Page 47 - DILMUN NO 19

‫ﺍﻟﺘﺎﺭﻳﺦ ﺍﻟﺜﻘﺎﻑ ﻭﺍﻷﺩﺑﻲ‪ 2‬ﺍﻟﺒﺤﺮﻳﻦ& ﺍﻟﻌﺼﺮ ﺍﻟﺠﺎﻫﻠﻲ‬

‫ﻭﺷﻌﺮﺍﺀ ﺍﻟﺒﺎﺩﻳﺔ ﻫﻮ ﺍﻟﺬﻱ ﺟﻌﻞ ﺍﻟﻤﻔﻀﻞ ﺍﻟﻀﺒﻲ ﻳﺬﻛﺮ ﺷﻌﺮﺍﺀ ﺮﻜﺑ‪ 2‬ﻗﺴﻢ ﻣﺴﺘﻘﻞ ‪ ،‬ﻭﺷﻌﺮﺍﺀ ﻋﺒﺪ‬
‫ﺍﻟﻘﻴﺲ ‪ 2‬ﻗﺴﻢ ﻣﺴﺘﻘﻞ ﺃﺧﺮ‪ ،‬ﻭﺷﻌﺮﺍﺀ ﺐﻠﻐﺗ‪ 2‬ﻗﺴﻢ ﻣﺴﺘﻘﻞ ﺛﺎﻟﺚ ‪ ٠‬ﻫﺬﺍ ﺍﻟﺘﺼﻨﻴﻒ ﻣﻦ ﺍﻟﻤﻔﻀﻞ‬
‫ﺍﻟﻀﺒﻲ ﻳﻠﻔﺖ ﺍﻟﻨﻈﺮ ﻭﻳﺠﻌﻠﻨﺎ ﻧﺘﺴﺎﺀﻝ ‪ :‬ﺃﻛﺎﻥ ﺍﻟﻤﻔﻀﻞ ﻳﻘﺼﺪ ﺇﻟﻴﻪ ﻗﺼﺪﺍ ‪ ،‬ﺃﻡ ﺇﻧﻬﺎ ﻛﺎﻧﺖ ﻣﺼﺎﺩﻓﺔ؟‬

‫ﻭﺇﺫﺍ ﻣﻀﻴﻨﺎ ﺇﻰﻟ ﺍﻟﻤﻮﺍﺯﻧﺔ ﺑﻴﻦ ﺷﻌﺮﺍﺀ ﻣﺪﺭﺳﺔ ﺍﻟﺒﺤﺮﻳﻦ ﻭﺑﻴﻦ ﺑﻘﻴﺔ ﺷﻌﺮﺍﺀ ﺍﻟﻌﺼﺮ ﺍﻟﺠﺎﻫﻠﻲ‬
‫ﺍﻟﻤﻌﺎﺻﺮﻳﻦ ﻟﻬﻢ ﻭﻦﻜﻟ‪ 2‬ﺑﻴﺌﺎﺕ ﺃﺧﺮﻯ ﻛﺘﻬﺎﻣﺔ ﻭﻧﺠﺪ ﻭﺍﻟﺤﺠﺎﺯ ﺳﻨﺠﺪ ﺍﺗﻔﺎﻗﺎ ﺑﻴﻦ ﻏﺎﻟﺒﻴﺔ ﺍﻟﺸﻌﺮﺍﺀ‬
‫‪ 2‬ﺧﺼﺎﺋﺺ ﻭﺗﻘﺎﻟﻴﺪ ﻓﻨﻴﺔ ﺍﻟﺘﺰﻡ ﺑﻬﺎ ﻛﺜﻴﺮ ﻣﻨﻬﻢ ‪ ،‬ﻭﺳﻮﻑ ﻧﺠﺪ ‪ 2‬ﻧﻔﺲ ﺍﻟﻮﻗﺖ ﺧﺼﺎﺋﺺ ﺃﺧﺮﻯ‬

‫ﻳﺘﻤﻴﺰ ﺑﻬﺎ ﺷﻌﺮﺍﺀ ﻣﺪﺭﺳﺔ ﺍﻟﺒﺤﺮﻳﻦ‬

‫ﻭﻟﻘﺪ ﺍﺗﻔﻖ ﺷﻌﺮﺍﺀ ﻣﺪﺭﺳﺔ ﺍﻟﺒﺤﺮﻳﻦ ﻣﻊ ﺑﻘﻴﺔ ﺷﻌﺮ ﺍﻟﻌﺼﺮ ﺍﻟﺠﺎﻫﻠﻲ‪ 2‬ﺍﻟﺸﻜﻞ ﺍﻟﻌﺎﻡ‬
‫ﻟﻘﺼﺎﺋﺪﻫﻢ ‪ ،‬ﻭﺍﻟﺘﻘﺎﻟﻴﺪ ﺍﻟﻔﻨﻴﺔ ﺍﻟﻤﻮﺭﻭﺛﺔ ‪ 2‬ﻣﻨﻬﺞ ﺍﻟﻘﺼﻴﺪﺓ ﺍﻟﻌﺮﺑﻴﺔ ﻭﺍﻟﺼﻮﺭﺓ ﺍﻟﺨﻴﺎﻟﻴﺔ ‪ ،‬ﻭﺑﻌﺾ‬
‫ﺃﻟﻮﺍﻥ ﺍﻟﺒﺪﻳﻊ ‪ ،‬ﻭﺍﺧﺘﻠﻔﻮﺍ ﻋﻨﻬﻢ ‪ 2‬ﺷﻌﺮﻫﻢ ﺑﺸﺪﺓ ﺇﺣﺴﺎﺳﻬﻢ ﺑﺎﻟﻐﺮﺑﺔ ﻟﻔﺮﺍﻕ ﺫﻭﻳﻬﻢ ‪ 2‬ﻣﻮﺍﻦﻃ‬
‫ﻗﺒﺎﺋﻠﻬﻢ ﺍﻷﺻﻠﻴﺔ ﻇﻬﺮ ﻫﺬﺍ ﻭﺍﺿﺤﺎ‪ 2‬ﻣﻘﺪﻣﺎﺕ ﻗﺼﺎﺋﺪﻫﻢ ﻋﻨﺪﻣﺎ ﺗﻌﺮﺿﻮﺍ ﻟﺸﻜﻞ ﻣﻦ ﺃﺷﻜﺎﻝ ﻫﺬﻩ‬
‫ﺍﻟﻤﻘﺪﻣﺎﺕ ﻭﻫﻲ ﻣﻘﺪﻣﺔ ﺍﻟﻔﺮﺍﻕ ﻭﺍﻟﻈﻌﻦ ﻭﻓﻴﻬﺎ ﺃﻓﺮﻍ ﺷﺎﻋﺮ ﺍﻟﺒﺤﺮﻳﻦ ﻣﺎ ﺶﻴﺠﻳ‪ 2‬ﻧﻔﺴﻪ ﻣﻦ ﺣﻨﻴﻦ‬

‫ﺇﻟﻰ ﻭﻪﻨﻃ ﻞﺜﻤﺘﻳ‪ 2‬ﺭﺣﻴﻞ ﺍﻟﺤﺒﻴﺒﺔ ﻭﺗﺮﻛﻬﺎ ﺍﻟﺪﻳﺎﺭ‪-‬‬

‫ﻭﻧﺴﺘﻄﻴﻊ ﺃﻥ ﺮﻧﻯ ﻫﺬﺍ ﺍﻹﺣﺴﺎﺱ ‪ 2‬ﻣﻘﺪﻣﺔ ﺍﻟﻔﺮﺍﻕ ﻭﺍﻟﻈﻌﻦ ﻋﻨﺪ ﺷﻌﺮﺍﺀ ﻣﺪﺭﺳﺔ ﺍﻟﺒﺤﺮﻳﻦ‬
‫ﺍﻟﺸﻌﺮﻳﺔ ‪ 2‬ﺍﻟﻌﺼﺮ ﺍﻟﺠﺎﻫﻠﻲ ﺃﻣﺜﺎﻝ‪ :‬ﻋﻤﺮﻭ ﺑﻦ ﻗﻤﻴﺌﺔ ‪ ،‬ﻭﺍﻟﻤﺮﻗﺶ ﺍﻷﻛﺒﺮ ‪ ،‬ﻭﺍﻟﻤﺮﻗﺶ ﺍﻷﺻﻐﺮ ‪٠‬‬
‫ﻭﺍﻟﻤﺜﻘﺐ ﺍﻟﻌﺒﺪﻱ ‪ ،‬ﻭﺍﻟﻤﻤﺰﻕ ﺍﻟﻌﺒﺪﻱ' ﻭﺗﻤﻴﺰ ﺷﻌﺮﺍﺀ ﻣﺪﺭﺳﺔ ﺍﻟﺒﺤﺮﻳﻦ ﻋﻦ ﺑﻘﻴﺔ ﺷﻌﺮﺍﺀ ﻋﺼﺮﻫﻢ ‪2‬‬
‫ﺍﻟﺒﻴﺌﺎﺕ ﺍﻷﺧﺮﻯ ﺑﺒﻌﺾ ﺍﻟﺨﺼﺎﺋﺺ ﻍ ﺍﻟﺒﻨﺎﺀ ﺍﻟﺘﻌﺒﻴﺮﻱ ﻣﻦ ﺣﻴﺚ ﺍﻟﻠﻐﺔ ﻭﺍﻷﺳﻠﻮﺏ ‪ ،‬ﻭ‪ 2‬ﺍﻟﺒﻨﺎﺀ‬
‫ﺍﻟﺘﺼﻮﻳﺮﻱﻷﻧﻬﻢ ﺃﺿﺎﻓﻮﺍ ﺇﻟﻰ ﺍﻟﻤﻌﺠﻢ ﺍﻟﺘﺼﻮﻳﺮﻱ ﺃﻟﻮﺍﻧﺎ ﺟﺪﻳﺪﺓ ﺃﺣﺴﻨﻮﺍ ﺍﺳﺘﺨﺪﺍﻣﻬﺎ ﻭﺍﺳﺘﺨﺮﺟﻮﻫﺎ‬
‫ﻣﻦ ﺑﻴﺌﺘﻬﻢ ﺍﻟﻄﺒﻴﻌﻴﺔ ﻭﺣﻴﺎﺗﻬﻢ ﺍﻻﺟﺘﻤﺎﻋﻴﺔ ﺍﻟﺠﺪﻳﺪﺓ ‪،‬ﻭ‪ 2‬ﺍﻟﺒﻨﺎﺀ ﺍﻟﻤﻮﺳﻴﻘﻲﻻﻋﺘﻤﺎﺩﻫﻢ ﻋﻠﻰ ﺍﻟﺒﺤﻮﺭ‬

‫ﺍﻟﺨﻔﻴﻔﺔ‪ .‬ﻭﻗﺪ ﻓﺮﺿﺖ ﻋﻠﻴﻬﻢ ﺍﻟﺒﻴﺌﺔ ﺍﻟﺠﺪﻳﺪﺓ ﻧﻔﺴﻬﺎ ﺑﻜﻞ ﻣﺎ ﻓﻴﻬﺎ ﻣﻦ ﺃﻣﺎﻛﻦ ﻭﺃﺳﻠﻮﺏ ﺣﻴﺎﺓ‪٠‬‬