مجلة الخياط - العدد 39

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‫ﻣﻛﺗﺑﺔ اﻟﺧﯾﺎط اﻻﻟﻛﺗرﻭﻧﯾﺔ ﻟﻠطﺑﺎﻋﺔ ﻭ اﻟﻧﺷر‬ ‫‪ ٥‬ﻧﻭﻓﻣﺑر ‪٢٠١٧‬‬

‫رﺋﯾس ﻣﺟﻠس اﻷدارة‬ ‫اﯾﺎد اﻟﺧﯾﺎط‬

‫دﯾﻭان ) اﻧﺷﻭطﺔ اﻟﻠﯾل (‬

‫ﻣﻧﺗدﻯ اﻟﻧﺳﯾﺞ اﻟﻛﻭﻧﻲ اﻷدﺑﻲ‬

‫ﺍﻋﻣﺎﻧﻲ ﻋﺩﻡ ﺍﻻﺳﺗﻘﺻﺎء‬

‫ھوﺍﺟﺱ ﻣﺫﻋوﺭﺓ‬

‫ﻟﺳﺕ ﻧﺑﯾﻼ‬

‫ﯾﺎ ﺍﻧﺗﻣﺎ ‪ ،‬ﺳﺎﻓﺭ ﺻﺑﺭي ﺯﺍﺋﻔﺎ‬

‫ﻓﺑﺣﺭي ﯾﻛﻠﻣﻧﻲ‬

‫ﺣﻘﯾﺑﺗﻲ ﺩﺭﺏ ﺳﺗﺭوي ﻧﺩﻣـــﻲ‬

‫ﺍﯾﻥ ﺍﻟﻌﺩﺍﻟﺔ‬ ‫و ﺍﻟﺩﻧﯾﺎ ﺭﺍﻓﺿﯾﮭﺎ‬

‫و ﻟﻲ ﺧﯾﺎﻝ ﯾﻧطﻔﻲ ﻣﻌﺗــــﺫﺭﺍ‬

‫ﺟﺛﺙ ﻧووﯾﺔ‬

‫ﯾﺫوﺏ ﺗﺣﺕ ﺭؤﯾﺗﻲ ﺑﯾﻥ ﺩﻣﻲ‬

‫ﺗﺯﺥ ﻣﻥ ﻏﯾﻣﺎﺕ ﻛﯾﻣﯾﺎﺋﯾﺔ‬ ‫ﻣﺧطوطﺗﻲ ﺗﺄﻣﻠﺕ ﺧﯾﺎﻟﮭـــﺎ‬ ‫ﺯﻣﺎﻧﻲ ﻣﺩﻟﻝ ﺍﻋﻣﺎﻧﻲ ﺍﻟطﻣوﺡ‬

‫ﺗﺳﻠﻘﺗﻧﻲ ﻛﻲ ﺗﻧﺎﺟﻲ ﻗﻣﻣــﻲ‬

‫ﺩوﻥ ﺷﻌوﺭ‬ ‫ﺳﺭق ﻋﻣﺭي ﺩﻡ ﻣﻥ ﺑﺎﺭوﺩ‬

‫ﺗﺣﻛﻣﻧﻲ ھوﺍﺟﺱ ﻣﺫﻋـوﺭﺓ‬ ‫ﯾﻘﻠﻘﮭﺎ ﺍﻟﺑﺭق و ﺗﺧﺷﻰ ﻣﻥ ﻓﻣﻲ‬

‫ﺍﻋﻣﺎﻧﻲ ﺍﻻﺧﺑﺎﺭ‬ ‫ﺍﻋﻣﺎﻧﻲ ﺍﻻﺻوﺍﺕ‬

‫ﺳﺎﻋﺗﻧﻲ ﺑﺫﻋﺭھﺎ ﻣﮭﻣﺎ ﻗﺳﺕ‬

‫ﺍﻋﻣﺎﻧﻲ ﻋﺩﻡ ﺍﻻﺳﺗﻘﺻﺎء‬

‫وﻋﻠﻘﺕ ﻓؤوﺳﮭﺎ ﻓﻲ ﺻﻧﻣــــﻲ‬

‫ﻗﺑﻌﺗﻲ ﺍﻧﺗﻌﻠﺗﻧﻲ ﺗﺣﻣﯾﻧﻲ ﻣﻥ ﻗوﻗﻌﺗﻲ‬ ‫ﺍﺭﻣﯾﮭﺎ ﺑﻌﺩ ﺍﺳﺗﮭﻼﻛﻲ ﻟﻘﺩﻣﯾﮭﺎ‬ ‫و ﻓﻲ ﺍﻧﺗﺎﺟﮭﺎ‬ ‫ﺍﻧﺗﺟﮭﺎ‬

‫ﺍﯾﺎﺩ ﺍﻟﺧﯾﺎط‬

‫ﺍﯾﺎﺩ ﺍﻟﺧﯾﺎط‬

‫ﺗﺄﻧﯾﺏ ﺿﻣﯾﺭ ﻣﺎﺕ‬ ‫ﺍﻧﺗﻌﻠﻪ ﺍﻟﺷﺭ‬ ‫ﻣﺳﺗﺣﯾﻝ‬ ‫ﻣﺎ ﺑﻌﺩ ﺷﻛﻲ ﺑﻙ‬

‫ﻋﺎﺫﻟﺗﻲ ﺳﺟﻧﻲ ﻣﻧﺑﻭﺫ‬

‫ﯾﺻﺏ ﻭﺟﻬﻙ ﻛﺎﻟﻘﻣﺭ‬

‫ﻭ ﺣﺭﯾﺗﻲ ﻣﺣﺫﻭﻓﺔ‬ ‫ﻻ ﻣﻛﺎﻥ ﻟﻲ‬

‫ﺍﺷﻌﺭ ﺑﺎﻟﻐﺭﺍﺑﺔ‬

‫ﻭ ﺍﺧﻼﻗﻲ ﺑﺩأﺕ ﺗﺳﺗﻌﯾﺭ ﺍﻻﻧﻔﻼﺕ‬

‫ﺳﺎﺣﺭﺓ ﻣﺛﻠﻙ‬

‫ﺣﻛﺎﯾﺔ‬

‫ﺗﺷﺭﻕ ﻣﻧﻬﺎ ﺍﻟﺑﺭﺍءﺓ‬

‫ﺑﺎﻧﺎﻣﻠﻲ ﺗﺑﺧﺭﺕ‬ ‫ﺳﺎﺿﺣﻲ‬

‫ﺩﺟﺎﻟﺔ‬

‫ﻭ ﺍﺿﺣﻲ‬

‫ﻋﻠﻰ ﻣﺭﺍﯾﺎ‬

‫ﻭ ﻟﻛﻥ ﺟﺛﺗﻲ ﺳﺗﻣﻭﻉ‬

‫ﻣﻥ ﻓﺿﺔ‬

‫ﻭ ﺗﺑﺎﻉ ﺍﻟﻰ ﺍﻟﻣﺻﺎﺑﯾﻥ‬ ‫ﺑﺎﻟﺻﺩﺍﻉ‬

‫ﺗﺳﻣﻭ ﻋﻠﻰ ﺩﺭﺟﺎﺕ ﻣﻧﺧﻔﺿﺔ‬

‫ﻭ ﯾﺗﺭﻛﻭﻥ ﺍﻟﻣﺻﺎﺑﯾﻥ‬

‫ﻭ ﺍﻟﺷﻌﺏ ﯾﺟﺎﻭﺭﻧﻲ‬

‫ﺑﺎﻟﻛﺑﺩ ﻭ ﺍﻟﺑﻧﻛﺭﯾﺎﺱ‬

‫ﻣﻔﺟﻭﻋﺎ‬

‫ﺣﺗﻰ ﻗﻠﺑﻲ‬

‫ﻛﺩﻣﺎﺕ ﻋﻠﻰ ﺣﺯﻧﻬﻡ‬

‫ﺍﻧﺗﻌﻠﻪ ﺍﻟﺷﺭ‬

‫ﺯﺩﺕ ﺑﻬﺎ ﻛﺩﻣﺎﺕ ﺍﺧﺭﻯ‬ ‫ﻭ ﻁﯾﺭﻱ‬ ‫ﯾﺑﺣﺙ ﻋﻥ ﺍﻱ ﺣﻁﺏ‬ ‫ﺍﯾﺎﺩ ﺍﻟﺧﯾﺎﻁ‬

‫ﺍﯾﺎﺩ ﺍﻟﺧﯾﺎﻁ‬

‫ﺗﻔﻘﺱ‬

‫ﻟﻌﻧﺔ ﺍﻟﺣﺎﺿﺭ‬

‫ﻣﻌﺎھﺩﺓ ﺑﯾﻧﻧﺎ‬

‫ﻟﻘﻠﺑﻲ ﺳﺭ ﯾﺣﻣﻠﻪ‬

‫ﻟﻡ ﺗﻭﺍﻟﻲ ﺍﻻﻣﺛﺎﻝ ؟‬

‫ﺍﻟﻰ ﺍﻟﻘﺑﺭ ﺳﯾﺫﺑﻠﻪ‬

‫ﺗﺿﺭﻡ ﻓﯾﻧﺎ‬

‫ﻟﻛﻥ ﻭﺟﻌﻲ‬

‫ﺍﻟﺗﻔﺭﻗﺔ‬

‫ﯾﺭﺳﻭ ﻓﻲ ﻏﯾﺎﺑﻲ‬

‫ﻓﺎﻟﻁﯾﺭ ﺗﻔﻘﺱ ﺍﻟﻰ ﺍﺳﻣﺎﻙ‬

‫ﻻﻋﻠﻧﻪ ﻗﺑﻝ ﺫﺑﻭﻟﻪ‬ ‫ﻣﺎ ﺯﻟﺕ ﻣﺗﺄﻟﻣﺎ ﻋﻠﻰ ﺍﻟﻭﺍﺩﻱ‬

‫ﺍﯾﺎﺩ ﺍﻟﺧﯾﺎﻁ‬

‫ﻛﯾﻑ ﻣﺷﻰ ﻣﻥ ﻏﯾﺭﻱ‬ ‫ﻭ ﺗﺭﻙ ﺍﺣﻼﻣﻲ‬

‫ﺍﺯﺭﺍﺭﻩ ﻣﻐﻔﻼ‬

‫ﺍﻟﺳﺟﺎﺩﺓ ﺍﻟﺣﻣﺭﺍء‬ ‫ﺍﻋﻠﻧﺕ ﺳﺭھﺎ ﻷﻣﺷﻲ ﻋﻠﻰ ﺑﺳﺎﻁ ﻛﻠﺏ‬

‫ﻣﺎ ﺯﺭﺕ ﻭ ﺍﻟﻭﺭﺩﺓ ﺫﺍﺑﻠﺔ ؟‬

‫ﯾﺋﻥ ﻓﻲ ﺍﻟﻧﻭﺍﺩﻱ‬

‫ﺗﺻﺣﻭ ﻋﻠﻰ ﻧﻐﻣﺎﺕ ﻣﻥ ﺍﻟﻧﺑﺽ‬

‫ﻣﺗﻰ ﺍﺭﺗﻘﻲ ؟‬

‫ھﻝ ﺍﯾﻘﻧﺕ ﺍﻟﻛﻠﻣﺔ ﺍﻻﻭﻟﻰ ؟‬

‫ﺍﻟﻰ ﺍﻟﻛﻭﺍﻟﯾﺱ‬

‫ﻛﯾﻑ ﻟﻠﺣﻭﺭﯾﺎﺕ ﻛﻠﻣﺔ ﺍﻣﺎﻡ ﺍﻻﻧﺱ ﻭ ﺍﻟﺟﻥ ؟‬

‫ﻷﺷﻬﺩ ﻋﻠﻰ ﺣﺏ‬

‫ﺍﻋﺗﻠﻰ ﻋﻠﻰ ﻧﻭﺍﻓﺫﻱ ﻁﺎﺭﺣﺎ ﻣﺳﺄﻟﺗﻪ‬

‫ﻟﻌﻧﺔ ﺍﻟﺣﺎﺿﺭ‬

‫ﻓﻲ ﺗﺄﻧﯾﺑﻲ ﺍﻣﺎﻡ ﺗﻠﻙ ﺍﻟﻭﺭﺩﺓ‬ ‫ﺍﻟﻛﻠﻣﺔ ﺍﻟﺛﺎﻧﯾﺔ ﺑﯾﻥ ﺍﻟﺗﺧﺑﻁ‬ ‫ﻭ ﻟﻠﺛﺎﻟﺛﺔ ﻧﺻﯾﺏ ﺍﺧﺗﻔﻰ ﺍﺯﺭﺍﺭﻩ ﻣﻐﻔﻼ‬ ‫ﺍﯾﺎﺩ ﺍﻟﺧﯾﺎﻁ‬ ‫ﺍﯾﺎﺩ ﺍﻟﺧﯾﺎﻁ‬

‫ﺍﻟﺩﻭﻻﺏ‬

‫ﻧﺩﺍءﺍﺕ ﺍﻟﺭﺣﯾﻝ‬ ‫ﻣﺎﺫﺍ ﺣﺻﻝ ﻟﻲ ﻗﺑﻝ ﺍﻟﻛﺎﺭﺛﺔ‬

‫ﺯﻻﺟﺗــــــــــــــﻲ‬

‫ﺗﻌﺟﺭﻓﺕ ﻗﻧﺎﺩﯾﻠﻲ‬

‫ﺑﺣﺭ ﯾﻌﺎﻧﻲ ﻣﻥ ھﺩﻭء ﻋﺿﺗﻲ‬

‫ﺗﻭﺗﺭﺕ ﻧﺩﺍءﺍﺕ ﺍﻟﺭﺣﯾﻝ‬

‫ﺷﻣﺱ ﺗﻌﺎﻧﻲ ﻣﻥ ﺟﻣﻭﺩ ﺣﻘﺑﺗﻲ‬

‫ﻭﺩﻋﻧﻲ ﺍﻟﻣﺎء ﺑﻣﻭﺍء‬

‫ﻟﻲ ﺯﻭﺭﻕ ﻣﺎﺕ ﻋﻠﻰ ﺍﻧﺷﻭﺩﺗﻲ‬

‫ﺍﻧﺎ ﺷﻅﯾﺔ ﻭﺭﺛﺕ ﻣﺎﻻ ﻣﻥ ﺷﻅﯾﺔ‬

‫ﯾﻧﺑﺢ ﺩﻭﻥ ﺭﺳﻡ ﻟﺗﺯھﻕ ﻋﻔﺗـــﻲ‬

‫ﻓﺩﻣﺎﺭﻱ‬

‫ﺍﺳﻣـــــــــــــــــﺎﺋﻲ‬

‫ﻟﺣﻘﻧﻲ‬

‫ﺗﺷﺗﻣﻧﻲ ﻟﺗﺷﻧﻕ ﻓﺧﺎ ﻟﯾﺳﻘﻁ ﺗﺣﺕ ﺳﺫﺍﺟﺗﻲ‬

‫ﺍﻟﻰ ﺍﻟﺳﻭﺍﺩ‬

‫ﻓﺗﺣﺎﻭﺭﻧﻲ ﻟﺗﺩﻓﻊ ﺍﺟﺭ ﻏﺭﻗﻲ ﻓﻲ ﺍﻟﺩﻭﻻﺏ‬ ‫ﺗﺣﺎﻛﻲ ﺭﺻﺎﺻﺗﻲ ﻟﯾﺧﺗﻔﻲ ﺍﺩﻣﺎﻧﻲ‬

‫ﺍﻟﺣﻭﺍﺭ ﻣﻊ ﺣﻭﺍﺭﻱ‬

‫ﻋﻠﻰ ﺣﺑﻬﺎ ﺍﻋﺯﻑ ﻓﻲ ﺍﻟﺗــــــــﻭﺭﺍﺓ‬

‫ﺍﻧﺳﻲ ﺳﯾﺋﺎﺗﻲ‬

‫ﺍﻧﺟﯾﻼ‬

‫ﺧﺳﺭﺕ ﻧﻔﺳﻲ‬

‫ﻣﺎ ھﺫﺍ ؟‬

‫ﻗﺑﻝ ﺍﻻﺧﺗﺑﺎﺭ‬

‫ﻋﻠﻰ ﻣﺎﺋﺩﺗﻲ ﺻﻔﺎﺗﻲ ﺗﺑﺭﻡ ﺻﻔﻘﺔ ﻋﻠﻰ ﺷﺭﺍﺋﻲ‬

‫ﻛﺳﺑﺕ ﺭﻭﺣﻲ ﺗﺭﺩﺩﺍﺗﻲ‬

‫ﻣﺛﻝ ﺍﻟﺟﻭﺍﺭﻱ_‬

‫ھﺫﺍ ﺍﻟﻁﺭﯾﻕ ﺿﺩﻱ‬

‫ﺍﯾﻥ ﺍﺧﻼﺻﻲ؟‬

‫ﻣﻠﻌﻭﻥ ﻣﻥ ﺍﻟﺣﻭﺍﺭ‬ ‫ﻣﻊ ﺣﻭﺍﺭﻱ‬

‫ﺍﯾﺎﺩ ﺍﻟﺧﯾﺎﻁ‬

‫ﺍﯾﺎﺩ ﺍﻟﺧﯾﺎﻁ‬

‫َﺗﺟ ّﻠﯾﺎﺕ ﺍﻟ َﺩھْ َ‬ ‫ﺿﺔ ﻟﻠﺷﺎﻋﺭ‬ ‫ﺷﺔ ﻓﻲ ﺍﻟ َﻘﺻﺎﺋﺩ ﺍﻟﺷﻌﺭ ّﯾﺔ ﺍﻟﻭﺍ ِﻣ َ‬ ‫ﺍﻟﻌﺭﺍﻗﻲ ﯾﺣﯾﻰ ﺍﻟﺳﻣﺎﻭﻱ‬ ‫* ﺩﺭﺍﺳﺔ ﻧﻘﺩﯾﺔ *‬ ‫) ‪ (١‬ﺍﻟ ُﻣ َﻘﺩّﻣﺔ ‪-/‬‬

‫ﺣﻭﺭ ﺍﻟ َﺩ ْھ َ‬ ‫ﺷﺔ ))‪ surprising‬ﻓﻲ ﻣﻌﺎﻟﻡ ﺍﺑﺗﻛﺎﺭ ﺍﻟﻣﺧﺑﻭءﺍﺕ‬ ‫َﺗ َﺗ ْﻣ ُ‬ ‫ﺍﻟﺟﻣﺎﻟ ّﯾﺔ ﺍﻟﺗﻲ ﺗﺣﯾﻁ ﺑﻧﺎ‪ ،‬ﻭﻟَﻌﻝﱠ ﻣﻥ أھﻡ ﺍﺑﺗﻛﺎﺭﺍﺗﻬﺎ ﺍﻟﺣﯾﺎﺗﯾﺔ ﺍﻟﻌﻣﻠﯾﺔ‪،‬‬ ‫ﻭﺍﻟﻌﻠﻣﯾﺔ‪ ،‬ﻭﺍﻟﺳﯾﻣﺗﺭﯾﺔ‪ ،‬ھﻲ ﻅﻬﻭﺭ ﻣﻭﺍﻁﻥ ﻓﻌﺎﻟﯾﺗﻬﺎ ﺍﻟ ُﻣﺗﺣﻘﻘﺔ ﻋﻠﻰ‬ ‫ﻣﺳﺗﻭﯾﺎﺕ ﺍﻟﻧﻅﺭﯾﺎﺕ ﺍﻟﻛﺑﺭﻯ‪ ،‬ﻭﻭﻓﻕ ﺗﺟﺩﯾﺩ ﺍﻟﻧﻅﺭﺓ ﺍﻷﻭﻟﯾﺔ ﻟﻬﺎ‪ ،‬ﻭﻣﻥ‬ ‫ﺛﻡ ﻟﺗﺣﻘﯾﻕ ﻋﻣﻠﯾﺔ ﺗﻁﻭﺭھﺎ ﻭﻓﻕ ﻣﻧﻅﻭﻣﺔ ﻣﻼﺣﻕ ﺍﻻﻛﺗﺷﺎﻑ‬ ‫ﺍﻟﻣﺭﺗﻛﺯﺓ ﺑﺷﻛﻝ ﻓﺎﻋﻝ ﻋﻠﻰ ﻋﻭﺍﻟﻡ ﺍﺑﺗﻛﺎﺭ ﺍﻟﺩھﺷﺔ‪ ،‬ﻭﺗﻣﻅﻬﺭﺍﺕ‬ ‫ّ‬ ‫ﺍﻟﺣﺳﻲ‪،‬‬ ‫ﺍﻟﺑﺙ‬ ‫ﺍﻟﻣﻌﻧﻰ ﺍﻟﻣﻌﺭﻓﻲ‪ ،‬ﻭﺍﻟﺟﻣﺎﻟﻲ ﺍﻟ ُﻣﺳﺗﺗﺭ ﺩﺍﺧﻝ ﺟﺳﺩ‬ ‫ّ‬ ‫ﺍﻟﺷﻌﺭﻱ ﺍﻟﻭﺍﻣﺽ‪.‬‬ ‫ﺍﻟﻧﺹ‬ ‫ﻭﺍﻟﻔﻛﺭﻱ ﻓﻲ‬ ‫ّ‬ ‫ّ‬ ‫ﻭ ُﯾﻣﻛﻥ ﻟﻧﺎ ﻭﻓﻕ ﺍﻟ ﱠﻧﻅﺭﺓ ﺍﻟﻧﻘﺩ ّﯾﺔ ﺍﻟﻔﺎﺣِﺻﺔ ﺍﻋﺗﺑﺎﺭ )ﺍﻟﺩھﺷﺔ( ﻋﻠﻰ‬ ‫ّ‬ ‫ﺣﺭﺽ‪ ،‬ﻭﺍﻟ ُﻣﻠﺯﻡ‬ ‫ﻋﺎﻝ ﻣﻥ ﺍﻟ ُﻣﺣ ّﻔﺯﺍﺕ ﺍﻟﺩﺍﻓﻌﺔ‬ ‫ﻟﻠﺑﺙ ﺍﻟ ُﻣ ّ‬ ‫إﻧﻬﺎ ُﻣ َﺣ ّﻔﺯ ٍ‬ ‫ﺍﻟﻧﺎﺟﻊ ﺍﻵﻧﻲ ﻟﻠ ُﻣﺗﻐ ّﯾﺭ ﺍﻷﺳﺗﺷﺭﺍﻓﻲ ﻟﻣﻌﺎﻟﻡ ﺍﻟ َﺗﻐﯾﯾﺭ‪ ،‬ﻋﻠﻰ ﺍﻋﺗﺑﺎﺭھﻣﺎ‬ ‫ﺍﻟﻣِﻬﻣﺎﺯ ﺍﻟﺟﻣﺎﻟﻲ ﺍﻟﻧﺎﺟﻊ‪ ،‬ﻟﻼﺭﺗﻘﺎء ﺑﺎﻟﻭﻣﺿﺔ ﺍﻟﺷﻌﺭ ّﯾﺔ ﺣﯾﺙ ﻣﻌﺎﻟﻡ‬ ‫ﺍﺳﺗﻔﺯﺍﺯﯾﺔ‪ ،‬ﻭﺗﺣﻔﯾﺯﯾﺔ ﺗﻼﻣﺱ ﺷﻐﻑ ﺍﻟ َﺗﻠ ّﻘﻲ‪ ،‬ﻭﺗﺑﻌﺙ ﻋﻠﻰ ﺍﻟ ُﻣﺗﻌﺔ‪،‬‬ ‫ﺍﻟﻧﺹ ﻗﺩ ﺣﻘﻕ‬ ‫ﻭﺍﻹﺑﻬﺎﺭ‪ ،‬ﻭﺍﻟﻣﻔﺎﺟﺄﺓ‪ ،‬ﻭﺍﻟﺗﺷﻭﯾﻕ‪ ،‬ﻭﺑﺫﻟﻙ ﯾﻛﻭﻥ‬ ‫ّ‬ ‫ﺻﻝ َ إﻟﻰ إﻧﺷﺎء ﺟﺳﻭﺭ‬ ‫ُﻣﺭﺍﺩﻩ ﺍﻟﻔﺎﻋﻝ ﻓﻲ ﺫﺍﻛﺭﺓ ﺍﻹﻧﺻﺎﺕ‪ ،‬ﻭ َﺗ َﻭ ﱠ‬ ‫ﺳ ّﯾﺔ ﺍﻟ ُﻣﺭ ﱠﻛﺑﺔ‪ ،‬ﻹﻧﺟﺎح‬ ‫ُﻣ َﻌ ﱠﻣﺩﺓ ﺑﺎﻟ ُﻣﻠﺣﻘﺎﺕ ﺍﻟﻔﻛﺭ ّﯾﺔ ﺍﻟﻧﺎھﺿﺔ‪ ،‬ﻭﺍﻟ ِﺣ ّ‬

‫ﺍﻟﻣﻌﺎﺩﻟﺔ ﺍﻟﻘﺎﺋﻣﺔ ﺑﻁﺭﻓﯾﻬﺎ ﺍﻟﻣﺗﻼﺯﻣﯾﻥ )ﺍﻻﻧﺩھﺎﺵ‪ +‬ﺍﻟﺗﻭﺍﺻﻝ(‬ ‫ﻹﺣﯾﺎء ﺑﻭﺍﻋﺙ ﺍﻟﺗﺩﻭﯾﻥ ﺍﻟﺣﻘﯾﻘﻲ‪ ،‬ﻣﺭﻭﺭﺍً ﺑﺎﻻﺷﺗﻐﺎﻝ ﺍﻟﺗﺄﺳﯾﺳﻲ‪،‬‬ ‫ﻭﺻﻭﻻً ﻟﻣﻼﺣﻕ ﺍﻟﺫﺭﻭﺓ‪ ،‬ﺣﯾﺙ ﺑﺈﻣﻛﺎﻥ ﺍﻟﻭﻣﺿﺔ ﺍﻟ َ‬ ‫ﺷﻌﺭ ّﯾﺔ ﺍﻟﺧﺎﻁﻔﺔ‬ ‫ﺍﻟﺗﻲ ﺗﻣﺗﻠﻙ ﻣﻘﻭﻣﺎﺗﻬﺎ ﺍﻟﺗﺄﺛﯾﺛﯾﺔ ﺍﻟﻧﺎھﺿﺔ ﺩﺍﺧﻝ ﺗﺟﻠّﯾﺎﺕ ﺍﻟﻣﻌﻧﻰ ﻓﻲ‬ ‫)ﺍﻟ َﺑ ّ‬ ‫ﺍﻟﺣﺳﻲ‪ ،‬ﻭﺍﻟﻔﻛﺭﻱ( ﺍﻟﻠّﺫﺍﻥ ُﯾﺅﺳﺳﺎﻥ ﻟﻘﺎﻋﺩﺓ ﺍﻟﺟﺩﻭﻯ‬ ‫ﺙ‬ ‫ّ‬ ‫ﺍﻻﺳﺗﻘﺑﺎﻟﯾﺔ ﻟﺩﻯ ﺍﻟﻘﺎﺭﺉ‪ ،‬ﻭﺑﺈﻣﻛﺎﻧﻬﺎ ﺍﻟﺣﺻﻭﻝ ﻋﻠﻰ ﺟﻣﻠﺔ ﻣﻥ‬ ‫ﺳﻭﻏﺎﺕ )ﺍﻟ َﺑ ّﺛﯾﺔ( ﺍﻟﻔﺎﻋﻠﺔ ﻓﻲ ﺩﺍﺋﺭﺓ ﺍﻟ َﺗﻠ ّﻘﻲ‪ ،‬ﻭﺫﺍﻛﺭﺓ ﺍﻹﻧﺻﺎﺕ‪،‬‬ ‫ﺍﻟ ُﻣ ّ‬ ‫ﺑﺎﻻﺷﺗﻐﺎﻝ ﻋﻠﻰ ﺍﻷ ﱠﻧﺳﺎﻕ ﺍﻟﺑﻧﺎﺋﯾﺔ ﺍﻟﺭﺻﯾﻧﺔ‪ ،‬ﻭﺍﻟﻣﺭﺗﻛﺯﺍﺕ ﺍﻟﺟﻣﺎﻟﯾﺔ‬ ‫ﺍﻟﺭﺍﻗﯾﺔ‪ ،‬ﻭﺍﻟﻣﻧﺎھﺽ ﺍﻟﻔﻠﺳﻔﯾﺔ ﺍﻟﻌﺎﻟﯾﺔ‪.‬‬ ‫ﺍﻻﺳﺗِﺩﻻﻟ ّﯾﺔ ‪-/‬‬ ‫)‪ (٢‬ﺍﻟ َﻔ ْﺣ َﻭﻯ ْ‬ ‫ﻭﻭﻓﻕ ھﺫﺍ ﺍﻟﻣﻧﻁﻭﻕ ﺍﻟﺑ ّﺛﻲ‪ ،‬ﻭﺍﻟﺑﻧﺎﺋﻲ‪ ،‬ﻭﺍﻟﺟﻣﺎﻟﻲ‪ ،‬ﻭﺍﻟﻔﻠﺳﻔﻲ‪،‬ﺍﻟﺫﻱ‬ ‫ﺍﺳﺗﻌﺭﺿﻧﺎﻩ ﻓﻲ ﺍﻟﻣﻘﺩﻣﺔ‪ ،‬ﯾﻣﻛﻥ ﻟﻧﺎ ﺩﺭﺍﺳﺔ )ﺍﻟﻔﺣﻭﻯ ﺍﻻﺳﺗﺩﻻﻟﯾﺔ(‬ ‫ﻓﻲ ﻣﺷﺭﻭﻋﯾﺔ ﺗﺟﻠّﯾﺎﺕ )ﺍﻟﺩھﺷﺔ( ﻓﻲ ﺍﻟﻘﺻﺎﺋﺩ ﺍﻟﻭﺍﻣﺿﺔ ﻟﻠﺷﺎﻋﺭ‬ ‫ﺍﻟﻌﺭﺍﻗﻲ ﺍﻟﻛﺑﯾﺭ )ﯾﺣﯾﻰ ﺍﻟﺳﻣﺎﻭﻱ( ﻋﻠﻰ ﺿﻭء ﻗﯾﺎﻣﻧﺎ ﺑﺈﻧﺷﺎء ﺣﺎﺿﻧﺔ‬ ‫ﻧﻘﺩﯾﺔ ﺗﻘﻭﻡ ﻋﻠﻰ ﺍﻟﺗﺣﻠﯾﻝ‪ ،‬ﻭﺍﻟﺗﻔﺳﯾﺭ‪ ،‬ﻭﺍﻟﺗﺄﻭﯾﻝ ﻟﻠﻅﻭﺍھﺭ ﺍﻟﺩﻻﺋﻠﯾﺔ‪،‬‬ ‫ﺟﺳﺎﺕ ﺍﻟﺫﺍﺗﯾﺔ ﺍﻟ ّﻠﺣﻅﯾﺔ‪ ،‬ﻭﺍﻟﻣﺑﻌﻭﺛﺎﺕ ﺍﻟﺟﻣﻌﯾﺔ ﺍﻹﻧﺳﺎﻧﯾﺔ‪،‬‬ ‫ﻭﺍﻟ َﻣ ّ‬ ‫ﻭﺍﻟﻌﻭﺍﺭﺽ ﺍﻟﻣﺟﺗﻣﻌﯾﺔ ﺍﻟﻁﺎﺭﺋﺔ‪ ،‬ﻟﺗﻛﻭﻥ ﻛﻝ ﺗﻠﻙ ﺍﻟﻣﺑ ّﺛﻭﺛﺎﺕ ﺩﻋﺎﺋﻡ‬ ‫ﺗﺳﺗﺩﻋﻲ ﺍﻟﺷﺎﻋﺭ )ﺍﻟﺳﻣﺎﻭﻱ( ﻟﺗﻘﺩﯾﻡ ﻭﺟﺑﺔ ﻓﺎﺧﺭﺓ ﻣﻥ ﺍﻟﺗﺩﺍﻋﯾﺎﺕ‬ ‫ﺍﻟﺣﺳ ّﯾﺔ‪ ،‬ﻭﺍﻟﻔﻛﺭ ّﯾﺔ‪ ،‬ﻭﺍﻟﻣﺣﻛﻣﺎﺕ ﺍﻻﺑﺗﻛﺎﺭﯾﺔ‪ ،‬ﻟﺗﺅﺳﺱ ﻟﻭﻣﺿﺎﺗﻪ‬ ‫ﺍﻟﺷﻌﺭ ّﯾﺔ ﺣﺎﺿﻧﺔ ﻓﻠﺳﻔﯾﺔ ﺭﺍﻗﯾﺔ‪ ،‬ﻭﺟﻣﺎﻟﯾﺔ ﻣﺗﻘﺩﺓ‪ ،‬ﺗﻘﻭﺩﻩ ﺻﻭﺏ‬ ‫ﺇﻧﺷﺎء ﺳﯾﺎﻗﺎﺕ ﺗﻭﺍﻟﺩﯾﺔ ﻣﻧﺻﻬﺭﺓ ﻓﻲ ﺑﻭﺗﻘﺔ ﺍﻟﺗﻭﺍﺻﻝ ﺍﻹﺑﺩﺍﻋﻲ‬ ‫ﺍﻟﺧﻼﻕ‪ ،‬ﻭﻓﻲ ﺗﺣﻠﯾﻝ‪ ،‬ﻭﺗﻔﺳﯾﺭ‪ ،‬ﻭﺗﺄﻭﯾﻝ ﺟﻝ ّ ﺍﻟﻅﻭﺍھﺭ ﺍﻟﻣﺣﯾﻁﺔ ﺑﻪ‪،‬‬ ‫ﺑﺎﻋﺗﺑﺎﺭ)ﺍﻟﺩھﺷﺔ( ﺍﻟﻭﻟﯾﺩﺓ ﺍﻟﺷﺭﻋﯾﺔ ﻟﻠﻔﻠﺳﻔﺔ‪ ،‬ﻛﻣﺎ ﻗﺎﻝ ﺃﺭﺳﻁﻭ‪،‬‬ ‫ُﻣﺻﺭﺣﺎ ً‪-:‬‬

‫*)ﺇﻥ ﺍﻟﻔﻠﺳﻔﺔ ﻭﻟﯾﺩﺓ ﺍﻟﺩھﺷﺔ(*‬ ‫ﺇﻥ ﺗﻭﺍﻓﺭ ﺍﻟﻣﻌﺎﻟﻡ ﺍﻻﺑﺗﻛﺎﺭ ّﯾﺔ ﻟﻣﻼﻣﺢ )ﻟﺩھﺷﺔ( ﻓﻲ ﺍﻟﻭﻣﺿﺔ‬ ‫ﺍﻟﺷﻌﺭ ّﯾﺔ‪ ،‬ﻟﺩﻯ ﺍﻟﺷﺎﻋﺭ )ﺍﻟﺳﻣﺎﻭﻱ( ﺗﺗﻣﺣﻭﺭ ﻋﻠﻰ ﺟﻣﻠﺔ ﻣﻥ‬ ‫ﺍﻟﻣﻌﻁﯾﺎﺕ ﻟﺗﻭﻛﯾﺩ ﺃﺻﺎﻟﺗﻬﺎ‪ ،‬ﻭﺟﻣﻬﺭﺓ ﻣﻥ ﺍﻟﻣﻌﺎﯾﯾﺭ ﻟﺗﺣﻘﯾﻕ ﻣﺑﻌﻭﺛﺎﺗﻬﺎ‬ ‫ﺍﻟﻣﻬﺎﺭﯾﺔ‪ ،‬ﻭﺗﻭﺍﻟﺩﺍﺗﻬﺎ ﺍﻟﺗﺭﺍﺗﺑﯾﺔ ﺍﻟ ّﻠﺣﻅﯾﺔ‪ ،‬ﻣﻥ ﺧﻼﻝ ﻣﻭﺍﻁﻥ ﺍﺳﺗﺛﻣﺎﺭ‬ ‫ﺍﻟﺩﻻﻻﺕ ﺍﻟﻘﺻﺩﯾﺔ‪ ،‬ﺍﻟﺗﻲ ﻣﻥ ﺷﺎﻧﻬﺎ ﺗﺛﻭﯾﺭ ﺍﻟﻣﻛﺎﻣﻥ ﺍﻟﺟﻣﺎﻟﯾﺔ‪،‬‬ ‫ﻭﺍﻹﺩھﺎﺷﯾﺔ ﻓﯾﻬﺎ‪.‬‬ ‫ﻭﻟﻠﺣﺩﯾﺙ ﻋﻥ ﺍﻟﻌﻧﻭﺍﻥ ﺍﻟﺛﺎﻧﻲ ﻣﻥ ﻣﻭﺳﻭﻡ ﺍﻟﺩﺭﺍﺳﺔ ﺍﻟﻧﻘﺩﯾﺔ ﺍﻟﺗﻲ‬ ‫ُﺗﻌﻧﻰ ﺑﺗﺟﻠّﯾﺎﺕ ﺍﻟﻣﻌﻧﻰ ﻓﻲ ْ ّ‬ ‫ﺍﻟﺣﺳﻲ ﻭﺍﻟﻔﻛﺭﻱ‪ ،‬ﻋﻠﯾﻧﺎ ﺃﻥ ﻧﻘﻑ‬ ‫ﺍﻟﺑﺙ‬ ‫ّ‬ ‫ﺇﺯﺍء ﻣﺻﻁﻠﺢ )ﺍﻟﻣﻌﻧﻰ( ﺑﺎﻋﺗﺑﺎﺭﻩ ﺍﻟﺭﺣﻡ ﺍﻷﺻﯾﻝ‪ ،‬ﺍﻟﺫﻱ ﺗﺗﻭﺍﻟﺩ‬ ‫ﺍﻟﻘﺻﺩﻱ ﻟﻠﻭﻣﺿﺔ ﺍﻟﺷﻌﺭﯾﺔ‪.‬‬ ‫ﺑﺩﺍﺧﻠﻪ ﺟﻣﺎﻟﯾﺔ ﺍﻟﻣﺑﺛﻭﺙ‬ ‫ّ‬ ‫ﺍﻟﻧﻘﺩﻱ ‪ ..‬ﺃﻥ ﺍﻟﻣﻌﻧﻰ ﻓﻲ ﺗﺄﺛﯾﺙ ﺍﻟﻭﻣﺿﺔ ﺍﻟﺷﻌﺭﯾﺔ ﻟﺩﻯ‬ ‫ﻭﻓﻲ ﺭﺃﯾﻧﺎ‬ ‫ّ‬ ‫ﺍﻟﺷﺎﻋﺭ )ﯾﺣﯾﻰ ﺍﻟﺳﻣﺎﻭﻱ( ﯾﺗﻣﻅﻬﺭ ﻓﻲ ﺗﺟﻠﯾﺎﺗﻪ ﺍﻟﻛﺑﺭﻯ ﺩﺍﺧﻝ )ﺍﻷﻁﺭ‬ ‫ﺍﻟﺷﻛﻠﯾﺔ( ﻭ)ﺷﻛﻠﻧﺔ ﺍﻟﻣﻌﻧﻰ( ﺃﻱ )ﺍﻟﻔﺣﻭﻯ( ﻭﯾﺗﻡ ﻣﻥ ﺧﻼﻟﻪ ﺗﺄﺳﯾﺱ‬ ‫ﻣﻧﺎﺧﺎﺕ ﺟﻣﺎﻟﯾﺔ ﺣﺳ ّﯾﺔ‪ ،‬ﺗﺅﺛﺭ ﺍﺳﺗﺩﻻﻟﯾﺎ ً ﻓﻲ ﺗﺣﻭﯾﻝ ﺍﻟ ُﻣﺷﻔﺭ ﻣﻥ‬ ‫ﺃﻁﺭﻭﺣﺎﺕ ﺍﻟﻭﻣﺿﺔ ﺍﻟﻣﺭﻛﺯﺓ ﻟﺩﯾﻪ‪ ،‬ﺍﻟﻰ ﺃﻓﻼﻙ ﻣﻥ ﺍﻟﺻﻭﺭ ﺍﻟﺷﻌﺭﯾﺔ‬ ‫ﺛﺭﺍء‪ ،‬ﻭﺍﻷﻧﻘﻰ ﻋﻁﺎ ًء‪ ،‬ﻭﺍﻻھﻡ ﺗﺄﺛﯾﺭﺍً‪ ،‬ﻭﺍﻷﺑﻌﺩ‬ ‫ﺍﻟﻣﻛﺛﻔﺔ‪ ،‬ﺍﻷﻧﺿﺞ‬ ‫ً‬ ‫ﻋﻣﻘﺎ‪ ،‬ﻭﺍﻷﻛﺛﺭ ﺳﻼﺳﺔ‪ ،‬ﺑﺎﻟﺭﻏﻡ ﻣﻥ ﺗﻌﻘﯾﺩﺍﺗﻪ ﺍﻻﺳﺗﺛﻣﺎﺭﯾﺔ ﻓﻲ ﺑﻧﯾﺔ‬ ‫ﺍﻟﻭﻣﺿﺔ ﺍﻟﺷﻌﺭﯾﺔ‪.‬‬ ‫ﻭﻭﻓﻕ ھﺫﺍ ﺍﻟﻣﻧﻅﻭﺭ ﻟﻣﻔﻬﻭﻡ ﺍﻟﻭﻣﺿﺔ ﺍﻟﺷﻌﺭﯾﺔ ﻟﺩﻯ ﺍﻟﺷﺎﻋﺭ )ﯾﺣﯾﻰ‬ ‫ﺍﻟﺳﻣﺎﻭﻱ( ﻭﺣﯾﺛﯾﺎﺕ ﺍﻟﺗﻘﺎء ﺗﺟﻠﯾﺎﺕ ﺍﻟﺩھﺷﺔ‪ ،‬ﻭﺍﺳﺗﺛﻣﺎﺭ ﺍﻟﻣﻌﻧﻰ‬ ‫ﺩﺍﺧﻝ ﻗﻭﺍﻣﻬﺎ ﺍﻟﺷﻌﺭﻱ‪ ،‬ﻋﻠﯾﻧﺎ ﺍﻹﺷﺎﺭﺓ ﺃﯾﺿﺎً‪ ،‬ﺇﻟﻰ ﺃﻥ ﺍﻟﻣﻌﻧﻰ ﻋﻧﺩ‬

‫)ﺍﻟﺳﻣﺎﻭﻱ( ﯾﺷﯾﺭ ﺇﻟﻰ ﺗﻣﻅﻬﺭﺍﺕ ﺟﻣﻠﺔ ﻣﻥ ﺍﻟﻣﺧﺑﻭءﺍﺕ )ﺍﻟﻭﺟﺩﺍﻧﯾﺔ‬ ‫ﺍﻟﺣﺳﯾﺔ( ﻭ)ﺍﻟﻔﻛﺭ ّﯾﺔ ﺍﻟﺳﯾﺎﺳﯾﺔ( ﺍﻟﻣﺗﻭﺍﺋﻣﺗﺎﻥ ﻣﻊ ﻧﺳﻎ ﺍﻟﺩﻻﻻﺕ‬ ‫ﺍﻟﻘﺻﺩﯾﺔ ﺍﻟﻣﺑﻧ ّﯾﺔ ﻋﻠﻰ ﺍﻻﺷﺗﻐﺎﻻﺕ ﺍﻟﺗﺣﺭﯾﺿﯾﺔ ﻓﻲ ﻋﻣﻕ ﺍﻟﻣﺑ ّﺛﻭﺛﺎﺕ‬ ‫ﺍﻟﻅﺎھﺭﺓ‪ ،‬ﻭﺍﻟﺧﻔ ﱠﯾﺔ ﺍﻟﺗﻲ ﺗﺻﻁﺭﻉ ﻓﻲ ﻟﻭﺍﻋﺞ ﺍﻟﺷﺎﻋﺭ‪ ،‬ﻹﻅﻬﺎﺭھﺎ‬ ‫ﺑﺻﯾﻎ ﻣﺧﺗﻠﻔﺔ ﺍﻟﻣﻌﺎﻧﻲ‪ ،‬ﺑﺎﺳﺗﺧﺩﺍﻡ ﻣﺭﺟﻌﯾﺔ ﺍﻻﻧﺯﯾﺎﺡ‪ ،‬ﻭﺍﻟﺭﻣﺯ‪،‬‬ ‫ﻭﺍﻹﯾﺣﺎء‪ ،‬ﻭﺍﻟﺩﻻﻟﺔ‪ ،‬ﻟﺗﺣﻭﯾﻝ ﺍﻟﻣﻌﻧﻰ ﻋﻧﺩ )ﺍﻟﺳﻣﺎﻭﻱ( ﻣﻥ ﺷﻛﻠﻪ‬ ‫ﺹ‬ ‫ﺣﻲ ﺩﺍﺋﻡ‪ ،‬ﺩﺍﺧﻝ ﺑﻧﺎﺋﯾﺔ ﺍﻟ َﻧ ّ‬ ‫ﺍﻟﺛﺎﺑﺕ ﺍﻟ ُﻣ َﻘ ْﻭﻟَ ْﺏ‪ ،‬ﺇﻟﻰ ﺷﻛﻝ ُﻣﺗﺣﺭﻙ ّ‬ ‫ﺍﻟﺷﻌﺭﻱ ﺍﻟﻭﺍﻣﺽ‪ ،‬ﻭﺇﺣﺎﻟﺗﻪ ﺇﻟﻰ )ﻣﻌﻧﻰ ﺍﻟﻣﻌﻧﻰ( ﺍﻟﻣﺑﺛﻭﺙ ﻋﺑﺭ‬ ‫ّ‬ ‫ﺍﻟﺧﺯﯾﻥ ﺍﻟﺗﺟﺎﺭﺑﻲ‪ ،‬ﻭﺍﻟﻭﺟﺩﺍﻧﻲ‪ ،‬ﻭﺍﻟﻔﻛﺭﻱ‪ ،‬ﻭﺍﻟﺳﯾﺎﺳﻲ‪ ،‬ﻭﺍﻹﻧﺳﺎﻧﻲ‪،‬‬ ‫ﺗﺣﻭﻝ ﺍﻟﻣﻌﻧﻰ ﻟﺩﯾﻪ‪ ،‬ﺇﻟﻰ ﻣﻌﺎ ٍﻥ ﻟﯾﺳﺕ ﻟﻔﻅﯾﺔ‪،‬‬ ‫ﻭﺍﻟﻣﺟﺗﻣﻌﻲ ﻟﻠﺷﺎﻋﺭ‪ ،‬ﻟ َﯾ ﱠ‬ ‫ﺑﻝ ﻣﻌﺎ ٍﻥ ﺫﺍﺕ ﺩﻻﺋﻝ ﺗﺣﻔﯾﺯﯾﺔ ﻋﻠﻰ ﺍﻟﺗﺣﺭﯾﺽ‪ ،‬ﻣﻥ ﺧﻼﻝ ﻣﻌﺎﻟﻡ‬ ‫ﺍﻟﻣﺳﺗﺛﻣﺭﺍﺕ ﺍﻟﻠّﻐﻭﯾﺔ ﻭﺭﺻﺎﻧﺗﻬﺎ‪ ،‬ﻭﺗﺑﯾﺎﻥ ﻣﺎھﯾﺔ ﺍﻟﻘﺩﺭﺓ ﺍﻟﻔﺎﻋﻠﺔ‬ ‫ﺍﻟﻧﺹ‪ ،‬ﻋﻠﻰ ﺍﺳﺗﯾﻌﺎﺏ ﺫﻟﻙ ﺍﻟﺗﻛﺛﯾﻑ ﻓﻲ ﺍﻟﻠﻐﺔ‪،‬‬ ‫ﻟﻠﻣﻌﻧﻰ ﻓﻲ ﺟﺳﺩ‬ ‫ّ‬ ‫ّ‬ ‫ﻭﺑﺙ ﺍﻟﺩﻻﻻﺕ ﺍﻟﻬﺎﺩﻓﺔ ﺇﻟﻰ‬ ‫ﻭﺍﻻﺧﺗﺯﺍﻝ ﻓﻲ ﺍﻟﺻﻭﺭﺓ‪ ،‬ﻭﺍﻟﺗﺷﻔﯾﺭ‪،‬‬ ‫ﺍﻟﺗﺣﺭﯾﺽ‪ ،‬ﻋﺑﺭ ﻗﺻﺩﯾﺔ ﻛﺗﺎﺑﺔ )ﺍﻟﻭﻣﺿﺔ ﺍﻟﺷﻌﺭ ّﯾﺔ ﺍﻟﺳﻣﺎﻭﯾﺔ( ﺍﻟﺗﻲ‬ ‫ﺃ ﱠﺗﺳﻣﺕ ﺑﻁﺎﺑﻊ ﺍﻻﻗﺗﺻﺎﺩ ﻓﻲ ﻣﻌﺎﯾﯾﺭھﺎ ﺍﻟﺗﺩﻭﯾﻧﯾﺔ ﺍﻟﺑﻧﺎﺋﯾﺔ‪ ،‬ﻭﺷﺭﺍﺋﻁﻬﺎ‬ ‫ﺍﻟﻣﻭﺟﺯﺓ‪ ،‬ﻭﺗﺭﻛﯾﺑﺎﺗﻬﺎ ﺍﻟﻠّﻐﻭﯾﺔ ﺍﻻﻧﺯﯾﺎﺣﯾﺔ ﺍﻟﺑﺎﻟﻐﺔ ﺍﻟﺣﺿﻭﺭ‪،‬‬ ‫ﻭﺇﻧﺷﺎءﺍﺗﻬﺎ ﺍﻟﺻﻭﺭ ّﯾﺔ ﺍﻟﺷﻌﺭ ّﯾﺔ ﺍﻟﺭﻣﺯﯾﺔ‪ ،‬ﻭﺍﻹﯾﺣﺎﺋﯾﺔ‪ ،‬ﻭﺍﻟﺗﻠﻣﯾﺣﯾﺔ‪.‬‬ ‫ﻭﺑﻁﺑﯾﻌﺔ ﺍﻟﺣﺎﻝ ﺗﺄﺗﻰ ھﺫﻩ ﺍﻟﻣﻠﺯﻣﺎﺕ ﺍﻟﻧﺎھﺿﺔ‪ ،‬ﻣﻥ ﺧﻼﻝ ﻭﻋﻲ‬ ‫ﺍﻟﺷﺎﻋﺭ )ﯾﺣﯾﻰ ﺍﻟﺳﻣﺎﻭﻱ( ﺑﻣﻧﺟﺩﯾﺔ ﺍﻟﻠّﻐﺔ‪ ،‬ﻭﻣﻌﺭﻓﺗﻪ ﺑﺎﻟﺛﺎﺑﺕ‪،‬‬ ‫ﻭﺍﻟ ُﻣﺗﻐﯾﺭ ﻓﯾﻬﺎ‪ ،‬ﻭﻗﺩﺭﺗﻪ ﻋﻠﻰ ﻓﺭﺯ ﺍﻟﻣﺣﺳﻭﺳﺎﺕ ﻣﻥ ﺍﻟﻣﻌﺎﻧﻲ ﻭﺑ ّﺛﻬﺎ‬ ‫ﻋﻠﻰ ﻣﺳﺎﺣﺔ ﺫﺍﺕ ﻗﺻﺭ ﻓﺳﺣﻭﻱ ﺿﻣﻧﻲ‪ ،‬ﻟﻛﻧﻪ ﯾﺗﻣﺗﻊ ﺑﺟﻣﺎﻟﯾﺔ ﺫﺍﺕ‬ ‫ﺍﻟﻧﺹ‪ ،‬ﻟﺫﺍ ﻧﺟﺩ ﺍﻟﺷﺎﻋﺭ ُﻣ ْﻠ َﺯﻣﺎ ً ﻋﻠﻰ ﺗﻔﺟﯾﺭ‬ ‫ﻣﻭﺍﺯﯾﻥ ﻓﺎﻋﻠﺔ ﻓﻲ ﺟﺳﺩ‬ ‫ّ‬ ‫ﻁﺎﻗﺗﻪ ﺍﻟﺳﻠﺑﯾﺔ‪ ،‬ﻭﺍﻻﯾﺟﺎﺑﯾﺔ ﻟ ﱠﺗﺟﺳﯾﺩ )ﺍﻟﻣﻌﻧﻰ( ﺩﺍﺧﻝ ﺣﯾﺛﯾﺎﺕ‬ ‫ﺍﻟﻭﻣﺿﺔ‪ ،‬ﻭﺗﻭﻏﻠﻪ ﺩﺍﺧﻝ ﻭﻋﻲ ﺍﻟﻣﺗﻠﻘﻲ‪ّ ،‬‬ ‫ﺍﻟﺣﺳﻲ‪،‬‬ ‫ﻟﺑﺙ ﺍﻟﻣﺣﺭﺽ‬ ‫ّ‬ ‫ﻭﺍﻟﻔﻛﺭﻱ ﺍﻟﻛﺎﻣﻥ ﻓﯾﻪ‪ ،‬ﻭﺗﻧﺷﯾﻁﻪ‪ ،‬ﻭﻧﻘﻠﻪ ﺑﻁﺭﯾﻘﺔ ﺍﻟﺗﻔﺎﻋﻝ ﻟﻠﻣﺗﻠﻘﻲ‪،‬‬

‫ﻟﺗﺑﯾﺎﻥ ﻗﺩﺭﺗﻪ ﻋﻠﻰ ﻣﺟﺎﺭﺍﺕ ﺍﻟﻧﺹ‪ ،‬ﻟﻘﺩ ﺍﺳﺗﻁﺎﻉ )ﺍﻟﺳﻣﺎﻭﻱ( ﺃﻥ‬ ‫ﯾﻛﺷﻑ ﻋﻥ ﺃﻗﺻﻰ ﺩﺭﺟﺎﺕ ﻁﺎﻗﺎﺗﻪ ﺍﻟﺷﻌﺭ ّﯾﺔ‪ ،‬ﻋﺑﺭ ﺍﻟﻠّﻐﺔ‪ ،‬ﻭﺍﻟﺻﻭﺭﺓ‪،‬‬ ‫ﻭﺍﻟﺗﻛﺛﯾﻑ‪ ،‬ﻭﺍﻟﺗﺭﻣﯾﺯ‪ ،‬ﻭﺍﻟﺩﻻﻟﺔ ﻟﺧﻠﻕ ﺣﺎﻟﺔ ﻣﻥ ﺍﻟﻬﯾﺑﺔ ﻋﻠﻰ ﺍﻟ ُﻣﺗﺧﯾﻝ‪،‬‬ ‫ﻭﺍﻟﻭﺍﻗﻊ‪ ،‬ﻭﺇﻧﺷﺎء ﺑﻭﺗﻘﺔ ﺫﺍﺕ ﻣﺭﺗﻛﺯﺍﺕ ﻓﻬﻣﯾﺔ ﻋﺎﻟﯾﺔ ﻓﻲ ﺗﻁﻭﯾﻊ‬ ‫ﺑﻧﺎء‬ ‫)ﺍﻟﻣﻌﻧﻰ( ﻟﻠﻛﺷﻑ ﻋﻥ ﺍﻟ ُﻣﺗﻐﺎﯾﺭ ﺍﻟﺣﺩﺍﺛﻭﻱ‪ ،‬ﻟﺑﻧﺎء ﻭﻣﺿﺗﻪ ً‬ ‫ﺣﺳ ّﯾﺎً‪ ،‬ﻭﻓﻛﺭﯾﺎ ً ﻓﺎﺧﺭﺍً‪ ،‬ﻟﯾﺣﺻﻝ ﻋﻠﻰ ﻣﻭﺍﻁﻥ ﺍﻻﺳﺗﺟﺎﺑﺔ ﺍﻟﻌﻠﯾﺎ‪،‬‬ ‫ﻭﺍﻟﻣﺛﻠﻰ ﻣﻥ ﻟﺩﻥ ﺍﻟﻣﺗﻠﻘﻲ‪.‬‬

‫)‪ (٣‬ﺍﻟ َﻣﺭﺟ ِﻌ ّﯾﺎﺕ ﺍﻻﺳﺗﺛﻣﺎﺭ ّﯾﺔ ‪-/‬‬ ‫ﺇﻥ ﻣﻥ ﺑﯾﻥ ﺃھﻡ ﺍﻟﻣﺻﺎﺩﯾﻕ ﺍﻟﺗﻲ ﯾﻣﻛﻥ ﻟﻧﺎ ﺍﻹﺷﺎﺭﺓ ﺇﻟﯾﻬﺎ ﻓﻲ‬ ‫ﻣﺿﺎﻣﯾﻥ )ﺍﻟﻣﺭﺟﻌ ّﯾﺎﺕ ﺍﻻﺳﺗﺛﻣﺎﺭ ّﯾﺔ( ﺍﻟﺗﻲ ﺍﻋﺗﻣﺩ ﻋﻠﯾﻬﺎ ﺍﻟﺷﺎﻋﺭ‬ ‫)ﯾﺣﯾﻰ ﺍﻟﺳﻣﺎﻭﻱ( ﻓﻲ ﺗﺄﺛﯾﺙ ﻭﻣﺿﺗﻪ ﺍﻟﺷﻌﺭ ّﯾﺔ‪ ،‬ھﻲ ﺍﻟﻭﺿﻭﺡ ﺍﻟﺗﺎ ْﻡ‬ ‫ﺍﻟﻧﻭﻋﻲ ﺍﻟﻛﺎﻣﻥ‪ ،‬ﻭﺍﻟﺗﻭﺍﺯﻥ ﺍﻟﺑ ﱠﺛﻲ‪ ،‬ﻭﺍﻟﻣﻌ ّﯾﺎﺭ‬ ‫ﺍﻟ ُﻣﻌﺑﺭ‪ ،‬ﻭﺍﻟﻭﻋﻲ‬ ‫ّ‬ ‫ﺳﻲ ﺍﻟﻌﻣﯾﻕ‪ ،‬ﻭﺣﺿﻭﺭ ﺍﻟﻔُﺳﺣﺔ‬ ‫ﺍﻟﻔﻛﺭﻱ ﺍﻟﺛﺎﺑﺕ‪ ،‬ﻭﺍﻟﻧﺣﺕ ﺍﻟﺣ ّ‬ ‫ﺍﻟﺟﻣﺎﻟﯾﺔ‪ ،‬ﻋﻠﻰ ﺍﻋﺗﺑﺎﺭھﺎ ﺍﻥ ھﺫﻩ ﺍﻻﺷﺗﺭﺍﻁﺎﺕ ُﻣﻠﺯﻣﺔ ﻟﻠﺷﺎﻋﺭ ﻓﻲ‬ ‫ﺑﻧﺎء ﻭﻣﺿﺗﻪ ﺍﻟﺷﻌﺭ ّﯾﺔ ﻭﺇﻧﺗﺎﺝ ﺍﻋﺗﻘﺎﺩﻱ ﻟـ)ﺍﻟﻣﻌﻧﻰ( ﺑﺎﻋﺗﺑﺎﺭﻩ ﺭﻛﻥ‬ ‫ﺃﺳﺎﺳﻲ ﻓﻲ ﺇﺧﺿﺎﻉ ﻣﻠﻬﻣﺎﺕ ﺃﺩﻭﺍﺗﻪ ﺍﻟﻔﺎﻋﻠﺔ‪ ،‬ﻭﺍﻟﻣﺗﻔﺎﻋﻠﺔ ﻣﻊ ﺍﻟﻣﻌﺎﻟﻡ‬ ‫ﺍﻟﻧﺹ ﺍﻟﻭﻣﺿﻭﻱ ﻣﻥ ﺍﻟﻧﺎﺣﯾﺔ‬ ‫ﺍﻟﻣﺟﺎﻭﺭﺓ ﺍﻷﺧﺭﻯ ﺍﻟﺗﻲ ُﺗﻐﻧﻲ‬ ‫ّ‬ ‫ﺍﻻﺩھﺎﺷﯾﺔ‪ ،‬ﻭﺍﻷﺑﺗﻛﺎﺭﯾﺔ‪ ،‬ﻭﺍﻟﺗﻲ ﺗﺳﺎھﻡ ﻓﻲ ﺗﻛﺛﯾﻑ ﺍﻟﻣﻌﻧﻰ ﻟﯾﺻﻝ ﻓﻲ‬ ‫ﺑﻌﺽ ﺍﻷﺣﺎﯾﯾﻥ ﻓﻲ ﻭﻣﺿﺗﻪ ﺍﻟﺷﻌﺭ ّﯾﺔ‪ ،‬ﺇﻟﻰ ﺍ ّ‬ ‫ﺷﺩ ﺣﺎﻻﺕ ﺍﻟﻐﻣﻭﺽ‪،‬‬ ‫ﻭﺍﻟﺗﻌﻘﯾﺩ ﺍﻻﺳﺗﻘﺑﺎﻟﻲ‪ ،‬ﻷﻥ ﺍﻟﺩﻻﻟﺔ ﻓﻲ ﺍﻟﻣﻌﻧﻰ ﻟﺩﻯ )ﺍﻟﺳﻣﺎﻭﻱ( ُﺗﻔﺟﺭ‬ ‫ﺩﻻﻻﺕ ﺃﺧﺭﻯ ﻣﺣﺎﺫﯾﺔ ﻭﻓﻕ ﻣﻌﺎﯾﯾﺭ ﺍﻟﺗﺟ ّﻠﯾﺎﺕ )ﺍﻟﺣﺳ ّﯾﺔ‪+‬ﺍﻟﻔﻛﺭ ّﯾﺔ(‬ ‫ﻭﺍﻟﺗﻲ ُﯾﻣﻛﻥ ﺍﺳﺗﻧﺑﺎﻁ ﻧﺗﺎﺋﺟﻬﺎ ﺍﻟ ُﻣﺩھﺷﺔ ﻣﻥ ﺧﻼﻝ ﻭﺍﻋﺯ ﺗﻬﺷﯾﻡ‬ ‫ﺍﻟﻣﻌﻧﻰ ﺍﻟﻰ ﺟﺯﯾﺋﺎﺕ ﻣﻔﺻﻠﯾﺔ ﻣﻬﻣﺔ ﻓﻲ ﺩﻻﻻﺕ ﺍﻟﻣﻌﻧﻰ ﺍﻟﻭﺍﺣﺩ‪،‬‬

‫ﻟﺗﻭﺳﯾﻊ ﻣﺩﻟﻭﻝ ﺍﻟﺻﻭﺭﺓ ﺍﻟﺷﻌﺭ ّﯾﺔ‪ ،‬ﺑﺎﻋﺗﺑﺎﺭھﺎ ﺍﻟﺣﺎﻟﺔ ﺍﻻﻧﺗﻘﺎﻟﯾﺔ ﻣﻥ‬ ‫ﺍﻟ ُﻣﺩﻭﻥ ﺍﻟﺟﺎﻣﺩ‪ ،‬ﺍﻟﻰ ﺍﻟ ُﻣﺗﺧﯾﻝ ﺍﻟ ُﻣﺗﺣﺭﻙ‪ ،‬ﺍﻟﺫﻱ ﯾﺗﻐﺫﻯ ﻋﻠﻰ ﺍﻻﻧﺯﯾﺎﺡ‬ ‫ﺍﻟﻠّﻐﻭﻱ‪ ،‬ﻭﺑﻼﻏﺔ ﺍﻟﺗﻛﺛﯾﻑ‪ ،‬ﻭﺍﻟﺗﻧﺎﺹ ﻣﻊ ﺍﻟﻣﻘﺩﺱ‪ ،‬ﻭﻣﻭﺍﺭﺩ‬ ‫ﺍﻟﻣﯾﺛﻭﻟﻭﺟﯾﺎ‪ ،‬ﻭﺍﻷﺳﻁﻭﺭﺓ‪ ،‬ﻟﺧﻠﻕ ﺣﺎﻟﺔ ﻣﻥ ﺣﺎﻻﺕ ﺍﻟﺗﻔﺭﺩ ﻓﻲ ﺻﯾﺎﻏﺔ‬ ‫)ﺍﻟﻭﻣﺿﺔ ﺍﻟﺷﻌﺭ ّﯾﺔ( ﺍﻟﺭﺻﯾﻧﺔ‪.‬‬ ‫) ‪َ (٤‬ﺗ َﻣ ْﻅﻬﺭﺍﺕ ﺍﻟ َﻣﻌﻧﻰ ‪-/‬‬ ‫ﺍﻟﺷﻌﺭﻱ ﻓﻲ‬ ‫ﻟﻘﺩ ﺍﺗﺧﺫ )ﺍﻟﻣﻌﻧﻰ( ﺗﻣﻅﻬﺭﺍﺕ ﻋﺩﯾﺩﺓ ﻓﻲ ﺍﻟ ّﻧﺳﻕ‬ ‫ّ‬ ‫ﻣﺷﺭﻭﻉ ﻛﺗﺎﺑﺔ ﺍﻟﻭﻣﺿﺔ ﺍﻟﺷﻌﺭ ّﯾﺔ ﻟﺩﻯ ﺍﻟﺷﺎﻋﺭ ﺍﻟﻌﺭﺍﻗﻲ )ﯾﺣﯾﻰ‬ ‫ﺍﻟﺳﻣﺎﻭﻱ( ﻭھﻭ ﺃﻱ )ﺍﻟﻣﻌﻧﻰ( ﺍﻟﺣﺻﯾﻠﺔ ﺍﻟﻛﺑﺭﻯ ﻓﻲ ﺗﻭﺯﯾﻊ ﺟﻬﺩﻩ‬ ‫ﺍﻷﺩﺑﻲ‪ ،‬ﻭﺍﻟﻣﻌﺭﻓﻲ‪ ،‬ﻷﻧﻪ ﺩﺍﺋﻡ ﺍﻟﺑﺣﺙ ﻋﻥ ﺃھﻣﯾﺔ )ﻭﻅﯾﻔﺔ ﺍﻟﺷﻌﺭ(‬ ‫ﻭﻣﺩﯾﺎﺕ ﺗﺄﺛﯾﺭھﺎ ﻋﻠﻰ ﺍﻟﻌﻘﻝ ﺍﻟﺟﻣﻌﻲ‪ ،‬ﻭﻓﻲ ﺭﺃﯾﻧﺎ ﻧﺟﺩﻩ ﺩﺍﺋﻡ ﺍﻟﺳﺅﺍﻝ‬ ‫ﺍﻷﺯﻟﻲ ﺍﻟﻘﺎﺋﻡ ﻭﺍﻟﺫﻱ ﻣﻔﺎﺩﻩ‪-/‬‬

‫*)ھﻝ ﻟﻠﺷﻌﺭ ﻭﻅﯾﻔﺔ ﺃﺧﺭﻯ‪ ،‬ﻏﯾﺭ ﺗﺣﻘﯾﻕ ﺍﻟﻣﺗﻌﺔ‪ ،‬ﻭﺍﻟﺑﻬﺟﺔ(*؟‬

‫ﻟﯾﺗﺧﻁﻰ ﺫﻟﻙ ﺍﻟﺳﺅﺍﻝ ﺇﻟﻰ ﺣﯾﺯﺍﺕ ﺃﻛﺛﺭ ﻓﻌﺎﻟﯾﺔ ﻓﻲ ﻣﻧﻬﺞ ﻛﺗﺎﺑﺔ‬ ‫ﻭﻣﺿﺗﻪ ﺍﻟﺷﻌﺭﯾﺔ‪ ،‬ﻟﺗﻛﺗﺷﻑ ﻋﯾﻥ ﺍﻟﻧﺎﻗﺩ ﺍﻟ ُﻣﺑﺻﺭ ﺑﺄﻥ )ﺍﻟﺳﻣﺎﻭﻱ( ﻗﺩ‬ ‫ﺃﺿﺎﻑ ﻟﺗﻠﻙ ﺍﻟﻭﻅﯾﻔﺗﯾﻥ‪ ،‬ﻭﻅﺎﺋﻑ ﺃﺷﺗﻐﺎﻟﯾﺔ ﻓﻠﺳﻔﯾﺔ ﺃﺧﺭﻯ‪ ،‬ﺗﻛﻣﻥ ﻓﻲ‬ ‫ﺗﺛﻭﯾﺭ ﺍﻹﺣﺳﺎﺱ ﺍﻟﺟﻣﺎﻟﻲ ﺑﺎﻟﺻﻭﺭﺓ‪ ،‬ﻭﺍﻟﺗﺭﻛﯾﺏ ﺍﻟﻠّﻐﻭﻱ‪ ،‬ﻭﺍﻟﺗﺣﻠﯾﻕ‬ ‫ﺩﺍﺧﻝ ُﻣﺧﯾﻠﺔ ﺍﻟﺣ ّﯾﺔ‪ ،‬ﻭﺍﻻھﻡ ﻣﻥ ھﺫﺍ ﺍﻧﻪ ﺟﻌﻝ ﻟﻠﻣﻌﻧﻰ ﺍﻟﻭﺍﺣﺩ‪ ،‬ﻣﻌﻧﻰ‬ ‫ﻣﺟﺎﻭﺭ ﯾﻼﺻﻘﻪ ﻓﻲ ﺗﻔﺳﯾﺭ ﺍﻟﺻﻭﺭﺓ ﺍﻟﺷﻌﺭﯾﺔ‪ ،‬ﻓﻬﻭ ﻻ ﯾﻌﺗﺑﺭ ﺍﻟ ﱢ‬ ‫ﺷﻌﺭ‬

‫ﻣﺭﺣﻠﺔ ﻣﺅﻗﺗﺔ ﻟﺗﺩﺷﯾﻥ ﺍﻟﻔﺭﺹ ﺍﻟ ُﻣﺗﺎﺣﺔ ﻓﻲ ﻟﻌﺑﺔ ﺍﻟﺗﺩﻭﯾﻥ ﺍﻟﻌﺎﺑﺭ‪،‬‬ ‫ﻭﺍﻟﻐﯾﺭ ُﻣﺅﺛﺭ ﻋﻠﻰ ﺍﻟﻣﺳﺗﻭﻯ ﺍﻟﺫﺍﺗﻲ ﻟﻠﺷﺎﻋﺭ‪ ،‬ﺃﻭ ﻋﻠﻰ ﺍﻟﻣﺳﺗﻭﻯ‬ ‫ﺍﻻﺳﺗﻘﺑﺎﻟﻲ ﻣﻥ ﺍﻟﻣﺗﻠﻘﻲ‪ ،‬ﺑﻝ ﯾﻌﺗﺑﺭ ﺍﻟ ّ‬ ‫ﺷﻌﺭ ﻓﺿﯾﻠﺔ ﻛﺑﺭﻯ ُﻣﺟﺩﯾﺔ ﻓﻲ‬ ‫ﻧﻘﻝ ﺍﻟﻣﺛﯾﺭ ﺍﻟﻣﺅﺛﺙ ﺑﻁﺭﯾﻘﺔ ﺍﻟﺣﺎﻓﺯ ﺍﻟﺑ ّﺛﻲ ﺍﻟﻌﺎﻟﻲ‪ ،‬ﻭﺍﻟﺗﻛﻭﯾﻥ ﺍﻟﺑﻧﺎﺋﻲ‬ ‫ﺍﻟﺣﺳﻲ ﺍﻟ ُﻣﺭھﻑ‪ ،‬ﻭﺇﻅﻬﺎﺭ ﺍﻟﻣﻌﻧﻰ ﺍﻟﻔﻛﺭﻱ‬ ‫ﺍﻟﺭﺻﯾﻥ‪ ،‬ﻭﺍﻟﺗﺄﺳﯾﺱ‬ ‫ّ‬ ‫ﺍﻟﺛﻭﺭﻱ‪ ،‬ﻭﺍﻟﺗﺄﻛﯾﺩ ﻋﻠﻰ ﺇﻅﻬﺎﺭ ﻣﻌﺎﻟﻡ ﺍﻟﺗﺣﺭﯾﺽ‪ ،‬ﻭ َﻣﺻﺎﺩﯾﻕ ﺍﻟ َﺗﻐﯾﯾﺭ‪.‬‬ ‫ﺇﻥ ﺍﻟﻔﺎﺋﺩﺓ ﺍﻟﻧﺑﯾﻠﺔ ﺍﻟ ُﻌﻠﯾﺎ ﻟﻠﻭﻣﺿﺔ ﺍﻟﺷﻌﺭ ّﯾﺔ ﻋﻧﺩ )ﺍﻟﺳﻣﺎﻭﻱ( ﺗﻛﻣﻥ‬ ‫ﻓﻲ ﻗﻭﺍﻡ )ﺍﻟﻣﻌﻧﻰ( ﺍﻟ ُﻣﻌﺑﺭ ﻣﻥ ﺧﻼﻝ ﺗﺩﺍﺧﻝ ﺍﻷﻧﺳﺎﻕ ﺍﻟﺟﻣﺎﻟﯾﺔ ﻓﻲ‬ ‫ُﻣﺟﺭﯾﺎﺕ ﺍﻟﻐﻭﺹ ﺩﺍﺧﻝ ﺃﻋﻣﺎﻕ ﺍﻟﻣﻔﺭﺩﺓ ﻭﺗﺭﻛﯾﺑﺎﺗﻬﺎ ﺍﻟﻠّﻐﻭﯾﺔ‪،‬‬ ‫ﻻﺳﺗﺧﻼﺹ ﺍﺑﻌﺩ ﻣﺩﯾﺎﺗﻬﺎ ﺍﻟﺗﺄﺛﯾﺭﯾﺔ ﺍﻟ ُﻣﻘﯾﻣﺔ ﻓﻲ ﺣ ّﯾﺯھﺎ ﺍﻻﺳﺗﻧﻁﺎﻗﻲ‪،‬‬ ‫ﻭﺍﻟﺑﻼﻏﻲ‪ ،‬ﻭﻗﺩ ﺍﺧﺫ )ﺍﻟﺳﻣﺎﻭﻱ( ﻋﻠﻰ ﻋﺎﺗﻘﻪ ﻣﻬﻣﺔ ﻓﻲ ﻏﺎﯾﺔ‬ ‫ﺍﻟﺣﺳﻲ‪،‬‬ ‫ﺍﻟﺧﻁﻭﺭﺓ‪ ،‬ﻭﺑﺧﺎﺻﺔ ﻓﯾ ّﻣﺎ ﯾﺗﻌﻠﻕ ﻓﻲ ﺗﺛﻭﯾﺭ ﺍﻟ ُﻣﺣﺭﺽ‬ ‫ّ‬ ‫ﻭﺍﻟﻔﻛﺭﻱ ﻭ َﺑ ﱠﺛﻪ ﻓﻲ )ﻣﻌﻧﻰ ﺍﻟﻣﻌﻧﻰ( ﺩﺍﺧﻝ ﺍﻟﻭﻣﺿﺔ ﺍﻟﺷﻌﺭﯾﺔ‪ ،‬ﺍﻟﺗﻲ‬ ‫ﺍﺳﺗﻁﺎﻉ ﻣﻥ ﺧﻼﻟﻬﺎ ﺗﻭﺻﯾﻝ ﻋﺩﺓ ﻣﻌﺎ ٍﻥ ﻓﻲ ﻣﻌﻧﻰ ﻭﺍﺣﺩ‪ ،‬ﻭﻣﻌﻧﻰ‬ ‫ﺍﻟﻣﻌﻧﻰ ﻓﻲ ﺫﺍﺕ ﺣﺭﻛﺔ ﺍﻷﻧﺳﺎﻕ ﺍﻟﻠّﻐﻭﯾﺔ‪.‬‬

‫ﺍﻟﺣﺳ ّﯾﺔ ‪-/‬‬ ‫) ‪ ( ٥‬ﺍﻟ ُﻣﺛِﯾﺭﺍﺕ َ‬ ‫ﻣن اﻟﺗﻣظﮭرات اﻟﺗﻲ اﺷﺗﻐل ﻋﻠﻳﮭﺎ اﻟﺷﺎﻋر )ﻳﺣﻳﻰ اﻟﺳﻣﺎوي( اﺳﺗﺛﻣﺎر‬

‫ﺍﻟﺣﺳﻲ( ﻭﺍﺳﺗﺧﺩﺍﻣﻪ ﻛﺄﺛﺭ ﻓﺎﻋﻝ ﻓﻲ ﻋﻣﻠﯾﺔ ﺍﻟﺗﺩﺍﻭﻝ ﺍﻟﻌﻘﻠﻲ‪،‬‬ ‫)ﺍﻟﻣﺩﺭﻙ‬ ‫ّ‬ ‫ﻭﺍﻟﺫﻱ ﯾﻣﻛﻥ ﻣﻥ ﺧﻼﻟﻪ ﺍﻟﺗﻌﺭﻑ ﻋﻠﻰ ﺍﻟﻣﺣﯾﻁ ﺍﻟﺧﺎﺭﺟﻲ‪ ،‬ﺃﻭ ﺍﻟﻔﺿﺎء‬ ‫ﺍﻟﺣﺳ ّﯾﺔ( ﺍﻟﻣﺧﺗﻠﻔﺔ ﺍﻟﻣﻧﺷﺊ‪،‬‬ ‫ﺍﻟﻣﺟﺎﻭﺭ ﺍﻟﺫﻱ ﻧﺩﺭﻛﻪ ﻋﺑﺭ )ﺍﻟ ُﻣﺛﯾﺭﺍﺕ َ‬ ‫ﺍﻟﺣﺳﻲ‪ ،‬ﻻ ﯾﻘﺗﺻﺭ ﻋﻠﻰ‬ ‫ﻭھﻧﺎ ﻻﺑﺩ ﻣﻥ ﺍﻟﺗﺄﻛﯾﺩ ﻋﻠﻰ ﺃﻥ ﺍﻹﺩﺭﺍﻙ‬ ‫ّ‬ ‫ﺍﻟﻣﺛﯾﺭﺍﺕ ﺍﻟﺣﺳ ّﯾﺔ‪ ،‬ﻭﻻ ﺍﻟﺧﺻﺎﺋﺹ ﺍﻟﺷﻛﻠﯾﺔ‪ ،‬ﺃﻭ ﺍﻟﻁﺑﯾﻌﯾﺔ‪ ،‬ﺃﻭ‬

‫ﺍﻟﻣﺎﺩﯾﺔ‪ ،‬ﺍﻟﻣﺳﺗﻭﻓﯾﺔ ﻟﺷﺭﻭﻁ ﻗﺑﻭﻟﻬﺎ ﻋﻘﻠﯾﺎً‪ ،‬ﻭﻟﻛﻥ ﺍﻟﺣﺩﯾﺙ ھﻧﺎ ﯾﺷﻣﻝ‬ ‫ﺍﻟﻣﺩﺭﻙ ﺍﻟﺣﺳﻲ ﺍﻟﺑﺎﻁﻧﻲ )ﺃﻻﺷﻌﻭﺭﻱ( ﺍﻟﺫﻱ ﻣﻥ ﺧﻼﻟﻪ ﻧﺳﺗﻁﯾﻊ ﺃﻥ‬ ‫ﻧﺗﻠﻣﺱ ﻣﻌﺭﻓﺔ ﺍﻟﻣﻌﻧﻰ ﻭﺇﺩﺭﺍﻛﻪ‪ ،‬ﻭﺗﻔﻛﯾﻙ ﺍﻟﺭﻣﻭﺯ ﻭﻓﻬﻣﻬﺎ‪ ،‬ﻭﻭﻋﻲ‬ ‫ﺍﻟﺩﻻﻻﺕ ﻭﻣﻌﺎﻧﯾﻬﺎ‪ ،‬ﻭﻣﻌﺭﻓﺔ ﺍﻟﻣﺛﯾﺭﺍﺕ ﻓﻲ ﺍﻟﻣﻌﺎﻧﻲ‪ ،‬ﻓﺎﻷﺛﺭ ﺍﻟﺣﺳﻲ‬ ‫ﯾﻌﻧﻲ ﻣﻌﺭﻓﺔ ﻣﺑﺎﺷﺭﺓ ﻟﻸﺷﯾﺎء ﻋﻥ ﻁﺭﯾﻕ ﺍﻟﺣﻭﺍﺱ‪ ،‬ﻭھﻲ ﻋﻣﻠﯾﺔ‬ ‫ﺗﻠﻘﻲ‪ ،‬ﻭﺗﻔﺳﯾﺭ‪ ،‬ﻭﺗﺣﻠﯾﻝ‪ ،‬ﻭﺗﻧﻅﯾﻡ ﺍﻟﻣﻌﻠﻭﻣﺎﺕ ﺍﻟﺣﺳﯾﺔ ﻟﺑﻠﻭﺭﺓ ﺍﻟﻔﻛﺭﺓ‬ ‫ﺍﻷﺻﯾﻠﺔ ﻟﻌﻣﻠﯾﺔ ﺍﻟﺗﻠﻘﻲ ﺍﻟﻧﻭﻋﻲ ﻭھﺫﺍ ﻣﺎ ﺃﻁﻠﻕ ﻋﻠﯾﻪ ﺷﺧﺻﯾﺎ ً‬ ‫ﺑـ)ﺍﻟﻣﻧﻔﻌﺔ ﺍﻟﺣﺳ ّﯾﺔ(‪.‬‬ ‫ﺃﻱ ﺃﻥ ﺍﻟﻣﺩﺭﻙ ﺍﻟﺣﺳﻲ ﺑﺈﻣﻛﺎﻧﻪ ﺍﻟﻧﻔﺎﺫ ﺍﻟﻰ ﺍﻟﻭﻣﺿﺔ ﺍﻟﺷﻌﺭﯾﺔ‪،‬‬ ‫ﻟﺗﺣﻘﯾﻕ ﺃھﺩﺍﻓﻪ ﺍﻟﻧﺑﯾﻠﺔ ﻓﻲ ﺍﺳﺗﻘﺭﺍءھﺎ‪ ،‬ﻭﺗﻔﺳﯾﺭھﺎ‪ ،‬ﻭﺗﺣﻠﯾﻠﻬﺎ‪ ،‬ﻭﻓﻬﻡ‬ ‫ﺩﻻﻻﺗﻬﺎ‪ ،‬ﻭﺗﺷﻔﯾﺭﺍﺗﻬﺎ‪ ،‬ﻭ ُﻧﻅﻣﻬﺎ‪ ،‬ﻭﺇﺣﺎﻟﺗﻬﺎ ﺍﻟﻰ ﻣﻧﺎﻁﻕ ﺍﻟﺗﺄﻭﯾﻝ ﻋﺑﺭ‬ ‫ﺍﻟﻣﺩﺭﻙ ﺍﻟﺣﺳﻲ ﺍﻟﺫﻱ ﯾﻧﺗﺞ ﺑﺭﺃﯾﻧﺎ‪ ،‬ﻋﺑﺭ ﺍﻟﻭﻋﻲ ﺍﻟﺫﺍﺗﻲ ﺍﻟﻣﺗﺑﻧﻲ‬ ‫ﻟﻌﻣﻠﯾﺔ ﺍﻟﺗﻔﻛﯾﺭ ﺍﻟﻣﻠﻣﻭﺱ‪ ،‬ﻭﺍﻻﺳﺗﺷﻌﺎﺭ ﺍﻟﺣﺳﻲ‪ ،‬ﻭﺍﻟﻣﺩﺭﻙ ﺍﻟﻌﻘﻠﻲ‪.‬‬

‫ﺍﻟﻧﻘﺩﻱ ‪ ..‬ﻧﺭﻯ ﺑﺄﻥ ﺍﻟﺷﺎﻋﺭ )ﯾﺣﯾﻰ ﺍﻟﺳﻣﺎﻭﻱ( ﻗﺩ‬ ‫ﻭﻭﻓﻕ ﻣﻧﻅﻭﺭﻧﺎ‬ ‫ّ‬ ‫ﺍﻋﺗﻣﺩ ﻋﻠﻰ ﺟﻣﻠﺔ ﻣﻥ ﺍﻟﺷﺭﺍﺋﻁ ﺍﻟﺗﻲ ﯾﺟﺏ ﺗﻭﺍﻓﺭھﺎ ﻹﺣﺩﺍﺙ ﻋﻣﻠﯾﺔ‬ ‫ﺍﻟﺣﺳﻲ‪ ،‬ﻭھﻲ ﺑﺭﺃﯾﻧﺎ ﺗﻧﺣﺳﺭ ﺑﺎﻟﻧﻘﺎﻁ ﺍﻟﺗﺎﻟﯾﺔ ‪-:‬‬ ‫ﺍﻟﺗﻧﺷﯾﻁ ﻟﻠﻣﺩﺭﻙ‬ ‫ّ‬ ‫•‪- ١‬‬

‫ﺗﻭﺍﻓﺭ ﺍﻟﻣﺛﯾﺭ‪.‬‬

‫•‪- ٢‬‬

‫ﺍﻹﺣﺳﺎﺱ ﺑﺎﻟﻣﺛﯾﺭ‪.‬‬

‫•‪- ٣‬‬

‫ﻣﻌﺭﻓﺔ ﺍﻟﻣﺛﯾﺭ‪ ،‬ﻭﺇﺩﺭﺍﻛﻪ‪.‬‬

‫•‪- ٤‬‬

‫ﺍﻻﺳﺗﺩﻻﻝ ﻋﻠﻰ ﺍﻟﻣﺩﺭﻙ ﺍﻟﺣﺳﻲ‪.‬‬

‫•‪- ٥‬‬

‫ﺣﺻﻭﻝ ﺍﻻﺳﺗﺟﺎﺑﺔ ﺍﻟﻣﺛﻠﻰ ﻣﻥ ﺍﻟﻣﺗﻠﻘﻲ‪.‬‬

‫ﻭﻣﻥ ﺧﻼﻝ ھﺫﻩ ﺍﻟﺷﺭﺍﺋﻁ ﺍﻟﺧﻣﺱ ﺍﻟﺗﻲ ﺍﻋﺗﻣﺩھﺎ )ﺍﻟﺳﻣﺎﻭﻱ( ﺑﺭﺃﯾﻧﺎ‪،‬‬ ‫ﯾﻣﻛﻥ ﻟﻠﺫﺍﻛﺭﺓ ﺍﻟﺣﺳ ّﯾﺔ ﺍﻟﻭﺟﺩﺍﻧﯾﺔ ﺍﻟﻣﺗﻠﻘﯾﺔ ﻣﻥ ﺗﺻﻭﺭ ﺍﻟﻣﻌﺎﺩﻝ‬ ‫ﺍﻟﻭﻣﺿﻭﻱ ﺍﻟﻣﺑ ّﺛﻭﺙ ﺇﻟﯾﻬﺎ‪ ،‬ﻭﺍﻻﺳﺗﺩﻻﻝ ﻋﻠﯾﻪ‪ ،‬ﻭﺍﻟﺗﻔﻛﯾﺭ ﺑﻪ‪ ،‬ﻭﻣﻥ ﺛﻡ‬ ‫ﺇﺣﺎﻟﺗﻪ ﺍﻟﻰ ﻣﻼﺣﻕ ﺍﻟﺗﺣﻠﯾﻝ‪ ،‬ﻭﺍﻟﺗﺎﻭﯾﻝ‪ ،‬ﻭھﺫﺍ ﻣﺎ ﯾﺣﺩﺙ ﻓﻲ ﺣﺎﻟﺔ‬ ‫ﺍﺳﺗﻘﺑﺎﻝ ﺍﻟﻭﻣﺿﺔ ﺍﻟﺷﻌﺭﯾﺔ ﺑﻭﺻﻔﻬﺎ ﻗﯾﻣﺔ ﻋﺎﻟﯾﺔ ﻣﻥ ﻗﯾﻡ ﺍﻟﺑﺙ‬ ‫ﺍﻟﻠﺣﻅﻲ‪ ،‬ﺍﻟﺗﻲ ﺗﺣﻣﻝ ﺟﻝّ ﺍﻟﻣﯾﺯﺍﺕ‪ ،‬ﻭﺍﻟﺷﺭﺍﺋﻁ ﺍﻟﻣﺣﻔﺯﺓ‪ ،‬ﻹﺛﺎﺭﺓ‬ ‫ﺍﻟﺩھﺷﺔ‪ ،‬ﻭﺗﺟﻠّﯾﺎﺕ ﺍﻟﻣﻌﻧﻰ‪.‬‬

‫) ‪ ( ٦‬ﺍﻟ َﺑﻭﺍﻋﺙ ﺍﻟﻔﻛﺭ ّﯾﺔ ‪-/‬‬ ‫ُﺗﻌ ُﺩ )ﺍﻟﺑﻭﺍﻋﺙ ﺍﻟﻔﻛﺭﯾﺔ( ﻟﺩﻯ ﺍﻟﺷﺎﻋﺭ )ﯾﺣﯾﻰ ﺍﻟﺳﻣﺎﻭﻱ( ﻓﻲ ﻛﺗﺎﺑﺔ‬ ‫ﺍﻟﻭﻣﺿﺔ ﺍﻟﺷﻌﺭﯾﺔ ﻣﻥ ُﻣﻘﻭﻣﺎﺕ ﺍﻟ ﱠﻧﺳﻕ ﺍﻟﺗﻛﻭﯾﻧﻲ ﺍﻟ ُﻣﺣﻔﺯ ﻓﻲ ﺍﺛﺭ‬ ‫ّ‬ ‫ﺍﻟﺑﺙ ﺍﻟﺳﯾﺎﺳﻲ‪ ،‬ﻭﺍﻷﯾﺩﻟﻭﺟﻲ ﺍﻟﺫﻱ ﯾﻌﺗﻣﺩﻩ ﺍﻟﺷﺎﻋﺭ ﻓﻲ ﺍﻟﺗﺄﺛﯾﺭ ﻋﻠﻰ‬ ‫ﺍﻟﻭﻋﻲ ﺍﻟﺟﻣﻌﻲ‪ ،‬ﻭﺑﺧﺎﺻﺔ ﺩﺍﺋﺭﺓ ﺍﻟﺗﻠﻘﻲ‪ ،‬ﻷﻧﻪ َﯾ ّﻌﻲ ﺃھﻣﯾﺔ ﺗﻠﻙ‬ ‫ﺍﻟﺑﻭﺍﻋﺙ ﻓﻲ ﺗﻧﺷﯾﻁ ﺫﺍﻛﺭﺗﻪ ﺍﻟﻔﻛﺭﯾﺔ ﺍﻟﻣﻛﺗﻧﺯﺓ ﺑﺫﻟﻙ ﺍﻟﺧﺯﯾﻥ ﺍﻟﻣﻌﺭﻓﻲ‬ ‫ﺍﻟﻬﺎﺋﻝ ﺍﻟﺫﻱ َﻣ َﻛﻧ ُﻪ ﻣﻥ ﺍﺳﺗﻧﺑﺎﻁ )ﻟﻐﺔ ﺍﻟﺗﺧﺎﻁﺏ( ﺑﯾﻧﻪ‪ ،‬ﻭﺑﯾﻥ ﺍﻟﻣﺗﻠﻘﻲ‪،‬‬ ‫ﻓﻬﻭ ُﯾﻭﻗﻥ ﺑﺄھﻣﯾﺔ ﺍﻟﺩﻻﻻﺕ ﺍﻟﻔﻛﺭﯾﺔ ﺍﻟﻭﺍﻋﯾﺔ ﻓﻲ ﺍﺧﺗﺯﺍﻝ ﺍﻟﺻﻭﺭﺓ‬ ‫ﺍﻟﺫھﻧﯾﺔ‪ ،‬ﻹﻓﺭﺍﻏﻬﺎ ﻓﻲ ﻭﻣﺿﺗﻪ ﺍﻟﺷﻌﺭﯾﺔ ﻟﻣﻌﺭﻓﺗﻪ ﺍﻟﻣﺳﺑﻘﺔ ﺑﻘﻭﺍﻧﯾﻥ‪،‬‬ ‫ﻭﺃﺻﻭﻝ‪ ،‬ﻭﻣﺭﺟﻌﯾﺔ ﺍﻷﻓﻛﺎﺭ ﺍﻟﺗﻲ ﯾﺅﻣﻥ ﺑﻬﺎ‪ ،‬ﻭﺑﺎﻟﺗﺎﻟﻲ ﯾﻧﻌﻛﺱ ھﺫﺍ‬ ‫ﺍﻻﺷﺗﻐﺎﻝ ﺍﻟ ُﻣﻬﻡ ﻋﻠﻰ ﺍﻟﻔُﺳﺣﺔ ﺍﻟﻔﻛﺭ ّﯾﺔ ﺩﺍﺧﻝ ﺣﺿﻭﺭﻩ ﺍﻟﺫھﻧﻲ ﺍﻟ ُﻣ ﱠﺗﻘِﺩ‪،‬‬

‫ﻭﺍﻻﻧﻘﯾﺎﺩ ﺧﻠﻑ ﻭﺍﻋﺯﻩ ﺍﻟﻣﻌﺭﻓﻲ ﺍﻟﺣﺻﯾﻑ‪ ،‬ﻣﻌﺑﺭﺍ ﻣﻥ ﺧﻼﻝ ﺍﻟﻭﻣﺿﺔ‬ ‫ﺍﻟﺷﻌﺭﯾﺔ ﺍﻟﻣﻛﺛﻔﺔ ﺍﻟﻣﻌﻧﻰ‪ ،‬ﻭﺍﻟﻣﺧﺗﺯﻟﺔ ﺍﻟﺻﻭﺭﺓ‪ ،‬ﻭﺍﻟﻣﻘﺗﺻﺩﺓ ﺍﻟﺛﯾﻣﺔ‪،‬‬ ‫ﻭﺍﻟﻌﺎﻟﯾﺔ ﻓﻲ ﺍﺳﺗﺛﻣﺎﺭ ﺍﻟﻠﻐﺔ ﻟﻠﺗﻌﺑﯾﺭ ﻋﻥ ﻋﻭﺍﻟﻣﻪ ﺍﻟﻣﺭﺗﺑﻛﺔ ﺗﺎﺭﺓ‪،‬‬ ‫ﻭﺍﻟﻣﻐﺗﺑﻁﺔ ﺃﺧﺭﻯ‪ ،‬ﻭﺍﻟﺣﺯﯾﻧﺔ ﺛﺎﻟﺛﺔ‪ ،‬ﻓﻬﻭ ﺍﺑﻥ ﺷﺭﻋﻲ ﺑﺎﺭ ﻟﻣﺄﺳﺎﺓ‬ ‫ﻭﻁﻧﻪ ﺍﻟﻔﺎﺋﺗﺔ‪ ،‬ﻭﺍﻟﺣﺎﺿﺭﺓ‪ ،‬ﻭﻟﺩﯾﻪ ﺍﻟﻘﺩﺭﺓ ﺍﻟﺷﻌﺭﯾﺔ ﺍﻟﻔﺎﺋﻘﺔ ﻓﻲ‬ ‫ﺍﻟﺣﺭ ﻣﻥ ﺧﻼﻝ‬ ‫ﺗﺭﺟﻣﺔ ﺗﻠﻙ ﺍﻟﻣﺄﺳﺎﺓ‪ ،‬ﻭﺇﺣﺎﻟﺗﻬﺎ ﻟﻣﻧﻁﻘﺔ ﺍﻟﺗﻌﺑﯾﺭ‬ ‫ّ‬ ‫ﺍﻟﻭﻣﺿﺔ ﺍﻟﺷﻌﺭﯾﺔ‪ ،‬ﻓﻬﻭ ﯾﺳﻌﻰ ﻟﻠﻛﺷﻑ ﻋﻥ ﺍﻟﻘﯾﻣﺔ ﺍﻟﻔﻛﺭ ّﯾﺔ‪ ،‬ﻭﺗﺳﻠﯾﻁ‬ ‫ﺍﻟﺿﻭء ﻋﻠﻰ ﺟﻝ ّ ﺍﻷﻓﻛﺎﺭ ﺍﻟﻬﺟﯾﻧﺔ‪ ،‬ﻭﺍﻟﻐﯾﺭ ﺍﻧﺳﺎﻧﯾﺔ‪ ،‬ﻟﻺﻓﻼﺕ ﺻﻭﺏ‬ ‫ﻣﻼﺣﻕ ﺍﻟﺗﻐﯾﯾﺭ ﺑﻣﺭﺟﻌﯾﺔ ﺍﻟﻭﻋﻲ ﺍﻟﻌﺎﻡ‪ ،‬ﻭﺍﻟﺧﻼﺹ ﻟﻔﻛﺭ ﺍﻟﺗﺣﺭﺭ‪،‬‬ ‫ﻭﺍﻟﺗﺣﺿﺭ‪ ،‬ﻭﺍﻟﻧﻔﻭﺭ ﻣﻥ ﺍﻟﺳﺎﺋﺩ ﺍﻟﻣﺗﺣﻛﻡ‪ ،‬ﻭﺍﻟﻣﺄﻟﻭﻑ ﺍﻟﻁﺎﻏﻲ‪،‬‬ ‫ﻭﺍﻟﺗﻘﺭﯾﺭﻱ ﺍﻟﺟﺎﻣﺩ ﺍﻟﻐﯾﺭ ُﻣ ﺗﺣﺭﻙ‪ ،‬ﻓﻬﻭ ﺗﻌﺗﻣﺩ ﻋﻠﻰ ﻓﻠﺳﻔﺗﻪ ﺍﻟﻔﻛﺭ ّﯾﺔ‪،‬‬ ‫ﻭﺍﻟﺟﻣﺎﻟﯾﺔ‪ ،‬ﻓﻲ ﻧﻘﻝ ﺻﻭﺭﺗﻪ ﺍﻟﻭﻣﺿﻭﯾﺔ ﺍﻟﺷﻌﺭﯾﺔ ﺍﻟﻰ ﺣﯾﺯﺍﺕ‬ ‫ﺍﻹﺷﻬﺎﺭ‪ ،‬ﻟﯾﻛﻭﻥ ﺍﻟﻔﺎﻋﻝ ﺍﻷﺳﺎﺱ ﻓﻲ ﺫﺍﻛﺭﺓ ﺍﻟﺗﻠﻘﻲ‪ ،‬ﻭﺩﺍﺋﺭﺓ‬ ‫ﺍﻹﻧﺻﺎﺕ‪.‬‬

‫ﺿﺔ ﺍﻟﺷﻌﺭ ّﯾﺔ ‪-/‬‬ ‫ﺍﻟﻭ ْﻣ َ‬ ‫)‪َ (٧‬ﺧﺻﺎ َﺋﺹ َ‬ ‫ﻧﺣﻥ ﻧﻌﺗﺑﺭ ﻭﻭﻓﻕ ﻭﺟﻬﺔ ﻧﻅﺭﻧﺎ ﺍﻟﻧﻘﺩﯾﺔ ‪ ..‬ﺑﺄﻥ ﺍﻟﻣﻬﻣﺔ ﺍﻷﺻﯾﻠﺔ‬ ‫ﻟﻠﻭﻣﺿﺔ ﺍﻟﺷﻌﺭﯾﺔ‪ ،‬ھﻲ ﺇﺣﺩﺍﺙ )ﺯﻣﻥ َﺗ ّﻠﻘﻲ ﺍﺳﺗﻔﺯﺍﺯﻱ( ﻋﻠﻰ‬ ‫ﺍﻟﻣﺳﺗﻭﻯ ﺍﻟﺫﺍﺗﻲ‪ ،‬ﺍﻟﺫﻱ ﯾﺗﻌﺩﻯ ﺣﺩﻭﺩ ﺯﻣﻛﺎﻧﯾﺔ ﺍﻟﺗﺩﻭﯾﻥ‪ ،‬ﻟﯾﺳﺗﻘﺭ‬ ‫ﺩﺍﺧﻝ ﻣﺣﯾﻁ ﺍﻟﻌﻘﻝ ﺍﻟﺟﻣﻌﻲ‪ ،‬ﻟﯾﺅﺳﺱ ﻟﻪ ﺣﺎﺿﻧﺔ ﻣﺳﺗﻭﻓﯾﺔ ﻟﺗﻭﺍﺟﺩ‬ ‫ﺳﺎﺕ ﺍﻟﺣﺳ ّﯾﺔ‪،‬‬ ‫ﺟﻣﻠﺔ ﻣﻥ ﻣﺗﺭﺍﻛﻣﺎﺕ ﺍﻟﻣﻭﺍﻗﻑ ﺍﻹﻧﺳﺎﻧﯾﺔ‪ ،‬ﻭﺍﻟﻣﺟ ّ‬ ‫ﻭﺍﻟﻣﺣﺭﺿﺎﺕ ﺍﻟﻔﻛﺭ ّﯾﺔ‪ ،‬ﺍﻟﺗﻲ ﯾﻘﻊ ﻋﻠﻰ ﻋﺎﺗﻕ ﺍﻟﻭﻣﺿﺔ ﻓﯾﻬﺎ‪ ،‬ﻣﻬﻣﺔ‬ ‫ﺍﻟﺗﻐﯾﯾﺭ ﺍﻟﺟﺫﺭﻱ ﺍﻟﺟﻣﻌﻲ‪.‬‬

‫ﺇﻥ ﺍﻟﻣﻬﺎﻣﯾﺯ ﺍﻟﻭﻋﯾﻭﯾﺔ ﻟﻠﻭﻣﺿﺔ ﺍﻟﺷﻌﺭ ّﯾﺔ ﻟﺩﻯ ﺍﻟﺷﺎﻋﺭ ﺍﻟﻌﺭﺍﻗﻲ‬ ‫ﺍﻟﻛﺑﯾﺭ )ﯾﺣﯾﻰ ﺍﻟﺳﻣﺎﻭﻱ( ﺗﻌﺗﻣﺩ ﻋﻠﻰ ﺃُﻁﺭ ﺷﻛﻠﯾﺔ‪ ،‬ﻭﺧﺎﺋﺹ ﺍﺳﺗﺛﻣﺎﺭ‬ ‫ﺍﻟﺣﺳﯾﺔ‪،‬‬ ‫ﺗﻌﺑﯾﺭﯾﺔ ﺗﺗﻣﻅﻬﺭ ﻓﻲ ﻣﺟﻣﻝ ﺍﻟﻣﺣﻔﺯﺍﺕ ﺍﻟﺩﺍﺧﻠﯾﺔ ﻭﺍﻟﺧﺎﺭﺟﯾﺔ‬ ‫ّ‬ ‫ﻭھﻲ ﻧﻘﻠﺔ ﺇﺑﻬﺎﺭﯾﺔ ﺩھﺷﻭﯾﺔ ﺗﺩﻕ ﻓﻲ ﺫﺍﺕ ﺍﻟﻣﺗﻠﻘﻲ ﺟﺭﺱ ﺍﻹﻧﺫﺍﺭ‬ ‫ﺍﻻﺳﺗﯾﻌﺎﺑﻲ‪ ،‬ﻟﯾﻛﻭﻥ ﺃﻛﺛﺭ ﻭﻋﯾﺎ ﻓﻲ ﺍﺳﺗﻠﻬﺎﻡ ﻣﻌﺎﻧﯾﻬﺎ ﺍﻟﻣﺷﻔﺭﺓ‪،‬‬ ‫ﻭﺇﺣﺎﻟﺗﻬﺎ ﺍﻟﻰ ﺫﺍﻛﺭﺗﻪ ﺍﻟﺗﻔﺳﯾﺭﯾﺔ‪ ،‬ﻟﯾﻛﻭﻥ ﺍﻟﺷﺭﯾﻙ ﺍﻟﻣﺅﺛﺭ ﻣﻊ ﺍﻟﺷﺎﻋﺭ‬ ‫)ﺍﻟﺳﻣﺎﻭﻱ( ﻓﻲ ُﻣﺗﻐﯾﺭﺍﺕ ﺑﻣﺟﻣﻝ ﺍﻟﺗﺟﺭﺑﺔ‪ ،‬ﻭﻗﺩ ﺁﻟﺕ ﺗﻠﻙ ﺍﻟﻣﻧﺎﻓﻊ‬ ‫ﺍﻟﺟﻭھﺭﯾﺔ ﻟﻠﻭﻣﺿﺔ ﺍﻟﺷﻌﺭﯾﺔ ﺍﻟﻰ ﺍﻟﺗﺩﺍﺧﻝ ﻓﻲ ﻣﻌﺎﺭﻑ ﺍﻟﺷﺎﻋﺭ‪،‬‬ ‫ﻟ ُﯾﺣﻠﯾﻬﺎ ﺍﻟﻰ ﺗﻌﺑﯾﺭ ﺻﻭﺭﻱ ﺷﻌﺭﻱ ﻣﻛﺛﻑ‪ ،‬ﯾﺧﺗﺯﻝ ﻓﯾﻬﺎ ﺟﻝ ّ ﻣﺎ ﯾﺟﻭﻝ‬ ‫ﻓﻲ ﺧﻠﺟﺎﺗﻪ ﺍﻹﻧﺳﺎﻧﯾﺔ‪ ،‬ﻭﺍﻟﺣﺳ ّﯾﺔ ﺍﻟﻭﺟﺩﺍﻧﯾﺔ‪ ،‬ﻭﺍﻟﻔﻛﺭﯾﺔ ﺍﻟﺗﺣﺭﯾﺿﯾﺔ‪،‬‬ ‫ﻭﯾﻣﻛﻥ ﻟﻧﺎ ﺇﯾﺟﺎﺯ ﺧﺻﺎﺋﺹ ﺍﻟﻭﻣﺿﺔ ﺍﻟﺷﻌﺭﯾﺔ ﺍﻟﺗﻲ ﺍﻋﺗﻣﺩھﺎ ﺍﻟﺷﺎﻋﺭ‬ ‫)ﯾﺣﯾﻰ ﺍﻟﺳﻣﺎﻭﻱ( ﺑﺎﻟﻧﻘﺎﻁ ﺍﻟﻔﺎﻋﻠﺔ ﻓﻲ ﺃﺟﺳﺎﺩھﺎ ﺍﻻﺩھﺎﺷﯾﺔ ﻓﯾﻣﺎ‬ ‫ﯾﻠﻲ‪-:‬‬ ‫•‪ -١‬ﺍﻋﺗﺑﺎﺭ ﺍﻟﻭﻣﺿﺔ ﺍﻟﺷﻌﺭﯾﺔ ﻣﻧﺻﺔ ﻣﻥ ﺍﻟﻣﻧﺻﺎﺕ ﺍﻟﺣﺩﯾﺛﺔ ﺍﻟﺗﻲ‬ ‫ﺍﻋﺗﻣﺩھﺎ )ﺍﻟﺳﻣﺎﻭﻱ( ﺑﻛﻠﯾﺗﻬﺎ ﻓﻲ ﺍﻟﺗﻛﺛﯾﻑ ﻓﻲ ﺍﻟﺻﻭﺭﺓ‪ ،‬ﻭﺍﻹﯾﺟﺎﺯ ﻓﻲ‬ ‫ﺍﻟﻠﻐﺔ‪ ،‬ﻭﺍﻟﻘﺻﺩﯾﺔ ﻓﻲ ﺍﻟﻣﻌﻧﻰ ﺍﻟﻣﺑ ّﺛﻭﺙ ﻓﯾﻬﺎ‪.‬‬ ‫•‪ -٢‬ﺗﺭﺗﻛﺯ ﺍﻟﻭﻣﺿﺔ ﻋﻧﺩ )ﺍﻟﺳﻣﺎﻭﻱ( ﻋﻠﻰ ﺿﻭﺍﺑﻁ ﺫﺍﺕ ﻣﻧﺎﻓﻊ‬ ‫ﻓﻛﺭﯾﺔ‪ ،‬ﻭﺭﺑﻣﺎ ﺃﻁﺭﻭﺣﺎﺕ ﺳﯾﺎﺳﯾﺔ‪ ،‬ﻭﺍﺟﺗﻣﺎﻋﯾﺔ ﺗﺷﻲ ﻋﻥ ﻣﺳﺗﺗﺭﺍﺗﻬﺎ‬ ‫ﻋﺑﺭ ﻗﺻﺭھﺎ‪.‬‬ ‫•‪ُ -٣‬ﺗﻌ ُﺩ ﺍﻟﻭﻣﺿﺔ ﻟﺩﻯ )ﺍﻟﺳﻣﺎﻭﻱ( ﻣﻥ ﺍﻟﻘﺻﺎﺋﺩ ﺍﻟﺷﻌﺭﯾﺔ ﺍﻟﻘﺻﯾﺭﺓ‬ ‫ﺍﻟ ُﻣﻠﻐﻣﺔ ﺑﺎﻟﺗﺷﻔﯾﺭ‪ ،‬ﻭﺍﻟﺩﻻﻟﺔ‪.‬‬ ‫•‪ -٤‬ﺍﻟﻭﻣﺿﺔ ﻓﻲ ﻣﻌﯾﺎﺭ )ﺍﻟﺳﻣﺎﻭﻱ( ھﻲ ﺗﺩﻓﻕ ﺍﻟ ﱠﻧﺳﻕ ﺍﻟﺷﻌﻭﺭﻱ‬ ‫ﺍﻟﻘﺻﺩﻱ‪ ،‬ﻭﺃﻻ ﺷﻌﻭﺭﻱ‪ ،‬ﻭﺍﻟﻣﺧﯾﺎﻟﻲ ﺍﻟﺩﺍﻋﻡ ﻟﺗﺄﺛﯾﺙ ﺍﻟﺻﻭﺭﺓ‪.‬‬

‫•‪ -٥‬ﺗﻧﺎﺳﺏ ﺍﻟﻭﻣﺿﺔ ﺍﻟﺷﻌﺭﯾﺔ ﻟﺩﯾﻪ‪ ،‬ﻣﻊ ﺇﯾﻘﺎﻉ ﺍﻟﻌﺻﺭ ﻓﻲ ﻣﺩﯾﺎﺕ‬ ‫ﺍﻟﺗﻠﻘﻲ‪ ،‬ﻭﻣﺟﺳﺎﺕ ﺍﻹﻧﺻﺎﺕ‪.‬‬ ‫ﻭﺍﻟﺟﻣﻝ‪ ،‬ﻟﻠﻭﺻﻭﻝ ﺍﻟﻰ‬ ‫•‪ -٦‬ﻗﻭﻝ ﺍﻟﻛﺛﯾﺭ‪ ،‬ﺑﺎﻟﻘﻠﯾﻝ ﻣﻥ ﺍﻷﻟﻔﺎﻅ‪،‬‬ ‫ُ‬ ‫ﺍﻟﻣﻌﻧﻰ‪.‬‬ ‫ﺍﻟﺗﺣﻭﻝ ﺇﻟﻰ ﺟﻧﺱ ﻣﻥ‬ ‫•‪َ -٧‬ﺗ َﺗ ّﻣﺣﻭﺭ ﺍﻟﻭﻣﺿﺔ ﻟﺩﻯ )ﺍﻟﺳﻣﺎﻭﻱ( ﺣﻭﻝ‬ ‫ّ‬ ‫ﺍﻷﺟﻧﺎﺱ ﺍﻟﺷﻌﺭ ّﯾﺔ ﺍﻟﺣﺩﺍﺛﻭﯾﺔ ﺍﻟﺗﻲ ﺗﺷﻔﻊ ﻟﻪ ﺑﺎﻻﺧﺗﺻﺎﺭ ﺩﻓﻌﺎﺗﻬﺎ‬ ‫ﺍﻟﺗﻧﻭﯾﺭﯾﺔ‪ ،‬ﻭﺑ ّﺛﻬﺎ ﺍﻟﻣﺣﺭﺽ‪.‬‬ ‫•‪ -٨‬ﺍﺑﺗﻌﺎﺩ )ﺍﻟﺳﻣﺎﻭﻱ( ﻋﻥ ﺍﻟ ﱠﻧﻣﻁ ﻓﻲ ﻛﺗﺎﺑﺔ ﺍﻟﺷﻌﺭ ﺍﻷﻭﺭﺑﻲ‬ ‫ﺍﻟﺣﺩﯾﺙ‪ ،‬ﻭﺃﺳﻠﻭﺏ ﺍﻟﺷﻌﺭ ﺍﻟﯾﺎﺑﺎﻧﻲ )ﺍﻟﻬﺎﯾﻛﻭ(‪.‬‬ ‫•‪ -٩‬ﻣﺣﺎﻛﺎﺓ ﺍﻟﻭﺍﻗﻊ ﺍﻟﻣﻌﺎﺵ ﻋﺑﺭ ّ‬ ‫ﺍﻟﺑﺙ ﺍﻟﻣﻭﺿﻭﻋﻲ‪.‬‬ ‫•‪ -١٠‬ﺍﻟﺗﺄﻛﯾﺩ ﻋﻠﻰ ﺗﻭﺍﻓﺭ ﻣﻼﻣﺢ ﺗﺟﻠّﯾﺎﺕ ﺍﻟﺩھﺷﺔ ﻓﻲ ﻣﺧﺑﻭءﺍﺗﻬﺎ‪،‬‬ ‫ّ‬ ‫ﻭﺑﺙ‬ ‫ﺍﻟﺣﺳﻲ‪،‬‬ ‫ﻭﺍﺳﺗﺛﻣﺎﺭھﺎ ﻟﻠﺧﯾﺎﻝ ﺍﻹﻧﺳﺎﻧﻲ‪ ،‬ﻭﻣﻭﺍﺭﺩ ﺍﻟﻣﺩﺭﻙ‬ ‫ّ‬ ‫ﺍﻟﻣﻌﻧﻰ ﺍﻟﻔﻛﺭﻱ ﺩﺍﺧﻝ ﻣﻘﺻﻭﺭﺍﺗﻬﺎ‪ ،‬ﻭﺍﻧﺗﻘﺎء ﺍﻟﺻﻭﺭ ﺍﻟﺷﻌﺭ ّﯾﺔ ﺑﻌﻧﺎﯾﺔ‪،‬‬ ‫ﻭﺍﻻﺑﺗﻌﺎﺩ ﻋﻥ ﺍﻟﺣﺷﻭ ﻭﺍﻟﺳﺭﺩ‪ ،‬ﻭﺍﻟﺣﻔﺎﻅ ﻋﻠﻰ ﻭﺣﺩھﺎ ﺍﻟﻌﺿﻭﯾﺔ‬ ‫ﺍﻟﺑﻧﺎﺋﯾﺔ‪.‬‬

‫ﻭﻻ ﺑﺩ ﻣﻥ ﺍﻹﺷﺎﺭﺓ ﻓﻲ ھﺫﺍ ﺍﻟﻣﻌﻧﻰ‪ ،‬ﺍﻟﻰ ﺃﻥ ﺍﻟﻭﻣﺿﺔ ﻋﺻﯾﺔ ﻓﻲ‬ ‫ﻣﺯﺍﺟﻬﺎ ﺍﻟﻠّﻐﻭﻱ‪ ،‬ﻭﺍﻟﺻﻭﺭﻱ‪ ،‬ﻭﻓﻲ ﺑﺛﻬﺎ ﻟﻠﻣﻌﻧﻰ‪ ،‬ﻋﻠﻰ ﺇﯾﺟﺎﺩ ﻣﺗﻠﻘﻲ‬ ‫ﯾﺳﺗﻁﯾﻊ ﺍﻣﺗﻼﻙ ﻧﺎﺻﯾﺔ ﺗﻔﻛﯾﻛﻬﺎ‪ ،‬ﻭﺗﺣﻠﯾﻠﻬﺎ‪ ،‬ﻟﻛﻲ ﯾﺭﺍﻓﻕ ﺗﻠﻙ ﺍﻟﺩھﺷﺔ‬ ‫ﺍﻻﺑﺗﻛﺎﺭﯾﺔ ﺍﻟﺗﻲ ﺗﺗﺳﻡ ﺑﻬﺎ ﺍﻟﻭﻣﺿﺔ ﺍﻟﺷﻌﺭﯾﺔ‪ ،‬ﻷﻧﻬﺎ ﻧﺻﺎ ً ﻏﯾﺭ‬ ‫ﻣﻔﺗﻭﺡ‪ ،‬ﻭﺫﻭ ﻣﻌﺎﻥ ﺇﯾﺣﺎﺋﯾﺔ‪ ،‬ﻭﺗﻠﻣﯾﺣﯾﺔ‪ ،‬ﻭﺩﻻﻟﯾﺔ‪ ،‬ﻭﺭﻣﺯﯾﺔ ﺗﻌﺗﻣﺩ‬ ‫ﻋﻠﻰ ﺟﻣﻠﺔ ﻣﻥ ﺍﻟﺧﺻﺎﺋﺹ ﺍﻟﺳﺎﻟﻔﺔ ﺍﻟﺫﻛﺭ‪ ،‬ﺍﻟﺗﻲ ﺗﺣﺗﺎﺝ ﺑﻁﺑﯾﻌﺔ‬ ‫ﺗﻛﻭﯾﻧﻬﺎ ﺍﻟﺷﻌﺭﻱ‪ ،‬ﻭﺍﻟﺗﻌﺑﯾﺭﻱ ﺇﻟﻰ )ﻣﻠﺗﻘﻲ ﻣﺛﻘﻑ( ﯾﺭﺗﻘﻲ ﺑﻬﺎ ﺇﻟﻰ‬

‫ﺍﻟﻧﺹ ﺍﻟﺗﻔﺳﯾﺭﻱ ﺍﻟﻣﺣﺎﺫﻱ‪ ،‬ﺃﻭ ﺍﻟﻣﺟﺎﻭﺭ‪ ،‬ﻷﻧﻬﺎ ﺗﺗﻌﺩﻯ‬ ‫ﻣﺻﺎﻑ ﺧﻠﻕ‬ ‫ّ‬ ‫ﻣﺣﺎﻭﺭ ﺍﻟﺗﺻﺎﻗﻬﺎ ﺑﺎﻟﻣﺟﺳﺎﺕ ﺍﻟﻣﻭﺿﻭﻋﯾﺔ‪ ،‬ﻭﺍﻟﺫﺍﺗﯾﺔ‪ ،‬ﻭﺍﻟﺷﻛﻠﯾﺔ‪،‬‬ ‫ﻭﺍﻟﻔﻧﯾﺔ ﺍﻟﻰ ﻣﺎ ھﻭ ﺍﺷﻣﻝ ﻣﻥ ﺍﻷﺷﻛﺎﻝ‪ ،‬ﻭﺍﻷﻧﻣﺎﻁ ﺍﻟﻣﺗﻌﺩﺩﺓ ﺍﻟﻭﺟﻭﻩ‪،‬‬ ‫ﻭھﻲ ﺑﺎﻟﺗﺎﻟﻲ ﻻ ﺗﻌﻁﻲ ﺣﻠﻭﻻً ﺟﺎھﺯﺓ ﻟﻠﻣﺗﻠﻘﻲ ﺑﻝ ﺗﺣﺛﻪ ﻋﻠﻰ ﺍﻟﺗﻔﻛﯾﺭ‬ ‫ﻣﻌﻬﺎ‪ ،‬ﻹﺣﺎﻟﺔ ﺍﻟﻭﻣﺿﺔ ﻟﺟﻣﻠﺔ ﻣﻥ ﺍﻟﺗﻔﺳﯾﺭﺍﺕ‪ ،‬ﻭﺍﻹﺳﻘﺎﻁﺎﺕ‬ ‫ﻟﺗﺛﻭﯾﺭھﺎ‪ ،‬ﻭﺃﺭﺟﻌﻬﺎ ﺍﻟﻰ ﻣﻌﯾﻧﻬﺎ ﺍﻻﺳﺗﻘﺑﺎﻟﻲ ﺍﻻﺑﺗﺩﺍﺋﻲ‪ ،‬ﻟﺗﺣﺻﯾﻝ‬ ‫ﺍﻻﺳﺗﺟﺎﺑﺔ ﺍﻟﻣﺛﻠﻰ ﻣﻧﻬﺎ‪.‬‬ ‫ﻭﻟﻌﻝ ﻣﻥ ﺍﻟﻣﻬﻡ ھﻧﺎ ﺍﺳﺗﺫﻛﺎﺭ ﺃھﻡ ﺍﻟﺷﻌﺭﺍء ﺍﻟﺫﯾﻥ ﺍھﺗﻣﻭﺍ ﺑﻛﺗﺎﺑﺔ‬ ‫ﺍﻟﻭﻣﺿﺔ ﺍﻟﺷﻌﺭ ّﯾﺔ ﺍﻟﻌﺭﺑﯾﺔ ﻭﻣﻥ ﺭﻭﺍﺩھﺎ ﻧﺎﺯﻙ ﺍﻟﻣﻼﺋﻛﺔ‪ ،‬ﻭﺭﺷﺩﻱ‬ ‫ﺍﻟﻌﺎﻣﻝ‪ ،‬ﻭﺃﻣﻝ ﺩﻧﻘﻝ‪ ،‬ﻭﻋﺯ ﺍﻟﺩﯾﻥ ﺍﻟﻣﻧﺎﺻﺭﺓ‪ ،‬ﻭﺃﺣﻣﺩ ﻣﻁﺭ‪ ،‬ﻭﻣﻅ ّﻔﺭ‬ ‫ﺍﻟﻧﻭﺍﺏ‪ ،‬ﻭﻧﺯﺍﺭ ﻗ ّﺑﺎﻧﻲ‪ ،‬ﻭﺳﯾﻑ ﺍﻟﺭﺣﺑﻲ‪ ،‬ﻭﻧﺎﺩﺭ ھﺩﻱ‪ ،‬ﻭﺯﯾﺎﺩ ﺍﻟﻌﻧﺎﻧﻲ‪،‬‬ ‫ﻭﺍﻧﺳﻲ ﺍﻟﺣﺎﺝ‪ ،‬ﻭﯾﺣﯾﻰ ﺍﻟﺳﻣﺎﻭﻱ ﺍﻟﺷﺎﻋﺭ ﺍﻟﻌﺭﺍﻗﻲ‪ ،‬ﻣﻭﺿﻭﻉ‬ ‫ﺩﺭﺍﺳﺗﻧﺎ ﺍﻟﻧﻘﺩﯾﺔ ھﺫﻩ‪.‬‬ ‫ﻭھﻧﺎﻙ ﺍﻟﻌﺩﯾﺩ ﻣﻥ ﺍﻟﺷﻌﺭﺍء ﺍﻟﺷﺑﺎﺏ ﺍﻟﻌﺭﺏ ﺍﻟﺫﯾﻥ ﻧﺣﻭﺍ ھﺫﺍ ﺍﻟﻣﻧﺣﻰ‪،‬‬ ‫ﻭﻛﺗﺑﻭﺍ ﺍﻟﻭﻣﺿﺔ ﺑﺷﻌﺭﯾﺔ ﻋﺎﻟﯾﺔ ﻭﻣﻠﻔﺗﺔ‪.‬‬ ‫ﻭﻭﻓﻕ ﻧﻅﺭﺗﻧﺎ ﺍﻟﻧﻘﺩﯾﺔ ھﺫﻩ‪ ،‬ﻋﻠﯾﻧﺎ ﺇﻥ ﻧﻌﺗﺭﻑ ﻭﻓﻕ ﻣﻧﻅﻭﺭﻧﺎ‬ ‫ﺍﻟﻔﻠﺳﻔﻲ‪ ،‬ﻭﺍﻟﺗﻧﻅﯾﺭﻱ‪ ،‬ﻭﺍﻟﺟﻣﺎﻟﻲ‪ ،‬ﺍﻋﺗﺑﺎﺭ ﻛﻝ ﻣﺎ ھﻭ )ﺟﺩﯾﺩ(‬ ‫ﻭ)ﻣﻔﺎﺟﺊ( ﻭ)ﻣﺑﺗﻛﺭ( ﻭ)ﻻﻣﻊ( ﻭ)ﻣﺭﻣﺯ( ﻭ)ﺣﺩﺍﺛﻭﻱ( ﯾﺧﻠﻕ‬ ‫)ﺍﻟﺩھﺷﺔ( ﺩﺍﺋﻣﺎ ً‪.‬‬

‫ﺍﻟﻭﻣﺿﺔ ﺍﻟﺷﻌﺭ ّﯾﺔ ‪-/‬‬ ‫) ‪َ (٨‬ﻣﻌﺎﯾﯾﺭ َ‬ ‫ﻋﻠﻰ ﺿﻭء ﻣﺎ ﺗﻘﺩﻡ ﻣﻥ ﺗﺑﯾﺎﻥ ﻟﺧﺻﺎﺋﺹ ﺍﻟﻭﻣﺿﺔ ﻓﻲ ﺍﻟﱠﻧﺳﻕ‬ ‫ﺍﻟﺟﻣﺎﻟﻲ ﻟ َﺗﺟﻠّﯾﺎﺕ ﺍﻟ َﺩھﺷﺔ ‪ ..‬ﻭ َﺗ َﻣ ْﻅﻬﺭﺍﺕ ﺍﻟ َﻣ ْﻌﻧﻰ ﻓﻲ ﺍﻟ َﺑ ْ ّ‬ ‫ِﺳﻲ‪،‬‬ ‫ﺙ ﺍﻟﺣ ّ‬ ‫ﻭﺍﻟﻔِ ْﻛﺭﻱ‪ ،‬ﯾﺅﻛﺩ ﻟﻧﺎ ﺍﻟﺷﺎﻋﺭ ﺍﻟﻌﺭﺍﻗﻲ )ﯾﺣﯾﻰ ﺍﻟﺳﻣﺎﻭﻱ( ﻋﻠﻰ ﺃﻧﻪ‬ ‫ﻟﯾﺱ ﺑﺈﻣﻛﺎﻥ ﺍﻟﺷﺎﻋﺭ ﺃﻥ ﯾﺻﻝ ﺇﻟﻰ ﻏﺭﺿﻪ ﺍﻟﺷﻌﺭﻱ ﻓﻲ ﺍﺳﺗﺛﻣﺎﺭ‬ ‫ﺍﻟ َﺑ ّ‬ ‫ﺳﻲ‪ ،‬ﻭﺍﻟﻔﻛﺭﻱ ﺑﺩﻻﻟﺔ ﺍﻟﻠﻔﻅ ﺍﻟﻭﺍﺣﺩ ﺍﻟﻣﺟﺭﺩ ﺑﺫﺍﺗﻪ‪ ،‬ﻭﻟﻛﻥ‬ ‫ﺙ ﺍﻟﺣ ّ‬ ‫ﺑﺈﻣﻛﺎﻧﯾﺔ ﺍﻟﻠﺟﻭءﻩ ﺇﻟﻰ ﺩﻻﻟﺔ ﺍﻟﻠﻔﻅ ﻭﻗﺻﺩﯾﺗﻪ ﺍﻟﻔﺎﻋﻠﺔ ﻓﻲ ﺟﺳﺩ‬ ‫)ﺍﻟﻣﻌﻧﻰ( ﺍﻟﻣﺗﻭﺧﻰ‪ ،‬ﻭﺍﻟﺫﻱ ﺗﻘﺗﺿﯾﻪ ﺃﻟﻣﻭﺿﻭﻋﺔ ﺍﻟﺟﻣﺎﻟﯾﺔ‪،‬‬ ‫ﻭﺗﺷﯾﯾﺩھﺎ ﻭﻓﻕ ﻣﻧﻅﻭﻣﺔ ﺭﺻﺎﻧﺔ ﺍﻟﻠّﻐﺔ ﻟﯾﺳﺗﺩﻋﻲ ﻣﻥ ﺧﻼﻟﻬﺎ ﺍﻟﻧﻭﺍﯾﺎ‬ ‫ﺛﺎﻥ ﻣﺟﺎﻭﺭ ﻟﺫﻟﻙ‬ ‫ﺍﻟﺩﻻﺋﻠﯾﺔ‪ ،‬ﻭﺍﻟﻧﺗﺎﺋﺞ ﺍﻻﻧﺗﻬﺎﺋﯾﺔ ﻟﻠﺣﺻﻭﻝ ﻋﻠﻰ ﻣﻌﻧﻰ ٍ‬ ‫ﺍﻟﻣﻌﻧﻰ ﺍﻷﺻﯾﻝ‪ ،‬ﻟﯾﺻﻝ ﺑﻭﻣﺿﺗﻪ ﺇﻟﻰ ﺍﻟﻐﺭﺽ ﺍﻟﺳﯾﻣﯾﺎﺋﻲ ﺍﻟﻌﻼﻣﺎﺗﻲ‪،‬‬ ‫ﻭﺍﻹﺷﺎﺭﺍﺗﻲ‪ ،‬ﻭﺍﻟﺩﻻﻟﻲ‪ ،‬ﻭﺍﻹﯾﻣﺎﺋﻲ‪ ،‬ﻭﺍﻟﺗﻣﺎﯾﺯ ﺍﻟ ﱠﻧﺳﻘﻲ ﻓﻲ ﺗﺭﺻﯾﻥ‬ ‫ﺑﻧ ّﯾﺔ ﺍﻟﻭﻣﺿﺔ‪ ،‬ﻭﺍﻻﺭﺗﻛﺎﺯ ﻋﻠﻰ ﻣﻌﺎﻟﻡ ﺍﻻﺳﺗﺛﻣﺎﺭ ﺍﻟﺗﺗﺎﺑﻌﻲ‪ ،‬ﻭﺛ ّﻣﺔ‬ ‫ﻣﺟﻣﻭﻋﺔ ﻣﻥ )ﺍﻟﻣﻌﺎﯾﯾﺭ( ﺍﻟﻧﺎﺟﻌﺔ ﺍﻟﺗﻲ ﺍﺳﺗﺛﻣﺎﺭھﺎ ﺍﻟﺷﺎﻋﺭ ﺍﻟﻌﺭﺍﻗﻲ‬ ‫)ﯾﺣﯾﻰ ﺍﻟﺳﻣﺎﻭﻱ( ﻟﻬﺫﻩ ﺍﻟﻣﻌﺎﻟﺟﺔ ﺍﻟﺷﻌﺭ ّﯾﺔ ﺍﻟﻭﻣﺿﻭﯾﺔ ﺍﻟﺣﺻﯾﻔﺔ‪،‬‬ ‫ﻭﺍﻟﺗﻲ ﺗﺗﺧﻠﺹ ﺑﺭﺃﯾﻧﺎ ‪..‬‬

‫ﻋﻠﻰ ﺍﻟﻭﺟﻪ ﺍﻟﺗﺎﻟﻲ‪-:‬‬ ‫•‪ -١‬ﺍﻟﺭﺻﺎﻧﺔ ﺍﻟﻠّﻐﻭﯾﺔ ﺍﻟ ُﻣﻧﺟﺩﯾﺔ‪.‬‬ ‫•‪ -٢‬ﺍﺧﺗﯾﺎﺭ ﺍﻟﺛﯾ ّﻣﺔ‪.‬‬ ‫•‪ -٣‬ﺗﻭﺍﻟﺩ ﺍﻻﺑﺗﻛﺎﺭ‪.‬‬

‫•‪ -٤‬ﺍﺑﺗﻛﺎﺭ ﺍﻟﺩھﺷﺔ‪.‬‬ ‫•‪ّ - ٥‬‬ ‫ﺍﻟﺑﺙ ﺍﻟﺩﻻﻟﻲ‪.‬‬ ‫•‪ -٦‬ﺍﻟﻌﻣﻕ ﺍﻟﻭﺍﻗﻌﻲ‪.‬‬ ‫•‪ -٧‬ﺃﺍﺳﺗﺛﻣﺎﺭ ﺍﻟﻣﺧﯾﺎﻝ ﺃﻟﺗﺄﺛﯾﺛﻲ‪.‬‬ ‫•‪ -٨‬ﺍﻹﺷﺎﺭﺓ ﺇﻟﻰ ﺍﻟﻛِﻧﺎﯾﺔ‪.‬‬ ‫•‪ -٩‬ﺗﻭھﺞ ﻓﺎﻋﻠﯾﺔ ﺍﻻﻧﺯﯾﺎﺡ‪.‬‬ ‫•‪ -١٠‬ﺇﺣﺩﺍﺙ ﺍﻟﻣﻔﺎﺿﻠﺔ ﺑﯾﻥ ﺍﻷﻟﻔﺎﻅ‪ ،‬ﻭﺍﻟﻣﻔﺭﺩﺍﺕ‪ ،‬ﻭﺍﻟﺟﻣﻝ‪.‬‬ ‫•‪ -١١‬ﺗﺩﺷﯾﻥ ﺍﻻﺳﺗﻌﺎﺭﺓ ﻓﻲ ﺩﻻﻟﺗﻬﺎ ﺍﻟﻠﺣﻅﯾﺔ‪.‬‬ ‫•‪ -١٢‬ﺍﻟﻠﻣﻌﺔ ﻓﻲ ﺭﺷﺎﻗﺔ ﻓﺭﺻﺔ ﺍﻟﺗﻣﺛﯾﻝ ﺍﻻﺳﺗﺷﻌﺎﺭﻱ‪.‬‬ ‫•‪ -١٣‬ﺍﻧﺗﺧﺎﺏ ﺍﻟﻣﻔﺎﺟﺄﺓ ﻓﻲ ﻭﺿﺭﻭﺭﺓ ﺍﻟﺗﻘﺎﻁﻬﺎ ﻓﻲ ﺣﯾﺯھﺎ ﺍﻵﻧﻲ‪.‬‬ ‫•‪ -١٤‬ﺗﺭﻣﯾﺯ ﺍﻟﻣﻌﻧﻰ ﻭﺍﻧﺗﻘﺎء ﺍﻟﺗﻠﻣﯾﺢ ﺑﯾﻥ )ﺍﻟﻣﻌﻧﻰ ‪ +‬ﻣﻌﻧﻰ‬ ‫ﺍﻟﻣﻌﻧﻰ(‪.‬‬ ‫•‪ -١٥‬ﺑﺙ ﺍﻟﻣﻭﺭﺩ ﺍﻟﺣﺳﻲ‪ ،‬ﻭﺍﻟﻔﻛﺭﻱ ﺑﻌﻧﺎﯾﺔ ﺫﺍﺕ ﺑﻧﯾﺔ ﻭﺍﺧﺯﺓ‬ ‫ﻭﺗﺣﺭﯾﺿﯾﺔ‪.‬‬

‫ﺇﻥ ﺟﻣﻠﺔ ھﺫﻩ ﺍﻟﻣﻌﺎﯾﯾﺭ ﺗﻌﻁﻲ ﻟﺷﺎﻋﺭﻧﺎ )ﯾﺣﯾﻰ ﺍﻟﺳﻣﺎﻭﻱ( ﺣﻘﻭﻕ‬ ‫ﺍﻻﻣﺗﯾﺎﺯ ﺍﻟﻛﺑﺭﻯ ﻓﻲ ﺗﺄﺳﯾﺱ ﻣﺷﺭﻭﻋﻪ ﺍﻟﻭﻣﺿﻭﻱ ﺍﻟﻣﻬﯾﺏ‪ ،‬ﻭ)ﺍﻟﻠﻌﺏ‬ ‫ﺍﻟﺣﺭﺓ( ﺍﻟﺗﻲ ﯾﻣﺗﺎﺯ ﺑﻬﺎ‪ ،‬ﻭﺑﺗﻔﺎﺿﻠﯾﺔ ﻣﺎﺋﺯﺓ ﻋﻠﻰ‬ ‫ﻓﻲ ﻣﻧﻁﻘﺗﻪ ﺍﻟﻠّﻐﻭﯾﺔ‬ ‫ﱠ‬ ‫ﻏﯾﺭﻩ ﻓﻲ ﺍﻣﺗﻼﻛﻬﺎ‪ ،‬ﻓﻬﻭ ُﯾﺣﺩﺙ ھﺫﺍ ﺍﻟﺗﻼﺣﻕ ﺿﻣﻧﺎ ً ﻋﻥ ﻁﺭﯾﻕ‬ ‫ﺍﻟﺗﻔﺎﻋﻝ‪ ،‬ﻭﺍﻟﺗﻣﺎﺯﺝ‪ ،‬ﻭﺍﻟﺗﻭﺍﺋﻡ‪ ،‬ﻭﺍﻻﻟﺗﺻﺎﻕ‪ ،‬ﺃﻭ ﺭﺑﻣﺎ ﺍﻟﺗﻧﺎﻓﺭ ﺑﯾﻥ‬ ‫ﻭﺍﻟﺟﻣﻝ ﻟﺗﻭﺻﯾﻝ ﻓﻛﺭﺗﻪ ﺍﻟ ُﻣﺑﺗﻐﺎﺓ‪ ،‬ﻭﺍﻻﺑﺗﻌﺎﺩ‬ ‫ﺍﻷﻟﻔﺎﻅ‪ ،‬ﻭﺍﻟﻣﻔﺭﺩﺍﺕ‪،‬‬ ‫ُ‬

‫ﺍﻟﻘﺻﺩﻱ ﻋﻥ ﺍﻟﻣﺄﻟﻭﻑ‪ ،‬ﻭﺍﻟﺗﻘﺭﯾﺭﻱ‪ ،‬ﻭﺍﻟﺳﺎﺋﺩ ﻟ ُﯾﻌﻁﻲ ﻟﻣﻌﻧﻰ ﺍﻟﻣﻔﺭﺩﺓ‬ ‫ﺛﺎﻥ ﯾﺗﺿﻣﻥ ﻓﻲ ﻁﯾﺎﺗﻪ ﻣﺧﺑﻭءﺍﺗﻪ‬ ‫ﺃﻭ ﺍﻟﻠّﻔﻅﺔ‪ ،‬ﺃﻭ ﺍﻟﺟﻣﻠﺔ ﻣﻌﻧﻰ ٍ‬ ‫ﺍﻟﺭﻣﺯﯾﺔ ﺫﺍﺕ ﺍﻟﺩﻻﻻﺕ ﺍﻟﻧﻭﻋﯾﺔ ﺍﻟﻭﺍﻋﯾﺔ‪ ،‬ﻟﺫﺍ ﻧﺟﺩﻩ ﯾﺗﻬﺭﺏ ﻣﻥ‬ ‫ﺍﻟﻭﻗﻭﻉ ﻓﻲ ﻣﺳﻠﻙ ﺍﻟﻣﺑﺎﺷﺭﺓ ﺍﻟﻘﺎﺗﻠﺔ‪ ،‬ﻓﯾﻠﺟﺄ ﺇﻟﻰ ﺍﻟ ُﻣﺑﺗﻐﻰ ﺍﻷﻧﻣﻭﺫﺟﻲ‬ ‫ﻓﻲ ﺗﻭﺻﯾﻝ ﻓﻛﺭﺓ ﻭﻣﺿﺗﻪ ﻣﻥ ﺧﻼﻝ ﺍﻟﺻﻭﺭﺓ ﺍﻟﺫھﻧﯾﺔ ﺍﻟﻣﺗﺭﺍﻛﻣﺔ‪،‬‬ ‫ﻭﺍﻟﺗﻲ َﺧﻠﻘﺕ ﻣﻥ ُﺑﻌﺩھﺎ ﺍﻹﻧﺳﺎﻧﻲ ﺫﻟﻙ ﺍﻻﺗﺟﺎﻩ ﺍﻻﻧﺣﯾﺎﺯﻱ ﻟﻠﻣﻌﺭﻓﺔ‪،‬‬ ‫ﻭﺍﻟﻌﻭﺩﺓ ﺇﻟﻰ ﺃﺻﻭﻝ ﺍﻷﻓﻛﺎﺭ‪ ،‬ﻭﻣﺭﺟﻌﯾﺗﻬﺎ ﺍﻹﻧﺳﺎﻧﯾﺔ ﻟﺧﻠﻕ ﻣﻌﺎﻟﻡ‬ ‫ﺍﻟﻭﻣﺿﺔ ﻋﺑﺭ )ﻣﻌﻧﻰ ﺍﻟﻣﻌﻧﻰ( ﻭ َﺗﺟﻠّﯾﺎﺕ ﺍﻟ َﺩھﺷﺔ‪ ،‬ﻭ َﺗ َﻣ ْﻅﻬﺭﺍﺕ ﺍﻟ َﻣ ْﻌﻧﻰ‬ ‫ﻓﻲ ﺍﻟ َﺑ ْ ّ‬ ‫ﺙ ﺍﻟ ِ‬ ‫ﺳﻲ‪ ،‬ﻭﺍﻟﻔِ ْﻛﺭﻱ‪ ،‬ﻭﺍﻟﺗﺣﺭﯾﺿﻲ ﻭﺻﻭﻻ ﻟﻣﻼﺣﻕ ﺍﻟﺗﻐﯾﯾﺭ‪.‬‬ ‫ﺣ ّ‬

‫) ‪َ ( ٩‬ﺭﻛﺎﺋﺯ ﺍﻟﻭﻣﺿﺔ ﺍﻟﺷﻌﺭ ّﯾﺔ ‪-/‬‬ ‫ﺍﻋﺗﻣﺩ ﺍﻟﺷﺎﻋﺭ ﺍﻟﻌﺭﺍﻗﻲ )ﯾﺣﯾﻰ ﺍﻟﺳﻣﺎﻭﻱ( ﻋﻠﻰ ﺟﻣﻠﺔ ﻣﻥ ﺍﻟﺭﻛﺎﺋﺯ‬ ‫ﺍﻟﺗﻲ ﺃﻛﺩ ﻋﻠﻰ ﺗﻭﺍﻓﺭھﺎ ﻓﻲ ﻭﻣﺿﺗﻪ ﺍﻟﺷﻌﺭﯾﺔ‪ ،‬ﻹﻅﻬﺎﺭ ﺗﺟﻠّﯾﺎﺕ‬ ‫ﺱ‬ ‫ﺍﻟﺩھﺷﺔ‪ ،‬ﻭﺗﻣﻅﻬﺭﺍﺕ ﺗﺟﻠﯾﺎﺕ ﺍﻟﻣﻌﻧﻰ ﺍﻟﻣﺑﺛﻭﺙ ﺩﺍﺧﻝ ﺍﻟ َﻣ َﺟ ّ‬ ‫ﺍﻟﺣﺳﻲ‪ ،‬ﻭﺍﻻﺷﺗﻐﺎﻝ ﺍﻟﻔﻛﺭﻱ‪ ،‬ﻭﻭﻓﻕ ﺍﻟﻣﻌﻁﯾﺎﺕ‪ ،‬ﻭﺍﻟﺧﺻﺎﺋﺹ‪،‬‬ ‫ّ‬ ‫ﻭﺍﻟﺭﻛﺎﺋﺯ ﺍﻟﺗﺎﻟﯾﺔ‪-:‬‬ ‫•‪ -١‬ﺍﺳﺗﺛﻣﺎﺭ ﻣﺧﺑﻭءﺍﺕ ﺍﻟﻠّﻐﺔ ﻓﻲ ﺇﻅﻬﺎﺭ ﻣﻌﺎﻟﻡ ﺍﻟﺩھﺷﺔ‪.‬‬ ‫•‪ -٢‬ﺧﻠﻕ ﺣﺎﻟﺔ ﻣﻥ ﺍﻟﺗﺭﻗﺏ‪ ،‬ﻭﺍﻟﺗﺭﺻﺩ‪ ،‬ﻭﺍﻟﺗﺣﻔﯾﺯ ﻹﻧﻌﺎﺵ ﺍﻟﻣﻭﺍﺭﺩ‬ ‫ﺍﻟﺟﻣﺎﻟﯾﺔ ﻟﻠﺩھﺷﺔ‪.‬‬ ‫•‪ -٣‬ﺇﺗﺑﺎﻉ ﺍﻟﻧﻬﺞ ﺍﻟﺗﻭﺍﺻﻠﻲ ﻣﻊ ﺍﻟﻣﺗﻠﻘﻲ‪ ،‬ﻟﻺﺑﻘﺎء ﻋﻠﻰ ﻟﺣﻅﺔ‬ ‫ﺍﻟﺗﻭﺍﺯﻥ ﺃﺛﻧﺎء ﺯﻣﻥ ﺍﻟﺗﻠﻘﻲ‪ ،‬ﻭﺍﻟﺑﺙ‪.‬‬

‫•‪ -٤‬ﺇﺛﺑﺎﺕ ﺃﺻﺎﻟﺔ ﺍﻟﺷﺎﻋﺭ ﻓﻲ ﺍﺳﺗﺧﺩﺍﻡ ﺃﺩﻭﺍﺕ ﻣﻬﺎﺭﺍﺗﻪ ﺍﻟﻔﻧﯾﺔ‪.‬‬ ‫•‪ -٥‬ﺍﻧﺻﻬﺎﺭ ﺍﻟﻣﻧﻅﻭﺭ ﺍﻟﺧﺎﺭﺟﻲ‪ ،‬ﻣﻊ ﺍﻟﻣﺗﺩﻓﻕ ﺍﻟﺩﺍﺧﻠﻲ‪.‬‬ ‫•‪ -٦‬ﺍﻟﻣﺣﺎﻓﻅﺔ ﻋﻠﻰ ﻋﻣﺎﺭﺓ ﺍﻟﻧﺳﻕ ﺍﻟﺩﻻﻟﻲ‪.‬‬ ‫•‪ -٧‬ﺗﻭﻅﯾﻑ )ﺍﻟﺩھﺷﺔ( ﺗﻭﻅﯾﻔﺎ ً ﺯﻣﻛﺎﻧﯾﺎ ً ﻻﺋﻘﺎً‪ ،‬ﻭﻏﯾﺭ ﻣﻘﺣﻡ‪.‬‬ ‫•‪ -٨‬ﺗﺄﺳﯾﺱ ﻣﺣﻁﺎﺕ ﺗﻼﻗﻲ ﺑﯾﻥ ﺍﻟﻧﺹ‪ ،‬ﻭﻣﻭﺍﻁﻥ ﺍﻟﺩھﺷﺔ ﻓﯾﻪ‪.‬‬ ‫•‪ -٩‬ﺍﻻﻋﺗﻧﺎء ﺑﺗﻭھﺞ )ﺍﻟﺩھﺷﺔ( ﻓﻲ ﻣﻛﺎﻣﻥ ﺍﻹﺑﻬﺎﺭ ﻓﻲ ﺍﻟﻧﺹ‪.‬‬ ‫•‪ -١٠‬ﺍﻟﻘﻔﺯ ﻋﻠﻰ ﺍﻟﻣﺄﻟﻭﻑ ﻭﺍﻟﺳﺎﺋﺩ‪ ،‬ﻭﺇﯾﺟﺎﺩ ﻣﻼﺣﻕ ﺑﺩﯾﻠﺔ ﻟﻠﺗﻛﺭﺍﺭ‪.‬‬ ‫•‪ -١١‬ﻗﺻﺩﯾﺔ ﺍﺳﺗﺧﺩﺍﻡ ﺍﻟﻭﻣﺿﺔ ﺍﻟﻣﺩھﺷﺔ ﻓﻲ ﺳﯾﺎﻕ ﺍﻟﻧﺹ‪.‬‬ ‫•‪ -١٢‬ﻋﺩﻡ ﺗﻭﻗﻊ ﺑﻭﺍﻋﺙ ﺍﻟﺩھﺷﺔ ﻓﻲ ﺍﻟﻼﻭﻋﻲ ﺍﻟﻣﺗﺭﺍﻛﻡ‪.‬‬ ‫•‪ -١٣‬ﺿﻐﻁ ﺍﻟﺯﻣﻥ‪ ،‬ﻭﺍﻹﯾﺟﺎﺯ‪ ،‬ﻭﺍﻟﺗﻛﺛﯾﻑ ﻓﻲ ﺍﻟﻧﺹ‪.‬‬ ‫ﺍﻟﺣﺳﻲ ﻟﺑﺙ ﺍﻟﺩھﺷﺔ‪.‬‬ ‫•‪ -١٤‬ﺍﻟﺗﺣﺿﯾﺭ ﻟﻠﺑﺎﻋﺙ‬ ‫ّ‬ ‫•‪ -١٥‬ﺗﺣﻘﯾﻕ ﺍﻟﻣﻔﺎﺟﺄﺓ ﺍﻟﺗﺣﻔﯾﺯﯾﺔ ﺍﻟﻣﺣﺿﺭﺓ ﻓﻲ ﺍﻟﻧﺹ‪.‬‬

‫ﺍﻟﻭﻣﺿﺔ ﺍﻟﺷﻌﺭ ّﯾﺔ ‪-/‬‬ ‫) ‪ ( ١٠‬ﺃَھﺩﺍﻑ َ‬ ‫ﻭﻋﻧﺩ ﺍﻟﺭﺟﻭﻉ ﻟﺷﺎﻋﺭﯾﺔ ﺍﻟﻭﻣﺿﺔ ﺩﺍﺧﻝ ﺍﻟﻧﻔﺱ ﺍﻟﺗﺭﺍﺗﺑﻲ ﻟﻠﺷﺎﻋﺭ‬ ‫ﺍﻟﻌﺭﺍﻗﻲ )ﯾﺣﯾﻰ ﺍﻟﺳﻣﺎﻭﻱ( ﻧﺟﺩ ﺑﺄﻧﻪ ﯾﺅﺛﺙ ﻣﺷﻬﺩﻩ ﺍﻟﺷﻌﺭﻱ‬ ‫ﻟﻘﺻﯾﺩﺗﻪ ﺍﻟﻭﺍﻣﺿﺔ‪ ،‬ﻋﺑﺭ ﺍﺟﺗﻬﺎﺩﻩ ﺍﻟﺧﻼﻕ‪ ،‬ﻭﻣﻌﺟﻣﯾﺗﻪ ﺍﻟﻭﺍﻓﺭﺓ‬ ‫ﺍﻟﺑﻼﻏﺔ‪ ،‬ﻭﺍﻧﺳﯾﺎﺑﯾﺔ ﺟﻣﻠﺗﻪ ﺍﻟﺷﻌﺭﯾﺔ‪ ،‬ﻓﻲ ﺧﻠﻕ ﺣﺎﻟﺔ ﻣﻥ ﺍﻟﺗﺳﺎﻣﻲ‪،‬‬ ‫ﺑﯾﻥ ﻭﻣﺿﺎﺗﻪ ﺍﻟﺷﻌﺭﯾﺔ‪ ،‬ﻭﺑﯾﻥ ﺍﻟﻣﺗﻠﻘﻲ‪ ،‬ﻣﻥ ﺧﻼﻝ ﺍﺑﺗﻛﺎﺭ ﺍﻟﺩھﺷﺔ ‪..‬‬

‫ّ‬ ‫ﺍﻟﺣﺳﻲ‪ ،‬ﻭﺍﻟﻔﻛﺭﻱ ﻟﺗﻭﺻﯾﻝ ﺍﻟﻣﻌﻧﻰ‬ ‫ﺍﻟﺑﺙ‬ ‫ﻭﺗﺟﻠﯾﺎﺕ ﺍﻟﻣﻌﻧﻰ ﻓﻲ‬ ‫ّ‬ ‫ﺍﻟﺗﺷﻔﯾﺭﻱ ﻋﺑﺭ ﻭﻣﺿﺎﺗﻪ ﺍﻟﺷﻌﺭ ّﯾﺔ‪ ،‬ﻓﻘﺩ ﺍﻋﺗﻣﺩ )ﺍﻟﺳﻣﺎﻭﻱ( ﻋﻠﻰ‬ ‫ﺟﻣﻠﺔ ﻣﻥ ﺍﻷھﺩﺍﻑ ﻟﺗﺣﻘﯾﻕ ﻣﺭﺍﺩﻩ ﺍﻟﺗﻭﺻﯾﻠﻲ ﺩﺍﺧﻝ ﺛﯾﻣﺔ ﺍﻟﻣﻌﺎﺩﻟﺔ‬ ‫ﺍﻟﻘﺎﺋﻣﺔ ﻋﻠﻰ )ﺍﻟﻣﻌﻧﻰ‪ +‬ﻣﻌﻧﻰ ﺍﻟﻣﻌﻧﻰ( ﻭﻛﺎﻟﺗﺎﻟﻲ‪_:‬‬

‫•‪ -١‬ﺍﻹﺩھﺎﺵ‪.‬‬ ‫•‪ -٢‬ﺍﻟﺗﻭھﺞ‪.‬‬ ‫•‪ -٣‬ﺍﻟﺗﺷﻭﯾﻕ‪.‬‬ ‫•‪ -٤‬ﺍﻟﻣﻔﺎﺟﺄﺓ‪.‬‬ ‫•‪ -٥‬ﺍﻟﺗﺄﻣﻝ‪.‬‬ ‫•‪ -٦‬ﺍﻟﻐﻣﻭﺽ ‪ +‬ﺍﻟﻭﺿﻭح‪.‬‬ ‫•‪ -٧‬ﺍﻟﺗﻛﺛﯾﻑ ﻓﻲ ﺍﻟﺻﻭﺭﺓ ﺍﻟﺷﻌﺭﯾﺔ‪.‬‬ ‫•‪ -٨‬ﺗﺄﺛﯾﺙ ﺍﻟﻣﻌﻧﻰ ﺩﺍﺧﻝ ﺍﻟﻣﻌﻧﻰ‪.‬‬ ‫•‪ -٩‬ﺍﺧﺗﺻﺎﺭ ﺍﻟﺛﯾﻣﺔ ﻭﺿﻐﻁﻬﺎ‪.‬‬ ‫•‪ -١٠‬ﺍﻟﺟﺯﺍﻟﺔ ﺍﻟﻠّﻐﻭﯾﺔ‪.‬‬ ‫•‪ -١١‬ﺍﻻﺧﺗﺯﺍﻝ ﺍﻟﻣﻛﺛﻑ‪.‬‬ ‫•‪ -١٢‬ﺍﻟﺩﻻﻟﺔ ﺍﻟﺳﯾﻣﺎﺋﯾﺔ‪.‬‬ ‫•‪ّ -١٣‬‬ ‫ﺑﺙ ﻣﺭﺗﻛﺯﺍﺕ ﺍﻷﺛﺭ ﺍﻟﺗﻔﺎﻋﻠﻲ‪.‬‬ ‫ﻭﺍﻟﺣﺳﻲ‪.‬‬ ‫•‪ -١٤‬ﺍﻻﺗﻛﺎء ﻋﻠﻰ ﺍﻟ ُﻣﺣ ّﻔﺯ ﺍﻟﻌﻘﻠﻲ‪،‬‬ ‫ّ‬

‫•‪ -١٥‬ﺍﻻﻋﺗﻣﺎﺩ ﻋﻠﻰ ﻣﻠﺣﻘﺎﺕ ﺍﻟﺗﻠﻘﻲ ﺍﻟﻌﺎﻟﯾﺔ‪.‬‬ ‫•‪ -١٦‬ﺗﺄﺳﯾﺱ ﺟﺳﻭﺭ ﺗﻭﺍﺻﻝ ﺑﯾﻥ ﺍﻟﻭﻣﺿﺔ ﻭﺑﯾﻥ )ﺍﻹﻧﺻﺎﺕ(‪.‬‬ ‫•‪ -١٧‬ﺍﻻﻋﺗﻣﺎﺩ ﻋﻠﻰ ﺑﻧ ّﯾﺔ ﺍﻟﺗﻐﯾﯾﺭ ﻋﺑﺭ ﺍﻟ ُﻣﺣﺭﺽ ﺍﻟﻔﻛﺭﻱ‪،‬‬ ‫ﻭﺍﻟﺳﯾﺎﺳﻲ‪.‬‬ ‫•‪ -١٨‬ﺍﺳﺗﺛﺎﺭﺓ ﺍﻟﻭﻋﻲ ﻓﻲ ﺧﻠﻕ ﺣﺎﻟﺔ ﻣﻥ ﻛﺳﺭ ﺍﻹﻟﻬﺎﻡ‪.‬‬ ‫•‪ -١٩‬ﺍﻻﺭﺗﺑﺎﻁ ﺑﯾﻥ ﺍﻟﺩﺍﺧﻠﻲ‪ ،‬ﻭﺍﻟﺧﺎﺭﺟﻲ ﻟﺧﻠﻕ ﺣﺎﻟﺔ )ﺍﻹﺩھﺎﺵ(‬ ‫•‪ -٢٠‬ﻣﻭﺍﺋﻣﺔ ﺍﻟﻌﻼﻗﺔ ﺑﯾﻥ ﺍﻟﻔﻬﻡ )ﺍﻟﻔﺭﺩﻱ‪ +‬ﺍﻟﺟﻣﻌﻲ(‬ ‫ﻭﻋﻥ ﻣﺎھﯾﺔ ﺍﻟﻭﻣﺿﺔ ﻭﺟﻣﺎﻟﯾﺔ ﺑ ّﺛﻬﺎ‪ ،‬ﻭﺗﺟﻠّﯾﺎﺕ ﺍﻟﻣﻌﻧﻰ ﻓﻲ ﺃﺛﺭھﺎ‬ ‫ﺍﻟﺣﺳﻲ ﻭﺍﻟﻔﻛﺭﻱ‪ ،‬ﻭﺍﺭﺗﺑﺎﻁﺎﺗﻬﺎ ﺍﻷﺻﻠﯾﺔ ﻭﻓﻕ ﻣﻌﺎﯾﯾﺭ ﺧﺻﺎﺋﺻﻬﺎ‬ ‫ّ‬ ‫ﺳﻣﻭ ھﺎ‪ ،‬ﻭﺷﺎﻋﺭﯾﺗﻬﺎ ﻟﺳﺣﺏ ﺩﺍﺋﺭﺓ‬ ‫ﺍﻟﻣﺗﺟﻠﯾﺔ ﺑﺄﻋﻠﻰ ﺩﺭﺟﺎﺕ‬ ‫ّ‬ ‫ﺍﻹﻧﺻﺎﺕ ﺇﻟﯾﻬﺎ ﺑﺭﻭﯾﺔ ﺃﺧﺎﺫﺓ‪.‬‬

‫ﺛﻣﺔ ﺃﺳﺋﻠﺔ ﺗﺗﺟﻠﻰ ﻓﻲ ﺍﻟﺫﺍﻛﺭﺓ ﺍﻟﻧﻘﺩﯾﺔ‪ ،‬ﻭﻣﻼﺣﻕ ﺍﻟﺗﻠﻘﻲ‪ ،‬ﻋﻠﯾﻧﺎ‬ ‫ﺍﻟﻭﻗﻭﻑ ﺇﺯﺍء ﺟﻝ ّ ﺗﺳﺎﺅﻻﺕ )ﺍﻟﺷﺎﻋﺭ( ﻭﺍﻟﻧﻅﺭ ﺇﻟﯾﻬﺎ ﺑﺈﻣﻌﺎﻥ ﻟﺗﺣﻘﯾﻕ‬ ‫ھﺩﻓﻧﺎ ﺍﻟﻣﻧﺷﻭﺩ ﻭﻓﻕ ﻧﻅﺭﺗﻧﺎ ﺍﻟﻧﻘﺩﯾﺔ‪ ،‬ﻭﺍﻻﺳﺗﻘﺑﺎﻟﯾﺔ ﻭﻋﻠﻰ ﺿﻭء‬ ‫ﻣﻧﺗﻅﻣﺎﺕ ﺗﺣﻘﯾﻕ ﺗﻠﻙ ﺍﻟﻣﻭﺍﺋﻣﺔ ﺑﯾﻥ ﺍﺑﺗﻛﺎﺭ ﺍﻟﻌﻭﺍﻟﻡ ﺍﻟﺟﻣﺎﻟﯾﺔ‬ ‫ﻟﻠﺩھﺷﺔ‪ ،‬ﻭﻗﺻﺩﯾﺔ َﺑ ّ‬ ‫ﺳ ّﻲ‪ ،‬ﻭﺍﻟﻔﻛﺭﻱ‬ ‫ﺙ ﺍﻷﺛﺭ ﺍﻟ ُﻣﺣﺭﺽ ﻓﻲ ﺍﻟﻣﻌﻧﻰ ﺍﻟﺣ ّ‬ ‫ﻋﺑﺭ ﺍﻟﻣﺩﺭﻛﺎﺕ ﺍﻟﻌﻘﻠﯾﺔ‪ ،‬ﻭﺍﻟﻣﻌﺭﻓﯾﺔ ﺍﻟﻌﺎﻟﯾﺔ‪ ،‬ﻭﺍﻟﻣﻌﻁﯾﺎﺕ ﺍﻟﻬﺎﺩﻓﺔ‪،‬‬ ‫ﻭﺍﻟﺗﺟﻠّﯾﺎﺕ ﺍﻟﻣﺄﺧﻭﺫﺓ ﺑﺎﻟﻭﻋﻲ‪ ،‬ﻭﺍﻟﻣﻌﺑﺋﺔ ﺑﺎﻟﻣﺧﯾﺎﻟﯾﺔ ﺍﻟﺑﺎﺫﺧﺔ ﺍﻟﻭﺳﻊ‬ ‫ﻓﻲ ﻓﻲ ﺍﻟﺗﺄﺛﯾﺭ‪.‬‬

‫ﺍﻟﻭﻣﺿﺔ ﺍﻟﺷﻌﺭ ّﯾﺔ ‪-/‬‬ ‫) ‪َ ( ١١‬‬ ‫ﺃﻥ ﺍﻟﻭﻣﺿﺔ ﺍﻟﺷﻌﺭ ّﯾﺔ ﻓﻲ ُﻣﻌﺗﺭﻙ ﺍﻟﺷﺎﻋﺭ ﺍﻟﻌﺭﺍﻗﻲ )ﯾﺣﯾﻰ ﺍﻟﺳﻣﺎﻭﻱ(‬ ‫ھﻲ ﻟﺣﻅﺔ ﺍﻟ َﺑ ّ‬ ‫ﺙ ﺍﻟﺗﻌﺑﯾﺭﻱ ﺍﻟﺧﺎﻁﻔﺔ‪ ،‬ﻭﺍﻟ ُﻣﺑﺗﻛﺭ ﺍﻵﻧﻲ ﺍﻟ ُﻣﺛﯾﺭ ﻟﻠﺩھﺷﺔ‪،‬‬ ‫ﻭﺍﻟﺗﻣﺎھﻲ ﺍﻟﻣﺗﺯﺍﻣﻥ ﻣﻊ ﺍﻟﺗﺟﻠّﯾﺎﺕ ﺍﻟﺣﺎﺻﻠﺔ ﺩﺍﺧﻝ ﺇﺭھﺎﺻﺎﺗﻪ‬ ‫ﺍﻹﻧﺳﺎﻧﯾﺔ‪ ،‬ﻭﺍﻋﺗﺑﺎﺭﺍﺗﻪ ﺍﻟﻔﻛﺭﯾﺔ‪ ،‬ھﻲ ﻣﺳﻭﻍ ﻣﺛﺎﻟﻲ ﺣﺎﺿﺭ ﻓﻲ ﺯﻣﻥ‬ ‫َﺑ ّ‬ ‫ﺙ ﺍﻟﻣﻌﻧﻰ )ﺍﻟﻣﺷﻔﺭ( ﻓﻲ ﻣﺧﺑﻭءﺍﺗﻬﺎ‪ ،‬ﻷﻧﻬﺎ ﺃﻱ ﺍﻟﻭﻣﺿﺔ‪ ،‬ﻓﻌﻝ‬ ‫ﺩﯾﻧﺎﻣﯾﻛﻲ‪ ،‬ﻭﻓﯾﺯﯾﻘﻲ ُﻣﺗﺣﺭﻙ‪ ،‬ﻏﯾﺭ ﺛﺎﺑﺕ‪ ،‬ﯾﺗﺣﻭﻝ ﻭﻓﻕ ﺍﻟﻣﻧﺎﺳﺑﺔ‬ ‫ﺍﻟﻣﺗﺩﻓﻘﺔ‪ ،‬ﻭﻟﺣﻅﺎﺕ ﺍﻟﺗﺩﻭﯾﻥ ﺍﻟﻣﺣﻔﺯﺓ‪ ،‬ﺑﻝ ﻭﻣﻊ ﻟﺣﻅﺎﺕ ﺍﻟﺗﻠﻘﻲ‪ ،‬ﻭھﻲ‬ ‫ﻟﺩﻯ )ﺍﻟﺳﻣﺎﻭﻱ( ﺣﺎﻟﺔ ﻣﻥ ﺣﺎﻻﺕ ﺍﻻﺗﻘﺎﺩ ﺍﻟﺫھﻧﻲ ﺍﻟﻣﺷﻔﻭﻉ ﺑﻔﻁﻧﺔ‬ ‫ﺗﺧﯾﻠﯾﺔ ﻋﺎﻟﯾﺔ‪ ،‬ﻭﺍﺳﺗﻘﺭﺍء ﻭﺍﻗﻌﻲ ﻓﻁﻥ‪ ،‬ﻣﻊ ﺍﻣﺗﻼﻙ ﻧﺎﺻﯾﺔ ﺍﻟﻠﻐﺔ ﺍﻟﺗﻲ‬ ‫ﯾﺣﻣﻝ ﺧﺻﺎﺋﺻﻬﺎ ﺑﻣﻬﺎﺭﺓ ﻣﺗﻔﺭﺩﺓ‪ ،‬ﻭﺑﺗﻭﺍﻓﺭ ﻣﻭﺍﺭﺩ ﺑﻼﻏﯾﺔ‪ ،‬ﻟﺫﺍ‬ ‫ﺍﺳﺗﻁﺎﻉ ﺍﻟﻧﻔﺎﺫ ﺍﻟﻰ ﺟﺳﺩ )ﺍﻟﻭﺍﻗﻌﺔ ﺍﻟﻭﻣﺿﻭﯾﺔ( ﺑﻝ ﻭﺍﺧﺗﺭﻗﻬﺎ ﺇﻟﻰ ﻣﺎ‬ ‫ھﻭ ﺍﺑﻌﺩ ﻣﻥ ﺗﻭﺍﻟﺩ ﻣﻌﻁﯾﺎﺗﻪ ﻋﺑﺭ ﺍﻟﻭﺳﺎﺋﻝ ﺍﻟﺗﻌﺑﯾﺭﯾﺔ‪ ،‬ﺍﻟﻐﯾﺭ‬ ‫ﺍﻟﺗﻘﻠﯾﺩﯾﺔ‪ ،‬ﻟﻠﻭﺻﻭﻝ ﻟﺩﻭﺭﻩ ﺍﻟﻔﺎﻋﻝ ﻓﻲ ﺯﻣﻛﺎﻧﯾﺔ ﺍﻟﻧﺷﺎﻁ ﺍﻹﻧﺳﺎﻧﻲ‬ ‫ﺍﻟﻣﺟﺗﻣﻌﻲ‪ ،‬ﺍﻟﺫﺍﺗﻲ‪ ،‬ﻭﺍﻟﺟﻣﻌﻲ‪.‬‬

‫ﻭﻓﻲ ﺭﺃﯾﻧﺎ ﺍﻟﻧﻘﺩﻱ ‪ ..‬ﺃﻥ ﺍﻟﺷﺎﻋﺭ ﺍﻟﻌﺭﺍﻗﻲ ﺍﻟﻛﺑﯾﺭ )ﯾﺣﯾﻰ ﺍﻟﺳﻣﺎﻭﻱ(‬ ‫ھﻭ ﺍﻷﻓﺿﻝ‪ ،‬ﻭﺍﻻھﻡ‪ ،‬ﻭﺍﻷﻋﻣﻕ‪ ،‬ﻭﺍﻷﻓﺣﻝ ﻣﻥ ﺑﯾﻥ ﺍﻟﺷﻌﺭﺍء ﺍﻟﺫﯾﻥ‬ ‫ﻛﺗﺑﻭﺍ ﺍﻟﻭﻣﺿﺔ ﺍﻟﺷﻌﺭﯾﺔ‪ ،‬ﺣﯾﺙ ﺍﻣﺗﺎﺯﺕ )ﺍﻟﻭﻣﺿﺔ ﺍﻟﺷﻌﺭﯾﺔ( ﻓﻲ‬ ‫ﺍﻋﺗﻣﺎﺩﺍﺗﻪ ﺍﻟﻔﻛﺭﯾﺔ‪ ،‬ﻭﻣﺑﺛﻭﺛﺎﺗﻪ ﺍﻟﺣﺳ ّﯾﺔ‪ ،‬ﻭﺍﻟﻭﺟﺩﺍﻧﯾﺔ‪ ،‬ﻭﺭﻓﻌﺗﻪ‬ ‫ﺍﻟﻠّﻐﻭﯾﺔ ﺍﻟﻌﺎﻟﯾﺔ‪ ،‬ﺑﺎﻟﻛﺛﯾﺭ ﻣﻥ ﺍﻟ ُﻣﺑﻬﺭﺍﺕ ﺍﻟﺗﻲ ﺃﻭﺟﺩﺕ ﻟﻬﺎ ﺷﻛﻼً‬ ‫ﺍﺑﺗﻛﺎﺭﯾﺎ ً ﺟﺩﯾﺩﺍً‪ ،‬ﻓﻬﻭ ﯾﻌﺗﻣﺩ ﻋﻠﻰ )ﻣﯾﺯﺍﻧﺳﯾﻥ( ﺍﻟﺩھﺷﺔ ﺍﻟﻣﺣﺭﻛﺔ‪،‬‬ ‫ﻭﺍﻟﻔﺎﻋﻠﺔ ﻓﻲ ﺟﺳﺩ ﺍﻟﻭﻣﺿﺔ‪ ،‬ﻟﯾﺻﻭﺭ ﻣﻥ ﺧﻼﻟﻬﺎ ﺫﻟﻙ ﺍﻟﻛﻡ ﺍﻟﻬﺎﺋﻝ‬ ‫ﻣﻥ ﺍﻟﻠﻘﻁﺎﺕ ﺍﻟﻣﺗﺳﺎﺭﻋﺔ ﺩﺍﺧﻝ ﺑﻭﺗﻘﺔ ﺍﻟﺣﺭﺍﻙ ﻓﻲ ﺯﻣﻛﺎﻧﯾﺔ ﺍﻟﺣﺩﺙ‬

‫ﺍﻟ ّﻠﺣﻅﻭﻱ‪ ،‬ﺃﻭ ﺃﻻﺳﺗﺭﺟﺎﻋﻲ‪ ،‬ﺃﻭ ﺃﻻﺳﺗﺷﺭﺍﻓﻲ‪ ،‬ﻓﻬﻭ ﯾﻣﯾﻝ ﺍﻟﻰ ﺗﻛﺛﯾﻑ‬ ‫ﺍﻟﻠﻘﻁﺔ ﺍﻟﻭﺍﻣﺿﺔ ﺣﺩّ ﺍﻻﻗﺗﺻﺎﺩ‪ ،‬ﻭﯾﻌﺎﻟﺟﻬﺎ ﻣﻌﺎﻟﺟﺔ ﺫﺍﺕ ﻣﺟﺳﺎﺕ‬ ‫ﺩﻻﺋﻠﯾﺔ ﺗﺣﺭﯾﺿﯾﺔ ﺑﺎﻟﻐﺔ ﺍﻟﺟﺩﻭﻯ‪ ،‬ﻓﻬﻭ ﯾﺭﺳﻡ ﻭﻣﺿﺗﻪ ﺍﻟﺷﻌﺭ ّﯾﺔ‬ ‫ﺑﻌﻧﺎﯾﺔ ﻓﺎﺋﻘﺔ ﺍﻟﻧﺟﻭﻉ ﻣﻥ ﺣﯾﺙ ﻁﺭﺍﺋﺯﯾﺔ ﺍﻟ ّﻠﻭﻥ )ﺍﻟﺟﻧﺱ( ﻭﺍﻧﺳﯾﺎﺏ‬ ‫ﺍﻟﻣﻭﺳﯾﻘﻰ‪ ،‬ﻭﻭﻗﻊ ﺍﻟﺟﺭﺳﯾﺔ‪ ،‬ﻭﺍﺗﺯﺍﻥ ﺍﻹﯾﻘﺎﻉ‪ ،‬ﻭﺍﻻﺭﺗﻛﺎﺯ ﻋﻠﻰ‬ ‫ﺍﻹﯾﺣﺎء‪ ،‬ﻭﺍﻟﻘﺻﺩﯾﺔ ﻓﻲ ﺍﻹﺷﺎﺭﺓ‪ ،‬ﻭﺍﻟﻧﺯﻭﻉ ﺍﻟﻰ ﺍﻟﺗﻠﻣﯾﺢ‪ ،‬ﻭﺍﻹﻓﺎﺩﺓ‬ ‫ﺍﻟﻘﺻﻭﻯ ﻣﻥ ﺍﻟﺗﻛﺛﯾﻑ ﻓﻲ ﺍﻟﻠﻔﻅ‪ ،‬ﻭﺍﻟﺟﻣﻠﺔ ﺍﻟﺷﻌﺭ ّﯾﺔ‪ ،‬ﻭﺍﻟﺗﺭﻛﯾﺯ ﻋﻠﻰ‬ ‫ﺍﻟﻣﻌﻧﻰ‪ ،‬ﻭ)ﻣﻌﻧﻰ ﺍﻟﻣﻌﻧﻰ( ﻭھﻭ ﯾﻛﺗﺏ ﺍﻟﻭﻣﺿﺔ ﺍﻟﺷﻌﺭ ّﯾﺔ ﻋﺑﺭ‬ ‫ﺍﻟﺣﺭ‪ ،‬ﺃﻭ ﺍﻟﺗﻔﻌﯾﻠﺔ‪ ،‬ﺃﻭ ﺍﻟﻌﻣﻭﺩﻱ‪،‬‬ ‫ﻣﺣﻛﻣﺎﺕ ﻗﺻﯾﺩﺓ ﺍﻟﻧﺛﺭ‪ ،‬ﺃﻭ ﺍﻟﺷﻌﺭ‬ ‫ّ‬ ‫ﻭھﺫﻩ ﺩﻻﻟﺔ ﻭﺍﺿﺣﺔ ﻋﻠﻰ ﺗﻔﺭﺩﻩ ﻓﻲ ﺍﺳﺗﻠﻬﺎﻡ ﻣﻼﻣﺢ ﺗﺛﻭﯾﺭ ﻣﻠﻬﻣﺎﺕ‬ ‫ﻭﻣﺿﺗﻪ ﺍﻟﺷﻌﺭ ّﯾﺔ ﻟﺻﺎﻟﺣﻪ ﺍﻟﻣﻭﺿﻭﻋﻲ‪ ،‬ﻭﺍﻟﺷﻛﻠﻲ‪.‬‬

‫ﺍﻟﺟﻣﺎﻟﻲ ‪-/‬‬ ‫) ‪ ( ١٢‬ﺍﻟ َﻣ ْﻧ ُﻅﻭﺭ َ‬ ‫ﻟﻘﺩ ﺣﺭﺹ ﺍﻟﺷﺎﻋﺭ )ﯾﺣﯾﻰ ﺍﻟﺳﻣﺎﻭﻱ( ﻋﻠﻰ ﺃﻥ ﺗﻛﻭﻥ ﻭﻣﺿﺗﻪ‬ ‫ﺻﺏ ﻓﻲ ﺻﺎﻟﺢ ﺗﻭﺍﻟﺩﯾﺔ‬ ‫ﺍﻟﺟﻣﺎﻟﻲ( ﺗ ّ‬ ‫ﺍﻟﺷﻌﺭﯾﺔ ﻣﻥ ﺣﯾﺙ )ﺍﻟ َﻣ ْﻧ ُﻅﻭﺭ َ‬ ‫ﻧﻅﺭﯾﺔ ﺍﻟﺗﻠﻘﻲ ﺍﻟ ُﻣﺅﺳﺳﺔ ﻣﻥ ﻋﻧﺎﺻﺭھﺎ ﺍﻟﺛﻼﺙ‬ ‫)ﺍﻟﺭﺳﺎﻟﺔ‪+‬ﺍﻟﻣﺭﺳﻝ‪+‬ﺍﻟﻣﺗﻠﻘﻲ( ﻭﺍﻟﺗﻲ ﻟﻬﺎ ﺟﺫﻭﺭ ﻣﺣﻭﺭﯾﺔ ﺛﺎﺑﺗﺔ ﻓﻲ‬ ‫ﺍﻟﺫﺍﺕ ﺍﻟﻣﺻﻐﯾﺔ‪ ،‬ﻭﺍﻟﻣﻧﺻﺗﺔ‪ ،‬ﺑﺻﻔﺗﻬﺎ ﺍﻟﺫﺍﻛﺭﺓ ﺍﻟﻣﺗﻠﻘﯾﺔ ﺍﻟﺟﻣﺎﻟﯾﺔ‪،‬‬ ‫ﻭﺑﺎﻋﺗﺑﺎﺭھﺎ ﺃﯾﺿﺎ ﺍﻟﻌﻘﻝ ﺍﻟ ُﻣﻔﺳﺭ ﻟﻬﺎ‪ ،‬ﻭھﺫﺍ ﯾﺗﺄﺗﻰ ﻋﺑﺭ ﺍﻟﻧﺹ ﺫﺍﺗﻪ‪،‬‬ ‫ﺳﻪ ﺍﻟﻣﻭﺳﯾﻘﻲ ﺍﻟﻌﺎﻟﻲ‪ ،‬ﻭﺇﯾﻘﺎﻋﻪ ﺍﻟﺭﺻﯾﻥ‪ ،‬ﻭﺟﺭﺳﯾﺗﻪ‬ ‫ﺇﺫﺍ ﻣﺎ ﺍﻣﺗﻠﻙ ﺣ ّ‬ ‫ﺍﻟﺭﺍﻗﯾﺔ‪ ،‬ﻭﺻﻭﺭﻩ ﺍﻟﻣﺧﯾﺎﻟﯾﺔ‪ ،‬ﻭﺍﻟﻭﺍﻗﻌﯾﺔ ﺫﺍﺕ ﺍﻟﺗﻣﺎﺱ ﺑﺎﻟﻠﺣﻅﺔ ﺍﻵﻧﯾﺔ‬ ‫ﻭﺗﻁﻭﺭﺍﺗﻬﺎ ﺍﻟﻔﺎﻋﻠﺔ ﻓﻲ ﺍﻟﺫھﻥ ﺍﻟﻔﺭﺩﻱ‪ ،‬ﻭﺍﻟﺟﻣﻌﻲ‪ ،‬ﻭﺣﺎﺯ ﻋﻠﻰ ﻧﻅﺎﻡ‬ ‫ﺩﺍﺧﻠﻲ ﻣﺅﺛﺙ ﺑﻌﻧﺎﯾﺔ ﻓﺎﺋﻘﺔ‪ ،‬ﻭﺑﺗﺭﺷﯾﺩ ﻟﻐﻭﻱ ﻓﺎﺧﺭ‪ ،‬ﻭﺍﻧﺳﯾﺎﺑﯾﺔ ﺫﺍﺕ‬

‫ﺍﻟﻧﺹ ﺍﻟﺷﻌﺭﻱ ﺍﻟﻭﻣﺿﻭﻱ ﻟﻪ‬ ‫ﻣﻐﺯﻯ ﺗﺭﻣﯾﺯﻱ ﺣﺻﯾﻑ‪ ،‬ﺑﺎﻋﺗﺑﺎﺭ ﺃﻥ‬ ‫ّ‬ ‫ﺁﻓﺎﻕ ﺍﺳﺗﻘﺑﺎﻟﯾﺔ ﺧﺎﺻﺔ‪ ،‬ﻭﻣﺣﺎﻭﺭ ﺗﻠﻘﻲ ﺫﺍﺕ ﺃﺟﻭﺍء ﻣﺗﻔﺭﺩﺓ‪ ،‬ﻭﻗﻭﺍﻡ‬ ‫ﻋﺎﻝ‪.‬‬ ‫ّ‬ ‫ﺣﺳﻲ‪ ،‬ﻭﻓﻛﺭﻱ ٍ‬

‫ﺍﻟﺟﻣﺎﻟﻲ ‪-/‬‬ ‫) ‪ (١٣‬ﺍﻟ َﻘﻭﺍﻡ َ‬ ‫ﻭﻣﻥ ﺧﻼﻝ ﻣﺎ ﺗﻘﺩﻡ‪ ،‬ﯾﻣﻛﻥ ﻟﻧﺎ ﺍﻻﺳﺗﺩﻻﻝ ﻋﻠﻰ ﺃﻥ ﺗﺟﻠّﯾﺎﺕ )ﺍﻟﺩھﺷﺔ(‬ ‫ّ‬ ‫ﺍﻟﺣﺳﻲ‪ ،‬ﻭﺍﻟﻔﻛﺭﻱ ﻓﻲ ﺍﻟﻭﻣﺿﺔ‬ ‫ﺍﻟﺑﺙ‬ ‫ﻭﺗﻣﻅﻬﺭﺍﺕ ﺍﻟﻣﻌﻧﻰ ﻓﻲ‬ ‫ّ‬ ‫ﺍﻟﺷﻌﺭ ّﯾﺔ ﺍﻟﺗﻲ ﺍﺳﺗﺩﺍﻡ ﻓﻌﺎﻟﯾﺔ ﻧﺑﻭﻏﻬﺎ ﺍﻟﺷﺎﻋﺭ ﺍﻟﻌﺭﺍﻗﻲ ﺍﻟﻛﺑﯾﺭ )ﯾﺣﯾﻰ‬ ‫ﺍﻟﺳﻣﺎﻭﻱ( ﻓﻲ ﺗﺄﺛﯾﺙ )ﺍﻟﻘﻭﺍﻡ ﺍﻟﺟﻣﺎﻟﻲ( ﻣﻥ ﺧﻼﻝ ﺍﻟﻌﻣﻠﯾﺔ‬ ‫ﺍﻻﺳﺗﻛﺷﺎﻓﯾﺔ ﺍﻟﻣﺿﻧﯾﺔ ﺍﻟﻣﻌﺗﻣﺩﺓ ﻋﻠﻰ ﺩﻻﺋﻝ ﻓﺎﻋﻠﺔ ﻓﻲ ﺟﺳﺩ ﺍﻟﻭﻣﺿﺔ‬ ‫ﺍﻟﺷﻌﺭ ّﯾﺔ‪ ،‬ﻭﺍﻟﻣﺗﺿﻣﻧﺔ ﻟﻛﺎﻣﻝ ﻋﻣﯾﻠﺔ ﺍﻟﻣﺳﺗﺟﺩﺍﺕ ﺍﻟﺣﺎﺿﺭﺓ‪،‬‬ ‫ﻭﺍﻟﺗﻭﺍﺻﻝ ﻣﻊ ﺍﻟ ُﻣﺗﻐﯾﺭﺍﺕ‪ ،‬ﻓﻲ ﻣﻌﺎﻟﺟﺔ ﺍﻟﺭﺅﯾﺔ ﺍﻟﺷﻌﺭ ّﯾﺔ ﻣﻥ ﺧﻼﻝ ﻣﺎ‬ ‫ﯾﻣﺗﻠﻛ ُﻪ ﻣﻥ ﻣﺩﻋﻣﺎﺕ ﺍﻟﺛﻘﺎﻓﺔ ﺍﻟﻌﺎﻟﯾﺔ‪ ،‬ﻭﺍﻟﻣﻭﺍﺭﺩ ﺍﻟﻔﻛﺭﯾﺔ ﺍﻟﺭﺍﺋﺩﺓ‪،‬‬ ‫ﻭﻣﻧﺟﺩﯾﺗﻪ ﺍﻟﻠّﻐﻭﯾﺔ ﺍﻟﺭﺍﻗﯾﺔ ﺍﻟﺣﺻﯾﻔﺔ‪ ،‬ﻭﺍﻟﺗﻔﺎﻋﻼﺕ ﺍﻟﺳﯾﺎﺳﯾﺔ‪،‬‬ ‫ﻭﺍﻹﻧﺳﺎﻧﯾﺔ ﺍﻟﻣﺟﺗﻣﻌﯾﺔ‪ ،‬ﻭﻛﺣﺻﯾﻠﺔ ﻟﺳﻧﯾﻥ ﻏﺭﺑﺔ ﻁﻭﯾﻠﺔ ﻗﺿﺎھﺎ ﻓﻲ‬ ‫ﻭﻁﻧﻪ ﻁﺭﯾﺩﺍً ﺳﯾﺎﺳﯾﺎً‪ ،‬ﻭﻓﻲ ﺍﻟﻣﻧﺎﻓﻲ ﻛﻣﻬﺎﺟﺭ‪ ،‬ﻭﻻﺟﺊ ﺳﯾﺎﺳﻲ ﻻ‬ ‫ﯾﻣﻠﻙ ﺇﻻ ﻗﺻﺎﺋﺩﻩ ﺍﻟﺷﻌﺭ ّﯾﺔ ﺍﻟﺳﺎﻣﻘﺔ ﺍﻟﺗﻲ ﺍﺳﺗﻁﺎﻉ ﻣﻥ ﺧﻼﻟﻬﺎ ﺃﻥ‬ ‫ﺻﺔ ﻋﺎﻟﯾﺔ ّ‬ ‫ﻟﺑﺙ ﻧﻭﺍﺯﻋﻪ ﺍﻹﻧﺳﺎﻧﯾﺔ‪ ،‬ﻭﺧﻠﺟﺎﺗﻪ ﺍﻟﻭﺟﺩﺍﻧﯾﺔ‪،‬‬ ‫ﯾﺧﻠﻕ ﻟﻪ ﻣﻧ ّ‬ ‫ﻭﻣﻭﺍﻗﻔﻪ ﺍﻟﺳﯾﺎﺳﯾﺔ‪ ،‬ﻭﺍﻟﻔﻛﺭﯾﺔ‪ ،‬ﻭﺍﻹﻧﺳﺎﻧﯾﺔ‪ ،‬ﻭﻟﯾﻛﻭﻥ ﺻﻭﺗﺎ ً‬ ‫ﺗﺣﺭﯾﺿﯾﺎ ً ﻣﺩﻭﯾﺎ ً ﺿ ّﺩ ﻁﻐﺎﺓ‪ ،‬ﻭﺯﺑﺎﻧﯾﺔ ﻋﺻﺭﻩ‪ ،‬ﻭﻟﺗﺣﯾﻕ ھﺩﻓﻪ‬ ‫ﺍﻟﻣﻧﺿﻭﻱ ﺗﺣﺕ ﻻﻓﺗﺔ ﻋﺎﻟﯾﺔ ﺍﻟﻘﯾﻣﺔ‪ ،‬ﻭﻣﻥ ﺛﻡ ﻟﻠﻭﺻﻭﻝ ﺇﻟﻰ ﻏﺭﺿﻪ‬ ‫ﺍﻟﻣﻧﺷﻭﺩ ﻓﻲ )ﺗﺟﻠّﯾﺎﺕ ﺍﻟﺩھﺷﺔ ‪ ..‬ﻭﺗﻣﻅﻬﺭﺍﺕ ﺍﻟﻣﻌﻧﻰ ﻓﻲ ﺍﻷﺛﺭ‬ ‫ﺍﻟﺣﺳﻲ ﻭﺍﻟﻔﻛﺭﻱ(‪.‬‬ ‫ّ‬

‫) ‪َ ( ١٤‬ﺗ ْﺣﻠﯾﻝ ﺍﻟ َﻌ ﱢﯾﻧﺎﺕ ‪-/‬‬ ‫ﻭﻣﻥ ﺍﺟﻝ ﺍﻟﻭﻟﻭﺝ ﺍﻟﻰ ﻣﻌﻁﯾﺎﺕ ﺍﻟﺗﻔﺳﯾﺭ‪ ،‬ﻭﺍﻟﺗﺣﻠﯾﻝ ﻭﻓﻕ ﻣﻭﺳﻭﻡ‬ ‫ﺩﺭﺍﺳﺗﻧﺎ ﺍﻟﻧﻘﺩﯾﺔ ھﺫﻩ ))ﺗﺟﻠّﯾﺎﺕ ﺍﻟﺩھﺷﺔ ‪ ..‬ﻭﺗﻣﻅﻬﺭﺍﺕ ﺍﻟﻣﻌﻧﻰ ﻓﻲ‬ ‫ﺍﻟﺣﺳﻲ ﻭﺍﻟﻔﻛﺭﻱ(( ﻭﻟﺩﺭﺍﺳﺔ ﻣﻌﺎﻟﻣﻬﺎ ﺍﻟ ُﻣﺳﺗﺗﺭﺓ ﻣﻥ ﺧﻼﻝ‬ ‫ﺍﻷﺛﺭ‬ ‫ّ‬ ‫)ﺍﻟﺑﺎﺙ ‪ +‬ﺍﻟﻣﺳﺗﻘﺑﻝ( ﻋﻠﯾﻧﺎ ﺍﺧﺗﯾﺎﺭ ﺑﻌﺽ ﺍﻟﻧﺻﻭﺹ )ﺍﻟﺳﻣﺎﻭﯾﺔ(‬ ‫ﺍﻟﻭﺍﻣﺿﺔ ﻛـ)ﺍﻟﻌﯾﻧﺎﺕ( ﻹﺣﺎﻟﺗﻬﺎ ﺇﻟﻰ ﻣﻧﻁﻘﺔ ﺍﻟﺗﺣﻠﯾﻝ‪ ،‬ﻭﻣﺭﺟﻌﯾﺎﺕ‬ ‫ﺍﻟﺗﺄﻭﯾﻝ‪.‬‬ ‫ﻓﻔﻲ ﻭﻣﺿﺔ ﺷﻌﺭﯾﺔ ﻗﺩﯾﻣﺔ ﻛﺎﻥ ﻗﺩ ﻛﺗﺑﻬﺎ ﺍﻟﺷﺎﻋﺭ )ﯾﺣﯾﻰ ﺍﻟﺳﻣﺎﻭﻱ(‬ ‫ﻋﺎﻡ ‪ ١٩٦٨‬ﻭﺍﻟﺗﻲ ﯾﻘﻭﻝ ﻓﯾﻬﺎ‪-:‬‬ ‫ﻛـﺎﻥ ﺃﺑـﻲ ُﻣـﺯﺍﺭﻋـﺎ ً‬ ‫ﱢ‬ ‫ﻭﺍﻟـﺭﺯ ‪...‬‬ ‫ﯾـﻌـﻣـﻝ ُ ﻓـﻲ ﺯﺭﺍﻋـ ِﺔ ﺍﻟـﺣـﻧـﻁـ ِﺔ‬ ‫ْ‬ ‫ﻭﺃﻣـﻲ ﺗـﻧـﺳـ ُﺞ ﺍﻟـ ﱠ‬ ‫ـﺭﻧـﻘـﺔ‬ ‫ﺷ‬ ‫‪//‬‬ ‫ْ‬ ‫ﺛـﻭﺑـﺎ ً ﺟـﻣـﯾـﻼً ﻣـﺛـﻠـﻣـﺎ ﺍﻟ ّ‬ ‫ﻧـﺑـﻘـﺔ‬ ‫ـﺯ‬ ‫‪//‬‬ ‫ْ‬ ‫ُ‬ ‫ُ‬ ‫ﺍﻟـﻣـﻁـﺭﻗـﺔ‬ ‫ـﻌـﺎﻧـﻕ‬ ‫ﻧـﻘـﺷـﺕ ﻣـﻧـﺟـﻼً ُﯾ‬ ‫ﻟـﺫﺍ‬

‫ﺍﻟﺣﻣِﯾﻣ ّﯾﺔ ﺍﻟﺭﺍﺋﻌﺔ‬ ‫ﺳﺭ ﻋﻼﻗﺗﻪ َ‬ ‫ھﻧﺎ ُﯾﻔﺷﻲ ﺍﻟﺷﺎﻋﺭ )ﯾﺣﯾﻰ ﺍﻟﺳﻣﺎﻭﻱ( ﱠ‬ ‫ﻣﻊ ﻭﺍﻟﺩﯾﻪ‪ ،‬ﺑﻝ ﻭﯾﻔﺗﺧﺭ ﺑﺄﻥ ﻭﺍﻟﺩﻩ ﻛﺎﻥ ﻣﺯﺍﺭﻋﺎً‪ ،‬ﻭھﺫﺍ ﺍﻟﻔﺧﺭ ﯾﺗﺄﺗﻲ‬ ‫ﻣﻥ ﺃﺻﻭﻟﻪ ﺍﻟﺑﯾﺋﯾﺔ ﻭﺍﻟﻣﺟﺗﻣﻌﯾﺔ‪ ،‬ﻭﻗﯾﻣﻪ ﺍﻟﻔﻛﺭﯾﺔ‪ ،‬ﻭﺍﻟﺳﯾﺎﺳ ﱠﯾﺔ‪ ،‬ﺛﻡ‬ ‫ﻑ ﻭﺍﻟﺩﺗﻪ ﺑﻬﺫﺍ ﺍﻟﺑﺫﺥ ﺍﻟﺟﻣﺎﻟﻲ ﺍﻟ ُﻣﺭھﻑ‪ ،‬ﺑﺄﻧﻬﺎ ﻛﺎﻧﺕ ﺗﻧﺳﺞ‬ ‫َﯾﺻِ ُ‬ ‫ﺍﻟﺷﺭﻧﻘﺔ‪ ،‬ﺛﻭﺑﺎ ﻛﻣﺎ ﺍﻟﺯﻧﺑﻘﺔ‪ ،‬ھﺫﻩ ﺍﻟﻣﻭﺍﺋﻣﺔ ﺍﻻﺳﺗﺩﻻﻟﯾﺔ ﺍﻟﻣﺣﻛﻣﺔ ﺑﯾﻥ‬ ‫ﻛ ﱢﺩ ﺍﻟﻔﻼﺡ ﻭﻓﺣﻭﻟﺗﻪ ﺍﻟﻔﺎﻋﻠﺔ ﻓﻲ ﺟﺳﺩ ﺍﻷﺭﺽ‪ ،‬ﻭﺟﻣﺎﻝ ﺍﻷﻧﺛﻰ‬ ‫ﻭﺭﻗﺗﻬﺎ‪ ،‬ﺍﻟﺗﻲ ﻭﺻﻔﻬﺎ ﺑﻬﺫﺍ ﺍﻟﻭﺻﻑ ﺍﻟ ُﻣﺩھﺵ‪ ،‬ﻭﺣﯾﻥ ﺗﻘﻑ ﻣﺟﺳﺎﺕ‬ ‫ﺍﻹﻧﺻﺎﺕ ﻓﻲ ﺫﻭﺍﻛﺭﻧﺎ ﺍﻟ ُﻣﺗﻠﻘﯾﺔ ﻧﻛﺗﺷﻑ ﺑﺄﻥ )ﺍﻟﺳﻣﺎﻭﻱ( ﺻﺎﻍ ھﺫﻩ‬ ‫ﺍﻟﻭﻣﺿﺔ ﺑﺈﺩھﺎﺵ ﯾﺣﻣﻝ ﻓﻲ ﻁﯾﺎﺗﻪ ﺍﻟﻛﺛﯾﺭ ﻣﻥ ﺍﻟﺩﻻﺋﻝ ﺍﻟﻣﺷﻔﺭﺓ‪ ،‬ﻓﻬﻭ‬ ‫ّ‬ ‫ﻋﺎﻝ‪،‬‬ ‫ﺣﺳﻲ ﻣﺭھﻑ‪،‬‬ ‫ﯾﺧﺗﻡ ﻭﻣﺿﺗﻪ ﺍﻟﺷﻌﺭﯾﺔ ﺑﺭﻗﻲ‬ ‫ّ‬ ‫ﻭﺑﺙ ﻓﻛﺭﻱ ٍ‬ ‫ﻣﺗﻭﺍﺷﺞ ﻣﻊ ﺍﻧﺗﻣﺎءﻩ ﺍﻟﺳﯾﺎﺳﻲ‪ ،‬ﺣﯾﻥ ﯾﻘﻭﻝ‪ ،‬ﻟﺫﺍ ﻧﻘﺷﺕ ﻣﻧﺟﻼ ﯾﻌﺎﻧﻕ‬ ‫ﺍﻟﻣﻁﺭﻗﺔ‪ ،‬ﻭھﺫﺍ ﺍﻟﻭﺿﻭﺡ ﺍﻟﻌﻘﺎﺋﺩﻱ ﺍﻹﯾﺩﯾﻭﻟﻭﺟﻲ ﯾﺿﻣﻥ ﻟﻪ ﺍﻹﺷﻌﺎﻉ‬ ‫ﺍﻟﺗﺭﺍﺗﺑﻲ ﺍﻟﻣﺷﻔﻭﻉ ﺑﺛﺑﺎﺕ ﺍﻟﻣﻭﻗﻑ ﺍﻟﻔﻛﺭﻱ‪ ،‬ﻭﻭﺿﻭﺡ ﺍﻟﻣﻌﻧﻰ‪.‬‬ ‫ﻭﻅﻑ )ﺍﻟﺳﻣﺎﻭﻱ( ﺩﻻﺋﻠﻪ ﺍﻟﺭﻣﺯﯾﺔ ﻋﺑﺭ ﻋﻣﻠﯾﺔ ﺗﺟﻠّﯾﺎﺕ ﻋﻭﺍﻟﻡ‬ ‫ﻟﻘﺩ‬ ‫َ‬ ‫ﺍﻟﺩھﺷﺔ‬ ‫ﻭ َﺑ ّ‬ ‫ﺍﻟﺣﺳﻲ ﻭﺍﻟﻔﻛﺭﻱ‪ ،‬ﺗﻭﻅﯾﻔﺎ ً ﺍﺳﺗﻧﺗﺎﺟﯾﻧﺎً‪،‬‬ ‫ﺙ ﺍﻟﻣﻌﻧﻰ ﻓﻲ ﺍﻷﺛﺭ‬ ‫ّ‬ ‫ﻭﺍﻧﺳﺎﻗﯾﺎ ﻣﺎھﺭﺍً ﻓﻲ ﺻﯾﺎﻏﺔ ﻭﺗﺩﻭﯾﻥ ﺍﻟﻭﻣﺿﺔ ﺍﻟﺷﻌﺭ ّﯾﺔ‪ ،‬ﻋﻠﻰ ﺍﻋﺗﺑﺎﺭ‬ ‫ﺃﻥ ﺍﻟﻌِﻣﺎﺭﺓ ﺍﻟﺷﻌﺭ ّﯾﺔ‪ ،‬ﺗﺣﺗﺿﻥ ﺫﻟﻙ ﺍﻟ َﻛ ّﻡ ﺍﻟﻬﺎﺋﻝ ﻣﻥ ﺍﻟﺧﺯﯾﻥ ﺍﻟﻣﻌﺭﻓﻲ‬ ‫ﺑﺎﻟﻧﺹ‪ ،‬ﻭﺑ ّﺛﻪ ﺍﻟﻰ ﺍﻟﻣﺗﻠﻘﻲ ﺑﻭﺻﻔﻪ‬ ‫ﻟﺩﯾﻪ‪ ،‬ﻟﺗﺣﯾﻠﻪ ﺇﻟﻰ ﻭﻋﻲ ﻧﻭﻋﻲ‬ ‫ّ‬ ‫ُﻣﻠﻬﻡ )ﺫﺍﺗﻲ‪+‬ﺟﻣﻌﻲ( ﯾﺳﺗﻁﯾﻊ ﺍﻟﻧﻔﺎﺫ ﺍﻟﻰ ﻣﺳﺎﺣﺎﺕ ﻭﺍﺳﻌﺔ ﻓﻲ ﻣﺧﯾﻠﺔ‬ ‫ﺍﻻﺳﺗﺷﺭﺍﻑ‪ ،‬ﻷﻧﻪ ﺍﻟﻌﻧﺻﺭ ﺍﻷﺳﺎﺱ ﻓﻲ ﺗﻁﻭﯾﺭ ﺍﻟﻣﻌﻧﻰ ﺍﻷﺻﯾﻝ‬ ‫ﻟﻠﺩھﺷﺔ‪ ،‬ﻭﺇﺑﺭﺍﺯ ﻣﻛﺎﻣﻧﻬﺎ ﺍﻟﺧﻼﻗﺔ‪ ،‬ﻭﺍﻹﺑﻘﺎء ﻋﻠﻰ ﺩﯾﻣﻭﻣﺗﻬﺎ ﻓﻲ‬ ‫ﺍﻟﺫﺍﻛﺭﺓ ﺍﻟﺟﻣﺎﻟﯾﺔ ﻟﺩﻯ )ﺍﻟﺳﻣﺎﻭﻱ(‪.‬‬

‫ﻭﻓﻲ ﻭﻣﺿﺔ ﺃﺧﺭﻯ ﯾﻘﻭﻝ ﺍﻟﺳﻣﺎﻭﻱ‪-:‬‬ ‫ﺍﺳـﺗـﺭﺍﺡ ﻣـﻧـﻲ‬ ‫ﺍﻟـﻭﻁـﻥُ‬ ‫َ‬ ‫ُ‬ ‫ﺍﺳـﺗـﺭﺣـﺕ ‪...‬‬ ‫ﻭﺃﻧـﺎ‬ ‫ُ‬ ‫ﺗـﺭﻛـﺕ ﺭﺍﻓـﺩﯾـ ِﻪ ‪:‬‬ ‫ﻷﻧـﻧـﻲ ﻣـﻧـﺫ‬ ‫ُﻣ ﱡ‬ ‫ـﺕ !‬ ‫ﺇﻥ ھﺫﺍ ﺍﻟﺗﺻﺭﯾﺢ ﺍﻟﻣﻔﺭﻁ ﺑﺎﻟﻘﺳﻭﺓ ﻋﻠﻰ ﺍﻟﻭﻁﻥ ﺃﻭﻻ‪ ،‬ﺑﺎﻋﺗﺑﺎﺭﻩ‬ ‫ﺍﻟﻔﺳﺣﺔ ﺍﻟﻣﻛﺎﻧﯾﺔ ﺍﻟﺗﻲ ﺷﺗﺕ ﺃﺑﻧﺎءھﺎ ﻓﻲ ﺍﻟﻣﻧﺎﻓﻲ‪ ،‬ﻭﺍﻟﻘﺳﻭﺓ ﻋﻠﻰ‬ ‫ﺍﻟﺫﺍﺕ ﺛﺎﻧﯾﺎ‪ ،‬ﻷﻧﻬﺎ ﻟﻡ ﺗﺳﺗﻁﻊ ﺍﻟﺻﻣﻭﺩ ﺇﺯﺍء ﺍﺳﺗﻔﺣﺎﻝ ﺃﺯﻣﻧﺔ ﺍﻟﻁﻐﺎﺓ‪،‬‬ ‫ﻟﺫﺍ ﻧﺟﺩ )ﺍﻟﺳﻣﺎﻭﻱ( ﯾﺻﺭﺥ ﺑﻬﺫﻩ ﺍﻟ ّﻠﻭﻋﺔ ﺍﻟﻣﺗﺧﻣﺔ ﺑﺎﻟﺧﯾﺑﺔ‪ ،‬ﻷﻥ‬ ‫ﺍﻟﻭﻁﻥ ﺍﺳﺗﺭﺍﺡ ﻣﻧﻪ‪ ،‬ﻭھﻭ ﺍﺳﺗﺭﺍﺡ ﺃﯾﺿﺎ ﻣﻥ ﺍﻟﻭﻁﻥ‪ ،‬ﻷﻧﻪ ﻣﻧﺫ ﺃﻥ‬ ‫ﺗﺭﻙ ﺭﺍﻓﺩﯾﻪ ﻣﺎﺕ‪ ،‬ﻭﻟﻔﻅﺔ ﺭﺍﻓﺩﯾﻪ‪ ،‬ﺗﺄﺗﻲ ﻣﺗﺯﺍﻣﻧﺔ ﻣﻊ ﻗﺻﺩﯾﺔ‬ ‫ّ‬ ‫ﻭﺑﺙ ﺍﻟﻔﺣﻭﻯ ﺍﻟﻔﻛﺭﯾﺔ‬ ‫ﺍﻟﻔﺣﻭﻯ ﻓﻲ ﺇﻧﻌﺎﺵ ﺗﺟﻠّﯾﺎﺕ ﺍﻟ ّﻠﺣﻅﺔ ﺑﺎﻟﺩھﺷﺔ‪،‬‬ ‫ﻭﺍﺳﺗﺛﻣﺎﺭھﺎ ﺩﺍﺧﻝ ﺍﻟﻭﻣﺿﺔ ﺍﻟﺷﻌﺭ ّﯾﺔ ﺍﻟﺗﻲ ﯾﺩﻭﻧﻬﺎ )ﺍﻟﺳﻣﺎﻭﻱ( ﻓﻬﻭ‬ ‫ُﻣﻭﻟﻊ ﺣ ّﺩ ﺍﻟﺗﻣﺎھﻲ ﺑﻭﻁﻧﻪ ﺍﻟﺫﻱ ﻏﺎﺩﺭﻩ ﻣﺑﻛﺭﺍً ُﻣﺭﻏﻣﺎً‪ ،‬ﺷﺭﯾﺩﺍ‪،‬‬ ‫ﻣﺣﻛﻭﻣﺎ ﺑﺎﻹﻋﺩﺍﻡ ﻏﯾﺎﺑﯾﺎ‪ ،‬ﻟﻛﻧﻪ ﯾﺣﻣﻝ ﺍﻟﻔﺭﺍﺗﯾﻥ ﺑﯾﻥ ﺟﺎﻧﺑﯾﻪ ﻛﺩﻻﻟﺔ‬ ‫ﻟﻭﺿﻭﺣﻪ ﺍﻷﻧﺗﻣﺎﺋﻲ ﻟﻭﻁﻧﻪ ﺍﻷﻡ‪ ،‬ﻭﺩھﺷﺗﻪ ﺍﻟﻣﺑﻛﺭﺓ ﻓﯾﻪ‪ ،‬ﻭﺑﻪ‪.‬‬ ‫ﻭﻓﻲ ﺇﺣﺩﻯ ﺍﻟﻭﻣﺿﺎﺕ ﺍﻟﻧﻭﻋﯾﺔ ﺍﻟﺑﺎھﺭﺓ ﺣﯾﺙ ﯾﻘﻭﻝ )ﺍﻟﺳﻣﺎﻭﻱ(‬ ‫ﻓﯾﻬﺎ‪-:‬‬

‫َ‬ ‫ﺍﻷﺩﺧـﻧـﺔ‬ ‫ﺃﻛـﺭﻩُ‬ ‫ـﻭﺭ ﺃﻣـﻲ ‪...‬‬ ‫ِ‬ ‫ﺑﺎﺳـﺗـﺛـﻧـﺎء ﺩﺧـﺎﻥ ﺗـ ﱡﻧ ِ‬ ‫ُ‬ ‫ﺑـﺧـﻭﺭ ﺍﻟـﻣـﺣـﺎﺭﯾـِ ِ‬ ‫ﺏ‬ ‫ﺭﺍﺋـﺣـﺔ‬ ‫ﻓـﻬـﻭ ﺍﻟـﺩﺧـﺎﻥ ﺍﻟـﻭﺣـﯾـ ُﺩ ﺍﻟـﺫﻱ ﻟـﻪ‬ ‫ِ‬ ‫ُ‬ ‫ﻭﻋـﺫﻭﺑـﺔ ﻧﺳـﯾـﻡ ﺍﻟـﺣـﺩﺍﺋـﻕ !‬ ‫ﻣﻥ ﺍﻟﻣﻼﺣﻅ ﺍﻟﺟ ّﻠﻲ ﺑﺄﻥ )ﺍﻟﺳﻣﺎﻭﻱ( ﻣﺗﻌﻠﻕ ﺑﺄﻣﻪ ﻛﺛﯾﺭﺍ‪ ،‬ﻓﻬﻭ ﺩﺍﺋﻡ‬ ‫ﺍﻟﺗﻛﺭﺍﺭ ﻟﻛﯾﻧﻭﻧﺗﻬﺎ‪ ،‬ﻭﺍﻟﺭﺟﻭﻉ ﺇﻟﯾﻬﺎ ﺣﯾﻧﻣﺎ ﺗﺷﺗﺩ ﻋﻠﯾﻪ ﺍﻷﺯﻣﻧﺔ‪،‬‬ ‫ﻭﺗﺿﯾﻕ ﺑﻪ ﺍﻷﻣﻛﻧﺔ‪ ،‬ﻷﻧﻪ ﯾﻌﺗﺑﺭھﺎ ﺍﻹﯾﻘﻭﻧﺔ ﺍﻟﻣﺷﻌﺔ ﻓﻲ ﺣﯾﺎﺗﻪ‪ ،‬ﺣﺗﻰ‬ ‫ﺍﻟﺗﺟﻠﻲ ﯾﺻﺑﺢ ﻭﺍﺿﺣﺎ ﻓﻲ ھﺫﻩ ﺍﻟﻭﻣﺿﺔ‪ ،‬ﻭﻓﻲ‬ ‫ﺑﻌﺩ ﻣﻭﺗﻬﺎ‪ ،‬ﺭﺑﻣﺎ ھﺫﺍ‬ ‫ّ‬ ‫ﺭﺃﯾﻧﺎ ﺑﺄﻥ )ﺍﻟﺳﻣﺎﻭﻱ( ﻭﻋﻠﻰ ﻣﺳﺗﻭﻯ ﺃﻛﺛﺭ ﻭﻣﺿﺎﺗﻪ ﺍﻟﺷﻌﺭﯾﺔ‪ ،‬ﺧﻠﻕ‬ ‫ﻣﻥ ﻋﻼﻗﺗﻪ ﺑﺄﻣﻪ ﻧﺳﻘﺎ ﻭﺍﻋﯾﺎً‪ ،‬ﻭﻓﻁﺭﯾﺎ ﻓﻲ ﺁﻥ ﻭﺍﺣﺩ‪ ،‬ﻭﯾﺄﺗﻲ ھﺫﺍ‬ ‫ﺍﻟﺗﻌﻠﻕ ﺑﻬﺎ‪ ،‬ﻟﺗﺭﺟﻣﻪ ﺣﺎﻟﺗﻪ ﻭھﻭ ﻣﺗﺷﺑﺙ ﺑﻬﺎ ﻋﻠﻰ ﺍﻋﺗﺑﺎﺭھﺎ ﺍﻟﺷﺎھﺩ‬ ‫ﺍﻟﺣﻲ )ﺍﻟﻣﯾﺕ( ﻋﻠﻰ ﻋﺫﺍﺑﺎﺗﻪ ﺍﻟﯾﻭﻣﯾﺔ ﻣﻥ ﺧﻼﻝ ﻋﯾﻭﻥ ﺍﻟﻌﺳﺱ‪،‬‬ ‫ّ‬ ‫ﻓﯾﺭﺟﻊ ﺇﻟﯾﻬﺎ ﻛﻣﺭﺻﺩ ﯾﺭﻯ ﻣﻥ ﺧﻼﻟﻪ ﻛﻝ ﺗﻠﻙ ﺍﻵﻻﻡ ﺍﻟﺗﻲ ﺃﻟﻣﺕ ﺑﻪ‪،‬‬ ‫ﺣﺗﻰ ﻓﻲ ﻣﻧﻔﺎﻩ‪ ،‬ﻓﻔﻲ ھﺫﻩ ﺍﻟﻭﻣﺿﺔ ﺍﻟﻣﺗﺧﻣﺔ ﺑﺎﻻﻧﺗﻣﺎء ﻟﻭﺍﻟﺩﺗﻪ ﺍﻟﺗﻲ‬ ‫ﺃﻧﺟﺑﺗﻪ‪ ،‬ﻭﺑﻛﻭﻧﻬﺎ ﺍﻟﺣﺑﯾﺑﺔ‪ ،‬ﻭﺍﻟﻭﻁﻥ‪ ،‬ﺍﻟﺫﻱ ﺗﺭﻋﺭﻉ ﻓﯾﻪ‪ ،‬ﻓﻬﻭ )ﯾﻛﺭﻩ‬ ‫ﺍﻷﺩﺧﻧﺔ( ﺑﺎﺳﺗﺛﻧﺎء ﺩﺧﺎﻥ ﺗﻧﻭﺭ ﺃﻣﻪ ﺍﻟﺫﻱ ﺍﻋﺗﺑﺭﻩ ﺑﺎﻟﺩﻻﻟﺔ ﺍﻟﻣﺷﻔﺭﺓ‬ ‫ﺷﻬﯾﻘﺎ ﻣﻥ ﺩﺧﺎﻥ ﺍﻟﺣﺏ‪ ،‬ﻭﺍﻷﻣﻭﻣﺔ‪ ،‬ﻭﺳﻼﻣﺔ ﺍﻟﻔﻁﺭﺓ ﺍﻹﻧﺳﺎﻧﯾﺔ‬ ‫ﺍﻟﺣﺳﻲ‪ ،‬ﻭﺍﻟﻔﻛﺭﻱ ﻣﻌﻬﺎ‪ ،‬ﻓﻬﻭ ﻓﻲ ﻭﻣﺿﺗﻪ ھﺫﻩ‬ ‫ﺍﻟﻣﺑﻬﺭﺓ‪ ،‬ﻭﺍﻟﺗﻼﻗﻲ‬ ‫ّ‬ ‫ﯾﻧﻌﺵ ﺫﺍﻛﺭﺓ ﺍﻟﺩھﺷﺔ ﺣﯾﻥ ﯾﺻﺭﺡ )ﻓـﻬـﻭ ﺍﻟـﺩﺧـﺎﻥ ﺍﻟـﻭﺣـﯾـ ُﺩ ﺍﻟـﺫﻱ‬

‫ُ‬ ‫ﺑـﺧـﻭﺭ ﺍﻟـﻣـﺣـﺎﺭﯾـِ ِ‬ ‫ﺏ( ﻭﺍﻟﻣﺣﺎﺭﯾﺏ ﺟﻣﻊ )ﻣﺣﺭﺍﺏ(‬ ‫ﺭﺍﺋـﺣـﺔ‬ ‫ﻟـﻪ‬ ‫ِ‬ ‫) ُﻣﺻﻠﻰ( ﻓﻬﻭ ﯾﺗﺟﺭﺩ ﻣﻥ ﺫﺍﺗﻪ ﻟﯾﻭﻏﻝ ﺑﺎﻟﺫﻭﺍﺕ ﺍﻟﺟﻣﻌﯾﺔ ﻟﯾﺩﻟﻑ ﺇﻟﻰ‬ ‫ﺣﺿﺭﺓ ﺍﻟﻣﺣﺎﺭﯾﺏ ﺍﻟﺗﻲ ﺗﻔﻭﺡ ﻣﻧﻬﺎ ﺭﺍﺋﺣﺔ ﺍﻟﺑﺧﻭﺭ‪ ،‬ﻭھﺫﻩ ﺍﻻﺳﺗﻌﺎﺭﺓ‬ ‫ﺍﻟﺟﻣﯾﻠﺔ‪ ،‬ھﻲ ﺍﺑﺗﻛﺎﺭ ﺟﺩﯾﺩ ﻹﯾﻘﺎﻅ ﺍﻟﺩھﺷﺔ ﻣﻥ ﺳﺑﺎﺗﻬﺎ‪ ،‬ﻭﻟﯾﺧﻠﻕ ﻟﻧﺎ‬ ‫ﺍﻟﺷﺎﻋﺭ ﻣﻥ ﺧﻼﻟﻬﺎ ھﺫﺍ ﺍﻟﻣﺯﯾﺞ ﺍﻟﻣﺗﻔﺎﻭﺕ ﺑﯾﻥ )ﺍﻷﺩﺧﻧﺔ( ﺍﻟﺳﯾﺎﺳﯾﺔ‪،‬‬ ‫ﻭﺍﻟﻔﻛﺭﯾﺔ ﺍﻟﻣﻘﯾﺗﺔ‪ ،‬ﻭﻣﺎ ﺑﯾﻥ ﻧﻘﺎء ) ﺩﺧﺎﻥ ﺗﻧﻭﺭ ﺃﻣﻪ( ﻷﻧﻪ ﺍﻟﺩﺧﺎﻥ‬ ‫ﺍﻟﻭﺣﯾﺩ ﺍﻟﺫﻱ ﻟﻪ ﺭﺍﺋﺣﺔ ﺑﺧﻭﺭ ﺍﻟﻣﺣﺎﺭﯾﺏ‪ ،‬ﻟﯾﻧﺗﻘﻝ ﺑﻧﺎ )ﺍﻟﺳﻣﺎﻭﻱ( ﺍﻟﻰ‬ ‫ﺛﯾﻣﺗﻪ ﺍﻟﻔﻛﺭﯾﺔ ﺍﻷﺻﯾﻠﺔ ﻟﯾﻭﻏﻝ ﺑﻧﺎ ﺑﻌﺩھﺎ ﺑﻧﻭﺍﺯﻋﻪ ﺍﻟﺣﺳ ّﯾﺔ ﺍﻟﻌﺎﻟﯾﺔ‪،‬‬ ‫ﻟﯾﻘﻭﻝ‪-:‬‬ ‫ُ‬ ‫ﻭﻋـﺫﻭﺑـﺔ ﻧﺳـﯾـﻡ ﺍﻟـﺣـﺩﺍﺋـﻕ ( !‬ ‫)‬ ‫ﻭھﺫﺍ ﺍﻟﺗﻭﺍﺋﻡ ﺍﻟﻣﻬﯾﺏ ﺑﯾﻥ )ﺩﺧﺎﻥ ﺍﻟﻣﺣﺎﺭﯾﺏ( ﻭ)ﻋﺫﻭﺑﺔ ﻧﺳﯾﻡ‬ ‫ﺍﻟﺣﺩﺍﺋﻕ( ھﻭ ﺑﺎﻟ َﺗﺿﺎ ّﺩ ﻣﻊ )ﺍﻷﺩﺧﻧﺔ( ﺍﻟﯾﻭﻣﯾﺔ ﺍﻟﻌﺎﺑﺭﺓ ﺍﻟﺗﻲ ﺗﺿﯾﻕ‬ ‫ﺑﻬﺎ ﺍﻷﻧﻔﺱ ﻭﺍﻟﺻﺩﻭﺭ‪ ،‬ﻭﺭﺑﻣﺎ ھﻡ ﺫﺍﺕ ﺍﻟﻣﺎﺭﺓ ﻓﻲ ﺷﻭﺍﺭﻉ ﺍﻷﻓﻛﺎﺭ‬ ‫ﺍﻟﺭﺧﯾﺻﺔ‪ ،‬ﻭﺩھﺎﻟﯾﺯ ﺍﻟﺳﯾﺎﺳﯾﺔ ﺍﻟﻌﻔﻧﺔ‪ ،‬ﻭﺍﻟﻭﻣﺿﺔ ﺑﺭﺃﯾﻧﺎ ‪ ..‬ﻋﺑﺎﺭﺓ‬ ‫ﺍﻟﺣﺳﻲ‪ ،‬ﻭﺍﻟﻔﻛﺭﻱ ﺍﻟﻧﺎھﺽ‪،‬‬ ‫ﻋﻥ ﺇﯾﻘﻭﻧﺔ ﺇﺩھﺎﺵ ﻣﻠﻐﻣﺔ ﺑﺎﻻﺑﺗﻛﺎﺭ‬ ‫ّ‬ ‫ﻭﺍﻟﻣﺭﻣﺯ ﺑﻌﻧﺎﯾﺔ ﻓﺎﺋﻘﺔ‪.‬‬ ‫ﻭﻓﻲ ﻭﻣﺿﺔ ﺃﺧﺭﻯ ﻟﻠﺷﺎﻋﺭ )ﺍﻟﺳﻣﺎﻭﻱ( ﯾﻘﻭﻝ ﻓﯾﻬﺎ‪-:‬‬ ‫ﺃﯾـﻬـﺎ ﺍﻟـﻭﻻﺓُ ‪:‬‬ ‫ﻗـﺑـﻝ ﺃﻥْ ﺗـﺣـ ّﺩﺛﻭﻧـﺎ ﻋـﻥ ﺍﻟـﺣـﺷـﻣـﺔ‬ ‫ﺇﺳـﺗـﺭﻭﺍ ﻋـﻭﺭﺍﺗـﻛـﻡ ﺃﻭﻻً !‬ ‫*‬ ‫ﺗـﺷـ ّﺑـﺛـﻛـﻡ ﺑـﻛـﺭﺍﺳـﻲ ﺍﻟـﺳـﻠـﻁـﺔ‬

‫ﺃﺻـﺎﺏ ﺍﻟـﻭﻁـﻥَ ﺑـﺎﻟـﺑـﻭﺍﺳــﯾـﺭ !‬ ‫ﻗـﺩ‬ ‫َ‬ ‫*‬ ‫ﻗـﺻـﻭﺭ ُﺣـﻛـﻡ‬ ‫ﺃھـﺫﻩ‬ ‫ُ‬ ‫ِـﻛـﺏ ﻧـﻔـﺎﯾـﺎﺕ ؟‬ ‫ﺃﻡ ﻣ ﱡ‬

‫ﻭﯾﺗﺟﻠﻰ ﻭﺍﺿﺣﺎ ُ ﻓﻲ ھﺫﻩ ﺍﻟﻭﻣﺿﺔ ﺍﻟﻣﻌﻧﻰ ﻟﻠﺩﺍﻓﻊ ﺍﻟﻘﺻﺩﻱ‪ ،‬ﻭﺍﻟﻣﻠﺣﻕ‬ ‫ّ‬ ‫ﺍﻟﺑﺙ ﺍﻟﻔﻛﺭﻱ ﻟﻠﺷﺎﻋﺭ‬ ‫ﺍﻟ ُﻣﺣﺿﺭ ﻓﻲ ﺗﻣﻅﻬﺭﺍﺕ ﺍﻟﻣﻌﻧﻰ ﻓﻲ‬ ‫)ﺍﻟﺳﻣﺎﻭﻱ( ﻻﻥ ﺍﻟﻭﻣﺿﺔ ﺑﺎﺷﺗﻐﺎﻻﺗﻬﺎ ﺍﻟﺭﺍﻓﺿﺔ‪ ،‬ﺗﻌﺗﺑﺭ ﺇﺩﺍﻧﺔ ﻭﺍﺿﺣﺔ‬ ‫ﻟﻠﺣﺎﻟﺔ ﺍﻟﺳﯾﺎﺳﯾﺔ ﺍﻟﻘﺎﺋﻣﺔ‪ ،‬ﻟﯾﺧﻠﻕ ﻣﻥ ﺗﻠﻙ ﺍﻟﺻﯾﺭﻭﺭﺓ ﺍﻟﻣﺅﺛﺭﺓ‬ ‫ﻁﺭﻓﻲ‬ ‫ﻟﻠﺣﻛﻣﺔ‪ ،‬ﻭﺍﻟﻣﺗﺷﺣﺔ ﺑﺎﻷﻓﻛﺎﺭ ﺍﻟﺗﻐﯾﯾﺭﯾﺔ ﻣﻌﺎﺩﻟﺗﻪ ﺍﻟﻘﺎﺋﻣﺔ ﻋﻠﻰ‬ ‫ّ‬ ‫ﺍﻟﻭﺋﺎﻡ‪ ،‬ﺍﻟﻁﺭﻑ ﺍﻷﻭﻝ )ﺍﻟﻭﻻﺓ( ﺍﻟﺫﯾﻥ ﯾﺣﻕ ﻟﻬﻡ ﻣﺎ ﻻ ﯾﺣﻕ ﻟﻐﯾﺭھﻡ‬ ‫ﻓﻌﻠﻪ‪ ،‬ﻷﻧﻬﻡ ﯾﺗﺣﺩﺛﻭﺍ ﻋﻥ ﺍﻟﺣﺷﻣﺔ‪ ،‬ﻭھﻡ ﻋﺭﺍﺓ‪ ،‬ﻭﻟﻡ ﯾﺳﺗﺭﻭﺍ‬ ‫ﻋﻭﺭﺍﺗﻬﻡ ﺍﻟﺳﯾﺎﺳﯾﺔ‪ ،‬ﻭﺍﻟﻔﻛﺭﯾﺔ‪ ،‬ﻭﺍﻟﻛﺎﺭﺛﯾﺔ ﺣﺗﻰ ﺑﻭﺭﻗﺔ ﺗﻭﺕ‪،‬‬ ‫ﻭﺍﻟﻁﺭﻑ ﺍﻟﺛﺎﻧﻲ‪ ،‬ھﻡ ﺫﺍﺕ ﺍﻟﻭﻻﺓ ﺍﻟﻣﺗﺷﺑﺛﻭﻥ ﺑﻛﺭﺍﺳﻲ ﺍﻟﺳﻠﻁﺔ‬ ‫ﺍﻟﺧﺎﻭﯾﺔ ﺍﻟﺗﻲ ﺟﻌﻠﺕ ﻣﻧﻬﻡ )ﺁﻟﻬﺔ( ﻣﻘﺩﺳﺔ‪ ،‬ﻻ ﯾﻣﻛﻥ ﻣﺣﺎﺟﺗﻬﻡ‪ ،‬ﻭﻻ‬ ‫ﯾﻣﻛﻥ ﻷﺣﺩ ﺍﻻﻋﺗﺭﺍﺽ ﻋﻠﻰ ﻧﺻﻬﻡ ﺍﻟﻣﻘﺩﺱ‪ ،‬ﻻﻥ ﺟﻠﻭﺳﻬﻡ ﺍﻟﻁﻭﯾﻝ‬ ‫ﻋﻠﻰ ھﺫﻩ ﺍﻟﻛﺭﺍﺳﻲ ﺍﻟﻌﺭﺟﺎء ﻟﻠﺳﻠﻁﺔ‪.‬‬ ‫)ﻗﺩ ﺃﺻﺎﺏ ﺍﻟﻭﻁﻥ ﺑﺎﻟﺑﻭﺍﺳﯾﺭ(‪.‬‬

‫ﻁﺭﻓﻲ ﺍﻟﻣﻌﺎﺩﻟﺔ‪ ،‬ﯾﺧﻠﺹ )ﺍﻟﺳﻣﺎﻭﻱ( ﺍﻟﻰ ﻧﺗﯾﺟﺔ ﻓﻛﺭﯾﺔ ﺫﺍﺕ‬ ‫ﻭﺑﯾﻥ‬ ‫ّ‬ ‫ﻣﺟﺳﺎﺕ ﺣﺳ ّﯾﺔ ﻣﺗﻔﺎﻋﻠﺔ ﻣﻊ ﺍﻟﻔﻬﻡ ﺍﻟﺟﻣﻌﻲ‪ ،‬ﻟﯾﺻﻝ ﺍﻟﻰ ﻧﺗﯾﺟﺔ‬ ‫ﻓﺣﻭﺍھﺎ ﺍﻟ ُﻣﻠ ّﻐﻡ‪ ،‬ﻭﺣﺗﻰ )ﺍﻟﻘﺻﻭﺭ( ﺍﻟﺗﻲ ﯾﺳﻛﻧﻬﺎ )ﺍﻟﻭﻻﺓ( ﻭﯾﺣﻛﻣﻭﻥ‬ ‫ﺍﻟﺷﻌﺏ ﻣﻥ ﺧﻼﻝ ﺷﺭﻓﺎﺗﻬﺎ ﺍﻟﻔﺧﻣﺔ‪ ،‬ﻣﺎ ھﻲ ﺇﻻ )ﻣﻛﺏ ﻧﻔﺎﯾﺎﺕ(‪.‬‬ ‫ّ‬ ‫ﺍﻟﺑﺙ ﺍﻟﻔﻛﺭﻱ ﺣﯾﺙ‬ ‫ﻭﻓﻲ ﻭﻣﺿﺔ ﺃﺧﺭﻯ ُﯾﻔﺟﺭ )ﺍﻟﺳﻣﺎﻭﻱ( ﻓﺣﻭﻯ‬ ‫ﺑﻘﻭﻝ‪-:‬‬ ‫ً‬ ‫ﺯﻧـﺯﺍﻧـﺔ ﺃﻏـﻔـﻭ ﻓـﯾـﻬـﺎ ﺑـﺄﻣـﺎﻥ ‪:‬‬ ‫ﺇﻥﱠ‬ ‫ﺃﻭﺳـ ُﻊ ـ ﻋـﻧـﺩﻱ ـ ﻣـﻥ ﻭﻁـ ٍﻥ ﻻ ﺃﻣـﺎﻥَ ﻓـﯾـﻪ !‬ ‫ھـﻲ َ‬ ‫*‬ ‫ﯾـﺷـﺭﺏ ﺍﻟـﻣـﺎ َء ﺑـﺎﻟـﺷـﻭﻛـﺔ ‪:‬‬ ‫ﻛـﺎﻟـﺫﻱ‬ ‫ُ‬ ‫ﺍﻟـﻐـﺑـﺎﺭ ﺍﻟـﻌـ َ‬ ‫ﺎﻟـﻕ ﺑـﻘـ َﺩ َﻣـﯾـﻬـﺎ ﺍﻟـﺣـﺎﻓـﯾـﺗـﯾـ ِﻥ‬ ‫ﺃﻟـﻣـﻠِـ ُﻡ‬ ‫َ‬ ‫ﻷﺻـﻧـﻊ ﻭﻁـﻧـﺎ ً ﯾـ ﱠﺗـﺳِ ـ ُﻊ ﻟـﺧـﯾـﻣـﺗـﻲ !‬ ‫َ‬ ‫ﻭھﻧﺎ ﯾﺗﻣﺎﺯﺝ ﻓﻲ ﺫﺍﻛﺭﺓ ﺍﻟﺷﺎﻋﺭ ﺍﻟﺯﻣﻥ ﻓﻲ ﻋﻘﺩﺗﻪ ﺍﻟﺗﺭﺍﺗﺑﯾﺔ‪،‬‬ ‫ﻭﺍﻻﻧﻔﻼﺕ ﻣﻥ ﻁﻭﻕ ﺍﻟﻣﻛﺎﻥ‪ ،‬ﺑﺎﻋﺗﺑﺎﺭھﻣﺎ ﻣﺭﺗﺑﺔ ﻣﻥ ﻣﺭﺍﺗﺏ ﺍﻟ ُﻣﻛﻭﺙ‬ ‫ﺣﯾﺙ ﺗﻼﺣﻕ ﺍﻹﺣﺩﺍﺙ‪ ،‬ﻓﺎﻟﺯﻧﺯﺍﻧﺔ ﺍﻟﺗﻲ ﯾﻐﻔﻭ ﻓﯾﻬﺎ ﺑﺄﻣﺎﻥ ھﻲ ﺍﺭﺣﻡ‬ ‫ّ‬ ‫ﺍﻟﺑﺙ ﺍﻟﻔﻛﺭﻱ ﻭﺍﻟﺳﯾﺎﺳﻲ‬ ‫ﻭﺃﻭﺳﻊ ﻋﻧﺩﻩ ﻣﻥ ﻭﻁﻥ ﻻ ﺃﻣﺎﻥ ﻓﯾﻪ‪ ،‬ﻭھﺫﺍ‬ ‫ﺍﻟﻘﺻﺩﻱ ﻧﺗﺎﺝ ﺫﻟﻙ ﺍﻟﻛﻡ ﺍﻟﻬﺎﺋﻝ ﻣﻥ ﺍﻟﺗﺭﺍﻛﻣﺎﺕ ﺍﻟﻛﻭﺍﺭﺛﯾﺔ ﺍﻟ ُﻣﺣﺑﻁﺔ‬ ‫ﻟﺫﺍﺕ ﺍﻟﺷﺎﻋﺭ‪ ،‬ﻭﺭﺑﻣﺎ ﻟﻠﺟﻣﻊ ﻭھﻭ ﻧﺗﯾﺟﺔ ﻓﺎﺿﺣﺔ ﻟﺯﻣﻥ ﺍﻋﺗﺎﺩ ﻓﯾﻪ‬

‫ﺍﻟﻭﻁﻥ ﺃﻥ ﯾﺄﻛﻝ ﻣﻥ ﻣﺎﺋﺩﺓ ﺍﻟﺳﺎﺳﺔ‪ ،‬ﻻ ﺃﻥ ﯾﻠﻔﻅﻬﻡ ﻛﻲ ﯾﺄﻭﻱ ﺇﻟﯾﻪ‬ ‫ﺍﻟﺷﻌﺭﺍء ﯾﺣﺗﻣﻭﻥ ﺑﺄﺳﻭﺍﺭﻩ‪ ،‬ﻭ ُﺗﻌﻣﺭ ﺳﻘﻭﻑ ﺍﻟﻔﻘﺭﺍء ﺍﻟﺗﻲ ﺑﺎﺗﺕ‬ ‫ﺗﺗﻬﺎﻟﻙ ﻋﻠﻰ ھﺎﻣﺎﺕ ﺃھﻠﻬﺎ‪.‬‬

‫ﻭﺣﯾﻧﻣﺎ ﻧﻘﻑ ﻋﻠﻰ ﻋﺗﺑﺔ ﺍﻟﻭﻣﺿﺔ ﺍﻟﺗﻲ ﯾﻘﻭﻝ ﻓﯾﻬﺎ )ﺍﻟﺳﻣﺎﻭﻱ(‪-:‬‬ ‫ُ‬ ‫َ‬ ‫ُ‬ ‫ﺣـﺑـﺔ ﺍﻟـﻘــﻣـﺢ‬ ‫ﺗـﻣـﻭﺕ‬ ‫ﺍﻟـﻌـﺷـﻕ ‪ :‬ﺃﻥْ‬ ‫ﻛـﻲ ُﺗـﻭﻟـﺩَ ﺍﻟـﺳـﻧـﺑـﻠـﺔ !‬ ‫ْ‬ ‫‪//‬‬ ‫ـﻭﺭﻙِ ‪..‬‬ ‫ﻓـﺎﺳـﺟـﺭﻱ ﺗـ ّﻧ َ‬ ‫ﺳـﺄﺑـﺎﺭ ُﻙ ﺍﺣـﺗـﺭﺍﻗـﻲ‬ ‫ـﺣـﻼً ﻟـﻌـﯾـﻧـﯾـﻙ !‬ ‫ﻣﺎﺩﺍﻡ ﺭﻣـﺎﺩﻱ ﺳــﯾـﻐـﺩﻭ ُﻛ ْ‬ ‫‪//‬‬ ‫ﺕ ﺃﻣـﺳـﻲ ﺍﻟـﺫﻱ ﻟـﻡ ﯾـﺄ ِ‬ ‫ﺃﻧـ ِ‬ ‫ﺕ ﺑـﻌـ ُﺩ‬ ‫ﻣـﺭ ﺳـﺭﯾـﻌـﺎ !‬ ‫ﻭﺃﻧـﺎ ﻏـﺩﻙِ ﺍﻟـﺫﻱ ﱠ‬

‫ﺇﻥ ﻣﻥ ﺑﯾﻥ ﻣﻧﺎﻁﻕ ﺍﻻﺷﺗﻐﺎﻝ ﻋﻠﻰ ﻣﻧﺻﺔ ﺍﻟﻣﻌﻧﻰ ﻓﻲ ﺗﻣﻅﻬﺭﺍﺗﻪ‬ ‫ﺍﻟﻔﻛﺭﯾﺔ ﺍﻟﺣﺳ ّﯾﺔ‪ ،‬ﻭﺍﻟﺫﻱ ﯾﻘﻭﺩﻧﺎ ﺇﻟﯾﻪ )ﺍﻟﺳﻣﺎﻭﻱ( ﺑﺎﻧﺗﺑﺎﻩ ﻣﺷﺭﻭﻁ‬ ‫ﺑﺎﻟﻭﻋﻲ ﺍﻻﺳﺗﻘﺑﺎﻟﻲ‪ ،‬ﻭﺍﻟﻔﻁﻧﺔ ﺍﻟﻧﻭﻋﯾﺔ‪ ،‬ﻭﺍﻟﺗﺣﺻﯾﻥ ﺍﻟﻠﻐﻭﻱ‬ ‫ﺍﻟﺣﺻﯾﻑ‪ ،‬ﻟﯾﺗﻔﺭﺩ ﻓﻲ ﻁﺭﺡ ﻣﻭﺍﺭﺩ ﻭﻣﺿﺗﻪ ﺍﻟﺗﻲ ﺗﺄﺧﺫﻧﺎ ﺣﯾﺙ ﯾﺭﯾﺩ‬ ‫ﺍﻟﻧﺹ ﻣﻥ‬ ‫ﺃﻥ ﯾﺻﻝ ﺇﻟﯾﻪ ﻣﻥ ﺭﺑﻁ ﻣﻬﻣﺎﺯ ﺍﻟﺗﻭﺍﺻﻝ ﺍﻟﻭﻋﯾﻭﻱ ﺑﯾﻥ‬ ‫ّ‬ ‫ﺟﻬﺔ‪ ،‬ﻭﺑﯾﻥ ﺍﻟﻣﺗﻠﻘﻲ ﻣﻥ ﺟﻬﺔ ﺃﺧﺭﻯ ﻟﺧﻠﻕ ﺍﻟﺗﻭﺍﺋﻡ ﺑﺗﻠﻙ ﺍﻟﻣﺟﺳﺎﺕ‬ ‫ﺍﻟﻣﺗﻔﺭﺩﺓ ﺍﻟﻧﻭﻋﯾﺔ ﺑﯾﻥ ﺍﻟﻣﻌﻧﻰ ﻓﻲ ّ‬ ‫ﺍﻟﺑﺙ ﺍﻟﻔﻛﺭﻱ‪ ،‬ﻭﺑﯾﻥ ﻭﻋﻲ‬ ‫ﺍﻟﻣﺳﺗﻘﺑﻝ ﻟﯾﺣﯾﻠﻪ ﺍﻟﻰ ﺣﺎﺿﻧﺔ ﺃﻓﻛﺎﺭﻩ ﺍﻟﻣﺗﻘﺩﺓ‪ ،‬ﻭﺣﯾﻧﻣﺎ ﯾﺳﺗﺩﺭﺟﻧﺎ‬ ‫)ﺍﻟﺳﻣﺎﻭﻱ( ﺣﯾﺙ ﻣﻛﺎﻣﻧﻪ ﺍﻟﺣﺳ ّﯾﺔ‪ ،‬ﻭﺍﻟﻌﺎﻁﻔﯾﺔ ﻟﺗﺄﺛﯾﺙ ﻣﺷﻬﺩﻩ‬ ‫ﺍﻟﺷﻌﺭﻱ ﺍﻟﻣﺅﺛﺭ ﻓﻲ ﺣﯾﺛﯾﺎﺕ ﺍﻟﻣﻌﻧﻰ ﺍﻟﺗﺣﺭﯾﺿﻲ‪ ،‬ﺣﯾﺙ ﯾﻘﻭﻝ‪-:‬‬ ‫ُ‬ ‫َ‬ ‫ُ‬ ‫ﺣـﺑـﺔ ﺍﻟـﻘــﻣـﺢ‬ ‫ﺗـﻣـﻭﺕ‬ ‫ﺍﻟـﻌـﺷـﻕ ‪ :‬ﺃﻥْ‬ ‫ﻛـﻲ ُﺗـﻭﻟـ َﺩ ﺍﻟـﺳـﻧـﺑـﻠـﺔ !‬ ‫ْ‬ ‫ﻭھﺫﻩ ﺍﻟﻭﻻﺩﺓ ﺍﻹﻟﻬﯾﺔ ﺍﻟﻘﯾﺻﺭﯾﺔ ﯾﺗﺎﺑﻌﻬﺎ ﺍﻟﺷﺎﻋﺭ ﺑﺷﻐﻑ ﺍﻟﻣﺎﺛﻝ ﺃﻣﺎﻡ‬ ‫ھﺫﺍ ﺍﻟﻧﺳﻕ ﺍﻟﻣﻭﺿﻭﻋﻲ ﺍﻟﺫﻱ ﺗﻣﻭﺕ ﻓﯾﻪ ﺣﺑﺔ ﺍﻟﻘﻣﺢ‪ ،‬ﻟﻛﻲ ﺗﻭﻟﺩ‬ ‫ﺍﻟﺳﻧﺑﻠﺔ‪.‬‬ ‫ﺇﺫﻥ‪ ،‬ھﻣﺎﻙ ﺣﺎﻟﺔ ﻣﻭﺕ‪ ،‬ﻭﺇﺯﺍءھﺎ ﻓﻲ ﺫﺍﺕ ﺍﻟﻣﻌﺎﺩﻟﺔ ﺣﯾﺎﺓ ﺛﺎﻧﯾﺔ‪.‬‬ ‫ﺍﻥ ھﺫﻩ ﺍﻟﻣﻌﺎﺩﻟﺔ ﺑﻁﺭﻓﯾﻬﺎ )ﺍﻟﻣﻭﺕ‪+‬ﺍﻟﺣﯾﺎﺓ( ھﻲ ﻣﻌﺎﺩﻟﺔ ﻣﻌﻛﻭﺳﺔ‬ ‫ﺍﻟﻣﻌﻧﻰ‪ ،‬ﻓﺎﻟﺟﺩﯾﺭ ﺑﺎﻟﺧﻠﻕ ﺃﻥ ﯾﺑﺩﺃ ﺑﺎﻟﺣﯾﺎﺓ ﺃﻭﻻ‪ ،‬ﻻ ﻟﻠﻣﻭﺕ‪ ،‬ﻟﻛﻥ‬ ‫)ﺍﻟﺳﻣﺎﻭﻱ( ﻗﺩﻡ ﺍﻟﻣﻭﺕ ﻋﻠﻰ ﺍﻟﺣﯾﺎﺓ‪ ،‬ﻟﯾﺧﻠﻕ ﻣﻥ ﺗﻠﻙ ﺍﻟﺧﺭﺍﺋﺑﯾﺔ ﺍﻟﺗﻲ‬ ‫ﺗﺣﯾﻁ ﺑﻪ ﻓﻲ ﻭﻁﻧﻪ‪ ،‬ﻭﻓﻲ ﻣﻧﻔﺎﻩ‪ ،‬ﺟﺩﻭﻯ ﯾﻌﯾﺵ ﻷﺟﻠﻬﺎ ھﻭ‪ ،‬ﻭﻣﻥ‬ ‫ﯾﻌﯾﺷﻭﻥ ﺗﺣﺕ ھﻭﻝ ﺍﻟﺣﺭﻭﺏ ﻭﺍﻟﻣﻭﺕ ﺍﻟﯾﻭﻣﻲ ﺍﻟﻣﺟﺎﻧﻲ‪ ،‬ﻟﺫﺍ ﺃﺳﺱ‬

‫ﻟﻠﻣﻭﺕ ﻗﺑﻝ ﺍﻟﺣﯾﺎﺓ‪ ،‬ﻟﯾﻛﻭﻥ ﺩﺍﻓﻌﺎ ﻟﺗﻛﻭﯾﻥ ﺗﻠﻙ ﺍﻟﻣﻌﺎﺩﻟﺔ ﻣﻥ ﺍﺟﻝ‬ ‫ﺍﺳﺗﻣﺭﺍﺭﯾﺔ ﻣﻧﻬﺞ ﺍﻟﺗﻐﯾﯾﺭ‪.‬‬ ‫ﺛﻡ ﯾﻌﻭﺩ )ﺍﻟﺳﻣﺎﻭﻱ( ﻓﻲ ﺍﻟﻣﻘﻁﻊ ﺍﻟﺛﺎﻧﻲ ﻣﻥ ﺍﻟﻭﻣﺿﺔ‪ ،‬ﻟﯾﻣﺗﺣﻥ‬ ‫ﻗﺩﺭﺍﺕ ﺍﻟﻣﺗﻠﻘﻲ ﻓﻲ ﻋﻣﻠﯾﺔ ﺍﻟﺑﺙ ﺍﻟﺣﺳﻲ‪ ،‬ﻟﺧﻠﻕ ﻣﺳﺎﺣﺔ ﻣﻥ ﺣﺎﻟﺔ‬ ‫ﺍﻟﻣﻔﺎﺟﺄﺓ‪ ،‬ﻭﺍﻟﺗﺷﻭﯾﻕ ﻟﯾﺩﺷﻥ ﺑﺩﺍﯾﺔ ﻭﻣﺿﺗﻪ ﺍﻟﺻﺎﺩﻣﺔ‪ ،‬ﻭﯾﻧﻌﺵ ﺁﻣﺎﻟﻧﺎ‬ ‫ﺍﻟﻔﺎﺋﺗﺔ ﺍﻟﻔﻭﺍﺟﻌﯾﺔ ﺑﯾﻥ )ﺍﻟﻣﻭﺕ‪+‬ﺍﻟﺣﯾﺎﺓ( ﺑﻘﻭﻟﻪ‪-:‬‬ ‫ـﻭﺭﻙِ ‪..‬‬ ‫ﻓـﺎﺳـﺟـﺭﻱ ﺗـ ّﻧ َ‬ ‫ﺳـﺄﺑـﺎﺭ ُﻙ ﺍﺣـﺗـﺭﺍﻗـﻲ‬ ‫ـﺣـﻼً ﻟـﻌـﯾـﻧـﯾـﻙ‬ ‫ﻣﺎﺩﺍﻡ ﺭﻣـﺎﺩﻱ ﺳــﯾـﻐـﺩﻭ ُﻛ ْ‬ ‫ﺇﺫﻥ ‪ ..‬ﺃﻥ ﻣﻭﺕ ﺣﺑﺔ ﺍﻟﻘﻣﺢ ﺍﻟﺗﻲ ﺗﻌﻧﻲ ﺫﺍﺕ ﺍﻟﺷﺎﻋﺭ‪ ،‬ﻟﺗﻭﻟﺩ ﺍﻟﺳﻧﺑﻠﺔ‪،‬‬ ‫ﻓﻲ ﺍﻟﻣﻘﻁﻊ ﺍﻷﻭﻝ ﻣﻥ ﺍﻟﻭﻣﺿﺔ‪ ،‬ھﻭ ﻣﻌﻧﻰ ﺛﺎ ٍﻥ ﻟﻠﺣﯾﺎﺓ‪ ،‬ﻓﯾﻘﺭﺭ ﺍﻥ‬ ‫ﯾﻛﻭﻥ ﺭﻣﺎﺩ ﺍﺣﺗﺭﺍﻗﻪ ﻛﺣﻼ ﻟﻌﯾﻭﻥ ﺣﺑﯾﺑﺗﻪ‪ ،‬ﺃﻥ ﺫﻟﻙ ﺍﻟﺗﻭﺍﺋﻡ ﺍﻟﻣﺭﯾﺭ‬ ‫ﺍﻟﺫﻱ ﺑﺩﺍ ﻭﻛﺄﻧﻪ ﺍﺳﺗﺩﺭﺍﺝ ﻟﻣﻼﻣﺢ ﺇﻧﺻﺎﺗﻧﺎ‪ ،‬ﻟﯾﻁﻠﺏ ﻣﻥ ﺣﺑﯾﺑﺗﻪ ﺃﻭ ﺃﯾﺔ‬ ‫ﺍﻣﺭﺃﺓ ﻋﻧﺎھﺎ ﻓﻲ ﻟﺣﻅﺔ ﺗﺩﻭﯾﻥ ﺍﻟﻭﻣﺿﺔ‪ ،‬ﺍﻥ ﺗﺳﺟﺭ ﺗﻧﻭﺭھﺎ‪ ،‬ﻟﯾﺑﺎﺭﻙ‬ ‫ﺍﺣﺗﺭﺍﻗﻪ‪ ،‬ﻭھﻭ ﺍﻟﺫﻱ ﺍﺗﺧﻣﺕ ﻟﻭﺍﻋﺟﻪ ﺑﺎﻟﻭﺟﻊ‪ ،‬ﻭﺍﻷﺳﻰ‪ ،‬ﻟﯾﺄﺧﺫﻧﺎ‬ ‫ﺻﻭﺏ ﺟﻣﺎﻝ ﻣﺭﺍﺩﻓﺔ ﺍﻟﺻﻭﺭﺓ ﺍﻟﻭﻣﺿﻭﯾﺔ ﺍﻟﺑﺎﺫﺧﺔ ﺍﻟﺑﻬﺎء‪ ،‬ﻭﺗﻧﺗﻬﻲ‬ ‫ﺑﺄﻥ ﯾﻛﻭﻥ ﺭﻣﺎﺩ ﺫﻟﻙ ﺍﻻﺣﺗﺭﺍﻕ ﺍﻟﻣﻬﯾﺏ ُﻛﺣﻼ ﻟﻌﯾﻭﻥ ﺗﻠﻙ ﺍﻟﻣﺭﺃﺓ ﺍﻟﺗﻲ‬ ‫ﺍﻟﺣﺱ‪.‬‬ ‫ﺗﺳﺗﻭﻁﻥ ﺑﻭﺍﻋﺛﻪ ﺍﻟﺷﻌﺭﯾﺔ ﺍﻟﻣﺭھﻔﺔ‬ ‫ّ‬ ‫ﻭﻓﻲ ﻭﻣﺿﺔ ﺃﺧﺭﻯ ﻟﻠﺷﺎﻋﺭ )ﺍﻟﺳﻣﺎﻭﻱ( ﺍﻟﺗﻲ ﯾﻘﻭﻝ ﻓﯾﻬﺎ‪-:‬‬

‫ﺃﯾـﻬـﺎ ﺍﻷﺑـﺎﻁـﺭﺓ ‪:‬‬ ‫ُ‬ ‫ﺍﻟـﺑـﯾـﺩﺭ‬ ‫ﺃﺧـﻼﻕ ﺍﻟـﻌـﺻـﺎﻓـﯾـﺭ ﺍﻟـﺗـﻲ ﺗـﺳـﺭﻕ ﻣـﻥ‬ ‫ﻟـﺗـﻛـﻥ ﻟـﻛـﻡ‬ ‫ِ‬ ‫ﻋـﻠـﻰ ﻗـﺩﺭ ﺍﻟـﺣـﻭﺻـﻠـﺔ ‪...‬‬ ‫ﻻ ﺃﺧـﻼﻕ ﺍﻟـﺗـﻣـﺎﺳـﯾـﺢ ﺍﻟـﺗـﻲ ﻻ ﺗـﻛـﺗـﻔـﻲ ﺑـﺎﻟـﺑـﯾـﺩﺭ‬ ‫ﻓـﺗـﺳـﺭﻕ ﺍﻟـﺣـﻘـﻝ ﻛـﻠـﻪ !‬ ‫ﺟﺎء ﻓﻲ ﻣﻌﺟﻡ ﺍﻟﻣﻌﺎﻧﻲ ﺍﻟﺟﺎﻣﻊ ﻓﻲ ﻣﻌﻧﻰ )ﺃﺑﺎﻁﺭﺓ(‪-:‬‬ ‫)ﺃﺑﺎﻁﺭﺓ‪) ) :‬ﺍﺳﻡ(‬ ‫ﻣﺑﺭﺍﻁﻭﺭ‬ ‫ﺃﺑﺎﻁﺭﺓ ‪ :‬ﺟﻣﻊ ﺇِ ِ‬ ‫ﻣﺑﺭﺍﻁﻭﺭ( ‪) :‬ﺍﺳﻡ(‬ ‫)ﺇ ِ ِ‬ ‫ﺍﻟﺟﻣﻊ( ‪ :‬ﺃﺑﺎﻁﺭﺓ(‬ ‫ﻟﻘﺏ ُﯾﻁﻠﻕ ﻋﻠﻰ ﻛﻝ ﱢ ﻣﻥ ﯾﺣﻛﻡ ﺇﻣﺑﺭﺍﻁﻭﺭ ّﯾﺔ‬ ‫ﻭھﺫﺍ ﺍﻻﺳﺗﺧﺩﺍﻡ ﻟﻣﻌﻧﻰ ﺍﻟﻠﻔﻅﺔ )ﺍﻷﺑﺎﻁﺭﺓ( ﺃﻁﻠﻘﻪ )ﺍﻟﺳﻣﺎﻭﻱ( ﻟﯾﻌﻠﻥ‬ ‫ﺑﺎﻥ ﺍﻟﺫﻱ ﯾﺗﺳ ّﯾﺩ ﺩﻓﺔ ﺍﻟﺣﻛﻡ‪ ،‬ھﻡ ﺃﺑﺎﻁﺭﺓ ﻣﻥ ﺃﺯﻣﻧﺔ ﺍﻟﺭﻭﻣﺎﻥ‪ ،‬ﺑﻣﻌﻧﻰ‬ ‫ﺃﻧﻬﻡ ﻣﻐﻠﻔﻭﻥ ﺑﺄﺑﻬﺔ ﺍﻟﻣﻠﻭﻙ‪ ،‬ﻭﺑﺄﺳﻡ ﺍﻟﺩﯾﻥ‪ ،‬ﻟﯾﺣﻛﻣﻭﺍ ﺍﻟﺑﻼﺩ‬ ‫ﺑﺩﻛﺗﺎﺗﻭﺭﯾﺔ ﻓﺎﺿﺣﺔ‪ ،‬ﻭﻻ ﯾﺗﺳﻧﻰ ﻷﺣﺩ ﻣﻥ ﻋﺎﻣﺔ ﺍﻟﻧﺎﺱ ﺃﻥ ﯾﺗﺟﺭﺃ‬ ‫ﻋﻠﻰ )ﺍﻷﺑﺎﻁﺭﺓ( ﻓﻲ ﺭﺩ ﻣﻬﺎﺯﻟﻬﻡ ﺇﻟﯾﻬﻡ‪ ،‬ﺃﻭ ﯾﻌﺗﺭﺽ ﻋﻠﻰ ﺣﻛﻣﻬﻡ‬ ‫ﺍﻟﺟﺎﺋﺭ‪ ،‬ﻭﻻ ﺣﺗﻰ ﻓﻲ ﻣﺣﺎﻭﻟﺔ ﻣﻧﺎﻗﺷﺗﻬﻡ ﻓﻲ ﺍﻹﺟﺭﺍءﺍﺕ ﺍﻟﺧﺭﺍﺋﺑﯾﺔ‬ ‫ﺍﻟﺗﻲ ﺁﻟﺕ ﺑﺎﻟﻔﻭﺍﺟﻊ ﻋﻠﻰ ﺍﻟﺷﻌﻭﺏ‪ ،‬ﻣﻥ ﺧﻼﻝ ﺍﻟﺣﺭﻭﺏ‪ ،‬ﻭﺍﻷﺑﺎﻁﺭﺓ‬ ‫ھﻧﺎ‪ ،‬ﺍﻟﺳﺎﺳﺔ ﺍﻟﺫﯾﻥ ﯾﻧﻌﻣﻭﻥ ﺑﺧﯾﺭﺍﺕ ﺍﻷﺭﺽ‪ ،‬ﻭﺍﻟﺟﯾﺎﻉ ﯾﻣﻠﺋﻭﻥ‬ ‫ﺍﻷﺭﺻﻔﺔ‪ ،‬ﻭھﺫﺍ ﺇﺳﻘﺎﻁ ﺗﺎﺭﯾﺧﻲ ﻋﻠﻰ ﺍﻟﻭﺍﻗﻊ ﺍﻟﻣﺭﯾﺭ ﺍﻟﻣﻌﺎﺵ‪،‬‬ ‫ﻓﺎﻟﺷﺎﻋﺭ ﯾﻧﺻﺢ ھﺅﻻء )ﺍﻷﺑﺎﻁﺭﺓ( ﺍﻟﺟﺩﺩ ﺑﻘﻭﻟﻪ‪-:‬‬

‫ﺃﯾـﻬـﺎ ﺍﻷﺑـﺎﻁـﺭﺓ ‪:‬‬ ‫ُ‬ ‫ﺍﻟـﺑـﯾـﺩﺭ‬ ‫ﺃﺧـﻼﻕ ﺍﻟـﻌـﺻـﺎﻓـﯾـﺭ ﺍﻟـﺗـﻲ ﺗـﺳـﺭﻕ ﻣـﻥ‬ ‫ﻟـﺗـﻛـﻥ ﻟـﻛـﻡ‬ ‫ِ‬ ‫ﻋـﻠـﻰ ﻗـﺩﺭ ﺍﻟـﺣـﻭﺻـﻠـﺔ ‪...‬‬ ‫ﻭھﺫﺍ ﺍﻟﻣﻌﻧﻰ ﺍﻟﻣﻐﻠﻑ ﺑﺎﻟﺩﻻﻻﺕ ﺍﻟﻘﺻﺩﯾﺔ ﯾﺷﻲ ﺑﺄﻥ ﺍﻟﺷﺎﻋﺭ ﺭﺻﺩ‬ ‫ﻋﻥ ﻛﺛﺏ ﻣﻣﺎﺭﺳﺎﺕ ﺃﺑﺎﻁﺭﺓ ﺍﻟﻌﺻﺭ‪ ،‬ﻣﻥ ﻅﻠﻡ‪ ،‬ﻭﺗﻌﺳﻑ‪ ،‬ﻭﻧﻣﻁ ﺍﻟﺣﻛﻡ‬ ‫ﺍﻟﺩﻛﺗﺎﺗﻭﺭﻱ ﺍﻟﺫﻱ ﺍﻧﺗﺷﺭ ﻣﻥ ﺧﻼﻟﻪ ﺍﻟﻔﻘﺭ‪ ،‬ﻭﻋ ّﻡ ﺍﻟﺟﻭﻉ‪ ،‬ﻭﺍﻟﺧﺭﺍﺏ‪،‬‬ ‫ﻓـ)ﺍﻟﻌﺻﺎﻓﯾﺭ ﺗﺳﺭﻕ ﻣﻥ ﺍﻟﺑﯾﺩﺭ ﻋﻠﻰ ﻗﺩﺭ ﺣﻭﺻﻠﺗﻬﺎ( ﻷﻧﻬﺎ ﺗﺣﻣﻝ‬ ‫ﺃﺧﻼﻕ ﺍﻟﺟﺑﻠﺔ ﺍﻷﻭﻟﻰ‪ ،‬ﺍﻟﺗﻲ ﺟﺑﻠﻬﺎ ﷲ ﻋﻠﯾﻬﺎ‪ ،‬ﻟﻛﻧﻛﻡ ﺑﻼ ﺃﺧﻼﻕ‬ ‫ﻛﺎﻟﺗﻣﺎﺳﯾﺢ‪-:‬‬

‫ﻻ ﺃﺧـﻼﻕ ﺍﻟـﺗـﻣـﺎﺳـﯾـﺢ ﺍﻟـﺗـﻲ ﻻ ﺗـﻛـﺗـﻔـﻲ ﺑـﺎﻟـﺑـﯾـﺩﺭ‬ ‫ﻓـﺗـﺳـﺭﻕ ﺍﻟـﺣـﻘـﻝ ﻛـﻠـﻪ !‬

‫ﻓﺎﻧﺗﻡ ﻻ ﺗﻛﺗﻔﻭﻥ ﺑﺎﻟﺑﯾﺩﺭ )ﺃﯾﻬﺎ ﺍﻷﺑﺎﻁﺭﺓ ﺍﻟﺟﺩﺩ( ﺑﻝ ﺗﺳﺭﻗﻭﻥ )ﺍﻟﺣﻘﻝ‬ ‫ﻛﻠﻪ( ﻭھﺫﻩ ﺇﺷﺎﺭﺓ ﻭﺍﺿﺣﺔ‪ ،‬ﻭﺩﻻﻟﺔ ﻣﺳﺗﻧﯾﺭﺓ‪ ،‬ﻭﻋﻼﻣﺔ ﻓﺎﺿﺣﺔ‪ ،‬ﯾﺅﺩ‬ ‫ﻋﻠﯾﻬﺎ )ﺍﻟﺷﺎﻋﺭ( ﻭﯾﻘﻑ ﺇﺯﺍء ھﺫﻩ ﺍﻟﻣﻣﺎﺭﺳﺎﺕ ﺃﻻ ﺇﻧﺳﺎﻧﯾﺔ ‪ ،‬ﻭﺃﻻ‬ ‫ﺃﺧﻼﻗﯾﺔ‪ ،‬ﻭﻛﻣﯾﺔ ﺍﻟﺳﺭﻗﺎﺕ ﻟﻘﻭﺕ ﺍﻟﺷﻌﺏ ﻣﻥ )ﺃﺑﺎﻁﺭﺓ ﺍﻟﻌﺻﺭ( ﺍﻧﻪ‬ ‫ﻣﻭﻗﻑ ﻣﻌﺎﺭﺽ‪ ،‬ﻭﺟﺎﺩ ﻟﻛﺷﻑ ﺍﻟﺯﯾﻑ ﺍﻟﺫﻱ ﺟﺎءﻭﺍ ﺑﻪ‪ ،‬ﻭھﺫﻩ‬ ‫ﺍﻹﺷﺎﺭﺓ ﺫﺍﺕ ﺃﺑﻌﺎﺩ ﻓﻠﺳﻔﯾﺔ‪ ،‬ﻭﺍﺟﺗﻣﺎﻋﯾﺔ‪ ،‬ﻭﺳﯾﺎﺳﯾﺔ‪ ،‬ﻭﻓﻛﺭﯾﺔ ﯾﺧﺎﻁﺏ‬ ‫ﻓﯾﻬﺎ ﺍﻟﺷﺎﻋﺭ ﺍﻟﻣﺩﺭﻙ ﺍﻟﻌﻘﻠﻲ‪ ،‬ﻭﺍﻟﻭﻋﻲ ﺍﻟﺟﻣﻌﻲ‪ ،‬ﻟﯾﺣﺭﺿﻪ ﻋﻠﻰ‬

‫ﺍﻟﻭﻗﻭﻑ ﺃﻣﺎﻡ ھﺫﻩ ﺍﻟﻔﻭﺿﻰ ﺍﻷﺧﻼﻗﯾﺔ‪ ،‬ﻭﺍﻟﻔﻛﺭﯾﺔ ﻣﻭﻗﻔﺎ ﺍﻋﺗﺭﺍﺿﯾﺎ‬ ‫ﻣﻭﺣﺩﺍ ﻓﻲ ﻭﺟﻪ )ﺃﺑﺎﻁﺭﺓ ﺍﻟﺣﻛﻡ ﺍﻟﺟﺩﺩ(‪.‬‬ ‫ّ‬ ‫ﺍﻟﺣﺳﻲ‬ ‫ﺍﻟﺑﺙ‬ ‫ﻭﻓﻲ ﻭﻣﺿﺔ ﺗﺎﻟﯾﺔ ﯾﺗﻧﻘﻝ ﺑﻧﺎ )ﺍﻟﺳﻣﺎﻭﻱ( ﺣﯾﺙ ﻣﻧﺎﻁﻕ‬ ‫ّ‬ ‫ﺍﻟﻭﺟﺩﺍﻧﻲ‪ ،‬ﻟﯾﻐﺭﻑ ﻟﻧﺎ ﻣﻥ ﻣﻧﺎھﻠﻪ ھﺫﻩ ﺍﻟﻭﻣﺿﺔ ﺍﻟﺭﺍﺋﻌﺔ‪-:‬‬ ‫ـﺭﺑـﻲ ﺷـﻔـﺗـﯾـﻙِ ﻣـﻧـﻲ ‪...‬‬ ‫َﻗ ﱢ‬ ‫َ‬ ‫ﺃﻧـﺣـﺕ ﻟـﻙِ ﺑـﺈﺯﻣـﯾـﻝ ﻓـﻣـﻲ ‪:‬‬ ‫ﻓـﺄﻧـﺎ ﺃﺭﯾـﺩ ﺃﻥْ‬ ‫ﺗـﻣـﺛـﺎﻻً ﻣـﻥ ﺍﻟـ ُﻘـ ُﺑـﻼﺕ !‬

‫ﺍﻟﺣﺳﻲ ﺇﻟﻰ ﺃﻋﻠﻰ ﻁﺎﻗﺎﺗﻪ ﺍﻟﻭﺟﺩﺍﻧﯾﺔ‪ ،‬ﻟﯾﻌﺯﻑ‬ ‫ﯾﺗﺳﺎﻣﻰ ھﻧﺎ ﺍﻟﺗﻣﻅﻬﺭ‬ ‫ّ‬ ‫ﻟﻧﺎ )ﺍﻟﺳﻣﺎﻭﻱ( ﻣﻌﺯﻭﻓﺗﻪ )ﺍﻟﻭﺍﻣﺿﺔ( ﺑﻠﺣﻥ ﺟﻣﯾﻝ ﺑﺎﺫﺥ ﺍﻟﺭﻭﻋﺔ‪،‬‬ ‫ﻟﺗﻛﻭﻥ ھﺫﻩ ﺍﻟﻭﻣﺿﺔ ﺷﺎھﺩﺓ‪ ،‬ﻭﺷﺎﺧﺻﺔ ﻋﻠﻰ ﻣﺩﻯ ﺷﻔﺎﻓﯾﺔ‪ ،‬ﻭﺭﻗﺔ‪،‬‬ ‫ﻭﻋﺫﻭﺑﺔ ھﺫﺍ ﺍﻟﺷﺎﻋﺭ ﺍﻟﻣﻭﻏﻝ ﺑﺎﻟﻘﺩﻡ‪ ،‬ﻭﺍﻟﻘﺎﺩﻡ ﻣﻥ ﺃﻋﻣﺎﻕ ﺍﻟﺗﺟﺫﺭ‬ ‫ﺑﻬﺫﻩ ﺍﻷﺭﺽ ﺍﻟﻁﯾﺑﺔ ﺍﻟﻣﻌﻁﺎءﺓ‪ ،‬ﺍﻧﻪ ﯾﺗﺧﻠﻰ ﻟﺑﺭھﺔ ﻋﻥ ﻏﺿﺑﻪ‪،‬‬ ‫ﻭﺍﺣﺗﺩﺍﻣﻪ‪ ،‬ﻭﺣﺩﺓ ﺧﻁﺎﺑﻪ ﺍﻟﻭﻣﺿﻭﻱ‪ ،‬ﻟﺗﺗﺟﻠﻰ ﻓﻲ ﻟﻭﺍﻋﺟﻪ ﺍﻟﻣﺗﺭﻓﺔ‬ ‫ھﺫﻩ ﺍﻟﻌﺫﻭﺑﺔ ﻓﻲ ﻧﺯﻋﺗﻪ ﺍﻟﺣﺳ ّﯾﺔ ﺍﻟﻣﺑﻬﺭﺓ‪ ،‬ﻟﺗﻠﺧﯾﺹ ﺗﻠﻙ ﺍﻟﻠﺣﻅﺔ‬ ‫ﺍﻟﻣﺎﻛﺛﺔ ﻓﻲ ﺍﻟﻘﻠﺏ‪ ،‬ﻭﺍﻟﺫﺍﻛﺭﺓ‪ ،‬ﻟﺗﻛﻭﻥ ﺍﻟﻘُﺑﻠﺔ ھﻲ ﺍﻟﺑﻭﺻﻠﺔ ﺍﻟﺗﻲ ﺃﺿﺎﻉ‬ ‫ﻣﻥ ﺧﻼﻟﻬﺎ ﺷﻔﺗﯾﻪ‪ ،‬ﺃﯾﺔ ﻗُﺑﻠﺔ ﺟﻠﯾﻠﺔ ھﺫﻩ ﺍﻟﺗﻲ ﯾﺯﻣﻊ )ﺍﻟﺳﻣﺎﻭﻱ( ﺃﻥ‬ ‫ﯾﻧﺣﺕ ﻣﻧﻬﺎ ﺑﺄﺯﻣﯾﻠﻪ ﺍﻟﺷﻌﺭﻱ )ﺗﻣﺛﺎﻻ ﻣﻥ ﺍﻟﻘُﺑﻼﺕ( ﺇﻧﻪ ﺗﺻﻭﯾﺭ ﺑﺎﻟﻎ‬ ‫ﺍﻟﻬﯾﺑﺔ‪ ،‬ﻭﺍﻟﻭﻗﺎﺭ‪ ،‬ﻭﺑﺫﺍﺕ ﺍﻟﻣﻌﻧﻰ ﺍﻟﻧﺎﺯﻑ ﺑﺎﻟﻧﺑﺽ ﺍﻟﺣﺳﻲ ﺍﻟﻭﺟﺩﺍﻧﻲ‬ ‫ﺍﻟﻣﻠﻬﻡ‪ ،‬ﺃﻥ ھﺫﻩ ﺍﻟﻭﻣﺿﺔ ﺗﺭﻧﯾﻣﺔ ﻣﻥ ﺗﺭﺍﻧﯾﻡ ﺍﻟﻌﺷﻕ ﺍﻟﺗﻲ ﻣﺎ ﺍﻧﻔﻙ‬ ‫ﺻﺎﺣﺑﻬﺎ ﺇﻻ ﺃﻥ ﯾﺗﺭﺟﻣﻬﺎ ﺍﻟﻰ ﺣﯾﺯ ﺍﻟﻭﺟﻭﺩ‪ ،‬ﺃﻭ ﺍﻷﻣﻧﯾﺎﺕ‪ ،‬ﺃﻧﻬﺎ ﻓﺳﺣﺔ‬ ‫ﺍﻟﺣﺳﻲ ﺍﻟﻌﺎﻟﻲ‪.‬‬ ‫ﺣﺳ ّﯾﺔ ﺟﻣﺎﻟﯾﺔ ﻣﻔﻌﻣﺔ ﺑﺎﻟﺣﯾﺎﺓ‪ ،‬ﻭﺍﻟﺣﺏ‪ ،‬ﻭﺍﻟﺗﻣﻅﻬﺭ‬ ‫ّ‬

‫ﻭﻓﻲ ﻭﻣﺿﺔ ﺃﺧﺭﻯ ﺗﺗﺟﻠﻰ ﻓﯾﻬﺎ ﺍﻟﺣﻛﻣﺔ ﻭﺍﻟﻧﺯﻭﺡ ﺍﻟﻰ ﺣﯾﺙ ﺗﺣﻔﯾﺯ‬ ‫ّ‬ ‫ﺍﻟﺑﺙ ﺍﻟﻔﻛﺭﻱ‪ ،‬ﻭﺍﻟﻭﻟﻭﺝ ﺑﻧﺎ ﺍﻟﻰ ﺍﺷﺗﻬﺎﺩﺍﺗﻪ ﺍﻟﻔﻠﺳﻔﯾﺔ ﺣﯾﺙ ﯾﻘﻭﻝ‪-:‬‬

‫ﺍﻟﻭﺍﻗﻑ ﻋﻠﻰ ﺍﻟﺗﻝ‬ ‫ﺧﯾﺭ ﻣﻥ ﺍﻟﻣﺧﺗﺑﺊ ﺧﻠﻔﻪ ‪...‬‬ ‫ﻓﺭﺑﻣﺎ ﺳﯾﻛﻭﻥ ﯾﻭﻣﺎ‬ ‫ﺷﺎھﺩ ﺍﻟﻌﯾﺎﻥ ﻓﻲ ﺍﻟﻣﺣﻛﻣﺔ‬

‫ﺇﻥ ﺍﻟ ﱠﻧﺳﻕ ﺍﻟﺷﻌﺭﻱ ﺍﻟﻭﻣﺿﻭﻱ ﻟﺩﻯ )ﺍﻟﺳﻣﺎﻭﻱ( ﯾﺗﺣﻭﻝ ﺑﺎﻣﺗﺛﺎﻝ‬ ‫ﺇﯾﺩﯾﻭﻟﻭﺟﻲ ﺍﻟﻰ ﻧﺳﻕ ﻓﻛﺭﻱ ﺩﻻﺋﻠﻲ ﯾﺑﺙ ﺍﻟﻣﻌﻧﻰ ﺣﯾﺙ ﻣﺻﺑﺎﺕ‬ ‫ﺍﻟﺗﺣﻔﯾﺯ‪ ،‬ﻭﺍﻟﻘﺩﺭﺓ ﻋﻠﻰ ﺗﺛﻭﯾﺭ ﺍﻟﻠﺣﻅﺔ ﺍﻟ ُﻣﺳﺗﻘﺑﻠﯾﺔ ﻟﺩﻯ ﺍﻟﻣﺗﻠﻘﻲ‪،‬‬ ‫ﺑﻣﻌﻧﻰ ﺃﻧﻬﺎ ﻣﻥ ﺍﻷﻧﺳﺎﻕ ﺍﻟﺗﻲ ﺗﺗﺭﺍﻛﻡ ﻓﯾﻬﺎ ﻣﺟﻣﻭﻋﺔ ﻣﻥ ﺍﻟﻣﺻﺎﺩﯾﻕ‬ ‫ﺍﻟﺫﺍﺗﯾﺔ‪ ،‬ﻭﻣﻥ ﺃھﻣﻬﺎ ﺍﻟﻭﻋﻲ ﺍﻟﺫﺍﺗﻲ‪ ،‬ﻭﺍﻟﺧﺯﯾﻥ ﺍﻟﻣﻌﺭﻓﻲ‪ ،‬ﻭﺍﻹﺩﺭﺍﻙ‪،‬‬ ‫ﻭﺍﻟﻔﻬﻡ ﺍﻟﻌﺎﻟﻲ ﻟﻠﺯﻣﻥ‪ ،‬ﻭﺗﺣﻭﯾﻝ ﺫﻟﻙ ﺍﻟﻬﻡ ﺍﻟﻔﺭﺩﻱ ﺇﻟﻰ ﻣﺟﻣﺭﺓ‬ ‫ﺟﻣﻌﯾﺔ‪ ،‬ﺗﺳﺗﻘﻲ ﻣﻧﻬﺎ ﺍﻟﺫﺍﻛﺭﺓ ﺍﻟﺟﻣﻌﯾﺔ ﻓﺭﺍﺋﺿﻬﺎ ﺍﻻﻧﺗﻔﺎﺿﯾﺔ‪ ،‬ﻭھﻲ‬ ‫ﺑﺎﻟﺗﺎﻟﻲ ﻣﺑﻌﺙ ﺃﺻﯾﻝ ﻟﺗﻭھﺞ ﺍﻟﺩھﺷﺔ‪ ،‬ﻭﺑﻌﺙ ﺍﻟﺭﻭﺡ ﻓﻲ ﺗﻣﻅﻬﺭﺍﺕ‬ ‫ّ‬ ‫ﻭﺍﻟﻔﻛﺭﻱ ﺩﺍﺧﻝ ﻣﺗﻥ ﺍﻟﻭﻣﺿﺔ‪.‬‬ ‫ﺍﻟﺣﺳﻲ‪،‬‬ ‫ﺍﻟﺑﺙ‬ ‫ﺍﻟﻣﻌﻧﻰ ﻓﻲ‬ ‫ّ‬ ‫ّ‬ ‫ﻭﻓﻲ ھﺫﻩ ﺍﻟﻭﻣﺿﺔ ﯾﻘﻭﺩﻧﺎ )ﺍﻟﺳﻣﺎﻭﻱ( ﺇﻟﻰ ﻣﻧﻁﻘﺔ ﻏﺎﯾﺔ ﻓﻲ‬ ‫ﺍﻟﺧﻁﻭﺭﺓ ﻓﻲ ﻛﯾﻔﯾﺔ ﻁﺭﺡ ﺍﻟﻔﻛﺭﺓ‪ ،‬ﻭﻣﻌﺎﻟﺟﺗﻬﺎ‪ ،‬ﻣﻌﺎﻟﺟﺔ ﺫﺍﺕ ﻧﺳﻕ‬ ‫ّ‬ ‫ﺍﻟﺑﺙ ﺍﻟﻔﻛﺭﻱ‪ ،‬ﺣﯾﺙ ﯾﻘﺗﺭﺡ ﺑﻌﻘﻠﯾﺗﻪ ﺍﻟﻭﺍﻋﯾﺔ ﺍﻟ ُﻣﻔﻛِﺭﺓ‬ ‫ﺗﺻﺎﻋﺩﻱ ﻓﻲ‬ ‫ﺑﺄﻥ‪-:‬‬

‫ﺍﻟﻭﺍﻗﻑ ﻋﻠﻰ ﺍﻟﺗﻝ‬ ‫ﺧﯾﺭ ﻣﻥ ﺍﻟﻣﺧﺗﺑﺊ ﺧﻠﻔﻪ ‪...‬‬ ‫ﻭﺍﻟﻭﻗﻭﻑ ﻋﻠﻰ ﺍﻟﺗﻝ ھﻧﺎ‪ ،‬ﺑﻣﻌﻧﻰ ﺍﻟﻭﺛﻭﺏ ﻟﻠﻣﺧﺎﻁﺭ‪ ،‬ﻭﺭﺍﺩﻋﺎ‪ ،‬ﻓﻬﻭ‬ ‫)ﺧﯾﺭ ﻣﻥ ﺍﻟﻣﺧﺗﺑﺊ ﺧﻠﻔﻪ( ﻷﻧﻪ ﻻ ﯾﺗﺻﺩﻯ ﻟﻠﻣﺧﺎﻁﺭ‪ ،‬ﺑﻝ ﻻ ﯾﺷﺎﺭﻙ‬ ‫ﻓﯾﻬﺎ‪ ،‬ﻭﺣﺗﻰ ﻻ ﯾﺷﺎھﺩھﺎ‪ ،‬ﺃﻭ ﺭﺑﻣﺎ ﯾﻛﺗﻔﻲ ﺑﺎﻟﻧﻅﺭ ﺇﻟﯾﻬﺎ ﻣﻥ ﻭﺭﺍء ﺗﻝ‪،‬‬ ‫ﻭھﺫﺍ ﺍﻟﻣﻌﻧﻰ ﺍﻟﺩھﺷﻭﻱ ﻓﻲ ﺑﺙ ﺍﻟﻣﻐﺯﻯ ﺍﻟﻔﻛﺭﻱ‪ ،‬ﯾﺄﺗﻲ ﻣﻁﺎﺑﻘﺎ ﻟﻣﺎ‬ ‫ﻧﺣﻥ ﻓﯾﻪ ﻣﻥ ﺃﺯﻣﺎﺕ‪ ،‬ﻓﻣﻧﺎ ﻣﻥ ﯾﻘﻑ ﻋﻠﻰ ﺍﻟﺗﻝ‪ ،‬ﻭﻣﻧﺎ ﻣﻥ ﯾﺧﺗﺑﺊ‬ ‫ﺧﻠﻔﻪ‪ ،‬ﻭﻓﻲ ﺍﻟﺷﻁﺭ ﺍﻵﺧﺭ ﻣﻥ ﺍﻟﻭﻣﺿﺔ ﯾﺄﺧﺫﻧﺎ )ﺍﻟﺳﻣﺎﻭﻱ( ﺑﺄﻧﺳﺎﺑﯾﺔ‬ ‫ﻋﺎﻟﯾﺔ‪ ،‬ﻭﺩھﺷﺔ ﻣﺎﺗﻌﺔ‪ ،‬ﺣﯾﺙ ﯾﻘﻭﻝ‪-:‬‬ ‫ﻓﺭﺑﻣﺎ ﺳﯾﻛﻭﻥ ﯾﻭﻣﺎ‬ ‫ﺷﺎھﺩ ﺍﻟﻌﯾﺎﻥ ﻓﻲ ﺍﻟﻣﺣﻛﻣﺔ‬

‫ﻭھﺫﻩ ﺍﻟﺩﻻﻟﺔ ﺍﻟﻌﺎﻟﯾﺔ ﺍﻟﺗﺭﻣﯾﺯ ﺍﻟﺗﻲ ﺗﺣﻣﻝ ﺑﯾﻥ ﻁﯾﺎﺗﻬﺎ ھﺫﺍ ﺍﻻﻋﺗﺭﺍﺽ‬ ‫ﻋﻠﻰ ﺍﻟﺻﻧﻑ ﺍﻵﺧﺭ )ﺍﻟﻣﺧﺗﺑﺊ( ﺍﻟﺫﻱ ﺭﺑﻣﺎ ﺳﯾﻛﻭﻥ ﯾﻭﻣﺎ ‪ ..‬ﺷﺎھﺩ‬ ‫ﺍﻟﻌﯾﺎﻥ ﻓﻲ ﺍﻟﻣﺣﻛﻣﺔ‪ ،‬ﻭﺍﻟﻣﺣﻛﻣﺔ ھﻧﺎ‪ ،‬ﺗﻌﻧﻰ ﻣﺣﻛﻣﺔ ﺍﻟﺫﺍﻛﺭﺓ ﺍﻟﺟﻣﻌﯾﺔ‪،‬‬ ‫ﻭﻣﺣﻛﻣﺔ ﺍﻟﺗﺎﺭﯾﺦ‪ ،‬ﻻﻥ ﺍﻟﻔﺎﺭﯾﻥ ﻣﻥ ﺍﺣﺗﺩﺍﻡ ﺍﻟﻣﻭﺍﻗﻑ ﺍﻟﺧﻼﺻﯾﺔ‪ ،‬ھﻡ‬ ‫ﻭﺣﺩھﻡ ﺍﻟﻣﺳﺅﻭﻟﻭﻥ ﻋﻧﻣﺎ ﯾﻠﻲ ﻣﻭﻗﻔﻬﻡ ﺍﻻﻧﻬﺯﺍﻣﻲ‪ ،‬ﻭھﺫﻩ ﺃﺩﺍﻧﻪ‬ ‫ﺻﺭﯾﺣﺔ ﻣﻥ )ﺍﻟﺳﻣﺎﻭﻱ( ﻟﻣﻥ ﯾﻭﺍﺭﻱ ﻭﺟﻬﻪ ﺍﻟﻘﺑﯾﺢ ﺧﻠﻑ ﻣﺭﺍﯾﺎ‬ ‫ﻣﻧﻛﺳﺭﺓ ﺗﻛﺎﺩ ﺗﻔﺿﺣﻪ ﻓﻲ ﺃﯾﺔ ﻟﺣﻅﺔ ﻣﻭﺍﺟﻬﺔ‪ ،‬ﺇﻧﻧﻲ ﺍﺷﻌﺭ ﺷﺧﺻﯾﺎ‪،‬‬ ‫ﻭﻛﺄﻧﻲ ﺃﻣﺎﻡ ﻣﺷﻬﺩ ﻣﺳﺭﺣﻲ ﻛﺗﺏ ﺑﻌﻧﺎﯾﺔ‪ ،‬ﻭﺟﺳﺩﻩ ﺍﻟﻣﺅﻟﻑ ﺍﻟﺷﺎﻋﺭ‬ ‫)ﯾﺣﯾﻰ ﺍﻟﺳﻣﺎﻭﻱ( ﺑﻣﺅﺛﺭﺍﺕ ﺻﻭﺗﯾﺔ ﺑﺎھﺭﺓ‪ ،‬ﻭ)ﺳﯾﻧﻭﻏﺭﺍﻓﯾﺎ( ﻣﺅﺛﺛﺔ‬ ‫ﺑﺩﺭﺍﯾﺔ ﻓﻧﯾﺔ ﻓﺎﺋﻘﺔ‪ ،‬ﻭﺑﺎﺣﺔ ﻣﺳﺭﺡ ﻣﻛﺗﻅﺔ ﺑﺎﻟﺟﻣﻬﻭﺭ‪ ،‬ﻭﺇﺧﺭﺍﺝ‬

‫ﻧﺎﺑﺽ ﺑﺎﻟﺣﯾﺎﺓ‪ ،‬ﻭﻛﺄﻧﻧﺎ ﺇﺯﺍء ﻋﻣﻝ ﻓﻧﻲ ﻣﻛﺗﻣﻝ ﺍﻷﺭﻛﺎﻥ‪ ،‬ﺃﻧﻬﺎ ﻭﻣﺿﺔ‬ ‫ﻣﻥ ﺍﻟﻁﺭﺍﺯ ﺍﻟﻧﺑﯾﻝ‪ ،‬ﺍﻟﺗﻲ ﯾﻣﻛﻥ ﻟﻠﻣﺗﻠﻘﻲ ﺍﻥ ﯾﻘﻑ ﺇﺯﺍءھﺎ ﻭھﻭ ﯾﺭﺗﺩﻱ‬ ‫ﻋﺑﺎءﺗﻪ ﺍﻟﻔﻛﺭﯾﺔ‪ ،‬ﻟﯾﺣﺗﻭﻱ ھﺫﺍ ﺍﻟﻣﺷﻬﺩ ﺍﻟﻭﻣﻭﺿﻭﻱ ﺍﻻﺩھﺎﺷﻲ‬ ‫ﺍﻟﺭﺍﺋﻊ‪ ،‬ﻭﯾﻧﻁﻠﻕ ﻣﻥ ﺧﻼﻟﻪ ﺇﻟﻰ ﻓﺳﺣﺎﺕ ﺍﻟﻧﻬﺿﺔ‪ ،‬ﻭﺍﺳﺗﺷﺭﺍﻑ‬ ‫ﺍﻟﻣﺳﺗﻘﺑﻝ ﻣﻥ ﺧﻼﻝ ﻣﻌﺎﻟﻡ ﺍﻟﺗﻐﯾﯾﺭ‪.‬‬

‫ﻭﻓﻲ ﻭﻣﺿﺔ ﺟﺩﯾﺩﺓ ﺍﺳﺗﺛﻣﺭﻧﺎ ﺟﻬﺩﻧﺎ ﺍﻻﺳﺗﻛﺷﺎﻓﻲ ﻓﻲ ﺍﻟﺑﺣﺙ‬ ‫ّ‬ ‫ﺍﻟﺣﺳﻲ‬ ‫ﺍﻟﺑﺙ‬ ‫ﻻﻧﺗﺧﺎﺑﻬﺎ ﻛﻌﯾﻧﺔ‪ ،‬ھﻭ ﺫﻟﻙ ﺍﻟﺗﺟﻠﻲ ﺍﻟﺟﻣﯾﻝ ﻟﻣﻭﺍﻁﻥ‬ ‫ّ‬ ‫ﺍﻟﻣﻔﻌﻡ ﺑﺎﻟﺣﯾﺎﺓ‪ ،‬ﺣﯾﺙ ﯾﻘﻭﻝ )ﺍﻟﺳﻣﺎﻭﻱ( ﻓﯾﻬﺎ‪-:‬‬ ‫ﺣـﯾـﻥ ﻗـ ﱠﺑ ُ‬ ‫ـﻠـﺕ ﻋـﯾـﻧـﯾـﻙِ‬ ‫ُ‬ ‫ﺍﻟـﻔـﺭﺍﺷـﺎﺕ ﺗـﺳـﺗـﺟـﺩﻱ‬ ‫ﺟـﺎءﺗـﻧـﻲ‬ ‫ـﺣـﻝ ﺍﻟـﻌـﺎﻟـﻕ ﺑـﺷـﻔـﺗـﻲ !‬ ‫ﺑـﻘـﺎﯾـﺎ ﺍﻟـ ُﻛ ِ‬ ‫ّ‬ ‫ﺍﻟﺣﺳﻲ ﺍﻟﻭﺟﺩﺍﻧﻲ ﺍﻟﻌﺎﻁﻔﻲ ﻓﻲ‬ ‫ﺍﻟﺑﺙ‬ ‫ﺍﻥ ﺍﻟﺗﻭﺍﻟﺩ ﺍﻟﻠّﻔﻅﻲ ﻻﺳﺗﺛﺎﺭﺓ‬ ‫ّ‬ ‫ﺍﻟﻭﻣﺿﺔ ﺍﻟﺷﻌﺭ ّﯾﺔ ﺟﺎء ﻓﻲ ھﺫﻩ ﺍﻟﻭﻣﺿﺔ ﻋﻠﻰ ﺃﻛﻣﻝ ﺃﻭﺟﻬﻪ‪ ،‬ﻭﯾﺩﻟﻝ‬ ‫ﻋﻠﻰ ﺫﻟﻙ ﻣﻬﺎﺭﺓ ﺍﻟﺗﻧﺎﻏﻡ ﺍﻟﺧﻼﻕ ﺑﯾﻥ ﺍﻟﺷﺎﻋﺭ‪ ،‬ﻭﺑﯾﻥ ﻭﻣﺿﺗﻪ‬ ‫ﺍﻟﺷﻌﺭ ّﯾﺔ‪ ،‬ﻭﺍﻟﺗﻲ ﺗﺗﻭھﺞ ﻓﻲ ﺃﻋﻠﻲ ﻣﺭﺍﺣﻝ ﺇﺩھﺎﺷﻬﺎ‪ ،‬ﻟﺗﺅﺳﺱ ﻣﻣﻠﻛﺔ‬

‫ﻣﻥ ﺍﻟﺣﻭﺍﻓﺭ ﺍﻟﻔﻌﻠﯾﺔ ﺍﻟﻧﺎﻁﻘﺔ‪ ،‬ﻹﻧﺷﺎء ﺫﻟﻙ ﺍﻟﻛﻡ ﺍﻟﻼﺋﻕ ﻣﻥ ﺍﻟﻔﻌﺎﻟﯾﺔ‬ ‫ﺍﻟﺣﺳ ّﯾﺔ ﺍﻟﻣﻧﻅﻣﺔ ﺍﻟﺗﻲ ﯾﺷﯾﺭ ﺇﻟﯾﻬﺎ ﺫﻟﻙ ﺍﻟﺗﻭﺍﻟﺩ ﺍﻟﺷﻌﺭﻱ ﺩﺍﺧﻝ ﺭﺣﻡ‬ ‫ﺍﻟﻭﻣﺿﺔ‪.‬‬ ‫ﺣـﯾـﻥ ﻗـ ﱠﺑ ُ‬ ‫ـﻠـﺕ ﻋـﯾـﻧـﯾـﻙِ‬ ‫ُ‬ ‫ﺍﻟـﻔـﺭﺍﺷـﺎﺕ ‪....‬‬ ‫ﺟـﺎءﺗـﻧـﻲ‬

‫ﻭھﺫﺍ ﺍﻟﻣﻌﻧﻰ ﺍﻟﻣﺭھﻑ ﺍﻟﺣﺱ ﯾﺗﻔﺟﺭ ﻓﻲ ﻟﺣﻅﺔ ﺍﺗﻘﺎﺩ ﺍﻟﻔﻛﺭﺓ‪ ،‬ھﻛﺫﺍ‬ ‫ﺗﻘﻭﻡ ﻋﻣﻠﯾﺔ ﺍﻹﺩھﺎﺵ ﺑﻔﻌﺎﻟﯾﺔ ﺭﻣﺯﯾﺔ ﻋﺎﻟﯾﺔ ﺍﻹﺗﻘﺎﻥ‪.‬‬

‫)ﺣﯾﻥ ﻗﺑﻠﺕ ﻋﯾﻧﯾﻙ ‪ ..‬ﺟﺎءﺗﻧﻲ ﺍﻟﻔﺭﺍﺷﺎﺕ(‬ ‫ﺃﻧﻬﺎ ﺻﻭﺭﺓ ﻣﺧﻣﻠﯾﺔ‪ ،‬ﺑﻝ ﺇﻧﻪ ﻋﺷﻕ ﻋﺫﺭﻱ ﻣﻬﯾﺏ‪ ،‬ھﻭ ﯾﻘﺑﻝ ﺍﻟﺣﺑﯾﺑﺔ‬ ‫ﻣﻥ ﻋﯾﻧﯾﻬﺎ‪ ،‬ﺍﻟﻣﻛﺎﻥ ﺍﻟﻣﻘﺩﺱ ﺍﻟﺫﻱ ﻻ ﯾﻔﺟﺭ ﻣﻛﺎﻣﻥ ﺍﻟﻐﺭﺍﺋﺯ‪ ،‬ﺑﻝ‬ ‫ﯾﻔﺿﻲ ﻋﻠﻰ ﺍﻟﻣﺷﻬﺩ ﻣﻅﺎھﺭ ﺍﻟﻭﻗﺎﺭ‪ ،‬ﻭﺍﻟﻬﯾﺑﺔ‪ ،‬ﻭﻣﺎ ﯾﺣﺩﺙ ﺑﻌﺩ ﺗﻘﺑﯾﻝ‬ ‫ﺍﻟﻌﯾﻭﻥ‪ ،‬ﺗﺟﻲء ﺍﻟﻔﺭﺍﺷﺎﺕ‪ ،‬ﺑﻔﺣﻭﻯ ﺣﺳ ّﯾﺔ ﺭﺍﻗﯾﺔ ﺍﻟﻣﻌﻧﻰ‪.‬‬ ‫ﺗـﺳـﺗـﺟـﺩﻱ‬ ‫ـﺣـﻝ ﺍﻟـﻌـﺎﻟـﻕ ﺑـﺷـﻔـﺗـﻲ !‬ ‫ﺑـﻘـﺎﯾـﺎ ﺍﻟـ ُﻛ ِ‬ ‫ﺍﻟﺭﻗﺔ‪ ،‬ﻓﺎﻟﻔﺭﺍﺷﺎﺕ ﺗﺟﺗﻣﻊ ﺑﻌﺩ ﺍﻟﺗﻘﺑﯾﻝ‪،‬‬ ‫ﺍﻧﻪ ﺗﺻﻭﯾﺭ ﻏﺎﯾﺔ ﻓﻲ ّ‬ ‫ﻟﺗﺳﺗﺟﺩﻱ‬

‫ـﺣـﻝ ﺍﻟـﻌـﺎﻟـﻕ ﺑـﺷـﻔـﺗـﻲ(‬ ‫)ﺑـﻘـﺎﯾـﺎ ﺍﻟـ ُﻛ ِ‬ ‫ﺃﻧﻬﺎ ﺑﻼﻏﺔ ﻓﻲ ﺗﺄﺛﯾﺙ ﺫﻟﻙ ﺍﻟﺗﻁﻬﯾﺭ ﻟﻠﻣﺷﻬﺩ‪ ،‬ﻭﺍﻻﺭﺗﻘﺎء ﺑﻪ ﺻﻭﺏ‬ ‫ﻣﻼﺣﻕ ﺍﻟﺟﻣﺎﻝ‪ ،‬ﻭﺍﻟﻔﺗﻧﺔ‪ ،‬ﻟﻘﺩ ﺍﺳﺗﺛﻣﺭ )ﺍﻟﺳﻣﺎﻭﻱ( ﺭﻭﺣﻪ ﺍﻟﺷﻔﯾﻔﺔ‬ ‫ﻓﻲ ﺧﻠﻕ ھﺫﺍ ﺍﻟﻣﺷﻬﺩ ﺍﻟﻭﻣﺿﻭﻱ ﺍﻟﻧﺟﯾﺏ‪ ،‬ﺍﻟﺫﻱ ﺗﻣﺧﺽ ﻋﻥ ﻣﻭﺍﺋﻣﺔ‬ ‫ﻧﺑﯾﻠﺔ‪ ،‬ﺑﯾﻥ ﺍﻟﻘُﺑﻠﺔ‪ ،‬ﻭﺍﻟﻔﺭﺍﺷﺎﺕ‪ ،‬ﻭﺍﻟﻛﺣﻝ‪ ،‬ﺃﻧﻬﺎ ﺳﯾﻣﻔﻭﻧﯾﺔ ﺷﻌﺭ ّﯾﺔ‬ ‫ﺻﻭﻓﯾﺔ ﺭﺍﻗﯾﺔ‪ ،‬ﻣﻥ ﺍﻟﻁﺭﺍﺯ ﺍﻟﺣﺳﻲ ﺍﻟﻭﺟﺩﺍﻧﻲ ﺍﻟﻣﺑﻬﺭ‪.‬‬

‫ﻟﻘﺩ ﺍﺳﺗﺛﻣﺭ ﺍﻟﺷﺎﻋﺭ ﺍﻟﻌﺭﺍﻗﻲ ﺍﻟﻛﺑﯾﺭ )ﯾﺣﯾﻰ ﺍﻟﺳﻣﺎﻭﻱ( ﺃﺩﻭﺍﺗﻪ ﺍﻟﻔﻧﯾﺔ‬ ‫ﺍﻟﺭﺍﻗﯾﺔ‪ ،‬ﻭﻣﻧﺎﺑﻌﻪ ﺍﻟﻠﻐﻭﯾﺔ ﺍﻟﺣﺻﯾﻔﺔ‪ ،‬ﻭﻣﻼﺣﻘﻪ ﺍﻟﺗﻌﺑﯾﺭﯾﺔ ﺍﻟﻌﺎﻟﯾﺔ‪ ،‬ﻓﻲ‬ ‫ﺇﺛﺭﺍء ﻣﻧﺗﺟﻪ ﺍﻟﻭﻣﺿﻭﻱ ﺍﻟﺫﻱ ﺃﺟﺎﺩ ﺑﻪ ﻋﻠﯾﻧﺎ ﻣﻥ ﺧﻼﻝ ﺟﻣﻬﺭﺓ ﻣﻥ‬ ‫ﺍﻟﻭﻣﺿﺎﺕ ﺍﻟﺗﻲ ﻭﺿﻌﻧﺎ ﺃﯾﺩﯾﻧﺎ ﻋﻠﯾﻬﺎ ﻛﻌﯾﻧﺎﺕ‪ ،‬ﻟﻧﺑﺭﺯ ﻣﺩﻯ ﻓﺧﺎﻣﺔ‪،‬‬ ‫ﻭﻓﺣﻭﻟﺔ‪ ،‬ﻭﻋﺭﺍﻗﺔ ھﺫﺍ ﺍﻟﺷﺎﻋﺭ ﺍﻟﺧﻼﻕ‪ ،‬ﻭﺍﻟﻛﺑﯾﺭ )ﯾﺣﯾﻰ ﺍﻟﺳﻣﺎﻭﻱ(‪.‬‬ ‫ﻭﻓﻲ ﻭﻣﺿﺔ ﻻﻣﻌﺔ ﺃﺧﺭﻯ ﻣﻥ ﻭﻣﺿﺎﺕ )ﺍﻟﺳﻣﺎﻭﻱ( ﻗﺎﺩﺗﻧﺎ ﻣﻭﺍﻁﻥ‬ ‫ﺷﻐﻔﻧﺎ ﺑﺎﻟﻭﻁﻥ‪ ،‬ﻭﺑﺄﻭﺟﺎﻋﻪ ﻻﺧﺗﯾﺎﺭھﺎ ﻭﺍﻟﺗﻲ ﯾﻘﻭﻝ ﻓﯾﻬﺎ‪-:‬‬ ‫ً‬ ‫ْ‬ ‫ﻧـﺧـﻠـﺔ ﻧـﺧـﻠـﺔ ‪...‬‬ ‫ﺗـﺳـﺎﻗـﻁـﺕ‬ ‫ﺃﺿـﻼﻋـﻲ‬ ‫‪//‬‬ ‫ْ‬ ‫ﺍﻧـﻁـﻔـﺄﺕ ﺷـﻬـﯾـﺩﺍً ﺷـﻬـﯾـﺩﺍ !‬ ‫ﺳـﻣـﺎء ﺍﻟـﻭﻁـﻥ‬ ‫ﻭﻧـﺟـﻭ ُﻡ‬ ‫ِ‬ ‫ﺗﺗﺟﻠﻰ ﻓﻲ ھﺫﻩ ﺍﻟﻭﻣﺿﺔ ﻣﺄﺳﺎﺓ ﺍﻟﻭﻁﻥ ﺑﻛﻝ ﺍﺷﻛﺎﻟﯾﺎﺗﻪ ﺍﻟﺣﺎﺿﺭﺓ‪،‬‬ ‫ھﺫﻩ ﺍﻟﻣﺄﺳﺎﺓ ﺍﻟﺗﻲ ﺗﺟﻠّﺕ ﺑﻣﻌﯾﺎﺭھﺎ ﺍﻹﻧﺳﺎﻧﻲ ﺑﺄﻋﻠﻰ ﺻﻭﺭھﺎ‪ ،‬ﻟﺗﺷﻛﻝ‬ ‫ﺃﯾﻘﻭﻧﺔ ﻣﻥ ﺍﻟﺣﺯﻥ )ﺍﻟﺳﻣﺎﻭﻱ( ﻋﻠﻰ ﻣﺄﺳﺎﺓ ﻭﻁﻧﻪ ﻭھﻭ ﯾﺭﺍﻗﺏ ﻋﻥ‬ ‫ﻛﺛﺏ ﻛﻝ ھﺫﺍ ﺍﻟﺧﺭﺍﺏ ﺍﻟﺫﻱ ﯾﺣﯾﻁ ﺑﻪ‪ ،‬ﻛﺎﻧﺳﺎﻥ‪ ،‬ﻭﻛﺷﺎﻋﺭ‪ ،‬ﻓﻣﺯﺝ ﺑﯾﻥ‬ ‫ﺩﻗﺔ ﺍﻟﻌﺑﺎﺭﺓ ﺍﻟﻣﺭﺳﻭﻣﺔ ﺑﻌﻧﺎﯾﺔ ﺷﺎﻋﺭ ﯾﻣﺗﻠﻙ ﺃﺩﻭﺍﺗﻪ ﺍﻟﻔﻧﯾﺔ‪،‬‬

‫ﻭﺍﻟﻠﻐﻭﯾﺔ‪ ،‬ﻭﺑﯾﻥ ﺍﻟﻣﻌﻧﻰ ﺍﻟﻣﻠﻐﺯ‪ ،‬ﻭﺍﻟﺩﻻﻟﺔ ﺍﻟﻘﺻﺩﯾﺔ ﺍﻟﻔﺣﻭﻯ‪ ،‬ﻟﯾﺿﻌﻧﺎ‬ ‫ّ‬ ‫ﺍﻟﺑﺙ ﺍﻟﺟﻣﺎﻟﻲ‬ ‫ﻓﻲ ﺣﺿﺭﺓ ﻟﺣﻅﺔ ﺷﻌﺭﯾﺔ ﺇﺩھﺎﺷﯾﺔ ﻣﺛﻠﻰ‪ ،‬ﻹﺷﺑﺎﻉ ﺫﻟﻙ‬ ‫ﺍﻟﻣﺧﺑﻭء ﺩﺍﺧﻝ ﻣﺣﯾﻁﺎﺕ ﺍﻟﺧﺭﺍﺏ‪ ،‬ﻭﻹﺣﺎﻁﺔ ﺍﻟﻣﻌﻧﻰ ﺍﻟﻣﺳﺗﺗﺭ ﻓﻲ‬ ‫ﺫﺍﺗﻪ ﺍﻟﻣﺗﺄﻟﻣﺔ‪ ،‬ﻓﺎﻣﺗﺛﻝ ﺇﻟﻰ ﺗﻛﯾﯾﻑ ﻁﺎﻗﺗﻪ ﺍﻟﺷﻌﺭ ّﯾﺔ ﺍﻟﻭﻣﺿﻭﯾﺔ ﺇﻟﻰ‬ ‫ﺃﻗﺻﺎھﺎ‪ ،‬ﻟﺗﺣﺗﻭﻱ ﺍﻟﻠﺣﻅﺔ ھﺫﺍ ﺍﻹﯾﺟﺎﺯ ﺍﻟﺷﻌﺭﻱ ﺍﻟﻣﺅﻟﻡ‪ ،‬ﻭﻟﺗﻌﺑﺭ ﺗﻠﻙ‬ ‫ﺍﻟﻠﺣﻅﺔ ﻣﺩﯾﺎﺕ ﺍﻷﺯﻣﻧﺔ‪ ،‬ﻟﺗﻭﻗﻅﻬﺎ ﻣﻥ ﺳﺎﺑﺗﻬﺎ ﺍﻟﻁﻭﯾﻝ‪ ،‬ﺣﯾﺙ ﯾﺫھﺏ‬ ‫ﺇﻟﻰ ﺗﻔﺳﯾﺭ ﺫﻟﻙ ﺍﻷﻟﻡ ﺍﻟﺫﻱ ﯾﻌﺗﺻﺭﻩ ﻟﯾﻘﻭﻝ‪-:‬‬ ‫ً‬ ‫ْ‬ ‫ﻧـﺧـﻠـﺔ ﻧـﺧـﻠـﺔ ‪...‬‬ ‫ﺗـﺳـﺎﻗـﻁـﺕ‬ ‫ﺃﺿـﻼﻋـﻲ‬ ‫ﺃﻧﻬﺎ ﻟﺣﻅﺔ ﺧﺎﻁﻔﺔ ﻣﻥ ﻟﺣﻅﺎﺕ ﺗﺟﻠّﻲ ﺍﻟﺩھﺷﺔ‪ ،‬ﻭﺗﻣﻅﻬﺭﺍﺕ ﺍﻟﻣﻌﻧﻰ‬ ‫ﺍﻟﺣﺳﻲ‪ ،‬ﻭﺍﻟﻔﻛﺭﻱ ﺑﺄﺟﻣﻝ ﺻﻭﺭھﻣﺎ‪ ،‬ﻭﻓﻲ ﺁﻥ ﻭﺍﺣﺩ‪ ،‬ﻭھﺫﺍ ﺍﻟﺗﺷﺑﯾﻪ‬ ‫ﺍﻟﺩﻻﻟﻲ ﺑﯾﻥ ﺍﻷﺿﻼﻉ‪ ،‬ﻭﺑﯾﻥ ﺍﻟﻧﺧﻠﺔ‪ ،‬ھﻭ ﺍﻣﺗﺩﺍﺩ ﻟﻠﻧﺳﯾﺞ ﺍﻟﺧﻠﻘﻲ‪،‬‬ ‫ﻭﺍﻟﺣﺿﺎﺭﻱ‪ ،‬ﻭﺍﻟﺗﺎﺭﯾﺧﻲ ﺍﻟﺫﻱ ﯾﺗﻭﺧﻰ )ﺍﻟﺳﻣﺎﻭﻱ( ﺣﺿﻭﺭﻩ‪ ،‬ﻋﻠﻰ‬ ‫ﻣﺳﺗﻭﻯ ﺍﻟﺗﻧﺎﻏﻡ ﺑﯾﻥ ﺃﺿﻼﻋﻪ‪ ،‬ﺑﺎﻋﺗﺑﺎﺭھﺎ ﺭﻣﺯﺍ ﻟﻭﺟﻭﺩﻩ ﺍﻹﻧﺳﺎﻧﻲ‪،‬‬ ‫ﻭﺑﯾﻥ ﺍﻟﻧﺧﻠﺔ ﻋﻠﻰ ﺍﻋﺗﺑﺎﺭھﺎ ﺍﻟﻭﺟﻭﺩ ﺍﻷﺻﯾﻝ ﻟﻌﺭﺍﻗﯾﺗﻪ‪ ،‬ﻭﺩﯾﻣﻭﻣﺔ‬ ‫ﻭﺟﻭﺩﻩ ﻛﺎﻧﺳﺎﻥ ﯾﺗﻣ ﱠﯾﺯ ﺑﻬﺫﺍ ﺍﻻﻟﺗﺻﺎﻕ ﺑﺎﻟﻧﺧﻠﺔ ﺑﺎﻋﺗﺑﺎﺭھﺎ ﺭﻣﺯﺍ‬ ‫ﻟﻠﺑﻘﺎء‪ ،‬ﻭﺩﻻﻟﺔ ﺗﻔﺭﺩﯾﺔ ﺭﺍﺋﺩﺓ‪ ،‬ﻣﻥ ﻣﻔﺭﺩﺍﺕ ﻭﺟﻭﺩﯾﺗﻪ ﺍﻵﺩﻣﯾﺔ‪،‬‬ ‫ﻓﺣﯾﻧﻣﺎ ﺗﺗﺳﺎﻗﻁ ﺃﺿﻼﻋﻪ ‪ ..‬ﻧﺧﻠﺔ ‪ ..‬ﻧﺧﻠﺔ ‪ ..‬ﺳﯾﻔﻘﺩ ﺣﺗﻣﺎ ﺳ ّﻣﺗﻪ‬ ‫ﺍﻟﻭﺟﻭﺩﯾﺔ ﻓﻲ ﺍﻟﻛﻭﻥ‪ ،‬ﻟِﻌ ّﻠﺔ ﺫﻟﻙ ﺍﻟﺗﺭﺍﺑﻁ ﺍﻟﻭﺷﯾﺞ ﺑﯾﻧﻪ ﻛﺩﻻﻟﺔ‬ ‫ﺇﻧﺳﺎﻧﯾﺔ‪ ،‬ﻭﺑﯾﻥ ﺍﻟﻧﺧﻠﺔ ﺑﺎﻋﺗﺑﺎﺭھﺎ ﺍﻟﺗﺟﺎﻭﺭ ﺍﻟﺗﻭﺍﻟﺩﻱ ﻟﺑﻘﺎﺋﻪ‪ ،‬ﻭھﻛﺫﺍ‬ ‫ﺗﻛﻭﻥ ﺍﻟﺣﯾﺎﺓ ﺑﺎﻟﻧﺳﺑﺔ ﻟﻠﺷﺎﻋﺭ )ﺍﻟﺳﻣﺎﻭﻱ( ﻗﺩ ﺍﻧﺗﻬﺕ ﺑﺎﻧﺗﻬﺎء ﺗﺳﺎﻗﻁ‬ ‫ﺃﺿﻼﻋﻪ‪ ،‬ﻧﺧﻠﺔ ‪ ..‬ﻧﺧﻠﺔ ‪ ..‬ﻭھﺫﺍ ﺍﻻﺳﺗﺛﻣﺎﺭ ﺍﻹﻧﺯﯾﺎﺣﻲ ﺍﻟﻠﻐﻭﻱ ﺍﻟﺑﺎھﺭ‬ ‫ﻻ ﯾﺗﻭﺍﺭﺩ ﺇﻻ ﻋﻠﻰ ﻣﺧﯾﺎﻝ ﺷﺎﻋﺭ ﻛﺑﯾﺭ ﻓﻲ ﺍﻟﺗﻭﺃﻣﺔ ﺑﯾﻥ ﺍﻟﺿﻠﻊ‬ ‫ﻛـ)ﻭﺟﻭﺩ ﺃﻧﺳﺎﻧﻲ( ﻭﺑﯾﻥ ﺍﻟﻧﺧﻠﺔ ﻛـ)ﻣﺭﺍﺩﻑ ﻟﻭﺟﻭﺩﻩ( ﻭﯾﺭﺟﻊ ھﺫﺍ‬

‫ﺍﻟﺗﺷﺑﯾﻪ ﺍﻟﻔﺎﺗﻥ‪ ،‬ﻟﺗﻌﻠﻕ )ﺍﻟﺳﻣﺎﻭﻱ( ﺑﺎﻟﻧﺧﻠﺔ‪ ،‬ﻭﻧﺷﺄﺗﻪ ﻓﻲ ﻅ ّﻠﻬﺎ‪ ،‬ﻓﻬﻭ‬ ‫ﺑﻥ )ﺍﻟﺳﻣﺎﻭﺓ( ﺍﻟﺗﻲ ﻋﺎﺵ ﻓﻲ ﻛﻧﻔﻬﺎ ﻣﺳﺗﻅﻼ ﺑﻅﻝ ﻧﺧﻠﻬﺎ ﺍﻟﻭﺍﺭﻑ‬ ‫ﺍﻟﻅﻼﻝ‪ ،‬ﻭﺑﺎﻟﺗﺎﻟﻲ ﻓﻬﺫﺍ ﺍﻟﺗﻭﺍﺋﻡ ھﻭ ﺩﻻﻟﺔ ﯾﻘﯾﻧﯾﺔ‪ ،‬ﻭﺩﻻﻟﯾﺔ ﻋﻠﻰ ﺍﻧﺗﻣﺎء‬ ‫ﺍﻟﺷﺎﻋﺭ ﻭﺍﻧﺣﯾﺎﺯﻩ ﻟﻣﻭﻗﻔﻪ ﺍﻟﺛﺎﺑﺕ ﻓﻲ ﺍﻟﺗﺟﺫﺭ ﺑﺄﺩﯾﻡ ﺍﻷﺭﺽ‪.‬‬ ‫ﻭﻓﻲ ﺍﻟﻣﻘﻁﻊ ﺍﻵﺧﺭ ﻣﻥ ﺍﻟﻭﻣﺿﺔ ﯾﻘﻭﺩﻧﺎ )ﺍﻟﺳﻣﺎﻭﻱ( ﺍﻟﻰ ﺣ ّﯾﺯ ﺁﺧﺭ‬ ‫ﻣﻥ ﺍﻟﺗﻛﻭﯾﻥ ﻓﻲ ﺗﺟﻠّﯾﺎﺕ ﺍﻟﺩھﺷﺔ‪ ،‬ﻭﺗﻣﻅﻬﺭﺍﺕ ﺍﻟﻣﻌﻧﻰ ﺩﺍﺧﻝ‬ ‫ﺍﺧﺗﺯﺍﻻﺗﻪ ﺍﻟﻠﻐﻭﯾﺔ‪ ،‬ﺣﯾﺙ ﯾﻧﺗﻘﻝ ﺑﻧﺎ ﺍﻟﻰ ﻋﺎﻟﻡ ﺃﺭﺣﺏ ﻣﻥ ﺍﻟﺫﺍﺕ‪،‬‬ ‫ﻭﺍﻟﻧﺧﻠﺔ‪ ،‬ﺍﻟﻰ ﻋﺎﻟﻡ ﺍﻟﻭﻁﻥ ﺍﻟﺫﻱ ﯾﺳﻛﻥ ﻓﯾﻪ ﺍﻟﺷﺎﻋﺭ ﻣﻐﺗﺭﺑﺎ‪ ،‬ﻭﻣﻧﻔﯾﺎ‬ ‫ﻋﻧﻪ‪ ،‬ﺣﯾﺙ ﯾﻘﻭﻝ‪-:‬‬ ‫ْ‬ ‫ﺍﻧـﻁـﻔـﺄﺕ ﺷـﻬـﯾـﺩﺍً ﺷـﻬـﯾـﺩﺍ !‬ ‫ﺳـﻣـﺎء ﺍﻟـﻭﻁـﻥ‬ ‫ﻭﻧـﺟـﻭ ُﻡ‬ ‫ِ‬ ‫ﺍﻟﺣﺱ‪ ،‬ﺑﯾﻥ ﻧﺟﻭﻡ ﺍﻟﺳﻣﺎء‪ ،‬ﻭﺑﯾﻥ‬ ‫ﻭھﺫﺍ ﺍﻟﺗﺷﺑﯾﻪ ﺍﻟﺟﻣﺎﻟﻲ ﺍﻟﻣﺭھﻑ‬ ‫ّ‬ ‫ﺍﻟﺷﻬﯾﺩ‪ ،‬ھﻭ ﺗﺷﺑﯾﻪ ﻣﺟﺎﺯﻱ ﻓﻲ ﺍﻟﻣﻌﻧﻰ ﺍﻟﻌﺎﻡ‪ ،‬ﻟﻛﻧﻪ ﻓﻲ ﺇﻁﺎﺭ ﺍﻟﻣﻌﻧﻰ‬ ‫ﺍﻹﺩﺭﺍﻛﻲ ﺍﻟﺗﻭﺻﯾﻠﻲ ﺍﻟﻔﺎﻋﻝ ﻓﻲ ﻓﺳﺣﺎﺕ ﺍﻟﺗﻠﻘﻲ‪ ،‬ﻓﻠﻪ ﺩﻻﻟﺔ ﺑﺎھﺭﺓ‪،‬‬ ‫ﺻﻭﺭھﺎ )ﺍﻟﺳﻣﺎﻭﻱ( ﺗﺻﻭﯾﺭﺍ ﺑﺑﻠﯾﻭﻏﺭﺍﻓﯾﺎ ﺭﺍﺋﻌﺎ‪ ،‬ﻓﻬﺎ ھﻲ‪-:‬‬ ‫َ‬ ‫ْ‬ ‫ﺍﻧـﻁـﻔـﺄﺕ ﺷـﻬـﯾـﺩﺍً ﺷـﻬـﯾـﺩﺍ(‬ ‫ﺳـﻣـﺎء ﺍﻟـﻭﻁـﻥ‬ ‫)ﻧـﺟـﻭ ُﻡ‬ ‫ِ‬ ‫ﻭﺍﻟﻧﺟﻭﻡ ﻓﻲ ﺣ ّﯾﺯھﺎ ﺍﻟﻠّﻔﻅﻲ ھﻲ ﺫﺍﺗﻬﺎ ﺍﻟﻧﺟﻭﻡ ﻓﻲ ﻓﺳﺣﺗﻬﺎ ﺍﻟﺗﻛﻭﯾﻧﯾﺔ‬ ‫ﺍﻹﻟﻬﯾﺔ‪ ،‬ﺃﻥ ھﺫﺍ ﺍﻟﺭﺑﻁ ﺍﻟﺩﻻﺋﻠﻲ ﻓﻲ ﻓﺣﻭﻯ ﺍﻟﺑﺙ ﺍﻟﻔﻛﺭﻱ ﺑﯾﻥ ﺍﻟﻧﺟﻭﻡ‬ ‫ﺍﻟﺗﻲ ﺍﻧﻁﻔﺄﺕ ﻟﯾﺑﺯﻍ ﻣﻥ ﻧﻭﺭھﺎ ﺷﻬﯾﺩﺍ‪ ،‬ھﻲ ﺫﺍﺗﻬﺎ ﻭﻓﻕ ﻧﻅﺭﺓ ﺫﻟﻙ‬ ‫ﺍﻻﺭﺗﺑﺎﻁ ﺍﻟﻭﺛﯾﻕ ﻭﺍﻟﻌﺗﯾﻕ ﺑﯾﻥ )ﺍﻟﺷﺎﻋﺭ( ﻭﺑﯾﻥ ﺍﻟﺷﻬﯾﺩ‪ ،‬ﺑﺎﻋﺗﺑﺎﺭﻩ‬ ‫ﺍﻟﺭﻣﺯ ﺍﻟﺧﺎﻟﺩ ﻟﻠﻭﺟﻭﺩ ﺍﻷﻧﺗﻣﺎﺋﻲ‪ ،‬ﻟﯾﺻﺑﺢ )ﺍﻟﺳﻣﺎﻭﻱ( ﻭﻓﻕ ھﺫﻩ‬ ‫ﺍﻟﻣﻌﺎﺩﻟﺔ ﺍﻟﺩﻻﻟﯾﺔ ﺍﻟﻌﻣﯾﻘﺔ ﺍﻟﻣﻌﻧﻰ‪ ،‬ﻣﻣﻠﻛﺔ ﺣﺭﻭﻓ ّﯾﺔ ﺧﺎﻟﺩﺓ‪ ،‬ﻭﻣﺅﺳﺳﺔ‬ ‫ﻣﻥ ﺍﻟﻘﺻﺎﺋﺩ ﺍﻟﻭﺍﻣﺿﺔ ﺍﻟﻔﺎﺧﺭﺓ ﺍﻟﺗﻲ ﺗﺣﺎﻛﻲ ﺍﻟﻭﻁﻥ ﻋﺑﺭ ﺍﻟﻧﺟﻭﻡ ﺍﻟﺗﻲ‬ ‫ﯾﻧﻁﻔﺊ ﻭﻣﯾﺿﻬﺎ ﺷﻬﯾﺩﺍ ‪ ..‬ﺷﻬﯾﺩﺍ ﻋﻠﻰ ﻭﺟﻪ ﺍﻟﻭﺭﻗﺔ ﺍﻟﺑﯾﺿﺎء‪،‬‬

‫ﻟﺗﻣﺗﻠﺊ ﺑﻧﺯﻑ ﺍﻟﺷﻌﺭ ﻋﻠﻰ ﺍﻟﻭﻁﻥ ﺍﻟﺫﻱ ﺃﻋﻠﻥ ﺍﻟﺣﺩﺍﺩ ﻣﻧﺫ ﺃﺯﻣﻧﺔ‬ ‫ﺍﻟﺣﺭﻭﺏ ﺍﻟﻘﺩﯾﻣﺔ‪ ،‬ﻭﺍﻟﺟﺩﯾﺩﺓ ﻋﻠﻰ ﺃﺑﻧﺎءﻩ ﺍﻟﺷﻬﺩﺍء‪.‬‬

‫) ‪ (١٥‬ﺍﻟﺧﺎﺗِﻣﺔ ‪-/‬‬ ‫ﻭھُﻧﺎ ﻋﻠﯾﻧﺎ ﺃﻥ ﻧﺅﺷﺭ ﻋﻠﻰ ﺟﻣﻠﺔ ﻣﻥ ﺍﻟﺣﻘﺎﺋﻕ ﺫﺍﺕ ﺍﻟﻣﻧﺎﻓﻊ ﺍﻟﻧﻘﺩ ّﯾﺔ‪،‬‬ ‫ﻭﺍﻟﻣﻼﺣﻕ ﺍﻟﺟﻣﺎﻟ ّﯾﺔ‪ ،‬ﻭﺍﻟﻣﻭﺍﻁﻥ ﺍﻻﺩھﺎﺷﯾﺔ‪.‬‬ ‫ﻟﻘﺩ ﺃﺷﺗﻐﻝ ﺍﻟﺷﺎﻋﺭ ﺍﻟﻌﺭﺍﻗﻲ ﺍﻟﻛﺑﯾﺭ )ﯾﺣﯾﻰ ﺍﻟﺳﻣﺎﻭﻱ( ﻓﻲ ﺗﺄﺛﯾﺙ‬ ‫ﻓﺿﺎء ﻣﺷﻬﺩﻩ ﺍﻟﻭﻣﺿﻭﻱ ﻋﻠﻰ ﻓﺣﻭﻯ ﺗﻛﻭﯾﻥ ﺍﻟﻌﻼﻗﺔ ﺍﻟ ُﻣﺛﻠﻰ ﺑﯾﻥ‬ ‫ﺍﻟﺣﺳﻲ‪ ،‬ﻭﺍﻟﻔﻛﺭﻱ(‬ ‫)ﺗﺟﻠّﯾﺎﺕ ﺍﻟﺩھﺷﺔ‪ ،‬ﻭﺗﻣﻅﻬﺭﺍﺕ ﺍﻟﻣﻌﻧﻰ ﻓﻲ ﺍﻷﺛﺭ‬ ‫ّ‬ ‫ﻭﺑﺎﻟﻣﻌﻧﻰ ﺍﻟﻧﻘﺩﻱ‪ ،‬ﺍﻧﻪ ﯾﻧﺗﻘﻝ ﻣﻥ ﺍﻟﻣﻌﻧﻰ ﺍﻟﻣﺟﺭﺩ ﻟﻠﻔﻅﺔ‪ ،‬ﺃﻭ ﺍﻟﺟﻣﻠﺔ‬ ‫ﺍﻟﺷﻌﺭ ّﯾﺔ‪ ،‬ﺇﻟﻰ ﺍﻟﻣﻌﻧﻰ ﺍﻟﺩﻻﺋﻠﻲ‪ ،‬ﺃﻱ ﺍﻻﺭﺗﻛﺎﺯ ﻋﻠﻰ ﺍﻟﻌﻼﻣﺔ ﺍﻟﻛﺑﺭﻯ‬ ‫ﻓﻲ ﺣ ّﯾﺯ ﺳﯾﻣﯾﺎﺋﯾﺔ ﺍﻟﻠّﻐﺔ‪ ،‬ﻟﯾﻧﺷﺊ ﻣﻌﻧﻰ ﻣﺟﺎﻭﺭ ﺟﺩﯾﺩ ﻟﺫﺍﺕ ﺍﻟﻣﻌﻧﻰ‬ ‫ﺍﻟﺩﻻﺋﻠﻲ‪ ،‬ﻓﻬﻭ ﯾﺳﺗﺛﻣﺭ ﻛﻝ ﻁﺎﻗﺎﺕ ﺍﻟﻣﻌﻧﻰ ﻓﻲ ﺍﻟﻠّﻔﻅﺔ‪ ،‬ﻭﺧﺻﺎﺋﺻﻬﺎ‪،‬‬ ‫ﻭﺗﻛﻭﯾﻧﺎﺗﻬﺎ ﺍﻟﻠﻐﻭﯾﺔ‪ ،‬ﻹﺣﺎﻟﺗﻬﺎ ﺍﻟﻰ ﻋﻼﻣﺔ‪ ،‬ﺃﻭ ﺇﺷﺎﺭﺓ‪ ،‬ﺃﻭ ﺇﯾﻘﻭﻧﺔ‪ ،‬ﺃﻭ‬ ‫ﺭﻣﺯ‪ ،‬ﺃﻭ ﺇﯾﻣﺎءﺓ‪ ،‬ﺃﻭ ﻣﻌﻧﻰ ﻣﺷﻔﺭ‪ ،‬ﺃﻭ ﻛﻭﺩ ﻟﻐﻭﻱ‪ ،‬ﻭھﻭ ﺑﺎﻟﺗﺎﻟﻲ ﯾﺭﺑﻁ‬ ‫ﺭﺑﻁﺎ ﻧﺳﯾﺟﯾﺎ ﻭﺍﻋﯾﺎ ً ﺑﯾﻥ ﺍﻟﺩﺍﻝ‪ ،‬ﻭﺍﻟﻣﺩﻟﻭﻝ ﺩﺍﺧﻝ ﺍﻟﻣﻌﻧﻰ‪ ،‬ﻟﺧﻠﻕ ﺍﻟﺑﻧﯾﺔ‬ ‫ﺍﻟﺷﻌﺭ ّﯾﺔ ﺍﻟﺭﺻﯾﻧﺔ ﻣﻥ ﺧﻼﻝ ﺗﻠﻙ ﺍﻟﺗﻭﺃﻣﺔ ﺍﻟﺳﯾﻣﯾﺎﺋﯾﺔ ﺍﻟﻣﺎﺋﺯﺓ‪ ،‬ﻟﯾﺩﺧﻝ‬ ‫ﻓﺳﺣﺔ )ﻣﻌﻧﻰ ﺍﻟﻣﻌﻧﻰ( ﻓﻲ ﺗﺭﻛﯾﺑﺎﺕ ﻗﺻﺎﺋﺩﻩ ﺍﻟﺷﻌﺭ ّﯾﺔ ﺍﻟﻭﺍﻣﺿﺔ‪،‬‬ ‫ّ‬ ‫ﺍﻟﺑﺙ‬ ‫ﻭﺗﺟﻠّﯾﺎﺕ ﺗﻭھﺞ ﺍﻟﺩھﺷﺔ ﻓﯾﻬﺎ‪ ،‬ﻭﺍﻟﺗﻲ ﺗﻧﺗﻔﻊ ﻣﻧﻬﺎ ﺗﻣﻅﻬﺭﺍﺕ‬ ‫ﻭﺍﻟﻔﻛﺭﻱ‪ ،‬ﻟﯾﺣﻘﻕ )ﺍﻟﺳﻣﺎﻭﻱ( ﺑﺫﻟﻙ ﺃﺳﺑﻘﯾﺔ ﺍﻟﺻﺩﻣﺔ ﻋﻠﻰ‬ ‫ﺍﻟﺣﺳﻲ‪،‬‬ ‫ّ‬ ‫ّ‬ ‫ﺍﻟﻣﺗﻠﻘﻲ‪ ،‬ﻭﺃﺣﻘﯾﺗﻪ ﻓﻲ ﺃﻥ ﯾﻛﻭﻥ ﺟﺎھﺯﺍ ﻟﯾﺷﺎﺭﻙ ﺍﻟﺷﺎﻋﺭ ﺑ ّﺛﻪ‬ ‫ﺍﻟﺷﻌﺭﻱ‪ ،‬ﻟﻠﻭﺻﻭﻝ ﺍﻟﻰ ﻣﻧﺎﻓﻊ ﺍﻟﺗﺣﻔﯾﺯ‪ ،‬ﻭﺍﻟﺗﻐﯾﯾﺭ ﻋﺑﺭ ﻣﻼﺣﻕ ﺗﻭھﺞ‬ ‫ّ‬ ‫ﺍﻟﺩھﺷﺔ ﻓﻲ ﺍﻟﻭﻣﺿﺔ ﺍﻟﺷﻌﺭﯾﺔ‪.‬‬

‫ﻭﻓﻲ ﺭﺃﯾﻧﺎ ﺍﻟﻧﻘﺩﻱ ‪ ..‬ﺑﺄﻥ ﺍﻟﺷﺎﻋﺭ )ﯾﺣﯾﻰ ﺍﻟﺳﻣﺎﻭﻱ( َﺧ ّﯾ ُﺭ ﻣﻥ ﯾﻔﻌﻝ‬ ‫ﻓﻌﻠﺗﻪ ﺍﻻﺩھﺎﺷﯾﺔ ھﺫﻩ‪ ،‬ﻋﻠﻰ ﺿﻭء ﻗﺩﺭﺗﻪ ﺍﻟﻔﺎﻋﻠﺔ‪ ،‬ﻭﺍﻟﻣﺗﻔﺎﻋﻠﺔ ﻓﻲ‬ ‫ﺟﺳﺩ ﺗﻭھﺟﻬﺎ ﻓﻲ ﺍﻷﺛﺭ ﺍﻟﺣﺳﻲ‪ ،‬ﻭﺍﻟﻔﻛﺭﻱ‪ ،‬ﻷﻧﻪ ﺷﺎﻋﺭ ﻛﺑﯾﺭ ﯾﺗﻣﺗﻊ‬ ‫ﺑﺫﻟﻙ ﺍﻟ َﺗﻣ ﱠﯾﺯ ﺍﻟﺧﻼﻕ‪ ،‬ﻓﻲ ﺗﺄﺛﯾﺙ ﻣﺷﻬﺩﻩ ﺍﻟﺷﻌﺭﻱ ﺍﻟﻭﻣﺿﻭﻱ‬ ‫ﺍﻟﻣﺩھﺵ‪.‬‬ ‫ﺇﻥ ﺍﻟﺷﺎﻋﺭ ﺍﻟﻌﺭﺍﻗﻲ ﺍﻟﻛﺑﯾﺭ )ﯾﺣﯾﻰ ﺍﻟﺳﻣﺎﻭﻱ( ﻭﻗﻑ ﻭﺑﺎﻣﺗﯾﺎﺯ ﻋﻠﻰ‬ ‫ﻭﺭﻗﻲ‬ ‫ﺭﺃﺱ ﺍﻟﻘﺎﺋﻣﺔ ﺍﻟﻁﻭﯾﻠﺔ ﻟﺷﻌﺭﺍء ﺍﻟﻭﻣﺿﺔ‪ ،‬ﻟﻔﺣﻭﻟﺗﻪ ﺍﻟﺷﻌﺭ ّﯾﺔ‪،‬‬ ‫ّ‬ ‫ﻭﺍﻟﻔﻛﺭﻱ‪ ،‬ﻭﺍﻟﺳﯾﺎﺳﻲ ﺍﻟﻁﻭﯾﻝ‪ ،‬ﻭﺍﻟﺫﻱ ﻋﺎﻧﻰ ﻣﻧﻪ‬ ‫ﺍﻟﺷﻌﺭﻱ‪،‬‬ ‫ﺳﺟﻠﻪ‬ ‫ّ‬ ‫ّ‬ ‫ﻛﺛﯾﺭﺍ‪ ،‬ﺣﺗﻰ ﺃﺻﺑﺢ ﻟُﻘﻣﺔ ﺳﺎﺋﻐﺔ ﻟﻠﻣﻧﺎﻓﻲ‪ ،‬ﻭﺍﻟ ُﻐﺭﺑﺔ‪ ،‬ﻭﺍﻟ ُﻌﺯﻟﺔ‪،‬‬ ‫ﻭﺍﻻﺑﺗﻌﺎﺩ ﻋﻥ ﻭﻁﻧﻪ ﻟﻌﻘﻭﺩ ﻁﻭﯾﻠﺔ‪ ،‬ﻭﺍﻟﺫﻱ ﻛﺎﻥ ﯾﺳﺗﻭﻁﻧﻪ ﻓﻲ ﻛﻝ‬ ‫ﻟﺣﻅﺔ ﺷﻌﺭ ّﯾﺔ‪ ،‬ﺣﯾﻧﻣﺎ ﻛﺎﻥ ﯾﻧﺯﻑ ﻓﯾﻬﺎ ﺩﻣﺎ‪ ،‬ﻻ ﺣﺑﺭﺍً‪ ،‬ﻓﻘﺩ ھﺭﺏ ﻣﻥ‬ ‫ﺍﻟﻌﺭﺍﻕ ﻣﺗﺧﻔﯾﺎ‪ ،‬ﺑﻌﺩ ﺍﻥ ﺻﺩﺭ ﻋﻠﯾﻪ ﺣﻛﻡ ﺍﻹﻋﺩﺍﻡ‪ ،‬ﻣﻥ ﺯﻣﺭﺓ ﺍﻟﺑﻌﺙ‬ ‫ﺍﻟﺗﻲ ﺗﺭﺑﻌﺕ ﻋﻠﻰ ﺍﻟ ﱠﻧﻔﺱ ﺍﻟﺳﯾﺎﺳﻲ‪ ،‬ﻭﺍﻟﺛﻘﺎﻓﻲ‪ ،‬ﻭﺍﻷﺩﺑﻲ‪ ،‬ﻭﺍﻟﻔﻛﺭﻱ‪،‬‬ ‫ﻟﻌﻘﻭﺩ ﻁﻭﯾﻠﺔ‪ ،‬ﻏﺎﺏ ﻓﯾﻬﺎ ﺍﻟﻌﺩﻝ‪ ،‬ﻭﺍﺳﺗﻔﺣﻝ ﻓﯾﻬﺎ ﺍﻟﻁﻐﺎﺓ‪ ،‬ﻭﺍﻷﻗﺯﺍﻡ‪.‬‬ ‫ﻟﻘﺩ ﺑﺫﻟﻧﺎ ﺟﻬﺩﺍ ﻧﺑﯾﻼ‪ ،‬ﻓﻲ ﺍﻧﺗﺧﺎﺏ ھﺫﻩ ﺍﻟﻣﺟﻣﻭﻋﺔ ﻣﻥ ﻭﻣﺿﺎﺕ‬ ‫ﺍﻟﺷﺎﻋﺭ ﺍﻟﻌﺭﺍﻗﻲ ﺍﻟﻛﺑﯾﺭ )ﯾﺣﯾﻰ ﺍﻟﺳﻣﺎﻭﻱ( ﻻﺧﺗﯾﺎﺭھﺎ ﻛﻌﯾﻧﺎﺕ‪،‬‬ ‫ﻭﺇﺣﺎﻟﺗﻬﺎ ﺍﻟﻰ ﻣﺿﺎﻣﯾﻥ ﺍﻹﻁﺎﺭ ﺍﻟﻧﻅﺭﻱ‪ ،‬ﻟﺗﺣﻠﯾﻠﻬﺎ‪ ،‬ﻭﺍﺳﺗﻣﺎﻟﺗﻬﺎ ﺍﻟﻰ‬ ‫ﻣﻧﻁﻘﺔ ﺍﻟﺗﺄﻭﯾﻝ‪ ،‬ﻭﺗﺳﻠﯾﻁ ﺍﻟﺿﻭء ﻋﻠﻰ ﻣﻛﺎﻣﻧﻬﺎ ﺍﻟﺷﻌﺭﯾﺔ ﻭﻓﻕ‬ ‫ﻣﻭﺳﻭﻡ ﺍﻟﺩﺭﺍﺳﺔ ﺍﻟﻧﻘﺩﯾﺔ )ﺗﺟﻠّﯾﺎﺕ ﺍﻟﺩھﺷﺔ ‪ ..‬ﻭ َﺗﻣﻅﻬﺭﺍﺕ ﺍﻟﻣﻌﻧﻰ ﻓﻲ‬ ‫ّ‬ ‫ﻭﺍﻟﻔﻛﺭﻱ( ﻭﻗﺩ ﺃﺫﻛﯾﻧﺎ ھﺫﺍ ﺍﻟﻘﺩﺭ ﻣﻥ ﻋﻣﯾﻠﺔ ﺍﻧﺗﺧﺎﺏ‬ ‫ﺍﻟﺣﺳﻲ‪،‬‬ ‫ﺍﻟﺑﺙ‬ ‫ّ‬ ‫ّ‬ ‫ﻟﻠﻭﻣﺿﺔ ﺍﻟﺳﻣﺎﻭﯾﺔ ﻣﻥ ﺧﻼﻝ ﻭﻟﻭﺟﻧﺎ ﺍﻟﻰ ﺣﯾﺯ ﺗﻭھﺞ ﺍﻟﺩھﺷﺔ ﻓﻲ‬ ‫ﺍﻟﻭﻣﺿﺔ ﺍﻟﺷﻌﺭﯾﺔ‪ ،‬ﺑﺎﻋﺗﺑﺎﺭھﺎ ﺍﻟﻣِﻬﻣﺎﺯ ﺍﻟﺧﺎﻁﻑ ﺍﻟ ّﻠﺣﻅﻲ ﺍﻟﺫﻱ‬ ‫ﯾﺳﺗﻁﯾﻊ ﺇﯾﻘﺎﺩ ﻣﻛﻧﻭﻧﺎﺕ ﺍﻹﻧﺻﺎﺕ‪ ،‬ﻭﻣﻼﺣﻕ ﺍﻟﺗﻠﻘﻲ‪ ،‬ﻧﺟﺩ ﺑﺄﻥ‬ ‫ﺍﻟﺩھﺷﺔ ﻓﻲ ﺗﺣﻠﯾﻠﯾﻧﺎ ﺍﻟﻧﻘﺩﻱ ﺗﻛﻣﻥ ﻓﻲ ﻣﺩﻯ ﺇﻣﻛﺎﻧﯾﺔ ﺗﻧﺎﻭﻟﻬﺎ ّ‬ ‫ﻛﺑﺙ‬ ‫ﺁﻧﻲ‪ ،‬ﺃﻭ ﻛﻌﺎﺭﺽ ﻣﺣﺭﺽ‪ ،‬ﺃﻭ ﻛﻧﺳﻕ ﺟﻣﺎﻟﻲ‪ ،‬ﺍﻭ ﻋﻣﻕ ﺍﺳﺗﻔﺯﺍﺯﻱ‪،‬‬

‫ﻻ ﯾﺗﻭﻗﻑ ﻋﻧﺩ ﺣﺩﻭﺩ ﺍﻟﻣﺗﻌﺔ‪ ،‬ﺑﻝ ﯾﺗﻌﺩﺍﻩ ﺇﻟﻰ ھﻭ ﺃﺳﻣﻰ ﻓﻲ ﻣﻭﺍﻗﯾﺕ‬ ‫ﺍﻟﺗﻐﯾﯾﺭ‪ ،‬ﺑﺗﺩﺍﺧﻝ ﺿﻣﻧﻲ ﺑﯾﻥ ﺍﻟﻣﺗﻌﺔ‪ ،‬ﻭﺍﻟﺗﺣﺭﯾﺽ‪ ،‬ﻭﺍﻻﺳﺗﻔﺯﺍﺯ‪ ،‬ﺇﻟﻰ‬ ‫ﻣﻭﺍﻁﻥ ﺍﺳﺗﻛﻣﺎﻝ ﻋﻧﺎﺻﺭ ﺍﻻﺳﺗﻘﺑﺎﻝ ﻣﻥ ﻟﺩﻥ ﺍﻟﻣﺗﻠﻘﻲ‪ ،‬ﻻﺭﺗﻘﺎء‬ ‫ﺑﺎﻟﺫﺍﺋﻘﺔ ﺍﻟﻣﺳﺗﻘﺑﻠﺔ ﺻﻭﺏ ﻣﻧﺎﺣﻲ‪ ،‬ﻭﺁﻓﺎﻕ ﺫﺍﺕ ﺩﻻﺋﻝ ﻭﺍﻋﯾﺔ ﺗﺳﺗﻁﯾﻊ‬ ‫ﺍﻥ ﺗﺗﺟﻠﻰ ﻓﻲ ﻣﻘﺎﻣﺎﺕ ﺍﻟﺗﻔﺳﯾﺭ‪ ،‬ﻭﻋﺗﺑﺎﺕ ﺍﻟﺗﺣﻠﯾﻝ‪ ،‬ﻭﺍﻟﻭﻗﻭﻑ ﻓﻲ‬ ‫ﺣﺿﺭﺓ ﺍﻟﺩھﺷﺔ‪ ،‬ﻭﻣﻥ ﺛﻡ ﻓﻬﻡ ﺍﻟﺗﺟﻠّﯾﺎﺕ ﺩﺍﺧﻝ ﺍﻟﻣﻌﻧﻰ ﺍﻟﻣﺧﺑﻭء ﻓﻲ‬ ‫ّ‬ ‫ﻭﺍﻟﻔﻛﺭﻱ ﺩﺍﺧﻝ ﺍﻟﻭﻣﺿﺔ ﺍﻟﺷﻌﺭ ّﯾﺔ‪.‬‬ ‫ﺍﻟﺣﺳﻲ‪،‬‬ ‫ﺍﻟﺑﺙ‬ ‫ّ‬ ‫ّ‬ ‫ﺇﻥ ﻋﻣﻠﯾﺔ ﺧﻠﻕ‪ ،‬ﺃﻭ ﺍﺑﺗﻛﺎﺭ ﺍﻟﺩھﺷﺔ ﻓﻲ ﺍﻟﻭﻣﺿﺔ ﺍﻟﺷﻌﺭ ّﯾﺔ ﻟﺩﻯ‬ ‫ﺍﻟﺷﺎﻋﺭ ﺍﻟﻌﺭﺍﻗﻲ ﺍﻟﻛﺑﯾﺭ )ﯾﺣﯾﻰ ﺍﻟﺳﻣﺎﻭﻱ( ﺗﻘﻊ ﻓﻲ ﺭﺃﯾﻧﺎ ﺍﻟﻧﻘﺩﻱ ﻋﻠﻰ‬ ‫ﻋﺎﺗﻕ ﻣﺟﻣﻭﻋﺔ ﻣﻥ ﺍﻟﻌﻭﺍﻣﻝ ﺍﻟﺣﺳ ّﯾﺔ ﻭﺍﻟﻔﻛﺭ ّﯾﺔ ﺍﻟﺗﻲ ﺁﺛﺭ ﺍﻟﺷﺎﻋﺭ ﺃﻥ‬ ‫ﺍﻟﻧﺹ ﺍﻟﻭﻣﺿﻭﻱ‪ ،‬ﻟﻠﻭﺻﻭﻝ ﺇﻟﻰ ﺍﻟﻣﺑﺗﻐﻰ‬ ‫ﯾﻠﺗﺯﻡ ﺑﺑﺛﻬﻣﺎ ﻓﻲ ﻣﺗﻥ‬ ‫ّ‬ ‫ﺍﻟﺣﺳﻲ‪ ،‬ﻭﺍﻟﻣﺩﺭﻙ ﺍﻟﻌﻘﻠﻲ‪،‬‬ ‫ﺍﻟﻭﻋﯾﻭﻱ ﺍﻟﺟﻣﻌﻲ‪ ،‬ﻟﺗﺣﻔﯾﺯ ﺍﻟﻣﺩﺭﻙ‬ ‫ّ‬ ‫ﻟﻣﻌﺎﻟﺟﺔ ﺍﻟﻌﺩﯾﺩ ﻣﻥ ﺍﻟ َﻬﻧﺎﺕ ﺍﻟﺳﯾﺎﺳ ّﯾﺔ ﻭﺍﻟﻔﻛﺭ ّﯾﺔ ﻭﺍﻟﻣﺟﺗﻣﻌ ّﯾﺔ ﻟﻛﻲ‬ ‫ﺗﺳﺗﯾﻘﻅ ﺍﻟﺫﺍﺕ ﺍﻟﺑﺷﺭﯾﺔ ﻣﻥ ﺳﺑﺎﺗﻬﺎ ﺍﻟﻁﻭﯾﻝ‪ ،‬ﻭﺇﺣﺎﻟﺗﻬﺎ ﺇﻟﻰ ﻣﻼﺣﻕ‬ ‫ﺍﻟ َﺗﻔ ّﻛﺭ‪ ،‬ﻭﻣﻔﺎﺗﻥ ﺍﻟﺗﻧﻔﺱ‪ ،‬ﻭﺍﻻﻧﺗﻌﺎﺵ ﻣﻥ ﺧﻼﻝ ّ‬ ‫ﺑﺙ ﻣﻌﺎﻟﻡ ﺍﻟﺗﺣﺭﯾﺽ‬ ‫ﺍﻟﺣﺗﻣ ّﯾﺔ‪ ،‬ﻭھﻲ ﻣﺟﻣﻝ ﻋﻣﻠﯾﺔ ﺍﻟﺗﻐﯾﯾﺭ ﺍﻟﻧﺎﺟﻊ‬ ‫ﻟﻠﻭﺻﻭﻝ ﺍﻟﻰ ﺍﻟﻧﺗﯾﺟﺔ َ‬ ‫ﻓﻲ ﺍﻟﻭﺿﻊ ﺍﻟ ُﻣ ْﺳ َﺗﻠﺏ ﻣﻥ ﺍﻟﻣﺑﺩﻉ ﺃﻭﻻ‪ ،‬ﻭﻣﻥ ﺍﻟﺭﻗﻡ ﺍﻷﺳﺎﺱ ﻓﻲ‬ ‫ﻣﻌﺎﺩﻟﺔ ﺍﻻﻧﻌﻛﺎﺱ ﺍﻹﺟﻣﺎﻟﻲ ﻟﻠﺗﻐﯾﯾﺭ ﻭھﻭ )ﺍﻹﻧﺳﺎﻥ(‪.‬‬ ‫ﻟﻘﺩ ﺗﻭﻓﺭﺕ ﺍﻟﻌﺩﯾﺩ ﻣﻥ ﺍﻟﻣﻘﻭﻣﺎﺕ ﻟﺩﻯ ﺍﻟﺷﺎﻋﺭ ﺍﻟﻌﺭﺍﻗﻲ ﺍﻟﻛﺑﯾﺭ )ﯾﺣﯾﻰ‬ ‫ﺍﻟﺳﻣﺎﻭﻱ( ﻣﻥ َﻧﺟﺎﺑﺔ َ‬ ‫ﺍﻟﺷﻌﺭﻱ‪ ،‬ﻭﺍﻟﺗﺄﺳﯾﺱ ﺍﻟﺟﻣﺎﻟﻲ‪،‬‬ ‫ﺍﻟﺧﻠﻕ‬ ‫ّ‬ ‫ﻭﺍﻟﺗﺄﺛﯾﺙ ﺍﻟﺻﻭﺭﻱ‪ ،‬ﻭﺍﻟﻣﺣﺻﻧﺎﺕ ﺍﻟﻠّ ﻐﻭﯾﺔ ﺍﻟ ُﻣﻧﺟﺩﯾﺔ ﺍﻟﻌﺎﻟﯾﺔ‪ ،‬ﻭﻓﺎﻋﻠﯾﺔ‬ ‫ﺗﺟﺩﯾﺩ ﺍﻷ ﱠﻧﺳﺎﻕ ﺍﻟﻔﻛﺭ ّﯾﺔ ﺍﻟﻭﺍﺿﺣﺔ ﺍﻟﻣﻌﺎﻟﻡ‪ ،‬ﻭﺍﻷﻁﺭﻭﺣﺎﺕ ﺍﻟﻔﻠﺳﻔﯾﺔ‬ ‫ﺍﻟﻣﺗﺩﺍﺧﻠﺔ ﺗﺎﺭﺓ ﺑﺎﻟﺗﺭﻣﯾﺯ‪ ،‬ﻭﺗﺎﺭﺓ ﺑﺎﻟﻭﺿﻭح‪ ،‬ﻓﻬﻭ ﺩﻟﯾﻝ ﻭﺍﻓﺭ‬ ‫ﺍﻟﺧﺻﻭﺑﺔ ﻋﻠﻰ ﻓﺧﺎﻣﺔ ﺷﺎﻋﺭﯾﺗﻪ ﻭﻓﺣﻭﻟﺗﻬﺎ‪ ،‬ﻭﻋﻠﻭ ﻛﻌﺏ ﺇﺑﺩﺍﻋﻪ‪،‬‬ ‫ﺍﻟﻠﺗﺎﻥ ﺗﺯﺍﻣﻧﺗﺎ ﻣﻊ ﺗﺟﺭﺑﺗﻪ ﺍﻹﻧﺳﺎﻧﯾﺔ ﺃﻭﻻ‪ ،‬ﻭﺍﻟﻔﻛﺭﯾﺔ ﺛﺎﻧﯾﺎ‪،‬‬

‫ﻭﺍﻟﺳﯾﺎﺳﯾﺔ ﺛﺎﻟﺛﺎ‪ ،‬ﻭﺍﻟﻌﺎﻁﻔﯾﺔ ﺭﺍﺑﻌﺎ‪ ،‬ﻭﻷﻧﻪ ُﯾﻌ ُﺩ ﻣﻥ ﺃھﻡ ﺍﻟﻘﺎﻣﺎﺕ‬ ‫ﺍﻟﺷﻌﺭ ّﯾﺔ ﺍﻟﻌﺭﺑﯾﺔ ﺍﻟﻌﺎﻟﯾﺔ‪ ،‬ﻭﺍﻟﺗﻲ ﺃﺳﺳﺕ ﻟﻬﺎ ﻣﻣﻠﻛﺔ ﺷﻌﺭﯾﺔ ُﺗﺩﺍﺭ‬ ‫ﻭﻓﻕ ﻣﻧﻅﻭﻣﺔ ﻣﻭھﺑﺗﻪ ﺍﻟﻔﺫﺓ‪ ،‬ﻭﺛﻘﺎﻓﺗﻪ ﺍﻟﻭﺍﺳﻌﺔ‪ ،‬ﻭﻣﻧﺎھﻠﻪ ﺍﻟﻘﺭﺍﺋﯾﺔ‬ ‫ﺍﻟﻣﺗﻌﺩﺩﺓ‪ ،‬ﻭﻣﻌﺟﻣﯾﺗﻪ ﺍﻟﻔﺎﺧﺭﺓ‪ ،‬ﻓﻬﻭ ﻣﻛﺗﺑﺔ ﻣﻌﺭﻓﯾﺔ ﻣﺗﻧﻘﻠﺔ‪،‬‬ ‫ﻭﻣﻭﺳﻭﻋﺔ ﺷﻌﺭﯾﺔ ﺯﺍﺧﺭﺓ‪ ،‬ﻓﻘﺩ ﻗﺎﻣﺕ ﺩﻋﺎﺋﻡ‪ ،‬ﻭﻣﻌﻁﯾﺎﺕ‪ ،‬ﻭﺭﻛﺎﺋﺯ‬ ‫ھﺫﻩ ﺍﻟﻣﻣﻠﻛﺔ ﺍﻟﺷﻌﺭﯾﺔ )ﺍﻟﺳﻣﺎﻭﯾﺔ( ﺍﻟﻌﺭﯾﻘﺔ ﻋﻠﻰ ﺑﻧﺎﺋﯾﺔ ﺟﻣﺎﻟﯾﺔ ﺫﺍﺕ‬ ‫ﺧﺻﺎﺋﺹ ﺷﻌﺭ ّﯾﺔ ﺳﺎﻣﻘﺔ‪ ،‬ﺗﻔﺭﺩ ﻟﻭﺣﺩﻩ ﺑﻬﺎ ﺍﻟﺷﺎﻋﺭ ﺍﻟﻌﺭﺍﻗﻲ ﺍﻟﻛﺑﯾﺭ‬ ‫)ﯾﺣﯾﻰ ﺍﻟﺳﻣﺎﻭﻱ(‪.‬‬

‫ﺩ‪.‬ﺳﻌﺩﻱ ﻋﺑﺩ ﺍﻟﻛﺭﯾﻡ ‪ /‬ﻧﺎﻗﺩ ﻭﺳﯾﻧﺎﺭﺳﺕ ‪ /‬ﺍﻟﻌﺭﺍﻕ‬

‫ﺇﺛ ٌﻡ َ‬ ‫ﺷﻭﻕ‬ ‫َ‬ ‫ﺫﺍﺕ ﻟَ ّﯾﻠﺔ ُﺣﻠﻡ‬ ‫ﺑﻲ‬ ‫ﺎﻑ ﱠ‬ ‫ْﻁ َ‬

‫ﺇﺛ ٌﻡ َ‬ ‫ﺷﻭﻕ‬ ‫ﺻﺎﺣﺏ ﺍﻟﻐﺭﺍﺑﻲ‬

‫ﻛﻡ ﻛﺛﺭ ﺷﺗﺎﺋﻲ‬ ‫ﻭھﻁﻠﺕ ﺃﻣﻁﺎﺭﻱ‬ ‫ﺕ‬ ‫ﻭﺃﻧ ِ‬

‫ﺍﺣﻣﺩ ﺣﺑﯾﺏ‬

‫ﺗﺎﺭﯾﺦ‬ ‫ﺃﻣﺎﻛﻥَ َﺗ ْﺧ َﺗﺯﻥ ﺳِ ﺣﺭ ِ‬

‫ﺕ ﻣﺩﻟﻠﺔ‬ ‫ﺃﻧ ِ‬

‫ﺍﻟ َﻔﺭﺍھِﯾﺩِﻱ ﻭﺍ ْﺑﻥ ﺍﻟ ُﻣ َﻘ َﻔﻊ‬

‫ﻓﻲ ﺷﻌﺭﻱ‬

‫ﺭﺍﺑﻌﺔ ﺍﻟ َﻌﺩَﻭﯾﺔ‬ ‫ﻭﺍﻷﺧﻔﺵ َﻭ َ‬

‫ﻭﺩﻣﺎﺋﻲ‬

‫َﻭ َﻗ َﻌ ْﺕ َﻋ ّﯾﻧﻲ‬

‫ﻭﺣﺭﻭﺑﻲ ﺍﻟﻣﻣﺗﺩ ُﺓ‬

‫ﺭﻱ‬ ‫ﻋﻠﻰ ﺳِ ْﻧﺩﺑﺎﺩ َﺑ ْﺣ ﱠ‬

‫ﺍﻟﺗﺎﺭﯾﺦ‬ ‫ﻋﺑﺭ‬ ‫ِ‬

‫ﯾﺎﻥ‬ ‫َﯾ ُﺟﻭﺏ َﻓ َ‬ ‫ﯾﺎﻓﻲ َﺑ ٍ‬

‫ﺻﻭﺭ‬ ‫ﻭﻓﻲ‬ ‫ٍ‬

‫ﻟﯾﻭ ْ‬ ‫ﻣﻌﺎﻥ‬ ‫ﺷ َﻡ ﻵﻟﺊ‬ ‫ُ‬ ‫ٍ‬

‫ﺗﺗﻼﺷﻰ‬

‫ﺻﺭ‬ ‫ﺎﺏ ﺍﻟ ّﻌ ْ‬ ‫ﺳ ّﯾ ُ‬

‫ﻓﻲ ﻁﻭﺭ ﺑﺩﺍﯾﺎﺕ‬

‫َﻭھﻭ َﯾ ْﺳﻛﻥ ﺃﻟَﻡ َﺟ ْﻭﻑ‬

‫ﻛﻡ ﻛﺛﺭ ﺷﺗﺎﺋﻲ‬

‫ﻣﻥ ﺍﻟﯾﺩ ﺍﻟﯾﻣﻧﻰ ﺍﻟﻰ ﺍﻟﯾﺳﺭﻯ‬

‫َﻭ ْﺣﺩَﻩ‬ ‫ﺃﺣﺯﺍﻧﻪ‬ ‫َﯾ َﺭﺗﻝ ُ ﺁھﺎﺕ ْ‬ ‫ﻣﺎء‬ ‫ﺳﻁ ُﻋ ْﻣﻕ ٍ‬ ‫َﻭ َ‬ ‫َﺩﻓِﯾﻕ‬

‫ﺍﺣﺗﺿﺭﺕ ﻧﻭﺍﻓﺫﻱ‬ ‫ﻣﻥ ﺍﻟﯾﺩ ﺍﻟﯾﻣﻧﻰ ﺍﻟﻰ ﺍﻟﯾﺳﺭﻯ‬ ‫ﻓﻭﺍﻛﻬﻬﺎ ﺑﺭﺍﻏﯾﺙ ﻣﻠﻐﻣﺔ‬

‫ﺿﻭﺏ‬ ‫َھ َﯾ ْﺟﺎﻥ َﻏ ُ‬

‫ﻭ ﺧﺿﺭﻭﺍﺗﻬﺎ ﻣﻣﻠﻭءﺓ ﺑﺎﻟﺗﺭﺍﺏ‬

‫ﻓﻲ َ‬ ‫ﺍﺧﺭ ﺍﻟ ٌﻌ ْﺗ َﻣﺔ‬

‫ﯾﺳﯾﻝ ﻣﻧﻬﺎ ﺍﻟﺳﺭﺍﺏ‬

‫ﺭﺍﺱ ﺃﻟﻔﺎﻅٍ‬ ‫ﺃﺟ ُ‬ ‫ْ‬

‫ﺷﻬﯾﺩﺍ ﻋﻠﻰ ﺣﺎﻓﺔ ﺍﻟﺯﺟﺎﺝ‬

‫ﺣﯾﺭﺓ‬ ‫ﻣﻥْ ﺿِ ﻔﺎﻑ ُﺑ َ‬

‫ﯾﺿﺣﻲ ﻣﻥ ﻛﺎﻥ ﺳﺑﯾﻠﻬﺎ‬

‫ﻁﺎﻓ َِﺣﺔ ﺑﺄﻟَﻡ ُﺣ ْﻠﻡ‬

‫ﻭ ﻣﻥ ﺧﺭﺝ ﺧﺎﻥ ‪ ..‬ﺣﻭﺍﺱ ﺍﻟﻛﻠﻣﺔ ﺍﻟﻣﺗﻭﺗﺭﺓ‬

‫ﻓﻲ َﯾﻭﻡ َﻣﻁِ ﯾﺭ‬ ‫ﺇﺛ ٌﻡ َ‬ ‫ﻭﻕ‪.‬‬ ‫ﺷ ٍ‬ ‫ﺳ ّﯾﺎﺏ ﺍﻟﻌﺻﺭ‪:‬ﻓﻲ ﻧﻅﺭﻱ ﺍﻟﻔﯾﻠﺳﻭﻑ ﺍﻟﺷﺎﻋﺭ ﻋﺑﺩ‬ ‫ﺍﻟﺟﺑﺎﺭ ﺍﻟﻔﯾﺎﺽ‪.‬‬

‫ﺍﯾﺎﺩ ﺍﻟﺧﯾﺎﻁ‬

‫ﻣﺎﺫﻧﺑﻲ ﺑﻙِ ﯾﺎ ﺩﻧﯾﺎ‬ ‫ﺍﻟﻘﺩﺭ‬ ‫ﯾﺣﻛ ُﻣﻧﻲ‬ ‫ُ‬

‫ﻧﺎﺋﻝ ﺩﻭﻟﻪ‬

‫ﻣﺻﺩﺭ ﺍﻟ ُﺣﺳﻥ ‪ /‬ﺧﺎﻟﺩ ﺍﻟﺑﺎﺷﻕ‬ ‫ﺑــﺎﻟﻌﯾﻥ‬ ‫ﯾﺭ ﺍﻟ ُﺣﺳﻥَ ﻗﺑﻝ ﺍﻟﯾـﻭﻡ‬ ‫َﻣﻥ ﻟﻡ َ‬ ‫ِ‬

‫ﺑﻌﺫﺍ ٍ‬ ‫ﻭﻗﻬﺭ ﻁﻭﻝ ﺍﻟﺩھﺭ‬ ‫ﺏ‬ ‫ٍ‬

‫ﺳﻥ‬ ‫ﻓﺫﺍ َﻙ ﻭﺟــــ ُﻪ ﺣﺑﯾﺑﻲ ﻣﺻــﺩﺭ ﺍﻟ ُﺣ ِ‬

‫َ‬ ‫ﺍﻟﻘﺩﺭ‬ ‫ﻟﯾﺕ‬ ‫َ‬

‫ْ‬ ‫ﺷﺎھﺩﺕ ﻭﺟﻬــــ ُﻪ ﻋﯾﻧﻲ ﻭﺭﻭﻋﺗ ُﻪ‬ ‫ﻣﺫ‬

‫َ‬ ‫ﻟﺣﻅﺔ‬ ‫ﺗﺏ‬ ‫ﻣﺎ ُﻛ َ‬

‫ُ‬ ‫ﻧﺳﯾﺕ ﻧﻔﺳـــــﻲ ﻭﻗﺩ ﺿ ّﯾﻌﺗ ُﻪ ﺫھﻧﻲ‬

‫َ‬ ‫ﻓﺭﺍﻕ‬ ‫ﻭﺩﺍﻉ ﻭﻻ ﻋﺭ ْﻓﻧﺎ‬ ‫ٍ‬ ‫ﺍﻟﺩﻡ‬ ‫ﺃﻟﻡ ﻭﻋﺫﺍﺏ ﻓﻲ ِ‬ ‫ٍ‬ ‫ﯾﺳﺭﯾﺎﻥ ﺇﺩﻣﺎﻧﺎ ً‬ ‫ﺍﻟﻔﺭﺍﻕ‬ ‫ﻁﻭﻝ‬ ‫ﻭﻋﻠﻰ‬ ‫ِ‬ ‫ِ‬ ‫ﺗﺯﯾ ُﺩ ﻧﺑﺿﺎﺗﻲ ﻭﺟﻌﺎ ً‬ ‫ﻋﺩْ ﯾﺎﺯﻣﺎﻧﻲ‬ ‫ﻭﷲ ﺇﻥّ ﺷﻭﻗﻲ ﻟﺭﺅﯾﺎ ﺃﺧﻲ‬

‫ﻓﺩﺗ ُﻪ ﺭﻭﺣـــﻲ ﻭﺃھﻠــﻲ ﻛﻠﻬــــﻡ ﻭﺩﻣﻲ‬ ‫ﻓـــــــﺩﺍﻩُ ﻭﷲ ﻗﺑﻠـﻲ ﺑﺎﻟﻬـــﻭﻯ ﺇﺑــﻧﻲ‬ ‫َ‬ ‫ُ‬ ‫ﻣﺧـــﺎﻓﺔ ﺭﺑــــﻲ‬ ‫ﻟﻭﻻ‬ ‫ﺻـــــﺭﺕ ﺃﻋﺑﺩﻩُ‬ ‫ُ‬ ‫ﺑﺎﻟﺳﺟﻥ‬ ‫ﻭﻋﺷﺕ ﻓﻲ ﺣﺑ ِﻪ ﻛﺎﻟﻌـــــﯾﺵ‬ ‫ِ‬ ‫ُ‬ ‫ﻻﻣﺳــــــــﺕ ﺻﻭﺭﺗ ُﻪ‬ ‫ﻭﻛﯾــــﻑ ﻻ ﻭﺇﺫﺍ‬ ‫ﯾـــــــﺫﻭﺏ ﻗﻠﺑﻲ ﻭﺃﻧﺳﻰ ﺣﯾﻧﻬﺎ ﺣﺯﻧﻲ‬ ‫ﻛـــﺄﻥ ﻓــــﻲ ﯾﺩ ِﻩ ﺃﻣــــﺭﻱ ﻭﯾﻣﻠـــﻛﻧﻲ‬ ‫ﺫﻥ‬ ‫ﺇﻥ ﺭﺍ َﻡ ﻗﺗـــﻠﻲ ﻓـــــــﻠﻥ ﯾﺣﺗﺎ َﺝ ﻟﻺ ِ‬

‫ﱡ‬ ‫ﺗﻬﺗﺯ ﻟﻪ ﺟﺑﺎﻝ‬

‫ﻟــ ُﻪ ﻭﻣﻧـــ ُﻪ ﻭﻓــــﻲ ﻛﻔــــﯾ ِﻪ ﺫﺍ ﻗــﺩﺭﻱ‬

‫ﻭﺗﺑﻛﻲ ﺍﻟﺳﻣﺎ ُء ﻋﻠﻰ ﺣﻧﯾﻥ‬

‫ُ‬ ‫ﯾﺧﺗﺎﺭ ﻟﻲ ﺷﺄﻧﻲ‬ ‫ﺭﺿﯾﺕ ﻟـــــﻭ ﺷﺎء ﺃﻥ‬ ‫َ‬

‫ﺍﻟﺻﺩﺭ ﯾﻛﻭﯾﻧﻲ‬ ‫ﻓﻲ‬ ‫ِ‬

‫ُ‬ ‫ﻁـــﺭﺑﺕ ﺷﻭﻗــــﺎ ً ﺑ ِﻪ ﻓـــــﻲ ﺣﺑ ِﻪ ﺑﻔﻣﻲ‬

‫ﻟﻠﻧﻭﻡ ﺳﺎﻛﻧﺎ ً‬ ‫ﻣﺎﻋﺩْ ُ‬ ‫ﺕ‬ ‫ِ‬

‫ﻛﺄﻧ ُﻪ ﻗــــﺎﻝ ﻟــــــــﻲ ﯾـــــﻭﻡ ﺍﻟﻠﻘـﺎ ﻏ ّﻧﻲ‬

‫ﻭﺃﺻﺑﺢ ﺍﻟﺳﻬ ُﺭ ﺩﺭﺑﺎ ً‬

‫ﻓـــﺭ َﻕ ﷲ ﯾﻭﻣــــﺎ ً ﺷﻣــــﻠﻧﺎ ﺃﺑــــــﺩﺍً‬ ‫ﻻ ّ‬

‫ﺃﻣﺷﯾ ِﻪ ﻭﺣﯾﺩﺍً‬

‫ﻓﺩﺍﻩُ ﻋﻣﺭﻱ ﺃﻧـــــــﺎ ﻟﻭ ﺑﺎﺕ ﻓﻲ ﺣﺿﻧﻲ‬

‫ﻣﺳﻛﯾﻥ ﺃﻧﺕ ﯾﺎﻗﻠﺑﻲ‬

‫ﺇﻥ ﻗﺎﻝ ﻟﻲ ُﻣﺕ ﻓﻘﺑﺭﻱ ﺣـــــﺎﺿ ٌﺭ ﺑﯾﺩﻱ‬

‫ﺗﻌﺎﻧﻲ ﻭﺗﻛﺗ ُﻡ ﺍﻵ َﻩ‬ ‫ﻭﺍﻟﺷﻬﻭﺭ‬ ‫ﺗﻣﺭ ﺍﻷﯾﺎ ُﻡ‬ ‫ُ‬ ‫ﱡ‬ ‫ﺑﺛﻘﻝ ﺃﻻﻣِﻬﺎ ﻭﺃﻭﺟﺎﻋِ ﻬﺎ‬ ‫ِ‬ ‫ﻭﻣﺎﺯﻟﻧﺎ ﻧﺑﻛﻲ ﻭﻧﺗﺄﻟ ُﻡ‬

‫ُ‬ ‫ﺑﺎﻟـــــــــــﺩﻓﻥ‬ ‫ﻓــــﺭﺣﺕ ﺍﻵﻥ‬ ‫ﻭﺇﻥ ﺃﺭﺍ َﺩ‬ ‫ِ‬ ‫ٌ‬ ‫ﻣﺣﺑﻭﺑﺔ ﻙ) ھﺩﻯ(‬ ‫َﻣﻥ ﻋﻧﺩﻩُ ﻓﻲ ﺍﻟﻬﻭﻯ‬ ‫ﻭﺍﻟﺟــــﻥ‬ ‫ﻓﻘـــــﺩ ﺗﺭ ّﺑﻊ ﻋﺭﺵ ﺍﻷﻧــــﺱ‬ ‫ِ‬

‫ﺻﻌﻭﺩﺍ ﺍﻟﻰ ﻋﯾﻧﯾﻙ ﺍﻟﻐﯾﻣﺔ‬

‫ﺿﻭء‬ ‫ﻣﺳﺎﺭﺍﺕ ﻣﻭﺗﻬﺎ‬ ‫ً‬ ‫ﺍﻟﺿﻭء ﺍﻟﺫﻱ ﺍﺧﺗﺎﺭ ﻣﺭﻋﺎﻩ‬

‫ﻭﺟﻬﻙِ ﺍﻟﺫﻱ ﯾﺷﺑﻪ ‪...‬‬

‫ﺑﯾﺎﺿﻙ‬

‫ﺷﻣﺱ ﻅﻬﯾﺭﺓ ﻛﺭﺑﻼﺋﯾﺔ‬

‫ﻟﯾﻠﻲ ﺍﻟﻣﺷﺩﻭﻩ‬

‫ﯾﺣﻣﻝ ﺍﻟﻔﺭﺍﺕ ﻓﻲ ﺍﻭﺭﺩﺗﻪ‬

‫ﺑﻌﻧﺎء ﺍﻟﺭﺣﻠﺔ‬

‫ﯾﺷﺗﻌﻝ ﺑﺧﻣﺭ ﺍﻟﺑﺷﺭﺓ‬

‫ﻭھﻭ ‪...‬‬

‫ﺯھﺭﺍً‬

‫ﯾﺭﺗﺩﻱ ﺃﺭﺿﻲ ‪ ،‬ﺟﺳﺩﻱ ‪ ،‬ﻭﻁﻧﻲ‬

‫ﺍﻧ ِ‬ ‫ﺕ ‪...‬‬

‫ﺑﺳﻣﺗﻲ‬

‫ﺗﺭﺳﻣﯾﻥ ﺍﻟﻣﺩﻯ‬

‫ﺩﻋﯾﻧﺎ ﻧﺗﻣﻬﻝ‬

‫ﺑﻧﻅﺭﺓ‬

‫ﻟﻧﻘﺭﺃ‬

‫ﺍﻧﺎ ‪...‬‬

‫ﻁﻼﺳﻡ ﺍﻟﻭﻣﺽ‬

‫ﺍﻟﻣﻠﻡ ﻣﺎ ﺗﺳﺎﻗﻁ ﻣﻥ ﺭﯾﺵ ‪...‬‬ ‫ﺍﻟﺣﻘﯾﻘﺔ ‪ ،‬ﺍﻟﺻﻭﺭﺓ‬ ‫ﺍﺻﻧﻊ ﻣﻧﻪ ﺳﺎﻗﯾﺔ‬ ‫ﻓﺗﺗﻘﺩ ﺍﻟﺭﺅﻯ ﺻﺎﻓﯾﺔ‬ ‫ﻛﺣﺑﺔ ﻓﻲ ﺣﻭﺻﻠﺔ ﻁﯾﺭ‬ ‫ﺗﻘﺷﺭھﺎ ﺍﻟﺭﯾﺢ‬ ‫ﯾﺣﻠﻕ ﺑﻬﺎ‬ ‫ﻭﺟﻬﻙ ﺍﻟﺫﻱ ﻻﻣﺱ ﻟﯾﻠﻲ‬ ‫ﻟﯾﻠﻲ ﺍﻟﻣﺣﻣﻭﻡ ﺑﻧﻬﺎﯾﺔ ﺍﻟﺿﻭء‬ ‫ﻣﺣﻣﻭﻡ ﻛﯾﻑ ﺗﺧﺗﺎﺭ ﺍﻟﻧﺟﻭﻡ‬

‫ﺣﺳﯾﻥ ﺍﻟﺩﺍﯾﻧﻲ‬

‫)ﻣﻥ ﺍﻟﺟﺭﺡ‪....(.‬ﻣﻘﻁﻭﻋﺔ‬ ‫ﺣﺑﯾﺑﺗﻲ ﺃﯾـﺗﻬﺎ ﺍﻟـﻣـﻠﻛﺔ‬ ‫ﻭﺗﺿﻁﺭﺏ ﺍﻟﺣﻧﺎﯾﺎ‬ ‫ِﻋﻛﻡ‬ ‫ُ‬ ‫ﺃﻭﺩ َ‬

‫ﻛﻡ ﺗﻣﻧﯾﺕ ﺃﻥ ﺃﻛﻭﻥ ﻧﺑﺿﺎ ً ﺑﻘﻠﺑﻙ‬

‫ﺍﻟﻌﺟﯾﺏ ﻣﻥ ﺍﻟﻣﻧﺎﯾﺎ‬ ‫ﻭﺃﺿﺭ َﻣﻬﺎ‬ ‫ُ‬ ‫َ‬

‫ﻓﺄﺧﺑﺭﯾﻧﻲ ﻓﺎﺗﻧﺗﻲ ﻣﺎﺫﺍ ﯾﻘﻭﻝ ﻗﻠﺑﻙ ﻟﻘﻠﺑﻲ‬

‫َ‬ ‫ْ‬ ‫ﻘﻡ‬ ‫ﺡ‬ ‫ﻧﺛﯾﺙ ُ‬ ‫ﻓﺄﺫﺭﻓﺕ ﺍﻟﺟﺭﺍ ُ‬ ‫ﺳ ٍ‬ ‫ﻛﺎﻟﻬﻁﻭﻝ ﺑﻬﺎ ﺩﻣﺎﯾﺎ‬ ‫َﺗ َﺩ ﱠﻓ ْﻕ‬ ‫ِ‬

‫ﻭﻻ ﺗﺳﺄﻟﯾﻧﻲ ﻣﺎﺫﺍ ﯾﻘﻭﻝ ﻗﻠﺑﻲ ﻟﻘﻠﺑﻙ‬

‫ﻓﻣﺎ ُ‬ ‫ﺍﻟﺩﺍء ﺍﻟﺧﻭﺍﻓﻲ‬ ‫ﺷﻔ َﯾ ْﺕ ﻣِﻥَ‬ ‫ِ‬

‫ﺳﻭﻯ ﺃﻧﻲ ﺃﺣﺑﻙ ﻭﺣﺑﻲ ﻭﺣﺑﻙ ﻗﺩ‬

‫ْ‬ ‫ﺍﻻﻟﻡ ﺍﻟﺭﺯﺍﯾﺎ‬ ‫ﻭﻣﺎ‬ ‫ﻗﯾﻠﺕ ﻣﻥ ِ‬

‫ﺳﺑﻘﺎ ﺯﻣﻥ ﺍﻟﺣﺏ ﺑﻣﻼﯾﯾﻥ ﺍﻟﺳﻧﯾﻥ‬

‫ﻭﻣﺎ ﻭ َھ َﻧ ْﺕ ﻭﻟﻛﻥ ﺃﻭھﻧﻭھﺎ‬

‫ﺃﺧﺑﺭﯾﻧﻲ ﺟﻣﯾﻠﺗﻲ ﻣﺎﺫﺍ ﺗﻘﻭﻝ ﻋﯾﻧﺎﻙ‬

‫ﺑﻭھﻡ ﺍﻟﻐﯾ ِ‬ ‫ﺏ ﺗﺭﺩﻓ ُﻪ ﺍﻟﺑﻼﯾﺎ‬ ‫ِ‬ ‫ﻓﻼ َﻙ ﻟﺟﺎ َﻣﻪ ﻏﯾﺿﺎ ً ﻭﺣﻧﻘﺎ ً‬

‫ﻟﻲ ﺳﻭﻯ ﺃﻧﻬﻣﺎ ﺑﺣﺭﺍً ﺃﺳﺎﻓﺭ ﻓﯾﻬﻣﺎ‬

‫ﺭﺃﻱ ﺍﻟﺑﻐﺎﯾﺎ‬ ‫ﻭﺍﺭﺟﻑ ُﺣ ْﻠ َﻣ ُﻪ َ‬

‫ﺃھﺎﺟﺭ ﻣﻧﻬﻣﺎ ﻭﺇﻟﯾﻬﻣﺎ ﻭﺃﺭﻏﺏ ﺃﻥ‬

‫ﺗﺟﺷﻣﻬﺎ ﻭﺣﯾﺩﺍ ﻣﺳﺗﻔﺯﺍً‬ ‫ﺧﻭﺽ ﺍﻟﺧﻁﺎﯾﺎ*‬ ‫ﯾﺻﺑﺭ ﻧﻔﺳﻪ‪.‬‬ ‫َ‬

‫ﺳﺟﻝ ﻓﻲ ﺗﺎﺭﯾﺦ ﺍﻟﺣﺏ ﻛﺄﻭﻝ ﻏﺭﯾﻕ‬ ‫◌ُ ﱠ‬ ‫ﻓﻲ ﺃﻣﻭﺍﺟﻬﻣﺎ ﺍﺣﺑﻙ ﯾﺎ ﻛﻝ ﻋﻣـــﺭﻱ‬

‫ﺑﻘﻠﻣﻲ\ﻋﻠﻲ ﺣﻣﺎﺩﻱ ﺍﻟﻧﺎﻣﻭﺱ\ﺍﻟﻌﺭﺍﻕ‬ ‫‪٢٠١٧\١١\٣‬‬ ‫• )ﺍﻟﺧﻁﺎﯾﺎ(* َ‬ ‫ﺍﻟﺧﻁِ ﯾ َﺋ ُﺔ ‪ :‬ﻭﺍﻟﺟﻣﻊ ‪َ :‬ﺧﻁﺎﯾﺎ‬

‫ﻣﺣﻣﺩ ﺍﻟﻣﺻﺭﻱ ﺍﻝ ﺭﺷﻭﺍﻥ‬

‫ﺩﺭﺍﺳﺔ ﺗﺣﻠﯾﻠﯾﺔ ﻣﻭﺟﺯﺓ ﻋﻥ ﻧﺹ ﺍﻟﺷﺎﻋﺭﺓ ﺍﻟﺳﻭﺭﯾﺔ ﺟﻭﻟﯾﺎ‬ ‫ﻋﻠﻲ ‪:‬‬ ‫ﺟﻭﻟﯾﺎ ﻋﻠﻲ‬ ‫" ﻟﻭ‪"..‬‬ ‫ﻟﻭ ﺃﺛﻣﻝ ﻣﻣﺎ ﯾﻌﺗﻣﺭ ﻓﻲ ﺃﻋﻣﺎﻗﻲ‬ ‫ﻭﺃﺭﻗﺹ ﻋﻠﻰ ﻭﻗﻊ ﺍﻟﺷﺟﻥ‬ ‫ﺃﺭﺗﻣﻲ ﻓﻲ ﺣﺿﻥ ﺍﻟﺧﻁﺎﯾﺎ‪،‬‬ ‫ﻟﯾﺑﺭﺃ ﺍﻹﺛﻡ ﻭﯾﻘﺿﻲ ﺑﻁﻬﺭ ﺍﻟﺟﺭﯾﻣﺔ !‬ ‫ﻟﻭ ﺃﻓﺭﻍ ﺟﺎﻡ ﻗﻬﺭﻱ ﻓﻲ ﻣﺩﺍﺩﻱ‪،‬‬ ‫ﻟﺗﺳﺗﻌﺭ ﺍﻟﺣﺭﻭﻑ ﺇﺫ ﺗﻛﺗﺏ ﺑﻌﺽ ﻧﺎﺭﻱ‪،‬‬ ‫ﻭﺗﺣﺭﻕ ﻛﻝ ﻣﻔﺭﺩﺍﺕ ﺍﻟﺧﻭﻑ ﺍﻟﻠﻌﯾﻥ‬ ‫ﻟﻭ ﺃﻋﻠﻥ ﻟﻌﺭﺵ ﺍﻟﻅﻠﻡ ﺇﻟﺣﺎﺩﻱ ﺑﺂﯾﺎﺗﻪ‪،‬‬ ‫ﻭﺃﺭﺷﻘﻪ ﺑﻭﺍﺑﻝ ﻣﻥ ﺯﻓﺭﺍﺕ ﺍﻟﺳﺧﻁ؛‬ ‫ﻓﯾﺭﻛﻊ‪ ،‬ﻷﺭﺗﺩ‪ ،‬ﻋﺑﺛﺎ‪ ،‬ﻋﻥ ﺇﻟﺣﺎﺩﻱ !‬ ‫ﻟﻭ ﺃﺻﻠﺏ ﺍﻵﻩ ﻋﻠﻰ ﺧﺷﺑﺔ ﺍﻟﻣﻭﺕ‪،‬‬ ‫ﻓﺗﻧﺯﻑ ﺑﻘﺎﯾﺎ ﺍﻟﻌﻣﺭ‪ ،‬ﺇﻟﻰ ﺃﻥ ﯾﻛﻭﻥ ﺍﻟﺧﻼﺹ‬ ‫ﻟﻭ ﺃﻋﺭﻱ ﻅﺎھﺭ ﺍﻷﺷﯾﺎء ﻋﻥ ﺑﺎﻁﻧﻬﺎ‪،‬‬ ‫ﻭﺃﻗﻑ ﻓﻲ ﻣﺣﺭﺍﺏ ﺍﻟﺣﻕ‬ ‫ﻷﻋﻠﻥ ﺍﻟﻭﻻء ﻷﺭﻭﺍﺡ ﻣﻥ ﺭﺣﻠﻭﺍ ﺑﺧﻭﻓﻬﻡ‪،‬‬ ‫ﺑﺂﻻﻣﻬﻡ‬

‫ﺑﻁﻬﺭ ﺁﺛﺎﻣﻬﻡ‪!..‬‬ ‫ھﻧﺎﻙ‪..‬‬ ‫ﺣﯾﺙ ﻭﻗﻔﻭﺍ ﺧﺎﺳﺭﯾﻥ‬ ‫‪...‬‬ ‫ﺍﻟﺩﺭﺍﺳﺔ ‪:‬‬ ‫ﻟﻭ ‪..‬ﺣﺭﻑ ﺗﺗﺣﺩﺩ ﻣﻌﺎﻧﯾﻪ ﺳﯾﺎﻗﯾﺎ ﻟﻛﺛﺭﺗﻬﺎ ‪ ..‬ﻭﻟﻭ ﺍﺳﺗﻌﺭﺿﻧﺎ ﺍﻻﻓﻌﺎﻝ‪ :‬ﺍﺛﻣﻝ‬ ‫ﺍﻓﺭﻍ ‪،‬ﺍﻋﻠﻥ‪ ،‬ﺍﺻﺏ ‪،‬ﺍﻋﺭﻱ ‪ /‬ﺿﻣﻥ ﺳﯾﺎﻗﺎﺗﻬﺎ ﺍﻟﺩﻻﻟﯾﺔ ﻟﻭﺟﺩﻧﺎ ﺍﻥ ﻣﻌﻧﺎﻩ ھﻭ‬ ‫ﺍﻟﺗﻣﻧﻲ ﻟﻠﺑﻌﯾﺩ‬ ‫) ﺗﻣﻧﻲ ﺍﻻﺷﯾﺎء ﺍﻟﺑﻌﯾﺩﺓ ﺍﻟﺗﺣﻘﻕ ( ‪ ،‬ھﻧﺎﻙ ﺍﺫﺍً ﺩﺍﻓﻊ ﺫﺍﺗﻲ ‪ /‬ﻣﻭﺿﻭﻋﻲ ‪،‬‬ ‫ﯾﺣﻣﻝ ﺍﻟﺷﺎﻋﺭﺓ‬ ‫ﻋﻠﻰ ﻁﻠﺏ ﺍﻭ ﺗﻣﻥ ﺍﻣﺭﺍ ﺍﻭ ﺍﻛﺛﺭ ﺻﻌﺏ ﺍﻟﺗﺣﻘﻕ ‪ ،‬ﻭھﺫﺍ ﻣﺎ ﺳﺎﺣﺎﻭﻝ ﺍﻟﻭﺻﻭﻝ‬ ‫ﺍﻟﯾﻪ ﻣﻥ‬ ‫ﻗﺭﺍءﺗﻲ ﺍﻟﺗﺣﻠﯾﻠﯾﺔ ھﺫﻩ‪ ،‬ﺍﻟﺗﻲ ﺳﺎﻧﺣﻭ ﺑﻬﺎ ﻣﻧﺣﻰ ﻧﻔﺳﯾﺎ ‪ ،‬ﺣﺳﺏ ﻣﺎ ﺍﻭﺣﺕ ﺑﻪ‬ ‫ﺍﻟﻲ ﻅﺎھﺭ‬ ‫ﺍﻟﺩﻻﻻﺕ ﺍﻟﻧﺻﯾﺔ ﻣﺛﻝ ‪ /‬ﺍﻋﻣﺎﻗﻲ ‪ ،‬ﺍﻟﺷﺟﻥ ‪ ،‬ﺍﻟﺧﻁﺎﯾﺎ ‪ ،‬ﺍﻟﻁﻬﺭ ‪ ...‬ﻭﺻﻭﻻ‬ ‫ﺍﻟﻰ ‪ :‬ﺍﺭﻭﺍﺡ‬ ‫‪،‬ﺧﻭﻓﻬﻡ ‪ ،‬ﺍﺛﺎﻣﻬﻡ ‪:‬‬ ‫ﺳﺄﻗﺎﺭﺏ ﺩﻻﻟﯾﺎ ﺑﻌﺩ ﻗﺭﺍءﺓ ﻛﻝ ﻋﺑﺎﺭﺓ ﻧﺻﯾﺔ ﺫﺍﺕ ﺩﻻﻟﺔ ﻧﻔﺳﯾﺔ ﻅﺎھﺭﯾﺔ ﻓﻲ‬ ‫ﺍﻟﻧﺹ ) ﺳﺄﻧﺗﻘﻲ ﺑﻌﺿﻬﺎ ﻋﻠﻰ ﺳﺑﯾﻝ ﺍﻻﺳﺗﺷﻬﺎﺩ ( ﺑﻘﺻﺩ ﺍﻟﻭﺻﻭﻝ ﺍﻟﻰ‬ ‫ﺩﻻﻟﺗﻬﺎ ﺍﻟﻣﺳﺗﺗﺭﺓ ‪:‬‬ ‫) ﻟﻭ ﺃﺛﻣﻝ ﻣﻣﺎ ﯾﻌﺗﻣﺭ ﻓﻲ ﺃﻋﻣﺎﻗﻲ (‬ ‫ﺍﻟﻘﺭﺍءﺓ ‪ :‬ﻟﯾﺗﻧﻲ ﺍﻧﺗﺷﻲ ﻣﻣﺎ ﯾﺳﺗﻭﻁﻥ ﺍﻋﻣﺎﻕ ﻧﻔﺳﻲ ) ﻭھﻲ ﺍﺳﺭﺍﺭ ﻣﺩﻓﻭﻧﺔ‬

‫ﻓﯾﻬﺎ ﻭﻛﻭﻧﻬﺎ ﺍﺳﺭﺍﺭ ﻓﻬﻲ ﻣﻣﺎ ُﯾﺧﺷﻰ ﻣﻥ ﻛﺷﻔﻬﺎ ﻟﻼﺧﺭﯾﻥ ( ﻭھﻧﺎ ﯾﻛﻭﻥ‬ ‫ﺍﻻﻧﺗﺷﺎء ﺑﻛﺷﻑ‬ ‫ھﺫﻩ ﺍﻻﺳﺭﺍﺭ‬ ‫ﻭ ﺍﻟﻣﻘﺎﺭﺑﺔ ‪:‬‬ ‫ﻟﯾﺗﻧﻲ ﺍﻧﺗﺷﻲ ﺑﺈﻋﻼﻥ ﻣﺎ ﺍﺭﯾﺩﻩ ﻣﻥ ﺍﻓﻛﺎﺭ ﺍﻭ ﺍﺭﺍء ﻻﺗﻌﺟﺏ ﺍﻻﺧﺭ‬ ‫)ﺃﺭﺗﻣﻲ ﻓﻲ ﺣﺿﻥ ﺍﻟﺧﻁﺎﯾﺎ (‬ ‫ﺍﻟﻘﺭﺍءﺓ ‪ :‬ﺣﺿﻥ ‪ ،‬ﺍﺷﺎﺭﺓ ﻣﻛﺎﻧﯾﺔ‪ ،‬ﺩﻻﻟﺗﻬﺎ ‪ /‬ﺩﻑء ﺍﻻﻟﻔﺔ ‪ ،‬ﻭﺍﻻﻣﺎﻥ ﻭھﻲ‬ ‫ﺍﺷﺎﺭﺓ ﻣﺗﺿﺎﺩﺓ ﻣﻊ ﺍﻟﺧﻁﺎﯾﺎ ﺍﻟﺩﺍﻟﺔ ﻋﻠﻰ ﺍﺳﺗﺣﻘﺎﻕ ﺍﻟﻌﻘﺎﺏ ﻭھﻭ ) ﻻﺍﻣﺎﻥ (‬ ‫ﻓﻣﺎ ﻭﺟﻪ ﺍﻟﺗﻼﻗﻲ ﺑﯾﻥ ﻣﺗﺿﺎﺩﯾﻥ ھﻧﺎ ؟‬ ‫ﻭﺟﻪ ﺍﻟﺗﻼﻗﻲ ﺗﺣﺩﺩﻩ ﺍﻻﺷﺎﺭﺓ ) ﺍﺭﺗﻣﻲ ‪ /‬ﻓﻼﯾﻌﻘﻝ ﺍﻥ ﯾﺭﻣﻲ ﺍﺣ ٌﺩ ﻧﻔﺳﻪ ﻓﻲ‬ ‫ﻣﻭﺿﻊ ﻣﺅ ٍﺫ ﺍﻭ ﻻﯾﻭﻓﺭ ﻟﻪ ﺍﻻﻣﺎﻥ ‪ ،‬ﻓﺗﻛﻭﻥ ﺍﻟﺧﻁﺎﯾﺎ ﺩﻻﻟﺔ ﻣﺯﺍﺣﺔ ﻋﻥ ﻣﻌﻧﺎھﺎ‬ ‫ﻭﺗﻌﻧﻲ ‪ :‬ﺍﻟﻣﺣﻅﻭﺭ ﻣﻥ ﺍﻻﺧﺭ‬ ‫ﻭﺍﻟﻣﻘﺑﻭﻝ ﻣﻥ ﻗﺑﻝ ﺍﻟﺷﺎﻋﺭﺓ‬ ‫ﺍﻟﻣﻘﺎﺭﺑﺔ ) ﺑﺎﺳﺗﺣﺿﺎﺭ ﻓﺣﻭﻯ ﺍﻟﻣﻘﺎﺭﺑﺔ ﺍﻟﺳﺎﺑﻘﺔ( ‪:‬‬ ‫ﺍﺭﯾﺩ ﺍﻥ ﯾﺿﻣﻧﻲ ﺍﻧﺗﺷﺎء ﺍﻻﻋﻼﻥ ﻋﻣﺎ ﺍﺗﻣﻧﺎﻩ ﺭﻏﻡ ﻋﺩﻡ ﻗﺑﻭﻝ ﺍﻻﺧﺭ ﺑﻪ ) ھﻧﺎ‬ ‫ﺍﻻﺧﺭ ﺗﺣﺩﺩﺕ‬ ‫ﻣﻼﻣﺣﻪ ﺑﺄﻧﻪ ﺍﻟﻣﻌﺎﺭﺽ ﻟﻣﺷﯾﺋﺔ ﻭﺍﺭﺍﺩﺓ ﺍﻻﻧﺳﺎﻥ ‪ /‬ﺍﺧﺭ ﺳﻠﻁﻭﻱ ﻅﺎﻟﻡ ﺑﺩﻻﻟﺔ‬ ‫‪:‬‬ ‫) ﻟﻭ ﺃﻋﻠﻥ ﻟﻌﺭﺵ ﺍﻟﻅﻠﻡ ﺇﻟﺣﺎﺩﻱ ﺑﺂﯾﺎﺗﻪ(‬ ‫ﻓﺎﻻﺧﺭ ھﻧﺎ ﻟﻪ ) ﻋﺭﺵ ‪ /‬ﺳﻠﻁﺔ ( ﻭﻣﻌﺎﺭﺽ ﻻﺭﺍﺩﺓ ﺍﻻﻧﺳﺎﻥ ) ﺍﻟﻅﻠﻡ ( ﻭھﻭ‬ ‫ﻣﻘﺩﺱ ) ﺁﯾﺎﺗﻪ (‬ ‫ﻭﻣﻘﺎﺭﺑﺗﻪ ‪ :‬ﺣﺎﻛﻡ ﻗﺎﻣﻊ ﻻﺭﺍﺩﺓ ﺍﻻﻧﺳﺎﻥ ﺑﺎﻋﺗﺑﺎﺭﻩ ﻣﻘﺩﺱ ﻻﯾﺟﻭﺯ ﺍﻟﺧﺭﻭﺝ‬ ‫ﻋﻠﻰ ﺍﺣﻛﺎﻣﻪ‬

‫ﻭﻟﻭ ﺟﻣﻌﻧﺎ ﺍﻟﻣﻘﺎﺭﺑﺎﺕ ﺍﻟﺩﻻﻟﯾﺔ ﺍﻋﻼﻩ ﯾﺗﻭﻟﺩ ﻟﺩﯾﻧﺎ ﺍﻟﻣﻌﻧﻰ ﺍﻟﻣﺳﺗﺗﺭ ) ﺍﻟﺗﺣﺗﺎﻧﻲ‬ ‫( ﺍﻟﺗﺎﻟﻲ ‪:‬‬ ‫ﺍﻟﺷﺎﻋﺭﺓ ﺗﺭﯾﺩ ﺍﻟﺷﻌﻭﺭ ﺑﻠﺫﺓ ﺍﻟﻣﺟﺎھﺭﺓ ﺑﺭﻓﺿﻬﺎ ﻟﺳﻁﻭﺓ ﻣﻥ ﯾﻘﻣﻌﻬﺎ ﻋﻥ‬ ‫ﺍﻟﺗﻌﺑﯾﺭ ﻋﻣﺎ ﺗﺗﻣﻧﺎﻩ ﻭھﻭ ‪:‬‬ ‫) ﻟﻭ ﺃﻋﺭﻱ ﻅﺎھﺭ ﺍﻷﺷﯾﺎء ﻋﻥ ﺑﺎﻁﻧﻬﺎ‪،‬‬ ‫ﻭﺃﻗﻑ ﻓﻲ ﻣﺣﺭﺍﺏ ﺍﻟﺣﻕ (‬ ‫ﻓﻬﻲ ﺗﺗﻣﻧﻰ ) ﺑﺩﻻﻟﺔ ﻣﻌﻧﻰ‪ /‬ﻟﻭ ‪ ،‬ﺍﻟﺳﺎﺑﻕ ﺍﻻﺷﺎﺭﺓ ﺍﻟﯾﻬﺎ ( ﺍﻥ ﺗﻛﺷﻑ )‬ ‫ﺍﻋﺭﻱ ( ﺍﻟﺣﻘﯾﻘﺔ ) ﻅﺎھﺭ‬ ‫ﺍﻻﺷﯾﺎء( ﻣﻣﺎ ﯾﺳﺗﺭھﺎ ) ﺑﺎﻁﻧﻬﺎ ( ‪ ،‬ﺑﺫﺍ ﺳﺗﻛﻭﻥ ﺍﺩﺕ ﺭﺳﺎﻟﺗﻬﺎ ﺍﻻﻧﺳﺎﻧﯾﺔ )‬ ‫ﺍﻗﻑ ﻓﻲ ﻣﺣﺭﺍﺏ ﺍﻟﺣﻕ (‬ ‫ﻭھﻲ ﺗﺅﻛﺩ ﺭﺳﺎﻟﺗﻬﺎ ھﺫﻩ ﺑﻘﻭﻟﻬﺎ ‪:‬‬ ‫) ﻷﻋﻠﻥ ﺍﻟﻭﻻء ﻷﺭﻭﺍﺡ ﻣﻥ ﺭﺣﻠﻭﺍ ﺑﺧﻭﻓﻬﻡ‪،‬‬ ‫ﺑﺂﻻﻣﻬﻡ‬ ‫ﺑﻁﻬﺭ ﺁﺛﺎﻣﻬﻡ‪!..‬‬ ‫ھﻧﺎﻙ‪..‬‬ ‫ﺣﯾﺙ ﻭﻗﻔﻭﺍ ﺧﺎﺳﺭﯾﻥ(‬ ‫ﻭھﺫﻩ ﺍﻟﺭﺳﺎﻟﺔ ھﻲ ﺗﻠﻙ ﺍﻻﻣﻧﯾﺔ ﺍﻟﺑﻌﯾﺩﺓ ﺍﻟﺗﻲ ﺗﺷﯾﺭ‬ ‫ﺍﻟﯾﻬﺎ ) ﻟﻭ ( ﺍﻟﻣﺅﻛﺩﺓ ﺑﺗﻛﺭﺍﺭ ﻟﻔﻅﻬﺎ ﻓﻲ ﻟﻐﺔ ﺍﻟﻧﺹ‬ ‫ﻭﺳﯾﺟﺩ ﺍﻟﻘﺎﺭﺉ ﺍﻥ ﺑﺎﻗﻲ ﺍﻟﻌﺑﺎﺭﺍﺕ ﺍﻟﻧﺻﯾﺔ ﺗﺻﺏ ﻣﻘﺎﺭﺑﺎﺗﻬﺎ ﺍﻟﺩﻻﻟﯾﺔ ﻓﻲ ھﺫﺍ‬ ‫ﺍﻟﻣﻌﻧﻰ‬ ‫ھﺫﻩ ﺩﺭﺍﺳﺔ ﺗﺣﻠﯾﻠﯾﺔ ﻣﻭﺟﺯﺓ ﻋﻥ ﺍﻟﻧﺹ ﻣﻊ ﺍﻟﺗﺣﯾﺔ‬ ‫ــــــــــــــ ﺑﺎﺳﻡ ﻋﺑﺩ ﺍﻟﻛﺭﯾﻡ ﺍﻟﻔﺿﻠﻲ ـ ﺍﻟﻌﺭﺍﻕ‬

‫ﺗﺣﺕ ﺗﯾﺎﺭﻱ‬ ‫‪١‬‬

‫اﯾﺎد اﻟﺧﯾﺎط‬

‫ﺍﯾﻥ ﺍﻧﺕ ‪...‬‬

‫ﺷﻛﻭﻯ ﺍﻟﻰ ﻣﻥ ‪...‬‬ ‫‪١‬‬

‫ﻣﻣﻠﻛﺗﻲ ﻋﺯﺑﺎء‬

‫ﻛﻔﻰ ﺭﺷﻭﺓ ﻭ ﺗﻌﺎﻝ ﺍﻟﻰ ﺣﺿﻧﻲ‬

‫ﺗﻧﺳﻰ ﺍﻟﻭﺟﻭﺩ‬

‫ﻓﺎﻟﻣﺎﺿﻲ‬

‫ﻋﻛﺱ ﺍﻟﻣﺳﺎء‬

‫ﻣﺣﺭﻭﺱ ﻣﻥ ﺍﻟﻣﺳﺗﻘﺑﻝ‬

‫‪٢‬‬

‫ﻛﻔﻰ ﺛﺭﺛﺭﺓ ﻭ ﻗﻠﻝ ﺃﻟﻣﻙ‬

‫ھﻝ ﺍﻧﺕ ﻋﺯﺑﺎء ﻓﻲ ﺩﻧﯾﺎ ﻟﺋﯾﻣﺔ‬ ‫ھﻝ ﺍﻧﺕ ﺟﻭﺯﺍء ﻓﻲ ﺑﺭﺝ ﺍﻟﺟﺩﻱ‬

‫ﻓﺣﺎﺿﺭﻱ‬ ‫ﻣﺻﻠﻭﺏ ﺻﻠﺑﻪ ﺍﻟﺗﻭﺍﺑﻊ‬

‫ﺍﻡ ھﻝ ﺍﻧﺕ ﻋﺫﺭﺍء ﻓﻲ ﺑﺭﺝ ﺍﻟﺳﺭﻁﺎﻥ‬

‫‪.‬‬

‫ﺍﻡ ﺍﻧﺕ ﻣﺳﺣﻭﺭﺓ ﻟﺩﻯ ﺍﻟﻌﻁﺷﺎﻥ‬

‫‪٢‬‬ ‫ھﻝ ﻋﻧﺩﻱ ﺟﺭﻋﺔ ﺯﺍﺋﺩﺓ ﻣﻥ ﺍﻟﺣﺏ ؟‬

‫‪٣‬‬

‫ھﻝ ﻋﻧﺩﻱ ﺷﻛﻭﻯ ؟‬

‫ﺳﺎﻓﺭﺕ ﺍﻣﻧﯾﺎﺗﻲ ﺍﻟﻰ ﺍﻣﻧﯾﺎﺕ ﺗﺑﻧﻲ ﺭﺟﺎء ﺍﻟﻰ‬ ‫ﺍﻻﻭھﺎﻡ‬

‫ھﻝ ﻋﻧﺩﻱ ﺗﺷﺎﺅﻡ ؟‬

‫ﺗﺭﻣﻠﺕ ﯾﺳﺭﺍﻱ ﻋﻠﻰ ﯾﺩ ﯾﻣﻧﺎﻱ‬ ‫ﺑﺩﻭﻧﻙ ﺳﺗﺑﻘﻰ ﻋﺯﺑﺎء‬ ‫ﺗﻣﺗﻁﻲ‬ ‫ﺍﺳﻔﺎ ﻋﻠﻰ ﺧﺑﺭ ﻣﺣﺫﻭﻑ ﻣﻥ ﺫﺭﺍﺗﻲ‬ ‫‪٤‬‬ ‫ﻓﺎﺗﻧﺔ ﺗﺳﺣﺭﻧﻲ‬ ‫ﻛﺎﺫﺑﺔ ﺗﻘﺗﻠﻧﻲ‬ ‫ﺯﺍﻧﯾﺔ ﺗﻌﺟﺑﻧﻲ‬ ‫ﻣﺎ ﻭﺭﺍء ﺍﻟﺑﺣﺭ ﺷﻅﺎﯾﺎ ﺭﻣﺎﺩﻧﺎ‬ ‫ﺗﻣﻭﻉ ﺗﺣﺕ ﺗﯾﺎﺭﻱ‬

‫ھﻝ ﻋﻧﺩﻱ ﺗﺑﻌﺛﺭ ﻓﻲ ﺍﻧﻔﻌﺎﻻﺗﻲ ؟‬ ‫ھﻝ ﻋﻧﺩﻱ ﺷﺧﺎﺑﯾﻁ ﻣﺣﺗﺭﻗﺔ ؟‬ ‫‪.‬‬ ‫‪٣‬‬ ‫ﻧﻬﺭ ﺍﻟﺣﺏ ﻓﻲ ﺍﻋﻣﺎﻕ ﺍﻟﺛﻠﻭﺝ ﺩﻡ‬ ‫ﯾﺟﺭﻱ ﻣﻥ ﺗﺣﺕ ﺍﻟﺩﻡ‬ ‫ﻭ ﺩﻡ ﺳﺎﻓﻝ‬ ‫ﻭ ﺩﻡ ‪ ...‬ﻋﺎﻗﻝ ‪ ...‬ﻭ ﻏﯾﺭ ﻋﺎﻗﻝ ؟‬

‫ﺍﯾﺎﺩ ﺍﻟﺧﯾﺎﻁ‬

‫ﺍﻧﺷﻭﺩﺓ ﺍﻟﺳﺭﺍﺏ‬

‫ﻣﺭﺍﺭﺗﻪ ﺍﻟﻣﻭﺕ‬

‫‪١‬‬

‫ﻛﻥ ﻭﻗﺣﺎ‬

‫ﺳﻣﻌﺕ ﺍﻟﺭﯾﺎﺡ ﺗﻐﻧﻲ ﺗﻬﻭﯾﺩﺓ‬

‫ﻛﻥ ﻓﺎﺳﺩﺍ‬

‫ﻟﯾﺕ ﺍﻟﻧﺎﻱ ﻣﻌﻲ ﻻﻋﺭﻑ ﺃﻟﻣﻬﺎ‬

‫ﻻﻥ ﺍﻟﺳﻣﺎء ﻓﻘﺩﺕ ﻋﺫﺭﯾﺗﻬﺎ‬

‫ﻗﺻﺹ ﺍﺭﺗﺩﯾﺕ ﻏﻁﺎءھﺎ‬

‫ﻭ ﺍﻻﺭﺽ ﻓﻘﺩﺕ ﺍﺭﺿﻬﺎ‬

‫ﺩﻭﻥ ﻣﻌﺭﻓﺔ ﺟﻭھﺭھﺎ‬

‫ﻭ ﺍﻟﻧﺟﻡ ﺳﺭﻗﺕ ﻣﻧﻪ ﻋﯾﻭﻧﻪ‬

‫‪٢‬‬

‫ﻭ ﺍﻟﺷﻣﺱ ﺫﺍﺑﺕ ﻋﻠﻰ ﺷﻭﺍﺭﻉ ﻣﺧﺗﻭﻧﺔ‬

‫ﻣﻥ ﺍﻟﺳﺭﺍﺏ ﺻﻔﺎﺕ ﺍﻟﺳﻣﺎء ﺗﻭﺳﻌﺕ‬

‫‪..‬‬

‫ﺍﻟﻰ ﻣﻛﺎﺋﺩ‬

‫ﻋﻧﺩﻱ ﺳﺅﺍﻝ ﯾﻁﺎﺭﺩ ﺳﺅﺍﻻ‬

‫ﻣﻥ ﻗﺑﻝ ﻣﺳﺗﻌﻣﺭ‬

‫ﻟﻛﻥ ﺍﺟﻭﺑﺗﻲ ﻓﻲ ﺻﻧﺩﻭﻕ ﯾﺧﺑﻰء ﻣﺋﺔ ﺻﻧﺩﻭﻕ‬

‫‪-٣‬‬

‫ﺍﺭﯾﺩﻙ ﻣﺎﺭﺩﺍ‬

‫ﺣﺗﻰ ﺷﻣﻭﻋﻲ ﺫﻛﺭﺕ ‪...‬‬

‫ﯾﺭھﺏ ﻭ ﯾﺳﻔﻙ ﺩﻣﺎء‬

‫ﺛﻡ ﻧﻛﺭﺕ ‪...‬‬

‫ﻻﻥ ﺑﻘﺎءﻙ ﻓﻲ ﻋﺯﻟﺔ‬

‫ﺑﻌﺩ ﺧﺿﻭﻋﻲ ﻟﻠﺳﺧﻭﻧﺔ‬

‫ﻣﺭﺍﺭﺗﻪ ﺍﻟﻣﻭﺕ‬

‫ﺷﻅﺎﯾﺎ ﺍﻧﺗﺣﺭﺕ‬ ‫‪-٤‬‬ ‫ﺍﺣﻣﻝ ﻋﻠﻰ ﻭﺗﺭﻱ ﻓﺭﺍﻍ ﻁﻭﯾﻝ‬ ‫ﯾﻣﺗﻁﻲ ﺍﺛﺭﺍ‬ ‫ﻣﻥ ﺍﻟﺳﻣﺎﺩ‬ ‫ﺍﻟﻰ ﺍﻟﺭﺣﯾﻕ‬

‫ﺍﯾﺎﺩ ﺍﻟﺧﯾﺎﻁ‬

‫ﺍﯾﺎﺩ ﺍﻟﺧﯾﺎﻁ‬

‫ﺍﺳﺋﻠﺔ ﻓﻲ ﺳﯾﺎﻕ ﺍﻷﺟﻭﺑﺔ‬

‫‪٣‬‬

‫ﺍﯾﺎﺩ ﺍﻟﺧﯾﺎﻁ‬

‫ﺣﯾﻥ ﺍﻋﻭﺩ‬

‫‪١‬‬ ‫ﻛﻔﻰ ﺣﺯﻧﺎ ﻛﻔﻰ ﺗﺄﻧﯾﺏ ﺍﻟﺭﻣﻭﺵ‬

‫ﺑﯾﻥ ﺍﻟﻅﻼﻡ‬ ‫ﺍﺭﻯ ﺯھﺭﺓ ﺍﻟﺗﺎﺭﯾﺦ ﻅﺎﻟﻣﺔ‬

‫ﻓﺎﻟﻼﺫﻗﯾﺔ ﺗﺳﺧﺭ ﻣﻥ ﺫﺑﻭﻝ ﻭﺭﺩﺗﻧﺎ‬ ‫ﻣﺗﻰ ﻧﺑﺗﺳﻡ ؟‬

‫‪٤‬‬ ‫ﻣﺎ ﺍﺭﻯ ﻧﺳﺭﺍ ﺑﯾﻧﻧﺎ‬

‫ﻭ ﻣﺎ ﺯﺍﻝ ﻋﻣﺭﻧﺎ ﻣﻬﺩﺩ ﺑﺎﻟﻐﻠﯾﺎﻥ‬ ‫ﺍﻟﻣﻁﺭ ﯾﻬﻁﻝ ﺑﻛﺛﺭﺓ ﻭ ﺯﻭﺍﺑﻌﻧﺎ ﻣﺭﯾﻌﺔ‬

‫ﯾﺣﻛﻲ ﺍﻟﻣﻪ ﺍﻟﺣﻘﯾﻘﻲ‬ ‫ﻓﻛﻝ ﺍﻟﺣﻛﺎﯾﺎﺕ‬ ‫ﻣﺟﺭﺩ ﻛﺫﺑﺎﺕ‬

‫ﻛﺎﻧﻬﺎ ﺑﺅﺭﺓ ﺍﻟﻔﺳﺎﺩ‬

‫ﺍﻧﻔﺟﺭﺕ ﻣﻥ ﻛﺎﺫﺏ ﻟﻌﯾﻥ‬

‫ﻛﺄﻧﻲ ﺣﻣﺎﻡ ﺳﯾﻔﺎﺭﻕ ﺻﯾﺎﺩﻩ ﺑﺣﺑﺔ ﻣﻠﺢ‬ ‫‪٥‬‬ ‫ﻣﺗﻰ ﯾﺟﻭﺯ ؟‬ ‫ﺍﻥ ﻧﻬﺗﺩﻱ ﺍﻟﻰ ﺍﻟﻐﯾﺎﺏ‬

‫ﻭ ﯾﻭﻡ ﻣﻥ ﺍﻟﻑ ﯾﻭﻡ‬ ‫ﺗﺭﺗﻛﺏ ﺑﻪ‬ ‫ﺍﻧﻔﻌﺎﻻﺕ ﻻ ﺍﺭﺍﺩﯾﺔ ‪ ...‬ﻣﻥ ﺍﻧﻔﻌﺎﻻﺕ ﺍﺭﺍﺩﯾﺔ‬

‫‪٦‬‬ ‫‪٢‬‬ ‫ﻋﻭﺍﻟﻡ ﺍﻟﺳﻣﻙ ﺗﺭﺍﻧﺎ ﻣﻥ ﺍﻻﻓﻕ ﺍﻟﺑﻌﯾﺩ‬ ‫ﻣﻬﺭﺟﯾﻥ‬ ‫ﻭ ﺗﻬﺟﻭ ﻣﺎ ﺻﻧﻌﻧﺎﻩ ﻓﻲ ﺍﻧﻔﺳﻧﺎ ﺯﯾﻔﺎ‬

‫ﺳﻠﻣﺕ ﻋﻠﻰ ﺍﺭﻣﻠﺗﻲ ﻓﻲ ﺍﻟﻅﻼﻡ‬ ‫ﺍﻧﻧﻲ ﺳﺎﻣﻭﻉ‬ ‫ﺍﻟﻰ ﻣﻛﻌﺑﺎﺕ ﺛﻠﺞ ﻣﻥ ﻋﯾﺎﺭ ﺍﻟﻧﺎﺭ‬

‫‪٧‬‬

‫ﺍﻧﺷﻭﺩﺓ ﺍﻟﻌﻣﻕ ‪ /‬ﺍﯾﺎﺩ ﺍﻟﺧﯾﺎﻁ‬

‫ھﺫﺍ ﺍﻟﻠﺣﻥ ﻛﺎﻟﺭﻏﯾﻑ‬

‫‪١‬‬

‫ﯾﻧﺳﻰ‬

‫ﺧﺎﻧﺕ ﻋﻧﺎﻭﯾﻧﻲ‬

‫ﻋﻧﺩﻣﺎ ﺍﻟﻧﺎﺱ ﺗﺻﻭﻡ‬ ‫‪٨‬‬

‫ﻣﺳﺭﻭﻗﺔ‬ ‫ﻣﻥ ﻋﻧﻭﺍﻥ ‪...‬‬

‫ﺍﺭﻛﺽ ﻭ ﺍﺳﺗﻭﻟﻲ ﻋﻠﻰ ﻣﻌﺯﻭﻓﺔ ﻭﺣﺷﺎ ﺑﯾﻥ‬ ‫ﺍﻟﻭﺣﻭﺵ‬

‫‪٢‬‬

‫ﻻﻥ ﺍﻟﺑﺭﺍءﺓ‬

‫ﯾﺎ ﺻﻭﻟﺟﺎﻥ ﺗﺎﺭﯾﺧﻲ ﻏﯾﺭ ﻣﻬﺫﺏ‬

‫ﺳﻘﻭﻁ ﺍﻟﺻﺣﻑ ﻭ ﺍﻟﺟﺭﺍﺋﺩ‬

‫ﻣﺻﻘﻭﻝ ﺑﺎﻟﺗﺭﺍﺏ‬ ‫ﯾﺣﻣﻲ ﺗﺭﺍﺏ‬

‫‪٩‬‬

‫‪٣‬‬

‫ﻣﺗﻰ‬

‫ﺍﺯﻣﻧﺗﻲ ﺗﻐﯾﺭﺕ ﻛﻠﯾﺎ‬

‫ﺍﻧﺎ‬

‫ﺭﻣﻭﺷﻬﺎ‬

‫ﺍﺳﺗﯾﻘﻅ ﻣﻥ ﺍﻟﻧﻭﻡ ﺍﻟﻁﻭﯾﻝ‬ ‫ﺑﺯھﺭﺓ ﻟﻥ ﺗﺫﺑﻝ ﻣﺟﺩﺩﺍ ؟‬ ‫ﻣﺗﻰ ؟‬

‫ﻣﻥ ﻓﺭﺍﻍ‬ ‫‪-٤‬‬ ‫ﺣﯾﻥ ﺍﻋﻭﻱ ﺍﺳﺭﺩ ﺍﻟﻘﺻﺎﺹ‬ ‫ﻭ ﺣﯾﻥ ﺍﺗﺑﻌﺛﺭ ﺗﺗﺑﻌﺛﺭ ﻣﻛﻭﻧﺎﺗﻲ‬ ‫ﺍﻟﻰ ﻣﻭﺍﺩ‬ ‫ﻭ ﺍﻟﻰ ﺷﻁﻭﺭ‬ ‫‪٥‬‬ ‫ﯾﺎ ﺩﻧﯾﺎ ﻟﺳﺕ ﻗﺑﯾﺣﺎ‬ ‫ﺭﯾﺎﺣﻲ‬ ‫ﺍﻟﺗﻬﻣﺕ ﺷﻅﺎﯾﺎﻱ‬

‫‪٦‬‬

‫‪١٠‬‬

‫ﻛﺎﻧﺕ ﻣﺭﯾﺣﺔ‬

‫ﺳﻛﻥ ﺍﻻﺭﺽ‬

‫ﺻﺎﺭﺕ‬

‫ﺩﻣﺎﺭ‬

‫ﺗﺷﺗﺭﻱ ﺍﻟﺣﺭﻭﺏ‬

‫ھﻭﯾﺗﻪ ﺍﻟﺳﻼﻡ‬

‫‪٧‬‬

‫‪١١‬‬

‫ﺍﻥ ﺍﻟﺩﻧﯾﺎ ﺳﺎﻟﺑﺔ‬

‫ﻛﻧﺕ ﺍﺧﺗﺎﺭ ﺷﻁﺭﯾﻥ‬

‫ﻣﻭﺟﺑﻬﺎ‬

‫ﻭ ﺍﺻﺑﺣﺕ ﺛﻼﺛﺔ ﺍﺷﻁﺭ‬

‫ﺗﻬﻛﯾﺭﻱ‬

‫ﻭ ﺻﺎﺭﺕ ﺍﺭﺑﻌﺔ ﻭﺩﻋﺕ ﺷﻁﻭﺭھﺎ ﻋﻠﻰ ﺍﻟﻣﻸ‬

‫‪٨‬‬

‫‪١٢‬‬

‫ﺗﻐﻧﻲ‬

‫ھﻲ ﺍﻟﺗﻲ ﺍﺳﺗﻐﺎﺛﺕ ﺩﻭﺍﺋﻲ‬

‫ﯾﺣﺭﻣﻬﺎ ﻗﻭﻣﻲ‬

‫ﻭ ﻧﺎﺩﺕ ﺩﺍﺋﻲ‬

‫ﺗﺷﻌﺭ‬

‫ﻟﯾﻌﻣﻼ ﺳﺣﺭﺍ ﻟﯾﺩﺧﻼ ﺍﻟﺟﻧﺔ ﻣﻧﺑﻭﺫﯾﻥ‬

‫ﯾﺣﺭﻣﻬﺎ ﻗﻭﻣﻲ‬

‫‪١٣‬‬

‫ﺗﻬﺭﺏ‬

‫ﺳﻣﺎﺋﻲ ﺗﻧﺎﺛﺭﺕ ﻋﻠﻰ ﺗﻧﺎﺛﺭﻱ‬

‫ﯾﻘﺗﻠﻬﺎ ﻗﻭﻣﻲ‬

‫ﻭ ﻗﺗﻠﺕ ﻣﺭﺍﻋﺎﺗﻲ‬

‫ﺗﺳﺗﻌﯾﺭ‬

‫ﻟﻸﺯﻣﻧﺔ‬

‫ﺣﯾﺎﺗﻧﺎ ﺗﺳﺗﻌﯾﺭھﺎ ﺍﻻﺧﺭﺓ‬

‫‪١٤‬‬

‫‪٩‬‬

‫ﺍﻧﺕ ﻣﻼﻙ‬

‫ﺍﺭﺗﺑﻛﺕ ﻋﻠﻰ ﻭﺳﺎﺩﺗﻲ ﺍﻟﺳﺭﯾﺔ‬

‫ھﻲ ھﻼﻙ‬

‫ﺍﺭﻗﺎﻣﻬﺎ‬

‫ﻭ ﺍﻧﺕ ﻣﻥ ﺩﻣﻲ ﺷﻅﯾﺔ‬

‫ﻣﻥ ﺍﻟﻭﺍﺣﺩ ﺍﻟﻰ ﺍﻟﻣﺋﺔ‬

‫ﻭ ھﻲ ﺍﺧﺭ ﺩﻣﺎﺋﻲ ﻣﻌﺻﯾﺔ‬

‫ﻛﺩﻓﺗﺭ ﻣﻥ ﺩﻓﺎﺗﺭ ﺣﻭﺭﯾﺗﻲ‬

‫ﻭھﻲ ﺟﺭﺣﺗﻧﻲ ﻓﻲ ﺍﻟﻌﻣﻕ‬

‫ﻋﻣﺭ ‪....‬‬ ‫ﻋﻠﻰ ﻣﺷﺎﺭﻑ ﺍﻟﻐﺭﻕ‬

‫ﻧﺟﻣﺔ ﻣﻥ ﺍﻟﺳﻣﺎء‬

‫ﺍﺳﺗﺑﺎﺡ ھﯾﺑﺔ ﺍﻟﺳﻌﺩ‬

‫ﺣﻭﺭﺍء ﺍﻟﻌﯾﻥ ﺗﻧﻁﻕ ﺍﻻﺷﻭﺍﻕ‬

‫ﻓﻲ ﺛﻭﺭﺓ ﻣﻭﺕ‬

‫ﺳﺣﺭ ﺟﻣﺎﻝ ﺗﺳﺭﻱ‬

‫ﻓﻲ ﺟﻧﻭﻥ ﺍﻗﺩﺍﺭ‬

‫ﻭﺭﻭﺩ ﻋﺑﯾﺭ ھﯾﺎﻡ ﺍﻟﻌﺷﻕ ﺟﻣﺎﻝ ﺿﯾﺎﻉ‬

‫ﻓﻲ ﺑﺷﺎﻋﺔ ﺍﻧﺗﻅﺎﺭ‬

‫ﻋﺳﻝ ﻻﯾﺭﺗﻭﻯ ﻣﻧﻪ‬

‫ﺍﻋﺗﻕ ﻣﻼﻣﺣﻲ‬

‫ﺍﻧﻔﺎﺱ ﺗﺩﻭﺭ ﺣﻭﻟﻲ ﻟﻠﺑﻘﺎء‬

‫ﯾﺎ ﻗﺩﺭﻱ‬

‫ﻋﺷﻘﻙ ﺳﯾﺩﺗﻲ ‪.‬‬

‫ﻭﺍﻟﯾﻬﺎ ﺍﻋﻠﻥ ﺍﻟﻌﻭﺩ‬

‫ﻧﺑﯾﺫ ﻣﻥ ﻋﺳﻝ ﺍﻟﺟﻧﺔ ﻭﻓﺎﻕ‬

‫ﻣﻛﻠﻼ ﺑﺗﺎﺝ ﻧﻭﺭ‬

‫ﺍﻣﺎﻧﺔ ﻓﻲ ﺭﻗﺑﺗﻲ ﺍﺧﻼﻕ‬

‫ﻭﺛﻭﺏ ﻣﻥ ﺣﺑﻭﺭ‬

‫ﺍﺫﻭﺏ ﻓﻲ ﺍﺳﻣﻙ ﺗﻌﻧﯾﻥ ﻛﻝ ﺍﻻﺳﻣﺎء‬

‫ﺍﻋﺗﻘﻬﺎ ‪....‬‬

‫ﺻﻣﺗﻙ ﺣﺑﻙ ﻋﻠﻣﻧﻲ‬

‫ﻭﻟﻥ ﺗﺣﺯﻥ‬

‫ﺍﻥ ﺍﻣﻭﺕ ﺑﻌﺷﻘﻙ ﻻﺣﯾﺎ ﺑﻘﺎء‬

‫ﺇﻧﻲ ﺃﺧﺫﺕ‬ ‫ﻛﻝ ﺍﻟﺣﺯﻥ ﻣﻌﻲ‬

‫ﻅﺎﻓﺭ ﺿﻬﺩ ﺍﻷﺳﺩﻱ‬ ‫ﺍﺑﻭ ﺣﺳﺎﻡ ﺍﻻﺳﺩﻱ‬ ‫ﻧﺭﺟﺱ ﻋﻣﺭﺍﻥ‬

‫ﺍﻟﻌﺭﺍﻕ ﺑﻘﻠﻣﻲ‬

‫‪ ..‬ﺍﻟﺟــــــــــــــــــــــــــــــــﻭھـــــــــــــــــــــــــــــﺭ‬ ‫ﺍﻹﻧﺳــــــــــــــــــــــــﺎﻧـــــــــــــــــــﻲ ‪...‬‬

‫ﺽ…‬ ‫ﺇِﻟَﻰ ُﻣ ْﻌ ِﺭ ٍ‬ ‫ﺿﺎ َﻋ ﱢﻧﻲ َﻛ َﻔﻰ‬ ‫َﯾﺎ ُﻣ ْﻌ ِﺭ ً‬ ‫ﺍﻟﺟ َﻔﺎ‬ ‫َﻗﺩْ ﻁﺎَﻝ َ ‪ِ َ -‬‬ ‫ﻭﷲ ‪َ -‬‬

‫‪ ...‬ﺃﻥ ﺗﺟﺎﻓﻲ ﺍﻟﻧﺎﺱ ﻓﻲ ﻣﻌﺎﻣﻠﺗﻙ ﻓﻬﺫﺍ ﺃﻣﺭ ﻏﯾﺭ‬ ‫ﻣﻘﺑﻭﻝ ﻭﻻ ﻣﺳﺗﺣﺳﻥ ﻭﻻ ﯾﻧﺳﺟﻡ ﻣﻊ ﺍﻟﻭﺍﻗﻊ ﻭﺇﻗﺎﻣﺔ‬ ‫ﻋﻼﻗﺎﺕ ﻁﯾﺑﺔ ‪ ،‬ﻭﺃﻥ ﯾﻌﺎﻣﻝ ﺍﻟﻣﺭﺑﻲ ﻁﻼﺑﻪ ﺩﻭﻣﺎ ً‬ ‫ﺑﻐﻠﻅﺔ ﻭﺟﻼﻓﺔ ﻓﺫﺍﻙ ﺃﻣﺭ ﻣﺫﻣﻭﻡ ﻟﻣﺎ ﻓﯾﻪ ﻣﻥ ﺳﻭء‬ ‫ﺍﻷﺩﺏ ﻭﺍﻟﺗﻘﺩﯾﺭ ‪ ،‬ﻭﺃﻥ ﺗﺗﻌﺎﻟﻲ ﺍﻟﺩﻭﻟﺔ ﻋﻠﻲ‬ ‫ﻣﻭﺍﻁﻧﯾﻬﺎ ﻭﺗﻌﺎﻣﻠﻬﻡ ﻛﺄﻧﻬﻡ ﻣﻭﺍﻁﻧﯾﻥ ﻣﻥ ﺍﻟﺩﺭﺟﺔ‬ ‫ﺍﻟﺛﺎﻧﯾﺔ ﻭﺍﻟﺛﺎﻟﺛﺔ ﻓﺫﻟﻙ ﻣﺻﯾﺭﻩ ﺍﻟﺛﻭﺭﺓ ﻋﻠﻲ ﺗﻠﻙ‬ ‫ﺍﻟﻧﻅﻡ ﻭﺍﻟﻣﻌﺎﯾﯾﺭ ‪ ،‬ﻭﺃﻥ ﯾﻔﺷﻝ ﺍﻟﻭﺍﻟﺩﯾﻥ ﻓﻲ ﺗﺭﺑﯾﺔ‬ ‫ﺃﻁﻔﺎﻟﻬﻣﺎ ﺗﺭﺑﯾﺔ ﺣﺳﻧﺔ ﻓﻣﺭﺩﻩ ﻟﻠﻔﺳﺎﺩ ﺍﻻﺟﺗﻣﺎﻋﻲ‬ ‫ﻭﺳﻭء ﺍﻟﺗﻘﺩﯾﺭ ﻣﺳﺗﻘﺑﻼً ﻷﯾﺎﻡ ﻗﺎﺩﻣﺔ ﻻ ﯾﻌﻠﻣﻬﺎ ﺇﻻ‬ ‫ﷲ ﺳﺑﺣﺎﻧﻪ ﻭﺗﻌﺎﻟﻲ ‪.‬‬

‫َﻣﺎﻟِﻲ َﻭ َﻓ ْﯾ ُ‬ ‫ﺕ َﻭﻟَ ْﻡ ﺃَ ِﺟﺩْ‬ ‫ﻣِﻥْ َﻗ ْﻠ ِﺑ َﻙ ﺍﻟ َﻘﺎﺳِ ﻲ َﻭ َﻓﺎ‬ ‫َﻣﺎﻗُ ْﻠ ُ‬ ‫ﺕ ﻓِﯾ َﻙ ﺳِ َﻭﻯ‬ ‫ِﯾﻝ ُﻣ َﺣ ّﺑ ًﺭﺍ ﻭ َﻣ َﻬ ْﻔ َﻬ َﻔﺎ‬ ‫َ‬ ‫ﺍﻟﺟﻣ ِ‬ ‫ﺷ ُﻛﻭ َﻙ ﺃَ ْﻡ ﺃَ ْ‬ ‫ﺃَ ْ‬ ‫ﺷ ُﻛﻭ ﺇِﻟَ ْﯾ َﻙ‬ ‫ﺳ َﺗ ْﺳ َﻣ ُﻊ ُﻣ ْﻧﺻِ َﻔﺎ‬ ‫َﻭ َھﻝْ َ‬ ‫َﻛ ْﻡ َﺫﺍ َﻛ َﺗ ْﺑ ُ‬ ‫ﺻ ْﻔ َﺣﺗﻲ‬ ‫ﺕ ِﺑ َ‬ ‫ﺷِ ْﻌ ًﺭﺍ َﻅ ِﺭﯾ ًﻔﺎ ﺃَ ْﻟ َﻁ َﻔﺎ‬ ‫َﻭ َﺭ َﺟ ْﻭ ُ‬ ‫ﺻﺩَﺍ َﻙ‬ ‫ﺕ ﺃَﻥْ ﺃَ ْﻟ َﻘﻰ َ‬

‫‪ ...‬ﺗﻠﻙ ھﻲ ﺍﻟﻣﺷﻛﻠﺔ ﻭﻟﻧﺗﺄﻣﻝ ﺳﺑﺏ ﺍﻟﺛﻭﺭﺍﺕ‬ ‫ﻭﺍﻟﺻﺭﺍﻋﺎﺕ ﺍﻟﻁﺑﻘﯾﺔ ﻓﻲ ﻣﺟﺗﻣﻌﺎﺗﻧﺎ ﺍﻟﻌﺭﺑﯾﺔ ﺍﻟﺗﻲ‬ ‫ﺟﻠﺑﺕ ﻟﻧﺎ ﺍﻟﻣﺳﺎﻭﺉ ﻭﺍﻟﻛﻭﺍﺭﺙ ﻣﻌﺎ ً ‪ ،‬ﻭﻣﺎ ﯾﺣﺩﺙ ﻓﻲ‬ ‫ﻭﻁﻧﻧﺎ ﺍﻟﻌﺭﺑﻲ ﻟﯾﺱ ﺑﻌﯾﺩﺍً ﻋﻥ ﺗﻠﻙ ﺍﻷﺳﺑﺎﺏ‬ ‫ﻭﺍﻟﻣﺳﺑﺑﺎﺕ ﻻﺧﺗﻼﻑ ﺗﻭﺯﯾﻊ ﻣﻘﺩﺭﺍﺕ ﺍﻟﺷﻌﻭﺏ‬ ‫ﺑﺎﻟﻌﺩﻝ ﻭﺍﻟﻘﺳﻁﺎﺱ ﺍﻟﻣﺳﺗﻘﯾﻡ ‪ ،‬ﻓﺄﯾﻘﻅﺕ ﺍﻟﻧﺎﺋﻡ ﻭﺛﺎﺭ‬ ‫ﺍﻟﺛﺎﺋﺭ ‪ .‬ﻭﺃﺟﻣﻝ ﻣﺎ ﻗﯾﻝ ﻓﻲ ﺫﻟﻙ ﺃﻥ ﻣﻌﺎﻣﻠﺔ ﺍﻟﻧﺎﺱ‬ ‫ﺑﻧﺎ ًء ﻋﻠﻲ ﻗﯾﻡ ﻣﺧﺗﻠﻔﺔ ﺗﺷﻛﻝ ﺧﺭﻭﺟﺎ ً ﻋﻠﻲ ﻣﺳﺎﻋﻲ‬ ‫ﺍﻟﻘﯾﻡ ﺍﻹﺳﻼﻣﯾﺔ ﻓﻲ ﺗﻛﺭﯾﻡ ﺍﻟﺟﻭھﺭ ﺍﻹﻧﺳﺎﻧﻲ‬ ‫ﻭﺇﺷﺎﻋﺔ ﺍﻟﻌﺩﻝ ﻓﻲ ﺍﻟﻌﺎﻟﻡ ‪ ،‬ﻭﻁﺎﺏ ﯾﻭﻣﻛﻡ ‪.‬‬

‫ﺟﺩْ ﺇِﻻّ ﺍﻟ َﻘ َﻔﺎ‬ ‫َﻓ ْﻠ ْﻡ ﺃَ ِ‬ ‫َﻓﻸَ ْﻣ ُﺣ َﻭ ﱠﻧ َﻙ َﺯﺍ ِھﺩًﺍ‬ ‫ﺻ ْﻔ َﺣﺗِﻲ َﻣ ْﺣ َﻭ ﺍﻟ َﻌ َﻔﺎ‬ ‫ﻣِﻥْ َ‬ ‫َﻓﻠَ ُﺭ ﱠﺑ َﻣﺎ َﺗ ْ‬ ‫ﺷ َﺗﺎ ُﻗﻬﺎ‬ ‫َﯾ ْﻭ ًﻣﺎ َﻭ َﺗﺩْ ُﺧﻠُ َﻬﺎ َﺧ َﻔﺎ‬ ‫ﺿ َﻬﺎ‬ ‫َﻭ َﺗ ُﺣﻭﻡ َﺣ ْﻭﻝ َ ِﺭ َﯾﺎ َ‬ ‫ﺻ َﻔﺎ‬ ‫ﻑ َﻣﺎ َ‬ ‫ﺳِ ًّﺭﺍ َﻭ َﺗ ْﻘﻁِ ُ‬ ‫َﻓ َﺗﺭﻯ َﻭ َﺗ ْﻌﺭﻑ ﺃَﻥﱠ ﻟِﻲ‬ ‫َﻗ ْﻠ ًﺑﺎ ﻟِ َﻐ ْﯾﺭ َﻙ َﻣﺎ َھ َﻔﺎ‬

‫ﻭﻟﻛﻡ ﺗﺣﯾﺎﺗﻲ ‪ /‬ﺃ ‪ .‬ﻧﺑﯾﻝ ﻣﺣﺎﺭﺏ ﺍﻟﺳﻭﯾﺭﻛﻰ –‬ ‫ﺍﻟﺟﻣﻌﺔ ‪٢٠١٧ / ١١ / ٣‬‬

‫… ﻋﻣﺭ ﻋﻠﻭﺍﺵ…‬

‫ﺍﺩﻓﻌﻲ ﺍﺟﺭﻱ‬ ‫ﺍﯾﺎﺩ ﺍﻟﺧﯾﺎﻁ‬ ‫ﺍﺩﻓﻌﻲ ﺍﺟﺭﻱ ﻷﺯﯾﺩ ﻓﻲ ﺍﻻﺭﺽ ﻓﺳﺎﺩﺍ‬ ‫ﻷﻧﻬﺏ ﻣﻥ ﺍﻟﻣﺣﺗﺎﺟﯾﻥ ﺯھﺭﺓ ﺍﻟﻧﺭﺟﺱ‬ ‫ﻭ ﺍﺳﺗﻭﻟﻲ ﻋﻠﻰ ﻓﻘﺎﻋﺎﺕ ﺍﻟﺳﻣﺎء ﻭ ﺍﺳﺭﻕ ﻣﻥ ﺍﻻﻟﻣﺎﺱ ﻣﻌﺎﯾﯾﺭ ﺍﻻﺑﺗﺳﺎﻣﺔ‬ ‫ﻋﺭﻗﻲ ﯾﻧﻬﻣﺭ ﻋﻠﻰ ﻓﺳﺎﺩﻱ ﻣﺭﺗﺷﯾﺎ‬ ‫ﻻﻏﻔﻭ ﻓﻲ ﺍﻟﻔﺳﺎﺩ ﻭ ﺍﻟﻁﺭﯾﻕ ﺗﺣﺕ ﺍﻟﺟﻧﺔ ﺳﯾﺻﺑﺢ ﻛﺳﺎﺩﺍ‬ ‫ﻻ ﻣﻛﺎﻥ ﻟﻸﺧﻼﻕ ﻓﻲ ﻋﺎﻟﻣﻲ‬ ‫ﺳﺎﺟﺩ ﺍﻻﺧﻼﻕ ﻣﻥ ﺍﻟﻅﻼﻡ ﺍﻟﺫﻱ ﺍﺑﺗﻐﯾﻪ‬ ‫ﺳﺎﺧﻁﻑ ﺷﻣﻭﻋﺎ ﻭ ﻧﺟﻭﻣﺎ ﻭ ﻧﯾﺎﺯﻛﺎ ﻭ ﺷﻬﺑﺎ ﻭ ﺳﺣﺑﺎ ﻣﻥ ﺍﺭﺿﻲ‬ ‫ﺍﻟﻰ ﺍﻟﻣﺭﯾﺦ‬ ‫ﻟﺳﺕ ﻓﺎﺣﺷﺎ ﻭ ﻟﺳﺕ ﻓﺎﺳﺩﺍ ﺑﻁﺑﻌﻲ‬ ‫ﻻﻥ ﻋﺩﻡ ﺍﻛﺗﻣﺎﻝ ﺍﻟﻘﻣﺭ ﺳﻭﺍﺩ ﺍﻟﻠﯾﺎﻟﻲ‬ ‫ﻭ ﺑﺭﺍﻏﯾﺙ ﺗﺳﺗﻭﻁﻧﻧﻲ ﻋﻘﻼ‬ ‫ﻻﺳﺗﯾﻘﻅ ﺷﺑﺣﺎ ﺑﯾﻥ ﺍﻗﻭﺍﺱ ﺍﻟﻘﺑﺭ‬ ‫ﺍﺷﺣﺫ ﻣﻥ ﺍﻟﻭﺭﻭﺩ ﺍﻟﺫﺍﺑﻠﺔ ﻧﺳﻣﺔ ﺭﯾﺢ‬

‫)))) ﻟﺭﺍﻗﺻﺔ ((((‬ ‫ﺍﻟﻅﺭﻭﻑ‬ ‫ﻭﺻﻌﺏ ﺃﻥ ُﺗ َﻘﻠﱢ َﺑﻧﺎ‬ ‫ھﻲ ﺍﻷﻁﺑﺎ ُﻉ َﺗ ْﻣﻠِ ُﻛﻧﺎ ﺟﻣﯾﻌﺎ ً ‪. . . .‬‬ ‫ُ‬ ‫ٌ‬ ‫َ‬ ‫ﺑﻁﻭﻝ ﱢ‬ ‫ﺍﻟﺷﺭﯾﻑ‬ ‫ﺍﻟﻬﺯ ﻭﺍﻧﺩ َﺛ َﺭ‬ ‫ﺃﻻ ھ ُّﺯﻱ ﻓﻘﺩ ﻛ ُﺛ َﺭ ﺍﺭﺗﻘﺎ ٌء ‪. . . .‬‬ ‫ُ‬ ‫ِ‬ ‫ﺍﻟﺳﺧﯾﻑ‬ ‫ﻓﻣﺎ َﻧ َﻅ َﺭ ْﺕ ﺇﻟﻰ‬ ‫ِ‬ ‫ُ‬ ‫ﺍﻟﺷﺭﻓﺎء ﻋﯾﻥٌ ‪ . . . .‬ﻭﻓﻲ ﺳﺎﺣﺎﺗﻬﺎ ﺍﻟﺭﺟﻝ ُ‬ ‫ﻓﻣﺎ ﺍﻹﻧﺳﺎﻥُ ﺩﻭﻥَ َﺗ َﺣ ﱡﻔﻅﺎ ٍ‬ ‫ﺧﯾﻑ‬ ‫ﺕ ‪ . . . .‬ﺳﻭﻯ‬ ‫ﻭﺣﺵ ﻣﺳﺎﻟ ُﻛ ُﻪ ُﺗ ُ‬ ‫ٍ‬ ‫ﻅﺭﯾﻑ‬ ‫ُ‬ ‫ﻭ ُﻛﻝ ﱞ ﻗﺎﺋ ٌﻡ ﻓﯾﻣﺎ ﺗﺭ ّﺑﻰ ‪ . . . .‬ﻓﻼ ﯾﻐ ُﺭ ْﺭﻙ ﺗﻌﻠﯾﻝ ٌ‬ ‫ﺍﻟﺳﯾﻭﻑ‬ ‫ﻓﺭﺏ ﻣﺑﺎﺩﺉ ﻣﻥ ﺍﺟﻠﻬﺎ ﻻ ‪ . . . .‬ﯾﺑﺎﻟﻲ ﺍﻟﻣﺭء ﺗﺄﺧﺫﻩ‬ ‫ُ‬ ‫ﻧﻅﯾﻑ‬ ‫ﻓﻣﺎ ﯾﺭﺿﻰ ﺍﻋﻭﺟﺎﺟﺎ ﻣﻥ ﺗﺭﺑﻰ ‪ . . . .‬ﻋﻠﻰ ﺃﺳﺱ ﻟﻬﺎ ﺑﯾﺕ‬ ‫ُ‬ ‫ٌ‬ ‫ﻧﯾﻑ‬ ‫ﻛﺛﯾﺭﺍﺕ ﺩِﯾﺎ ُﺭ‬ ‫ﺍﻟﻧﺎﺱ ﻟﻛﻥْ ‪ُ . . . .‬ﯾ َﻘ ﱠﺩ ُﻡ ﺑﯾﻧﻬﺎ ﺍﻟﻘﺻ ُﺭ ﺍﻟ ُﻣ ُ‬ ‫ِ‬ ‫ُﯾ َﻐ ﱡﺭ ﺍﻟﺟﺎھﻠﻭﻥَ ِﺑ َﺑ ْﻬ َﺭﺟﺎ ٍ‬ ‫ﺍﻟﻌﻔﯾﻑ‬ ‫ُ‬ ‫ﺕ ‪ . . . .‬ﻭﻟﻛﻥْ ﯾﺄ َﻧ ُ‬ ‫ﻑ ﺍﻟﺭﺟﻝ ُ‬ ‫ﺿﯾﻑ‬ ‫ﺩﯾﻥ ﺑﺩﻧﯾﺎ ‪ . . . .‬ﻭ َﯾ ْﻧ َﻬ ُﻡ ﻋﻧﺩھﺎ َﻣﻥْ ﺗﺳ َﺗ‬ ‫ُ‬ ‫ﻓﯾﺯ َھ ُﺩ ﻛﻝ ﱡ ﺫﻱ ٍ‬ ‫ﺭﺩﯾﻑ‬ ‫ﻧﻬﺞ ‪ . . . .‬ﺗﺄﺻﻝ َ ﻓﻲ ﻣﺑﺎﺩﺋِﻬﺎ‬ ‫ﻭﻣﺎ ﻋ ﱠﻔ ْﺕ‬ ‫ﻧﻔﻭﺱ ﺩﻭﻥَ‬ ‫ُ‬ ‫ٌ‬ ‫ٍ‬ ‫ﻏﯾﺭ ﻣﺭﺍﺩﻓﺎ ٍ‬ ‫ﻟﻭﻑ‬ ‫ﻓﻣﺎ ﺍﻹﻧﺳﺎﻥُ‬ ‫ﺕ ‪ . . . .‬ﻟِﻣﺎ َﻋﻠِ َﻘ ْﺕ ﻣﻔﺎھﯾ ٌﻡ ﺃ ُ ُ‬ ‫َ‬ ‫ﻓﻠﯾﺱ ﺳﻭﻯ ﺩءﻭ ٍ‬ ‫ﺭﻭﻑ‬ ‫ﺻ‬ ‫ﺗﺂﻟَ َﻔﻬﺎ‬ ‫ُ‬ ‫ﺏ ‪ . . . .‬ﻋﻠﯾﻬﺎ ﻻ ﺗﻘﻠﱢ ُﺑ ُﻪ ﺍﻟ ُ‬ ‫َ‬ ‫ﺧﻔﯾﻑ‬ ‫ﻓﻣﺎ ﺍﻟﻣﺗﻘﻠﺑﻭﻥَ ﺳﻭﻯ ﻛﯾﺎ ٍﻥ ‪ . . . .‬ﺇﺫﺍ ﺧ ﱠﻔ ْﺕ ﻟ ُﻪ ﺍﻟﺩﻧﯾﺎ‬ ‫ُ‬ ‫ﺍﻷﻟﯾﻑ‬ ‫ﺗﺎﺑﻊ ُﻛﻝ ﱠ ﺩﺭﺏ ﻓﯾ ِﻪ ﻧﻔ ٌﻊ ‪ . . . .‬ﻭﻛﺎﻟﺣﺭﺑﺎء ﯾﺄﻟﻔ ُﻪ‬ ‫ُ‬ ‫ُﯾ ُ‬ ‫ﺍﻟﻠﻁﯾﻑ‬ ‫ﯾﻛﺷﺭ ﻧﺎﺑﻪ ﺳﻌﯾﺎ ﻭﻟﻬﺛﺎ ‪ . . . .‬ﻓﺎﻥ ﯾﻐﻧﻡ ﻟﻪ ﺍﻟﻁﺑ ُﻊ‬ ‫ُ‬ ‫ْ‬ ‫ﻭﻑ‬ ‫ﻏﺭﺍﺋ ُﺯﻧﺎ ھﻲ ﺍﻟﻧﯾﺭﺍﻥُ ﻓﯾﻧﺎ ‪ . . . .‬ﺇﺫﺍ‬ ‫ﺳﺎﺩﺕ َﺗﻠَ ﱠﻘﻔُﻧﺎ ﺍﻟ ُﺣ ُﺗ ُ‬ ‫ﺷﻌﺭ‪ /‬ﺩ‪ .‬ﺭﺷﯾﺩ ھﺎﺷﻡ ﺍﻟﻔﺭﻁﻭﺳﻲ‬

‫ﻋﺑﻭﺭ‬

‫ﻭﺃﻛـﺗﻡ ﻣﻥ ﻗﺻﯾﺩﻱ ﻛﻝ ﺣﺭﻑ‬

‫ﺑﺎح ﻭ ﻧﺎﻣﺎ‬ ‫ﺿﻰ ﻋﻠﻰ َﻭ ْﻋ ِﺩ ﺍﻟ ﱠ‬ ‫ﺍَ ْﻏ َ‬ ‫ﺻ ِ‬

‫ﻭﯾــﺄﺑـﻰ ﺍﻟـﻘـﻠـﺏ ﺇﻻ ﺃﻥ ﯾـﻘـﻭﻻ‬ ‫ﺭﺟـﻭﺗـﻙ ﺃﻥ ﺗـﺄ ّﻧـﻰ ﯾــﺎ ﻓـﺅﺍﺩﻱ‬

‫ﺑـﺎح ﻓـﺄﺩﺭ َﻙ ﺍﻷﺣﻼﻣــﺎ‬ ‫ﻋـﻧـ َﺩ‬ ‫ﱠ‬ ‫ﺍﻟـﺻ ِ‬ ‫ﺍﻟﺳﻛﯾﻧ ِﺔ ‪..‬ﻗﺑﻠَﻬﺎ‬ ‫ﺳﺑﯾﻝ َ ﺇﻟﻰ ّ‬ ‫َﻋ َﺑ َﺭ ﺍﻟ ّ‬

‫َ‬ ‫ﻛـﻧﺕ ﺍﻟﻌﺟﻭﻻ‬ ‫ﻓـﻣﺎ ﻁـﺎﻭﻋﺗﻧﻲ‬

‫ﺗــﺯﻭﺭ ﻟِﻣﺎﻣــﺎ‬ ‫ﻛﺎﻥَ ﺍﺷـﺗﻬـﺎھــﺎ ﺃﻥْ‬ ‫َ‬

‫ﻁـﻣـﻌﺕ ﺑـﻭﺻﻝ ﻻھـﯾﺔ ﻓـﺄ ّﻧﻰ‬

‫ﻁِ ﻔﻝ ٌ َﻧﻣـﺎ ﺑﯾﻥَ ﺍﻟـﺣِــﺭﺍﺏ ﻭ ﺇ ّﻧـــ ُﻪ‬

‫ﺗــﻧـﺎﻝ ﺻـﺑـﺎﺑـﺔ ﻭﺗـــﺭﻯ ﻗُــﺑـﻭﻻ‬

‫ـــﻊ ﺍﻵﻻﻣـــﺎ‬ ‫ﺍﻟـﺭﺩﻯ ﻣـﺎ ﺷـ ّﯾ َ‬ ‫ﻟـﻭﻻ ّ‬

‫ﻭﻛﻡ ﺃﻓﻧﯾﺕ ﻧﺑﺿﻙ ﻓﻲ ھﻭﺍھﺎ‬

‫ﻣﺎ ﺯﺍﻝ َ ﯾﺭﻧــﻭ ﻟﻠﺣﯾــﺎ ِﺓ ﻭ ﺣـ ﱡﺑﻬــﺎ‬

‫ﻭ ُﺟـ ْﺑ َ‬ ‫ـﺕ ﺩﯾـﺎﺭھـﺎ ﻋـﺭﺿﺎ ﻭﻁـﻭﻻ‬

‫ﻧــﻭ ٌﺭ َﯾـﺯﯾـﻥُ ﻟـ ُﺭﻭﺣِـــ ِﻪ ﺍﻷ ّﯾـﺎﻣـــﺎ‬

‫ﺗـﻣـﻧﻊ ﻟــﻡ ﺗـﺑـ ِﺩ ﻟـﯾـﻠﻰ‬ ‫ﻭﻏـﯾـﺭ‬ ‫ٍ‬

‫ﺍﻟﺑﺅﺱ ﺍﻟ ُﻣ َﺑ ﱢﺭ َح ﻭ ﺍﻷﺳﻰ‬ ‫ﻬﻭﻥُ‬ ‫َ‬ ‫ﻭ ُﯾ ﱢ‬

‫ﺗـﺭﺗـﺽ ﺍﻟ َﻣ ْﻠﻘﻰ ﺣﻠﻭﻻ‬ ‫ﻭﻟـ ّﻣـﺎ‬ ‫ِ‬

‫ﺑﺷﻣـﻭ ِﻋــ ِﻪ ﻭ ُﯾ َﺫﻟّـﻝ ُ ﺍﻹﻅـﻼﻣـــﺎ‬

‫ﺳـﯾـﻑ ﺻـ ﱟﺩ‬ ‫ﻭ ُﺗـﻘـ ِﺩ ُﻡ ﻻ ﯾــﺭﺩﱡﻙ‬ ‫ُ‬

‫ً‬ ‫ﺇﺛـﺭ ِﻩ‬ ‫ﻭ ُﺧﻁﺎ ﺍﻟ ُﺑﻐـﺎ ِﺓ‬ ‫ﺣﺛﯾﺛـﺔ ﻓﻲ ِ‬

‫ﻭﻗـﺩ ُﯾ ْـﺭﺩﻱ ﺍﻟـﻬﻭﻯ ﺻـ ّﺑﺎ ً ﻗﺗﯾﻼ‬

‫َﺗﺳﻌـﻰ‪ ..‬ﺑــ ِﻪ ﯾﺗﺭ ّﺑﺻﻭﻥَ ﺣِﻣﺎﻣــﺎ‬ ‫ﻧﺑﯾﻝ ﻁﺭﯾﺑﻪ‬

‫ﺻ ﱢﻔـ ِﻪ‬ ‫ﺳﻌﯾ ُﺭ ُھ ْﻡ ﻓﻲ َ‬ ‫ﺻﻼﻩُ َ‬ ‫ﺣ ﱠﺗﻰ َ‬ ‫ﻓﺄﻧـﺎﻟَـﻬ ْﻡ َﻅـﻔـﺭﺍً ﺑـــ ِﻪ ﻭ َﻣــﺭﺍﻣــﺎ‬

‫) ﺳﺋﻣﺕ ﺍﻟﺷﻌﺭ ﻭﺍﻟﺩﻧﯾﺎ ﻭﺣﺎﻟﻲ (‬

‫ﺍﻟﺻﻐﯾ ُﺭ ﻣﺳﺎﻓﺭﺍً‬ ‫ﺷﻁﺭ ﺍﻟ ُﻌﻼ‬ ‫َ‬ ‫ﺭﻑ ّ‬ ‫ﱠ‬

‫ﺳﺋﻣﺕ ﺍﻟﺷﻭﻕ ﺇِﻥْ ﺯﺍﺩ ﺍﻟﺗﻌﺎﻟﻲ‬

‫ِـﺭﻁـﺎﺱ ﻭ ﺍﻷﻗﻼﻣــﺎ‬ ‫ﯾـﺗـﺄ ﱠﺑـ ُﻁ ﺍﻟﻘ‬ ‫َ‬

‫ﺑﻘﺑﺭ‬ ‫ﻭﺿﻌﺕ ﺍﻟﻘﺭﺏ ﻣﻥ ﺧﻠﻔﻲ ٍ‬

‫ﺃﺯﺭﻯ ِﺑـﻘـﺎﺗﻠِـ ِﻪ ﺍﻟ ﱠ‬ ‫ﺷﻬﯾ ُﺩ ﻓﻠ ْﻡ َﯾﻌــﺩْ‬

‫ﺣﺎﺗﻡ‬

‫ﻁِ ﻔﻼً‬ ‫ﯾﺧﺎﻑ ﺍﻟـ َﻔـﺗ َﻙ ﻭ ﺍﻹﺟﺭﺍﻣﺎ‬ ‫ُ‬

‫ﻣﺗﻭﻟﻲ‬

‫ﺟﻌﻠﺕ ﺍﻟﺑﻌﺩ ﻭﺭﺩﻱ ﻓﻲ ﺍﻟﻠﯾﺎﻟﻲ‬ ‫ﻓﺈﻥ ﻋﺎﻭﺩﺕ ﺷﻌﺭﻱ ﻻ ﺗﻠﻣﻧﻲ‬

‫ﺍﻟﺟ ّﻼ ُﺩ ﺃﻋـﻠـﻥَ‬ ‫ﻧﺻـﺭﻩُ‬ ‫َ‬ ‫ﻭ ﺍﻟـﻘـﺎﺗِـﻝ َ‬

‫ﻓﻛﻠﱢﻲ ﺃﯾﻧﻣﺎ ﺣﻝ ﱠ ﺍﻧﺗﻘﺎﻟﻲ‬

‫ﺕ ﻭ ﺍﻷﻋـﻼﻣـﺎ‬ ‫ﺍﻟـﺭﺍﯾـﺎ ِ‬ ‫ﺃَﻋﻠـﻰ ﻟَــ ُﻪ ّ‬

‫ﻭﻏﯾﺭ ﺍﻟﺷﻌﺭ ﻻ ﺍﺧﺷﻰ ﺿﯾﺎ ًﻋﺎ‬

‫ﻭ ھﻧﺎ َﻙ ﻗﻭ ٌﻡ ﻣِﻥْ ُﺣﺛـﺎﻟــ ِﺔ ﺃﻣﺗـﻲ‬

‫ﻭﺑﻌﺩ ﺍﻟﺷﻌﺭ ﻧﻔﺳﻲ ﻻ ﺗﺑﺎﻟﻲ‬

‫ﺳﻼﻣــﺎ‬ ‫ﺍﻟﻬﻭﺍﻥ َ‬ ‫َﯾﺭ ُﺟﻭﻥ ﻓﻲ ﻅﻝ ﱢ‬ ‫ِ‬

‫ﻭﺇﻥْ ﱠ‬ ‫ﻋﯾﻥ‬ ‫ﺩﻕ ﺍﻟﻔﺅﺍﺩ ﻟﺳﺣﺭ‬ ‫ٍ‬

‫‪#‬ﻣﺣﻣﺩ_ﺍﻟﺟﻭﯾﺭ‬

‫ﺳﺄﻟﺕ ﺍﻟﻧﺎﺱ ﺭﻣ ًﯾﺎ ﺑﺎﻟﻧﺑﺎ ِﻝ‬

‫ھﻭﺍﻣﺵ ﻋﻠﻰ ﺩﻓﺗﺭ ﺍﻟﻐﻣﻭﺽ‬

‫ﻧﺩﺍء ﻣﻥ ﺳﺟﻥ ‪...‬‬

‫ﺷﺎﻉ ﺯﻣﻥ ﺍﻟﻐﻣﻭﺽ‬

‫ﺧﺳﺭﺕ ﻓﺭﺍﻏﺎ ﻛﺎﻥ ﯾﻣﻸ ﻏﻔﻠﺗﻲ‬

‫ﻭ ﺍﻧﺎ ﺣﺎﺋﺭ‬

‫ﻋﻥ ﺍﺳﺑﺎﺏ ﺗﻭﺍﺭﺛﺕ ﺍﺳﺑﺎﺑﺎ‬

‫ﺍﺭﺳﻡ ﺍﺳﻣﻲ ﻋﻠﻰ ﺟﺩﺭﺍﻥ ﺍﻟﻘﺿﺑﺎﻥ‬

‫ﻭ ﺍﺳﺭﺍﺭ ﻣﺎ ﺯﺍﻟﺕ ﻏﯾﺭ ﻣﻧﻔﺗﺣﺔ‬

‫ﺍﻟﺗﻲ ﻟﻡ ﺍﺩﺧﻝ ﻧﺑﺎﺗﺎﺗﻬﺎ‬ ‫ھﺫﺍ ﺍﻟﻔﺭﺍﻍ ﯾﻧﺎﺩﯾﻧﻲ ﻣﻥ ﺳﺣﻧﻪ‬ ‫ﺳﺎﺩﻋﻭ ﺍﻟﻰ ﺍﺳﻡ ﺭﻓﯾﻘﺗﻲ ﺍﻥ‬

‫ﻻ ﺗﻔﺗﺢ ﺍﻟﺻﻔﺣﺎﺕ ﺍﻟﻣﻣﺯﻗﺔ‬

‫ﺗﻘﺳﻡ ﻓﻲ ﺍﻟﻬﺎﻣﺵ‬

‫ﻓﻛﻠﻬﺎ ﺩﻣﺎء‬

‫ﻋﻠﻰ ﺍﻟﻧﺎﺭ‬

‫ﻭ ﻛﻠﻬﺎ ﺣﺭﻭﺏ ﺳﺗﻣﺿﻲ ﺑﻬﺎ ﻣﻧﺣﻭﺗﺎ‬

‫ﺍﻧﺎ ﻭﺭﯾﺩ ﻣﺧﻠﻭﻉ ﻭ ﺷﺭﯾﺎﻥ ﻣﻧﻘﻠﺏ ﻋﻠﯾﻪ‬

‫ﺍﺑﺩﺍ ﻣﻥ ﺫﺍﺗﻙ‬

‫ﻛﻠﻣﺎ ﺍﻭﺻﻠﺕ ﺩﻣﺎء ﺍﻟﻰ ﺍﺧﯾﻬﺎ‬

‫ﻭ ﻻ ﺗﺟﻌﻠﻬﺎ ﻣﻅﻠﻭﻣﺔ‬

‫ﺳﻔﻛﺕ ﻣﻧﻲ ﺩﻣﺎء ﻣﻥ ﻏﯾﺭ ﻋﺩﺍﻟﺔ‬

‫ﻭ ﻻ ﺗﻘﺗﻝ ﻛﺑﺭﯾﺎءھﺎ‬

‫ﺳﺄﻋﺗﺭﻑ ﺍﻧﻲ ﻟﺳﺕ ﻧﺑﯾﻼ‬ ‫ﻓﺣﺑﻲ ﻟﻠﺧﯾﺭ ﯾﻐﻠﻐﻠﻪ ﺍﻟﺷﺭ‬ ‫ﻋﻠﻰ ﺍﻁﯾﺎﻑ ﺳﻭﺩﺍء‬ ‫ﺗﺭﺳﻡ ﺍﻧﺗﺣﺎﺭﻱ‬ ‫ﺍﯾﺎﺩ ﺍﻟﺧﯾﺎﻁ‬

‫ﻓﻬﻲ ﻟﻥ ﺗﺷﺣﻥ ﻟﻙ ﺭﺅﻭﻓﺔ ﻻﻥ ھﺫﻩ‬ ‫ﺍﻟﺻﻔﺣﺎﺕ‬ ‫ﻗﻧﺑﻠﺔ ﺍﻟﺣﺎﺿﺭ ﻭ ﺍﺭھﺎﺏ ﺍﻟﻣﺎﺿﻲ‬ ‫ﻭ ﺍﻟﻣﺳﺗﻘﺑﻝ ﺳﯾﺭﺗﻘﻲ ﺍﻟﻰ ‪ ...‬ﻋﻁﺵ ﺍﻟﻌﻠﻡ ﻭ‬ ‫ﺑﻁﺵ ﺍﻟﺟﻬﻝ‬ ‫ﺍﯾﺎﺩ ﺍﻟﺧﯾﺎﻁ‬

‫ﺍﻣﻧﺣﻭﺍ ﻟﻬﺫﺍ ﺍﻟﻘﺻﯾﺩ ﻋﻧﻭﺍﻧﺎ ؟ !‬ ‫ﻻح ﻟﯾﻝ ٌ ُﻣ ْﺑ َﻬ ٌﻡ‬

‫ﺇﻟﻲ ﻛﺗﺎ ُﺑﻬﺎ ﻓﺈ َﺫﺍ ﺑﻪ‬ ‫ﻭﺍ َﻓﻰ ﱠ‬

‫ﺎﺽ‬ ‫ﺟﺎﻓﺎﻩ ﺍﻟ َﺑ َﯾ ُ‬

‫ﻋﻠﻲ ﻋﻠﻰ ﺍﻟ ِﺑﻌﺎ ِﺩ ﻭ َﻣ ْﻅﻠَ ُﻡ‬ ‫ﺏ ﱠ‬ ‫َﻋ ْﺗ ٌ‬

‫ﻓﺎﺭﺱ ُﻣﻠَ ﱠﺛ ٌﻡ‬ ‫ﺳ َﻭﺍ ُﺩ‬ ‫ﺳ ُﻪ ﺍﻟ ﱠ‬ ‫َﺗﻠَ ﱠﺑ َ‬

‫ﻭﺗﻘﻭﻝ ُ ﻓﯾﻪ‪ :‬ﺃﺭﺍﻙ ﻓﻲ َﺭ َﻏ ٍﺩ ﻭﻗﺩ‬

‫ﻣﻥ ﺗﺣﺗﻪ َﻏ َﻣﺎ ٌﻡ‬

‫ﺃَ ْﻗ َﻠ ْﻠ َ‬ ‫ﺕ َﺯ ْﻭ َﺭ َﺗ َﻧﺎ ﻭﺃﻧﺕ ُﻣ َﻧ ﱠﻌ ُﻡ‬

‫ﺍﻟﺭ َﻛﺎ ُﻡ‬ ‫ﻣﻥ ﻓﻭﻗﻪ ﱡ‬ ‫ﺎﺏ ﻁ ﱠﯾﺎ‬ ‫ﺍﻟﺭ َﺣ َ‬ ‫ﯾﻁﻭﻱ ﱢ‬

‫ُ‬ ‫ﺑﻛﺗﺎﺑﻬﺎ‬ ‫ﻓﺟﻌﻠﺕ ﺃﻗﺭﺃُ ﻣﺎ ﺃﺗﻰ‬ ‫ِ‬

‫ﺭﺩﯾﻔُﻪ ﱠ‬ ‫ﺍﻟﻅﻼَ ُﻡ‬

‫ُ‬ ‫ُ‬ ‫ﻗﺭﺃﺕ ﻭﺃﻟﺛ ُﻡ‬ ‫ﻭﺟﻌﻠﺕ ﺃ ْﻧ ُﻅ ُﺭ ﻣﺎ‬

‫ﺍﺭ‬ ‫ﺃﻁﻔِ ُﺋﻭﺍ ﺍﻷ ْﻧ َﻭ َ‬ ‫ﺱ‬ ‫ﻻ ُﺗ ْﺑ ُﻘﻭﺍ ﻋﻠﻰ َﻗ َﺑ ٍ‬ ‫ْﺃﻭﺻِ ﺩُﻭﺍ ﺃ ْﺑ َﻭﺍ َﺑ ُﻛ ْﻡ‬ ‫ﺳ ُﻛ ْﻡ‬ ‫ﺳﻭﺍ ﺃَ ْﻧ َﻔﺎ َ‬ ‫ﺍﺣﺑِ ُ‬ ‫ﻭ ْ‬ ‫ﺛ ﱠﻡ َﻧﺎ ُﻣﻭﺍ‬ ‫ﺏ‬ ‫َﻧﺎ ُﻣﻭﺍ ﺃ ﱡﯾ َﻬﺎ ﺍﻟ َﻌ َﺭ ُ‬

‫ﻓ َ‬ ‫ﺷﻛﺎﺓُ َﻋ ْﺗ ِﺑﻙ ﻋﻧﺩﻧﺎ ﻭﺟﺑﺕ ﻟﻬﺎ‬ ‫ﺿ ﱡﺭ ﻭ َﯾ ْﺣ ُﺭ ُﻡ‬ ‫ﻣِﻥْ ِﺭ ﱠﻗ ٍﺔ ﻣﺎ ﻻ َﯾ ُ‬ ‫ﻛﻧﺕ ﺃ ْﻗ َﻠ ْﻠ ُ‬ ‫ُ‬ ‫ﺕ ﺍﻟﺯﯾﺎﺭ َﺓ ﺇﻧﻧﻲ‬ ‫ﺇﻥْ‬ ‫ﺑﺎﻟﻭﺻﻝ ﺃ ْﻭ َﻓﻰ َﻣﻥْ ﻋﺭﻓ ِ‬ ‫ﻭﺃﻋ َﻠ ُﻡ‬ ‫ﺕ ْ‬ ‫ِ‬

‫َﻧﺎ ُﻣﻭﺍ !‬ ‫ﺳﻠﯾﻣﺎﻥ ﺍﻟﻣﺳﺎﺋﻲ‬ ‫ﻣﺣﻣﺩ ﺍﻟﻧﺎﺻﺭ ﺷﯾﺧﺎﻭﻱ‬

‫ھﻛﺫﺍ ﺃﻏﻧﻰ‬

‫ﻓﺎﺫﺍ ﺭﻕ‪ ..‬ﻓﻘﻝ‪ :‬ﯾﺎﻗﺑﻝ ﺍﻷﺳﺣﺎﺭ ﻏﻧﻰ!‬ ‫ﻭﺍﺫﺍ ھﺎﺝ‪ ..‬ﻓﻬﻭﻝ ﺳﺎﻗﻪ ﻣﻭﻛﺏ ﺟﻥ!‬

‫ﺍﻥ ﺗﺳﻝ ﻓﻰ ﺍﻟﺷﻌﺭ ﻋﻧﻰ ‪ ..‬ھﻛﺫﺍ ﻛﻧﺕ ﺃﻏﻧﻰ‬

‫)ﺍﻥ ﺗﺳﻝ ﻓﻰ ﺍﻟﺷﻌﺭ ﻋﻧﻰ ھﻛﺫﺍ ﻛﻧﺕ ﺃﻏﻧﻰ!(‬

‫ﻻ ﺃﺑﺎﻟﻰ ﺃﺷﺟﻰ ﺳﻣﻌﻙ ﺃﻡ ﻟﻡ ﯾﺷﺟﻙ ﻟﺣﻧﻰ‬

‫ﺍﻥ ﺗﺷﺄ ﻓﺎﺳﻣﻊ ﻧﺷﯾﺩﻯ‪ ..‬ﺃﻭ ﺗﺷﺄ ﻓﺎﺭﺣﻝ ﻭﺩﻋﻧﻰ!‬

‫ھﻭ ﻣﻥ ﺭﻭﺣﻰ ﻟﺭﻭﺣﻰ ﺻﻠﻭﺍﺕ ‪ ،‬ﻭﺗﻐﻧﻰ‬

‫ﻭﺍﺫﺍ ﺃﺷﺟﺎﻙ ھﻣﺱ ﻣﻥ ﺻﺩﺍﻩ‪ ..‬ﻻﺗﻠﻣﻧﻰ!‬

‫ھﻭ ﻣﻥ ﻗﻠﺑﻰ ﯾﻧﺎﺑﯾﻊ ﺑﻬﺎ ﯾﻬﺩﺭ ﻓﻧﻰ‬

‫ﻣﺎ ﺃﻧﺎ ﺍﻻ ﻛﻅﻝ ﻟﺷﻌﻭﺭﻯ‪ ..‬ﻓﺎﻋﻑ ﻋﻧﻲ‬

‫ﻟﻶﺳﻰ ‪ .‬ﻓﯾﻬﺎ ﺗﻌﺎﻟﯾﻝ ‪ ،‬ﻭﻟﻠﯾﺄﺱ ﺗﻣﻧﻰ‬ ‫ﻭھﻭ ﺍﺣﺳﺎﺳﻰ ﺍﻟﺫﻯ ﯾﻧﺳﺎﺏ ﻛﺎﻟﺟﺩﻭﻝ ﻣﻧﻰ‬

‫ﻣﺣﻣﻭﺩ ﺍﺳﻣﺎﻋﯾﻝ ﺣﺳﻥ‬

‫ﻭﺍﺛﺏ ﻛﺎﻟﻁﯾﺭ ﻓﻰ ﺍﻷﻅﻼﻝ ﻣﻥ ﻏﺻﻥ ﻟﻐﺻﻥ‬

‫ﻣﺻﺭ‬

‫ﺫﺍھﻝ ﻛﺎﻟﻭﺗﺭ ﺍﻟﻣﻬﺟﻭﺭ ﻓﻰ ﻋﻭﺩ ﺍﻟﻣﻐﻧﻰ‬ ‫ﺳﺎھﻡ ﺍﻷﻧﻔﺎﺱ ﺣﯾﺭﺍﻥ‪ ،.‬ﺃﯾﺑﻛﻰ ﺃﻡ ﯾﻐﻧﻰ؟‬

‫ﺍﻟﺯﺟﺎﺝ ﺍﻟﻣﻠﻭﺙ‬

‫ﻟﻡ ﯾﺻﺏ ﻣﻥ ﺩھﺭﻩ ﻏﯾﺭ ﺟﺣﻭﺩ ﻭﺗﺟﻧﻰ‬ ‫ﻓﺎﻧﺑﺭﻯ ﯾﻌﺻﻑ ﻓﻰ ﺩﻧﯾﺎﻩ ﺑﺎﻟﺷﺩﻭ ﺍﻟﻣﺭﻥ‬

‫ﻟﻥ ﺍﺳﺗﺣﻲ ﻁﺎﻟﻣﺎ ﺍﻟﺯﻣﺎﻥ ﻣﻌﺗﻘﺩﻱ‬

‫ﺯﺍﺟﻼ ﺗﺫﻛﻰ ﺻﺩﺍﻩ ﻧﺎﺭ ﺃﯾﺎﻣﻰ ﻭﺣﺯﻧﻰ‬

‫ﺍﺭﻯ ﺟﻧﻭﻧﺎ ﯾﺻﺎﺩﻓﻧﻲ‬

‫ﺍﻥ ﺗﺭﺩ ﻣﻧﻪ ﺳﻠﻭﺍ ﻋﻥ ﺃﺳﺎﻩ‪ ..‬ﻓﺎﻣﺽ ﻋﻧﻰ‬

‫ﺗﺣﺕ ﺍﻟﺯﺟﺎﺝ ﺍﻟﻣﻠﻭﺙ‬

‫ھﻛﺫﺍ ﯾﺧﻔﻕ ﻧﺎﯾﻲ ﺑﯾﻥ ﺍﻟﻬﺎﻣﻰ ﻭﺑﯾﻧﻰ‬

‫ﺍﻋﺗﺩﻱ ﻋﻠﻰ ﺭﺣﯾﻕ ﺫﺍﺗﻲ ﻭ ﻣﻥ ﯾﺑﺎﻟﻲ‬

‫ﯾﻠﻬﻡ ﷲ ‪ ..‬ﻓﯾﻣﺿﻰ ﻭﺗﺭ ﺍﻟﺭﻭﺡ ﯾﻐﻧﻰ‬

‫ﺳﻭﻯ ﺍﺳﻭﺍﺭ ﺍﺟﻧﺣﺗﻲ‬

‫ﻓﺳﻭﺍء ﺭﺣﺕ ﺗﻐﺿﻰ ﻻﺋﻣﺎ‪ ..‬ﺃﻭ ﺭﺣﺕ ﺗﺛﻧﻰ‬ ‫ﻣﺯھﺭﻯ ﻧﺷﻭﺍﻥ ﻻ ﺗﻭﻗﻅﻪ ﺿﺟﺔ ﻛﻭﻧﻰ‬ ‫ﻣﺫھﺑﻰ؟ ﻻﻣﺫھﺏ ﺍﻟﯾﻭﻡ ﺳﻭﻯ ﺃﺻﺩﺍء ﻟﺣﻧﻰ‬

‫ﻓﻲ ﻗﺻﺭ ﺑﻌﯾﺩ ﺍﻟﻣﺩﻯ ﺍﺳﻛﻥ ﺧﺑﺯﺍ ﺧﺑﯾﺛﺎ‬

‫ﻭﻟﻬﺎ ﺍﻟﺧﻠﺩ ﻭﻟﻰ ﻓﻰ ﻅﻠﻬﺎ ﺳﺣﺭ ﺍﻟﺗﻐﻧﻰ‬

‫ﯾﺳﻣﻡ ﺟﺭﺫﺍﻥ ﻣﻥ ﺣﻣﻡ ﺍﻟﻧﺯﺍھﺔ‬

‫ھﻰ ﺧﻣﺭﻯ! ﻭھﻰ ﺣﺎﻧﻰ! ﻭھﻰ ﺃﻋﻧﺎﺑﻰ ﻭﺩﻧﻰ‬

‫ﻭ ﯾﻌﻁﻲ ﻟﻠﻘﻁﻁ ﺟﺑﻧﺎ ﻟﯾﺳﺭﻗﻭﺍ ﺧﯾﺭﺍﺕ ﻣﻧﺯﻟﻲ‬

‫ﻗﺩ ﻭھﺑﺕ ﺍﻟﻔﻥ ﻋﻣﺭﻯ ﻭﻭھﺑﺕ ﺍﻟﺷﺭﻕ ﻓﻧﻰ‬ ‫ﻓﻠﯾﻠﻡ ﻣﻥ ﺷﺎء‪ ..‬ﺍﻧﻰ ﺭﺍﺳﺦ ﻛﺎﻟﻁﻭﺩ ﺟﻧﻰ‬

‫ﺍﯾﺎﺩ ﺍﻟﺧﯾﺎﻁ‬

‫ﻧﺩﺍءﺍﺕ ﻋﻠﻰ ﺍﻟﺟﺩﺭﺍﻥ‬

‫ﻭﻏﺭﺑﺕ ﺍﻟﺷﻣﺱ‬ ‫ﻓﻛﻝ ﻁﺭﯾﻕ ﺻﺑﺎﺡ ﻭﻛﻝ ﺻﺑﺎﺡ ﻁﺭﯾﻕ‪.‬‬

‫ﻧﺩﺍءﺍﺕ ﻋﻠﻰ ﺍﻟﺟﺩﺭﺍﻥ ﻟﻡ ﺗﻘﺷﺭھﺎ ﺍﻻﻅﺎﻓﺭ ﻭﻟﻡ‬ ‫ﯾﻐﺳﻠﻬﺎ ﺍﻟﻣﻁﺭ‬ ‫ﺍﺧﺗﺑﻰء ﯾﺎﻗﻁﺎﺭﺍً ﯾﻬﺭﻭﻝ ﻓﻲ ﺍﻟﺣﻠﻡ‪،‬‬ ‫ﺻﻭﺗﻙ ﯾﺧﻠﻊ ﺭﯾﺵ ﺍﻟﻧﺷﺎﺯ ﺍﻟﻣﻠﻭﻥ‪ ،‬ﯾﺳﻘﻁ ﺑﯾﻥ‬ ‫ﺍﻟﺻﺩﻯ ﻭﺍﻟﺻﺩﻯ‪ ،‬ﻭﺗﺻﻧﻔﺭﻩ ﺷﻔﺭﺍﺕ ﺍﻷﻅﺎﻓﺭ‪،‬‬ ‫ﯾﺩﺧﻝ ﺃﻭﺭﻛﺳﺗﺭﺍ ﺍﻷﺳﺭ‪.‬‬ ‫ﻓﻠﺗﺧﺗﺑﻰء ﯾﺎﻗﻁﺎﺭ ﯾﻬﺭﻭﻝ ﻓﻲ ﺍﻟﺣﻠﻡ‪،‬‬ ‫ﻓﺎﻷﺭﺽ ﻣﻛﺷﻭﻓﺔ ﺍﻟﻣﺣﻁﺎﺕ ﻣﻔﺗﻭﺣﺔ ﺗﺣﺕ ﺿﻭء‬ ‫ﺍﻟﺳﻔﺭ‬ ‫ﺍﺧﺗﺑﻰء ﻓﺎﻹﻗﺎﻣﺔ ﻣﺄھﻭﻟﺔ ﺑﻭﺣﻭﺵ ﺍﻟﻘﺭﺍﺑﺔ‬ ‫ﻭﺍﻷﻟﻔﺔ ﺍﻟﻧﺎﻋﻣﺔ‪.‬‬ ‫ﺟﺳﺩ ﻟﻠﻌﺷﯾﺭﺓ‪ ،‬ﺍﻋﺿﺎﺅﻩ ﺍﻧﻔﺭﻁﺕ‬ ‫ﻛﺎﻟﻌﻧﺎﻗﯾﺩ ﻓﻲ ﻭﺭﻕ ﺍﻟﻣﻠﺻﻘﺎﺕ‪ -‬ﺍﻷﻓﯾﺷﺎﺕ‪ -‬ﻭھﺞ‬ ‫ﺍﻟﻧﯾﻭﻥ ﺍﻟﻣﺷﺎﻛﺱ‪.‬‬ ‫ﺣﻁ ﺍﻟﻅﻼﻡ‬

‫ﺍﻟﻌﺻﺎﻓﯾﺭ ﺗﻧﺳﺞ ﺍﻋﺷﺎﺷﻬﺎ ﻓﻲ‬ ‫ﺣﺩﯾﺩ ﺍﻟﺷﺑﺎﺑﯾﻙ ﻭﺍﻻﺭﻓﻑ ﺍﻟﺧﺷﺑﯾﺔ ﻓﻲ ﺍﻟﻣﻛﺗﺑﺎﺕ‬ ‫ﻭﻓﻲ ﺍﻟﺣﺎﻓﻼﺕ ﺍﻟﻣﻠﯾﺋﺔ ﺑﺎﻟﺯﺣﻣﺔ ﺍﻟﺿﺎﺣﻛﺔ‬ ‫ﻭﺍﻟﻌﺻﺎﻓﯾﺭ ﺗﻧﺳﺞ ﺍﻋﺷﺎﺷﻬﺎ ﺗﺣﺕ ﻟﯾﻝ ﻣﻥ‬ ‫ﺍﻟﺷﻌﺭ ﺍﻟﻣﺳﺗﻌﺎﺭ ﻭﻓﻲ ﺧﻭﺫ ﺍﻟﺷﻬﺩﺍء‬ ‫ﻭﺍﺣﺫﯾﺔ ﺍﻟﻬﺎﺭﺑﯾﻥ‬ ‫ﺃﺳﺭﻋﻭﺍ ﺍﺳﺭﻋﻭﺍ‪ ..‬ﻓﺎﻟﺑﻼﺩ ﺍﻟﻘﺩﯾﻣﺔ‬ ‫ﺭﻛﺿﺕ ﺧﻠﻔﻛﻡ‪ ،‬ﻭﺍﻛﺗﺑﻭﺍ ﻭﺍﻛﺗﺑﻭﺍ‪ ..‬ﻓﺎﻟﺑﻼﺩﺍﻟﻘﺩﯾﻣﺔ‬ ‫ﻗﻁﻌﺕ ﺷﺟﺭ ﺍﻷﺑﺟﺩﯾﺔ‪.‬‬ ‫ﻣﻁﻠﻊ ﺟﺎھﻠﻲ ﯾﺟﻲء‬ ‫ﺗﻁﻠﻊ ﺍﻟﺷﻣﺱ ﻓﻲ ﺍﻟﺫﺍﻛﺭﺓ‬ ‫ﺗﺣﺕ ﺍﯾﻘﺎﻋﻪ ﯾﺳﺗﺿﻰء‬ ‫ﻭﻁﻥ ﻟﻠﺧﺭﺍﺏ ﺍﻟﻁﻠﻭﻟﻲ‪،‬‬ ‫ﺗﺟﺭﺭﻩ ﺍﻟﺻﺭﺧﺔ ﺍﻟﻐﺎﺋﺭﺓ‪.‬‬ ‫ﻧﻬﺭ‬ ‫ّ‬

‫ﻓﻬﻝ ﯾﻧﻔﺭ ﺍﻟﻧﻬﺩ ﺗﺣﺕ ﺍﻷﻛﻑ ﻭﺗﻠﺗﻡ ﺭھﻁ ﺍﻟﻌﻧﺎﻕ‬ ‫ﺍﻟﺻﺭﯾﺢ ﻭھﻝ ﯾﻔﺗﺢ ﺍﻟﻠﯾﻝ ﻣﺿﯾﻔﻪ ﻟﻠﺗﺧﺎﺻﺭ‬ ‫ﻭﺍﻟﺟﻧﺱ؟ ھﻝ ﺗﻔﻠﺕ ﺍﻟﺷﻬﻘﺎﺕ ﺍﻟﻣﻘﯾﻣﺔ ﻓﻲ ﺍﻟﻠﻭﻥ‪،‬‬ ‫ھﻝ؟‬

‫ﻣﺣﻣﺩ ﻋﻔﯾﻔﻲ ﻣﻁﺭ‬

‫ﺗﻧﻔﺳﺕ ﺣﻘﺎﺋﺏ ﺍﻟﻭﻁﻥ‪ ،‬ﯾﺎ�‪،‬‬

‫ﻣﺻﺭ‬

‫ھﻝ ﯾﻣﻠﻙ ﻛﻝ ھﺫﻩ ﺍﻟﻣﻼﺑﺱ ﺍﻟﺩﺍﺧﻠﯾﺔ؟!‬ ‫ﻭﺑﻌﺛﺭھﺎ ﻓﻲ ﺍﻟﺭﯾﺢ‪ ،‬ﻓﻬﻝ ﻛﻝ ھﺫﻩ ﺍﻷﻟﻭﺍﻥ ﻣﻥ‬ ‫ﺷﻣﺱ ﻭﺍﺣﺩﺓ؟!‬

‫ﯾﺎ ﺩﻣﻌﺔ ﺍﻟﻌﺷﺭﯾﻥ ﯾﺎ ﻣﻧﺳﯾﺔ‬

‫ﻟﻭ ﺃﺳﺗﻁﯾﻊ ﺑﺄﻥ ﺃﻛﻭﻥ ﻣﻌﺑﺭﺍ‬

‫ﻣﻥ ﻟﻠﺿﻠﻭﻉ ﻣﻊ ﺍﻟﻬﻣﻭﻡ ﺍﻟﺣﯾﺔ‬

‫ﻟﺷﻬﻘﺕ ﻗﻠﺑﻲ ﻛﻠﯾﺗﻲ ﻭ ﺍﻟﺭﯾﺔ‬

‫ﺑﻲ ﺻﺭﺧﺗﺎﻥ ﻛﺗﻣﺕ ﺑﻌﺽ ﺻﺩﺍھﻣﺎ‬

‫ﺳﻝ ﻋﻥ ﺗﻘﻠﺑﻧﺎ ﺍﻟﺳﺭﯾﺭ ﻭﻗﺩ ﺩﺭﻯ‬

‫ﺑﻌﺽ ﺍﻟﺻﺩﻯ ﯾﻁﻐﻰ ﯾﺭﯾﺩ ﺍﻟﺩﯾﺔ‬

‫ﺑﺗﻘﻠﺏ ﺃﺳﺑﺎﺑﻪ ﻣﺧﻔﯾﺔ‬

‫ﻟﻡ ﯾﻧﺳﻠﻲ ﺍﻟﻣﺎﺿﻲ ﺑﺛﻭﺏ ﺟﺩﯾﺩﻧﺎ‬

‫ﻟﻡ ﺗﺳﺄﻝ ﺍﻟﺟﺩﺭﺍﻥ ﻣﺎ ﺃﺳﺑﺎﺑﻬﺎ‬

‫ﺑﻝ ﺃﺛﺑﺗﺎﻩ ﺗﺫﻛﺭ ﻭﺗﺣﯾﺔ‬

‫ﺇﺫ ﻻﻣﺳﺕ ﻋﻧﺩ ﺍﻟﺩﺟﻰ ﺭﺟﻠﯾﺔ‬

‫ﺗﺭﻭﻱ ﺍﻟﺩﻣﻭﻉ ﺯھﻭﺭ ﺧﺩﻙ ﻓﻲ ﺍﻟﺿﺣﻰ‬

‫ﻭﺍﺳﺄﻝ ﻣﺧﺩﺗﻲ ﺍﻟﺗﻲ ﺳﻣﻌﺕ ﺻﺩﻯ‬

‫ﻋﻧﺩ ﺍﻟﺻﺑﺎﺡ ﻭﺑﻛﺭﺓ ﻭﻋﺷﯾﺔ‬

‫ﺗﻔﺟﯾﺭ ﻗﻠﺏ ﻣﺎ ﺳﻣﻌﺕ ﺩﻭﯾﺔ‬

‫ﺗﻧﻣﻭ ﺍﻟﺯھﻭﺭ ﻭﻟﯾﺕ ﯾﻧﻣﻭ ﻋﻁﺭھﺎ‬

‫ﺍﻟﻔﻘﺭ ﺗﺎﺟﻙ ﻓﺎﺑﺗﺳﻡ ﻭﺍﻓﺧﺭ ﺑﻪ‬

‫ﻭﺭﺩﺍﺗﻬﺎ ﺑﺄﻧﯾﻧﻧﺎ ﻣﺭﻭﯾﺔ‬

‫ﺇﺫ ﻟﻡ ﺗﺟﺩ ﺣﻼ ﻟﻪ ﻭﺗﻘﯾﺔ‬

‫ﻟﻡ ﯾﻣﺳﺢ ﺍﻟﻣﻧﺩﯾﻝ ﻁﯾﻑ ﻧﺯﯾﻔﻧﺎ‬

‫ﺁﻩ ﻋﻠﻰ ﺟﻧﺑﻲ ﻟﻡ ﯾﺳﻣﻌﻬﻣﺎ‬

‫ﺩﻣﻌﺎ ﻭﻟﻡ ﺗﺯﻓﺭ ﺑﻪ ﻣﺣﻛﯾﺔ‬

‫ﻁﻔﻝ ﻧﻘﻲ ﺃﻭ ﺗﺣﻥ ﺻﺑﯾﺔ‬

‫ﺍﻟﻠﯾﻝ ﺳﺭﻣﺩ ﺑﺙ ﻟﻭﻥ ﺳﻭﺍﺩﻩ‬

‫ﺁﻩ ﻭﺁﻩ ﻭﺍﻣﺗﺩﺍﺩ ﺗﺄﻭﻩ‬

‫ﻓﻲ ﻛﻝ ﺃﺑﯾﺽ ﻭﺍﻟﺳﻭﺍﺩ ﺳﺟﯾﺔ‬

‫ھﻲ ھﻛﺫﺍ ﺍﻵھﺎﺕ ﻋﺷﺭﯾﻧﯾﺔ‬

‫ﯾﺎ ﺣﺯﻥ ﺧﻔﻑ ﻣﻥ ﻁﻌﺎﻣﻙ ﻣﻥ ﺩﻣﻲ‬

‫ھﻣﺎﻡ ﺻﺎﺩﻕ ﻋﺛﻣﺎﻥ‬

‫ﻓﺎﻟﺷﻌﺭ ﺧﺎﺻﻡ ﺑﺣﺭﻩ ﻭﺭﻭﯾﻪ‬

‫‪ُ °°°‬ﺣﺏ ‪°°°‬‬

‫ﺯﯾﺕ ﺩﻭﻥ ﺩﺧﺎﻥ‬

‫ﺳ ْﻁ ِﺭ َﺗ ْﺟ ِﺭﻱ‬ ‫ُﻧ ْﻘ َﻁ ُﺔ ﺍ ْﻟ َﺑ ِ‬ ‫ﺎء ﺃَ ْﺳ َﻔﻝ َ ﺍﻟ ﱠ‬ ‫ﺎﻥ َﻗ ْﻠ ِﺑﻲ َﻭ َﻧ ْﺑﺿِ ﻲ‬ ‫َﻛ َﺩﻣِﻲ ﻓِﻲ ﺷِ ْﺭ َﯾ ِ‬

‫ﺳﺎﻣﺣﻧﻲ ﻋﻠﻰ ﺟﺭﻋﺎﺗﻲ ﺍﻟﺯﺍﺋﺩﺓ‬

‫ﻭﻡ‬ ‫َﺗ ْﺭ ُﺟ ُ‬ ‫ﻑ ﺍ ْﻟ َﺣﺎ ُء َﺧ ْﻠ َﻔ َﻬﺎ ﻓِﻲ ُﻭ ُﺟ ٍ‬ ‫َﻟ ْﯾ َﺗ َﻬﺎ َﻛﺎ َﻧ ْﺕ ﻟِ ْﻠ َﻐ َﻭﺍ َﯾ ِﺔ ُﺗ ْﻔﺿِ ﻲ‬

‫ﻓﺎﻧﺎ ﻣﺩﻣﻥ ﻋﻠﻰ ﺣﺏ‬

‫َﺍﺭﻱ‬ ‫َﻭ ﺃَ َﻧﺎ ِﻣ ْﻧ ُﻬ َﻣﺎ َﺧﻠ ﱞِﻲ ﺃُﺩ ِ‬ ‫َﻣﺎ ِﺑ ِﻪ ﺍﻟﻠﱠ ْﯾﻝ ُ ﻓِﻲ ﺍ ْﻟ َﻣ َﺣ ﱠﺑ ِﺔ َﯾ ْﻘﺿِ ﻲ‬ ‫ﺳ َﻣﺎ ًء‬ ‫ﺏ ﺍ ْﻟ َﺑﺎ َء ﻟَ ْﻭ َﺗﺻِ ﯾ ُﺭ َ‬ ‫ﺃَ ْﺭﻗُ ُ‬ ‫ﻓِﻲ َﻣﺩَﺍھَﺎ ﺃًﻟُ ﱡﻡ َﺑ ْﻌﺿِ ﻲ ِﺑ َﺑ ْﻌﺿِ ﻲ‪.‬‬ ‫ﻣﺻﻁﻔﻰ ﺍﺑﻭ ﺍﻟﺑﺭﻛﺎﺕ‬

‫ﻧﻬﺎﯾﺗﻪ ﺍﻟﻔﺭﺍﻕ‬ ‫ﻟﺳﺕ ﺟﻠﯾﺳﺎ ﻟﻼﻁﻔﺎﻝ‬ ‫ﻓﺎﻧﺎ ﺯﯾﺕ ﺩﻭﻥ ﺩﺧﺎﻥ‬ ‫ﯾﺻﺏ ﻋﻠﻰ ﺍﻭﺭﺍﻕ ﻣﻧﺣﻭﻧﺔ‬ ‫ﻟﯾﻘﺿﻲ ﻋﻠﻰ ﺯﺧﺭﻓﺗﻬﺎ‬ ‫ﻟﯾﻌﯾﺵ ﻣﻊ ﺯﺧﺭﻓﺔ ﺍﺟﻣﻝ ﻣﻧﻬﺎ‬

‫ﺍﻭﺗﺎﺭ ﻣﺗﺧﺎﺻﻣﺔ‬ ‫ﺭﺻﺎﺻﺎﺕ ﺍﺣﻣﻠﻬﺎ ﻋﻠﻰ ﺍﻧﻬﯾﺎﺭﺍﺕ ﺑﺷﺎﺷﺗﻲ‬ ‫ﻣﻌﺯﻭﻓﺗﻲ ﻣﻊ ﺻﺧﺭﺓ ﺗﺑﻌﺛﺭﺕ ﺍﻛﻭﺍﺑﺎ‬

‫ﺍﺣﺏ ﺍﻥ ﺍﺗﺭﻙ ﺷﯾﻁﺎﻧﺔ ﺗﻧﺯﻑ ﻋﻠﻰ ﻭﺳﺎﺩﺗﻲ‬

‫ﺧﺎﻧﺕ ﺍﻭﺗﺎﺭﻱ ﺍﻻﻧﺳﺎﻧﯾﺔ‬

‫ﺍﻟﺻﺩﺍﻗﺔ‬

‫ﺗﻘﺷﻔﺕ ﺍﻟﻰ ﻣﺷﺭﻭﺑﺎﺕ ﻋﻧﺻﺭﯾﺔ‬ ‫ﻓﺑﻧﺎﺗﻬﺎ ﺗﻔﺭﻗﺕ‬

‫ﻭ ﺍﻟﻣﻭﺩﺓ‬

‫ﺍﻟﻰ ﺍﻭﺗﺎﺭ ﻣﺗﺧﺎﺻﻣﺔ‬ ‫ﺗﺣﻣﻝ ﻓﻲ ﻁﯾﺎﺗﻬﺎ‬

‫ﻟﯾﺳﺗﺣﻲ ﺿﻣﯾﺭﻱ ﻣﻧﻲ ﻋﻠﻰ ﻋﺩﻡ ﺍﻛﺗﻣﺎﻝ‬ ‫ﺩﻣﺎﺋﻲ‬

‫ﺍﯾﺎﺩ ﺍﻟﺧﯾﺎﻁ‬

‫ﺍﯾﺎﺩ ﺍﻟﺧﯾﺎﻁ‬

‫ﺭﺍﺋﺣﺔ ﺑﺎﺭﻭﺩ‬

‫ﻣﻧﻘﻭﻟﺔ ﻣﻥ ﻣﺟﻠﺔ ﺍﻻﺩﺍﺏ ﻭ ﺍﻟﻔﻧﻭﻥ‬

‫ھﻭﺍﻣﺵ ﻣﻥ ﺷﺧﺎﺑﯾﻁ ﻓﺭﻋﻭﻧﯾﺔ‬ ‫ﺍﯾﺎﺩ ﺍﻟﺧﯾﺎﻁ‬ ‫ﺍﯾﻥ ﺟﺭﻭﺣﻙ ﺍﻟﻣﻠﻁﺧﺔ ﻋﻠﻰ ﺍﻏﺻﺎﻥ ﺍﻟﯾﺎﻗﻭﺕ‬ ‫ﺳﺄﺭﺍھﺎ ﻓﻲ ﺍﺧﺭﺗﻲ ﺑﯾﻥ ﺍﻟﺟﻣﻬﻭﺭ ﺍﻻﺳﻭﺩ‬ ‫ﺍﻋﻠﻣﻲ ﺍﻥ ﺿﻭﺍﺭﻱ ﺍﻟﺟﻧﺔ ﻣﺎﺗﻭﺍ‬ ‫ﻭ ﺍﻧﺎ ﺣﺎﻓﻲ ﺳﺄﻣﺷﻲ ﻓﻲ ﺍﻟﻧﺎﺭ ﺩﻭﻥ ﺩﻣﻭﻉ‬ ‫ﻋﻧﺩﻱ ﯾﺭﺍﻋﺔ ﺍﻧﺟﺑﺕ ﺑﻐﻼ ﻋﻠﻰ ﯾﺩﻱ ﻓﺳﺎﻝ ﻭﺷﺎﺣﻲ ﻭ ﺗﻣﺭﺩ ﻋﻠﻰ ﺟﺑﯾﻧﻲ‬ ‫ﺍﺧﺎﻑ ﺍﺳﺗﻬﺗﺎﺭﻩ ﻋﻠﻰ ﻣﻌﺗﻘﺩﺍﺗﻧﺎ‬ ‫ﻻﻥ ﻛﺑﺭﻩ ﻋﻠﯾﻧﺎ ﺳﻘﻭﻁﻧﺎ ﺍﻟﻰ ﺍﻟﻣﻧﺣﺩﺭ‬ ‫ﺍﺣﻣﺭ ﯾﻧﺗﻅﺭﻧﻲ ﻷﻏﻔﻭ ﻣﺎﺋﻼ‬ ‫ﻭ ﺍﺳﻭﺩ ﯾﺧﻣﺭﻧﻲ ﺑﺳﺣﺭﻩ‬ ‫ﻟﺳﺕ ﺍﻋﻠﻡ ﻛﯾﻑ ﺍﺭﻯ ﺍﺳﻡ ﺧﺎﻟﻲ ﻣﻥ ﺍﻷﻣﻝ‬ ‫ﻭ ﺧﺎﻟﻲ ﻣﻥ ﺍﻟﻭﻓﺎء‬ ‫ﻭ ﯾﻌﺗﺯ ﺑﺎﻟﺣﺳﺩ‬ ‫ﻭ ﺍﻟﺳﺣﺭ ﻭ ﺍﻟﻧﺣﺱ‬ ‫ﯾﺎ ﺭﻓﯾﻘﺗﻲ ﻗﺎﻧﻭﻥ ﺳﻠﻣﻧﻰ ﺍﻟﻰ ﺍﻟﻣﺗﺎھﺔ‬ ‫ﻻ ﺳﺑﯾﻝ ﺳﻭﻯ ﺍﻻﻋﺗﺭﺍﻑ‬ ‫ﻷﺧﻔﻑ ﻋﻥ ﺟﺳﺩﻱ ﺃﻟﻣﻲ‬ ‫ﺑﯾﻥ ﻭﺟﻭﻩ ﻻ ﺍﺭﺍﺩﯾﺔ‬ ‫ﺣﯾﺎﺗﻬﺎ ﺍﺟﺭﺍﻣﯾﺔ‬ ‫ﻛﺳﻭﻑ ﻋﯾﻧﻲ ﻭ ﺧﺳﻭﻑ ﺣﺎﺟﺑﻲ‬ ‫ﺯﻧﺭﺍﻧﺔ ﻓﻲ ﺳﺟﻥ ﺍﻟﺛﻌﺎﺑﯾﻥ‬ ‫ﻭ ﺍﺳﻧﺎﻧﻲ ﺍﻟﻣﻛﺳﻭﺭﺓ ﻭ ﻟﺳﺎﻧﻲ ﺍﻟﺣﺳﻥ‬ ‫ﺭﺻﺎﺻﺎﺕ ﺗﺻﻠﻲ ﻋﻠﻰ ﻋﺩﻡ ﺍﻛﺗﻣﺎﻝ ﻟﯾﻠﺔ ﻗﻣﺭﻱ‬

‫ﺍﻟﻁﯾﻥ‬ ‫ﻟﻡ ﯾﻌﺩ ﻟﻲ ﺳﻭﺍﻩ ‪ ،‬ﺃﯾﻥ ﺫھﺏ ؟ ‪ ،‬ﺣﺩﺛﺕ ﻧﻔﺳﻬﺎ ﺑﺧﻭﻑ ‪ ،‬ﺗﺣﻭﻟﺕ ﻋﯾﻧﺎھﺎ ﺇﻟﻰ ﻁﺎﺋﺭﯾﻥ ﯾﻧﻘﺭﺍﻥ‬ ‫ﻛﻝ ﺍﻟﺩﺭﻭﺏ ﻭﺍﻟﻣﻧﻌﻁﻔﺎﺕ ‪ ،‬ﺭﺃﯾﺗﻪ ﯾﻠﻌﺏ ﻓﻲ ﺍﻟﻁﯾﻥ ﻗﺭﺏ ﺍﻟﻧﻬﺭ ‪ ،‬ﻗﺎﻝ ﻟﻬﺎ ﺃﺣﺩ ﺍﻟﺻﻐﺎﺭ ﻭھﻭ‬ ‫ﯾﺳﺭﻉ ﺑﺩﺭﺍﺟﺗﻪ ﺍﻟﻬﻭﺍﺋﯾﺔ ‪ ،‬ﺗﻌﺛﺭﺕ ﻓﻲ ﺧﻁﻭﺍﺗﻬﺎ ﻭھﻲ ﺗﻧﻁﻠﻕ ﻧﺣﻭ ﺍﻟﻧﻬﺭ ‪ ،‬ﺇﻧﺗﺎﺑﻬﺎ ﺧﻭﻑ ﺷﺩﯾﺩ‬ ‫ﻣﺭ ﺃﻣﺎﻡ ﻋﯾﻧﯾﻬﺎ ﺫﻟﻙ ﺍﻟﺻﺑﺎﺡ ﺍﻟﻣﻔﺯﻉ ‪ ،‬ﺑﺎﻟﻛﺎﺩ ﻟﻣﻭﺍ ﺃﺷﻼء ﺯﻭﺟﻬﺎ ﺍﻟﺫﻱ ﻋﺑﺛﺕ ﺑﻪ ﺳﯾﺎﺭﺓ ﻣﻔﺧﺧﺔ‬ ‫ﺇﻣﺗﻸﺕ ﻋﯾﻧﺎھﺎ ﺑﺎﻟﺩﻣﻭﻉ ‪ ،‬ﺳﻘﻁﺕ ﺃﻛﺛﺭ ﻣﻥ ﻣﺭﻩ ‪ ،‬ھﻝ ﺳﺄﻓﻘﺩﻩ ھﻭ ﺍﻵﺧﺭ ‪ ،‬ﺗﺟﻣﺩ ﺍﻟﺳﺅﺍﻝ ﻓﻲ ﻋﻘﻠﻬﺎ‬ ‫ﻗﯾﻭﺩ ﺣﺩﯾﺩﯾﺔ ﺗﺷﺩ ﻗﺩﻣﺎھﺎ ﻧﺣﻭ ﺍﻷﺭﺽ ‪ ،‬ﺭﺃﺕ ﺻﻐﯾﺭھﺎ ﺟﺎﻟﺳﺎ ﻭﺳﻁ ﺑﺭﻛﺔ ﻣﻥ ﺍﻟﻁﯾﻥ ﻭﻗﺩ ﺍﻏﺗﺳﻝ‬ ‫ﻭﺟﻬﻪ ﺑﺎﻟﺩﻣﻊ ‪ ، ،‬ﻭﺑﺟﻭﺍﺭﻩ ﻛﺗﻝ ﻣﻥ ﺍﻟﻁﯾﻥ ﺑﺩﺕ ﻭﻛﺄﻧﻬﺎ ﻣﺣﺎﻭﻻﺕ ﻋﺷﻭﺍﺋﯾﺔ ﻟﺗﺟﺳﯾﺩ ﺷﻛﻝ ﻣﺎ !!‬ ‫ﻭﻗﻔﺕ ﺃﻣﺎﻣﻪ ﺑﺎﻛﯾﺔ ﺩﻭﻥ ﺃﻥ ﺗﻧﺑﺱ ﺑﺣﺭﻑ ‪ ،‬ﻧﻅﺭ ﺇﻟﯾﻬﺎ ﺑﻠﻭﻋﺔ ﻭﺧﺭﺟﺕ ﻛﻠﻣﺎﺗﻪ ﻛﺳﯾﺭﺓﻣﺗﻭﺳﻠﺔ ‪:‬‬ ‫ﺃﻟﻡ ﺗﻘﻭﻟﻲ ﺃﻥ ﷲ ﺻﻧﻌﻧﺎ ﻣﻥ ﺍﻟﻁﯾﻥ ؟ ﻛﯾﻑ ﺃﺳﺗﻌﯾﺩ ﺃﺑﻲ ؟‬

‫** ﺳﻣﯾﺭ ﺍﻟﻬﻭﺍﺭﻱ‬

‫ھﺫﺍ ﺍﻟﻭﺷﺎﺡ ﻭﺷﺎﺡ ﺣﺑﯾﺑﺗﻲ ‪ /‬ﺍﯾﺎﺩ ﺍﻟﺧﯾﺎﻁ‬ ‫ﻭﺷﺎﺡ ﺩﻡ‬

‫ﺑﺭﻗﯾﺔ ﻣﺧﺗﻭﻧﺔ‬

‫ﻋﻠﻰ ﻣﺭﻛﺑﻲ‬

‫ﺍﯾﺎﺩ ﺍﻟﺧﯾﺎﻁ‬

‫ﯾﺧﻠﻕ ﻟﻲ ﻧﺻﯾﺑﺎ‬

‫ﺯھﻘﺕ ﺃﻣﺎﻟﻲ ﺑﯾﻥ ﻗﺭﺍﺑﯾﻥ ﺍﻋﺎﺩﺕ ﺻﻭﺗﻲ‬

‫ﻣﻥ ﺍﻟﺫﻝ‬

‫ﺗﺭﻛﺕ ﻋﻠﻭﻣﻲ ﺑﺭﻗﯾــــــــﺔ ﻣﺧﺗﻭﻧـــــــــﺔ‬

‫ﺍﻣﺎﻡ‬

‫ﺍﺣﻣﻠﻬﺎ ﺣﯾﻥ ﯾﺩﺍﻋﺑﻧﻲ ﺧﺻﻣﻲ‬

‫ﺍﺣﺫﯾﺔ ﻛﻠﻬﺎ‬

‫ﻻﻧﻌﺵ ﻧﻔﺳﻲ ﺑﻔﺧـــﺭ ﻣﺯﯾــﻑ‬

‫ﻣﻛﺎﺋﺩ ﻣﻥ ﻣﺳﺗﻌﻣﺭ‬

‫ﻓﺎﻋﺫﺭﯾﻧﻲ ﯾﺎ ﻋﻠﻭﻡ ﻣﺧﯾﻠﺗﻲ ﺩﻣﻲ ﯾﻔﯾﻕ ﺟﺎھﻼ‬

‫ﯾﺳﻬﺭ ﻋﻠﻰ ﺍﺷﺗﻌﺎﻝ ﻣﻐﺎﻣﺭﺍﺗﻲ‬

‫ﻓﺎﻋﺫﺭﯾﻧﻲ ﻓﻲ ﺛﺎﻧﯾﺔ‬

‫ﺍﻟﺗﻲ ﺍﻣﺗﻁﯾﻬﺎ ﻣﺗﻌﺳﻔﺎ‬

‫ﺍﻭ ﻓﻲ ﺩﻗﯾﻘﺔ ﺍﻭ ﻓﻲ ﺳﺎﻋﺔ ﻣﻧﺣﻭﺗﺔ‬

‫ﯾﺎ ﻗﺎﺭﺏ ﺍﻟﻌﺫﺭﺍء ﺍﯾﻥ ﻛﻧﺕ‬

‫ﻟﻡ ﺍﻗﺭﺃ ‪ ...‬ﺍﻋﻣﺎﻝ ﺳﯾﺯﯾﻑ‬

‫ﺟﻼﻟﺗﻬﺎ‬

‫ﻟﻡ ﺍﻗﺭﺃ ‪ ...‬ﺍﻋﻣﺎﻝ ﺷﺎﯾﻠـﻭﻙ‬

‫ﺭﺑﻁﺕ ﻟﻲ ﺍﻟﻭﺭﻗﺔ ﺍﻟﺣﻣﺭﺍء‬

‫ﻟﻡ ﺍﻗﺭﺃ ﻗﺻﺔ ‪ ،‬ﺭﻭﺍﯾﺔ‬

‫ﺳﺄﻛﻭﻥ ﺑﻠﺑﻼ‬

‫ﻣﺎ ﺫﻧﺑﻲ ‪ ...‬ﻓﻬﻡ ﻻ ﯾﺭﯾﺩﻭﻥ ﻣﻧﻲ ﺳﺑﯾﻼ‬

‫ﯾﻧﺑﺢ ﺍﻟﻰ ‪ ...‬ﺍﻟﻔﺿﺎء‬

‫ﻻﺭﺑﺢ ﻋﻣﺭﺍ ﯾﻔﻭﻕ ﺍﻋﻣﺎﺭھﻡ‬

‫ﯾﺎ ﺟﻼﻟﺗﻲ ﻟﺳﺕ ﺑﻠﺑﻼ‬

‫ﻓﻬﻡ ﻛﺑﺎﺭ ﻭ ﺃﻧﺎ ﺻﻐﯾﺭ‬

‫ﻭ ﺍﻧﺕ ﻟﺳﺕ ﺍﻧﺳﺎﻧﺎ‬

‫ﻓﺎﻟﻌﻣﺭ ﯾﺎ ﻋﻠﻭﻣﻲ ﯾﻘﻭﺩﻧﺎ ﺍﻟﻰ ﺍﻟﺟﻬﻝْ‬

‫ھﺫﺍ ﺍﻟﻭﺷﺎﺡ ﻭﺷﺎﺡ ﺣﺑﯾﺑﺗﻲ‬

‫ﺍﻭﺭﺍﻕ ﺍﻧﺗﻌﺷﺕ ﻭ ﻏﺎﺑﺕ‬

‫ﻣﺎﺗﺕ ﻓﻲ ﺍﻋﻣﺎﻕ ﺳﻭﺍﺩﻱ‬

‫ﺍﻧﺗﻌﺷﺕ ﻭ ﻏﺎﺑﺕ‬

‫ﺍﺫﺭﻓﻲ ﺩﻣﻌﺔ ﻋﻠﻰ ﻣﺻﯾﺑﺗﻲ‬

‫ﺍﻧﺗﻌﺷﺕ ﻭ ﻏﺎﺑﺕ‬

‫ﻭ ﺍﺣﻛﻣﻲ ﻋﻠﻲ ﺑﺎﻟﻣﻭﺕ‬

‫ﺣﺗﻰ ﺗﻼﺷﺕ ﻗﺑﺭﺍ‬

‫ﻻ ﺍﺗﺣﻣﻝ‬

‫ﺍﺭﯾﺩ ﺍﻥ ﺍﻗﺭﺃ‬

‫ﻟﺣﯾﺗﻲ ﺍﻟﺟﺭﺩﺍء‬

‫ﻟﻛﻥ ﺣﺭﻭﻓﻲ ﺗﺷﺗﺭﻱ ﻣﻠﻠﻲ‬

‫ﻭ ﺍﻟﺑﺭﺍﻏﯾﺙ ﺍﻟﻣﻠﺗﻬﺑﺔ‬ ‫ﻭ ﺍﻟﻌﻣﻝ ﺍﻟﺷﺎﻕ‬

‫ﺍﻧﺗﻛﺎﺳﺔ‬

‫ﻛﺎﻧﺕ ھﻧﺎ ﻏﺎﺩﺓ ﺗﻧﺳﺎﺏ ﻓﻲ ﺩﻋﺔ‬ ‫ﻛﺎﻟﺣﻭﺭ ﺗﺷﺭﻕ ﻓﻲ ﻗﺻﺭ ﺍﻟﻣﻠﯾﻛﺎﺕ‬

‫ﻟﻣﺎ ﺑﺩﺕ ﺃﺳﺭﻓﺕ ﻓﻲ ﺍﻟﻬﻣﺱ ﺁھﺎﺗﻲ‬

‫ﺑﺎﻧﺕ ھﻧﺎﻙ ﻟﯾﻠﻘﺎﻧﻲ ﺍﻟﻧﻭﻯ ﺗﺭﻓﺎ‬

‫ﻭ ﺗﻣﺗﻣﺕ ﺑﺳﻣﺔ ﻣﻧﻬﺎ ﺍﺑﺗﺳﺎﻣﺎﺗﻲ‬

‫ﻭ ﺃﺳﻛﻧﺗﻧﻲ ﺣﺑﯾﺑﺎ ﻓﻲ ﺭﻭﺍﯾﺎﺗﻲ‬

‫ﻭ ﻟﻣﻠﻣﺗﻧﻲ ﺣﺭﻭﻑ ﻣﻧﻙ ﺻﺎﺣﺑﺗﻲ‬

‫ﺣﺑﯾﺑﺗﻲ ﺃﻧﺕ ﯾﺎ ﻟﯾﻠﻰ ﻓﻬﻝ ﻭﺻﻠﺕ‬

‫ﻭ ﺗﯾﻣﺗﻧﻲ ﺑﺈﻏﻭﺍﺋﻲ ﻣﻌﺎﻧﺎﺗﻲ‬

‫ﺭﺳﺎﻟﺗﻲ ﻛﻲ ﺗﻐﻧﯾﻧﻲ ﺍﻧﺗﻛﺎﺳﺎﺗﻲ‬

‫ھﻲ ﺍﻟﺟﻣﺎﻝ ﺍﻟﺫﻱ ﯾﺷﻘﯾﻙ ﻓﺎﺗﻧﺗﻲ‬

‫ﻟﻭﻋﺗﻧﻲ ﻓﻲ ﻧﺳﯾﻡ ﺍﻟﻌﺷﻕ ﺳﺎﺣﺭﺗﻲ‬

‫ھﻲ ﺍﻟﺣﺭﻭﻑ ﺍﻟﺗﻲ ﺗﻐﺭﻱ ﺍﺑﺗﻬﺎﻻﺗﻲ‬

‫ﻓﺄﺷﺭﻗﻲ ﻓﻲ ﺟﻣﺎﻝ ﻋﻧﺩ ﺃﻧﺎﺗﻲ‬

‫ﻋﯾﻧﺎﻙ ﺗﺭﺳﻝ ﻟﻸﻓﻭﺍﻩ ﺗﻣﺗﻣﺔ‬

‫ﺃﻭﺍﻩ ﻣﺎ ﯾﻔﻌﻝ ﺍﻟﻬﻣﺱ ﺍﻟﺟﻣﯾﻝ ھﻧﺎ‬

‫ﻭ ﺍﻟﻠﺣﻅ ﯾﺷﻌﻝ ﺑﺎﻟﻧﺟﻭﻯ ﻏﻭﺍﯾﺎﺗﻲ‬

‫ﺇﻧﻲ ﺍﺣﺗﺭﻗﺕ ﻟﯾﺑﻘﻰ ﺣﺑﻙ ﺍﻟﻌﺎﺗﻲ‬

‫ﺗﻌﻠﻕ ﺍﻟﻘﻠﺏ ﯾﺎ ﻟﯾﻠﻰ ﺇﺫﺍ ﺍﺷﺗﻣﺳﺕ‬

‫ﺃﺣﺑﻬﺎ ﻭ ﺩﯾﺎﺟﯾﺭ ﺍﻟﻧﻭﻯ ﺳﺄﻟﺕ‬

‫ﺗﺷﺩﻭ ﺑﻬﺎ ﻓﻲ ﺩﯾﺎﺟﯾﺭﻱ ﻣﺗﺎھﺎﺗﻲ‬

‫ﺣﻘﻭﻝ ﻋﺷﻘﻲ ﻭ ﺩﻭﺣﻲ ﻓﻲ ﺍﺭﺗﻌﺎﺷﺎﺗﻲ‬

‫ھﻼ ﺳﻛﺑﺕ ﺣﺭﻭﻑ ﺍﻟﻭﺻﻝ ﻏﺎﻧﯾﺗﻲ‬

‫ﻓﻠﻣﻠﻲ ﺍﻟﺭﻭﺡ ﯾﺎ ﻟﯾﻠﻰ ﻓﻘﺩ ﻧﻁﻘﺕ‬

‫ﻷﻋﺭﺝ ﺍﻟﻠﯾﻝ ﻓﻲ ﺫﻛﺭﻯ ﺍﻟﺻﺑﺎﺑﺎﺕ‬

‫ﺃﻧﺎﻣﻝ ﺍﻟﺻﺏ ﺷﻌﺭﺍ ﻓﻲ ﺍﻟﻬﻭﺍﯾﺎﺕ‬

‫ھﯾﺎ ﺍﻋﺯﻓﻲ ﺣﺭﻓﻙ ﺍﻟﻣﻧﺳﻲ ﺻﺎﺣﺑﺗﻲ‬

‫ﻓﺈﻥ ﺳﻘﯾﺕ ﻛﺅﻭﺱ ﺍﻟﻭﺻﻝ ﻓﻲ ﻣﻬﻝ‬

‫ﻭ ﺍﺳﺗﻧﺷﻘﻲ ﻋﺑﻘﺎ ﻓﻭﻕ ﺍﻟﺳﻣﺎﻭﺍﺕ‬

‫ﻓﺈﻧﻧﻲ ﺑﺎﻟﻬﻭﻯ ﺃﺷﺗﺎﻕ ﻛﺎﺳﺎﺗﻲ‬

‫ﺃﯾﻥ ﺍﻟﻠﺣﺎﻅ ﺍﻟﺗﻲ ﺃﻣﺳﺕ ﺗﻭﺍﻋﺩﻧﺎ‬

‫ﯾﺎ ﺁﺧﺭ ﺍﻟﺭﻭﺡ ھﻝ ﻟﻲ ﻓﯾﻙ ﻣﻥ ﺇﺭﺏ‬

‫ھﻣﺳﺎ ﻟﻧﺑﺣﺭ ﻓﻲ ﺑﺣﺭ ﺍﻟﺣﻛﺎﯾﺎﺕ‬

‫ﻟﻛﻲ ﺃﺿﻣﻙ ﻓﻲ ﺟﻭ ﺍﻟﺭﻭﺍﯾﺎﺕ‬

‫ﺗﻔﻭﺡ ﺫﻛﺭﺍﻙ ﻓﻲ ﺍﻟﻠﯾﻝ ﺍﻟﺑﻬﯾﻡ ﺷﺫﻯ‬

‫ﺃﺗﻬﻣﺳﯾﻥ ﻋﻠﻰ ﺻﺩﺭﻱ ﻣﺩﺍﻋﺑﺔ‬

‫ﻭ ﺗﺳﺭﺝ ﺍﻟﺩﻣﻊ ﻓﻲ ﺳﯾﻝ ﺍﻟﻬﻭﺍﯾﺎﺕ‬

‫ﻧﺑﺿﻲ ﻟﺗﺳﺭﻗﻧﻲ ﺑﺎﻟﻠﯾﻝ ﺃﻭﻗﺎﺗﻲ‬

‫ﻓﻠﻣﻠﻣﻲ ﻣﺎ ﺗﺑﻘﻰ ﻣﻥ ﺣﻛﺎﯾﺗﻧﺎ‬ ‫ﻭ ﺭﻗﻌﻲ ﺍﻟﻭﺻﻝ ﻓﻲ ﺳﺣﺭ ﺍﻟﻣﻠﯾﺣﺎﺕ‬

‫ﺳﯾﻑ ﺍﻟﻬﻣﺩﺍﻧﻲ‬

‫ﺧﻠﯾﻔﺔ ﺍﻻﺭﺽ‬ ‫ﺩﻋﻭﺕ ﻧﻔﺳﻲ ﺿﻣﯾﺭﺍ ﻣﺳﺗﺗﺭﺍ‬ ‫ﺧﻠﯾﻔﺔ ﺍﻻﺭﺽ ﺩﻓﺎﺗﺭﻩ ﻗﺩ ﺗﺫﻭﻗﺕ ﺫﺋﺎﺏ ﺍﻟﻠﯾﻝ‬

‫ﻻ ھﻭﯾﺔ ﺗﻣﺷﻲ ﺫﺍﺗﯾﺎ ﻓﻲ ﻋﺭﻭﻗﻲ‬

‫ﻭ ﺍﻟﻣﻧﺑﻭﺫ ﻣﻧﻬﺎ ﺗﺫﻭﻕ ﻣﻼﺋﻛﺔ ﺍﻟﻧﻬﺎﺭ‬

‫ﺧﻧﺕ ﺍﻟﻠﯾﻝ ﻭ ﺧﻧﺕ ﺧﯾﺑﺗﻪ‬

‫ﺍﻟﺷﯾﻁﺎﻥ ﯾﺳﺗﺣﻕ ﺍﻟﺣﯾﺎﺓ ﻭ ﺍﻟﻭﺍﻧﻧﺎ ﺍﻧﺗﻬﺕ ﺻﻼﺣﯾﺗﻬﺎ‬

‫ﺩﻭﻥ ﺟﻭﺍﺯ ﻟﯾﻐﺎﺩﺭﻧﻲ‬

‫ﻧﺣﻥ ﺳﺭﻗﻧﺎ ﺣﻘﻪ ﻣﺩﻋﯾﻥ ﺍﻟﺫﻛﺎء ﻭﺍﻋﻁﯾﻧﺎﻩ ﺍﻟﺑﻛﺎء‬

‫ﻓﺗﻣﺳﻙ ﺑﻲ ﺿﺎﺭﯾﺎ‬

‫ﻭ ﺍﺗﺿﺢ ﺍﻧﻧﺎ ﻧﺳﺟﻧﺎ ﻣﻥ ﺍﻟﻐﺑﺎء‬

‫ﻭﻭﺩﻋﺕ ﻣﺎھﯾﺗﻲ‬

‫) ﺍﯾﺎﺩ ﺍﻟﺧﯾﺎﻁ (‬

‫ﺳﺎﺑﻘﻰ‬ ‫ﺳﺎﺑﻘﻰ ﺍﺗﺧﻠﻑ ﻋﻠﻰ ﻣﺛﺎﻟﯾﺗﻲ‬ ‫ﻣﺄﺳﻲ ﺗﺭﺗﻛﺏ‬ ‫ﻭ ﺍﻧﺎ ﺍﻋﺗﻧﻕ ﺍﻟﻠﻭﻥ ﺍﺑﯾﺽ ﻣﺩﻋﯾﺎ‬

‫ﻓﺎﻧﻭﺱ ﺍﻟﻧﻬﺎﺭ‬

‫ﻟﻲ ﺣﺭﻑ ﺧﻠﻘﺕ ﻣﻧﻪ ﺍﻧﺑﻌﺎﺛﺎﺗﻲ‬ ‫ﺍﻟﻰ ﺧﯾﺎﻧﺎﺕ ﺟﺩﯾﺩﺓ ﺗﺑﺗﺭ ﺍﺷﻼﺋﻲ‬ ‫ﻟﺳﺕ ﻣﻠﺗﺯﻣﺎ ﺑﻭﻋﺩ ﻗﻁﻌﺗﻪ‬ ‫ﻻﻥ ﺍﻟﻭﻋﺩ ﯾﺷﺭﺑﻧﻲ ﺍﻟﻰ ﺍﻟﻔﻘﺭ‬ ‫ﺍﻧﺎ ﺷﯾﻁﺎﻥ ﻣﻌﺗﺭﻑ ﺑﺫﻧﺑﻲ‬ ‫ﺑﺎﻧﻲ ﺧﻧﺕ ﻣﺋﺔ ﺿﺎﺭﯾﺔ‬ ‫ﻟﺳﺕ ﺍﻓﻬﻡ‬

‫ﺧﻧﺕ ﺍﻟﻠﯾﻝ ﻋﻠﻰ ﺣﺳﺎﺑﻲ‬

‫ﻟﻡ ﺗﺭﺩﺩﺍﺗﻲ ﻭﺍﻗﻔﺔ‬

‫ﺩﻭﻥ ﺭﯾﺏ‬

‫ﺗﻬﺟﻭ ﺍﻣﻧﯾﺎﺗﻲ‬

‫ﻣﺳﻛﺗﻧﻲ ﺍﻟﺿﻭﺍﺭﻱ‬

‫ﻻ ﺗﻘﺗﺭﺏ ﻣﻧﻲ ﺍﻥ ﻛﻧﺕ ﺿﺩﻱ‬

‫ﻟﺳﺕ ﻣﻔﺗﺷﺎ ﻋﻥ ﺧﯾﺑﺎﺕ ﻣﺭﺍﺭﺗﻲ‬

‫ﻻﻥ ﺍﻟﺻﺭﺍﻉ‬

‫ﻓﻠﻲ ﻗﻭﺱ ﺳﻌﻰ ﺍﻟﻰ ﺍﻻﻧﻔﻼﺕ‬

‫ﻣﺎ ﺯﺍﻝ ﻁﻭﯾﻼ‬

‫ﻟﺳﺕ ﻣﺭﺑﯾﺎ ﻻﺭﺑﻲ ﻟﺣﯾﺗﻲ‬ ‫ﺍﻣﺎﻡ ﺛﻘﻭﺏ ﺍﻟﻠﯾﺎﻟﻲ‬

‫ﺍﯾﺎﺩ ﺍﻟﺧﯾﺎﻁ‬

‫ﺑﻭﺡ ﺷﺟﻲ ‪ /‬ﻋﺎﺭﻑ ﻋﺎﺻﻲ‬

‫ﺎﺏ َﻣ َ‬ ‫ﺷﺎﻋ ِ​ِﺭﻱ‬ ‫َﯾﺎ ُﺟ ْﺭ َﺡ َﻧ ْﻔﺳِ ﻲ َﯾﺎﺍ ْﻟﺗِ َﻬ َ‬ ‫َﯾـﺎ ﻅِ ﻝ ﱠ َﺑ ْـﻭ ٍﺡ َﺯ ْﺧ َﺭ َﻓـ ْﺗ ُﻪ ﺍﻟـ ﱠﺫ ُ‬ ‫ﺍﺕ‬

‫ﺎﺕ ﯾﺎ َﺑ ْـﻭ َﺡ ﺍﻟ ﱠ‬ ‫ﻑ ھ َِﻲ ﺍﻟ َﻛﻠِ َﻣ ُ‬ ‫ﺷ ِﺟﻲ‬ ‫َﺗ َﺭ ٌ‬

‫ـﻭﻱ‬ ‫َﯾﺎ ﺩ َْﻣ َ‬ ‫ـﻊ َﻋـ ْﯾ ٍﻥ ﺁﻝ َ ﺃﻻ َﯾ ْـﺭ َﺗ ِ‬

‫ﺍﻟﺟ َﻭﻯ َﻛﻠِ َﻣ ُ‬ ‫ﺎﺕ‬ ‫ﻭﺏ َﻋﻠَﻰ َ‬ ‫َﻭ ﻟَ َﻛ ْﻡ َﺗـ ُﺫ ُ‬

‫َﻯ َﻓﻠَ َﻭ ُ‬ ‫ﺍﺕ‬ ‫ﺻﺩ ً‬ ‫ـﺭ ﱠﻭﻯ ﻣِﻥْ َ‬ ‫َﺣـ ﱠﺗﻰ ُﺗ َ‬

‫ﺏ ُﺧﯾـُﻭ َﻁﻬﺎ‬ ‫ﻑ َﺗﺣِﯾ ُﻙ َﻋﻠَﻰ ﺍﻟﻘُﻠُﻭ ِ‬ ‫َﺗ َﺭ ٌ‬

‫ﺿﺎﻟِﻌِﻲ‬ ‫ﻭﺭ ﺑﯾﻥ ﺃَ َ‬ ‫ﺳ َ‬ ‫َﯾﺎ ِﺧ ْﻧ َﺟ ِﺭﻱ ﺍﻟ َﻣ ْﻛ ُ‬

‫ـﻭﻡ ُﻧ َـﻌـﺎﺓُ‬ ‫َﻭ ﺷِ َﺑﺎ ُﻛ َﻬﺎ َﻓ ْـﻭ َﻕ ﺍﻟ َﻬ ُﯾ ِ‬

‫ﺻ َﺭ َﺧ ُ‬ ‫ﺎﺕ‬ ‫ِﻑ ﺍﻟ َ‬ ‫َﯾﺎ ُﺭﻭ َﺡ ُﻋ ْﻣﺭﻱ َﺗ ْﻬـﺗ ُ‬

‫ـﺟـﺗِﻲ‬ ‫ﺱ ﺍﻟ ُﻣ َﺫ ﱢﻭ ِ‬ ‫ﺏ ُﻣ ْﻬ َ‬ ‫ﯾﺎﻟِﻲ ﻭﻟ ْﻠ َﻬ ْﻣ ِ‬

‫ﺟﺩِﻱ‬ ‫َﯾﺎ َﻧ ْﺑ َ‬ ‫ﺽ َﻗ ْﻠ ِﺑﻲ َﯾﺎ ﺍ ْﻟﺗِـ َﻘﺎ َء َﻣ َﻭﺍ ِ‬

‫ﺃَ َﻭ َﻗـﺩْ َﺗﻼ َ‬ ‫ﺷﻰ؟! َﻭﺍ ْﻧـ َﺗ َﻬ ْﺕ ﻟَ ﱠـﺫ ُ‬ ‫ﺍﺕ‬

‫َـﻭﺍﻩُ َﺣـ َﯾﺎﺓُ‬ ‫ﺻ ٍ‬ ‫ﺏ ﻓِﻲ ھ َ‬ ‫ﻑ َ‬ ‫َﯾﺎ َﻧ ْـﺯ َ‬

‫ﺏ ﺳِ ﻧِـ ﱠﯾـ ُﻪ‬ ‫ﺏ ﺍﻟ َﻐ ِﺭ ِﯾ ِ‬ ‫ُﺭﺩﱢﻱ ﻋﻠﻰ ﺍﻟ َﻘ ْﻠ ِ‬

‫ﺇِ ﱢﻧﻲ ھُـ َﻧﺎ َﺑـ ْﯾﻧﻲ َﻭ َﺑـ ْﯾﻧ َِﻲ ھ ﱠُـﻭ ٌﺓ‬

‫ﺳ َﻧ َﻭ ُ‬ ‫ﺍﺕ‬ ‫ﺻ ْﻣﺗِﻙِ ﻓِﻲ ﺍﻟـﺩ َﱡﺟﻰ َ‬ ‫ﺃَ ْﻭ َﺩ ْﺕ ﺑِ َ‬

‫َﺯﺍﺩَ ْﺕ َﻭ ﻟَـ ﱠﻣـﺎ َﺗ ْﻛﻔِـ َﻬﺎ ﺍ ْﻟ َﻌـ َﺑ َﺭ ُ‬ ‫ﺍﺕ‬

‫ﺕ َﻭ ُﻧ ْﻁ ٌ‬ ‫ﺻ ْﻣ ٌ‬ ‫ـﻕ ُﻛﻝ ﱡ َﺫﻟِ َﻙ ُﻣ ْـﺅﻟِﻣِﻲ‬ ‫َ‬

‫ـﺟﺗِﻲ‬ ‫ﺇ ِ ﱢﻧﻲ ھُـ َﻧﺎ ْﺃﺫ ِﻭﻱ َﻭ َﺗـ ْﺫ ِﻭﻱ ُﻣ ْﻬ َ‬

‫ﺳـﺎﺓُ‬ ‫َـﻭﺍﻙِ ﺃ ُ َ‬ ‫َﻗـﺩْ َﻣﻝ ﱠ ُﺟ ْﺭﺣِﻲ ﻓﻲ ھ َ‬

‫ﺷـﻛﺎﺓُ‬ ‫ﺃﺟ َﺟـ ْﺗ ُﻪ َ‬ ‫ِـﺻﺎﻣﺎ ﱠ‬ ‫ﺃَ ْﺣﻛِﻲ ﺍ ْﻧـﻔ َ‬

‫ُﺣـ ﱢﺑﻲ َﻭﺣ ِ​ِـﯾ ٌﺩ َﺫﺍ َﻙ ﺳِ ﱡﺭ َﺗـﺄَﻟﱡـﻣِـﻲ‬

‫ﺎﺏ ِﺑ َـﻭ ْﺣ َ‬ ‫ﺷ ْﻁ ٌﺭ ﺃَ َﻧﺎ ﻭﺍﻟ ﱠ‬ ‫َ‬ ‫ﺷ ٍﺔ‬ ‫ﺷ ْﻁ ُﺭ َﻏ َ‬

‫ﺍﻟﺳــﻠَ َﻭ ُ‬ ‫ﺍﺕ‬ ‫ﻻ‪َ ٠‬ﻣﺎ ﺍ ْﺑـ َﺗ َﻐﻰ َﺑ َﺩﻻً ِﺑ ِﻪ ﱠ‬

‫َﻓﺈِ َﺫﺍ ﺍﻷَ َﻣـﺎﻛِـﻥُ ُﻛـﻠﱡ َﻬﺎ َﻗـﻔ َِـﺭ ُ‬ ‫ﺍﺕ‬

‫ﺃَ َﺭﺃ ْﯾ ِ َ‬ ‫ﻼﻡ ﻓِﻲ ﺍ ْﻟ َﻬ َﻭﻯ‬ ‫ﺕ ﺃ ْﺳ َﻬـﻝ َ ﻣِﻥْ َﻛ ٍ‬

‫ﺷﺎ ِﻋﻼً‬ ‫ﺕ َﻣ َ‬ ‫َﻭ ِﺑ ُﻌ ْﻣ ِﻕ ُﺟ ْﺭﺣِﻲ َﻗﺩْ ﺃ َﻧ ْﺭ ُ‬

‫ﺡ ﻭھْ َﻭ َ‬ ‫ﺷـ َﺗ ُ‬ ‫ﺎﺕ‬ ‫ﺍﻷﺭ َﻭﺍ ُ‬ ‫َﺗ َﻬ َـﻭﻯ ﺑِـ ِﻪ ْ‬

‫ﺿ ْﻭ ِء ﻟِﻲ َﺩ َﻣ َﻌ ُ‬ ‫ﺎﺕ‬ ‫َﻓ َﻣ َﺣ ْﺕ ُﻋ ُﯾ ُﻭﻥَ ﺍﻟ ﱠ‬

‫ـﻭﻱ‬ ‫ﻭﺱ َﻭ َﯾ ْﺭ َﺗ ِ‬ ‫َﻭھْ ٌﻡ ُﯾ َﻌ ْﺭ ِﺑ ُﺩ ﻓِﻲ ﺍﻟ ﱡﻧﻔُ ِ‬

‫ﺿ ْﻭ ِء َﺑ ْﯾﻥَ َﻣﺩَﺍﻣِﻌﻲ‬ ‫ﺎﺵ ﺍﻟ ﱠ‬ ‫ﻭﺃﺭﻯ ﺍﺭﺗ َِﻌ َ‬ ‫َ‬

‫ﺿﯾﺎ َﺗـ ْﻘـ َﺗ ُ‬ ‫ﺎﺕ‬ ‫ﻣِـﻥْ ُﺟ ْﺭ ِﺡ ُﺭ ُﻭ ٍﺡ ﺑﺎﻟ ﱢ‬

‫ُﻣـ َﺗﻸﻟـِﺋﺎ َﺗـ ْﻣﺿِ ﻲ ِﺑ ِﻪ ﱠ‬ ‫ﺍﻟـﺯ َﻓ َـﺭ ُ‬ ‫ﺍﺕ‬

‫ﺏ ﺑِ َﻐ َﻣﺎ َﻣـ ٍﺔ‬ ‫ـﺟ ْﻠـ َﺑ ٌ‬ ‫ﺍﻟﺿﯾﺎ ُء ُﻣ َ‬ ‫َﻓﺈِ َﺫﺍ ﱢ‬

‫َﻣﺎ ﺇِﻥْ ُﯾ َﺭﻯ َﻛﻲ َﺗ ْﺧـ َﺗـﻔﻲ ﺃَ ْﻁ َﯾﺎﻓُ ُﻪ‬

‫َ‬ ‫ـﺕ َﻓـ َﻣﺎ َﺑﻘِ َﯾ ْﺕ ِﺑ َﻬﺎ َﻗـ َﻁ ُ‬ ‫ﺷ ﱠﺣ ْ‬ ‫ﺭﺍﺕ‬

‫ﺿ ُ‬ ‫ﺎﺕ‬ ‫ﺽ َﻭ َھﻝْ َﺗ ْﺟﻠُﻭ ﺍﻟﺩ َﱡﺟﻰ َﻭ َﻣ َ‬ ‫َﻭ ْﻣ ٌ‬

‫ِﺊ ﺃَ َﻧﺎ ﻻ ﺃَ ْﺭ َﺗ ِﻭﻱ ﻓﻲ ﻧـ ْﻬـﻣـﺗﻲ‬ ‫َﻅﻣ ٌ‬

‫ـﻣ ُ‬ ‫ﺕ ﺃَ ْﺭ َﺧﻰ ﺳِ ْﺗ َﺭ ُﻩ‬ ‫ﺻ ْ‬ ‫ﺎﺟ ْﯾـ ُﺗ َﻬﺎ ﻭﺍﻟ ﱠ‬ ‫َﻧ َ‬

‫َﻭ ُﯾﻐِـﯾ ُﺛـﻧِﻲ َﻭ َ‬ ‫ﺍﻟﻌـ َﺛ ُ‬ ‫ﺭﺍﺕ‬ ‫ﺷـﻝ ٌ ِﺑ ِﻪ َ‬

‫ـﺏ َﻗﺩْ َﺣﺎ َﻁ ْﺕ ِﺑ ِﻪ ﺍﻟﻠﱠ َﻬـ َﻔ ُ‬ ‫ﺎﺕ‬ ‫ﻭﺍ ْﻟ َﻘـ ْﻠ ُ‬

‫َﺑ ْﻌ َﺛ ْﺭ ُ‬ ‫ﻭﺍﻟﺻ َﺑﺎ َﺑ ُﺔ َﻣ ْﻠ َﺟـﺋﻲ‬ ‫ﺕ ُﺣـ ْﻠﻣِﻲ‬ ‫ﱠ‬

‫ﻭﺍﻟﺻ ْﻭ ُ‬ ‫ﺻﺩَﻯ‬ ‫َﻧﺎ َﺩ ْﯾ ُﺗـ َﻬـﺎ‬ ‫ﺕ َﯾ ْﺗﻠ ُ ُﻭ ُﻩ ﺍﻟ ﱠ‬ ‫ًّ‬

‫ﺍﻟـﺻـ َﺑ ُ‬ ‫ﻭﺍﺕ‬ ‫ﺏ ِﺭ ﱡﯾـ ُﻪ‬ ‫ـﺎﻭ ْﯾ َﺢ َﻗ ْﻠ ٍ‬ ‫َ‬ ‫َﯾ َ‬

‫َﺍء َﻣ َـﻭ ُ‬ ‫ﺍﺕ‬ ‫ﯾﺏ ﻟَﺩَﻯ ﺍﻟـ ﱢﻧـﺩ ِ‬ ‫َﻭ َﻣـ َﺗﻰ ُﯾ ِﺟ ُ‬

‫ﺵ َﺧﺎﻓِﻘِﻲ‬ ‫ﻯ ﻟِـ َﺗ ْﻧ َﻬ َ‬ ‫ﻓﺎﺭ ّﺗـﺩﱠ ْﺕ ﺍﻟ ﱠﻧ ْﺟ َﻭ َ‬ ‫ْ‬

‫ﻣﺗﻔﺟﺭﺍﺕ‬

‫ﺳ ُ‬ ‫ﺎﺕ‬ ‫َﻭ َﺗـﺅُ ﱠﺯﻧِﻲ ِﺑ ُﺧـﻔُﻭﺗِ َﻬـﺎ ﺍ ْﻟ َﻬ َﻣـ َ‬

‫ﺍﯾﺎﺩ ﺍﻟﺧﯾﺎﻁ‬

‫ﺳﺎﻟِـﻔﺎ ً‬ ‫ِﻑ ھَﺎھُـ َﻧﺎ َﺭ ﱢﻭﻱ ِﺑﺩ َْﻣ ِﻌ َﻙ َ‬ ‫ﻗ ْ‬

‫ﻁﺑﯾﻌﺗﻲ ﺗﺗﺧﺑﻁ ﺑﺳﻛﻭﻧﻲ‬

‫ﺵ ﱠ‬ ‫ﺍﻟﺯھ َ​َﺭ ُ‬ ‫ﺍﺕ‬ ‫َﻓﻠَ َﻘـﺩْ َﯾ ُﺟ ُـﻭ ُﺩ َﻭ ُﺗـ ْﻧ َﻌ ُ‬

‫ﻭ ﺗﻌﺗﺩﻱ ﻋﻠﻰ ﻓﺭﺍﺥ ﻁﺭﯾﺩﺗﻲ‬

‫ﺷﺎ َ‬ ‫ﺍﺏ ُﺣـ َ‬ ‫ﺷﺗِﻲ‬ ‫ﺎﺭ ْﺟ َﻊ ﺳِ ْﺣ ٍﺭ َﻗﺩْ ﺃ َﺫ َ‬ ‫َﯾ َ‬

‫ﺣﺗﻰ ﺍﻣﻼﺋﻲ‬

‫ﺳ ْﻛ َﺭﻯ َﻧ ُﺧـ ُﺑـﻬﺎ ﺍﻟ ﱠﻧـ َﺑ َﺭ ُ‬ ‫ﺍﺕ‬ ‫ﺡ َ‬ ‫ﻓﺎﻟـﺭﻭ ُ‬ ‫ﱡ‬

‫ﻣﺳﺣﻭﺏ ﻣﻥ ﺍﻟﺛﻘﻭﺏ‬

‫ـﺎﺭ ﱠﻗ َ‬ ‫ﺎﻥ َﺑـ ْﯾﻥَ ﺷِ ـ َﻔﺎ ِھ َﻬﺎ‬ ‫ـﺔ‬ ‫َ‬ ‫ﺍﻷﻟـﺣ ِ‬ ‫َﯾ ِ‬

‫ﻁﺑﯾﻌﺗﻲ ﺩﺟﻝ ﺍﻟﻣﺎﺿﻲ‬

‫ﻁِ ﯾﺑﻲ َﻓـ َﻛﻡ َﻁﺎ َﺑ ْﺕ ﺑِـ َﻬﺎ ﺍﻷﻭ َﻗ ُ‬ ‫ــﺎﺕ‬

‫ﻭ ﺷﻌﻭﺫﺓ ﺍﻟﺣﺎﺿﺭ‬

‫َﺍﺭﺳﺎ ً‬ ‫ﯾﺎﻥ َﯾ ْﻧ ِـﺑ ُ‬ ‫َﻣـﺎﻟِﻲ َﻭ ﻟِ ْﻠـ َﻬ َـﺫ ِ‬ ‫ﺵﺩ ِ‬

‫ﻧﻔﺳﻲ ﺗﻼﺣﻕ ‪ ...‬ﯾﺩﻱ ﺍﻟﺗﻲ ﺗﻔﺳﻘﺕ‬

‫ﺍﻟـﺟ َﻣ ُ‬ ‫ـﺭﺍﺕ‬ ‫ﺃَ ْﻭﺩَ ْﺕ ﺑِـ ِﻪ ِﺭﯾ ٌﺢ ﺑِـ َﻬـﺎ َ‬

‫ﻓﺎﻧﺟﺑﺕ ﻋﺷﺭﺓ ﺍﺻﺎﺑﻊ‬

‫ﺃﺣـ ُﺭﻓﻲ‬ ‫ﺻـﺩَﻯ ﯾﺎ ْ‬ ‫َﻧﺎﻣِﻲ َﻋﻠَﻰ َﺭ ْﺟ ِﻊ ﺍﻟ ﱠ‬

‫ﺑﻌﺩ ﺭﻛﻭﺩھﺎ ﻋﻠﻰ ﺣﺎﻓﺔ ﺍﻟﺯﺍﻭﯾﺔ‬

‫ـﺭ ُ‬ ‫ﺍﺕ‬ ‫ﺍﻟﺳ َﻣ َ‬ ‫ﻭﺍﺳـ َﺗ ْﺟ ِﻣﻌِﻲ ُﻣ َﺯﻗـﺎ ً ﺑِـ َﻬﺎ ﱠ‬ ‫ْ‬

‫ﺍﺷﺭﻋﺔ ﺍﻟﺯﻣﻥ ﺗﻧﺎﺩﻱ ﺗﺧﯾﻼﺗﻲ‬

‫ـﺎﺑ ِﺭ ﻟَ ْﻭ َﻋـﺗﻲ‬ ‫ﺃﻭ َﻓـﺎ ْﻧ َﻛﺄﻱ ُﺟ ْـﺭﺣﺎ ً ِﺑ َﻐ ِ‬

‫ﺍﻥ ﺗﻧﺟﺏ ﻭﻗﺎﺋﻊ ﻣﻥ ﺍﺯﻣﻧﺔ ﺍﻟﺳﻣﺎء‬

‫ﺃﻭ ﺃَ ْﯾـﻘِـﻅِ ـﻲ َﻣﺎ َﺑـ ﱠﺩﺩَ ﺕ َﻏـ َﻔ َـﻭ ُ‬ ‫ﺍﺕ‬

‫ﻗﻁﻔﺕ ﻣﻧﻲ ﺍﻣﺭﺍﺽ ﻭﺣﺩﺗﻲ‬

‫ﺳـﻠﱢﻣﻲ‬ ‫ﺽ ﺍﻟ َﻬـ َﻧ ِ‬ ‫ـﺭﻱ َﻋﻠَﻰ َﺭ ْﻭ ِ‬ ‫ﺎء ﻭ َ‬ ‫ُﻣ ﱢ‬

‫ﺍﺭﺩﺕ ﺍﻻﻋﺗﺯﺍﻝ ﻓﺗﻧﺎﻭﻟﻧﻲ ﺍﻟﻣﻌﺗﻛﻑ‬

‫ـﺏ ﻗُـﻭ ُﺗـ ُﻪ ﺍﻷ ﱠﻧ ُ‬ ‫ــﺎﺕ‬ ‫َﻓـ ُﻬـﻧﺎ َﻙ َﻗـ ْﻠ ٌ‬

‫ﻓﺫﺑﺢ ﺍﺧﺭﺓ ‪ ...‬ﻣﻠﺫﺍﺗﻲ‬

‫ﺗﻌﻭﺿﻧﻲ ﻋﻥ ‪ ٥٠‬ﻋﺎﻡ‬ ‫ﺍﯾﺎﺩ ﺍﻟﺧﯾﺎﻁ‬ ‫ﺣﯾﻥ ﺍﺿﺣﻲ ﺍﻗﺑﻝ ﺣﺭﻣﺗﻬﺎ‬

‫ﺗﻌﻔﻥ ﺍﻟﻬﻭﺍء ﺣﯾﻥ ﺳﻣﻭﺗﻪ ﻣﻠﻛﺎ‬ ‫ﻓﺎﺳﺗﺣﻭﺫ ﻋﻠﻰ ﺍﺧﺭ ﻣﺩﺧﺭﺍﺕ ﯾﺎﺑﺳﺗﻲ‬ ‫ﻭ ﺍﻟﺑﺣﺭ ﺍﻟﻰ ﺍﻟﻣﺭﯾﺦ ﺳﺎﻓﺭ ﻣﺗﺑﺧﺭﺍ‬

‫ﻟﯾﺗﻠﻁﺵ ﺷﻌﺭھﺎ ﺍﻟﻣﻧﺳﺩﻝ‬ ‫ﻓﻲ ﻭﺟﻬﻲ‬

‫ﺷﺧﺎﺑﯾﻁ‬

‫ﻻﺷﺭﺏ ﻋﻁﺭھﺎ‬

‫ﻭﺷﻣﺕ ﻋﻠﻰ ﺯﻧﺩﻱ ﺷﺧﺎﺑﯾﻁ ﻟﯾﻠﺗﻲ‬

‫ﻻﺩﺧﻝ ﻓﻲ ﻏﯾﺑﻭﺑﺔ‬

‫ﻓﺫﺍﻛﺭﺗﻲ ﺗﻧﻣﻭ ﻋﻠﻰ ﺻﺧﺭﺓ ﺍﻷﻣﺱ‬

‫ﺗﻌﻭﺿﻧﻲ ﻋﻥ ‪ ٥٠‬ﻋﺎﻡ ﻣﻥ ﺍﻟﺣﺭﻣﺎﻥ‬

‫ﺍﯾﺎﺩ ﺍﻟﺧﯾﺎﻁ‬

‫ﻭﺟ ُﻬﻙِ ھـﺫﺍ‪..‬؟!‬

‫ﺣﺑﯾﺑﺗﻲ ‪..‬‬

‫ﺍﻟـﻘـﻣﺭ ؟!!‬ ‫ﺃ ْﻡ ﺟـﺑـﯾﻥُ‬ ‫ْ‬

‫ﯾــــﺎ ﺃﻟﻑ "ﻓﺭﻋﻭﻧ ٍﺔ"‬

‫ﺍﻟﺑﺻﺭ‬ ‫ﻗﺩ ﺧﺎﻧﻧﻲ ﺭﻏﻡ ﺍﺣﺗﺭﺍﺳﻲ‬ ‫ْ‬

‫ﯾﺣﻛﻣﻧﻧﻲ ﻭﺣﺩﻱ ‪..‬‬ ‫ﻣﻔﺭ‬ ‫ﻭﻣﺎ ﻣﻥ ْ ّ‬

‫ﻭﺟــﻬـﻙِ ‪..‬‬ ‫ﺃﻟـــﻑ ﺍﺳـﻁـﻭﺭ ٍﺓ‬ ‫ﻓــﯾـﻪ‬ ‫ُ‬

‫ٌ‬ ‫ﻋـــــــﺎﺷﻕ‬ ‫ھﺭ ٌﻡ‬ ‫ﻣﺎ ﺃﻧﺎ ﺇﻻ َ‬

‫ﺍﻟـﺑﺷﺭ‬ ‫ﻑ ﻣـﻥ ﺣـﻛﺎﯾﺎ‬ ‫ﺃﻟــﻑ ﺃﻟــ ٍ‬ ‫ﻭ‬ ‫ْ‬ ‫ُ‬

‫ﺍﻷﺛﺭ‬ ‫ﺍﻟﺣﺏ ﺇﻻ‬ ‫ﺑﻕ ﻣﻧﻪ‬ ‫ْ‬ ‫ﱡ‬ ‫ﻟﻡ ُﯾ ِ‬

‫ﻭﺟــﻬـﻙ‪..‬‬

‫ﺣـﺑـﯾـﺑﺗﻲ ‪..‬‬

‫ﻗـﺎﻣـﻭﺱ ﻣـﺣـﯾ ٌﻁ ﻭ ﻣــﺎ‬ ‫ٌ‬

‫ﺣــ ّﺑـﻙ ﯾـﺟـﺗﺎﺣﻧﻲ‬

‫ﻣـﺳـﺗﻘﺭ‬ ‫ﺍﻟـﺑـﺣﺭ ﻣــﻥ‬ ‫ﻟـﻠـﺭﺍﻛﺑﯾﻥ‬ ‫ْ‬ ‫َ‬

‫ﺍﻟﻣﻣﺭ‬ ‫ﺍﻟﺯﺣﻑ ‪ ..‬ﻓﺅﺍﺩﻱ‬ ‫ﻓـﺗﺎﺑﻌﻲ‬ ‫ّْ‬ ‫َ‬

‫ﻛــﺎﻧـﺕ ﺣـﻛـﺎﯾـﺎ ﺟــﺩﺗـﻲ‬

‫ﺍﻗـﺗـﻠـﻌﯾﻧﻲ ﻣــﻥ ﺟــﺫﻭﺭﻱ ﻛـﻣـﺎ‬

‫ﻛـﻠﱡـﻬـﺎ ﻋـﻧـﻙِ‬

‫ﺍﻟـﺷـﺟﺭ‬ ‫ﺗـﻘـﺗـﻠﻊ ﺍﻟــﺭﯾـ ُﺢ ﺍﻟﻌﻧﻭ ُﺩ‬ ‫ْ‬

‫ﺍﻧـﻁﻣﺭ‬ ‫ﻛـﻧﺯ ھـﻧﺎﻙ‬ ‫ْ‬ ‫ﻭﻋـﻥ ٍ‬ ‫ﻏـﺎﻣـﺽ ‪ ..‬ﻣـﺎ ﻏـﺯﺍ‬ ‫ﺳــﺭ‬ ‫ﺣـ ّﺑـﻙ‬ ‫ٌ‬ ‫ﱞ‬ ‫ﻛــــﻡ ﱠ‬ ‫ﺭﻏـﺑـﺗـﻧـﻲ ﻓــﯾــﻪ‬

‫ﺍﻧـﺗﺻﺭ‬ ‫ﻗـﻠـ ًﺑﺎ ﺷـﺩﯾـ َﺩ ﺍﻟـﺣﺭﺹ ﺇﻻ‬ ‫ْ‬

‫ﻟـﻛـﻧـﻬﺎ‬ ‫ﺍﻟـﺣـﺫﺭ‬ ‫ﺗـﺟـﻌﻝ ُ ﺗـﻭﺻـﯾﻧﻲ ﺑﺄﺧـﺫ‬ ‫ْ‬

‫ﺣــﺑــﻙ ھـــﺫﺍ ﻗـــﺩﺭﻱ ‪..‬‬ ‫ﯾـﺎ ﻟـﻪ‬

‫ُ‬ ‫ﺃﺑـﺣـﺭﺕ ﻣــﻥ ﻟـﻬـﻔﺗﻲ‬ ‫ﻻ ﺭﺍﺟـﻌـًﺎ‬

‫ﻣــﻥ ﺛـﺎﺋـﺭ ﻛـﺎﻟـﻣﻭﺝ ‪..‬‬

‫ﻭ ﻣـﺳـﺗـﺣﯾﻝ ٌ ‪....‬‬

‫ﺍﻟـﻘﺩﺭ‬ ‫ھــﺫﺍ‬ ‫ْ‬

‫ﺍﻟـﻧـﻅﺭ‬ ‫ﺃﻥْ ﺃﻋــﯾـ َﺩ‬ ‫ْ‬ ‫‪.‬‬

‫ﻣﺣﻣﺩ ﺍﻟﺑﯾﺎﺳﻲ‬

‫ﺍﻧﺷﻭﺩﺓ ﻣﻥ ﺣﻭﺍﺭ ﻣﺳﺗﺗﺭ ﻣﺎ ﺯﺍﻝ ﻣﺿﻣﺭﺍ‬

‫ﺍﯾﻥ ﻭ ﻣﺗﻰ ﺗﺑﻌﺛﺭﻧﺎ ؟‬

‫ﺍﯾﺎﺩ ﺍﻟﺧﯾﺎﻁ‬

‫ﺍﯾﻥ ﻭ ﻣﺗﻰ ﻧﺳﯾﻧﺎ ﺫﺍﺗﻧﺎ ؟‬

‫ﻟﻭ ﻛﻬﺭﺑﻧﻲ ﺍﻟﺳﻠﻙ ﻟﻥ ﺍﺗﻧﺣﻰ‬

‫ﻛﯾﻑ ﯾﻠﺗﺋﻡ ﺷﻣﻠﻧﺎ ﻭ ﺍﻟﺣﻭﺍﺭ ﻁﻭﯾﻝ‬

‫ﻣﺎ ﺩﺍﻡ ﻗﻠﺑﻙ ﻓﻲ ﻗﻠﺑﻲ ﻧﺎﺑﺿﺎ‬

‫ﻛﯾﻑ ﺍﺳﻧﺩ ﻗﻠﺑﻲ ﺍﻟﯾﻬﺎ ﻭ ﻗﻠﺑﻬﺎ ﺿﺭﯾﺭ‬

‫ﻟﻭ ﺣﻠﺕ ﻋﻠﻲ ﻣﺋﺔ ﻟﻌﻧﺔ‬

‫ﻛﯾﻑ ﺍﺻﺎﺭﺣﻬﺎ ﻭ ھﻲ‬

‫ﻣﻥ ﻣﻭﺝ ﺍﻟﻁﻭﻓﺎﻥ ‪.‬‬

‫) ﻁﺭﺷﺎء ﻭ ﺧﺭﺳﺎء ﻭ ﻋﻣﯾﺎء (‬

‫ﻗﻠﺑﻙ ﺩﻟﯾﻠﻲ‬

‫ﻣﺗﻰ ﺗﻘﺭﺃ ﺷﻔﺗﻲ ؟‬

‫ﻋﻧﺩﻣﺎ ﻣﺎﺭﺳﺕ ﺍﻟﺳﺣﺭ ﻋﻠﯾﻙ‬

‫ﻣﺗﻰ ﺗﺳﻣﻊ ﺗﺣﺭﻛﺎﺗﻲ ﺍﻟﻐﺎﺯﯾﺔ ﺍﻟﻣﺷﺭﻭﺑﺔ ؟‬

‫ﺍﺻﺎﺏ ﻛﺑﺭﯾﺎﺋﻲ ﺑﺧﺎﺭ ﺍﻷﻟﻡ‬

‫ﻣﺗﻰ ﺗﺣﻛﻲ ) ﺍﻧﻲ ﺍﺣﺑﻙ ( ؟‬

‫ﺍﻧﻲ ﻣﺟﻧﻭﻥ ﻋﻠﻰ ﺗﺑﻌﺛﺭ ﺍﻟﻘﻠﻡ‬

‫ھﻝ ﺗﺿﻣﺭ ﺿﻣﺎﺋﺭھﺎ ﺗﺣﺕ ﻭﺷﺎﺋﻬﺎ ﺍﻟﻣﺧﻣﻭﺭ ؟‬

‫ﻭ ﺍﻧﻲ ﻣﺳﻠﻭﻕ‬

‫ھﻝ ھﻲ ‪ ...‬ﻣﺎ ﺟﻧﺎﻩ ﻗﻠﺑﻲ‬

‫ﺑﺳﺑﺏ ﺍﻟﺣﺭﺏ ﺍﻟﻌﺎﻟﻣﯾﺔ ﺍﻟﺛﺎﻟﺛﺔ‬

‫ﻣﺗﻰ ﺗﺑﺭﻕ ﺍﺷﺑﺎﺣﺎ ﻟﯾﻌﻠﻭ ﺑﻛﺎﺋﻲ ‪ ...‬ﺗﻣﺩﺩﺍ‬

‫ﻣﺎ ﺻﺭﺕ ﯾﻭﻣﺎ ﺭﺟﻼ‬

‫ﻟﻭ ﻟﻲ ﻭﺷﺎﺡ‬

‫ﯾﻌﺩﻡ ﺗﻣﺛﺎﻝ ﺍﻟﺣﺭﯾﺔ ﻋﻠﻰ ﻣﻧﺻﺔ ﺍﻟﺣﻛﻡ ﺍﻻﺧﯾﺭ‬

‫ﻟﻭ ﻟﻲ ﻭﺷﺎﺡ ﻷﺷﻬﺩ ﻋﻠﻰ ﺣﺏ‬

‫ﻓﻲ ﻗﻠﺑﻲ ﻧﻘﯾﻕ ﯾﺻﺣﻭ ﻣﺗﻠﻌﺛﻣﺎ‬

‫ﯾﻧﻘﺻﻪ ﻣﻠﺣﺎ‬

‫ﻭ ﻓﺣﯾﺢ ﯾﻧﺎﻡ ﻣﺗﺄﻟﻣﺎ‬

‫ﯾﺣﺗﺎﺝ ﺳﻛﺭﺍ‬

‫ﺍﻟﺣﺭﺏ ﺍﻟﺑﺎﺭﺩﺓ ﺑﯾﻧﻧﺎ ﺑﺩﺃﺕ ﺗﺗﺑﺧﺭ‬

‫ﻣﻥ ﻋﻠﺑﺔ ﺳﻣﺭﺍء ﺍﺣﺗﺭﻗﺕ ﻣﺗﻠﻭﻧﺔ‬

‫ﻣﺗﻰ ﻧﺗﺳﻠﻕ ﺳﻣﺎء ﺗﺻﺎﻓﺢ ﺳﻣﺎء‬

‫ﻛﺎﺭﺛﺔ ﺗﻠﺣﻕ ﻛﺎﺭﺛﺔ‬

‫ﯾﻭﻡ ﻋﻧﺩﻱ ﻣﺧﻠﻭﻕ ﻣﻥ ﺗﺭﺍﺏ‬

‫ﺍﺧﺷﻰ ﻣﻥ ﻛﺎﺭﺛﺔ ﺗﻠﺣﻕ ﻛﺎﺭﺛﺔ‬

‫ﻭ ﺍﺻﻭﺍﺕ ﺍﻟﻁﺑﯾﻌﺔ‬

‫ﺩﻭﻥ ﺩﺍﺋﺭﺓ‬

‫ﺍﺳﺗﻧﺷﻘﺕ ﺩﺧﺎﻥ ﺣﺭﺍﺭﺗﻧﺎ‬

‫ﻣﻠﺗﻭﯾﺔ‬

‫ﻣﺗﻰ ﻧﺣﺏ ﺑﻌﺿﻧﺎ ؟ ﻭ ﻣﻥ ﺣﻭﻟﻧﺎ‬

‫ﺍﻟﻣﺻﺎﺑﯾﺢ‬

‫ﯾﺳﻛﻥ ﺗﻔﺎﺣﺔ ﺷﻁﺑﺕ ﺍﻟﺑﺭﺗﻘﺎﻝ‬ ‫ﻋﻧﺩﻱ ﻣﺋﺔ ﺳﺅﺍﻝ‬

‫ﺭﺃﯾﺕ ﺍﻟﻣﺻﺎﺑﯾﺢ ﺗﺭﺳﻡ ﻣﻧﻲ‬ ‫ﺷﺧﺎﺑﯾﻁ ﻗﻠﺏ ﻋﺟﯾﺏ‬

‫ﺍﯾﺎﺩ‬ ‫ﺍﻟﺧﯾﺎﻁ‬

‫ﻣﻁ ٌﺭ ُﯾ َﺑﻠّﻝ ُ ﺃﻣﻧﯾﺎﺗﻲ‬ ‫ْ‬ ‫ﺍﻟﯾﺎﺑﺳﺔ‬

‫ﺍﻟﺧﺭﯾﻑ‬ ‫ھﺫﺍ‬ ‫ُ‬

‫ْ‬ ‫ﺎﻣﺳﺔ‬ ‫ﺗﺭﻁﯾﺏ ﺍﻟﺣﺭﻭﻑ ﺍﻟﻬ‬ ‫ﻭﯾﻌﯾ ُﺩ‬ ‫َ‬

‫ﺃﺭﺍﻙِ ﻋﺎﺯﻣﺔ ﻋﻠﻰ‬ ‫ْ‬ ‫ﺍﻟﻧﺎﻋﺳﺔ‬ ‫ﺍﻟﺭﻣﻭﺵ‬ ‫ﻗﺗﻠﻲ ﺑﺄھﺩﺍﺏ‬ ‫ِ‬

‫ﺍﻟﺧﺭﯾﻑ‬ ‫ھﺫﺍ‬ ‫ُ‬ ‫ھﻭﺍﻙِ ﻏ ّﯾ َﺭ ﺭﺃﯾ ُﻪ‬

‫ﺑﺎﻟ َ‬ ‫ﯾﻬﺭﺏ‬ ‫ﻌﺭ‬ ‫ُ‬ ‫ﺷ ِ‬

‫ﺛﯾﺎﺏ ﺍﻟﺫﻛﺭﯾﺎﺕ‬ ‫ﺃﻟﻘﻰ‬ ‫َ‬

‫ﻣﻥ ﻣﺣﯾﻁِ ﺗﻌﻠ ّﻘﻲ‬

‫ْ‬ ‫ﺍﻟﺑﺎﺋﺳﺔ‬

‫ْ‬ ‫ﺍﻟﺣﺎﺭﺳﺔ‬ ‫ﻑ‬ ‫ﯾﺳﺗﻘﺭ ﻋﻠﻰ ﺍﻟﻛﻔﻭ ِ‬ ‫ﻛﻲ‬ ‫ﱠ‬

‫ﺍﻟﻣﺷﺎﻋﺭ‬ ‫ﻭ ﺃﻋﺎ َﺩ ﺍﺣﯾﺎء‬ ‫ِ‬

‫َ‬ ‫ﺻﻭﺕ ﻣﻥ‬ ‫ﯾﺎ‬

‫ﻓﺎﺗﺣﺎ ً‬

‫ﻣﺭﻭﺍ ﺑﺷﻌﺭﻱ ﺃﺣﺭﻓﺎ ً‬ ‫ّ‬

‫ْ‬ ‫ﻣﺩﺍﺭﺳﻪ‬ ‫ﻟﻠﻌﻧﻔﻭﺍﻥ ﺩﻭﺭﺑ ُﻪ ﻭ‬ ‫ِ‬

‫ْ‬ ‫ھﻭﺍﺟﺳﻪ‬ ‫ﺃﺫﺍﻉ‬ ‫ﻭﻧﺩﺍ َء ﻗﻠﺑﻲ ﺇﻥْ‬ ‫َ‬

‫ﻭﺍﺧﺗﺎﺭ ﻭﺟﻬﺗﻪ‬ ‫ﺍﻟﻧﻬﺭﺍﻟﺫﻱ ﺃﺩﻣﻧﺗ ُﻪ‬ ‫ﯾﺎ ﺿ ّﻔ َﺔ‬ ‫ِ‬ ‫ﺕ‬ ‫ﺑﺷﻛﻝ ﻣﻠﻔ ٍ‬ ‫ٍ‬

‫ﺷﯾﺋﺎ ً ﻓﺷﯾﺋﺎ ً‬

‫ً‬ ‫ﺟﻬﺔ‬ ‫ﻭﺃﺿﺎﻑ ﻟﻲ‬ ‫َ‬

‫ْ‬ ‫ﻧﻭﺍﺭﺳﻪ‬ ‫ﻛﻲ ﯾﻌﯾ َﺩ‬

‫ْ‬ ‫ﺧﺎﻣﺳﺔ‬ ‫ﺑﺣ ّﺑﻙِ‬ ‫ُ‬ ‫ﺍﺭﺗﺑﻁﺕ‬ ‫ﻓﯾ َﻙ‬ ‫ﺧﺭﯾﻔﻲ‬ ‫ﻣﻁ ٌﺭ‬ ‫ٌ‬

‫ﻭﺫﺍ َﻙ ﺃﻣ ٌﺭ ﻗﺎﺗﻝ ٌ‬

‫ﻭ ﺷﻭﻗﻲ ﻣﻘﺑﻝ ٌ‬

‫ﺳﺗﻅﻝ ﱡ ﺭﻭﺣﻲ‬ ‫ْ‬ ‫ﺁﯾﺳﺔ‬ ‫ﺑﻌ َﺩ ﺭﻭﺣﻙِ‬

‫ﺍﻟﺟﻧﻭﻥ‬ ‫ﻧﺣﻭ‬ ‫َ‬ ‫ِ‬ ‫ْ‬ ‫ﻣﺷﺎﻛﺳﺔ‬ ‫ﺕ ﻓﯾ ِﻪ‬ ‫ﻭﺃﻧ ِ‬

‫ﻋﻠﻲ ﺍﻟﻌﻛﯾﺩﻱ‬

‫ﺍﻟﻘﺭﻣﯾﺩ‬

‫ﺃﻟﻡ ﻓﻲ ﺻﺩﺭﻱ‬ ‫ﺍﯾﺎﺩ ﺍﻟﺧﯾﺎﻁ‬

‫ﺳﺣﺭھﺎ ﺩﻓﻥ ﺍﺳﺭﺍﺭﻱ‬

‫ﺑﺎﺭﺯﻧﻲ ﺑﺎﻟﻘﻠﻡ‬

‫ﺗﺣﺕ ﺣﺭﺍﺭﺓ ﺷﻣﺱ ﺑﺎﺭﺩﺓ‬

‫ﻓﺎﻟﺳﻭﻁ ﺍﺷﺗﻌﻝ‬

‫ﺍﻟﻐﻣﻭﺽ‬

‫ﺳﺄﻟﻣﺱ ﺧﺩﻙ‬

‫ﺍﻧﻛﺳﺭ ﺍﻟﻰ ﺯﺟﺎﺝ ﻣﺗﻼﺷﻲ‬

‫ﺑﺣﺭﯾﺗﻲ‬

‫ﻋﻧﺩﻱ ﻣﺭﺍﺭﺓ‬

‫ﺩﺭﺕ ﺣﻭﻟﻙ‬

‫ﺍﺳﺗﻭﻁﻧﺕ‬

‫ﻷﻭﺍﺳﻲ ﻗﺑﺣﻙ‬

‫ﺣﺭﻗﺔ ﻛﺑﺩﻱ‬

‫ﻻﻥ ﺍﻟﺟﻣﺎﻝ ﺷﺭﺍﺭﺓ ﺍﻟﻣﻭﺕ‬

‫ﻭ ﺍﺳﺎﻭﺭ ﻗﺩﻣﯾﻬﺎ‬

‫ﺳﺎﻋﺗﺩﻱ ﻋﻠﻰ ﻗﺑﻼﺗﻙ‬

‫ﺍﻟﺑﺳﺗﻧﻲ ﺣﻣﺭﺓ‬

‫ﻭ ﺍﺭﺗﺩﻱ ﺑﻧﻁﺎﻟﻙ‬

‫ﻣﻥ ﺍﺣﻣﺭﺍﺭ ﻏﺻﻧﻬﺎ ﺍﻟﻣﻛﺳﻭﺭ‬

‫ﻻﻗﺗﺑﺱ ﻋﻘﻠﻙ ﻭ ﻗﻠﺑﻙ‬

‫ﻟﻧﺳﯾﺟﻲ ﺛﻘﺏ ﻟﻡ ﯾﺗﺭﻣﻡ‬

‫ﻟﻭ ﺗﺩﺭﻱ ﻣﻣﻠﻛﺗﻲ ﻋﺯﺑﺎء‬

‫ﻓﻛﯾﻑ ﺍﺳﺗﺣﻲ ؟‬

‫ﻣﺣﺑﺳﻬﺎ ﻓﻲ ﺍﻟﺟﺣﯾﻡ‬

‫ﻭ ﺍﻏﺗﯾﺎﻝ ﻣﻌﺎھﺩﺗﻲ‬

‫ﻟﻭ ﺗﺩﺭﻱ ﺣﺭﯾﺗﻲ ﺣﻣﺭﺍء‬

‫ﻟﻡ ﺗﺄﺕ ﻣﻥ ﺟﺑﯾﻧﻲ‬

‫ﺫﻭﺑﺎﻧﻬﺎ ﻓﻲ ﺻﺭﺍﻋﻲ ﻣﻊ ﺫﺍﺗﻲ‬

‫ﻟﻡ ﺗﺯﺭﻧﻲ ﻣﻊ ﺑﻘﺎء ﺣﻣﺭﺗﻬﺎ ﻋﻠﻰ ﻛﺎھﻠﻲ‬

‫ﺣﺗﻰ ﺍﻟﻣﻧﺎﻅﺭ ﺍﻟﻁﺑﯾﻌﯾﺔ‬

‫ﺍﺗﻣﻧﻰ‬

‫ﺷﻭھﺗﻬﺎ ﺗﻬﻛﻣﺎﺕ ﺍﻟﺳﻣﺎء‬

‫ﺍﺭﻣﻲ ﻗﺭﻣﯾﺩﺍ ﻓﻭﻕ ﻛﻝ ﺟﺑﺎﻩ‬

‫ﻣﺗﻰ ﺍﺑﺭھﻥ ﺍﻥ ﻗﻠﺑﻙ‬

‫ﻟﯾﺩﺭﻛﻭﺍ‬

‫ﻭﻣﯾﺽ ﻗﻠﺑﻲ‬

‫ﺍﻥ ﺛﻘﺑﻲ ‪ ...‬ﻟﯾﺱ ﻋﺎﺩﯾﺎ ‪.‬‬

‫ﺑﻌﺩﻩ ﻋﻧﻲ‬ ‫ﺍﻧﺗﺣﺎﺭ‬

‫ﺍﯾﺎﺩ ﺍﻟﺧﯾﺎﻁ‬

‫ُ‬ ‫ﺍﻟﻘﻠﻕ ﯾﻘﺿ ُﻡ ﺃﻏﺻﺎﻥَ ﺷﺟﺭﺗﻲ ) ﻛﺭﯾﻡ ﻋﺑﺩ ﷲ (‬ ‫ﺑﺳﺎﺗﯾﻥ ﺍﻟﻭﺣﺩ ِﺓ ﺇﻧﺗﺎﺑﻬﺎ ﺍﻟﻧﺣﻭﻝ‬ ‫ﺍﻟﻔﺭﺡ ﺗﺗﺻﺎﯾ ُﺢ ﻓﻲ‬ ‫ﺩﻓﻭﻑ‬ ‫ﺗﻧﻬﺵ ﺳﯾﺎﻁ ُﻪ‬ ‫ﻑ ﺍﻟﺷ ﱠﻙ‬ ‫َ‬ ‫ُ‬ ‫ﻭﻟّﻰ ﺍﻟﺭﺑﯾ ُﻊ ﺧﻠّ َ‬ ‫ِ‬ ‫ِ‬ ‫ﯾﺳﻭ ُﺩ ﺻﺑﺎ َﺡ ﺧﺭﯾﻔﻬﺎ ﺍﻟﻣﻬﺭﻭﻝ ﻧﻌﺎﺳ ُﻪ ﺍﻟﻛﻬﻝ ﯾﻔﺗ ُﺢ ﺫﺭﺍﻋﯾ ِﻪ‬ ‫ﯾﺳﺗﻭﻁﻥُ ﺍﻟﺣﺯﻥ ﺃﻏﺻﺎﻥَ ﺳﻌﺎﺩ ِﺓ ﺍﻟﺗﻌﻠّﻕ ّ‬ ‫ﺍﻟﻌﺗﯾﻘ ِﺔ ﺗﺣﺗﺿﻥُ ﺍﻟﺳﻭﺍﻗﻲ ﺍﻟﺑﺎﻛﯾﺔ ﺑـ ﻗﻭ ِﺓ ﺍﻹﻋﺻﺎﺭ ﺗﻌ ُ‬ ‫ﯾﺙ ﻣﺯﻣﺟﺭﺓ ﺳﻁﻭﺗﻬﺎ ﺗﺄﻛﻝ ُ ھﺩﯾﻝ َ ﺍﻟﺟﻧﺎﻥ ﻭﺣﯾﺩ ًﺓ‬ ‫ﺗﺳﺎﺑﯾﺢ‬ ‫ﺗﺷﺟﺭھﺎ ﺣﻁﺑﺎ َ ﻟـ ﺑﺭ ِﺩ ﺍﻟﻠﯾﺎﻟﻲ ﺍﻟﻣﻔﺟﻭﻋ ِﺔ ﯾﺷ ّﻁﺑﻬﺎ ﺷﺗﺎء ﻗﺎﺩﻡ ﻁﻭﯾﻝ ‪ .‬ﻋﻠﻰ‬ ‫ﺭﻋﺏ ﺍﻟﻔﺅﻭﺱ‬ ‫ﺗﻧﺗﻅ ُﺭ‬ ‫ّ‬ ‫َ‬ ‫ِ‬ ‫َ‬ ‫ﺍھﺩﺍﺏ ﺍﻟﻔﺟﺭ ﯾﻌﺗﺻ ُﺭ ﺍﻟﯾﻘﯾﻥَ ﺍﻟﻬﺯﯾﻝ ﯾﺳﻔ ُﻙ‬ ‫ﯾﻐﺵ‬ ‫ﺍﻟﻘﻠﻕ ﻣﺭﻭ ُﺩ ﺍﻟﻐﺭﻭﺏ‬ ‫ﺕ ﺗﻐﻔﻭ ﺗﺛﯾ ُﺭ‬ ‫ﻏﺭﺍﺏ ﺍﻟﺧﺳﺎﺭﺍ ِ‬ ‫َ‬ ‫ﱡ‬ ‫ً‬ ‫َ‬ ‫ﺗﺣﺕ ﻭﺳﺎﺩ ِﺓ ﺍﻟﻌﻣﻰ ﺗﺭﻣ ُﻡ‬ ‫ﻣﺫﺑﻭﺣﺔ ﯾﺗﻧﺎﺛ ُﺭ ﺍﻟﻌﻁﺭ ﻣﻧﻔﻠﺗﺎ ً ﺗﺷﺗﻬﯾ ِﻪ ﻛﺭﻛﺭﺍﺕ ﺍﻟﻌﺎﺻﻔﺔ ﺍﻟﻣﺧﺑﻭء ِﺓ‬ ‫ﺍﻟﻘﺑﻼﺕ‬ ‫َ‬ ‫ُ‬ ‫ﺣﻣﺎﻗﺔ ﺍﻟﻬﺫﯾﺎﻥ ‪ .‬ﺇﺫﺍ ﻣﺎ‬ ‫ﯾﻔﺗﺕ ﺃﺣﻼ َﻡ ﺍﻟﻭﺩﺍﻉ ﯾﻐﺳﻠﻬﺎ ﺳﻬ ٌﺭ ﻁﻭﯾﻝ ٌ ﯾﻁﻔﻰ ُء‬ ‫ﺇﺣﻣﺭﺍﺭ ﺟﻔﻭﻥَ ﺍﻟﻣﺟﻬﻭﻝ‬ ‫َ‬ ‫ً‬ ‫ﺗﻌﻭ ُﺫ ﺣﻣﺎﻗﺎﺗﻬﺎ‬ ‫ﺇﺿﻁﺭﺍﺏ‬ ‫ھﺭﻣﺔ ﺗﺗﻼﻗﻔﻬﺎ ﺟﺫﻭﺭھﺎ ﺍﻟﻔ ّﯾﺎﺿﺔ ﺗﺳﺗﻧﻛ ُﺭ‬ ‫ﺕ ﺍﻷﺭﻗﺎﻡ‬ ‫ﺗﺳﺎﻗﻁ ِ‬ ‫ﻣﺷﺎﻋﺭ ﺍﻟﺧﺭﯾﻑ ّ‬ ‫َ‬ ‫ِ‬ ‫َ‬ ‫ً‬ ‫ﻁﻣـﺄﻧﯾﻧﺔ ّ‬ ‫ﺍﻟﻣﺳﺎء ﺍﻟﻣﺗﺷﺎﺑﻛ ِﺔ‬ ‫ﺏ‬ ‫ﻧﺯﻑ ﺍﻟﻅﻧﻭﻥ ﻓﻲ ﺛﻘﻭ ِ‬ ‫ﺃﺯھﺎﺭ ﺍﻹﻧﺑﻌﺎﺙ ﺗﺧﺗ ُﻡ‬ ‫ﺭﻗﺭﻗﺔ‬ ‫ﺗﺑﺙ‬ ‫ﺍﻟﻼﻣﺑﺭﺭﺓ‬ ‫ِ‬ ‫َ‬ ‫ِ‬ ‫ّﺏ ﺻﺣﺎﺭﻯ ﺍﻵ َﻩ ﺗﻠ ﱡﻡ ﺍﻷﻧﯾﻥَ ﺍﻟﻣﺛﻘﻝ َ ﺑـ ﺣﺳﺭ ِﺓ ﺍﻟﻠﻘﺎء ﺗﻔﺗ ُﺢ ﯾﻧﺎﺑﯾﻌﻬﺎ ﺍﻟﺧﺻﺑﺔ ﺗﻐﺳﻝ ُ ﺍﻟﻭھﻥ‬ ‫ﺇﻏﺻﺎﻧﻪ ﺗﺫھ ُ‬ ‫َ‬ ‫َ‬ ‫ﺍﻟﺩﻣﻭﻉ ﻓـ ﺗﺳﺗﻔﯾﻕ ﺍﻟﻔﺭﺍﺷﺎﺕ ﺗﺑﺗﺳ ُﻡ ﯾﻅﻠّﻝ ُ ﻣﺷﻬﺩھﺎ ﺍﻟﺑﻬﯾﺞ ‪.‬‬ ‫ﻟﻭﻋﺔ‬ ‫ﺍﻷﺷﻌﺙ ﺗﺯﯾﻝ ُ‬ ‫ِ‬

‫ﻧﺩﺍﻭﺓ ﻛﺎﻧﻭﻥ ) ﻧﺻﯾﻑ ﺍﻟﺷﻣﺭﻱ (‬ ‫ً‬ ‫ﺍﻷﻭﺭﺍﻕ ﺍﻟﻧﺎﺣ ُ‬ ‫ُ‬ ‫ُ‬ ‫ﺻﻭﺕ ﺭﺣﯾﻠﻬﺎ‬ ‫ﻣﺗﺩﺣﺭﺟﺔ‪،‬‬ ‫ﺍﻷﺷﺟﺎﺭ‬ ‫ﻓﻭﻕ‬ ‫ﺗﺗﻧﻔﺱ ﺁﺧﺭ ﺣﺳﺭﺍﺗﻧﺎ‪ ،‬ﺗﺳﻘ ُﻁ ﻣﻥ‬ ‫ِﻠﺔ ﺍﻟﺻﻔﺭﺍء‪،‬‬ ‫ُ‬ ‫ِ‬ ‫ِ‬ ‫ُ‬ ‫ﺷﺎھﺩﺕ ﺃﻭﺭﺍﻗﺎ ً ﻗﺭﺏ ﺷﺟﺭ ِﺓ‬ ‫ﻑ ﺁﺕِ‪ ،‬ﺃﯾﺎ ُﻡ ﺗﺷﺭﯾﻥ ﺍﺳﺗﻌﺩﺍ ٌﺩ ﻟﺣﻣﻰ ﺍﻟﺑﺭﺩِ‪،‬‬ ‫ﺑﺩ ُء ﻭﻻﺩ ِﺓ ﻋﻣ ٌﺭ ﺁﺧﺭ ﻟﺣﯾﺎ ِﺓ ﺧﺭﯾ ٍ‬ ‫ﺟﺑﻝ‪ ،‬ﻣﺳﺗﻌﻣﺭﺓُ‬ ‫ﻭﻝ ﻧﺩﺍﻭ ٍﺓ ﻓﻲ ﻛﺎﻧﻭﻥ‪ ،‬ﺗﻌﻠﻥ ﺭﺣﯾﻠﻬﺎ ﻣﻊ‬ ‫ﺍﻷﻭﺭﺍﻕ ﺍﻟﯾﺎﺑﺳﺔِ‪ ،‬ﺗﺗﺟﺣﻔﻝ ُ ِﻷ ِ‬ ‫ﺟﻭﺯ ھﻧﺎﻙ ﻓﻲ ﻗﻣ ِﺔ ٍ‬ ‫ِ‬ ‫ٍ‬ ‫ﻧﻭﺭ ﻧﺗﻣﻧﺎﻩ‪.‬‬ ‫ﺃﻭﻝ‬ ‫ِ‬ ‫ﺑﺭﻋﻡ‪ ،‬ھﻛﺫﺍ ھﻲ ﺍﻟﺣﯾﺎﺓُ ﯾﺭﺍﻧﺎ ﺍﻟﺫﻱ ﺭﺣﻝ َ ﺑﺭﺣﻣ ِﺔ ٍ‬ ‫ٍ‬

‫ﺍﻧﺷﻭﻁﺔ ﺍﻟﻠﯾﻝ‬ ‫ﺍﯾﺎﺩ ﺍﻟﺧﯾﺎﻁ‬ ‫ﻟﻥ ﺍﺷﺭﺡ ﺍﻟﻠﯾﻝ ﻣﻥ ﺃﺟﻝ ﺍﻟﺩﻣﻰ ﺍﻟﻛﺑﺭﻯ‬ ‫ﺡ ﯾﻭﻣﺎ ﻋﺿﺔ ﺃﺧـــــــــﺭﻯ؟‬ ‫ﻭﻛﯾﻑ ﺃﺷﺭ ُ‬ ‫ﻭ ﻛﯾﻑ ﺃﺷﺭﺡ ﻟﯾﻼً ﺣﺑﻠﻪ ﻋﻘـــــــــﺩﻱ‬ ‫ﯾﺄﺗﻲ ﻟﯾﺷﻧﻘﻧﻲ ﻓﻲ ﻋﻘﺩﺓ ﺻﻐـــــــــﺭﻯ‬ ‫ﺣﻣﺎﻣﺗﻲ ﻟﻡ ﺗﺯﻝ ﺗﺑﻐﻲ ﺳﻼﻣ َﺗﻬــــــــﺎ‬ ‫ﻟﻛﻧﻬــــﺎ ﻓﻲ ﺭﻏﯾﻔﻲ ﺗﺳﻛﻥ ﺍﻟ ُﻌﻣـــــﺭﺍ‬ ‫ﺍﻟﻲ ﻭﻓﻲ ﺃﻧﻔﺎﺳﻬﺎ ﻏـــــــــــﺭﻕ‬ ‫ﺗﺷﻛﻭ ّ‬ ‫ﺧﻧﺟﺭھﺎ ﻓﻲ ﺟﻧﺣﻬﺎ ﺃﺳـــــﺭﻯ‬ ‫ﻭﻗﺵ‬ ‫ّ‬ ‫ِ‬

‫ﺷﻭﺍھﺩ ﻋﻠﻰ ﻛﻧﺎﯾﺎﺕ ﻅﺎھﺭﺓ‬ ‫ﺍﯾﺎﺩ ﺍﻟﺧﯾﺎﻁ‬

‫ﻟﻡ ھﻲ ﺍﻓﻬﻡ ﺍﻭ ﺍﻋﻘﻝ ﻣﻧﻲ ؟‬

‫ﺭﻣﻭﺷﻬﺎ ﺯﺟﺗﻧﻲ ﻓﻲ ﺍﻟﻌﯾﻧﯾﻥ‬

‫ﻟﻡ ھﻲ ﺍﺳﺭﻉ ﻣﻧﻲ ؟‬

‫ﻭ ﻛﺣﻠﻬﺎ ﺍﻟﺣﺎﻟﻲ ﯾﺷﻕ ﻣﺷﻠﻭﻻﺗﻲ‬

‫ﺍﻟﯾﺳﺕ ﻣﻠﺣﺩﺓ ﻟﻣﺎﺫﺍ ھﻲ ﻣﺗﻔﻭﻗﺔ ﻋﻠﻰ ﺍﯾﻣﺎﻧﻲ‬

‫ﺍﻧﺎﻡ ﻭ ﺍﻧﺎ ﺍﺳﯾﺭھﺎ ﻓﻲ ﺍﻟﻘﻠﺏ‬

‫ھﻝ ھﻧﺎﻙ ﺳﺑﺏ ؟‬

‫ﻟﺳﺕ ﺍﺭﺟﻭ ﻣﻧﻬﺎ ﺍﻟﺣﺏ‬

‫ﺍﺳﺋﻠﺔ ﺍﺣﺎﻭﻝ ﺗﻔﺳﯾﺭھﺎ ﻟﻬﻡ‬

‫ﻟﻛﻧﻲ ﺍﺗﻣﻧﻰ ﻣﻧﻬﺎ ﺍﻟﺣﺏ‬

‫ﯾﺣﺎﻭﻟﻭﻥ ﺍﻥ ﯾﺭﺟﻣﻭﻧﻲ ﺑﺎﻟﺣﺟﺎﺭﺓ‬

‫ھﻧﺎﻙ ﺷﻭﺍھﺩ ﻛﺛﯾﺭﺓ ﺍﺧﺑﺭﺗﻧﻲ‬

‫ﻟﺳﺕ ﻣﻊ ﺍﻟﺯﻣﻥ ﺍﻟﻅﺎﻟﻡ‬

‫ﺍﻧﻬﺎ ﻣﻥ ﺗﻭﺗﺭﺍﺕ ﻏﯾﺭ ﺗﻭﺗﺭﺍﺗﻙ‬

‫ﻟﻛﻧﻧﻲ ﻣﻊ ﺍﻟﺫﺍﺕ ﺍﻟﻣﺷﺗﻌﻠﺔ‬

‫ﻭ ﺍﻧﻬﺎ ﻓﻲ ﻣﻘﺎﻡ ﻏﯾﺭ ﻣﻘﺎﻣﻙ‬

‫ﻓﻲ ﺫﺍﺗﻲ ﺍﻧﻬﺎ ﻣﺅﻣﻧﺔ ﺑﻲ‬

‫ﺍﻧﻬﺎ ﻣﻠﺣﺩﺓ ﺗﻌﺑﺩ ﺍﻻﺻﻧﺎﻡ‬

‫ﻓﻲ ﻋﻘﻠﻲ ﺍﻧﻬﺎ ﻣﺟﻧﻭﻧﺔ ﺑﻲ‬

‫ﻓﻠﻡ ﺍﺻﺩﻗﻬﻡ‬

‫ﻻ ﺍﺣﻣﻝ ﺣﻘﺩﺍ ﺍﻻ ﻣﻊ ﻣﻥ ﺳﺎء ﺧﻠﻘﻪ ﻣﻌﻲ‬

‫ﻟﻡ ﺍﺭ ﻣﻧﻬﺎ ﻣﺎ ﺍﺳﺎء ﺍﻟﻲ‬ ‫ﻟﻡ ﺍﺭ ﻋﯾﻧﻬﺎ ﺗﻬﺟﻭ ﻣﺎ ﺍﻋﺑﺩ‬ ‫ﻟﻡ ﺍﺭﺍھﺎ ﯾﻭﻣﺎ ﺗﻧﺎﺩﯾﻧﻲ ﻣﻠﺣﺩﺍ‬ ‫ﻓﻛﯾﻑ ﺗﻠﺣﺩ ﻭ ﺍﻧﺎ ﺑﻧﻅﺭھﺎ ﻟﺳﺕ ﻣﻠﺣﺩﺍ‬ ‫ﺍﺷﻬﺩ ﺍﻧﻬﺎ ﻏﯾﺭ ﻣﻠﺣﺩﺓ‬ ‫ﻻﻥ ﻋﯾﻧﻲ ﺗﻘﯾﻡ ﺍﻻﺧﻼﻕ‬ ‫ﻟﺳﺕ ﺍﺩﺭﻱ ﻣﺎ ﺑﺎﻝ ﻗﻭﻣﻲ‬ ‫ﯾﺣﺑﻭﻥ ﺍﻥ ﯾﺟﻧﻭﺍ ﻋﻠﻰ ﻗﻠﺑﻲ‬ ‫ﺑﻘﻔﺹ ﻣﻥ ﺣﺟﺭ‬ ‫ﯾﺎ ﺍﯾﻬﺎ ﺍﻟﺭﻭﺡ ﺍﻟﺧﺎﻟﺩﺓ‬ ‫ﻟﻡ ھﻲ ﺍﻓﺿﻝ ﻣﻧﻲ ؟‬ ‫ﻟﻡ ھﻲ ﺍﺟﻣﻝ ﻣﻧﻲ ؟‬

‫ﺩﻭﻥ ﺍﻥ ﺍﺷﻌﺭ‬ ‫ﺍﯾﺎﺩ ﺍﻟﺧﯾﺎﻁ‬ ‫ﻏﺿﺑﺕ‬ ‫ﻓﺣﻣﺭﺗﻬﺎ ﺗﻬﺟﻭﻧﻲ‬ ‫ﻋﻠﻰ ﻓﻘﺭﻱ‬ ‫ﻭ ﺗﻼﺷﻲ ﺍﯾﻣﺎﻧﻲ‬ ‫ﻣﻥ ﺳﺭﻗﻧﻲ ؟‬ ‫ﺩﻭﻥ ﺍﻥ ﺍﺷﻌﺭ‬ ‫ﻣﻥ ﻧﺳﺎﻧﻲ ﻟﻛﻲ ﺍﻏﺭﻑ ﺣﺟﺭﺍ‬ ‫ﻛﺄﻥ ﺍﻟﻭﺍﺩﻱ ﻟﯾﺱ ﻭﺍﺩﯾﺎ‬

‫ﻛﺑﺭﯾﺎء ﺍﻣﺭﺍﺓ‬ ‫)) ﻭﺍﻧﺯﻭﯾﺕ‬ ‫ﻭﻛﻧﺕ ﻗﺑﻝ َ ھﺫﺍ ﻻھﺛﺎ ً‬ ‫َ‬ ‫ُ‬ ‫ﺗﻠﻌﻕ ﻅﻠّﻲ‬ ‫ﻭﺗﻘﻭﻝ ُ ﺍﺭﺗﻭﯾﺕ ‪. . .‬‬ ‫ﺕ ﻭﺟﻬﻲ ﻟﻧﺟﻭﺍ َﻙ‬ ‫ﺗﻠﻣﻠ ُﻡ ﻗﺳﻣﺎ ِ‬ ‫ْ‬ ‫ﻭﺗﻘﻭﻝ ُ ﺍﻛﺗﻔﯾﺕ ‪. . .‬‬ ‫ْ‬ ‫ﺏ ﺣﺫﺍﺋﻲ ﻓﺎﻧﺣﻧﯾﺕ ‪((. . .‬‬ ‫ﻋﻠﻘﺕ ﻋﯾﻧﺎ َﻙ ﺑﻛﻌ ِ‬ ‫ﻭﻟﺭ َﺑﻣﺎ‬ ‫‪.....‬‬ ‫ﻭﺑﻌ َﺩ ﻗﺑﻝ ُ ‪. . .‬‬ ‫ْ‬ ‫ﺩﺍﺭﺕ ﺩﻭﺭﺓٌ ﺣﻣﻘﺎ ُء‬ ‫ْ‬ ‫ﺃﻟﻘﺕ ﻋﺻﺎھﺎ‬ ‫ﻓﻛﺎﻥَ ﺃﻥْ ﺭﺣﻝ َ ﺍﻟﺭﺑﯾ ُﻊ ﺩﻭﻥ ﺃﻥْ ﯾﻭﺻﻲ ‪. . .‬‬ ‫ﺟﺭ ٌﺡ‬ ‫ُ‬ ‫ﯾﺑﺣﺙ ﻋﻥ ﺃﻟﻣِﻪ ‪. . .‬‬ ‫ﻭﺭﺍﺱ‬ ‫ﺍﻟ ّﻧ‬ ‫ُ‬ ‫ﺕ ﻅﻣ ٍﺄ ﻣﺎﻟﺣﺔ ‪. . .‬‬ ‫ﺗﻐﺹ ﺑﻘﻁﺭﺍ ِ‬ ‫ﱡ‬ ‫ﻏﺭﺱ ﺍﻷﺗﺭ َﺝ ﺃﻥْ ﯾﻘ ّﻁ َﻊ ﯾﺩَﻩ ؟‬ ‫ﻛﯾﻑ ﻟﻣﻥ‬ ‫َ‬ ‫ﺳﻧ ّﻣﺎ ُﺭ ﺫﻛ ّﯾﺎ ً ﺍﻟﻰ ﺣ ﱢﺩ ﺍﻟﻐﺑﺎء ؟‬ ‫ﺃﻛﺎﻥَ ُ‬

‫‪.....‬‬ ‫ﺑﺄﺟﻣﻝ ﻗُ ّﺑﺗ ْﯾﻥ‬ ‫ﻋﺑ ْﺛ َﺕ‬ ‫ِ‬ ‫ﺻﻧﻌ ْﺗﻬﻣﺎ ﯾ ُﺩ ﷲ‬ ‫ﺏ ﺳﻭﺍﻩ‬ ‫ﻟﯾﺱ ﻛﻣﺣﺭﺍ ٍ‬ ‫َ‬ ‫ﺹ ﻓﯾﻪ ﺍﻟ ُﻌﯾﻭﻥُ ﻭ ُﺗﺻﻠّﻲ ﺻﺎﻣﺗﺔ !‬ ‫ﺗﺷﺧ ُ‬ ‫ﻣﺭﺍﯾﺎ‬ ‫ﺷﻔﻭﻑ‬ ‫ﻻ ﺗﻛ ُﺗﻣﺎﻥ‬ ‫ﺏ ﺟﺩﯾﺩ !‬ ‫ﻣﺎ ﺃﻟ ﱠﺫ ﺍﺧﺗﻧﺎ َﻗﻬﻣﺎ ﺑﻔﺭﺣ ِﺔ ﺛﻭ ٍ‬ ‫ﺑﺎﺗﺎ ﻁﻠَﻼً‬ ‫ﯾﺑﻛﯾ ِﻪ ﻋﻧ َﺩ ﺳِ ﻘﻁِ ﺍﻟﻠّﻭﻯ ﻣﻠ ٌﻙ ﻭﺻﺎﺣﺑﺎﻩ ‪. . .‬‬ ‫‪.....‬‬ ‫ﻧﺎﻋﺳﺗﺎﻥ‬ ‫ﺣﺭﻭﻑ ﺍﻷﻧﺑﻬﺎﺭ ‪. . .‬‬ ‫ﻑ ﺣﻭﻟَﻬﻣﺎ‬ ‫ُ‬ ‫ﺗﻠﺗ ﱡ‬ ‫ﺃﺭﻗﺎ ً ﻟﻠ ْﯾ ٍﻝ‬ ‫ﺑﻌ َﺕ‬ ‫ﺳﺣﺭھﻣﺎ َ‬ ‫َ‬ ‫ْ‬ ‫ْ‬ ‫ﺗﻧﺎﺳﺧﺕ ﺃﺣﻼ ُﻣ ُﻪ‬ ‫ﺻﻭﺭﺍً ﺫ ُﺑﻠﺕ ‪. . .‬‬ ‫ﻏﺎﺏ ﻋﻧﻬﺎ ﻣ ِْﺭﻭﺩ‬ ‫َ‬ ‫ﻟﻌﻝ ﱠ ﺳﺎﺣﺭﺗﯾﻥ ﻣﻥ ﺑﺎﺑﻝ‬ ‫ﺍﺣﺗﺎﻟﺗﺎ‬ ‫ﻓﻭﺍھﺎ ً‬ ‫ﺳﺭ ‪. . .‬‬ ‫ﻟﺣﺳﻥ ﺣﯾﻥَ ﯾﺅ َ‬ ‫ٍ‬

‫ﺍﻟﻛﺣﻝ ؟‬ ‫ﯾﻝ ﻏﯾ ُﺭ ھﺫﺍ‬ ‫ﺃﻟﻣﻬﻭﺍ ِ‬ ‫ِ‬ ‫ﺕ ﺍﻟﻠّ ِ‬ ‫‪.....‬‬ ‫ﺟﻭﺭ ّﯾﺗﺎﻥ‬ ‫ﺣﯾﻥ ﺗﻧﻔﺭﺟﺎﻥ‬ ‫ﯾﻭﻟ ُﺩ ﺻﺑ ٌﺢ ﺑﻼ ﺧﯾﻁٍ ﺃﺑﯾﺽ ‪. . .‬‬ ‫ﺷﻕ ﺍﻟﻭﺟﻭ ُﺩ ُﺟﺭﺣﺎ ً ﺟﻣﯾﻼً ﺑﻬﺫﺍ ﺍﻟ ّ‬ ‫ﻣﺗﻰ ﱠ‬ ‫ﺷﻛﻝ ؟‬ ‫ﻣﺎ ﻛﺎﻥ ﺫﻟ َﻙ ّ‬ ‫ﺍﻟﺭﺟﻝ ُ‬ ‫ً‬ ‫ً‬ ‫ﻏﺎﻣﺿﺔ ﻋﻠﻰ ﻭﺟ ِﻪ ﻣﻭﻧﺎﻟﯾﺯﺍﻩ ‪. . .‬‬ ‫ﺍﺑﺗﺳﺎﻣﺔ‬ ‫ﻟﯾﺧ ﱠﻁ‬ ‫ﻟﻭ ﺃﻥّ ﻋﯾﻧ ْﯾ ِﻪ‬ ‫ﻁﯾﻑ ﻣﻥ ﺃﻭﺭﻭﻙ !‬ ‫ﺗﺳﺎﻣﺭ ﻓﯾﻬﻣﺎ‬ ‫ٌ‬ ‫َ‬ ‫ﺫﺑﻭﻝ‬ ‫ﻭﻥ ﺍﻷﺣﻣﺭ‬ ‫ﯾﺗﻧﺎھﻰ ﻓﯾﻪ ﺟﻧﻭﻥُ ﺍﻟﻠّ ِ‬ ‫ﺃﻣﺳﯾﺗﺎ ﺑﻼ ﺭﺣﯾﻕ ‪. . .‬‬ ‫ﺑﺎﺭﺩﺗ ْﯾﻥ‬ ‫ﺗﻧﺩﺑﺎﻥ ﺭﺿﺎﺑﺎ ً‬ ‫ﺗﻌ ْﻠﻘ َﻡ ﻗُ َﺑﻼً ﻟﻠﺣﯾﺎ ِﺓ ﻣ ّﯾﺗﺔ ‪. . .‬‬ ‫‪.....‬‬ ‫ﺇﯾ ٍﻪ‬ ‫ﺃ ﱡﯾﻬﺎ ّ‬ ‫ﻗﺻﻭﺭ ُﻋﺗﺎﺗِﻪ‬ ‫ﺩﺟﻥُ ﻓﻲ‬ ‫ﺍﻟﺯﻣﻥُ ﺍﻟ ُﻣ ّ‬ ‫ِ‬ ‫ﻏﺭﺍﺏ ﺳﻭء َﺓ ﺃﺧﯾﻪ ‪. . .‬‬ ‫ُﻣ ْﺫ ﺩﻓﻥَ‬ ‫ٌ‬ ‫ﺗﻔﺭ َﻕ ﺑﯾﻥ ﺟﻶ ٍﺩ ﻭﺿﺣ ّﯾﺔ‬ ‫ﺃ ّﻧﻰ ﻟ َﻙ ﺃﻥْ ّ‬

‫ﻭﻗﺩ ﺳﻣﻠﻭﺍ ﻣﻧ َﻙ ﺍﻟﻌﯾﻧ ْﯾﻥ؟‬ ‫َ‬ ‫ﻋﺻﺭﺕ ُﻛﻝ ﱠ ﺃﯾﺎﻣﻲ‬ ‫ﻟﻭ ﺃ ﱠﻧﻙ‬ ‫َ‬ ‫ﻋﺷﻕ‬ ‫ﻭﺟﺩﺕ ﺳﻭﻯ‬ ‫ﻓﻣﺎ‬ ‫ٍ‬ ‫ﻟﯾﺱ ﻟ َﻙ ﻋﻠﯾ ِﻪ ﺳﻠﻁﺎﻥ ‪. . .‬‬ ‫َ‬ ‫ﻋﺭﺵ ﺑﻠﻘﯾﺱ‬ ‫ھﻭ‬ ‫ُ‬ ‫ﺑﻠﺟﺗِ ِﻪ َﻏ ِﺭﻕ ‪. . .‬‬ ‫ﻻ ﯾﺭﺗﻘﯾ ِﻪ ﺇﻵ ﺇ ّﯾﺎﻩُ ﺍﻟﺫﻱ ّ‬ ‫ﻣﺎ ّ‬ ‫ﺧﺷﺑﻲ ‪. . .‬‬ ‫ﺣﺻﺎﻥ‬ ‫ﺃﺟﻝ ﻋﯾﻧ ْﯾﻬﺎ ﻋﻥ‬ ‫ّ‬ ‫ﺗﻣﺧ َ‬ ‫ﺽ ﺍﻟﺑﺣ ُﺭ ﻣﻥ ِ‬ ‫ٍ‬ ‫ﻻ ﺃﻣﻘ ُﺗﻙ‬ ‫ﺃﻋﻁﻑ ﻋﻠﯾﻙ‬ ‫ﺑﻝ‬ ‫ُ‬ ‫ﻷ ّﻧ َﻙ ﺃﺗﻔ ُﻪ َﻣﻥْ ﺃﻥْ ﺗﻛﻭﻥَ ﺧﺻﻣﺎ ً ﺃُﻧﺎﺯﻟُﻪ !‬ ‫‪.....‬‬ ‫ُ‬ ‫ﻛﻑ ﺍﻟﻘﺩﺭ‬ ‫ﻣﺎﺯﻟﺕ ﺃﻣﻸ ُ ﱠ‬ ‫ﺃﻗﻭﻝ ُ ﻻ‬ ‫ﺣﯾﻥَ ُﺗﺭﯾﺩُﻧﻲ ﻗﻭﻝ َ َﻧ َﻌ ْﻡ ‪. . .‬‬ ‫ﺟﻣﺭﺍً‬ ‫ﯾﺗﻣﺭ ُﺩ ﻋﻠﻰ ﺭﻣﺎ ِﺩ‬ ‫ّ‬ ‫ﻩ‪...‬‬ ‫ً‬ ‫ﺑﺎﺳﻘﺔ‬ ‫ً‬ ‫ﻋﺻﯾﺔ ﻋﻠﻰ ﺍﻻﻧﺣﻧﺎء‬ ‫ﺗﺯﺩﺭﻱ ﺣﺎﺻ َﺑﻬﺎ‬ ‫ﻻ ُﺗﻁﻌﻣ ُﻪ ﺣﯾﻥ ﯾﺄﻛﻠُ ُﻪ َﺟﺩْ ﺏ ‪. . .‬‬

‫ﺍﺫھﺏ‬ ‫َ‬ ‫ﻏﯾﺭ َﻣﺗﻥ‬ ‫ﺃﻧﺕ ﻋﻧﻭﺍﻥٌ ﻣﻥ ِ‬ ‫ﻗﺩ ﺗﻛﻭﻥُ ﺍﻷﺳﻣﺎ ُء ﻣﺿﻁﻬﺩ ًﺓ ﻛﺫﻟﻙ !‬ ‫‪.....‬‬ ‫ﻛﻧﺕ ﺃﻧﺎ ً‬ ‫ُ‬ ‫ﻟﯾﻠﺔ ﺷﻬﺭﺯﺍﺩ‬ ‫ﺇﻥْ‬ ‫ﻛﻧﺕ َ‬ ‫ﻓﻣﺎ َ‬ ‫ﺃﻧﺕ ﯾﻭﻣﺎ ً ﺷﻬﺭﯾﺎﺭ ‪. . .‬‬ ‫ُ‬ ‫ﻣﺎﺯﻟﺕ ﺍﻣﺭﺍ ًﺓ‬ ‫ﺗﺭﺗﺩﻱ ﺛﻭ َﺑﺎ ً‬ ‫ﺳﻭﻣﺭﻱ ‪. . .‬‬ ‫ھﻭﺭ‬ ‫ﺗﺭﻛ ُﻪ ﺍﻟ ّﻁﻭﻓﺎﻥ ﻋﻠﻰ ﺿﻔﺎ ِ‬ ‫ّ‬ ‫ﻑ ٍ‬ ‫ﺃﺣﻣﻝ ُ ﺗﺎ َﺝ ﻋﺷﺗﺎﺭ‬ ‫ﻭﻣﺎﺯﺍﻝ َ ﺩﯾﻣﻭﺯﻱ‬ ‫ﯾﻧﺗﻅﺭﻧﻲ ﻋﻧ َﺩ ﺍﻟﺑﺎﺏ ‪. . .‬‬ ‫ّ‬ ‫ﻁﯾﺭ ﻣﻬﺎﺟﺭ‬ ‫ﺍﻟﺯﺑ ُﺩ ﻻ ﯾﺭﻭﻱ‬ ‫َ‬ ‫ﻣﻧﻘﺎﺭ ٍ‬ ‫ﻧﺻﺭ ﻋﻠﻰ ﺭﯾﺢ ‪. . .‬‬ ‫ﻭﻻ ﻋﻘ َﺩ ﺩﻭﻧﻛﯾﺷﻭﺕ ﻟﻭﺍ َء‬ ‫ٍ‬ ‫ﺍﻟﺣﯾﺎﺓُ ﺷﻣﺱ‬ ‫ﻏﺭﺱ‬ ‫ﻋﺭﺱ ‪! . . .‬‬ ‫‪.....‬‬ ‫ﻋﺑﺩ ﺍﻟﺟﺑﺎﺭﺍﻟﻔﯾﺎﺽ‬

‫ﺣﺩﯾﺙ ﻻ ﺻﺣﺔ ﻟﻪ‬ ‫ﻣﻥ ﺍﻟﻣﺟﻣﻭﻋﺔ ﺍﻟﺟﺩﯾﺩﺓ )ﻣﻥ ﯾﺷﺗﺭﻱ ﻋﻘﻼ ﺑﺩﺭھﻣﯾﻥ ( ﻟﻸﺩﯾﺏ‬ ‫ﻭﺩﯾﻊ ﺷﺎﻣﺦ‬ ‫ﺗﺣﻑ ﺍﻻﺷﺟﺎﺭ ﺭﻭﺣﻬﺎ‬ ‫ّ‬ ‫ﺗﺧﻠﻊ ﺃﻭﺭﺍﻗﻬﺎ ﻟﺳﻔﺎﺩ ﺍﻟﻣﺗﻌﺔ ﻭﻋﺭﺍء ﺍﻟﺣﺭﻭﻑ ‪..‬‬ ‫ﺍﻟﻠﻐﺔ ﺍﻟﺑﺎﺷﻁﺔ ﺑﺧﻭﺍء ﺭﻓﯾﻔﻬﺎ ‪ ..‬ﺗﺳﺗﺭﯾﺢ ﻓﻲ ﺍﻟﻣﻘﻌﺩ ﺍﻷﻭﻝ ‪.‬‬ ‫ﻟﻐﻭ ﯾﺷﺎﻁﺭ ﺍﻟﻘﻬﻭﺓ ﺭﻏﻭﺗﻬﺎ ‪..‬‬ ‫‪......‬‬ ‫◌َ ﻣﻥْ ﺃﺷﺎﺭ ﻟﻠﻁﯾﻭﺭ ﺃﻥ ﺗﻘﻁﻑ ﺍﻟﺯﺭﻗﺔ ﻣﻥ ﺍﻟﺳﻣﺎء ‪ ،‬ﺍﻷﺟﻧﺣﺔ ﻣﻥ ﺍﻟﺣﻠﻡ ؟؟‬ ‫ﺍﻟﻲ ‪.‬‬ ‫ﺗﻠﺛﻎ ﻓﻲ ﺍﻟﻭﺻﻭﻝ ّ‬ ‫ﺑﻼ ﺳﻧﺎﺭﺓ ﯾﺫھﺏ ﺍﻟﺑﺣﺭ ‪،.‬‬ ‫ُ‬ ‫ﺍﻟﻌﺎﺷﻕ ﻣﻠﻛﻭﺗﻪ ‪.‬‬ ‫ﻭﺩﺍﻉ ﯾﻬﺟﺭ‬ ‫ﺑﻼ‬ ‫َ‬ ‫ﺍﻟﺧﺷﺏ ﻏﯾﺭ ﺻﺎﻟﺢ ﻟﻠﻣﻛﻭﺙ‬ ‫ﻁﻭﻓﺎﻥ ﻣﺩﯾﺩ‬ ‫‪................‬‬ ‫ھﻛﺫﺍ ﯾﺄﻧﺱ ﺍﻟﺧﺭﯾﻑ ﺑﺛﻣﺎﻟﺗﻧﺎ‬ ‫ﺣﻣﺎﻗﺔ ﺗﻠﺩ ﻭھﻣﺎ‬ ‫ﺍﻟﻣﺎء ﯾﻘﺗﺭﺡ ﻧﻬﺭﺍ ﻟﻌﺑﻭﺭﻧﺎ‬ ‫ﺍﺗﺫﻛﺭ ﺟﺎﺭﻱ ﺍﻷﺻﻠﻊ‬ ‫ﯾﺭﺗﻛﺏ ﺣﻣﺎﻗﺎﺕ ﺍﻟﺷﺗﺎء ﺑﻣﻌﻁﻑ ﺳﻘﺭﺍﻁ‬ ‫ﻻ ﯾﺟﯾﺩ ﺗﻘﺭﯾﻅ ﺍﻟﻁﺑﯾﻌﺔ ﻭﺍﻟﻧﺳﺎء‬

‫ﯾﺭﻗﺹ ﻣﻊ ﺍﻟﺻﺑﯾﺔ ﻓﻲ ﺍﻟﻣﻭﺍﻛﺏ‬ ‫ُﯾﻐﻠﻑ ﺍﻟﺷﻣﺱ ﺑﺎﻟﻐﺭﺍﺑﯾﻝ‬ ‫‪......‬‬ ‫ﻣﺩﻥ ﺁﯾﻠﺔ ‪ ،‬ﻣﺩﻥ ﺣﺎﻟﻣﺔ‬ ‫ﻣﺩﻥ ﺑﻼ ﻣﺭﺍﯾﺎ‬ ‫ﺍﻟﻔﺻﻭﻝ ﺗﺧﺎﺗﻝ ﺍﻟﻌﻭﺍء‬ ‫ﺗﻭﺍﺭﺏ ﺍﻟﻘﻭﻝ ‪ ..‬ﺗﻣﺿﻲ‬ ‫ُ‬ ‫ﻛﻌﺎﺻﻔﺔ ﺗﺭﻣﻲ ﺍﻟﻧﺭﺩ ﺑﻭﻗﺎﺣﺔ ﻋﺎھﺭ‬ ‫‪.....‬‬ ‫ﺍﻟﺣﺩﯾﺙ ﺟﻣﺭﺓ‬ ‫ﺍﻟﺭﻣﺎﺩ ﺃﺑﺟﺩﯾﺔ‬ ‫ُ‬ ‫ﺃﻗﺳﻣﺕ ﺑﺎﻻﺟﻧﺣﺔ‪ ،‬ﺗﺟﻠﺱ ھﻧﺎﻙ ﺻﻔﺭﺍء‬ ‫ﺗﻼﻋﺏ ﺍﻟﺭﯾﺢ ﺟﺫﻭﺗﻬﺎ‬ ‫ﺗﺩﻙ ﺍﻟﺳﻣﺎﺩ ﺑﺣﻧﯾﻥ‬ ‫ﺗﺭﺳﻭ ﻋﻠﻰ ﺍﻟﻣﺭﺍﻓﻰء ﻭﺗﻐﻧﻲ‬ ‫‪............‬‬ ‫ﻟﻡ ﯾﻌﺩ ﺍﻟﻘﻭﻝ ﺻﺎﻟﺣﺎ ﻟﻠﺣﻠﻡ‬ ‫ﺻﺎﺣﺑﺔ ﺍﻟﺟﻼﻟﺔ‬ ‫ﺗﻧﺣﻧﻲ ﻟﻠﻌﺻﺎ ‪ ،‬ﺗﻬﻣﺱ ﻟﺛﻌﺑﺎﻧﻬﺎ ‪،‬‬ ‫ﺃﻥ ﯾﻘﺗﺭﺡ ﻁﻭﻓﺎﻧﺎ ﺃﻋﻠﻰ ﻣﻥ ﺧﺷﺏ ﺍﻟﻐﺎﺑﺔ‪،‬‬ ‫ﻭﺗﻭﻣﻰء ﻟﻠﺳﻣﺎء‬

‫ﻧﻬــﺎﯾﺔ ﺍﻟـﺣﻠــﻡ‬ ‫"""""""""""" ﻗﺻﺔ ﻗﺻﯾﺭﺓ ‪ ..‬ﺑﻘﻠﻡ ‪ /‬ﻋﺎﺩﻝ ﺍﻟﻣﻌﻣﻭﺭﻱ‬

‫ﺕ ﺗﻧﺗﻅﺭﯾﻥ ﺍﻟﻁﺎﺋﺭﺓ ﺍﻟﻘﺎﺩﻣﺔ ﻣﻥ ﻟﻧﺩﻥ‪ .‬ﻷﻭﻝ ﻣﺭﺓ‬ ‫ﻋﻠﻰ ﺃﺭﺽ ﺍﻟﻣﻁﺎﺭ ﻭﻗﻔ ِ‬ ‫ﺗﻁﺄ ﻗﺩﻣﺎﻙِ ﺃﺭﺽ ﺍﻟﻣﻁﺎﺭ ﻟﺗﺳﺗﻘﺑﻠﻲ ﺃﺣﺩﺍ‪ .‬ﺛﻣﺔ ﺍﻣﺭﺃﺗﺎﻥ ﺗﻘﻔﺎﻥ ﻟﯾﺱ ﺑﻌﯾﺩﺍً‬ ‫ﺗﺭﻗﺏ ﺍﻷﺟﻭﺍء ﻟﻣﺷﺎھﺩﺓ ﺍﻟﻁﺎﺋﺭﺓ ﻓﻲ ﺍﻟﺟﻭ ﻟﺗﺣﻁ ﺑﻌﺩ ﺩﻗﺎﺋﻕ‬ ‫ﻋﻧﻙ‪ .‬ﺍﻟﻌﯾﻭﻥ‬ ‫ُ‬ ‫ﻣﻌﺩﻭﺩﺓ‪،‬ھﺫﺍ ﻣﺄ ﺃﺧﺑﺭﺕ ﺑﻪ ﻣﺫﯾﻌﺔ ﺍﻹﺫﺍﻋﺔ ﺍﻟﺩﺍﺧﻠﯾﺔ ﻟﻠﻣﻁﺎﺭ ‪ ،‬ﺍﻧﺗﻅﺭﺗِﻪ ﻋﺩﺓ‬ ‫ﺳﻧﻭﺍﺕ‪ ،‬ﻣﺎ ﯾﺿﯾﺭﻙ ﻟﻭ ﺍﻧﺗﻅﺭﺗِﻪ ﺳﺎﻋﺔ ﺃﺧﺭﻯ؟ ﻟ ْﻡ ﺗﺻﺩّﻗﻲ ﺃﻭﻝ ﺍﻷﻣﺭﻋﻧﺩﻣﺎ‬ ‫ﺍﻟﺟﻭﺍﻝ‪ ،‬ﻟﺗﺧﺑﺭﻙِ ﻋﻥ ﻗﺭﺏ ﻭﺻﻭﻝ ﺧﺎﻟﺩ ﺃﺭﺽ ﺍﻟﻭﻁﻥ‪،‬‬ ‫ﺗﻠﻔﻧﺕ ﺃﺧﺗﻪ ﻋﺑﺭ ّ‬ ‫ﺕ ﻛﺛﯾﺭﺍ ﺑﺩﻋﻭﺗﻬﺎ ﻹﺳﺗﻘﺑﺎﻝ ﺃﺧﯾﻬﺎ‪ ،‬ﻟﻡ ﺗﻛﻥ ھﻲ ﻣﻁﻣﺋﻧﺔ ﻟﻌﻼﻗﺗﻙ ﺑﺄﺧﯾﻬﺎ‬ ‫ﺷﻛﻛ ِ‬ ‫ﺕ ﻓﯾﻣﺎ ﺑﻌﺩ ﺑﻌﺩ ﻣﺷﺎﺩّﺓ ﻛﻼﻣﯾﺔ ﺑﯾﻧﻙ ﻭﺑﯾﻧﻬﺎ ‪،‬ﺃﻧﻬﺎ ﺗﺭﻏﺏ ﺑﺯﻭﺍﺝ ﺃﺧﯾﻬﺎ‬ ‫‪،‬ﻋﺭﻓ ِ‬ ‫ﺕ ﺭﺫﺍﺫ ﺃﻧﻔﺎﺳﻙِ ﻟﺗﻬﺭﻋﻲ‬ ‫ﺕ ﺑﻘﺎﯾﺎﻙ ﻋﻠﻰ ﻋﺟﻝ‪ ،‬ﺷﺣﺫ ِ‬ ‫ﻣﻥ ﺃﺑﻧﺔ ﺧﺎﻟﺗﻙ ‪،‬ﻟﻣﻠ ّﻣ ِ‬ ‫ﺻﻭﺏ ﺍﻟﻣﻛﺎﻥ ﺍﻟﺫﻱ ﺳﯾﺷﻬﺩ ﻋﻭﺩﺓ ﺍﻟﻔﺭﺡ ﻭﺍﻟﺳﻌﺎﺩﺓ ﺑﻌﺩ ﺻﺑﺭ ﻣﻣﺽ ‪.‬ﻣﺎ‬ ‫ﺃﻏﺎﻥ ﺣﺯﯾﻧﺔ ﺗﺗﻣﺩﺩ ﻓﻭﻕ‬ ‫ﺯﺍﻝ ﺍﻟﻭﻗﺕ ﯾﻘﻔﺯ ﻓﻭﻕ ﻁﻌﻧﺎﺕ ﺍﻟﻔﺭﺍﻕ‪ ،‬ﯾﺗﻠﻭ ﻋﻠﯾﻙِ‬ ‫ِ‬ ‫ﺑﺳﺎﻁ ﺍﻟﻠﻭﻋﺔ ‪ .‬ﯾﻭﺷﻡ ﻓﻲ ﻋﯾﻧﯾﻙ ﻧﺑﻭءﺓ ﺗﺣﻣﻝ ﺃﻟﻭﺍﺡ ﺍﻷﺣﻼﻡ ﺍﻟﻘﺎﺩﻣﺔ ‪ .‬ھﺎ‬ ‫ﺳﺭ ﺧﻠﻑ ﺃﺳﻭﺍﺭ ﺗﻠﻙ‬ ‫ھﻭ ﺍﻟﺿﯾﺎء ﺍﻵﺗﻲ ﻣﻥ ﺷﻣﺱ ھﺫﺍ ﺍﻟﯾﻭﻡ ﺍﻟﺑﻬﻲ ﺗﺗﻛ ّ‬ ‫ﺍﻟﻠﯾﺎﻟﻲ ﺍﻟﺳﻭﺩ ﺍﻟﺗﻲ ﻋﺎﻧﯾﺗﻬﺎ‪.‬ﺫﺍﺕ ﺻﺑﺎﺡ ﻓﻲ ﺣﻔﻝ ﺍﻟﺗﺧﺭﺝ ﻗﺎﻝ ﻟﻙِ ‪:‬‬ ‫ ﺳﺄ ﺳﺎﻓﺭ ﺇﻟﻰ ﻟﻧﺩﻥ ﻷﻛﻣﻝ ﺩﺭﺍﺳﺗﻲ‪ ،‬ﺍﻧﺗﻅﺭﯾﻧﻲ ﺃﺭﺑﻊ ﺳﻧﻭﺍﺕ ﻓﻘﻁ‪ ،‬ﺳﺄﻋﻭﺩ‬‫ﺑﻌﺩھﺎ ﺑﺎﻟﺷﻬﺎﺩﺓ ﺍﻟﻛﺑﺭﻯ‪ ،‬ﻭﺳﻧﺗﺯﻭﺝ‪ ،‬ﺍﻧﺗﻅﺭﯾﻧﻲ ﯾﺎ ﺣﺑﯾﺑﺗﻲ‪.‬‬ ‫ﺃﺣﺭ ﻣﻥ ﺍﻟﺟﻣﺭ‪.‬‬ ‫ ﺳﺄﻧﺗﻅﺭ َﻙ ﻋﻠﻰ ِ‬‫ﻁﺑﻊ ﻗﺑﻠﺔ ﻋﻠﻰ ﺟﺑﯾﻧﻙِ ﻭﺭﺣﻝ‪ .‬ﺍﻧﻘﻁﻌﺕ ﺃﺧﺑﺎﺭﻩ ﺗﻠﻙ ﺍﻟﺳﻧﯾﻥ ﺍﻟﻁﻭﯾﻠﺔ ﻗﺿﺎھﺎ‬ ‫َ‬ ‫ﺗﺟﺗﺭﯾﻥ ﺍﻟﺫﻛﺭﯾﺎﺕ‪ .‬ﺗﺟﻠﺳﯾﻥ ﻓﻭﻕ ﻣﺟﻣﺭﺓ ﻟﻥ‬ ‫ﺕ‬ ‫ﻓﻲ ﺃﺭﺽ ﺍﻟﻐﺭﺑﺔ‪ .‬ﺭﺣ ِ‬ ‫ّ‬ ‫ﯾﻧﻁﻔﺊ ﺃﻭﺍﺭھﺎ‪ .‬ﺗﺳﻛﺑﯾﻥ ﺃﯾﺎﻡ ﻋﻣﺭﻙ ﺍﻟﻣﺟﺭﻭﺡ ﻓﻲ ﻛﺄﺱ ﺍﻹﻧﺗﻅﺎﺭ‪ .‬ﺗﺻﺭﺧﯾﻥ‬ ‫ﻣﻥ ﻭﺧﺯ ﺍﻷﺷﻭﺍﻙ‪ .‬ﺳﻧﺎﺑﻙ ﺍﻟﺷﻭﻕ ﺗﺩﻭﺱ ﻋﻠﻰ ﻣﺎ ﺗﺑ َﻘﻰ ﻣﻥ ﻧﺿﺎﺭﺓ ﻟﺩﯾﻙ‪،‬‬

‫ﺳﺭ ﻓﻲ ﻣﺭﺍﯾﺎ ﺍﻟﺭﻭﺡ‪.‬‬ ‫ﺗﻠﻭﺡ ﻓﻲ ﺧﺎﻁﺭﻙ ﺍﻟﻛﺳﯾﺭ ﺷﻅﺎﯾﺎ ﺣﻠﻡ ﻣﻬﺯﻭﺯ‪ .‬ﺗﺗﻛ ّ‬ ‫ﺕ ﻟﻬﺎ‪:‬‬ ‫ﺕ ﻣﻥ ﺃﺧﺗﻪ ﺍﻟﺗﻲ ﻛﺎﻧﺕ ﺗﻘﻑ ﻋﻠﻰ ﻣﻘﺭﺑ ِﺔ ﻣﻧﻙ ﻗﻠ ِ‬ ‫ﺩﻧﻭ ِ‬ ‫ﺕ ﺃﻧﻪ ﺳﯾﻌﻭﺩ ﺍﻟﯾﻭﻡ‪ ،‬ﺃﻟﻡ ﺗﺧﺑﺭﯾﻧﻲ ﺃﻥ ﺍﻹﺗﺻﺎﻝ ﻣﻘﻁﻭﻉ ﺑﯾﻧﻛﻡ‬ ‫ ﻛﯾﻑ ﻋﻠﻣ ِ‬‫ﻭﺃﺧﺑﺎﺭﻩ ﻣﻘﻁﻭﻋﺔ ﻋﻧﻛﻡ ﺗﻣﺎﻣﺎ ؟‪.‬‬ ‫ﺍﻟﺗﻔﺗﺕ ﺇﻟﯾﻙِ ﻭھﻲ ﺗﺭﻣﻘﻙِ ﺑﻧﻅﺭﺓ ﺇﺳﺗﯾﺎء ﺗﻠﻭﺡ ﻓﻲ ﻋﯾﻧﯾﻬﺎ ﺍﻟﺻﻐﯾﺭﺗﯾﻥ‪.‬‬ ‫ﺃﺟﺎﺑﺕ‪:‬‬ ‫ ﻟﻡ ﯾﻛﻥ ﯾﺗﺻﻝ ﺑﻧﺎ ﻗﻁﻌﺎً‪ ،‬ﻭﻟﻛﻥ ﺍﺑﻥ ﻋﻣﺗﻲ ﻧﺯﺍﺭ ﻛﺎﻥ ﯾﺧﺑﺭﻧﺎ ﻋﻧﻪ ﺑﯾﻥ ﻭﻗﺕ‬‫ﻭﺁﺧﺭ‪ ،‬ﺍﻟﺑﺎﺭﺣﺔ ﻓﻘﻁ‪ ،‬ﺍﺗﺻﻝ َ ﺧﺎﻟﺩ ﺑﻧﻔﺳﻪ ﻭﺃﺧﺑﺭﻧﻲ ﺃﻧﻪ ﺳﯾﻌﻭﺩ ﺍﻟﯾﻭﻡ ﺇﻟﻰ‬ ‫ﺑﻐﺩﺍﺩ‪.‬‬ ‫ﺕ ﺗﻌﺭﻓﯾﻥ ﻣﻥ ﺍﻟﻣﻣﻛﻥ ﺃﻥ ﺗﻛﺫﺏ ﻋﻠﯾﻙ ﻭﺃﻧﻬﺎ ﻋﻠﻰ ﺍﺗﺻﺎﻝ ﺩﺍﺋﻡ ﺑﻪ‪.‬‬ ‫ﺃﻧ ِ‬ ‫ﺕ ﺧﻁﻭﺗﯾﻥ ﺇﻟﻰ ﺍﻟﻭﺭﺍء ‪.‬ﻓﯾﻣﺎ ﻛﺎﻧﺕ ﻋﯾﻧﺎﻙِ‬ ‫ﻟ ْﻡ ُﺗﻔﺎﺟﺋﻲ ﺑﻛﺭھﻬﺎ ﻟﻙ‪ ،‬ﻟﺫﺍ ﺗﺭﺍﺟﻌ ِ‬ ‫ﺗﻧﻅﺭﺍﻥ ﺇﻟﻰ ﻣﺩﺭﺝ ﺍﻟﻣﻁﺎﺭ ‪.‬ھﻲ ﻻ ﺗﺻﻐﻲ ﻟﺗﺄﻭھﺎﺕ ﻋﺫﺍﺑﻙ ﻭﺻﺑﺭﻙ ﺍﻟﻁﻭﯾﻝ‬ ‫ﻭﺩﻣﻭﻉ ﻋﯾﻧﯾﻙ ﺍﻟﻣﺭﺍﻗﺔ ﻋﻠﻰ ﺃﺭﺻﻔﺔ ﺍﻟﻠﯾﺎﻟﻲ ﺍﻟﺑﺎﺭﺩﺓ ﻭﺻﻘﯾﻊ ﺃﺣﻼﻣﻙ‬ ‫ﺍﻟﻣﺅﺟﻠﺔ‪ .‬ﻣﻧﺫ ﺳﻔﺭﻩ ﺍﻟﻁﻭﯾﻝ ﺗﻧﺗﻅﺭﯾﻥ ﺯﻭﺭﻕ ﺍﻟﻌﻭﺩﺓ‪ .‬ﺗﺭﻧﻭ ﻋﯾﻧﺎﻙِ ﻧﺣﻭ‬ ‫ﻧﻭﺍﺭﺱ ﺍﻟﺑﺣﺭ ﻟﺗﺣﻣﻝ ﻟﻙ ﺍﻟﺑﺷﺎﺭﺓ ‪ .‬ﺗ ّ‬ ‫ﺷ ُﻊ ﻋﯾﻧﺎﻙ ﺑﺄﻟﻕ ﻏﺭﯾﺏ ھﺫﺍ ﺍﻟﺻﺑﺎﺡ‪.‬‬ ‫ﺕ ﻛﻝ‬ ‫ﺃﺷﺟﺎﺭ ﺣﻠﻣﻙ ﺳﺗﻼﻣﺱ ﺍﻧﻌﻛﺎﺱ ﺍﻟﺯﻣﻥ ﻓﻭﻕ ﺷﻌﺎﻉ ﺍﻟﺷﻣﺱ ‪ ،‬ﺭﻓﺿ ِ‬ ‫ﻣﻥ ﺗﻘﺩﻡ ﻟﻁﻠﺏ ﯾﺩﻙِ ﻭﺃﺻﺭﺭﺕ ﻋﻠﻰ ﺍﻧﺗﻅﺎﺭﻩ‪ ،‬ﺭﻏﻡ ﺍﻟﺣﺎﺡ ﺃﻣﻙِ ﺑﺿﺭﻭﺭﺓ‬ ‫ﺍﻟﺯﻭﺍﺝ ﺑﻣﻥ ﺗﻘﺩﻣﻭﺍ ﺇﻟﯾﻙ ‪.‬ھﻡ ﻓﻲ ﺩﺭﺟﺎﺕ ﻭﻅﯾﻔﺔ ﺗﻧﺎﺳﺏ ﺷﻬﺎﺩﺗﻙ ﺍﻟﺟﺎﻣﻌﯾﺔ‬ ‫ﻓﻲ ﺍﻟﻬﻧﺩﺳﺔ ﻭﻟﻛﻥ ﻟﻠﻌﺷﻕ ﺃﺣﻛﺎﻡ ‪ .‬ﻧﻬﺎﺭﻙِ ﺍﻟﯾﻭﻡ ﻻ ﯾﺷﺑﻪ ﻛﻝ ﺍﻟﻧﻬﺎﺭﺍﺕ‬ ‫ﺕ ﻓﻲ ﺗﻠﻙ‬ ‫ﺍﻟﻣﺎﺿﯾﺔ ‪ .‬ﺣﺗﻰ ﺍﻟﺷﻣﺱ ﻻ ﺗﺷﺑﻪ ﺷﻣﻭﺳﻙ ﺍﻟﻐﺎﺋﺑﺔ ﺩﻭﻣﺎ‪ .‬ﻓﻛﺭ ِ‬ ‫ﺍﻟﻠﺣﻅﺎﺕ ﺍﻟﻐﺎﺋﺭﺓ ﻓﻲ ﻋﻣﻕ ﺍﻟﺩھﺭ ﺃﻥ ﺗﺫﯾﺑﻲ ﺍﻟﺛﻠﻭﺝ ﺑﯾﻧﻙ ﻭﺑﯾﻥ ﻣﻥ ﺳﺗﻛﻭﻥ‬ ‫ﺕ ﺫﺭﺍﻋﻙ ﻋﻠﻰ‬ ‫ﺕ ﻣﻥ ﺍﻟﻣﺭﺃﺓ ﺍﻟﻌﺟﻭﺯ‪ ،‬ﻭﺿﻌ ِ‬ ‫ﺣﻣﺎﺗﻙِ ﻓﻲ ﺍﻟﻣﺳﺗﻘﺑﻝ ﺍﻵﺗﻲ‪ .‬ﺩﻧﻭ ِ‬ ‫ْ‬ ‫ْ‬ ‫ﺍﻟﺗﻔﺗﺕ ﻟﺗﻁﺑﻊ ﻗﺑﻠﺔ ﻋﻠﻰ ﺟﺑﯾﻧﻙ‪ ،‬ﺿﻣﻣﺗِﻬﺎ ﺇﻟﯾﻙ‬ ‫ﺍﻧﺗﺑﻬﺕ ﻟﻭﺟﻭﺩﻙ‬ ‫ﻛﺗﻔﻬﺎ‪،‬‬ ‫ﺕ ﺍﻟﻁﺎﺋﺭﺓ ﺑﺗﺅﺩﺓ‪ ،‬ﻻ‬ ‫ﻭﺃﻧﺕ ﺗﺷﺎھﺩﯾﻥ ﺍﻟﻁﺎﺋﺭﺓ ﺗﻘﺗﺭﺏ ﻣﻥ ﻣﺩﺭﺝ ﺍﻟﻣﻁﺎﺭ‪ ،‬ھﺑﻁ ِ‬ ‫ﺣﺕ ﻟﻙِ ﻣﻥ ﺑﻌﯾﺩ‪ .‬ﺍﻗﺗﺭﺑﺕ ﺍﻟﻁﺎﺋﺭﺓ ﻭﺣ ّﻁﺕ ﺃﻣﺎﻣﻙ ﻣﺑﺎﺷﺭﺓ‪ْ ،‬‬ ‫ﺩﻧﺕ ﻣﻧﻬﺎ ﻋﺟﻠﺔ‬ ‫ﺍﻟﺳﻠّﻡ ﺍﻵﻟﻲ‪ ،‬ﺍﻧﻔﺗﺢ ﺍﻟﺑﺎﺏ ﺍﻷﺑﯾﺽ‪ .‬ﺑﺎﻧﺕ ﻣﻧﻪ ﻭﺟﻭﻩ ﺗﺑﺗﺳﻡ ﯾﻣﻸھﺎ ﺍﻟﻔﺭﺡ‬ ‫ﻭﺍﻟﺣﺑﻭﺭ‪ ،‬ﺳﯾﺗﻭﻗﻑ ﺍﻟﻧﺯﯾﻑ ﻭﻟﻥ ﺗﻛﺑﺭ ﺑﻌﺩ ﺍﻟﯾﻭﻡ ﻣﺳﺎﺣﺔ ﺍﻷﻟﻡ‪ ،‬ﺳﺗﻭﻗﻑ‬

‫ھﺩﯾﻝ ﺍﻟﻭﺣﺷﺔ ﺍﻟﻣﻐ ّﻣﺱ ﺑﺎﻟﻣﺭﺍﺭﺓ ﺳﯾﻣﻧﺢ ﻟﺟﺭﺣﻙ ﺑﻠﺳﻣﺎ ً ﯾﺗﺭﺍﻗﺹ ﻋﻠﻰ‬ ‫ﺃﻭﺗﺎﺭ ﺷﺟﻧﻙ‪ ،‬ﺳﯾﻘﯾﻡ ﺍﻟﺣﺏ ﻛﺭﻧﻔﺎﻻً ﯾﺷﻲ ﺑﺎﻟﺳﻌﺎﺩﺓ ﺍﻟﻣﻧﺗﻅﺭﺓ‪.‬‬ ‫ﻧﺯﻝ َ ﻣﻥ ﺍﻟﻁﺎﺋﺭﺓ ﯾﺭﺗﺩﻱ ﺑﺫﻟﺔ ﺑﻠﻭﻥ ﺍﻟﻔﺭﺡ‪ .‬ﺑﺫﻟﺗﻪ ﺍﻟﺑﯾﺿﺎء ﺗﻬﻔﻬﻑ ﻓﻲ‬ ‫ﺍﻟﻬﻭﺍء ‪ .‬ﺃﻟﻘﻰ ﻧﻅﺭﺓ ﺧﺎﻁﻔﺔ ﻋﻠﻰ ﺻﻑ ﺍﻟﻭﺍﻗﻔﯾﻥ ﺍﻟﺫﯾﻥ ﯾﻧﺗﻅﺭﻭﻥ ﺍﻟﻘﺎﺩﻣﯾﻥ ‪.‬‬ ‫ﺃﺳﺭﻉ ﻣﺗﺟﻬﺎ ً ﺻﻭﺏ ﺃﻣﻪ‪ .‬ﺍﺣﺗﺿﻧﻬﺎ ﺑﺷﻭﻕ ﻛﺑﯾﺭ‪ .‬ﻅﻼ ھﻛﺫﺍ ﻣﺗﻌﺎﻧﻘﯾﻥ‬ ‫َ‬ ‫ﻟﺩﻗﯾﻘﺗﯾﻥ‪ ،‬ﺧﻠﺗِﻬﻣﺎ ﺩھﺭﺍً‪ ،‬ﺛﻡ ﺍﻧﺿ ّﻣﺕ ﺇﻟﯾﻬﻣﺎ ﺃﺧﺗﻪ‪ .‬ﻁﻭﻗﻬﻣﺎ ﺑﺫﺭﺍﻋﯾﻪ ﻭﺭﺍﺣﻭﺍ‬ ‫ﺕ ﺗﻧﺗﻅﺭﯾﻥ ﻣﻧﻪ ﺃﻥ ﯾﻠﺗﻔﺕ ﺇﻟﯾﻙ‪،‬‬ ‫ﯾﺗﻬﺎﻣﺳﻭﻥ ﺑﻛﻠﻣﺎﺕ ﺍﻟﺷﻭﻕ ﻭﺍﻟﻣﺣﺑﺔ‪ .‬ﻛﻧ ِ‬ ‫‪.‬ﺧﻁﻭﺗﺎﻥ ﺑﯾﻧﻙ ﻭﺑﯾﻧﻪ‪ .‬ﺻﺎﺡ ﺍﻟﺻﻭﺕ ﺍﻟﺫﻱ ﺑﺩﺍﺧﻠﻙِ ‪:‬‬ ‫ ﺃﯾﻬﺎ ﺍﻟﻣﺳﺎﻓﺭ ﺍﻵﺗﻲ ﻣﻥ ﺃﺻﻘﺎﻉ ﺍﻟﺩﻧﯾﺎ‪ ،‬ﯾﻣﻼﻙ ﺍﻟﺷﻭﻕ ﻭﺍﻟﺣﻧﯾﻥ‪ .‬ﺗﻌﺎﻝ‬‫ﺍﺭﺗﻣﻲ ﻓﻲ ﺃﺣﺿﺎﻧﻲ‪ ،‬ﺗﻌﺎﻝ ﻷﺿﻣﻙ ﺇﻟﻰ ﺻﺩﺭﻱ‪ .‬ﺧﻁﺎﻱ ﻻ ﺗﻌﯾﻧﺎﻧﻲ ﻋﻠﻰ‬ ‫ﺍﻟﺳﯾﺭ ﻧﺣﻭﻙ ‪ .‬ﺩﻉ ﻟﻲ ﻣﺳﺎﻓﺔ ﻣﻥ ﺍﻟﻔﺭﺡ ﺃﻧﺎ ﺃﯾﺿﺎ ً‪ .‬ﺗﻌﺎﻝ ﺭﻣ ّﻡ ﺍﻧﻛﺳﺎﺭﺍﺗﻲ‬ ‫ﺇﻟﻲ ﺫﺭﺍﻋﯾﻙ ﯾﺎ ﺣﺑﯾﺑﻲ‪.‬‬ ‫ﺃﯾﻬﺎ ﺍﻟﻐﺎﺋﺏ‪ .‬ﺗﻌﺎﻝ ﻗﺭﺑﻲ ﻷﺣﺗﻭﯾﻙ ﻛﺎﻟﻔﺭﺍﺷﺔ‪ ،‬ﻣ ّﺩ ً‬ ‫ﻧﻅﺭ ﺇﻟﯾﻙ ﻧﻅﺭﺓ ﻁﻭﯾﻠﺔ ﻻ ﺗﻧﻡ‬ ‫ﺃﻭﻣﺄﺕ ﺃﻣﻪ ﺇﻟﯾﻙِ ﺑﺭﺍﺳﻬﺎ ‪.‬ﻓ ّﻙ ﺫﺭﺍﻋﯾﻪ ﻋﻧﻬﻣﺎ ‪َ ،‬‬ ‫ﺕ ﻟﻪ ‪:‬‬ ‫ﻋﻥ ﺷﻲء‪ .‬ﻧﻅﺭﺓ ﺟﺎﻣﺩﺓ ﺗﺷﺑﻪ ﻟﯾﺎﻟﯾﻙِ ﺍﻟﺑﺎﺭﺩ ﺍﻟﻁﻭﯾﻠﺔ‪..‬ھﻣﺳ ِ‬ ‫ ﺧﺎﻟﺩ ﺣﺑﯾﺑﻲ‪ ،‬ﺍﻟﺣﻣﺩ � ﻋﻠﻰ ﺍﻟﺳﻼﻣﺔ ؟‬‫َ‬ ‫ﺃﻁﺭﻕ ﺑﺭﺃﺳﻪ ﺇﻟﻰ ﺍﻷﺭﺽ ﻭﺍﺧﺗﻔﺕ ﺍﻻﺑﺗﺳﺎﻣﺔ ﺍﻟﺗﻲ ﻛﺎﻧﺕ ﻣﺭﺗﺳﻣﺔ‬ ‫ﻟ ْﻡ ﯾﺟﺏ‪.‬‬ ‫ﻋﻠﻰ ﺷﻔﺗﯾﻪ‪ .‬ﻗ ّﻁ َﺏ ﻣﺎ ﺑﯾﻥ ﺣﺎﺟﺑﯾﻪ ﻭﺗﻣﺗﻡ ﻣﺗﺳﺎﺋﻼ ‪:‬‬ ‫ ﺃﻟﻡ ﺗﺧﺑﺭﯾﻬﺎ ﯾﺎ ﺧﺩﯾﺟﺔ ﺑﺎﻷﻣﺭ ؟ !ﺃﻁﺭﻗﺕ ﺃﺧﺗﻪ ﺧﺩﯾﺟﺔ ﺭﺃﺳﻬﺎ ﻭﻟﻡ ﺗﺣﺭ‬‫ﺟﻭﺍﺑﺎ ً‪..‬ﻗﺎﻝ ﻟﻬﺎ ‪:‬‬ ‫ُ‬ ‫ﺃﺧﺑﺭﺕ ﺧﺩﯾﺟﺔ ﻗﺑﻝ ﺷﻬﻭﺭ ﺃﻧﻧﻲ ﻗﺩ ‪...‬ﺃﻧﺎ ﺗﺯﻭﺟﺕ ﻣﻥ ﺇﻣﺭﺍﺓ‬ ‫ ﻟﻣﯾﺎء ﺃﻧﺎ‬‫ﺳﻭﯾﺩﯾﺔ ﻭﻟﻲ ﻣﻧﻬﺎ ﻁﻔﻼﻥ ‪ ..‬ﻛﻧﺕ ﺃﻅﻥ ﺃﻧﻙ ﺗﻧﺗﻅﺭﯾﻥ ﺃﺣﺩﺍ ﻏﯾﺭﻱ ‪...‬ﺃﻧﺎ‬ ‫ُ‬ ‫ﻓﻌﻼ‪،‬ﻭﻁﻠﺑﺕ ﻣﻧﻙِ ﺍﻥ ﺗﻧﺗﻅﺭﯾﻧﻲ ‪.‬ﻭﻟﻛﻥ ﻅﺭﻭﻓﻲ ﺍﺿﻁﺭﺗﻧﻲ‬ ‫ﻭﻋﺩﺗﻙِ ﺑﺎﻟﺯﻭﺍﺝ‬ ‫ﺃﻥ ‪...‬‬

‫ﻟﻡ ﯾﻔﻪ ﻓﻣﻙ ﺑﻛﻠﻣﻪ ‪،‬ﺍﻧﻌﻘﺩ ﻟﺳﺎﻧﻙِ ﻋﻥ ﺍﻟﻛﻼﻡ ‪ ،‬ﺧﻧﻘﺗﻙِ ﺻﺭﺧﺔ ﻓﻲ ﺃﻋﻣﺎﻗﻙ‬ ‫ﻛﺎﺩﺕ ﺃﻥ ﺗﺧﺭﺝ ﺭﻏﻣﺎ ً ﻋﻧﻙ‪ .‬ﺗﺭﻛﻙِ ﻟﯾﺻﻁﺣﺏ ﺃﻣﻪ ﻭﺃﺧﺗﻪ ﻭﺃﻧﺕ ﺗﻧﻅﺭﯾﻥ‬ ‫ﺇﻟﯾﻪ‪،‬ﻗﺎﻝ ﻟﻙِ ﻣﺗﺻ ّﻧﻌﺎ ﺍﻷﻟﻡ ‪:‬‬ ‫_ﺃﻧﺎ ﺁﺳﻑ ﯾﺎ ﻟﻣﯾﺎء ‪..‬ﺍﻟﺯﻭﺍﺝ ﻗﺳﻣﺔ ﻭﻧﺻﯾﺏ‪.‬‬ ‫ﻗﺎﻝ ﺫﻟﻙ ﻭ ﻣﺷﻰ ﻣﺑﺗﻬﺟﺎ ﻣﻌﺎﻧﻘﺎ ﺍﻣﻪ ﻭﺃﺧﺗﻪ ‪ .‬ﺗﺭﻛﻭﻙ ﻭﺣﯾﺩﺓ ‪.‬ﺍﺣﺫﺭﻱ ﺃﻥ‬ ‫ﺗﻣﯾ َﺩ ﺑﻙِ ﺍﻷﺭﺽ‪ .‬ﻻ ﺗﻔﺗﺣﻲ ﻧﻭﺍﻓﺫ ﺍﻟﺩﻣﻭﻉ ﺑﻌﺩ ﺍﻵﻥ‪ .‬ﻟﯾﺱ ﻛﻝ ﺍﻟﻌﺎﺑﺭﯾﻥ‬ ‫ﯾﺻﻠﺣﻭﻥ ﻟﻠﺣﺏ‪ ،‬ﺗﺭ ّﯾﺛﻲ ﺃﯾﺗﻬﺎ ﺍﻟﯾﻣﺎﻣﺔ‪ ،‬ﺍﻧﺗﻅﺭﻱ ﻛﻲ ﯾﻐﺎﺩﺭﻭﻥ ﺍﻟﻣﻛﺎﻥ‪ ،‬ﻻ‬ ‫ﺗﺻﺭﺧﻲ ﺍﻵﻥ‪ ،‬ﺳﺗﻌﻭﺩﯾﻥ ﻭﺣﯾﺩﺓ ﻛﻣﺎ ﻛﻧﺕِ‪ ،‬ﻻ ﺗﺳﺗﻐﺭﺑﻲ ﺍﺿﻁﺭﺍﻡ ﺍﻟﻣﺟﺎﻣﺭ‬ ‫ﻓﻲ ﺭﻭﺣﻙِ ﺍﻟﻌﻁﺷﻰ‪.‬ﺳﺗﺫﻭﯾﻥ ﻟﺗﺑﻘﻰ ﻓﯾﻙ ﺃﻏﺻﺎﻥ ﺍﻟﻠﻭﻋﺔ ﺗﻬﺯھﺎ ﻏﺭﺑﺎﻥ‬ ‫ﺗﻣﺭﻏﺗِﻣﺎ ﻓﻭﻗﻬﺎ ﻣﻌﺎ ‪ .‬ﺳﺗﻣﺿﯾﻥ ﻟﺗﺻﻠﯾﻥ‬ ‫ﺍﻟﺗﯾﻪ‪ .‬ﺳﺗﻧﺳﺎﻙِ ﺍﻟﻣﺭﻭﺝ ﺍﻟﺗﻲ ّ‬ ‫ﺻﻼﺓ ﺍﻟﻐﺎﺋﺏ ﺍﻟﺫﻱ ﻟﻥ ﯾﻌﻭﺩ ‪.‬ﺍﻟﺣﻠﻡ ﺍﻟﺫﻱ ﺗﺷ ّﻅﻰ ﺳﯾﺟﻌﻝ ﻣﻥ ﻏﺭﺑﺎﻥ ﺍﻟﺧﯾﺑﺔ‬ ‫ﺗﻧﻌﻕ ﻟﺗﻧﻬﺵ ﺫﺍﻛﺭﺗﻙ ﻋﻧﺩ ﻟﺣﻅﺔ ﺍﻧﻁﻔﺎء ﺍﻟﺣﻠﻡ ‪.‬‬

‫ﻣﻔﺎﺗﯾﺢ ﺍﻟﺳﻣﺎء‬ ‫ﻓﻬﺎھﻲ ﻗﺩ ﺟﻔﺕ ﺩﻣﻭﻉ ﺍﻟﺑﺣﺎﺭ‬ ‫ﻋﺎﺋﺩﻭﻥ ﺃﯾﺗﻬﺎ ﺍﻟﺣﯾﺎﺓ‬

‫ﺃﻣﺗﺷﻕ ﻛﻝ ﺩﻭﺍﻭﯾﻧﻙ ﺃﯾﻬﺎ ﺍﻟﺷﻁ‬

‫ﺍﻟﺑﺣﺭ ﺷﺎﺭﻑ ﻋﻠﻰ ﺍﻟﻐﺭﻕ‬

‫ﺛﻡ ﻏﺎﺩﺭ ﻗﺑﻝ ﺃﻥ ﻧﺻﻝ‬

‫ﻭﺍﻟﺷﻣﺱ ﺗﺧﻠﻊ ﺛﻭﺑﻬﺎ ﺍﻷﺣﻣﺭ‬

‫ﺃﻟﻡ ﺃﺧﺑﺭﻙ ﺑﺄﻧﺎ ھﻧﺎ‬

‫ﺗﺧﺗﺭﻕ ﻛﻝ ﺍﻷﺯﻗﺔ‬

‫ﻛﺻﺧﺭﺓ ﻛﺑﺭﻯ ﺍﻟﺣﻭﺍﻑ‬

‫ﺗﺣﻣﻝ ﻣﻔﺎﺗﯾﺣﻬﺎ ﺍﻟﻭﺭﺩﯾﺔ‬

‫ﻻ ﺗﺧﺷﻰ ﺳﯾﺎﻁ ﻓﺄﺱ‬

‫ﻗﺑﻝ ﺃﻥ ﺗﻐﻠﻕ ﺍﻟﻣﺯﻻج‬

‫ﻣﻥ ﺧﺷﺏ ‪...‬‬

‫ﻣﺎﺑﯾﻥ ﺍﻧﻛﺳﺎﺭ ﻭﺭﺟﻔﺔ‬

‫ﻋﺎﺋﺩﻭﻥ ﺃﯾﺗﻬﺎ ﺍﻟﺣﯾﺎﺓ‬

‫ﻭﻗﻬﻘﺭﺓ ﺳﯾﻑ ﻭﺭﻋﺷﺔ‬

‫ﻓﺎﻟﺑﺣﺭ ﻗﺩ ﻏﺭﻕ ‪...‬‬

‫ﺗﺭﻛﺏ ﺍﻟﺳﻔﻥ ﺭﻣﺎﻝ ﺻﺣﺭﺍء‬ ‫ﺭﺑﻣﺎ ﻻ ﺗﺯﺍﻝ ﻋﺫﺭﺍء ﺍﻟﺣﺻﺎ‬ ‫ﻗﻠﺑﻲ ﯾﻌﻭﺩ ﻣﻥ ﺭﺣﻠﺔ ﺍﻟﺭﻋﺏ‬ ‫ﯾﺧﻔﻕ ﻛﻣﺎ ﻁﺎﺋﺭ ﻋﺎﺩ ﻟﻠﺣﯾﺎﺓ‬ ‫ﺑﻌﺩ ﺗﻌﺛﺭ ﺍﻷﺟﻧﺣﺔ‬ ‫ﻟﻛﻧﻬﺎ ﻟﻡ ﺗﺗﻛﺳﺭ ‪...‬‬ ‫ﻭﺍﻟﺳﻛﻭﻥ ﺍﻟﺫﻱ ﺟﺛﻡ ﻋﻠﻰ ﺻﺩﺭ‬ ‫ﻣﻧﻬﻙ ﺍﻟﻛﻠﻣﺎﺕ‬ ‫ﯾﺿﺞ ﺑﺛﻭﺭﺓ ﻣﻥ ﺃﺭﯾﺞ‬ ‫ھﻝ ﯾﻛﻔﻲ ﺍﻟﺿﺟﯾﺞ‬ ‫ﺃﻡ ﺃﻧﻬﺎ ﻛﺛﯾﺭﺓ ﺃﺻﺩﺍء ﺍﻟﺑﻛﺎء‬ ‫ﻟن ﻧرﺣل ﺑﺎﺧﺗﯾﺎر أو ﺑﻼ اﺧﺗﯾﺎر‬

‫ﻭﻟﯾﺩ ﻉ ﺍﻟﻌﺎﯾﺵ‬

‫ُ‬ ‫ﺍﻟﻣﺟﻧﻭﻧﺔ ‪...‬‬ ‫ﺃ ﱠﯾﺗﻬﺎ‬

‫ﻭﺃﻁﻌ ُﻡ ﺃﺻﺎﺑﻌﻙِ ﻧﺩﻯ ﺍﻟ ّ‬ ‫ﺷﻔﻕ‬

‫ﺷﻌﺭ ‪ :‬ﻣﺻﻁﻔﻰ ﺍﻟﺣﺎج ﺣﺳﯾﻥ ‪.‬‬

‫ﯾﻬﺏ ﻟﻌﯾﻧﯾﻙِ ﺍﻟﻣﺩﻯ‬ ‫ﻭﺣﺩﻱ ﻣﻥ‬ ‫ُ‬

‫ُ‬ ‫ﺍﻟﻣﺟﻧﻭﻧﺔ‬ ‫ﺃ ﱠﯾﺗﻬﺎ‬

‫َ‬ ‫ﺍﻟﻔﺭﺣﺔ ﻓﻲ ﻗﻠﺑﻙِ‬ ‫ﻭﻣﻥ ﯾﺯﺭ ُﻉ‬

‫ﻛﺎ َﺩ ﺍﻟﻌﻣ ُﺭ ﯾﻧﻘﺿﻲ‬ ‫ﺕ ﺗﻌﺎﻧﺩﯾﻥَ ﺭﺟﺎﺋﻲ‬ ‫ﻭﺃﻧ ِ‬

‫ﺃﻧﺎ ﺳ ﱢﯾ ُﺩ ﺍﻟﻌ ﱠ‬ ‫ﻣﻧﺎﺯﻉ‬ ‫ﺎﻕ ﺑﻼ‬ ‫ﺷ ِ‬ ‫ٍ‬ ‫ﻭﺷﺎﻋ ُﺭ ﺍﻟ ّﻧﺳﻣ ِﺔ ﺍﻟ ُﻣﻬﻔ ِﻬﻔﺔ‬

‫ﺑﻔﺗﻰ ﺃﺟﻣﻝ َ ﻣ ّﻧﻲ‬ ‫ﻭﺗﺣﻠﻣﯾﻥَ‬ ‫ً‬

‫ﺳﯾﺣﺎﺳﺑﻙِ ﻗﻠﺑﻙِ ﺣﺳﺎﺑﺎ ً ﻋﺳﯾﺭﺍً‬

‫ﯾﺣﻣﻝ ُ ﺑﯾﺩ ِﻩ ﺷﻬﺎﺩ ًﺓ ﻋﻠﻣ ّﯾ ًﺔ‬

‫ﻟﻠﻧﺩﻡ ﺍﻵﻥَ‬ ‫ﻻﻧﻔﻊ‬ ‫َ‬ ‫ِ‬

‫ﻋﻠﻲ‬ ‫ﺕ‬ ‫ﺣﯾﻧﻬﺎ ﺳﺗﻅ ّﻧﯾﻥَ ﺃ ّﻧﻙِ ﺍﻧﺗﺻﺭ ِ‬ ‫ﱠ‬

‫ﺍﻟﻌﻣ ُﺭ ﯾﻛﺎ ُﺩ ﯾﻐﺎﺩﺭﻧﺎ‬

‫ﺍﻟﺳﻌﺎﺩ َﺓ ﺳﺗﺄﺧﺫﻙِ ﺑﺄﺣﺿﺎﻧﻬﺎ‬ ‫ﻭﺃﻥﱠ ّ‬

‫ﺇﻟﻲ ﺑﻼ ﺗﺭ ﱢﺩ ٍﺩ‬ ‫ﻓﻬﻠ ﱢﻣﻲ ﱠ‬

‫ﺳﻣﺎ َء ﺳﺗﺭﻓ ُﻊ ﻟﻙِ ﺍﻟﻘ ّﺑﻌﺔ‬ ‫ﻭﺃﻥﱠ ﺍﻟ ّ‬

‫ُ‬ ‫ﻣﺎﺯﻟﺕ ﺃﻧﺗﻅ ُﺭ ﻗﺩﻭﻣﻙِ‬

‫ﻭﺍﻷﺭﺽ ﺳﺗﺅﺩّﻱ ﻟﻙِ ﺍﻟ ّﺗﺣ ّﯾ َﺔ‬ ‫َ‬

‫ﺑﻛﺎﻣﻝ ﺟﻧﻭﻧﻲ‬ ‫ِ‬

‫ﺃﻗﻑ ﻣﻘﻬﻭﺭﺍً‬ ‫َ‬ ‫ﺗﺣﺕ ﺷﺭﻓ ِﺔ ﻛﺑﺭﯾﺎﺋﻙِ‬ ‫ﻭﺃﻧﺎ ُ‬

‫ﺍﻟﻣﺳﺗﺣﯾﻝ ‪.‬‬ ‫ﺑﻭﺍﺑ ِﺔ‬ ‫ﻋﻧ َﺩ ّ‬ ‫ِ‬

‫َ‬ ‫ﺍﺳﺗﻬﺯﺍء ﻭﺳﺧﺭﯾ ٍﺔ‬ ‫ﺿﺣﻛﺔ‬ ‫ﺗﺭﺳﻠﯾﻥَ ﻟﻲ‬ ‫ٍ‬

‫ﺟﺩﺍﺭﺓ ﺍﻟﺣﯾﺎﺓ ‪ /‬ﻣﺣﻣﺩ ﺍﻟﻧﺎﺻﺭ ﺷﯾﺧﺎﻭﻱ‬

‫ٌ‬ ‫ﺕ ﺣﺑﯾﺑﺗﻲ‬ ‫ﻣﺳﻛﯾﻧﺔ ﺃﻧ ِ‬

‫ﻓﻲ ﻛﻝ ﯾﻭﻡ ﺗﺯﺭﻋﻭﻥ ﻣﻘﺑﺭﻩ‬

‫ﺃُ ُ‬ ‫ﺷﻔﻕ ﻋﻠﻰ ﺃﻭھﺎﻣﻙِ ﺍﻟﻣﺭﯾﺿ ِﺔ‬

‫ﻭ ﻧﺯﺭﻉ ﻓﻲ ﻛﻝ ﺷﺑﺭ ﺯھﺭﺓ ﻭ ﻣﺣﺑﺭﻩ‬

‫ﺑﺻﺩﻕ‬ ‫ﻭﺣﺩﻱ ﺃﺣ ﱡﺑﻙِ‬ ‫ٍ‬

‫ﺣﺻﺎﺩﻛﻡ ﻣﻥ ﺍﻟﻣﻘﺎﺑﺭ ﻣﺣﺽ ﺍﻟﺳﺭﺍﺏ‬

‫ُ‬ ‫ﻛﺗﺑﺕ ﻋﻧﻙِ ﻗﺻﺎﺋ َﺩ ﺣﻔﻅﻬﺎ ﺍﻟﻘﻣﺭ‬

‫ﻏﯾﻭﻡ ﺍﻟﻐﺑﺎﺭ ﻭ ﺍﻷﺗﺭﺑﻪ‬

‫ﻏﺎﺭﺕ ﻣﻧﻙِ ﺍﻟﻭﺭﻭﺩ‬

‫ﻗﻁﻭﻓﻧﺎ ﻏﯾﺭ ﻗﻁﻭﻓﻛﻡ‬

‫ﻭﺣﺭﺿﺕ ﻋﻠﯾﻙِ ﺃﺷﻭﺍﻛﻬﺎ‬ ‫ﱠ‬

‫ﻟﻧﺎ ﺍﻟﺳﺑﻕ ﺩﻭﻣﺎ ﻭ ﺍﻟﺳﺎﺑﻘﻪ‬

‫ّ‬ ‫ﺟﻭﻡ‬ ‫ﺑﺎﺳﻣﻲ‬ ‫ﺳﺗﻭﺯ ُﻉ ّ‬ ‫ﺍﻟﺟﻭﺍﺋ ُﺯ ﻋﻠﻰ ﺍﻟ ّﻧ ِ‬

‫ﻓﻲ ﻛﻝ ﺑﯾﺕ ‪ ،‬ﻟﻧﺎ‬

‫ﻭﻋﻠﻰ ﺑﻭﺍﺑ ِﺔ ﺍﻟﺧﻠﻭ ِﺩ ﺳﺗﺟﺩﯾﻥَ ﺻﻭﺭﺗﻲ‬

‫ﻣﺭﺍﺟﯾﺢ ﻟﻠﻬﻭﻯ ‪ ،‬ﻭ ﻟﻧﺎ‬

‫ﺕ ﻋﻠﯾﻙِ ﺣ ّﺑﻲ‬ ‫ﺿ ﱠﯾﻌ ِ‬

‫ﻓﻲ ﻛﻝ ﻗﻠﺏ ﺯھﺭﯾﺔ ‪،‬‬

‫ﺷﻣﺱ ﻗﺑﻼﺗﻲ‬ ‫ﺕ ﻣﻥ‬ ‫ُﺣﺭﻣ ِ‬ ‫ِ‬

‫ﺗﻧﺿﺢ ﺑﺎﻟﺣﯾﺎﺓ ‪،‬‬

‫ُ‬ ‫ﻛﻧﺕ ﺳﺄﻋﻁ ُﺭ ﺟﯾﺩﻙِ ﺑﺎﻟﻣﻭﺳﯾﻘﺎ‬

‫ﻋﻠﻰ ﺍﻟﺩﻭﺍﻡ ﻣﺯھﺭﻩ ‪...‬‬

‫ﺭﺋﯾﺱ ﻣﺟﻠﺱ ﺍﻷﺩﺍﺭﺓ ‪ :‬ﺍﯾﺎﺩ ﺍﻟﺧﯾﺎﻁ‬

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