Translation and Analysis of Diasporic Colloquial Egyptian Poems of Patriotism: a Hermeneutic Study

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ISSN 1927-0232 [Print] Higher Education of Social Science ISSN 1927-0240 [Online] Vol. 7, No. 2, 2014, pp. 139-148 www.cscanada.net DOI:10.3968/5696 www.cscanada.org

Translation and Analysis of Diasporic Colloquial Egyptian Poems of Patriotism: A Hermeneutic Study

B. A. Essam[a],*

[a]Department of English, Ain Shams University, Cairo, Egypt. *Corresponding author. INTRODUCTION According to Corriente’s testimony (1997) in his book Received 2 May 2014; accepted 15 August 2014 “A Dictionary of Andalusi Arabic”, the stanzaic Classical Published online 26 September 2014 Andalusi poems (mowashahat) has historically paved the literal pathway of the stanzaic dialectal poems (zajal) Abstract and dialectal proverb collections in the 11th century and This study aims at scrutinizing and analyzing the onward. The shift from the classical Arabic poetry has characteristic features of the colloquial Egyptian poetry increased especially with the division of the Arabic world that is rendered in patriotic themes. All modern colloquial into smaller countries; thence, the introduction of new poets have revolutionarily written much about their deep dialects and accents have characterized topographically love to Egypt. However, this patriotism has two faces; distant nations. Notwithstanding, the presence of cultural heavenly picturesque of Egypt and a revolutionarily and religious meccas along with commercial linkage has frustrated one. The choice of the nominated poems, in the helped the dispersed nation understand a common accent. practical section, is based on a linguistic corpus where the Otherwise, classical Arabic language would be then used. modern colloquial Egyptian poetry was categorized and Domestically, every territory has recorded its merged. From the automatically extracted keywords and culture using their sociolinguistic characteristics local concordance, a diaspora of modern standout poems were, and regional dialects with the upper hand given to the then, selected for analysis and commentary. All these Egyptian one that had widely spread all over the Arabic poems have reflected the central findings of this paper and world. This powerful umbrella has welcomed and spoke up measurably and elegantly about their composing provided useful shelter and immediate premises for many well-known poets. non-Egyptian poets to compose as freely as the Egyptians The study linguistically focuses on four translation do: a trend that led to the creation of a mass movement challenges; code-switching, prosody, equivalence and of that erupting genre. The standout example is Ebn markedness of the unmarked lines and phrases. It reviews Arouce who is controversially believed to contribute to illustrations of each challenge suggesting the most the colloquial poetry at large. He is also believed to invent suitable contextual solution. It analyzes the ideological the so-called “symmetrical quatrains” that is composed effect of the translation mismatches as well. The results of four-lined- stanzaic quotes. The simplicity and genius reveal the original ideology of the poets and evaluate its of such memorable lines have vastly popularized it. The perseverance/distortion in the target language. standout example reads: Key words: Cross-culture; Patriotic poems; Colloquial It would be a certain date, Egyptian poetry; Abnudi; Al-Gakh; Translatability; To remedy complaints but Halliday It’d be great for the oppressed, But jet black for the unjust. Essam, B. A. (2014). Translation and Analysis of Diasporic chronologically, other poets has furnish the colloquial Colloquial Egyptian Poems of Patriotism: A Hermeneutic Study. Egyptian poems including Abdullah An-Nadeem (1842 Higher Education of Social Science, 7(2), 139-148. Available from: - 1896) the orator and poet of the national “Orabi URL: http://www.cscanada.net/index.php/hess/article/view/5696 Revolution” in Egypt from 1879 to 1882, M. Bayyram DOI: http://dx.doi.org/10.3968/5696 At-Tunsi (1893 -1961), Salah Jahin (1930 –1986) the

139 Copyright © Canadian Research & Development Center of Sciences and Cultures Translation and Analysis of Diasporic Colloquial Egyptian Poems of Patriotism: A Hermeneutic Study leading Egyptian poet, lyricist, and cartoonist and Abdur in the population. In effect, nationalism— the ideology Rahman Al-Abnudi (1938- ) the prolific Egyptian poet of the modern nation-state—appropriates people’s who witnessed, save for 1919’s revolution, all the modern attachment and loyalty to the country as a basis for their Egyptian revolutions and events. he composed most of the attachment and loyalty to the state. epitomical lyrics in the modern ages. He was born in Qena 1.2.2 Linguistic Varieties and Challenges of Translation of upper Egypt. He published a slew of poetic collections. Typically, the major experienced challenges during The recently published textbook of “the selected works of translating the colloquial Arabic poems into English are Abnudi” amounts to 900 pages. He is called “The uncle”: code-switching, prosody, equivalence and markedness of a folkloric description that is only depicting him. the unmarked lines and phrases. The following subsections More recently, Hesham Al- Gakh (1981- ) the upper are elaborating the multiple facets of such challenges. Egyptian youthful poet of Qena, is strongly appealing to the new generations. Al-Gakh was called “al-Huwais” 1.2.2.1 Code-Switching [literally: Sluice or Canal lock] by the journalist and Many people are adept at switching between language poet Eman Al-Bakry in 2008 within a seminar in the varieties, and even between languages. This definitive “Writers’ Union”. It was also said that she did second strategic device is known as code-switching. Bassiouney this description, uttered spontaneously by an anonymous has illustrated and elaborated, in her textbook “Arabic guy in that seminar who had originlly coined this term. sociolinguistics” (2009), the scope of code-switching. Anyhow, Hesham liked it very much and so does the In Arabic, Code-switching may be evident between one Arabic readers. According to Oxford dictionary, Sluice of five varieties; Classical Arabic, Modern standard (also sluice gate) is a sliding gate or other device for Arabic, Educated spoken Arabic, Semiliterate spoken controlling the flow of water, especially one in a lock Arabic and Illiterate spoken Arabic. Language users may gate [e.g., lake levels are now regulated by sluices]. This also make use of code-switching more consciously for nomenclature is expected to bank on Hesham’s mastery of social camouflage, to match their social persona to the the Colloquial poetry and monitoring the Arabic readers particular situation they are in. This is so conspicuous in by the powerful steadying influence of his poetic lines. colloquial Egyptian poetry that is twisted and mingled to house many varieties within the same poem. Hesham Al-Gakh personified “time” to be attentive to the “so 1. METHODOLOGY lofty Egypt”. The original word [abbia] is so classical A linguistic corpus was created from the works of followed by [ah’yeh] that is illiterate spoken Arabic both Al-Abnudi and Al-Gakh. The keywords and their “demonstrative word”[literally: this]. The concave use of concordance were automatically extracted to pick up a the very classical variety aims at highly articulating Egypt diaspora of truly expressive patriotic poems and excerpts in sublime. The imminent succession of the colloquial for analysis and commentary. The findings were translated demonstrative word is ushered within matching the into English, analyzed and explained. The research social persona. Other may fluctuate between varieties for conclusion was consequently drawn. satirical purposes, sprinkling the text with expressions from different registers, sociolects or dialects. In 1.1 Study Questions translating the annotated poems, attention have paid to Can modern patriotic colloquial Egyptian poems reflect a stain with the nearest analogous variety within the target certain folkloric identity? language without foreignizing the text. How far can the internal architectural poetics of the folkloric poems be effective? 1.2.2.2 Prosody Is deep love expressed and appreciated solely via Some syllables will conventionally always be accented romantic sets? more than others; on top of their standard accentuation, voice stress and emphasis will be used for greater clarity 1.2 Theoretical Framework and expressiveness. That is why utterances count as 1.2.1 Patriotism and Nationalism ‘metrically’ structured stretches. Moreover, variations Kelman (1997), in differentiating between patriotism in vowel pitch and voice modulation, the speed of and ideology, stated that Patriotism is neither always vocal delivery may function to crystalize clarity and attributed to a nation-state nor to the pursuit of national expressiveness. However, Arabic and English are quite group for a separate state. Nonetheless, existing nation- different from one another on the prosodic level, having states and movements directed toward establishment of very different tempi, rhythms and melodic undulations. such a state characteristically rely on patriotism as a major It is fundamentally impossible to create a target text that source of legitimacy, of popular support, and of member both sounds natural and retains the prosodic characteristics loyalty. Rulers and leaders of nation-states or nationalist of the source text. movements take the advantage of patriotic sentiments that Notwithstanding, effort has been exerted to render the subsist within the populace to instill nationalist ideology nearest equivalence. Classically, the accentual syllabic

Copyright © Canadian Research & Development Center of Sciences and Cultures 140 B. A. Essam (2014). Higher Education of Social Science, 7(2), 139-148 meter was typically instigated; either iambic pentameter of shifting grammatically and lexically is based upon or tetrameter. In cases of prosaic poems in the original, semantic background. The entire sonnet is 14 lines where the imperfect iambic tetrameter was deftly employed to no details were provided, save for five brief lines, to imply highlight the daft use of the Arabic versification within more and more about the unspeakable. The connotation of the original. For the rhyme issues, internal and external “crux” fits better. rhymes have been reproduced to allow for musical tone to (c)Translation by cultural substitution. In Hesham’s echo similarly. poem “Juha”, the title is allegorical. Etymologically, it The versification and rhyming problems are less describes a daftly naïve person who is folkloric legend. conspicuous in classical Arabic poems because poems The nearest culturally equivalent connotation is implied in flow symmetrically and measurably. Nonetheless, many “jackasseque”. modern colloquial Egyptian poems are prosaic and (d)Translation by paraphrase using a related redundant. Distortion in the translation is unavoidable. word. The translation of the sold “pen” as “inking” is a On the one hand, if the translator beautified the translated functional paraphrase because the imagery of the sold pen lines on the prosodic level, it would be unfaithful and the will literally connote a trivial amount of money while the guillotine would be waiting. A slew of theories and critics conceptual metaphor and metonymy are quite different. would smudge his infidel attitude using describing his The usage of the “sold pen” refers to bribing the authors doing as a transference, translocation, imposed ideology and composers to allow them make ends meet. and maiming the original along with a long list of terms That is to oblige writers to ingratiatingly compose for the that I do not successfully retain. On the other hand, if authorities to allow the so-called “laissez-faire”. the translator has maintained the same pseudopoetic (e)Translation by paraphrase using unrelated prattles, it would be designated as a redundant machinery words. The translation of “white” day as “great” one translation that would repel the target reader. Again, fits better because the literal translation would’ve been the translation would be distortive and ugly due to the idiosyncratic. In the same vessel, the translation of “weak” incompetence of the translator. Questions will then be opinion/country in Hesham’s poem “Juha” is rendered as posed about his nationality, education and practice so unavailing and powerless respectively that theoretician cannot be blamed for their inapplicably 1.3 Markedness descriptive theories. According to Halliday (2004), themes are the starting- 1.2.2.3 Equivalence point for the message that would contribute to a different Vinay and Darbelnet, Jakobson, Nida and Taber, Catford, meaning . Halliday identifying themes in declarative House, and Baker have studied equivalence in relation clauses (Subject, Complement & Object, Adjunct) and to the translation process, using different approaches. non-declarative ones (Interrogative, Imperative and Equivalence consists of the concept of sameness and Exclamative clauses)Within thematizing structures, similarity; it has the same or a similar effect or meaning Halliday proposed ‘thematic equative’, Predicated theme in translation. Vinay and Darbelnet as cited in Munday (Cleft sentences), Preposed theme and Conjunctive and (2001), stated that “equivalence refers to cases where Modal Adjuncts to be the most effective textual tools in languages describe the same situation by different stylistic emphasizing a certain meaning. In classical Arabic and or structural means”. Baker in her text book “in other formal English, it is measurable and might be, to certain words” (2006) has discussed fully the equivalence at extent, comparable. However, it is a very different story various levels including textual, grammatical, semantic when it comes to the various varieties in two contrasted and pragmatic levels. Should translators be attentive languages. This problem has been bypassed by the to such academic framework, effort has been ushered intermediate paraphrase of the colloquial lines into the to achieve the best faithful translation. the described standard classical equivalence to measurably weigh the techniques were implemented. Among these techniques markedness and unmarkedness of the poetic lines. This are: individual translational demeanor is not scholarly and (a)Translation by a more general word (superordinate). In Hesham’s poem “The Visa”, the translation of the word poses intriguing question marks about the validity of the “artery” was replaced by the superordinate “vessel” to Hallidayan theory in similar cases. All languages have their maintain the metaphorical and allegorical probability. varieties so that the application of such theories would Vessels include arteries, veins and capillaries. More seem ineffective and derelict. This ubiquitous requirement importantly, it denotes rivers and canals as well. Thus, jutted, too, in a formidable challenge toward validating the opting for superordinates is highly suggested. Hallidyan theory in practice. (b)Translation by a more neutral/less expressive By far, the suggested academic procedures and word. In Hesham’s poem “O penury train”, the techniques were meticulously followed toward mitigating translation of the adjectival phrase “detailed” anecdote any liable deleterious effect of the inherent heterogeneity was replaced by “the crux of the anecdote”. This sort between the source and target languages.

2. PRACTICAL SECTION people go astray along their trail of dignified life. Night In this section, the chosen poems and excerpts will be and darkness is allegorical to the occupation while the analyzed. These choices represent the most effective daylight is a metonymy of triumph and freedom. The patriotic poems in the modern Egyptian epoch. The personification of the night and daylight as human beings classical poem is written by Al-Abnudi after the 1967’s who have the ability to conspire against the Egyptian fate war intimidating loss. It was ad-libbed during a meeting or fight for the oppression leveled at them is extended with Abdel Halim Hafiz, the famous singer, and sung along the entire poem. shortly. The poet’s prodigious spectacles depicted Egypt as The anguish intensifies itself in Al-Abnudi’s poem “The a mistress who was washing and combing her hair by Daylight Lyric” (1967) allowing him for producing these the stream when a broke day failed to pay her dowry. lines: The image is an implicit pun that symbolizes the lost The daylight faded out into nightfall; national dream (sponsored by Gamal Abdel Nasser) and That has stealthily, through barks of trees, loomed; unfulfilled proposal. The starry sky has, accordingly, That for leading us astray in the trail revealed withered stars with decrepit glittery. Similarly, Has got the moon from our nights concealed. the songs with grievous tincture overwhelmed the gloomy atmosphere after the suffering the tug of war in 1967. The Having Egypt, by the stream washed her hair; poet wonders if such events could’ve been oblivious of A day broke: broke to endow her dowry. the forthcoming daybreak: the daybreak that will emerge Would ever the night of the gloomy flair, to brighten the horizon; sweeping all the darkness away Of the stars with decrepit glittery, from the sky and giving some space to the stars for And the songs with grievous tincture, glittering again. The answer is sharply uttered “Never!” Be unmindful of the morning story? because Egypt is committed, every when, to adopt the The morning sun: the nostalgic spatter? lyric of the daylight. Egypt seeks the circadian changes The morning sun: the nostalgic spatter? everywhere: all routes and tracks. The daylight is groped all over Egypt, personified as a singer who chants before Never! Our country, over day and night, almost every Egyptian abode. Does chant every lyric of the daylight, The nightfall revolves around the waterwheels Just when it even drops by every road, scattering its darkness all around, like time when it And sings before almost every abode. classically reels with its convections of ups and downs. The night revolves around the waterwheels, However, Egypt keeps dreaming, on the melodious tones, Just like time when it classically reels. about the spikes of the wheat and the corn cones. Egypt On melodies, our country dreams, also grips an optimistic picturesque of tomorrow; and what Of the spikes and the cones; of tomorrow; may be concomitant with it. And what may be much ushered therethrough! The poem continues to insinuatingly portray the And what may be much ushered therethrough! various scenes that are expressive of the exhibited cordiality. This influential patriotic lyric has mitigated It calls for daybreak in the murkiness, and soothed, to a great extent, the severity of the internal And accordingly receives its cadence. pain of the Egyptian citizens. It has also helped them Before the dawn, it promptly arises, pass the catastrophic relapse and fired up a very national To meet it in the fields, planets and shops determination to fight back by wagging fingers at habitats And all schools, laboratories and squares. of hope. All critics have elected this poem to be his “ne Heading for it are clusters of soldiers, plus ultra” produce. Heading for it are also men, women and kids. Very long after the great triumph of 1973, Al-Abnudi rambunctiously moans in his book “habituated sadness” All routes lead our country to the daylight. (1999): All routes lead our country to the daylight. O homeland, your trend is musty: Our country, for sure, over day and night, Cowardly refusing reform. Does chant every lyric of the daylight, All about you was so pretty, Just when it even drops by every road, Yet it’s now “menial and scum”. And sings before almost every abode. Patriot are the liberal, The poet described a waning daylight that has faded While slaves approach the lickspittle. out into the nightfall. The nightfall has loomed beyond This excerpt was widely chanted before and during the barks of trees among the rustling leaves of which the Egyptian revolution. The patriotic sense of this poet murkiness prevailed and scattered, all of the sudden. enforced him to heavily criticize the improper pathway Stealthily, it did hide out the moon to let the Egyptian of his beloved homeland. He is depicting it as very

Copyright © Canadian Research & Development Center of Sciences and Cultures 142 B. A. Essam (2014). Higher Education of Social Science, 7(2), 139-148 inclined to adopt musty routes embodied in the seclusion, ingratiatingly compose for the authorities. The writers, in deterioration and retardation. The use of “homeland” is turn, will be allowed to “laissez-faire”. a synecdoche that is passing rhetorically to describe the Complicating matters, the melancholy exacerbates in Egyptian folks: the coward population who are scared Al-Gakh’s poem “O penury train” (2009) when he weeps: of changes and reforms. The poet continues to contrast You are crammed, O penury train! between the glorious past whose constituents were witty Whom should we ever complain? and pretty, on the one hand, and the contemporary menial We adapted to the vocal moan attitude on the other hand. He, again, curse the blasé For an indefinite eon. sluggish scum who vote against reform. We have learned only submission, In the final couplet, Al-Abnudi adroitly concludes Before the prayers convention. a psychological dimension that might account for the Either to be the goods line, reluctance and foot-dragging exhibited by the majority. Or to go through the guillotine. Namely, it is the correlation to the free will. The free Cowardice among the famished citizens are essentially patriotic and productive while Is a deeply rooted concept. slaves prefer humiliating themselves before their masters It’s the crux of the anecdote, for getting the riff-raff. Otherwise, what remuneration If attention be just focused? they get to manifest such compliance and subjugation. The poet commences a soliloquy with a desperately This excerpt is scholarly diagnosing one of the most packed train, full of the squalid penury layer. He continues intriguing and intermittent causes of reluctance and to wonder about the authority that will have to bear the procrastination: subservience. The poet was brave enough tremendously major responsibility for improving such to disclose it; impugning and imputing the homeland that detrimental conditions. There is no ultimate authority to be taught and pampered the populace to be obsequious. blamed because all the governments, for two successive In the same vein, the burning spirit of Al-Gakh is decades, were involved. The citizens have, accordingly, to writhing and twisting in agony. This severe pain is moan quiescently without any deliverance. reflected in his cataclysmic poem Jackasseque”“ (2010) Traditionally, the poor folks were educated and where the opening lines read: qualified to adopt submission so early. Even before the It’s a ridiculous feeling, religious teaching of the prayers. That is to be among the To feel that your homeland mass of the merchandised or to go through the guillotine. Is a powerless thing. The poet confirms that since cowardice is a deeply rooted Your voice is null and void, concept among the famished. They have no options. That Your opinion is unavailing. is succinctly the essence. That is entirely the crux of the To get your heart and body sold, Egyptian anecdote: the tale of the anguished penury. The With your name and inking; poet ventures “Having it disclosed, would it matter? is Yet to afford your bread. there anyone who might be attentive?” In this honest excerpt, the poet implies “we are all It is, rather, a very dissimilar story when it comes oppressed, whether we are aware of it or not”. Hesham to his poem “The Visa” (2009): the poem that Al-Gakh depicts his feeling as the most absurd and ridiculous, composed in classical Arabic. The poem speculates about emanating from the recognition of the reality of his the recent situation of the maimed Arabic nationalism with powerless homeland: a country that sums up to be a the recently intruded geographic borders. In its essence, “meek thing”. The meekness of this country allows it not Hesham reads: to permit opinions and human rights. It is too tacky to be democratic. Accordingly, the voice of the average person, Why do you keep the sun by flags veiled? including the speaker, is null and void. The individual You’ve got our Arabism divided opinion is unavailing and ineffective. Had the speaker Like cattle, we have falsely blended. offered his heart and body for sale, along with his name The child will so breed your odium, and inking, the payment would be less than the price of In my chest for driving us rived; the bread. For this, all your dirty hands damned. These lines are highly metonymical. The ineffective voice and unavailing opinion stand for autocracy. The With no shyness, I’m Arabian; selling of one’s name and inking implies the compulsive Born in verdant Tunisia, twin bribe. The “bread” symbolizes the baseline of living Of Omani, A thousand in standard. The overall picture delineates the compulsive Age while the pregnancy is yet on. government that strangulates authors and writers for not I’m Arabian. Bagdad has grown speaking out the truth. It asphyxiates, using economical My trees. My vessel spouts in Sudan. and restrict constabularies, for imposing them to I’m Egyptian, Mauritanian,

Djiboutian and so Jordanian CONCLUSION I am Sunni, Shiite and Christian. One of the most intriguing and intermittently popular I’m Kurdish, Alawi and Druzean. features of this genre is the folkloric appeal. The poems I retain neither names nor reigns; all gone, expose genuinely the identity of the body politic in We’re done with disbanding since all is one. their casual terms. The poetic versification seems, unexpectedly, to gradually degrade by time. Some lines The poet gambles about the stipulation and necessity are redundant and lengthy; others are clipped and too of numerous flags that iconized numerous divisions of the short. The conspicuous finding is maintaining an external Arabic territory. The political segregation has inherited a musical rhyme with no attention paid to the rhythm. Yet, it diminished estimate of the Arabic nationalism and unity. does not affect the popularity of this genre. The incoherent Arabic societies became scummy as if Hesham Al-Ghak has failed to use the classical Arabic they were a queue of cattle. The child’s yelling sound, in poetry as intriguing as he introduced his colloquial variety. the chest of the poet, will keep feeding hostility to those This is evident in his poem “The Visa” that lacked the rulers for their substantial involvement in such a division. grammatical coherence and metrical qualification. This is The speaker announces loud “I am an Arab”; nothing is supposed to pose question about describing him as a poet. to be ashamed of. The poet continues to arabize his roots Given his influential popularity, it is predictable to ask, in numerous terrains. He also confirms that the Arabic more importantly, about the metrics and matriculation of land embraces all affiliations and religions. Sooner or the newly introduced literature. later, these tyrant reigns will be either ousted or shedding Al-Abnudi is, by far, superior in using the poetics, by themselves. acumen and logics. His poems are substantially Romantically, Al-Gakh’s poem “We love Egypt” (2009) eternalizing themselves in the Egyptian literary heritage. expresses the deep passion of the native homeland. The The patriotic poems speak loud and show intensified poem reads: emotion and passion when it comes to criticizing Egypt. His utilitarian arguments sound coherent and rational. Al- We didn’t learn neither A nor B, Abnudi has been always known revolutionary in spite of Unless your moon, we groped no light. his mandatory gesticulations of muddling, petrifying and You always iconized safety, ingratiating moments. Had others were itinerant, You cultivated fields, wheat, corn And got all afflictions surpassed. ACKNOWLEDGEMENT O time, stand to Attention! I would like to acknowledge Dr. Hania Hodeib, Prof. This is our so lofty Egypt. Dr. Soheir Mahfouz and Dr Radwa Kotait for their responsible pedagogical attitude and devotion toward Rudder! Had a rudder tilted, their students including me. I would like to thank, too, By our shoulders, it’d be fitted. all my postgraduate classmates for the ineffable halcyon In our throats, your name is chanted, moments they gave to me. In our songs and cheers it prolonged

Egypt has engraved a stone, REFERENCES For teaching us how to count. Al-Abnudi, A. R. (1999). The habituated sadness: A critical study st She’s Egypt whose army won, by Abdou Ghareeb （1 ed.). Egypt: Qebba’ publication. st And who got the high dam built. Al-Abnudi, A. R. (2006). Selected works (1 ed.). Cairo: The General Egyptian Book Organization (GEBO) press. We fatigued not of travel, Al-Gakh. (2009). We love Egypt. Retrieved October 2, 2014 Neither did our tough paddle. from www.youtube.com/watch?v=MBfKhaSzNEA Al-Gakh. (2010). Juha [Jackassque]. Retrieved Octover 3, 2014 Unlike his heritage, the poetic architecture of the from URL:www.youtube.com/watch?v=0OEyE2SBxwY original poem is loose. The rationality and arguments Al-Gakh. (2009). The visa. Retrieved October 4, 2014 from are out-of-focus. The original manuscript seems to be a www.youtube.com/watch?v=1hNtCgkLKaM pseudopoetic prattle. He naïvely tries to glorify Egypt by Baker, M. (2006). In other words: A course book on translation. assigning her as a teacher, engineer, and mother. London, England: Routledge Group.

Bassiouney, R. (2009). Arabic sociolinguistics. Edinburgh, Kelman, H. C. (1997). Nationalism, patriotism, and national Scotland: Edinburgh University Press. identity: Social-psychological dimensions. In D. Bar-Tal Corriente, F. (1997). A dictionary of Andalusi Arabic, New York, & E. Staub (Eds.), Patriotism in the life of individuals and NY: Brill. nations. Chicago: Nelson-Hall. Dickins, J., Hervey, S. G. J. & Higgins, I. (2002). Thinking Khameece, S. (1998). The colloquial poetry in Egypt from the st Arabic translation: Tutor’s handbook. A course in translation inception. (1 ed.). Cairo: Rose-l-yusuf. method: Arabic to English (1st ed.). London: Routledge. Munday, J. (2001). Introducing translation studies: Theories and applications (2nd ed.). London, England: Routledge. Halliday, M., & Christian, M. (2004). Halliday’s introduction to Venuti, L. (2004). The Translation Studies Reader (2nd ed.). functional grammar (3rd ed.). London: Routledge Group. London, England: Routledge.

APPENDIX

Aligned source and translated poems Excerpt 1 Translation Source text وﻻﺑﺪ ﻣﻦ ﻳـﻮم ﻣﻌﻠـﻮم وﻻﺑﺪ وﻻﺑﺪ ﻣﻦ ﻣﻦ ﻳـﻮم ﻳـﻮم ﻣﻌﻠـﻮمﻣﻌﻠـﻮم It would be a certain date ﺗﺘﺮد ﻓﻴـﻪ اﻟﻤﻈـﺎﻟﻢ ﺗﺘﺮد ﺗﺘﺮد ﻓﻴـﻪ ﻓﻴـﻪ اﻟﻤﻈـﺎﻟﻢاﻟﻤﻈـﺎﻟﻢ To remedy complaints but وﻻﺑﺪ وﻻﺑﺪﻣﻦ ﻣﻦ ﻳـﻮم ﻳـﻮم ﻣﻌﻠـﻮمﻣﻌﻠـﻮم أﺑﻴﺾوﻻﺑﺪوﻻﺑﺪ أﺑﻴﺾ ﻋوﻻﺑﺪوﻻﺑﺪﻋ ﻣﻦﻣﻦ ﻠﻰ ﻠﻰوﻻﺑﺪ ﻣﻦ ﻳـﻮمآﻞﻳـﻮم آﻞ ﻣﻦ ﻳـﻮمﻳـﻮم ﻳـﻮم ﻣﻌﻠـﻮمﻣﻌﻠـﻮمﻣﻈﻠـﻮمﻣﻈﻠـﻮمﻣﻈﻠـﻮمﻣﻌﻠـﻮمﻣﻌﻠـﻮمﻣﻌﻠـﻮم It’d be great for the oppressed وﻻﺑﺪأﺑﻴﺾوﻻﺑﺪ وﻻﺑﺪ ﻋوﻻﺑﺪ ﻣﻦ ﻣﻦﻠﻰ ﻣﻦ ﻳـﻮمﻳـﻮمآﻞ ﻳـﻮم ﻳـﻮم ﻣﻌﻠـﻮمﻣﻌﻠـﻮمﻣﻈﻠـﻮمﻣﻌﻠـﻮمﻣﻌﻠـﻮم ﺗﺘﺮد ﺗﺘﺮد ﻓﻴـﻪ ﻓﻴـﻪ اﻟﻤﻈـﺎﻟﻢاﻟﻤﻈـﺎﻟﻢ واﺳـﻮدواﺳـﻮد واﺳـﻮدﺗﺘﺮد ﺗﺘﺮد ﺗﺘﺮدﺗﺘﺮد ﻋﻠﻰﻓﻴـﻪ ﻓﻴـﻪﻋﻠﻰ ﺗﺘﺮد ﻓﻴـﻪآﻞ آﻞ ﻓﻴـﻪ اﻟﻤﻈـﺎﻟﻢاﻟﻤﻈـﺎﻟﻢﻇـﺎﻟﻢﻇـﺎﻟﻢﻇـﺎﻟﻢاﻟﻤﻈـﺎﻟﻢاﻟﻤﻈـﺎﻟﻢاﻟﻤﻈـﺎﻟﻢ But jet black for the unjust واﺳـﻮد ﺗﺘﺮدﺗﺘﺮد ﺗﺘﺮد ﺗﺘﺮد ﻋﻠﻰﻓﻴـﻪﻓﻴـﻪ ﻓﻴـﻪ ﻓﻴـﻪآﻞ اﻟﻤﻈـﺎﻟﻢاﻟﻤﻈـﺎﻟﻢﻇـﺎﻟﻢاﻟﻤﻈـﺎﻟﻢاﻟﻤﻈـﺎﻟﻢ أﺑﻴﺾ ﻋأﺑﻴﺾ ﻠﻰﻋ ﻠﻰآﻞ آﻞ ﻣﻈﻠـﻮمﻣﻈﻠـﻮم ﻋﺪّى ﻋﺪّى أﺑﻴﺾ أﺑﻴﺾاﻟﻨﻬﺎر اﻟﻨﻬﺎر ﻋ أﺑﻴﺾوﻋ و و ﻠﻰﻋﻠﻰ أﺑﻴﺾ ﻠﻰ ﻋ آﻞآﻞ ﻠﻰآﻞاﻟﻤﻐﺮﺑﻴﺔ اﻟﻤﻐﺮﺑﻴﺔ اﻟﻤﻐﺮﺑﻴﺔ ﺟ آﻞﺎﺟ ﺟ ﻳّﺎ ﺎ ﻣﻈﻠـﻮمﻳّ ﻣﻈﻠـﻮمﻳّ ﺔﺔﺔﻣﻈﻠـﻮمﻣﻈﻠـﻮمﻣﻈﻠـﻮم Poem 1 Fading Daylight ﻋﺪّى أﺑﻴﺾ اﻟﻨﻬﺎر أﺑﻴﺾ ﻋأﺑﻴﺾوﻋ ﻠﻰﻋ ﻠﻰ ﻠﻰآﻞ آﻞ آﻞاﻟﻤﻐﺮﺑﻴﺔ ﺟ ﺎ ﻳّ ﻣﻈﻠـﻮمﻣﻈﻠـﻮمﺔﻣﻈﻠـﻮمﻣﻈﻠـﻮم واﺳـﻮد واﺳـﻮد ﻋﻠﻰ ﻋﻠﻰآﻞ آﻞ ﻇـﺎﻟﻢﻇـﺎﻟﻢ ﺗﺘﺨﻔّﻰ ﺗﺘﺨﻔّﻰ واﺳـﻮدواﺳـﻮد وراورا واﺳـﻮدtextواﺳـﻮدورا ﻋﻠﻰﻋﻠﻰ واﺳـﻮد ﻋﻠﻰﺿﻬﺮ آﻞ ﺿﻬﺮآﻞ ﻋﻠﻰآﻞ Sourceاﻟﺸﺠﻇـﺎﻟﻢاﻟﺸﺠآﻞﻇـﺎﻟﻢﺮ ﺮﻇـﺎﻟﻢﻇـﺎﻟﻢﻇـﺎﻟﻢ Translation ﺗﺘﺨﻔّﻰ واﺳـﻮدواﺳـﻮد واﺳـﻮد ورا واﺳـﻮد ﻋﻠﻰ ﻋﻠﻰ ﻋﻠﻰﺿﻬﺮآﻞ آﻞ آﻞ اﻟﺸﺠﻇـﺎﻟﻢﻇـﺎﻟﻢﺮﻇـﺎﻟﻢﻇـﺎﻟﻢ ﻋﺪّى ﻋﺪّى اﻟﻨﻬﺎر و اﻟﻨﻬﺎر و اﻟﻤﻐﺮﺑﻴﺔ ﺟ اﻟﻤﻐﺮﺑﻴﺔﺎ ﻳّ ﺔﺟ ﺎ ﻳّ ﺔ ;The daylight faded out into nightfall ﻋﺪّىﻋﺪّى وﻋﺪّىو و ﻋﺪّىاﻟﻨﻬﺎر اﻟﻨﻬﺎر وﻋﺸﺎنواﻟﻨﻬﺎر ﻋﺸﺎن و اﻟﻨﻬﺎر ﻧﺘﻮﻩﻧﺘﻮﻩ ﻧﺘﻮﻩو ﻓﻲاﻟﻤﻐﺮﺑﻴﺔ اﻟﻤﻐﺮﺑﻴﺔﻓﻲ ﺟ اﻟﻤﻐﺮﺑﻴﺔﺟ ﺎ ﺎ ﻳّ ﻳّ ﺔﺟ ﺔاﻟﺴﻜﺔﺎ اﻟﻤﻐﺮﺑﻴﺔ اﻟﺴﻜﺔﻳّ اﻟﺴﻜﺔﺔﺟ ﺎ ﻳّ ﺔ ﻋﺪّى ﻋﺪّى وﻋﺪّى اﻟﻨﻬﺎر اﻟﻨﻬﺎر ووﻋﺸﺎن اﻟﻨﻬﺎر و و ﻧﺘﻮﻩ ﻓﻲاﻟﻤﻐﺮﺑﻴﺔاﻟﻤﻐﺮﺑﻴﺔ اﻟﻤﻐﺮﺑﻴﺔ ﺟ ﺟ اﻟﻤﻐﺮﺑﻴﺔﺎ ﺎﺟ ﻳّ ﻳّﺎ ﺔﻳّ ﺔﺟ اﻟﺴﻜﺔﺎ ﺔﻳّ ﺔ ﺗﺘﺨﻔّﻰ ﺗﺘﺨﻔّﻰ ورا ورا ﺿﻬﺮ ﺿﻬﺮ اﻟﺸﺠﺮاﻟﺸﺠﺮ ;That has stealthily, through barks of trees, loomed ﺗﺘﺨﻔّﻰ ﺗﺘﺨﻔّﻰ ﺗﺘﺨﻔّﻰﺷﺎﻟِﺖ ﺷﺎﻟِﺖورا ورا ﺗﺘﺨﻔّﻰﻣﻦ وراورا ﻣﻦ وراﺿﻬﺮﺿﻬﺮ ﻟﻴﺎﻟﻴﻨﺎ ﻟﻴﺎﻟﻴﻨﺎﺿﻬﺮﻟﻴﺎﻟﻴﻨﺎ اﻟﺸﺠاﻟﺸﺠﺿﻬﺮ ﺮﺮاﻟﻘﻤﺮاﻟﺸﺠاﻟﻘﻤﺮﺮاﻟﺸﺠﺮ ﺗﺘﺨﻔّﻰ ﺗﺘﺨﻔّﻰ ﺗﺘﺨﻔّﻰﺷﺎﻟِﺖ وراورا ورا ﻣﻦورا ﺿﻬﺮ ﺿﻬﺮ ﻟﻴﺎﻟﻴﻨﺎ ﺿﻬﺮ اﻟﺸﺠاﻟﺸﺠﺮاﻟﻘﻤﺮﺮاﻟﺸﺠﺮ و و ﻋﺸﺎن ﻋﺸﺎن ﻧﺘﻮﻩ ﻧﺘﻮﻩﻓﻲ ﻓﻲ اﻟﺴﻜﺔاﻟﺴﻜﺔ وو و ﺑﻠﺪﻧﺎ ﺑﻠﺪﻧﺎﺑﻠﺪﻧﺎ عوو ع و وﻋﺸﺎن ﻋﺸﺎناﻟﺘﺮﻋﺔ اﻟﺘﺮﻋﺔ اﻟﺘﺮﻋﺔ ﻋﺸﺎن ﻧﺘﻮﻩﻧﺘﻮﻩ ﻋﺸﺎن ﻧﺘﻮﻩﻧﺘﻮﻩﺑﺘﻐﺴﻞ ﻓﻲ ﻓﻲﺑﺘﻐﺴﻞ ﻧﺘﻮﻩﻓﻲ ﻓﻲاﻟﺴﻜﺔاﻟﺴﻜﺔ ﺷﻌﺮهﺎﺷﻌﺮهﺎﺷﻌﺮهﺎاﻟﺴﻜﺔاﻟﺴﻜﺔ That for leading us astray in the trail و ﺑﻠﺪﻧﺎ ووع و و ﻋﺸﺎن اﻟﺘﺮﻋﺔ ﻋﺸﺎن ﻋﺸﺎن ﻧﺘﻮﻩﻧﺘﻮﻩ ﻧﺘﻮﻩ ﻧﺘﻮﻩﺑﺘﻐﺴﻞﻓﻲ ﻓﻲ ﻓﻲ اﻟﺴﻜﺔاﻟﺴﻜﺔﺷﻌﺮهﺎاﻟﺴﻜﺔاﻟﺴﻜﺔ ﺷﺎﻟِﺖ ﺷﺎﻟِﺖﻣﻦ ﻣﻦ ﻟﻴﺎﻟﻴﻨﺎ ﻟﻴﺎﻟﻴﻨﺎ اﻟﻘﻤﺮاﻟﻘﻤﺮ ﺟﺎﻧﺎﺟﺎﻧﺎ ﺟﺎﻧﺎﻧ ﻧﻧ ﻬﺎر ﻬﺎر ﺷﺎﻟِﺖﺷﺎﻟِﺖ ﺷﺎﻟِﺖ ﻣﻦﻣﻘﺪرشﻣﻦ ﻣﻘﺪرش ﺷﺎﻟِﺖﻣﻦ ﻳﺪﻓﻊﻟﻴﺎﻟﻴﻨﺎ ﻣﻦﻳﺪﻓﻊﻟﻴﺎﻟﻴﻨﺎ ﻟﻴﺎﻟﻴﻨﺎﻟﻴﺎﻟﻴﻨﺎ اﻟﻘﻤﺮﻟﻴﺎﻟﻴﻨﺎاﻟﻘﻤﺮﻣﻬﺮهﺎ ﻣﻬﺮهﺎﻣﻬﺮهﺎاﻟﻘﻤﺮاﻟﻘﻤﺮ .Has got the moon from our nights concealed ﺟﺎﻧﺎ ﻧ ﻬﺎر ﺷﺎﻟِﺖ ﺷﺎﻟِﺖ ﺷﺎﻟِﺖ ﻣﻦﻣﻘﺪرش ﻣﻦ ﻣﻦ ﻳﺪﻓﻊﻟﻴﺎﻟﻴﻨﺎﻟﻴﺎﻟﻴﻨﺎ ﻟﻴﺎﻟﻴﻨﺎ ﻟﻴﺎﻟﻴﻨﺎ اﻟﻘﻤﺮﻣﻬﺮهﺎاﻟﻘﻤﺮاﻟﻘﻤﺮ و و ﺑﻠﺪﻧﺎ عﺑﻠﺪﻧﺎ ع اﻟﺘﺮﻋﺔ اﻟﺘﺮﻋﺔ ﺑﺘﻐﺴﻞ ﺑﺘﻐﺴﻞ ﺷﻌﺮهﺎﺷﻌﺮهﺎ وو و ﺑﻠﺪﻧﺎﺑﻠﺪﻧﺎ و عﺑﻠﺪﻧﺎﺑﻠﺪﻧﺎﻳﺎع ﻳﺎ ﻳﺎ ع ﺑﻠﺪﻧﺎ هﻞ هﻞ ع اﻟﺘﺮﻋﺔاﻟﺘﺮﻋﺔ ﺗﺮىاﻟﺘﺮﻋﺔ ﺗﺮى اﻟﺘﺮﻋﺔ ﺑﺘﻐﺴﻞاﻟﻠﻴﻞﺑﺘﻐﺴﻞ اﻟﻠﻴﻞ ﺑﺘﻐﺴﻞ ﺑﺘﻐﺴﻞ ﺷﻌﺮهﺎﺷﻌﺮهﺎاﻟﺤﺰﻳﻦاﻟﺤﺰﻳﻦﺷﻌﺮهﺎﺷﻌﺮهﺎﺷﻌﺮهﺎ ;Having Egypt, by the stream washed her hair وو و و ﺑﻠﺪﻧﺎﺑﻠﺪﻧﺎ ﺑﻠﺪﻧﺎ عﺑﻠﺪﻧﺎﻳﺎ ع ع هﻞ اﻟﺘﺮﻋﺔاﻟﺘﺮﻋﺔ اﻟﺘﺮﻋﺔ ﺗﺮىاﻟﺘﺮﻋﺔ ﺑﺘﻐﺴﻞاﻟﻠﻴﻞ ﺑﺘﻐﺴﻞ ﺑﺘﻐﺴﻞ ﺷﻌﺮهﺎﺷﻌﺮهﺎاﻟﺤﺰﻳﻦﺷﻌﺮهﺎﺷﻌﺮهﺎ ﺟﺎﻧﺎ ﻧﺟﺎﻧﺎ ﻧﻬﺎر ﻬﺎر ﻣﻘﺪرش ﻣﻘﺪرش ﻳﺪﻓﻊ ﻳﺪﻓﻊ ﻣﻬﺮهﺎﻣﻬﺮهﺎ ﺟﺎﻧﺎﺟﺎﻧﺎ ﻧﻧ ﺟﺎﻧﺎﺟﺎﻧﺎ ﻧﻧﻬﺎرﻬﺎر ﺟﺎﻧﺎ ﻧ ﻬﺎر أﺑﻮ أﺑﻮأﺑﻮﻬﺎر ﻣﻘﺪرشﻣﻘﺪرش ﻣﻘﺪرش اﻟﻨﺠﻮم اﻟﻨﺠﻮماﻟﻨﺠﻮمﻳﺪﻓﻊ ﻳﺪﻓﻊ ﻣﻘﺪرش ﻳﺪﻓﻊ ﻳﺪﻓﻊ ﻣﻬﺮهﺎﻣﻬﺮهﺎاﻟﺪﺑﻼﻧﻴﻦاﻟﺪﺑﻼﻧﻴﻦﻣﻬﺮهﺎﻣﻬﺮهﺎﻣﻬﺮهﺎ .A day broke: broke to endow her dowry ﺟﺎﻧﺎﺟﺎﻧﺎ ﺟﺎﻧﺎﻧﻧ ﻧﺟﺎﻧﺎ ﻧﻬﺎر ﻬﺎر ﻬﺎر أﺑﻮ ﻣﻘﺪرش ﻣﻘﺪرش ﻣﻘﺪرشاﻟﻨﺠﻮم ﻳﺪﻓﻊ ﻳﺪﻓﻊ ﻳﺪﻓﻊ ﻣﻬﺮهﺎﻣﻬﺮهﺎاﻟﺪﺑﻼﻧﻴﻦﻣﻬﺮهﺎﻣﻬﺮهﺎ ﻳﺎ ﻳﺎ هﻞ هﻞ ﺗﺮى ﺗﺮى اﻟﻠﻴﻞ اﻟﻠﻴﻞ اﻟﺤﺰﻳﻦاﻟﺤﺰﻳﻦ ﻳﺎ ﻳﺎ أﺑﻮﻳﺎﻳﺎ أﺑﻮأﺑﻮ هﻞ هﻞ ﻳﺎهﻞ ﺗﺮىﺗﺮى هﻞ اﻟﻐﻨﺎوي اﻟﻐﻨﺎويﺗﺮى اﻟﻠﻴﻞاﻟﻠﻴﻞ ﺗﺮى اﻟﻠﻴﻞ اﻟﻠﻴﻞ اﻟﺤﺰﻳﻦاﻟﺤﺰﻳﻦاﻟﻤﺠﺮوﺣﻴﻦاﻟﻤﺠﺮوﺣﻴﻦاﻟﺤﺰﻳﻦاﻟﺤﺰﻳﻦ ,Would ever the night of the gloomy flair ﻳﺎﻳﺎ ﻳﺎ أﺑﻮﻳﺎ هﻞ هﻞ هﻞ ﺗﺮى ﺗﺮىاﻟﻐﻨﺎوي ﺗﺮى اﻟﻠﻴﻞ اﻟﻠﻴﻞ اﻟﻠﻴﻞ اﻟﺤﺰﻳﻦاﻟﻤﺠﺮوﺣﻴﻦاﻟﺤﺰﻳﻦاﻟﺤﺰﻳﻦ أﺑﻮ أﺑﻮ اﻟﻨﺠﻮم اﻟﻨﺠﻮم اﻟﺪﺑﻼﻧﻴﻦاﻟﺪﺑﻼﻧﻴﻦ أﺑﻮأﺑﻮ ﻳﻘﺪر أﺑﻮﻳﻘﺪر أﺑﻮ اﻟﻨﺠﻮماﻟﻨﺠﻮم ﻳﻨﺴّﻴﻬﺎ ﻳﻨﺴّﻴﻬﺎاﻟﻨﺠﻮمﻳﻨﺴّﻴﻬﺎاﻟﻨﺠﻮم اﻟﻨﺠﻮم اﻟﺪﺑﻼﻧﻴﻦاﻟﺪﺑﻼﻧﻴﻦاﻟﺼﺒﺎحاﻟﺼﺒﺎحاﻟﺪﺑﻼﻧﻴﻦاﻟﺪﺑﻼﻧﻴﻦ ,Of the stars with decrepit glittery أﺑﻮأﺑﻮ أﺑﻮ ﻳﻘﺪر أﺑﻮ اﻟﻨﺠﻮماﻟﻨﺠﻮم اﻟﻨﺠﻮمﻳﻨﺴّﻴﻬﺎ اﻟﻨﺠﻮم اﻟﺪﺑﻼﻧﻴﻦاﻟﺼﺒﺎحاﻟﺪﺑﻼﻧﻴﻦاﻟﺪﺑﻼﻧﻴﻦ أﺑﻮ أﺑﻮ اﻟﻐﻨﺎوي اﻟﻐﻨﺎوي اﻟﻤﺠﺮوﺣﻴﻦاﻟﻤﺠﺮوﺣﻴﻦ أﺑﻮأﺑﻮ أﺑﻮأﺑﻮ أﺑﻮ أﺑﻮﺷﻤﺲ ﺷﻤﺲ اﻟﻐﻨﺎوياﻟﻐﻨﺎوي اﻟﻐﻨﺎوي ﺑﺘﺮش ﺑﺘﺮشاﻟﻐﻨﺎوي اﻟﻤﺠﺮوﺣﻴﻦاﻟﻤﺠﺮوﺣﻴﻦاﻟﺤﻨﻴﻦ؟اﻟﺤﻨﻴﻦ؟اﻟﺤﻨﻴﻦ؟اﻟﻤﺠﺮوﺣﻴﻦاﻟﻤﺠﺮوﺣﻴﻦ ,And the songs with grievous tincture أﺑﻮ أﺑﻮ أﺑﻮ أﺑﻮ ﺷﻤﺲ اﻟﻐﻨﺎوي اﻟﻐﻨﺎوي اﻟﻐﻨﺎوي ﺑﺘﺮش اﻟﻤﺠﺮوﺣﻴﻦاﻟﺤﻨﻴﻦ؟اﻟﻤﺠﺮوﺣﻴﻦاﻟﻤﺠﺮوﺣﻴﻦ ﻳﻘﺪر ﻳﻘﺪر ﻳﻨﺴّﻴﻬﺎ ﻳﻨﺴّﻴﻬﺎ اﻟﺼﺒﺎحاﻟﺼﺒﺎح أﺑﻮ أﺑﻮأﺑﻮ ﻳﻘﺪرﻳﻘﺪر ﺷﻤﺲ ﺷﻤﺲ ﻳﻘﺪر ﻳﻘﺪرﻳﻨﺴّﻴﻬﺎ ﻳﻨﺴّﻴﻬﺎﺑﺘﺮش ﺑﺘﺮش ﻳﻨﺴّﻴﻬﺎﻳﻨﺴّﻴﻬﺎ ﻳﻨﺴّﻴﻬﺎ اﻟﺼﺒﺎحاﻟﺼﺒﺎحاﻟﺤﻨﻴﻦ؟اﻟﺤﻨﻴﻦ؟اﻟﺤﻨﻴﻦ؟اﻟﺼﺒﺎحاﻟﺼﺒﺎح ?Be unmindful of the morning story أﺑﻮ ﻳﻘﺪر ﻳﻘﺪرﺷﻤﺲ ﻳﻘﺪر ﻳﻨﺴّﻴﻬﺎﻳﻨﺴّﻴﻬﺎ ﺑﺘﺮش ﻳﻨﺴّﻴﻬﺎ ﻳﻨﺴّﻴﻬﺎ اﻟﺼﺒﺎحاﻟﺤﻨﻴﻦ؟اﻟﺼﺒﺎحاﻟﺼﺒﺎح أﺑﻮ أﺑﻮ ﺷﻤﺲ ﺷﻤﺲ ﺑﺘﺮش ﺑﺘﺮش.. اﻟﺤﻨﻴﻦ؟اﻟﺤﻨﻴﻦ؟ أﺑﻮأﺑﻮ أﺑﻮ أﺑﻮﺷﻤﺲﺷﻤﺲ ﺑﻠﺪﻧﺎ ﺑﻠﺪﻧﺎﺑﻠﺪﻧﺎﺷﻤﺲ ﻟﻴﻞﺷﻤﺲ ﻟﻴﻞﺑﺘﺮش ﺑﺘﺮش ﺑﺘﺮش ﻧﻬﺎرﻧﻬﺎر..ﺑﺘﺮشأ .. ﺑأ أ ﺑ ﺪﺑ اﻟﺤﻨﻴﻦ؟اﻟﺤﻨﻴﻦ؟اًﺪ ﺪ اًاًاﻟﺤﻨﻴﻦ؟اﻟﺤﻨﻴﻦ؟ أﺑﻮأﺑﻮ أﺑﻮ أﺑﻮ ﺷﻤﺲ ﺷﻤﺲﺑﻠﺪﻧﺎ ﺷﻤﺲ ﻟﻴﻞ ﺑﺘﺮش ﺑﺘﺮش ﺑﺘﺮش ﻧﻬﺎر.. أ ﺑ اﻟﺤﻨﻴﻦ؟اﻟﺤﻨﻴﻦ؟ﺪ اًاﻟﺤﻨﻴﻦ؟اﻟﺤﻨﻴﻦ؟ ?The morning sun: the nostalgic spatter أﺑﻮ أﺑﻮ ﺷﻤﺲ ﺷﻤﺲ ﺑﺘﺮش ﺑﺘﺮش اﻟﺤﻨﻴﻦ؟اﻟﺤﻨﻴﻦ؟ أﺑﻮأﺑﻮ أﺑﻮ أﺑﻮﺷﻤﺲﺷﻤﺲ ﺷﻤﺲﺑﺘﺤﺐ ﺑﺘﺤﺐ ﻣﺷﻤﺲﻣ ﺑﺘﺮشﻮّ ﺑﺘﺮشا ﻮّ ا لﺑﺘﺮش ل ﺑﺘﺮش اﻟﺤﻨﻴﻦ؟اﻟﺤﻨﻴﻦ؟اﻟﻨﻬﺎراﻟﻨﻬﺎراﻟﺤﻨﻴﻦ؟اﻟﺤﻨﻴﻦ؟ أﺑﻮأﺑﻮ أﺑﻮ أﺑﻮ ﺷﻤﺲ ﺷﻤﺲ ﺷﻤﺲﺑﺘﺤﺐ ﻣ ﺑﺘﺮشﻮّ اﺑﺘﺮش لﺑﺘﺮش اﻟﺤﻨﻴﻦ؟اﻟﺤﻨﻴﻦ؟اﻟﻨﻬﺎراﻟﺤﻨﻴﻦ؟اﻟﺤﻨﻴﻦ؟ ?The morning sun: the nostalgic spatter ﺑﻠﺪﻧﺎ ﺑﻠﺪﻧﺎ ﻟﻴﻞ ﻟﻴﻞ ﻧﻬﺎر.. أ ﻧﻬﺎرﺑ ﺪ ..اً أ ﺑ ﺪ اً ﻟﻤﺎﻟﻤﺎ ﻟﻤﺎ ﺑﻠﺪﻧﺎﺑﻠﺪﻧﺎ ﻳﻌﺪّيﺑﻠﺪﻧﺎﺑﻠﺪﻧﺎ ﻳﻌﺪّي ﻟﻴﻞ ﻟﻴﻞ ﻓﻲﺑﻠﺪﻧﺎﻟﻴﻞ ﻓﻲ ﻧﻬﺎرﻧﻬﺎرﻟﻴﻞ.. ..أ أ ﻧﻬﺎرﺑ ﺑ ﺪ ....ﺪ اًأ أ اًاﻟﺪروبﺑ ﺑ ﻧﻬﺎراﻟﺪروبﺪ ﺪ اًاً.. أ ﺑ ﺪ اً ﻟﻤﺎ ﺑﻠﺪﻧﺎﺑﻠﺪﻧﺎ ﺑﻠﺪﻧﺎ ﻳﻌﺪّيﺑﻠﺪﻧﺎ ﻟﻴﻞ ﻟﻴﻞ ﻓﻲﻟﻴﻞ ﻧﻬﺎرﻧﻬﺎر.... أ أ ..ﺑ ﻧﻬﺎرﺑ أ ﺪ ﺑﺪ ..اًاًﺪأ اﻟﺪروباًﺑ ﺪ اً ,Never! Our country, over day and night ﺑﺘﺤﺐ ﻣ ﺑﺘﺤﺐﻮّ ا ﻣ لﻮّ ا ل اﻟﻨﻬﺎراﻟﻨﻬﺎر وو و ﺑﺘﺤﺐﺑﺘﺤﺐ ﻳﻐﻨّﻲ ﻳﻐﻨّﻲﻣﻗ ﻣﺑﺘﺤﺐﻗ ﺪّﻗ ﻮّ ﻮّﺪّ اﺪّ ا ﻣما ل مﺑﺘﺤﺐملﻮّ ا ﻣ لآﻞ ﻮّ آﻞا لاﻟﻨﻬﺎر اﻟﻨﻬﺎردارداراﻟﻨﻬﺎراﻟﻨﻬﺎر و ﺑﺘﺤﺐ ﻳﻐﻨّﻲ ﺑﺘﺤﺐ ﻣﻗ ﺑﺘﺤﺐﻣ ﺪّ ﻮّ اﻮّﻣا مل ﻮّ لا لآﻞ اﻟﻨﻬﺎرداراﻟﻨﻬﺎراﻟﻨﻬﺎر ,Does chant every lyric of the daylight ﻟﻤﺎ ﻟﻤﺎ ﻳﻌﺪّي ﻳﻌﺪّيﻓﻲ ﻓﻲ اﻟﺪروباﻟﺪروب وو و ﻟﻤﺎ ﻟﻤﺎاﻟﻠﻴﻞ اﻟﻠﻴﻞ ﻟﻤﺎ ﻟﻤﺎ ﻳﻠﻒﻳﻌﺪّيﻟﻤﺎ ﻳﻌﺪّيﻳﻠﻒ ﻳﻌﺪّي ﻓﻲ ﻓﻲورا وراورا ﻳﻌﺪّيﻓﻲ ﻓﻲ اﻟﺪروباﻟﺪروباﻟﺴﻮاﻗﻲاﻟﺴﻮاﻗﻲاﻟﺪروباﻟﺪروب و ﻟﻤﺎﻟﻤﺎ اﻟﻠﻴﻞﻟﻤﺎ ﻟﻤﺎ ﻳﻠﻒﻳﻌﺪّي ﻳﻌﺪّي ﻳﻌﺪّيﻓﻲ ورا ﻓﻲ ﻓﻲ اﻟﺪروباﻟﺴﻮاﻗﻲاﻟﺪروباﻟﺪروب ,Just when it even drops by every road و و ﻳﻐﻨّﻲ ﻗ ﺪّ ﻳﻐﻨّﻲا مﻗ ﺪّ ا مآﻞ آﻞ داردار وو و زي زي ﻳﻐﻨّﻲﻳﻐﻨّﻲوﻣﺎ ﻣﺎﻗ ﻣﺎﻗ ﺪّ ﻳﻐﻨّﻲﺪّ ا ا ﻗ ﻗ ممﺪّ ﺪّﻳﻠﻒ ا ﻳﻐﻨّﻲا ﻳﻠﻒ م م ﻗ آﻞآﻞﺪّ ا مآﻞ دارداراﻟﺰﻣﺎناﻟﺰﻣﺎنآﻞ داردار و و و وزي ﻳﻐﻨّﻲ ﻣﺎﻳﻐﻨّﻲﻗ ﻗ ﺪّ ﻗﺪّ ﻳﻐﻨّﻲا ا ﺪّ مامﻗ مﺪّ ﻳﻠﻒ ا مآﻞ آﻞ آﻞ داراﻟﺰﻣﺎنداردار .And sings before almost every abode و و اﻟﻠﻴﻞ اﻟﻠﻴﻞ ﻳﻠﻒ ﻳﻠﻒ ورا ورا اﻟﺴﻮاﻗﻲاﻟﺴﻮاﻗﻲ وو و و و و اﻟﻠﻴﻞ اﻟﻠﻴﻞ و اﻟﻠﻴﻞﻋﻠﻰ ﻋﻠﻰﻳﻠﻒ ﻳﻠﻒ اﻟﻠﻴﻞ ﻳﻠﻒ اﻟﻨﻐﻢورااﻟﻨﻐﻢ اﻟﻨﻐﻢورا ﻳﻠﻒ وراورا ﺗﺤﻠﻢﺗﺤﻠﻢ ﺗﺤﻠﻢ ورا اﻟﺴﻮاﻗﻲاﻟﺴﻮاﻗﻲﺑﻠﺪﻧﺎﺑﻠﺪﻧﺎﺑﻠﺪﻧﺎاﻟﺴﻮاﻗﻲاﻟﺴﻮاﻗﻲ وو و وو اﻟﻠﻴﻞ اﻟﻠﻴﻞ اﻟﻠﻴﻞﻋﻠﻰ ﻳﻠﻒ ﻳﻠﻒ ﻳﻠﻒ اﻟﻨﻐﻢوراورا ورا ورا ﺗﺤﻠﻢ اﻟﺴﻮاﻗﻲﺑﻠﺪﻧﺎاﻟﺴﻮاﻗﻲاﻟﺴﻮاﻗﻲ ,The night revolves around the waterwheels زي ﻣﺎزي ﻣﺎ ﻳﻠﻒ ﻳﻠﻒ اﻟﺰﻣﺎناﻟﺰﻣﺎن ﺑﺎﻟﺴﻨﺎﺑﻞ ﺑﺎﻟﺴﻨﺎﺑﻞ زيزي زيﻣﺎﻣﺎ واﻟﻜﻴﺰان ﻣﺎواﻟﻜﻴﺰانﻣﺎ زي ﻳﻠﻒﻳﻠﻒ ﻣﺎﺗﺤﻠﻢ ﺗﺤﻠﻢ ﻳﻠﻒﺗﺤﻠﻢ ﻳﻠﻒ اﻟﺰﻣﺎناﻟﺰﻣﺎنﺑﺒﻜﺮﻩﺑﺒﻜﺮﻩﺑﺒﻜﺮﻩاﻟﺰﻣﺎناﻟﺰﻣﺎن ﺑﺎﻟﺴﻨﺎﺑﻞ زي زي ﻣﺎﻣﺎزي ﻣﺎواﻟﻜﻴﺰان ﻣﺎ ﻳﻠﻒ ﻳﻠﻒ ﺗﺤﻠﻢ ﻳﻠﻒ اﻟﺰﻣﺎنﺑﺒﻜﺮﻩاﻟﺰﻣﺎناﻟﺰﻣﺎن .Just like time when it classically reels و و ﻋﻠﻰ ﻋﻠﻰ اﻟﻨﻐﻢ اﻟﻨﻐﻢ ﺗﺤﻠﻢ ﺗﺤﻠﻢ ﺑﻠﺪﻧﺎﺑﻠﺪﻧﺎ وو و و و و ﻋﻠﻰ ﻋﻠﻰ و ﻋﻠﻰاﻟﻠﻲ اﻟﻠﻲ اﻟﻨﻐﻢاﻟﻨﻐﻢ ﻋﻠﻰ اﻟﻨﻐﻢاﻟﻨﻐﻢ ﺗﺤﻠﻢﺗﺤﻠﻢﺣﻴﺠﻴﺒﻪ اﻟﻨﻐﻢ ﺣﻴﺠﻴﺒﻪﺣﻴﺠﻴﺒﻪ ﺗﺤﻠﻢﺗﺤﻠﻢ ﺑﻠﺪﻧﺎﺑﻠﺪﻧﺎﻣﻌﺎﻩﺗﺤﻠﻢﻣﻌﺎﻩﻣﻌﺎﻩ ﺑﻠﺪﻧﺎﺑﻠﺪﻧﺎﺑﻠﺪﻧﺎ To be continued وو و وو ﻋﻠﻰ ﻋﻠﻰ ﻋﻠﻰاﻟﻠﻲ اﻟﻨﻐﻢاﻟﻨﻐﻢ اﻟﻨﻐﻢ اﻟﻨﻐﻢ ﺗﺤﻠﻢﺗﺤﻠﻢ ﺣﻴﺠﻴﺒﻪ ﺗﺤﻠﻢ ﺗﺤﻠﻢ ﺑﻠﺪﻧﺎﺑﻠﺪﻧﺎﻣﻌﺎﻩﺑﻠﺪﻧﺎﺑﻠﺪﻧﺎ ﺑﺎﻟﺴﻨﺎﺑﻞ ﺑﺎﻟﺴﻨﺎﺑﻞ واﻟﻜﻴﺰان واﻟﻜﻴﺰان ﺗﺤﻠﻢ ﺗﺤﻠﻢ ﺑﺒﻜﺮﻩﺑﺒﻜﺮﻩ ﺑﺎﻟﺴﻨﺎﺑﻞﺑﺎﻟﺴﻨﺎﺑﻞ ﺑﺎﻟﺴﻨﺎﺑﻞ وو و ﺑﺎﻟﺴﻨﺎﺑﻞ اﻟﻠﻲ واﻟﻜﻴﺰاناﻟﻠﻲواﻟﻜﻴﺰان واﻟﻜﻴﺰان ﺗﺤﻠﻢﺗﺤﻠﻢ واﻟﻜﻴﺰان ﺣﻴﺠﻴﺒﻪ ﺗﺤﻠﻢ ﺣﻴﺠﻴﺒﻪﺗﺤﻠﻢﺣﻴﺠﻴﺒﻪ ﺗﺤﻠﻢﺑﺒﻜﺮﻩﺑﺒﻜﺮﻩﻣﻌﺎﻩ ﻣﻌﺎﻩﻣﻌﺎﻩﺑﺒﻜﺮﻩﺑﺒﻜﺮﻩﺑﺒﻜﺮﻩ ﺑﺎﻟﺴﻨﺎﺑﻞ ﺑﺎﻟﺴﻨﺎﺑﻞ ﺑﺎﻟﺴﻨﺎﺑﻞ و اﻟﻠﻲ واﻟﻜﻴﺰان واﻟﻜﻴﺰان واﻟﻜﻴﺰان ﺗﺤﻠﻢﺗﺤﻠﻢ ﺗﺤﻠﻢ ﺣﻴﺠﻴﺒﻪ ﺗﺤﻠﻢ ﺑﺒﻜﺮﻩﺑﺒﻜﺮﻩﻣﻌﺎﻩﺑﺒﻜﺮﻩﺑﺒﻜﺮﻩ ﺗﻨﺪﻩﺗﻨﺪﻩو وو ﻋﻠﻴﻪاﻟﻠﻲﻋﻠﻴﻪ اﻟﻠﻲاﻟﻠﻲﻓﻲ ﺣﻴﺠﻴﺒﻪ ﺣﻴﺠﻴﺒﻪﺣﻴﺠﻴﺒﻪاﻟﻀﻠﻤﺔ اﻟﻀﻠﻤﺔ ﻣﻌﺎﻩﻣﻌﺎﻩﻣﻌﺎﻩ ووو و ﺗﻨﺪﻩ و اﻟﻠﻲاﻟﻠﻲاﻟﻠﻲ اﻟﻠﻲ ﻋﻠﻴﻪ اﻟﻠﻲ ﻓﻲ ﺣﻴﺠﻴﺒﻪﺣﻴﺠﻴﺒﻪﺣﻴﺠﻴﺒﻪ ﺣﻴﺠﻴﺒﻪ ﺣﻴﺠﻴﺒﻪ ﻣﻌﺎﻩﻣﻌﺎﻩﻣﻌﺎﻩاﻟﻀﻠﻤﺔﻣﻌﺎﻩﻣﻌﺎﻩﻣﻌﺎﻩ Center of Sciences and Cultures و و و اﻟﻠﻲ اﻟﻠﻲ اﻟﻠﻲ Development &ﺣﻴﺠﻴﺒﻪ ﺣﻴﺠﻴﺒﻪ ﺣﻴﺠﻴﺒﻪ ﻣﻌﺎﻩﻣﻌﺎﻩﻣﻌﺎﻩCopyright © Canadian Research 145 و و اﻟﻠﻲ اﻟﻠﻲ ﺣﻴﺠﻴﺒﻪ ﺣﻴﺠﻴﺒﻪ ﻣﻌﺎﻩﻣﻌﺎﻩ وو و اﻟﻠﻲ اﻟﻠﻲ و واﻟﻠﻲو و اﻟﻠﻲ ﺣﻴﺠﻴﺒﻪﺣﻴﺠﻴﺒﻪ ﺑﺘﺴﻤﻊ ﺑﺘﺴﻤﻊﺣﻴﺠﻴﺒﻪ ﻣﻌﺎﻩﻣﻌﺎﻩﻧﺪاﻩﺣﻴﺠﻴﺒﻪﻧﺪاﻩﻧﺪاﻩ ﻣﻌﺎﻩﻣﻌﺎﻩﻣﻌﺎﻩ وو و و اﻟﻠﻲ اﻟﻠﻲ واﻟﻠﻲ ﺣﻴﺠﻴﺒﻪﺣﻴﺠﻴﺒﻪ ﺣﻴﺠﻴﺒﻪﺑﺘﺴﻤﻊ ﺣﻴﺠﻴﺒﻪ ﻣﻌﺎﻩﻣﻌﺎﻩﻧﺪاﻩﻣﻌﺎﻩﻣﻌﺎﻩ ﺗﻨﺪﻩ ﺗﻨﺪﻩ ﻋﻠﻴﻪ ﻋﻠﻴﻪﻓﻲ ﻓﻲ اﻟﻀﻠﻤﺔاﻟﻀﻠﻤﺔ ﺗﻨﺪﻩﺗﺼﺤﻰﺗﻨﺪﻩ ﺗﺼﺤﻰ ﺗﻨﺪﻩﺗﻨﺪﻩﻟﻪ ﻟﻪ ﻟﻪ ﻋﻠﻴﻪﻋﻠﻴﻪ ﺗﻨﺪﻩ ﻣﻦ ﻣﻦﻋﻠﻴﻪ ﻓﻲ ﻓﻲ ﻗﺒﻞﻋﻠﻴﻪ ﻓﻲﻗﺒﻞ ﻓﻲ اﻟﻀﻠﻤﺔاﻟﻀﻠﻤﺔاﻷداناﻷداناﻟﻀﻠﻤﺔاﻟﻀﻠﻤﺔ ﺗﻨﺪﻩﺗﻨﺪﻩﺗﺼﺤﻰ ﺗﻨﺪﻩ ﺗﻨﺪﻩﻟﻪ ﻋﻠﻴﻪﻋﻠﻴﻪ ﻋﻠﻴﻪﻣﻦ ﻋﻠﻴﻪﻓﻲ ﻓﻲ ﻗﺒﻞ ﻓﻲ اﻟﻀﻠﻤﺔاﻟﻀﻠﻤﺔاﻷداناﻟﻀﻠﻤﺔاﻟﻀﻠﻤﺔ و و ﺑﺘﺴﻤﻊ ﺑﺘﺴﻤﻊ ﻧﺪاﻩﻧﺪاﻩ ﺗﺮوح ﺗﺮوح ﺗﻘﺎﺑﻠﻪ ﺗﻘﺎﺑﻠﻪﺗﻘﺎﺑﻠﻪ ﻓﻲ ﻓﻲ اﻟﻐﻴﻄﺎنوو اﻟﻐﻴﻄﺎن و ﻓﻲ ﻓﻲ وﺑﺘﺴﻤﻊ ﺑﺘﺴﻤﻊ ﺑﺘﺴﻤﻊ ﻧﺪاﻩﻧﺪاﻩاﻟﻤﺘﺎﺟﺮاﻟﻤﺘﺎﺟﺮﺑﺘﺴﻤﻊﻧﺪاﻩ ﻧﺪاﻩﻧﺪاﻩ ﺗﺮوح ﺗﻘﺎﺑﻠﻪ ﻓﻲ وواﻟﻐﻴﻄﺎن و وﻓﻲ ﺑﺘﺴﻤﻊﺑﺘﺴﻤﻊ ﺑﺘﺴﻤﻊ ﺑﺘﺴﻤﻊ ﻧﺪاﻩﻧﺪاﻩاﻟﻤﺘﺎﺟﺮﻧﺪاﻩﻧﺪاﻩ ﺗﺼﺤﻰ ﻟﻪﺗﺼﺤﻰ ﻟﻪﻣﻦ ﻣﻦ ﻗﺒﻞ ﻗﺒﻞ اﻷداناﻷدان ﺗﺼﺤﻰﺗﺼﺤﻰ ﻟﻪﺗﺼﺤﻰﻟﻪ ﻟﻪﺗﺼﺤﻰ ﻣﻦﻣﻦ ﻟﻪﻣﻦ ﻗﺒﻞﻗﺒﻞ ﻣﻦﻗﺒﻞ ﻗﺒﻞاﻷدان اﻷداناﻷداناﻷدان ﺗﺼﺤﻰ ﺗﺼﺤﻰ ﻟﻪﻟﻪﺗﺼﺤﻰ ﻟﻪ ﻟﻪ ﻣﻦ ﻣﻦ ﻣﻦ ﻗﺒﻞ ﻗﺒﻞ ﻗﺒﻞ اﻷداناﻷداناﻷدان ﺗﺮوح ﺗﺮوح ﺗﻘﺎﺑﻠﻪ ﺗﻘﺎﺑﻠﻪﻓﻲ ﻓﻲ اﻟﻐﻴﻄﺎن اﻟﻐﻴﻄﺎنﻓﻲ ﻓﻲ اﻟﻤﺘﺎﺟﺮاﻟﻤﺘﺎﺟﺮ ﺗﺮوحﺗﺮوح ﺗﺮوح ﺗﻘﺎﺑﻠﻪﺗﺮوحﺗﻘﺎﺑﻠﻪ ﺗﻘﺎﺑﻠﻪ ﻓﻲ ﻓﻲ ﺗﻘﺎﺑﻠﻪﻓﻲ ﻓﻲ اﻟﻐﻴﻄﺎناﻟﻐﻴﻄﺎن اﻟﻐﻴﻄﺎن ﻓﻲ ﻓﻲ اﻟﻐﻴﻄﺎنﻓﻲ ﻓﻲ اﻟﻤﺘﺎﺟﺮاﻟﻤﺘﺎﺟﺮاﻟﻤﺘﺎﺟﺮاﻟﻤﺘﺎﺟﺮ ﺗﺮوح ﺗﺮوح ﺗﺮوح ﺗﻘﺎﺑﻠﻪﺗﻘﺎﺑﻠﻪ ﺗﻘﺎﺑﻠﻪ ﺗﻘﺎﺑﻠﻪﻓﻲ ﻓﻲ ﻓﻲ اﻟﻐﻴﻄﺎن اﻟﻐﻴﻄﺎن اﻟﻐﻴﻄﺎنﻓﻲ ﻓﻲ ﻓﻲ اﻟﻤﺘﺎﺟﺮاﻟﻤﺘﺎﺟﺮاﻟﻤﺘﺎﺟﺮ وﻻﺑﺪ وﻻﺑﺪﻣﻦ وﻻﺑﺪوﻻﺑﺪ وﻻﺑﺪ ﻣﻦ ﻣﻦوﻻﺑﺪﻣﻦ ﻳـﻮم ﻣﻦ ﻳـﻮموﻻﺑﺪﻣﻦﻳـﻮم ﻳـﻮم ﻳـﻮم ﻣﻦﻣﻌﻠـﻮم ﻳـﻮم ﻣﻌﻠـﻮمﻣﻌﻠـﻮمﻣﻌﻠـﻮمﻳـﻮم ﻣﻌﻠـﻮمﻣﻌﻠـﻮمﻣﻌﻠـﻮم

ﺗﺘﺮد ﺗﺘﺮد ﺗﺘﺮدﻓﻴـﻪﺗﺘﺮد ﺗﺘﺮد ﻓﻴـﻪ ﺗﺘﺮد ﻓﻴـﻪ ﻓﻴـﻪ ﻓﻴـﻪ ﺗﺘﺮدﻓﻴـﻪ اﻟﻤﻈـﺎﻟﻢ اﻟﻤﻈـﺎﻟﻢﻓﻴـﻪاﻟﻤﻈـﺎﻟﻢ اﻟﻤﻈـﺎﻟﻢاﻟﻤﻈـﺎﻟﻢاﻟﻤﻈـﺎﻟﻢاﻟﻤﻈـﺎﻟﻢ

أﺑﻴﺾ ﻋأﺑﻴﺾ أﺑﻴﺾأﺑﻴﺾ ﻠﻰ ﻋأﺑﻴﺾ ﻋ ﻋأﺑﻴﺾﻠﻰﻋ آﻞ ﻠﻰﻠﻰ ﻋﻠﻰ أﺑﻴﺾآﻞ آﻞﻠﻰآﻞ ﻋآﻞ ﻣﻈﻠـﻮمآﻞﻠﻰ ﻣﻈﻠـﻮمآﻞﻣﻈﻠـﻮمﻣﻈﻠـﻮم ﻣﻈﻠـﻮمﻣﻈﻠـﻮمﻣﻈﻠـﻮم

واﺳـﻮد واﺳـﻮد واﺳـﻮدواﺳـﻮد ﻋﻠﻰ واﺳـﻮد واﺳـﻮدﻋﻠﻰ آﻞ ﻋﻠﻰﻋﻠﻰ ﻋﻠﻰ واﺳـﻮدآﻞ آﻞﻋﻠﻰآﻞ آﻞﻇـﺎﻟﻢ آﻞﻋﻠﻰ ﻇـﺎﻟﻢﻇـﺎﻟﻢﻇـﺎﻟﻢﻇـﺎﻟﻢآﻞ ﻇـﺎﻟﻢﻇـﺎﻟﻢ

ﻋﺪّى ﻋﺪّى ﻋﺪّىﻋﺪّى ﻋﺪّى اﻟﻨﻬﺎر ﻋﺪّى واﻟﻨﻬﺎر اﻟﻨﻬﺎراﻟﻨﻬﺎر ﻋﺪّىو اﻟﻨﻬﺎر و و واﻟﻨﻬﺎر و اﻟﻤﻐﺮﺑﻴﺔاﻟﻨﻬﺎر ﺟ واﻟﻤﻐﺮﺑﻴﺔﺎ اﻟﻤﻐﺮﺑﻴﺔﻳّ اﻟﻤﻐﺮﺑﻴﺔ ﺔﺟ اﻟﻤﻐﺮﺑﻴﺔﺎﺟ ﺟﻳّﺎ ﺎ اﻟﻤﻐﺮﺑﻴﺔﻳّﺟ ﺔﻳّ ﺎﺔﺔﻳّ ﺟ ﺔﺎ اﻟﻤﻐﺮﺑﻴﺔﻳّ ﺔﺟ ﺎ ﻳّ ﺔ

ﺗﺘﺨﻔّﻰ ﺗﺘﺨﻔّﻰ ﺗﺘﺨﻔّﻰﺗﺘﺨﻔّﻰورا ﺗﺘﺨﻔّﻰ وراﺗﺘﺨﻔّﻰ ورا ورا وراﺿﻬﺮ ﺗﺘﺨﻔّﻰ ورا ﺿﻬﺮ ﺿﻬﺮﺿﻬﺮ ورااﻟﺸﺠﺿﻬﺮ ﺮﺿﻬﺮاﻟﺸﺠ اﻟﺸﺠاﻟﺸﺠﺮﺮاﻟﺸﺠﺮﺿﻬﺮ ﺮاﻟﺸﺠﺮاﻟﺸﺠﺮ

و و و و و ﻋﺸﺎن و ﻋﺸﺎن ﻋﺸﺎنﻋﺸﺎنﻧﺘﻮﻩ و ﻋﺸﺎن ﻧﺘﻮﻩﻋﺸﺎنﻓﻲ ﻧﺘﻮﻩ ﻧﺘﻮﻩ ﻧﺘﻮﻩ ﻓﻲﻋﺸﺎن ﻓﻲ ﻧﺘﻮﻩﻓﻲ ﻓﻲاﻟﺴﻜﺔ ﻓﻲﻧﺘﻮﻩ اﻟﺴﻜﺔاﻟﺴﻜﺔاﻟﺴﻜﺔﻓﻲاﻟﺴﻜﺔ اﻟﺴﻜﺔاﻟﺴﻜﺔ

ﺷﺎﻟِﺖ ﺷﺎﻟِﺖ ﻣﻦﺷﺎﻟِﺖﺷﺎﻟِﺖ ﺷﺎﻟِﺖ ﻣﻦ ﻣﻦﺷﺎﻟِﺖﻣﻦ ﻣﻦﻟﻴﺎﻟﻴﻨﺎ ﺷﺎﻟِﺖﻣﻦ ﻟﻴﺎﻟﻴﻨﺎ ﻟﻴﺎﻟﻴﻨﺎﻟﻴﺎﻟﻴﻨﺎ ﻟﻴﺎﻟﻴﻨﺎﻣﻦاﻟﻘﻤﺮ ﻟﻴﺎﻟﻴﻨﺎ اﻟﻘﻤﺮاﻟﻘﻤﺮاﻟﻘﻤﺮاﻟﻘﻤﺮﻟﻴﺎﻟﻴﻨﺎ اﻟﻘﻤﺮاﻟﻘﻤﺮ

و و و و ﺑﻠﺪﻧﺎ و عوﺑﻠﺪﻧﺎ ﺑﻠﺪﻧﺎﺑﻠﺪﻧﺎ عﺑﻠﺪﻧﺎ عوع ﺑﻠﺪﻧﺎع اﻟﺘﺮﻋﺔع ﺑﻠﺪﻧﺎ اﻟﺘﺮﻋﺔ اﻟﺘﺮﻋﺔعاﻟﺘﺮﻋﺔ اﻟﺘﺮﻋﺔ ﺑﺘﻐﺴﻞ اﻟﺘﺮﻋﺔ ﺑﺘﻐﺴﻞ ﺑﺘﻐﺴﻞﺑﺘﻐﺴﻞاﻟﺘﺮﻋﺔ ﺑﺘﻐﺴﻞ ﺷﻌﺮهﺎﺑﺘﻐﺴﻞ ﺷﻌﺮهﺎﺷﻌﺮهﺎﺑﺘﻐﺴﻞﺷﻌﺮهﺎ ﺷﻌﺮهﺎﺷﻌﺮهﺎﺷﻌﺮهﺎ

ﺟﺎﻧﺎ ﻧ ﺟﺎﻧﺎ ﺟﺎﻧﺎﺟﺎﻧﺎﻧ ﻬﺎر ﻧﺟﺎﻧﺎﻧ ﻧ ﺟﺎﻧﺎﻬﺎر ﻬﺎرﻧﻬﺎر ﻬﺎرﺟﺎﻧﺎ ﻬﺎرﻧﻣﻘﺪرش ﻣﻘﺪرشﻬﺎر ﻣﻘﺪرش ﻣﻘﺪرش ﻳﺪﻓﻊ ﻣﻘﺪرش ﻣﻘﺪرشﻳﺪﻓﻊ ﻳﺪﻓﻊﻳﺪﻓﻊ ﻳﺪﻓﻊ ﻣﻘﺪرشﻣﻬﺮهﺎ ﻳﺪﻓﻊ ﻣﻬﺮهﺎﻣﻬﺮهﺎﻣﻬﺮهﺎﻳﺪﻓﻊ ﻣﻬﺮهﺎﻣﻬﺮهﺎﻣﻬﺮهﺎ

ﻳﺎ ﻳﺎ ﻳﺎهﻞ ﻳﺎ ﻳﺎ هﻞ هﻞﻳﺎهﻞ ﺗﺮىهﻞ ﻳﺎهﻞﺗﺮى ﺗﺮىﺗﺮى اﻟﻠﻴﻞﺗﺮى هﻞ ﺗﺮىاﻟﻠﻴﻞ اﻟﻠﻴﻞاﻟﻠﻴﻞ اﻟﻠﻴﻞﺗﺮى اﻟﻠﻴﻞاﻟﺤﺰﻳﻦ اﻟﺤﺰﻳﻦاﻟﻠﻴﻞاﻟﺤﺰﻳﻦاﻟﺤﺰﻳﻦ اﻟﺤﺰﻳﻦاﻟﺤﺰﻳﻦاﻟﺤﺰﻳﻦ

أﺑﻮ أﺑﻮ أﺑﻮأﺑﻮ أﺑﻮ اﻟﻨﺠﻮمأﺑﻮ اﻟﻨﺠﻮم اﻟﻨﺠﻮماﻟﻨﺠﻮمأﺑﻮ اﻟﻨﺠﻮم اﻟﻨﺠﻮم اﻟﺪﺑﻼﻧﻴﻦاﻟﻨﺠﻮماﻟﺪﺑﻼﻧﻴﻦ اﻟﺪﺑﻼﻧﻴﻦاﻟﺪﺑﻼﻧﻴﻦاﻟﺪﺑﻼﻧﻴﻦاﻟﺪﺑﻼﻧﻴﻦاﻟﺪﺑﻼﻧﻴﻦ

أﺑﻮ أﺑﻮ أﺑﻮأﺑﻮ أﺑﻮ أﺑﻮاﻟﻐﻨﺎوي اﻟﻐﻨﺎويأﺑﻮ اﻟﻐﻨﺎوي اﻟﻐﻨﺎوي اﻟﻐﻨﺎوي اﻟﻐﻨﺎوي اﻟﻐﻨﺎوياﻟﻤﺠﺮوﺣﻴﻦ اﻟﻤﺠﺮوﺣﻴﻦاﻟﻤﺠﺮوﺣﻴﻦاﻟﻤﺠﺮوﺣﻴﻦاﻟﻤﺠﺮوﺣﻴﻦاﻟﻤﺠﺮوﺣﻴﻦاﻟﻤﺠﺮوﺣﻴﻦ

ﻳﻘﺪر ﻳﻘﺪر ﻳﻘﺪرﻳﻘﺪر ﻳﻘﺪر ﻳﻨﺴّﻴﻬﺎ ﻳﻘﺪر ﻳﻨﺴّﻴﻬﺎ ﻳﻨﺴّﻴﻬﺎﻳﻨﺴّﻴﻬﺎ ﻳﻘﺪر ﻳﻨﺴّﻴﻬﺎ ﻳﻨﺴّﻴﻬﺎاﻟﺼﺒﺎح اﻟﺼﺒﺎحﻳﻨﺴّﻴﻬﺎاﻟﺼﺒﺎح اﻟﺼﺒﺎحاﻟﺼﺒﺎحاﻟﺼﺒﺎحاﻟﺼﺒﺎح

أﺑﻮ أﺑﻮ أﺑﻮأﺑﻮ أﺑﻮ ﺷﻤﺲ أﺑﻮ ﺷﻤﺲ ﺷﻤﺲﺷﻤﺲ أﺑﻮ ﺷﻤﺲ ﺑﺘﺮش ﺷﻤﺲ ﺑﺘﺮش ﺑﺘﺮشﺑﺘﺮش ﺷﻤﺲ ﺑﺘﺮش ﺑﺘﺮشاﻟﺤﻨﻴﻦ؟ اﻟﺤﻨﻴﻦ؟ﺑﺘﺮشاﻟﺤﻨﻴﻦ؟ اﻟﺤﻨﻴﻦ؟اﻟﺤﻨﻴﻦ؟اﻟﺤﻨﻴﻦ؟اﻟﺤﻨﻴﻦ؟

ﺑﻠﺪﻧﺎ ﺑﻠﺪﻧﺎ ﺑﻠﺪﻧﺎﻟﻴﻞﺑﻠﺪﻧﺎ ﺑﻠﺪﻧﺎ ﻟﻴﻞ ﻟﻴﻞﺑﻠﺪﻧﺎﻟﻴﻞ ﻧﻬﺎر ﻟﻴﻞ .. أ ﺑﻠﺪﻧﺎﻟﻴﻞﻧﻬﺎرﺑ ﻧﻬﺎرﺪ ﻧﻬﺎر..اًأ ..ﻧﻬﺎر..ﺑأ ﻟﻴﻞأ ﺑ ﺪ.. ﺑ اًﻧﻬﺎرأ ﺪ ﺪﺑ اًاً..ﺪ أ اًﺑ ﻧﻬﺎرﺪ اً.. أ ﺑ ﺪ اً

ﺑﺘﺤﺐ ﻣ ﺑﺘﺤﺐﻮّ ﺑﺘﺤﺐا ﺑﺘﺤﺐ ﻣ ﺑﺘﺤﺐلﻣ ﻮّﻣ اﻮّ ﻣ ﺑﺘﺤﺐﻮّا ا لﻮّ لاﻣ ل ﻮّلﺑﺘﺤﺐا اﻟﻨﻬﺎر لﻣ ﻮّ اﻟﻨﻬﺎرا اﻟﻨﻬﺎراﻟﻨﻬﺎرلاﻟﻨﻬﺎر اﻟﻨﻬﺎراﻟﻨﻬﺎر

ﻟﻤﺎ ﻟﻤﺎ ﻟﻤﺎﻟﻤﺎ ﻟﻤﺎﻳﻌﺪّي ﻟﻤﺎ ﻳﻌﺪّيﻓﻲ ﻳﻌﺪّي ﻳﻌﺪّي ﻟﻤﺎﻳﻌﺪّي ﻓﻲ ﻓﻲﻳﻌﺪّيﻓﻲ ﻓﻲ ﻓﻲﻳﻌﺪّياﻟﺪروب اﻟﺪروبﻓﻲاﻟﺪروب اﻟﺪروباﻟﺪروباﻟﺪروباﻟﺪروب Translation and Analysis of Diasporic Colloquial Egyptian Poems of Patriotism: A Hermeneutic Study و و و و ﻳﻐﻨّﻲو ﻗ وﺪّ ﻳﻐﻨّﻲ ا ﻳﻐﻨّﻲﻳﻐﻨّﻲمﻗ ﻗﻳﻐﻨّﻲﺪّ وﻗ ا ﺪّ ﺪّﻗا مﻳﻐﻨّﻲا آﻞﺪّ م م ا ﻗ مﺪّ آﻞا ﻳﻐﻨّﻲ آﻞمدار آﻞ ﻗ آﻞﺪّ ا دارآﻞمداردار دارآﻞدار دار

Continued و و و و اﻟﻠﻴﻞو واﻟﻠﻴﻞ اﻟﻠﻴﻞاﻟﻠﻴﻞ ﻳﻠﻒ اﻟﻠﻴﻞ و ﻳﻠﻒاﻟﻠﻴﻞ ﻳﻠﻒﻳﻠﻒورا ﻳﻠﻒ اﻟﻠﻴﻞورا ﻳﻠﻒ ورا ورا ورا ﻳﻠﻒورا اﻟﺴﻮاﻗﻲورااﻟﺴﻮاﻗﻲ اﻟﺴﻮاﻗﻲاﻟﺴﻮاﻗﻲاﻟﺴﻮاﻗﻲاﻟﺴﻮاﻗﻲاﻟﺴﻮاﻗﻲ

زي ﻣﺎزي زي زي زيﻣﺎtext ﻣﺎﻣﺎ ﻳﻠﻒزي ﻣﺎ ﻳﻠﻒﻣﺎ ﻳﻠﻒزيﻳﻠﻒ ﻳﻠﻒ ﻣﺎاﻟﺰﻣﺎن ﻳﻠﻒSource اﻟﺰﻣﺎناﻟﺰﻣﺎنﻳﻠﻒاﻟﺰﻣﺎن اﻟﺰﻣﺎناﻟﺰﻣﺎناﻟﺰﻣﺎن Translation

و و و و ﻋﻠﻰ و وﻋﻠﻰ ﻋﻠﻰﻋﻠﻰ اﻟﻨﻐﻢﻋﻠﻰ و ﻋﻠﻰاﻟﻨﻐﻢ اﻟﻨﻐﻢاﻟﻨﻐﻢ ﺗﺤﻠﻢ اﻟﻨﻐﻢ ﻋﻠﻰ اﻟﻨﻐﻢﺗﺤﻠﻢ ﺗﺤﻠﻢﺗﺤﻠﻢ ﺑﻠﺪﻧﺎ ﺗﺤﻠﻢ اﻟﻨﻐﻢ ﺗﺤﻠﻢﺑﻠﺪﻧﺎ ﺑﻠﺪﻧﺎﺑﻠﺪﻧﺎﺑﻠﺪﻧﺎﺗﺤﻠﻢ ﺑﻠﺪﻧﺎﺑﻠﺪﻧﺎ On melodies, our country dreams, also

ﺑﺎﻟﺴﻨﺎﺑﻞ ﺑﺎﻟﺴﻨﺎﺑﻞ ﺑﺎﻟﺴﻨﺎﺑﻞﺑﺎﻟﺴﻨﺎﺑﻞ ﺑﺎﻟﺴﻨﺎﺑﻞ ﺑﺎﻟﺴﻨﺎﺑﻞ واﻟﻜﻴﺰان ﺑﺎﻟﺴﻨﺎﺑﻞ واﻟﻜﻴﺰان واﻟﻜﻴﺰانواﻟﻜﻴﺰان ﺗﺤﻠﻢ واﻟﻜﻴﺰان واﻟﻜﻴﺰانﺗﺤﻠﻢ ﺗﺤﻠﻢﺗﺤﻠﻢ ﺗﺤﻠﻢﺑﺒﻜﺮﻩ واﻟﻜﻴﺰان ﺗﺤﻠﻢ ﺑﺒﻜﺮﻩﺑﺒﻜﺮﻩﺑﺒﻜﺮﻩﺗﺤﻠﻢﺑﺒﻜﺮﻩ ﺑﺒﻜﺮﻩﺑﺒﻜﺮﻩ ;Of the spikes and the cones; of tomorrow

و و و و اﻟﻠﻲ و اﻟﻠﻲواﻟﻠﻲ اﻟﻠﻲ اﻟﻠﻲ و ﺣﻴﺠﻴﺒﻪاﻟﻠﻲ ﺣﻴﺠﻴﺒﻪ اﻟﻠﻲﺣﻴﺠﻴﺒﻪﺣﻴﺠﻴﺒﻪ ﻣﻌﺎﻩ ﺣﻴﺠﻴﺒﻪ ﺣﻴﺠﻴﺒﻪﻣﻌﺎﻩ ﻣﻌﺎﻩﻣﻌﺎﻩﻣﻌﺎﻩﺣﻴﺠﻴﺒﻪ ﻣﻌﺎﻩﻣﻌﺎﻩ !And what may be much ushered therethrough

ﺗﻨﺪﻩ ﺗﻨﺪﻩ ﺗﻨﺪﻩ ﺗﻨﺪﻩ ﻋﻠﻴﻪ ﺗﻨﺪﻩ ﺗﻨﺪﻩ ﻋﻠﻴﻪ ﻓﻲ ﻋﻠﻴﻪ ﻋﻠﻴﻪ ﻋﻠﻴﻪ ﺗﻨﺪﻩﻓﻲ ﻓﻲﻋﻠﻴﻪﻓﻲ ﻓﻲ ﻓﻲاﻟﻀﻠﻤﺔﻋﻠﻴﻪ اﻟﻀﻠﻤﺔﻓﻲاﻟﻀﻠﻤﺔ اﻟﻀﻠﻤﺔاﻟﻀﻠﻤﺔاﻟﻀﻠﻤﺔاﻟﻀﻠﻤﺔ ,It calls for daybreak in the murkiness

و و و و و ﺑﺘﺴﻤﻊ و ﺑﺘﺴﻤﻊ ﺑﺘﺴﻤﻊﻧﺪاﻩﺑﺘﺴﻤﻊ و ﺑﺘﺴﻤﻊ ﻧﺪاﻩﺑﺘﺴﻤﻊﻧﺪاﻩﻧﺪاﻩ ﻧﺪاﻩﺑﺘﺴﻤﻊﻧﺪاﻩ ﻧﺪاﻩ .And accordingly receives its cadence

ﺗﺼﺤﻰ ﻟﻪﺗﺼﺤﻰ ﺗﺼﺤﻰﺗﺼﺤﻰ ﺗﺼﺤﻰﻟﻪﻣﻦ ﻟﻪﻟﻪ ﺗﺼﺤﻰ ﻟﻪ ﻣﻦ ﻣﻦﻟﻪﻗﺒﻞﻣﻦ ﺗﺼﺤﻰ ﻣﻦ ﻗﺒﻞﻟﻪﻣﻦ ﻗﺒﻞﻗﺒﻞ ﻗﺒﻞ اﻷدانﻣﻦﻗﺒﻞ اﻷداناﻷداناﻷدانﻗﺒﻞاﻷدان اﻷداناﻷدان ,Before the dawn, it promptly arises

ﺗﺮوح ﺗﺮوح ﺗﺮوحﺗﺮوح ﺗﺮوحﺗﻘﺎﺑﻠﻪ ﺗﺮوح ﺗﻘﺎﺑﻠﻪﻓﻲ ﺗﻘﺎﺑﻠﻪ ﺗﻘﺎﺑﻠﻪ ﺗﻘﺎﺑﻠﻪﺗﺮوحﻓﻲ ﻓﻲﺗﻘﺎﺑﻠﻪﻓﻲ ﻓﻲ ﻓﻲﺗﻘﺎﺑﻠﻪاﻟﻐﻴﻄﺎن اﻟﻐﻴﻄﺎنﻓﻲﻓﻲاﻟﻐﻴﻄﺎن اﻟﻐﻴﻄﺎن اﻟﻐﻴﻄﺎن ﻓﻲ ﻓﻲاﻟﻐﻴﻄﺎنﻓﻲ ﻓﻲ ﻓﻲاﻟﻐﻴﻄﺎناﻟﻤﺘﺎﺟﺮ اﻟﻤﺘﺎﺟﺮﻓﻲاﻟﻤﺘﺎﺟﺮ اﻟﻤﺘﺎﺟﺮاﻟﻤﺘﺎﺟﺮاﻟﻤﺘﺎﺟﺮاﻟﻤﺘﺎﺟﺮ To meet it in the fields, planets and shops

و و و اﻟﻤﺼﺎﻧﻊ .. و اﻟﻤﺼﺎﻧﻊاﻟﻤﺼﺎﻧﻊ.. .. واﻟﻤﻌﺎﻣﻞاﻟﻤﺼﺎﻧﻊ ..و واﻟﻤﻌﺎﻣﻞ واﻟﻤﻌﺎﻣﻞ و و اﻟﻤﺪارسواﻟﻤﻌﺎﻣﻞ ..و اﻟﻤﺪارساﻟﻤﺪارس.. .. اﻟﻤﺪارسواﻟﺴﺎﺣﺎت.. واﻟﺴﺎﺣﺎتواﻟﺴﺎﺣﺎتواﻟﺴﺎﺣﺎت .And all schools, laboratories and squares

ﻃﺎﻟﻌﺔ ﻟﻪ ﺻﺤﺒﺔ: ﺻﻔﻮف ﺟﻨﻮد و و و اﻟﻤﺼﺎﻧﻊ.. اﻟﻤﺼﺎﻧﻊاﻟﻤﺼﺎﻧﻊ .. .. ﻃﺎﻟﻌﺔ واﻟﻤﻌﺎﻣﻞ ﻟﻪو ﻃﺎﻟﻌﺔواﻟﻤﻌﺎﻣﻞ ﻃﺎﻟﻌﺔ واﻟﻤﻌﺎﻣﻞ وﻟﻪ ﻟﻪو ﺻﺤﺒﺔ: ﻃﺎﻟﻌﺔ اﻟﻤﺪارسﺻﺤﺒﺔ..ﻟﻪﺻﺤﺒﺔ: :اﻟﻤﺪارس اﻟﻤﺪارس.. ..ﺻﻔﻮف ﺻﺤﺒﺔ:ﺻﻔﻮف ﺻﻔﻮف ﺟﻨﻮدواﻟﺴﺎﺣﺎتواﻟﺴﺎﺣﺎتﺟﻨﻮدﺟﻨﻮدواﻟﺴﺎﺣﺎتﺻﻔﻮف ﺟﻨﻮد ,Heading for it are clusters of soldiers و و و اﻟﻤﺼﺎﻧﻊاﻟﻤﺼﺎﻧﻊ.. .. اﻟﻤﺼﺎﻧﻊ.. واﻟﻤﻌﺎﻣﻞ واﻟﻤﻌﺎﻣﻞ و و واﻟﻤﻌﺎﻣﻞ و اﻟﻤﺪارساﻟﻤﺪارس.. .. اﻟﻤﺪارس.. واﻟﺴﺎﺣﺎتواﻟﺴﺎﺣﺎتواﻟﺴﺎﺣﺎت و و اﻟﻤﺼﺎﻧﻊ واﻟﻤﺼﺎﻧﻊ.. .. اﻟﻤﺼﺎﻧﻊواﻟﻤﻌﺎﻣﻞ ..واﻟﻤﻌﺎﻣﻞ و و واﻟﻤﻌﺎﻣﻞ اﻟﻤﺪارسواﻟﻤﺪارس.. .. اﻟﻤﺪارس..واﻟﺴﺎﺣﺎت واﻟﺴﺎﺣﺎتواﻟﺴﺎﺣﺎت و و اﻟﻤﺼﺎﻧﻊاﻟﻤﺼﺎﻧﻊ.. .. أﻃﻔﺎلواﻟﻤﻌﺎﻣﻞ واﻟﻤﻌﺎﻣﻞ.. و ﻃﺎﻟﻌﺔوأﻃﻔﺎل أﻃﻔﺎل ..ﻟﻪ .. ﺑﻨﺎت..ﺑﻨﺎتﺑﻨﺎتاﻟﻤﺪارسأﻃﻔﺎل..اﻟﻤﺪارسﺻﺤﺒﺔ....: ..ﻃﺎﻟﻌﺔ ﻟﻪ ﻃﺎﻟﻌﺔﺑﻨﺎت ﻃﺎﻟﻌﺔ ..ﻟﻪ ﻟﻪﺻﻔﻮف رﺟﺎلواﻟﺴﺎﺣﺎتواﻟﺴﺎﺣﺎتﻃﺎﻟﻌﺔ رﺟﺎلرﺟﺎلﺟﻨﻮدﻟﻪ رﺟﺎل .Heading for it are also men, women and kids وو و اﻟﻤﺼﺎﻧﻊاﻟﻤﺼﺎﻧﻊ.... اﻟﻤﺼﺎﻧﻊ..ﻃﺎﻟﻌﺔ واﻟﻤﻌﺎﻣﻞواﻟﻤﻌﺎﻣﻞ ﻟﻪﻃﺎﻟﻌﺔ و و ﻟﻪ واﻟﻤﻌﺎﻣﻞ ﺻﺤﺒﺔ:و ﺻﺤﺒﺔاﻟﻤﺪارس:.. .. ﺻﻔﻮف اﻟﻤﺪارسﺻﻔﻮف.. ﺟﻨﻮدواﻟﺴﺎﺣﺎتﺟﻨﻮدواﻟﺴﺎﺣﺎت و و اﻟﻤﺼﺎﻧﻊ اﻟﻤﺼﺎﻧﻊ.. .. ﻃﺎﻟﻌﺔ ﻃﺎﻟﻌﺔ ﻟﻪ ﻟﻪ ﻃﺎﻟﻌﺔواﻟﻤﻌﺎﻣﻞ واﻟﻤﻌﺎﻣﻞ وﻟﻪ وﺻﺤﺒﺔ :ﺻﺤﺒﺔ : ﺻﺤﺒﺔ: اﻟﻤﺪارساﻟﻤﺪارسﺻﻔﻮف.. ﺻﻔﻮف .. ﺟﻨﻮدﺻﻔﻮفﺟﻨﻮد واﻟﺴﺎﺣﺎتﺟﻨﻮدواﻟﺴﺎﺣﺎت ﻃﺎﻟﻌﺔ ﻃﺎﻟﻌﺔ ﻟﻪ ﻟﻪ ﺻﺤﺒﺔﻃﺎﻟﻌﺔ: ﺻﺤﺒﺔ : ﻟﻪ ﺻﻔﻮف ﺻﺤﺒﺔﺻﻔﻮف: ﺟﻨﻮدﺟﻨﻮدﺻﻔﻮف ﺟﻨﻮد آﻞ ﻃﺎﻟﻌﺔ ﻃﺎﻟﻌﺔآﻞ آﻞﻟﻪ ﻟﻪأﻃﻔﺎل أﻃﻔﺎل.. اﻟﺪروب .. آﻞﺻﺤﺒﺔاﻟﺪروب :ﺻﺤﺒﺔﺑﻨﺎت اﻟﺪروب : ﺑﻨﺎت.. واﺧﺪة ..واﺧﺪة واﺧﺪةﺑﻠﺪﻧﺎاﻟﺪروبﻃﺎﻟﻌﺔ ﺻﻔﻮف ﻃﺎﻟﻌﺔ ﺻﻔﻮف ﻟﻪﺑﻠﺪﻧﺎ ﺑﻠﺪﻧﺎﻟﻪ ﻟﻠﻨﻬﺎرواﺧﺪةﺟﻨﻮد ﺟﻨﻮدرﺟﺎلﻟﻠﻨﻬﺎرﻟﻠﻨﻬﺎررﺟﺎلﺑﻠﺪﻧﺎ ﻟﻠﻨﻬﺎر .All routes lead our country to the daylight ﻃﺎﻟﻌﺔأﻃﻔﺎل ..ﻟﻪأﻃﻔﺎل .. ﻃﺎﻟﻌﺔ ﻃﺎﻟﻌﺔﺑﻨﺎت ﻟﻪ ..ﺑﻨﺎتﺻﺤﺒﺔﻟﻪ :.. ﻃﺎﻟﻌﺔﺻﺤﺒﺔ :ﻃﺎﻟﻌﺔ ﺻﺤﺒﺔﻟﻪ : ﺻﻔﻮفﻟﻪ رﺟﺎلﺻﻔﻮفﺟﻨﻮد رﺟﺎلﺻﻔﻮف ﺟﻨﻮدﺟﻨﻮد أﻃﻔﺎل .. ﻃﺎﻟﻌﺔ أﻃﻔﺎلﺑﻨﺎت..ﻟﻪ .. ﺑﻨﺎتﻃﺎﻟﻌﺔ..ﺻﺤﺒﺔ : ﻟﻪ ﻃﺎﻟﻌﺔ ﻟﻪرﺟﺎل ﺻﻔﻮف رﺟﺎلﺟﻨﻮد أﻃﻔﺎلأﻃﻔﺎل.. .. ﺑﻨﺎتﺑﻨﺎت..أﻃﻔﺎل.. ﻃﺎﻟﻌﺔ ﻃﺎﻟﻌﺔ ﻟﻪﺑﻨﺎت ﻟﻪ.. رﺟﺎلﻃﺎﻟﻌﺔرﺟﺎل ﻟﻪ رﺟﺎل آﻞ أﻃﻔﺎلأﻃﻔﺎلآﻞ.. .. اﻟﺪروب ﺑﻨﺎتﺑﻨﺎتآﻞ.. ..اﻟﺪروب واﺧﺪة ﻃﺎﻟﻌﺔ ﻃﺎﻟﻌﺔ واﺧﺪةﺑﻠﺪﻧﺎاﻟﺪروبﻟﻪ ﻟﻪ ﺑﻠﺪﻧﺎ ﻟﻠﻨﻬﺎرواﺧﺪةرﺟﺎل رﺟﺎلﻟﻠﻨﻬﺎرﺑﻠﺪﻧﺎ ﻟﻠﻨﻬﺎر .All routes lead our country to the daylight آﻞ آﻞأﻃﻔﺎلأﻃﻔﺎلآﻞ .. .. اﻟﺪروب ﺑﻨﺎتأﻃﻔﺎلاﻟﺪروباﻟﺪروب.. .. واﺧﺪة ﻃﺎﻟﻌﺔ..ﺑﻨﺎتﻃﺎﻟﻌﺔواﺧﺪة واﺧﺪة ..ﺑﻠﺪﻧﺎﻟﻪﻟﻪ ﺑﻠﺪﻧﺎﺑﻠﺪﻧﺎ ﻃﺎﻟﻌﺔ ﻟﻠﻨﻬﺎررﺟﺎلرﺟﺎلﻟﻪ ﻟﻠﻨﻬﺎرﻟﻠﻨﻬﺎررﺟﺎل آﻞ آﻞ آﻞ أﻃﻔﺎلاﻟﺪروب أﻃﻔﺎلاﻟﺪروب.. .. اﻟﺪروبﺑﻨﺎتواﺧﺪة واﺧﺪةﺑﻨﺎت ..ﺑﻠﺪﻧﺎ ﺑﻠﺪﻧﺎواﺧﺪة ﻃﺎﻟﻌﺔ ﻃﺎﻟﻌﺔ ﻟﻪ ﺑﻠﺪﻧﺎﻟﻠﻨﻬﺎرﻟﻪ ﻟﻠﻨﻬﺎررﺟﺎلﻟﻠﻨﻬﺎررﺟﺎل آﻞ آﻞ اﻟﺪروب اﻟﺪروبآﻞ واﺧﺪة واﺧﺪة اﻟﺪروب ﺑﻠﺪﻧﺎ ﺑﻠﺪﻧﺎ واﺧﺪةﻟﻠﻨﻬﺎر ﻟﻠﻨﻬﺎرﺑﻠﺪﻧﺎ ﻟﻠﻨﻬﺎر آﻞ آﻞ آﻞ و اﻟﺪروب اﻟﺪروب واﺣﻨﺎاﻟﺪروب واﺧﺪة واﺧﺪةاﺣﻨﺎ ﺑﻠﺪﻧﺎ وواﺧﺪةﺑﻠﺪﻧﺎ ﻟﻴﻞﺑﻠﺪﻧﺎﺑﻠﺪﻧﺎ اﺣﻨﺎﺑﻠﺪﻧﺎ ﻟﻴﻞﻧﻬﺎر ﻟﻠﻨﻬﺎرﻟﻠﻨﻬﺎرﺑﻠﺪﻧﺎ ﻧﻬﺎرﻟﻠﻨﻬﺎرﻟﻴﻞ ﻧﻬﺎر ,Our country, for sure, over day and night آﻞ آﻞآﻞ آﻞ آﻞاﻟﺪروب اﻟﺪروب واﻟﺪروب واﺧﺪةواﺧﺪةواﺧﺪة اﺣﻨﺎ اﻟﺪروب واﺧﺪة ﺑﻠﺪﻧﺎﺑﻠﺪﻧﺎﺑﻠﺪﻧﺎ ﺑﻠﺪﻧﺎ ﺑﻠﺪﻧﺎواﺧﺪة ﻟﻴﻞ ﻟﻠﻨﻬﺎرﻟﻠﻨﻬﺎرﻟﻠﻨﻬﺎرﺑﻠﺪﻧﺎ ﻟﻠﻨﻬﺎرﻧﻬﺎرﻟﻠﻨﻬﺎر آﻞ آﻞ آﻞ آﻞآﻞ اﻟﺪروب اﻟﺪروب اﻟﺪروب اﻟﺪروباﻟﺪروبواﺧﺪة واﺧﺪة ﺑﻠﺪﻧﺎواﺧﺪة ﺑﻠﺪﻧﺎ واﺧﺪةواﺧﺪة ﺑﻠﺪﻧﺎ ﺑﻠﺪﻧﺎﻟﻠﻨﻬﺎرﺑﻠﺪﻧﺎ ﻟﻠﻨﻬﺎرﻟﻠﻨﻬﺎرﻟﻠﻨﻬﺎرﻟﻠﻨﻬﺎر آﻞ آﻞ اﻟﺪروب اﻟﺪروبآﻞ واﺧﺪة واﺧﺪة اﻟﺪروب ﺑﻠﺪﻧﺎ ﺑﻠﺪﻧﺎ واﺧﺪةﻟﻠﻨﻬﺎر ﻟﻠﻨﻬﺎرﺑﻠﺪﻧﺎ ﻟﻠﻨﻬﺎر آﻞ آﻞ اﻟﺪروب اﻟﺪروب و ﺑﺘﺤﺐ واﺧﺪة واﺧﺪةاﺣﻨﺎ ﺑﺘﺤﺐ ﻣﻮال ﺑﻠﺪﻧﺎ ﺑﻠﺪﻧﺎﺑﻠﺪﻧﺎ ﻣﻮال ﻟﻴﻞﺑﺘﺤﺐاﻟﻨﻬﺎر ﻟﻠﻨﻬﺎرﻟﻠﻨﻬﺎراﻟﻨﻬﺎرﻧﻬﺎرﻣﻮال اﻟﻨﻬﺎر ,Does chant every lyric of the daylight آﻞآﻞ وآﻞ اﻟﺪروب و اﺣﻨﺎ واﺧﺪةاﺣﻨﺎواﺧﺪة اﻟﺪروب ﺑﻠﺪﻧﺎﺑﺘﺤﺐ ﺑﻠﺪﻧﺎﺑﻠﺪﻧﺎ ﻟﻴﻞ واﺧﺪةﻣﻮال ﻟﻴﻞ ﻧﻬﺎرﻟﻠﻨﻬﺎرﻟﻠﻨﻬﺎرﺑﻠﺪﻧﺎ ﻧﻬﺎراﻟﻨﻬﺎرﻟﻠﻨﻬﺎر آﻞ آﻞ و و اﺣﻨﺎ اﺣﻨﺎاﻟﺪروبو اﻟﺪروب ﺑﻠﺪﻧﺎ ﺑﻠﺪﻧﺎاﺣﻨﺎ واﺧﺪة ﻟﻴﻞواﺧﺪة ﻟﻴﻞ ﺑﻠﺪﻧﺎ ﺑﻠﺪﻧﺎ ﻧﻬﺎرﺑﻠﺪﻧﺎ ﻟﻴﻞﻧﻬﺎر ﻟﻠﻨﻬﺎرﻧﻬﺎرﻟﻠﻨﻬﺎر و و اﺣﻨﺎ اﺣﻨﺎ ﺑﻠﺪﻧﺎ وﺑﻠﺪﻧﺎ ﻟﻴﻞ ﻟﻴﻞاﺣﻨﺎ ﻧﻬﺎرﺑﻠﺪﻧﺎﻧﻬﺎر ﻟﻴﻞ ﻧﻬﺎر وﻟﻤﺎ و ﻟﻤﺎاﺣﻨﺎ اﺣﻨﺎﻳﻌﺪّي ﺑﻠﺪﻧﺎﻓﻲﺑﺘﺤﺐ ﺑﻠﺪﻧﺎﻳﻌﺪّي ﻟﻤﺎ ﻟﻴﻞﻓﻲ ﻟﻴﻞ ﻣﻮال ﻳﻌﺪّياﻟﺪروبﻧﻬﺎر ﻧﻬﺎرﻓﻲ اﻟﺪروباﻟﻨﻬﺎراﻟﺪروب ,Just when it even drops by every road وو ﻟﻤﺎ اﺣﻨﺎاﺣﻨﺎ ﺑﺘﺤﺐ و ﺑﺘﺤﺐﺑﻠﺪﻧﺎ ﻳﻌﺪّيﺑﻠﺪﻧﺎ ﻣﻮالاﺣﻨﺎ ﻓﻲﻟﻴﻞﻟﻴﻞ ﻣﻮال ﺑﻠﺪﻧﺎ اﻟﻨﻬﺎرﻧﻬﺎرﻧﻬﺎرﻟﻴﻞاﻟﻨﻬﺎراﻟﺪروب ﻧﻬﺎر و ﺑﺘﺤﺐو ﺑﺘﺤﺐ اﺣﻨﺎ اﺣﻨﺎ ﻣﻮالﺑﺘﺤﺐ ﻣﻮال ﺑﻠﺪﻧﺎ ﺑﻠﺪﻧﺎ ﻣﻮالﻟﻴﻞاﻟﻨﻬﺎر اﻟﻨﻬﺎرﻟﻴﻞ ﻧﻬﺎراﻟﻨﻬﺎرﻧﻬﺎر ﺑﺘﺤﺐ ﺑﺘﺤﺐ ﻣﻮال ﻣﻮال ﺑﺘﺤﺐ اﻟﻨﻬﺎراﻟﻨﻬﺎرﻣﻮال اﻟﻨﻬﺎر و ﻟﻤﺎو ﻳﻐﻨّﻲﺑﺘﺤﺐ ﺑﺘﺤﺐﻗ ﺪّ ا ﻳﻐﻨّﻲم ﻳﻌﺪّي ﻗ وﻣﻮال ﺪّﻣﻮالا آﻞﻓﻲ م ﻳﻐﻨّﻲدار آﻞاﻟﻨﻬﺎر ﻗ اﻟﻨﻬﺎرﺪّ ا مداراﻟﺪروب آﻞ دار And sings before almost every abode ﻟﻤﺎ ﻟﻤﺎو ﻳﻌﺪّيﺑﺘﺤﺐ ﻳﻌﺪّيﻳﻐﻨّﻲﻓﻲ ﻗ ﻣﻮالﺪّ ﻣﻮالﻓﻲا ﺑﺘﺤﺐم آﻞاﻟﺪروب اﻟﻨﻬﺎراﻟﻨﻬﺎرﻣﻮال اﻟﺪروبداراﻟﻨﻬﺎر ﻟﻤﺎ ﻟﻤﺎ ﻟﻤﺎﻳﻌﺪّي ﻳﻌﺪّي ﻓﻲ ﻓﻲﺑﺘﺤﺐ ﻳﻌﺪّيﺑﺘﺤﺐ ﻓﻲ ﻣﻮال ﻣﻮالاﻟﺪروب اﻟﺪروباﻟﻨﻬﺎراﻟﺪروباﻟﻨﻬﺎر ﻟﻤﺎ ﻟﻤﺎ ﻳﻌﺪّي ﻳﻌﺪّي ﻓﻲ ﻟﻤﺎﻓﻲ ﻳﻌﺪّي اﻟﺪروباﻟﺪروبﻓﻲ اﻟﺪروب ﻟﻤﺎذا ﻟﻤﺎذا ﺗﺤﺠﺒﻮنﻟﻤﺎ ﻟﻤﺎ ﻟﻤﺎذا وﺗﺤﺠﺒﻮن ﻳﻌﺪّي ﻳﻌﺪّياﻟﺸﻤﺲَ ﻓﻲﻳﻐﻨّﻲ ﻓﻲ ﻗ ﺗﺤﺠﺒﻮناﻟﺸﻤﺲَﺪّ ا م ﺑﺎﻷَﻋﻼم؟آﻞاﻟﺪروب اﻟﺪروباﻟﺸﻤﺲَ ﺑﺎﻷَﻋﻼم؟دارﺑﺎﻷَﻋﻼم؟ ﻟﻤﺎذا وﻟﻤﺎﻟﻤﺎ وﺗﺤﺠﺒﻮن ﻳﻐﻨّﻲ ﻳﻌﺪّي ﻗ ﻟﻤﺎﺪّ ﻳﻐﻨّﻲ ا مﻓﻲﻗ ﺪّ اﻟﺸﻤﺲَا مآﻞ ﻳﻌﺪّي آﻞﻓﻲ دار اﻟﺪروبدارﺑﺎﻷَﻋﻼم؟اﻟﺪروب و و ﻟﻤﺎﻳﻐﻨّﻲ وﻟﻤﺎ ﻳﻐﻨّﻲ ﻗ ﻗﺪّ ا ﺪّ ا م مﻳﻌﺪّيﻳﻐﻨّﻲ ﻳﻌﺪّي ﻗ آﻞﺪّ ﻓﻲ آﻞا ﻓﻲم داردارآﻞ اﻟﺪروبداراﻟﺪروب و و ﻳﻐﻨّﻲ ﻳﻐﻨّﻲﻗ ﺪّ ﻗ ا ﺪّ موا م آﻞ آﻞﻳﻐﻨّﻲ ﻗ دارﺪّ دارا م آﻞ دار Excerpt 2 From The Visa ﻟﻤﺎذا ﺗﻘﺎﺳﻤﺘﻢ و ﺗﻘﺎﺳﻤﺘﻢ و ﺗﺤﺠﺒﻮنﻋﺮوﺑﺘَﻨﺎ ﻳﻐﻨّﻲ ﻳﻐﻨّﻲ ﻗو ﺗﻘﺎﺳﻤﺘﻢﻗدَﺪّ ا ﺪّ ﻋﺮوﺑﺘَﻨﺎﺧَا م مو ﻼًاﻟﺸﻤﺲَدَ آﻞﺧَ آﻞ ﻼًﻋﺮوﺑﺘَﻨﺎ ﺑﻴﻨﻜﻢ داردارو دَ ﺧَ ﺑﻴﻨﻜﻢﺑﺎﻷَﻋﻼم؟ﻼً ﺑﻴﻨﻜﻢ ﻟﻤﺎذا ﻟﻤﺎذا ﺗﺤﺠﺒﻮنوﺗﻘﺎﺳﻤﺘﻢو ﺗﺤﺠﺒﻮن ﻳﻐﻨّﻲ ﻗ ﻗ اﻟﺸﻤﺲَوﺪّ ﺪّﻋﺮوﺑﺘَﻨﺎا ا مماﻟﺸﻤﺲَو دَ ﻳﻐﻨّﻲﺧَ آﻞ آﻞ ﻗ ﻼًﺪّ ا ﺑﺎﻷَﻋﻼم؟مداردار ﺑﺎﻷَﻋﻼم؟ﺑﻴﻨﻜﻢآﻞ دار ﻟﻤﺎذاtext ﻟﻤﺎذا ﻟﻤﺎذا ﺗﺤﺠﺒﻮن ﺗﺤﺠﺒﻮن Source و ﺗﺤﺠﺒﻮنو theاﻟﺸﻤﺲَ اﻟﺸﻤﺲَ ﻳﻐﻨّﻲof ﻳﻐﻨّﻲﻗ ﺪّ ﻗ اﻟﺸﻤﺲَا ﺪّ ما م ﺑﺎﻷَﻋﻼم؟ﺑﺎﻷَﻋﻼم؟آﻞ آﻞ دارﺑﺎﻷَﻋﻼم؟دارTranslation Transcription ﻟﻤﺎذا ﻟﻤﺎذا ﺗﺤﺠﺒﻮن ﺗﺤﺠﺒﻮنﻟﻤﺎذا اﻟﺸﻤﺲَ اﻟﺸﻤﺲَ ﺗﺤﺠﺒﻮن ﺑﺎﻷَﻋﻼم؟اﻟﺸﻤﺲَ ﺑﺎﻷَﻋﻼم؟ﺑﺎﻷَﻋﻼم؟ ﻟﻤﺎذا ﻟﻤﺎذا ﺗﺤﺠﺒﻮن ﺗﻘﺎﺳﻤﺘﻢﺗﺤﺠﺒﻮن ﺻِﺮﻧﺎ اﻟﺸﻤﺲَ اﻟﺸﻤﺲَﻋﺮوﺑﺘَﻨﺎ آﻤﺎ ﺻِﺮﻧﺎ و دَ ﺧَ آﻤﺎ ﻼً اﻷﻧﻌﺎمﺑﺎﻷَﻋﻼم؟ﺻِﺮﻧﺎ ﺑﺎﻷَﻋﻼم؟اﻷﻧﻌﺎمﺑﻴﻨﻜﻢآﻤﺎ اﻷﻧﻌﺎم ﻟﻤﺎذاﻟﻤﺎذا ﺗﻘﺎﺳﻤﺘﻢ ﻟﻤﺎذاﺗﻘﺎﺳﻤﺘﻢ ﺗﺤﺠﺒﻮن ﺗﺤﺠﺒﻮن ﻋﺮوﺑﺘَﻨﺎ و ﺗﺤﺠﺒﻮناﻟﺸﻤﺲَﻋﺮوﺑﺘَﻨﺎاﻟﺸﻤﺲَدَ ﺻِﺮﻧﺎﺧَ و دَ ﻼً ﺧَ آﻤﺎ ﻼًاﻟﺸﻤﺲَ ﺑﻴﻨﻜﻢﺑﺎﻷَﻋﻼم؟ﺑﺎﻷَﻋﻼم؟ﺑﻴﻨﻜﻢاﻷﻧﻌﺎمﺑﺎﻷَﻋﻼم؟ ﻟﻤﺎذاﺗﻘﺎﺳﻤﺘﻢ ﺗﻘﺎﺳﻤﺘﻢﻟﻤﺎذا ﺗﻘﺎﺳﻤﺘﻢ ﺗﺤﺠﺒﻮنﻋﺮوﺑﺘَﻨﺎ ﻋﺮوﺑﺘَﻨﺎﺗﺤﺠﺒﻮن و و دَ دَ ﺧَ ﺧَ ﻋﺮوﺑﺘَﻨﺎ ﻼًاﻟﺸﻤﺲَ ﻼًو اﻟﺸﻤﺲَدَ ﺧَ ﺑﻴﻨﻜﻢﻼًﺑﻴﻨﻜﻢ ﺑﺎﻷَﻋﻼم؟ﺑﻴﻨﻜﻢﺑﺎﻷَﻋﻼم؟ ?Why do you keep the sun by flags veiled ﺗﻘﺎﺳﻤﺘﻢ ﺗﻘﺎﺳﻤﺘﻢ ﻋﺮوﺑﺘَﻨﺎ ﻋﺮوﺑﺘَﻨﺎﺗﻘﺎﺳﻤﺘﻢو دَ و دَﺧَ ﺧَ ﻼً ﻼً ﻋﺮوﺑﺘَﻨﺎ ﺑﻴﻨﻜﻢو دَ ﺑﻴﻨﻜﻢﺧَ ﻼً ﺑﻴﻨﻜﻢ ﺳﻴﺒﻘﻰ ﺳﻴﺒﻘﻰ ﺗﻘﺎﺳﻤﺘﻢ اﻟﻄﻔﻞﺗﻘﺎﺳﻤﺘﻢ ﻓﻲ اﻟﻄﻔﻞﺳﻴﺒﻘﻰ ﻋﺮوﺑﺘَﻨﺎﻓﻲ ﻋﺮوﺑﺘَﻨﺎ و ودَ اﻟﻄﻔﻞﺻﺪريدَ ﺧَ ﺻِﺮﻧﺎﺧَ ﻼًﻓﻲ ﻼً ﺻﺪري آﻤﺎ ﻳﻌﺎدﻳﻜﻢﺑﻴﻨﻜﻢﺑﻴﻨﻜﻢﺻﺪريﻳﻌﺎدﻳﻜﻢاﻷﻧﻌﺎم ﻳﻌﺎدﻳﻜﻢ ﺳﻴﺒﻘﻰ ﺗﻘﺎﺳﻤﺘﻢﺗﻘﺎﺳﻤﺘﻢ اﻟﻄﻔﻞ ﺗﻘﺎﺳﻤﺘﻢﻓﻲ ﻋﺮوﺑﺘَﻨﺎﻋﺮوﺑﺘَﻨﺎ ﺻِﺮﻧﺎ و و دَ دَ ﺻِﺮﻧﺎ ﺧَ آﻤﺎﺧَ ﻼًﻼًﻋﺮوﺑﺘَﻨﺎ ﺻﺪريآﻤﺎ و دَ اﻷﻧﻌﺎمﺑﻴﻨﻜﻢﺧَ ﺑﻴﻨﻜﻢﻼًاﻷﻧﻌﺎم ﻳﻌﺎدﻳﻜﻢﺑﻴﻨﻜﻢ ﺗﻘﺎﺳﻤﺘﻢ ﺗﻘﺎﺳﻤﺘﻢ ﺻِﺮﻧﺎ ﺻِﺮﻧﺎ ﻋﺮوﺑﺘَﻨﺎآﻤﺎ آﻤﺎﻋﺮوﺑﺘَﻨﺎ ﺻِﺮﻧﺎو دَ و دَ ﺧَ آﻤﺎﺧَ ﻼً اﻷﻧﻌﺎم اﻷﻧﻌﺎمﻼً ﺑﻴﻨﻜﻢاﻷﻧﻌﺎمﺑﻴﻨﻜﻢ You’ve got our Arabism divided ﺻِﺮﻧﺎ ﺻِﺮﻧﺎ آﻤﺎ آﻤﺎ ﺻِﺮﻧﺎاﻷﻧﻌﺎم اﻷﻧﻌﺎمآﻤﺎ اﻷﻧﻌﺎم ﺳﻴﺒﻘﻰ اﻟﻄﻔﻞ ﻓﻲﺻِﺮﻧﺎ ﺗﻘﺴﻤﻨﺎ ﺻِﺮﻧﺎ آﻤﺎﺗﻘﺴﻤﻨﺎ آﻤﺎ ﺗﻘﺴﻤﻨﺎﻋﻠﻰ ﺻﺪري ﻋﻠﻰ ﻋﻠﻰﻳﺪآﻢ اﻷﻧﻌﺎماﻷﻧﻌﺎمﺗﻘﺴﻤﻨﺎ ﻳﺪآﻢﻳﺪآﻢﻳﻌﺎدﻳﻜﻢﻋﻠﻰ ﻳﺪآﻢ ﺳﻴﺒﻘﻰ ﺳﻴﺒﻘﻰ اﻟﻄﻔﻞ اﻟﻄﻔﻞ ﻓﻲ ﻓﻲ ﺻِﺮﻧﺎﺻِﺮﻧﺎ ﺻﺪري آﻤﺎآﻤﺎ ﺻﺪري ﺻِﺮﻧﺎ ﻳﻌﺎدﻳﻜﻢاﻷﻧﻌﺎماﻷﻧﻌﺎمآﻤﺎ ﻳﻌﺎدﻳﻜﻢاﻷﻧﻌﺎم .Like cattle, we have falsely blended ﺳﻴﺒﻘﻰ ﺳﻴﺒﻘﻰ ﺳﻴﺒﻘﻰاﻟﻄﻔﻞ اﻟﻄﻔﻞ ﻓﻲ ﻓﻲ اﻟﻄﻔﻞ ﻓﻲ ﺻﺪري ﺻﺪري ﺻِﺮﻧﺎ ﺻِﺮﻧﺎ آﻤﺎﺻﺪري آﻤﺎﻳﻌﺎدﻳﻜﻢ ﻳﻌﺎدﻳﻜﻢاﻷﻧﻌﺎمﻳﻌﺎدﻳﻜﻢاﻷﻧﻌﺎم ﺳﻴﺒﻘﻰ ﺳﻴﺒﻘﻰ اﻟﻄﻔﻞ اﻟﻄﻔﻞ ﻓﻲﺳﻴﺒﻘﻰ ﻓﻲ اﻟﻄﻔﻞ ﺻﺪري ﺻﺪريﻓﻲ ﻳﻌﺎدﻳﻜﻢﻳﻌﺎدﻳﻜﻢﺻﺪري ﻳﻌﺎدﻳﻜﻢ ﺳﻴﺒﻘﻰ ﺳﻴﺒﻘﻰ اﻟﻄﻔﻞ اﻟﻄﻔﻞ ﻓﻲ ﻓﻲ ﻓﺘﺒﺖ ﺻﺪري ﻓﺘﺒﺖآﻞﺻﺪري ﻓﺘﺒﺖ ﺗﻘﺴﻤﻨﺎ آﻞ آﻞ ﻋﻠﻰأﻳﺪﻳﻜﻢ ﻳﻌﺎدﻳﻜﻢﻳﻌﺎدﻳﻜﻢﻓﺘﺒﺖ أﻳﺪﻳﻜﻢأﻳﺪﻳﻜﻢﻳﺪآﻢآﻞ أﻳﺪﻳﻜﻢ ﺳﻴﺒﻘﻰ اﻟﻄﻔﻞاﻟﻄﻔﻞ ﺳﻴﺒﻘﻰ ﻓﻲ اﻟﻄﻔﻞ ﺗﻘﺴﻤﻨﺎ ﻓﻲ ﺗﻘﺴﻤﻨﺎﺻﺪري ﻋﻠﻰ ﻋﻠﻰ ﻳﺪآﻢﺻﺪريﻳﻌﺎدﻳﻜﻢﻳﻌﺎدﻳﻜﻢ ﻳﺪآﻢﻳﻌﺎدﻳﻜﻢ ,The child will so breed your odium ﺳﻴﺒﻘﻰ ﺳﻴﺒﻘﻰ اﻟﻄﻔﻞ اﻟﻄﻔﻞ ﻓﻲ ﺗﻘﺴﻤﻨﺎﻓﻲ ﺗﻘﺴﻤﻨﺎ ﻋﻠﻰ ﻋﻠﻰﺗﻘﺴﻤﻨﺎ ﺻﺪري ﺻﺪري ﻳﺪآﻢﻳﺪآﻢﻋﻠﻰ ﻳﻌﺎدﻳﻜﻢﻳﺪآﻢﻳﻌﺎدﻳﻜﻢ ﺗﻘﺴﻤﻨﺎ ﺗﻘﺴﻤﻨﺎ ﻋﻠﻰ ﻋﻠﻰ ﻳﺪآﻢﺗﻘﺴﻤﻨﺎ ﻳﺪآﻢﻋﻠﻰ ﻳﺪآﻢ أﻧﺎ ا ﻟ ﻌ أﻧﺎ أﻧﺎﺮ ا ﺑﻟ ا ﻟ ﺗﻘﺴﻤﻨﺎﻌ ﻲُّﻌ ﺗﻘﺴﻤﻨﺎ ﺮ ﺑﺮ ﻓﺘﺒﺖﻻ ﺑ ﻓﺘﺒﺖﻲُّأﻧﺎ ﻋﻠﻰ ﻲُّ ﻋﻠﻰا آﻞﻻﻟ ﻻآﻞﻌ أﺧﺠﻞْﺮ ﻳﺪآﻢﺑ ﻳﺪآﻢﻲُّأﻳﺪﻳﻜﻢ أﺧﺠﻞْأﺧﺠﻞْأﻳﺪﻳﻜﻢﻻ أﺧﺠﻞْ ;In my chest for driving us rived ﻓﺘﺒﺖ ﺗﻘﺴﻤﻨﺎ ﻓﺘﺒﺖ آﻞ آﻞﻋﻠﻰﺗﻘﺴﻤﻨﺎ ﺗﻘﺴﻤﻨﺎ أﻳﺪﻳﻜﻢﻳﺪآﻢﻋﻠﻰأﻳﺪﻳﻜﻢ ﻋﻠﻰ ﻳﺪآﻢﻳﺪآﻢ ﻓﺘﺒﺖ آﻞ ﻓﺘﺒﺖﺗﻘﺴﻤﻨﺎ آﻞأﻳﺪﻳﻜﻢ ﻋﻠﻰ أﻳﺪﻳﻜﻢﻳﺪآﻢ ﻓﺘﺒﺖ آﻞ ﻓﺘﺒﺖ أﻳﺪﻳﻜﻢآﻞ أﻳﺪﻳﻜﻢ ﻋُ ﻤَ ﺎ ﻧ ﻋُ ﻋُ ﻲٍّﻤَ ﺎﻤَ ﻧﺎ ﻧ وُ ﻲٍّﻟِ ﻲٍّﺪ وُ تُﻋُ ﻟِ وُ ﻟِ ﻤَﺪ ﺎ ﺪ ﻧ تُ تُﻲٍّ ﺑﺘﻮﻧﺲَوُ ﻟِ ﺪ ﺑﺘﻮﻧﺲَ ﺑﺘﻮﻧﺲَتُ أﻧﺎ ا أﻧﺎﻟ ا ﻌ ﻟ ﻓﺘﺒﺖاﻟﺨﻀﺮاءِ ﻌﻓﺘﺒﺖﺮ ﺑﺘﻮﻧﺲَﺑ ﺮ ﺑ آﻞﻲُّاﻟﺨﻀﺮاءِﻣﻦ اﻟﺨﻀﺮاءِآﻞ ﻲُّأ ﻻ ﻣﻦﻻﺻ ﻣﻦ أ ﻞٍأ أﻳﺪﻳﻜﻢأﻳﺪﻳﻜﻢﺻ اﻟﺨﻀﺮاءِ ﺻأﺧﺠﻞْﻞٍﻞٍأﺧﺠﻞْﻣﻦ أ ﺻ ﻞٍ .For this, all your dirty hands damned أﻧﺎ ا أﻧﺎﻟ ﻌا ﻟ ﺮ ﻌ ﺑ ﺮ ﻓﺘﺒﺖﻲُّﺑ ﻲُّ ﻻ آﻞ ﻻﻓﺘﺒﺖ ﻓﺘﺒﺖ آﻞأﺧﺠﻞْ أﻳﺪﻳﻜﻢآﻞأﺧﺠﻞْ أﻳﺪﻳﻜﻢأﻳﺪﻳﻜﻢ أﻧﺎ ا ﻟ ﻌ ﺮ ﺑ أﻧﺎ ا ﻲُّﻟ ﻌ ﻻﺮ ﺑ ﻓﺘﺒﺖﻲُّ ﻻأﺧﺠﻞْآﻞ أﺧﺠﻞْأﻳﺪﻳﻜﻢ أﻧﺎ ا ﻟ ﻌ ﺮ ﺑ ﻲُّ أﻧﺎ ﻻا ﻟ ﻌ ﺮ ﺑ ﻲُّأﺧﺠﻞْ ﻻ أﺧﺠﻞْ ;With no shyness, I’m Arabian ﻋُ ﻤَ ﻋُ ﺎ ﻤَﻧ ﺎ ﻧ ﻲٍّﻲٍّ وُ ﻟِ وُ ﺪ ﻟِ ﺪ تُ تُ ﺑﺘﻮﻧﺲَ أﻧﺎ أﻧﺎﺑﺘﻮﻧﺲَا ﻟ ا ﻟ وﻋُﻤﺮيﻌ ﻌ ﺮ زﺑ ﺮ ا ﺑ وﻋُﻤﺮي دَﻲُّ وﻋُﻤﺮي ﻲُّز اﻟﺨﻀﺮاءِا ز ﻻ ا دَاﻟﺨﻀﺮاءِﻻﻋﻦ دَ أ ﻣﻦﻟ ﻣﻦأ وﻋُﻤﺮيﻋﻦ ﻋﻦﻒٍأ أﺧﺠﻞْأ ﻟ ز أﺻ أﺧﺠﻞْا ﻟ دَﺻ ﻞٍﻒٍ ﻒٍﻞٍﻋﻦ أ ﻟ ﻒٍ ﻋُ ﻤَ ﺎﻋُ ﻧ ﻤَ ﺎ ﻲٍّﻧ ﻲٍّوُ ﻟِ ﺪ وُ ﻟِ ﺪ تُ تُ ﺑﺘﻮﻧﺲَ ﺑﺘﻮﻧﺲَ أﻧﺎ ا ﻟ ﻌ ﺮ أﻧﺎﺑ اﻟﺨﻀﺮاءِ ا أﻧﺎﻲُّﻟ اﻟﺨﻀﺮاءِا ﻌ ﻟ ﻣﻦﻻﺮﻌ ﺑ أ ﻣﻦﺮ ﺑ ﻲُّ أ ﺻ ﻲُّ ﻻﻞٍﺻ أﺧﺠﻞْﻻﻞٍ أﺧﺠﻞْأﺧﺠﻞْ ﻋُ ﻤَ ﺎ ﻧ ﻲٍّﻋُ ﻤَ وُ ﺎ ﻟِ ﻧ ﺪ ﻲٍّتُ وُ ﻟِ ﺪ تُ ﺑﺘﻮﻧﺲَ ﺑﺘﻮﻧﺲَ أﻧﺎاﻟﺨﻀﺮاءِ ا ﻟ ﻌ ﻣﻦﺮ ﺑأ اﻟﺨﻀﺮاءِ ﻲُّﺻ ﻞٍﻻﻣﻦ أ ﺻ ﻞٍأﺧﺠﻞْ ﻋُ ﻤَ ﻋُ ﺎ ﻧﻤَ ﺎ ﻧ ﻲٍّﻲٍّ وُ ﻟِ وُ ﺪ ﻟِ ﻋُ ﺪ تُﻤَ ﺎ ﻧ تُ ﻲٍّ وُ ﻟِ ﺑﺘﻮﻧﺲَ ﺪ ﺑﺘﻮﻧﺲَ تُ اﻟﺨﻀﺮاءِﺑﺘﻮﻧﺲَ اﻟﺨﻀﺮاءِ ﻣﻦ أ ﻣﻦ أ ﺻ ﺻ ﻞٍاﻟﺨﻀﺮاءِﻞٍ ﻣﻦ أ ﺻ ﻞٍ Born in verdant Tunisia, twin ﻋُ ﻋُ ﻤَ ﺎ ﻤَ ﻧ ﺎ ﻧ ﻲٍّﻲٍّ وُ ﻟِ وُ ﻟِﺪ ﺪ تُ تُ ﺑﺘﻮﻧﺲَ ﺑﺘﻮﻧﺲَ وأﻣﻲ ﻟﻢ وأﻣﻲاﻟﺨﻀﺮاءِ وأﻣﻲوﻋُﻤﺮي اﻟﺨﻀﺮاءِ ﻟﻢ ز ﻟﻢﺗﺰلا ﻣﻦ ﻣﻦدَأ أ ﺗﺤﺗﺰلﺒَ وأﻣﻲﺗﺰلﺻ ﺻ ﻋﻦﻞْﻞٍ ﻟﻢﺗﺤأ ﻞٍﻟﺒَ ﺗﺤ ﺒَ ﻞْﻞْﻒٍﺗﺰل ﺗﺤ ﺒَ ﻞْ ﻋُ ﻋُ ﻤَ ﻤَ ﺎ ﺎ ﻧ ﻧ ﻲٍّﻲٍّ ﻋُوُ وُ ﻟِ ﻟِ ﻤَ ﺪ ﺎ ﺪ ﻧ تُتُ ﻲٍّ وُ ﻟِ ﺪ ﺑﺘﻮﻧﺲَﺑﺘﻮﻧﺲَتُ وﻋُﻤﺮي ﺑﺘﻮﻧﺲَ ز وﻋُﻤﺮيا اﻟﺨﻀﺮاءِ اﻟﺨﻀﺮاءِدَ ز ا دَﻣﻦﻣﻦ ﻋﻦ أ أ أ ﻟ ﻋﻦاﻟﺨﻀﺮاءِﺻ ﺻ أ ﻒٍﻞٍﻟ ﻞٍﻣﻦﻒٍ أ ﺻ ﻞٍ ﻋُ ﻤَﻋُ ﺎ ﻤَﻧ ﺎ ﻧ ﻲٍّﻲٍّ وُ ﻟِ وُ ﺪ ﻟِ ﺪ تُ تُ ﺑﺘﻮﻧﺲَ ﺑﺘﻮﻧﺲَوﻋُﻤﺮي وﻋُﻤﺮي ز ا ز ا دَ دَ وﻋُﻤﺮي ﻋﻦز اﻟﺨﻀﺮاءِا ﻋﻦ أ اﻟﺨﻀﺮاءِ دَﻟ أ ﻟ ﻣﻦﻒٍ ﻣﻦأ ﻒٍﻋﻦ أ أ ﻟﺻ ﺻ ﻞٍﻒٍﻞٍ وﻋُﻤﺮي وﻋُﻤﺮيز ا ز دَا دَ ﻋﻦ أ ﻋﻦﻟ وﻋُﻤﺮي أ ﻟ ز ﻒٍا ﻒٍدَ ﻋﻦ أ ﻟ ﻒٍ Of Omani, A thousand in أﻧﺎ أﻧﺎوﻋُﻤﺮي أﻧﺎ وﻋُﻤﺮي ز ا اﻟﻌﺮﺑﻲز وأﻣﻲا دَ دَ ﻟﻢﻓﻲاﻟﻌﺮﺑﻲأﻧﺎ اﻟﻌﺮﺑﻲ ﻋﻦﺑ ﻋﻦﻐأ ﻟ ﻓﻲأﺪ ﻓﻲﺗﺰلﻟا ﺑ دَﺑ ﻒٍﻐ ﻒٍﻐ ﺪ ﺗﺤاﻟﻌﺮﺑﻲا ﺪ ﺒَ ا دَدَﻞْﻓﻲ ﺑ ﻐ ﺪ ا دَ وأﻣﻲ وﻋُﻤﺮي ﻟﻢز وأﻣﻲز ا ا دَدَ ﻟﻢ ﺗﺰلوﻋُﻤﺮي ﻋﻦ ﻋﻦ أ ﺗﺰلزأ ﺗﺤﻟ اﻟ ﺒَ دَ ﻞْﻒٍﺗﺤﻒٍ ﺒَ ﻞْﻋﻦ أ ﻟ ﻒٍ وأﻣﻲ وأﻣﻲ ﻟﻢ ﻟﻢ وﻋُﻤﺮيوأﻣﻲ وﻋُﻤﺮي ﺗﺰل ز ا ﺗﺰلﻟﻢز دَ ا ﺗﺤدَ ﺒَ ﺗﺤ ﺒَ ﻞْﺗﺰلﻋﻦﻞْ ﻋﻦأ ﻟ أ ﺗﺤﻟ ﺒَ ﻒٍﻞْﻒٍ وأﻣﻲ وأﻣﻲ ﻟﻢ ﻟﻢ ﺗﺰل ﺗﺰل وأﻣﻲﺗﺤ ﺒَ ﺗﺤ ﺒَ ﻞْﻟﻢ ﻞْﺗﺰل ﺗﺤ ﺒَ ﻞْ .Age while the pregnancy is yet on وﻓﻲ وﻓﻲ وﻓﻲ اﻟﺴﻮدانِ وﻓﻲاﻟﺴﻮدانِ اﻟﺴﻮدانِوأﻣﻲأﻧﺎ وأﻣﻲ ﻟﻢ ﺷﺮﻳﺎﻧﻲﻟﻢ اﻟﺴﻮدانِﺷﺮﻳﺎﻧﻲﺗﺰلﻟﻲ اﻟﻌﺮﺑﻲﺷﺮﻳﺎﻧﻲ ﺗﺰل ﺗﺤﻟﻲﺒَ ﻓﻲﺗﺤﻟﻲ ﺒَ ﻧﺨﻞٌﻞْﺑ ﻞْﻐ ﺷﺮﻳﺎﻧﻲﺪ ا ﻧﺨﻞٌ ﻧﺨﻞٌدَﻟﻲ ﻧﺨﻞٌ أﻧﺎ أﻧﺎ وأﻣﻲ ﻟﻢﻟﻢ اﻟﻌﺮﺑﻲ اﻟﻌﺮﺑﻲﻓﻲ ﺗﺰلوأﻣﻲﺗﺰل ﺑ ﻐ ﻓﻲﻟﻢ ﺪﺗﺤ ﺒَ ﺑ اﺒَ دَﻐ ﻞْﻞْﺪ ا ﺗﺰلدَ ﺗﺤ ﺒَ ﻞْ أﻧﺎ أﻧﺎ أﻧﺎ اﻟﻌﺮﺑﻲ اﻟﻌﺮﺑﻲوأﻣﻲ وأﻣﻲ ﻓﻲﻟﻢ ﻓﻲ ﺑ ﻟﻢاﻟﻌﺮﺑﻲﺑ ﻐ ﻐ ﺪ ا ﺪ ﺗﺰلا دَ ﻓﻲﺗﺰلدَ ﺑ ﺗﺤﻐ ﺒَ ﺗﺤﺪ ﺒَا ﻞْدَﻞْ I’m Arabian. Bagdad has grown أﻧﺎ أﻧﺎ اﻟﻌﺮﺑﻲ اﻟﻌﺮﺑﻲ أﻧﺎﻓﻲ ﺑ ﻓﻲ ﻐ ﺑ ﺪ ﻐ ا ﺪ دَا اﻟﻌﺮﺑﻲدَ ﻓﻲ ﺑ ﻐ ﺪ ا دَ وﻓﻲ وﻓﻲ اﻧﺎ أﻧﺎﻣ أﻧﺎ اﻧﺎاﻟﺴﻮدانِاﻧﺎ ﺼ اﻟﺴﻮدانِ ﻣ ﺮ ﻣ يُّﺼ اﻟﻌﺮﺑﻲﺼ ﺮ اﻟﻌﺮﺑﻲﺮ اﻧﺎﺷﺮﻳﺎﻧﻲيُّ ﻓﻲ يُّﺷﺮﻳﺎﻧﻲ ﻣ ﻓﻲ ﺑ ﺑ ﻐ ﻟﻲﺼ ﻐﺪ ا ﻟﻲﺪ ﻣﻮرﻳﺘﺎﻧﻴﺎﺮ ا دَدَيُّ ﻧﺨﻞٌﻣﻮرﻳﺘﺎﻧﻴﺎﻣﻮرﻳﺘﺎﻧﻴﺎﻧﺨﻞٌﻣﻮرﻳﺘﺎﻧﻴﺎ وﻓﻲ وﻓﻲ اﻟﺴﻮدانِ أﻧﺎ اﻟﺴﻮدانِ أﻧﺎ ﺷﺮﻳﺎﻧﻲأﻧﺎاﻟﻌﺮﺑﻲ ﺷﺮﻳﺎﻧﻲ ﻓﻲﻟﻲ ﺑ اﻟﻌﺮﺑﻲﻟﻲﻐ اﻟﻌﺮﺑﻲﺪ ا ﻧﺨﻞٌﻓﻲدَ ﻧﺨﻞٌﺑ ﻓﻲ ﻐ ﺑ ﺪ ﻐا ﺪ دَا دَ وﻓﻲ وﻓﻲ اﻟﺴﻮدانِ اﻟﺴﻮدانِ أﻧﺎ ﺷﺮﻳﺎﻧﻲ ﻟﻲ ﺷﺮﻳﺎﻧﻲاﻟﻌﺮﺑﻲ ﻧﺨﻞٌﻓﻲﻟﻲ ﺑ ﻐ ﺪ ا ﻧﺨﻞٌدَ .My trees. My vessel spouts in Sudan وﻓﻲ وﻓﻲ اﻟﺴﻮدانِ اﻟﺴﻮدانِوﻓﻲ ﺷﺮﻳﺎﻧﻲﺷﺮﻳﺎﻧﻲاﻟﺴﻮدانِ ﻟﻲ ﻟﻲ ﻧﺨﻞٌﺷﺮﻳﺎﻧﻲﻧﺨﻞٌ ﻟﻲ ﻧﺨﻞٌ وﻓﻲ وﻓﻲ اﻟﺴﻮدانِ اﻟﺴﻮدانِ اﻧﺎ ﻣ ﺼ ﺷﺮﻳﺎﻧﻲﺷﺮﻳﺎﻧﻲوﺟﻴﺒﻮﺗﻲﺮ و يُّ ﻟﻲ وﺟﻴﺒﻮﺗﻲﻋَ ﻟﻲ وﺟﻴﺒﻮﺗﻲ ﻤَّ وﺎ و ﻋَ نِﻧﺨﻞٌﻋَ ﻤَّ ﻧﺨﻞٌﺎﻤَّ ﺎ نِوﺟﻴﺒﻮﺗﻲنِﻣﻮرﻳﺘﺎﻧﻴﺎ و ﻋَ ﻤَّ ﺎ نِ وﻓﻲ وﻓﻲاﻧﺎ اﻟﺴﻮدانِاﻟﺴﻮدانِ ﻣ اﻧﺎ ﺼ ﻣ ﺮ ﺼ يُّاﻟﺴﻮدانِ ﺮ ﺷﺮﻳﺎﻧﻲ يُّ ﻟﻲ ﺷﺮﻳﺎﻧﻲﻣﻮرﻳﺘﺎﻧﻴﺎﻧﺨﻞٌ ﻧﺨﻞٌﻣﻮرﻳﺘﺎﻧﻴﺎﻟﻲ ﻧﺨﻞٌ وﻓﻲ وﻓﻲ اﻧﺎ اﻧﺎ ﻣ ﻣ ﺼ ﺼ اﻟﺴﻮدانِاﻧﺎﺮ اﻟﺴﻮدانِﺮ ﻣ يُّ يُّ ﺼ ﺮ ﺷﺮﻳﺎﻧﻲيُّ ﺷﺮﻳﺎﻧﻲ ﻣﻮرﻳﺘﺎﻧﻴﺎﻟﻲﻣﻮرﻳﺘﺎﻧﻴﺎ ﻟﻲ ﻧﺨﻞٌﻣﻮرﻳﺘﺎﻧﻴﺎﻧﺨﻞٌ ,I’m Egyptian, Mauritanian اﻧﺎ اﻧﺎﻣ ﻣ ﺼ ﺮﺼ ﺮ يُّ يُّاﻧﺎ ﻣ ﺼ ﺮ ﻣﻮرﻳﺘﺎﻧﻴﺎيُّﻣﻮرﻳﺘﺎﻧﻴﺎ ﻣﻮرﻳﺘﺎﻧﻴﺎ ﻣﺴ ﻴ اﻧﺎ اﻧﺎﺤ ﻣ ﻣﺴﻣﻲٌّﻴ ﻣﺴ ﻴ ﺼ ﺤ ﺤﺼ ﺮ ﻲٌّﺮ ﻲٌّيُّ يُّوﺳﻨﻲ ﻣﺴ ﻴ ﺤ وﺳﻨﻲ وﺳﻨﻲوﺟﻴﺒﻮﺗﻲﻲٌّ و وﺷﻴﻌﻲﻣﻮرﻳﺘﺎﻧﻴﺎﻋَ ﻣﻮرﻳﺘﺎﻧﻴﺎﻤَّ ﺎ وﺷﻴﻌﻲوﺳﻨﻲوﺷﻴﻌﻲنِ وﺷﻴﻌﻲ اﻧﺎاﻧﺎ ﻣ ﻣ ﺼ ﺼ ﺮ ﺮ اﻧﺎيُّ يُّ ﻣ وﺟﻴﺒﻮﺗﻲ وﺼ وﺟﻴﺒﻮﺗﻲﺮﻋَ ﻤَّو ﺎ يُّﻋَ نِﻣﻮرﻳﺘﺎﻧﻴﺎﻤَّ ﻣﻮرﻳﺘﺎﻧﻴﺎﺎ نِﻣﻮرﻳﺘﺎﻧﻴﺎ Djiboutian and so Jordanian اﻧﺎ اﻧﺎﻣ ﻣ ﺼ وﺟﻴﺒﻮﺗﻲﺼ وﺟﻴﺒﻮﺗﻲﺮ و ﺮ يُّو ﻋَ يُّﻋَ ﻤَّ ﺎ وﺟﻴﺒﻮﺗﻲﻤَّ ﺎ نِو نِﻋَ ﻤَّ ﺎ ﻣﻮرﻳﺘﺎﻧﻴﺎنِﻣﻮرﻳﺘﺎﻧﻴﺎ وﺟﻴﺒﻮﺗﻲ وﺟﻴﺒﻮﺗﻲ و وﻋَ ﻤَّ ﻋَ ﺎ ﻤَّ ﺎ نِنِوﺟﻴﺒﻮﺗﻲ و ﻋَ ﻤَّ ﺎ نِ وآﺮدي وآﺮديﻣﺴ وآﺮديﻴ ﺤ وﻋﻠﻮيﻲٌّ وﺟﻴﺒﻮﺗﻲوﻋﻠﻮيوآﺮدي وﺟﻴﺒﻮﺗﻲوﻋﻠﻮي و و وﺳﻨﻲﻋَ ﻋَ ﻤَّ ودرزيﺎ ﻤَّ ﺎ ..نِنِوﻋﻠﻮيودرزي ودرزي....وﺷﻴﻌﻲودرزي.. ﻣﺴ ﻴ ﺤ ﻣﺴ ﻴ ﻲٌّ ﺤ ﻲٌّ وﺳﻨﻲ وﺟﻴﺒﻮﺗﻲ و وﺳﻨﻲو ﻋَ ﻋَ ﻤَّ ﻤَّ ﺎ ﺎ وﺷﻴﻌﻲنِوﺟﻴﺒﻮﺗﻲنِ و وﺷﻴﻌﻲﻋَ ﻤَّ ﺎ نِ .I am Sunni, Shiite and Christian ﻣﺴ ﻴ ﻣﺴ ﻴ ﺤ ﺤ ﻲٌّ ﻲٌّﻣﺴ ﻴ ﺤ ﻲٌّوﺳﻨﻲ وﺳﻨﻲ وﺟﻴﺒﻮﺗﻲوﺳﻨﻲ وﺟﻴﺒﻮﺗﻲ و وﺷﻴﻌﻲوﺷﻴﻌﻲو ﻋَ ﻤَّﻋَ ﺎ ﻤَّ ﺎ نِوﺷﻴﻌﻲنِ ﻣﺴ ﻴ ﻣﺴ ﻴﺤ ﺤ ﻲٌّ ﻲٌّ ﻣﺴوﺳﻨﻲﻴ وﺳﻨﻲﺤ ﻲٌّ وﺷﻴﻌﻲوﺷﻴﻌﻲوﺳﻨﻲ وﺷﻴﻌﻲ أﻧﺎ ﻻ أﻧﺎأ أﻧﺎ ﺣ ﻻﻔ ﻻ أ ﻆُأ ﺣ ﺣﻔ ﻔ أﻧﺎﻆُ ﻆُ ﻻ ﻣﺴأ ﻴ اﻷﺳﻤﺎءَﻣﺴﺣﻴ ﺤﻔ ﺤ ﻲٌّﻆُاﻷﺳﻤﺎءَوآﺮدي ﻲٌّ اﻷﺳﻤﺎءَ واﻟﺤﻜﺎمَ وﺳﻨﻲ إذوﺳﻨﻲاﻷﺳﻤﺎءَ وﻋﻠﻮيواﻟﺤﻜﺎمَﺗ واﻟﺤﻜﺎمَ ﺮ إذ إذﺣ ﺗ ﺗ ﻞْﺮ وﺷﻴﻌﻲﺮ وﺷﻴﻌﻲﺣ واﻟﺤﻜﺎمَﺣ ودرزي ﻞْﻞْ..إذ ﺗ ﺮ ﺣ ﻞْ .I’m Kurdish, Alawi and Druzean ﻣﺴﻣﺴوآﺮديﻴ ﻴ ﺤ ﺤ وآﺮدي ﻲٌّ ﻲٌّ ﻣﺴوﻋﻠﻮيﻴ ﺤ وﺳﻨﻲوﻋﻠﻮي ﻲٌّ ودرزي..وﺳﻨﻲوﺷﻴﻌﻲ ودرزي..وﺷﻴﻌﻲ وآﺮدي وآﺮدي ﻣﺴ ﻴ ﻣﺴوآﺮدي ﻴ ﺤ وﻋﻠﻮيﺤ ﻲٌّ وﻋﻠﻮي ﻲٌّ وﻋﻠﻮي وﺳﻨﻲ ودرزيوﺳﻨﻲودرزي ....ودرزيوﺷﻴﻌﻲ..وﺷﻴﻌﻲ وآﺮدي وآﺮدي وﻋﻠﻮي وﻋﻠﻮي وآﺮدي ودرزيودرزي..وﻋﻠﻮي ..ودرزي.. أﻧﺎ ﺳَﺌِﻤﻨﺎﻻ أ ﺳَﺌِﻤﻨﺎﻣﻦﺣ ﺳَﺌِﻤﻨﺎﻔ ﻆُ ﻣﻦ ﻣﻦ وآﺮديﺗﺸﺘُﺘِﻨﺎ وآﺮديﺳَﺌِﻤﻨﺎ و آ ﺗﺸﺘُﺘِﻨﺎ ﺗﺸﺘُﺘِﻨﺎاﻷﺳﻤﺎءَﻞُّﻣﻦ و ا و آﻟ وﻋﻠﻮيآﻨ ﻞُّﺎ وﻋﻠﻮيﻞُّ ا ﻟ ا سِﻨﻟ ﺗﺸﺘُﺘِﻨﺎ ﺎ ﻨواﻟﺤﻜﺎمَﺎ و سِآ إذ سِودرزي ﻞُّﺗ ودرزيﺗﺘﻜﺘّﻞ ..ا ﺮ ..ﻟ ﻨ ﺣ ﺎﺗﺘﻜﺘّﻞﺗﺘﻜﺘّﻞﻞْسِ ﺗﺘﻜﺘّﻞ أﻧﺎ ﻻأﻧﺎ أ ﻻﺣ ﻔ أ ﻆُﺣ ﻔ ﻆُ وآﺮدياﻷﺳﻤﺎءَ اﻷﺳﻤﺎءَ وآﺮديوﻋﻠﻮي واﻟﺤﻜﺎمَ إذواﻟﺤﻜﺎمَ ﺗ إذﺮ وﻋﻠﻮيﺗ ﺣ ودرزيﺮ ﻞْ....ﺣ ﻞْودرزي.. أﻧﺎ أﻧﺎ ﻻ ﻻ أ أ ﺣ أﻧﺎﻔ ﺣ ﻔ ﻆُﻻ ﻆُ أ ﺣ ﻔ ﻆُ اﻷﺳﻤﺎءَ اﻷﺳﻤﺎءَ وآﺮدي وآﺮدياﻷﺳﻤﺎءَ واﻟﺤﻜﺎمَ واﻟﺤﻜﺎمَ إذ إذوﻋﻠﻮيﺗ ﺗ وﻋﻠﻮيﺮ واﻟﺤﻜﺎمَ ﺮ ﺣ ﺣ إذﻞْ ﻞْﺗ ﺮ ودرزيﺣ ودرزي..ﻞْ.. أﻧﺎ أﻧﺎ ﻻ أ ﻻ أﺣ ﻔ ﺣ ﻔ ﻆُ ﻆُأﻧﺎ ﻻ أ ﺣ اﻷﺳﻤﺎءَﻔ اﻷﺳﻤﺎءَﻆُ واﻟﺤﻜﺎمَ واﻟﺤﻜﺎمَاﻷﺳﻤﺎءَ إذ ﺗ إذ ﺮﺗ ﺮﺣ ﺣ ﻞْواﻟﺤﻜﺎمَﻞْ إذ ﺗ ﺮ ﺣ ﻞْ أﻧﺎ أﻧﺎ ﻻ ﻻ أ أ ﺣ ﻔ ﺣ ﻔ ﻆُ ﻆُﻣَ ﺳَﺌِﻤﻨﺎ ﻣَﻣﻦﻣَ ﺰَّﺣُﻮْم اﻷﺳﻤﺎءَ ﻳَ اﻷﺳﻤﺎءَﺎ ﺰَّﺣُﻮْمﻗَ ﺰَّﺣُﻮْم ﺗﺸﺘُﺘِﻨﺎﻳَ ﻄَ ﻣَﺎﻳَ ﺎو ﺮْﻗَ آﻗَ واﻟﺤﻜﺎمَﻄَ ﻞُّ واﻟﺤﻜﺎمَﻄَ ﺮْ ا ﺰَّﺣُﻮْمإذ ﺮْﻟ إذﻨ ﻳَﺗ ﺎ ﺎﺗ ﺮ ﻗَ ﺮ اﻟﻐْﻠْﺒﺎﻧِﻴﻦَسِﺣ ﻄَ ﺣ ..ﻞْﺮْﻞْاﻟﻐْﻠْﺒﺎﻧِﻴﻦَ اﻟﻐْﻠْﺒﺎﻧِﻴﻦَ....ﺗﺘﻜﺘّﻞاﻟﻐْﻠْﺒﺎﻧِﻴﻦَ.. أﻧﺎأﻧﺎ ﻻ أ أ ﺣ ﺣ ﺳَﺌِﻤﻨﺎﻔ ﻔ أﻧﺎ ﻆُﻆُﺳَﺌِﻤﻨﺎ ﻣﻦ ﻻ أ ﻣﻦﺣ ﻔ ﻆُﺗﺸﺘُﺘِﻨﺎاﻷﺳﻤﺎءَ اﻷﺳﻤﺎءَ و ﺗﺸﺘُﺘِﻨﺎآ ﻞُّو آ ا ﻟ ﻨ ﻞُّاﻷﺳﻤﺎءَواﻟﺤﻜﺎمَﺎ واﻟﺤﻜﺎمَا ﻟ ﻨ إذسِإذﺎ ﺗ ﺗ سِﺮ ﺮ ﺣ واﻟﺤﻜﺎمَﺣ ﺗﺘﻜﺘّﻞﻞْﻞْإذ ﺗﺘﻜﺘّﻞﺗ ﺮ ﺣ ﻞْ أﻧﺎ ﺳَﺌِﻤﻨﺎأﻧﺎ ﺳَﺌِﻤﻨﺎﻻ ﻻأ ﻣﻦأ ﺣ ﻣﻦﻔ ﺣ ﺳَﺌِﻤﻨﺎﻔ ﻆُ ﻆُ ﻣﻦﺗﺸﺘُﺘِﻨﺎ ﺗﺸﺘُﺘِﻨﺎ و و آ آ ﻞُّاﻷﺳﻤﺎءَﺗﺸﺘُﺘِﻨﺎﻞُّ ا اﻷﺳﻤﺎءَ ﻟ ا ﻨ ﻟو ﺎ ﻨ آ ﺎ ﻞُّسِ سِا ﻟ واﻟﺤﻜﺎمَﻨ ﺎ واﻟﺤﻜﺎمَ إذ سِﺗﺘﻜﺘّﻞإذﺗ ﺗﺘﻜﺘّﻞ ﺗ ﺮ ﺮ ﺣ ﺣ ﻞْﺗﺘﻜﺘّﻞﻞْ ﺳَﺌِﻤﻨﺎ ﺳَﺌِﻤﻨﺎ ﻣﻦ ﻣﻦ ﺗﺸﺘُﺘِﻨﺎﺳَﺌِﻤﻨﺎ ﺗﺸﺘُﺘِﻨﺎو آ و ﻣﻦآ ﻞُّ ا ﻞُّﻟ ﻨ ا ﺎﻟ ﻨ ﺎ ﺗﺸﺘُﺘِﻨﺎ سِ و سِ آ ﻞُّ ا ﺗﺘﻜﺘّﻞﻟ ﻨ ﺗﺘﻜﺘّﻞﺎ سِ ﺗﺘﻜﺘّﻞ ﺳَﺌِﻤﻨﺎ ﺳَﺌِﻤﻨﺎ ﻣﻦ ﻣﻦ ﻣَﺗﺸﺘُﺘِﻨﺎ ﺗﺸﺘُﺘِﻨﺎ و و آ ﺰَّﺣُﻮْمآ ﻞُّﻳَ ﺎﻞُّ ا ﻟ اﻗَ ﻨ ﻟ ﺎ ﻨ ﻄَ ﺎ ﺮْوﺣﻨَﺸﻜِﻲّسِ سِ ﻣِﻴِ وﺣﻨَﺸﻜِﻲّوﺣﻨَﺸﻜِﻲّﻦْ ؟ﻣِ ﺗﺘﻜﺘّﻞﻴِﻣِ ﺗﺘﻜﺘّﻞﻴِ ﻦْ اﻟﻐْﻠْﺒﺎﻧِﻴﻦَﻦْ ؟؟..وﺣﻨَﺸﻜِﻲّ ﻣِ ﻴِ ﻦْ ؟ ﺳَﺌِﻤﻨﺎﺳَﺌِﻤﻨﺎ ﻣَﻣﻦﻣﻦ ﻣَﺳَﺌِﻤﻨﺎ ﺰَّﺣُﻮْم ﺗﺸﺘُﺘِﻨﺎﺗﺸﺘُﺘِﻨﺎﻳَ ﻣﻦﺎ ﺰَّﺣُﻮْمو و ﻗَ آ ﻳَآ ﺎﻄَ ﻞُّ ﻞُّ ﻗَ ا ﺮْا ﻟ ﻟ ﺗﺸﺘُﺘِﻨﺎﻄَﻨ ﻨ ﺎ ﺎ ﺮْو آ سِسِ ﻞُّ ا ﻟ اﻟﻐْﻠْﺒﺎﻧِﻴﻦَﻨ ﺎ ..ﺗﺘﻜﺘّﻞﺗﺘﻜﺘّﻞاﻟﻐْﻠْﺒﺎﻧِﻴﻦَسِ ..ﺗﺘﻜﺘّﻞ Copyright © Canadian Research & Development Center of Sciences and Cultures ﻣَﻣَﺳَﺌِﻤﻨﺎ ﺳَﺌِﻤﻨﺎ ﻣﻦﺰَّﺣُﻮْم ﻣَﻣﻦ ﺰَّﺣُﻮْم ﻳَ ﺎﻳَ ﺎ ﻗَ ﻗَ ﺗﺸﺘُﺘِﻨﺎﻄَ ﺰَّﺣُﻮْم ﻄَ ﺗﺸﺘُﺘِﻨﺎﺮْﻳَ و ﺎﺮْآو ﻗَ آ ﻞُّ ﻄَ ﻞُّا ﻟ ﺮْاﻨ ﻟ ﺎ ﻨ ﺎ اﻟﻐْﻠْﺒﺎﻧِﻴﻦَسِاﻟﻐْﻠْﺒﺎﻧِﻴﻦَ ..سِ.. اﻟﻐْﻠْﺒﺎﻧِﻴﻦَﺗﺘﻜﺘّﻞ..ﺗﺘﻜﺘّﻞ 146 ﻣَ ﻣَﺰَّﺣُﻮْم ﺰَّﺣُﻮْمﻳَ ﺎ ﻳَ ﺎﻗَ ﻣَ ﻗَ ﻄَ ﺮْﻄَ ﺮْ ﺰَّﺣُﻮْم ﻳَ ﺎ ﻗَ اﻟﻐْﻠْﺒﺎﻧِﻴﻦَﻄَ اﻟﻐْﻠْﺒﺎﻧِﻴﻦَ..ﺮْ ..اﻟﻐْﻠْﺒﺎﻧِﻴﻦَ.. و ا ﺧَ ﻣَ ﺪِ و ﻣَﻳا و ا ﻦَﺧَ ﺧَ ﺪِ ﻳﺪِ ﻋَ ﺰَّﺣُﻮْمﻳ ﻠَ ﺰَّﺣُﻮْمﻦَﻳَ ﻦَﺎﻰَﻳَ و ﺎﻋَ اﻗَ ﻠَ ﻋَ ﻗَﻠَ ﺧَ ﻄَ ﺻَ ﻰَﺪِ ﻄَ ﻰَﺮْ ﻮْﻳ ﺮْﻦَ ﺻَ تِ ﺻَ ﻮْا ﻋَ ﻟْﻮْ ﻠَ ﺎ تِﻧِ ﻴَ تِﻰَ ا ﻟْ ا ﻦْﺎ اﻟﻐْﻠْﺒﺎﻧِﻴﻦَوﺣﻨَﺸﻜِﻲّﻟْ ﻧِﺎ اﻟﻐْﻠْﺒﺎﻧِﻴﻦَ..ﺻَﻴَﻧِ ..ﻣِ ﻴَ ..ﻮْﻴِ ﻦْﻦْﻦْ ..تِ..؟ ا ﻟْ ﺎ ﻧِ ﻴَ ﻦْ.. ﻣَﻣَﺰَّﺣُﻮْمﺰَّﺣُﻮْم ﻳَ ﻣَﻳَ ﺎﺎ ﻗَ ﻗَ ﻄَ ﻄَ ﺮْﺰَّﺣُﻮْمﺮْ ﻳَ ﺎ ﻗَ وﺣﻨَﺸﻜِﻲّ ﻄَ ﻣِ ﻴِ وﺣﻨَﺸﻜِﻲّﺮْ اﻟﻐْﻠْﺒﺎﻧِﻴﻦَﻦْ اﻟﻐْﻠْﺒﺎﻧِﻴﻦَﻣِ ؟ﻴِ ....ﻦْ ؟اﻟﻐْﻠْﺒﺎﻧِﻴﻦَ.. ﻣَ ﻣَ ﺰَّﺣُﻮْم ﺰَّﺣُﻮْمﻳَ ﺎ ﻳَ ﺎﻗَ ﻗَ ﻄَ وﺣﻨَﺸﻜِﻲّﻄَ ﺮْ وﺣﻨَﺸﻜِﻲّ ﺮْ ﻣِ ﻴِﻣِ ﻴِ ﻦْ ﻦْ ؟وﺣﻨَﺸﻜِﻲّ؟ ﻣِ ﻴِ اﻟﻐْﻠْﺒﺎﻧِﻴﻦَﻦْ اﻟﻐْﻠْﺒﺎﻧِﻴﻦَ..؟.. وﺣﻨَﺸﻜِﻲّ وﺣﻨَﺸﻜِﻲّ ﻣِ ﻴِ ﻣِ ﻴِﻦْ ؟ﻦْ ؟وﺣﻨَﺸﻜِﻲّ ﻣِ ﻴِ ﻦْ ؟ و ا و ا ﺧَ ﺪِ ﺧَ ﻳ ﺪِ ﻳ ﻦَ ﻦَ ﻋَ ﻠَ ﻋَ ﻠَ ﻰَ ﻰَ ﺻَ ﻮْﺻَ ﻮْ وﺣﻨَﺸﻜِﻲّتِ وﺣﻨَﺸﻜِﻲّ تِاﻣِ ﻟْ ﻴِﻣِ ﺎا ﻴِ ﻟْﻧِ ﻦْ ﺎﻴَ ﻦْ؟ﻧِ ﻴَ ؟ﻦْﻦْ.... و ا و ﺧَ ا ﺪِ ﻳ ﺧَ ﺪِ ﻦَﻳ ﻦَﻋَ ﻠَ ﻋَ ﻰَﻠَ ﻰَ ﺻَ ﻮْ ﺻَ ﻮْ تِ ا تِﻟْ وﺣﻨَﺸﻜِﻲّﺎ ا ﻧِ ﻟْ ﻴَ ﻣِﺎ ﻴِﻧِ ﻦْﻴَ ﻦْ ..ﻦْوﺣﻨَﺸﻜِﻲّ؟ ..وﺣﻨَﺸﻜِﻲّﻣِ ﻴِ ﻣِ ﻦْﻴِ ؟ﻦْ ؟ و ا ﺧَ ﺪِ ﻳ ﻦَو ا ﺧَﻋَ ﻠَ ﺪِ ﻳ ﻰَ ﻦَ ﻋَﺻَ ﻠَ ﻮْ ﻰَ تِ ا ﻟْ ﺻَ ﺎ ﻧِﻮْ ﻴَ تِﻦْ ا ..ﻟْ وﺣﻨَﺸﻜِﻲّﺎ ﻧِ ﻴَ ﻣِﻴِ ﻦْﻦْ ..؟ و ا و ا ﺧَ ﺪِ ﺧَ ﻳ ﺪِ ﻳ ﻦَ ﻦَ ﻋَ ﻠَ ﻋَ و ﻠَ ا ﻰَ ﻰَﺧَ ﺪِ ﺻَﻳ ﺻَﻮْ ﻦَ ﻮْ تِﻋَ ﻠَ تِا ﻟْ اﺎ ﻰَﻟْ ﻧِ ﺎ ﻴَ ﻧِ ﻴَ ﻦْﺻَ ﻦْ..ﻮْ ..تِ ا ﻟْ ﺎ ﻧِ ﻴَ ﻦْ.. و ا ﺧَ ﺪِ ﻳ ﻦَ و اﻋَ ﻠَ ﺧَ ﻰَﺪِ ﻳ ﻦَﺻَ ﻮْ ﻋَ ﻠَ تِﻰَ ا ﻟْ ﺎ ﻧِ ﺻَ ﻴَ ﻮْ ﻦْتِ.. ا ﻟْ ﺎ ﻧِ ﻴَ ﻦْ.. و ا ﺧَ ﺪِ ﻳ و ﻦَا و ا ﺧَ ﻋَ ﺪِﻠَ ﺧَ ﻳ ﺪِ ﻰَﻳ ﻦَ ﻦَ ﻋَ ﺻَ ﻠَ ﻋَ ﻮْﻠَ ﻰَ ﻰَتِ ا ﺻَ ﻟْ ﺎ ﺻَﻮْ ﻧِ ﻴَ ﻮْ تِﻦْ تِا ..ﻟْ اﺎ ﻟْ ﻧِ ﺎ ﻴَ ﻧِ ﻴَ ﻦْﻦْ.... و و اﻟﻤﺼﺎﻧﻊاﻟﻤﺼﺎﻧﻊ.. .. واﻟﻤﻌﺎﻣﻞ واﻟﻤﻌﺎﻣﻞو و اﻟﻤﺪارساﻟﻤﺪارس.. .. واﻟﺴﺎﺣﺎتواﻟﺴﺎﺣﺎت

ﻃﺎﻟﻌﺔ ﻃﺎﻟﻌﺔ ﻟﻪ ﻟﻪ ﺻﺤﺒﺔ:ﺻﺤﺒﺔ : ﺻﻔﻮف ﺻﻔﻮف ﺟﻨﻮدﺟﻨﻮد

أﻃﻔﺎل.. ﺑﻨﺎت..ﻃﺎﻟﻌﺔ ﻟﻪ رﺟﺎل و و و اﻟﻤﺼﺎﻧﻊ.. اﻟﻤﺼﺎﻧﻊاﻟﻤﺼﺎﻧﻊ.. .. واﻟﻤﻌﺎﻣﻞ و واﻟﻤﻌﺎﻣﻞ واﻟﻤﻌﺎﻣﻞ و و اﻟﻤﺪارس..أﻃﻔﺎل .. اﻟﻤﺪارساﻟﻤﺪارس.. ..ﺑﻨﺎت ..واﻟﺴﺎﺣﺎتﻃﺎﻟﻌﺔ واﻟﺴﺎﺣﺎتﻟﻪواﻟﺴﺎﺣﺎت رﺟﺎل آﻞ اﻟﺪروب واﺧﺪة ﺑﻠﺪﻧﺎ ﻟﻠﻨﻬﺎر ﻃﺎﻟﻌﺔ ﻟﻪ ﻃﺎﻟﻌﺔ ﻃﺎﻟﻌﺔ ﻟﻪ ﻟﻪﺻﺤﺒﺔ :آﻞ ﺻﺤﺒﺔ:ﺻﺤﺒﺔ : ﺻﻔﻮفاﻟﺪروب ﺻﻔﻮفﺟﻨﻮد ﺻﻔﻮف واﺧﺪة ﺟﻨﻮدﺑﻠﺪﻧﺎﺟﻨﻮد ﻟﻠﻨﻬﺎر آﻞ اﻟﺪروب واﺧﺪة ﺑﻠﺪﻧﺎ ﻟﻠﻨﻬﺎر أﻃﻔﺎل .. أﻃﻔﺎلأﻃﻔﺎل..ﺑﻨﺎت .... آﻞ ﺑﻨﺎتﺑﻨﺎت..ﻃﺎﻟﻌﺔ.. ﻟﻪ اﻟﺪروب ﻃﺎﻟﻌﺔ ﻃﺎﻟﻌﺔ ﻟﻪ ﻟﻪرﺟﺎل واﺧﺪة رﺟﺎلﺑﻠﺪﻧﺎرﺟﺎل ﻟﻠﻨﻬﺎر و اﺣﻨﺎ ﺑﻠﺪﻧﺎ ﻟﻴﻞ ﻧﻬﺎر آﻞ آﻞ آﻞ اﻟﺪروب اﻟﺪروب اﻟﺪروبواﺧﺪة ﺑﻠﺪﻧﺎواﺧﺪةو واﺧﺪة ﺑﻠﺪﻧﺎاﺣﻨﺎ ﺑﻠﺪﻧﺎﻟﻠﻨﻬﺎر ﺑﻠﺪﻧﺎ ﻟﻠﻨﻬﺎرﻟﻠﻨﻬﺎرﻟﻴﻞ ﻧﻬﺎر ﺑﺘﺤﺐ ﻣﻮال اﻟﻨﻬﺎر آﻞ آﻞ آﻞ اﻟﺪروب اﻟﺪروب اﻟﺪروبواﺧﺪة ﺑﻠﺪﻧﺎواﺧﺪة واﺧﺪة ﺑﻠﺪﻧﺎ ﺑﻠﺪﻧﺎﻟﻠﻨﻬﺎرﺑﺘﺤﺐ ﻟﻠﻨﻬﺎرﻣﻮالﻟﻠﻨﻬﺎر اﻟﻨﻬﺎر ﻟﻤﺎ ﻳﻌﺪّي ﻓﻲ اﻟﺪروب و اﺣﻨﺎ و و ﺑﻠﺪﻧﺎاﺣﻨﺎ اﺣﻨﺎ ﻟﻤﺎﻟﻴﻞ ﺑﻠﺪﻧﺎ ﺑﻠﺪﻧﺎ ﻧﻬﺎرﻟﻴﻞﻳﻌﺪّي ﻟﻴﻞ ﻓﻲ ﻧﻬﺎرﻧﻬﺎراﻟﺪروب و ﻳﻐﻨّﻲ ﻗ ﺪّ ا م آﻞ دار ﺑﺘﺤﺐ ﺑﺘﺤﺐﻣﻮال ﺑﺘﺤﺐ و ﻣﻮال ﻣﻮالاﻟﻨﻬﺎرﻳﻐﻨّﻲ ﻗ ﺪّ ا ماﻟﻨﻬﺎر اﻟﻨﻬﺎرآﻞ دار ﻟﻤﺎذا ﺗﺤﺠﺒﻮن اﻟﺸﻤﺲَ ﺑﺎﻷَﻋﻼم؟ ﻟﻤﺎ ﻟﻤﺎذا ﻟﻤﺎﻳﻌﺪّي ﻟﻤﺎ ﻓﻲ ﻳﻌﺪّي ﻳﻌﺪّيﺗﺤﺠﺒﻮن ﻓﻲ ﻓﻲ اﻟﺪروباﻟﺸﻤﺲَ اﻟﺪروباﻟﺪروبﺑﺎﻷَﻋﻼم؟ ﺗﻘﺎﺳﻤﺘﻢ ﻋﺮوﺑﺘَﻨﺎ و دَ ﺧَ ﻼً ﺑﻴﻨﻜﻢ و وﻳﻐﻨّﻲ و ﻗ ﺪّ ا ﺗﻘﺎﺳﻤﺘﻢم ﻳﻐﻨّﻲ ﻳﻐﻨّﻲ ﻗ ﺪّﻗ آﻞا ﺪّما م دارﻋﺮوﺑﺘَﻨﺎآﻞ آﻞو دَ دارﺧَ دارﻼً ﺑﻴﻨﻜﻢ ﺻِﺮﻧﺎ آﻤﺎ اﻷﻧﻌﺎم ﻟﻤﺎذا ﻟﻤﺎذا ﻟﻤﺎذا ﺗﺤﺠﺒﻮن ﺗﺤﺠﺒﻮن ﺗﺤﺠﺒﻮن اﻟﺸﻤﺲَ اﻟﺸﻤﺲَ اﻟﺸﻤﺲَ ﺑﺎﻷَﻋﻼم؟ﺻِﺮﻧﺎ ﺑﺎﻷَﻋﻼم؟آﻤﺎﺑﺎﻷَﻋﻼم؟ اﻷﻧﻌﺎم ﺳﻴﺒﻘﻰ اﻟﻄﻔﻞ ﻓﻲ ﺻﺪري ﻳﻌﺎدﻳﻜﻢ ﺗﻘﺎﺳﻤﺘﻢ ﺗﻘﺎﺳﻤﺘﻢ ﺗﻘﺎﺳﻤﺘﻢ ﺳﻴﺒﻘﻰ ﻋﺮوﺑﺘَﻨﺎ و دَ ﺧَ ﻋﺮوﺑﺘَﻨﺎاﻟﻄﻔﻞ ﻋﺮوﺑﺘَﻨﺎ ﻼً و دَو ﻓﻲدَ ﺧَ ﺧَ ﻼًﺑﻴﻨﻜﻢ ﻼً ﺻﺪريﺑﻴﻨﻜﻢ ﺑﻴﻨﻜﻢﻳﻌﺎدﻳﻜﻢ ﺗﻘﺴﻤﻨﺎ ﻋﻠﻰ ﻳﺪآﻢ ﺻِﺮﻧﺎ آﻤﺎ ﺻِﺮﻧﺎ ﺻِﺮﻧﺎ آﻤﺎ آﻤﺎاﻷﻧﻌﺎم ﺗﻘﺴﻤﻨﺎ اﻷﻧﻌﺎماﻷﻧﻌﺎمﻋﻠﻰ ﻳﺪآﻢ ﻓﺘﺒﺖ آﻞ أﻳﺪﻳﻜﻢ ﺳﻴﺒﻘﻰ ﺳﻴﺒﻘﻰ ﺳﻴﺒﻘﻰاﻟﻄﻔﻞ ﻓﻲ اﻟﻄﻔﻞ اﻟﻄﻔﻞ ﻓﻲ ﻓﻲ ﺻﺪري ﺻﺪري ﺻﺪري ﻳﻌﺎدﻳﻜﻢﻓﺘﺒﺖ ﻳﻌﺎدﻳﻜﻢآﻞﻳﻌﺎدﻳﻜﻢ أﻳﺪﻳﻜﻢ أﻧﺎ ا ﻟ ﻌ ﺮ ﺑ ﻲُّ ﻻ أﺧﺠﻞْ ﺗﻘﺴﻤﻨﺎ ﻋﻠﻰﺗﻘﺴﻤﻨﺎ أﻧﺎﺗﻘﺴﻤﻨﺎ ا ﻟ ﻌ ﻳﺪآﻢﻋﻠﻰﺮ ﻋﻠﻰﺑ ﻲُّ ﻳﺪآﻢﻻﻳﺪآﻢ أﺧﺠﻞْ ﻋُ ﻤَ ﺎ ﻧ ﻲٍّ وُ ﻟِ ﺪ تُ ﺑﺘﻮﻧﺲَ اﻟﺨﻀﺮاءِ ﻣﻦ أ ﺻ ﻞٍ ﻋُ ﻤَ ﺎ ﻧ ﻲٍّ وُ ﻟِ ﺪ تُ ﻓﺘﺒﺖ ﺑﺘﻮﻧﺲَآﻞ ﻓﺘﺒﺖ ﻓﺘﺒﺖ آﻞ آﻞأﻳﺪﻳﻜﻢ اﻟﺨﻀﺮاءِ أﻳﺪﻳﻜﻢأﻳﺪﻳﻜﻢﻣﻦ أ ﺻ ﻞٍ وﻋُﻤﺮي ز ا دَ ﻋﻦ أ ﻟ ﻒٍ أﻧﺎ ا ﻟ ﻌ ﺮ أﻧﺎﺑ أﻧﺎا ﻟ ﻲُّا ﻟ ﻌ ﻌ ﻻﺮ ﺑ ﺮ ﺑ ﻲُّ ﻲُّ ﻻ وﻋُﻤﺮيﻻأﺧﺠﻞْ ز ا دَ أﺧﺠﻞْأﺧﺠﻞْﻋﻦ أ ﻟ ﻒٍ وأﻣﻲ ﻟﻢ ﺗﺰل ﺗﺤ ﺒَ ﻞْ ﻋُ ﻤَ ﺎ ﻧ ﻲٍّ ﻋُ ﻋُ ﻤَ ﺎ وُﻤَ ﻧ ﻟِﺎ ﻧ ﺪ ﻲٍّﻲٍّ تُ وُ ﻟِ وُ ﺪﻟِ ﺪ تُ تُﺑﺘﻮﻧﺲَ ﺑﺘﻮﻧﺲَ ﺑﺘﻮﻧﺲَ اﻟﺨﻀﺮاءِ ﻣﻦ أ اﻟﺨﻀﺮاءِ اﻟﺨﻀﺮاءِ ﺻ ﻣﻦوأﻣﻲﻞٍ ﻣﻦأ أ ﻟﻢ ﺻ ﺻ ﻞٍﻞٍﺗﺰل ﺗﺤ ﺒَ ﻞْ أﻧﺎ اﻟﻌﺮﺑﻲ ﻓﻲ ﺑ ﻐ ﺪ ا دَ وﻋُﻤﺮي ز ا دَ وﻋُﻤﺮي وﻋُﻤﺮي ز ﻋﻦا ز أﻧﺎ دَا أ ﻟ دَ ﻒٍﻋﻦ ﻋﻦأ ﻟ أ اﻟﻌﺮﺑﻲﻟ ﻒٍﻒٍﻓﻲ ﺑ ﻐ ﺪ ا دَ وﻓﻲ اﻟﺴﻮدانِ ﺷﺮﻳﺎﻧﻲ ﻟﻲ ﻧﺨﻞٌ وﻓﻲوأﻣﻲ ﻟﻢ وأﻣﻲ وأﻣﻲ ﺗﺰلﻟﻢ اﻟﺴﻮدانِ ﻟﻢ ﺗﺤ ﺒَ ﺗﺰلﻞْ ﺗﺰل ﺗﺤ ﺒَ ﺷﺮﻳﺎﻧﻲﺗﺤ ﺒَ ﻞْﻞْﻟﻲ ﻧﺨﻞٌ اﻧﺎ ﻣ ﺼ ﺮ يُّ ﻣﻮرﻳﺘﺎﻧﻴﺎ أﻧﺎ أﻧﺎ أﻧﺎ اﻟﻌﺮﺑﻲ ﻓﻲاﻧﺎ ﺑ اﻟﻌﺮﺑﻲﻣ ﻐ اﻟﻌﺮﺑﻲ ﺪ ا ﺼ ﻓﻲدَ ﻓﻲﺮﺑ ﺑ ﻐ يُّﺪﻐ ا ﺪ دَا دَﻣﻮرﻳﺘﺎﻧﻴﺎ وﺟﻴﺒﻮﺗﻲ و ﻋَ ﻤَّ ﺎ نِ وﻓﻲ وﻓﻲ وﻓﻲ اﻟﺴﻮدانِ اﻟﺴﻮدانِ اﻟﺴﻮدانِ ﺷﺮﻳﺎﻧﻲ ﻟﻲ ﺷﺮﻳﺎﻧﻲ ﺷﺮﻳﺎﻧﻲ ﻧﺨﻞٌﻟﻲ ﻟﻲ وﺟﻴﺒﻮﺗﻲﻧﺨﻞٌ ﻧﺨﻞٌو ﻋَ ﻤَّ ﺎ نِ B. A. Essam (2014). ﻣﺴ ﻴ ﺤ ﻲٌّ وﺳﻨﻲ وﺷﻴﻌﻲ of Social Science, 7(2), 139-148 اﻧﺎ ﻣ ﺼ اﻧﺎ ﺮ اﻧﺎ ﻣ يُّﻣ ﺼ Educationﺼ ﺮ ﻣﺴﺮﻴ يُّﺤ يُّ ﻲٌّ ﻣﻮرﻳﺘﺎﻧﻴﺎHigherوﺳﻨﻲﻣﻮرﻳﺘﺎﻧﻴﺎ ﻣﻮرﻳﺘﺎﻧﻴﺎوﺷﻴﻌﻲ وآﺮدي وﻋﻠﻮي ودرزي.. وﺟﻴﺒﻮﺗﻲ و وآﺮدي ﻋَ ﻤَّ وﺟﻴﺒﻮﺗﻲﺎ وﺟﻴﺒﻮﺗﻲ و نِو ﻋَ وﻋﻠﻮيﻋَ ﻤَّ ﺎ ﻤَّ ﺎ نِنِودرزي.. Continued أﻧﺎ ﻻ أ ﺣ ﻔ ﻆُ اﻷﺳﻤﺎءَ واﻟﺤﻜﺎمَ إذ ﺗ ﺮ ﺣ ﻞْ أﻧﺎ ﻣﺴﻻ ﻴ أ ﺤ ﺣ ﻔ ﻲٌّ ﻣﺴﻆُﻴ ﻣﺴ ﻴ ﺤ ﺤ ﻲٌّ ﻲٌّوﺳﻨﻲ اﻷﺳﻤﺎءَ وﺳﻨﻲ وﺳﻨﻲ وﺷﻴﻌﻲواﻟﺤﻜﺎمَ وﺷﻴﻌﻲإذوﺷﻴﻌﻲ ﺗ ﺮ ﺣ ﻞْ ,I retain neither names nor reigns; all gone ﺳَﺌِﻤﻨﺎ ﻣﻦ ﺗﺸﺘُﺘِﻨﺎ و آ ﻞُّ ا ﻟ ﻨ ﺎ سِ ﺗﺘﻜﺘّﻞ .We’re done with disbanding since all is one وآﺮدي ﺳَﺌِﻤﻨﺎ وآﺮدي وآﺮديﻣﻦ وﻋﻠﻮي وﻋﻠﻮيﺗﺸﺘُﺘِﻨﺎ وﻋﻠﻮي و ودرزيآ ..ﻞُّ ا ﻟ ﻨ ودرزيﺎ ودرزي....سِ ﺗﺘﻜﺘّﻞ ﻣَﺰَّﺣُﻮْم ﻳَ ﺎ ﻗَ ﻄَ ﺮْ اﻟﻐْﻠْﺒﺎﻧِﻴﻦَ.. أﻧﺎ ﻻ أ أﻧﺎﺣ أﻧﺎﻔ ﻻﻆُ ﻻ أ أ ﺣ ﻔ ﺣ ﻔ ﻆُ ﻆُ اﻷﺳﻤﺎءَ اﻷﺳﻤﺎءَ اﻷﺳﻤﺎءَﻣَ واﻟﺤﻜﺎمَ إذ ﺰَّﺣُﻮْمﺗ واﻟﺤﻜﺎمَﻳَ ﺮ ﺎواﻟﺤﻜﺎمَ ﺣ إذﻗَ إذﻞْﺗ ﻄَ ﺗ ﺮ ﺮْﺮ ﺣ ﺣ ﻞْﻞْاﻟﻐْﻠْﺒﺎﻧِﻴﻦَ.. Poem 2 O Penury Train وﺣﻨَﺸﻜِﻲّ وﺣﻨَﺸﻜِﻲّﻣِ ﻴِ ﻣِ ﻴِ ﻦْ ؟ﻦْ ؟ ﺳَﺌِﻤﻨﺎ ﻣﻦtext ﺳَﺌِﻤﻨﺎ ﺳَﺌِﻤﻨﺎ ﻣﻦ ﺗﺸﺘُﺘِﻨﺎﻣﻦ و آ Source ﻞُّﺗﺸﺘُﺘِﻨﺎ ﺗﺸﺘُﺘِﻨﺎا ﻟ و ﻨ و ﺎآ theآ ﻞُّ سِﻞُّا ofﻟ ا ﻨ ﻟ ﺎ ﻨ ﺎ سِﺗﺘﻜﺘّﻞ سِ ﺗﺘﻜﺘّﻞﺗﺘﻜﺘّﻞTranslation Transcription و ا ﺧَ ﺪِ ﻳ ﻦَ ﻋَ ﻠَ ﻰَ ﺻَ ﻮْ تِ ا ﻟْ ﺎ ﻧِ ﻴَ ﻦْ.. ﻣَ ﻣَﺰَّﺣُﻮْمﻣَ ﻳَ ﺎ ﻗَ و ﺰَّﺣُﻮْما ﻄَ ﺰَّﺣُﻮْمﻳَ ﺧَ ﺮْﺎﻳَ ﺪِ ﺎﻳ ﻗَ ﻗَ ﻦَﻄَ ﻄَ ﺮْﻋَ ﺮْﻠَ ﻰَاﻟﻐْﻠْﺒﺎﻧِﻴﻦَ ..ﺻَ ﻮْ اﻟﻐْﻠْﺒﺎﻧِﻴﻦَاﻟﻐْﻠْﺒﺎﻧِﻴﻦَتِ.. ..ا ﻟْ ﺎ ﻧِ ﻴَ ﻦْ.. !You are crammed, O penury train

وﺣﻨَﺸﻜِﻲّ ﻣِ ﻴِ ﻦْ وﺣﻨَﺸﻜِﻲّ؟ وﺣﻨَﺸﻜِﻲّ ﻣِﻴِ ﻣِ ﻴِ ﻦْ ﻦْ ؟؟ ?Whom should we ever complain

و ا ﺧَ ﺪِ ﻳ و ﻦَا و ا ﺧَ ﻋَ ﺧَﺪِ ﻠَ ﻳ ﺪِ ﻳ ﻰَﻦَ ﻦَ ﻋَ ﻠَﺻَ ﻋَ ﻠَ ﻮْ ﻰَ ﻰَتِ ا ﺻَ ﻟَﻟْ ﻴِّﺻَ ﺎ ﻮْ ﻨَ ﻧِ ﺎﻮْ ﻴَ تِﻦْ تِﺳِ ا ﻨِﻟْ ..ا ﻴْﺎ ﻟْ ﻧِ ﺎ ﻴَ ﻦَﻧِ ﻴَ ﻦْﻦْ.... We adapted to the vocal moan ﻟَ ﻴِّ ﻨَ ﺎ ﻟَ ﻴِّ ﺳِ ﻨَ ﻨِ ﺎﻴْ ﻦَﺳِ ﻨِ ﻴْ ﻦَ ﻟَ ﻴِّ ﻨَ ﺎ ﻟَ ﻴِّ ﺳِ ﻨَ ﻨِ ﺎﻴْ ﻦَﺳِ ﻨِ ﻴْ ﻦَ ﻟَ ﻴِّ ﻨَ ﺎﻟَ ﻴِّ ﻨَ ﻟَ ﺎﺳِ ﻴِّ ﻨِ ﻨَ ﻴْ ﺎﺳِ ﻨِ ﻦَﻴْ ﺳِ ﻨِ ﻦَﻴْ ﻦَ .For an indefinite eon ﻣ ﺘَ ﻌَ ﻠِّ ﻤِ ﻴْ ﻦَ اﻟْﻄَّﺎﻋَﺔ..ِ ﻣ ﺘَ ﻌَ ﻠِّ ﻣﻤِ ﺘَﻴْ ﻌَ ﻦَﻠِّ ﻤِ ﻴْ ﻦَ اﻟْﻄَّﺎﻋَﺔ..ِاﻟْﻄَّﺎﻋَﺔ..ِ ﻣ ﺘَ ﻌَ ﻠِّ ﻣ ﻤِ ﺘَ ﻴْ ﻌَ ﻠِّ ﻦَ ﻤِ ﻴْ ﻦَ اﻟْﻄَّﺎﻋَﺔ..ِاﻟْﻄَّﺎﻋَﺔ..ِ ﻣ ﺘَ ﻌَ ﻣ ﻠِّ ﺘَ ﻤِ ﻣ ﻌَ ﻴْ ﺘَﻠِّ ﻌَﻤِ ﻦَﻠِّ ﻴْ ﻤِ ﻦَﻴْ ﻦَ اﻟْﻄَّﺎﻋَﺔ..ِاﻟْﻄَّﺎﻋَﺔ..ِاﻟْﻄَّﺎﻋَﺔ..ِ We have learned only submission ﻣِ ﻦْ ﻗَ ﺒْ ﻞُ ا ﻟْ ﺼَّ ﻼ ﻣِ ﻦْ ﻗَ ﻣِ ﺒْ ﻦْﻞُ ﻗَ ا ﻟْﺒْ ﻟَ ﻴِّﻟَ ﻞُﻨَﻴِّ ﺎﺼَّﻨَ ا ﺎﻟْ ﻼﺳِ ﻨِﺳِ ﺼَّﻴْ ﻨِ ﻴْ ﻦَﻼﻦَ ﻣِ ﻦْ ﻗَ ﻣِ ﺒْ ﻟَ ﻴِّ ﻦْﻞُﻨَ ﺎﻗَ ا ﺒْ ﻟْﻟَ ﻴِّ ﺳِ ﻞُﻨَ ﻨِ ﺎﺼَّاﻴْ ﻟْ ﻼﻦَﺳِ ﻨِ ﺼَّﻴْ ﻦَﻼ ﻣِ ﻦْﻣِ ﻗَ ﻦْﺒْﻣِ ﻗَ ﻞُﻦْﻟَ ﺒْ ﻴِّﻟَ اﻗَ ﻨَﻴِّﻟْﻞُﺒْ ﺎﻨَ ﺎاﻟَ ﻞُ ﻟْﻴِّ ﺼَّ ﺳِ ﻨَ اﻨِﺳِ ﺎﻟْﻴْﻼﻨِ ﺼَّﻴْ ﻦَﺳِ ﺼَّﻼﻦَﻨِ ﻴْ ﻼﻦَ Before the prayers convention وَ ﻳَ ﺎ إِ ﻣَّ ﺎ ﻧَ ﺒْ ﻘَ ﻟَﻴِّ ﻨَ ﻰْﺎ ﺑِ ﺳِ ﻨِ ﻀَ ﻴْ ﺎ ﻦَﻋَ ﺔً.. وَ ﻳَ ﺎ إِ وَﻣَّ ﻳَ ﺎﺎ ﻧَ إِ ﺒْ ﻣ ﻣَّﻘَ ﺘَﻣ ﺎﺘَ ﻌَ ﻰْﻠِّﻧَ ﻌَ ﺒْﻠِّ ﻤِﺑِ ﻘَ ﻴْﻤِ ﻴْ ﻰْﻦَﻀَ ﻦَﺎ ﺑِ ﻋَ ﺔًﻀَ ﺎ ..ﻋَاﻟْﻄَّﺎﻋَﺔﺔًاﻟْﻄَّﺎﻋَﺔ..ِ....ِ وَ ﻳَ ﺎ إِ وَﻣ ﻣَّ ﻳَ ﺘَ ﺎﺎ ﻌَ ﻧَ إِﻠِّ ﺒْﻣ ﻣَّﻤِ ﺘَﻘَ ﺎﻴْ ﻌَ ﻰْﻠِّﻧَ ﻦَﺒْ ﻤِ ﺑِ ﻘَ ﻴْ ﻰْﻦَﻀَ ﺎ ﺑِ ﻋَ ﺔًﻀَ اﻟْﻄَّﺎﻋَﺔﺎ ..ِﻋَاﻟْﻄَّﺎﻋَﺔﺔً..ِ.. Either to be the goods line وَ ﻳَ ﺎ وَ إِ ﻳَ ﺎوَﻣَّ ﻳَﺎ إِ ﻣ ﺎ ﺘَﻣ ﻧَﻣَّ ﺘَإِ ﺒْ ﺎﻌَ ﻘَﻠِّ ﻌَﻣَّ ﻧَ ﻠِّﻣ ﺎﻤِ ﺒْ ﺘَ ﻰْﻴْﻤِ ﻘَ ﻧَ ﻴْﻌَ ﺒْﺑِ ﻠِّ ﻦَﻘَ ﻰْﻦَ ﻤِ ﻴْ ﺑِ ﻰْﻀَ ﺎ ﻦَﺑِ ﻀَ ﻋَﺎ ﺔًﻀَ ﻋَﺎ ..اﻟْﻄَّﺎﻋَﺔﺔًاﻟْﻄَّﺎﻋَﺔﻋَ..ِ..ِﺔًاﻟْﻄَّﺎﻋَﺔ....ِ ﻣ ﺘَ ﻌَ ﻠِّ ﻤِ ﻴْ ﻳَ ﻦَﺎ إِ ﻣَّ ﺎ ا ﻟْ ﻤِ اﻟْﻄَّﺎﻋَﺔﻘْ ..ِﺼَ ﻠَ ﺔٌ ﻳَ ﺎ إِ ﻣَّﻣِ ﻳَ ﻣِ ﺎﺎﻣِ ﻦْ ا ﻦْإِ ﻟْ ﻦْﻗَ ﻣَّ ﻗَﻤِ ﺒْ ﺎﺒْﻘْﻗَ ﺒْ ﻞُا ﻞُﻟْ اﻞُﺼَ اﻤِ ﻟْﻠَ ﻟْﻘْا ﻟْ ﺔٌﺼَّ ﺼَّﺼَ ﻠَﺼَّ ﻼﻼﺔٌﻼ ﻳَ ﻣِ ﺎ إِ ﻦْ ﻣَّ ﻳَ ﻗَ ﺎﺎﺒْ ا إِ ﻟَ ﻞُﻟْ ﻴِّﻟَﻣَّ ﻤِ ﻨَاﺎﻴِّ ﻘْ ﻟْﺎﻨَ ا ﺎﻟْ ﺳِ ﺼَﺼَّﻤِ ﻨِﻠَﺳِ ﻘْ ﻴْ ﻨِ ﺔٌﻼﻴْ ﻦَﺼَ ﻦَﻠَ ﺔٌ Or to go through the guillotine ﻳَ ﺎ ﻣِإِ ﻣَّ ﻦْﻳَ ﺎ ﺎ ﻗَ ﻣِا ﺒْﻟْإِ ﻦْﻤِﻣَّ ﻞُ ﺎﻘْ ﻗَ ﻟَ اﺒْا ﻴِّﻟْ ﻟَﻟْ ﻨَ ﺼَﻴِّ ﻞُﺎﻤِﻠَ ﻨَ ﻟَ ﻘْ ﺼَّﺎاﺔٌﻴِّ ﻟْ ﻨَﺳِ ﺎﻼﻨِ ﺳِ ﺼَﻴْ ﻠَﻨِ ﺼَّﻴْ ﺳِ ﻦَﺔٌﻨِ ﻼﻦَﻴْ ﻦَ وَ ا ﻟْ ﺠُ ﺒْ ﻣِ ﻦِ ﻦْوَ ﻗَ ﺒْ ﺳَ ﻞُﻂِ اا ﻟْ ﻟ ﻟَ ﻴِّ ﺠَ ﻨَ ﺼَّ ﺎﻮَ ا ﻼﺳِ ﻋَ ﻨِ ﺔًﻴْ .ﻟَ ﻴِّﻟَ ﻦَﻨَﻴِّ ﺎﻨَ ﺎ ﺳِ ﻨِﺳِ ﻴْﻨِ ﻴْ ﻦَﻦَ وَ ا ﻟْ ﺠُ ﺒْوَ ا وَﻟْ ﻦِﻳَ وَ ﺎﻳَ ﺠُ ﺎﺒْوَ إِ إِ ﻣَّ ﻦِﺳَ ﺎﻣَّ ﺎﻂِﻧَ وَ ﺒْ ﻧَ ا ﻘَ ﺒْ ﺳَﻟ ﻘَ ﻰْﺠَ ﻂِﻰْ ﻮَ اﺑِ ا ﻟ ﺑِ ﻋَ ﺠَ ﻀَ ﺔًﺎ ﻀَﻮَ .ﺎا ﻋَﻋَ ﺔًﺔً..... Cowardice among the famished وَ ا وَﻟْ ﻳَ ﺎﺠُ وَ ﺒْ إِا وَﻟْ ﻳَﻦِﻣَّ ﺎﻣ ﺠُ ﺘَ ﺒْ إِوَ ﻧَ ﻌَ ﺒْ ﻣَّﻠِّ ﻦِﺳَﻘَ ﺎ ﻤِ ﻴْ ﻂِﻧَوَ ﻰْﺒْ ا ﻦَﻘَ ﺑِﺳَ ﻟ ﻰْﻂِﺠَ ﻀَ اﺑِﺎﻮَ ﻟا ﻋَﺠَﻋَ ﻀَ ﺔًﺎ ﺔًﻮَ اﻟْﻄَّﺎﻋَﺔا ...ﻋَ..ِﻋَ ﺔًﺔً... وَ ا ﻟْ وَ وَﺠُا ﻳَ وَﻟْﺒْ وَ ﺎﻳَ ا ﺎ ﺠُﻦِﻟْ إِ ﺒْ وَ إِ ﻣَّﻳَﺠُ وَ ﻦِﺎﻣَّﺒْ ﺎ ﻣإِﺳَﻧَ ﻣ ﻦِوَ ﺘَﺒْﻧَ ﺘَ ﻣَّ ﺒْﻘَ ﻂِﺎﻌَ ﻌَ ﺳَﻘَوَ ﻠِّ ﻠِّﻣ ا ﻰْﻧَ ﺘَﻤِﻟ ﺳَ ﻂِﻤِﻰْﺒْ ﻴْ ﻴْ ﺑِﻌَﻘَ ﺠَا ﻠِّﺑِ ﻂِﻦَﻟ ﻦَ ﻮَﻰْﻤِ ا ا ﻀَﻴْ ﺠَﻟ ﺎﻀَﺑِ ﺎﻋَﻮَ ﻦَﺠَ ا ﻋَ ﺔًﻋَﻮَﻀَ .ﺔًﻋَا ﺎ ﺔًﺔً..ﻋَ ﻋَ...اﻟْﻄَّﺎﻋَﺔاﻟْﻄَّﺎﻋَﺔﺔًﺔً..ِ...ِ..اﻟْﻄَّﺎﻋَﺔ..ِ وَ ﻳَ ﺎ إِ ﻣَّ ﺎ ﻧَ ﺒْ ﻣ ﻣ ﻘَ ﺘَ ﺘَ ﻌَ ﻰْﻌَ ﻠِّ ﻠِّ ﻤِﺑِ ﻤِ ﻴْ ﻴْ ﻦَﻀَ ﻦَ ﺎ ﻣ ﻋَﺘَ ﺔًﻌَ ﻠِّ ..ﻤِ ﻴْ اﻟْﻄَّﺎﻋَﺔاﻟْﻄَّﺎﻋَﺔﻦَ..ِ ..ِاﻟْﻄَّﺎﻋَﺔ..ِ ﻗَ ﻴِّ ﻗَ ﻤَ ﻳَﻴِّ ﺎﺔٌﻤَ إِ ﺔٌ ﻣ ﻣَّ ﺄَ ﺘَ ﺎﻣ ﻌَﺄَ ا ﻠِّ ﻟْ ﺻِ ﻤِﻠّ ﻤِ ﻴْﺻِ ﺔًﻘْ ﻠّ ﻦَﺔً .ﺼَ ﻠَ .ﺔٌاﻟْﻄَّﺎﻋَﺔ..ِ Is a deeply rooted concept ﻗَ ﻗَ ﻴِّ ﻴِّ ﻣِ ﻤَ ﻤَ ﺔٌ ﻦْﻳَ ﺔٌﻳَﻗَ ﺎ ﺎﻴِّﻗَ ﻣ ﻣإِ ﺒْ ﺄَ ﻤَ إِﺄَ ﻣَّ ﺔٌﻞُﻣَّ ﺎﺎ ﺻِ ﺻِا ﻠّﻣ اﻠّﻟْ ﺄَ ﻟْﺔًﺔًﻤِ ﻤِ ﻘْ ﺼَّﻘْ ﺻِ ..ﻠّ ﻼﺼَ ﺔًﺼَﻠَ ﻠَ ﺔٌﺔٌ. ﻳَ ﻗَﺎﻳَ ﻴِّﺎ إِ ﻤَ إِﻣِ ﻣِ ﻣَّﺔٌﺎﻣَّﻗَ ﻦْ ﺎﻦْﻴِّ ا ﻣ ﻟْﻗَﻤَا ﻗَﺄَ ﻟْﺒْ ﺒْﺔٌﻤِ ﻤِﻘْ ﻞُﻞُﻘْ ﺻِ ﻣ ﻠّ ﺄَ اﺼَﻟْ ﺔًﻠَﺼَ ﻠَ ﺔٌﺻِ .ﻠّ ﺔٌﺼَّﺔًﻼ . ﻗَ ﻴِّ ﻳَﻤَ ﺎﺔٌ إِﻗَ ﻴِّ ﻳَ ﻣﻣَّ ﺎﺄَﻣِ ﺎﻤَ ﻣِ إِ ﺔٌا ﻦْﻣِ ﻦْﻟْ ﻣَّﺻِ ﺎﻗَﻠّﻤِﻣ ﻦْﻗَ ﺒْ ﺄَﻘْ ﺔًﺒْ ا ﻗَ ﻟْ ﻞُﺒْ ﻞُ ﻤِ ﺻِ.ﺼَ اﻠّﻞُﻘْﻠَ اﻟْﻟْ ﺔًﺔٌا ﻟْ ﺼَ ﺼَّﻠَﺼَّ .ﺔٌﺼَّ ﻼﻼﻼ وَ ﺁَ دِ يْ ا ﻟْ ﺤِ ﻜَ ﺎ ﻳَ ﺔْ ﻣُ ﻔَ ﻣِ ﻣِ ﺼَّ ﻠَ ﻦْﻦْ ﺔًﻗَ ﺒْﻗَ ..ﺒْ ﻞُﻞُ ا ﻟْا ﻟْ ﺼَّ ﺼَّ ﻼﻼ It’s the crux of the anecdote وَ ﺁَ دِ وَ وَا يْوَ اﻟْ وَﺁَ ﻟْ ا دِ ﻟْ ﺠُﺠُ ﺒْ ﺒْ ﺠُﺤِ يْﺒْ ﻦِﻜَ ﻦِا ﺎ ﻟْ ﻦِﻳَ وَ وَ ﺤِ ﺔْوَ ﺳَ ﻜَ ﺳَ ﺎ ﻣُ ﺳَ ﻳَ ﻂِﻔَ ﻂِ ﺔْا ﻂِ اﻟ ﻟ اﺼَّ ﻣُ ﻠَﻟ ﺠَ ﻔَ ﺠَ ﺔًﻮَﺠَ ﻮَا ..ا ﻮَ ﺼَّ ا ﻠَﻋَ ﻋَ ﺔًﻋَ ﺔً..ﺔً... وَ اﺁَ ﻟْ دِ وَﺠُﻳَ وَوَ ﺒْ يْﺎﻳَ ﺁَ ﺎ ا إِدِ ﻦِ ﻟْ إِ ﻣَّ ﺎيْﻣَّﺤِوَ ﺎﻜَاﻧَ ﺳَ ﻟْ ﺎﺒْ ﻧَ ﻳَ ﻘَﺒْ ﻂِﺤِ ﻘَ ﺔْ ﻰْﻜَ ا ﺎﻰْﻟ ﻣُ ﺑِﻳَ ﻔَ ﺑِﺠَ ﺔْ ﻮَ ﻀَ ا ﺼَّﻣُ ﺎ ﻀَ ﻠَ ﻔَ ﺎ ﻋَ ﺔًﻋَﺔًﻋَﺔً...ﺼَّ ﺔًﻠَ ..ﺔً.... وَ ﺁَ وَ دِ ا ﻟْ يْ وَ ﺠُ ﺁَ وَ اوَﺒْ ا ﻟْدِ ﻳَﻟْ وَﺎﻦِ ﻳَ ﺤِ يْﺠُ ﺎإِ وَ ﺒْﻜَ وَﻳَ ا ﻣَّﺎإِ ﺎﻟْ ﺎﻳَ ﻦِﻣَّ ﺳَ إِ ﺔْﺎﺤِﻧَ ﺒْ ﻣَّوَﻂِﻜَ ﻧَ ﺎﻘَ ﻣُ ﺎ ﺒْ ا ﺳَ ﻔَﻳَ ﻘَ ﻟﻧَ ﻰْﺔْﺒْ ﻂِﺠَﻘَ ﻰْﺑِ ﺼَّ اﻣُ ﻠَﻮَ ﺑِ ﻟ ﻰْاﻔَ ﺔً ﻀَ ﺑِﺠَ ﻋَﺎ ..ﻀَ ﺼَّﻮَ ﺔًﺎ ﻋَﻠَا .ﻀَ ﺔًﻋَﺎ ﻋَ ﺔً..ﺔًﻋَ...ﺔً.. وَ ا ﻟْ ﺠُ ﺒْ وَ ﻦِ ﻳَ ﺑَ ﺎوَ إِ ﺲّﺳَ ﻣَّ ا ﺎﻟَّ ﻂِﻠِ ﻧَ وَﺒْا ﻳَوَﻟ ﻲْﻘَ ﺎﻳَ ﺎ ﺠَﻳِ ﻰْإِ إِ ﻮَ ﻣَّﺴْ ﺑِا ﺎﻣَّ ﻤَ ﺎﻋَ ﻧَ ﻊْﻀَ ﺒْﻧَ ﺔًﺎ ﺒْﻘَ .ﻘَﻣِ ﻋَﻴِ ﻰْﺔً ﻰْﻦْﺑِ ..ﺑِ ﻀَ ﺎﻀَ ﺎ ﻋَﻋَﺔًﺔً.... ?If attention be just focused ﺑَ ﺲّ ﺑَ ا ﻟَّ ﻠِ ﺲّ ﻲْ ﻗَا ﻗَ ﻟَّﻴِّ ﻳِ ﻴِّﻠِ ﻗَﻤَ ﻴِّ ﻤَﺴْ ﻲْﺔٌﻤَ ﺔٌﻤَ ﺔٌﻳِ ﻣ ﻊْ ﻣ ﺄَ ﺴْ ﺄَﻣ ﻣِﺄَ ﻤَ ﻴِ ﺻِ ﻊْﺻِﻠّ ﻦْﻠّ ﺻِ ﺔًﻠّ ﺔًﻣِ ﻴِ ﺔً .. ﻦْ. ﺑَ ﺲّ ﺑَ ا ﻟَّ ﻗَ ﻠِ ﻴِّ ﻳَ ﺲّﺎﻤَ ﻳَﻲْﺎا ﺔٌإِﻟَّ ﻳِ ﻠِ إِﻣَّ ﻣ ﺎﻣَّﺴْ ﺄَ ﻲْﺎ ا ﻤَﻟْﻳِ اﻟْ ﻊْﺻِﻤِ ﺴْﻠّ ﻘْﻤِ ﻣِ ﻘْﺔًﻤَ ﻴِ ﻊْﺼَ ﻦْﻠَ .ﺼَ ﻠَ ﻣِ ﺔٌﻴِ ﺔٌﻦْ ﺑَ ﺲّ اﺑَ ﻟَّ ﻠِ ﻗَ ﺲّﻴِّ ﻲْ ا ﻤَ ﻳِﻟَّ ﻳَﻠِ ﺔٌﺎﻗَ ﻳَ ﺴْ ﻴِّ ﺎإِ ﻲْﻣﻤَ ﻤَ ﻳَ ﻣَّﺄَإِ ﺎﻳِ ﺎﺔٌﻊْﻣَّ إِ ﺎاﺴْ ﺻِ ﻣﻟْﻣِﻣَّ ﻠّ ﺄَاﻤَﻴِ ﺎﻤِﻟْ ﺔً ﻘْ ﻊْﻦْاﻤِ ﻟْ ﺻِﻘْ ﻠّ .ﻣِ ﻤِ ﺼَ ﻴِ ﺔًﻘْ ﻠَ ﺼَ ﺔٌﻦْﻠَ .ﺼَ ﺔٌﻠَ ﺔٌ ﻗَ ﻴِّ ﻤَ ﺔٌ ﻳَ ﺷُ ﺎﻣ ﻌُﺄَ إِ ﻮ ﻣَّ ﺎرﺻِ ﻠّ ا ﻟْ ﺔًﺳَﻳَ ﻤِ ﺎﻳَ ﻘْ ﺎﺨِ. إِ ﻴْ إِ ﻣَّ ﺼَ ﺎﻣَّ ﻠَ ﻒ ﺎ ا ﺔٌﻟْا ﻟْ ﻤِ ﻤِﻘْ ﻘْ ﺼَ ﻠَﺼَ ﻠَ ﺔٌﺔٌ وَ وَﺁَ ﺁَ وَ دِ ﺁَ دِ دِ يْ يْ ا يْ اﺷُﻟْ ﻟْ ا ﻌُﻟْ ﺤِ ﺤِ ﻮﻜَ ﺤِ ﻜَ ﺎﺷُرﺎ ﻜَﻳَ ﻳَ ﻌُﺎ ﺔْﻳَ ﺔْﻮﺳَ ﺔْﻣُ رﻣُ ﺨِﻔَ ﻴْﻔَﻣُ ﻔَ ﺳَ ﺼَّ ﻒﺼَّﻠَ ﺨِﻠَ ﺼَّ ﻴْﺔًﻠَ ﺔًﺔً....ﻒ.. وَ ﺁَ وَ ادِ وَ ﻟْ ا ﻟْ يْﺠُ ﺒْﺠُ ا ﺒْ ﻟْ ﻦِ ﻦِﺤِ وَ ﻜَﺷُﺎوَ ﻌُﻳَﺳَ ﺳَ ﻮﺔْﻂِﺷُ رﻂِﻣُا ﻌُ ﻟﻔَ ا ﻮﻟ ﺳَﺠَ رﺠَ ﺼَّ ﺨِﻮَ ﻠَ ﻴْا ﻮَ ا ﺔًﺳَﻋَ ﻒ..ﻋَ ﺨِﺔًﻴْ .ﺔً.ﻒ وَ ﺁَ دِ وَ ا وَ ﻟْوَ يْﺁَ ا ﻟْ دِا ﺠُ وَ ﻟْ ﺒْا ﺠُﻟْ ﺷُ يْﺒْﺤِ ﻦِ ﻌُﺠُ ا ﻜَ ﻦِﺒْﻟْ ﺎ ﻮوَ ﻳَ ﻦِﺤِ وَﺷُ رﺔْﺳَ ﻜَ ﻌُ ﺎ ﺳَوَ ﻂِﻣُ ﻳَ ﺳَﻮﻔَ ﺳَ ﻂِﺔْا رﺨِﻟ اﻴْ ﻂِﻟﻣُﺼَّ ﺠَ ﻠَ ﻔَ ﺳَا ﺠَﻮَﻟ ﻒﺔًا ﺨِﻮَ ﺠَ..ﻴْﺼَّ ا ﻋَ ﻠَ ﻮَ ﺔًﻋَﺔًا .ﻒﺔً..ﻋَ .ﺔً. وَ ﺁَ دِ يْوَ ِا اﻧَّﻟْ ﻟْ ﺠُ ﻚﺤِ ﺒْ ﺗِﻜَ ﻦِﺎ ﻳَ ﺤِ وَ ﺔْوَ اوَ ﻟْا ﺲﻟْﺳَ ﻣُ ﺠُ ﻔَ ﺑِﺒْﺠُ ﻂِﺈِﺒْ ﻦِا نﺼَّ ﻟﻦِ ﻠَ وَ ﺠَ ﺔًوَ ﻮَﺳَ ..ا ﻃَﺳَ ﻨِ ﻂِﻋَ ﻂِ ا ﻚﺔًﻟا .ﻟ ﺠَ ﺠَ ﻮَ ا ﻮَ ا ﻋَ ﻋَ ﺔً.ﺔً. [Excerpt 3 From Juha [Jackassque ِ ﻧَّ ﻚ ِ ﺗِ ﻧَّﺑَ ﺑَ ﺤِﺑَ ﻚﺲّ ﺲّﺗِ ﺲا ﺲّ اﻟَّ ﺤِﻟَّﻠِ ﺑِا ﻠِ ﻟَّﺈِﻠِ ﻲْﺲﻲْن ﻲْﻳِ ﺑِﻳِ ﺈِوَﻳِ ﺴْ ﺴْ نﻤَ ﻃَﺴْ ﻤَ ﻨِﻊْﻤَ ﻊْوَ ﻚﻊْﻣِ ﻃَﻣِ ﻴِ ﻨِﻴِ ﻣِ ﻴِ ﻦْﻦْﻚﻦْ ِ ﻧَّ ﺑَ ﻚ ِ ﺲّﺗِﻧَّ ا ﺤِﻚﻟَّ ﻠِ ﻗَ ﺗِﻴِّﻗَ ﺲﻲْﻴِّ ﺤِﻤَ ﺑِﻳِﻤَ ﺔٌﺈِ ﺔٌﺴْ ﺲ نﻣ ﻤَ ﺄَ ﻣﺑِﺄَ ﺈِوَﻊْ نﺻِ ﻃَﻣِﻠّ ﺻِ ﻨِﻴِ ﻠّ ﺔًوَ ﺔًﻚﻦْ ﻃَ . ﻨِ .ﻚ ِ ﻧَّ ﻚﺑَ ِﺗِ ﻧَّ ﺲّﺤِ ﺑَ ﻚا ﻟَّ ﺗِﺲﻠِ ﺲّ ﺤِﺑِﻲْﻗَ ا ﺈِ ﻴِّ ﻟَّ ﻗَ ﻳِﻠِ ﻤَنﻴِّ ﺲ ﻗَﺔٌﺴْ ﻤَﻲْﺑِﻴِّ وَ ﻤَﺈِﺔٌﻳِ ﻤَﻣ ﻊْﺄَﻃَ نﺔٌﻣﺴْ ﻨِ ﺄَ ﻣِﻤَ وَﻣ ﺻِﻴِ ﻚﺄَ ﻠّ ﻊْﺻِ ﻃَﻦْﺔًﻠّ ﻨِﻣِ ﺻِ ﺔًﻴِ ﻠّ .ﻚ ﺔًﻦْ. . text ﺑَ ﺲّ ا ﻟَّ Sourceﻠِ ﻲْ ﻳِﻗَ ﻴِّ theﺴْ ﻤَ ﻤَ ﺔٌﺷَﻲْء ﻊofْ ﻣﺄَ ﻣِ ﻗَﻴِ ﺿَﻴِّﻗَ ﻴِّﺻِ ﻌِﻦْﻤَ ﻠّ ﻴْﻤَ ﺔٌﺔًﺔٌ ﻒ ﻣ .ﺄَﻣ ﺄَ ﺻِ ﻠّ ﺻِ ﻠّ ﺔًﺔً ..Translation Transcription ﺷُﺷَﻲْءﺷُ ﻌُ ﺷُﻌُ ﻮﻌُ ﻮ ﺿَﻮ رﺷَﻲْءر ﻌِ رﻴْ ﺳَﺳَ ﺿَ ﺳَﺨِ ﻒﺨِﻌِﻴْ ﺨِﻴْ ﻴْ ﻒﻒﻒ وَ ﺁَ وَ ﺁَ دِ دِ يْ يْ ا ﻟْ ا ﻟْ ﺤِ ﺷُﺤِ ﻜَ ﻌُﺎ ﻜَ ﻳَ ﻮﺎ ﻳَ ﺷَﻲْءﺔْر ﺔْ ﻣُ ﻔَﺳَﻣُ ﺿَﺷَﻲْءﻔَ ﻌِﺨِ ﻴْﺼَّ ﻠَ ﺼَّ ﺿَﻠَ ﺔًﻒﻌِ ﺔًﻴْ ....ﻒ وَ ﺁَ وَ دِ ﺁَ دِوَ يْﺁَ دِ يْا ﻟْ ﺷُا يْﻟْ ﺤِ ﻌُ ﺷَﻲْءا ﻜَﺤِ ﻮﻟْ ﺎ ﺷُﻜَ ﻳَ رﺤِ ﺎ ﻌُ ﺔْﻳَ ﺿَﻜَ ﻮﺷَﻲْءﺎ ﺔْﺳَﻌِﻳَ ﻣُ ﻴْرﻔَ ﺔْﺨِﻣُ ﻴْﻔَ ﺿَﻒﺳَﻣُ ﺼَّ ﻌِﻔَ ﻠَ ﻒﻴْﺨِﺼَّ ﺔًﻴْﻠَ ﺼَّ ﺔً..ﻒﻠَ ﻒ..ﺔً.. ,It’s a ridiculous feeling وَ ﺁَ دِ يْ ﺷُ ا ﻟْ ﻌُ وَ ﻮﺤِ ﺁَ وَ ﺁَ ﻜَدِ رﺎدِ ﻳَ يْﺳَﺔْﺻَﻮْﺗِﻚ يْ ا ﻟْ اﺨِﻣُ ﻟْ ﻴْﻔَ ﺤِ ﺿَ ﺤِ ﻜَ ﻌِﻒﺎﻜَ ﺼَّ ﻴْﻳَﺎ ﻠَ ﻳَ ﺔْﺔًﺔْ ﻒ ..ﻣُ ﻣُﻔَ ﻔَ ﺼَّ ﻠَ ﺼَّ ﻠَ ﺔًﺔً.... ِ ِﻧَّﻧَِّ ﻧَّ ﻚﻚ ﻚﺗِ ﺗِ ﺗِﺤِ ﺤِ ﺤِ ﺻَﻮْﺗِﻚﺲ ﺲ ﺲﺑِ ﺑِﺈِ ﺈِﺿَﺑِ ﺻَﻮْﺗِﻚﺈِ ن ﻌِن ﻴْ نوَ وَﺿَ ﻒوَ ﻃَ ﻌِﻃَﻨِﻴْ ﻨِﻃَ ﻨِ ﻚﻚﻒﻚ ِ ﻧَّ ﻚﺑَ ﺑَ ﺗِ ﺲّﺤِ ﺲّ ا ﻟَّ ا ﻠِ ﻟَّ ﺲﻠِ ﻲْﺑِ ﻲْﺈِ ﺻَﻮْﺗِﻚﻳِ ﻳِ نﺴْ ﺴْ ﻤَ ﺿَوَﺻَﻮْﺗِﻚﻤَ ﻌِﻊْﻃَﻴْ ﻊْﻨِ ﻣِ ﺿَ ﻴِ ﻣِ ﻒﻚﻌِﻴِ ﻴْ ﻦْﻦْﻒ ِ ﻧَّ ﻚ ِ ﺑَ ﻧَّﺗِ ﺑَ ﺤِ ﻚ ﺲّ ﺑَ ﺗِﺲّا ﺲﻟَّ ﺤِﻠِا ﺻَﻮْﺗِﻚﺲّﻟَّ ﺑِ ﻠِﺈِا ﻲْﻟَّ ﺲ نﻠِ ﻲْﻳِ ﺿَ ﺑِﺻَﻮْﺗِﻚﻳِ ﻌِﺈِﻲْﺴْ وَﻴْ ﻤَﺴْ نﻳِ ﻃَ ﻤَ ﺿَﻊْﻨِﻒﺴْ وَ ﻌِﻊْﻤَ ﻚﻴْﻣِ ﻃَﻴِ ﻊْﻣِ ﻨِ ﻴِ ﻦْﻒﻣِ ﻚﻦْﻴِ ﻦْ To feel that your homeland ِ ﻧَّ ﻚ ﺗِ ﺑَ ﺤِﺲّﺲ ا ﺑِﻟَّ ﺈِﻠِرَ أْ نﻳﺑَ ﻲْ ﺑَ ﻚﻳِ وَ ﺲّﺲّﺴْ ﻃَا ﻨِﻤَﻟَّ ا ﺿَﻠِ ﻟَّ ﻊْﻠِ ﻌِﻚ ﻴْﻲْﻲْﻣِ ﻳِﻴِ ﻳِ ﻒﺴْ ﻦْﺴْ ﻤَ ﻤَ ﻊْﻊْ ﻣِ ﻴِﻣِ ﻴِ ﻦْﻦْ رَ أْ ﻳ ﻚرَ أْﻳ ﺷَﻲْءﺿَ ﺷَﻲْءﻚ ﺷَﻲْءﻌِﻴْ ﺿَ ﺿَ ﻌِﻒﺿَ ﻌِﻴْ ﻌِﻴْ ﻴْ ﻒﻒﻒ رَ أْﺷُ ﻳ ﺷُ ﻌُﻌُ ﻚﺷَﻲْءﻮرَ أْﻮﻳ ر رﺿَ ﻚﺳَ ﻌِﺳَ ﻴْﺨِ ﻴْﺨِﺿَ ﻴْ ﻒﻌِ ﻴْ ﻒﻒﻒ رَ أْ ﻳ ﻚ ﺷُرَ أْ ﺷَﻲْءﻌُﺷُ ﻳ ﻌُﻮ ﺿَﺷُ ﻚﻮ رﻌِﻌُ ﺷَﻲْءﺿَﻴْ رﻮﻌِ ﻴْﺳَﺿَ رﻒﺳَﺿَ ﺨِﻌِﻒﻴْﻌِ ﺨِﺳَ ﻴْ ﺨِ ﻒﻴْ ﻒﻒ .Is a powerless thing ِ ﻧَّ ﻚ ﺗَ ﺒِﻴْ ﻊ ﺷَﻲْءﺷُ ﻌُ ﻗَﻠْﺒِﻚﻮ ﺿَروَﻌِ ﻴْ ﺟِ ﺳَ ﺷُ ﻒﺴْﺷُ ﺨِﻌُ ﻤَﻴْﻌُ ﻮ ﻮ ﻚرﻒر ﺳَ ﺳَ ﺨِ ﻴْﺨِ ﻴْ ﻒﻒ ِ ﻧَّ ﻚ ِﺗَ ﻧَّﺒِ ﻴْ ﻚﻊ ﺗَ ﺒِ ﻴْ ﻊ ﻗَﻠْﺒِﻚ وَ ﺻَﻮْﺗِﻚﻗَﻠْﺒِﻚﺟِ ﺻَﻮْﺗِﻚ ﺻَﻮْﺗِﻚﺴْ وَ ﻤَ ﺿَ ﺟِﺿَ ﻌِﻚﺿَ ﻌِﻴْﺴْ ﻴْ ﻌِﻤَﻴْ ﻒﻒﻚﻒ ِ ﻧَّ ﻚِ ﻧَِّﺗَ ﻧَّﺒِ ﻚﻴْ ﻚ ﺗِﻊ ﺗَﺗِ ﺒِﺤِ ﻴْ ﺤِﻊﺲ ﻗَﻠْﺒِﻚ ﺲﺻَﻮْﺗِﻚﺑِ ﺈِ ﺑِوَﺈِ نﻗَﻠْﺒِﻚﺟِ نﺿَ وَ ﻌِﺴْوَ ﻴْوَ ﻤَ ﻃَﺟِ ﻨِﻃَ ﻚﻒﻨِﺴْ ﻚﻤَ ﻚﻚ ,Your voice is null and void ِ ﻧَّ ﻚ ِﺗَ ﻧَّﺒِ ﻴِْ ﻧَّ ﻚِ ﻊ ﻧَّ ﺗَ ﻚ ِﺒِ ﻧَّﻚﻴْﺗِ ﻊﺗِﻚﺤِ ﻗَﻠْﺒِﻚ ﺤِﺗِﺲوَ ﺻَﻮْﺗِﻚﺤِ ﺲﺑِﺟِ ﻗَﻠْﺒِﻚﺈِ ﺑِ ﺲﺴْﺻَﻮْﺗِﻚﺿَ ﺈِ نوَ ﻤَﺑِ ﻌِنﺈِﻴْ ﺟِوَ ﻚﺿَ نوَﺴْ ﻃَ ﻒﻌِﻤَﻨِ ﻴْوَﻃَ ﻨِ ﻚﻃَ ﻒﻨِ ﻚﻚ وَ إِ ﻧَّ ِ ﻚﻧَّ ﺗَ ﻚﺒِ ﻴْ ﺗِ ﻊﺤِ ﻗَِ ﺻَﻮْﺗِﻚﻠَ ﻧَِّ ﺲﻧَّﻤِ ﻚﺑِ ﺿَ ﻚﺈِﺗِ ﻌِﺗِ نﻴْوَ ﺤِ إِﺤِ وَ ﻒﺳْ ﺲﻤﺲﻃَ ﺑِﻨِ ﺈِﺑِ ﻚﺈِ ﻚنن وَ وَ ﻃَ ﻨِﻃَ ﻨِ ﻚﻚ وَ إِ ﻧَّ ﻚوَ إِﺗَ ﻧَّﺒِ ﻴْ ﻚﻊ ﺗَ ﺒِﻗَ ﻠَﻴْ ﻤِﻊ رَرَﻚﻗَأْ أْﻠَﻳرَ ﻳ أْﻤِ وَﻳ ﻚإِ ﻚ ﻚ ﻚﺳْ ﻤ وَﺿَ إِﺿَ ﻌِﻚﺿَ ﻌِﻴْﺳْ ﻴْﻌِ ﻤﻴْ ﻒﻒﻚﻒ وَ إِ ﻧَّ ﻚوَ إِ ﺗَﻧَّ ﺒِ ﻴْ ﻚ ﻊ ﺗَ ﺒِ ﻗَرَ ﻴْﻠَ أْﻳﻤِ ﻊ ﻗَ ﻚﻠَ ﺷَﻲْءﻤِ ﺷَﻲْءوَ إِﺿَ ﻚﺿَﻌِﺳْ ﻴْﺿَ ﻌِﻤوَ ﻴْإِﻌِ ﻴْ ﻚﻒﺳْ ﻒﻤ ﻒﻚ .Your opinion is unavailing وَ إِ ﻧَّ ﻚوَ إِﺗَ ﻧَّﺒِ ﻴْ ﻚﻊ ﺗَ ﻗَﺒِ ﻠَﻴْ رَﻤِ أْﻊ ﻳ ﻚﻗَ ﻠَﻚرَ أْوَﻤِإِﻳ ﺷَﻲْءﻚﺳْ ﻚﺿَ ﺷَﻲْء ﻤ ﻌِوَ ﻴْ ﺷَﻲْءإِﺿَ ﻚ ﻌِﺿَﺳْ ﻴْ ﻒﻌِﻤ ﺿَﻴْ ﻌِ ﻒﻚﻴْ ﻒﻒ ﻣَ ﺎ رَ أْ ﻳ ﻳُﺠِﻴَﺒُﻮّش ﻚﺣَ ﻖﺿَ ا ﺷَﻲْءﻟْﻌِ ﻴْ ﺮَّ ﺿَﻏِ ﻒﻴﻌِ ﻴْ ﺷَﻲْءﻒﺷَﻲْء ﻒ ﺿَ ﺿَ ﻌِ ﻴْﻌِ ﻴْ ﻒﻒ ﻣَ ﺎ ﻣَ ﺎِ ِﻧَّﻧَِّ ﻧَّ ﻚﻚ ﻚﺗَﺗَﻳُﺠِﻴَﺒُﻮّشﺒِ ﺒِ ﺗَﻴْﻴْﺒِ ﻊﻴْﺣَ ﻊ ﻳُﺠِﻴَﺒُﻮّشﻊﻖ ا ﺣَﻟْ ﻗَﻠْﺒِﻚﻗَﻠْﺒِﻚﺮَّﻖ ﻗَﻠْﺒِﻚ وَاﻏِ وَﻟْﻴ وَﺟِ ﺟِﺮَّ ﺟِﺴْ ﻒﺴْﻏِ ﻤَﻴ ﺴْﻤَ ﻤَ ﻚﻚﻒﻚ ,To get your heart and body sold ﻣَ ﺎ ِ ﻧَّ ﻣَ ﻚﺎ ﺗَ ﺒِ ﻴْ ﻊ ﻳُﺠِﻴَﺒُﻮّش ﺣَ ﻳُﺠِﻴَﺒُﻮّشﻖﻗَﻠْﺒِﻚ اﺣَ ﺻَﻮْﺗِﻚﻟْوَ ﺻَﻮْﺗِﻚ ﻖﺮَّﺟِ اﺿَ ﻏِﺴْﻟْ ﻴﺿَ ﻌِﻤَ ﺮَّﻴْ ﻌِ ﻴْ ﻒﻚﻏِ ﻴ ﻒﻒﻒ ﻣَ ﺎ ِﻧَّﻣَ ﺎ ﻚ ِ ﻧَّﺗَ ﺒِ ﻴْ ﻚﻳُﺠِﻴَﺒُﻮّش ﻊﺗَ ﺒِﺣَ ﻴْ ﻳُﺠِﻴَﺒُﻮّشﻖﻊ اﻗَﻠْﺒِﻚﻟْﺣَ ﺮَّوَ ﻖﺻَﻮْﺗِﻚ ﻗَﻠْﺒِﻚﻏِﺟِ ا ﺻَﻮْﺗِﻚﻴﻟْ ﺴْوَﺮَّ ﺻَﻮْﺗِﻚﺿَ ﻤَﻒ ﺟِﻏِﻌِﺿَ ﻴْﻚﻴﺴْ ﻌِﺿَ ﻴْﻤَ ﻌِﻒﻴْ ﻚﻒﻒ ﻟَ ﺎ آُ ﻨَّ ﺎ ﻧَ ﻌْ ﺮِ ِ فﻧَّ أَ ﻟْ ﻚ ﺗَ ﻒﺒِ ﻴْ ﻊ.. وَ ﻟَ ﺎ ﻗَﻠْﺒِﻚآُ ﻨَّ وَ ﺎ ﻧَﺟِ ﺻَﻮْﺗِﻚﻌْ ﺴْ ﺮِﻤَ ﺿَ ﻚفﻌِ ﻴْﺑِ ﺻَﻮْﺗِﻚﻪﺻَﻮْﺗِﻚ ﻒ ﺿَ ﺿَ ﻌِ ﻴْ ﻌِ ﻴْ ﻒﻒ ﻟَ ﺎ آُ ﻨَّ ﻟَ ﺎﺎ ﻧَ آُ ﻌْﻨَّ ﺎﺮِ ﻧَ ﻌْ ف ﺮِأَ ﻟْ ف ﻒ أَ وَﻟْ وَإِ ..إِوَﻧَّ ﻧَّإِ ﻒﻧَّ وَﻚ ﻚﻟَ ﺎﻚﺗَ..ﺗَ ﺒِ ﺒِﺗَﻴْ آُ ﻴْﺒِوَ ﻨَّ ﻟَﻊﻴْ ﺎﻊﺎ ﻊ ﻗَﻧَﻗَ ﻠَآُ ﻠَﻗَ ﻌْﻨَّ ﻤِﻠَﻤِ ﺎﺮِﻤِ ﻚﻧَ ﻚ ﻚﻌْفوَ وَإِﺮِﺑِ إِوَإِﺳْ ﻪﺳْ فﻤﺳْ ﻤ ﺑِﻤ ﻚﻚﻪﻚ ;With your name and inking ﻟَ ﺎ آُﻨَّﻟَ ﺎ ﻧَ آُ ﻌْﻨَّ ﺎﺮِ ﻧَ ﻌْ ف ﺮِأَ ﻟْ وَ إِ فﻧَّ ﻒ أَ ﻟْﻚ .. ﺗَ ﻒﺒِ وَﻴْﻟَ ﺎ..ﻊ ﻗَآُ وَ ﻠَﻨَّﻟَ رَﺎﻤِأْرَ ﻳأْﻧَ ﻳﻚآُ ﻌْﻚﻨَّ ﺎ ﻚوَﺮِ إِﻧَ ﺿَﻌْﺳْ فﺿَ ﻌِ ﻤﺮِﻴْﺑِﻌِ ﻴْ ﻪﻚفﻒ ﻒﺑِ ﻪ ﻟَ ﺎ آُ ﻨَّ ﻟَ ﺎﺎ ﻧَ آُ ﻌْﻨَّ ﺎﺮِ ﻧَ فﻌْ أَﺮِ ﻟْ فوَ ﻒ إِ أَﻧَّ ﻟْ ..ﻚوَ إِ ﻒوَ ﻧَّﺗَ ﻟَ ﺒِﺎﻴْ ..ﻚ ﻊآُ ﺗَ وَﻨَّ ﺒِﻗَﻟَ ﺎﻴْﻠَ ﺎ ﻧَﻊﻤِ رَآُ ﻌْأْﻗَﻨَّ ﻚرَﻳﻠَ ﺎﺮِأْ ﻤِﻳرَﻧَﻚوَ أْإِ فﻌْﻳ ﻚ ﺳْﺑِﺮِ ﻚﺿَوَ ﻤﻪ إِﻌِﺿَ فﻴْ ﻚﺳْﻌِ ﺿَﺑِ ﻴْﻤﻌِ ﻒﻪﻴْ ﻚﻒﻒ وَ ﻟَ ﺎ ﺷِ ﻔْ ﻨَ ﺎ وَ إِ ﻧَّ ﻋُﻤْﺮِﻧَﺎ ﻧُ ﻚ ﻮَﺗَ ﺒِ رﻴْ ﻊﻏَ ﻴْ ﻗَﻠَ ﺮﻤِ ﻟِ ﻚﻤَ رَ ﺎأْ ﻳوَﻗَ إِﻤَﻚﺳْ ﺮُ ﻤ كﺿَرَ ﻚ أْرَﻌِ ﻳأْﻴْ ﺟَﻳ ﻚﻪﻚ ﻒ ﺿَ ﺿَ ﻌِ ﻴْﻌِ ﻴْ ﻒﻒ وَ ﻟَ ﺎ وَﺷِ ﻟَ ﻔْ ﺎﻨَ ﺎ ﺷِ ﻔْ ﻨَ ﺎ ﻋُﻤْﺮِﻧَﺎ ﻧُ ﻮَﻣَ ﻋُﻤْﺮِﻧَﺎﻣَ ﺎر ﺎﻣَ ﻧُ ﺎ ﻮَﻏَ ﻴْ ر ﺮ ﻟِﻏَ ﻴْ ﻤَ ﺎﻳُﺠِﻴَﺒُﻮّشﺮﻳُﺠِﻴَﺒُﻮّش ﻗَ ﻳُﺠِﻴَﺒُﻮّشﻟِ ﺣَﻤَﻤَ ﺣَﺎﺣَ ﺮُﻖ ﻖﻗَ ا ﻖكاﻟْﻤَ ﻟْاﻟْﺮَّﺮُ ﺮَّﺟَ ﺮَّﻏِ ﻪكﻏِ ﻴ ﻴﻏِﻴ ﺟَ ﻒﻒﻪﻒ .Yet to afford your bread وَ ﻟَ ﺎ وَ ﺷِ ﻟَ ﻔْ ﺎﻨَ ﺎ ﺷِ ﻔْ ﻨَ ﺎ ﻋُﻤْﺮِﻧَﺎﻣَ ﺎﻧُ ﻮَِ ﻋُﻤْﺮِﻧَﺎﻧَِّ رﻧَّﻧُ ﻚﻮَ ﻚﻏَ ﺗَ ﻴْرﺒِﺗَ ﻴْﺒِ ﺮﻴْ ﻳُﺠِﻴَﺒُﻮّش ﻊﻏَﻟِ ﻊﻴْﻤَ ﺣَ ﺎﺮ ﻖﻟِﻗَ ﻗَﻠْﺒِﻚﻤَا ﻗَﻠْﺒِﻚﺎﻟْ ﺮُوَﺮَّﻗَ وَ كﺟِ ﻤَﻏِ ﺟِﻴ ﺮُﺴْ ﺟَ ﺴْﻤَ كﻪﻒﻤَ ﻚﻚﺟَ ﻪ وَ ﻟَ ﺎ ﺷِ وَ ﻔْﻟَ ﻨَ ﺎﺎ ﺷِ ﻔْ ﻨَ ﺎ ﻋُﻤْﺮِﻧَﺎ ﻧُ ﻣَ ﺎﻮَ ﻋُﻤْﺮِﻧَﺎر ﻣَ ﻧُِ ﺎﻧَّﻏَ ﻮَِﻴْ ﻧَّ رﻚ ِﺮ ﻧَّﻚ ﺗَ ﻟِ ﺒِﻏَﻳُﺠِﻴَﺒُﻮّشﺗَ ﻚﻴْﻤَ ﺒِ ﺎﻴْ ﻊﺗَﺮ ﺣَ ﺒِﻗَ ﻊﻟِﻳُﺠِﻴَﺒُﻮّشﻴْ ﻤَ ﻖﻤَ ﻊ ﺎﺮُا ﺣَ ﻟْﻗَﻠْﺒِﻚﻗَ كﻖﺮَّ ﻗَﻠْﺒِﻚﻤَ وَاﻏِﺮُ ﻗَﻠْﺒِﻚﻟْﺟَوَ ﻴﺟِ ﻪﺮَّ كﺟِوَ ﺴْ ﻒﻏِ ﻤَﺴْﺟِ ﻴﺟَ ﻤَ ﻪﻚﺴْ ﻒﻤَ ﻚﻚ ﻣَ ﺎ ِ ﻧَّ وَ ﻓَ ﻚ ﻳُﺠِﻴَﺒُﻮّشﺗَ ﺒِﻀّ ﻠَّﻴْ ﺣَﺘِ ِ ﻊﻧَّ ِ ﻖﻲﻧَّ ا ﻚﻟْﻚ رَ ﺗَ ﺮَّﻣْﺒِﺗَ ﻗَﻠْﺒِﻚﻴْﺒِ ﺰﻏِﻴْ ﻴﻊوَ اﻊ ﻟْ ﺟِﺄَ ﻒﻣَﺴْ ﺎ ﻤَ ﻗَﻠْﺒِﻚنﻗَﻠْﺒِﻚ ﻚ وَ وَ ﺟِ ﺟِ ﺴْ ﺴْ ﻤَ ﻤَ ﻚﻚ ﻟَ ﺎﻟَ ﺎ آُ ﻨَّآُ ﺎﻨَّ ﺎ ﻧَ ﻧَﻌْ ﻌْ ﺮِ ﺮِ ف ف أَوَ ﻟْأَﻓَ ﻟْ ﻒﻀّوَ ﻒﻠَّﻓَ ﺘِ.. ..ﻲ ﻀّوَ ﻠَّﻟَ وَ ﺘِﺎﻟَرَ ﺎﻣْﻲ آُ ﻨَّآُ ﺰﺎﻨَّ رَا ﺎﻟْﻧَﻣْ ﺄَ ﻧَﻌْ ﺰﻣَ ﻌْ ﺎﺮِا ﺮِﻟْ نﺄَ فﻣَ فﺎ ﺑِ ﺑِ ﻪنﻪ ﻟَ ﺎ آُ ﻟَ ﻨَّ ﺎﺎ ﻧَآُ ﻨَّ ﻌْﺎ ﺮِ ﻧَ ﻌْ فﺮِ أَ ﻟْ ف وَ إِﻒأَ وَﻧَّﻟْ ﻓَ ..ﻚ ﻒﻀّوَﺗَ وَ ﻠَّﺒِﻓَﻟَ ﺘِﻴْ ..ﺎ ﻊﻲﻀّوَآُ ﻠَّﻟَ ﻨَّ ﻗَﺘِ ﺎﻠَﺎرَ ﻤِﻣْ ﻲﻧَآُ ﻨَّ ﻌْﺰﻚﺎرَ ﺮِاﻧَﻣْﻟْوَ ﺄَإِﻌْ ﺰفﻣَ ﺳْ ﺮِﺎاﺑِ ﻟْﻤ ﺄَ نﻪفﻣَﻚ ﺎ ﺑِ ﻪن ﻟَ ﺎﻟَ ﺎ آُ ﻟَﻨَّآُ ﺎﻨَّ ﺎ ﻧَ آُ ﻧَﻨَّﻌْ ﺎﻌْ ﺮِ ﻧَﺮِ ﻌْ ف فﺮِ أَ ﻟْأَ ﻟْ فوَ ﻓَ ﻒأَ ﻒوَﻟْوَ إِ ﻓَﻧَّ..ﻀّ وَ..ﻠَّ ﻒوَﺘِ ﻓَ ﻚإِوَ ﻀّ ﻧَّﻟَوَ ﺗَﻠَّﻲﺗَ..ﺎﻟَ ﺒِﺘِﺒِﻀّﺎ ﻴْ ﻚﻠَّﻴْ آُوَ ﺘِرَﻲﻊﺗَﻟَﻨَّآُ ﻊ ﻣْﺒِﺎﻨَّ ﻲﻴْﺎ ﻗَرَ ﺰﻧَ ﻠَآُ ﻊﻣْ ﻧَﻨَّ ﻌْرَﻤِا ﺎﻟْﻌْﻗَ ﺰﻣْ ﺄَﺮِﻠَ ﻚﻧَﺮِ اﻣَ ﺰﻤِﻟْ ﺎﻌْ ﺄَفوَا ﻚإِف ﻟْﺮِﻣَنﺑِ ﺄَﺎ ﺑِﺳْ ﻪﻣَوَ نفﻪإِﺎﻤ ﺑِﺳْ نﻚﻪﻤ ﻚ ﻟَ ﺎ آُ ﻨَّ ﺎ ﻧَ ﻌْ ﺮِ ف أَ ﻟْ ﻒ وَ وَ..إِ إِﻧَّ ﻧَّ وَ ﻚﻟَ ﻚ ﺎ ﺗَ ﺗَ ﺒِ ﺒِآُ ﻴْﻴْﻨَّ ﺎﻊوَﻊ إِ ﻧَﻗَﻧَّ ﻗَﻠَ ﻌْﻠَ ﻤِ ﻚﻤِ ﺮِ ﺗَ ﻚﻚﺒِ فﻴْوَ وَإِﺑِ ﻊإِ ﻪﺳْﻗَ ﺳْﻠَ ﻤ ﻤﻤِ ﻚﻚ وَ إِ ﺳْ ﻤ ﻚ وَ ﻟَ ﺎ ﺷِ ﻔْ ﻨَ ﺎ ﻋُﻤْﺮِﻧَﺎ ﻧُ ﻮَ ر ﻏَ وَاﻟْﻨَّﺎسوَ ﻴْ إِوَاﻟْﻨَّﺎسﻧَّ ﺮ ﻟِ ﻚ ﻤَ ﺗَ ﺎﺒِ ﻴْ ﻗَ ﻣُﻠْﻘِﻴَّﺎشﻊﻤَ ﻣُﻠْﻘِﻴَّﺎشوَﻗَﺮُ ﻠَ وَ ﻃَﻤِ ك ﻃَ ﻦﻚﺟَ ﻦﻪوَ إِ ﺳْ ﻤ ﻚ وَ وَﻟَ ﻟَ ﺎﺎ ﺷِ ﺷِ ﻔْ ﻔْ ﻨَ ﻨَ ﺎﺎ ﻣَ ﺎ ﻋُﻤْﺮِﻧَﺎﻋُﻤْﺮِﻧَﺎ ﻧُ ﻧُ ﻮَ ﻮَرر وَاﻟْﻨَّﺎس ﻏَ ﻏَﻳُﺠِﻴَﺒُﻮّشﻴْ ﻴْ ﺮﺮﺣَ وَاﻟْﻨَّﺎس ﻟِ ﻟِ ﻖﻤَ ﻤَ ﺎﺎا ﻣُﻠْﻘِﻴَّﺎشﻟْ ﻗَ ﻗَ ﺮَّﻤَوَ وَ ﻤَﺮُ ﻏِﻃَ ﺮُﻣُﻠْﻘِﻴَّﺎشﻃَﻴ كﻦﻦكوَ ﻒﺟَﻃَ ﺟَ ﻪﻪﻦ Poem 3 We love Egypt وَ ﻟَوَ ﺎﻟَ ﺎ ﺷِ ﺷِﻔْ ﻨَﻔْ ﺎﻨَ ﺎ ﻋُﻤْﺮِﻧَﺎ ﻋُﻤْﺮِﻧَﺎ ﻧُ ﻧُ ﻣَ ﻮَﻣَ ﺎﻮَ ﺎ ر ر ﻏَ ﻴْﻏَ ﻴْ ﺮﺮ وَاﻟْﻨَّﺎس ﻟِ ﻟِ ﻤَ ﻳُﺠِﻴَﺒُﻮّشﺎﻤَ ﺎ وَاﻟْﻨَّﺎس ﻗَ ﺣَﻗَ ﻤَﻤَﻖﺮُ ﻣُﻠْﻘِﻴَّﺎشﺮُ ا كﻟْ كوَ ﺮَّ ﻣُﻠْﻘِﻴَّﺎشﺟَﻃَ ﻏِﺟَﻪﻴ ﻦﻪوَ ﻃَ ﻒﻦ وَ ﻟَ ﺎ وَ ﺷِﻟَ ﺎﻔْ ﻨَ ﺎﺷِ ﻔْ ﻨَ ﺎ ﻋُﻤْﺮِﻧَﺎ ﻧُ ﻮَ ﻋُﻤْﺮِﻧَﺎﻣَ ﻣَ رﺎﻧُ ﺎ ﻣَ ﻮَﺎﻏَ وَاﻟْﻨَّﺎسﻴْ ر ﺮﻏَ ﻟِ ﻴْوَاﻟْﻨَّﺎسﻤَ ﺮﺎ ﻳُﺠِﻴَﺒُﻮّش ﻳُﺠِﻴَﺒُﻮّشﻟِ ﻗَ ﻣُﻠْﻘِﻴَّﺎشﻳُﺠِﻴَﺒُﻮّشﻤَ ﻤَﺣَﺎ ﺣَ ﺮُوَ ﻗَﺣَﻖﻖ ﻤَ كﻃَاﻣُﻠْﻘِﻴَّﺎشﻖا ﻟْ ﻟْﺮُﻦا ﺮَّوَﺟَ ﻟْﺮَّكﻪﻏِ ﺮَّﻃَﻏِﻴ ﻴ ﺟَﻏِ ﻦﻴ ﻪﻒﻒﻒ text وَ زْ رْ ﻋَ ﺘِ Source ﻲﻣَ ﺎﻣَ ﺎ وَ ﻗَ theﻤَ ﺢ ofوَ ﻏِ ﻳُﺠِﻴَﺒُﻮّشﻴْﻳُﺠِﻴَﺒُﻮّش ﺣَﻄَ ﺣَﺎ ﻖنﻖ ا ﻟْا ﻟْ ﺮَّ ﺮَّ ﻏِ ﻴﻏِ ﻴ ﻒﻒTranslation Transcription وَ زْ رْ وَ ﻋَ زْﺘِ وَرْ ﻲوَ ﻓَ ﻓَوَﻋَﻓَوَ ﺘِوَ ﻗَ ﻀّﻗَ ﻀّ ﻠَّﻲﻤَ ﻠَّﻤَ ﺘِﻀّ ﺘِﻠَّ ﺢﺘِﺢوَ ﻲ ﻗَﻲ وَ ﻲﻤَوَ رَ رَﻏِ ﺢﻏِﻣْ رَﻴْﻣْﻴْ ﻣْ ﺰوَﺰﻄَ ﻄَﺎ اﺰﺎ اﻟْﻏِ ﻟْﺄَاﻴْ ننﺄَﻟْ ﻣَﺄَ ﻣَﻄَﺎ ﺎﻣَ ﺎ ننن ﻟَ ﻟَ ﺎﻟَ ﺎ ﺎ آُ آُ ﻨَّآُ ﻨَّ ﺎﻨَّ ﺎ ﺎ ﻧَ ﻧَﻌْ ﻌْ ﺮِ ﺮِ فوَ ف أَ زْﻟْأَ ﻟْرْ وَ ﻒﻓَﻋَ زْ ﻒﺘِ رْ ....ﻀّﻲ ..ﻠَّ ﻋَ وَ ﺘِوَﻟَ وَ ﻟَ ﺎﻗَﻟَ ﺎﻲ ﺎ ﻤَ آُ آُ رَﻨَّوَآُ ﺢﻨَّ ﺎﻨَّ ﻗَﻣْﺎ ﺎ ﻤَﻧَوَ ﺰ ﻧَﻌْ ﺢﻏِا ﻌْ ﻟْﻴْﺮِ ﺄَ ﺮِوَ ﻄَﻣَ ﺎفﻏِ ﻴْ ف ﺑِن ﺑِ ﺑِ ﻄَﻪﻪﺎ ﻪن ﻟَ ﺎ ﻟَ ﺎآُ ﻨَّ ﺎآُ ﻨَّ ﻧَ ﺎ ﻌْوَﻧَ ﺮِزْﻌْ رْﺮِ ف وَ ﻋَ أَﺘِوَزْ فﻟْﻓَ أَرْﻲ ﻟْ ﻒوَﻋَ ﻀّ وَﺘِﻓَﻠَّ ﻒﻗَﺘِ .. ﻲﻤَ ﻀّ ﻲ.. ﻠَّوَ ﺢ وَﻟَ ﺘِ ﺎﻗَ رَوَ وَﻟَ ﻲﻤَﻣْ ﺎآُ ﻏِﻨَّ ﺢﺰﻴْرَﺎ آُ اﻨَّﻣْ ﻧَوَﻟْﻄَ ﺎ ﺄَﺎ ﺰﻌْﻏِﻧَﻣَ ﻴْ ناﺎﺮِﻌْﻟْ ﺄَ ﻄَنﺮِ ﺎﻣَ فﺎ نﺑِ فن ﻪ ﺑِ ﻪ ﻟَ ﺎ آُ ﻨَّ ﺎ ﻧَ ﻌْﻟَ ﺎﻟَ ﺎﺮِ آُ آُﻨَّ فﺎﻨَّ ﺎ أَ ﻧَﻟْﻧَ ﻌْ ﻌْ ﺮِ ﻒﺮِ و ..فف ﻏَأَ ﻠِوَ ﻟْأَﻟَ ﺒَﻟْﺎﺘِ ﻒﻲﻒآُ ﻨَّ ﺎ..آُ .. ﻧَ ﻞوَ ﻌْﻟَوَ اﺎﻟَ ﻟْﺎﺮِ ﻤِآُ آُﻨَّ فﺤَﺎﻨَّ ﺎ ﺑِ ﻧَﻦ ﻧَ ﻪﻌْ ﻌْ ﺮِ ﺮِ فف ﺑِ ﺑِ ﻪﻪ ,We didn’t learn neither A nor B و ﻏَ ﻠِ ﺒَ وﺘِ ﻏَ ﻲوَاﻟْﻨَّﺎسﻠِ وَاﻟْﻨَّﺎس ﺒَ وَاﻟْﻨَّﺎسﺘِآُ ﻞﻲ ا ﻟْآُ ﻤِ ﻞﻣُﻠْﻘِﻴَّﺎش ﻣُﻠْﻘِﻴَّﺎشﺤَ ا ﻣُﻠْﻘِﻴَّﺎشﻟْ وَ ﻦوَﻤِ وَ ﻃَ ﻃَﺤَ ﻃَ ﻦﻦﻦ وَ ﻟَ وَ ﺎﻟَ ﺎ ﺷِ ﻔْﺷِ ﻨَﻔْ ﺎﻨَ ﺎ ﻋُﻤْﺮِﻧَﺎ ﻋُﻤْﺮِﻧَﺎ ﻧُ ﻧُ ﻮَ ﻮَ ررو ﻏَ ﻴْﻠِﻏَوَاﻟْﻨَّﺎسﺒَﻴْ و ﺮﺘِ ﺮﻏَﻟِ ﻲﻠِﻟِ ﻤَﺒَﺎﻤَ ﺘِآُ ﺎ ﻗَ ﻲﻞﻗَ ﻤَﻣُﻠْﻘِﻴَّﺎشا ﻤَآُ ﻟْﺮُﺮُوَﻤِ ﻞك ﺤَاﻃَ كﻟْ ﺟَﻦﻤِ ﺟَ ﻪﺤَ ﻪﻦ وَ ﻟَ وَ ﺎ ﻟَ ﺎوَ ﻟَﺷِ ﺎﻔْ ﺷِ ﻨَ ﻔْ ﺎﻨَ ﺷِ ﺎﻔْ ﻨَ ﺎ ﻋُﻤْﺮِﻧَﺎ ﻋُﻤْﺮِﻧَﺎﻧُ وﻧُﻮَ ﻋُﻤْﺮِﻧَﺎ ﻏَﻮَ رﻧُﻠِ ﺒَرﻮَ ﺘِو وَاﻟْﻨَّﺎسﻏَ رﻴْ ﻲﻏَ ﻠِﻴْ ﺮﺒَ ﻏَآُوَاﻟْﻨَّﺎسﺘِﺮﻟِ ﻴْ ﻞﻤَﻟِ ﻲﺮ ﺎ اﻤَ ﻟِﻟْ ﺎﻗَآُ ﻣُﻠْﻘِﻴَّﺎش ﻤَ ﻤِ ﻤَﻗَ ﺎﻞ وَﺤَﻤَﺮُاﻗَ ﻣُﻠْﻘِﻴَّﺎشﻟْ ﺮُﻃَﻦﻤَ كﻤِ وَﻦﺮُ كﺤَ ﺟَ ﻃَ كﻪﻦﺟَ ﻦﻪﺟَ ﻪ وَ ﻟَ ﺎ ﺷِ ﻔْ ﻨَ ﺎ وَ ﻟَوَ ﺎﻟَ ﺎ ﺷِ ﺷِﻔْ ﻨَﻔْ ﻋُﻤْﺮِﻧَﺎﺎﻨَ ﺎ ﻧُ ﻮَ رإِ وَاﻟْﻨَّﺎسﻗْ ﻏَ ﻋُﻤْﺮِﻧَﺎﻴْ ﻋُﻤْﺮِﻧَﺎﻒ ﻧُ ﺮﻧُإِ ﻮَ ﻧْ ﻟِﻮَ ﺘِ رﺒَﻤَ ر ﺎﻣُﻠْﻘِﻴَّﺎش ﻩ ﻏَﻗَ ﻴْﻏَﻳَوَ ﻤَﻴْ ﺎﺮ ﻃَﺮُﺮ ﻟِ زَﻟِ ﻦكﻤَ ﻣَ ﺎﻤَ ﺎﺎ ﻗَﺟَ نﻗَ ﻪﻤَﻤَﺮُ ﺮُ كك ﺟَ ﺟَ ﻪﻪ .Unless your moon, we groped no light وَ وَ وَزْ إِزْ ﻗْزْرْ رْ رْﻋَ ﻋَﻒﺘِإِﺘِﻋَ ﻗْإِﺘِ ﻲﻧْ ﻲ ﺘِ ﻲﺒَ ﻒوَ ﺎ وَﻗَإِ ﻩﻗَوَ ﻧْ ﻤَﻗَﺘِﻤَﻳَ ﺒَﺎﻤَ ﺢﺎ ﺢ ﻩ ﺢ زَوَ وَﻳَ ﻣَ ﺎوَﻏِ ﺎ ﻏِﻴْﻴْﻏِ نزَﻴْ ﻄَ ﻄَﺎﻣَ ﺎﻄَ ﺎ ننن وَ زْ رْ ﻋَوَإِ ﺘِ ﻓَوَﻗْ ﻓَ ﻲ ﻀّﻒإِ ﻠَّ ﻀّﻗْوَ ﺘِإِﻠَّ ﻗَﻧْﺘِﺘِ ﻤَﻲﻒﺒَ ﻲﺎ ﺢإِ ﻩرَﻧْ رَﺘِ ﻣْﻳَ وَﺒَ ﺎﻣْ ﺎ ﺰ ﻏِﻩ ﺰﻴْ ازَ ﻟْﻳَ اﺄَﺎﻣَﻄَﻟْ ﺎﺄَ ﻣَ ﺎ ﻣَزَ نﺎ نﻣَ ﺎ نن وَ زْ رْوَإِ ﻗْ ﻋَ زْﺘِ وَرْ ﻒﻓَ ﻲوَ إِ ﻋَإِ ﻓَﻗْﺘِﻧْ وَﻀّﺘِ ﻓَﻗَﻠَّﺒَ ﻲﻒﻀّﺘِﺎ ﻤَﻠَّ ﻩإِﺘِ ﻀّ وَﻲﻧْ ﺢﻠَّﻳَ ﻗَﺘِ ﻲﺎﺒَ ﻤَ رَوَﺎﻲﻩﻣْ رَﺢزَ ﻏِ ﻴْﻳَ ﻣْﻣَﺰرَ ﺎوَ ﺰاﻄَﻣْﻟْ ﺎنﻏِاﺄَزَ ﺰﻴْﻟْ نﻣَﺄَا ﺎﻄَ ﻟْﻣَ ﺎ ﺄَﺎ نﻣَ ننﺎ ن وَ زْ رْ ﻋَ ﺘِ ﻲوَ ﻓَ وَ ﻗَﻣِ ﻀّﻤَ ﻠَّﺘِ ﺢﺼْ ﻲوَ ﺮ وَﻓَ اﻓَ رَﻟْﻏِ ﺄَ ﻴْﻣْ ﻀّﺑِ ﻠَّﻀّﻴَّ ﻄَﺰﺘِﻠَّ ﺎﻪﺘِ ا ﻲﻟْ نﻲﺄَ ﻣَرَ ﺎرَ ﻣْ أَهْﻴَﻪﻣْ نﺰ ﺰ ا ﻟْا ﺄَﻟْ ﺄَ ﻣَ ﺎﻣَ ﺎ نن ,You always iconized safety ﻣِ و و ﺼْ وﻏَ ﻣِﻏَﻠِ ﺮﻠِ ﺒَﻏَ ﺒَﻠِﺘِا ﺘِ ﺒَﻟْﺼْ ﺘِﺄَ ﻲﺑِ ﻲﺮ ﻴَّ ﻲآُا ﻪآُﻟْ ﺄَآُﻞﻞﺑِ ﻴَّا ﻞ اﻟْ ﻪﻟْا ﻤِأَهْﻴَﻪﻟْﻤِ ﻤِﺤَ ﺤَ ﺤَ ﻦﻦأَهْﻴَﻪﻦ و ﻣِﻏَ ﻠِ ﺒَ ﺘِوَاﻟْﻨَّﺎسﺼْ وَاﻟْﻨَّﺎسﻣِ ﺮﻲ ا ﺼْﻟْآُ ﺄَ ﺮﺑِ ﻞ ﻴَّ ا ﻪﻟْ ﻣُﻠْﻘِﻴَّﺎشﺄَ ﻣُﻠْﻘِﻴَّﺎشﻤِﺑِ ﻴَّوَ ﺤَوَ ﻪﻃَ أَهْﻴَﻪﻦﻃَ ﻦﻦأَهْﻴَﻪ ﻣِ وﻏَ ﻠِﺼْ ﺒَو ﺘِﻣِ ﺮ ﻏَوَاﻟْﻨَّﺎسا ﻲﻠِﻟْ ﺒَوَاﻟْﻨَّﺎسﺼْﺄَ ﺘِ ﺑِآُ ﺮﻴَّ وَاﻟْﻨَّﺎس ﻲ ﻞﻪا ﻟْ ا ﺄَآُ ﻟْﺑِ ﻴَّﻤِ ﻞﻣُﻠْﻘِﻴَّﺎش ﻪﻣُﻠْﻘِﻴَّﺎشاﺤَأَهْﻴَﻪ ﻟْوَ ﻣُﻠْﻘِﻴَّﺎشﻦﻤِوَ ﻃَ ﺤَ وَﻃَ ﻦأَهْﻴَﻪﻦﻦﻃَ ﻦ ,Had others were itinerant وَ ا وﻟ ﺪَّ ﻏَﻓَّ ﻠِﺒَ ﺔﺘِ ..ﻲ وَاﻟْﻨَّﺎسا ﻟْ آُ ﺪِّ ﻞﻓِ ﺔا ﻟْ ﻟَ ﻤِ ﻮوَاﻟْﻨَّﺎس ﺤَﻣُﻠْﻘِﻴَّﺎش وَاﻟْﻨَّﺎس ﻣَﻦﺎوَ ﻟَﻃَ ﺖﻦﻣُﻠْﻘِﻴَّﺎشﻣُﻠْﻘِﻴَّﺎش وَ وَ ﻃَ ﻃَ ﻦﻦ وَ ا ﻟ ﺪَّ ﻓَّ وَ ﺔا ﻟ ﺪَّ إِ..ﻓَّ إِ ﻗْ ﻗْإِﺔا ﻟْﻗْ ﻒﺪِّ ﻒ..ﻓِ إِﻒ إِ ﺔاﻧْ ﻟْﻧْ إِﺘِ ﻟَﺘِ ﻧْﺒَﺪِّ ﺒَﺘِﺎ ﻓِﻮﺎ ﺒَ ﻩ ﺔﻩﺎ ﻩﻣَﻳَ ﻟَ ﻳَ ﺎﺎﻟَﻳَ ﻮ ﺎ زَ ﺖزَﻣَ ﻣَﺎزَ ﻣَﺎﻟَ ﺎﻣَ ﺎ ننﺖن وَ وَ وَا زْﻟ زْ ﺪَّرْ ﻓَّ رْإِوَ اﻋَﻗْ ﺔﻟ ﺘِﻋَ ﺘِﺪَّ ..ﻓَّ ﻒﻲ ﻲﺔاإِ ﻟْوَﻧْ ﺘِﻗَﺪِّوَ ..ﺒَﻓِﻗَ ﻤَﺎ ا ﺔﻤَﻩﻟْ ﺢ ﻟَﺪِّ ﺢﻳَ ﻓِ ﺎﻮوَ ﺔ وَ ﻏِﻣَزَﻟَ ﻴْﺎﻏِ ﻣَﻟَﻴْ ﻮﺎ ﻄَ ﺎ ﻄَﻣَ ﺖنﺎ نﻟَ نﺖ وَ ا ﻟﺪَّ وَ ﻓَّ زْوَ ﺔ ا إِ زْﻟرْوَﻗْ ﺪَّ ..رْزْﻋَ ﻓَّ ﺘِا ﻒﺔﻋَإِرْﻟْ ﺘِﻗْﻲإِﺪِّ ﻋَ ﻧْﻓِ ..ﻲﺘِ ﻒﺔوَﺒَا ﻗَﺎﻲﻟْ وَإِﻟَ ﻩﺪِّﻤَﻧْﻗَ ﻮﺘِﻓِ وَﻳَ ﻤَﺒَ ﺢﻗَﺎﺔﺎ ﻣَ ﺢﻤَﻩﺎﻟَ وَ ﻟَزَ ﻳَ ﻮﺢوَ ﺎﻏِﻣَ ﻴْﺎ ﺖﻏِﻣَوَ ﺎﻴْزَ نﻄَﻟَ ﻏِ ﺎﻣَ ﻴْﻄَ ﺎ ﺎ نﺖﻄَ ننﺎ ن You cultivated fields, wheat, corn وَ إِ زْﻗْ رْ ﻒﻋَ ﺘِ إِﻧْ وَﻲﺘِ وَﺒَ زْﺎ زْوَ ﻩرْ ﻗَ رْ ﻳَ ﻤَﻋَ ﺎﺘِﻋَ ﺢﺘِ زَﻲﻧَﻌْﺪِﻟَﻬَﺎﻲ وَﻣَ ﺎوَ ﻏِوَﻗَ ﻴْ نﻗَ ﻤَ ﻤَﻄَ ﺢﺎ ﺢ ﺑِﻜْﺘَﺎﻓَﻨﺎ نوَ وَ ﻏِ ﻴْﻏِ ﻴْ ﻄَ ﺎﻄَ ﺎ نن ﻣِ ﻣِ ﻣِ ﺼْ ﺼْ ﺼْ ﺮﻧَﻌْﺪِﻟَﻬَﺎﺮﻧَﻌْﺪِﻟَﻬَﺎ ا ﺮ ا ﻟْ ﻟْ ﺄَا ﺄَﻟْﺑِ ﺑِﺄَﻴَّ ﻧَﻌْﺪِﻟَﻬَﺎﻴَّ ﺑِ ﻪﻴَّ ﻪ ﺑِﻜْﺘَﺎﻓَﻨﺎﻪﺑِﻜْﺘَﺎﻓَﻨﺎ أَهْﻴَﻪأَهْﻴَﻪﺑِﻜْﺘَﺎﻓَﻨﺎأَهْﻴَﻪ وﻣِ و ﻏَ ﻠِﻏَ ﺼْﺒَﻠِ ﺘِﺒَ ﺮﺘِ ﻲا ﻲﻟْ ﺄَ آُ ﺑِ ﻧَﻌْﺪِﻟَﻬَﺎآُ ﻴَّ ﻞﻪ ﻞ ا ﻟْا ﻧَﻌْﺪِﻟَﻬَﺎﻟْ ﻤِﻤِ ﺤَ ﺑِﻜْﺘَﺎﻓَﻨﺎأَهْﻴَﻪﺤَ ﻦﻦﺑِﻜْﺘَﺎﻓَﻨﺎ .And got all afflictions surpassed ﻣِ و و ﺼْﻏَ ﻠِﻣِ ﻏَﺒَو ﺮﻠِ ﺘِ ﺒَا ﻏَﺼْ ﺘِﻧَﻌْﺪِﻟَﻬَﺎﻟْﻠِ ﻲﺄَ ﺒَ ﺮﺑِﺘِﻲﻴَّ آُ ا ﻪﻟْ ﻲآُ ﻞﻧَﻌْﺪِﻟَﻬَﺎﺄَ ﺑِ ﻞاآُﻴَّ ﻟْ ﺑِﻜْﺘَﺎﻓَﻨﺎا ﻪﻞﻤِﻟْ أَهْﻴَﻪ اﻤِ ﺤَﻟْ ﺤَﻤِ ﺑِﻜْﺘَﺎﻓَﻨﺎﻦأَهْﻴَﻪﻦﺤَ ﻦ ﻣِ إِ ﺳْوﺼْ ﻤَ ﺮﻏَ ﻠِ ﻚاﺒَ ﻟْﺘِ ﺄَﻓِ ﺑِ ﻲﻴَّ ﻲ وﻪ آُو ﻏَﺣَ ﻞﻠِﻏَﻨَ ﺒَﻠِﺎ اﺘِﺒَ ﻟْﺘِ أَهْﻴَﻪﺟِ ﻤِ ﻲﻲﺮَ ﺤَﻧَ آُ ﺎآُ ﻦﻞ ﻞ ا ﻟْا ﻟْ ﻤِ ﻤِ ﺤَ ﺤَ ﻦﻦ وَ إِوَا ا ﻟوَ ﻟ ﺳْا ﺪَّ ﻟﺪَّ ﻓَّ ﻤَ ﻓَّﺪَّ إِﺔﻓَّ ﺔﻚ ﺳْﺔ ..ﻓِﻤَ .. ا ..ﻲا ﻟْﻚ ﻟْ ا ﺪِّﻟْﺪِّ ﻓِ ﺣَ ﻓِﺪِّ ﻨَ ﺔﻓِ ﻲﺔﺎ ﻟَﺔ ﻟَ ﺟِ ﻮﻟَﺣَ ﻮ ﻨَﺮَ ﻮﺎ ﻧَ ﻣَ ﺎﻣَ ﺎﺟِ ﻟَﻣَﻟَﺎ ﺮَﻟَ ﻧَ ﺖﺖﺎﺖ وَ ا ﻟ ﺪَّ ﻓَّإِ ﺔإِ ﺳْ ﻗْإِﻤَﻗْ ..إِ ﻒﻚا ﺳْ ﻒﻟْ إِ ﻓِﻤَﺪِّ ﻧْإِ ﻓِ ﺘِﻧْ ﻲﺒَﻚﺘِ ﺔﺎ ﺒَ ﻩﺎﻓِﻟَ ﺣَ ﻩﻮﻳَ ﻨَﻲﺎ ﻳَ ﺎﻣَ ﺟِ ﺎﺣَ زَﻟَﻨَ ﺮَزَ ﻣَﺎ ﻧَ ﺎﻣَ ﺎﺖﺎﺟِ نﺮَ نﻧَ ﺎ !O time, stand to Attention وَ ا ﻟ إِ ﺪَّ ﻓَّ وَﺳْا ﺔﻤَﻟ ﺪَّإِ ﻚ ﻓَّ..ﻗْ إِ ﺳْﺔﻗْا ﻓِ ﻤَﻟْإِﻒﺪِّﻗْﻲ ..ﻒﻚﻓِإِ ﻧْا ﺔإِ ﺘِﻟْ ﻓِﻒﺣَ ﻧْ ﺒَ ﻨَ ﺪِّﻟَﺘِ ﺎإِ ﺎ ﻓِﻲﺒَ ﻧْ ﻩﻮﺎ ﺔﺘِ ﺟِ ﻩﺒَﻳَ ﺣَ ﻣَﻟَﺎﺮَ ﻨَﺎﻳَ ﻩﻧَ ﻟَ ﻮﺎ ﺎ زَﻳَ ﺟِ ﺎﺖﻣَزَ ﺎﺮَ ﻟَﻣَﻧَ زَ ﺎنﻣَ ﺖنﺎ ن وَ ا ﻟ ﺪَّ ﻓَّ ﺔ .. إِ اﻗْ ﻟْ ﺪِّوْ ﻓِأَ ﻒ ﺔإِﻏْ ﻧْﺎ ﻟَﺘِﻧِ إِﺒَﻴْ ﻮﺎ إِﻗْﻨَ ﺎﻗْ ﻩﻣَ ﺎﻳَ ﻒﻟَوَ ﺎﻒ إِ هُ ﻧْإِ ﺖﺘَ زَﺘِﻧْ ﺎ ﺒَﺘِ ﻓَﻣَ ﺎﺒَ ﺎﻨ ﺎ ﻩﺎ ﻩنﻳَ ﺎﻳَ ﺎ زَ زَ ﻣَ ﺎﻣَ ﺎ نن وْ أَ ﻏْ ﺎ وْﻧِ أَﻴْ ﻨَ ﺎﻏْ ﺎ ﻧِ وَﻴْ ﻨَ هُ ﺎﻧَﻌْﺪِﻟَﻬَﺎﺘَ ﻧَﻌْﺪِﻟَﻬَﺎ ﺎ ﻧَﻌْﺪِﻟَﻬَﺎﻓَوَ ﻨ هُ ﺎﺘَ ﺎ ﻓَ ﺑِﻜْﺘَﺎﻓَﻨﺎﻨ ﺑِﻜْﺘَﺎﻓَﻨﺎﺎﺑِﻜْﺘَﺎﻓَﻨﺎ وْﻣِ أَ ﻣِ ﻏْ ﺼْﺎ وْ ﺼْﻧِ أَ ﺮﻴْ ﺮﻨَ ا ﻏْ ﺎﻟْﺎ ا ﻧَﻌْﺪِﻟَﻬَﺎﺄَ ﻟْﻧِ ﺑِﺄَﻴْوَ ﻴَّﺑِﻨَ ﻴَّﺎهُ ﻪﺘَ ﻪﺎ وَ ﻓَ ﻨ هُ ﺎﺑِﻜْﺘَﺎﻓَﻨﺎﺘَ أَهْﻴَﻪﺎ ﻓَ أَهْﻴَﻪﻨ ﺎ .This is our so lofty Egypt وْ أَ ﻏْ ﺎﻣِ ﻧِ وْ ﻣِﻴْ أَ ﻨَ ﺼْ ﺎﻣِ ﻏْ ﺼْﺎ ﺮﻧِ وَ ﻧَﻌْﺪِﻟَﻬَﺎﺮﻴْ اﺼْ ﻟْﻨَ هُ اﺄَ ﺎﺮﺘَ ﻟْ ﺑِ ﺎ ﺄَﻴَّ اﻧَﻌْﺪِﻟَﻬَﺎﻓَ ﺑِوَ ﻟْﻨ ﻪﻴَّﺄَ ﺎ هُ ﺑِﻪﺘَ ﻴَّ ﺑِﻜْﺘَﺎﻓَﻨﺎﺎ ﻪﻓَ ﻨ ﺎأَهْﻴَﻪﺑِﻜْﺘَﺎﻓَﻨﺎأَهْﻴَﻪأَهْﻴَﻪ ﻣِ ﺼْ ﺮ ﻣِ اﻟْﻠِﻲ ﺼْﻧَﻌْﺪِﻟَﻬَﺎﺮ ا ﻟْ ﻣِﺄَ ﺑِﻣِ ﻧﻘِﺸَﺖﻴَّ ﺼْ ﻪﺣَﺑِﻜْﺘَﺎﻓَﻨﺎﺼْ ﺮﺮﺠَ ا ﻟْا ﺮﺄَﻟْ أَهْﻴَﻪﺑِﺄَ ﻴَّﺑِ ﻴَّ ﻪ ﻪ أَهْﻴَﻪأَهْﻴَﻪ To be continued ﻣِ ﺼْ ﻣِ ﺮ ﺼْ إِ إِ ﺮإِ ﺳْ اﻟْﻠِﻲﺳْ ﻤَﺳْﻤَ ﻤَ ﻚﻚ اﻟْﻠِﻲ ﻚﻓِ ﻓِ ﻓِ ﻧﻘِﺸَﺖﻲﻲ ﻲ ﺣَ ﺣَ ﻨَ ﻧﻘِﺸَﺖﻨَ ﺣَﺎﺠَﺎ ﻨَ ﺎ ﺮﺟِ ﺣَﺟِ ﺟِﺮَ ﺮَ ﺠَﻧَ ﻧَﺮَ ﺎﺎﺮﻧَ ﺎ ﻣِ وَ ا وَﺼْﻟ ا ﻣِ ﻟإِﺪَّ ﺮﻓَّﺪَّ ﺳْﻓَّ ﺔﺼْ ﻤَ ﺔ ﺮ.. ﻚاﻟْﻠِﻲ .. ا ﻓِﻟْ ا ﻟْﺪِّ ﻲﻓِاﻟْﻠِﻲﺪِّ ﻓِ ﺔ ﺔﺣَ ﻟَﻧﻘِﺸَﺖ ﻨَ ﻟَﺎ ﻮ ﻮﺣَﺟِ ﻣَﻧﻘِﺸَﺖﺎ ﺠَﻣَﺮَ ﻟَﺎﻧَ ﻟَ ﺮﺎﺣَ ﺖﺠَ ﺖﺮ ﻣِ ﺼْ ﻣِ ﺮوَ اإِوَﻟ اﺼْﺪَّﺳْﻟ وَﻓَّ ﺪَّاﺮﻤَ اﻟْﻠِﻲإِﺔﻟﻓَّ ﺪَّ ﺔﻚﺳْ ﻓَّ ..ﻤَﻓِﺔ ..ا اﻟْﻠِﻲﻟْ ﻚﻲا ..ﺪِّ ﻟْﻧﻘِﺸَﺖﻓِ ﺪِّا ﺣَ ﺔﻟْﻓِ ﻨَ ﻲ ﺣَﺪِّﺎ ﺔﻟَ ﻓِ ﺠَﻧﻘِﺸَﺖﻟَﻮﺟِ ﺔﺣَ ﻨَ ﻮﺮﺮَ ﻟَﺎ ﻣَ ﻧَﺣَﺎﻮﻣَﻟَﺟِ ﺎﺠَ ﻟَ ﺮَﻣَ ﺮﺖﻧَﺎ ﻟَ ﺎﺖﺖ إِ وَ ا ﺳْﻟ ﻤَﺪَّ ﻓَّ ﻚﺔ ﻓِ ..وَ ﻲاوَ ا ﻟا ﻟْ ﻟ ﺪَّ ﺪِّ ﺣَﺪَّﻓَّ ﻓِ ﻨَﻓَّ ﺔﺎ ﺔﺔ ﺟِﻟَ .... ﻮﺮَ ا ﻧَ ﻟْا ﺎﻟْ ﻣَﺪِّ ﺎﺪِّﻓِ ﻟَﻓِ ﺔﺔ ﺖﻟَ ﻟَ ﻮﻮ ﻣَ ﺎﻣَ ﻟَﺎ ﻟَ ﺖﺖ وْ وْأَ أَ وْ أَ ﻏْ ﻏْ ﺎ ﺎ ﻏْﻧِ ﻧِ ﺎﻴْ ﻴْ ﻧِﻨَ ﻨَﻴْ ﺎﺎﻨَ ﺎوَ وَ هُوَ هُ ﺘَ ﺘَ هُﺎ ﺎ ﺘَﻓَ ﻓَﺎ ﻨ ﻨﺎﻓَ ﺎﻨ ﺎ وْ أَ ﻏْ ﺎ ﻧِ ﻴْ ﻨَ ﺎ ﻧَﻌْﺪِﻟَﻬَﺎوَ ﻧَﻌْﺪِﻟَﻬَﺎهُ ﺘَ ﺎ ﻓَ ﻨ ﺎﺑِﻜْﺘَﺎﻓَﻨﺎﺑِﻜْﺘَﺎﻓَﻨﺎ وْ أَ ﻏْ ﺎ وْ ﻧِ أَ ﻴْ ﻨَ ﻏْ ﺎﺎ ﻧِ ﻴْ وَ ﻨَ ﻧَﻌْﺪِﻟَﻬَﺎﺎهُ ﺘَ ﻧَﻌْﺪِﻟَﻬَﺎﺎ وَ ﻓَ ﻧَﻌْﺪِﻟَﻬَﺎﻨ هُ ﺎﺘَ ﺎ ﻓَ ﺑِﻜْﺘَﺎﻓَﻨﺎﻨ ﺎﺑِﻜْﺘَﺎﻓَﻨﺎﺑِﻜْﺘَﺎﻓَﻨﺎ وْ أَ ﻏْ ﺎ ﻧِ ﻴْ ﻨَ ﺎ وَ هُ ﺘَ ﻧَﻌْﺪِﻟَﻬَﺎﺎ ﻓَ ﻨ ﺎﺑِﻜْﺘَﺎﻓَﻨﺎﻧَﻌْﺪِﻟَﻬَﺎ ﻧَﻌْﺪِﻟَﻬَﺎ ﺑِﻜْﺘَﺎﻓَﻨﺎﺑِﻜْﺘَﺎﻓَﻨﺎ Center of Sciences and Cultures ﻣِ ﻣِ ﻣِ ﺼْ ﺼْ ﺼْ ﺮﺮ ﺮ اﻟْﻠِﻲاﻟْﻠِﻲ اﻟْﻠِﻲ Development &ﻧﻘِﺸَﺖ ﻧﻘِﺸَﺖ ﻧﻘِﺸَﺖ ﺣَﺣَ ﺣَﺠَ ﺠَ ﺠَ ﺮﺮﺮCopyright © Canadian Research ﻣِ ﺼْ ﺮ إِ إِ ﺳْ ﺳْﻤَ اﻟْﻠِﻲﻤَ ﻚ ﻚ ﻓِ ﻓِ ﻲ ﻲ ﻧﻘِﺸَﺖﺣَ ﻨَ ﺣَ ﺎ ﻨَﺣَ ﺎ ﺟِ ﺠَ ﺟِ ﺮَ ﺮﻧَ ﺮَ ﺎﻧَ ﺎ 147 ﻣِ ﺼْ ﻣِ ﺮ ﺼْإِ إِﺮﺳْ اﻟْﻠِﻲ ﻤَﺳْإِ ﻤَ ﻚﺳْ اﻟْﻠِﻲﻤَ ﻚﻓِ ﻓِ ﻚﻲ ﻧﻘِﺸَﺖ ﻓِ ﻲ ﺣَ ﺣَ ﻲﻨَ ﺣَ ﻧﻘِﺸَﺖﺎ ﻨَ ﺠَ ﺎ ﺣَﺟِ ﺮﻨَﺣَ ﺟِ ﺎﺮَ ﻧَﺠَ ﺮَ ﺎﺟِ ﻧَ ﺮﺎﺮَ ﻧَ ﺎ ﻣِ ﺼْ ﺮ إِ اﻟْﻠِﻲﺳْ ﻤَ ﻚ ﻓِ إِ ﻧﻘِﺸَﺖ إِ ﻲﺳْ ﺳْ ﺣَﻤَ ﻤَﺣَ ﺠَﻨَ ﻚﺎ ﻚ ﺮﻓِ ﺟِ ﻓِﻲﺮَ ﻲﻧَ ﺎﺣَ ﻨَﺣَ ﺎﻨَ ﺎ ﺟِ ﺟِ ﺮَ ﻧَﺮَ ﺎﻧَ ﺎ وْ أَ وْ أَ ﻏْ ﺎ ﻏْ ﻧِ ﺎ ﻴْ ﻧِ ﻨَ ﻴْ ﺎﻨَ ﺎ وَ وَ هُ ﺘَ هُ ﺎ ﺘَ ﻓَﺎ ﻨ ﻓَ ﺎﻨ ﺎ وْ أَ وْ أَ ﻏْ ﺎوْ ﻏْ أَﻧِ ﺎ ﻴْ ﻧِ ﻨَﻏْ ﻴْ ﺎ ﻨَ ﻧِ ﺎﻴْ وَ ﻨَ ﺎوَهُ ﺘَ هُ ﺎ وَ ﺘَ ﻓَ ﺎ ﻨهُ ﻓَ ﺎﺘَ ﻨ ﺎ ﺎﻓَ ﻨ ﺎ وْ أَ ﻏْ ﺎ ﻧِ ﻴْ ﻨَ ﺎ وْ أَوْ وَ أَ ﻏْ هُ ﺎﻏْ ﺘَ ﻧِﺎ ﺎ ﻴْﻧِ ﻓَ ﻨَﻴْ ﻨ ﺎﻨَ ﺎﺎ وَ وَ هُ ﺘَهُ ﺎﺘَ ﺎﻓَ ﻨﻓَ ﺎﻨ ﺎ ﻣِ ﻣِ ﺼْ ﺼْ ﺮ ﺮ اﻟْﻠِﻲ اﻟْﻠِﻲ ﻧﻘِﺸَﺖ ﻧﻘِﺸَﺖ ﺣَ ﺣَ ﺠَ ﺠَ ﺮﺮ ﻣِ ﻣِ ﺼْ ﻣِ ﺼْ ﺮ ﺮﺼْ ﺮ اﻟْﻠِﻲ اﻟْﻠِﻲ اﻟْﻠِﻲ ﻧﻘِﺸَﺖ ﻧﻘِﺸَﺖ ﺣَ ﻧﻘِﺸَﺖﺣَ ﺠَﺠَﺣَ ﺮﺮﺠَ ﺮ ﻣِ ﺼْ ﺮ ﻣِ ﻣِ اﻟْﻠِﻲﺼْ ﺼْ ﺮ ﺮ ﻧﻘِﺸَﺖاﻟْﻠِﻲ اﻟْﻠِﻲ ﺣَ ﺠَ ﺮﻧﻘِﺸَﺖﻧﻘِﺸَﺖ ﺣَ ﺣَ ﺠَ ﺠَ ﺮﺮ ﻟَ ﻴِّ ﻟَﻨَ ﺎﻴِّ ﻨَ ﻟَ ﺎﻴِّ ﺳِ ﻨَ ﻨِ ﺎﺳِﻴْ ﻨِ ﻴْ ﻦَﺳِ ﻨِ ﻦَﻴْ ﻦَ ﻟَ ﻴِّ ﻨَ ﺎ ﺳِ ﻟَ ﻨِ ﻴِّ ﻴْ ﻨَ ﺎﻦَ ﺳِ ﻨِ ﻴْ ﻦَ ﻣ ﺘَ ﻣ ﻌَ ﺘَ ﻠِّ ﻣﻌَ ﻤِ ﻠِّﺘَ ﻴْ ﻤِﻌَ ﻠِّﻴْ ﻦَ ﻤِ ﻦَﻴْ ﻦَ اﻟْﻄَّﺎﻋَﺔاﻟْﻄَّﺎﻋَﺔ..ِ..ِاﻟْﻄَّﺎﻋَﺔ..ِ ﻣ ﺘَ ﻌَ ﻠِّ ﻤِ ﻴْ ﻣ ﺘَ ﻦَﻌَ ﻠِّ ﻤِ ﻴْ ﻦَ اﻟْﻄَّﺎﻋَﺔ..ِاﻟْﻄَّﺎﻋَﺔ..ِ ﻣِ ﻣِ ﻦْ ﻦْﻗَ ﻣِ ﺒْ ﻗَ ﻦْﺒْ ﻞُ ﻗَ اﻞُﺒْ ﻟْ ا ﻞُﻟْ ﺼَّا ﻟْ ﺼَّ ﻼﻼﺼَّ ﻼ ﻣِ ﻦْ ﻗَ ﺒْ ﻣِ ﻞُ ﻦْ ا ﻟْ ﻗَ ﺒْ ﺼَّ ﻞُ ا ﻼﻟْ ﺼَّ ﻼ وَ ﻳَ ﺎوَ ﻳَ إِ ﺎوَ ﻣَّﻳَ إِ ﺎﻣَّ ﺎإِﻧَ ﺒْ ﻣَّ ﻧَﻘَ ﺎﺒْ ﻘَ ﻰْﻧَ ﺒْ ﻰْﺑِﻘَ ﺑِ ﻰْﻀَ ﺎ ﺑِ ﻀَ ﺎ ﻋَﻀَ ﺔًﻋَﺎ ﺔً..ﻋَ..ﺔً.. وَ ﻳَ ﺎ إِ ﻣَّ وَﺎ ﻳَ ﺎﻧَ ﺒْ إِ ﻘَ ﻣَّ ﺎﻰْ ﻧَﺑِ ﺒْ ﻘَ ﻀَ ﻰْﺎ ﺑِ ﻋَ ﺔًﻀَ ..ﺎ ﻋَ ﺔً.. ﻳَ ﺎ ﻳَ إِ ﺎ ﻣَّﻳَ إِ ﺎﻣَّ اﺎإِ ﻟْ ﻣَّ ا ﻤِ ﺎﻟْ ﻘْ ﻤِا ﻟْﻘْ ﺼَﻤِ ﻠَ ﻘْ ﺼَ ﺔٌﻠَ ﺔٌﺼَ ﻠَ ﺔٌ ﻳَ ﺎ إِ ﻣَّ ﺎ ﻳَ ا ﺎﻟْ إِ ﻤِ ﻘْﻣَّ ﺎ ا ﺼَ ﻟْ ﻠَ ﻤِ ﺔٌﻘْ ﺼَ ﻠَ ﺔٌ وَ ا ﻟْ وَ ا ﻟْ ﺠُ وَ ﺒْ ا ﺠُ ﻟْ ﺒْ ﻦِ ﺠُ ﻦِﺒْ وَ ﻦِوَ ﺳَ ﺳَ ﻂِوَ ا ﻂِﺳَ ﻟ ا ﻂِﻟ ﺠَ ا ﻮَ ﺠَ ﻟ ا ﻮَ اﺠَ ﻋَ ﺔًﻮَ ﻋَ ا .ﺔً.ﻋَ ﺔً. وَ ا ﻟْ ﺠُ ﺒْ وَ ﻦِا ﻟْ وَ ﺠُ ﺒْ ﺳَ ﻦِﻂِ وَا ﻟ ﺳَ ﺠَ ﻂِﻮَ ا ا ﻟ ﻋَ ﺔًﺠَ .ﻮَ ا ﻋَ ﺔً. ﻗَ ﻴِّ ﻗَ ﻤَ ﻴِّ ﺔٌﻤَﻗَ ﻴِّ ﺔٌﻣ ﻤَ ﺄَ ﺔٌﻣ ﺄَ ﺻِ ﻣ ﻠّ ﺄَ ﺻِ ﺔًﻠّ ﺔًﺻِ ﻠّ . ﺔً. . ﻗَ ﻴِّ ﻤَ ﺔٌ ﻗَ ﻣ ﻴِّ ﺄَ ﻤَ ﺔٌﺻِ ﻠّ ﻣ ﺔًﺄَ .ﺻِ ﻠّ ﺔً . وَ ﺁَ وَ دِ ﺁَ دِ وَ يْﺁَ ادِ يْﻟْ ا يْﻟْ ﺤِ اﻜَ ﺤِ ﻟْ ﺎ ﻳَﻜَ ﺎﺤِ ﺔْﻳَ ﻜَ ﺔْﺎ ﻣُ ﻳَ ﻔَ ﺔْﻣُ ﻔَ ﺼَّﻣُ ﻠَ ﻔَ ﺼَّ ﺔًﻠَ ﺔً..ﺼَّ ﻠَ ..ﺔً.. وَ ﺁَ دِ يْ وَ ا ﺁَ ﻟْ دِ ﺤِ يْﻜَ ﺎ ا ﻳَ ﻟْ ﺔْ ﺤِ ﻣُ ﻜَ ﻔَﺎ ﻳَ ﺔْﺼَّ ﻠَ ﻣُ ﺔًﻔَ ..ﺼَّ ﻠَ ﺔً.. ﺑَ ﺑَ ﺲّ ﺑَ ا ﺲّﻟَّ ﻠِ ا ﺲّﻟَّ ﻠِ ﻲْا ﻟَّ ﻲْﻳِ ﻠِ ﻳِ ﺴْ ﻲْ ﻤَ ﺴْ ﻳِ ﻊْﻤَ ﺴْ ﻊْﻣِﻤَ ﻴِ ﻊْﻣِ ﻴِ ﻦْ ﻣِ ﻦْﻴِ ﻦْ ﺑَ ﺲّ ا ﻟَّ ﺑَ ﻠِ ﻲْﺲّ ﻳِ ا ﻟَّ ﻠِ ﺴْ ﻤَ ﻲْ ﻊْ ﻳِ ﻣِ ﺴْ ﻴِ ﻤَ ﻦْﻊْ ﻣِ ﻴِ ﻦْ ﺷُﻌُﺷُ ﻮﻌُ ﺷُ ﻮ رﻌُ رﻮ ﺳَرﺳَﺨِ ﻴْ ﺨِﺳَ ﻴْ ﻒﺨِ ﻴْ ﻒﻒ ﺷُ ﻌُ ﻮ رﺷُ ﻌُ ﺳَ ﻮ ﺨِ ﻴْ ر ﻒﺳَ ﺨِ ﻴْ ﻒ ِ ﻧَّ ِ ﻧَّ ﻚ ِ ﻚﺗِﻧَّ ﺗِﺤِ ﻚ ﺤِﺗِ ﺲﺤِ ﺲﺑِ ﺈِ ﺑِ ﺲﺈِ ن ﺑِ نﺈِ وَ نوَ ﻃَ ﻨِ ﻃَوَ ﻨِ ﻚﻃَ ﻚﻨِ ﻚ ِ ﻧَّ ﻚ ﺗِ ِ ﻧَّﺤِ ﻚ ﺲ ﺗِ ﺑِ ﺈِﺤِ ن ﺲ وَ ﺑِ ﺈِ ﻃَ ﻨِ ن ﻚوَ ﻃَ ﻨِ ﻚ ﺷَﻲْء ﺷَﻲْء ﺿَ ﺷَﻲْء ﻌِﺿَ ﻴْ ﻌِ ﻴْﺿَ ﻒﻌِ ﻴْ ﻒﻒ ﺷَﻲْء ﺿَ ﻌِ ﺷَﻲْءﻴْ ﻒﺿَ ﻌِ ﻴْ ﻒ ﺻَﻮْﺗِﻚ ﺻَﻮْﺗِﻚ ﺿَ ﺻَﻮْﺗِﻚ ﻌِﺿَ ﻴْ ﻌِ ﻴْﺿَ ﻒﻌِ ﻴْ ﻒﻒ ﺻَﻮْﺗِﻚ ﺿَ ﻌِﺻَﻮْﺗِﻚﻴْ ﻒﺿَ ﻌِ ﻴْ ﻒ رَ أْ ﻳرَ أْﻳ ﻚرَ أْ ﻚﻳ ﺿَ ﻚ ﻌِﺿَ ﻴْ ﻌِ ﻴْﺿَ ﻒﻌِ ﻴْ ﻒﻒ رَ أْ ﻳ ﻚ رَ أْ ﻳ ﺿَ ﻌِ ﻚﻴْ ﻒﺿَ ﻌِ ﻴْ ﻒ ِ ﻧَّ ِ ﻧَّ ﻚ ِ ﻚﺗَﻧَّ ﺒِ ﺗَﻴْ ﻚﺒِ ﻊﻴْ ﺗَ ﺒِ ﻊﻴْ ﻊ ﻗَﻠْﺒِﻚ ﻗَﻠْﺒِﻚوَ ﻗَﻠْﺒِﻚوَﺟِ ﺟِﺴْوَ ﻤَ ﺴْﺟِ ﻤَ ﻚﺴْ ﻚﻤَ ﻚ ِ ﻧَّ ﻚ ﺗَ ِﺒِ ﻧَّﻴْ ﻊﻚ ﺗَ ﺒِ ﻴْ ﻊﻗَﻠْﺒِﻚ وَ ﺟِ ﻗَﻠْﺒِﻚﺴْ ﻤَوَ ﻚﺟِ ﺴْ ﻤَ ﻚ وَ إِ ﻧَّوَ إِ ﻧَّ ﻚوَ إِ ﻚﺗَﻧَّ ﺒِ ﺗَﻴْ ﻚﺒِ ﻊﻴْ ﺗَ ﺒِ ﻊﻗَﻴْﻠَ ﻗَ ﻊﻤِﻠَ ﻤِﻗَ ﻚﻠَ ﻚﻤِ وَ إِ ﻚوَ إِﺳْ وَﻤ ﺳْإِ ﻤ ﻚﺳْ ﻚﻤ ﻚ وَ إِ ﻧَّ ﻚ ﺗَوَ إِﺒِ ﻧَّﻴْ ﻊﻚ ﻗَﺗَ ﻠَﺒِ ﻴْﻤِ ﻊﻚ ﻗَﻠَوَ إِﻤِ ﺳْ ﻚﻤ وَ ﻚإِ ﺳْ ﻤ ﻚ ﻣَ ﺎﻣَ ﺎ ﻣَ ﺎ ﻳُﺠِﻴَﺒُﻮّش ﻳُﺠِﻴَﺒُﻮّش ﺣَﻳُﺠِﻴَﺒُﻮّشﺣَﻖ اﻖﺣَ ﻟْ ا ﻖﻟْﺮَّ اﺮَّ ﻏِﻟْ ﻴ ﻏِﺮَّ ﻴ ﻒﻏِ ﻴ ﻒﻒ ﻣَ ﺎ ﻣَ ﺎ ﻳُﺠِﻴَﺒُﻮّش ﺣَ ﻖﻳُﺠِﻴَﺒُﻮّش ا ﻟْ ﺣَ ﺮَّ ﻖﻏِ ﻴا ﻟْ ﻒﺮَّ ﻏِ ﻴ ﻒ ﻟَ ﺎ ﻟَ ﺎآُ ﻟَﻨَّ ﺎآُ ﻨَّ ﺎﻧَ آُ ﻨَّ ﻌْﻧَﺎﻌْﺮِ ﻧَ ﺮِ ﻌْ ف ﺮِأَ فﻟْ أَ فﻟْ ﻒأَ ﻟْﻒ .. ﻒ.. وَ ﻟَ ..ﺎوَ ﻟَ ﺎآُوَ ﻟَﻨَّ ﺎآُ ﻨَّ ﺎﻧَ آُ ﻨَّ ﻌْﻧَﺎﻌْﺮِ ﻧَ ﺮِ ﻌْ ف ﺮِفﺑِ ﻪﺑِ فﻪ ﺑِ ﻪ ﻟَ ﺎ آُ ﻨَّ ﺎ ﻟَ ﺎﻧَ ﻌْ آُ ﻨَّﺮِ ﺎ ﻧَ فﻌْ أَ ﻟْﺮِ ﻒف أَ ..ﻟْ وَ ﻒﻟَ ﺎ ..آُ ﻨَّ ﺎوَ ﻟَ ﺎﻧَ ﻌْ آُ ﻨَّ ﺮِﺎ ﻧَ فﻌْ ﺑِ ﺮِ ﻪف ﺑِ ﻪ وَ ﻟَ ﺎوَ ﻟَ ﺎوَ ﺷِ ﻟَ ﻔْ ﺎﺷِﻨَ ﺎﻔْ ﻨَ ﺷِ ﺎﻔْ ﻨَ ﺎ ﻋُﻤْﺮِﻧَﺎ ﻋُﻤْﺮِﻧَﺎﻧُ ﻮَﻧُ ﻋُﻤْﺮِﻧَﺎﻮَ ر ﻧُ رﻮَ ﻏَﻴْ رﻏَ ﻴْ ﺮ ﻏَﻟِ ﺮﻴْ ﻤَ ﻟِ ﺎﺮﻤَ ﺎﻟِﻗَ ﻤَﻗَ ﺎﻤَﺮُ ﻗَ ﺮُ كﻤَ كﺮُ ﺟَ كﻪﺟَ ﻪﺟَ ﻪ وَ ﻟَ ﺎ ﺷِ ﻔْ وَ ﻨَﻟَ ﺎ ﺷِ ﻔْ ﻨَ ﺎ ﻋُﻤْﺮِﻧَﺎ ﻧُ ﻮَ رﻋُﻤْﺮِﻧَﺎ ﻧُ ﻏَ ﻴْﻮَ ﺮر ﻟِ ﻏَﻤَ ﻴْ ﺎ ﺮﻗَ ﻤَﻟِ ﻤَ ﺮُﺎ كﻗَ ﻤَﺟَ ﺮُ ﻪك ﺟَ ﻪ وَ ﻓَ وَ ﻓَﻀّوَ ﻠَّﻓَ ﺘِﻀّ ﻠَّ ﺘِ ﻲﻀّ ﻠَّ ﻲﺘِ رَ ﻲﻣْرَ ﻣْ ﺰرَ ا ﺰﻣْ ﻟْ ﺄَا ﺰﻟْ ﻣَﺄَ ﺎا ﻣَﻟْ ﺎﺄَ نﻣَ نﺎ ن وَ ﻓَ ﻀّ ﻠَّ وَﺘِ ﻓَ ﻲ ﻀّ ﻠَّرَ ﺘِ ﻣْ ﻲﺰ ا ﻟْرَ ﺄَ ﻣْ ﻣَ ﺎ ﺰ ا نﻟْ ﺄَ ﻣَ ﺎ ن وَاﻟْﻨَّﺎس وَاﻟْﻨَّﺎس وَاﻟْﻨَّﺎس ﻣُﻠْﻘِﻴَّﺎش ﻣُﻠْﻘِﻴَّﺎشوَ ﻣُﻠْﻘِﻴَّﺎشوَﻃَ ﻃَﻦوَ ﻦﻃَ ﻦ وَاﻟْﻨَّﺎس وَاﻟْﻨَّﺎس ﻣُﻠْﻘِﻴَّﺎش وَ ﻃَ ﻣُﻠْﻘِﻴَّﺎشﻦ وَ ﻃَ ﻦ وَ وَزْ زْرْ وَ رْ ﻋَزْ ﺘِ ﻋَرْ ﺘِ ﻲﻋَ ﻲﺘِ وَ ﻗَ ﻲوَ ﻤَ ﻗَ وَﻤَ ﺢﻗَ ﺢﻤَ وَ ﺢوَﻏِ ﻴْﻏِ وَ ﻴْﻄَ ﺎﻏِ ﻄَﻴْ ﺎ نﻄَ نﺎ ن وَ زْ رْ ﻋَوَ ﺘِ زْ ﻲرْ وَﻋَ ﻗَﺘِ ﻤَ ﻲ ﺢ وَ ﻗَوَ ﻤَ ﻏِ ﻴْ ﺢ ﻄَ وَﺎ ﻏِ نﻴْ ﻄَ ﺎ ن Translation and Analysis of Diasporic Colloquial و وﻏَ ﻠِﺒَﻏَ وﻠِﺘِ ﺒَ ﻏَﺘِ ﻲﻠِ ﺒَ ﻲﺘِ آُ ﻲآُ ﻞ ا ﻞآُ ﻟْ ا ﻤِﻞﻟْ ﻤِاﺤَ ﻟْ ﺤَ ﻦﻤِ ﻦﺤَ ﻦ Egyptian Poems of Patriotism: A Hermeneutic Study و ﻏَ ﻠِ ﺒَ ﺘِو ﻲﻏَ ﻠِ آُﺒَ ﺘِ ﻞ ﻲا ﻟْ آُﻤِ ﻞﺤَ ا ﻦﻟْ ﻤِ ﺤَ ﻦ إِ ﻗْ إِ ﻗْ ﻒإِ ﻗْإِ ﻒﻧْ إِﺘِ ﻒﻧْﺒَ ﺎﺘِ إِ ﺒَ ﻩﻧْ ﺎ ﺘِ ﻩﻳَ ﺒَ ﺎ ﺎ ﻳَ ﻩﺎ زَﻳَ ﺎﻣَزَ ﺎ ﻣَ ﺎزَ نﻣَ نﺎ ن إِ ﻗْ ﻒ إِ ﻧْ ﻗْﺘِ ﺒَ ﺎ ﻒﻩ إِ ﻳَ ﻧْ ﺎﺘِ ﺒَ ﺎ زَ ﻩ ﻣَ ﻳَﺎ ﺎ نزَ ﻣَ ﺎ ن Continued ﻣِ ﻣِ ﺼْ ﻣِ ﺼْ ﺮ ا ﺮﺼْﻟْ ﺄَا ﺮﺑِﻟْ ﺄَﻴَّ اﺑِ ﻪﻟْﻴَّ ﺄَ ﻪﺑِ ﻴَّ ﻪ أَهْﻴَﻪأَهْﻴَﻪأَهْﻴَﻪ text ﻣِ Sourceﺼْ ﺮﻣِ ا ﻟْ ﺄَ theﺼْﺑِ ﻴَّ ﺮﻪ ا ofﻟْ ﺄَ ﺑِ ﻴَّ أَهْﻴَﻪﻪ أَهْﻴَﻪTranslation Transcription وَ ا ﻟوَ اﺪَّﻟ ﻓَّ وَ ﺪَّ ا ﺔﻓَّﻟ ﺪَّ ﺔﻓَّ .. ﺔا .. ﻟْ اﺪِّ ..ﻟْ ﻓِ ﺪِّ ا ﺔﻓِﻟْ ﻟَﺪِّ ﺔﻓِ ﻮﻟَ ﺔ ﻮ ﻣَﻟَ ﺎ ﻟَﻮﻣَ ﺎ ﻟَ ﻣَ ﺖﺎ ﻟَ ﺖﺖ وَ ا ﻟ ﺪَّ ﻓَّ ﺔوَ ا ﻟ ..ﺪَّ ﻓَّا ﻟْ ﺔﺪِّ ﻓِ ..ﺔ ا ﻟَ ﻟْ ﻮﺪِّ ﻓِ ﻣَ ﺔﺎ ﻟَ ﻮﺖ ﻣَ ﺎ ﻟَ ﺖ ,Rudder! Had a rudder tilted ﻧَﻌْﺪِﻟَﻬَﺎ ﻧَﻌْﺪِﻟَﻬَﺎ ﻧَﻌْﺪِﻟَﻬَﺎ ﺑِﻜْﺘَﺎﻓَﻨﺎﺑِﻜْﺘَﺎﻓَﻨﺎﺑِﻜْﺘَﺎﻓَﻨﺎ ﻧَﻌْﺪِﻟَﻬَﺎ ﻧَﻌْﺪِﻟَﻬَﺎ ﺑِﻜْﺘَﺎﻓَﻨﺎﺑِﻜْﺘَﺎﻓَﻨﺎ .By our shoulders, it’d be fitted إِ إِﺳْ ﻤَ ﺳْإِ ﻤَ ﻚﺳْ ﻚﻤَﻓِ ﻓِ ﻲﻚ ﻲﻓِ ﺣَ ﻨَ ﻲﺎﺣَ ﻨَ ﺎﺟِ ﺣَ ﻨَ ﺮَﺟِ ﺎ ﻧَ ﺎﺮَ ﺟِ ﻧَ ﺎﺮَ ﻧَ ﺎ ,In our throats, your name is chanted إِ ﺳْ ﻤَ ﻚإِ ﻓِﺳْ ﻤَ ﻲ ﻚ ﺣَ ﻓِﻨَ ﺎ ﻲﺟِ ﺮَ ﺣَ ﻧَ ﻨَ ﺎﺎ ﺟِ ﺮَ ﻧَ ﺎ وْ أَ وْ أَ ﻏْ ﺎ وْ ﻧِﻏْ أَ ﺎﻴْ ﻧِﻨَ ﻏْ ﺎﻴْ ﺎ ﻨَ ﻧِ ﺎﻴْ وَ ﻨَ ﺎهُوَ ﺘَ ﺎهُ وَ ﺘَﻓَ ﺎﻨ هُ ﺎﻓَ ﺘَ ﻨ ﺎ ﺎﻓَ ﻨ ﺎ In our songs and cheers it prolonged وْ أَ ﻏْ ﺎ ﻧِ ﻴْ وْ ﻨَ أَ ﺎ ﻏْ ﺎ وَ ﻧِ ﻴْ هُ ﻨَ ﺘَ ﺎﺎ ﻓَ ﻨ وَ ﺎهُ ﺘَ ﺎ ﻓَ ﻨ ﺎ ﻣِ ﺼْ ﺮ اﻟْﻠِﻲ ﻧﻘِﺸَﺖ ﺣَ ﺠَ ﺮ ,Egypt has engraved a stone ﻣِ ﻣِ ﺼْﻣِ ﺼْ ﺮ ﺼْ ﺮ ﺮ اﻟْﻠِﻲ اﻟْﻠِﻲ اﻟْﻠِﻲ ﻧﻘِﺸَﺖ ﻧﻘِﺸَﺖ ﺣَ ﻧﻘِﺸَﺖﺣَ ﺠَ ﺣَﺠَ ﺮﺠَ ﺮﺮ ﻣِ ﺼْ ﺮ وَ ﻋَ اﻟْﻠِﻲوَ ﻠَّ ﻤْ ﻋَ ﺘَﻠَّ ﻨَ ﻤْ ﺎﺘَ ﻨَا ﻟْ ﺎﻧﻘِﺸَﺖ ﻌَ ا ﻟْ ﺪﺣَ ﻌَ ﺠَ ﺪﺮ وَ ﻋَ ﻠَّ ﻤْ وَﺘَ ﻨَ ﺎﻋَ وَ ﻠَّ ا ﻤْﻋَﻟْ ﺘَﻠَّ ﻌَﻨَ ﻤْ ﺎﺪﺘَ ﻨَ اﺎﻟْ ﻌَا ﻟْ ﺪﻌَ ﺪ .For teaching us how to count ﻣِ ﻣِ ﺼْ ﺮﺼْ ﺮ اﻟْﻠِﻲ اﻟْﻠِﻲﺟَ ﻴْ ﺟَ ﺸِ ﻴْ ﻬَ ﺎﺸِ ﻬَ ﺎﻋَ ﺒْ ﻋَ ﺮﺒْ ﺮ.. .. ﻣِ ﺼْ ﺮﻣِ ﻣِ ﺼْ ﺮاﻟْﻠِﻲﺼْ ﺮﺟَ ﻴْ اﻟْﻠِﻲﺸِ ﻬَ اﻟْﻠِﻲﺟَ ﺎ ﻴْ ﺟَ ﺸِ ﻋَﻴْ ﺒْﻬَ ﺎﺸِ ﺮ ﻬَ ﺎﻋَ ..ﺒْ ﻋَ ﺮﺒْ ﺮ.. .. ,She’s Egypt whose army won ﻣِ ﻣِ ﺼْ ﺮﺼْ ﺮ اﻟْﻠِﻲ اﻟْﻠِﻲ ﺑِﻨْﺖ ا ﻟْ ﺑِﻨْﺖ اﺴَّ ﻟْ ﺪﺴَّ ﺪ ﻣِ ﻣِ ﺼْ ﺮﺼْ ﺮ اﻟْﻠِﻲوَ اﻟْﻠِﻲﻋَ ﻠَّ ﻤْ ﺑِﻨْﺖﺘَ ﻨَ ا ﺎﺑِﻨْﺖﻟْ ا ﺴَّ ﻟْ ﺪﻌَ ﺴَّ ﺪﺪ .And who got the high dam built ﻣِ ﺼْ ﺮ اﻟْﻠِﻲ وَ ﺑِﻨْﺖ وَ ﻋَ ا وَﻠَّ ﻟْﻋَ ﻠَّ ﻤْ ﻋَ ﺴَّﺘَ ﻠَّﻤْ ﻨَ ﺪﺘَ ﻤْ ﺎﻨَ ﺘَ ﺎاﻨَ ﻟْ ﺎا ﻟْﻌَ ا ﻟْﺪﻌَ ﺪﻌَ ﺪ وَ ﻋَ ﻠَّ ﻤْ ﺘَ ﻨَ ﺎ ا ﻟْ ﻌَ ﺪ ﻟَ ﺎ ﻟَ ﺗَ ﺎﻌِ ﺒْﺗَ ﻨَ ﻌِ ﺎﺒْ ﻨَ ﻳَﺎﻮْ ﻳَ م ﻮْ مم ا ﻟْ م اﺴَّ ﻟْ ﻔَ ﺴَّ ﺮﻔَ ﺮ ,We fatigued not of travel ﻣِ ﺼْ ﻟَ ﺮﺎ ﻟَ ﺗَ ﺎﻌِ ﺒْﺗَ ﻨَ اﻟْﻠِﻲﻌِ ﺎ ﺒْ ﻨَ ﻳَ ﺟَ ﺎﻴْ ﻮْ ﻳَ مﺸِ ﻮْ ﻬَ مﺎ امﻟْ ﻋَ ا ﺒْﺴَّ ﻟْ ﻔَ ﺮﺴَّ ﺮﻔَ ..ﺮ ﻣِﻟَ ﺎﻣِ ﻣِﺗَ ﺼْﻌِﺼْ ﺮﺒْ ﺼْ ﻨَ ﺮﺎ ﺮ ﻳَ اﻟْﻠِﻲﻮْ اﻟْﻠِﻲم اﻟْﻠِﻲﺟَ م ﻴْ ﺟَ ﻴْ اﺟَ ﺸِﻟْ ﻴْ ﺸِ ﻬَ ﺴَّ ﺎﺸِﻬَ ﻔَ ﺎﻬَ ﺎﺮﻋَ ﺒْﻋَ ﺒْ ﻋَ ﺮﺒْ ﺮ ﺮ...... ﻣِ ﺼْ ﺮ اﻟْﻠِﻲ ﺟَ ﻴْ ﺸِ ﻬَ ﺎ ﻋَ ﺒْ ﺮ .. وَ ﻟَ ﺎوَ ﻟَ آَ ﺎ ﻞّآَ ﻣِ ﻞّ ﺠْ ﻣِ ﺪَ ا ﺠْ ﻓَ ﺪَﻨ ا ﺎﻓَ ﻨ ﺎ .Neither did our tough paddle ﻣِ ﺼْ وَ ﺮﻟَ ﺎوَ ﻟَ ﺎآَ اﻟْﻠِﻲﻞّآَ ﻞّﻣِ ﺠْ ﻣِ ﺑِﻨْﺖﺪَ ا ﺠْا ﻓَ ﻟْﺪَ ﻨ ا ﺎﺴَّﻓَ ﻨ ﺪﺎ ﻣِوَ ﻣِﻟَ ﺎﻣِ ﺼْ ﺼْآَ ﺮﺼْ ﺮﻞّ ﺮ ﻣِ اﻟْﻠِﻲﺠْ اﻟْﻠِﻲﺪَ ا اﻟْﻠِﻲﻓَ ﻨ ﺎﺑِﻨْﺖ ﺑِﻨْﺖا ﻟْ ﺑِﻨْﺖا ﻟْ اﺴَّ ﻟْ ﺪﺴَّ ﺪﺴَّ ﺪ ﻣِ ﺼْ ﺮ اﻟْﻠِﻲ ﺑِﻨْﺖ ا ﻟْ ﺴَّ ﺪ اﻩ اﻩ ﻳﺎوﻃﻦ ﻳﺎوﻃﻦ ﻏﺎوي ﻏﺎوي ﻋﻔﻦ.ﻋﻔﻦ. اﻩ اﻩ ﻟَ ﺎ ﺗَ ﻌِ ﻳﺎوﻃﻦﺒْ ﻨَ ﺎﻳﺎوﻃﻦ ﻳَ ﻮْ م ﻏﺎوي م ﻏﺎوي ا ﻟْ ﺴَّ ﻋﻔﻦﻔَ .ﻋﻔﻦﺮ. اﻩ ﻟَ ﻳﺎوﻃﻦﺎﻟَ ﺎﻟَﺗَ ﺎﺗَ ﻌِ ﺒْ ﺗَﻌِ ﻨَ ﺒْ ﻌِ ﺎﻨَ ﺒْ ﺎﻏﺎويﻨَﻳَ ﺎﻳَ ﻮْ ﻳَ مﻮْ مﻮْ م مﻋﻔﻦ م .ا ﻟْما ﻟْ اﺴَّ ﻟْ ﻔَﺴَّ ﻔَﺴَّ ﺮﻔَ ﺮﺮ ﻟَ ﺎ ﺗَ ﻌِ ﺒْ ﻨَ ﺎ ﻳَ ﻮْ م م ا ﻟْ ﺴَّ ﻔَ ﺮ ﺟﺒﺎن ﺟﺒﺎن وراﻓﺾ وراﻓﺾ ﻟﻠﺘﺠﺪﻳﺪﻟﻠﺘﺠﺪﻳﺪ Excerpt 4 From Habituated Sadness ﺟﺒﺎن ﺟﺒﺎن وَ ﻟَ ﺎ آَ وراﻓﺾ ﻞّ وراﻓﺾ ﻣِ ﺠْ ﺪَ ا ﻓَ ﻟﻠﺘﺠﺪﻳﺪﻨ ﺎﻟﻠﺘﺠﺪﻳﺪ ﺟﺒﺎن وَ وراﻓﺾﻟَ وَ ﺎﻟَ وَ ﺎﻟَ آَ ﺎآَ ﻞّآَ ﻞّ ﻣِ ﻞّﻟﻠﺘﺠﺪﻳﺪﻣِ ﺠْ ﻣِ ﺪَﺠْ ا ﺪَﺠْ ﻓَ ا ﺪَﻨ ﻓَ ا ﺎﻨ ﻓَ ﺎﻨ ﺎ وَ ﻟَ ﺎ آَ ﻞّ ﻣِ ﺠْ ﺪَ ا ﻓَ ﻨ ﺎ آﺎن آﺎن ﺟﻤﻴﻊ ﺟﻤﻴﻊtext ﻣﺎﻓﻴﻚ ﻣﺎﻓﻴﻚ ﺣﺴﻦSourceﺣﺴﻦ Translation اﻩآﺎن آﺎن ﺟﻤﻴﻊ ﻳﺎوﻃﻦﺟﻤﻴﻊ ﻣﺎﻓﻴﻚ ﻏﺎويﻣﺎﻓﻴﻚ ﺣﺴﻦﻋﻔﻦ.ﺣﺴﻦ آﺎن ا ﻩا ﻩا ﻩﺟﻤﻴﻊ ﻳﺎوﻃﻦ ﻳﺎوﻃﻦﻣﺎﻓﻴﻚ ﻳﺎوﻃﻦ ﻏﺎوي ﺣﺴﻦﻏﺎوي ﻏﺎوي ﻋﻔﻦ.ﻋﻔﻦ.ﻋﻔﻦ. اﻩ ﻳﺎوﻃﻦ ﻏﺎوي ﻋﻔﻦ. :O homeland, your trend is musty دﻟﻮﻗﺘﻲ دﻟﻮﻗﺘﻲ ﻓﻴﻚ ﻓﻴﻚ آﻼب آﻼب وﻋﺒﻴﺪوﻋﺒﻴﺪ دﻟﻮﻗﺘﻲ دﻟﻮﻗﺘﻲﺟﺒﺎن ﻓﻴﻚ ﻓﻴﻚ آﻼبوراﻓﺾ آﻼب وﻋﺒﻴﺪﻟﻠﺘﺠﺪﻳﺪوﻋﺒﻴﺪ دﻟﻮﻗﺘﻲ ﻓﻴﻚ ﺟﺒﺎن ﺟﺒﺎن ﺟﺒﺎن آﻼب وراﻓﺾ وراﻓﺾ وراﻓﺾوﻋﺒﻴﺪ ﻟﻠﺘﺠﺪﻳﺪﻟﻠﺘﺠﺪﻳﺪﻟﻠﺘﺠﺪﻳﺪ ﺟﺒﺎن وراﻓﺾ ﻟﻠﺘﺠﺪﻳﺪ .Cowardly refusing reform دﻩ دﻩ اﻟﺤﺮ اﻟﺤﺮ ﻳﻌﺸﻖ ﻳﻌﺸﻖ ﺣﺐ ﺣﺐ اﻟﻮﻃﻦاﻟﻮﻃﻦ دﻩ دﻩ اﻟﺤﺮ آﺎناﻟﺤﺮ ﻳﻌﺸﻖ ﺟﻤﻴﻊ ﻳﻌﺸﻖ ﺣﺐ ﺣﺐﻣﺎﻓﻴﻚ اﻟﻮﻃﻦﺣﺴﻦاﻟﻮﻃﻦ دﻩ اﻟﺤﺮ آﺎن آﺎنﻳﻌﺸﻖ آﺎن ﺟﻤﻴﻊﺣﺐ ﺟﻤﻴﻊ ﺟﻤﻴﻊ ﻣﺎﻓﻴﻚ اﻟﻮﻃﻦﻣﺎﻓﻴﻚ ﻣﺎﻓﻴﻚ ﺣﺴﻦﺣﺴﻦﺣﺴﻦ آﺎن ﺟﻤﻴﻊ ﻣﺎﻓﻴﻚ ﺣﺴﻦ ,All about you was so pretty واﻟﻌﺒﺪ واﻟﻌﺒﺪ ﻳﻌﺸﻖ ﻳﻌﺸﻖ ﺑﻮس ﺑﻮس اﻻﻳﺪاﻻﻳﺪ واﻟﻌﺒﺪ دﻟﻮﻗﺘﻲواﻟﻌﺒﺪ ﻓﻴﻚﻳﻌﺸﻖ ﻳﻌﺸﻖ ﺑﻮسآﻼب ﺑﻮس اﻻﻳﺪوﻋﺒﻴﺪاﻻﻳﺪ واﻟﻌﺒﺪ دﻟﻮﻗﺘﻲ دﻟﻮﻗﺘﻲﻳﻌﺸﻖ دﻟﻮﻗﺘﻲ ﻓﻴﻚ ﻓﻴﻚ ﻓﻴﻚﺑﻮس آﻼب آﻼباﻻﻳﺪ آﻼب وﻋﺒﻴﺪوﻋﺒﻴﺪوﻋﺒﻴﺪ .”Yet it’s now “menial and scum دﻟﻮﻗﺘﻲ ﻓﻴﻚ آﻼب وﻋﺒﻴﺪ

دﻩ اﻟﺤﺮ ﻳﻌﺸﻖ ﺣﺐ اﻟﻮﻃﻦ دﻩ دﻩ دﻩ اﻟﺤﺮ اﻟﺤﺮ اﻟﺤﺮ ﻳﻌﺸﻖ ﻳﻌﺸﻖ ﻳﻌﺸﻖ ﺣﺐ ﺣﺐ ﺣﺐ اﻟﻮﻃﻦاﻟﻮﻃﻦاﻟﻮﻃﻦ ,Patriot are the liberal دﻩ اﻟﺤﺮ ﻳﻌﺸﻖ ﺣﺐ اﻟﻮﻃﻦ واﻟﻌﺒﺪ ﻳﻌﺸﻖ ﺑﻮس اﻻﻳﺪ While slaves approach the lickspittle واﻟﻌﺒﺪ واﻟﻌﺒﺪ واﻟﻌﺒﺪ ﻳﻌﺸﻖ ﻳﻌﺸﻖ ﻳﻌﺸﻖ ﺑﻮس ﺑﻮس ﺑﻮس اﻻﻳﺪاﻻﻳﺪاﻻﻳﺪ واﻟﻌﺒﺪ ﻳﻌﺸﻖ ﺑﻮس اﻻﻳﺪ