‫إذﻫﺐ إﻟﻰ‬

‫ﻗﺼﺎﺋﺪ ﻫﺎﻳﻜﻮ‬ ‫ﻫﺎﻳﻜﻮ‬ ‫⌂ اﻟﺮﺋﻴﺴﻴﺔ‬

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 ‫ﻗﺼﺎﺋﺪ ﻫﺎﻳﻜﻮ‬
‫زﻳﺎرة‬  ‫أﻛﺘﻮﺑﺮ‬ 

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 ‫ﻗﺼﺎﺋﺪ ﻫﺎﻳﻜﻮ‬
‫ﻧﺼﻮص ﻣﻤﻴﺰة وﻣﺨﺘﺎرة ﻣﻦ اﻟﻬﺎﻳﻜﻮ اﻟﻌﺮﺑﻲ اﻟﺤﺪﻳﺚ ﻟﺜﻠﺔ ﻣﻦ اﻟﻤﺒﺪﻋﻴﻦ اﻟﻌﺮب‬
‫ﺗﻘﺪﻣﺔ ﻣﺠﻤﻮﻋﺔ ﻣﻦ ﻛُﺘﺎب وﺷﻌﺮاء اﻟﻌﺎﻟﻢ اﻟﻌﺮﺑﻲ‬ ‫ﺧﺎﺻﺔ ﺑﻤﺠﻤﻮﻋﺔ ﻧﺨﺒﺔ ﺷﻌﺮاء اﻟﻬﺎﻳﻜﻮ‬

‫م‬
‫ﻮ ْ‬‫ﻄﺄَ اﻟ َﻴ ْ‬
‫ﻣﺎ أ ْﺑ َ‬
‫ﺢ اﻟﻤَﺎءْ‬
‫ﻄ َ‬ ‫ﺳ ْ‬ ‫ﺔ َﺗ ْﻨ ُﻘ ُﺮ َ‬ ‫ﻜ ٌ‬
‫ﺳ َﻤ َ‬
‫َ‬
‫ﻞ‬
‫ﺧ ْ‬ ‫ﻦ اﻟﺪَا ِ‬ ‫ﻣ َ‬ ‫ِ‬

‫ﻏﺰِﻳ ْﺮ‬
‫ﻄ ٌﺮ َ‬
‫ﻣ َ‬
‫َ‬
‫ﺤﺪِﻳﺚُ‬ ‫ﺢ اﻟ َ‬
‫ُﻳ ْﻔ َﺘ ُ‬
‫ﻏﺮِﻳ َﺒ ْﻴﻦِ‬
‫ﻦ َ‬‫َﺑ ْﻴ َ‬

‫ﻓﺠﺮ أﻳﻠﻮل‬
‫اﻟﻨّﺎس أﻛﺜﺮ ﻗﻠﻴﻼً‬
‫ﻣﻦ اﻟﻤﻘﺎﺑﺮ‬
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 ‫ﻣُﻌﻠّﻖ اﻟﻌﻴﻨﻴﻦ‬
‫ﺲ ﻋﻠﻰ اﻟﺬّراق‬
‫أﻋ ِﻔ ُ‬
‫ﻧﻈﻴ َﺮ ﺗﻐﺮﻳﺪ اﻟﺴﱡﻨﻮﻧﻮ‬

‫ﻣﻌﺎﺷﻮ ﻗـﺮور‬

‫ﻢ ﻃﻴﻦٍ‬
‫رﻗﻴ ُ‬
‫ﻦ اﻟﺮﺳﻮمِ‬
‫ﺔ أﻗﺮأ ﺑﻴ َ‬
‫ﺻﺪﻓ ً‬
‫ﻢ ﻣﻠﻚٍ‬
‫اﺳ َ‬
‫ﻣﺎت َ‬

‫ﻊ إﺻﺒﻌﻬﺎ ﻳﻜﻔﻲ ‪،‬‬

‫رﺑ ُ‬
‫ﺾ اﻟﺮﺿﻴﻊُ‬
‫ﻳﻘﺒ ُ‬
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 ‫ﺾ اﻟﺮﺿﻴﻊُ‬‫ﻳﻘﺒ ُ‬
‫ﻋﻠﻰ أﻣّﻪ‬

‫ﻫﻴﻔﺎء أﺣﻤﺪ‬

‫دوي اﻧﻔﺠﺎر‬
‫ﺑﺎﻗﺔ اﻟﺰﻫﻮر اﻟﺘﻲ أﻫﺪﻳﺘﻨﻲ‬
‫ﺗﺮﻛﺾ ﻣﻌﻲ‬

‫ي‬
‫ﻖ ﺑﺤﺮ ّ‬
‫ﻏﺴ ٌ‬
‫ﻦ أﺧﻀﺮ‬
‫دون ﻏُﺼ ٍ‬
‫ﺗﺘﺪﻟّﻰ اﻟﺸﻤﺲ‬

‫إﻳﻨﺎس أﺻﻔﺮي‬

‫ﻓﺮاﺷﺔ ﻧﺎﻓﻘﺔ‬

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 ‫ﻓﺮاﺷﺔ ﻧﺎﻓﻘﺔ‬
‫ﻻﺷﻚ ﻓﻲ اﻟﺮﻳﺢ‬
‫ﺛﻤﺔ روح‬

‫وﻣﺎ ﻏﻴ ُﺮ اﻟﻨّﺪى‬
‫ﻳَﺤﻨﻲ رَأﺳﻚِ‬
‫ﻳﺎ ﻗُﺮﻧﻔُﻠﺔ‬

‫ﻦ ﻫُﻨﺎ ﻣِﻦ ﻫُﻨﺎك‬ ‫ﻣ ْ‬‫ِ‬

‫ط اﺳ ِﺘﻔَﺎ َﻗﺔٍ‬
‫َﻓ ْﺮ ُ‬
‫ت اﻟﺮّﻳﺢِ‬
‫اﺗّﺠﺎﻫَﺎ ُ‬

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 ‫ح‬
‫ﺔ اﻟﺼﺒﺎ ْ‬
‫ﺗﺤﻴ َ‬
‫ح ﺑﺠﻨﺎﺣﻴﻬﺎ‪،‬‬ ‫ُﺗ َﻠﻮﱢ ُ‬
‫ﺷﺔْ‬
‫ﻓﺮا َ‬

‫ﺑﻴﻨﻤﺎ أﺧﻠﺪ ﻟﻠﻨّﻮم‬

‫ﻞ زَﻫﺮﺗِﻲ‬‫ﺻ ُ‬
‫ﺗﻮا ِ‬
‫ُذﺑُﻮﻟﻬَﺎ اﻷﻧﻴﻖ‬

‫اﻳﻔﻮن اﺑﺮاﻫﻴﻢ دﺑﻮل‬

‫ﻣﻦ ﻧﺎﻓﺬة ﻏﺮﻓﺘﻲ‬

‫ﻟﺤﻦ ﺳﻘﻮط ﻣﺨﺘﻠﻒ‬
‫اﻟﻤﻄﺮ ﻋﻠﻰ اﻟﺪّاﻟﻴّﺔ‬

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 ‫ﻗﺸﺮة ﺧﻀﺮاء‬
‫اﻟﺠﻮزة اﻟﺘﻲ إﺧﺘﺮت‬
‫ﻗﻠﺒﻬﺎ أﺳﻮد‬

‫ﺾ ﻣﻦ اﻟﻘﻤﺮ‬ ‫ﺑﻌ ٌ‬
‫س اﻟﻨّﺒﻊ‬‫اﻧﻌﻜﺎ ُ‬
‫ﺔ اﻟﻐﺰال‬‫ﺪ َﻗ ِ‬
‫ﺣ َ‬
‫ﻓﻲ َ‬

‫ﺟﻨﺪيﱞ ﻣﺴﺎﻓﺮ‬
‫ﻪ اﻟﻤﺎء‬‫ﻋﻠﻰ وﺟ ِ‬
‫ق اﻟﻜﻴﻨﺎ‬
‫ﺗﻄﻔﻮ أورا ُ‬

‫ﻋﻠﻲ دﻳﻮب‬

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 ‫ﻓﻲ ﻓﻢ اﻟﺴﻤﺎء‬
‫ﻛﻘﻄﻌﺔ ﺳﻜﺮ‬
‫ﻳﺬوب اﻟﻘﻤﺮ‬

‫ﻣﺤﻤﻮد ﻣﻮزة‬

‫زﻫﺮات اﻟﺰّﻋﻔﺮان‬
‫ﻓﻲ ﻋﻴﻮن اﻟﻘﺎﻃﻔﺎت ﻳﺒﺰغ‬
‫ﻓﺠ ٌﺮ ﺑﻨﻔﺴﺠﻲ‬

‫ﻧﻬﺎﻳﺔ اﻟﺤﺼﺎد‪،‬‬
‫أﺧﻴﺮا ﺗﺴﺘﻠﻘﻲ ﻋﻠﻰ ﻇﻬﺮﻫﺎ‬
‫اﻟﻔﺰاﻋﺔ‬

‫ﻧﻀﺎل ﺣﺮب‬

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 ‫ﺠ َﺮ ٌة ﻳَﺎ ِﺑﺴَﺔ‬
‫ﺷ َ‬
‫َ‬
‫ﻒ اﻟﻜَﺂﺑَـﺔ‬
‫ﺗُــﺨَـﻔﱢ ُ‬
‫ﻀﺮَاء‬ ‫ﺧ ْ‬‫ﻃﺤَﺎﻟِﺐ َ‬ ‫َ‬

‫ﻗﺪ ﺗﻄﻮل‬
‫ﺣﻴﺎﻛﺔ ﻣﻌﻄﻒ رﺑﻴﻌﻲ‬
‫ﻟﻠﺸﺠﺮة اﻟﻌﺎرﻳﺔ‬

‫ب ﻗﺮﻣﺰي‬
‫ﻏﺮو ٌ‬
‫أﺗﻤﻨﻰ ﻟﻜﻢ‬
‫ﻣﺸﺎﻫﺪ ًة ﻣﻤﺘﻌﺔ‬

‫زﻫﺮة اﻟﺒﻨﻔﺴﺞ‬

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 ‫ﻋﻴﺪ اﻷم‬
‫ﻛﻌﻜﺔ أﻣﻲ أﻳﻀﺎً‬
‫أﻗﺼﱡﻬﺎ أﻧﺎ‬

‫ﺐ ﻟﻠﺸﺘﺎء‬
‫ﺣﻄ ٌ‬
‫ﻛﻠﻤﺎت اﻟﺤﺐ‬
‫ﻚ اﻟﻘﺪﻳﻤﺔ‬
‫ﻓﻲ رﺳﺎﺋﻠ ِ‬

‫ﺧﻠﻒ اﻟﻨﺎﻓﺬة‬
‫ﺗﻠﻮح ﻟﺴﺮب ﺑﻌﻴﺪ‬
‫ﻣﻨﻔﻀﺔ اﻟﺮﻳﺶ‬

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 ‫ﻒ‬
‫ﺧﺮﻳ ٌ‬
‫ﻚ اﻟﺸﺠﺮةُ‬
‫ﺗﻠ َ‬
‫ﻞ‬
‫ﺣﻀﻮ ٌر ﻣﻜﺘﻤ ٌ‬

‫ﺧ ُﺮ اﻟﻠﱠﻴۡﻞ‬
‫آ ِ‬
‫ﻋَﻠﻰ ﺛَﺪﻳِﻬﺎ اﻟﺠَﺎف‬
‫َﻳﻐۡﻔﻮ اﻟﺮﱠﺿِﻴﻊ‬

‫ﻓﺎﺗﻦ اﻧﻮر‬

‫ﺤﻮَانِ‬
‫ﻷ ٍْﻗ ُ‬
‫لا ُ‬
‫ﺗﺤﺖ ﻇﻼ ِ‬
‫ﻊ ُﻗﺒﱠ َﻌ َﺘﻪُ‬
‫و ﻻ َﻳ ْﻘ َﻠ ُ‬
‫ﻄ ٌﺮ َﺑﺮﱢيﱞ‬
‫ِﻓ ْ‬

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 ‫ت ﺧﺮﻳﻔﻴﺔ‬
‫ﻧﺴﻤﺎ ٌ‬
‫َﻳﻨْﺰﻟِﻖ ﺛُﻢ ﻳﻨﺰﻟﻖ ﻋﻦ رأﺳﻲ‬
‫اﻟﻮِﺷﺎح‬

‫َﻗﺸﱠﺔً‪َ ،‬ﻗﺸﱠﺔً‬
‫ﻄ َﺮ اﻵسْ‬
‫ﻋ ْ‬
‫ﻫ ُﺰ ِ‬
‫ُﻳ َﻬ ّﺰ ِ‬
‫اﻟﺪﱡورِي‬

‫اﺳﺘﻌﺠﺎﻻ ﻟﻠﺮﺑﻴﻊ‬
‫ﺗﻬﺰ أﻣﻲ ﻛﺮﻣﺔ اﻟﺪار‬
‫ﻳﺘﺴﺎﻗﻂ اﻟﺤﻔﻴﻒ ﻋﻠﻰ اﻟﺤﻔﻴﻒ‬

‫ﻣﺮﻳﻢ ﻟﺤﻠﻮ‬

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 ‫اﻟﺒﺬور اﻟﺘﻲ ﻧﺜﺮﺗﻬﺎ وﻧﺴﻴﺖ‪،‬‬
‫ﻋﻦ ﻣﻜﺎﻧﻬﺎ‬
‫ﻳﺨﺒﺮﻧﻲ اﻟﻤﻄﺮ‬

‫ﻣﺒﺘﺴﻤ ًﺎ‬
‫ﻣﺎ اﻟﺬي ﻳﺮاه ﻓﻲ اﻟﺤﻠﻢ‪،‬‬
‫اﻟﻔﺘﻰ اﻟﻜﻔﻴﻒ‬

‫ﻫﺎﻳﻜﻮ ﺿﻴﻒ اﻟﺸﺮف‬

‫ﺷﻴﺊ ﻣﺎ ﻳﺤﺪث ﻫﻨﺎك‬

‫أﻧﺎ وﺣﺼﺎﻧﻲ‬
‫ﻧﻨﻈﺮ ﻓﻲ ﻧﻔﺲ اﻻﺗﺠﺎه‬

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 ‫ﺷﺎرك ﻫﺬا‬
‫اﻟﻤﻮﺿﻮع‪:‬‬

‫‪‬‬ ‫‪9‬‬
‫‪‬‬ ‫‪‬‬

‫ﻣﻌﺠﺐ ﺑﻬﺬه‪:‬‬

‫ﺗﺤﻤﻴﻞ‬

‫ﻣﺮﺗﺒﻂ‬

‫ﻗﺼﺎﺋﺪ ﻫﺎﻳﻜﻮ ﻟﻠﺸﺎﻋﺮ اﻟﻴﺎﺑﺎﻧﻲ إﻳﺴﺎ‬ ‫ﻊ اﻟﻨﺪى‬

‫ﺳُﻤ ْﻴﻤِﻴ ُ‬ ‫اﻟﻬﺎﻳﻜﻮ اﻟﻌﺮﺑﻲ ﺑﻴﻦ اﻟﺘﺠﺪﻳﺪ و اﻟﺘﻘﻠﻴﺪ‬
‫أﻛﺘﻮﺑﺮ‬ ‫أﻛﺘﻮﺑﺮ‬ ‫ﻧﻮﻓﻤﺒﺮ‬
‫ﻓﻲ ﻫﺎﻳﻜﻮ‬ ‫ﻓﻲ ﻛﺘﺎﺑﺎت‬ ‫ﻓﻲ ﻫﺎﻳﻜﻮ‬

‫اﻟﺘﺎﻟﻲ‬ ‫اﻟﺴﺎﺑﻖ‬

‫أﻗﺪم ﻫﺬه اﻟﻘﺼﻴﺪة ﺟﻴﻤﻲ ﺳﺎﻧﺘﻴﺎﺟﻮ ﺑﺎﻛﺎ‬ ‫ﺪكِ‬

‫ﻗﻠﺒﻲ ﻗَﺼﺎﺋ ُ‬

‫ﻋﻦ اﻟﻤﺠﻠﺔ‬
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 ‫ﻣﻘﺎﻻت ﻣﺸﺎﺑﻬﺔ‬

‫ﻣﻐﺎﻣﺮ ٌة أن ﺗﺼﻴﺮي ﻓﺮاﺷﺔ‬ ‫ﻟﺬاﺋﺬ ﺷﺘﻮﻳﺔ‬ ‫ﻣﺨﺘﺎرات ﻣﻦ اﻟﻬﺎﻳﻜﻮ‬

‫دﻳﺴﻤﺒﺮ‬ ‫‪‬‬ ‫ﻳﻮم ﻣﻀﺖ‬ ‫‪‬‬ ‫ﻳﻮم ﻣﻀﺖ‬ ‫‪‬‬

‫اﺿﻒ رد‬

‫اﻟﺤﻘﻮل اﻟﻤﻄﻠﻮﺑﺔ ﻣﺸﺎر ﻟﻬﺎ ﺑـ‬ ‫ﻟﻦ ﻳﺘﻢ ﻧﺸﺮ اﻟﺒﺮﻳﺪ اﻹﻟﻜﺘﺮوﻧﻲ‬

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 ‫اﻹﺳﻢ‬

‫اﻟﺒﺮﻳﺪ‬

‫اﻟﻤﻮﻗﻊ‬

‫أﺿﻒ اﻟﺘﻌﻠﯿﻖ‬

‫أﻋﻠﻤﻨﻲ ﺑﻤﺘﺎﺑﻌﺔ اﻟﺘﻌﻠﻴﻘﺎت ﺑﻮاﺳﻄﺔ اﻟﺒﺮﻳﺪ اﻹﻟﻜﺘﺮوﻧﻲ‬

‫أﻋﻠﻤﻨﻲ ﺑﺎﻟﻤﻮاﺿﻴﻊ اﻟﺠﺪﻳﺪة ﺑﻮاﺳﻄﺔ اﻟﺒﺮﻳﺪ اﻹﻟﻜﺘﺮوﻧﻲ‬

‫ﻟﻠﺒﺤﺚ أدﺧﻞ اﻟﻜﻠﻤﺔ ﺛﻢ إﺿﻐﻂ إﻧﺘﺮ‬

‫ﺗﻌﻠﻴﻘﺎت‬ ‫اﻷﺧﻴﺮة‬ ‫اﻷﺷﻬﺮ‬

‫اﻟﻌﺪد اﻟﺨﺎﻣﺲ ﻣﻦ ﻣﺠﻠﺔ ﻧﺼﻮص ﻣﻦ ﺧﺎرج اﻟﻠﻐﺔ‬

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 ‫اﻟﻌﺪد اﻟﺨﺎﻣﺲ ﻣﻦ ﻣﺠﻠﺔ ﻧﺼﻮص ﻣﻦ ﺧﺎرج اﻟﻠﻐﺔ‬
‫‪ ‬ﻧﻮﻓﻤﺒﺮ‬

‫اﻟﻌﺪد اﻟﺴﺎدس ﻣﻦ ﻣﺠﻠﺔ ﻧﺼﻮص‬

‫‪ ‬دﻳﺴﻤﺒﺮ‬

‫اﻟﻌﺪد اﻟﺴﺎﺑﻊ ﻣﻦ ﻣﺠﻠﺔ ﻧﺼﻮص ﻣﻦ ﺧﺎرج اﻟﻠﻐﺔ‬

‫‪ ‬ﻳﻨﺎﻳﺮ‬

‫ﺳﺮﻗﺎت ﻣﺤﻤﻮد دروﻳﺶ‬

‫‪ ‬ﻧﻮﻓﻤﺒﺮ‬

‫إﻛﺘﻤﺎل اﻟﻤﺸﻬﺪ‬
‫‪ ‬أﻏﺴﻄﺲ‬

‫ﻓﻲ ﻧﻈﺮﻳﺔ اﻟﺤﺐ‬

‫‪ ‬أﻛﺘﻮﺑﺮ‬

‫ﺛﻼث ﻗﺼﺎﺋﺪ ﻟﻠﺸﺎﻋﺮ ﻛﺎوه أﻛﺒﺮ‬

‫‪ ‬دﻳﺴﻤﺒﺮ‬

‫اﻟﻌﺪد اﻟﺜﺎﻣﻦ ﻣﻦ ﻣﺠﻠﺔ ﻧﺼﻮص ﻣﻦ ﺧﺎرج اﻟﻠﻐﺔ‬

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 ‫اﻟﻌﺪد اﻟﺜﺎﻣﻦ ﻣﻦ ﻣﺠﻠﺔ ﻧﺼﻮص ﻣﻦ ﺧﺎرج اﻟﻠﻐﺔ‬
‫‪ ‬ﻳﻮﻣﻴﻦ ﻣﻀﺖ‬

‫اﻟﻌﺪد اﻟﺮاﺑﻊ ﻣﻦ ﻣﺠﻠﺔ ﻧﺼﻮص ﻣﻦ ﺧﺎرج اﻟﻠﻐﺔ‬

‫‪ ‬أﻛﺘﻮﺑﺮ‬

‫ﻟﺘﺮان ﻣﻦ اﻟﻔﻮدﻛﺎ‬
‫‪ ‬ﻧﻮﻓﻤﺒﺮ‬

‫اﻟﻌﺪد اﻟﺜﺎﻟﺚ ﻣﺠﻠﺔ ﻧﺼﻮص ﻣﻦ ﺧﺎرج اﻟﻠﻐﺔ‬

‫‪ ‬ﺳﺒﺘﻤﺒﺮ‬

‫أﻧﺎ ﺻﻮرة‬
‫‪ ‬دﻳﺴﻤﺒﺮ‬

‫ﺻﻔﺤﺘﻨﺎ ﻋﻠﻰ اﻟﻔﻴﺲ‬

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 ‫ﻧﺼﻮص ﻣﻦ ﺧﺎرج اﻟﻠﻐﺔ‬
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‫اﺧﺒﺎر ﺛﻘﺎﻓﻴﺔ‬
‫ﻟﻜﻦ ﻣﺎ اﻟﺬي ﺣﻞ ﻣﺤﻠﻬﺎ؟‬ ‫ﻣﺎ ﺑﻌﺪ اﻟﺤﺪاﺛﺔ اﻧﺘﻬﺖ‬
‫ﻞ ﻟﻤﺮﺣﻠﺔ ﻣﺎ ﺑﻌﺪ اﻟﺤﺪاﺛﺔ ﻛﺘﻴﺎر ﺷﺎﻣﻞ ﻳﺤﻜﻢ‬
‫ت ﻣﺤﺘﻤ ٍ‬
‫ﻣﻊ ﻧﻬﺎﻳﺔ ﺛﻤﺎﻧﻴﻨﺎت اﻟﻘﺮن اﻟﻤﺎﺿﻲ‪ ،‬ﺗﻮاﻟﺖ اﻹﻋﻼﻧﺎت ﻋﻦ ﻣﻮ ٍ‬
‫ﺗﻮﺟﻬﺎت اﻟﻔﻜﺮ اﻹﻧﺴﺎﻧﻲ اﻟﻐﺮﺑﻲ وﺗﺠﻠﻴﺎﺗﻪ ﻓﻲ اﻟﺴﻴﺎﺳﺔ واﻟﻔﻨﻮن وﻣﻨﺘﺠﺎت اﻟﺜﻘﺎﻓﺔ‪ ،‬وﺗﺴﺎﺑﻖ ﻋﺪﻳﺪ ﻣﻦ‬
‫اﻟﺮواﺋﻴﻴﻦ واﻟﻔﻨﺎﻧﻴﻦ واﻟﻨّﻘﺎد واﻟﻤﺆرﺧﻴﻦ ﻋﻠﻰ ﻧﺸﺮ ﺑﻴﺎﻧﺎت ﻟﻬﻢ ﻋﻦ ﻣﻌﺎﻟﻢ اﻟﻤﻮت اﻟﺴﺮﻳﺮي ﻟﺘﻠﻚ اﻟﻤﺮﺣﻠﺔ ﻣﻦ زواﻳﺎ‬
‫ﻣﺨﺘﻠﻔﺔ‪ ،‬ﻗﺒﻞ أن ﻳﻨﻈّﻢ ﻣﺘﺤﻒ ﻓﻴﻜﺘﻮرﻳﺎ وأﻟﺒﺮت‬
‫ﺷﻌﺮﻳ ًﺎ‬ ‫ﻣﺮﻛﺰﻳﺔ اﻟﺸﺨﻮص‬
‫ﻋﻦ اﻟﺬﻛﺮﻳﺎت واﻷزﻣﻨﺔ واﻷﻣﻜﻨﺔ‪ ،‬وﺧﻄﻰ اﻟﺒﺸﺮ ﻓﻲ ﻇﻼﻟﻬﺎ‪ ،‬ﻳﺪور دﻳﻮان ﺑﺮﻫﺎن ﻋﻠﻰ ﻻ ﺷﻲء ﻟﻠﺸﺎﻋﺮ ﻋﺎﻃﻒ ﻋﺒﺪ‬
‫اﻟﻌﺰﻳﺰ‪ ،‬ﻣﺸﻜﻼً ﻣﺠﻤﻮﻋﺔ ﻣﻦ اﻟﺮﺳﺎﺋﻞ اﻟﺸﻌﺮﻳﺔ اﻟﺸﻴﻘﺔ‪ ،‬ﺗﺤﺎول أن ﺗﺴﺘﻌﻴﺪ ﻟﺤﻈﺎت ﺣﻤﻴﻤﺔ ﻣﻦ زﻣﻦ اﻧﻘﻀﻰ‪،‬‬
‫وﺷﺨﻮﺻ ًﺎ ﻛﺎن ﻟﻬﻢ ﺣﻀﻮر ﺧﺎص ﻓﻲ ﻓﻀﺎء اﻟﺬات اﻟﺸﺎﻋﺮة ﻳﺴﺘﻌﻴﺪ اﻟﺪﻳﻮان ﺗﻠﻚ اﻟﻤﻨﺎﺧﺎت اﻟﻘﺼﻴﺔ‪ ،‬وﻛﺄﻧﻬﺎ ﺑﺮﻫﺎن‬
‫ﻋﻠﻰ ﻛﻞ ﺷﻲء وﻻ ﺷﻲء ﻓﻲ اﻟﻮﻗﺖ ﻧﻔﺴﻪ‬
‫ﻣﺎذا ﻧﻘﺮأ داﺧﻞ ﻣﺘﺎﻫﺔ اﻟﻜﺘﺐ؟‬

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 ‫ﻣﺎذا ﻧﻘﺮأ داﺧﻞ ﻣﺘﺎﻫﺔ اﻟﻜﺘﺐ؟‬
‫وﻣﺎذا ﻧﻘﺮأ اﻟﻴﻮم؟ وﻣَﻦ ﻳﺪﻟﻨﺎ ﻋﻠﻰ ﻛﺘﺎب ﻧﻘﺮأه وﺳﻂ ﻣﺘﺎﻫﺔ ﺑﺮج ﺑﺎﺑﻞ‪ ،‬اﻟﺘﻲ ﺳُﻤﻴﺖ ﺑﺎﺑﻞ ﻛﻤﺎ ﻳﻘﻮل اﻟﻤﺆرﺧﻮن‬
‫اﻟﻌﺮب اﻟﻘﺪاﻣﻰ‪ ،‬إذ ﺗﻢ ﻓﻴﻬﺎ ﺗﺒﻠﺒﻞ اﻷﻟﺴﻦ وﺗﻔﺮﻗﻬﺎ‪ ،‬واﻟﻴﻮم ﺛﻤﺔ ﺗﺒﻠﺒﻞ اﻟﻜﺘﺎﺑﺎت واﻟﻜﺘﺐ؟ آﻻف اﻟﻌﻨﺎوﻳﻦ ﺗﺼﺪرﻫﺎ‬
‫ﺚ ﻣﻦ اﻟﺴﻤﻴﻦ؟ وﻣﺎ اﻟﺠﻬﺔ اﻟﺘﻲ ﻣﻦ اﻟﻤﻤﻜﻦ أن ﺗﺪﻟﻨﺎ ﻋﻠﻰ‬
‫ﻞ ﻳﻮم‪ ،‬ﻓﻤﺎذا ﻧﻘﺮأ وﻣﺎذا ﻧﺘﺮك؟ وﻛﻴﻒ ﻧﻤﻴّﺰ اﻟﻐ ّ‬
‫اﻟﻤﻄﺎﺑﻊ ﻛ ّ‬

‫رواﻳﺔ ﺗﺨﺎﻟﻒ ﺗﻮﻗﻌﺎت اﻟﻘﺮّاء‬ ‫ﺳﺎﻋﺔ ﺑﻐﺪاد‬

‫أﺛﺎرت رواﻳﺔ ﺳﺎﻋﺔ ﺑﻐﺪاد ﻟﺸﻬﺪ اﻟﺮاوي ﺿﺠﺔ إﻋﻼﻣﻴﺔ ﻟﻢ ﻳﺄﻟﻔﻬﺎ اﻟﻮﺳﻂ اﻟﺜﻘﺎﻓﻲ اﻟﻌﺮاﻗﻲ ﻣﻦ ﻗﺒﻞ‪ ،‬ﻓﻘﺪ ﺻﺪرت‬
‫أﻟﻒ ﻧﺴﺨﺔ‪ ،‬ﻛﻤﺎ ﺗُﺮﺟﻤﺖ إﻟﻰ اﻹﻧﺠﻠﻴﺰﻳﺔ‪ ،‬ووﺻﻠﺖ إﻟﻰ‬ ‫ﻃﺒﻌﺘﻬﺎ اﻟﺜﺎﻟﺜﺔ ﻣﻦ دار اﻟﺤﻜﻤﺔ ﺑﻠﻨﺪن‪ ،‬وﺑﻴﻊ ﻣﻨﻬﺎ أﻛﺜﺮ ﻣﻦ‬
‫اﻟﻘﺎﺋﻤﺔ اﻟﻄﻮﻳﻠﺔ ﻟﺠﺎﺋﺰة اﻟﺒُﻮﻛﺮ اﻟﻌﺮﺑﻴﺔ ﻟﻬﺬا اﻟﻌﺎم‪ ،‬وﻟﻤّﺎ ﻳﺰل اﻟﻘﺮّاء ﻣﻨﻘﺴﻤﻴﻦ ﺑﻴﻦ ﻣُﺤﺒّﻴﻦ ﻟﻠﺮواﻳﺔ‪ ،‬وﻣُﻌﺠﺒﻴﻦ ﺑﻬﺎ‪،‬‬
‫وﺑﻴﻦ ﻛﺎرﻫﻴﻦ ﻟﻬﺎ‪،‬‬
‫ﺑﻴﻮت اﻟﺸﻌﺮ ﺗﺘﻜﺎﺛﺮ ﻓﻲ اﻟﺨﻠﻴﺞ‬
‫ﻳﺒﺪو أن اﻟﺮأي اﻟﺬي ﻧﺴﺒﻮه إﻟﻰ اﻟﻨﺎﻗﺪ ﺟﺎﺑﺮ ﻋﺼﻔﻮر اﻟﻘﺎﺋﻞ أﺻﺒﺤﺖ اﻟﺮواﻳﺔ دﻳﻮان اﻟﻌﺮب ‪ ،‬أﻳﻘﻆ اﻟﺸﻌﺮاء‬
‫ﻓﺘﺤﺮﻛﻮا ﺑﺸﻜﻞ ﻓﻌﻠﻲ ﻋﻠﻰ أرض اﻟﻮاﻗﻊ ﻓﺄﺳﺴﻮا ﻣﺎ أﻃﻠﻘﻮا ﻋﻠﻴﻪ ﺑﻴﺖ اﻟﺸﻌﺮ وﻫﺬه اﻟﻈﺎﻫﺮة اﻧﺘﺸﺮت ﻓﻲ أﻛﺜﺮ‬
‫ﻣﻦ دوﻟﺔ ﺧﻠﻴﺠﻴﺔ‪ ،‬وﻓﻲ اﻟﻌﺪﻳﺪ ﻣﻦ أﻗﻄﺎر اﻟﻮﻃﻦ اﻟﻌﺮﺑﻲ‪ ،‬وأﺣﺪﺛﻬﺎ ﻓﻲ دوﻟﺔ اﻟﻜﻮﻳﺖ ﺣﻴﻦ أﻋﻠﻨﺖ ﻗﺒﻞ أﻳﺎم‬
‫ﻣﺠﻤﻮﻋﺔ ﻣﻦ اﻟﺸﻌﺮاء ﻋﻦ ﺗﺄﺳﻴﺲ‬
‫ﻣﺴﺮﺣﻴ ًﺎ ﻟﻠﻤﺮة اﻷوﻟﻰ‬ ‫رواﻳﺔ اﺳﻢ اﻟﻮردة ﻷﻣﺒﻴﺮﺗﻮ إﻳﻜﻮ‬
‫رواﻳﺔ اﺳﻢ اﻟﻮردة ﻟﻴﺴﺖ ﻣﺠﺮد رﻣﻮز وﻟﻴﺴﺖ ﻟﻐﺔ وﺣﺴﺐ‪ ،‬إﻧﻬﺎ ﻃﺎﻗﺔ اﻟﺨﻴﺎل وإﻋﺎدة اﻟﺘﺬﻛﺮ‪ ،‬وﺑﻤﻘﺪار ﺗﻨﻮع ﻫﺬه‬
‫اﻟﻄﺎﻗﺔ واﻣﺘﻼﻛﻬﺎ دﻻﻻت ﻻ ﺣﺼﺮ ﻟﻬﺎ‪ ،‬ﺗﻜﻤﻦ ﻋﻼﻗﺔ أﺣﺪاث اﻟﺮواﻳﺔ ﺑﺎﻟﺸﺨﻮص اﻟﺬﻳﻦ ﺗﺠﻤﻌﻬﻢ ﺧﺸﺒﺔ اﻟﻤﺴﺮح‪،‬‬
‫ﺑﺎﻋﺘﺒﺎره ﺗﺮﺟﻤﺔ ﻟﻠﻨﺺ أﻣﺎم اﻟﻤﺸﺎﻫﺪﻳﻦ ﺑﺎﺳﺘﺨﺪام اﻟﺤﺮﻛﺔ واﻹﻳﻤﺎءة واﻟﻜﻼم واﻟﻤﻮﺳﻴﻘﻰ واﻟﺼﻮت إﻧﻬﺎ ﻣﺤﺎوﻟﺔ‬
‫ﻟﺘﺠﺴﻴﺪ ذﻟﻚ اﻟﺘﻨﻮع ﻣﻦ اﻟﻌﻼﻗﺔ ﺑﻴﻦ اﻷﺣﺪاث ﻛﺄﺷﻜﺎل ورﻣﻮز ودﻻﻟﺔ‪،‬‬
‫ﻣﺜﻘﻔﻮن ﻣﺼﺮﻳﻮن ﻳﺪﻗﻮن أﺟﺮاس اﻟﺨﻄﺮ‬
‫ﻋﺒﺎرة ﺗﻄﺎﻟﻌﻚ ﻓﻲ اﻟﻮﺳﻂ اﻟﺜﻘﺎﻓﻲ‪ ،‬وﺗﺴﺘﻨﺴﺦ ﻧﻔﺴﻬﺎ ﻣﻦ ﻋﺎم إﻟﻰ آﺧﺮ‬ ‫اﻟﺜﻘﺎﻓﺔ اﻟﻤﺼﺮﻳﺔ ﻻ ﺗﻘﺪم وﻻ ﺗﺆﺧﺮ‬
‫ﻫﺬا ﻓﻲ اﻷﻗﻞ ﻣﺎ ﻳﺮاه اﻟﻜﺜﻴﺮون ﻣﻦ اﻟﻤﺜﻘﻔﻴﻦ‪ ،‬اﻟﺬي ﻳﻘﻮﻟﻮن إن اﻟﻘﻄﺎﻋﺎت اﻟﺜﻘﺎﻓﻴﺔ‪ ،‬ﻻ ﺗﺰال ﻗﺎﺻﺮة ﻋﻦ دﻓﻊ اﻟﻔﻌﻞ‬
‫ﺐ ﻓﻲ‬
‫اﻟﺜﻘﺎﻓﻲ ﻟﻴﻨﻔﺘﺢ ﺑﺤﻴﻮﻳﺔ ﻋﻠﻰ ﻫﻤﻮم اﻟﻤﺠﺘﻤﻊ واﻟﻤﺴﺘﻘﺒﻞ‪ ،‬وأﻻ ﻳﻜﻮن‪ ،‬ﻛﻤﺎ ﻫﻮ اﻵن‪ ،‬ﻣﺠﺮد وﻇﻴﻔﺔ أو أداة ﺗﺼ ّ‬
‫ﺧﺪﻣﺔ‬

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 ‫إﺳﻢ اﻟﻤﺴﺘﺨﺪم‬

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‫ﺗﺬﻛﺮﻧﻲ‬ ‫ﺗﺴﺠﯿﻞ اﻟﺪﺧﻮل‬

‫ﺗﺴﺠﻴﻞ‬
‫ﻧﺴﻴﺖ ﻛﻠﻤﺔ اﻟﻤﺮور ؟‬

‫‪  ‬‬
‫ﺗﺼﻤﻴﻢ ﺷﺒﻜﺔ أﻃﻴﺎف اﻟﺜﻘﺎﻓﻴﺔ‬ ‫اﻟﺤﻘﻮق ﻣﺤﻔﻮﻇﺔ ﻟﻤﺠﻠﺔ ﻧﺼﻮص ﻣﻦ ﺧﺎرج اﻟﻠﻐﺔ‬

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