻫﻞ ﻭﳌﺎ ﺗﻌﺮﺽ ﻟﻪ ﻭﺃﺻﺎﺑﻪ ﻣﻦ ﺍﻋﺘﺪﺍﺀﺍﺕ‬ ‫ﺧﺎﺻﺔ ﺃﻏﺎﻧﻲ ﻋﺒﺪ ﺍﻟﺒﺎﺳﻂ ﻋﺒﴘ ﻟﺤﻀﻮﺭه‬ ‫ﺑﻬﺎ ﺍﻟﻔﺘﻴﺢ ﰲ ﺩﻋﻢ ﺍﳌﺒﺪﻉ‪ ،‬ﻭﺍﻹﺑﺪﺍﻉ‪.‬‬ ‫ﺗﺠﻠﺖ ﻣﻮﺍﻗﻔﻪ ﰲ ﻛﻞ ﻣﺤﻄﺎﺗﻪ ﺑﺘﺄﻛﻴﺪ ﺳﻤﻮ‬ ‫ﻭﻗﻠﺔ ﻣﻦ ﺍﻟﺸﺎﻡ ﻭﺍﻟﻌﺮﺍﻕ‪ . .‬ﺃﻣﺎ ﰲ ﺍﻟﻴﻤﻦ ﻓﻠﻢ ﻳﻜﻦ‬ ‫ﻏﲑ ﺍﻧﻪ ﺍﺑﻮ ﻣﻄﺮ ﻭﻗﻒ ﺍﻣﺎﻣﻬﻢ ﻭﻗﻔﺔ ﺟﺒﻞ ﺻﱪ‬
    ‫ﻃﺎﻟﺖ ﺃﴎﺗﻪ ﺇﻥ ﻛﻞ ﻫﺬﺍ ﺣﺎﻝ ﺇﻏﻔﺎﻟﻪ ﻳﺠﻌﻞ‬ ‫ﻭﺷﻬﺮﺗﻪ ﺑﻞ ﺃﻥ ﻛﺜﲑﻳﻦ ﻟﻢ ﻳﺴﻤﻌﻮﺍ ﺃﻭ ﻳﻌﺮﻓﻮﺍ‬ ‫ﻭﺣــني ﻳﺪﻳﺮ ﺍﻟــﻨــﺪﻭﺍﺕ ﻭﺍﳌﺴﺎﺑﻘﺎﺕ ﺍﻷﺩﺑﻴﺔ‬ ‫ﻗﺎﻣﺘﻪ ﺍﻟﻜﺒﲑﺓ‪ ،‬ﻭﺣﺮﺻﻪ ﻋﲆ ﺗﺄﻛﻴﺪ ﺍﻧﺘﻤﺎﺀه‬ ‫ﺍﻟﻌﻔﻴﻒ ﺗﻨﻔﺾ ﺍﻟﱰﺍﺏ ﻭﺟﻬﻪ‬ ‫ﻟﻠﻔﻀﻮﻝ ﻣﺜﻴﻼ‬ ‫ﻭﺍﻧﺸﺪ ﻳﻘﻮﻝ ‪:‬‬
    ‫ﺍﻟﺒﺎﺣﺚ ﺍﳌﺴﺘﻘﺮﺉ ﻟﺸﻌﺮ ﺍﻟﻔﺘﻴﺢ ﻗﺎﴏﺍً ﻧﺎﻗﺼﺎً‪..‬‬ ‫ﺃﻟﺤﺎﻥ ﻛﻞ ﻣﻦ ﺃﻏﻨﻴﺔ ﺍﻟﻔﻨﺎﻥ " ﻣﺤﻤﺪ ﺍﻟﻌﺪﺍﺩﻱ‬ ‫ﺑﻨﻮﻋﻴﻬﺎ ﺍﻟﺸﻌﺮ ﻭﺍﻟﻘﺼﺔ ﻳﻘﻮﻡ ﺑﺘﻘﺪﻳﻢ ﺍﳌﺒﺪﻋني‬ ‫ﻟــﻸﺩﺏ ﻭﺍﻹﺑــﺪﺍﻉ ﻭﺍﳌﺒﺪﻋني ﺧﺼﻮﺻﺎً ﺍﻟﺬﻳﻦ‬
    ‫ﺧﺼﻮﺻﺎً ﻭﺇﻥ ﻣﻦ ﻗﺼﺎﺋﺪه ﻛﺎﻧﺖ ﻣﻌﱪﺓ ﺑﺮﻣﺰﻳﺔ‬ ‫" ﺍﻟﺬﻱ ﺍﻧﻘﻄﻊ ﻋﻦ ﺍﻟﻐﻨﺎﺀ ﻭﻟﻢ ﻳﻌﺪ ﻳﻌﺮﻑ ﻟﻪ ﺃﺛﺮ‬ ‫ﻧﺤﻮ ﺍﻟﻜﺎﺗﺐ ﺍﻟﺬﻱ ﻳﻌﺪ ﺍﻟﻴﻮﻡ ﻭﺍﺣﺪﺍ ﻣﻦ ﺃﳌﻊ‬ ‫ﻳﺤﺎﻭﻟﻮﻥ ﺃﻥ ﻳﻘﻬﺮﻭﺍ ﺍﻟﻮﺍﻗﻊ ﺍﳌــﺰﺭﻱ‪ . .‬ﺍﻟﻮﺍﻗﻊ‬
    ‫ﺣني ﺍﺣﺘﻔﺖ ﻣﺆﺳﺴﺔ ﺍﻟﻌﻔﻴﻒ ﺑﻤﺮﻭﺭ"‪20‬‬ ‫ﻭﻫﻮ ﻳﺮﻧﻮ ﺇﱃ ﺟﺪﺍﺭ ﻏﺮﻓﺘﻪ ﺍﻟﻀﻴﻘﺔ ‪:‬‬ ‫ﺃﺑﻮ ﻣﻄﺮ ﺣ َّﺒﻚ ﻳﺎ ﻛﺤﻼ ﻭﺍﺧﻠﺺ‬
    ‫ﻋﻦ ﻛﺜﲑ ﻣﻦ ﺗﻠﻚ ﺍﳌﻌﺎﻧﺎﺓ‪..‬ﻧﺎﻫﻴﻚ ﻋﻦ ﺃﻥ ﻗﺼﺎﺋﺪ‬ ‫ﻭﻫﻲ ﺃﻏﻨﻴﺔ »ﺃﻫﻴﻒ ﺇﺫﺍ ﺳﺎﺭ «‪ ..‬ﻭﻛﺎﻧﺖ ﺇﺫﺍﻋﺔ‬ ‫ﺍﻷﺩﺑﺎﺀ ﺍﻟﻴﻤﻨﻴني ﺍﻟﺬﻳﻦ ﺗﺠﺎﻭﺯ ﺣﻀﻮﺭﻫﻢ ﺩﺍﺋﺮﺓ‬ ‫ﻋﺎﻣﺎً ﻣﻦ ﺍﻟﺘﻨﻮﻳﺮ ﻭﺍﻹﻳــﺪﺍﻉ ﺩﺷﻨﺖ ﺑﺮﻧﺎﻣﺠﻬﺎ‬
    ‫ﺍﻟﺮﺍﻓﺾ ﺍﻟﺘﺼﺎﻟﺢ ﻣﻊ ﺍﳌﺒﺪﻉ‪ . .‬ﺍﻟﻮﺍﻗﻊ ﺍﳌﺘﻌﺎﱄ‬ ‫ﻭﻏـــﺎﺯﻟـــﻚ ﻭﺷـــ َّﻘـــﺮﻙ ﻭﻋــﺮﻗــﺺ‬
    ‫ﺍﻟﺪﻳﻮﺍﻥ ﻟﻢ ﺗﻜﻦ ﻣﺮﺗﺒﺔ ﺗﺼﺎﻋﺪﻳﺎً ﻭﻓﻖ ﺗﺴﻠﺴﻞ‬ ‫ﺻﻨﻌﺎﺀ ﻭﺗﻠﻔﺰﻳﻮﻧﻬﺎ ﺗﺬﻳﻌﻬﺎ ﻣﻦ ﻭﻗﺖ ﻭﺃﺧﺮ ﻗﺒﻞ‬ ‫ﺍﻟﻘﻄﺮﻳﺔ ﺇﱃ ﺍﻟﺪﻭﺍﺋﺮ ﺍﻻﻗﻠﻴﻤﻴﺔ ﻫﻮ ﺍﻟﻜﺎﺗﺐ‬ ‫ﺍﻟﺴﻨﻮﻱ ﻟﻌﺎﻡ ‪2009‬ﻡ ﺑﺸﻌﺎﺭ " "ﺍﻟﺸﺎﻋﺮ ُﻣﺸﻘﺮ‬ ‫ــــ ﺇﻥ ﺍﻟﺤﺪﻳﺚ ﻋــﻦ ﺍﻟﻔﻀﻮﻝ ﺫﻭ ﺷﺠﻮﻥ‪،‬‬
    ‫ــ ﺑﺨﺴﺎﺳﺘﻪ‪ ،‬ﻭﺧﺒﺜﻪ‪ ،‬ﻭﺑﻼﺩﺗﻪ ﺍﳌﱰﻋﺔ ﺑﺎﻟﻠﺆﻡ‬ ‫ﻳــﺎﻭﻳــﻞ ﻣــﻦ ﻋﺎﺑﻚ ﺃﻭﺑــﻚ ﺗﺮ َّﺑﺺ‬
    ‫ﻛﺘﺎﺑﺘﻬﺎ ﺃﻭ ﺗﺎﺭﻳﺦ ﻣﻴﻼﺩﻫﺎ‪..‬ﺣﻴﺚ ﻳﻜﻮﻥ ﺍﻟﺒﺎﺣﺚ‬ ‫ﺍﻟﻮﺣﺪﺓ‪ ،‬ﻭﻛﺬﻟﻚ ﺃﻏﻨﻴﺘﻲ ﺍﻟﻔﻨﺎﻥ ﻣﺤﻤﺪ ﺻﺎﻟﺢ‬ ‫ﺍﻟﻘﺎﺹ ﻭﺍﻟﺸﺎﻋﺮ ﻋﲇ ﺍﳌﻘﺮﻱ‪ ،‬ﺍﻛﺘﺸﻒ ﺃﺩﻳﺒﺎً‬ ‫ﺑﺎﻟﺴﺤﺎﺑﺔ"‬ ‫ﻭﺇﻧﺼﺎﻓﻪ ﻳﺤﺘﺎﺝ ﺇﱃ ﻣﺠﻠﺪﺍﺕ‪ ،‬ﺳﻴﻈﻞ ﺍﻟﻔﻀﻮﻝ‬
    ‫ــ ﻋﻦ ﺍﻟﺜﻘﺎﻓﺔ‪ ،‬ﻭﺍﳌﺴﺘﻌﲇ ـــ ﺑﻨﻘﺎﺋﺼﻪ ـــ ﻋﻦ‬ ‫ﻭﺍﻟــﻠــﻪ ﺍﻟﻌﻈﻴﻢ ﻻ ﻓﻠﻘﻪ ﺑﻤﻔﺮﺹ‬
    ‫ﰲ ﺃﺩﺏ ﺍﻟﻔﺘﻴﺢ ﻣﺤﺼﻮﺭﺍً ﺑني ﻇﺎﻫﺮ ﺍﻟﻨﺺ‬ ‫ﺷﻮﻗﻲ » ﺷﻤﺲ ﺍﻟﴩﻭﻕ ﺑني ﺍﻟﺠﺒﺎﻝ ﻟﻮﺍﻫﺐ‪. .‬‬ ‫ﻭﻛﺎﺗﺒﺎً ﻫﻮ ﻋﺰ ﺍﻟﺪﻳﻦ ﺳﻌﻴﺪ ﺃﺣﻤﺪ ﺍﻟﺬﻱ ﻟﻮ ﻟﻢ‬ ‫ﻛﺎﻥ ﺍﻟﺪﻛﺘﻮﺭ ﺍﻟﴫﻳﻤﻲ ﻣﺘﻤﺎﺱ ﺑﺎﻟﻮﻓﺎﺀ ﺣﻴﺚ‬ ‫ﺍﻟﺤﺎﴐ ﺍﻟﻐﺎﺋﺐ ﺑﻴﻨﻨﺎ‪.‬‬
    ‫ﺍﳌﺜﻘﻔني ﺍﻟﺬﻳﻦ ﺣﻄﻤﻮﺍ ﺗﻮﺍﺑﻴﺖ ﺍﻟﺠنب‪ ،‬ﻭﺣﻮﺍﺟﺰ‬ ‫ﻭﺍ ﺭﺍﻋــﻴــﻪ ﻗــﻮﱄ ﻟــﺸــﺎﺭﺡ ﺍﻟﺤﻮﻝ‬
    ‫ﻭﺩﻻﻻﺕ ﻣﻔﺮﺩﺍﺗﻪ ﻓﻘﻂ‪..‬ﺃﻣﺎ ﺃﻥ ﻳﺪﺭﻙ ﺍﳌﺮﺟﻌﻴﺔ‬ ‫ﺷﻮﻗﻲ ﺃﻧﺎ‬ ‫ﻳﻜﻦ ﻳﺴﻜﻨﻪ ﺍﻷﺩﻳﺐ ﻭﺭﺡ ﺍﻷﺩﺏ ﳌﺎ ﺻﺎﺭ ﻭﺍﺣﺪﺍً‬ ‫ﻭﺻﻔﻪ ﺑﺼﺪﻳﻖ ﻋﻤﺮه ﻭﺑﺄﺳﺘﺎﺫه‪ ،‬ﻭﺑﺎﻟﺸﺎﻋﺮ‬ ‫ﻭﻋﻨﺪﻣﺎ ﻛﺮﺭﺕ ﻟﻪ ﺍﻟﺴﺆﺍﻝ ﻋﻦ ﻋﻼﻗﺘﻪ ﺑﺎﻟﻔﻀﻮﻝ‬
    ‫ﺍﻟﺨﻮﻑ ﺍﳌ َ ِﺸﻴﺪﺓ ﻣﻦ َﻟ ُﺪﻥ ﺃﺩﻭﺍﺕ ﺍﻟﻨﻈﺎﻡ ﺍﳌﻌﺎﺩﻳﺔ‬ ‫ﺍﻟﻜﺒﲑ ﻭﺍﻹﻧﺴﺎﻥ ﺍﻟﺮﺍﺋﻊ‪ . .‬ﻭﺃﻧﻪ ﻛﺎﻥ ﺃﻭﻝ ﻣﻦ ﻗﺪﻣﻪ‬
    ‫ﰲﺍﻟﻮﺻﻞﻗﻮﻝﺍﻟﻔﺼﻞﻭﺍﻟﻘﻮﺓﻭﺍﻟﺤﻮﻝ‬
    ‫ﻭﺍﳌﻨﺎﺳﺒﺎﺗﻴﺔ ﺍﻟﺘﻲ ﺣﻤﻠﺖ ﺑﺎﻟﻨﺺ ﻭﺍﺳﺘﻮﻯ ﰲ‬ ‫ﺗﴩﺏ ﻧﺪﻯ ﺍﻻﺳﻮﺍﻡ ﻭﺍﻟﺸﻮﺍﺟﺐ‪ . .‬ﴍﺑﺔ ﻫﻨﺎﺀ‬ ‫ﻣﻦ ﺃﻫﻢ ﺍﳌﻨﺎﺿﻠني ﰲ ﻣﺠﺎﻝ ﺣﻘﻮﻕ ﺍﻻﻧﺴﺎﻥ‬ ‫؟ ﺃﺩﺭﻛﺖ ﺃﻧﻬﺎ ﺃﺧﺬﺕ ﺗﺘﻄﻮﺭ ﻋﲆ ﺇﺛﺮ ﺗﺄﺳﻴﺲ‬
    ‫ﻟﻺﺑﺪﺍﻉ ﰲ ﺗﻌﺰ‪.‬‬ ‫ﺍﻟﻔﻌﻞ ﺷﺬﻫﺒﻨﺎ ﻭﺍﻟــﺮﺩ ﻣﺶ ﻗﻮﻝ‬
    ‫ﺍﳌﺨﻴﻠﺔ ﻗﺒﻞ ﺗﻤﺨﻀﻪ ﻧﺼﺎً ﺟﺎﻫﺰﺍً ﻳﻘﺮﺃ ﻓﻬﺬﺍ ﻣﺎ‬ ‫ﻭﺍﴎﺏ ﺻﺒﺎﻳﺎ ﺍﻗﺒﻠني ﻣﻮﺍﻛﺐ‪ . .‬ﺧﻼﻟﻨﺎ‬ ‫ﻟﻴﺲ ﻋﲆ ﺻﻌﻴﺪ ﺍﻟﺪﺍﺧﻞ ﻓﺤﺴﺐ ﺑﻞ ﻭﻋﲆ‬ ‫ﻟﻠﻔﻨﺎﻥ ﻋﺒﺪ ﺍﻟﺒﺎﺳﻂ ﻋﺒﴘ‪.‬‬ ‫ﺍﺗﺤﺎﺩ ﺍﻷﺩﺑــﺎﺀ ﻭﺍﻟﻜﺘﺎﺏ ﺍﻟﻴﻤﻨﻴني‪ ،‬ﻓﻘﺪ ﻛﺎﻧﺎ‬ ‫ﻻﺗﺴﻜﺘﻴﺶ ِّ‬
    ‫ﻭﺃﻗﺼﺪ ﺑﻬﻢ ﺃﻋﻀﺎﺀ ﺍﻟﺤﺮﻛﺔ ﺍﻹﺑﺪﺍﻋﻴﺔ ﺍﻟﺘﻲ‬ ‫ﺧﲇﺍﻟﺴﻜﻮﺕﻻﺑﻮﺍﻟﻬﻮﻝ‬
    ‫ﻗﺪ ﻻ ﻳﺪﺭﻛﻪ ﺇﻻ ﻣﻦ ﻳﻌﺮﻑ ﺍﻟﻔﺘﻴﺢ ﻛﻞ ﺍﻟﻔﺘﻴﺢ‪.‬‬ ‫ﻳﱪﻋني ﻋﻤﻘﺎﻥ ﻭﺍﻟﺠﻮﺍﺟﺐ‪ . .‬ﺑﺄﺣﲆ ﻏﻨﺎﺀ‬ ‫ﺍﻟﺼﻌﻴﺪ ﺍﻟﻌﺮﺑﻲ‪.‬‬ ‫ﻣﻮﻗﻒ ﻛﺄﻥ ﺍﻟﻔﺘﻴﺢ ﻟﻢ ﻳﻜﻦ ﻳﺘﻮﻗﻌﻪ ﻣﻦ ﺍﻟﴫﻳﻤﻲ‬ ‫ﺍﻻﺛﻨﺎﻥ ﻣﻦ ﻣﺆﺳﺴﻴﻪ‪ ،‬ﻭﺗﺤﺪﻳﺪﺍً ﻋﻨﺪ ﺍﻧﺘﻘﺎﻟﻪ‬ ‫ﻫﺬﺍ ﻫﻮ ﻫﻮ ﺍﻟﻔﺘﻴﺢ ﻳﻘﺴﻢ ﺑﺄﻧﻪ ﺳﻴﻔﻠﻖ ﺇﱃ‬
    ‫ﺃﺧﲑﺍً‪ :‬ﻋﲆ ﻭﺯﺍﺭﺓ ﺍﻟﺜﻘﺎﻓﺔ ﻭﺍﺗﺤﺎﺩ ﺍﻷﺩﺑﺎﺀ ﻭﺍﻟﻜﺘﺎﺏ‬ ‫ﻭﻓﻴﻬﺎ ﻣﻘﻄﻊ ﰲ ﻏﺎﻳﺔ ﺍﻟﺮﻭﻋﺔ »ﻭﺃﻧﺎ ﺑﻌﻴﻨﻲ ﺍﺭﺳﻢ‬ ‫ﻗﺪﻡ ﻓﺎﺭﻉ ﺍﻟﺸﻴﺒﺎﻧﻲ ﻭﺻﺎﻏﻪ ﺷﺎﻋﺮﺍً ﻭﻧﺎﻗﺪﺍً‪،‬‬ ‫ﻋﱪﺕ ﻋﻦ ﻧﻔﺴﻬﺎ ﻋﺎﻡ ‪ 2007‬ﻡ ﺑﺎﺳﻢ ﺣﺮﻛﺔ ﺃﻭ‬ ‫ﰲ ﻣﺜﻞ ﻫﻜﺬﺍ ﻣﻨﺎﺳﺒﺔ‪ ،‬ﻛﺎﻥ ﻳﻨﺘﻈﺮه ﻣﻨﻪ ﺑﺄﻱ‬ ‫ﺍﻟﻌﺎﻡ ‪ 1975‬ﻡ ﻣﻦ ﺍﻟﺤﺪﻳﺪﺓ ﺇﱃ ﺗﻌﺰ ﻏﲑ ﺃﻧﻬﺎ‬
    ‫ﺟﻤﺎﻋﺔ " ﺍﻟﻌﺮﺍﻃﻴﻂ " ﰲ ﺗﻌﺰ‪ . .‬ﺣﺮﻛﺔ ﳌّﺎ ﻟﻢ ﻳﺠﺪ‬ ‫ﻓﻠﻘﺘني ﻛﻞ ﻣﻦ ﻳﺤﺎﻭﻝ ﺇﻟﺤﺎﻕ ﺍﻟﻌﻴﺐ ﺑﺎﻟﻜﺤﻼ ﺃﻭ‬
    ‫ﺍﻟﻴﻤﻨﻴني ﺍﻟﻘﻴﺎﻡ ﺑﺈﻋﺎﺩﺓ ﻃﺒﺎﻋﺔ ﺩﻳﻮﺍﻥ " ﻣﺸﻘﺮ‬ ‫ﺍﻟﺤﻘﻴﻘﺔ‪ . .‬ﻣﻮﺵ ﺑﺎﻟﺨﻴﺎﻝ"‬ ‫ﻭﺯﻛﻰ ﺍﻟﺸﺎﻋﺮ ﺍﳌﻮﻫﻮﺏ ﻧﺠﻴﺐ ﺍﻟﻘﺮﻥ ﻟﻠﺤﺼﻮﻝ‬ ‫ﺃﺳﻠﻮﺏ ﺣﺘﻰ ﺑﺘﴫﻳﺢ ﻋﺎﺑﺮ‪ . .‬ﻟﻜﻦ ﺍﻹﻧﺴﺎﻥ‬ ‫ﻇﻠﺖ ﻋﻼﻗﺔ ﻣﺘﻘﻄﻌﺔ ﻛﺎﳌﻨﺎﺳﺒﺎﺕ ﺍﻻﺟﺘﻤﺎﻋﻴﺔ‬ ‫ﺣﺘﻰ ﻣﺠﺮﺩ ﺍﻟﱰﺑﺺ‪ ،‬ﻭﻓﻌ ً‬
    ‫ﺃﻋﻀﺎﺀﻫﺎ ﺍﳌﺒﺪﻋني ﻣﻦ ﻛﺘﺎﺏ ﺍﻟﺸﻌﺮ ‪،‬ﻭﺍﻟﻘﺼﺔ‪،‬‬ ‫ﻼ ﺍﻧﺘﴫ ﺍﻟﻔﺘﻴﺢ ﻋﲆ‬
    ‫ﺑﺎﻟﺴﺤﺎﺑﺔ " ﻭﺩﻳــﻮﺍﻥ "ﺳﻴﻞ ﺍﻟﻔﺠﺮ " ﻭﻫﻲ‬ ‫ﻭﻗﺼﻴﺪﺓ ﺃﺧﺮﻯ ﻏﻨﺎﻫﺎ ﺍﻟﻔﻨﺎﻥ ﻣﺤﻤﺪ ﺻﺎﻟﺢ‬ ‫ﻋﲆ ﻋﻀﻮﻳﺔ ﺍﺗﺤﺎﺩ ﺍﻻﺩﺑﺎﺀ‪ .‬ﻭﻷﻥ ﺍﳌﺸﻬﺪ ﺍﻟﺜﻘﺎﰲ‬ ‫ﺍﻟﻜﺒﲑ ﺍﻟﻘﻴﻢ ﻭﺍﻟﻜﺜﲑ ﺍﻷﺧﻼﻕ ﻳﺪﺧﺮ ﺍﻻﻋﱰﺍﻑ‬ ‫ﺍﳌﺨﺘﻠﻔﺔ ﺍﻟﺘﻲ ﺗﻘﻮﻡ ﰲ ﺍﳌﺪﻳﻨﺔ ﻭﻳﺤﴬﻫﺎ ﺍﻻﺛﻨﺎﻥ‬
    ‫ﻭﺍﻟﻨﻘﺪ‪ ،‬ﻭﺍﻟﻔﻨﻮﻥ ﺍﻟﺠﻤﻴﻠﺔ ‪ . ...،‬ﺇﻟﺦ ﻣﻨﺎﺑﺮﺍً‬ ‫ﺃﻋﺪﺍﺀه ﺣﻴﻨﻬﺎ‪.‬‬
    ‫ﻗﺼﺎﺋﺪه ﺍﳌﺠﻬﻮﻟﺔ ﻏﲑ ﺍﳌﻨﺸﻮﺭﺓ‪ ،‬ﻭﻛﺬﻟﻚ ﺑﺤﺜﻪ "‬ ‫ﺷﻮﻗﻲ »ﺭﺍﺟﻊ ﺍﻧﺎ ﻟﻚ ﻭﺍﺩﻭﺩﺣﻴﺔ‪ . .‬ﺭﺍﺟﻊ ﻣﻌﻲ‬ ‫ﻻ ﻋﲆ ﻛﻞ ﺍﳌﺴﺘﻮﻳﺎﺕ ﻭﺍﻻﺗﺠﺎﻫﺎﺕ‬ ‫ﻣﺸﻠﻮ ً‬ ‫ﺑﺎﻟﺘﻘﺪﻳﺮ ﺇﱃ ﺍﻟﻠﺤﻈﺎﺕ ﺍﻟﻜﺒﲑﺓ ﺍﻟﺘﻲ ﻳﻘﻊ‬ ‫ﺃﻭ ﺍﻟﻠﻘﺎﺀﺍﺕ ﺍﻟﺨﺎﺻﺔ ﺑﺤﺴﺐ ﻣﻘﺘﻀﻴﺎﺕ ﺍﻟﺤﺎﻝ‬ ‫ﻭﺃﻛﺪ ﻋﲆ ﻗﺴﺎﻭﺓ ﺗﻠﻚ ﺍﻟﻈﺮﻭﻑ ﺍﻟﺘﻲ ﺍﺳﺘﻬﺪﻓﺘﻪ‬
    ‫ﺍﻷﺭﺽ ﻭﺍﻹﻧﺴﺎﻥ ﰲ ﺃﺻﺎﻟﺔ ﺷﻌﺮﻧﺎ ﺍﻟﻌﺎﻣﻲ " ﻛﻴﻤﺎ‬ ‫ﻟﻚ ﺍﻏﲇ ﻫﺪﻳﺔ ‪ . .‬ﺍﺑﺎﴍ ﺍﻟﺤﻮﻝ ﻭﺍﻟﺤﻮﻳﺔ ﻭﺍﻫﻨﺎ‬ ‫ﻭﺍﻟﺠﻮﺍﻧﺐ ﺣﻜﻮﻣﻴﺎ‪ ،‬ﻭﻣﺆﺳﺴﻴﺎً ﻭﻳﺴﺘﺤﻴﻞ ﺃﻥ‬ ‫ﻳﺴﺘﻄﻴﻌﻮﻥ ﻣﻦ ﺧﻼﻟﻬﺎ ﺗﺮﺟﻤﺔ ﺇﺑﺪﺍﻋﺎﺗﻬﻢ‬ ‫ﻓﻴﻬﺎ ﺍﻣﺘﻨﺎﻧﻪ ﻟﺸﺨﺺ ﻣﺎ ﺑﺎﻟﺘﻘﺪﻳﺮ ﻣﻮﻗﻊ‬ ‫ﺍﻟﺘﻲ ﺗﺴﻤﺢ ﻟﻠﻔﺘﻴﺢ ﺑﺎﻟﺠﻠﻮﺱ ﻣﻊ ﺍﻟﻔﻀﻮﻝ ﺑني‬ ‫ﻭﻇﻴﻔﻴﺎً‪ ،‬ﻭﺳﻴﺎﺳﻴﺎً‪ ،‬ﻭﺍﺟﺘﻤﺎﻋﻴﺎً‪ ،‬ﻭﺃﺩﺑﻴﺎً‬
    ‫ﻳﺘﻴﴪ ﻟﻜﻞ ﺍﻟﺒﺎﺣﺜني‪ ،‬ﺍﻷﺟﻴﺎﻝ ﺍﻟﻘﺎﺩﻣﺔ ﺍﻟﻮﻗﻮﻑ‬ ‫ﲇ «‪ ،‬ﻭﻛﺜﲑﻳﻦ ﻻ ﻳﻌﺮﻓﻮﻥ ﺃﻥ‬ ‫ﺑﻌﻤﺮﻱ ﻻﻳﻀﻴﻊ ﻋ ّ‬ ‫ﻳﺠﺪ ﺍﳌﺒﺪﻉ ﺍﳌﻨﱪ ﺍﻹﺑﺪﺍﻋﻲ ﻟﻌﺮﺽ ﺇﺑﺪﺍﻋﻪ ﻳﺄﺑﻰ‬ ‫ﻟﺠﺌﻮﺍ ﺇﱃ ﺍﻟﺸﺎﺭﻉ ﺍﻟﻌﺎﻡ ﻹﺣﻴﺎﺀ ﺍﻟﻔﻌﺎﻟﻴﺎﺕ‬ ‫ﺍﻟــﺪﻭﺍﺀ ﺍﻟﻨﺎﺟﻊ ﻋﲆ ﺍﻟﺠﺮﺍﺡ ﺍﻟﻨﺎﻛﺌﺔ ﻭﺑﻴﻨﻤﺎ‬ ‫ﻭﻗﺖ ﻭﺁﺧﺮ ﺇﺫ ﻛﺎﻧﺖ ﻇﺮﻭﻑ ﺍﻻﺛﻨني ﻣﺨﺘﻠﻔﺘني‬ ‫ﺑﺎﻟﻘﺼﻴﺪﺓ ﺍﻟﺘﻲ ﻛﺘﺒﻬﺎ ﻛﻮﺻﻴﺔ ﻋﻨﺪ ﻭﻻﺩﺓ "ﻣﻄﺮ‬
    ‫ﻋﲆ ﺗﺠﺮﺑﺘﻪ ﺍﻹﻧﺴﺎﻧﻴﺔ ﻭﺍﻹﺑﺪﺍﻋﻴﺔ ﺍﻟﻐﺰﻳﺮﺗني‬ ‫ﻫﺬه ﺍﻟﻘﺼﻴﺪﺓ ﻏﻨﺎﻫﺎ ﺃﻳﻀﺎً ﻋﺒﺪ ﺍﻟﺒﺎﺳﻂ ﻋﺒﴘ‬ ‫ﺍﻟﻔﺘﻴﺢ ﺇﻻ ﺃﻥ ﻳﻜﻮﻥ ﻛﺎﻟﻌﺎﺩﺓ ﻣﻔﺘﺘﺤﺎُ ﻟﻠﻤﺒﺪﻉ ﻳﻠﺞ‬ ‫ﺍﳌﴪﺣﻴﺔ‪ ،‬ﻭﺍﻟﺸﻌﺮﻳﺔ‪ ،‬ﻭﺍﻟﻔﻨﻴﺔ‪.‬‬ ‫ﻛﺎﻥ ﺍﻟﴫﻳﻤﻲ ﻋﲆ ﺍﳌﻨﺼﺔ ﻳﻘﺮﺃ ﻭﺭﻗﺘﻪ ﺑﺪﻑﺀ‬ ‫ﻛﺎﻥ ﺍﻟﻔﻀﻮﻝ ﰲ ﻫﺬه ﺍﻟﻔﱰﺓ ﻣﺘﻘﺎﻋﺪﺍ ﺃﻭ ﺷﺒﻪ‬ ‫" ﻳﻘﻮﻝ ﻓﻴﻬﺎ ﺑﺜﻘﺔ ‪:‬‬
    ‫ﺑﻤﻌﺎﻧﻲ ﺍﻟﻜﻔﺎﺡ ﻭﺍﻟﻨﻀﺎﻝ ﻭﺍﻟﻨﺰﺍﻫﺔ ﻭﺍﻟﺸﺠﺎﻋﺔ‬ ‫ﺑﺘﻐﻴﲑ ﻟﻔﻈﺔ ) ﺩﻭﺩﺣﻴﺔ ( ﺇﱃ ) ﻣﺬﺣﺠﻴﺔ ( ﻣﻊ‬ ‫ﻋﱪه ﺇﱃ ﻓﺮﺽ ﺣﻀﻮﺭه ﻛﻤﺒﺪﻉ ﺣﻘﻴﻘﻲ ﻓﻘﺒﻞ‬ ‫ﻭﰲ ﺇﺣــﺪﻯ ﺍﻷﻣــﺴــﻴــﺎﺕ ﰲ ﻣﻘﺮ ﺟﻤﻌﻴﺔ "‬ ‫ﺍﻟﺼﺪﻕ‪ ،‬ﻭﻃﻘﻮﺱ ﺍﻟﻮﻓﺎﺀ ﻛﺎﻧﺖ ﻋﻴﻮﻥ ﺍﻟﻔﺘﻴﺢ‬ ‫ﻣﺘﻘﺎﻋﺪ ﻋﻦ ﺍﻟﻮﻇﻴﻔﺔ ﺑﺪﺭﺟﺔ ﻭﺯﻳﺮ ﺑﻴﻨﻤﺎ ﻛﺎﻥ‬
    ‫ﻭﺍﻟﻜﺮﻡ‪ ،‬ﻭﺍﻻﺳﺘﺜﻨﺎﺋﻴﺔ‪.‬‬ ‫ﺣﺬﻑ ﺑﻌﺾ ﺍﻷﺑﻴﺎﺕ ﻣﻦ ﺍﻟﻘﺼﻴﺪﺓ‪.‬‬ ‫ﻋﺎﻡ ﻛﺘﺐ ﻣﻘﺎﻟﺔ ﰲ ﻧﴩﺗﻬﺎ ﺹ ‪ /‬ﺍﻟﺠﻤﻬﻮﺭﻳﺔ‬ ‫ﺍﻻﺳﺘﺸﺎﺭﻳﻮﻥ ﺍﻟﻴﻤﻨﻴﻮﻥ " ﺑــ ‪ 20‬ﻧﻮﻓﻤﱪ ‪ 2007‬ﻡ‬ ‫ﻼ ﻋﻦ‬‫ﻼ ﺩﺍﺧﻞ ﺳﺎﺋﻠﺘﻲ ﺧﺪﻳﻪ‪ ،‬ﻓﺎﺷ ً‬ ‫ﺗﺼﺐ ﻭﺍﺑ ً‬ ‫ﺍﻟﻔﺘﻴﺢ ﻣﻮﻇﻔﺎ ﻻ ﺗﺘﺠﺎﻭﺯ ﻋﺪﺩ ﺳﻨﻮﺍﺕ ﻭﻇﻴﻔﺘﻪ‬

    ‫إﺻﺪارات‬
    ‫َّ‬
    ‫ﺗﺘﺬﻛ ُﺮ ﺍﳌﺎ َﺀ ﻓﻴﺴﻴﻞ ﺑﲔ ﺃﺻﺎﺑﻌﻚ‬
    ‫«ﺍﻟﺘﻤﺴﺮﺡ»‬ ‫«ﻣﻨﺎﺯﻝ ﺍﻟﻮﺣﺸﺔ»‬
    ‫َ‬
    ‫• ﺃﺑﻮﻇﺒﻲ ‪ -‬ﺻﺪﺭﺕ ﻟﻠﺮﻭﺍﺋﻴﺔ ﻭﺍﳌﱰﺟﻤﺔ ﺍﻟﻌﺮﺍﻗﻴﺔ‬ ‫ﻗﻤﻴﺼﻚ ﻣﻦ ﺍﻟﺒﻠﻜﻮﻧﺔ‬ ‫ﻟﻢ ﺗﻜﻦ ﻣﻀﻄﺮﺍً ﻹﻟﻘﺎﺀ‬
    ‫• )ﺍﻟﺸﺎﺭﻗﺔ(‪ -‬ﺻﺪﺭ ﺣﺪﻳﺜﺎً ﺿﻤﻦ ﻣﻨﺸﻮﺭﺍﺕ‬ ‫ﺩﻧــﻰ ﻏــﺎﱄ ﺭﻭﺍﻳــﺔ »ﻣﻨﺎﺯﻝ ﺍﻟﻮﺣﺸﺔ« ﰲ ‪212‬‬ ‫َ‬
    ‫ﳌﺠﺮﺩ ﺃﻥ ﺇﺣﺪﺍﻫﻦ ﻋﺎﻧﻘﺘﻚ ﻭﻧﺴﻴﺖ ﺷﻔﺘﻴﻬﺎ‬
    ‫ﺩﺍﺋــﺮﺓ ﺍﻟﺜﻘﺎﻓﺔ ﻭﺍﻹﻋــﻼﻡ ﰲ ﺍﻟﺸﺎﺭﻗﺔ ﻛﺘﺎﺏ‪،‬‬ ‫ﺻﻔﺤﺔ ﻣﻦ ﺍﻟﻘﻄﻊ ﺍﻟﻮﺳﻂ ﺿﻤﻬﺎ ﻏﻼﻑ ﺟﻤﻴﻞ‬ ‫ﻋﲆ ﻛﺘﻔﻚ‪..‬‬
    ‫ﺑﻌﻨﻮﺍﻥ »ﺍﻟــﺘــﻤــﴪﺡ‪ ..‬ﻣﻦ ﺍﻻﺳﺘﻌﺎﺭﺓ ﺇﱃ‬ ‫ﻟﻠﺘﺸﻜﻴﲇ ﺍﻟﻌﺮﺍﻗﻲ ﺍﻟﻔﻨﺎﻥ ﻋﲇ ﻃﺎﻟﺐ‪.‬‬
    ‫ﺺ ﺍﻟﺸﻔﺘني ﻛﻲ ﻻ‬ ‫َ‬
    ‫ﺑﺎﺳﺘﻄﺎﻋﺘﻚ ﺃﻥ ﺗ ُﻘ َّ‬
    ‫ﺍﻟﺨﻄﺎﺏ«‪ ،‬ﻟﻠﻨﺎﻗﺪ ﺍﳌﻐﺮﺑﻲ ﺍﻟﺪﻛﺘﻮﺭ ﺣﺴﻦ‬ ‫ﺗﺘﺤﺪﺙ ﺍﻟﺮﻭﺍﻳﺔ ﺍﻟﺼﺎﺩﺭﺓ ﻋﻦ ﺩﺍﺭ ﺍﻟﺘﻨﻮﻳﺮ ﰲ‬
    ‫ﺍﻟﻴﻮﺳﻔﻲ‪ ،‬ﻭﺟﺎﺀ ﰲ ‪ 240‬ﺻﻔﺤﺔ ﻣﻦ ﺍﻟﻘﻄﻊ‬ ‫ﺑــﲑﻭﺕ ﻋﻦ ﺑﻐﺪﺍﺩ ﺍﳌﺪﻳﻨﺔ ﺍﻟﺘﻲ ﻟﻢ ﺗﻌﺪ ﺫﺍﺗﻬﺎ‬ ‫ﺗﺮﺍﻫﻤﺎ ﺯﻭﺟﺘﻚ‬
    ‫ﺍﳌﺘﻮﺳﻂ‪.‬‬ ‫ﻭﻣﻨﺰﻝ ﺗﻜﺎﺛﺮﺕ ﺩﺍﺧﻠﻪ ﺍﻟﻈﻨﻮﻥ ﻣﻊ ﺍﻟﻌﺰﻟﺔ ﻭﺍﻟﺨﻮﻑ‬ ‫ﻷﻧﻬﺎ ﻟﻦ ﺗﺼﺪﻗﻚ ﺇﻥ ﻗﻠﺖ ﻟﻬﺎ ﺇﻧﻬﻤﺎ ﻓﻮﺗﺸﻮﺏ‬
    ‫ﻭﻛﻤﺎ ﻳﻤﻜﻦ ﺃﻥ ﻳﻮﺣﻲ ﺍﻟﻌﻨﻮﺍﻥ‪ ،‬ﻓﺈﻥ ﻫﺬﺍ ﺍﻟﻜﺘﺎﺏ‬ ‫ﺍﻟﺪﺍﺋﻢ‪ ،‬ﺑﻴﻨﻤﺎ ﻳﺤﺎﻭﻝ ﺍﻟﺠﻤﻴﻊ ﺃﻥ ﻳﺴﺘﻌﻴﺪ ﻓﻴﻪ‬ ‫ﺃﻭ ﺃﻥ ﺃﺣﺪ ﺍﻟﻌ َّﻤﺎﻝ ﺃﻭﻗﻊ ﻋﻠﻴﻚ ﺑﻌﺾ ﺍﻟﻄﻼﺀ‬
    ‫ﻳﻌ ّﺮﻑ ﺑﻤﺼﻄﻠﺢ »ﺍﻟﺘﻤﴪﺡ«؛ ﻫﺬﺍ ﺍﳌﺼﻄﻠﺢ‬ ‫ﺍﻷﻣﻦ ﻭﺍﻟﺴﻼﻡ ﺍﻟﺪﺍﺧﲇ ﻭﺇﻳﻘﺎﻉ ﺍﳌﻨﺰﻝ ﺑﺄﻳﺎﻣﻪ‬
    ‫ﺍﻟﺤﺪﻳﺚ ﻧﺴﺒﻴﺎً‪ ،‬ﻭﺍﻟﺬﻱ ﺑﺎﺕ ﺷﺎﺋﻌﺎً ﰲ ﺍﻟﻌﺪﻳﺪ‬ ‫ﻭﻫﻮ ﻳﺪﻫﻦ ﺍﻟﺠﺪﺍﺭ‪.‬‬
    ‫ﺍﻟﻌﺎﺩﻳﺔ‪ .‬ﺑﻠﻐﺔ ﺟﻤﻴﻠﺔ ﻭﺑﴪﺩ ﻣﻤﺘﻊ ﺗﻌﱪ ﺩﻧﻰ‬
    ‫***‬
    ‫ﻣﻦ ﺍﻟﺪﺭﺍﺳﺎﺕ ﺍﳌﴪﺣﻴﺔ ﺍﻟﻌﺮﺑﻴﺔ‪ .‬ﻳﻌﺮﺽ‬
    ‫ﻣﺆﻟﻒ ﺍﻟﻜﺘﺎﺏ ﻭﺟﻬﺎﺕ ﻧﻈﺮ ﻧﻘﺪﻳﺔ ﻋﺪﺓ ﺣﻮﻝ‬
    ‫ﻭﺗﻮﺻﻒ ﺍﻟﺨﺮﺍﺏ‬
    ‫ّ‬ ‫ﻏﺎﱄ ﻋﻦ ﺣﻴﺎﺓ ﺧﻠﺖ ﻣﻦ ﺍﳌﺘﻌﺔ‪،‬‬
    ‫ﺍﻟﺪﺍﺧﲇ ﺍﻟﺬﻱ ﻳﻌﺼﻒ ﺑﺎﻟﻨﻔﻮﺱ‪:‬‬
    ‫ﻋﺒﺪاﳌﺠﻴﺪ اﻟﱰيك‬ ‫ً‬
    ‫ﻫﺎ ﺃﻧﺖ ﺗﻨﺰﻑ ﳌﺠﺮﺩ ﺃﻧﻚ ﺗﺸﺎﻫﺪ ﻓﻴﻠﻤﺎ ﻋﻦ‬
    ‫ﻣﻔﻬﻮﻡ ـ ﺃﻭ ﻣﻔﺎﻫﻴﻢ ـ ﻫﺬﺍ ﺍﳌﺼﻄﻠﺢ‪ ،‬ﻭﻳﺘﺘﺒﻊ‬
    ‫»ﺇﻧﻬﺎ ﻣـــﺪﺍﺭﺍﺕ ﺍﻟﻮﺣﺸﺔ! ﺣني ﻳﻔﺘﻘﺪ ﺍﳌﺮﺀ‬ ‫ﺣﺮﺏ ﺃﻣﺮﻳﻜﺎ ﻭﻓﻴﺘﻨﺎﻡ‪،‬‬
    ‫ﺗﺠﻠﻴﺎﺗﻪ ﺍﳌﺨﺘﻠﻔﺔ »ﰲ ﺍﳌــﴪﺡ ﻭﺍﳌﺠﺘﻤﻊ‪،‬‬
    ‫ﺍﻟﺴﻴﺎﺳﺔ‪ ،‬ﺍﻟﺸﻌﺮ‪ ،‬ﻭﺍﻟﻌﻠﻮﻡ«؛ ﻭﻳﺰﻳﺪ ﻋﲆ ﺫﻟﻚ‬
    ‫ﺍﻹﺣﺴﺎﺱ ﺑﺎﻷﻣﺎﻥ ﻓﻴﻠﺠﺄ ﺇﱃ ﺧﻠﻖ ﻋﺎﻟﻢ ﺩﺍﺧﻞ‬
    ‫ﺛﻢ ﺗﺤﺎﻭﻝ ﺃﻥ ﺗﺴﺘﺤﴬَ ﺍﻟﺠﻔﺎﻑ ﻓﺘﺨﴙ‬ ‫ﺃﻧﻔﻚ ﻛ َّﻠﻤﺎ ﻗﺎﻡ ﺃﺣﺪﻫﻢ ﺑﺘﺴﺪﻳﺪ ﻟﻜﻤﺔ‬
    ‫َ‬ ‫ﺗﻤﺴﺢ‬
    ‫ُ‬
    ‫ﺟﺪﺭﺍﻥ ﻣﻨﺰﻟﻪ‪ .‬ﺭﻓﻌﻮﺍ ﺍﻟﺴﻮﺭ ﺍﻟﺨﺎﺭﺟﻲ ﻗﻠﻴﻼ‪،‬‬
    ‫ﺑﺄﻥ ﻳﻤ ّﺜﻞ ﺇﺟﺮﺍﺋﻴﺎً ﻟﻔﻌﺎﻟﻴﺘﻪ ﻛﻤﺼﻄﻠﺢ ﻋﱪ‬ ‫ُ‬
    ‫ﺍﻟﺼﻠﺼﺎﻝ ﺑﺪﺍﺧﻠﻚ‪،‬‬ ‫ﺃﻥ ﻳﺘﺸ َّﻘﻖ‬ ‫ﻭﺗﺒﺘﺴﻢ ﺣني ﺗﺮﻯ ﺍﻟﺒﻄﻞ ﻳﻨﺠﻮ ﻣﻦ ﻧﺰﻕ‬
    ‫ﺟﻤﻠﺔ ﻣﻦ ﺍﳌﻘﺎﺭﺑﺎﺕ ﺍﻟﻨﻘﺪﻳﺔ ﰲ ﺗﻠﻚ ﺍﳌﺠﺎﻻﺕ‬ ‫ﺃﺳﺪﻟﻮﺍ ﺍﻟﺴﺘﺎﺋﺮ ﻭﺃﺣﻜﻤﻮﺍ ﺇﻏــﻼﻕ ﺍﻷﺑــﻮﺍﺏ‪.‬‬
    ‫ﻟﻜﻨﻬﺎ ﺗﺒﻘﻰ ﻣﺼﺪﺍﺕ ﺳﻬﻠﺔ! ﺍﳌﻨﺎﺯﻝ ﺍﻟﺒﻐﺪﺍﺩﻳﺔ‬ ‫ﻓﺨﺎﺭﺍً ﺇﱃ ﻫﺬﺍ ﺍﻟﺤﺪ ﻣﻦ‬
    ‫ﻟﺴﺖ َّ‬
    ‫َ‬ ‫ﻣﻦ ﻳﻘﻨﻌﻚ ﺃﻧﻚ‬ ‫ﺍﻟﺪﺑﺎﺑﺎﺕ ﻭﻋﻴﻮﻥ ﺍﻟﻘﻨﺎﺻﺔ‬
    ‫ﺍﳌﺬﻛﻮﺭﺓ‪.‬‬
    ‫ﺇﺫﺍً‪ ،‬ﺍﻟﻜﺘﺎﺏ‪ ،‬ﰲ ﺷﻜﻠﻪ ﺍﻟﻌﺎﻡ‪ ،‬ﻳﱪﺯ ﺍﻟﻔﺮﻭﻕ‬ ‫ﺍﳌﺘﻤﺴﻜﺔ ﺑﺎﻟﺤﻴﺎﺓ ﺩﺍﺭﺕ ﺣﻮﻝ ﻧﻔﺴﻬﺎ‪ ،‬ﺩﺍﺋﺨﺔ‪،‬‬ ‫ﺍﻟﺨﻮﻑ!!‬ ‫ﺍﻟﺘﻲ ﺗﻘﺘﻞ ﺑﻐﻤﺰﺓ ﻭﺍﺣﺪﺓ ﻓﻘﻂ‪..‬‬
    ‫ﺍﻟﺪﻗﻴﻘﺔ ﺑني ﺍﳌﴪﺡ ﻭﺍﻟﺤﻴﺎﺓ ﺃﻭ ﺑني ﺍﻟﺤﻘﻴﻘﻲ‬ ‫ﻣﻮﺣﺸﺔ‪ ،‬ﻣﻠﻴﺌﺔ ﺑﺎﳌﺨﺎﻭﻑ ﻭﺍﻻﺣﺘﻤﺎﻻﺕ ﺍﻟﺨﻄﺮﺓ‪.‬‬
    ‫***‬ ‫ﻓﺘﺴﺄﻟﻚ ﺯﻭﺟﺘﻚ ﻋﻦ ﺧﻴﻂ ﺍﻟﺪﻡ ﺑني ﺃﻧﻔﻚ‬
    ‫ﻭﺍﻟﺘﺨﻴﻴﲇ؛ ﺍﻧﻪ ﻳﻨﺴﺞ ﺍﻟﺸﻌﺮﺓ ﺍﻟﺮﻗﻴﻘﺔ ﺍﻟﺘﻲ‬ ‫ﺍﻟﺸﻮﺍﺭﻉ ﺍﻟﺮﺋﻴﺴﻴﺔ ﻣﻦ ﺣﺼﺔ ﻗﻮﺍﺕ ﺍﻻﺣﺘﻼﻝ‬ ‫ﻭﺷﻔﺘﻚ‬
    ‫ﻭﺍﻟﺸﻮﺍﺭﻉ ﺍﻟﺨﻠﻔﻴﺔ ﻭﺍﻷﺯﻗﺔ ﻣﻦ ﺣﺼﺔ ﺍﻟﻠﺼﻮﺹ‬ ‫ﻳﺰﻋﺠﻚ ﺍﻟﴩﻳﻂ ﺍﻹﺧﺒﺎﺭﻱ ﺍﳌﲇﺀ ﺑﺎﻷﺧﻄﺎﺀ‬ ‫َ‬
    ‫ﺗﻔﺼﻞ ﺑني ﺍﻟﻮﺍﻗﻌﻲ ﻭﺍﻟﻔﻨﻲ؛ ﻓﺎﻟﺘﻤﴪﺡ ﻫﻮ‪ ،‬ﰲ‬ ‫ً‬
    ‫ﻓﻼ ﺗﺠﺪ ﺟــﻮﺍﺑـﺎ ﻳﺴﺘﻄﻴﻊ ﺇﻳﻘﺎﻑ ﺫﻟﻚ‬
    ‫ﺩﺭﺟﺔ ﻣﺎ‪ ،‬ﺍﻟﺒﻌﺪ ﺍﳌﴪﺣﻲ ﻟﺘﴫﻓﺎﺕ ﺍﻹﻧﺴﺎﻥ‬ ‫ﻭﻣﺸﻌﲇ ﺍﻟﺤﺮﺍﺋﻖ ﻭﺍﳌﻴﻠﻴﺸﻴﺎﺕ ﺍﳌﻠﺴﺤﺔ‪.‬‬ ‫ﺍﳌﻄﺒﻌﻴﺔ‪،‬‬
    ‫ﻣﴪﺣﻴﺔ ﺳﻮﺍﺀ ﰲ ﺍﻟﻨﺺ ﺃﻭ ﺍﻟﻌﺮﺽ«‪ ،‬ﻳﺤﺎﻭﻝ‬ ‫ﺗﺤﺪﻳﺪ ﺗﻌﺮﻳﻒ ﻣﻮﺣﺪ ﻭﺷﺎﻣﻞ ﻟﻠﺘﻤﴪﺡ‪ ،‬ﻭﺇﻥ‬ ‫ﺍﻟﻨﺰﻳﻒ‪.‬‬
    ‫ﻣﺆﻟﻒ ﺍﻟﻜﺘﺎﺏ ﺃﻥ ﻳﺠﻴﺐ ﻋﲆ ﺃﺳﺌﻠﺔ ﻣﻦ ﻧﻮﻉ‪:‬‬ ‫ﻛﺎﻥ ﻣﻤﻜﻨﺎً ﺇﺑﺮﺍﺯ ﺗﺠﻠﻴﺎﺗﻪ ﻋﱪ ﺍﻟﺤﺮﻛﺔ ﻭﺍﻟﻔﻜﺮ‬ ‫ﻭﺣﺮﻛﺎﺗﻪ ﺩﺍﺧﻞ ﺍﻟﻔﻀﺎﺀ ﺍﻟﻴﻮﻣﻲ ﻭﻣﻮﺍﻗﻔﻪ‬ ‫ﺃﺟﺴﺎﺩ ﻳﺨﱰﻗﻬﺎ ﺍﻟﺨﻮﻑ ﻭﺍﻟﺴﻘﻢ‪ .‬ﺍﻟﺮﺟﻞ ﻳﻐﺎﻣﺮ‬ ‫ﻭﺍﳌﺬﻳﻊ ﺍﻟــﺬﻱ ﻳﺒﺘﺴﻢ ﻗﺒﻞ ﺃﻥ ﻳﻘﺮﺃ ﺧﱪ‬
    ‫ﻣﺎ ﻫﻲ ﻃﺒﻴﻌﺔ ﺍﻟﺨﻄﺎﺑﺎﺕ ﻭﺍﳌﺠﺎﻻﺕ ﺍﻟﺘﻌﺒﲑﻳﺔ‬ ‫ﻭﺍﻟﻠﻐﺔ ﺍﻹﻧﺴﺎﻧﻴﺔ‪ ،‬ﻭﺗﺠﺴﻴﺪ ﺗﻤﻈﻬﺮﺍﺗﻪ ﻋﱪ‬ ‫ﻭﻋﻼﻗﺎﺗﻪ ﻣﻊ ﺍﻵﺧﺮﻳﻦ؛ ﻭﺍﻟﺘﻤﴪﺡ ﻫﻮ ﺗﻠﻚ‬ ‫ﻣﻦ ﺩﻭﻥ ﺛﻘﺔ ﻭﻻ ﺃﻣﻞ‪ .‬ﻭﺍﳌﺮﺃﺓ ﺗﺮﺗﻖ ﺍﻟﻨﺴﻴﺞ ﺍﻟﻌﺎﺋﲇ‬ ‫ﺍﻧﻔﺠﺎﺭ ﺣﺎﻓﻠﺔ ﻣﻠﻴﺌﺔ ﺑﺎﻟﻄﻼﺏ‪..‬‬
    ‫ﺍﻟﺘﻲ ﻳﺘﻤﻈﻬﺮ ﻋﱪﻫﺎ ﺍﻟﺘﻤﴪﺡ‪ ،‬ﻭﻫﻞ ﻳﻤﻜﻦ‬ ‫ﺧﻄﺎﺑﺎﺕ ﻣﺘﻌﺪﺩﺓ‪ ،‬ﻣﻨﻬﺎ ﻣﺎ ﻫﻮ ﻗﺮﻳﺐ ﻣﻦ ﺭﻭﺡ‬ ‫ﺍﻟﻠﻤﺤﺔ ﺍﳌﺆﺛﺮﺓ ﰲ ﺍﻷﺩﺍﺀ ﺍﻟﺨﻄﺎﺑﻲ ﻟﻠﺴﺎﺳﺔ‬ ‫ﺍﻟﺬﻱ ﺭﺍﺡ ﻳﺘﻤﺰﻕ ﻟﺘﻈﻬﺮ ﻣﻨﻪ ﺍﻟﺠﺮﻭﺡ ﺍﻟﻘﺪﻳﻤﺔ‬ ‫***‬
    ‫ﻭﻟﻠﻌﻠﻤﺎﺀ؛ ﻭﺍﻟﺘﻤﴪﺡ ﻫــﻮ ﺗﻠﻚ ﺍﻟﺤﻠﻮﻝ‬ ‫ﻭﺍﻟﺬﻛﺮﻳﺎﺕ ﺍﻟﺤﺰﻳﻨﺔ ﻭﺻﻤﺖ ﺍﻟﻐﺮﻑ ﻭﺍﳌﻤﺮﺍﺕ‪.«...‬‬
    ‫ﺗﻨﺼﺖ ﺇﱃ ﻭﺳﺎﻭﺱ ﺯﻭﺟﺘﻚ‬ ‫ُ‬
    ‫ﺍﻟﻮﻗﻮﻑ ﻋﲆ ﺧﺼﻮﺻﻴﺎﺕ ﺗﻤﻴﺰ ﺇﺷﻜﺎﻟﻴﺔ‬ ‫ﺍﳌﴪﺡ ﻭﻣﻦ ﻣﺠﺎﻟﻪ ﺍﻟﺘﻌﺒﲑﻱ ﻛﺎﻟﺮﻭﺍﻳﺔ ﻣﺜ ً‬
    ‫ﻼ‪،‬‬ ‫َ‬ ‫َ‬ ‫ّ‬ ‫َ‬
    ‫ﻳﺴﺘﺤﻖ ﻛﻞ ﻫﺬه ﺍﻟﺘﻨﺎﻫﻴﺪ‪،‬‬
    ‫ُّ‬ ‫ﻻ ﳾﺀ‬
    ‫ﺍﻟﺘﻤﴪﺡ ﰲ ﻋﻼﻗﺘﻬﺎ ﺑﺎﻟﻔﻦ ﺍﳌﴪﺣﻲ‪ ،‬ﻭﻫﻞ‬ ‫ﻭﻣﻨﻬﺎ ﻣﺎ ﻫﻮ ﺑﻌﻴﺪ ﻋﻨﻬﺎ ﻛﺎﻟﺮﻳﺎﺿﻴﺎﺕ ﻣﺜ ً‬
    ‫ﻼ«‪.‬‬ ‫ﺍﻟﺸﻌﺮﻳﺔ ﺍﻟﺘﻲ ﺗﺘﻮﺳﻂ ﺍﻷﻣﻜﻨﺔ ﻭﺍﻟﺰﻭﺍﻳﺎ‬ ‫ﻳﺸﺎﺭ ﺇﱃ ﺃﻥ ﺍﻟﻜﺎﺗﺒﺔ ﺃﺻــﺪﺭﺕ ﺭﻭﺍﻳــﺔ »ﺍﻟﻨﻘﻄﺔ‬ ‫ﻗﻤﻴﺼﻚ ﺧﺸﻴﺔ ﺃﻥ ُﺗﺼﺪﺭ‬ ‫ﻳﺪﻙ ﻋﲆ‬ ‫ﻭﺗﻀﻊ‬
    ‫ﻭﺍﻷﺷﻜﺎﻝ‪ ..‬ﻭﺗﺰﺣﻤﻨﺎ ﺑﺎﻟﺼﻮﺭ!‬ ‫ﺛﻴﺎﺑﻚ ﻟﻢ ﺗﻌﺪ ﺗ َّﺘﺴﻊ ِّ‬
    ‫ﻟﻜﻞ ﻫﺬﺍ ﺍﻟﻐﻴﺎﺏ‪..‬‬
    ‫ﻳﻤﻜﻦ ﺍﻟﻮﻗﻒ ﻋﲆ ﻣﻈﻬﺮ ﻟﻠﺘﻤﴪﺡ ﰲ ﺍﻟﻨﺺ‪،‬‬ ‫ﻋﲆ ﻓﺼﻠني‪ ،‬ﺍﻷﻭﻝ ﺑﻌﻨﻮﺍﻥ«ﺍﻟﺘﻤﴪﺡ ﰲ ﺇﻃﺎﺭ‬ ‫ﺍﻷﺑــﻌــﺪ« ﻋﻦ ﺍﳌــﺪﻯ ﺳﻨﺔ ‪ ،2000‬ﻭ« ﻋﻨﺪﻣﺎ‬ ‫ﺍﻟﺸﻔﺘﺎﻥ ﻗﺒﻠﺔ ﺗﺆﻛﺪ ﻫﺬه ﺍﻟﻮﺳﺎﻭﺱ‪،‬‬
    ‫ﻭﺇﺫﺍ ﻛﺎﻥ ﺛﻤﺔ ﻋﻼﻗﺔ ﺑني ﺍﻟﻨﺺ ﻭﺍﻟﺘﻤﴪﺡ ﻓﻤﺎ‬ ‫ﺧﺎﺭﺝ ـ ﻣﴪﺣﻲ«‪ ،‬ﻭﺍﻟﺜﺎﻧﻲ ﺑﻌﻨﻮﺍﻥ »ﺍﻟﺘﻤﴪﺡ‬ ‫ﺍﻟﺘﻤﴪﺡ‪ ،‬ﺑﻬﺬﺍ ﺍﳌﻌﻨﻲ‪ ،‬ﻫﻮ ﺟﻮﻫﺮ ﺍﻟﺤﻴﺎﺓ‬ ‫ﺗﺴﺘﻴﻘﻆ ﺍﻟﺮﺍﺋﺤﺔ« ﻋﻦ ﺍﳌﺪﻯ ﺍﻳﻀﺎً ﺳﻨﺔ ‪،2006‬‬ ‫ﺑﺂﻳﺎﺕ ﺗﺄﻣﻞ ﻣﻨﻬﺎ ﺇﺧﺮﺍﺟﻚ ﻣﻦ ﻫﺬﺍ‬‫ٍ‬ ‫ﻭﺗﺘﻤﺘﻢ‬ ‫ﺗﺘﺬ َّﻛﺮ ﺍﳌﺎ َﺀ ﻓﻴﺴﻴﻞ ﺑني ﺃﺻﺎﺑﻌﻚ‬
    ‫ﻫﻲ ﻣﻈﺎﻫﺮه‪ ،‬ﺃﻡ ﺃﻥ ﺇﻃﺎﺭ ﺍﻟﺘﻤﴪﺡ ﻫﻮ ﺍﻟﻌﺮﺽ‬ ‫ﰲ ﺇﻃﺎﺭ ﻣﴪﺣﻲ«‪ ،‬ﻭﺍﻧﻄﻼﻗﺎً ﻣﻦ ﺍﳌﻔﻬﻮﻡ ﺍﻟﺬﻱ‬ ‫ﻭﻣﻈﻬﺮﻫﺎ ﰲ ﺍﻟﻮﻗﺖ ﺫﺍﺗــﻪ‪ ،‬ﻭﻫﻮ ﺃﺳﻠﻮﺑﻨﺎ ﰲ‬ ‫ﻭﻋــﺪﺩﺍ ﻣﻦ ﺍﳌﺠﺎﻣﻴﻊ ﺍﻟﻘﺼﺼﻴﺔ ﻭﺍﻟﻨﺼﻮﺹ‬
    ‫ﺍﻻﻛﺘﺸﺎﻑ ﻭﺍﻟﺘﻌﺮﻑ‪ ..‬ﻭﺍﻻﺳﺘﻌﺮﺍﺽ؛ ﻭﻣﻊ‬ ‫ﺍﳌﺄﺯﻕ‪.‬‬
    ‫ﻓﻘﻂ؟‬ ‫ﻳﻔﻴﺪ ﺃﻥ »ﺍﻟﺘﻤﴪﺡ ﻫﻮ ﻛﻞ ﻣﺎ ﻟﻪ ﺧﺼﻮﺻﻴﺔ‬ ‫ﺍﻟﺸﻌﺮﻳﺔ ﺑﺎﻹﺿﺎﻓﺔ ﺍﱃ ﻋﺪﺩ ﻣﻦ ﺍﻟﱰﺟﻤﺎﺕ ﻋﻦ‬
    ‫ﺫﻟﻚ‪ ،‬ﻳﻘﻮﻝ ﺍﻟﻴﻮﺳﻔﻲ‪» :‬ﺃﺻﺒﺢ ﻣﻦ ﺍﻟﺼﻌﺐ‬ ‫ﺍﻟﺪﻧﻤﺎﺭﻛﻴﺔ‪.‬‬

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