:ﺪﯿﻘﻟاﻢﻗر
ﺔﻴﺒﻌﺸﻟا ﺔﻴﻃاﺮﻘﳝﺪﻟا ﺔﻳﺮﺋاﺰﳉا ﺔﻳرﻮﻬﻤﳉا
République Algérienne Démocratique et Populaire
ﻲﻤﻠﻌﻟا ﺚﺤﺒﻟاو ﱄﺎﻌﻟا ﻢﻴﻠﻌﺘﻟا ةرازو
Ministère de L'enseignement Supérieur et de La Recherche
Scientifique
ﺖﻨﺷﻮﲤ ﲔﻋ ﺐﻴﻌﺷﻮﺑ جﺎﺤﻠﺑ ﻲﻌﻣﺎﳉا ﺰﻛﺮﳌا
Centre Universitaire Belhadj Bouchaib-Ain Témouchent
ﺪ ﻌﻣ
:
تﺎﻐﻠﻟاو باد
ﻢﺴﻗ
:
ﻲﺮﻌﻟا بد و ﺔﻐﻠﻟا
ﺨﻣ
:
يﺮﺋاﺰ ا ﺻاﻮﺘﻟا بﺎﻄ ا
ﺚﻳﺪ ا
ﺔــﺣوﺮــطأ
ﻦﻣ ﺔﻣﺪﻘﻣ
أ
هارﻮــﺘﻛﺪــﻟا ةدﺎــﮭﺷ ﻞﯿﻧ ﻞﺟ
ناﺪﻴﻣ
:
ﻲﺮﻋ بدأو ﺔﻐﻟ
ﺔﺒﻌﺷ
:
ﺔﻴﺑدأ تﺎﺳارد
ﺺﺼﺨﺗ
:
ﻲﺮﻋ بدأ
ﻦﻣ
داﺪﻋإ
:
يدورﺎﺑﺮ ﻮﻃ ﻦﺑ
ناﻮﻨﻌﻟا
ﻩﺮ اﻮﻇو ﻩﺎﻳﺎﻀﻗ يدﻼﻴﻣﺮﺸﻋ ﻊ ﺎﺴﻟا نﺮﻘﻟا يﺮﺋاﺰ اﺮﻌﺸﻟا
ﺔﻴﻨﻔﻟا
ﻦﻣ نﻮﻜﻤﻟا ﺔﺸﻗﺎﻨﻤﻟا ﺔﻨﺠﻟ ءﺎﻀﻋأ : ﺔﯿﻌﻣﺎﺠﻟا ﺔﻨﺴﻟا : 2019 / 2020ﺐﻘﻠﻟاو ﻢﺳ
ﺔﺒﺗﺮﻟا
ﺔﻔﺼﻟا
ءﺎﻤﺘﻧ ﺔﺴﺳﺆﻣ
يﺮﻄﺣ ﺔﻴﻤﺳ
ةذﺎﺘﺳأ
ﺎﻌﻟا ﻢﻴﻠﻌﺘﻟا
ﺎﺴ ﺋر
ﺖ ﺷﻮﻤﺗ ن ﻋ ﺔﻌﻣﺎﺟ
ﻢﻳدرﻮﺑ ﻆﻴﻔ ا ﺪﺒﻋ
ﺎﻌﻟا ﻢﻴﻠﻌﺘﻟا ذﺎﺘﺳأ
ارﺮﻘﻣو ﺎﻓﺮﺸﻣ
ﺔﻴﻨﻐﻣ ﻣﺎ اﺰﻛﺮﳌا
ﺮﻃ ﺪﻤﺤﻣ
ﺎﻌﻟا ﻢﻴﻠﻌﺘﻟا ذﺎﺘﺳأ
ﺎﻨﺤﺘﻤﻣ
نﺎﺴﻤﻠﺗ ﺔﻌﻣﺎﺟ
حاود ﺪﻤﺣأ
أﺮﺿﺎﺤﻣ ذﺎﺘﺳأ
ﺎﻨﺤﺘﻤﻣ
ﺔﻴﻨﻐﻣ ﻣﺎ اﺰﻛﺮﳌا
ﻦﺰﻟا ﺔﺤﻴﺘﻓ
أﺮﺿﺎﺤﻣ ذﺎﺘﺳأ
ﺎﻨﺤﺘﻤﻣ
ﺖ ﺷﻮﻤﺗ ن ﻋ ﺔﻌﻣﺎﺟ
ﻮﺮﺟ ة ﺧ
أﺮﺿﺎﺤﻣ ذﺎﺘﺳأ
ﺎﻨﺤﺘﻤﻣ
ﺖ ﺷﻮﻤﺗ ن ﻋ ﺔﻌﻣﺎﺟ
1
ا
ﺰﻛﺮﻤﻟ
ا
ﺎﺤﻠﺑ ﻲﻌﻣﺎﺠﻟ
ج
ﺖﻨﺷﻮﻤﺗ ﻦﻴﻋ ﺔﻳﻻﻮﻟ ﺐﻴﻌﺷﻮﺑ
ا
: ﺪﻬﻌﻤﻟ
و بادآ
ﺎﻐﻟ
ت
:ﻢﺴﻗ
ا
ﺔﻐﻠﻟ
ا
ﺔﻴﺑﺮﻌﻟ
ادآو
ﺎﻬﺑ
ا
:ﺺﺼﺨﺘﻟ
بدأ
ﻲﺑﺮﻋ
ا
:ﺮﺒﺨﻤﻟ
ا
ﺎﻄﺨﻟ
ا ب
ﻮﺘﻟ
ا
ﻲﻠﺻ
ا
ﺰﺠﻟ
ا
ﺮﺋ
ي
: فاﺮﺷإ ﺖﺤﺗ : داﺪﻋإ ﻦﻣ
ﻦﺑ
ﺮﻳﻮﻃ
ﺎﺑ
يدور
.د أ
ﺪﺒﻋ
ا
ﻆﻴﻔﺤﻟ
ﻮﺑ
در
ﻢﻳ
ﻠﻣ
ﺧ
ص
ﺣ
لو
أ
ط
ر
و
ﺣ
ﺔ
ا
ﻟ
د
ﻛ
ﺗ
و
ار
ﻩ
ا
ﻣﻟ
و
ﺳ
و
ﻣ
ﺔ
ب
:
ا
ﻌﺷﻟ
ر
ا
ﻟ
ﺟ
از
ﺋ
ر
ي
ﻓ
ﻲ
ا
ﻟ
ﻘ
نر
ا
ﻊﺑﺎﺳﻟ
ﺷﻋ
ر
ﻣ
ﻳ
ﻼ
يد
ﻩﺎﻳﺎﺿﻗ
اﻮظو
ﻫ
ر
ﻩ
ا
ﺔﻳﻧﻔﻟ
-2
:صخلملا
:ةمدقم
ا نإ
ﻌﺷﻟ
ر
ﯾﻟ
س
ﺟﻣ
در
ﺑﺧ
وأ ر
ﻛﻓ
وأ ةر
ﻣ
و
ﺿ
،عو
ﻓ
ذﻟ
ك
ﺟ
ءز
ﻣ
أ ن
ﺟ
ز
ا
ء
ﯾﺛﻛ
ر
ة
ﻛﺗ
ا نو
ﻣﻌﻟ
ا ل
ﻌﺷﻟ
ير
ﺛ
ا نإ م
ﻌﺷﻟ
ر
ﯾﻟ
س
ﺟﻣ
در
ﺻﺎﻧﻋ
ر
ﻛﻣ
و
ﺔﯾﻟﺎﻣﺟ ﺔﻧ
و
ﯾﻏ
ر
ﺑ ﺔﯾﻟﺎﻣﺟ
ل
ﻧ
ظ
ﺎ
و م
ﺎﻧﺑ
ء
ؤرو
ﺎﯾﺣﻠﻟ ﺔﺻﺎﺧ ﺔﯾ
ة
او
ﻛﻟ
.نو
و
ﻠﺗﺧﯾ
ا ف
ﻌﺷﻟ
ر
ﻋ
او ن
ﻊﻗ
ا
ﺎﯾﺣﻟ
و ة
ﻋ
ا ن
ﻧﻔﻟ
او نو
ﻠﻌﻟ
مو
ًﻼﻛﺷ
و
ﻣﺿﻣ
و
ﺎًﻧ
،
ﻬﻓ
و
ﻧ
ظ
ﺎ
م
ﻣﺎﻛﺗﻣ
ل
ﻟـ
ﻪ
ﻰﻠﻋ
نأ
ﻫ
ا اذ
ﻟﺎﻌﻟ
م
ﺻﺎﻧﻋ
ر
ﻩ
ا
ﻛﻣﻟ
و
ﻟ ﺔﻧ
ـ
ﻪ
او
ﻲﺗﻟ
ﻋﺎﻔﺗﺗ
ل
ﺑ
رط
ﻊﻧﺻﺗﻟ ﺔﻗﻼﺧ ﺔﻘﯾ
ﺟ ًﺎﻣﻟﺎﻋ
د
ﯾ
.ًاد
مﻟﺎﻌﻟا اذﻫ نأ ﻰﻠﻋ
ا
ﺟﻟ
د
ﯾ
د
ﯾﻟ
س
ﻰﻠﻋ ًﺎﻘﻠﻐﻣ
اذ
ﻪﺗ
،
ﺑ
ل
ﻫ
و
ﻰﻠﻋ ﺢﺗﻔﻧﻣ
ا
ﺧﻵ
.ر
رﻌﺷﻟا اذﻫ نﻋ ﺎﻧﺛدﺣﺗ اذإ
ﻲﻓ
ا
ﻬﻌﻟ
ا د
ﻣﺛﻌﻟ
ﻲﻧﺎ
و
ﺣﺗﻟﺎﺑ
د
ﯾ
د
ﻲﻓ
ا
ﺟﻟ
ز
اﺋ
ر
ﻟ
م
ﻛﺗ
ا ن
ﻋﺎﺳﺗ ﺔﺋﯾﺑﻟ
د
ﻰﻠﻋ
عادﺑلإا
و
ﺑ
ا زور
ﺎﻛﻓﻷ
و ر
ﻗ
ا لو
ﻌﺷﻟ
و ر
ﻰﺗﺣ
ا نأ
ﺔﺳﺎﯾﺳﻟ
ا
ﻗ ﺔﯾﻧﺎﻣﺛﻌﻟ
أ د
ﻘﺑ
ت
ﻰﻠﻋ
ا
ﻔﻟ
و
ﻰﺿ
ا
ﻐﻠﻟ
و
ﺔﯾ
ذو
ﻟ
ك
ﺎﻣﻣ
ﺎﻬﯾﻓ
ﻣ
ن
ﺑ
ر
ﺑ
ر
ﺔﯾ
و
ﻋ
ر
ﺔﯾﺑ
او
ﺎﯾﻣﺎﻌﻟ
ت
ﻫ ﺎﻣﻛ
و
ﻌﻣ
فور
ﺳﯾﻟ
ت
تاودأ
ﺗﻟ
ود
ﯾ
ا ن
ﺎﺗﻟ
ر
ﺦﯾ
و
ﻰﺗﺣ
إ
ﺳﯾﻟ ﺎﻬﻧ
ت
ﺔﻐﻟ
ا
ﻌﺷﻟ
ر
ا
وأ ء
ﺣﻷﺎﺑ
ىر
ﺔﻐﻟ
ا
ﻌﺷﻟ
ا ر
ﻌﺟﺗ ﻲﺗﻟ
ل
ﻪﻧﻣ
ﺎﻧﻓ
دأ
ﺎﯾﺑ
ر
ا
. ﺎﯾﻗ
أ
ةﯾمﻫ
أ و
ﻫ
ا فاد
ل
رد
ا
: ةﺳ
نإ
ﺗﻓ
ا ةر
ﯾﯾﻧﺎﻣﺛﻌﻟ
ن
ﻬﺷ
أ تد
ﺗ ﺎﺿﯾ
روط
ا
ت
ﻋ
د
ﯾ
ةد
ﺎﯾﺣﻠﻟ
ا ة
ﺔﯾﺳﺎﯾﺳﻟ
او
ﻲﻓ ﺔﯾﻋﺎﻣﺗﺟﻻ
ا
ﺟﻟ
ز
اﺋ
،ر
و
ﻼﯾﻣ
ا د
ﻌﻟ
د
ﯾ
د
ﻣ
ا ن
ﻷ
د
ﺎﺑ
و ء
ﺻﺧ
و
ﺎﺻ
ا
ﻌﺷﻟ
ر
ا
ا ء
ﺟﻟ
ز
اﺋ
ر
ﯾﯾ
ا ن
ﻟذ
ﯾ
و ن
ﻌﺿ
او
ﻬﺗﻣﺻﺑ
و م
ﻧ
ظ
ﻣ
أ او
ﺎﻌﺷ
ر
ا
ﻓﺎﻧﺗ
س
ﻧ ﺎﻣ
ظ
ﻪﻣ
ا
ﻌﻟ
بر
ﻲﻓ
ا
ﺷﻣﻟ
و قر
ﻬﻟ
ا اذ
ﺑﺳﻟ
ا ب
ﯾﺧﻷ
أ ر
ﺛ
ر
ﯾﺑﻛ
ر
ﻲﺳﻔﻧ ﻰﻠﻋ
ﯾﺣ
د ث
ﺣﺑﻠﻟ ﻲﻧﻌﻓ
ث
ﻫ ﻲﻓ
اذ
ا
ﻣﻟ
و
ﺿ
ا و ، عو
ﻣﻟ
و
ﺳ
ا :ب مو
ﻌﺷﻟ
ر
ا
ﺟل
ز
اﺋ
ير
ﻲﻓ
ا
قل
ا نر
ﻊﺑﺎﺳل
ﺷﻋ
ر
ﻼﯾم
يد
ﻩﺎﯾﺎﺿﻗ
اوظ و
ﻫ
ر
ﻩ
ا
ةﯾﻧﻔل
.
تدرأو
ﺻﺣ
ر
ﺗﻓ ﻲﻓ ﻲﺛﺣﺑ
او ةر
ﺣ
و ةد
ﻲﻫ
ا
ﻘﻟ
ا نر
ﺷﻋ ﻊﺑﺎﺳﻟ
ر
ﻼﯾﻣ
،يد
ﻪﻧﻷ
وأ
ﺳ
ط
ا
ﻘﻟ
نور
ا
ﺔﺛﻼﺛﻟ
أو
ﻟ ﺎﺿﯾ
م
ﺻﺧﺗ
ص
ﻪﻟ
رد
ا
ﺣﻣ ﺔﺳ
ةدد
ﻛﻓ
ا ل
ﻌﺷﻟ
ر
ا
ا ء
ﻟذ
ﯾ
ن
ﻠﺳ
تط
ﻬﯾﻠﻋ
م
ا
ﻟ
رد
ا
ﺎﺳ
ا ت
ﺿﻟ
ءو
ﻫ
م
ﻣ
ن
ا
ﻘﻟ
ا نر
ﻣﺎﺛﻟ
ن
ﺷﻋ
ر
ﻼﯾﻣ
يد
ﯾﺛﻛ
ر
ا
و
ﻫ
اذ
ﻲﻧﻠﻌﺟ ﺎﻣ
أ
ﺎﺣ
أ نأ لو
ﺣﻣ
و
ا
ﺎﺑﻐﻟ
إو ر
ﺎﻣ
ط
ﺔ
ا
ﺎﺛﻠﻟ
م
ﻫ ﻰﻠﻋ
ذ
ﻩ
ا
ﺗﻔﻟ
ةر
ﺣﺗﻟﺎﺑ
د
ﯾ
ا و د
ﺣﺗﻟ
ثد
ﻋ
ن
ﻌﺷ
ر
ا
ا ء
ﺟﻟ
ز
اﺋ
ا ر
ﻟذ
ﯾ
ن
ﺑ
اوزر
ﻲﻓ
ﺗﻓ
ةر
ﻛﺣ
م
ا
ﯾﯾﻧﺎﻣﺛﻌﻟ
ن
ﺟﻠﻟ
از
ﺋ
.ر
و
ﻗ
د
ﻠﺻﻓ
ت
ﻲﺛﺣﺑ
إ
ﻣ ﻰﻟ
د
ﺧ
و ل
ﯾﺑﺎﺑ
و ن
ﻛﻟ
ل
ﺎﺑ
ب
ﺻﻓ ﺔﺛﻼﺛ
و ،لو
ﺔﻣﺗﺎﺧ
و
ﺎﻬﯾﻠﯾ
ا
ﺣﻠﻣﻟ
ا .ق
ﻣﻟ
د
ﺧ
ل
ﯾ
و
ﯾﻛ ﺢﺿ
ف
ﻧﺎﻛ
ا ت
ﺔﺋﯾﺑﻟ
ا
ﺔﯾﺳﺎﯾﺳﻟ
و
ا
ﺔﯾﻋﺎﻣﺗﺟﻻ
ا و
ﻌﺷﻠﻟ ﺔﯾﻓﺎﻘﺛﻟ
ا ر
ﺟﻟ
ز
اﺋ
ير
ﺗﻓ ﻲﻓ
ةر
ﻛﺣ
ا م
ﺗﻷ
ر
ا
ك
و
ﺻﺧ
و
ﺎﺻ
ا
ﻘﻟ
ا نر
ﺷﻋ ﻊﺑﺎﺳﻟ
ر
ﻼﯾﻣ
يد
،
و
ﺎﻛ
ن
ﻧﻋ
ا ناو
ﺎﺑﻟ
ا ب
ﻷ
لو
ﺎﯾﺎﺿﻗ
ا
ﻌﺷل
ا ر
ﺟل
ز
اﺋ
ير
و
ﻪﻧﯾمﺎﺿم
و ،
ﻫ
و
ﺣ
و
ﻛﻟ ﺔﻠﺻ
ا ل
ﻣﻟ
او
ﻊﯾﺿ
او
ﻏﻷ
ر
ا
ا ض
ﺎﻬﺟﻟﺎﻋ ﻲﺗﻟ
ﻌﺷ
ر
ا
ا ء
ﺟﻟ
ز
اﺋ
ر
ﻲﻓ
ا
ﻘﻟ
ا نر
ﻊﺑﺎﺳﻟ
ﺷﻋ
ر
ﻼﯾﻣ
و ،يد
ﻗ
ا د
ﺗﺣ
ىو
ﺻﻓ ﺔﺛﻼﺛ
لو
ﺎﻣﺄﻓ
ا
ﻷ
لو
ﺎﺧ
ص
ﻌﺷﻟﺎﺑ
ا ر
ﻟ
و
ﺟ
اد
ﻲﻧ
و
ﻣ
او
ﻪﻌﯾﺿ
او
ﺣ ﻲﻧﺎﺛﻟ
لو
ا
ﻌﺷﻟ
ا ر
ﻟد
ﻣ ﻲﻧﯾ
ز ن
ﻫ
و د
ﻣ
د
ﺑﻧ ﺢﯾ
أو يو
ﺎﻣ
ا
ﻟﺎﺛﻟ
ث
ﻘﻓ
د
ﺗ
رط
ﻪﯾﻓ ﺎﻧﻗ
إ
ﻰﻟ
ا
ﻌﺷﻟ
ر
ا
ﻟ
ﻲﺳﺎﯾﺳ
او
ﻲﻋﺎﻣﺗﺟﻻ
و
ﯾﻛ
ف
ﻧﺎﻛ
ط ت
ﺔﻌﯾﺑ
ا
ﻣﻟ
او
ﻊﯾﺿ
ا
ﺔﺳﺎﯾﺳﻟﺎﺑ ﺔﻘﻠﻌﺗﻣﻟ
آﻧ
كاذ
.
ﻲﻧﺎﺛﻟا بﺎﺑﻟاو
يرﺋازﺟلا رﻌﺷلا ﻲﻓ ةﯾﻧﻔلا رﻫاوظلا
،
و
ﻗ
د
ﺎﺟ
ء
ﻪﯾﻓ
أ
ﻫ
ا م
ﻟ
اوظ
ﻫ
ا ر
ﺔﯾﻧﻔﻟ
ا
ﻟ
اوظ
ﻫ
ر
ا
ﻣ ﺔﯾﻧﻔﻟ
إ ن
ﺎﻘﯾ
و ع
ﺻ
ةرو
ﻌﺷ
ر
ﺔﯾ
و
ﺟﻌﻣ
أو ،م
ﺻﻓ ﺔﺛﻼﺛ ﻰﻠﻋ ﻰﺗ
لو
ﻷﺎﻓ
لو
ﺣ
ا لو
ﺎﻘﯾلإ
ا ع
ﻌﺷﻟ
ير
او
ﻣﻟ
و
ﻰﻘﯾﺳ
اﻟ
اد
ﺔﯾﻠﺧ
او
ﺎﺧﻟ
ر
ﺔﯾﺟ
او
ﺎﺧ ﻲﻧﺎﺛﻟ
ص
ﺻﻟﺎﺑ
ا ةرو
ﻌﺷﻟ
ر
ﻣ ﺔﯾ
ن
ﻼﺧ
ا ل
ﻪﯾﺑﺷﺗﻟ
او
ﺎﻌﺗﺳﻻ
ةر
او
ﺔﯾﺎﻧﻛﻟ
أو
ﺎﻣ
ا
ﻟﺎﺛﻟ
ث
ﺎﻛﻓ
ن
ﺣ
ا لو
ﺟﻌﻣﻟ
ا م
ﻌﺷﻟ
أو ير
ﻫ
ا م
ﻘﺣﻟ
ا لو
ﻟ
د
ﺔﯾﻟﻻ
ا
ﻲﺗﻟ
و
ﺟ
د
ﻲﻓ ﺎﻫﺎﻧ
أ
ﺎﻌﺷ
ر
ﺎﻧ
ا
ﺎﺗﺧﻣﻟ
. ةر
3
و
ﻲﻓ
ا
ﯾﺧﻷ
ر
ﻟﺎﺑ ﺔﻣﺗﺎﺧ
ط
ﺻﺧﻟ ﻊﺑ
ت
ﺎﻬﯾﻓ
أ
ﻫ
ا م
ﺎﻘﻧﻟ
ا و ط
ﺎﺟﺎﺗﻧﺗﺳﻻ
ا ت
ﺗ ﻲﺗﻟ
و
ﺻ
إ ل
ﺎﻬﯾﻟ
ﻲﺛﺣﺑ
و
ﺎﻬﯾﻠﯾ
ا
ﺣﻠﻣﻟ
ا ق
ﻟ
يذ
ﻌﻣﺟ
ت
ﺋﺎﺻﻗ ﻪﯾﻓ
د
ﺎﺗﺧﻣ
ةر
ﻣ
ا ن
ﻘﻟ
ا نر
ﺷﻋ ﻊﺑﺎﺳﻟ
ر
ﻼﯾﻣ
. يد
و
ﻗ
درأ د
ﺎﻧ
نأ
ﻠﺳﻧ
ا ط
ﺿﻟ
ءو
ﻰﻠﻋ
ا
ﻋﺎﺷﻟ
ر
ﯾ
ا ن
ﻠﻟ
ناذ
ﺎﻛ
ن
ﺎﻣﻬﻟ
ا
ﺿﻔﻟ
ل
ﻪﻟﺎﻗ ﺎﻣ ﻊﻣﺟ ﻲﻓ
ﻌﺷ
ر
ا
ء
ا
ﻘﻟ
نر
ا
ﻊﺑﺎﺳﻟ
ﺷﻋ
ر
ﻼﯾﻣ
يد
و
اﻟ
ذ
ﯾ
ن
ذ
ﻛ
ر
ﺎﻧ
أ
ﻬﺋﺎﻣﺳ
،م
ﺎﻣﺄﻓ
ﻲلﻋ نﺑا
و
رﺎمﻋ نﺑا
ﺎﻣﻫ
ا
ﻠﻟ
ناذ
ﻲﻓ ﺎﻌﻣﺟ
ا
ﺧﻣﻟ
طوط
و
ﻲﻓ
اﻟ
ر
ﺔﻠﺣ
أو
ﺎﻣ
ا
ﻬﻓ ﺔﯾﻘﺑﻟ
م
ﻣ
ن
ﻧ
ر
ﯾ
نأ د
ﻠﺣﻧ
ل
ﺋﺎﺻﻗ
د
ﻫ
م
ﻣ
ن
ﺔﯾﺣﺎﻧ
ا
ﻣﺿﻣﻟ
أو نو
ﺎﺿﯾ
ا
ﻧﺎﺟﻟ
ا ب
ﻲﻧﻔﻟ
.
ءوﺿﻟا تطﻠﺳ ﺔﺳاردﻟا ﻩذﻫ نإ
ﻰﻠﻋ
ا
ﻌﺷﻟ
ا ر
ﺟﻟ
ز
اﺋ
ير
ﻠﺗ ﻲﻓ
ا ك
ﺗﻔﻟ
ةر
،
و
ﺣﺗﻟﺎﺑ
د
ﯾ
د
ﻲﻓ
ا
ﻘﻟ
نر
ا
ﻊﺑﺎﺳﻟ
ﺷﻋ
ر
ﻼﯾﻣ
ا يد
ﻟ
يذ
ﻌﯾ
وأ د
ﺳ
ا ط
ﻘﻟ
ا نور
ﺎﻬﺗﺷﯾﺎﻋ ﻲﺗﻟ
ا
ﺟﻟ
ز
اﺋ
ر
ﺣﺗ
ا ت
ﻬﻌﻟ
ا د
,ﻲﻧﺎﻣﺛﻌﻟ
و
ﻣ
ن
ﻼﺧ
ل
ﻫ
اذ
ا
ﻌﺷﻟ
ر
ﺗﻧﺳ
إ قرط
ﻫ ﻰﻟ
ؤ
ﻻ
ا ء
ﻌﺷﻟ
ر
ا
ا ء
ﻟذ
ﯾ
ن
ﺗ
ر
ﻛ
او
ﻬﺗﻣﺻﺑ
م
ﻣ
ن
ﻼﺧ
أ ل
ﺎﻌﺷ
ر
ﻫ
و م
ﻠﻌﺟ
او
ﻌﺷﻠﻟ
ر
ا
ﺟﻟ
ز
اﺋ
ير
ﺔﻧﺎﻛﻣ
و
ﺳ
ا ط
ﻌﺷﻟ
ا ر
ﻌﻟ
ر
ﺔﻣﺎﻋ ﻲﺑ
.
ر
ﻏ
م
ﯾﺛﺄﺗ
ا ر
ﻧﺎﺟﻟ
ا ب
ﻰﻠﻋ ﻲﺳﺎﯾﺳﻟ
إ
ﺎﺗﻧ
ا ج
ﻌﺷﻟ
ر
ﻲﻓ
ا
ﻘﻟ
ا نر
ﺷﻋ ﻊﺑﺎﺳﻟ
ر
ﻼﯾﻣ
إ يد
ﻻ
،نأ
ﺎﻧﻫ
ك
ﻣﺟﻣ
و
ﻣ ﺔﻋ
ن
ا
ﺎﻌﺷﻷ
ر
ﻲﻓ
ر
ﺔﻠﺣ
نﺑا
ﺎﻣﻋ
ا ر
ﻲﺗﻟ
ط
ﻌﺑ
ت
ﺎﻬﻧﻣ
ﺎﺑ
ﺟﻟ
ز
اﺋ
ر
ﺔﻧﺳ
1904
أو
ﺧﻣ ﻲﻓ ﺎﺿﯾ
طوط
ﯾﺑﻛ
ر
ﻪﺗﻘﻘﺣ
و
ﻗ
د
ﻪﻣ
ا
ﻣﻟ
ا خرؤ
ﺟﻟ
ز
اﺋ
أ ير
ﺑ
و
ﺳﺎﻗ
م
ﻌﺳ
ا د
ﷲ
و
ﻘﻟ
د
ﺻﺣ
ل
ﻫ ﻰﻠﻋ
ذ
ﻩ
ا
ﺧﻣﻟ
طوط
ﺑ ﺔ
او
ﺳ
ط
ﺻ ﺔ
د
ﺔﻘﯾ
ا
ﺣﺎﺑﻟ
ا ث
ﻟد
ﺗﻛ
رو
ﺎﺑﻋ
ا س
ﺟﻟ
ر
ا
ير
ﯾﺣ
ث
ﻘﯾ
لو
ﻪﺑﺎﺗﻛ ﻲﻓ
أ
ﺎﻌﺷ
ر
ﺟ
ز
اﺋ
ر
ﻠﺻﺣ " ﺔﯾ
ت
ﻫ ﻰﻠﻋ
ا اذ
ﺧﻣﻟ
طوط
ﺑ
او
ﺳ
ط
ﺻ ﺔ
د
ﺎﻧﻘﯾ
ا
ﺣﺎﺑﻟ
ا ث
ﻟد
ﺗﻛ
رو
ﺎﺑﻋ
س
ا
ﺟﻟ
ر
ا
أ ير
ﺎﺗﺳ
ا ذ
ﻷ
د
ب
ﻣﺣﻣ ﺔﻌﻣﺎﺟﺑ
ا د
ﻣﺎﺧﻟ
س
ﻟﺎﺑ
ر
ﺎﺑ
ا و ط
ﺧﻣﻟ
طوط
ر
ﻪﻣﻗ
ك
1387
ﺧﻟﺎﺑ
ز
ا
ﺔﻧ
ا
ﻟﺎﺑ ﺔﻣﺎﻌﻟ
ر
ﺎﺑ
".ط
و
ﻘﻟ
ا د
ﺗﺣ
ىو
ﻫ
ا ناذ
ﺻﻣﻟ
رد
ا
ر ن
ﺔﻠﺣ
رﻌﺷ نﻣ لﯾﻗ ﺎﻣ لﻣﺟﻣ ﺔطوطﺧﻣﻟاو رﺎﻣﻋ نﺑا
ﻲﻓ
ا
ﻘﻟ
ا نر
ﻊﺑﺎﺳﻟ
ﺷﻋ
ر
ﻼﯾﻣ
او يد
ﻘﻟ
ا نر
ﻣﺎﺛﻟ
ن
ﺷﻋ
إ ر
ﻻ
رد نأ
ا
ﻛﺗﺳ ﺎﻧﺗﺳ
نو
ﻘﻓ
ط
ﺣ
لو
ﻠﺗ
ك
ا
ﻣﺟﻣﻟ
و
ﻣ ﺔﻋ
ا ن
ﺎﻌﺷﻷ
ا ر
ﻠﯾﻗ ﻲﺗﻟ
ت
أو
ﺟﺗﻧ
ﺣﻓ ﺎﻬ
ا لو
ﻌﺷﻟ
ر
ا
آ ء
ﻧ
أ كاذ
ﺎﺛﻣ
ل
ﻣﺣﻣ
د
ا
ﻘﻟ
و
ﻲﻠﺟ
أو
ﻣﺣ
د
ا
ﻲﺗﻼﺟﺎﻧﻣﻟ
و
ﯾﻏ
ر
ﻫ
...م
و
ﻘﻟ
و د
ﺟ
د
ﻲﻓ
ا
ﺧﻣﻟ
ا طوط
ﻟ
يذ
ﻪﻘﻘﺣ
أﺑ
ا و
ﺳﺎﻘﻟ
م
ﻌﺳ
ا د
ﺔﺛﻼﺛ ﷲ
أ
ﺎﺳﻗ
م
ﺎﻛﺗ
د
ﻘﺗﺳﺗ
ل
ﻋ
ن
ﺎﻬﺿﻌﺑ
ا
ﻌﺑﻟ
ض
،
ﺟﻧﻓ
ا د
ﻷ
لو
ﻼﺟﺎﺳﻣ
ت
ﯾﺑ
ن
نﺑا
ﻲﻠﻋ
ﺔﯾﻟزﻐﻟا ﻲﻠﻋ نﺑا رﺎﻌﺷأ نﻣ ﺔﻋوﻣﺟﻣ ﻲﻬﻓ ﻲﻧﺎﺛﻟا ﺎﻣأو رﺎﻣﻋ نﺑاو
و ،
أ
ﺎﻣ
ا
ﻟﺎﺛﻟ
ث
د
ﯾ
ناو
رﺎﻌﺷأ ﻪﯾﻓ ﻊﻣﺟ يذﻟا ﻲﻠﻋ نﺑا
ﯾﻏ
ر
ﻣ ﻩ
ا ن
ﻌﺷﻟ
ر
ا
و ء
ﺑ
اد
ﻫ ﺔﯾ
ا اذ
ﻣﻌﻟ
ل
ﻫ
و
ﻗ
لو
رﺎﻣﻋ نﺑا
قﺗﻓ يذﻟا لله دﻣﺣﻟا" ﻲﻠﻋ نﺑا نﻋ
ﻣ
ر ن
ﺎﯾ
ا ض
ﻷ
بد
ﺎﻣ
ا
ﻘﺷﻧﺗﺳ
ت
ﺎﻐﻠﺑ ﻪﻧﻣ
ء
ﻫ
ذ
ﻩ
ا
ﺔﻣﻷ
،
و
ا
ﻼﺻﻟ
او ة
ﻼﺳﻟ
م
ﯾﺳ ﻰﻠﻋ
د
ﻣﺣﻣ ﺎﻧ
د
نإ
ﻣ
ا ن
ﺎﯾﺑﻟ
ن
ﺣﺳﻟ
ر
ا
و
نإ
ﻣ
ا ن
ﻌﺷﻟ
ر
ﻣﻛﺣﻟ
ة
...."
اذإو
ﺎﻧﻌﻣﺗ
أ
ﺛﻛ
ر
ﻣ
ا ن
ﻷ
ز
ﺔﻧﻣ
ا
ﻠﯾﻗ ﻲﺗﻟ
ت
ﺋﺎﺻﻗ ﺎﻬﯾﻓ
ا د
ﺧﻣﻟ
و طوط
ﺟ
د
ﺎﻧﺗﺗ ﺎﻫﺎﻧ
لو
نﺑا ناوﯾد ﺎﺻوﺻﺧو
ﺋﺎﺻﻗ ﻲﻠﻋ
د
ﻌﺷﻟ
ءار
ﺷﺎﻋ
او
ﻲﻓ
ا
ﻘﻟ
ا نر
ﺷﻋ ﻊﺑﺎﺳﻟ
ر
ﻼﯾﻣ
نأ يأ يد
ا
ﻘﻟ
ا نر
ﺎﺣﻟ
يد
ﺷﻋ
ر
ﺟﻫ
و ير
ﻬﻧﻣ
م
ﺟ
اد
ﻩ
ا
ﻰﻠﻋﻷ
ا و
ﻷ
د
ﻰﻧ
او و
ﻟد
ﻩ
و
ﻣﺣﻣ
ا د
ﻘﻟ
و
ﻲﻠﯾﺟ
أو
ﻣﺣ
د
ا
ﻲﺗﻼﺟﻧﺎﻣﻟ
و
ﻣﺣﻣ
د
ﺑ
ا سرأ ن
ﯾﻌﻟ
و ن
ﺣﻣ
ﻣ
د
ا
ﺎﺑﺷﻟ
ح
.
ﻟ
و
ﯾﺑ ﺎﻧﻌﻣﺟ
ن
ر
ﻠﺣ
نﺑا ناوﯾدو رﺎﻣﻋ نﺑا ة
ﻲﻠﻋ
ا
ﻣﻟ
و
ﺟ
دو
ﻲﻓ
ا
ﺧﻣﻟ
طوط
ﻟ
و
ﺟ
د
ﺎﻧ
أ
ﺎﻣﻬﻧ
"
أ
ﺎﺷ
ر
ا
إ
ﻰﻟ
ﻌﺷ
ر
ا
ء
ﺻﻋ
ر
ﻫ
و م
ﻫ
ا م
ﻟذ
ﯾ
ن
ﺎﻛ
ن
ﯾﺷﯾ
إ ر
ﻬﯾﻟ
م
ﺳﺎﺑ
م
"رﺻﻌﻟا لﻫأ"
نرﻘﻟا وﻫو
ا
ﺷﻋ ﻊﺑﺎﺳﻟ
ر
ﻼﯾﻣ
و ،يد
ﯾ
ىر
أﺑ
ا و
ﺳﺎﻘﻟ
م
ﻌﺳ
ا د
ﷲ
نأ
ﻫ
فد
ضرﻋ ناوﯾدﻟا اذﻫ نﻣ ﻲﻠﻋ نﺑا
ﺎﻣﻧ
جذ
ﻣ
ا ن
ﺎﻌﺷﻷ
ر
ﯾﻏ
ر
ﻣ
ر
ﺑﻷ ﺔﺑﺗ
زر
ا
ﻌﺷﻟ
ﺔﻌطﻗ لﻛ ﻊﻣ رﻛذﯾ وﻫو ... ءار
ﺎﻬﺗﺑﺳﺎﻧﻣ
و ،
ﯾﺿﯾ
إ ف
ﻌﺑ ﺎﻬﯾﻟ
ض
ا
ﻠﻌﻣﻟ
و
ﺎﻣ
ت
ﻣ
و
ﺎﺣﺿ
وأ
ﻰﻠﻋ ﺎﻬﺑﻧﻣ
أ
ﻣ
رو
ﺎﻬﯾﻓ
و
ﻟ
م
ﻛﯾ
ن
ﻏ
ر
ﻪﺿ
ا
ﺗﻟ
ر
ﺎﺣﺻﻷ ﺔﻣﺟ
ا ب
ﺋﺎﺻﻘﻟ
و ،د
ﻫ
و
ﻫ ﻲﻓ
ذ
ﻩ
اﻟ
رط
ﻠﺗﺧﯾ ﺔﻘﯾ
ف
ﻊﻣ
رط
ﺻ ﺔﻘﯾ
د
ﻪﻘﯾ
ﻩذﯾﻣﻠﺗو
4
يذﻟا رﺎﻣﻋ نﺑا
ا
ﺎﺗﺧ
ر
ﻲﻓ رﺻﻧﻟا ءاوﻟ ﻪﺑﺎﺗﻛ ﻲﻓ ﻊﻣﺟﯾ نأ
.)ﺎﻌﻣ صﻧﻟاو ﺔﻣﺟرﺗﻟا( رﺻﻌﻟا ءﻼﺿﻓ
رﺎﺗﺧا ﻲﻠﻋ نﺑا ذﺎﺗﺳﻷا لوأ نأ كﻟذ نﻧﻣ مﻬﻔﻧ
ﻋ
و ضر
ﻊﻣﺟ
ا
ﺎﻌﺷﻷ
ر
ﻘﻓ
أ ط
ﯾﻣﻠﺗ ﺎﻣ
ذ
رﺎﻣﻋ نﺑا
ﻘﻓ
د
دارأ
ا
ﺗﻟ
ر
ﺎﺣﺻﻷ ﺔﻣﺟ
ا ب
ﺋﺎﺻﻘﻟ
و د
ﻫ
اذ
ﻋﺎﺳﯾ ﺎﻣ
د
ﺎﻧ
أ
ﺛﻛ
ر
ﻲﻓ
ا
ﻌﺗﻟ
فر
ﻰﻠﻋ
ﻌﺷ
ر
ا
ا ء
ﻘﻟ
ا نر
ﺎﺣﻟ
يد
ﺷﻋ
ر
ﺟﻫ
ير
(ا
ﺷﻋ ﻊﺑﺎﺳﻟ
ر
ﻼﯾﻣ
. يد
)
و
ﻘﻟ
د
ﺎﻛ
ن
ﻫ
ا اذ
ﻘﻟ
نر
ﺻﻋ
ر
ر
ﻲﻗ
دزا و
ﺎﻫ
ر
ﻣ
ا ن
ﺔﯾﺣﺎﻧﻟ
ا
ﺎﺻﺗﻗﻻ
د
ﻲﻓ ﺔﯾ
ا
ﺟﻟ
ز
اﺋ
ر
ﺎﻣ ﻰﻠﻋ
ذ
ﻛ
ر
ﻩ
ا
ﻣﻟ
رؤ
ﺧ
و ،نو
ﻗ
د
ﺻﻗ
ا د
ﺟﻟ
ز
اﺋ
آ ر
ﻧ
كاذ
ﺎﻣﻠﻋ
ء
ﯾﻣﻠﺳﻣ
ن
ﺷﻣ
ر
ﺎﻗ
و
ﻐﻣ
ر
ﺎﺑ
ط
ﯾﺑﻟﺎ
ا ن
ﻟ
،قزر
أو
ﻬﻣﻫ
م
ﻼﺋﺎﻋ
ت
ا
ﻌﺷﻟ
ر
ا
ا ء
ﻟذ
ﯾ
ن
ﺣﻧ
ن
ﺻﺑ
دد
رد
ا
ﻪﺗﺳ
ﻌﺷ
ر
ﻫ
أ م
ﺎﺛﻣ
ل
ﺔﻠﺋﺎﻋ
ز
ا
ﻛ
رو
ﻣ
ا ن
ﻐﻣﻟ
.بر
و
أو
ﺎﺷ
أ ر
ﺑ
ا و
ﺳﺎﻘﻟ
م
ﻌﺳ
ا د
ﷲ
نأ
ﻠﺗﺧﻣ
ا ف
ﺎﻣﺳﻷ
ء
ا
ﺗ ﻲﺗﻟ
او
ﻓ
إ تد
ﻰﻟ
ا
ﺟﻟ
ز
اﺋ
ر
ﻗ
ذ د
ﻛ
ر
ﻛ ﺎﻫ
ل
ﻣ
ن
ﺑﻋ
د
ا
ﻛﻟ
ر
ﯾ
م
ا
ﻛﻔﻟ
نو
ﻲﻓ
ﺷﻧﻣ ﻪﺑﺎﺗﻛ
رو
ا
ﻬﻟ
اد
ﺔﯾ
و
ﻣﺣﻣ
د
ﻲﺑ
ﺎﻣﯾﻠﺳ
ن
ﻲﻓ
ﺔﺑﻌﻛ ﻪﺑﺎﺗﻛ
ا
ﻟ
ط
ﯾﯾﻔﺋﺎ
و ن
ﻼﻛ
ا
ﯾﺑﺎﺗﻛﻟ
ن
ﻣ
ؤ
ﻟ
ف
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ﻧﻋ ﺎﻘﺣﻻ
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ا
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د
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ﻪﻟﺎﻗ ﺎﻣ
نﺑاو ﻲﻠﻋ نﺑا
رﺎﻣﻋ
ﺎﻛ
ن
ﯾﺑﻌﺗ
ر
ا
ﻋ
ن
ﻫ ﺔﻓﺎﻘﺛ
ؤ
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ﻬﻧﻛﻣﺗ
م
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ا
ﺔﯾﻣﻼﺳلإ
او
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ا
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ود
ﻣ ﺎﻫ
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ﻣﻋ ﺔﻌﯾﺑ
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رو ،ب
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ا
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. ﺔﯾﺳﻟ
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ا
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ا
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ا
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ن
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آ
ﺎﺛ
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ا
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ا
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د
ﺔﯾﺳﻟ
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ﺎﺣﺷ
ت
وو
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ف
ا
ﻟ
ر
ﺎﯾ
ض
و
ا
ﻟ
ط
ﺔﻌﯾﺑ
ﻣﻋ
و
ﺎﻣ
،
و
ا
ﯾﺑﺷﺗﻟ
،ب
رو
ﺔﻗ
ا
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ظ
و
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د
ا
ﺔﯾﻠﺧﻷ
ﻛ
ل
ذﻟ
ك
ﻣ
ن
آ
ﺎﺛ
ر
ا
ﻣﻟ
رد
ﺔﺳ
ا
ﻧﻷ
د
ﺔﯾﺳﻟ
.
رو
ﻏ
ذ م
ﻟ
ك
ﺈﻓ
ن
ﻫ
ؤ
ﻻ
ا ء
ﻌﺷﻟ
ر
ا
ء
ﻻ
ﺎﻣﯾﺳ
رﺎﻣﻋ نﺑاو ﻲﻠﻋ نﺑا
ثارﺗﻠﻟ ةرﺧﻔﻣ نورﺑﺗﻌﯾ
ا
ﺟﻟ
ز
اﺋ
ير
ا
ﻌﻟ
ر
ﻲﺑ
و
ﻗ
د
ﻐﻠﺑ
او
ﻣ
ا ن
ﺣﻟ
ر
ﺔﻛ
ا
ﻌﺷﻟ
ر
ﺔﯾ
أ
ﻣ
ر
ا
ﻋ
ظ
ﺎﻣﯾ
و
ﻗ ﻰﺗﺣ
ا ةو
ﺎﻔﻟﻷ
ا و ظ
ﻲﻧﺎﻌﻣﻟ
او
ﺻﻟ
رو
ا
ﺔﯾﻧﺎﯾﺑﻟ
و
ﻫ
اذ
ﺎﻣ
ﺣﻼﻧﺳ
ظ
ﻲﻓ ﻪ
ا
ﯾﻠﺣﺗﻟ
ل
ﺎﻘﺣﻻ
،
و
ﯾ ﺎﻣ
ز
ﯾ
إ د
ﺎﺑﺎﺟﻋ
او
ﺎﺧﺗﻓ
ر
ا
ﻬﺑ
ؤ
ﻻ
ء
أ
ﻬﻧ
م
ﺑﺗﻛ
او
ﻛ
ل
ﻫ
اذ
ﻣ
ن
ا
ﻔﻟ
و ةرط
ﻟ
م
ﻣﻠﺗﺗﯾ
اوذ
ﻐﺑ ﻲﻓ
ا وأ داد
ﻧﻷ
دﻟ
و س
ﻟ
م
ﻛﯾ
ن
ﻬﻟ
أ م
ﺔﻠﺻ ﺔﯾ
ﻣﺑ
سراد
ﻷﺎﻛ ﺔﯾﻣﻠﻋ
ز
ﻫ
ا وأ ر
ﻟ
ز
ﺗﯾ
و
ﺔﻧ
ا وأ
ﻘﻟ
ور
ﯾﺳ
إ و ن
ﻣ ﺎﻣﻧ
ن
ا
ﻔﻟ
ا و ةرط
ﻟذ
ﺎﻛ
ا و ء
ﺑﻧﻟ
و .غو
ﻲﻓ
ﻔﻧ
ا س
ﺎﯾﺳﻟ
ق
ﺗ
رط
ﻫ ﻲﻓ ﺎﻧﻗ
ذ
ﻩ
اﻟ
رد
ا
ﺔﺳ
إ
ﻰﻟ
اﻟ
اوظ
ﻫ
ا ر
ﺔﯾﻧﻔﻟ
و
ﺻﺧ
و
ﺎﺻ
ا
ﺎﻘﯾلإ
ع
ﯾﺣ
ث
ا
ﻔﻠﺗﺧ
رآ ت
ا
و ء
و
ﺎﻬﺟ
ا ت
ﻧﻟ
رظ
ﯾﺛﺣﺎﺑﻠﻟ
و ن
ا
ﻟ
راد
ﯾﺳ
ن
ﻲﻓ
ﺑﺿ
ط
ﺻﻣ
ط
ﺢﻠ
ا"
ﺎﻘﯾلإ
"ع
و
ﻪﺗﺄﺷﻧ
ذو
ﻟ
ك
ﻷ
ن
ﻛ
ل
ﺣﺎﺑ
سراد وأ ث
ﻧ ﻪﻟ
ز
ﺔﻋ
و
ﺔﻓﺎﻘﺛ
و
ﯾ ﺔﺋﯾﺑ
ىر
ﻣ
ن
ﺎﻬﻟﻼﺧ
و
ﻧ ﺔﻬﺟ
رظ
ﻩ
و ،
ﻌﻣ
مظ
ا
ﺎﻣﻠﻌﻟ
ء
ﯾ
ا نأ نور
ﺎﻘﯾلإ
ع
ﻬﻔﻣﺑ
و
ﻪﻣ
اﻟ
او
ﻌﯾ ﻊﺳ
د
ﻣ
أ ن
ﺛﻛ
ا ر
ﯾﻫﺎﻔﻣﻟ
م
ﻣﻏ
و
ﻟ ﺎﺿ
ذﻟ
ك
ﺎﺣ
و
ﺎﻧﻟ
ا
ﻌﺗﻟ
ضر
ﻠﺗﺧﻣﻟ
ف
ﻠﺗ
ك
ﻵا
ر
ا
ء
ا و
ﻌﺗﻟ
ر
ﺎﻔﯾ
ت
ﻫﻷ
ا م
ﯾﺛﺣﺎﺑﻟ
و ن
اﻟ
راد
ﯾﺳ
ن
ﻬﻔﻣﻟ
ا مو
ﺎﻘﯾلإ
و ع
ﻌﺑ
د
ﺎﻫ
ر
ﺑ
ط
ﺎﻣ ﺎﻧ
و
ﺟ
د
ﻫﺄﺑ ﻩﺎﻧ
ا م
ﺎﻌﺷﻷ
ا ر
ﺟﻟ
ز
اﺋ
ر
ﺔﯾ
ﻲﻓ
ا
ﻬﻌﻟ
ا د
ﻲﻧﺎﻣﺛﻌﻟ
يأ
" ﻲﻓ
ا
ﻘﻟ
ا نر
ﺷﻋ ﻊﺑﺎﺳﻟ
ر
ﻼﯾﻣ
يد
"
،
و
ﺔﯾﻠﻣﻌﺑ ﺎﻧﻣﻗ
ا
ﺎﻘﺳلإ
ا ط
ﻣﻌﺗﻟ
أ ق
ﺛﻛ
ر
ﻲﻓ
ا
ﻧﺎﺟﻟ
ب
ا
ﺗﻟ
ط
ﻬﻟ ﻲﻘﯾﺑ
ا اذ
ﻣﻌﻟ
. ل
أو
ﻣ ﺎﻣ
ن
ﺔﯾﺣﺎﻧ
ا
ﺻﻟ
ا ةرو
ﻌﺷﻟ
ر
ﻌﺗ ﺔﯾ
د
ﺻﻧﻋ
ر
ا
ﺎﻣﺎﻫ
أ و
ﻣ ﺎﯾﺳﺎﺳ
ن
ﺻﺎﻧﻋ
ا ر
ﺎﻧﺑﻟ
ء
ا
ﻌﺷﻟ
ير
ﻧﺎﺟﺑ
ب
ا
ﺎﻘﯾلإ
ا ع
ﻌﺷﻟ
ير
ﻣﺑ
و
ﻩﺎﻘﯾﺳ
اﻟ
اد
ﺔﯾﻠﺧ
ا و
ﺎﺧﻟ
ر
ﺔﯾﺟ
و ،
ﺗﺗ
اد
ﺧ
ل
ﻛ
ل
ﻫ
ذ
ﻩ
ا
ﺻﺎﻧﻌﻟ
ر
ﻌﺗﻟ
ط
ﻲ
ﯾﺻﻘﻠﻟ
ةد
ﺎﻬﺗﯾﻟﺎﻣﺟ
،
5
و
ﻫ
ذ
ﻩ
ا
ﺻﻟ
ةرو
ﺗ
ر
ﺑﺗ
ط
ﺻﻧﻌﺑ
آ ر
ﺧ
ر
ﺎﻬﻠﻌﺟﯾ
أ
ﺛﻛ
ر
ﻼﻋﺎﻔﺗ
و ،
ﻫ
ا و
ﺎﯾﺧﻟ
ا ل
ﻟ
يذ
ﺑ
ود
ﺗﺳﻧ ﻻ ﻪﻧ
ط
ﻊﯾ
نأ
ﻌﻧ
ط
ﻲ
ﺔﯾﻠﻣﻋ
إﺑ
اد
ﻌﺷﻠﻟ ﺔﯾﻋ
و ،ر
ﻫ
ا و
ﺻﺎﻔﻟ
ل
ﯾﺑ
ن
ﺔﻐﻟ
ا
ﺷﻧﻟ
و ر
ﺔﻐﻟ
ا
ﺷﻟ
ﻌ
.ر
:ةﯾحﺎتﻔملا تﺎملكلا
يرﺋازﺟﻟا رﻌﺷﻟا
يدﻼﯾﻣ رﺷﻋ ﻊﺑﺎﺳﻟا نرﻘﻟا
–
ﺔﯾﻧﻔﻟا رﻫاوظﻟا
–
ﺔﯾوﻧﻌﻣﻟا ﺎﯾﺎﺿﻘﻟا
رﺋازﺟﻟا ءارﻌﺷ
Résumé:Introduction :
La poésie n’est pas seulement une nouvelle, une idée ou un sujet, elle fait partie de nombreuses parties qui sont des œuvres poétiques, et puis la poésie n’est pas seulement des éléments de composition esthétique et non esthétique, mais un système, la construction et une vision particulière de la vie et de l’univers.
La poésie diffère de la réalité de la vie et des arts et des sciences dans la forme et le contenu, c’est un système intégré pour elle que ce monde a ses éléments constitutifs, qui interagissent de façon créative pour créer un nouveau monde. Cependant, ce nouveau monde n’est pas fermé à lui-même, mais est ouvert à l’autre.
Si nous parlons de cette poésie à l’époque ottomane et plus particulièrement en Algérie, l’environnement n’a pas aidé à créer et à l’émergence d’idées et de dire de la poésie, et même que la politique ottomane a maintenu le chaos linguistique, qui est dans l’intérêt du berbère, arabe et familier car il n’est pas connu comme un outil pour la religion de l’histoire et même pas la langue des poètes ou plutôt le langage de la poésie qui en fait un art littéraire.
L’importance et les objectifs de l’étude :
La période ottomane a également été le théâtre de nombreux développements politiques et sociaux en Algérie, et de nombreux écrivains, en particulier les poètes algériens, qui ont fait leur marque et organisé des poèmes en concurrence avec ce que les Arabes ont organisé en Orient C’est pourquoi j’ai eu une grande influence sur moi-même, ce qui m’a incité à faire des recherches sur ce sujet, marqué b: la poésie algérienne au 17ème siècle, mon pays,.
Je voulais limiter mes recherches à une époque, le XVIIe siècle, parce que c’était le milieu des trois siècles et que je ne l’ai pas étudiée spécifiquement, tous les poètes dont les études ont été mises en évidence au XVIIIe siècle, mon pays, et cela m’a fait essayer d’effacer la poussière et de révéler cette période en parlant des poètes d’Algérie qui ont émergé pendant la période ottomane de l’Algérie.
Mes recherches ont été séparées en une entrée et deux portes, et chaque section comporte trois chapitres et la conclusion de l’appendice. L’entrée montre comment l’environnement politique, social et culturel de la poésie algérienne a été pendant le règne turc, en particulier le 17ème siècle, et le titre de la première partie a été les juges de la poésie algérienne et son passé, qui est un lien avec tous les mesads. Le premier est pour la poésie sentimentale et ses ministères, et la seconde est sur la poésie religieuse de Zahed et Medeh
6
Nabawi, et le troisième a touché à la poésie politique Et le social et comment il était la médecine des questions politiques à l’époque.
La deuxième partie des phénomènes artistiques de la poésie algérienne, qui est venu dans les phénomènes artistiques les plus importants, les phénomènes artistiques du rythme, l’image poétique et le dictionnaire, et est venu sur trois chapitres, le premier sur le rythme de la poésie et la musique de l’intérieur et de l’étranger et le second est sur l’image poétique à travers la ressemblance, la métaphore, la métaphore, et le troisième était sur le dictionnaire poétique et les domaines sémantiques les plus importants que nous avons trouvés dans nos poèmes sélectionnés.
En fin de compte, bien sûr, j’ai résumé les points et conclusions les plus importants de mes recherches, suivis de l’annexe dans laquelle ont été compilés des poèmes choisis du XVIIe siècle, Mélady.
Nous voulions mettre en évidence les deux poètes qui ont été crédités de la collecte de ce que les poètes du XVIIe siècle de Myladi a dit et dont les noms que nous avons mentionnés, tandis que Ibn Ali et Ibn Ammar ont été ceux qui se sont réunis dans le manuscrit et dans le voyage, et les autres sont ceux qui veulent analyser leurs poèmes du point de vue du contenu et aussi l’aspect artistique.
Cette étude a mis en évidence la poésie algérienne à cette époque, et au XVIIe siècle, Myladi, au milieu des siècles que l’Algérie a vécu sous l’époque ottomane, et à travers cette poésie, nous nous adresserons à ces poètes qui ont laissé leur marque à travers leur poésie et ont fait de la poésie algérienne une place parmi la poésie arabe en général.
Bien que l’aspect politique de la production de poésie au 17ème siècle, Il ya un recueil de poèmes dans le voyage ibn Ammar, qui a été imprimé en Algérie en 1904, ainsi que dans un grand manuscrit réalisé et présenté par l’historien algérien Abou Kassem Saad Allah. Ce manuscrit a été obtenu par l’ami du chercheur Abbas Al-Jarari, qui dit dans son livre Les Poèmes algériens, « Ce manuscrit a été obtenu par le Dr Abbas Al Jarari, professeur de littérature à l’Université Mohammed V de Rabat, et manuscrit n° 1387 au Trésor public. A Rabat.
Ces deux sources contenaient le voyage d’ibn Ammar et le manuscrit de toute la poésie dite au XVIIe siècle, Myladi et le XVIIIe siècle, mais notre étude ne portera que sur ce recueil de poèmes qui ont été dits et produits par des poètes de l’époque, comme Muhammad al-Qajali, Ahmad al-Managhlati et d’autres.
Le troisième est un recueil de poèmes d’Ibn Ali al-Ghazali, et le troisième est Diwan Ibn Ali, dans lequel il a recueilli d’autres poèmes de poètes et le début de cette œuvre est les paroles d’Ammar sur la louange d’Ibn Ali, qui a été perdu à la lumière de la littérature, qui a été inhalée de la langue de cette nation, et la paix et la paix sur Sedan Muhammad al-Muhammad. Pour la magie et de la poésie à la sagesse.
Si nous regardons plus que les moments où les poèmes du manuscrit ont été dits, nous les trouvons face, en particulier, au diwan d’Ibn Ali, des poèmes de poètes qui ont vécu au
7
17ème siècle, mon pays, c’est-à-dire que le 11ème siècle est Hijri, y compris ses grands-parents, le plus élevé et le plus bas, son père, Muhammad al-Quwaili, Ahmad al-Manalati, Muhammad ibn Ars al-Ain et Mohammed Al-Sha’ain.
Si nous combinons le voyage d’Ibn Ammar et de Diwan Ibn Ali dans le manuscrit, nous constaterons qu’ils « ont référé aux poètes de leur temps, qui ont été appelés le « peuple de l’époque », qui est le Méladya du XVIIe siècle, et Abu al-Qasim Saad Allah croit que le but d’Ibn Ali de ce diwan est d’afficher des exemples de poèmes non soignés des poètes les plus éminents... Il est mentionné à chaque pièce son occasion, et il lui donne quelques informations expliquant ou une information sur les choses en elle et son but n’était pas de traduire les propriétaires des poèmes, et de cette façon il n’est pas d’accord avec la façon dont de son amitié et son élève
Ibn Ammar, qui a choisi de combiner dans son livre La Brigade de la Victoire dans le meilleur des temps (traduction et texte ensemble).
Nous comprenons de cela que le premier professeur Ibn Ali a choisi d’exposer et de recueillir des poèmes seulement, mais Le thème ibn Ammar a voulu traduire aux propriétaires des poèmes, ce qui nous aide davantage à identifier les poètes du XIe siècle Hijri (17e Mélady.)
C’était une époque de sophistication et de prospérité de l’enjeu économique en Algérie, selon les historiens, et l’Algérie à l’époque était destinée par des érudits musulmans brillants et maghrébins recherchés pour gagner leur vie, dont les plus importants sont les familles de poètes dont la poésie que nous étudions est comme la famille Zakur du Maroc.
Abu al-Qasim Saad Allah a souligné que les différents noms qui sont venus en Algérie ont été mentionnés par Abdelkrim al-Fakon dans son livre Al-Hidaya et Mohamed B. Selman dans son livre Kaaba al-Taifin, qui ont tous deux été écrits au 11ème siècle par Myladi.
Si nous regardons plus tard quand nous analysons les modèles de la poésie, nous constatons que ce qu’Ibn Ali et Ibn Ammar ont dit étaient une expression de la culture de ces gens et leur a permis de montrer, le goût artistique et la culture arabo-islamique, qu’ils ont dérivé des racines de Bagdad, Damas et l’Andalousie.
Selon Abu al-Qasim Saad Allah, l’étude de la poésie de ces gens trouve les traces de l’école andalouse en avant, les moustaches, la description du religieux et de la nature en général, le thimble, le papier des mots et après l’apocalypse tout cela des effets de l’école andalouse.
Selon Abu al-Qasim Saad Allah, le regard dans leur poésie trouve les traces de l’école andalouse en avant, les moustaches, la description de la religion et de la médecine en général, le chebb, le papier des mots et après l’apocalypse, qui sont tous des traces de l’école andalouse.
Néanmoins, ces slogans, pas particulièrement Ibn Ali et Ibn Ammar, sont considérés comme une fierté de la richesse algéro-arabe, et ils ont atteint le mouvement poétique grand,
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même la puissance des mots, des significations et des images physiques, et c’est ce que nous observerons dans le dégivrage ultérieur, et plus encore. Ils ont été impressionnés et fiers qu’ils ont écrit tout cela de la nature et n’a pas étudié à Bagdad ou en Andalousie et n’avait aucun lien avec des écoles scientifiques telles que Al-Azhar, Zeyuna ou Al-Qurasi, mais de la nature, l’intelligence et le génie. Dans le même ordre d’idées, nous avons discuté dans cette étude des phénomènes techniques, en particulier le rythme, où les points de vue et les points de vue des chercheurs et des chercheurs différaient dans le contrôle du terme « yst » et son origine et
C’est parce que chaque chercheur ou étudiant a une tendance, une culture et un corps à voir à travers elle Son point de vue, et la plupart des érudits considèrent que le rythme dans son sens large est l’un des concepts les plus mystérieux, alors nous avons essayé d’être exposés aux différentes opinions et définitions des chercheurs et des chercheurs les plus importants du concept de rythme et puis nous avons lié ce que nous avons trouvé aux poèmes algériens les plus importants de l’ère ottomane, c’est-à-dire dans le « ixdi du XVIIe siècl », et nous avons fait le processus de projection en profondeur dans l’aspect appliqué de cette œuvre.
Du point de vue de l’image poétique est un élément important et essentiel de la construction poétique en plus du rythme poétique avec sa musique interne et externe, et tous ces éléments se chevauchent pour donner au poème sa beauté, et cette image est liée à un autre élément qui le rend plus interactif, qui est le choix sans lequel nous ne pouvons pas donner un processus créatif de la poésie, qui est l’intervalle du langage de l’édition et le langage de la poésie.
Mots clés: poésie algérienne - XVIIe siècle après JC - phénomènes artistiques - questions morales - poètes algériens
Abstract: Introduction :
Poetry is not just a news, an idea or a subject, it is part of many parts that are poetic work, and then poetry is not just elements of aesthetic and non-aesthetic composition, but a system, building and a special vision of life and the universe.
Poetry differs from the reality of life and from the arts and sciences in form and content, it is an integrated system for it that this world has its constituent elements, which interact creatively to create a new world. However, this new world is not closed to itself, but is open to the other.
If we talk about this poetry in the Ottoman era and specifically in Algeria, the environment did not help to create and the emergence of ideas and the saying of poetry, and even that ottoman politics has maintained linguistic chaos, which is in the interest of The Berber, Arab and colloquial as it is known as not a tool for the development of history and even not the language of poets or rather the language of poetry that makes it a fine literary art.
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The importance and objectives of the study:
The Ottoman period has also witnessed many developments of political and social ity in Algeria, and many writers, especially Algerian poets, who made their mark and organized. Poetry competing with what the Arabs organized in the Orient and for this other reason has a great impact on myself, which prompted me to research this subject, and tagged B: Algerian poetry in the 17th century, my country and its artistic phenomena.
I wanted to limit my research to one period, the 17th century, because it was the middle of the three centuries and also did not specifically study it, all the poets whose studies were highlighted by the 18th century, my country, and this made me try to erase the dust and to reveal this period by talking about the poets of Algeria who emerged during the Ottoman period of Algeria.
My research was separated into an entrance and two doors, and each section has three chapters, and the conclusion of the appendix. The entrance shows how the political, social and cultural environment of Algerian poetry was during the turkish rule, especially the 17th century, and the title of the first part was the judges of Algerian poetry and its dress, which is a link to all the places and purposes addressed by the poets of Algeria. In the 17th century, it contained three chapters, the first of which was for sentimental poetry and its ministries, and the second on religious poetry from Zahed and Medea Nabawi, and the third, we touched on political and social poetry and how it was the nature of the topics related to politics at that time.
The second part of the artistic phenomena in Algerian poetry, which came in the most important artistic phenomena, artistic phenomena of rhythm, poetic image and dictionary, and came on three chapters, the first about the poetry rhythm and the music of the interior and the foreign and the second is about the poetic image through the likeness, metaphor, metaphor, and the third was about the poetic dictionary and the most important semantic fields that we found in our selected poems.
In the end, of course, I summarized the most important points and conclusions of my research, followed by the appendix in which selected poems from the 17th century, Mélady, were compiled.
We wanted to highlight the two poets who were credited with collecting what the 17th-century poets Of Myladi said and whose names we mentioned, while Ibn Ali and Ibn Ammar were the ones who gathered in the manuscript and in the journey, and the rest are the ones who want to analyze their poems from the point of content and also the artistic aspect.
This study highlighted Algerian poetry at that time, and in the 17th century, Myladi, the middle of the centuries that Algeria lived under the Ottoman era, and through this poetry we will address these poets who left their mark through their poetry and made Algerian poetry a place among Arab poetry in general.
Although the political aspect of the production of poetry in the 17th century, There is a collection of poems in ibn Ammar's journey, which was printed in Algeria in 1904, and also
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in a large manuscript made and presented by the Algerian historian Abou Kassem Saad Allah. This manuscript was obtained by the friend of the researcher Dr. Abbas Al-Jarari, who says in his book The Algerian Poems, "This manuscript was obtained by dr. Abbas Al Jarari, professor of literature at Mohammed V University in Rabat, and manuscript no. 1387 in the Public Treasury. In Rabat.'
These two sources contained ibn Ammar's journey and the manuscript of all the poetry said in the 17th century, Myladi and the 18th century, but our study will be only about that collection of poems that were said and produced by poets of the time, such as Muhammad al-Qajali, Ahmad al-Managhlati and others..
The third is a collection of ibn Ali al-Ghazali's poems, and the third is Diwan Ibn Ali, in which he collected other poems from poets and the beginning of this work is the words of Ammar about Ibn Ali' praise, which has been lost from the light of literature, which has been inhaled from the language of this nation, and peace and peace on Sedan Muhammad al-Muhammad. For magic and from poetry to wisdom.'
If we look at more than the times in which the poems of the manuscript were said, we find them dealing with, in particular, the diwan of Ibn Ali, poems of poets who lived in the 17th century, my country, i.e. that the 11th century is Hijri, including his grandparents, the highest and lowest, his father, Muhammad al-Quwaili, Ahmad al-Manalati, Muhammad ibn Ars al-Ain and Mohammed Al-Sha'ain.
If we combine the journey of Ibn Ammar and Diwan Ibn Ali in the manuscript, we will find that they 'referred to the poets of their time, who were referred to as the 'people of the era', which is the seventeenth century Méladya, and Abu al-Qasim Saad Allah believes that Ibn Ali's goal from this diwan is to display examples of non-neat poems of the most prominent poets... It is mentioned with each piece its occasion, and it gives it some information explaining or an information on things in it and its purpose was not to translate the owners of the poems, and in this way it disagrees with the way of his friendship and his pupil
Ibn Ammar, who chose to combine in his book The Brigade of Victory in the Best of The Times (translation and text together).
We understand from this that the first Professor Ibn Ali chose to display and collect poems only, but Theme ibn Ammar wanted to translate to the owners of the poems, which helps us more in identifying the poets of the eleventh century Hijri (17th Mélady.)
This was an era of sophistication and prosperity from the economic stake in Algeria, according to historians, and algeria at that time was intended by bright And Maghreb Muslim scholars sought for a livelihood, the most important of which are the families of poets whose poetry we are studying is like the Zakur family from Morocco.
Abu al-Qasim Saad Allah pointed out that the various names that came to Algeria were mentioned by Abdelkrim al-Fakon in his book Al-Hidaya and Mohamed B. Selman in his book Kaaba al-Taifin, both of which were written in the 11th century by Myladi.
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If we look later when we analyze the models of poetry, we find that what Ibn Ali and Ibn Ammar said were an expression of the culture of these people and enabled them to show, artistic taste and Arab-Islamic culture, which they derived from the roots of Baghdad, Damascus and Andalusia.
According to Abu al-Qasim Saad Allah, the study of the poetry of these people finds the traces of the Andalusian school prominent, the moustaches, the description of the religious and the nature in general, the thimble, the paper of words and after the apocalypse all of that from the effects of the Andalusian school.
According to Abu al-Qasim Saad Allah, the look in their poetry finds the traces of the Andalusian school prominent, the moustaches, the description of the religion and the medicine in general, the chebb, the paper of words and after the apocalypse, all of which are traces of the Andalusian school.
Nevertheless, these poets, not ably Ibn Ali and Ibn Ammar, are considered to be a pride of the Algerian-Arab heritage and have reached the poetic movement great and even the power of words, meanings and physical images, and this is what we will notice in the later decay, and what is more impressive. They were proud of them that they wrote all this from nature and did not study in Baghdad or Andalusia and had no connection to scientific schools such as Al-Azhar, Zeyuna or Al-Qarsin, but from nature, intelligence and genius. In the same vein, we discussed in this study the technical phenomena, especially the rhythm, where the views and views of the researchers and scholars differed in the control of the term 'rhythm' and its origin, because each researcher or scholar has a tendency and culture and a body of During his point of view, most scientists believe that the rhythm in its broad sense is one of the most mysterious concepts so we tried to be exposed to the various opinions and definitions of the most important researchers and scholars of the concept of rhythm and then we linked what we found to the most important Algerian poems In the Ottoman era, i.e. in the '17th century, Myladi' did the projection process to delve deeper into the applied aspect of this work.
From the point of view of the poetic image is an important and essential element of poetic construction besides the poetic rhythm with its internal and external music, and all these elements overlap to give the poem its beauty, and this image is related to another element that makes it more interactive, which is the choice without which we cannot give a creative process of poetry, which is the interval of the language of publishing and the language of poetry.
Key words: Algerian poetry - the seventeenth century AD - artistic phenomena - moral issues - poets of Algeria
