wonderland-vol01-Issue09&10-shahrivar&mehr-1390-fantasy-ir

‫ﮔﺮﻭﻩ ﺍﺩﺑﻴﺎﺕ ﮔﻤﺎﻧﻪﺯﻥ‬

‫ﺗﺤﺮﻳﺮﻳﻪﻯ ﻣﺎﻫﻨﺎﻣﻪﻯ ﺍﺩﺑﻴﺎﺕ ﮔﻤﺎﻧﻪﺯﻥ ﺍﺯ ﻧﻮﻳﺴﻨﺪﮔﺎﻥ‪ ،‬ﻣﺘﺮﺟﻤﺎﻥ ﻭ ﻣﺤﻘﻘﺎﻥ‬ ‫ﮔﻮﻧﻪﻯ ﺍﺩﺑﻰ ﮔﻤﺎﻧﻪﺯﻥ )ﻋﻠﻤﻰﺗﺨﻴﻠﻰ‪ ،‬ﻓﺎﻧﺘﺰﻯ‪ ،‬ﻭﺣﺸﺖ ﻭ ﺯﻳﺮﺳﺒﻚﻫﺎﻯ ﺁﻥﻫﺎ(‬ ‫ﺩﻋﻮﺕ ﻣﻰﻛﻨﺪ ﺩﺍﺳﺘﺎﻥﻫﺎ‪ ،‬ﻣﻘﺎﻻﺕ ﻭ ﻣﻄﺎﻟﺐ ﺧﻮﺩ ﺭﺍ ﺩﺭ ﺍﻳﻦ ﺯﻣﻴﻨﻪ ﺑﻪ ﻧﺸﺎﻧﻰ‬ ‫ﭘﺴﺖ ﺍﻟﻜﺘﺮﻭﻧﻴﻚ ﻣﺎﻫﻨﺎﻣﻪ )‪ (mag@fantasy.ir‬ﺍﺭﺳﺎﻝ ﻛﻨﻨﺪ‪.‬‬

‫ﺷﺮﺍﻳﻂ ﭘﺬﻳﺮﺵ ﺁﺛﺎﺭ‪:‬‬ ‫‪ -1‬ﺧﻮﺍﻫﺸﻤﻨﺪ ﺍﺳﺖ ﻣﻄﺎﻟﺐ ﺭﺍ ﺑﺎ ﺍﺳﺘﻔﺎﺩﻩ ﺍﺯ ﻧﺮﻡﺍﻓﺰﺍﺭﻫﺎﻯ ﻭﺍژﻩﭘﺮﺩﺍﺯ‪ ،‬ﺩﺭ ﺩﻭ ﻗﺎﻟﺐ ‪ MS Word‬ﻳﺎ‬ ‫‪ Open Office‬ﺍﺭﺳﺎﻝ ﻓﺮﻣﺎﻳﻴﺪ‪.‬‬ ‫‪ -2‬ﺩﺭ ﻛﻠﻴﻪﻯ ﻣﻄﺎﻟﺐ ﺍﺭﺳﺎﻟﻰ‪ ،‬ﻗﺎﻧﻮﻥ ﺣﻤﺎﻳﺖ ﺣﻘﻮﻕ ﻣﺆﻟﻔﺎﻥ ﻭ ﻣﻨﺼﻔﺎﻥ‪ ،‬ﻣﺼﻮﺏ ‪ ،1384‬ﺑﺎﻳﺪ‬ ‫ﺭﻋﺎﻳﺖ ﺷﺪﻩ ﺑﺎﺷﺪ‪.‬‬ ‫‪ -3‬ﻣﻄﺎﻟﺐ ﺗﺮﺟﻤﻪ ﺭﺍ ﻫﻤﺮﺍﻩ ﺑﺎ ﻧﺴﺨﻪﺍﻯ ﺍﺯ ﺍﺻﻞ ﻣﻄﻠﺐ )ﺩﺭ ﻗﺎﻟﺐﻫﺎﻯ ﺍﺳﺘﺎﻧﺪﺍﺭﺩ ‪، MS Word‬‬ ‫‪ PDF ،TXT‬ﻳﺎ ‪ (Open Office‬ﺍﺭﺳﺎﻝ ﻓﺮﻣﺎﻳﻴﺪ‪.‬‬ ‫‪ -4‬ﻣﺎﻫﻨﺎﻣﻪﻯ ﺍﺩﺑﻴﺎﺕ ﮔﻤﺎﻧﻪﺯﻥ ﺩﺭ ﻭﻳﺮﺍﻳﺶ ﻭ ﺍﺻﻼﺡ ﻣﻄﺎﻟﺐ ﺁﺯﺍﺩ ﺍﺳﺖ‪.‬‬ ‫‪ -5‬ﻣﺴﺆﻭﻟﻴﺖ ﻣﺤﺘﻮﺍﻯ ﻣﻄﺎﻟﺐ ﻣﻨﺪﺭﺝ ﺩﺭ ﻣﺎﻫﻨﺎﻣﻪﻯ ﺍﺩﺑﻴﺎﺕ ﮔﻤﺎﻧﻪﺯﻥ‪ ،‬ﺑﺎ ﻧﻮﻳﺴﻨﺪﮔﺎﻥ ﻭ‬ ‫ﻣﺘﺮﺟﻤﺎﻥ ﺁﺛﺎﺭ ﺍﺳﺖ‪.‬‬ ‫‪ -6‬ﻛﻠﻴﻪﻯ ﻣﻄﺎﻟﺐ ﺍﺭﺳﺎﻟﻰ ﺩﺭ ﺗﺤﺮﻳﺮﻳﻪﻯ ﻣﺎﻫﻨﺎﻣﻪﻯ ﺍﺩﺑﻴﺎﺕ ﮔﻤﺎﻧﻪﺯﻥ ﻣﻮﺭﺩ ﺑﺮﺭﺳﻰ ﻗﺮﺍﺭ‬ ‫ﻣﻰﮔﻴﺮﻧﺪ ﻭ ﺗﻨﻬﺎ ﺩﺭ ﺻﻮﺭﺕ ﺗﺄﻳﻴﺪ ﻣﻨﺘﺸﺮ ﻣﻰﺷﻮﻧﺪ‪.‬‬ ‫‪ -7‬ﺩﺭ ﺻﻮﺭﺕ ﺍﺭﺳﺎﻝ ﻣﻌﺮﻓﻰ ﻭ ﻳﺎ ﻧﻘﺪ ﻛﺘﺎﺏ ﻭ ﻓﻴﻠﻢ‪ ،‬ﺗﺼﺎﻭﻳﺮ ﻣﻨﺎﺳﺐ ﺭﺍ ﻧﻴﺰ ﻫﻤﺮﺍﻩ ﻓﺮﻣﺎﻳﻴﺪ‪.‬‬ ‫‪ -8‬ﺑﺎﺯﻧﺸﺮ ﺁﺛﺎﺭﻯ ﻛﻪ ﭘﻴﺶ ﺍﺯ ﺍﻳﻦ ﺩﺭ ﺩﻳﮕﺮ ﺭﺳﺎﻧﻪﻫﺎ ﻣﻨﺘﺸﺮ ﺷﺪﻩ ﺑﺎﺷﻨﺪ‪ ،‬ﭘﺲ ﺍﺯ ﺗﺄﻳﻴﺪ ﺗﺤﺮﻳﺮﻳﻪ‪،‬‬ ‫ﻣﻨﻮﻁ ﺑﻪ ﺍﺭﺍﺋﻪﻯ ﺍﺟﺎﺯﻩﻧﺎﻣﻪﻯ ﻛﺘﺒﻰ ﺍﺯ ﺁﻥ ﻧﺸﺮﻳﻪ ﺍﺳﺖ‪.‬‬ ‫ﺍ‬

‫ﺑﻬﺎﻧﻪﺍﻯ ﺑﺮﺍﻯ ﻣﻮﺟﻪ ﺟﻠﻮﻩ ﺩﺍﺩﻥ ﻋﻤﻞ ﺧﻮﺩ ﻧﺰﺩ ﺳﺎﻳﺮ ﮔﺮﻭﻩﻫﺎ ﺑﻮﺩﻩ ﺍﺳﺖ‪ .‬ﺍﺯ ﻃﺮﻳﻖ ﻫﻤﻴﻦ‬ ‫ﻣﺎﺟﺮﺍﻫﺎ ﺍﺳﺖ ﻛﻪ ﺑﺎ ﺧﻮﻥﺁﺷﺎﻣﺎﻥ ﺁﺷﻨﺎ ﻣﻰﺷﻮﻳﻢ‪ .‬ﻫﻤﺎﻥﻃﻮﺭ ﻛﻪ ﺑﺎﻻﺗﺮ ﺫﻛﺮ ﺷﺪ‪ ،‬ﺧﻮﻥﺁﺷﺎﻡﻫﺎ‬ ‫ﻫﺮ ﭼﻪ ﺭﻧﮓ ﺗﻴﺮﻩﺗﺮﻯ ﺩﺍﺷﺘﻪ ﺑﺎﺷﻨﺪ‪ ،‬ﺍﺯ ﺍﻧﺴﺎﻧﻴﺖ ﺩﻭﺭﺗﺮ ﻫﺴﺘﻨﺪ‪ .‬ﻣﺜ ً‬ ‫ﻼ ﺩﺭ ﺑﻴﻦ ﺳﻔﻴﺪﻫﺎ ﻫﺴﺘﻨﺪ‬ ‫ﻛﺴﺎﻧﻰ ﻛﻪ ﺑﺎ ﻫﺮﻯ ﻫﻤﻜﺎﺭﻯ ﻣﻰﻛﻨﻨﺪ ﻭ ﮔﺎﻫﻰ ﺑﺎ ﺍﻭ ﺑﻪ ﺗﻮﺍﻓﻘﺎﺕ ﺩﻭﺭﻩﺍﻯ ﻣﻰﺭﺳﻨﺪ‪ .‬ﺍﻣﺎ ﺳﺮﺥﻫﺎ ﺑﻪ‬ ‫ﺷﻜﻞ ﻣﻮﺟﻮﺩﺍﺗﻰ ﺷﺪﻳﺪﺍ ً ﻓﺮﺻﺖﻃﻠﺐ ﻭ ﻣﺮﻣﻮﺯ ﻭ ﭘﻨﻬﺎﻧﻜﺎﺭ ﺗﺼﻮﻳﺮ ﺷﺪﻩﺍﻧﺪ ﻛﻪ ﺗﻨﻬﺎ ﺧﻮﺍﺳﺘﻪﺷﺎﻥ‬ ‫ﻧﺎﺑﻮﺩﻯ ﺷﻮﺭﺍﻯ ﺳﻔﻴﺪ ﻭ ﺑﻪ ﺩﺳﺖ ﺁﻭﺭﺩﻥ ﻗﺪﺭﺕ ﻭ ﺁﺯﺍﺩﻯ ﺑﻴﺸﺘﺮ ﺩﺭ ﺳﺮﺗﺎﺳﺮ ﺟﻬﺎﻥ ﺍﺳﺖ‪.‬‬ ‫ﺩﺭ ﻣﻘﺎﺑﻞ ﺳﻴﺎﻩﻫﺎ ﻫﺴﺘﻨﺪ ﻛﻪ ﺩﻳﮕﺮ ﻫﻴﭻ ﺷﺒﺎﻫﺘﻰ ﺑﻪ ﺍﻧﺴﺎﻥ ﻧﺪﺍﺭﻧﺪ ﻭ ﺑﻴﺸﺘﺮ ﻣﺎﻧﻨﺪ ﺣﻴﻮﺍﻧﺎﺗﻰ‬ ‫ﺷﻜﺎﺭﭼﻰ ﻣﻰﻣﺎﻧﻨﺪ‪ .‬ﺑﺮﺧﻼﻑ ﺳﺮﺥﻫﺎ ﻛﻪ ﻛﺎﻣ ً‬ ‫ﻼ ﺳﺎﺯﻣﺎﻥﻳﺎﻓﺘﻪ ﻭ ﻣﻨﻈﻢ ﻋﻤﻞ ﻣﻰﻛﻨﻨﺪ‪ ،‬ﺳﻴﺎﻩﻫﺎ‬ ‫ﻫﻤﺎﻥ ﺟﺎﻧﻮﺭﺍﻥ ﺷﻜﺎﺭﭼﻰ ﺭﻭ ﺑﻪ ﺍﻧﻘﺮﺍﺿﻰ ﻫﺴﺘﻨﺪ ﻛﻪ ﺑﺮﺍﻯ ﺑﻘﺎ ﺩﺳﺖ ﺑﻪ ﻫﺮ ﻛﺎﺭﻯ ﻣﻰﺯﻧﻨﺪ ﻭ‬ ‫ﺩﺭﻛﺸﺎﻥ ﺑﺮﺍﻯ ﺍﻧﺴﺎﻥﻫﺎ ﺍﺯ ﻫﻤﻪ ﻣﺸﻜﻞﺗﺮ ﻭ ﮔﺎﻫﻰ ﻏﻴﺮﻣﻤﻜﻦ ﺍﺳﺖ‪.‬‬ ‫ﺩﺭ ﻧﻬﺎﻳﺖ ﻣﻄﺎﻟﻌﻪﻯ ﺍﻳﻦ ﻣﺠﻤﻮﻋﻪ ﺗﻮﺻﻴﻪ ﻣﻰﺷﻮﺩ‪ ،‬ﭼﺮﺍ ﻛﻪ ﻋﻼﻭﻩ ﺑﺮ ﭘﻴﺶﺯﻣﻴﻨﻪﻯ ﻣﻨﺎﺳﺐ‬ ‫ﺩﺍﺳﺘﺎﻥﻫﺎ‪ ،‬ﺍﺯ ﻣﻠﻐﻤﻪﻯ ﻣﻨﺎﺳﺒﻰ ﺍﺯ ﻫﻴﺠﺎﻥ ﻭ ﺭﻣﺰ ﻭ ﺭﺍﺯ ﺗﺸﻜﻴﻞ ﺷﺪﻩ ﺍﺳﺖ‪.‬‬ ‫ﭘﻰﻧﻮﺷﺖﻫﺎ‪:‬‬ ‫‪1. Sunshine‬‬ ‫‪2. Robin McKinley‬‬ ‫‪3. Berkley Trade‬‬

‫‪ .4‬ﺟﺎﻳﺰﻩﺍﻯ ﻛﻪ ﺍﺯ ﺳﻮﻯ ﺍﻧﺠﻤﻦ ﺍﻓﺴﺎﻧﻪﺳﺎﺯﻯ ﺑﺮﺍﻯ ﻓﻌﺎﻟﻴﺖ‬ ‫ﺳﺎﺯﻧﺪﻩ ﻭ ﭼﺸﻤﮕﻴﺮ ﺩﺭ ﺯﻣﻴﻨﻪﻯ ﺍﻓﺴﺎﻧﻪ‪ ،‬ﻓﺎﻧﺘﺰﻯ ﻭ ﺳﺎﻳﺮ‬ ‫ژﺍﻧﺮﻫﺎﻯ ﺍﻳﻦ ﮔﻮﻧﻪ ﺑﻪ ﻧﻮﻳﺴﻨﺪﮔﺎﻥ ﺍﻋﻄﺎ ﻣﻰﺷﻮﺩ‪.‬ﺍﻳﻦ ﺟﺎﻳﺰﻩ ﺍﺯ‬ ‫‪ 1971‬ﺗﺎ ‪ 1991‬ﺑﻪ ﻋﻨﻮﺍﻥ »ﺟﺎﻳﺰﻩﻯ ﻓﺎﻧﺘﺰﻯ ﺍﻓﺴﺎﻧﻪﺳﺎﺯﻯ«‬ ‫ﻭ ﺍﺯ ‪ 1992‬ﺗﺎ ‪ 2010‬ﺑﺎ ﺗﻘﺴﻴﻢ ﺑﻪ ﺩﻭ ﺑﺨﺶ »ﺟﺎﻳﺰﻩﻯ‬ ‫ﻓﺎﻧﺘﺰﻯ ﺍﻓﺴﺎﻧﻪﺳﺎﺯﻯ ﺑﺨﺶ ﺑﺰﺭﮔﺴﺎﻝ« ﻭ »ﺟﺎﻳﺰﻩﻯ ﻓﺎﻧﺘﺰﻯ‬ ‫ﺍﻓﺴﺎﻧﻪﺳﺎﺯﻯ ﺑﺨﺶ ﻛﻮﺩﻛﺎﻥ« ﺑﻪ ﻧﻮﻳﺴﻨﺪﮔﺎﻥ ﺍﻋﻄﺎ ﺷﺪﻩ ﺍﺳﺖ‪.‬‬ ‫‪Voodoo Wars‬‬ ‫‪The Others‬‬ ‫‪Bad Spots‬‬ ‫‪Rae Seddon‬‬ ‫‪Constantine‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،9-10‬ﺷﻬﺮﻳﻮﺭ ﻭ ﻣﻬﺮ ‪1390‬‬

‫‪5.‬‬ ‫‪6.‬‬ ‫‪7.‬‬ ‫‪8.‬‬ ‫‪9.‬‬

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‫‪10. The Hollows‬‬ ‫‪11. Kim Harrison‬‬ ‫‪12. Harper Collins‬‬ ‫‪13. Rachel Morgan‬‬ ‫‪14. Ivy Tamwood‬‬ ‫‪15. Jenks‬‬ ‫‪16. The Turn‬‬ ‫‪17. Carmilla‬‬ ‫‪18. Dresden Files‬‬ ‫‪19. Jim Butcher‬‬ ‫‪20. Roc Books‬‬ ‫‪21. Harry Dresden‬‬ ‫‪22. White Council‬‬ ‫‪23. Renfields‬‬

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‫ﺧﻮﻥﺁﺷﺎﻡﻫﺎﻯ ﺳﻴﺎﻩ‪ :‬ﺳﻴﺎﻩﻫﺎ ﻛﻠﻴﺸﻪﺍﻯﺗﺮﻳﻦ ﺧﻮﻥﺁﺷﺎﻡﻫﺎﻯ ﺍﻳﻦ ﻣﺠﻤﻮﻋﻪ ﻫﺴﺘﻨﺪ؛ ﺩﺭ ﻭﺍﻗﻊ‬ ‫ﺁﻥﻫﺎ ﺗﺼﻮﻳﺮ ﻛﺎﻣﻠﻰ ﺍﺯ ﻫﻤﺎﻥ ﻧﺎﻣﺮﺩﮔﺎﻥ ﺗﺸﻨﻪ ﺑﻪ ﺧﻮﻥ ﺑﺮﺍﻡ ﺍﺳﺘﻮﻛﺮ ﻫﺴﺘﻨﺪ‪ .‬ﺣﺘﺎ ﺩﺭ ﻛﺘﺎﺏ ﺍﺷﺎﺭﻩ‬ ‫ﻣﻰﺷﻮﺩ ﻛﻪ ﺩﺭ ﺍﻳﻦ ﺩﻧﻴﺎ ﭼﺎپ »ﺩﺭﺍﻛﻮﻻ« ﺑﺎ ﭘﺸﺘﻴﺒﺎﻧﻰ ﺷﻮﺭﺍﻯ ﺳﻔﻴﺪ )‪) (22‬ﺷﻮﺭﺍﻯ ﺟﺎﺩﻭﮔﺮﺍﻥ(‪،‬‬ ‫ﻣﻨﺠﺮ ﺑﻪ ﻧﺎﺑﻮﺩﻯ ﺗﻘﺮﻳﺒﺎً ﺗﻤﺎﻣﻰ ﺧﻮﻥﺁﺷﺎﻡﻫﺎﻯ ﺳﻴﺎﻩ ﺷﺪﻩ ﺍﺳﺖ‪ .‬ﺳﻴﺎﻩﻫﺎ ﻫﻨﻮﺯ ﻫﻤﺎﻥ ﺑﺪﻥﻫﺎﻯ‬ ‫ﺩﻭﺭﺍﻥ ﺯﻧﺪﮔﻰ ﺧﻮﺩ ﺭﺍ ﺩﺍﺭﻧﺪ‪ ،‬ﺑﺎ ﺍﻳﻦ ﺗﻔﺎﻭﺕ ﻛﻪ ﺍﻳﻦ ﺍﺟﺴﺎﻡ ﺑﻪ ﺩﻟﻴﻞ ﺯﻧﺪﮔﻰ ﺯﺍﻣﺒﻰﻣﺎﻧﻨﺪ ﻛﻢﻛﻢ‬ ‫ﻣﻰﭘﻮﺳﻨﺪ ﻭ ﺍﺯ ﺑﻴﻦ ﻣﻰﺭﻭﻧﺪ‪ .‬ﺳﻴﺎﻩﻫﺎ ﺗﻤﺎﻣﻰ ﻧﻘﺎﻁ ﻗﻮﺕ ﻭ ﺿﻌﻒ ﺩﺭﺍﻛﻮﻻﻯ ﺑﺮﺍﻡ ﺍﺳﺘﻮﻛﺮ ﺭﺍ‬ ‫ﺩﺍﺭﻧﺪ‪ :‬ﻣﻰﺗﻮﺍﻧﻨﺪ ﺑﺎ ﻳﻚ ﺩﺳﺖ ﺍﺷﻴﺎﻯ ﺳﻨﮕﻴﻨﻰ ﭼﻮﻥ ﻣﺎﺷﻴﻦ ﺭﺍ ﺑﻠﻨﺪ ﻛﺮﺩﻩ ﻭ ﭘﺮﺗﺎﺏ ﻛﻨﻨﺪ ﻳﺎ‬ ‫ﺑﺪﻭﻥ ﻛﻮﭼﻚﺗﺮﻳﻦ ﺁﺳﻴﺒﻰ‪ ،‬ﺍﺯ ﻣﻴﺎﻥ ﺩﻳﻮﺍﺭﻫﺎﻯ ﺳﻴﻤﺎﻧﻰ ﺑﮕﺬﺭﻧﺪ؛ ﺍﺯ ﻃﺮﻓﻰ ﺁﻥﻫﺎ ﺑﺎﻳﺪ ﺭﻭﺯ ﺭﺍ ﺩﺭ‬ ‫ﻣﻴﺎﻥ ﺧﺎﻙ ﺳﭙﺮﻯ ﻛﻨﻨﺪ ﻭ ﺍﺯ ﺳﻴﺮ ﻭ ﺍﺷﻴﺎﻯ ﻣﻘﺪﺱ ﻫﻢ ﻭﺣﺸﺖ ﺩﺍﺭﻧﺪ‪ .‬ﺁﻓﺘﺎﺏ ﺑﺮﺍﻯ ﺍﻋﻀﺎﻯ‬ ‫ﺟﻮﺍﻧﺘﺮ ﻣﺮگﺁﻭﺭ ﺍﺳﺖ‪ ،‬ﺍﻣﺎ ﭘﻴﺮﺗﺮﻫﺎ ﺭﺍ ﺧﻴﻠﻰ ﺁﺯﺍﺭ ﻧﻤﻰﺩﻫﺪ ﻭ ﺗﻨﻬﺎ ﺑﺎﻋﺚ ﺿﻌﻒ ﺁﻥﻫﺎ ﻣﻰﺷﻮﺩ‪.‬‬ ‫ﺩﺭ ﻃﻰ ﻭﻗﺎﻳﻊ ﻛﺘﺎﺏ ﻣﻰﺑﻴﻨﻴﻢ ﻛﻪ ﺳﻴﺎﻩﻫﺎ ﻛﻮﭼﻚﺗﺮﻳﻦ ﻭ ﺿﻌﻴﻒﺗﺮﻳﻦ )ﺍﺯ ﻧﻈﺮ ﺳﻴﺎﺳﻰ( ﮔﺮﻭﻩ‬ ‫ﺍﺯ ﺧﻮﻥﺁﺷﺎﻡﻫﺎ ﻫﺴﺘﻨﺪ؛ ﺍﻣﺎ ﻫﻤﻴﻦ ﺗﻌﺪﺍﺩ ﺍﻧﺪﻙ ﺑﺎﻗﻴﻤﺎﻧﺪﻩ ﺟﺰء ﺧﻄﺮﻧﺎﻙﺗﺮﻳﻦ ﻭ ﺯﻳﺮﻙﺗﺮﻳﻦ‬ ‫ﻣﻮﺟﻮﺩﺍﺗﻰ ﻫﺴﺘﻨﺪ ﻛﻪ ﺗﻨﻬﺎ ﺑﻪ ﺑﻘﺎﻯ ﺧﻮﺩ ﺍﺯ ﻫﺮ ﻃﺮﻳﻖ ﻣﻤﻜﻦ ﻓﻜﺮ ﻣﻰﻛﻨﻨﺪ‪ .‬ﺁﻥﻫﺎ ﻣﻰﺗﻮﺍﻧﻨﺪ‬ ‫ﺍﻧﺴﺎﻥﻫﺎ ﺭﺍ ﺍﺯ ﻃﺮﻳﻖ ﻫﻴﭙﻨﻮﺗﻴﺰﻡ ﺍﺳﻴﺮ ﺧﻮﺍﺳﺖ ﺧﻮﺩ ﻛﻨﻨﺪ‪ .‬ﺑﺮﺩﻩﻫﺎﻯ ﺁﻥﻫﺎ ﺩﻭ ﺩﺳﺘﻪ ﻫﺴﺘﻨﺪ‪:‬‬ ‫ﺑﻨﺪﻩﻫﺎﻯ ﻣﻌﻤﻮﻟﻰ ﻭ ﺭﻧﻔﻴﻠﺪﻫﺎ )‪ .(23‬ﺑﻨﺪﻩﻫﺎﻯ ﻣﻌﻤﻮﻟﻰ ﺭﺍ ﻣﻰﺗﻮﺍﻥ ﺍﺯ ﺑﻨﺪ ﺳﻴﺎﻩﻫﺎ ﺁﺯﺍﺩ ﻛﺮﺩ ﻭ‬ ‫ﺑﻪ ﺣﺎﻟﺖ ﻋﺎﺩﻯ ﺑﺎﺯ ﮔﺮﺩﺍﻧﺪ‪ .‬ﺍﻣﺎ ﺭﻧﻔﻴﻠﺪﻫﺎ ﭼﻨﺎﻥ ﺫﻫﻨﻴﺖ ﻭ ﻫﻮﻳﺖ ﺧﻮﺩ ﺭﺍ ﺍﺯ ﺩﺳﺖ ﺩﺍﺩﻩﺍﻧﺪ ﻛﻪ‬ ‫ﺩﻳﮕﺮ ﺑﻪ ﻭﺿﻊ ﺍﻭﻝ ﺑﺎﺯ ﻧﻤﻰﮔﺮﺩﻧﺪ‪ .‬ﺩﺭ ﻭﺍﻗﻊ ﺭﻧﻔﻴﻠﺪﻫﺎ ﻣﺜﻞ ﻣﺎﺷﻴﻦﻫﺎﻯ ﺁﺩﻡﻛﺸﻰ ﻫﺴﺘﻨﺪ ﻛﻪ‬ ‫ﻗﺪﺭﺕ ﻓﻮﻕﺍﻟﻌﺎﺩﻩﺍﻯ ﺩﺍﺭﻧﺪ ﻭ ﺗﺎ ﻭﻗﺘﻰ ﻧﺎﺑﻮﺩ ﻧﺸﻮﻧﺪ‪ ،‬ﺩﺳﺖ ﺍﺯ ﺍﻧﺠﺎﻡ ﻓﺮﺍﻣﻴﻦ ﺍﺭﺑﺎﺑﺎﻥ ﺳﻴﺎﻩ ﺧﻮﺩ ﺑﺮ‬ ‫ﻧﻤﻰﺩﺍﺭﻧﺪ‪.‬‬ ‫ﺧﻮﻥﺁﺷﺎﻡﻫﺎﻯ ﺳﺒﺰ‪ :‬ﺩﺭ ﻣﺠﻤﻮﻋﻪﻯ ﺩﺭﺳﺪﻥ ﭼﻨﺪﺍﻥ ﺑﻪ ﺍﻳﻦ ﮔﺮﻭﻩ ﭘﺮﺩﺍﺧﺘﻪ ﻧﺸﺪﻩ ﻭ ﺗﻨﻬﺎ‬ ‫ﻣﻰﺩﺍﻧﻴﻢ ﺁﻥﻫﺎ ﻣﺜﻞ ﻳﺎﻛﻮﺯﺍ‪ ،‬ﮔﺮﻭﻫﻰ ﻣﺨﻔﻰ ﻭ ﻣﺎﻓﻴﺎﻳﻰ ﻫﺴﺘﻨﺪ ﻛﻪ ﻛﻨﺘﺮﻝ ﺷﺮﻕ ﺁﺳﻴﺎ ﺭﺍ ﺩﺭ ﺩﺳﺖ‬ ‫ﺩﺍﺭﻧﺪ‪.‬‬ ‫ﻣﺠﻤﻮﻋﻪﻯ ﺩﺭﺳﺪﻥ ﻭ ﺩﻭﺍﺯﺩﻩ ﺟﻠﺪ ﺁﻥ‪ ،‬ﺗﻘﺮﻳﺒﺎً ﺩﻭﺍﺯﺩﻩ ﺩﺍﺳﺘﺎﻥ ﻣﺘﻔﺎﻭﺕ ﺭﺍ ﺷﺎﻣﻞ ﻣﻰﺷﻮﺩ؛ ﺍﻣﺎ‬ ‫ﭘﻴﻮﻧﺪ ﻣﺸﺘﺮﻙ ﺗﻤﺎﻣﻰ ﺍﻳﻦ ﻛﺘﺎﺏﻫﺎ‪ ،‬ﺟﻨﮓ ﺩﻧﺒﺎﻟﻪﺩﺍﺭ ﺷﻮﺭﺍﻯ ﺳﻔﻴﺪ ﺑﺎ ﺧﻮﻥﺁﺷﺎﻡﻫﺎﻯ ﺳﺮﺥ ﺍﺳﺖ‪.‬‬ ‫ﺩﺭ ﻭﺍﻗﻊ ﺩﺭ ﻛﺘﺎﺏ ﺳﻮﻡ ﺍﻳﻦ ﺧﻮﺩ ﻗﻬﺮﻣﺎﻥ ﻛﺘﺎﺏ‪ ،‬ﻫﺮﻯ ﺩﺭﺳﺪﻥ ﺍﺳﺖ ﻛﻪ ﺑﺎ ﻛﺸﺘﻦ ﻳﻚ ﺧﻮﻥﺁﺷﺎﻡ‬ ‫ﺳﺮﺥ ﺩﺭ ﺷﻴﻜﺎﮔﻮ‪ ،‬ﺁﺗﺶ ﺟﻨﮓ ﻣﻴﺎﻥ ﺍﻳﻦ ﺩﻭ ﮔﺮﻭﻩ ﺭﺍ ﺷﻌﻠﻪﻭﺭ ﻣﻰﻛﻨﺪ‪ .‬ﺍﻟﺒﺘﻪ ﺑﻌﺪﺍ ً ﻣﻰﺑﻴﻨﻴﻢ ﻛﻪ‬ ‫ﺳﺮﺥﻫﺎ ﺍﺯ ﻣﺪﺕﻫﺎ ﻗﺒﻞ ﻣﺸﻐﻮﻝ ﻣﻘﺪﻣﻪﭼﻴﻨﻰ ﺑﺮﺍﻯ ﺍﻳﻦ ﻧﺒﺮﺩ ﺑﻮﺩﻩﺍﻧﺪ ﻭ ﻋﻤﻞ ﺩﺭﺳﺪﻥ ﺗﻨﻬﺎ‬ ‫‪215‬‬

‫ﻭﻳﮋﻩﻧﺎﻣﻪﻯ ﺧﻮﻥﺁﺷﺎﻡﻫﺎ‬

‫ﺧﻮﺭﺷﻴﺪ ﻭ ﺍﺷﻴﺎﻯ ﻣﻘﺪﺱ ﺑﻪ ﺁﻥﻫﺎ ﺁﺳﻴﺒﻰ ﻧﻤﻰﺭﺳﺎﻧﺪ ﻭ ﻗﺪﺭﺗﻰ ﭘﻨﻬﺎﻥ ﺩﺍﺭﻧﺪ ﻛﻪ ﺧﻮﺩ ﻧﺎﻡ‬ ‫»ﻋﻄﺶ« ﺭﺍ ﺑﺮ ﺁﻥ ﮔﺬﺍﺷﺘﻪﺍﻧﺪ‪ .‬ﺍﮔﺮ ﺳﻔﻴﺪﻯ ﺑﺮﺍﻯ ﻣﺪﺕﻫﺎﻯ ﻃﻮﻻﻧﻰ ﺍﺯ ﺍﺣﺴﺎﺳﺎﺕ ﺗﻐﺬﻳﻪ ﻧﻜﻨﺪ‪،‬‬ ‫ﺍﻳﻦ ﻋﻄﺶ ﺍﻭ ﺭﺍ ﺑﻪ ﺩﻳﻮﺍﻧﮕﻰ ﻣﻰﻛﺸﺎﻧﺪ؛ ﺍﺯ ﻃﺮﻑ ﺩﻳﮕﺮ ﻫﻤﻴﻦ ﻋﻄﺶ ﻣﻨﺒﻊ ﻧﻴﺮﻭﻯ ﻣﺎﻭﺭﺍﻯ ﺍﻧﺴﺎﻧﻰ‬ ‫ﺁﻥﻫﺎ ﺍﺳﺖ‪ .‬ﺟﺎﻟﺐ ﺍﻳﻦ ﻛﻪ ﺗﻨﻬﺎ ﻧﻘﻄﻪﺿﻌﻒ ﻭﺍﻗﻌﻰ ﺁﻥﻫﺎ ﻋﺸﻖ ﺍﺳﺖ‪ .‬ﺍﮔﺮ ﺍﻧﺴﺎﻧﻰ ﻛﻪ ﺑﻪ ﺗﺎﺯﮔﻰ‬ ‫ﻋﺸﻖ ﻭﺍﻗﻌﻰ ﺭﺍ ﺗﺠﺮﺑﻪ ﻛﺮﺩﻩ ﺍﺳﻴﺮ ﺁﻥﻫﺎ ﺷﻮﺩ‪ ،‬ﺗﺤﺖ ﺗﺎﺛﻴﺮ ﺟﺎﺫﺑﻪﻯ ﺁﻥﻫﺎ ﻗﺮﺍﺭ ﻧﻤﻰﮔﻴﺮﺩ ﻭ ﺣﺘﺎ‬ ‫ﻣﻰﺗﻮﺍﻧﺪ ﺑﺎﻋﺚ ﺳﻮﺯﺵ ﻭ ﺗﺎﻭﻝ ﺯﺩﻥ ﭘﻮﺳﺖ ﺁﻥﻫﺎ ﻫﻢ ﺑﺸﻮﺩ‪ .‬ﺍﺯ ﻃﺮﻑ ﺩﻳﮕﺮ ﺍﮔﺮ ﻳﻚ ﺧﻮﻥﺁﺷﺎﻡ‬ ‫ﺳﻔﻴﺪ ﻗﺒﻞ ﺍﺯ ﺍﻭﻟﻴﻦ ﺗﻐﺬﻳﻪ ﻋﺎﺷﻖ ﺷﻮﺩ ﻭ ﻋﺸﻖ ﺍﻭ ﺟﻮﺍﺏ ﺩﺍﺩﻩ ﺷﻮﺩ‪ ،‬ﻣﻤﻜﻦ ﺍﺳﺖ ﻧﻴﻤﻪﻯ ﭘﻨﻬﺎﻥ‬ ‫ﻭ ﺷﻴﻄﺎﻧﻰ ﺍﻭ ﻫﺮﮔﺰ ﻇﺎﻫﺮ ﻧﺸﻮﺩ ﻭ ﺍﻭ ﻳﻚ ﺍﻧﺴﺎﻥ ﺑﺎﻗﻰ ﺑﻤﺎﻧﺪ‪.‬‬ ‫ﺧﻮﻥﺁﺷﺎﻣﺎﻥ ﺳﺮﺥ‪ :‬ﺳﺮﺥﻫﺎ ﻧﺴﺒﺖ ﺑﻪ ﺳﻔﻴﺪﻫﺎ ﺍﺯ ﺍﻧﺴﺎﻧﻴﺖ ﻛﻤﺘﺮﻯ ﺑﺮﺧﻮﺭﺩﺍﺭ ﻫﺴﺘﻨﺪ‪ .‬ﻇﺎﻫﺮ‬ ‫ﻭﺍﻗﻌﻰ ﺁﻥﻫﺎ ﻣﻮﺟﻮﺩﺍﺗﻰ ﺧﻔﺎﺵﻣﺎﻧﻨﺪ ﺍﺳﺖ ﻛﻪ ﻣﻰﺗﻮﺍﻧﻨﺪ ﺑﺎ ﻗﺪﺭﺕ ﻭﻳﮋﻩﻯ ﺧﻮﺩ‪ ،‬ﺁﻥ ﺭﺍ ﭘﺸﺖ ﻇﺎﻫﺮ‬ ‫ﺍﻧﺴﺎﻧﻰ ﻭ ﺩﺭﻭﻏﻴﻦ ﻭ ﺟﺬﺍﺑﻰ ﭘﻨﻬﺎﻥ ﻛﻨﻨﺪ‪ .‬ﺩﺭ ﻳﻜﻰ ﺍﺯ ﻛﺘﺎﺏﻫﺎ ﻣﻰﺑﻴﻨﻴﻢ ﻛﻪ ﺳﺮﺥﻫﺎﻯ ﺑﺴﻴﺎﺭ‬ ‫ﻗﺪﺭﺗﻤﻨﺪ ﻭ ﻛﻬﻨﺴﺎﻝ ﻣﻰﺗﻮﺍﻧﻨﺪ ﺑﻪ ﺧﻮﺍﺳﺖ ﺧﻮﺩ ﻇﺎﻫﺮ ﺍﻧﺴﺎﻧﻰﺷﺎﻥ ﺭﺍ ﺗﻐﻴﻴﺮ ﺩﻫﻨﺪ ﻭ ﺍﻳﻦ ﻇﺎﻫﺮ‬ ‫ﻣﻰﺗﻮﺍﻧﺪ ﺩﺭ ﻣﻘﺎﺑﻞ ﺁﻓﺘﺎﺏ ﺍﺯ ﺁﻥﻫﺎ ﻣﺤﺎﻓﻈﺖ ﻛﻨﺪ‪ .‬ﺳﺮﺥﻫﺎ ﻓﻮﻕﺍﻟﻌﺎﺩﻩ ﺳﺮﻳﻊ ﻭ ﻗﺪﺭﺗﻤﻨﺪ ﻫﺴﺘﻨﺪ‬ ‫ﻭ ﺍﮔﺮ ﺁﺳﻴﺐ ﺑﺒﻴﻨﻨﺪ‪ ،‬ﺑﻪ ﺳﺮﻋﺖ ﺩﺭﻣﺎﻥ ﻣﻰﺷﻮﻧﺪ‪ .‬ﺳﺮﺥﻫﺎﻯ ﺟﻮﺍﻥﺗﺮ ﺑﻪ ﺁﻓﺘﺎﺏ ﺣﺴﺎﺱﺍﻧﺪ ﻭ ﺍﮔﺮ‬ ‫ﺷﻜﻤﺸﺎﻥ ﭘﺎﺭﻩ ﺷﻮﺩ ﻭ ﺍﻧﺪﻭﺧﺘﻪﻯ ﺧﻮﻧﺸﺎﻥ ﺑﻴﺮﻭﻥ ﺑﺮﻳﺰﺩ‪ ،‬ﻣﻰﻣﻴﺮﻧﺪ‪ .‬ﺑﺰﺍﻕ ﺁﻥﻫﺎ ﺩﺍﺭﺍﻯ ﻣﺎﺩﻩﺍﻯ‬ ‫ﺍﻋﺘﻴﺎﺩﺁﻭﺭ ﺍﺳﺖ ﻛﻪ ﺍﺯ ﻃﺮﻳﻖ ﺁﻥ ﻗﺮﺑﺎﻧﻴﺎﻥ ﺧﻮﺩ ﺭﺍ ﻛﻨﺘﺮﻝ ﻣﻰﻛﻨﻨﺪ‪ .‬ﻫﻤﭽﻨﻴﻦ ﻗﺮﺑﺎﻧﻴﺎﻥ ﻣﻌﺘﺎﺩ ﺷﺪﻩ‬ ‫ﻧﺎﺧﻮﺩﺁﮔﺎﻩ ﺍﺯ ﺍﺭﺑﺎﺑﺎﻥ ﺧﻮﻥﺁﺷﺎﻡ ﺧﻮﺩ ﺩﻓﺎﻉ ﻣﻰﻛﻨﻨﺪ ﻭ ﺑﻴﺸﺘﺮ ﺑﻪ ﻋﻨﻮﺍﻥ ﺟﺎﺳﻮﺳﻴﻦ ﺩﻭ ﻃﺮﻓﻪ ﺍﺯ‬ ‫ﺁﻥﻫﺎ ﺍﺳﺘﻔﺎﺩﻩ ﻣﻰﺷﻮﺩ‪.‬‬ ‫ﺳﺮﺥﻫﺎ ﻣﻰﺗﻮﺍﻧﻨﺪ ﺍﺯ ﻃﺮﻳﻖ ﻣﺮﺍﺳﻤﻰ ﺩﻭ ﻣﺮﺣﻠﻪﺍﻯ‪ ،‬ﺍﻧﺴﺎﻥﻫﺎ ﺭﺍ ﺗﺒﺪﻳﻞ ﺑﻪ ﺧﻮﻥﺁﺷﺎﻡ ﻛﻨﻨﺪ‪ :‬ﺍﻭﻝ‬ ‫ﺑﺎﻳﺪ ﺍﻧﺴﺎﻥ ﺭﺍ ﺁﻟﻮﺩﻩ ﺑﻪ ﻋﻄﺶ ﺧﻮﻥ ﻛﺮﺩ )ﺍﻳﻦ ﻣﺮﺣﻠﻪ ﻗﺪﺭﺕ ﻭ ﺳﺮﻋﺖ ﺑﻪ ﺍﻧﺴﺎﻥ ﻣﻰﺑﺨﺸﺪ( ﻭ ﺑﻌﺪ‬ ‫ﻓﺮﺩ ﺁﻟﻮﺩﻩ ﺑﺎﻳﺪ ﺑﺎ ﻛﺸﺘﻦ ﺍﻭﻟﻴﻦ ﻗﺮﺑﺎﻧﻰ ﺧﻮﺩ‪ ،‬ﺗﻐﻴﻴﺮﺵ ﺭﺍ ﺗﻜﻤﻴﻞ ﻛﻨﺪ‪ .‬ﺍﻧﺴﺎﻥﻫﺎﻯ ﺁﻟﻮﺩﻩ ﻛﻪ ﺗﻨﻬﺎ ﺗﺎ‬ ‫ﻣﺮﺣﻠﻪﻯ ﺍﻭﻝ ﭘﻴﺶ ﺭﻓﺘﻪﺍﻧﺪ‪ ،‬ﺍﮔﺮ ﺍﺭﺍﺩﻩﻯ ﻛﺎﻓﻰ ﺩﺍﺷﺘﻪ ﺑﺎﺷﻨﺪ‪ ،‬ﺩﺍﺋﻢ ﺧﻮﺩ ﺭﺍ ﺩﺭ ﻣﻌﺮﺽ ﺁﻓﺘﺎﺏ ﻗﺮﺍﺭ‬ ‫ﺩﻫﻨﺪ ﻭ ﺍﺯ ﺭﺍﺑﻄﻪﻯ ﻧﺰﺩﻳﻚ ﺑﺎ ﺳﺎﻳﺮ ﺍﻧﺴﺎﻥﻫﺎ ﺩﻭﺭﻯ ﻛﻨﻨﺪ‪ ،‬ﻣﻰﺗﻮﺍﻧﻨﺪ ﺟﻠﻮﻯ ﺗﺒﺪﻳﻞ ﻛﺎﻣﻞ ﺧﻮﺩ ﺭﺍ‬ ‫ﺑﮕﻴﺮﻧﺪ‪ .‬ﺍﻣﺎ ﺗﺎ ﺑﻪ ﺣﺎﻝ ﻫﻴﭻ ﺩﺭﻣﺎﻥ ﻗﺎﻃﻌﻰ ﺑﺮﺍﻯ ﺍﻓﺮﺍﺩ ﺁﻟﻮﺩﻩ ﭘﻴﺪﺍ ﻧﺸﺪﻩ ﺍﺳﺖ‪.‬‬ ‫ﺳﺮﺥﻫﺎ ﺑﻪ ﺷﻜﻞ ﺳﻠﺴﻠﻪﻣﺮﺍﺗﺒﻰ ﻭ ﻓﺌﻮﺩﺍﻟﻰ ﺍﺩﺍﺭﻩ ﻣﻰﺷﻮﻧﺪ ﻭ ﺩﻭﻙﻫﺎ ﻭ ﺯﻳﺮﺩﺳﺘﺎﻥ ﺁﻥﻫﺎ‪،‬‬ ‫ﻓﺮﻣﺎﻧﺮﻭﺍﻳﺎﻥ ﻭﺍﻗﻌﻰ ﻫﺴﺘﻨﺪ‪ .‬ﺩﺭ ﻳﻜﻰ ﺍﺯ ﻛﺘﺎﺏﻫﺎ ﺍﺷﺎﺭﻩ ﺷﺪﻩ ﻛﻪ ﭘﺎﺩﺷﺎﻩ ﺳﺮﺥﻫﺎ ﺧﻮﻥﺁﺷﺎﻡ‬ ‫ﻓﻮﻕﺍﻟﻌﺎﺩﻩ ﻗﺪﺭﺗﻤﻨﺪﻯ ﺍﺳﺖ ﻛﻪ ﻧﺰﺩﻳﻚ ﺑﻪ ﭼﻬﺎﺭ ﻫﺰﺍﺭ ﺳﺎﻝ ﺳﻦ ﺩﺍﺭﺩ‪.‬‬

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‫‪‬ﻧﺎﻡ ﻛﺘﺎﺏ‪ :‬ﭘﺮﻭﻧﺪﻩﻫﺎﻯ ﺩﺭﺳﺪﻥ )‪(18‬‬ ‫ﻧﻮﻳﺴﻨﺪﻩ‪ :‬ﺟﻴﻢ ﺑﻮﭼﺮ )‪(19‬‬ ‫ﻧﺎﺷﺮ‪ :‬ﺭﺍﻙ ﺑﻮﻛﺰ )‪(20‬‬ ‫»ﭘﺮﻭﻧﺪﻩﻫﺎﻯ ﺩﺭﺳﺪﻥ« ﻣﺠﻤﻮﻋﻪﺍﻯ ﻓﺎﻧﺘﺰﻯ‪-‬ﻣﻌﻤﺎﻳﻰ ﺍﺳﺖ ﻛﻪ ﺣﻮﻝ ﺷﺨﺼﻴﺖ ﻫﺮﻯ ﺩﺭﺳﺪﻥ‬ ‫)‪ ،(21‬ﻳﻚ ﺟﺎﺩﻭﮔﺮ ﻭ ﻛﺎﺭﺍﮔﺎﻩ ﺧﺼﻮﺻﻰ ﺩﺭ ﺷﻴﻜﺎﮔﻮﻯ ﺍﻣﺮﻭﺯﻯ‪ ،‬ﺍﻣﺎ ﺍﻧﺪﻛﻰ ﻣﺘﻔﺎﻭﺕ ﻣﻰﭼﺮﺧﺪ‪.‬‬ ‫ﺩﺭ ﺍﻳﻦ ﺩﻧﻴﺎ ﺟﺎﺩﻭ‪ ،‬ﺧﻮﻥﺁﺷﺎﻡﻫﺎ‪ ،‬ﮔﺮﮔﻴﻨﻪﻫﺎ‪ ،‬ﺍﺭﻭﺍﺡ‪ ،‬ﭘﺮﻯﻫﺎ‪ ،‬ﺷﻴﺎﻃﻴﻦ ﻭ ﺳﺎﻳﺮ ﻣﻮﺟﻮﺩﺍﺕ ﻣﺎﻭﺭﺍﻳﻰ‬ ‫ﻭﺟﻮﺩ ﺩﺍﺭﻧﺪ ﻭ ﮔﺎﻫﻰ ﺩﺭ ﺳﺎﻳﻪﻯ ﺍﻧﺴﺎﻥﻫﺎ ﺯﻧﺪﮔﻰ ﻣﻰﻛﻨﻨﺪ‪ .‬ﻫﺮﻯ ﺩﺭﺳﺪﻥ ﺑﻪ ﻋﻨﻮﺍﻥ ﺟﺎﺩﻭﮔﺮﻯ‬ ‫ﻛﻪ ﺑﺎ ﺍﻳﻦ ﺩﻧﻴﺎﻯ ﭘﻴﭽﻴﺪﻩ ﻭ ﭘﻨﻬﺎﻥ ﺁﺷﻨﺎﻳﻰ ﺩﺍﺭﺩ‪ ،‬ﻣﻰﻛﻮﺷﺪ ﺍﺯ ﺍﻧﺴﺎﻥﻫﺎﻯ ﺳﺎﺩﻩ ﻭ ﻧﺎﺁﮔﺎﻩ ﺍﺯ ﻭﻗﺎﻳﻊ‬ ‫ﺍﻃﺮﺍﻑ ﺧﻮﺩ ﻣﺤﺎﻓﻈﺖ ﻛﻨﺪ‪ .‬ﺍﺯ ﻣﺠﻤﻮﻋﻪﻯ ﺩﺭﺳﺪﻥ ﺗﺎ ﺑﻪ ﺍﻣﺮﻭﺯ ﺩﻭﺍﺯﺩﻩ ﺟﻠﺪ ﭼﺎپ ﺷﺪﻩ ﺍﺳﺖ ﻭ ﺑﻪ‬ ‫ﻧﻈﺮ ﻣﻰﺭﺳﺪ ﺩﺍﺳﺘﺎﻥﻫﺎﻯ ﺁﻥ ﻫﻤﭽﻨﺎﻥ ﺍﺩﺍﻣﻪ ﺩﺍﺷﺘﻪ ﺑﺎﺷﺪ‪.‬‬ ‫ﺩﺭ ﺍﻳﻦﺟﺎ ﺗﻨﻬﺎ ﺑﻪ ﺧﻮﻥﺁﺷﺎﻡﻫﺎﻯ ﺣﺎﺿﺮ ﺩﺭ ﺍﻳﻦ ﻣﺠﻤﻮﻋﻪ ﻣﻰﭘﺮﺩﺍﺯﻳﻢ‪.‬‬ ‫ﺳﻪ ﮔﺮﻭﻩ ﺍﺻﻠﻰ ﺧﻮﻥﺁﺷﺎﻡ ﺩﺭ ﺩﻧﻴﺎﻯ ﺩﺭﺳﺪﻥ ﻳﺎﻓﺖ ﻣﻰﺷﻮﺩ‪ :‬ﺧﻮﻥﺁﺷﺎﻡﻫﺎﻯ ﺳﻔﻴﺪ‪ ،‬ﺳﺮﺥ ﻭ ﺳﻴﺎﻩ‪.‬‬ ‫ﻳﻚ ﮔﺮﻭﻩ ﭼﻬﺎﺭﻡ ﺑﻪ ﻧﺎﻡ ﺧﻮﻥﺁﺷﺎﻡﻫﺎﻯ ﺳﺒﺰ ﻧﻴﺰ ﻭﺟﻮﺩ ﺩﺍﺭﺩ‪ ،‬ﺍﻣﺎ ﺗﺎﻛﻨﻮﻥ ﺍﻃﻼﻋﺎﺕ ﺯﻳﺎﺩﻯ ﺩﺭ‬ ‫ﻣﻮﺭﺩﺷﺎﻥ ﺩﺍﺩﻩ ﻧﺸﺪﻩ ﻭ ﻓﻘﻂ ﻣﻰﺩﺍﻧﻴﻢ ﺁﻥﻫﺎ ﮔﺮﻭﻫﻰ ﻓﻮﻕﺍﻟﻌﺎﺩﻩ ﭘﻨﻬﺎﻥ ﻭ ﺳﺮﻯ ﻫﺴﺘﻨﺪ‪.‬‬ ‫ﺧﻮﻥﺁﺷﺎﻣﺎﻥ ﺳﻔﻴﺪ‪ :‬ﺍﻳﻦﻫﺎ ﻧﺰﺩﻳﻚﺗﺮﻳﻦ ﺧﻮﻥﺁﺷﺎﻣﺎﻥ ﺑﻪ ﺍﻧﺴﺎﻥﻫﺎ ﺍﺯ ﻧﻈﺮ ﻇﺎﻫﺮ ﻭ ﻋﺎﺩﺍﺕ ﻭ‬ ‫ﺧﺼﻮﺻﻴﺎﺕ ﻫﺴﺘﻨﺪ‪ .‬ﺍﻳﻦ ﻣﻮﺟﻮﺩﺍﺕ ﺗﻨﻬﺎ ﺍﺯ ﺍﺣﺴﺎﺳﺎﺕ ﻭ ﺟﻮﻫﺮﻩﻯ ﺍﻧﺴﺎﻥ ﺗﻐﺬﻳﻪ ﻣﻰﻛﻨﻨﺪ ﻭ ﺑﻪ‬ ‫ﺟﺎﻯ ﺧﻠﻖ ﺷﺪﻥ‪ ،‬ﺑﺎﻳﺪ ﺑﻪ ﻫﻤﻴﻦ ﺷﻜﻞ ﻣﺘﻮﻟﺪ ﺷﻮﻧﺪ‪ .‬ﻇﺎﻫﺮﺍ ً ﺗﺎ ﻗﺒﻞ ﺍﺯ ﺳﻦ ﺑﻠﻮﻍ‪ ،‬ﺁﻥﻫﺎ ﺗﻤﺎﻣﺎً‬ ‫ﺍﻧﺴﺎﻥ ﻫﺴﺘﻨﺪ ﻭ ﺑﻌﺪﺍ ً ﺧﺼﻮﺻﻴﺎﺕ ﻭﻳﮋﻩﺷﺎﻥ ﺑﺮﻭﺯ ﭘﻴﺪﺍ ﻣﻰﻛﻨﺪ ﻭ ﺍﻭﻟﻴﻦ ﺗﻐﺬﻳﻪﻯ ﺁﻥﻫﺎ ﺍﺯ ﻳﻚ‬ ‫ﺍﻧﺴﺎﻥ‪ ،‬ﺑﺎﻋﺚ ﺗﻐﻴﻴﺮﺷﺎﻥ ﻣﻰﺷﻮﺩ‪ .‬ﺧﻮﻥﺁﺷﺎﻡﻫﺎﻯ ﺳﻔﻴﺪ ﺑﻪ ﺷﻜﻞ ﺧﺎﻧﺪﺍﻥﻫﺎﻯ ﻣﺤﺎﻓﻈﻪﻛﺎﺭﻯ‬ ‫ﺯﻧﺪﮔﻰ ﻣﻰﻛﻨﻨﺪ ﻛﻪ ﻭﺟﻪ ﺗﻤﺎﻳﺰ ﺁﻥﻫﺎ‪ ،‬ﺍﺣﺴﺎﺳﻰ ﺍﺳﺖ ﻛﻪ ﺑﻴﺸﺘﺮ ﺍﺯ ﺁﻥ ﺗﻐﺬﻳﻪ ﺩﺍﺭﻧﺪ؛ ﻣﺜ ً‬ ‫ﻼ ﺗﺮﺱ‬ ‫ﻳﺎ ﻫﻴﺠﺎﻥ ﻳﺎ ﻋﻼﻗﻪ‪ .‬ﺍﻳﻦ ﺧﺎﻧﻮﺍﺩﻩﻫﺎ ﺍﻏﻠﺐ ﺑﺮ ﺳﺮ ﻗﺪﺭﺕ ﺑﺎ ﻳﻜﺪﻳﮕﺮ ﺩﺭﮔﻴﺮ ﻫﺴﺘﻨﺪ‪ ،‬ﺍﻣﺎ ﺩﺭ ﺯﻣﺎﻥ‬ ‫ﺍﺗﻔﺎﻗﺎﺕ ﺍﻳﻦ ﻣﺠﻤﻮﻋﻪ ﺧﺎﻧﺪﺍﻥ ﺭﻳﺚ ﺍﺯ ﻗﺪﺭﺕ ﺑﺮﺧﻮﺭﺩﺍﺭ ﺍﺳﺖ ﻭ ﺑﺰﺭگ ﺧﺎﻧﺪﺍﻥ‪ ،‬ﺷﺎﻩ ﺳﻔﻴﺪﻫﺎ‬ ‫ﺧﻮﺍﻧﺪﻩ ﻣﻰﺷﻮﺩ‪ .‬ﺳﻔﻴﺪﻫﺎ ﺑﺎ ﺍﺳﺘﻔﺎﺩﻩ ﺍﺯ ﻇﺎﻫﺮ ﺟﺬﺍﺏ ﺧﻮﺩ ﺍﻧﺴﺎﻥﻫﺎ ﺭﺍ ﺑﻪ ﻃﺮﻑ ﺧﻮﺩ ﻣﻰﻛﺸﺎﻧﻨﺪ‬ ‫ﻭ ﺍﻏﻠﺐ ﻗﺮﺑﺎﻧﻴﺎﻥ ﺑﻪ ﺷﻜﺎﺭﭼﻴﺎﻥ ﺧﻮﺩ ﻭﺍﺑﺴﺘﻪ ﻣﻰﺷﻮﻧﺪ‪.‬‬ ‫ﻇﺎﻫﺮﺍ ً ﺳﻔﻴﺪﻫﺎ ﻧﺴﺒﺖ ﺑﻪ ﺳﺮﺥﻫﺎ ﻭ ﺳﻴﺎﻩﻫﺎ ﺿﻌﻴﻒﺗﺮ ﻫﺴﺘﻨﺪ‪ ،‬ﺍﻣﺎ ﻣﻰﺗﻮﺍﻧﻨﺪ ﺩﺭ ﻣﻮﺍﻗﻊ ﺧﺎﺹ ﻭ ﺑﻪ‬ ‫ﻣﺪﺕ ﻛﻮﺗﺎﻩ‪ ،‬ﺍﺯ ﺍﻧﺪﻭﺧﺘﻪﻯ ﺍﺣﺴﺎﺳﺎﺕ ﺗﻐﺬﻳﻪ ﺷﺪﻩ ﺍﺳﺘﻔﺎﺩﻩ ﻛﺮﺩﻩ ﻭ ﺩﺳﺖ ﺑﻪ ﺍﻋﻤﺎﻝ ﺧﺎﺭﻕﺍﻟﻌﺎﺩﻩ‬ ‫ﺑﺰﻧﻨﺪ‪ .‬ﺍﺯ ﻃﺮﻑ ﺩﻳﮕﺮ‪ ،‬ﻧﻘﺎﻁ ﺿﻌﻒ ﺁﻥﻫﺎ ﻧﺴﺒﺖ ﺑﻪ ﺳﺮﺥﻫﺎ ﻭ ﺳﻴﺎﻩﻫﺎ ﺑﺴﻴﺎﺭ ﻛﻤﺘﺮ ﺍﺳﺖ؛ ﻣﺜ ً‬ ‫ﻼ‬ ‫‪213‬‬

‫ﻭﻳﮋﻩﻧﺎﻣﻪﻯ ﺧﻮﻥﺁﺷﺎﻡﻫﺎ‬

‫ﺑﻴﺸﺘﺮ ﺍﺯ ﭘﺴﺖﻫﺎ ﺍﺳﺖ‪ ،‬ﺍﻣﺎ ﺯﻧﺪﮔﻴﺸﺎﻥ ﺑﻪ ﺍﻳﻦ ﻣﺴﺌﻠﻪ ﺑﺴﺘﻪ ﻧﻴﺴﺖ‪ .‬ﻭﻗﺘﻰ ﻳﻚ ﺧﻮﻥﺁﺷﺎﻡ ﺑﺮﺗﺮ‬ ‫ﺑﻤﻴﺮﺩ )ﺁﻥ ﻫﻢ ﺑﻪ ﻫﺮ ﺩﻟﻴﻠﻰ(‪ ،‬ﺧﻮﺩ ﺑﺨﻮﺩ ﺩﺭ ﻏﺮﻭﺏ ﺑﻌﺪ ﺑﻪ ﻋﻨﻮﺍﻥ ﻳﻚ ﻧﺎﻣﺮﺩﻩ ﺑﻪ ﺯﻧﺪﮔﻰ ﺑﺮﺧﻮﺍﻫﺪ‬ ‫ﮔﺸﺖ‪.‬‬ ‫ﻭﻗﺘﻰ ﺧﻮﻥﺁﺷﺎﻣﻰ )ﭼﻪ ﭘﺴﺖ ﻭ ﭼﻪ ﺑﺮﺗﺮ( ﺑﻪ ﻣﺮﺣﻠﻪﻯ ﻧﺎﻣﺮﺩﮔﻰ ﺑﺮﺳﺪ‪ ،‬ﺗﻤﺎﻣﻰ ﻣﺰﺍﻳﺎﻯ ﻭﻳﺮﻭﺱ‬ ‫ﺁﻟﻮﺩﻩ ﻛﻨﻨﺪﻩ – ﻣﺜﻞ ﺗﺒﺪﻳﻞ ﺳﺎﻳﺮ ﺍﻧﺴﺎﻥﻫﺎ ﻭ ﻫﻴﭙﻨﻮﺗﻴﺰﻡ ﻗﺮﺑﺎﻧﻰﻫﺎ – ﺭﺍ ﺑﻪ ﺩﺳﺖ ﻣﻰﺁﻭﺭﺩ‪،‬‬ ‫ﺍﻣﺎ ﺩﺭ ﻣﻘﺎﺑﻞ ﺭﻭﺡ ﻭ ﻫﺎﻟﻪﻯ ﺍﻧﺴﺎﻧﻰ ﺧﻮﺩ ﺭﺍ )ﻛﻪ ﻋﻨﺼﺮ ﻣﻬﻤﻰ ﺩﺭ ﺍﻳﻦ ﻣﺠﻤﻮﻋﻪ ﺍﺳﺖ( ﺍﺯ‬ ‫ﺩﺳﺖ ﻣﻰﺩﻫﺪ‪ .‬ﺟﺎﻣﻌﻪﻯ ﺧﻮﻥﺁﺷﺎﻣﺎﻥ ﺑﻪ ﺩﺳﺖ ﺍﺭﺑﺎﺑﺎﻥ ﺧﻮﻥﺁﺷﺎﻣﻰ ﻭ ﺑﻪ ﺷﻜﻞ ﻣﺎﻓﻴﺎﻳﻰ ﺍﺩﺍﺭﻩ‬ ‫ﻣﻰﺷﻮﺩ‪ .‬ﺳﻠﺴﻠﻪﻣﺮﺍﺗﺐ ﺍﻳﻦ ﻣﻮﺟﻮﺩﺍﺕ ﺑﺴﻴﺎﺭ ﭘﻴﭽﻴﺪﻩ ﺍﺳﺖ ﻭ ﺍﻏﻠﺐ ﺧﺎﻧﺪﺍﻥﻫﺎ )ﻳﺎ ﺑﺎ ﻋﺒﺎﺭﺕ ﻛﺘﺎﺏ‬ ‫»ﻛﺎﻣﺎﺭﻳﻼ« )‪ ((17‬ﺑﺴﻴﺎﺭ ﺑﺰﺭگ ﺑﻮﺩﻩ ﻭ ﮔﺮﻭﻩ ﮔﺴﺘﺮﺩﻩﺍﻯ ﺍﺯ ﺍﻋﻀﺎ ﻭ ﺯﻳﺮﺩﺳﺘﺎﻥ ﻭ ﺧﺪﻣﺘﮕﺬﺍﺭﺍﻥ‬ ‫ﺩﺍﺭﻧﺪ‪ .‬ﻣﻌﻤﻮﻻً ﺧﻮﻥﺁﺷﺎﻡﻫﺎﻯ ﺗﻚﺍﻓﺘﺎﺩﻩ ﺳﻌﻰ ﻣﻰﻛﻨﻨﺪ ﻋﻀﻮﻳﺖ ﻳﻜﻰ ﺍﺯ ﻛﺎﻣﺎﺭﻳﻼﻫﺎ ﺭﺍ ﺑﻪ ﺩﺳﺖ‬ ‫ﺑﻴﺎﻭﺭﻧﺪ‪ ،‬ﭼﺮﺍ ﻛﻪ ﺁﻥﻫﺎ ﺗﻤﺎﻣﻰ ﺣﻤﺎﻳﺖﻫﺎﻯ ﻻﺯﻡ ﺑﺮﺍﻯ ﺣﻴﺎﺕ ﻳﻚ ﺧﻮﻥﺁﺷﺎﻡ ﺭﺍ ﺩﺭ ﺍﺧﺘﻴﺎﺭﺵ‬ ‫ﻣﻰﮔﺬﺍﺭﻧﺪ‪.‬‬ ‫ﺍﺯ ﺁﻥﺟﺎﻳﻰ ﻛﻪ ﺷﺨﺼﻴﺖ ﺍﻭﻝ ﺩﺍﺳﺘﺎﻥ ﻳﻚ ﺳﺎﺣﺮﻩ ﺍﺳﺖ‪ ،‬ﺑﻨﺎﺑﺮﺍﻳﻦ ﺧﻮﻥﺁﺷﺎﻡﻫﺎﻯ ﺍﻳﻦ ﻛﺘﺎﺏ ﺭﺍ ﺑﻪ‬ ‫ﺷﻜﻞ ﺩﺳﺖﺍﻭﻝ ﻣﺸﺎﻫﺪﻩ ﻧﻤﻰﻛﻨﻴﻢ‪ .‬ﺗﻨﻬﺎ ﺷﺮﻳﻚ ﺭﻳﭽﻞ‪ ،‬ﺁﻳﻮﻯ ﺭﺍ ﺩﺍﺭﻳﻢ ﻛﻪ ﺑﻪ ﻋﻨﻮﺍﻥ ﻫﻤﺨﺎﻧﻪﻯ‬ ‫ﺍﻭ ﺷﺪﻳﺪﺍ ً ﻣﻰﻛﻮﺷﺪ ﺑﺮ ﺍﺷﺘﻴﺎﻕ ﻭ ﻋﻄﺸﺶ ﺑﺮ ﻧﻮﺷﻴﺪﻥ ﺧﻮﻥ ﺍﻭ ﻏﻠﺒﻪ ﻛﻨﺪ ﻭ ﺩﺭ ﺑﻌﻀﻰ ﺟﻠﺪﻫﺎﻯ‬ ‫ﺍﻳﻦ ﻣﺠﻤﻮﻋﻪ‪ ،‬ﺑﻪ ﻫﻤﺮﺍﻩ ﻗﻬﺮﻣﺎﻥ ﺩﺭﮔﻴﺮ ﻣﺎﺟﺮﺍﻫﺎ ﻭ ﺩﺳﻴﺴﻪﻫﺎﻯ ﭘﺸﺖ ﭘﺮﺩﻩﻯ ﺧﻮﻥﺁﺷﺎﻣﺎﻥ ﺍﻳﻦ‬ ‫ﺟﻬﺎﻥ ﻣﻰﺷﻮﻳﻢ‪.‬‬ ‫ﺧﻮﻥﺁﺷﺎﻣﺎﻥ »ﻫﺎﻟﻮﺯ« ﺑﺴﻴﺎﺭ ﻛﻠﻴﺸﻪﺍﻯ ﻫﺴﺘﻨﺪ؛ ﺧﻮﺵﻗﻴﺎﻓﻪ ﻭ ﺟﺬﺍﺏ ﻫﺴﺘﻨﺪ‪ ،‬ﺍﺯ ﻗﺎﺑﻠﻴﺖ‬ ‫ﻫﻴﭙﻨﻮﺗﻴﺰﻡ ﻭ ﻟﺬﺕﺑﺨﺸﻰ ﺑﻪ ﺍﻧﺴﺎﻥﻫﺎ ﺑﺮﺧﻮﺭﺩﺍﺭﻧﺪ‪ ،‬ﺑﻰﺑﺎﻙ ﻭ ﻣﻐﺮﻭﺭ ﻭ ﻧﺴﺒﺖ ﺑﻪ ﺍﻧﺴﺎﻥﻫﺎ‬ ‫ﺑﻰﻋﺎﻃﻔﻪﺍﻧﺪ‪ ،‬ﻭ ﺻﺪ ﺍﻟﺒﺘﻪ ﺭﻣﺎﻧﺘﻴﻚ ﻫﺴﺘﻨﺪ! ﺭﻳﭽﻞ ﻣﻮﺭﮔﺎﻥ ﺑﻪ ﻋﻨﻮﺍﻥ ﻗﻬﺮﻣﺎﻥ ﻛﺘﺎﺏ ﺑﺎﺭﻫﺎ ﺩﺭﮔﻴﺮ‬ ‫ﺭﻭﺍﺑﻄﻰ ﻋﺎﻃﻔﻰ ﺑﺎ ﺧﻮﻥﺁﺷﺎﻡﻫﺎ ﻣﻰﺷﻮﺩ ﻭ ﺩﺭ ﺍﻳﻦ ﺑﻴﻦ ﺁﻥﻫﺎ ﺭﺍ ﺑﻪ ﺷﻜﻞ ﺩﻭﻥژﻭﺍﻥﻫﺎﻯ ﻧﺎﻣﺮﺩﻩ ﻭ‬ ‫ﺧﻮﻧﺨﻮﺍﺭ ﻣﺸﺎﻫﺪﻩ ﻣﻰﻛﻨﻴﻢ‪ .‬ﺍﺯ ﻃﺮﻑ ﺩﻳﮕﺮ‪ ،‬ﺧﻮﻥﺁﺷﺎﻡﻫﺎﻯ ﻫﺎﻟﻮﺯ ﺍﺯ ﭘﻴﺶﺯﻣﻴﻨﻪ ﻭ ﺍﺳﺎﺱ ﻧﺴﺒﺘﺎً‬ ‫ﻣﺴﺘﺤﻜﻤﻰ ﺑﺮﺧﻮﺭﺩﺍﺭ ﻫﺴﺘﻨﺪ ﻭ ﺍﺯ ﺁﻥﺟﺎ ﻛﻪ ﺑﺎ ﻣﺠﻤﻮﻋﻪﺍﻯ ﻃﻮﻻﻧﻰ ﺭﻭﺑﺮﻭ ﻫﺴﺘﻴﻢ‪ ،‬ﺁﻥﻫﺎ ﻭﻗﺖ‬ ‫ﻛﺎﻓﻰ ﺑﺮﺍﻯ ﺗﻮﺳﻌﻪ ﻭ ﮔﺴﺘﺮﺵ ﺷﺨﺼﻴﺖ ﻭ ﺧﺼﻮﺻﻴﺎﺕ ﺧﻮﺩ ﺩﺍﺭﻧﺪ‪.‬‬ ‫ﺧﻮﺍﻧﺪﻥ ﺍﻳﻦ ﻛﺘﺎﺏ ﻧﻪ ﺗﻨﻬﺎ ﺑﻪ ﺧﺎﻃﺮ ﺧﻮﻥﺁﺷﺎﻡﻫﺎﻳﺶ‪ ،‬ﺑﻠﻜﻪ ﺳﺎﻳﺮ ﻣﻮﺟﻮﺩﺍﺕ ﻣﺎﻭﺭﺍﻳﻰ ﺁﻥ ﻭ‬ ‫ﺧﺼﻮﺻﺎً ﺍﻧﻮﺍﻉ ﮔﻮﻧﺎﮔﻮﻥ ﻭ ﭘﺮﺟﺰﻳﻴﺎﺕ ﺟﺎﺩﻭﻫﺎﻳﻰ ﻛﻪ ﺩﺭ ﺁﻥ ﺁﻣﺪﻩ‪ ،‬ﺗﻮﺻﻴﻪ ﻣﻰﺷﻮﺩ‪.‬‬

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‫ژﻧﻮﻡ ﮔﻮﺟﻪﻓﺮﻧﮕﻰ )ﻣﻌﺮﻭﻑ ﺑﻪ ﮔﻮﺟﻪﻓﺮﻧﮕﻰ ﺑﻬﺸﺘﻰ( ﺩﺭ ﺳﺮﺗﺎﺳﺮ ﺟﻬﺎﻥ ﭘﺨﺶ ﻣﻰﺷﻮﺩ ﻭ ﻳﻚ‬ ‫ﭼﻬﺎﺭﻡ ﺟﻤﻌﻴﺖ ﺩﻧﻴﺎ ﺭﺍ ﻧﺎﺑﻮﺩ ﻣﻰﻛﻨﺪ‪ .‬ﺑﻪ ﺩﻟﻴﻞ ﻫﻤﻴﻦ ﻭﺍﻗﻌﻪ ﺍﺳﺖ ﻛﻪ ﺩﺭ ﺯﻣﺎﻥ ﺣﺎﻝ ﺩﺍﺳﺘﺎﻥ‪،‬‬ ‫ﺗﻤﺎﻣﻰ ﺩﺳﺘﻜﺎﺭﻯﻫﺎﻯ ژﻧﺘﻴﻚ ﻭ ﻣﻬﻨﺪﺳﻰ ﺑﻴﻮژﻧﺘﻴﻚ ﻣﻤﻨﻮﻉ ﻭ ﻏﻴﺮﻗﺎﻧﻮﻧﻰ ﺷﺪﻩ ﺍﺳﺖ‪ .‬ﺑﻪ ﻋﻼﻭﻩ‪،‬‬ ‫ﻧﮋﺍﺩ ﺍﻧﺴﺎﻥ ﺩﭼﺎﺭ ﻧﻮﻋﻰ ﻫﺮﺍﺱ ﺭﻭﺍﻧﻰ ﺍﺯ ﮔﻮﺟﻪﻓﺮﻧﮕﻰ ﺷﺪﻩ ﺍﺳﺖ ﻭ ﺣﺎﻻ ﺑﻪ ﻧﺪﺭﺕ ﮔﻮﺟﻪﻓﺮﻧﮕﻰ ﻳﺎ‬ ‫ﻣﺤﺼﻮﻻﺕ ﻭﺍﺑﺴﺘﻪ ﺑﻪ ﺁﻥ )ﻣﺜﻞ ﺳﺲ ﻭ ﺭﺏ ﻭ ﺍﻣﺜﺎﻟﻬﻢ( ﺩﺭ ﻓﺮﻭﺷﮕﺎﻩﻫﺎ ﻳﺎﻓﺖ ﻣﻰﺷﻮﻧﺪ‪.‬‬ ‫ﻇﺎﻫﺮﺍ ً ﻣﺮگ ﮔﺮﻭﻩ ﺯﻳﺎﺩﻯ ﺍﺯ ﺍﻧﺴﺎﻥﻫﺎ ﺗﻮﺳﻂ ﻭﻳﺮﻭﺱ ‪ ،T4‬ﺣﺎﻟﺖ ﻧﺴﺒﺘﺎً ﻣﺘﻌﺎﺩﻟﻰ ﻣﻴﺎﻥ ﺟﻤﻌﻴﺖ‬ ‫ﺁﻥﻫﺎ ﻭ ﻣﻮﺟﻮﺩﺍﺕ ﻣﺎﻭﺭﺍﻳﻰ ﺑﻪ ﻭﺟﻮﺩ ﻣﻰﺁﻭﺭﺩ ﻭ ﺑﺎﻋﺚ ﻣﻰﺷﻮﺩ ﮔﺮﻭﻩ ﺩﻭﻡ ﺳﺮﻳﻌﺎً ﺍﺯ ﺍﻳﻦ ﻓﺮﺻﺖ‬ ‫ﺍﺳﺘﻔﺎﺩﻩ ﻛﺮﺩﻩ ﻭ ﺍﺯ ﻣﺨﻔﻴﮕﺎﻩﻫﺎﻯ ﺧﻮﺩ ﺑﻴﺮﻭﻥ ﺑﻴﺎﻳﻨﺪ‪ .‬ﺍﻳﻦ ﻭﺍﻗﻌﻪ ﺑﺎ ﻧﺎﻡ »ﺗﻐﻴﻴﺮ« )‪ (16‬ﺷﻨﺎﺧﺘﻪ‬ ‫ﻣﻰﺷﻮﺩ ﻭ ﻣﺎﺟﺮﺍﻯ ﺁﻥ ﺑﺎﻋﺚ ﻋﺪﻡ ﺗﻌﺎﺩﻝ ﺳﻴﺴﺘﻢﻫﺎﻯ ﺣﻜﻮﻣﺘﻰ ﺟﻬﺎﻥ ﻧﻤﻰﺷﻮﺩ‪ ،‬ﭼﺮﺍ ﻛﻪ ﻫﻤﺎﻥ‬ ‫ﻣﻮﻗﻊ ﻫﻢ ﺑﺴﻴﺎﺭﻯ ﺍﺯ ﺳﻴﺎﺳﺘﻤﺪﺍﺭﺍﻥ ﻗﺪﺭﺗﻤﻨﺪ ﺩﻧﻴﺎ ﺧﻮﺩ ﺟﺰ ﻣﻮﺟﻮﺩﺍﺕ ﻣﺎﻭﺭﺍﻳﻰ ﺑﻮﺩﻩﺍﻧﺪ )ﻣﺜ ً‬ ‫ﻼ‬ ‫ﺭﻳﻴﺲﺟﻤﻬﻮﺭ ﺁﻣﺮﻳﻜﺎ ﻳﻚ ﺧﻮﻥﺁﺷﺎﻡ ﺍﺳﺖ(‪.‬‬ ‫ﻣﻮﺟﻮﺩﺍﺕ ﺯﻳﺎﺩﻯ ﺩﺭ ﺍﻳﻦ ﺩﻧﻴﺎ ﻳﺎﻓﺖ ﻣﻰﺷﻮﻧﺪ‪ ،‬ﺍﻣﺎ ﺩﺭ ﺍﻳﻦﺟﺎ ﺗﻨﻬﺎ ﺑﻪ ﺧﻮﻥﺁﺷﺎﻣﺎﻥ ﻣﻰﭘﺮﺩﺍﺯﻳﻢ‪.‬‬ ‫ﺧﻮﻥﺁﺷﺎﻡﻫﺎﻯ ﻣﺠﻤﻮﻋﻪﻯ ﻫﺎﻟﻮﺯ ﺑﺴﻴﺎﺭ ﺑﻪ ﺷﻜﻞ ﻛﻠﻴﺸﻪﺍﻯ ﺧﻮﺩ ﻧﺰﺩﻳﻚ ﻫﺴﺘﻨﺪ‪ .‬ﻣﺜ ً‬ ‫ﻼ ﺑﺰﺍﻕ ﺁﻥﻫﺎ‬ ‫ﺩﺍﺭﺍﻯ ﻧﻮﻋﻰ ﻣﺎﺩﻩﻯ ﺧﻠﺴﻪﺁﻭﺭ ﺍﺳﺖ ﻛﻪ ﺑﺎﻋﺚ ﻣﻰﺷﻮﺩ ﮔﺰﻳﺪﮔﻰ ﻳﻚ ﺧﻮﻥﺁﺷﺎﻡ ﺑﺮﺍﻯ ﺍﻧﺴﺎﻥﻫﺎ‬ ‫ﻟﺬﺕﺑﺨﺶ ﺑﺎﺷﺪ )ﻣﺸﺎﺑﻪ ﺧﻮﻥﺁﺷﺎﻡﻫﺎﻯ ﺳﺮﺥ ﻣﺠﻤﻮﻋﻪﻯ ﺩﺭﺳﺪﻥ(‪ .‬ﻫﻤﭽﻨﻴﻦ ﺧﻮﻥﺁﺷﺎﻣﺎﻥ‬ ‫ﻣﻰﺗﻮﺍﻧﻨﺪ ﺑﺮﺧﻰ ﻗﺮﺑﺎﻧﻴﺎﻥ ﺧﻮﺩ ﺭﺍ ﺍﺯ ﻧﻈﺮ ﺭﻭﺍﻧﻰ ﻭﺍﺑﺴﺘﻪ ﺑﻪ ﺧﻮﺩ ﺳﺎﺯﻧﺪ‪ .‬ﺧﻮﻥﺁﺷﺎﻡﻫﺎﻯ ﺍﻳﻦ ﺩﻧﻴﺎ‬ ‫ﺍﺯ ﺩﻭ ﻧﻮﻉ ﻫﺴﺘﻨﺪ‪ ،‬ﺯﻧﺪﻩ ﻭ ﻣﺮﺩﻩ‪.‬‬ ‫ﺧﻮﻥﺁﺷﺎﻡﻫﺎﻯ ﺯﻧﺪﻩ ﺍﻧﺴﺎﻥﻫﺎﻯ ﻋﺎﺩﻯ ﻫﺴﺘﻨﺪ ﻛﻪ ﻣﻮﺭﺩ ﮔﺰﻳﺪﮔﻰ ﻗﺮﺍﺭ ﮔﺮﻓﺘﻪ ﻭ ﺑﻪ ﻭﻳﺮﻭﺱ‬ ‫ﺧﻮﻥﺁﺷﺎﻣﻰ ﺁﻟﻮﺩﻩ ﺷﺪﻩﺍﻧﺪ‪ .‬ﺧﻮﺩ ﺧﻮﻥﺁﺷﺎﻡﻫﺎﻯ ﺯﻧﺪﻩ ﻧﻴﺰ ﺩﻭ ﺯﻳﺮﻣﺠﻤﻮﻋﻪ ﺩﺍﺭﻧﺪ‪ :‬ﺑﺮﺗﺮ ﻭ ﭘﺴﺖ‪.‬‬ ‫ﺧﻮﻥﺁﺷﺎﻡﻫﺎﻯ ﭘﺴﺖ ﻗﺒ ً‬ ‫ﻼ ﺍﻧﺴﺎﻥ ﺑﻮﺩﻩﺍﻧﺪ ﻭ ﻣﻮﺭﺩ ﮔﺰﻳﺪﮔﻰ ﻳﻚ ﺧﻮﻥﺁﺷﺎﻡ ﻣﺮﺩﻩ ﻗﺮﺍﺭ ﮔﺮﻓﺘﻪﺍﻧﺪ ﻭ‬ ‫ﺣﺎﻻ ﺗﻨﻬﺎ ﺍﺯ ﺑﺮﺧﻰ ﻭﻳﮋﮔﻰﻫﺎﻯ ﺧﻮﻥﺁﺷﺎﻡ ﺑﻬﺮﻩﻣﻨﺪ ﻫﺴﺘﻨﺪ؛ ﻧﻴﺮﻭﻣﻨﺪﺗﺮ ﻫﺴﺘﻨﺪ ﻭ ﺍﻟﺒﺘﻪ ﻋﻄﺶ‬ ‫ﺧﻮﻥ ﻫﻢ ﺩﺍﺭﻧﺪ‪ .‬ﻭﻗﺘﻰ ﻳﻚ ﺧﻮﻥﺁﺷﺎﻡ ﭘﺴﺖ ﺑﻤﻴﺮﺩ )ﭼﻪ ﺑﻪ ﻣﺮگ ﻃﺒﻴﻌﻰ ﻳﺎ ﻏﻴﺮﻩ(‪ ،‬ﻣﺮﮔﺸﺎﻥ‬ ‫ﻣﺎﻧﻨﺪ ﻳﻚ ﺍﻧﺴﺎﻥ ﻣﻌﻤﻮﻟﻰ ﺧﻮﺍﻫﺪ ﺑﻮﺩ ﻣﮕﺮ ﺍﻳﻦ ﻛﻪ ﻳﻚ ﺧﻮﻥﺁﺷﺎﻡ ﻣﺮﺩﻩ ﺩﺭ ﻟﺤﻈﻪﻯ ﻣﺮگ ﺣﺎﺿﺮ‬ ‫ﺑﻮﺩﻩ ﻭ ﺍﻭ ﺭﺍ ﺑﺎﺯﮔﺮﺩﺍﻧﺪ‪.‬‬ ‫ﺍﺯ ﻃﺮﻑ ﺩﻳﮕﺮ ﺧﻮﻥﺁﺷﺎﻡﻫﺎﻯ ﺑﺮﺗﺮ ﻛﺴﺎﻧﻰ ﻫﺴﺘﻨﺪ ﻛﻪ ﺑﻪ ﺷﻜﻞ ﺁﻟﻮﺩﻩ ﺑﻪ ﺩﻧﻴﺎ ﻣﻰﺁﻳﻨﺪ ﻭ ﺭﺷﺪ‬ ‫ﺟﻨﻴﻨﻰ ﺁﻥﻫﺎ ﺗﺤﺖ ﺗﺎﺛﻴﺮ ﻭﻳﺮﻭﺱ ﻗﺮﺍﺭ ﮔﺮﻓﺘﻪ ﺍﺳﺖ‪ .‬ﻗﺪﺭﺕ ﻭ ﺳﺮﻋﺖ ﺁﻥﻫﺎ ﺍﺯ ﺧﻮﻥﺁﺷﺎﻡﻫﺎﻯ‬ ‫ﭘﺴﺖ ﺑﻴﺸﺘﺮ ﺍﺳﺖ‪ ،‬ﺍﻣﺎ ﺑﻪ ﭘﺎﻯ ﺧﻮﻥﺁﺷﺎﻡﻫﺎﻯ ﻣﺮﺩﻩ ﻧﻤﻰﺭﺳﺪ‪ .‬ﻫﻤﭽﻨﻴﻦ ﻋﻄﺶ ﺁﻥﻫﺎ ﺑﻪ ﺧﻮﻥ‬ ‫‪211‬‬

‫ﻭﻳﮋﻩﻧﺎﻣﻪﻯ ﺧﻮﻥﺁﺷﺎﻡﻫﺎ‬

‫ﻣﻰﺧﻮﺭﺩ‪ ،‬ﺍﻣﺎ ﺑﺮﺧﻰ ﻣﻌﻤﺎﻫﺎ ﻭ ﮔﺮﻩﻫﺎ ﺑﺮﺍﻯ ﺣﻞ ﻭ ﺑﺎﺯ ﺷﺪﻥ ﺑﺎﻳﺪ ﺑﻪ ﺟﻠﺪﻫﺎﻯ ﺑﻌﺪﻯ ﺍﺭﺟﺎﻉ ﺩﺍﺩﻩ‬ ‫ﺷﻮﻧﺪ‪ .‬ﺁﻓﺘﺎﺏ ﺗﺎ ﻣﺮﺣﻠﻪﻯ ﺑﺎﻗﻰ ﮔﺬﺍﺷﺘﻦ ﺑﻌﻀﻰ ﺭﻣﺰ ﻭ ﺭﺍﺯﻫﺎ ﻭ ﺍﺭﺟﺎﻉ ﺁﻥﻫﺎ ﺑﻪ ﺁﻳﻨﺪﻩ ﭘﻴﺶ ﻣﻰﺭﻭﺩ‪،‬‬ ‫ﺍﻣﺎ ﺩﺭ ﺣﻘﻴﻘﺖ ﺁﻳﻨﺪﻩﺍﻯ ﺑﺮﺍﻯ ﺁﻓﺘﺎﺏ ﻣﺘﺼﻮﺭ ﻧﻴﺴﺖ ﻭ ﺩﺭ ﻭﺍﻗﻊ ﻧﻮﻳﺴﻨﺪﻩ ﻗﺼﺪ ﻧﻮﺷﺘﻦ ﺩﻧﺒﺎﻟﻪﺍﻯ‬ ‫ﺑﺮ ﺁﻥ ﺭﺍ ﻧﺪﺍﺭﺩ! ﺗﻨﻬﺎ ﺷﻨﻴﺪﻩ ﺷﺪﻩ ﻛﻪ ﺷﺎﻳﺪ ﻣﻚﻛﻴﻨﻠﻰ ﺩﺭ ﺁﻳﻨﺪﻩﺍﻯ ﻧﺎﻣﻌﻠﻮﻡ ﻛﺘﺎﺏ ﺩﻳﮕﺮﻯ ﺑﺎ ﻧﺎﻡ‬ ‫‪ ALBION‬ﻣﻨﺘﺸﺮ ﻛﻨﺪ ﻛﻪ ﺩﺭ ﻫﻤﺎﻥ ﺩﻧﻴﺎﻯ ﺁﻓﺘﺎﺏ ﺭﺥ ﻣﻰﺩﻫﺪ‪ ،‬ﺍﻣﺎ ﺭﺑﻄﻰ ﺑﻪ ﺍﺗﻔﺎﻗﺎﺕ ﺭﺍﻯ ﻭ‬ ‫ﻛﻨﺴﺘﺎﻧﺘﻴﻦ ﻧﺪﺍﺭﺩ ﻭ ﺩﺍﺳﺘﺎﻥ ﻭ ﺧﻂ ﺳﻴﺮ ﻣﺘﻔﺎﻭﺗﻰ ﺧﻮﺍﻫﺪ ﺩﺍﺷﺖ‪.‬‬ ‫ﺑﺎ ﺍﻳﻦ ﻭﺟﻮﺩ »ﺁﻓﺘﺎﺏ« ﺗﺠﺮﺑﻪﺍﻯ ﻣﺘﻔﺎﻭﺕ ﺩﺭ ﻣﻴﺎﻥ ﺍﻧﺒﻮﻩ ﺧﻮﻥﺁﺷﺎﻡﻫﺎﻯ ﺭﻣﺎﻧﺘﻴﻚ ﻭ ﻟﻄﻴﻔﻰ ﺍﺳﺖ‬ ‫ﻛﻪ ﺍﺗﻮﻣﺒﻴﻞﻫﺎﻯ ﺁﺧﺮﻳﻦ ﻣﺪﻝ ﺳﻮﺍﺭ ﻣﻰﺷﻮﻧﺪ ﻭ ﺩﺑﻴﺮﺳﺘﺎﻥ ﻣﻰﺭﻭﻧﺪ! ﺧﻮﺍﻧﺪﻥ ﺍﻳﻦ ﻛﺘﺎﺏ ﺑﻪ ﻋﻨﻮﺍﻥ‬ ‫ﻛﺴﺐ ﺗﺠﺮﺑﻪﺍﻯ ﺟﺪﻳﺪ ﺩﺭ ﺍﻳﻦ ﺯﻣﻴﻨﻪ ﻗﻄﻌﺎً ﺗﻮﺻﻴﻪ ﻣﻰﺷﻮﺩ‪.‬‬ ‫‪‬ﻧﺎﻡ ﻛﺘﺎﺏ‪ :‬ﻣﺠﻤﻮﻋﻪ ﻫﺎﻟﻮﺯ )‪(10‬‬ ‫ﻧﻮﻳﺴﻨﺪﻩ‪ :‬ﻛﻴﻢ ﻫﺮﻳﺴﻮﻥ )‪(11‬‬ ‫ﺍﻧﺘﺸﺎﺭﺍﺕ‪ :‬ﻫﺎﺭﭘﺮ ﻛﺎﻟﻴﻨﺰ )‪(12‬‬ ‫ﻣﺠﻤﻮﻋﻪﻯ ﻫﺎﻟﻮﺯ )ﻛﻪ ﺑﺎ ﻧﺎﻡ ﻣﺠﻤﻮﻋﻪ ﺭﻳﭽﻞ ﻣﻮﺭﮔﺎﻥ )‪ (13‬ﻫﻢ ﺷﻨﺎﺧﺘﻪ ﻣﻰﺷﻮﺩ( ﻣﺠﻤﻮﻋﻪﺍﻯ‬ ‫ﻓﺎﻧﺘﺰﻯ ﻭ ﻣﻌﻤﺎﻳﻰ ﺍﺳﺖ ﻛﻪ ﺩﺭ ﺟﻬﺎﻧﻰ ﻣﻮﺍﺯﻯ ﻭ ﻣﺸﺎﺑﻪ ﺯﻣﻴﻦ ﻣﺎ‪ ،‬ﺩﺭ ﺣﺪﻭﺩ ﺷﻬﺮ ﺳﻴﻨﺴﻴﻨﺎﺗﻰ‬ ‫ﺁﻣﺮﻳﻜﺎ ﺭﺥ ﻣﻰﺩﻫﺪ‪ .‬ﺍﻳﻦ ﺷﻬﺮ ﺑﻪ ﺩﻭ ﺑﺨﺶ ﺗﻘﺴﻴﻢ ﺷﺪﻩ ﺍﺳﺖ‪ :‬ﺑﺨﺶ ﺍﺻﻠﻰ ﺷﻬﺮ )ﻛﻪ ﺍﻏﻠﺐ ﺑﻪ ﺁﻥ‬ ‫ﻣﺮﻛﺰ ﺷﻬﺮ ﻣﻰﮔﻮﻳﻨﺪ( ﻭ ﻧﻴﻤﻪﻯ ﻛﻮﭼﻚﺗﺮ ﺩﺭ ﺁﻥ ﺳﻮﻯ ﺭﻭﺩ ﺍﻭﻫﺎﻳﻮ ﻛﻪ ﺑﺎ ﻧﺎﻡ »ﻫﺎﻟﻮﺯ« ﺷﻨﺎﺧﺘﻪ‬ ‫ﻣﻰﺷﻮﺩ‪ .‬ﻫﺎﻟﻮﺯ ﻣﺤﻠﻪﻯ ﻣﺨﺼﻮﺹ ﻣﻮﺟﻮﺩﺍﺕ ﺧﺎﺹ ﻭ ﻏﻴﺮﻋﺎﺩﻯ ﭼﻮﻥ ﺧﻮﻥﺁﺷﺎﻡﻫﺎ‪ ،‬ﮔﺮﮔﻴﻨﻪﻫﺎ‪،‬‬ ‫ﭘﺮﻯﻫﺎ ﻭ ﻏﻴﺮﻩ ﺍﺳﺖ ﻭ ﻣﺮﻛﺰ ﺷﻬﺮ ﺟﺎﻳﮕﺎﻩ ﺯﻳﺴﺖ ﻭ ﻛﺴﺐﻭﻛﺎﺭ ﺍﻧﺴﺎﻥﻫﺎﻯ ﻋﺎﺩﻯ‪.‬‬ ‫ﺩﺍﺳﺘﺎﻥ ﻣﺮﺑﻮﻁ ﺑﻪ ﺯﻧﻰ ﺑﻪ ﻧﺎﻡ ﺭﻳﭽﻞ ﻣﻮﺭﮔﺎﻥ‪ ،‬ﻳﻚ ﻛﺎﺭﺁﮔﺎﻩ ﻭ ﺳﺎﺣﺮﻩ ﺍﺳﺖ ﻛﻪ ﺩﺭ ﻛﺘﺎﺏ ﺍﻭﻝ ﺍﻭ ﺭﺍ‬ ‫ﻋﻀﻮ ﻧﻴﺮﻭﻫﺎﻯ ﻣﺨﺼﻮﺹ ﻣﺒﺎﺭﺯﻩ ﺑﺎ ﺟﺮﺍﻳﻢ ﻣﺎﻭﺭﺍﻳﻰ ﻣﻰﺑﻴﻨﻴﻢ‪ .‬ﺍﻳﻦ ﻣﺠﻤﻮﻋﻪﻯ ﺩﻩ ﺟﻠﺪﻯ ﺑﻴﺸﺘﺮ ﺑﺮ‬ ‫ﭘﺮﻭﻧﺪﻩﻫﺎﻯ ﺭﻳﭽﻞ ﺑﻪ ﻋﻨﻮﺍﻥ ﻳﻚ ﻛﺎﺭﺍﮔﺎﻩ ﺧﺼﻮﺻﻰ ﻭ ﺭﻭﺍﺑﻂ ﺍﻭ ﺑﺎ ﺷﺮﻛﺎﻳﺶ‪ ،‬ﻳﻚ ﺧﻮﻥﺁﺷﺎﻡ ﺯﻧﺪﻩ‬ ‫ﺑﻪ ﻧﺎﻡ ﺁﻳﻮﻯ ﺗﻢﻭﻭﺩ )‪ (14‬ﻭ ﻳﻚ ﭘﺮﻯ ﭼﻨﺪ ﺍﻳﻨﭽﻰ ﺑﻪ ﻧﺎﻡ ﺟﻨﻜﺰ )‪ (15‬ﻣﻰﭘﺮﺩﺍﺯﺩ‪.‬‬ ‫ﺩﺭ ﺍﻳﻦ ﺩﻧﻴﺎ ﺍﻧﺴﺎﻥﻫﺎ ﻭ ﻣﻮﺟﻮﺩﺍﺕ ﺧﺎﺹ ﺩﺭ ﻛﻨﺎﺭ ﻫﻢ ﺯﻧﺪﮔﻰ ﻣﻰﻛﻨﻨﺪ ﻭ ﺗﻘﺮﻳﺒﺎً ﺍﻭﺿﺎﻉ ﺑﻪﺳﺎﻣﺎﻥ‬ ‫ﻭ ﺁﺭﺍﻣﻰ ﺩﺍﺭﻧﺪ‪ .‬ﻇﺎﻫﺮﺍ ً ﭘﺲ ﺍﺯ ﻛﺸﻒ ‪ ،DNA‬ﺩﺳﺘﻜﺎﺭﻯ ژﻧﺘﻴﻚ‪ ،‬ﺗﺒﺪﻳﻞ ﺑﻪ ﺍﻣﺮﻯ ﭘﻴﺶ ﭘﺎ‬ ‫ﺍﻓﺘﺎﺩﻩ ﺷﺪﻩ ﻭ ﻣﻨﺠﺮ ﺑﻪ ﺍﺗﻔﺎﻗﺎﺕ ﺧﺎﺻﻰ ﺩﺭ ﺍﻳﻦ ﺟﻬﺎﻥ ﻣﺘﻔﺎﻭﺕ ﻣﻰﺷﻮﺩ‪ .‬ﻳﻜﻰ ﺍﺯ ﻭﻗﺎﻳﻊ ﻧﺎﺷﻰ ﺍﺯ‬ ‫ﺩﺳﺘﻜﺎﺭﻯﻫﺎﻯ ژﻧﺘﻴﻚ‪ ،‬ﺟﻬﺶ ﻭﻳﺮﻭﺳﻰ ﺑﻪ ﻧﺎﻡ ‪ T4‬ﺍﺳﺖ ﻛﻪ ﺍﺯ ﻃﺮﻳﻖ ﭼﺴﺒﻴﺪﻥ ﺑﻪ ﺍﺧﺘﻼﻟﻰ ﺩﺭ‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،9-10‬ﺷﻬﺮﻳﻮﺭ ﻭ ﻣﻬﺮ ‪1390‬‬

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‫ﻭ ﺍﺯ ﺍﻳﻦﺟﺎ ﺍﺳﺖ ﻛﻪ ﺩﺍﺳﺘﺎﻥ ﺩﻧﺒﺎﻟﻪﺩﺍﺭﻯ ﺍﺯ ﺣﻘﺎﻳﻖ ﻋﺠﻴﺐ ﻭ ﺗﻠﺦ ﮔﺬﺷﺘﻪ ﻭ ﺟﻨﮓ ﺳﺨﺘﻰ ﺑﺎ‬ ‫ﺩﺷﻤﻨﺎﻥ ﺧﻮﻥﺁﺷﺎﻡ ﺁﻏﺎﺯ ﻣﻰﺷﻮﺩ‪...‬‬ ‫ﻣﻰﺗﻮﺍﻥ ﮔﻔﺖ »ﺁﻓﺘﺎﺏ« ﻧﺴﺒﺖ ﺑﻪ ﺑﺴﻴﺎﺭﻯ ﺍﺯ ﻛﺘﺎﺏﻫﺎﻯ ﺧﻮﻥﺁﺷﺎﻣﻰ‪ ،‬ﺟﺬﺍﺏﺗﺮ ﻭ ﺑﺰﺭﮔﺴﺎﻻﻧﻪﺗﺮ‬ ‫ﺍﺳﺖ‪ .‬ﺍﺯ ﻋﺸﻖﻫﺎﻯ ﻛﻮﺭ ﻭ ﻧﻮﺟﻮﺍﻧﺎﻧﻪ ﺧﺒﺮﻯ ﻧﻴﺴﺖ ﻭ ﺧﻮﻥﺁﺷﺎﻡﻫﺎ ﻫﻢ ﻣﻮﺟﻮﺩﺍﺕ ﺭﻭﻣﺎﻧﺘﻴﻜﻰ‬ ‫ﻧﻴﺴﺘﻨﺪ ﻛﻪ ﺑﺎ ﻳﻚ ﻧﮕﺎﻩ ﻋﺎﺷﻖ ﺑﺸﻮﻧﺪ ﻭ ﮔﻞ ﺭﺯ ﺑﻪ ﺩﺳﺖ ﺑﮕﻴﺮﻧﺪ ﻭ ﺯﻳﺮ ﻧﻮﺭ ﻣﺎﻩ ﻗﺪﻡ ﺑﺰﻧﻨﺪ ﻭ ﺁﻩ‬ ‫ﺑﻜﺸﻨﺪ‪ .‬ﺩﺭ ﻭﺍﻗﻊ ﺧﻮﻥﺁﺷﺎﻡﻫﺎﻯ ﺁﻓﺘﺎﺏ ﻧﺴﺒﺖ ﺑﻪ ﺍﻛﺜﺮﻳﺖ ﺩﺍﺳﺘﺎﻥﻫﺎﻯ ﺣﺎﻝ ﺣﺎﺿﺮ ﺍﻳﻦ ﺑﺎﺯﺍﺭ‪،‬‬ ‫ﺧﺸﻦﺗﺮ ﻭ ﺑﻴﮕﺎﻧﻪﺗﺮ ﻫﺴﺘﻨﺪ؛ ﺁﻥﻫﺎ ﻧﺎﻣﺮﺩﻩ ﻫﺴﺘﻨﺪ ﻭ ﺍﻳﻦ ﺭﺍ ﺑﻪ ﻭﺍﻗﻊ ﻧﺸﺎﻥ ﻣﻰﺩﻫﻨﺪ‪ .‬ﺁﻥﻫﺎ‬ ‫ﺍﺣﺴﺎﺳﺎﺕ ﺍﻧﺴﺎﻧﻰ ﺭﺍ ﺩﺭﻙ ﻧﻤﻰﻛﻨﻨﺪ ﻭ ﺍﺭﺗﺒﺎﻁ ﺑﺮﻗﺮﺍﺭ ﻛﺮﺩﻥ ﺑﺎ ﺁﻥﻫﺎ‪ ،‬ﻣﺜﻞ ﺍﺭﺗﺒﺎﻁ ﺩﺍﺷﺘﻦ ﺑﺎ‬ ‫ﻣﻮﺟﻮﺩﻯ ﺍﺯ ﺩﻧﻴﺎﻳﻰ ﺩﻳﮕﺮ ﺍﺳﺖ‪.‬‬ ‫ﺍﻟﺒﺘﻪ ﻛﺘﺎﺏ ﺍﺯ ﺍﺑﻬﺎﻡﻫﺎﻳﻰ ﻫﻢ ﺭﻧﺞ ﻣﻰﺑﺮﺩ؛ ﻣﻰﺑﻴﻨﻴﻢ ﺧﺎﻧﻮﺍﺩﻩﻯ ﭘﺪﺭﻯ ﺭﺍﻯ ﺳﺎﺣﺮﺍﻧﻰ ﻗﺪﺭﺗﻤﻨﺪ‬ ‫ﺑﻮﺩﻩﺍﻧﺪ‪ ،‬ﺍﻣﺎ ﻣﻮﺿﻮﻉ ﭼﻨﺎﻥ ﺩﺭ ﻟﻔﺎﻓﻪ ﻭ ﺯﻳﺮﻟﺒﻰ ﺑﻴﺎﻥ ﻣﻰﺷﻮﺩ ﻛﻪ ﺍﻧﮕﺎﺭ ﺩﺍﻧﺴﺘﻦ ﻭﺍﻗﻌﻴﺖ ﻣﺎﺟﺮﺍ‬ ‫ﻣﻰﺗﻮﺍﻧﺪ ﺧﻄﺮﻧﺎﻙ ﺑﺎﺷﺪ! ﻳﺎ ﺑﺎﻗﻰ ﺷﺨﺼﻴﺖﻫﺎﻯ ﺭﻣﺎﻥ ﺍﻏﻠﺐ ﺍﺯ ﻫﻤﺎﻥ ﺷﺨﺼﻴﺖﻫﺎﻯ ﻣﺮﻣﻮﺯﻯ‬ ‫ﻫﺴﺘﻨﺪ ﻛﻪ ﺗﺎﺭﻳﺨﭽﻪﻯ ﭘﻨﻬﺎﻥ ﻭ ﺳﻴﺎﻫﻰ ﭘﺸﺖ ﺳﺮ ﺩﺍﺭﻧﺪ ﻭ ﺑﻪ ﺩﻻﻳﻞ ﻧﺎﺷﻨﺎﺧﺘﻪ‪ ،‬ﺣﺎﻻ ﺩﺭ ﺷﻬﺮﻯ‬ ‫ﺩﻭﺭﺍﻓﺘﺎﺩﻩ ﻭ ﺧﻠﻮﺕ ﺯﻧﺪﮔﻰ ﻣﻰﻛﻨﻨﺪ ﻭ ﺑﻪ ﻛﺎﺭﻫﺎﻯ ﭘﻴﺶ ﭘﺎ ﺍﻓﺘﺎﺩﻩ ﺍﺷﺘﻐﺎﻝ ﺩﺍﺭﻧﺪ؛ ﻫﻤﭽﻨﻴﻦ ﺍﻛﺜﺮﺍ ً‬ ‫ﺍﺯ ﺭﻭ ﻛﺮﺩﻥ ﮔﺬﺷﺘﻪﻯ ﺧﻮﺩ ﻫﺮﺍﺱ ﺩﺍﺭﻧﺪ ﻭ ﺑﻴﺸﺘﺮ ﻣﺜﻞ ﺳﻴﺎﻫﻰﻟﺸﻜﺮ ﺳﺮﻳﺎﻝﻫﺎﻳﻰ ﻣﻰﻣﺎﻧﻨﺪ ﻛﻪ‬ ‫ﺷﺎﻳﺪ ﺑﺘﻮﺍﻥ ﺑﺮﺍﻳﺸﺎﻥ ﺳﺮﻳﺎﻝ ﻣﺠﺰﺍﻳﻰ ﺳﺎﺧﺖ! ﺍﻳﻦ ﺭﻣﺰ ﻭ ﺭﺍﺯﻫﺎ ﺧﻮﺍﻧﻨﺪﻩ ﺭﺍ ﺗﺸﻨﻪﻯ ﻓﻬﻤﻴﺪﻥ‬ ‫ﻭﺍﻗﻌﻴﺖ ﻭ ﺑﺎﺯ ﻛﺮﺩﻥ ﮔﺮﻩﻫﺎﻯ ﺩﺍﺳﺘﺎﻥ ﻣﻰﻛﻨﺪ‪ ،‬ﺍﻣﺎ ﺍﻛﺜﺮﻳﺖ ﺍﻳﻦ ﺩﺍﺳﺘﺎﻥﻫﺎ ﻫﻤﭽﻨﺎﻥ ﭘﻨﻬﺎﻥ‬ ‫ﻣﻰﻣﺎﻧﻨﺪ ﻭ ﻣﺜﻞ ﺍﻳﻦ ﺍﺳﺖ ﻛﻪ ﻧﻮﻳﺴﻨﺪﻩ ﺧﻮﺍﺳﺘﻪ ﺷﺨﺼﻴﺖ ﻣﺮﻣﻮﺯﻯ ﺑﺴﺎﺯﺩ‪ ،‬ﺍﻣﺎ ﺣﻮﺻﻠﻪ ﻧﺪﺍﺷﺘﻪ‬ ‫ﻓﻜﺮ ﻛﻨﺪ ﻭ ﺗﻮﺿﻴﺢ ﺩﻫﺪ ﻗﺒ ً‬ ‫ﻼ ﭼﻪ ﺍﺗﻔﺎﻗﺎﺗﻰ ﺑﺮﺍﻯ ﺍﻳﻦ ﻓﺮﺩ ﺍﻓﺘﺎﺩﻩ ﻭ ﭼﺮﺍ ﻣﺮﻣﻮﺯ ﺍﺳﺖ‪ .‬ﻛﺎﻓﻰ ﺍﺳﺖ‬ ‫ﺧﻮﺍﻧﻨﺪﻩ ﺑﺪﺍﻧﺪ ﺷﺨﺼﻴﺖ ﺍﻳﻜﺲ ﻣﺮﻣﻮﺯ ﺍﺳﺖ ﻭ ﺑﺲ!‬ ‫ﻛﺘﺎﺏ ﺁﻓﺘﺎﺏ ﻫﻢ ﺍﺯ ﻛﻠﻴﺸﻪﻫﺎﻯ ﺩﺍﺳﺘﺎﻥﻫﺎﻯ ﺧﻮﻥﺁﺷﺎﻣﻰ ﺭﻧﺞ ﻣﻰﺑﺮﺩ؛ ﻳﻜﻰ ﺍﺯ ﺍﻳﻦ ﻛﻠﻴﺸﻪﻫﺎ ﺩﺭ‬ ‫ﺟﻬﺎﻥﻫﺎﻳﻰ ﻛﻪ ﺣﻀﻮﺭ ﻣﻮﺟﻮﺩﺍﺕ ﺟﺎﺩﻭﻳﻰ ﺁﺷﻜﺎﺭ ﺷﺪﻩ‪ ،‬ﻧﻴﺮﻭﻯ ﭘﻠﻴﺲ ﻭﻳﮋﻩﺍﻯ ﺍﺳﺖ ﻛﻪ ﻣﺴﺌﻮﻟﻴﺖ‬ ‫ﻧﻈﺎﺭﺕ ﻭ ﻛﻨﺘﺮﻝ ﺍﻳﻦ ﻣﻮﺟﻮﺩﺍﺕ ﺭﺍ ﺑﺮ ﻋﻬﺪﻩ ﺩﺍﺭﺩ ﻭ ﺍﻏﻠﺐ ﺩﺭ ﻣﻴﺎﻥ ﺍﻓﺮﺍﺩ ﻭ ﻧﻴﺮﻭﻫﺎﻯ ﺁﻥ‪ ،‬ﻣﻮﺟﻮﺩﺍﺗﻰ‬ ‫ﺟﺎﺩﻭﻳﻰ ﻭ ﺩﻭﺭﮔﻪ ﻫﻢ ﻳﺎﻓﺖ ﻣﻰﺷﻮﺩ‪ .‬ﺍﻣﺎ ﺍﻳﻦ ﻧﻴﺮﻭﻯ ﻭﻳﮋﻩﻯ ﭘﻠﻴﺲ ﺩﺭ ﻛﺘﺎﺏ ﺁﻓﺘﺎﺏ ﭼﻨﺪﺍﻥ‬ ‫ﺗﻮﺿﻴﺢ ﺩﺍﺩﻩ ﻧﺸﺪﻩ ﻭ ﺑﻴﺸﺘﺮ ﺑﻪ ﺣﺎﻟﺖ ﻣﺎﺩﻩﻯ ﺧﺎﻡ ﺑﺎﻗﻰ ﻣﺎﻧﺪﻩ ﺍﺳﺖ‪.‬‬ ‫ﻭ ﻣﺸﻜﻞ ﺩﻳﮕﺮ ﻛﺘﺎﺏ‪ ،‬ﻧﺪﺍﺷﺘﻦ ﺩﻧﺒﺎﻟﻪ ﺍﺳﺖ! ﺩﺭ ﻭﺍﻗﻊ »ﺁﻓﺘﺎﺏ« ﺑﻪ ﺳﺒﻚ ﻭ ﺳﻴﺎﻕ ﻣﺠﻤﻮﻋﻪﺍﻯ‬ ‫ﻧﻮﺷﺘﻪ ﺷﺪﻩ؛ ﺩﺭ ﭘﺎﻳﺎﻥ ﺟﻠﺪ ﺍﻭﻝ ﻣﺴﺌﻠﻪﻯ ﺍﺻﻠﻰ ﺣﻞ ﺷﺪﻩ ﻭ ﺩﺷﻤﻦ ﺣﺎﻝ ﺣﺎﺿﺮ ﺷﻜﺴﺖ‬ ‫‪209‬‬

‫ﻭﻳﮋﻩﻧﺎﻣﻪﻯ ﺧﻮﻥﺁﺷﺎﻡﻫﺎ‬

‫‪‬ﻧﺎﻡ ﻛﺘﺎﺏ‪ :‬ﺁﻓﺘﺎﺏ )‪(1‬‬ ‫ﻧﻮﻳﺴﻨﺪﻩ‪ :‬ﺭﺍﺑﻴﻦ ﻣﻚﻛﻴﻨﻠﻰ )‪(2‬‬ ‫ﺍﻧﺘﺸﺎﺭﺍﺕ‪ :‬ﺑﺮﻛﻠﻰ ﺗﺮﻳﺪ )‪(3‬‬ ‫»ﺁﻓﺘﺎﺏ« ﻛﺘﺎﺑﻰ ﺍﺯ ﺭﺍﺑﻴﻦ ﻣﻚﻛﻴﻨﻠﻰ ﻣﻨﺘﺸﺮ ﺷﺪﻩ ﺑﻪ ﺳﺎﻝ ‪ 2003‬ﺍﺳﺖ ﻭ ﻣﻮﻓﻖ ﺷﺪ ﺩﺭ ﺳﺎﻝ‬ ‫‪ ،2004‬ﺟﺎﻳﺰﻩﻯ ﺑﻬﺘﺮﻳﻦ ﻛﺘﺎﺏ ﻓﺎﻧﺘﺰﻯ ﺑﺰﺭﮔﺴﺎﻝ ‪ (4) Mythopoeic‬ﺭﺍ ﺑﺒﺮﺩ‪.‬‬ ‫ﺁﻓﺘﺎﺏ ﺩﺍﺳﺘﺎﻧﻰ ﺧﻮﻥﺁﺷﺎﻣﻰ‪-‬ﺟﺎﺩﻭﻳﻰ ﺍﺳﺖ ﻛﻪ ﺩﺭ ﺩﻧﻴﺎﻳﻰ ﻣﻮﺍﺯﻯ ﺭﺥ ﻣﻰﺩﻫﺪ؛ ﺳﺎﻝﻫﺎ ﻗﺒﻞ ﺍﺯ‬ ‫ﺷﺮﻭﻉ ﺩﺍﺳﺘﺎﻥ ﺟﻨﮓ ﺑﺰﺭﮔﻰ ﺑﻪ ﻧﺎﻡ »ﺟﻨﮓﻫﺎﻯ ﻭﻭﺩﻭ« )‪ (5‬ﻣﻴﺎﻥ ﺍﻧﺴﺎﻥﻫﺎ ﻭ »ﺩﻳﮕﺮﺍﻥ« )‪(6‬‬ ‫ﺭﺥ ﺩﺍﺩﻩ ﻭ ﺍﻳﻦ ﺩﻳﮕﺮﺍﻥ ﺗﺮﻛﻴﺒﻰ ﺍﺯ ﺧﻮﻥﺁﺷﺎﻡﻫﺎ‪ ،‬ﮔﺮﮔﻴﻨﻪﻫﺎ ﻭ ﺷﻴﺎﻃﻴﻦ ﺑﻮﺩﻩﺍﻧﺪ؛ ﺍﻟﺒﺘﻪ ﺩﻭ ﺩﺷﻤﻦ‬ ‫ﺍﺻﻠﻰ ﻣﺎﺟﺮﺍ ﺍﻧﺴﺎﻥﻫﺎ ﻭ ﺧﻮﻥﺁﺷﺎﻡﻫﺎ ﻫﺴﺘﻨﺪ ﻛﻪ ﺣﺎﻻ ﺳﺎﻝﻫﺎ ﭘﺲ ﺍﺯ ﭘﺎﻳﺎﻥ ﺟﻨﮓ ﻫﻨﻮﺯ ﺑﺎ ﻳﻜﺪﻳﮕﺮ‬ ‫ﻛﻨﺎﺭ ﻧﻴﺎﻣﺪﻩﺍﻧﺪ‪ .‬ﻭﻗﻮﻉ ﺍﻳﻦ ﺟﻨﮓ ﺑﺎﻋﺚ ﺷﺪﻩ ﺗﻌﺪﺍﺩ »ﻣﻨﺎﻃﻖ ﺑﺪ« )‪) (7‬ﻧﻘﺎﻃﻰ ﻛﻪ ﺟﺎﺩﻭﻯ ﺳﻴﺎﻩ‬ ‫ﺩﺭ ﺁﻥﻫﺎ ﻇﺎﻫﺮ ﻣﻰﺷﻮﺩ( ﺑﺴﻴﺎﺭ ﺑﻴﺸﺘﺮ ﺷﻮﺩ‪.‬‬ ‫ﻗﻬﺮﻣﺎﻥ ﺩﺍﺳﺘﺎﻥ ﺩﺧﺘﺮﻯ ﺑﻪ ﻧﺎﻡ ﺭﺍﻯ ﺳﺪﻭﻥ )‪ (8‬ﺍﺳﺖ ﻛﻪ ﻫﻤﻪ ﺍﻭ ﺭﺍ ﺁﻓﺘﺎﺏ ﺻﺪﺍ ﻣﻰﺯﻧﻨﺪ ﻭ ﺩﺭ‬ ‫ﻛﺎﻓﻪﻯ ﺷﻬﺮﻯ ﺩﻭﺭﺍﻓﺘﺎﺩﻩ ﻭ ﺧﻠﻮﺕ‪ ،‬ﺳﻤﺖ ﺷﻴﺮﻳﻨﻰﭘﺰﻯ ﺭﺍ ﺩﺍﺭﺩ ﻭ »ﻧﺎﻥ ﺩﺍﺭﭼﻴﻨﻰ«ﻫﺎﻳﺶ ﺧﻴﻠﻰ‬ ‫ﻣﻌﺮﻭﻓﻨﺪ‪ .‬ﺷﺒﻰ ﺑﺮ ﺍﺛﺮ ﺗﺼﺎﺩﻑ‪ ،‬ﺭﺍﻯ ﺗﻚ ﻭ ﺗﻨﻬﺎ ﺍﺯ ﻛﻨﺎﺭ ﺩﺭﻳﺎﭼﻪﻯ ﺩﻭﺭﺍﻓﺘﺎﺩﻩﺍﻯ ﺳﺮ ﺩﺭ ﻣﻰﺁﻭﺭﺩ ﻭ‬ ‫ﺍﻳﻦ ﺗﻨﻬﺎ ﺑﻮﺩﻥ ﻛﺎﺭ ﺩﺳﺘﺶ ﻣﻰﺩﻫﺪ ﻭ ﺑﺎﻋﺚ ﻣﻰﺷﻮﺩ ﮔﺮﻭﻫﻰ ﺧﻮﻥﺁﺷﺎﻡ ﺍﻭ ﺭﺍ ﺩﺯﺩﻳﺪﻩ ﻭ ﺷﺒﺎﻧﻪ ﺩﺭ‬ ‫ﺗﺎﻻﺭ ﺧﺎﻧﻪﺍﻯ ﻣﺘﺮﻭﻙ ﺯﻧﺠﻴﺮ ﻛﻨﻨﺪ‪ .‬ﻣﻌﻠﻮﻡ ﻣﻰﺷﻮﺩ ﺧﻮﻥﺁﺷﺎﻣﻰ ﺑﻪ ﻧﺎﻡ ﻛﻨﺴﺘﺎﻧﺘﻴﻦ )‪ (9‬ﺍﺯ ﮔﺮﻭﻩ‬ ‫ﺭﻗﻴﺐ ﺩﺳﺘﮕﻴﺮ ﺷﺪﻩ ﻭ ﺣﺎﻻ ﺍﻭ ﺭﺍ ﻃﻮﺭﻯ ﺩﺭ ﺍﻳﻦ ﺗﺎﻻﺭ ﺯﻧﺠﻴﺮ ﻛﺮﺩﻩﺍﻧﺪ ﻛﻪ ﺑﺎ ﻃﻠﻮﻉ ﺁﻓﺘﺎﺏ‪ ،‬ﺑﺴﻮﺯﺩ‬ ‫ﻭ ﺑﻤﻴﺮﺩ‪ .‬ﺭﺍﻯ ﻫﻢ ﻧﻘﺸﻪ ﻃﻌﻤﻪﺍﻯ ﺭﺍ ﺩﺍﺭﺩ ﻛﻪ ﻋﻄﺶ ﻛﻨﺴﺘﺎﻧﺘﻴﻦ ﺑﻪ ﺧﻮﻥ ﺭﺍ ﺗﺤﺮﻳﻚ ﻣﻰﻛﻨﺪ‪ ،‬ﺍﻣﺎ‬ ‫ﭼﻮﻥ ﺯﻧﺠﻴﺮ ﺧﻮﻥﺁﺷﺎﻡ ﻛﻮﺗﺎﻩ ﺍﺳﺖ ﻭ ﺩﺳﺘﺶ ﺑﻪ ﺍﻧﺴﺎﻥ ﻧﻤﻰﺭﺳﺪ‪ ،‬ﺍﻳﻦ ﻃﻮﺭﻯ ﺑﻴﺸﺘﺮ ﺯﺟﺮ ﻛﺸﻴﺪﻩ‬ ‫ﻭ ﻣﺮﮔﺶ ﺩﺭﺩﻧﺎﻙﺗﺮ ﺧﻮﺍﻫﺪ ﺷﺪ‪.‬‬ ‫ﺭﺍﻯ ﺑﺮﺍﻯ ﻧﺠﺎﺕ ﺧﻮﺩ ﻭ ﺍﻳﻦ ﺧﻮﻥﺁﺷﺎﻡ ﺑﻴﭽﺎﺭﻩ ﻛﻪ ﺑﻪ ﺣﺎﻟﺶ ﺩﻝ ﺳﻮﺯﺍﻧﺪﻩ‪ ،‬ﺑﺮﺧﻰ ﺍﺯ ﺁﻣﻮﺯﺵﻫﺎﻯ‬ ‫ﻗﺪﻳﻤﻰ ﺧﻮﺩ ﺭﺍ ﺑﻪ ﻳﺎﺩ ﻣﻰﺁﻭﺭﺩ ﻛﻪ ﺩﺭ ﻛﻮﺩﻛﻰ ﺍﺯ ﻣﺎﺩﺭﺑﺰﺭﮔﺶ ﻓﺮﺍ ﮔﺮﻓﺘﻪ ﺍﺳﺖ‪ .‬ﺧﺎﻧﻮﺍﺩﻩﻯ ﭘﺪﺭﻯ‬ ‫ﺭﺍﻯ ﻧﺴﻞﺍﻧﺪﺭﻧﺴﻞ ﺟﺎﺩﻭﮔﺮﺍﻥ ﺑﺰﺭﮔﻰ ﺑﻮﺩﻩﺍﻧﺪ ﻭ ﺭﺍﻯ ﻫﻢ ﻗﺪﺭﺕ ﻭﻳﮋﻩﺍﻯ ﺩﺍﺭﺩ ﻭ ﻋﻨﺼﺮ ﻧﻴﺮﻭﺑﺨﺶ‬ ‫ﺍﻭ ﻫﻤﺎﻥ »ﺁﻓﺘﺎﺏ«‪ ،‬ﺩﺷﻤﻦ ﻣﺮگﺁﻭﺭ ﺧﻮﻥﺁﺷﺎﻡﻫﺎ ﺍﺳﺖ‪ .‬ﺭﺍﻯ ﺑﺎ ﻛﻤﻚ ﺍﻭﻟﻴﻦ ﺍﺷﻌﻪﻫﺎﻯ ﺧﻮﺭﺷﻴﺪ‬ ‫ﺟﺎﺩﻭ ﻛﺮﺩﻩ ﻭ ﺧﻮﺩﺵ ﻭ ﻛﻨﺴﺘﺎﻧﺘﻴﻦ ﺭﺍ ﻧﺠﺎﺕ ﻣﻰﺩﻫﺪ ﻭ ﻣﻌﻠﻮﻡ ﻣﻰﺷﻮﺩ ﺗﺎ ﺯﻣﺎﻧﻰ ﻛﻪ ﺗﻤﺎﺱ‬ ‫ﺟﺴﻤﻰ ﺑﺎ ﺧﻮﻥﺁﺷﺎﻡ ﺩﺍﺷﺘﻪ ﺑﺎﺷﺪ‪ ،‬ﺁﻓﺘﺎﺏ ﻧﻤﻰﺗﻮﺍﻧﺪ ﺑﻪ ﺍﻭ ﺁﺳﻴﺒﻰ ﺑﺮﺳﺎﻧﺪ‪.‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،9-10‬ﺷﻬﺮﻳﻮﺭ ﻭ ﻣﻬﺮ ‪1390‬‬

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‫ﺧﻮﻥﺁﺷﺎﻡﻫﺎﻯ ﻛﺘﺎﺏﻫﺎ‬ ‫ﻳﺎ ﻛﺘﺎﺏﻫﺎﻯ ﺧﻮﻥﺁﺷﺎﻣﻰ‬ ‫)ﺯﺑﺎﻥ ﺍﺻﻠﻰ(‬ ‫ﺷﻴﺮﻳﻦ ﺳﺎﺩﺍﺕ ﺻﻔﻮﻯ‬

‫ﺩﺭ ﺍﺩﺍﻣﻪﻯ ﺑﺨﺶ ﻗﺒﻞ‪ ،‬ﺣﺎﻝ ﻧﮕﺎﻫﻰ ﻫﻢ ﺩﺍﺭﻳﻢ ﺑﻪ ﺁﻥ ﻭﺭ ﺁﺏ! ﺩﺭ ﺳﺎﻝﻫﺎﻯ ﺍﺧﻴﺮ ﺣﻀﻮﺭ ﺧﻮﻥﺁﺷﺎﻡﻫﺎ ﺍﺯ‬ ‫ﻃﺮﻑ ﺧﻮﺍﻧﻨﺪﮔﺎﻥ ﺍﻗﺒﺎﻝ ﺧﻮﺑﻰ ﺑﻪ ﺩﺳﺖ ﺁﻭﺭﺩﻩ ﻭ ﺳﺒﺐ ﺗﺮﺟﻤﻪﻯ ﺑﻌﻀﻰ ﺍﺯ ﺁﺛﺎﺭ ﺍﻳﻦ ﺟﻤﺎﻋﺖ ﻫﻢ ﺷﺎﻳﺪ‬ ‫ﻫﻤﻴﻦ ﺑﺎﺷﺪ‪ .‬ﺍﻣﺎ ﻫﻨﻮﺯ ﺧﻮﻥﺁﺷﺎﻡﻫﺎﻯ ﺯﻳﺎﺩﻯ ﺩﺭ ﻛﺘﺎﺏﻫﺎﻳﻰ ﺯﻧﺪﮔﻰ ﻣﻰﻛﻨﻨﺪ ﻛﻪ ﺗﺮﺟﻤﻪ ﻧﺸﺪﻩﺍﻧﺪ ﺍﻣﺎ‬ ‫ﺑﺎﺯ ﻫﻢ ﺷﺎﻫﺪﺍﻥ ﻣﺎ ﺁﻥﻫﺎ ﺭﺍ ﺭﺅﻳﺖ ﻛﺮﺩﻩﺍﻧﺪ‪ .‬ﺷﺎﻫﺪ ﻋﻴﻨﻰ ﻣﺎ ﻛﻪ ﺩﺭ ﺍﻳﻦ ﻣﻮﺭﺩ ﻋﻤ ً‬ ‫ﻼ ﻳﻚ ﺟﻬﺎﻥﮔﺮﺩ ﺑﻪ‬ ‫ﺣﺴﺎﺏ ﻣﻰﺁﻳﻨﺪ‪ ،‬ﻧﻴﺎﺯﻯ ﺑﻪ ﺣﻤﺎﻳﺖ ﺷﮕﻔﺖﺯﺍﺭ ﺩﺭ ﺑﺮﺍﺑﺮ ﺧﻮﻥﺁﺷﺎﻣﺎﻥ ﻧﺪﺍﺭﻧﺪ‪ .‬ﻧﻮﺷﺘﺎﺭﻫﺎﻳﻰ ﻛﻪ ﺩﺭ ﺯﻳﺮ‬ ‫ﻣﻰﺁﻳﺪ ﻫﻤﻪ ﺩﺳﺖﭘﺨﺖ ﺧﺎﻧﻢ ﺷﻴﺮﻳﻦ ﺳﺎﺩﺍﺕ ﺻﻔﻮﻯ ﺍﺳﺖ‪ .‬ﺑﺨﻮﺍﻧﻴﺪ‪ ،‬ﺧﻮﺵﻧﻤﻚ ﺍﺳﺖ!‪‬‬

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‫ﻫﻤﻴﺸﮕﻰ ﻳﻚ ﻧﮕﻬﺒﺎﻥ ﻗﺪﻡ ﻣﻰﺯﻧﻨﺪ‪ ،‬ﻭﺟﻮﺩ ﺣﺮﺯﻫﺎ ﻳﺎ ﻃﻠﺴﻢﻫﺎﻯ ﺩﺍﻓﻌﻪ ﺿﺮﻭﺭﻯ ﻭ ﻭﺍﺟﺐ ﺍﺳﺖ‪.‬‬ ‫ﻃﻠﺴﻢﻫﺎﻯ ﺩﺍﻓﻌﻪ ﺣﻠﻘﻪﻫﺎﻯ ﺟﺎﺩﻭﻳﻰ ﻫﺴﺘﻨﺪ ﻛﻪ ﺗﻮﺳﻂ ﻣﻮﺭﻭﻯﻫﺎ ﻭ ﺑﺎ ﺍﺳﺘﻔﺎﺩﻩ ﺍﺯ ﭼﻬﺎﺭ ﻋﻨﺼﺮ‬ ‫ﺳﺎﺧﺘﻪ ﺷﺪﻩ ﻭ ﻣﻰﺗﻮﺍﻧﻨﺪ ﺟﻠﻮﻯ ﺍﺳﺘﺮﻳﮕﻮﻯﻫﺎ ﺑﮕﻴﺮﻧﺪ‪ ،‬ﺑﻪ ﺍﻳﻦ ﺩﻟﻴﻞ ﻛﻪ ﺍﻳﻦ ﺟﺎﺩﻭ ﺍﺯ ﺯﻧﺪﮔﻰ‬ ‫ﺳﺎﺧﺘﻪ ﺷﺪﻩ ﻭ ﺍﺳﺘﺮﻳﮕﻮﻯﻫﺎ ﻓﺎﻗﺪ ﺁﻥ ﻫﺴﺘﻨﺪ‪ .‬ﺑﺎ ﺍﻳﻦ ﻭﺟﻮﺩ ﻃﻠﺴﻢﻫﺎﻯ ﺩﺍﻓﻌﻪ ﺩﺭ ﻃﻮﻝ ﺯﻣﺎﻥ‬ ‫ﺗﺎﺛﻴﺮ ﺧﻮﺩ ﺭﺍ ﺍﺯ ﺩﺳﺖ ﻣﻰﺩﻫﻨﺪ ﻭ ﺑﻨﺎﺑﺮﺍﻳﻦ ﺩﻭﺑﺎﺭﻩ ﺑﺎﻳﺪ ﻗﺎﻟﺐﮔﻴﺮﻯ ﻭ ﺍﺯ ﻧﻮ ﺳﺎﺧﺘﻪ ﺷﻮﻧﺪ‪ .‬ﻫﻢﭼﻨﻴﻦ‬ ‫ﻣﺎﻧﻨﺪ ﻣﻮﺭﺩ ﻛﺘﺎﺏ »ﺳﺮﻣﺎﺯﺩﮔﻰ« ﻣﻰﺗﻮﺍﻧﻨﺪ ﺗﻮﺳﻂ ﺧﻨﺠﺮﻫﺎﻯ ﻧﻘﺮﻩﺍﻯ ﺷﻜﺴﺘﻪ ﻭ ﻧﺎﺑﻮﺩ ﺷﻮﻧﺪ‪.‬‬ ‫ﻗﻄﻌﻪﺍﻯ ﺍﺯ ﻣﺘﻦ ﻛﺘﺎﺏ‬ ‫ﺳﺮﻡ ﺭﺍ ﻛﺞ ﻛﺮﺩﻡ ﻭ ﻣﻮﻫﺎﻳﻢ ﺭﺍ ﺑﻪ ﻋﻘﺐ ﻓﺮﺳﺘﺎﺩﻡ‪ ،‬ﮔﺮﺩﻧﻢ ﺑﺮﻫﻨﻪ ﺑﻮﺩ‪ .‬ﺗﺮﺩﻳﺪ ﻭ ﺑﻰﻣﻴﻠﻰﺵ ﺭﺍ‬ ‫ﺩﻳﺪﻡ‪ ،‬ﺍﻣﺎ ﻣﻨﻈﺮﻩﻯ ﮔﺮﺩﻧﻢ ﻭ ﭼﻴﺰﻯ ﻛﻪ ﻋﺮﺿﻪ ﻣﻰﻛﺮﺩ‪ ،‬ﺑﺴﻴﺎﺭ ﺧﻮﺍﺳﺘﻨﻰ ﺑﻮﺩ‪ .‬ﮔﺮﺳﻨﮕﻰ ﺣﺎﻟﺖ‬ ‫ﺻﻮﺭﺗﺶ ﺭﺍ ﺩﮔﺮﮔﻮﻥ ﻛﺮﺩ‪ ،‬ﻟﺐﻫﺎﻳﺶ ﺍﻧﺪﻛﻰ ﺍﺯ ﻫﻢ ﺟﺪﺍ ﻭ ﺩﻧﺪﺍﻥﻫﺎﻯ ﻧﻴﺸﺶ ﻛﻪ ﻣﻌﻤﻮﻻً ﺩﺭ‬ ‫ﺩﻭﺭﻩﻯ ﺯﻧﺪﮔﻰ ﺑﺎ ﺍﻧﺴﺎﻥﻫﺎ ﭘﻨﻬﺎﻥ ﺑﻮﺩﻧﺪ‪ ،‬ﻧﻤﺎﻳﺎﻥ ﺷﺪﻧﺪ‪ .‬ﺁﻥ ﻧﻴﺶﻫﺎ ﺑﺎ ﺩﻳﮕﺮ ﺍﺟﺰﺍﻯ ﺻﻮﺭﺗﺶ‬ ‫ﺗﻔﺎﻭﺕ ﻏﺮﻳﺒﻰ ﺩﺍﺷﺖ‪ .‬ﺑﺎ ﭼﻬﺮﻩﻯ ﺯﻳﺒﺎ ﻭ ﻣﻮﻫﺎﻯ ﻃﻼﻳﻰ ﺭﻭﺷﻨﺶ‪ ،‬ﺑﻴﺸﺘﺮ ﺷﺒﻴﻪ ﻳﻚ ﻓﺮﺷﺘﻪ ﺑﻪ‬ ‫ﭼﺸﻢ ﻣﻰﺁﻣﺪ ﺗﺎ ﻳﻚ ﺧﻮﻥﺁﺷﺎﻡ‪.‬‬ ‫ﭘﻰﻧﻮﺷﺖﻫﺎ‪:‬‬ ‫‪Christian‬‬ ‫‪Adrian‬‬ ‫‪Air‬‬ ‫‪Water‬‬ ‫‪Fire‬‬ ‫‪Spirit‬‬ ‫‪Compulsion‬‬ ‫‪Silver stakes‬‬ ‫‪Wards‬‬ ‫‪Alchemist‬‬ ‫‪Tattoo‬‬ ‫‪Molnija Mark‬‬ ‫‪Spokane‬‬ ‫‪Promise Mark‬‬ ‫‪Guardian‬‬ ‫‪Zvezda Mark‬‬ ‫‪Element‬‬ ‫‪Avery‬‬ ‫‪Jesse‬‬

‫‪20.‬‬ ‫‪21.‬‬ ‫‪22.‬‬ ‫‪23.‬‬ ‫‪24.‬‬ ‫‪25.‬‬ ‫‪26.‬‬ ‫‪27.‬‬ ‫‪28.‬‬ ‫‪29.‬‬ ‫‪30.‬‬ ‫‪31.‬‬ ‫‪32.‬‬ ‫‪33.‬‬ ‫‪34.‬‬ ‫‪35.‬‬ ‫‪36.‬‬ ‫‪37.‬‬ ‫‪38.‬‬

‫‪205‬‬

‫‪Vampire Academy‬‬ ‫‪Richelle Mead‬‬ ‫‪Vampire‬‬ ‫‪Moroi‬‬ ‫‪Strigoi‬‬ ‫‪Rose Hathaway‬‬ ‫‪Lissa Dragomir‬‬ ‫‪Dhampir‬‬ ‫‪St. Vladimir’s Academy‬‬ ‫‪Montana‬‬ ‫‪Frostbite‬‬ ‫‪Shadow Kiss‬‬ ‫‪Blood Promise‬‬ ‫‪Spirit Bound‬‬ ‫‪Last Sacrifice‬‬ ‫‪Bloodlines‬‬ ‫‪Succubus Blues‬‬ ‫‪Dark Swan‬‬ ‫‪Magic‬‬

‫ﻭﻳﮋﻩﻧﺎﻣﻪﻯ ﺧﻮﻥﺁﺷﺎﻡﻫﺎ‬

‫‪1.‬‬ ‫‪2.‬‬ ‫‪3.‬‬ ‫‪4.‬‬ ‫‪5.‬‬ ‫‪6.‬‬ ‫‪7.‬‬ ‫‪8.‬‬ ‫‪9.‬‬ ‫‪10.‬‬ ‫‪11.‬‬ ‫‪12.‬‬ ‫‪13.‬‬ ‫‪14.‬‬ ‫‪15.‬‬ ‫‪16.‬‬ ‫‪17.‬‬ ‫‪18.‬‬ ‫‪19.‬‬

‫ﺍﻓﺴﺮﺩﻩ ﻭ ﺧﺸﻤﮕﻴﻦ ﻣﻰﺷﻮﻧﺪ‪ .‬ﻳﻜﻰ ﺍﺯ ﺩﻻﻳﻠﻰ ﻛﻪ ﺁﺩﺭﻳﺎﻥ ﺑﺴﻴﺎﺭ ﻣﻰﻧﻮﺷﺪ ﻭ ﺳﻴﮕﺎﺭ ﻣﻰﻛﺸﺪ‪،‬‬ ‫ﺍﺳﺘﻔﺎﺩﻩ ﺍﺯ ﺍﻳﻦ ﻧﻴﺮﻭ ﺍﺳﺖ‪ .‬ﺑﻪ ﻧﻈﺮ ﻣﻰﺭﺳﺪ ﺍﻟﻜﻞ ﺍﺯ ﺍﺳﺘﻔﺎﺩﻩ ﻣﻮﺭﻭﻯﻫﺎ ﺍﺯ ﻧﻴﺮﻭﻫﺎﻯ ﺟﺎﺩﻭﻳﻰﺷﺎﻥ‬ ‫ﺟﻠﻮﮔﻴﺮﻯ ﻣﻰﻛﻨﺪ‪ .‬ﺑﻨﺎﺑﺮﺍﻳﻦ ﺍﮔﺮ ﺁﺩﺭﻳﺎﻥ ﭘﻴﻮﺳﺘﻪ ﻧﻮﺷﻴﺪﻧﻰ ﺍﻟﻜﻠﻰ ﺑﻨﻮﺷﺪ‪ ،‬ﺍﻣﻜﺎﻥ ﺩﺍﺭﺩ ﺍﻓﺴﺮﺩﻩ‬ ‫ﻧﺸﻮﺩ‪ .‬ﻫﻤﭽﻨﻴﻦ ﻣﺎﻧﻨﺪ ﻣﻮﺭﺩ ﻟﻴﺰﺍ‪ ،‬ﻗﺮﺹﻫﺎﻯ ﺿﺪ ﺍﻓﺴﺮﺩﮔﻰ ﻭ ﺩﺍﺭﻭﻫﺎ ﺗﺎﺛﻴﺮﺍﺕ ﻋﻨﺼﺮ ﺭﻭﺡ ﺭﺍ‬ ‫ﻛﺎﻫﺶ ﻣﻰﺩﻫﺪ‪.‬‬ ‫‪‬ﻧﻴﺮﻭﻯ ﺗﻠﻘﻴﻦ‬ ‫ﻫﻴﭻ ﺍﻫﻤﻴﺘﻰ ﻧﺪﺍﺭﺩ ﻛﻪ ﻣﻮﺭﻭﻯﻫﺎ ﺩﺭ ﻛﺪﺍﻡ ﻋﻨﺼﺮ ﺗﺨﺼﺺ ﺩﺍﺭﻧﺪ‪ ،‬ﺁﻥﻫﺎ ﻣﻰﺗﻮﺍﻧﻨﺪ ﺍﺯ ﻧﻴﺮﻭﻯ‬ ‫ﺗﻠﻘﻴﻨﺸﺎﻥ ﺍﺳﺘﻔﺎﺩﻩ ﻛﻨﻨﺪ‪ .‬ﻫﻨﮕﺎﻣﻰ ﻛﻪ ﻣﻮﺭﻭﻯﻫﺎ ﺍﺯ ﺍﻳﻦ ﻧﻴﺮﻭ ﺑﻬﺮﻩ ﻣﻰﮔﻴﺮﻧﺪ‪ ،‬ﻣﻰﺗﻮﺍﻧﻨﺪ ﺭﻓﺘﺎﺭ ﻳﺎ‬ ‫ﮔﻔﺘﺎﺭ ﻳﻚ ﺷﺨﺺ ﺭﺍ ﺑﻪ ﺩﻟﺨﻮﺍﻫﺸﺎﻥ ﺗﻐﻴﻴﺮ ﺩﺍﺩﻩ ﻭ ﻳﺎ ﺭﻭﻯ ﺁﻥ ﺗﺎﺛﻴﺮ ﺩﺍﺷﺘﻪ ﺑﺎﺷﻨﺪ‪ .‬ﺩﺍﻧﺶﺁﻣﻮﺯﺍﻥ‬ ‫ﺩﺭ ﺳﻨﺖ ﻭﻻﺩﻳﻤﻴﺮ ﻳﺎﺩ ﻣﻰﮔﻴﺮﻧﺪ ﻛﻪ ﺯﻳﺎﺩ ﺍﺯ ﺍﻳﻦ ﻧﻴﺮﻭ ﺍﺳﺘﻔﺎﺩﻩ ﻧﻜﻨﻨﺪ ﻭ ﻣﻌﻤﻮﻻً ﺍﺳﺘﻔﺎﺩﻩ ﺍﺯ ﺍﻳﻦ‬ ‫ﻧﻴﺮﻭ ﺑﺮ ﺭﻭﻯ ﺩﺍﻣﭙﻴﺮﻫﺎ ﺑﺴﻴﺎﺭ ﺳﺨﺖ ﺍﺳﺖ‪ .‬ﺷﺎﻳﺪ ﺍﻳﻮﺭﻯ )‪ (37‬ﻣﺎﻫﺮﺗﺮﻳﻦ ﻓﺮﺩ ﺩﺭ ﺍﺳﺘﻔﺎﺩﻩ ﺍﺯ‬ ‫ﻧﻴﺮﻭﻯ ﺗﻠﻘﻴﻦ ﺩﺭ ﺍﻳﻦ ﺳﺮﻯ ﻛﺘﺎﺏﻫﺎ ﺑﺎﺷﺪ‪ ،‬ﺍﻣﺎ ﻟﻴﺰﺍ ﻧﻴﺰ ﺩﺭ ﺍﺳﺘﻔﺎﺩﻩ ﺍﺯ ﺍﻳﻦ ﻧﻴﺮﻭ ﻗﺪﺭﺗﻤﻨﺪ ﺍﺳﺖ‪.‬‬ ‫ﺑﻪ ﺩﻻﻳﻠﻰ ﺑﻪ ﻧﻈﺮ ﻣﻰﺭﺳﺪ ﻣﻮﺭﻭﻯﻫﺎﻳﻰ ﻛﻪ ﺩﺭ ﺍﺳﺘﻔﺎﺩﻩ ﺍﺯ ﻋﻨﺼﺮ ﺭﻭﺡ ﺗﺨﺼﺺ ﺩﺍﺭﻧﺪ‪ ،‬ﺑﻬﺘﺮ ﻭ‬ ‫ﻣﻮﺛﺮﺗﺮ ﻣﻰﺗﻮﺍﻧﻨﺪ ﺍﺯ ﻧﻴﺮﻭﻯ ﺗﻠﻘﻴﻦ ﺑﻬﺮﻩ ﺑﮕﻴﺮﻧﺪ‪ .‬ﻫﻤﭽﻨﻴﻦ ﺩﺍﺭﻧﺪﮔﺎﻥ ﻧﻴﺮﻭﻯ ﺭﻭﺡ ﻣﻰﺗﻮﺍﻧﻨﺪ ﺍﺯ ﺍﻳﻦ‬ ‫ﻧﻴﺮﻭ ﺩﺭ ﺳﻄﺢ ﺑﺎﻻﺗﺮﻯ ﺍﺳﺘﻔﺎﺩﻩ ﻛﻨﻨﺪ‪ ،‬ﺑﺎ ﺗﻐﻴﻴﺮ ﻓﻜﺮ ﻗﺮﺑﺎﻧﻴﺎﻧﺸﺎﻥ ﺑﻪ ﺁﻥ ﭼﻴﺰﻯ ﻛﻪ ﻣﻰﺧﻮﺍﻫﻨﺪ‬ ‫ﻗﺮﺑﺎﻧﻴﺎﻥ ﺑﺒﻴﻨﻨﺪ‪ ،‬ﺩﺭ ﺻﻮﺭﺗﻰ ﻛﻪ ﻭﺍﻗﻌﻴﺖ ﭼﻴﺰ ﺩﻳﮕﺮﻯ ﺍﺳﺖ‪ .‬ﺑﺮﺍﻯ ﻧﻤﻮﻧﻪ ﺩﺭ »ﺑﻮﺳﻪﻯ ﺳﺎﻳﻪ«‪ ،‬ﻟﻴﺰﺍ‬ ‫ﺍﺯ ﻧﻴﺮﻭﻯ ﺗﻠﻘﻴﻦ ﺑﺮﺍﻯ ﺑﺎﻭﺭﺍﻧﺪﻥ ﺍﻳﻦ ﻧﻜﺘﻪ ﺑﻪ ﺟﺲ )‪ (38‬ﻛﻪ ﺩﺭ ﭘﻮﺷﺶ ﻋﻨﻜﺒﻮﺕﻫﺎ ﻗﺮﺍﺭ ﺩﺍﺭﺩ‪،‬‬ ‫ﺍﺳﺘﻔﺎﺩﻩ ﻣﻰﻛﻨﺪ‪.‬‬ ‫‪‬ﺧﻨﺠﺮﻫﺎﻯ ﻧﻘﺮﻩﺍﻯ‬ ‫ﻫﺮ ﭼﻨﺪ ﺧﻨﺠﺮﻫﺎﻯ ﻧﻘﺮﻩﺍﻯ ﺍﺑﺰﺍﺭﻯ ﺍﺳﺖ ﻛﻪ ﺗﻨﻬﺎ ﺗﻮﺳﻂ ﻧﮕﻬﺒﺎﻧﺎﻥ ﺍﺳﺘﻔﺎﺩﻩ ﻣﻰﺷﻮﺩ‪ ،‬ﻳﻜﻰ ﺍﺯ‬ ‫ﺟﺎﺩﻭﻫﺎﻯ ﻣﻮﺭﻭﻯﻫﺎ ﺍﺳﺖ ﻛﻪ ﺁﻥﻫﺎ ﺭﺍ ﺑﺴﻴﺎﺭ ﻣﻮﺛﺮ ﻧﺸﺎﻥ ﻣﻰﺩﻫﺪ‪ .‬ﺧﻨﺠﺮﻫﺎﻯ ﻧﻘﺮﻩﺍﻯ ﺗﻮﺳﻂ ﭼﻬﺎﺭ‬ ‫ﻣﻮﺭﻭﻯ ﮔﻮﻧﺎﮔﻮﻥ ﻭ ﻫﺮ ﻛﺪﺍﻡ ﺍﺯ ﺧﻨﺠﺮﻫﺎ ﺍﺯ ﭼﻬﺎﺭ ﻋﻨﺼﺮ ﻣﺨﺘﻠﻒ ﺳﺎﺧﺘﻪ ﻭ ﺑﺎ ﺟﺎﺩﻭ ﻃﻠﺴﻢ ﺷﺪﻩ‬ ‫ﺍﺳﺖ ﻭ ﺑﺮﺍﻯ ﺍﺳﺘﺮﻳﮕﻮﻯﻫﺎ ﻣﺮگﺑﺎﺭ ﺍﺳﺖ‪ .‬ﻳﻚ ﺧﺮﺍﺵ ﺧﻨﺠﺮﻫﺎﻯ ﻧﻘﺮﻩﺍﻯ ﺭﻭﻯ ﺑﺪﻥ ﺩﺍﻣﭙﻴﺮﻫﺎ‬ ‫ﺗﻨﻬﺎ ﻳﻚ ﺧﺮﺍﺵ ﺍﺳﺖ ﺍﻣﺎ ﺍﮔﺮ ﺍﻳﻦ ﺧﺮﺍﺵ ﺭﻭﻯ ﺑﺪﻥ ﺍﺳﺘﺮﻳﮕﻮﻯﻫﺎ ﺍﻳﺠﺎﺩ ﺷﻮﺩ‪ ،‬ﺗﺎﺛﻴﺮ ﺑﺴﻴﺎﺭﻯ‬ ‫ﺑﻴﺸﺘﺮ ﺧﻮﺍﻫﺪ ﺩﺍﺷﺖ‪ .‬ﺧﻨﺠﺮﻫﺎﻯ ﻧﻘﺮﻩﺍﻯ ﻫﻨﮕﺎﻡ ﺩﺍﻧﺶﺁﻣﻮﺧﺘﮕﻰ ﺑﻪ ﻧﮕﻬﺒﺎﻧﺎﻥ ﺩﺍﺩﻩ ﻣﻰﺷﻮﺩ ﻭ ﺑﻪ‬ ‫ﺧﺎﻃﺮ ﺟﺎﺩﻭ ﺑﻪ ﺁﻧﻬﺎ ﺍﻟﻘﺎ ﺷﺪﻩ ﻛﻪ ﺯﻧﺪﮔﻰﺷﺎﻥ ﺑﻪ ﺍﻳﻦ ﺧﻨﺠﺮﻫﺎ ﻭﺍﺑﺴﺘﻪ ﺍﺳﺖ‪.‬‬ ‫‪‬ﺣﺮﺯﻫﺎ ﻳﺎ ﻃﻠﺴﻢﻫﺎﻯ ﺩﺍﻓﻌﻪ‬ ‫ﺩﺭ ﺟﺎﻫﺎﻳﻰ ﻣﺎﻧﻨﺪ ﺳﻨﺖ ﻭﻻﺩﻳﻤﻴﺮ ﻭ ﺗﺎﻻﺭ ﺳﻠﻄﻨﺘﻰ‪ ،‬ﻛﻪ ﻣﻮﺭﻭﻯﻫﺎ ﺁﺯﺍﺩﺍﻧﻪ ﻭ ﺑﺪﻭﻥ ﻣﺤﺎﻓﻈﺖ‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،9-10‬ﺷﻬﺮﻳﻮﺭ ﻭ ﻣﻬﺮ ‪1390‬‬

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‫ﻛﺘﺎﺏ‬

‫‪ ‬ﺁﻥﻫﺎ ﺍﻋﺘﻘﺎﺩ ﺩﺍﺭﻧﺪ ﻫﻤﻪﻯ ﺧﻮﻥﺁﺷﺎﻡﻫﺎ‪ ،‬ﺣﺘﻰ ﻣﻮﺭﻭﻯﻫﺎ ﻭ ﺩﺍﻣﭙﻴﺮﻫﺎ ﺷﻴﻄﺎﻥ ﻭ ﺟﺎﻧﻮﺭﺍﻥ ﺷﺐ‬ ‫ﻫﺴﺘﻨﺪ ﻭ ﺳﻌﻰ ﻣﻰﻛﻨﻨﺪ ﺗﺎ ﺣﺪ ﻣﻤﻜﻦ ﺍﺯ ﺁﻥﻫﺎ ﻓﺎﺻﻠﻪ ﺑﮕﻴﺮﻧﺪ‪.‬‬ ‫ﺧﺎﻟﻜﻮﺑﻰﻫﺎﻯ ﺷﺨﺼﻴﺖﻫﺎ )‪(30‬‬ ‫‪‬ﻧﺸﺎﻥ ﻣﻮﻟﻨﻴﺠﺎ )‪(31‬‬ ‫ﻧﮕﻬﺒﺎﻧﺎﻥ ﺑﺮﺍﻯ ﻫﺮ ﺍﺳﺘﺮﻳﮕﻮﻯ ﻛﻪ ﺑﻜﺸﻨﺪ‪ ،‬ﻳﻚ ﻧﺸﺎﻥ ﻣﻮﻟﻴﻨﺠﺎ ﺩﺭﻳﺎﻓﺖ ﻣﻰﻛﻨﻨﺪ‪ .‬ﻣﻮﻟﻨﻴﺠﺎ ﺩﺭ‬ ‫ﺯﺑﺎﻥ ﺭﻭﺳﻰ ﺑﻪ ﻣﻌﻨﺎﻯ ﺁﺫﺭﺧﺶ ﺍﺳﺖ‪ .‬ﺭﺯ ﺑﺮﺍﻯ ﺍﻭﻟﻴﻦ ﺑﺎﺭ ﺩﻭ ﻧﺸﺎﻥ ﻣﻮﻟﻨﻴﺠﺎﻳﺶ ﺭﺍ ﺩﺭ ﻛﺘﺎﺏ‬ ‫»ﺳﺮﻣﺎﺯﺩﮔﻰ« ﭘﺲ ﺍﺯ ﺳﺮ ﺑﺮﻳﺪﻥ ﺩﻭ ﺍﺳﺘﺮﻳﮕﻮﻯ ﻭ ﻧﺠﺎﺕ ﺯﻧﺪﮔﻰ ﺩﻭ ﻣﻮﺭﻭﻯ ﺩﺭ ﺍﺳﭙﻮﻛﻴﻦ )‪(32‬‬ ‫ﺩﺭﻳﺎﻓﺖ ﻣﻰﻛﻨﺪ‪.‬‬ ‫‪‬ﻧﺸﺎﻥ ﭘﻴﻤﺎﻥ )‪(33‬‬ ‫ﻧﺸﺎﻥ ﭘﻴﻤﺎﻥ ﺑﻪ ﺩﺍﻣﭙﻴﺮﻫﺎ ﭘﺲ ﺍﺯ ﺩﺍﻧﺶﺁﻣﻮﺧﺘﮕﻰﺷﺎﻥ ﺑﻪ ﻋﻨﻮﺍﻥ ﻧﮕﻬﺒﺎﻥ ﺩﺍﺩﻩ ﻣﻰﺷﻮﺩ‪ .‬ﺍﻳﻦ ﻧﺸﺎﻥ‬ ‫ﻣﻌﻤﻮﻻً ﺩﺭ ﻣﻴﺎﻥ ﭘﺸﺖ ﮔﺮﺩﻥ ﺩﺭﺝ ﻣﻰﺷﻮﺩ‪ .‬ﻫﻤﻪﻯ ﻧﮕﻬﺒﺎﻧﺎﻥ )‪ (34‬ﻧﺸﺎﻥﻫﺎﻳﺸﺎﻥ ﺭﺍ ﻫﻤﺮﺍﻩ ﺑﺎ‬ ‫ﻫﻢ ﺩﺭ ﺟﺸﻦ ﺩﺍﻧﺶﺁﻣﻮﺧﺘﮕﻰ ﺩﺭﻳﺎﻓﺖ ﻣﻰﻛﻨﻨﺪ‪ .‬ﺗﻨﻬﺎ ﺗﻌﺪﺍﺩ ﻣﺤﺪﻭﺩﻯ ﻣﻮﺭﻭﻯ ﺑﻪ ﺟﺸﻦ ﺩﻋﻮﺕ‬ ‫ﻣﻰﺷﻮﻧﺪ‪.‬‬ ‫‪‬ﻧﺸﺎﻥ ﺯﻭﺯﺩﺍ )‪(35‬‬ ‫ﻧﺸﺎﻥ ﺯﻭﺯﺩﺍ )ﻧﺸﺎﻥ ﻧﺒﺮﺩ( ﺑﻪ ﻧﮕﻬﺒﺎﻧﺎﻧﻰ ﺩﺍﺩﻩ ﻣﻰﺷﻮﺩ ﻛﻪ ﺑﺘﻮﺍﻧﻨﺪ ﺗﻌﺪﺍﺩ ﺯﻳﺎﺩﻯ ﺍﺯ ﺍﺳﺘﺮﻳﮕﻮﻯﻫﺎ‬ ‫ﺭﺍ ﻧﺎﺑﻮﺩ ﻛﻨﻨﺪ‪ .‬ﺭﺯ ﻧﺸﺎﻥ ﺯﻭﺯﺩﺍﻳﺶ ﺭﺍ ﺩﺭ ﻛﺘﺎﺏ »ﺑﻮﺳﻪﻯ ﺳﺎﻳﻪ« ﭘﺲ ﺍﺯ ﻧﺒﺮﺩ ﺑﺎ ﺍﺳﺘﺮﻳﮕﻮﻯﻫﺎﻳﻰ‬ ‫ﻛﻪ ﺑﻪ ﺁﻛﺎﺩﻣﻰ ﻭﺍﺭﺩ ﺷﺪﻩ ﺑﻮﺩﻧﺪ ﻭ ﺗﻌﺪﺍﺩ ﺯﻳﺎﺩﻯ ﺍﺯ ﻧﮕﻬﺒﺎﻧﺎﻥ ﻭ ﻣﻮﺭﻭﻯﻫﺎ ﺭﺍ ﺭﺑﻮﺩﻩ ﺑﻮﺩﻧﺪ‪ ،‬ﺩﺭﻳﺎﻓﺖ‬ ‫ﻣﻰﻛﻨﺪ‪.‬‬ ‫ﺟﺎﺩﻭﻯ ﻣﻮﺭﻭﻯ‬ ‫ﺩﺭ ﺁﻛﺎﺩﻣﻰ ﺧﻮﻥﺁﺷﺎﻡ ﻣﻮﺭﻭﻯﻫﺎ ﺟﺎﺩﻭﻫﺎﻯ ﺧﺪﺍﺩﺍﺩﻯ ﺩﺍﺭﻧﺪ‪ .‬ﺍﻳﻦ ﺟﺎﺩﻭ ﺍﺯ ﭼﻨﺪ ﻣﻨﻈﺮ ﻗﺎﺑﻞ ﺑﺮﺭﺳﻰ‬ ‫ﺍﺳﺖ‪:‬‬ ‫‪‬ﻋﻨﺎﺻﺮ )‪(36‬‬ ‫ﺩﺭ ﺣﺪﻭﺩ ﺳﻦ ‪ 18 – 17‬ﺳﺎﻟﮕﻰ ﻫﻤﻪﻯ ﻣﻮﺭﻭﻯﻫﺎ ﺩﺭ ﻳﻜﻰ ﺍﺯ ﻋﻨﺎﺻﺮ ﻗﺪﺭﺕ ﺗﺨﺼﺺ ﭘﻴﺪﺍ‬ ‫ﻣﻰﻛﻨﻨﺪ؛ ﻫﻮﺍ‪ ،‬ﺁﺏ‪ ،‬ﺁﺗﺶ ﻭ ﻳﺎ ﺭﻭﺡ‪ .‬ﺩﺭ ﭼﻨﺪ ﻣﻮﺭﺩ‪ ،‬ﻫﻨﮕﺎﻣﻰ ﻛﻪ ﻣﻮﺭﻭﻯﻫﺎ ﺗﺨﺼﺺ ﭘﻴﺪﺍ ﻧﻤﻰﻛﻨﻨﺪ‬ ‫ﺍﺣﺘﻤﺎﻻً ﺑﻴﺸﺘﺮ ﺩﺭ ﻳﻚ ﻳﺎ ﺩﻭ ﻋﻨﺼﺮ ﺗﻮﺍﻧﺎﻳﻰ ﻓﻮﻕﺍﻟﻌﺎﺩﻩﺍﻯ ﺩﺍﺭﻧﺪ‪ .‬ﺭﻭﺡ ﻋﻨﺼﺮ ﻧﺎﻳﺎﺑﻰ ﺍﺳﺖ ﻛﻪ‬ ‫ﺑﻴﺸﺘﺮﻳﻦ ﻗﺪﺭﺕ ﻭ ﺗﺎﺛﻴﺮ ﺑﺴﻴﺎﺭ ﺑﺪﻯ ﺑﺮ ﺍﺳﺘﻔﺎﺩﻩ ﻛﻨﻨﺪﻩ ﺩﺍﺭﺩ‪ .‬ﭘﺲ ﺍﺯ ﺍﺳﺘﻔﺎﺩﻩ ﺍﺯ ﺭﻭﺡ ﻣﻮﺭﻭﻯﻫﺎ‬

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‫ﻭﻳﮋﻩﻧﺎﻣﻪﻯ ﺧﻮﻥﺁﺷﺎﻡﻫﺎ‬

‫ﺑﻴﺸﺘﺮﻯ ﺑﻪ ﺍﺳﺘﺮﻳﮕﻮﻯﻫﺎ ﻣﻰﺩﻫﺪ ﻭ ﺑﻪ ﻫﻤﻴﻦ ﺩﻟﻴﻞ ﺍﺳﺖ ﻛﻪ ﺍﺳﺘﺮﻳﮕﻮﻯﻫﺎ ﺑﻪ ﺩﻧﺒﺎﻝ ﺷﻜﺎﺭ‬ ‫ﻣﻮﺭﻭﻯﻫﺎ ﻫﺴﺘﻨﺪ‪.‬‬ ‫‪ ‬ﺁﻓﺘﺎﺏ ﺑﺮﺍﻯ ﺍﺳﺘﺮﻳﮕﻮﻯﻫﺎ ﺑﺴﻴﺎﺭ ﺯﻳﺎﻥﺑﺎﺭ ﺍﺳﺖ ﻭ ﺍﮔﺮ ﺑﻪ ﻣﺪﺕ ﻃﻮﻻﻧﻰ ﺯﻳﺮ ﻧﻮﺭ ﺁﻓﺘﺎﺏ ﺑﺎﺷﻨﺪ‪،‬‬ ‫ﻧﺎﺑﻮﺩ ﺧﻮﺍﻫﻨﺪ ﺷﺪ‪ .‬ﺧﻨﺠﺮﻫﺎﻯ ﻧﻘﺮﻩﺍﻯ )‪) (27‬ﻛﻪ ﺗﻮﺳﻂ ﭼﻬﺎﺭ ﻋﻨﺼﺮ ﻣﻮﺭﻭﻯﻫﺎ ﻃﻠﺴﻢ‬ ‫ﺷﺪﻩﺍﻧﺪ( ﻭﺳﻴﻠﻪﻯ ﻛﺸﺘﻦ ﺍﺳﺘﺮﻳﮕﻮﻯﻫﺎﺳﺖ‪ ،‬ﺗﻨﻬﺎ ﺑﺎ ﻓﺮﻭ ﻛﺮﺩﻥ ﻭ ﺑﻴﺮﻭﻥ ﻛﺸﻴﺪﻥ ﻳﻚ ﺧﻨﺠﺮ‬ ‫ﺑﻪ ﻗﻠﺐ ﻳﺎ ﺟﺪﺍ ﻛﺮﺩﻥ ﺳﺮﺷﺎﻥ ﺁﻥﻫﺎ ﺭﺍ ﻣﻰﻛﺸﺪ ﺍﻣﺎ ﻳﻚ ﺧﺮﺍﺵ ﺍﺳﺘﺮﻳﮕﻮﻯﻫﺎ ﺭﺍ ﺑﻪ ﺍﻧﺪﺍﺯﻩﺍﻯ‬ ‫ﺯﺧﻤﻰ ﻣﻰﻛﻨﺪ ﻛﻪ ﻧﮕﻬﺒﺎﻧﺎﻥ ﺷﺎﻧﺲ ﺩﻭﺑﺎﺭﻩﺍﻯ ﺑﺮﺍﻯ ﺍﺳﺘﻔﺎﺩﻩ ﺍﺯ ﺧﻨﺠﺮﻫﺎ ﺩﺍﺷﺘﻪ ﺑﺎﺷﻨﺪ‪.‬‬ ‫‪ ‬ﻫﺮ ﭼﻨﺪ ﺣﺮﺯﻫﺎ ﻭ ﻃﻠﺴﻢﻫﺎﻯ ﺩﺍﻓﻌﻪ )‪ (28‬ﺑﺎﻋﺚ ﺯﺧﻤﻰ ﺷﺪﻥ ﺍﺳﺘﺮﻳﮕﻮﻯﻫﺎ ﻧﻤﻰﺷﻮﺩ ﺍﻣﺎ‬ ‫ﻫﻨﮕﺎﻣﻰ ﻛﻪ ﺑﺎ ﺟﺎﺩﻭ ﺳﺎﺧﺘﻪ ﺷﺪﻩ ﺑﺎﺷﻨﺪ ﻣﻰﺗﻮﺍﻧﻨﺪ ﺍﺯ ﻭﺭﻭﺩ ﺍﺳﺘﺮﻳﮕﻮﻯﻫﺎ ﺑﻪ ﺧﺎﻧﻪﻫﺎ ﺟﻠﻮﮔﻴﺮﻯ‬ ‫ﻛﻨﺪ‪.‬‬ ‫‪ ‬ﺩﺭ ﺑﻴﺸﺘﺮ ﻣﻮﺍﺭﺩ ﺍﺳﺘﺮﻳﮕﻮﻯﻫﺎ ﻧﻤﻰﺗﻮﺍﻧﻨﺪ ﺩﺭ ﮔﺮﻭﻩﻫﺎﻯ ﺑﺰﺭگ ﻣﺴﺎﻓﺮﺕ ﻛﻨﻨﺪ – ﻳﺎ ﻣﻮﺭﻭﻯﻫﺎ‬ ‫ﺍﻳﻦ ﮔﻮﻧﻪ ﺑﺎﻭﺭ ﺩﺍﺭﻧﺪ‪ .‬ﺑﺮ ﺍﺳﺎﺱ ﻧﺸﺎﻧﻪﻫﺎﻳﻰ ﺩﺭ ﻛﺘﺎﺏ »ﺳﺮﻣﺎﺯﺩﮔﻰ« ﻭ ﻛﺘﺎﺏﻫﺎﻯ ﺑﻌﺪﻯ‬ ‫ﺍﺳﺘﺮﻳﮕﻮﻯﻫﺎ ﻳﺎﺩ ﻣﻰﮔﻴﺮﻧﺪ ﭼﮕﻮﻧﻪ ﺩﺭ ﮔﺮﻭﻩﻫﺎﻯ ﺑﺰﺭگ ﺑﻪ ﺷﻜﺎﺭ ﺑﺮﻭﻧﺪ‪...‬‬ ‫‪‬ﺁﻟﻜﻤﻴﺴﺖ )‪(29‬‬ ‫‪ ‬ﺁﻟﻜﻤﻴﺴﺖﻫﺎ ﺍﻧﺴﺎﻥﻫﺎﻳﻰ ﻫﺴﺘﻨﺪ ﻛﻪ ﺑﺎ ﻛﻤﻚ ﻣﻮﺭﻭﻯﻫﺎ ﻭ ﺩﺍﻣﭙﻴﺮﻫﺎ ﻋﻬﺪﻩﺩﺍﺭ ﻧﮕﻬﺪﺍﺭﻯ ﻭ‬ ‫ﻣﺤﺎﻓﻈﺖ ﺍﺯ ﺟﻮﺍﻣﻊ ﭘﻨﻬﺎﻧﻰ ﻣﻮﺭﻭﻯﻫﺎ ﻭ ﺩﺍﻣﭙﻴﺮﻫﺎ ﺷﺪﻩﺍﻧﺪ‪.‬‬ ‫‪ ‬ﺁﻟﻜﻤﻴﺴﺖﻫﺎ ﻃﺮﺡ ﺍﺳﺘﺎﺩﺍﻧﻪﺍﻯ ﺍﺯ ﮔﻞﻫﺎ ﻭ ﺑﺮگﻫﺎﻯ ﻃﻼﻳﻰ ﺧﺎﻟﻜﻮﺑﻰ ﺷﺪﻩ ﺭﻭﻯ ﭘﺎﻳﻴﻦ ﮔﻮﻧﻪﻯ‬ ‫ﺳﻤﺖ ﭼﭙﺸﺎﻥ ﺩﺍﺭﻧﺪ‪ .‬ﺍﻳﻦ ﺧﺎﻟﻜﻮﺑﻰﻫﺎ ﺍﺯ ﻃﻼ ﻭ ﺧﻮﻥ ﻃﻠﺴﻢ ﺷﺪﻩﻯ ﻣﻮﺭﻭﻯﻫﺎ ﺑﺎ ﻃﻠﺴﻢ ﺧﺎﻙ‬ ‫ﻭ ﺁﺏ ﻛﺸﻴﺪﻩ ﺷﺪﻩﺍﻧﺪ‪.‬‬ ‫‪ ‬ﺧﺎﻟﻜﻮﺑﻰ ﻃﻠﺴﻢ ﺷﺪﻩ ﺑﻪ ﻋﻨﻮﺍﻥ ﭘﺎﺩﺍﺵ ﺑﻪ ﺁﻥﻫﺎ ﺩﺍﺩﻩ ﺷﺪﻩ ﺍﺳﺖ ﻭ ﺑﻪ ﺁﻟﻜﻤﻴﺴﺖﻫﺎ ﺍﺟﺎﺯﻩ‬ ‫ﻣﻰﺩﻫﺪ ﺗﺎ ﺯﻧﺪﮔﻰ ﻃﻮﻻﻧﻰﺗﺮﻯ ﺩﺍﺷﺘﻪ ﺑﺎﺷﻨﺪ ﻭ ﺍﺯ ﺑﻴﻤﺎﺭ ﺷﺪﻧﺸﺎﻥ ﻧﻴﺰ ﺟﻠﻮﮔﻴﺮﻯ ﻣﻰﻛﻨﺪ‪.‬‬ ‫ﻫﻤﭽﻨﻴﻦ ﺍﻳﻦ ﻃﻠﺴﻢ ﺁﻥﻫﺎ ﺭﺍ ﺍﺯ ﺑﺎﺯﮔﻮﻳﻰ ﺭﺍﺯﻫﺎﻯ ﺟﻬﺎﻥ ﻣﺎﻭﺭﺍﻳﻰ ﻭ ﻣﺘﺎﻓﻴﺰﻳﻜﻰ ﻛﻪ ﺩﺭ ﻃﻮﻝ‬ ‫ﺯﻧﺪﮔﻰﺷﺎﻥ ﺧﻮﺍﻫﻨﺪ ﺩﻳﺪ‪ ،‬ﺑﺎﺯ ﻣﻰﺩﺍﺭﺩ‪.‬‬ ‫‪ ‬ﺩﻭﺭﻩﻯ ﺧﺪﻣﺖ ﺁﻟﻜﻤﻴﺴﺖﻫﺎ ﻣﺎﻧﻨﺪ ﺩﺍﻣﭙﻴﺮﻫﺎ ﺩﻭﺭﻩﺍﻯ ﺍﺟﺒﺎﺭﻯ ﺍﺳﺖ ﻭ ﺁﻥﻫﺎ ﺭﺍ ﺍﺯ ﺁﻏﺎﺯ ﺩﻭﺭﻩ ﺗﺎ‬ ‫ﭘﺎﻳﺎﻥ ﺁﻥ ﺍﺯ ﺧﺎﻧﻮﺍﺩﻩ ﺩﻭﺭ ﻧﮕﻪ ﻣﻰﺩﺍﺭﺩ‪.‬‬ ‫‪ ‬ﺍﺭﺗﺒﺎﻃﺎﺕ ﻛﺎﺭﻯ ﺁﻟﻜﻤﻴﺴﺖﻫﺎ ﺩﺭ ﻣﻴﺎﻥ ﺍﻧﺴﺎﻥﻫﺎﺳﺖ ﻛﻪ ﺍﺟﺎﺯﻩ ﻣﻰﺩﻫﺪ ﺗﺎ ﺍﺯ ﻣﻮﺭﻭﻯﻫﺎ ﻭ‬ ‫ﺩﺍﻣﭙﻴﺮﻫﺎ ﻣﺤﺎﻓﻈﺖ ﻛﻨﻨﺪ‪ .‬ﺁﻥﻫﺎ ﻓﻮﺕ ﻭ ﻓﻦﻫﺎﻳﻰ ﺑﻠﺪﻧﺪ ﻛﻪ ﺍﺟﺎﺯﻩ ﻣﻰﺩﻫﺪ ﺗﺎ ﺍﺳﺘﺮﻳﮕﻮﻯﻫﺎ ﺭﺍ‬ ‫ﺷﻨﺎﺳﺎﻳﻰ ﻭ ﻧﺎﺑﻮﺩ ﻛﻨﻨﺪ‪.‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،9-10‬ﺷﻬﺮﻳﻮﺭ ﻭ ﻣﻬﺮ ‪1390‬‬

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‫ﻛﺘﺎﺏ‬

‫ﺯﻳﺮ ﻧﻮﺭ ﺁﻓﺘﺎﺏ ﺍﺫﻳﺖ ﻧﻤﻰﺷﻮﻧﺪ ﻭ ﺑﺮﺍﻯ ﺯﻧﺪﻩ ﻣﺎﻧﺪﻥ ﻧﻴﺎﺯﻯ ﺑﻪ ﺧﻮﻥ ﻧﺪﺍﺭﻧﺪ‪ .‬ﺣﺎﻟﺖ ﺍﺭﺛﻰ ﭼﻬﺮﻩ‬ ‫ﻭ ﺑﺪﻧﺸﺎﻥ ﺁﻥﻫﺎ ﺭﺍ ﺑﻬﺘﺮﻳﻦ ﺍﻧﺘﺨﺎﺏ ﺑﺮﺍﻯ ﻧﮕﻬﺒﺎﻧﻰ ﺍﺯ ﻣﻮﺭﻭﻯﻫﺎ ﻧﺸﺎﻥ ﻣﻰﺩﻫﺪ‪.‬‬ ‫‪ ‬ﺍﺯ ﺳﻨﻴﻦ ﭘﺎﻳﻴﻦ ﺑﻪ ﺩﺍﻣﭙﻴﺮﻫﺎ ﺁﻣﻮﺯﺵ ﺩﺍﺩﻩ ﻣﻰﺷﻮﺩ ﺗﺎ ﺑﺎﻭﺭ ﻛﻨﻨﺪ ﻛﻪ ﺑﺎﻳﺪ ﺍﺯ ﻣﻮﺭﻭﻯﻫﺎ ﺩﺭ ﺑﺮﺍﺑﺮ‬ ‫ﻫﻤﻪﭼﻴﺰ ﻣﺤﺎﻓﻈﺖ ﻛﻨﻨﺪ‪.‬‬ ‫‪ ‬ﺑﻪ ﺩﻻﻳﻠﻰ ﺟﺎﻧﻮﺭﺍﻥ ﻧﺎﺷﻨﺎﺱ ﺩﺍﻣﭙﻴﺮﻫﺎ ﺭﺍ ﺩﻭﺳﺖ ﻧﺪﺍﺭﻧﺪ ﻭ ﻣﻌﻤﻮﻻً ﻣﺎﻧﻨﺪ ﮔﺮﺑﻪﻫﺎ ﺟﺎﻳﻰ ﺭﺍ ﺩﺭ‬ ‫ﮔﻮﺷﻪ ﻭ ﻛﻨﺎﺭ ﺁﻛﺎﺩﻣﻰ ﺑﻪ ﺁﻥﻫﺎ ﺍﺧﺘﺼﺎﺹ ﻣﻰﺩﻫﻨﺪ‪.‬‬ ‫‪‬ﻣﻮﺭﻭﻯ‬ ‫‪ ‬ﺩﻭﺍﺯﺩﻩ ﺧﺎﻧﻮﺍﺩﻩﻯ ﺳﻠﻄﻨﺘﻰ ﻫﺴﺘﻨﺪ‪ .‬ﻟﻴﺰﺍ‪ ،‬ﻛﺮﻳﺴﺘﻴﻦ )‪ (20‬ﻭ ﺁﺩﺭﻳﺎﻥ )‪ (21‬ﺍﻋﻀﺎﻯ ﻳﻜﻰ ﺍﺯ ﺍﻳﻦ‬ ‫ﺧﺎﻧﻮﺍﺩﻩﻫﺎﻯ ﺳﻠﻄﻨﺘﻰ ﻣﻰﺑﺎﺷﻨﺪ‪.‬‬ ‫‪ ‬ﻣﻮﺭﻭﻯﻫﺎ ﺧﻮﻥﺁﺷﺎﻣﺎﻥ ﻣﻴﺮﺍﻳﻰ ﻫﺴﺘﻨﺪ ﻛﻪ ﻣﻰﺗﻮﺍﻧﻨﺪ ﻏﺬﺍ ﺑﺨﻮﺭﻧﺪ ﺍﻣﺎ ﺑﺮﺍﻯ ﺯﻧﺪﻩ ﻣﺎﻧﺪﻥ ﻧﻴﺎﺯ‬ ‫ﺑﻪ ﺧﻮﻥ ﺍﻧﺴﺎﻥ ﺩﺍﺭﻧﺪ‪ .‬ﺑﺎ ﺍﻳﻦ ﻭﺟﻮﺩ ﻫﺮﮔﺰ ﻣﺮﺗﻜﺐ ﻗﺘﻞ ﻧﻤﻰﺷﻮﻧﺪ‪ ،‬ﺍﺯ ﺍﻳﻦ ﺭﻭ ﺯﻧﺪﮔﻰ ﺁﻧﻬﺎ ﺑﻪ‬ ‫ﺯﻧﺪﻩ ﻣﺎﻧﺪﻥ ﺧﻮﻥﺩﻫﻨﺪﻩﻫﺎ ﻭﺍﺑﺴﺘﻪ ﻫﺴﺘﻨﺪ‪ .‬ﺍﮔﺮ ﻳﻚ ﻣﻮﺭﻭﻯ ﺩﺭ ﻫﻨﮕﺎﻡ ﺧﻮﻥ ﺁﺷﺎﻣﻴﺪﻥ ﻛﺴﻰ‬ ‫ﺭﺍ ﺑﻜﺸﺪ‪ ،‬ﺟﺎﺩﻭﻳﺶ ﺭﺍ ﺍﺯ ﺩﺳﺖ ﻣﻰﺩﻫﺪ ﻭ ﺑﻪ ﺍﺳﺘﺮﻳﮕﻮﻯ ﺗﺒﺪﻳﻞ ﻣﻰﺷﻮﺩ‪.‬‬ ‫‪ ‬ﻫﺮ ﭼﻨﺪ ﺁﻥﻫﺎ ﺗﻮﺍﻧﺎﻳﻰ ﻣﺒﺎﺭﺯﻩ ﺩﺍﺭﻧﺪ‪ ،‬ﺍﻣﺎ ﺩﻝﮔﺮﻣﻰ ﺁﻥﻫﺎ ﺑﻪ ﻧﮕﻬﺒﺎﻧﺎﻧﺸﺎﻥ ﺗﻘﺮﻳﺒﺎً ﻗﺪﺭﺕ‬ ‫ﻣﻮﺭﻭﻯﻫﺎ ﺭﺍ ﺑﻰﺍﺳﺘﻔﺎﺩﻩ ﻣﻰﮔﺬﺍﺭﺩ‪ ،‬ﻫﺮ ﭼﻨﺪ ﺗﻌﺪﺍﺩﻯ ﺍﺯ ﻣﻮﺭﻭﻯﻫﺎ ﺗﻤﺎﻳﻞ ﺩﺍﺭﻧﺪ ﺩﻭﺑﺎﺭﻩ ﺑﻪ ﻃﻮﺭ‬ ‫ﺗﻬﺎﺟﻤﻰ ﺍﺯ ﺟﺎﺩﻭﻳﺸﺎﻥ ﺍﺳﺘﻔﺎﺩﻩ ﻛﻨﻨﺪ ﻭ ﻛﻨﺎﺭ ﻧﮕﻬﺒﺎﻧﺎﻧﺸﺎﻥ ﻣﺒﺎﺭﺯﻩ ﻛﻨﻨﺪ‪.‬‬ ‫‪ ‬ﺁﻓﺘﺎﺏ ﺑﺮﺍﻳﺸﺎﻥ ﺩﺭﺩﺁﻭﺭ ﻭ ﻧﺎﺧﻮﺷﺎﻳﻨﺪ ﺍﺳﺖ ﺍﻣﺎ ﺑﺮﺧﻼﻑ ﺍﺳﺘﺮﻳﮕﻮﻯﻫﺎ‪ ،‬ﺩﺭ ﺁﻓﺘﺎﺏ ﻧﻤﻰﺳﻮﺯﻧﺪ‪.‬‬ ‫‪ ‬ﻣﻮﺭﻭﻯﻫﺎ ﺩﺍﺭﺍﻯ ﺟﺎﺩﻭﻯ ﺧﺪﺍﺩﺍﺩﻯ ﻫﺴﺘﻨﺪ ﻭ ﻣﻌﻤﻮﻻ ﺩﺭ ﻳﻜﻰ ﺍﺯ ﻋﻨﺎﺻﺮ ﻗﺪﺭﺕ ﻣﻬﺎﺭﺕ ﺩﺍﺭﻧﺪ‪:‬‬ ‫ﻫﻮﺍ )‪ ،(22‬ﺁﺏ )‪ ،(23‬ﺁﺗﺶ )‪ ،(24‬ﺭﻭﺡ )‪ .(25‬ﺑﺪﻭﻥ ﺍﻫﻤﻴﺖ ﺍﻳﻦ ﻛﻪ ﺟﺎﺩﻭﻯ ﭼﻪ ﻋﻨﺼﺮﻯ ﺭﺍ‬ ‫ﺩﺭ ﺍﺧﺘﻴﺎﺭ ﺩﺍﺭﻧﺪ ﺑﻴﺸﺘﺮﺷﺎﻥ ﻣﻰﺗﻮﺍﻧﻨﺪ ﺍﺯ ﻧﻴﺮﻭﻯ ﺗﻠﻘﻴﻦ )‪ (26‬ﺍﺳﺘﻔﺎﺩﻩ ﻛﻨﻨﺪ‪ ،‬ﺣﺘﺎ ﺍﮔﺮ ﭼﻴﺰ‬ ‫ﺯﻳﺎﺩﻯ ﺍﺯ ﺟﺎﺩﻭ ﻳﺎﺩ ﻧﮕﺮﻓﺘﻪ ﺑﺎﺷﻨﺪ‪ .‬ﺩﺍﺭﻧﺪﮔﺎﻥ ﻧﻴﺮﻭﻯ ﺭﻭﺡ ﻣﻰﺗﻮﺍﻧﻨﺪ ﻗﻮﻯﺗﺮ ﺍﺯ ﺩﺍﺭﻧﺪﮔﺎﻥ‬ ‫ﺟﺎﺩﻭﻯ ﺩﻳﮕﺮ ﻋﻨﺎﺻﺮ ﺑﺎﺷﻨﺪ‪.‬‬ ‫‪ ‬ﺍﺳﺘﺮﻳﮕﻮﻯ‬ ‫‪ ‬ﺍﺳﺘﺮﻳﮕﻮﻯﻫﺎ ﺍﻧﺴﺎﻥﻫﺎﻳﻰ ﻫﺴﺘﻨﺪ‪ ،‬ﻛﻪ ﻳﺎ ﺯﻧﺪﮔﻰ ﺟﺎﻭﺩﺍﻥ ﺭﺍ ﺍﻧﺘﺨﺎﺏ ﻛﺮﺩﻩﺍﻧﺪ ﻭ ﻳﺎ ﻣﻮﺭﻭﻯﻫﺎ‬ ‫ﻭ ﺩﺍﻣﭙﻴﺮﻫﺎﻳﻰ ﻛﻪ ﺑﻪ ﺍﺳﺘﺮﻳﮕﻮﻯ ﺗﺒﺪﻳﻞ ﺷﺪﻩﺍﻧﺪ‪ .‬ﻫﻨﮕﺎﻣﻰ ﻛﻪ ﺑﻪ ﺍﺳﺘﺮﻳﮕﻮﻯ ﺗﺒﺪﻳﻞ ﺷﻮﻧﺪ ﺑﻪ‬ ‫ﻛﻞ ﺍﻧﺴﺎﻧﻴﺘﺸﺎﻥ ﺭﺍ ﺍﺯ ﺩﺳﺖ ﺩﺍﺩﻩ ﻭ ﺟﺎﻧﻮﺭﺍﻧﻰ ﺗﺸﻨﻪﺑﻪﺧﻮﻥ ﻣﻰﺷﻮﻧﺪ‪.‬‬ ‫‪ ‬ﺍﺳﺘﺮﻳﮕﻮﻯﻫﺎ ﺑﻪ ﺷﻜﻞ ﻭﺣﺸﻴﺎﻧﻪﺍﻯ ﻓﺮﺯ ﻭ ﭼﺎﺑﻚ ﻭ ﻧﻴﺮﻭﻣﻨﺪ ﻫﺴﺘﻨﺪ‪ .‬ﺯﻧﺪﮔﻰ ﺁﻥﻫﺎ ﺗﻨﻬﺎ ﺑﻪ‬ ‫ﺧﻮﻥ ﻭﺍﺑﺴﺘﻪ ﺍﺳﺖ ﻭ ﻫﻤﻴﺸﻪ ﺑﺮﺍﻯ ﺧﻮﻥ ﺩﺳﺖ ﺑﻪ ﻛﺸﺘﺎﺭ ﻣﻰﺯﻧﻨﺪ‪ .‬ﺧﻮﻥ ﻣﻮﺭﻭﻯﻫﺎ ﻧﻴﺮﻭﻯ‬

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‫ﻭﻳﮋﻩﻧﺎﻣﻪﻯ ﺧﻮﻥﺁﺷﺎﻡﻫﺎ‬

‫ﻧﺪﺍﺭﻧﺪ‪ .‬ﺩﺭ ﻫﺎﮔﻮﺍﺭﺗﺰ ﻫﺮﻯ ﭘﺎﺗﺮ ﻭ ﺩﻭﺳﺘﺎﻧﺶ ﺩﺭﺑﺎﺭﻩ ﺟﺎﺩﻭ ﺁﻣﻮﺯﺵ ﻣﻰﺑﻴﻨﻨﺪ‪ ،‬ﺩﺭ ﻣﻬﻤﺎﻧﻰﻫﺎﻯ‬ ‫ﺑﺰﺭگ ﺁﻣﺎﺩﻩ ﺷﺪﻩ ﺗﻮﺳﻂ ﺟﻦﻫﺎﻯ ﺧﺎﻧﮕﻰ ﺷﺮﻛﺖ ﻣﻰﻛﻨﻨﺪ ﻭ ﻣﻌﻤﻮﻻً ﻗﻠﺐ ﭘﺎﻛﻰ ﺩﺍﺭﻧﺪ ﻛﻪ ﺁﻥﻫﺎ‬ ‫ﺭﺍ ﺑﻪ ﺳﻤﺖ ﺑﺎﻟﻎ ﻭ ﺑﺰﺭگ ﺷﺪﻥ ﺭﺍﻫﻨﻤﺎﻳﻰ ﻣﻰﻛﻨﺪ‪ .‬ﺩﺭ ﻣﻘﺎﺑﻞ‪ ،‬ﺩﺭ ﺁﻛﺎﺩﻣﻰ ﺳﻨﺖ ﻭﻻﺩﻳﻤﻴﺮ ﺟﺎﺩﻭ‬ ‫ﺁﻣﻮﺯﺵ ﺩﺍﺩﻩ ﻣﻰﺷﻮﺩ‪ ،‬ﺩﺧﺘﺮﻫﺎ ﻭ ﭘﺴﺮﻫﺎ ﺑﺎ ﻫﻢ ﺁﺷﻨﺎ ﻣﻰﺷﻮﻧﺪ‪ ،‬ﺷﺎﻳﻌﺎﺗﻰ ﺩﺭﺑﺎﺭﻩ ﻛﺎﺭﻫﺎﻯ ﺯﺷﺖ ﻭ‬ ‫ﺯﻧﻨﺪﻩ ﻭﺟﻮﺩ ﺩﺍﺭﺩ ﻭ ﭼﻨﺪﺍﻥ ﻣﻌﺼﻮﻣﻴﺘﻰ ﺩﺭ ﺑﻴﻦ ﻧﻴﺴﺖ‪.‬‬ ‫ﺟﺪﺍ ﺍﺯ ﺍﻳﻦ ﻛﻪ ﺩﺍﺳﺘﺎﻥ ﺯﻣﻴﻨﻪﺳﺎﺯﻯ ﻣﻰﻛﻨﺪ ﺗﺎ ﺩﺧﺘﺮﻫﺎ ﺑﺘﻮﺍﻧﻨﺪ ﺭﺍﻫﺸﺎﻥ ﺭﺍ ﭘﻴﺪﺍ ﻛﻨﻨﺪ‪ ،‬ﺑﻪ ﻧﻈﺮ‬ ‫ﻣﻰﺭﺳﺪ ﻛﻪ ﻟﻴﺰﺍ ﻫﺪﻑ ﺷﻮﺧﻰﻫﺎﻯ ﺧﻄﺮﻧﺎﻛﻰ ﻗﺮﺍﺭ ﻣﻰﮔﻴﺮﺩ ﻛﻪ ﻳﺎ ﺑﺎ ﻣﺮگ ﻭ ﻳﺎ ﺑﺎ ﺟﺎﻧﻮﺭﺍﻥ ﻣﺮﺩﻩ‬ ‫ﺭﻭﺑﺮﻭ ﻣﻰﺷﻮﺩ‪ .‬ﺟﺎﻧﻮﺭﺍﻥ ﻣﺮﺩﻩ ﻣﻰﺗﻮﺍﻧﺴﺖ ﺍﻳﺪﻩﻯ ﻳﻚ ﻧﻔﺮ ﺍﺯ ﻳﻚ ﺟﻮﻙ ﻭ ﻟﻄﻴﻔﻪ ﺑﺎﺷﺪ ﺍﻣﺎ ﺍﺻﻞ‬ ‫ﺷﻮﺧﻰﻫﺎﻯ ﺧﻄﺮﻧﺎﻙ ﺑﻪ ﺧﻮﺍﻧﻨﺪﻩ ﻧﺸﺎﻥ ﻣﻰﺩﻫﺪ ﻛﻪ ﻳﻚ ﻧﻔﺮ ﺩﺭ ﺁﻛﺎﺩﻣﻰ ﺍﺯ ﺗﺎﺭﻳﻚﺗﺮﻳﻦ ﺭﺍﺯ ﻟﻴﺰﺍ‬ ‫ﺧﺒﺮ ﺩﺍﺭﺩ‪.‬‬ ‫ﻧﺜﺮ ﺁﻛﺎﺩﻣﻰ ﺧﻮﻥﺁﺷﺎﻡ ﺳﺎﺩﻩ ﺍﻣﺎ ﺟﺬﺍﺏ ﺍﺳﺖ‪ .‬ﺩﺍﺳﺘﺎﻥ ﺍﺯ ﺯﺑﺎﻥ ﻭ ﺩﻳﺪﮔﺎﻩ ﺭﺯ ﻫﺎﺗﺎﻭﻯ‪ ،‬ﻧﮕﻬﺒﺎﻥ ﻟﻴﺰﺍ‬ ‫ﺩﺭﺍﮔﻮﻣﻴﺮ ﻭ ﺩﺭ ﺑﺮﺧﻮﺭﺩ ﺍﻭ ﺑﺎ ﻣﺎﺟﺮﺍﻫﺎﻯ ﺍﻃﺮﺍﻓﺶ ﻭ ﺑﺎ ﺧﻄﺮﻫﺎﻳﻰ ﻛﻪ ﻟﻴﺰﺍ ﺭﺍ ﺗﻬﺪﻳﺪ ﻣﻰﻛﻨﻨﺪ‪ ،‬ﺭﻭﺍﻳﺖ‬ ‫ﻣﻰﺷﻮﺩ‪ .‬ﺷﺎﻳﺪ ﺑﺘﻮﺍﻥ ﺁﻛﺎﺩﻣﻰ ﺧﻮﻥﺁﺷﺎﻡ ﻭ ﮔﺮگ ﻣﻴﺶ ﺭﺍ ﺍﺯ ﻧﻈﺮ ﺣﻀﻮﺭ ﺷﺨﺼﻴﺖﻫﺎﻯ ﺧﻮﻥﺁﺷﺎﻡ‬ ‫ﻭ ﺭﻣﺎﻧﺲ ﻣﻮﺟﻮﺩ ﺩﺭ ﺩﺍﺳﺘﺎﻥ ﺷﺒﻴﻪ ﺑﻪ ﻫﻢ ﺩﺍﻧﺴﺖ‪.‬‬ ‫ﺁﻛﺎﺩﻣﻰ ﺧﻮﻥﺁﺷﺎﻡ ﺭﻭﺍﻳﺖ ﺟﺬﺍﺑﻰ ﺍﺳﺖ‪ .‬ﺑﺴﺘﻪﺍﻯ ﭘﺮ ﺍﺯ ﻫﻴﺠﺎﻥ ﻭ ﻣﺎﺟﺮﺍ ﻭ ﺩﺳﻴﺴﻪ ﻭ ﺗﻮﻃﺌﻪ‪ .‬ﺍﻳﻦ‬ ‫ﻛﺘﺎﺏ ﻣﻰﺗﻮﺍﻧﺪ ﺑﻪ ﺭﺍﺣﺘﻰ ﻣﺨﺎﻃﺒﺎﻥ ﺟﻮﺍﻥ ﺧﻮﺩ ﺭﺍ ﺳﺮﮔﺮﻡ ﻭ ﻫﻤﭽﻨﻴﻦ ﺑﻪ ﺍﻧﺪﺍﺯﻩﻯ ﻛﺎﻓﻰ ﺭﻣﺎﻧﺲ‬ ‫ﻭ ﻋﺎﺷﻘﺎﻧﻪ ﺩﺭ ﺍﺧﺘﻴﺎﺭ ﺩﺍﺭﺩ ﺗﺎ ﺗﻌﺪﺍﺩ ﺑﻴﺸﺘﺮﻯ ﺍﺯ ﺧﻮﺍﻧﻨﺪﮔﺎﻥ ﺭﺍ ﺑﺎ ﺧﻮﺩ ﻫﻤﺮﺍﻩ ﻛﻨﺪ‪.‬‬ ‫ﻧﮋﺍﺩﻫﺎﻯ ﺩﺭﮔﻴﺮ ﺩﺭ ﺩﺍﺳﺘﺎﻥ‬ ‫‪‬ﺩﺍﻣﭙﻴﺮ‬ ‫‪ ‬ﮔﻮﻧﻪﻫﺎﻯ ﻧﻴﻤﻪﺍﻧﺴﺎﻥ‪ ،‬ﻧﻴﻤﻪﺧﻮﻥﺁﺷﺎﻡ‪ .‬ﻣﻌﻤﻮﻻً ﺍﺯ ﭘﺪﺭ ﻭ ﻣﺎﺩﺭ ﻣﻮﺭﻭﻯ ﻭ ﺍﻧﺴﺎﻥ ﺯﺍﺩﻩ ﻣﻰﺷﻮﻧﺪ‪،‬‬ ‫ﻫﺮ ﭼﻨﺪ ﺣﺘﺎ ﻭﻗﺘﻰ ﻳﻚ ﺩﺍﻣﭙﻴﺮ ﺑﺎ ﻳﻚ ﻣﻮﺭﻭﻯ ﺍﺯﺩﻭﺍﺝ ﻣﻰﻛﻨﺪ‪ ،‬ﻓﺮﺯﻧﺪ ﻧﺘﻴﺠﻪﻯ ﺍﺯﺩﻭﺍﺟﺸﺎﻥ‬ ‫ﻫﻤﻴﺸﻪ ﻳﻚ ﺩﺍﻣﭙﻴﺮ ﺧﻮﺍﻫﺪ ﺷﺪ‪ ،‬ﻓﻘﻂ ﻧﻴﻤﻪﺧﻮﻥﺁﺷﺎﻡ‪.‬‬ ‫‪ ‬ﺑﻴﺸﺘﺮ ﻣﺮﺩﺍﻥ ﺩﺍﻣﭙﻴﺮ ﺗﻤﺮﻳﻦ ﻣﻰﻛﻨﻨﺪ ﺗﺎ ﻧﮕﻬﺒﺎﻥ ﺷﻮﻧﺪ‪ ،‬ﺍﻣﺎ ﺑﻴﺸﺘﺮ ﺯﻧﺎﻥ ﻣﺘﻨﺎﻭﺑﺎً ﻣﻰﺧﻮﺍﻫﻨﺪ ﺗﺎ‬ ‫ﻓﺮﺯﻧﺪﺍﻧﻰ ﺩﺍﺷﺘﻪ ﺑﺎﺷﻨﺪ‪ .‬ﺍﻳﻦ ﺯﻥﻫﺎ ﻣﻌﻤﻮﻻً ﺑﺎ ﻫﻢ ﻭ ﺩﺭ ﺑﺨﺶﻫﺎﻯ ﺍﺷﺘﺮﺍﻛﻰ ﺯﻧﺪﮔﻰ ﻣﻰﻛﻨﻨﺪ‪.‬‬ ‫‪ ‬ﻣﺮﺩﺍﻥ ﻭ ﺯﻧﺎﻥ ﺩﺍﻣﭙﻴﺮ ﻧﻤﻰﺗﻮﺍﻧﻨﺪ ﺑﺎ ﻫﻢ ﺍﺯﺩﻭﺍﺝ ﻛﻨﻨﺪ ﻭ ﺑﭽﻪﺩﺍﺭ ﺷﻮﻧﺪ‪ ،‬ﺑﻨﺎﺑﺮﺍﻳﻦ ﺯﻧﺎﻥ ﺩﺍﻣﭙﻴﺮ‬ ‫ﺑﺮﺍﻯ ﺑﭽﻪﺩﺍﺭ ﺷﺪﻥ ﺑﺎ ﻣﺮﺩﺍﻥ ﻣﻮﺭﻭﻯ ﺍﺯﺩﻭﺍﺝ ﻣﻰﻛﻨﻨﺪ‪.‬‬ ‫‪ ‬ﺩﺍﻣﭙﻴﺮﻫﺎ ﺍﺯ ﺣﻮﺍﺱ ﺑﻬﺘﺮﻯ ﻧﺴﺒﺖ ﺑﻪ ﺍﻧﺴﺎﻥﻫﺎ ﺑﺮﺧﻮﺭﺩﺍﺭﻧﺪ‪ ،‬ﻣﺎﻧﻨﺪ ﺑﻴﻨﺎﻳﻰ ﻭ ﻧﻴﺮﻭﻯ ﺑﺪﻧﻰ‪ .‬ﺁﻥﻫﺎ‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،9-10‬ﺷﻬﺮﻳﻮﺭ ﻭ ﻣﻬﺮ ‪1390‬‬

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‫ﺍﺳﺖ ﺑﺎ ﻋﻨﻮﺍﻥﻫﺎﻯ »ﺁﻛﺎﺩﻣﻰ ﺧﻮﻥﺁﺷﺎﻡ«‪» ،‬ﺳﺮﻣﺎﺯﺩﮔﻰ )‪» ،«(11‬ﺑﻮﺳﻪﻯ ﺳﺎﻳﻪ )‪» ،«(12‬ﭘﻴﻤﺎﻥ‬ ‫ﺧﻮﻥ )‪» ،«(13‬ﻣﺤﺪﻭﺩﻩﻯ ﺭﻭﺡ )‪ «(14‬ﻭ »ﺁﺧﺮﻳﻦ ﻗﺮﺑﺎﻧﻰ )‪ .«(15‬ﺍﻟﺒﺘﻪ ﺩﺍﺳﺘﺎﻥﻫﺎﻯ ﺁﻛﺎﺩﻣﻰ‬ ‫ﺧﻮﻥﺁﺷﺎﻡ ﺑﺎ ﺍﻳﻦ ﺳﺮﻯ ﺑﻪ ﭘﺎﻳﺎﻥ ﻧﻤﻰﺭﺳﺪ‪ ،‬ﺑﻠﻜﻪ ﺩﺭ ﺍﺩﺍﻣﻪ ﺳﺮﻯ ﺩﻳﮕﺮﻯ ﺑﺎ ﻋﻨﻮﺍﻥ »ﺧﻄﻮﻁ ﺧﻮﻥ‬ ‫)‪ «(16‬ﺑﺎ ﺷﺨﺼﻴﺖﻫﺎﻯ ﺩﻳﮕﺮﻯ ﺁﻏﺎﺯ ﻣﻰﺷﻮﺩ‪.‬‬ ‫ﻧﮕﺎﻫﻰ ﺑﻪ ﻛﺘﺎﺏ‬ ‫ﺁﻛﺎﺩﻣﻰ ﺧﻮﻥﺁﺷﺎﻡ ﻧﺨﺴﺘﻴﻦ ﻛﺘﺎﺏ ﺍﺯ ﺳﺮﻯ ﻛﺘﺎﺏﻫﺎﻳﻰ ﺍﺳﺖ ﻛﻪ ﺭﻳﭽﻞ ﻣﻴﺪ ﺑﺮﺍﻯ ﺧﻮﺍﻧﻨﺪﮔﺎﻥ‬ ‫ﺟﻮﺍﻥ ﻭ ﺑﺰﺭﮔﺴﺎﻝ ﻧﻮﺷﺘﻪ ﺍﺳﺖ‪ .‬ﻫﻤﭽﻨﻴﻦ ﭘﻴﺶ ﺍﺯ ﺍﻳﻦ ﺳﺮﻯ ﺭﻳﭽﻞ ﻣﻴﺪ ﺩﺍﺳﺘﺎﻥ »ﺳﻮﻛﻮﺑﻮﺱ‬ ‫ﺍﻓﺴﺮﺩﻩ« )‪ (17‬ﻭ ﺳﺮﻯ ﻓﺎﻧﺘﺰﻯ »ﻗﻮﻯ ﺳﻴﺎﻩ« )‪ (18‬ﺭﺍ ﻧﻴﺰ ﻧﮕﺎﺷﺘﻪ ﺍﺳﺖ‪.‬‬ ‫ﺩﺭ ﺁﻛﺎﺩﻣﻰ ﺧﻮﻥﺁﺷﺎﻡ ﺑﺎ ﺳﻪ ﮔﻮﻧﻪ ﺧﻮﻥﺁﺷﺎﻡ ﺁﺷﻨﺎ ﻣﻰﺷﻮﻳﻢ‪ ،‬ﻛﻪ ﺑﺮﺍﻯ ﻳﻚ ﺩﺍﺳﺘﺎﻥ ﻫﻴﺠﺎﻥ‬ ‫ﺯﻳﺎﺩﻯ ﺭﺍ ﺑﻪ ﻫﻤﺮﺍﻩ ﺧﻮﺍﻫﻨﺪ ﺩﺍﺷﺖ‪ .‬ﮔﻮﻧﻪﻯ ﻳﻜﻢ ﻣﻮﺭﻭﻯﻫﺎ ﻫﺴﺘﻨﺪ‪ ،‬ﺧﻮﻥﺁﺷﺎﻣﺎﻧﻰ ﻣﻴﺮﺍ ﻭ ﻓﺎﻧﻰ‬ ‫ﻛﻪ ﺍﺯ ﺧﻮﻥ ﺗﻐﺬﻳﻪ ﻣﻰﻛﻨﻨﺪ ﻭ ﺟﺎﺩﻭ )‪ (19‬ﻭ ﻗﺪﺭﺕ ﭼﻬﺎﺭ ﻋﻨﺼﺮ ﺭﺍ ﺩﺭ ﺩﺳﺖ ﺩﺍﺭﻧﺪ‪ .‬ﮔﻮﻧﻪﻯ‬ ‫ﺩﻭﻡ ﺍﺳﺘﺮﻳﮕﻮﻯﻫﺎ ﻫﺴﺘﻨﺪ‪ ،‬ﺧﻮﻥﺁﺷﺎﻣﺎﻥ ﻧﺎﻣﻴﺮﺍﻳﻰ ﻛﻪ ﻳﺎ ﻣﻮﺭﻭﻯﻫﺎﻳﻰ ﺑﻮﺩﻧﺪ ﻛﻪ ﻛﺸﺘﻪ ﺷﺪﻩ ﻭ‬ ‫ﺳﭙﺲ ﺑﻨﺎ ﺑﻪ ﺍﻧﺘﺨﺎﺑﺸﺎﻥ ﺑﻪ ﺍﺳﺘﺮﻳﮕﻮﻯ ﺗﺒﺪﻳﻞ ﺷﺪﻩﺍﻧﺪ ﻭ ﻳﺎ ﺍﻧﺴﺎﻥﻫﺎ‪ ،‬ﺩﺍﻣﭙﻴﺮﻫﺎ ﻭ ﻣﻮﺭﻭﻯﻫﺎﻳﻰ‬ ‫ﻫﺴﺘﻨﺪ ﻛﻪ ﺗﻮﺳﻂ ﺍﺳﺘﺮﻳﮕﻮﻯﻫﺎ ﮔﺎﺯ ﮔﺮﻓﺘﻪ ﺷﺪﻩ ﻭ ﺑﻪ ﺍﺳﺘﺮﻳﮕﻮﻯ ﺗﺒﺪﻳﻞ ﺷﺪﻩﺍﻧﺪ‪ .‬ﺑﻪ ﻋﺒﺎﺭﺕ‬ ‫ﺩﻳﮕﺮ ﺍﺳﺘﺮﻳﮕﻮﻯﻫﺎ ﺧﻮﻥﺁﺷﺎﻣﺎﻧﻰ ﻧﺎﻣﻴﺮﺍ ﻭ ﺑﺎ ﻗﺪﺭﺕ ﻛﺸﺘﺎﺭ ﻓﺮﺍﻭﺍﻥ ﺑﺮﺍﻯ ﺁﺷﺎﻣﻴﺪﻥ ﺧﻮﻥ ﻭ ﺍﺯ ﻧﮋﺍﺩ‬ ‫ﺧﻮﻥﺁﺷﺎﻣﺎﻥ ﺳﻨﺘﻰ ﻫﺴﺘﻨﺪ‪.‬‬ ‫ﺩﺭ ﮔﻮﻧﻪﻯ ﺳﻮﻡ ﺩﺍﻣﭙﻴﺮﻫﺎ ﻗﺮﺍﺭ ﺩﺍﺭﻧﺪ‪ .‬ﺧﻮﻥﺁﺷﺎﻣﺎﻧﻰ ﻛﻪ ﻓﺮﺯﻧﺪ ﻣﻮﺭﻭﻯﻫﺎ ﻭ ﺍﻧﺴﺎﻥﻫﺎ )ﻳﺎ ﺩﺍﻣﭙﻴﺮﻫﺎ(‬ ‫ﻫﺴﺘﻨﺪ‪ .‬ﺁﻥﻫﺎ ﻣﻰﺗﻮﺍﻧﻨﺪ ﺩﺭ ﺭﻭﺯ ﻭ ﺯﻳﺮ ﻧﻮﺭ ﺧﻮﺭﺷﻴﺪ ﻗﺮﺍﺭ ﺑﮕﻴﺮﻧﺪ‪ ،‬ﺑﺪﻭﻥ ﺍﻳﻦ ﻛﻪ ﺻﺪﻣﻪﺍﻯ‬ ‫ﺑﺒﻴﻨﻨﺪ‪ .‬ﻫﻢﭼﻨﻴﻦ ﺩﺍﻣﭙﻴﺮﻫﺎ ﻧﻤﻰﺗﻮﺍﻧﻨﺪ ﺍﺯ ﻧﻴﺮﻭﻫﺎﻯ ﺟﺎﺩﻭﻳﻰ ﺍﺳﺘﻔﺎﺩﻩ ﻛﻨﻨﺪ ﻭ ﺍﺯ ﺧﻮﻥ ﻧﻴﺰ ﺗﻐﺬﻳﻪ‬ ‫ﻧﻤﻰﻛﻨﻨﺪ‪ .‬ﺑﺎ ﺍﻳﻦ ﺣﺎﻝ ﺁﻥﻫﺎ ﺍﺯ ﺍﻧﺴﺎﻥﻫﺎ ﻭ ﻣﻮﺭﻭﻯﻫﺎ ﻗﻮﻯﺗﺮ ﻭ ﺳﺮﻳﻊﺗﺮ ﻫﺴﺘﻨﺪ‪ .‬ﺩﺍﻣﭙﻴﺮﻫﺎ ﻭﻇﻴﻔﻪ‬ ‫ﺩﺍﺭﻧﺪ ﺍﺯ ﻣﻮﺭﻭﻯﻫﺎ ﺩﺭ ﺑﺮﺍﺑﺮ ﺍﺳﺘﺮﻳﮕﻮﻯﻫﺎ ﻣﺤﺎﻓﻈﺖ ﻛﻨﻨﺪ‪.‬‬ ‫ﺩﺍﺳﺘﺎﻥ ﺁﻛﺎﺩﻣﻰ ﺧﻮﻥﺁﺷﺎﻡ ﺩﺭ ﻣﺤﻴﻂ ﻳﻚ ﻣﺪﺭﺳﻪﻯ ﺷﺒﺎﻧﻪﺭﻭﺯﻯ ﺍﺗﻔﺎﻕ ﻣﻰﺍﻓﺘﺪ‪ ،‬ﺍﻣﺎ ﻣﺪﺭﺳﻪﺍﻯ‬ ‫ﻛﻪ ﺷﺒﻴﻪ ﻣﺪﺭﺳﻪﻫﺎﻯ ﻣﻌﻤﻮﻟﻰ ﻧﻴﺴﺖ‪ ،‬ﺁﻥﺟﺎ ﺁﻛﺎﺩﻣﻰ ﺳﻨﺖ ﻭﻻﺩﻳﻤﻴﺮ ﺍﺳﺖ‪ .‬ﺩﺭ ﺁﻛﺎﺩﻣﻰ ﺳﻨﺖ‬ ‫ﻭﻻﺩﻳﻤﻴﺮ ﻣﻮﺭﻭﻯﻫﺎﻯ ﺟﻮﺍﻥ ﺟﺎﺩﻭ ﻳﺎﺩ ﻣﻰﮔﻴﺮﻧﺪ ﻭ ﺩﺍﻣﭙﻴﺮﻫﺎﻯ ﺟﻮﺍﻥ ﻣﻬﺎﺭﺕﻫﺎﻯ ﻣﺒﺎﺭﺯﻩ ﻭ‬ ‫ﻭﻇﺎﻳﻔﺸﺎﻥ ﺭﺍ ﺑﺮﺍﻯ ﻣﺤﺎﻓﻈﺖ ﺍﺯ ﻣﻮﺭﻭﻯﻫﺎ ﻓﺮﺍ ﻣﻰﮔﻴﺮﻧﺪ‪.‬‬ ‫ﺩﺭ ﺁﻏﺎﺯ ﻣﻤﻜﻦ ﺍﺳﺖ ﻛﻼﺱﻫﺎﻯ ﺟﺎﺩﻭﻯ ﺁﻛﺎﺩﻣﻰ ﺳﻨﺖ ﻭﻻﺩﻳﻤﻴﺮ ﺷﺒﻴﻪ ﻛﻼﺱﻫﺎﻯ ﻫﺎﮔﻮﺍﺭﺗﺰ‬ ‫ﺩﺭ ﺳﺮﻯ ﻛﺘﺎﺏﻫﺎﻯ ﻫﺮﻯ ﭘﺎﺗﺮ ﺑﻪ ﻧﻈﺮ ﺑﺮﺳﺪ‪ ،‬ﺍﻣﺎ ﻭﺍﻗﻌﻴﺖ ﺍﻳﻦ ﺍﺳﺖ ﻛﻪ ﺍﻳﻦ ﺩﻭ ﺷﺒﺎﻫﺘﻰ ﺑﻪ ﻫﻢ‬

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‫ﻭﻳﮋﻩﻧﺎﻣﻪﻯ ﺧﻮﻥﺁﺷﺎﻡﻫﺎ‬

‫ﺧﻂ ﺩﺍﺳﺘﺎﻧﻰ‬ ‫ﺩﻭ ﮔﺮﻭﻩ ﺧﻮﻥﺁﺷﺎﻡ )‪ (3‬ﺩﺭ ﺩﻧﻴﺎﻯ ﻣﺎ ﺑﺎ ﻫﻢ ﺭﻗﺎﺑﺖ ﺩﺍﺭﻧﺪ‪ .‬ﻳﻚ ﮔﺮﻭﻩ‪ ،‬ﻣﻮﺭﻭﻯﻫﺎ )‪ ،(4‬ﻣﻮﺟﻮﺩﺍﺗﻰ‬ ‫ﻣﻴﺮﺍ ﺑﺎ ﺟﺎﺩﻭﻯ ﻋﻨﺎﺻﺮ ﻭ ﮔﺮﻭﻩ ﺩﻳﮕﺮ‪ ،‬ﺍﺳﺘﺮﻳﮕﻮﻯﻫﺎ )‪ ،(5‬ﺧﻮﻥﺁﺷﺎﻣﺎﻧﻰ ﻧﺎﻣﻴﺮﺍ ﻭ ﺩﺭﻧﺪﻩ ﻭ ﻭﺣﺸﻰ‪.‬‬ ‫ﺭﺯ ﻫﺎﺗﺎﻭﻯ )‪ (6‬ﺑﺮﺍﻯ ﻣﺤﺎﻓﻈﺖ ﺍﺯ ﻳﻚ ﺷﺎﻫﺰﺍﺩﻩﻯ ﻣﻮﺭﻭﻯ ﺁﻣﻮﺯﺵ ﻣﻰﺑﻴﻨﺪ‪ .‬ﻳﺎﺩﮔﻴﺮﻯ ﺭﻭﺵﻫﺎﻯ‬ ‫ﺍﺯ ﺑﻴﻦ ﺑﺮﺩﻥ ﺍﺳﺘﺮﻳﮕﻮﻯﻫﺎ ﺑﻪ ﺍﻧﺪﺍﺯﻩﻯ ﻛﺎﻓﻰ ﺳﺨﺖ ﻭ ﻣﺸﻜﻞ ﺍﺳﺖ‪ ،‬ﺍﻣﺎ ﺧﻄﺮ ﻭﺍﻗﻌﻰ ﺑﺮﺍﻯ ﺭﺯ ﺩﺭ‬ ‫ﻳﻚ ﺭﺍﺑﻄﻪﻯ ﻋﺎﺷﻘﺎﻧﻪ ﺑﺎ ﻳﻜﻰ ﺍﺯ ﺁﻣﻮﺯﮔﺎﺭﺍﻧﺶ ﺍﻳﺠﺎﺩ ﻣﻰﺷﻮﺩ‪...‬‬ ‫ﺧﻼﺻﻪﻯ ﺩﺍﺳﺘﺎﻥ‬ ‫ﻟﻴﺰﺍ ﺩﺭﺍﮔﻮﻣﻴﺮ )‪ (7‬ﺷﺎﻫﺰﺍﺩﻩﺍﻯ ﺍﺯ ﻧﮋﺍﺩ ﻣﻮﺭﻭﻯ ﺍﺳﺖ‪ :‬ﺧﻮﻥﺁﺷﺎﻣﻰ ﻣﻴﺮﺍ ﺑﺎ ﻋﻬﺪﻧﺎﻣﻪﺍﻯ ﻧﺎﮔﺴﺴﺘﻨﻰ ﺑﺎ‬ ‫ﺟﺎﺩﻭﻯ ﺯﻣﻴﻦ‪ .‬ﺍﻭ ﺑﺎﻳﺪ ﻫﻤﻴﺸﻪ ﺩﺭ ﺑﺮﺍﺑﺮ ﺍﺳﺘﺮﻳﮕﻮﻯﻫﺎ ﻣﺤﺎﻓﻈﺖ ﺷﻮﺩ‪ :‬ﺩﺭﻧﺪﻩﺗﺮﻳﻦ ﻭ ﺧﻄﺮﻧﺎﻙﺗﺮﻳﻦ‬ ‫ﺧﻮﻥﺁﺷﺎﻡﻫﺎ ﻛﻪ ﻫﻴﭻﻛﺪﺍﻣﺸﺎﻥ ﻧﻤﻰﻣﻴﺮﻧﺪ‪.‬‬ ‫ﺁﻣﻴﺰﻩﻯ ﻗﺪﺭﺗﻤﻨﺪﻯ ﺍﺯ ﺧﻮﻥ ﺍﻧﺴﺎﻥ ﻭ ﺧﻮﻥﺁﺷﺎﻡ ﺩﺭ ﺭگﻫﺎﻯ ﺭﺯ ﻫﺎﺗﺎﻭﻯ ﺟﺮﻳﺎﻥ ﺩﺍﺭﺩ‪ .‬ﺑﻬﺘﺮﻳﻦ‬ ‫ﺩﻭﺳﺖ ﻟﻴﺰﺍ‪ ،‬ﻳﻚ ﺩﺍﻣﭙﻴﺮ )‪ (8‬ﺍﺳﺖ ﻛﻪ ﻭﻗﻒ ﺯﻧﺪﮔﻰ ﺧﻄﺮﻧﺎﻛﻰ ﺑﺮﺍﻯ ﻣﺤﺎﻓﻈﺖ ﺍﺯ ﻟﻴﺰﺍ ﺩﺭ ﺑﺮﺍﺑﺮ‬ ‫ﺍﺳﺘﺮﻳﮕﻮﻯﻫﺎ ﻣﻰﺷﻮﺩ‪ ،‬ﻫﻤﻪﻯ ﺁﻥ ﺟﻬﻨﻤﻴﺎﻧﻰ ﻛﻪ ﻣﻰﺧﻮﺍﻫﻨﺪ ﻟﻴﺰﺍ ﺭﺍ ﺑﻪ ﻳﻜﻰ ﺍﺯ ﺧﻮﺩﺷﺎﻥ ﺗﺒﺪﻳﻞ‬ ‫ﻛﻨﻨﺪ‪.‬‬ ‫ﭘﺲ ﺍﺯ ﺩﻭ ﺳﺎﻝ ﺁﺯﺍﺩﻯ ﻏﻴﺮﻣﺠﺎﺯ‪ ،‬ﺭﺯ ﻭ ﻟﻴﺰﺍ ﺩﺳﺘﮕﻴﺮ ﻭ ﺑﻪ ﺯﻭﺭ ﺑﻪ ﺁﻛﺎﺩﻣﻰ ﺳﻨﺖ ﻭﻻﺩﻳﻤﻴﺮ )‪،(9‬‬ ‫ﭘﻨﻬﺎﻥ ﺩﺭ ژﺭﻓﺎﻯ ﺟﻨﮕﻞﻫﺎﻯ ﻣﻮﻧﺘﺎﻧﺎ )‪ ،(10‬ﺑﺮﮔﺮﺩﺍﻧﺪﻩ ﻣﻰﺷﻮﻧﺪ‪ .‬ﺭﺯ ﻳﺎﺩﮔﻴﺮﻯ ﺭﻭﺵ ﺩﺍﻣﭙﻴﺮ ﺭﺍ‬ ‫ﺍﺩﺍﻣﻪ ﺧﻮﺍﻫﺪ ﺩﺍﺩ‪ .‬ﻟﻴﺰﺍ ﺑﺮﮔﺮﺩﺍﻧﺪﻩ ﺧﻮﺍﻫﺪ ﺷﺪ ﺗﺎ ﻣﻠﻜﻪﻯ ﺑﺮﮔﺰﻳﺪﻩﻯ ﻣﺠﻠﺲ ﺟﺎﻣﻌﻪﻯ ﻣﻮﺭﻭﻯ‬ ‫ﺷﻮﺩ‪ .‬ﻭ ﻫﺮ ﺩﻭ ﺩﺧﺘﺮ ﺩﺍﺳﺘﺎﻥ ﻗﻠﺐﻫﺎﻯ ﺷﻜﺴﺘﻪﺷﺎﻥ ﺭﺍ ﺍﺯ ﺳﺮ ﺧﻮﺍﻫﻨﺪ ﮔﺮﻓﺖ‪.‬‬ ‫ﺗﺮﺱ ﻟﻴﺰﺍ ﻭ ﺭﺯ ﺭﺍ ﻣﺠﺒﻮﺭ ﻣﻰﻛﻨﺪ ﺗﺎ ﺍﺯ ﺳﻨﺖ ﻭﻻﺩﻳﻤﻴﺮ ﻓﺮﺍﺭ ﻛﻨﻨﺪ – ﺍﻣﺎ ﺩﻧﻴﺎﻯ ﺁﻥﻫﺎ ﭼﻪ ﺩﺭ ﺑﻴﺮﻭﻥ‬ ‫ﻭ ﭼﻪ ﺩﺭ ﺩﺭﻭﻥ ﺩﺭﻭﺍﺯﻩﻫﺎﻯ ﺁﻫﻨﻴﻦ ﺁﻛﺎﺩﻣﻰ ﺳﺮﺷﺎﺭ ﺍﺯ ﺧﻄﺮ ﻣﻰﺷﻮﺩ‪ .‬ﺍﻳﻦﺟﺎ‪ ،‬ﻃﺒﻘﻪﻯ ﺁﺩﻡﻛﺸﺎﻥ‬ ‫ﻣﻮﺭﻭﻯ ﺁﻳﻴﻦﻫﺎﻯ ﻧﺎﮔﻔﺘﻨﻰ ﺭﺍ ﺍﺟﺮﺍ ﻣﻰﻛﻨﻨﺪ ﻭ ﻃﺒﻴﻌﺖ ﻣﺮﻣﻮﺯ ﻭ ﻋﺸﻖ ﺷﺒﺸﺎﻥ ﺟﻬﺎﻥ ﭘﺮ ﺭﻣﺰ‬ ‫ﻭ ﺭﺍﺯﻯ ﺳﺮﺷﺎﺭ ﺍﺯ ﭘﻴﭽﻴﺪﮔﻰﻫﺎﻯ ﺍﺟﺘﻤﺎﻋﻰ ﻣﻰﺁﻓﺮﻳﻨﺪ‪ .‬ﺭﺯ ﻭ ﻟﻴﺰﺍ ﺑﺎﻳﺪ ﺭﺍﻫﺸﺎﻥ ﺭﺍ ﺍﺯ ﻣﻴﺎﻥ ﺍﻳﻦ‬ ‫ﺟﻬﺎﻥ ﺧﻄﺮﻧﺎﻙ ﭘﻴﺪﺍ ﻛﻨﻨﺪ‪ ،‬ﺑﺎ ﻭﺳﻮﺳﻪﻯ ﻋﺸﻖ ﻣﻤﻨﻮﻋﺸﺎﻥ ﺭﻭﺑﺮﻭ ﺷﻮﻧﺪ ﻭ ﺍﺟﺎﺯﻩ ﻧﺪﻫﻨﺪ ﻳﻚ ﻭﻗﺖ‬ ‫ﻧﮕﻬﺒﺎﻧﻰ ﺁﻥﻫﺎ ﺭﺍ ﺩﺳﺘﮕﻴﺮ ﻛﻨﺪ‪ ،‬ﻣﺒﺎﺩﺍ ﺍﺳﺘﺮﻳﮕﻮﻯﻫﺎ ﻟﻴﺰﺍ ﺭﺍ ﺑﺮﺍﻯ ﻫﻤﻴﺸﻪ ﺑﻪ ﻳﻜﻰ ﺍﺯ ﺧﻮﺩﺷﺎﻥ‬ ‫ﺗﺒﺪﻳﻞ ﻛﻨﻨﺪ‪...‬‬ ‫ﺩﺭﺑﺎﺭﻩﻯ ﻛﺘﺎﺏ‬ ‫ﺁﻛﺎﺩﻣﻰ ﺧﻮﻥﺁﺷﺎﻡ ﺩﺭ ﺳﺎﻝ ‪ 2007‬ﻣﻴﻼﺩﻯ ﻣﻨﺘﺸﺮ ﺷﺪ‪ .‬ﺍﻳﻦ ﻛﺘﺎﺏ ﺁﻏﺎﺯﻛﻨﻨﺪﻩ ﺳﺮﻯ ﻛﺘﺎﺏﻫﺎﻳﻰ‬ ‫ﺍﺳﺖ ﺑﺎ ﻣﺤﻮﺭﻳﺖ ﺷﺨﺼﻴﺖﻫﺎﻯ ﻟﻴﺰﺍ ﺩﺭﺍﮔﻮﻣﻴﺮ ﻭ ﺭﺯ ﻫﺎﺗﺎﻭﻯ‪ .‬ﺍﻳﻦ ﺳﺮﻯ ﺩﺭ ﺑﺮ ﮔﻴﺮﻧﺪﻩﻯ ‪ 6‬ﻛﺘﺎﺏ‬ ‫ﺷﻤﺎﺭﻩﻯ ‪ ،9-10‬ﺷﻬﺮﻳﻮﺭ ﻭ ﻣﻬﺮ ‪1390‬‬

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‫ﺁﻛﺎﺩﻣﻰ ﺧﻮﻥﺁﺷﺎﻡ‬ ‫ﻣﻴﻼﺩ ﻗﺰﻟﻠﻮ‬

‫ﺷﻨﺎﺳﻨﺎﻣﻪ‬ ‫ﻧﺎﻡ ﻛﺘــﺎﺏ‪ :‬ﺁﻛﺎﺩﻣﻰﺧﻮﻥﺁﺷﺎﻡ )‪(1‬‬ ‫ﻧﻮ ﻳﺴﻨــﺪ ﻩ ‪ :‬ﺭﻳﭽــﻞ ﻣﻴـــﺪ )‪(2‬‬ ‫ﻣﺘــﺮ ﺟـﻢ ‪ :‬ﺍﻳـﺮﺝ ﻣﺜــــﺎﻝ ﺁﺫﺭ‬ ‫ﻧـﺎ ﺷــــﺮ ‪ :‬ﺍﻧﺘﺸﺎﺭﺍﺕ ﻣﺮﻭﺍﺭﻳــﺪ‬ ‫ﻧﻮﺑﺖ ﭼـﺎپ‪0 :‬‬

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‫ﺻﻔﺤـــﺎﺕ‪ 320 :‬ﺻﻔـﺤـــــﻪ‬

‫ﻛﺘﺎﺏ‬

‫ﻛﻨﺖ ﻛﺎﺩﻳﻮﺷﺎ ﺑﺮﺍﺳﻜﺎ ﺩﺭﺍﻛﻮﻻ ﺍﻭﻟﻴﻦ ﺧﻮﻥﺁﺷﺎﻡ ﺟﻬﺎﻥ ﺍﺳﺖ‪ .‬ﺍﻭ ﻗﺒﻞ ﺍﺯ ﺍﻳﻦ ﻛﻪ ﺗﻮﺳﻂ ﺷﻴﺎﻃﻴﻦ‬ ‫ﻓﺮﻳﻔﺘﻪ ﺷﺪﻩ ﻭ ﺑﻪ ﺻﻮﺭﺕ ﻳﻚ ﺧﻮﻥﺁﺷﺎﻡ ﺩﺭﺁﻳﺪ‪ ،‬ﺍﺭﺑﺎﺑﻰ ﺛﺮﻭﺗﻤﻨﺪ ﻭ ﺯﻭﺭﮔﻮ ﺑﻮﺩ‪ .‬ﻣﺮﺩﻯ ﻃﻤﺎﻉ‬ ‫ﻭ ﺑﺪﻃﻴﻨﺖ ﻛﻪ ﺑﻪ ﻭﺍﺳﻄﻪﻯ ﻫﻤﻴﻦ ﻃﻤﻊ ﮔﻮﻝ ﺷﻴﻄﺎﻧﻰ ﺭﺍ ﻛﻪ ﺑﻪ ﺍﻭ ﻭﻋﺪﻩﻯ ﻃﻼ ﻭ ﺟﻮﺍﻫﺮﺍﺕ‬ ‫ﺑﺴﻴﺎﺭ ﺩﺍﺩﻩ ﻣﻰﺧﻮﺭﺩ ﻭ ﻫﻤﺮﺍﻩ ﺍﻭ ﺭﺍﻫﻰ ﻣﻜﺎﻧﻰ ﻭﻫﻢﺍﻧﮕﻴﺰ ﻣﻰﺷﻮﺩ‪ .‬ﻗﺒﺮﺳﺘﺎﻧﻰ ﻛﻪ ﺩﺭ ﻭﺍﻗﻊ ﻳﻜﻰ ﺍﺯ‬ ‫ﺩﺭﻭﺍﺯﻩﻫﺎﻯ ﺩﻭﺯﺥ ﺍﺳﺖ ﻭ ﺟﺴﺪ ﭘﺴﺮ ﺍﺑﻠﻴﺲ ﻣﻴﺎﻥ ﺩﻳﻮﺍﺭﻫﺎﻳﺶ ﺑﻪ ﺧﻮﺍﺏ ﺍﺑﺪﻯ ﻓﺮﻭ ﺭﻓﺘﻪ ﺍﺳﺖ‪.‬‬ ‫ﭘﺴﺮ ﺍﺑﻠﻴﺲ ﻫﻨﮕﺎﻣﻰ ﻛﻪ ﺩﺭ ﻫﻴﺒﺖ ﻳﻚ ﺧﻔﺎﺵ ﺑﺮﺍﻯ ﺟﺎﺳﻮﺳﻰ ﺑﻪ ﻃﺮﻑ ﻋﺮﺵ ﺍﻟﻬﻰ ﻣﻰﺭﻓﺘﻪ‪،‬‬ ‫ﺗﻮﺳﻂ ﺗﻴﺮﻫﺎﻯ ﻓﺮﺷﺘﮕﺎﻥ ﻛﺸﺘﻪ ﻣﻰﺷﻮﺩ ﻭ ﺟﺴﺪﺵ ﺍﺯ ﻣﺤﻞ ﺑﺮﺧﻮﺭﺩ ﺗﻴﺮ ﺩﻭ ﭘﺎﺭﻩ ﺷﺪﻩ ﺍﺳﺖ؛‬ ‫ﻧﻴﻤﻰ ﺷﻴﻄﺎﻥ ﻭ ﻧﻴﻤﻰ ﺧﻔﺎﺵ‪ .‬ﺷﻴﻄﺎﻧﻰ ﻛﻪ ﻛﻨﺖ ﺩﺭﺍﻛﻮﻻ ﺭﺍ ﺑﻪ ﻃﺮﻑ ﺟﺴﺪ ﭘﺴﺮ ﺍﺑﻠﻴﺲ ﺑﺮﺩﻩ‬ ‫ﺍﺳﺖ‪ ،‬ﺍﻭ ﺭﺍ ﻭﺳﻮﺳﻪ ﻣﻰ ﻛﻨﺪ ﺗﺎ ﺗﻜﻪ ﻛﻮﭼﻜﻰ ﺍﺯ ﻗﻠﺐ ﺟﺴﺪ ﺭﺍ ﺑﺒﻠﻌﺪ ﻭ ﺍﺭﺑﺎﺏ ﺑﺎ ﺧﻮﺭﺩﻥ ﺁﻥ ﺗﻜﻪ‬ ‫ﮔﻮﺷﺖ ﺟﻬﻨﻤﻰ ﻣﻰﻣﻴﺮﺩ‪.‬‬ ‫ﻛﻨﺖ ﺭﺍ ﺩﻓﻦ ﻣﻰﻛﻨﻨﺪ‪ ،‬ﺍﻣﺎ ﺟﺴﺪﺵ ﺷﺐﻫﻨﮕﺎﻡ ﺍﺯ ﺗﺎﺑﻮﺕ ﺧﺎﺭﺝ ﺷﺪﻩ ﻭ ﺍﻭﻟﻴﻦ ﭼﻴﺰﻯ ﻛﻪ ﻣﻰﺑﻴﻨﺪ‪،‬‬ ‫ﭼﻬﺮﻩ ﻭﺍﻗﻌﻰ ﺷﻴﻄﺎﻧﻰ ﺍﺳﺖ ﻛﻪ ﺍﻭ ﺭﺍ ﺑﻪ ﺍﻳﻦ ﻣﺼﻴﺒﺖ ﺩﭼﺎﺭ ﺳﺎﺧﺘﻪ ﺍﺳﺖ‪ .‬ﺷﻴﻄﺎﻥ ﺑﺎ ﻧﻴﺮﻭﻯ‬ ‫ﺍﻫﺮﻳﻤﻨﻰ ﺧﻮﺩ ﺗﻮﺍﻧﺎﻳﻰ ﺩﻳﺪﻥ ﻫﺮ ﺷﻴﻄﺎﻥ ﻭ ﺣﺘﺎ ﺧﻮﺩﺵ ﺭﺍ ﭼﻪ ﺩﺭ ﺁﺏ ﻭ ﭼﻪ ﺩﺭ ﺁﻳﻨﻪ ﺍﺯ ﺩﺭﺍﻛﻮﻻ‬ ‫ﻣﻰﮔﻴﺮﺩ ﻭ ﺑﻪ ﺍﻳﻦ ﺗﺮﺗﻴﺐ ﻫﻴﭻ ﺧﻮﻥﺁﺷﺎﻣﻰ ﺯﻳﻦ ﭘﺲ ﻫﻴﭻ ﺗﺼﻮﻳﺮﻯ ﺩﺭ ﺁﻳﻨﻪ ﻧﺨﻮﺍﻫﺪ ﺩﺍﺷﺖ‪.‬‬ ‫ﻛﻨﺖ ﺩﺭﺍﻛﻮﻻ ﮔﺮﺳﻨﻪ ﺑﻪ ﺳﻤﺖ ﺧﺎﻧﻪ ﺑﺎﺯ ﻣﻰﮔﺮﺩﺩ ﻭ ﺷﻴﻄﺎﻥ ﺩﺭ ﻃﻮﻝ ﻣﺴﻴﺮ ﺑﻪ ﺍﻭ ﻣﻰﺁﻣﻮﺯﺩ ﻛﻪ‬ ‫ﺑﺮﺍﻯ ﻓﺮﻭ ﻧﺸﺎﻧﺪﻥ ﻋﻄﺶ ﻭ ﮔﺮﺳﻨﮕﻰ ﺧﻮﺩ‪ ،‬ﺧﻮﻥ ﺍﻧﺴﺎﻥﻫﺎ ﺭﺍ ﺑﻤﻜﺪ‪.‬‬ ‫ﻛﻨﺖ ﺩﻳﮕﺮ ﻧﻤﻰﺗﻮﺍﻧﺪ ﺭﻭﻯ ﺯﻣﻴﻦ ﻳﺎ ﺗﺨﺖﺧﻮﺍﺏ ﻧﺮﻣﺶ ﺑﺨﻮﺍﺑﺪ‪ ،‬ﺯﻳﺮﺍ ﻫﺰﺍﺭﺍﻥ ﺳﻮﺯﻧﻰ ﻛﻪ ﻭﺟﻮﺩ‬ ‫ﺧﺎﺭﺟﻰ ﻧﺪﺍﺭﻧﺪ ﺑﺮ ﺑﺪﻧﺶ ﻓﺮﻭ ﻣﻰﺭﻭﻧﺪ ﻭ ﺷﻴﻄﺎﻥ ﻋﻠﺘﺶ ﺭﺍ ﺍﻳﻦ ﮔﻮﻧﻪ ﺗﻮﺿﻴﺢ ﻣﻰﺩﻫﺪ ﻛﻪ ﺯﻣﻴﻦ ﺍﺯ‬ ‫ﭘﺬﻳﺮﻓﺘﻦ ﻳﻚ ﻣﺮﺩﻩﻯ ﺧﻮﻥﺁﺷﺎﻡ ﺧﻮﺩﺩﺍﺭﻯ ﻣﻰﻛﻨﺪ ﻭ ﺍﻭ ﺭﺍ ﺗﺸﻮﻳﻖ ﻣﻰﻛﻨﺪ ﺗﺎ ﺩﻭﺑﺎﺭﻩ ﺑﻪ ﺗﺎﺑﻮﺗﺶ‬ ‫ﺑﺎﺯﮔﺮﺩﺩ ﻭ ﺑﺨﻮﺍﺑﺪ‪ .‬ﻭ ﺑﻪ ﺍﻳﻦ ﺗﺮﺗﻴﺐ ﺍﻭﻟﻴﻦ ﺧﻮﻥﺁﺷﺎﻡ ﺟﻬﺎﻥ‪ ،‬ﺗﺎﺑﻮﺗﻰ ﺑﺮﺍﻯ ﺧﻮﺍﺑﻴﺪﻥ ﻣﻬﻴﺎ ﻣﻰﻛﻨﺪ‬ ‫ﺗﺎ ﺳﻨﺘﻰ ﺷﻮﺩ ﺑﺮﺍﻯ ﻧﺴﻞﻫﺎﻯ ﺑﻌﺪ ﺍﺯ ﺍﻭ‪.‬‬ ‫ﻣﺨﺘﺼﺮﺍ ً ﺩﺭ ﺟﺎﻯ ﺩﻳﮕﺮﻯ ﺍﺯ ﺍﻳﻦ ﻛﺘﺎﺏ ﺑﻪ ﺿﻌﻒ ﻛﻨﺖ ﺩﺭ ﺑﺮﺍﺑﺮ ﻧﻮﺭ ﺍﺷﺎﺭﻩ ﻣﻰﺷﻮﺩ‪ .‬ﺍﻣﺎ ﺑﻴﺶ ﺍﺯ ﺍﻳﻦ‬ ‫ﺍﻃﻼﻋﺎﺗﻰ ﺩﺭ ﻣﻮﺭﺩ ﻛﻨﺖ ﻛﺎﺩﻳﻮﺷﺎ ﺑﺮﺍﺳﻜﺎ ﺩﺭﺍﻛﻮﻻ ﺑﻪ ﺩﺳﺖ ﻣﺎ ﻧﺮﺳﻴﺪﻩ ﺍﺳﺖ‪ .‬ﺍﻟﺒﺘﻪ ﺟﺎﻯ ﻧﮕﺮﺍﻧﻰ‬ ‫ﻧﻴﺴﺖ‪ .‬ﻧﻮﻳﺴﻨﺪﻩ ﻗﻮﻝ ﺩﺍﺩﻩﺍﻧﺪ ﻛﻪ ﻛﻨﺖ ﺭﺍ ﺑﻴﺶ ﺍﺯ ﺍﻳﻦ ﺑﻪ ﻣﺎ ﺑﺸﻨﺎﺳﺎﻧﻨﺪ!‬ ‫ﭘﻰﻧﻮﺷﺖ‪:‬‬ ‫»ﺩﺭ ﺩﺍﻧﺶ ﺑﻬﻤﻦ« ﻧﻴﺰ ﻣﻨﺘﺸﺮ ﺷﺪﻩ ﺍﺳﺖ‪) .‬ﻣﺠﻠﻪﻯ ﺷﮕﻔﺖﺯﺍﺭ(‬ ‫‪ .1‬ﺍﻳﻦ ﻣﺠﻤﻮﻋﻪ ﺑﺎ ﺗﺮﺟﻤﻪﻯ »ﺍﻳﺮﺝ ﻣﺜﺎﻝ ﺁﺫﺭ« ﺗﻮﺳﻂ ﻧﺸﺮ ّ‬

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‫ﻭﻳﮋﻩﻧﺎﻣﻪﻯ ﺧﻮﻥﺁﺷﺎﻡﻫﺎ‬

‫ﺩﻳﺪﻩﺍﻳﺪ(‪ ،‬ﺧﻮﻥﺁﺷﺎﻣﻰ ﺍﺳﺖ ﻛﻪ ﺑﻪ ﻧﻮﻋﻰ ﺳﺮﭘﺮﺳﺘﻰ ﻧﻮﺑﺎﺩﻯ ﺭﺍ ﺑﻪ ﻋﻬﺪﻩ ﻣﻰﮔﻴﺮﺩ‪ .‬ﺍﻟﺒﺘﻪ ﺍﺯ ﺍﺑﺘﺪﺍ‬ ‫ﻧﻤﻰﺩﺍﻧﻴﻢ ﻛﻪ ﺍﻭ ﺧﻮﻥﺁﺷﺎﻡ ﺍﺳﺖ‪ .‬ﺍﻭ ﻓﻘﻂ ﺷﺐﻫﺎ ﺑﻪ ﮔﻮﺭﺳﺘﺎﻥ ﻣﻰﺁﻳﺪ‪ ،‬ﻣﻰﺗﻮﺍﻧﺪ ﺑﺎ ﺍﺭﻭﺍﺡ ﻣﺮﺩﮔﺎﻥ‬ ‫ﻭ ﺩﻧﻴﺎﻯ ﻣﺮﺩﮔﺎﻥ ﺍﺭﺗﺒﺎﻁ ﺩﺍﺷﺘﻪ ﺑﺎﺷﺪ‪ ،‬ﺍﻣﺎ ﻣﺎﻧﻨﺪ ﻧﻮﺑﺎﺩﻯ ﺑﻪ ﺻﻮﺭﺗﻰ ﺍﺳﺘﺜﻨﺎﺋﻰ ﻣﻰﺗﻮﺍﻧﺪ ﺍﻳﻦ ﻛﺎﺭ‬ ‫ﺭﺍ ﺍﻧﺠﺎﻡ ﺩﻫﺪ‪ ،‬ﭼﻮﻥ ﻧﻤﺮﺩﻩ ﺍﺳﺖ! ﺳﻴﻼﺱ ﺗﺮﺳﻨﺎﻙ ﻭ ﻣﺮﻣﻮﺯ ﺍﺳﺖ؛ ﺗﺎ ﺑﻪ ﺍﻳﻦﺟﺎ ﻓﻜﺮ ﻣﻰﻛﻨﻴﻢ‬ ‫ﺑﺎ ﻳﻚ ﺧﻮﻥﺁﺷﺎﻡ ﻛﻼﺳﻴﻚ ﺍﺯ ﺟﻨﺲ ﺩﺭﺍﻛﻮﻻﻯ ﺑﺮﺍﻡ ﺍﺳﺘﻮﻛﺮ ﻃﺮﻑ ﻫﺴﺘﻴﻢ‪ ،‬ﺍﻣﺎ ﺍﻳﻦ ﺷﺨﺼﻴﺖ‬ ‫ﻣﺘﻌﻠﻖ ﺑﻪ ﻳﻚ ﻛﺘﺎﺏ ﻓﺎﻧﺘﺰﻯ ﻣﺪﺭﻥ ﻭ ﻳﻚ ﻧﻮﻳﺴﻨﺪﻩﻯ ﻓﺎﻧﺘﺰﻯ ﻣﺪﺭﻥ ﺍﺳﺖ‪ .‬ﭘﺲ ﺣﺘﻤﺎً ﺑﺎﻳﺪ ﭼﻨﺪ‬ ‫ﻭﻳﮋﮔﻰ ﺍﻭ ﺗﻐﻴﻴﺮ ﻛﻨﺪ‪ .‬ﺧﻮﺍﻧﻨﺪﮔﺎﻥ ﺧﻮﻥﺁﺷﺎﻣﻰ ﻫﻤﻪ ﻣﻰﺩﺍﻧﻨﺪ ﻛﻪ ﺩﺷﻤﻦ ﺧﻮﻥﺁﺷﺎﻡﻫﺎ ﮔﺮگﻧﻤﺎﻫﺎ‬ ‫ﻫﺴﺘﻨﺪ‪ ،‬ﺍﻣﺎ ﺩﺭ ﺍﻳﻦ ﻛﺘﺎﺏ ﺍﻳﻦ ﻃﻮﺭ ﻧﻴﺴﺖ! ﺩﺭ ﺍﻳﻦ ﺩﺍﺳﺘﺎﻥ ﻳﻚ ﮔﺮگﻧﻤﺎﻯ ﺯﻥ ﺩﺍﺭﻳﻢ ﻛﻪ ﺑﻪ ﺍﻭ‬ ‫ﻋﻨﻮﺍﻥ ﺗﺎﺯﻯ ﺧﺪﺍﻭﻧﺪ ﻣﻰﺩﻫﻨﺪ ﻭ ﺩﻭﺳﺖ ﻭ ﻫﻤﻜﺎﺭ ﺳﻴﻼﺱ ﺍﺳﺖ ﻭ ﺩﺭ ﮔﺮﻭﻫﻰ ﻛﻪ ﻣﺘﺸﻜﻞ ﺍﺯ ﺍﻓﺮﺍﺩ‬ ‫ﻋﺠﻴﺐ ﻏﺮﻳﺒﻰ ﺍﺳﺖ )ﺍﺯ ﺟﻤﻠﻪ ﻳﻚ ﻣﻮﻣﻴﺎﻳﻰ(‪ ،‬ﺩﺭ ﭘﻰ ﻣﺒﺎﺭﺯﻩ ﺑﺎ ﺩﺷﻤﻨﺎﻥ ﺗﺎﺭﻳﻜﺸﺎﻥ ﻭ ﺩﺷﻤﻨﺎﻥ‬ ‫ﻧﻮﺑﺎﺩﻯ ﺍﺳﺖ‪ .‬ﻣﻰﺷﻮﺩ ﮔﻔﺖ ﺟﻬﺶ ﻧﻮﻉ ﺧﻮﻥﺁﺷﺎﻡ ﺩﺭ ﺍﻳﻦ ﻛﺘﺎﺏ ﻫﻤﻴﻦ ﺩﻭﺳﺘﻰ ﺑﺎ ﮔﺮگﻧﻤﺎﻫﺎ‬ ‫ﻭ ﻗﺮﺍﺭﮔﻴﺮﻯ ﺩﺭ ﺟﺒﻬﻪﻯ ﺧﻮﺑﻰ ﺍﺳﺖ‪ ،‬ﻫﺮﭼﻨﺪ ﻣﺎ ﻣﻄﻤﺌﻦ ﻧﻴﺴﺘﻴﻢ ﭼﺮﺍ ﻛﻪ ﺍﺯ ﺳﻔﺮﻫﺎﻯ ﺳﻴﻼﺱ‬ ‫ﺩﺭ ﻛﺘﺎﺏ ﺧﺒﺮ ﻧﺪﺍﺭﻳﻢ!‬ ‫ﺩﺭ ﺁﺧﺮ ﻣﻰﺷﻮﺩ ﮔﻔﺖ ﺳﻴﻼﺱ ﻳﻚ ﺧﻮﻥﺁﺷﺎﻡ ﺍﺳﺖ ﺑﺎ ﻫﻤﺎﻥ ﺧﻮﻯ ﺧﺸﻦ ﻭ ﻫﻴﺒﺖ ﺗﺮﺳﻨﺎﻙ ﻭ‬ ‫ﺑﺎ ﮔﺬﺷﺘﻪ‪ ،‬ﺣﺎﻝ ﻭ ﺁﻳﻨﺪﻩﺍﻯ ﻧﺎﻣﻌﻠﻮﻡ ﻭ ﻣﺮﻣﻮﺯ‪ .‬ﺧﻮﻥﺁﺷﺎﻣﻰ ﻛﻪ ﺧﻮﻥﺁﺷﺎﻡ ﺍﺳﺖ ﻭ ﺑﻪ ﺍﻳﻦ ﺧﺎﻃﺮ‬ ‫ﺩﻭﺳﺘﺶ ﺧﻮﺍﻫﻴﺪ ﺩﺍﺷﺖ‪ ،‬ﻭﻟﻰ ﺑﺎ ﻣﺤﺒﺖﻫﺎﻳﺶ ﺩﺭ ﺣﻖ ﻧﻮﺑﺎﺩﻯ ﻧﺸﺎﻥ ﻣﻰﺩﻫﺪ ﻛﻪ ﻣﻰﺗﻮﺍﻥ‬ ‫ﻭﺻﻠﻪﻯ ﻋﺸﻖ ﺭﺍ ﺑﻪ ﻳﻚ ﺧﻮﻥﺁﺷﺎﻡ ﭼﺴﺒﺎﻧﺪ ﺑﺪﻭﻥ ﺍﻳﻦ ﻛﻪ ﺑﭽﻪﺑﺎﺯﻯﻫﺎﻯ ﻛﺘﺎﺏﻫﺎﻯ ﻳﺎﻧﮓ ﺍﺩﺍﻟﺖ‬ ‫ﺍﻳﻦ ﺭﻭﺯﻫﺎ ﺩﺭ ﺁﻭﺭﺩ!‬

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‫ﺍﺑﺪﮔﺎﻩ ﮔﺎﻟﻮﻧﺘﻮﺱ‬

‫ﺍﺯ ﻧﻤﻮﻧﻪﻫﺎﻯ ﺧﺎﺭﺟﻰ ﻫﻢ ﻛﻪ ﺑﮕﺬﺭﻳﻢ‪ ،‬ﭼﻨﺪ ﻧﻤﻮﻧﻪﻯ ﺩﺍﺧﻠﻰ ﻫﻢ ﺩﺭ‬ ‫ﻭﺻﻒ ﺟﻤﺎﻋﺖ ﺧﻮﻥﺁﺷﺎﻡ ﻧﻮﺷﺘﻪ ﺷﺪﻩ ﻳﺎ ﺑﻪ ﻫﺮ ﺻﻮﺭﺕ ﺍﻳﻦ ﺣﻀﺮﺍﺕ‬ ‫ﻧﻴﺰ ﺩﺭ ﺩﺍﺳﺘﺎﻥ ﺁﻥﻫﺎ ﻧﻘﺸﻰ ﺩﺍﺭﻧﺪ ﻭ ﻣﺎ ﺳﻌﻰ ﻛﺮﺩﻳﻢ ﺩﺭ ﺣﺪ ﻭﺳﻊ‬ ‫ﺧﻮﺩ ﺑﻪ ﺁﻥﻫﺎ ﻫﻢ ﺑﭙﺮﺩﺍﺯﻳﻢ‪ .‬ﻳﻜﻰ ﺍﺯ ﺍﻳﻦ ﺩﺍﺳﺘﺎﻥﻫﺎ‪ ،‬ﭼﻨﺪﮔﺎﻧﻪﻯ‬ ‫ﺍﺑﺪﮔﺎﻩ ﮔﺎﻟﻮﻧﺘﻮﺱ ﺍﺳﺖ ﻛﻪ ﺗﺎﻛﻨﻮﻥ ﺟﻠﺪ ﺍﻭﻝ ﺁﻥ ﺑﺎ ﻧﺎﻡ »ﺍﺭﻛﺎﻟﻮﻥ«‬ ‫ﻣﻨﺘﺸﺮ ﺷﺪﻩ ﺍﺳﺖ‪ .‬ﻧﻮﻳﺴﻨﺪﻩﻯ ﺍﻳﻦ ﻣﺠﻤﻮﻋﻪ ﺳﺮﻛﺎﺭ ﺧﺎﻧﻢ ﺑﻬﺎﺭﻩ ﻧﻮﺭﺑﺨﺶ ﻭ ﻧﺎﺷﺮ ﺍﻳﻦ ﻣﺠﻤﻮﻋﻪ‬ ‫ﻫﻢ ﻧﺸﺮ ﺭﻭﺯﮔﺎﺭ ﺍﺳﺖ‪ .‬ﻫﻤﺎﻥ ﻃﻮﺭ ﻛﻪ ﺩﺭ ﺷﺮﺡ ﺯﻳﺮ ﻣﻰﺧﻮﺍﻧﻴﺪ‪ ،‬ﻧﮕﺎﺭﻧﺪﻩ ﺗﺎ ﺣﺪﻭﺩﻯ ﻭﺍﺭﺩ ﺣﻴﻄﻪﻯ‬ ‫ﺗﺎﺭﻳﺦ ﺑﺪﻳﻞ ﻫﻢ ﺷﺪﻩ ﺍﺳﺖ )ﺍﻟﺒﺘﻪ ﺍﮔﺮ ﻛﻨﺖ ﺩﺭﺍﻛﻮﻻ ﺭﺍ ﻋﻨﺼﺮﻯ ﺗﺎﺭﻳﺨﻰ ﻓﺮﺽ ﻛﻨﻴﻢ(‪.‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،9-10‬ﺷﻬﺮﻳﻮﺭ ﻭ ﻣﻬﺮ ‪1390‬‬

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‫ﻛﺘﺎﺏ‬

‫ﻫﺴﺖ ﻛﻪ ﺍﮔﺮ ﺍﺯ ﺧﻴﺮﺵ ﺑﮕﺬﺭﻧﺪ‪ ،‬ﺳﻨﮕﻴﻦﺗﺮ ﺍﺳﺖ‪.‬‬ ‫ﺗﺎﺯﻩ‪ ،‬ﺧﺼﻮﺻﻴﺎﺕ ﺧﻮﻥﺁﺷﺎﻡﻫﺎﻯ ﺍﻳﻦ ﻣﺠﻤﻮﻋﻪ ﺑﻪ ﻫﻤﻴﻦﺟﺎ ﺧﺘﻢ ﻧﻤﻰﺷﻮﺩ‪ .‬ﺩﺭ ﺍﻳﻦ ﻣﺠﻤﻮﻋﻪ‪ ،‬ﺑﻪ‬ ‫ﻃﻮﺭ ﻣﻌﻤﻮﻝ ﻫﺮ ﺧﻮﻥﺁﺷﺎﻡ ﺩﺍﺭﺍﻯ ﻳﻚ ﺗﻮﺍﻧﺎﻳﻰ ﺑﻪﺧﺼﻮﺹ ﻓﺮﺍﻃﺒﻴﻌﻰ ﻫﻢ ﻫﺴﺖ‪ .‬ﺍﻟﺒﺘﻪ ﻧﻪ ﺍﻳﻦ‬ ‫ﻛﻪ ﺗﺎ ﺍﻳﻦﺟﺎ ﺧﻴﻠﻰ ﻃﺒﻴﻌﻰ ﺑﻮﺩﻩ ﺑﺎﺷﻨﺪ‪ ،‬ﻭﻟﻰ ﺍﻳﻦ ﻳﻜﻰ ﻧﻮﺑﺮ ﻫﻤﻪ ﺍﺳﺖ ﻭ ﺍﺯ ﻓﺮﺩ ﺑﻪ ﻓﺮﺩ ﻣﺘﻐﻴﺮ‪.‬‬ ‫ﻳﻜﻰ ﺁﻳﻨﺪﻩﻯ ﻣﺤﺘﻤﻞ ﻧﺰﺩﻳﻚ ﺍﻓﺮﺍﺩ ﺭﺍ ﻣﻰﺑﻴﻨﺪ ﻭ ﺑﺎ ﺍﻳﻦ ﻛﺎﺭ ﻧﺎﻥﺁﻭﺭ ﺧﺎﻧﻪ ﻫﻢ ﺑﻪ ﺣﺴﺎﺏ ﻣﻰﺁﻳﺪ‪.‬‬ ‫ﺩﻳﮕﺮﻯ ﻣﻰﺗﻮﺍﻧﺪ ﻓﻜﺮ ﺍﻓﺮﺍﺩ ﺭﺍ ﺑﺨﻮﺍﻧﺪ‪ .‬ﻳﻜﻰ ﺩﻳﮕﺮ ﺍﮔﺮ ﺑﻪ ﻛﺴﻰ ﺩﺳﺖ ﺑﺰﻧﺪ ﻣﻰﺗﻮﺍﻧﺪ ﺗﻤﺎﻡ ﺍﻓﻜﺎﺭﻯ‬ ‫ﺭﺍ ﻛﻪ ﺗﺎ ﺑﻪ ﺣﺎﻝ ﺍﺯ ﺫﻫﻨﺶ ﮔﺬﺷﺘﻪ‪ ،‬ﺩﺭﻳﺎﺑﺪ‪ .‬ﺩﻳﮕﺮﻯ ﺗﻮﻫﻢ ﺩﺭﺩ ﺭﺍ ﺑﻪ ﺟﺎﻥ ﻣﻠﺖ ﻣﻰﺍﻧﺪﺍﺯﺩ‪ .‬ﻳﻜﻰ‪...‬‬ ‫ﻳﻜﻰ ﻫﻢ ﺧﺎﺻﻴﺘﻰ ﻧﺪﺍﺭﺩ ﺟﺰ ﺍﻳﻦ ﻛﻪ ﺗﻮﺍﻧﺎﻳﻰﻫﺎﻯ ﺑﻘﻴﻪ ﺩﺭ ﻗﺒﺎﻝ ﺍﻭ ﺗﺄﺛﻴﺮﻯ ﻧﺪﺍﺭﺩ‪.‬‬ ‫ﻫﻤﻪﻯ ﺍﻳﻦﻫﺎ ﺑﻪ ﻛﻨﺎﺭ‪ ،‬ﺍﺯ ﻛﺘﺎﺏ ‪ 2‬ﺑﻪ ﺑﻌﺪ‪ ،‬ﭘﺎﻯ ﮔﺮﮔﻴﻨﻪﻫﺎ ﻫﻢ ﺑﻪ ﻣﻴﺎﻥ ﻣﻰﺁﻳﺪ‪ .‬ﺁﻥﻫﺎ ﻫﻢ‬ ‫ﻭﻳﮋﮔﻰﻫﺎﻯ ﺧﻮﺩﺷﺎﻥ ﺭﺍ ﺩﺍﺭﻧﺪ ﻭﻟﻰ ﺧﺐ‪ ،‬ﭼﻮﻥ ﻗﺮﺍﺭ ﺍﺳﺖ ﺧﻮﻥﺁﺷﺎﻡ ﻣﻌﺮﻓﻰ ﻛﻨﻴﻢ‪ ،‬ﺩﻳﮕﺮ ﺍﺯ ﺁﻥﻫﺎ‬ ‫ﭼﻴﺰﻯ ﻧﻤﻰﮔﻮﻳﻢ‪ .‬ﺍﮔﺮ ﺧﻴﻠﻰ ﻋﻼﻗﻤﻨﺪﻳﺪ‪ ،‬ﭘﻴﺸﻨﻬﺎﺩ ﻣﻰﻛﻨﻢ ﺧﻮﺩﺗﺎﻥ ﺑﺨﻮﺍﻧﻴﺪ!‬

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‫ﻛﺘﺎﺏ ﮔﻮﺭﺳﺘﺎﻥ‬

‫ﺍﻳﻦ ﺩﺍﺳﺘﺎﻥ ﻧﻮﺷﺘﻪﻯ ﻧﻴﻞ ﮔﻴﻤﻦ ﺍﺳﺖ ﻛﻪ ﻣﺘﺮﺟﻤﻴﻦ ﮔﻮﻧﺎﮔﻮﻥ ﺁﻥ‬ ‫ﺭﺍ ﺗﺮﺟﻤﻪ ﻛﺮﺩﻩ ﻭ ﻧﺸﺮﻫﺎﻯ ﻣﺨﺘﻠﻔﻰ ﻫﻢ ﺁﻥ ﺭﺍ ﺑﻪ ﭼﺎپ ﺭﺳﺎﻧﺪﻩﺍﻧﺪ‪.‬‬ ‫ﻋﻼﻭﻩ ﺑﺮ ﺗﺮﺟﻤﻪﻯ ﻓﺮﺯﺍﺩ ﻓﺮﺑﺪ ﻛﻪ ﺍﻧﺘﺸﺎﺭﺍﺕ ﭘﻨﺠﺮﻩ ﭼﺎپ ﻛﺮﺩﻩ‪،‬‬ ‫ﻣﻰﺗﻮﺍﻥ ﺑﻪ ﺗﺮﺟﻤﻪﻯ ﻛﻴﻮﺍﻥ ﻋﺒﻴﺪﻯﺁﺷﺘﻴﺎﻧﻰ ﺍﺷﺎﺭﻩ ﻛﺮﺩ ﻛﻪ ﻧﺸﺮ‬ ‫ﺍﻓﻖ ﺁﻥ ﺭﺍ ﺭﻭﺍﻧﻪﻯ ﺑﺎﺯﺍﺭ ﻛﺮﺩﻩ ﺍﺳﺖ‪ .‬ﺍﺧﺘﻼﻑ ﺍﻳﻦ ﺩﻭ ﻋﻼﻭﻩ ﺑﺮ‬ ‫ﻣﺘﺮﺟﻢ‪ ،‬ﺩﺭ ﺗﺼﻮﻳﺮﮔﺮﻯ ﺁﻥ ﻧﻴﺰ ﻫﺴﺖ‪ .‬ﺍﻧﺘﺸﺎﺭﺍﺕ ﭘﻨﺠﺮﻩ ﻧﺴﺨﻪﻯ‬ ‫ﺗﺼﻮﻳﺮﮔﺮﻯ ﺷﺪﻩﻯ ﻛﺮﻳﺲ ﺭﻳﺪﻝ ﺭﺍ ﺑﺮﮔﺰﻳﺪﻩ ﻛﻪ ﻧﻮﺟﻮﺍﻧﺎﻧﻪﺗﺮ ﺍﺳﺖ‪ .‬ﺩﺭ ﺣﺎﻟﻰ ﻛﻪ ﺍﻓﻖ ﻧﺴﺨﻪﻯ‬ ‫ﺗﺼﻮﻳﺮﮔﺮﻯ ﺷﺪﻩﻯ ﺩﻳﻮ ﻣﻜﻴﻦ ﺭﺍ ﻣﻨﺘﺸﺮ ﻛﺮﺩﻩ ﺍﺳﺖ‪ .‬ﮔﻔﺘﻨﻰ ﺍﺳﺖ ﺍﻳﻦ ﺩﺍﺳﺘﺎﻥ‪ ،‬ﻳﻚ ﺩﺍﺳﺘﺎﻥ‬ ‫ﺗﻤﺎﻣﺎً ﺧﻮﻥﺁﺷﺎﻣﻰ ﻧﻴﺴﺖ؛ ﺍﻣﺎ ﻳﻚ ﺷﺨﺼﻴﺖ ﺧﻮﻥﺁﺷﺎﻡ ﻫﻢ ﺩﺍﺭﺩ ﻛﻪ ﺑﻪ ﻧﻈﺮ ﻧﮕﺎﺭﻧﺪﻩ ﻣﺮﻣﻮﺯﺗﺮﻳﻦ‬ ‫ﺁﻥﻫﺎ ﺍﺳﺖ‪.‬‬ ‫ِ‬ ‫ﻭﺣﺸﺖ ﺧﻮﻥﺁﺷﺎﻣﻰ‪ ،‬ﺩﻭﺳﺖﺩﺍﺷﺘﻨﻰﺗﺮﻳﻦ ﺧﻮﻥﺁﺷﺎﻡ‬ ‫ﺷﺎﻳﺪ ﻣﻴﺎﻥ ﺗﻤﺎﻡ ﻛﺘﺎﺏﻫﺎﻯ ﻓﺎﻧﺘﺰﻯ ﻭ‬ ‫ﺳﻴﻼﺱ ﻛﺘﺎﺏ ﮔﻮﺭﺳﺘﺎﻥ ﺍﺳﺖ‪ .‬ﺧﻮﻥﺁﺷﺎﻣﻰ ﻛﻪ ﻧﻪ ﺑﻪ ﺧﺎﻃﺮ ﺻﻮﺭﺕ ﺯﻳﺒﺎ ﻭ ﺑﺪﻥ ﺩﺭﺧﺸﺎﻥ ﻭ ﻧﻪ ﺑﻪ‬ ‫ِ‬ ‫ﺧﺎﻃﺮ ﻣﻮﻫﺎﻯ ﻃﻼﻳﻰﺍﺵ ﺟﺬﺍﺏ ﻭ ﺩﻭﺳﺖﺩﺍﺷﺘﻨﻰ ﺍﺳﺖ‪ ،‬ﺑﻠﻜﻪ ﺑﻪ ﺧﺎﻃﺮ ﻃﺒﻴﻌﺖ ﺧﻮﻥﺁﺷﺎﻣﻰﺍﺵ‬ ‫ﻣﺠﺬﻭﺏ ﺍﻭ ﻣﻰﺷﻮﻳﺪ‪.‬‬ ‫ﺳﻴﻼﺱ ﺩﺭ ﻛﺘﺎﺏ ﮔﻮﺭﺳﺘﺎﻥ )ﻛﻪ ﻣﻌﺮﻓﻰ ﺁﻥ ﺭﺍ ﭘﻴﺶ ﺍﺯ ﺍﻳﻦ ﺩﺭ ﭘﻴﺶﺷﻤﺎﺭﻩﻯ ﻧﺨﺴﺖ ﺷﮕﻔﺖﺯﺍﺭ‬

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‫ﻭﻳﮋﻩﻧﺎﻣﻪﻯ ﺧﻮﻥﺁﺷﺎﻡﻫﺎ‬

‫ﺧﻮﺍﺏ ﻛﻞ ﺩﺍﺳﺘﺎﻥ ﺭﺍ ﺷﺮﺡ ﻣﻰﺩﻫﺪ ﻭ ﻧﻴﺎﺯﻯ ﺑﻪ ﺗﻮﺿﻴﺢ ﺑﻴﺸﺘﺮ ﻧﻴﺴﺖ! ﺑﻌﺪ ﺗﺎﺯﻩ ﺧﻮﺍﺏ ﺭﺍ ﺑﮕﺬﺍﺭﻳﺪ‬ ‫ﻛﻨﺎ ِﺭ ﮔﻔﺘﻪﻯ ﻣﻴﺮ ﻛﻪ ﻣﻰﮔﻮﻳﺪ ﺍﺯ ﻏﺮﻭﺭ ﻭ ﺗﻌﺼﺐ )ﺟﻴﻦ ﺁﺳﺘﻴﻦ(‪ ،‬ﺭﻭﻣﺌﻮ ﻭ ژﻭﻟﻴﺖ )ﺷﻜﺴﭙﻴﺮ( ﻭ‬ ‫ﺑﻠﻨﺪﻯﻫﺎﻯ ﺑﺎﺩﮔﻴﺮ )ﺍﻣﻴﻠﻰ ﺑﺮﻭﻧﺘﻪ( ﻫﻢ ﺍﻟﻬﺎﻡ ﮔﺮﻓﺘﻪ ﺍﺳﺖ‪ .‬ﺑﻪ ﻧﻈﺮﻡ ﻫﻤﻴﻦﻗﺪﺭ ﺗﻮﺿﻴﺢ ﻛﺎﻓﻰ ﺍﺳﺖ‪،‬‬ ‫ﺷﻤﺎ ﺍﻳﻦ ﻃﻮﺭ ﻓﻜﺮ ﻧﻤﻰﻛﻨﻴﺪ؟‬ ‫ﻣﺠﻤﻮﻋﻪ ﺍﺯ ﺷﺮﺡ ﺣﺎﻝ ﺩﺧﺘﺮﻯ ‪ 17‬ﺳﺎﻟﻪ ﺑﻪ ﻧﺎﻡ ﺍﻳﺰﺍﺑﻼ ﺳﻮﺍﻥ ﺷﺮﻭﻉ ﻣﻰﺷﻮﺩ‪ .‬ﺩﺧﺘﺮﻯ ﻧﺴﺒﺘﺎً‬ ‫ﮔﻮﺷﻪﮔﻴﺮ ﻭ ﻣﻨﺰﻭﻯ ﻛﻪ ﺑﻪ ﻣﻨﻄﻘﻪﻯ ﻓﻮﺭﻛﺰ ﺩﺭ ﻭﺍﺷﺘﻨﮕﺘﻦ ﻧﻘﻞ ﻣﻜﺎﻥ ﻣﻰﻛﻨﺪ ﺗﺎ ﺑﺎ ﭘﺪﺭﺵ‬ ‫ﺯﻧﺪﮔﻰ ﻛﻨﺪ )ﺩﻗﺖ ﻛﻨﻴﺪ ﻛﻪ ﺩﺭ ﺍﻳﻦﺟﺎ ﻛﺘﺎﺏ ﺑﻪ ﻣﻌﻀﻞ ﺑﭽﻪﻫﺎﻯ ﻃﻼﻕ ﻫﻢ ﺍﺷﺎﺭﻩﺍﻯ ﺩﺍﺭﺩ!(‪ .‬ﺩﺭ‬ ‫ﻣﺪﺭﺳﻪﻯ ﺟﺪﻳﺪ ﭼﺸﻤﺶ ﺑﻪ ﭘﺴﺮﻯ ﺯﻳﺒﺎﺭﻭ ﻭ ﺧﻮﺵﺗﻴﭗ ﻣﻰﺍﻓﺘﺪ‪ .‬ﺩﺭ ﺍﺩﺍﻣﻪ ﻫﻢ ﻣﻌﻠﻮﻡ ﻣﻰﺷﻮﺩ‬ ‫ﻛﻪ ﺑــــــــﻠﻪ‪ ،‬ﭼﺸﻢ ﭘﺴﺮ ﻫﻢ ﺑﻪ ﺑﻼ ﺍﻓﺘﺎﺩﻩ ﺍﺳﺖ‪.‬‬ ‫ﺍﻟﺒﺘﻪ ﺩﺭ ﺍﺩﺍﻣﻪﻯ ﻣﺠﻤﻮﻋﻪ‪ ،‬ﺩﺍﺳﺘﺎﻥﻫﺎ ﺍﺯ ﺯﺑﺎﻥ ﺷﺨﺼﻴﺖﻫﺎﻯ ﺩﻳﮕﺮﻯ ﻫﻢ ﺭﻭﺍﻳﺖ ﻣﻰﺷﻮﺩ‪.‬‬ ‫ﺧﻮﺵﺁﺷﺎﻡﻫﺎﻯ ﻣﺎ ﺩﺭ ﺍﻳﻦ ﻣﺠﻤﻮﻋﻪ‪ ،‬ﻣﺜﻞ ﺧﻴﻠﻰﻫﺎﻯ ﺩﻳﮕﺮ ﻧﺎﻣﻴﺮﺍ ﻫﺴﺘﻨﺪ‪ ،‬ﻳﻌﻨﻰ ﺑﻪ ﻣﺮگ‬ ‫ﻃﺒﻴﻌﻰﺑﻤﻴﺮ ﻧﻴﺴﺘﻨﺪ‪ .‬ﻫﻤﮕﻰ ﺍﺯ ﻧﻈﺮ ﻇﺎﻫﺮﻯ ﺩﺭ ﺍﻳﺎﻡ ﺷﺒﺎﺏﺍﻧﺪ ﻭ ﺑﺴﻰ ﺧﻮﺵﻗﻴﺎﻓﻪ ﻭ ﺩﻝﺭﺑﺎ‪ .‬ﺍﻟﺒﺘﻪ‬ ‫ﺑﻌﻀﺎً ﺍﺯ ﺑﺲ ﺧﻮﺵﻗﻴﺎﻓﻪﺍﻧﺪ ﻛﻪ ﺩﻝ ﺁﺩﻡ )ﻣﻨﻈﻮﺭ ﻧﮕﺎﺭﻧﺪﻩ ﺍﺳﺖ( ﺭﺍ ﻣﻰﺯﻧﻨﺪ! ﻓﻘﻂ ﺧﻮﻥ ﺁﺩﻡ ﺭﺍ ﻫﻢ‬ ‫ﻧﻤﻰﺧﻮﺭﻧﺪ‪ .‬ﺧﺐ ﺑﺎﻻﺧﺮﻩ ﺑﻌﻀﻰ ﺩﻳﮕﺮ ﺍﺯ ﺧﻼﻳﻖ ﺧﺪﺍ ﻣﺜﻞ ﺣﻴﻮﺍﻧﺎﺕ ﻫﻢ ﺧﻮﻥ ﺩﺍﺭﻧﺪ! ﺍﻟﺒﺘﻪ ﺍﮔﺮ‬ ‫ﺧﻮﻥ ﻫﻢ ﻧﺨﻮﺭﻧﺪ‪ ،‬ﺗﺸﻨﻪ ﻣﻰﺷﻮﻧﺪ ﻭ ﺗﻮﺍﻧﺸﺎﻥ ﻛﺎﺳﺘﻪ ﻣﻰﺷﻮﺩ‪ ،‬ﻭﻟﻰ ﻧﻤﻰﻣﻴﺮﻧﺪ‪ .‬ﻗﻮﺍﻯ ﺟﺴﻤﺎﻧﻰ‬ ‫ﺧﻴﻠﻰ ﺯﻳﺎﺩﻯ ﺩﺍﺭﻧﺪ )ﻫﺮﭼﻨﺪ ﺑﻪ ﻗﻴﺎﻓﻪﺷﺎﻥ ﻧﻤﻰﺧﻮﺭﺩ( ﻭ ﻣﻰﺗﻮﺍﻧﻨﺪ ﺁﻥﻗﺪﺭ ﺳﺮﻳﻊ ﺣﺮﻛﺖ ﻛﻨﻨﺪ ﻛﻪ‬ ‫ﺩﺭ ﭼﺸﻢ ﺍﻧﺴﺎﻥﻫﺎ ﺗﺎﺭ ﺩﻳﺪﻩ ﺷﻮﻧﺪ‪ .‬ﺩﺭ ﻧﻮﺭ ﺁﻓﺘﺎﺏ ﻧﻤﻰﺳﻮﺯﻧﺪ ﻛﻪ ﻫﻴﭻ‪ ،‬ﺩﺭﺧﺸﻨﺪﻩﺗﺮ ﻫﻢ ﻣﻰﺷﻮﻧﺪ‪.‬‬ ‫ﺑﻪ ﺳﻴﺮ ﻫﻢ ﻭﺍﻛﻨﺸﻰ ﻧﺸﺎﻥ ﻧﻤﻰﻫﻨﺪ‪ .‬ﺧﻴﺎﻟﺘﺎﻥ ﻫﻢ ﺭﺍﺣﺖ! ﺍﻟﺒﺘﻪ ﺩﻗﻴﻘﺎً ﺷﻤﺎ ﻛﻪ ﻧﻪ‪ ،‬ﻣﻨﻈﻮﺭﻡ‬ ‫ﺧﻮﺍﻧﻨﺪﮔﺎﻥ ﺁﻣﺮﻳﻜﺎﻳﻰ‪/‬ﺍﺭﻭﭘﺎﻳﻰ ﺍﺳﺖ‪ .‬ﺍﮔﺮ ﻓﻜﺮ ﻣﻰﻛﻨﻴﺪ ﺻﻠﻴﺐ ﻭ ﺁﺏ ﻣﻘﺪﺱ ﺑﺮ ﺍﻳﻦ ﺟﻤﺎﻋﺖ‬ ‫ﺗﺄﺛﻴﺮﮔﺬﺍﺭ ﺍﺳﺖ‪ ،‬ﻛﻮﺭ ﺧﻮﺍﻧﺪﻩﺍﻳﺪ‪ .‬ﺩﺭ ﺍﻳﻦ ﺣﺪ ﻛﻪ ﺍﮔﺮ ﺑﻪ ﺧﺎﻧﻪﻯ ﻳﻜﻰ ﺍﺯ ﺧﺎﻧﺪﺍﻥﻫﺎﻯ ﺧﻮﻥﺁﺷﺎﻡ‬ ‫ﻛﺘﺎﺏ ﺑﺮﻭﻳﺪ‪ ،‬ﻣﻰﺑﻴﻨﻴﺪ ﻳﻚ ﺻﻠﻴﺐ ﻫﻢ ﺑﻪ ﺩﻳﻮﺍﺭ ﺁﻭﻳﺰﺍﻥ ﻛﺮﺩﻩﺍﻧﺪ‪.‬‬ ‫ﺍﻣﺎ ﺧـــــﺐ‪ ،‬ﺁﺩﻡﻛﺶ ﻧﻴﺴﺘﻨﺪ‪ .‬ﻳﻌﻨﻰ ﻗﺮﺍﺭ ﺍﺳﺖ ﻧﺒﺎﺷﻨﺪ‪ .‬ﺁﺧﺮ ﻓﻜﺮﺵ ﺭﺍ ﺑﻜﻨﻴﺪ‪ ،‬ﺍﮔﺮ ﻗﺮﺍﺭ ﺑﺎﺷﺪ‬ ‫ﺧﻮﻥﺁﺷﺎﻡﻫﺎﻯ ﻛﺘﺎﺏ ﺧﺼﻮﺻﻴﺎﺗﻰ ﺭﺍ ﻛﻪ ﮔﻔﺘﻢ ﺩﺍﺷﺘﻪ ﺑﺎﺷﻨﺪ‪ ،‬ﭘﺲ ﺍﻧﺴﺎﻥﻫﺎﻯ ﺑﻴﻨﻮﺍﻯ ﻛﺘﺎﺏ ﭼﻪ‬ ‫ﺑﺎﻳﺪ ﺑﻜﻨﻨﺪ؟! ﺩﺭ ﻭﺍﻗﻊ ﺩﺭ ﺍﻳﻦﺟﺎ‪ ،‬ﺧﻮﻥﺁﺷﺎﻡ ﺧﻮﺏ ﻭ ﺑﺪ ﺩﺍﺭﻳﻢ ﺑﺎ ﻳﻚ ﺳﺮﻯ ﻗﻮﺍﻋﺪ ﻗﺮﺍﺭﺩﺍﺩﻯ‪.‬‬ ‫ﺧﻮﻥﺁﺷﺎﻡﻫﺎﻯ ﺧﻮﺏ ﺧﻮﺩ ﺭﺍ ﻛﻨﺘﺮﻝ ﻣﻰﻛﻨﻨﺪ ﻭ ﺑﺎ ﺣﻴﻮﺍﻧﺎﺕ ﺭﻭﺯﮔﺎﺭ ﻣﻰﮔﺬﺭﺍﻧﻨﺪ‪ .‬ﺍﻣﺎ ﺍﻣﺎﻥ ﺍﺯ‬ ‫ﺧﻮﻥﺁﺷﺎﻡﻫﺎﻯ ﺑﺪ! ﺍﻟﺒﺘﻪ ﺑﺎﺯ ﻫﻢ ﺟﺎﻯ ﻧﮕﺮﺍﻧﻰ ﺯﻳﺎﺩﻯ ﻧﻴﺴﺖ‪ .‬ﺧﻮﺩ ﺧﻮﻥﺁﺷﺎﻡ ﺧﻮﺏﻫﺎ ﺑﻪ ﻛﺎﺭ‬ ‫ﺑﺪﻫﺎﺷﺎﻥ ﻣﻰﺭﺳﻨﺪ‪ .‬ﺩﺭ ﺣﻘﻴﻘﺖ ﺍﮔﺮ ﻧﺮﺳﻨﺪ‪ ،‬ﻋﻤ ً‬ ‫ﻼ ﺁﺩﻡﻫﺎ ﺑﻴﭽﺎﺭﻩﺍﻧﺪ‪ .‬ﭼﻮﻥ ﺣﺘﺎ ﺍﮔﺮ ﻓﺮﺽ ﻛﻨﻴﻢ‬ ‫ﺍﻧﺴﺎﻥﻫﺎ ﺑﺮ ﻗﻮﺍﻯ ﺟﺴﻤﺎﻧﻰ ﺍﻳﻦ ﺟﻤﺎﻋﺖ ﻫﻢ ﻓﺎﺋﻖ ﺁﻳﻨﺪ‪ ،‬ﭘﺮﻭﺳﻪﻯ ﻛﺸﺘﻨﺸﺎﻥ ﺁﻥﻗﺪﺭ ﺳﺨﺖ‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،9-10‬ﺷﻬﺮﻳﻮﺭ ﻭ ﻣﻬﺮ ‪1390‬‬

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‫ﻛﻪ ﺧﻮﻥ ﺍﻧﺴﺎﻥ ﺭﺍ ﻣﻰﺧﻮﺭﻧﺪ‪ ،‬ﺍﻣﺎ ﺁﻥﻫﺎ ﺭﺍ ﻧﻤﻰﻛﺸﻨﺪ‪ .‬ﺩﺳﺘﻪﻯ ﺩﻭﻡ ﭘﻮﺳﺘﻰ ﺍﺭﻏﻮﺍﻧﻰﺭﻧﮓ ﺩﺍﺭﻧﺪ‬ ‫ﻭ ﺧﻮﻥ ﺍﻧﺴﺎﻥﻫﺎ ﺭﺍ ﺗﺎ ﺍﻧﺘﻬﺎ ﻣﻰﻛﺸﻨﺪ‪ .‬ﺩﺍﺭﻥ ﻣﺘﻮﺟﻪ ﻣﻰﺷﻮﺩ ﻛﻪ ﻳﻜﻰ ﺍﺯ ﺷﺎﻫﺰﺍﺩﻩﻫﺎﻯ ﻭﻣﭙﺎﻳﺮ‬ ‫ﺑﻪ ﻧﺎﻡ ﻛﻮﺭﺩﺍ ﺍﺳﻤﺎﻟﺖ ﻗﺼﺪ ﺩﺍﺭﺩ ﺑﺎ ﺩﺷﻤﻦ ﺑﺎﺳﺘﺎﻧﻰ ﻭﻣﭙﺎﻳﺮﻫﺎ ﻳﻌﻨﻰ ﻭﺍﻣﭙﺎﻧﻴﺰﻫﺎ ﻣﺼﺎﻟﺤﻪ ﻛﺮﺩﻩ ﻭ‬ ‫ﺳﺮﺯﻣﻴﻦﺷﺎﻥ ﺭﺍ ﺑﻪ ﺁﻥﻫﺎ ﺗﺴﻠﻴﻢ ﻛﻨﺪ‪ .‬ﺩﺍﺭﻥ ﺍﻳﻦ ﻣﻮﺿﻮﻉ ﺭﺍ ﺑﻪ ﻛﻤﻚ ﺩﻭﺳﺘﺎﻧﺶ ﺍﻓﺸﺎ ﻣﻰﻛﻨﺪ‬ ‫ﻭ ﻭﻣﭙﺎﻳﺮﻫﺎ ﺭﺍ ﺁﺯﺍﺩ ﻣﻰﻛﻨﺪ‪ .‬ﭘﺲ ﺍﺯ ﻳﻚ ﺩﺭﮔﻴﺮﻯ ﻧﺴﺒﺘﺎً ﺧﻮﻧﻴﻦ‪ ،‬ﻣﺎﺟﺮﺍ ﺑﻪ ﻧﻔﻊ ﻭﻣﭙﺎﻳﺮﻫﺎ ﺗﻤﺎﻡ‬ ‫ﻣﻰﺷﻮﺩ‪ .‬ﺩﺭ ﻧﻬﺎﻳﺖ ﺑﻪ ﺩﻻﻳﻠﻰ ﺩﺍﺭﻥ ﺷﺎﻫﺰﺍﺩﻩﻯ ﻭﻣﭙﺎﻳﺮﻫﺎ ﻣﻰﺷﻮﺩ‪.‬‬ ‫ﺩﺭ ﻗﺴﻤﺖ ﺳﻮﻡ ﻣﺎﺟﺮﺍﻯ ﭘﻴﺶﮔﻮﻳﻰ ﻭ ﻧﺎﺑﻮﺩﻯ ﺟﻬﺎﻥ ﻣﻄﺮﺡ ﻣﻰﺷﻮﺩ ﻛﻪ ﺗﻮﺳﻂ ﺷﺎﻫﺰﺍﺩﻩﻯ‬ ‫ﻭﻣﭙﺎﻳﺮﻫﺎ ﻳﺎ ﺍﺭﺑﺎﺏ ﻭﺍﻣﭙﺎﻧﻴﺰﻫﺎ ﺭﻗﻢ ﺧﻮﺍﻫﺪ ﺧﻮﺭﺩ‪ .‬ﺍﻳﻦ ﺑﺨﺶ ﺳﺮﺷﺎﺭ ﺍﺯ ﺩﺭﮔﻴﺮﻯ ﻭ ﮔﺮﻳﺰ ﻭ ﺳﺘﻴﺰ ﻭ‬ ‫ﺻﺤﻨﻪﻫﺎ ﻭ ﻓﻀﺎﻫﺎﻯ ﮔﻴﺮﺍﻯ ﭘﺴﺎﺁﺧﺮﺍﻟﺰﻣﺎﻧﻰ ﺍﺳﺖ ﻭ ﺍﺯ ﻛﺘﺎﺏ ﻫﻔﺘﻢ ﺗﺎ ﺩﻭﺍﺯﺩﻫﻢ ﺭﺍ ﺩﺭ ﺑﺮ ﻣﻰﮔﻴﺮﺩ‪.‬‬ ‫ﺩﺭ ﻧﻬﺎﻳﺖ ﻧﻴﺰ ﻛﺘﺎﺏ ﺑﻪ ﺷﻜﻞ ﻛﺎﻣ ً‬ ‫ﻼ ﻗﺎﺑﻞ ﻗﺒﻮﻟﻰ ﺑﻪ ﺍﺗﻤﺎﻡ ﻣﻰﺭﺳﺪ‪.‬‬ ‫ﺟﺪﺍﻯ ﺍﺯ ﺍﻳﻦ ﻣﻮﺿﻮﻉ ﻛﻪ ﻛﺘﺎﺏﻫﺎﻯ ﺩﺍﺭﻥ ﺷﺎﻥ ﻛ ً‬ ‫ﻼ ﺩﺭ ﺩﺳﺘﻪﻱ ﺍﺩﺑﻴﺎﺕ ﻛﻮﺩﻙ ﻭ ﻧﻮﺟﻮﺍﻥ‬ ‫ﻗﺮﺍﺭ ﻣﻰﮔﻴﺮﻧﺪ‪ ،‬ﺑﺎﻳﺪ ﮔﻔﺖ ﺣﻤﺎﺳﻪﻯ ﺩﺍﺭﻥ ﺷﺎﻥ ﺑﺎ ﺳﺎﺧﺘﺎﺭ ﻭ ﺩﺍﺳﺘﺎﻥﭘﺮﺩﺍﺯﻯ ﻗﻮﻯ ﻭ ﺗﺮﺳﻴﻢ‬ ‫ﻓﻀﺎﻫﺎﻯ ﺗﺎﺭﻳﻜﺶ ﻛﺘﺎﺑﻰ ﻗﺎﺑﻞ ﻗﺒﻮﻝ ﺍﺳﺖ ﻭ ﺍﺯ ﻣﺠﻤﻮﻋﻪﻯ ﺩﻣﻮﻧﺎﺗﺎ ﺧﻂ ﺩﺍﺳﺘﺎﻧﻰ ﻣﻨﺴﺠﻢﺗﺮ‬ ‫ﻭ ﺗﺄﺛﻴﺮﮔﺬﺍﺭﺗﺮﻯ ﺩﺍﺭﺩ‪ .‬ﭼﺮﺍ ﻛﻪ ﺩﺭ ﺟﺎﻳﻰ ﻛﻪ ﻣﺠﻤﻮﻋﻪﻯ ﺩﻣﻮﻧﺎﺗﺎ ﭘﺮ ﺍﺯ ﻛﺸﺘﺎﺭ ﻭ ﻣﺮگﻭﻣﻴﺮ‬ ‫ﺍﺳﺖ‪ ،‬ﺣﻤﺎﺳﻪﻯ ﺩﺍﺭﻥ ﺷﺎﻥ ﺑﻪ ﻣﺮگ ﻧﮕﺎﻫﻰ ﻓﻴﻠﺴﻮﻓﺎﻧﻪﺗﺮ ﺩﺍﺭﺩ ﻭ ﻣﺮگ ﻫﺮ ﺷﺨﺼﻴﺖ ﺩﺍﺳﺘﺎﻥ‬ ‫ﻣﺘﺄﺛﺮﻛﻨﻨﺪﻩﺗﺮ ﺍﺳﺖ‪.‬‬

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‫ﻣﺠﻤﻮﻋﻪﻯ ﺷﻔﻖ ﻳﺎ ﮔﺮگ ﻭ ﻣﻴﺶ‬

‫ﺧﻮﺍﻧﺪﻥ ﻭ ﺩﻳﺪﻧﺶ ﭘﻴﺸﻜﺶ‪ ،‬ﻭﻟﻰ ﺑﻌﻴﺪ ﺍﺳﺖ ﺍﮔﺮ ﺟﻮﺍﻥ ﻳﺎ ﻧﻮﺟﻮﺍﻧﻴﺪ‪،‬‬ ‫ﻧﻪ ﺍﺳﻤﻰ ﺍﺯ ﻛﺘﺎﺏﻫﺎﻯ ﺍﻳﻦ ﻣﺠﻤﻮﻋﻪ ﺑﻪ ﮔﻮﺷﺘﺎﻥ ﺧﻮﺭﺩﻩ ﺑﺎﺷﺪ ﻭ ﻧﻪ‬ ‫ﺍﺯ ﻓﻴﻠﻢﻫﺎﻳﺶ‪ .‬ﺷﻔﻖ ﻛﻪ ﻣﻰﮔﻮﻳﻨﺪ ﻫﻤﻴﻦ ﺍﺳﺖ‪ .‬ﻣﺠﻤﻮﻋﻪﻯ ﺷﻔﻖ‬ ‫)‪ (Twilight Saga‬ﻣﺠﻤﻮﻋﻪﺍﻯ ﻓﻌ ً‬ ‫ﻼ ﭼﻬﺎﺭ ﺟﻠﺪﻯ ﺍﺳﺖ ﻛﻪ ﺑﻪ ﺗﺮﺗﻴﺐ‬ ‫ﺑﺎ ﻧﺎﻡﻫﺎﻯ‪ :‬ﺷﻔﻖ‪ ،‬ﻣﺎﻩ ﻧﻮ‪ ،‬ﺧﺴﻮﻑ ﻭ ﻛﻴﺶ ﻭ ﻣﺎﺕ ﺩﺭ ﻛﺸﻮﺭ ﻣﺎ ﺑﺎ‬ ‫ﺗﺮﺟﻤﻪﻯ ﮔﻠﻨﺎﺭ ﻣﻘﺪﻡ‪ ،‬ﺳﻤﻴﺮﺍ ﺧﺎﺩﻡﭘﻮﺭ‪ ،‬ﻧﺪﺍ ﺑﺮﺯﻭﻳﻰ‪ ،‬ﻣﺮﻳﻢ ﻫﺪﺍﻳﻰ ﻭ ﺑﻪ‬ ‫ﻫﻤﺖ ﻧﺸﺮ ﮔﺴﺘﺮ ﺑﻪ ﭼﺎپ ﺭﺳﻴﺪﻩ ﺍﺳﺖ‪ (1) .‬ﺍﺳﺘﻔﻨﻰ ﻣﻴﺮ ﻛﻪ ﺍﺻ ً‬ ‫ﻼ ﺳﺎﺑﻘﻪﻯ ﻧﻮﻳﺴﻨﺪﮔﻰ ﻧﺪﺍﺷﺖ‪،‬‬ ‫ﻳﻚ ﺷﺐ ﺧﻮﺍﺑﻰ ﻣﻰﺑﻴﻨﺪ‪ .‬ﻣﻴﺮ ﺩﺭ ﺭﻭﻳﺎ ﺩﺧﺘﺮﻯ ﺍﻧﺴﺎﻥ ﻭ ﭘﺴﺮﻯ ﺧﻮﻥﺁﺷﺎﻡ ﺭﺍ ﻣﻰﺑﻴﻨﺪ‪ ،‬ﺩﺭ ﺣﺎﻟﻰ‬ ‫ﻛﻪ ﭘﺴﺮ ﺩﺭ ﻋﺸﻖ ﺩﺧﺘﺮ ﺍﺳﻴﺮ ﮔﺸﺘﻪ ﻭ ﺩﺭ ﻋﻴﻦ ﺣﺎﻝ ﺗﺸﻨﻪﻯ ﺧﻮﻥ ﻭﻯ ﺍﺳﺖ ﻭ ﺑﻌﺪ ﺷﺮﻭﻉ‬ ‫ﻣﻰﻛﻨﺪ ﺑﻪ ﻧﻮﺷﺘﻦ ﻭ ‪ ...‬ﺗﻮ ﺧﻮﺩ ﺣﺪﻳﺚ ﻣﻔﺼﻞ ﺑﺨﻮﺍﻥ ﺍﺯ ﺍﻳﻦ ﻣﺠﻤﻞ! ﺑﺎﻭﺭ ﻛﻨﻴﺪ ﻫﻤﻴﻦ ﻳﻚ ﺧﻂ‬

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‫ﻭﻳﮋﻩﻧﺎﻣﻪﻯ ﺧﻮﻥﺁﺷﺎﻡﻫﺎ‬

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‫‪ ‬ﻗﺼﻪﻫﺎﻯ ﺳﺮﺯﻣﻴﻦ ﺍﺷﺒﺎﺡ‬ ‫ﻛﺘﺎﺏ ﺣﻤﺎﺳﻪﻯ ﺩﺍﺭﻥ ﺷﺎﻥ ﻧﻮﺷﺘﻪﻯ ﺩﺍﺭﻥ ﺍﺷﺎﮔﻨﺴﻰ‪ ،‬ﻣﻌﺮﻭﻑ ﺑﻪ‬ ‫ﺩﺍﺭﻥ ﺷﺎﻥ‪ ،‬ﺩﺭ ﺍﻳﺮﺍﻥ ﺗﻮﺳﻂ ﺧﺎﻧﻢﻫﺎ ﺳﻮﺩﻩ ﻭ ﻓﺮﺯﺍﻧﻪ ﻛﺮﻳﻤﻰ ﺑﺎ ﻧﺎﻡ‬ ‫ﺳﺮﺯﻣﻴﻦ ﺍﺷﺒﺎﺡ ﺗﺮﺟﻤﻪ ﺷﺪﻩ ﺍﺳﺖ‪ .‬ﺍﻳﻦ ﻣﺠﻤﻮﻋﻪﻯ ﺩﻭﺍﺯﺩﻩ ﺟﻠﺪﻯ‪،‬‬ ‫ﺩﺍﺳﺘﺎﻧﻰ ﺍﺳﺖ ﺩﺭ ﻓﻀﺎﻯ ﺧﻮﻥﺁﺷﺎﻣﻰ ﻛﻪ ﺩﺭ ﺁﻥ ﺧﻮﻥﺁﺷﺎﻡﻫﺎ ﺗﻘﺮﻳﺒﺎً‬ ‫ﺗﻤﺎﻣﻰ ﺧﺼﻮﺻﻴﺎﺕ ﺳﻨﺘﻰ ﺧﻮﺩ ﺭﺍ ﺩﺍﺭﻧﺪ‪ .‬ﺗﻨﻬﺎ ﺗﻔﺎﻭﺕ ﺁﻥﻫﺎ ﺍﻳﻦ‬ ‫ﺍﺳﺖ ﻛﻪ ﺟﺎﻭﺩﺍﻧﻪ ﻧﻴﺴﺘﻨﺪ ﻭ ﻫﺮﭼﻨﺪ ﺧﻴﻠﻰ ﺧﻴﻠﻰ ﺑﻪ ﻛﻨﺪﻯ‪ ،‬ﭘﻴﺮ‬ ‫ﻣﻰﺷﻮﻧﺪ ﻭﻟﻰ ﻧﻬﺎﻳﺘﺎً ﻣﻰﻣﻴﺮﻧﺪ‪ .‬ﻫﻤﭽﻨﻴﻦ ﺧﻮﻥﺁﺷﺎﻡﻫﺎ ﻗﺎﺩﺭﻧﺪ ﻏﺬﺍﻯ ﻋﺎﺩﻯ ﻫﻢ ﺑﺨﻮﺭﻧﺪ ﻭ ﺑﺪﻭﻥ‬ ‫ﺧﻮﻥ ﺗﻨﻬﺎ ﺿﻌﻴﻒ ﻣﻰﺷﻮﻧﺪ ﻭ ﻧﻤﻰﻣﻴﺮﻧﺪ‪ .‬ﺟﺪﺍﻯ ﺍﺯ ﺍﻳﻦ ﻣﻮﺿﻮﻉ‪ ،‬ﺁﻥﻫﺎ ﺑﻪ ﻧﻮﺭ ﺣﺴﺎﺱ ﻫﺴﺘﻨﺪ ﻭ‬ ‫ﺗﺼﻮﻳﺮﺷﺎﻥ ﺩﺭ ﺁﻳﻨﻪ ﺩﻳﺪﻩ ﻧﻤﻰﺷﻮﻧﺪ‪ .‬ﺍﻣﺎ ﺍﺯ ﺻﻠﻴﺐ ﻳﺎ ﺳﻴﺮ ﻧﻤﻰﺗﺮﺳﻨﺪ‪ .‬ﺍﻟﺒﺘﻪ ﻛﻠﻤﻪﻯ ﺧﻮﻥﺁﺷﺎﻡ‬ ‫ﺩﺭ ﻛﺘﺎﺏ ﺑﻪ ﺷﺒﺢ ﺗﺮﺟﻤﻪ ﺷﺪﻩ ﺍﺳﺖ ﻛﻪ ﻣﺘﺄﺳﻔﺎﻧﻪ ﻫﻴﭻﮔﻮﻧﻪ ﺗﻮﺟﻴﻬﻰ ﺑﺮﺍﻯ ﺍﻳﻦ ﺟﺎﻳﮕﺰﻳﻨﻰ‪،‬‬ ‫ﻣﻨﻄﻘﻰ ﺑﻪ ﻧﻈﺮ ﻧﻤﻰﺭﺳﺪ‪.‬‬ ‫ﺍﻳﻦ ﺩﺍﺳﺘﺎﻥ ﺭﺍ ﻣﻰ ﺗﻮﺍﻥ ﺑﻪ ﻃﻮﺭ ﻛﻠﻰ ﺩﺭ ﺳﻪ ﺑﺨﺶ ﺗﻘﺴﻴﻢ ﻛﺮﺩ‪.‬‬ ‫ﺩﺍﺳﺘﺎﻥ ﺍﺯ ﺁﻥﺟﺎ ﺷﺮﻭﻉ ﻣﻰﺷﻮﺩ ﻛﻪ ﭘﺴﺮﻯ ﺑﻪ ﻧﺎﻡ ﺩﺍﺭﻥ ﺷﺎﻥ ﻭ ﺩﻭﺳﺘﺎﻧﺶ ﺍﺯ ﺟﻤﻠﻪ ﺍﺳﺘﻴﻮ‬ ‫ﻟﺌﻮﻧﺎﺭﺩ ﺗﺼﻤﻴﻢ ﻣﻰﮔﻴﺮﻧﺪ ﺑﻪ ﺳﻴﺮﻛﻰ ﺑﺮﻭﻧﺪ ﻛﻪ ﺑﻪ ﺗﺎﺯﮔﻰ ﺑﻪ ﺷﻬﺮ ﺁﻣﺪﻩ ﺍﺳﺖ‪ .‬ﺍﻳﻦ ﺳﻴﺮﻙ ﻛﻪ‬ ‫ﺳﻴﺮﻙ ﻋﺠﺎﻳﺐ ﻧﺎﻡ ﺩﺍﺭﺩ‪ ،‬ﻣﺜﻞ ﺳﻴﺮﻙﻫﺎﻯ ﻣﻌﻤﻮﻟﻰ ﻧﻴﺴﺖ ﻭ ﺍﻋﻀﺎﻯ ﺁﻥ ﺑﺮﺧﻼﻑ ﻫﻤﻴﺸﻪ‬ ‫ﺷﺎﺭﻻﺗﺎﻥ ﻧﻴﺴﺘﻨﺪ ﻭ ﻫﻤﻪﻯ ﻗﺎﺑﻠﻴﺖﻫﺎﻯ ﻣﻮﺭﺩ ﺍﺩﻋﺎﻳﺸﺎﻥ ﻭﺍﻗﻌﻰ ﺍﺳﺖ‪ .‬ﺩﺭ ﻣﻴﺎﻥ ﺍﻋﻀﺎﻯ ﺳﻴﺮﻙ‬ ‫ﺧﻮﻥﺁﺷﺎﻣﻰ ﺍﺳﺖ ﻛﻪ ﺑﺎ ﻋﻨﻜﺒﻮﺗﺶ ﺑﺮﻧﺎﻣﻪ ﺍﺟﺮﺍ ﻣﻰﻛﻨﺪ‪ .‬ﺭﺍﻭﻯ ﺩﺍﺳﺘﺎﻥ ﻳﻌﻨﻰ ﻫﻤﺎﻥ ﺩﺍﺭﻥ ﺷﺎﻥ‪،‬‬ ‫ﭼﻨﺎﻥ ﻣﺪﻫﻮﺵ ﻋﻨﻜﺒﻮﺕ ﺧﻮﻥﺁﺷﺎﻡ ‪ -‬ﻫﻤﺎﻥ ﻻﺭﺗﻦ ﻛﺮﭘﺴﻠﻰ ‪ -‬ﻣﻰﺷﻮﺩ ﻛﻪ ﺗﺼﻤﻴﻢ ﻣﻰﮔﻴﺮﺩ‬ ‫ﺷﺒﺎﻧﻪ ﺑﻪ ﺳﻴﺮﻙ ﺑﺮﮔﺮﺩﺩ ﻭ ﺁﻥ ﺭﺍ ﺑﺪﺯﺩﺩ ﻭ ﺩﺭ ﺍﻳﻦ ﻣﺎﺟﺮﺍﺟﻮﻳﻰ ﺷﺒﺎﻧﻪ‪ ،‬ﺗﻮﺳﻂ ﻻﺭﺗﻦ ﻛﺮﭘﺴﻠﻰ ﮔﻴﺮ‬ ‫ﻣﻰﺍﻓﺘﺪ ﻭ ﻃﻰ ﻣﺎﺟﺮﺍﻫﺎﻳﻰ ﻣﺠﺒﻮﺭ ﻣﻰﺷﻮﺩ ﻣﻮﺍﻓﻘﺖ ﻛﻨﺪ ﻛﻪ ﺑﻪ ﻳﻚ ﺧﻮﻥﺁﺷﺎﻡ ﺗﺒﺪﻳﻞ ﺷﻮﺩ‪ .‬ﻭ ﺍﺯ‬ ‫ﺍﻳﻦﺟﺎ ﻣﺎﺟﺮﺍﻫﺎﻯ ﺩﺍﺭﻥ ﺷﺎﻥ ﺩﺳﺘﻴﺎﺭ ﺧﻮﻥﺁﺷﺎﻡ ﺷﺮﻭﻉ ﻣﻰﺷﻮﺩ‪.‬‬ ‫ﺩﺭ ﺑﺨﺶ ﺩﻭﻡ ﻛﻪ ﺍﺯ ﻛﺘﺎﺏ ﭼﻬﺎﺭﻡ ﺗﺎ ﺷﺸﻢ ﺍﺳﺖ‪ ،‬ﺩﺍﺭﻥ ﺷﺎﻥ ﺑﻪ ﻫﻤﺮﺍﻩ ﺍﺳﺘﺎﺩﺵ ﺑﻪ ﺳﺮﺯﻣﻴﻦ‬ ‫ﺧﻮﻥﺁﺷﺎﻡﻫﺎ ﻣﻰﺭﻭﺩ ﻭ ﺩﺭ ﺁﻥﺟﺎ ﺑﺎ ﻧﻈﺎﻡ ﺣﻜﻮﻣﺘﻰ ﺁﻥﻫﺎ ﺁﺷﻨﺎ ﻣﻰﺷﻮﺩ ﻛﻪ ﺷﻮﺭﺍﻳﻰ ﺍﺯ ﺷﺎﻫﺰﺍﺩﻩﻫﺎ‬ ‫ﺍﺳﺖ‪ .‬ﺳﭙﺲ ﺑﺮﺍﻯ ﭘﺬﻳﺮﻓﺘﻪ ﺷﺪﻥ ﺩﺭ ﺑﻴﻦ ﺧﻮﻥﺁﺷﺎﻡﻫﺎ ﻣﺠﺒﻮﺭ ﻣﻰﺷﻮﺩ ﺁﺯﻣﻮﻥﻫﺎﻯ ﻣﺮگ ﺭﺍ ﭘﺸﺖ‬ ‫ﺳﺮ ﺑﮕﺬﺍﺭﺩ ﻭ ﺩﺭ ﺍﻳﻦ ﺑﻴﻦ ﺑﻪ ﺗﻮﻃﺌﻪﺍﻯ ﭘﻰ ﻣﻰﺑﺮﺩ‪ .‬ﺩﺭ ﺩﻧﻴﺎﻯ ﺩﺍﺭﻥ ﺷﺎﻥ ﺩﻭ ﺩﺳﺘﻪ ﺧﻮﻥﺁﺷﺎﻡ‬ ‫ﻭﺟﻮﺩ ﺩﺍﺭﻧﺪ‪ .‬ﺧﻴﻠﻰ ﺳﺎﺩﻩ ﻣﻰﺗﻮﺍﻥ ﺁﻥﻫﺎ ﺭﺍ ﺑﻪ ﺧﻮﻥﺁﺷﺎﻡﻫﺎﻯ ﺧﻮﺏ ﻭ ﺑﺪ ﺗﻘﺴﻴﻢ ﻛﺮﺩ؛ ﻭﻣﭙﺎﻳﺮﻫﺎ‬ ‫ﻭ ﻭﺍﻣﭙﺎﻧﻴﺰﻫﺎ‪ .‬ﺩﺳﺘﻪﻯ ﺍﻭﻝ ﻫﻤﺎﻥ ﺩﺳﺘﻪﺍﻯ ﺍﺳﺖ ﻛﻪ ﺩﺍﺭﻥ ﺑﻪ ﺁﻥ ﺗﻌﻠﻖ ﺩﺍﺭﺩ‪ .‬ﺍﻳﻦ ﺩﺳﺘﻪ ﺑﺎ ﺍﻳﻦ‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،9-10‬ﺷﻬﺮﻳﻮﺭ ﻭ ﻣﻬﺮ ‪1390‬‬

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‫ﺧﻮﻥﺁﺷﺎﻡﻫﺎﻯ ﻛﺘﺎﺏﻫﺎ‬ ‫ﻳﺎ ﻛﺘﺎﺏﻫﺎﻯ ﺧﻮﻥﺁﺷﺎﻣﻰ‬ ‫)ﺗﺮﺟﻤﻪﻫﺎ(‬ ‫ﺑﻬﺎﺭﻩ ﻧﻮﺭﺑﺨﺶ‪،‬‬ ‫ﺳﻴﻨﺎ ﻓﺮﺧﻰ‪ ،‬ﻓﺮﺯﻳﻦ ﺳﻮﺭﻯ‬

‫ﺧﻮﻥﺁﺷﺎﻡﻫﺎ ﻋﻼﻭﻩ ﺑﺮ ﺳﻴﻨﻤﺎ‪ ،‬ﻳﺎ ﺣﺘﺎ ﻗﺒﻞﺗﺮ ﺍﺯ ﺁﻥ‪ ،‬ﺩﺭ ﻛﺘﺐ ﺩﺍﺳﺘﺎﻧﻰ ﺩﻳﺪﻩ ﺷﺪﻩﺍﻧﺪ‪ .‬ﺑﻪ ﮔﻔﺘﻪﻯ‬ ‫ﺷﺎﻫﺪﺍﻥ ﻋﻴﻨﻰ‪ ،‬ﺍﻧﻮﺍﻉ ﻭ ﺍﻗﺴﺎﻡ ﻣﺘﻨﻮﻉ ﻭ ﮔﻮﻧﺎﮔﻮﻧﻰ ﻫﻢ ﺩﺍﺭﻧﺪ‪ .‬ﺩﺭ ﺍﻳﻦ ﻗﺴﻤﺖ ﺗﻼﺵ ﻛﺮﺩﻳﻢ ﺗﺎ ﺑﺎ‬ ‫ﻫﻤﻜﺎﺭﻯ ﭼﻨﺪ ﺗﻦ ﺍﺯ ﺍﻳﻦ ﺷﺎﻫﺪﺍﻥ‪ ،‬ﺗﺼﻮﻳﺮﻯ ﺍﺯ ﺧﻮﻥﺁﺷﺎﻡﻫﺎﻳﻰ ﺭﺍ ﻛﻪ ﺩﺭ ﻛﺘﺐ ﺭﺅﻳﺖ ﺷﺪﻩﺍﻧﺪ‪ ،‬ﺑﺮﺍﻯ‬ ‫ﺷﻤﺎ ﺗﺸﺮﻳﺢ ﻛﻨﻴﻢ‪ .‬ﺩﺭ ﺑﻌﻀﻰ ﻛﺘﺐ ﺍﻳﻦ ﻣﻮﺟﻮﺩﺍﺕ ﺑﻪ ﻭﺳﻌﺖ ﺩﻳﺪﻩ ﺷﺪﻩ ﻭ ﺍﺻﻞ ﻣﺎﺟﺮﺍ ﻫﺴﺘﻨﺪ ﻭ ﺩﺭ‬ ‫ﺑﻌﺾ ﺩﻳﮕﺮ ﻫﻢ‪ ،‬ﺩﺭ ﮔﻮﺷﻪ ﻭ ﻛﻨﺎﺭ ﺯﻧﺪﮔﻰ ﻣﻰﻛﻨﻨﺪ‪ .‬ﺟﺎ ﺩﺍﺭﺩ ﻫﻤﻴﻦﺟﺎ ﺍﺯ ﺷﺎﻫﺪﺍﻧﻰ ﻛﻪ ﺟﺎﻥ ﺧﻮﺩ ﺭﺍ‬ ‫ﺑﻪ ﺧﻄﺮ ﺍﻧﺪﺍﺧﺘﻪ ﻭ ﺑﺮﺍﻯ ﺗﺸﻜﻴﻞ ﺍﻳﻦ ﭘﺮﻭﻧﺪﻩ ﻣﺎ ﺭﺍ ﻳﺎﺭﻯ ﺩﺍﺩﻩﺍﻧﺪ‪ ،‬ﺗﺸﻜﺮ ﻭ ﺑﻪ ﺻﺮﺍﺣﺖ ﺍﻋﻼﻡ ﻛﻨﻴﻢ‬ ‫ﻛﻪ ﺑﺎ ﺣﻤﺎﻳﺖ ﻣﺠﻠﻪﻯ ﺷﮕﻔﺖﺯﺍﺭ‪ ،‬ﻫﻴﭻﮔﻮﻧﻪ ﺁﺳﻴﺒﻰ ﺍﺯ ﻃﺮﻑ ﺧﻮﻥﺁﺷﺎﻡﻫﺎ ﺗﻬﺪﻳﺪﺷﺎﻥ ﻧﻤﻰﻛﻨﺪ‪ .‬ﺩﺭ‬ ‫ﻫﻤﻴﻦ ﺭﺍﺳﺘﺎ ﺍﺯ ﺳﺮﻛﺎﺭ ﺧﺎﻧﻢ ﺑﻬﺎﺭﻩ ﻧﻮﺭﺑﺨﺶ ﻭ ﺁﻗﺎﻳﺎﻥ ﺳﻴﻨﺎ ﻓﺮﺧﻰ ﻭ ﻓﺮﺯﻳﻦ ﺳﻮﺭﻯ ﺳﭙﺎﺳﮕﺰﺍﺭﻯ‬ ‫ﻣﻰﻛﻨﻴﻢ ﻛﻪ ﺁﻥﭼﻪ ﺩﺭ ﺯﻳﺮ ﻣﻰﺁﻳﺪ‪ ،‬ﻧﻮﺷﺘﻪﻯ ﺁﻥﻫﺎ ﺍﺳﺖ‪.‬‬

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‫ﻣﻰﺷﻮﺩ‪ .‬ﻓﻀﺎﻫﺎﻯ ﺯﻧﺪﻩ ﻭ ﺗﻮﺻﻴﻔﺎﺕ ﺩﻗﻴﻖ ﺍﺯ ﺷﻬﺮﻫﺎﻯ ﺍﺭﻭﭘﺎﻳﻰ ﻣﺜﻞ ﺍﺳﺘﺎﻣﺒﻮﻝ‪ ،‬ﺁﻣﺴﺘﺮﺩﺍﻡ‪،‬‬ ‫ﺑﻮﺩﺍﭘﺴﺖ‪ ،‬ﺁﻛﺴﻔﻮﺭﺩ ﻭ ﺳﻮﻓﻴﻪ ﻭ ﻛﺸﻮﺭﻫﺎﻯ ﺍﻳﺘﺎﻟﻴﺎ‪ ،‬ﻓﺮﺍﻧﺴﻪ‪ ،‬ﺑﻠﻐﺎﺭﺳﺘﺎﻥ ﻭ ﺍﺳﻠﻮﻭﻧﻰ ﺑﻪ ﻛﺘﺎﺏ ﺭﻭﺣﻰ‬ ‫ﮔﻮﺗﻴﻚ ﻭ ﻣﺎﻫﻴﺘﻰ ﻗﺮﻭﻥ ﻭﺳﻄﺎﻳﻰ ﻣﻰﺩﻫﺪ‪ .‬ﺍﻣﺎ ﺍﺯ ﺳﻮﻳﻰ ﻛﺘﺎﺏ ﺑﻪ ﺧﺎﻃﺮ ﻳﻚﻧﻮﺍﺧﺘﻰ ﺑﻴﺶ ﺍﺯ ﺣﺪ‬ ‫ﻣﻮﺭﺩ ﺍﻧﺘﻘﺎﺩ ﻗﺮﺍﺭ ﮔﺮﻓﺘﻪ ﺍﺳﺖ‪.‬‬ ‫ﻳﻜﻰ ﺍﺯ ﺟﺎﻟﺐﺗﺮﻳﻦ ﻧﻜﺎﺕ ﺍﻳﻦ ﺩﺍﺳﺘﺎﻥ ﺍﻳﻦ ﺍﺳﺖ ﻛﻪ ﻧﺎﻡ ﺩﺍﺳﺘﺎﻥﺳﺮﺍﻯ ﺍﺻﻠﻰ ﺩﺍﺳﺘﺎﻥ ﻛﻪ ﺷﺨﺼﻴﺖ‬ ‫ﺍﺻﻠﻰ ﻧﻴﺰ ﻫﺴﺖ ﺩﺭ ﻃﻮﻝ ﻛﺘﺎﺏ ﺩﺭ ﻫﻴﭻﺟﺎ ﺑﻪ ﭼﺸﻢ ﻧﻤﻰﺧﻮﺭﺩ‪ .‬ﻫﻤﺎﻥﻃﻮﺭ ﻛﻪ ﻳﻜﻰ ﺍﺯ ﻣﻨﺘﻘﺪﻳﻦ‬ ‫ﻣﻰﻧﻮﻳﺴﺪ ﺷﺎﻳﺪ ﺍﻳﻦ ﻣﻮﺿﻮﻉ ﺑﻪ ﺧﺎﻃﺮ ﺍﻳﻦ ﺍﺳﺖ ﻛﻪ ﺳﻔﺮ ﺑﻪ ﻧﻴﻤﻪﻯ ﺗﺎﺭﻳﻚ ﻭﺟﻮﺩ ﺑﺸﺮﻯ ﭼﻴﺰﻯ‬ ‫ﻧﻴﺴﺖ ﻛﻪ ﺑﺘﻮﺍﻥ ﺁﻥ ﺭﺍ ﻣﺤﺪﻭﺩ ﺑﻪ ﺗﻨﻬﺎ ﻳﻚ ﺷﺨﺼﻴﺖ ﻛﺮﺩ‪.‬‬ ‫ﺍﻳﻦ ﻛﺘﺎﺏ ﺭﺍ ﺑﻪ ﻫﻤﻪﻯ ﺩﻭﺳﺘﺪﺍﺭﺍﻥ ﺩﺭﺍﻛﻮﻻ ﻭ ﺑﻴﺶ ﺍﺯ ﺁﻥ ﻫﻤﻪﻯ ﺩﻭﺳﺘﺪﺍﺭﺍﻥ ﺗﺎﺭﻳﺦ ﭘﻴﺸﻨﻬﺎﺩ‬ ‫ﻣﻰﻛﻨﻢ ﻭ ﺍﻣﻴﺪﻭﺍﺭﻡ ﻗﺒﻞ ﺍﺯ ﺧﻮﺍﻧﺪﻥ ﺁﻥ ﺑﻪ ﻛﺘﺎﺏ ﺩﺭﺍﻛﻮﻻﻯ ﺑﺮﺍﻡ ﺍﺳﺘﻮﻛﺮ ﻧﻴﺰ ﺳﺮﻯ ﺑﺰﻧﻴﺪ‪ .‬ﺍﻳﻦ‬ ‫ﻛﺘﺎﺏ ﺑﻪ ﻛﺴﺎﻧﻰ ﻛﻪ ﺍﻃﻼﻋﺎﺕ ﺗﺎﺭﻳﺨﻰ ﻣﺤﺪﻭﺩﻯ ﺩﺍﺭﻧﺪ ﭘﻴﺸﻨﻬﺎﺩ ﻧﻤﻰﺷﻮﺩ‪.‬‬ ‫ﺑﺨﺸﻰ ﺍﺯ ﻣﺘﻦ ﻛﺘﺎﺏ‬ ‫ﺣﺎﻻ ﺑﺎﻳﺪ ﺑﻪ ﺩﻗﺖ ﻭ ﺳﺮﻳﻊ ﻓﻜﺮ ﻣﻰﻛﺮﺩﻡ‪ .‬ﺍﻭﻝ ﺁﻥ ﻛﻪ ﺧﻮﺩﻡ ﺷﺨﺼﺎً ﺁﻥ ﭼﻪ ﺭﺍ ﺭﺍﺳﻰ ﺩﺭ ﮔﺰﺍﺭﺵ ﺁﻭﺭﺩﻩ ﺑﻮﺩ‪ ،‬ﺑﺎ‬ ‫ﭼﺸﻤﺎﻧﻢ ﺩﻳﺪﻩ ﺑﻮﺩﻡ‪ :‬ﻛﺴﻰ ﺧﺎﺭﺝ ﺍﺯ ﺗﻬﺪﻳﺪ ﻓﻮﺭﻯﺍﻯ ﻛﻪ ﺭﺍﺳﻰ ﺩﺭﻳﺎﻓﺖ ﻛﺮﺩﻩ ﺑﻮﺩ – ﺩﺭ ﺍﻳﻦ ﻣﻮﺭﺩ‪ ،‬ﻛﺘﺎﺑﺪﺍﺭﻯ ﻛﺜﻴﻒ‬ ‫ﺑﺎ ﻗﻴﺎﻓﻪﺍﻯ ﻋﺠﻴﺐ – ﺟﺎﻯ ﮔﺰﻳﺪﮔﻰ ﺩﺭ ﮔﺮﺩﻧﺶ ﺩﺍﺷﺖ‪ .‬ﺩﺭ ﺣﺎﻟﻰ ﻛﻪ ﺍﺯ ﻓﻜﺮﻫﺎﻯ ﺍﺣﻤﻘﺎﻧﻪﺍﻯ ﻛﻪ ﺷﺮﻭﻉ ﺑﻪ ﺑﺎﻭﺭﺷﺎﻥ‬ ‫ﻛﺮﺩﻩ ﺑﻮﺩﻡ‪ ،‬ﺧﻨﺪﻩﺍﻡ ﮔﺮﻓﺘﻪ ﺑﻮﺩ‪ ،‬ﺑﻪ ﺧﻮﺩﻡ ﮔﻔﺘﻢ‪ ،‬ﻓﺮﺽ ﻛﻨﻴﻢ ﻛﺘﺎﺑﺪﺍﺭ ﻣﺎ ﺭﺍ ﻳﻚ ﺧﻮﻥﺁﺷﺎﻡ ﮔﺰﻳﺪﻩ ﺑﺎﺷﺪ ﻭ ﺍﺧﻴﺮ ًﺍ ﺍﻳﻦ‬ ‫ﺍﺗﻔﺎﻕ ﺍﻓﺘﺎﺩﻩ ﺑﺎﺷﺪ‪ .‬ﺭﺍﺳﻰ ﺩﻭ ﺷﺐ ﺍﺳﺖ ﻛﻪ ﺍﺯ ﺍﺗﺎﻗﺶ ﻧﺎﭘﺪﻳﺪ ﺷﺪﻩ‪ ...‬ﺑﻪ ﺧﻮﺩﻡ ﻳﺎﺩﺁﻭﺭﻯ ﻛﺮﺩﻡ‪ :‬ﺑﺎ ﺧﻮﻧﺮﻳﺰﻯ‪ .‬ﺩﺭﺍﻛﻮﻻ‬ ‫ﺍﮔﺮ ﺁﺯﺍﺩ ﺑﺎﺷﺪ‪ ،‬ﻇﺎﻫﺮ ًﺍ ﻫﻢ ﻣﻴﻞ ﺯﻳﺎﺩﻯ ﺑﻪ ﺑﻬﺘﺮﻳﻦﻫﺎﻯ ﺩﻧﻴﺎﻯ ﺁﻛﺎﺩﻣﻴﻚ ﺩﺍﺭﺩ )ﻣﺎﻧﻨﺪ ﻫﺠﺰ ﺑﻴﭽﺎﺭﻩ(‪ ،‬ﻭ ﻫﻢ ﺍﺯ ﻛﺘﺎﺑﺪﺍﺭﺍﻥ‬ ‫ﺁﺭﺷﻴﻮ ﺧﻮﺷﺶ ﻣﻰﺁﻳﺪ‪ .‬ﻧﻪ – ﻧﺎﮔﻬﺎﻥ ﺭﺍﺳﺖ ﻧﺸﺴﺘﻢ؛ ﺗﺎﺯﻩ ﻣﺘﻮﺟﻪ ﺟﺮﻳﺎﻥ ﺷﺪﻩ ﺑﻮﺩﻡ – ﺍﻭ ﺑﻪ ﻛﺴﺎﻧﻰ ﻋﻼﻗﻤﻨﺪ ﺑﻮﺩ‬ ‫ﻛﻪ ﺁﺭﺷﻴﻮ ﺑﺮﮔﻪﺩﺍﻥ ﻣﺮﺑﻮﻁ ﺑﻪ ﺍﻓﺴﺎﻧﻪﻫﺎﻯ ﺍﻭ ﺭﺍ ﺟﺎﺑﺠﺎ ﻣﻰﻛﺮﺩﻧﺪ‪ .‬ﺍﻭﻝ ﺁﻥ ﻣﺮﺩ ﺩﻭﻟﺘﻰ ﻛﻪ ﻧﻘﺸﻪﻫﺎﻯ ﺭﺍﺳﻰ ﺭﺍ ﺩﺭ‬ ‫ﺍﺳﺘﺎﻧﺒﻮﻝ ﺍﺯ ﺍﻭ ﺭﺑﻮﺩ‪ .‬ﻧﺎﻣﻪﻯ ﺁﺧﺮ ﺭﺍﺳﻰ ﺭﺍ ﺑﻪ ﻳﺎﺩ ﺁﻭﺭﺩﻡ‪ ...‬ﺍﻳﻦ ﺑﻼ ﺳﺮ ﻣﺤﻘﻖ ﺍﺳﻤﻴﺘﺴﻮﻥ ﻫﻢ ﺁﻣﺪﻩ ﺑﻮﺩ‪ .‬ﻭ ﺍﻟﺒﺘﻪ‬ ‫ﺧﻮﺩ ﺭﺍﺳﻰ ﻫﻢ ﻛﻪ ﻳﻚ ﻧﺴﺨﻪ ﺍﺯ ﺍﻳﻦ ﻛﺘﺎﺏﻫﺎ ﺭﺍ ﺩﺍﺷﺖ ﻭ ﺍﺳﻨﺎﺩ ﻣﺮﺗﺒﻂ ﺑﻪ ﺁﻥ ﺭﺍ ﻣﻄﺎﻟﻌﻪ ﻛﺮﺩﻩ ﺑﻮﺩ‪ ،‬ﺩﺭ ﻣﻌﺮﺽ‬ ‫ﺗﻬﺪﻳﺪ ﻭ ﺧﻄﺮ ﺑﻮﺩﻩ ﺍﺳﺖ‪ .‬ﻭ ﺑﻌﺪ ﺁﻥ ﻛﺘﺎﺑﺪﺍﺭ‪ ،‬ﮔﺮﭼﻪ ﻫﻨﻮﺯ ﻣﺪﺭﻛﻰ ﻧﺪﺍﺭﻡ ﻛﻪ ﺁﻥ ﻣﺮﺩ ﺍﺳﻨﺎﺩ ﺩﺭﺍﻛﻮﻻ ﺭﺍ ﺟﺎﺑﺠﺎ ﻛﺮﺩﻩ‬ ‫ﺑﺎﺷﺪ‪ .‬ﻭ ﻧﻬﺎﻳﺘﺎً ‪ ...‬ﺧﻮﺩ ﻣﻦ؟‬ ‫ﭘﻰﻧﻮﺷﺖﻫﺎ‪:‬‬ ‫‪1. Historian‬‬ ‫‪2. Elizabeth Kostova‬‬ ‫‪3. Bram Stoker‬‬

‫‪4. Vlad Ţepeş‬‬ ‫‪5. Order of the Dragon‬‬

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‫ﻭﻳﮋﻩﻧﺎﻣﻪﻯ ﺧﻮﻥﺁﺷﺎﻡﻫﺎ‬

‫ﻭ ﮔﺎﻫﻰ ﻋﻤﻴﻘﺎً ﻣﻰﺗﺮﺳﺎﻧﺪ‪ .‬ﻧﻮﻳﺴﻨﺪﻩ ﺳﻌﻰ ﺩﺍﺭﺩ ﻫﺮ ﭼﻪ ﺑﻴﺸﺘﺮ ﺑﻪ ﺧﻮﺍﻧﻨﺪﻩ ﺑﺒﺎﻭﺭﺍﻧﺪ ﻛﻪ ﻣﺎﺟﺮﺍﻯ‬ ‫ﻛﺘﺎﺏ ﻭﺍﻗﻌﻰ ﺍﺳﺖ ﻭ ﻫﻤﺎﻥﻃﻮﺭ ﻛﻪ ﺍﻣﭙﺮﺍﻃﻮﺭﻯ ﻋﺜﻤﺎﻧﻰ ﻭﺟﻮﺩ ﺩﺍﺷﺘﻪ ﺍﺳﺖ‪ ،‬ﺍﻳﻦ ﺣﻮﺍﺩﺙ ﻧﻴﺰ ﺭﺥ‬ ‫ﺩﺍﺩﻩ ﺍﺳﺖ‪.‬‬ ‫ﻭ ﺍﻣﺎ ﺧﻮﻥﺁﺷﺎﻡﻫﺎﻯ ﻛﺘﺎﺏ ﻣﻮﺭﺥ ﺗﻘﺮﻳﺒﺎً ﺧﻮﻥﺁﺷﺎﻡﻫﺎﻳﻰ ﻛﻼﺳﻴﻚ ﻫﺴﺘﻨﺪ‪ .‬ﭘﻮﺳﺘﺸﺎﻥ ﺯﻳﺮ ﻧﻮﺭ‬ ‫ﺧﻮﺭﺷﻴﺪ ﻣﺜﻞ ﺍﻟﻤﺎﺱ ﺑﺮﻕ ﻧﻤﻰﺯﻧﺪ ﻭ ﺟﺬﺍﺏ ﻭ ﺧﻮﺵﭼﻬﺮﻩ ﻧﻴﺴﺘﻨﺪ‪ .‬ﻃﺮﻳﻘﻪﻯ ﺗﺒﺪﻳﻞ ﺷﺪﻥ‬ ‫ﺑﻪ ﺧﻮﻥﺁﺷﺎﻡ ﻧﻴﺰ ﺳﻪ ﺑﺎﺭ ﮔﺰﻳﺪﻩ ﺷﺪﻥ ﺗﻮﺳﻂ ﻳﻚ ﺧﻮﻥﺁﺷﺎﻡ ﺩﻳﮕﺮ ﺍﺳﺖ‪ .‬ﺧﻮﻥﺁﺷﺎﻡﻫﺎ ﺗﻮﺳﻂ‬ ‫ﺧﻨﺠﺮ ﻧﻘﺮﻩﺍﻯ ﺩﺭ ﻗﻠﺐ ﻳﺎ ﮔﻠﻮﻟﻪﻫﺎﻯ ﻧﻘﺮﻩ ﻛﺸﺘﻪ ﻣﻰﺷﻮﻧﺪ ﻭ ﺍﺯ ﺻﻠﻴﺐ ﻭ ﭼﺸﻢﺯﺧﻢﻫﺎﻯ ﺁﺑﻰ ﺭﻧﮓ‬ ‫ﻣﻰﺗﺮﺳﻨﺪ‪ .‬ﺍﻟﺒﺘﻪ ﺷﺎﻳﺎﻥ ﺫﻛﺮ ﺍﺳﺖ ﻛﻪ ﺩﺭ ﺍﻓﺴﺎﻧﻪﻫﺎ ﺍﻳﻦ ﮔﺮگﻧﻤﺎﻫﺎ ﻫﺴﺘﻨﺪ ﻛﻪ ﺑﺎ ﻧﻘﺮﻩ ﻛﺸﺘﻪ‬ ‫ﻣﻰﺷﻮﻧﺪ ﻭ ﻫﻤﺎﻥﻃﻮﺭ ﻛﻪ ﺩﺭ ﺍﻳﻦ ﻛﺘﺎﺏ ﻫﻢ ﻧﻮﺷﺘﻪ ﺷﺪﻩ‪ ،‬ﺩﺭ ﺍﻣﭙﺮﺍﻃﻮﺭﻯ ﻋﺜﻤﺎﻧﻰ ﺑﺮﺍﻯ ﻛﺸﺘﻦ‬ ‫ﺧﻮﻥﺁﺷﺎﻡﻫﺎ ﺍﺯ ﻓﺮﻭ ﻛﺮﺩﻥ ﭼﻮﺏ ﺩﺭ ﻗﻠﺐ ﺍﺳﺘﻔﺎﺩﻩ ﻣﻰﺷﻮﺩ‪ .‬ﺩﺭ ﺿﻤﻦ ﺧﻮﻥﺁﺷﺎﻡﻫﺎ ﺩﺭ ﺍﻳﻦ ﻛﺘﺎﺏ‬ ‫ﻫﻤﺎﻧﻨﺪ ﻛﺘﺎﺏ ﺍﺳﺘﻮﻛﺮ ﻗﺪﺭﺕ ﺗﺒﺪﻳﻞ ﺷﺪﻥ ﺑﻪ ﻣﻪ ﻭ ﺧﻔﺎﺵ ﺭﺍ ﻧﻴﺰ ﺩﺍﺭﻧﺪ‪.‬‬ ‫ﻛﺎﺳﺘﻮﻭﺍ ﺧﻮﻥﺁﺷﺎﻡﻫﺎ ﻭ ﺩﺭﺍﻛﻮﻻ ﺭﺍ ﺍﺳﺘﻌﺎﺭﻩﺍﻯ ﺍﺯ ﻭﺣﺸﺖ ﻭ ﻭﺣﺸﻰﮔﺮﻯﻫﺎﻳﻰ ﻣﻰﺩﺍﻧﺪ ﻛﻪ ﺩﺭ ﻃﻮﻝ‬ ‫ﺗﺎﺭﻳﺦ ﺑﺸﺮ ﺍﺗﻔﺎﻕ ﻣﻰﺍﻓﺘﺪ‪ .‬ﺑﻪ ﻃﻮﺭ ﻣﺜﺎﻝ ﺩﺭ ﺑﺨﺸﻰ ﺍﺯ ﻛﺘﺎﺏ ﻣﻰﻧﻮﻳﺴﺪ‪:‬‬ ‫»‪...‬ﭼﻴﺰﻯ ﻛﻪ ﺑﻴﺶ ﺍﺯ ﻫﺮ ﭼﻴﺰ ﺩﻳﮕﺮ ﺁﻥ ﺭﻭﺯ ﻣﺮﺍ ﺁﺯﺍﺭ ﻣﻰﺩﺍﺩ‪ ،‬ﺗﺼﻮﻳﺮ ﻣﺤﻮ ﺩﺭﺍﻛﻮﻻ ﻳﺎ ﺗﻮﺻﻴﻒ ﺑﻪ‬ ‫ﺻﻼﺑﻪ ﻛﺸﻴﺪﻥ ﻧﺒﻮﺩ‪ .‬ﺑﻠﻜﻪ ﺍﻳﻦ ﻭﺍﻗﻌﻴﺖ ﺑﻮﺩ ﻛﻪ ﺍﻳﻦ ﭼﻴﺰﻫﺎ ‪-‬ﺁﻥ ﻃﻮﺭ ﻛﻪ ﺑﻪ ﻧﻈﺮ ﻣﻰﺭﺳﺪ‪ -‬ﺣﻘﻴﻘﺘﺎً‬ ‫ﺭﺥ ﺩﺍﺩﻩ ﺑﻮﺩﻧﺪ‪ .‬ﺍﮔﺮ ﺧﻮﺏ ﮔﻮﺵ ﻣﻰﺳﭙﺮﺩﻡ ﺷﺎﻳﺪ ﺣﺘﻰ ﺻﺪﺍﻯ ﻧﺎﻟﻪﻫﺎﻯ ﭘﺴﺮﺍﻧﻰ ﺍﺯ »ﺧﺎﻧﺪﺍﻥﻫﺎﻯ‬ ‫ﺑﺰﺭگ« ﺭﺍ ﻣﻰﺷﻨﻴﺪﻡ ﻛﻪ ﺩﺭ ﺣﺎﻝ ﺟﺎﻥ ﺩﺍﺩﻥ ﺑﻮﺩﻧﺪ‪ .‬ﺑﺎ ﻭﺟﻮﺩ ﻋﻼﻗﻪﻯ ﻋﻈﻴﻤﻰ ﻛﻪ ﭘﺪﺭﻡ ﺑﻪ ﺗﺎﺭﻳﺦ‬ ‫ﻣﺒﺬﻭﻝ ﺩﺍﺷﺘﻪ ﺑﻮﺩ ﻳﻚ ﭼﻴﺰ ﺭﺍ ﻓﺮﺍﻣﻮﺵ ﻛﺮﺩﻩ ﺑﻮﺩ ﻛﻪ ﺑﻪ ﻣﻦ ﻳﺎﺩ ﺑﺪﻫﺪ‪ :‬ﺗﺎﺭﻳﺦ ﻭﺍﻗﻌﻴﺖ ﺩﺍﺭﺩ‪ .‬ﻭ‬ ‫ﺍﻣﺮﻭﺯ ﺩﻩﻫﺎ ﺳﺎﻝ ﺑﻌﺪ ﺍﺯ ﺁﻥ ﺍﺗﻔﺎﻗﺎﺕ ﻣﻰﻓﻬﻤﻢ ﻛﻪ ﻧﻤﻰﺗﻮﺍﻧﺴﺘﻪ ﺍﻳﻦ ﻛﺎﺭ ﺭﺍ ﺑﻜﻨﺪ‪ .‬ﺗﻨﻬﺎ ﺧﻮﺩ ﺗﺎﺭﻳﺦ‬ ‫ﺍﺳﺖ ﻛﻪ ﻣﻰﺗﻮﺍﻧﺪ ﺍﻳﻦ ﻣﻮﺿﻮﻉ ﺭﺍ ﺑﻪ ﺷﻤﺎ ﺑﻴﺎﻣﻮﺯﺩ‪ .‬ﻭ ﻭﻗﺘﻰ ﺍﻳﻦ ﻣﻮﺿﻮﻉ ﺭﺍ ﻋﻤﻴﻘﺎً ﻭ ﻭﺍﻗﻌﺎً ﺑﻴﺎﻣﻮﺯﻳﺪ‬ ‫ﺩﻳﮕﺮ ﻧﻤﻰﺗﻮﺍﻧﻴﺪ ﺍﺯ ﺁﻥ ﻓﺮﺍﺭ ﻛﻨﻴﺪ‪«.‬‬ ‫ﺩﺭ ﺟﺎﻳﻰ ﺩﻳﮕﺮ ﺍﺯ ﻛﺘﺎﺏ ﺩﺭﺍﻛﻮﻻ ﺍﺯ ﻳﻜﻰ ﺍﺯ ﺗﺎﺭﻳﺨﺪﺍﻧﺎﻥ ﻛﻪ ﺑﻪ ﺩﻧﺒﺎﻝ ﺍﻭ ﺑﻮﺩﻩ ﻣﻰﭘﺮﺳﺪ‪» :‬ﺗﺎﺭﻳﺦ‬ ‫ﺑﻪ ﻣﺎ ﻣﻰﺁﻣﻮﺯﺩ ﻛﻪ ﻃﺒﻴﻌﺖ ﺑﺸﺮ ﻋﻤﻴﻘﺎً ﺷﻴﻄﺎﻧﻰ ﺍﺳﺖ‪ .‬ﺧﻴﺮ ﺑﻪ ﻛﻤﺎﻝ ﻧﻤﻰﺭﺳﺪ ﺍﻣﺎ ﺷﺮ ﭼﺮﺍ‪ .‬ﭼﺮﺍ‬ ‫ﺫﻫﻦ ﺧﻮﺩ ﺭﺍ ﺩﺭ ﺧﺪﻣﺖ ﭼﻴﺰﻯ ﺩﺭ ﻧﻴﺎﻭﺭﻳﻢ ﻛﻪ ﺑﻪ ﻛﻤﺎﻝ ﻣﻰﺭﺳﺪ؟ ﻫﻴﭻ ﻛﻤﺎﻟﻰ ﺑﻪ ﭘﺎﻳﻪﻯ ﻛﻤﺎﻝ‬ ‫ﻋﺬﺍﺑﻰ ﻧﻴﺴﺖ ﻛﻪ ﺩﺭ ﺗﺎﺭﻳﺦ ﺑﻪ ﭼﺸﻢ ﻣﻰﺧﻮﺭﺩ‪ .‬ﺷﻤﺎ ﺑﻪ ﻫﻤﺎﻥ ﭼﻴﺰﻯ ﺩﺳﺖ ﺧﻮﺍﻫﻴﺪ ﻳﺎﻓﺖ ﻛﻪ‬ ‫ﺁﺭﺯﻭﻯ ﻫﺮ ﻣﻮﺭﺧﻰ ﺍﺳﺖ‪ .‬ﺗﺎﺭﻳﺦ ﺑﺮﺍﻳﺘﺎﻥ ﻭﺍﻗﻌﻴﺖ ﺧﻮﺍﻫﺪ ﺑﻮﺩ‪ .‬ﺍﺫﻫﺎﻧﻤﺎﻥ ﺭﺍ ﺩﺭ ﺧﻮﻥ ﺧﻮﺍﻫﻴﻢ ﺷﺴﺖ‬ ‫ﻭ ﭘﺎﻙ ﺧﻮﺍﻫﻴﻢ ﻛﺮﺩ‪«.‬‬ ‫ﺩﺭ ﻧﻬﺎﻳﺖ ﺍﻳﻦ ﻛﺘﺎﺏ ﺍﺯ ﺳﻮﻯ ﻣﻨﺘﻘﺪﻳﻦ ﻧﻴﺰ ﺍﺯ ﻫﺮ ﺩﻭ ﺳﻮ ﺑﺎ ﺍﺳﺘﻘﺒﺎﻝ ﺑﺎﻻﻳﻰ ﺭﻭﺑﻪﺭﻭ ﺑﻮﺩﻩ ﺍﺳﺖ‪.‬‬ ‫ﺍﺯ ﺳﻮﻳﻰ ﻛﺎﺳﺘﻮﻭﺍ ﺑﻪ ﺧﺎﻃﺮ ﻗﺪﺭﺕ ﺗﺨﻴﻞ ﺑﺎﻻ ﻭ ﺗﺼﻮﻳﺮﭘﺮﺩﺍﺯﻯ ﺣﻘﻴﻘﻰﺍﺵ ﻣﻮﺭﺩ ﺗﻤﺠﻴﺪ ﻭﺍﻗﻊ‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،9-10‬ﺷﻬﺮﻳﻮﺭ ﻭ ﻣﻬﺮ ‪1390‬‬

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‫ﻛﺘﺎﺏ‬

‫ﻭﺍﻻﺷﻴﺎ ﻫﺮﮔﺰ ﻳﺎﻓﺖ ﻧﺸﺪﻩ ﺍﺳﺖ‪.‬‬ ‫ﻭﻻﺩ ﺳﻮﻡ ﻳﺎ ﻭﻻﺩﻳﺴﻼﺋﻮﺱ ﻛﻪ ﺩﺭ ﺗﺎﺭﻳﺦ ﺍﻭ ﺭﺍ ﺑﻪ ﻧﺎﻡ ﻭﻻﺩ ﺻﻼﺑﻪﮔﺮ ﻭ ﺩﺭ ﺍﺩﺑﻴﺎﺕ ﺑﻪ ﻧﺎﻡ ﻛﻨﺖ‬ ‫ﺩﺭﺍﻛﻮﻻ ﻣﻰﺷﻨﺎﺳﻨﺪ‪ ،‬ﺷﺎﻫﺰﺍﺩﻩﻯ ﻭﺍﻻﺷﻴﺎ ﻳﺎ ﻫﻤﺎﻥ ﺗﺮﺍﻧﺴﻴﻠﻮﺍﻧﻴﺎﻯ ﻓﻌﻠﻰ ﺑﻮﺩﻩ ﺍﺳﺖ ﻛﻪ ﺩﺭ ﺯﻣﺎﻥ‬ ‫ﺳﻠﻄﺎﻥ ﻣﺤﻤﻮﺩ ﺩﻭﻡ ﻓﺮﻣﺎﻧﺮﻭﺍﻯ ﻋﺜﻤﺎﻧﻰ ﺩﺭﺑﺮﺍﺑﺮ ﻳﻮﺭﺵ ﺍﻭ ﺑﻪ ﺍﻣﭙﺮﺍﻃﻮﺭﻯ ﺭﻭﻡ ﻣﻘﺎﻭﻣﺖ ﻣﻰﻛﻨﺪ‪.‬‬ ‫ﭘﺪﺭ ﺍﻭ ﻭﻻﺩ ﺩﺭﺍﻛﻮﻝ ﻳﻜﻰ ﺍﺯ ﺍﻋﻀﺎﻯ ﮔﺮﻭﻩ ﺷﻮﺍﻟﻴﻪﮔﺮﻯ »ﺳﻮﺳﻴﺘﺎﺱ ﺩﺭﺍﻛﻮﻧﻴﺴﺘﺮﺍﺭﻭﻡ« )‪ (5‬ﺑﻮﺩ‬ ‫ﻛﻪ ﻋﺒﺎﺭﺗﻰ ﺍﺳﺖ ﻻﺗﻴﻦ ﺑﻪ ﻣﻌﻨﻰ ﻓﺮﻗﻪﻯ ﺍژﺩﻫﺎ‪ .‬ﺍﺯ ﻭﻻﺩ ﺗﭙﺶ ﺑﻪ ﻫﻤﻴﻦ ﺩﻟﻴﻞ ﺩﺭ ﺑﺴﻴﺎﺭﻯ ﺍﺯ‬ ‫ﻣﺪﺍﺭﻙ ﺗﺎﺭﻳﺨﻰ ﺑﺎ ﻧﺎﻡ ﺩﺭﺍﻛﻮﻟﻴﺎ ﻧﺎﻡ ﺑﺮﺩﻩ ﺷﺪﻩ ﺍﺳﺖ ﻛﻪ ﺑﻪ ﻣﻌﻨﻰ ﭘﺴﺮ ﺩﺭﺍﻛﻮﻝ ﺍﺳﺖ‪ .‬ﺑﺎﻭﺭ ﺑﺮ ﺍﻳﻦ‬ ‫ﺍﺳﺖ ﻛﻪ ﺣﺪﺍﻗﻞ ﻧﺎﻡ ﺍﻭ ﺍﻟﻬﺎﻡ ﺑﺨﺶ ﺑﺮﺍﻡ ﺍﺳﺘﻮﻛﺮ ﺑﺮﺍﻯ ﻧﺎﻡﮔﺬﺍﺭﻯ ﺧﻮﻥﺁﺷﺎﻡ ﻣﻌﺮﻭﻓﺶ ﺑﻮﺩﻩ ﺍﺳﺖ‪.‬‬ ‫ﻫﻤﺎﻧﻨﺪ ﻛﺘﺎﺏ ﺍﺳﺘﻮﻛﺮ ﻛﻪ ﺑﻪ ﺻﻮﺭﺕ ﻧﺎﻣﻪﻫﺎﻳﻰ ﺍﺳﺖ ﻛﻪ ﺷﺮﺡ ﺳﻔﺮ ﭼﻨﺪﻳﻦ ﻣﺎﺟﺮﺍﺟﻮ ﻭ ﻧﻬﺎﻳﺘﺎً‬ ‫ﻣﻼﻗﺎﺕ ﺑﺎ ﺧﻮﻥﺁﺷﺎﻡ ﺭﺍ ﺩﺭ ﺑﺮ ﺩﺍﺭﻧﺪ‪ ،‬ﻛﺘﺎﺏ ﻛﺎﺳﺘﻮﻭﺍ ﻣﺠﻤﻮﻋﻪﻯ ﻧﺎﻣﻪﻫﺎﻯ ﺩﻭ ﺗﺎﺭﻳﺨﺪﺍﻥ ﺍﺳﺖ‬ ‫ﻭ ﻧﻴﺰ ﻧﺎﻣﻪﻫﺎﻳﻰ ﺍﺯ ﮔﺬﺷﺘﻪﻯ ﺗﺎﺭﻳﺦ ﺑﻪ ﻃﻮﺭﻯ ﻛﻪ ﺑﺮﺧﻰ ﺍﺯ ﺍﻳﻦ ﻧﺎﻣﻪﻫﺎ ﺩﺭ ﺯﻣﺎﻥ ﺗﺼﺮﻑ ﺍﺭﻭﭘﺎﻯ‬ ‫ﺷﺮﻗﻰ ﺗﻮﺳﻂ ﺍﻣﭙﺮﺍﻃﻮﺭﻯ ﻋﺜﻤﺎﻧﻰ ﻧﮕﺎﺷﺘﻪ ﺷﺪﻩ ﺍﺳﺖ‪ .‬ﻫﻢﭼﻨﻴﻦ ﺩﺍﺳﺘﺎﻥﺳﺮﺍﻯ ﺍﺻﻠﻰ ﺩﺧﺘﺮ ﻳﻜﻰ‬ ‫ﺍﺯ ﺗﺎﺭﻳﺨﺪﺍﻧﺎﻥ ﺍﺳﺖ ﻭ ﻣﺎﺟﺮﺍﻯ ﺍﺻﻠﻰ ﻛﺘﺎﺏ ﺗﻮﺳﻂ ﺍﻭ ﺷﺮﺡ ﺩﺍﺩﻩ ﻣﻰﺷﻮﺩ‪ .‬ﻛﺘﺎﺏ ﺩﺭ ﺳﻪ ﺑﺨﺶ‬ ‫ﻧﻮﺷﺘﻪ ﺷﺪﻩ ﺍﺳﺖ ﻭ ﺍﺯ ﺷﻬﺮ ﺁﻣﺴﺘﺮﺩﺍﻡ ﺷﺮﻭﻉ ﻣﻰﺷﻮﺩ ﻭ ﺩﺭ ﺗﺮﻛﻴﻪ ﻭ ﻣﺠﺎﺭﺳﺘﺎﻥ ﻭ ﺑﻠﻐﺎﺭﺳﺘﺎﻥ ﺑﻪ‬ ‫ﭘﻴﺶ ﻣﻰﺭﻭﺩ‪.‬‬ ‫ﻫﻤﺎﻥﻃﻮﺭ ﻛﻪ ﮔﻔﺘﻪ ﺷﺪ ﺍﻳﻦ ﻛﺘﺎﺏ ﺑﺎ ﺍﺳﺘﻘﺒﺎﻝ ﺑﻰﻧﻈﻴﺮﻯ ﺭﻭﺑﻪﺭﻭ ﺷﺪ‪ ،‬ﺑﻪ ﻃﻮﺭﻯ ﻛﻪ ﺩﺭ‬ ‫ﺁﻣﺮﻳﻜﺎ ﺗﺎ ﺳﺎﻝ ‪ 2005‬ﺭﻛﻮﺭﺩ ﺳﺮﻳﻊﺗﺮﻳﻦ ﻓﺮﻭﺵ ﺭﺍ ﺷﻜﺴﺖ ﻭ ﻫﻢﭼﻨﻴﻦ ﺟﺎﻳﺰﻩﻯ ﻛﻴﻞ ﻭ ﺑﻮﻙ‬ ‫ﺳﻨﺲ ﺭﺍ ﺑﻪ ﺗﺮﺗﻴﺐ ﺩﺭ ‪ 2005‬ﻭ ‪ 2006‬ﺑﻪ ﺩﺳﺖ ﺁﻭﺭﺩ ﻭ ﺩﺭ ﺳﺎﻝ ‪ 2005‬ﻧﻴﺰ ﻧﺎﻣﺰﺩ ﺟﺎﻳﺰﻩﻯ‬ ‫»ﺍﻳﻨﺘﺮﻧﺸﻨﺎﻝ ﻫﺎﺭﺭ ﮔﻴﻠﺪ« ﺷﺪ‪ .‬ﺑﺨﺸﻰ ﺍﺯ ﺍﻳﻦ ﺍﺳﺘﻘﺒﺎﻝ ﺷﺎﻳﺪ ﺑﻪ ﺧﺎﻃﺮ ﺷﺒﺎﻫﺖ ﺿﻤﻨﻰ ﻛﺘﺎﺏ ﺑﺎ ﺭﺍﺯ‬ ‫ﺩﺍﻭﻳﻨﭽﻰ ﺩﻥ ﺑﺮﺍﻭﻥ ﺑﺎﺷﺪ‪ .‬ﺍﻣﺎ ﺍﮔﺮ ﻛﺘﺎﺏ ﺭﺍ ﺑﺨﻮﺍﻧﻴﻢ ﻣﻰﺑﻴﻨﻴﻢ ﻛﻪ ﻛﺘﺎﺏ ﺍﺯ ﻟﺤﻦ ﺭﻭﺯﻧﺎﻣﻪﻧﮕﺎﺭﺍﻧﻪﻯ‬ ‫ﻛﺘﺎﺏﻫﺎﻯ ﺑﺮﺍﻭﻥ ﺑﻪ ﺩﻭﺭ ﺍﺳﺖ‪ .‬ﻣﺘﻦ ﻛﺘﺎﺏ ﻛﺎﻣ ً‬ ‫ﻼ ﻓﺎﺧﺮ ﺍﺳﺖ ﻭ ﻗﺪﺭﺕ ﺗﻮﺻﻴﻒ ﻧﻮﻳﺴﻨﺪﻩ ﺑﺴﻴﺎﺭ ﺑﺎﻻ‬ ‫ﺍﺳﺖ‪ .‬ﻫﻢﭼﻨﻴﻦ ﺑﺮ ﺧﻼﻑ ﻛﺘﺎﺏﻫﺎﻯ ﺑﺮﺍﻭﻥ ﺩﺭ ﺩﺍﺳﺘﺎﻥ ﺍﺯ ﻣﻜﺎﻥﻫﺎﻯ ﻭﺍﻗﻌﻰ ﺻﺤﺒﺖ ﻧﻤﻰﺷﻮﺩ‪.‬‬ ‫ﺑﻪ ﺟﺰ ﻣﻜﺎﻥﻫﺎﻳﻰ ﭼﻮﻥ ﺳﻮﻓﻴﻪ‪ ،‬ﺑﻮﺩﺍﭘﺴﺖ ﻭ ﺍﺳﺘﺎﻧﺒﻮﻝ ﻛﻪ ﺣﻘﻴﻘﻰ ﻫﺴﺘﻨﺪ ﺷﻬﺮﻫﺎﻯ ﻛﻮﭼﻚ ﻭ‬ ‫ﺩﻫﻜﺪﻩﻫﺎﻳﻰ ﻛﻪ ﺩﺍﺳﺘﺎﻥ ﺍﺻﻠﻰ ﺩﺭ ﺁﻥﻫﺎ ﺭﺥ ﻣﻰﺩﻫﺪ ﻳﺎ ﺻﻮﻣﻌﻪﻫﺎﻳﻰ ﻛﻪ ﺑﻘﺎﻳﺎﻯ ﺩﺭﺍﻛﻮﻻ ﺑﺎﻳﺪ ﺩﺭ‬ ‫ﺁﻥﻫﺎ ﺑﺎﺷﺪ ﻭﺟﻮﺩ ﺧﺎﺭﺟﻰ ﻧﺪﺍﺭﻧﺪ‪ .‬ﻛﺎﺳﺘﻮﻭﺍ ﮔﻔﺘﻪ ﻣﺎﻳﻞ ﻧﻴﺴﺖ ﺧﻮﺍﻧﻨﺪﻩ ﺭﺍ ﺑﺎ ﻣﻜﺎﻥﻫﺎﻯ ﺣﻘﻴﻘﻰ‬ ‫ﮔﻴﺞ ﻛﻨﺪ‪.‬‬ ‫ﺍﺯ ﺧﺼﻮﺻﻴﺎﺕ ﺩﻳﮕﺮ ﻛﺘﺎﺏ ﺗﻔﺎﻭﺕ ﻋﻤﺪﻩﺍﻯ ﺍﺳﺖ ﻛﻪ ﺑﺎ ﻛﺘﺎﺏﻫﺎﻯ ﺧﻮﻥﺁﺷﺎﻣﻰ ﻧﺴﻞ ﺟﺪﻳﺪ ﺩﺍﺭﺩ‪.‬‬ ‫ﻛﺘﺎﺏ ﺑﻪ ﺟﺎﻯ ﺗﻤﺮﻛﺰ ﺑﻴﺶ ﺍﺯ ﺣﺪ ﺭﻭﻯ ﺧﻮﻥ ﻭ ﺧﻮﻥﺭﻳﺰﻯ ﻭ ﺍﻳﺠﺎﺩ ﻭﺣﺸﺖ ﺍﺯ ﺍﻳﻦ ﻃﺮﻳﻖ‪ ،‬ﺑﺮ‬ ‫ﺭﻭﻯ ﺩﺍﻧﺶ ﻭ ﺗﺎﺭﻳﺦ ﺗﻤﺮﻛﺰ ﺩﺍﺭﺩ ﻭ ﺑﺎ ﺍﻳﺠﺎﺩ ﺣﺲ ﺗﻌﻠﻴﻖ ﻭ ﻭﺍﻗﻌﻰﻧﻤﺎﻳﻰ ﺷﻤﺎ ﺭﺍ ﺑﻪ ﻓﻜﺮ ﻓﺮﻭ ﻣﻰﺑﺮﺩ‬ ‫‪185‬‬

‫ﻭﻳﮋﻩﻧﺎﻣﻪﻯ ﺧﻮﻥﺁﺷﺎﻡﻫﺎ‬

‫ﻗﺒﺮﻯ ﺑﺰﺭگ ﻭﺟﻮﺩ ﺩﺍﺷﺖ ﻛﻪ ﺍﺯ ﺑﻘﻴﻪﻱ ﻗﺒﺮﻫﺎ ﺑﺴﻴﺎﺭ ﺑﺎﺷﻜﻮﻩﺗﺮ ﺑﻮﺩ‪ .‬ﺑﺴﻴﺎﺭ ﺑﺰﺭگ ﺑﺎ ﺍﺑﻌﺎﺩ‬ ‫ﺑﺎﺷﻜﻮﻩ ﻭ ﺷﺎﻫﺎﻧﻪ‪ .‬ﺭﻭﻯ ﺁﻥ ﻳﻚ ﻛﻠﻤﻪ ﻧﻮﺷﺘﻪ ﺷﺪﻩ ﺑﻮﺩ‪:‬‬

‫ﺩﺭﺍﻛﻮﻻ‬ ‫ ﺑﺮﺍﻡ ﺍﺳﺘﻮﻛﺮ )‪ ،(3‬ﺩﺭﺍﻛﻮﻻ‪1897 ،‬‬‫‪‬ﺍﻟﻴﺰﺍﺑﺖ ﻛﺎﺳﺘﻮﻭﺍ ﻣﺘﻮﻟﺪ ﺩﺳﺎﻣﺒﺮ ‪ 1964‬ﺍﺳﺖ ﻭ ﺩﺭ ﻧﻴﻮﻻﻧﺪﻥ ﻛﻨﺘﻴﻜﺖ ﺑﻪ ﺩﻧﻴﺎ ﺁﻣﺪﻩ ﺍﺳﺖ‪ .‬ﺍﻭﻟﻴﻦ‬ ‫ﻭ ﻣﻌﺮﻭﻑﺗﺮﻳﻦ ﺍﺛﺮ ﺍﻭ ﻛﻪ ﺩﺭ ﺳﺎﻝ ‪ 2005‬ﺭﻛﻮﺭﺩ ﺳﺮﻳﻊﺗﺮﻳﻦ ﻓﺮﻭﺵ ﺭﺍ ﺩﺭ ﺗﺎﺭﻳﺦ ﺁﻣﺮﻳﻜﺎ ﺷﻜﺴﺖ‪،‬‬ ‫ﻛﺘﺎﺏ ﻣﻮﺭﺥ ﺍﺳﺖ‪ .‬ﻣﺒﻠﻎ ﻋﺎﺩﻯ ﻗﺮﺍﺭﺩﺍﺩ ﺑﺮﺍﻯ ﺍﻭﻟﻴﻦ ﺍﺛﺮ ﻳﻚ ﻧﻮﻳﺴﻨﺪﻩﻯ ﮔﻤﻨﺎﻡ ﺩﺭ ﺁﻣﺮﻳﻜﺎ ‪30000‬‬ ‫ﺩﻻﺭ ﺍﺳﺖ‪ ،‬ﺍﻣﺎ ﺷﺮﻛﺖ ﺍﻧﺘﺸﺎﺭﺍﺗﻰ ﻟﻴﺘﻞ ﺑﺮﺍﻭﻥ ﻭ ﺷﺮﻛﺎ ﺑﺎ ﭘﻴﺸﻨﻬﺎﺩ ﻣﺒﻠﻎ ‪ 2‬ﻣﻴﻠﻴﻮﻥ ﺩﻻﺭ ﺩﺭ ﻣﻨﺎﻗﺼﻪ‬ ‫ﺑﺮﺍﻯ ﺧﺮﻳﺪ ﺣﻖ ﺍﻧﺘﺸﺎﺭ ﺍﻳﻦ ﻛﺘﺎﺏ ﭘﻴﺮﻭﺯ ﻣﻰﺷﻮﺩ‪ .‬ﺩﺭ ﺗﻮﺿﻴﺢ ﺑﺮﺍﻯ ﺍﻳﻦ ﻣﺒﻠﻎ ﺳﻨﮕﻴﻦ ﺍﻳﻦ ﻧﺎﺷﺮ‬ ‫ﭘﺎﺳﺦ ﻣﻰﺩﻫﺪ ﻛﻪ ﻫﻤﻪ ﻣﻄﻤﺌﻦ ﺑﻮﺩﻧﺪ ﺍﻳﻦ ﻛﺘﺎﺏ ﺭﺍﺯ ﺩﺍﻭﻳﻨﭽﻰ ﺑﻌﺪﻯ ﺧﻮﺍﻫﺪ ﺑﻮﺩ‪.‬‬ ‫ﺑﺎ ﺗﺒﻠﻴﻐﺎﺕ ﺑﺎﻻﻳﻰ ﻛﻪ ﺑﺮﺍﻯ ﺍﻳﻦ ﻛﺘﺎﺏ ﺷﺪ )ﻫﺮ ﭼﻨﺪ ﺯﻳﺎﺩ‪ ،‬ﺍﻣﺎ ﻧﻪ ﺑﻴﺸﺘﺮ ﺍﺯ ﺍﺳﺘﺤﻘﺎﻕ ﻭﺍﻗﻌﻰﺍﺵ(‬ ‫ﺍﻳﻦ ﻛﺘﺎﺏ ﺑﻪ ﺯﻭﺩﻯ ﺑﻪ ﺑﻴﺴﺖ ﻭ ﻫﺸﺖ ﺯﺑﺎﻥ ﺗﺮﺟﻤﻪ ﺷﺪ ﻭ ﺗﺎ ﻣﺪﺕﻫﺎ ﭘﺮﻓﺮﻭﺵﺗﺮﻳﻦ ﻛﺘﺎﺏ ﺩﺭ‬ ‫ﺑﺴﻴﺎﺭﻯ ﺍﺯ ﻛﺸﻮﺭﻫﺎ ﺑﻮﺩ‪ .‬ﻫﻢﭼﻨﻴﻦ ﺧﻴﻠﻰ ﺯﻭﺩ ﻛﺘﺎﺏ ﺑﻪ ﺧﺎﻃﺮ ﺳﺒﻚ ﻧﮕﺎﺭﺵ ﻭ ﺗﻠﻔﻴﻖ ﺩﻭ ﮔﻮﻧﻪﻯ‬ ‫ﺍﺩﺑﻰ ﻣﺎﺟﺮﺍﺟﻮﻳﻰ ﻭ ﺗﺎﺭﻳﺨﻰ ﺑﻪ ﺳﻴﺎﻕ »ﺭﺍﺯ ﺩﺍﻭﻳﻨﭽﻰ« ﺑﻪ »ﺭﺍﺯ ﺩﺭﺍﻛﻮﻻ« ﻣﻌﺮﻭﻑ ﺷﺪ‪.‬‬ ‫ﺍﻳﻦ ﻛﺘﺎﺏ ﺭﺍ ﺩﺭ ﺳﺒﻚﻫﺎﻯ ﺍﺩﺑﻰ ﻣﺨﺘﻠﻔﻰ ﻃﺒﻘﻪﺑﻨﺪﻯ ﻛﺮﺩﻩﺍﻧﺪ‪ .‬ﺍﺯ ﺟﻤﻠﻪ ﮔﻮﺗﻴﻚ‪ ،‬ﻣﺎﺟﺮﺍﺟﻮﻳﺎﻧﻪ‪،‬‬ ‫ﻛﺎﺭﺁﮔﺎﻫﻰ‪ ،‬ﺳﻔﺮﻧﺎﻣﻪ‪ ،‬ﺭﻣﺎﻥ ﺗﺎﺭﻳﺨﻰ ﭘﺴﺖﻣﺪﺭﻥ‪ ،‬ﺩﺍﺳﺘﺎﻥ ﻣﺠﻤﻮﻋﻪﻧﺎﻣﻪﺍﻯ ﻭ ﺗﺎﺭﻳﺨﻰ‪-‬ﺣﺎﺩﺛﻪﺍﻯ‪.‬‬ ‫ﻫﺮ ﭼﻨﺪ ﺑﺨﺸﻰ ﺍﺯ ﺍﻳﻦ ﻛﺘﺎﺏ ﺑﺮ ﭘﺎﻳﻪﻯ ﻛﺘﺎﺏ ﺩﺭﺍﻛﻮﻻﻯ ﺑﺮﺍﻡ ﺍﺳﺘﻮﻛﺮ ﻧﻮﺷﺘﻪ ﺷﺪﻩ ﺍﺳﺖ‪ ،‬ﺗﺮﺳﻨﺎﻙ‬ ‫ﻧﻴﺴﺖ ﻭ ﺑﻴﺸﺘﺮ ﻭﻫﻤﻰ ﻭ ﺣﺎﺩﺛﻪﺍﻯ ﺍﺳﺖ‪.‬‬ ‫ﺍﻟﻴﺰﻟﺒﺖ ﻛﺎﺳﺘﻮﻭﺍ ﺭﻳﺸﻪﻯ ﺍﻟﻬﺎﻡﻫﺎﻯ ﺧﻮﺩ ﺑﺮﺍﻯ ﻧﮕﺎﺭﺵ ﺍﻳﻦ ﻛﺘﺎﺏ ﺭﺍ ﭘﺪﺭﺵ ﻭ ﺩﺍﺳﺘﺎﻥﻫﺎﻯ ﺍﻭ‬ ‫ﺩﺭﺑﺎﺭﻩﻯ ﺩﺭﺍﻛﻮﻻ ﻣﻰﺩﺍﻧﺪ‪ .‬ﺧﺎﻧﻮﺍﺩﻩﻯ ﺍﻭ ﻫﻨﮕﺎﻣﻰ ﻛﻪ ﭘﺪﺭﺵ ﺩﺭ ﺩﺍﻧﺸﮕﺎﻫﻰ ﺩﺭ ﺍﺳﻠﻮﻭﻧﻰ ﺗﺪﺭﻳﺲ‬ ‫ﻣﻰﻛﺮﺩ ﺳﺎﻛﻦ ﺍﺭﻭﭘﺎ ﺑﻮﺩﻧﺪ ﻭ ﺩﺭ ﺍﺭﻭﭘﺎ ﺳﻔﺮ ﻣﻰﻛﺮﺩﻧﺪ‪ .‬ﻫﻢﭼﻨﻴﻦ ﻣﺎﺩﺭ ﺍﻟﻴﺰﺍﺑﺖ ﻛﺘﺎﺑﺪﺍﺭ ﺑﻮﺩ ﻭ ﺍﻭ ﻭ‬ ‫ﺧﻮﺍﻫﺮﺵ ﻣﻰﺗﻮﺍﻧﺴﺘﻨﺪ ﺗﺎ ‪ 30‬ﻛﺘﺎﺏ ﺭﺍ ﺍﺯ ﻛﺘﺎﺑﺨﺎﻧﻪ ﺧﺎﺭﺝ ﻛﻨﻨﺪ‪.‬‬ ‫ﻭﻯ ﺍﺯ ﺩﺍﻧﺸﮕﺎﻩ ﻳﻴﻞ ﻣﺪﺭﻙ ﻛﺎﺭﺷﻨﺎﺳﻰ ﻭ ﺩﺭ ﺩﺍﻧﺸﮕﺎﻩ ﻣﻴﺸﻴﮕﺎﻥ ﺩﺭ ﺭﺷﺘﻪﻯ ﻫﻨﺮ ﻛﺎﺭﺷﻨﺎﺳﻰ‬ ‫ﺍﺭﺷﺪ ﮔﺮﻓﺘﻪ ﺍﺳﺖ‪ .‬ﻫﻢﭼﻨﻴﻦ ﻣﻄﺎﻟﻌﺎﺕ ﮔﺴﺘﺮﺩﻩﺍﻯ ﺩﺭ ﺗﺎﺭﻳﺦ ﻭ ﻫﻨﺮ ﻭ ﻣﻌﻤﺎﺭﻯ ﺍﺭﻭﭘﺎﻯ ﺷﺮﻗﻰ‬ ‫ﺩﺍﺭﺩ‪ .‬ﺩﺭ ‪ 1994‬ﺍﻭﻟﻴﻦ ﺑﺎﺭ ﻓﻜﺮ ﻧﻮﺷﺘﻦ ﺩﺍﺳﺘﺎﻧﻰ ﺩﺭﺑﺎﺭﻩﻯ ﺩﺭﺍﻛﻮﻻ ﺑﻪ ﺫﻫﻨﺶ ﻣﻰﺭﺳﺪ‪ .‬ﻟﺤﻈﻪﻯ‬ ‫ﻃﻼﻳﻰ ﺑﺮﺍﻯ ﻧﻮﺷﺘﻦ ﺭﻣﺎﻥ ﻣﻮﺭﺥ ﺑﺮﺍﻯ ﺍﻭ ﻭﻗﺘﻰ ﺑﻮﺩ ﻛﻪ ﻓﻬﻤﻴﺪ ﺑﻘﺎﻳﺎﻯ ﻭﻻﺩ ﺗﭙﺶ )‪ ،(4‬ﺷﺎﻫﺰﺍﺩﻩﻯ‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،9-10‬ﺷﻬﺮﻳﻮﺭ ﻭ ﻣﻬﺮ ‪1390‬‬

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‫ﻣﻮ ﺭ ﺥ‬ ‫ﻓﺮﺯﻳﻦ ﺳﻮﺭﻯ‬

‫ﺷﻨﺎﺳﻨﺎﻣﻪ‬ ‫ﻧﺎﻡ ﻛﺘــﺎﺏ‪ :‬ﻣـــﻮ ﺭ ﺥ‬ ‫ﻧﻮ ﻳﺴﻨــﺪ ﻩ ‪ :‬ﺍﻟﻴﺰﺍﺑﺖ ﻛﺎﺳﺘﻮﻭﺍ )‪(2‬‬ ‫ﻣﺘــﺮ ﺟـﻢ ‪ :‬ژﺍﻟـﻪ ﻧﻮﻳﻨـــﻰ‬ ‫ﻧـﺎ ﺷــــﺮ ‪ :‬ﺍﻧﺘﺸﺎﺭﺍﺕ ﻛﺎﺭﻭﺍﻥ‬ ‫ﻧﻮﺑﺖ ﭼـﺎپ‪1 3 8 8 :‬‬ ‫ﺗﻴــــﺮ ﺍ ژ ‪ 2000 :‬ﻧﺴﺨــــﻪ‬ ‫)‪(1‬‬

‫ﺗﻠﻮﻳﺰﻳﻮﻥ‬

‫ﺍﺯ ﺍﻳﻦ ﻣﻨﻈﺮ ﺣﺘﺎ ﺧﻮﻥﺁﺷﺎﻡﻫﺎﻯ ﺩﺍﺳﺘﺎﻥ ﻫﻢ ﭼﻨﺪﺍﻥ ﻏﺮﻳﺒﻪ ﻧﻴﺴﺘﻨﺪ‪ ،‬ﻫﺮ ﻛﺠﺎ ﻛﻪ ﻣﺎ ﭘﺲﺯﻣﻴﻨﻪﺍﻯ‬ ‫ﺍﺯ ﺯﻧﺪﮔﻰ ﻳﻚ ﺧﻮﻥﺁﺷﺎﻡ ﻣﻌﺮﻭﻑ ﻣﻰﺑﻴﻨﻴﻢ‪ ،‬ﺩﺭ ﺁﻥ ﻓﻘﺮ ﻭ ﻓﺤﺸﺎ ﻭ ﻓﺴﺎﺩ ﻫﺴﺖ‪ .‬ﺍﻧﺠﻞ )ﺁﻧﺠﻠﻮﺱ(‬ ‫ﺟﻮﺍﻥ ﺧﻮﺵﮔﺬﺭﺍﻥ ﻭ ﻓﺎﺳﺪﻯ ﺑﻮﺩﻩ ﻛﻪ ﺗﻮﺳﻂ ﺩﺧﺘﺮ ﺧﻮﻥﺁﺷﺎﻡ ﺩﻳﮕﺮﻯ ﺗﺒﺪﻳﻞ ﻣﻰﺷﻮﺩ‪.‬‬ ‫ﺩﺧﺘﺮﻯ ﻛﻪ ﺍﻧﺠﻞ ﺭﺍ ﺑﻪ ﺧﻮﻥ ﺁﺷﺎﻡ ﺗﺒﺪﻳﻞ ﻣﻰﻛﻨﺪ‪) ،‬ﺩﺍﺭﻻ( ﭘﻴﺶ ﺍﺯ ﺁﻥ ﻛﻪ ﺧﻮﻥﺁﺷﺎﻡ ﺷﻮﺩ‪،‬‬ ‫ﻓﺎﺣﺸﻪﺍﻯ ﺑﻮﺩﻩ ﻛﻪ ﺑﻪ ﺑﻴﻤﺎﺭﻯ ﻣﻬﻠﻚ ﺳﻴﻔﻠﻴﺲ ﻣﺒﺘﻼ ﺑﻮﺩﻩ ﺍﺳﺖ‪ .‬ﺩﺭ ﺑﻌﻀﻰ ﻗﺴﻤﺖﻫﺎﻯ ﺳﺮﻳﺎﻝ‪،‬‬ ‫ﺟﻮﺍﻥﻫﺎﻯ ﺧﻮﺵﺧﻴﺎﻝ ﻭ ﺳﺒﻚﺳﺮﻯ ﺭﺍ ﻣﻰ ﺑﻴﻨﻴﻢ ﻛﻪ ﺑﻪ ﻋﺸﻖ ﺯﻧﺪﮔﻰ ﺟﺎﻭﺩﺍﻧﻪ ﺩﺭ ﺑﻪ ﺩﺭ ﺑﻪ‬ ‫ﺩﻧﺒﺎﻝ ﺧﻮﻥﺁﺷﺎﻡﻫﺎ ﻫﺴﺘﻨﺪ ﺗﺎ ﺭﻭﺡ ﺧﻮﺩ ﺭﺍ ﺑﻔﺮﻭﺷﻨﺪ ﻭ ﺑﻪ ﭘﻴﺎﻣﺪﻫﺎﻯ ﻳﻚ ﺯﻧﺪﮔﻰ ﺁﻥﭼﻨﺎﻧﻰ ﻓﻜﺮ‬ ‫ﻧﻤﻰﻛﻨﻨﺪ‪.‬‬ ‫ﮔﻮﻳﻰ ﺩﺭﺱ ﭘﻨﻬﺎﻥ ﻣﺠﻤﻮﻋﻪ ﺑﺮﺍﻯ ﮔﺮﻭﻩ ﻣﺨﺎﻃﺐ ﺍﺻﻠﻰﺍﺵ ﻛﻪ ﻧﻮﺟﻮﺍﻥﻫﺎ ﺑﺎﺷﺪ‪ ،‬ﭘﻴﻮﻧﺪ ﺯﺩﻥ‬ ‫ﻓﺴﺎﺩ ﻭ ﺗﺒﺎﻫﻰ ﺍﺳﺖ ﺑﺎ ﭘﻠﻴﺪﻯ ﻭ ﺍﺯ ﺩﺳﺖ ﺭﻓﺘﻦ ﺭﻭﺡ ﺍﻧﺴﺎﻧﻰ‪ .‬ﺧﻮﻥﺁﺷﺎﻡﻫﺎ ﻗﻮﻯ ﻭ ﺯﻳﺒﺎ ﻭ ﺟﺎﻭﺩﺍﻧﻪ‬ ‫ﻫﺴﺘﻨﺪ‪ ،‬ﺍﻣﺎ ﻭﻗﺘﻰ ﺯﻧﺪﮔﻰﺷﺎﻥ ﺭﺍ ﺍﺯ ﺯﺍﻭﻳﻪﻯ ﺩﻳﺪ ﺍﻧﺠﻞ ﻧﮕﺎﻩ ﻣﻰﻛﻨﻴﻢ‪ ،‬ﺩﻳﮕﺮ ﺁﻥﻗﺪﺭ ﺑﺎ ﺷﻜﻮﻩ ﺑﻪ‬ ‫ﻧﻈﺮ ﻧﻤﻰﺭﺳﺪ‪ .‬ﺍﻧﺠﻞ ﺑﺎﺭﻫﺎ ﻭﺳﻮﺳﻪ ﻣﻰﺷﻮﺩ ﻛﻪ ﺷﺐ ﺭﻭﻯ ﻳﻚ ﺑﻠﻨﺪﻯ ﺑﻨﺸﻴﻨﺪ ﻭ ﻣﻨﺘﻈﺮ ﻃﻠﻮﻉ‬ ‫ﺧﻮﺭﺷﻴﺪ ﺷﻮﺩ‪ ،‬ﺗﺎ ﺑﺮﺍﻯ ﺁﺧﺮﻳﻦ ﺑﺎﺭ ﺑﺘﻮﺍﻧﺪ‪ ،‬ﻃﻠﻮﻋﻰ ﺭﺍ ﺗﻤﺎﺷﺎ ﻛﻨﺪ ﻭ ﺑﻌﺪ ﺧﺎﻛﺴﺘﺮ ﺷﻮﺩ‪.‬‬ ‫ﺍﺩﺍﻣﻪ‬ ‫ﻫﻨﮕﺎﻣﻰ ﻛﻪ ﺍﻳﻦ ﺩﻭ ﺳﺮﻳﺎﻝ ﺳﺎﺧﺘﻪ ﻭ ﭘﺨﺶ ﺷﺪﻧﺪ‪ ،‬ﺗﻨﻬﺎ ﻣﺠﻤﻮﻋﻪﻫﺎﻯ ﺗﻠﻮﻳﺰﻳﻮﻧﻰ ﻣﻄﺮﺡ ﺩﺭ‬ ‫ﺯﻣﻴﻨﻪﻯ ﺧﻮﻥﺁﺷﺎﻡﻫﺎ ﺑﻮﺩﻧﺪ‪ .‬ﺑﻌﺪﻫﺎ ﻓﻴﻠﻢﻫﺎ ﻭ ﺳﺮﻳﺎﻝﻫﺎﻯ ﺑﺴﻴﺎﺭﻯ ﺑﺎ ﻣﺤﻮﺭﻳﺖ ﺧﻮﻥﺁﺷﺎﻡﻫﺎ‬ ‫ﺳﺎﺧﺘﻪ ﺷﺪﻧﺪ ﻭ ﻣﺎﺟﺮﺍﻫﺎﻯ ﻋﺸﻘﻰ ﻣﻴﺎﻥ ﺍﻧﺴﺎﻥﻫﺎ ﻭ ﺧﻮﻥﺁﺷﺎﻡﻫﺎ ﺑﻪ ﻳﻜﻰ ﺍﺯ ﺩﺳﺘﻤﺎﻳﻪﻫﺎﻯ ﺍﺻﻠﻰ‬ ‫ﺍﻳﻦ ژﺍﻧﺮ ﺳﻴﻨﻤﺎﻳﻰ ﺑﺪﻝ ﺷﺪ‪ .‬ﺩﺭ ﺍﻳﻦ ﺯﻣﻴﻨﻪ‪ ،‬ﺳﺮﻯ ﻛﺘﺎﺏﻫﺎ ﻭ ﻓﻴﻠﻢﻫﺎﻯ »ﺷﻔﻖ« ﺭﺍ ﺩﺍﺭﻳﻢ ﻛﻪ‬ ‫ﺩﺭ ﺁﻥ ﻫﻢ ﺩﻭ ﺷﺨﺼﻴﺖ ﺍﺻﻠﻰ ﺩﺍﺳﺘﺎﻥ‪ ،‬ﻳﻚ ﺩﺧﺘﺮ ﻣﻌﻤﻮﻟﻰ ﻭ ﻳﻚ ﭘﺴﺮ ﺧﻮﻥﺁﺷﺎﻡ ﺍﺳﺖ‪ .‬ﭘﺴﺮ‬ ‫ﻗﻬﺮﻣﺎﻥ ﺩﺍﺳﺘﺎﻥ ﻫﻤﺎﻧﻨﺪ ﺍﻧﺠﻞ‪ ،‬ﺑﺮﮔﺰﻳﺪﻩ ﻛﻪ ﺑﻪ ﺍﻧﺴﺎﻥﻫﺎ ﺁﺯﺍﺭ ﻧﺮﺳﺎﻧﺪ ﻭ ﺧﻮﻥ ﺣﻴﻮﺍﻧﺎﺕ ﺭﺍ ﺑﺨﻮﺭﺩ ﻭ‬ ‫ﺩﺧﺘﺮ ﻗﻬﺮﻣﺎﻥ ﺩﺍﺳﺘﺎﻥ ﻫﻢ ﻣﺎﻧﻨﺪ ﺑﺎﻓﻰ ﺁﻣﺎﺩﻩ ﺍﺳﺖ ﺑﻬﺎﻯ ﻋﺸﻘﺶ ﺭﺍ ﺑﭙﺮﺩﺍﺯﺩ‪ .‬ﮔﻮﻳﻰ ﺍﻳﻦ ﻣﺎﺟﺮﺍﻯ‬ ‫ﻋﺎﺷﻘﺎﻧﻪ ﻣﻴﺎﻥ ﺩﻭ ﻣﻮﺟﻮﺩ ﻧﺎﻫﻢﺳﺎﻥ‪ ،‬ﻣﻴﺎﻥ ﺩﻳﻮ ﻭ ﺩﻟﺒﺮ‪ ،‬ﭼﻨﺎﻥ ﻛﺸﺸﻰ ﺑﺮﺍﻯ ﻣﺨﺎﻃﺒﺎﻥ ﭘﻴﺪﺍ ﻛﺮﺩﻩ‬ ‫ﻛﻪ ﺣﺎﻻ ﻛﻢﻛﻢ ﺩﺍﺭﻳﻢ ﺷﺎﻫﺪ ﺗﻮﻟﻴﺪ ﺍﻧﺒﻮﻩ ﺍﻳﻦ ﮔﻮﻧﻪ ﻓﻴﻠﻢﻫﺎ‪ ،‬ﺳﺮﻳﺎﻝﻫﺎ ﻭ ﻛﺘﺎﺏﻫﺎ ﻣﻰﺷﻮﻳﻢ‪.‬‬

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‫ﻭﻳﮋﻩﻧﺎﻣﻪﻯ ﺧﻮﻥﺁﺷﺎﻡﻫﺎ‬

‫ﺩﺭﻭﻥﻣﺎﻳﻪﻫﺎ ﻭ ﻓﻀﺎﺳﺎﺯﻯ‬ ‫ﺑﺎ ﻭﺟﻮﺩ ﻳﻚ ﺭﺍﺑﻄﻪﻯ ﻋﺎﺷﻘﺎﻧﻪﻯ ﻏﻤﮕﻴﻦ ﻭ ﺑﻰﺳﺮﺍﻧﺠﺎﻡ ﻭ ﻧﺒﺮﺩ ﻧﻪ ﭼﻨﺪﺍﻥ ﺑﺮﺍﺑﺮ ﻣﻴﺎﻥ ﺧﻴﺮ ﻭ ﺷﺮ‪،‬‬ ‫ﺩﻭﺭﻧﻤﺎﻯ ﻛﻠﻰ ﺳﺮﻳﺎﻝ ﺑﺎﻓﻰ ﻣﮕﺮ ﺗﺎ ﻧﺰﺩﻳﻚ ﻓﺼﻮﻝ ﺁﺧﺮ ﺷﺎﺩ ﻭ ﺭﻧﮕﻰ ﺍﺳﺖ‪ .‬ﻓﻀﺎ‪ ،‬ﻓﻀﺎﻯ ﺩﺑﻴﺮﺳﺘﺎﻥ‬ ‫ﺍﺳﺖ‪ ،‬ﻃﻨﺰ ﻇﺮﻳﻔﻰ ﺩﺭ ﺩﺍﺳﺘﺎﻥ ﻭﺟﻮﺩ ﺩﺍﺭﺩ ﻭ ﻫﻤﻪﻯ ﻧﺒﺮﺩﻫﺎ ﺑﻪ ﻧﻔﻊ ﻧﻴﺮﻭﻯ ﺧﻴﺮ ﭘﺎﻳﺎﻥ ﻣﻰﭘﺬﻳﺮﺩ‪.‬‬ ‫ﺩﺭﻭﻥ ﻣﺎﻳﻪﻯ ﺍﺻﻠﻰ ﺳﺮﻳﺎﻝ‪ ،‬ﻫﻤﺎﻥ ﻧﺒﺮﺩ ﻣﻴﺎﻥ ﺧﻴﺮ ﻭ ﺷﺮ ﺍﺳﺖ‪ .‬ﺑﻪ ﻧﻈﺮ ﻣﻰﺭﺳﺪ ﻛﻪ ﻧﻴﺮﻭﻯ ﺧﻴﺮ‬ ‫ﺑﻪ ﻗﺪﺭ ﻛﻔﺎﻳﺖ ﻗﺪﺭﺕ ﺍﻳﺴﺘﺎﺩﻥ ﻣﻘﺎﺑﻞ ﺗﺎﺭﻳﻜﻰ ﺭﺍ ﻧﺪﺍﺷﺘﻪ ﺑﺎﺷﺪ‪ .‬ﺳﻤﺖ ﺧﻴﺮ‪ ،‬ﺩﺧﺘﺮﻯ ﺟﻮﺍﻥ ﻭ‬ ‫ﺧﺴﺘﻪ ﺍﺳﺖ ﻭ ﺳﻤﺖ ﺷﺮ‪ ،‬ﺳﭙﺎﻩ ﻫﻴﻮﻻﻫﺎ ﻭ ﺧﻮﻥﺁﺷﺎﻡﻫﺎ‪ .‬ﺑﺎ ﺍﻳﻦ ﺣﺎﻝ ﻫﻴﭻﮔﺎﻩ ﻛﻔﻪﻯ ﺗﺮﺍﺯﻭ ﺑﻪ ﻃﻮﺭ‬ ‫ﻛﺎﻣﻞ ﺑﻪ ﺳﻤﺖ ﻧﻴﺮﻭﻯ ﺷﺮ ﺳﻨﮕﻴﻦ ﻧﻤﻰﺷﻮﺩ ﻭ »ﺧﻴﺮ« ﺑﺎ ﺍﻧﺪﻙ ﻧﻴﺮﻭﻫﺎﻳﺶ ﭘﻴﺮﻭﺯ ﻣﻴﺪﺍﻥ ﻣﻰﺷﻮﺩ‪.‬‬ ‫ﺷﺨﺼﻴﺖ ﻣﺮﻛﺰﻯ ﺳﺮﻳﺎﻝ‪ ،‬ﺑﺎﻓﻰ ﺍﺳﺖ ﻛﻪ ﻣﺠﻬﺰ ﺑﻪ ﻧﻴﺮﻭﻯ ﺟﻮﺍﻧﻰ ﺍﺳﺖ ﻭ ﺗﻌﻠﻴﻢ ﺩﻳﺪﻩ ﻧﺰﺩ ﻣﺒﺎﺭﺯﺍﻥ‬ ‫ﺭﻭﺷﻨﺎﻳﻰ‪.‬‬ ‫ﺑﺮ ﻋﻜﺲ ﺳﺮﻳﺎﻝ ﺑﺎﻓﻰ‪ ،‬ﺍﻧﺠﻞ ﺍﺯ ﻫﻤﺎﻥ ﺍﺑﺘﺪﺍ ﺗﻴﺮﻩ ﻭ ﺗﺎﺭﻳﻚ ﻭ ﻧﺎﺍﻣﻴﺪﺍﻧﻪ ﺍﺳﺖ‪ .‬ﺩﺭ ﺍﻧﺠﻞ ﻣﺤﻮﺭﻳﺖ‬ ‫ﺩﺍﺳﺘﺎﻥ‪ ،‬ﺷﺨﺼﻴﺖ ﻏﻤﮕﻴﻦ ﻭ ﻧﺎﺍﻣﻴﺪ ﺍﻧﺠﻞ ﺍﺳﺖ ﻛﻪ ﺳﺎﻳﻪﻯ ﺳﻨﮕﻴﻦ ﻭ ﭘﻠﻴﺪ ﺁﻧﺠﻠﻮﺱ ﭘﺸﺘﺶ‬ ‫ﺑﺮ ﺩﻳﻮﺍﺭ ﻗﺪ ﺑﺮﺍﻓﺮﺍﺷﺘﻪ‪ .‬ﺍﻧﺠﻞ‪ ،‬ﭘﻮﻳﺶ ﺷﺨﺼﻰ ﺍﻧﺠﻞ ﺍﺳﺖ ﺑﻪ ﺟﺴﺘﺠﻮﻯ ﺁﻣﺮﺯﺵ ﻭ ﺭﺳﺘﮕﺎﺭﻯ‪.‬‬ ‫ﺑﻪ ﺟﺴﺘﺠﻮﻯ ﻣﺮگ ﺣﺘﺎ ﻛﻪ ﺍﺯ ﺭﻧﺞ ﻗﺮﻭﻥ ﻭ ﺍﻋﺼﺎﺭ ﻧﺠﺎﺗﺶ ﺩﻫﺪ‪ُ .‬ﻓﺮﻡ ﻛﻠﻰ ﻣﺠﻤﻮﻋﻪ ﻣﺎﻧﻨﺪ ﺑﺎﻓﻰ‬ ‫ﺍﺳﺖ‪ ،‬ﻫﺮ ﻗﺴﻤﺖ ﻳﻚ ﺩﺍﺳﺘﺎﻥ ﺑﻪ ﺧﺼﻮﺹ ﺩﺍﺭﺩ ﻛﻪ ﻣﺠﺰﺍ ﺍﺯ ﻗﺴﻤﺖﻫﺎﻯ ﺩﻳﮕﺮ ﺍﺳﺖ‪ ،‬ﺍﻣﺎ ﺍﻧﺠﻞ‬ ‫ﺧﻴﻠﻰ ﺯﻭﺩ ﭘﻰﺭﻧﮕﻰ ُﻛﻠﻰ ﭘﻴﺪﺍ ﻣﻰﻛﻨﺪ‪ ،‬ﺁﻥ ﻫﻢ ﭘﻴﺪﺍ ﺷﺪﻥ ﺩﺳﺖ ﻧﻮﺷﺘﻪﺍﻯ ﺍﺳﺖ ﻛﻪ ﺑﻪ ﺍﻧﺠﻞ ﻧﻮﻳﺪ‬ ‫ﻣﻰﺩﻫﺪ ﻣﻰﺗﻮﺍﻧﺪ ﺟﺎﻳﻰ ﺍﺯ ﺯﻣﺎﻥ »ﺍﻧﺴﺎﻥ« ﺷﻮﺩ ﻭ ﺑﻪ ﻣﺮگ ﺍﻧﺴﺎﻧﻰ ﺑﻤﻴﺮﺩ‪ .‬ﺍﻣﺎ ﻋﻠﻰﺭﻏﻢ ﺷﺒﺎﻫﺖ‬ ‫ﻓﺮﻡ‪ ،‬ﺍﻳﻦ ﺳﺎﻳﻪﻯ ﺍﻧﺪﻭﻩ ﻭ ﻳﺄﺱ ﻛﻪ ﺑﺮ ﺍﻳﻦ ﻣﺠﻤﻮﻋﻪ ﺍﻓﺘﺎﺩﻩ‪ ،‬ﺑﻪ ﻛﻞ ﺍﺯ ﻣﺠﻤﻮﻋﻪﻯ ﺑﺎﻓﻰ ﻣﺘﻤﺎﻳﺰﺵ‬ ‫ﻣﻰﻛﻨﺪ ﻭ ﻓﺼﻞ ﭼﻬﺎﺭﻡ ﺍﻳﻦ ﺳﺮﻳﺎﻝ ﭼﻨﺎﻥ ﺗﻴﺮﻩ ﻭ ﺗﺎﺭﻳﻚ ﻭ ﻏﻢﺍﻓﺰﺍ ﻣﻰﺷﻮﺩ ﻛﻪ ﺷﺎﻳﺪ ﺑﺸﻮﺩ ﮔﻔﺖ‬ ‫ﺷﻜﺴﺖ ﺳﺮﻳﺎﻝ ﺩﺭ ﻓﺼﻞ ﭘﻨﺠﻢ ﺑﻰﺭﺑﻂ ﺑﻪ ﺍﻳﻦ ﻗﻀﻴﻪ ﻧﺒﻮﺩﻩ ﺍﺳﺖ‪.‬‬ ‫ﺧﻮﻥﺁﺷﺎﻡﻫﺎ ﺩﺭ ﺍﻛﺜﺮ ﻓﻴﻠﻢﻫﺎ ﻭ ﺩﺍﺳﺘﺎﻥﻫﺎ‪ ،‬ﻧﻤﺎﺩ ﻗﺸﺮ ﺭﺍﻧﺪﻩ ﺷﺪﻩ ﺍﺯ ﺟﺎﻣﻌﻪ ﻫﺴﺘﻨﺪ‪ .‬ﺟﺎﻳﻰ ﻧﻤﺎﺩ‬ ‫ﺍﻗﻠﻴﺖﻫﺎﻯ ﻧﮋﺍﺩﻯ‪ ،‬ﺟﺎﻯ ﺩﻳﮕﺮ ﻧﻤﺎﺩ ﺍﻗﻠﻴﺖﻫﺎﻯ ﺟﻨﺴﻰ‪ ،‬ﺟﺎﻳﻰ ﻫﻢ ﻧﻤﺎﺩ ﺍﻗﻠﻴﺖﻫﺎﻯ ﻣﺬﻫﺒﻰ‪ .‬ﺩﺭ‬ ‫ﺍﻳﻦ ﺩﻭ ﻣﺠﻤﻮﻋﻪ ﻫﻢ ﻣﻰﺷﻮﺩ ﺭﺩ ﺍﻳﻦ ﻗﻀﻴﻪ ﺭﺍ ﮔﺮﻓﺖ‪» .‬ﺷﻴﻄﺎﻧﻚﻫﺎﻯ« ﻣﺎﺟﺮﺍ‪ ،‬ﻣﻮﺟﻮﺩﺍﺗﻰ ﻓﻘﻴﺮ‬ ‫ﻭ ﺑﻴﻤﺎﺭ ﻫﺴﺘﻨﺪ ﻛﻪ ﺩﺭ ﺯﺍﻏﻪﻫﺎ ﻭ ﺧﺮﺍﺑﻪﻫﺎﻯ ﺷﻬﺮ ﺯﻧﺪﮔﻰ ﻣﻰﻛﻨﻨﺪ‪ ،‬ﭼﻬﺮﻩﻫﺎﻯ ﻧﺎﺯﻳﺒﺎ ﺩﺍﺭﻧﺪ ﻭ‬ ‫ﻋﻠﻰﺭﻏﻢ ﺍﻳﻦ ﻛﻪ ﻣﻮﺟﻮﺩﺍﺗﻰ ﭘﻠﻴﺪ ﺍﺯ ﺑﻌﺪﻯ ﺩﻳﮕﺮ ﻣﺤﺴﻮﺏ ﻣﻰﺷﻮﻧﺪ‪ ،‬ﺍﻣﺎ ﺍﺯ ﺍﻧﺴﺎﻥﻫﺎ ﻭ ﺟﺎﻣﻌﻪﻯ‬ ‫ﺍﻧﺴﺎﻧﻰ ﻫﺮﺍﺱ ﺩﺍﺭﻧﺪ ﻭ ﺩﺭ ﺍﺧﺘﻔﺎ ﺯﻧﺪﮔﻰ ﻣﻰﻛﻨﻨﺪ‪ .‬ﺯﺷﺘﻰ ﭼﻬﺮﻩﻯ ﺍﻳﻦ ﻣﻮﺟﻮﺩﺍﺕ‪ ،‬ﻧﺸﺎﻧﻪﻯ‬ ‫ﺩﻳﮕﺮﻯ ﺍﺳﺖ ﺍﺯ ﻃﺮﺩ ﺷﺪﮔﻰ ﺁﻥﻫﺎ ﻭ ﺷﺎﻳﺪ ﻛﻪ ﺑﺎ ﻧﮕﺎﻫﻰ ﻫﺮ ﭼﻨﺪ ﺳﻄﺤﻰ‪ ،‬ﺯﻧﺪﮔﻰ ﺧﻴﺎﺑﺎﻥ‬ ‫ﺧﻮﺍﺏﻫﺎ ﻭ ﺑﻰﺧﺎﻧﻤﺎﻥﻫﺎﻯ ﺟﺎﻣﻌﻪﻯ ﺁﻣﺮﻳﻜﺎ ﺭﺍ ﻧﺸﺎﻥ ﻣﻰﺩﻫﺪ‪.‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،9-10‬ﺷﻬﺮﻳﻮﺭ ﻭ ﻣﻬﺮ ‪1390‬‬

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‫ﺗﻠﻮﻳﺰﻳﻮﻥ‬

‫ﺷﺨﺼﻴﺖﭘﺮﺩﺍﺯﻯ‬ ‫ﺷﺨﺼﻴﺖﻫﺎﻯ ﺍﺻﻠﻰ ﺳﺮﻳﺎﻝ ﻫﻤﮕﻰ ﺩﺑﻴﺮﺳﺘﺎﻧﻰ ﻫﺴﺘﻨﺪ؛ ﺩﻏﺪﻏﻪﻫﺎ‪ ،‬ﻣﺸﻜﻼﺕ ﻭ ﺍﺣﺴﺎﺳﺎﺕ‬ ‫ﻧﻮﺟﻮﺍﻥﻫﺎ ﺭﺍ ﺩﺍﺭﻧﺪ ﻭ ﺩﻧﻴﺎ ﺭﺍ ﺍﺯ ﺯﺍﻭﻳﻪﻯ ﺩﻳﺪ ﺧﻮﺩﺷﺎﻥ ﺗﻔﺴﻴﺮ ﻣﻰﻛﻨﻨﺪ‪ .‬ﺑﺎﻓﻰ ﺷﺐﻫﺎ ﺩﺧﺘﺮ‬ ‫ﺷﺠﺎﻋﻰ ﺍﺳﺖ ﻛﻪ ﺑﻰﺍﻃﻼﻉ ﻣﺎﺩﺭﺵ ﺍﺯ ﭘﻨﺠﺮﻩ ﺑﻴﺮﻭﻥ ﻣﻰﺭﻭﺩ ﻭ ﺑﺎ ﺧﻮﻥﺁﺷﺎﻡﻫﺎ ﻭ ﺩﻳﮕﺮ ﭘﻠﻴﺪﻯﻫﺎﻯ‬ ‫ﺷﺐ ﻧﺒﺮﺩ ﻣﻰﻛﻨﺪ ﻭ ﺍﻳﻦ ﻧﺒﺮﺩ ﻫﻴﭻ ﺍﻓﺘﺨﺎﺭﻯ ﺑﺮﺍﻳﺶ ﻧﺪﺍﺭﺩ‪ ،‬ﻛﺴﻰ ﺍﺯ ﺷﺠﺎﻋﺖﻫﺎﻳﺶ ﺑﺎﺧﺒﺮ‬ ‫ﻧﻴﺴﺖ ﻭ ﻧﻤﻰﺩﺍﻧﺪ ﻫﺮ ﺷﺐ ﭼﻨﺪ ﺑﺎﺭ ﺟﺎﻧﺶ ﺭﺍ ﺑﻪ ﺧﻄﺮ ﻣﻰﺍﻧﺪﺍﺯﺩ‪ .‬ﻫﻤﻴﻦ ﺑﺎﻓﻰ ﺭﻭﺯﻫﺎ ﻳﻚ ﻧﻮﺟﻮﺍﻥ‬ ‫ﭘﺮﻳﺸﺎﻥ ﻭ ﺁﺷﻔﺘﻪ ﺍﺳﺖ ﻛﻪ ﺑﺎ ﻣﺎﺩﺭﺵ ﺳﺮﻧﺎﺳﺎﺯﮔﺎﺭﻯ ﺩﺍﺭﺩ ﻭ ﭘﺴﺮ ﻣﺤﺒﻮﺑﺶ ﺭﺍ ﺑﻪ ﺩﺳﺖ ﻧﻤﻰﺁﻭﺭﺩ‪،‬‬ ‫ﺍﺯ ﺩﺧﺘﺮ ﺯﻳﺒﺎﻯ ﻛﻼﺱ ﺧﻮﺷﺶ ﻧﻤﻰﺁﻳﺪ ﻭ ﺩﺭﺳﺶ ﻫﻢ ﺁﻥﻗﺪﺭﻯ ﻛﻪ ﺩﻟﺶ ﻣﻰﺧﻮﺍﻫﺪ ﺧﻮﺏ‬ ‫ﻧﻴﺴﺖ‪ .‬ﺑﺎ ﺍﻳﻦﺣﺎﻝ‪ ،‬ﺷﺨﺼﻴﺖ ﺑﺎﻓﻰ‪ ،‬ﺁﻥ ﻧﻮﺟﻮﺍﻥ ﺑﻰﻓﻜﺮ ﻭ ﻧﺎﭘﺨﺘﻪﻯ ﻏﺮﺑﻰ ﻧﻴﺴﺖ ﻛﻪ ﺍﻧﺘﻈﺎﺭﺵ ﺭﺍ‬ ‫ﺩﺍﺭﻳﻢ‪ .‬ﺑﺎﻓﻰ ﺑﺮ ﺧﻼﻑ ﺳﺎﻳﺮ ﺩﺧﺘﺮﻫﺎﻯ ﻫﻢﻛﻼﺳﻰﺍﺵ ﺑﻪ ﻓﻜﺮ ﺍﺯ ﺭﺍﻩ ﺑﻪ ﺩﺭ ﺑﺮﺩﻥ ﭘﺴﺮﻫﺎ ﻧﻴﺴﺖ‪،‬‬ ‫ﺳﺮﮔﺮﻣﻰﻫﺎﻯ ﻣﻌﻤﻮﻝ ﻭ ﻣﺘﺪﺍﻭﻝ ﺁﻥﻫﺎ ﺭﺍ ﻧﺪﺍﺭﺩ‪ ،‬ﻧﮕﺎﻫﺶ ﻋﻤﻴﻖ ﺍﺳﺖ‪ ،‬ﺧﻨﺪﻩﻫﺎﻯ ﺳﺒﻜﺴﺮﺍﻧﻪ‬ ‫ﻧﺪﺍﺭﺩ‪ ،‬ﻟﺒﺎﺱ ﭘﻮﺷﻴﺪﻧﺶ ﻣﻌﻤﻮﻻً ﺳﻨﮕﻴﻦ ﻭ ﺑﺎﻭﻗﺎﺭ ﺍﺳﺖ ﻭ ﺩﺭ ﻳﻚ ﻛﻼﻡ‪ ،‬ﺑﺎﻓﻰ ﺩﺭﺩﺁﺷﻨﺎ ﺍﺳﺖ‪.‬‬ ‫ﺩﺭﺩ ﻭ ﺭﻧﺞ ﻭ ﻧﺰﺩﻳﻜﻰ ﻣﺮگ ﭘﺨﺘﻪﺍﺵ ﻛﺮﺩﻩ ﻭ ﺍﮔﺮﭼﻪ ﻫﻨﻮﺯ ﺑﺎ ﻣﺸﻜﻼﺕ ﻳﻚ ﻧﻮﺟﻮﺍﻥ ﻃﺮﻑ‬ ‫ﺍﺳﺖ‪ ،‬ﺍﻣﺎ ﺍﺯ ﺁﻥ ﻧﻮﺟﻮﺍﻥﻫﺎ ﻧﻴﺴﺖ ﻛﻪ ﻫﺪﻑ ﻗﻠﻢ ﻧﻘﺪ ﻣﻨﺘﻘﺪﻫﺎﻯ ﺁﺳﻴﺐﻫﺎﻯ ﺍﺟﺘﻤﺎﻋﻰ ﻫﺴﺘﻨﺪ‪.‬‬ ‫ﺷﺨﺼﻴﺖ ﻣﻬﻢ ﺩﻳﮕﺮ ﺩﺍﺳﺘﺎﻥ‪ ،‬ﺍﻧﺠﻞ ﺍﺳﺖ ﻛﻪ ﭘﻴﺶﺗﺮ ﺩﺭﺑﺎﺭﻩﺍﺵ ﺻﺤﺒﺖ ﺷﺪ‪ .‬ﺍﻧﺠﻞ ﺍﺯ ﺍﻳﻦ ﻧﻈﺮ‬ ‫ﺑﻪ ﺑﺎﻓﻰ ﺷﺒﺎﻫﺖ ﺩﺍﺭﺩ ﻛﻪ ﻏﻤﮕﻴﻦ ﻭ ﻋﻤﻴﻖ ﻭ ﺳﺎﻛﺖ ﺍﺳﺖ‪ .‬ﺍﻣﺎ ﺟﻨﺲ ﻏﻢ ﺍﻧﺠﻞ ﺑﺎ ﺑﺎﻓﻰ ﻣﺘﻔﺎﻭﺕ‬ ‫ﺍﺳﺖ‪ .‬ﺍﻧﺠﻞ ﺑﺎﺭ ﮔﻨﺎﻫﺎﻥ ﭼﻨﺪﻳﻦ ﻗﺮﻧﺶ ﺭﺍ ﺑﻪ ﺩﻭﺵ ﻣﻰﻛﺸﺪ‪ ،‬ﺑﺎﻓﻰ ﻧﻮﺟﻮﺍﻥ ﺧﺴﺘﻪﺍﻯ ﺍﺳﺖ ﻛﻪ‬ ‫ﻫﺮﮔﺰ ﻧﻤﻰﺗﻮﺍﻧﺪ ﻳﻚ ﺯﻧﺪﮔﻰ ﻣﻌﻤﻮﻟﻰ ﺩﺍﺷﺘﻪ ﺑﺎﺷﺪ‪ .‬ﺍﻣﺎ ﺑﻪ ﻫﺮﺣﺎﻝ ﻧﻜﺘﻪﺍﻯ ﻛﻪ ﺍﻳﻦ ﺩﻭ ﺭﺍ ﺑﻪ ﻫﻢ‬ ‫ﭘﻴﻮﻧﺪ ﻣﻰﺩﻫﺪ‪ ،‬ﻫﻤﺎﻥ ﺭﺍﻧﺪﻩ ﺷﺪﻥ ﺍﺯ ﺟﺎﻣﻌﻪﺍﻯ ﺍﺳﺖ ﻛﻪ ﺑﺎﻳﺪ ﺑﺪﺍﻥ ﺗﻌﻠﻖ ﺩﺍﺷﺘﻪ ﺑﺎﺷﻨﺪ‪ .‬ﺍﻧﺠﻞ ﺍﺯ‬ ‫ﺟﺎﻣﻌﻪﻯ ﺧﻮﻥﺁﺷﺎﻡﻫﺎ ﺭﺍﻧﺪﻩ ﺷﺪﻩ ﺍﺳﺖ ﻭ ﻫﺮﮔﺰ ﺟﺎﻳﻰ ﺩﺭ ﻣﻴﺎﻥ ﺍﻧﺴﺎﻥﻫﺎ ﻧﺨﻮﺍﻫﺪ ﺩﺍﺷﺖ‪ ،‬ﺑﺎﻓﻰ ﻫﻢ‬ ‫ﺍﻧﺴﺎﻧﻰ ﺍﺳﺖ ﻛﻪ ﻫﺮﮔﺰ ﻧﻤﻰﺗﻮﺍﻧﺪ ﺩﺭﺩﻫﺎ‪ ،‬ﺗﺮﺱﻫﺎ‪ ،‬ﺁﺭﺯﻭﻫﺎ ﻭ ﻓﻘﺪﺍﻥﻫﺎﻳﺶ ﺭﺍ ﺑﺎ ﺩﻳﮕﺮ ﺍﻧﺴﺎﻥﻫﺎ ﺩﺭ‬ ‫ﻣﻴﺎﻥ ﺑﮕﺬﺍﺭﺩ‪ .‬ﻭ ﺭﺍﺑﻄﻪﻯ ﻋﺎﺷﻘﺎﻧﻪﺍﻯ ﻛﻪ ﻣﻴﺎﻥ ﺁﻥ ﺩﻭ ﺷﻜﻞ ﻣﻰﮔﻴﺮﺩ‪ ،‬ﺣﺘﺎ ﻫﻤﻪ ﭼﻴﺰ ﺭﺍ ﻏﻤﮕﻴﻦﺗﺮ‬ ‫ﻭ ﺁﺷﻔﺘﻪﺗﺮ ﻣﻰﻛﻨﺪ‪.‬‬ ‫ﺳﺎﻳﺮ ﺷﺨﺼﻴﺖﻫﺎﻯ ﺩﺍﺳﺘﺎﻥ‪ ،‬ﻣﺎﻧﻨﺪ ﺧﻮﻥﺁﺷﺎﻡﻫﺎﻯ ﻣﻬﻢ‪ ،‬ﺩﻭﺳﺖﻫﺎﻯ ﺑﺎﻓﻰ‪ ،‬ﻣﺸﺎﻫﺪﻩﮔﺮﻯ‬ ‫ﻛﻪ ﻣﻌﻠﻢ ﺑﺎﻓﻰ ﻫﻢ ﻫﺴﺖ ﻭ ﺷﺎﮔﺮﺩﻫﺎﻯ ﻣﺪﺭﺳﻪ‪ ،‬ﻫﻤﮕﻰ ﺷﺨﺼﻴﺖﻫﺎﻯ ﺣﺎﺷﻴﻪﺍﻯ ﻫﺴﺘﻨﺪ ﻭ‬ ‫ﻫﻴﭻﻛﺪﺍﻡ ﭘﺮﺩﺍﺧﺖ ﺧﺎﺻﻰ ﻧﺪﺍﺭﻧﺪ‪ .‬ﺑﺎ ﺍﻳﻦ ﺣﺎﻝ ﻫﻤﺎﻥﻃﻮﺭ ﻛﻪ ﺭﺳﻢ ﻣﺠﻤﻮﻋﻪﻫﺎﻯ ﺗﻠﻮﻳﺰﻳﻮﻧﻰ ﺍﺳﺖ‪،‬‬ ‫ﺩﺭ ﻃﻮﻝ ﺳﺮﻳﺎﻝ‪ ،‬ﻫﺮ ﺍﺯ ﮔﺎﻫﻰ ﻳﻚ ﻗﺴﻤﺖ ﺑﻪ ﻃﻮﺭ ﻛﺎﻣﻞ ﺑﻪ ﻳﻜﻰ ﺍﺯ ﺍﻳﻦ ﺷﺨﺼﻴﺖﻫﺎ ﺍﺧﺘﺼﺎﺹ‬ ‫ﺩﺍﺩﻩ ﻣﻰﺷﻮﺩ ﺗﺎ ﺍﺯ ﺍﻳﻦ ﺭﺍﻩ‪ ،‬ﺁﻥ ﺷﺨﺼﻴﺖ ﺑﻴﺸﺘﺮ ﭘﺮﺩﺍﺧﺖ ﺷﻮﺩ‪.‬‬

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‫ﻭﻳﮋﻩﻧﺎﻣﻪﻯ ﺧﻮﻥﺁﺷﺎﻡﻫﺎ‬

‫ﺧﻮﺍﺹ ﻓﻴﺰﻳﻜﻰ‪ ،‬ﺟﺎﺩﻭﻳﻰ ﺧﺎﺻﻰ ﺩﺍﺭﺩ‪.‬‬ ‫ﺍﻧﺠﻞ‪ :‬ﺍﻧﺠﻞ ﺩﺭ ﺍﺑﺘﺪﺍ ﻳﻜﻰ ﺍﺯ ﺷﺨﺼﻴﺖﻫﺎﻯ ﻓﺮﻋﻰ ﺩﺍﺳﺘﺎﻥ ﺍﺳﺖ‪ ،‬ﺍﻣﺎ ﺑﻪ ﺗﺪﺭﻳﺞ ﺗﺒﺪﻳﻞ ﺑﻪ‬ ‫ﻳﻜﻰ ﺍﺯ ﺷﺨﺼﻴﺖﻫﺎﻯ ﻛﻠﻴﺪﻯ ﻣﻰﺷﻮﺩ ﻭ ﺣﺘﺎ ﺷﺎﻳﺪ ﺑﺘﻮﺍﻥ ﮔﻔﺖ ﺑﻪ ﻣﺮﻛﺰ ﺍﻳﻦ ﻣﺠﻤﻮﻋﻪ ﻭ‬ ‫ﻣﺠﻤﻮﻋﻪﻯ ﺍﻧﺠﻞ ﺗﺒﺪﻳﻞ ﻣﻰﺷﻮﺩ‪ .‬ﺍﻧﺠﻞ ﺧﻮﻥﺁﺷﺎﻣﻰ ﺍﺳﺖ ﻛﻪ ﺭﻭﺡ ﺩﺍﺭﺩ‪ .‬ﺍﻭ ﻳﻜﻰ ﺍﺯ ﻣﺨﻮﻑﺗﺮﻳﻦ‬ ‫ﻭ ﺑﻰﺭﺣﻢﺗﺮﻳﻦ ﺧﻮﻥﺁﺷﺎﻡﻫﺎﻯ ﺯﻣﺎﻥ ﺍﺳﺖ ﻭ ﻧﺎﻡ ﻭﺍﻗﻌﻰﺍﺵ »ﺁﻧﺠﻠﻮﺱ« ﺑﻮﺩﻩ ﺍﺳﺖ‪ .‬ﺍﻣﺎ ﺯﻣﺎﻧﻰ ﻛﻪ‬ ‫ﺩﺧﺘﺮ ﻳﻚ ﻛﻮﻟﻰ ﺭﺍ ﺷﻜﻨﺠﻪ ﻣﻰﺩﺍﺩﻩ‪ ،‬ﻛﻮﻟﻰﻫﺎ ﻧﻔﺮﻳﻨﺶ ﻛﺮﺩﻧﺪ ﻛﻪ ﺭﻭﺣﺶ ﺑﻪ ﺟﺴﻢ ﻓﻨﺎ ﺷﺪﻩﺍﺵ‬ ‫ﺑﺎﺯﮔﺮﺩﺩ‪ .‬ﺑﺎﺯﮔﺸﺖ ﺭﻭﺡ ﺑﻪ ﺟﺴﻤﺶ‪ ،‬ﻫﻤﺮﺍﻩ ﺍﺳﺖ ﺑﺎ ﺧﻮﺩﺁﮔﺎﻫﻰ ﺍﺯ ﺗﻤﺎﻡ ﺷﺮﺍﺭﺕﻫﺎﻳﻰ ﻛﻪ ﺩﺭ‬ ‫ﮔﺬﺷﺘﻪ ﺩﺭ ﺟﺴﻢ ﺁﻧﺠﻠﻮﺱ ﺍﻧﺠﺎﻡ ﺩﺍﺩﻩ‪ .‬ﻭ ﺑﻪ ﺍﻳﻦ ﺗﺮﺗﻴﺐ ﺑﺎ ﻭﻗﻮﻑ ﺍﺯ ﺗﻤﺎﻡ ﺟﻨﺎﻳﺎﺗﻰ ﻛﻪ ﻣﺮﺗﻜﺐ‬ ‫ﺷﺪﻩ‪ ،‬ﺭﻧﺠﻰ ﻋﻈﻴﻢ ﺑﺮ ﺭﻭﺡ ﻭ ﺟﺎﻧﺶ ﻓﺮﻭﺩ ﻣﻰﺁﻳﺪ‪ .‬ﺁﻧﺠﻠﻮﺱ ﻧﺎﻣﺶ ﺭﺍ ﺑﻪ ﺍﻧﺠﻞ ﺗﻐﻴﻴﺮ ﻣﻰﺩﻫﺪ‬ ‫ﻭ ﺩﺭ ﺟﺴﺘﺠﻮﻯ ﺭﺍﻫﻰ ﺑﺮﺍﻯ ﺟﺒﺮﺍﻥ ﻗﺮﻥﻫﺎ ﺷﺮﺍﺭﺕ‪ ،‬ﺗﻼﺵ ﻣﻰﻛﻨﺪ ﺑﺎ ﻣﻮﺟﻮﺩﺍﺕ ﭘﻠﻴﺪ ﻣﺒﺎﺭﺯﻩ‬ ‫ﻛﻨﺪ‪ .‬ﺍﻣﺎ ﺍﻭ ﺑﺎﻳﺪ ﺩﺭ ﺭﻧﺞ ﺍﺑﺪﻯ ﺯﻧﺪﮔﻰ ﻛﻨﺪ ﻭ ﻫﺮ ﮔﺎﻩ ﻟﺤﻈﻪﺍﻯ ﺷﺎﺩﻣﺎﻧﻰ ﺧﺎﻟﺺ ﺭﺍ ﺗﺠﺮﺑﻪ ﻛﻨﺪ‪،‬‬ ‫ﻧﻔﺮﻳﻨﺶ ﺑﺎﻃﻞ ﻣﻰﺷﻮﺩ‪ ،‬ﺭﻭﺣﺶ ﺍﺯ ﺩﺳﺖ ﻣﻰﺭﻭﺩ ﻭ ﺩﻭﺑﺎﺭﻩ ﺁﻧﺠﻠﻮﺱ ﻣﻰﺷﻮﺩ‪ .‬ﺍﻣﺎ ﺍﻭ ﺑﺎ ﺁﮔﺎﻫﻰ‬ ‫ﺍﺯ ﺗﻤﺎﻡ ﮔﻨﺎﻫﺎﻥ ﺁﻧﺠﻠﻮﺱ ﻧﻤﻰﺗﻮﺍﻧﺪ ﺍﻳﻦ ﺧﻄﺮ ﺭﺍ ﺑﭙﺬﻳﺮﺩ‪ ،‬ﭘﺲ ﺑﺎﻳﺪ ﺑﺎ ﺯﻧﺪﮔﻰ ﺩﺭ ﺭﻧﺞ ﺍﺑﺪﻯ ﻛﻨﺎﺭ‬ ‫ﺑﻴﺎﻳﺪ‪ .‬ﺍﻧﺠﻞ ﻣﺤﻜﻮﻡ ﺍﺳﺖ ﺑﻪ ﺗﻨﻬﺎﻳﻰ ﻭ ﺭﻧﺞ ﺍﺑﺪﻯ‪ .‬ﻧﻪ ﺍﻧﺴﺎﻥ ﺍﺳﺖ ﻭ ﻧﻪ ﻫﻴﻮﻻ‪ .‬ﺳﺮﻳﺎﻝ ﺍﻧﺠﻞ ﻛﻪ‬ ‫ﺷﺨﺼﻴﺖ ﺍﻭﻟﺶ ﺧﻮﺩ ﺍﻧﺠﻞ ﺍﺳﺖ‪ ،‬ﺑﻴﺎﻥ ﺭﻧﺞﻫﺎ ﻭ ﺩﺭﺩﻫﺎﻯ ﺍﻧﺠﻞ ﺍﺳﺖ ﻭ ﺗﻼﺷﻰ ﻛﻪ ﺩﺭ ﺭﺍﻩ ﺭﺳﻴﺪﻥ‬ ‫ﺑﻪ ﺭﺳﺘﮕﺎﺭﻯ ﻣﻰﻛﻨﺪ‪ .‬ﺍﻧﺠﻞ ﺑﻪ ﺩﻧﺒﺎﻝ ﻣﺮگ ﺧﻮﻳﺶ ﺍﺳﺖ‪ ،‬ﺍﻣﺎ ﻧﻪ ﻣﺮگ ﺑﺎ ﺗﻴﺮ ﭼﻮﺑﻰ ﺩﺭ ﻗﻠﺒﺶ‪،‬‬ ‫ﺩﻭﺳﺖ ﺩﺍﺭﺩ ﻛﻪ ﭼﻮﻥ ﻓﺎﻭﺳﺖ ﺭﻭﺣﺶ ﺁﻣﺮﺯﻳﺪﻩ ﺷﻮﺩ ﻭ ﻣﺎﻧﻨﺪ ﻳﻚ ﺍﻧﺴﺎﻥ ﺍﺯ ﺍﻳﻦ ﺩﻧﻴﺎ ﺑﺮﻭﺩ‪ .‬ﺳﺮﻳﺎﻝ‬ ‫»ﺍﻧﺠﻞ« ﻣﺎﺟﺮﺍﻯ ﭘﻮﻳﺶ ﺍﻧﺠﻞ ﺍﺳﺖ ﺩﺭ ﺟﺴﺘﺠﻮﻯ ﺁﻣﺮﺯﺵ‪.‬‬ ‫ﺑﺮﺭﺳﻰ ﺳﺮﻳﺎﻝ‬ ‫ﺑﺎﻓﻰ ﺍﺯ ﺁﻥ ﺩﺳﺘﻪ ﻣﺠﻤﻮﻋﻪﻫﺎ ﺍﺳﺖ ﻛﻪ ﻗﺮﺍﺭ ﺍﺳﺖ ﺑﻴﻨﻨﺪﻩ ﺭﺍ ﺳﺮﮔﺮﻡ ﻛﻨﺪ ﻭ ﺩﻏﺪﻏﻪﺍﺵ ﺑﻴﺎﻥ‬ ‫ﺣﺮﻑﻫﺎﻯ ﻓﻠﺴﻔﻰ ﻭ ﭘﻴﺎﻡﻫﺎﻯ ﺳﻴﺎﺳﻰ ﺍﺟﺘﻤﺎﻋﻰ ﻧﻴﺴﺖ‪ .‬ﺍﺯ ﻣﻮﺿﻮﻋﻰ ﺟﺬﺍﺏ ﻭ ﻣﻮﺭﺩ ﻋﻼﻗﻪﻯ‬ ‫ﻃﺮﻓﺪﺍﺭﺍﻥ ﺍﻳﻦ ﮔﻮﻧﻪﻯ ﺳﻴﻨﻤﺎﻳﻰ‪/‬ﺗﻠﻮﻳﺰﻳﻮﻧﻰ‪ ،‬ﻣﺤﺼﻮﻟﻰ ﺳﺎﺧﺘﻪ ﻛﻪ ﻳﻚ ﺳﺎﻋﺘﻰ ﺑﻴﻨﻨﺪﻩ ﺭﺍ ﭘﺎﻯ‬ ‫ﺗﻠﻮﻳﺰﻳﻮﻥ ﻧﮕﺎﻩ ﺩﺍﺭﺩ‪ ،‬ﺍﺯ ﺍﻳﻦ ﺭﻭﻯ ﺗﻼﺵ ﺑﺮﺍﻯ ﭘﻴﺪﺍ ﻛﺮﺩﻥ ﻣﻔﺎﻫﻴﻢ ﻋﻤﻴﻖ ﻭ ﺭﻭﺷﻨﻔﻜﺮﺍﻧﻪ ﺩﺭ ﺍﻳﻦ‬ ‫ﻣﺠﻤﻮﻋﻪ ﺑﻪ ﺟﺎﻳﻰ ﻧﺨﻮﺍﻫﺪ ﺭﺳﻴﺪ‪ .‬ﺑﺎ ﻳﻚ ﻓﺎﻧﺘﺰﻯ ﺳﺮﮔﺮﻡ ﻛﻨﻨﺪﻩ ﻭ ﺑﺪﻭﻥ ﻋﻤﻖ ﻭ ﻻﻳﻪ ﻃﺮﻑ‬ ‫ﻫﺴﺘﻴﻢ‪ .‬ﺗﻨﻬﺎ ﻧﻜﺎﺕ ﻗﺎﺑﻞ ﺑﺤﺚ ﺍﻳﻦ ﻣﺠﻤﻮﻋﻪ‪ ،‬ﺟﻬﺎﻥﺳﺎﺯﻯ ﻭ ﺷﺨﺼﻴﺖﭘﺮﺩﺍﺯﻯ ﺁﻥ ﺍﺳﺖ‪ .‬ﺩﺭﺑﺎﺭﻩﻯ‬ ‫ﺟﻬﺎﻥﺳﺎﺯﻯ ﻛﻪ ﭘﻴﺶﺗﺮ ﺻﺤﺒﺖ ﺷﺪ‪ ،‬ﺣﺎﻝ ﺑﻪ ﺷﺨﺼﻴﺖﻫﺎ ﻣﻰﭘﺮﺩﺍﺯﻳﻢ‪.‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،9-10‬ﺷﻬﺮﻳﻮﺭ ﻭ ﻣﻬﺮ ‪1390‬‬

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‫ﺗﻠﻮﻳﺰﻳﻮﻥ‬

‫ﺧﻮﻥﺁﺷﺎﻡ ﺍﺯ ﺩﻳﺪ ﺟﺎﻣﻌﻪ‪ ،‬ﺑﻰﻣﻌﻨﺎ ﺍﺳﺖ‪ .‬ﺷﻜﺎﺭﭼﻰﻫﺎ ﺭﺍ ﺷﺨﺼﻰ ﺑﻪ‬ ‫ﻧﺎﻡ »ﻣﺸﺎﻫﺪﻩﮔﺮ« ﻛﻪ ﺍﺯ ﻳﻚ ﺷﻮﺭﺍ ﻣﻰﺁﻳﺪ‪ ،‬ﺗﻌﻠﻴﻢ ﻣﻰﺩﻫﺪ‪ .‬ﻭﻇﻴﻔﻪﻯ‬ ‫»ﻣﺸﺎﻫﺪﻩﮔﺮ« ﺗﻨﻬﺎ ﺗﻌﻠﻴﻢ ﺩﺍﺩﻥ ﺍﺳﺖ ﻭ ﺁﻥﻃﻮﺭ ﻛﻪ ﺍﺯ ﻧﺎﻣﺸﺎﻥ ﭘﻴﺪﺍ‬ ‫ﺍﺳﺖ‪» ،‬ﻣﺸﺎﻫﺪﻩ«‪ .‬ﻛﻢ ﭘﻴﺶ ﻣﻰﺁﻳﺪ ﻛﻪ ﻣﺸﺎﻫﺪﻩﮔﺮﻫﺎ ﺧﻮﺩ ﺩﺭ ﻧﺒﺮﺩﻯ‬ ‫ﺷﺮﻛﺖ ﻛﻨﻨﺪ ﻳﺎ ﺑﻪ ﻳﺎﺭﻯ ﺷﻜﺎﺭﭼﻰ ﺑﺮﻭﻧﺪ‪.‬‬ ‫ﺧﻮﻥﺁﺷﺎﻡﻫﺎ‪ :‬ﺧﻮﻥﺁﺷﺎﻡﻫﺎﻯ ﺩﻧﻴﺎﻯ ﺑﺎﻓﻰ‪ ،‬ﻣﺜﻞ ﺑﻴﺸﺘﺮ ﺧﻮﻥﺁﺷﺎﻡﻫﺎﻯ‬ ‫ﺍﻓﺴﺎﻧﻪﻫﺎ ﻭ ﺩﺍﺳﺘﺎﻥﻫﺎﻯ ﻛﻬﻦ‪ ،‬ﺟﺴﻤﻰ ﭘﻠﻴﺪ ﻭ ﺑﺪﻭﻥ ﺭﻭﺡ ﻫﺴﺘﻨﺪ ﻛﻪ‬ ‫ﺭﻭﺣﺸﺎﻥ ﺭﺍ ﺩﺭ ﺍﺯﺍﻯ ﺯﻧﺪﮔﻰ ﺍﺑﺪﻯ ﻣﺒﺎﺩﻟﻪ ﻛﺮﺩﻩﺍﻧﺪ‪ .‬ﺍﻳﻦ ﺍﺟﺴﺎﻡ ﭘﻠﻴﺪ‬ ‫ﻧﺴﺒﺖ ﺑﻪ ﺷﺮﺍﺭﺕ ﺧﻮﻳﺶ ﺧﻮﺩﺁﮔﺎﻫﻰ ﻧﺪﺍﺭﻧﺪ‪ ،‬ﺑﺪﻳﻦ ﻣﻌﻨﺎ ﻛﻪ ﺍﺷﺮﺍﻓﻰ‬ ‫ﺑﻪ ﻣﺴﺄﻟﻪﻯ ﺷﺮﺍﺭﺕ ﻧﺪﺍﺭﻧﺪ ﻭ »ﺍﻧﺘﺨﺎﺑﻰ« ﻧﻴﺰ ﻧﺪﺍﺭﻧﺪ‪ ،‬ﺫﺍﺗﺸﺎﻥ ﻓﻌﻞ ﭘﻠﻴﺪ‬ ‫ﺍﺳﺖ‪ .‬ﻳﻚ ﺧﻮﻥﺁﺷﺎﻡ ﻧﻤﻰﺗﻮﺍﻧﺪ ﺍﻧﺘﺨﺎﺏ ﻛﻨﺪ ﻛﻪ ﺍﺯ ﺧﻮﻥ ﺑﻰﮔﻨﺎﻫﻰ‬ ‫ﺑﮕﺬﺭﺩ‪ .‬ﺑﺎ ﺗﻴﺮ ﭼﻮﺑﻰ ﺩﺭ ﻗﻠﺐ ﻭ ﻳﺎ ﻛﻨﺪﻥ ﺳﺮ ُﻛﺸﺘﻪ ﻣﻰﺷﻮﻧﺪ ﻭ ﻭﻗﺘﻰ‬ ‫ُﻛﺸﺘﻪ ﻣﻰﺷﻮﻧﺪ‪ ،‬ﺟﺴﺪﻯ ﺍﺯ ﺁﻥﻫﺎ ﺑﺮ ﺟﺎﻯ ﻧﻤﻰﻣﺎﻧﺪ‪ ،‬ﭼﻮﻥ ﺩﺭ ﻭﺍﻗﻊ‬ ‫ﺟﺴﺪﻯ ﻭﺟﻮﺩ ﻧﺪﺍﺭﺩ؛ ﺟﺴﻢﺷﺎﻥ ﺳﺎﻝﻫﺎ ﺍﺳﺖ ﻛﻪ ﭘﻮﺳﻴﺪﻩ ﻭ ﺧﺎﻙ‬ ‫ﺷﺪﻩ ﻭ ﺗﻨﻬﺎ ﺟﺎﺩﻭﻯ ﺳﻴﺎﻩ ﻧﻴﺮﻭﻯ ﻣﺤﺮﻛﻪﺷﺎﻥ ﺍﺳﺖ‪ .‬ﻧﻔﺲ ﻧﻤﻰﻛﺸﻨﺪ‪،‬‬ ‫ﻗﻠﺒﺸﺎﻥ ﻧﻤﻰﺗﭙﺪ ﻭ ﻣﺜﻞ ﺑﻴﺸﺘﺮ ﺧﻮﻥﺁﺷﺎﻡﻫﺎ ﺷﺐﺯﻯ ﻫﺴﺘﻨﺪ ﻭ‬ ‫ﻧﻮﺭ ﺧﻮﺭﺷﻴﺪ ﺁﻥﻫﺎ ﺭﺍ ﺁﺗﺶ ﻣﻰﺯﻧﺪ‪ .‬ﺑﻪ ﺻﻮﺭﺕ ﮔﺮﻭﻫﻰ ﻳﺎ ﺗﻜﻰ ﺩﺭ‬ ‫ﺳﺎﺧﺘﻤﺎﻥﻫﺎﻯ ﻣﺨﺮﻭﺑﻪ ﻭ ﻣﺘﺮﻭﻛﻪ ﺯﻧﺪﮔﻰ ﻣﻰﻛﻨﻨﺪ ﻭ ﻣﻌﻤﻮﻻً ﺑﻪ ﺻﻮﺭﺕ‬ ‫ﺗﻜﻰ ﺣﻤﻠﻪ ﻣﻰﻛﻨﻨﺪ‪.‬‬ ‫ﺟﺎﺩﻭ‪ :‬ﺩﻧﻴﺎﻳﻰ ﻛﻪ ﺩﺍﺳﺘﺎﻥ ﺩﺭ ﺁﻥ ﻣﻰﮔﺬﺭﺩ‪ ،‬ﻫﻤﺎﻥ ﺩﻧﻴﺎﻯ ﻗﺮﻥ ﺑﻴﺴﺖ‬ ‫ﻭ ﻳﻜﻤﻰ ﻣﺎ ﺍﺳﺖ‪ ،‬ﺑﺎ ﺍﻳﻦ ﺗﻔﺎﻭﺕ ﻛﻪ ﺳﺤﺮ ﻭ ﺟﺎﺩﻭ‪ ،‬ﻣﻮﺟﻮﺩﺍﺕ ﭘﻠﻴﺪ ﻭ‬ ‫ﻣﺮﻣﻮﺯ ﺩﺭ ﺁﻥ ﻭﺍﻗﻌﻴﺖ ﺩﺍﺭﻧﺪ ﻭ ﻋﺪﻩﻯ ﻛﻤﻰ ﺍﺯ ﻭﺍﻗﻌﻴﺖ ﺩﺍﺷﺘﻦ ﺍﻳﻦ ﺍﻣﺮ‬ ‫ﺁﮔﺎﻩ ﻫﺴﺘﻨﺪ‪ .‬ﺍﺯ ﺍﻳﻦ ﻧﻈﺮ ﻣﻰﺗﻮﺍﻥ ﮔﻔﺖ ﻛﻪ ﺩﺍﺳﺘﺎﻥ ﺑﺎﻓﻰ »ﻓﺎﻧﺘﺰﻯ‬ ‫ُﻣﺪﺭﻥ« ﻣﺤﺴﻮﺏ ﻣﻰﺷﻮﺩ‪ .‬ﺟﺎﺩﻭﮔﺮﻫﺎﻳﻰ ﻫﻢ ﺩﺭ ﺩﺍﺳﺘﺎﻥ ﻫﺴﺘﻨﺪ‪ ،‬ﻛﻪ ﺑﺎ‬ ‫ﺍﻳﻦ ﻗﺪﺭﺕ ﺑﻪ ﺩﻧﻴﺎ ﺁﻣﺪﻩﺍﻧﺪ‪.‬‬ ‫ﺩﻫﺎﻧﻪﻯ ﺟﻬﻨﻢ‪ :‬ﺷﻬﺮ ﻣﻮﻃﻦ ﺑﺎﻓﻰ ﻛﻪ ﺷﻬﺮﻯ ﺧﻴﺎﻟﻰ ﺑﻪ ﻧﺎﻡ »ﺳﺎﻧﻰﺩﻳﻞ«‬ ‫ﺍﺳﺖ‪ ،‬ﺑﺮ ﺭﻭﻯ ﻧﺎﺣﻴﻪﺍﻯ ﺟﺎﺩﻭﻳﻰ ﺑﻪ ﻧﺎﻡ ﺩﻫﺎﻧﻪﻯ ﺟﻬﻨﻢ ﻭﺍﻗﻊ ﺷﺪﻩ ﻛﻪ‬ ‫ﻫﻢ ﺭﺍﻩ ﻭﺭﻭﺩﻯ ﺑﺮﺍﻯ ﺍﻧﻮﺍﻉ ﻣﺨﻠﻮﻗﺎﺕ ﭘﻠﻴﺪ ﺑﻪ ﺍﻳﻦ ﺩﻧﻴﺎ ﺍﺳﺖ ﻭ ﻫﻢ‬

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‫ﻭﻳﮋﻩﻧﺎﻣﻪﻯ ﺧﻮﻥﺁﺷﺎﻡﻫﺎ‬

‫ﺩﻧﻴﺎﻳﻰ ﻛﻪ‬ ‫ﺩﺍﺳﺘﺎﻥ ﺩﺭ‬ ‫ﺁﻥ ﻣﻰﮔﺬﺭﺩ‪،‬‬ ‫ﻫﻤﺎﻥ ﺩﻧﻴﺎﻯ‬ ‫ﻗﺮﻥ ﺑﻴﺴﺖ‬ ‫ﻭ ﻳﻜﻤﻰ ﻣﺎ‬ ‫ﺍﺳﺖ‪ ،‬ﺑﺎ ﺍﻳﻦ‬ ‫ﺗﻔﺎﻭﺕ ﻛﻪ‬ ‫ﺳﺤﺮ ﻭ ﺟﺎﺩﻭ‪،‬‬ ‫ﻣﻮﺟﻮﺩﺍﺕ ﭘﻠﻴﺪ‬ ‫ﻭ ﻣﺮﻣﻮﺯ ﺩﺭ ﺁﻥ‬ ‫ﻭﺍﻗﻌﻴﺖ ﺩﺍﺭﻧﺪ‬

‫ﮔﺮﻭﻩ ﻣﺨﺎﻃﺐ ﺳﺮﻳﺎﻝ ﺑﺎﻓﻰ ﺭﺍ ﻣﻰﺗﻮﺍﻥ ﻗﺸﺮ ﻧﻮﺟﻮﺍﻥ ﻭ ﺟﻮﺍﻥ ﺩﺍﻧﺴﺖ‪ ،‬ﺑﺎ ﺍﻳﻦ ﺣﺎﻝ ﻣﺤﺒﻮﺑﻴﺖ ﻭ‬ ‫ﻣﻮﻓﻘﻴﺖ ﺍﻳﻦ ﻣﺠﻤﻮﻋﻪ ﺩﺭ ﺯﻣﺎﻥ ﭘﺨﺸﺶ ﻧﺸﺎﻥ ﻣﻰﺩﻫﺪ‪ ،‬ﻃﻴﻒ ﻣﺨﺎﻃﺐﻫﺎﻳﺶ ﻓﺮﺍﺗﺮ ﺍﺯ ﺑﭽﻪﻫﺎﻯ‬ ‫ﺩﺑﻴﺮﺳﺘﺎﻧﻰ ﺑﻮﺩﻩ ﺍﺳﺖ‪.‬‬ ‫»ﺑﺎﻓﻰ« ﺩﺍﺳﺘﺎﻥ ﺩﺧﺘﺮﻯ ﺑﻪ ﻫﻤﻴﻦ ﻧﺎﻡ ﺍﺳﺖ ﻛﻪ ﺑﺮﮔﺰﻳﺪﻩ ﺷﺪﻩ ﺗﺎ ﺑﺎ »ﺧﻮﻥﺁﺷﺎﻡﻫﺎ« ﻣﺒﺎﺭﺯﻩ ﻛﻨﺪ‪.‬‬ ‫ﻫﺮ ﻗﺴﻤﺖ ﺳﺮﻳﺎﻝ ﺩﺍﺳﺘﺎﻥ ﺧﺎﺹ ﺧﻮﺩ ﺭﺍ ﺩﺍﺭﺩ ﻛﻪ ﻃﻰ ﺁﻥ ﺑﺎﻓﻰ ﺑﻪ ﻛﻤﻚ ﺩﻭﺳﺘﺎﻧﺶ ﮔﺮﻩ ﺍﺯ‬ ‫ﻣﺎﺟﺮﺍﻳﻰ ﻣﺮﻣﻮﺯ ﺑﺎﺯ ﻣﻰﻛﻨﻨﺪ ﻭ ﺑﺎ ﻣﻮﺟﻮﺩﺍﺕ ﺧﺒﻴﺚ ﻭ ﺍﺳﺮﺍﺭﺁﻣﻴﺰﻯ ﻛﻪ ﻫﻤﻴﺸﻪ ﻫﻢ ﺧﻮﻥﺁﺷﺎﻡ‬ ‫ﻧﻴﺴﺘﻨﺪ‪ ،‬ﻣﺒﺎﺭﺯﻩ ﻣﻰﻛﻨﻨﺪ ﻭ ﻫﻤﻴﺸﻪ ﻫﻢ ﭘﻴﺮﻭﺯ ﻣﻰﺷﻮﻧﺪ‪ .‬ﺩﺭ ﺍﺑﺘﺪﺍ‪ ،‬ﻫﺮ ﻗﺴﻤﺖ ﺳﺮﻳﺎﻟﻰ ﺩﺍﺳﺘﺎﻧﻰ‬ ‫ﺩﺍﺷﺖ ﻛﻪ ﺑﻪ ﻗﺒﻞ ﻭ ﺑﻌﺪﺵ ﺍﺭﺗﺒﺎﻃﻰ ﻧﺪﺍﺷﺖ‪ ،‬ﺍﻣﺎ ﺩﺭ ﻃﻮﻝ ﭼﻨﺪ ﻓﺼﻞ‪ ،‬ﻛﻨﺎﺭ ﺩﺍﺳﺘﺎﻥﻫﺎﻯ ﻫﺮ‬ ‫ﻗﺴﻤﺖ‪ ،‬ﻳﻚ ﭘﻼﺕ ﻛﻠﻰ ﻧﻴﺰ ﺩﺭ ﺩﺍﺳﺘﺎﻥ ﺷﻜﻞ ﮔﺮﻓﺖ‪ .‬ﺁﻥ ﻫﻢ ﺍﻳﻦ ﻛﻪ ﺑﺎﻓﻰ‪ ،‬ﺷﻜﺎﺭﭼﻰ ﺧﻮﻥﺁﺷﺎﻡﻫﺎ‬ ‫ﺩﺭ ﺩﺍﻡ ﻋﺸﻖ ﻳﻚ ﺧﻮﻥﺁﺷﺎﻡ ﺍﻓﺘﺎﺩ‪ .‬ﺧﻮﻥﺁﺷﺎﻣﻰ ﻛﻪ ﺍﺯ ﺧﻴﻠﻰ ﺟﻬﺎﺕ ﺑﺎ ﺩﻳﮕﺮ ﺧﻮﻥﺁﺷﺎﻡﻫﺎ ﺗﻔﺎﻭﺕ‬ ‫ﺩﺍﺷﺖ‪ .‬ﻣﺴﻠﻤﺎً ﻳﻜﻰ ﺍﺯ ﺩﻻﻳﻞ ﻣﺤﺒﻮﺑﻴﺖ ﺍﻳﻦ ﻣﺠﻤﻮﻋﻪ‪ ،‬ﻣﺜﻞ ﺑﺴﻴﺎﺭﻯ ﺍﺯ ﺁﺛﺎﺭ ﺗﻠﻮﻳﺰﻳﻮﻧﻰ ﺩﻳﮕﺮ‪،‬‬ ‫ﺩﺍﺳﺘﺎﻥﻫﺎﻯ ﺣﺎﺷﻴﻪﺍﻯ ﻭ ﺭﻭﺍﺑﻂ ﻋﺎﺷﻘﺎﻧﻪﻯ ﻣﻴﺎﻥ ﺷﺨﺼﻴﺖﻫﺎ ﺍﺳﺖ‪ .‬ﺍﻳﻦ ﻧﻮﻉ ﺩﺍﺳﺘﺎﻥﻫﺎﻯ ﻛﻨﺎﺭﻯ‪،‬‬ ‫ﺑﻪ ﺧﺼﻮﺹ ﺑﺮﺍﻯ ﻗﺸﺮ ﻧﻮﺟﻮﺍﻥ ﻭ ﺟﻮﺍﻥ ﺟﺬﺍﺑﻴﺖ ﺩﺍﺭﺩ‪ .‬ﺣﺎﻝ ﺑﻪ ﺟﺬﺍﺑﻴﺖ ﻣﺘﺪﺍﻭﻝ ﺍﻳﻦ ﻧﻮﻉ ﻣﺎﺟﺮﺍﻫﺎ‪،‬‬ ‫ﺍﻳﻦ ﺭﺍ ﺗﻀﺎﺩ ﻏﺮﻳﺐ ﺭﺍ ﻫﻢ ﺑﻴﻔﺰﺍﻳﻴﺪ ﻛﻪ ﺷﻜﺎﺭﭼﻰ ﻭ ﺷﻜﺎﺭ ﺩﻝ ﺑﻪ ﻫﻢ ﺑﺴﺘﻪﺍﻧﺪ‪ .‬ﺍﻟﺒﺘﻪ ﻛﻪ ﺧﻮﺩ‬ ‫ﺍﻳﻦ ﻗﻀﻴﻪ ﻛﻠﻴﺸﻪﺍﻯ ﺍﺳﺖ ﻛﻪ ﺷﺎﻳﺪ ﺑﺎﺭﻫﺎ ﻭ ﺑﺎﺭﻫﺎ ﺩﺭ ﺁﺛﺎﺭ ﺍﺩﺑﻰ ﻭ ﺳﻴﻨﻤﺎﻳﻰ ﺩﻳﺪﻩ ﺷﺪﻩ ﺑﺎﺷﺪ ﻭ‬ ‫ﻧﻤﻮﻧﻪﻫﺎﻳﺶ ﻓﺮﺍﻭﺍﻥ ﻫﺴﺘﻨﺪ‪...‬‬ ‫ﻳﻜﻰ ﺍﺯ ﻧﻜﺎﺕ ﺑﺎﺭﺯ ﺍﻳﻦ ﺩﻭ ﻣﺠﻤﻮﻋﻪ‪ ،‬ﺍﻳﻦ ﺍﺳﺖ ﻛﻪ ﺑﻪ ﺭﻏﻢ ﺍﺳﺘﻔﺎﺩﻩ ﺍﺯ ﺍﻧﻮﺍﻉ ﻭ ﺍﻗﺴﺎﻡ ﺍﺳﺎﻃﻴﺮ‬ ‫ﻭ ﺍﻓﺴﺎﻧﻪﻫﺎﻳﻰ ﻛﻪ ﺩﺭﺑﺎﺭﻩﻯ ﺧﻮﻥﺁﺷﺎﻡﻫﺎ ﻭﺟﻮﺩ ﺩﺍﺭﻧﺪ‪ ،‬ﺩﻧﻴﺎﻯ ﺧﺎﺹ ﺧﻮﺩﺷﺎﻥ ﺭﺍ ﺧﻠﻖ ﻛﺮﺩﻧﺪ‬ ‫ﻛﻪ ﻗﻮﺍﻧﻴﻦ ﺧﺎﺹ ﺧﻮﺩﺵ ﺭﺍ ﺩﺍﺭﺩ‪ .‬ﺑﺮﺍﻯ ﻣﺜﺎﻝ ﺧﻮﻥﺁﺷﺎﻡﻫﺎﻯ ﺩﻧﻴﺎﻯ ﺑﺎﻓﻰ ﺭﺍ ﺑﺮ ﺧﻼﻑ ﺍﻛﺜﺮ‬ ‫ﺧﻮﻥﺁﺷﺎﻡﻫﺎ‪ ،‬ﻧﻪ ﺑﺎ ﺗﻴﺮ ﻧﻘﺮﻩ‪ ،‬ﻛﻪ ﺑﺎ ﺗﻴﺮ ﭼﻮﺑﻰ ﻣﻰﺷﻮﺩ ُﻛﺸﺖ‪ .‬ﺍﻟﺒﺘﻪ ﺷﺎﻳﺪ ﺑﺸﻮﺩ ﮔﻔﺖ ﻣﻠﻐﻤﻪﺍﻯ‬ ‫ﺍﺳﺖ ﺍﺯ ﺗﻤﺎﻡ ﺍﻓﺴﺎﻧﻪﻫﺎﻯ ﺍﻳﻦ ﺯﻣﻴﻨﻪ‪ ،‬ﺑﺎ ﺍﻳﻦﺣﺎﻝ‪ ،‬ﻧﺘﻴﺠﻪﻯ ﻛﺎﺭ ﺩﻧﻴﺎﻳﻰ ﺍﺳﺖ ﺧﺎﺹ »ﺑﺎﻓﻰ«‪ .‬ﺩﺭ‬ ‫ﺍﺩﺍﻣﻪ ﺑﺮﺧﻰ ﺍﺯ ﺧﺼﻮﺻﻴﺎﺕ ﺟﻬﺎﻥﺳﺎﺯﻯ ﺍﻳﻦ ﺩﻭ ﻣﺠﻤﻮﻋﻪ ﺷﺮﺡ ﺩﺍﺩﻩ ﻣﻰﺷﻮﺩ‪.‬‬ ‫ﺷﻜﺎﺭﭼﻴﺎﻥ ﺧﻮﻥﺁﺷﺎﻡﻫﺎ‪ :‬ﺷﺨﺺ ﺷﻜﺎﺭﭼﻰ ﻣﻌﻤﻮﻻً ﺑﺮﮔﺰﻳﺪﻩ ﻣﻰﺷﻮﺩ ﻭ ﺍﻧﺘﺨﺎﺏ ﺧﻮﺩﺵ ﺩﺭ‬ ‫ﺍﻳﻦ ﮔﺰﻳﻨﺶ ﺩﺧﻴﻞ ﻧﻴﺴﺖ‪ .‬ﻣﻌﻤﻮﻻً ﻫﻢ ﺷﻐﻞ ﺁﺑﺎ ﻭ ﺍﺟﺪﺍﺩﻯ ﻣﻰﺷﻮﺩ‪ .‬ﭘﺪﺭ ﺑﺎﻓﻰ ﻫﻢ ﺷﻜﺎﺭﭼﻰ‬ ‫ﺑﻮﺩﻩ‪ ،‬ﺍﻣﺎ ﺑﻴﺸﺘﺮ ﺷﻜﺎﺭﭼﻰﻫﺎﻯ ﺍﻳﻦ ﺳﺮﻳﺎﻝ ﻣﺆﻧﺚ ﻫﺴﺘﻨﺪ؛ ﮔﺬﺷﺘﻪ ﺍﺯ ﺩﻟﻴﻞ ﺍﺻﻠﻰ ﺟﺬﺍﺑﻴﺖ‬ ‫ﺑﺨﺸﻴﺪﻥ ﺑﻪ ﺩﺍﺳﺘﺎﻥ‪ ،‬ﻣﻰﺗﻮﺍﻥ ﺍﻳﻦ ﻣﻮﺿﻮﻉ ﺭﺍ ﻗﺪﺭﻯ ﻋﻤﻴﻖﺗﺮ ﻫﻢ ﺑﺮﺭﺳﻰ ﻛﺮﺩ‪....‬‬ ‫ﺷﻜﺎﺭﭼﻰﻫﺎ ﺍﺯ ﺳﻦ ﭘﺎﻳﻴﻦ ﺑﺮﮔﺰﻳﺪﻩ ﻣﻰﺷﻮﻧﺪ ﻭ ﺗﻌﻠﻴﻢ ﻣﻰﺑﻴﻨﻨﺪ؛ ﺧﺎﻧﻮﺍﺩﻩ‪ ،‬ﺩﻭﺳﺘﺎﻥ ﻭ ﺑﻪ ﻃﻮﺭ‬ ‫ﻛﻠﻰ ﺍﺟﺘﻤﺎﻉ ﺍﻃﺮﺍﻑ ﺁﻥﻫﺎ ﺍﺯ ﺍﻳﻦ ﺟﺮﻳﺎﻥ ﺑﻰﺧﺒﺮ ﻫﺴﺘﻨﺪ‪ ،‬ﭼﺮﺍ ﻛﻪ ﻭﺟﻮﺩ ﻣﻮﺟﻮﺩﺍﺗﻰ ﺑﻪ ﺍﺳﻢ‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،9-10‬ﺷﻬﺮﻳﻮﺭ ﻭ ﻣﻬﺮ ‪1390‬‬

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‫ﺗﻠﻮﻳﺰﻳﻮﻥ‬

‫ﻋﺸﻖ‪ ،‬ﺧﻮﻥ ﻭ‬ ‫ﺳﺎﻳﻪﻫﺎﻯ ﺷﺐ‬ ‫ﻧﮕﺎﻫﻰ ﺑﻪ ﻣﺠﻤﻮﻋﻪﻫﺎﻯ ﺗﻠﻮﻳﺰﻳﻮﻧﻰ ﺑﺎﻓﻰ ﻭ ﺍﻧﺠﻞ‬

‫ﺳﻤﻴﻪ ﻛﺮﻣﻰ‬

‫ﺑﺎﻓﻰ ﻭ ﺍﻧﺠﻞ ﺍﻭﻟﻴﻦﻫﺎ ﺩﺭ ﻧﻮﻉ ﺧﻮﺩﺷﺎﻥ ﻣﺤﺴﻮﺏ ﻣﻰﺷﻮﻧﺪ‪ .‬ﺑﻪ ﻋﺒﺎﺭﺕ ﺩﻗﻴﻖﺗﺮ ﺳﺮﻳﺎﻝ‬ ‫ﺑﺎﻓﻰ )ﻛﻪ ﺍﺯ ﺳﺎﻝ ‪ 1997‬ﺗﺎ ‪ 2003‬ﭘﺨﺶ ﻣﻰﺷﺪ(‪ ،‬ﺍﻭﻟﻴﻦ ﻣﺠﻤﻮﻋﻪﻯ ﺗﻠﻮﻳﺰﻳﻮﻧﻰ ﺑﻮﺩ‬ ‫ﻛﻪ ﻣﺤﻮﺭﻳﺖ ﺩﺍﺳﺘﺎﻥﻫﺎﻳﺶ »ﺧﻮﻥﺁﺷﺎﻡﻫﺎ«‪ ،‬ﻣﺒﺎﺭﺯﻩ ﺑﺎ ﺁﻥﻫﺎ ﻭ ﺗﻌﺎﻣﻞ ﺁﻥﻫﺎ ﺑﺎ ﺟﺎﻣﻌﻪﻯ‬ ‫ﺍﻧﺴﺎﻧﻰ ﺑﻮﺩ‪ .‬ﺑﺎﻓﻰ ﻳﻜﻰ ﺍﺯ ﻣﻮﻓﻖﺗﺮﻳﻦ ﻭ ﻣﺤﺒﻮﺏﺗﺮﻳﻦ ﻣﺠﻤﻮﻋﻪﻫﺎﻯ ﺗﻠﻮﻳﺰﻳﻮﻧﻰ ﺩﺭ ﺯﻣﺎﻥ‬ ‫ﺧﻮﺩﺵ ﺑﻮﺩ ﻭ ﺳﺎﺧﺘﺶ ﺗﺎ ﻫﻔﺖ ﻓﺼﻞ ﺍﺩﺍﻣﻪ ﺩﺍﺷﺖ؛ ﺳﺮﻳﺎﻝ ﺍﻧﺠﻞ ﻛﻪ ﺩﻧﺒﺎﻟﻪ )‪(spinoff‬‬ ‫ﺁﻥ ﻣﺤﺴﻮﺏ ﻣﻰﺷﻮﺩ ﻧﻴﺰ ﭘﻨﺞ ﻓﺼﻞ ﺳﺎﺧﺘﻪ ﺷﺪ ﻭ ﺳﭙﺲ ﺑﻪ ﺩﻟﻴﻞ ﻋﺪﻡ ﺍﺳﺘﻘﺒﺎﻝ‬ ‫ﺑﻴﻨﻨﺪﻩﻫﺎ‪ ،‬ﻟﻐﻮ ﺷﺪ‪.‬‬ ‫ﺩﺭ ﺳﺎﻝ‪ 1997‬ﻛﻪ ﭘﺨﺶ ﻣﺠﻤﻮﻋﻪﻯ ﺑﺎﻓﻰ ﺷﺮﻭﻉ ﺷﺪ‪ ،‬ﺧﻮﻥﺁﺷﺎﻡﻫﺎ ﺩﻳﮕﺮ ﺩﺭ ﺍﻧﻮﺍﻉ ﻭ‬ ‫ﺍﻗﺴﺎﻡ ﺭﺳﺎﻧﻪﻫﺎ‪ ،‬ﺍﺯ ﭘﺮﺩﻩﻯ ﺑﺰﺭگ ﮔﺮﻓﺘﻪ ﺗﺎ ﻛﺘﺎﺏ ﻭ ﻣﺠﻠﻪ ﻭ ﻛﻤﻴﻚﺍﺳﺘﺮﻳﭗ ﺭﺍﻩ ﺑﺎﺯ ﻛﺮﺩﻩ‬ ‫ﺑﻮﺩﻧﺪ‪ .‬ﺍﻣﺎ ﻫﻨﻮﺯ ﺑﻪ ﺍﻳﻦ ﺷﻜﻞ ﻭﺍﺭﺩ ﻣﻨﺰﻝﻫﺎ ﻧﺸﺪﻩ ﺑﻮﺩﻧﺪ ﺗﺎ ﺗﻮﺟﻪ ﺑﻴﻨﻨﺪﮔﺎﻧﻰ ﺭﺍ ﻛﻪ ﺁﺧﺮ‬ ‫ﺷﺐﻫﺎ ﺭﻭﻯ ﻣﺒﻞ ﻭﻟﻮ ﻣﻰﺷﻮﻧﺪ ﻭ ﻛﺎﻧﺎﻝ ﻋﻮﺽ ﻣﻰﻛﻨﻨﺪ‪ ،‬ﺑﻪ ﺧﻮﺩ ﺟﻠﺐ ﻛﻨﺪ‪.‬‬

‫ﺗﻠﻮﻳﺰﻳﻮﻥ‬

‫ﺍﻗﺘﺒﺎﺱ ﺑﺎﻝ ﺍﺯ ﺍﻳﻦ ﺩﻧﻴﺎ ﻧﻴﺴﺖ‪ .‬ﺍﻣﺎ ﺍﻳﻦ ﺗﻄﺒﻴﻖ ﻣﻰﺗﻮﺍﻧﺪ ﺩﺭ ﺑﺴﻴﺎﺭﻯ ﺟﺎﻫﺎ ﻣﺨﺮﺏ ﺑﺎﺷﺪ‪ .‬ﺑﻴﻞ‬ ‫ﻛﺎﻣﭙﺘﻮﻥ ﻗﺮﺍﺭ ﺍﺳﺖ ﺑﻪ ﻋﻨﻮﺍﻥ ﺧﻮﻥﺁﺷﺎﻣﻰ ﺷﻨﺎﺧﺘﻪ ﺷﻮﺩ ﻛﻪ ﺑﻪ ﻣﺎ ﻣﻰﻓﻬﻤﺎﻧﺪ ﺧﻮﻥﺁﺷﺎﻡﻫﺎ ﺟﻨﻮﻥ‬ ‫ﺭﻭﺍﺑﻂ ﺟﻨﺴﻰ ﻧﺪﺍﺭﻧﺪ‪ ،‬ﻗﺎﺗﻞ ﺯﻧﺠﻴﺮﻩﺍﻯ ﻧﻴﺴﺘﻨﺪ ﻭ ﺣﺘﺎ ﻣﻰﺗﻮﺍﻧﻨﺪ ﺟﻨﺘﻠﻤﻦ ﻫﻢ ﺑﺎﺷﻨﺪ! ﺍﻣﺎ ﺗﻤﺎﻡ‬ ‫ﺗﻼﺵ ﺑﻴﻞ ﺑﻪ ﺍﻳﻦﺟﺎ ﺧﺘﻢ ﻣﻰﺷﻮﺩ ﻛﻪ ﺍﮔﺮ ﻗﺮﺍﺭ ﺍﺳﺖ ﺧﻮﻥﺁﺷﺎﻣﻰ ﺧﻮﺏ ﺑﺎﺷﺪ‪ ،‬ﺑﺎﻳﺪ ﺧﺼﻠﺖﻫﺎﻯ‬ ‫ﺧﻮﻥﺁﺷﺎﻣﻰ ﻭ ﻏﺮﻳﺰﻯ ﺧﻮﺩ ﺭﺍ ﺗﺮﻙ ﻛﻨﺪ‪ .‬ﺑﻴﻞ ﺧﻮﻥﺁﺷﺎﻡﻫﺎﻯ ﺩﻳﮕﺮ ﺭﺍ ﺷﻴﻄﺎﻥ ﺧﻄﺎﺏ ﻣﻰﻛﻨﺪ‪.‬‬ ‫ﺍﻟﺒﺘﻪ ﺧﻮﺩ ﺑﺎﻝ ﺍﺩﻋﺎ ﻛﺮﺩﻩ ﺩﺭ ﺑﺴﻴﺎﺭﻯ ﻣﻮﺍﺭﺩ ﺧﻮﻥﺁﺷﺎﻡﻫﺎ ﺭﺍ ﺍﺳﺘﻌﺎﺭﻩ ﺍﺯ ﻫﻮﻣﻮﻫﺎ ﻧﮕﺮﻓﺘﻪ ﺍﺳﺖ‪.‬‬ ‫ﺑﻪ ﻃﻮﺭ ﻋﻤﻮﻣﻰ ﺧﻮﻥﺁﺷﺎﻡﻫﺎ ﻣﻲﺗﻮﺍﻧﻨﺪ ﺍﺳﺘﻌﺎﺭﻩﺍﻯ ﺑﺎﺷﻨﺪ ﺍﺯ ﺗﻤﺎﻡ ﺳﺒﻚ ﺯﻧﺪﮔﻰﻫﺎﻯ ﻣﺘﻔﺎﻭﺕ‪.‬‬ ‫ﻫﻤﻪﻯ ﻛﺴﺎﻧﻰ ﻛﻪ ﺩﺭ ﺑﺮﻫﻪﻫﺎﻯ ﻣﺨﺘﻠﻒ ﺯﻣﺎﻥ ﺩﺭ ﺍﻗﻠﻴﺖ ﺑﻮﺩﻩﺍﻧﺪ‪ ،‬ﺗﺮﺳﻴﺪﻩﺍﻧﺪ‪ ،‬ﻣﻮﺭﺩ ﻧﻔﺮﺕ ﻗﺮﺍﺭ‬ ‫ﮔﺮﻓﺘﻪﺍﻧﺪ ﻭ ﻳﺎ ﺑﻪ ﻫﺮ ﻧﺤﻮﻯ ﺑﺎ ﺩﻳﮕﺮﺍﻥ ﻣﺘﻔﺎﻭﺕ ﺑﻮﺩﻩﺍﻧﺪ‪.‬‬ ‫ﺍﺯ ﺁﻥ ﺟﻤﻠﻪﺍﻧﺪ ﺍﻗﻠﻴﺖﻫﺎﻯ ﻧﮋﺍﺩﻯ ﻭ ﺭﻧﮕﻴﻦﭘﻮﺳﺖﻫﺎ‪ .‬ﺍﮔﺮ ﺩﻗﺖ ﻛﺮﺩﻩ ﺑﺎﺷﻴﺪ ﺩﺍﺳﺘﺎﻥ ﺩﺭ ﺟﻨﻮﺏ ﻭ‬ ‫ﺯﺍﺩﮔﺎﻩ ﻧﮋﺍﺩﭘﺮﺳﺘﻰ ﺟﺮﻳﺎﻥ ﺩﺍﺭﺩ‪ .‬ﺗﺼﻮﻳﺮ ﻛﻮﻛﻼﺱﻛﻼﻥﻫﺎ ﺩﺭ ﺗﻴﺘﺮﺍژ ﻫﻢ ﻛﺎﻣ ً‬ ‫ﻼ ﻭﺍﺿﺢ ﺍﺳﺖ‪.‬‬ ‫ﺍﺯ ﮔﻮﺷﻪ ﻭ ﻛﻨﺎﻳﻪﻫﺎﻯ ﺩﻳﮕﺮ ﺳﺮﻳﺎﻝ‪ ،‬ﺍﻧﺘﻘﺎﺩ ﺑﻪ ﺑﻨﻴﺎﺩﮔﺮﺍﻳﻰ ﻣﺴﻴﺤﻰ ﺍﺳﺖ‪ .‬ﺭﻫﺮﻭﺍﻥ ﺧﻮﺭﺷﻴﺪ‬ ‫ﻣﺴﻴﺤﻴﺎﻥ ﻣﺘﻌﺼﺒﻰ ﻫﺴﺘﻨﺪ ﻛﻪ ﺍﺯ ﺧﻮﻥﺁﺷﺎﻡﻫﺎ ﻭ »ﻓﺎﺣﺸﻪﻫﺎﻯ ﻧﻴﺶﺩﺭﺍﺯﻫﺎ« ﻣﺘﻨﻔﺮﻧﺪ‪ .‬ﺟﺎﻳﻰ ﻛﻪ‬ ‫ﻣﻨﻄﻖ ﻣﺤﻠﻰ ﺍﺯ ﺍﻋﺮﺍﺏ ﻧﺪﺍﺭﺩ ﻭ ﺟﺰ ﻧﻴﺶ ﻭ ﺗﻴﺮ ﭼﻴﺰﻯ ﺑﻴﻦ ﺩﻭ ﻃﺮﻑ ﻗﻀﺎﻭﺕ ﻧﺨﻮﺍﻫﺪ ﻛﺮﺩ‪ .‬ﺩﺭ‬ ‫ﻣﻴﺎﻥ ﺍﻫﺎﻟﻰ ﺑﻮﻥﺗﺎﻡ ﻫﻢ ﻣﻰﺗﻮﺍﻥ ﻧﻤﻮﻧﻪﻫﺎﻳﻰ ﻣﺜﻞ ﻣﺎﺩﺭ ﺗﺎﺭﺍ ﺭﺍ ﭘﻴﺪﺍ ﻛﺮﺩ‪ .‬ﺩﺍﺋﻢﺍﻟﺨﻤﺮﻯ ﻣﺬﻫﺒﻰ ﻛﻪ‬ ‫ﺩﺧﺘﺮﺵ ﺭﺍ ﺑﻪ ﺧﺎﻙ ﺳﻴﺎﻩ ﻧﺸﺎﻧﺪﻩ ﺍﺳﺖ‪.‬‬ ‫ﭘﻰﻧﻮﺷﺖﻫﺎ‪:‬‬ ‫‪1. Alan Ball‬‬ ‫‪2. American beauty‬‬ ‫‪3. Six feet under‬‬

‫‪4. Coming out of the coffin‬‬ ‫‪5. Fang bangers‬‬

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‫ﻭﻳﮋﻩﻧﺎﻣﻪﻯ ﺧﻮﻥﺁﺷﺎﻡﻫﺎ‬

‫ﺍﺯ ﻗﻮﺍﻧﻴﻦ ﺩﺍﺭﻧﺪ ﻛﻪ ﺍﺯ ﺁﻥ ﺟﻤﻠﻪ ﻣﻰﺗﻮﺍﻥ ﮔﻔﺖ‪ :‬ﻧﺒﺎﻳﺪ ﺧﻮﻥ ﺧﻮﻥﺁﺷﺎﻡﻫﺎ ﺭﺍ ﺑﻪ ﻓﺮﻭﺵ ﺑﺮﺳﺎﻧﻨﺪ‪.‬‬ ‫ﻧﺒﺎﻳﺪ ﻫﻢﻧﻮﻉ ﺧﻮﺩ ﺭﺍ ﺑﻜﺸﻨﺪ‪ .‬ﻧﺒﺎﻳﺪ ﻫﻨﮕﺎﻡ ﺗﻐﺬﻳﻪ ﺍﺯ ﺁﺩﻡﻫﺎ‪ ،‬ﺗﺼﻮﻳﺮﻯ ﺍﺯ ﺁﻥﻫﺎ ﺿﺒﻂ ﺷﻮﺩ‪ .‬ﻣﺠﺎﺯﺍﺕ‬ ‫ﺗﻤﺎﻡ ﺍﻳﻦ ﺟﺮﺍﻳﻢ ﻣﻮﺍﺟﻪ ﺷﺪﻥ ﺑﺎ »ﻣﺮگ ﺣﻘﻴﻘﻰ« ﺍﺳﺖ‪ .‬ﺍﻟﺒﺘﻪ ﺩﺭ ﺟﺎﻳﻰ ﻳﻜﻰ ﺍﺯ ﺧﻮﻥﺁﺷﺎﻡﻫﺎ ﺑﺮﺍﻯ‬ ‫ﻗﺘﻞ ﻫﻢﻧﻮﻋﺶ‪ ،‬ﻣﺠﺒﻮﺭ ﺑﻪ ﺧﻠﻖ ﻳﻚ ﺧﻮﻥﺁﺷﺎﻡ ﺩﻳﮕﺮ ﻣﻰﺷﻮﺩ‪.‬‬ ‫ﺍﺳﺘﻌﺎﺭﺍﺕ ﻣﺨﻔﻰ ﺩﺭ ﺳﺮﻳﺎﻝ‬ ‫ﺑﺎﻝ ‪ 54‬ﺳﺎﻟﻪ‪ ،‬ﺑﻮﺩﻳﺴﺖ ﻭ ﻫﻮﻣﻮ ﺍﺳﺖ )ﺍﻭ ﺭﺍ ﺻﺪﺍﻯ ﺭﺳﺎﻯ ﺟﺎﻣﻌﻪﻯ ﻫﻮﻣﻮﻫﺎ ﻣﻰﺧﻮﺍﻧﻨﺪ( ﻭ ﺭﺩﭘﺎﻯ‬ ‫ﺍﻳﻦ ﺩﻭ ﮔﺮﺍﻳﺶ ﺍﻭ ﺭﺍ ﻣﻰﺗﻮﺍﻥ ﺩﺭ ﺍﻛﺜﺮ ﺁﺛﺎﺭﺵ ﭘﻴﺪﺍ ﻛﺮﺩ‪ .‬ﻫﻨﮕﺎﻣﻰ ﻛﻪ ‪ 13‬ﺳﺎﻟﻪ ﺑﻮﺩ‪ ،‬ﺑﻪ ﻫﻤﺮﺍﻩ‬ ‫ﺧﻮﺍﻫﺮﺵ ﺗﺼﺎﺩﻑ ﺍﺗﻮﻣﺒﻴﻞ ﻭﺣﺸﺘﻨﺎﻛﻰ ﺩﺍﺷﺘﻨﺪ‪ .‬ﻇﺎﻫﺮﺍ ً ﺗﻮﻟﺪ ﺑﻴﺴﺖ ﻭ ﺩﻭ ﺳﺎﻟﮕﻰ ﺧﻮﺍﻫﺮ ﺍﻭ ﺑﻮﺩﻩ‬ ‫ﻭ ﺍﻭ ﺟﻠﻮﻯ ﭼﺸﻢ ﺑﺎﻝ ﻛﺸﺘﻪ ﻣﻰﺷﻮﺩ‪ .‬ﺧﻮﻥ ﺳﺮﺗﺎﭘﺎﻯ ﺑﺎﻝ ﺭﺍ ﭘﻮﺷﺎﻧﺪﻩ ﻭ ﻣﺮگ ﭼﻬﺮﻩﻯ ﺯﺷﺘﺶ ﺭﺍ‬ ‫ﺑﻪ ﺍﻭ ﻧﺸﺎﻥ ﻣﻰﺩﻫﺪ ﻭ ﺯﻧﺪﮔﻴﺶ ﺭﺍ ﺑﺮﺍﻯ ﻫﻤﻴﺸﻪ ﺗﻐﻴﻴﺮ ﻣﻰﺩﻫﺪ‪ .‬ﺑﻪ ﻫﻤﻴﻦ ﺩﻟﻴﻞ ﺍﺳﺖ ﻛﻪ ﻣﺮگ‬ ‫ﺑﻪﻛﺮﺍﺕ ﻣﻮﺿﻮﻉ ﻓﻴﻠﻢﻫﺎﻯ ﺍﻭ ﺷﺪﻩ ﺍﺳﺖ‪ .‬ﻭﻳﮋﮔﻰ ﻣﺸﺘﺮﻙ ﺳﺮﻳﺎﻝﻫﺎﻯ ﺑﺎﻝ‪ ،‬ﺟﺬﺍﺑﻴﺖ ﻭ ﮔﻴﺮﺍﻳﻰ‬ ‫ﺑﺎﻻ‪ ،‬ﻃﻨﺰ ﺗﻠﺦ‪ ،‬ﺯﻭﺩ ﺑﺎﺯ ﺷﺪﻥ ﮔﺮﻩﻫﺎ ﻭ ﺍﻟﺒﺘﻪ ﺭﻭﺍﺑﻂ ﺟﻨﺴﻰ ﺍﺳﺖ‪ .‬ﺍﻭ ﺳﻌﻰ ﺩﺍﺭﺩ ﺑﺎ ﺗﻘﺴﻴﻢ ﻣﻨﺎﺳﺐ‬ ‫ﺍﺗﻔﺎﻗﺎﺕ ﺩﺭ ﻃﻮﻝ ﺍﭘﻴﺰﻭﺩﻫﺎ‪ ،‬ﺭﻳﺘﻢ ﺩﺍﺳﺘﺎﻥ ﺭﺍ ﺣﻔﻆ ﻛﻨﺪ ﻭ ﺑﻴﻨﻨﺪﮔﺎﻥ ﺭﺍ ﺩﺭ ﺩﺍﻻﻥﻫﺎﻯ ﺗﻮﺩﺭﺗﻮﻯ‬ ‫ﺭﻭﺍﻳﺘﺶ ﭘﺮﺗﺎﺏ ﻭ ﺩﺭ ﺩﻝ ﻫﺮ ﺩﺍﺳﺘﺎﻥ‪ ،‬ﭼﻨﺪ ﺩﺍﺳﺘﺎﻥ ﺩﻳﮕﺮ ﺭﺍ ﭘﻨﻬﺎﻥ ﻛﻨﺪ‪ .‬ﺑﺮﺩﺍﺷﺖ ﺍﻭ ﺍﺯ ﻣﺠﻤﻮﻋﻪ‬ ‫ﺩﺍﺳﺘﺎﻥ »ﺭﺍﺯ ﻭ ﺭﻣﺰﻫﺎﻯ ﺧﻮﻥﺁﺷﺎﻡﻫﺎﻯ ﺟﻨﻮﺑﻰ« ﻧﻮﺷﺘﻪﻯ »ﻛﺎﺭﻻﻳﻦ ﻫﺮﻳﺲ«‪ ،‬ﺷﺨﺼﻰ ﺷﺪﻩ ﻭ‬ ‫ﺩﻏﺪﻏﻪﻫﺎﻯ ﺧﻮﺩﺵ ﺭﺍ ﻧﻴﺰ ﻋﻤﺪﺗﺎً ﺩﺭ ﻏﺎﻟﺐ ﺍﺳﺘﻌﺎﺭﺍﺗﻰ ﺑﻪ ﻣﺠﻤﻮﻋﻪ ﺍﺿﺎﻓﻪ ﻛﺮﺩﻩ ﺍﺳﺖ‪ .‬ﻓﺮﺍﮔﻴﺮﺗﺮﻳﻦ‬ ‫ﺍﺳﺘﻌﺎﺭﻩ ﺩﺭ ﺍﻳﻦ ﺳﺮﻳﺎﻝ‪ ،‬ﺗﺸﺒﻴﻪ ﺧﻮﻥﺁﺷﺎﻡﻫﺎ ﺑﻪ ﻫﻮﻣﻮﻫﺎ ﺍﺳﺖ‪ .‬ﻋﺒﺎﺭﺕ ”‪) “god hates fangs‬ﺧﺪﺍ‬ ‫ﻧﻴﺶﺩﺭﺍﺯﻫﺎ ﺭﺍ ﺩﻭﺳﺖ ﻧﺪﺍﺭﺩ( ﺩﺭ ﺗﻴﺘﺮﺍژ ﺍﻭﻟﻴﻪ ﺳﺮﻳﺎﻝ ﻳﺎﺩﺁﻭﺭ ﺷﻌﺎﺭ ”‪» “god hates fags‬ﻓﺮﺩ‬ ‫ﻓﻠﭙﺲ« ﻭ ﻛﻠﻴﺴﺎﻯ ﺿﺪﻫﻤﺠﻨﺴﮕﺮﺍﻳﺎﻥ »ﻭﺑﺴﺘﺮﻭ ﺑﺎﺑﺘﻴﺴﺖ« ﺍﺳﺖ‪» .‬ﺧﺮﻭﺝ ﺍﺯ ﺗﺎﺑﻮﺕ« ﻳﺎﺩﺁﻭﺭ‬ ‫”‪ “coming out of closet‬ﻭ ﺁﺷﻜﺎﺭﺳﺎﺯﻯ ﮔﺮﺍﻳﺶ ﺟﻨﺴﻰ ﻫﻮﻣﻮﻫﺎ ﺍﺳﺖ‪ .‬ﺍﻳﻦ ﻛﻪ ﺧﻮﻥﺁﺷﺎﻡﻫﺎ ﺑﻪ‬ ‫ﺩﻧﺒﺎﻝ ﺑﻪ ﺩﺳﺖ ﺁﻭﺭﺩﻥ ﺣﻘﻮﻕ ﺑﺮﺍﺑﺮ ﺑﺎ ﺩﻳﮕﺮ ﺍﻋﻀﺎﻯ ﺟﺎﻣﻌﻪ ﻫﺴﺘﻨﺪ ﻭ ﺧﻮﺍﺳﺘﺎﺭ ﺑﻪ ﺩﺳﺖ ﺁﻭﺭﺩﻥ‬ ‫ﺣﻖ ﺍﺯﺩﻭﺍﺝ ﻫﺴﺘﻨﺪ‪ .‬ﺣﺘﺎ ﺩﺭ ﺟﺎﻳﻰ ﺍﺯ ﺳﺮﻳﺎﻝ‪ ،‬ﺑﻴﻞ ﺑﻪ ﺳﻮﻛﻰ ﭘﻴﺸﻨﻬﺎﺩ ﻣﻰﺩﻫﺪ ﺑﺮﺍﻯ ﺍﺯﺩﻭﺍﺝ‬ ‫ﺑﺎ ﺍﻭ ﺑﻪ ﻭﺭﻣﻮﻧﺖ ﺑﺮﻭﻧﺪ‪ .‬ﻛﺎﺭﻯ ﻛﻪ ﻫﻮﻣﻮﻫﺎ ﺑﻪ ﺩﻟﻴﻞ ﻣﻌﺪﻭﺩ ﺑﻮﺩﻥ ﺍﻳﺎﻻﺗﻰ ﻛﻪ ﺍﻳﻦ ﮔﺮﺍﻳﺶ ﺭﺍ ﺑﻪ‬ ‫ﺭﺳﻤﻴﺖ ﺷﻨﺎﺧﺘﻪﺍﻧﺪ‪ ،‬ﺑﺎﻳﺪ ﺍﻧﺠﺎﻡ ﺩﻫﻨﺪ‪ .‬ﺍﺯ ﻋﺒﺎﺭﺍﺕ ﺗﻮﻫﻴﻦﺁﻣﻴﺰﻯ ﻛﻪ ﺑﺮﺍﻯ ﺧﻮﻥﺁﺷﺎﻡﻫﺎ ﺍﺳﺘﻔﺎﺩﻩ‬ ‫ﻣﻰﻛﻨﻨﺪ‪ “blood sucker”،‬ﺍﺳﺖ ﻛﻪ ﺷﺒﻴﻪ ﻧﺎﺳﺰﺍﻫﺎﻳﻰ ﺍﺳﺖ ﻛﻪ ﺑﻪ ﻫﻮﻣﻮﻫﺎ ﺩﺍﺩﻩ ﻣﻰﺷﻮﺩ‪.‬‬ ‫ﺑﻪ ﻃﻮﺭ ﻛﻠﻰ ﺍﺯ ﻫﻤﺎﻥ ﺍﻭﺍﻳﻞ ﺗﺎﺭﻳﺦ ﭘﻴﺪﺍﻳﺶ ﺳﻴﻨﻤﺎ‪ ،‬ﺗﻨﻬﺎ ﺻﺤﻨﻪﻫﺎﻳﻰ ﻛﻪ ﺩﻭ ﻣﺮﺩ ﻣﻰﺗﻮﺍﻧﺴﺘﻨﺪ‬ ‫ﻫﻤﺪﻳﮕﺮ ﺭﺍ ﺑﺒﻮﺳﻨﺪ‪ ،‬ﺩﺭ ﻓﻴﻠﻢﻫﺎﻯ ﺧﻮﻥﺁﺷﺎﻣﻰ ﺑﻮﺩﻩ ﻭ ﺍﻳﻦ ﺍﺳﺘﻌﺎﺭﻩ ﭼﻨﺪﺍﻥ ﻫﻢ ﻣﻨﺤﺼﺮ ﺑﻪ‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،9-10‬ﺷﻬﺮﻳﻮﺭ ﻭ ﻣﻬﺮ ‪1390‬‬

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‫ﺗﻠﻮﻳﺰﻳﻮﻥ‬

‫ﺧﻮﻥﺁﺷﺎﻡﻫﺎ ﺭﺍ ﻣﻲﺗﻮﺍﻥ ﺑﻪ ﻃﺮﻳﻘﻪﻯ ﺯﺩﻥ ﺗﻴﺮﻙ ﭼﻮﺑﻰ ﺩﺭ ﻗﻠﺒﺸﺎﻥ‪ ،‬ﻛﻨﺪﻥ ﺳﺮﺷﺎﻥ ﻭ ﻗﺮﺍﺭ‬ ‫ﺩﺍﺩﻧﺸﺎﻥ ﺯﻳﺮ ﻧﻮﺭ ﺧﻮﺭﺷﻴﺪ ﻛﺸﺖ‪ .‬ﭘﺲ ﺍﺯ ﻣﺮگ‪ ،‬ﺑﺪﻧﺸﺎﻥ ﺑﻼﻓﺎﺻﻠﻪ ﺑﻪ ﺗﻮﺩﻩﺍﻯ ﻟﺰﺝ ﺍﺯ ﺧﻮﻥ ﺩﻟﻤﻪ‬ ‫ﺑﺴﺘﻪ ﻭ ﺍﻣﻌﺎء ﻭ ﺍﺣﺸﺎﻳﺸﺎﻥ ﺗﺒﺪﻳﻞ ﻣﻰﺷﻮﺩ‪ .‬ﺁﻥﻫﺎ ﺑﻪ ﺣﻜﻢ ﺍﻋﺪﺍﻡ ﻫﻢﻧﻮﻋﺎﻧﺸﺎﻥ‪ ،‬ﻣﻮﺍﺟﻪ ﺷﺪﻥ ﺑﺎ‬ ‫»ﻣﺮگ ﺣﻘﻴﻘﻰ« ﻣﻰﮔﻮﻳﻨﺪ‪.‬‬ ‫ﺧﻮﻥﺁﺷﺎﻡﻫﺎ ﻣﻤﻜﻦ ﺍﺳﺖ ﻣﺜﻞ ﺍﻧﺴﺎﻥﻫﺎ ﺻﺪﻣﻪﻯ ﻓﻴﺰﻳﻜﻰ ﺑﺒﻴﻨﻨﺪ‪ ،‬ﻭﻟﻰ ﺑﻼﻓﺎﺻﻠﻪ ﺯﺧﻢﻫﺎﻳﺸﺎﻥ‬ ‫ﺧﻮﺏ ﻣﻰﺷﻮﺩ‪ .‬ﻣﻌﻤﻮﻻً ﮔﻠﻮﻟﻪ ﻧﻤﻰﺗﻮﺍﻧﺪ ﺁﻥﻫﺎ ﺭﺍ ﺑﻜﺸﺪ‪ ،‬ﻭﻟﻰ ﻣﻰﺗﻮﺍﻧﺪ ﺑﻪ ﺁﻥﻫﺎ ﺻﺪﻣﻪﻯ ﺑﺴﻴﺎﺭ‬ ‫ﺑﺰﻧﺪ‪ .‬ﺑﺪﻧﺸﺎﻥ ﺑﻌﺪ ﺍﺯ ﺑﺎﺯﮔﺸﺖ ﺑﻪ ﺣﺎﻟﺖ ﺍﻭﻟﻴﻪ ﻣﻰﺗﻮﺍﻧﺪ ﮔﻠﻮﻟﻪ‪ ،‬ﭼﺎﻗﻮ ﻭ ﭼﻴﺰﻫﺎﻯ ﺩﻳﮕﺮﻯ ﻛﻪ ﺑﻪ‬ ‫ﺩﺭﻭﻧﺸﺎﻥ ﻭﺍﺭﺩ ﺷﺪﻩ‪ ،‬ﺑﻪ ﺑﻴﺮﻭﻥ ﭘﺮﺗﺎﺏ ﻛﻨﺪ ﻭ ﺑﺮﺍﻯ ﺑﺎﺯﺳﺎﺯﻯ ﺻﺪﻣﺎﺕ ﺑﺰﺭگﺗﺮ ﺑﺎﻳﺪ ﺧﻮﻥ ﺯﻳﺎﺩﻯ‬ ‫ﺑﺨﻮﺭﻧﺪ‪ .‬ﻧﻘﺮﻩ ﺧﻮﻥﺁﺷﺎﻡﻫﺎ ﺭﺍ ﻣﻰﺳﻮﺯﺍﻧﺪ ﻭ ﻣﻰﺗﻮﺍﻥ ﺁﻥﻫﺎ ﺭﺍ ﺑﺎ ﺁﻥ ﺍﺳﻴﺮ ﻛﺮﺩ‪ .‬ﺑﺮ ﺧﻼﻑ ﻗﺪﺭﺕﻫﺎﻯ‬ ‫ﻓﺮﺍﺑﺸﺮﻯ ﺧﻮﻥﺁﺷﺎﻣﺎﻥ‪ ،‬ﺁﻥﻫﺎ ﻧﻤﻰﺗﻮﺍﻧﻨﺪ ﺩﺭ ﺑﺮﺍﺑﺮ ﻧﻘﺮﻩ ﻣﻘﺎﻭﻣﺖ ﻛﻨﻨﺪ؛ ﺍﻣﺎ ﮔﻠﻮﻟﻪﻫﺎﻯ ﻧﻘﺮﻩﺍﻯ ﻫﻢ‬ ‫ﻧﻤﻰﺗﻮﺍﻧﺪ ﺁﻥﻫﺎ ﺭﺍ ﺑﻜﺸﺪ‪.‬‬ ‫ﺧﻮﻥﺁﺷﺎﻡﻫﺎ ﺑﺪﻭﻥ ﺍﺟﺎﺯﻩﻯ ﺻﺎﺣﺐﺧﺎﻧﻪ ﻧﻤﻰﺗﻮﺍﻧﻨﺪ ﻭﺍﺭﺩ ﺧﺎﻧﻪﻯ ﻳﻚ ﺍﻧﺴﺎﻥ ﺷﻮﻧﺪ‪ .‬ﺍﮔﺮ ﭼﻪ ﺗﻮﺍﻥ‬ ‫ﺍﻳﻦ ﺭﺍ ﺩﺍﺭﻧﺪ ﻛﻪ ﺩﺳﺘﺎﻧﺸﺎﻥ ﺭﺍ ﺩﺍﺧﻞ ﺧﺎﻧﻪﺍﻯ ﻛﻪ ﺑﻪ ﺁﻥ ﺩﻋﻮﺕ ﻧﺸﺪﻩﺍﻧﺪ‪ ،‬ﺑﺒﺮﻧﺪ ﻳﺎ ﺍﻋﻀﺎﻯ ﺁﻥ ﺧﺎﻧﻪ‬ ‫ﺭﺍ ﻫﻴﭙﻨﻮﺗﻴﺰﻡ ﻭ ﻭﺍﺩﺍﺭ ﺑﻪ ﺩﻋﻮﺕ ﺑﻪ ﺩﺭﻭﻧﺸﺎﻥ ﻛﻨﻨﺪ‪ .‬ﺍﻣﺎ ﺧﺎﻧﻪﻯ ﺧﻮﻥﺁﺷﺎﻡﻫﺎﻯ ﺩﻳﮕﺮ ﺍﺯ ﭼﻨﻴﻦ‬ ‫ﻗﺎﻧﻮﻧﻰ ﺑﺮﺧﻮﺭﺩﺍﺭ ﻧﻴﺴﺖ‪.‬‬ ‫ﺁﺩﻡﻫﺎ ﺍﺯ ﺧﻮﻥ ﺧﻮﻥﺁﺷﺎﻡﻫﺎ ﺑﻬﺮﻩ ﻣﻰﺑﺮﻧﺪ‪ .‬ﺁﻥ ﺭﺍ ﺑﻪ ﻋﻨﻮﺍﻥ ﻣﺎﺩﻩﻯ ﻣﺨﺪﺭﻯ ﺗﺤﺖ ﻋﻨﻮﺍﻥ »ﻭﻯ«‬ ‫ﺩﺭ ﺧﻴﺎﺑﺎﻥﻫﺎ ﻣﻌﺎﻣﻠﻪ ﻣﻰﻛﻨﻨﺪ‪ .‬ﺧﻮﻥ ﺧﻮﻥﺁﺷﺎﻡ ﻣﻰﺗﻮﺍﻧﺪ ﺳﺮﻋﺖ ﺑﻬﺒﻮﺩ ﺯﺧﻢﻫﺎﻯ ﺑﺪﻥ ﻳﻚ ﺍﻧﺴﺎﻥ‬ ‫ﺭﺍ ﺳﺮﻳﻊﺗﺮ ﻛﻨﺪ‪ ،‬ﺗﻤﺎﻳﻞ ﻭ ﺷﻮﺭ ﺟﻨﺴﻰ ﺭﺍ ﺍﻓﺰﺍﻳﺶ ﺩﻫﺪ‪ ،‬ﺣﻮﺍﺱ‪ ،‬ﺳﺮﻋﺖ ﻭ ﻗﺪﺭﺕ ﺭﺍ ﺑﺮﺍﻯ ﻣﺪﺗﻰ‬ ‫ﻛﻮﺗﺎﻩ ﻗﻮﻯﺗﺮ ﻛﻨﺪ‪ .‬ﺍﻳﻦ ﺑﺎﻋﺚ ﺷﺪﻩ ﻛﻪ ﺍﻓﺮﺍﺩﻯ ﭘﻴﺪﺍ ﺷﻮﻧﺪ ﻛﻪ ﺑﺎ ﮔﻴﺮ ﺍﻧﺪﺍﺧﺘﻦ ﺧﻮﻥﺁﺷﺎﻡﻫﺎ‪ ،‬ﺧﻮﻥ‬ ‫ﺁﻥﻫﺎ ﺭﺍ ﻛﺎﻣ ً‬ ‫ﻼ ﺑﻜﺸﻨﺪ ﻭ ﺑﻪ ﻓﺮﻭﺵ ﺑﺮﺳﺎﻧﻨﺪ‪ .‬ﺍﮔﺮ ﺍﻧﺴﺎﻧﻰ ﺍﺯ ﺧﻮﻥ ﻳﻚ ﺧﻮﻥﺁﺷﺎﻡ ﻗﺪﺭﺗﻤﻨﺪ ﺑﻨﻮﺷﺪ‪،‬‬ ‫ﺁﻥ ﺧﻮﻥﺁﺷﺎﻡ ﻗﺎﺩﺭ ﺧﻮﺍﻫﺪ ﺑﻮﺩ ﻣﺘﻮﺟﻪ ﻣﺤﻠﻰ ﻛﻪ ﺍﻭ ﺩﺭ ﺁﻥﺟﺎ ﺣﻀﻮﺭ ﺩﺍﺭﺩ ﻭ ﺍﺣﺴﺎﺳﺎﺗﺶ ﺷﻮﺩ‪.‬‬ ‫ﻫﻤﭽﻨﻴﻦ ﺁﻥ ﺍﻧﺴﺎﻥ ﻫﻢ ﺗﻤﺎﻳﻞ ﻭ ﻛﺸﺶ ﺯﻳﺎﺩﻯ ﺑﻪ ﺳﻤﺖ ﺁﻥ ﺧﻮﻥﺁﺷﺎﻡ ﭘﻴﺪﺍ ﻣﻰﻛﻨﺪ ﻭ ﺭﻭﻳﺎﻫﺎﻳﻰ‬ ‫ﺩﺭﺑﺎﺭﻩﻯ ﺍﻭ ﻣﻰﺑﻴﻨﺪ‪.‬‬ ‫ﺧﻮﻥﺁﺷﺎﻡﻫﺎ ﺳﻠﺴﻠﻪﻣﺮﺍﺗﺐ ﺳﻔﺖ ﻭ ﺳﺨﺘﻰ ﺩﺍﺭﻧﺪ ﻛﻪ ﻳﺎﺩﺁﻭﺭ ﺩﻭﺭﺍﻥ ﻓﺌﻮﺩﺍﻟﻰ ﺍﻧﺴﺎﻥﻫﺎﺳﺖ‪ .‬ﺩﺭ‬ ‫ﺁﻣﺮﻳﻜﺎ ﻗﻠﻤﺮﻭﻫﺎﻯ ﭘﺎﺩﺷﺎﻫﻰ ﻭﺟﻮﺩ ﺩﺍﺭﺩ ﻛﻪ ﺷﺎﻩ ﻳﺎ ﻣﻠﻜﻪ ﺩﺍﺭﻧﺪ ﻭ ﻣﻌﻤﻮﻻً ﻫﺮ ﺍﻳﺎﻟﺖ ﻳﻚ ﻗﻠﻤﺮﻭ‬ ‫ﻣﺤﺴﻮﺏ ﻣﻰﺷﻮﺩ‪ .‬ﻛﻨﺘﺮﻝ ﺑﺨﺶﻫﺎﻯ ﻫﺮ ﺍﻳﺎﻟﺖ ﻫﻢ ﺑﻪ ﺩﺳﺖ ﻛﻼﻧﺘﺮﻫﺎﻯ ﻣﺤﻠﻰ ﺍﺳﺖ )ﻣﺜ ً‬ ‫ﻼ‬ ‫ﻟﻮﺋﻴﺰﻳﺎﻧﺎ ‪ 5‬ﻛﻼﻧﺘﺮ ﺩﺍﺭﺩ(‪ .‬ﻳﻚ ﻗﺪﺭﺕ ﻣﺘﻤﺮﻛﺰ ﺑﻴﻦﺍﻟﻤﻠﻠﻰ ﻧﻴﺰ ﺩﺍﺭﻧﺪ ﻛﻪ ﺩﺭ ﺁﻣﺮﻳﻜﺎ ﻭﺍﻗﻊ ﺍﺳﺖ ﻭ ﺑﻪ‬ ‫ﺁﻥ »ﺍﺗﺤﺎﺩ ﺧﻮﻥﺁﺷﺎﻡﻫﺎﻯ ﺁﻣﺮﻳﻜﺎ« ﻣﻰﮔﻮﻳﻨﺪ ﻭ ﺭﻫﺒﺮ ﺁﻥ »ﻧﻦ ﻓﻼﻧﺎﮔﺎﻥ« ﺍﺳﺖ‪ .‬ﻳﻚ ﻟﻴﺴﺖ ﻃﻮﻳﻞ‬

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‫ﻭﻳﮋﻩﻧﺎﻣﻪﻯ ﺧﻮﻥﺁﺷﺎﻡﻫﺎ‬

‫ﺗﻠﻮﻳﺰﻳﻮﻥ‬

‫ﺩﺳﺘﺒﻨﺪ ﻧﻘﺮﻩ ﻭ ﺳﻼﺡﻫﺎﻳﻰ ﺑﺎ ﮔﻠﻮﻟﻪﻯ ﭼﻮﺑﻰ ﺑﺮﺍﻯ ﻣﻘﺎﺑﻠﻪ ﺑﺎ ﺧﻮﻥﺁﺷﺎﻡﻫﺎﻯ ﻣﺴﻦﺗﺮ ﻫﻢ ﻭﺟﻮﺩ‬ ‫ﺩﺍﺭﺩ‪ .‬ﺧﻮﻥﺁﺷﺎﻡﻫﺎﻯ ﻣﺴﻦﺗﺮ ﻣﻤﻜﻦ ﺍﺳﺖ ﺑﻪ ﺗﻮﺍﻧﺎﻳﻰ ﭘﺮﻭﺍﺯ ﻫﻢ ﺩﺳﺖ ﭘﻴﺪﺍ ﻛﻨﻨﺪ‪ .‬ﺟﻮﺍﻥﺗﺮﻳﻦ‬ ‫ﺧﻮﻥﺁﺷﺎﻣﻰ ﻛﻪ ﺩﺭ ﺳﺮﻳﺎﻝ ﺍﻳﻦ ﺗﻮﺍﻧﺎﻳﻰ ﺭﺍ ﺩﺍﺭﺩ‪ 1000 ،‬ﺳﺎﻝ ﺳﻦ ﺩﺍﺭﺩ‪ .‬ﻫﻤﭽﻨﻴﻦ ﻳﻚ ﺧﻮﻥﺁﺷﺎﻡ‬ ‫ﻛﻤﺘﺮ ﺍﺯ ‪ 200‬ﺳﺎﻟﻪ ﻫﻢ ﻧﺸﺎﻥ ﺩﺍﺩﻩ ﺷﺪﻩ ﺍﺳﺖ ﻛﻪ ﻣﻰﺗﻮﺍﻧﺪ ﺑﺎ ﻓﺎﺻﻠﻪﻯ ﻛﻤﻰ ﺍﺯ ﺯﻣﻴﻦ ﺑﻠﻨﺪ ﺷﻮﺩ‬ ‫ﻭ ﺩﺭ ﻫﻮﺍ ﻣﻌﻠﻖ ﺑﻤﺎﻧﺪ ﻳﺎ ﻣﺴﺎﻓﺖ ﻛﻮﺗﺎﻫﻰ ﺭﺍ ﭘﺮﻭﺍﺯ ﻛﻨﺪ‪ .‬ﻫﻨﮕﺎﻣﻰ ﻛﻪ ﺑﻪ ﻫﺮ ﺩﻟﻴﻠﻰ ﻣﺜﻞ ﺭﺍﺑﻄﻪﻯ‬ ‫ﺟﻨﺴﻰ‪ ،‬ﺧﺸﻮﻧﺖ ﻳﺎ ﺗﻐﺬﻳﻪ ﺑﺮﺍﻧﮕﻴﺨﺘﻪ ﻣﻰﺷﻮﻧﺪ‪ ،‬ﻧﻴﺶﻫﺎﻳﺸﺎﻥ ﺑﻴﺮﻭﻥ ﻣﻰﺯﻧﺪ‪.‬‬ ‫ﺑﻪ ﺧﺎﻃﺮ ﺗﻮﺍﻧﺎﻳﻰﻫﺎﻯ ﺑﺮﺗﺮﺷﺎﻥ ﺩﺭ ﻗﺪﺭﺕ ﻭ ﺳﺮﻋﺖ‪ ،‬ﺧﻮﻥﺁﺷﺎﻡﻫﺎ ﺑﺮ ﺍﻛﺜﺮ ﻣﻮﺟﻮﺩﺍﺕ ﻣﺎﻭﺭﺍءﺍﻟﻄﺒﻴﻌﻪﻯ‬ ‫ﺳﺮﻳﺎﻝ ﺑﺮﺗﺮﻯ ﺩﺍﺭﻧﺪ‪ .‬ﺗﻨﻬﺎ ﻣِﻴﻨﺎﺩ ﺍﺳﺖ ﻛﻪ ﺑﻪ ﺩﻟﻴﻞ ﺳﻴﺎﻩ ﻭ ﺳﻤﻰ ﺑﻮﺩﻥ ﺧﻮﻧﺶ‪ ،‬ﺑﺮﺍﻯ ﺧﻮﻥﺁﺷﺎﻡﻫﺎ‬ ‫ﻣﺸﻜﻞ ﺍﻳﺠﺎﺩ ﻣﻰﻛﻨﺪ‪ .‬ﺍﺯ ﺳﻮﻯ ﺩﻳﮕﺮ‪ ،‬ﻣِﻴﻨﺎﺩ ﻫﻢ ﺗﻮﺍﻧﺎﻳﻰ ﻛﻨﺘﺮﻝ ﻓﻜﺮ ﻭ ﺍﻋﻤﺎﻝ ﺧﻮﻥﺁﺷﺎﻡﻫﺎ‬ ‫ﺭﺍ ﻧﺪﺍﺭﺩ‪ .‬ﺍﮔﺮ ﭼﻪ ﺩﺭ ﺳﻴﺰﻥ ﭼﻬﺎﺭﻡ ﺩﻳﺪﻳﻢ ﺟﺎﺩﻭﮔﺮﺍﻥ ﻣﻰﺗﻮﺍﻧﻨﺪ ﺑﺎ ﺍﻓﺴﻮﻥﻫﺎﻯ ﻗﺪﺭﺗﻤﻨﺪﺷﺎﻥ‬ ‫ﺧﻮﻥﺁﺷﺎﻡﻫﺎ ﺭﺍ ﻛﻨﺘﺮﻝ ﻛﻨﻨﺪ‪ ،‬ﺑﻬﺸﺎﻥ ﺻﺪﻣﻪ ﺑﺰﻧﻨﺪ ﻭ ﺣﺘﺎ ﻧﺎﺑﻮﺩﺷﺎﻥ ﻛﻨﻨﺪ‪ .‬ﺧﻮﻥﺁﺷﺎﻡﻫﺎ ﻫﻢ ﺩﺭ‬ ‫ﻗﺮﻭﻥ ﻭﺳﻄﻰ ﺑﻪ ﻛﻠﻴﺴﺎﻫﺎ ﻧﻔﻮﺫ ﻛﺮﺩﻧﺪ )ﻣﺜﻞ ﺗﻤﺎﻡ ﻣﺮﺍﻛﺰ ﻗﺪﺭﺕ ﺩﺭ ﺗﻤﺎﻡ ﺍﺩﻭﺍﺭ( ﺗﺎ ﺩﺭ ﻗﺎﻟﺐ ﺗﻔﺘﻴﺶ‬ ‫ﻋﻘﺎﻳﺪ ﺁﻥﻫﺎ ﺭﺍ ﻧﺎﺑﻮﺩ ﻛﻨﻨﺪ‪.‬‬ ‫ﺧﻮﻥﺁﺷﺎﻡﻫﺎ ﻧﻤﻰﺗﻮﺍﻧﻨﺪ ﻫﻴﭻ ﻧﻮﻉ ﻏﺬﺍ ﻳﺎ ﻧﻮﺷﻴﺪﻧﻰ ﻣﺼﺮﻑ ﻛﻨﻨﺪ‪ .‬ﺧﻮﻥﺁﺷﺎﻡﻫﺎﻯ ﺟﻮﺍﻥ ﻧﻴﺎﺯ ﺩﺍﺭﻧﺪ‬ ‫ﻛﻪ ﺷﺒﻰ ﻳﻚ ﺑﺎﺭ ﺍﺯ ﺧﻮﻥ ﺗﻐﺬﻳﻪ ﻛﻨﻨﺪ‪ ،‬ﻭﻟﻰ ﺧﻮﻥﺁﺷﺎﻡﻫﺎﻯ ﻣﺴﻦﺗﺮ ﮔﻪﮔﺪﺍﺭﻯ ﻧﻴﺎﺯ ﺑﻪ ﺗﻐﺬﻳﻪ‬ ‫ﺩﺍﺭﻧﺪ‪ .‬ﺧﻮﻥ ﺣﻘﻴﻘﻰ ﻣﻰﺗﻮﺍﻧﺪ ﺟﺎﻳﮕﺰﻳﻦ ﺧﻮﻥ ﺍﻧﺴﺎﻥ ﺑﺎﺷﺪ‪ ،‬ﻭﻟﻰ ﻣﺰﻩﻯ ﺧﻮﻥ ﺍﻧﺴﺎﻥ ﺑﻬﺘﺮ ﺍﺳﺖ‪.‬‬ ‫ﺧﻮﻥﺁﺷﺎﻡﻫﺎ ﻣﻰﺗﻮﺍﻧﻨﺪ ﺍﻧﺴﺎﻥﻫﺎ ﺭﺍ ﻫﻴﭙﻨﻮﺗﻴﺰﻡ ﻛﻨﻨﺪ‪ ،‬ﺍﻣﺎ ﺳﻮﻛﻰ ﺍﺯ ﺍﻳﻦ ﻗﻀﻴﻪ ﻣﺴﺘﺜﻨﻰ ﺍﺳﺖ‪.‬‬ ‫ﺧﻮﻥﺁﺷﺎﻡﻫﺎ ﻣﻰﺗﻮﺍﻧﻨﺪ ﺍﺯ ﻗﺪﺭﺕ ﻫﻴﭙﻨﻮﺗﻴﺰﻣﺸﺎﻥ ﺑﺮﺍﻯ ﻗﺮﺍﺭ ﺩﺍﺩﻥ ﺧﺎﻃﺮﺍﺕ ﺩﺭﻭﻏﻴﻦ ﺩﺭ ﺫﻫﻦ‬ ‫ﻗﺮﺑﺎﻧﻴﺸﺎﻥ‪ ،‬ﻛﻨﺘﺮﻝ ﺭﻓﺘﺎﺭﺷﺎﻥ‪ ،‬ﺑﻪﺩﺳﺖ ﺁﻭﺭﺩﻥ ﺣﻘﻴﻘﺖ ﻭ ﻳﺎ ﭘﺎﻙ ﻛﺮﺩﻥ ﺣﺎﻓﻈﻪ ﺍﺳﺘﻔﺎﺩﻩ ﻛﻨﻨﺪ‪.‬‬ ‫ﮔﺎﻫﻰ ﭘﻴﺶ ﻣﻰﺁﻳﺪ ﻛﻪ ﭘﺲ ﺍﺯ ﺗﻐﺬﻳﻪ ﺍﺯ ﺧﻮﻥ ﻗﺮﺑﺎﻧﻴﺎﻧﺸﺎﻥ‪ ،‬ﺁﻥﻫﺎ ﺭﺍ ﻫﻴﭙﻨﻮﺗﻴﺰﻡ ﻣﻰﻛﻨﻨﺪ ﺗﺎ ﺩﭼﺎﺭ‬ ‫ﻓﺮﺍﻣﻮﺷﻰ ﺷﻮﻧﺪ ﻭ ﺟﺎﻯ ﻧﻴﺶﻫﺎﻳﺸﺎﻥ ﺭﺍ ﺑﺎ ﺧﻮﻥ ﺧﻮﺩﺷﺎﻥ ﺍﺯ ﭘﻮﺳﺖ ﻗﺮﺑﺎﻧﻰ ﭘﺎﻙ ﻣﻰﻛﻨﻨﺪ‪.‬‬ ‫ﺧﻮﻥﺁﺷﺎﻡﻫﺎ ﺍﻃﻼﻋﺎﺕ ﺩﺭﻭﻏﻴﻨﻰ ﺍﺯ ﻧﮋﺍﺩ ﺧﻮﺩ ﺩﺭ ﻣﻴﺎﻥ ﻣﺮﺩﻡ ﭘﺨﺶ ﻛﺮﺩﻩﺍﻧﺪ ﺗﺎ ﺍﺯ ﺧﻮﺩ ﺩﻓﺎﻉ ﻛﻨﻨﺪ‪.‬‬ ‫ﺍﻓﺴﺎﻧﻪﺍﻯ ﻛﻪ ﻣﻰﮔﻮﻳﺪ ﺧﻮﻥﺁﺷﺎﻡﻫﺎ ﺩﺭ ﺁﻳﻨﻪ ﺗﺼﻮﻳﺮﻯ ﻧﺪﺍﺭﻧﺪ‪ ،‬ﺍﺯ ﺁﻥ ﺩﺳﺘﻪ ﺍﺳﺖ‪ .‬ﺳﻴﺮ ﺑﺮﺍﻯ ﺁﻥﻫﺎ‬ ‫ﻧﺎﺧﻮﺷﺎﻳﻨﺪ ﺍﺳﺖ‪ ،‬ﺍﻣﺎ ﺗﻨﻬﺎ ﺍﺯ ﺍﻳﻦ ﺟﻬﺖ ﻛﻪ ﺑﻮﻯ ﺑﺪ ﻭﺣﺸﺘﻨﺎﻛﻰ ﺩﺍﺭﺩ‪ .‬ﺁﻥﻫﺎ ﺩﺭ ﺑﺮﺍﺑﺮ ﺻﻠﻴﺐﻫﺎ‬ ‫ﻭ ﻳﺎ ﻫﺮ ﻭﺳﻴﻠﻪﻯ ﻣﺬﻫﺒﻰ ﺩﻳﮕﺮﻯ ﺻﺪﻣﻪ ﻧﻤﻰﺑﻴﻨﻨﺪ ﻛﻪ ﺍﻳﻦ ﺷﺎﻣﻞ ﺁﺏ ﻣﻘﺪﺱ ﻫﻢ ﻣﻰﺷﻮﺩ‪ .‬ﺩﺭ‬ ‫ﺻﻮﺭﺕ ﻗﺮﺍﺭ ﮔﺮﻓﺘﻦ ﺩﺭ ﺑﺮﺍﺑﺮ ﺧﻮﺭﺷﻴﺪ‪ ،‬ﺗﺒﺪﻳﻞ ﺑﻪ ﺧﺎﻛﺴﺘﺮ ﻧﻤﻰﺷﻮﻧﺪ‪ .‬ﺁﻥﻫﺎ ﻭﺍﻗﻌﺎ ﻣﻰﺳﻮﺯﻧﺪ ﻭ‬ ‫ﺍﺯﺷﺎﻥ ﺩﻭﺩ ﺑﻠﻨﺪ ﻣﻰﺷﻮﺩ ﻭ ﺍﮔﺮ ﺧﻮﺩ ﺭﺍ ﺑﻪ ﺳﺎﻳﻪ ﻧﺮﺳﺎﻧﻨﺪ‪ ،‬ﺍﺯ ﭘﺎ ﺩﺭ ﻣﻰﺁﻳﻨﺪ‪ .‬ﻫﺮﭼﻪ ﺧﻮﻥﺁﺷﺎﻡ‬ ‫ﻣﺴﻦﺗﺮ ﺑﺎﺷﺪ‪ ،‬ﺩﺭ ﺑﺮﺍﺑﺮ ﺧﻮﺭﺷﻴﺪ ﻣﻘﺎﻭﻣﺖ ﻛﻤﺘﺮﻯ ﺩﺍﺭﺩ‪.‬‬

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‫ﻭﻳﮋﻩﻧﺎﻣﻪﻯ ﺧﻮﻥﺁﺷﺎﻡﻫﺎ‬

‫ﺣﻠﻘﻪﻯ ﺟﺎﺩﻭﮔﺮﺍﻥ ﻭ ﻭﻳﻜﺎﻫﺎ ﻛﻪ ﻣﺮﺩﮔﺎﻥ ﺭﺍ ﺑﻪ ﺯﻧﺪﮔﻰ ﺑﺮﻣﻰﮔﺮﺩﺍﻧﻨﺪ‪ .‬ﺑﺎ ﮔﺮﻳﺰﻫﺎﻳﻰ ﺗﺎﺭﻳﺨﻰ ﻛﻪ‬ ‫ﺗﻘﺎﺑﻞ ﺩﻳﺮﻳﻦ ﺟﺎﺩﻭﮔﺮﺍﻥ ﻭ ﺧﻮﻥﺁﺷﺎﻡﻫﺎ ﺭﺍ ﻧﺸﺎﻥ ﻣﻰﺩﻫﺪ‪» .‬ﻣﺎﺭﻧﻰ« ﺯﻥ ﺟﺎﺩﻭﮔﺮﻯ ﺍﺳﺖ ﻛﻪ ﺑﺎ‬ ‫ﻗﺪﺭﺕ ﮔﺮﻓﺘﻦ ﺍﺯ ﺍﻳﺰﺩﺑﺎﻧﻮﻯ ﻣﺎﻩ ﺗﻮﺍﻧﺎﻳﻰ ﺩﺳﺖﻳﺎﺑﻰ ﺑﻪ ﻃﻠﺴﻢﻫﺎﻯ ﻣﻬﻠﻜﻰ ﺑﺮ ﺭﻭﻯ ﺧﻮﻥﺁﺷﺎﻡﻫﺎ‬ ‫ﺭﺍ ﺑﻪ ﺩﺳﺖ ﻣﻰﺁﻭﺭﺩ‪.‬‬ ‫ﺧﺼﻮﺻﻴﺎﺕ ﺧﻮﻥﺁﺷﺎﻡﻫﺎﻯ ‪True Blood‬‬

‫ﭘﺲ ﺍﺯ ﺑﻪ ﺑﺎﺯﺍﺭ ﺁﻣﺪﻥ ﺧﻮﻥ ﺣﻘﻴﻘﻰ ﺩﺭ ﮔﺮﻭﻩﻫﺎﻯ ﺧﻮﻧﻰ ﻣﺘﻔﺎﻭﺕ ﻭ ﺑﺮﻭﻥﺁﻳﻰ ﺧﻮﻥﺁﺷﺎﻡﻫﺎ‪ ،‬ﺁﻥﻫﺎ‬ ‫ﺩﻳﮕﺮ ﻣﺠﺒﻮﺭ ﺑﻪ ﺗﻐﺬﻳﻪ ﺍﺯ ﺍﻧﺴﺎﻥﻫﺎ ﻧﻴﺴﺘﻨﺪ ﻭ ﺧﻮﺍﺳﺘﺎﺭ ﺣﻘﻮﻕ ﺑﺮﺍﺑﺮ ﺍﺟﺘﻤﺎﻋﻰ ﺑﺎ ﺩﻳﮕﺮ ﺍﻧﺴﺎﻥﻫﺎ‬ ‫ﺷﺪﻧﺪ‪.‬‬ ‫ﺧﻮﻥﺁﺷﺎﻡﻫﺎ ﺿﺮﺑﺎﻥ ﻗﻠﺐ ﻧﺪﺍﺭﻧﺪ‪ ،‬ﺑﺪﻧﺸﺎﻥ ﮔﺮﻣﺎﻳﻰ ﻧﺪﺍﺭﺩ‪ ،‬ﻧﻤﻰﺗﻮﺍﻧﻨﺪ ﻳﻚ ﺍﻧﺴﺎﻥ ﺭﺍ ﺑﺎﺭﺩﺍﺭ ﻛﻨﻨﺪ‬ ‫ﻭ ﻳﺎ ﺧﻮﺩﺷﺎﻥ ﺑﺎﺭﺩﺍﺭ ﺷﻮﻧﺪ‪ ،‬ﺑﻪ ﻧﻴﺎﺯﻯ ﺑﻪ ﺩﻓﻊ ﻭ ﺗﻨﻔﺲ ﻧﺪﺍﺭﻧﺪ؛ ﺍﻣﺎ ﺷﺒﻴﻪ ﺍﻧﺴﺎﻥﻫﺎﻯ ﺭﻧﮓﭘﺮﻳﺪﻩ‬ ‫ﻣﻰﻣﺎﻧﻨﺪ‪ .‬ﻣﻰﺗﻮﺍﻧﻨﺪ ﻣﻮﻫﺎﻳﺸﺎﻥ ﺭﺍ ﻣﺎﻧﻨﺪ ﺍﻧﺴﺎﻥﻫﺎ ﺑﻠﻨﺪ ﻛﻨﻨﺪ‪ .‬ﺑﻌﺪ ﺍﺯ ﺍﻳﻦ ﻛﻪ ﺗﺒﺪﻳﻞ ﺷﺪﻧﺪ‪ ،‬ﺩﻳﮕﺮ‬ ‫ﭘﻴﺮ ﻧﻤﻰﺷﻮﻧﺪ ﻭ ﻇﺎﻫﺮﺷﺎﻥ ﻧﻴﺰ ﺗﻐﻴﻴﺮﻯ ﻧﻤﻰﻛﻨﺪ‪ .‬ﺗﻨﻬﺎ ﺗﻔﺎﻭﺕ ﺁﻥﻫﺎ ﺑﺎ ﺍﻧﺴﺎﻥﻫﺎ ﺩﺭ ﻧﻴﺶﻫﺎﻳﺸﺎﻥ‬ ‫ﺍﺳﺖ ﻛﻪ ﺁﻥ ﻫﻢ ﻗﺎﺑﻞ ﺑﺎﺯﮔﺸﺖ ﺑﻪ ﺣﺎﻟﺖ ﺁﺩﻣﻴﺰﺍﺩﻯ ﺭﺍ ﺩﺍﺭﺩ‪ .‬ﺍﻣﺎ ﺑﻪ ﺟﺎﻯ ﺍﺷﻚ‪ ،‬ﺍﺯ ﭼﺸﻤﺎﻧﺸﺎﻥ‬ ‫ﺧﻮﻥ ﻣﻰﺭﻳﺰﺩ‪.‬‬ ‫ﻫﻨﮕﺎﻣﻰ ﻛﻪ ﺗﺒﺪﻳﻞ ﻣﻰﺷﻮﻧﺪ‪ ،‬ﺑﺎ ﺧﺎﻟﻖ ﺧﻮﺩ ﺭﺍﺑﻄﻪﻯ ﻧﺰﺩﻳﻜﻰ ﺧﻮﺍﻫﻨﺪ ﺩﺍﺷﺖ‪ .‬ﺧﺎﻟﻖ ﺑﺎﻳﺪ ﺑﻪ‬ ‫ﻓﺮﺯﻧﺪﺵ ﺭﺍﻩ ﻭ ﺭﺳﻢ ﺯﻧﺪﮔﻰ ﺧﻮﻥﺁﺷﺎﻣﻰ ﺭﺍ ﺑﻴﺎﻣﻮﺯﺩ‪ ،‬ﺍﺯ ﻟﺤﺎﻅ ﻓﻴﺰﻳﻜﻰ ﺑﻪ ﺍﻭ ﺁﻣﻮﺯﺵ ﺩﻫﺪ ﻭ ﻋﻤﻮﻣﺎً‬ ‫ﻣﺎﻧﻨﺪ ﻭﺍﻟﺪﻳﻦ ﺍﻭ ﺭﻓﺘﺎﺭ ﻛﻨﺪ‪ .‬ﺑﻌﻀﻰ ﺍﺯ ﺧﻮﻥﺁﺷﺎﻡﻫﺎ ﺯﻧﺪﮔﻰ ﺩﺳﺘﻪﺟﻤﻌﻰ ﺭﺍ ﺗﺮﺟﻴﺢ ﻣﻰﺩﻫﻨﺪ ﻭ‬ ‫ﻣﻌﻤﻮﻻً ﺍﻳﻦ ﮔﺮﻭﻩﻫﺎ ﺧﺸﻦﺗﺮ ﺍﺯ ﺩﻳﮕﺮﺍﻥ ﺭﻓﺘﺎﺭ ﻣﻰﻛﻨﻨﺪ ﻭ ﺣﻤﻠﻪﺷﺎﻥ ﺑﻪ ﺍﻧﺴﺎﻥﻫﺎ ﺗﻨﻬﺎ ﺑﺮﺍﻯ ﺗﻐﺬﻳﻪ‬ ‫ﻧﻴﺴﺖ‪ .‬ﺧﻮﻥﺁﺷﺎﻡﻫﺎﻯ ﺗﻨﻬﺎ ﺑﻴﺸﺘﺮ ﺷﺒﻴﻪ ﺍﻧﺴﺎﻥﻫﺎ ﻫﺴﺘﻨﺪ ﻭ ﺧﻠﻖ ﻭ ﺧﻮﻯ ﺍﻧﺴﺎﻧﻰ ﺧﻮﺩ ﺭﺍ ﺑﻴﺸﺘﺮ‬ ‫ﺣﻔﻆ ﻛﺮﺩﻩﺍﻧﺪ‪.‬‬ ‫ﺧﻮﻥﺁﺷﺎﻡﻫﺎ ﺩﺍﺭﺍﻯ ﺗﻮﺍﻧﺎﻳﻰﻫﺎﻯ ﺑﺮﺗﺮﻯ ﺩﺭ ﻗﺪﺭﺕ‪ ،‬ﺳﺮﻋﺖ ﻭ ﺩﻳﮕﺮ ﺣﻮﺍﺱ ﭘﻨﺞﮔﺎﻧﻪﺷﺎﻥ ﻧﺴﺒﺖ‬ ‫ﺑﻪ ﺍﻧﺴﺎﻥﻫﺎ ﻫﺴﺘﻨﺪ‪ .‬ﺩﺭ ﺳﺮﻳﺎﻝ ﺧﻮﻥﺁﺷﺎﻡﻫﺎﻳﻰ ﺩﻳﺪﻩ ﻣﻰﺷﻮﻧﺪ ﻛﻪ ﺍﺗﻮﻣﺒﻴﻠﻰ ﺭﺍ ﺑﺮ ﺳﺮ ﺩﺳﺖ‬ ‫ﺑﻠﻨﺪ ﻛﺮﺩﻩ‪ ،‬ﻳﻚ ﺧﺎﻧﻪﻯ ﻛﻮﭼﻚ ﺭﺍ ﻭﺍژﮔﻮﻥ ﻣﻰﻛﻨﻨﺪ ﻭ ﺍﻧﺴﺎﻧﻰ ﺭﺍ ﺑﻪ ﻫﻨﮕﺎﻣﻰ ﻛﻪ ﻧﺸﺴﺘﻪ‪ ،‬ﻣﺎﻧﻨﺪ‬ ‫ﻳﻚ ﺗﻮپ ﻓﻮﺗﺒﺎﻝ ﺑﻪ ﻫﻮﺍ ﺷﻮﺕ ﻣﻰﻛﻨﻨﺪ‪ .‬ﮔﻮﻳﺎ ﺧﺴﺘﻪ ﻧﻤﻰﺷﻮﻧﺪ‪ .‬ﺑﻪ ﻧﺪﺭﺕ ﭘﻴﺶ ﻣﻰﺁﻳﺪ ﻛﻪ‬ ‫ﺧﻮﻥﺁﺷﺎﻡﻫﺎ ﺍﺯ ﺳﺮﻋﺖ ﺑﺎﻻﻳﺸﺎﻥ ﭘﺸﺖ ﺳﺮ ﻫﻢ ﺍﺳﺘﻔﺎﺩﻩ ﻛﻨﻨﺪ ﻭ ﻣﻌﻤﻮﻻً ﻫﻢ ﺩﺭ ﻓﺎﺻﻠﻪﻫﺎﻯ ﻛﻮﺗﺎﻩ‬ ‫ﺍﺯ ﺁﻥ ﺍﺳﺘﻔﺎﺩﻩ ﻣﻰﻛﻨﻨﺪ‪ .‬ﺧﻮﻥﺁﺷﺎﻡﻫﺎ ﻫﺮ ﭼﻪ ﺳﻨﺸﺎﻥ ﺑﻴﺸﺘﺮ ﺷﻮﺩ‪ ،‬ﻗﺪﺭﺗﺸﺎﻥ ﻫﻢ ﺑﺎﻻﺗﺮ ﻣﻰﺭﻭﺩ ﻭ‬ ‫ﺩﺭ ﻧﺒﺮﺩﻫﺎﻯ ﺭﻭﺩﺭﺭﻭ‪ ،‬ﭘﻴﺮﻭﺯﻯ ﺍﺯ ﺁﻥ ﺧﻮﻥﺁﺷﺎﻡ ﻣﺴﻦﺗﺮ ﺍﺳﺖ‪ .‬ﺍﻟﺒﺘﻪ ﻛﻠﻚﻫﺎﻳﻰ ﻣﺜﻞ ﺍﺳﭙﺮﻯ ﻧﻘﺮﻩ‪،‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،9-10‬ﺷﻬﺮﻳﻮﺭ ﻭ ﻣﻬﺮ ‪1390‬‬

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‫ﺗﻠﻮﻳﺰﻳﻮﻥ‬

‫ﺧﻴﻠﻰ ﺍﺯ ﺁﻥﻫﺎ ﺍﺗﻔﺎﻗﺎﺕ ﻧﺎﺧﻮﺵﺁﻳﻨﺪﻯ ﭘﻴﺶ ﻣﻰﺁﻳﺪ ﻭ ﻛﺸﺘﻪ ﻣﻰﺷﻮﻧﺪ ﻭ ﭘﻴﺪﺍ ﻛﺮﺩﻥ ﻗﺎﺗﻞ ﺍﻳﻦ‬ ‫ﺯﻧﺎﻥ ﻣﻮﺿﻮﻉ ﻓﺼﻞ ﺍﻭﻝ ﺍﻳﻦ ﺳﺮﻳﺎﻝ ﺍﺳﺖ‪ .‬ﺩﺭ ﺍﻳﻦ ﻓﺼﻞ ﺑﺎ ﺧﻠﻖ ﻭ ﺧﻮ ﻭ ﺧﺼﻮﺻﻴﺎﺕ ﺧﻮﻥﺁﺷﺎﻡﻫﺎ‬ ‫ﺁﺷﻨﺎ ﻣﻰﺷﻮﻳﻢ ﻭ ﻧﺤﻮﻩﻯ ﺗﻮﻟﺪ ﻳﻚ ﺧﻮﻥﺁﺷﺎﻡ ﺭﺍ ﻣﻰﺑﻴﻨﻴﻢ‪» .‬ﺟﺴﻴﻜﺎ«‪ ،‬ﺩﺧﺘﺮﻯ ﻛﻪ ﺑﻪ ﺍﺟﺒﺎﺭ‬ ‫ﻣﻘﺎﻣﺎﺕ ﺑﺎﻻ ﺗﻮﺳﻂ ﺑﻴﻞ ﺗﺒﺪﻳﻞ ﺑﻪ ﺧﻮﻥﺁﺷﺎﻡ ﻣﻰﺷﻮﺩ‪ ،‬ﺑﻪ ﻳﻜﻰ ﺍﺯ ﻛﺎﺭﺍﻛﺘﺮﻫﺎﻯ ﺍﺻﻠﻰ ﺩﺍﺳﺘﺎﻥ‬ ‫ﺑﺪﻝ ﻣﻰﮔﺮﺩﺩ‪» .‬ﻻﻓﺎﻳﺖ ﺭﻳﻨﻮﻟﺪﺯ«‪ ،‬ﺁﺷﭙﺰ ﻫﻮﻣﻮﻯ ﻛﺎﻓﻪ ﻣﺮﻻﺕ ﻭ ﭘﺴﺮﺧﺎﻟﻪﻯ »ﺗﺎﺭﺍ« ﺩﻭﺳﺖ‬ ‫ﺻﻤﻴﻤﻰ ‪ ،‬ﭘﺮﺣﺮﻑ‪ ،‬ﺣﺎﺿﺮﺟﻮﺍﺏ ﻭ ﺑﺎﻣﺰﻩﻯ ﺳﻮﻛﻰ ﺩﺭ ﺍﻧﺘﻬﺎﻯ ﻛﺘﺎﺏ ﺍﻭﻝ ﻛﺸﺘﻪ ﻣﻰﺷﻮﺩ؛ ﻭﻟﻰ‬ ‫ﺑﻪ ﺩﻟﻴﻞ ﻋﻼﻗﻪﻯ ﺑﻴﻨﻨﺪﮔﺎﻥ ﺑﻪ ﺷﺨﺼﻴﺘﺶ ﻭ ﻛﻤﻚ ﺑﻪ ﮔﺴﺘﺮﺵ ﺑﻬﺘﺮ ﺷﺨﺼﻴﺖ ﺗﺎﺭﺍ‪ ،‬ﺍﻭ ﺭﺍ ﺩﺭ‬ ‫ﺳﺮﻳﺎﻝ ﺣﻔﻆ ﻣﻰﻛﻨﻨﺪ‪.‬‬ ‫ﺩﺭ ﻓﺼﻞ ﺩﻭﻡ ﺩﻭ ﭘﻼﺕ ﺍﺻﻠﻰ ﺩﻧﺒﺎﻝ ﻣﻰﺷﻮﻧﺪ‪ .‬ﺍﻭﻟﻰ ﺑﻪ ﭘﻴﺪﺍ ﻛﺮﺩﻥ »ﮔﻮﺩﺭﻳﻚ«‪ ،‬ﺧﻮﻥﺁﺷﺎﻡ ‪2000‬‬ ‫ﺳﺎﻟﻪﺍﻯ ﻣﻰﭘﺮﺩﺍﺯﺩ ﻛﻪ ﺧﺎﻟﻖ ﺍﺭﻳﻚ ﺑﻮﺩﻩ ﻭ ﻫﻤﭽﻨﻴﻦ ﻛﻼﻧﺘﺮ ﻣﻨﻄﻘﻪﻯ ‪ 9‬ﺩﺭ ﺩﺍﻻﺱ ﺍﺳﺖ‪ .‬ﺩﺭ ﺍﻳﻦ‬ ‫ﻣﺴﻴﺮ ﺭﺍﻫﺸﺎﻥ ﺑﺎ »ﺟﻴﺴﻮﻥ«‪ ،‬ﺑﺮﺍﺩﺭ ﻛﻮﭼﻜﺘﺮ‪ ،‬ﻛﻨﺪﺫﻫﻦ ﻭ ﺩﻭﻥژﻭﺍﻥ ﺳﻮﻛﻰ ﮔﺮﻩ ﻣﻰﺧﻮﺭﺩ ﻛﻪ ﺑﻪ‬ ‫ﺍﻋﻀﺎﻯ ﻛﻠﻴﺴﺎﻯ »ﺭﻫﺮﻭﺍﻥ ﺧﻮﺭﺷﻴﺪ« ﭘﻴﻮﺳﺘﻪ ﺍﺳﺖ‪ .‬ﺍﻧﺠﻤﻨﻰ ﺿﺪ ﺧﻮﻥﺁﺷﺎﻣﻰ ﻛﻪ ﺑﺮﺍﻯ ﻣﻘﺎﺑﻠﻪ ﻭ‬ ‫ﻣﺒﺎﺭﺯﻩ ﺑﺎ ﺧﻮﻥﺁﺷﺎﻡﻫﺎ ﺧﻮﺩ ﺭﺍ ﻣﺤﻖ ﺑﻪ ﺣﻤﻞ ﺳﻼﺡ ﻭ ﻛﺸﺘﻦ ﺁﻥﻫﺎ ﻣﻰﺩﺍﻧﻨﺪ‪.‬‬ ‫ﺩﺭ ﭘﻼﺕ ﺩﻭﻡ‪ ،‬ﻳﻚ »ﻣِﻴﻨﺎﺩ« ﺑﻪ ﻧﺎﻡ »ﻣﺎﺭﻳﺎﻥ« )ﻛﻪ ﺍﺯ ﺍﺳﺎﻃﻴﺮ ﻳﻮﻧﺎﻥ ﺑﺎﺳﺘﺎﻥ ﺍﺳﺖ ﻭ ﺍﺯ ﭘﻴﺮﻭﺍﻥ‬ ‫ﺩﻳﻮﻧﻴﺴﻮﺱ ﻭ ﻣﺮﺩﻡ ﺭﺍ ﺑﻪ ﺭﻗﺺ ﻭ ﺣﺎﻟﺖ ﻣﺴﺘﻰ ﻭ ﺑﻰﻋﻘﻠﻰ ﻣﻰﻛﺸﺎﻧﺪ(‪ ،‬ﺑﻪ ﺑﻮﻥﺗﺎﻡ ﻣﻰﺁﻳﺪ؛ ﺩﺭ‬ ‫ﭘﺎﻳﺎﻥ ﻓﺼﻞ ﺍﻭﻝ ﻣﺎﺭﻳﺎﻥ ﺭﺍ ﻣﻰﺑﻴﻨﻴﻢ ﻛﻪ ﺑﻪ ﺗﺎﺭﺍ‪ ،‬ﺩﻭﺳﺖ ﺻﻤﻴﻤﻰ ﻭ ﭘﺮﺣﺮﻑ ﺳﻮﻛﻰ ﻋﻼﻗﻪﻣﻨﺪ ﺷﺪﻩ‬ ‫ﻭ ﺑﺎﻋﺚ ﺩﺭﺩﺳﺮﻫﺎﻯ ﺟﺪﻯﺍﻯ ﺩﺭ ﺷﻬﺮ ﻣﻰﺷﻮﺩ‪ .‬ﻧﻘﺶ ﺧﻮﻥﺁﺷﺎﻡﻫﺎ ﺩﺭ ﺍﻳﻦ ﭘﻼﺕ ﻛﻤﺘﺮ ﺍﺳﺖ ﻭ ﺭﺍﺯ‬ ‫ﺑﺰﺭگ ﺳﻢ ﻣﺮﻻﺕ ﺑﺮﺍﻯ ﻫﻤﻪﻯ ﻣﺮﺩﻡ ﺑﺮﻣﻼ ﻣﻰﺷﻮﺩ‪.‬‬ ‫ﺍﻳﻦ ﻓﺼﻞ ﭼﻨﺪﺍﻥ ﻭﻓﺎﺩﺍﺭ ﺑﻪ ﻛﺘﺎﺏ ﺩﻭﻡ ﻛﺎﺭﻻﻳﻦ ﻫﺮﻳﺲ‪ ،‬ﻳﻌﻨﻰ »ﻣﺮﺩﻩﻯ ﻣﺘﺤﺮﻙ ﺩﺭ ﺩﺍﻻﺱ«‬ ‫ﻧﻴﺴﺖ ﻭ ﺩﺭ ﺁﻥ ﻳﻜﻰ ﺍﺯ ﺷﺨﺼﻴﺖﻫﺎﻯ ﺍﺻﻠﻰ ﻛﺘﺎﺏ ﺷﺸﻢ ﻳﻌﻨﻰ »ﺑﻰ ﺑﺮﻭ ﺑﺮﮔﺮﺩ ﻣﺮﺩﻩ«‪،‬‬ ‫»ﺳﻮﻓﻰﺁﻥ« ﻣﻠﻜﻪﻯ ﻟﻮﺋﻴﺰﻳﺎﻧﺎ ﺭﺍ ﻭﺍﺭﺩ ﺩﺍﺳﺘﺎﻥ ﻣﻰﻛﻨﺪ‪.‬‬ ‫ﻓﺼﻞ ﺳﻮﻡ ﻫﻢ ﭼﻨﺪﺍﻥ ﺑﺮ ﻛﺘﺎﺏ ﺳﻮﻡ‪ ،‬ﻳﻌﻨﻰ »ﻛﻠﻮﺏ ﻣﺮﺩﮔﺎﻥ« ﻭﻓﺎﺩﺍﺭ ﻧﺒﻮﺩ ﻭ »ﮔﺮگﺍﻧﺴﺎﻥﻫﺎ«‬ ‫ﺭﺍ ﺑﻪ ﺍﺳﻄﻮﺭﻩﻫﺎﻳﻰ ﻛﻪ ﺩﺭ ﺩﺍﺳﺘﺎﻥ ﺍﺯ ﺁﻥﻫﺎ ﺍﺳﺘﻔﺎﺩﻩ ﺷﺪﻩ‪ ،‬ﺍﺿﺎﻓﻪ ﻛﺮﺩ‪ .‬ﻫﻤﭽﻨﻴﻦ ﻛﺎﺭﺍﻛﺘﺮ‬ ‫»ﺭﺍﺳﻞ ﺍﺟﻴﻨﮕﺘﻮﻥ«‪ ،‬ﺧﻮﻥﺁﺷﺎﻡ ‪ 3000‬ﺳﺎﻟﻪ ﻭ ﺷﺎﻩ ﺑﺴﻴﺎﺭ ﻗﺪﺭﺗﻤﻨﺪ ﻭ ﻫﻮﻣﻮﻯ ﺧﻮﻥﺁﺷﺎﻡﻫﺎ ﺩﺭ‬ ‫ﻣﻰﺳﻰﺳﻰﭘﻰ ﺭﺍ ﻭﺍﺭﺩ ﺩﺍﺳﺘﺎﻥ ﻛﺮﺩ‪ .‬ﻧﮋﺍﺩﭘﺮﺳﺘﻰ ﻛﻪ ﻗﺼﺪ ﺩﺍﺭﺩ ﺟﻨﮓ ﺑﻴﻦ ﺍﻧﺴﺎﻥﻫﺎ ﻭ ﺧﻮﻥﺁﺷﺎﻡﻫﺎ‬ ‫ﺭﺍ ﻣﻐﻠﻮﺑﻪ ﻛﻨﺪ‪» .‬ﻛﺮﻳﺴﺘﺎﻝ ﻧﻮﺭﻳﺲ«‪ ،‬ﺩﺧﺘﺮﻯ ﺍﺯ ﻳﻚ ﻗﺒﻴﻠﻪﻯ »ﭘﻠﻨﮓﺍﻧﺴﺎﻥ« ﺑﺎ ﺟﻴﺴﻮﻥ ﻭﺍﺭﺩ‬ ‫ﺭﺍﺑﻄﻪﺍﻯ ﻋﺎﺷﻘﺎﻧﻪ ﻣﻰﺷﻮﺩ‪ .‬ﺍﺯ ﺟﺎﻯ ﺩﻳﮕﺮ ﻣﺎﺩﺭﺧﻮﺍﻧﺪﻩﻯ ﭘﺮﻳﺰﺍﺩ ﺳﻮﻛﻰ ﻫﻢ ﻭﺍﺭﺩ ﺩﺍﺳﺘﺎﻥ ﻣﻰﺷﻮﺩ‪.‬‬ ‫ﻓﺼﻞ ﭼﻬﺎﺭﻡ ﺩﺭﺣﺎﻝ ﭘﺨﺶ ﺍﺳﺖ ﻭ ﺑﺎﺯ ﻫﻢ ﭼﻨﺪﺍﻥ ﺑﻪﻧﻈﺮ ﻧﻤﻰﺭﺳﺪ ﻭﻓﺎﺩﺍﺭ ﺑﻪ ﻛﺘﺎﺏ ﭼﻬﺎﺭﻡ ﺑﺎﺷﺪ‪.‬‬

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‫ﻭﻳﮋﻩﻧﺎﻣﻪﻯ ﺧﻮﻥﺁﺷﺎﻡﻫﺎ‬

‫ﻣﺮﻭﺭﻯ ﺑﺮ ﻭﻗﺎﻳﻊ ﺳﺮﻳﺎﻝ‬ ‫ﺑﺮﺍﻯ ﺟﺬﺏ ﻣﺨﺎﻃﺐﻫﺎﻳﻰ ﻛﻪ ﺷﺎﻳﺪ ﻋﻼﻗﻪﻯ ﭼﻨﺪﺍﻧﻰ ﺑﻪ ﻧﺎﻣﻴﺮﺍﻳﻰ ﻭ ﻣﻜﻴﺪﻩ ﺷﺪﻥ ﺧﻮﻥ ﻣﺮﺩﻡ‬ ‫ﻧﺪﺍﺭﻧﺪ‪ ،‬ﺁﻟﻦ ﺑﺎﻝ ﺩﺭ ﻓﻀﺎﻳﻰ ﻣﻠﻮﺩﺭﺍﻡ ﻭ ﮔﻮﺗﻴﻚ ﺍﺯ ﻋﻨﺎﺻﺮ ﺟﺮﻳﺎﻥ ﺍﺻﻠﻰ ﺩﺭﺍﻡ ﻣﺜﻞ ﺭﻭﺍﺑﻂ ﺟﻨﺴﻰ‪،‬‬ ‫ﺧﺸﻮﻧﺖ‪ ،‬ﻗﺘﻞ ﻭ ﺟﻨﺎﻳﺖ ﻭ ﻫﻤﭽﻨﻴﻦ ﺻﺤﻨﻪﻫﺎﻳﻰ ﺭﻣﺎﻧﺘﻴﻚ ﺑﻴﻦ ﻗﻬﺮﻣﺎﻥ ﺯﻥ ﺩﺍﺳﺘﺎﻥ‪» ،‬ﺳﻮﻛﻰ‬ ‫ﺍﺳﺘﻚﻫﺎﻭﺱ« )ﺁﻧﺎ ﭘﺎﻛﻮﻳﻴﻦ( –ﻛﻪ ﺧﻮﻥﺁﺷﺎﻡ ﻧﻴﺴﺖ– ﻭ »ﺑﻴﻞ ﻛﺎﻣﭙﺘﻮﻥ« )ﺍﺳﺘﻴﻮﻥ ﻣﻮﻳﺮ(‬ ‫–ﺧﻮﻥﺁﺷﺎﻡ– ﺍﺳﺘﻔﺎﺩﻩ ﻛﺮﺩﻩ ﺍﺳﺖ‪.‬‬ ‫ﺩﺍﺳﺘﺎﻥ ﺑﺎ ﺑﺎﺯﮔﺸﺖ ﺑﻴﻞ ﻛﺎﻣﭙﺘﻮﻥ‪ ،‬ﺧﻮﻥﺁﺷﺎﻡ ‪ 173‬ﺳﺎﻟﻪ ﺑﻪ »ﺑﻮﻥﺗﺎﻡ« ﺷﻬﺮ ﺯﺍﺩﮔﺎﻫﺶ ﻭﺍﻗﻊ ﺩﺭ‬ ‫»ﺑﻚ ﻭﻭﺩﺯ« ﻟﻮﺋﻴﺰﻳﺎﻧﺎ ﺷﺮﻭﻉ ﻣﻰﺷﻮﺩ؛ ﺍﻳﻦﺟﺎ ﺑﺴﺘﺮﺳﺎﺯ ﺭﻭﺍﻳﺖ ﺩﺍﺳﺘﺎﻧﻰ ﺑﺰﺭگﺗﺮ ﺧﻮﺍﻫﺪ ﺑﻮﺩ‪ ،‬ﺯﻳﺮﺍ‬ ‫ﺩﺍﻧﺸﻤﻨﺪﺍﻥ ژﺍﭘﻨﻰ ﺗﻮﺍﻧﺴﺘﻪﺍﻧﺪ ﺧﻮﻥ ﻣﺼﻨﻮﻋﻰ ﺗﻮﻟﻴﺪ ﻛﻨﻨﺪ ﻭ ﺁﻥ ﺭﺍ ﺑﺎ ﻧﺎﻡ »ﺧﻮﻥ ﺣﻘﻴﻘﻰ« ﺑﻪ‬ ‫ﺑﺎﺯﺍﺭ ﻓﺮﺳﺘﺎﺩﻩﺍﻧﺪ‪ .‬ﺑﺎ ﺍﻳﻦ ﻛﺸﻒ‪ ،‬ﺧﻮﻥﺁﺷﺎﻡﻫﺎ ﺭﺍﻩ ﺭﺍ ﺑﺮﺍﻯ »ﺑﻴﺮﻭﻥ ﺁﻣﺪﻥ ﺍﺯ ﺗﺎﺑﻮﺕﻫﺎﻳﺸﺎﻥ« )‪(4‬‬ ‫ﺑﺎﺯ ﻣﻰﻳﺎﺑﻨﺪ ﻭ ﺑﻪ ﻃﻮﺭ ﻋﻤﻮﻣﻰ ﻣﻮﺟﻮﺩﻳﺘﺸﺎﻥ ﺭﺍ ﺑﺮﻣﻼ ﻣﻲﻛﻨﻨﺪ‪ .‬ﺩﺭ ﺑﻮﻥﺗﺎﻡ ﻛﺎﻓﻪﺍﻯ ﺍﺳﺖ ﻣﺘﻌﻠﻖ‬ ‫ﺑﻪ »ﺳﻢ ﻣﺮﻻﺕ« ﻛﻪ ﺩﺭ ﺁﻥ ﭘﻴﺸﺨﺪﻣﺘﻰ ﺑﻪ ﺍﺳﻢ ﺳﻮﻛﻰ ﺍﺳﺘﻚﻫﺎﻭﺱ ﻣﺸﻐﻮﻝ ﺑﻪ ﻛﺎﺭ ﺍﺳﺖ‪.‬‬ ‫ﺳﻮﻛﻰ ﺍﺯ ﻛﻮﺩﻛﻰ‪ ،‬ﺑﺪﻭﻥ ﺍﻳﻦ ﻛﻪ ﺑﺪﺍﻧﺪ ﭼﺮﺍ‪ ،‬ﺗﻮﺍﻧﺎﻳﻰ ﺧﻮﺍﻧﺪﻥ ﺫﻫﻦ ﺍﻓﺮﺍﺩ ﺩﻳﮕﺮ ﺭﺍ ﺩﺍﺷﺘﻪ ﻭ ﺍﻳﻦ‬ ‫ﻗﺎﺑﻠﻴﺖ ﺗﻠﻪﭘﺎﺗﻰ ﺗﺎ ﺣﺪﻭﺩﻯ ﺑﺮﺍﻯ ﺍﻭ ﺍﻳﺠﺎﺩ ﺩﺭﺩﺳﺮ ﻛﺮﺩﻩ ﺍﺳﺖ؛ ﭼﻮﻥ ﻫﻢ ﺧﻮﺩﺵ ﺍﺯ ﺷﻨﻴﺪﻥ ﺍﻓﻜﺎﺭ‬ ‫ﻣﺨﻔﻰ ﻣﺮﺩﻡ ﺑﻪ ﺳﺘﻮﻩ ﺁﻣﺪﻩ ﻭ ﻫﻢ ﻣﺮﺩﻡ ﺑﻮﻥﺗﺎﻡ‪ .‬ﺍﻳﻦ ﻗﺎﺑﻠﻴﺖ ﻣﺨﺼﻮﺻﺎً ﻫﻨﮕﺎﻣﻰ ﻛﻪ ﺑﺎ ﭘﺴﺮﻫﺎﻯ‬ ‫ﺟﻮﺍﻥ ﻗﺮﺍﺭ ﻣﻼﻗﺎﺕ ﻣﻰﮔﺬﺍﺭﺩ‪ ،‬ﺑﺮﺍﻯ ﺍﻭ ﺩﺭﺩﺳﺮﺳﺎﺯ ﻣﻰﺷﻮﺩ ﻭ ﺗﻤﺎﻣﻰ ﻗﺮﺍﺭ ﻣﻼﻗﺎﺕﻫﺎﻳﺶ ﺑﻪﺩﻟﻴﻞ‬ ‫ﺧﻮﺍﻧﺪﻥ ﺍﻓﻜﺎﺭ ﻭ ﺩﺭﻭﻧﻴﺎﺕ ﻃﺮﻑ ﻣﻘﺎﺑﻞ ﺑﻰﻧﺘﻴﺠﻪ ﻣﻰﻣﺎﻧﺪ‪ .‬ﺍﻳﻦ ﻗﻀﻴﻪ ﻫﻤﭽﻨﺎﻥ ﺍﺩﺍﻣﻪ ﺩﺍﺭﺩ ﺗﺎ‬ ‫ﺯﻣﺎﻧﻰ ﻛﻪ ﺑﻴﻞ ﻛﺎﻣﭙﺘﻮﻥ ﭘﺎ ﺑﻪ ﻛﺎﻓﻪ ﻣﺮﻻﺕ ﻣﻰﮔﺬﺍﺭﺩ‪ .‬ﺍﻭﻟﻴﻦ ﺧﻮﻥﺁﺷﺎﻣﻰ ﻛﻪ ﺍﺯ ﺯﻣﺎﻥ ﺑﺮﻭﻥﺁﻳﻰ‬ ‫ﺧﻮﻥﺁﺷﺎﻡﻫﺎ ﭘﺎ ﺑﻪ ﻛﺎﻓﻪ ﻣﻰﮔﺬﺍﺭﺩ ﻭ ﺧﻮﻥ ﺣﻘﻴﻘﻰ ﺳﻔﺎﺭﺵ ﻣﻰﺩﻫﺪ‪ .‬ﺳﻮﻛﻰ ﺗﻨﻬﺎ ﭘﻴﺸﺨﺪﻣﺘﻰ‬ ‫ﺍﺳﺖ ﻛﻪ ﺟﺮﺃﺕ ﺑﺮﺩﻥ ﺳﻔﺎﺭﺵ ﺭﺍ ﺑﺮﺍﻯ ﻣﺸﺘﺮﻯ ﺩﺍﺭﺩ ﻭ ﺩﺭ ﺍﻳﻦ ﺯﻣﺎﻥ ﻣﺘﻮﺟﻪ ﻣﻰﺷﻮﺩ ﺗﻮﺍﻧﺎﻳﻰ‬ ‫ﺧﻮﺍﻧﺪﻥ ﺍﻓﻜﺎﺭ ﺍﻭ ﺭﺍ ﻧﺪﺍﺭﺩ‪ .‬ﺍﻳﻦ ﺑﺮﺧﻮﺭﺩ ﺑﺎﻋﺚ ﻛﻠﻴﺪ ﺧﻮﺭﺩﻥ ﺍﺭﺗﺒﺎﻃﻰ ﻋﺎﻃﻔﻰ ﺑﻴﻦ ﺍﻭ ﻭ ﺑﻴﻞ‬ ‫ﻣﻰﺷﻮﺩ‪» .‬ﺍﺭﻳﻚ ﻧﻮﺭﺛﻤﻦ«‪ ،‬ﺻﺎﺣﺐ ﺑﺎﺭ »ﻓﻨﮓﺗﻴﮋﺍ« ﻛﻪ ﺍﺯ ﻭﺭﻭﺩ ﺧﻮﻥﺁﺷﺎﻡﻫﺎ ﻭ ﺍﻧﺴﺎﻥﻫﺎ ﺑﻪ ﻳﻜﺴﺎﻥ‬ ‫ﺍﺳﺘﻘﺒﺎﻝ ﻣﻰﻛﻨﺪ ﻫﻢ ﺑﻌﺪﺗﺮ ﻭﺍﺭﺩ ﺩﺍﺳﺘﺎﻥ ﻣﻰﺷﻮﺩ ﻭ ﻳﻚ ﻣﺜﻠﺚ ﻋﺸﻘﻰ ﺩﺭﺳﺖ ﻣﻰﻛﻨﺪ‪ .‬ﻳﻚ ﻋﺸﻖ‬ ‫ﻣﻤﻨﻮﻋﻪ ﻛﻪ ﺳﻮﻛﻰ ﺭﺍ ﺑﻴﺶ ﺍﺯ ﭘﻴﺶ ﺩﺭ ﺷﻬﺮ ﺑﺪﻧﺎﻡ ﻣﻰﻛﻨﺪ؛ ﻣﺨﺼﻮﺻﺎً ﺑﻪ ﺧﺎﻃﺮ ﺍﺗﻔﺎﻗﺎﺕ ﻣﺮﻣﻮﺯﻯ‬ ‫ﻛﻪ ﺑﻌﺪ ﺍﺯ ﻭﺭﻭﺩ ﺧﻮﻥﺁﺷﺎﻡﻫﺎ ﺩﺭ ﺷﻬﺮ ﻣﻰﺍﻓﺘﺪ‪ .‬ﺧﺮﺩﻩ ﻓﺮﻫﻨﮕﻰ ﺑﻪ ﻧﺎﻡ »ﻓﺎﺣﺸﻪﻯ ﻧﻴﺶﺩﺭﺍﺯﻫﺎ«‬ ‫)‪ (5‬ﺩﺭ ﻣﻴﺎﻥ ﺍﻧﺴﺎﻥﻫﺎ ﺑﻪ ﻭﺟﻮﺩ ﺁﻣﺪﻩ ﻛﻪ ﺑﻪ ﺭﺍﺑﻄﻪ ﺑﺎ ﺧﻮﻥﺁﺷﺎﻡﻫﺎ ﺍﺷﺘﻴﺎﻕ ﻧﺸﺎﻥ ﻣﻰﺩﻫﻨﺪ ﻭ ﺍﺯ‬ ‫‪ v-blood‬ﻳﺎ ﺧﻮﻥ ﺧﻮﻥﺁﺷﺎﻡﻫﺎ ﺑﻪ ﻋﻨﻮﺍﻥ ﻣﺎﺩﻩﺍﻯ ﺗﻮﻫﻢﺯﺍ ﺍﺳﺘﻔﺎﺩﻩ ﻣﻰﻛﻨﻨﺪ؛ ﺑﻪ ﻧﻈﺮ ﻣﻲﺭﺳﺪ‬ ‫ﺧﻮﻥ ﺧﻮﻥﺁﺷﺎﻡﻫﺎ ﺧﺎﺻﻴﺘﻰ ﻣﺜﻞ ﺍﻛﺴﺘﺎﺯﻯ ﻭ ﻭﻳﺎﮔﺮﺍ ﺭﺍ ﻫﻤﺰﻣﺎﻥ ﺩﺍﺷﺘﻪ ﺑﺎﺷﺪ‪ .‬ﺍﻟﺒﺘﻪ ﻛﻪ ﺑﺮﺍﻯ‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،9-10‬ﺷﻬﺮﻳﻮﺭ ﻭ ﻣﻬﺮ ‪1390‬‬

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‫ﺗﻠﻮﻳﺰﻳﻮﻥ‬

‫‪True Blood‬‬ ‫ﺟﻮﺷﻴﺪﻥ ﺧﻮﻥ ﻭ ﺷﻬﻮﺕ ﺩﺭ ﺩﻳﮓ ﺧﺮﺩﻩﻓﺮﻫﻨﮓﻫﺎ‬

‫ﺍﺣﺴﺎﻥ ﻣﺤﻤﺪ ﺯﺍﺩﻩ‬

‫ﺁﻟﻦ ﺑﺎﻝ )‪ (1‬ﻧﻮﻳﺴﻨﺪﻩ‪ ،‬ﻛﺎﺭﮔﺮﺩﺍﻥ‪ ،‬ﺑﺎﺯﻳﮕﺮ ﻭ ﺗﻬﻴﻪﻛﻨﻨﺪﻩﻯ ﺁﻣﺮﻳﻜﺎﻳﻰ ﻓﻴﻠﻢ ﻭ ﺗﺌﺎﺗﺮ ﻭ‬ ‫ﺗﻠﻮﻳﺰﻳﻮﻥ ﺍﺳﺖ ﻛﻪ ﺑﻪ ﺧﺎﻃﺮ ﺑﺮﻧﺪﻩ ﺷﺪﻥ ﺍﺳﻜﺎﺭ ﻓﻴﻠﻢﻧﺎﻣﻪ »ﺯﻳﺒﺎﻯ ﺁﻣﺮﻳﻜﺎﻳﻰ« )‪ (2‬ﻭ‬ ‫ﺳﺮﻳﺎﻝ »ﺷﺶ ﭘﺎ ﭘﺎﻳﻴﻦﺗﺮ« )‪ (3‬ﺑﻪ ﺷﻬﺮﺕ ﺭﺳﻴﺪ ﻭ ﺑﻌﺪﺗﺮ ﺳﺮﻳﺎﻝ ﺧﻮﻥﺁﺷﺎﻣﻰ »ﺧﻮﻥ‬ ‫ﺣﻘﻴﻘﻰ« ﻳﺎ ﻫﻤﺎﻥ ‪ True blood‬ﺭﺍ ﺳﺎﺧﺖ‪ .‬ﺍﻣﺎ ﺑﺮﺍﻯ ﺁﻥﻫﺎﻳﻰ ﻛﻪ ﺑﺎ ﻛﺎﺭﻫﺎﻯ ﺍﻭ ﺁﺷﻨﺎﻳﻰ‬ ‫ﻧﺪﺍﺭﻧﺪ ﻭ ﻗﺒ ً‬ ‫ﻼ ﺍﺯ ﺍﻭ ﭼﻴﺰﻯ ﻧﺪﻳﺪﻩﺍﻧﺪ‪ ،‬ﺍﻳﻦ ﺭﺍ ﻣﻰﮔﻮﻳﻴﻢ ﻛﻪ ﺑﻪ ﺩﻟﻴﻞ ﺍﺗﻔﺎﻗﻰ ﻛﻪ ﺩﺭ ‪13‬‬ ‫ﺳﺎﻟﮕﻰ ﺍﻭ ﺍﻓﺘﺎﺩ‪ ،‬ﺩﺭ ﺑﻴﺸﺘﺮ ﺁﺛﺎﺭ ﺍﻭ ﻓﻀﺎﻯ ﻣﺮگ ﺣﺎﻛﻢ ﺍﺳﺖ ﻭ ﻣﺮﺩﻩﻫﺎ ﻣﻌﻤﻮﻻً ﺑﺨﺸﻰ ﺍﺯ‬ ‫ﺑﺎﺭ ﭘﻴﺸﺒﺮﺩ ﺩﺍﺳﺘﺎﻥ ﺭﺍ ﺑﺮ ﺩﻭﺵ ﻣﻰﻛﺸﻨﺪ‪ .‬ﺍﮔﺮ ﺍﻫﻞ ﺳﺮﻳﺎﻝﻫﺎﻳﻰ ﻫﺴﺘﻴﺪ ﻛﻪ ﻣﻠﻐﻤﻪﺍﻯ‬ ‫ﺍﺯ ﻛﻤﺪﻯ ﺳﻴﺎﻩ‪ ،‬ﻭﺣﺸﺖ‪ ،‬ﺭﻭﺍﺑﻂ ﺟﻨﺴﻰ‪ ،‬ﺩﺍﺳﺘﺎﻥ ﺑﺎ ﭼﻔﺖ ﻭ ﺑﺴﺖ‪ ،‬ﺟﻠﻮﻩﻫﺎﻯ ﻭﻳﮋﻩﻯ‬ ‫ﻣﻌﺪﻭﺩ ﺍﻣﺎ ﺗﺄﺛﻴﺮﮔﺬﺍﺭ ﻭ ﺍﻟﺒﺘﻪ ﺑﻪ ﺍﻧﺪﺍﺯﻩﻯ ﻛﺎﻓﻰ ﻓﺮﻭ ﺭﻓﺘﻦﻫﺎﻯ ﻧﻴﺶ ﺧﻮﻥﺁﺷﺎﻡ ﺩﺭ ﺑﺪﻥ‬ ‫ﺍﻧﺴﺎﻥﻫﺎ ﺍﺳﺖ‪ .‬ﺗﻤﺎﺷﺎﻯ »ﺧﻮﻥ ﺣﻘﻴﻘﻰ« ﺭﺍ ﺍﺯ ﺩﺳﺖ ﻧﺪﻫﻴﺪ‪.‬‬

‫ﺗﻠﻮﻳﺰﻳﻮﻥ‬

‫ﻣﺠﺒﻮﺭﻡ ﻧﻜﺮﺩﻩ ﺑﻮﺩ!( ﻭ ﺣﺎﻻ ﺩﺭ ﻋﺠﺒﻢ ﻛﻪ ﭼﻪ ﭼﻴﺰ ﺑﺎﻋﺚ ﺷﺪﻩ ‪ 50‬ﻗﺴﻤﺖ ﺁﻥ ﺭﺍ ﺩﻧﺒﺎﻝ ﻛﻨﻢ؟‬ ‫ﻭ ﻣﻄﻤﺌﻦ ﺑﺎﺷﻴﺪ ﻛﻪ ﻛﺎﺭﻫﺎﻯ ﺑﻬﺘﺮﻯ ﺩﺭ ﺯﻧﺪﮔﻰﺍﻡ ﺩﺍﺭﻡ‪ .‬ﻣﻨﻈﻮﺭﻡ ﺍﻳﻦ ﺍﺳﺖ ﻛﻪ ﻟﺤﻈﺎﺗﻰ ﺑﻮﺩ )ﻭ‬ ‫ﺍﻳﻦ ﻛﻠﻤﺎﺕ ﺭﺍ ﻣﺤﺾ ﻣﺰﺍﺡ ﻧﻤﻰﻧﻮﻳﺴﻢ(‪ ،‬ﻛﻪ ﻣﻄﻤﺌﻦ ﺑﻮﺩﻡ ﺍﻳﻦ ﺍﻧﻴﻤﻪ ﺍﺯ ﺁﻏﺎﺯ ﺑﺸﺮ ﺷﺮﻭﻉ ﺷﺪﻩ ﻭ‬ ‫ﻣﻦ ﭘﺪﺭ ﺯﻣﺎﻥ ﻫﺴﺘﻢ؛ ﻳﺎ ﺩﺭ ﺣﺎﻝ ﮔﺬﺭﺍﻥ ﻳﻜﻰ ﺍﺯ ﺑﺤﺮﺍﻥﻫﺎﻯ ﻣﻴﺎﻧﺴﺎﻟﻰﺍﻡ ﻫﺴﺘﻢ ﻭ ﭼﻮﻥ ﺷﻮﻫﺎﻯ‬ ‫ﺗﻠﻮﺯﻳﻮﻧﻰ ﺭﺍ ﺗﺎ ﺍﺑﺪ ﻛﻨﺴﻞ ﻛﺮﺩﻩﺍﻧﺪ‪ ،‬ﺩﺍﺭﻡ ﺍﺯ ﺳﺮ ﻧﺎﭼﺎﺭﻯ ﺍﻳﻦ ﺍﻧﻴﻤﻪ ﺭﺍ ﺗﻤﺎﺷﺎ ﻣﻰﻛﻨﻢ‪ .‬ﭘﺲ ﭼﻴﺰﻯ‬ ‫ﻛﻪ ﺑﺎﻋﺚ ﺷﺪ ﺍﻳﻦ ﺍﻧﻴﻤﻪ ﺭﺍ ﺗﺎ ﺁﺧﺮ ﺑﺒﻴﻨﻢ‪ ،‬ﺍﻳﻦ ﺣﺲ ﺑﻮﺩ ﻛﻪ ﺩﻭﺳﺖ ﻧﺪﺍﺭﻡ ﭼﻴﺰﻯ ﺭﺍ ﺷﺮﻭﻉ ﻛﻨﻢ ﻭ‬ ‫ﭘﺎﻳﺎﻧﺶ ﺭﺍ ﻧﺒﻴﻨﻢ‪ .‬ﭘﺲ ﻧﻬﺎﻳﺘﺎً ﺑﺎﻳﺪ ﮔﻔﺖ ﺍﮔﺮ ﻣﺎﻧﮕﺎﺧﻮﺍﻥ ﻧﻴﺴﺘﻴﺪ ﻭ ﻣﺎﻧﮕﺎﻯ ﺧﻮﻥ‪ +‬ﺭﺍ ﻧﺨﻮﺍﻧﺪﻩﺍﻳﺪ‪،‬‬ ‫ﻓﻜﺮ ﻧﻤﻰﻛﻨﻢ ﺍﺯ ﻣﺎﺟﺮﺍﻯ ﺳﺎﻳﺎ ﺁﻥﻗﺪﺭﻯ ﻛﻪ ﺑﺎﻳﺪ ﻟﺬﺕ ﺑﺒﺮﻳﺪ‪.‬‬ ‫ﺩﺭ ﺍﻳﻦ ﺩﺍﺳﺘﺎﻥ ﻫﻢ ﺍﺯ ﺗﻌﺮﻳﻒ ﻛﻼﺳﻴﻚ ﺧﻮﻥﺁﺷﺎﻡﻫﺎ ﺧﺒﺮﻯ ﻧﻴﺴﺖ ﻭ ﺧﻮﻥﺁﺷﺎﻡ ﻣﺎﺟﺮﺍ ﺍﺣﺘﻤﺎﻻً‬ ‫ﻧﻮﻋﻰ ﻧﮋﺍﺩ ﺑﻴﮕﺎﻧﻪﻱ ﻓﻀﺎﻳﻰ ﺍﺳﺖ ﻛﻪ ﺍﺯ ﻧﻈﺮ ﭘﺎﻳﻪﻱ ﭘﺮﻭﺗﺌﻴﻨﻰ ﻭ ژﻧﺘﻴﻜﻰ‪ ،‬ﻛﺎﻣ ً‬ ‫ﻼ ﺑﺎ ﺣﻴﺎﺕ ﺯﻣﻴﻨﻰ‬ ‫ﺗﻔﺎﻭﺕ ﺩﺍﺭﺩ‪ .‬ﻣﺘﺎﺳﻔﺎﻧﻪ ﺑﺎﻳﺪ ﮔﻔﺖ ﺑﺎ ﻭﺟﻮﺩ ﺗﻼﺵ ﻧﻮﻳﺴﻨﺪﻩ ﻭ ﺍﺣﺘﻤﺎﻻً ﻛﺎﺭﮔﺮﺩﺍﻥ ﺑﺮﺍﻯ ﻭﺭﻭﺩ ﺑﻪ‬ ‫ﺣﻮﺯﻩﻯ ﻋﻠﻤﻰﺗﺨﻴﻠﻰ‪ ،‬ﺍﻳﻦ ﺍﻧﻴﻤﻪ ﺩﺭ ﺗﺒﻴﻴﻦ ﻣﺴﺎﺋﻞ ﻋﻠﻤﻰﺍﺵ ﺑﻴﺶ ﺍﺯ ﺣﺪ ﺿﻌﻴﻒ ﻋﻤﻞ ﻣﻰﻛﻨﺪ؛‬ ‫ﺗﺎ ﺟﺎﻳﻰ ﻛﻪ ﺑﺮﺧﻰ ﺗﻮﺟﻴﻬﺎﺕ ﺑﻴﺸﺘﺮ ﺧﻨﺪﻩﺩﺍﺭ ﻫﺴﺘﻨﺪ ﺗﺎ ﻋﻠﻤﻰ‪ .‬ﺍﻟﺒﺘﻪ ﻫﻤﻪ ﻗﺒﻮﻝ ﺩﺍﺭﻳﻢ ﻛﻪ‬ ‫ﻣﻨﻄﺒﻖ ﺑﺎ ﺩﺍﻧﺶ ﺭﻭﺯ ﺑﻮﺩﻥ‪ ،‬ﻫﺮﮔﺰ ﻗﺪﺭﺗﻤﻨﺪﺗﺮﻳﻦ ﺑﺨﺶ ﻳﻚ ﺍﻧﻴﻤﻪ ﻧﺒﻮﺩﻩ ﺍﺳﺖ‪.‬‬ ‫ﺍﻣﻴﺪﻭﺍﺭﻡ ﺍﺯ ﺩﻳﺪﻥ ﺍﻳﻦ ﺍﻧﻴﻤﻪ ﻟﺬﺕ ﺑﺒﺮﻳﺪ ﻫﺮ ﭼﻨﺪ ﻣﻰﺗﻮﺍﻧﻴﺪ ﺗﺼﻤﻴﻢ ﺑﮕﻴﺮﻳﺪ ﻛﻪ ﻫﺮﮔﺰ ﺁﻥ ﺭﺍ‬ ‫ﻧﺒﻴﻨﻴﺪ‪.‬‬ ‫ﭘﻰﻧﻮﺷﺖﻫﺎ‪:‬‬ ‫‪1.‬‬ ‫‪2.‬‬ ‫‪3.‬‬ ‫‪4.‬‬ ‫‪5.‬‬ ‫‪6.‬‬

‫‪Kyuketsuki‬‬ ‫‪Vampire Controversy‬‬ ‫‪Hammer Films’ vampire movies‬‬ ‫‪Chi i Suu Ningyo‬‬ ‫‪Chi o Suu Me‬‬ ‫‪Kyuketsuki Dorakyura Kobe ni Arawaru:‬‬ ‫‪Akuma wa Onna wo UtsukushikuSuru‬‬ ‫‪7. The Legend of the Eight Samurai‬‬ ‫‪8. Elizabeth Bathory‬‬ ‫‪9. Tale of a Vampire‬‬ ‫‪10. Fuyumi Ono‬‬ ‫‪11. Okiagari‬‬ ‫‪12. Lelouch vi Britannia‬‬

‫‪13. Code Geass‬‬ ‫‪14. Light Yagami‬‬ ‫‪15. Death Note‬‬ ‫‪16. Jinrou‬‬ ‫‪17. Twilight‬‬ ‫‪18. Kuro‬‬ ‫‪19. Benkei‬‬ ‫‪20. Kuromitsu‬‬ ‫‪21. Noh‬‬ ‫‪22. Mark Mancina‬‬ ‫‪23. Hans Zimmer7. Kissing Bug‬‬

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‫ﻭﻳﮋﻩﻧﺎﻣﻪﻯ ﺧﻮﻥﺁﺷﺎﻡﻫﺎ‬

‫ﺩﻳﮕﺮﻧﺪ ﻭ ﺑﺎ ﺗﻮ ﻫﻢﺧﻮﻥ ﻧﻴﺴﺘﻨﺪ ﺍﻣﺎ‪ ،‬ﭘﻴﻮﻧﺪﻯ ﻧﺎﮔﺴﺴﺘﻨﻰ ﺑﺎ ﺗﻮ ﺩﺍﺭﻧﺪ؟ ﻛﺎﻯ ﭘﺲ ﺍﺯ ﻣﺮگ ﭘﺪﺭﺷﺎﻥ‪،‬‬ ‫ﺑﺎ ﺳﺮﺳﺨﺘﻰ ﻧﻘﺶ ﺳﺘﻮﻥ ﺧﺎﻧﻮﺍﺩﻩ ﺭﺍ ﺑﻪ ﺩﻭﺵ ﻣﻰﻛﺸﺪ ﻭ ﺩﺭ ﺟﺎﻳﻰ ﺑﻪ ﺳﺎﻳﺎ ﻣﻰﮔﻮﻳﺪ‪» :‬ﺗﻮ ﺩﺍﺭﻯ‬ ‫ﻗﻮﻯﺗﺮ ﻭ ﻗﻮﻯﺗﺮ ﻣﻰﺷﻮﻯ‪ .‬ﻧﻪ ﻓﻘﻂ ﺗﻮ‪ ،‬ﺭﻳﻜﻮ ﻫﻢ ﻫﻤﻴﻦﻃﻮﺭ‪ .‬ﻣﻦ ﺑﺎ ﻭﺟﻮﺩ ﺍﻳﻦ ﻛﻪ ﻛﺎﺭﻯ ﺍﺯ ﺩﺳﺘﻢ‬ ‫ﺑﺮ ﻧﻤﻰﺁﻳﺪ‪ ،‬ﻫﻤﻴﺸﻪ ﺩﺭ ﻛﻨﺎﺭ ﺷﻤﺎ ﻣﻰﻣﺎﻧﻢ‪ ،‬ﺩﺭ ﻛﻨﺎﺭ ﺗﻮ ﻭ ﺭﻳﻜﻮ‪ «.‬ﻫﻤﻴﻦ ﺭﻭﻳﻜﺮﺩ ﻛﺎﻯ ﻭ ﭘﺬﻳﺮﺷﻰ‬ ‫ﻛﻪ ﻧﺴﺒﺖ ﺑﻪ ﺷﺮﺍﻳﻂ ﺳﺎﻳﺎ ﺩﺍﺭﺩ )ﺍﻟﺒﺘﻪ ﺍﻳﻦ ﭘﺬﻳﺮﺵ ﺑﻪ ﺳﺎﺩﮔﻰ ﺑﺪﺳﺖ ﻧﻤﻰﺁﻳﺪ(‪ ،‬ﻋﺎﻣﻠﻰ ﺍﺳﺖ ﻛﻪ‬ ‫ﺑﺎﻋﺚ ﺷﻮﺩ ﺳﺎﻳﺎ ﺑﺮﺍﻯ ﺧﻮﺩ‪ ،‬ﺣﻖ ﺯﻧﺪﮔﻰ ﻗﺎﺋﻞ ﺑﺎﺷﺪ ﻭ ﺑﺘﻮﺍﻧﺪ ﺑﺮﺧﻼﻑ ﮔﺬﺷﺘﻪ ﺑﺨﻨﺪﺩ ﻭ ﺍﻣﻴﺪﻭﺍﺭ‬ ‫ﺑﺎﺷﺪ‪ .‬ﺍﻭ ﻳﻚ ﺑﺎﺭ ﺑﻪ ﻛﺎﻯ ﻣﻰﮔﻮﻳﺪ‪:‬‬ ‫»ﻛﺎﻯ‪ ،‬ﻫﻤﻴﺸﻪ ﻛﻨﺎﺭﻡ ﺑﻤﻮﻥ‪ ،‬ﻫﻤﻴﺸﻪ ﻛﻨﺎﺭﻡ ﺑﻤﻮﻥ ﻭ ﻫﻴﭻ ﻭﻗﺖ ﺗﺮﻛﻢ ﻧﻜﻦ‪ .‬ﭼﻮﻥ ﺍﮔﻪ ﺗﻮ ﭘﻴﺸﻢ ﺑﺎﺷﻰ‪ ،‬ﻫﺮﭼﻘﺪﺭ ﻫﻢ‬ ‫ﻛﻪ ﺑﺠﻨﮕﻢ‪ ،‬ﻣﻰﺗﻮﻧﻢ ﺧﻮﺩﻡ ﺑﻤﻮﻧﻢ‪ .‬ﻣﻦ‪ ،‬ﺗﻮ‪ ،‬ﺭﻳﻜﻮ ﻭ ﭘﺪﺭ‪ ،‬ﻣﺎ ﻣﻰﺗﻮﻧﻴﻢ ﻳﻚ ﺧﺎﻧﻮﺍﺩﻩ ﺑﺎﺷﻴﻢ‪«.‬‬ ‫ﻧﻘﻄﻪﻯ ﻗﻮﺕ ﺩﻳﮕﺮ ﺍﻳﻦ ﺩﺍﺳﺘﺎﻥ‪ ،‬ﻣﻮﺳﻴﻘﻰ ﺁﻥ ﺍﺳﺖ‪ .‬ﻣﻮﺳﻴﻘﻰ ﻭ ﻗﻄﻌﻪﻯ ﺍﭘﺮﺍﻳﻰ ﻛﻪ ﺩﻳﻮﺍ‬ ‫ﻣﻰﺧﻮﺍﻧﺪ‪ ،‬ﺑﺴﻴﺎﺭ ﺯﻳﺒﺎ ﺍﺳﺖ ﻭ ﺩﺭ ﺩﺭﮔﻴﺮ ﺷﺪﻥ ﺍﺣﺴﺎﺱ ﺑﻴﻨﻨﺪﻩ‪ ،‬ﺑﺴﻴﺎﺭ ﻣﺆﺛﺮ ﺍﺳﺖ‪ .‬ﺗﻀﺎﺩﻯ ﻛﻪ‬ ‫ﺻﺪﺍﻯ ﺁﺳﻤﺎﻧﻰ ﺩﻳﻮﺍ ﻭ ﻧﻴﺖﻫﺎﻯ ﭘﻠﻴﺪ ﺍﻭ ﺩﺭ ﺩﺍﺳﺘﺎﻥ ﺍﻳﺠﺎﺩ ﻣﻰﻛﻨﺪ‪ ،‬ﺧﻮﺩ ﻧﻜﺘﻪﻯ ﻗﺎﺑﻞ ﺗﻮﺟﻬﻰ‬ ‫ﺍﺳﺖ‪.‬‬ ‫ﺩﺭ ﻧﻬﺎﻳﺖ‪ ،‬ﺍﻳﻦ ﺩﺍﺳﺘﺎﻥ ﺑﻪ ﻛﺴﺎﻧﻰ ﻛﻪ ﻋﺎﺩﺕ ﺑﻪ ﺩﻳﺪﻥ ﺍﻧﻴﻤﻪﻫﺎﻳﻰ ﭘﺮﺳﺮﻋﺖ ﻭ ﻧﻔﺲﮔﻴﺮ ﺩﺍﺭﻧﺪ‪،‬‬ ‫ﺗﻮﺻﻴﻪ ﻧﻤﻰﺷﻮﺩ ﺍﻣﺎ ﺑﺮﺍﻯ ﻛﺴﺎﻧﻰ ﻛﻪ ﻣﺎﻳﻠﻨﺪ ﻳﻚ ﺩﺍﺳﺘﺎﻥ ﺷﻮﻧﻦ ﺑﺎ ﺗﻢ ﻋﺎﺷﻘﺎﻧﻪ ﺑﺒﻴﻨﻨﺪ‪ ،‬ﺧﻮﻥ‪+‬‬ ‫ﻳﻚ ﮔﺰﻳﻨﻪﻯ ﺧﻮﺏ ﺑﻪ ﺷﻤﺎﺭ ﻣﻰﺁﻳﺪ‪ .‬ﻣﻦ ﻛﻪ ﺍﺯ ﺩﻳﺪﻥ ﺁﻥ ﻟﺬﺕ ﺑﺮﺩﻡ‪.‬‬ ‫‪ :Φ‬ﺍﺯ ﻧﻈﺮ ﮔﺮﺍﻓﻴﻚ ﻭ ﻣﻮﺳﻴﻘﻰ ﻣﺘﻦ‪ ،‬ﺍﻳﻦ ﺳﺮﻯ ﻛﺎﺭ ﺧﻮﺩ ﺭﺍ ﺑﻪ ﺧﻮﺑﻰ ﺍﻧﺠﺎﻡ ﻣﻰﺩﻫﺪ‪ .‬ﻣﻮﺳﻴﻘﻰ‬ ‫ﻣﺘﻦ ﺁﻥ ﺗﻮﺳﻂ ﻣﺎﺭﻙ ﻣﺎﻧﺴﻴﻨﺎ )‪ (22‬ﻧﻮﺷﺘﻪ ﻭ ﺗﻮﺳﻂ ﻳﻜﻰ ﺍﺯ ﻣﻌﺮﻭﻑﺗﺮﻳﻦ ﺁﻫﻨﮓﺳﺎﺯﺍﻥ ﻏﺮﺑﻰ‪،‬‬ ‫ﻫﺎﻧﺲ ﺯﻳﻤﺮ )‪ ،(23‬ﺍﺟﺮﺍ ﺷﺪﻩ ﺍﺳﺖ‪ .‬ﻳﻜﻰ ﺍﺯ ﻧﻜﺎﺕ ﺟﺎﻟﺐ ﺩﺭ ﺩﺍﺳﺘﺎﻥ‪ ،‬ﺍﺳﺘﻔﺎﺩﻩ ﺍﺯ ﺍﺗﻔﺎﻗﺎﺕ ﻭﺍﻗﻌﻰ‬ ‫ﺩﻧﻴﺎﻯ ﺧﻮﺩﻣﺎﻥ ﺍﺳﺖ؛ ﻣﺎﻧﻨﺪ ﻣﻄﺮﺡ ﻛﺮﺩﻥ ﺟﻨﮓ ﻭﻳﺘﻨﺎﻡ ﻭ ﻏﻴﺮﻩ‪ .‬ﻳﻜﻰ ﺩﻳﮕﺮ ﺍﺯ ﻧﻜﺎﺕ ﺟﺎﻟﺐ‪،‬‬ ‫ﺳﻼﺡﻫﺎﻳﻰ ﺍﺳﺖ ﻛﻪ ﺷﺨﺼﻴﺖﻫﺎ ﺍﺯ ﺁﻥﻫﺎ ﺍﺳﺘﻔﺎﺩﻩ ﻣﻰﻛﻨﻨﺪ‪ .‬ﺑﺮﺍﻯ ﻣﺜﺎﻝ ﺷﻮﺍﻟﻴﻪﻯ ﺳﺎﻳﺎ‪ ،‬ﻫﺎﺟﻰ‪،‬‬ ‫ﺍﺯ ﺟﻌﺒﻪﻯ ﻳﻚ ﻭﻳﻮﻟﻦﺳﻞ ﺑﺮﺍﻯ ﻣﺒﺎﺭﺯﻩ ﺍﺳﺘﻔﺎﺩﻩ ﻣﻰﻛﻨﺪ! ﺍﻳﻦ ﺍﻧﻴﻤﻪ ﺩﺭ ﻗﺴﻤﺖ ﺍﻭﻝ ﺑﻪ ﺧﻮﺑﻰ‬ ‫ﻣﻮﻓﻖ ﺑﻪ ﺟﺬﺏ ﺑﻴﻨﻨﺪﻩ ﻣﻰﺷﻮﺩ‪ ،‬ﺍﻣﺎ ﺑﻌﺪ ﺍﺯ ﭼﻨﺪﻳﻦ ﻗﺴﻤﺖ ﺭﻭﺍﻝ ﭘﻴﺸﺮﻓﺖ ﺩﺍﺳﺘﺎﻥ ﻛﻤﻰ ﻛﻨﺪ‬ ‫ﺷﺪﻩ ﻭ ﻣﻤﻜﻦ ﺍﺳﺖ ﺣﻮﺻﻠﻪﻯ ﻣﺨﺎﻃﺒﺎﻧﺶ ﺭﺍ ﺳﺮ ﺑﺒﺮﺩ‪ .‬ﺍﻣﺎ ﻣﻰﺗﻮﺍﻥ ﮔﻔﺖ ﺩﺍﺳﺘﺎﻥ ﺩﺭ ﻳﻚ ﺳﻮﻡ‬ ‫ﭘﺎﻳﺎﻧﻰ ﺑﻪ ﻫﻴﺠﺎﻥ ﺍﻭﻟﻴﻪﻯ ﺧﻮﺩ ﺑﺮﻣﻰﮔﺮﺩﺩ ﻭ ﺑﻴﻨﻨﺪﻩ ﺭﺍ ﺗﻘﺮﻳﺒﺎً ﺭﺍﺿﻰ ﻣﻰﻛﻨﺪ‪ ،‬ﻫﺮ ﭼﻨﺪ ﺍﻳﻦ ﺣﺲ‬ ‫ﺭﺍ ﺑﺎﻗﻰ ﻣﻰﮔﺬﺍﺭﺩ ﻛﻪ ‪ 50‬ﻗﺴﻤﺖ ﺑﺮﺍﻯ ﭼﻨﻴﻦ ﺩﺍﺳﺘﺎﻧﻰ ﻛﻤﻰ ﺯﻳﺎﺩ ﺍﺳﺖ!‬ ‫‪ :Ψ‬ﻣﻮﺿﻮﻋﻰ ﻛﻪ ﭘﻴﺶ ﺍﺯ ﻫﺮ ﭼﻴﺰ ﺩﻳﮕﺮ ﺑﻪ ﺫﻫﻨﻢ ﻣﻰﺭﺳﺪ‪ ،‬ﻃﺎﻗﺖﻓﺮﺳﺎﻳﻰ ﻭ ﺯﺟﺮﺁﻭﺭﻯ ﺑﻴﺶ ﺍﺯ‬ ‫ﺣﺪ ﺍﻳﻦ ﺍﻧﻴﻤﻪ ﺍﺳﺖ‪ .‬ﺍﻳﻦ ﺍﻧﻴﻤﻪ ﺭﺍ ﺣﺘﺎ ﭘﻴﺶ ﺍﺯ ﺁﻥﻛﻪ ﺗﺼﻤﻴﻢ ﺑﻪ ﻧﻘﺪ ﺁﻥ ﺑﮕﻴﺮﻡ‪ ،‬ﺩﻳﺪﻡ )ﻛﺴﻰ‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،9-10‬ﺷﻬﺮﻳﻮﺭ ﻭ ﻣﻬﺮ ‪1390‬‬

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‫ﻣﻰﮔﺬﺍﺭﺩ ﻭ ﺍﻭ ﺭﺍ ﺑﻪ ﺷﻮﺍﻟﻴﻪﻯ ﺧﻮﺩ ﺗﺒﺪﻳﻞ ﻣﻰﻛﻨﺪ‪.‬‬ ‫ﺁﻣﺸﻞ ﺑﺴﻴﺎﺭ ﺟﺎﻩﻃﻠﺐ ﺍﺳﺖ ﻭ ﺩﻳﻮﺍ ﺭﺍ ﺩﻭﺳﺖ ﺩﺍﺭﺩ‪) .‬ﻣﻦ ﺷﺨﺼﺎً ﻧﻮﻉ ﻋﻼﻗﻪﻯ ﺁﻣﺸﻞ ﺑﻪ ﺩﻳﻮﺍ‬ ‫ﺭﺍ ﺩﻭﺳﺖ ﻧﺪﺍﺭﻡ ﻭ ﻓﻜﺮ ﻣﻰﻛﻨﻢ ﺍﻭ ﺑﻴﺸﺘﺮ ﺍﺯ ﻫﻤﻪ‪ ،‬ﺑﻪ ﭼﺸﻢ ﻳﻚ ﺍﺑﺰﺍﺭ ﺑﻪ ﺩﻳﻮﺍ ﻧﮕﺎﻩ ﻣﻰﻛﺮﺩ؛ ﺍﻣﺎ‬ ‫ﺑﺴﻴﺎﺭﻯ ﺑﺎ ﺍﻳﻦ ﻧﻈﺮﻳﻪ ﻣﺨﺎﻟﻔﻨﺪ‪ (.‬ﺩﻳﻮﺍ ﺗﻨﻬﺎ ﺑﻪ ﺧﻮﺍﺳﺘﻪﻫﺎﻯ ﺁﻣﺸﻞ ﮔﻮﺵ ﻣﻰﺩﻫﺪ ﻭ ﺑﻴﺶ ﺍﺯ ﻫﻤﻪ‬ ‫ﺑﻪ ﺍﻭ ﺍﻋﺘﻤﺎﺩ ﺩﺍﺭﺩ‪.‬‬ ‫ﺁﻣﺸﻞ ﮔﺮﭼﻪ ﺷﻮﺍﻟﻴﻪﻫﺎﻯ ﺩﻳﮕﺮ ﺭﺍ ﺑﺎ ﻋﻨﻮﺍﻥ ﺑﺮﺍﺩﺭ ﺧﻄﺎﺏ ﻣﻰﻛﻨﺪ‪ ،‬ﺍﻣﺎ ﺑﺮﺍﻯ ﺯﻧﺪﮔﻰ ﻭ ﻭﺟﻮﺩ ﺁﻥﻫﺎ‬ ‫ﺍﺭﺯﺵ ﺯﻳﺎﺩﻯ ﻗﺎﻳﻞ ﻧﻴﺴﺖ‪ .‬ﺍﻭ ﻃﺮﺍﺡ ﺍﺻﻠﻰ ﺑﺮﻧﺎﻣﻪﻫﺎﻯ ﺩﻳﻮﺍ ﺍﺳﺖ ﻭ ﺣﺘﺎ ﺗﻼﺵ ﻣﻰﻛﻨﺪ ﺳﺎﻳﺎ ﺭﺍ ﺑﻪ‬ ‫ﺟﺎﻧﺐ ﺧﻮﺩ ﺑﻜﺸﺪ‪.‬‬ ‫‪ :Ω‬ﺍﻧﻴﻤﻪ ﺷﺮﻭﻉ ﺑﺴﻴﺎﺭ ﺑﺴﻴﺎﺭ ﻗﺪﺭﺗﻤﻨﺪﻯ ﺩﺍﺭﺩ‪ .‬ﺗﺼﺎﻭﻳﺮﻯ ﻛﻪ ﺍﺯ ﻧﺒﺮﺩ ﻭﻳﺘﻨﺎﻡ‪ ،‬ﺣﻀﻮﺭ ﭼﻴﺮﻭﭘﺘﺮﺍﻥﻫﺎ‬ ‫ﻭ ﻛﺸﺘﺎﺭ ﺑﻰﺭﺣﻤﺎﻧﻪﻯ ﺳﺎﻳﺎ ﺑﻪ ﺑﻴﻨﻨﺪﻩ ﻧﺸﺎﻥ ﻣﻰﺩﻫﺪ‪ ،‬ﺍﻭ ﺭﺍ ﻛﺎﻣ ً‬ ‫ﻼ ﺑﺮﺟﺎ ﻣﻴﺨﻜﻮﺏ ﻣﻰﻛﻨﺪ ﻭ‬ ‫ﺁﻣﺎﺩﻩﺍﺵ ﻣﻰﻛﻨﺪ ﻛﻪ ﺩﺍﺳﺘﺎﻧﻰ ﺯﻳﺒﺎ ﺭﺍ ﺑﺒﻴﻨﺪ‪ .‬ﺳﺮﻋﺖ ﺍﻧﻴﻤﻪ ﺑﺮﺍﻯ ﻛﺴﺎﻧﻰ ﻛﻪ ﺑﻴﻨﻨﺪﻩﻯ ﺣﺮﻓﻪﺍﻯ‬ ‫ﺩﺍﺳﺘﺎﻥﻫﺎﻯ ﺷﻮﻧﻦ ﻫﺴﺘﻨﺪ‪ ،‬ﺷﺎﻳﺪ ﻛﻤﻰ ﻛﻨﺪ ﺑﺎﺷﺪ؛ ﺧﺼﻮﺻﺎً ﺑﺨﺶﻫﺎﻯ ﻣﻴﺎﻧﻰ ﺍﻧﻴﻤﻪ‪ .‬ﺍﻣﺎ ﺁﻏﺎﺯ ﻭ‬ ‫ﭘﺎﻳﺎﻥ ﺁﻥ ﺑﺴﻴﺎﺭ ﺧﻮﺏ ﻭ ﻗﻮﻯ ﺳﺎﺧﺘﻪ ﺷﺪﻩ ﺍﺳﺖ‪.‬‬ ‫ﭼﻴﺰﻯ ﻛﻪ ﺑﺮﺍﻯ ﻣﻦ ﺍﻳﻦ ﺍﻧﻴﻤﻪ ﺭﺍ ﺑﺴﻴﺎﺭ ﺟﺬﺍﺏ ﻣﻰﻛﻨﺪ‪ ،‬ﺑﺎﺯ ﻧﺒﻮﺩﻥ ﺁﻥ ﺍﺳﺖ‪ .‬ﺑﺎﺯ ﻧﺒﻮﺩﻥ ﺑﻪ ﺍﻳﻦ‬ ‫ﻣﻌﻨﻰ ﻛﻪ ﺑﺮﺧﻼﻑ ﺑﺴﻴﺎﺭﻯ ﺍﺯ ﺩﺍﺳﺘﺎﻥﻫﺎ‪ ،‬ﺍﻳﻦ ﺍﻧﻴﻤﻪ ﻫﻤﻪﭼﻴﺰ ﺭﺍ ﻭﺍﺿﺢ ﺑﻴﺎﻥ ﻧﻤﻰﻛﻨﺪ؛ ﺟﺰﺋﻴﺎﺕ‪،‬‬ ‫ﻧﻘﺶ ﻣﻬﻤﻰ ﺩﺭ ﺁﻥ ﺩﺍﺭﻧﺪ ﻭ ﻧﻜﺎﺗﻰ ﺭﺍ ﺑﻪ ﺑﻴﻨﻨﺪﻩﻯ ﺩﻗﻴﻖ ﻣﻰﻓﻬﻤﺎﻧﻨﺪ ﻛﻪ ﻳﻚ ﺑﻴﻨﻨﺪﻩﻯ ﻋﺎﺩﻯ‬ ‫ﺣﺘﺎ ﻣﺘﻮﺟﻪ ﺁﻥﻫﺎ ﻫﻢ ﻧﻤﻰﺷﻮﺩ‪.‬‬ ‫ﺩﺍﺳﺘﺎﻥ ﻧﻴﺰ ﺭﻭﺍﻳﺖ ﺯﻳﺒﺎﻳﻰ ﺩﺍﺭﺩ‪ .‬ﺷﺮﻭﻉ ﻗﺪﺭﺗﻤﻨﺪ ﺁﻥ‪ ،‬ﭘﺮﺩﻩﺍﻯ ﺍﺯ ﺭﺍﺯ ﻭ ﻣﻌﻤﺎ ﺑﻪ ﺩﻭﺭ ﺷﺨﺼﻴﺖ‬ ‫ﺍﺻﻠﻰ ﺁﻥ ﻣﻰﻛﺸﺪ ﻭ ﺁﺭﺍﻡﺁﺭﺍﻡ ﺑﺎ ﭘﻴﺸﺮﻓﺖ ﻣﺎﺟﺮﺍ‪ ،‬ﮔﺮﻩﻫﺎ ﺭﺍ ﺑﺎﺯ ﻣﻰﻛﻨﺪ‪ .‬ﻓﻠﺶﺑﻚ ﻭ ﺧﺴﺎﺳﺖ‬ ‫ﺩﺭ ﺗﻌﺮﻳﻒ ﺁﻥﭼﻪ ﻭﺍﻗﻌﺎ ﺭﺥ ﺩﺍﺩﻩ ﺍﺳﺖ‪ ،‬ﺑﺎﻋﺚ ﻣﻰﺷﻮﺩ ﺑﻴﻨﻨﺪﻩ ﺩﺍﺳﺘﺎﻥ ﺭﺍ ﺩﻧﺒﺎﻝ ﻛﻨﺪ ﻭ ﺧﻮﺍﻫﺎﻥ‬ ‫ﺩﺭﻳﺎﻓﺘﻦ ﺣﻘﻴﻘﺖ ﺑﺎﺷﺪ‪.‬‬ ‫ﻫﻤﻪﻯ ﻧﻜﺎﺗﻰ ﻛﻪ ﮔﻔﺘﻪ ﺷﺪ‪ ،‬ﮔﺮﭼﻪ ﻧﻘﺶ ﻣﻬﻤﻰ ﺩﺭ ﺟﺬﺍﺑﻴﺖ ﺍﻳﻦ ﺍﻧﻴﻤﻪ ﺩﺍﺷﺘﻨﺪ‪ ،‬ﺍﻣﺎ ﺑﺎﺭ ﻣﻬﻢ‬ ‫ﺩﺍﺳﺘﺎﻥ ﺭﺍ ﺷﺨﺼﻴﺖﻫﺎ ﻭ ﺭﻭﺍﺑﻂ ﺁﻥﻫﺎ ﺑﻪ ﺩﻭﺵ ﻣﻰﻛﺸﻨﺪ‪ .‬ﺑﺎ ﺩﺭ ﻧﻈﺮ ﮔﺮﻓﺘﻦ ﺍﻳﻦ ﻧﻜﺘﻪ ﻛﻪ ﺍﻳﻦ‬ ‫ﺩﺍﺳﺘﺎﻥ‪ ،‬ﺩﺍﺳﺘﺎﻧﻰ ﺷﻮﻧﻦ ﺍﺳﺖ ﻭ ﻋﻮﺍﻣﻞ ﻣﺎﻭﺭﺍءﺍﻟﻄﺒﻴﻌﻪ ﺩﺭ ﺁﻥ ﻧﻘﺶ ﻣﻬﻤﻰ ﺩﺍﺭﻧﺪ‪ ،‬ﺷﺎﻳﺪ ﭘﺬﻳﺮﺵ‬ ‫ﺁﻥﭼﻪ ﻣﻰﺧﻮﺍﻫﻢ ﺑﮕﻮﻳﻢ‪ ،‬ﻛﺎﺭ ﺳﺎﺩﻩﺍﻯ ﻧﺒﺎﺷﺪ‪ .‬ﺑﻪ ﻧﻈﺮ ﻣﻦ‪ ،‬ﻳﻜﻰ ﺍﺯ ﻣﻬﻢﺗﺮﻳﻦ ﻣﺤﻮﺭﻫﺎﻯ ﺍﻳﻦ‬ ‫ﺩﺍﺳﺘﺎﻥ‪ ،‬ﺑﺤﺚ ﺧﺎﻧﻮﺍﺩﻩ ﺍﺳﺖ‪.‬‬ ‫ﺧﺎﻧﻮﺍﺩﻩ ﺩﺭ ﺍﻳﻦ ﺍﻧﻴﻤﻪ ﻧﻘﺶ ﺑﺴﻴﺎﺭ ﻣﻬﻤﻰ ﺩﺍﺭﺩ‪ .‬ﺍﻳﻦ ﻛﻪ ﭼﻪ ﻛﺴﻰ ﺧﺎﻧﻮﺍﺩﻩﻯ ﺣﻘﻴﻘﻰ ﺗﻮﺳﺖ؟‬ ‫ﻛﺴﺎﻧﻰ ﻛﻪ ﺍﺯ ﻧﮋﺍﺩ ﺗﻮ ﻫﺴﺘﻨﺪ ﻭ ﻫﻢﺧﻮﻥ ﺗﻮ ‪-‬ﺍﻣﺎ ﻣﻮﺟﻮﺩﺍﺗﻰ ﭘﻠﻴﺪ‪ -‬ﻳﺎ ﺍﻧﺴﺎﻥﻫﺎﻳﻰ ﻛﻪ ﺍﺯ ﻧﮋﺍﺩﻯ‬

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Blood+

‫ﺗﻠﻮﻳﺰﻳﻮﻥ‬

‫ﺳﺎﻳﺎ ﺭﺍ ﺍﺣﺎﻃﻪ ﻛﺮﺩﻩ‪ ،‬ﻣﺒﺎﺭﺯﻩ ﻛﻨﺪ ﻭ ﺗﻨﻬﺎﻳﻰ ﺍﻭ ﺭﺍ ﺍﺯ ﺑﻴﻦ ﺑﺒﺮﺩ‪ .‬ﻋﺒﺎﺭﺗﻰ ﻛﻪ ﻛﺎﻯ ﺍﺳﺘﻔﺎﺩﻩ ﻣﻰﻛﻨﺪ‪،‬‬ ‫ﻧﺎﻧﻜﻮﺭﻭﻧﺎﻳﺴﺎ ﺍﺳﺖ‪ .‬ﺑﻪ ﺧﺎﻃﺮ ﻓﺮﺩﺍ ﺍﻣﺮﻭﺯ ﺭﺍ ﺯﻧﺪﮔﻰ ﻛﻦ‪ .‬ﻓﻠﺴﻔﻪﺍﻯ ﻛﻪ ﺑﻪ ﺳﺎﻳﺎ ﺍﻳﻦ ﺗﻮﺍﻥ ﺭﺍ‬ ‫ﻣﻰﺩﻫﺪ ﻛﻪ ﺑﻪ ﺁﻳﻨﺪﻩ ﺍﻣﻴﺪ ﺩﺍﺷﺘﻪ ﺑﺎﺷﺪ ﻭ ﺑﺘﻮﺍﻧﺪ ﻓﺸﺎﺭﻯ ﺭﺍ ﻛﻪ ﺑﺮ ﺍﻭ ﻭﺍﺭﺩ ﻣﻰﺷﻮﺩ‪ ،‬ﺗﺤﻤﻞ ﻛﻨﺪ‪.‬‬ ‫ﺿﺪ ﻗﻬﺮﻣﺎﻧﺎﻥ‬ ‫ﺩﻳﻮﺍ‪ :‬ﻧﻘﻄﻪﻯ ﻣﻘﺎﺑﻞ ﺳﺎﻳﺎ ﻭ ﺑﻪ ﻧﻮﻋﻰ ﺧﻮﺍﻫﺮ ﺍﻭ ﺍﺳﺖ‪ .‬ﺍﮔﺮ ﺳﺎﻳﺎ ﺳﺮﺥ ﺍﺳﺖ‪ ،‬ﺩﻳﻮﺍ ﺁﺑﻰ ﺍﺳﺖ‪ .‬ﺍﮔﺮ‬ ‫ﺳﺎﻳﺎ ﭘﻴﺶ ﺍﺯ ﺷﺮﻭﻉ ﺟﻨﮓ‪ ،‬ﻣﺎﻧﻨﺪ ﻳﻚ ﺑﺎﻧﻮﻯ ﻧﺠﻴﺐﺯﺍﺩﻩ ﺯﻧﺪﮔﻰ ﻣﻰﻛﺮﺩ ﻭ ﺍﺯ ﺭﻓﺎﻩ ﺑﺮﺧﻮﺭﺩﺍﺭ ﺑﻮﺩ‪،‬‬ ‫ﺩﻳﻮﺍ ﺩﺭ ﻫﻤﺎﻥ ﺯﻣﺎﻥ ﺑﺪﻭﻥ ﺍﺳﻢ ﻭ ﺁﺳﺎﻳﺶ ﺩﺭ ﺍﻧﺘﻬﺎﻯ ﻳﻚ ﺑﺮﺝ ﺑﻠﻨﺪ ﺯﻧﺪﺍﻧﻰ ﺑﻮﺩ‪ .‬ﺗﻨﻬﺎ ﺑﻪ ﺍﻳﻦ ﺩﻟﻴﻞ‬ ‫ﻛﻪ ﻛﻨﺠﻜﺎﻭﻯ ﺩﻭ ﺩﺍﻧﺸﻤﻨﺪ ﺍﺭﺿﺎ ﺷﻮﺩ‪.‬‬ ‫ﺩﻳﻮﺍ ﺧﻮﺍﻫﺮ ﺳﺎﻳﺎ ﺍﺳﺖ ﻭ ﻫﻤﭽﻮﻥ ﺍﻭ ﺍﺯ ﻳﻚ ﭘﻴﻠﻪ ﺑﻪ ﺩﻧﻴﺎ ﺁﻣﺪﻩ ﺍﺳﺖ‪ .‬ﺍﻭ ﺻﺪﺍﻯ ﺑﺴﻴﺎﺭ ﺯﻳﺒﺎﻳﻰ ﺩﺍﺭﺩ‬ ‫ﻭ ﺳﺎﻳﺎ ﻧﺨﺴﺘﻴﻦ ﺑﺎﺭ ﺑﺎ ﺷﻨﻴﺪﻥ ﺻﺪﺍﻯ ﺍﻭ‪ ،‬ﺍﻭ ﺭﺍ ﻣﻰﻳﺎﺑﺪ ﻭ ﻧﺎﻡ ﺩﻳﻮﺍ ﺭﺍ ﺑﺮ ﺍﻭ ﻣﻰﮔﺬﺍﺭﺩ‪ .‬ﻭ ﺍﻭﺳﺖ ﻛﻪ‬ ‫ﺩﺭ ﺭﺍ ﺑﺮ ﺭﻭﻯ ﺩﻳﻮﺍ ﺑﺎﺯ ﻣﻰﻛﻨﺪ ﺗﺎ ﺩﺭ ﺟﺸﻦ ﺗﻮﻟﺪ ﺟﻮﺋﻞ‪ ،‬ﺩﺍﻧﺸﻤﻨﺪﻯ ﻛﻪ ﺩﻳﻮﺍ ﺭﺍ ﺣﺒﺲ ﻭ ﺑﺮﺍﻯ ﺳﺎﻳﺎ‬ ‫ﻳﻚ ﺯﻧﺪﮔﻰ ﻣﺮﻓﻪ ﺍﻳﺠﺎﺩ ﻛﺮﺩﻩ‪ ،‬ﺑﺨﻮﺍﻧﺪ‪ .‬ﺍﻳﻦ ﺑﺎﺯ ﺷﺪﻥ ﺩﺭ ﻣﻰﺗﻮﺍﻧﺪ ﻣﺎﻧﻨﺪ ﺑﺎﺯ ﺷﺪﻥ ﺩﺭ ﺟﻌﺒﻪﻯ‬ ‫ﭘﺎﻧﺪﻭﺭﺍ ﺑﺎﺷﺪ ﻛﻪ ﺑﺪﺑﺨﺘﻰ ﺭﺍ ﺑﻪ ﺯﻧﺪﮔﻰ ﺍﻧﺴﺎﻥﻫﺎ ﻭ ﺑﻪ ﺧﺼﻮﺹ ﺳﺎﻳﺎ‪ ،‬ﻭﺍﺭﺩ ﻛﺮﺩ‪.‬‬ ‫ﺩﻳﻮﺍ‪ ،‬ﺑﻰﺭﺣﻢ ﻭ ﺯﻳﺒﺎ ﺍﺳﺖ ﻭ ﭼﻮﻥ ﻛﻮﺩﻛﺎﻥ‪ ،‬ﺧﻮﺩﺧﻮﺍﻩ ﺍﺳﺖ ﻭ ﺑﻪ ﻫﻤﻪ ﭼﻴﺰ ﺑﻪ ﭼﺸﻢ ﺑﺎﺯﻳﭽﻪ ﻧﮕﺎﻩ‬ ‫ﻣﻰﻛﻨﺪ‪ .‬ﺍﻭ ﺑﺮﺍﻯ ﺯﻧﺪﮔﻰ ﺩﻳﮕﺮﺍﻥ ﺍﺭﺯﺵ ﻗﺎﺋﻞ ﻧﻴﺴﺖ ﻭ ﺳﺮﮔﺮﻡ ﺷﺪﻥ‪ ،‬ﻳﻜﻰ ﺍﺯ ﺍﻫﺪﺍﻑ ﻣﻬﻢ ﺍﻭﺳﺖ‪.‬‬ ‫ﺍﻭ ﺷﺨﺼﻴﺘﻰ ﭘﻴﭽﻴﺪﻩ ﻭ ﺗﺎﺭﻳﻚ ﺩﺍﺭﺩ ﻭ ﺩﺭ ﺑﺴﻴﺎﺭﻯ ﺍﺯ ﻭﺟﻮﻩ‪ ،‬ﺩﺭ ﺗﻀﺎﺩ ﻛﺎﻣﻞ ﺑﺎ ﺳﺎﻳﺎ ﺍﺳﺖ‪ .‬ﺧﻮﻥ ﺍﻭ‬ ‫ﻭ ﺳﺎﻳﺎ‪ ،‬ﻫﻨﮕﺎﻣﻰ ﻛﻪ ﺑﺎ ﻳﻜﺪﻳﮕﺮ ﺗﺮﻛﻴﺐ ﻣﻰﺷﻮﻧﺪ‪ ،‬ﻣﻨﻌﻘﺪ ﺷﺪﻩ ﻭ ﺑﻪ ﻛﺮﻳﺴﺘﺎﻝ ﺗﺒﺪﻳﻞ ﻣﻰﺷﻮﺩ‪ .‬ﺑﻪ‬ ‫ﻫﻤﻴﻦ ﺩﻟﻴﻞ ﺍﺳﺖ ﻛﻪ ﺳﺎﻳﺎ ﻣﻰﺗﻮﺍﻧﺪ ﺷﻮﺍﻟﻴﻪﻫﺎ ﻭ ﭼﻴﺮﻭﭘﺘﺮﺍﻥﻫﺎﻳﻰ ﺭﺍ ﻛﻪ ﺩﻳﻮﺍ ﺍﻳﺠﺎﺩ ﻛﺮﺩﻩ ﺍﺳﺖ‪،‬‬ ‫ﻧﺎﺑﻮﺩ ﻛﻨﺪ ﻭ ﻧﻴﺰ ﺩﻳﻮﺍ ﻣﻰﺗﻮﺍﻧﺪ ﺑﺮﺍﻯ ﺳﺎﻳﺎ ﻭ ﺷﻮﺍﻟﻴﻪﻫﺎﻳﺶ‪ ،‬ﺧﻄﺮﻯ ﻣﻬﻢ ﺑﻪ ﺷﻤﺎﺭ ﺁﻳﺪ‪.‬‬ ‫ﺩﻳﻮﺍ ﮔﺮﭼﻪ ﺷﺨﺼﻴﺘﻰ ﻧﺎﻣﺘﻌﺎﺩﻝ ﺩﺍﺭﺩ‪ ،‬ﻛﺎﺭﺍﻛﺘﺮﻯ ﻛﺎﻣ ً‬ ‫ﻼ ﺷﻴﻄﺎﻧﻰ ﻧﻴﺴﺖ ﻭ ﺑﺎ ﭘﻴﺸﺮﻓﺖ ﺩﺍﺳﺘﺎﻥ‪،‬‬ ‫ﺑﻴﻨﻨﺪﻩ ﻛﻢﻛﻢ ﻣﻰﺗﻮﺍﻧﺪ ﺑﺎ ﺍﻭ ﻫﻤﺪﺭﺩﻯ ﻛﻨﺪ‪ ،‬ﺣﺘﺎ ﺍﮔﺮ ﺍﺯ ﺭﻓﺘﺎﺭﻫﺎﻯ ﺍﻭ ﺑﻴﺰﺍﺭ ﺑﺎﺷﺪ‪) .‬ﺍﻳﻦ ﻫﻤﺪﺭﺩﻯ‬ ‫ﺍﻟﺒﺘﻪ ﺗﺎ ﺁﻥ ﺣﺪ ﻧﻴﺴﺖ ﻛﻪ ﺩﻳﻮﺍ ﺭﺍ ﺍﺯ ﻳﻚ ﺷﺨﺼﻴﺖ ﻗﻮﻯ‪ ،‬ﺑﻪ ﻳﻚ ﻗﺮﺑﺎﻧﻰ ﺑﻰﺍﺭﺍﺩﻩ ﺗﺒﺪﻳﻞ ﻛﻨﺪ‪.‬‬ ‫ﺩﻳﻮﺍ ﺗﻮﺍﻧﺎ ﺍﺳﺖ ﻭ ﺁﮔﺎﻫﺎﻧﻪ ﻛﺎﺭ ﻣﻰﻛﻨﺪ‪(.‬‬ ‫ﺁﻣﺸﻞ ﮔﻠﺪﺍﺳﻤﻴﺖ‪ :‬ﻧﺨﺴﺘﻴﻦ ﺷﻮﺍﻟﻴﻪﻯ ﺩﻳﻮﺍ‪ ،‬ﻫﻤﻜﺎﺭ ﺟﻮﺋﻞ ﮔﻠﺪﺍﺳﻤﻴﺖ‪ ،‬ﺩﺍﻧﺸﻤﻨﺪﻯ ﻛﻪ ﺩﻳﻮﺍ ﻭ‬ ‫ﺳﺎﻳﺎ ﺭﺍ ﻳﺎﻓﺖ ﻭ ﺷﺮﻭﻉ ﺑﻪ ﺗﺤﻘﻴﻖ ﺑﺮ ﺭﻭﻯ ﺯﻧﺪﮔﻰ ﺁﻥﻫﺎ ﻛﺮﺩ‪ .‬ﺍﻭ ﻣﺴﺌﻮﻝ ﺑﺮﻃﺮﻑ ﻛﺮﺩﻥ ﻧﻴﺎﺯﻫﺎﻯ‬ ‫ﺍﻭﻟﻴﻪﻯ ﺩﻳﻮﺍ ﺑﻮﺩ ﻭ ﺗﻨﻬﺎ ﻛﺴﻰ ﺑﻮﺩ ﻛﻪ ﺩﻳﻮﺍ‪ ،‬ﺯﻣﺎﻧﻰ ﻛﻪ ﺩﺭ ﻗﻠﻌﻪ ﺯﻧﺪﺍﻧﻰ ﺑﻮﺩ‪ ،‬ﺑﺎ ﺍﻭ ﺍﺭﺗﺒﺎﻁ ﺩﺍﺷﺖ‪.‬‬ ‫ﺩﻳﻮﺍ‪ ،‬ﺩﺭ ﻗﺘﻞ ﻋﺎﻣﻰ ﻛﻪ ﺑﻼﻓﺎﺻﻠﻪ ﭘﺲ ﺍﺯ ﺭﻫﺎ ﺷﺪﻧﺶ ﺍﺯ ﺑﺮﺝ ﺑﻪ ﺭﺍﻩ ﻣﻰﺍﻧﺪﺍﺯﺩ‪ ،‬ﺗﻨﻬﺎ ﺁﻣﺸﻞ ﺭﺍ ﺯﻧﺪﻩ‬

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‫ﻭﻳﮋﻩﻧﺎﻣﻪﻯ ﺧﻮﻥﺁﺷﺎﻡﻫﺎ‬

‫ﺧﺎﻧﻪﻯ ﺍﺭﺑﺎﺑﻰ ﺁﻥﻫﺎ ﺯﻧﺪﮔﻰ ﻣﻰﻛﺮﺩ‪ .‬ﺍﻭ ﻛﻪ ﺑﺮﺍﻯ ﭼﻴﺪﻥ ﮔﻠﻰ ﻛﻪ ﺳﺎﻳﺎ ﻣﻰﺧﻮﺍﻫﺪ ﺍﺯ ﺻﺨﺮﻩ ﺳﻘﻮﻁ‬ ‫ﻣﻰﻛﻨﺪ‪ ،‬ﺑﺎ ﺭﻳﺨﺘﻪ ﺷﺪﻥ ﺧﻮﻥ ﺳﺎﻳﺎ ﺑﻪ ﺣﻠﻘﺶ ﻭ ﻧﻮﺷﻴﺪﻥ ﺁﻥ‪ ،‬ﺑﻪ ﻣﻮﺟﻮﺩﻯ ﻧﺎﻣﻴﺮﺍ ﻭ ﺗﻮﺍﻧﻤﻨﺪﺗﺮ ﺍﺯ‬ ‫ﺁﺩﻣﻴﺎﻥ ﺗﺒﺪﻳﻞ ﻣﻰﺷﻮﺩ‪ .‬ﺳﺎﻳﺎ ﻫﻤﻴﺸﻪ ﺑﻪ ﻫﻤﻴﻦ ﺩﻟﻴﻞ‪ ،‬ﻋﺬﺍﺏ ﻭﺟﺪﺍﻥ ﺩﺍﺭﺩ؛ ﭼﺮﺍ ﻛﻪ ﺣﺲ ﻣﻰﻛﻨﺪ‬ ‫ﻫﺎﺟﻰ ﺭﺍ ﺑﺮﺧﻼﻑ ﻣﻴﻠﺶ ﺑﻪ ﻣﻮﺟﻮﺩﻯ ﻏﻴﺮ ﺍﻧﺴﺎﻧﻰ ﺗﻐﻴﻴﺮ ﺩﺍﺩﻩ ﺍﺳﺖ‪ .‬ﺩﺭﺣﺎﻟﻰ ﻛﻪ ﻫﺎﺟﻰ ﻫﺮﮔﺰ‬ ‫ﺍﺯ ﺍﻳﻦ ﻭﺍﻗﻌﻪ ﭘﺸﻴﻤﺎﻥ ﻧﻴﺴﺖ‪.‬‬ ‫ﻫﺎﺟﻰ ﻧﻮﺍﺯﻧﺪﻩﺍﻯ ﻗﺪﺭﺗﻤﻨﺪ ﺍﺳﺖ ﻛﻪ ﻭﻳﻮﻟﻦ ﺳﻞ ﻣﻰﻧﻮﺍﺯﺩ‪ .‬ﺍﻭ ﺍﺯ ﺟﻌﺒﻪﻯ ﺳﺎﺯﺵ‪ ،‬ﺑﻪ ﻋﻨﻮﺍﻥ‬ ‫ﺳﭙﺮ ﺍﺳﺘﻔﺎﺩﻩ ﻣﻰﻛﻨﺪ ﻭ ﺷﻤﺸﻴﺮ ﺳﺎﻳﺎ ﺭﺍ ﻧﻴﺰ ﺩﺭ ﺁﻥ ﻧﮕﻬﺪﺍﺭﻯ ﻣﻰﻛﻨﺪ‪ .‬ﻫﺎﺟﻰ ﺍﮔﺮﭼﻪ ﻧﻤﻰﺗﻮﺍﻧﺪ‬ ‫ﭼﻴﺮﻭﭘﺘﺮﺍﻥﻫﺎ ﺭﺍ ﺑﻜﺸﺪ‪ ،‬ﺑﺎ ﺁﻥﻫﺎ ﺑﻪ ﺳﺨﺘﻰ ﻣﻰﺟﻨﮕﺪ‪ .‬ﺍﻭ ﺗﻮﺍﻧﺎﻳﻰ ﺑﺎﺯﺳﺎﺯﻯ ﺑﺪﻧﺶ ﺭﺍ ﺩﺍﺭﺩ ﻭ ﺑﺎ‬ ‫ﻭﺟﻮﺩ ﺁﻥ ﻛﻪ ﺩﺭ ﺑﺮﺍﺑﺮ ﺳﺎﻳﺎ ﺗﻐﻴﻴﺮ ﻓﺮﻡ ﻧﻤﻰﺩﻫﺪ‪ ،‬ﺍﻣﺎ ﻳﻜﻰ ﺍﺯ ﺩﺳﺘﺎﻧﺶ ﺷﻜﻞ ﺍﻧﺴﺎﻧﻰ ﺧﻮﺩ ﺭﺍ ﺍﺯ‬ ‫ﺩﺳﺖ ﺩﺍﺩﻩ ﺍﺳﺖ‪.‬‬ ‫ﺑﻴﺪﺍﺭﻯ ﺳﺎﻳﺎ ﻣﻨﻮﻁ ﺑﻪ ﺣﻀﻮﺭ ﻫﺎﺟﻰ ﺍﺳﺖ؛ ﻧﻮﺷﻴﺪﻥ ﺧﻮﻥ ﻫﺎﺟﻰ ﻭ ﺟﻤﻼﺗﻰ ﻛﻪ ﺍﻭ ﺑﺮ ﺯﺑﺎﻥ‬ ‫ﻣﻰﺁﻭﺭﺩ‪» :‬ﺳﺎﻳﺎ‪ ،‬ﻣﺒﺎﺭﺯﻩ ﻛﻦ«؛ ﺍﻳﻦﻫﺎ ﺗﺮﻛﻴﺒﻰ ﺍﺳﺖ ﻛﻪ ﺳﺎﻳﺎ ﺭﺍ ﺍﺯ ﺩﺧﺘﺮﻯ ﺳﺎﺩﻩ ﻭ ﻣﺘﺰﻟﺰﻝ ﺑﻪ‬ ‫ﺟﻨﮕﺠﻮﻳﻰ ﺗﻮﺍﻧﺎ ﺗﺒﺪﻳﻞ ﻣﻰﻛﻨﺪ‪ .‬ﻫﺎﺟﻰ ﺍﮔﺮﭼﻪ ﺩﻟﺒﺴﺘﮕﻰ ﺧﻮﺩ ﺑﻪ ﺳﺎﻳﺎ ﺭﺍ ﺑﺮ ﺯﺑﺎﻥ ﻧﻤﻰﺁﻭﺭﺩ ﻭ‬ ‫ﺧﻮﻳﻰ ﺁﺭﺍﻡ ﻭ ﺻﻠﺢﺟﻮ ﺩﺍﺭﺩ‪ ،‬ﻧﻤﻰﺗﻮﺍﻧﺪ ﺍﺯ ﻋﻼﻗﻪﻯ ﻣﺮﺩﺍﻥ ﺩﻳﮕﺮ‪ ،‬ﺑﻪ ﺧﺼﻮﺹ ﻛﺎﻯ ﻭ ﺳﻮﻟﻮﻣﻮﻥ‬ ‫ﺑﻪ ﺳﺎﻳﺎ‪ ،‬ﺑﻪ ﺳﺎﺩﮔﻰ ﺑﮕﺬﺭﺩ ﻭ ﺳﻌﻰ ﻣﻰﻛﻨﺪ ﺩﺭ ﺳﻜﻮﺕ‪ ،‬ﺧﻄﻰ ﻧﺎﻣﺮﺋﻰ ﺑﻪ ﺩﻭﺭ ﺳﺎﻳﺎ ﺑﻜﺸﺪ ﻭ ﻣﺎﻧﻊ‬ ‫ﺍﺯ ﻧﺰﺩﻳﻚ ﺷﺪﻥ ﺑﻴﺶ ﺍﺯ ﺣﺪ ﺁﻧﺎﻥ ﺑﻪ ﺳﺎﻳﺎ ﺷﻮﺩ؛ ﮔﺮﭼﻪ ﺍﮔﺮ ﺍﺣﺴﺎﺱ ﻛﻨﺪ ﺳﺎﻳﺎ ﻣﺎﻳﻞ ﺑﻪ ﺍﺩﺍﻣﻪﻯ‬ ‫ﺭﺍﺑﻄﻪ ﺍﺳﺖ‪ ،‬ﻫﺮﮔﺰ ﺳﺪ ﺭﺍﻫﺶ ﻧﻤﻰﺷﻮﺩ‪.‬‬ ‫ﻛﺎﻯ ﻣﻴﺎﮔﻮﺳﻮﻛﻮ‪ :‬ﺑﺮﺍﺩﺭﺧﻮﺍﻧﺪﻩﻯ ﺳﺎﻳﺎ ﻭ ﺑﺰﺭگﺗﺮﻳﻦ ﻓﺮﺯﻧﺪ ﺧﻮﺍﻧﺪﻩﻯ ﺟﻮﺭﺝ ﻣﻴﺎﮔﻮﺳﻮﻛﻮ ﺍﺳﺖ‬ ‫ﻛﻪ ﺯﻣﺎﻧﻰ ﻳﻜﻰ ﺍﺯ ﻣﻌﺮﻭﻑﺗﺮﻳﻦ ﭘﺴﺮﺍﻥ ﻣﺪﺭﺳﻪﻯ ﺧﻮﺩ ﻭ ﺳﺘﺎﺭﻩﻯ ﺑﻴﺲﺑﺎﻝ ﺑﻮﺩﻩ ﺍﺳﺖ‪ .‬ﺍﻭ ﻛﻪ ﻛﻤﻰ‬ ‫ﭘﻴﺶ ﺍﺯ ﺁﻣﺪﻥ ﺳﺎﻳﺎ ﻭﺭﺯﺵ ﺭﺍ ﺭﻫﺎ ﻛﺮﺩﻩ‪ ،‬ﺩﺭ ﺍﻳﻦ ﻳﻚ ﺳﺎﻝ ﺑﻴﺸﺘﺮ ﻣﺸﻐﻮﻝ ﺩﻋﻮﺍ ﺑﺎ ﺩﻳﮕﺮﺍﻥ ﺍﺳﺖ‪.‬‬ ‫ﻛﺎﻯ ﻛﻪ ﺯﻣﺎﻧﻰ ﺑﺎ ﺁﻣﺪﻥ ﺳﺎﻳﺎ ﺑﻪ ﺧﺎﻧﻮﺍﺩﻩﺷﺎﻥ ﻣﺸﻜﻞ ﺩﺍﺷﺖ‪ ،‬ﭘﺲ ﺍﺯ ﻣﺮگ ﺟﻮﺭﺝ ﺑﻪ ﺩﺳﺖ‬ ‫ﭼﻴﺮﻭﭘﺘﺮﺍﻥﻫﺎ‪ ،‬ﻣﺴﺌﻮﻟﻴﺖ ﺧﺎﻧﻮﺍﺩﻩﻯ ﺍﺯ ﻫﻢ ﭘﺎﺷﻴﺪﻩﺷﺎﻥ ﺭﺍ ﺑﻪ ﻋﻬﺪﻩ ﻣﻰﮔﻴﺮﺩ ﻭ ﻧﺎﮔﺰﻳﺮ ﺩﺭ ﺯﻣﺎﻧﻰ‬ ‫ﺍﻧﺪﻙ‪ ،‬ﺍﺯ ﭘﺴﺮﻯ ﺳﺮ ﺑﻪ ﻫﻮﺍ ﺑﻪ ﻛﺴﻰ ﺗﺒﺪﻳﻞ ﻣﻰﺷﻮﺩ ﻛﻪ ﺑﺎﺭ ﺧﺎﻧﻮﺍﺩﻩ ﺭﺍ ﺑﺮ ﺩﻭﺵ ﻣﻰﻛﺸﺪ‪.‬‬ ‫ﺧﺎﻧﻮﺍﺩﻩﺍﻯ ﻛﻪ ﺩﺧﺘﺮ ﺁﻥ ﺣﺘﺎ ﺁﺩﻣﻴﺰﺍﺩﻩ ﻫﻢ ﻧﻴﺴﺖ ﻭ ﻫﻴﭻ ﻛﺪﺍﻡ ﺍﺯ ﺍﻋﻀﺎﻳﺶ ﻧﺴﺒﺖ ﺧﻮﻧﻰ ﺑﺎ‬ ‫ﺩﻳﮕﺮﻯ ﻧﺪﺍﺭﺩ‪.‬‬ ‫ﻛﺎﻯ ﺑﺮﺍﻯ ﺍﻧﺘﻘﺎﻡ ﺍﺯ ﭼﻴﺮﻭﭘﺘﺮﺍﻥﻫﺎ‪ ،‬ﻋﻀﻮ ﺳﭙﺮ ﺳﺮﺥ ﻣﻰﺷﻮﺩ ﻭ ﺩﺭ ﻛﻨﺎﺭ ﺳﺎﻳﺎ‪ ،‬ﻫﺎﺟﻰ ﻭ ﺩﻳﮕﺮﺍﻥ‪،‬‬ ‫ﺷﺮﻭﻉ ﺑﻪ ﻣﺒﺎﺭﺯﻩ ﻣﻰﻛﻨﺪ‪ .‬ﺷﺨﺼﻴﺖ ﺍﻭ ﺑﺎ ﭘﻴﺸﺮﻓﺖ ﺩﺍﺳﺘﺎﻥ ﭘﺨﺘﻪﺗﺮ ﻭ ﭘﺨﺘﻪﺗﺮ ﻣﻰﺷﻮﺩ ﻭ ﺑﻪ‬ ‫ﺟﻮﺍﻧﻰ ﻛﺎﻣ ً‬ ‫ﻼ ﻗﺎﺑﻞ ﺍﺗﻜﺎ ﺗﺒﺪﻳﻞ ﻣﻰﺷﻮﺩ‪ .‬ﻛﺎﻯ ﻛﺴﻰ ﺍﺳﺖ ﻛﻪ ﺗﻼﺵ ﻣﻰﻛﻨﺪ ﺑﺎ ﺗﺎﺭﻳﻜﻰﺍﻯ ﻛﻪ‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،9-10‬ﺷﻬﺮﻳﻮﺭ ﻭ ﻣﻬﺮ ‪1390‬‬

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‫ﺗﻠﻮﻳﺰﻳﻮﻥ‬

‫ﺩﺍﺩﻥ ﻭﻗﺎﻳﻌﻰ ﻋﺠﻴﺐ‪ ،‬ﺟﺎﻯ ﺧﻮﺩ ﺭﺍ ﺑﻪ ﺧﺎﻃﺮﺍﺗﻰ ﺩﺭﺩﻧﺎﻙ ﻣﻰﺩﻫﻨﺪ ﻛﻪ ﻳﻚ ﺯﻧﺪﮔﻰ ﺁﺭﺍﻡ ﺭﺍ ﺑﺮﺍﻯ‬ ‫ﺍﻭ ﻧﺎﻣﻤﻜﻦ ﻣﻰﻛﻨﻨﺪ‪ .‬ﻣﻬﻢﺗﺮﻳﻦ ﺍﻳﻦ ﺧﺎﻃﺮﺍﺕ‪ ،‬ﻳﻜﻰ ﺩﻭﻳﺪﻥ ﺍﻭﺳﺖ ﺑﻪ ﺳﻮﻯ ﺩﺭﻯ ﻛﻮﭼﻚ ﺩﺭ‬ ‫ﺍﻧﺘﻬﺎﻯ ﺭﺍﻫﺮﻭﻳﻰ ﻃﻮﻻﻧﻰ ﻭ ﺗﻼﺵ ﺑﺮﺍﻯ ﺑﺎﺯﻛﺮﺩﻥ ﺁﻥ ﺩﺭ ﻭ ﺩﻳﮕﺮﻯ‪ ،‬ﺧﺎﻃﺮﻩﻯ ﻗﺘﻞ ﻋﺎﻣﻰ ﺍﺳﺖ ﺩﺭ‬ ‫ﺯﻣﺎﻥ ﺟﻨﮓ ﻭﻳﺘﻨﺎﻡ‪ .‬ﻛﻠﻴﺪ ﺍﺻﻠﻰ ﺍﻳﻦ ﻳﺎﺩﺁﻭﺭﻯ‪ ،‬ﺩﻳﺪﺍﺭ ﺳﺎﻳﺎ ﺍﺳﺖ ﺑﺎ ﻣﺮﺩﻯ ﻛﻢﺳﺨﻦ ﻭ ﺁﺭﺍﻡ‪ ،‬ﻛﻪ‬ ‫ﻫﻤﻴﺸﻪ ﻭﻳﻠﻮﻥﺳﻠﺶ ﺭﺍ ﺑﻪ ﻫﻤﺮﺍﻩ ﺩﺍﺭﺩ ﻭ ﺗﺎﻛﺴﻴﺪﻭ ﭘﻮﺷﻴﺪﻩ ﺍﺳﺖ‪ .‬ﺍﻳﻦ ﻣﺮﺩ‪ ،‬ﻫﺎﺟﻰ‪ ،‬ﻛﺴﻰ ﺍﺳﺖ‬ ‫ﻛﻪ ﺑﻌﺪﻫﺎ ﺍﺯ ﺍﻭ ﺑﻪ ﻋﻨﻮﺍﻥ ﺷﻮﺍﻟﻴﻪﻯ ﺳﺎﻳﺎ ﻧﺎﻡ ﺑﺮﺩﻩ ﻣﻰﺷﻮﺩ‪ .‬ﺷﻮﺍﻟﻴﻪﺍﻯ ﻛﻪ ﺗﺎ ﺁﻥﺟﺎ ﻛﻪ ﺩﺭ ﺗﻮﺍﻥ‬ ‫ﺩﺍﺭﺩ‪ ،‬ﺑﻪ ﺧﻮﺍﺳﺘﻪﻫﺎﻯ ﺳﺎﻳﺎ ﻋﻤﻞ ﻣﻰﻛﻨﺪ ﻭ ﺩﺭ ﺟﻨﮓ‪ ،‬ﻫﻤﻴﺸﻪ ﺩﺭ ﻛﻨﺎﺭ ﺍﻭﺳﺖ‪.‬‬ ‫ﺁﻣﺪﻥ ﻫﺎﺟﻰ ﺑﻪ ﺩﻧﻴﺎﻯ ﺳﺎﻳﺎ‪ ،‬ﻫﻤﺰﻣﺎﻥ ﺷﺪﻩ ﺍﺳﺖ ﺑﺎ ﻓﺮﺍﺭ ﻣﻮﺟﻮﺩﺍﺗﻰ ﻣﺨﻮﻑ ﻭ ﺧﻮﻥﺧﻮﺍﺭ ‪-‬ﺑﻪ‬ ‫ﻣﻌﻨﺎﻯ ﺗﺤﺖﺍﻟﻠﻔﻈﻰ ﺁﻥ‪ -‬ﺍﺯ ﺁﺯﻣﺎﻳﺸﮕﺎﻩ ﻭ ﺣﻤﻠﻪﻯ ﺁﻥﻫﺎ ﺑﻪ ﻣﺮﺩﻣﺎﻥ ﺩﺭ ﺷﺐ‪ .‬ﺍﻳﻦ ﻣﻮﺟﻮﺩﺍﺕ ﻛﻪ‬ ‫ﭼﻴﺮﻭﭘﺘﺮﺍﻥ ﻧﺎﻡ ﺩﺍﺭﻧﺪ‪ ،‬ﺗﻨﻬﺎ ﺩﺭ ﺩﻭ ﺻﻮﺭﺕ ﻛﺸﺘﻪ ﻣﻰﺷﻮﻧﺪ‪ -1 :‬ﺑﻤﺒﺎﺭﺍﻥ ‪ -2‬ﺯﺧﻤﻰ ﺷﺪﻥ ﺑﺎ ﺗﻴﻐﻰ‬ ‫ﻛﻪ ﺧﻮﻥ ﺳﺎﻳﺎ ﺑﺮ ﺭﻭﻯ ﺁﻥ ﺍﺳﺖ‪.‬‬ ‫ﺳﺎﻳﺎ ﺩﺭ ﻃﻰ ﺩﺍﺳﺘﺎﻥ ﺑﻪ ﻳﺎﺩ ﻣﻰﺁﻭﺭﺩ ﻛﻪ ﺗﻨﻬﺎ ﺧﻮﻥ ﺍﻭﺳﺖ ﻛﻪ ﻣﻰﺗﻮﺍﻧﺪ ﻣﻴﺎﻥ ﭼﻴﺮﻭﭘﺘﺮﺍﻥﻫﺎ ﻭ‬ ‫ﻣﺮﺩﻡ ﺣﺎﺋﻞ ﺷﻮﺩ‪ .‬ﺍﻭ ﺩﺭﻣﻰﻳﺎﺑﺪ ﻭﻇﻴﻔﻪ ﺩﺍﺭﺩ ﺩﺭ ﺍﻳﻦ ﻣﻴﺪﺍﻥ ﺑﺠﻨﮕﺪ ﻭ ﻫﺮﭼﻪ ﺩﺭ ﺗﻮﺍﻥ ﺩﺍﺭﺩ‪ ،‬ﺑﺮﺍﻯ‬ ‫ﺍﺯ ﺑﻴﻦ ﺑﺮﺩﻥ ﺩﺷﻤﻦ ﺍﻧﺠﺎﻡ ﺩﻫﺪ‪ .‬ﺩﺷﻤﻨﻰ ﻛﻪ ﻣﺘﺎﺳﻔﺎﻧﻪ ﺧﻮﺩ ﺍﺯ ﺯﻧﺪﺍﻥ ﺭﻫﺎﻳﺶ ﻛﺮﺩﻩ )ﻭ ﺍﻳﻦ ﺑﺎﺭﻯ‬ ‫ﺩﻳﮕﺮ ﺍﺳﺖ ﺑﺮ ﺩﻭﺵ ﺍﻭ(‪.‬‬ ‫ﺳﺎﻳﺎ ﺷﺨﺼﻴﺘﻰ ﺍﺳﺖ ﭼﻨﺪ ﻭﺟﻬﻰ‪ .‬ﺍﻭ ﻛﻪ ﺩﺭ ﻇﺎﻫﺮ ﺩﺧﺘﺮﻯ ﺁﺭﺍﻡ ﻭ ﺳﺎﺩﻩ ﺍﺳﺖ‪ ،‬ﻣﻰﺗﻮﺍﻧﺪ ﺑﻪ‬ ‫ﻣﻮﺟﻮﺩﻯ ﺧﺸﻦ ﻭ ﺑﻰﺭﺣﻢ ﺗﺒﺪﻳﻞ ﺷﻮﺩ‪ .‬ﻣﻮﺟﻮﺩﻯ ﺗﺸﻨﻪﻯ ﺧﻮﻥ ﻛﻪ ﺑﻰﻣﻬﺎﺑﺎ ﺑﻪ ﺩﻭﺳﺖ ﻭ ﺩﺷﻤﻦ‬ ‫ﺣﻤﻠﻪ ﻣﻰﻛﻨﺪ ﻭ ﺁﻧﺎﻥ ﺭﺍ ﺍﺯ ﺑﻴﻦ ﻣﻰﺑﺮﺩ‪ .‬ﻭﺟﻪ ﺩﻳﮕﺮ ﻭﺟﻮﺩ ﺳﺎﻳﺎ‪ ،‬ﺷﺨﺼﻴﺘﻰ ﻣﻴﺎﻥ ﺍﻳﻦ ﺩﻭ ﺑﻌﺪ ﺍﺳﺖ؛‬ ‫ﺳﺎﻳﺎﻳﻰ ﻛﻪ ﻣﻰﺩﺍﻧﺪ ﻧﻤﻰﺗﻮﺍﻧﺪ ﭼﻮﻥ ﮔﺬﺷﺘﻪ ﺑﻪ ﺳﺎﺩﮔﻰ ﺯﻧﺪﮔﻰ ﻛﻨﺪ ﻭ ﻧﻴﺰ ﻣﻰﺗﺮﺳﺪ ﺩﺭ ﺟﻨﮓ‬ ‫ﻛﻨﺘﺮﻝ ﺧﻮﺩ ﺭﺍ ﺍﺯ ﺩﺳﺖ ﺑﺪﻫﺪ ﻭ ﻣﺴﺌﻮﻟﻴﺖ ﺟﻨﮓ ﻛﺮﺩﻥ ﺭﺍ ﻧﻴﺰ ﺑﺮ ﻋﻬﺪﻩ ﺩﺍﺭﺩ‪.‬‬ ‫ﺳﺎﻳﺎ ﻗﻬﺮﻣﺎﻧﻰ ﺍﺳﺖ ﺗﻨﻬﺎ‪ ،‬ﻛﻪ ﺣﺘﺎ ﺍﻧﺴﺎﻥﻫﺎﻳﻰ ﻛﻪ ﺩﺭﻛﻨﺎﺭﺵ ﺑﺎ ﭼﻴﺮﻭﭘﺘﺮﺍﻥﻫﺎ ﻣﻰﺟﻨﮕﻨﺪ ﻧﻴﺰ‪ ،‬ﺑﻪ‬ ‫ﺍﻭ ﺑﻪ ﭼﺸﻢ ﻳﻚ ﺍﺑﺰﺍﺭ ﻧﮕﺎﻩ ﻣﻰﻛﻨﻨﺪ‪ .‬ﺍﻭ ﻛﺴﻰ ﺍﺳﺖ ﻛﻪ ﺑﺎﺭ ﻳﻚ ﺟﻨﮓ ﻃﻮﻻﻧﻰ ﻭ ﻃﺎﻗﺖ ﻓﺮﺳﺎ ﺭﺍ‬ ‫ﺑﺮ ﺩﻭﺵ ﺩﺍﺭﺩ؛ ﺟﻨﮕﺠﻮﻳﻰ ﻧﺎﻣﻴﺮﺍ ﻛﻪ ﺑﻪ ﺻﻮﺭﺕ ﻣﺘﻨﺎﻭﺏ ﺩﻭﺭﻩﻫﺎﻯ ﺳﻰﺳﺎﻟﻪﻯ ﺧﻮﺍﺏ ﻭ ﺳﻪﺳﺎﻟﻪﻯ‬ ‫ﺑﻴﺪﺍﺭﻯ ﺭﺍ ﻃﻰ ﻣﻰﻛﻨﺪ ﻭ ﺑﺮﺍﻯ ﺧﻮﺩ ﻧﻴﺰ‪ ،‬ﭼﻮﻥ ﺩﺷﻤﻨﺎﻧﺶ ﺣﻖ ﺯﻳﺎﺩﻯ ﺑﺮﺍﻯ ﺯﻧﺪﮔﻰ ﻗﺎﻳﻞ ﻧﻴﺴﺖ‪،‬‬ ‫ﭼﺮﺍ ﻛﻪ ﻣﻰﺩﺍﻧﺪ ﺧﻮﺩﺵ ﻫﻢ ﺑﻪ ﻧﻮﻋﻰ ﻳﻚ ﭼﻴﺮﻭﭘﺘﺮﺍﻥ ﺍﺳﺖ‪.‬‬ ‫ﻫﺎﺟﻰ‪ :‬ﺷﻮﺍﻟﻴﻪﻯ ﺳﺎﻳﺎ‪ .‬ﻣﺮﺩﻯ ﺁﺭﺍﻡ‪ ،‬ﻛﻢﺳﺨﻦ ﻭ ﻭﻓﺎﺩﺍﺭ‪ .‬ﻫﻤﺮﺍﻩ ﻫﻤﻴﺸﮕﻰﺍﺵ ﺩﺭ ﺍﻳﻦ ﺟﻨﮓ‬ ‫ﻓﺮﺳﺎﻳﻨﺪﻩ ﻛﻪ ﺑﻪ ﺗﻤﺎﻡ ﺧﻮﺍﺳﺘﻪﻫﺎﻯ ﺍﻭ‪ ،‬ﺟﺎﻣﻪﻯ ﻋﻤﻞ ﻣﻰﭘﻮﺷﺎﻧﺪ‪ .‬ﻫﺎﺟﻰ ﺍﺯ ﮔﺬﺷﺘﻪﻫﺎﻯ ﺩﻭﺭ‬ ‫‪-‬ﺯﻣﺎﻧﻰ ﻛﻪ ﺩﻳﻮﺍ ﺁﺯﺍﺩ ﻧﺸﺪﻩ ﻭ ﺟﻨﮕﻰ ﺷﺮﻭﻉ ﻧﺸﺪﻩ ﺑﻮﺩ‪ -‬ﺩﺭ ﻛﻨﺎﺭ ﺳﺎﻳﺎ ﺑﻮﺩ ﻭ ﺑﻪ ﻋﻨﻮﺍﻥ ﺧﺪﻣﺘﻜﺎﺭ ﺩﺭ‬

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‫ﻭﻳﮋﻩﻧﺎﻣﻪﻯ ﺧﻮﻥﺁﺷﺎﻡﻫﺎ‬

‫ﺧﻮﻥ ‪(Blood+) +‬‬ ‫ﻧﺎﻧﻜﻮﺭﻭﻧﺎﻳﺴﺎ‪ :‬ﺑﻪ ﺧﺎﻃﺮ ﻓﺮﺩﺍ‪ ،‬ﺍﻣﺮﻭﺯ ﺭﺍ ﺯﻧﺪﮔﻰ ﻛﻦ‪.‬‬ ‫ﻣﺎﻧﮕﺎ‬ ‫‪BLOOD +‬‬ ‫ﻧﻮﻳﺴﻨﺪﻩ‪ :‬ﺁﺳﻮﻛﺎ ﻛﺎﺗﺴﻮﺭﺍ‬ ‫ﻭﺿﻌﻴﺖ‪ :‬ﺗﻤﺎﻡ ﺷﺪﻩ‬ ‫ﺗﻌﺪﺍﺩ ﻗﺴﻤﺖﻫﺎ‪ :‬؟ ‪5‬‬ ‫ژﺍﻧﺮ‪ :‬ﺍﻛﺸﻦ‪ ،‬ﺩﺭﺍﻡ‪ ،‬ﻭﺣﺸﺖ‪ ،‬ﻣﻌﻤﺎ‪ ،‬ﻋﺎﺷﻘﺎﻧﻪ‪،‬‬ ‫ﺷﻮﻧﻦ‪ ،‬ﻣﺎﻭﺭﺍء ﺍﻟﻄﺒﻴﻌﻪ‬

‫ﺍﻧﻴﻤﻪ‬ ‫‪BLOOD +‬‬ ‫ﻛﺎﺭﮔﺮﺩﺍﻥ‪ :‬ﺟﻮﻧﻴﭽﻰ ﻓﻮﭼﻴﺴﺎﻛﺎ‬ ‫ﻭﺿﻌﻴﺖ‪ :‬ﺗﻤﺎﻡ ﺷﺪﻩ‬ ‫ﺗﻌﺪﺍﺩ ﻗﺴﻤﺖﻫﺎ‪50 :‬‬ ‫ژﺍﻧﺮ‪ :‬ﺍﻛﺸﻦ‪ ،‬ﺩﺭﺍﻡ‪ ،‬ﻭﺣﺸﺖ‪ ،‬ﻣﻌﻤﺎ‪ ،‬ﻋﺎﺷﻘﺎﻧﻪ‪،‬‬ ‫ﻣﺎﻭﺭﺍء ﺍﻟﻄﺒﻴﻌﻪ‬

‫ﺧﻼﺻﻪﻯ ﺩﺍﺳﺘﺎﻥ‬ ‫ﺟﻨﮓ ﻭﻳﺘﻨﺎﻡ‪ ،‬ﻛﺸﺘﺎﺭﻫﺎﻯ ﻳﻚ ﻗﺎﺗﻞ ﺳﺮﻳﺎﻟﻰ ﻭ ﮔﻤﻨﺎﻡ‪ ،‬ﺧﺎﻧﻪﺍﻯ ﺍﺭﺑﺎﺑﻰ ﺩﺭ ﻓﺮﺍﻧﺴﻪﻯ ﻗﺮﻥ ﻧﻮﺯﺩﻫﻢ‪،‬‬ ‫ﻧﻴﺮﻭﮔﺎﻫﻰ ﻓﺮﺍﻣﻮﺵﺷﺪﻩ ﺩﺭ ﺭﻭﺳﻴﻪ ﻭ ﻣﻬﻤﺘﺮ ﺍﺯ ﻫﻤﻪ‪ ،‬ﻧﺒﺮﺩﻯ ﭘﻨﻬﺎﻥ ﻣﻴﺎﻥ ﻣﻮﺟﻮﺩﺍﺗﻰ ﻣﺨﻮﻑ ﻭ‬ ‫ﺍﻧﺴﺎﻥﻫﺎ‪ ،‬ﻫﻤﻪ ﻭ ﻫﻤﻪ ﻣﻮﺿﻮﻋﺎﺗﻰ ﻫﺴﺘﻨﺪ ﺑﻰﺭﺑﻂ ﻛﻪ ﺗﻨﻬﺎ ﺭﺍﺑﻂ ﺁﻥﻫﺎ‪ ،‬ﺧﺎﻃﺮﺍﺕ ﻓﺮﺍﻣﻮﺵ ﺷﺪﻩﻯ‬ ‫ﺩﺧﺘﺮﻯ ﺟﻮﺍﻥ ﺍﺳﺖ ﻛﻪ ﺩﺭ ﺷﻬﺮﻯ ﻛﻮﭼﻚ ﺩﺭ ژﺍﭘﻦ‪ ،‬ﺭﻭﺯﮔﺎﺭ ﻣﻰﮔﺬﺭﺍﻧﺪ‪ :‬ﺳﺎﻳﺎ ﺍﻭﺗﺎﻧﺎﺷﻰ؛ ﺗﻨﻬﺎ‬ ‫ﺩﺧﺘﺮ ﺧﺎﻧﻮﺍﺩﻩﺍﻯ ﻛﻪ ﻳﻚ ﺳﺎﻝ ﭘﻴﺶ‪ ،‬ﺳﺮﭘﺮﺳﺘﻰﺍﺵ ﺭﺍ ﺟﻮﺭﺝ ﻣﻴﺎﮔﻮﺳﻮﻛﻮ‪ ،‬ﺑﻪ ﻋﻬﺪﻩ ﮔﺮﻓﺘﻪ ﻭ‬ ‫ﭼﻮﻥ ﺗﻤﺎﻡ ﺩﺧﺘﺮﺍﻥ ﻫﻤﺴﺎﻟﺶ‪ ،‬ﺯﻧﺪﮔﻰ ﻛﻮﭼﻚ ﻭ ﺳﺎﺩﻩﺍﻯ ﺩﺍﺭﺩ‪.‬‬ ‫ﺍﻣﺎ ﺍﻳﻦ ﺁﺭﺍﻣﺶ ﭼﻮﻥ ﺳﺪﻯ ﺑﻰﺧﺒﺮ ﺍﺯ ﻳﻮﺭﺵ ﺳﻴﻠﻰ ﺧﺎﻧﻤﺎﻥﻛﻦ‪ ،‬ﺑﻪ ﺳﺎﺩﮔﻰ ﺍﺯ ﺑﻴﻦ ﻣﻰﺭﻭﺩ‪ .‬ﺳﺎﻳﺎ‬ ‫ﻛﻪ ﺩﺧﺘﺮﻯ ﻛﻢﺧﻮﻥ ﺍﺳﺖ ﻭ ﻓﺮﺍﻣﻮﺷﻰ‪ ،‬ﻣﺎﻧﻊ ﺍﺯ ﺁﻥ ﺍﺳﺖ ﻛﻪ ﺧﺎﻃﺮﺍﺗﻰ ﺩﻭﺭﺗﺮ ﺍﺯ ﻳﻚ ﺳﺎﻝ ﭘﻴﺶ‬‫ﺭﺍ ﺑﻪ ﻳﺎﺩ ﺑﻴﺎﻭﺭﺩ‪ -‬ﺧﻮﺩ ﺭﺍ ﺩﺭ ﻣﻴﺎﻥ ﺟﻨﮕﻰ ﻣﻰﺑﻴﻨﺪ ﻛﻪ ﺗﻨﻬﺎ ﻛﻠﻴﺪ ﭘﻴﺮﻭﺯﻯﺍﺵ‪ ،‬ﺩﺭ ﺩﺳﺘﺎﻥ ﺍﻭﺳﺖ‪.‬‬ ‫ﺩﺳﺘﺎﻧﻰ ﻛﻪ ﺷﻤﺸﻴﺮﻯ ﻋﺠﻴﺐ ﺭﺍ ﺳﺨﺖ ﻣﻰﻓﺸﺮﺩ ﻭ ﺩﺭ ﭘﺎﺳﺦ ﺑﻪ ﺻﺪﺍﻯ ﺷﻮﺍﻟﻴﻪﺍﺵ‪ ،‬ﻫﺎﺟﻰ‪،‬‬ ‫ﻣﻮﺟﻮﺩﺍﺕ ﻣﺨﻮﻑ‪ ،‬ﭼﻴﺮﻭﭘﺘﺮﺍﻥﻫﺎ ﺭﺍ ﺍﺯ ﺑﻴﻦ ﻣﻰﺑﺮﺩ‪ .‬ﺍﻣﺎ ﺍﻳﻦﻃﻮﺭ ﻧﻴﺴﺖ ﻛﻪ ﻫﻤﻴﺸﻪ ﭘﻴﺮﻭﺯﻯ ﺑﻪ‬ ‫ﺳﺎﺩﮔﻰ ﻭ ﺑﺪﻭﻥ ﭘﺮﺩﺍﺧﺖ ﺑﻬﺎ‪ ،‬ﺑﻪ ﺩﺳﺖ ﺑﻴﺎﻳﺪ ﻭ ﺳﺎﻳﺎ ﺍﻳﻦ ﺭﺍ ﺑﺎ ﮔﺬﺭ ﺯﻣﺎﻥ‪ ،‬ﺧﻮﺏ ﺩﺭﻳﺎﻓﺘﻪ ﺍﺳﺖ‪.‬‬ ‫ﺷﺨﺼﻴﺖﻫﺎ‬ ‫ﻗﻬﺮﻣﺎﻧﺎﻥ‬ ‫ﺳﺎﻳﺎ ﺍﻭﺗﺎﻧﺎﺷﻰ‪ :‬ﺩﺭ ﺁﻏﺎﺯ ﺩﺧﺘﺮﻯ ﺯﻳﺒﺎ‪ ،‬ﺳﺎﺩﻩ ﻭ ﺁﺭﺍﻡ ﺍﺳﺖ ﻛﻪ ﺑﻪ ﻛﻢﺧﻮﻧﻰ ﻣﺒﺘﻼ ﺍﺳﺖ‪ .‬ﺳﺎﻳﺎ‬ ‫ﻓﺮﺍﻣﻮﺷﻰ ﺩﺍﺭﺩ ﻭ ﺗﻨﻬﺎ ﺧﺎﻃﺮﺍﺕ ﻳﻚﺳﺎﻝ ﺍﺧﻴﺮ ﺭﺍ ﺑﻪ ﻳﺎﺩ ﻣﻰﺁﻭﺭﺩ‪ .‬ﺍﻳﻦ ﻓﺮﺍﻣﻮﺷﻰ ﻛﻢﻛﻢ ﺑﺎ ﺭﺥ‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،9-10‬ﺷﻬﺮﻳﻮﺭ ﻭ ﻣﻬﺮ ‪1390‬‬

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‫ﻋﺸﻘﻰ ﺍﺳﺖ‪ .‬ﻣﺜﻠﺜﻰ ﻛﻪ ﺑﺎﺭ ﮔﺮﻩﻫﺎﻯ ﺩﺍﺳﺘﺎﻥ ﺭﺍ ﺑﻪ ﺩﻭﺵ ﻣﻰﻛﺸﺪ ﻭ ﻧﻮﻳﺴﻨﺪﻩ‪ ،‬ﺁﮔﺎﻫﺎﻧﻪ‪ ،‬ﻣﺎﻧﻊ‬ ‫ﺍﺯ ﺍﻳﻦ ﻣﻰﺷﻮﺩ ﻛﻪ ﻛﻔﻪﻯ ﺗﺮﺍﺯﻭ ﺑﻪ ﻳﻚ ﺳﻤﺖ ﺧﺎﺹ‪ ،‬ﻛﺎﻧﺎﻣﻪ ﻳﺎ ﺯﺭﻭ‪ ،‬ﻣﻴﻞ ﻛﻨﺪ ﻭ ﺑﺎ ﻭﺳﻮﺍﺱ ﺩﺭ‬ ‫ﺗﻼﺵ ﺍﺳﺖ ﻛﻪ ﺗﻌﺎﺩﻝ ﻣﻴﺎﻥ ﺍﻳﻦ ﺩﻭ ﺭﻗﻴﺐ ﺭﺍ ﺣﻔﻆ ﻛﻨﺪ‪ .‬ﺍﻳﻦ ﺍﻧﻴﻤﻪ ﻭ ﻣﺎﻧﮕﺎ ﺑﻪ ﻛﺴﺎﻧﻰ ﻛﻪ ﻃﺮﻓﺪﺍﺭ‬ ‫ﺩﺍﺳﺘﺎﻥﻫﺎﻯ ﺷﻮﻧﻦ ﻫﺴﺘﻨﺪ ﻭ ﺑﻪ ﺗﻢ ﻋﺎﺷﻘﺎﻧﻪ ﻋﻼﻗﻪﺍﻯ ﻧﺪﺍﺭﻧﺪ‪ ،‬ﺗﻮﺻﻴﻪ ﻧﻤﻰﺷﻮﺩ‪.‬‬ ‫ﻳﻜﻰ ﺍﺯ ﺭﻭﺵﻫﺎﻳﻰ ﻛﻪ ﺩﺭ ﺩﺍﺳﺘﺎﻥ ﺍﺯ ﺁﻥ ﺍﺳﺘﻔﺎﺩﻩ ﻣﻰﺷﻮﺩ‪ ،‬ﻓﻠﺶﺑﻚ ﺍﺳﺖ‪ .‬ﻣﺎﺗﺴﻮﺭﻯ ﻫﻴﻨﻮ ﺑﻪ‬ ‫ﺷﻴﻮﻩﻯ ﺯﻳﺒﺎﻳﻰ ﺑﻪ ﮔﺬﺷﺘﻪﻯ ﺷﺨﺼﻴﺖﻫﺎ ﺳﺮ ﻣﻰﺯﻧﺪ ﺗﺎ ﺗﺄﺛﻴﺮﮔﺬﺍﺭﻯ ﺩﺍﺳﺘﺎﻥ ﺑﻴﺸﺘﺮ ﺷﻮﺩ‪ .‬ﻋﻤﻮﻣﺎً‬ ‫ﺍﻳﻦ ﮔﺬﺭ ﺑﻪ ﮔﺬﺷﺘﻪ‪ ،‬ﭘﺎﺳﺦ ﻳﻚ ﺭﺍﺯ ﺭﺍ ﺩﺭ ﺑﺮ ﺩﺍﺭﺩ؛ ﺍﻣﺎ ﺑﻪ ﺷﻴﻮﻩﺍﻯ ﻫﻨﺮﻣﻨﺪﺍﻧﻪ‪ ،‬ﺳﻮﺍﻻﺕ ﺟﺪﻳﺪﻯ‬ ‫ﺭﺍ ﺩﺭ ﺫﻫﻦ ﺑﻴﻨﻨﺪﻩ ﻧﻴﺰ ﺍﻳﺠﺎﺩ ﻣﻰﻛﻨﻨﺪ‪.‬‬ ‫‪ :Ω‬ﻳﻜﻰ ﺍﺯ ﻧﻜﺎﺕ ﺩﻭﺳﺖﺩﺍﺷﺘﻨﻰ ﺩﻳﮕﺮ ﺍﻳﻦ ﺩﺍﺳﺘﺎﻥ ‪-‬ﺑﺮﺍﻯ ﻣﻦ‪ ،-‬ﻣﻮﻧﻮﻟﻮگﻫﺎﻳﻰ ﺍﺳﺖ ﻛﻪ‬ ‫ﺷﺨﺼﻴﺖﻫﺎ ﺑﺎ ﺧﻮﺩﺷﺎﻥ ﺩﺍﺭﻧﺪ‪ ...‬ﻣﻮﻧﻮﻟﻮگﻫﺎﻳﻰ ﻛﻪ ﺑﻪ ﻫﻤﺮﺍﻩ ﺷﺪﻥ ﻣﺨﺎﻃﺐ ﺑﺎ ﺷﺨﺼﻴﺖ ﺑﺴﻴﺎﺭ‬ ‫ﻛﻤﻚ ﻣﻰﻛﻨﺪ‪ .‬ﻧﻮﻳﺴﻨﺪﻩ ﺩﺍﺳﺘﺎﻥ ﺭﺍ ﺑﻪ ﺧﻮﺑﻰ ﭘﻴﺶ ﻣﻰﺑﺮﺩ ﻭ ﺗﻼﺵ ﺑﺴﻴﺎﺭ ﺩﺍﺭﺩ ﺗﺎ ﺍﺯ ﺁﻥ ﺭﺍ‬ ‫ﺍﺯ ﻛﻠﻴﺸﻪﻫﺎ ﺩﻭﺭ ﻛﻨﺪ ﻭ ﺑﻪ ﮔﻮﻧﻪﺍﻯ ﻣﺎﺟﺮﺍ ﺭﺍ ﭘﻴﺶ ﺑﺒﺮﺩ ﻛﻪ ﺑﺮﺍﻯ ﻣﺨﺎﻃﺐ ﺟﺬﺍﺏ ﻭ ﻏﻴﺮﻗﺎﺑﻞ‬ ‫ﭘﻴﺶﺑﻴﻨﻰ ﺑﺎﺷﺪ )ﮔﺮﭼﻪ ﮔﻪﮔﺎﻩ ﺩﺭ ﺍﻳﻦ ﻣﻮﺭﺩ ﺷﻜﺴﺖ ﻣﻰﺧﻮﺭﺩ(‪.‬‬ ‫ﭼﺎﻟﺸﻰ ﻛﻪ ﺩﺍﺳﺘﺎﻥ ﺩﺭ ﺫﻫﻦ ﻣﻦ ﺍﻳﺠﺎﺩ ﻛﺮﺩ‪ ،‬ﺍﻳﻦ ﺑﻮﺩ ﻛﻪ ﺗﺎ ﭼﻪ ﻣﻴﺰﺍﻥ ﻣﻰﺗﻮﺍﻥ ﺑﻪ ﺷﻨﺎﺧﺘﻰ ﻛﻪ ﺍﺯ‬ ‫ﺍﻓﺮﺍﺩ ﭘﻴﺮﺍﻣﻮﻧﻤﺎﻥ ﺩﺍﺭﻳﻢ ﺍﻋﺘﻤﺎﺩ ﻛﻨﻴﻢ؟ ﻭ ﺍﻳﻦ ﺷﻨﺎﺧﺖ ﭼﻘﺪﺭ ﺩﺭ ﺑﺮﺍﺑﺮ ﺗﻐﻴﻴﺮﺍﺕ ﺟﺒﺮﻯ ﻳﺎ ﺍﺧﺘﻴﺎﺭﻯ‬ ‫ﻣﻘﺎﻭﻡ ﺍﺳﺖ؟ ﭼﻘﺪﺭ ﭘﻴﺶﻓﺮﺽﻫﺎ‪ ،‬ﻣﺎﻧﻊ ﺑﺮﻗﺮﺍﺭﻯ ﻳﻚ ﺍﺭﺗﺒﺎﻁ ﺩﺭﺳﺖ ﺷﺪﻩ ﻭ ﺗﺎ ﭼﻪ ﺣﺪ ﺍﻋﺘﻤﺎﺩ‬ ‫ﻛﻮﺭﻛﻮﺭﺍﻧﻪ‪ ،‬ﺑﻪ ﻣﺎ ﺿﺮﺑﻪ ﺯﺩﻩ ﺍﺳﺖ؟‬ ‫ﻭ ﺩﺭ ﺁﺧﺮ‪ ،‬ﺍﻣﻴﺪﻭﺍﺭﻡ ﺍﮔﺮ ﺍﺯ ﺩﺍﺳﺘﺎﻥﻫﺎﻯ ﻋﺎﺷﻘﺎﻧﻪ ﺑﺎ ﺗﻢ ﺧﻮﻥﺁﺷﺎﻣﻰ ﻟﺬﺕ ﻣﻰﺑﺮﻳﺪ‪ ،‬ﺍﻳﻦ ﺍﻧﻴﻤﻪ ﺭﺍ‬ ‫ﺑﺒﻴﻨﻴﺪ ﻭ ﺁﻥ ﺭﺍ ﺩﻭﺳﺖ ﺩﺍﺷﺘﻪ ﺑﺎﺷﻴﺪ‪.‬‬ ‫‪ :Φ‬ﺍﻳﻦ ﺍﻧﻴﻤﻪ ﺑﻴﺸﺘﺮ ﺑﻪ ﻛﺴﺎﻧﻰ ﭘﻴﺸﻨﻬﺎﺩ ﻣﻰﺷﻮﺩ ﻛﻪ ﺍﺯ ﺩﺍﺳﺘﺎﻥﻫﺎﻯ ﻋﺸﻘﻰ ﺧﻮﻥﺁﺷﺎﻣﻰ‬ ‫ﻛﻼﺳﻴﻚ ﻟﺬﺕ ﻣﻰﺑﺮﻧﺪ‪ ،‬ﺁﻥ ﻫﻢ ﺍﺯ ﻧﻮﻉ ﻣﺜﻠﺚ ﻋﺸﻘﻰ! ﺩﺍﺳﺘﺎﻥ ﺷﺮﻭﻉ ﺧﻮﺑﻰ ﺩﺍﺭﺩ‪ ،‬ﭼﻮﻥ ﺑﻪ ﻫﺮ‬ ‫ﺣﺎﻝ ﻫﺮ ﻛﺴﻰ ﺭﺍ ﻛﻨﺠﻜﺎﻭ ﻣﻰﻛﻨﺪ ﺗﺎ ﺑﻔﻬﻤﺪ ﺩﺭ ﮔﺬﺷﺘﻪﻯ ﻣﺮﻣﻮﺯ ﻳﻮﻛﻰ ﭼﻪ ﺍﺗﻔﺎﻗﻰ ﺍﻓﺘﺎﺩﻩ ﺍﺳﺖ‪.‬‬ ‫ﻫﺮﭼﻨﺪ ﺳﺮﻯ ﺩﻭﻡ ﺩﺭ ﺭﻭﺍﺑﻂ ﺑﻴﻦ ﺷﺨﺼﻴﺖﻫﺎ ﭼﻴﺰ ﺟﺪﻳﺪﻯ ﺑﺮﺍﻯ ﺍﺭﺍﺋﻪ ﻧﺪﺍﺭﺩ ﻭ ﭘﺮ ﺍﺯ ﺻﺤﻨﻪﻫﺎ‬ ‫ﻭ ﺩﻳﺎﻟﻮگﻫﺎﻯ ﺗﻜﺮﺍﺭﻯ ﺍﺳﺖ‪ ،‬ﺍﻣﺎ ﻫﻢﭼﻨﺎﻥ ﻧﺴﺒﺖ ﺑﻪ ﺑﺴﻴﺎﺭﻯ ﺍﺯ ﺍﻧﻴﻤﻪﻫﺎﻯ ﺳﺎﺧﺘﻪ ﺷﺪﻩ ﺩﺭ ﺍﻳﻦ‬ ‫ﺳﺒﻚ‪ ،‬ﺍﺯ ﺟﺎﻳﮕﺎﻩ ﺑﺎﻻﺗﺮﻯ ﺑﺮﺧﻮﺭﺩﺍﺭ ﺍﺳﺖ‪ .‬ﻳﻜﻰ ﺩﻳﮕﺮ ﺍﺯ ﺍﻳﺮﺍﺩﻫﺎﻳﻰ ﻛﻪ ﺍﻟﺒﺘﻪ ﻓﻘﻂ ﻣﺨﺘﺺ ﺍﻳﻦ‬ ‫ﺍﻧﻴﻤﻪ ﻧﻴﺴﺖ‪ ،‬ﺩﺍﺷﺘﻦ ﭘﺎﻳﺎﻥ ﺑﺎﺯ ﺍﺳﺖ‪ .‬ﭼﺮﺍ ﻛﻪ ﺩﺍﺳﺘﺎﻥ ﻣﺎﻧﮕﺎ ﻫﻤﭽﻨﺎﻥ ﺍﺩﺍﻣﻪ ﭘﻴﺪﺍ ﻣﻰﻛﻨﺪ‪ ،‬ﺩﺭ‬ ‫ﺣﺎﻟﻰ ﻛﻪ ﺳﺎﺧﺖ ﺍﻧﻴﻤﻪ ﺑﻪ ﭘﺎﻳﺎﻥ ﻣﻰﺭﺳﺪ ﻭ ﻫﻤﻪﻯ ﻃﺮﻓﺪﺍﺭﺍﻥ ﻭ ﺣﺘﺎ ﻏﻴﺮ ﻃﺮﻓﺪﺍﺭﺍﻥ ﺭﺍ ﺩﺭ ﺍﻧﺘﻈﺎﺭ‬ ‫ﺑﺮﺍﻯ ﻓﺼﻞ ﺳﻮﻡ ﻣﻰﮔﺬﺍﺭﺩ‪.‬‬

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‫ﻭﻳﮋﻩﻧﺎﻣﻪﻯ ﺧﻮﻥﺁﺷﺎﻡﻫﺎ‬

Vampire Knight

‫ﺗﻠﻮﻳﺰﻳﻮﻥ‬

‫ﺩﺍﺳﺘﺎﻥ ﺩﻭﺭ ﺷﻮﺩ‪ .‬ﮔﺬﺷﺘﻪ ﺍﺯ ﺍﻳﻦ ﻧﻜﺎﺕ‪ ،‬ﺑﻪ ﻧﻈﺮ ﻣﻦ ﻳﻜﻰ ﺍﺯ ﻣﻬﻢﺗﺮﻳﻦ ﻧﻘﺎﻁ ﻗﻮﺕ ﺍﻳﻦ ﺍﻧﻴﻤﻪ‪،‬‬ ‫ﺻﺪﺍﮔﺬﺍﺭﻯ ﺑﺴﻴﺎﺭ ﻋﺎﻟﻰ ﺁﻥ ﺍﺳﺖ‪ .‬ﺧﺼﻮﺻﺎً ﺻﺪﺍﮔﺬﺍﺭﻯ ﺩﻭ ﺷﺨﺼﻴﺖ ﺯﺭﻭ ﻭ ﻛﺎﻧﺎﻣﻪ ﺍﺯ ﻇﺮﺍﻓﺖ ﻭ‬ ‫ﺑﺎﺭ ﺧﺎﺻﻰ ﺑﺮﺧﻮﺭﺩﺍﺭ ﺍﺳﺖ‪ .‬ﻣﻰﺗﻮﺍﻥ ﺩﺭ ﺻﺪﺍﻯ ﺯﺭﻭ ﺗﻨﻬﺎﻳﻰ‪ ،‬ﺣﺴﺮﺕ‪ ،‬ﻣﻴﻞ ﺑﻪ ﺍﺯ ﺩﺳﺖ ﻧﺪﺍﺩﻥ ﻭ‬ ‫ﻋﻼﻗﻪﺍﻯ ﺳﺮﻛﻮﺏ ﺷﺪﻩ ﺭﺍ ﺑﻪ ﻭﺿﻮﺡ ﺍﺣﺴﺎﺱ ﻛﺮﺩ‪ .‬ﻛﻠﻤﺎﺕ ﺑﺎ ﭼﻨﺎﻥ ﺯﻳﺒﺎﻳﻰ ﻭ ﺍﺣﺴﺎﺳﻰ ﻫﻤﺮﺍﻩ‬ ‫ﻫﺴﺘﻨﺪ ﻛﻪ ﻣﺨﺎﻃﺐ ﺭﺍ ﺑﻪ ﺗﺤﺴﻴﻦ ﻭﺍ ﻣﻰﺩﺍﺭﻧﺪ‪ .‬ﺑﻪ ﻧﻈﺮ ﻣﻦ ﺩﻳﺪﻥ ﺍﻳﻦ ﺍﻧﻴﻤﻪ ﺑﺎ ﺩﻭﺑﻠﻪﻯ ﺍﻧﮕﻠﻴﺴﻰ‪،‬‬ ‫ﻳﻚ ﺍﺷﺘﺒﺎﻩ ﺑﺰﺭگ ﺍﺳﺖ‪.‬‬ ‫ﺑﺮﺧﻼﻑ ﺑﺴﻴﺎﺭﻯ ﺍﺯ ﺩﺍﺳﺘﺎﻥﻫﺎﻯ ﺷﻮﺟﻮ‪ ،‬ﺍﻳﻦ ﺍﻧﻴﻤﻪ ﺳﺮﻋﺖ ﺑﺴﻴﺎﺭ ﺯﻳﺎﺩﻯ ﺩﺍﺭﺩ ﻭ ﺍﺯ ﺗﻚﺗﻚ‬ ‫ﻟﺤﻈﺎﺕ ﺁﻥ ﺑﻪ ﺧﻮﺑﻰ ﺍﺳﺘﻔﺎﺩﻩ ﺷﺪﻩ ﺍﺳﺖ‪ .‬ﺭﺍﺯ ﻭ ﺭﻣﺰ ﺩﺍﺳﺘﺎﻥ‪ ،‬ﭘﻴﭽﻴﺪﮔﻰ ﺷﺨﺼﻴﺖﻫﺎ ﻭ ﻋﻤﻖ‬ ‫ﺁﻥﻫﺎ‪ ،‬ﻧﻜﺎﺗﻰ ﺍﺳﺖ ﻛﻪ ﺍﻳﻦ ﺳﺮﻯ ﺭﺍ ﺍﺯ ﺳﺎﻳﺮ ﺍﻧﻴﻤﻪﻫﺎﻯ ﻋﺎﺷﻘﺎﻧﻪ ﻣﺘﻔﺎﻭﺕ ﻣﻰﻛﻨﺪ‪ .‬ﮔﺮﭼﻪ ﻣﻤﻜﻦ‬ ‫ﺍﺳﺖ ﻛﺎﺭﺍﻛﺘﺮﻫﺎﻯ ﺟﺎﻧﺒﻰ ﺑﻴﺸﺘﺮ ﺗﻴﭗ ﺑﺎﺷﻨﺪ ﺗﺎ ﺷﺨﺼﻴﺖ‪ ،‬ﺍﻣﺎ ﺷﺨﺼﻴﺖﻫﺎﻳﻰ ﻛﻪ ﺑﺎﺭ ﺩﺍﺳﺘﺎﻥ‬ ‫ﺭﺍ ﺑﻪ ﺩﻭﺵ ﻣﻰﻛﺸﻨﺪ ﺑﺴﻴﺎﺭ ﺧﻮﺏ ﭘﺮﺩﺍﺧﺖ ﺷﺪﻩﺍﻧﺪ‪ .‬ﺷﺎﻳﺪ ﺗﻨﻬﺎ ﺷﺨﺼﻴﺘﻰ ﻛﻪ ﺩﺭ ﺍﺑﺘﺪﺍ ﻛﻤﻰ‬ ‫ﻛﻠﻴﺸﻪﺍﻯ ﺑﻪ ﻧﻈﺮ ﺑﻴﺎﻳﺪ‪ ،‬ﺷﺨﺼﻴﺖ ﻳﻮﻛﻰ ﺑﺎﺷﺪ ﻛﻪ ﻣﻬﺮﺑﺎﻥ‪ ،‬ﻗﻮﻯ ﻭ ﺷﻮﺥ ﺍﺳﺖ‪ .‬ﺍﻟﺒﺘﻪ ﺑﺎ ﭘﻴﺸﺮﻓﺖ‬ ‫ﺩﺍﺳﺘﺎﻥ‪ ،‬ﻳﻮﻛﻰ ﺷﺨﺼﻴﺖ ﺑﻬﺘﺮﻯ ﭘﻴﺪﺍ ﻣﻰﻛﻨﺪ؛ ﺍﻣﺎ ﺍﺯ ﺩﻳﺪ ﻣﻦ‪ ،‬ﺗﺎ ﺁﺧﺮ ﺳﺮﻯ ﺍﻭﻝ ﺩﺍﺳﺘﺎﻥ‪ ،‬ﻭﻳﮋﮔﻰ‬ ‫ﻣﺘﻤﺎﻳﺰ ﻛﻨﻨﺪﻩﻯ ﻗﺎﺑﻞ ﺗﻮﺟﻬﻰ ﻧﺪﺍﺭﺩ‪ .‬ﻭﻟﻰ ﺍﻳﻦ ﻣﺴﺌﻠﻪ ﺑﻪ ﺍﻳﻦ ﻣﻌﻨﻰ ﻧﻴﺴﺖ ﻛﻪ ﻳﻮﻛﻰ ﺷﺨﺼﻴﺘﻰ‬ ‫ﺩﻭﺳﺖ ﺩﺍﺷﺘﻨﻰ ﻧﺪﺍﺭﺩ‪.‬‬ ‫ﻳﻚ ﻧﻜﺘﻪﻯ ﺩﺭﺑﺎﺭﻩﻯ ﺍﻧﻴﻤﻪ ﺍﻳﻦ ﺍﺳﺖ ﻛﻪ ﺑﻪ ﺩﻟﻴﻞ ﺍﺩﺍﻣﻪ ﺩﺍﺷﺘﻦ ﻣﺎﻧﮕﺎ‪ ،‬ﺍﻧﻴﻤﻪﻫﺎ ﺗﻤﺎﻡ ﻣﺎﺟﺮﺍ ﺭﺍ‬ ‫ﺭﻭﺍﻳﺖ ﻧﻤﻰﻛﻨﻨﺪ ﻭ ﺑﻴﻨﻨﺪﮔﺎﻥ ﺭﺍ ﺩﺭ ﺣﺴﺮﺕ ﺳﺎﺧﺖ ﺳﺮﻯ ﺳﻮﻡ ﻣﻰﮔﺬﺍﺭﻧﺪ‪.‬‬ ‫ﺩﺍﺳﺘﺎﻥ‪ :‬ﺩﺍﺳﺘﺎﻥ ﺩﺭ ﺩﻧﻴﺎﻳﻰ ﺭﺥ ﻣﻰﺩﻫﺪ ﻛﻪ ﻧﻔﺮﺕ ﭼﻮﻥ ﺩﻳﻮﺍﺭﻯ‪ ،‬ﺩﻧﻴﺎﻯ ﺧﻮﻥﺁﺷﺎﻣﺎﻥ ﻭ ﺍﻧﺴﺎﻥﻫﺎ‬ ‫ﺭﺍ ﺍﺯ ﻫﻢ ﺟﺪﺍ ﻣﻰﻛﻨﺪ‪ .‬ﻧﻔﺮﺗﻰ ﻛﻪ ﺍﺯ ﺗﺎﺭﻳﺦ ﺗﺎﺭﻳﻚ ﺍﻧﺴﺎﻥﻫﺎ ﺳﺮﭼﺸﻤﻪ ﻣﻰﮔﻴﺮﺩ‪ .‬ﺍﻣﺎ ﻛﺴﺎﻧﻰ ﺩﺭ‬ ‫ﻫﺮ ﺩﻭ ﺳﻮﻯ ﺩﻳﻮﺍﺭ ﻫﺴﺘﻨﺪ ﻛﻪ ﻣﺎﻳﻠﻨﺪ ﻣﻴﺎﻥ ﺍﻳﻦ ﺩﻳﻮﺍﺭ‪ ،‬ﺩﺭﻯ ﺍﻳﺠﺎﺩ ﻛﻨﻨﺪ ﻭ ﺑﻪ ﺩﻧﻴﺎ ﺛﺎﺑﺖ ﻛﻨﻨﺪ‬ ‫ﻛﻪ ﻫﻢﺯﻳﺴﺘﻰ ﻣﻤﻜﻦ ﺍﺳﺖ‪ .‬ﺍﻳﻦ ﺍﻓﺮﺍﺩ ﻛﺎﻳﻦ ﻛﺮﺍﺱ‪ ،‬ﻣﺪﻳﺮ ﻣﺪﺭﺳﻪ ﻭ ﺩﺧﺘﺮﺵ ﻳﻮﻛﻰ ﺑﻪ ﻫﻤﺮﺍﻩ‬ ‫ﻛﺎﻧﺎﻣﻪ ﻛﻮﺭﺍﻥ ﻫﺴﺘﻨﺪ ﻛﻪ ﻣﺸﻜﻼﺕ ﺯﻳﺎﺩﻯ ﺑﺮ ﺳﺮ ﺭﺍﻫﺸﺎﻥ ﻭﺟﻮﺩ ﺩﺍﺭﺩ‪ .‬ﺍﻣﺎ ﺗﻤﺎﻡ ﻣﺸﻜﻼﺕ ﺗﻨﻬﺎ‬ ‫ﺑﻪ ﺩﺭ ﺧﻄﺮ ﺑﻮﺩﻥ ﺻﻠﺢ‪ ،‬ﺧﺘﻢ ﻧﻤﻰﺷﻮﺩ‪ .‬ﻛﺎﻧﺎﻣﻪ‪ ،‬ﻛﺴﻰ ﺍﺳﺖ ﻛﻪ ﺣﺎﺿﺮ ﺍﺳﺖ ﺩﺭ ﺭﺍﻩ ﻫﺪﻓﺶ‬ ‫ﺣﻔﻆ ﺍﻣﻨﻴﺖ ﻳﻮﻛﻰ‪ -‬ﺍﺯ ﻭﺳﻴﻠﻪﻫﺎﻯ ﮔﻮﻧﺎﮔﻮﻥ ﺍﺳﺘﻔﺎﺩﻩ ﻛﻨﺪ ﻭ ﺑﺎﺭﻫﺎ ﺑﻴﻨﻨﺪﻩﻯ ﺩﺍﺳﺘﺎﻥ ﺩﺭ ﺑﺮﺍﺑﺮ‬‫ﺍﻳﻦ ﭘﺮﺳﺶ ﻗﺮﺍﺭ ﻣﻰﮔﻴﺮﺩ ﻛﻪ ﺁﻳﺎ ﺍﻳﻦ ﺍﺻﻴﻞﺯﺍﺩﻩﻯ ﻗﺪﺭﺗﻤﻨﺪ‪ ،‬ﻫﻤﺎﻥﮔﻮﻧﻪ ﻛﻪ ﻳﻮﻛﻰ ﺑﺎﻭﺭ ﺩﺍﺭﺩ‪،‬‬ ‫ﻣﻬﺮﺑﺎﻥ ﻭ ﻗﺎﺑﻞ ﺍﻋﺘﻤﺎﺩ ﺍﺳﺖ ﻭ ﻳﺎ ﺁﻥﮔﻮﻧﻪ ﻛﻪ ﺯﺭﻭ ﻣﻌﺘﻘﺪ ﺍﺳﺖ‪ ،‬ﻣﻮﺟﻮﺩﻯ ﭘﺴﺖ ﺍﺳﺖ ﻛﻪ ﻧﺒﺎﻳﺪ‬ ‫ﺑﻪ ﺍﻭ ﺍﻋﺘﻤﺎﺩ ﻛﺮﺩ‪...‬‬ ‫ﺩﺍﺳﺘﺎﻥ ﺍﮔﺮﭼﻪ ﺑﺎ ﺭﺍﺯ ﻭ ﺭﻣﺰﻫﺎﻯ ﺯﻳﺎﺩﻯ ﺍﺣﺎﻃﻪ ﺷﺪﻩ‪ ،‬ﺍﻣﺎ ﻣﻰﺗﻮﺍﻥ ﮔﻔﺖ ﻛﻪ ﺧﻂ ﺍﺻﻠﻰﺍﺵ ﻣﺜﻠﺜﻰ‬

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‫ﻭﻳﮋﻩﻧﺎﻣﻪﻯ ﺧﻮﻥﺁﺷﺎﻡﻫﺎ‬

‫ﻣﻰﺑﻴﻨﻨﺪ‪ ،‬ﺯﻣﺎﻧﻰ ﺍﺳﺖ ﻛﻪ ﺑﺎ ﻳﻮﻛﻰ ﮔﺮﻡ ﮔﻔﺘﮕﻮ ﺍﺳﺖ‪ .‬ﺗﻮﺟﻪ ﺧﺎﺹ ﻛﺎﻧﺎﻣﻪ ﻛﻮﺭﺍﻥ ﺍﺻﻴﻞﺯﺍﺩﻩ ﺑﻪ‬ ‫ﻳﻮﻛﻰ ‪-‬ﺩﺧﺘﺮﻯ ﺳﺎﺩﻩ‪ ،-‬ﺣﺴﺎﺩﺕ ﺳﺎﻳﺮ ﺷﺎﮔﺮﺩﺍﻥ ﻛﻼﺱ ﺷﺒﺎﻧﻪ ﺭﺍ ﺑﺮﺍﻧﮕﻴﺨﺘﻪ ﺍﺳﺖ‪.‬‬ ‫ﺑﺰﺭﮔﺘﺮﻳﻦ ﺍﻭﻟﻮﻳﺖ ﺍﻭ ﺩﺭ ﺯﻧﺪﮔﻰ‪ ،‬ﺍﻣﻨﻴﺖ ﻳﻮﻛﻰ ﺍﺳﺖ ﻭ ﺗﻨﻬﺎ ﻭ ﺗﻨﻬﺎ ﺑﻪ ﻫﻤﻴﻦ ﺩﻟﻴﻞ ﺍﺳﺖ ﻛﻪ ﺣﺎﺿﺮ‬ ‫ﺍﺳﺖ ﺣﻀﻮﺭ ﺯﺭﻭ ﻛﻴﺮﻳﻮ ﺭﺍ ﺩﺭ ﻛﻨﺎﺭ ﻳﻮﻛﻰ ﺗﺤﻤﻞ ﻛﻨﺪ؛ ﻭﮔﺮﻧﻪ ﻫﻤﺎﻥﻗﺪﺭ ﻛﻪ ﺯﺭﻭ ﺍﺯ ﻛﺎﻧﺎﻣﻪ ﺑﻴﺰﺍﺭ‬ ‫ﺍﺳﺖ‪ ،‬ﻛﺎﻧﺎﻣﻪ ﻭﺟﻮﺩ ﺯﺭﻭ ﺭﺍ ﺧﻮﺵ ﻧﺪﺍﺭﺩ ﻭ ﮔﻪﮔﺎﻩ ﺗﻮﺟﻪ ﻳﻮﻛﻰ ﺑﻪ ﺯﺭﻭ‪ ،‬ﺣﺴﺎﺩﺕ ﺍﻭ ﺭﺍ ﺑﺮﻣﻰﺍﻧﮕﻴﺰﺩ‪.‬‬ ‫ﺯﺭﻭ ﻛﻴﺮﻳﻮ‪ :‬ﻧﮕﻬﺒﺎﻥ ﺩﻭﻡ ﻣﺪﺭﺳﻪﻯ ﻛﺮﺍﺱ‪ .‬ﭘﺴﺮﻯ ﺍﺯ ﻧﮋﺍﺩ ﺷﻜﺎﺭﭼﻴﺎﻥ ﺧﻮﻥﺁﺷﺎﻣﺎﻥ ﻛﻪ ﻃﻰ‬ ‫ﺣﺎﺩﺛﻪﺍﻯ ﻛﻪ ﭼﻬﺎﺭ ﺳﺎﻝ ﭘﻴﺶ ﺭﺥ ﺩﺍﺩﻩ‪ ،‬ﺧﺎﻧﻮﺍﺩﻩﺍﺵ ﺭﺍ ﺍﺯ ﺩﺳﺖ ﺩﺍﺩﻩ ﻭ ﺑﺎ ﺧﺎﻧﻮﺍﺩﻩﻯ ﻛﺮﺍﺱ‬ ‫ﻳﻮﻛﻰ ﻭ ﭘﺪﺭﺵ‪ -‬ﺯﻧﺪﮔﻰ ﻣﻰﻛﻨﺪ‪ .‬ﺯﺭﻭ ﺑﻪ ﺩﻟﻴﻞ ﮔﺬﺷﺘﻪﻯ ﺩﺭﺩﻧﺎﻛﺶ ﺍﺯ ﺧﻮﻥﺁﺷﺎﻣﺎﻥ ﺑﻴﺰﺍﺭ ﺍﺳﺖ‬‫ﻭ ﺍﺯ ﻫﺮ ﻓﺮﺻﺘﻰ ﺑﺮﺍﻯ ﻛﺸﺘﻦ ﺁﻥﻫﺎ ﺍﺳﺘﻔﺎﺩﻩ ﻣﻰﻛﻨﺪ‪ .‬ﺍﻭ‪ ،‬ﺷﺨﺼﻴﺘﻰ ﺩﺳﺖ ﻧﻴﺎﻓﺘﻨﻰ ﻭ ﮔﻮﺷﻪﮔﻴﺮ‬ ‫ﺩﺍﺭﺩ‪ ،‬ﻣﺎﻳﻞ ﺑﻪ ﺑﺮﻗﺮﺍﺭﻯ ﺍﺭﺗﺒﺎﻁ ﻧﻴﺴﺖ ﻭ ﮔﺮﭼﻪ ﻗﻠﺒﻰ ﻣﻬﺮﺑﺎﻥ ﺩﺍﺭﺩ‪ ،‬ﺍﻣﺎ ﺗﻼﺵ ﻣﻰﻛﻨﺪ ﺩﻳﮕﺮﺍﻥ ﺭﺍ‬ ‫ﺍﺯ ﺧﻮﺩ ﺩﻭﺭ ﻛﻨﺪ؛ ﭼﺮﺍ ﻛﻪ ﻣﻰﺗﺮﺳﺪ ﺑﻪ ﻧﺰﺩﻳﻜﺎﻧﺶ ﺁﺳﻴﺐ ﺑﺰﻧﺪ‪ .‬ﺣﺘﺎ ﻳﻮﻛﻰ ﻛﻪ ﺳﺎﻝﻫﺎ ﺍﺳﺖ ﺑﺎ ﺍﻭ‬ ‫ﺯﻧﺪﮔﻰ ﻛﺮﺩﻩ‪ ،‬ﺍﺣﺴﺎﺱ ﻣﻰﻛﻨﺪ ﻧﻤﻰﺗﻮﺍﻧﺪ ﺍﺯ ﺩﻳﻮﺍﺭﻯ ﻛﻪ ﺍﻭ ﺑﻪ ﺩﻭﺭ ﺧﻮﺩﺵ ﻛﺸﻴﺪﻩ‪ ،‬ﻋﺒﻮﺭ ﻛﻨﺪ‪.‬‬ ‫ﺯﺭﻭ ﺑﻴﺶ ﺍﺯ ﻫﺮ ﭼﻴﺰ‪ ،‬ﺍﺯ ﺧﻮﻥﺁﺷﺎﻣﺎﻥ ﺍﺻﻴﻞ ﻧﻔﺮﺕ ﺩﺍﺭﺩ‪ .‬ﺍﻳﻦ ﺑﻴﺰﺍﺭﻯ ﺑﻪ ﻫﻤﺮﺍﻩ ﻋﻼﻗﻪﺍﻯ ﻛﻪ ﺑﻪ‬ ‫ﻳﻮﻛﻰ ﺩﺍﺭﺩ‪ ،‬ﺑﺎﻋﺚ ﻣﻰﺷﻮﺩ ﺗﺎﺏ ﺩﻳﺪﻥ ﻛﺎﻧﺎﻣﻪ ﻛﻮﺭﺍﻥ ﺭﺍ ﻧﺪﺍﺷﺘﻪ ﺑﺎﺷﺪ ﻭ ﻣﺎﻳﻞ ﺑﺎﺷﺪ ﺍﻭ ﺭﺍ ﺍﺯ ﺑﻴﻦ‬ ‫ﺑﺒﺮﺩ‪.‬‬ ‫ﺩﺭﺑﺎﺭﻩﻯ ﻣﺎﻧﮕﺎ‪ ،‬ﺍﻧﻴﻤﻪ ﻭ ﺩﺍﺳﺘﺎﻥ‬ ‫ﻣﺎﻧﮕﺎ‪ :‬ﺧﻮﺍﻧﺪﻥ ﺍﻳﻦ ﻣﺎﻧﮕﺎ ﺑﻪ ﻛﺴﺎﻧﻰ ﻛﻪ ﻣﺎﻧﮕﺎﻫﺎﻯ ﺯﻳﺎﺩﻯ ﻧﺨﻮﺍﻧﺪﻩﺍﻧﺪ‪ ،‬ﺗﻮﺻﻴﻪ ﻧﻤﻰﺷﻮﺩ‪ .‬ﺑﻪ ﻧﻈﺮ‬ ‫ﻣﻦ ﺩﺭ ﺑﺴﻴﺎﺭﻯ ﺍﺯ ﻗﺴﻤﺖﻫﺎ‪ ،‬ﺗﺸﺨﻴﺺ ﺷﺨﺼﻴﺖﻫﺎ ﺍﺯ ﻫﻢ ﻛﺎﺭ ﺩﺷﻮﺍﺭﻯ ﺍﺳﺖ ﻭ ﺩﺭ ﺑﺮﺧﻰ ﺍﺯ‬ ‫ﺻﻔﺤﺎﺕ ﺩﺭﻳﺎﻓﺘﻦ ﺍﻳﻦ ﻛﻪ ﭼﻪ ﻛﺴﻰ ﺩﺭ ﺣﺎﻝ ﺳﺨﻦ ﮔﻔﺘﻦ ﺍﺳﺖ‪ ،‬ﺑﺮﺍﻯ ﺧﻮﺍﻧﻨﺪﮔﺎﻥ ﻛﻢﺗﺠﺮﺑﻪﻯ‬ ‫ﻣﺎﻧﮕﺎ‪ ،‬ﻛﺎﺭ ﺳﺎﺩﻩﺍﻯ ﻧﻴﺴﺖ‪ .‬ﮔﺮﭼﻪ ﺑﺮﺍﻯ ﻛﺴﺎﻧﻰ ﻛﻪ ﺍﻧﻴﻤﻪ ﺭﺍ ﺩﻳﺪﻩﺍﻧﺪ ﻭ ﻣﺎﻳﻠﻨﺪ ﺑﺪﺍﻧﻨﺪ ﺧﻂ ﺳﻴﺮ‬ ‫ﺩﺍﺳﺘﺎﻥ ﭘﺲ ﺍﺯ ﭘﺎﻳﺎﻥ ﺍﻧﻴﻤﻪ ﭼﮕﻮﻧﻪ ﺍﺳﺖ‪ ،‬ﺧﻮﺍﻧﺪﻥ ﻣﺎﻧﮕﺎ ﺗﻮﺻﻴﻪ ﻣﻰﺷﻮﺩ‪.‬‬ ‫ﺍﻧﻴﻤﻪ‪ :‬ﺍﻳﻦ ﺍﻧﻴﻤﻪ ﻧﻘﺎﻁ ﻗﻮﺕ ﺯﻳﺎﺩﻯ ﺩﺍﺭﺩ‪ .‬ﺑﺮﺍﻯ ﻣﺜﺎﻝ ﻣﻰﺗﻮﺍﻥ ﺑﻪ ﻣﻮﺳﻴﻘﻰ ﺁﻥ‪ ،‬ﺑﻪ ﺧﺼﻮﺹ‬ ‫ﻣﻮﺳﻴﻘﻰ ﺷﺮﻭﻉ ﻭ ﭘﺎﻳﺎﻧﺶ ﺍﺷﺎﺭﻩ ﻛﺮﺩ ﻛﻪ ﺑﺮﺍﻯ ﺷﺨﺺ ﻣﻦ‪ ،‬ﺑﺴﻴﺎﺭ ﺟﺬﺍﺏ ﺑﻮﺩ‪ .‬ﺩﺭﺁﻣﺪ ﺩﺍﺳﺘﺎﻥ ﺩﺭ‬ ‫ﻗﺴﻤﺖ ﺍﻭﻝ‪ ،‬ﺑﺴﻴﺎﺭ ﺯﻳﺒﺎ ﻭ ﺗﺄﺛﻴﺮﮔﺬﺍﺭ ﺍﺳﺖ ﻭ ﻣﺨﺎﻃﺐ ﺭﺍ ﺑﻪ ﺧﻮﺑﻰ ﺑﺎ ﻓﻀﺎﻯ ﻛﻠﻰ ﺩﺍﺳﺘﺎﻥ ﺁﺷﻨﺎ‬ ‫ﻣﻰﻛﻨﺪ‪ .‬ﻓﻀﺎﻳﻰ ﻛﻪ ﺧﻮﻥﺁﺷﺎﻣﺎﻥ ﺩﺭ ﺁﻥ ﻧﻘﺸﻰ ﺍﺳﺎﺳﻰ ﺑﺮﻋﻬﺪﻩ ﺩﺍﺭﻧﺪ‪.‬‬ ‫ﮔﺮﺍﻓﻴﻚ ﺍﻳﻦ ﺍﻧﻴﻤﻪ ﻧﻴﺰ ﺑﺴﻴﺎﺭ ﺯﻳﺒﺎ ﺍﺳﺖ ﻭ ﻃﻨﺰ ﺑﻪ ﻛﺎﺭ ﺭﻓﺘﻪ ﺩﺭ ﺁﻥ‪ ،‬ﺩﺭ ﺑﺴﻴﺎﺭﻯ ﺍﺯ ﻗﺴﻤﺖﻫﺎ‬ ‫ﻣﺨﺎﻃﺐ ﺭﺍ ﺑﻪ ﺧﻨﺪﻩ ﻭﺍ ﻣﻰﺩﺍﺭﺩ ﻭ ﻛﻤﻚ ﻣﻰﻛﻨﺪ ﺗﺎ ﺑﻴﻨﻨﺪﻩ ﻛﻤﻰ ﺍﺯ ﻓﻀﺎﻯ ﺳﻨﮕﻴﻦ ﻭ ﺭﻣﺰﺁﻟﻮﺩ‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،9-10‬ﺷﻬﺮﻳﻮﺭ ﻭ ﻣﻬﺮ ‪1390‬‬

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‫ﺗﻠﻮﻳﺰﻳﻮﻥ‬

‫ﺧﻼﺻﻪﻯ ﺩﺍﺳﺘﺎﻥ‬ ‫ﺍﻭﻟﻴﻦ ﺧﺎﻃﺮﻩﺍﻯ ﻛﻪ ﻳﻮﻛﻰ ﻛﺮﺍﺱ ﺑﻪ ﻳﺎﺩ ﺩﺍﺭﺩ‪ ،‬ﺁﻥ ﺍﺳﺖ ﻛﻪ ﺩﺭ ﺯﻣﻴﻨﻰ ﭘﻮﺷﻴﺪﻩ ﺍﺯ ﺑﺮﻑ ﻧﺸﺴﺘﻪ‬ ‫ﻭ ﺧﻮﻥﺁﺷﺎﻣﻰ ﺑﻪ ﺍﻭ ﺣﻤﻠﻪ ﻣﻰﻛﻨﺪ‪ .‬ﻳﻮﻛﻰ ﺧﻮﺏ ﺑﻪ ﻳﺎﺩ ﺩﺍﺭﺩ ﻛﻪ ﺗﻨﻬﺎ ﺩﻟﻴﻞ ﺯﻧﺪﻩ ﻣﺎﻧﺪﻧﺶ‪ ،‬ﻛﺎﻧﺎﻣﻪ‬ ‫ﻛﻮﺭﺍﻥ ﺍﺳﺖ؛ ﺧﻮﻥ ﺁﺷﺎﻡ ﺩﻳﮕﺮﻯ ﻛﻪ ﺍﺯ ﺍﻭ ﺩﺭ ﺑﺮﺍﺑﺮ ﺣﻤﻠﻪ ﻣﺤﺎﻓﻈﺖ ﻣﻰﻛﻨﺪ‪.‬‬ ‫‪ 10‬ﺳﺎﻝ ﺑﻌﺪ‪ ،‬ﻳﻮﻛﻰ ﺑﻪ ﻫﻤﺮﺍﻩ ﺯﺭﻭ ﻛﻴﺮﻳﻮ‪ ،‬ﺷﻜﺎﺭﭼﻰ ﺧﻮﻥﺁﺷﺎﻣﺎﻥ‪ ،‬ﺩﺭ ﻣﺪﺭﺳﻪﻯ ﻛﺮﺍﺱ ﻭﻇﻴﻔﻪﻯ‬ ‫ﻣﻬﻢ ﻧﮕﻬﺒﺎﻧﻰ ﺭﺍ ﺑﺮﻋﻬﺪﻩ ﺩﺍﺭﻧﺪ‪ .‬ﻭﻇﻴﻔﻪﺍﻯ ﻛﻪ ﺷﺎﮔﺮﺩﺍﻥ »ﺭﻭﺯﺍﻧﻪ« ﺭﺍ ﺍﺯ ﺩﺍﻧﺶﺁﻣﻮﺯﺍﻥ »ﺷﺒﺎﻧﻪ«‬ ‫ﺣﻔﻆ ﻣﻰﻛﻨﺪ ﻭ ﻧﻤﻰﮔﺬﺍﺭﺩ ﺭﺍﺯ ﺑﺰﺭگ ﻣﺪﺭﺳﻪ‪- ،‬ﺧﻮﻥ ﺁﺷﺎﻡ ﺑﻮﺩﻥ ﺷﺎﮔﺮﺩﺍﻥ ﺷﺒﺎﻧﻪ‪ -‬ﺑﺮﻣﻼ ﺷﻮﺩ‬ ‫ﻭ ﺍﻳﻦ ﺗﻤﺎﻡ ﻣﺎﺟﺮﺍ ﻧﻴﺴﺖ؛ ﺳﺎﻳﻪﺍﻯ ﺍﺯ ﺗﺎﺭﻳﻜﻰ‪ ،‬ﺗﺮﺱ‪ ،‬ﺗﻨﻬﺎﻳﻰ ﻭ ﺗﻮﻃﺌﻪ‪ ،‬ﺁﺭﺍﻡﺁﺭﺍﻡ ﮔﺮﺩ ﻣﺪﺭﺳﻪ‬ ‫ﺗﻨﻴﺪﻩ ﻣﻰﺷﻮﺩ‪.‬‬ ‫ﺯﺭﻭ ﻛﻪ ﺧﻮﻥ ﺷﻜﺎﺭﭼﻴﺎﻥ ﺑﺰﺭگ ﺩﺭ ﺭگﻫﺎﻳﺶ ﺟﺮﻳﺎﻥ ﺩﺍﺭﺩ ﻭ ﺑﻪ ﺩﻟﻴﻞ ﮔﺬﺷﺘﻪﻯ ﺩﺭﺩﻧﺎﻛﺶ ‪-‬‬ ‫ﻛﺸﺘﻪ ﺷﺪﻥ ﺗﻤﺎﻡ ﺧﺎﻧﻮﺍﺩﻩﺍﺵ ﺑﻪ ﺩﺳﺖ ﻳﻚ ﺍﺻﻴﻞﺯﺍﺩﻩ‪ -‬ﺍﺯ ﺧﻮﻥﺁﺷﺎﻣﺎﻥ ﺑﻴﺰﺍﺭ ﺍﺳﺖ‪ ،‬ﺭﻓﺘﻪﺭﻓﺘﻪ‬ ‫ﻭ ﺩﺭ ﻛﻤﺎﻝ ﻧﺎﺑﺎﻭﺭﻯ‪ ،‬ﺍﺣﺴﺎﺱ ﻣﻰﻛﻨﺪ ﺑﻮﻯ ﺩﻭﺳﺖﺩﺍﺷﺘﻨﻰ ﺧﻮﻥ ﻳﻮﻛﻰ ﺭﺍﻫﻰ ﺑﺮﺍﻯ ﻣﻘﺎﺑﻠﻪ ﺑﺎ‬ ‫ﻭﺳﻮﺳﻪﺍﻯ ﻣﻨﻔﻮﺭ‪ ،‬ﺑﺎﺯ ﻧﻤﻰﮔﺬﺍﺭﺩ ﻭ ﻧﻴﺰ ﻛﺎﻧﺎﻣﻪ ﻛﻮﺭﺍﻥ‪ ،‬ﺭﺋﻴﺲ ﺧﻮﺍﺑﮕﺎﻩ ﺷﺒﺎﻧﻪ‪ ،‬ﺻﺪﺍﻯ ﮔﺎﻡ ﺩﺷﻤﻨﻰ‬ ‫ﻧﻴﺮﻭﻣﻨﺪ ﻭ ﭘﻨﻬﺎﻧﻰ ﺭﺍ ﻣﻰﺷﻨﻮﺩ ﻛﻪ ﺧﻮﺍﻫﺎﻥ ﺑﺮﻫﻢ ﺯﺩﻥ ﺁﺭﺍﻣﺶ ﻣﺪﺭﺳﻪ ﻭ ﺍﺯ ﺑﻴﻦ ﺑﺮﺩﻥ ﻫﺮ ﭼﻴﺰﻯ‬ ‫ﺍﺳﺖ ﻛﻪ ﺑﺮﺍﻯ ﺍﻭ ﺍﺭﺯﺷﻤﻨﺪ ﺍﺳﺖ‪.‬‬ ‫ﺍﻳﻦ ﮔﻮﻧﻪ ﺍﺳﺖ ﻛﻪ ﺑﻪ ﺁﺭﺍﻣﻰ ﻫﻤﻪ ﭼﻴﺰ ﺑﺮﺍﻯ ﺟﻨﮕﻰ ﺗﻤﺎﻡ ﻋﻴﺎﺭ ﺁﻣﺎﺩﻩ ﻣﻰﺷﻮﺩ‪.‬‬ ‫ﺷﺨﺼﻴﺖﻫﺎ‬ ‫ﻳﻮﻛﻰ ﻛﺮﺍﺱ‪ :‬ﺩﺧﺘﺮﺧﻮﺍﻧﺪﻩﻯ ﻣﺪﻳﺮ ﻣﺪﺭﺳﻪ ﻭ ﻳﻜﻰ ﺍﺯ ﺩﻭ ﻧﮕﻬﺒﺎﻥ ﺁﻥ‪ .‬ﺩﺧﺘﺮﻯ ﺷﺎﺩ‪ ،‬ﭘﺮﺍﻧﺮژﻯ ﻭ‬ ‫ﻣﻬﺮﺑﺎﻥ ﺍﺳﺖ‪ .‬ﺍﻭ ﺑﺎ ﺣﺴﺎﺳﻴﺖ ﺧﺎﺻﻰ ﺑﻪ ﺍﻃﺮﺍﻓﻴﺎﻧﺶ ﺗﻮﺟﻪ ﺩﺍﺭﺩ ﻭ ﻣﺎﻳﻞ ﺍﺳﺖ ﺗﺎ ﺁﻥﺟﺎ ﻛﻪ ﻣﻰﺗﻮﺍﻧﺪ‬ ‫ﺑﻪ ﺁﻥﻫﺎ ﻛﻤﻚ ﻛﻨﺪ‪ .‬ﻣﻬﺮﺑﺎﻧﻰ ﻭ ﻣﺜﺒﺖﻧﮕﺮﻯ ﻳﻮﻛﻰ ﺑﺮﺍﻯ ﻛﺴﺎﻧﻰ ﻛﻪ ﺑﺎ ﺍﻭ ﺯﻧﺪﮔﻰ ﻣﻰﻛﻨﻨﺪ‪ ،‬ﺑﻪ‬ ‫ﺧﺼﻮﺹ ﺯﺭﻭ ﻛﻴﺮﻳﻮ ﻭ ﻛﺎﻧﺎﻣﻪ ﻛﻮﺭﺍﻥ‪ ،‬ﺑﺴﻴﺎﺭ ﺍﺭﺯﺷﻤﻨﺪ ﺍﺳﺖ ﻭ ﺟﺎﻳﮕﺎﻫﻰ ﻳﮕﺎﻧﻪ ﺑﺮﺍﻯ ﺍﻭ ﺍﻳﺠﺎﺩ‬ ‫ﻣﻰﻛﻨﺪ‪.‬‬ ‫ﻳﻮﻛﻰ ﺍﺯ ﺁﻏﺎﺯ ﺩﻟﺒﺎﺧﺘﻪﻯ ﻛﺎﻧﺎﻣﻪ ﻛﻮﺭﺍﻥ ﺍﺳﺖ؛ ﺍﻣﺎ ﺑﺎ ﮔﺬﺭ ﺯﻣﺎﻥ ﺯﺭﻭ ﻫﻢ ﺭﺍﻩ ﺧﻮﺩ ﺭﺍ ﺑﻪ ﺳﻮﻯ ﻗﻠﺐ‬ ‫ﻳﻮﻛﻰ ﺑﺎﺯ ﻣﻰﻛﻨﺪ ﻭ ﺍﻳﻦ ﺍﻣﺮ ﺑﺎﻋﺚ ﻣﻰﺷﻮﺩ ﺭﻭﺍﺑﻂ ﻫﻤﻪﻯ ﺁﻥﻫﺎ ﺷﻜﻞ ﺟﺪﻳﺪﻯ ﺑﻪ ﺧﻮﺩ ﺑﮕﻴﺮﺩ‪.‬‬ ‫ﻛﺎﻧﺎﻣﻪ ﻛﻮﺭﺍﻥ‪ :‬ﻧﺎﺟﻰ ﻳﻮﻛﻰ ﻭ ﺭﺋﻴﺲ ﺧﻮﺍﺑﮕﺎﻩ ﺷﺒﺎﻧﻪ ﺍﺳﺖ‪ .‬ﺍﻭ ﻣﻴﺎﻥ ﺧﻮﻥﺁﺷﺎﻣﺎﻥ‪ ،‬ﻓﺮﺩﻯ ﻧﮋﺍﺩﻩ‬ ‫ﺍﺳﺖ ﻛﻪ ﺧﻮﻥ ﺍﺟﺪﺍﺩ ﺑﺎﺳﺘﺎﻧﻰ ﺩﺭ ﺭگﻫﺎﻳﺶ ﺟﺮﻳﺎﻥ ﺩﺍﺭﺩ‪ .‬ﻛﺎﻧﺎﻣﻪ ﻛﻮﺭﺍﻥ ﺭﻫﺒﺮﻯ ﺳﺨﺖﮔﻴﺮ ﻭ‬ ‫ﺳﺮﺩ ﺍﺳﺖ ﻭ ﭘﺮﺩﻩﺍﻯ ﺍﺯ ﺭﺍﺯ ﭘﻴﺮﺍﻣﻮﻧﺶ ﺭﺍ ﻓﺮﺍ ﮔﺮﻓﺘﻪ‪ .‬ﺗﻨﻬﺎ ﺯﻣﺎﻧﻰ ﻛﻪ ﺍﻃﺮﺍﻓﻴﺎﻧﺶ ﺍﻭ ﺭﺍ ﻣﻬﺮﺑﺎﻥ‬

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‫ﻭﻳﮋﻩﻧﺎﻣﻪﻯ ﺧﻮﻥﺁﺷﺎﻡﻫﺎ‬

‫‪ :Ψ‬ﺩﺍﺳﺘﺎﻥ ﺍﻳﻦ ﺍﻧﻴﻤﻪ ﺑﻴﺸﺘﺮ ﺩﺭ ﻓﻀﺎﻯ ﺩﻳﺴﺘﻮﭘﻴﺎﻳﻰ ﺑﻌﺪ ﺍﺯ ﻧﺎﺑﻮﺩﻯ ﻗﺪﺭﺕﻫﺎﻯ ﺳﻴﺎﺳﻰ ﻭ ﻧﻈﺎﻣﻰ‬ ‫ﺯﻣﻴﻦ ﺭﺥ ﻣﻰﺩﻫﺪ ﻭ ﻓﻀﺎﻳﻰ ﺳﺎﻳﺒﺮﭘﺎﻧﻚ ﻭ ﺩﺭ ﺿﻤﻦ ﺑﺴﻴﺎﺭ ﺗﻴﺮﻩ ﺩﺍﺭﺩ‪ .‬ﺩﺍﺳﺘﺎﻥ ﺣﺎﻟﺘﻰ ﮔﻴﺞﻛﻨﻨﺪﻩ‬ ‫ﻭ ﭼﺮﺧﺸﻰ ﺩﺍﺭﺩ‪ ،‬ﺑﻪ ﻃﻮﺭﻯ ﻛﻪ ﺑﻪ ﺟﺮﺃﺕ ﻣﻰﺗﻮﺍﻥ ﮔﻔﺖ ﺗﺮﺗﻴﺐ ﺩﻳﺪﻥ ﻗﺴﻤﺖﻫﺎﻯ ﻣﺨﺘﻠﻒ ﺍﻧﻴﻤﻪ‬ ‫ﺁﻥﻗﺪﺭﻫﺎ ﻫﻢ ﺍﻫﻤﻴﺖ ﻧﺪﺍﺭﺩ‪ .‬ﺍﻣﺎ ﺑﻌﺪ ﺍﺯ ﺩﻳﺪﻥ ﺩﻭﺍﺯﺩﻩ ﻗﺴﻤﺖ‪ ،‬ﺍﺣﺘﻤﺎﻻً ﺑﺪﻭﻥ ﺍﻳﻦﻛﻪ ﻛﺎﻣ ً‬ ‫ﻼ ﻣﻄﻤﺌﻦ‬ ‫ﺑﺎﺷﻴﺪ ﺩﺍﺳﺘﺎﻥ ﺍﺯ ﭼﻪ ﻗﺮﺍﺭ ﺑﻮﺩﻩ‪ ،‬ﺳﺮﺍﻍ ﻳﻚ ﺍﻧﻴﻤﻪﻯ ﺩﻳﮕﺮ ﻣﻰﺭﻭﻳﺪ‪ .‬ﺍﻟﺒﺘﻪ ﺍﻳﻦ ﻣﻮﺿﻮﻉ ﭼﻴﺰﻯ ﺍﺯ‬ ‫ﻟﺬﺕ ﺩﻳﺪﻥ ﺻﺤﻨﻪﻫﺎﻯ ﻓﻮﻕ ﺍﻛﺸﻦ ﻣﺒﺎﺭﺯﻩ ﺑﻪ ﺳﺒﻚ ژﺍﭘﻨﻰ ﻛﻢ ﻧﻤﻰﻛﻨﺪ‪ .‬ﺍﻳﻦ ﺍﻧﻴﻤﻪ ﺭﺍ ﺑﻪ ﻛﺴﺎﻧﻰ‬ ‫ﻛﻪ ﺍﺯ ﺩﺍﺳﺘﺎﻥﻫﺎﻯ ﺳﻴﺎﻝ ﺫﻫﻦ ﻭ ﻛﺎﺭﻫﺎﻯ ﻛﻮﺋﻨﺘﻴﻦ ﺗﺎﺭﺍﻧﺘﻴﻮ ﻟﺬﺕ ﻣﻰﺑﺮﻧﺪ‪ ،‬ﭘﻴﺸﻨﻬﺎﺩ ﻣﻰﻛﻨﻢ‪ .‬ﺩﺭ‬ ‫ﺿﻤﻦ ﺍﺯ ﻫﻤﻴﻦ ﻛﺎﺭﮔﺮﺩﺍﻥ ﺍﻧﻴﻤﻪﻯ »ﺩﻓﺘﺮﭼﻪﻯ ﻣﺮگ« ﺭﺍ ﻫﻢ ﺑﻪ ﻋﻼﻗﻪﻣﻨﺪﺍﻥ ﺍﻧﻴﻤﻪﻫﺎﻯ ﺟﺪﻯ‬ ‫ﭘﻴﺸﻨﻬﺎﺩ ﻣﻰﻛﻨﻢ‪.‬‬ ‫‪ :Φ‬ﺩﺍﺳﺘﺎﻧﻰ ﺗﺎﺭﻳﻚ‪ ،‬ﭘﺮ ﺍﺯ ﻣﻌﻤﺎ‪ ،‬ﺑﺎ ﺷﺨﺼﻴﺖ ﺍﻭﻟﻰ ﻛﻪ ﺩﺭ ﻛﻞ ﺑﻴﺶ ﺍﺯ ﭼﻨﺪ ﻛﻠﻤﻪ ﺣﺮﻑ ﻧﻤﻰﺯﻧﺪ‪.‬‬ ‫ﺍﻳﻦ ﺍﻧﻴﻤﻪ ﻣﻨﺎﺳﺐ ﻛﺴﺎﻧﻰ ﺍﺳﺖ ﻛﻪ ﺻﺒﺮ ﺑﺎﻻﻳﻰ ﺩﺍﺷﺘﻪ ﺑﺎﺷﺪ‪ ،‬ﭼﻮﻥ ﻣﻰﺗﻮﺍﻥ ﮔﻔﺖ ﺩﺭ ﻃﻮﻝ ﻳﺎﺯﺩﻩ‬ ‫ﻗﺴﻤﺖ ﻭ ﺩﺭ ﭼﺮﺧﻪﻯ ﺩﻳﻮﺍﻧﻪﻭﺍﺭ ﺍﺗﻔﺎﻗﺎﺕ‪ ،‬ﺩﺍﺳﺘﺎﻥ ﺑﻪ ﺷﻤﺎ ﻓﻘﻂ ﺍﺟﺎﺯﻩﻯ ﭘﻰ ﺑﺮﺩﻥ ﺑﻪ ﭼﻨﺪ ﻧﻜﺘﻪﻯ‬ ‫ﻛﻮﭼﻚ ﺭﺍ ﻣﻰﺩﻫﺪ ﻭ ﻧﻜﺘﻪﻯ ﺍﺻﻠﻰ ﺭﺍ ﻛﻪ ﻣﺪﺕﻫﺎ ﺍﺳﺖ ﻣﻨﺘﻈﺮ ﺁﻥ ﻫﺴﺘﻴﺪ‪ ،‬ﺩﺭ ﺁﺧﺮﻳﻦ ﻟﺤﻈﺎﺕ‬ ‫ﺑﻪ ﺷﻤﺎ ﻧﺸﺎﻥ ﻣﻰﺩﻫﺪ‪ .‬ﺍﮔﺮ ﺍﺯ ﺍﻓﺴﺎﻧﻪﻫﺎﻯ ﺍﺻﻴﻞ ژﺍﭘﻨﻰ ﻛﻪ ﺗﺮﺱ ﻭ ﻭﻫﻢﺁﻟﻮﺩﮔﻰ ﻧﺎﺷﻨﺎﺧﺘﻪﺍﻯ ﺩﺭ‬ ‫ﺍﻋﻤﺎﻕ ﺁﻥﻫﺎ ﻧﻬﻔﺘﻪ ﺍﺳﺖ ﻟﺬﺕ ﻣﻰﺑﺮﻳﺪ‪ ،‬ﻣﻄﻤﺌﻦ ﺑﺎﺷﻴﺪ ﺍﻳﻦ ﺍﻧﻴﻤﻪ ﺑﺮﺍﻯ ﺷﻤﺎ ﺳﺎﺧﺘﻪ ﺷﺪﻩ ﺍﺳﺖ!‬ ‫ﺷﻮﺍﻟﻴﻪﻯ ﺧﻮﻥﺁﺷﺎﻡ )‪(Vampire Knight‬‬ ‫ﺧﻮﻥﺁﺷﺎﻣﺎﻥ؛ ﻣﻮﺟﻮﺩﺍﺗﻰ ﻛﻪ ﺑﻪ ﺷﻜﻞ ﺍﻧﺴﺎﻥ ﺩﺭ ﺁﻣﺪﻩ ﻭ ﺧﻮﻥ ﺁﺩﻣﻰ ﺭﺍ ﻣﻰﻣﻜﻨﺪ‪.‬‬ ‫ﻛﺴﻰ ﻧﺒﺎﻳﺪ ﺑﻪ ﺁﻥﻫﺎ ﻧﺰﺩﻳﻚ ﺷﻮﺩ‪ ،‬ﻫﻴﭻ ﻛﺲ ﻧﺒﺎﻳﺪ ﺑﻪ ﺁﻥﻫﺎ ﻧﺰﺩﻳﻚ ﺷﻮﺩ‪ ،‬ﭼﺮﺍ ﻛﻪ ﺩﺭ‬ ‫ﺍﻳﻦﺻﻮﺭﺕ‪ ،‬ﺍﻧﺴﺎﻥ ﻣﺴﺨﺮ ﺁﻥ ﭼﺸﻤﺎﻥ ﺧﻮﺍﻫﺪ ﺷﺪ‪.‬‬ ‫ﻣﺎﻧﮕﺎ‬

‫ﺍﻧﻴﻤﻪ‪ :‬ﻓﺼﻞ ﺍﻭﻝ‬

‫ﺍﻧﻴﻤﻪ‪ :‬ﻓﺼﻞ ﺩﻭﻡ‬

‫ﺷﻮﺍﻟﻴﻪﻯ ﺧﻮﻥﺁﺷﺎﻡ‬ ‫ﻧﻮﻳﺴﻨﺪﻩ‪ :‬ﻣﺎﺗﺴﻮﺭﻯ ﻫﻴﻨﻮ‪.‬‬ ‫ﻭﺿﻌﻴﺖ‪ :‬ﺍﺩﺍﻣﻪﺩﺍﺭ‬ ‫ﺗﻌﺪﺍﺩ ﻗﺴﻤﺖﻫﺎ‪74 :‬‬ ‫ﻧﻮﻉ ﺍﻧﺘﺸﺎﺭ‪ :‬ﻣﺎﻫﺎﻧﻪ‬ ‫ژﺍﻧﺮ‪ :‬ﺩﺭﺍﻡ‪ ،‬ﻓﺎﻧﺘﺰﻯ‪ ،‬ﻋﺎﺷﻘﺎﻧﻪ‪،‬‬ ‫ﺩﻭﺭﺍﻥ ﺗﺤﺼﻴﻞ‪ ،‬ﺷﻮﺟﻮ‬

‫ﺷﻮﺍﻟﻴﻪﻯ ﺧﻮﻥﺁﺷﺎﻡ‬ ‫ﻛﺎﺭﮔﺮﺩﺍﻥ‪ :‬ﻛﻴﻮﻛﻮ ﺳﺎﻳﺎﻣﺎ‬ ‫ﺍﺳﺘﻮﺩﻳﻮ‪Studio Deen :‬‬ ‫ﻭﺿﻌﻴﺖ‪ :‬ﺗﻤﺎﻡ ﺷﺪﻩ‬ ‫ﺗﻌﺪﺍﺩ ﻗﺴﻤﺖﻫﺎ‪13 :‬‬ ‫ژﺍﻧﺮ‪ :‬ﺍﻛﺸﻦ‪ ،‬ﺩﺭﺍﻡ‪ ،‬ﻋﺎﺷﻘﺎﻧﻪ‪،‬‬ ‫ﻣﻌﻤﺎ‪ ،‬ﻛﻤﺪﻯ‪ ،‬ﻣﺎﻭﺭﺍء ﺍﻟﻄﺒﻴﻌﻪ‬

‫ﺷﻮﺍﻟﻴﻪﻯ ﺧﻮﻥﺁﺷﺎﻡ ﮔﻨﺎﻫﻜﺎﺭ‬ ‫ﻛﺎﺭﮔﺮﺩﺍﻥ‪ :‬ﻛﻴﻮﻛﻮ ﺳﺎﻳﺎﻣﺎ‬ ‫ﺍﺳﺘﻮﺩﻳﻮ‪Studio Deen :‬‬ ‫ﻭﺿﻌﻴﺖ‪ :‬ﺗﻤﺎﻡ ﺷﺪﻩ‬ ‫ﺗﻌﺪﺍﺩ ﻗﺴﻤﺖﻫﺎ‪13 :‬‬ ‫ژﺍﻧﺮ‪ :‬ﺍﻛﺸﻦ‪ ،‬ﺩﺭﺍﻡ‪ ،‬ﻋﺎﺷﻘﺎﻧﻪ‪،‬‬ ‫ﻣﻌﻤﺎ‪ ،‬ﻛﻤﺪﻯ‪ ،‬ﻣﺎﻭﺭﺍء ﺍﻟﻄﺒﻴﻌﻪ‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،9-10‬ﺷﻬﺮﻳﻮﺭ ﻭ ﻣﻬﺮ ‪1390‬‬

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‫ﺗﻠﻮﻳﺰﻳﻮﻥ‬

‫ﺧﻼﺻﻪ ﺩﺍﺳﺘﺎﻥ‬ ‫ﺩﺍﺳﺘﺎﻥ ﺩﺭ ﻗﺮﻥ ﺩﻭﺍﺯﺩﻫﻢ ﻭ ﺩﺭ ژﺍﭘﻦ ﺭﺥ ﻣﻰﺩﻫﺪ‪ .‬ﻳﺎ ﺣﺪﺍﻗﻞ ﺑﻪ ﻧﻈﺮ ﻣﻰﺭﺳﺪ ﻛﻪ ﺍﻳﻦﻃﻮﺭ ﺍﺳﺖ‪.‬‬ ‫ﻣﺮﺩﻯ ﺑﻪ ﻧﺎﻡ ﻛﻮﺭﻭ )‪ (18‬ﺩﺭ ﺣﺎﻝ ﻓﺮﺍﺭ ﺍﺯ ﺩﺳﺖ ﮔﺮﻭﻫﻰ ﻣﺨﻔﻰ ﻭ ﺭﺍﺯﺁﻟﻮﺩ ﺑﻪ ﻧﺎﻡ ﺍﺭﺗﺶ ﺳﺮﺥ‬ ‫ﺍﺳﺖ‪ .‬ﺍﻭ ﺧﺪﻣﺘﻜﺎﺭﻯ ﺑﻪ ﻧﺎﻡ ﺑﻨﻜﻪ )‪ (19‬ﺩﺍﺭﺩ ﻛﻪ ﺍﻭ ﺭﺍ ﺩﺭ ﮔﻴﺮ ﻭ ﺩﺍﺭ ﻧﺒﺮﺩ‪ ،‬ﻧﺠﺎﺕ ﻣﻰﺩﻫﺪ‪ .‬ﺁﻥﻫﺎ‬ ‫ﺑﻪ ﺧﺎﻧﻪﺍﻯ ﺩﺭ ﺑﺎﻻﻯ ﻛﻮﻩ ﻣﻰﺭﻭﻧﺪ ﻭ ﺑﺎ ﺯﻧﻰ ﺑﻪ ﻧﺎﻡ ﻛﻮﺭﻭﻣﻴﺘﺴﻮ )‪ (20‬ﻣﻼﻗﺎﺕ ﻣﻰﻛﻨﻨﺪ‪ .‬ﺯﻥ ﺍﺯ‬ ‫ﺁﻥﻫﺎ ﺩﻋﻮﺕ ﻣﻰﻛﻨﺪ ﺷﺐ ﺭﺍ ﺩﺭ ﺧﺎﻧﻪﺍﺵ ﺑﻪ ﺳﺮ ﻛﻨﻨﺪ‪ .‬ﺍﻟﺒﺘﻪ ﺑﻪ ﻳﻚ ﺷﺮﻁ‪ .‬ﺁﻥﻫﺎ ﺣﻖ ﻧﺪﺍﺭﻧﺪ ﺑﻪ‬ ‫ﺍﺗﺎﻕ ﺧﻮﺍﺏ ﻛﻮﺭﻭﻣﻴﺘﺴﻮ ﺳﺮﻙ ﺑﻜﺸﻨﺪ‪ .‬ﻛﻮﺭﻭ ﻛﻪ ﺍﺯ ﻫﻤﺎﻥ ﻟﺤﻈﻪﻯ ﺍﻭﻝ ﻋﺎﺷﻖ ﻛﻮﺭﻭﻣﻴﺘﺴﻮ ﺷﺪﻩ‪،‬‬ ‫ﺷﺐ ﺩﻭﻡ ﻃﺎﻗﺘﺶ ﺭﺍ ﺍﺯ ﺩﺳﺖ ﻣﻰﺩﻫﺪ ﻭ ﻛﻨﺠﻜﺎﻭﻯ ﺑﺮ ﺍﻭ ﻏﻠﺒﻪ ﻣﻰﻛﻨﺪ‪ .‬ﻭ ﺑﺪﻳﻦ ﺗﺮﺗﻴﺐ ﺍﺳﺖ ﻛﻪ‬ ‫ﺑﻪ ﺭﺍﺯ ﻫﻮﻟﻨﺎﻙ ﻛﻮﺭﻭﻣﻴﺘﺴﻮ ﭘﻰ ﻣﻰﺑﺮﺩ‪ .‬ﻛﻮﺭﻭ‪ ،‬ﻛﻮﺭﻭﻣﻴﺘﺴﻮ ﺭﺍ ﺩﺭ ﺣﺎﻝ ﻧﻮﺷﻴﺪﻥ ﺧﻮﻥ ﻳﻚ ﺍﻧﺴﺎﻥ‬ ‫ﻣﻰﺑﻴﻨﺪ ﻭ ﻣﺘﻮﺟﻪ ﻣﻰﺷﻮﺩ ﺍﻭ ﻳﻚ ﺧﻮﻥﺁﺷﺎﻡ ﺍﺳﺖ‪ .‬ﺑﻪ ﺯﻭﺩﻯ ﺍﺭﺗﺶ ﺳﺮﺥ ﺑﻪ ﺧﺎﻧﻪﻱ ﻛﻮﺭﻭﻣﻴﺘﺴﻮ‬ ‫ﺣﻤﻠﻪﻭﺭ ﻣﻰﺷﻮﺩ ﻭ ﻛﻮﺭﻭ ﺑﺎ ﺍﻳﻦ ﻛﻪ ﺑﻪ ﺳﺨﺘﻰ ﺑﺎ ﺁﻥﻫﺎ ﻣﺒﺎﺭﺯﻩ ﻣﻰﻛﻨﺪ‪ ،‬ﺷﻜﺴﺖ ﻣﻰﺧﻮﺭﺩ ﻭ ﺗﺎ‬ ‫ﻣﺮﺯ ﻣﺮگ ﭘﻴﺶ ﻣﻰﺭﻭﺩ‪ .‬ﺍﻣﺎ ﻛﻮﺭﻭﻣﻴﺘﺴﻮ ﺍﺯ ﺍﻭ ﺩﻋﻮﺕ ﻣﻰﻛﻨﺪ ﻛﻪ ﺩﺭ ﺳﻔﺮﻯ ﺑﻪ ﺩﺭﺍﺯﺍﻯ ﺍﺑﺪﻳﺖ‬ ‫ﺑﺎ ﺍﻭ ﻫﻤﺮﺍﻩ ﺷﻮﺩ‪ .‬ﻳﻌﻨﻰ ﺑﺎ ﻧﻮﺷﻴﺪﻥ ﺧﻮﻥ ﻛﻮﺭﻭﻣﻴﺘﺴﻮ ﺑﻪ ﻳﻚ ﺧﻮﻥﺁﺷﺎﻡ ﺗﺒﺪﻳﻞ ﺷﻮﺩ‪ .‬ﺍﻣﺎ ﭘﻴﺶ‬ ‫ﺍﺯ ﺁﻥﻛﻪ ﻛﻮﺭﻭ ﺑﻪ ﻳﻚ ﺧﻮﻥﺁﺷﺎﻡ ﻛﺎﻣﻞ ﺗﺒﺪﻳﻞ ﺷﻮﺩ‪ ،‬ﺑﻨﻜﻪ ﻛﻪ ﺑﻪﻃﻮﺭ ﻣﺨﻔﻴﺎﻧﻪ ﺑﻪ ﺍﺭﺗﺶ ﺳﺮﺥ‬ ‫ﭘﻴﻮﺳﺘﻪ ﺍﺳﺖ‪ ،‬ﺑﻪ ﺍﻭ ﺧﻴﺎﻧﺖ ﻣﻰﻛﻨﺪ ﻭ ﺑﺎ ﻛﺎﺗﺎﻧﺎﻳﺶ ﺳﺮ ﺍﺭﺑﺎﺑﺶ ﺭﺍ ﻗﻄﻊ ﻣﻰﻛﻨﺪ‪ .‬ﻭ ﺍﻳﻦ ﺷﺮﻭﻉ‬ ‫ﭼﺮﺧﻪﻯ ﺩﻳﻮﺍﻧﻪﻭﺍﺭ ﻣﺎﺟﺮﺍﻳﻰ ﺍﺳﺖ ﻛﻪ ﺣﻘﻴﻘﺘﺎً ﺗﻤﺎﻣﻰ ﻧﺪﺍﺭﺩ‪.‬‬ ‫ﺩﺭﺑﺎﺭﻩﻱ ﺍﻧﻴﻤﻪ‬ ‫ﺩﺍﺳﺘﺎﻥ ﺍﻳﻦ ﺍﻧﻴﻤﻪ ﺑﺮ ﺍﺳﺎﺱ ﻳﻚ »ﻧﻮﻩ« )‪ (21‬ژﺍﭘﻨﻰ ﺍﺳﺖ‪ .‬ﻧﻮﻩ ﻫﻤﺎﻥ ﺭﻗﺺ ﻭ ﻧﻤﺎﻳﺶ ﺗﺌﺎﺗﺮﻭﺍﺭ‬ ‫ژﺍﭘﻨﻰ ﺍﺳﺖ ﻛﻪ ﺍﺗﻔﺎﻗﺎً ﺩﺭ ﺍﺑﺘﺪﺍﻯ ﺍﻳﻦ ﺍﻧﻴﻤﻪ ﻧﻴﺰ ﻧﺸﺎﻥ ﺩﺍﺩﻩ ﺷﺪﻩ ﺍﺳﺖ‪ .‬ﻧﻮﻩ »ﺁﺩﺍﭼﻰﮔﺎﺭﺍ« ﻳﺎ‬ ‫»ﺗﭙﻪﻫﺎﻯ ﺁﺩﺍﭼﻰ«‪ ،‬ﻳﻜﻰ ﺍﺯ ﻗﺪﻳﻤﻰﺗﺮﻳﻦ ﺩﺍﺳﺘﺎﻥﻫﺎﻯ ژﺍﭘﻨﻰ ﺍﺳﺖ ﻛﻪ ﺍﺯ ﺟﻨﺒﻪﻫﺎﻯ ﻣﺨﺘﻠﻔﻰ‬ ‫ﺑﻪ ﺩﺍﺳﺘﺎﻥﻫﺎﻯ ﭘﺮﻳﺎﻥ ﺷﺒﺎﻫﺖ ﺩﺍﺭﺩ‪ .‬ﺍﻳﻦ ﻧﻤﺎﻳﺶ ﺩﺭﺑﺎﺭﻩﻯ ﺩﻭ ﺭﺍﻫﺐ ﺍﺳﺖ ﻛﻪ ﺩﺭ ﻃﻮﻓﺎﻧﻰ‬ ‫ﺳﻬﻤﮕﻴﻦ ﺑﻪ ﺧﺎﻧﻪﻯ ﺯﻧﻰ ﺑﻪ ﻧﺎﻡ ﻛﻮﺭﻭﻣﻴﺘﺴﻮ ﭘﻨﺎﻫﻨﺪﻩ ﻣﻰﺷﻮﻧﺪ؛ ﺍﻳﻦ ﺯﻥ ﻛﻮﺭﻭﺯﻭﻛﺎ ﻳﺎ ﺍﻫﺮﻳﻤﻦ‪-‬‬ ‫ﺯﻧﻰ ﺧﻮﻥﺁﺷﺎﻡ ﺍﺳﺖ‪ .‬ﻛﻮﺭﻭﻣﻴﺘﺴﻮ ﺍﺯ ﺁﻥﻫﺎ ﺩﺭﺧﻮﺍﺳﺖ ﻣﻰﻛﻨﺪ ﻛﻪ ﺑﻪ ﺍﺗﺎﻕ ﺧﻮﺍﺑﺶ ﺳﺮﻙ ﻧﻜﺸﻨﺪ‬ ‫ﻭ ﻭﻗﺘﻰ ﺭﺍﻫﺐﻫﺎ ﺍﻳﻦ ﻛﺎﺭ ﺭﺍ ﻣﻰﻛﻨﻨﺪ‪ ،‬ﺑﻪ ﺍﺗﺎﻗﻰ ﭘﺮ ﺍﺯ ﺟﺴﺪ ﺍﻧﺴﺎﻥ ﺑﺮ ﻣﻰﺧﻮﺭﻧﺪ‪ .‬ﺩﺍﺳﺘﺎﻥ ﺍﻳﻦ ﻧﻮﻩ‬ ‫ﺑﺎ ﭘﻴﺮﻭﺯﻯ ﺭﺍﻫﺐﻫﺎ ﺑﺮ ﻛﻮﺭﻭﻣﻴﺘﺴﻮ ﭘﺎﻳﺎﻥ ﻣﻰﮔﻴﺮﺩ‪.‬‬ ‫ﺷﺨﺼﻴﺖ ﻛﻮﺭﻭ ﻧﻴﺰ ﺑﺮ ﭘﺎﻳﻪﻯ ﻳﻜﻰ ﺍﺯ ﺑﺰﺭگﺗﺮﻳﻦ ﺷﻤﺸﻴﺮﺯﻧﺎﻥ ژﺍﭘﻨﻰ‪ ،‬ﻳﻌﻨﻰ »ﻣﻴﻨﺎﻣﻮﺗﻮﻧﻮ‬ ‫ﻳﻮﺷﻴﺘﺴﻮﻧﻪ« ﻛﻪ ﺑﺮﺍﺩﺭ ﺍﻭﻟﻴﻦ ﺷﻮﮔﺎﻥ ژﺍﭘﻦ ﺑﻮﺩ‪ ،‬ﻃﺮﺡﺭﻳﺰﻯ ﺷﺪﻩ ﺍﺳﺖ‪ .‬ﻗﻬﺮﻣﺎﻧﺎﻧﻪﺗﺮﻳﻦ ﺩﺍﺳﺘﺎﻥ‬ ‫ﺩﺭﺑﺎﺭﻩﻯ ﺍﻭ‪ ،‬ﻣﺎﺟﺮﺍﻯ ﻣﺒﺎﺭﺯﻩﻯ ﺍﻓﺴﺎﻧﻪﺍﻯ ﺍﻭ ﺑﺎ ﺑﻨﻜﻪ‪ ،‬ﺭﺍﻫﺒﻰ ﺑﻮﺩﺍﻳﻰ ﺍﺳﺖ ﻛﻪ ﺑﻌﺪ ﺍﺯ ﺷﻜﺴﺖ ﺩﺭ ﺑﺮﺍﺑﺮ‬ ‫ﻳﻮﺷﻴﺘﺴﻮﻧﻪ‪ ،‬ﻣﻼﺯﻡ ﻭ ﺩﺳﺖﺭﺍﺳﺖ ﺍﻭ ﻣﻰﺷﻮﺩ ﻭ ﺑﻪ ﻫﻤﺮﺍﻩ ﺍﻭ ﺩﺭ ﺣﺼﺮ ﻛﻮﺭﻭﻣﻮﮔﺎﻭﺍ ﻛﺸﺘﻪ ﻣﻰﺷﻮﺩ‪.‬‬ ‫‪149‬‬

‫ﻭﻳﮋﻩﻧﺎﻣﻪﻯ ﺧﻮﻥﺁﺷﺎﻡﻫﺎ‬

Kurozuka

‫ﺗﻠﻮﻳﺰﻳﻮﻥ‬

‫ﻣﻌﻤﺎﻳﻰ ﻭ ﺗﺮﺳﻨﺎﻙ ﺍﺳﺖ ﻭ ﺗﺎ ﭼﻨﺪﻳﻦ ﻗﺴﻤﺖ ﺣﺮﻓﻰ ﺍﺯ ﺧﻮﻥﺁﺷﺎﻣﺎﻥ ﺩﺭ ﻣﻴﺎﻥ ﻧﻴﺴﺖ؛ ﺍﻣﺎ ﺁﻥﭼﻪ‬ ‫ﻣﺎ ﺭﺍ ﺑﻪ ﺍﻳﻦ ﻓﻜﺮ ﻣﻰﺍﻧﺪﺍﺯﺩ ﻛﻪ ﺍﻳﻦ ﺩﺍﺳﺘﺎﻥ ﻣﺎﺟﺮﺍﻳﻰ ﺑﺎ ﺗﻢ ﺧﻮﻥﺁﺷﺎﻣﻰ ﺍﺳﺖ‪ ،‬ﺩﺭﺁﻣﺪ ﺩﺍﺳﺘﺎﻥ‬ ‫ﺍﺳﺖ‪ ،‬ﺑﻪ ﻋﻼﻭﻩﻯ ﺟﺎﻯ ﺩﻭ ﮔﺰﻳﺪﮔﻰ ﺑﺮ ﺭﻭﻯ ﺑﺪﻥ ﻛﻠﻴﻪﻯ ﻗﺮﺑﺎﻧﻴﺎﻥ‪.‬‬ ‫ﺷﻴﻜﻰ‪ ،‬ﺍﻧﻴﻤﻪﺍﻯ ﺍﺳﺖ ﻛﻪ ﺍﺯ ﺁﻏﺎﺯ ﻣﺘﻔﺎﻭﺕ ﺑﻮﺩﻥ ﺧﻮﺩﺵ ﺭﺍ ﺑﻪ ﺑﻴﻨﻨﺪﻩ ﺍﻋﻼﻡ ﻣﻰﻛﻨﺪ‪ .‬ﻣﻮﺳﻴﻘﻰ‬ ‫ﺁﻏﺎﺯﻳﻦ ﺑﺴﻴﺎﺭ ﻋﺎﻟﻰ ﺁﻥ‪ ،‬ﻭ ﺗﺼﺎﻭﻳﺮﻯ ﻛﻪ ﺍﺭﺍﺋﻪ ﻣﻰﺩﻫﺪ‪ ،‬ﺩﺍﺳﺘﺎﻥ ﺭﺍ ﺑﺎ ﺭﻣﺰ ﺑﺎﺯﮔﻮ ﻣﻰﻛﻨﻨﺪ ﻭ ﺧﺒﺮ‬ ‫ﺍﺯ ﻣﺎﺟﺮﺍﻳﻰ ﻫﻮﻟﻨﺎﻙ ﻭ ﭘﻴﭽﻴﺪﻩ ﻣﻰﺩﻫﻨﺪ‪ .‬ﺩﺍﺳﺘﺎﻥ ﻛﺎﺭﺁﮔﺎﻫﻰ ﺍﺳﺖ ﻭ ﺑﺎ ﻣﺮگ ﻳﻚ ﺩﺧﺘﺮ ﺟﻮﺍﻥ‪،‬‬ ‫ﺷﺮﻭﻉ ﺷﺪﻩ‪ ،‬ﺑﺎ ﻣﺮگﻫﺎﻯ ﭘﻰ ﺩﺭ ﭘﻰ ﺍﻫﺎﻟﻰ ﺍﺩﺍﻣﻪ ﭘﻴﺪﺍ ﻛﺮﺩﻩ ﻭ ﺑﻪ ﻧﺒﺮﺩ ﺍﻧﺴﺎﻥﻫﺎ ﻭ ﺍﻭﻛﻴﺎﮔﺎﺭﻯﻫﺎ‬ ‫ﻣﻰﺍﻧﺠﺎﻣﺪ‪.‬‬ ‫ﺩﺍﺳﺘﺎﻥ ﻛﺎﻣ ً‬ ‫ﻼ ﻣﻰﺗﻮﺍﻧﺪ ﺑﻴﻨﻨﺪﻩ ﺭﺍ ﺩﺭ ﺑﺨﺶﻫﺎﻳﻰ ﺑﻪ ﻭﺣﺸﺖ ﺑﻴﺎﻧﺪﺍﺯﺩ ﻭ ﻧﮕﺮﺍﻧﻰ ﺭﺍ ﺩﺭ ﻭﺟﻮﺩﺵ‬ ‫ﺍﻳﺠﺎﺩ ﻛﻨﺪ‪ .‬ﺑﺤﺚﻫﺎﻯ ﻓﻠﺴﻔﻰ ﺁﻥ ﻧﻴﺰ‪ ،‬ﺑﺴﻴﺎﺭ ﺯﻳﺒﺎ ﻭ ﺗﻔﻜﺮ ﺑﺮﺍﻧﮕﻴﺰ ﺍﺳﺖ‪ .‬ﺷﻴﻮﻩﻯ ﺭﻭﺍﻳﺖ ﺩﺭ ﺍﻧﻴﻤﻪ‪،‬‬ ‫ﺷﻴﻮﻩﺍﻯ ﻣﻨﺤﺼﺮ ﺑﻪ ﻓﺮﺩ ﺍﺳﺖ؛ ﺍﻳﻦ ﺩﺍﺳﺘﺎﻥ ﺑﺎ ﺷﺨﺼﻴﺘﻰ ﺷﺮﻭﻉ ﻣﻰﺷﻮﺩ ﻛﻪ ﺑﻪ ﻫﻴﭻ ﻭﺟﻪ ﺟﺰء‬ ‫ﻗﻬﺮﻣﺎﻧﺎﻥ ﺩﺍﺳﺘﺎﻥ ﻗﺮﺍﺭ ﻧﻤﻰﮔﻴﺮﺩ‪.‬‬ ‫ﻣﻦ ﺍﻳﻦ ﺍﻧﻴﻤﻪ ﺭﺍ ﺑﻪ ﻛﺴﺎﻧﻰ ﻛﻪ ﺍﺯ ﺗﺼﻮﻳﺮ ﻛﻠﻴﺸﻪﺍﻯ ﺧﻮﻥﺁﺷﺎﻣﺎﻥ ﺧﺴﺘﻪ ﺷﺪﻩﺍﻧﺪ ﻭ ﺑﻪ ﺩﺍﺳﺘﺎﻥﻫﺎﻯ‬ ‫ﻭﺣﺸﺖ ﻋﻼﻗﻪ ﺩﺍﺭﻧﺪ‪ ،‬ﺗﻮﺻﻴﻪ ﻣﻰﻛﻨﻢ ﻭ ﻓﻜﺮ ﻣﻰﻛﻨﻢ ﺍﺯ ﺩﻳﺪﻥ ﺁﻥ ﻟﺬﺕ ﺑﺒﺮﻳﺪ‪) .‬ﺍﻟﺒﺘﻪ ﺍﻣﻴﺪﻭﺍﺭﻡ‬ ‫ﻣﺜﻞ ﻣﻦ ﻧﺘﺮﺳﻴﺪ!(‬ ‫ﻛﻮﺭﻭﺯﻭﻛﺎ )‪(Kurozuka‬‬ ‫ﻭ ﺧﺎﻃﺮﺍﺗﻢ ﺍﺯ ﺫﻫﻨﻢ ﻣﺤﻮ ﻣﻰﺷﻮﻧﺪ‪ ...‬ﻣﮕﺮ ﻭﻗﺘﻰ ﻛﻪ ﺳﺮ ﻗﻄﻊ ﺷﺪﻩﺍﻡ ﺭﺍ ﺑﻪ ﺳﻴﻨﻪﺍﺕ‬ ‫ﻣﻰﻓﺸﺎﺭﻯ‪ ...‬ﻓﻘﻂ ﺩﺭ ﺁﻥ ﺯﻣﺎﻥ ﺧﺎﻃﺮﺍﺗﻢ ﺑﺎﺯ ﻣﻰﮔﺮﺩﻧﺪ‪.‬‬ ‫ﻣﺎﻧﮕﺎ‬ ‫ﻛﻮﺭﻭﺯﻭﻛﺎ‬ ‫ﻧﻮﻳﺴﻨﺪﻩ‪ :‬ﺑﺎﻛﻮ ﻳﻮﻣﻪﻣﺎﻛﻮﺭﺍ‬ ‫ﺗﺼﻮﻳﺮﮔﺮ‪ :‬ﺗﺎﻛﺎﺷﻰ ﻧﻮﮔﻮﭼﻰ‬ ‫ﺗﻌﺪﺍﺩ ﻗﺴﻤﺖﻫﺎ‪10 :‬‬ ‫ﻭﺿﻌﻴﺖ‪ :‬ﺗﻤﺎﻡ ﺷﺪﻩ‬ ‫ژﺍﻧﺮ‪ :‬ﻋﺎﺷﻘﺎﻧﻪ‪ ،‬ﺣﺎﺩﺛﻪﺍﻯ‪ ،‬ﻣﺎﻭﺭﺍءﺍﻟﻄﺒﻴﻌﻪ‪،‬‬ ‫ﻋﻠﻤﻰﺗﺨﻴﻠﻰ)ﺳﺎﻳﺒﺮﭘﺎﻧﻚ(‬

‫ﺍﻧﻴﻤﻪ‬ ‫ﻛﻮﺭﻭﺯﻭﻛﺎ‬ ‫ﻛﺎﺭﮔﺮﺩﺍﻥ‪ :‬ﺗﺘﺴﻮﺭﻭ ﺁﺭﺍﻛﻰ‬ ‫ﺍﺳﺘﻮﺩﻳﻮ‪Madhouse :‬‬ ‫ﺗﻌﺪﺍﺩ ﻗﺴﻤﺖﻫﺎ‪12 :‬‬ ‫ﻭﺿﻌﻴﺖ‪ :‬ﺗﻤﺎﻡ ﺷﺪﻩ‬ ‫ژﺍﻧﺮ‪ :‬ﻋﺎﺷﻘﺎﻧﻪ‪ ،‬ﺣﺎﺩﺛﻪﺍﻯ‪ ،‬ﻣﺎﻭﺭﺍءﺍﻟﻄﺒﻴﻌﻪ‪،‬‬ ‫ﻋﻠﻤﻰﺗﺨﻴﻠﻰ)ﺳﺎﻳﺒﺮﭘﺎﻧﻚ(‬

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‫ﻭﻳﮋﻩﻧﺎﻣﻪﻯ ﺧﻮﻥﺁﺷﺎﻡﻫﺎ‬

‫ﺍﻭﺯﺍﻛﻰ ﭘﺮﺳﺘﺎﺭ ﺍﺳﺖ ﻭ ﺣﺘﺎ ﺑﻪ ﻗﻴﻤﺖ ﻣﺮﮔﺶ ﺣﺎﺿﺮ ﻧﻴﺴﺖ ﺧﻮﻥ ﻫﻴﭻﻛﺲ ﺭﺍ ﺑﺨﻮﺭﺩ ﻭ ﺩﺭ ﻧﻬﺎﻳﺖ‬ ‫ﺩﺭ ﻛﻨﺎﺭ ﻣﻌﺸﻮﻗﺶ ﺗﻮﺭﻭ‪ ،‬ﻛﺸﺘﻪ ﻣﻰﺷﻮﺩ‪.‬‬ ‫ﻣﺴﺄﻟﻪﻯ ﺑﻌﺪﻯ ﻋﺮﻑ ﻭ ﺳﻨﺖ ﺍﺳﺖ ﻛﻪ ﺑﻪ ﺻﻮﺭﺕ ﻧﻤﺎﺩﻳﻦ ﺩﺭ ﻗﺎﻟﺐ ﺭﻳﺶﺳﻔﻴﺪﺍﻥ ﺩﻫﻜﺪﻩ ﻧﺸﺎﻥ‬ ‫ﺩﺍﺩﻩ ﻣﻰﺷﻮﺩ ﻛﻪ ﺟﺰ ﻳﻜﻰ ﺩﻭ ﻧﻔﺮﺷﺎﻥ‪ ،‬ﭼﻬﺮﻩﻯ ﻣﻨﻔﻮﺭﻯ ﻧﺰﺩ ﻣﺨﺎﻃﺐ ﭘﻴﺪﺍ ﻣﻰﻛﻨﻨﺪ‪ .‬ﺍﻳﻦ ﻋﺪﻩ‬ ‫ﺣﺎﺿﺮ ﻧﻴﺴﺘﻨﺪ ﺑﭙﺬﻳﺮﻧﺪ ﻛﻪ ﻣﺸﻜﻠﻰ ﺑﺮﺍﻯ ﺩﻫﻜﺪﻩ ﭘﻴﺶ ﺁﻣﺪﻩ ﻭ ﺗﺮﺟﻴﺢ ﻣﻰﺩﻫﻨﺪ ﺑﻪ ﻫﻤﺎﻥ ﺗﺮﺗﻴﺐ‬ ‫ﻗﺒﻠﻰ ﺑﻪ ﺯﻧﺪﮔﻰﺷﺎﻥ ﺍﺩﺍﻣﻪ ﺩﻫﻨﺪ؛ ﻭ ﻭﻗﺘﻰ ﻭﺍﻗﻌﻴﺖ ﺁﺷﻜﺎﺭ ﻣﻰﺷﻮﺩ‪ ،‬ﺑﺮﺧﻰ ﻓﺮﺍﺭ ﻣﻰﻛﻨﻨﺪ‪ .‬ﺑﻨﺎﺑﺮﺍﻳﻦ‬ ‫ﻭﺿﻌﻴﺖ ﻛﻠﻰ ﺟﺎﻣﻌﻪﻯ ﺳﻮﺗﻮﺑﺎ ﺑﺪﻳﻦ ﺗﺮﺗﻴﺐ ﺍﺳﺖ ﻛﻪ ﻧﺴﻞ ﺍﻭﻝ ﻋﺪﻩﺍﻯ ﺗﺮﺳﻮ ﻫﺴﺘﻨﺪ ﻭ ﺑﻴﺸﺘﺮ‬ ‫ﻧﺴﻞ ﺳﻮﻡ ﺑﻪ ﺷﻴﻜﻰ ﺗﺒﺪﻳﻞ ﻣﻰﺷﻮﻧﺪ ﻭ ﺣﺎﻻ ﺍﻳﻦ ﻭﻇﻴﻔﻪﻯ ﻧﺴﻞ ﺩﻭﻡ ﻳﺎ ﭘﺪﺭﺍﻥ ﻭ ﻣﺎﺩﺭﺍﻥ ﻧﺴﻞ‬ ‫ﺳﻮﻡ ﺍﺳﺖ ﻛﻪ ﺁﻥﻫﺎ ﺭﺍ ﻧﺎﺑﻮﺩ ﻛﻨﻨﺪ‪.‬‬ ‫ﺩﺭ ﺍﻧﺘﻬﺎ ﺍﻣﻴﺪﻭﺍﺭﻡ ﻫﺮ ﻃﻮﺭ ﻛﻪ ﺷﺪﻩ ﺍﻳﻦ ﺍﻧﻴﻤﻪ ﺭﺍ ﭘﻴﺪﺍ ﻛﺮﺩﻩ ﻭ ﺍﺯ ﺩﻳﺪﻥ ﺁﻥ ﻟﺬﺕ ﺑﺒﺮﻳﺪ‪.‬‬ ‫‪ :Φ‬ﻳﻜﻰ ﺩﻳﮕﺮ ﺍﺯ ﺍﻧﻴﻤﻪﻫﺎﻳﻰ ﻛﻪ ﺍﺯ ﺍﺳﺘﻔﺎﺩﻩ ﺍﺯ ﻧﺎﻡ »ﻭﻣﭙﺎﻳﺮ« ﺍﺟﺘﻨﺎﺏ ﻛﺮﺩﻩ ﻭ ﺑﺎ ﻛﻤﻰ ﺗﻐﻴﻴﺮ ﺩﺭ‬ ‫ﻭﻳﮋﮔﻰﻫﺎ‪ ،‬ﺁﻥﻫﺎ ﺭﺍ ﺷﻴﻜﻰ ﻧﺎﻣﻴﺪﻩ ﺍﺳﺖ‪ .‬ﻳﻜﻰ ﺍﺯ ﻧﻘﺎﻁ ﻗﻮﺕ ﺍﻳﻦ ﺳﺮﻯ‪ ،‬ﻣﻮﺳﻴﻘﻰ ﻣﺘﻦ ﺁﻥ ﺍﺳﺖ‬ ‫ﻛﻪ ﻫﻤﺎﻥ ﺣﺲ ﺗﺮﺱ ﻭ ﺍﺿﻄﺮﺍﺑﻰ ﺭﺍ ﻛﻪ ﻣﺪ ﻧﻈﺮ ﺳﺎﺯﻧﺪﻩ ﺑﻮﺩﻩ‪ ،‬ﺑﻪ ﺷﻤﺎ ﻣﻨﺘﻘﻞ ﻣﻰﻛﻨﺪ‪ .‬ﺧﻂ‬ ‫ﺩﺍﺳﺘﺎﻧﻰ ﺩﺍﺭﺍﻯ ﻧﻮﺁﻭﺭﻯ ﺍﺳﺖ ﻭ ﺗﻘﺮﻳﺒﺎً ﺩﺭ ﻫﺮ ﻗﺴﻤﺖ ﻧﻜﺘﻪﺍﻯ ﺑﺮﺍﻯ ﺷﮕﻔﺖﺯﺩﻩ ﻛﺮﺩﻥ ﺷﻤﺎ ﺩﺍﺭﺩ‬ ‫ﻭ ﺩﺭ ﭘﺎﻳﺎﻥ‪ ،‬ﺷﻤﺎ ﺑﻰﺷﻚ ﻣﻨﺘﻈﺮ ﻗﺴﻤﺖ ﺑﻌﺪﻯ ﺧﻮﺍﻫﻴﺪ ﺑﻮﺩ‪ .‬ﺗﻨﻬﺎ ﻣﺸﻜﻞ ﻣﻮﺟﻮﺩ ﻛﻪ ﺑﺴﻴﺎﺭﻯ‬ ‫ﺍﺯ ﺍﻧﻴﻤﻪﻫﺎ ﺑﻪ ﺁﻥ ﺩﭼﺎﺭﻧﺪ‪ ،‬ﭘﺎﻳﺎﻥ ﻧﺎﻣﻨﺎﺳﺐ ﻭ ﺑﺎﺯ ﺍﺳﺖ ﻛﻪ ﺷﻤﺎ ﺭﺍ ﺑﺎ ﺳﺌﻮﺍﻻﺕ ﺑﻰﺷﻤﺎﺭ ﻭ ﺍﺳﺎﺳﻰ‬ ‫ﺑﻪ ﺣﺎﻝ ﺧﻮﺩ ﻣﻰﮔﺬﺍﺭﺩ‪ .‬ﺑﺎ ﺍﻳﻦ ﺣﺎﻝ ﺷﻴﻜﻰ ﻳﻜﻰ ﺍﺯ ﺑﻬﺘﺮﻳﻦﻫﺎ ﺩﺭ ژﺍﻧﺮ ﺧﻮﺩ ﺍﺳﺖ ﻭ ﺣﺘﻤﺎ ﺍﺭﺯﺵ‬ ‫ﺩﻳﺪﻥ ﺭﺍ ﺩﺍﺭﺩ‪.‬‬ ‫‪ :Ω‬ﻭﻗﺘﻰ ﺑﺮﺍﻯ ﺍﻭﻟﻴﻦ ﺑﺎﺭ ﺍﻳﻦ ﺍﻧﻴﻤﻪ ﺭﺍ ﺍﺯ ﺩﻭﺳﺘﺎﻧﻢ ﮔﺮﻓﺘﻢ ﻭ ﻓﻬﻤﻴﺪﻡ ﺗﻢ ﺍﺻﻠﻰ ﺁﻥ ﺧﻮﻥﺁﺷﺎﻣﺎﻥ‬ ‫ﻫﺴﺘﻨﺪ‪ ،‬ﺑﺴﻴﺎﺭ ﺧﻮﺷﺤﺎﻝ ﺷﺪﻡ ﻭ ﺑﺎ ﻓﺮﺍﻍ ﺑﺎﻝ‪ ،‬ﻟﭗﺗﺎﭘﻢ ﺭﺍ ﺭﻭﺷﻦ ﻛﺮﺩﻡ ﻛﻪ ﻳﻚ ﺍﻧﻴﻤﻪﻯ ﺯﻳﺒﺎ ﻭ‬ ‫ﺟﺬﺍﺏ ﺑﺒﻴﻨﻢ‪ .‬ﺷﻴﻜﻰ ﺍﻣﺎ‪ ،‬ﺑﺎ ﺁﻥﭼﻪ ﻣﻦ ﺩﺭ ﻧﻈﺮ ﺩﺍﺷﺘﻢ‪ ،‬ﺑﺴﻴﺎﺭ ﻣﺘﻔﺎﻭﺕ ﺑﻮﺩ‪ .‬ﭼﻬﺮﻩﻯ ﺧﻮﻥﺁﺷﺎﻣﺎﻥ‪،‬‬ ‫ﺩﺭ ﭼﻨﺪ ﺩﻫﻪﻯ ﺍﺧﻴﺮ‪ ،‬ﺗﻐﻴﻴﺮ ﻗﺎﺑﻞ ﺗﻮﺟﻬﻰ ﺩﺍﺷﺘﻪ‪ .‬ﺁﻥﻫﺎ ﺟﺎﻳﻰ ﺑﻪ ﺻﻮﺭﺕ ﻣﻮﺟﻮﺩﺍﺗﻰ ﻣﺨﻮﻑ ﻭ‬ ‫ﺗﺮﺳﻨﺎﻙ ﻭ ﻭﺣﺸﻰ ﺗﺮﺳﻴﻢ ﺷﺪﻩﺍﻧﺪ ﻭ ﺩﺭ ﺟﺎﻯ ﺩﻳﮕﺮ‪ ،‬ﺍﺷﺮﺍﻑﺯﺍﺩﮔﺎﻧﻰ ﺯﻳﺒﺎ‪ ،‬ﻗﺪﺭﺗﻤﻨﺪ ﻭ ﻋﺎﺷﻖﭘﻴﺸﻪ‪.‬‬ ‫ﺁﻥﭼﻨﺎﻥ ﻛﻪ ﻣﻦ‪ ،‬ﺷﺨﺼﺎً ﻣﺪﺕﻫﺎ ﺑﻮﺩ ﻛﻪ ﺑﺎ ﺷﻨﻴﺪﻥ ﻧﺎﻡ ﺧﻮﻥﺁﺷﺎﻡ‪ ،‬ﺑﻴﺸﺘﺮ ﺑﻪ ﻳﺎﺩ ﭼﻬﺮﻩﻯ ﺩﻭﻡ‬ ‫ﺁﻥﻫﺎ ﻣﻰﺍﻓﺘﺎﺩﻡ‪ .‬ﺳﺮﻯ ﮔﺮگ ﻭ ﻣﻴﺶ )‪ ،(17‬ﻧﻤﻮﻧﻪﻯ ﺑﺎﺭﺯ ﻭ ﻓﺮﺍﮔﻴﺮ ﺍﻳﻦ ﺗﺼﻮﻳﺮ ﺍﺳﺖ‪.‬‬ ‫ﺷﻴﻜﻰ ﺍﻣﺎ‪ ،‬ﺭﻭﻳﻜﺮﺩ ﺩﻳﮕﺮﻯ ﻧﺴﺒﺖ ﺑﻪ ﺧﻮﻥﺁﺷﺎﻣﺎﻥ ﺩﺍﺭﺩ‪ .‬ﻋﺸﻖ ﺑﻪ ﻣﻌﻨﺎﻳﻰ ﻛﻪ ﺩﺭ ﺑﺴﻴﺎﺭﻯ ﺍﺯ‬ ‫ﺍﻭﻗﺎﺕ ﺑﺎ ﺗﻢ ﺧﻮﻥﺁﺷﺎﻣﻰ ﻫﻤﺮﺍﻩ ﺍﺳﺖ‪ ،‬ﺩﺭ ﺍﻳﻦ ﺩﺍﺳﺘﺎﻥ ﺟﺎﻳﻰ ﻧﺪﺍﺭﺩ؛ ﺗﻨﻬﺎ ﺭﺩﻯ ﻛﻪ ﺍﺯ ﻋﺸﻖ‬ ‫ﻣﻰﺑﻴﻨﻴﻢ‪ ،‬ﺭﺍﺑﻄﻪﻯ ﺑﺪﻓﺮﺟﺎﻣﻰ ﺍﺳﺖ ﻛﻪ ﺑﻪ ﻗﺮﺑﺎﻧﻰ ﺷﺪﻥ ﻣﻌﺸﻮﻕ ﻣﻨﺘﻬﻰ ﻣﻰﺷﻮﺩ‪ .‬ﺩﺍﺳﺘﺎﻥ‪،‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،9-10‬ﺷﻬﺮﻳﻮﺭ ﻭ ﻣﻬﺮ ‪1390‬‬

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‫ﺗﻠﻮﻳﺰﻳﻮﻥ‬

‫ﺑﻴﺸﺘﺮ ﻣﻮﺿﻮﻉ ﺍﺣﺴﺎﺳﺎﺕ ﺷﺨﺼﻴﻪ‪ .‬ﺑﺮﺍﻯ ﻣﻦ ﺳﻮﻧﺎﻛﻮ ﺳﻤﺒﻞ ﻓﺮﻭﭘﺎﺷﻴﻪ‪ .‬ﻫﻤﻪ ﭼﻴﺰ ﻧﻬﺎﻳﺘﺎً ﺍﺯ ﺑﻴﻦ ﻣﻰﺭﻩ ﻭ ﻧﺎﭘﺪﻳﺪ‬ ‫ﻣﻰﺷﻪ‪ .‬ﺍﻣﺎ ﺳﻮﻧﺎﻛﻮ ﺩﺭﺑﺮﺍﺑﺮ ﺍﻳﻦ ﻧﺎﺑﻮﺩﻯ ﻣﻰﺍﻳﺴﺘﻪ ﻭ ﻣﺒﺎﺭﺯﻩ ﻣﻰﻛﻨﻪ‪ .‬ﺍﻳﻦ ﺑﺨﺶ ﺍﺯ ﻭﺟﻮﺩﺷﻪ ﻛﻪ ﻣﻨﻮ ﻣﺘﺄﺛﺮ‬ ‫ﻣﻰﻛﻨﻪ‪ .‬ﺍﻳﻦ ﺑﺨﺶ ﺍﺯ ﻭﺟﻮﺩﺵ ﺭﻭ ﺩﻭﺳﺖ ﺩﺍﺭﻡ‪«.‬‬ ‫‪ :Ψ‬ﺍﻳﻦ ﺍﻧﻴﻤﻪ ﻣﺨﺎﻃﺒﺎﻧﺶ ﺭﺍ ﺑﺎ ﻣﺴﺎﺋﻞ ﻣﺨﺘﻠﻔﻰ ﺩﺭﮔﻴﺮ ﻣﻰﻛﻨﺪ‪ .‬ﻣﻬﻢﺗﺮ ﺍﺯ ﻫﻤﻪ‪ ،‬ﺩﻳﺪ ﺳﻨﺘﻰ ﻣﺎ‬ ‫ﻧﺴﺒﺖ ﺑﻪ ﻫﻴﻮﻻ ﺍﺳﺖ‪ .‬ﺁﻳﺎ ﻫﻴﻮﻻﻫﺎ ﻭﺍﻗﻌﺎً ﺑﺪ ﻫﺴﺘﻨﺪ؟ ﻳﺎ ﺣﺪﺍﻗﻞ ﺑﻪ ﻫﻤﺎﻥ ﺑﺪﻯ ﻫﺴﺘﻨﺪ ﻛﻪ ﻣﺎ ﻓﻜﺮ‬ ‫ﻣﻰﻛﻨﻴﻢ؟ ﺩﺭ ﺍﺑﺘﺪﺍﻯ ﺩﺍﺳﺘﺎﻥ ﺑﺎ ﺩﻫﻜﺪﻩﺍﻯ ﺭﻭﺑﻪﺭﻭ ﻫﺴﺘﻴﻢ ﻛﻪ ﭘﺮ ﺍﺯ ﺧﺎﻟﻪﺧﺎﻥﺑﺎﺟﻰﻫﺎ ﻭ ﺁﺩﻡﻫﺎﻯ‬ ‫ﺳﺎﺩﻩ ﻭ ﺣﺮﺍﻑ ﺍﺳﺖ ﻭ ﻭﺍﻗﻌﺎً ﺑﺪﻣﺎﻥ ﻧﻤﻰﺁﻳﺪ ﻛﻪ ﻳﻚ ﺍﭘﻴﺪﻣﻰ ﺑﻴﺎﻳﺪ ﻭ ﻫﻤﻪﺷﺎﻥ ﺭﺍ ﺍﺯ ﺑﻴﻦ ﺑﺒﺮﺩ‪ .‬ﺍﻣﺎ‬ ‫ﺑﻌﺪ ﺑﺎ ﺷﻴﻜﻰﻫﺎ ﺭﻭﺑﻪﺭﻭ ﻣﻰﺷﻮﻳﻢ ﻛﻪ ﻫﻴﻮﻻﻫﺎﻯ ﻣﺎﺟﺮﺍ ﻫﺴﺘﻨﺪ ﻭ ﭼﻮﻥ ﺍﻧﺴﺎﻥ ﻧﻴﺴﺘﻨﺪ‪ ،‬ﺳﺮﻳﻌﺎً‬ ‫ﺣﺲ ﻧﻔﺮﺗﻤﺎﻥ ﺭﺍ ﻓﺮﺍﻣﻮﺵ ﻣﻰﻛﻨﻴﻢ ﻭ ﺍﻣﻴﺪﻭﺍﺭﻳﻢ ﺍﻫﺎﻟﻰ ﻣﺘﺤﺪ ﺷﻮﻧﺪ ﻭ ﺷﻴﻜﻰﻫﺎ ﺭﺍ ﻧﺎﺑﻮﺩ ﻛﻨﻨﺪ ﻭ ﺍﺯ‬ ‫ﻛﺸﺘﺎﺭ ﺑﻰﺭﺣﻤﺎﻧﻪﻯ ﺷﻴﻜﻰﻫﺎ ﺣﺘﺎ ﻟﺬﺕ ﻫﻢ ﻣﻰﺑﺮﻳﻢ‪ .‬ﻣﺜ ً‬ ‫ﻼ ﭼﻴﺰﻭﺭﻭ ﻛﻴﺮﻳﺸﻴﻜﻰ ﺩﺭ ﻳﻚ ﺻﺤﻨﻪﻯ‬ ‫ﺩﺍﺳﺘﺎﻥ ﺯﻧﺪﮔﻰﺍﺵ ﺭﺍ ﺑﺮﺍﻯ ﺗﻮﺷﻴﻮ ﺗﻌﺮﻳﻒ ﻣﻰﻛﻨﺪ ﻭ ﺷﺎﻳﺪ ﻫﻤﺪﺭﺩﻯ ﻣﺨﺎﻃﺐ ﺭﺍ ﺑﺮﺍﻧﮕﻴﺰﺩ؛ ﺍﻣﺎ ﺍﻳﻦ‬ ‫ﻣﻮﺿﻮﻉ ﺑﻪ ﻫﻴﭻ ﻭﺟﻪ ﺑﺎﻋﺚ ﻧﻤﻰﺷﻮﺩ ﺍﺯ ﻛﺸﺘﻪ ﺷﺪﻥ ﺧﻮﻥﺁﻟﻮﺩ ﺍﻭ ﺩﺭ ﺻﺤﻨﻪﻯ ﺑﻌﺪ ﻟﺬﺕ ﻧﺒﺮﻳﺪ ﻭ‬ ‫ﺗﻮﻯ ﺩﻟﺘﺎﻥ ﻧﮕﻮﻳﻴﺪ ﻛﻪ ﺣﻘﺶ ﺑﻮﺩ‪ .‬ﺍﻭ ﺑﺎﻳﺪ ﺑﻪ ﺧﺎﻃﺮ ﮔﻨﺎﻫﺎﻧﺶ ﻛﺸﺘﻪ ﻣﻰﺷﺪ!‬ ‫ﺍﻣﺎ ﺩﻗﻴﻘﺎً ﻫﻤﻴﻦﺟﺎ ﺍﺳﺖ ﻛﻪ ﺍﻧﻴﻤﻪ ﺭﻭﻯ ﺣﺴﺎﺳﻴﺖ ﺭﻭﺡ ﺑﺸﺮ ﻭ ﺳﻄﺢ ﺁﮔﺎﻫﻰ ﺍﻭ ﺍﺯ ﺍﺧﻼﻗﻴﺎﺕ‬ ‫ﺩﺳﺖ ﻣﻰﮔﺬﺍﺭﺩ‪ .‬ﻛﺪﺍﻡ ﮔﻨﺎﻩ؟ ﺁﻳﺎ ﭼﻴﺰﻭﺭﻭ ﺍﺯ ﺳﻴﺸﻴﺮﻭ ﻛﻴﺮﻳﺸﻴﻜﻰ ﻛﻪ ﺍﻋﺘﺮﺍﻑ ﻣﻰﻛﻨﺪ ﺍﺯ ﻛﺸﺘﻦ‬ ‫ﺑﺮﺍﻯ ﺍﺭﺿﺎء ﺣﺲ ﺑﺮﺗﺮﻯﺍﺵ ﺍﺳﺘﻔﺎﺩﻩ ﻣﻰﻛﻨﺪ‪ ،‬ﮔﻨﺎﻫﻜﺎﺭﺗﺮ ﺍﺳﺖ؟ ﻳﺎ ﺍﺯ ﻣﮕﻮﻣﻰ ﻛﻪ ﺑﻪ ﺧﺎﻃﺮ ﺣﺲ‬ ‫ﺣﺴﺎﺩﺕ ﻭ ﺗﻨﻔﺮ‪ ،‬ﺧﺎﻧﻮﺍﺩﻩﻯ ﺩﻭﺳﺘﺎﻧﺶ ﺭﺍ ﻣﻰﻛﺸﺪ؟ ﺩﺭ ﻭﺍﻗﻊ ﻫﻤﺎﻥﻃﻮﺭ ﻛﻪ ﺳﻮﻧﺎﻛﻮ ﻣﻰﮔﻮﻳﺪ‪ ،‬ﮔﻨﺎﻩ‬ ‫ﺍﻭ ﺻﺮﻓﺎً ﭘﺮ ﻛﺮﺩﻥ ﺷﻜﻤﺶ ﺍﺳﺖ‪ .‬ﺩﺭ ﭘﺎﻳﺎﻥ ﻣﺎﺟﺮﺍ ﻣﺮﺩﻡ ﺧﺸﻤﮕﻴﻦ ﺣﺘﺎ ﺧﺎﺩﻣﻴﻦ ﺑﻰﮔﻨﺎﻩ ﻣﻌﺒﺪ‬ ‫ﺭﺍ ﺑﻪ ﺧﺎﻃﺮ ﺷﻚ ﺑﻰﺟﺎﻳﺸﺎﻥ ﻗﺘﻞﻋﺎﻡ ﻣﻰﻛﻨﻨﺪ ﻭ ﺑﺪﻳﻦ ﺗﺮﺗﻴﺐ ﺍﻳﻦ ﺍﻣﻜﺎﻥ ﺭﺍ ﺑﻪ ﺩﺳﺖ ﻣﻰﺩﻫﻨﺪ‬ ‫ﻛﻪ ﺑﺪﻭﻥ ﺍﻳﻦ ﻛﻪ ﺑﺨﻮﺍﻫﻴﻢ ﺟﺎﻯ ﺩﻭﺭﻯ ﺑﺮﻭﻳﻢ ﻭ ﺑﻪ ﺑﺮﺭﺳﻰ ﺟﻨﮓﻫﺎﻯ ﺟﻬﺎﻧﻰ ﻳﺎ ﺟﻨﮓ ﻭﻳﺘﻨﺎﻡ ﻳﺎ‬ ‫ﻛﺸﺘﺎﺭ ﺭﻭﺍﻧﺪﺍ ﺑﭙﺮﺩﺍﺯﻳﻢ‪ ،‬ﻃﺒﻴﻌﺖ ﺁﺩﻡ ﻭ ﺷﻴﻜﻰ ﺭﺍ ﺑﺎ ﻫﻢ ﻣﻘﺎﻳﺴﻪ ﻛﻨﻴﻢ‪.‬‬ ‫ﺍﻳﻦ ﺍﻧﻴﻤﻪ ﺍﺯ ﻳﻚ ﻧﻈﺮ ﺩﻳﮕﺮ ﻧﻴﺰ ﺩﺭ ﺭﻭﺍﻳﺖ ﺧﻮﻥﺁﺷﺎﻣﻰﺍﺵ ﺗﺼﻮﻳﺮﻯ ﻧﻮﻳﻦ ﻭ ﻏﺎﻓﻠﮕﻴﺮﻛﻨﻨﺪﻩ ﺑﻪ‬ ‫ﺩﺳﺖ ﻣﻰﺩﻫﺪ‪ .‬ﺷﻴﻜﻰﻫﺎ ﺗﺎ ﻫﻤﻴﻦ ﺩﻳﺮﻭﺯ ﺍﻫﺎﻟﻰ ﺩﻫﻜﺪﻩ ﺑﻮﺩﻩﺍﻧﺪ ﻭ ﻭﺍﻗﻌﺎً ﺑﺮﺍﻯ ﻣﺨﺎﻃﺐ ﺁﺷﻨﺎ‬ ‫ﻫﺴﺘﻨﺪ‪ .‬ﺧﻮﻥﺁﺷﺎﻡ ﻣﺎﺟﺮﺍ ﻳﻚ ﻫﻴﻮﻻﻯ ﺩﻭﺭﺩﺳﺖ ﻣﺜﻞ ﺩﺭﺍﻛﻮﻻ ﻧﻴﺴﺖ ﻛﻪ ﻣﺮﺑﻮﻁ ﺑﻪ ﮔﺬﺷﺘﻪﻯ‬ ‫ﺗﺎﺭﻳﺦ ﺑﺎﺷﺪ‪ .‬ﺷﻴﻜﻰﻫﺎ ﻭ ﺍﻧﺴﺎﻥﻫﺎ ﺗﺎ ﻳﻚ ﻣﺎﻩ ﭘﻴﺶ ﺑﺎ ﻫﻢ ﻓﺎﻣﻴﻞ‪ ،‬ﻫﻤﺴﺎﻳﻪ ﻳﺎ ﻫﻤﻜﺎﺭ ﺑﻮﺩﻧﺪ‪ .‬ﻫﻤﻴﻦ‬ ‫ﻗﻀﻴﻪ ﺩﺭ ﻫﺮ ﺩﻭ ﺟﺒﻬﻪ ﺑﺎﻋﺚ ﺑﺮﻭﺯ ﻣﻮﻗﻌﻴﺖﻫﺎﻯ ﺟﺎﻟﺒﻰ ﻣﻰﺷﻮﺩ‪ .‬ﺍﺯ ﺟﻤﻠﻪ ﻣﺎﺟﺮﺍﻯ ﺗﻮﻣﻴﻮ ﺍﻭﻛﺎﻭﺍ‬ ‫ﻭ ﭘﺴﺮﺵ ﺁﺗﺴﻮﺷﻰ ﻭ ﺗﻔﺎﻭﺕ ﺁﻥ ﺑﺎ ﻣﺎﺟﺮﺍﻯ ﺗﻮﺭﻭ ﻭ ﭘﺪﺭﺵ ﻛﻪ ﺍﻭﻟﻰ ﺑﺪﻭﻥ ﻛﻤﺘﺮﻳﻦ ﺷﻜﻰ ﭘﺴﺮﺵ‬ ‫ﺭﺍ ﻣﻰﻛﺸﺪ‪ ،‬ﺍﻣﺎ ﺩﻭﻣﻰ ﺣﺎﺿﺮ ﻧﻴﺴﺖ ﺍﻳﻦ ﻛﺎﺭ ﺭﺍ ﺑﻜﻨﺪ‪ .‬ﻳﺎ ﺭﻳﺘﺴﻮﻛﻮ ﻛﺎﻧﻰﻫﻴﺮﻭ ﻛﻪ ﺩﺭ ﻛﻠﻴﻨﻴﻚ‬ ‫‪145‬‬

‫ﻭﻳﮋﻩﻧﺎﻣﻪﻯ ﺧﻮﻥﺁﺷﺎﻡﻫﺎ‬

‫ﺍﻧﮕﺎﺭ ﺍﻭﻧﺎ ﺍﺷﺘﺒﺎﻫﻦ‪ ،‬ﻧﻪ ﺧﻮﺩﺗﻮﻥ‪ .‬ﺍﺯ ﺩﻫﺎﺗﻰ ﺑﻮﺩﻥ ﻭ ﺑﻰﺳﻠﻴﻘﻪ ﺑﻮﺩﻥ ﺍﺣﺴﺎﺱ ﺷﺮﻡ ﻧﻤﻰﻛﻨﻴﻦ‪ .‬ﺩﻫﻜﺪﻩﺍﻯ ﻣﺜﻞ ﺍﻳﻦ‬ ‫ﺍﺯ ﺍﻭﻝ ﺍﺻ ًﻼ ﻧﺒﺎﻳﺪ ﻭﺟﻮﺩ ﻣﻰﺩﺍﺷﺖ‪ .‬ﺍﺯ ﺍﻳﻦ ﻛﻪ ﺗﻮﻯ ﺍﻳﻦ ﺩﻫﻜﺪﻩ ﺑﻪ ﺩﻧﻴﺎ ﺍﻭﻣﺪﻡ ﻣﺘﻨﻔﺮﻡ‪ .‬ﻣﻰﺧﻮﺍﻡ ﺍﻳﻦ ﺩﻫﻜﺪﻩ ﺍﺯ ﺑﻴﻦ‬ ‫ﺑﺮﻩ‪ .‬ﻣﻦ ﻫﺮﮔﺰ ﻧﻤﻰﺧﻮﺍﺳﺘﻢ ﺍﻳﻦﺟﺎ ﺑﺎﺷﻢ‪ ...‬ﻣﻦ ﻫﺮﮔﺰ ‪«...‬‬ ‫ﺗﻮﺭﻭ ﻣﻮﺗﻮ‪ :‬ﺗﻮﺭﻭ ﻫﻔﺪﻩ ﺳﺎﻝ ﺩﺍﺭﺩ ﻭ ﺑﻬﺘﺮﻳﻦ ﺩﻭﺳﺖ ﻧﺎﺗﺴﻮﻧﻮ ﺍﺳﺖ ﻭ ﺗﻨﻬﺎ ﻛﺴﻰ ﺍﺳﺖ ﻛﻪ ﻧﺎﺗﺴﻮﻧﻮ‬ ‫ﺩﺭ ﻛﻨﺎﺭﺵ ﺍﺣﺴﺎﺱ ﺁﺭﺍﻣﺶ ﻣﻰﻛﻨﺪ‪ .‬ﺍﻭ ﻛﺴﻰ ﺍﺳﺖ ﻛﻪ ﺑﺮﺍﻯ ﻛﺸﺘﻦ ﻧﺎﺗﺴﻮﻧﻮ ﺍﺯ ﻃﺮﻑ ﺷﻴﻜﻰﻫﺎ‬ ‫ﻣﺄﻣﻮﺭ ﻣﻰﺷﻮﺩ‪ ،‬ﺍﻣﺎ ﻗﺎﺩﺭ ﻧﻴﺴﺖ ﻣﺄﻣﻮﺭﻳﺘﺶ ﺭﺍ ﺍﻧﺠﺎﻡ ﺩﻫﺪ ﭼﻮﻥ ﻋﻼﻗﻪﻯ ﺯﻳﺎﺩﻯ ﺑﻪ ﺍﻭ ﺩﺍﺭﺩ‪ .‬ﺍﻣﺎ‬ ‫ﻧﻬﺎﻳﺘﺎً ﺑﻪ ﺧﺎﻃﺮ ﺧﺎﻧﻮﺍﺩﻩﺍﺵ ﻣﺠﺒﻮﺭ ﻣﻰﺷﻮﺩ ﺑﻪ ﺩﻭﺳﺘﺶ ﺧﻴﺎﻧﺖ ﻛﻨﺪ‪ .‬ﺍﻟﺒﺘﻪ ﺷﻨﻴﺪﻥ ﺩﺍﺳﺘﺎﻥ‬ ‫ﺯﻧﺪﮔﻰ ﺳﻮﻧﺎﻛﻮ ﺍﺯ ﺯﺑﺎﻥ ﺧﻮﺩﺵ ﻫﻢ ﺩﺭ ﺍﻳﻦ ﻣﻮﺭﺩ ﻣﺆﺛﺮ ﺍﺳﺖ‪ .‬ﺭﺍﺑﻄﻪﻯ ﺍﻭ ﻭ ﻧﺎﺗﺴﻮﻧﻮ ﻣﺨﺼﻮﺻﺎً‬ ‫ﺑﻌﺪ ﺍﺯ ﺗﺒﺪﻳﻞ ﺷﺪﻥ ﺗﻮﺭﻭ ﺑﻪ ﺷﻴﻜﻰ‪ ،‬ﻳﻜﻰ ﺍﺯ ﺯﻳﺒﺎﺗﺮﻳﻦ ﺑﺨﺶﻫﺎﻯ ﺍﻳﻦ ﺍﻧﻴﻤﻪ ﺍﺳﺖ‪ .‬ﺗﻮﺭﻭ ﻳﻜﻰ ﺍﺯ‬ ‫ﺍﻧﺴﺎﻧﻰﺗﺮﻳﻦ ﺷﺨﺼﻴﺖﻫﺎ ﺑﻴﻦ ﺷﻴﻜﻰﻫﺎ ﺍﺳﺖ‪ .‬ﻫﻤﭽﻨﻴﻦ ﻣﻌﺸﻮﻗﻪﻯ ﺍﻭ ﺭﻳﺘﺴﻮﻛﻮ ﻛﺎﻧﻰﻫﻴﺮﻭ ﻛﻪ‬ ‫ﺩﺭ ﻛﻠﻴﻨﻴﻚ ﺩﻫﻜﺪﻩ ﭘﺮﺳﺘﺎﺭ ﺍﺳﺖ‪ ،‬ﺗﻨﻬﺎ ﻓﺮﺩ ﻣﻴﺎﻥ ﺷﻴﻜﻰﻫﺎ ﺍﺳﺖ ﻛﻪ ﺣﺎﺿﺮ ﺑﻪ ﻧﻮﺷﻴﺪﻥ ﺧﻮﻥ‬ ‫ﻫﻴﭻ ﺍﻧﺴﺎﻧﻰ ﻧﻴﺴﺖ‪.‬‬ ‫ﺧﺎﻧﻮﺍﺩﻩﻯ ﻛﻴﺮﻳﺸﻴﻜﻰ‪ :‬ﺍﻳﻦ ﺧﺎﻧﻮﺍﺩﻩ ﺍﺯ ﺳﻪ ﺍﻭﻛﻴﺎﮔﺎﺭﻯ ﻳﻌﻨﻰ ﺳﻮﻧﺎﻛﻮ ﻭ ﺯﻧﻰ ﺑﻪ ﻧﺎﻡ ﭼﻴﺰﻭﺭﻭ ﻛﻪ‬ ‫ﻧﻘﺶ ﻣﺎﺩﺭﺵ ﺭﺍ ﺑﺎﺯﻯ ﻣﻰﻛﻨﺪ ﻭ ﺩﻛﺘﺮ ﺧﺎﻧﻮﺍﺩﻩ‪ ،‬ﻫﻤﭽﻨﻴﻦ ﺩﻭ ﺟﻴﻨﺮﻭ ﻭ ﻳﻚ ﺍﻧﺴﺎﻥ ﻳﻌﻨﻰ ﺳﻴﺸﻴﺮﻭ‬ ‫ﻛﻴﺮﻳﺸﻴﻜﻰ ﺗﺸﻜﻴﻞ ﻣﻰﺷﻮﺩ‪ .‬ﺳﻴﺸﻴﺮﻭ ﻧﻘﺶ ﭘﺪﺭ ﺳﻮﻧﺎﻛﻮ ﺭﺍ ﺑﺎﺯﻯ ﻣﻰﻛﻨﺪ ﻭ ﺑﻪ ﺍﻧﺘﺨﺎﺏ ﺧﻮﺩ ﺑﺎ‬ ‫ﺍﻭﻛﻴﺎﮔﺎﺭﻯ ﻫﻤﻜﺎﺭﻯ ﻣﻰﻛﻨﺪ‪ .‬ﺍﻭ ﺳﻮﻧﺎﺗﻮ ﺭﺍ ﺑﻪ ﻋﻨﻮﺍﻥ ﺷﻴﻜﻰ ﭘﺬﻳﺮﻓﺘﻪ ﺍﺳﺖ‪ .‬ﺍﻭ ﺩﺭ ﮔﻔﺘﮕﻮﻳﻰ ﺑﺎ‬ ‫ﻧﺎﺗﺴﻮﻧﻮ ﻣﻰﮔﻮﻳﺪ‪:‬‬ ‫»ﻣﻰﺧﻮﺍﻯ ﺍﻭﻛﻴﺎﮔﺎﺭﻯ ﺭﻭ ﻧﺎﺑﻮﺩ ﻛﻨﻰ‪ ،‬ﺩﺭ ﺣﺎﻟﻰ ﻛﻪ ﻳﻪ ﺟﻴﻨﺮﻭ ﻫﺴﺘﻰ؟ ﻣﻦ ﻧﻤﻰﺗﻮﻧﻢ ﺍﻳﻦ ﻣﻮﺿﻮﻉ ﺭﻭ ﺑﭙﺬﻳﺮﻡ‪ .‬ﺷﻴﻜﻰ‬ ‫ﺍﺣﺘﻤﺎ ًﻻ ﺑﺮ ﺍﺳﺎﺱ ﺗﻔﻜﺮ ﺳﻨﺘﻰ ﺷﻴﻄﺎﻧﻰ ﻫﺴﺘﻨﺪ‪ .‬ﭼﻮﻥ ﺑﺮﺍﻯ ﺯﻧﺪﻩ ﻣﻮﻧﺪﻥ ﺍﻧﺴﺎﻥﻫﺎ ﺭﻭ ﻣﻰﻛﺸﻨﺪ‪ .‬ﺑﻪ ﻗﻮﻝ ﺁﺩﻡﻫﺎ‪،‬‬ ‫ﻫﻴﻮﻻ ﻫﺴﺘﻦ‪ .‬ﻭﻟﻰ ﭼﺮﺍ ﻛﺸﺘﻦ ﺁﺩﻡﻫﺎ ﺍﻭﻧﺎ ﺭﻭ ﺑﻪ ﻫﻴﻮﻻ ﺗﺒﺪﻳﻞ ﻣﻰﻛﻨﻪ؟ ﻣﮕﻪ ﺁﺩﻡﻫﺎ ﻫﻢ ﻫﻤﺪﻳﮕﺮﻭ ﻧﻤﻰﻛﺸﻦ؟ ﭘﺪﺭ‬ ‫ﺧﻮﺩ ﻣﻦ ﻳﻪ ﺁﺩﻡﻛﺶ ﺑﻮﺩ‪«.‬‬ ‫ﺗﺎﺗﺴﻮﻣﻰ ﻳﻜﻰ ﺍﺯ ﺩﻭ ﺟﻴﻨﺮﻭ ﺍﺳﺖ‪ .‬ﺍﻭ ﺭﻫﺒﺮﻯ ﻭ ﺳﺎﺯﻣﺎﻧﺪﻫﻰ ﺍﻣﻮﺭ ﺍﻭﻛﻴﺎﮔﺎﺭﻯﻫﺎﻯ ﺗﺎﺯﻩ ﻣﺘﻮﻟﺪ ﺷﺪﻩ‬ ‫ﺭﺍ ﺑﺮ ﻋﻬﺪﻩ ﺩﺍﺭﺩ‪ .‬ﺩﺭ ﻗﺴﻤﺘﻰ ﺍﺯ ﺩﺍﺳﺘﺎﻥ ﺑﻴﻦ ﺍﻭ ﻭ ﺳﻴﺸﻴﻦ ﻣﻜﺎﻟﻤﻪﺍﻯ ﺩﺭ ﻣﻰﮔﻴﺮﺩ‪:‬‬ ‫»ﭼﺮﺍ ﺗﺎ ﺍﻳﻦ ﺣﺪ ﺩﺭ ﺧﺪﻣﺖ ﺑﻪ ﺳﻮﻧﺎﻛﻮ ﺍﺯ ﺧﻮﺩ ﮔﺬﺷﺘﮕﻰ ﺑﻪ ﺧﺮﺝ ﻣﻰﺩﻯ؟ ﺑﻪ ﻧﻈﺮ ﻣﻦ ﺟﻴﻨﺮﻭﻫﺎ ﺍﺯ ﺷﻴﻜﻰﻫﺎ ﺑﺮﺗﺮ‬ ‫ﻫﺴﺘﻦ‪.‬‬ ‫ﻣﻨﻈﻮﺭﺕ ﺍﻳﻨﻪ ﻛﻪ ﺷﻴﻜﻰﻫﺎ ﺩﺭﻭﺍﻗﻊ ﺟﻴﻨﺮﻭﻫﺎﻯ ﻧﺎﻛﺎﻣﻠﻦ؟ ﺍﮔﺮ ﭼﻴﺰﻭﺭﻭ ﻫﻨﻮﺯ ﺯﻧﺪﻩ ﺑﻮﺩ‪ ،‬ﺍﺯ ﺷﻨﻴﺪﻥ ﺍﻳﻦ ﺣﺮﻓﺎ ﺧﻴﻠﻰ‬ ‫ﻋﺼﺒﺎﻧﻰ ﻣﻰﺷﺪ ﻭ ﻧﻤﻰﺩﻭﻧﻢ ﻭﺍﻛﻨﺶ ﺳﻮﻧﺎﻛﻮ ﭼﻰ ﺧﻮﺍﻫﺪ ﺑﻮﺩ‪ .‬ﺍﻳﻦ ﻣﻮﺿﻮﻉ ﺑﻪ ﺑﺮﺗﺮﻯ ﻓﻴﺰﻳﻜﻰﻣﻮﻥ ﺭﺑﻄﻰ ﻧﺪﺍﺭﻩ‪.‬‬

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‫ﺗﻠﻮﻳﺰﻳﻮﻥ‬

‫ﺍﻳﻦ ﺭﻭ ﺑﺴﻴﺎﺭ ﻧﺎﺍﻣﻴﺪ ﺍﺳﺖ‪ .‬ﺍﻣﺎ ﺩﺭ ﺍﻭﺍﺳﻂ ﺩﺍﺳﺘﺎﻥ ﻣﺸﺨﺺ ﻣﻰﺷﻮﺩ ﻛﻪ ﺳﻮﻧﺎﻛﻮ ﺭﻫﺒﺮ ﺍﻭﻛﻴﺎﮔﺎﺭﻯ‬ ‫ﻳﺎ ﺷﻴﻜﻰﻫﺎﺳﺖ ﻭ ﺑﻴﺶ ﺍﺯ ﺻﺪ ﺳﺎﻝ ﻋﻤﺮ ﻛﺮﺩﻩ ﺍﺳﺖ‪ .‬ﺳﻮﻧﺎﻛﻮ ﺑﺮﺧﻼﻑ ﺍﻧﺘﻈﺎﺭ‪ ،‬ﺷﺨﺼﻴﺘﻰ ﻛﺎﻣ ً‬ ‫ﻼ‬ ‫ﺻﺎﺩﻕ ﻭ ﺑﻰﺁﻻﻳﺶ ﺩﺍﺭﺩ ﻭ ﺑﻴﻨﻨﺪﻩ ﺑﺎ ﺷﻨﻴﺪﻥ ﺣﺮﻑﻫﺎﻯ ﺍﻭ ﺣﺘﺎ ﺑﺎ ﺷﻴﻜﻰﻫﺎ ﻭ ﻣﺨﺼﻮﺻﺎً ﺧﻮﺩ ﺍﻭ‬ ‫ﻫﻤﺪﺭﺩﻯ ﻣﻰﻛﻨﺪ‪.‬‬ ‫»ﺁﻗﺎﻯ ﻣﺎﺋﻮﺭﻯ ﻓﻜﺮ ﻣﻰﻛﻨﻰ ﺗﻴﻐﻪﻯ ﭼﻮﺑﻰ ﺑﺎ ﻳﻚ ﺿﺮﺑﻪ ﺩﺭ ﺳﻴﻨﻪﻯ ﻣﻦ ﻓﺮﻭ ﺑﺮﻩ؟ ﺑﺪﻥ ﻣﻦ ﺑﺪﻥ ﻳﻚ ﺑﭽﻪ ﺍﺳﺖ‪.‬‬ ‫ﺳﻴﻨﻪ ﻭ ﺩﻧﺪﻩﻫﺎﻯ ﻣﻦ ﻧﺎﺯﻛﻨﺪ‪ .‬ﺍﮔﺮ ﺑﺎ ﻫﻤﻪﻯ ﺗﻮﺍﻧﺸﻮﻥ ﺿﺮﺑﻪ ﺑﺰﻧﻦ‪ ،‬ﻓﻜﺮ ﻛﻨﻢ ﺑﺎ ﻳﻚ ﺿﺮﺑﻪ ﺳﻴﻨﻪﻯ ﻣﻦ ﺷﻜﺎﻓﺘﻪ ﺷﻪ‪.‬‬ ‫ﻣﻦ ﻣﻰﺗﺮﺳﻢ‪ .‬ﺧﻨﺪﻩﺩﺍﺭ ﻧﻴﺴﺖ؟ ﻣﻦ ﺍﻧﺴﺎﻥﻫﺎﻯ ﺯﻳﺎﺩﻯ ﺭﻭ ﻛﺸﺘﻢ‪ .‬ﻓﻜﺮ ﻧﻤﻰﻛﻨﻢ ﺣﺘﺎ ﺟﺎﻧﻰﺗﺮﻳﻦ ﻗﺎﺗﻞﻫﺎ ﻫﻢ ﺍﺯ ﻣﻦ‬ ‫ﺑﻴﺶﺗﺮ ﺁﺩﻡ ﻛﺸﺘﻪ ﺑﺎﺷﻦ‪ .‬ﻛﺸﺘﻪ ﺷﺪﻥ ﻣﻦ ﺟﺰﺍﻯ ﺍﻋﻤﺎﻝ ﻣﻨﻪ ﻭ ﺑﺎ ﺍﻳﻦ ﻫﻤﻪ ﻣﻦ ﻣﻰﺗﺮﺳﻢ‪ .‬ﺑﻪ ﺯﻭﺩﻯ ﺁﻓﺘﺎﺏ ﻃﻠﻮﻉ‬ ‫ﻣﻰﻛﻨﻪ ﻭ ﺷﻜﺎﺭﭼﻰﻫﺎ ﺑﻴﺮﻭﻥ ﺧﻮﻧﻪ ﻣﻨﺘﻈﺮﻥ‪ .‬ﻫﺮ ﭼﻨﺪ ﻫﺮ ﻟﺤﻈﻪ ﻭﺍﺭﺩ ﺧﻮﺍﻫﻨﺪ ﺷﺪ‪ ،‬ﻣﻦ ﺩﺍﺭﻡ ﺑﻪ ﺧﻮﺍﺏ ﻓﺮﻭ ﻣﻰﺭﻡ‪.‬‬ ‫ﭼﺮﺍ؟ ﺍﮔﺮ ﺷﺨﺼﻴﺖ ﺍﺻﻠﻰ ﻳﻚ ﺩﺍﺳﺘﺎﻥ ﺑﻮﺩﻡ‪ ،‬ﻳﻪ ﻛﺴﻰ ﺑﻪ ﻛﻤﻚ ﻣﻦ ﻣﻰﺍﻭﻣﺪ‪ .‬ﺣﺘﺎ ﺷﺎﻳﺪ ﻣﻌﺠﺰﻩﺍﻯ ﻣﻰﺷﺪ‪ .‬ﻭﻟﻰ‬ ‫ﻣﻦ ﻫﻴﭻ ﻛﺲ ﺭﻭ ﻧﺪﺍﺭﻡ ﻛﻪ ﻧﺠﺎﺗﻢ ﺑﺪﻩ‪ .‬ﻫﻴﭻ ﺧﺪﺍﻳﻰ ﻣﺤﺾ ﺧﺎﻃﺮ ﻣﻦ ﻣﻌﺠﺰﻩ ﻧﺨﻮﺍﻫﺪ ﻛﺮﺩ‪ .‬ﭼﻮﻥ ﻣﻦ ﻳﻚ ﻗﺎﺗﻠﻢ‪.‬‬ ‫ﺍﻣﺎ ﻣﻦ ﻛﺎﺭ ﺑﺪﻯ ﻧﻜﺮﺩﻡ‪ ...‬ﻣﻦ ﻓﻘﻂ ﺭﻓﻊ ﮔﺮﺳﻨﮕﻰ ﻛﺮﺩﻡ‪ ...‬ﻫﻤﻴﻦ! ﺍﮔﺮ ﻏﺬﺍ ﻧﻤﻰﺧﻮﺭﺩﻡ ﺍﺯ ﮔﺮﺳﻨﮕﻰ ﻣﻰﻣﺮﺩﻡ‪ .‬ﻧﺒﺎﻳﺪ‬ ‫ﺍﻳﻦ ﻛﺎﺭ ﺭﻭ ﻣﻰﻛﺮﺩﻡ؟ ﻳﻌﻨﻰ ﭼﻮﻥ ﻧﺨﻮﺍﺳﺘﻢ ﺍﺯ ﮔﺮﺳﻨﮕﻰ ﺑﻤﻴﺮﻡ ﺁﺩﻡ ﺑﺪﻯ ﻫﺴﺘﻢ؟ ‪ ...‬ﻣﻦ ﻛﻪ ﺑﻪ ﻣﻴﻞ ﺧﻮﺩﻡ ﺑﻪ ﺍﻳﻦ‬ ‫ﻣﻮﺟﻮﺩ‪ ...‬ﺑﻪ ﺍﻳﻦ ﻫﻴﻮﻻﻳﻰ ﻛﻪ ﻫﺴﺘﻢ ﺗﺒﺪﻳﻞ ﻧﺸﺪﻡ‪ .‬ﺍﻣﺎ ﺣﺎﻻ ﻛﻪ ﺯﻧﺪﻩ ﻫﺴﺘﻢ ﻧﻤﻰﺧﻮﺍﻡ ﺯﻧﺪﮔﻴﻢ ﺭﻭ ﺍﺯ ﺩﺳﺖ ﺑﺪﻡ‪.‬‬ ‫ﮔﻨﺎﻩ ﻣﻦ ﺍﻳﻨﻪ؟ ‪...‬ﻫﻤﻴﻦ‪ ...‬ﻣﻌﻨﻰ ﻧﻔﺮﻳﻦ ﺧﺪﺍ ﻫﻤﻴﻨﻪ‪«.‬‬ ‫ﺷﻌﺎﺭ ﺳﻮﻧﺎﻛﻮ ﺍﻳﻦ ﺍﺳﺖ‪ :‬ﻛﺸﺘﻦ ﺑﺪﻭﻥ ﻗﺼﺪ ﻛﺸﺘﻦ ﺍﺗﻔﺎﻕ ﺍﺳﺖ ﻧﻪ ﻗﺘﻞ‪.‬‬ ‫ﻣﮕﻮﻣﻰ ﺷﻴﻤﻴﺰﻭ‪ :‬ﺍﻭﻟﻴﻦ ﺷﺨﺼﻴﺘﻰ ﻛﻪ ﺑﺎ ﺁﻥ ﺭﻭﺑﻪﺭﻭ ﻣﻰﺷﻮﻳﻢ‪ ،‬ﻣﮕﻮﻣﻰ ﭘﺎﻧﺰﺩﻩ ﺳﺎﻟﻪ ﺍﺳﺖ‪.‬‬ ‫ﺍﻭ ﺩﺧﺘﺮﻯ ﺍﺳﺖ ﻛﻪ ﺩﺭ ﺻﺤﻨﻪﻯ ﺍﻭﻝ ﻫﻤﻪﻯ ﺍﻫﺎﻟﻰ ﺑﻪ ﺩﻧﺒﺎﻟﺶ ﻣﻰﮔﺮﺩﻧﺪ ﻭ ﺩﺭ ﻗﺴﻤﺖ ﺩﻭﻡ‬ ‫ﻣﻰﻣﻴﺮﺩ ﻭ ﺩﺭ ﻗﺴﻤﺖ ﺳﻮﻡ ﺑﻪ ﺻﻮﺭﺕ ﻳﻚ ﺷﻴﻜﻰ ﺑﺎﺯ ﻣﻰﮔﺮﺩﺩ‪ .‬ﻣﻬﻢﺗﺮﻳﻦ ﺟﻨﺒﻪﻯ ﺷﺨﺼﻴﺘﻰ‬ ‫ﺍﻭ ﺩﺭ ﻛﻨﺎﺭ ﻋﺸﻘﺶ ﺑﻪ ﻧﺎﺗﺴﻮﻧﻮ‪ ،‬ﺍﻳﻦ ﻣﻮﺿﻮﻉ ﺍﺳﺖ ﻛﻪ ﺑﺎ ﻣﺤﻴﻂ ﺍﻃﺮﺍﻓﺶ ﺳﺎﺯﮔﺎﺭ ﻧﻴﺴﺖ‪ .‬ﻟﺒﺎﺱ‬ ‫ﭘﻮﺷﻴﺪﻧﺶ ﻭ ﺭﻓﺘﺎﺭﻫﺎﻳﺶ ﻫﻤﻴﺸﻪ ﺩﺳﺖﻣﺎﻳﻪﻯ ﺧﻨﺪﻩ ﻭ ﺗﻔﺮﻳﺢ ﺍﻫﺎﻟﻰ ﺍﺳﺖ ﻭ ﻫﻤﻴﻦ ﻣﻮﺿﻮﻉ ﺑﺎﻋﺚ‬ ‫ﻣﻰﺷﻮﺩ ﺍﻭ ﺍﺯ ﻫﻤﻪ ﺟﺰ ﻧﺎﺗﺴﻮﻧﻮ ﻣﺘﻨﻔﺮ ﺑﺎﺷﺪ‪ .‬ﺍﻭ ﺗﺎ ﺁﺧﺮﻳﻦ ﻟﺤﻈﻪ ﻣﻰﺧﻮﺍﻫﺪ ﺍﺯ ﺭﻭﺳﺘﺎ ﺧﺎﺭﺝ ﺷﻮﺩ‬ ‫ﻭ ﺩﺭ ﺷﻬﺮﻯ ﺑﺰﺭگ ﺷﺎﻧﺴﺶ ﺭﺍ ﺍﻣﺘﺤﺎﻥ ﻛﻨﺪ‪ .‬ﺍﻭ ﺑﻪ ﺷﺪﺕ ﺑﻪ ﺗﻮﺭﻭ ﺑﻪ ﺧﺎﻃﺮ ﺭﺍﺑﻄﻪﻯ ﻧﺰﺩﻳﻜﻰ ﻛﻪ‬ ‫ﺑﺎ ﻧﺎﺗﺴﻮﻧﻮ ﺩﺍﺭﺩ‪ ،‬ﺣﺴﻮﺩﻯ ﻣﻰﻛﻨﺪ‪.‬‬ ‫»ﺑﺴﻪ‪ ...‬ﻣﻨﻮ ﻳﺎﺩﺗﻮﻥ ﻧﻴﺴﺖ؟ ﻣﻦ ﻣﮕﻮﻣﻰ ﺷﻴﻤﻴﺰﻭ ﻫﺴﺘﻢ‪ .‬ﻫﻤﺘﻮﻥ ﺑﻬﻢ ﻣﻰﺧﻨﺪﻳﺪﻳﺪ ﻭ ﻣﻰﮔﻔﺘﻴﺪ ﺍﻳﻦ ﻟﺒﺎﺳﺎ ﻣﻨﺎﺳﺐ‬ ‫ﺭﻭﺳﺘﺎ ﻧﻴﺴﺖ‪ .‬ﭼﺮﺍ ﻧﻤﻰﻓﻬﻤﻴﺪ؟ ﺍﻳﻦ ﺷﻤﺎﻫﺎ ﻫﺴﺘﻴﺪ ﻛﻪ ﻋﺠﻴﺐ ﻭ ﻏﺮﻳﺒﻴﺪ‪ .‬ﺍﺯ ﺯﻧﺪﮔﻰ ﻛﺮﺩﻥ ﺗﻮﻯ ﺍﻳﻦ ﺩﻫﻜﺪﻩ‬ ‫ﻧﺎﺭﺍﺣﺖ ﻧﻴﺴﺘﻴﺪ‪ .‬ﺣﺘﺎ ﻳﻪ ﺫﺭﻩ ﻫﻢ ﻋﻮﺽ ﻧﻤﻰﺷﻴﺪ‪ .‬ﺑﻪ ﻏﺮﻳﺒﻪﻫﺎ ﻭ ﭼﻴﺰﺍﻯ ﻏﻴﺮﻣﻌﻤﻮﻝ ﻃﻮﺭﻯ ﻧﮕﺎﻩ ﻣﻰﻛﻨﻴﺪ ﻛﻪ‬ ‫‪143‬‬

‫ﻭﻳﮋﻩﻧﺎﻣﻪﻯ ﺧﻮﻥﺁﺷﺎﻡﻫﺎ‬

‫ﺗﻠﻮﻳﺰﻳﻮﻥ‬

‫ﺷﻜﻞ ﻳﻚ ﺷﻴﻜﻰ ﺍﻭ ﺭﺍ ﺩﺭ ﺳﻜﻮﺕ ﺩﻧﺒﺎﻝ ﻣﻰﻛﻨﺪ‪.‬‬ ‫»ﺳﻮﻧﺎﻛﻮ‪ ،‬ﺍﺣﺴﺎﺱ ﻣﻰﻛﻨﻢ ﺑﻪ ﺧﺎﻃﺮ ﺗﻮ ﺣﺎﻻ ﺧﻮﺩﻡ ﺭﻭ ﺑﻬﺘﺮ ﺍﺯ ﻗﺒﻞ ﻣﻰﺷﻨﺎﺳﻢ‪.‬‬ ‫ﭘﺲ ﺑﻪ ﻣﻦ ﺑﮕﻮ ﭼﺮﺍ ﺳﻌﻰ ﻛﺮﺩﻯ ﺧﻮﺩﺕ ﺭﻭ ﺑﻜﺸﻰ؟‬ ‫ﭼﻮﻥ ﻧﺎﺍﻣﻴﺪ ﺑﻮﺩﻡ‪.‬‬ ‫ﺍﻳﻦ ﺟﻮﺍﺏ ﻣﻦ ﻧﺒﻮﺩ‪.‬‬ ‫ﻭﻟﻰ ﺍﻭ ﻫﻢ ﺑﺮﺍﺩﺭﺵ ﺭﺍ ﺍﺯ ﺳﺮ ﻧﺎﺍﻣﻴﺪﻯ ﻛﺸﺖ‪ .‬ﺑﺮﺍﺩﺭﺵ ﻧﻘﻄﻪﻯ ﺍﺭﺗﺒﺎﻁ ﺍﻭ ﻭ ﺟﻬﺎﻥ ﺑﻮﺩ‪ .‬ﻭ ﺩﺭ ﻋﻴﻦ ﺣﺎﻝ ﻧﻘﻄﻪﻯ‬ ‫ﺍﺭﺗﺒﺎﻁ ﺍﻭ ﺑﺎ ﻧﺎﺍﻣﻴﺪﻯ‪ .‬ﺍﻭ ﺑﻪ ﺑﺮﺍﺩﺭ ﺗﻬﻰﭼﺸﻤﺶ ﮔﻔﺖ‪» :‬ﻧﻪ ﺍﻳﻦ ﻛﻪ ﺍﺯ ﺗﻮ ﻣﺘﻨﻔﺮ ﺑﻮﺩﻩ ﺑﺎﺷﻢ‪ «.‬ﻭ ﺍﻭﻥ ﺷﻴﻜﻰ ﺑﺮﺍﻯ‬ ‫ﺍﻭﻟﻴﻦ ﺑﺎﺭ ﭘﺎﺳﺦ ﺩﺍﺩ‪» :‬ﻣﻰﺩﻭﻧﻢ‪ .‬ﺗﻮ ﻣﻨﻮ ﺍﺯ ﺍﻭﻥ ﺗﭙﻪ ﺁﺯﺍﺩ ﻛﺮﺩﻯ‪ .‬ﺍﻭﻥ ﺗﭙﻪ ﻣﺘﻌﻠﻖ ﺑﻪ ﺧﺪﺍ ﺑﻮﺩ‪ .‬ﺑﺮﺍﻯ ﻫﻤﻴﻦ ﻣﻦ ﻧﻘﺶ‬ ‫ﻳﻚ ﺍﻧﺴﺎﻥ ﺧﻮﺏ ﺭﻭ ﺑﺎﺯﻯ ﻣﻰﻛﺮﺩﻡ ﺗﺎ ﻟﻄﻒ ﺧﺪﺍ ﺭﻭ ﺑﻪ ﺩﺳﺖ ﺑﻴﺎﺭﻡ‪ .‬ﻣﻦ ﺩﺭ ﭼﻴﺰﻯ ﻛﻪ ﺑﻮﺩﻡ ﺍﺟﺒﺎﺭ ﺩﺍﺷﺘﻢ ﻭ ﺍﺯ ﺗﭙﻪ‬ ‫ﻫﻢ ﻣﺘﻨﻔﺮ ﺑﻮﺩﻡ‪ .‬ﺭﺍﻫﻰ ﺟﺰ ﺍﻭﻥﻃﻮﺭ ﺯﻧﺪﮔﻰ ﻛﺮﺩﻥ ﻧﺪﺍﺷﺘﻢ‪ .‬ﻭ ﺑﺎ ﺍﻳﻦﻛﻪ ﺍﺯ ﺍﻋﻤﺎﻕ ﻭﺟﻮﺩﻡ ﺍﺯ ﺍﻭﻥ ﻃﺮﻳﻘﻪﻯ ﺯﻧﺪﮔﻰ‬ ‫ﻣﺘﻨﻔﺮ ﺑﻮﺩﻡ‪ ،‬ﺍﺩﺍﻣﻪ ﻣﻰﺩﺍﺩﻡ‪ .‬ﺗﻮ ﻧﻘﻄﻪﻯ ﻣﻘﺎﺑﻞ ﻣﻦ ﺑﻮﺩﻯ‪ .‬ﺗﻮ ﺁﺯﺍﺩ ﺑﻮﺩﻯ‪.‬‬ ‫ﺑﺮﺍﻯ ﻫﻤﻴﻦ ﺑﺮﺍﺩﺭ ﻛﻮﭼﻚﺗﺮ ﺑﺮﺍﺩﺭ ﺑﺰﺭگﺗﺮ ﺭﻭ ﺩﻧﺒﺎﻝ ﻣﻰﻛﺮﺩ؟‬ ‫ﺑﻠﻪ‪ .‬ﺑﺮﺍﺩﺭ ﻛﻮﭼﻚﺗﺮ ﺩﻗﻴﻘﺎ ﺑﻪ ﻫﻤﻴﻦ ﺩﻟﻴﻞ ﻣﻰﺧﻮﺍﺳﺖ ﺑﺎ ﺑﺮﺍﺩﺭ ﺑﺰﺭگﺗﺮﺵ ﻳﻜﻰ ﺑﺸﻪ‪.‬‬ ‫ﭘﺲ ﻧﺎﺍﻣﻴﺪﻯ ﺑﺮﺍﺩﺭ ﺑﺰﺭگﺗﺮ ﺑﻪﺧﺎﻃﺮ ﭼﻰ ﺑﻮﺩ؟‬ ‫ﺑﺮﺍﺩﺭ ﻛﻮﭼﻚﺗﺮ ﮔﻔﺖ‪» :‬ﻣﻤﻨﻮﻧﻢ‪ .‬ﺩﻗﻴﻘﺎً ﺑﻪ ﻫﻤﻴﻦ ﺩﻟﻴﻞ ﻣﻰﺧﻮﺍﺳﺘﻢ ﻛﻪ ﻣﻨﻮ ﺑﻜﺸﻰ‪ .‬ﺗﺎ ﺁﺯﺍﺩﻡ ﻛﻨﻰ‪ «.‬ﺑﺮﺍﺩﺭ ﺑﺰﺭگﺗﺮ‬ ‫ﺑﻪ ﺑﺮﺍﺩﺭﺵ ﺧﻴﺮﻩ ﺷﺪ ﻭ ﺑﻌﺪ ﺑﺮﺍﺩﺭ ﻛﻮﭼﻚﺗﺮ ﻧﺎﭘﺪﻳﺪ ﺷﺪ‪ .‬ﻭ ﺑﺎ ﺍﻳﻦ ﻭﺟﻮﺩ ﻫﻨﻮﺯ ﺻﺒﺢ ﻧﺸﺪﻩ ﺑﻮﺩ ﻛﻪ ﺷﻴﻜﻰﻫﺎ ﺑﻪ‬ ‫ﻗﺒﺮﻫﺎﺷﻮﻥ ﺑﺮﮔﺮﺩﻧﺪ‪ .‬ﺍﻭ ﺑﺮﺍﻯ ﺍﻭﻟﻴﻦ ﺑﺎﺭ ﺑﺎ ﺻﺪﺍﻯ ﺑﻠﻨﺪ ﻧﺎﻡ ﺑﺮﺍﺩﺭﺵ ﺭﻭ ﻓﺮﻳﺎﺩ ﺯﺩ‪ .‬ﺍﻣﺎ ﺑﻪ ﺧﺎﻃﺮ ﺁﻭﺭﺩ ﻛﻪ ﺍﻳﻦ ﺍﺳﻢ‬ ‫ﺧﻮﺩﺵ ﺍﺳﺖ‪ .‬ﺍﻭ ﺍﺻ ًﻼ ﺑﺮﺍﺩﺭ ﻛﻮﭼﻚﺗﺮﻯ ﻧﺪﺍﺷﺖ‪ .‬ﻣﻘﺘﻮﻝ ﺧﻮﺩﺵ ﺑﻮﺩ‪ ...‬ﻭ ﺩﺭ ﻋﻴﻦ ﺣﺎﻝ ﻗﺎﺗﻞ ﻫﻢ ﺑﻮﺩ‪ .‬ﺑﺮﺍﺩﺭ‬ ‫ﻛﻮﭼﻚﺗﺮﺵ ﺣﺎﺻﻞ ﻧﺎﺍﻣﻴﺪﻯ ﺍﻭ ﺑﻮﺩ ﻭ ﺑﻪ ﺧﺎﻃﺮ ﻫﻤﻴﻦ ﻧﺎﺍﻣﻴﺪﻯ ﺍﻭ ﺧﻮﻥ ﺑﺮﺍﺩﺭﺵ ﺭﻭ‪ ...‬ﺧﻮﻥ ﺧﻮﺩﺵ ﺭﻭ ﺭﻳﺨﺘﻪ ﺑﻮﺩ‪«.‬‬ ‫ﺳﻴﺸﻴﻦ ﻧﻘﻄﻪﻯ ﻣﻘﺎﺑﻞ ﺗﻮﺷﻴﻮ ﺍﺳﺖ‪ .‬ﺑﻪ ﻃﺮﺯﻯ ﻛﻪ ﻣﺨﺎﻃﺐ ﺍﺣﺘﻤﺎﻻً ﺍﺯ ﺍﻭ ﻣﺘﻨﻔﺮ ﻣﻰﺷﻮﺩ ﻭ ﺍﻭ ﺭﺍ‬ ‫ﺗﺮﺳﻮ ﻳﺎ ﺩﻭﺭﻭ ﺍﺭﺯﻳﺎﺑﻰ ﻣﻰﻛﻨﺪ‪ .‬ﺍﻣﺎ ﺍﮔﺮ ﺗﻤﺎﻣﻰ ﺩﺍﺳﺘﺎﻥ ﺭﺍ ﺩﺭ ﻧﻈﺮ ﺑﮕﻴﺮﻳﻢ‪ ،‬ﻣﺘﻮﺟﻪ ﻣﻰﺷﻮﻳﻢ ﻛﻪ‬ ‫ﺳﻴﺸﻴﻦ ﺍﺯ ﻣﻌﺪﻭﺩ ﺍﻓﺮﺍﺩﻯ ﺍﺳﺖ ﻛﻪ ﻫﺮﮔﺰ ﺭﻭﻯ ﺍﺭﺯﺵﻫﺎﻳﺶ ﭘﺎ ﻧﻤﻰﮔﺬﺍﺭﺩ؛ ﺩﺭ ﺣﺎﻟﻰ ﻛﻪ ﺩﻳﮕﺮﺍﻥ‬ ‫ﺩﺭ ﺯﻣﺎﻥ ﺣﺎﺩﺛﻪ ﺭﻧﮓ ﻭﺍﻗﻌﻰﺷﺎﻥ ﺭﺍ ﻧﺸﺎﻥ ﻣﻰﺩﻫﻨﺪ‪.‬‬ ‫ﺳﻮﻧﺎﻛﻮ ﻛﻴﺮﻳﺸﻴﻜﻰ‪ :‬ﺍﻭ ﺩﺧﺘﺮﺑﭽﻪﻯ ﺳﻴﺰﺩﻩ ﺳﺎﻟﻪﺍﻯ ﺍﺳﺖ ﻛﻪ ﺑﻪ ﻫﻤﺮﺍﻩ ﺧﺎﻧﻮﺍﺩﻩﺍﺵ ﺑﻪ ﺩﻫﻜﺪﻩﻯ‬ ‫ﺳﻮﺗﻮﺑﺎ ﻣﻰﺁﻳﺪ ﻭ ﺑﻪ ﺩﻟﻴﻞ ﻋﺎﺭﺿﻪﻯ ﭘﻮﺳﺘﻰﺍﻯ ﻛﻪ ﺍﻭ ﻭ ﻣﺎﺩﺭﺵ ﺩﺍﺭﻧﺪ‪ ،‬ﺗﻨﻬﺎ ﺷﺐﻫﺎ ﻗﺎﺩﺭﻧﺪ ﺍﺯ ﻗﺼﺮ‬ ‫ﺧﺎﺭﺝ ﺷﻮﻧﺪ‪ .‬ﺍﻭ ﺑﻪ ﺻﻮﺭﺕ ﺷﺒﺎﻧﻪ ﺑﻪ ﺩﻳﺪﺍﺭ ﺳﻴﺸﻴﻦ ﻣﻰﺭﻭﺩ ﻭ ﺑﺎ ﻫﻢ ﺑﻪ ﺑﺤﺚ ﺩﺭ ﻣﻮﺭﺩ ﻧﻮﺷﺘﻪﻫﺎﻯ‬ ‫ﺳﻴﺸﻴﻦ ﻭ ﺍﺧﻼﻗﻴﺎﺕ ﻭ ﺧﺪﺍ ﻣﻰﭘﺮﺩﺍﺯﻧﺪ‪ .‬ﺳﻮﻧﺎﻛﻮ ﻣﻌﺘﻘﺪ ﺍﺳﺖ ﻛﻪ ﺧﺪﺍ ﺍﻭ ﺭﺍ ﺍﺯ ﺩﺭﮔﺎﻫﺶ ﺭﺍﻧﺪﻩ ﻭ ﺍﺯ‬ ‫‪141‬‬

‫ﻭﻳﮋﻩﻧﺎﻣﻪﻯ ﺧﻮﻥﺁﺷﺎﻡﻫﺎ‬

‫ﺩﺍﺳﺘﺎﻥ ﺍﺳﻢ ﺧﺎﺻﻰ ﻧﺪﺍﺭﻧﺪ ﻭ ﻣﻮﺟﻮﺩﺍﺗﻰ ﻛﺎﻣ ً‬ ‫ﻼ ﺟﺪﻳﺪ ﻭ ﻣﺘﻔﺎﻭﺕ ﺍﺯ ﮔﺮگ‪-‬ﺍﻧﺴﺎﻥ ﻳﺎ ﺧﻮﻥﺁﺷﺎﻡ‬ ‫ﻫﺴﺘﻨﺪ‪.‬‬ ‫ﻧﺎﺗﺴﻮﻧﻮ ﺩﻭ ﺍﺳﻢ ﻓﺎﻣﻴﻠﻰ ﺩﺍﺭﺩ‪ .‬ﺍﻣﺎ ﺍﺳﻢ ﻓﺎﻣﻴﻞ ﺍﺻﻠﻰ ﺍﻭ ﻛﻮﻳﺪﻩ ﺍﺳﺖ؛ ﻳﻌﻨﻰ ﻫﻢﺍﺳﻢ ﻣﺎﺩﺭﺵ‪.‬‬ ‫ﺧﺎﻧﻮﺍﺩﻩﻯ ﺍﻭ ﺩﺭ ﺩﺍﺳﺘﺎﻥ ﺧﺎﻧﻮﺍﺩﻩﺍﻯ ﻣﺪﺭﻥ ﻧﺸﺎﻥ ﺩﺍﺩﻩ ﻣﻰﺷﻮﻧﺪ ﻭ ﺑﺮﺍﻯ ﻫﻤﻴﻦ ﻫﻢ ﺗﺼﻤﻴﻢ‬ ‫ﮔﺮﻓﺘﻪﺍﻧﺪ ﺑﻪ ﺭﻭﺳﺘﺎ ﻧﻘﻞ ﻣﻜﺎﻥ ﻛﻨﻨﺪ‪ .‬ﻳﻜﻰ ﺍﺯ ﻧﻔﺲﮔﻴﺮﺗﺮﻳﻦ ﻗﺴﻤﺖﻫﺎﻯ ﺩﺍﺳﺘﺎﻥ ﺯﻣﺎﻧﻰ ﺍﺳﺖ ﻛﻪ‬ ‫ﺷﻴﻜﻰﻫﺎ ﺑﺮﺍﻯ ﻛﺸﺘﻦ ﻧﺎﺗﺴﻮﻧﻮ ﺑﻪ ﺧﺎﻧﻪﺍﺵ ﻣﻰﺭﻭﻧﺪ ﻭ ﻧﺎﺗﺴﻮﻧﻮ ﺍﺯ ﺧﻮﺩﺵ ﻣﻰﭘﺮﺳﺪ ﻳﻌﻨﻰ ﭘﺪﺭ ﺩﺭ‬ ‫ﺭﺍ ﻗﻔﻞ ﻛﺮﺩﻩ ﻳﺎ ﻧﻪ؟‬ ‫»ﻧﺎﺗﺴﻮﻧﻮ ﻧﮕﺎﻩ ﻛﻦ‪ ...‬ﻓﻮﻕﺍﻟﻌﺎﺩﻩ ﻧﻴﺴﺖ؟ ﺷﻨﻴﺪﻡ ﺗﻮﻯ ﺍﻳﻦ ﺩﻫﻜﺪﻩ ﺧﺒﺮﻯ ﺍﺯ ﺟﺮﻡ ﻭ ﺟﻨﺎﻳﺖ ﻧﻴﺴﺖ ﻭ ﺍﻫﺎﻟﻰ ﺣﺘﺎ‬ ‫ﻣﻮﻗﻊ ﺧﻮﺍﺏ ﻫﻢ ﺩﺭﻫﺎﺷﻮﻥ ﺭﻭ ﻗﻔﻞ ﻧﻤﻰﻛﻨﻦ‪ .‬ﺑﺎﻳﺪ ﺑﻪ ﺍﻳﻦ ﻧﻮﻉ ﺯﻧﺪﮔﻰ ﻋﺎﺩﺕ ﻛﻨﻰ‪ .‬ﺍﺯ ﺍﻳﻦ ﺑﻪ ﺑﻌﺪ ﺍﺯ ﻗﻔﻞ ﻛﺮﺩﻥ ﺩﺭ‬ ‫ﺧﺒﺮﻯ ﻧﻴﺴﺖ‪«.‬‬ ‫ﺧﺎﻧﻮﺍﺩﻩﻯ ﻧﺎﺗﺴﻮﻧﻮ ﺩﻗﻴﻘﺎً ﺍﺯ ﺁﻥ ﺁﺩﻡﻫﺎﻳﻰ ﻫﺴﺘﻨﺪ ﻛﻪ ﺣﺲ ﻣﻰﻛﻨﻨﺪ ﺭﻭﺵ ﺧﻮﺩﺷﺎﻥ ﺩﺭﺳﺖ ﺍﺳﺖ‬ ‫ﻭ ﺍﻳﻦ ﺑﻘﻴﻪ ﻫﺴﺘﻨﺪ ﻛﻪ ﺍﺷﺘﺒﺎﻩ ﻣﻰﻛﻨﻨﺪ‪ .‬ﭘﺪﺭ ﻧﺎﺗﺴﻮﻧﻮ ﻭﺭﺩﻫﺎﻯ ﻣﺤﺎﻓﻈﺘﻰ ﺍﻭ ﺭﺍ ﺍﺯ ﺍﺗﺎﻗﺶ ﺧﺎﺭﺝ‬ ‫ﻣﻰﻛﻨﺪ ﻭ ﺍﺯ ﻗﺒﻮﻝ ﻭﺟﻮﺩ ﺍﻭﻛﻴﺎﮔﺎﺭﻯ ﻫﻢ ﺳﺮ ﺑﺎﺯ ﻣﻰﺯﻧﺪ‪ .‬ﺑﺪﻳﻦ ﺗﺮﺗﻴﺐ ﺧﺎﻧﻮﺍﺩﻩﺍﺵ ﺭﺍ ﺍﺯ ﺩﺳﺖ‬ ‫ﻣﻰﺩﻫﺪ‪.‬‬ ‫ﺳﻴﺸﻴﻦ ﻣﺎﺋﻮﺭﻯ‪ :‬ﻫﻢﺩﺍﻧﺸﮕﺎﻫﻰ ﻭ ﻫﻢﺑﺎﺯﻯ ﻛﻮﺩﻛﻰ ﺗﻮﺷﻴﻮ ﺍﺳﺖ‪ .‬ﺍﻭ ﻫﻢ ﻣﺜﻞ ﺗﻮﺷﻴﻮ ﺷﻐﻞ‬ ‫ﺧﺎﻧﻮﺍﺩﮔﻰﺍﺵ ﺭﺍ ﺩﻧﺒﺎﻝ ﻣﻰﻛﻨﺪ ﻭ ﺩﺭ ﻣﻌﺒﺪ ﺩﺳﺘﻴﺎﺭ ﺭﺍﻫﺐ ﺍﺳﺖ‪ .‬ﻫﻤﭽﻨﻴﻦ ﻳﻚ ﺭﻣﺎﻥﻧﻮﻳﺲ‬ ‫ﺍﺳﺖ ﻭ ﺷﺶ ﺭﻣﺎﻥ ﻭ ﺩﻭ ﻣﺠﻤﻮﻋﻪﻯ ﺩﺍﺳﺘﺎﻥ ﻛﻮﺗﺎﻩ ﻧﻮﺷﺘﻪ ﺍﺳﺖ‪ .‬ﺩﺍﺳﺘﺎﻥﻫﺎﻯ ﺍﻭ ﻭ ﺗﻮﺻﻴﻔﺎﺗﺶ‬ ‫ﺍﺯ ﺩﻫﻜﺪﻩ ﺑﺎﻋﺚ ﺷﺪﻩ ﻛﻪ ﺧﺎﻧﻮﺍﺩﻩﻯ ﻛﻴﺮﻳﺸﻴﻜﻰ ﺗﺼﻤﻴﻢ ﺑﮕﻴﺮﻧﺪ ﺑﻪ ﺍﻳﻦ ﺩﻫﻜﺪﻩ ﺑﻴﺎﻳﻨﺪ ﻭ ﺁﻥﺟﺎ‬ ‫ﺭﺍ ﺑﻪ ﺩﻫﻜﺪﻩﺍﻯ ﺑﺮﺍﻯ ﺧﻮﻥﺁﺷﺎﻡﻫﺎ ﺗﺒﺪﻳﻞ ﻛﻨﻨﺪ‪ .‬ﺳﻴﺸﻴﻦ ﻫﻢ ﻣﺜﻞ ﺗﻮﺷﻴﻮ ﺑﻪ ﺷﺪﺕ ﺍﺯ ﺩﻫﻜﺪﻩ ﻭ‬ ‫ﺧﺎﻧﻮﺍﺩﻩﺍﺵ ﻣﺘﻨﻔﺮ ﺍﺳﺖ ﻭ ﺩﺭ ﺭﻣﺎﻧﻰ ﻛﻪ ﺩﺭ ﺣﺎﻝ ﻧﻮﺷﺘﻦ ﺁﻥ ﺍﺳﺖ‪ ،‬ﺑﻪ ﺍﻳﻦ ﻣﻮﺿﻮﻉ ﺍﺷﺎﺭﻩ ﻣﻰﻛﻨﺪ‪.‬‬ ‫ﺍﻳﻦ ﺩﺍﺳﺘﺎﻥ ﻣﺎﺟﺮﺍﻯ ﻣﺮﺩﻯ ﺍﺳﺖ ﻛﻪ ﺑﺮﺍﺩﺭﺵ ﺭﺍ ﻣﻰﻛﺸﺪ ﻭ ﺑﺮﺍﺩﺭﺵ ﺑﻪ ﺻﻮﺭﺕ ﻳﻚ ﺷﻴﻜﻰ‬ ‫)ﻣﺮﺩﻩﻯ ﻣﺘﺤﺮﻙ( ﺍﻭ ﺭﺍ ﺩﻧﺒﺎﻝ ﻣﻰﻛﻨﺪ‪ .‬ﺳﻴﺸﻴﻦ ﺩﺭ ﺩﻭﺭﺍﻥ ﺩﺍﻧﺸﮕﺎﻩ ﺩﺳﺖ ﺑﻪ ﺧﻮﺩﻛﺸﻰ ﻧﺎﻣﻮﻓﻘﻰ‬ ‫ﺯﺩﻩ ﺍﺳﺖ‪ .‬ﻫﻤﺎﻥﻃﻮﺭ ﻛﻪ ﺳﻮﻧﺎﻛﻮ ﺑﻪ ﺍﻭ ﮔﻮﺵﺯﺩ ﻣﻰﻛﻨﺪ‪ ،‬ﺑﺮﺍﻯ ﻛﺸﺘﻦ ﻳﻚ ﻧﻔﺮ ﺗﻨﻬﺎ ﺯﺩﻥ ﺭگ‬ ‫ﺩﺳﺖ ﺍﻭ ﻛﺎﻓﻰ ﻧﻴﺴﺖ‪ .‬ﺍﻭ ﻳﻜﻰ ﺍﺯ ﻣﻌﺪﻭﺩ ﺍﻧﺴﺎﻥﻫﺎﻳﻰ ﺍﺳﺖ ﻛﻪ ﺩﺍﻭﻃﻠﺒﺎﻧﻪ ﺑﺎ ﺍﻭﻛﻴﺎﮔﺎﺭﻯ ﻫﻤﻜﺎﺭﻯ‬ ‫ﻣﻰﻛﻨﺪ ﻭ ﺧﻮﺩﺵ ﻫﻢ ﺑﻪ ﻳﻚ ﺍﻭﻛﻴﺎﮔﺎﺭﻯ ﻳﺎ ﺟﻴﻨﺮﻭ )ﻣﺸﺨﺺ ﻧﻤﻰﺷﻮﺩ ﻛﺪﺍﻡ( ﺗﺒﺪﻳﻞ ﻣﻰﺷﻮﺩ‪.‬‬ ‫ﺩﺍﺳﺘﺎﻥ ﺭﻣﺎﻥ ﺍﻭ ﺍﺯ ﺍﻳﻦ ﻗﺮﺍﺭ ﺍﺳﺖ ﻛﻪ ﺩﻭ ﺑﺮﺍﺩﺭ ﺩﺭ ﺗﭙﻪﺍﻯ ﺯﻧﺪﮔﻰ ﻣﻰﻛﻨﻨﺪ ﻭ ﺩﺭ ﺣﺎﻟﻰ ﻛﻪ ﻳﻜﻰ‬ ‫ﺗﻨﻬﺎ ﻛﺎﺭﻫﺎﻯ ﺧﻮﺏ ﺍﻧﺠﺎﻡ ﻣﻰﺩﻫﺪ‪ ،‬ﺩﻳﮕﺮﻯ ﻫﺮﭼﻘﺪﺭ ﻫﻢ ﺗﻼﺵ ﻣﻰﻛﻨﺪ ﺣﺎﺻﻞ ﻛﺎﺭﻫﺎﻳﺶ ﺑﺪ‬ ‫ﺍﺳﺖ‪ .‬ﺑﺮﺍﻯ ﻫﻤﻴﻦ ﺍﻭ ﺑﺮﺍﺩﺭﺵ ﺭﺍ ﻣﻰﻛﺸﺪ ﻭ ﺍﺯ ﺗﭙﻪ ﺑﻪ ﺳﻮﻯ ﺑﻴﺎﺑﺎﻥ ﺭﺍﻫﻰ ﻣﻰﺷﻮﺩ‪ .‬ﺍﻣﺎ ﺑﺮﺍﺩﺭﺵ ﺑﻪ‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،9-10‬ﺷﻬﺮﻳﻮﺭ ﻭ ﻣﻬﺮ ‪1390‬‬

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‫ﺗﻠﻮﻳﺰﻳﻮﻥ‬

‫ﻫﻴﭻﻛﺲ ﺍﺯ ﺑﺰﺭﮔﺎﻥ ﺩﻫﻜﺪﻩ ﺣﺎﺿﺮ ﻧﻴﺴﺖ ﻭﺟﻮﺩﺷﺎﻥ ﺭﺍ ﺑﺎﻭﺭ ﻛﻨﺪ‪ ،‬ﺩﻛﺘﺮ ﺗﻮﺷﻴﻮ ﻳﻜﻪ ﻭ ﺗﻨﻬﺎ ﺑﻪ‬ ‫ﻣﺒﺎﺭﺯﻩ ﻣﻰﭘﺮﺩﺍﺯﺩ ﺗﺎ ﺍﻳﻦﻛﻪ ﻧﻬﺎﻳﺘﺎً ﺍﻫﺎﻟﻰ ﺭﺍ ﻗﺎﻧﻊ ﻣﻰﻛﻨﺪ‪ .‬ﺍﻭ ﺷﺨﺼﻴﺘﻰ ﻗﺪﺭﺗﻤﻨﺪ ﺩﺍﺭﺩ ﻛﻪ ﺍﺯ ﻧﻈﺮ‬ ‫ﭘﺮﺩﺍﺯﺵ ﻫﻢﻃﺮﺍﺯ ﻛﺴﺎﻧﻰ ﭼﻮﻥ »ﻟﻮﻟﻮﺵ ﻭﻯ ﺑﺮﻳﺘﺎﻧﻴﺎ« )‪ (12‬ﺩﺭ »ﻛﺪ ﮔﻴﺎﺱ« )‪ (13‬ﻭ »ﻻﻳﺖ‬ ‫ﻳﺎﮔﺎﻣﻰ« )‪ (14‬ﺩﺭ »ﺩﻓﺘﺮﭼﻪﻯ ﻣﺮگ« )‪ (15‬ﺍﺳﺖ‪ .‬ﺩﻗﻴﻘﺎً ﻫﻤﻴﻦ ﻋﻤﻞﮔﺮﺍﻳﻰ ﺍﺳﺖ ﻛﻪ ﺍﻭ ﻭ‬ ‫ﺳﻴﺸﻴﻦ ﻣﺎﺋﻮﺭﻯ ﺭﺍ ﺑﺎ ﻫﻢ ﻣﺘﻔﺎﻭﺕ ﻣﻰﺳﺎﺯﺩ‪ .‬ﺗﻮﺷﻴﻮ ﺑﺮﺍﻯ ﻧﺠﺎﺕ ﺟﺎﻥ ﺧﻮﺩ ﻭ ﺳﺎﻳﺮ ﺍﻧﺴﺎﻥﻫﺎ‪ ،‬ﺭﺍﻩ‬ ‫ﻣﺒﺎﺭﺯﻩﻯ ﻣﺴﻠﺤﺎﻧﻪ ﺭﺍ ﭘﻴﺶ ﻣﻰﮔﻴﺮﺩ؛ ﺩﺭ ﺣﺎﻟﻰ ﻛﻪ ﺳﻴﺸﻴﻦ ﻣﻌﺘﻘﺪ ﺍﺳﺖ ﻛﺸﺘﻦ ‪ -‬ﺣﺘﺎ ﺍﮔﺮ ﻓﺮﺩ‬ ‫ﻣﻮﺭﺩ ﻧﻈﺮ ﻳﻚ ﺷﻴﻜﻰ ﺑﺎﺷﺪ ‪ -‬ﺟﻨﺎﻳﺖ ﺍﺳﺖ‪.‬‬ ‫»ﺳﻴﺸﻴﻦ‪ ...‬ﻛﻤﻜﻢ ﻛﻦ ﺍﻳﻦﺟﺎ ﺭﻭ ﺗﻤﻴﺰ ﻛﻨﻢ‪ .‬ﭼﻴﻪ؟ ﭼﺮﺍ ﺍﻳﻦﻃﻮﺭﻯ ﻧﮕﺎﻫﻢ ﻣﻰﻛﻨﻰ؟ ﺍﮔﺮ ﺟﺎﻯ ﻣﻦ ﺑﻮﺩﻯ ﭼﻰ ﻛﺎﺭ‬ ‫ﻣﻰﻛﺮﺩﻯ؟ ﺍﻧﺘﻈﺎﺭ ﺩﺍﺷﺘﻰ ﭼﻰ ﻛﺎﺭ ﻛﻨﻢ؟ ﻣﻦ ﺗﺼﻤﻴﻢ ﺧﻮﺩﻡ ﺭﻭ ﮔﺮﻓﺘﻢ‪ .‬ﻧﻤﻰﺗﻮﻧﻢ ﺍﺟﺎﺯﻩ ﺑﺪﻡ ﻛﻪ ﺍﻳﻦ ﻃﺎﻋﻮﻥ ﺍﺩﺍﻣﻪ‬ ‫ﭘﻴﺪﺍ ﻛﻨﻪ‪ .‬ﻣﻦ ﺑﻪ ﺷﻜﺎﺭ ﺷﻴﻜﻰ ﻣﻰﺭﻡ‪ .‬ﺍﻳﻦ ﻋﺪﺍﻟﺖ ﻣﻨﻪ!«‬ ‫»ﻛﺸﺘﻦ ﺩﻳﮕﺮﺍﻥ ﻫﻴﭻﻭﻗﺖ ﻋﺎﺩﻻﻧﻪ ﻧﻴﺴﺖ‪ .‬ﺣﺎﻻ ﻓﺮﻗﻰ ﻧﻤﻰﻛﻨﻪ ﻛﻪ ﻗﺎﻧﻮﻥ ﺭﻭ ﻛﻰ ﻭﺿﻊ ﻛﺮﺩﻩ ﺑﺎﺷﻪ‪ .‬ﻣﻦ ﺣﺎﺿﺮ‬ ‫ﻧﻴﺴﺘﻢ ﻛﺴﻰ ﺭﻭ ﺑﻜﺸﻢ‪ .‬ﻣﻰﺧﻮﺍﺩ ﺁﺩﻡ ﺑﺎﺷﻪ ﻳﺎ ﺷﻴﻜﻰ‪«.‬‬ ‫ﺷﻌﺎﺭ ﺗﻮﺷﻴﻮ ﺍﻳﻦ ﺍﺳﺖ‪ :‬ﻳﺎ ﻣﻰﺧﻮﺍﻫﻰ ﺯﻧﺪﻩ ﺑﻤﺎﻧﻰ ﻳﺎ ﻧﻤﻰﺧﻮﺍﻫﻰ‪.‬‬ ‫ﻧﺎﺗﺴﻮﻧﻮ ﻳﻮﻛﻰ‪/‬ﻛﻮﻳﺪﻩ‪ :‬ﻧﺎﺗﺴﻮﻧﻮ ﭘﺴﺮﻯ ﭘﺎﻧﺰﺩﻩ ﺳﺎﻟﻪ ﺍﺳﺖ ﻛﻪ ﺑﺎ ﺧﺎﻧﻮﺍﺩﻩﺍﺵ ﺍﺯ ﺷﻬﺮﻯ ﺑﺰﺭگ‬ ‫ﺑﻪ ﺩﻫﻜﺪﻩﻯ ﻛﻮﭼﻚ ﺳﻮﺗﻮﺑﺎ ﻣﻰﺁﻳﺪ‪ .‬ﺍﻭ ﺍﺯ ﻣﺤﻴﻂ ﺩﻫﻜﺪﻩ ﻭ ﺑﻪ ﺧﺼﻮﺹ ﻣﮕﻮﻣﻰ ﺷﻴﻤﻴﺰﻭ‪،‬‬ ‫ﻫﻤﻜﻼﺳﻰﺍﺵ ﻛﻪ ﻋﺎﺷﻘﺶ ﺷﺪﻩ‪ ،‬ﻣﺘﻨﻔﺮ ﺍﺳﺖ‪.‬‬

‫»ﻭﻟﻢ ﻛﻨﻴﺪ! ﻣﻄﻤﺌﻨﻢ ﻛﻪ ﺍﻭﻥ)ﻣﮕﻮﻣﻰ( ﺍﺯ ﻋﺸﻖ ﺗﺄﺛﺮﺑﺮﺍﻧﮕﻴﺰ ﻳﻚﻃﺮﻓﺶ ﻟﺬﺕ ﻫﻢ ﻣﻰﺑﺮﺩﻩ ﻭ ﺍﻣﻴﺪﻭﺍﺭ ﺑﻮﺩﻩ‬ ‫ﻣﻦ ﺑﻼﺧﺮﻩ ﻳﻪ ﺭﻭﺯ ﺑﻪ ﺍﺣﺴﺎﺳﺎﺗﺶ ﭘﺎﺳﺦ ﻣﻰﺩﻡ‪ .‬ﺗﻮﻯ ﺍﻳﻦ ﺩﻫﻜﺪﻩ ﻫﻤﻪ ﻫﻤﻴﻦﻃﻮﺭ ﻫﺴﺘﻦ‪ .‬ﺧﻮﺩﺧﻮﺍﻫﺎﻧﻪ‬ ‫ﻧﻘﺶﻫﺎ ﻭ ﻛﺎﺭﻫﺎﻳﻰ ﺭﻭ ﺑﻪ ﮔﺮﺩﻥ ﺑﻘﻴﻪ ﻣﻰﻧﺪﺍﺯﻥ ﻭ ﺍﺯﺷﻮﻥ ﺍﻧﺘﻈﺎﺭ ﺩﺍﺭﻥ ﺍﻳﻦ ﻛﺎﺭﻭ ﺑﻜﻨﻦ ﻭ ﺍﻭﻥ ﺣﺮﻓﻮ ﺑﺰﻧﻦ‪.‬‬ ‫ﺭﺍﺣﺘﻢ ﺑﺬﺍﺭﻳﺪ!«‬ ‫ﻧﺎﺗﺴﻮﻧﻮ ﺑﻪ ﻃﻮﺭ ﻛﻠﻰ ﻇﺎﻫﺮﻯ ﺳﺮﺩ ﻭ ﻏﻴﺮﺻﻤﻴﻤﻰ ﺩﺍﺭﺩ ﻭ ﺗﺮﺟﻴﺢ ﻣﻰﺩﻫﺪ ﻓﺎﺻﻠﻪﺍﺵ ﺭﺍ ﺑﺎ‬ ‫ﻣﺮﺩﻡ ﺣﻔﻆ ﻛﻨﺪ‪ .‬ﺍﻭ ﺗﻨﻬﺎ ﺑﺎ ﺗﻮﺭﻭﺭ ﻣﻮﺗﻮ ﻭ ﺧﻮﺍﻫﺮ ﻭ ﺑﺮﺍﺩﺭ ﺍﻭ ﻭ ﺑﭽﻪﻫﺎﻯ ﺧﺎﻧﻮﺍﺩﻩﻯ ﺗﺎﻧﺎﻛﺎ ﻳﻌﻨﻰ‬ ‫ﻛﺎﺋﻮﺭﻯ ﻭ ﺁﻛﻴﺮﺍ‪ ،‬ﺭﺍﺑﻄﻪﻯ ﮔﺮﻣﻰ ﺩﺍﺭﺩ‪ .‬ﺩﺭ ﺩﻫﻜﺪﻩ‪ ،‬ﺍﻭ ﺗﻨﻬﺎ ﻛﺴﻰ ﺍﺳﺖ ﻛﻪ ﺑﻪ ﺟﺎﻯ ﺍﻭﻛﻴﺎﮔﺎﺭﻯ ﺑﻪ‬ ‫»ﺟﻴﻨﺮﻭ« )‪ (16‬ﺗﺒﺪﻳﻞ ﻣﻰﺷﻮﺩ‪ .‬ﺟﻴﻨﺮﻭ ﻳﺎ ﺁﻥﻃﻮﺭ ﻛﻪ ﺳﻮﻧﺎﻛﻮ ﻣﻰﮔﻮﻳﺪ »ﮔﺮگ‪-‬ﺍﻧﺴﺎﻥﻫﺎ«‪ ،‬ﺩﺭ‬ ‫ﻭﺍﻗﻊ ﺧﻮﻥﺁﺷﺎﻡﻫﺎﻳﻰ ﻫﺴﺘﻨﺪ ﻛﻪ ﻗﺎﺩﺭﻧﺪ ﻧﻮﺭ ﺧﻮﺭﺷﻴﺪ ﺭﺍ ﺑﺪﻭﻥ ﻫﻴﭻ ﻣﺸﻜﻠﻰ ﺗﺤﻤﻞ ﻛﻨﻨﺪ ﻭ ﺑﺎ‬ ‫ﺁﻣﺪﻥ ﺻﺒﺢ ﺑﻪ ﺧﻮﺍﺏ ﻓﺮﻭ ﻧﻤﻰﺭﻭﻧﺪ‪ .‬ﺍﻣﺎ ﺍﻭ ﺗﺼﻤﻴﻢ ﻣﻰﮔﻴﺮﺩ ﺍﻭﻛﻴﺎﮔﺎﺭﻯ ﺭﺍ ﺍﺯ ﺑﻴﻦ ﺑﺒﺮﺩ‪.‬‬ ‫ﺑﺪ ﻧﻴﺴﺖ ﺩﺭ ﻫﻤﻴﻦﺟﺎ ﺍﺷﺎﺭﻩ ﺷﻮﺩ ﻛﻪ ﺳﻮﻧﺎﺗﻮ ﺑﺎ ﺧﻮﺍﻧﺪﻥ ﻛﺘﺎﺏﻫﺎﻯ ﻭﻣﭙﺎﻳﺮﻯ ﺩﺳﺖ ﺑﻪ ﻧﺎﻡﮔﺬﺍﺭﻯ‬ ‫ﺟﻴﻨﺮﻭﻫﺎ ﺑﻪ ﮔﺮگ‪-‬ﺍﻧﺴﺎﻥ ﻭ ﺍﻭﻛﻴﺎﮔﺎﺭﻯ ﺑﻪ ﺧﻮﻥﺁﺷﺎﻡ ﻣﻰﺯﻧﺪ‪ ،‬ﻭﮔﺮﻧﻪ ﺍﻳﻦ ﻣﻮﺟﻮﺩﺍﺕ ﺩﺭ ﺟﻬﺎﻥ‬

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‫ﻭﻳﮋﻩﻧﺎﻣﻪﻯ ﺧﻮﻥﺁﺷﺎﻡﻫﺎ‬

‫ﻫﻤﭽﻨﻴﻦ ﺗﻢ ﻛﻠﻰ ﻣﻮﺳﻴﻘﻰ ﻭ ﺁﻻﺕ ﻣﻮﺳﻴﻘﻰ ﺑﻪ ﻛﺎﺭ ﺭﻓﺘﻪ ﺩﺭ ﺁﻥ ﺑﻪ ﺧﻮﺑﻰ ﺑﺎ ﺟﻮ ﺳﻨﮕﻴﻦ ﻭ‬ ‫ﮔﻔﺘﮕﻮﻫﺎﻯ ﺷﺨﺼﻴﺖﻫﺎﻯ ﺩﺍﺳﺘﺎﻥ ﻫﻤﺎﻫﻨﮓ ﺍﺳﺖ‪.‬‬ ‫ﺩﺭ ﺍﻳﻦ ﺍﻧﻴﻤﻪ ﺍﺯ ﺧﻮﻥﺁﺷﺎﻡﻫﺎ ﺑﺎ ﻧﺎﻡ »ﺍﻭﻛﻴﺎﮔﺎﺭﻯ« )‪ (11‬ﻳﺎﺩ ﻣﻰﺷﻮﺩ ﻛﻪ ﺍﺻﻄﻼﺣﻰ ﻣﺤﻠﻰ ﺑﺮﺍﻯ‬ ‫ﻣﺮﺩﮔﺎﻥ ﻣﺘﺤﺮﻙ ﺍﺳﺖ‪ .‬ﺍﻭﻛﻴﺎﮔﺎﺭﻯ ﺍﻟﺒﺘﻪ ﺗﻔﺎﻭﺕ ﭼﻨﺪﺍﻧﻰ ﺑﺎ ﻭﻣﭙﺎﻳﺮﻫﺎ ﻧﺪﺍﺭﻧﺪ‪ .‬ﺍﺯ ﺁﻓﺘﺎﺏ ﮔﺮﻳﺰﺍﻥﺍﻧﺪ‬ ‫ﻭ ﭘﻮﺳﺘﺸﺎﻥ ﺯﻳﺮ ﺁﻓﺘﺎﺏ ﻣﻰﺳﻮﺯﺩ‪ ،‬ﺑﺎ ﻓﺮﻭ ﻛﺮﺩﻥ ﭼﻮﺏ ﺩﺭ ﺳﻴﻨﻪﺷﺎﻥ ﻣﻰﻣﻴﺮﻧﺪ ﻭ ﺑﺎ ﺩﻧﺪﺍﻥﻫﺎﻯ‬ ‫ﻧﻴﺶﺷﺎﻥ ﺍﺯ ﺧﻮﻥ ﺍﻧﺴﺎﻥ ﺗﻐﺬﻳﻪ ﻣﻰﻛﻨﻨﺪ؛ ﻫﻤﭽﻨﻴﻦ ﻗﺎﺩﺭﻧﺪ ﻗﺮﺑﺎﻧﻰﺷﺎﻥ ﺭﺍ ﻫﻴﭙﻨﻮﺗﻴﺰﻡ ﻛﻨﻨﺪ‪ .‬ﺑﻪ‬ ‫ﺩﻻﻳﻠﻰ ﻛﻪ ﺗﻮﺷﻴﻮ ﺁﻥ ﺭﺍ ﺗﻐﻴﻴﺮﺍﺗﻰ ﻓﻴﺰﻳﻮﻟﻮژﻳﻚ ﺩﺭ ﻣﻐﺰ ﺑﻴﺎﻥ ﻣﻰﻛﻨﺪ‪ ،‬ﺍﻭﻛﻴﺎﮔﺎﺭﻯ ﺍﺯ ﺻﺪﺍﻯ ﺍﺷﻴﺎء‬ ‫ﻓﻠﺰﻯ ﻭ ﻭﺳﺎﻳﻞ ﻣﻘﺪﺱ ﻣﺜﻞ ﻣﺠﺴﻤﻪﻯ ﺑﻮﺩﺍ ﻣﻰﺗﺮﺳﻨﺪ ﻭ ﺳﺮ ﻭ ﺻﺪﺍﻯ ﺟﺸﻦ ﺁﻥﻫﺎ ﺭﺍ ﺑﻪ ﻭﺣﺸﺖ‬ ‫ﻣﻰﺍﻧﺪﺍﺯﺩ‪ .‬ﺁﺗﺶ ﻳﻜﻰ ﺩﻳﮕﺮ ﺍﺯ ﺭﻭﺵﻫﺎﻯ ﻛﺸﺘﻦ ﺍﻭﻛﻴﺎﮔﺎﺭﻯ ﺍﺳﺖ‪.‬‬ ‫ﻳﻜﻰ ﺍﺯ ﻣﻬﻢﺗﺮﻳﻦ ﻭﻳﮋﮔﻰﻫﺎﻯ ﺍﻳﻦ ﺍﻧﻴﻤﻪ‪ ،‬ﺩﻗﺖ ﻗﺎﺑﻞ ﺗﻮﺟﻬﻰ ﺍﺳﺖ ﻛﻪ ﺑﻪ ﻧﻜﺎﺕ ﺭﻳﺰ ﻭ ﺟﺰﻳﻴﺎﺕ‬ ‫ﺷﺪﻩ ﺍﺳﺖ‪ .‬ﺍﻳﻦ ﺩﺍﺳﺘﺎﻥ ﻛﺎﻣ ً‬ ‫ﻼ ﺩﺭﻭﻥﻣﺎﻳﻪﻯ ﻣﻌﻤﺎﻳﻰ ﻭ ﺟﻨﺎﻳﻰ ﺩﺍﺭﺩ ﻭ ﺗﺎﺭﻳﺦﻫﺎ‪ ،‬ﻣﻜﺎﻥﻫﺎ ﻭ ﺍﺷﺨﺎﺹ‬ ‫ﺩﺭ ﭘﻴﺸﺮﻓﺖ ﺭﻭﻧﺪ ﺩﺍﺳﺘﺎﻥ ﻧﻘﺶ ﺣﻴﺎﺗﻰ ﺩﺍﺭﻧﺪ‪ .‬ﺑﺮﺍﻯ ﺑﻴﻨﻨﺪﻩ ﻻﺯﻡ ﺍﺳﺖ ﻛﻪ ﺍﺳﺎﻣﻰ ﻭ ﺗﺎﺭﻳﺦﻫﺎ ﺭﺍ‬ ‫ﺑﻪ ﺧﺎﻃﺮ ﺑﺴﭙﺎﺭﺩ‪ .‬ﺍﻳﻦ ﻛﺎﺭ ﺷﺎﻳﺪ ﺗﺎ ﺣﺪﻭﺩﻯ ﺳﺨﺖ ﺑﺎﺷﺪ‪ ،‬ﭼﻮﻥ ﺷﺨﺼﻴﺖﻫﺎﻯ ﺩﺍﺳﺘﺎﻥ ﺑﻪ ﻫﻔﺘﺎﺩ‬ ‫ﻧﻔﺮ ﻳﺎ ﺑﻴﺶﺗﺮ ﻣﻰﺭﺳﻨﺪ‪ .‬ﺍﺯ ﺍﻳﻦ ﺭﻭ ﺑﺪ ﻧﻴﺴﺖ ﻣﻮﻗﻊ ﺗﻤﺎﺷﺎﻯ ﺍﻳﻦ ﺍﻧﻴﻤﻪ ﺩﻓﺘﺮﭼﻪﻯ ﻛﺎﺭﺁﮔﺎﻫﻰﺗﺎﻥ‬ ‫ﺭﺍ ﻛﻨﺎﺭﺗﺎﻥ ﺩﺍﺷﺘﻪ ﺑﺎﺷﻴﺪ ﺗﺎ ﻫﻢ ﺑﺘﻮﺍﻧﻴﺪ ﺩﺍﺳﺘﺎﻥ ﺭﺍ ﺩﻧﺒﺎﻝ ﻛﻨﻴﺪ ﻭ ﻫﻢ ﺍﺯ ﺁﻥ ﺑﻴﺸﺘﺮ ﻟﺬﺕ ﺑﺒﺮﻳﺪ ﻭ‬ ‫ﺑﺮﺧﻰ ﻣﻌﻤﺎﻫﺎ ﺭﺍ ﻗﺒﻞ ﺍﺯ ﺍﻳﻦ ﻛﻪ ﭘﺎﺳﺨﺸﺎﻥ ﺭﻭ ﺷﻮﺩ‪ ،‬ﺧﻮﺩﺗﺎﻥ ﺣﻞ ﻛﻨﻴﺪ‪.‬‬ ‫ﺷﺨﺼﻴﺖﭘﺮﺩﺍﺯﻯ ﺧﻮﺏ ﻭ ﺩﻗﻴﻖ ﺑﻪ ﻫﻤﺮﺍﻩ ﺗﺼﻮﻳﺮﮔﺮﻯ ﻣﺘﻨﺎﺳﺐ‪ ،‬ﺍﺯ ﺟﻤﻠﻪ ﺩﻳﮕﺮ ﻧﻘﺎﻁ ﻗﻮﺕ ﺍﻳﻦ‬ ‫ﺍﻧﻴﻤﻪ ﺍﺳﺖ‪ .‬ﺗﺼﻮﻳﺮﮔﺮﻯ ﺍﻳﻦ ﺍﻧﻴﻤﻪ ﺑﻪ ﺧﻮﺑﻰ ﺣﺲ ﺗﺮﺱ ﻭ ﺗﺎﺭﻳﻜﻰ ﺭﺍ ﻣﻨﺘﻘﻞ ﻣﻰﻛﻨﺪ‪ .‬ﺩﺭ ﻃﻮﻝ‬ ‫ﺩﺍﺳﺘﺎﻥ ﺷﻤﺎ ﺑﺎ ﺷﺨﺼﻴﺖﻫﺎﻯ ﺑﻰﺷﻤﺎﺭﻯ ﺭﻭﺑﻪﺭﻭ ﻣﻰﺷﻮﻳﺪ‪ ،‬ﺍﻣﺎ ﺑﻪ ﻫﻴﭻ ﻭﺟﻪ ﺍﺣﺴﺎﺱ ﻧﺨﻮﺍﻫﻴﺪ‬ ‫ﻛﺮﺩ ﻛﻪ ﺑﺎ ﺷﺨﺼﻴﺘﻰ ﻛﻠﻴﺸﻪﺍﻯ ﻳﺎ ﺧﺎﻡ ﻃﺮﻑ ﻫﺴﺘﻴﺪ‪ .‬ﺍﺯ ﺟﻤﻠﻪ ﻣﺴﺎﺋﻠﻰ ﻛﻪ ﺷﺨﺼﻴﺖﻫﺎ ﺭﺍ ﺍﺯ‬ ‫ﻳﻜﺪﻳﮕﺮ ﺗﻤﻴﺰ ﻣﻰﺩﻫﺪ‪ ،‬ﺍﺣﺴﺎﺱ ﺁﻥﻫﺎ ﺩﺭ ﺑﺮﺍﺑﺮ ﺧﻮﻥﺁﺷﺎﻡﻫﺎ ﺍﺳﺖ ﻭ ﺩﺭ ﺻﻮﺭﺗﻰ ﻛﻪ ﺧﻮﺩﺷﺎﻥ‬ ‫ﺧﻮﻥﺁﺷﺎﻡ ﺑﺎﺷﻨﺪ‪ ،‬ﺭﻓﺘﺎﺭﺷﺎﻥ ﻧﺴﺒﺖ ﺑﻪ ﺍﻧﺴﺎﻥﻫﺎ ﻭ ﻫﻢﻧﻮﻋﺎﻧﺸﺎﻥ ﻛﺎﻣ ً‬ ‫ﻼ ﺍﺯ ﻫﻢ ﻣﺘﻔﺎﻭﺕ ﺍﺳﺖ‪ .‬ﺩﺭ‬ ‫ﺍﻳﻦﺟﺎ ﺑﻪ ﺑﺮﺭﺳﻰ ﺑﺮﺧﻰ ﺍﺯ ﺍﻳﻦ ﺷﺨﺼﻴﺖﻫﺎ ﻣﻰﭘﺮﺩﺍﺯﻳﻢ‪.‬‬ ‫ﺗﻮﺷﻴﻮ ﺍﻭﺯﺍﻛﻰ‪ :‬ﺩﻛﺘﺮ ﺗﻮﺷﻴﻮ ﺍﻭﺯﺍﻛﻰ ﺗﻨﻬﺎ ﻓﺮﺯﻧﺪ ﺧﺎﻧﺪﺍﻥ ﺍﻭﺯﺍﻛﻰ ﺍﺳﺖ ﻛﻪ ﺑﻪ ﻃﻮﺭ ﺳﻨﺘﻰ‬ ‫ﺑﻴﻤﺎﺭﺳﺘﺎﻥ ﺩﻫﻜﺪﻩ ﺭﺍ ﺍﺩﺍﺭﻩ ﻣﻰﻛﻨﻨﺪ‪ .‬ﺍﻭ ﺍﺯ ﺑﻴﻤﺎﺭﺳﺘﺎﻥ ﺩﺍﻧﺸﮕﺎﻩ ﺍﺳﺘﻌﻔﺎ ﻣﻰﺩﻫﺪ ﺗﺎ ﺑﻌﺪ ﺍﺯ ﻣﺮگ‬ ‫ﭘﺪﺭﺵ ﺍﺩﺍﺭﻩﻯ ﺑﻴﻤﺎﺭﺳﺘﺎﻥ ﺭﺍ ﺑﻪ ﺩﺳﺖ ﮔﻴﺮﺩ‪ .‬ﺗﻮﺷﻴﻮ ﺑﺎ ﺯﻧﻰ ﺑﻪ ﻧﺎﻡ ﻛﻴﻜﻮ ﺍﺯﺩﻭﺍﺝ ﻛﺮﺩﻩ‪ ،‬ﺍﻣﺎ ﺍﺭﺗﺒﺎﻁ‬ ‫ﻛﻤﻰ ﺑﺎ ﺍﻭ ﺩﺍﺭﺩ‪ .‬ﺗﻮﺷﻴﻮ ﺷﺪﻳﺪﺍ ً ﺑﻪ ﺳﻴﮕﺎﺭ ﺍﻋﺘﻴﺎﺩ ﺩﺍﺭﺩ‪ .‬ﺍﻭ ‪ 32‬ﺳﺎﻟﻪ ﻭ ﺩﻭﺳﺖ ﺩﻭﺭﺍﻥ ﻛﻮﺩﻛﻰ‬ ‫ﺳﻴﺸﻴﻦ ﻣﺎﺋﻮﺭﻯ ﻭ ﻣﻴﻜﻴﺎﺳﻮ ﻣﺎﺳﻮﻣﻮﺭﻯ ﺍﺳﺖ‪ .‬ﻭﻗﺘﻰ ﺧﻮﻥﺁﺷﺎﻡﻫﺎ ﺩﻫﻜﺪﻩ ﺭﺍ ﺗﺼﺮﻑ ﻣﻰﻛﻨﻨﺪ ﻭ‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،9-10‬ﺷﻬﺮﻳﻮﺭ ﻭ ﻣﻬﺮ ‪1390‬‬

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‫ﺗﻠﻮﻳﺰﻳﻮﻥ‬

‫ﭼﺎپ ﻣﻰﺭﺳﺪ‪ .‬ﻫﻤﭽﻨﻴﻦ ﺍﻧﻴﻤﻪﻯ ﺳﺎﺧﺘﻪ ﺷﺪﻩ ﺑﺮ ﺍﺳﺎﺱ ﺍﻳﻦ ﺭﻣﺎﻥ ﺍﺯ ﺟﻮﻻﻯ ‪ 2010‬ﺩﺭ ﺗﻠﻮﻳﺰﻳﻮﻥ‬ ‫ﻓﻮﺟﻰ ﺁﻏﺎﺯ ﺑﻪ ﭘﺨﺶ ﻛﺮﺩ‪ .‬ﺍﻳﻦ ﻣﺠﻤﻮﻋﻪﻯ ﺑﻴﺴﺖ ﻭ ﺩﻭ ﻗﺴﻤﺘﻰ‪ ،‬ﻳﻜﻰ ﺍﺯ ﺑﺮﺟﺴﺘﻪﺗﺮﻳﻦ ﺁﺛﺎﺭ ﺍﻧﻴﻤﻪ‬ ‫ﺩﺭ ژﺍﻧﺮ ﺧﻮﻥﺁﺷﺎﻣﻰ ﺍﺳﺖ‪.‬‬ ‫ﺧﻼﺻﻪﻯ ﺩﺍﺳﺘﺎﻥ‬ ‫ﺩﺍﺳﺘﺎﻥ ﺩﺭ ﻳﻚ ﺗﺎﺑﺴﺘﺎﻥ ﮔﺮﻡ ﺩﺭ ﺩﻫﻪﻯ ﻧﻮﺩ ﺩﺭ ﺩﻫﻜﺪﻩﺍﻯ ﻛﻮﭼﻚ ﻭ ﺁﺭﺍﻡ ﺑﻪ ﻧﺎﻡ ﺳﻮﺗﻮﺑﺎ ﺭﺥ‬ ‫ﻣﻰﺩﻫﺪ‪ .‬ﻫﻤﺰﻣﺎﻥ ﺑﺎ ﻭﺭﻭﺩ ﺧﺎﻧﻮﺍﺩﻩﺍﻯ ﻋﺠﻴﺐ ﻭ ﻏﺮﻳﺐ ﺑﺎ ﻟﺒﺎﺱﻫﺎﻯ ﻗﺮﻭﻥ ﻭﺳﻄﺎﻳﻰ ﻏﺮﺑﻰ ﻭ‬ ‫ﺳﻜﻮﻧﺘﺸﺎﻥ ﺩﺭ ﻗﻠﻌﻪﺍﻯ ﺑﻪ ﻧﺎﻡ ﻛﺎﻧﻪﻣﺎﺳﺎ‪ ،‬ﻣﺠﻤﻮﻋﻪﺍﻯ ﺍﺯ ﻣﺮگﻫﺎﻯ ﻏﻴﺮﻋﺎﺩﻯ ﺭﺥ ﻣﻰﺩﻫﻨﺪ ﻭ‬ ‫ﻋﺪﻩﻯ ﻧﺴﺒﺘﺎً ﻛﺜﻴﺮﻯ ﺍﺯ ﺍﻫﺎﻟﻰ ﺩﻫﻜﺪﻩ ﻣﻰﻣﻴﺮﻧﺪ‪ .‬ﺗﻮﺷﻴﻮ ﺍﻭﺯﺍﻛﻰ‪ ،‬ﺭﺋﻴﺲ ﺗﻨﻬﺎ ﺑﻴﻤﺎﺭﺳﺘﺎﻥ ﺳﻮﺗﻮﺑﺎ‬ ‫ﺍﺑﺘﺪﺍ ﻣﻌﺘﻘﺪ ﺍﺳﺖ ﻛﻪ ﺍﻳﻦ ﻣﺮگﻫﺎ ﺑﺮ ﺍﺛﺮ ﻳﻚ ﺍﭘﻴﺪﻣﻰ ﻫﺴﺘﻨﺪ ﻭ ﺁﺯﻣﺎﻳﺶﻫﺎﻯ ﺑﺴﻴﺎﺭﻯ ﺭﺍ ﺗﺮﺗﻴﺐ‬ ‫ﻣﻰﺩﻫﺪ‪ .‬ﺍﻣﺎ ﻭﻗﺘﻰ ﺗﻌﺪﺍﺩ ﻗﺮﺑﺎﻧﻴﺎﻥ ﺑﺎﻻ ﻣﻰﺭﻭﺩ‪ ،‬ﺗﻮﺷﻴﻮ ﺗﺼﻤﻴﻢ ﻣﻰﮔﻴﺮﺩ ﺍﺯ ﻫﺮ ﺭﺍﻫﻰ ﻛﻪ ﺷﺪﻩ ﺑﻪ‬ ‫ﺭﺍﺯ ﻣﺮگﻫﺎ ﭘﻰ ﺑﺒﺮﺩ ﻭ ﺑﺪﻳﻦ ﺗﺮﺗﻴﺐ ﻛﺸﻒ ﻣﻰﻛﻨﺪ ﻛﻪ ﺍﭘﻴﺪﻣﻰ ﺩﺭ ﻛﺎﺭ ﻧﻴﺴﺖ ﻭ ﺧﻮﻥﺁﺷﺎﻡﻫﺎ‬ ‫ﻫﺴﺘﻨﺪ ﻛﻪ ﺩﻫﻜﺪﻩﻯ ﺍﻭ ﺭﺍ ﺗﺼﺮﻑ ﻛﺮﺩﻩﺍﻧﺪ‪.‬‬ ‫ﺷﺨﺼﻴﺖ ﺍﺻﻠﻰ ﺩﻳﮕﺮ ﺩﺍﺳﺘﺎﻥ ﻧﺎﺗﺴﻮﻧﻮ ﻳﻮﻛﻰ ﺍﺳﺖ‪ .‬ﭘﺴﺮﻯ ﭘﺎﻧﺰﺩﻩ ﺳﺎﻟﻪ ﻛﻪ ﺑﺎ ﺧﺎﻧﻮﺍﺩﻩﺍﺵ ﺑﻪ‬ ‫ﺩﻫﻜﺪﻩﻯ ﺳﻮﺗﻮﺑﺎ ﻧﻘﻞ ﻣﻜﺎﻥ ﻣﻰﻛﻨﺪ‪ .‬ﺍﻭ ﺍﺯ ﺩﻫﻜﺪﻩ ﻭ ﻣﺤﻴﻂ ﺁﻥ ﻣﺘﻨﻔﺮ ﺍﺳﺖ ﻭ ﺧﻴﻠﻰ ﺯﻭﺩ ﺑﻪ ﻫﻤﺮﺍﻩ‬ ‫ﺑﻬﺘﺮﻳﻦ ﺩﻭﺳﺘﺶ ﺗﻮﺭﻭ ﻣﻮﺗﻮ‪ ،‬ﻣﺜﻞ ﺗﻮﺷﻴﻮ ﺩﺭﮔﻴﺮ ﻣﺎﺟﺮﺍﻯ ﻗﺘﻞﻫﺎﻯ ﻣﺮﻣﻮﺯ ﺩﻫﻜﺪﻩ ﻣﻰﺷﻮﻧﺪ‪.‬‬ ‫ﺑﺎﺭ ﺍﺧﻼﻗﻰ ﻭ ﻓﻠﺴﻔﻰ ﺩﺍﺳﺘﺎﻥ ﻧﻴﺰ ﺣﻮﻝ ﻣﺎﺟﺮﺍﻫﺎﻯ ﺳﻴﺸﻴﻦ ﻣﺎﺋﻮﺭﻯ ﻭ ﺳﻮﻧﺎﻛﻮ ﻛﻴﺮﻳﺸﻴﻜﻰ ﻭ‬ ‫ﺩﺍﺳﺘﺎﻧﻰ ﻛﻪ ﺳﻴﺸﻴﻦ ﺩﺭ ﺣﺎﻝ ﻧﻮﺷﺘﻦ ﺁﻥ ﺍﺳﺖ‪ ،‬ﻣﻰﮔﺮﺩﺩ‪ .‬ﺳﻴﺸﻴﻦ ﺭﺍﻫﺒﻰ ﺑﻮﺩﺍﻳﻰ ﺍﺳﺖ ﻛﻪ‬ ‫ﺩﺧﺘﺮﻛﻰ ﺑﻪ ﻧﺎﻡ ﺳﻮﻧﺎﻛﻮ ﺷﺐﻫﺎ ﺑﻪ ﺩﻳﺪﺍﺭﺵ ﻣﻰﺭﻭﺩ ﺗﺎ ﺩﺭﺑﺎﺭﻩﻯ ﻛﺘﺎﺏﻫﺎﻳﺶ ﺑﺎ ﺍﻭ ﺑﺤﺚ ﻛﻨﺪ‪ .‬ﻫﺮ‬ ‫ﭼﻨﺪ ﺩﺭ ﺍﺑﺘﺪﺍ ﺳﻴﺸﻴﻦ ﻣﺘﻮﺟﻪ ﻣﺎﻫﻴﺖ ﺳﻮﻧﺎﻛﻮ ﻧﻤﻰﺷﻮﺩ‪ ،‬ﺍﻣﺎ ﺭﺍﺑﻄﻪﻯ ﺍﻳﻦ ﺩﻭ ﻭ ﺷﺨﺼﻴﺖ ﺳﻴﺸﻴﻦ‬ ‫ﺩﺭ ﺷﻜﻞﮔﻴﺮﻯ ﺩﺍﺳﺘﺎﻥ ﺍﻫﻤﻴﺖ ﻓﺮﺍﻭﺍﻧﻰ ﺩﺍﺭﺩ‪.‬‬ ‫ﺩﺭﺑﺎﺭﻩﻯ ﺍﻧﻴﻤﻪ‬ ‫ﻗﺒﻞ ﺍﺯ ﻫﺮ ﭼﻴﺰ ﺑﺎﻳﺪ ﺩﺭﺑﺎﺭﻩﻯ ﻣﻮﺳﻴﻘﻰ ﺯﻳﺒﺎﻯ ﺍﻳﻦ ﺍﻧﻴﻤﻪ ﻧﻮﺷﺖ‪ .‬ﺍﻳﻦ ﺍﻧﻴﻤﻪ ﺑﺎ ﻣﻮﺳﻴﻘﻰ ﺑﻪ ﻳﺎﺩ‬ ‫ﻣﺎﻧﺪﻧﻰﺍﺵ‪ ،‬ﺷﻤﺎ ﺭﺍ ﻭﺍﺩﺍﺭ ﻣﻰﻛﻨﺪ ﻛﻪ ﺣﺘﺎ ﺑﺮﺍﻯ ﺷﻨﻴﺪﻥ ﺩﻭﺑﺎﺭﻩﻯ ﻣﻠﻮﺩﻯ ﺁﻥ ﺑﻪ ﺳﺮﺍﻏﺶ ﺑﺮﻭﻳﺪ‬ ‫ﻭ ﻓﺎﻳﻞ ﺁﻥ ﺭﺍ ﺍﺟﺮﺍ ﻛﻨﻴﺪ ﻭ ﻋﻘﺐ ﻭ ﺟﻠﻮﻳﺶ ﻛﻨﻴﺪ ﺗﺎ ﻗﺴﻤﺖ ﻣﻮﺭﺩ ﻋﻼﻗﻪﺗﺎﻥ ﺭﺍ ﺩﻭﺑﺎﺭﻩ ﺑﺸﻨﻮﻳﺪ‪.‬‬ ‫ﻣﻮﺳﻴﻘﻰ ﻣﺘﻦ ﺍﻳﻦ ﺍﻧﻴﻤﻪ ﻛﻪ ﺑﺎ ﭘﻴﺎﻧﻮ ﻭ ﻭﻳﻮﻟﻦﺳﻞ ﻭ ﻭﻳﻮﻟﻦ ﺍﺟﺮﺍ ﻣﻰﺷﻮﺩ‪ ،‬ﻫﻤﺰﻣﺎﻥ ﺍﺣﺴﺎﺳﺎﺕ‬ ‫ﻣﺘﻔﺎﻭﺗﻰ ﺭﺍ ﺑﻪ ﺑﻴﻨﻨﺪﻩ ﻣﻨﺘﻘﻞ ﻣﻰﻛﻨﺪ ﻛﻪ ﻣﻌﺠﻮﻧﻰ ﺍﺳﺖ ﺍﺯ ﻫﺮﺍﺱ ﻭ ﺗﻨﻬﺎﻳﻰ ﻭ ﻏﻢ ﻭ ﺍﻟﺒﺘﻪ ﻫﻴﺠﺎﻥ‪.‬‬

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‫ﻭﻳﮋﻩﻧﺎﻣﻪﻯ ﺧﻮﻥﺁﺷﺎﻡﻫﺎ‬

Shiki

‫ﺗﻠﻮﻳﺰﻳﻮﻥ‬

‫ﺧﻮﻥﺁﺷﺎﻡﻫﺎ ﺩﺭ ﺻﻨﻌﺖ ﺍﻧﻴﻤﻪﻯ ژﺍﭘﻨﻰ‬ ‫)ﺑﺮﺭﺳﻰ ﺍﻧﻴﻤﻪﻯ ﺷﻴﻜﻰ ﻭ ﭼﻨﺪ ﺍﻧﻴﻤﻪﻯ ﺩﻳﮕﺮ(‬ ‫ﺩﺭ ﺳﺎﻝ ‪» ،1980‬ﺩﺭﺍﻛﻮﻻ«‪ ،‬ﻓﻴﻠﻤﻰ ﭘﻮﻳﺎﻧﻤﺎﻳﻰ ﺷﺪﻩﺍﻯ ﺑﺮ ﺍﺳﺎﺱ ﻛﻤﻴﻚ ﺍﺳﺘﺮﻳﭗ ﻣﻮﻓﻖ‬ ‫ﻣﺎﺭﻭﻝ »ﺁﺭﺍﻣﮕﺎﻩ ﺩﺭﺍﻛﻮﻻ«‪ ،‬ﺍﻭﻟﻴﻦ ﻛﺎﺭﺗﻮﻥ ﻣﻮﻓﻖ ژﺍﭘﻨﻰ ﺩﺭ ژﺍﻧﺮ ﺧﻮﻥﺁﺷﺎﻣﻰ ﺑﻮﺩ‪ .‬ﺑﻌﺪ ﺍﺯ ﺁﻥ‪،‬‬ ‫)‪ Vampire Hunter D (1985‬ﻭ )‪ Vampire Princess Miyu (1988‬ﺳﺎﺧﺘﻪ ﺷﺪﻧﺪ ﻛﻪ ﺟﺰء‬ ‫ﭘﺮﺑﻴﻨﻨﺪﻩﺗﺮﻳﻦﻫﺎ ﺩﺭ ﻏﺮﺏ ﺑﻮﺩﻧﺪ‪.‬‬ ‫ﺍﻣﺎ ﺟﺎﻧﺪﺍﺭﺍﻥ ﺧﻮﻥﺁﺷﺎﻡ ﻫﻤﻴﺸﻪ ﺩﺭ ﻗﺎﻟﺐ ﻭ ﺍﺳﻢ »ﻭﻣﭙﺎﻳﺮ« ﺩﺭ ﺍﻧﻴﻤﻪﻫﺎ ﻇﺎﻫﺮ ﻧﻤﻰﺷﻮﻧﺪ‪ .‬ﺩﺭ‬ ‫ﺍﻏﻠﺐ ﺍﻧﻴﻤﻪﻫﺎﻯ ﺍﻳﻦ ژﺍﻧﺮ ﺷﺨﺼﻴﺖ ﺧﻮﻥﺁﺷﺎﻡ ﻭﺟﻮﺩ ﺩﺍﺭﺩ‪ ،‬ﺍﻣﺎ ﺑﺎ ﻧﺎﻡ ﻭ ﻭﻳﮋﮔﻰﻫﺎﻳﻰ ﻣﺘﻔﺎﻭﺗﻰ‬ ‫ﻛﻪ ﺍﺯ ﺧﻮﻥﺁﺷﺎﻡﻫﺎﻯ ﻛﻼﺳﻴﻚ ﻣﻰﺷﻨﺎﺳﻴﻢ‪ .‬ﺑﻌﺪ ﺍﺯ ﻣﻮﻓﻘﻴﺖ ﺍﻭﻟﻴﻦ ﺍﻧﻴﻤﻪ ﺩﺭ ﺍﻳﻦ ﺯﻣﻴﻨﻪ‪ ،‬ژﺍﻧﺮ‬ ‫ﺧﻮﻥﺁﺷﺎﻣﻰ ﺑﻪ ﻳﻜﻰ ﺍﺯ ﻣﻌﻤﻮﻝﺗﺮﻳﻦ ژﺍﻧﺮﻫﺎ ﺩﺭ ﺻﻨﻌﺖ ﺍﻧﻴﻤﻪﺳﺎﺯﻯ ﺗﺒﺪﻳﻞ ﺷﺪ ﻭ ﺗﻮﻟﻴﺪ ﺍﻳﻦ ﺩﺳﺘﻪ‬ ‫*‬ ‫ﺍﺯ ﺍﻧﻴﻤﻪﻫﺎ ﺭﻭﻧﻖ ﮔﺮﻓﺖ‪ .‬ﺩﺭ ﺍﻳﻦﺟﺎ ﺑﻪ ﭼﻨﺪ ﻧﻤﻮﻧﻪ ﺍﺯ ﺍﻳﻦ ﺍﻧﻴﻤﻪﻫﺎ ﺍﺷﺎﺭﻩ ﻣﻰﻛﻨﻴﻢ‪.‬‬ ‫ﺷﻴﻜﻰ )‪(Shiki‬‬ ‫ﻳﻌﻨﻰ ﭼﻮﻥ ﻧﺨﻮﺍﺳﺘﻢ ﺍﺯ ﮔﺮﺳﻨﮕﻰ ﺑﻤﻴﺮﻡ ﺁﺩﻡ ﺑﺪﻯ ﻫﺴﺘﻢ؟ ﻣﻦ ﺑﻪ ﻣﻴﻞ ﺧﻮﺩﻡ ﺑﻪ ﺍﻳﻦ‬ ‫ﻣﻮﺟﻮﺩ‪ ...‬ﺑﻪ ﺍﻳﻦ ﻫﻴﻮﻻ ﺗﺒﺪﻳﻞ ﻧﺸﺪﻡ!‬ ‫ﺭﻣﺎﻥ‬

‫ﺍﻧﻴﻤﻪ‬

‫ﻣﺎﻧﮕﺎ‬

‫ﺷﻴﻜﻰ‬ ‫ﺷﻴﻜﻰ‬ ‫ﺷﻴﻜﻰ‬ ‫ﻛﺎﺭﮔﺮﺩﺍﻥ‪ :‬ﺗﺘﺴﻮﺭﻭ ﺍﻧﻴﻤﻮ‬ ‫ﻧﻮﻳﺴﻨﺪﻩ‪ :‬ﻓﻮﻳﻮﻣﻰ ﺍﻭﻧﻮ‬ ‫ﻧﻮﻳﺴﻨﺪﻩ‪ :‬ﻓﻮﻳﻮﻣﻰ ﺍﻭﻧﻮ‬ ‫ﺗﻌﺪﺍﺩ ﻗﺴﻤﺖﻫﺎ‪22 :‬‬ ‫ﺗﺼﻮﻳﺮﮔﺮ‪ :‬ﺭﻳﻮ ﻓﻮﺟﻴﺴﺎﻛﻰ‬ ‫ﻧﺎﺷﺮ‪ :‬ﺷﻴﻨﭽﻮﺷﺎ‬ ‫ﻭﺿﻌﻴﺖ‪ :‬ﺗﻤﺎﻡ ﺷﺪﻩ‬ ‫ﺗﻌﺪﺍﺩ ﻗﺴﻤﺖﻫﺎ‪10 :‬‬ ‫ﺗﻌﺪﺍﺩ ﺟﻠﺪﻫﺎ‪5 :‬‬ ‫ﺍﺳﺘﻮﺩﻳﻮ‪Daume :‬‬ ‫ﻭﺿﻌﻴﺖ‪ :‬ﺍﺩﺍﻣﻪﺩﺍﺭ‬ ‫ﻭﺿﻌﻴﺖ‪ :‬ﺗﻤﺎﻡ ﺷﺪﻩ‬ ‫ژﺍﻧﺮ‪ :‬ﻣﺎﻭﺭﺍءﺍﻟﻄﺒﻴﻌﻰ‪ ،‬ﻓﺎﻧﺘﺰﻯ‪ ،‬ژﺍﻧﺮ‪ :‬ﻣﺎﻭﺭﺍءﺍﻟﻄﺒﻴﻌﻰ‪ ،‬ﻓﺎﻧﺘﺰﻯ‪ ،‬ژﺍﻧﺮ‪ :‬ﻣﺎﻭﺭﺍءﺍﻟﻄﺒﻴﻌﻰ‪ ،‬ﻓﺎﻧﺘﺰﻯ‪،‬‬ ‫ﻣﻌﻤﺎﻳﻰ‪ ،‬ﻭﺣﺸﺖ‬ ‫ﻣﻌﻤﺎﻳﻰ‪ ،‬ﻭﺣﺸﺖ‬ ‫ﻣﻌﻤﺎﻳﻰ‪ ،‬ﻭﺣﺸﺖ‬ ‫ﺍﻧﻴﻤﻪﻯ ﺷﻴﻜﻰ ﺍﺯ ﺭﻭﻯ ﺭﻣﺎﻧﻰ ﻧﻮﺷﺘﻪﻯ ﻓﻮﻳﻮﻣﻰ ﺍﻭﻧﻮ )‪ ،(10‬ﻧﻮﻳﺴﻨﺪﻩﻯ ژﺍﭘﻨﻰ ﺳﺎﺧﺘﻪ ﺷﺪﻩ ﺍﺳﺖ‪.‬‬ ‫ﺍﻳﻦ ﺭﻣﺎﻥ ﺍﻭﻟﻴﻦ ﺑﺎﺭ ﺩﺭ ‪ 1998‬ﺩﺭ ﺩﻭ ﻗﺴﻤﺖ ﻭ ﺳﭙﺲ ﺩﺭ ‪ 2002‬ﺩﺭ ﭘﻨﺞ ﻗﺴﻤﺖ ﺑﻪ ﭼﺎپ ﺭﺳﻴﺪ‪.‬‬ ‫ﺑﺨﺶﻫﺎﻳﻰ ﺍﺯ ﺍﻳﻦ ﺭﻣﺎﻥ ﺍﺯ ﺩﺳﺎﻣﺒﺮ ‪ 2007‬ﺑﻪ ﺑﻌﺪ ﺑﻪ ﺻﻮﺭﺕ ﻣﺎﻧﮕﺎ ﺩﺭ ﻣﺎﻫﻨﺎﻣﻪﻯ ‪ jump SQ‬ﺑﻪ‬ ‫* ﺩﺭ ﺍﺩﺍﻣﻪ ﺑﻌﺪ ﺍﺯ ﻣﻌﺮﻓﻰ ﻫﺮ ﻛﺪﺍﻡ ﺍﺯ ﺍﻧﻴﻤﻪﻫﺎ‪ ،‬ﻳﺎﺩﺩﺍﺷﺖﻫﺎﻳﻰ ﻧﻮﺷﺘﻪ ﺷﺪﻩ ﻭ ﺑﺮﺍﻯ ﺗﻔﻜﻴﻚ ﻧﻮﻳﺴﻨﺪﻩ‪ ،‬ﺍﺯ ﻋﻼﺋﻢ ﺭﺍﻫﻨﻤﺎﻯ ﺯﻳﺮ ﺍﺳﺘﻔﺎﺩﻩ ﺷﺪﻩ ﺍﺳﺖ‪:‬‬ ‫‪ :Ω‬ﻫﺎﻧﻴﻪﺳﺎﺩﺍﺕ ﺳﺮﻛﻰ‬ ‫‪ :Ψ‬ﻓﺮﺯﻳﻦ ﺳﻮﺭﻯ‬ ‫‪ :Φ‬ﺍﻟﻬﻪ ﻣﺮﺍﺩﻯ‬

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‫ﻭﻳﮋﻩﻧﺎﻣﻪﻯ ﺧﻮﻥﺁﺷﺎﻡﻫﺎ‬

‫ﺧﻮﻥﺁﺷﺎﻡﻫﺎﻯ ژﺍﭘﻨﻰ ﻣﻌﺎﺻﺮ‬ ‫ﻫﺮ ﭼﻨﺪ ژﺍﭘﻨﻰﻫﺎ ﺧﻮﺩﺷﺎﻥ ﺍﻓﺴﺎﻧﻪﻫﺎﻯ ﺧﻮﻥﺁﺷﺎﻣﻰ ﻧﺪﺍﺭﻧﺪ‪ ،‬ﺍﻣﺎ ﺑﺎ ﺍﻟﻬﺎﻡ ﮔﺮﻓﺘﻦ ﺍﺯ ﺍﻓﺴﺎﻧﻪﻫﺎﻯ‬ ‫ﺍﺭﻭﭘﺎﻳﻰ‪ ،‬ﺑﻪ ﺧﺼﻮﺹ ﺑﻪ ﻭﺍﺳﻄﻪﻯ ﺻﻨﻌﺖ ﻓﻴﻠﻢﺳﺎﺯﻯ‪ ،‬ﺩﺭ ﺷﻜﻞﺩﻫﻰ ﻭ ﮔﺴﺘﺮﺵ ﺗﺼﻮﻳﺮ ﺍﻣﺮﻭﺯﻯ‬ ‫ﺧﻮﻥﺁﺷﺎﻡﻫﺎ ﻧﻘﺶ ﺑﻪ ﺳﺰﺍﻳﻰ ﺩﺍﺷﺘﻪﺍﻧﺪ‪ .‬ﺧﻮﻥﺁﺷﺎﻡ ﺣﺎﻝ ﺣﺎﺿﺮ ژﺍﭘﻨﻰﻫﺎ »ﻛﻴﻮﻛﺘﺴﻮﻛﻰ« ﻧﺎﻣﻴﺪﻩ‬ ‫ﻣﻰﺷﻮﺩ‪ .‬ﺑﺪ ﻧﻴﺴﺖ ﺑﻪ ﺗﺎﺭﻳﺨﭽﻪﻱ ﺳﻴﻨﻤﺎﻯ ژﺍﭘﻦ ﺩﺭ ﺍﻳﻦ ﺑﺎﺏ ﻧﮕﺎﻫﻰ ﺩﺍﺷﺘﻪ ﺑﺎﺷﻴﻢ‪ .‬ﺩﺭ ‪1956‬‬ ‫ﻓﻴﻠﻤﻰ ﺩﺭ ژﺍﻧﺮ ﺧﻮﻥﺁﺷﺎﻣﻰ ﺑﻪ ﻧﺎﻡ »‪ «Kyuketsuki Ga‬ﺍﻛﺮﺍﻥ ﺷﺪ‪ .‬ﺩﺍﺳﺘﺎﻥ ﺩﺭ ﻣﻮﺭﺩ ﻗﺘﻞﻫﺎﻳﻰ‬ ‫ﺯﻧﺠﻴﺮﻩﺍﻯ ﺑﻮﺩ ﻛﻪ ﺩﺭ ﺁﻥﻫﺎ ﺑﺮ ﺭﻭﻯ ﮔﺮﺩﻥ ﺗﻤﺎﻡ ﻗﺮﺑﺎﻧﻰﻫﺎ‪ ،‬ﺟﺎﻯ ﺩﻭ ﺩﻧﺪﺍﻥ ﻭﺟﻮﺩ ﺩﺍﺷﺖ؛ ﺍﻣﺎ ﺩﺭ‬ ‫ﺁﺧﺮ ﻣﺸﺨﺺ ﺷﺪ ﻛﻪ ﻗﺎﺗﻞ ﺧﻮﻥﺁﺷﺎﻡ ﻧﺒﻮﺩﻩ ﺍﺳﺖ‪.‬‬ ‫ﭼﻨﺪ ﺳﺎﻝ ﺑﻌﺪ‪ ،‬ﻛﺎﺭﮔﺮﺩﺍﻥ »‪ «Kyuketsuki Ga‬ﻓﻴﻠﻢ ﺩﻳﮕﺮﻯ ﺑﻪ ﻧﺎﻡ »‪ «Onna Kyuketsuki‬ﺭﺍ‬ ‫ﺍﺭﺍﺋﻪ ﻛﺮﺩ؛ ﺩﺍﺳﺘﺎﻥ ﺍﻳﻦ ﻓﻴﻠﻢ ﺩﺭ ﻣﻮﺭﺩ ﺧﻮﻥﺁﺷﺎﻣﻰ ﺑﻮﺩ ﻛﻪ ﻫﻤﺴﺮ ﻳﻚ ﺩﺍﻧﺸﻤﻨﺪ ﺍﺗﻤﻰ ﺭﺍ ﻣﻰﺭﺑﺎﻳﺪ‪.‬‬ ‫ﺩﺭ ﻣﻴﺎﻥ ﻓﻴﻠﻢﻫﺎﻯ ﺧﻮﻥﺁﺷﺎﻣﻰ ژﺍﭘﻨﻰ ﺩﻫﻪﻯ ﺷﺼﺖ‪ ،‬ﻓﻴﻠﻢ »‪ «Kuroneko‬ﻧﻴﺰ ﺑﻪ ﭼﺸﻢ ﻣﻰﺧﻮﺭﺩ‬ ‫ﻛﻪ ﺍﻗﺘﺒﺎﺳﻰ ﺍﺳﺖ ﺍﺯ ﺩﺍﺳﺘﺎﻥ ﮔﺮﺑﻪﻯ ﺧﻮﻥﺁﺷﺎﻡ‪ .‬ﺩﺍﺳﺘﺎﻥ ﻓﻴﻠﻢ ﻣﺎﺟﺮﺍﻯ ﻣﺎﺩﺭ ﻭ ﺩﺧﺘﺮﻯ ﺍﺳﺖ ﻛﻪ‬ ‫ﺗﻮﺳﻂ ﮔﺮﻭﻫﻰ ﺳﺎﻣﻮﺭﺍﻳﻰ ﺑﻪ ﻗﺘﻞ ﻣﻰﺭﺳﻨﺪ‪ ،‬ﺍﻣﺎ ﺑﻌﺪ ﺑﻪ ﺷﻜﻞ ﺧﻮﻥﺁﺷﺎﻡﻫﺎﻳﻰ ﻛﻪ ﻗﺎﺩﺭﻧﺪ ﺑﻪ ﺷﻜﻞ‬ ‫ﮔﺮﺑﻪﻫﺎﻯ ﺳﻴﺎﻩ ﺩﺭﺁﻳﻨﺪ‪ ،‬ﺑﺮﻣﻰﮔﺮﺩﻧﺪ ﻭ ﺍﺯ ﻗﺎﺗﻼﻥ ﺧﻮﺩ ﺍﻧﺘﻘﺎﻡ ﻣﻰﮔﻴﺮﻧﺪ‪ .‬ﺩﺭ ﻓﻴﻠﻢ‬

‫»‪Yokai‬‬

‫‪ ،«Daisenso‬ﻓﺮﻣﺎﻧﺪﺍﺭ ﺍﻳﺎﻟﺘﻰ ﺗﻮﺳﻂ ﻳﻚ ﺷﻴﻄﺎﻥ ﺑﺎﺑﻠﻰ ﺧﻮﻥﺁﺷﺎﻡ ﺗﺴﺨﻴﺮ ﻣﻰﺷﻮﺩ‪ .‬ﺍﻳﻦ ﺧﻂ‬ ‫ﺩﺍﺳﺘﺎﻧﻰ ﺟﺰ ﺍﻭﻟﻴﻦ ﻧﺸﺎﻧﻪﻫﺎﻯ ﺟﺬﺏ ﻋﻨﺎﺻﺮ ﺩﺍﺳﺘﺎﻧﻰ ﻏﺮﺑﻰ ﺩﺭ ﻓﻴﻠﻢﻫﺎﻯ ژﺍﭘﻨﻰ ﺑﻮﺩ‪.‬‬ ‫ﻓﻴﻠﻢﻫﺎﻯ ﺧﻮﻥﺁﺷﺎﻣﻰ ﻫﻤﺮ )‪ ،(3‬ﻣﺎﻳﻪﻯ ﺍﻟﻬﺎﻡ »ﺷﺐ ﺧﻮﻥ ﺁﺷﺎﻡ« )‪ (4‬ﺩﺭ ‪ 1970‬ﻭ »ﺩﺭﻳﺎﭼﻪﻯ‬ ‫ﺩﺭﺍﻛﻮﻻ« )‪ (5‬ﺩﺭ ‪ 1971‬ﺑﻮﺩﻧﺪ ﻛﻪ ﻫﺮ ﺩﻭ ﺗﻮﺳﻂ ﻣﻴﭽﻴﻮ ﻳﺎﻣﺎﻣﻮﺗﻮ ﻛﺎﺭﮔﺮﺩﺍﻧﻰ ﺷﺪﻧﺪ‪.‬‬ ‫ﺩﺭﺍﻛﻮﻻ ﺍﻭﻟﻴﻦ ﺑﺎﺭ ﺩﺭ ﺩﻫﻪﻯ ‪ 1970‬ﺩﺭ ژﺍﭘﻦ ﻇﺎﻫﺮ ﺷﺪ‪ .‬ﺩﺭ »ﺩﺭﺍﻛﻮﻻﻯ ﺧﻮﻥﺁﺷﺎﻡ ﺑﻪ ﻛﻮﺏ‬ ‫ﻣﻰﺁﻳﺪ‪ :‬ﺷﻴﻄﺎﻥ ﺯﻥ ﺭﺍ ﺯﻳﺒﺎ ﻣﻰﺳﺎﺯﺩ« )‪ ،(6‬ﺩﺭﺍﻛﻮﻻ ﻣﻰﻓﻬﻤﺪ ﻛﻪ ﺗﻨﺎﺳﺦ ﺯﻥ ﻣﻮﺭﺩ ﻋﻼﻗﻪﺍﺵ ﺩﺭ‬ ‫ﻛﻮﺏِ ژﺍﭘﻦ ﺯﻧﺪﮔﻰ ﻣﻰﻛﻨﺪ‪.‬‬ ‫ﺩﺭ »ﺍﻓﺴﺎﻧﻪﻯ ﻫﺸﺖ ﺳﺎﻣﻮﺭﺍﻯ« )‪ (7‬ﺳﺎﺧﺘﻪ ﺷﺪﻩ ﺑﻪ ﺳﺎﻝ ‪ ،1984‬ﻛﺎﺭﮔﺮﺩﺍﻥ ﻛﻴﻨﺠﻰ ﻓﻮﻛﺎﺳﺎﻛﻮ‬ ‫ﻧﺴﺨﻪﻯ ژﺍﭘﻨﻰ ﺍﻟﻴﺰﺍﺑﺖ ﺑﺘﻮﺭﻯ )‪ (8‬ﺭﺍ ﺍﺭﺍﺋﻪ ﻣﻰﺩﻫﺪ‪ .‬ﺩﺍﺳﺘﺎﻧﻰ ﻛﻪ ﺩﺭ ﺁﻥ ﭘﺮﻧﺴﺲ ﺷﻴﻄﺎﻥﺻﻔﺖ‬ ‫ﺩﺭ ﺧﻮﻥ ﺣﻤﺎﻡ ﻣﻰﻛﻨﺪ ﺗﺎ ﺟﻮﺍﻧﻰ ﺧﻮﺩ ﺭﺍ ﺣﻔﻆ ﻛﻨﺪ‪.‬‬ ‫ژﺍﻧﺮ ﺧﻮﻥﺁﺷﺎﻣﻰ ﺑﺎ ﻓﻴﻠﻢﻫﺎﻳﻰ ﻣﺜﻞ »ﺍﻓﺴﺎﻧﻪﻯ ﻳﻚ ﺧﻮﻥﺁﺷﺎﻡ« )‪ (9‬ﺑﻪ ﻛﺎﺭﮔﺮﺩﺍﻧﻰ ﺷﻴﻤﺎﻛﻮ ﺳﺎﺗﻮ‬ ‫ﺑﺮ ﺍﺳﺎﺱ ﺷﻌﺮ ﺍﺩﮔﺎﺭ ﺁﻟﻦ ﭘﻮ‪» ،‬ﺁﻧﺎﺑﻞ ﻟﻰ« ﺑﻪ ﺩﻫﻪﻯ ‪ 1990‬ﺭﺍﻩ ﭘﻴﺪﺍ ﻛﺮﺩ ﻭ ﻓﻴﻠﻢﻫﺎﻯ ﺍﺧﻴﺮ ﺗﻮﻟﻴﺪ‬ ‫ژﺍﭘﻦ ﺑﻪ ﺳﻬﻮﻟﺖ ﺩﺭ ﻏﺮﺏ ﺑﻪ ﺻﻮﺭﺕ ﻭﻳﺪﺋﻮ ﻗﺎﺑﻞ ﺩﺳﺘﺮﺳﻰﺍﻧﺪ‪.‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،9-10‬ﺷﻬﺮﻳﻮﺭ ﻭ ﻣﻬﺮ ‪1390‬‬

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‫ﺗﻠﻮﻳﺰﻳﻮﻥ‬

‫ﺍﻓﺴﺎﻧﻪﻫﺎﻯ ﻗﺪﻳﻤﻰ ژﺍﭘﻨﻰ ﻫﻴﭻﻛﺪﺍﻡ ﺷﺎﻣﻞ ﻳﻚ ﺟﺎﻧﺪﺍﺭ ﺧﻮﻥﺁﺷﺎﻡ ﻛﻼﺳﻴﻚ ﻧﺒﻮﺩﻩﺍﻧﺪ‪ .‬ﺍﺣﺘﻤﺎﻻً‬ ‫ﺟﺎﻧﺪﺍﺭﻯ ﻛﻪ ﺩﺭ ﺑﻴﻦ ﺟﺎﻧﺪﺍﺭﺍﻥ ﺍﻓﺴﺎﻧﻪﺍﻯ ﺑﻰﺷﻤﺎﺭ ﻣﻮﺟﻮﺩ ﺑﻴﺶ ﺍﺯ ﻫﻤﻪ ﻣﻰﺗﻮﺍﻧﺪ ﻳﺎﺩﺁﻭﺭ ﻳﻚ‬ ‫ﺧﻮﻥﺁﺷﺎﻡ ﺑﺎﺷﺪ‪» ،‬ﻛﺎﭘﺎ« ﺍﺳﺖ‪ .‬ﻛﺎﭘﺎ ﺟﺎﻧﻮﺭﻯ ﺍﻓﺴﺎﻧﻪﺍﻯ ﺍﺳﺖ ﻛﻪ ﻣﺤﻞ ﺯﻧﺪﮔﻰ ﺁﻥ ﺩﺭ ﺭﻭﺩﺧﺎﻧﻪﻫﺎ‪،‬‬ ‫ﺗﺎﻻﺏﻫﺎ‪ ،‬ﺩﺭﻳﺎﭼﻪﻫﺎ ﻭ ﻫﺮ ﻣﻜﺎﻧﻰ ﺍﺳﺖ ﻛﻪ ﺁﺏ ﺯﻳﺎﺩﻯ ﺩﺭ ﺁﻥ ﺟﻤﻊ ﺷﺪﻩ ﺑﺎﺷﺪ‪ .‬ﺍﻣﺮﻭﺯﻩ ﺍﺯ ﻛﺎﭘﺎ ﺩﺭ‬ ‫ﺩﺍﺳﺘﺎﻥﻫﺎﻯ ﺗﺨﻴﻠﻰ‪ ،‬ﻛﺎﺭﺗﻮﻥﻫﺎ‪ ،‬ﺳﺎﺧﺖ ﺍﺳﺒﺎﺏﺑﺎﺯﻯﻫﺎ ﻭ ﻫﻨﺮ ﺍﺳﺘﻔﺎﺩﻩ ﻣﻰﺷﻮﺩ‪.‬‬ ‫ﺍﻭﻟﻴﻦ ﺑﺎﺭ ﺩﺭ ﻗﺮﻥ ﻫﻴﺠﺪﻫﻢ ﺑﻮﺩ ﻛﻪ ﻣﻄﺎﻟﺐ ﺯﻳﺎﺩﻯ ﺩﺭ ﻣﻮﺭﺩ ﻛﺎﭘﺎ ﻧﻮﺷﺘﻪ ﺷﺪ‪ .‬ﺍﻳﻦ ﺟﺎﻧﺪﺍﺭ ﺑﻪ ﺷﻜﻞ‬ ‫ﺟﺎﻧﻮﺭﻯ ﺯﺷﺖ‪ ،‬ﺷﺒﻴﻪ ﺑﻪ ﺑﭽﻪﻯ ﺍﻧﺴﺎﻥ ﺑﺎ ﭘﻮﺳﺘﻰ ﺑﻪ ﺭﻧﮓ ﺳﺒﺰ‪ -‬ﺯﺭﺩ‪ ،‬ﺩﺍﺭﺍﻯ ﺍﻧﮕﺸﺘﺎﻥ ﺗﺎﺭﺩﺍﺭ ﻭ‬ ‫ﺩﺭ ﺑﻌﻀﻰ ﻣﻮﺍﺭﺩ ﺷﺒﻴﻪ ﻳﻚ ﻣﻴﻤﻮﻥ ﺑﺎ ﺑﻴﻨﻰ ﺩﺭﺍﺯ ﻭ ﭼﺸﻤﺎﻧﻰ ﮔﺮﺩ ﺗﻮﺻﻴﻒ ﺷﺪﻩ ﺍﺳﺖ ﻛﻪ ﮔﻔﺘﻪ‬ ‫ﺷﺪﻩ ﺩﺍﺭﺍﻯ ﻻﻛﻰ ﺷﺒﻴﻪ ﺑﻪ ﻻﻙﭘﺸﺖ ﺍﺳﺖ‪ .‬ﺍﻳﻦ ﺟﺎﻧﺪﺍﺭ ﺩﺍﺭﺍﻯ ﺳﺮﻯ ﺍﺳﺖ ﻛﻪ ﺁﺏ ﺩﺭ ﺁﻥ ﺟﻤﻊ‬ ‫ﻣﻰﺷﻮﺩ ﻭ ﺍﮔﺮ ﺁﺏ ﺩﺭﻭﻥ ﺁﻥ ﺗﺨﻠﻴﻪ ﺷﻮﺩ‪ ،‬ﻛﺎﭘﺎ ﻗﺪﺭﺗﺶ ﺭﺍ ﺍﺯ ﺩﺳﺖ ﻣﻰﺩﻫﺪ‪.‬‬ ‫ﻛﺎﭘﺎ ﻣﻌﻤﻮﻻً ﺩﺭ ﻛﻨﺎﺭﻩﻯ ﻣﺤﻠﻰ ﻛﻪ ﺩﺭ ﺁﻥ ﺯﻧﺪﮔﻰ ﻣﻰﻛﻨﺪ‪ ،‬ﺑﻪ ﺷﻜﺎﺭ ﻣﻰﭘﺮﺩﺍﺯﺩ‪ .‬ﺑﺴﻴﺎﺭﻯ ﺍﺯ‬ ‫ﺩﺍﺳﺘﺎﻥﻫﺎ ﻣﺮﺑﻮﻁ ﺑﻪ ﻛﺎﭘﺎﻫﺎﻳﻰ ﺍﺳﺖ ﻛﻪ ﺍﺳﺐﻫﺎ ﻭ ﮔﺎﻭﻫﺎ ﺭﺍ ﮔﺮﻓﺘﻪ‪ ،‬ﺁﻥﻫﺎ ﺭﺍ ﺑﻪ ﺩﺍﺧﻞ ﺁﺏ ﻛﺸﻴﺪﻩ‬ ‫ﻭ ﺧﻮﻥ ﺁﻥﻫﺎ ﺭﺍ ﻣﻜﻴﺪﻩﺍﻧﺪ ﻭ ﺍﺣﺘﻤﺎﻻً ﻫﻤﻴﻦ ﻭﻳﮋﮔﻰ ﺑﻮﺩﻩ ﻛﻪ ﺑﺎﻋﺚ ﺷﺪﻩ ﻛﺎﭘﺎ ﺑﻪ ﻋﻨﻮﺍﻥ ﺧﻮﻥﺁﺷﺎﻡ‬ ‫ﺷﻨﺎﺧﺘﻪ ﺷﻮﺩ‪.‬‬ ‫ﺟﺪﺍ ﺍﺯ ﺩﺍﺳﺘﺎﻥ ﻛﺎﭘﺎ‪ ،‬ژﺍﭘﻨﻰﻫﺎ ﺍﻓﺴﺎﻧﻪﻯ ﺧﻮﻥﺁﺷﺎﻣﻰ ﺟﺎﻟﺐ ﺩﻳﮕﺮﻯ ﻧﻴﺰ ﺩﺍﺭﻧﺪ‪ .‬ﺍﻓﺴﺎﻧﻪﻯ »ﮔﺮﺑﻪﻯ‬ ‫ﺧﻮﻥﺁﺷﺎﻡ ﻧﺎﺑﺸﻴﻤﺎ« ﺩﺍﺳﺘﺎﻥ ﺷﺎﻫﺰﺍﺩﻩ ﻧﺎﺑﺸﻴﻤﺎ ﻭ ﻫﻤﺴﺮ ﺯﻳﺒﺎﻯ ﺍﻭ‪ ،‬ﺍﻭﺗﻮﻳﻮ ﺍﺳﺖ‪ .‬ﻳﻚ ﺷﺐ ﮔﺮﺑﻪﺍﻯ‬ ‫ﺧﻮﻥﺁﺷﺎﻡ ﻭ ﻏﻮﻝﺁﺳﺎ ﻭﺍﺭﺩ ﺍﺗﺎﻕ ﺍﻭﺗﻮﻳﻮ ﻣﻰﺷﻮﺩ ﻭ ﺍﻭ ﺭﺍ ﺑﻪ ﻗﺘﻞ ﻣﻰﺭﺳﺎﻧﺪ‪ ،‬ﺑﺪﻥ ﺍﻭ ﺭﺍ ﺍﺯ ﺑﻴﻦ ﺑﺮﺩﻩ‬ ‫ﻭ ﺧﻮﺩ ﺭﺍ ﺑﻪ ﺷﻜﻞ ﺍﻭ ﺩﺭ ﻣﻰﺁﻭﺭﺩ‪ .‬ﻫﺮ ﺷﺐ ﺯﻣﺎﻧﻰ ﻛﻪ ﻧﮕﻬﺒﺎﻧﺎﻥ ﺑﻪ ﺻﻮﺭﺕ ﻋﺠﻴﺒﻰ ﺑﻪ ﺧﻮﺍﺏ‬ ‫ﻣﻰﺭﻓﺘﻨﺪ‪ ،‬ﮔﺮﺑﻪ ﺑﻪ ﻋﻨﻮﺍﻥ ﺍﻭﺗﻮﻳﻮ ﺷﻴﺮﻩﻯ ﺯﻧﺪﮔﻰ ﺷﺎﻫﺰﺍﺩﻩ ﺭﺍ ﻣﻰﻣﻜﻴﺪ‪ .‬ﺳﺮﺍﻧﺠﺎﻡ ﻳﻜﻰ ﺍﺯ ﻧﮕﻬﺒﺎﻧﺎﻥ‬ ‫ﺗﻮﺍﻧﺴﺖ ﺍﺯ ﺧﻮﺍﺏ ﺑﻴﺪﺍﺭ ﺷﺪﻩ ﻭ ﮔﺮﺑﻪ ﺭﺍ ﺑﻪ ﺻﻮﺭﺕ ﺩﺧﺘﺮ ﺟﻮﺍﻥ ﺑﺒﻴﻨﺪ‪ .‬ﻫﻨﮕﺎﻣﻰ ﻛﻪ ﻧﮕﻬﺒﺎﻥ ﺍﻳﺴﺘﺎﺩ‪،‬‬ ‫ﺩﺧﺘﺮ ﺩﻳﮕﺮ ﻧﺘﻮﺍﻧﺴﺖ ﺑﻪ ﺷﺎﻫﺰﺍﺩﻩ ﻛﻪ ﺭﻭ ﺑﻪ ﺑﻬﺒﻮﺩﻯ ﺑﻮﺩ ﻧﺰﺩﻳﻚ ﺷﻮﺩ‪ .‬ﺩﺭ ﭘﺎﻳﺎﻥ ﻧﺘﻴﺠﻪﮔﻴﺮﻯ‬ ‫ﺷﺪ ﻛﻪ ﺩﺧﺘﺮ ﻳﻚ ﺭﻭﺡ ﭘﻠﻴﺪ ﺑﻮﺩ ﻛﻪ ﺷﺎﻫﺰﺍﺩﻩ ﺭﺍ ﻫﺪﻑ ﺧﻮﺩ ﻗﺮﺍﺭ ﺩﺍﺩﻩ ﺑﻮﺩ‪ .‬ﺷﺎﻫﺰﺍﺩﻩ ﺟﻮﺍﻥ ﺑﻪ‬ ‫ﻫﻤﺮﺍﻩ ﭼﻨﺪ ﻧﮕﻬﺒﺎﻥ ﺑﻪ ﺍﺗﺎﻕ ﺩﺧﺘﺮ ﺭﻓﺖ‪ ،‬ﻭﻟﻰ ﮔﺮﺑﻪﻯ ﺧﻮﻥﺁﺷﺎﻡ ﻣﻮﻓﻖ ﺑﻪ ﻓﺮﺍﺭ ﺷﺪ‪ .‬ﻣﺪﺗﻰ ﺑﻌﺪ‬ ‫ﺍﺧﺒﺎﺭ ﻛﺎﺭﻫﺎﻯ ﮔﺮﺑﻪﻯ ﺧﻮﻥﺁﺷﺎﻡ ﺑﻪ ﺷﺎﻫﺰﺍﺩﻩ ﺭﺳﻴﺪ ﻭ ﺍﻭ ﻧﻴﺰ ﻳﻚ ﮔﺮﻭﻩ ﺑﺰﺭگ ﺷﻜﺎﺭ ﺗﺮﺗﻴﺐ ﺩﺍﺩ ﻭ‬ ‫ﺑﺎﻻﺧﺮﻩ ﻣﻮﻓﻖ ﺷﺪ ﮔﺮﺑﻪﻯ ﺧﻮﻥﺁﺷﺎﻡ ﺭﺍ ﺑﻜﺸﺪ‪ .‬ﺍﺯ ﺍﻳﻦ ﺩﺍﺳﺘﺎﻥ ﺩﺭ ﺳﺎﺧﺖ ﻧﻤﺎﻳﺸﻰ ﺑﻪ ﻧﺎﻡ »ﮔﺮﺑﻪﻯ‬ ‫ﺧﻮﻥﺁﺷﺎﻡ« ﺩﺭ ﺳﺎﻝ ‪ 1918‬ﻭ ﻫﻤﭽﻨﻴﻦ ﺳﺎﺧﺖ ﻓﻴﻠﻤﻰ ﺩﺭ ﺳﺎﻝ ‪ 1969‬ﺍﺳﺘﻔﺎﺩﻩ ﺷﺪﻩ ﺍﺳﺖ‪.‬‬

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‫ﻭﻳﮋﻩﻧﺎﻣﻪﻯ ﺧﻮﻥﺁﺷﺎﻡﻫﺎ‬

‫ﻣﻤﻨﻮﻉ ﺍﻋﻼﻡ ﺷﺪ؛ ﻫﺮ ﭼﻨﺪ ﺑﺎﻭﺭﻫﺎﻯ ﻋﺎﻣﻪ ﻫﻤﭽﻨﺎﻥ ﺑﺮ ﺟﺎﻯ ﻣﺎﻧﺪﻧﺪ‪ .‬ﺗﺼﻮﻳﺮﻯ ﻛﻪ ﺍﺯ ﺍﻳﻦ ﻣﻮﺟﻮﺩﺍﺕ‬ ‫ﺩﺭ ﮔﺬﺷﺘﻪ ﺩﺍﺩﻩ ﻣﻰﺷﺪ‪ ،‬ﺑﺴﻴﺎﺭ ﺗﻴﺮﻩﺗﺮ ﺍﺯ ﺗﺼﻮﻳﺮﻯ ﺑﻮﺩ ﻛﻪ ﺍﻣﺮﻭﺯﻩ ﺍﺯ ﺧﻮﻥﺁﺷﺎﻡﻫﺎ ﺩﺭ ﺫﻫﻦ ﺩﺍﺭﻳﻢ‪.‬‬ ‫ﻭﻣﭙﺎﻳﺮﻫﺎﻯ ﺭﻣﺎﻧﺘﻴﻚ ﻭ ﺩﺭﺧﺸﺎﻥ ﺍﻣﺮﻭﺯﻯ ﺑﻪ ﻫﻴﭻ ﻭﺟﻪ ﺁﻥ ﺗﺼﻮﻳﺮﻯ ﻧﻴﺴﺘﻨﺪ ﻛﻪ ﺍﺟﺪﺍﺩ ﻣﺎ ﺩﺭ‬ ‫ﺳﺮﺍﺳﺮ ﺟﻬﺎﻥ ﺩﺭ ﺫﻫﻦ ﺩﺍﺷﺘﻨﺪ‪.‬‬ ‫ﻗﺎﺭﻩﻯ ﺁﺳﻴﺎ ﻧﻴﺰ ﻣﺜﻞ ﻫﺮﺟﺎﻯ ﺩﻳﮕﺮﻯ ﺍﻓﺴﺎﻧﻪﻫﺎﻯ ﺧﻮﻥﺁﺷﺎﻣﻰ ﺧﻮﺩﺵ ﺭﺍ ﺩﺍﺭﺩ‪ .‬ﻳﻜﻰ ﺍﺯ‬ ‫ﺑﺎﺳﺘﺎﻧﻰﺗﺮﻳﻦ ﺑﺎﻭﺭﻫﺎ ﺩﺭ ﻣﻮﺭﺩ ﺧﻮﻥﺁﺷﺎﻡﻫﺎ ﺑﻪ ﺍﻳﺮﺍﻥ ﺑﺎﺳﺘﺎﻥ ﻭ ﺍﻗﻮﺍﻡ ﻏﻴﺮﺁﺭﻳﺎﻳﻰ ﺁﻥ ﺑﺎﺯ ﻣﻰﮔﺮﺩﺩ‪.‬‬ ‫ﺍﻳﻦ ﻣﻮﺟﻮﺩﺍﺕ ﻛﻪ ﻧﺎﻣﻰ ﺑﺮﺍﻯ ﺁﻥﻫﺎ ﺩﺭ ﺩﺳﺖ ﻧﻴﺴﺖ‪ ،‬ﺭﻭﻯ ﻗﻄﻌﺎﺕ ﺳﻔﺎﻝ ﺑﻪ ﭼﺸﻢ ﻣﻰﺧﻮﺭﻧﺪ‪.‬‬ ‫ﺁﻥﻫﺎ ﻓﺮﻗﻰ ﺑﺎ ﺍﻧﺴﺎﻥ ﻋﺎﺩﻯ ﻧﺪﺍﺭﻧﺪ‪ ،‬ﺟﺰ ﺍﻳﻦ ﻛﻪ ﺩﺭ ﺣﺎﻝ ﻧﻮﺷﻴﺪﻥ ﺧﻮﻥ ﺍﻧﺴﺎﻥﻫﺎﻯ ﺩﻳﮕﺮ ﻫﺴﺘﻨﺪ‪.‬‬ ‫ﺩﺭ ﺑﺎﺑﻞ ﻭ ﺳﻮﻣﺮ ﺑﺎﺳﺘﺎﻥ ﻧﻴﺰ ﻣﻮﺟﻮﺩﺍﺗﻰ ﺑﻪ ﻧﺎﻡ »ﻟﻴﻠﻴﺘﻮ« ﺑﻮﺩﻧﺪ ﻛﻪ ﺩﺭ ﺭﺍﺳﺘﻪﻱ ﺍﻫﺮﻳﻤﻨﺎﻥ ﻗﺮﺍﺭ‬ ‫ﻣﻰﮔﺮﻓﺘﻨﺪ ﻭ ﺧﻮﻥ ﻛﻮﺩﻛﺎﻥ ﺭﺍ ﻣﻰﻧﻮﺷﻴﺪﻧﺪ‪ .‬ﺍﻓﺴﺎﻧﻪﻯ ﻟﻴﻠﻮ ﻳﺎ ﺩﺧﺘﺮﺍﻥ ﻟﻴﻠﻴﺚ ﺩﺭ ﻋﻬﺪ ﻋﺘﻴﻖ ﻧﻴﺰ‬ ‫ﺑﺴﻴﺎﺭ ﻣﺸﺎﺑﻪ ﺑﺎﻭﺭﻫﺎﻯ ﺑﺎﺑﻠﻰ ﺍﺳﺖ‪ .‬ﺑﺮ ﺍﺳﺎﺱ ﺳﻔﺮ ﻫﺴﻴﺪﻳﻢ‪» ،‬ﺍﺳﺘﺮﻯﻫﺎ« ﻣﻮﺟﻮﺩﺍﺗﻰ ﻫﺴﺘﻨﺪ ﻛﻪ‬ ‫ﺩﺭ ﮔﺮگ ﻭ ﻣﻴﺶ ﭘﻴﺶ ﺍﺯ ﺭﻭﺯ ﻫﻔﺘﻢ ﺁﻓﺮﻳﻨﺶ ﺑﻪ ﻭﺟﻮﺩ ﺁﻣﺪﻩﺍﻧﺪ‪ .‬ﺍﻳﻦ ﻣﻮﺟﻮﺩﺍﺕ ﺑﻪ ﺷﻜﻞ ﺯﻧﺎﻧﻰ‬ ‫ﻫﺴﺘﻨﺪ ﻛﻪ ﺧﻮﻥ ﻣﻰﻣﻜﻨﺪ ﻭ ﻗﺎﺩﺭﻧﺪ ﺷﻜﻞ ﺧﻮﺩ ﺭﺍ ﻋﻮﺽ ﻛﻨﻨﺪ‪.‬‬ ‫ﺁﺳﻴﺎﻯ ﺟﻨﻮﺑﻰ ﻭ ﺟﻨﻮﺏ ﺷﺮﻗﻰ ﻳﻜﻰ ﺍﺯ ﻣﻨﺎﻃﻖ ﻗﺎﺑﻞ ﺗﻮﺟﻪ ﺩﺭ ﺍﺭﺗﺒﺎﻁ ﺑﺎ ﺍﻓﺴﺎﻧﻪﻯ ﺧﻮﻥﺁﺷﺎﻡﻫﺎ‬ ‫ﺍﺳﺖ‪ .‬ﻫﺮ ﭼﻨﺪ ﻣﻮﺟﻮﺩﻯ ﻛﻪ ﻣﺎ ﺍﻣﺮﻭﺯﻩ ﺑﺎ ﻧﺎﻡ ﺧﻮﻥﺁﺷﺎﻡ ﻣﻰﺷﻨﺎﺳﻴﻢ‪ ،‬ﺗﺎ ﺯﻣﺎﻥ ﻧﻔﻮﺫ ﻛﺸﻮﺭﻫﺎﻯ‬ ‫ﺍﺭﻭﭘﺎﻳﻰ ﻭ ﺁﻣﺮﻳﻜﺎ ﺑﻪ ﺁﺳﻴﺎﻯ ﺟﻨﻮﺏ ﺷﺮﻗﻰ ﺭﺍﻩ ﻧﻴﺎﻓﺖ‪ .‬ﺗﺼﻮﻳﺮﻯ ﻛﻪ ﺍﻣﺮﻭﺯﻩ ﺍﺯ ﻭﻣﭙﺎﻳﺮﻫﺎ ﺩﺭ ﺫﻫﻦ‬ ‫ﺳﺎﻛﻨﻴﻦ ﺍﻳﻦ ﻣﻨﻄﻘﻪ ﺍﺳﺖ‪ ،‬ﺗﺮﻛﻴﺒﻰ ﻧﺎﻣﺘﺠﺎﻧﺲ ﺍﺯ ﺍﻓﺴﺎﻧﻪﻫﺎﻯ ﻛﻼﺳﻴﻚ ﻭ ﺑﺎﻭﺭﻫﺎﻯ ﻣﺪﺭﻥ ﺍﺳﺖ‪.‬‬ ‫ﺑﻪ ﻃﻮﺭ ﻣﺜﺎﻝ ﺩﺭ ﺍﻳﻦ ﻣﻨﻄﻘﻪ ﻗﺪﻳﻤﻰﺗﺮﻳﻦ ﺍﻓﺴﺎﻧﻪﻫﺎﻯ ﺧﻮﻥﺁﺷﺎﻣﻰ ﺑﻪ ﻫﻨﺪ ﺑﺎﺳﺘﺎﻥ ﺑﺎﺯ ﻣﻰﮔﺮﺩﺩ‪.‬‬ ‫»ﻭﺗﺎﻟﻪﻫﺎ« ﻛﻪ ﺍﺯ ﺁﻥﻫﺎ ﺩﺭ ﺑﻴﺘﺎﻝ ﭘﺎﺳﻴﺴﻰ‪ ،‬ﺩﺍﺳﺘﺎﻥ ﺟﺴﺘﺠﻮﻯ ﺷﺎﻩ ﻭﻳﻜﺮﺍﻣﺎﺩﻳﺘﻴﺎ ﺑﺮﺍﻯ ﻳﺎﻓﺘﻦ‬ ‫ﻣﻮﺟﻮﺩﻯ ﻭﻫﻤﻰ ﻧﻮﺷﺘﻪ ﺷﺪﻩ ﺍﺳﺖ‪ ،‬ﺍﻫﺮﻳﻤﻨﺎﻧﻰ ﻫﺴﺘﻨﺪ ﻛﻪ ﺩﺭ ﺟﺴﻢ ﻣﺮﺩﻩﻫﺎ ﻧﻔﻮﺫ ﻣﻰﻛﻨﻨﺪ ﻭ‬ ‫ﺑﺮﺧﻰ ﺧﺼﻮﺻﻴﺎﺕ ﻭﻣﭙﺎﻳﺮﻯ ﺭﺍ ﺩﺍﺭﻧﺪ‪ .‬ﺩﺭ ﺁﺳﻴﺎﻯ ﺟﻨﻮﺑﻰ ﻣﻮﺟﻮﺩﻯ ﺑﻪ ﻧﺎﻡ »ﺑﻮﺗﺎ« ﻳﺎ »ﭘﺮﺕ« ﺩﺭ‬ ‫ﺩﺍﺳﺘﺎﻥﻫﺎ ﺑﻪ ﭼﺸﻢ ﻣﻰﺧﻮﺭﺩ ﻛﻪ ﺭﻭﺡ ﺍﻧﺴﺎﻧﻰ ﺍﺳﺖ ﻛﻪ ﻧﺎﺑﻬﻨﮕﺎﻡ ﻣﻰﻣﻴﺮﺩ ﻭ ﺍﺯ ﺍﻳﻦ ﺭﻭ ﺑﺎﺯ ﻣﻰﮔﺮﺩﺩ‬ ‫ﻭ ﺩﺭ ﺍﺟﺴﺎﺩ ﺣﻠﻮﻝ ﻛﺮﺩﻩ‪ ،‬ﺑﻪ ﺯﻧﺪﻩﻫﺎ ﺣﻤﻠﻪ ﻣﻰﻛﻨﺪ‪ .‬ﺩﺭ ﭼﻴﻦ ﻧﻴﺰ »ﺟﻴﺎﻧﮓﺷﻰ« ﺭﺍ ﺩﺍﺭﻳﻢ ﻛﻪ‬ ‫ﻣﻮﺟﻮﺩﻯ ﺳﺒﺰ ﺭﻧﮓ ﺍﺳﺖ ﻭ ﺑﻪ ﺍﻧﺴﺎﻥﻫﺎ ﺣﻤﻠﻪ ﻣﻰﻛﻨﺪ ﻭ ﻧﻴﺮﻭﻯ ﺣﻴﺎﺕ )ﻣﺎﻳﻌﺎﺕ ﺑﺪﻥ ﺑﻪ ﺧﺼﻮﺹ‬ ‫ﺧﻮﻥ( ﺁﻥﻫﺎ ﺭﺍ ﺟﺬﺏ ﻣﻰﻛﻨﺪ‪ .‬ﺩﺭ ﻓﻴﻠﻴﭙﻴﻦ‪ ،‬ﺍﻧﺪﻭﻧﺰﻯ‪ ،‬ﻣﺎﻟﺰﻯ ﻭ ژﺍﭘﻦ ﻧﻴﺰ ﺍﻓﺴﺎﻧﻪﻫﺎﻯ ﻣﺸﺎﺑﻬﻰ‬ ‫ﺍﺯ ﻣﻮﺟﻮﺩﺍﺗﻰ ﻭﻣﭙﺎﻳﺮﮔﻮﻧﻪ ﺑﻪ ﭼﺸﻢ ﻣﻰﺧﻮﺭﺩ‪ .‬ﻫﺮ ﭼﻨﺪ ﻫﻤﺎﻥﻃﻮﺭ ﻛﻪ ﻣﻰﺑﻴﻨﻴﺪ‪ ،‬ﺍﻳﻦ ﻣﻮﺟﻮﺩﺍﺕ‬ ‫ﺑﻴﺸﺘﺮ »ﻏﻮﻝ« ﻫﺴﺘﻨﺪ ﺗﺎ ﺧﻮﻥﺁﺷﺎﻡ‪.‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،9-10‬ﺷﻬﺮﻳﻮﺭ ﻭ ﻣﻬﺮ ‪1390‬‬

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‫ﺗﻠﻮﻳﺰﻳﻮﻥ‬

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‫ﻛﻴﻮﻛﺘﺴﻮﻛﻰ‬

‫ﻧﮕﺎﻫﻰ ﺑﻪ ﺧﻮﻥﺁﺷﺎﻡﻫﺎﻯ ﺁﺳﻴﺎ‬ ‫ﺍﻟﻬﻪ ﻣﺮﺍﺩﻯ‪ ،‬ﻓﺮﺯﻳﻦ ﺳﻮﺭﻯ‪،‬‬ ‫ﻫﺎﻧﻴﻪﺳﺎﺩﺍﺕ ﺳﺮﻛﻰ‬

‫ﺧﻮﻥﺁﺷﺎﻡﻫﺎ ﺩﺭ ﻫﻴﭻ ﺟﺎﻯ ﺩﻧﻴﺎ‪ ،‬ﺣﺪﺍﻗﻞ ﭘﻴﺶ ﺍﺟﺪﺍﺩ ﻣﺎ ﭼﻬﺮﻩﻯ ﻣﺜﺒﺘﻰ ﻧﺪﺍﺷﺘﻨﺪ‪.‬‬ ‫ﺍﻓﺴﺎﻧﻪﻱ ﺧﻮﻥﺁﺷﺎﻡﻫﺎﻯ ﺍﺭﻭﭘﺎﻯ ﺷﺮﻗﻰ ﺩﺭ ﻗﺮﻥ ﻫﺠﺪﻫﻢ ﭼﻨﺎﻥ ﺑﺎﻻ ﮔﺮﻓﺖ ﻛﻪ ﺑﺤﺮﺍﻧﻰ ﺭﺍ‬ ‫ﺑﻪ ﻭﺟﻮﺩ ﺁﻭﺭﺩ ﻛﻪ ﺑﻪ ﺁﻥ »ﺑﺤﺮﺍﻥ ﺧﻮﻥﺁﺷﺎﻡ ﻗﺮﻥ ﻫﻔﺪﻫﻢ« )‪ (2‬ﻣﻰﮔﻮﻳﻨﺪ‪ .‬ﺍﻳﻦ ﺑﺤﺮﺍﻥ‬ ‫ﻛﻪ ﺑﻪ ﻫﻴﺴﺘﺮﻯ ﺟﻤﻌﻰ ﺍﻧﺠﺎﻣﻴﺪ‪ ،‬ﭼﻨﺎﻥ ﺟﺪﻯ ﮔﺮﻓﺘﻪ ﺷﺪ ﻛﻪ ﻣﺮﺩﻡ ﺩﺭ ﺍﺭﻭﭘﺎﻯ ﺷﺮﻗﻰ‬ ‫ﮔﻮﺭﻫﺎ ﺭﺍ ﺑﺎﺯ ﻣﻰﻛﺮﺩﻧﺪ ﻭ ﺍﺟﺴﺎﺩ ﺭﺍ ﺑﻴﺮﻭﻥ ﻣﻰﻛﺸﻴﺪﻧﺪ ﻭ ﺁﺗﺶ ﻣﻰﺯﺩﻧﺪ ﻳﺎ ﺳﺮﺷﺎﻥ ﺭﺍ‬ ‫ﻗﻄﻊ ﻣﻰﻛﺮﺩﻧﺪ ﻭ ﭘﺮ ﺍﺯ ﺳﻴﺮ ﻣﻰﻛﺮﺩﻧﺪ‪ .‬ﺩﺭ ﻟﻨﺪﻥ ﻭ ﭘﺎﺭﻳﺲ ﺍﻳﻦ ﻣﻮﺿﻮﻉ ﺑﻪ ﮔﻮﻧﻪﺍﻯ ﺑﻮﺩ‬ ‫ﻛﻪ ﺣﺘﺎ ﻗﺘﻞﻫﺎﻳﻰ ﺯﻧﺠﻴﺮﻩﺍﻯ ﺑﺎ ﻗﺮﺑﺎﻧﻰﻫﺎﻳﻰ ﻛﻪ ﺧﻮﻥﺷﺎﻥ ﻛﺎﻣ ً‬ ‫ﻼ ﻛﺸﻴﺪﻩ ﺷﺪﻩ ﺑﻮﺩ‪ ،‬ﺧﺒﺮ‬ ‫ﻫﺮ ﺭﻭﺯﻩﻯ ﺭﻭﺯﻧﺎﻣﻪﻫﺎ ﺑﻮﺩ‪ .‬ﺍﻳﻦ ﺑﺤﺮﺍﻥ ﺗﻨﻬﺎ ﺯﻣﺎﻧﻰ ﺑﻪ ﺍﺗﻤﺎﻡ ﺭﺳﻴﺪ ﻛﻪ ﺍﻣﭙﺮﺍﻃﺮﻳﺲ ﺍﺗﺮﻳﺶ‪،‬‬ ‫ﻣﺎﺭﻳﺎ ﺗﺮﺯﺍ‪ ،‬ﭘﺰﺷﻜﺶ ﺟﺮﺍﺭﺩ ﻭﻥ ﺳﻮﻳﺘﻦ ﺭﺍ ﻓﺮﺳﺘﺎﺩ ﺗﺎ ﻣﻮﺍﺭﺩ ﺧﻮﻥﺁﺷﺎﻣﻰ ﺭﺍ ﺑﺮﺭﺳﻰ ﻛﻨﺪ‪.‬‬ ‫ﭘﺲ ﺍﺯ ﺍﻳﻦ ﻛﻪ ﻣﻌﻠﻮﻡ ﺷﺪ ﻭﻣﭙﺎﻳﺮﻯ ﺩﺭ ﻛﺎﺭ ﻧﻴﺴﺖ‪ ،‬ﺑﺎﺯ ﻛﺮﺩﻥ ﻗﺒﺮﻫﺎ ﺩﺭ ﺍﺭﻭﭘﺎﻯ ﺷﺮﻗﻰ‬

‫ﺳﻴﻨﻤﺎ‬

‫ﺑﻴﺮﻭﻥ ﻣﻰﺁﻳﺪ‪ .‬ﻣﻌﻤﺎﺭﻯ ﺧﺎﺹ ﻗﺼﺮ ﻧﻮﺳﻔﺮﺍﺗﻮ ﺑﺎ ﺁﻥ ﺑﺮﺝ ﻣﺨﺮﻭﻃﻰ ﺷﻜﻞ‬ ‫ﻭ ﻧﻮﻙﺗﻴﺰ ﺳﺮ ﺑﻪ ﻓﻠﻚ ﻛﺸﻴﺪﻩ‪ ،‬ﺣﺎﻟﺘﻰ ﺍﺯ ﻣﻌﻤﺎﺭﻯ ﮔﻮﺗﻴﻚ ﺩﺍﺭﺩ ﻛﻪ‬ ‫ﻧﻮﻋﻰ ﻣﻌﻤﺎﺭﻯ ﻣﺮﺑﻮﻁ ﺑﻪ ﺍﻭﺍﺧﺮ ﻗﺮﻭﻥ ﻭﺳﻄﻰ ﻭ ﺩﻭﺭﻩﻯ ﺭﻧﺴﺎﻧﺲ ﺍﺳﺖ‬ ‫ﻭ ﺩﺭ ﺍﻛﺜﺮ ﻛﻠﻴﺴﺎﻫﺎ ﺑﻪ ﻛﺎﺭ ﻣﻰﺭﻭﺩ‪ .‬ﺍﻭﻟﻴﻦ ﻧﻤﺎﻯ ﺩﺍﺧﻠﻰ ﻗﺼﺮ ﺩﺭﺍﻛﻮﻻ‬ ‫ﻫﻢ ﺑﺎ ﺁﻥ ﻛﺎﺷﻰﻫﺎﻯ ﺷﻄﺮﻧﺠﻰ‪ ،‬ﻃﺎﻗﻰﻫﺎﻯ ﺑﻠﻨﺪ ﻭ ﺻﻨﺪﻟﻰﻫﺎﻳﻰ ﺑﺎ‬ ‫ﭘﺸﺘﻰ ﺑﻠﻨﺪ‪ ،‬ﺑﻴﺶ ﺍﺯ ﻫﺮ ﭼﻴﺰ ﺑﻪ ﻣﻌﻤﺎﺭﻯ ﺩﺍﺧﻠﻰ ﻛﻠﻴﺴﺎﻫﺎ ﺷﺒﺎﻫﺖ‬ ‫ﺩﺍﺭﺩ‪ .‬ﻧﺸﺎﻧﻪﻫﺎ ﺩﺭ ﺍﻳﻦ ﻓﻴﻠﻢ ﺑﻴﺶ ﺍﺯ ﺁﻥ ﺍﺳﺖ ﻛﻪ ﻗﺎﺑﻞ ﺍﻧﻜﺎﺭ ﺑﺎﺷﻨﺪ‪ .‬ﺁﻳﺎ‬ ‫ﺑﻪ ﺍﻭﻟﻴﻦ ﻣﻴﺎﻥﻧﻮﻳﺲﻫﺎﻯ ﻓﻴﻠﻢ ﺩﻗﺖ ﻛﺮﺩﻩﺍﻳﺪ؟‬

‫)ﺍﺯ ﺧﺎﻃﺮﺍﺕ ﻳﻮﻫﺎﻥ ﻛﺎﻭﺍﻟﻴﻮﺱ‪ ،‬ﻣﻮﺭﺧﻰ ﺍﺯ ﺯﺍﺩﮔﺎﻫﺶ ﺑﺮﻣﻦ‪:‬‬ ‫ﻧﻮﺳﻔﺮﺍﺗﻮ! ﺍﻳﻦ ﻧﺎﻡ ﻣﻰﺗﻮﺍﻧﺪ ﺧﻮﻥ ﺭﺍ ﺩﺭ ﺑﺪﻥ ﻣﻨﺠﻤﺪ ﻛﻨﺪ‪.‬‬ ‫ﻧﻮﺳﻔﺮﺍﺗﻮ! ﺁﻳﺎ ﺍﻭ ﺩﺭ ﺳﺎﻝ ‪ 1838‬ﻃﺎﻋﻮﻥ ﺭﺍ ﺑﻪ ﺑﺮﻣﻦ ﺁﻭﺭﺩ؟(‬ ‫ﺑﻼﻓﺎﺻﻠﻪ ﺑﻌﺪ ﺍﺯ ﺍﻳﻦ ﻣﻴﺎﻥﻧﻮﻳﺲ ﻧﻤﺎﻯ ﻛﻠﻴﺴﺎ ﺭﺍ ﺑﺎ ﺧﺎﻧﻪﻫﺎﻯ ﭘﺸﺘﺶ‬ ‫ﻣﻰﺑﻴﻨﻴﻢ‪ .‬ﺁﻳﺎ ﺍﻳﻦ ﺗﻮﺍﻟﻰ ﺍﺗﻔﺎﻗﻰ ﺍﺳﺖ؟ﺑﺎ ﺗﻮﺟﻪ ﺑﻪ ﺍﻳﻦ ﻣﺴﺄﻟﻪ ﻛﻪ‬ ‫ﺗﻤﺎﻳﻼﺕ ﻫﻢﺟﻨﺲﮔﺮﺍﻳﺎﻧﻪﻯ ﻣﻮﺭﻧﺎ ﺩﺭ ﻧﻈﺎﻡ ﺳﻨﺘﻰ ﻭ ﻣﺬﻫﺒﻰ ﺁﻟﻤﺎﻥ‬ ‫ﺳﺮﻛﻮﺏ ﻣﻰﺷﺪ )ﻭ ﻫﻤﻴﻦ ﻣﺴﺄﻟﻪ ﻳﻜﻰ ﺍﺯ ﻋﻮﺍﻣﻞ ﻣﻬﺎﺟﺮﺕ ﻣﻮﺭﻧﺎ ﺑﻪ‬ ‫ﻫﺎﻟﻴﻮﻭﺩ ﺩﺭ ﻧﻴﻤﻪﻯ ﺩﻭﻡ ﺩﻫﻪﻯ ‪ 1920‬ﺗﻠﻘﻰ ﻣﻰﺷﻮﺩ(‪ ،‬ﺑﻪ ﻫﻴﭻ ﻭﺟﻪ‬ ‫ﺑﻌﻴﺪ ﻧﻴﺴﺖ ﻛﻪ ﺍﻭ ﺑﺎ ﻧﻮﺳﻔﺮﺍﺗﻮ‪ ،‬ﺍﻋﺘﺮﺍﺿﻰ ﭘﻨﻬﺎﻧﻰ ﺑﻪ ﺗﺴﻠﻂ ﻛﻠﻴﺴﺎ ﻭ‬ ‫ﻣﺬﻫﺐ ﺩﺭ ﺟﺎﻣﻌﻪﻯ ﺁﻟﻤﺎﻥ ﻧﻴﺰ ﺩﺍﺷﺘﻪ ﺍﺳﺖ‪.‬‬ ‫ﮔﺬﺷﺘﻪ ﺍﺯ ﻫﻤﻪﻯ ﺍﻳﻦﻫﺎ‪ ،‬ﻧﻮﺳﻔﺮﺍﺗﻮ ﭘﺮ ﺍﺯ ﺗﻚﺻﺤﻨﻪﻫﺎﻯ ﻣﺎﻧﺪﮔﺎﺭ ﺍﺳﺖ‪.‬‬ ‫ﺳﺎﻋﺘﻰ ﻛﻪ ﺭﻭﻯ ﺁﻥ ﻃﺮﺡ ﺍﺳﻜﻠﺘﻰ ﻗﺮﺍﺭ ﺩﺍﺭﺩ‪ ،‬ﻧﻮﺳﻔﺮﺍﺗﻮ ﻛﻪ ﺑﺎ ﺷﻴﻔﺘﮕﻰ‬ ‫ﺑﻪ ﺩﺳﺖ ﺑﺮﻳﺪﻩ ﺷﺪﻩ ﻭ ﺧﻮﻥﺁﻟﻮﺩ ﺟﺎﻧﺎﺗﺎﻥ ﻣﻰﻧﮕﺮﺩ‪ ،‬ﺩﺭﻯ ﻛﻪ ﺧﻮﺩ‬ ‫ﺑﻪ ﺧﻮﺩ ﺑﺎﺯ ﻣﻰﺷﻮﺩ‪ ،‬ﻧﻮﺳﻔﺮﺍﺗﻮ ﻛﻪ ﺑﺎ ﻫﻴﺄﺗﻰ ﺗﻬﺪﻳﺪﺁﻣﻴﺰ ﻭﺍﺭﺩ ﻋﺮﺷﻪ‬ ‫ﻣﻰﺷﻮﺩ‪ ،‬ﺳﺎﻳﻪﺍﻯ ﻛﻪ ﺭﻭﻯ ﺩﻳﻮﺍﺭ ﺑﺰﺭگ ﻭ ﻏﻮﻝﺁﺳﺎ ﻣﻰﺷﻮﺩ ﻭ ﭼﻨﺪﻳﻦ‬ ‫ﻭ ﭼﻨﺪ ﺻﺤﻨﻪﻯ ﺩﻳﮕﺮ‪ ،‬ﺩﺭ ﻣﻴﺎﻥ ﺧﺎﻃﺮﺍﺕ ﺳﻴﻨﻤﺎﻳﻰ ﻫﺮ ﻛﺲ ﻛﻪ ﺍﻳﻦ‬ ‫ﻓﻴﻠﻢ ﺭﺍ ﺩﻳﺪﻩ ﺑﺎﺷﺪ‪ ،‬ﺛﺒﺖ ﺧﻮﺍﻫﺪ ﺷﺪ‪ .‬ﺗﻤﺎﺷﺎﻯ ﻧﻮﺳﻔﺮﺍﺗﻮ‪ ،‬ﺑﺪﻭﻥ ﺷﻚ‬ ‫ﺑﺮﺍﻯ ﻫﺮ ﻋﺎﺷﻖ ﺳﻴﻨﻤﺎ ﺗﺠﺮﺑﻪﺍﻯ ﺩﻝﭘﺬﻳﺮ ﺧﻮﺍﻫﺪ ﺑﻮﺩ‪ .‬ﻧﻮﺳﻔﺮﺍﺗﻮ ﺑﺪﻭﻥ‬ ‫ﺷﻚ ﺷﺎﻋﺮﺍﻧﻪﺗﺮﻳﻦ ﻫﻴﻮﻻﻯ ﺗﺎﺭﻳﺦ ﺳﻴﻨﻤﺎ ﺍﺳﺖ‪.‬‬ ‫* ﺍﻳﻦ ﻣﻄﻠﺐ ﻧﺨﺴﺘﻴﻦ ﺑﺎﺭ ﺩﺭ ﺳﺎﻳﺖ ﺳﻴﻨﻤﺎ ژﻭﺭﻧﺎﻝ ﻣﻨﺘﺸﺮ ﺷﺪﻩ ﺍﺳﺖ ﻭ ﺑﺎ ﺗﻮﺟﻪ ﺑﻪ ﻏﻴﺮﻓﻌﺎﻝ ﺷﺪﻥ ﺍﻳﻦ‬ ‫ﻣﺠﻤﻮﻋﻪ‪ ،‬ﺑﺎ ﺍﺟﺎﺯﻩﻯ ﻧﻮﻳﺴﻨﺪﻩ ﺩﺭ ﻭﻳﮋﻩﻧﺎﻣﻪﻯ ﺧﻮﻥﺁﺷﺎﻡﻫﺎﻯ ﻣﺠﻠﻪﻯ ﺷﮕﻔﺖﺯﺍﺭ ﺑﺎﺯ ﺍﻧﺘﺸﺎﺭ ﻳﺎﻓﺘﻪ ﺍﺳﺖ‪.‬‬

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‫ﻭﻳﮋﻩﻧﺎﻣﻪﻯ ﺧﻮﻥﺁﺷﺎﻡﻫﺎ‬

‫ﻣﻌﻤﺎﺭﻯ‬ ‫ﺧﺎﺹ ﻗﺼﺮ‬ ‫ﻧﻮﺳﻔﺮﺍﺗﻮ‬ ‫ﺑﺎ ﺁﻥ ﺑﺮﺝ‬ ‫ﻣﺨﺮﻭﻃﻰ‬ ‫ﺷﻜﻞ ﻭ‬ ‫ﻧﻮﻙﺗﻴﺰ‬ ‫ﺳﺮ ﺑﻪ ﻓﻠﻚ‬ ‫ﻛﺸﻴﺪﻩ‪،‬‬ ‫ﺣﺎﻟﺘﻰ ﺍﺯ‬ ‫ﻣﻌﻤﺎﺭﻯ‬ ‫ﮔﻮﺗﻴﻚ ﺩﺍﺭﺩ‪.‬‬

‫ﺍﻭﻝ ﺭﺍ ﻣﻰﺯﻧﺪ‪ :‬ﺧﻄﻮﻁ ﺍﻓﻘﻰ ﻭ ﻋﻤﻮﺩﻯ ﺩﺭ ﻣﻘﺎﺑﻞ ﺧﻄﻮﻁ ﻣﺎﻳﻞ‪ ،‬ﺳﻴﺎﻫﻰ ﺩﺭ ﻣﻘﺎﺑﻞ ﺭﻭﺷﻨﻰ‪،‬‬ ‫ﺧﻄﻮﻁ ﺧﻤﻴﺪﻩ ﺩﺭ ﻣﻘﺎﺑﻞ ﺧﻄﻮﻁ ﺭﺍﺳﺖ‪ .‬ﭼﻨﻴﻦ ﺻﺤﻨﻪﺍﻯ ﺑﻪ ﺑﻬﺘﺮﻳﻦ ﺷﻜﻞ ﺗﻤﺎﺷﺎﮔﺮ ﺭﺍ ﺑﻪ ﻋﻤﻖ‬ ‫ﺷﺨﺼﻴﺖ ﻧﻮﺳﻔﺮﺍﺗﻮ ﻧﺰﺩﻳﻚ ﻣﻰﻛﻨﺪ ﻭ ﺩﺭ ﺿﻤﻦ ﺍﺯ ﻧﻈﺮ ﻧﻮﺭﭘﺮﺩﺍﺯﻯ ﻭ ﻫﻨﺪﺳﻰ ﻳﻚ ﺷﺎﻫﻜﺎﺭ ﺑﻪ‬ ‫ﺗﻤﺎﻡ ﻣﻌﻨﺎ ﺍﺳﺖ‪ .‬ﻣﻰﺑﻴﻨﻴﺪ ﻛﻪ ﺩﺭ ﺍﻳﻦ ﻓﻴﻠﻢ ﺗﻤﺎﻡ ﺍﺟﺰﺍء ﺻﺤﻨﻪ ﻫﺪﻑ ﻭﺍﺣﺪﻯ ﺭﺍ ﺩﻧﺒﺎﻝ ﻣﻰﻛﻨﻨﺪ‬ ‫ﻭ ﻟﺤﻈﻪﺍﻯ ﻫﻢ ﺍﺯ ﺍﻳﻦ ﻛﺎﺭ ﻣﻨﺤﺮﻑ ﻧﻤﻰﺷﻮﻧﺪ‪ .‬ﺭﻣﺰ ﺗﺎﺯﮔﻰ ﻧﻮﺳﻔﺮﺍﺗﻮ ﭘﺲ ﺍﺯ ﺍﻳﻦ ﻫﻤﻪ ﺳﺎﻝ ﻛﻪ ﺍﺯ‬ ‫ﺳﺎﺧﺘﻪ ﺷﺪﻧﺶ ﻣﻰﮔﺬﺭﺩ‪ ،‬ﻫﻤﻴﻦ ﺍﺳﺖ‪.‬‬ ‫ﻧﻜﺘﻪﻯ ﺩﻳﮕﺮﻯ ﻫﻢ ﻛﻪ ﺑﺎﻳﺪ ﻣﺪ ﻧﻈﺮ ﺩﺍﺷﺖ‪ ،‬ﺍﻳﻦ ﺍﺳﺖ ﻛﻪ ﺑﺮﺭﺳﻰ ﻫﺮ ﻳﻚ ﺍﺯ ﻓﻴﻠﻢﻫﺎﻯ ﺳﻴﻨﻤﺎﻳﻰ‬ ‫ﺁﻥ ﺩﻭﺭﻩﻯ ﺁﻟﻤﺎﻥ‪ ،‬ﺑﺪﻭﻥ ﺗﻮﺟﻪ ﺑﻪ ﺷﺮﺍﻳﻂ ﻭﻳﮋﻩﻯ ﺁﻥ ﺩﻭﺭﻩﻯ ﺟﺎﻣﻌﻪﻯ ﺁﻥ ﻛﺸﻮﺭ‪ ،‬ﻛﺎﺭﻯ ﺑﻴﻬﻮﺩﻩ‬ ‫ﺍﺳﺖ؛ ﭼﺮﺍ ﻛﻪ ﺗﻤﺎﻡ ﻓﻴﻠﻢﻫﺎﻯ ﺁﻥ ﺩﻭﺭﻩ‪ ،‬ﻣﺘﺄﺛﺮ ﺍﺯ ﻭﺿﻌﻴﺖ ﺧﺎﺹ ﺁﻟﻤﺎﻥ ﭘﺲ ﺍﺯ ﺟﻨﮓ ﺟﻬﺎﻧﻰ ﺍﻭﻝ‬ ‫ﺑﻮﺩﻧﺪ‪ .‬ﺍﺻ ً‬ ‫ﻼ ﻳﻜﻰ ﺍﺯ ﻋﻤﺪﻩﺗﺮﻳﻦ ﺩﻻﻳﻞ ﭘﻴﺸﺮﻓﺖ ﻗﺎﺑﻞ ﻣﻼﺣﻈﻪﻯ ﺍﻛﺴﭙﺮﺳﻴﻮﻧﻴﺴﻢ ﺩﺭ ﺁﻟﻤﺎﻥ ﺁﻥ‬ ‫ﺩﻭﺭﻩ‪ ،‬ﺷﺮﺍﻳﻂ ﺑﻌﺪ ﺍﺯ ﺟﻨﮓ ﻭ ﻧﻴﺎﺯ ﺑﻪ ﺍﺑﺮﺍﺯ ﺣﺲ ﺗﺮﺱ ﻭ ﻭ ﺣﺸﺖ ﺩﺭ ﺷﺪﻳﺪﺗﺮﻳﻦ ﻭﺿﻌﻴﺖ ﻣﻤﻜﻦ‬ ‫ﺑﻮﺩ‪ .‬ﺁﻟﻤﺎﻧﻰ ﻛﻪ ﺧﻮﺩ ﻳﻜﻰ ﺍﺯ ﺁﻏﺎﺯﻛﻨﻨﺪﮔﺎﻥ ﺟﻨﮓ ﺟﻬﺎﻧﻰ ﺑﻮﺩ‪ ،‬ﺩﺭ ﭘﺎﻳﺎﻥ ﺟﻨﮓ ﺑﻪ ﺷﺪﺕ ﺗﺤﻘﻴﺮ‬ ‫ﺷﺪ‪ .‬ﺍﺯ ﻳﻚ ﻃﺮﻑ ﺩﺭ ﺟﻨﮓ ﺷﻜﺴﺖ ﺳﺨﺘﻰ ﺧﻮﺭﺩ ﻭ ﺍﺯ ﺳﻮﻯ ﺩﻳﮕﺮ‪ ،‬ﺩﺭ ﻗﺮﺍﺭﺩﺍﺩ ﭘﺎﻳﺎﻥ ﺟﻨﮓ‬ ‫ﻛﻪ ﺩﺭ ﻛﺎﺥ ﻭﺭﺳﺎﻯ ﻓﺮﺍﻧﺴﻪ ﺗﻨﻈﻴﻢ ﺷﺪ‪ ،‬ﺷﺮﺍﻳﻂ ﻓﻮﻕﺍﻟﻌﺎﺩﻩ ﺳﻨﮕﻴﻦ ﻭ ﺗﺤﻘﻴﺮﺁﻣﻴﺰﻯ ﺑﻪ ﺁﻟﻤﺎﻥ‬ ‫ﺗﺤﻤﻴﻞ ﺷﺪ ﻛﻪ ﺷﺮﺍﻳﻂ ﻋﻤﻮﻣﻰ ﺟﺎﻣﻌﻪ ﺭﺍ ﺑﻪ ﺑﺪﺗﺮﻳﻦ ﺣﺎﻟﺖ ﻣﻤﻜﻦ ﺳﻮﻕ ﺩﺍﺩ‪ .‬ﺷﺮﺍﻳﻂ ﺁﻟﻤﺎﻥ‬ ‫ﭘﺲ ﺍﺯ ﺟﻨﮓ ﺟﻬﺎﻧﻰ ﺍﻭﻝ‪ ،‬ﻓﻀﺎﻳﻰ ﭘﺮ ﺍﺯ ﺗﺮﺱ‪ ،‬ﺧﻔﻘﺎﻥ ﻭ ﻧﺎﺍﻣﻴﺪﻯ ﺑﻮﺩ ﻭ ﺍﻳﻦ ﺍﺣﺴﺎﺳﺎﺕ ﺑﻪ ﻃﻮﺭ‬ ‫ﻛﺎﻣﻞ ﺩﺭ ﻓﻴﻠﻢﻫﺎﻯ ﺁﻥ ﺩﻭﺭﻩﻯ ﺁﻟﻤﺎﻥ ﺑﺎﺯﺗﺎﺏ ﺩﺍﺷﺘﻨﺪ‪ .‬ﻧﻮﺳﻔﺮﺍﺗﻮ ﻫﻢ ﺍﺯ ﺍﻳﻦ ﻗﺎﻋﺪﻩ ﻣﺴﺘﺜﻨﻰ ﻧﺒﻮﺩ‪.‬‬ ‫ﻛﺎﺭﺍﻛﺘﺮ ﻧﻮﺳﻔﺮﺍﺗﻮ ﺩﺭ ﺍﻳﻦ ﻓﻴﻠﻢ ﻧﻤﺎﺩﻯ ﺍﺯ ﺁﻟﻤﺎﻥ ﺁﻥ ﺩﻭﺭﻩ ﺍﺳﺖ‪ .‬ﻛﺸﻮﺭﻯ ﻛﻪ ﭘﺲ ﺍﺯ ﺟﻨﮓ ﺍﺯ‬ ‫ﺳﻮﻯ ﺟﺎﻣﻌﻪﻯ ﺟﻬﺎﻧﻰ ﻃﺮﺩ ﺷﺪﻩ ﺑﻮﺩ ﻭ ﻫﻢﭼﻮﻥ ﻭﻳﺮﻭﺳﻰ ﻣﺮﮔﺒﺎﺭ ﺗﻠﻘﻰ ﻣﻰﺷﺪ‪ ،‬ﺍﻣﺎ ﺑﻴﺶ ﺍﺯ ﻫﺮ‬ ‫ﻛﺴﻰ ﻧﻴﺎﺯﻣﻨﺪ ﺗﺮﺣﻢ ﻭ ﻣﺤﺒﺖ ﺍﺳﺖ‪ .‬ﺑﻰﺟﻬﺖ ﻧﻴﺴﺖ ﻛﻪ ﭼﻬﺮﻩﻯ ﻧﻮﺳﻔﺮﺍﺗﻮ ﺩﺭ ﺍﻳﻦ ﻓﻴﻠﻢ‪ ،‬ﺍﻳﻦ‬ ‫ﮔﻮﻧﻪ ﺳﻤﭙﺎﺗﻴﻚ ﻧﻤﺎﻳﺎﻧﺪﻩ ﻣﻰﺷﻮﺩ‪.‬‬ ‫ﺍﻣﺎ ﻣﺴﺄﻟﻪﻯ ﻣﻬﻤﻰ ﻛﻪ ﻏﺎﻟﺒﺎً ﺩﺭ ﺑﺮﺭﺳﻰ ﭘﺪﻳﺪﻩﻯ ﺩﺭﺍﻛﻮﻻ ﻧﺎﺩﻳﺪﻩ ﮔﺮﻓﺘﻪ ﻣﻰﺷﻮﺩ‪ ،‬ﺍﺭﺗﺒﺎﻁ ﺗﻨﮕﺎﺗﻨﮓ‬ ‫ﺍﻳﻦ ﺷﺨﺼﻴﺖ ﺑﺎ ﻣﺬﻫﺐ ﺍﺳﺖ‪ .‬ﺩﺭ ﻧﺴﺨﻪﻯ ﻓﺮﺍﻧﺴﻴﺲ ﻓﻮﺭﺩ ﻛﺎﭘﻮﻻ ﺍﺯ ﺩﺭﺍﻛﻮﻻ ﻣﻰﺑﻴﻨﻴﻢ ﻛﻪ ﺍﻳﻦ‬ ‫ﺷﺨﺼﻴﺖ ﺑﻪ ﻋﻠﺖ ﻃﻐﻴﺎﻥ ﺩﺭ ﻣﻘﺎﺑﻞ ﺧﺪﺍ ﻭ ﻣﺴﻴﺢ ﺑﻪ ﺧﻮﻥﺁﺷﺎﻡ ﺗﺒﺪﻳﻞ ﻣﻰﺷﻮﺩ؛ ﺍﻣﺎ ﺩﺭ ﻧﻮﺳﻔﺮﺍﺗﻮ‬ ‫ﺷﺮﺍﻳﻂ ﻣﺘﻔﺎﻭﺕ ﺍﺳﺖ‪ .‬ﻣﺎ ﻫﻴﭻ ﻧﺸﺎﻧﻰ ﺍﺯ ﺍﻳﻦ ﻛﻪ ﺍﻭ ﭼﮕﻮﻧﻪ ﺑﻪ ﺧﻮﻥﺁﺷﺎﻡ ﻣﺒﺪﻝ ﺷﺪ ﻧﻤﻰﺑﻴﻨﻴﻢ‪.‬‬ ‫ﻧﻜﺘﻪ ﺍﻳﻦﺟﺎ ﺍﺳﺖ ﻛﻪ ﺣﺘﺎ ﻣﻰﺗﻮﺍﻥ ﻧﻮﺳﻔﺮﺍﺗﻮ ﺭﺍ ﻃﻐﻴﺎﻧﻰ ﺩﺭ ﺑﺮﺍﺑﺮ ﻛﻠﻴﺴﺎ ﺩﺍﻧﺴﺖ‪ .‬ﺍﻭﻟﻴﻦ ﻧﻤﺎﻯ‬ ‫ﻓﻴﻠﻢ‪ ،‬ﻣﻨﺎﺭﻩﻯ ﻛﻠﻴﺴﺎﻳﻰ ﺭﺍ ﻧﺸﺎﻥ ﻣﻰﺩﻫﺪ ﻛﻪ ﺍﺯ ﭘﺸﺖ ﺁﻥ ﺗﻌﺪﺍﺩﻯ ﺧﺎﻧﻪ ﭘﻴﺪﺍ ﺍﺳﺖ ﻭ ﻧﺸﺎﻧﻰ ﺍﺳﺖ‬ ‫ﺍﺯ ﺗﺴﻠﻂ ﻛﻠﻴﺴﺎ ﺑﺮ ﺯﻧﺪﮔﻰ ﻣﺮﺩﻡ‪ .‬ﺍﻭﻟﻴﻦ ﻧﻤﺎﻳﻰ ﻫﻢ ﻛﻪ ﺍﺯ ﻧﻮﺳﻔﺮﺍﺗﻮ ﻣﻰﺑﻴﻨﻴﻢ‪ ،‬ﺍﻳﻦ ﺍﺳﺖ ﻛﻪ ﺍﻭ ﺑﺎ‬ ‫ﻟﺒﺎﺳﻰ ﺳﻴﺎﻩ ﻭ ﺩﺳﺖﻫﺎﻳﻰ ﻛﻪ ﺭﻭﻯ ﻫﻢ ﮔﺬﺍﺷﺘﻪ ﻭ ﺣﺎﻟﺘﻰ ﺷﺒﻴﻪ ﺑﻪ ﻛﺸﻴﺶﻫﺎ ﺩﺍﺭﺩ‪ ،‬ﺍﺯ ﺩﻝ ﺗﺎﺭﻳﻜﻰ‬ ‫ﺷﻤﺎﺭﻩﻯ ‪ ،9-10‬ﺷﻬﺮﻳﻮﺭ ﻭ ﻣﻬﺮ ‪1390‬‬

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‫ﺩﺭ ﺣﺎﻝ ﺍﻧﺘﻘﺎﻝ ﺍﺯ ﺁﻥ ﺧﻴﺎﺑﺎﻥ ﻫﺴﺘﻨﺪ‪ .‬ﺑﻪ ﺍﻳﻦ ﺗﺮﺗﻴﺐ ﺑﻪ ﺩﻭ ﻣﻮﺭﺩ ﻗﺒﻠﻰ‪ ،‬ﻣﺮگ ﻫﻢ ﺍﺿﺎﻓﻪ ﻣﻰﺷﻮﺩ‪.‬‬ ‫ﻫﻢﭼﻨﻴﻦ ﺯﻣﺎﻧﻰ ﻛﻪ ﻧﺎﺧﺪﺍﻯ ﻛﺸﺘﻰ ﺗﻮﺳﻂ ﻧﻮﺳﻔﺮﺍﺗﻮ ﺑﻪ ﻗﺘﻞ ﻣﻰﺭﺳﺪ‪ ،‬ﻧﻤﺎﻳﻰ ﺍﺯ ﺩﻣﺎﻏﻪﻯ ﻛﺸﺘﻰ‬ ‫ﺭﺍ ﻣﻰﺑﻴﻨﻴﻢ ﻛﻪ ﻧﻮﻙ ﺗﻴﺰ ﺁﻥ ﺑﻪ ﺳﻤﺖ ﺑﺮﻣﻦ ﺍﺳﺖ ﻭ ﻧﻤﺎﻳﺎﻧﮕﺮ ﺧﻄﺮ ﻣﺮﮔﺒﺎﺭﻯ ﺍﺳﺖ ﻛﻪ ﺍﺯ ﺳﻮﻯ‬ ‫ﻧﻮﺳﻔﺮﺍﺗﻮ ﺑﻪ ﺳﻤﺖ ﺑﺮﻣﻦ ﺩﺭ ﺣﺎﻝ ﺣﺮﻛﺖ ﺍﺳﺖ‪.‬‬ ‫ﺑﺎ ﻭﺟﻮﺩ ﺗﻤﺎﻡ ﺍﻳﻦ ﻣﺴﺎﺋﻞ‪ ،‬ﻧﻮﺳﻔﺮﺍﺗﻮ ﺟﺬﺍﺏﺗﺮﻳﻦ ﺷﺨﺼﻴﺖ ﻓﻴﻠﻢ ﺍﺳﺖ‪ .‬ﺟﺎﻧﺎﺗﺎﻥ ﺷﺨﺼﻴﺘﻰ‬ ‫ﺑﻰﻋﺮﺿﻪ ﻭ ﺑﻰﺩﺳﺖ ﻭ ﭘﺎ ﻧﻤﺎﻳﺎﻧﺪﻩ ﻣﻰﺷﻮﺩ ﻛﻪ ﺧﻨﺪﻩﻫﺎﻯ ﮔﺎﻩ ﺍﺣﻤﻘﺎﻧﻪﺍﺵ‪ ،‬ﺑﻴﺸﺘﺮ ﺭﻭﻯ ﺍﻋﺼﺎﺏ‬ ‫ﺗﻤﺎﺷﺎﮔﺮ ﺭﺍﻩ ﻣﻰﺭﻭﻧﺪ‪ .‬ﻧﻴﻨﺎ ﻫﻢ ﺩﺭ ﻃﻮﻝ ﻓﻴﻠﻢ ﺷﺨﺼﻴﺘﻰ ﻛﺎﻣ ً‬ ‫ﻼ ﺗﺄﺛﻴﺮﭘﺬﻳﺮ ﺍﺳﺖ ﻭ ﺗﻮﺍﻧﺎﻳﻰ ﺗﻐﻴﻴﺮ‬ ‫ﺩﺭ ﻫﻴﭻ ﻛﺎﺭﻯ ﺭﺍ ﻧﺪﺍﺭﺩ‪ .‬ﺑﻨﺎﺑﺮﺍﻳﻦ ﺣﺮﻛﺖ ﺷﺠﺎﻋﺎﻧﻪﻯ ﭘﺎﻳﺎﻧﻰﺍﺵ ﻫﻢ ﭼﻨﺪﺍﻥ ﺗﻤﺎﺷﺎﮔﺮ ﺭﺍ ﺟﺬﺏ‬ ‫ﻧﻤﻰﻛﻨﺪ‪ .‬ﻭﻟﻰ ﻧﻮﺳﻔﺮﺍﺗﻮ ﺑﺎ ﺁﺭﺍﻣﺶ ﻭ ﻏﻤﻰ ﻛﻪ ﺩﺭ ﺗﻤﺎﻡ ﺣﺮﻛﺎﺗﺶ ﭘﻴﺪﺍ ﺍﺳﺖ‪ ،‬ﺟﻠﻮﻩﻯ ﺍﻧﺴﺎﻧﻰﺗﺮﻯ‬ ‫ﻧﺴﺒﺖ ﺑﻪ ﻧﻴﻨﺎ ﻭ ﺟﺎﻧﺎﺗﺎﻥ ﺩﺍﺭﺩ ﻭ ﻫﻨﮕﺎﻣﻰ ﻛﻪ ﻗﺒﻞ ﺍﺯ ﻣﺮگ‪ ،‬ﺩﺳﺘﺶ ﺭﺍ ﺭﻭﻯ ﻗﻠﺒﺶ ﻣﻰﮔﺬﺍﺭﺩ‪،‬‬ ‫ﮔﻮﻳﻰ ﺍﻳﻦ ﺟﻠﻮﻩﻯ ﺍﻧﺴﺎﻧﻰﺍﺵ ﺗﻜﻤﻴﻞ ﻣﻰﺷﻮﺩ‪.‬‬ ‫ﺷﺨﺼﻴﺖ ﻛﻠﻴﺪﻯ ﺩﻳﮕﺮ ﻓﻴﻠﻢ‪ ،‬ﻛﺎﺭﮔﺰﺍﺭ ﺭﻧﻔﻴﻠﺪ ﺍﺳﺖ ﻛﻪ ﻣﺮﻳﺪ ﻧﻮﺳﻔﺮﺍﺗﻮ ﺍﺳﺖ‪ .‬ﺍﻭ ﺭﻭﻯ ﺩﻳﮕﺮ‬ ‫ﻧﻮﺳﻔﺮﺍﺗﻮ ﺑﻪ ﺷﻤﺎﺭ ﻣﻰﺭﻭﺩ‪ .‬ﻛﻮﺗﺎﻩ ﻗﺪ‪ ،‬ﺧﻨﺪﻩﺭﻭ ﻭ ﻣﻮﺫﻯ‪ .‬ﺑﻰ ﺩﻟﻴﻞ ﻧﻴﺴﺖ ﻛﻪ ﺩﺭ ﺍﻳﻦ ﻓﻴﻠﻢ‪،‬‬ ‫ﺭﻧﻔﻴﻠﺪ ﺑﺎ ﺍﻳﻦ ﻃﺮﺯ ﺭﻓﺘﺎﺭ ﻣﺮﻳﺪ ﻧﻮﺳﻔﺮﺍﺗﻮﻯ ﺁﺭﺍﻡ ﻭ ﺗﻨﻬﺎ ﺍﺳﺖ‪ .‬ﺭﻧﻔﻴﻠﺪ ﺁﺷﻜﺎﺭﺍ ﻧﻤﺎﻳﻨﺪﻩﻯ ﺷﺮ ﺍﺳﺖ‬ ‫ﻭ ﺑﺮ ﺧﻼﻑ ﻛﻨﺖ ﺍﺭﻻﻙ )ﻧﻮﺳﻔﺮﺍﺗﻮ( ﻫﻴﭻ ﮔﻮﻧﻪ ﺣﺲ ﻫﻢﺩﻟﻰ ﻭ ﻫﻢﺫﺍﺕﭘﻨﺪﺍﺭﻯ ﺩﺭ ﺗﻤﺎﺷﺎﮔﺮ‬ ‫ﺑﺮﻧﻤﻰﺍﻧﮕﻴﺰﺩ‪.‬‬ ‫ﺍﺳﺘﻔﺎﺩﻩ ﺍﺯ ﻧﻮﺭﭘﺮﺩﺍﺯﻯ ﻭ ﻓﻴﻠﻢﺑﺮﺩﺍﺭﻯ ﺩﺭ ﺍﻳﻦ ﻓﻴﻠﻢ‪ ،‬ﺑﻪ ﺭﺍﺳﺘﻰ ﻛﻤﺎﻝ ﺍﻛﺴﭙﺮﺳﻴﻮﻧﻴﺴﻢ ﺭﺍ ﻧﺸﺎﻥ‬ ‫ﻣﻰﺩﻫﻨﺪ‪ .‬ﻧﻤﺎﻫﺎﻯ ﺯﺍﻭﻳﻪﺩﺍﺭ ﺍﺯ ﭘﺎﻳﻴﻦ ﻭ ﺳﺎﻳﻪﻫﺎﻯ ﻏﻮﻝﺁﺳﺎﻳﻰ ﻛﻪ ﺭﻭﻯ ﺩﻳﻮﺍﺭ ﻧﻤﺎﻳﺎﻧﺪﻩ ﻣﻰﺷﻮﻧﺪ‪،‬‬ ‫ﻋﻼﻭﻩ ﺑﺮ ﺍﻳﺠﺎﺩ ﺣﺲ ﻭﺣﺸﺖ‪ ،‬ﻋﻤﻖ ﺑﻴﺸﺘﺮﻯ ﻧﻴﺰ ﺑﻪ ﺻﺤﻨﻪ ﻣﻰﺑﺨﺸﻨﺪ‪ .‬ﺻﺤﻨﻪﺍﻯ ﻛﻪ ﺳﺎﻳﻪﻯ‬ ‫ﻧﻮﺳﻔﺮﺍﺗﻮ ﺑﺎ ﺣﺮﻛﺖ ﺍﻭ ﺍﺯ ﺭﻭﻯ ﭘﻠﻪﻫﺎ‪ ،‬ﺑﺰﺭگ ﻭ ﺑﺰﺭگﺗﺮ ﻣﻰﺷﻮﺩ‪ ،‬ﺍﺯ ﻧﻈﺮ ﻧﺤﻮﻩﻯ ﻧﻮﺭﭘﺮﺩﺍﺯﻯ ﻭ‬ ‫ﻋﻈﻤﺘﻰ ﻛﻪ ﺍﺯ ﻃﺮﻳﻖ ﺳﺎﻳﻪ ﻭ ﺿﺪﻧﻮﺭ ﺑﻪ ﺻﺤﻨﻪ ﻣﻰﺑﺨﺸﺪ‪ ،‬ﻳﺎﺩﺁﻭﺭ ﺻﺤﻨﻪﻯ ﻗﺘﻞ ﺁﻟﻦ ﺩﺭ ﻣﻄﺐ‬ ‫ﺩﻛﺘﺮ ﻛﺎﻟﻴﮕﺎﺭﻯ ﺍﺳﺖ‪ .‬ﺩﺭ ﺍﻳﻦﺟﺎ ﻫﻢ ﺍﺳﺘﻔﺎﺩﻩ ﺍﺯ ﺳﺎﻳﻪ ﻭ ﺿﺪﻧﻮﺭ ﺑﺴﻴﺎﺭ ﻣﻮﺭﺩ ﺗﻮﺟﻪ ﺍﺳﺖ‪ .‬ﺗﻔﺎﻭﺕ‬ ‫ﺩﻭ ﻓﻴﻠﻢ ﺍﻳﻦﺟﺎ ﺍﺳﺖ ﻛﻪ ﺩﺭ ﻧﻮﺳﻔﺮﺍﺗﻮ‪ ،‬ﺑﺮ ﺧﻼﻑ ﻣﻄﺐ ﺩﻛﺘﺮ ﻛﺎﻟﻴﮕﺎﺭﻯ‪ ،‬ﺩﻭﺭﺑﻴﻦ ﻫﻢ ﻧﻘﺶ‬ ‫ﺑﻪﺳﺰﺍﻳﻰ ﺩﺭ ﺍﻳﺠﺎﺩ ﺣﺲ ﺭﻋﺐ ﻭ ﻭﺣﺸﺖ ﺩﺍﺭﺩ‪ .‬ﺍﻳﻦ ﻣﺴﺄﻟﻪ ﺑﻪ ﺧﺼﻮﺹ ﺩﺭ ﻧﻤﺎﻫﺎﻳﻰ ﻛﻪ ﺍﺯ‬ ‫ﻗﺼﺮ ﺩﺭﺍﻛﻮﻻ ﻣﻰﺑﻴﻨﻴﻢ ﻭ ﻫﻢﭼﻨﻴﻦ ﺻﺤﻨﻪﺍﻯ ﻛﻪ ﻧﻮﺳﻔﺮﺍﺗﻮ ﺍﺯ ﮔﻮﺷﻪﻯ ﺗﺼﻮﻳﺮ ﻭﺍﺭﺩ ﻋﺮﺷﻪﻯ‬ ‫ﻛﺸﺘﻰ ﻣﻰﺷﻮﺩ‪ ،‬ﺑﻴﺸﺘﺮ ﻗﺎﺑﻞ ﻣﻼﺣﻈﻪﺍﻧﺪ‪ .‬ﺩﺭ ﺍﻳﻦ ﺻﺤﻨﻪ ﻓﻴﻠﻢﺑﺮﺩﺍﺭﻯ ﺍﺯ ﭘﺎﻳﻴﻦ‪ ،‬ﺣﺎﻟﺘﻰ ﻣﺎﻭﺭﺍﻳﻰ‬ ‫ﻭ ﺩﺳﺖﻧﻴﺎﻓﺘﻨﻰ ﺑﻪ ﻧﻮﺳﻔﺮﺍﺗﻮ ﻣﻰﺩﻫﺪ‪ .‬ﺿﻤﻦ ﺍﻳﻦ ﻛﻪ ﺩﺭ ﺍﻳﻦ ﺻﺤﻨﻪ ﻧﻤﺎﻯ ﭼﻨﮕﺎﻝﻫﺎﻯ ﺗﻴﺰ ﻭ‬ ‫ﺍﺭﻳﺐ ﻧﻮﺳﻔﺮﺍﺗﻮ ﻛﻪ ﺑﺎﺯ ﻫﻢ ﺣﺎﻟﺘﻰ ﺿﺪﻧﻮﺭ ﺩﺍﺭﻧﺪ ﻭ ﺑﻨﺎﺑﺮﺍﻳﻦ ﺳﻴﺎﻩﺭﻧﮓ ﺑﻪ ﻧﻈﺮ ﻣﻰﺭﺳﻨﺪ‪ ،‬ﺩﺭ ﻛﻨﺎﺭ‬ ‫ﻃﻨﺎﺏﻫﺎﻯ ﺍﻓﻘﻰ ﻭ ﻋﻤﻮﺩﻯ‪ ،‬ﻓﻀﺎﻯ ﺑﺴﺘﻪ ﻭ ﺗﺮﺳﻨﺎﻛﻰ ﺍﻳﺠﺎﺩ ﻣﻰﻛﻨﺪ ﻛﻪ ﺩﺭ ﺁﻥ ﺗﻨﺎﻗﺾ ﺣﺮﻑ‬ ‫‪127‬‬

‫ﻭﻳﮋﻩﻧﺎﻣﻪﻯ ﺧﻮﻥﺁﺷﺎﻡﻫﺎ‬

‫ﺳﻴﻨﻤﺎ‬

‫ﺗﻨﻬﺎﻳﻰ ﻧﻮﺳﻔﺮﺍﺗﻮ ﻫﺴﺘﻨﺪ‪ .‬ﺿﻤﻦ ﺍﻳﻦ ﻛﻪ ﻭﺟﻮﺩ ﻧﻤﺎﺩﻫﺎﻳﻰ ﭼﻮﻥ ﺍﺑﺮ‪،‬‬ ‫ﺑﺮﻑ ﻭ ﺑﺎﺩﻫﺎﻯ ﺗﻨﺪ‪ ،‬ﺁﺷﻔﺘﮕﻰ ﺯﻧﺪﮔﻰ ﻧﻮﺳﻔﺮﺍﺗﻮ ﺭﺍ ﻧﺸﺎﻥ ﻣﻰﺩﻫﻨﺪ‪ .‬ﺗﻨﻬﺎ‬ ‫ﺳﻜﺎﻧﺴﻰ ﻛﻪ ﻧﻮﺳﻔﺮﺍﺗﻮ ﺭﺍ ﺗﻨﻬﺎ ﻧﻤﻰﺑﻴﻨﻴﻢ ﻭ ﺑﺎ ﺷﺨﺺ ﺩﻳﮕﺮﻯ ﺍﺭﺗﺒﺎﻁ‬ ‫ﺩﻭ ﻧﻔﺮﻩ ﺩﺍﺭﺩ )ﻏﻴﺮ ﺍﺯ ﺳﻜﺎﻧﺲﻫﺎﻳﻰ ﻛﻪ ﺑﺎ ﺟﺎﻧﺎﺗﺎﻥ ﺩﺭ ﻗﺼﺮﺵ ﺩﺭ ﻓﻴﻠﻢ‬ ‫ﻭﺟﻮﺩ ﺩﺍﺭﺩ( ﺻﺤﻨﻪﻯ ﭘﺎﻳﺎﻧﻰ ﺍﺳﺖ ﻛﻪ ﺩﺭ ﺣﺎﻝ ﻧﻮﺷﻴﺪﻥ ﺧﻮﻥ ﻧﻴﻨﺎ ﺍﺳﺖ‬ ‫ﻭ ﻫﻤﻴﻦ ﻛﺎﺭ ﺑﺎﻋﺚ ﻣﺮﮔﺶ ﻣﻰﺷﻮﺩ‪ .‬ﮔﻮﻳﻰ ﺗﻨﻬﺎﻳﻰ ﺍﺯ ﺍﺯﻝ ﺩﺭ ﺳﺮﻧﻮﺷﺖ‬ ‫ﻧﻮﺳﻔﺮﺍﺗﻮ ﻧﻮﺷﺘﻪ ﺷﺪﻩ ﺑﻮﺩ ﻭ ﺗﺨﻠﻔﺶ ﺍﺯ ﺍﻳﻦ ﺍﻣﺮ‪ ،‬ﻋﺎﻣﻞ ﻣﺮﮔﺶ ﺑﻮﺩﻩ‬ ‫ﺍﺳﺖ‪.‬‬ ‫ﺍﻳﻦ ﺗﻨﻬﺎﻳﻰ ﺩﺭ ﻫﻤﻪﻯ ﺍﺭﻛﺎﻥ ﺯﻧﺪﮔﻰ ﻧﻮﺳﻔﺮﺍﺗﻮ ﺩﻳﺪﻩ ﻣﻰﺷﻮﺩ‪ .‬ﻟﺒﺎﺱ‬ ‫ﻧﻮﺳﻔﺮﺍﺗﻮ ﺩﺭ ﺗﻤﺎﻡ ﻃﻮﻝ ﻓﻴﻠﻢ ﺳﻴﺎﻩ ﺍﺳﺖ ﻭ ﺍﻳﻦ ﺗﻴﺮﮔﻰ ﺩﺭ ﺗﻘﺎﺑﻞ ﺑﺎ‬ ‫ﺭﻭﺷﻨﻰ ﻟﺒﺎﺱﻫﺎﻯ ﺟﺎﻧﺎﺗﺎﻥ ﻭ ﻧﻴﻨﺎ‪ ،‬ﺑﻴﺶ ﺍﺯ ﭘﻴﺶ ﺑﻪ ﺗﻨﻬﺎﻳﻰ ﻧﻮﺳﻔﺮﺍﺗﻮ‬ ‫ﺍﺷﺎﺭﻩ ﺩﺍﺭﻧﺪ‪ .‬ﺟﺎﻟﺐ ﺍﺳﺖ ﻛﻪ ﻃﺮﺍﺣﻰ ﻟﺒﺎﺱ ﻧﻴﻨﺎ‪ ،‬ﻫﺮ ﭼﻪ ﺑﻪ ﭘﺎﻳﺎﻥ ﻓﻴﻠﻢ‬ ‫ﻭ ﺭﺳﻴﺪﻥ ﻧﻮﺳﻔﺮﺍﺗﻮ ﺑﻪ ﺁﻥ ﺟﺎ ﻧﺰﺩﻳﻚﺗﺮ ﻣﻰﺷﻮﻳﻢ‪ ،‬ﺗﻴﺮﻩﺗﺮ ﻣﻰﺷﻮﺩ‪.‬‬ ‫ﺗﻤﺎﻡ ﺯﻧﺪﮔﻰ ﻧﻮﺳﻔﺮﺍﺗﻮ ﺑﺎ ﺗﻴﺮﮔﻰ ﻭ ﺗﺎﺭﻳﻜﻰ ﺁﻣﻴﺨﺘﻪ ﺍﺳﺖ‪ .‬ﻧﻤﺎﺩ ﺩﺭﺍﻛﻮﻻ‬ ‫ﻣﻮﺵ ﺍﺳﺖ‪ .‬ﺣﻴﻮﺍﻧﻰ ﻛﻪ ﻫﻤﻮﺍﺭﻩ ﺍﺯ ﺩﺭﻭﻥ ﺧﺎﻙ ﻭ ﺩﻝ ﺗﺎﺭﻳﻜﻰ ﺑﻴﺮﻭﻥ‬ ‫ﻣﻰﺁﻳﺪ‪ .‬ﺩﺭ ﺍﻭﻟﻴﻦ ﺭﻭﺯ ﺍﻗﺎﻣﺖ ﺟﺎﻧﺎﺗﺎﻥ ﺩﺭ ﻗﺼﺮ ﺩﺭﺍﻛﻮﻻ‪ ،‬ﻫﻨﮕﺎﻣﻰ ﻛﻪ ﺍﻭ‬ ‫ﺍﺯ ﺧﻮﺍﺏ ﺑﻴﺪﺍﺭ ﻣﻰﺷﻮﺩ‪ ،‬ﺍﺯ ﺩﻳﺪ ﺍﻭ ﻧﻤﺎﻳﻰ ﺍﺯ ﻛﺎﺷﻰﻫﺎﻯ ﭼﻬﺎﺭﺧﺎﻧﻪﻯ‬ ‫ﻗﺼﺮ ﻣﻰﺑﻴﻨﻴﻢ ﻛﻪ ﺗﺎ ﺟﺎﻳﻰ ﺩﺭﻭﻥ ﺗﺎﺭﻳﻜﻰ ﺍﻣﺘﺪﺍﺩ ﺩﺍﺭﻧﺪ‪ .‬ﻫﻤﻪﻯ ﺍﻳﻦ‬ ‫ﻧﻤﺎﻫﺎ ﻧﺸﺎﻧﻪﻫﺎﻳﻰ ﻫﺴﺘﻨﺪ ﺍﺯ ﺍﻳﻦ ﺗﻴﺮﮔﻰ ﻛﻪ ﺩﺭ ﺑﻄﻦ ﺯﻧﺪﮔﻰ ﻧﻮﺳﻔﺮﺍﺗﻮ‬ ‫ﺟﺎﺭﻯ ﺍﺳﺖ‪.‬‬ ‫ﺁﻥﭼﻪ ﺑﻴﺸﺘﺮ ﺑﺎﻋﺚ ﺟﺬﺏ ﺗﻤﺎﺷﺎﮔﺮ ﺑﻪ ﻛﺎﺭﺍﻛﺘﺮ ﻧﻮﺳﻔﺮﺍﺗﻮ ﻣﻰﺷﻮﺩ‪،‬‬ ‫ﻧﺎﺧﻮﺍﺳﺘﻪ ﺑﻮﺩﻥ ﺍﻋﻤﺎﻝ ﺍﻭ ﺍﺳﺖ‪ .‬ﺩﺭ ﻃﻮﻝ ﻓﻴﻠﻢ‪ ،‬ﻧﻮﺳﻔﺮﺍﺗﻮ ﻓﻘﻂ ﺩﺭ ﺣﺎﻝ‬ ‫ﺣﻔﻆ ﺟﺎﻥ ﺧﻮﻳﺶ ﺍﺳﺖ ﻭ ﻧﻪ ﻫﻴﭻ ﻛﺎﺭ ﺩﻳﮕﺮ‪ ،‬ﻭﻟﻰ ﺗﻘﺪﻳﺮ ﺑﺮ ﺍﻳﻦ‬ ‫ﺍﺳﺖ ﻛﻪ ﺣﻔﻆ ﺟﺎﻥ ﺍﻭ ﺩﺭ ﮔﺮﻭ ﻧﺎﺑﻮﺩﻯ ﺍﻓﺮﺍﺩ ﺩﻳﮕﺮ ﺑﺎﺷﺪ‪ .‬ﻫﻨﮕﺎﻣﻰ ﻛﻪ‬ ‫ﺟﺎﺭﭼﻴﺎﻥ ﺧﺒﺮ ﺭﺳﻴﺪﻥ ﻃﺎﻋﻮﻥ ﺭﺍ ﺑﻪ ﺷﻬﺮ ﻭ ﺍﻓﺮﺍﺩﺵ ﺍﻋﻼﻡ ﻣﻰﻛﻨﻨﺪ‪،‬‬ ‫ﻧﻤﺎﻳﻰ ﻋﻤﻮﻣﻰ ﺍﺯ ﺧﻴﺎﺑﺎﻥ ﺷﻬﺮ ﻣﻰﺑﻴﻨﻴﻢ ﻛﻪ ﺗﻨﮓ ﻭ ﭘﺮ ﺍﺯ ﺳﺎﻳﻪ ﺍﺳﺖ‪.‬‬ ‫ﮔﻮﻳﻰ ﺍﻳﻦ ﺍﺭﻣﻐﺎﻥ ﻧﻮﺳﻔﺮﺍﺗﻮ ﺍﺳﺖ‪ :‬ﺧﻔﻘﺎﻥ ﻭ ﺗﻴﺮﮔﻰ‪ .‬ﺍﻳﻦ ﻧﻤﺎ ﺭﺍ ﻳﻚ ﺑﺎﺭ‬ ‫ﺩﻳﮕﺮ ﻫﻢ ﻣﻰﺑﻴﻨﻴﻢ‪ .‬ﺯﻣﺎﻧﻰ ﻛﻪ ﺗﺎﺑﻮﺕﻫﺎﻯ ﺍﻓﺮﺍﺩ ﺟﺎﻥ ﺳﭙﺮﺩﻩ ﺍﺯ ﻃﺎﻋﻮﻥ‬

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‫ﻭﻳﮋﻩﻧﺎﻣﻪﻯ ﺧﻮﻥﺁﺷﺎﻡﻫﺎ‬

‫ﻧﻮﺳﻔﺮﺍﺗﻮ‬ ‫ﻓﻘﻂ ﺩﺭ ﺣﺎﻝ‬ ‫ﺣﻔﻆ ﺟﺎﻥ‬ ‫ﺧﻮﻳﺶ ﺍﺳﺖ‬ ‫ﻭ ﻧﻪ ﻫﻴﭻ‬ ‫ﻛﺎﺭ ﺩﻳﮕﺮ‪،‬‬ ‫ﻭﻟﻰ ﺗﻘﺪﻳﺮ ﺑﺮ‬ ‫ﺍﻳﻦ ﺍﺳﺖ ﻛﻪ‬ ‫ﺣﻔﻆ ﺟﺎﻥ‬ ‫ﺍﻭ ﺩﺭ ﮔﺮﻭ‬ ‫ﻧﺎﺑﻮﺩﻯ ﺍﻓﺮﺍﺩ‬ ‫ﺩﻳﮕﺮ ﺑﺎﺷﺪ‪.‬‬

‫ﻓﺮﺩﺭﻳﺶ ﻭﻳﻠﻬﻠﻢ ﻣﻮﺭﻧﺎ ﺭﺍ ﺑﻪ ﺩﺭﺳﺘﻰ ﺷﺎﻋﺮ ﺳﻴﻨﻤﺎ ﻧﺎﻣﻴﺪﻩﺍﻧﺪ‪ .‬ﺩﺭ ﺗﻤﺎﻣﻰ ﻓﻴﻠﻢﻫﺎﻯ ﺍﻭ‪ ،‬ﺣﺴﻰ ﺍﺯ‬ ‫ﻟﻄﺎﻓﺖ ﻭ ﺷﺎﻋﺮﺍﻧﮕﻰ ﺑﻪ ﭼﺸﻢ ﻣﻰﺧﻮﺭﺩ ﻛﻪ ﺩﺭ ﻓﻴﻠﻢﻫﺎﻯ ﻫﻴﭻ ﻛﺎﺭﮔﺮﺩﺍﻥ ﺩﻳﮕﺮﻯ ﻭﺟﻮﺩ ﻧﺪﺍﺭﺩ‪.‬‬ ‫ﺣﺘﺎ ﺩﺭ ﻧﺎﻡ ﻓﻴﻠﻢﻫﺎﻯ ﺍﻭ ﻫﻢ ﺍﻳﻦ ﺷﺎﻋﺮﺍﻧﮕﻰ ﺑﻪ ﻭﺿﻮﺡ ﻗﺎﺑﻞ ﺭﺅﻳﺖ ﺍﺳﺖ‪ .‬ﺣﺘﺎ ﺩﺭ ﺍﻳﻦ ﻓﻴﻠﻢ ﻛﻪ ﻗﺮﺍﺭ‬ ‫ﺍﺳﺖ ﻳﻚ ﻓﻴﻠﻢ ﺗﺮﺳﻨﺎﻙ ﺑﺎﺷﺪ ﻫﻢ ﭼﻨﻴﻦ ﻣﺴﺄﻟﻪﺍﻯ ﻭﺟﻮﺩ ﺩﺍﺭﺩ‪» .‬ﻧﻮﺳﻔﺮﺍﺗﻮ‪ :‬ﺳﻤﻔﻮﻧﻰ ﻭﺣﺸﺖ«‪،‬‬ ‫ﻧﺎﻡ ﻛﺎﻣﻞ ﺍﻳﻦ ﺷﺎﻫﻜﺎﺭ ﻣﻮﺭﻧﺎ ﺍﺳﺖ ﻛﻪ ﺗﺮﺱ‪ ،‬ﻣﺎﻳﻪﻯ ﺍﺻﻠﻰ ﺍﻳﻦ ﻓﻴﻠﻢ‪ ،‬ﺭﺍ ﺑﻪ ﻣﺜﺎﺑﻪﻯ ﻳﻚ ﺳﻤﻔﻮﻧﻰ‬ ‫ﺭﻳﺘﻤﻴﻚ ﻧﺸﺎﻥ ﻣﻰﺩﻫﺪ ﻛﻪ ﻣﻰﺗﻮﺍﻥ ﺍﺯ ﺁﻥ ﻟﺬﺕ ﺑﺮﺩ‪ .‬ﺩﺭ ﻭﺍﻗﻊ ﻗﺴﻤﺖ ﺩﻭﻡ ﻧﺎﻡ ﻓﻴﻠﻢ‪ ،‬ﺩﻭ ﻭﻳﮋﮔﻰ ﺭﺍ‬ ‫ﺑﻪ ﺗﻤﺎﺷﺎﮔﺮ ﻋﺮﺿﻪ ﻣﻰﻛﻨﺪ‪ :‬ﻟﺬﺕ ﻭ ﺗﺮﺱ‪ .‬ﻭ ﺍﻳﻦ ﺩﻭ ﺻﻔﺖ ﺩﻗﻴﻘﺎً ﺍﺣﺴﺎﺳﺎﺗﻰ ﻫﺴﺘﻨﺪ ﻛﻪ ﺷﺨﺼﻴﺖ‬ ‫ﻧﻮﺳﻔﺮﺍﺗﻮ )ﻭ ﺍﻟﺒﺘﻪ ﺧﻮﺩ ﻓﻴﻠﻢ( ﺩﺭ ﻣﺎ ﺑﺮﻣﻰﺍﻧﮕﻴﺰﺩ‪.‬‬ ‫ﺗﺄﺛﻴﺮ ﻧﻮﺳﻔﺮﺍﺗﻮ ﺑﺮ ﻓﻴﻠﻢﻫﺎﻯ ﺗﺮﺳﻨﺎﻙ ﺳﺎﻝﻫﺎ ﻭ ﺣﺘﺎ ﺩﻫﻪﻫﺎﻯ ﺑﻌﺪ ﻏﻴﺮﻗﺎﺑﻞ ﺍﻧﻜﺎﺭ ﺍﺳﺖ‪ .‬ﻧﻮﺳﻔﺮﺍﺗﻮ‬ ‫ﺯﻣﺎﻧﻰ ﺳﺎﺧﺘﻪ ﺷﺪ ﻛﻪ ژﺍﻧﺮ ﻭﺣﺸﺖ ﺩﺭ ﺁﻟﻤﺎﻥ ﺑﻪ ﻭﺳﻴﻠﻪﻯ ﻓﻴﻠﻢ »ﻣﻄﺐ ﺩﻛﺘﺮ ﻛﺎﻟﻴﮕﺎﺭﻯ«‪،‬‬ ‫ﺍﺭﺗﺒﺎﻁ ﺗﻨﮕﺎﺗﻨﮕﻰ ﺑﺎ ﺳﺒﻚ ﺍﻛﺴﭙﺮﺳﻴﻮﻧﻴﺴﻢ ﺑﺮﻗﺮﺍﺭ ﻛﺮﺩﻩ ﺑﻮﺩ‪ .‬ﻧﻮﺳﻔﺮﺍﺗﻮ ﻓﻴﻠﻤﻰ ﺑﻮﺩ ﻛﻪ ﺍﻳﻦ‬ ‫ﺍﻛﺴﭙﺮﺳﻴﻮﻧﻴﺴﻢ ﻏﻠﻴﻆ ﺭﺍ ﺗﻌﺪﻳﻞ ﻛﺮﺩ ﻭ ﻳﻚ ﻧﻮﻉ ﻧﺌﻮﺍﻛﺴﭙﺮﺳﻴﻮﻧﻴﺴﻢ ﺭﺋﺎﻝ ﺍﻳﺠﺎﺩ ﻛﺮﺩ ﻛﻪ ﺑﻌﺪﻫﺎ‬ ‫ﺩﺳﺖﻣﺎﻳﻪﻯ ﺧﻮﺩ ﻣﻮﺭﻧﺎ ﺩﺭ ﺳﺎﺧﺖ ﻓﻴﻠﻢﻫﺎﻯ »ﺁﺧﺮﻳﻦ ﺧﻨﺪﻩ« ﻭ ﺗﺎ ﺣﺪﻯ »ﻓﺎﻭﺳﺖ« ﺷﺪ‪ .‬ﻧﻜﺘﻪ‬ ‫ﻫﻤﻴﻦ ﺟﺎ ﺍﺳﺖ‪ .‬ﻧﻮﺳﻔﺮﺍﺗﻮ ﺍﺳﺎﺱ ﺍﻛﺴﭙﺮﺳﻴﻮﻧﻴﺴﻢ ﺭﺍ ﺗﻐﻴﻴﺮ ﺩﺍﺩ‪ .‬ﻣﻮﺭﻧﺎ ﺩﺭ ﻧﻮﺳﻔﺮﺍﺗﻮ ﺑﺮﺍﻯ ﺍﻭﻟﻴﻦ‬ ‫ﺑﺎﺭ ﻃﺒﻴﻌﺖ ﺭﺍ ﺑﻪ ﺷﻜﻞ ﮔﺴﺘﺮﺩﻩ ﻭﺍﺭﺩ ﺍﻛﺴﭙﺮﺳﻴﻮﻧﻴﺴﻢ ﻛﺮﺩ‪ .‬ﺑﺮ ﺧﻼﻑ ﻣﻄﺐ ﺩﻛﺘﺮ ﻛﺎﻟﻴﮕﺎﺭﻯ ﻛﻪ‬ ‫ﺩﻛﻮﺭﻫﺎﻯ ﻧﻘﺎﺷﻰ ﺷﺪﻩ ﺑﺎ ﺯﻭﺍﻳﺎﻯ ﺗﻨﺪ ﻭ ﻧﻮﻙﺗﻴﺰ ﺑﺎﻋﺚ ﺍﻳﺠﺎﺩ ﺣﺲ ﺗﺮﺱ ﻭ ﺧﻔﻘﺎﻥ ﻣﻰﺷﻮﻧﺪ‪،‬‬ ‫ﺩﺭ ﻧﻮﺳﻔﺮﺍﺗﻮ ﻋﻮﺍﻣﻞ ﻃﺒﻴﻌﻰ ﻳﺎ ﺷﺒﻪﻃﺒﻴﻌﻰ ﻣﺎﻧﻨﺪ ﺑﺎﺩ‪ ،‬ﺍﻣﻮﺍﺝ ﺩﺭﻳﺎ ﻭ ﻗﺼﺮ ﺩﺭﺍﻛﻮﻻ ﺍﻳﻦ ﻭﻇﻴﻔﻪ ﺭﺍ‬ ‫ﻋﻬﺪﻩﺩﺍﺭ ﻫﺴﺘﻨﺪ‪ .‬ﺑﻪ ﻫﻤﻴﻦ ﺩﻟﻴﻞ ﻭﺣﺸﺘﻰ ﻛﻪ ﺍﺯ ﺩﻳﺪﻥ ﻧﻮﺳﻔﺮﺍﺗﻮ ﺑﻪ ﺑﻴﻨﻨﺪﻩ ﻣﻨﺘﻘﻞ ﻣﻰﺷﻮﺩ‪ ،‬ﺑﻪ‬ ‫ﻣﺮﺍﺗﺐ ﺑﻴﺶ ﺍﺯ ﻣﻄﺐ ﺩﻛﺘﺮ ﻛﺎﻟﻴﮕﺎﺭﻯ ﺍﺳﺖ‪ ،‬ﭼﻮﻥ ﻃﺒﻴﻌﻰﺗﺮ ﺍﺳﺖ‪.‬‬ ‫ﺗﻔﺎﻭﺕ ﻋﻤﺪﻩﻯ ﻧﻮﺳﻔﺮﺍﺗﻮ ﺑﺎ ﻧﺴﺨﻪﻫﺎﻯ ﺩﻳﮕﺮﻯ ﻛﻪ ﺍﺯ ﺭﻭﻯ »ﺩﺭﺍﻛﻮﻻ« ﺍﺛﺮ »ﺑﺮﺍﻡ ﺍﺳﺘﻮﻛﺮ« ﺍﻗﺘﺒﺎﺱ‬ ‫ﺷﺪﻩﺍﻧﺪ‪ ،‬ﺍﻳﻦ ﺍﺳﺖ ﻛﻪ ﻣﻮﺭﻧﺎ ﺩﺭ ﺍﻳﻦ ﻓﻴﻠﻢ ﺑﻪ ﻋﻤﻖ ﺷﺨﺼﻴﺖ ﻧﻮﺳﻔﺮﺍﺗﻮ ﻧﺰﺩﻳﻚ ﻣﻰﺷﻮﺩ ﻭ‬ ‫ﺟﻨﺒﻪﻫﺎﻯ ﻣﺨﺘﻠﻔﻰ ﺍﺯ ﺯﻧﺪﮔﻰ ﺍﻭ ﺭﺍ ﻧﺸﺎﻥ ﻣﻰﺩﻫﺪ‪ .‬ﺍﺯ ﺍﻳﻦ ﺭﻭ ﺩﻳﮕﺮ ﺑﻪ ﻧﻮﺳﻔﺮﺍﺗﻮ ﺑﻪ ﭼﺸﻢ ﻳﻚ‬ ‫ﻫﻴﻮﻻﻯ ﺻﺮﻑ ﻧﮕﺎﻩ ﻧﻤﻰﻛﻨﻴﻢ‪ ،‬ﺑﻠﻜﻪ ﺍﻭ ﺭﺍ ﺍﻧﺴﺎﻧﻰ ﻣﻰﺑﻴﻨﻴﻢ ﺑﺎ ﻭﻳﮋﮔﻰﻫﺎﻯ ﻏﻴﺮﻋﺎﺩﻯ‪ .‬ﻭﻳﮋﮔﻰﻫﺎﻯ‬ ‫ﻧﺎﺧﻮﺍﺳﺘﻪﺍﻯ ﻛﻪ ﺛﻤﺮﻩﻯ ﺁﻥﻫﺎ ﻣﺮگ ﻭ ﺗﺒﺎﻫﻰ ﺍﺳﺖ‪ .‬ﺍﻳﻦ ﻭﻳﮋﮔﻰﻫﺎ ﺑﺎﻋﺚ ﺗﻨﻬﺎﻳﻰ ﻫﺮ ﭼﻪ ﺑﻴﺸﺘﺮ‬ ‫ﻧﻮﺳﻔﺮﺍﺗﻮ ﻣﻰﺷﻮﻧﺪ‪.‬‬ ‫ﺩﺭ ﺍﺑﺘﺪﺍﻯ ﻓﻴﻠﻢ‪ ،‬ﻧﻤﺎﻫﺎﻳﻰ ﺍﺯ ﺧﺎﻧﻪﻯ ﺟﺎﻧﺎﺗﺎﻥ ﺩﺭ ﺑﺮﻣﻦ ﻣﻰﺑﻴﻨﻴﻢ ﻛﻪ ﺳﺮﺳﺒﺰ ﻭ ﭘﺮ ﺍﺯ ﮔﻞ ﻭ‬ ‫ﺩﺭﺧﺖ ﺍﺳﺖ‪ .‬ﺑﺎ ﺍﻳﻦ ﻭﺟﻮﺩ ﻫﺮ ﭼﻪ ﺑﻪ ﺳﻤﺖ ﻗﺼﺮ ﺩﺭﺍﻛﻮﻻ ﭘﻴﺶ ﻣﻰﺭﻭﻳﻢ‪ ،‬ﻧﻤﺎﻫﺎﻯ ﻋﻤﻮﻣﻰ ﺍﺯ‬ ‫ﺩﺷﺖﻫﺎﻯ ﺧﺸﻚ ﻭ ﺑﻰ ﺁﺏ ﻭ ﻋﻠﻒ ﺑﻪ ﻫﻤﺮﺍﻩ ﺗﻚ ﺩﺭﺧﺖﻫﺎﻯ ﺧﺸﻚ ﻭ ﺑﻰﺑﺮگ ﻭ ﺑﺎﺭ‪ ،‬ﻧﻤﺎﻳﺎﻧﮕﺮ‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،9-10‬ﺷﻬﺮﻳﻮﺭ ﻭ ﻣﻬﺮ ‪1390‬‬

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‫ﺳﻴﻨﻤﺎ‬

‫ﺷﺎﻋﺮﺍﻧﻪ ﺗﺮﻳﻦ‬ ‫ﻫﻴﻮﻻﻯ ﺗﺎﺭﻳﺦ ﺳﻴﻨﻤﺎ‬ ‫ﺳﻴﺪ ﺁﺭﻳﺎ ﻗﺮﻳﺸﻰ‬

‫ﻧﺎﻡ ﻓﻴﻠﻢ‪:‬‬

‫ﻧﻮﺳﻔﺮﺍﺗﻮ‪ ،‬ﺳﻤﻔﻮﻧﻰ ﻭﺣﺸﺖ‬ ‫‪NOSFERATU, EINE SYMPHONIE DES GRAUENS‬‬

‫ﻛﺎﺭﮔﺮﺩﺍﻥ‪:‬‬ ‫ﺑﺎﺯﻳﮕﺮﺍﻥ‪:‬‬

‫ﻣﺤﺼﻮﻝ‪:‬‬ ‫ﺳﺎﻝ ﺗﻬﻴﻪ‪:‬‬

‫ﻓﺮﺩﺭﻳﺶ ﻭﻳﻠﻬﻠﻢ ﻣﻮﺭﻧﺎ‬ ‫ﻣﺎﻛﺲ ﺷﺮﻙ )ﻧﻮﺳﻔﺮﺍﺗﻮ‪/‬ﻛﻨﺖ ﺍﺭﻻﻙ(‪،‬‬ ‫ﮔﻮﺳﺘﺎﻭ ﻭﻥ ﻭﺍﻧﮕﻨﻬﺎﻳﻢ)ﺟﺎﻧﺎﺗﺎﻥ(‪،‬‬ ‫ﮔﺮﺗﺎ ﺷﺮﻭﺩﺭ )ﻧﻴﻨﺎ(‪،‬‬ ‫ﺁﻟﻜﺴﺎﻧﺪﺭ ﮔﺮﺍﻧﺎﺥ )ﻧﺎﻙ ﺭﻧﻔﻴﻠﺪ(‬ ‫ﺁﻟﻤﺎﻥ‬ ‫‪1922‬‬

‫ﻣﻘﺎﻟﻪ‬

‫‪ .9‬ﻛﻚ‪ :‬ﺍﻳﻦ ﻳﻜﻰ ﻋﻼﻭﻩ ﺑﺮ ﺧﻮﻥﺁﺷﺎﻣﻰ ﺍﻳﻦ ﻋﺎﺩﺕ ﻧﺎﭘﺴﻨﺪ‬ ‫ﺭﺍ ﻫﻢ ﺩﺍﺭﺩ ﻛﻪ ﺑﻌﺪ ﺍﺯ ﺍﻳﻦ ﻛﻪ ﺗﻐﺬﻳﻪﺍﺵ ﺗﻤﺎﻡ ﺷﺪ‪ ،‬ﺑﺮﺧﻼﻑ‬ ‫ﺑﻘﻴﻪﻯ ﺟﺎﻧﻮﺭﺍﻥ ﺧﻮﻥﺁﺷﺎﻡ ﺩﺳﺖ ﺍﺯ ﺳﺮ ﻏﺬﺍﻯ ﺧﻮﺩ ﺑﺮ ﻧﻤﻰﺩﺍﺭﺩ‬ ‫ﻭ ﺑﻪ ﺁﻥ ﻣﻰﭼﺴﺒﺪ‪.‬‬ ‫‪ .10‬ﺷﭙﺶ‪ :‬ﺍﻳﻦ ﻳﻜﻰ ﻣﻤﻜﻦ ﺍﺳﺖ ﺩﺭ ﺑﺨﺶﻫﺎﻯ ﻣﺨﺘﻠﻒ‬ ‫ﺑﺪﻥ ﺧﺎﻧﻪ ﻛﻨﺪ ﻭ ﻭﻳﮋﮔﻰﺍﺵ ﺁﻥ ﺍﺳﺖ ﻛﻪ ﺩﺭ ﺑﺪﻥ ﻗﺮﺑﺎﻧﻰ ﻻﻧﻪ‬ ‫ﻣﻰﻛﻨﺪ ﺗﺎ ﻫﻤﻴﺸﻪ ﺑﻪ ﻣﻨﺎﺑﻊ ﺗﺎﺯﻩ ﺧﻮﻥ ﺩﺳﺘﺮﺳﻰ ﺩﺍﺷﺘﻪ ﺑﺎﺷﺪ‪.‬‬

‫‪ .11‬ﻓﻨﭻ ﺧﻮﻥﺁﺷﺎﻡ‪ :‬ﺍﻳﻦ ﭘﺮﻧﺪﻩﻯ ﻛﻮﭼﻚ ﺩﺭ ﮔﺎﻻﭘﺎﮔﻮﺱ‬ ‫ﺯﻧﺪﮔﻰ ﻣﻰﻛﻨﺪ ﻭ ﺭﻓﺘﺎﺭﺵ ﺷﺒﻴﻪ ﻫﻴﻮﻻﻫﺎﻯ ﻓﻴﻠﻢﻫﺎﻯ‬ ‫ﻫﺎﻟﻴﻮﻭﺩﻯ ﺍﺳﺖ‪ .‬ﺁﻥﻫﺎ ﻏﻴﺮ ﺍﺯ ﺩﺍﻧﻪ‪ ،‬ﺧﻮﻥ ﻣﻰﺧﻮﺭﻧﺪ ﻭ ﺑﺮﺍﻯ‬ ‫ﺍﻳﻦ ﻛﺎﺭ ﻣﻨﻘﺎﺭﺷﺎﻥ ﺭﺍ ﺗﺎ ﺣﺪﻯ ﺩﺭ ﺑﺪﻥ ﭘﺮﻧﺪﻩﻯ ﺑﺰﺭگﺗﺮ ﻓﺮﻭ‬ ‫ﻣﻰﻛﻨﻨﺪ ﺗﺎ ﺯﺧﻢ ﺍﻭ ﺑﺎﺯ ﺷﺪﻩ ﻭ ﺧﻮﻥ ﺑﻴﺮﻭﻥ ﺑﻴﺎﻳﺪ ﻭ ﺁﻥﻫﺎ ﻧﻴﺰ‬ ‫ﺧﻮﻥ ﻭﻯ ﺭﺍ ﻣﻰﻧﻮﺷﻨﺪ‪.‬‬ ‫ﭘﻰﻧﻮﺷﺖﻫﺎ‪:‬‬ ‫‪1. Vampire bat‬‬ ‫‪2. Candirú‬‬ ‫‪3. Female mosquito‬‬ ‫‪4. Tick‬‬ ‫‪5. Lamprey‬‬ ‫‪6. Bed Bug‬‬

‫‪7. Kissing Bug‬‬ ‫‪8. Leech‬‬ ‫‪9. Flea‬‬ ‫‪10. Louse‬‬ ‫‪11.Vampire finch‬‬

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‫ﻭﻳﮋﻩﻧﺎﻣﻪﻯ ﺧﻮﻥﺁﺷﺎﻡﻫﺎ‬

‫‪ .4‬ﭘﺸﻪﻫﺎﻯ ﻣﺎﺩﻩ‪ :‬ﺁﺷﻨﺎﺗﺮﻳﻦ ﺧﻮﻥﺁﺷﺎﻡﻫﺎﻯ ﺍﻃﺮﺍﻑ ﻣﺎ‪ .‬ﺍﻟﺒﺘﻪ‬ ‫ﺁﻥﻫﺎ ﻓﻘﻂ ﻣﻌﺮﻭﻑﺗﺮﻳﻦ ﺧﻮﻥﺁﺷﺎﻡﻫﺎ ﻧﻴﺴﺘﻨﺪ‪ ،‬ﺑﻠﻜﻪ ﻳﻜﻰ ﺍﺯ‬ ‫ﺍﺻﻠﻰﺗﺮﻳﻦ ﻋﻮﺍﻣﻞ ﻣﺮگ ﻭ ﻣﻴﺮ ﺍﻧﺴﺎﻥ ﺩﺭ ﺗﺎﺭﻳﺦ ﺍﻧﻮﺍﻉ ﻣﺨﺘﻠﻒ‬ ‫ﭘﺸﻪﻫﺎ ﺑﻮﺩﻩ ﺍﺳﺖ‪ .‬ﭘﺸﻪﻫﺎﻯ ﻧﺮ ﺧﻮﻥ ﻧﻤﻰﺧﻮﺭﻧﺪ‪ ،‬ﻭﻟﻰ ﭘﺸﻪﻫﺎﻯ‬ ‫ﻣﺎﺩﻩ ﺑﺮﺍﻯ ﺗﺄﻣﻴﻦ ﭘﺮﻭﺗﺌﻴﻦ ﻣﻮﺭﺩ ﻧﻴﺎﺯﺷﺎﻥ ﺧﻮﻥ ﻣﻰﻧﻮﺷﻨﺪ‪.‬‬ ‫‪ .5‬ﻟﻤﭙﺮﻯ‪ :‬ﺍﻳﻦ ﻧﻪ ﺗﻨﻬﺎ ﺧﻮﻥﺁﺷﺎﻣﻰ ﺷﮕﻔﺖﺍﻧﮕﻴﺰ ﺍﺳﺖ‪ ،‬ﻛﻪ ﺑﺎ‬ ‫ﻇﺎﻫﺮ ﺗﺮﺳﻨﺎﻛﺶ ﮔﻮﻳﻰ ﺍﺯ ﺩﻧﻴﺎﻯ ﻣﻮﺟﻮﺩﺍﺕ ﻓﻀﺎﻳﻰ ﺑﻪ ﺁﺏﻫﺎﻯ‬ ‫ﺯﻣﻴﻦ ﺁﻣﺪﻩ ﺍﺳﺖ‪ .‬ﺍﻳﻦ ﻣﻮﺟﻮﺩﺍﺕ ﻧﻪ ﺁﺭﻭﺍﺭﻩ ﺩﺍﺭﻧﺪ ﻭ ﻧﻪ ﺳﺮ‬ ‫ﻣﺸﺨﺺ‪ ،‬ﻭ ﻫﺮﭼﻪ ﻫﺴﺖ ﺭﺩﻳﻒﻫﺎﻯ ﻣﺪﻭﺭﻯ ﺍﺯ ﺩﻧﺪﺍﻥﻫﺎﻳﻰ‬ ‫ﺍﺳﺖ ﻛﻪ ﺑﻌﺪ ﺍﺯ ﮔﺎﺯ ﺯﺩﻥ ﻳﻚ ﻃﻌﻤﻪﻯ ﺩﻳﮕﺮ ﻧﻤﻰﺗﻮﺍﻥ ﺁﻥﻫﺎ‬ ‫ﺭﺍ ﺟﺪﺍ ﻛﺮﺩ‪.‬‬ ‫‪ .6‬ﺳﺎﺱ‪ :‬ﺍﻳﻦ ﺣﺸﺮﻩ ﺷﺒﺎﻫﺖﻫﺎﻯ ﺑﻴﺸﺘﺮﻯ ﺑﺎ ﺧﻮﻥﺁﺷﺎﻡﻫﺎﻯ‬ ‫ﺍﻓﺴﺎﻧﻪﺍﻯ ﺩﺍﺭﺩ‪ ،‬ﻧﻪ ﺗﻨﻬﺎ ﺧﻮﻥ ﻣﻰﺧﻮﺭﺩ ﻛﻪ ﻓﻘﻂ ﺷﺐﻫﺎ ﺍﺯ‬ ‫ﻣﺨﻔﻴﮕﺎﻩ ﺧﻮﺩ ﺑﻴﺮﻭﻥ ﻣﻰﺁﻳﺪ ﻭ ﺷﻤﺎ ﺭﺍ ﻣﻰﮔﺰﺩ‪ ،‬ﺍﮔﺮﭼﻪ ﻣﻌﻤﻮﻻً‬ ‫ﺑﺎ ﻧﻴﺸﺶ ﺑﻴﻤﺎﺭﻯ ﻣﻨﺘﻘﻞ ﻧﻤﻰﻛﻨﺪ‪.‬‬ ‫‪ .7‬ﺗﺮﻳﺎﺗﻮﻣﻴﻨﺎ‪ :‬ﺑﺮﺧﻼﻑ ﺍﺳﻤﺶ ﺍﺯ ﺳﺎﺱﻫﺎ ﺧﻄﺮﻧﺎﻙﺗﺮ ﺍﺳﺖ‪.‬‬ ‫ﺍﻧﺪﺍﺯﻩﻯ ﺑﺰﺭگﺗﺮﻯ ﻧﺴﺒﺖ ﺑﻪ ﺁﻥﻫﺎ ﺩﺍﺭﺩ ﻭ ﭘﺮﺧﺎﺷﺠﻮﺗﺮ ﺍﺳﺖ‪.‬‬ ‫ﻭﻗﺘﻰ ﺑﻪ ﺷﻤﺎ ﺣﻤﻠﻪ ﻣﻰﻛﻨﺪ‪ ،‬ﻣﻰﺗﻮﺍﻧﺪ ﺑﺮ ﺧﻼﻑ ﺳﺎﺱﻫﺎ‬ ‫ﺑﻴﻤﺎﺭﻯﻫﺎ ﺭﺍ ﻧﻴﺰ ﺑﻪ ﺷﻤﺎ ﺍﻧﺘﻘﺎﻝ ﺩﻫﺪ‪.‬‬

‫‪ .8‬ﺯﺍﻟﻮ‪ :‬ﺍﻳﻦ ﺟﺎﻧﻮﺭ ﻛﺮﻡ ﻣﺎﻧﻨﺪ‪ ،‬ﺷﺎﻳﺪ ﺗﻨﻬﺎ ﺧﻮﻥﺁﺷﺎﻣﻰ ﺑﺎﺷﺪ‬ ‫ﻛﻪ ﻣﺮﺩﻡ ﺩﺭ ﺑﺨﺶﻫﺎﻯ ﻭﺳﻴﻌﻰ ﺍﺯ ﺟﻬﺎﻥ ﺣﺎﺿﺮﻧﺪ ﭘﻮﻝ ﺑﺪﻫﻨﺪ‬ ‫ﺗﺎ ﺗﻮﺳﻂ ﺍﻭ ﮔﺰﻳﺪﻩ ﺷﻮﻧﺪ‪ .‬ﺯﺍﻟﻮﻫﺎ ﺩﺭ ﻃﺐ ﺟﺎﻳﮕﺰﻳﻦ ﺑﻪ ﻫﻤﻜﺎﺭﺍﻧﻰ‬ ‫ﻗﺎﺑﻞ ﺍﻋﺘﻤﺎﺩ ﺑﺮﺍﻯ ﭘﺰﺷﻜﺎﻥ ﺑﺪﻝ ﺷﺪﻩﺍﻧﺪ‪.‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،9-10‬ﺷﻬﺮﻳﻮﺭ ﻭ ﻣﻬﺮ ‪1390‬‬

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‫ﻣﻘﺎﻟﻪ‬

‫ﻳﻜﻰ ﺩﻳﮕﺮ ﺍﺯ ﻋﺎﺭﺿﻪﻫﺎﻯ ﻣﺮﺑﻮﻁ ﺑﻪ ﺧﻮﻥﺁﺷﺎﻡﻫﺎ‪ ،‬ﺩﺭﺧﺸﺎﻥ ﺷﺪﻥ ﺑﺪﻥ ﺁﻥﻫﺎ ﺩﺭ ﻣﻘﺎﺑﻞ ﺧﻮﺭﺷﻴﺪ‬ ‫ﻭ ﺣﺴﺎﺳﻴﺘﺸﺎﻥ ﺑﻪ ﻧﻮﺭ ﺍﺳﺖ‪ .‬ﺍﻳﻦ ﻣﻮﺿﻮﻉ ﻛﺎﻣ ً‬ ‫ﻼ ﻭﺍﻗﻌﻰ ﺍﺳﺖ‪ ،‬ﺍﻣﺎ ﻻﺯﻡ ﻧﻴﺴﺖ ﺧﻮﻥﺁﺷﺎﻡ ﺑﺎﺷﻴﺪ‬ ‫ﺗﺎ ﺑﻪ ﺍﻳﻦ ﻋﺎﺭﺿﻪ ﺩﭼﺎﺭ ﺷﻮﻳﺪ‪ .‬ﺩﺭ ﺣﻘﻴﻘﺖ ﺩﺭ ﭘﻰ ﺍﻳﻦ ﻋﺎﺭﺿﻪ )ﺳﻨﺪﺭﻭﻡ ﭘﻮﺭﻓﺮﻳﺎ( ﻭ ﺑﻪ ﺩﻟﻴﻞ ﻧﻘﺺ‬ ‫ﺁﻧﺰﻳﻢﻫﺎﻯ ﺑﺪﻥ‪ ،‬ﺩﺭ ﺑﺮﺧﻰ ﻣﻮﺍﺭﺩ ﺷﺨﺺ ﻧﻤﻰﺗﻮﺍﻧﺪ ﻧﻮﺭ ﺧﻮﺭﺷﻴﺪ ﺭﺍ ﺗﺤﻤﻞ ﻛﻨﺪ ﻭ ﺍﮔﺮ ﺩﺭ ﻣﻘﺎﺑﻞ‬ ‫ﺁﻥ ﻗﺮﺍﺭ ﮔﻴﺮﺩ‪ ،‬ﺩﺭ ﺑﺮﺧﻰ ﺍﺯ ﻣﻮﺍﺭﺩ ﻋﻼﻭﻩ ﺑﺮ ﺍﺣﺴﺎﺱ ﻧﺎﺭﺍﺣﺘﻰ‪ ،‬ﺭﻧﮓ ﭘﻮﺳﺘﺶ ﺗﻐﻴﻴﺮ ﻛﺮﺩﻩ ﻭ‬ ‫ﺩﺍﻧﻪﻫﺎﻯ ﻗﻬﻮﻩﺍﻯ ﺭﻭﻯ ﺁﻥ ﻇﺎﻫﺮ ﻣﻰﺷﻮﺩ‪.‬‬ ‫ﺍﻣﺎ ﺧﺎﺭﺝ ﺍﺯ ﺩﻧﻴﺎﻯ ﺍﻧﺴﺎﻥ ﻭ ﺩﺭ ﻣﺤﻴﻂ ﺍﻃﺮﺍﻑ ﻣﺎ ﺧﻮﻥﺁﺷﺎﻡ ﻫﺎﻯ ﻭﺍﻗﻌﻰ ﺯﻧﺪﮔﻰ ﻣﻰﻛﻨﻨﺪ‪ .‬ﺣﺪﺍﻗﻞ‬ ‫‪ 13‬ﮔﻮﻧﻪ ﻣﺨﺘﻠﻒ ﺍﺯ ﺟﺎﻧﻮﺭﺍﻥ ﻫﺴﺘﻨﺪ ﻛﻪ ﻣﻰﺗﻮﺍﻥ ﺁﻥﻫﺎ ﺭﺍ ﺩﺭ ﺭﺩﻩﻯ ﺧﻮﻥﺁﺷﺎﻡﻫﺎﻯ ﻭﺍﻗﻌﻰ ﻗﺮﺍﺭ‬ ‫ﺩﺍﺩ‪ .‬ﺑﺎ ﺁﻥﻫﺎ ﺁﺷﻨﺎ ﺷﻮﻳﺪ‪:‬‬ ‫‪ .1‬ﺧﻔﺎﺵ ﺧﻮﻥﺁﺷﺎﻡ‪ :‬ﺑﻪ ﻳﺎﺩ ﺩﺍﺷﺘﻪ ﺑﺎﺷﻴﺪ ﻛﻪ ﺍﮔﺮﭼﻪ‬ ‫ﺧﻔﺎﺵﻫﺎ ﻣﻌﺮﻭﻑ ﺑﻪ ﺧﻮﻥﺁﺷﺎﻣﻰ ﻫﺴﺘﻨﺪ‪ ،‬ﺍﻣﺎ ﺍﺯ ﺑﻴﻦ ﺣﺪﻭﺩ‬ ‫‪ 1000‬ﮔﻮﻧﻪ ﻣﺨﺘﻠﻒ ﺁﻥﻫﺎ ﺗﻨﻬﺎ ‪ 3‬ﻣﻮﺭﺩ ﺧﻮﻥ ﻣﻰﺧﻮﺭﻧﺪ ﻭ‬ ‫ﺩﻭ ﻣﻮﺭﺩ ﺁﻥﻫﺎ ﺗﻨﻬﺎ ﺑﻪ ﺧﻮﻥ ﭘﺮﻧﺪﮔﺎﻥ ﻋﻼﻗﻪ ﺩﺍﺭﻧﺪ ﻭ ﻓﻘﻂ‬ ‫ﺧﻔﺎﺵ ﺧﻮﻥﺁﺷﺎﻡ ﺍﺳﺖ ﻛﻪ ﻣﻰﺗﻮﺍﻧﺪ ﮔﻮﻧﻪﻫﺎﻯ ﻣﺘﻔﺎﻭﺗﻰ ﺍﺯ‬ ‫ﺟﺎﻧﻮﺭﺍﻥ ﺭﺍ ﺑﮕﺰﺩ ﻭ ﺩﻧﺪﺍﻥﻫﺎﻯ ﻧﻴﺸﺶ ﺭﺍ ﺩﺭ ﺭگﻫﺎﻯ ﺁﻥﻫﺎ‬ ‫ﻓﺮﻭ ﻛﺮﺩﻩ ﻭ ﺧﻮﻧﺸﺎﻥ ﺭﺍ ﺑﻨﻮﺷﺪ‪.‬‬ ‫‪ .2‬ﻛﺎﻧﺪﻳﺮﻭ‪ :‬ﺍﻳﻦ ﻳﻜﻰ ﺍﺯ ﻭﺣﺸﺘﻨﺎﻙﺗﺮﻳﻦ ﺧﻮﻥﺁﺷﺎﻡﻫﺎﻯ‬ ‫ﻃﺒﻴﻌﺖ ﺍﺳﺖ ﻛﻪ ﺩﺭ ﺁﺏﻫﺎﻯ ﺭﻭﺩﺧﺎﻧﻪﻯ ﺁﻣﺎﺯﻭﻥ ﺯﻧﺪﮔﻰ‬ ‫ﻣﻰﻛﻨﺪ‪ .‬ﺍﻳﻦ ﻣﻮﺟﻮﺩ ﺭﺍﻩ ﺧﻮﺩ ﺭﺍ ﺑﻪ ﺩﺭﻭﻥ ﺑﺪﻥ ﮔﺮﺑﻪ‬ ‫ﻣﺎﻫﻰﻫﺎ ﺑﺎﺯ ﻛﺮﺩﻩ ﻭ ﺍﺯ ﺧﻮﻥ ﺁﻥﻫﺎ ﻣﻰﻧﻮﺷﺪ‪ .‬ﺍﮔﺮ ﺷﺨﺼﻰ‬ ‫ﺑﺨﻮﺍﻫﺪ ﺩﺭ ﺁﺏﻫﺎﻯ ﺁﻣﺎﺯﻭﻥ ﺍﺩﺭﺍﺭ ﻛﻨﺪ‪ ،‬ﺑﺎﻳﺪ ﻣﻮﺍﻇﺐ ﺑﺎﺷﺪ‪،‬‬ ‫ﭼﻮﻥ ﺑﺎﺭﻫﺎ ﺍﺗﻔﺎﻕ ﺍﻓﺘﺎﺩﻩ ﻛﻪ ﺍﻳﻦ ﻣﺎﻫﻰ ﻭﺍﺭﺩ ﺍﻧﺪﺍﻡﻫﺎﻯ ﺑﺪﻥ‬ ‫ﻣﻰﺷﻮﺩ ﻭ ﺍﺯ ﺩﺭﻭﻥ ﺷﺮﻭﻉ ﺑﻪ ﻣﻜﻴﺪﻥ ﺧﻮﻥ ﻣﻰﻛﻨﺪ‪.‬‬ ‫‪ .3‬ﻛﻨﻪ‪ :‬ﺍﻳﻦ ﺟﺎﻧﻮﺭ ﮔﺰﻧﺪﻩﻯ ﻛﻮﭼﻚ ﺧﻮﻥﺁﺷﺎﻡ ﺑﻰﻧﻈﻴﺮﻯ‬ ‫ﺍﺳﺖ ﻭ ﻣﻰﺗﻮﺍﻧﺪ ‪ 600‬ﺑﺮﺍﺑﺮ ﻇﺮﻓﻴﺖ ﺑﺪﻧﺶ ﺧﻮﻥ ﺑﻨﻮﺷﺪ‪.‬‬

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‫ﻭﻳﮋﻩﻧﺎﻣﻪﻯ ﺧﻮﻥﺁﺷﺎﻡﻫﺎ‬

‫ﻣﺎﻫﻴﺖ ﺗﻐﺬﻳﻪﻯ ﻳﻚ ﻧﻔﺮ ﻳﻚ ﺷﺒﻪ ﺗﻐﻴﻴﺮ ﻛﻨﺪ ﻭ ﺍﺯ ﺟﻤﻠﻪ ﺑﺎﻋﺚ ﺭﺷﺪ ﺩﻧﺪﺍﻥﻫﺎﻯ ﻧﻴﺶ ﺍﻭ ﺷﻮﺩ‪،‬‬ ‫ﺑﻰﺷﻚ ﻣﻮﺟﺐ ﻣﺮگ ﻣﻰﺷﻮﺩ؛ ﭼﻮﻥ ﺑﺪﻥ ﻣﺎ ﺩﺭ ﻃﻮﻝ ﺯﻣﺎﻥ ﺧﻮﺩ ﺭﺍ ﺑﺮ ﺍﺳﺎﺱ ﻧﻴﺎﺯﻫﺎﻯ ﺍﻃﺮﺍﻓﺶ‬ ‫ﺗﻐﻴﻴﺮ ﺩﺍﺩﻩ ﺍﺳﺖ ﻭ ﻫﺮ ﺗﻐﻴﻴﺮ ﻳﻚﺑﺎﺭﻩﺍﻯ ﺑﺮﺍﻯ ﺍﻭ ﻣﺮگﺑﺎﺭ ﺧﻮﺍﻫﺪ ﺑﻮﺩ‪.‬‬ ‫ﺍﻟﺒﺘﻪ ﻣﺸﻜﻞ ﻭﺟﻮﺩ ﺧﻮﻥﺁﺷﺎﻡﻫﺎ ﻓﻘﻂ ﺑﻪ ﻣﺴﺎﻟﻪﻯ ﺗﻐﺬﻳﻪ ﻣﺤﺪﻭﺩ ﻧﻤﻰﺷﻮﺩ‪ .‬ﺭﻳﺎﺿﻴﺎﺕ ﻧﻴﺰ ﻣﺎﻧﻊ‬ ‫ﺑﺰﺭﮔﻰ ﺑﺮﺍﻯ ﺧﻮﻥﺁﺷﺎﻡﻫﺎ ﺑﻪ ﺷﻤﺎﺭ ﻣﻰﺭﻭﺩ‪ .‬ﭼﻨﺪﻯ ﭘﻴﺶ ﻳﻜﻰ ﺍﺯ ﺍﺳﺎﺗﻴﺪ ﻓﻴﺰﻳﻚ ﺩﺍﻧﺸﮕﺎﻩ ﻓﻠﻮﺭﻳﺪﺍ‬ ‫ﺑﺎ ﻣﺤﺎﺳﺒﻪﺍﻯ ﻧﺸﺎﻥ ﺩﺍﺩ ﺩﺷﻤﻦ ﺍﺻﻠﻰ ﺧﻮﻥﺁﺷﺎﻡﻫﺎ ﻧﻪ ﻧﻮﺭ ﺧﻮﺭﺷﻴﺪ ﻳﺎ ﻗﻮﺯﻩﻫﺎﻯ ﺳﻴﺮ‪ ،‬ﻛﻪ‬ ‫ﺭﻳﺎﺿﻴﺎﺕ ﭘﺎﻳﻪ ﺍﺳﺖ‪.‬‬ ‫ﺍﻭ ﺗﺼﻮﺭ ﻛﺮﺩ ﺗﻤﺎﻡ ﺍﻓﺴﺎﻧﻪﻫﺎﻯ ﭘﻴﺸﻴﻦ ﺩﺭﺑﺎﺭﻩﻯ ﺧﻮﻥﺁﺷﺎﻡﻫﺎ ﺍﺷﺘﺒﺎﻩ ﺑﻮﺩ ﻭ ﺍﻭﻟﻴﻦ ﺧﻮﻥﺁﺷﺎﻡ ﺩﺭ‬ ‫ﺭﻭﺯ ﺍﻭﻝ ژﺍﻧﻮﻳﻪ ﺳﺎﻝ ‪ 1600‬ﺑﻪ ﻭﺟﻮﺩ ﺁﻣﺪﻩ ﺍﺳﺖ‪ ،‬ﺍﮔﺮ ﺍﻳﻦ ﺗﺎﺭﻳﺦ ﺭﺍ ﺑﻪ ﻋﻘﺐ ﺑﺒﺮﻳﺪ‪ ،‬ﻣﺴﺄﻟﻪ ﺣﺎﺩﺗﺮ‬ ‫ﻣﻰﺷﻮﺩ‪ .‬ﺩﺭ ﺁﻥ ﻫﻨﮕﺎﻡ ﺟﻤﻌﻴﺖ ﻫﻤﻪﻯ ﺟﻬﺎﻥ ﺩﺭ ﺣﺪﻭﺩ ‪ 536‬ﻣﻴﻠﻴﻮﻥ ﻭ ‪ 870‬ﻫﺰﺍﺭ ﻧﻔﺮ ﺑﻮﺩﻩ‬ ‫ﺍﺳﺖ‪ .‬ﺍﮔﺮ ﺍﻳﻦ ﺧﻮﻥﺁﺷﺎﻡ ﺍﻭﻟﻴﻪ ﻣﻮﺟﻮﺩ ﻗﺎﻧﻌﻰ ﺑﻮﺩﻩ ﺑﺎﺷﺪ ﻭ ﺑﺮﺍﻯ ﺯﻧﺪﻩ ﻣﺎﻧﺪﻥ ﺗﻨﻬﺎ ﻳﻚ ﻧﻔﺮ ﺭﺍ ﺩﺭ‬ ‫ﻣﺎﻩ ﺑﮕﺰﺩ ﻭ ﺩﺭ ﻧﺘﻴﺠﻪ ﺍﻭ ﺭﺍ ﻧﻴﺰ ﺗﺒﺪﻳﻞ ﺑﻪ ﺧﻮﻥﺁﺷﺎﻡ ﻛﻨﺪ‪ ،‬ﺩﺭ ﺍﻭﻝ ﻣﺎﻩ ﻓﻮﺭﻳﻪ ‪ 1600‬ﺩﺭ ﺟﻬﺎﻥ‬ ‫ﺩﻭ ﺧﻮﻥﺁﺷﺎﻡ ﻭﺟﻮﺩ ﺩﺍﺷﺘﻪﺍﻧﺪ‪ .‬ﺁﻥﻫﺎ ﺍﻳﻦ ﺭژﻳﻢ ﺻﺮﻓﻪﺟﻮﻳﺎﻧﻪ ﺧﻮﺩ ﺭﺍ ﺍﺩﺍﻣﻪ ﻣﻰﺩﻫﻨﺪ ﻭ ﻣﺎﻩ ﺑﻌﺪ‬ ‫‪ 4‬ﺧﻮﻥﺁﺷﺎﻡ ﺩﺭ ﺟﻬﺎﻥ ﺯﻧﺪﮔﻰ ﺧﻮﺍﻫﻨﺪ ﻛﺮﺩ‪ .‬ﺑﻪ ﺍﻳﻦ ﺗﺮﺗﻴﺐ‪ ،‬ﺩﺭ ﻫﺮ ﻣﺎﻩ ﺟﻤﻌﻴﺖ ﺧﻮﻥﺁﺷﺎﻡﻫﺎ‬ ‫ﺑﻪ ﻃﻮﺭ ﺗﺼﺎﻋﺪﻯ ﺑﺎﻻ ﻣﻰﺭﻭﺩ ﻭ ﺑﻌﺪ ﺍﺯ ﮔﺬﺷﺖ ﺣﺪﻭﺩ ‪ 30‬ﻣﺎﻩ ﻫﻤﻪﻯ ﺟﻤﻌﻴﺖ ﺟﻬﺎﻥ ﺗﺒﺪﻳﻞ ﺑﻪ‬ ‫ﺧﻮﻥﺁﺷﺎﻡ ﻣﻰﺷﻮﻧﺪ ﻭ ﺩﻳﮕﺮ ﻛﺴﻰ ﻧﻴﺴﺖ ﻛﻪ ﺍﺯ ﺁﻥﻫﺎ ﺗﻐﺬﻳﻪ ﻛﻨﻨﺪ‪.‬‬ ‫ﺍﻳﻦ ﻣﺸﻜﻞ ﺟﻤﻌﻴﺘﻰ ﺑﺎﻋﺚ ﻣﻰﺷﺪ ﻛﻪ ﺯﻣﻴﻦ ﺳﻴﺎﺭﻩﺍﻯ ﺧﺎﻟﻰ ﺍﺯ ﺍﻧﺴﺎﻥ ﻭ ﺗﺤﺖ ﺳﻴﻄﺮﻩﻯ‬ ‫ﺧﻮﻥﺁﺷﺎﻡﻫﺎ ﺷﻮﺩ‪ .‬ﺍﻣﺎ ﺍﮔﺮ ﺷﻤﺎ ﺧﻮﻥﺁﺷﺎﻡ ﻧﻴﺴﺘﻴﺪ ﻭ ﻫﻨﻮﺯ ﺭﻭﻯ ﺯﻣﻴﻦ ﺯﻧﺪﮔﻰ ﻣﻰﻛﻨﻴﺪ‪ ،‬ﺑﻪ ﺍﻳﻦ‬ ‫ﻣﻌﻨﻰ ﺍﺳﺖ ﻛﻪ ﺧﻮﻥﺁﺷﺎﻡﻫﺎ ﻧﻤﻰﺗﻮﺍﻧﻨﺪ ﺑﻪ ﻭﺟﻮﺩ ﺁﻳﻨﺪ‪ .‬ﺣﺘﺎ ﺍﮔﺮ ﻫﻤﻴﻦ ﺍﻣﺮﻭﺯ ﻧﺨﺴﺘﻴﻦ ﺧﻮﻥﺁﺷﺎﻡ‬ ‫ﺭﻭﻯ ﺯﻣﻴﻦ ﺑﻪ ﻭﺟﻮﺩ ﺁﻳﺪ‪ ،‬ﺑﺎ ﺗﻮﺟﻪ ﺑﻪ ﺟﻤﻌﻴﺖ ﻧﺰﺩﻳﻚ ﺑﻪ ‪ 7‬ﻣﻴﻠﻴﺎﺭﺩﻯ ﺯﻣﻴﻦ ﺑﺎﺯ ﻫﻢ ﻛﻤﺘﺮ ﺍﺯ‬ ‫‪ 3‬ﺳﺎﻝ ﺑﺮﺍﻯ ﺗﺒﺪﻳﻞ ﺷﺪﻥ ﻫﻤﻪ ﺍﻧﺴﺎﻥﻫﺎ ﺑﻪ ﺧﻮﻥﺁﺷﺎﻡﻫﺎ ﻛﺎﻓﻰ ﺧﻮﺍﻫﺪ ﺑﻮﺩ‪ .‬ﺑﺪﻳﻦ ﺗﺮﺗﻴﺐ ﻋﻠﻢ‬ ‫ﻗﺎﻃﻌﺎﻧﻪ ﻭﺟﻮﺩ ﺧﻮﻥﺁﺷﺎﻡﻫﺎ –ﺣﺪﺍﻗﻞ ﺑﺎ ﺗﻮﺻﻴﻔﺎﺕ ﺭﺍﻳﺞ ﺍﺯ ﺁﻥﻫﺎ‪ -‬ﺭﺍ ﺍﻧﻜﺎﺭ ﻣﻰﻛﻨﺪ‪ ،‬ﺍﻣﺎ ﺑﺮﺧﻰ ﺍﺯ‬ ‫ﺍﻓﺮﺍﺩ ﻭ ﮔﺮﻭﻩﻫﺎ ﻫﺴﺘﻨﺪ ﻛﻪ ﺗﺤﺖ ﺗﺄﺛﻴﺮ ﺍﻳﻦ ﺍﻓﺴﺎﻧﻪﻫﺎ ﻭﺍﺭﺩ ﺩﻧﻴﺎﻳﻰ ﺗﺨﻴﻠﻰ ﺷﺪﻩﺍﻧﺪ‪.‬‬ ‫ﮔﺰﺍﺭﺵﻫﺎﻯ ﻣﻌﺘﺒﺮﻯ ﺍﺯ ﻣﺠﺎﻣﻌﻰ ﻛﻪ ﺩﺭ ﺁﻥﻫﺎ ﺍﻓﺮﺍﺩ ﺧﻮﻥ ﻣﻰﻧﻮﺷﻨﺪ ﺑﺴﻴﺎﺭ ﺍﺳﺖ‪ ،‬ﺍﻣﺎ ﺍﻳﻦ‬ ‫ﺍﻓﺮﺍﺩ ﺧﻮﻥﺁﺷﺎﻡ ﻧﻴﺴﺘﻨﺪ‪ ،‬ﺑﻠﻜﻪ ﻧﻮﻋﻰ ﺭﻓﺘﺎﺭ ﻏﻴﺮﻋﺎﺩﻯ ﺭﻭﺍﻧﻰ ﺩﺍﺭﻧﺪ ﻭ ﺑﺮﺍﻯ ﺑﺎﺯﻯ ﺩﺭ ﺩﻧﻴﺎﻯ ﺧﻮﺩ‬ ‫ﺳﺎﺧﺘﻪﺷﺎﻥ ﺁﻥ ﺭﺍ ﺟﺪﻯ ﻣﻰﮔﻴﺮﻧﺪ‪ .‬ﮔﺎﻫﻰ ﺍﻳﻦ ﺗﺄﺛﻴﺮﺍﺕ ﺭﻭﺍﻧﻰ ﺑﻪ ﻗﺪﺭﻯ ﺟﺪﻯ ﺍﺳﺖ ﻛﻪ ﺷﺨﺺ‬ ‫ﺍﺣﺴﺎﺱ ﻣﻰﻛﻨﺪ ﺍﮔﺮ ﺧﻮﻥ ﻧﻨﻮﺷﺪ ﺍﺯ ﺑﻴﻦ ﻣﻰﺭﻭﺩ؛ ﺍﻣﺎ ﺍﻳﻦ ﺣﺎﻟﺖ ﺭﻭﺍﻧﻰ ﻋﻤﻮﻣﺎً ﭘﺲ ﺍﺯ ﻣﺪﺗﻰ ﺗﺤﺖ‬ ‫ﻧﻈﺮ ﺑﻮﺩﻥ ﻣﻌﺎﻟﺠﻪ ﻣﻰﺷﻮﺩ‪.‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،9-10‬ﺷﻬﺮﻳﻮﺭ ﻭ ﻣﻬﺮ ‪1390‬‬

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‫ﻣﻘﺎﻟﻪ‬

‫ﺍﺯ ﺳﻮﻯ ﺩﻳﮕﺮ ﻫﺮ ﻟﻴﺘﺮ ﺧﻮﻥ ﺍﻧﺴﺎﻥ ﺩﺭ ﺑﺮﺩﺍﺭﻧﺪﻩ ﺗﻘﺮﻳﺒﺎ ‪ 700‬ﻛﻴﻠﻮ ﻛﺎﻟﺮﻯ ﺍﻧﺮژﻯ ﺍﺳﺖ ﻭ ﻳﻚ ﻓﺮﺩ‬ ‫ﺑﺎﻟﻎ ﺍﮔﺮ ﻓﺎﺭﻍ ﺍﺯ ﻧﺤﻮﻩﻯ ﻫﻀﻢ ﺧﻮﻥ‪ ،‬ﺑﺨﻮﺍﻫﺪ ﺳﺎﺯ ﻭ ﻛﺎﺭﻫﺎﻯ ﺑﺪﻧﺶ ﺭﺍ ﺑﻪ ﺩﺭﺳﺘﻰ ﺍﻧﺠﺎﻡ ﺩﻫﺪ‪،‬‬ ‫ﺑﺎﻳﺪ ﺭﻭﺯﺍﻧﻪ ‪ 3‬ﻟﻴﺘﺮ ﺧﻮﻥ ﺑﺨﻮﺭﺩ‪ .‬ﺍﻳﻦ ﻓﻘﻂ ﺍﻧﺮژﻯ ﺭﺍ ﺗﺄﻣﻴﻦ ﻣﻰﻛﻨﺪ‪ ،‬ﺍﻣﺎ ﺑﺴﻴﺎﺭﻯ ﺍﺯ ﻣﺎﻳﺤﺘﺎﺝ ﺩﻳﮕﺮ‬ ‫ﺑﺪﻥ ﺩﺭ ﺍﻳﻦ ﻣﻘﺪﺍﺭ ﻗﺮﺍﺭ ﻧﺪﺍﺭﺩ؛ ﺑﺮﺍﻯ ﻣﺜﺎﻝ ﺑﺮﺧﻰ ﺍﺯ ﺗﺮﻛﻴﺒﺎﺕ ﻧﻈﻴﺮ ﻭﻳﺘﺎﻣﻴﻦ ‪ c‬ﻭﺟﻮﺩ ﺩﺍﺭﺩ ﻛﻪ‬ ‫ﺑﺪﻥ ﺍﻧﺴﺎﻥ ﻧﻪ ﻣﻰﺗﻮﺍﻧﺪ ﺁﻥﻫﺎ ﺭﺍ ﺗﻮﻟﻴﺪ ﻛﻨﺪ ﻭ ﻧﻪ ﻣﻰﺗﻮﺍﻧﺪ ﺁﻥ ﺭﺍ ﺫﺧﻴﺮﻩ ﺳﺎﺯﺩ‪ .‬ﻫﺮ ﻟﻴﺘﺮ ﺧﻮﻥ ﺩﺭ‬ ‫ﺑﺮﺩﺍﺭﻧﺪﻩ ‪ 5‬ﻣﻴﻠﻰ ﮔﺮﻡ ﻭﻳﺘﺎﻣﻴﻦ ﺳﻰ ﺍﺳﺖ‪ ،‬ﺍﻣﺎ ﺑﻨﺎ ﺑﺮ ﺗﻮﺻﻴﻪﻯ ﺳﺎﺯﻣﺎﻥ ﺑﻬﺪﺍﺷﺖ ﺟﻬﺎﻧﻰ ﺷﻤﺎ‬ ‫ﺑﺎﻳﺪ ﺭﻭﺯﺍﻧﻪ ‪ 45‬ﻣﻴﻠﻰ ﮔﺮﻡ ﻭﻳﺘﺎﻣﻴﻦ ﺳﻰ ﺑﻪ ﺑﺪﻥ ﺧﻮﺩ ﺑﺮﺳﺎﻧﻴﺪ ﻛﻪ ﻣﻌﺎﺩﻝ ‪ 9‬ﻟﻴﺘﺮ ﺧﻮﻥ ﺗﺎﺯﻩ‬ ‫ﺩﺭ ﺭﻭﺯ ﺍﺳﺖ؛ ﺍﻣﺎ ﺍﮔﺮ ﺍﻳﻦ ﻣﻘﺪﺍﺭ ﺧﻮﻥ ﺭﺍ ﺑﻨﻮﺷﻴﺪ ﺑﻪ ﺳﺮﻋﺖ ﺑﺎ ﺍﻧﺒﺎﺷﺖ ﻛﺎﻟﺮﻯ ﺍﺿﺎﻓﻪ ﻭ ﻣﺸﻜﻞ‬ ‫ﺍﺿﺎﻓﻪ ﻭﺯﻥ ﻣﻮﺍﺟﻪ ﺧﻮﺍﻫﻴﺪ ﺷﺪ‪ .‬ﺗﺼﻮﺭ ﺧﻮﻥﺁﺷﺎﻣﻰ ﺑﺎ ﺍﺿﺎﻓﻪ ﻭﺯﻥ ﺍﺯ ﺁﻥﭼﻪ ﺩﺭ ﺫﻫﻦ ﻣﺎ ﺍﺯ ﻳﻚ‬ ‫ﺧﻮﻥﺁﺷﺎﻡ ﻭﺟﻮﺩ ﺩﺍﺭﺩ‪ ،‬ﺑﺴﻴﺎﺭ ﻣﺘﻔﺎﻭﺕ ﺍﺳﺖ‪ .‬ﺍﻟﺒﺘﻪ ﺭﺍﻫﻰ ﺑﺮﺍﻯ ﺣﻞ ﺍﻳﻦ ﻣﺸﻜﻞ ﻭﺟﻮﺩ ﺩﺍﺭﺩ ﻭ ﺁﻥ‬ ‫ﺍﻳﻦ ﺍﺳﺖ ﻛﻪ ﭘﻴﺶ ﺍﺯ ﻧﻴﺶ ﺯﺩﻥ ﻗﺮﺑﺎﻧﻰ ﺧﻮﺩ‪ ،‬ﻣﺤﻞ ﮔﺰﻳﺪﮔﻰ ﺭﺍ ﻟﻴﻤﻮﺗﺮﺵ ﺑﻤﺎﻟﻴﺪ ﺗﺎ ﺑﺨﺸﻰ ﺍﺯ‬ ‫ﻭﻳﺘﺎﻣﻴﻦ ﺳﻰ ﻣﻮﺭﺩ ﻧﻴﺎﺯ ﺭﺍ ﺍﺯ ﻟﻴﻤﻮ ﺗﺎﻣﻴﻦ ﻛﻨﻴﺪ‪ ،‬ﻫﺮ ﭼﻨﺪ ﻟﻴﻤﻮ ﺩﺭ ﻣﻨﻮﻯ ﻏﺬﺍﻫﺎﻯ ﺧﻮﻥﺁﺷﺎﻡﻫﺎ‬ ‫ﻗﺮﺍﺭ ﻧﻤﻰﮔﻴﺮﺩ‪ .‬ﺍﻣﺎ ﺑﺎ ﻓﺮﺽ ﺣﻞ ﻫﻤﻪﻯ ﻣﺴﺎﺋﻞ ﻫﻀﻢ ﻭ ﻏﻴﺮﻩ‪ ،‬ﻣﺸﻜﻞ ﺍﺻﻠﻰ ﭘﺰﺷﻜﻰ ﻛﻪ ﺑﺮﺍﻯ‬ ‫ﺧﻮﻥﺁﺷﺎﻡﻫﺎ ﺑﻪ ﻭﺟﻮﺩ ﺧﻮﺍﻫﺪ ﺁﻣﺪ‪ ،‬ﻧﻤﻚ ﺍﺳﺖ‪.‬‬ ‫ﺧﻮﻥ ﺍﻧﺴﺎﻥ ﺩﺭ ﻫﺮ ﻟﻴﺘﺮ ﺷﺎﻣﻞ ﺣﺪﻭﺩ ‪ 9‬ﮔﺮﻡ ﻧﻤﻚ ﺍﺳﺖ‪ 3 .‬ﻟﻴﺘﺮﻯ ﻛﻪ ﺑﺮﺍﻯ ﺗﺎﻣﻴﻦ ﺍﻧﺮژﻯ ﻳﻚ‬ ‫ﺧﻮﻥﺁﺷﺎﻡ ﺩﺭ ﺭﻭﺯ ﻻﺯﻡ ﺍﺳﺖ‪ ،‬ﺑﺎﻋﺚ ﻣﻰﺷﻮﺩ ﺗﺎ ﻧﻤﻚ ﺑﺪﻥ ﺷﻤﺎ ﺑﻪ ‪ 4/5‬ﺑﺮﺍﺑﺮ ﻣﻘﺪﺍﺭ ﻣﺠﺎﺯ ﺑﺮﺳﺪ ﻭ‬ ‫ﺑﻪ ﺳﺮﻋﺖ ﻫﻤﻪﻯ ﺍﺭﮔﺎﻥﻫﺎﻯ ﺍﺻﻠﻰ ﺑﺪﻥ ﻧﻈﻴﺮ ﻛﻠﻴﻪﻫﺎ ﻭ ﺳﻴﺴﺘﻢﻫﺎﻯ ﺣﻴﺎﺗﻰ ﺑﺪﻥ ﺩﭼﺎﺭ ﺍﺧﺘﻼﻝ‬ ‫ﻣﻰﺷﻮﺩ‪ .‬ﻳﻜﻰ ﺩﻳﮕﺮ ﺍﺯ ﻭﻳﮋﮔﻰﻫﺎﻯ ﺧﻮﻥﺁﺷﺎﻡﻫﺎ ﺑﺮ ﺍﺳﺎﺱ ﺍﻓﺴﺎﻧﻪﻫﺎ‪ ،‬ﻋﺪﻡ ﻓﻌﺎﻟﻴﺖ ﻗﻠﺐ ﻭ ﺟﺎﻭﺩﺍﻧﻪ‬ ‫ﺯﻳﺴﺘﻦ ﺍﺳﺖ‪ .‬ﺑﻴﺎﻳﻴﺪ ﻓﻘﻂ ﺑﻪ ﺑﺨﺶ ﺍﻭﻝ ﺍﻳﻦ ﺑﺎﻭﺭ ﺑﭙﺮﺩﺍﺯﻳﻢ‪ .‬ﺧﻮﻥﺁﺷﺎﻡﻫﺎ ﺗﭙﺶ ﻗﻠﺐ ﻧﺪﺍﺭﻧﺪ‪ .‬ﻋﺪﻡ‬ ‫ﺗﭙﺶ ﻗﻠﺐ ﺑﻪ ﺍﻳﻦ ﻣﻌﻨﻰ ﺍﺳﺖ ﻛﻪ ﺟﺮﻳﺎﻥ ﺧﻮﻥ ﺩﺭ ﺑﺪﻥ ﻣﺘﻮﻗﻒ ﻣﻰﺷﻮﺩ ﻭ ﺩﺭ ﻧﺘﻴﺠﻪ ﺍﻧﺮژﻯ ﻣﻮﺭﺩ‬ ‫ﻧﻴﺎﺯ ﺳﻠﻮﻝﻫﺎ ﺑﻪ ﺁﻥﻫﺎ ﻧﻤﻰﺭﺳﺪ‪ ،‬ﺑﻨﺎﺑﺮﺍﻳﻦ ﺍﻛﺴﻴﮋﻥ ﻭ ﺳﺎﻳﺮ ﻧﻴﺎﺯﻫﺎﻯ ﺍﻧﺪﺍﻡﻫﺎﻯ ﻣﺨﺘﻠﻒ ﻣﻌﻄﻞ‬ ‫ﻣﻰﻣﺎﻧﻨﺪ ﻛﻪ ﻧﺘﻴﺠﻪﺍﺵ ﻣﺮگ ﺍﻧﺪﺍﻡﻫﺎ ﻭ ﺩﺭ ﻧﻬﺎﻳﺖ ﻣﺮگ ﺍﻧﺴﺎﻥ ﺍﺳﺖ‪ .‬ﺑﻪ ﻫﻤﻴﻦ ﺩﻟﻴﻞ ﺧﻮﻥﺁﺷﺎﻡﻫﺎ‬ ‫ﺑﺎﻳﺪ ﻓﻜﺮﻯ ﺑﻪ ﺣﺎﻝ ﺗﭙﺶ ﻗﻠﺒﺸﺎﻥ ﺑﻜﻨﻨﺪ ﺗﺎ ﺑﺘﻮﺍﻧﻨﺪ ﺯﻧﺪﻩ ﺑﻤﺎﻧﻨﺪ‪.‬‬ ‫ﺑﺮﺧﻰ ﺍﺯ ﺭﻭﺍﻳﺖﻫﺎﻯ ﺟﺪﻳﺪﺗﺮ ﺻﺤﺒﺖ ﺍﺯ ﻭﻳﺮﻭﺱ ﺧﻮﻥﺁﺷﺎﻡ ﻳﺎ ﺟﻬﺶ ژﻧﺘﻴﻚ ﺧﻮﻥﺁﺷﺎﻡ ﻣﻰﻛﻨﻨﺪ‪.‬‬ ‫ﺍﻳﻦ ﺭﻭﺍﻳﺖﻫﺎ ﻣﻌﺘﻘﺪﻧﺪ ﺯﻣﺎﻧﻰ ﻛﻪ ﻳﻜﻰ ﺍﺯ ﺧﻮﻥﺁﺷﺎﻡﻫﺎ ﺑﻪ ﺷﻤﺎ ﺣﻤﻠﻪ ﻣﻰﻛﻨﺪ‪ ،‬ﺩﺭ ﺍﺛﺮ ﮔﺰﻳﺪﮔﻰ‬ ‫ﺍﻳﺠﺎﺩ ﺷﺪﻩ ﻧﻮﻋﻰ ﻭﻳﺮﻭﺱ ﻭﺍﺭﺩ ﺑﺪﻥ ﺷﻤﺎ ﻣﻰﺷﻮﺩ ﻭ ﺟﻬﺸﻰ ژﻧﺘﻴﻜﻰ ﺍﻳﺠﺎﺩ ﻛﺮﺩﻩ ﻭ ﺷﻤﺎ ﺭﺍ ﺗﺒﺪﻳﻞ‬ ‫ﺑﻪ ﺧﻮﻥﺁﺷﺎﻡ ﻣﻰﻛﻨﺪ‪ .‬ﺩﺭ ﺍﻳﻦ ﻛﻪ ﻭﻳﺮﻭﺱﻫﺎ ﻣﻰﺗﻮﺍﻧﻨﺪ ﺑﻪ ﺭﻓﺘﺎﺭﻫﺎﻯ ﻋﺎﺩﻯ ﺑﺪﻥ ﺻﺪﻣﻪ ﺑﺰﻧﻨﺪ‬ ‫ﻫﻴﭻ ﺷﻜﻰ ﻧﻴﺴﺖ‪ ،‬ﺍﻣﺎ ﺍﮔﺮ ﺍﻳﻦ ﺗﻐﻴﻴﺮ ﻧﻴﺎﺯﻣﻨﺪ ﺩﺳﺘﻜﺎﺭﻯﻫﺎﻯ ژﻧﺘﻴﻜﻰ ﺁﻥﭼﻨﺎﻥ ﻭﺳﻴﻌﻰ ﺑﺎﺷﺪ ﻛﻪ‬

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‫ﻭﻳﮋﻩﻧﺎﻣﻪﻯ ﺧﻮﻥﺁﺷﺎﻡﻫﺎ‬

‫ﻛﻨﻨﺪ‪.‬‬ ‫ﺍﻭﻟﻴﻦ ﻣﺴﺄﻟﻪﺍﻯ ﻛﻪ ﺧﻮﻥﺁﺷﺎﻡﻫﺎ ﺑﺎﻳﺪ ﺑﺎ ﺗﻮﺟﻪ ﺑﻪ ﺍﻳﻦ ﺭژﻳﻢ ﻏﺬﺍﻳﻰﺷﺎﻥ ﺣﻞ ﻛﻨﻨﺪ‪ ،‬ﺍﻳﻦ ﺍﺳﺖ ﻛﻪ‬ ‫ﺁﻳﺎ ﻳﻚ ﻣﻮﺟﻮﺩ ﺯﻧﺪﻩ ﻣﻰﺗﻮﺍﻧﺪ ﺗﻨﻬﺎ ﺑﺎ ﺧﻮﺭﺩﻥ ﺧﻮﻥ ﺯﻧﺪﻩ ﺑﻤﺎﻧﺪ؟‬ ‫ﺳﺎﺯ ﻭ ﻛﺎﺭ ﺑﺪﻥ ﺍﻧﺴﺎﻥ ﺑﻪ ﮔﻮﻧﻪﺍﻯ ﻧﻴﺴﺖ ﻛﻪ ﺑﺘﻮﺍﻧﺪ ﺗﻨﻬﺎ ﺑﺎ ﺍﺳﺘﻔﺎﺩﻩ ﺍﺯ ﻣﻮﺍﺩ ﺳﺎﺯﻧﺪﻩﻯ ﺧﻮﻥ ﺗﻐﺬﻳﻪ‬ ‫ﻛﻨﺪ‪ .‬ﻣﻴﺰﺍﻥ ﭘﺮﻭﺗﺌﻴﻦﻫﺎ‪ ،‬ﻛﺮﺑﻮﻫﻴﺪﺍﺭﺕﻫﺎ ﻭ ﭼﺮﺑﻰ ﻣﻮﺟﻮﺩ ﺩﺭ ﺧﻮﻥ ﺑﻪ ﺍﻧﺪﺍﺯﻩﺍﻯ ﻧﻴﺴﺖ ﻛﻪ ﺧﺎﻧﻮﺍﺩﻩ‬ ‫ﻫﻮﻣﻮﺳﺎﭘﻴﻨﺲ )ﺍﻧﺴﺎﻥ ﺍﻣﺮﻭﺯﻯ( ﻳﺎ ﻫﺮ ﻧﻮﻉ ﺟﻬﺶ ﻳﺎﻓﺘﻪﺍﻯ ﺍﺯ ﺁﻥ‪ ،‬ﺑﺘﻮﺍﻧﺪ ﺑﺮﺍﻯ ﺗﺎﻣﻴﻦ ﻧﻴﺎﺯﻫﺎﻯ‬ ‫ﺣﻴﺎﺗﻰ ﺧﻮﺩ ﺑﻪ ﺁﻥ ﻣﺘﻜﻰ ﺑﺎﺷﺪ‪.‬‬ ‫ﺗﻐﺬﻳﻪ ﺩﺭ ﺑﺪﻥ ﻣﺎ ﺩﺭ ﭼﻨﺪﻳﻦ ﻣﺮﺣﻠﻪﻯ ﻣﺨﺘﻠﻒ ﺻﻮﺭﺕ ﻣﻰﮔﻴﺮﺩ؛ ﺑﺨﺶ ﺍﻭﻝ ﺩﺭ ﺩﻫﺎﻥ ﻭ ﺩﺭ‬ ‫ﻫﻨﮕﺎﻡ ﺟﻮﻳﺪﻥ ﺭﺥ ﻣﻰﺩﻫﺪ ﻭ ﻗﻄﻌﺎﺕ ﻏﺬﺍ ﺑﺎ ﻛﻤﻚ ﻓﺮﺁﻳﻨﺪ ﺟﻮﻳﺪﻥ ﻭ ﺁﻧﺰﻳﻢﻫﺎﻳﻰ ﻛﻪ ﺩﺭ ﺩﻫﺎﻥ‬ ‫ﺗﺮﺷﺢ ﻣﻰﺷﻮﺩ‪ ،‬ﺑﻪ ﺷﻜﻞ ﻧﻴﻤﻪﺧﻤﻴﺮﻯ ﺩﺭ ﻣﻰﺁﻳﻨﺪ‪ .‬ﺍﻳﻦ ﻣﻮﺍﺩ ﺩﺭ ﻃﻮﻝ ﻣﺮﻯ ﻭ ﺑﻌﺪ ﺍﺯ ﺁﻥ ﺑﻪ ﻛﻤﻚ‬ ‫ﺁﻧﺰﻳﻢﻫﺎﻯ ﻣﺘﻔﺎﻭﺗﻰ ﻛﻪ ﺩﺭ ﻃﻮﻝ ﻣﺴﻴﺮ ﺗﺮﺷﺢ ﻣﻰﺷﻮﺩ ﺑﻪ ﺳﺎﺧﺘﺎﺭﻫﺎﻯ ﺳﺎﺯﻧﺪﻩﻯ ﺧﻮﺩ ﺷﻜﺴﺘﻪ‬ ‫ﻣﻰﺷﻮﻧﺪ‪ .‬ﺑﺨﺶ ﺍﺻﻠﻰ ﺁﻥﻫﺎ ﺍﺯ ﻃﺮﻳﻖ ﺩﻳﻮﺍﺭﻩﻫﺎﻯ ﻣﻌﺪﻩ ﻭ ﺭﻭﺩﻩ ﺟﺬﺏ ﺷﺪﻩ ﻭ ﻭﺍﺭﺩ ﺧﻮﻥ ﻣﻰﺷﻮﺩ‬ ‫ﻭ ﺍﺯ ﻃﺮﻳﻖ ﺧﻮﻥ ﺑﻪ ﺳﻠﻮﻝﻫﺎﻯ ﻣﺨﺘﻠﻒ ﺍﻧﺘﻘﺎﻝ ﭘﻴﺪﺍ ﻣﻰﻛﻨﺪ‪ .‬ﺁﺏ ﻭ ﻣﺎﻳﻌﺎﺕ ﻧﻴﺰ ﺩﺭ ﺭﻭﺩﻩﻯ ﺑﺰﺭگ‬ ‫ﻭ ﺑﻨﺎ ﺑﻪ ﻧﻴﺎﺯ ﺑﺪﻥ ﺟﺬﺏ ﻣﻰﺷﻮﻧﺪ‪ .‬ﺑﺨﺸﻰ ﺍﺯ ﻣﺎﻳﻌﺎﺕ ﻧﻴﺰ ﻭﺍﺭﺩ ﺟﺮﻳﺎﻥ ﺧﻮﻥ ﻣﻰﺷﻮﺩ ﺗﺎ ﻓﺸﺎﺭ ﺧﻮﻥ‬ ‫ﺭﺍ ﻣﺘﻌﺎﺩﻝ ﻧﮕﺎﻩ ﺩﺍﺭﺩ‪.‬‬ ‫ﺍﻣﺎ ﻧﻜﺘﻪﻯ ﻣﻬﻢ ﺩﺭ ﺍﻳﻦ ﻣﻴﺎﻥ ﺍﻳﻦ ﺍﺳﺖ ﻛﻪ ﺑﺪﻥ ﺍﻧﺴﺎﻥ ﻧﻤﻰﺗﻮﺍﻧﺪ ﺍﺟﺰﺍﻯ ﺧﻮﺩﺵ ﺭﺍ ﺑﻪ ﻋﻨﻮﺍﻥ ﻏﺬﺍ‬ ‫ﻣﻮﺭﺩ ﺍﺳﺘﻔﺎﺩﻩ ﻗﺮﺍﺭ ﺩﻫﺪ ﻭ ﺍﺯ ﺳﻮﻯ ﺩﻳﮕﺮ ﻫﺮ ﭼﻴﺰﻯ ﻛﻪ ﺑﻪ ﻋﻨﻮﺍﻥ ﻏﺬﺍ ﻣﺼﺮﻑ ﺷﻮﺩ‪ ،‬ﻧﻤﻰﺗﻮﺍﻧﺪ‬ ‫ﻣﺴﺘﻘﻴﻤﺎً ﻭﺍﺭﺩ ﺧﻮﻥ ﺑﺪﻥ ﺷﻮﺩ‪ ،‬ﺑﻠﻜﻪ ﺑﺎﻳﺪ ﺍﺑﺘﺪﺍ ﺑﻪ ﺍﺟﺰﺍﻯ ﺍﺻﻠﻰﺍﺵ ﺷﻜﺴﺘﻪ ﺷﺪﻩ ﻭ ﺳﭙﺲ ﻭﺍﺭﺩ‬ ‫ﺍﺟﺰﺍﻯ ﺧﻮﻥ ﺷﻤﺎ ﺷﻮﺩ‪ .‬ﺍﮔﺮ ﺭژﻳﻢ ﻏﺬﺍﻳﻰ ﺷﻤﺎ ﺷﺎﻣﻞ ﺧﻮﻥ ﺑﺎﺷﺪ‪ ،‬ﺑﺎﻳﺪ ﺣﺪﺍﻗﻞ ﺭﻭﺯﻯ ﻳﻚ ﺑﺎﺭ‬ ‫ﻣﻘﺪﺍﺭ ﺯﻳﺎﺩﻯ ﺧﻮﻥ ﺑﻨﻮﺷﻴﺪ‪ .‬ﺍﻳﻦ ﺧﻮﻥ ﻣﺴﺘﻘﻴﻤﺎً ﺑﻪ ﻣﻌﺪﻩ ﺷﻤﺎ ﺳﺮﺍﺯﻳﺮ ﻣﻰﺷﻮﺩ ﻭ ﺑﺎﻳﺪ ﺩﺭ ﺁﻥﺟﺎ‬ ‫ﺗﺠﺰﻳﻪ ﺷﻮﺩ‪ .‬ﺍﻣﺎ ﮔﻨﺠﺎﻳﺶ ﻳﻚ ﻣﻌﺪﻩﻯ ﻣﻌﻤﻮﻟﻰ ﺍﺟﺎﺯﻩﻯ ﺍﻳﻦ ﻛﺎﺭ ﺭﺍ ﺑﺮﺍﻯ ﻣﻮﺟﻮﺩﻯ ﻣﺎﻧﻨﺪ ﺍﻧﺴﺎﻥ‬ ‫ﻧﻤﻰﺩﻫﺪ‪ .‬ﻓﻀﺎﻯ ﻣﻌﺪﻩﻯ ﻣﺎ ﺑﺴﻴﺎﺭ ﻣﺤﺪﻭﺩ ﺍﺳﺖ‪ .‬ﺍﮔﺮ ﭘﺸﻪ ﻣﻰﺗﻮﺍﻧﺪ ﺑﺎ ﺧﻮﺭﺩﻥ ﺧﻮﻥ ﺑﻪ ﺣﻴﺎﺕ‬ ‫ﺍﺩﺍﻣﻪ ﺩﻫﺪ ﺑﻪ ﺩﻟﻴﻞ ﺍﻳﻦ ﺍﺳﺖ ﻛﻪ ﺣﺠﻢ ﻣﻌﺪﻩﻯ ﺑﺴﻴﺎﺭ ﺑﺰﺭﮔﻰ ﺩﺍﺭﺩ‪ .‬ﺗﺎ ﺑﻪ ﺣﺎﻝ ﻳﻚ ﭘﺸﻪ ﺗﺎﺯﻩ‬ ‫ﺗﻐﺬﻳﻪ ﻛﺮﺩﻩ ﺭﺍ ﺩﻳﺪﻩﺍﻳﺪ؟ ﺑﺨﺶ ﺑﺰﺭﮔﻰ ﺍﺯ ﺍﻧﺪﺍﻡ ﺳﺎﺩﻩﻯ ﺍﻭ ﺭﺍ ﻛﻴﺴﻪ ﻣﻌﺪﻩﺍﺵ ﺗﺸﻜﻴﻞ ﻣﻰﺩﻫﺪ‪.‬‬ ‫ﺑﺎ ﻓﺮﺽ ﺁﻏﺎﺯ ﻓﺮﺁﻳﻨﺪ ﻫﻀﻢ‪ ،‬ﺑﺎﺯ ﻫﻢ ﺍﻳﻦ ﻣﺸﻜﻞ ﻭﺟﻮﺩ ﺧﻮﺍﻫﺪ ﺩﺍﺷﺖ ﻛﻪ ﺗﺮﻛﻴﺒﺎﺕ ﻣﻮﺟﻮﺩ ﺩﺭ‬ ‫ﺧﻮﻥ ﺷﺎﻣﻞ ﻫﻤﻪﻯ ﻧﻴﺎﺯﻫﺎﻯ ﺍﻧﺴﺎﻥ ﻧﻤﻰﺷﻮﺩ‪ .‬ﺑﻨﺎﺑﺮﺍﻳﻦ ﺷﻤﺎ ﺍﮔﺮ ﻳﻚ ﺧﻮﻥﺁﺷﺎﻡ ﺑﺎﺷﻴﺪ‪ ،‬ﻧﺎﭼﺎﺭ‬ ‫ﺧﻮﺍﻫﻴﺪ ﺑﻮﺩ ﺭژﻳﻢ ﻏﺬﺍﻳﻰ ﺩﻳﮕﺮﻯ ﺩﺭ ﻛﻨﺎﺭ ﻣﺼﺮﻑ ﺧﻮﻥ ﺑﺮﺍﻯ ﺧﻮﺩ ﺗﺪﺍﺭﻙ ﺑﺒﻴﻨﻴﺪ‪ ،‬ﻛﻪ ﺩﺭ ﺍﻳﻦ‬ ‫ﺻﻮﺭﺕ ﺩﻳﮕﺮ ﺧﻮﻥﺁﺷﺎﻡ ﻧﻴﺴﺘﻴﺪ‪.‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،9-10‬ﺷﻬﺮﻳﻮﺭ ﻭ ﻣﻬﺮ ‪1390‬‬

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‫ﻣﻘﺎﻟﻪ‬

‫ﻧﻜﻨﺪ‪ ،‬ﺑﻪ ﻗﺼﺮ ﻧﻔﺮﻳﻦ ﺷﺪﻩﺍﺵ ﺩﺭ ﺗﺮﺍﻧﺴﻴﻠﻮﺍﻧﻴﺎ ﺑﺎﺯ ﻧﻤﻰﮔﺮﺩﺩ‪.‬‬ ‫ﺑﺮﺍﻡ ﺍﺳﺘﻮﻛﺮ ﻧﻴﺰ ﺑﺮ ﻣﺒﻨﺎﻯ ﺷﺨﺼﻴﺖ ﺍﻓﺴﺎﻧﻪﺍﻯ ﻟﺮﺩ ﺩﺭﺍﻛﻮﻝ ﺑﻮﺩ ﻛﻪ ﺩﺍﺳﺘﺎﻥ ﺩﺭﺍﻛﻮﻻ ﺭﺍ ﻧﻮﺷﺖ‪،‬‬ ‫ﺗﺎ ﺧﻮﻥﺁﺷﺎﻡﻫﺎ ﺭﺍ ﺑﻪ ﺩﻧﻴﺎ ﻣﻌﺮﻓﻰ ﻛﻨﺪ‪ .‬ﺍﻣﺎ ﺧﻮﻥﺁﺷﺎﻡﻫﺎ‪ ،‬ﺭﻳﺸﻪﺍﻯ ﺑﺎﺳﺘﺎﻧﻰﺗﺮ ﺍﺯ ﺩﺭﺍﻛﻮﻻ ﺩﺍﺭﻧﺪ ﻭ‬ ‫ﻋﺠﻴﺐ ﻧﻴﺴﺖ ﻛﻪ ﻫﻨﻮﺯ ﻫﻢ ﺑﺴﻴﺎﺭﻯ ﺑﻪ ﻭﺟﻮﺩ ﺁﻥﻫﺎ ﺍﻋﺘﻘﺎﺩ ﺩﺍﺷﺘﻪ ﺑﺎﺷﻨﺪ ﻭ ﮔﺎﻩ ﮔﺰﺍﺭﺵﻫﺎﻳﻰ‬ ‫ﻣﺒﻨﻰ ﺑﺮ ﻣﺸﺎﻫﺪﻩﻯ ﺁﻥﻫﺎ ﺍﺭﺍﺋﻪ ﻛﻨﻨﺪ‪ .‬ﺩﺭ ﺑﺴﻴﺎﺭﻯ ﺍﺯ ﻧﻘﺶﻫﺎ ﻭ ﻣﺘﻮﻥ ﺑﺎﺳﺘﺎﻧﻰ ﺩﺭ ﮔﻮﺷﻪ ﻭ ﻛﻨﺎﺭ‬ ‫ﺟﻬﺎﻥ ﻧﺸﺎﻧﻪﻫﺎﻳﻰ ﺍﺯ ﺍﻳﻦ ﻣﻮﺟﻮﺩﺍﺕ ﻭﺟﻮﺩ ﺩﺍﺭﺩ‪ .‬ﺩﺭ ﻣﺼﺮ ﺑﺎﺳﺘﺎﻥ‪ ،‬ﻋﻬﺪ ﻋﺘﻴﻖ ﻭ ﺑﺎﻭﺭﻫﺎﻯ ﻗﺒﺎﻳﻞ‬ ‫ﺁﻓﺮﻳﻘﺎﻳﻰ ﻧﺸﺎﻧﻪﻫﺎﻳﻰ ﺍﺯ ﻣﻮﺟﻮﺩﺍﺕ ﺧﻮﻥﺁﺷﺎﻡ ﻫﺴﺖ ﻭ ﺣﺘﺎ ﮔﻔﺘﻪ ﻣﻰﺷﻮﺩ ﻧﻘﺸﻰ ﺑﺮ ﻳﻜﻰ ﺍﺯ‬ ‫ﺳﻔﺎﻟﻴﻨﻪﻫﺎﻯ ﺑﺎﺳﺘﺎﻧﻰ ﭘﻴﺪﺍ ﺷﺪﻩ ﺩﺭ ﺍﻳﺮﺍﻥ ﻣﺮﺩﻯ ﺭﺍ ﺗﺼﻮﻳﺮ ﻛﺮﺩﻩ ﺍﺳﺖ ﻛﻪ ﻗﺼﺪ ﺩﺍﺭﺩ ﮔﺮﺩﻥ‬ ‫ﺷﺨﺺ ﺩﻳﮕﺮﻯ ﺭﺍ ﮔﺎﺯ ﺑﮕﻴﺮﺩ‪ .‬ﻟﻴﻠﻴﺖ ﺩﺭ ﺗﻤﺪﻥ ﺑﻴﻦﺍﻟﻨﻬﺮﻳﻦ ﺧﻮﻥﺁﺷﺎﻣﻰ ﺍﺳﺖ ﻛﻪ ﺑﺎ ﺑﺮﻭﺯ ﺑﻴﺮﻭﻧﻰ‬ ‫ﻳﻚ ﻣﺎﺩﺭ ﻭ ﺩﺧﺘﺮ ﺗﺼﻮﻳﺮ ﻣﻰﺷﺪﻧﺪ‪ .‬ﻻﻣﺎﺷﺘﻮ ﺩﺭ ﺁﺳﻴﺎﻯ ﺟﻨﻮﺏ ﺷﺮﻗﻰ ﺑﻪ ﺧﻮﻥ ﺯﻧﺪﻩ ﺑﻮﺩﻩ ﺍﺳﺖ‪،‬‬ ‫ﺳﺘﺮﻳﻜﻮ ﻟﻴﻤﺎ ﻭ ﻭﺗﺎﻻ ﺩﺭ ﻓﺮﻫﻨﮓﻫﺎﻯ ﻣﺨﺘﻠﻒ ﺧﻮﻥﺁﺷﺎﻡﻫﺎﻳﻰ ﺑﺎﺳﺘﺎﻧﻰ ﺑﻮﺩﻩﺍﻧﺪ‪ .‬ﺷﺎﻳﺪ ﻧﻤﻮﻧﻪﺍﻯ ﺍﺯ‬ ‫ﻳﻚ ﺧﻮﻥﺁﺷﺎﻡ ﺟﻬﺶ ﻳﺎﻓﺘﻪ ﺩﺭ ﺍﺳﻄﻮﺭﻩﻯ ﺿﺤﺎﻙ ﺑﺮﻭﺯ ﭘﻴﺪﺍ ﻛﻨﺪ‪ ،‬ﺁﻥﺟﺎ ﻛﻪ ﻣﺎﺭﻫﺎﻯ ﺭﺳﺘﻪ ﺑﺮ‬ ‫ﺩﻭﺵ ﺍﻭ ﺍﻳﻦ ﺑﺎﺭ ﻧﻪ ﺑﻪ ﺧﻮﻥ ﻛﻪ ﺑﻪ ﻣﻐﺰ ﺟﻮﺍﻧﺎﻥ ﺍﻳﻦ ﺳﺮﺯﻣﻴﻦ ﺯﻧﺪﻩ ﻣﻰﻣﺎﻧﺪﻧﺪ‪.‬‬ ‫ﺭﻳﺸﻪﻫﺎﻯ ﻛﻬﻦ ﺧﻮﻥﺁﺷﺎﻡﻫﺎ ﺑﺮﺍﻯ ﺍﺳﻄﻮﺭﻩﺷﻨﺎﺳﺎﻥ ﻭ ﻣﺘﺨﺼﺼﺎﻥ ﻓﺮﻫﻨﮓ ﻋﺎﻣﻪ ﻧﻪ ﺗﻨﻬﺎ ﻗﺎﺑﻞ ﺗﻮﺟﻪ‬ ‫ﻛﻪ ﻣﻬﻢ ﺍﺳﺖ‪ .‬ﭼﮕﻮﻧﮕﻰ ﺗﺤﻮﻝ ﺧﻮﻥﺁﺷﺎﻡﻫﺎ ﺩﺭ ﻓﺮﻫﻨﮓﻫﺎﻯ ﻣﺨﺘﻠﻒ ﻭ ﭼﮕﻮﻧﮕﻰ ﺧﻠﻖ ﺁﻥﻫﺎ ﺩﺭ‬ ‫ﻫﺮ ﻳﻚ ﺍﺯ ﺍﻳﻦ ﻓﺮﻫﻨﮓﻫﺎ ﻣﻰﺗﻮﺍﻧﺪ ﺳﺮﻧﺦﻫﺎﻯ ﺑﺎ ﺍﺭﺯﺷﻰ ﺍﺯ ﺗﺤﻮﻝ ﻓﺮﻫﻨﮕﻰ ﺩﺭ ﺍﺧﺘﻴﺎﺭ ﻧﻤﺎﺩﺷﻨﺎﺳﺎﻥ‬ ‫ﻭ ﺍﺳﻄﻮﺭﻩﺷﻨﺎﺳﺎﻥ ﻗﺮﺍﺭ ﺩﻫﺪ‪ ،‬ﺍﻣﺎ ﺩﺭ ﻛﻨﺎﺭ ﺁﻥﻫﺎ ﻣﺮﺩﻣﺎﻥ ﺑﺴﻴﺎﺭﻯ ﺑﻪ ﻭﺟﻮﺩ ﺧﻮﻥﺁﺷﺎﻡﻫﺎ ﺍﻋﺘﻘﺎﺩ‬ ‫ﺩﺍﺭﻧﺪ ﻭ ﻫﺮ ﺭﻭﺯ ﮔﺰﺍﺭﺵﻫﺎﻯ ﺑﺴﻴﺎﺭﻯ ﺍﺯ ﻣﻼﻗﺎﺕ ﺑﺎ ﺧﻮﻥﺁﺷﺎﻡﻫﺎ ﺍﺭﺍﺋﻪ ﻣﻰﺩﻫﻨﺪ‪ .‬ﮔﺰﺍﺭﺵﻫﺎﻳﻰ ﻛﻪ‬ ‫ﻣﺮﺑﻮﻁ ﺑﻪ ﺩﻭﺭﺍﻥ ﻗﺪﻳﻢ ﻧﻴﺴﺘﻨﺪ‪ ،‬ﺑﻠﻜﻪ ﺭﻭﺍﻳﺖﻫﺎﻳﻰ ﺍﺯ ﻣﻮﺍﺟﻬﻪﻯ ﺍﻣﺮﻭﺯﻯ ﺑﺎ ﺧﻮﻥﺁﺷﺎﻡﻫﺎ ﺭﺍ ﺭﻭﺍﻳﺖ‬ ‫ﻣﻰﻛﻨﻨﺪ ﻭ ﺍﻳﻦ ﺳﺆﺍﻝ ﺭﺍ ﺑﻪ ﻭﺟﻮﺩ ﻣﻰﺁﻭﺭﻧﺪ ﻛﻪ ﺁﻳﺎ ﺍﻳﻦ ﻫﻴﻮﻻﻫﺎﻯ ﺷﮕﻔﺖﺍﻧﮕﻴﺰ ﻣﻰﺗﻮﺍﻧﻨﺪ ﻭﺟﻮﺩ‬ ‫ﺧﺎﺭﺟﻰ ﺩﺍﺷﺘﻪ ﺑﺎﺷﻨﺪ؟‬ ‫ﺍﮔﺮ ﺧﻮﻥﺁﺷﺎﻡﻫﺎ ﻭﺍﻗﻌﺎً ﺁﻥ ﭼﻴﺰﻯ ﺑﺎﺷﻨﺪ ﻛﻪ ﺩﺍﺳﺘﺎﻥﻫﺎ ﻭ ﺭﻭﺍﻳﺖﻫﺎﻯ ﻋﺎﻣﻪ ﺍﺯ ﺁﻥﻫﺎ ﻧﻘﻞ ﻗﻮﻝ‬ ‫ﻣﻰﻛﻨﻨﺪ ﻭ ﻣﺎ ﺧﻮﻥﺁﺷﺎﻡﻫﺎ ﺭﺍ ﺑﻪ ﺁﻥﻫﺎ ﻣﻰﺷﻨﺎﺳﻴﻢ‪ ،‬ﺁﻥ ﮔﺎﻩ ﭘﺎﺳﺦ ﻋﻠﻢ ﺑﻪ ﻣﺴﺄﻟﻪﻯ ﻭﺟﻮﺩ ﺁﻥﻫﺎ‬ ‫ﻣﻨﻔﻰ ﺍﺳﺖ‪.‬‬ ‫ﻭﻳﮋﮔﻰ ﺑﺎﺭﺯ ﻭ ﺍﺻﻠﻰ ﺧﻮﻥﺁﺷﺎﻡﻫﺎ ﺁﻥﮔﻮﻧﻪ ﻛﻪ ﺍﻓﺴﺎﻧﻪ ﻭ ﺑﺎﻭﺭﻫﺎﻯ ﻋﺎﻣﻪ ﻣﻰﮔﻮﻳﻨﺪ‪ ،‬ﺍﻳﻦ ﺍﺳﺖ ﻛﻪ‬ ‫ﺧﻮﻥﺁﺷﺎﻡﻫﺎ ﻣﻮﺟﻮﺩﺍﺗﻰ ﺍﻧﺴﺎﻧﻰ )ﻳﺎ ﺣﺪﺍﻗﻞ ﺑﺎ ﻣﻨﺸﺎء ﺍﻧﺴﺎﻧﻰ( ﻫﺴﺘﻨﺪ ﻛﻪ ﭘﺲ ﺍﺯ ﺗﺒﺪﻳﻞ ﺷﺪﻥ ﺑﻪ‬ ‫ﺧﻮﻥﺁﺷﺎﻡ ﺑﺎﻳﺪ ﺍﻧﺮژﻯ ﺯﻧﺪﮔﻰ ﺧﻮﺩ ﺭﺍ ﺍﺯ ﺧﻮﺭﺩﻥ ﺧﻮﻥ ﺩﻳﮕﺮ ﺍﻧﺴﺎﻥﻫﺎ ﺑﻪ ﺩﺳﺖ ﺁﻭﺭﻧﺪ؛ ﺍﻣﺎ ﺑﺮﺍﻯ‬ ‫ﺍﻳﻦ ﻛﻪ ﺧﻮﻥﺁﺷﺎﻡﻫﺎ ﺑﺘﻮﺍﻧﻨﺪ ﻭﺟﻮﺩ ﺩﺍﺷﺘﻪ ﺑﺎﺷﻨﺪ‪ ،‬ﺑﺎﻳﺪ ﺗﻜﻠﻴﻔﺸﺎﻥ ﺭﺍ ﺑﺎ ﺭژﻳﻢ ﻏﺬﺍﻳﻰﺷﺎﻥ ﺭﻭﺷﻦ‬

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‫ﻭﻳﮋﻩﻧﺎﻣﻪﻯ ﺧﻮﻥﺁﺷﺎﻡﻫﺎ‬

‫ﺁﻥﻫﺎ ﻧﻤﻰﻣﻴﺮﻧﺪ ﻣﮕﺮ ﺁﻥ ﻛﻪ ﺩﺭ ﻣﻌﺮﺽ ﻧﻮﺭ ﺧﻮﺭﺷﻴﺪ ﻗﺮﺍﺭ ﮔﻴﺮﻧﺪ‪ .‬ﺩﺷﻤﻦ ﺁﻥﻫﺎ ﻧﻮﺭ ﺧﻮﺭﺷﻴﺪ‬ ‫ﺍﺳﺖ‪ .‬ﺧﻮﺭﺷﻴﺪ ﺍﺑﺘﺪﺍ ﭘﻮﺳﺖ ﺁﻥﻫﺎ ﺭﺍ ﺩﺭﺧﺸﺎﻥ ﻛﺮﺩﻩ ﻭ ﺳﭙﺲ ﺁﻥﻫﺎ ﺭﺍ ﻣﻰﺳﻮﺯﺍﻧﺪ‪ .‬ﺩﺭ ﺑﺮﺧﻰ ﺍﺯ‬ ‫ﻓﺮﻫﻨﮓﻫﺎ ﺁﻥﻫﺎ ﺍﺯ ﻗﻮﺯﻩﻯ ﺳﻴﺮ ﻣﻰﻫﺮﺍﺳﻨﺪ ﻭ ﮔﺎﻩ ﺑﺎﻳﺪ ﺷﻤﺸﻴﺮﻯ ﻧﻘﺮﻩﺍﻯ ﺭﺍ ﺩﺭ ﻗﻠﺐ ﺁﻥﻫﺎ ﻓﺮﻭ‬ ‫ﻛﺮﺩ ﻳﺎ ﺑﺎ ﺻﻠﻴﺒﻰ ﺗﻴﺰ ﺑﻪ ﺯﻧﺪﮔﻰ ﺁﻥﻫﺎ ﺧﺎﺗﻤﻪ ﺩﺍﺩ؛ ﺍﮔﺮﭼﻪ ﺻﻠﻴﺐ ﻫﻤﻴﺸﻪ ﺑﺮ ﺁﻥﻫﺎ ﻛﺎﺭﮔﺮ ﻧﻴﺴﺖ؛‬ ‫ﺁﺧﺮ ﭼﮕﻮﻧﻪ ﻧﻤﺎﺩ ﻣﺴﻴﺤﻴﺖ ﺧﻮﺍﻫﺪ ﺗﻮﺍﻧﺴﺖ ﻣﺮگ ﻣﻮﺟﻮﺩﺍﺗﻰ ﺭﺍ ﺭﻗﻢ ﺑﺰﻧﺪ ﻛﻪ ﭘﻴﺶ ﺍﺯ ﻣﺴﻴﺢ‬ ‫ﻭﺟﻮﺩ ﺩﺍﺷﺘﻪﺍﻧﺪ؟ ﺍﮔﺮﭼﻪ ﺧﻮﺍﺳﺘﮕﺎﻩ ﺁﻥﻫﺎ ﺭﺍ ﺩﺭ ﻣﻐﺮﺏ ﺯﻣﻴﻦ ﻭ ﻋﻤﺪﺗﺎ ﺩﺭ ﻗﺮﻭﻥ ﻭﺳﻄﻰ ﻣﻰﺩﺍﻧﻨﺪ‪،‬‬ ‫ﺍﻣﺎ ﺑﺎﻭﺭ ﺑﻪ ﭼﻨﻴﻦ ﻣﻮﺟﻮﺩﺍﺗﻰ ﺍﺯ ﻫﺰﺍﺭﺍﻥ ﺳﺎﻝ ﭘﻴﺶ ﺩﺭ ﺣﻮﺯﻩﻫﺎﻯ ﺗﻤﺪﻧﻰ ﻣﺨﺘﻠﻒ ﻭﺟﻮﺩ ﺍﺷﺘﻪ‬ ‫ﺍﺳﺖ‪ .‬ﺍﻳﻦ ﻣﺘﻦ ﺷﻨﺎﺳﻨﺎﻣﻪﻯ ﻛﻮﺗﺎﻫﻰ ﺍﺯ ﺧﻮﻥﺁﺷﺎﻡﻫﺎ ﺍﺳﺖ‪.‬‬ ‫ﺷﺎﻳﺪ ﺑﺴﻴﺎﺭﻯ ﺍﺯ ﻣﺎ ﻭﻣﭙﺎﻳﺮﻫﺎ ﺭﺍ ﺍﺯ ﺑﺮﺍﻡ ﺍﺳﺘﻮﻛﺮ ﻭ ﻛﺘﺎﺏ ﻣﻌﺮﻭﻓﺶ »ﺩﺭﺍﻛﻮﻻ« ﺍﺳﺖ ﻛﻪ ﻣﻰﺷﻨﺎﺳﻴﻢ‪.‬‬ ‫ﺩﺍﻣﻨﻪﻯ ﺍﺛﺮ ﺍﻳﻦ ﻛﺘﺎﺏ ﺑﻪ ﻗﺪﺭﻯ ﻭﺳﻴﻊ ﺑﻮﺩﻩ ﺍﺳﺖ ﻛﻪ ﺩﺭ ﺑﺴﻴﺎﺭﻯ ﺍﺯ ﻣﻮﺍﻗﻊ ﺩﺭﺍﻛﻮﻻ ﺭﺍ ﻣﻌﺎﺩﻝ‬ ‫ﺧﻮﻥﺁﺷﺎﻡ ﻣﻰﭘﻨﺪﺍﺭﻧﺪ‪ .‬ﺩﺭﺍﻛﻮﻻ ﺩﺍﺳﺘﺎﻥ ﭘﺎﺩﺷﺎﻫﻰ ﺍﺳﺖ ﻛﻪ ﻳﻜﻰ ﺍﺯ ﺧﻮﻑﺍﻧﮕﻴﺰﺗﺮﻳﻦ ﺣﻜﻮﻣﺖﻫﺎ‬ ‫ﺭﺍ ﺩﺭ ﺟﻬﺎﻥ ﺍﺩﺍﺭﻩ ﻛﺮﺩ؛ ﺳﻠﻄﺎﻧﻰ ﻛﻪ ﺭﻓﺘﺎﺭﺵ ﻧﻤﺎﺩ ﻭﺣﺸﻰﮔﺮﻯ ﺑﻪ ﺷﻤﺎﺭ ﻣﻰﺭﻓﺖ‪ .‬ﻟﺮﺩ ﻭﻻﺩ ﺗﭙﺶ‬ ‫ﻳﺎ ﻟﺮﺩ ﻭﻻﺩ ﺳﻮﻡ ﭘﺮﻧﺲ ﻭﺍﻻﺷﻴﺎ ﺣﻜﻤﺮﺍﻥ ﻗﺼﻰﺍﻟﻘﻠﺒﻰ ﺑﻮﺩ ﻛﻪ ﺩﺭ ﻓﺎﺻﻠﻪﻯ ﺳﺎﻝﻫﺎﻯ ‪1431‬‬ ‫ﺗﺎ ‪ 1476‬ﺩﺭ ﻣﻨﻄﻘﻪﺍﻯ ﻛﻪ ﺍﻣﺮﻭﺯﻩ ﺩﺭ ﺭﻭﻣﺎﻧﻰ ﻗﺮﺍﺭ ﮔﺮﻓﺘﻪ ﺍﺳﺖ‪ ،‬ﺩﺭ ‪ 3‬ﺩﻭﺭﻩﻯ ﺯﻣﺎﻧﻰ ﻣﺘﻔﺎﻭﺕ‬ ‫ﺣﻜﻤﺮﺍﻧﻰ ﻛﺮﺩ‪ .‬ﺍﻭ ﻧﺒﺮﺩﻯ ﻃﻮﻻﻧﻰ ﺭﺍ ﺑﺎ ﻧﻴﺮﻭﻫﺎﻯ ﺗﺮﻙ ﻋﺜﻤﺎﻧﻰ ﭘﺸﺖ ﺳﺮ ﮔﺬﺍﺷﺖ ﻭ ﺩﺭ ﻧﻬﺎﻳﺖ ﺩﺭ‬ ‫ﻳﻜﻰ ﺍﺯ ﻫﻤﻴﻦ ﻧﺒﺮﺩﻫﺎ ﻛﺸﺘﻪ ﺷﺪ ﻭ ﺳﺮﺵ ﺭﺍ ﺍﺯ ﺑﺪﻧﺶ ﺟﺪﺍ ﻛﺮﺩﻧﺪ ﺗﺎ ﻋﺒﺮﺗﻰ ﺑﺮﺍﻯ ﻣﺨﺎﻟﻔﺎﻥ ﺷﻮﺩ‪.‬‬ ‫ﻭﻻﺩ ﺳﻮﻡ ﺭﺍ ﮔﺎﻫﻰ ﻟﺮﺩ ﺩﺭﺍﻛﻮﻻ ﻣﻰﻧﺎﻣﻴﺪﻧﺪ‪ .‬ﺩﺭﺍﻛﻮﻝ ﺍﺯ ﻭﺍژﻩﻯ ﺍژﺩﻫﺎ )‪ (Dragon‬ﻧﺸﺎﺕ ﮔﺮﻓﺘﻪ‬ ‫ﻭ ﺑﻪ ﻣﻌﻨﻰ ﭘﺴﺮ ﺍژﺩﻫﺎ ﺍﺳﺖ‪ .‬ﺍﻳﻦ ﻟﻘﺐ ﺭﺍ ﺑﻪ ﻭﺍﺳﻄﻪﻯ ﭘﺪﺭﺵ ﻟﺮﺩ ﺩﺭﺍﻛﻮﻝ ﺑﻪ ﺍﻭ ﺩﺍﺩﻩ ﺑﻮﺩﻧﺪ‪،‬‬ ‫ﭼﻮﻥ ﻟﺮﺩ ﺩﺭﺍﻛﻮﻝ ﺩﺭ ﻳﻚ ﺍﻧﺠﻤﻦ ﺑﺰﺭگﺯﺍﺩﮔﺎﻥ ﺑﻪ ﻧﺎﻡ ﻣﺤﻔﻞ ﺍژﺩﻫﺎ ﻋﻀﻮ ﺑﻮﺩ ﻛﻪ ﺩﺭ ﺍﻭﺍﺧﺮ ﻗﺮﻭﻥ‬ ‫ﻭﺳﻄﻰ ﺩﺭ ﻣﺠﺎﺭﺳﺘﺎﻥ ﺑﻨﻴﺎﻥ ﮔﺬﺍﺷﺘﻪ ﺷﺪ؛ ﺩﺭ ﺯﺑﺎﻥ ﻣﺤﻠﻰ ﺩﺭﺍﻛﻮﻝ ﻧﺎﻡ ﻣﺴﺘﻌﺎﺭﻯ ﺑﺮﺍﻯ ﺷﻴﻄﺎﻥ‬ ‫ﻧﻴﺰ ﺑﻪ ﺷﻤﺎﺭ ﻣﻰﺭﻓﺖ‪ ،‬ﭼﺮﺍ ﻛﻪ ﺑﺮﺧﻼﻑ ﺳﻨﺖ ﺷﺮﻗﻰ ﻛﻪ ﺍژﺩﻫﺎ ﻣﻮﺟﻮﺩﻯ ﺧﻮﺏ ﻭ ﺣﺎﻣﻰ ﺳﻠﻄﻨﺖ‬ ‫ﺍﺳﺖ‪ ،‬ﺩﺭ ﻏﺮﺏ ﺍژﺩﻫﺎ ﻋﻤﻮﻣﺎً ﺑﺎﺭ ﻣﻨﻔﻰ ﺩﺍﺭﺩ‪ .‬ﺭﻓﺘﺎﺭﻫﺎﻯ ﻟﺮﺩ ﺩﺭﺍﻛﻮﻻ ﺩﺭ ﺍﻳﻦ ﻛﻪ ﺷﻴﻄﺎﻥ ﺭﺍ ﺑﻪ ﻧﺎﻡ‬ ‫ﺍﻭ ﻣﻨﺘﺴﺐ ﻛﻨﻨﺪ‪ ،‬ﺗﺄﺛﻴﺮ ﻓﺮﺍﻭﺍﻧﻰ ﺩﺍﺷﺖ‪.‬‬ ‫ﻟﺮﺩ ﺩﺭﺍﻛﻮﻻ ﺍﺳﻴﺮﺍﻧﺶ ﺭﺍ ﺑﺮ ﭼﻮﺑﻪﻫﺎﻯ ﺑﻠﻨﺪﻯ ﺑﻪ ﺻﻠﻴﺐ ﻭ ﺻﻼﺑﻪ ﻣﻰﻛﺸﻴﺪ‪ .‬ﺯﻧﺪﮔﻰ ﺧﺎﻧﻪ ﺑﻪ‬ ‫ﺩﻭﺷﻰ ﺍﻭ‪ ،‬ﺟﻨﮓﻫﺎﻯ ﭘﺎﺭﺗﻴﺰﺍﻧﻰﺍﺵ ﻭ ﺭﻭﺵﻫﺎﻯ ﻭﺣﺸﻴﺎﻧﻪﻯ ﺷﻜﻨﺠﻪ ﻭ ﺍﻋﺪﺍﻡ ﺍﺳﻴﺮﺍﻥ ﺑﺎﻋﺚ ﺷﺪ‬ ‫ﺗﺎ ﺑﻌﺪ ﺍﺯ ﻣﺮﮔﺶ ﺍﻓﺴﺎﻧﻪﻫﺎﻯ ﺯﻳﺎﺩﻯ ﺑﺮﺍﻯ ﺍﻭ ﺳﺎﺧﺘﻪ ﺷﻮﺩ؛ ﺍﺯ ﺟﻤﻠﻪ ﺁﻥ ﻛﻪ ﺍﻭ ﺑﺎ ﺷﻴﻄﺎﻥ ﺑﻴﻌﺖ‬ ‫ﻛﺮﺩﻩ ﻭ ﺑﺮ ﻋﻠﻴﻪ ﺧﺪﺍﻭﻧﺪ ﺷﻮﺭﻳﺪﻩ ﺍﺳﺖ ﻭ ﺍﻳﻦ ﻛﻪ ﺍﻭ ﭘﺲ ﺍﺯ ﻣﺮگ ﻇﺎﻫﺮﻳﺶ ﻫﻨﻮﺯ ﺯﻧﺪﻩ ﺍﺳﺖ ﻭ‬ ‫ﺷﺐﻫﺎ ﺑﻪ ﺧﻴﺎﺑﺎﻥﻫﺎ ﻣﻰﺁﻳﺪ ﻭ ﺑﻪ ﺷﻜﺎﺭ ﻣﻰ ﭘﺮﺩﺍﺯﺩ ﻭ ﺗﺎ ﻋﻄﺸﺶ ﺭﺍ ﺑﺎ ﺧﻮﻥ ﺗﺎﺯﻩﻯ ﺍﻧﺴﺎﻥ ﺳﻴﺮﺍﺏ‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،9-10‬ﺷﻬﺮﻳﻮﺭ ﻭ ﻣﻬﺮ ‪1390‬‬

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‫ﻣﻘﺎﻟﻪ‬

‫ﺧﻮﻥﺁﺷﺎﻡﻫﺎ ﺍﺯ ﻣﻨﻈﺮ ﻭﺍﻗﻌﻴﺖ‬ ‫ﻧﮕﺎﻫﻰ ﻭﺍﻗﻊﮔﺮﺍﻳﺎﻧﻪ ﺑﻪ ﺧﻮﻥﺁﺷﺎﻡﻫﺎ‬ ‫ﭘﻮﺭﻳﺎ ﻧﺎﻇﻤﻰ‬

‫ﺑﺎ ﻏﺮﻭﺏ ﺧﻮﺭﺷﻴﺪ ﺯﻧﺪﮔﻰ ﺭﺍ ﺍﺯ ﺳﺮ ﻣﻰﮔﻴﺮﻧﺪ‪ ،‬ﺍﻣﺎ ﻧﻪ ﺁﻥ ﺯﻧﺪﮔﻰﺍﻯ ﻛﻪ ﻣﺎ ﻣﻰﺷﻨﺎﺳﻴﻢ‪.‬‬ ‫ﻗﻠﺐ ﺁﻥﻫﺎ ﻫﻴﭻﮔﺎﻩ ﻧﻤﻰﺗﭙﺪ ﻭ ﻧﺸﺎﻧﻪﻫﺎﻯ ﺣﻴﺎﺕ ﺩﺭ ﺁﻥﻫﺎ ﻭﺟﻮﺩ ﻧﺪﺍﺭﺩ‪ .‬ﺷﺒﺎﻫﻨﮕﺎﻡ‪،‬‬ ‫ﻫﻨﮕﺎﻣﻪﻯ ﺷﻜﺎﺭ ﺁﻥﻫﺎ ﻭ ﺧﻮﻥ ﺍﻧﺴﺎﻥ ﻏﺬﺍﻯ ﺯﻧﺪﮔﻰ ﺑﺨﺶ ﺁﻥﻫﺎ ﺍﺳﺖ‪ ،‬ﻫﻤﻴﺸﻪ ﺑﺮﺍﻯ‬ ‫ﺁﺷﺎﻣﻴﺪﻥ ﻧﻴﺴﺖ ﻛﻪ ﺩﻭ ﺩﻧﺪﺍﻥ ﻧﻴﺶ ﺧﻮﺩ ﺭﺍ ﺩﺭ ﮔﺮﺩﻥ ﻗﺮﺑﺎﻧﻴﺸﺎﻥ ﻓﺮﻭ ﻣﻰﻛﻨﻨﺪ ﻭ ﻫﻤﻴﺸﻪ‬ ‫ﻫﻢ ﻣﺮگ ﭘﺎﻳﺎﻥ ﺩﺍﺳﺘﺎﻥ ﻗﺮﺑﺎﻧﻰ ﻧﮕﻮﻥﺑﺨﺖ ﻧﻴﺴﺖ‪ .‬ﺷﻜﺎﺭ ﺧﻮﺩ ﺗﺒﺪﻳﻞ ﺑﻪ ﺷﻜﺎﺭﭼﻰ‬ ‫ﻣﻰﺷﻮﺩ ﻭ ﺧﻮﻥﺁﺷﺎﻡ ﺩﻳﮕﺮﻯ ﻗﺪﻡ ﺑﺮ ﻛﺮﻩﻯ ﺧﺎﻛﻰ ﻣﺎ ﻣﻰﮔﺬﺍﺭﺩ‪ .‬ﺍﻓﺴﺎﻧﻪﻫﺎ ﺩﺭﺑﺎﺭﻩﻯ‬ ‫ﺍﻳﻦ ﺟﺬﺍﺏﺗﺮﻳﻦ ﻭ ﺧﻴﺮﻩﻛﻨﻨﺪﻩﺗﺮﻳﻦ ﻫﻴﻮﻻﻫﺎﻯ ﺗﺎﺭﻳﺦ ﺑﺴﻴﺎﺭﻧﺪ؛ ﻫﻢ ﺁﻥﻫﺎ ﻛﻪ ﺍﺯ ﺣﻤﻠﻪﻯ‬ ‫ﻣﺮگﺁﻓﺮﻳﻨﺸﺎﻥ ﭼﻴﺰﻯ ﺟﺰ ﺩﻭ ﺯﺧﻢ ﻛﻮﭼﻚ ﺭﻭﻯ ﮔﺮﺩﻥ ﺑﺎﻗﻰ ﻧﻤﻰﻣﺎﻧﺪ‪ .‬ﮔﻔﺘﻪ ﻣﻰﺷﻮﺩ‬ ‫ﺁﻳﻨﻪ ﺗﺼﻮﻳﺮ ﺁﻥﻫﺎ ﺭﺍ ﺑﺎﺯ ﻧﻤﻰﺗﺎﺑﺎﻧﺪ‪ .‬ﻇﺎﻫﺮ ﺯﻳﺒﺎ ﻭ ﻓﺮﻳﺒﻨﺪﻩﺷﺎﻥ ﻫﻴﻮﻻﻯ ﭘﻨﻬﺎﻧﻰ ﺭﺍ ﻛﻪ ﺩﺭ‬ ‫ﭘﺸﺖ ﺍﻳﻦ ﭼﻬﺮﻩ ﻭﺟﻮﺩ ﺩﺍﺭﺩ‪ ،‬ﻣﺨﻔﻰ ﻣﻰﻛﻨﺪ‪ .‬ﺩﺭ ﻣﻴﺎﻥ ﻫﻤﻪﻯ ﻫﻴﻮﻻﻫﺎﻯ ﺗﺎﺭﻳﺦ ﺍﺯ ﻫﻤﻪ‬ ‫ﺟﺬﺍﺏﺗﺮ ﻭ ﺍﻏﻮﺍ ﻛﻨﻨﺪﻩﺗﺮﻧﺪ ﻭ ﺑﺎ ﻇﺎﻫﺮﻯ ﻓﺮﻳﺒﻨﺪﻩ ﻭ ﺑﺮﺍﺯﻧﺪﻩ‪ ،‬ﻓﺮﺻﺖ ﺑﻰﻛﺮﺍﻧﻪﺍﻯ ﺭﺍ ﺑﺮﺍﻯ‬ ‫ﺍﻳﻦ ﮔﻮﻧﻪ ﺯﻳﺴﺘﻦ ﺧﻮﺩ ﺩﺭ ﺍﺧﺘﻴﺎﺭ ﺩﺍﺭﻧﺪ‪.‬‬

‫ﻣﻘﺎﻟﻪ‬

‫ﺧﻮﻥﺁﺷﺎﻡ ﺍﻟﺒﺘﻪ ﻫﻤﻴﺸﻪ ﻣﻮﺟﻮﺩﻯ ﺧﺎﺭﺝ ﺍﺯ ﺍﺟﺘﻤﺎﻉ ﻭ ﻟﺐ ﻣﺮﺯ ﻧﻴﺴﺖ‪ ،‬ﺑﻠﻜﻪ ﻣﻰﺗﻮﺍﻧﺪ ﻧﻘﺶ‬ ‫ﭘﺎﺩﺷﺎﻫﻰ ﺭﺍ ﺩﺍﺷﺘﻪ ﺑﺎﺷﺪ‪ .‬ﻭﻟﺘﺮ )‪ (9‬ﺍﺯ ﻛﻠﻤﻪﻯ ﺧﻮﻥﺁﺷﺎﻡ‪ ،‬ﺑﻪ ﻋﻨﻮﺍﻥ ﺻﻔﺘﻰ ﺑﺮﺍﻯ ﺧﻮﻥﺁﺷﺎﻡﻫﺎﻯ‬ ‫ﻭﺍﻗﻌﻰ ﺟﺎﻣﻌﻪ ﺍﺳﺘﻔﺎﺩﻩ ﻛﺮﺩ‪ .‬ﺑﺪﻭﻥ ﺩﻟﻴﻞ ﻧﻴﺴﺖ ﻛﻪ ﺧﻮﻥﺁﺷﺎﻡﻫﺎﻯ ﺍﺩﺑﻴﺎﺕ‪ ،‬ﻣﻌﻤﻮﻻً ﺍﺯ ﺧﺎﻧﻮﺍﺩﻩﻫﺎﻯ‬ ‫ﺳﻠﻄﻨﺘﻰ ﻫﺴﺘﻨﺪ‪.‬‬ ‫ﻳﻚ ﻋﻨﺼﺮ ﺟﺪﺍﻧﺸﺪﻧﻰ ﺍﺯ ﺧﻮﻥﺁﺷﺎﻡ‪ ،‬ﺧﻮﻥ ﺍﺳﺖ‪ .‬ﺧﻮﻥﺁﺷﺎﻡ ﺧﻮﻥ ﻗﺮﺑﺎﻧﻴﺎﻥ ﺧﻮﺩ ﺭﺍ ﻣﻰﻣﻜﺪ ﻭ ﺑﺎ‬ ‫ﺍﻳﻦ ﺭﻭﺵ ﺗﻮﻟﻴﺪ ﻣﺜﻞ ﻣﻰﻛﻨﺪ‪ ،‬ﻧﻮﻋﻰ ﭘﺎﺭﺍﺩﻭﻛﺲ ﺗﻮﻟﺪ ﺑﺮﺍﻯ ﻣﺮگ‪ ،‬ﻛﻪ ﺑﺮﺍﻯ ﻧﻤﺎﻳﺶ ﺩﺍﺩﻧﺶ ﺍﺯ‬ ‫ﻧﻘﺶ ﺳﻨﺘﻰ ﻭ ﺳﻤﺒﻠﻴﻚ ﺧﻮﻥ ﺑﻪ ﻋﻨﻮﺍﻥ ﻧﻴﺮﻭﻯ ﺯﻧﺪﮔﻰ ﺍﺳﺘﻔﺎﺩﻩ ﻣﻰﺷﻮﺩ‪ .‬ﺍﻣﺎ ﺍﻳﻦ ﻣﻜﻴﺪﻥ ﺧﻮﻥ‬ ‫ﺟﻨﺒﻪ ﺩﻳﮕﺮﻯ ﻧﻴﺰ ﺩﺍﺭﺩ‪ :‬ﺧﻮﻥﺁﺷﺎﻡ ﺑﺎ ﺍﻳﻦ ﻋﻤﻞ ﻧﻪ ﺗﻨﻬﺎ ﺩﺳﺘﻮﺭ ﺍﻧﺠﻴﻞ ﺭﺍ ﺯﻳﺮ ﭘﺎ ﻣﻰﮔﺬﺍﺭﺩ )ﻃﺒﻖ‬ ‫ﻋﻬﺪ ﻗﺪﻳﻢ‪ ،‬ﻧﻮﺷﻴﺪﻥ ﺧﻮﻥ ﺣﺮﺍﻡ ﺍﺳﺖ(‪ ،‬ﺑﻠﻜﻪ ﺍﺯ ﺳﻨﺖﻫﺎﻯ ﺍﻧﺠﻴﻠﻰ ﺑﺮﺍﻯ ﺧﻮﺩ ﺍﺳﺘﻔﺎﺩﻩ ﻣﻰﻛﻨﺪ ﻭ‬ ‫ﺑﻪ ﻋﻨﻮﺍﻥ ﻣﺜﺎﻝ ﺑﺎ ﻧﻮﺷﻴﺪﻥ ﺧﻮﻥ‪ ،‬ﺗﺒﺪﻳﻞ ﺑﻪ ﻳﻚ »ﻧﺎﻣﺮﺩﻩ« ﻣﻰﺷﻮﺩ ﻭ ﻋﻤﺮ ﺟﺎﻭﺩﺍﻥ ﭘﻴﺪﺍ ﻣﻰﻛﻨﺪ‪،‬‬ ‫ﭼﻴﺰﻯ ﻛﻪ ﺩﺭ ﺍﻧﺠﻴﻞ ﺑﺮﺍﻯ ﻣﺴﻴﺢ ﺩﺭ ﻧﻈﺮ ﮔﺮﻓﺘﻪ ﺷﺪﻩ ﺍﺳﺖ؛ ﺑﻴﺪﺍﺭ ﺷﺪﻥ ﺩﻭﺑﺎﺭﻩ ﮔﻮﺷﺖ ﻭ ﺯﻧﺪﮔﻰ‬ ‫ﺟﺎﻭﺩﺍﻥ‪ .‬ﺑﻪ ﺍﻳﻦ ﺗﺮﺗﻴﺐ‪ ،‬ﺧﻮﻥﺁﺷﺎﻡ ﺑﻪ ﻋﻨﻮﺍﻥ ﻣﻮﺟﻮﺩﻯ ﺯﺍﺩﻩ ﺷﺪﻩ ﺩﺭ ﺟﻬﻨﻢ ﻧﻤﺎﻳﺶ ﺩﺍﺩﻩ ﻣﻰﺷﻮﺩ‬ ‫ﻭ ﺑﻪ ﺍﻳﻦ ﺧﺎﻃﺮ ﻣﺨﺎﻟﻔﺎﻥ ﺍﻭ ﺑﺎ ﺣﺮﺑﻪﻫﺎﻯ ﺍﻟﻬﻰ ﺑﻪ ﺟﻨﮓ ﺍﻭ ﻣﻰﺭﻭﻧﺪ‪ ،‬ﻣﺎﻧﻨﺪ ﺻﻠﻴﺐ ﻳﺎ ﺁﺏ ﻣﻘﺪﺱ‪.‬‬ ‫ﺑﻪ ﺧﺼﻮﺹ ﺩﺭ ﺭﻣﺎﻥ ﺍﺳﺘﻮﻛﺮ‪ ،‬ﺩﺭﺍﻛﻮﻻ ﻳﻚ ﻳﺎﻏﻰ ﺩﺭ ﺑﺮﺍﺑﺮ ﺧﺪﺍ ﺍﺳﺖ‪.‬‬ ‫ﺁﺑﺮﺍﻫﺎﻡ ﻭﺍﻥ ﻫﻠﺴﻴﻨﮓ )‪ (10‬ﺩﺭ ﺭﻣﺎﻥ ﺩﺭﺍﻛﻮﻻ ﻣﺮﺗﺐ ﺗﻜﺮﺍﺭ ﻣﻰﻛﻨﺪ‪» :‬ﻧﮕﺮﺍﻥ ﻧﺒﺎﺷﻴﺪ ﺧﺎﻧﻢ ﻣﻴﻨﺎ‪،‬‬ ‫ﺩﺭﺍﻛﻮﻻ ﺑﺮﺍﻯ ﻫﻤﻴﺸﻪ ﻣﺮﺩﻩ ﺍﺳﺖ!«‬ ‫ﻭ ﭼﻪ ﺍﺷﺘﺒﺎﻫﻰ ﻣﻰﻛﺮﺩ! ﻛﻨﺖ ﻧﺎﻣﺮﺩﻧﻰ ﺩﺭ ﺑﺮﺍﺑﺮ ﺗﻌﻘﻴﺐﻛﻨﻨﺪﻩﻫﺎﻯ ﺧﻮﺩ ﺍﻳﺴﺘﺎﺩﻩ ﻭ ﻣﻰﮔﻮﻳﺪ‪:‬‬ ‫»ﺗﺼﻮﺭ ﻣﻰﻛﻨﻴﺪ ﻛﻪ ﻣﺮﺍ ﺭﺍﻧﺪﻩﺍﻳﺪ‪ ،‬ﺍﻣﺎ ﻣﻦ ﺧﻴﻠﻰ ﺑﻴﺶ ﺍﺯ ﺍﻳﻦ ﻫﺎ ﻫﺴﺘﻢ‪ .‬ﺍﻧﺘﻘﺎﻡ ﻣﻦ ﺗﺎﺯﻩ ﺁﻏﺎﺯ‬ ‫ﺷﺪﻩ ﺍﺳﺖ‪ .‬ﻣﻦ ﺁﻥ ﺭﺍ ﺑﻴﻦ ﺩﻩﻫﺎ ﻗﺮﻥ ﺗﻘﺴﻴﻢ ﻣﻰﻛﻨﻢ ﻭ ﺯﻣﺎﻥ ﻧﻴﺰ ﺑﻪ ﻧﻔﻊ ﻣﻦ ﻛﺎﺭ ﺧﻮﺍﻫﺪ ﻛﺮﺩ!«‬ ‫ﭘﻰﻧﻮﺷﺖﻫﺎ‪:‬‬ ‫‪1. Peter Plogojovic‬‬ ‫‪2. Vampire‬‬ ‫‪3. Georg Tallar‬‬ ‫‪4. Lionel Milgrom‬‬ ‫‪5. Morbus Günther‬‬

‫‪6. Juan Gomez-Alonso‬‬ ‫‪7. Vlad Draculea‬‬ ‫‪8. Transsylvanien‬‬ ‫‪9. Voltaire‬‬ ‫‪10. Abraham van Helsing‬‬

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‫ﻭﻳﮋﻩﻧﺎﻣﻪﻯ ﺧﻮﻥﺁﺷﺎﻡﻫﺎ‬

‫ﻣﺮﺯ ﻗﺮﺍﺭ ﺩﺍﺭﺩ‪ ،‬ﺩﺍﺋﻢ ﺑﻴﻦ ﺩﻭ ﺩﻧﻴﺎ ﺩﺭ ﺣﺎﻝ ﻧﻮﺳﺎﻥ ﺍﺳﺖ‪ :‬ﺑﻴﻦ ﻣﺮگ ﻭ ﺯﻧﺪﮔﻰ‪ ،‬ﺍﻳﻦ ﺩﻧﻴﺎ ﻭ ﺁﻥ ﺩﻧﻴﺎ‪،‬‬ ‫ﺑﻴﻦ ﺍﻧﺴﺎﻥ ﻭ ﺣﻴﻮﺍﻥ‪ ،‬ﺑﻴﻦ ﺭﻭﻳﺎ ﻭ ﺑﻴﺪﺍﺭﻯ‪ ،‬ﺑﻴﻦ ﻣﻌﻤﻮﻝ ﻭ ﻏﻴﺮﻣﻌﻤﻮﻝ ﺑﻮﺩﻥ‪ ،‬ﺑﻴﻦ ﺳﺎﻟﻢ ﻭ ﺩﻳﻮﺍﻧﻪ‪.‬‬ ‫ﺣﺘﺎ ﺯﻣﺎﻥﻫﺎﻳﻰ ﻛﻪ ﺩﺭ ﺁﻥﻫﺎ ﺗﺤﻮﻝ ﺩﺭ ﺟﺴﺪ ﺭﺥ ﻣﻰﺩﻫﺪ ﻭ ﺍﻭ ﺗﺒﺪﻳﻞ ﺑﻪ ﺩﺭﺍﻛﻮﻻ ﻣﻰﺷﻮﺩ ﻧﻴﺰ‬ ‫ﺯﻣﺎﻥﻫﺎﻯ ﻣﺮﺯﻯ ﻫﺴﺘﻨﺪ؛ ﻧﻴﻤﻪ ﺷﺐ‪ ،‬ﻏﺮﻭﺏ ﻭ ﻃﻠﻮﻉ ﺧﻮﺭﺷﻴﺪ‪ .‬ﺍﺯ ﺁﻥﺟﺎ ﻛﻪ ﻭﻣﭙﺎﻳﺮ ﻫﻢﺑﺴﺘﮕﻰ‬ ‫ﻧﺰﺩﻳﻚ ﻣﻌﻤﻮﻟﻰ ﻭ ﻏﻴﺮﻣﻌﻤﻮﻟﻰ ﺑﻮﺩﻥ ﺭﺍ ﺑﻪ ﺗﺼﻮﻳﺮ ﻣﻰﻛﺸﺪ‪ ،‬ﻫﻤﻮﺍﺭﻩ ﺑﺎﻭﺭﻫﺎ ﻭ ﺩﺍﻧﺶ ﻣﺎ ﺭﺍ ﺑﻪ‬ ‫ﭼﺎﻟﺶ ﻣﻰﻛﺸﺪ ﻭ ﺍﻳﻦ ﻣﻮﺿﻮﻉ ﺭﺍ ﻣﻄﺮﺡ ﻣﻰﻛﻨﺪ ﻛﻪ ﻛﺠﺎ ﺯﻧﺪﮔﻰ ﺧﺎﺗﻤﻪ ﻣﻰﻳﺎﺑﺪ ﻭ ﻛﺠﺎ ﻣﺮگ‬ ‫ﺷﺮﻭﻉ ﻣﻰﺷﻮﺩ ﻭ ﭼﻪ ﻣﺤﺪﻭﺩﻩﺍﻯ ﺑﻴﻦ ﺍﻳﻦ ﺩﻭ ﺩﻭﺭﻩ ﻭﺟﻮﺩ ﺩﺍﺭﺩ‪ ،‬ﺍﻳﻦ ﻛﻪ ﺧﻮﻥ ﺑﻪ ﻋﻨﻮﺍﻥ ﻧﻴﺮﻭﻯ‬ ‫ﺯﻧﺪﮔﻰ ﭼﻪ ﻧﻘﺸﻰ ﺑﺮﺍﻯ ﻣﺎ ﺑﺎﺯﻯ ﻣﻰﻛﻨﺪ ﻭ ﻣﺎ ﭼﮕﻮﻧﻪ ﺗﻮﻟﻴﺪ ﻣﺜﻞ ﻣﻰﻛﻨﻴﻢ‪.‬‬ ‫ﺩﺭﺍﻛﻮﻻ ﺗﻨﻬﺎ ﺑﺪﻥ ﻗﺮﺑﺎﻧﻰﻫﺎﻯ ﺧﻮﺩ ﺭﺍ ﺩﺭ ﺍﺧﺘﻴﺎﺭ ﻧﻤﻰﮔﻴﺮﺩ‪ ،‬ﺑﻠﻜﻪ ﺭﻭﺡ ﺁﻥﻫﺎ ﺭﺍ ﻧﻴﺰ ﺗﺴﺨﻴﺮ‬ ‫ﻣﻰﻛﻨﺪ‪ .‬ﺍﻭ ﺁﻥﻫﺎ ﺭﺍ ﻭﺍﺭﺩ ﺣﺎﻟﺘﻰ ﺧﻠﺴﻪﻭﺍﺭ ﻣﻰﻛﻨﺪ )ﭼﻴﺰﻯ ﺷﺒﻴﻪ ﻫﻴﭙﻨﻮﺗﻴﺰﻡ(‪ ،‬ﻃﻮﺭﻯ ﻛﻪ ﺩﺭ‬ ‫ﺁﻥ ﺍﺧﺘﻴﺎﺭﻯ ﺍﺯ ﺧﻮﺩ ﻧﺪﺍﺭﻧﺪ‪ ،‬ﻧﻴﺮﻭﻯ ﺍﺭﺍﺩﻩﺷﺎﻥ ﻓﻠﺞ ﻣﻰﺷﻮﺩ ﻭ ﺧﻮﺩ ﺭﺍ ﺑﻪ ﺩﺳﺖ ﺗﻤﺎﻳﻼﺗﻰ ﻛﻪ‬ ‫ﺩﺭ ﺿﻤﻴﺮ ﻧﺎﺧﻮﺩﺁﮔﺎﻫﺸﺎﻥ ﻗﺮﺍﺭ ﺩﺍﺭﺩ ﻣﻰﺳﭙﺎﺭﻧﺪ‪ .‬ﺩﺭ ﺍﻳﻦﺟﺎ ﻣﻰﺷﻮﺩ ﺭﺩ ﭘﻴﺪﺍ ﺷﺪﻥ ﺍﻳﺪﻩ »ﺿﻤﻴﺮ‬ ‫ﻧﺎﺧﻮﺩﺁﮔﺎﻩ« ﺭﺍ ﻧﻴﺰ ﺩﻧﺒﺎﻝ ﻛﺮﺩ‪ ،‬ﻫﻤﻴﻦ ﻃﻮﺭ ﺭﺍﺑﻄﻪﻯ ﻧﺎﺑﻮﺩﻛﻨﻨﺪﻩ ﺑﻴﻦ ﻋﺎﻣﻞ ﻭ ﻗﺮﺑﺎﻧﻰ ﻭ ﻧﻘﺶﻫﺎﻯ‬ ‫ﺟﻨﺴﻴﺘﻰ ﺁﻥ ﺯﻣﺎﻥ‪ ،‬ﻭﻗﺘﻰ ﻣﺮﺩ ﺩﺭ ﺟﺎﻳﮕﺎﻩ ﻋﺎﻣﻞ ﺳﺎﺩﻳﺴﺖ‪ ،‬ﻭ ﺯﻥ ﺩﺭ ﻧﻘﺶ ﻗﺮﺑﺎﻧﻰ ﻣﺎﺯﻭﺧﻴﺴﺖ‬ ‫ﻗﺮﺍﺭ ﻣﻰﮔﻴﺮﺩ‪ .‬ﺁﻥ ﭼﻪ ﻣﻰﺧﻮﺍﻫﻢ ﺑﮕﻮﻳﻢ ﺍﻳﻦ ﺍﺳﺖ ﻛﻪ ﺑﻪ ﻋﻨﻮﺍﻥ ﺩﺍﺳﺘﺎﻧﻰ ﺑﺮﺧﺎﺳﺘﻪ ﺍﺯ ﺭﻭﺣﻴﻪﻯ‬ ‫ﺁﻥ ﺯﻣﺎﻥ‪ ،‬ﻣﻰﺗﻮﺍﻥ ﺑﻪ ﺑﺴﻴﺎﺭﻯ ﺍﺯ ﺧﻮﺍﺳﺘﻪﻫﺎ‪ ،‬ﻣﺸﻜﻼﺕ‪ ،‬ﻣﺴﺎﺋﻞ ﻭ ﺳﺆﺍﻝﻫﺎﻯ ﻣﺮﺩﻡ ﺁﻥ ﺯﻣﺎﻥ ﭘﻰ‬ ‫ﺑﺮﺩ‪ .‬ﺍﮔﺮ ﻓﻴﻠﻢﻫﺎﻯ ﻣﺮﺑﻮﻁ ﺑﻪ ﺩﺭﺍﻛﻮﻻ ﺭﺍ ﺩﻧﺒﺎﻝ ﻛﻨﻴﻢ‪ ،‬ﻣﻰﺑﻴﻨﻴﻢ ﻛﻪ ﺍﻳﻦ ﺗﺄﺛﻴﺮ ﺭﻭﺣﻴﻪﻯ ﺯﻣﺎﻧﻪ‪،‬‬ ‫ﺧﻮﺩ ﺭﺍ ﺩﺭ ﺳﻴﻨﻤﺎ‪ ،‬ﺩﺭ ﻃﻰ ﮔﺬﺷﺖ ﺳﺎﻝﻫﺎ ﺑﺎ ﺗﻐﻴﻴﺮﺍﺗﻰ ﻛﻪ ﺩﺭ ﻣﺎﻫﻴﺖ ﻭﻣﭙﺎﻳﺮ ﺑﻪ ﻭﺟﻮﺩ ﻣﻰﺁﻳﺪ‪ ،‬ﺑﻪ‬ ‫ﺧﻮﺑﻰ ﻧﺸﺎﻥ ﻣﻰﺩﻫﺪ؛ ﺩﺭ ﺣﺎﻟﻰ ﻛﻪ ﺩﺭ ﺍﻭﻟﻴﻦ ﻓﻴﻠﻢﻫﺎﻯ ﺳﺎﺧﺘﻪ ﺷﺪﻩ‪ ،‬ﻭﻣﭙﺎﻳﺮ ﺑﻪ ﻋﻨﻮﺍﻥ ﻣﻮﺟﻮﺩﻯ‬ ‫ﻛﺎﻣ ً‬ ‫ﻼ ﺧﺒﻴﺚ ﻭ ﺑﺪﻭﻥ ﻛﻮﭼﻚﺗﺮﻳﻦ ﻓﻜﺮ ﻭ ﺍﺭﺍﺩﻩﺍﻯ ﻛﻪ ﻣﺎﻧﻨﺪ ﺣﻴﻮﺍﻧﺎﺕ ﺍﺯ ﺭﻭﻯ ﻏﺮﻳﺰﻩ ﺩﺳﺖ ﺑﻪ‬ ‫ﻛﺸﺘﺎﺭ ﻣﻰﺯﻧﺪ‪ ،‬ﻧﻤﺎﻳﺶ ﺩﺍﺩﻩ ﻣﻰﺷﻮﺩ‪ .‬ﺩﺭ ﻓﻴﻠﻢﻫﺎﻯ ﺟﺪﻳﺪﺗﺮ‪ ،‬ﻣﺎﻧﻨﺪ ﻓﻴﻠﻢ »ﺩﺭﺍﻛﻮﻻ«‪ ،‬ﺍﻭ ﺑﺎ ﻫﻤﻪ‬ ‫ﺧﺼﻮﺻﻴﺖﻫﺎﻯ ﺧﻮﻥﺧﻮﺍﺭﺍﻧﻪ ﻣﺨﺼﻮﺹ ﺑﻪ ﺧﻮﺩ‪ ،‬ﻋﺎﺷﻖ ﺍﺳﺖ ﻭ ﺑﺎ ﻧﻴﺮﻭﻯ ﻋﺸﻖ ﺩﻭﺑﺎﺭﻩ »ﺟﻮﺍﻥ«‬ ‫ﺷﺪﻩ ﻭ ﺣﺘﺎ ﻳﺎﻓﺘﻦ ﻣﻌﺸﻮﻕ ﺑﺮﺍﻯ ﺍﻭ ﺗﺒﺪﻳﻞ ﺑﻪ ﻳﻚ ﻣﺄﻣﻮﺭﻳﺖ ﻣﻰﺷﻮﺩ ﻭ ﺩﺭ ﻓﻴﻠﻢ »ﻣﺼﺎﺣﺒﻪ ﺑﺎ‬ ‫ﺧﻮﻥﺁﺷﺎﻡ« ‪ ،‬ﻭﻣﭙﺎﻳﺮﻫﺎ ﺩﺍﺭﺍﻯ ﺩﻧﻴﺎﻯ ﺩﺭﻭﻧﻰ ﺧﻴﻠﻰ ﭘﻴﭽﻴﺪﻩﺗﺮﻯ ﻫﺴﺘﻨﺪ ﻭ ﺳﺆﺍﻝﻫﺎﻳﻰ ﻓﻠﺴﻔﻰ‬ ‫ﺭﺍ ﺩﺭ ﭘﻴﺶ ﻣﻰﻛﺸﻨﺪ‪ ،‬ﺑﻪ ﺩﺳﺘﻪﻫﺎﻯ ﺧﻮﺏ ﻭ ﺑﺪ ﺗﻘﺴﻴﻢ ﻣﻰﺷﻮﻧﺪ‪ ،‬ﮔﺎﻫﻰ ﺣﺲ ﺍﻧﺴﺎﻧﻰ ﺩﺍﺭﻧﺪ ﻭ‬ ‫ﺑﺮﺧﻼﻑ ﻏﺮﻳﺰﻩﻯ ﻃﺒﻴﻌﻰﺷﺎﻥ ﻧﻤﻰﺧﻮﺍﻫﻨﺪ ﺑﺎﻋﺚ ﻗﺘﻞ ﺷﻮﻧﺪ‪ ،‬ﺗﻨﻬﺎ ﻫﺴﺘﻨﺪ‪ ،‬ﻭ ﺍﺯ ﺟﺎﻭﺩﺍﻧﮕﻰ ﺧﻮﺩ‬ ‫ﻧﺎﺭﺍﺿﻰﺍﻧﺪ‪ .‬ﺩﺧﺘﺮ ﺧﻮﻥﺁﺷﺎﻡ ﻛﻮﭼﻚ ﺍﺯ ﺍﻳﻦ ﻛﻪ ﻧﻤﻰﺗﻮﺍﻧﺪ ﻫﻴﭻﮔﺎﻩ ﺑﺪﻥ ﺯﻧﺎﻧﻪﺍﻯ ﺩﺍﺷﺘﻪ ﺑﺎﺷﺪ ﺗﺎ‬ ‫ﺳﺮ ﺣﺪ ﻣﺮگ ﻧﺎﺍﻣﻴﺪ ﺍﺳﺖ ﻭ ﺑﺎ ﺍﻳﻦ ﻫﻤﻪ ﻣﺮگ ﺭﺍ ﭘﻴﺪﺍ ﻧﻤﻰﻛﻨﺪ‪.‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،9-10‬ﺷﻬﺮﻳﻮﺭ ﻭ ﻣﻬﺮ ‪1390‬‬

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‫ﻣﻘﺎﻟﻪ‬

‫ﺷﺪﺕ ﻣﻰﺩﻫﺪ ﻭ ﺑﺮﺍﻯ ﻫﻤﻴﻦ ﺍﻳﻦ ﺑﻴﻤﺎﺭﺍﻥ ﻧﺴﺒﺖ ﺑﻪ ﺳﻴﺮ ﺣﺴﺎﺳﻴﺖ ﺩﺍﺭﻧﺪ‪ .‬ﻣﺸﻜﻞ ﺍﻳﻦ ﺗﻮﺿﻴﺢ‬ ‫ﺩﺭ ﺍﻳﻦﺟﺎ ﺍﺳﺖ ﻛﻪ ﺍﻳﻦ ﺑﻴﻤﺎﺭﻯ ﺑﺴﻴﺎﺭ ﻧﺎﺩﺭ ﺍﺳﺖ ﻭ ﺗﺎ ﺑﻪ ﺣﺎﻝ ﺗﻨﻬﺎ ‪ 200‬ﻣﻮﺭﺩ ﺁﻥ ﺷﻨﺎﺳﺎﻳﻰ ﺷﺪﻩ‬ ‫ﺍﺳﺖ ﻭ ﻧﺴﺒﺖ ﺩﺍﺩﻥ ﺁﻥ ﺑﻪ ﺗﻌﺪﺍﺩ ﻛﺸﺘﻪﺷﺪﮔﺎﻥ ﺭﻭﺳﺘﺎﻯ ﺑﺎﻟﻜﺎﻥ ﺩﺭ ﺁﻥ ﺯﻣﺎﻥ ﻧﻤﻰﺗﻮﺍﻧﺪ ﺍﺯ ﻧﻈﺮ‬ ‫ﺭﻗﻤﻰ ﻛﺎﻣ ً‬ ‫ﻼ ﺩﺭﺳﺖ ﺑﺎﺷﺪ‪ .‬ﺩﺭ ﺍﻳﻦ ﺑﺎﺭﻩ ﺗﻮﺿﻴﺢ ﻣﺘﺨﺼﺺ ﭘﻮﺳﺖ ﺍﺳﭙﺎﻧﻴﺎﻳﻰ ژﻭﺍﻥ ﮔﻮﻣﺰ ﺁﻟﻮﻧﺰﻭ‬ ‫)‪ (6‬ﺩﺭ ﺳﺎﻝ ‪ 1982‬ﻛﻪ ﺍﻳﻦ ﭘﺪﻳﺪﻩ ﺭﺍ ﺑﻪ ﺑﻴﻤﺎﺭﻯ ﻫﺎﺭﻯ ﻧﺴﺒﺖ ﺩﺍﺩ‪ ،‬ﺩﺭﺳﺖﺗﺮ ﺑﻪ ﻧﻈﺮ ﻣﻰﺭﺳﺪ‪.‬‬ ‫ﺷﺨﺼﻰ ﻛﻪ ﺑﻪ ﺑﻴﻤﺎﺭﻯ ﻫﺎﺭﻯ ﺩﭼﺎﺭ ﻣﻰﺷﻮﺩ‪ ،‬ﺩﭼﺎﺭ ﺗﻮﻫﻢ‪ ،‬ﻛﺎﺑﻮﺱ‪ ،‬ﺑﻰﺧﻮﺍﺑﻰ ﻭ ﺭﻓﺘﺎﺭ ﻏﻴﺮﻃﺒﻴﻌﻰ‬ ‫ﺍﺳﺖ‪ .‬ﺍﺛﺮ ﺯﺧﻢ ﮔﺎﺯ ﮔﺮﻓﺘﮕﻰ ﺩﺭ ﺑﺪﻥ ﺍﻭ ﺍﺑﺘﺪﺍ ﺩﺭﺩﻧﺎﻙ ﺍﺳﺖ ﻭ ﺑﻌﺪ ﻛﻢﻛﻢ ﺍﻳﻦ ﺩﺭﺩ ﺑﻪ ﺗﻤﺎﻡ ﺑﺪﻥ‬ ‫ﻣﻨﺘﻘﻞ ﻭ ﺑﺪﻥ ﺩﭼﺎﺭ ﮔﺮﻓﺘﮕﻰﻫﺎﻯ ﺷﺪﻳﺪ ﻣﺎﻫﻴﭽﻪﺍﻯ ﻣﻰﺷﻮﺩ ﻛﻪ ﭼﻬﺮﻩ ﺍﻭ ﺭﺍ ﺑﻪ ﻃﻮﺭ ﻫﺮﺍﺳﻨﺎﻛﻰ‬ ‫ﺑﻪ ﻧﻈﺮ ﻣﻰﺭﺳﺎﻧﺪ ﻭ ﭼﻮﻥ ﺑﻴﻤﺎﺭ ﻧﻤﻰﺗﻮﺍﻧﺪ ﺁﺏ ﺩﻫﺎﻧﺶ ﺭﺍ ﻓﺮﻭ ﺩﻫﺪ‪ ،‬ﺩﺭ ﺩﻫﺎﻧﺶ ﻛﻒ ﻭ ﻣﺎﻳﻌﺎﺕ‬ ‫ﺩﻳﮕﺮ ﺟﻤﻊ ﻣﻰﺷﻮﺩ‪ .‬ﺑﻪ ﺍﻳﻦ ﺗﺮﺗﻴﺐ ﻣﻰﺗﻮﺍﻥ ﺍﻳﻦ ﺭﺍ ﻧﻴﺰ ﺗﻮﺿﻴﺢ ﺩﺍﺩ ﻛﻪ ﭼﺮﺍ ﭘﺪﻳﺪﻩﻯ ﺧﻮﻥﺁﺷﺎﻣﻰ‬ ‫ﺑﻪ ﺻﻮﺭﺕ ﺩﻭﺭﻩﺍﻯ ﺩﺭ ﻃﻮﻝ ﺍﻳﻦ ﭼﻨﺪ ﺩﻫﻪ ﻇﺎﻫﺮ ﺷﺪﻩ ﺍﺳﺖ‪ ،‬ﭼﺮﺍ ﻛﻪ ﻫﺎﺭﻯ ﺑﻴﻤﺎﺭﻯﺍﻯ ﺍﺳﺖ ﻛﻪ‬ ‫ﮔﺎﻫﻰ ﺑﻴﺸﺘﺮ ﻭ ﮔﺎﻫﻰ ﻛﻤﺘﺮ ﺩﺭ ﺑﻴﻦ ﻣﺮﺩﻡ ﻇﺎﻫﺮ ﻣﻰﺷﻮﺩ‪ .‬ﺑﺎ ﺍﻳﻦ ﻫﻤﻪ‪ ،‬ﻳﻚ ﺗﻮﺿﻴﺢ ﻛﺎﻣﻞ ﻋﻠﻤﻰ‬ ‫ﺑﺮﺍﻯ ﺑﻪ ﻭﺟﻮﺩ ﺁﻣﺪﻥ ﺗﺼﻮﺭ ﭘﺪﻳﺪﻩ ﺧﻮﻥﺁﺷﺎﻡ ﺩﺭ ﺑﻴﻦ ﻣﺮﺩﻡ ﺁﻥ ﺯﻣﺎﻥ ﻭﺟﻮﺩ ﻧﺪﺍﺭﺩ‪.‬‬ ‫ﻣﺪﺕﻫﺎ ﺑﻌﺪ ﺍﺯ ﺍﻳﻦ ﻛﻪ ﻭﻣﭙﺎﻳﺮ ﺍﺯ ﺩﻧﻴﺎﻯ ﻭﺍﻗﻌﻴﺖ ﺑﻴﺮﻭﻥ ﺭﺍﻧﺪﻩ ﺷﺪ‪ ،‬ﺩﺭ ﻗﺮﻥ ‪ 19‬ﻣﻴﻼﺩﻯ ﺩﻭﺑﺎﺭﻩ‬ ‫ﺩﺭ ﻋﺎﻟﻢ ﺍﺩﺑﻴﺎﺕ ﻭ ﺳﻴﻨﻤﺎ ﻣﺘﻮﻟﺪ ﺷﺪ‪ .‬ﺩﺭ ﺳﺎﻝ ‪ 1875‬ﺑﺮﺍﻡ ﺍﺳﺘﻮﻛﺮ ﺭﻣﺎﻥ ﻣﻌﺮﻭﻑ »ﺩﺭﺍﻛﻮﻻ« ﺭﺍ‬ ‫ﻧﻮﺷﺖ ﻭ ﺑﻪ ﺍﻳﻦ ﺗﺮﺗﻴﺐ ﺩﺍﺳﺘﺎﻥ ﻓﺮﺍﻣﻮﺵﺷﺪﻩﻯ ﺧﻮﻥﺁﺷﺎﻡﻫﺎ ﺩﻭﺑﺎﺭﻩ ﺩﺭ ﺗﺎﺭﻳﺦ ﻓﺮﻫﻨﮓ ﻏﺮﺏ‬ ‫ﻳﺎﺩﺁﻭﺭﻯ ﺷﺪ‪ .‬ﺩﺭﺍﻛﻮﻻ ﺩﺭ ﺭﻣﺎﻥ ﺍﺳﺘﻮﻛﺮ‪ ،‬ﻳﻚ ﻛﻨﺖ ﺑﺴﻴﺎﺭ ﺟﺬﺍﺏ ﻭ ﺩﺭ ﻋﻴﻦ ﺣﺎﻝ ﺭﻋﺐﺁﻭﺭ‬ ‫ﺍﺳﺖ‪ .‬ﻧﺎﻡ ﺩﺭﺍﻛﻮﻻﻯ ﺭﻣﺎﻥ‪ ،‬ﺑﺮﮔﺮﻓﺘﻪ ﺍﺯ ﻧﺎﻡ ﻓﺮﺩﻯ ﺗﺎﺭﻳﺨﻰ ﺑﻪ ﺍﺳﻢ »ﻭﻻﺩ ﺩﺭﺍﻛﻮﻝ« )‪ (7‬ﺍﺳﺖ ﻛﻪ‬ ‫ﺷﺎﻫﺰﺍﺩﻩﺍﻯ ﺭﻭﻣﺎﻧﻴﺎﻳﻰ ﺑﻮﺩ ﻭ ﺍﺯ ﻃﺮﻳﻖ ﭘﺪﺭ ﺧﻮﺩ ﻭﺍﺭﺩ ﮔﺮﻭﻩ »ﺍژﺩﻫﺎ« ﺷﺪ ﻛﻪ ﺑﺮﺍﻯ ﺟﻨﮓ ﺻﻠﻴﺒﻰ‬ ‫ﺑﺎ ﻋﺜﻤﺎﻧﻴﺎﻥ ﺗﺸﻜﻴﻞ ﺷﺪﻩ ﺑﻮﺩ ﻭ ﺑﻪ ﻫﻤﻴﻦ ﺧﺎﻃﺮ ﻧﻴﺰ ﺻﺎﺣﺐ ﺍﻳﻦ ﻧﺎﻡ ﺷﺪ؛ ﻭﻻﺩ ﺩﺭﺍﻛﻮﻝ ﺑﻪ ﻣﻌﻨﻰ‬ ‫»ﺍژﺩﻫﺎﻯ ﻛﻮﭼﻚ« ﺍﺳﺖ‪ .‬ﺍﺯ ﺁﻥ ﮔﺬﺷﺘﻪ‪» ،‬ﺩﺭﺍﻙ« ﺩﺭ ﺯﺑﺎﻥ ﻳﻮﻧﺎﻧﻰ ﻣﻌﻨﻰ ﺷﻴﻄﺎﻥ ﻫﻢ ﻣﻰﺩﻫﺪ‪.‬‬ ‫ﻧﺎﻡ ﻭﻻﺩ ﺩﺭﺍﻛﻮﻝ ﺑﻪ ﻋﻨﻮﺍﻥ ﻓﺮﻣﺎﻧﺪﻩﺍﻯ ﺑﻰﺭﺣﻢ ﺩﺭ ﺗﺎﺭﻳﺦ ﺛﺒﺖ ﺷﺪﻩ ﺍﺳﺖ؛ ﻃﺒﻖ ﺭﻭﺍﻳﺘﻰ ﺍﻭ ﻧﺰﺩﻳﻚ‬ ‫ﺑﻪ ‪ 24000‬ﺗﺮﻙ ﻋﺜﻤﺎﻧﻰ ﺭﺍ ﺑﻪ ﺻﻼﺑﻪ ﻛﺸﻴﺪ‪ .‬ﺍﻣﺮﻭﺯﻩ ﻗﺼﺮ ﻣﺤﻞ ﺳﻜﻮﻧﺖ ﺍﻭ ﺩﺭ ﺗﺮﺍﻧﺴﻴﻠﻮﺍﻧﻴﺎ )‪(8‬‬ ‫ﺗﺒﺪﻳﻞ ﺑﻪ ﻣﻜﺎﻧﻰ ﺗﻮﺭﻳﺴﺘﻰ ﺷﺪﻩ ﺍﺳﺖ ﻛﻪ ﺭﻭﺯﺍﻧﻪ ﺑﺎﺯﺩﻳﺪﻛﻨﻨﺪﮔﺎﻥ ﺑﺴﻴﺎﺭﻯ ﺩﺍﺭﺩ‪.‬‬ ‫ﺧﻮﻥﺁﺷﺎﻡ‪ ،‬ﺩﺭﺍﻛﻮﻻ‪ .‬ﺁﻳﺎ ﺍﻭ ﺩﺭ ﺍﺩﺑﻴﺎﺕ ﺗﻨﻬﺎ ﻳﻚ ﻣﻮﺟﻮﺩ ﺧﻴﺎﻟﻰ ﻧﻴﺴﺖ؟ ﺍﻟﺒﺘﻪ‪ .‬ﺍﻣﺎ ﺍﻳﻦ ﭘﺪﻳﺪﻩ‪،‬‬ ‫ﻣﺤﺘﻮﻯ ﺳﻮﺍﻝﻫﺎﻯ ﻣﻬﻤﻰ ﺩﺭ ﺭﺍﺑﻄﻪ ﺑﺎ ﺑﻴﻤﺎﺭﻯ‪ ،‬ﺗﻐﺬﻳﻪ‪ ،‬ﻣﺮگ‪ ،‬ﻗﺪﺭﺕ‪ ،‬ﺟﺎﻭﺩﺍﻧﮕﻰ ﻳﺎ ﺧﺪﺍ ﺍﺳﺖ‪.‬‬ ‫ﻭﻣﭙﺎﻳﺮ ﻫﻤﻴﺸﻪ ﺁﻥ ﺩﻳﮕﺮﻯ ﺍﺳﺖ‪ ،‬ﻭ ﺑﻪ ﺍﻳﻦ ﻋﻨﻮﺍﻥ ﻧﻤﺎﺩ ﻣﺘﻔﺎﻭﺕ ﺑﻮﺩﻥ ﻭ ﺟﺪﺍﻳﻰ ﻭ ﻣﺮﺯﺑﻨﺪﻯ ﺍﺳﺖ‪.‬‬ ‫ﺑﺎ ﺍﻳﻦ ﻭﺟﻮﺩ ﺍﻭ ﺩﺍﺋﻢ ﺑﺎ ﺟﺎﻣﻌﻪﻯ ﺳﺎﻟﻢﻫﺎ ﻭ ﻣﻌﻤﻮﻟﻰﻫﺎ ﺩﺭ ﺍﺭﺗﺒﺎﻁ ﺍﺳﺖ‪ .‬ﺑﻪ ﻋﻨﻮﺍﻥ ﻫﻴﺒﺘﻰ ﻛﻪ ﺩﺭ‬

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‫ﻭﻳﮋﻩﻧﺎﻣﻪﻯ ﺧﻮﻥﺁﺷﺎﻡﻫﺎ‬

‫ﻣﻘﺎﻟﻪ‬

‫ﺁﻥ ﺗﻴﺰ ﺷﺪﻩ ﺍﺳﺖ ﺭﺍ ﺑﻪ ﻗﻠﺐ ﺁﻥ ﻓﺮﻭ ﻛﺮﺩﻩ ﻭ ﺑﻌﺪ ﺍﺯ ﺁﻥ ﺳﺮ ﺟﺴﺪ ﺭﺍ ﻗﻄﻊ ﻣﻰﻛﻨﻨﺪ ﻭ ﺑﺎﻗﻰ ﻣﺎﻧﺪﻩ‬ ‫ﺟﺴﺪ ﺭﺍ ﺳﻮﺯﺍﻧﺪﻩ ﻭ ﺧﺎﻛﺴﺘﺮ ﺁﻥ ﺭﺍ ﺑﻪ ﺭﻭﻯ ﻗﺒﺮ ﭘﺨﺶ ﻣﻰﻛﻨﻨﺪ‪.‬‬ ‫ﻫﻨﻮﺯ ﻗﺮﻥ ‪ 18‬ﻣﻴﻼﺩﻯ ﺍﺳﺖ‪ .‬ﺑﺤﺚﻫﺎ ﺩﺭﺑﺎﺭﻩ ﺧﻮﻥ ﺁﺷﺎﻡﻫﺎ ﻫﻤﭽﻨﺎﻥ ﺍﺩﺍﻣﻪ ﺩﺍﺭﺩ ﻭ ﻇﺎﻫﺮﺍ ً ﻣﻮﺿﻮﻉ‬ ‫ﺁﺳﺎﻧﻰ ﻫﻢ ﻧﻴﺴﺖ! ﺣﺘﺎ ﺍﺯ ﺍﻳﻦ ﭘﺪﻳﺪﻩ ﺑﻪ ﻋﻨﻮﺍﻥ ﻧﺸﺎﻧﻪﺍﻯ ﺑﺮﺍﻯ ﺯﻧﺪﮔﻰ ﻣﺎﻭﺭﺍﻯ ﻃﺒﻴﻌﻰ ﻧﺎﻡ ﺑﺮﺩﻩ‬ ‫ﻣﻰﺷﻮﺩ ﻭ ﺑﺤﺚ ﺩﺭ ﺍﻳﻦ ﺑﺎﺭﻩ ﺑﺎ ﺑﺤﺚ ﺯﻧﺪﮔﻰ ﭘﺲ ﺍﺯ ﻣﺮگ ﻫﻤﺮﺍﻩ ﻣﻰﺷﻮﺩ ﻳﺎ ﺣﺘﺎ ﺁﻥ ﺭﺍ ﺩﺍﻍﺗﺮ‬ ‫ﻣﻰﻛﻨﺪ‪ ،‬ﺑﻪ ﺧﺼﻮﺹ ﺍﻳﻦ ﺳﺆﺍﻝ ﻣﻄﺮﺡ ﻣﻰﺷﻮﺩ ﻛﻪ ﺁﻳﺎ ﭘﺲ ﺍﺯ ﻣﺮگ‪ ،‬ﺟﺴﺪ ﺍﺯ ﺯﻧﺪﮔﻰ ﺧﺎﻟﻰ‬ ‫ﻣﻰﺷﻮﺩ ﻳﺎ ﺍﻳﻦ ﻛﻪ ﺗﺎ ﻣﺪﺗﻰ ﻫﻨﻮﺯ ﻧﺸﺎﻧﻪﻫﺎﻯ ﺯﻧﺪﮔﻰ ﺩﺭ ﺁﻥ ﻭﺟﻮﺩ ﺩﺍﺭﺩ‪...‬‬ ‫ﺍﻣﺮﻭﺯ ﻭﻗﺘﻰ ﺑﻪ ﮔﺰﺍﺭﺵ ﭘﺰﺷﻜﻰ ﻛﻪ ﺩﺭ ﺳﺎﻝ ‪ 1725‬ﺩﺭ ﺑﺎﺭﻩ ﺟﺴﺪ »ﺳﺎﻟﻢ« ﻧﻮﺷﺘﻪ ﺷﺪﻩ‪ ،‬ﻧﮕﺎﻩ‬ ‫ﻣﻰﺷﻮﺩ‪ ،‬ﻣﻰﺗﻮﺍﻥ ﮔﻔﺖ ﺍﻃﻼﻋﺎﺕ ﺁﻥ ﺯﻣﺎﻥ ﺩﺭﺑﺎﺭﻩﻯ ﺑﻴﻮﻟﻮژﻯ ﻭ ﺩﻭﺭﻩﻯ ﭘﻮﺳﻴﺪﮔﻰ ﺟﺴﺪ‪ ،‬ﺑﺴﻴﺎﺭ‬ ‫ﻛﻢ ﺑﻮﺩﻩ ﺍﺳﺖ‪ .‬ﺍﻣﺮﻭﺯﻩ ﻣﻰﺩﺍﻧﻴﻢ ﻛﻪ ﺩﺭ ﺑﺪﻥ ﺍﻧﺴﺎﻥ ﻣﺮﺩﻩ‪ ،‬ﮔﺎﺯﻫﺎﻳﻰ ﺗﻮﻟﻴﺪ ﻣﻰﺷﻮﺩ ﻛﻪ ﺁﻥ ﺭﺍ ﻣﺎﻧﻨﺪ‬ ‫ﺑﺎﺩﻛﻨﻚ ﺑﺎﺩ ﻣﻰﻛﻨﺪ ﻭ ﺗﺎ ﻣﺪﺗﻰ ﻇﺎﻫﺮﺍ ً ﺟﺴﺪ ﺳﺎﻟﻢ ﻳﺎ ﺣﺘﺎ ﻛﺎﻣ ً‬ ‫ﻼ ﺗﺎﺯﻩ ﺑﻪ ﻧﻈﺮ ﻣﻰﺭﺳﺪ‪ .‬ﺩﺭ ﻃﻰ‬ ‫ﻓﺮﺁﻳﻨﺪ ﭘﻮﺳﻴﺪﻩ ﺷﺪﻥ‪ ،‬ﻣﺎﻳﻌﺎﺗﻰ ﻧﻴﺰ ﺩﺭ ﺳﻴﻨﻪ ﺟﺴﺪ ﺟﻤﻊ ﻣﻰﺷﻮﻧﺪ ﻭ ﻛﻪ ﮔﺎﻫﻰ ﺍﺯ ﺩﻫﺎﻥ ﻳﺎ ﺑﻴﻨﻰ‬ ‫ﺑﻪ ﺑﻴﺮﻭﻥ ﺗﺮﺍﻭﺵ ﻣﻰﻛﻨﻨﺪ ﻭ ﺍﻳﻦ ﺗﺼﻮﺭ ﺑﻪ ﻭﺟﻮﺩ ﻣﻰﺁﻳﺪ ﻛﻪ ﺩﺭ ﺩﻫﺎﻥ ﻣﺮﺩﻩ ﺧﻮﻥ ﺟﻤﻊ ﺷﺪﻩ‬ ‫ﺍﺳﺖ‪ .‬ﻳﺎ ﺍﺯ ﺟﺴﺪ ﺻﺪﺍﻫﺎﻳﻰ ﺷﻨﻴﺪﻩ ﻣﻰﺷﻮﺩ‪ .‬ﺑﻪ ﻋﻼﻭﻩ ﭘﻮﺳﺖ ﺩﺭ ﻃﻰ ﻫﻤﻴﻦ ﺟﺮﻳﺎﻥ ﻛﻢ ﻛﻢ ﺑﻪ‬ ‫ﻋﻘﺐ ﻛﺸﻴﺪﻩ ﻣﻰﺷﻮﺩ ﻭ ﺑﻪ ﺍﻳﻦ ﻋﻠﺖ ﺑﻪ ﻧﻈﺮ ﻣﻰﺭﺳﺪ ﻛﻪ ﻧﺎﺧﻦﻫﺎ ﺭﺷﺪ ﻛﺮﺩﻩﺍﻧﺪ‪ .‬ﻛﻢﻛﻢ ﻧﺎﺧﻦﻫﺎ‬ ‫ﺍﺯ ﺟﺎﻯ ﺧﻮﺩ ﺟﺪﺍ ﻣﻰﺷﻮﻧﺪ ﻭ ﭘﻮﺳﺖ ﺻﻮﺭﺗﻰﺭﻧﮓ ﺯﻳﺮ ﻧﺎﺧﻦﻫﺎ ﺍﻳﻦ ﺗﺼﻮﺭ ﺭﺍ ﺑﻪ ﻭﺟﻮﺩ ﻣﻰ ﺁﻭﺭﺩ‬ ‫ﻛﻪ ﻧﺎﺧﻦﻫﺎﻯ ﺗﺎﺯﻩ ﺩﺭ ﺣﺎﻝ ﺭﻭﻳﻴﺪﻥ ﻫﺴﺘﻨﺪ‪.‬‬ ‫ﺩﺭ ﺳﺎﻝ ‪ 1756‬ﺑﺮﺍﻯ ﺍﻭﻟﻴﻦ ﺑﺎﺭ ﮔﺰﺍﺭﺵ ﺟﺮﺝ ﺗﺎﻻﺭ )‪ (3‬ﻭﺟﻮﺩ ﺧﻮﻥ ﺁﺷﺎﻡﻫﺎ ﺭﺍ ﻳﻚ ﺗﻌﺒﻴﺮ ﺍﺷﺘﺒﺎﻩ‬ ‫ﺍﺯ ﻧﻮﻋﻰ ﺑﻴﻤﺎﺭﻯ ﻛﻪ ﺑﺮ ﺍﺛﺮ ﺑﺪﻏﺬﺍﻳﻰ ﻭ ﭘﺮﺧﻮﺭﻯ ﺑﻪ ﻭﺟﻮﺩ ﻣﻰﺁﻳﺪ ﺩﺍﻧﺴﺖ ﻭ ﺍﻇﻬﺎﺭ ﻛﺮﺩ ﻛﻪ ﺩﺭ ﺍﺛﺮ‬ ‫ﺍﻳﻦ ﺑﻴﻤﺎﺭﻯ ﻭ ﺗﺐﻫﺎﻯ ﺗﻨﺪ‪ ،‬ﺧﻮﻥﺁﺷﺎﻡ ﻣﺎﻧﻨﺪ ﻛﺎﺑﻮﺳﻰ ﺑﻪ ﺳﺮﺍﻍ ﺍﻳﻦ ﺑﻴﻤﺎﺭﺍﻥ ﻣﻰﺁﻳﺪ ﻭ ﻛﻞ ﺩﺍﺳﺘﺎﻥ‬ ‫ﺧﻮﻥﺁﺷﺎﻡﻫﺎ ﭼﻴﺰﻯ ﺟﺰ ﻳﻚ ﺧﺮﺍﻓﻪﻯ ﻣﺮﺩﻡ ﻋﺎﻣﻪ ﻧﻴﺴﺖ‪ ،‬ﻭ ﺑﻪ ﺍﻳﻦ ﺗﺮﺗﻴﺐ ﺧﻮﻥﺁﺷﺎﻡ ﺑﺮﺍﻯ ﺍﻭﻟﻴﻦ‬ ‫ﺑﺎﺭ ﺍﺯ ﺩﻧﻴﺎﻯ ﻭﺍﻗﻌﻴﺖ ﺑﻪ ﺟﺮﮔﻪ ﺧﺮﺍﻓﺎﺕ ﭘﻴﻮﺳﺖ‪ .‬ﻣﺪﺕﻫﺎ ﺑﻌﺪ‪ ،‬ﺩﺭ ﺳﺎﻝ ‪ 1984‬ﻟﻴﻮﻧﻞ ﻣﻴﻠﮕﺮﺍﻡ‬ ‫)‪ ،(4‬ﭘﺰﺷﻚ ﺁﻣﺮﻳﻜﺎﻳﻰ ﻧﻴﺰ ﺳﻌﻰ ﻛﺮﺩ ﺑﻪ ﻭﺟﻮﺩ ﺁﻣﺪﻥ ﺍﻳﻦ ﭘﺪﻳﺪﻩ ﺭﺍ ﺍﺯ ﺭﺍﻩ ﻋﻠﻤﻰ ﺗﻮﺿﻴﺢ ﺩﻫﺪ‪.‬‬ ‫ﺍﻭ ﺩﺭ ﺍﻳﻦ ﺳﺎﻝ ﻣﻘﺎﻟﻪﺍﻯ ﺩﺭﺑﺎﺭﻩﻯ ﻧﻘﺶ ﻫﻤﻮﮔﻠﻮﺑﻴﻦ ﻭ ﺗﺄﺛﻴﺮ ﻛﻤﺒﻮﺩ ﻭﺟﻮﺩ ﺁﻥ ﺩﺭ ﺧﻮﻥ ﻧﻮﺷﺖ‬ ‫ﻭ ﺍﺯ ﻳﻚ ﺑﻴﻤﺎﺭﻯ ﺑﻪ ﻧﺎﻡ »ﻣﺮﺑﻮﺱ ﮔﻮﻧﺘﺮ« )‪ (5‬ﻧﺎﻡ ﺑﺮﺩ‪ ،‬ﻛﻪ ﺑﺎﻋﺚ ﺣﺴﺎﺳﻴﺖ ﺯﻳﺎﺩ ﺩﺭ ﺑﺮﺍﺑﺮ ﻧﻮﺭ‪،‬‬ ‫ﭘﻴﻮﺭﻩ )ﻛﻪ ﺩﻧﺪﺍﻥﻫﺎ ﺭﺍ ﺩﺭﺍﺯﺗﺮ ﺑﻪ ﻧﻈﺮ ﻣﻰﺭﺳﺎﻧﺪ( ﻭ ﻗﺮﻣﺰ ﺷﺪﻥ ﺩﻧﺪﺍﻥﻫﺎ ﺩﺭ ﺑﺮﺍﺑﺮ ﻧﻮﺭ‪ ،‬ﻛﻢﺧﻮﻧﻰ‬ ‫)ﺩﺭ ﻧﺘﻴﺠﻪ ﺳﻔﻴﺪﻯ ﭘﻮﺳﺖ( ﻭ ﺗﻮﻟﻴﺪ ﺯﻳﺎﺩ ﻣﻮﻯ ﺑﺪﻥ ﻣﻰﺷﻮﺩ‪ .‬ﺍﻭ ﺣﺘﺎ ﺣﺴﺎﺳﻴﺖ »ﺧﻮﻥﺁﺷﺎﻡ« ﺩﺭ‬ ‫ﺑﺮﺍﺑﺮ ﺳﻴﺮ ﺭﺍ ﻧﻴﺰ ﺑﻪ ﺍﻳﻦ ﺗﺮﺗﻴﺐ ﺗﻮﺿﻴﺢ ﺩﺍﺩ ﻛﻪ ﺳﻴﺮ ﺩﺍﺭﺍﻯ ﺁﻧﺰﻳﻤﻰ ﺍﺳﺖ ﻛﻪ ﻋﻼﺋﻢ ﺍﻳﻦ ﺑﻴﻤﺎﺭﻯ ﺭﺍ‬

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‫ﻭﻳﮋﻩﻧﺎﻣﻪﻯ ﺧﻮﻥﺁﺷﺎﻡﻫﺎ‬

‫»ﺟﺴﺪ‪ ،‬ﺑﻪ ﻏﻴﺮ ﺍﺯ ﺑﻴﻨﻰ ﻛﻪ ﻛﻤﻰ ﺗﻐﻴﻴﺮ ﺷﻜﻞ ﺩﺍﺩﻩ ﺍﺳﺖ ﻛﺎﻣ ً‬ ‫ﻼ ﺗﺎﺯﻩ ﺍﺳﺖ‪ .‬ﻧﺎﺧﻦﻫﺎ ﺍﻓﺘﺎﺩﻩﺍﻧﺪ ﻭ ﺑﻪ‬ ‫ﺟﺎﻯ ﺁﻥﻫﺎ ﻧﺎﺧﻦﻫﺎﻯ ﺗﺎﺯﻩ ﺭﺷﺪ ﻛﺮﺩﻩﺍﻧﺪ‪ .‬ﻫﻤﻴﻦ ﻃﻮﺭ ﭘﻮﺳﺖ ﻛﻬﻨﻪ ﻛﻪ ﺭﻧﮕﻰ ﻣﺘﻤﺎﻳﻞ ﺑﻪ ﺳﻔﻴﺪ‬ ‫ﺩﺍﺭﺩ‪ ،‬ﺟﺎﻯ ﺧﻮﺩ ﺭﺍ ﺑﻪ ﭘﻮﺳﺖ ﺗﺎﺯﻩ ﺩﺍﺩﻩ ﺍﺳﺖ‪ .‬ﺩﺳﺖﻫﺎ‪ ،‬ﭘﺎﻫﺎ ﻭ ﺑﻘﻴﻪ ﺍﻋﻀﺎﻯ ﺑﺪﻥ ﺩﺭ ﺯﻣﺎﻥ ﺣﻴﺎﺕ‬ ‫ﻧﻤﻰﺗﻮﺍﻧﺴﺘﻨﺪ ﺑﻬﺘﺮ ﺍﺯ ﺍﻛﻨﻮﻥ ﺑﺎﺷﻨﺪ‪ .‬ﺩﺭ ﺩﻫﺎﻥ ﺟﺴﺪ ﻣﻘﺪﺍﺭﻯ ﺧﻮﻥ ﺟﻤﻊ ﺷﺪﻩ ﺍﺳﺖ ﻛﻪ ﺍﺣﺘﻤﺎﻻً‬ ‫ﺍﺯ ﺑﺪﻥ ﻣﻘﺘﻮﻻﻥ ﻣﻜﻴﺪﻩ ﺷﺪﻩ ﺍﺳﺖ‪«.‬‬ ‫ﺧﺒﺮ ﺧﻮﻥﺁﺷﺎﻡﻫﺎﻳﻰ ﻛﻪ ﺑﺎ ﻣﻜﻴﺪﻥ ﺧﻮﻥ ﮔﺮﻭﻫﻰ‪ ،‬ﺁﻥﻫﺎ ﺭﺍ ﺑﻪ ﻗﺘﻞ ﺭﺳﺎﻧﺪﻩﺍﻧﺪ‪ ،‬ﺩﺭ ﺗﻤﺎﻡ ﺍﺭﻭﭘﺎ ﭘﺨﺶ‬ ‫ﻣﻰﺷﻮﺩ‪ .‬ﮔﺰﺍﺭﺵ ﻣﺮگﻫﺎﻯ ﻣﺸﺎﺑﻬﻰ ﺩﺭ ﺳﺎﻝﻫﺎﻯ ‪ 1731، 1727‬ﻭ ‪ 1732‬ﺑﻪ ﺩﺳﺖ ﻣﻰﺭﺳﺪ‪.‬‬ ‫ﻛﻢﻛﻢ ﺑﺴﻴﺎﺭﻯ ﺍﺯ ﺩﺍﻧﺸﻤﻨﺪﺍﻥ ﻏﺮﺏ ﺩﺭﺑﺎﺭﻩ »ﺟﻮﻳﺪﻥ ﻭ ﻣﻜﻴﺪﻥ ﻣﺮﺩﮔﺎﻥ« ﺑﺤﺚ ﻣﻰﻛﻨﻨﺪ‪ .‬ﻛﻠﻤﻪ‬ ‫ﻭﻣﭙﺎﻳﺮ )‪ (2‬ﺩﺭ ﻣﺪﺕ ﻛﻮﺗﺎﻩ ﭼﻨﺪ ﺳﺎﻝ‪ ،‬ﻭﺍﺭﺩ ﺯﺑﺎﻥﻫﺎﻯ ﻛﺸﻮﺭﻫﺎﻯ ﻏﺮﺑﻰ ﻣﻰﺷﻮﺩ ﻭ ﺑﻪ ﺍﻳﻦ ﺻﻮﺭﺕ‬ ‫ﻳﻜﻰ ﺍﺯ ﻫﺮﺍﺱ ﺍﻧﮕﻴﺰﺗﺮﻳﻦ ﻫﻴﺒﺖﻫﺎ‪ ،‬ﺍﺯ ﺩﺭﻭﻥ ﻗﺒﺮ ﺗﺎﺭﻳﻚ ﺧﻮﺩ ﻭﺍﺭﺩ ﺩﻧﻴﺎﻯ ﺯﻧﺪﮔﻰ ﻣﺮﺩﻡ ﻋﺎﻣﻪ‬ ‫ﻣﻰﺷﻮﺩ‪.‬‬ ‫ﻭﻣﭙﺎﻳﺮ‪ ،‬ﻧﻪ ﻳﻚ ﻫﻴﻮﻻ ﺍﺳﺖ ﻭ ﻧﻪ ﻳﻚ ﺭﻭﺡ‪ ،‬ﺑﻠﻜﻪ ﻳﻚ ﺟﺴﺪ ﺯﻧﺪﻩ ﺍﺳﺖ‪ .‬ﻣﺮﺩﻩﺍﻯ ﻛﻪ ﻣﺮﺗﺒﺎً ﺑﺎﺯ‬ ‫ﻣﻰﮔﺮﺩﺩ‪ .‬ﺍﺯ ﻗﺒﺮ ﺧﻮﺩ ﺑﻴﺮﻭﻥ ﻣﻰﺁﻳﺪ ﺑﺮﺍﻯ ﻛﺸﺘﻦ! ﺍﻭ ﻧﻴﺮﻭﻯ ﺯﻧﺪﮔﻰ ﺭﺍ ﺍﺯ ﻭﺟﻮﺩ ﺩﻳﮕﺮﺍﻥ ﻣﻰﮔﻴﺮﺩ‬ ‫ﻭ ﻗﺎﺩﺭ ﺍﺳﺖ ﺑﻪ ﻣﻮﺟﻮﺩﺍﺕ ﺩﻳﮕﺮﻯ ﻣﺎﻧﻨﺪ ﺧﻔﺎﺵ‪ ،‬ﮔﺮگ ﻳﺎ ﻣﻮﺵ ﺗﻐﻴﻴﺮ ﺷﻜﻞ ﺩﻫﺪ‪ .‬ﺷﻜﻞ ﻇﺎﻫﺮﻯ‬ ‫ﺍﻭ ﺑﻪ ﻳﻚ ﻣﺮﺩﻩ ﺷﺒﻴﻪ ﺍﺳﺖ ﻭ ﺍﻟﺒﺘﻪ ﺟﺴﺪﻯ ﻛﻪ ﺍﻋﻀﺎﻯ ﺁﻥ ﺳﺎﻟﻢ ﻣﺎﻧﺪﻩ ﺍﺳﺖ؛ ﭼﺸﻢﻫﺎﻯ ﺧﻴﺮﻩ‬ ‫ﻭ ﺗﺸﻨﻪ ﺑﻪ ﺧﻮﻥ‪ ،‬ﺩﻧﺪﺍﻥﻫﺎﻯ ﻧﻴﺶ ﺗﻴﺰ ﻭ ﺑﺮﻧﺪﻩ‪ ،‬ﺩﻫﺎﻥ ﺁﻣﻴﺨﺘﻪ ﺑﺎ ﺧﻮﻥ‪ ،‬ﻧﺎﺧﻦﻫﺎﻯ ﺑﻠﻨﺪ‪ .‬ﺑﻪ ﻧﻮﺭ‬ ‫ﺑﺴﻴﺎﺭ ﺣﺴﺎﺳﻴﺖ ﺩﺍﺭﺩ ﻭ ﺗﻨﻬﺎ ﺷﺐﻫﺎ ﺍﺯ ﻗﺒﺮ ﺧﻮﺩ ﺑﻴﺮﻭﻥ ﻣﻰﺁﻳﺪ ﻭ ﺑﻪ ﺷﻜﺎﺭ ﻣﻰﺭﻭﺩ‪.‬‬ ‫ﭼﻄﻮﺭ ﻳﻚ ﺍﻧﺴﺎﻥ ﺗﺒﺪﻳﻞ ﺑﻪ ﻳﻚ ﺧﻮﻥﺁﺷﺎﻡ ﻣﻰﺷﻮﺩ؟ ﻃﺒﻖ ﺩﺍﺳﺘﺎﻥﻫﺎﻯ ﺭﻭﻣﺎﻧﻴﺎﻳﻰ‪،‬‬ ‫ﺭﻋﺪ ﻭ ﺑﺮﻕ ﺷﺪﻳﺪ ﻫﻨﮕﺎﻡ ﺗﻮﻟﺪ‪ ،‬ﻳﺎ ﺗﻮﻟﺪ ﻧﻮﺯﺍﺩ ﺑﺎ ﻣﻮﻯ ﺧﻴﻠﻰ ﺯﻳﺎﺩ ﻣﻰﺗﻮﺍﻧﺪ ﮔﻮﺍﻩ ﺑﺎﺷﺪ‪،‬‬ ‫ﻳﺎ ﺍﮔﺮ ﻫﻨﮕﺎﻡ ﺩﻓﻦ ﻣﺮﺩﻩ ﺍﺷﺘﺒﺎﻫﻰ ﺭﻭﻯ ﺩﻫﺪ ﻳﺎ ﺷﺨﺼﻰ ﺍﺯ ﻃﺮﻑ ﻳﻚ ﻭﻣﭙﺎﻳﺮ ﻣﻮﺭﺩ ﺣﻤﻠﻪ‬ ‫ﻗﺮﺍﺭ ﮔﻴﺮﺩ‪ ،‬ﺩﺭ ﻫﻤﻪﻯ ﺍﻳﻦ ﺣﺎﻻﺕ ﺟﺴﺪ ﺍﻭ ﻣﻰﺗﻮﺍﻧﺪ ﺗﺒﺪﻳﻞ ﺑﻪ ﻳﻚ ﺧﻮﻥﺁﺷﺎﻡ ﺷﻮﺩ‪.‬‬ ‫ﺍﻓﺮﺍﺩ ﺧﺎﺭﺝ ﺍﺯ ﻧﺮﻡ ﺟﺎﻣﻌﻪ‪ ،‬ﺑﻴﺸﺘﺮ ﺩﺭ ﻣﻌﺮﺽ ﺧﻄﺮﻧﺪ؛ ﺩﺯﺩﻫﺎ‪ ،‬ﺟﻨﺎﻳﺘﻜﺎﺭﺍﻥ‪ ،‬ﻓﺎﺣﺸﻪﻫﺎ‪،‬‬ ‫ﻛﺴﺎﻧﻰ ﻛﻪ ﺑﺴﻴﺎﺭ ﺩﻳﺮ ﻳﺎ ﺧﻴﻠﻰ ﺯﻭﺩ ﻣﻰﻣﻴﺮﻧﺪ ﻭ ﺧﻼﺻﻪ ﻫﺮ ﻧﻮﻋﻰ ﻏﻴﺮﻣﻌﻤﻮﻟﻰ ﺑﻮﺩﻥ‪.‬‬ ‫ﻭﻣﭙﺎﻳﺮﻫﺎ ﺑﺴﻴﺎﺭ ﺑﻪ ﺳﺨﺘﻰ ﻣﻰﻣﻴﺮﻧﺪ‪ ،‬ﻗﺎﺑﻠﻴﺖ ﺯﻧﺪﻩ ﻣﺎﻧﺪﻥ ﺁﻥﻫﺎ ﺗﻘﺮﻳﺒﺎً ﺑﻰﻧﻬﺎﻳﺖ ﺍﺳﺖ‪ .‬ﺗﻨﻬﺎ ﻧﺎﺑﻮﺩ‬ ‫ﻛﺮﺩﻥ ﺁﻥﻫﺎ ﺭﺍﻫﻰ ﺑﺮﺍﻯ ﻧﺠﺎﺕ ﺍﺯ ﺩﺳﺖ ﺁﻥﻫﺎ ﺍﺳﺖ‪ .‬ﺑﺮﺍﻯ ﺍﻳﻦ ﻣﻨﻈﻮﺭ‪ ،‬ﺍﻫﺎﻟﻰ ﺭﻭﺳﺘﺎ ﺑﻪ ﺩﻭﺭ ﻫﻢ‬ ‫ﺟﻤﻊ ﻣﻰ ﺷﻮﻧﺪ )ﻣﻌﻤﻮﻻً ﻳﻚ ﻛﺸﻴﺶ ﻧﻴﺰ ﺩﺭ ﺑﻴﻦ ﺁﻥﻫﺎ ﻫﺴﺖ(‪ ،‬ﻭ ﺗﺎﺑﻮﺕﻫﺎﻯ ﻣﺮﺩﮔﺎﻥ ﺭﺍ ﺍﺯ ﻗﺒﺮ‬ ‫ﺑﻴﺮﻭﻥ ﻣﻰﺁﻭﺭﻧﺪ ﻭ ﺩﺭ ﺟﺴﺪﻫﺎ ﺑﻪ ﺩﻧﺒﺎﻝ ﻧﺸﺎﻧﻪﻫﺎﻯ ﻭﻣﭙﺎﻳﺮﻫﺎ ﻣﻰﮔﺮﺩﻧﺪ‪ ،‬ﺍﮔﺮ ﺟﺴﺪ ﻣﺘﻼﺷﻰ ﺷﺪﻩ‬ ‫ﺑﺎﺷﺪ‪ ،‬ﺩﻭﺑﺎﺭﻩ ﺁﻥ ﺭﺍ ﺑﻪ ﺗﺎﺑﻮﺕ ﻭ ﻗﺒﺮ ﺧﻮﺩ ﺑﺮﻣﻰﮔﺮﺩﺍﻧﻨﺪ‪ ،‬ﺩﺭ ﻏﻴﺮ ﺍﻳﻦ ﺻﻮﺭﺕ ﻳﻚ ﭼﻤﺎﻕ ﻛﻪ ﺳﺮ‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،9-10‬ﺷﻬﺮﻳﻮﺭ ﻭ ﻣﻬﺮ ‪1390‬‬

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‫ﻣﻘﺎﻟﻪ‬

‫ﺩﺭﺍﻛﻮﻻ ﺍﺯ ﻛﺠﺎ ﺁﻣﺪ‬ ‫ﻭ ﺑﻪ ﻛﺠﺎ ﺭﻓﺖ‬ ‫ﻣﺤﻤﺪ ﺍﻣﻴﻦ ﺑﺎﺑﺎﻳﻰ‬

‫ﺳﺎﻝ ‪ 1725‬ﻣﻴﻼﺩﻯ ﺍﺳﺖ‪ .‬ﺩﺭ ﻭﻳﻦ ﻧﺎﻣﻪﺍﻯ ﺩﺭﻳﺎﻓﺖ ﻣﻰﺷﻮﺩ ﻛﻪ ﺣﺎﻭﻯ ﮔﺰﺍﺭﺷﻰ ﺍﺳﺖ ﺍﺯ‬ ‫ﻣﺮگ ﺍﺳﺮﺍﺭﺁﻣﻴﺰ ﭼﻨﺪ ﺗﻦ ﺍﺯ ﺍﻫﺎﻟﻰ ﺭﻭﺳﺘﺎﻳﻰ ﺩﺭ ﻣﺮﺯ ﺑﻮﺳﻨﻰ‪ ،‬ﻛﻪ ﺩﺭ ﻓﺎﺻﻠﻪ ﺯﻣﺎﻧﻰ ﻛﻤﻰ‬ ‫ﻧﺴﺒﺖ ﺑﻪ ﻳﻜﺪﻳﮕﺮ ﺑﻪ ﺷﻜﻞ ﻣﺮﻣﻮﺯﻯ ﻛﺸﺘﻪ ﺷﺪﻩﺍﻧﺪ‪ .‬ﺍﺯ ﻣﺮﺩﻯ ﺑﻪ ﻧﺎﻡ ﭘﻴﺘﺮ ﭘﻠﻮﮔﻮﻳﻮﻭﻳﭻ‬ ‫)‪ (1‬ﻧﻴﺰ ﺑﻪ ﻋﻨﻮﺍﻥ ﻣﺘﻬﻢ ﻧﺎﻡ ﺑﺮﺩﻩ ﻣﻰﺷﻮﺩ‪ ،‬ﻭ ﺍﻳﻦ ﻛﻪ ﻗﺮﺑﺎﻧﻰﻫﺎ ﺭﺍ ﺩﺭ ﺧﻮﺍﺏ ﺑﻪ ﻗﺘﻞ‬ ‫ﺭﺳﺎﻧﺪﻩ ﺍﺳﺖ‪ .‬ﺷﮕﻔﺖ ﺍﻳﻦ ﻛﻪ ﺍﻳﻦ ﺷﺨﺺ ﺩﺭ ﺯﻣﺎﻥ ﺍﺗﻔﺎﻕ ﺍﻳﻦ ﻭﻗﺎﻳﻊ‪ ،‬ﺧﻮﺩ ﻣﺮﺩﻩ ﻭ ﺑﻪ‬ ‫ﺧﺎﻙ ﺳﭙﺮﺩﻩ ﺷﺪﻩ ﺑﻮﺩ‪.‬‬ ‫ﺩﺭ ﺍﻳﻦ ﺯﻣﺎﻥ‪ ،‬ﺑﻮﺳﻨﻰ ﺑﻌﺪ ﺍﺯ ﭘﻴﺮﻭﺯﻯ ﺑﺮ ﻋﺜﻤﺎﻥﻫﺎ ﺩﺭ ﺳﺎﻝ ‪ ،1718‬ﻣﺘﻌﻠﻖ ﺑﻪ ﺍﺗﺮﻳﺶ‬ ‫ﺍﺳﺖ‪ .‬ﺍﺯ ﻃﺮﻑ ﺍﺭﺗﺶ ﺍﺗﺮﻳﺶ‪ ،‬ﮔﺮﻭﻫﻰ ﺑﺮﺍﻯ ﺑﺎﺯﺭﺳﻰ ﻭ ﺭﻭﺷﻦ ﻛﺮﺩﻥ ﺍﻳﻦ ﻗﺘﻞﻫﺎ ﺑﻪ‬ ‫ﺑﻮﺳﻨﻰ ﻓﺮﺳﺘﺎﺩﻩ ﻣﻰﺷﻮﻧﺪ‪ .‬ﭘﺰﺷﻜﻰ ﻧﻴﺰ ﻫﻤﺮﺍﻩ ﺍﻳﻦ ﮔﺮﻭﻩ ﺍﺳﺖ ﻛﻪ ﻭﻇﻴﻔﻪ ﺩﺍﺭﺩ ﮔﺰﺍﺭﺷﻰ‬ ‫ﺗﻬﻴﻪ ﻛﺮﺩﻩ ﻭ ﺁﻥ ﺭﺍ ﺑﻪ ﻣﺮﻛﺰ ﺑﻔﺮﺳﺘﺪ‪ .‬ﺁﻥ ﭼﻪ ﺩﺭ ﮔﺰﺍﺭﺵ ﺍﻳﻦ ﭘﺰﺷﻚ ﺩﺭ ﻣﻮﺭﺩ ﺟﺴﺪ‬ ‫ﭘﻠﻮﮔﻮﻳﻮﻭﻳﭻ ﺁﻣﺪﻩ ﺍﺳﺖ‪ ،‬ﺑﻰﺷﻚ ﺑﺎﻭﺭ ﻧﻜﺮﺩﻧﻰ ﺍﺳﺖ‪:‬‬

‫ﻣﻘﺎﻟﻪ‬

‫ﺻﻼﺑﻪ ﻣﻰﻛﺸﺪ ﻭ ﻣﻰﮔﻮﻳﺪ‪ :‬ﭘﺲ ﻫﻤﺎﻥ ﺑﺎﻻ ﺑﺎﺵ ﺗﺎ ﺑﻮ ﺍﺫﻳﺘﺖ ﻧﻜﻨﺪ‪.‬‬ ‫ﺗﻌﺪﺍﺩ ﺳﺮﺑﺎﺯﺍﻥ ﻋﺜﻤﺎﻧﻰ ﻛﻪ ﻭﻻﺩ ﺑﻪ ﺍﻳﻦ ﺭﻭﺵ ﺍﻋﺪﺍﻡ ﻣﻰﻛﻨﺪ‪ ،‬ﺑﻪ ﭼﻬﻞ ﻫﺰﺍﺭ ﺗﻦ ﻣﻰﺭﺳﺪ‪ .‬ﻫﻤﺎﻥﻃﻮﺭ‬ ‫ﻛﻪ ﮔﻔﺘﻪ ﺷﺪ‪ ،‬ﺳﻠﻄﺎﻥ ﻣﺤﻤﻮﺩ ﻓﺎﺗﺢ ﻗﺴﻄﻨﻄﻨﻴﻪ ﻛﻪ ﺧﻮﺩ ﺑﻪ ﺧﺎﻃﺮ ﻛﺸﺘﺎﺭﺵ ﺩﺭ ﺍﻣﭙﺮﺍﻃﻮﺭﻯ‬ ‫ﺑﻴﺰﺍﻧﺲ ﻣﺸﻬﻮﺭ ﺑﻮﺩ ﻭ ﻣﻐﺰ ﻣﺘﻔﻜﺮﻯ ﺟﻨﮕﻰ ﻣﺤﺴﻮﺏ ﻣﻰﺷﺪ‪ ،‬ﺩﺭ ‪ 1462‬ﻧﺒﺮﺩ ﻋﻠﻴﻪ ﻭﻻﺩ ﺭﺍ ﺁﻏﺎﺯ‬ ‫ﻣﻰﻛﻨﺪ ﻭ ﺧﻮﺩﺵ ﺷﺨﺼﺎً ﺑﺎ ﺍﺭﺗﺸﻰ ﺳﻪ ﺑﺮﺍﺑﺮ ﺍﺭﺗﺶ ﻭﻻﺩ ﻭﺍﺭﺩ ﺧﺎﻙ ﻭﺍﻻﺷﻴﺎ ﻣﻰﺷﻮﺩ‪ .‬ﺍﻣﺎ ﺯﻣﺎﻧﻰ‬ ‫ﻛﻪ ﺑﻪ ﺳﺎﺣﻞ ﺩﺍﻧﻮﺏ ﻣﻰﺭﺳﺪ ﻭ ﺟﻨﮕﻞ ﭼﻬﻞ ﻫﺰﺍﺭ ﺩﺭﺧﺘﻰ ﺭﺍ ﻛﻪ ﺑﻴﺶﺗﺮ ﺍﺯ ﻫﻤﻪ ﺍﺯ ﺳﺮﺑﺎﺯﺍﻥ‬ ‫ﻭ ﺳﺮﺍﻥ ﺗﺮﻙ ﺗﺸﻜﻴﻞ ﺷﺪﻩ ﻣﺸﺎﻫﺪﻩ ﻣﻰﻛﻨﺪ‪ ،‬ﻣﺘﺄﺛﺮ ﻣﻰﺷﻮﺩ ﻭ ﺑﻪ ﻗﺴﻄﻨﻄﻨﻴﻪ ﺑﺎﺯ ﻣﻰﮔﺮﺩﺩ ﻭ‬ ‫ﻓﺮﻣﺎﻧﺪﻫﻰ ﺍﺭﺗﺶ ﺭﺍ ﺑﻪ ﻳﻜﻰ ﺍﺯ ﺳﺮﺩﺍﺭﺍﻧﺶ ﻣﻰﺩﻫﺪ‪.‬‬ ‫ﻧﻬﺎﻳﺘﺎً ﺑﺎﻳﺪ ﮔﻔﺖ ﻣﺮﺩﻯ ﻛﻪ ﻧﺎﻡ ﺧﻮﻥﺁﺷﺎﻡ ﺍﺳﺘﻮﻛﺮ ﺍﺯ ﺁﻥ ﺳﺮﭼﺸﻤﻪ ﻣﻰﮔﻴﺮﺩ‪ ،‬ﺷﺎﻳﺪ ﺟﺰ ﻧﺎﻣﺶ‬ ‫ﭼﻴﺰ ﺩﻳﮕﺮﻯ ﺑﻪ ﺍﺳﺘﻮﻛﺮ ﻭ ﺧﻮﻥﺁﺷﺎﻣﺶ ﻧﺪﺍﺩﻩ ﺑﺎﺷﺪ‪ .‬ﺍﻣﺎ ﺑﺎ ﺗﻮﺟﻪ ﺑﻪ ﺍﺳﻄﻮﺭﻩﻫﺎﻯ ﻭﻣﭙﺎﻳﺮﻯ ﻛﻪ‬ ‫ﺩﺭ ﻣﻨﻄﻘﻪﻯ ﻛﺎﺭﭘﺎﺕ ﻭ ﺗﺮﺍﻧﺴﻴﻠﻮﺍﻧﻴﺎ ﻭﺟﻮﺩ ﺩﺍﺭﺩ‪ ،‬ﻃﺒﻴﻌﻰ ﺍﺳﺖ ﻛﻪ ﻣﺎﺟﺮﺍﻯ ﻛﺘﺎﺏ ﺩﺭﺍﻛﻮﻻ ﺩﺭ‬ ‫ﺁﻥ ﻣﻨﻄﻘﻪ ﺑﮕﺬﺭﺩ‪ .‬ﺗﺎﺭﻳﺦ ﻭﺍﻻﺷﻴﺎ ﻭ ﺗﺮﺍﻧﺴﻴﻠﻮﺍﻧﻴﺎ ﻭ ﻧﻴﺰ ﺧﻮﻥﺧﻮﺍﺭﻯ ﻭﻻﺩ ﺑﺮ ﺍﻳﻦ ﻧﺎﻡﮔﺬﺍﺭﻯ ﺻﺤﻪ‬ ‫ﻣﻰﮔﺬﺍﺭﺩ‪.‬‬ ‫ﭼﻨﺎﻥﭼﻪ ﻣﻰﺑﻴﻨﻴﺪ‪ ،‬ﻭﻻﺩ ﺩﺭﺍﻛﻮﻻ ﻫﺮ ﭼﻨﺪ ﺧﻮﺩ ﻣﻨﺸﺎء ﺍﺳﻄﻮﺭﻩﻯ ﺧﻮﻥﺁﺷﺎﻡ ﻧﻴﺴﺖ )ﺭﻳﺸﻪﻯ‬ ‫ﺍﻓﺴﺎﻧﻪﻯ ﻭﻣﭙﺎﻳﺮﻫﺎ ﺍﺳﻼﻭﻯ ﺍﺳﺖ ﻭ ﺑﻪ ﺑﺎﻭﺭﻫﺎﻯ ﺍﻳﺸﺎﻥ ﺩﺭﺑﺎﺭﻩﻯ ﻣﺮگ ﻭ ﺯﻧﺪﮔﻰ ﺑﺎﺯ ﻣﻰﮔﺮﺩﺩ(‪ ،‬ﺍﻣﺎ‬ ‫ﺩﺭ ﺧﻮﻧﺨﻮﺍﺭﻯ ﺩﺭ ﺗﺎﺭﻳﺦ ﭼﻬﺮﻩﺍﻯ ﺳﺮﺁﻣﺪ ﺍﺳﺖ؛ ﻫﺮﭼﻨﺪ ﺩﺭ ﻛﺸﻮﺭ ﺧﻮﺩﺵ ﻳﻜﻰ ﺍﺯ ﺑﺰﺭگﺗﺮﻳﻦ‬ ‫ﺳﺮﺩﺍﺭﺍﻥ ﺍﺳﺖ ﻭ ﻗﻬﺮﻣﺎﻧﻰ ﻣﻠﻰ ﻣﺤﺴﻮﺏ ﻣﻰﺷﻮﺩ‪ .‬ﺁﻥﭼﻪ ﺑﻴﺶ ﺍﺯ ﻫﻤﻪ ﻗﺎﺑﻞ ﺗﻮﺟﻪ ﺍﺳﺖ‪ ،‬ﺣﻘﻴﻘﻰ‬ ‫ﺑﻮﺩﻥ ﺍﻳﻦ ﺍﺳﻨﺎﺩ ﺗﺎﺭﻳﺨﻰ ﺍﺳﺖ‪ .‬ﺁﻥﭼﻪ ﻣﺆﻟﻒ ﺍﻳﻦ ﺧﻄﻮﻁ ﺑﻴﺶ ﺍﺯ ﻫﻤﻪ ﻣﺎﻳﻞ ﺍﺳﺖ ﺑﻪ ﺧﻮﺍﻧﻨﺪﻩﺍﺵ‬ ‫ﻣﻨﺘﻘﻞ ﻛﻨﺪ‪ ،‬ﺳﺎﻳﻪ ﻭ ﺧﻮﻧﻰ ﺍﺳﺖ ﻛﻪ ﺩﺭ ﺗﺎﺭﻳﺦ ﺑﺸﺮ ﺭﻳﺸﻪ ﺩﻭﺍﻧﺪﻩ ﺍﺳﺖ‪ .‬ﺩﺭﺍﻛﻮﻻ ﺍﻓﺴﺎﻧﻪ ﺍﺳﺖ ﻭ‬ ‫ﻭﻻﺩ ﺗﭙﺶ ﺣﻘﻴﻘﺖ ﻭ ﺑﻪ ﻧﻈﺮ ﻣﺆﻟﻒ ﺣﻘﻴﻘﺖ ﺍﺯ ﺍﻓﺴﺎﻧﻪ ﺗﺮﺳﻨﺎﻙﺗﺮ ﺍﺳﺖ‪.‬‬ ‫ﭘﻰﻧﻮﺷﺖﻫﺎ‪:‬‬ ‫‪1. Empusa‬‬ ‫‪2. Hecate‬‬ ‫‪3. Lilitu‬‬ ‫‪4. Lilith‬‬ ‫‪5. Vampire‬‬ ‫‪6. Upyr‬‬ ‫‪7. Ubyr‬‬ ‫‪8. Bram Stoker‬‬ ‫‪9. Dracula‬‬ ‫‪10. Jonathan Harker‬‬ ‫‪11. Abraham Van Helsing‬‬

‫‪12. Vlad II Dracul‬‬ ‫‪13. Order of the Dragon‬‬ ‫‪14. Radu cel Frumos‬‬ ‫‪15. John Hunyadi‬‬ ‫‪16. Mircae‬‬ ‫‪17. Vladislav II‬‬ ‫‪18. Bogdan II‬‬ ‫‪19. Matthias Corvinus‬‬ ‫‪20. Pope Pius II‬‬ ‫‪21. Ilona Szilágyi‬‬

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‫ﻭﻳﮋﻩﻧﺎﻣﻪﻯ ﺧﻮﻥﺁﺷﺎﻡﻫﺎ‬

‫ﻭﻻﺩ ﻣﻰﺩﺍﻧﺴﺖ ﻛﻪ ﻓﺌﻮﺩﺍﻝﻫﺎ ﻣﺴﺌﻮﻝ ﻧﺎﺑﻮﺩﻯ ﻭ ﻗﺘﻞ ﺑﺴﻴﺎﺭﻯ ﺍﺯ ﺷﺎﻫﺰﺍﺩﻩﻫﺎﻯ ﻭﺍﻻﺷﻴﺎ ﺑﻮﺩﻩﺍﻧﺪ‪،‬‬ ‫ﺍﺯ ﺍﻳﻦ ﺭﻭ ﺩﺭ ﻫﺮ ﻓﺮﺻﺘﻰ ﻛﻪ ﻣﻰﻳﺎﻓﺖ ﺳﺮﺍﻥ ﺍﻳﺸﺎﻥ ﺭﺍ ﺑﻪ ﻗﺘﻞ ﻣﻰﺭﺳﺎﻧﺪ‪ .‬ﺩﻭﺭﻩﻯ ﺣﻜﻮﻣﺖ ﺍﻭ‬ ‫ﺍﺯ ﻧﻈﺮ ﺗﻐﻴﻴﺮ ﺭﻭﻳﻪﻯ ﺳﻴﺎﺳﻰ ﻭ ﺍﻧﺘﻘﺎﻝ ﻗﺪﺭﺕ ﺍﺯ ﻓﺌﻮﺩﺍﻝﻫﺎ ﺑﻪ ﻣﺮﺩﻡ ﻋﺎﺩﻯ ﺍﺯ ﺍﻫﻤﻴﺖ ﺑﺴﻴﺎﺭﻯ‬ ‫ﺑﺮﺧﻮﺭﺩﺍﺭ ﺍﺳﺖ‪.‬‬ ‫ﻭﻻﺩ ﺗﭙﺶ ﺑﺮﺧﻼﻑ ﭼﻬﺮﻩﻯ ﻗﻬﺮﻣﺎﻧﺎﻧﻪﺍﻯ ﻛﻪ ﺩﺭ ﺭﻭﻣﺎﻧﻰ ﺩﺍﺭﺩ‪ ،‬ﺩﺭ ﺍﺭﻭﭘﺎﻯ ﻏﺮﺑﻰ ﺑﻪ ﻋﻨﻮﺍﻥ ﻳﻚ‬ ‫ﺟﺎﻧﻰ ﻣﻌﺮﻓﻰ ﺷﺪ‪ .‬ﻣﺨﺼﻮﺻﺎً ﺭﻗﻴﺐ ﺳﻴﺎﺳﻰﺍﺵ ﻣﺎﺗﻴﺎﺱ ﻛﻮﺭﻭﻳﻨﻮﺱ ﺑﺎ ﺟﻌﻞ ﺍﺳﻨﺎﺩﻯ ﺩﺭ ‪1462‬‬ ‫ﭼﻬﺮﻩﻯ ﺍﻭ ﺭﺍ ﺧﺪﺷﻪﺩﺍﺭ ﻛﺮﺩ‪ .‬ﺩﺭ ﺍﻓﺴﺎﻧﻪﻫﺎﻯ ﺁﻟﻤﺎﻧﻰ ﻭﻻﺩ ﭼﻬﺮﻩﺍﻯ ﺧﺸﻦ ﻭ ﺳﻴﺎﻩ ﺩﺍﺭﺩ ﻛﻪ ﺍﺯ‬ ‫ﻗﺘﻞ ﻭ ﻭﻳﺮﺍﻧﻰ ﻟﺬﺗﻰ ﺳﺎﺩﻳﺴﺘﻰ ﻣﻰﺑﺮﺩ‪ .‬ﺩﺭ ﺍﺷﻌﺎﺭﻯ ﻛﻪ ﺩﺭ ﺁﻟﻤﺎﻥ ﻭ ﺍﻳﺘﺎﻟﻴﺎ ﻋﻠﻴﻪ ﺍﻭ ﭼﺎپ ﻣﻰﺷﺪ‪،‬‬ ‫ﺗﻌﺪﺍﺩ ﻛﺸﺘﻪ ﺷﺪﮔﺎﻥ ﺑﻪ ﺩﺳﺖ ﺍﻭ ﺍﺯ ﻫﺸﺘﺎﺩ ﻫﺰﺍﺭ ﻧﻔﺮ ﺗﺎ ﺻﺪ ﻫﺰﺍﺭ ﻧﻔﺮ ﻣﺘﻐﻴﺮ ﺍﺳﺖ‪ .‬ﺍﻟﺒﺘﻪ ﺍﻳﻦ‬ ‫ﺍﻋﺪﺍﺩ ﺍﺣﺘﻤﺎﻻً ﺑﺰﺭﮔﻨﻤﺎﻳﻰ ﺷﺪﻩﺍﻧﺪ‪ ،‬ﺁﻥ ﻫﻢ ﺑﻪ ﺩﻻﻳﻠﻰ ﻛﻪ ﭘﻴﺶ ﺍﺯ ﺍﻳﻦ ﺁﻭﺭﺩﻩ ﺷﺪ؛ ﺍﺯ ﺟﻤﻠﻪ ﻓﺴﺎﺩ‬ ‫ﻣﺎﻟﻰ ﻛﻮﺭﻭﻳﻨﻮﺱ‪.‬‬ ‫ﺩﺭ ﺩﺍﺳﺘﺎﻥﻫﺎﻯ ﺁﻟﻤﺎﻧﻰ ﻛﻪ ﻣﻬﻢﺗﺮﻳﻦ ﻣﻨﺒﻊ ﻧﺸﺮ ﺍﻓﺴﺎﻧﻪﻯ ﻭﻻﺩ ﺗﭙﺶ ﺩﺭ ﻏﺮﺏ ﻫﺴﺘﻨﺪ‪ ،‬ﻭﻻﺩ‬ ‫ﺩﺷﻤﻨﺎﻧﺶ ﺭﺍ ﺷﻜﻨﺠﻪ ﻣﻰﻛﻨﺪ‪ ،‬ﺁﻥﻫﺎ ﺭﺍ ﺑﻪ ﺻﻼﺑﻪ ﻣﻰﻛﺸﺪ‪ ،‬ﻏﺮﻗﺸﺎﻥ ﻣﻰﻛﻨﺪ‪ ،‬ﺗﻜﻪﻫﺎﻯ ﺑﺪﻧﺸﺎﻥ ﺭﺍ‬ ‫ﺑﻪ ﺧﻮﺭﺩ ﻧﺰﺩﻳﻜﺎﻧﺸﺎﻥ ﻣﻰﺩﻫﺪ ﻭ ﺁﻥﻫﺎ ﺭﺍ ﻣﻰﺟﻮﺷﺎﻧﺪ ﻳﺎ ﺳﺮﺥ ﻣﻰﻛﻨﺪ‪ .‬ﺍﻳﻦ ﻣﺠﺎﺯﺍﺕﻫﺎ ﺑﻪ ﺧﺼﻮﺹ‬ ‫ﺩﺭ ﺑﺮﺍﺑﺮ ﻛﺴﺎﻧﻰ ﺻﻮﺭﺕ ﻣﻰﮔﺮﻓﺖ ﻛﻪ ﻳﻜﻰ ﺍﺯ ﻛﺎﺭﻫﺎﻯ ﻣﻮﺭﺩ ﺗﻨﻔﺮ ﻭﻻﺩ ﺭﺍ ﺍﻧﺠﺎﻡ ﺩﺍﺩﻩ ﺑﻮﺩﻧﺪ؛ ﻣﺜﻞ‬ ‫ﺩﺯﺩﻯ‪ ،‬ﺩﺭﻭﻍ‪ ،‬ﺭﻭﺍﺑﻂ ﻧﺎﻣﺸﺮﻭﻉ ﻭ ﺗﺮﻙ ﺑﻮﺩﻥ‪ .‬ﻳﻜﻰ ﺍﺯ ﺷﻜﻨﺠﻪﻫﺎﻳﻰ ﻛﻪ ﻣﺨﺼﻮﺹ ﺩﺯﺩﺍﻥ ﺑﻮﺩ‪،‬‬ ‫ﭘﻮﺳﺖ ﻛﻨﺪﻥ ﺑﻮﺩ‪ .‬ﺍﻭ ﭘﻮﺳﺖ ﭘﺎﻯ ﺩﺯﺩﺍﻥ ﺭﺍ ﻣﻰﻛﻨﺪ‪ ،‬ﺳﭙﺲ ﺑﺮ ﺁﻥﻫﺎ ﻧﻤﻚ ﻣﻰﭘﺎﺷﻴﺪ ﻭ ﺑﺰﻫﺎ ﺭﺍ ﺑﺮ‬ ‫ﺁﻥ ﻣﻰﺩﺍﺷﺖ ﺗﺎ ﻧﻤﻚ ﺭﺍ ﺑﻠﻴﺴﻨﺪ‪ .‬ﺍﻳﻦ ﻳﻜﻰ ﺍﺯ ﺭﻭﺵﻫﺎﻯ ﺣﻔﻆ ﻧﻈﻢ ﺩﺭ ﻭﺍﻻﺷﻴﺎ ﺑﻮﺩ ﻭ ﻭﻻﺩ ﺑﺪﻳﻦ‬ ‫ﻭﺳﻴﻠﻪ ﺑﻪ ﻣﺮﺩﻣﺶ ﻣﻰﻓﻬﻤﺎﻧﺪ ﻛﻪ ﺩﺯﺩﻯ ﺭﺍ ﺑﻪ ﻫﻴﭻ ﻭﺟﻪ ﺗﺤﻤﻞ ﻧﻤﻰﻛﻨﺪ‪ .‬ﺍﻳﻦ ﻣﺠﺎﺯﺍﺕ ﺑﻼﺍﺳﺘﺜﻨﺎء‬ ‫ﺑﻮﺩ ﻭ ﺑﺮﺍﻯ ﻫﺮ ﻛﺴﻰ ﺑﺪﻭﻥ ﺗﻮﺟﻪ ﺑﻪ ﺟﻨﺴﻴﺖ‪ ،‬ﺳﻦ‪ ،‬ﻣﻘﺎﻡ ﻭ ﺩﻳﻦ ﺍﻧﺠﺎﻡ ﻣﻰﺷﺪ‪.‬‬ ‫ﺍﻣﺎ ﺭﻭﺵ ﻣﻮﺭﺩ ﻋﻼﻗﻪﻯ ﻭﻻﺩ ﺑﺮﺍﻯ ﺷﻜﻨﺠﻪ‪ ،‬ﺑﻪ ﺻﻼﺑﻪ ﻛﺸﻴﺪﻥ ﺑﻮﺩ‪ .‬ﺩﺭ ﺍﻳﻦ ﺭﻭﺵ ﺍﻭ ﺩﻭ ﭘﺎﻯ‬ ‫ﻣﺤﻜﻮﻣﺎﻧﺶ ﺭﺍ ﺑﻪ ﺩﻭ ﺍﺳﺐ ﻣﻰﺑﺴﺖ ﻭ ﺳﭙﺲ ﻳﻚ ﭼﻮﺏ ﺗﻴﺰ ﺭﺍ ﺗﺪﺭﻳﺠﺎً ﻭﺍﺭﺩ ﺑﺪﻧﺸﺎﻥ ﻣﻰﻛﺮﺩ‪ .‬ﺍﻳﻦ‬ ‫ﺷﻴﻮﻩ ﮔﺎﻫﻰ ﺗﺎ ﻫﻔﺖ ﺭﻭﺯ ﺑﻪ ﻃﻮﻝ ﻣﻰﺍﻧﺠﺎﻣﻴﺪ ﻭ ﺑﺴﻴﺎﺭ ﺩﺭﺩﻧﺎﻙ ﺑﻮﺩ‪ .‬ﻫﻤﭽﻨﻴﻦ ﺗﺮﺗﻴﺐ ﭼﻴﺪﻣﺎﻥ‬ ‫ﭼﻮﺑﻪﻫﺎ ﺍﻧﻮﺍﻉ ﺑﺴﻴﺎﺭﻯ ﺩﺍﺷﺖ‪ .‬ﺍﻣﺎ ﻣﻌﻤﻮﻻ ﺑﻪ ﺻﻮﺭﺕ ﺩﺍﻳﺮﻩﻭﺍﺭ ﺑﻮﺩ ﻭ ﻭﺍﻻﻣﺮﺗﺒﻪﺗﺮﻳﻦ ﻓﺮﺩ ﻧﻴﺰ ﺑﺮ‬ ‫ﺑﻠﻨﺪﺗﺮﻳﻦ ﭼﻮﺏ ﺩﺭ ﻣﺮﻛﺰ ﻗﺮﺍﺭ ﻣﻰﮔﺮﻓﺖ‪ .‬ﻳﻜﻰ ﺍﺯ ﻣﻌﺮﻭﻑﺗﺮﻳﻦ ﺩﺍﺳﺘﺎﻥﻫﺎ ﺩﺭﺑﺎﺭﻩﻯ ﺍﻳﻦ ﺭﻭﺵ‪،‬‬ ‫ﻭﻗﺘﻰ ﺍﺳﺖ ﻛﻪ ﻭﻻﺩ ﺩﺭ ﻣﻴﺎﻥ ﻳﻜﻰ ﺍﺯ ﻫﻤﻴﻦ ﻣﻴﺎﺩﻳﻦ ﺩﺭ ﺣﺎﻝ ﺻﺮﻑ ﺷﺎﻡ ﺑﻮﺩ‪ .‬ﺩﺭ ﺍﺛﻨﺎﻯ ﻣﻴﻬﻤﺎﻧﻰ‪،‬‬ ‫ﻳﻜﻰ ﺍﺯ ﭘﻴﺸﻜﺎﺭﺍﻥ ﻭﻻﺩ ﺑﻴﻨﻰﺍﺵ ﺭﺍ ﻣﻰﮔﻴﺮﺩ ﻭ ﻭﻻﺩ ﻋﻠﺖ ﺍﻳﻦﻛﺎﺭﺵ ﺭﺍ ﻣﻰﭘﺮﺳﺪ‪ .‬ﻣﺮﺩ ﭘﺎﺳﺦ‬ ‫ﻣﻰﺩﻫﺪ ﻛﻪ ﺗﻮﺍﻥ ﺗﺤﻤﻞ ﺑﻮﻯ ﮔﻨﺪ ﺍﺟﺴﺎﺩ ﺭﺍ ﻧﺪﺍﺭﺩ‪ .‬ﻭﻻﺩ ﻫﻤﺎﻥﺟﺎ ﺍﻭ ﺭﺍ ﺑﺎﻻﺗﺮ ﺍﺯ ﺳﺎﻳﺮ ﭼﻮﺏﻫﺎ ﺑﻪ‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،9-10‬ﺷﻬﺮﻳﻮﺭ ﻭ ﻣﻬﺮ ‪1390‬‬

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‫ﻣﻘﺎﻟﻪ‬

‫ﺩﺭ ﺻﻮﻣﻌﻪﻯ ﺍﺳﻨﺎﮔﻒ ﺑﻪ ﺧﺎﻙ ﺳﭙﺮﺩﻩ ﺷﺪﻩ ﻭ ﺳﺮﺵ ﺑﻪ ﻗﺴﻄﻨﻄﻨﻴﻪ ﻳﺎ‬ ‫ﺍﺳﺘﺎﻧﺒﻮﻝ ﺍﻣﺮﻭﺯﻯ ﺑﺮﺩﻩ ﻣﻰﺷﻮﺩ‪.‬‬ ‫ﺟﺴﺪ ﻭﻻﺩ ﺭﺍ ﺍﺑﺘﺪﺍ ﺑﻪ ﻭﺍﻻﺷﻴﺎ ﺑﺮﺩﻩ ﻭ ﺩﺭ ﺁﻥﺟﺎ ﺑﻪ ﺧﺎﻙ ﺳﭙﺮﺩﻧﺪ‪ .‬ﺍﻣﺎ‬ ‫ﻭﻗﺘﻰ ﺩﺭ ‪ 1900‬ﻣﺤﻘﻘﻴﻦ ﻗﺒﺮ ﺍﻭ ﺭﺍ ﺑﺮﺭﺳﻰ ﻣﻰﻛﻨﻨﺪ‪ ،‬ﻣﺸﺨﺺ ﻣﻰﺷﻮﺩ‬ ‫ﻛﻪ ﻗﺒﺮ ﺑﺎﺯ ﺷﺪﻩ ﻭ ﺟﻨﺎﺯﻩﻯ ﺩﻳﮕﺮﻯ ﺑﻪ ﺟﺎﻯ ﺁﻥ ﻗﺮﺍﺭ ﺩﺍﺩﻩﺍﻧﺪ ﻛﻪ ﺳﺮ‬ ‫ﺩﺍﺷﺘﻪ ﺍﺳﺖ‪ .‬ﺩﺭ ﺣﺎﻟﻰ ﻛﻪ ﻣﺸﺨﺺ ﺑﻮﺩ ﺳﺮ ﻭﻻﺩ ﺍﺯ ﺗﻨﺶ ﺟﺪﺍ ﺷﺪﻩ ﺍﺳﺖ‪.‬‬ ‫ﺍﻣﺮﻭﺯﻩ ﺍﻋﺘﻘﺎﺩ ﺑﺮ ﺍﻳﻦ ﺍﺳﺖ ﻛﻪ ﺑﺪﻥ ﻭﻻﺩ ﺑﻌﺪﺍ ً ﺗﻮﺳﻂ ﺭﺍﻫﺒﺎﻥ ﺻﻮﻣﻌﻪﻯ‬ ‫ﺍﺳﻨﺎﮔﻒ ﺑﻪ ﺍﻳﻦ ﺻﻮﻣﻌﻪ ﺑﺮﺩﻩ ﺷﺪﻩ ﻭ ﺩﺭ ﺁﻥﺟﺎ ﺩﻓﻦ ﻣﻰﺷﻮﺩ‪ .‬ﺍﻣﺎ ﺍﻟﺒﺘﻪ‬ ‫ﺟﺴﺪ ﺍﻭ ﺩﺭ ﺍﻳﻦ ﺻﻮﻣﻌﻪ ﻧﻴﺰ ﻳﺎﻓﺖ ﻧﻤﻰﺷﻮﺩ‪ .‬ﺻﻮﻣﻌﻪﻯ ﺍﺳﻨﺎﮔﻒ ﭘﺲ ﺍﺯ‬ ‫ﺍﻭﻟﻴﻦ ﻭﻳﺮﺍﻧﻰﺍﺵ ﺑﺎ ﺻﺪﻗﺎﺕ ﻭﻻﺩ ﺗﭙﺶ ﺑﺎﺯﺳﺎﺯﻯ ﻣﻰﺷﻮﺩ ﻭ ﺷﺎﻳﻊ ﺍﺳﺖ‬ ‫ﻛﻪ ﻭﻻﺩ ﺑﺮﺍﻯ ﺍﻋﺘﺮﺍﻑ ﺑﻪ ﺍﻳﻦ ﺻﻮﻣﻌﻪ ﻣﻰﺭﻓﺘﻪ ﻭ ﺑﺎ ﺑﺎﻧﻰ ﺍﻳﻦ ﺻﻮﻣﻌﻪ‬ ‫ﺭﺍﺑﻄﻪﻯ ﺩﻭﺳﺘﻰ ﺩﺍﺷﺘﻪ ﺍﺳﺖ‪ .‬ﺍﻳﻦ ﺩﺭ ﺣﺎﻟﻰ ﺍﺳﺖ ﻛﻪ ﮔﻔﺘﻪ ﻣﻰﺷﻮﺩ ﺩﺭ‬ ‫ﺩﻭﺭﻩﻯ ﺍﺳﺎﺭﺗﺶ ﺩﺭ ﻣﺠﺎﺭﺳﺘﺎﻥ‪ ،‬ﻭﻻﺩ ﺑﻪ ﺁﻳﻴﻦ ﺍﺭﺗﺪﻛﺲ ﻣﻰﮔﺮﻭﺩ؛ ﺩﺭ‬ ‫ﺣﺎﻟﻰ ﻛﻪ ﺍﻳﻦ ﺻﻮﻣﻌﻪ ﭘﻴﺮﻭ ﻛﻠﻴﺴﺎﻯ ﻛﺎﺗﻮﻟﻴﻚ ﺭﻭﻣﻰ ﺍﺳﺖ‪.‬‬ ‫ﻭﻻﺩ ﺗﭙﺶ ﺍﺯ ﻓﺌﻮﺩﺍﻝﻫﺎ ﻣﺘﻨﻔﺮ ﺑﻮﺩ ﻭ ﺑﻪ ﻋﻠﺖ ﺩﺳﺖ ﺩﺍﺷﺘﻦ ﺁﻥﻫﺎ ﺩﺭ‬ ‫ﻗﺘﻞ ﭘﺪﺭ ﻭ ﺑﺮﺍﺩﺭﺵ‪ ،‬ﻗﺴﻢ ﺧﻮﺭﺩﻩ ﺑﻮﺩ ﻛﻪ ﺍﺯ ﺁﻥﻫﺎ ﺍﻧﺘﻘﺎﻡ ﺑﮕﻴﺮﺩ‪ .‬ﺑﺎ‬ ‫ﺍﻳﻦ ﻛﻪ ﺍﻳﻦ ﻣﻮﺿﻮﻉ ﺩﻩ ﺳﺎﻝ ﺑﻪ ﻃﻮﻝ ﻣﻰﺍﻧﺠﺎﻣﺪ‪ ،‬ﺍﻣﺎ ﺑﻼﺧﺮﻩ ﻭﻻﺩ‬ ‫ﺩﺭ ﺭﻭﺯ ﻋﻴﺪ ﭘﺎﻙ ﺳﺎﻝ ‪ 1457‬ﺑﻪ ﻗﺴﻢ ﺧﻮﺩ ﻋﻤﻞ ﻣﻰﻛﻨﺪ‪ .‬ﺍﻭ ﺍﺑﺘﺪﺍ‬ ‫ﻫﻤﻪﻯ ﺑﺰﺭﮔﺎﻥ ﺧﺎﻧﺪﺍﻥﻫﺎﻯ ﻓﺌﻮﺩﺍﻝ ﺭﺍ ﺑﻪ ﺻﻼﺑﻪ ﻣﻰﻛﺸﺪ ﻭ ﺳﭙﺲ‬ ‫ﺟﻮﺍﻥﺗﺮﻫﺎ ﻭ ﺧﺎﻧﻮﺍﺩﻩﻯ ﻓﺌﻮﺩﺍﻝﻫﺎ ﺭﺍ ﺑﻪ ﺯﻭﺭ ﺑﻪ ﺳﻤﺖ ﺷﻤﺎﻝ ﭘﺎﻳﺘﺨﺖ‬ ‫ﻭ ﺧﺮﺍﺑﻪﻫﺎﻯ ﭘﻮﺋﻨﺎﺭﻯ ﻣﻰﺑﺮﺩ ﻭ ﺩﺭ ﺁﻥﺟﺎ ﺍﻳﺸﺎﻥ ﺭﺍ ﻭﺍﺩﺍﺭ ﻣﻰﻛﻨﺪ ﻛﻪ ﺑﺎ‬ ‫ﻣﺼﺎﻟﺢ ﻣﻮﺟﻮﺩ ﺍﺯ ﺧﺮﺍﺑﻪﻫﺎﻯ ﺍﻃﺮﺍﻑ‪ ،‬ﻗﻠﻌﻪ ﺭﺍ ﺑﺎﺯﺳﺎﺯﻯ ﻛﻨﻨﺪ‪ .‬ﺍﻳﻦ ﻗﻠﻌﻪ‬ ‫ﺍﺯ ﻧﻈﺮ ﺍﺳﺘﺮﺍﺗﮋﻳﻚ ﺍﻫﻤﻴﺖ ﺑﺎﻻﻳﻰ ﺩﺍﺷﺖ ﻭ ﻣﻰﺗﻮﺍﻧﺴﺖ ﺩﺭ ﺑﺮﺍﺑﺮ ﺣﻤﻼﺕ‬ ‫ﻣﺠﺎﺭﻫﺎ ﺩﺭ ﻏﺮﺏ ﻭ ﻋﺜﻤﺎﻧﻰﻫﺎ ﺩﺭ ﺷﺮﻕ ﻣﻘﺎﻭﻣﺖ ﻛﻨﺪ‪ .‬ﮔﻔﺘﻪ ﻣﻰﺷﻮﺩ‬ ‫ﻛﻪ ﺁﻥﻫﺎ ﺗﺎ ﺯﻣﺎﻧﻰ ﻛﻪ ﻟﺒﺎﺱﻫﺎﻳﺸﺎﻥ ﺍﺯ ﺗﻨﺸﺎﻥ ﺍﻓﺘﺎﺩ‪ ،‬ﻛﺎﺭ ﻛﺮﺩﻧﺪ ﻭ ﺑﻌﺪ‬ ‫ﻣﺠﺒﻮﺭ ﺷﺪﻧﺪ ﺑﺮﻫﻨﻪ ﺑﻪ ﻛﺎﺭﺷﺎﻥ ﺍﺩﺍﻣﻪ ﺩﻫﻨﺪ‪ .‬ﻫﻴﭻ ﻳﻚ ﺍﺯ ﺍﺳﺮﺍﻯ ﻭﻻﺩ‬ ‫ﺍﺯ ﺍﻳﻦ ﻣﺎﺟﺮﺍ ﺟﺎﻥ ﺳﺎﻟﻢ ﺑﻪ ﺩﺭ ﻧﺒﺮﺩﻧﺪ‪ ،‬ﭼﺮﺍ ﻛﻪ ﻛﺴﺎﻧﻰ ﻛﻪ ﺍﺯ ﺧﺴﺘﮕﻰ‬ ‫ﻧﻤﺮﺩﻧﺪ ﺗﻮﺳﻂ ﻭﻻﺩ ﺑﻪ ﺻﻼﺑﻪ ﻛﺸﻴﺪﻩ ﺷﺪﻧﺪ‪.‬‬

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‫ﻭﻳﮋﻩﻧﺎﻣﻪﻯ ﺧﻮﻥﺁﺷﺎﻡﻫﺎ‬

‫ﻫﻴﭻ ﻳﻚ‬ ‫ﺍﺯ ﺍﺳﺮﺍﻯ‬ ‫ﻭﻻﺩ ﺍﺯ ﺍﻳﻦ‬ ‫ﻣﺎﺟﺮﺍ ﺟﺎﻥ‬ ‫ﺳﺎﻟﻢ ﺑﻪ ﺩﺭ‬ ‫ﻧﺒﺮﺩﻧﺪ‪ ،‬ﭼﺮﺍ‬ ‫ﻛﻪ ﻛﺴﺎﻧﻰ ﻛﻪ‬ ‫ﺍﺯ ﺧﺴﺘﮕﻰ‬ ‫ﻧﻤﺮﺩﻧﺪ ﺗﻮﺳﻂ‬ ‫ﻭﻻﺩ ﺑﻪ ﺻﻼﺑﻪ‬ ‫ﻛﺸﻴﺪﻩ ﺷﺪﻧﺪ‪.‬‬

‫ﺑﮕﻴﺮﻧﺪ‪ .‬ﺍﺯ ﺳﻮﻳﻰ ﮔﻔﺘﻪ ﻣﻰﺷﻮﺩ ﻛﻪ ﺭﺍﺩﻭ ﺧﺎﻧﻮﺍﺩﻩﻫﺎﻯ ﻓﺌﻮﺩﺍﻝﻫﺎ ﺭﺍ ﺑﻪ ﺍﺳﺎﺭﺕ ﻣﻰﮔﻴﺮﺩ ﻭ ﺁﻥﻫﺎ‬ ‫ﻣﺠﺒﻮﺭ ﺑﻪ ﻫﻤﻜﺎﺭﻯ ﺑﺎ ﺍﻭ ﻣﻰﺷﻮﻧﺪ ﻛﻪ ﺷﺎﻳﺪ ﺑﺮﺍﻯ ﺁﻥﻫﺎ ﺗﻮﻓﻴﻖ ﺍﺟﺒﺎﺭﻯ ﻣﺤﺴﻮﺏ ﻣﻰﺷﺪﻩ ﺍﺳﺖ‪.‬‬ ‫ﺗﺎ ﺳﻮﻡ ﺳﭙﺘﺎﻣﺒﺮ ﻫﻤﺎﻥ ﺳﺎﻝ‪ ،‬ﻭﻻﺩ ﺳﻪ ﭘﻴﺮﻭﺯﻯ ﺩﻳﮕﺮ ﻧﻴﺰ ﺑﻪ ﺩﺳﺖ ﻣﻰﺁﻭﺭﺩ؛ ﻭﻟﻰ ﺍﺯ ﺁﻥﺟﺎ ﻛﻪ‬ ‫ﺫﺧﻴﺮﻩﻯ ﻣﺎﻟﻰﺍﺵ ﺑﻪ ﭘﺎﻳﺎﻥ ﻣﻰﺭﺳﺪ ﻭ ﻧﻤﻰﺗﻮﺍﻧﺪ ﻫﺰﻳﻨﻪﻯ ﺍﺭﺗﺸﺶ ﺭﺍ ﭘﺮﺩﺍﺧﺖ ﻛﻨﺪ‪ ،‬ﺑﻪ ﺳﺮﺯﻣﻴﻦ‬ ‫ﻣﺠﺎﺭﺳﺘﺎﻥ ﭘﻨﺎﻩ ﻣﻰﺑﺮﺩ ﺗﺎ ﺍﺯ ﻫﻢﭘﻴﻤﺎﻧﺶ ﺩﺭﺧﻮﺍﺳﺖ ﻛﻤﻚ ﻣﺎﻟﻰ ﻛﻨﺪ‪ .‬ﺍﻣﺎ ﺑﻪﺟﺎﻯ ﺁﻥﻛﻪ ﺩﺭ ﺁﻥﺟﺎ‬ ‫ﺑﺎ ﺍﺳﺘﻘﺒﺎﻝ ﻣﺎﺗﻴﺎﺱ ﻛﻮﺭﻭﻳﻨﻮﺱ ﺭﻭﺑﻪﻭﺭ ﺷﻮﺩ‪ ،‬ﺑﻪ ﻋﻨﻮﺍﻥ ﺧﻴﺎﻧﺘﻜﺎﺭ ﺩﺳﺘﮕﻴﺮ ﻣﻰﺷﻮﺩ‪ .‬ﻣﺎﺗﻴﺎﺱ ﺑﺎ‬ ‫ﺍﺭﺍﺋﻪﻯ ﻧﺎﻣﻪﺍﻯ ﺑﻪ ﭘﺎپ ﺛﺎﺑﺖ ﻣﻰﻛﻨﺪ ﻛﻪ ﻭﻻﺩ ﺑﻪ ﺳﻠﻄﺎﻥ ﻣﺤﻤﻮﺩ ﺍﻋﻼﻡ ﻭﻓﺎﺩﺍﺭﻯ ﻛﺮﺩﻩ ﺍﺳﺖ‪.‬‬ ‫ﺍﻣﺎ ﺍﺻﻞ ﻣﺎﺟﺮﺍ ﺍﻳﻦ ﺑﻮﺩ ﻛﻪ ﻣﺎﺗﻴﺎﺱ ﺗﻤﺎﻣﻰ ﭘﻮﻟﻰ ﺭﺍ ﻛﻪ ﭘﺎپ ﺑﻪ ﺍﻭ ﻭﺍﮔﺬﺍﺭ ﻛﺮﺩﻩ ﺑﻮﺩ‪ ،‬ﺧﺮﺝ‬ ‫ﺍﺯﺩﻭﺍﺟﺶ ﻭ ﺳﺎﻳﺮ ﻛﺎﺭﻫﺎ ﻛﺮﺩ ﻭ ﺣﺎﻻ ﺑﺮﺍﻯ ﻣﺨﻔﻰ ﻛﺮﺩﻥ ﺧﻴﺎﻧﺖ ﺧﻮﺩﺵ ﺗﺼﻤﻴﻢ ﺩﺍﺷﺖ ﺑﺎ ﻧﺎﻣﻪﺍﻯ‬ ‫ﺟﻌﻠﻰ ﻭﻻﺩ ﺭﺍ ﺑﻪ ﺯﻧﺪﺍﻥ ﺑﻴﻨﺪﺍﺯﺩ‪ .‬ﺍﺯ ﺳﻮﻳﻰ ﻛﻮﺭﻭﻳﻨﻮﺱ ﺍﺯ ﺍﺑﺘﺪﺍ ﻧﻴﺰ ﻋﻼﻗﻪﺍﻯ ﺑﻪ ﺟﻨﮓ ﺑﺮ ﻋﻠﻴﻪ‬ ‫ﻋﺜﻤﺎﻧﻰﻫﺎ ﻧﺪﺍﺷﺖ ﻭ ﺣﺎﻻ ﺑﺎ ﺷﻜﺴﺖ ﻭﻻﺩ‪ ،‬ﻋﺜﻤﺎﻧﻰﻫﺎ ﺩﺭ ﻣﺮﺯﻫﺎﻯ ﻛﺸﻮﺭﺵ ﺑﻮﺩﻧﺪ‪ .‬ﻭﻻﺩ ﻣﺪﺗﻰ ﺩﺭ‬ ‫ﺍﺭگ ﺍﻭﺭﺍﺗﻴﺎ ﺯﻧﺪﺍﻧﻰ ﺷﺪ‪ .‬ﺳﭙﺲ ﺑﻪ ﻭﻳﺴﮕﺮﺍﺩ ﺩﺭ ﻧﺰﺩﻳﻜﻰ ﺑﻮﺩﺍ ﻣﻨﺘﻘﻞ ﺷﺪ ﻭ ﺩﺭ ﺁﻥﺟﺎ ﺑﻪ ﻣﺪﺕ ﺩﻩ‬ ‫ﺳﺎﻝ ﺯﻧﺪﺍﻧﻰ ﺑﻮﺩ ﻭ ﻧﻬﺎﻳﺘﺎً ﺷﺎﻫﺰﺍﺩﻩﻯ ﻭﺍﻻﺷﻴﺎ ﺑﻪ ﺑﻮﺩﺍ ﻣﻨﺘﻘﻞ ﻭ ﺁﺯﺍﺩ ﺷﺪ‪ .‬ﻃﻮﻝ ﻣﺪﺕ ﺣﺒﺲ ﻭﻻﺩ‬ ‫ﻣﻮﺭﺩ ﺑﺤﺚ ﺍﺳﺖ ﻭ ﺁﻥ ﺭﺍ ﺍﺯ ‪ 1462‬ﺗﺎ ‪ 1474‬ﻣﻰﺩﺍﻧﻨﺪ‪ .‬ﺍﺳﻨﺎﺩ ﺗﺎﺭﻳﺨﻰ ﻧﺸﺎﻥ ﻣﻰﺩﻫﻨﺪ ﻛﻪ ﺩﻭﺭﺍﻥ‬ ‫ﺣﺒﺲ ﺍﻭ ﺩﺭ ﺑﻮﺩﺍ ﻧﺴﺒﺘﺎً ﻛﻮﺗﺎﻩ ﺑﻮﺩﻩ ﺍﺳﺖ‪ .‬ﺳﻴﺎﺳﺖ ﺣﻤﺎﻳﺖ ﺍﺯ ﻣﻨﺎﻓﻊ ﻋﺜﻤﺎﻧﻰﻫﺎﻯ ﺭﺍﺩﻭ ﺩﺭ ﻭﺍﻻﺷﻴﺎ‪،‬‬ ‫ﺍﺣﺘﻤﺎﻻً ﺑﺮ ﻃﻮﻻﻧﻰ ﺷﺪﻥ ﺣﺒﺲ ﻭﻻﺩ ﺗﺎﺛﻴﺮ ﺩﺍﺷﺘﻪ ﺍﺳﺖ‪.‬‬ ‫ﻭﻻﺩ ﺩﺭ ﺍﺳﺎﺭﺕ ﺗﺪﺭﻳﺠﺎً ﻟﻄﻒ ﻛﻮﺭﻭﻳﻨﻮﺱ ﺭﺍ ﻣﺘﻮﺟﻪ ﺧﻮﺩ ﻣﻰﻛﻨﺪ ﻭ ﻧﻬﺎﻳﺘﺎً ﺩﺭ ‪ 1474‬ﺁﺯﺍﺩ‬ ‫ﻣﻰﺷﻮﺩ‪ .‬ﺩﺭ ﺳﺎﻝﻫﺎﻯ ﺁﺧﺮ ﺍﺳﺎﺭﺗﺶ ﺑﺎ ﻳﻜﻰ ﺍﺯ ﻋﻤﻮﺯﺍﺩﻩﻫﺎﻯ ﺷﺎﻩ ﺑﻪ ﻧﺎﻡ ﺍﻳﻠﻮﻧﺎ ﺷﻴﺎژﻯ)‪(21‬‬ ‫ﺍﺯﺩﻭﺍﺝ ﻣﻰﻛﻨﺪ ﻭ ﺍﻳﻦ ﺩﻭ ﺩﺭ ﺧﺎﻧﻪﺍﻯ ﺩﺭ ﺑﻮﺩﺍ ﺳﺎﻛﻦ ﻣﻰﺷﻮﻧﺪ‪ .‬ﺩﺭ ‪ 1465‬ﺩﺭ ﺩﻭﺭﻩﻯ ﺍﺳﺎﺭﺗﺶ ﺩﺭ‬ ‫ﻭﻳﺴﮕﺮﺍﺩ‪ ،‬ﺍﺯ ﻫﻤﺴﺮﺵ ﺻﺎﺣﺐ ﺩﻭ ﻓﺮﺯﻧﺪ ﻣﻰﺷﻮﺩ‪ .‬ﻭﻻﺩ ﺩﺭﺍﻛﻮﻻﻯ ﭼﻬﺎﺭﻡ ﻛﻪ ﻣﻮﻓﻖ ﻧﺸﺪ ﺟﺎﻧﺸﻴﻦ‬ ‫ﭘﺪﺭﺵ ﺷﻮﺩ ﻭ ﭘﺴﺮﻯ ﺩﻳﮕﺮ ﻛﻪ ﻧﺎﻡ ﺍﻭ ﺩﺭ ﺗﺎﺭﻳﺦ ﺛﺒﺖ ﻧﺸﺪﻩ ﺍﺳﺖ ﻭ ﺯﻧﺪﮔﻰﺍﺵ ﺭﺍ ﺩﺭ ﺧﺪﻣﺖ ﺍﺳﻘﻒ‬ ‫ﺍﻭﺭﺍﺩﻳﺎ ﻣﻰﮔﺬﺭﺍﻧﺪ ﻭ ﺩﺭ ‪ 1482‬ﺑﺮ ﺍﺛﺮ ﺑﻴﻤﺎﺭﻯ ﺩﺭ ﺑﻮﺩﺍ ﻣﻰﻣﻴﺮﺩ‪ .‬ﻓﺮﺯﻧﺪﺍﻥ ﻭﻻﺩ ﻭ ﺍﻳﻠﻮﻧﺎ ﺑﺎ ﺧﺎﻧﺪﺍﻥ‬ ‫ﺍﺷﺮﺍﻓﻰ ﻣﺠﺎﺭﺳﺘﺎﻥ ﺍﺯﺩﻭﺍﺝ ﻣﻰﻛﻨﻨﺪ ﻭ ﺩﻭ ﺧﺎﻧﺪﺍﻥ ﺑﺪﻳﻦ ﺗﺮﺗﻴﺐ ﺍﺩﻏﺎﻡ ﻣﻰﺷﻮﻧﺪ‪.‬‬ ‫ﺩﺭ ‪ 26‬ﻧﻮﺍﻣﺒﺮ ‪ ،1476‬ﻭﻻﺩ ﺑﺮﺍﻯ ﺑﺎﺭ ﺳﻮﻡ ﺣﻜﻮﻣﺘﺶ ﺑﺮ ﻭﺍﻻﺷﻴﺎ ﺭﺍ ﺍﻋﻼﻡ ﻣﻰﻛﻨﺪ‪ .‬ﺩﻭﺭﻩﻯ ﺳﻮﻡ‬ ‫ﺣﻜﻮﻣﺖ ﺍﻭ ﺑﻴﺶ ﺍﺯ ﺩﻭ ﻣﺎﻩ ﺑﻪ ﻃﻮﻝ ﻧﻤﻰﺍﻧﺠﺎﻣﺪ‪ .‬ﺩﺭ ﻫﻤﺎﻥ ﺳﺎﻝ ﺍﻭ ﺑﺎ ﺣﻤﺎﻳﺖ ﺩﻭﻟﺖ ﻣﺠﺎﺭﺳﺘﺎﻥ‪،‬‬ ‫ﻭﺍﻻﺷﻴﺎ ﺭﺍ ﻣﻮﺭﺩ ﻫﺠﻮﻡ ﻗﺮﺍﺭ ﻣﻰﺩﻫﺪ ﻭ ﺍﺯ ﺩﺍﻧﻮﺏ ﻣﻰﮔﺬﺭﺩ‪ .‬ﺍﻣﺎ ﺩﺭ ﻧﺒﺮﺩﻯ ﺷﺠﺎﻋﺎﻧﻪ ﺩﺭ ﺑﺮﺍﺑﺮ‬ ‫ﺳﭙﺎﻫﻴﺎﻥ ﺗﺮﻙ ﺩﺭ ﺣﺎﻟﻰ ﻛﻪ ﻳﻜﻪ ﻭ ﺗﻨﻬﺎ ﺑﻪ ﺩﻝ ﺩﺷﻤﻦ ﻣﻰﺗﺎﺯﺩ ﻭ ﺳﭙﺎﻫﻴﺎﻧﺶ ﺍﻭ ﺭﺍ ﺭﻫﺎ ﻛﺮﺩﻩﺍﻧﺪ‪،‬‬ ‫ﺩﺭ ﻧﺰﺩﻳﻜﻰ ﺑﺨﺎﺭﺳﺖ ﻛﺸﺘﻪ ﻣﻰﺷﻮﺩ ﻭ ﺳﺮ ﺍﺯ ﺗﻨﺶ ﺟﺪﺍ ﻣﻰﻛﻨﻨﺪ‪ .‬ﮔﻔﺘﻪ ﻣﻰﺷﻮﺩ ﻛﻪ ﺑﺪﻥ ﻭﻻﺩ‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،9-10‬ﺷﻬﺮﻳﻮﺭ ﻭ ﻣﻬﺮ ‪1390‬‬

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‫ﺩﺭ ﭘﺎﺳﺦ ﺑﻪ ﺍﻳﻦ ﺣﻤﻠﻪ‪ ،‬ﺳﻠﻄﺎﻥ ﻣﺤﻤﻮﺩ ﺩﻭﻡ ﺍﺭﺗﺸﻰ ﻣﺘﺸﻜﻞ ﺍﺯ ﺷﺼﺖ ﻫﺰﺍﺭ ﺳﭙﺎﻫﻰ ﻭ ﺍﺭﺗﺶ‬ ‫ﺩﻭﻣﻰ ﻣﺘﺸﻜﻞ ﺍﺯ ﺳﻰ ﻫﺰﺍﺭ ﺳﭙﺎﻫﻰ ﮔﺮﺩﺁﻭﺭﻯ ﻛﺮﺩ ﻭ ﺑﻪ ﺧﺎﻙ ﻭﺍﻻﺷﻴﺎ ﻳﻮﺭﺵ ﺑﺮﺩ‪ .‬ﻭﻻﺩ ﻛﻪ ﺗﻨﻬﺎ‬ ‫ﭼﻬﻞ ﻫﺰﺍﺭ ﺳﻮﺍﺭ ﺩﺍﺷﺖ‪ ،‬ﻧﺘﻮﺍﻧﺴﺖ ﺍﺯ ﺗﺼﺮﻑ ﭘﺎﻳﺘﺨﺘﺶ ﺗﺎﺭﮔﻮﻭﻳﺸﺖ ﺟﻠﻮﮔﻴﺮﻯ ﻛﻨﺪ‪ .‬ﺍﻭ ﻣﺪﺍﻡ‬ ‫ﺣﻤﻼﺗﻰ ﻛﻮﭼﻚ ﺭﺍ ﻃﺮﺡﺭﻳﺰﻯ ﻭ ﺍﺟﺮﺍ ﻣﻰﻛﺮﺩ؛ ﺍﺯ ﺟﻤﻠﻪ ﺣﻤﻠﻪﻯ ﺷﺒﺎﻧﻪ ﻳﺎ ﺷﺒﻴﺨﻮﻧﻰ ﻛﻪ ﻃﻰ ﺁﻥ‬ ‫ﭘﺎﻧﺰﺩﻩ ﻫﺰﺍﺭ ﺳﭙﺎﻫﻰ ﺗﺮﻙ ﻛﺸﺘﻪ ﻣﻰﺷﻮﻧﺪ‪ .‬ﻭﻻﺩ ﺳﺮﺍﻥ ﺳﭙﺎﻩ ﻣﺤﻤﻮﺩ ﺩﻭﻡ ﺭﺍ ﻳﻜﻰ ﻳﻜﻰ ﺑﻪ ﻗﺘﻞ‬ ‫ﺭﺳﺎﻧﺪ‪ .‬ﺍﻳﻦ ﻣﻮﺿﻮﻉ ﺳﻠﻄﺎﻥ ﺭﺍ ﻛﻪ ﺍﺯ ﺩﺍﻧﻮﺏ ﻣﻰﮔﺬﺷﺖ‪ ،‬ﺑﻪ ﺷﺪﺕ ﻋﺼﺒﺎﻧﻰ ﻛﺮﺩ‪.‬‬ ‫ﺣﻤﻼﺕ ﻭﻻﺩ ﺩﺭ ﺳﺮﺯﻣﻴﻦﻫﺎﻯ ﻏﺮﺑﻰ ﺷﺎﺩﻯ ﺑﺴﻴﺎﺭﻯ ﺑﻪ ﻭﺟﻮﺩ ﺁﻭﺭﺩ ﻭ ﭘﺎپ ﻭ ﺩﻭﻝ ﺍﻳﺘﺎﻟﻴﺎﻳﻰ‬ ‫ﺣﻤﺎﻳﺖ ﺧﻮﺩ ﺍﺯ ﻭﻯ ﺭﺍ ﺍﻋﻼﻡ ﻛﺮﺩﻧﺪ‪ .‬ﻭ ﺑﻪ ﺭﺍﺳﺘﻰ ﻫﻢ ﺍﮔﺮ ﻭﻻﺩ ﺻﻼﺑﻪﮔﺮ ﻧﺒﻮﺩ‪ ،‬ﺳﻠﻄﺎﻥ ﺩﺭ ﻧﻈﺮ‬ ‫ﺩﺍﺷﺖ ﺍﺭﺗﺶ ﺩﺭﻳﺎﻳﻰ ﻋﻈﻴﻤﻰ ﻣﺘﺸﻜﻞ ﺍﺯ ﺣﺪﺍﻗﻞ ﺳﻴﺼﺪ ﻧﺎﻭ ﺟﻨﮕﻰ ﻭ ﺳﺎﻳﺮ ﻛﺸﺘﻰﻫﺎ ﺑﻪ ﻭﻧﻴﺰ‬ ‫ﺍﻋﺰﺍﻡ ﻛﻨﺪ ﻛﻪ ﺑﻪ ﺧﺎﻃﺮ ﺟﻨﮓ ﺩﺭ ﺭﻭﻣﺎﻧﻰ ﺍﺯ ﺍﻳﻦ ﻣﻮﺿﻮﻉ ﻣﻨﺼﺮﻑ ﻣﻰﺷﻮﺩ‪.‬‬ ‫ﺩﺭ ﻧﻬﺎﻳﺖ ﺳﻠﻄﺎﻥ ﺟﺎﻥﻧﺜﺎﺭﺍﻥ ﺧﻮﺩ ﺭﺍ ﺑﻪ ﺭﻫﺒﺮﻯ ﺭﺍﺩﻭ ﺑﻴﮓ‪ ،‬ﺑﺮﺍﺩﺭ ﻭﻻﺩ ﺑﻪ ﻭﺍﻻﺷﻴﺎ ﺍﻋﺰﺍﻡ ﻣﻰﻛﻨﺪ‪.‬‬ ‫ﻭﻻﺩ ﺑﺎﻗﻴﻤﺎﻧﺪﻩﻯ ﺳﭙﺎﻩ ﺍﻭﻟﻴﻪﻯ ﺳﻠﻄﺎﻥ ﺭﺍ ﻧﻴﺰ ﺑﻪ ﻗﺘﻞ ﻣﻰﺭﺳﺎﻧﺪ ﻭ ﺩﺭ ﺣﻤﻠﻪﺍﻯ ﺷﺒﺎﻧﻪ‪ ،‬ﺣﺪﺍﻗﻞ‬ ‫ﭼﻬﺎﺭ ﻫﺰﺍﺭ ﻧﻔﺮ ﺍﺯ ﺟﺎﻥﻧﺜﺎﺭﺍﻥ ﺭﺍ ﻣﻰﻛﺸﺪ‪ .‬ﺍﻣﺎ ﺍﺭﺗﺶ ﺭﺍﺩﻭ ﺑﺎ ﻭﺟﻮﺩ ﺗﻠﻔﺎﺗﺶ ﺑﻪ ﺧﺎﻃﺮ ﺑﺮﺗﺮﻯ‬ ‫ﺗﺠﻬﻴﺰﺍﺕ ﻭ ﭘﻮﻟﻰ ﻛﻪ ﻣﺮﺗﺒﺎً ﺍﺯ ﻃﺮﻑ ﺩﺭﺑﺎﺭ ﺑﺮﺍﻳﺶ ﻓﺮﺳﺘﺎﺩﻩ ﻣﻰﺷﻮﺩ‪ ،‬ﺑﻪ ﭘﻴﺶﺭﻭﻯ ﺍﺩﺍﻣﻪ ﻣﻰﺩﻫﺪ‪.‬‬ ‫ﻭﻻﺩ ﻣﺠﺒﻮﺭ ﺑﻪ ﻫﺰﻳﻤﺖ ﺑﻪ ﻗﻠﻌﻪﻯ ﻣﻌﺮﻭﻓﺶ ﭘﻮﺋﻨﺎﺭﻯ ﻣﻰﺷﻮﺩ ﻭ ﺩﺭ ﺁﻥﺟﺎ ﺗﺤﺖ ﻣﺤﺎﺻﺮﻩ ﻗﺮﺍﺭ‬ ‫ﻣﻰﮔﻴﺮﺩ‪ .‬ﺩﺭ ﺍﻳﻦ ﺣﺼﺮ ﻫﻤﺴﺮ ﺍﻭﻝ ﻭﻻﺩ ﻛﺸﺘﻪ ﻣﻰﺷﻮﺩ‪.‬‬ ‫ﺩﺭﺑﺎﺭﻩﻯ ﻫﻤﺴﺮ ﻭﻻﺩ ﻭ ﺣﺼﺮ ﭘﻮﺋﻨﺎﺭﻯ ﺍﻓﺴﺎﻧﻪﺍﻯ ﻭﺟﻮﺩ ﺩﺍﺭﺩ ﻛﻪ ﺍﺯ ﻧﻈﺮ ﺗﺎﺭﻳﺨﻰ ﭼﻨﺪﺍﻥ ﻣﺴﺘﻨﺪ‬ ‫ﻧﻴﺴﺖ‪ .‬ﺍﺯ ﺍﻳﻦ ﻛﻪ ﻧﺎﻡ ﻫﻤﺴﺮ ﺍﻭﻝ ﻭﻻﺩ ﭼﻪ ﺑﻮﺩﻩ‪ ،‬ﻣﺪﺭﻛﻰ ﺩﺭ ﺩﺳﺖ ﻧﻴﺴﺖ؛ ﺍﻣﺎ ﮔﻔﺘﻪ ﻣﻰﺷﻮﺩ‬ ‫ﻛﻪ ﻳﻚ ﺷﺐ ﻳﻜﻰ ﺍﺯ ﻛﻤﺎﻧﺪﺍﺭﺍﻥ ﺟﺎﻥﻧﺜﺎﺭﻯ ﻛﻪ ﺍﺯ ﻃﺮﻓﺪﺍﺭﺍﻥ ﻭﻻﺩ ﺑﻮﺩﻩ ﻭ ﻣﺠﺒﻮﺭ ﻣﻰﺷﻮﺩ ﺍﺳﻼﻡ‬ ‫ﺁﻭﺭﺩﻩ ﻭ ﺑﻪ ﻋﺜﻤﺎﻧﻰﻫﺎ ﺑﭙﻮﻧﺪﺩ‪ ،‬ﺳﺎﻳﻪﻯ ﻫﻤﺴﺮ ﻭﻻﺩ ﺭﺍ ﺩﺭ ﭘﺸﺖ ﭘﻨﺠﺮﻩﻯ ﻗﻠﻌﻪ ﻣﻰﺑﻴﻨﺪ ﻭ ﺗﻴﺮﻯ ﺑﺎ‬ ‫ﭘﻴﻐﺎﻡ ﭘﻴﺸﺮﻭﻯ ﻋﺜﻤﺎﻧﻰﻫﺎ ﺑﻪ ﺩﺭﻭﻥ ﭘﻨﺠﺮﻩ ﭘﺮﺗﺎﺏ ﻣﻰﻛﻨﺪ‪ .‬ﻫﻤﺴﺮ ﻭﻻﺩ ﺑﺎ ﺧﻮﺍﻧﺪﻥ ﭘﻴﻐﺎﻡ ﺧﻮﺩ ﺭﺍ‬ ‫ﺍﺯ ﻫﻤﺎﻥ ﭘﻨﺠﺮﻩ ﺑﻪ ﺭﻭﺩ ﺁﺭﮔﺶ ﻣﻰﺍﻧﺪﺍﺯﺩ ﻛﻪ ﺍﻣﺮﻭﺯﻩ ﺑﻪ ﺭﺍﺋﻮﻝ ﺩﻭﺁﻣﻨﻰ ﻳﺎ ﺭﻭﺩ ﺑﺎﻧﻮ ﻣﻌﺮﻭﻑ ﺍﺳﺖ‪.‬‬ ‫ﻭﻯ ﻣﻰﮔﻮﻳﺪ ﻛﻪ ﺗﺮﺟﻴﺢ ﻣﻰﺩﻫﺪ ﺟﺴﺪﺵ ﺗﻮﺳﻂ ﻣﺎﻫﻰﻫﺎﻯ ﺁﺭﮔﺶ ﺧﻮﺭﺩﻩ ﺷﻮﺩ ﺗﺎ ﺍﻳﻦ ﻛﻪ ﺍﺳﻴﺮ‬ ‫ﺩﺳﺖ ﻋﺜﻤﺎﻧﻰﻫﺎ ﺷﻮﺩ‪ .‬ﺑﺎ ﭘﻴﺮﻭﺯﻯ ﺭﺍﺩﻭ ﺩﺭ ﺑﺮﺍﺑﺮ ﻭﻻﺩ ﺳﻮﻡ‪ ،‬ﺳﻠﻄﺎﻥ ﺑﻪ ﺍﻭ ﻟﻘﺐ ﺑﻴﮓ ﻭﺍﻻﺷﻴﺎ ﺭﺍ‬ ‫ﻣﻰﺩﻫﺪ‪.‬‬ ‫ﻋﻠﺖ ﺍﺻﻠﻰ ﺷﻜﺴﺖ ﻭﻻﺩ ﺩﺭﺑﺮﺍﺑﺮ ﺭﺍﺩﻭ‪ ،‬ﺣﻤﺎﻳﺖ ﻓﺌﻮﺩﺍﻝﻫﺎﻯ ﻭﺍﻻﺷﻴﺎ ﺍﺯ ﺑﺮﺍﺩﺭﺵ ﺑﻮﺩﻩ ﺍﺳﺖ‪.‬‬ ‫ﭼﻨﺎﻥﭼﻪ ﮔﻔﺘﻪ ﺷﺪ ﻭﻻﺩ ﺑﺎ ﻓﺌﻮﺩﺍﻝﻫﺎﻯ ﺳﺮﺯﻣﻴﻨﺶ ﺭﺍﺑﻄﻪﻯ ﺣﺴﻨﻪ ﻧﺪﺍﺷﺖ )ﻋﺎﺩﺕ ﺩﺍﺷﺖ ﺁﻥﻫﺎ‬ ‫ﺭﺍ ﺑﻪ ﺻﻼﺑﻪ ﺑﻜﺸﺪ( ﻭ ﺍﺯ ﺍﻳﻦ ﺭﻭ ﻓﺌﻮﺩﺍﻝﻫﺎ ﺗﺮﺟﻴﺢ ﺩﺍﺩﻧﺪ ﻃﺮﻑ ﺭﺍﺩﻭ ﻭ ﺍﻣﭙﺮﺍﻃﻮﺭﻯ ﻋﺜﻤﺎﻧﻰ ﺭﺍ‬

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‫ﻭﻳﮋﻩﻧﺎﻣﻪﻯ ﺧﻮﻥﺁﺷﺎﻡﻫﺎ‬

‫ﻣﻘﺎﻟﻪ‬

‫ﻃﻮﺭ ﻣﺜﺎﻝ ﺑﺴﻴﺎﺭﻯ ﺍﺯ ﺳﺮﺍﻥ ﻭ ﺑﺰﺭﮔﺎﻥ ﺧﺎﻧﺪﺍﻥ ﺩﺍﻧﺸﺘﻰ ﺑﻪ ﺩﺳﺖ ﻭﻻﺩ ﻛﺸﺘﻪ ﺷﺪﻧﺪ ﻛﻪ ﻫﻤﺎﻥ‬ ‫ﺧﺎﻧﺪﺍﻥ ﻭﻻﺩﻳﺴﻼﻭ ﺩﻭﻡ ﺍﺳﺖ‪ .‬ﺍﺯ ﺟﻤﻠﻪ ﻣﻰﺗﻮﺍﻥ ﺑﻪ ﻳﻜﻰ ﺍﺯ ﺷﺎﻫﺰﺍﺩﻩﻫﺎﻯ ﺩﺍﻧﺸﺘﻰ ﺍﺷﺎﺭﻩ ﻛﺮﺩ ﻛﻪ‬ ‫ﻭﻻﺩ ﻣﻰﺩﺍﻧﺴﺖ ﺩﺭ ﻗﺘﻞ ﺑﺮﺍﺩﺭﺵ ﻣﻴﺮﭼﺎ ﺩﺳﺖ ﺩﺍﺷﺘﻪ ﺍﺳﺖ‪ .‬ﻭﻻﺩ ﺍﻭ ﺭﺍ ﺑﻪ ﻣﺮگ ﻣﺤﻜﻮﻡ ﻛﺮﺩ‬ ‫ﻭ ﻣﺠﺒﻮﺭﺵ ﻛﺮﺩ ﺩﺭ ﺣﻴﻨﻰ ﻛﻪ ﺩﺭ ﺑﺮﺍﺑﺮ ﻗﺒﺮ ﻛﻨﺪﻩ ﺷﺪﻩﺍﺵ ﺯﺍﻧﻮ ﺯﺩﻩ‪ ،‬ﻭﺻﻴﺖﻧﺎﻣﻪﺍﺵ ﺭﺍ ﺑﺨﻮﺍﻧﺪ‪.‬‬ ‫ﻭﻻﺩ ﺑﺎ ﻣﺎﺗﻴﺎﺱ ﻛﻮﺭﻭﻳﻨﻮﺱ )‪ ،(19‬ﭘﺎﺩﺷﺎﻩ ﻣﺠﺎﺭﺳﺘﺎﻥ ﻭ ﭘﺴﺮ ﺟﺎﻥ ﻫﺎﻧﻴﺎﺩﻯ ﭘﻴﻤﺎﻥ ﺩﻭﺳﺘﻰ ﺑﺴﺖ‪.‬‬ ‫ﻭﺍﻻﺷﻴﺎ ﺩﺭ ‪ 1459‬ﺗﻮﺳﻂ ﻣﺤﻤﻮﺩ ﺩﻭﻡ ﻗﺴﻤﺘﻰ ﺍﺯ ﺍﻣﭙﺮﺍﻃﻮﺭﻯ ﻋﺜﻤﺎﻧﻰ ﺍﻋﻼﻡ ﺷﺪ‪ .‬ﺑﻨﺎﺑﺮﺍﻳﻦ ﭘﺎپ‬ ‫ﭘﺎﻳﻮﺱ ﺩﻭﻡ )‪ (20‬ﺩﺭ ﻛﻨﮕﺮﻩﻯ ﻣﺎﻧﺘﻮﺋﺎ ﺑﺎﺭ ﺩﻳﮕﺮ ﺑﺮ ﻋﻠﻴﻪ ﻣﺤﻤﻮﺩ ﺩﻭﻡ ﺍﻋﻼﻡ ﺟﻬﺎﺩ ﻣﻰﻛﻨﺪ )ﺑﺎﺭ‬ ‫ﻗﺒﻞ ﺍﻋﻼﻡ ﺟﻬﺎﺩ ﺯﻣﺎﻧﻰ ﺻﻮﺭﺕ ﻣﻰﮔﻴﺮﺩ ﻛﻪ ﻣﺤﻤﻮﺩ ﺩﻭﻡ ﻗﺴﻄﻨﻄﻨﻴﻪ ﺭﺍ ﻓﺘﺢ ﻣﻰﻛﻨﺪ(‪ .‬ﺗﻨﻬﺎ ﻛﺴﻰ‬ ‫ﻛﻪ ﺍﺯ ﺍﻳﻦ ﺟﻬﺎﺩ ﺍﺳﺘﻘﺒﺎﻝ ﻣﻰﻛﻨﺪ‪ ،‬ﻭﻻﺩ ﺗﭙﺶ ﺍﺳﺖ‪.‬‬ ‫ﺩﺭ ﺍﻭﺍﺧﺮ ﺳﺎﻝ ‪ ،1459‬ﺳﻠﻄﺎﻥ ﺳﻔﻴﺮﺍﻧﻰ ﺭﺍ ﻧﺰﺩ ﻭﻻﺩ ﻣﻰﻓﺮﺳﺘﺪ ﺗﺎ ﺍﺯ ﺍﻭ ﺟﺰﻳﻪﻯ ﻋﻘﺐ ﺍﻓﺘﺎﺩﻩﺍﺵ‬ ‫ﺭﺍ )ﺩﻩ ﻫﺰﺍﺭ ﺩﻭﻛﺎﺕ ﻭ ﭘﺎﻧﺼﺪ ﺳﺮﺑﺎﺯ( ﻃﻠﺐ ﻛﻨﺪ؛ ﺍﻣﺎ ﻭﻻﺩ ﺑﺮﺍﻯ ﺗﺤﺮﻳﻚ ﺳﻠﻄﺎﻥ‪ ،‬ﺳﻔﻴﺮﺍﻧﺶ ﺭﺍ‬ ‫ﺑﻪ ﺑﻬﺎﻧﻪﻯ ﺍﻳﻦ ﻛﻪ ﺩﺳﺘﺎﺭﻫﺎﻳﺸﺎﻥ ﺭﺍ ﺩﺭ ﺑﺮﺍﺑﺮﺵ ﺍﺯ ﺳﺮ ﺑﺮ ﻧﺪﺍﺷﺘﻪﺍﻧﺪ‪ ،‬ﺑﻪ ﺻﻼﺑﻪ ﻣﻰﻛﺸﺪ ﻭ‬ ‫ﺩﺳﺘﺎﺭﻫﺎﻳﺸﺎﻥ ﺭﺍ ﺑﺮ ﺳﺮﺷﺎﻥ ﻣﻴﺦ ﻣﻰﻛﻨﺪ‪ .‬ﺩﺭ ﻫﻤﻴﻦ ﺍﺛﻨﺎء ﺳﻠﻄﺎﻥ ﻳﻜﻰ ﺍﺯ ﺳﺮﺍﻧﺶ ﺑﻪ ﻧﺎﻡ ﺣﻤﺰﻩ‬ ‫ﭘﺎﺷﺎ‪ِ ،‬‬ ‫ﺑﻴﮓ ﻧﻴﻜﻮﭘﻮﻟﻴﺲ ﺭﺍ ﺑﻪ ﻫﻤﺮﺍﻩ ﺳﭙﺎﻫﻰ ﺑﺰﺭگ ﻣﺘﺸﻜﻞ ﺍﺯ ﺩﻩ ﻫﺰﺍﺭ ﺳﻮﺍﺭ ﺑﻪ ﺁﻥ ﺳﻮﻯ ﺩﺍﻧﻮﺏ‬ ‫ﺍﻋﺰﺍﻡ ﻣﻰﻛﻨﺪ ﺗﺎ ﻳﺎ ﺑﺎ ﻭﻻﺩ ﺻﻠﺢ ﻛﻨﺪ ﻳﺎ ﺍﻭ ﺭﺍ ﺑﻪ ﻗﺘﻞ ﺑﺮﺳﺎﻧﺪ‪ .‬ﻭﻻﺩ ﺣﻤﻠﻪﺍﻯ ﻏﺎﻓﻠﮕﻴﺮﺍﻧﻪ ﺗﺮﺗﻴﺐ‬ ‫ﻣﻰﺩﻫﺪ‪ .‬ﺯﻣﺎﻧﻰ ﻛﻪ ﺳﭙﺎﻫﻴﺎﻥ ﺑﻴﮓ ﺩﺭ ﺣﺎﻝ ﮔﺬﺭ ﺍﺯ ﻣﺴﻴﺮﻯ ﺑﺎﺭﻳﻚ ﺩﺭ ﺷﻤﺎﻝ ﮔﻴﻮﺭﮔﻴﻮ ﺑﻮﺩﻧﺪ‪،‬‬ ‫ﻭﻻﺩ ﻭ ﺳﭙﺎﻫﻴﺎﻧﺶ ﺑﺮ ﺁﻥﻫﺎ ﻳﻮﺭﺵ ﻣﻰﺑﺮﻧﺪ ﻭ ﺳﭙﺎﻩ ﺗﺮﻙ ﻫﻤﮕﻰ ﺗﺴﻠﻴﻢ ﻣﻰﺷﻮﻧﺪ ﻭ ﺗﻘﺮﻳﺒﺎً ﻫﻤﮕﻰ‬ ‫ﺑﻪ ﺻﻼﺑﻪ ﻛﺸﻴﺪﻩ ﻣﻰﺷﻮﻧﺪ ﻭ ﺣﻤﺰﻩ ﭘﺎﺷﺎ ﺑﺮ ﭼﻮﺑﻰ ﺑﻠﻨﺪﺗﺮ ﺍﺯ ﻫﻤﻪ ﺑﻪ ﺻﻼﺑﻪ ﻛﺸﻴﺪﻩ ﻣﻰﺷﻮﺩ ﺗﺎ‬ ‫ﻣﻘﺎﻣﺶ ﻧﺸﺎﻥ ﺩﺍﺩﻩ ﺷﻮﺩ‪.‬‬ ‫ﺩﺭ ﺯﻣﺴﺘﺎﻥ ‪ ،1462‬ﻭﻻﺩ ﺍﺯ ﺩﺍﻧﻮﺏ ﻣﻰﮔﺬﺭﺩ ﻭ ﺗﻤﺎﻣﻰ ﺳﺮﺯﻣﻴﻦﻫﺎﻯ ﺑﻠﻐﺎﺭﺳﺘﺎﻥ ﺍﺯ ﺻﺮﺑﺴﺘﺎﻥ ﺗﺎ‬ ‫ﺩﺭﻳﺎﻯ ﺳﻴﺎﻩ ﺭﺍ ﺳﺮ ﺭﺍﻫﺶ ﻭﻳﺮﺍﻥ ﻣﻰﻛﻨﺪ‪ .‬ﺍﻭ ﺑﺎ ﺗﻐﻴﻴﺮ ﻗﻴﺎﻓﻪ‪ ،‬ﺧﻮﺩﺵ ﺭﺍ ﺑﻪ ﺷﻜﻞ ﻳﻚ ﺳﭙﺎﻫﻰ ﺗﺮﻙ‬ ‫ﺩﺭ ﻣﻰﺁﻭﺭﺩ ﻭ ﺗﻤﺎﻣﻰ ﻟﺸﻜﺮﮔﺎﻩﻫﺎﻯ ﻋﺜﻤﺎﻧﻰ ﺭﺍ ﻳﻚ ﺗﻨﻪ ﺍﺯ ﺑﻴﻦ ﻣﻰﺑﺮﺩ‪ .‬ﺩﺭ ﺩﻭﻡ ﻓﻮﺭﻳﻪﻯ ﻫﻤﺎﻥ‬ ‫ﺳﺎﻝ ﺩﺭ ﻧﺎﻣﻪﺍﻯ ﺑﻪ ﻣﺎﺗﻴﺎﺱ ﻛﻮﺭﻭﻳﻨﻮﺱ ﻣﻰﻧﻮﻳﺴﺪ‪:‬‬ ‫»ﻣﻦ ﺭﻋﺎﻳﺎﻳﻰ ﺭﺍ ﻛﻪ ﺩﺭ ﺍﻭﺑﻠﻮﺷﻴﺰﻳﺎ ﻭ ﻧﻮﻭﺳﻠﻮ ﺑﻮﺩﻧﺪ‪ ،‬ﺁﻥﺟﺎ ﻛﻪ ﺩﺍﻧﻮﺏ ﺑﻪ ﺩﺭﻳﺎ ﻣﻰﺭﻳﺰﺩ‪ ،‬ﺗﺎ ﺭﺍﻫﻮﻭﺍ‬ ‫ﻛﻪ ﻧﺰﺩﻳﻚ ﺷﻴﻠﻴﺎ ﺍﺳﺖ ﻭ ﺳﺮﺯﻣﻴﻦﻫﺎﻯ ﺟﻨﻮﺏ ﺩﺍﻧﻮﺏ ﭼﻮﻥ ﺳﺎﻣﻮﻭﻳﺖ ﻭ ﻗﻴﻘﻦ‪ ،‬ﺍﺯ ﺯﻥ ﻭ ﻣﺮﺩ‬ ‫ﻭ ﺑﭽﻪ ﺑﻪ ﻗﺘﻞ ﺭﺳﺎﻧﺪﻡ‪ .‬ﻣﺎ ‪ 23884‬ﺑﻠﻐﺎﺭ ﺭﺍ ﺑﻪ ﻗﺘﻞ ﺭﺳﺎﻧﺪﻳﻢ ﻭ ﺍﻳﻦ ﻋﺪﺩ ﻏﻴﺮ ﺍﺯ ﺁﻥﻫﺎﻳﻰ ﺍﺳﺖ‬ ‫ﻛﻪ ﺩﺭ ﺧﺎﻧﻪﻫﺎﻳﺸﺎﻥ ﺑﻪ ﺁﺗﺶ ﻛﺸﻴﺪﻳﻢ ﻭ ﺗﺮﻙﻫﺎﻳﻰ ﻛﻪ ﺳﺮﺑﺎﺯﺍﻧﻤﺎﻥ ﺳﺮ ﺍﺯ ﺗﻨﺸﺎﻥ ﺟﺪﺍ ﻛﺮﺩﻧﺪ‪...‬‬ ‫ﻋﺎﻟﻴﺠﻨﺎﺏ‪ ،‬ﻣﻦ ﺍﻣﻜﺎﻥ ﺻﻠﺢ ﺭﺍ ﺑﺎ ﺍﻭ )ﺳﻠﻄﺎﻥ( ﺍﺯ ﺑﻴﻦ ﺑﺮﺩﻡ‪«.‬‬

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‫ﻭﻳﮋﻩﻧﺎﻣﻪﻯ ﺧﻮﻥﺁﺷﺎﻡﻫﺎ‬

‫ﺟﺎﻧﺸﻴﻨﺶ ﻣﻴﺮﭼﺎ )‪ (16‬ﺭﺍ ﻛﻮﺭ ﻛﺮﺩﻩ ﻭ ﺩﺭ ﺗﺎﺭﮔﻮﻭﻳﺸﺖ ﺯﻧﺪﻩ ﺑﻪ ﮔﻮﺭ ﻛﺮﺩﻧﺪ‪ .‬ﺑﺮﺍﻯ ﺟﻠﻮﮔﻴﺮﻯ ﺍﺯ‬ ‫ﻧﻔﻮﺫ ﻣﺠﺎﺭﻫﺎ‪ ،‬ﻋﺜﻤﺎﻧﻰﻫﺎ ﻭﺍﻻﺷﻴﺎ ﺭﺍ ﻣﻮﺭﺩ ﻫﺠﻮﻡ ﻗﺮﺍﺭ ﺩﺍﺩﻧﺪ ﻭ ﻭﻻﺩ ﺟﻮﺍﻥ ﺭﺍ ﺑﺮ ﺗﺨﺖ ﻧﺸﺎﻧﺪﻧﺪ؛ ﺍﻣﺎ‬ ‫ﺧﻮﺩ ﺟﺎﻥ ﻫﺎﻧﻴﺎﺩﻯ ﻭﺍﻻﺷﻴﺎ ﺭﺍ ﻣﻮﺭﺩ ﺗﺎﺧﺖ ﻭ ﺗﺎﺯ ﻗﺮﺍﺭ ﺩﺍﺩ ﻭ ﻫﻢﭘﻴﻤﺎﻧﺶ ﻭﻻﺩﻳﺴﻼﻭ ﺩﻭﻡ )‪(17‬‬ ‫ﺭﺍ ﺑﺎﺭ ﺩﻳﮕﺮ ﺑﺮ ﺗﺨﺖ ﻧﺸﺎﻧﺪ‪ .‬ﻭﻻﺩ ﺑﻪ ﻣﻮﻟﺪﺍﻭﻳﺎ ﻭ ﺩﺭﺑﺎﺭ ﻋﻤﻮﻳﺶ ﺑﻮﮔﺪﺍﻥ ﺩﻭﻡ )‪ (18‬ﻓﺮﺍﺭ ﻛﺮﺩ‪ ،‬ﺍﻣﺎ‬ ‫ﻋﻤﻮﻳﺶ ﺩﺭ ﺟﺮﻳﺎﻥ ﻧﺰﺍﻉ ﺑﺮ ﺳﺮ ﺣﺎﻛﻤﻴﺖ ﻣﻮﻟﺪﺍﻭﻳﺎ ﺗﺮﻭﺭ ﺷﺪ ﻭ ﻭﻻﺩ ﻣﺠﺒﻮﺭ ﺷﺪ ﺑﻪ ﻣﺠﺎﺭﺳﺘﺎﻥ‬ ‫ﺑﮕﺮﻳﺰﺩ‪.‬‬ ‫ﺩﺭ ﻣﺠﺎﺭﺳﺘﺎﻥ ﺑﻪ ﻋﻠﺖ ﺩﺍﻧﺶ ﺑﺎﻻﻳﺶ ﺍﺯ ﺩﺳﺘﮕﺎﻩ ﻧﻈﺎﻣﻰ ﻋﺜﻤﺎﻧﻰ ﻭ ﺗﻨﻔﺮﻯ ﻛﻪ ﺍﺯ ﻣﺤﻤﻮﺩ ﺩﻭﻡ‬ ‫ﺩﺍﺷﺖ‪ ،‬ﺑﻪ ﻣﻘﺎﻡ ﻣﺸﺎﻭﺭﻯ ﺟﺎﻥ ﻫﺎﻧﻴﺎﺩﻯ ﺭﺳﻴﺪ‪ .‬ﺩﺭ ﺳﺎﻝ ‪ 1453‬ﺳﻠﻄﺎﻥ ﻣﺤﻤﻮﺩ ﺩﻭﻡ ﻗﺴﻄﻨﻄﻨﻴﻪ‬ ‫ﺭﺍ ﻓﺘﺢ ﻛﺮﺩ ﻭ ﺑﺰﺭگﺗﺮﻳﻦ ﻣﺮﻛﺰ ﻧﻔﻮﺫ ﻣﺴﻴﺤﻴﺖ ﺩﺭ ﺍﺭﻭﭘﺎﻯ ﺷﺮﻗﻰ ﺭﺍ ﺍﺯ ﺑﻴﻦ ﺑﺮﺩ‪ .‬ﻧﻔﻮﺫ ﻋﺜﻤﺎﻧﻰﻫﺎ ﺍﺯ‬ ‫ﺍﻳﻦ ﺷﻬﺮ ﺗﺎ ﺳﺮﺯﻣﻴﻦﻫﺎﻯ ﺁﻥ ﺳﻮﻯ ﻛﻮﻩﻫﺎﻯ ﻛﺎﺭﭘﺎﺕ ﺷﺮﻭﻉ ﺑﻪ ﭘﻴﺸﺮﻭﻯ ﻛﺮﺩ‪ .‬ﺑﻪ ﺯﻭﺩﻯ ﻋﺜﻤﺎﻧﻰﻫﺎ‬ ‫ﺣﺼﺮ ﺑﻠﮕﺮﺍﺩ ﺭﺍ ﻧﻴﺰ ﺁﻏﺎﺯ ﻛﺮﺩﻧﺪ ﻭ ﻫﺎﻧﻴﺎﺩﻯ ﻣﺠﺒﻮﺭ ﺷﺪ ﺷﺨﺼﺎً ﺍﺯ ﺟﺒﻬﻪﻯ ﺻﺮﺑﺴﺘﺎﻥ ﻭﺍﺭﺩ ﻣﺒﺎﺭﺯﻩ‬ ‫ﺑﺎ ﻋﺜﻤﺎﻧﻰﻫﺎ ﺷﻮﺩ‪ .‬ﺩﺭ ﺯﻣﺎﻧﻰ ﻛﻪ ﺍﻭ ﺣﺼﺮ ﺑﻠﮕﺮﺍﺩ ﺭﺍ ﻣﻰﺷﻜﺴﺖ‪ ،‬ﻭﻻﺩ ﺑﺎ ﺍﺭﺗﺶ ﺧﻮﺩ ﺑﻪ ﻭﺍﻻﺷﻴﺎ‬ ‫ﻫﺠﻮﻡ ﺑﺮﺩ ﻭ ﺁﻥ ﺭﺍ ﺗﺼﺮﻑ ﻛﺮﺩ ﻭ ﺩﺭ ﻧﺒﺮﺩﻯ ﺗﻦ ﺑﻪ ﺗﻦ ﻭﻻﺩﻳﺴﻼﻭ ﺩﻭﻡ ﺭﺍ ﻛﺸﺖ‪ .‬ﻫﺎﻧﻴﺎﺩﻯ ﻧﻴﺰ‬ ‫ﻣﺪﺗﻰ ﺑﻌﺪ ﺑﻪ ﻋﻠﺖ ﻃﺎﻋﻮﻥ ﺟﺎﻥ ﺳﭙﺮﺩ‪.‬‬ ‫ﻭﻗﺘﻰ ﻭﻻﺩ ﺑﻪ ﺣﻜﻮﻣﺖ ﻭﺍﻻﺷﻴﺎ ﺩﺳﺖ ﭘﻴﺪﺍ ﻛﺮﺩ‪ ،‬ﺁﻥ ﺭﺍ ﺩﺭ ﻭﺿﻌﻴﺘﻰ ﻧﺎﺑﺴﺎﻣﺎﻥ ﻳﺎﻓﺖ‪ .‬ﺟﻨﮓﻫﺎﻯ‬ ‫ﻣﺘﺪﺍﻭﻡ ﺩﺍﺧﻠﻰ ﻭ ﺧﺎﺭﺟﻰ ﺍﻗﺘﺼﺎﺩ ﻭﺍﻻﺷﻴﺎ ﺭﺍ ﻧﺎﺑﻮﺩ ﻛﺮﺩﻩ ﻭ ﻛﺸﺎﻭﺭﺯﻯ ﻭ ﺗﺠﺎﺭﺕ ﺍﺯ ﻣﻴﺎﻥ ﺭﻓﺘﻪ ﺑﻮﺩ‪.‬‬ ‫ﺑﺮﺍﻯ ﺑﻬﺒﻮﺩ ﻭﺿﻌﻴﺖ ﻭﺍﻻﺷﻴﺎ‪ ،‬ﻭﻻﺩ ﺑﻪ ﺭﻭﺵﻫﺎﻳﻰ ﺑﺴﻴﺎﺭ ﺍﻓﺮﺍﻃﻰ ﻭ ﺑﻌﻀﺎً ﺧﺸﻦ ﺩﺳﺖ ﺯﺩ ﻛﻪ ﺩﺭ‬ ‫ﻣﺪﺕ ﺯﻣﺎﻧﻰ ﻛﻮﺗﺎﻩ ﻭﺍﻻﺷﻴﺎ ﺭﺍ ﺑﻪ ﻭﺿﻌﻴﺖ ﭘﻴﺶ ﺍﺯ ﺟﻨﮓ ﺁﻥ ﺑﺮﮔﺮﺩﺍﻧﺪ‪ .‬ﺍﺯ ﺟﻤﻠﻪ ﻗﻮﺍﻧﻴﻦ ﺳﺨﺘﻰ‬ ‫ﻋﻠﻴﻪ ﺩﺯﺩﺍﻥ ﻭ ﺟﻨﺎﻳﺖﻛﺎﺭﺍﻥ ﺗﺼﻮﻳﺐ ﻛﺮﺩ ﻭ ﺑﺮﺍﻯ ﺣﻤﺎﻳﺖ ﺍﺯ ﺗﺠﺎﺭ ﺩﺍﺧﻠﻰ‪ ،‬ﻣﺤﺪﻭﺩﻳﺖﻫﺎﻳﻰ‬ ‫ﺑﺮﺍﻯ ﺗﺎﺟﺮﺍﻥ ﺧﺎﺭﺟﻰ ﺩﺭ ﺳﻪ ﺷﻬﺮ ﺗﺠﺎﺭﻯ ﺗﺎﺭﮔﺸﻮﺭ‪ ،‬ﻛﺎﻣﭙﻮﻟﻮﻧﮓ ﻭ ﺗﺎﺭﮔﻮﻭﻳﺸﺖ ﻣﻘﺮﺭ ﻛﺮﺩ‪.‬‬ ‫ﻧﻴﺰ ﺍﺯ ﺁﻥﺟﺎﻳﻰ ﻛﻪ ﺣﺎﻛﻤﺎﻥ ﻓﺌﻮﺩﺍﻝ ﺭﺍ ﺑﺰﺭگﺗﺮﻳﻦ ﻋﻠﺖ ﻭﺿﻌﻴﺖ ﻛﻨﻮﻧﻰ ﻭﺍﻻﺷﻴﺎ ﻣﻰﺩﺍﻧﺴﺖ ﻭ‬ ‫ﺑﻪ ﺧﺎﻃﺮ ﻛﻴﻨﻪﻫﺎﻯ ﻛﻬﻨﻪﺍﻯ ﻛﻪ ﺍﺯ ﺁﻥﻫﺎ ﺑﻪ ﺧﺎﻃﺮ ﻛﺸﺘﻦ ﭘﺪﺭ ﻭ ﺑﺮﺍﺩﺭﺵ ﺩﺍﺷﺖ‪ ،‬ﺩﺭ ﺑﺮﺍﺑﺮﺷﺎﻥ‬ ‫ﺑﻰﺭﺣﻤﻰﻫﺎﻯ ﺑﺴﻴﺎﺭﻯ ﻧﺸﺎﻥ ﺩﺍﺩ ﻭ ﺍﺯ ﺟﻤﻠﻪ ﺍﻣﻮﺍﻝ ﻭ ﺯﻣﻴﻦﻫﺎﻯ ﺍﻳﺸﺎﻥ ﺭﺍ ﺑﻪ ﺗﺼﺮﻑ ﺩﺭﺁﻭﺭﺩ‪.‬‬ ‫ﺳﭙﺲ ﺟﺎﻳﮕﺎﻩ ﻭ ﺷﻐﻠﺸﺎﻥ ﺭﺍ ﺩﺭ ﺩﻭﻟﺖ ﺍﺯ ﺁﻥﻫﺎ ﮔﺮﻓﺖ ﻭ ﺁﻥ ﺭﺍ ﺑﻪ ﺷﻮﺍﻟﻴﻪﻫﺎ ﻭ ﻣﺮﺩﻡ ﻋﺎﺩﻯ ﻭ ﺣﺘﺎ‬ ‫ﺍﺗﺒﺎﻉ ﺧﺎﺭﺟﻰ ﻭﺍﮔﺬﺍﺭ ﻛﺮﺩ‪.‬‬ ‫ﺍﺯ ﺁﻥﺟﺎﻳﻰ ﻛﻪ ﺑﺎ ﺣﺎﻛﻤﺎﻥ ﻓﺌﻮﺩﺍﻝ ﺧﺼﻮﻣﺖ ﺩﺍﺷﺖ‪ ،‬ﺑﻪ ﺳﺮﺯﻣﻴﻦﻫﺎﻯ ﺁﻥﻫﺎ ﺩﺭ ﺗﺮﺍﻧﺴﻴﻠﻮﺍﻧﻴﺎ‬ ‫ﻧﻴﺰ ﺣﻤﻠﻪ ﻣﻰﻛﺮﺩ‪ .‬ﺩﺭ ‪ 1459‬ﺑﺴﻴﺎﺭﻯ ﺍﺯ ﺣﺎﻛﻤﺎﻥ ﺳﺎﻛﺴﻮﻥ ﺍﻳﻦ ﻣﻨﻄﻘﻪ ﺭﺍ ﺑﻪ ﺻﻼﺑﻪ ﻛﺸﻴﺪ‪.‬‬ ‫ﺍﺣﺘﻤﺎﻝ ﺩﺍﺭﺩ ﻛﻪ ﺣﻤﻼﺕ ﺍﻭ ﺑﻪ ﺗﺮﺍﻧﺴﻴﻠﻮﺍﻧﻴﺎ ﺑﺮﺍﻯ ﺍﺯ ﺑﻴﻦ ﺑﺮﺩﻥ ﺭﻗﻴﺒﺎﻥ ﺍﺣﺘﻤﺎﻟﻰ ﺑﻮﺩﻩ ﺑﺎﺷﺪ‪ .‬ﺑﻪ‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،9-10‬ﺷﻬﺮﻳﻮﺭ ﻭ ﻣﻬﺮ ‪1390‬‬

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‫ﻣﻘﺎﻟﻪ‬

‫ﻭﻻﺩ ﺩﺭ ﺯﻣﺴﺘﺎﻥ ﺳﺎﻝ ‪ 1431‬ﻣﺘﻮﻟﺪ ﻣﻰﺷﻮﺩ ﻭ ﺩﻭ ﺑﺮﺍﺩﺭ ﻧﺎﺗﻨﻰ ﺑﺰﺭگﺗﺮ ﻭ ﻳﻚ ﺑﺮﺍﺩﺭ ﻛﻮﭼﻚ‬ ‫ﺩﺍﺷﺘﻪ ﺍﺳﺖ‪ .‬ﺩﺭ ﺳﻦ ﭘﻨﺞ ﺳﺎﻟﮕﻰ ﺑﻪ ﻫﻤﺮﺍﻩ ﭘﺪﺭﺵ ﺑﻪ ﻧﻮﺭﻣﺒﺮگ ﺭﻓﺖ ﻭ ﺑﻪ ﺧﺪﻣﺖ ﻓﺮﻗﻪﻯ ﺍژﺩﻫﺎ‬ ‫ﺩﺭﺁﻣﺪ‪ .‬ﺑﺮﺍﺩﺭ ﻛﻮﭼﻚﺗﺮ ﺍﻭ »ﺭﺍﺩﻭ ﺳﻞ ﻓﺮﻭﻣﺲ« )‪ (14‬ﺑﻮﺩ ﻭ ﺳﺎﻝﻫﺎﻯ ﺟﻮﺍﻧﻰ ﻭﻻﺩ ﺑﺎ ﺑﺮﺍﺩﺭﺵ‬ ‫ﮔﺬﺷﺖ‪ .‬ﺩﺭ ﺁﻥ ﺩﻭﺭﻩ ﺭﺳﻢ ﺑﻮﺩ ﻛﻪ ﻓﺮﺯﻧﺪﺍﻥ ﻓﺌﻮﺩﺍﻝﻫﺎﻯ ﻣﺤﻠﻰ ﻭ ﺷﺎﻫﺰﺍﺩﮔﺎﻥ ﻭﺍﻻﺷﻴﺎ ﻭ ﻣﻮﻟﺪﺍﻭﻳﺎ‪،‬‬ ‫ﺗﻮﺳﻂ ﻣﻌﻠﻤﻴﻦ ﺑﻴﺰﺍﻧﺴﻰ ﻳﺎ ﺭﻭﻣﻰ ﺁﻣﻮﺯﺵ ﺩﺍﺩﻩ ﺷﻮﻧﺪ‪ .‬ﺑﺎﻭﺭ ﺑﺮ ﺍﻳﻦ ﺍﺳﺖ ﻛﻪ ﻭﻻﺩ ﺩﺭ ﻛﻮﺩﻛﻰ‬ ‫ﺭﻳﺎﺿﻴﺎﺕ‪ ،‬ﻋﻠﻮﻡ‪ ،‬ﻫﻨﺮ ﻧﺒﺮﺩ‪ ،‬ﺟﻐﺮﺍﻓﻴﺎ‪ ،‬ﺯﺑﺎﻥﻫﺎﻯ ﻻﺗﻴﻦ ﻭ ﺑﻠﻐﺎﺭﻯ ﻭ ﺁﻟﻤﺎﻧﻰ ﻭ ﻫﻨﺮ ﻭ ﻓﻠﺴﻔﻪﻯ ﺩﻭﺭﺍﻥ‬ ‫ﻛﻼﺳﻴﻚ ﺭﺍ ﻓﺮﺍ ﮔﺮﻓﺖ‪.‬‬ ‫ﺩﺭ ‪ 1436‬ﻋﻠﻴﻪ ﻭﻻﺩ ﺩﻭﻡ ﻗﻴﺎﻣﻰ ﺻﻮﺭﺕ ﻣﻰﮔﻴﺮﺩ ﻭ ﺭﻗﺒﺎﻯ ﺍﺻﻠﻰ ﺍﻭ ﺩﺭ ﻣﺠﺎﺭﺳﺘﺎﻥ‪ ،‬ﺳﻌﻰ ﺩﺭ‬ ‫ﺑﺮﺍﻧﺪﺍﺧﺘﻨﺶ ﻣﻰﻛﻨﻨﺪ؛ ﺍﻣﺎ ﻭﻻﺩ ﺩﻭﻡ ﺑﺎ ﺑﻪ ﺩﺳﺖ ﺁﻭﺭﺩﻥ ﺣﻤﺎﻳﺖ ﻋﺜﻤﺎﻧﻰﻫﺎ ﻣﻮﻓﻖ ﺑﻪ ﺳﺮﻛﻮﺏ‬ ‫ﺷﻮﺭﺷﻴﺎﻥ ﻣﻰﺷﻮﺩ‪ .‬ﻭﻯ ﻣﻮﺍﻓﻘﺖ ﻣﻰﻛﻨﺪ ﻛﻪ ﺑﻪ ﺳﻠﻄﺎﻥ ﺟﺰﻳﻪ )ﻣﺎﻟﻴﺎﺗﻰ ﻛﻪ ﺑﻪ ﻏﻴﺮﻣﺴﻠﻤﺎﻥ ﺗﻌﻠﻖ‬ ‫ﻣﻰﮔﻴﺮﺩ( ﺑﺪﻫﺪ ﻭ ﺩﻭ ﭘﺴﺮﺵ ﻭﻻﺩ ﻭ ﺭﺍﺩﻭ ﺭﺍ ﻧﻴﺰ ﺑﻪ ﻋﻨﻮﺍﻥ ﮔﺮﻭﮔﺎﻥ ﻭ ﺿﺎﻣﻦ ﺑﻪ ﺩﺭﺑﺎﺭ ﻋﺜﻤﺎﻧﻰ‬ ‫ﻣﻰﻓﺮﺳﺘﺪ‪.‬‬ ‫ﺯﻧﺪﮔﻰ ﻭﻻﺩ ﺳﻮﻡ ﺩﺭ ﺩﺭﺑﺎﺭ ﻋﺜﻤﺎﻧﻰ ﺑﺴﻴﺎﺭ ﺳﺨﺖ ﻣﻰﮔﺬﺭﺩ‪ ،‬ﺯﻳﺮﺍ ﺍﻭ ﻧﺎﻓﺮﻣﺎﻥ ﺑﻮﺩ ﻭ ﺑﺎ ﻣﻌﻠﻤﻴﻦ ﺗﺮﻙ‬ ‫ﺧﻮﺩ ﺑﻪ ﺑﺪﺗﺮﻳﻦ ﺷﻜﻞ ﺭﻓﺘﺎﺭ ﻣﻰﻛﺮﺩ‪ .‬ﺍﻣﺎ ﺭﺍﺩﻭ ﻓﺮﻣﺎﻥﭘﺬﻳﺮﺗﺮ ﺑﻮﺩ ﻭ ﺑﻪ ﺯﻭﺩﻯ ﺑﻪ ﺍﺳﻼﻡ ﮔﺮﻭﻳﺪ ﻭ ﺑﻪ‬ ‫ﺧﺪﻣﺖ ﺳﻠﻄﺎﻥ ﻣﺮﺍﺩ ﺩﻭﻡ ﺩﺭﺁﻣﺪ‪ .‬ﭘﺲ ﺍﺯ ﺁﻥ ﻧﻴﺰ ﺑﻪ ﺻﻒ ﺟﺎﻥﻧﺜﺎﺭﺍﻥ ﺩﺭﺁﻣﺪ ﻭ ﺩﺭ ﺩﺭﺑﺎﺭ ﻣﺤﻤﻮﺩ‬ ‫ﺩﻭﻡ ﺑﻪ ﻓﺮﻣﺎﻧﺪﻫﻰ ﺟﺎﻥﻧﺜﺎﺭﺍﻥ ﺭﺳﻴﺪ‪ .‬ﺟﺎﻥﻧﺜﺎﺭﺍﻥ ﺳﻠﻄﺎﻥ ﺑﺨﺸﻰ ﺍﺯ ﺍﺭﺗﺶ ﻋﺜﻤﺎﻧﻰ ﺑﻮﺩﻧﺪ ﻛﻪ ﺍﺯ‬ ‫ﺗﺠﻬﻴﺰﺍﺕ ﻧﻈﺎﻣﻰ ﻓﺮﺍﻭﺍﻥ ﻭ ﻗﺪﺭﺕ ﻭ ﺁﻣﻮﺯﺷﻰ ﺑﺴﻴﺎﺭ ﺑﺎﻻ ﺑﺮﺧﻮﺭﺩﺍﺭ ﺑﻮﺩﻧﺪ‪ .‬ﺩﺭ ﺩﺭﺑﺎﺭ ﻋﺜﻤﺎﻧﻰ ﺑﻪ‬ ‫ﻭﻻﺩ ﻣﻨﻄﻖ‪ ،‬ﺯﺑﺎﻥ ﻭ ﺍﺩﺑﻴﺎﺕ ﺗﺮﻛﻰ ﻭ ﻓﺎﺭﺳﻰ ﻭ ﻗﺮﺁﻥ‪ ،‬ﻋﻠﻮﻡ ﻧﺒﺮﺩ ﻭ ﺳﻮﺍﺭﻛﺎﺭﻯ ﺁﻣﻮﺧﺘﻪ ﺷﺪ‪ .‬ﻭﻻﺩ‬ ‫ﺩﻭﻡ ﻣﻮﺭﺩ ﻟﻄﻒ ﺳﻠﻄﺎﻥ ﻣﺮﺍﺩ ﺩﻭﻡ ﻭﺍﻗﻊ ﺷﺪ ﻭ ﺑﻪ ﻛﻤﻚ ﺍﻭ ﺗﺨﺖ ﻭﺍﻻﺷﻴﺎ ﺭﺍ ﺍﺯ ﺑﺰﺭﺏ ﺩﻭﻡ ﻭ ﺑﺮﺧﻰ‬ ‫ﻓﺌﻮﺩﺍﻝﻫﺎﻯ ﺧﻴﺎﻧﺘﻜﺎﺭ ﭘﺲ ﮔﺮﻓﺖ‪.‬‬ ‫ﺑﻪ ﻧﻈﺮ ﻣﻰﺭﺳﺪ ﻛﻴﻨﻪﻯ ﻣﻌﺮﻭﻑ ﻭﻻﺩ ﺍﺯ ﺗﺮﻙﻫﺎ ﻭ ﻣﺨﺼﻮﺻﺎً ﺷﺎﻫﺰﺍﺩﻩ ﻣﺤﻤﻮﺩ ﺩﻭﻡ ﻛﻪ ﺑﻌﺪﻫﺎ ﺑﻪ‬ ‫ﺳﻠﻄﺎﻧﻰ ﻣﻰﺭﺳﺪ‪ ،‬ﺩﺭ ﻫﻤﻴﻦ ﺯﻣﺎﻥ ﺁﻏﺎﺯ ﺷﺪﻩ ﺑﺎﺷﺪ‪ .‬ﻫﻤﭽﻨﻴﻦ ﻧﻔﺮﺕ ﻭ ﺑﻰﺍﻋﺘﻤﺎﺩﻯ ﻭﻻﺩ ﻧﺴﺒﺖ‬ ‫ﺑﻪ ﭘﺪﺭ ﻭ ﺑﺮﺍﺩﺭﺵ ﺭﺍﺩﻭ ﻭ ﻧﻴﺰ ﻧﺠﻴﺐﺯﺍﺩﮔﺎﻥ ﻣﺠﺎﺭ ﺭﻳﺸﻪ ﺩﺭ ﺍﻳﻦ ﺩﻭﺭﺍﻥ ﺩﺍﺭﺩ‪ .‬ﻧﻴﺰ ﻣﺸﺎﻫﺪﻩﻯ ﺭﻓﺘﺎﺭ‬ ‫ﻭﺣﺸﻴﺎﻧﻪﻯ ﺗﺮﻙﻫﺎ ﻧﺴﺒﺖ ﺑﻪ ﺯﻧﺪﺍﻧﻰﻫﺎﻳﺸﺎﻥ ﻣﻰﺗﻮﺍﻧﺪ ﺍﻟﻬﺎﻡﺑﺨﺶ ﻭﻻﺩ ﺑﺮﺍﻯ ﺷﻴﻮﻩﻯ ﻣﻌﺮﻭﻑ‬ ‫ﺷﻜﻨﺠﻪﺍﺵ‪ ،‬ﻳﻌﻨﻰ ﺑﻪ ﺻﻼﺑﻪ ﻛﺸﻴﺪﻥ ﺑﺎﺷﺪ‪ .‬ﻭﻻﺩ ﺑﻪ ﺧﺼﻮﺹ ﺍﺯ ﭘﺪﺭﺵ ﺑﻪ ﺧﺎﻃﺮ ﺗﺒﻌﻴﺪ ﺍﻭ ﻭ‬ ‫ﺧﻴﺎﻧﺘﺶ ﺑﻪ ﻓﺮﻗﻪﻯ ﺍژﺩﻫﺎ ﻭ ﻛﻤﻚ ﺑﻪ ﺍﻣﭙﺮﺍﻃﻮﺭﻯ ﻋﺜﻤﺎﻧﻰ ﻣﺘﻨﻔﺮ ﻣﻰﺷﻮﺩ‪.‬‬ ‫ﺩﺭ ‪ 1447‬ﻓﺌﻮﺩﺍﻝﻫﺎ ﺑﻪ ﺷﻮﺭﺷﻴﺎﻥ ﻣﺠﺎﺭ ﻭ ﺭﻫﺒﺮﺷﺎﻥ ﺟﺎﻥ ﻫﺎﻧﻴﺎﺩﻯ )‪ (15‬ﭘﻴﻮﺳﺘﻨﺪ ﻭ ﻭﻻﺩ ﺩﻭﻡ‬ ‫ﺭﺍ ﺩﺭ ﻧﺒﺮﺩﻯ ﺩﺭ ﺩﺷﺖﻫﺎﻯ ﺑﺎﻟﺘﻨﻰ ﺷﻜﺴﺖ ﺩﺍﺩﻩ ﻭ ﺑﻪ ﻗﺘﻞ ﺭﺳﺎﻧﺪﻧﺪ‪ .‬ﺳﭙﺲ ﭘﺴﺮ ﺑﺰﺭگﺗﺮ ﻭ‬

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‫ﻭﻳﮋﻩﻧﺎﻣﻪﻯ ﺧﻮﻥﺁﺷﺎﻡﻫﺎ‬

‫ﺷﺎﻳﺪ ﻫﻤﻴﻦ ﻣﻮﺿﻮﻉ ﺍﺳﺖ ﻛﻪ ﺑﺮﺍﻡ ﺍﺳﺘﻮﻛﺮ )‪ (8‬ﺭﺍ ﺑﺮ ﺁﻥ ﻣﻰﺩﺍﺭﺩ ﺗﺎ ﺷﺎﻫﻜﺎﺭﺵ ﺩﺭﺍﻛﻮﻻ )‪(9‬‬ ‫ﺭﺍ ﺩﺭ ﻓﻀﺎﻳﻰ ﺗﺮﺍﻧﺴﻴﻠﻮﺍﻧﻴﺎﻳﻰ ﺑﻨﻮﻳﺴﺪ‪ .‬ﻫﻤﺎﻥﻃﻮﺭ ﻛﻪ ﻣﻰﺩﺍﻧﻴﻢ‪ ،‬ﺩﺍﺳﺘﺎﻥ ﺑﺮﺍﻡ ﺍﺳﺘﻮﻛﺮ ﻣﺎﺟﺮﺍﻯ‬ ‫ﺧﻮﻥﺁﺷﺎﻣﻰ ﺑﻪ ﻧﺎﻡ ﻛﻨﺖ ﺩﺭﺍﻛﻮﻻ ﺍﺳﺖ ﻛﻪ ﺩﺭ ﻗﻠﻌﻪﺍﻯ ﺑﺮ ﻓﺮﺍﺯ ﻛﻮﻫﺎﻯ ﻛﺎﺭﭘﺎﺕ ﺯﻧﺪﮔﻰ ﻣﻰﻛﻨﺪ‬ ‫ﻭ ﺑﺎ ﺟﺎﻧﺎﺗﺎﻥ ﻫﺎﺭﻛﺮ )‪ (10‬ﺭﻭﺑﻪﺭﻭ ﻣﻰﺷﻮﺩ ﻭ ﻫﻮﺱ ﻣﻰﻛﻨﺪ ﺑﻪ ﻟﻨﺪﻥ ﺳﺮﻯ ﺑﺰﻧﺪ‪ .‬ﺩﺭﺍﻛﻮﻻ ﺩﺭ ﺍﻳﻦ‬ ‫ﺩﺍﺳﺘﺎﻥ ﺷﺨﺼﻴﺘﻰ ﺍﺷﺮﺍﻓﻰ ﻭ ﻣﺆﺩﺏ ﺩﺍﺭﺩ ﻭ ﻛﻠﻴﺸﻪﻯ ﺧﻮﻥﺁﺷﺎﻡ ﻣﺘﺸﺨﺺ ﻓﻴﻠﺴﻮﻑﻣﺂﺏ ﺍﺯ‬ ‫ﺩﺍﺳﺘﺎﻥ ﺑﺮﺍﻡ ﺍﺳﺘﻮﻛﺮ ﺁﻏﺎﺯ ﻣﻰﺷﻮﺩ‪ .‬ﻫﻢﭼﻨﻴﻦ ﻫﻤﺮﺍﻫﻰ ﮔﺮگ ﺑﺎ ﺧﻮﻥﺁﺷﺎﻡ‪ ،‬ﺳﻪ ﺑﺎﺭ ﺁﺷﺎﻣﻴﺪﻥ‬ ‫ﺧﻮﻥ ﺑﺮﺍﻯ ﺗﺒﺪﻳﻞ ﺷﺪﻥ ﺑﻪ ﺧﻮﻥﺁﺷﺎﻡ‪ ،‬ﺳﻪ ﻋﺮﻭﺱ ﺩﺭﺍﻛﻮﻻ ﻭ ﭘﺮﻭﻓﺴﻮﺭ ﺁﺑﺮﺍﻫﺎﻡ ﻭﻥ ﻫﻠﺴﻴﻨﮓ‬ ‫)‪ (11‬ﺭﺍ ﺩﺭ ﺍﻳﻦ ﺩﺍﺳﺘﺎﻥ ﻣﻰﺑﻴﻨﻴﻢ‪.‬‬ ‫ﻋﻨﻮﺍﻥ ﺩﺍﺳﺘﺎﻥ ﺍﺳﺘﻮﻛﺮ ﺍﺑﺘﺪﺍ ﻗﺮﺍﺭ ﺑﻮﺩ »ﻣﺮﺩﻩﻯ ﻧﺎﻣﻴﺮﺍ« ﺑﺎﺷﺪ‪ ،‬ﺍﻣﺎ ﺩﺭ ﻧﻬﺎﻳﺖ ﺑﻪ ﺩﺭﺍﻛﻮﻻ ﺗﻐﻴﻴﺮ‬ ‫ﻳﺎﻓﺖ‪ .‬ﺩﺭﺑﺎﺭﻩﻯ ﺍﻧﺘﺨﺎﺏ ﻧﺎﻡ ﺩﺭﺍﻛﻮﻻ‪ ،‬ﮔﻤﺎﻧﻪﺯﻧﻰﻫﺎﻯ ﺑﺴﻴﺎﺭﻯ ﺷﺪﻩ ﺍﺳﺖ‪ .‬ﺍﺯ ﺟﻤﻠﻪ ﺍﻳﻦ ﻛﻪ ﺍﻳﻦ‬ ‫ﻭﺍژﻩ ﺍﺯ »‪ «Droch Ola‬ﺍﻳﺮﻟﻨﺪﻯ ﺑﻪ ﻣﻌﻨﻰ »ﺧﻮﻥ ﺑﺪ« ﮔﺮﻓﺘﻪ ﺷﺪﻩ ﺍﺳﺖ‪ .‬ﺍﻣﺎ ﺩﺭ ﺍﺑﺘﺪﺍ ﺍﺻ ً‬ ‫ﻼ ﻗﺮﺍﺭ‬ ‫ﻧﺒﻮﺩ ﺍﺳﻢ ﺷﺨﺼﻴﺖ ﺧﻮﻥﺁﺷﺎﻡ ﺩﺍﺳﺘﺎﻥ ﺩﺭﺍﻛﻮﻻ ﺑﺎﺷﺪ ﻭ ﻧﺎﻡ ﻛﻨﺖ »‪ «Wampyr‬ﺑﺮﺍﻳﺶ ﺩﺭ ﻧﻈﺮ‬ ‫ﮔﺮﻓﺘﻪ ﺷﺪﻩ ﺑﻮﺩ‪ .‬ﺩﺭ ﻃﻰ ﻫﻔﺖ ﺳﺎﻝ ﺗﺤﻘﻴﻖ ﺍﺳﺘﻮﻛﺮ ﺩﺭﺑﺎﺭﻩﻯ ﺗﺮﺍﻧﺴﻴﻠﻮﺍﻧﻴﺎ ﻭ ﻭﺍﻻﺷﻴﺎ‪ ،‬ﺑﻪ ﻛﺘﺎﺑﻰ‬ ‫ﺩﺭﺑﺎﺭﻩﻱ ﺣﻜﻮﻣﺖ ﻭ ﺳﻴﺎﺳﺖ ﻭﺍﻻﺷﻴﺎ ﻭ ﻣﻮﻟﺪﺍﻭﻳﺎ ﺑﺮ ﻣﻰﺧﻮﺭﺩ ﻭ ﺍﺳﻢ ﺩﺭﺍﻛﻮﻻ ﺭﺍ ﺑﺮﻣﻰﮔﺰﻳﻨﺪ ﻛﻪ‬ ‫ﺑﻰﺷﻚ ﺍﺷﺎﺭﻩﺍﻯ ﺍﺳﺖ ﺑﻪ ﻭﻻﺩ ﺩﻭﻡ‪ ،‬ﺩﺭﺍﻛﻮﻝ )‪ (12‬ﻭ ﭘﺴﺮﺵ ﻛﻪ ﺩﺭ ﻗﺮﻥ ﭘﺎﻧﺰﺩﻫﻢ ﺣﺎﻛﻢ ﻭﺍﻻﺷﻴﺎ‬ ‫ﺑﻮﺩﻩ ﺍﺳﺖ‪.‬‬ ‫ﻭﻻﺩ ﺩﻭﻡ ﺩﺭ ‪ 1431‬ﺑﻌﺪ ﺍﺯ ﺍﻳﻦ ﻛﻪ ﺑﻪ ﻋﻀﻮﻳﺖ »ﻓﺮﻗﻪﻯ ﺍژﺩﻫﺎ« )‪ (13‬ﺩﺭ ﻣﻰﺁﻳﺪ‪ ،‬ﻧﺎﻡ ﺩﺭﺍﻛﻮﻝ‬ ‫ﺭﺍ ﺑﺮﺍﻯ ﺧﻮﺩ ﺑﺮﻣﻰﮔﺰﻳﻨﺪ‪ .‬ﻓﺮﻗﻪﻯ ﺍژﺩﻫﺎ ﻳﺎ »ﺩﺭﺍﺧﻦ ﺍﻭﺭﺩﻥ«‪ ،‬ﻓﺮﻗﻪﺍﻯ ﺍﺳﺖ ﺭﺍﺯﺁﻟﻮﺩ ﻛﻪ ﺗﻮﺳﻂ‬ ‫ﺯﻳﮕﻤﻮﻧﺪ ﭘﺎﺩﺷﺎﻩ ﻣﺠﺎﺭﺳﺘﺎﻥ ﻭ ﺍﻣﭙﺮﺍﻃﻮﺭﻯ ﻣﻘﺪﺱ ﺭﻭﻡ ﺩﺭ ‪ 1408‬ﭘﺎﻳﻪ ﮔﺬﺍﺭﻯ ﻣﻰﺷﻮﺩ‪ .‬ﺍﻳﻦ ﻓﺮﻗﻪ‬ ‫ﻣﺨﺼﻮﺻﺎً ﺩﺭ ﺁﻟﻤﺎﻥ ﻭ ﺍﻳﺘﺎﻟﻴﺎ ﺷﻜﻮﻓﺎ ﻣﻰﺷﻮﺩ ﻭ ﺍﻫﺪﺍﻑ ﺍﺻﻠﻰ ﺁﻥ ﺷﺎﻣﻞ ﺣﻔﺎﻇﺖ ﺍﺯ ﺁﻳﻴﻦ ﻣﺴﻴﺢ‬ ‫ﺩﺭ ﺑﺮﺍﺑﺮ ﻫﺠﻮﻡ ﺍﻣﭙﺮﺍﻃﻮﺭﻯ ﻋﺜﻤﺎﻧﻰ ﺍﺳﺖ‪ .‬ﺍﻳﻦ ﻓﺮﻗﻪ ﻫﻤﭽﻨﺎﻥ ﻣﻮﺭﺩ ﻋﻼﻗﻪﻯ ﻣﻮﺭﺧﻴﻦ ﺣﺮﻓﻪﺍﻯ ﻭ‬ ‫ﺁﻣﺎﺗﻮﺭ ﺍﺳﺖ ﻭ ﺍﻟﻬﺎﻡﺑﺨﺶ ﺩﺍﺳﺘﺎﻥﻫﺎﻯ ﺑﺴﻴﺎﺭﻯ ﺑﻮﺩﻩ ﺍﺳﺖ‪.‬‬ ‫ﺍﺯ ﻣﻴﺎﻥ ﺍﻋﻀﺎﻯ ﺍﻳﻦ ﮔﺮﻭﻩ‪ ،‬ﻳﻚ ﻧﻔﺮ ﺍﻫﻤﻴﺖ ﺧﺎﺻﻰ ﭘﻴﺪﺍ ﻣﻰﻛﻨﺪ‪ .‬ﺍﻭ ﻭﻻﺩ ﺳﻮﻡ ﺷﺎﻫﺰﺍﺩﻩﻯ ﻭﺍﻻﺷﻴﺎ‬ ‫ﺍﺳﺖ‪ .‬ﺍﻭ ﻳﻜﻰ ﺍﺯ ﺧﻮﻥﺧﻮﺍﺭﺗﺮﻳﻦ ﺍﻋﻀﺎﻯ ﻓﺮﻗﻪ ﻭ ﺑﺰﺭگﺗﺮﻳﻦ ﺩﺷﻤﻦ ﻣﺤﻤﻮﺩ ﺩﻭﻡ ﻋﺜﻤﺎﻧﻰ ﻳﺎ‬ ‫ﻣﺤﻤﻮﺩ ﻓﺎﺗﺢ ﺍﺳﺖ‪ .‬ﺍﻭ ﻧﺎﻡ ﺧﻮﺩ ﺭﺍ ﺩﺭ ﺍﺳﻨﺎﺩ ﺗﺎﺭﻳﺨﻰ‪ ،‬ﻭﻻﺩﻳﺴﻼﺋﻮﺱ ﺩﺭﺍﻛﻮﻻ ﺍﻣﻀﺎء ﻣﻰﻛﻨﺪ‪ .‬ﺑﻪ‬ ‫ﻧﻈﺮ ﻣﻰﺭﺳﺪ ﺍﻳﻦ ﻣﺮﺩ ﺍﻟﻬﺎﻡﺑﺨﺶ ﺑﺮﺍﻡ ﺍﺳﺘﻮﻛﺮ ﺑﺮﺍﻯ ﺍﺳﻢ ﺩﺭﺍﻛﻮﻻ ﺑﻮﺩﻩ ﺑﺎﺷﺪ‪ .‬ﺑﺪ ﻧﻴﺴﺖ ﺑﻪ ﺯﻧﺪﮔﻰ‬ ‫ﻭﻻﺩ ﺳﻮﻡ ﻧﮕﺎﻫﻰ ﺩﺍﺷﺘﻪ ﺑﺎﺷﻴﻢ‪ .‬ﺩﺭ ﺍﻳﻦ ﻣﻘﺎﻟﻪﻯ ﺗﺎﺭﻳﺨﻰ ﻗﺼﺪ ﺁﻥ ﺍﺳﺖ ﻛﻪ ﻧﻘﺎﺏ ﺍﺯ ﭼﻬﺮﻩﻯ‬ ‫ﺩﺭﺍﻛﻮﻻ ﺑﻜﺸﻴﻢ ﻭ ﺗﺎﺭﻳﺦ ﺭﺍ ﺍﺯ ﺍﻓﺴﺎﻧﻪ ﺟﺪﺍ ﻛﻨﻴﻢ‪.‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،9-10‬ﺷﻬﺮﻳﻮﺭ ﻭ ﻣﻬﺮ ‪1390‬‬

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‫ﻣﻘﺎﻟﻪ‬

‫ﺩﺍﺳﺘﺎﻥ ﺯﻧﺪﮔﻰ ﻭﻻﺩ ﺗﭙﺶ‪،‬‬

‫ﺻﻼﺑﻪﮔﺮ ﻭﺍﻻﺷﻴﺎ‬ ‫ﭼﺮﺍ ﺍﺳﺘﻮﻛﺮ ﻧﺎﻡ ﺩﺭﺍﻛﻮﻻ ﺭﺍ ﺑﺮﺍﻯ ﻫﻴﻮﻻﻯ ﻣﺨﻮﻑ ﺧﻮﺩ ﺑﺮﮔﺰﻳﺪ؟‬

‫ﻓﺮﺯﻳﻦ ﺳﻮﺭﻯ‬

‫ﺍﺳﻄﻮﺭﻩﻫﺎﻯ ﺧﻮﻥﺁﺷﺎﻡﻫﺎ ﺩﺭ ﺳﺮﺍﺳﺮ ﺟﻐﺮﺍﻓﻴﺎﻯ ﺗﺎﺭﻳﺨﻰ ﺑﺸﺮ ﺑﻪ ﭼﺸﻢ ﻣﻰﺧﻮﺭﻧﺪ‪.‬‬ ‫ﺍﻫﺮﻳﻤﻨﺎﻥ ﻭ ﺩﻳﻮﻫﺎﻯ ﺧﻮﻥﺧﻮﺍﺭ ﺍﺯ ﺍﻣﭙﻮﺯﺍ )‪ ،(1‬ﺩﺧﺘﺮ ﻫﻜﺎﺗﻪ )‪ (2‬ﺧﺪﺍﻯ ﻳﻮﻧﺎﻧﻰ ﮔﺮﻓﺘﻪ‬ ‫ﺗﺎ ﻟﻴﻠﻴﺘﻮﻯ )‪ (3‬ﺑﺎﺑﻠﻰ ﻛﻪ ﺩﺍﺳﺘﺎﻥ ﻟﻴﻠﻴﺚ )‪ (4‬ﻋﺒﺮﻯ ﺍﺯ ﺁﻥ ﮔﺮﻓﺘﻪ ﻣﻰﺷﻮﺩ‪ .‬ﺍﻣﺎ ﺩﺭ ﻫﻴﭻ‬ ‫ﻧﻘﻄﻪ ﺍﺯ ﺟﻬﺎﻥ ﻭﻣﭙﺎﻳﺮﻫﺎ )‪ (5‬ﺑﺎ ﻫﻤﻴﻦ ﻧﺎﻡ ﻭ ﺑﻪ ﺁﻥ ﻣﻔﻬﻮﻡ ﻛﻪ ﻣﺎ ﺩﺭ ﺍﺩﺑﻴﺎﺕ ﻧﻮﻳﻦ‬ ‫ﻣﻰﺷﻨﺎﺳﻴﻢﺷﺎﻥ‪ ،‬ﻳﻌﻨﻰ ﻣﻮﺟﻮﺩﺍﺗﻰ ﻣﺮﺩﻩ ﻛﻪ ﺩﻭﺑﺎﺭﻩ ﺯﻧﺪﻩ ﺷﺪﻩﺍﻧﺪ ﻭ ﺭﻭﺡ ﻧﺪﺍﺭﻧﺪ ﻭ ﺍﺯ‬ ‫ﺧﻮﻥ ﺍﻧﺴﺎﻥ ﺗﻐﺬﻳﻪ ﻣﻰﻛﻨﻨﺪ‪ ،‬ﻭﺟﻮﺩ ﻧﺪﺍﺭﻧﺪ ﻭ ﺍﻳﻦ ﻣﻮﺟﻮﺩﺍﺕ ﺍﺯ ﺍﻓﺴﺎﻧﻪﻫﺎﻯ ﺍﺳﻼﻭﻯ‬ ‫ﻭ ﺻﺮﺑﻰ ﻭ ﺗﺮﺍﻧﺴﻴﻠﻮﺍﻧﻴﺎﻳﻰ ﮔﺮﻓﺘﻪ ﺷﺪﻩﺍﻧﺪ‪ .‬ﺍﻳﻦ ﺍﻓﺴﺎﻧﻪﻫﺎ ﺳﭙﺲ ﺑﻪ ﺁﻟﻤﺎﻥ ﻭ ﺍﺗﺮﻳﺶ ﻭ‬ ‫ﻓﺮﺍﻧﺴﻪ ﻭ ﺍﻧﮕﻠﺴﺘﺎﻥ ﻣﻰﺭﻭﻧﺪ ﻭ ﻛﻠﻤﻪﻯ ﻭﻣﭙﺎﻳﺮ ﺍﺣﺘﻤﺎﻻ ﺍﺯ ﻛﻠﻤﻪﻯ ﺍﻭﭘﻴﺮ )‪ (6‬ﺍﺳﻼﻭﻯ‬ ‫ﻧﺸﺄﺕ ﻣﻰﮔﻴﺮﺩ ﻛﻪ ﺑﻌﻴﺪ ﻧﻴﺴﺖ ﺧﻮﺩ ﺍﺯ ﻛﻠﻤﻪﻯ ﺍﻭﺑﻴﺮ )‪ (7‬ﺗﺎﺗﺎﺭﻯ ﺑﻪ ﻣﻌﻨﻰ ﺟﺎﺩﻭﭘﻴﺸﻪ‬ ‫ﮔﺮﻓﺘﻪ ﺷﺪﻩ ﺑﺎﺷﺪ‪.‬‬

‫ﻣﻘﺎﻟﻪ‬

‫ﺳﻌﻲ ﺩﺭ ﺁﺷﺘﻲ ﺩﺍﺩﻥ ﻣﺮﺩﻡ ﺧﻮﺩ ﺑﺎ ﺍﻗﻠﻴﺖﻫﺎ ﻭ ﺧﺎﺭﺟﻲﻫﺎ‪ ،‬ﻣﺜ ً‬ ‫ﻼ ﺍﻋﺮﺍﺏ ﻭ ﻣﺴﻠﻤﺎﻥﻫﺎ ﻭ ﺑﻪ ﻃﻮﺭ‬ ‫ﻛﻠﻲ ﻣﺮﺩﻡ ﺷﺮﻗﻲ‪ ،‬ﺩﺍﺷﺘﻪ ﺑﺎﺷﻨﺪ‪.‬‬ ‫ﻧﻤﻮﻧﻪﻱ ﺩﻳﮕﺮﻱ ﻛﻪ ﺍﻳﻦ ﺣﺪﺱ ﺭﺍ ﺑﻪ ﮔﻮﻧﻪﺍﻱ ﺗﻘﻮﻳﺖ ﻣﻲﻛﻨﺪ‪ ،‬ﺳﺮﻳﺎﻝ ‪ Being Human‬ﺍﺳﺖ‪.‬‬ ‫ﺩﺍﺳﺘﺎﻥ ﺗﻼﺵ ﻳﻚ ﺧﻮﻥﺁﺷﺎﻡ‪ ،‬ﻳﻚ ﮔﺮﮔﻴﻨﻪ ﻭ ﻳﻚ ﺭﻭﺡ ﺑﺮﺍﻱ ﻫﻢﺯﻳﺴﺘﻲ ﻣﺴﺎﻟﻤﺖﺁﻣﻴﺰ‪ .‬ﻧﻤﻲﺩﺍﻧﻢ‬ ‫ﺑﺮﺍﻱ ﺷﻤﺎ ﭼﻪ ﻣﻌﻨﺎﻳﻲ ﺩﺍﺭﺩ‪ ،‬ﻭﻟﻲ ﺑﺮﺍﻱ ﻣﻦ ﺷﺎﻫﺪ ﺩﻳﮕﺮﻱ ﺑﺮﺍﻱ ﺣﺪﺳﻲ ﺍﺳﺖ ﻛﻪ ﺩﺭ ﺑﺎﻻ ﺁﻥ ﺭﺍ‬ ‫ﻣﻄﺮﺡ ﻛﺮﺩﻡ‪.‬‬ ‫ﺍﻟﺒﺘﻪ ﺩﺭ ﺍﻛﺜﺮ ﻓﻴﻠﻢﻫﺎﻳﻲ ﻛﻪ ﺩﺭ ﺁﻥﻫﺎ ﺑﻪ ﺟﺰ ﺧﻮﻥﺁﺷﺎﻡﻫﺎ ﻣﻮﺟﻮﺩﺍﺕ ﺧﻴﺎﻟﻲ ﺩﻳﮕﺮﻱ ﻧﻴﺰ ﺣﻀﻮﺭ‬ ‫ﺩﺍﺭﻧﺪ‪ ،‬ﻧﮋﺍﺩﻫﺎﻱ ﻣﺨﺘﻠﻒ ﺭﻭﺍﺑﻄﻲ ﻣﻌﻤﻮﻻً ﺧﺼﻤﺎﻧﻪ ﺩﺍﺭﻧﺪ )ﻭ ﺩﺭ ﺍﻏﻠﺐ ﻣﻮﺍﺭﺩ ﺧﻮﻥﺁﺷﺎﻡﻫﺎ‬ ‫ﺩﺭ ﻃﺮﻑ ﺧﻮﺏ ﺩﺍﺳﺘﺎﻥ ﻫﺴﺘﻨﺪ‪ ،‬ﻳﺎ ﺩﺭ ﻃﺮﻑ ﻧﺴﺒﺘﺎً ﺑﻬﺘﺮ ﺩﺍﺳﺘﺎﻥ(‪ ،‬ﻣﺎﻧﻨﺪ ﻣﺠﻤﻮﻋﻪﻱ‬ ‫‪ Underworld‬ﻳﺎ ﮔﺮگ ﻭ ﻣﻴﺶ )ﻛﻪ ﺍﻟﺒﺘﻪ ﺩﺭ ﺍﻳﻦ ﻳﻜﻲ ﺑﻬﺘﺮ ﺍﺳﺖ ﺧﻮﺩ ﺧﻮﻥﺁﺷﺎﻡﻫﺎ ﺭﺍ ﺑﻪ‬ ‫ﺩﻭ ﺩﺳﺘﻪﻱ ﺧﺎﻧﻮﺍﺩﻩﻱ ﻛﺎﻟﻦ ﻭ ﺩﻳﮕﺮﺍﻥ ﺗﻘﺴﻴﻢ ﻛﻨﻴﻢ(‪ .‬ﺩﺭ ﺍﻳﻦ ﮔﻮﻧﻪ ﻣﻮﺍﺭﺩ ﻣﻦ ﻣﻲﺗﻮﺍﻧﻢ )ﺍﮔﺮ‬ ‫ﺍﻧﮓ ﭘﺎﺭﺍﻧﻮﻳﺎ ﺑﻪ ﻣﻦ ﭼﺴﺒﺎﻧﺪﻩ ﻧﺸﻮﺩ( ﺗﺼﻮﺭ ﻛﻨﻢ ﻛﻪ ﻣﺮﺍﺩ ﭼﻴﺰﻱ ﺷﺒﻴﻪ ﺑﻪ ﻣﺎﺟﺮﺍﻱ ﻛﻠﻴﺸﻪﺍﻱ‬ ‫‪ Good Cop/ Bad Cop‬ﺍﺳﺖ‪ .‬ﺍﮔﺮ ﺑﻪ ﻫﻤﺎﻥ ﻓﺮﺿﻴﻪﻱ ﺍﻋﺮﺍﺏ ﺑﭽﺴﺒﻴﻢ ﻣﻲﺗﻮﺍﻥ ﻣﺜ ً‬ ‫ﻼ ﮔﺮگ ﻭ‬ ‫ﻣﻴﺶ ﺭﺍ ﭼﻨﻴﻦ ﺗﻌﺒﻴﺮ ﻛﺮﺩ‪» :‬ﻫﻤﻪﻱ ﺍﻋﺮﺍﺏ ﺑﺪ ﻧﻴﺴﺘﻨﺪ! ﻣﻴﺎﻥ ﺁﻥﻫﺎ ﻛﺴﺎﻧﻲ ﻣﺜﻞ ﺧﺎﻧﻮﺍﺩﻩﻱ ﻛﺎﻟﻦ‬ ‫ﻫﺴﺘﻨﺪ ﻛﻪ ﺯﻧﺪﮔﻲ ﻣﺴﺎﻟﻤﺖﺁﻣﻴﺰﻱ ﺭﺍ ﺩﺭ ﻛﻨﺎﺭ ﻣﺎ ﺗﺠﺮﺑﻪ ﻣﻲﻛﻨﻨﺪ ﻭ ﺍﺯ ﻃﺮﻑ ﺁﻥﻫﺎ ﺧﻄﺮﻱ ﻣﺘﻮﺟﻪ‬ ‫ﻣﺎ ﻧﻴﺴﺖ‪ .‬ﺍﻣﺎ ﺑﺎ ﺍﻳﻦ ﺣﺎﻝ ﻧﺒﺎﻳﺪ ﺯﻳﺎﺩﻱ ﻫﻢ ﺩﻟﺨﻮﺵ ﺑﻮﺩ‪ .‬ﻫﻨﻮﺯ ﻭﻭﻟﺘﻮﺭﻱﻫﺎ ﻭ ﺩﺍﺭ ﻭ ﺩﺳﺘﻪﺷﺎﻥ‬ ‫ﻫﺴﺘﻨﺪ ﻛﻪ ﺣﺎﺿﺮ ﻧﻴﺴﺘﻨﺪ ﺧﻮﻥ ﻣﻮﺟﻮﺩ ﺩﻳﮕﺮﻱ ﺑﻪ ﺟﺰ ﺍﻧﺴﺎﻥﻫﺎ ﺭﺍ ﺑﺨﻮﺭﻧﺪ ﻭ‪«...‬‬ ‫ﺣﺎﻝ ﺗﺼﻤﻴﻢ ﺑﺎ ﺧﻮﺩ ﻣﺎ ﺍﺳﺖ ﻛﻪ ﺩﺭ ﻧﺘﻴﺠﻪﮔﻴﺮﻯ ﺧﻮﺩ ﺑﻪ ﻧﻴﻤﻪ ﭘﺮ ﻟﻴﻮﺍﻥ ﻧﮕﺎﻩ ﻛﻨﻴﻢ ﻳﺎ ﻧﻴﻤﻪﻯ‬ ‫ﺧﺎﻟﻰ ﺁﻥ ﺭﺍ ﺑﺒﻴﻨﻴﻢ‪ .‬ﻳﻚ ﺭﺍﻩ ﺍﻳﻦ ﺍﺳﺖ ﻛﻪ ﺑﮕﻮﻳﻴﻢ ﻣﺤﺎﻓﻞ ﻧﮋﺍﺩﭘﺮﺳﺖ ﻭ ﺩﻭﻟﺘﻰ ﻏﺮﺑﻰ ﺑﺎ ﭼﻨﻴﻦ‬ ‫ﺭﻭﻳﻜﺮﺩﻯ ﺳﻌﻰ ﺩﺭ ﺗﻮﺟﻴﻪ ﺭﻓﺘﺎﺭﻫﺎﻯ ﺧﻮﺩ ﺩﺭ ﺑﻪ ﺭﺍﻩ ﺍﻧﺪﺍﺧﺘﻦ ﺟﻨﮓ ﻋﻠﻴﻪ ﻛﺸﻮﺭﻫﺎﻯ ﺧﺎﻭﺭﻣﻴﺎﻧﻪ‬ ‫ﺩﺍﺭﻧﺪ‪ .‬ﺭﺍﻩ ﺩﻳﮕﺮ ﺍﻳﻦ ﺍﺳﺖ ﻛﻪ ﭼﻨﻴﻦ ﻣﺤﺼﻮﻻﺗﻰ ﺭﺍ ﺯﺍﻳﻴﺪﻩ ﺗﻔﻜﺮ ﺁﺯﺍﺩﺍﻧﺪﻳﺸﺎﻧﻪ‪ ،‬ﺍﻧﺴﺎﻥﮔﺮﺍﻳﺎﻧﻪ ﻭ‬ ‫ﺭﻭﺷﻨﻔﻜﺮ ﺿﺪ ﺟﻨﮓ ﺩﺍﻧﺴﺖ ﻛﻪ ﺗﻼﺵ ﻣﻰﻛﻨﻨﺪ ﺩﺭ ﻣﻴﺎﻧﻪﻯ ﺍﻳﻦ ﻣﻴﺪﺍﻥ ﺟﻨﮓ‪ ،‬ﻭﺍﻗﻊﺑﻴﻦ ﺑﺎﻗﻰ‬ ‫ﺑﻤﺎﻧﺪ‪.‬‬ ‫ﺍﻧﺘﺨﺎﺏ ﺑﺎ ﺧﻮﺩ ﺷﻤﺎ ﺍﺳﺖ!‬ ‫ﭘﻰﻧﻮﺷﺖﻫﺎ‪:‬‬ ‫‪2. William of Newburgh‬‬

‫‪ .1‬ﺑﻪ ﻧﻘﻞ ﺍﺯ ﺩﺍﺋﺮﻩﺍﻟﻤﻌﺎﺭﻑ ﺑﺮﻳﺘﺎﻧﻴﻜﺎ ﻭ ﻟﻐﺖﻧﺎﻣﻪﻱ ﺍﺩﺑﻴﺎﺕ‬ ‫ﻓﻮﻟﻜﻠﻮﺭ ﺍﻧﮕﻠﻴﺴﻲ ﺁﻛﺴﻔﻮﺭﺩ‪.‬‬

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‫ﻭﻳﮋﻩﻧﺎﻣﻪﻯ ﺧﻮﻥﺁﺷﺎﻡﻫﺎ‬

‫ﻗﺘﻞ ﻫﺎﺑﻴﻞ ﻭ ﺩﺭﻳﺎﻓﺖ ﻧﺸﺎﻥ ﺍﻳﻦ ﮔﻨﺎﻩ ﺑﺮ ﺭﻭﻱ ﭘﻴﺸﺎﻧﻲ‪ ،‬ﻧﺎﺍﻣﻴﺪﺍﻧﻪ ﺑﻪ ﺍﻳﻦ ﻧﺘﻴﺠﻪ ﻣﻲﺭﺳﺪ ﻛﻪ ﺩﻳﮕﺮ‬ ‫ﻫﻴﭻ ﺟﺎﻳﻲ ﺩﺭ ﺟﻬﺎﻥ ﻧﺪﺍﺭﺩ ﻭ ﺟﻤﻠﮕﻲ ﻛﺎﺋﻨﺎﺕ ﻭﻱ ﺭﺍ ﻧﻔﺮﻳﻦ ﻣﻲﻛﻨﻨﺪ‪ .‬ﺩﺭ ﻫﻤﻴﻦ ﺍﺛﻨﺎ ﺍﺳﺖ ﻛﻪ‬ ‫ﻟﻴﻠﻴﺖ ﺍﻭ ﺭﺍ ﻓﺮﺍ ﻣﻲﺧﻮﺍﻧﺪ ﺗﺎ ﺑﻪ ﻭﻱ ﺑﭙﻴﻮﻧﺪﺩ ﻭ ﻧﻔﺮﻳﻦ ﺧﻮﺩ ﺭﺍ ﻧﺜﺎﺭ ﺭﻭﺷﻨﺎﻳﻲ ﺭﻭﺯ ﻭ ﺧﻮﺭﺷﻴﺪ ﻛﻨﺪ‪.‬‬ ‫ﻟﻴﻠﻴﺖ ﺑﻪ ﻗﺎﺋﻦ ﻣﻲﮔﻮﻳﺪ ﻛﻪ ﺩﺭ ﻗﻠﻤﺮﻭ ﺷﺐ ﻭ ﺗﺎﺭﻳﻜﻲ ﺍﻭ ﻧﻴﺎﺯﻱ ﺑﻪ ﺷﺮﻣﮕﻴﻦ ﺑﻮﺩﻥ ﻧﺪﺍﺭﺩ‪ .‬ﺑﻪ ﺍﻳﻦ‬ ‫ﺗﺮﺗﻴﺐ ﺍﺳﺖ ﻛﻪ ﻗﺎﺋﻦ ﺗﺒﺪﻳﻞ ﺑﻪ ﻧﺨﺴﺘﻴﻦ ﺧﻮﻥﺁﺷﺎﻡ ﻣﻲﺷﻮﺩ‪.‬‬ ‫ﺍﻣﺎ ﺭﻭﺍﻳﺖ ﺩﻳﮕﺮ ﻛﻪ ﺩﺭ ﻓﻴﻠﻢ »ﺩﺭﺍﻛﻮﻻ ‪ «2000‬ﺑﻪ ﺗﺼﻮﻳﺮ ﻛﺸﻴﺪﻩ ﺷﺪﻩ‪ ،‬ﺣﺘﺎ ﺍﺯ ﺍﻳﻦ ﻧﻴﺰ ﺩﺭﺍﻣﺎﺗﻴﻚﺗﺮ‬ ‫ﺍﺳﺖ‪ .‬ﻳﻬﻮﺩﺍﻱ ﺍﺳﺨﺮﻳﻮﻃﻲ‪ ،‬ﺣﻮﺍﺭﻱ ﺧﺎﺋﻦ ﻋﻴﺴﻲ )ﻉ(‪ ،‬ﻛﻪ ﺍﻭ ﺭﺍ ﺑﻪ ﺑﻬﺎﻱ ‪ 30‬ﺷِ ﻜِﻞ ﻧﻘﺮﻩ ﺑﻪ‬ ‫ﻳﻬﻮﺩﻳﺎﻥ ﻓﺮﻭﺧﺖ‪ ،‬ﭘﺲ ﺍﺯ ﺗﺼﻠﻴﺐ ﻋﻴﺴﻲ ﺍﺯ ﺧﻴﺎﻧﺖ ﺧﻮﺩ ﻧﺎﺩﻡ ﻣﻲﺷﻮﺩ ﻭ ﺗﺼﻤﻴﻢ ﺑﻪ ﺧﻮﺩﻛﺸﻲ‬ ‫ﻣﻲﮔﻴﺮﺩ‪ .‬ﺧﺎﺋﻦ ﺑﻬﺎﻱ ﺧﻴﺎﻧﺖ ﺧﻮﺩ ﺭﺍ ﺑﺮﺍﻱ ﺧﺮﻳﺪﻥ ﻃﻨﺎﺑﻲ ﻣﻲﺩﻫﺪ ﻛﻪ ﺍﺯ ﮔﺮﺩﻥ ﺧﺮﻱ ﺑﺎﺯ ﺷﺪﻩ ﻭ‬ ‫ﺑﻪ ﺍﻭ ﺩﺍﺩﻩ ﻣﻲﺷﻮﺩ )ﺗﺎ ﺍﻳﻦﺟﺎﻱ ﺩﺍﺳﺘﺎﻥ ﻣﻄﺎﺑﻖ ﺭﻭﺍﻳﺖ ﻛﺘﺎﺏ ﻣﻘﺪﺱ ﺍﺳﺖ(‪ ،‬ﻭﻟﻲ ﻗﺮﺍﺭ ﻧﻴﺴﺖ ﺑﻪ‬ ‫ﺍﻳﻦ ﺭﺍﺣﺘﻲ ﺍﺯ ﺍﺣﺴﺎﺱ ﮔﻨﺎﻩ ﺧﻮﺩ ﺭﻫﺎﻳﻲ ﻳﺎﺑﺪ‪ .‬ﺍﻭ ﺧﻮﺩ ﺭﺍ ﺣﻠﻖﺁﻭﻳﺰ ﻣﻲﻛﻨﺪ‪ ،‬ﺍﻣﺎ ﺑﺮ ﺍﺛﺮ ﻧﻔﺮﻳﻨﻲ ﺑﻪ‬ ‫ﺯﻧﺪﮔﻲ ﺑﺎﺯ ﻣﻲﮔﺮﺩﺩ‪ ،‬ﺍﻳﻦ ﺑﺎﺭ ﺑﻪ ﺷﻜﻞ ﻳﻚ ﺧﻮﻥﺁﺷﺎﻡ‪ ،‬ﺗﺎ ﺍﺑﺪ ﻣﺤﺮﻭﻡ ﺍﺯ ﻧﻮﺭ ﺧﻮﺭﺷﻴﺪ!‬ ‫ﻧﻜﺘﻪﻱ ﺟﺎﻟﺐ ﺍﻳﻦﺟﺎ ﺍﺳﺖ ﻛﻪ ﺟﺰﺍﻱ ﺩﺭ ﻧﻈﺮ ﮔﺮﻓﺘﻪ ﺷﺪﻩ ﺑﺮﺍﻱ ﻳﻬﻮﺩﺍ ﺩﺭ ﺍﻳﻦ ﺭﻭﺍﻳﺖ‪ ،‬ﺷﺒﺎﻫﺖ‬ ‫ﺑﺴﻴﺎﺭﻱ ﺑﻪ ﻳﻜﻲ ﺍﺯ ﺍﻓﺴﺎﻧﻪﻫﺎﻱ ﻗﺮﻭﻥ ﻭﺳﻄﻲ ﺩﺍﺭﺩ؛ ﻳﻬﻮﺩﻱ ﺳﺮﮔﺮﺩﺍﻥ‪ .‬ﻫﻨﮕﺎﻣﻲ ﻛﻪ ﻋﻴﺴﻲ ﺻﻠﻴﺐ‬ ‫ﺧﻮﺩ ﺭﺍ ﺑﻪ ﺩﻭﺵ ﻛﺸﻴﺪﻩ ﻭ ﺑﻪ ﺳﻤﺖ ﺟﻠﺠﺘﺎ ﻣﻲﺭﻭﺩ‪ ،‬ﺷﺨﺼﻲ ﺍﻭ ﺭﺍ ﻧﻴﺸﺨﻨﺪ ﻣﻲﻛﻨﺪ ﻭ ﺩﺭ ﻋﻮﺽ‬ ‫ﻧﻔﺮﻳﻦ ﻣﻲﺷﻮﺩ‪ .‬ﺟﺰﺍﻱ ﺍﻭ ﺍﻳﻦ ﺍﺳﺖ ﻛﻪ ﺗﺎ ﺯﻣﺎﻥ ﺑﺎﺯﮔﺸﺖ ﺩﻭﺑﺎﺭﻩﻱ ﻋﻴﺴﻲ ﺩﺭ ﺯﻣﻴﻦ ﺳﺮﮔﺮﺩﺍﻥ‬ ‫ﺑﺎﺷﺪ‪ .‬ﺷﺎﻳﺪ ﺍﺷﺎﺭﻩﺍﻱ ﺑﻪ ﻣﺤﺮﻭﻣﻴﺖ ﺍﺯ ﻧﻮﺭ ﺧﻮﺭﺷﻴﺪ ﺩﺭ ﺍﻳﻦ ﺩﺍﺳﺘﺎﻥ ﻧﺸﺪﻩ ﺑﺎﺷﺪ‪ ،‬ﻭﻟﻲ ﻧﺎﻣﻴﺮﺍﻳﻲ‬ ‫ﻧﻔﺮﻳﻦﮔﻮﻧﻪ ﺍﻳﻦ ﺩﻭ ﺷﺨﺼﻴﺖ ﺭﺍ ﺑﺴﻴﺎﺭ ﺑﻪ ﻫﻢ ﺷﺒﻴﻪ ﻣﻲﻛﻨﺪ ﻭ ﺍﺣﺘﻤﺎﻻً ﻧﻮﻳﺴﻨﺪﮔﺎﻥ ﻓﻴﻠﻢﻧﺎﻣﻪ ﺍﻳﻦ‬ ‫ﺩﻭ ﺷﺨﺼﻴﺖ ﺭﺍ ﺑﻪ ﮔﻮﻧﻪﺍﻱ ﺩﺭ ﻫﻢ ﺁﻣﻴﺨﺘﻪ ﻭ ﺑﻪ ﻳﻚ ﺧﻮﻥﺁﺷﺎﻡ ﺗﺒﺪﻳﻞ ﻛﺮﺩﻩﺍﻧﺪ‪.‬‬ ‫ﺍﻣﺎ ﺍﻣﺮﻭﺯﻩ ﻫﻴﭻ ﻳﻚ ﺍﺯ ﺍﻳﻦ ﺭﻳﺸﻪﻫﺎﻱ ﻓﺮﺿﻲ ﭼﻨﺪﺍﻥ ﺍﻫﻤﻴﺘﻲ ﻧﺪﺍﺭﻧﺪ‪ .‬ﺩﺭ ﺟﺪﻳﺪﺗﺮﻳﻦ ﻧﺴﺨﻪﻫﺎﻱ‬ ‫ﺧﻮﻥﺁﺷﺎﻡ )ﻓﻴﻠﻢﻫﺎﻱ ﮔﺮگ ﻭ ﻣﻴﺶ‪ ،‬ﺳﺮﻳﺎﻝ ‪ ،True blood‬ﻭ‪ (...‬ﺩﻳﮕﺮ ﺧﺒﺮﻱ ﺍﺯ ﺭﻳﺸﻪﻱ‬ ‫ﺧﻮﻥﺁﺷﺎﻡﻫﺎ ﻧﻴﺴﺖ‪ .‬ﺗﺼﻮﺭ ﻣﻦ ﺑﺮ ﺍﻳﻦ ﺍﺳﺖ ﻛﻪ ﻋﻠﺖ ﺍﻳﻦ ﺍﻣﺮ ﺷﺎﻳﺪ ﺁﻥ ﺑﺎﺷﺪ ﻛﻪ ﺧﻮﻥﺁﺷﺎﻡﻫﺎ‬ ‫ﺍﺧﻴﺮﺍ ً ﺗﺒﺪﻳﻞ ﺑﻪ ﻛﻠﻴﺸﻪﺍﻱ ﺑﺮﺍﻱ ﺑﻴﺎﻥ ﺍﻧﺪﻳﺸﻪﻫﺎﻳﻲ ﺩﻳﮕﺮ ﺷﺪﻩﺍﻧﺪ‪.‬‬ ‫ﺩﺭ ﻫﺮ ﺩﻭ ﻣﻮﺭﺩﻱ ﻛﻪ ﺩﺭ ﺑﺎﻻ ﻧﺎﻡ ﺑﺮﺩﻡ‪ ،‬ﻣﻲﺗﻮﺍﻥ ﺧﻮﻥﺁﺷﺎﻡﻫﺎ ﺭﺍ ﻧﻤﺎﺩﻱ ﺍﺯ ﺟﺎﻣﻌﻪﺍﻱ ﺑﻴﮕﺎﻧﻪ ﺑﺎ‬ ‫ﺟﺎﻣﻌﻪﻱ ﻏﺮﺑﻲ‪ ،‬ﻳﺎ ﺟﺎﻣﻌﻪﺍﻱ ﻣﺘﻔﺎﻭﺕ ﺩﺭ ﺑﻄﻦ ﺍﻳﻦ ﺟﺎﻣﻌﻪ ﺩﺍﻧﺴﺖ‪ .‬ﺍﻳﻦ ﮔﺮﻭﻩ ﺑﻴﮕﺎﻧﻪ ﺭﺍ ﻣﻲﺗﻮﺍﻥ‬ ‫ﺍﻗﻠﻴﺖﻫﺎﻱ ﺟﻨﺴﻲ ﺩﺍﻧﺴﺖ )ﭼﻨﺎﻥ ﻛﻪ ﺩﺭ ‪ True blood‬ﻣﻲﺑﻴﻨﻴﻢ( ﻳﺎ ﺗﻼﺷﻲ ﺑﺮﺍﻱ ﻣﻼﻳﻢﺳﺎﺯﻱ‬ ‫ﺭﻓﺘﺎﺭ ﺟﺎﻣﻌﻪﻱ ﻏﺮﺏ ﺩﺭ ﻗﺒﺎﻝ ﺳﺎﻳﺮ ﻣﻠﻴﺖﻫﺎ‪ .‬ﺑﻪ ﻧﻈﺮﻡ ﭼﻨﺪﺍﻥ ﺩﻭﺭ ﺍﺯ ﻭﺍﻗﻌﻴﺖ ﻧﻴﺴﺖ ﺍﮔﺮ ﺗﺼﻮﺭ‬ ‫ﻛﻨﻴﻢ ﻛﻪ ﺑﺎ ﺍﻳﻦ ﻓﻴﻠﻢﻫﺎ ﻭ ﺳﺮﻳﺎﻝﻫﺎ ﺷﺎﻳﺪ ﻓﻌﺎﻻﻥ ﺳﻴﺎﺳﻲ ﭘﺎﺳﻴﻔﻴﺴﺖ ﻭ ﺭﻭﺷﻨﻔﻜﺮﺍﻥ ﺁﻣﺮﻳﻜﺎﻳﻲ‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،9-10‬ﺷﻬﺮﻳﻮﺭ ﻭ ﻣﻬﺮ ‪1390‬‬

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‫ﻣﻘﺎﻟﻪ‬

‫ﺍﻧﺴﺎﻥ ﺩﺭ ﻧﻈﺮ ﮔﺮﻓﺘﻪ ﻣﻲﺷﻮﺩ ﻛﻪ ﻣﻲﺗﻮﺍﻧﺪ ﺷﺨﺺ ﻣﺮﺩﻩﺍﻱ ﺭﺍ ﺑﻪ ﺯﻧﺪﮔﻲ ﺑﺎﺯ ﮔﺮﺩﺍﻧﺪ ﺗﺎ ﻛﺎﺑﻮﺳﻲ‬ ‫ﺑﺮﺍﻱ ﺷﺐﻫﺎﻣﺎﻥ ﺗﺪﺍﺭﻙ ﺑﺒﻴﻨﺪ‪.‬‬ ‫ﺑﻪ ﻧﻈﺮ ﻣﻦ ﺗﺄﺛﻴﺮ ﺍﻳﻦ ﻧﮕﺮﺵ ﺩﺭ ﻓﻴﻠﻢ »ﻣﺼﺎﺣﺒﻪ ﺑﺎ ﺧﻮﻥﺁﺷﺎﻡ« ﺑﻴﺶ ﺍﺯ ﻫﺮ ﻓﻴﻠﻢ ﺧﻮﻥﺁﺷﺎﻣﻲ‬ ‫ﺩﻳﮕﺮﻱ ﺑﻪ ﭼﺸﻢ ﻣﻲﺧﻮﺭﺩ‪ .‬ﺩﺭ ﺍﻳﻦ ﻓﻴﻠﻢ ﺑﻪ ﺧﻮﺑﻲ ﻣﻲﺗﻮﺍﻥ ﺧﻮﻥﺁﺷﺎﻡﻫﺎ ﺭﺍ ﺗﺠﺴﺪﻱ ﺍﺯ ﺍﻳﺰﺩﺍﻥ‬ ‫–ﺍﺳﺎﻃﻴﺮﻯ‪ -‬ﺑﻪ ﺣﺴﺎﺏ ﺁﻭﺭﺩ‪ .‬ﺣﺘﻲ ﺧﻮﺩ ﻟﺴﺘﺖ )ﺑﺎ ﺑﺎﺯﻱ ﺗﺎﻡ ﻛﺮﻭﺯ( ﺍﻳﻦ ﻣﺴﺄﻟﻪ ﺭﺍ ﺑﻪ ﻃﻮﺭ ﻋﻠﻨﻰ‬ ‫ﺑﻪ ﺯﺑﺎﻥ ﻣﻲﺁﻭﺭﺩ ﻭ ﺧﻄﺎﺏ ﺑﻪ ﻟﻮﻳﻲ )ﺑﺎ ﺑﺎﺯﻱ ﺑﺮﺩ ﭘﻴﺖ( ﻣﻲﮔﻮﻳﺪ‪ ...» :‬ﻣﺎ ﻧﺎﻣﻴﺮﺍﻫﺎ )ﺩﻗﺖ ﻛﻨﻴﺪ‬ ‫‪Immortals‬‬

‫ﻛﻪ ﺍﻭ ﻫﺮﮔﺰ ﺧﻮﻥﺁﺷﺎﻡﻫﺎ ﺭﺍ ﺧﻮﻥﺁﺷﺎﻡ ﺧﻄﺎﺏ ﻧﻤﻲﻛﻨﺪ‪ ،‬ﺑﻠﻜﻪ ﺍﺯ ﻧﮋﺍﺩ ﺧﻮﺩ ﺑﺎ ﻧﺎﻡ‬ ‫ﻳﺎﺩ ﻣﻲﻛﻨﺪ( ﺷﺒﻴﻪﺗﺮﻳﻦ ﻣﻮﺟﻮﺩﺍﺕ ﺑﻪ ﺍﻳﺰﺩ ﻫﺴﺘﻴﻢ؛ ﻣﺎ ﻧﻴﺰ ﺯﻧﺪﮔﻲ ﺧﻮﺩ ﺭﺍ ﺑﺮ ﻣﺮگ ﺍﻧﺴﺎﻥﻫﺎ‬ ‫ﺑﻨﺎ ﻣﻲﻛﻨﻴﻢ‪ «...‬ﺩﺭ ﺍﻳﻦ ﻣﻮﺭﺩ ﻳﻜﻲ ﺍﺯ ﺍﻳﺰﺩﺍﻥ ﻣﺎ ﻫﻨﻮﺯ ﺑﺨﺸﻲ ﺍﺯ ﺍﻧﺴﺎﻧﻴﺖ ﺧﻮﺩ ﺭﺍ ﺣﻔﻆ ﻛﺮﺩﻩ ﻭ‬ ‫ﺍﺯ ﻛﺸﺘﻦ ﺍﻧﺴﺎﻥﻫﺎ ﻣﻲﭘﺮﻫﻴﺰﺩ‪ .‬ﺍﻭ ﺣﺘﻲ ﺩﻟﺘﻨﮓ ﺗﻤﺎﺷﺎﻱ ﻃﻠﻮﻉ ﺧﻮﺭﺷﻴﺪ ﺍﺳﺖ ﻭ ﺩﺭ ﺻﺤﻨﻪﺍﻱ‬ ‫ﺗﺄﺛﻴﺮﮔﺬﺍﺭ ﺍﻭ ﺭﺍ ﺩﺭ ﺣﺎﻝ ﺗﻤﺎﺷﺎﻱ ﻓﻴﻠﻢ ﺍﻳﻦ ﻟﺤﻈﻪ ﻣﻲﺑﻴﻨﺪ ﻛﻪ ﺗﺎ ﺍﺑﺪ ﺍﺯ ﺩﻳﺪﺍﺭ ﺩﻭﺑﺎﺭﻩﻱ ﺁﻥ ﻣﺤﺮﻭﻡ‬ ‫ﺷﺪﻩ‪.‬‬ ‫ﺩﺭ ﻧﺴﺨﻪﻫﺎﻱ ﻛﻤﻲ ﻏﻴﺮﺍﺧﻼﻗﻲﺗﺮ ﺧﻮﺍﺹ ﺩﻳﮕﺮﻱ ﻧﻴﺰ ﺑﺮﺍﻱ ﺧﻮﻥ ﺩﺭ ﻧﻈﺮ ﮔﺮﻓﺘﻪ ﻣﻲﺷﻮﺩ‪.‬‬ ‫ﻛﺴﺎﻧﻲ ﻛﻪ ﺳﺮﻳﺎﻝ ‪ True blood‬ﺭﺍ ﺩﻧﺒﺎﻝ ﻣﻲﻛﻨﻨﺪ‪ ،‬ﺑﺪﻭﻥ ﺷﻚ ﻣﻨﻈﻮﺭ ﻣﻦ ﺭﺍ ﺩﺭﻙ ﻣﻲﻛﻨﻨﺪ‪.‬‬ ‫ﺩﺭ ﺍﻳﻦ ﺳﺮﻳﺎﻝ ﺧﻮﻥ ﺧﻮﻥﺁﺷﺎﻡﻫﺎ )ﻛﻪ ﻭﻱ )‪ (V‬ﻧﻴﺰ ﻧﺎﻣﻴﺪﻩ ﻣﻲﺷﻮﺩ( ﻧﻮﻋﻲ ﻣﺎﺩﻩﻱ ﻣﺤﺮﻙ ﺑﻪ‬ ‫ﺣﺴﺎﺏ ﻣﻲﺁﻳﺪ ﻛﻪ ﺷﻮﺭ ﺟﻨﺴﻲ ﻓﺮﺩ ﻣﺼﺮﻑﻛﻨﻨﺪﻩ ﺭﺍ ﺑﻪ ﺷﺪﺕ ﺍﻓﺰﺍﻳﺶ ﻣﻲﺩﻫﺪ‪ .‬ﺍﻟﺒﺘﻪ ﺍﺭﺗﺒﺎﻁ‬ ‫ﺧﻮﻥﺁﺷﺎﻡﻫﺎ ﺑﺎ ﻣﻨﺎﺳﺒﺎﺕ ﺟﻨﺴﻲ ﻣﻮﺿﻮﻋﻲ ﻗﺪﻳﻤﻲﺗﺮ ﺍﺯ ﺍﻳﻦﻫﺎ ﺍﺳﺖ‪ .‬ﻧﻤﻲﺗﻮﺍﻥ ﺗﺼﻮﺭ ﻛﺮﺩ ﻛﻪ‬ ‫ﺗﻐﺬﻳﻪ ﻛﺮﺩﻥ ﺍﺯ ﺧﻮﻥ ﻗﺮﺑﺎﻧﻴﺎﻧﻲ ﻛﻪ ﺩﺭ ﺑﺴﻴﺎﺭﻱ ﻣﻮﺍﺭﺩ ﺯﻧﺎﻧﻲ ﺯﻳﺒﺎ ﺑﻮﺩﻧﺪ‪ ،‬ﺁﻥ ﻫﻢ ﻣﻌﻤﻮﻻً ﺍﺯ ﺭﻭﻱ‬ ‫ﮔﺮﺩﻥ‪ ،‬ﺫﻫﻦ ﺑﻴﻨﻨﺪﻩ ﻳﺎ ﺧﻮﺍﻧﻨﺪﻩ ﺭﺍ ﻧﺎﺧﻮﺩﺁﮔﺎﻩ ﺑﻪ ﺳﻮﻱ ﺍﻳﻦ ﻣﻄﻠﺐ ﻧﻜﺸﺪ‪ ،‬ﻭﻟﻲ ﭼﻨﻴﻦ ﺑﻴﺎﻥ‬ ‫ﻋﺮﻳﺎﻧﻲ ﺗﺎ ﻗﺒﻞ ﺍﺯ ﭘﺨﺶ ﺍﻳﻦ ﺳﺮﻳﺎﻝ ﺗﻘﺮﻳﺒﺎً ﺩﻳﺪﻩ ﻧﺸﺪﻩ ﺑﻮﺩ‪.‬‬ ‫ﻧﻜﺘﻪﻱ ﺟﺎﻟﺐ ﺩﻳﮕﺮ ﺩﺭﺑﺎﺭﻩﻱ ﻓﻴﻠﻢﻫﺎ ﻭ ﺩﺍﺳﺘﺎﻥﻫﺎﻱ ﺧﻮﻥﺁﺷﺎﻣﻲ ﺷﺎﻳﺪ ﺍﺑﺪﺍﻉ ﺭﻳﺸﻪﻫﺎﻱ ﻣﺨﺘﻠﻒ‬ ‫ﺑﺮﺍﻱ ﺍﻳﻦ ﻣﻮﺟﻮﺩﺍﺕ ﺷﺐﺭﻭ ﺑﺎﺷﺪ‪ .‬ﺑﺎ ﺗﻮﺟﻪ ﺑﻪ ﺷﻴﻄﺎﻧﻲ ﻭ ﺩﺭ ﻋﻴﻦ ﺣﺎﻝ ﻧﺎﻣﻴﺮﺍ ﺑﻮﺩﻥ ﺧﻮﻥﺁﺷﺎﻡﻫﺎ‪،‬‬ ‫ﻛﺎﻣ ً‬ ‫ﻼ ﻃﺒﻴﻌﻲ ﺍﺳﺖ ﻛﻪ ﮔﻤﺎﻧﻪﺯﻧﻲﻫﺎﻱ ﻣﺨﺘﻠﻒ ﺑﺮﺍﻱ ﺷﺮﻭﻉ ﺩﺍﺳﺘﺎﻥ ﺍﻳﻦ ﻣﻮﺟﻮﺩﺍﺕ ﺗﺎ ﺩﻭﺭﺗﺮﻳﻦ‬ ‫ﺯﻣﺎﻥﻫﺎ ﺩﺭ ﮔﺬﺷﺘﻪ ﺍﻣﺘﺪﺍﺩ ﭘﻴﺪﺍ ﻛﻨﻨﺪ‪.‬‬ ‫ﻳﻜﻲ ﺍﺯ ﻋﺠﻴﺐﺗﺮﻳﻦ ﺍﻳﻦ ﮔﻤﺎﻧﻪﺯﻧﻲﻫﺎ )ﻛﻪ ﻣﻦ ﺍﻟﺒﺘﻪ ﺁﻥ ﺭﺍ ﺩﺭ ﻫﻴﭻ ﻓﻴﻠﻤﻲ ﻧﺪﻳﺪﻩﺍﻡ‪ ،‬ﺑﻠﻜﻪ ﺩﺭ‬ ‫ﺑﻌﻀﻲ ﺭﻭﺍﻳﺖﻫﺎﻱ ﺍﺳﻄﻮﺭﻩﺍﻱ ﺑﻪ ﺁﻥ ﺑﺮ ﺧﻮﺭﺩﻩﺍﻡ( ﻗﺎﺋﻦ )ﻛﻪ ﻧﺎﻡ ﺗﻮﺭﺍﺗﻲ ﻗﺎﺑﻴﻞ ﺍﺳﺖ( ﺭﺍ ﺑﻪ ﻋﻨﻮﺍﻥ‬ ‫ﻧﺨﺴﺘﻴﻦ ﺧﻮﻥﺁﺷﺎﻡ ﻣﻌﺮﻓﻲ ﻣﻲﻛﻨﺪ‪ .‬ﺍﻟﺒﺘﻪ ﺩﺭ ﺍﻳﻦ ﺟﺮﻳﺎﻥ ﭼﻬﺮﻩﻱ ﺍﺳﻄﻮﺭﻩﺍﻱ ﺩﻳﮕﺮﻱ ﻧﻴﺰ ﻭﺟﻮﺩ‬ ‫ﺩﺍﺭﺩ‪ :‬ﻟﻴﻠﻴﺖ‪ ،‬ﻫﻤﺴﺮ ﻧﺨﺴﺘﻴﻦ ﺁﺩﻡ ﻭ ﻧﺨﺴﺘﻴﻦ ﺳﺎﺣﺮﻩ! ﻗﻀﻴﻪ ﺍﺯ ﺍﻳﻦ ﻗﺮﺍﺭ ﺍﺳﺖ ﻛﻪ ﻗﺎﺋﻦ ﭘﺲ ﺍﺯ‬

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‫ﻭﻳﮋﻩﻧﺎﻣﻪﻯ ﺧﻮﻥﺁﺷﺎﻡﻫﺎ‬

‫ﺧﻮﻥﺁﺷﺎﻡﻫﺎﻱ ﺍﺻﻴﻞ ﺩﺭ ﺍﺩﺑﻴﺎﺕ ﻓﻮﻟﻜﻠﻮﺭ ﺷﺮﻕ ﺍﺭﻭﭘﺎ )ﺑﻪ ﺧﺼﻮﺹ ﻣﺠﺎﺭﺳﺘﺎﻥ ﻭ ﺷﺒﻪﺟﺰﻳﺮﻩﻱ‬ ‫ﺑﺎﻟﻜﺎﻥ( ﭼﻨﻴﻦ ﺗﻮﺻﻴﻒ ﻣﻲﺷﻮﻧﺪ‪» :‬ﻣﻮﺟﻮﺩﺍﺗﻲ ﺧﻮﻥﺁﺷﺎﻡ )ﺍﺳﻢ ﻣﺪﺧﻞ ‪ Vampire‬ﺍﺳﺖ ﻭ ﺍﻳﻦ‬ ‫ﺗﻮﺿﻴﺢ ﺩﺭ ﺑﺮﺍﺑﺮ ﻛﻠﻤﻪﻱ ﺍﻧﮕﻠﻴﺴﻲ ﻻﺯﻡ ﺍﺳﺖ( ﻛﻪ ﺷﺐﻫﻨﮕﺎﻡ ﺍﺯ ﻣﺪﻓﻦ ﺧﻮﺩ ﺧﺎﺭﺝ ﻣﻲﺷﻮﻧﺪ‪،‬‬ ‫ﮔﺎﻫﻲ ﺑﻪ ﺻﻮﺭﺕ ﺧﻔﺎﺵ‪ ،‬ﺗﺎ ﺧﻮﻥ ﺍﻧﺴﺎﻥﻫﺎ ﺭﺍ ﺑﻨﻮﺷﻨﺪ‪ .‬ﺑﺎ ﻓﺮﺍ ﺭﺳﻴﺪﻥ ﺭﻭﺯ ﺧﻮﻥﺁﺷﺎﻡ ﺑﺎﻳﺪ ﺑﻪ‬ ‫ﻣﻘﺒﺮﻩﻱ ﺧﻮﺩ ﻳﺎ ﺗﺎﺑﻮﺗﻲ ﻛﻪ ﺍﺯ ﺧﺎﻙ ﻭﻃﻨﺶ ﺍﻧﺒﺎﺷﺘﻪ ﺷﺪﻩ ﺑﺎﺯ ﮔﺮﺩﺩ‪ ...‬ﺧﻮﻥﺁﺷﺎﻡﻫﺎ ﺑﺎ ﺧﻮﺩ‬ ‫ﺑﻴﻤﺎﺭﻱ ﻭ ﻃﺎﻋﻮﻥ ﻣﻲﺁﻭﺭﻧﺪ‪ ...‬ﺳﺎﻳﻪﺍﻱ ﻧﺪﺍﺭﻧﺪ ﻭ ﺗﺼﻮﻳﺮﺷﺎﻥ ﺩﺭ ﺁﻳﻨﻪ ﻣﻨﻌﻜﺲ ﻧﻤﻲﺷﻮﺩ‪ ...‬ﺑﺎ‬ ‫ﺍﺳﺘﻔﺎﺩﻩ ﺍﺯ ﺻﻠﻴﺐ ﻭ ﺑﻮﺗﻪﻱ ﺳﻴﺮ ﻣﻲﺗﻮﺍﻥ ﺁﻥﻫﺎ ﺭﺍ ﺩﻭﺭ ﻛﺮﺩ‪ ...‬ﻭ ﺑﺮﺍﻱ ﻛﺸﺘﻦﺷﺎﻥ ﺑﺎﻳﺪ ﺗﻜﻪﺍﻱ ﺍﺯ‬ ‫ﭼﻮﺏ ﺑﻠﻮﻁ ﺭﺍ ﺑﻪ ﻗﻠﺐﺷﺎﻥ ﻓﺮﻭ ﻛﺮﺩ« )‪.(1‬‬ ‫ﺑﺴﻴﺎﺭﻱ ﮔﻤﺎﻥ ﻣﻲﻛﻨﻨﺪ ﺍﻳﻦ ﻣﻮﺟﻮﺩ ﺍﻓﺴﺎﻧﻪﺍﻱ ﻣﺠﺎﺭﻱ ﻛﻪ ﮔﺎﻫﻲ ﺍﺯ ﺳﻮﻱ ﻭﻗﺎﻳﻊ ﻭ ﭼﻬﺮﻩﻫﺎﻱ ﺗﺎﺭﻳﺨﻲ‬ ‫ﺧﻮﺭﺍﻙ ﺑﻴﺸﺘﺮﻱ ﮔﺮﻓﺘﻪ ﻭ ﺁﺗﺶ ﺗﻨﺪﺗﺮﻱ ﻳﺎﻓﺘﻪ )ﻣﺎﻧﻨﺪ ﻛﻨﺖ ﻭﻻﺩ ﺗﭙﺶ ﺩﻭﻡ‪ ،‬ﻫﻤﺎﻥ ﻛﻨﺖ ﺩﺭﺍﻛﻮﻻﻱ‬ ‫ﻣﻌﺮﻭﻑ‪ ،‬ﻭ ﻛﻨﺘﺲ ﺑﺘﻮﺭﻱ( ﺗﺎ ﺍﻭﺍﺧﺮ ﻗﺮﻥ ﻧﻮﺯﺩﻫﻢ ﻭ ﺑﺎ ﻧﻮﺷﺘﻪﻫﺎﻱ ﺭﻣﺎﻥﻧﻮﻳﺴﺎﻥ ﺁﻥ ﺩﻭﺭﻩ ﺑﻪ ﺍﻧﮕﻠﺴﺘﺎﻥ‬ ‫)ﻭ ﺑﻪ ﺍﻳﻦ ﺗﺮﺗﻴﺐ ﺍﺩﺑﻴﺎﺕ ﺷﻨﺎﺧﺘﻪﺗﺮ ﺷﺪﻩﻱ ﺟﻬﺎﻧﻲ( ﺭﺍﻩ ﻧﻴﺎﻓﺘﻪ ﺍﺳﺖ‪ .‬ﺍﻣﺎ ﺩﺭ ﻭﺍﻗﻊ ﺗﻮﺻﻴﻔﺎﺗﻲ ﺍﺯ ﺍﻳﻦ‬ ‫ﻣﻮﺟﻮﺩ ﺑﻪ ﻫﻤﺮﺍﻩ ﻣﻮﺍﺭﺩﻱ ﺍﺯ ﻣﺸﺎﻫﺪﻩﻱ ﺁﻥ ﺩﺭ ﻛﺘﺎﺏ ‪ Historia Rerum Angelicarum‬ﻧﻮﺷﺘﻪﻱ‬ ‫ﻭﻳﻠﻴﺎﻡ ﺍﻫﻞ ﻧﻴﻮﺑﺮگ )‪ (2‬ﺩﺭ ﻗﺮﻥ ﺩﻭﺍﺯﺩﻫﻢ ﻧﻴﺰ ﻭﺟﻮﺩ ﺩﺍﺭﺩ‪.‬‬ ‫ﻭﻟﻲ ﺧﺐ‪ ،‬ﺍﺯ ﺑﺤﺚ ﺯﻣﺎﻥ ﻛﻪ ﺑﮕﺬﺭﻳﻢ‪ ،‬ﺧﻮﻥﺁﺷﺎﻡ ﻭﺍﻗﻌﺎً ﻣﻮﺟﻮﺩ ﺟﺎﻟﺒﻲ ﺍﺳﺖ )ﭼﺸﻢ ﺑﺴﺘﻪ ﻏﻴﺐ‬

‫ﮔﻔﺘﻢ؟(‪ .‬ﺗﻮﺟﻪ ﻛﻨﻴﺪ ﺑﻪ ﺍﻳﻦ ﻛﻪ ﻏﺬﺍﻱ ﺍﻳﻦ ﻣﻮﺟﻮﺩ ﭼﻴﺴﺖ‪ :‬ﺧﻮﻥ! ﻣﺎﻳﻌﻲ ﻛﻪ ﺑﻪ ﻭﺍﻗﻊ ﻋﺼﺎﺭﻩﻱ‬ ‫ﺣﻴﺎﺕ ﺭﺍ ﺩﺭ ﺧﻮﺩ ﺩﺍﺭﺩ‪.‬‬ ‫ﺩﺭ ﺟﻮﺍﻣﻊ ﺑﺪﻭﻱ ﻫﻤﻴﺸﻪ ﺟﺎﺩﻭﻱ ﻫﻢﻧﺸﻴﻨﻲ )ﺩﺭ ﻣﻘﺎﺑﻞ ﺟﺎﺩﻭﻱ ﻫﻤﺪﻻﻧﻪ ﻳﺎ ﺳﻤﭙﺎﺗﻴﻚ‪ .‬ﺑﺤﺚ‬ ‫ﺗﻔﺎﻭﺕ ﺍﻳﻦ ﺩﻭ ﻧﻮﻉ ﺟﺎﺩﻭ ﺑﺴﻴﺎﺭ ﻣﻔﺼﻞ ﺍﺳﺖ ﻭ ﺗﻨﻬﺎ ﺑﻪ ﺩﻭ ﻣﺜﺎﻝ ﺍﻛﺘﻔﺎ ﻣﻲﻛﻨﻢ‪ :‬ﺟﺎﺩﻭﻱ ﻫﻤﺪﻻﻧﻪ‬ ‫ﻣﺎﻧﻨﺪ ﺍﺳﺘﻔﺎﺩﻩ ﺍﺯ ﻋﺮﻭﺳﻚ ﻭﻭﺩﻭ‪ ،‬ﺟﺎﺩﻭﻱ ﻫﻤﻨﺸﻴﻨﻲ ﻣﺎﻧﻨﺪ ﺍﻋﻤﺎﻝ ﺟﺎﺩﻭ ﺑﺮ ﺭﻭﻱ ﺗﺎﺭ ﻣﻮﻳﻲ ﻛﻪ ﺍﺯ‬ ‫ﻳﻚ ﻓﺮﺩ ﺩﺭ ﺩﺳﺘﺮﺱ ﺍﺳﺖ( ﻧﻘﺸﻲ ﺑﺴﻴﺎﺭ ﺍﺳﺎﺳﻲ ﺍﻳﻔﺎ ﻣﻲﻛﺮﺩﻩ ﺍﺳﺖ‪ .‬ﺭﺳﻮﻡ ﺩﻓﻦ ﺩﻧﺪﺍﻥ ﺍﻓﺘﺎﺩﻩ‪،‬‬ ‫ﻣﻮﻱ ﺭﻳﺨﺘﻪ‪ ،‬ﺟﻔﺖ ﻧﻮﺯﺍﺩ‪ ،‬ﻧﺎﺧﻦ ﮔﺮﻓﺘﻪ ﺷﺪﻩ ﻭ‪ ...‬ﻫﻤﻪ ﻭ ﻫﻤﻪ ﺑﺮﺍﻱ ﺟﻠﻮﮔﻴﺮﻱ ﺍﺯ ﺍﻓﺘﺎﺩﻥ ﺑﺨﺸﻲ‬ ‫ﺍﺯ ﺑﺪﻥ ﺷﺨﺺ ﺑﻪ ﺩﺳﺖ ﺟﺎﺩﻭﮔﺮﻱ ﺑﺪﺧﻮﺍﻩ ﺻﻮﺭﺕ ﻣﻲﮔﺮﻓﺘﻪ ﺍﺳﺖ ﻭ ﺑﻘﺎﻳﺎﻱ ﺁﻥ ﺩﺭ ﺩﻧﻴﺎﻱ ﺍﻣﺮﻭﺯ‬ ‫ﻫﻨﻮﺯ ﻫﻢ ﻗﺎﺑﻞ ﻣﺸﺎﻫﺪﻩ ﺍﺳﺖ‪ .‬ﺩﺭ ﻛﺸﻮﺭ ﺧﻮﺩﻣﺎﻥ ﻧﻴﺰ ﻛﻢ ﻧﻴﺴﺘﻨﺪ ﺍﻓﺮﺍﺩﻱ ﻛﻪ ﺩﻧﺪﺍﻥ ﻛﺸﻴﺪﻩ‬ ‫ﺷﺪﻩﺷﺎﻥ ﺭﺍ ﻃﻠﺐ ﻣﻲﻛﻨﻨﺪ ﻳﺎ ﺍﺯ ﺭﻳﺨﺘﻦ ﻣﻮﻱ ﺗﺮﺍﺷﻴﺪﻩ ﻭ ﻧﺎﺧﻦ ﮔﺮﻓﺘﻪ ﺷﺪﻩﻱ ﺧﻮﺩ ﺩﺭ ﭼﺎﻩ‬ ‫ﻓﺎﺿﻼﺏ ﺍﺑﺎ ﺩﺍﺭﻧﺪ‪ .‬ﺑﺎ ﺍﻳﻦ ﺣﺴﺎﺏ ﺧﻮﻥ ﻧﻴﺰ ﺑﻪ ﻋﻨﻮﺍﻥ ﺟﺰﻳﻲ‪ ،‬ﻳﺎ ﺑﻬﺘﺮﻱ ﺑﮕﻮﻳﻢ ﻣﻬﻢﺗﺮﻳﻦ ﺟﺰء‪ ،‬ﺍﺯ‬ ‫ﺑﺪﻥ ﺍﻧﺴﺎﻥ ﻭﺳﻮﺍﺱ ﻭ ﻣﺮﺍﻗﺒﺖ ﻣﺸﺎﺑﻬﻲ ﺭﺍ ﻃﻠﺐ ﻣﻲﻛﻨﺪ‪ .‬ﺣﺎﻝ ﻣﺎ ﺑﺎ ﻣﻮﺟﻮﺩﻱ ﻃﺮﻑ ﻫﺴﺘﻴﻢ ﻛﻪ‬ ‫ﺍﻳﻦ ﻋﺼﺎﺭﻩ ﺭﺍ ﺍﺯ ﺑﺪﻥ ﻣﺎ ﺧﺎﺭﺝ ﻛﺮﺩﻩ ﻭ ﻣﻲﻧﻮﺷﺪ‪ .‬ﺟﺎﻟﺐ ﻧﻴﺴﺖ؟ ﭼﻨﺎﻥ ﻧﻴﺮﻭﻱ ﺣﻴﺎﺗﻲ ﺑﺮﺍﻱ ﺧﻮﻥ‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،9-10‬ﺷﻬﺮﻳﻮﺭ ﻭ ﻣﻬﺮ ‪1390‬‬

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‫ﺗﺮﺳﻨﺎﻙ‬ ‫ﺩﻭﺳﺖﺩﺍﺷﺘﻨﻰ‬ ‫ﺍﺑﺮﺍﻫﻴﻢ ﺗﻘﻮﻯ‬

‫ﻣﻮﺟﻮﺩﻱ ﺷﺐﺯﻱ )ﻣﻨﻈﻮﺭﻡ ﺩﺭ ﻧﺴﺨﻪﻱ ﺍﺻﻞ ﺍﺳﺖ‪ ،‬ﻧﻪ ﺩﺭ ﻓﻴﻠﻢ »ﮔﺮگ ﻭ ﻣﻴﺶ«!(‪،‬‬ ‫ﺳﺮﺩ )ﺑﻪ ﻣﻌﻨﻲ ﻭﺍﻗﻌﻲ ﻛﻠﻤﻪ!(‪ ،‬ﻣﺮﺩﻩ )ﺷﻤﺎ ﺭﺍ ﺍﺭﺟﺎﻉ ﻣﻲﺩﻫﻢ ﺑﻪ ﺻﺤﻨﻪﺍﻱ ﺩﺭ ﻓﻴﻠﻢ‬ ‫»ﺩﺭﺍﻛﻮﻻﻱ ﺑﺮﺍﻡ ﺍﺳﺘﻮﻛﺮ« ﺳﺎﺧﺘﻪﻱ »ﻓﺮﺍﻧﺴﻴﺲ ﻓﻮﺭﺩ ﻛﺎﭘﻮﻻ« ﻛﻪ ﻛﻨﺖ ﺩﺭﺍﻛﻮﻻ ﺩﺳﺖ‬ ‫ﻣﻮﻧﺎ ﺭﺍ ﺭﻭﻱ ﺳﻤﺖ ﭼﭗ ﺳﻴﻨﻪﻱ ﺧﻮﺩ ﻣﻲﮔﺬﺍﺭﺩ ﻭ ﻣﻲﮔﻮﻳﺪ‪»:‬ﺣﻴﺎﺗﻲ ﺩﺭ ﺍﻳﻦ ﺑﺪﻥ‬ ‫ﻧﻴﺴﺖ!«( ﻭ ﻫﻢﺯﻣﺎﻥ ﻧﺎﻣﻴﺮﺍ )ﺩﺭ ﻭﺍﻗﻊ ﻫﻴﭻ ﻛﺲ ﻧﻤﻲﺗﻮﺍﻧﺪ ﺩﻭ ﺑﺎﺭ ﺑﻤﻴﺮﺩ‪ ،‬ﻭﻟﻲ ﺧﺐ‬ ‫ﺧﻮﻥﺁﺷﺎﻡﻫﺎ ﻣﻲﺗﻮﺍﻧﻨﺪ‪ .‬ﻣﺸﻜﻞ ﺍﺯ ﺁﻥﺟﺎ ﺷﺮﻭﻉ ﻣﻲﺷﻮﺩ ﻛﻪ ﺑﻪ ﺧﻮﺩﻱ ﺧﻮﺩ ﺍﻳﻦ ﻛﺎﺭ ﺭﺍ‬ ‫ﻧﻤﻲﻛﻨﻨﺪ( ﻭ ﺍﻟﺒﺘﻪ ﺑﺎ ﺭژﻳﻢ ﻏﺬﺍﻳﻲ ﺧﻮﻥ )ﺷﺎﻳﺪ ﻣﺎﻧﻨﺪ ﻟﻮﻳﻲ ﻭ ﻟﺴﺘﺖ ﺩﺭ ﻓﻴﻠﻢ »ﻣﺼﺎﺣﺒﻪ‬ ‫ﺑﺎ ﺧﻮﻥﺁﺷﺎﻡ« ﻭ ﺧﺎﻧﻮﺍﺩﻩﻱ ﻛﺎﻟﻦ ﺩﺭ ﮔﺮگ ﻭ ﻣﻴﺶ ﺑﺘﻮﺍﻧﺪ ﺍﺯ ﺧﻮﻥ ﺣﻴﻮﺍﻧﺎﺕ ﻫﻢ ﺗﻐﺬﻳﻪ‬ ‫ﻛﻨﺪ ﻳﺎ ﻣﺜﻞ ﺳﺮﻳﺎﻝ ‪ True blood‬ﺍﺯ ﺧﻮﻥ ﻣﺼﻨﻮﻋﻲ‪ ،‬ﺍﻣﺎ ﺩﺭ ﻛﻞ ﺧﻮﻥ ﺍﻧﺴﺎﻥ ﺭﺍ‬ ‫ﺗﺮﺟﻴﺢ ﻣﻲﺩﻫﺪ(‪ .‬ﭼﮕﻮﻧﻪ ﭼﻨﻴﻦ ﻣﻮﺟﻮﺩﻱ ﺁﻥ ﻗﺪﺭ ﭘﺮﻃﺮﻓﺪﺍﺭ ﻭ ﻣﺤﺒﻮﺏ ﻣﻲﺷﻮﺩ ﻛﻪ‬ ‫ﺍﻳﻦ ﻫﻤﻪ ﻓﻴﻠﻢ ﻭ ﺳﺮﻳﺎﻝ ﻭ‪) ...‬ﻛﻪ ﺍﻟﺒﺘﻪ ﺗﻌﺪﺍﺩ ﻧﺴﺦ ﻧﻪ ﭼﻨﺪﺍﻥ ﺟﺎﻟﺒﺸﺎﻥ ﻛﻢ ﻧﻴﺴﺖ‪ ،‬ﺍﻣﺎ‬ ‫ﺑﻌﻀﻲﻫﺎﺷﺎﻥ ﻭﺍﻗﻌﺎ ﻋﺎﻟﻲﺍﻧﺪ( ﺣﻮﻝ ﻣﺤﻮﺭﺵ ﺳﺎﺧﺘﻪ ﺷﻮﺩ؟‬

‫ﻣﻘﺎﻟﻪ‬

‫ﻣﺼﺮﻑ ﺑﺪﻝ ﻣﻰﻛﻨﺪ‪ .‬ﺩﺭﺍﻛﻮﻻ ﻣﺼﺮﻑ ﻣﻰﻛﻨﺪ ﻭ ﺍﺯ ﺍﻳﻦ ﻃﺮﻳﻖ ﻗﺮﺑﺎﻧﻴﺎﻧﺶ ﺭﺍ ﺑﻪ ﻣﺼﺮﻑﻛﻨﻨﺪﻩ‬ ‫ﺑﺪﻝ ﻣﻰﺳﺎﺯﺩ‪ .‬ﺍﻭ ﺧﻮﻥ ﺁﻥﻫﺎ ﺭﺍ ﻣﻰﻣﻜﺪ ﻭ ﺑﻪ ﺁﻥﻫﺎ ﺷﻜﻮﻩ ﻭ ﺍﻧﻔﻌﺎﻟﻰ ﻣﻮﻗﺘﻰ ﻣﻰﺑﺨﺸﺪ ﻭ ﺑﻌﺪ ﺑﻪ‬ ‫ﺁﻥﻫﺎ ﻗﺪﺭﺗﻰ ﻭﺣﺸﻴﺎﻧﻪ‪ ،‬ﺗﻮﺍﻧﻤﻨﺪ ﻭ ﻫﻮﺳﻨﺎﻙ ﻣﻰﺩﻫﺪ‪ .‬ﺁﻥﭼﻪ ﻧﻪ ﻣﺘﻦ ﻭ ﻧﻪ ﻣﻔﺴﺮﺍﻧﺶ ﻧﻤﻰﺗﻮﺍﻧﻨﺪ‬ ‫ﺑﮕﻮﻳﻨﺪ‪ ،‬ﺍﻳﻦ ﺍﺳﺖ ﻛﻪ ﺩﺭ ﻛﺪﺍﻡ ﻳﻚ ﺍﺯ ﺍﻳﻦﻫﺎ ﺷﺎﻧﺲ ﺑﻴﺸﺘﺮﻯ ﺑﺮﺍﻯ ﺣﻀﻮﺭ ﺩﺍﺭﻧﺪ ﻭ ﻛﺪﺍﻡ ﻳﻚ‬ ‫ﺍﺭﺟﺢﺗﺮﻧﺪ‪ .‬ﺷﺎﻳﺪ ﻓﻬﻢ ﺍﻳﻦ ﻧﻜﺘﻪ ﺩﺭ ﭘﺎﺳﺦ ﺑﻪ ﺍﻳﻦ ﺳﻮﺍﻝ ﺭﺍﻩﮔﺸﺎ ﺑﺎﺷﺪ ﻛﻪ ﭼﺮﺍ ﺩﺭﺍﻛﻮﻻ ﺑﺮﻋﻜﺲ‬ ‫ﻣﺜ ً‬ ‫ﻼ ﺟﻚ ﺳﻼﺥ‪ ،‬ﻣﻨﺤﺼﺮﺍ ً ﺑﺎ ﺯﻥﻫﺎﻯ ﺑﺮﻳﺘﺎﻧﻴﺎﻳﻰ ﻃﺒﻘﻪﻯ ﻣﺘﻮﺳﻂ ﺍﺭﺗﺒﺎﻁ ﺑﺮﻗﺮﺍﺭ ﻣﻰﻛﻨﺪ‪ ،‬ﺣﺎﻝ ﺁﻥ‬ ‫ﻛﻪ ﺳﺎﻳﺮ ﺯﻧﺎﻥ ﻭ ﺣﺘﺎ ﻣﺮﺩﺍﻥ‪ ،‬ﺑﺎ ﻃﻴﺐ ﺧﺎﻃﺮ ﺍﻭ ﺭﺍ ﻣﻰﭘﺬﻳﺮﻧﺪ‪ .‬ﻣﺜ ً‬ ‫ﻼ ﻟﻮﺳﻰ ﺗﻮﺟﻪ ﺧﻮﻥﺁﺷﺎﻣﻰﺍﺵ‬ ‫ﺭﺍ ﺑﻪ ﻛﻮﺩﻛﺎﻥ ﺗﻬﻰﺩﺳﺖ ﻣﻌﻄﻮﻑ ﻣﻰﻛﻨﺪ؛ ﺩﺭ ﻣﺘﻦ ﻫﻢ ﺷﻮﺍﻫﺪﻯ ﻫﺴﺖ ﻣﺒﻨﻰ ﺑﺮ ﺁﻥ ﻛﻪ‬ ‫ﺧﻮﻥﺁﺷﺎﻡﻫﺎﻯ ﻣﺆﻧﺚ ﺗﻤﺎﻳﻞ ﺩﺍﺭﻧﺪ ﻛﻪ ﺑﺎ ﻛﻮﺩﻛﺎﻥ ﺭﻭﺯﮔﺎﺭ ﺑﮕﺬﺭﺍﻧﻨﺪ ﻭ ﺣﺘﺎ ﺑﻪ ﺍﻣﻜﺎﻧﺎﺕ ﻓﺮﻳﺒﺎ ﻧﻴﺰ‬ ‫ﻣﺴﻠﺤﻨﺪ‪ .‬ﺑﻪ ﻫﻤﻴﻦ ﺩﻟﻴﻞ ﺳﻪ ﺑﺎﻧﻮﻯ ﺧﻮﻥﺁﺷﺎﻡ ﻗﺼﺮ ﺩﺭﺍﻛﻮﻻ ﻛﻮﺩﻛﺎﻥ ﻛﻮﭼﻜﻰ ﺭﺍ ﺩﺭ ﻛﻴﺴﻪ‬ ‫ﺍﻧﺪﺍﺧﺘﻪﺍﻧﺪ‪ ،‬ﺍﻣﺎ ﻭﻗﺘﻰ ﺟﺎﻧﺎﺗﺎﻥ ﻫﺎﺭﻛﺮ ﺩﺭ ﺗﺎﻻﺭ ﺷﺒﺢﮔﻮﻧﻪﺷﺎﻥ ﻣﻰﺍﻓﺘﺪ ﺗﺸﻨﻪﻯ ﺍﻭ ﻣﻰﺷﻮﻧﺪ؛ ﻟﻮﺳﻰ‬ ‫ﻫﻢ ﭘﺎﺭﻙﻫﺎ ﺭﺍ ﮔﺰ ﻣﻰﻛﻨﺪ‪ ،‬ﺍﻣﺎ ﺑﻪ ﻧﺎﻣﺰﺩﺵ ﺁﺭﺗﻮﺭ ﻣﺘﻤﺎﻳﻞ ﻣﻰﺷﻮﺩ‪ ،‬ﺁﻥ ﻫﻢ ﻭﻗﺘﻰ ﺑﻪ ﺍﻳﻦ ﺍﻣﻴﺪ‬ ‫ﻣﻰﺑﻨﺪﺩ ﻛﻪ ﺧﻮﻯ ﺧﻮﻥﺁﺷﺎﻡﮔﺮﺍﻳﻰ ﺧﻮﻳﺶ ﺭﺍ ﺑﺎ ﻏﺬﺍﻳﻰ ﻓﺮﻳﺒﺎ ﺍﺭﺿﺎ ﻛﻨﺪ‪ .‬ﭘﻴﻮﻧﺪ ﻣﻴﺎﻥ ﻓﺮﻫﻨﮓ‬ ‫ﺗﻮﺩﻩﺍﻯ ﻭ ﺯﻧﺎﻧﮕﻰ ﺍﺯ ﻫﻤﺎﻥ ﺍﺑﺘﺪﺍ ﺑﺮﻗﺮﺍﺭ ﺷﺪﻩ ﺍﺳﺖ ﻭ ﺩﺭ ﻛﺘﺎﺏ ﺩﺭﺍﻛﻮﻻ ﻧﻴﺰ‪ ،‬ﺍﺯ ﻃﺮﻳﻖ ﻟﻮﺳﻰ‪،‬‬ ‫ﻓﺮﻫﻨﮓ ﺗﻮﺩﻩﺍﻯ ﺑﻪ ﻋﻨﻮﺍﻥ ﺍﻣﺮﻯ ﺯﻧﺎﻧﻪ‪ ،‬ﭘﺬﻳﺮﺍ‪ ،‬ﻫﻮﺳﻨﺎﻙ‪ ،‬ﺟﺴﻤﺎﻧﻰ ﻭ ﺿﺪﺍﻣﭙﺮﺍﺗﻮﺭﻯ ﻣﻮﺭﺩ ﺗﺤﺴﻴﻦ‬ ‫ﻗﺮﺍﺭ ﻣﻰﮔﻴﺮﺩ ﻭ ﺑﻌﺪﺗﺮ‪ ،‬ﺍﺯ ﻫﻨﮕﺎﻣﻰ ﻛﻪ ﭘﺎﻯ ﻣﻴﻨﺎ ﻭﺳﻂ ﻛﺸﻴﺪﻩ ﻣﻰﺷﻮﺩ‪ ،‬ﭘﺮﻛﺎﺭ‪ ،‬ﺗﻮﻟﻴﺪﻯ ﻭ ﺑﻪ‬ ‫ﮔﻮﻧﻪﺍﻯ ﺩﺭﺧﻮﺭ ﺍﻣﭙﺮﺍﺗﻮﺭﻯ ﻣﻰﺷﻮﺩ‪.‬‬ ‫ﭘﻰﻧﻮﺷﺖﻫﺎ‪:‬‬ ‫ﻳﻮﻧﺎﻧﻰ( ﺩﺭ ﺑﺮﺍﺑﺮ ﺷﺮﻛﺖﻫﺎﻯ ﻣﺪﺭﻥ ﻗﺮﻥ ﻧﻮﺯﺩﻫﻢ‪.‬ﻡ‬ ‫ﻭﺍﺭﻭﻧﻪ‬ ‫ﻭﺍﻛﻨﺶ‬ ‫ﻳﺎ‬ ‫ﻭﺍﻛﻨﺶﺳﺎﺯﻯ‬ ‫‪.2‬‬ ‫)‪ (reaction-formation‬ﺍﺻﻄﻼﺣﻰ ﻓﺮﻭﻳﺪﻯ ﺍﺳﺖ ﺑﻪ‬ ‫ﻣﻌﻨﺎﻯ ﻭﺍﻛﻨﺸﻰ ﻇﺎﻫﺮﺍ ً ﺳﺎﺧﺘﻪ ﺷﺪﻩ‪ ،‬ﻣﺜ ً‬ ‫ﻼ ﺍﺑﺮﺍﺯ ﻧﻔﺮﺕ ﺑﻪ‬ ‫ﻛﺴﻰ ﻛﻪ ﺩﻭﺳﺘﺶ ﺩﺍﺭﻳﻢ‪ .‬ﻡ‪.‬‬

‫* ﺍﻳﻦ ﻣﻘﺎﻟﻪ ﺍﻭﻟﻴﻦ ﺑﺎﺭ ﺑﺎ ﻫﻤﻴﻦ ﻋﻨﻮﺍﻥ ﺩﺭ ﺷﻤﺎﺭﻩﻯ ﺳﻮﻡ‪،‬‬ ‫ﺩﻭﺭﻩﻯ ﭼﻬﺎﺭﺩﻫﻢ‪ ،‬ﻓﺼﻠﻨﺎﻣﻪﻯ »ﻓﺎﺭﺍﺑﻰ«‪ ،‬ﺑﻬﺎﺭ ‪1384‬‬ ‫ﻣﻨﺘﺸﺮ ﺷﺪﻩ ﺍﺳﺖ‪ .‬ﺑﻨﺎ ﺑﺮ ﺍﺟﺎﺯﻩﻧﺎﻣﻪ ﻓﺼﻠﻨﺎﻣﻪﻯ ﻓﺎﺭﺍﺑﻰ‪ ،‬ﻧﻘﻞ‬ ‫ﻣﻄﺎﻟﺐ ﺁﻥ ﻧﺸﺮﻳﻪ ﺑﺎ ﺫﻛﺮ ﻣﺄﺧﺬ ﺑﻼﻣﺎﻧﻊ ﺍﺳﺖ‪.‬‬ ‫‪ .1‬ﻭﻟﻜﺎﻥ‪ ،‬ژﻭﭘﻴﺘﺮ )ﺧﺪﺍﻳﺎﻥ ﺭﻭﻣﻰ( ﻭ ﻫﺮﻣﺲ )ﺧﺪﺍﻯ‬

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‫ﻭﻳﮋﻩﻧﺎﻣﻪﻯ ﺧﻮﻥﺁﺷﺎﻡﻫﺎ‬

‫ﺩﺭ ﻣﻮﺭﺩ ﺗﻮﻟﻴﺪﻯ ﻛﻪ ﺧﻮﺩ ﻣﺼﺮﻑ ﺍﺳﺖ‪ .‬ﺍﻳﻦ ﺗﻐﻴﻴﺮﺍﺕ ﻗﺎﺑﻞ ﺗﻮﺟﻪ ﻭ ﺩﺭ ﻋﻴﻦ ﺣﺎﻝ ﻭﺍﺟﺪ ﺗﺄﺛﻴﺮﺍﺕ‬ ‫ﺳﻴﺎﺳﻰ ﻧﻴﺮﻭﻣﻨﺪ ﺍﺳﺖ‪ .‬ﻫﻤﭽﻨﻴﻦ ﺍﻳﻦ ﺗﻐﻴﻴﺮﺍﺕ ﺩﺭ ﭼﺎﺭﭼﻮﺏﻫﺎﻯ ﺍﻗﺘﺼﺎﺩﻯ ﺑﺮ ﺍﺳﺎﺱ ﺁﺩﻡﺧﻮﺍﺭ‬ ‫ﻛﺮﺩﻥ ﻣﻨﺎﺑﻊ ﺍﺯ ﻣﻜﺎﻥﻫﺎﻯ ﻧﺎﻣﺮﺋﻰ ﺩﻳﮕﺮ ﺍﺳﺖ‪ .‬ﺗﻨﺎﻗﻀﺎﺕ ﻣﺼﺮﻑ ﺩﺭ ﺍﻳﻦ ﻣﺘﻦ ﻣﺜﻞ ﺧﻄﻮﻁ ﻗﺼﻮﺭ‬ ‫ﻋﻤﻞ ﻣﻰﻛﻨﻨﺪ ﻭ ﺑﻪ ﻫﻤﻴﻦ ﺷﻴﻮﻩ ﻧﻴﺰ ﺩﺭ ﻧﻈﺮﻳﻪﻯ ﻣﻌﺎﺻﺮ ﻣﺎ ﻧﻘﺶ ﺩﺍﺭﻧﺪ‪ .‬ﺑﻪ ﻫﺮ ﺣﺎﻝ ﺑﺎﻳﺪ ﺍﻳﻦ ﻧﻜﺘﻪ‬ ‫ﺭﺍ ﺩﺍﻧﺴﺖ ﻛﻪ ﻣﺼﺮﻑ ﻫﻤﻴﺸﻪ ﻛﺎﺭ ﺍﺳﺖ ﻭ ﺍﻟﺒﺘﻪ ﻣﻨﻈﻮﺭ ﻣﻦ ﺻﺮﻓﺎً ﺧﺮﻳﺪ ﻧﻴﺴﺖ‪ ،‬ﺑﻠﻜﻪ ﺷﻜﻠﻰ ﺍﺯ ﻛﺎﺭ‬ ‫ﻓﺮﻫﻨﮕﻰ ﺍﺳﺖ‪ ،‬ﺍﺯ ﺟﻤﻠﻪ ﺗﻮﻟﻴﺪ ﻣﻌﺎﻧﻰ‪ .‬ﺍﺯ ﺁﻥﺟﺎ ﻛﻪ ﺩﺍﺳﺘﺎﻥ ﺩﺭﺍﻛﻮﻻ ﺑﺮ ﻭﺭﻭﺩﻳﻪﻯ ﻓﺮﻫﻨﮓ ﺗﻮﺩﻩﺍﻯ‬ ‫ﺗﺄﻛﻴﺪ ﻣﻰﻛﻨﺪ‪ ،‬ﻳﻜﻰ ﺍﺯ ﺍﻭﻟﻴﻦ ﺑﻴﺎﻥﻫﺎﻯ ﻓﺮﻫﻨﮕﻰ ﭼﻨﺎﻥ ﺭﺍﺑﻄﻪﻯ ﻛﻢﺭﻧﮕﻰ ﺍﺳﺖ؛ ﻭ ﺍﺯ ﺍﻳﻦ ﺭﻭ‬ ‫ﻫﻤﺎﺭﻩ ﺩﺭ ﻓﻴﻠﻢﻫﺎ‪ ،‬ﻛﺘﺎﺏﻫﺎ ﻭ ﺩﻳﮕﺮ ﺍﺷﻜﺎﻝ ﻓﺮﻫﻨﮕﻰ ﺩﻳﮕﺮ ﺯﻧﺪﻩ ﻣﻰﻣﺎﻧﺪ‪ .‬ﺍﻳﻨﻚ ﺧﻮﻥﺁﺷﺎﻣﻰ ﻣﻜﺎﻥ‬ ‫ﺍﺑﺘﺪﺍﻳﻰ ﺳﻨﺠﺶ ﺩﺭ ﺧﻮﺩﻧﮕﺮﻯِ ﻓﺮﻫﻨﮓ ﻣﺎﺳﺖ‪ ،‬ﺯﻳﺮﺍ ﺍﻳﻦ ﻭﺟﻮﺩ ﺩﺭ ﻗﺒﻀﻪﻯ ﻣﺼﺮﻑ ﻣﺎﺩﻯ ﺍﺳﺖ‪.‬‬ ‫ﻫﻤﺎﻥﻃﻮﺭ ﻛﻪ ﺑﺴﻴﺎﺭﻯ ﺍﺯ ﻣﻔﺴﺮﺍﻥ ﻣﺜﻞ ﺗﻴﻨﺎ ﺍﻭﺋﺮﺑﺎﺥ‪ ،‬ﻛﺮﻳﺴﺘﻮﻓﺮ ﻛﺮﺍﻓﺖ ﻭ ﺟﺎﻥ ﺍﺳﺘﻴﻮﻧﺴﻦ ﻧﺸﺎﻥ‬ ‫ﺩﺍﺩﻩﺍﻧﺪ‪ ،‬ﻣﺼﺮﻑ ﺧﻮﻥﺁﺷﺎﻣﻰ ﺧﻮﻥ ﺩﺭ ﻛﺘﺎﺏ ﺩﺭﺍﻛﻮﻻ ﺑﻪ ﮔﻮﻧﻪﺍﻯ ﻫﻢﺯﻣﺎﻥ ﻭ ﭘﻴﭽﻴﺪﻩ‪ ،‬ﻛﻨﺸﻰ‬ ‫ﺟﻨﺴﻰ ﺍﺳﺖ ﻭ ﻓﺮﺁﻳﻨﺪ ﺁﻥ ﻣﺠﺮﻯ ﻭ ﻗﺮﺑﺎﻧﻰ‪ ،‬ﻫﺮ ﺩﻭ ﺭﺍ ﺩﺭ ﻧﻮﻋﻰ ﻋﺒﻮﺩﻳﺖ ﻳﺎ ﻭﺟﺪ ﺟﻨﺴﻰ ﻧﮕﻪ‬ ‫ﻣﻰﺩﺍﺭﺩ‪ .‬ﺑﺮ ﺁﻧﻢ ﻛﻪ ﻣﻦ ﻫﻢ ﺩﺭ ﺑﺎﺏ ﻋﻄﺶ ﺟﻨﺴﻰ ﺩﺭ ﺩﻳﻨﺎﻣﻴﻚ ﺩﺍﺳﺘﺎﻥ ﺩﺭﺍﻛﻮﻻ ﺣﺎﺷﻴﻪﺍﻯ ﺑﺮﻭﻡ‪،‬‬ ‫ﻭﻟﻰ ﺍﻭﻝ ﻣﻰﺧﻮﺍﻫﻢ ﺩﻻﻟﺖﻫﺎﻯ ﺿﻤﻨﻰ ﺍﻳﻦ ﻣﺒﺎﺩﻟﻪ ﺭﺍ ﺩﺭ ﭼﺎﺭﭼﻮﺏ ﺗﺠﺎﺭﻯ ﻧﻴﺰ ﺩﻧﺒﺎﻝ ﻛﻨﻢ‪.‬‬ ‫ﺩﺭﺍﻛﻮﻻ ﺧﻮﻥ ﻣﻰﮔﻴﺮﺩ ﺍﻣﺎ ﺩﺭ ﻋﻮﺽ ﭼﻴﺰﻯ ﻫﻢ ﻣﻰﺩﻫﺪ ﻛﻪ ﻫﺪﻳﻪﺍﻯ ﻧﺎﻣﺮﺋﻰ ﺍﻣﺎ ﻧﺎﮔﺰﻳﺮ ﺍﺯ‬ ‫ﺧﻮﻥﺁﺷﺎﻡﮔﺮﺍﻳﻰ ﺍﺳﺖ ﻛﻪ ﺑﻪ ﮔﻮﻧﻪﺍﻯ ﻧﺎﺩﻳﺪﻧﻰ ﺩﺭ ﻃﻮﻝ ﻛﻨﺶ ﺧﺮﺝ‪ ،‬ﻭﺍﺭﺩ ﺑﺮﺩﻥ ﺁﻥﻫﺎ ﻣﻰﺷﻮﺩ‪.‬‬ ‫ﺩﺭ ﺍﻳﻦ ﻣﻌﺎﺷﺮﺕ ﺧﻮﻧﻰ‪ ،‬ﺍﻟﮕﻮﻯ ﻣﺼﺮﻓﻰ ﺑﺮﻗﺮﺍﺭ ﺍﺳﺖ ﻛﻪ ﺑﻪ ﻭﺳﻴﻠﻪﻯ ﺗﺴﻠﻴﻢ ﺷﺪﻥ ﺑﻪ ﺩﺭﺍﻛﻮﻻ‬ ‫ﺩﺭﻭﻧﻰ ﻣﻰﺷﻮﺩ‪ .‬ﺁﻥ ﻫﻨﮕﺎﻡ ﻛﻪ ﻓﺮﻫﻨﮓ ﺗﻮﺩﻩﺍﻯ ﻇﺎﻫﺮ ﺁﻥ ﺭﺍ ﺍﻟﮕﻮ ﻣﻰﺳﺎﺯﺩ‪ ،‬ﺍﻟﮕﻮﻯ ﻣﺬﺑﻮﺭ ﻟﺬﺕ ﺭﺍ‬ ‫ﺑﻴﺮﻭﻥ ﻫﻨﺠﺎﺭﻫﺎﻯ ﺍﻗﺘﺪﺍﺭ ﺭﺍ ﺑﺴﻴﺞ ﻣﻰﻛﻨﺪ‪.‬‬ ‫ﺁﺯﺍﺩ ﻣﻰﺳﺎﺯﺩ‪ ،‬ﺗﻮﺟﻪ ﺭﺍ ﺩﮔﺮﮔﻮﻥ ﻣﻰﻛﻨﺪ ﻭ ﺍﻧﺮژﻯﻫﺎﻯ‬ ‫ِ‬ ‫ﻣﻦ ﺑﻪ ﺍﻟﮕﻮ ﻭﺟﻬﻪﺍﻯ ﺁﺭﻣﺎﻥﺷﻬﺮﺍﻧﻪ ﻧﻤﻰﺑﺨﺸﻢ‪ ،‬ﺑﻠﻜﻪ ﺻﺮﻓﺎً ﺩﺭ ﺑﺎﺏ ﺁﺭﺍﻳﺶ ﻣﺠﺪﺩﻯ ﺩﺭ ﺍﻣﻮﺭ‬ ‫ﺍﺟﺘﻤﺎﻋﻰ ﻭ ﺭﻭﺍﻧﻰ ﺳﺨﻦ ﻣﻰﮔﻮﻳﻢ ﻛﻪ ﺳﺒﺐﺳﺎﺯ ﺁﻥ‪ ،‬ﻣﺼﺮﻑ ﺑﻮﺩﻩ ﺍﺳﺖ ﻭ ﺩﺭ ﻫﻴﭻ ﺟﺎ ﺑﻪ ﺍﻧﺪﺍﺯﻩﻯ‬ ‫ﻗﻠﻤﺮﻭﻯ ﺟﻨﺴﻴﺖ ﺗﺄﺛﻴﺮﮔﺬﺍﺭ ﻧﺒﻮﺩﻩ ﺍﺳﺖ‪ .‬ﮔﻔﺘﺎﺭ ﻣﺪﺭﻥ ﺟﻨﺴﻴﺖ ﺩﺭ ﻭﺍﻗﻊ ﻣﺒﺘﻨﻰ ﺑﺮ ﻣﺼﺮﻑ ﺍﺳﺖ‪،‬‬ ‫ﻫﻤﺎﻥﮔﻮﻧﻪ ﻛﻪ ﻛﺎﺭ ﻓﻮﻛﻮ ﻧﺸﺎﻥ ﺩﺍﺩﻩ ﺍﺳﺖ ﻭ ﺍﺧﻴﺮﺍ ً ﻫﻢ ﻻﻭﺭﻧﺲ ﺑﺮﻳﻜﻦ ﺟﻨﺴﻴﺖﺷﻨﺎﺳﻰ ﺭﺍ ﺑﻪ‬ ‫ﺗﻐﻴﻴﺮ ﻣﻌﺮﻓﺖﺷﻨﺎﺧﺘﻰ ِ ﻣﺼﺮﻑ ﺍﻓﺰﻭﺩﻩ ﺍﺳﺖ‪ .‬ﺩﺍﺳﺘﺎﻥ ﺩﺭﺍﻛﻮﻻ ﻧﻴﺰ ﺑﺮ ﺍﻳﻦ ﺍﻣﺮ ﺻﺤﻪ ﻣﻰﮔﺬﺍﺭﺩ‪.‬‬ ‫ﺗﺎﺭﻳﺦ ﻓﺮﻫﻨﮓ ﺗﻮﺩﻩﺍﻯ‪ ،‬ﺩﺳﺖﻛﻢ ﺗﺎ ﺣﺪﻯ‪ ،‬ﺗﺎﺭﻳﺦ ﺑﺎﺯﻳﺎﺑﻰ ﻭ ﺗﻤﺪﻳﺪ ﻛﻨﺘﺮﻝ ﺑﺮ ﺟﻨﺴﻴﺖ ﺍﺳﺖ؛ ﺩﺭ‬ ‫ﺩﺭﺍﻛﻮﻻ ﻧﻴﺰ ﺍﻳﻦ ﻧﺒﺮﺩ ﻫﻤﭽﻨﺎﻥ ﻧﻮ ﺍﺳﺖ ﻭ ﺩﺷﻤﻦ ﻣﺎ ﻫﺴﺘﻴﻢ‪.‬‬ ‫ﺧﻮﻥﺁﺷﺎﻡ ﺧﻮﺩﺵ ﺭﺍ ﺑﻪ ُﺩﻡ ﺯﻧﺎﻥ ﻣﻰﺑﻨﺪﺩ‪ ،‬ﭼﺮﺍ ﻛﻪ ﻓﺮﻫﻨﮓ ﺗﻮﺩﻩﺍﻯ ﺑﺎ ﭘﺎﻫﺎﻯ ﻛﻮﭼﻚ ﺯﻧﺎﻧﻪ ﺑﻪ‬ ‫ﺩﺭﻭﻥ ﻣﻰﺧﺰﺩ‪ ،‬ﺑﻪ ﺧﺎﻧﻪ ﻫﺠﻮﻡ ﻣﻰﺑﺮﺩ ﻭ ﺑﻴﺮﻭﻥ ﻭ ﺩﺭﻭﻧﺶ ﺭﺍ ﺑﻪ ﻫﻢ ﻣﻰﺭﻳﺰﺩ ﻭ ﺁﻥ ﺭﺍ ﺑﻪ ﻗﺼﺮ‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،9-10‬ﺷﻬﺮﻳﻮﺭ ﻭ ﻣﻬﺮ ‪1390‬‬

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‫ﻣﻘﺎﻟﻪ‬

‫ﺍﺳﺖ‪ .‬ﺑﺎﻳﺪ ﭘﻴﻮﻧﺪﻫﺎﻯ ﺍﻳﻦ ﺩﺍﺳﺘﺎﻥ ﺑﺎ ﺑﺎﺯﺗﻮﻟﻴﺪ ﻓﺮﻫﻨﮕﻰ ﻭ ﻣﺼﺮﻑ ﻓﺮﻫﻨﮕﻰ ﺭﺍ ﺗﺼﺪﻳﻖ ﻛﺮﺩ ﻭ ﺍﺯ ﺍﻳﻦ‬ ‫ﻣﻨﻈﺮ ﻛﺘﺎﺏ ﺭﺍ ﺩﺭ ﺑﺎﻓﺖ ﻭ ﺯﻣﻴﻨﻪﻯ ﻧﺎﺏ ﻣﺪﺭﻧﻴﺘﻪ ﻣﺴﺘﻘﺮ ﺳﺎﺧﺖ‪ .‬ﺍﺯ ﺁﻥﺟﺎ ﻛﻪ ﻣﻴﻨﺎ ﺍﻳﻦ ﻋﻤﻠﻜﺮﺩ‬ ‫ﭼﻨﺪﻻﻳﻪ ﺭﺍ ﺑﻪ ﻛﺎﺭ ﻣﻰﺑﺮﺩ‪ ،‬ﺭﺍﺑﻄﻪﺍﺵ ﺑﺎ ﺩﺭﺍﻛﻮﻻ ﭼﻨﺎﻥ ﻧﺰﺩﻳﻚ ﺍﺳﺖ ﻛﻪ ﺑﻌﺪﺗﺮ ﺑﻪ ﺭﺍﺑﻄﻪﺍﻯ ﻣﻔﺮﻁ‬ ‫ﺗﺒﺪﻳﻞ ﻣﻰﺷﻮﺩ‪ .‬ﻧﻔﺲ ﻣﺎﺷﻴﻦ ﺗﺎﻳﭗ‪ ،‬ﺭﻧﮕﻰ ﺍﺯ ﺍﻣﺮ ﺧﻮﻥﺁﺷﺎﻣﻰ ﺩﺍﺭﺩ‪ ،‬ﺍﮔﺮ ﭼﻪ ﺩﺭ ﺍﻳﻦ ﺩﺍﺳﺘﺎﻥ ﺑﻪ‬ ‫ﮔﻮﻧﻪﺍﻯ ﻧﺎﺳﺎﺯﻩﮔﻮﻥ ﺑﻪ ﻋﻨﻮﺍﻥ ﺍﺑﺰﺍﺭﻯ ﺑﺮﺍﻯ ﻧﺎﺑﻮﺩﻯ ﺧﻮﻥﺁﺷﺎﻡ ﺑﻪ ﻛﺎﺭ ﻣﻰﺁﻳﺪ‪.‬‬ ‫ﺗﻘﺴﻴﻢ ﺟﻨﺴﻴﺘﻰ ﻛﺎﺭ ﺑﻪ ﻭﺳﻴﻠﻪﻯ ﻣﺼﺮﻑ‪ ،‬ﺗﺼﻮﻳﺮ ﺍﻳﻦ ﺧﻮﻥﺁﺷﺎﻡ ﻭﺍﺑﺴﺘﻪ ﺑﻪ ﻓﺮﻫﻨﮓ ﺗﻮﺩﻩﺍﻯ‬ ‫ﺭﺍ ﺑﻪ ﺷﺪﺕ ﻣﻮﺭﺩ ﻫﺠﻮﻡ ﻗﺮﺍﺭ ﻣﻰﺩﻫﺪ ﻭ ﺑﻪ ﺍﻳﻦ ﺍﻣﺮ ﻳﺎﺭﻯ ﻣﻰﺭﺳﺎﻧﺪ ﻛﻪ ﺩﺭﺍﻛﻮﻻ ﺭﺍ ﺑﻪ ﺷﻴﻮﻩﺍﻯ‬ ‫ﺗﺮﺩﻳﺪﻧﺎﭘﺬﻳﺮ ﺑﻪ ﻋﻨﻮﺍﻥ ﭼﻬﺮﻩﻯ ﻣﺼﺮﻑ ﻣﺴﺘﻘﺮ ﺳﺎﺯﺩ‪ .‬ﺩﺭﺍﻛﻮﻻ ﻧﻤﻰﺗﻮﺍﻧﺪ ﺑﻪ ﺧﺎﻧﻪﻯ ﻛﺴﻰ ﻭﺍﺭﺩ‬ ‫ﺷﻮﺩ ﻭ ﺁﺯﺍﺭﺵ ﺑﺮﺳﺎﻧﺪ‪ ،‬ﻣﮕﺮ ﺍﻳﻦ ﻛﻪ ﺩﻋﻮﺕ ﺷﺪﻩ ﺑﺎﺷﺪ‪ .‬ﺍﻳﻦ ﺩﻋﻮﺕ ﻫﻤﺎﻥ ﺩﻋﻮﺗﻰ ﺍﺳﺖ ﻛﻪ ﺗﺎ‬ ‫ﻓﺮﻫﻨﮓ ﺗﻮﺩﻩﺍﻯ ﮔﺴﺘﺮﺩﻩ ﻣﻰﺷﻮﺩ‪ ،‬ﺑﻪ ﺍﻳﻦ ﻣﻌﻨﺎ ﻛﻪ ﺗﺠﺎﻭﺯ ﺍﻏﻮﺍﮔﺮﺍﻧﻪﻯ ﺍﻳﻦ ﻓﺮﻫﻨﮓ ﺑﻪ ﺧﺎﻧﻪ ﺍﺳﺖ‬ ‫ﻛﻪ ﺑﻪ ﺍﻣﺮ ﺧﺎﻧﻮﺍﺩﮔﻰ ﺍﻳﻦ ﺍﻣﻜﺎﻥ ﺭﺍ ﻣﻰﺩﻫﺪ ﻛﻪ ﺑﻪ ﻣﺤﻞ‪ ،‬ﺑﻪ ﺯﺧﻢ ﺳﻮﺭﺍﺥ ﻭ ﮔﺸﺎﺩﻩﺍﻯ ﺑﺮﺍﻯ ﺗﻤﺎﻣﻰ‬ ‫ﺗﻜﻨﻴﻚﻫﺎﻯ ﻓﺮﻫﻨﮓ ﺗﻮﺩﻩﺍﻯ ﺑﺪﻝ ﺷﻮﺩ‪ .‬ﻣﻰﺗﻮﺍﻥ ﮔﻔﺖ ﻛﻪ ﻓﺮﻫﻨﮓ ﺗﻮﺩﻩﺍﻯ ﻳﺎ ﻣﺼﺮﻑ‪ ،‬ﻓﺮﻫﻨﮓ‬ ‫ﺭﺍ ﺍﺯ ﺩﺭﻭﻥ ﺧﺎﻧﻪ ﺩﮔﺮﮔﻮﻥ ﻣﻰﻛﻨﻨﺪ‪ ،‬ﻋﻠﻰﺭﻏﻢ ﺍﻳﻦ ﻭﺍﻗﻌﻴﺖ ﺑﺪﻳﻬﻰ ﻛﻪ ﺑﺴﻴﺎﺭﻯ ﺍﺯ ﺗﻜﻨﻮﻟﻮژﻯﻫﺎﻯ‬ ‫ﻓﺮﻫﻨﮕﻰ ﺩﺭ ﺟﺎﻫﺎﻯ ﺩﻳﮕﺮ ﺑﻪ ﺩﻳﺪ ﻣﻰﺁﻳﻨﺪ‪ ،‬ﻣﺜ ً‬ ‫ﻼ ﺩﺭ ﻓﺮﻭﺷﮕﺎﻩﻫﺎﻯ ﺯﻧﺠﻴﺮﻩﺍﻯ‪ ،‬ﺑﻴﻞﺑﻮﺭﺩﻫﺎ‪،‬‬ ‫ﻛﻴﻮﺳﻚﻫﺎﻯ ﺭﻭﺯﻧﺎﻣﻪﻓﺮﻭﺷﻰ ﻭ ﺗﻠﮕﺮﺍﻑﺧﺎﻧﻪﻫﺎ‪ .‬ﻛﺘﺎﺏ ﺳﺮﺷﺎﺭ ﺍﺯ ﺗﻤﺎﻣﻰ ﺍﻳﻦ ﻣﺪﺍﻟﻴﺘﻪﻫﺎﻯ‬ ‫ﺗﻜﻨﻮﻟﻮژﻳﻚ ﻭ ﻓﺮﻫﻨﮕﻰ ﺍﺳﺖ‪ ،‬ﺳﺮﺷﺎﺭ ﺍﺯ ﺟﺪﻳﺪﺗﺮﻳﻦ ﭘﺪﻳﺪﻩﻫﺎﻯ ﻓﺮﻫﻨﮕﻰ ﺟﺪﻳﺪ‪ ،‬ﻭ ﺑﺎ ﺁﻥ ﻛﻪ‬ ‫ﻫﻤﻴﻦﻫﺎ ﺟﻬﺎﻥ ﺛﺎﺑﺖ ﻭ ﺧﻂﻛﺸﻰ ﺷﺪﻩ ﺭﺍ ﺩﺭ ﻫﻢ ﻣﻰﺭﻳﺰﻧﺪ‪ ،‬ﻛﺘﺎﺏ ﻣﻰﺧﻮﺍﻫﺪ ﺑﺎ ﻫﻤﻴﻦ ﭼﻴﺰﻫﺎ ﺍﺯ‬ ‫ﺁﻥ ﺟﻬﺎﻥ ﺩﻓﺎﻉ ﻛﻨﺪ‪ .‬ﺍﻣﺎ ﺑﺪﻳﻦ ﺻﻮﺭﺕ ﺧﺎﻧﻪ ﺑﻪ ﺭﻭﻯ ﺑﻰﺛﺒﺎﺗﻰﻫﺎﻯ ﺍﻗﺘﺪﺍﺭ ﻭ ﻟﺬﺍﺗﻰ ﮔﺸﻮﺩﻩ ﻣﻰﺷﻮﺩ‬ ‫ﻛﻪ ﺧﺎﺭﺝ ﺍﺯ ﺧﺎﻧﻮﺍﺩﻩ ﺑﻪ ﻋﻨﻮﺍﻥ ﻭﺍﺣﺪ ﺑﺎﺯﺗﻮﻟﻴﺪ ﺍﺟﺘﻤﺎﻋﻰ ﻣﻄﺮﺡ ﺍﺳﺖ‪ .‬ﺩﻗﻴﻘﺎً ﻫﻤﺎﻥ ﻋﻠﻢ‪ ،‬ﻋﻘﻼﻧﻴﺖ‬ ‫ﻭ ﺗﻜﻨﻮﻟﻮژﻯﻫﺎﻯ ﻛﻨﺘﺮﻝ ﺍﺟﺘﻤﺎﻋﻰ ﻛﻪ ﺩﺭ ﺑﺮﺍﺑﺮ ﺗﻌﺪﻯﻫﺎﻯ ﺩﺭﺍﻛﻮﻻ ﺑﻪ ﺁﻥﻫﺎ ﺍﺗﻜﺎ ﻣﻰﺷﻮﺩ‪ ،‬ﺩﺭ‬ ‫ﻗﺮﺍﺋﺖ ﻣﺎ ﻣﻨﺒﻊ ﻗﺪﺭﺕﻫﺎﻯ ﺧﻮﻥﺁﺷﺎﻣﻰ ﺁﻥ ﻓﺮﻫﻨﮓ ﺗﻮﺩﻩﺍﻯ ﻫﺴﺘﻨﺪ ﻛﻪ ﺩﺭﺍﻛﻮﻻ ﻣﺘﺤﺪ ﺁﻥﻫﺎ‬ ‫ﺍﺳﺖ‪ .‬ﺧﺎﻧﻪ ﻗﺎﺑﻞ ﻧﻔﻮﺫﺗﺮﻳﻦ ﭘﻮﺳﺘﻪ ﺑﺮﺍﻯ ﺍﻳﻦ ﺍﻧﺘﻘﺎﻝ ﺧﻮﻥ ﺍﺳﺖ‪ ،‬ﭼﺮﺍ ﻛﻪ ﺩﺭ ﺍﻭﺍﺧﺮ ﻗﺮﻥ ﻧﻮﺯﺩﻫﻢ‬ ‫ﺯﻥﻫﺎﻯ ﻃﺒﻘﻪﻯ ﻣﺘﻮﺳﻂ ﻭ ﺣﺘﺎ ﺯﻥﻫﺎﻯ ﻃﺒﻘﻪﻯ ﭘﺎﻳﻴﻦ ﺩﺭ ﺁﻥﺟﺎ ﺩﺭ ﺍﻧﺰﻭﺍﻯ ﺍﻗﺘﺼﺎﺩﻯ ﻗﺮﺍﺭ‬ ‫ﮔﺮﻓﺘﻨﺪ ﻭ ﺑﻪ ﻧﺎﻇﺮﺍﻥ ﺍﺳﻴﺮ ﻣﺮﺍﻗﺒﺎﺕ ﺧﻮﻥﺁﺷﺎﻣﻰ ﻓﺮﻫﻨﮓ ﻛﺎﻻﻳﻰ ﺷﺪﻩ‪ ،‬ﻣﺼﺮﻑ ﻭ ﺑﻪ ﺍﺻﻄﻼﺡ‬ ‫ﺍﻭﻗﺎﺕ »ﻓﺮﺍﻏﺖ« ﺑﺪﻝ ﺷﺪﻧﺪ‪ .‬ﺯﻧﺎﻥ ﻧﺎﮔﺰﻳﺮ ﺍﻭﻟﻴﻦ ﻛﺴﺎﻧﻰ ﻫﺴﺘﻨﺪ ﻛﻪ ﺩﺭﺍﻛﻮﻻ ﺭﺍ ﺭﺍﻩ ﻣﻰﺩﻫﻨﺪ‪.‬‬ ‫ﺷﺎﻳﺪ ﺍﻳﻦ ﻃﻮﺭ ﺑﻪ ﻧﻈﺮ ﺭﺳﺪ ﻛﻪ ﻣﻦ ﺗﺎ ﺑﻪ ﺣﺎﻝ ﻗﺼﺪ ﺩﺍﺷﺘﻪﺍﻡ ﺑﺎ ﻣﺮﺗﺒﻂ ﻛﺮﺩﻥ ﺩﺭﺍﻛﻮﻻ ﺑﻪ ﻓﺮﻫﻨﮓ‬ ‫ﺗﻮﺩﻩﺍﻯ‪ ،‬ﺩﻭ ﺳﻮﻳﮕﻰ ﻣﺘﻦ ﺩﺭ ﺑﺎﺏ ﺩﮔﺮﮔﻮﻧﻰﻫﺎﻯ ﺁﻥ ﻓﺮﻫﻨﮓ ﺭﺍ ﭘﻴﺶ ﺑﻜﺸﻢ‪ ،‬ﺣﺎﻝ ﺁﻥ ﻛﻪ ﻣﻦ‬ ‫ﻗﺼﺪ ﺩﺍﺭﻡ ﺳﻴﺮﻯ ﻛﺎﻣ ً‬ ‫ﻼ ﻣﺘﻔﺎﻭﺕ ﺣﻮﻝ ﻣﻘﻮﻟﻪﻯ ﻣﺼﺮﻑ ﻛﻨﻢ – ﺑﺎ ﺗﻮﺟﻪ ﺑﻪ ﻣﻘﻮﻟﻪﻯ ﺑﻮﺭﺩﻳﻮﻳﻰ‬

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‫ﻭﻳﮋﻩﻧﺎﻣﻪﻯ ﺧﻮﻥﺁﺷﺎﻡﻫﺎ‬

‫ﻣﻘﺎﻟﻪ‬

‫ﺍﺑﺘﺪﺍﻳﻰ ﺑﻪ ﻋﻜﺎﺳﻰ‪ ،‬ﺣﺘﺎ ﺗﻮﺻﻴﻔﺎﺕ ﺑﻌﺪﻯ ﺍﺯ ﻗﻴﺎﻓﻪﻯ ﺩﺭﺍﻛﻮﻻ ﻧﻴﺰ ﺟﺮﺡ‬ ‫ﻭ ﺗﻌﺪﻳﻞ ﻣﻰﺷﻮﺩ‪ ،‬ﺑﻪ ﻃﻮﺭﻯ ﻛﻪ ﭼﻬﺮﻩﻯ ﺗﺮﺳﻨﺎﻙ ﺍﻭ ﺑﻪ »ﻣﻨﺤﺮﻓﺎﻥ«‬ ‫ﺑﻪ ﻟﺤﺎﻅ ﻋﻜﺎﺳﻰ ﻟﻴﺴﺖ ﺷﺪﻩﻯ ﻻﻣﺒﺮﻭﺳﻮ ﻭ ﺩﻳﮕﺮﺍﻥ ﺷﺒﺎﻫﺖ ﻣﻰﺑﺮﺩ‬ ‫ﻭ ﺍﻧﮕﺎﺭ ﺗﻐﻴﻴﺮ ﺟﺎﻟﺐ ﺗﻮﺟﻪ ﺍﻭ ﻣﺴﺘﻠﺰﻡ ﻓﻨﺎﻧﺎﭘﺬﻳﺮ ﺷﺪﻥ ﺗﻮﺳﻂ ﻣﻬﺎﺭﺕ‬ ‫ﻣﺠﻠﻪﻯ ﺟﻐﺮﺍﻓﻴﺎﻯ ﻣﻠﻰ )ﻳﻌﻨﻰ ﻫﻤﺎﻥ ﻋﻜﺎﺳﻰ( ﺍﺳﺖ‪ .‬ﺍﻳﻦ ﺍﻣﻜﺎﻥ ﻛﺎﻣ ً‬ ‫ﻼ‬ ‫ﻣﺤﺘﻤﻞ ﺍﺳﺖ ﻛﻪ ﺍﮔﺮ ﺗﺼﻮﻳﺮ ﺧﻮﻥﺁﺷﺎﻡ ﺭﺍ ﻧﻤﻰﺗﻮﺍﻥ ﺩﺭ ﺁﻳﻨﻪ ﺑﻪ ﭼﻨﮓ‬ ‫ﺁﻭﺭﺩ‪ ،‬ﺑﻪ ﻃﺮﻳﻖ ﺍﻭﻟﻰ ﻋﻜﺲﻫﺎﻯ ﺧﻮﻥﺁﺷﺎﻡ ﻧﻴﺰ ﻣﺄﻳﻮﺱ ﻛﻨﻨﺪﻩﺍﻧﺪ‪ .‬ﻏﻴﺎﺏ‬ ‫ﻣﻘﺪﺱ ﺧﻮﻥﺁﺷﺎﻡﮔﺮﺍﻳﻰ ﺍﺯ ﮔﺴﺘﺮﻩﻯ ﺍﻣﺮ ﻗﺎﺑﻞ ﺛﺒﺖ ﺩﺭ ﻋﻜﺲ‪ ،‬ﺍﺣﺴﺎﺱ‬ ‫ﺍﺿﻄﺮﺍﺏ ﺭﺍ ﻣﻨﺤﺮﻑ ﻛﺮﺩﻩ ﺑﻪ ﻧﻔﺲ ﺧﻮﻥﺁﺷﺎﻡﮔﺮﺍﻳﻰ ﺑﺎﺯ ﻣﻰﮔﺮﺩﺍﻧﺪ‪:‬‬ ‫ﺧﻮﻥﺁﺷﺎﻡﮔﺮﺍﻳﻰ ﺑﻪ ﻋﻨﻮﺍﻥ ﺑﺪﻟﻰ ﺑﺮﺍﻯ ﺭﻭﻧﺪﻫﺎﻯ ﻏﺮﻳﺐ ﺯﻧﺪﮔﻰ ﻣﺪﺭﻥ‪.‬‬ ‫ﻣﺎﺩﺍﻡ ﻣﻴﻨﺎ‪» ،‬ﻣﺮﻭﺍﺭﻳﺪ ﻣﻴﺎﻥ ﺯﻧﺎﻥ«‪ ،‬ﻧﺴﺨﻪﻯ ﺗﺎﻳﭗ ﺷﺪﻩﺍﻯ ﺭﺍ ﺍﺭﺍﺋﻪ‬ ‫ﻣﻰﺩﻫﺪ ﻛﻪ ﺍﺯ ﻧﺎﻫﻤﺨﻮﺍﻧﻰ ﻗﺎﻟﺐ ﮔﺰﺍﺭﺵﻫﺎﻯ ﺟﻮﺭﺍﺟﻮﺭ‪ ،‬ﺍﺯ ﺻﻔﺤﻪﻫﺎﻯ‬ ‫ﮔﺮﺍﻣﺎﻓﻮﻥ ﮔﺮﻓﺘﻪ ﺗﺎ ﺑﻘﻴﻪ ﺭﺍ ﺣﻞ ﻣﻰﻛﻨﺪ‪ .‬ﺍﻭ ﻗﺎﺩﺭ ﺑﻪ ﺍﻳﻦ ﻛﺎﺭ ﺍﺳﺖ‪،‬‬ ‫ﭼﺮﺍ ﻛﻪ ﻫﻤﺎﻥﻃﻮﺭ ﻛﻪ ﺑﺎ ﻏﺮﻭﺭﻯ ﺭﺍﺳﺘﻴﻦ ﺑﻪ ﺩﻛﺘﺮ ﺳﻴﻮﺍﺭﺩ ﻣﻰﮔﻮﻳﺪ‬ ‫ﻣﺎﺷﻴﻦﺗﺤﺮﻳﺮ ﺍﻭ ﻋﻤﻠﻜﺮﺩﻯ ﺩﺍﺭﺩ ﺑﻪ ﻧﺎﻡ »ﭼﻨﺪﻻﻳﻪ« ﻛﻪ ﺑﻪ ﺁﻥ ﺍﻣﻜﺎﻥ‬ ‫ﻣﻰﺩﻫﺪ ﻛﭙﻰﻫﺎﻯ ﭼﻨﺪﮔﺎﻧﻪ ﺩﺭ ﺳﻪ ﻧﺴﺨﻪ ﺑﮕﻴﺮﺩ‪ .‬ﺍﻳﻦ ﻋﻤﻠﻜﺮﺩ ﺑﻪ‬ ‫ﺷﻴﻮﻩﺍﻯ ﺗﺜﺒﻴﺘﻰ ﺑﻪ ﺧﻮﻥﺁﺷﺎﻡﮔﺮﺍﻳﻰ ﻣﺘﻌﻠﻖ ﺍﺳﺖ‪ ،‬ﺣﺘﺎ ﺩﺭ ﺣﺪ ﻧﺎﻣﻰ‬ ‫ﻛﻪ ﺑﻪ ﺁﻥ ﺩﺍﺩﻩﺍﻧﺪ ﻃﻨﻴﻦﺍﻧﺪﺍﺯ ﭼﻨﺪﮔﺎﻧﮕﻰ ﺍﻧﺴﺎﻥﻫﺎﻳﻰ ﺍﺳﺖ ﻛﻪ ﺩﺭﺍﻛﻮﻻ‬ ‫ﺭﺍ ﺗﺸﻜﻴﻞ ﻣﻰﺩﻫﻨﺪ ﻳﻌﻨﻰ ﻫﻤﺎﻥ ﻧﻘﺎﺏﻫﺎﻯ ﭼﻨﺪﻻﻳﻪﻯ ﺧﻮﻥﺁﺷﺎﻡ‪ ،‬ﻭ ﺩﺭ‬ ‫ﺿﻤﻦ ﻳﺎﺩﺁﻭﺭ ﻓﺮﺁﻳﻨﺪ ﻛﭙﻰﺳﺎﺯﻯ ﺍﺳﺖ ﻛﻪ ﻓﻰﻧﻔﺴﻪ ﻣﻮﺟﺪ ﺧﻮﻥﺁﺷﺎﻡﻫﺎ‬ ‫ﺍﺳﺖ‪ ،‬ﺧﻮﻥﺁﺷﺎﻡﻫﺎﻳﻰ ﻛﻪ ﻫﺮ ﻳﻚ ﺑﻪ ﻣﻌﻨﺎ ﺑﺪﻟﻰ ﺍﺯ ﺑﺎﻗﻰ ﺩﻳﮕﺮﺍﻥ‬ ‫ﺍﺳﺖ‪ .‬ﺍﻳﻦﺟﺎ ﻣﺎ ﺑﻪ ﻋﺼﺮ ﺑﺎﺯﺗﻮﻟﻴﺪ ﻣﻜﺎﻧﻴﻜﻰ ﺑﺎ ﺗﻤﺎﻡ ﺣﺪﺕ ﻭ ﺷﺪﺕ‬ ‫ﺁﻥ ﻭﺍﺭﺩ ﻣﻰﺷﻮﻳﻢ‪ ،‬ﭼﺮﺍ ﻛﻪ ﻓﺮﺁﻳﻨﺪ ﺑﺎﺯﺗﻮﻟﻴﺪﻯ‪ ،‬ﺧﻮﻥﺁﺷﺎﻡﻫﺎ ﺭﺍ ﻣﺘﺤﺪ‬ ‫ﻛﺎﻣ ً‬ ‫ﻼ ﻧﺰﺩﻳﻚ ﺗﻜﺜﻴﺮ ﻣﻜﺎﻧﻴﻜﻰ ﻓﺮﻫﻨﮓ ﻣﻰﺳﺎﺯﺩ‪ .‬ﺧﻮﻥﺁﺷﺎﻡﮔﺮﺍﻳﻰ‬ ‫ﻣﻌﻜﻮﺱﮔﺮﺩﺍﻧﻰﻫﺎﻯ ﻟﺠﻮﺟﻰ ﺍﺯ ﺑﺎﺯﺗﻮﻟﻴﺪ ﺍﻧﺴﺎﻧﻰ ﺭﺍ ﺳﺒﺐ ﻣﻰﺷﻮﻧﺪ‬ ‫ﻛﻪ ﺁﻣﻴﺰﻩﺍﻯ ﺩﺭﻫﻢﺟﻮﺵ ﺍﺯ ﻧﻘﺶﻫﺎﻯ ﺟﻨﺴﻴﺘﻰ ﻭ ﺣﺘﺎ ﺳﺮﻧﻮﺷﺖ‬ ‫ﻛﺎﻟﺒﺪﺷﻨﺎﺧﺘﻰ ﺭﺍ ﺍﻳﺠﺎﺩ ﻣﻰﻛﻨﻨﺪ ﻭ ﻣﺆﻛﺪﺍ ً ﺑﺮ ﻫﺮﺍﺱﻫﺎﻯ ﺩﺍﺳﺘﺎﻥ‬ ‫ﺩﺭﺍﻛﻮﻻ ﺗﺄﺛﻴﺮ ﻣﻰﮔﺬﺍﺭﻧﺪ ﻭ ﺍﻳﻦ ﻣﻮﺿﻮﻉ ﺑﻪ ﺧﻮﺑﻰ ﻣﻮﺭﺩ ﺑﺤﺚ ﻗﺮﺍﺭ ﮔﺮﻓﺘﻪ‬

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‫ﻭﻳﮋﻩﻧﺎﻣﻪﻯ ﺧﻮﻥﺁﺷﺎﻡﻫﺎ‬

‫ﺍﻳﻦ ﺍﻣﻜﺎﻥ‬ ‫ﻛﺎﻣ ً‬ ‫ﻼ ﻣﺤﺘﻤﻞ‬ ‫ﺍﺳﺖ ﻛﻪ‬ ‫ﺍﮔﺮ ﺗﺼﻮﻳﺮ‬ ‫ﺧﻮﻥﺁﺷﺎﻡ‬ ‫ﺭﺍ ﻧﻤﻰﺗﻮﺍﻥ‬ ‫ﺩﺭ ﺁﻳﻨﻪ ﺑﻪ‬ ‫ﭼﻨﮓ ﺁﻭﺭﺩ‪،‬‬ ‫ﺑﻪ ﻃﺮﻳﻖ ﺍﻭﻟﻰ‬ ‫ﻋﻜﺲﻫﺎﻯ‬ ‫ﺧﻮﻥﺁﺷﺎﻡ‬ ‫ﻧﻴﺰ ﻣﺄﻳﻮﺱ‬ ‫ﻛﻨﻨﺪﻩﺍﻧﺪ‪.‬‬

‫ﺟﻨﺴﻴﺖ ﻭ ﺍﻣﭙﺮﺍﺗﻮﺭﻯ‪ .‬ﺳﻔﺮﻫﺎﻯ ﺟﺎﻧﺎﺗﺎﻥ ﺑﻪ ﻣﺴﺘﻌﻤﺮﻩ ﻳﺎ ﻛﺸﻮﺭﻯ ﺗﺤﺖ ﺗﺴﻠﻂ ﺑﺮﻳﺘﺎﻧﻴﺎ ﻧﻴﺴﺖ‪،‬‬ ‫ﺑﻠﻜﻪ ﺑﻪ ﻣﻜﺎﻧﻰ ﺍﺳﺖ ﻛﻪ ﺧﻮﺩ ﺗﺎﺭﻳﺦ ﻃﻮﻻﻳﻰ ﺩﺭ ﻛﺸﻮﺭﮔﺸﺎﻳﻰ ﻭ ﺗﺼﺮﻑ ﺧﺎﻙ ﺑﻴﮕﺎﻧﻪ ﺩﺍﺭﺩ‪ .‬ﺍﻭ ﺑﻪ‬ ‫ﻭﺳﻴﻠﻪﻯ ﺳﺎﺯ ﻭ ﺑﺮگ ﻣﺴﺎﻓﺮﺕ ﻭ ﺳﺮﮔﺮﻣﻰ ﻣﺪﺭﻥ ﺑﻪ ﺩﺭﻭﻥ ﺍﻳﻦ ﺗﺎﺭﻳﺦ ﻫﺪﺍﻳﺖ ﻣﻰﺷﻮﺩ‪ .‬ﺟﺎﻧﺎﺗﺎﻥ‬ ‫ﻛﻪ ﻣﺄﻣﻮﺭﻳﺘﻰ ﺗﺠﺎﺭﻯ ﺩﺍﺭﺩ‪ ،‬ﺑﻪ ﻫﺮ ﺣﺎﻝ ﺗﻮﺭﻳﺴﺘﻰ ‪) manqué‬ﺷﻜﺴﺖ ﺧﻮﺭﺩﻩ( ﺍﺳﺖ‪ .‬ﺩﺭ ﺍﻳﻦ‬ ‫ﻣﻮﺭﺩ ﺧﺎﺹ‪ ،‬ﺑﺮﺧﻮﺭﺩ ﺑﺎ ﻛﻨﺖ ﺩﺭﺍﻛﻮﻻ ﻭ ﻣﻨﻄﻖ ﻏﻴﺮﻣﻌﻤﻮﻝ ﺍﻭ ﺩﺭ ﺑﺎﺏ ﻣﺼﺮﻑ‪ ،‬ﺍﺯ ﻃﺮﻳﻖ ﺻﺎﻓﻰ‬ ‫ﻣﺸﻐﻮﻟﻴﺖﻫﺎ ﻭ ﺗﻜﻨﻴﻚﻫﺎﻯ ﻣﺮﺗﺒﻂ ﺑﺎ ﻓﺮﻫﻨﮓ ﺗﻮﺩﻩﺍﻯ ﺍﻧﺠﺎﻡ ﻣﻰﺷﻮﺩ‪.‬‬ ‫ﺟﺎﻧﺎﺗﺎﻥ ﺣﺎﻣﻞ ﻫﺪﻳﻪﺍﻯ ﺁﻥﭼﻨﺎﻧﻰ ﺑﺮﺍﻯ ﺩﺭﺍﻛﻮﻻ ﺍﺳﺖ‪ ،‬ﻣﺠﻤﻮﻋﻪﺍﻯ ﺍﺯ ﻋﻜﺲﻫﺎﻯ ﻛﺪﺍﻙ ﺍﺯ‬ ‫ﺧﺎﻧﻪﻫﺎﻯ ﺑﺮﻳﺘﺎﻧﻴﺎﻳﻰ ﻛﻪ ﺍﻳﻦ ﺁﺧﺮﻯ ﻋﻼﻗﻪﻯ ﺩﺭﺍﻛﻮﻻ ﺑﺮﺍﻯ ﺧﺮﻳﺪ ﺭﺍ ﺑﺮ ﻣﻰﺍﻧﮕﻴﺰﺩ‪ ،‬ﺍﮔﺮ ﭼﻪ‬ ‫ﺍﻧﮕﻴﺰﻩﻯ ﺩﺭﺍﻛﻮﻻ ﺍﺯ ﻛﺸﺎﻧﺪﻥ ﺍﻳﻦ ﭘﻴﺸﻜﺎﺭ ﺣﻘﻮﻗﻰ ﺟﻮﺍﻥ ﻭ ﻧﺴﺒﺘﺎً ﻛﺴﻞ ﻛﻨﻨﺪﻩ ﺑﻪ ﺟﺎﻳﻰ ﭼﻨﺎﻥ‬ ‫ﺩﻭﺭ ﺍﺯ ﺍﻧﮕﻠﺴﺘﺎﻥ ﭼﻴﺰ ﺩﻳﮕﺮﻯ ﺍﺳﺖ‪ :‬ﺍﻭ ﻗﺼﺪ ﻭﺍﻡ ﮔﺮﻓﺘﻦ ﻛﻼﻡ ﺍﻳﻦ ﻛﺎﺭﻣﻨﺪ ﺭﺍ ﺩﺍﺭﺩ‪ ،‬ﻗﺼﺪ ﺁﻣﻮﺧﺘﻦ‬ ‫ﻛﺎﻣﻞ ﺯﺑﺎﻥ ﺍﻧﮕﻠﻴﺴﻰ ﺍﺯ ﺟﺎﻧﺎﺗﺎﻥ ﻫﺎﺭﻛﺮ‪ ،‬ﺯﻧﺪﺍﻧﻰﺍﺵ‪ ،‬ﻛﻪ ﮔﻪﮔﺎﻩ ﻧﻴﺰ ﺍﺯ ﺍﻭ ﺑﻪ ﭼﻨﻴﻦ ﺻﻔﺘﻰ ﻳﺎﺩ‬ ‫ﻣﻰﻛﻨﺪ‪ .‬ﺣﻀﻮﺭ ﺩﻭﺭﺑﻴﻦ ﻛﺪﺍﻙ ﺩﺭ ﻣﻴﺎﻧﻪﻯ ﭼﻨﻴﻦ ﺭﺧﺪﺍﺩﻫﺎﻳﻰ ﺍﮔﺮ ﭼﻪ ﻧﺎﻣﻨﺘﻈﺮﻩ ﺍﺳﺖ‪ ،‬ﺑﻪ ﻫﻴﭻ‬ ‫ﻭﺟﻪ ﺗﺼﺎﺩﻓﻰ ﻧﻴﺴﺖ‪ .‬ﻋﻜﺎﺳﻰ ﺑﻪ ﻓﻬﺮﺳﺖ ﺗﻜﻨﻴﻚﻫﺎ ﻭ ﻓﺮﺁﻳﻨﺪﻫﺎﻯ ﻓﺮﻫﻨﮕﻰ ﺟﺪﻳﺪﻯ ﻣﻰﭘﻴﻮﻧﺪﺩ‬ ‫ﻛﻪ ﺩﺭ ﻣﺠﺎﻭﺭﺕ ﺩﺍﺳﺘﺎﻥ ﺧﻮﻥﺁﺷﺎﻡ ﺍﺷﺮﺍﻑﺯﺍﺩﻩ ﻭ ﻣﺘﻌﻠﻖ ﺑﻪ ﻗﺮﻭﻥ ﻭﺳﻄﻰ ﻣﻰﻧﺸﻴﻨﺪ‪ ،‬ﺍﻣﺎ ﺩﻭﺭﺑﻴﻦ‬ ‫ﻋﻜﺎﺳﻰ ﻛﺪﺍﻙ ﻛﻪ ﺩﺭ ﺁﻥ ﺯﻣﺎﻥ ﺍﻓﺮﺍﺩ ﺯﻳﺎﺩﻯ ﺩﺭ ﺍﺧﺘﻴﺎﺭﺵ ﺩﺍﺷﺘﻨﺪ‪ ،‬ﺩﺭ ﺣﻘﻴﻘﺖ‬ ‫ﻣﻌﺎﺩﻝ ﺳﻠﻮﻟﻮﺋﻴﺪﻯِ‬ ‫ِ‬ ‫ﮔﺮﺍﻳﻰ ﺩﺭ ﺣﺎﻝ ﻋﻤﻞ ﺍﺳﺖ‪ ،‬ﻳﻌﻨﻰ ﻣﻌﺎﺩﻝ ﻋﻤﻞ ﺑﻴﺮﻭﻥ ﻛﺸﻴﺪﻥ ﺫﺍﺕ ﺩﺭ ﺣﻴﻦ ﻋﻤﻞ‬ ‫ﺧﻮﻥﺁﺷﺎﻡ‬ ‫ِ‬ ‫ﻣﺼﺮﻑ‪ .‬ﺩﺭ ﺍﻭﺍﺧﺮ ﻗﺮﻥ ﻧﻮﺯﺩﻫﻢ ﻛﺪﺍﻙ ﺑﻪ ﻣﻌﻨﺎﻯ ﻣﺪﺭﻙ ﺷﺎﻫﺪ ﻋﻴﻨﻰ ﺍﺳﺖ‪ ،‬ﻧﻮﻋﻰ ﺷﻬﺎﺩﺕ‬ ‫ﺑﻪ ﺩﻗﺖ ﻭ ﺩﺭﺳﺘﻰ ﺑﻪ ﻃﻮﺭﻯ ﻛﻪ ﺗﺼﻮﻳﺮ ﻭﻗﺎﻳﻌﻰ ﻛﻪ ﺟﻮﺯﻑ ﻛﻨﺮﺍﺩ ﺩﺭ ﻛﻨﮕﻮﻯ ﺑﻠﮋﻳﻚ ﺗﺮﺳﻴﻢ‬ ‫ﻣﻰﻛﻨﺪ‪ ،‬ﺑﻪ ﺩﻟﻴﻞ ﻫﻤﻴﻦ ﺩﻗﺖ ﺑﺎ ﻧﺎﻡ »ﻛﺪﺍﻙ ﺩﺭ ﻛﻨﮕﻮ« ﺷﻨﺎﺧﺘﻪ ﻣﻰﺷﺪ‪ .‬ﻣﺪﺭﻙ ﻋﻜﺴﻰﺍﻯ ﻛﻪ‬ ‫ﺟﺎﻧﺎﺗﺎﻥ ﺑﻪ ﺩﺭﺍﻛﻮﻻ ﻣﻰﺩﻫﺪ ﻧﻮﻋﻰ ﺗﻌﻮﻳﺬ ﻫﻢ ﻫﺴﺖ‪ ،‬ﺷﺒﻴﻪﺳﺎﺯﻯ ﺷﺪﻩﻯ ﻓﻄﻴﺮﻯ ﻛﻪ ﭘﺮﻭﻓﺴﻮﺭ ﻭﻥ‬ ‫ﻫﻠﺴﻴﻨﮓ ﺑﺮ ﭘﻴﺸﺎﻧﻰ ﻣﻴﻨﺎ ﺑﺎ ﭼﻨﺎﻥ ﺯﺧﻢﻫﺎﻯ ﻣﺼﻴﺒﺖﺑﺎﺭﻯ ﻣﻰﻧﻬﺪ‪ .‬ﺩﺭ ﺍﻳﻦ ﻗﻴﺎﺱ ﺁﺧﺮﻯ‪ ،‬ﻋﻔﻮﻧﺖ‬ ‫ﺧﻮﻥ ﺧﻮﻥﺁﺷﺎﻡ ﺗﺼﻮﻳﺮ ﺧﻮﻥﺁﺷﺎﻡﮔﺮﺍﻳﻰ ﺭﺍ ﺑﻪ ﻋﻨﻮﺍﻥ ﻋﻼﻣﺘﻰ ﺳﺮﺥ ﺑﺮ ﭘﻮﺳﺘﻰ ﺳﻔﻴﺪ ﺍﻳﺠﺎﺩ‬ ‫ِ‬ ‫ﻣﻰﻛﻨﺪ؛ ﻋﻜﺎﺳﻰ ﻧﻴﺰ ﺑﻪ ﻫﻤﻴﻦ ﻣﻨﻮﺍﻝ ﺗﺼﺎﻭﻳﺮ ﺧﻮﺩﺵ ﺭﺍ ﺑﻪ ﺷﻴﻮﻩﺍﻯ ﻛﻴﻤﻴﺎﮔﺮﺍﻧﻪ‪ ،‬ﺍﮔﺮﭼﻪ ﻛﻤﺘﺮ‬ ‫ﺁﻳﻴﻦﻭﺍﺭ‪ ،‬ﺩﺭﺳﺖ ﻣﻰﻛﻨﺪ‪ .‬ﺟﺎﻧﺎﺗﺎﻥ ﻫﺎﺭﻛﺮ ﻭ ﻛﻨﺖ ﺩﺭﺍﻛﻮﻻ ﺑﻪ ﻣﻴﺎﻧﺠﻰ ﺗﺼﻮﻳﺮ ﻋﻜﺎﺳﻰ ﺑﻪ ﺭﺍﺑﻄﻪﺍﻯ‬ ‫ﻣﺒﺎﺩﻟﻪﺍﻯ ﻭﺍﺭﺩ ﻣﻰﺷﻮﻧﺪ؛ ﺍﺯ ﺍﻳﻦ ﻫﻢ ﺑﻴﺸﺘﺮ‪ ،‬ﺩﺭ ﻭﻫﻠﻪﻯ ﺍﻭﻝ ﺟﻨﺒﻪﻫﺎﻯ ﻧﺎﮔﻮﺍﺭ ﺧﻮﻥﺁﺷﺎﻡﮔﺮﺍﻳﻰ‬ ‫ﺑﻪ ﺍﺷﺎﺭﻩﻯ ﻛﺪﺍﻙ ﺍﻋﻼﻡ ﻣﻰﺷﻮﺩ ﻛﻪ ﺧﻮﺩ ﭼﻨﺪ ﺻﻔﺤﻪ ﭘﻴﺶ ﺍﺯ ﻧﺴﺨﻪﻯ ﺧﻮﻥﺁﺷﺎﻡﮔﺮﺍﻳﻰ ﻛﻨﺖ‬ ‫ﺍﺳﺖ‪ .‬ﻋﻜﺲﻫﺎﻯ ﺟﺎﻧﺎﺗﺎﻥ ﺑﻪ ﺷﻴﻮﻩﺍﻯ ﻣﺘﻨﻰ ﺗﺎﺭﻳﺦ ﻋﻜﺎﺳﻰ ﺑﻪ ﻋﻨﻮﺍﻥ ﺭﻭﻳﻪﺍﻯ ﺧﺎﻧﮕﻰ ﻭ ﭘﻴﻮﻧﺪ‬ ‫ﻋﻜﺎﺳﻰ ﺑﺎ ﻗﻮﻡﻧﮕﺎﺭﻯ ﻭ ﻣﺴﺎﻓﺮﺕ‪ ،‬ﻫﺮ ﺩﻭ ﺭﺍ ﺑﻪ ﺫﻫﻦ ﻣﺘﺒﺎﺩﺭ ﻣﻰﻛﻨﺪ‪ .‬ﺑﻪ ﻭﺍﺳﻄﻪﻯ ﺍﻳﻦ ﺍﺭﺟﺎﻋﺎﺕ‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،9-10‬ﺷﻬﺮﻳﻮﺭ ﻭ ﻣﻬﺮ ‪1390‬‬

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‫ﻣﻘﺎﻟﻪ‬

‫ﺑﻪ ﻓﺮﻫﻨﮓ ﺗﻮﺩﻩﺍﻯ ﺍﺳﺖ؛ ﻣﺘﺼﻞ ﻛﻨﻨﺪﻩﻯ ﺍﻳﻦ ﻭﺟﻪ ﺍﺯ ﻛﻮﺗﻪﻧﻮﻳﺴﻰ‬ ‫ﺑﺎ ﻓﺮﺁﻳﻨﺪ ﻣﺼﺮﻑ ﻛﻪ ﻇﺎﻫﺮﺍ ً ﺳﺎﺧﺘﻪﻯ ﺍﺷﺘﻴﺎﻕ ﻣﺎ ﺑﻪ ﺑﺨﺸﻴﺪﻥ ﺍﻳﻦ‬ ‫ﻛﻮﺗﻪﻧﻮﺷﺖﻫﺎ ﺑﻪ ﺑﺪﻧﻪﺍﻯ ﻛﺎﻣ ً‬ ‫ﻼ ﻣﺎﺩﻯ ﺍﺯ ﻧﻮﺷﺘﺎﺭ ﺗﺎﻳﭙﻰ ﻭ ﭼﺎﭘﻰ ﺍﺳﺖ‪.‬‬ ‫ﻣﺘﻮﻥ ﺗﻨﺪﻧﻮﻳﺴﻰ ﺷﺪﻩ ﺍﺯ ﻣﺎ ﺧﻮﺍﻧﻨﺪﮔﺎﻥ ﻣﻰﮔﺬﺭﺩ ﺗﺎ ﺑﻪ ﻋﻨﻮﺍﻥ ﻧﻮﺷﺘﺎﺭﻯ‬ ‫ﻣﺪﺭﻥ ﻭ ﻧﺎﻣﻌﻴﻦ‪ ،‬ﻗﻠﺐ ِ ﻣﺎﻫﻴﺖ ﻳﺎﺑﺪ‪.‬‬ ‫ﺟﺎﻧﺎﺗﺎﻥ ﺳﻔﺮﺵ ﺑﻪ ﺁﻥ ﻣﻜﺎﻥ ﺍﺿﻄﺮﺍﺏﺁﻭﺭ ﺭﺍ ﺑﻪ ﻋﻨﻮﺍﻥ ﺗﻮﺭﻳﺴﺘﻰ‬ ‫ﺗﻤﺎﻡﻋﻴﺎﺭ ﺁﻏﺎﺯ ﻛﺮﺩﻩ ﺍﺳﺖ‪ :‬ﻧﻘﺶ ﻭ ﻧﮕﺎﺭﻫﺎﻳﻰ ﻛﻪ ﻫﻤﺮﺍﻩ ﺑﺎ ﺷﻮﻕ ﻭ‬ ‫ﺫﻭﻕ ﺑﺮ ﺻﻔﺤﻪ ﻣﻰﺁﻭﺭﺩﺷﺎﻥ ﺩﺭ ﺍﺑﺘﺪﺍﻯ ﺍﻣﺮ ﺩﺳﺘﻮﺭ ﭘﺨﺖ ﻏﺬﺍﻫﺎﻯ‬ ‫ﺑﻴﮕﺎﻧﻪ ﺍﺳﺖ ﻛﻪ ﺍﻭ ﺩﻭﺳﺖ ﺩﺍﺭﺩ ﻣﻴﻨﺎ ﺁﻥﻫﺎ ﺭﺍ ﺑﭙﺰﺩ – ﺑﻪ ﻗﻮﻝ ﺧﻮﺩﺵ‪:‬‬ ‫»ﺧﻮﺭﺍﻙﻫﺎﻯ ﻣﺤﻠﻰ )ﻳﺎﺩﺁﻭﺭﻯ‪ :‬ﺩﺳﺘﻮﺭ ﭘﺨﺘﺶ ﺭﺍ ﺑﺮﺍﻯ ﻣﻴﻨﺎ ﺑﮕﻴﺮﻡ(‪«.‬‬ ‫ﺍﻭﻟﻴﻦ ﭼﻴﺰﻯ ﻛﻪ ﺟﺎﻧﺎﺗﺎﻥ ﻣﺰﻩ ﻣﻰﻛﻨﺪ‪ ،‬ﺧﻮﺭﺍﻙ ﻣﺮﻏﻰ ﺍﺳﺖ ﻛﻪ ﺑﺎ‬ ‫ﻓﻠﻔﻞ ﻗﺮﻣﺰ ﻃﺒﺦ ﺷﺪﻩ ﺍﺳﺖ ﻭ ﺑﻪ ﻃﺮﺯ ﻧﺎﻣﺤﺴﻮﺳﻰ ﺗﺸﻨﻪﺍﺵ ﻣﻰﻛﻨﺪ؛‬ ‫ﺩﺭ ﻣﺘﻦ ﺣﺘﺎ ﺍﻳﻦ ﻓﻠﻔﻞﻫﺎﻯ ﻗﺮﻣﺰ ﻫﻢ ﺑﺎ ﺁﻥ ﺗﻪﺭﻧﮓ ﺗﺮﻛﻴﺒﻰ ﺳﻔﻴﺪ ﻭ‬ ‫ﻗﺮﻣﺰﺷﺎﻥ ﻣﺸﻜﻮﻙ ﻫﺴﺘﻨﺪ‪ .‬ﺻﺪ ﺍﻟﺒﺘﻪ ﺩﺭﺍﻛﻮﻻ ﻧﻴﺰ ﻏﺬﺍﻯ ﻣﻠﻰ ﻣﺨﺘﺺ‬ ‫ﺧﻮﺩﺵ ﺭﺍ ﺩﺍﺭﺩ ﻛﻪ ﻣﻨﺤﺼﺮﺍ ً ﺍﺯ ﺑﺪﻥ ﺍﻧﺴﺎﻥﻫﺎﻳﻰ ﻛﻪ ﺑﻪ ﻣﻠﺖ ﺍﻭ ﺗﻌﻠﻖ‬ ‫ﻧﺪﺍﺭﻧﺪ‪ ،‬ﺗﻬﻴﻪ ﻣﻰﺷﻮﻧﺪ ﻭ ﻣﻴﻨﺎ ﻫﻢ ﻛﻪ ﻣﺰﻩﻯ ﺧﻮﺭﺍﻙ ﻣﻠﺖ ﻛﺎﺭﭘﺎﺕ ﺭﺍ‬ ‫ﭼﺸﻴﺪﻩ ﺍﺳﺖ‪ ،‬ﻗﺮﺍﺭ ﺍﺳﺖ ﺑﻪ ﻏﺬﺍﻯ ﻓﻜﺮﻯ ﻛﻨﺖ ﺩﺭﺍﻛﻮﻻ ﺑﺪﻝ ﺷﻮﺩ‪ .‬ﺭﻧﮓ‬ ‫ﻣﺤﻠﻰ ﻫﻢ ﻛﻪ ﺟﺎﻧﺎﺗﺎﻥ ﻣﺠﺬﻭﺑﺶ ﻣﻰﺷﻮﺩ‪ ،‬ﺑﻪ ﻣﺎﻧﻨﺪ ﻏﺬﺍﻫﺎ ﻭ ﻟﺒﺎﺱﻫﺎ ﻭ‬ ‫ﻣﺮﺍﺳﻢ‪ ،‬ﺷﻜﻞ ﺗﻮﺭﻳﺴﺘﻰ ﻧﻈﻢ ﻭ ﺗﺮﺗﻴﺐ ﻳﺎﻓﺘﻪﺍﻯ ﺩﺍﺭﺩ؛ ﻭ ﺧﺎﻧﻪﻯ ﺍﺭﺑﺎﺑﻰ‬ ‫ﺩﺭﺍﻛﻮﻻ ﺑﻪ ﺧﺮﻭﺟﻰ ﻧﺎﻣﺘﻌﺎﺭﻑ ﺍﺯ ﺗﺮﺍﻧﺴﻴﻠﻮﺍﻧﻴﺎ ﺑﺪﻝ ﻣﻰﺷﻮﺩ‪ .‬ﺍﻳﻦ ﺷﺎﻳﺪ‬ ‫ﻧﻜﺘﻪﺍﻯ ﺑﺎﺷﺪ ﻛﻪ ﺑﺘﻮﺍﻥ ﺍﺯ ﺁﻥ ﺑﺤﺚ ﮔﺴﺘﺮﺩﻩﺗﺮﻯ ﺭﺍ ﺷﺮﻭﻉ ﻛﺮﺩ ﻛﻪ‬ ‫ﺍﻳﻦ ﺑﺤﺚ ﻓﺮﻋﻰ ﺭﺍ ﻧﻴﺰ ﺑﻴﺸﺘﺮ ﻣﻰﻛﺎﻭﺩ‪ .‬ﻗﺼﺪ ﻣﻦ ﺁﻥ ﺍﺳﺖ ﻛﻪ ﻗﺮﺍﺋﺘﻰ‬ ‫ﺍﺯ ﺟﺎﻣﻌﻪﻯ ﻣﺼﺮﻑ ﻭ ﺍﻧﻜﺴﺎﺭ ﺁﻥ ﺩﺭ ﺩﺍﺳﺘﺎﻥ ﺩﺭﺍﻛﻮﻻ ﺑﻪ ﺩﺳﺖ ﺩﻫﻢ؛‬ ‫ﺍﻣﺎ ﭼﻨﺎﻥ ﺟﺎﻣﻌﻪﺍﻯ ﻣﺘﻜﻰ ﺑﺮ ﻧﻮﻋﻰ ﺍﻗﺘﺼﺎﺩ ﻭﺍﺑﺴﺘﻪ ﺑﻪ ﺍﻣﭙﺮﺍﺗﻮﺭﻯ ﺍﺳﺖ‬ ‫ﻭ ﺍﺳﺎﺳﺎً ﺑﺪﻭﻥ ﺁﻥ ﻧﺎﻣﻤﻜﻦ ﺍﺳﺖ‪ .‬ﺍﻟﺒﺘﻪ ﺻﺤﺒﺖ ﺍﺯ ﭼﻨﻴﻦ ﺟﺎﻣﻌﻪﻯ‬ ‫ﻛﺎﻻﻳﻰ‪ ،‬ﺑﺪﻭﻥ ﻫﻤﺮﺍﻫﻰ ﺍﻳﻦ ﺁﮔﺎﻫﻰ ﻣﺆﻛﺪ ﻛﺎﻣ ً‬ ‫ﻼ ﮔﻮﻝﺯﻧﻨﺪﻩ ﺍﺳﺖ؛ ﺍﻣﺎ‬ ‫ﺁﻥ ﭼﻪ ﻣﺮﺍ ﺑﻪ ﻃﻮﺭ ﻭﻳﮋﻩ ﺟﺬﺏ ﺩﺭﺍﻛﻮﻻ ﻛﺮﺩﻩ‪ ،‬ﻫﻤﺎﻥ ﭼﻴﺰﻯ ﺍﺳﺖ ﻛﻪ‬ ‫ﺍﺯ ﺁﻥ ﻣﺘﻨﻰ ﻣﺪﺭﻥ ﺳﺎﺧﺖ ﺍﺳﺖ‪ ،‬ﻳﻌﻨﻰ ﻋﻴﻨﻴﺖ ﺑﺨﺸﻴﺪﻥ ﺑﻪ ﻣﺼﺮﻑ‪،‬‬

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‫ﻭﻳﮋﻩﻧﺎﻣﻪﻯ ﺧﻮﻥﺁﺷﺎﻡﻫﺎ‬

‫ﺻﺪ ﺍﻟﺒﺘﻪ‬ ‫ﺩﺭﺍﻛﻮﻻ ﻧﻴﺰ‬ ‫ﻏﺬﺍﻯ ﻣﻠﻰ‬ ‫ﻣﺨﺘﺺ‬ ‫ﺧﻮﺩﺵ ﺭﺍ‬ ‫ﺩﺍﺭﺩ ﻛﻪ‬ ‫ﻣﻨﺤﺼﺮﺍ ً‬ ‫ﺍﺯ ﺑﺪﻥ‬ ‫ﺍﻧﺴﺎﻥﻫﺎﻳﻰ‬ ‫ﻛﻪ ﺑﻪ ﻣﻠﺖ ﺍﻭ‬ ‫ﺗﻌﻠﻖ ﻧﺪﺍﺭﻧﺪ‪،‬‬ ‫ﺗﻬﻴﻪ ﻣﻰﺷﻮﻧﺪ‪.‬‬

‫ﺍﺳﺖ ﻭ ﺩﺭ ﻋﻴﻦ ﺣﺎﻝ ﻋﻼﻣﺖ ﻭﻗﺎﻳﻊ ﺩﺭ ﺭﺍﻩ ﺍﺳﺖ‪ .‬ﺩﺭ ﺍﻳﻦﺟﺎ ﺳﺮ ﻭ ﻛﺎﺭ ﻣﺎ ﺑﺎ ﻛﻼﻡ ﻧﺎﺏ ﺩﺭ ﺗﻀﺎﺩ ﺑﺎ‬ ‫ﻧﻮﺷﺘﺎﺭ ﻧﻴﺴﺖ‪ ،‬ﺑﻠﻜﻪ ﺩﺭ ﻋﻮﺽ ﺑﺎ ﻛﻼﻣﻰ ﺍﺳﺖ ﻛﻪ ﺭﺳﺎﻧﺶ ﺗﻮﺩﻩﺍﻯ ﭘﻴﺸﺎﭘﻴﺶ ﺁﻥ ﺭﺍ ﺍﺯ ﺁﻥ ﺧﻮﺩ‬ ‫ﺳﺎﺧﺘﻪ ﻭ ﺧﻮﻧﺶ ﺭﺍ ﺁﺷﺎﻣﻴﺪﻩ ﺍﺳﺖ‪.‬‬ ‫ﻣﺎﻳﻪﻯ ﺩﻳﮕﺮ ﻛﻪ ﺑﺪﻧﻪﻯ ﺗﺎﻳﭗ ﺷﺪﻩﻯ ﺭﻭﺍﻳﺖ ﺭﺍ ﺷﻜﻞ ﻣﻰﺑﺨﺸﺪ‪ ،‬ﺑﻪ ﻫﻤﻴﻦ ﻣﻨﻮﺍﻝ ﺗﻮﻟﻴﺪ ﻓﺮﻫﻨﮓ‬ ‫ﺗﻮﺩﻩﺍﻯ ﺍﺳﺖ‪ .‬ﺧﺎﻃﺮﺍﺕ ﺭﻭﺯﺍﻧﻪﻯ ﺟﺎﻧﺎﺗﺎﻥ ﻫﺎﺭﻛﺮ ﻛﻪ ﺁﻏﺎﺯﮔﺮ ﺭﻣﺎﻥ ﺍﺳﺖ ﻭ ﺍﻳﻦ ﻛﺸﻒ ﺳﺮﻧﻮﺷﺖﺳﺎﺯ‬ ‫ﺭﺍ ﺑﺎﺯﮔﻮ ﻣﻰﻛﻨﺪ ﻛﻪ ﻛﻨﺖ ﺩﺭﺍﻛﻮﻻ ﺧﻮﻥﺁﺷﺎﻡ ﺍﺳﺖ‪ ،‬ﺻﺮﻓﺎً ﺧﺎﻃﺮﻩﺍﻯ ﺍﺳﺖ ﺍﺯ ﻛﺸﻒ ﻭ ﺷﻬﻮﺩﻯ‬ ‫ﻧﺎﻣﻄﻤﺌﻦ ﻛﻪ ﺗﺤﺖ ﻫﺠﻮﻡ ﺗﺒﻰ ﻣﻐﺰﻯ ﻣﺤﻮ ﺷﺪﻩ ﺍﺳﺖ ﻭ ﻋﻤ ً‬ ‫ﻼ ﮔﺰﺍﺭﺷﻰ ﺩﺭ ﻗﺎﻟﺐ ﺗﻨﺪﻧﻮﻳﺴﻰ‬ ‫ﺍﺳﺖ ﻛﻪ ﺧﻮ ِﺩ ﺁﻥ ﺑﻌﺪﺗﺮ ﺗﻮﺳﻂ ﻣﻴﻨﺎ ﻫﻨﮕﺎﻡ ﺗﺎﻳﭗ ﻛﺮﺩﻥ ﻛﺸﻒ ﺭﻣﺰ ﻣﻰﺷﻮﺩ‪ .‬ﺑﺮﺍﻯ ﺟﺎﻧﺎﺗﺎﻥ‬ ‫ﺗﻨﺪﻧﻮﻳﺴﻰ ﺭﻣﺰﮔﺎﻧﻰ ﺗﺼﺎﺩﻓﻰ ﺍﺳﺖ‪ ،‬ﭼﺮﺍ ﻛﻪ ﺩﺭﺍﻛﻮﻻ ﻛﻪ ﮔﻮﻳﺎ ﻫﻤﻪ ﭼﻴﺰ ﺩﻳﮕﺮ ﺭﺍ ﻣﻰﺩﺍﻧﺪ‪ ،‬ﺍﺯ‬ ‫ﺁﻥ ﺳﺮ ﺩﺭ ﻧﻤﻰﺁﻭﺭﺩ ﻭ ﺩﻓﺘﺮ ﺧﺎﻃﺮﺍﺕ ﺭﺍ ﺿﺒﻂ ﻧﻤﻰﻛﻨﺪ ﻭ ﺍﻳﻦ ﻋﻤﻠﻰ ﺍﺳﺖ ﻛﻪ ﺧﻮﺍﻧﻨﺪﮔﺎﻥ ﺭﺍ ﺍﺯ‬ ‫ﺩﺭﻙ ﻟﻐﺰﺵ ﺩﺳﺖ ﺍﻭﻟﻰ ﻛﻪ ﺩﺭ ﺭﻭﺍﻳﺖ ﺩﺭ ﺣﺎﻝ ﻭﻗﻮﻉ ﺭﺥ ﻣﻰﺩﻫﺪ‪ ،‬ﻣﺤﺮﻭﻡ ﻣﻰﻛﻨﺪ‪ .‬ﻣﺎ ﺑﻪ ﺭﻭﻯ‬ ‫ﺻﻔﺤﺎﺕ ﻛﺘﺎﺏ ﺁﻥ ﭘﻴﭻ ﻭ ﺗﺎﺏﻫﺎﻳﻰ ﺭﺍ ﻛﻪ ﺑﺎﻳﺪ ﺍﺯ ﻧﻮﺷﺘﻪﺍﻯ ﺗﻨﺪﻧﻮﻳﺴﻰ ﺷﺪﻩ ﺍﻧﺘﻈﺎﺭ ﺩﺍﺷﺘﻪ ﺑﺎﺷﻴﻢ‪،‬‬ ‫ﻧﻤﻰﺑﻴﻨﻴﻢ‪ ،‬ﭼﺮﺍ ﻛﻪ ﺩﺭ ﺻﻮﺭﺕ ﻭﺟﻮﺩ ﻧﻤﻰﺗﻮﺍﻧﺴﺘﻴﻢ ﺁﻥ ﺭﺍ ﺑﺨﻮﺍﻧﻴﻢ؛ ﺍﻳﻦ ﻣﻮﺿﻮﻉ ﺑﺮﺍﻯ ﺧﻮﺍﻧﻨﺪﮔﺎﻥ‬ ‫ﺗﻨﺎﻓﺮﻯ ﺷﻨﺎﺧﺘﻰ ﺍﻳﺠﺎﺩ ﻣﻰﻛﺮﺩ ﺍﮔﺮ ﺑﻪ ﺁﻥﻫﺎ ﻳﺎﺩﺁﻭﺭﻯ ﻣﻰﺷﺪ ﻛﻪ ﺭﻭﺍﻳﺖ ﻭﺣﺸﺖﺁﻭﺭﻯ ﻛﻪ ﺍﻳﻦ‬ ‫ﺩﻓﺘﺮ ﺁﺷﻜﺎﺭﺵ ﻣﻰﻛﻨﺪ‪ ،‬ﻣﻰﺑﺎﻳﺪ ﺑﻪ ﺷﻜﻞ ﻧﻮﺷﺘﺎﺭ ﮔﻨﮓ ﻭ ﺍﺩﺍﺭﻯﺍﻯ ﺛﺒﺖ ﻣﻰﺷﺪ ﻛﻪ ﺗﻨﺪﻧﻮﻳﺴﻰ‬ ‫ﻧﺎﻣﻴﺪﻩ ﻣﻰﺷﻮﺩ‪ .‬ﻣﻬﻢﺗﺮ ﺍﺯ ﻫﻤﻪﻯ ﺍﻳﻦﻫﺎ ﺷﻜﻞ ﺗﻨﺪﻧﻮﻳﺴﻰ ﺷﺪﻩﻯ ﺟﻤﻼﺕ ﻋﺎﺷﻘﺎﻧﻪﻯ ﺟﺎﻧﺎﺗﺎﻥ ﺑﻪ‬ ‫ﻧﺎﻣﺰﺩﺵ‪ ،‬ﭼﻴﺴﺖ؛ ﻳﻌﻨﻰ ﻫﻤﺎﻥ ﺟﻤﻠﻪﻫﺎﻯ ﺍﺣﺴﺎﺳﺎﺗﻰ ﻛﻪ ﻣﺘﻌﻠﻖ ﺑﻪ ﮔﻔﺘﺎﺭ ﺩﺭﻭﻧﻰ ﺟﺎﻧﺎﺗﺎﻥ ﺍﺳﺖ‬ ‫ﺁﻥ ﻫﻨﮕﺎﻡ ﻛﻪ ﺍﺯ ﻧﺎ ﺍﻓﺘﺎﺩﻩ ﺩﺭ ﻛﺎﻟﺴﻜﻪﺍﻯ ﺗﺤﺖ ﻣﺤﺎﺻﺮﻩﻯ ﺗﺼﻮﺭﺍﺗﺶ ﺍﺯ ﭘﻴﺸﻜﺎﺭﺍﻥ ﻏﻴﺮﻣﺎﺩﻯ‬ ‫ﺩﺭﺍﻛﻮﻻ ﻧﺸﺴﺘﻪ ﺍﺳﺖ؟ ﻣﺜﻞ ﺍﻳﻦ ﻛﻪ ﺗﻨﺪﻧﻮﻳﺴﻰ ﻣﻌﺼﻮﻣﺎﻧﻪ ﺍﺯ ﺣﻮﺯﻩﻯ ﺭﺳﺎﻧﻪﻫﺎﻯ ﻓﺮﻫﻨﮓ ﺗﻮﺩﻩﺍﻯ‬ ‫ﺑﻴﺮﻭﻥ ﺍﻓﺘﺎﺩﻩ ﺍﺳﺖ‪ ،‬ﺍﻣﺎ ﺩﺭ ﻭﺍﻗﻊ ﻫﻢﺩﺳﺖ ﻳﻜﻰ ﺍﺯ ﺩﮔﺮﮔﻮﻧﻰﻫﺎﻯ ﺗﻤﺎﻡﻋﻴﺎﺭ ﺭﻭﻳﻪﻯ ﻓﺮﻫﻨﮕﻰ ﻗﺮﻥ‬ ‫ﺳﺎﺧﺘﻦ ﻓﺮﺁﻳﻨﺪﻫﺎﻯ ﺑﻮﺭﻭﻛﺮﺍﺳﻰ ﻭ ﺗﺠﺎﺭﺕ )ﺑﻪ ﻣﻌﻨﺎﻯ‬ ‫ﺑﻴﺴﺘﻢ ﺷﺪﻩ ﺍﺳﺖ‪ ،‬ﻳﻌﻨﻰ ﻫﻢﺩﺳﺖ ﻋﻘﻼﻧﻰ‬ ‫ِ‬ ‫ِﻭﺑ ِﺮﻯ ﺁﻥ(‪ ،‬ﻧﻮﻋﻰ ﺯﻧﺎﻧﻪ ﻛﺮﺩﻥ ﻧﻴﺮﻭﻯ ﻛﺎﺭ ﺍﺩﺍﺭﻯ‪ ،‬ﻣﻌﻴﺎﺭﻯ ﻛﺮﺩﻥ ﻧﻮﺷﺘﺎﺭ ﺗﺠﺎﺭﻯ ﺗﻮﺩﻩﺍﻯ‪ .‬ﻓﻀﺎﻯ‬ ‫ﻣﺪﺭﻥ ﺍﺩﺍﺭﻯ‪ ،‬ﻣﺴﺎﻓﺖﻫﺎ ﺩﻭﺭ ﺍﺯ ﺗﺮﺍﻧﺴﻴﻠﻮﺍﻧﻴﺎ ﻭ ﻗﺼﺮ ﻧﻔﺮﻳﻦ ﺷﺪﻩﻯ ﻛﻨﺖ ﻭ ﺍﻋﻤﺎﻝ ﻫﺬﻳﺎﻧﻰ ﺍﺳﺖ‬ ‫ﻛﻪ ﺩﺭ ﺁﻥﺟﺎ ﺗﺠﺮﺑﻪ ﻣﻰﻛﻨﺪ‪ ،‬ﺑﺎ ﺍﻳﻦ ﺣﺎﻝ ﺑﻪ ﺗﻤﺎﻣﻰ ﻣﺎﻳﻪﺍﻯ ﺑﺮﺍﻯ ﻋﻮﺍﻗﺐ ﺧﻮﻥﺁﺷﺎﻡﮔﺮﺍﻳﻰ ﺍﺳﺖ‪.‬‬ ‫ﺧﻮﻥﺁﺷﺎﻡﮔﺮﺍﻳﻰ ﺑﻪ ﻧﺎﮔﺎﻩ ﺑﻪ ﻓﺮﻣﺎﻥ ﺗﻨﺪﻧﻮﻳﺴﻰ ﺑﺮ ﻣﻰﺧﻴﺰﺩ ﻭ ﺍﺯ ﺁﻥ ﻓﺮﻣﺎﻥ ﻣﻰﮔﻴﺮﺩ‪ .‬ﺍﻣﺎ ﺻﻔﺤﺎﺗﻰ‬ ‫ﺍﺯ ﻛﺘﺎﺏ ﺭﺍ ﺑﺮﺍﻯ ﺧﻮﺍﻧﺪﻥ ﻣﻰﮔﺸﺎﻳﻴﻢ‪ ،‬ﺑﻪ ﻫﺮ ﺣﺎﻝ ﺷﺒﻴﻪ ﻫﺮ ﺻﻔﺤﻪﻯ ﭼﺎﭘﻰ ﺩﻳﮕﺮﻯ ﺍﺳﺖ؛ ﺑﻪ ﻳﻚ‬ ‫ﻣﻌﻨﺎ ﻭ ﺍﺯ ﻣﻨﻈﺮﻯ ﺳﺮﻧﻮﺷﺖﺳﺎﺯ‪ ،‬ﺍﺷﺎﺭﺍﺕ ﻣﺘﻦ ﺗﻨﺪﻧﻮﻳﺴﻰ ﺷﺪﻩﻯ ﻧﺎﻣﺮﺋﻰ ﻳﺎ ﺗﺮﺟﻤﻪ ﺷﺪﻩ ﻣﺎ ﺭﺍ ﺑﻪ‬ ‫ﺧﺪﻣﺖ ﺣﻜﻤﺖ ﻛﻨﺖ ﺩﺭﺍﻛﻮﻻ ﺩﺭ ﻣﻰﺁﻭﺭﺩ‪ .‬ﺍﻳﻦ ﻧﻮﺷﺘﺎﺭ ﭘﻨﻬﺎﻥ ﺷﺪﻩﻯ ﺭﻣﺰﻧﻮﻳﺴﻰ ﻣﺪﺭﻥ ﻳﺎ ﻣﺘﻌﻠﻖ‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،9-10‬ﺷﻬﺮﻳﻮﺭ ﻭ ﻣﻬﺮ ‪1390‬‬

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‫ﻣﻰﻛﻨﺪ ﻛﻪ ﺍﺗﻔﺎﻗﺎً ﻣﺠﺎﻭﺭ ﺍﻣﻼﻙ ﻛﻨﺖ ﺩﺭﺍﻛﻮﻻ ﺩﺭ ﻟﻨﺪﻥ ﺍﺳﺖ‪ ،‬ﺧﺎﻃﺮﺍﺕ ﺣﺠﻴﻤﺶ ﺭﺍ ﻧﻪ ﺑﺎ ﻧﻮﺷﺘﻦ‬ ‫ﺑﻠﻜﻪ ﺑﺎ ﺿﺒﻂ ﻛﻠﻤﺎﺗﺶ ﺑﺮ ﺻﻔﺤﺎﺕ ﮔﺮﺍﻣﺎﻓﻮﻥ ﻛﻪ ﺑﻌﺪﺍ ً ﺑﺎﻳﺪ ﭘﻴﺎﺩﻩ ﺷﻮﺩ ﺛﺒﺖ ﻣﻰﻛﻨﺪ‪ .‬ﺍﺯ ﺁﻥﺟﺎ‬ ‫ﻛﻪ ﮔﺮﺍﻣﺎﻓﻮﻥ ﺩﺭ ‪ 1897‬ﻭﺳﻴﻠﻪﺍﻯ ﺍﺳﺖ ﻛﻪ ﻛﺎﻣ ً‬ ‫ﻼ ﺗﺎﺯﻩ ﺍﺧﺘﺮﺍﻉ ﺷﺪﻩ‪ ،‬ﺑﻨﺎﺑﺮﺍﻳﻦ ﺣﺘﺎ ﺩﻛﺘﺮ ﺳﻴﻮﺍﺭﺩ‬ ‫ﺑﻌﻀﻰ ﻭﻳﮋﮔﻰﻫﺎﻯ ﺁﻥ ﺭﺍ ﻗﺎﻃﻰ ﻣﻰﻛﻨﺪ؛ ﺑﺪﺗﺮﻳﻦ ﻛﺸﻒ ﺍﻭ ﺍﻳﻦ ﺍﺳﺖ ﻛﻪ ﺑﺮﺍﻯ ﻳﺎﻓﺘﻦ ﮔﻞ ﺳﺮ ﺳﺒﺪ‬ ‫ﺟﺮﻗﻪﻫﺎﻯ ﺿﺒﻂ ﺷﺪﻩﺍﺵ ﻣﺠﺒﻮﺭ ﺧﻮﺍﻫﺪ ﺷﺪ ﻛﻞ ﺻﻔﺤﻪﻫﺎﻯ ﺿﺒﻂ ﺷﺪﻩ ﺭﺍ ﺍﺯ ﺁﻏﺎﺯ ﮔﻮﺵ ﻛﻨﺪ‪.‬‬ ‫ﺑﻪ ﻫﺮ ﺣﺎﻝ ﺟﺎﻯ ﻧﮕﺮﺍﻧﻰ ﻧﻴﺴﺖ‪ ،‬ﭼﺮﺍ ﻛﻪ ﻣﻴﻨﺎﻯ ﺑﻰﻫﻤﺘﺎ ﭘﻴﺸﻨﻬﺎﺩ ﻣﻰﻛﻨﺪ ﻛﻪ ﺑﻌﺪ ﺍﺯ ﮔﻮﺵ ﻛﺮﺩﻥ‬ ‫ﺑﻪ ﺗﻤﺎﻣﻰ ﺻﻔﺤﻪﻫﺎ‪ ،‬ﺁﻥﻫﺎ ﺭﺍ ﺑﻪ ﺻﻮﺭﺕ ﻣﺘﻦ ﺗﺎﻳﭙﻰ ﭘﻴﺎﺩﻩ ﻛﻨﺪ ﻭ ﺑﺎ ﺍﻳﻦ ﻛﺎﺭ ﺍﺭﺯﺵ ﺁﻥﻫﺎ ﺭﺍ ﺑﻪ‬ ‫ﻋﻨﻮﺍﻥ ﺟﺰﻳﻰ ﺍﺯ ﭘﺎﺯﻝ ﺗﻌﻘﻴﺐ ﺧﻮﻥﺁﺷﺎﻡ ﺗﺼﺪﻳﻖ ﻣﻰﻛﻨﺪ‪ .‬ﺍﻭ ﭼﻨﻴﻦ ﻣﻰﻧﻮﻳﺴﺪ‪» :‬ﺩﻭ ﺷﺎﺧﻪ ﺭﺍ ﺩﺭ‬ ‫ﮔﻮﺷﻢ ﻣﻰﻛﻨﻢ ﻭ ﮔﻮﺵ ﻣﻰﻛﻨﻢ‪ «.‬ﻭ ﺑﻌﺪﺗﺮ ﺍﺿﺎﻓﻪ ﻣﻰﻛﻨﺪ ﻛﻪ‪» :‬ﻋﺠﺐ ﺩﺳﺘﮕﺎﻩ ﻋﺠﻴﺒﻰ ﺍﺳﺖ‪ ،‬ﺍﻣﺎ‬ ‫ﺣﻘﻴﻘﺖ ﻇﺎﻟﻤﺎﻧﻪ ﺁﻥ ﻛﻪ‪ ...‬ﻣﺒﺎﺩﺍ ﻛﻪ ﻛﺴﻰ ﺩﻳﮕﺮ ﺍﻳﻦ ﻛﻠﻤﺎﺕ ﺭﺍ ﺍﺯ ﻧﻮ ﮔﻮﺵ ﻛﻨﺪ! ﻣﻦ ﺍﻳﻦ ﻛﻠﻤﺎﺕ‬ ‫ﺭﺍ ﺑﺎ ﻣﺎﺷﻴﻦﺗﺤﺮﻳﺮﻡ ﭘﻴﺎﺩﻩ ﻛﺮﺩﻩﺍﻡ‪ «.‬ﻋﻠﻰﺭﻏﻢ ﻓﻘﺪﺍﻥ ﻇﺎﻫﺮﻯ »ﻫﺎﻟﻪ«‪ ،‬ﺑﻪ ﺑﻴﺎﻥ ﺑﻴﻨﺎﻣﺘﻨﻰﺍﺵ‪ ،‬ﺁﻥ‬ ‫ﭼﻪ ﻋﻠﻰﺍﻟﻈﺎﻫﺮ ﺩﺭ ﺑﺎﺯﺗﻮﻟﻴﺪ ﻣﻜﺎﻧﻴﻜﻰ ﺧﺎﻃﺮﺍﺕ ﺭﻭﺯﺍﻧﻪﻯ ﺳﻴﻮﺍﺭﺩ ﻣﻴﻨﺎ ﺭﺍ ﺗﻜﺎﻥ ﻣﻰﺩﻫﺪ‪ ،‬ﻗﺪﺭﺕ‬ ‫ﻋﺎﻃﻔﻰ ﻧﻬﺎﻥ ﺷﺪﻩ ﺩﺭ ﺻﺪﺍﻯ ﺿﺒﻂ ﺷﺪﻩ ﺍﺳﺖ‪ ،‬ﻛﻪ ﻣﺎﺷﻴﻦﺗﺤﺮﻳﺮ ﺍﻳﻦ ﺍﺣﺴﺎﺳﺎﺕ ﺷﮕﻔﺖ ﺭﺍ ﺍﺯ‬ ‫ﺁﻥ ﻣﻰﺳﺘﺎﻧﺪ‪ .‬ﭘﻴﺎﺩﻩ ﻛﺮﺩﻥ ﻏﻠﺘﻚﻫﺎﻯ ﺭﻭﻏﻨﻰ ﺩﻛﺘﺮ ﺳﻴﻮﺍﺭﺩ ﺩﺭ ﻧﻴﻤﻪﺭﺍﻩ ﻣﺘﻦ ﺭﺥ ﻣﻰﺩﻫﺪ‪ ،‬ﺁﻥ‬ ‫ﻫﻨﮕﺎﻡ ﻛﻪ ﺟﺴﺖﻭﺟﻮﻯ ﺩﺭﺍﻛﻮﻻ ﺩﺭ ﻟﻨﺪﻥ ﺷﻜﻞ ﻗﺎﻃﻌﻰ ﺑﻪ ﺧﻮﺩ ﻣﻰﮔﻴﺮﺩ‪ .‬ﺍﻳﻦ ﺯﻣﺎﻥﺑﻨﺪﻯ ﺣﺎﻛﻰ‬ ‫ﺍﺯ ﺁﻥ ﺍﺳﺖ ﻛﻪ ﺗﻤﺎﻣﻰ ﻣﺪﺍﺧﻞ ﺧﺎﻃﺮﺍﺕ ﺭﻭﺯﺍﻧﻪﻯ ﺩﻛﺘﺮ ﺳﻴﻮﺍﺭﺩ‪ ،‬ﻛﻪ ﭘﻴﺶ ﺍﺯ ﺍﻳﻦ ﺯﻣﺎﻥ ﺁﻣﺪﻩﺍﻧﺪ‬ ‫ﻭ ﺗﻌﺪﺍﺩﺷﺎﻥ ﻫﻢ ﺯﻳﺎﺩ ﺍﺳﺖ‪ ،‬ﺿﺒﻂ ﺷﺪﻩﺍﻧﺪ؛ ﺻﺪﺍﻫﺎﻳﻰ ﻫﺴﺘﻨﺪ ﻛﻪ ﺑﻪ ﻧﻮﺗﺮﻳﻦ ﺷﻴﻮﻩ ﺛﺒﺖ ﺷﺪﻩﺍﻧﺪ‬ ‫ﻭ ﺍﺯ ﺧﺎﺭﺝ ﻣﺘﻦ ﺑﺎ ﻣﺎ ﺳﺨﻦ ﻣﻰﮔﻮﻳﻨﺪ‪ .‬ﺣﻮﻝ ﻭ ﺣﻮﺵ ﺍﻳﻦ ﻧﻜﺘﻪ ﺁﺷﻔﺘﮕﻰ ﻭ ﻋﺪﻡ ﺍﻧﺴﺠﺎﻡ ﻣﺘﻨﻰ‬ ‫ﻣﻔﺼﻞ ﺟﺮﻳﺎﻥ ﺩﺍﺭﺩ ﭼﺮﺍ ﻛﻪ ﺧﺎﻃﺮﺍﺕ ﺩﻛﺘﺮ ﺳﻴﻮﺍﺭﺩ ﺷﺎﻣﻞ ﻛﻮﺗﻪﻧﻮﺷﺖﻫﺎ ﻭ ﻓﺮﻣﻮﻝﻫﺎﻳﻰ ﺍﺳﺖ ﻛﻪ‬ ‫ﺑﻪ ﻃﻮﺭ ﺷﻔﺎﻫﻰ ﺑﻰﻣﻌﻨﺎﻳﻨﺪ؛ ﻋﻼﻭﻩ ﺑﺮ ﺁﻥ‪ ،‬ﻣﺎﺷﻴﻦ ﻣﺬﻛﻮﺭ ﻭﻗﺘﻰ ﻣﻮﺭﺩ ﺍﺳﺘﻔﺎﺩﻩﻯ ﺩﻳﮕﺮﺍﻥ ﻗﺮﺍﺭ‬ ‫ﻣﻰﮔﻴﺮﺩ ﻣﺒﺎﺩﻟﻪﻯ ﺧﻮﻥﺁﺷﺎﻣﻰ ﺭﺍ ﺩﺭ ﺑﺮ ﻣﻰﮔﻴﺮﺩ – ﻋﻨﻮﺍﻥ ﻓﺼﻠﻰ ﺑﻪ ﻣﺎ ﻣﻰﮔﻮﻳﺪ‪» :‬ﺧﺎﻃﺮﺍﺕ‬ ‫ﮔﺮﺍﻣﺎﻓﻮﻧﻰ ﺩﻛﺘﺮ ﺳﻴﻮﺍﺭﺩ‪ ،‬ﺑﻪ ﻛﻼﻡ ﻭﻥ ﻫﻠﺴﻴﻨﮓ«‪ .‬ﺍﻳﻦ ﻭﺟﻪ ﺗﻮﻟﻴﺪ‪ ،‬ﺑﺎﺭﻯ ﺭﺍ ﺑﺮ ﺭﻭﺍﻳﺖ ﺳﻮﺍﺭ‬ ‫ِ‬ ‫ﻣﻰﻛﻨﺪ ﻛﻪ ﺗﻨﻬﺎ ﻭﻗﺘﻰ ﺑﻪ ﺑﻴﺎﻥ ﺩﺭ ﻣﻰﺁﻳﺪ ﻛﻪ ﺩﻛﺘﺮ ﺳﻴﻮﺍﺭﺩ ﺑﻪ ﻫﻨﮕﺎﻡ ﺷﻨﻴﺪﻥ ﻣﺮﺍﺳﻢ ﺗﺪﻓﻴﻦ ﻛﻪ‬ ‫ﺑﺮﺍﻯ ﻣﻴﻨﺎ ﻣﺮﻭﺭ ﻣﻰﺷﻮﺩ‪ ،‬ﻭﺍﻛﻨﺶ ﻧﺸﺎﻥ ﻣﻰ ﺩﻫﺪ ﻛﻪ ﻧﺸﺎﻧﻪﻯ ﭘﻴﺶﮔﻮﻳﺎﻧﻪﺍﻯ ﺍﺯ ﺍﺟﺒﺎﺭ ﺑﻪ ﻛﺸﺘﻦ‬ ‫ﻣﻴﻨﺎ ﺍﺳﺖ‪» :‬ﻣﻦ‪ ...‬ﻣﻦ ﺩﻳﮕﺮ ﻧﻤﻰﺗﻮﺍﻧﻢ ﺍﺩﺍﻣﻪ ﺩﻫﻢ‪ ...‬ﻛﻠﻤﻪﻫﺎ‪ ...‬ﺻﺪﺍﻫﺎ‪ ...‬ﻧﻤﻰﺗﻮﺍﻧﻨﺪ ﻣﻨﻈﻮﺭﻡ ﺭﺍ‬ ‫ﺑﺮﺳﺎﻧﻨﺪ‪ «.‬ﭼﻨﻴﻦ ﺍﺣﺴﺎﺳﺎﺕ ﺷﺠﺎﻋﺎﻧﻪﻯ ﺩﺭﺧﻮﺭ ﺳﺘﺎﻳﺸﻰ ﻧﻤﻰﺗﻮﺍﻧﺪ ﺑﺮ ﺍﻳﻦ ﻭﺍﻗﻌﻴﺖ ﻧﻘﺎﺏ ﺑﺰﻧﺪ‬ ‫ﻛﻪ ﺧﺎﻃﺮﺍﺕ ﺭﻭﺯﺍﻧﻪﻯ ﺳﻴﻮﺍﺭﺩ ﺳﺒﺐ ﻣﺎﺩﻳﺖﺯﺩﺍﻳﻰ ﺻﺪﺍ ﺍﺳﺖ‪ ،‬ﻣﻨﻄﻘﻪﺍﻯ ﺗﻜﻨﻮﻟﻮژﻯ ﺷﺪﻩ ﻛﻪ ﺍﺯ‬ ‫ﺁﻥ ﺍﻣﺮﻯ ﻧﻮ ﺍﺳﺖ ﻭ ﺍﺯ ﺁﻥﺟﺎ ﻛﻪ ﮔﺮﺍﻣﺎﻓﻮﻥ ﺑﻪ ﺩﻟﻴﻞ ﮔﺮﺍﻧﻰ ﺷﺎﻳﻊ ﻧﻴﺴﺖ‪ ،‬ﺣﺎﻣﻞ ﻧﻜﺘﻪﺍﻯ ﺗﺎﺭﻳﺨﻰ‬

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‫ﻭﻳﮋﻩﻧﺎﻣﻪﻯ ﺧﻮﻥﺁﺷﺎﻡﻫﺎ‬

‫ﻣﻘﺎﻟﻪ‬

‫ﺩﺭ ﺗﻮﻟﻴﺪ ﺗﺼﻮﻳﺮ ﻭ ﺩﺭ ﻧﻬﺎﻳﺖ ﺭﻭﺍﻳﺘﻰ ﻛﻪ ﺑﻪ ﺷﻜﻞ ﺗﻮﺩﻩﺍﻯ ﺗﻮﻟﻴﺪ‬ ‫ﻣﻰﺷﻮﺩ‪ .‬ﺟﺪﻯ ﮔﺮﻓﺘﻦ ﺟﺎﻳﮕﺎﻩ ﻓﺮﻫﻨﮓ ﺗﻮﺩﻩﺍﻯ ﺩﺭ ﺍﺛﺮ ﻫﻨﺮﻯﺍﻯ ﻛﻪ‬ ‫ﺩﺭ ﺁﻏﺎ ِﺯ ﺷﻜﻞﮔﻴﺮﻯ ﺍﻳﻦ ﻓﺮﻫﻨﮓ ﺍﺳﺖ‪ ،‬ﺑﻪ ﻣﻌﻨﺎﻯ ﺑﺮﺗﺮﻯ ﺑﺨﺸﻴﺪﻥ ﺑﻪ‬ ‫ﻧﺎﺑﺴﺎﻣﺎﻧﻰﻫﺎ ﻭ ﺩﮔﺮﮔﻮﻧﻰﻫﺎﻳﻰ ﺍﺳﺖ ﻛﻪ ﺍﻳﻦ ﻓﺮﻫﻨﮓ ﺳﺒﺐ ﻣﻰﺷﻮﺩ‪،‬‬ ‫ﻋﻠﻰﺍﻟﺨﺼﻮﺹ ﺑﻪ ﺍﻳﻦ ﺩﻟﻴﻞ ﻛﻪ ﺩﺭ ﭘﻨﻬﺎﻥ ﺳﺎﺧﺘﻦ ﺳﺮﺍﺳﺮﻯ ﺑﻮﺩﻥ‬ ‫ﻭﺍﺑﺴﺘﮕﻰﺍﺵ ﺑﻪ ﻓﺮﻫﻨﮓ ﺗﻮﺩﻩﺍﻯ ﺑﺴﻴﺎﺭ ﻣﻮﻓﻖ ﺍﺳﺖ‪ ،‬ﭼﺮﺍ ﻛﻪ ﻣﻠﻤﻮﺱ‬ ‫ﺑﻮﺩﻥ ﺁﻥ ﺭﺍ ﺩﺭ ﻣﺮﻛﺰ ﺗﻮﺟﻪ ﻗﺮﺍﺭ ﻣﻰﺩﻫﺪ‪ ،‬ﻧﻪ ﺩﻳﮕﺮ ﺑﻮﺩﮔﻰ ﻏﺮﻳﺐ ﻭ‬ ‫ﺑﻴﺮﻭﻧﻰﺍﺵ ﺭﺍ‪.‬‬ ‫ﺁﻥ ﭼﻴﺰﻯ ﻛﻪ ﺗﺎ ﺑﻪ ﺣﺎﻝ ﺩﺭ ﻣﻮﺭﺩ ﺳﺎﺧﺘﺎﺭ ﺩﺭﺍﻛﻮﻻ ﻛﻤﺘﺮ ﻣﻮﺭﺩ ﺗﻮﺟﻪ‬ ‫ﻗﺮﺍﺭ ﮔﺮﻓﺘﻪ‪ ،‬ﺍﻳﻦ ﺍﺳﺖ ﻛﻪ ﺭﻭﺍﻳﺖ ﺁﻥ ﺑﻪ ﻟﺤﺎﻅ ﻇﺎﻫﺮ ﭼﻄﻮﺭ ﺗﻮﻟﻴﺪ‬ ‫ﻣﻰﺷﻮﺩ‪ ،‬ﻳﻌﻨﻰ ﺍﺑﺰﺍﺭ ﺗﻮﻟﻴﺪ ﺁﻥ ﭼﻴﺴﺖ؟ ﺍﻳﻦ ﭼﻬﻞﺗﻜﻪﻯ ﺭﻭﺍﻳﻰ ﻣﺸﺘﻤﻞ‬ ‫ﺍﺳﺖ ﺑﺮ ﺗﺮﻛﻴﺒﻰ ﺍﺯ ﻣﺪﺍﺧﻞ ﺩﻓﺘﺮ ﺧﺎﻃﺮﺍﺕ‪ ،‬ﻧﺎﻣﻪﻫﺎ‪ ،‬ﭘﺮﻭﻧﺪﻩﻫﺎﻯ‬ ‫ﺗﺨﺼﺼﻰ ﻭ ﺑﺮﻳﺪﻩ ﺭﻭﺯﻧﺎﻣﻪﻫﺎﻳﻰ ﻛﻪ ﮔﺮﻭﻩ ﺩﻻﻭﺭ ﺷﻜﺎﺭﭼﻴﺎﻥ ﺩﺭﺍﻛﻮﻻ ﺑﻪ‬ ‫ﻃﻮﺭ ﺟﺪﺍﮔﺎﻧﻪ ﻧﻮﺷﺘﻪ ﻳﺎ ﺟﻤﻊ ﻛﺮﺩﻩ ﺑﻮﺩﻧﺪ‪ ،‬ﻭ ﺳﺮ ﺁﺧﺮ ﻫﻤﻪﻯ ﺍﻳﻦﻫﺎ ﺭﺍ‬ ‫ﻣﻴﻨﺎ‪ ،‬ﻳﻌﻨﻰ ﻫﻤﺴﺮ ﺍﻭﻟﻴﻦ ﻫﺪﻑ ﺩﺭﺍﻛﻮﻻ‪ ،‬ﺑﺎ ﻫﻢ ﻣﻘﺎﺑﻠﻪ ﻭ ﺗﺎﻳﭗ ﻣﻰﻛﻨﺪ؛‬ ‫ﺩﺭ ﻭﺍﻗﻊ ﺧﻮﺩ ﻣﻴﻨﺎ ﺳﺮ ﺁﺧﺮ ﺑﻪ ﺷﺒﻪﺩﺭﺍﻛﻮﻻ ﺑﺪﻝ ﻣﻰﺷﻮﺩ‪ .‬ﺩﺭ ﻣﻮﺭﺩ‬ ‫ﭼﻨﺪﮔﺎﻧﮕﻰ ﻧﻈﺮﮔﺎﻩﻫﺎﻯ ﺭﻭﺍﻳﻰ ﺑﻪ ﺧﻮﺑﻰ ﺑﺤﺚ ﺷﺪﻩ ﺍﺳﺖ‪ ،‬ﻭﻟﻰ ﻧﻜﺘﻪﻯ‬ ‫ﻣﻬﻢ ﺁﻥ ﺍﺳﺖ ﻛﻪ ﺍﻳﻦ ﭘﺎﺭﻩﻫﺎﻯ ﺭﻭﺍﻳﻰ ﻛﻪ ﺩﺭ ﻧﻬﺎﻳﺖ ﻧﺴﺨﻪﻯ ﺗﺎﻳﭙﻰ ﺁﻥ‬ ‫ﭼﻴﺰﻯ ﺍﺳﺖ ﻛﻪ ﺑﻨﺎ ﺑﻪ ﻇﺎﻫﺮ ﺑﻪ ﺩﺳﺖ ﻣﺎ ﺭﺳﻴﺪﻩ‪ ،‬ﺍﺯ ﻗﺎﻟﺐﻫﺎﻯ ﺍﺳﺎﺳﺎً‬ ‫ﻧﺎﺷﺒﻴ ِﻪ ﺭﺳﺎﻧﻪﻫﺎﻯ ﻫﻨﺮﻯ ﻣﻨﺒﻌﺚ ﺷﺪﻩ ﺍﺳﺖ‪ .‬ﺩﺭﺍﻛﻮﻻ ﺩﺭ ﺣﺎﻟﻰ ﻛﻪ ﺩﺭ‬ ‫ﻓﺌﻮﺩﺍﻟﻴﺴﻢ ﻭ ﺧﻮﻥ ﻗﺮﻭﻥ ﻭﺳﻄﺎﻳﻰ ﭘﻴﭽﻴﺪﻩ ﺷﺪﻩ‪ ،‬ﺑﻪ ﻟﺤﺎﻅ ﻣﺘﻨﻰ ﻛﺎﻣ ً‬ ‫ﻼ‬ ‫‪) au courant‬ﺍﻣﺮﻭﺯﻯ ﻳﺎ ﺁپﺗﻮﺩﻳﺖ( ﺍﺳﺖ‪ .‬ﻏﻠﻴﺎﻥ ﺍﺣﺴﺎﺳﺎﺕ ﻗﺮﻥ‬ ‫ﻧﻮﺯﺩﻫﻤﻰ ﻛﻪ ﺩﺭ ﻗﺎﻟﺐ ﺩﻓﺘﺮ ﺧﺎﻃﺮﺍﺕ ﻭ ﻧﺎﻣﻪﻫﺎﻯ ﺍﺩﺍﺭﻯ ﺑﻴﺎﻥ ﻣﻰﺷﻮﻧﺪ‪،‬‬ ‫ﻣﻮﺭﺩ ﻫﺠﻮﻡ ﺗﻜﻨﻮﻟﻮژﻯ ﺑُﺮﻧﺪﻩﺍﻯ ﻗﺮﺍﺭ ﻣﻰﮔﻴﺮﺩ ﻛﻪ ﺩﺭ ﺷﻜﻞ ﺩﮔﺮﮔﻮﻧﻰ‬ ‫ﻣﺼﺎﻟﺢ ژﺍﻧﺮﻯ ﺑﻪ ﺗﺮﻛﻴﺒﻰ ﺟﻮﺭﺍﺟﻮﺭ ﺍﺯ ﻛﻼﻡ ﻭ ﻧﻮﺷﺘﺎﺭ‪ ،‬ﺭﻭﻧﻮﻳﺴﻰ ﻭ ﺿﺒﻂ‬ ‫ﺻﻮﺕ‪ ،‬ﺗﺼﻮﻳﺮ ﻭ ﺗﻨﺪﻧﻮﻳﺴﻰ ﻇﺎﻫﺮ ﻣﻰﺷﻮﺩ‪.‬‬ ‫ﻣﺜ ً‬ ‫ﻼ ﺩﻛﺘﺮ ﺳﻴﻮﺍﺭﺩ‪ ،‬ﻏﺮﻳﺒﻪﻯ ﺟﻮﺍﻧﻰ ﻛﻪ ﻳﻚ ﺁﺳﺎﻳﺸﮕﺎﻩ ﺭﻭﺍﻧﻰ ﺭﺍ ﺍﺩﺍﺭﻩ‬ ‫‪75‬‬

‫ﻭﻳﮋﻩﻧﺎﻣﻪﻯ ﺧﻮﻥﺁﺷﺎﻡﻫﺎ‬

‫ﺩﺭﺍﻛﻮﻻ ﺩﺭ‬ ‫ﺣﺎﻟﻰ ﻛﻪ ﺩﺭ‬ ‫ﻓﺌﻮﺩﺍﻟﻴﺴﻢ ﻭ‬ ‫ﺧﻮﻥ ﻗﺮﻭﻥ‬ ‫ﻭﺳﻄﺎﻳﻰ‬ ‫ﭘﻴﭽﻴﺪﻩ ﺷﺪﻩ‪،‬‬ ‫ﺑﻪ ﻟﺤﺎﻅ‬ ‫ﻣﺘﻨﻰ ﻛﺎﻣ ً‬ ‫ﻼ‬ ‫ﺍﻣﺮﻭﺯﻯ ﻳﺎ‬ ‫ﺁپﺗﻮﺩﻳﺖ‬ ‫ﺍﺳﺖ‪.‬‬

‫ﺑﻪ ﺍﻳﻦ ﻣﺘﻦ ﺍﺭﺟﺎﻉ ﺩﺍﺩ ﺑﺪﻭﻥ ﺁﻥ ﻛﻪ ﭼﻨﻴﻦ ﺑﺨﺶﺑﻨﺪﻯﻫﺎﻯ ﺗﺤﻠﻴﻠﻰ ﻛﺎﻣ ً‬ ‫ﻼ ﻣﻬﺮ ﻭ ﻣﻮﻡ ﺷﺪﻩ ﻭ‬ ‫ﺑﻰﻣﻨﻔﺬﻯ ﺭﺍ ﭘﺬﻳﺮﻓﺖ‪ .‬ﺑﻴﻦ ﺍﻳﻦ ﺑﺨﺶﻫﺎ ﺭﻓﺖ ﻭ ﺁﻣﺪ ﻣﺘﻨﺎﺑﻬﻰ ﻣﻰﺗﻮﺍﻥ ﺑﺮﻗﺮﺍﺭ ﻛﺮﺩ‪ .‬ﺗﺤﻠﻴﻞ ﻣﻦ‬ ‫ﺍﺯ ﺩﺭﺍﻛﻮﻻ ﻣﺒﺘﻨﻰ ﺑﺮ ﻣﻴﻞ ﺑﻪ ﺗﻌﻤﻴﻖ ﺯﻧﺠﻴﺮ ﺟﻔﺖ ﻧﺎﺷﺪﻩﻯ ﻗﺮﺍﺋﺖﻫﺎﻯ ﻣﺎﺩﻯﮔﺮﺍ ﻭ ﺭﻭﺍﻧﻜﺎﻭﺍﻧﻪ‪-‬‬ ‫ﺟﻨﺴﻰ ﺍﺳﺖ‪ ،‬ﭼﻮﻥ ﺍﺯ ﻧﻈﺮ ﻣﻦ ﺩﺭﺍﻛﻮﻻ ﺩﺭ ﻣﺤﻞ ﭼﻨﻴﻦ ﻣﺸﻜﻠﻰ ﻣﺴﺘﻘﺮ ﺷﺪﻩ ﺍﺳﺖ؛ ﺩﺭ ﮔﺮﻫﻰ‬ ‫ﻛﻪ ﻧﺸﺎﻧﮕﺮ ﺩﻭﮔﺎﻧﮕﻰ ﻣﺪﺭﻧﻴﺴﺘﻰ ﻣﻴﺎﻥ ﺍﺩﺑﻴﺎﺕ ﻭ ﻧﻈﺮﻳﻪ ﺍﺳﺖ‪ .‬ﺿﺮﻭﺭﻯ ﺍﺳﺖ ﻛﻪ ﺩﺭ ﺁﻥ ﻭﺍﺣﺪ ﺑﻪ‬ ‫ﭼﻨﺪ ﺷﻴﺮﻳﻦﻛﺎﺭﻯ ﺩﺳﺖ ﺑﺰﻧﻴﻢ ﺗﺎ ﺑﺮﺧﻮﺭﺩﻯ ﺭﺍ ﻣﻴﺎﻥ ﺍﻳﻦ ﺩﻭ ﻣﺠﻤﻮﻋﻪ ﻭﺍژﮔﺎﻥ ﺍﻳﺠﺎﺩ ﻛﻨﻴﻢ‪ .‬ﻫﻤﺎﻥ‬ ‫ﭼﻴﺰﻯ ﻛﻪ ﺩﺭ ﻣﻘﺎﻟﻪﻯ ﻣﻮﺭﺗﻰ ﺗﻤﺜﻴﻞﻫﺎﻯ ﺍﻗﺘﺼﺎﺩﻯ ﻭ ﺟﻨﺴﻰ ﺭﺍ ﭼﻨﻴﻦ ﻧﺎﻫﻤﮕﺮﺍ ﻣﻰﻛﻨﺪ‪ ،‬ﺩﺭ ﻧﺰﺩ‬ ‫ﻣﻦ ﻏﻴﺎﺏ ﻧﺎﺳﺎﺯﻩﮔﻮﻥ ﻣﻘﻮﻟﻪﻯ ﻣﺼﺮﻑ ﺍﺳﺖ‪ .‬ﻗﺼﺪ ﻣﻦ ﺁﻥ ﺍﺳﺖ ﻛﻪ ﺟﺎﻳﮕﺎﻩ ﻧﺎﻣﻄﻤﺌﻦ ﻣﺼﺮﻑ ﺭﺍ‬ ‫ﻣﻴﺎﻥ ﺍﻳﻦ ﻣﺠﻤﻮﻋﻪ ﻭﺍژﮔﺎﻥ ﻇﺎﻫﺮﺍ ً ﻣﻨﻔﺼﻞ ﻭﺍﺭﺩ ﺳﺎﺯﻡ ﻛﻪ ﺍﺗﻔﺎﻗﺎً ﺩﺭ ﺗﺤﻠﻴﻞ ﻣﻮﺭﺗﻰ ﺍﻏﻠﺐ ﺑﻪ ﻃﻮﺭ‬ ‫ﻧﺎﻣﺮﺋﻰ ﺑﺎ ﻳﻜﺪﻳﮕﺮ ﻣﺘﻘﺎﻃﻌﻨﺪ‪.‬‬ ‫ﺩﺭ ﺑﺮﺭﺳﻰ ﺩﺭﺍﻛﻮﻻ‪ ،‬ﺑﻪ ﺟﺎﻯ ﺁﻥ ﻛﻪ ﺑﺮ ﺟﺎﻳﮕﺎﻩ ﺁﻥ ﺑﻪ ﻋﻨﻮﺍﻥ ﺍﺳﻄﻮﺭﻩﻧﮕﺎﺭﻯ ﻭﻳﻜﺘﻮﺭﻳﺎﻳﻰ ﺍﺻﺮﺍﺭ‬ ‫ﻭﺭﺯﻡ‪ ،‬ﻣﺘﻦ ﺭﺍ ﺑﻪ ﺟﻠﻮ‪ ،‬ﺑﻪ ﻗﺮﻥ ﺑﻴﺴﺘﻢ ﻣﻰﺁﻭﺭﻡ‪ ،‬ﭼﺮﺍ ﻛﻪ ﻫﺪﻑ ﻣﻦ ﻗﺮﺍﺋﺘﻰ ﺍﺳﺖ ﻛﻪ ﺑﻪ ﻧﻈﺮﻳﻪﺍﻯ‬ ‫ﺩﺭ ﺑﺎﺏ ﻣﺪﺭﻧﻴﺘﻪ ﮔﺸﻮﺩﻩ ﺷﻮﺩ ﻭ ﺑﺘﻮﺍﻧﻴﻢ ﭼﺮﺧﺸﻰ ﻫﻮﺱﺍﻧﮕﻴﺰ‪ ،‬ﻭ ﺣﺘﻰ ﻣﺪﻭﺳﺎﻳﻰ ﺭﺍ ﺑﺨﻮﺍﻧﻴﻢ ﻛﻪ ﺍﺯ‬ ‫ﺍﻳﻦ ﻃﺮﻳﻖ ﺁﺷﻜﺎﺭ ﻣﻰﺷﻮﺩ‪ .‬ﺍﻳﻦ ﺑﻪ ﻣﻌﻨﺎﻯ ﺩﺳﺖﻛﻢ ﮔﺮﻓﺘﻦ ﺁﻥ ﻗﺮﺍﺋﺖﻫﺎﻳﻰ ﻧﻴﺴﺖ ﻛﻪ ﺩﺭﺍﻛﻮﻻ ﺭﺍ‬ ‫ﺑﻪ ﺧﻮﺩ ﺯﻣﻴﻨﻪﻫﺎﻯ ﻭﻳﻜﺘﻮﺭﻳﺎﻳﻰ ﻭﺍﻗﻌﻰ ﺁﻥ ﻣﻨﻈﻢ ﻣﻰﻛﻨﺪ‪ ،‬ﺑﻠﻜﻪ ﺩﺭ ﭼﺎﺭﭼﻮﺏ ﺍﻧﺘﻘﺎﺩﻯ‪ ،‬ﺑﻪ ﻣﻌﻨﺎﻯ‬ ‫ﺗﻐﻴﻴﺮ ﺩﺳﺘﻮﺭ ﻛﺎﺭﻯ ﺍﺳﺖ؛ ﺗﻐﻴﻴﺮ ﺍﺯ ﻣﺘﻦ ﺑﻪ ﻋﻤﻠﻰ ﻛﻪ ﭼﻨﻴﻦ ﻣﺘﻨﻰ ﺩﺭ ﻣﻘﺎﻡ ﺍﺛﺮ ﻫﻨﺮﻯ ﻣﺪﺭﻧﻴﺴﺘﻰ‬ ‫ﺍﻧﺠﺎﻡ ﻣﻰﺩﻫﺪ‪ ،‬ﻣﺘﻨﻰ ﻧﻤﻮﻧﻪﺍﻯ ﻛﻪ ﺑﻪ ﻃﺮﺯﻯ ﻓﺮﺍﻣﻮﺵﻧﺸﺪﻧﻰ ﺩﺭ ﭘﺲ ﻣﺨﻠﻮﻗﺎﺕ ﻋﺠﻴﺐ ﻣﺪﺭﻧﻴﺴﻢ‬ ‫ﻗﺮﺍﺭ ﻣﻰﮔﻴﺮﺩ؛ ﺩﺭ ﻣﺮﺯﻫﺎﻯ ﺍﻣﺮﻯ ﻛﻪ ﺑﻪ ﻋﻨﻮﺍﻥ ﻣﺪﺭﻧﻴﺴﻢ ﻭﺍﻻ‪ ،‬ﺳﻨﺖ ﻫﻨﺮ ﻭﺍﻻﻯ ﺍﺩﺑﻴﺎﺕ ﻣﺪﺭﻧﻴﺴﻢ‬ ‫ﭘﺬﻳﺮﻓﺘﻪ ﺷﺪﻩ ﺍﺳﺖ‪ .‬ﺧﻮﻥﺁﺷﺎﻡﮔﺮﺍﻳﻰ ﻛﻪ ﺍﻳﻦ ﻣﺘﻦ ﺷﺮﺡ ﻭ ﺗﻔﺼﻴﻞ ﻣﻰﺩﻫﺪ‪ ،‬ﺍﻣﺮﻯ ﺣﻴﺎﺗﻰ ﺍﺳﺖ‬ ‫ﻫﻢ ﺑﺮﺍﻯ ﭘﻮﻳﺶﺷﻨﺎﺳﻰ ﻣﺪﺭﻧﻴﺘﻪ ﻭ ﻫﻢ ﺑﺮﺍﻯ ﺑﺨﺸﻴﺪﻥ ﻧﺎﻣﻰ ﺑﻪ ﮔﺮﻓﺘﺎﺭﻯﻫﺎﻯ ﻧﻈﺮﻯ ﺟﺎﺭﻯ ﻣﺎ‪.‬‬ ‫ﺩﺭﺍﻛﻮﻻ ﻣﺘﻦ ﻫﻤﮕﻨﻰ ﻧﻴﺴﺖ؛ ﺑﻠﻜﻪ ﺗﺼﺎﻭﻳﺮ ﻫﻴﺴﺘﺮﻳﻚ ﻣﺪﺭﻧﻴﺘﻪ ﺭﺍ ﻣﻨﻜﺴﺮ ﻣﻰﻛﻨﺪ‪ .‬ﺍﻳﻦ ﺣﺎﻟﺖ‬ ‫ﺭﺍ ﻣﻰﺗﻮﺍﻥ ﻭﺍﻛﻨﺶﺳﺎﺯﻯ )‪ (2‬ﺁﺷﻮﺑﻨﺎﻙ ﺑﻪ ﭘﻴﺸﺮﻓﺖ ﻣﺪﺭﻧﻴﺴﻢ ﻧﺎﻣﻴﺪ ﻛﻪ ﺑﻪ ﻃﺮﺯﻯ ﺩﻳﻮﺍﻧﻪﺍﺭ‬ ‫ﻧﻘﺶﭘﺬﻳﺮﻯﻫﺎﻯ ﻓﺮﻫﻨﮓ ﺗﻮﺩﻩﺍﻯ ﺭﺍ ﺑﻪ ﺧﻮﺩ ﻣﻰﮔﻴﺮﺩ‪.‬‬ ‫ﺑﺮﺍﻯ ﺷﺮﻭﻉ‪ ،‬ﺗﻤﺎﻣﻰ ﺗﻌﻠﻴﻖ ﻭ ﺑﻼﺗﻜﻠﻴﻔﻰ ﻣﺴﻴﺮ ﻧﻈﺮﻯ ﺧﻮﺩ ﺭﺍ ﺍﺯ ﻣﻴﺎﻥ ﺑﺮ ﻣﻰﺩﺍﺭﻡ؛ ﻧﻴﺮﻭﻯ‬ ‫ﺍﺟﺘﻤﺎﻋﻰ ﺑﺎ ﺁﻥ ﭼﻴﺰﻯ ﻛﻪ ﺩﺭ ﺭﻣﺎﻥ ﺍﺯ ﻧﻴﺮﻭﻯ ﻛﻨﺖ ﺩﺭﺍﻛﻮﻻ ﺗﺮﺳﻴﻢ ﻣﻰﺷﻮﺩ‪ ،‬ﺑﻪ ﺷﺪﺕ ﻫﻢﺍﺭﺯ‬ ‫ﺍﺳﺖ ﻭ ﺍﻳﻦ ﻧﻴﺮﻭ ﭼﻴﺰﻯ ﺑﻪ ﺟﺰ ﻓﺮﻫﻨﮓ ﺗﻮﺩﻩﺍﻯ ﻧﻴﺴﺖ‪ ،‬ﻳﻌﻨﻰ ﻫﻤﺎﻥ ﺗﻜﻨﻮﻟﻮژﻯﻫﺎﻯ ﺩﺭ ﺣﺎﻝ‬ ‫ﺗﻮﺳﻌﻪﻯ ﺭﺳﺎﻧﻪﻫﺎ ﺩﺭ ﺍﺷﻜﺎﻝ ﻣﺘﻨﻮﻋﺶ ﻧﻈﻴﺮ ﺣﻤﻞ ﻭ ﻧﻘﻞ‪ ،‬ﺗﻮﺭﻳﺴﻢ‪ ،‬ﻋﻜﺎﺳﻰ ﻭ ﻟﻴﺘﻮﮔﺮﺍﻓﻰ‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،9-10‬ﺷﻬﺮﻳﻮﺭ ﻭ ﻣﻬﺮ ‪1390‬‬

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‫ﻣﻘﺎﻟﻪ‬

‫ﻓﺮﺍﻧﻜﻮ ﻣﻮﺭﺗﻰ ﺗﺤﻠﻴﻞ ﺟﺬﺍﺑﺶ ﺍﺯ ﺩﺭﺍﻛﻮﻻ ﺭﺍ ﺑﻪ ﺩﻭ ﺑﺨﺶ ﻗﺴﻤﺖ ﻣﻰﻛﻨﺪ‪:‬‬ ‫ﻳﻚ ﺷﺎﺧﻪ ﻣﺴﻴﺮ ﺗﻤﺜﻴﻠﻰ ﻣﺎﺭﻛﺴﻴﺴﺘﻰ ﺭﺍ ﺩﻧﺒﺎﻝ ﻣﻰﻛﻨﺪ ﻭ ﺑﺎ ﺍﻳﻦ ﻛﺎﺭ‬ ‫ﻫﺮﺍﺱﻫﺎﻯ ﺍﻧﺘﺰﺍﻋﻰ ﺭﺍ ﺑﺮﺭﺳﻰ ﻣﻰﻛﻨﺪ ﻛﻪ ﻃﻐﻴﺎﻥ ﺷﺒﺢ ﺳﺮﻣﺎﻳﻪﻯ‬ ‫ﺍﻧﺤﺼﺎﺭﻯ ﺩﺭ ﺟﺎﻣﻌﻪﻯ ﺗﺠﺎﺭﺕ ﺁﺯﺍﺩ ﺑﺮﻳﺘﺎﻧﻴﺎ ﺑﺮ ﻣﻰﺍﻧﮕﻴﺨﺖ‪ ،‬ﻭ ﺍﺯ ﺍﻳﻦ‬ ‫ﻣﻨﻈﺮ ﺑﺮ ﻛﻨﺖ ﺩﺭﺍﻛﻮﻻ ﺑﻪ ﻋﻨﻮﺍﻥ ﺗﺠﺴﺪ ﺳﺮﻣﺎﻳﻪﻯ ﺍﻧﺤﺼﺎﺭﻯ ﺗﺄﻛﻴﺪ‬ ‫ﺟﻬﺎﻧﻰ ﺳﺮﻣﺎﻳﻪ‪ ،‬ﺑﻪ ﻣﻮﺟﻮﺩﻯ‬ ‫ﻣﻰﻛﻨﺪ ﻛﻪ ﺍﺯ ﺭﻫﮕﺬﺭ ﺷﻴﻮﻉ ﺭﻋﺐﺁﻭﺭ‬ ‫ِ‬ ‫ﻭﺣﺸﻰ ﺑﺪﻝ ﺷﺪﻩ ﺍﺳﺖ؛ ﺍﺭﺯﻳﺎﺑﻰ ﺛﺎﻧﻮﻳﻪﻯ ﻣﻮﺭﺗﻰ ﻣﺎﻳﻪﻯ ﻫﺮﺍﺱ ﺩﺭﺍﻛﻮﻻ‬ ‫ﺭﺍ ﺩﺭ ﻗﻠﻤﺮﻭﻯ ﺍﺭﻭﺱ ﻣﻰﺩﺍﻧﺪ ﻭ ﺍﻳﻦ ﻣﻘﻮﻟﻪ ﺭﺍ ﭘﻴﺶ ﻣﻰﺑﺮﺩ ﻛﻪ ﺁﻥ ﺗﺮﺱ‬ ‫ﺭﻳﺸﻪﺍﻯ ﺭﺍ ﻛﻪ ﺧﻮﻥﺁﺷﺎﻡﮔﺮﺍﻳﻰ ﺑﻴﺎﻥ ﻣﻰﻛﻨﺪ‪ ،‬ﻫﻤﺎﻥ ﺭﺍﺑﻄﻪﻯ ﺩﻭﭘﻬﻠﻮﻯ‬ ‫ﻛﻮﺩﻙ ﺑﺎ ﻣﺎﺩﺭﺵ ﺍﺳﺖ ﻭ ﺑﻪ ﺳﺮﻛﻮﺏ ﺭﻭﺍﻧﻰ‪-‬ﺟﻨﺴﻰﺍﻯ ﺍﺷﺎﺭﻩ ﻣﻰﻛﻨﺪ‬ ‫ﻛﻪ ﻣﻼﺯﻡ ﺍﻳﻦ ﺩﻭﭘﻬﻠﻮ ﺑﻮﺩﻥ ﺍﺳﺖ‪ .‬ﻫﺮ ﺩﻭ ﻣﺤﻮﺭ ﺑﺎ ﻗﺪﺭﺕ ﻭ ﺩﻗﺖ ﺗﻤﺎﻡ‬ ‫ﺑﻪ ﺑﺤﺚ ﮔﺮﻓﺘﻪ ﻣﻰﺷﻮﻧﺪ‪ ،‬ﺍﻣﺎ ﺁﻥ ﭼﻪ ﺗﻮﺟﻪ ﻣﺮﺍ ﺩﺭ ﺍﻳﻦﺟﺎ ﺑﺮ ﻣﻰﺍﻧﮕﻴﺰﺩ‪،‬‬ ‫ﻧﻜﺘﻪﺍﻯ ﺍﺳﺖ ﻛﻪ ﺧﻮﺩ ﻣﻮﺭﺗﻰ ﻧﻴﺰ ﺩﺭ ﻧﻬﺎﻳﺖ ﺑﻪ ﺁﻥ ﺍﺫﻋﺎﻥ ﺩﺍﺭﺩ‪ ،‬ﺍﻳﻦ ﻛﻪ‬ ‫ﺩﻭ ﻣﺤﻮﺭ ﻣﺬﻛﻮﺭ ﺍﺯ ﻳﻜﺪﻳﮕﺮ ﻣﻨﻔﺼﻞ ﻣﺎﻧﺪﻩﺍﻧﺪ‪» :‬ﺩﺭ ﺍﻳﻦﺟﺎ ﻗﺼﺪ ﻣﻄﺮﺡ‬ ‫ﻛﺮﺩﻥ ﺑﺴﻴﺎﺭﻯ ﺍﺯ ﭘﻴﻮﻧﺪﻫﺎﻯ ﻣﺴﻜﻮﺕ ﻣﺎﻧﺪﻩﺍﻯ ﺭﺍ ﻧﺪﺍﺭﻡ ﻛﻪ ﻣﻤﻜﻦ ﺍﺳﺖ‬ ‫ﺳﺎﺧﺘﺎﺭﻫﺎﻯ ﺍﺟﺘﻤﺎﻋﻰ‪-‬ﺍﻗﺘﺼﺎﺩﻯ ﻭ ﺳﺎﺧﺘﺎﺭﻫﺎﻯ ﺟﻨﺴﻰ‪-‬ﺭﻭﺍﻥﺷﻨﺎﺧﺘﻰ‬ ‫ﺭﺍ ﺑﺎ ﺯﻧﺠﻴﺮﻩﻯ ﻣﻔﻬﻮﻣﻰ ﻭﺍﺣﺪﻯ ﺑﻪ ﻳﻜﺪﻳﮕﺮ ﻣﺘﺼﻞ ﻛﻨﻨﺪ‪ ،‬ﺣﺘﺎ ﺍﻳﻦ‬ ‫ﺍﺩﻋﺎ ﺭﺍ ﻫﻢ ﺑﻪ ﺧﻮﺩ ﻧﻤﻰﺑﻨﺪﻡ ﻛﻪ ﺍﺳﺎﺳﺎً ﭼﻨﻴﻦ ﭼﻴﺰﻯ ﻣﻤﻜﻦ ﺍﺳﺖ‪...‬‬ ‫ﺻﺮﻓﺎً ﻣﻰﺧﻮﺍﻫﻢ ﺩﻭ ﺩﻟﻴﻠﻰ ﺭﺍ ﻣﺘﺬﻛﺮ ﺷﻮﻡ ﻛﻪ ﺩﺭ ﺍﻳﻦ ﻣﻮﺭﺩ ﺧﺎﺹ‬ ‫ﺑﻪ ﺍﺳﺘﻔﺎﺩﻩ ﺍﺯ ﺍﻳﻦ ﺭﻭﺵﺷﻨﺎﺳﻰﻫﺎﻯ ﻣﺘﻔﺎﻭﺕ ﻣﺠﺎﺑﻢ ﻛﺮﺩ‪ ...‬ﺑﻨﺎﺑﺮﺍﻳﻦ‬ ‫ﻣﺎﺭﻛﺴﻴﺴﻢ ﻭ ﺭﻭﺍﻧﻜﺎﻭﻯ ﺩﺭ ﺗﻌﺮﻳﻒ ﻛﺎﺭﻛﺮﺩ ﺍﻳﻦ ﺍﺩﺑﻴﺎﺕ ﻫﻤﮕﺮﺍﻳﻰ‬ ‫ﻳﺎﻓﺘﻨﺪ‪ :‬ﺧﻮﺩ ﺭﺍ ﺩﺭﮔﻴﺮ ﺗﺒﻴﻴﻦ ﻫﺮﺍﺱﻫﺎﻳﻰ ﺧﺎﺹ ﻛﺮﺩﻧﺪ ﺑﻪ ﻗﺼﺪ ﺁﻥ ﻛﻪ‬ ‫ﺁﻥﻫﺎ ﺭﺍ ﺑﻪ ﺷﻜﻠﻰ ﻣﺘﻔﺎﻭﺕ ﺍﺯ ﺷﻜﻞ ﻭﺍﻗﻌﻰﺷﺎﻥ ﺍﺭﺍﺋﻪ ﺩﻫﻨﺪ‪ «...‬ﺑﻨﺎﺑﺮﺍﻳﻦ‬ ‫ﺍﺯ ﺩﻳﺪ ﻣﻮﺭﺗﻰ ﺩﻭ ﻧﻮﻉ ﻫﺮﺍﺱ ﻭﺟﻮﺩ ﺩﺍﺭﺩ ﻭ ﺗﻨﻬﺎ ﺗﻌﺮﻳﻔﻰ ﺑﻪ ﺷﺪﺕ ﻛﻠﻰ‬ ‫ﻣﻰﺗﻮﺍﻧﺪ ﺩﻟﻴﻞ ﺣﻀﻮﺭ ﻫﻤﺰﻣﺎﻥ ﺁﻥﻫﺎ ﺭﺍ ﺗﻮﺿﻴﺢ ﺩﻫﺪ‪ .‬ﺩﻟﻴﻞ ﻧﻈﺮﻯ‬ ‫ﻣﻮﺭﺗﻰ ﻣﺒﻨﻰ ﺑﺮ ﺟﺎ ﺍﻧﺪﺍﺧﺘﻦ ﺍﻳﻦ ﺷﻜﺎﻑ ﺑﻪ ﺍﻧﺪﺍﺯﻩﻯ ﺗﻮﺿﻴﺢ ﺁﻥ ﻣﺸﻮﺵ‬ ‫ﺍﺳﺖ؛ ﺑﺎ ﺍﻳﻦ ﺣﺎﻝ ﺑﻪ ﻧﻈﺮ ﻣﻦ ﻣﻰﺗﻮﺍﻥ ﺭﺍﻫﻰ ﭘﻴﺪﺍ ﻛﺮﺩ ﺑﺮﺍﻯ ﺍﻳﻦ ﻛﻪ‬ ‫‪73‬‬

‫ﻭﻳﮋﻩﻧﺎﻣﻪﻯ ﺧﻮﻥﺁﺷﺎﻡﻫﺎ‬

‫ﺍﺯ ﺩﻳﺪ ﻣﻮﺭﺗﻰ‬ ‫ﺩﻭ ﻧﻮﻉ‬ ‫ﻫﺮﺍﺱ ﻭﺟﻮﺩ‬ ‫ﺩﺍﺭﺩ ﻭ ﺗﻨﻬﺎ‬ ‫ﺗﻌﺮﻳﻔﻰ ﺑﻪ‬ ‫ﺷﺪﺕ ﻛﻠﻰ‬ ‫ﻣﻰﺗﻮﺍﻧﺪ‬ ‫ﺩﻟﻴﻞ ﺣﻀﻮﺭ‬ ‫ﻫﻤﺰﻣﺎﻥ‬ ‫ﺁﻥﻫﺎ ﺭﺍ‬ ‫ﺗﻮﺿﻴﺢ ﺩﻫﺪ‪.‬‬

‫ﻓﺮﺁﻳﻨﺪ ﺭﺍ ﻣﻄﺮﺡ ﻣﻰﻛﻨﺪ ﻭ ﺑﻪ ﻧﻤﺎﻳﺶ ﻣﻰﮔﺬﺍﺭﺩ؛ ﺁﻥ ﻫﻢ ﺑﺎ ﺑﺮﺗﺮﻯ ﺑﺨﺸﻴﺪﻥ ﺑﻪ ﻣﺼﺮﻑ ﻛﻪ ﺁﻥ‬ ‫ﺩﻭ ﻓﺮﺁﻳﻨﺪ ﺩﻳﮕﺮ ﺭﺍ ﻫﻢ ﺑﻪ ﺟﺰﺋﻰ ﺍﺯ ﺧﻮﻳﺶ ﺑﺪﻝ ﻣﻰﺳﺎﺯﺩ‪ .‬ﺍﻳﻦ ﺑﻠﻊ ﺣﺮﻳﺼﺎﻧﻪ ﺩﺭ ﻛﻨﺎﺭ ﺑﺮﺧﻮﺭﺩ‬ ‫ﺍﺳﻄﻮﺭﻩﻫﺎﻯ ﻛﻬﻦ ﻭ ﻭﺟﻮﻩ ﻛﻨﻮﻧﻰ ﺗﻮﻟﻴﺪ ﺑﻪ ﻧﻤﺎﻳﺶ ﮔﺬﺍﺷﺘﻪ ﻣﻰﺷﻮﺩ‪.‬‬ ‫ﺩﻭﺷﻴﺰﻩ ﻣﻴﻨﺎ ﻣﻴﻮﺭﻯ ﺑﺮﺍﻯ ﺩﻭﺷﻴﺰﻩ ﻟﻮﺳﻰ ﻭﺳﺘﺮﻧﺎ ﭼﻨﻴﻦ ﻣﻰﻧﻮﻳﺴﺪ‪» :‬ﺗﺎﺯﮔﻰﻫﺎ ﺑﻪ ﺷﺪﺕ ﻣﺸﻐﻮﻝ‬ ‫ﻛﺎﺭﻡ‪ .‬ﭼﻮﻥ ﻣﻰﺧﻮﺍﻫﻢ ﺭﺍﺑﻄﻪﺍﻡ ﺭﺍ ﺑﺎ ﻣﻄﺎﻟﻌﺎﺕ ﺟﺎﻧﺎﺗﺎﻥ ﺣﻔﻆ ﻛﻨﻢ‪ ،‬ﺑﺎ ﺗﻤﺎﻡ ﻧﻴﺮﻭ ﺗﻤﺮﻳﻦ ﺗﻨﺪﻧﻮﻳﺴﻰ‬ ‫ﻣﻰﻛﻨﻢ‪ .‬ﻭﻗﺘﻰ ﻛﻪ ﺩﻳﮕﺮ ﺯﻥ ﺟﺎﻧﺎﺗﺎﻥ ﺷﺪﻡ‪ ،‬ﺑﺎﻳﺪ ﺣﺴﺎﺑﻰ ﺑﺮﺍﻳﺶ ﻣﻔﻴﺪ ﺑﺎﺷﻢ ﻭ ﺍﮔﺮ ﺑﺘﻮﺍﻧﻢ‬ ‫ﺗﻨﺪﻧﻮﻳﺲ ﺧﻮﺑﻰ ﺑﺸﻮﻡ‪ ،‬ﻣﻰﺗﻮﺍﻧﻢ ﻫﺮ ﭼﻪ ﺭﺍ ﻛﻪ ﺑﻪ ﺍﻳﻦ ﺷﻴﻮﻩ ﻣﻰﮔﻮﻳﺪ ﺑﻨﻮﻳﺴﻢ ﻭ ﺑﺎ ﻣﺎﺷﻴﻦﺗﺤﺮﻳﺮ‬ ‫ﺑﺎﺯﻧﻮﻳﺴﻰ ﻛﻨﻢ ﻛﻪ ﺍﻳﻦ ﻳﻜﻰ ﺭﺍ ﻫﻢ ﺑﻪ ﺷﺪﺕ ﺗﻤﺮﻳﻦ ﻣﻰﻛﻨﻢ‪ .‬ﻣﻦ ﻭ ﺟﺎﻧﺎﺗﺎﻥ ﺑﻌﻀﻰ ﻭﻗﺖﻫﺎ ﺑﺮﺍﻯ‬ ‫ﻫﻢ ﺑﻪ ﺷﻴﻮﻩﻯ ﺗﻨﺪﻧﻮﻳﺴﻰ ﻧﺎﻣﻪ ﻣﻰﻧﻮﻳﺴﻴﻢ ﻭ ﻋﻼﻭﻩ ﺑﺮ ﺍﻳﻦ ﺍﻭ ﺩﺍﺭﺩ ﺧﺎﻃﺮﺍﺕ ﺭﻭﺯﺍﻧﻪﺍﺵ ﺭﺍ ﺑﻪ ﺍﻳﻦ‬ ‫ﺷﻴﻮﻩ ﺛﺒﺖ ﻣﻰﻛﻨﺪ‪ «.‬ﺩﺭ ﺣﺎﻟﻰ ﻛﻪ ﭼﻨﻴﻦ ﻓﻌﺎﻟﻴﺖﻫﺎﻯ ﺩﺧﺘﺮﺍﻧﻪﺍﻯ‪ ،‬ﺍﮔﺮ ﭼﻪ ﺑﻪ ﻃﺮﺯ ﺑﺮﺩﻩﻭﺍﺭﻯ‬ ‫ﻓﺮﻣﺎﻥﺑﺮﺩﺍﺭﺍﻧﻪ ﺍﺳﺖ‪ ،‬ﺑﻪ ﻧﺪﺭﺕ ﺗﻬﺪﻳﺪﺁﻣﻴﺰ ﺑﻪ ﻧﻈﺮ ﻣﻰﺭﺳﺪ‪ ،‬ﺩﻗﻴﻘﺎً ﻫﻤﻴﻦ ﺍﺳﺘﻌﺪﺍﺩ ﻛﺎﺭ ﻣﻴﻨﺎ ﺑﺎ‬ ‫ﻣﺎﺷﻴﻦﺗﺤﺮﻳﺮ ﺍﺳﺖ ﻛﻪ ﺩﺭﺍﻛﻮﻻ ﺭﺍ ﺑﻪ ﻫﻴﺄﺕ ﭼﻨﺎﻥ ﻣﺮﺩ ﺑﺮﻳﺘﺎﻧﻴﺎﻳﻰ ﻣﻌﻤﻮﻟﻰﺍﻯ ﺩﺭ ﻣﻰﺁﻭﺭﺩ ﻭ ﺣﺘﺎ‬ ‫ﺧﻮﺩ ﻣﻴﻨﺎ ﺭﺍ ﺑﻪ ﺍﺣﺘﺮﺍﻡ ﻭﺍ ﻣﻰﺩﺍﺭﺩ‪ .‬ﺑﺮ ﺁﻧﻢ ﻛﻪ ﺩﺭ ﺁﻥ ﭼﻪ ﺩﺭ ﭘﻰ ﻣﻰﺁﻳﺪ‪ ،‬ﺍﻳﻦ ﻣﻮﺿﻮﻉ ﺭﺍ ﭘﻴﺶ ﻛﺸﻢ‬ ‫ﻛﻪ ﻫﻤﺎﻥﻃﻮﺭ ﻛﻪ ﺗﻔﺎﻭﺗﻰ ﺭﻳﺸﻪﺍﻯ ﻣﻴﺎﻥ ﻛﻨﺶ ﺟﻨﺴﻰ ﺩﻟﺒﺮﻯ ﻛﺮﺩﻥ ﻭ ﭼﻨﺎﻥ ﻛﺎﺭ ﻳﻜﻨﻮﺍﺧﺖ ﻭ‬ ‫ﺷﺎﻕ ﻣﺎﺷﻴﻦﻧﻮﻳﺴﻰ ﻇﺎﻫﺮ ﻣﻰﺷﻮﺩ‪ ،‬ﭘﻴﻮﻧﺪﻫﺎﻯ ﺯﻳﺮﺑﻨﺎﻳﻰ ﻧﻴﺰ ﻣﻴﺎﻥ ﺁﻥﻫﺎ ﻭﺟﻮﺩ ﺩﺍﺭﺩ ﻛﻪ ﺩﺭ ﻧﻬﺎﻳﺖ‬ ‫ﻧﺎﻫﻤﮕﻮﻧﻰ ﺗﺎﻳﭗ ﻛﺮﺩﻥ ﺧﻮﻥﺁﺷﺎﻣﻰ ﺭﺍ ﺑﺎﻣﻌﻨﺎ ﻣﻰﺳﺎﺯﺩ‪ .‬ﺍﻳﻦ ﺍﺳﺘﺪﻻﻝ ﺑﻪ ﺗﻜﻨﻮﻟﻮژﻯﻫﺎﻳﻰ ﻋﻄﻒ‬ ‫ﺗﻮﺟﻪ ﻣﻰﻛﻨﺪ ﻛﻪ ﺍﺳﺎﺱ ﺧﻮﻥﺁﺷﺎﻡﮔﺮﺍﻳﻰ ﺭﺍ ﻣﺤﻜﻢ ﻣﻰﻛﻨﻨﺪ ﻭ ﺩﺭ ﻋﻴﻦ ﺁﻥ ﻛﻪ ﺗﻨﺎﻗﻀﺎﺕ ﮔﻴﺞ‬ ‫ﻛﻨﻨﺪﻩﻯ ﺍﻳﻦ ﻛﺘﺎﺏ ﺭﺍ ﺳﺒﺐ ﻣﻰﺷﻮﻧﺪ‪ ،‬ﺑﺪﺍﻥ ﺍﻣﻜﺎﻥ ﻣﻰﺩﻫﻨﺪ ﻛﻪ ﺍﻭﻟﻴﻦ ﺭﻣﺎﻥ ﺑﺰﺭگ ﻣﺪﺭﻥ ﺩﺭ‬ ‫ﺍﺩﺑﻴﺎﺕ ﺑﺮﻳﺘﺎﻧﻴﺎ ﺷﻮﺩ‪ .‬ﺑﺎ ﺍﻳﻦ ﻛﺎﺭ‪ ،‬ﺑﺮ ﮔﻮﺷﻪﻫﺎﻯ ﺧﺎﻙ ﮔﺮﻓﺘﻪ ﻭ ﺍﺯ ﻳﺎﺩ ﺭﻓﺘﻪﻯ ﺩﺭﺍﻛﻮﻻ ﻣﺘﻤﺮﻛﺰ‬ ‫ﺧﻮﺍﻫﻢ ﺷﺪ ﻭ ﺑﻪ ﺟﺎﻯ ﺁﻥ ﻛﻪ ﺍﻓﺮﺍﻁﻫﺎﻯ ﺷﻴﺮﻳﻦ ﺁﻥ ﺭﺍ ﺑﺮﺭﺳﻰ ﻛﻨﻢ‪ ،‬ﺳﺮﺍﭘﺎﻳﺶ ﺭﺍ ﺑﺮﺍﻯ ﻳﺎﻓﺘﻦ‬ ‫ﻛﺮﻙ ﻭ ﭘﺸﻢ ﺑﺎﺯﺭﺳﻰ ﺧﻮﺍﻫﻢ ﻛﺮﺩ ﻛﻪ ﻛﻢﺗﺮﻳﻦ ﺗﻮﺟﻪ ﺭﺍ ﺑﻪ ﺧﻮﺩ ﺟﻠﺐ ﻛﺮﺩﻩﺍﻧﺪ؛ ﭼﺮﺍ ﻛﻪ ﻣﺎﻧﻨﺪ‬ ‫ﺗﻤﺮﻳﻦ ﺗﻨﺪﻧﻮﻳﺴﻰ‪ ،‬ﺩﺭ ﻧﮕﺎﻩ ﺍﻭﻝ ﻟﺬﺕﺑﺨﺶ ﺑﻪ ﻧﻈﺮ ﻧﻤﻰﺁﻳﻨﺪ‪ .‬ﺩﺭﺍﻛﻮﻻ ﺣﺘﺎ ﺩﺭ ﺣﺎﻝ ﻭ ﺭﻭﺯ ﺑﺤﺮﺍﻧﻰ‬ ‫ﻭ ﺭﻛﻮﺩ ﺍﻗﺘﺼﺎﺩﻯ ﻧﻴﺰ ﺷﺮﺍﺑﻰ ﻣﺮﺩﺍﻓﻜﻦ ﺍﺳﺖ ﻭ ﺑﺨﺸﻰ ﺍﺯ ﺁﻥ ﭼﻴﺰﻯ ﻛﻪ ﺍﻣﻴﺪﻭﺍﺭﻡ ﺑﺎ ﭘﻴﮕﻴﺮﻯ‬ ‫ﺭﺳﺎﻧﻪﻫﺎﻯ ﺍﻳﻦ ﺭﻣﺎﻥ ﻧﺸﺎﻥ ﺩﻫﻢ‪ ،‬ﭘﻴﻮﻧﺪﻫﺎﻯ ﺁﻥ ﺑﺎ ﺯﻧﺪﮔﻰ ﺭﻭﺯﻣﺮﻩﻯ ﻣﺘﺸﻜﻞ ﺍﺯ ﻣﺎﺷﻴﻦﻫﺎﻯ‬ ‫ﺗﺤﺮﻳﺮ‪ ،‬ﻧﺌﻮﻥ‪ ،‬ﺁﮔﻬﻰﻫﺎﻯ ﺗﺠﺎﺭﻯ ﻭ ﻧﻮﺍﻣﭙﺮﻳﺎﻟﻴﺴﺘﻰ ﺍﺳﺖ ﻛﻪ ﻫﻨﻮﺯ ﻫﻢ ﺩﺭ ﺁﻥ ﺑﻪ ﺳﺮ ﻣﻰﺑﺮﻳﻢ‪.‬‬ ‫ﺑﺮﺍﻯ ﺁﻥ ﻛﻪ ﺑﺮﺧﻰ ﺍﺯ ﺭﻋﺐﻫﺎﻯ ﺁﺷﻜﺎﺭ ﺩﺭﺍﻛﻮﻻ ﺭﺍ ﺗﺤﻠﻴﻞ ﺑﺮﻳﻢ‪ ،‬ﺷﺎﻳﺪ ﺑﺪ ﻧﺒﺎﺷﺪ ﻛﻪ ﺗﺮﺱﻫﺎﻯ‬ ‫ﭘﻴﺶ ﭘﺎ ﺍﻓﺘﺎﺩﻩﺗﺮ ﺯﻧﺪﮔﻰ ﻣﺪﺭﻥ ﺭﺍ ﺑﺮﺟﺴﺘﻪ ﺳﺎﺯﻳﻢ‪.‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،9-10‬ﺷﻬﺮﻳﻮﺭ ﻭ ﻣﻬﺮ ‪1390‬‬

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‫ﻣﻘﺎﻟﻪ‬

‫ﺗﺎﻳﭗ ﺧﻮﻥﺁﺷﺎﻣﻰ ﺩﺭﺍﻛﻮﻻ‬ ‫*‬

‫ﻭ ﺭﺳﺎﻧﻪﻫﺎﻯ ﺁﻥ‬

‫ﺟﻨﻴﻔﺮ ﻭﺍﻳﻚ‬ ‫ﺑﺮﮔﺮﺩﺍﻥ‪ :‬ﺷﻬﺮﻳﺎﺭ ﻭﻗﻔﻰﭘﻮﺭ‬

‫ﻛﺎﺭﻝ ﻣﺎﺭﻛﺲ ﺩﺭ ﭘﻴﺸﮕﻔﺘﺎﺭ ﻛﺘﺎﺏ ﮔﺮﻭﻧﺪﺭﻳﻪ )‪ ،(1858-1857‬ﺁﻥ ﻫﻨﮕﺎﻡ ﻛﻪ ﺩﺭ ﺑﺎﺏ‬ ‫ﺭﺍﺑﻄﻪﻯ ﻣﻴﺎﻥ ﻫﻨﺮ ﻳﻮﻧﺎﻥ ﺑﺎﺳﺘﺎﻥ ﻭ ﺭﻭﺯﮔﺎﺭ ﺣﺎﺿﺮ ﻣﻰﺍﻧﺪﻳﺸﺪ‪ ،‬ﭼﻨﻴﻦ ﻣﻰﭘﺮﺳﺪ‪» :‬ﻭﻟﻜﺎﻥ‬ ‫ﭼﻪ ﺷﺎﻧﺴﻰ ﺩﺭ ﺑﺮﺍﺑﺮ ﺷﺮﻛﺖ ﺭﺍﺑﺮﺗﺰ ﻭ ﺷﺮﻛﺎ ﺩﺍﺭﺩ‪ ،‬ژﻭﭘﻴﺘﺮ ﺩﺭ ﺑﺮﺍﺑﺮ ﺑﺮﻕﮔﻴﺮ ﻭ ﻫﺮﻣﺲ ﺩﺭ‬ ‫ﺑﺮﺍﺑﺮ ﻛﺮﺩﻳﺖ‪-‬ﻣﻮﺑﺎﻳﻠﻴﺮ )‪(1‬؟ ﺍﺳﻄﻮﺭﻩ ﺑﺮ ﻧﻴﺮﻭﻫﺎﻯ ﻃﺒﻴﻌﺖ ﻏﻠﺒﻪ ﻣﻰﻛﻨﺪ‪ ،‬ﺑﺮ ﺁﻥ ﺍﺳﺘﻴﻼ‬ ‫ﻣﻰﻳﺎﺑﺪ ﻭ ﺁﻥ ﺭﺍ ﺷﻜﻞ ﻣﻰﺑﺨﺸﺪ‪ ...‬ﺍﺯ ﻫﻤﻴﻦ ﺭﻭ‪ ،‬ﺧﻮﺩﺵ ﻧﻴﺰ ﻃﻰ ﺗﺴﻠﻂ ﻭﺍﻗﻌﻰ ﺑﺮ‬ ‫ﺍﻳﻦ ﻧﻴﺮﻭﻫﺎ ﻧﺎﭘﺪﻳﺪ ﻣﻰﺷﻮﺩ‪ .‬ﺩﺭ ﻛﻨﺎﺭ ﭘﺮﻳﻨﺘﻴﻨﮓ ﻫﺎﻭﺱ ﺍﺳﻜﻮﺋﺮ ﺍﺯ ﻓﺎﻣﺎ ﭼﻪ ﻣﻰﻣﺎﻧﺪ؟«‬ ‫ﻧﺎﻫﻤﺎﻫﻨﮕﻰ – ﻭ ﺗﺴﻠﻂ – ﺩﺍﺳﺘﺎﻥ ﺩﺭﺍﻛﻮﻻ ﺩﺭ ﺷﻮﻕ ﻭ ﺍﺷﺘﻴﺎﻕ ﺁﻥ ﺑﻪ ﺑﺮﻗﺮﺍﺭ ﻛﺮﺩﻥ ﺭﺍﺯ‬ ‫ﺍﺳﻄﻮﺭﻩﺍﻯ‪ ،‬ﮔﻮﺗﻴﻚ ﻭ ﻗﺮﻭﻥ ﻭﺳﻄﺎﻳﻰ ﻛﻨﺖ ﺩﺭﺍﻛﻮﻻ‪ ،‬ﺁﻥ ﻫﻢ ﺩﻗﻴﻘﺎً ﺩﺭ ﻛﺎﻧﻮﻥ ]ﺍﻧﺘﺸﺎﺭﺍﺗﻰ[‬ ‫ﭘﺮﻳﻨﺘﻴﻨﮓ ﻫﺎﻭﺱ ﺍﺳﻜﻮﺋﺮ ﺍﺳﺖ‪ .‬ﮔﺮﻭﻧﺪﺭﻳﻪ ﺗﺄﻣﻞ ﭘﻴﭽﻴﺪﻩﻯ ﻣﺎﺭﻛﺲ ﺑﺮ ﺗﻘﺪﻳﺮ ﺩﺭ ﻫﻢ‬ ‫ﺗﺎﻓﺘﻪﻯ ﺗﻮﻟﻴﺪ‪ ،‬ﺗﻮﺯﻳﻊ ﻭ ﻣﺼﺮﻑ ﺍﺳﺖ ﻛﻪ ﺩﺭﺁﻣﺪ ﺁﻥ ﺩﺭ ﭼﺸﻢﺍﻧﺪﺍﺯ ﺍﺟﺘﻤﺎﻋﻰ‪-‬ﺍﻗﺘﺼﺎﺩﻯ‬ ‫ﻣﺪﺭﻥ ﺍﺳﺖ‪ .‬ﻣﻰﺗﻮﺍﻥ ﮔﻔﺖ ﺩﺭﺍﻛﻮﻻ ﻧﻴﺰ‪ ،‬ﺩﺭ ﭼﺎﺭﭼﻮﺏ ﺷﻜﻞ ﺭﻣﺎﻥ‪ ،‬ﺭﻣﻮﺯ ﻏﻴﺒﻰ ﺍﻳﻦ ﺳﻪ‬ ‫* ﺭ‪.‬ﻙ‪ .‬ﭘﺎﻧﻮﻳﺲ‪.‬‬

‫ﻭﺣﺸﺖ ‪ -‬ﻧﮕﺎﺭﺵ‬

‫ﭘﺪﻳﺪﺍﺭ ﺷﺪ‪ .‬ﮔﺮﮔﻴﻨﻪ ﺑﻪ ﺳﻤﺖ ﺻﺪﺍ ﭼﺮﺧﻴﺪ‪ .‬ﻣﺮﺩ ﻗﺪ ﺑﻠﻨﺪﻯ ﺍﺯ ﺩﻭﺭ ﺩﻳﺪﻩ ﻣﻰﺷﺪ‪.‬‬ ‫ﭘﻴﺮﻣﺮﺍﺩ ﭼﻴﺰﻯ ﺭﺍ ﺯﻳﺮ ﻟﺐ ﮔﻔﺖ ﻭ ﺭﻭ ﺑﻪ ﻛﺒﻼﻳﻰ ﻛﺮﺩ‪.‬‬ ‫»ﺍﻭﻧﻰ ﻛﻪ ﺩﻧﺒﺎﻟﺶ ﺑﻮﺩﻳﻢ‪ ،‬ﺩﺍﺭﻩ ﻣﻴﺎﺩ‪«.‬‬ ‫»ﻛﻰ؟«‬ ‫»ﺧﻮﻥﺁﺷﺎﻡ‪«.‬‬ ‫ﻛﺒﻼﻳﻰ ﺣﺴﻴﻦ ﭼﺸﻤﺎﻧﺶ ﺭﺍ ﺗﻨﮓ ﻛﺮﺩ ﻭ ﺩﺭ ﺗﺎﺭﻳﻜﻰ ﺷﺐ ﺑﻪ ﺳﻤﺖ ﺳﺎﺧﺘﻤﺎﻥ ﺑﺎﻍ ﻧﮕﺎﻩ ﻛﺮﺩ‪.‬‬ ‫ﮔﺮﮔﻴﻨﻪ ﻭ ﺧﻮﻥﺁﺷﺎﻡ ﺑﻪ ﻫﻢ ﻧﺰﺩﻳﻚ ﻣﻰﺷﺪﻧﺪ‪.‬‬ ‫ﻛﺒﻼﻳﻰ ﺩﺳﺘﻰ ﺑﻪ ﭘﻴﺸﺎﻧﻰﺵ ﻛﺸﻴﺪ‪.‬‬ ‫ﺳﺎﻳﻪﻯ ﺧﻮﻥﺁﺷﺎﻡ ﻛﻮﺗﺎﻩ ﻭ ﻛﻮﺗﺎﻩﺗﺮ ﻣﻰﺷﺪ‪ .‬ﮔﺮﮔﻴﻨﻪ ﺯﻭﺯﻩﻯ ﺑﻠﻨﺪﻯ ﻛﺸﻴﺪ‪.‬‬ ‫ﭘﻴﺮﻣﺮﺍﺩ ﻳﻚ ﺑﺮگ ﺍﺯ ﺷﺎﺧﻪﻯ ﺩﺭﺧﺖ ﻛﻨﺪ ﻭ ﺩﺭ ﺟﻴﺒﺶ ﮔﺬﺍﺷﺖ‪.‬‬ ‫ﺧﻮﻥﺁﺷﺎﻡ ﻟﺒﺎﺱ ﺳﻴﺎﻩﺭﻧﮓ ﺑﻠﻨﺪﻯ ﺑﻪ ﺗﻦ ﻛﺮﺩﻩ ﺑﻮﺩ ﻭ ﭼﺸﻤﺎﻥ ﺳﺮﺧﺶ ﺍﺯ ﺩﻭﺭ ﺩﻳﺪﻩ ﻣﻰﺷﺪ‪.‬‬ ‫ﭼﺸﻤﺎﻥ ﮔﺮﮔﻴﻨﻪ ﺑﺮﻕ ﺯﺩ ﻭ ﺑﻪ ﺳﻤﺖ ﺧﻮﻥﺁﺷﺎﻡ ﺩﻭﻳﺪ ﻭ ﺑﻪ ﺭﻭﻯ ﺍﻭ ﭘﺮﻳﺪ‪ .‬ﺧﻮﻥﺁﺷﺎﻡ ﮔﺮﺩﻥ‬ ‫ﮔﺮﮔﻴﻨﻪ ﺭﺍ ﮔﺮﻓﺖ‪ .‬ﮔﺮﮔﻴﻨﻪ ﺳﻌﻰ ﻛﺮﺩ ﺍﺯ ﺩﺳﺖ ﺍﻭ ﺭﻫﺎ ﺷﻮﺩ‪ .‬ﭘﺲ ﺍﺯ ﭼﻨﺪ ﻟﺤﻈﻪ ﺧﻮﻥﺁﺷﺎﻡ ﺭﺍ ﺑﻪ‬ ‫ﺩﻳﻮﺍﺭ ﻛﻮﺑﻴﺪ ﻭ ﺑﺎ ﭘﻨﺠﻪﺍﺵ ﺿﺮﺑﻪﺍﻯ ﺑﻪ ﺻﻮﺭﺕ ﺧﻮﻥﺁﺷﺎﻡ ﺯﺩ ﻭ ﻧﺎﮔﻬﺎﻥ ﺧﻮﻥﺁﺷﺎﻡ ﺑﺎ ﻗﻠﻮﻩﺳﻨﮕﻰ ﺑﻪ‬ ‫ﺳﺮ ﮔﺮﮔﻴﻨﻪ ﻛﻮﺑﻴﺪ‪ .‬ﻧﺒﺮﺩ ﮔﺮﮔﻴﻨﻪ ﻭ ﺧﻮﻥﺁﺷﺎﻡ ﺍﺩﺍﻣﻪ ﺩﺍﺷﺖ ﺗﺎ ﺍﻳﻦ ﻛﻪ ﺑﻪ ﮔﺎﺭﻯ ﺩﺳﺘﻰ ﺭﺳﻴﺪﻧﺪ‪.‬‬ ‫ﺩﺭ ﻳﻚ ﻟﺤﻈﻪ ﮔﺮﮔﻴﻨﻪ ﺗﻮﺍﻧﺴﺖ ﮔﺮﺩﻥ ﺧﻮﻥﺁﺷﺎﻡ ﺭﺍ ﺑﻪ ﺩﻧﺪﺍﻥ ﺑﮕﻴﺮﺩ‪ .‬ﺧﻮﻥ ﺍﺯ ﮔﺮﺩﻥ ﺧﻮﻥﺁﺷﺎﻡ‬ ‫ﺑﻴﺮﻭﻥ ﻣﻰﺯﺩ‪ .‬ﮔﺮﮔﻴﻨﻪ ﺩﺳﺘﺶ ﺭﺍ ﺑﺎﻻ ﺑﺮﺩ ﺗﺎ ﺿﺮﺑﻪﻯ ﺁﺧﺮ ﺭﺍ ﺑﺰﻧﺪ ﺍﻣﺎ ﺧﻮﻥﺁﺷﺎﻡ ﺑﺎ ﺧﻨﺠﺮﻯ ﺑﻪ‬ ‫ﻗﻠﺐ ﮔﺮﮔﻴﻨﻪ ﺯﺩ‪ .‬ﻫﺮ ﺩﻭ ﺭﻭﻯ ﺯﻣﻴﻦ ﺍﻓﺘﺎﺩﻧﺪ ﻭ ﺧﻮﻧﺸﺎﻥ ﺩﺭ ﺭﻭﻯ ﺯﻣﻴﻦﻫﺎﻯ ﻗﻠﻬﻚ ﺟﺎﺭﻯ ﺷﺪ‪.‬‬ ‫ﭘﻴﺮﻣﺮﺍﺩ ﻭ ﻛﺒﻼﻳﻰ ﺣﺴﻴﻦ ﺍﺯ ﺩﺭﺧﺖ ﭘﺎﻳﻴﻦ ﺁﻣﺪﻧﺪ ﻭ ﺑﻪ ﺳﻤﺖ ﮔﺮﮔﻴﻨﻪ ﻭ ﺧﻮﻥﺁﺷﺎﻡ ﺭﻓﺘﻨﺪ‪ .‬ﻛﺒﻼﻳﻰ‬ ‫ﺣﺴﻴﻦ ﻗﺪﺍﺭﻩﺍﺵ ﺭﺍ ﻏﻼﻑ ﺩﺭﺁﻭﺭﺩ‪ .‬ﺑﺪﻥ ﮔﺮﮔﻴﻨﻪ ﻭ ﺧﻮﻥﺁﺷﺎﻡ ﺑﻪ ﺣﺎﻟﺖ ﺍﻧﺴﺎﻧﻰ ﺑﺎﺯ ﻣﻰﮔﺸﺖ‪.‬‬ ‫ﭘﻴﺮﻣﺮﺍﺩ ﺍﻧﮕﺸﺖ ﺍﺷﺎﺭﻩﺍﺵ ﺭﺍ ﺩﺭ ﺧﻮﻥ ﺯﺩ ﻭ ﺯﻳﺮ ﻧﻮﺭ ﻣﺎﻩ ﮔﺮﻓﺖ‪ .‬ﺧﻮﻥ ﺩﺭ ﻣﻬﺘﺎﺏ ﻣﻰﺩﺭﺧﺸﻴﺪ‪.‬‬ ‫»ﺣﺎﻻ ﺑﺎ ﺍﻳﻦ ﻣﻰﺗﻮﻧﻰ ﺩﺭﺩﺕ ﺭﻭ ﺩﻭﺍ ﻛﻨﻰ‪«.‬‬ ‫ﻛﺒﻼﻳﻰ ﺣﺴﻴﻦ ﺑﻪ ﭼﻬﺮﻩﻯ ﺧﻮﻥﺁﺷﺎﻡ ﺩﻗﻴﻖ ﺷﺪ‪.‬‬ ‫»ﺍﻳﻦ‪ ...‬ﺍﻳﻦ‪ ...‬ﻟﺮﺩ ﻭﻳﻠﻴﺎﻡ ﭼﺎﺭﻝ‪«...‬‬ ‫ﺩﻭ ﻣﺮﺩ ﺟﻮﺍﻥ ﺭﻭﻯ ﺯﻣﻴﻦ ﺍﻓﺘﺎﺩﻩ ﺑﻮﺩﻧﺪ ﻭ ﺧﻮﻥ ﺍﺯ ﺑﺪﻧﺸﺎﻥ ﺟﺎﺭﻯ ﺑﻮﺩ‪.‬‬ ‫ﻗﺮﺹ ﻣﺎﻩ ﺁﻫﺴﺘﻪ ﭘﺸﺖ ﺍﺑﺮﻫﺎ ﭘﻨﻬﺎﻥ ﻣﻰﺷﺪ‪.‬‬

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‫ﻭﻳﮋﻩﻧﺎﻣﻪﻯ ﺧﻮﻥﺁﺷﺎﻡﻫﺎ‬

‫»ﻛﺒﻼﻳﻰ‪ ،‬ﺯﻭﺩ ﺑﺎﺵ ﺍﻳﻦ ﺭﻭ ﺑﻴﺎﺭﻳﻤﺶ ﭘﺎﻳﻴﻦ‪«.‬‬ ‫ﻛﺒﻼﻳﻰ ﺍﺯ ﮔﺎﺭﻯ ﭘﻴﺎﺩﻩ ﺷﺪ ﻭ ﺑﻪ ﺳﻤﺖ ﭘﺸﺖ ﮔﺎﺭﻯ ﺭﻓﺖ‪ .‬ﭼﻤﺎﻗﺶ ﺭﺍ ﺑﻪ ﺳﻤﺖ ﮔﺮﮔﻴﻨﻪ ﮔﺮﻓﺖ‪.‬‬ ‫»ﻧﺘﺮﺱ ﻛﺒﻼﻳﻰ‪ ،‬ﺗﺎ ﺷﺐ ﺑﻴﺪﺍﺭ ﻧﻤﻰﺷﻪ‪«.‬‬ ‫ﻛﺒﻼﻳﻰ ﺣﺴﻴﻦ ﺁﻫﺴﺘﻪ ﺑﻪ ﻣﺮﺩ ﺟﻮﺍﻥ ﻧﺰﺩﻳﻚ ﺷﺪ ﻃﻨﺎﺑﻰ ﺭﺍ ﻛﻪ ﺑﻪ ﺩﺳﺖ ﻭ ﭘﺎﻯ ﻣﺮﺩ ﺟﻮﺍﻥ ﺑﺴﺘﻪ‬ ‫ﺷﺪﻩ ﺑﻮﺩ‪ ،‬ﺩﺭ ﺩﺳﺖ ﮔﺮﻓﺖ ﻭ ﻛﺸﻴﺪ‪ .‬ﭘﻴﺮﻣﺮﺍﺩ ﮔﺎﺭﻯ ﺩﺳﺘﻰ ﺭﺍ ﺑﻪ ﭘﺸﺖ ﮔﺎﺭﻯ ﻧﺰﺩﻳﻚ ﻛﺮﺩ ﻭ ﻣﺮﺩ‬ ‫ﺭﺍ ﺭﻭﻯ ﮔﺎﺭﻯ ﮔﺬﺍﺷﺘﻨﺪ‪ .‬ﭘﻴﺮﻣﺮﺍﺩ ﻧﮕﺎﻫﻰ ﺑﻪ ﻣﺮﺩ ﺟﻮﺍﻥ ﻛﺮﺩ‪.‬‬ ‫»ﺣﺎﻻ ﺑﺎﻳﺪ ﺍﻳﻦ ﺭﻭ ﺑﺒﺮﻳﻢ ﺗﻮ ﺑﺎﻍ‪«.‬‬ ‫»ﺑﺒﺮﻳﻢ ﺗﻮ ﺑﺎﻍ؟ ﻭﺍﺳﻪ ﭼﻰ؟«‬ ‫»ﻭﺍﺳﻪ ﺍﻳﻦ ﻛﻪ ﺍﺯ ﺷﺮ ﺧﻮﻥﺁﺷﺎﻡ ﺭﺍﺣﺖ ﺑﺸﻴﻢ‪«.‬‬ ‫»ﺑﺎ ﺍﻳﻦ؟«‬ ‫»ﺗﻨﻬﺎ ﻳﻪ ﻣﻮﺟﻮﺩﻩ ﻛﻪ ﻣﻰﺗﻮﻧﻪ ﺧﻮﻥﺁﺷﺎﻡ ﺭﻭ ﺍﺯ ﺑﻴﻦ ﺑﺒﺮﻩ‪«.‬‬ ‫ﻛﺒﻼﻳﻰ ﺣﺴﻴﻦ ﭘﺎﺭﭼﻪﻯ ﺩﻭﺭ ﮔﺮﺩﻧﺶ ﺭﺍ ﺑﺎﺯ ﻛﺮﺩ ﻭ ﺩﺭ ﺩﺳﺖ ﮔﺮﻓﺖ‪ .‬ﺑﺨﺶﻫﺎﻳﻰ ﺍﺯ ﭘﺎﺭﭼﻪ ﻗﺮﻣﺰ‬ ‫ﺑﻮﺩ‪.‬‬ ‫»ﻓﻘﻂ ﺩﻋﺎ ﻛﻦ ﻛﺒﻼﻳﻰ‪ .‬ﺗﻨﻬﺎ ﺍﻣﻴﺪﻣﻮﻥ ﻫﻤﻴﻨﻪ‪ .‬ﻭﮔﺮﻧﻪ ﻣﻤﻜﻨﻪ ﺗﻮ ﻫﻢ ﻳﻪ ﺧﻮﻥﺁﺷﺎﻡ‪«...‬‬ ‫ﻛﺒﻼﻳﻰ ﻧﻔﺲ ﻋﻤﻴﻘﻰ ﻛﺸﻴﺪ ﻭ ﺩﺳﺘﺶ ﺭﺍ ﺭﻭﻯ ﮔﺎﺭﻯ ﺩﺳﺘﻰ ﮔﺬﺍﺷﺖ‪.‬‬ ‫‪ ‬ﭘﻴﺮﻣﺮﺍﺩ ﻭ ﻛﺒﻼﻳﻰ ﺣﺴﻴﻦ ﺭﻭﻯ ﺑﻠﻨﺪﺗﺮﻳﻦ ﺩﺭﺧﺖ ﭼﻨﺎﺭ ﺑﺎﻍ ﻗﻠﻬﻚ ﻧﺸﺴﺘﻪ ﺑﻮﺩﻧﺪ‪ .‬ﻗﺮﺹ ﻣﺎﻩ‬ ‫ﺁﺭﺍﻡ ﺁﺭﺍﻡ ﺍﺯ ﭘﺸﺖ ﺍﺑﺮﻫﺎ ﺑﻴﺮﻭﻥ ﻣﻰﺁﻣﺪ‪.‬‬ ‫»ﭘﻴﺮﻣﺮﺍﺩ ﭼﻰ ﻣﻰﺷﻪ ﺍﻻﻥ؟«‬ ‫»ﻧﮕﺎﻩ ﻛﻦ‪«.‬‬ ‫ﻛﺒﻼﻳﻰ ﺣﺴﻴﻦ ﻧﮕﺎﻫﺶ ﺭﺍ ﺑﻪ ﮔﺎﺭﻯ ﺩﻭﺧﺖ ﻛﻪ ﻣﺮﺩ ﺟﻮﺍﻥ ﺭﻭﻯ ﺁﻥ ﻗﺮﺍﺭ ﺩﺍﺷﺖ‪ .‬ﻗﺮﺹ ﻣﺎﻩ ﻛﺎﻣﻞ‬ ‫ﻣﻰﺷﺪ‪ .‬ﻣﻬﺘﺎﺏ ﺑﻪ ﺭﻭﻯ ﻣﺮﺩ ﺟﻮﺍﻥ ﻣﻰﺗﺎﺑﻴﺪ‪ .‬ﻣﺮﺩ ﺟﻮﺍﻥ ﺁﻫﺴﺘﻪ ﺁﻫﺴﺘﻪ ﺗﻐﻴﻴﺮ ﺷﻜﻞ ﻣﻰﺩﺍﺩ‪ .‬ﭘﻮﺯﻩ‪،‬‬ ‫ﺩﻡ‪ ،‬ﭘﻮﺳﺖ‪ ،‬ﺣﺎﻟﺖ ﺩﺳﺖ ﻭ ﭘﺎ‪ ،‬ﭘﻨﺠﻪ ﻭ‪ ...‬ﮔﺮگ‪.‬‬ ‫ﮔﺮﮔﻴﻨﻪ ﺍﺯ ﮔﺎﺭﻯ ﭘﺎﻳﻴﻦ ﭘﺮﻳﺪ ﻭ ﺑﻪ ﺍﻃﺮﺍﻑ ﭼﺸﻢ ﺩﻭﺧﺖ ﻭ ﺷﺮﻭﻉ ﺑﻪ ﺑﻮ ﻛﺸﻴﺪﻥ ﻛﺮﺩ‪.‬‬ ‫ﻛﺒﻼﻳﻰ ﺣﺴﻴﻦ ﺑﻪ ﭘﻴﺮﻣﺮﺍﺩ ﻧﮕﺎﻩ ﻛﺮﺩ‪ .‬ﭘﻴﺮﻣﺮﺍﺩ ﺩﺳﺘﺶ ﺭﺍ ﺑﻪ ﻧﺸﺎﻧﻪﻯ ﺳﻜﻮﺕ ﺭﻭﻯ ﺻﻮﺭﺗﺶ‬ ‫ﮔﺬﺍﺷﺖ‪.‬‬ ‫ﺻﺪﺍﻯ ﺑﻪ ﻫﻢ ﺧﻮﺭﺩﻥ ﺩﺭ ﺍﺯ ﺳﻤﺖ ﺳﺎﺧﺘﻤﺎﻥ ﺑﺎﻍ ﺑﻪ ﮔﻮﺵ ﺭﺳﻴﺪ‪ .‬ﺳﺎﻳﻪﺍﻯ ﺑﻠﻨﺪ ﺭﻭﻯ ﺯﻣﻴﻦ‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،9-10‬ﺷﻬﺮﻳﻮﺭ ﻭ ﻣﻬﺮ ‪1390‬‬

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‫ﻭﺣﺸﺖ ‪ -‬ﻧﮕﺎﺭﺵ‬

‫»ﺍﻣﺎ ﭘﻴﺮﻣﺮﺍﺩ‪«...‬‬ ‫ﺁﻫﺴﺘﻪ ﺁﻫﺴﺘﻪ ﻧﺨﺴﺘﻴﻦ ﺍﺷﻌﻪﻫﺎﻯ ﺧﻮﺭﺷﻴﺪ ﺗﺎﺑﻴﺪﻩ ﻣﻰﺷﺪ‪ .‬ﭘﻴﺮﻣﺮﺍﺩ ﺍﺯ ﺟﺎﻳﺶ ﺑﻠﻨﺪ ﺷﺪ ﻭ ﺑﻪ‬ ‫ﺳﻤﺖ ﻣﺮﺩ ﺟﻮﺍﻥ ﺭﻓﺖ‪ .‬ﻣﺮﺩ ﺟﻮﺍﻥ ﺑﺪﻭﻥ ﺑﺎﻻﭘﻮﺵ ﺭﻭﻯ ﺧﺎﻙ ﺩﺭ ﻣﻴﺎﻥ ﺩﺍﻳﺮﻩ ﺍﻓﺘﺎﺩﻩ ﺑﻮﺩ‪ .‬ﻛﺒﻼﻳﻰ‬ ‫ﺣﺴﻴﻦ ﭘﺸﺖ ﺳﺮ ﭘﻴﺮﻣﺮﺍﺩ ﺣﺮﻛﺖ ﻣﻰﻛﺮﺩ‪.‬‬ ‫»ﺧﺐ ﭘﻴﺮﻣﺮﺍﺩ‪ ،‬ﭼﻴﻜﺎﺭ ﻛﻨﻴﻢ؟ ﺍﻳﻦ ﺩﻳﮕﻪ ﻛﻴﻪ؟«‬ ‫ﭘﻴﺮﻣﺮﺍﺩ ﺩﺳﺘﻰ ﺑﻪ ﺷﺎﻧﻪﻯ ﻣﺮﺩ ﺟﻮﺍﻥ ﺯﺩ‪ .‬ﻣﺮﺩ ﺟﻮﺍﻥ ﺍﺯ ﺟﺎﻳﺶ ﺑﻠﻨﺪ ﺷﺪ ﻭ ﺑﻪ ﺳﻤﺖ ﭘﻴﺮﻣﺮﺍﺩ ﭘﺮﻳﺪ‪.‬‬ ‫ﻛﺒﻼﻳﻰ ﺣﺴﻴﻦ ﮔﺎﻣﻰ ﺑﻪ ﻋﻘﺐ ﺭﻓﺖ‪ .‬ﻣﺮﺩ ﺟﻮﺍﻥ ﺩﺭ ﻣﻴﺎﻥ ﺩﺍﻳﺮﻩ ﺍﻓﺘﺎﺩ ﻭ ﻧﻔﺲ ﻧﻔﺲ ﺯﺩ‪.‬‬ ‫»ﺍﺯ ﺍﻳﻦﺟﺎ ﺑﻴﺎﻡ ﺑﻴﺮﻭﻥ‪ ،‬ﺟﻔﺘﺘﻮﻥ ﺭﻭ ﺗﻴﻜﻪ ﺗﻴﻜﻪ ﻣﻰﻛﻨﻢ‪«.‬‬ ‫ّ‬ ‫»ﺟﻞﺍﻟﺨﺎﻟﻖ‪ .‬ﻳﻌﻨﻰ ﺍﻳﻦ ﻫﻤﻮﻥ‪«...‬‬ ‫ﭘﻴﺮﻣﺮﺍﺩ ﻭﺭﺩﻯ ﺯﻳﺮ ﻟﺐ ﺧﻮﺍﻧﺪ ﻭ ﻣﺮﺩ ﺟﻮﺍﻥ ﺑﻴﻬﻮﺵ ﺍﻓﺘﺎﺩ‪.‬‬ ‫‪‬ﭘﻴﺮﻣﺮﺍﺩ ﻭ ﻛﺒﻼﻳﻰ ﺣﺴﻴﻦ ﺳﻮﺍﺭ ﺑﺮ ﮔﺎﺭﻯ ﺑﻪ ﺳﻮﻯ ﻗﻠﻬﻚ ﺩﺭ ﺣﺮﻛﺖ ﺑﻮﺩﻧﺪ‪.‬‬ ‫»ﺧﺐ ﭘﻴﺮﻣﺮﺍﺩ‪ ،‬ﻳﻌﻨﻰ ﺍﻳﻦ ﺭﻭ ﮔﺮﻓﺘﻴﻢ ﻛﺎﺭ ﺗﻤﻮﻣﻪ؟ ﻳﻌﻨﻰ ﻫﻤﻪﻯ ﻣﺎﺟﺮﺍ ﺯﻳﺮ ﺳﺮ ﺍﻳﻦ ﺑﻮﺩ؟ ﻭﻟﻰ ﺍﻳﻦ‬ ‫ﺍﻭﻧﻰ ﻧﻴﺴﺖ ﻛﻪ ﻣﻦ ﺩﻳﺪﻣﺎ‪ .‬ﭼﺸﻤﺎﺵ‪«...‬‬ ‫»ﻧﻪ ﻛﺮﺑﻼﻳﻰ‪ ،‬ﺻﺒﺮ ﺩﺍﺷﺘﻪ ﺑﺎﺷﻦ‪ .‬ﺍﻳﻦ ﺍﻭﻥ ﻧﻴﺴﺖ‪«.‬‬ ‫»ﭘﺲ ﭼﻴﻪ ﺁﺧﻪ؟ ﻣﺎ ﺭﻭ ﻭﺭﺩﺍﺷﺘﻰ ﺑﺮﺩﻯ ﺍﻭﻥﺟﺎ‪ ،‬ﻳﻪ ﻛﺎﺭﺍﻳﻰﺍﻡ ﻛﺮﺩﻯ ﻛﻪ ﻣﻦ ﺍﺻ ً‬ ‫ﻼ ﻧﻔﻬﻤﻴﺪﻡ‪ .‬ﺧﺐ‬ ‫ﻻﺍﻗﻞ ﻳﻪ ﺟﻮﺍﺏ ﺩﺭﺳﺖ ﻭ ﺣﺴﺎﺑﻰ ﺑﻬﻢ ﺑﺪﻩ‪ .‬ﺍﻳﻦ ﻳﺎﺭﻭ ﻛﻴﻪ ﻛﻪ ﻣﺎ ﮔﺮﻓﺘﻴﻢ؟«‬ ‫»ﺑﻬﺶ ﻣﻰﮔﻦ ﮔﺮﮔﻴﻨﻪ ﻛﺮﺑﻼﻳﻰ‪ .‬ﮔﺮﮔﻴﻨﻪ‪ .‬ﺁﺩﻡ ﮔﺮگﻧﻤﺎ ﻳﺎ ﮔﺮگ ﺁﺩﻡﻧﻤﺎ!«‬ ‫ﻛﺒﻼﻳﻰ ﺣﺴﻴﻦ ﺑﻪ ﺍﻃﺮﺍﻑ ﺧﻴﺮﻩ ﺷﺪ‪.‬‬ ‫»ﺍﻳﻦﻫﺎ ﻭﻗﺘﻰ ﻛﻪ ﺷﺐ ﻣﻰﺷﻪ ﻭ ﺁﺳﻤﻮﻥ ﻣﻬﺘﺎﺑﻴﻪ‪ ،‬ﺷﻜﻞ ﮔﺮﮔﻦ ﻭ ﺭﻭﺯﻫﺎ ﺷﻜﻞ ﺁﺩﻡ‪ .‬ﺑﻪ ﺧﺎﻃﺮ‬ ‫ﻫﻤﻴﻦﻫﺎ ﻫﻢ ﺑﻮﺩﻡ ﻛﻪ ﻣﺮﺩﻡ ﺗﺠﺮﺷﺖ ﺩﻫﺸﻮﻥ ﺭﻭ ﻭﻝ ﻛﺮﺩﻥ ﻭ ﺭﻓﺘﻦ ﻛﻨﺎﺭ ﺍﻣﺎﻣﺰﺍﺩﻩ ﻳﻪ ﺩﻩ ﺟﺪﻳﺪ‬ ‫ﺳﺎﺧﺘﻦ‪«.‬‬ ‫»ﮔﺮگ ﻭ ﺁﺩﻡ ﺩﺭﻫﻢ؟! ﺑﻪ ﺣﻖ ﭼﻴﺰﺍﻯ ﻧﺪﻳﺪﻩ ﻭ ﻧﺸﻨﻴﺪﻩ‪ ...‬ﺗﻮ ﺍﻳﻦ ﭼﻨﺪ ﺭﻭﺯ‪«...‬‬ ‫ﻛﺮﺑﻼﻳﻰ ﺍﺩﺍﻣﻪﻯ ﺣﺮﻓﺶ ﺭﺍ ﺧﻮﺭﺩ‪ .‬ﺍﺻ ً‬ ‫ﻼ ﺣﺮﻓﻰ ﺑﺮﺍﻯ ﮔﻔﺘﻦ ﻧﺪﺍﺷﺖ‪.‬‬ ‫‪ ‬ﭘﻴﺮﻣﺮﺍﺩ ﻭ ﻛﺒﻼﻳﻰ ﺣﺴﻴﻦ ﺳﻮﺍﺭ ﺑﺮ ﮔﺎﺭﻯ ﺑﻪ ﺟﻠﻮﻯ ﺑﺎﻍ ﻗﻠﻬﻚ ﺭﺳﻴﺪﻧﺪ‪ .‬ﺩﺭ ﺑﺎﻍ ﺑﺎﺯ ﺑﻮﺩ‪.‬‬ ‫ﻋﻠﻒﻫﺎﻯ ﻫﺮﺯ ﺩﺭ ﻣﻴﺎﻥ ﮔﻴﺎﻫﺎﻥ ﺭﻭﻳﻴﺪﻩ ﺑﻮﺩ‪.‬‬ ‫‪67‬‬

‫ﻭﻳﮋﻩﻧﺎﻣﻪﻯ ﺧﻮﻥﺁﺷﺎﻡﻫﺎ‬

‫ﺗﺎﺭﻳﻚ ﺑﻮﺩ‪.‬‬ ‫ﭘﻴﺮﻣﺮﺍﺩ ﺩﻭ ﺯﺍﻧﻮ ﻧﺸﺴﺘﻪ ﺑﻮﺩ ﻭ ﺑﻪ ﺭﻭﺑﻪﺭﻭ ﺧﻴﺮﻩ ﺷﺪﻩ ﺑﻮﺩ‪ .‬ﻛﺒﻼﻳﻰ ﺣﺴﻴﻦ ﻛﻼﻫﺶ ﺭﺍ ﺍﺯ ﺳﺮ‬ ‫ﺑﺮﺩﺍﺷﺖ‪.‬‬ ‫»ﻳﺎ ﺧﺪﺍ! ﺧﻮﺩﺕ ﺑﻪ ﺩﺍﺩﻣﻮﻥ ﺑﺮﺱ‪«.‬‬ ‫ﺻﺪﺍﻯ ﺧﺶﺧﺶ ﻧﺰﺩﻳﻚ ﻭ ﻧﺰﺩﻳﻚﺗﺮ ﻣﻰﺷﺪ‪ .‬ﭘﻴﺮﻣﺮﺍﺩ ﮔﺮﺩﻯ ﺭﺍ ﺭﻭﻯ ﺷﻌﻠﻪﻯ ﻣﺸﻌﻞ ﺭﻳﺨﺖ‪.‬‬ ‫ﺩﻭﺩﻯ ﺍﺯ ﻣﺸﻌﻞ ﺑﻠﻨﺪ ﺷﺪ‪ .‬ﻛﺒﻼﻳﻰ ﺣﺴﻴﻦ ﻣﺸﻌﻞ ﺭﺍ ﻣﻰﭼﺮﺧﺎﻧﺪ ﻭ ﺩﺭ ﻧﻮﺭ ﻣﺸﻌﻞ ﭼﻴﺰﻫﺎﻳﻰ ﺭﺍ‬ ‫ﻣﻰﺩﻳﺪ ﻛﻪ ﺩﻭﺭ ﺍﻭ ﻭ ﭘﻴﺮﻣﺮﺍﺩ ﺣﺮﻛﺖ ﻣﻰﻛﻨﻨﺪ‪.‬‬ ‫»ﭘﻴﺮﻣﺮﺍﺩ ﺍﻭﻣﺪﻥ‪«.‬‬ ‫ﭘﻴﺮﻣﺮﺍﺩ ﺩﺳﺘﺎﻧﺶ ﺭﺍ ﺑﻪ ﺳﻤﺖ ﺁﺳﻤﺎﻥ ﮔﺮﻓﺖ ﻭ ﭼﻴﺰﻯ ﺭﺍ ﺯﻳﺮ ﻟﺐ ﺯﻣﺰﻣﻪ ﻛﺮﺩ‪ .‬ﻛﺒﻼﻳﻰ ﺣﺴﻴﻦ‬ ‫ﻣﺸﻌﻞ ﺭﺍ ﺑﻪ ﺳﻤﺖ ﺟﻠﻮﻳﺶ ﮔﺮﻓﺖ‪ .‬ﺁﻫﺴﺘﻪ ﺁﻫﺴﺘﻪ ﭼﻴﺰﻯ ﺩﺭ ﻧﻮﺭ ﻣﺸﻌﻞ ﻧﻤﺎﻳﺎﻥ ﻣﻰﺷﺪ‪.‬‬ ‫»ﭘﻴﺮﻣﺮﺍﺩ ﺍﻳﻨﺎ ﺩﻳﮕﻪ ﭼﻴﻦ؟!«‬ ‫ﭘﻴﺮﻣﺮﺍﺩ ﺩﺳﺘﺎﻧﺶ ﺭﺍ ﺭﻭﻯ ﺯﺍﻧﻮﻫﺎﻳﺶ ﮔﺬﺍﺷﺖ‪ .‬ﻛﺒﻼﻳﻰ ﺣﺴﻴﻦ ﺭﻭﺑﻪﺭﻭ ﺭﺍ ﻧﮕﺎﻩ ﻣﻰﻛﺮﺩ ﻭ ﺁﺭﺍﻡ ﺁﺭﺍﻡ‬ ‫ﭼﻬﺮﻩﻯ ﮔﺮﮔﻰ ﺭﻭﺑﻪﺭﻭﻳﺶ ﻧﻤﺎﻳﺎﻥ ﺷﺪ‪ .‬ﮔﺮگ ﺑﻪ ﺳﻤﺖ ﻛﺒﻼﻳﻰ ﺣﺴﻴﻦ ﭘﺮﻳﺪ‪ .‬ﻛﺒﻼﻳﻰ ﺣﺴﻴﻦ‬ ‫ﻓﺮﻳﺎﺩﻯ ﺯﺩ‪ ،‬ﺑﻠﻨﺪ ﺷﺪ ﻭ ﻗﺪﺍﺭﻩﺍﺵ ﺭﺍ ﺑﻪ ﺳﻤﺖ ﮔﺮگ ﮔﺮﻓﺖ‪ .‬ﮔﺮگ ﺑﻪ ﻣﺎﻧﻊ ﻧﺎﻣﺮﻳﻰ ﺑﺮﺧﻮﺭﺩ ﻛﺮﺩ‬ ‫ﻭ ﻧﺎﻟﻪﺍﻯ ﻛﺸﻴﺪ ﻭ ﺩﻭﺭ ﺷﺪ‪.‬‬ ‫»ﻛﺮﺑﻼﻳﻰ ﺁﺭﻭﻡ ﺑﺎﺵ ﻭ ﺑﻪ ﺧﺪﺍ ﺗﻮﻛﻞ ﻛﻦ‪«.‬‬ ‫ﻛﺒﻼﻳﻰ ﺣﺴﻴﻦ ﺑﻪ ﺩﻭﺭ ﻭ ﺑﺮﺵ ﭼﺸﻢ ﺩﻭﺧﺖ‪ .‬ﻣﺸﻌﻞ ﺍﺯ ﺩﺍﻳﺮﻩ ﺑﻴﺮﻭﻥ ﺍﻓﺘﺎﺩﻩ ﺑﻮﺩ‪ .‬ﮔﺮگ ﺧﺎﻛﺴﺘﺮﻯ‬ ‫ﻣﺸﻌﻞ ﺭﺍ ﺑﻪ ﺩﻧﺪﺍﻧﺶ ﮔﺮﻓﺖ ﻭ ﺁﻥ ﺭﺍ ﺑﻪ ﺧﺎﻙ ﺯﺩ ﻭ ﺧﺎﻣﻮﺵ ﻛﺮﺩ‪ .‬ﺍﻛﻨﻮﻥ ﻫﻤﻪ ﺟﺎ ﺗﺎﺭﻳﻚ ﺑﻮﺩ‪.‬‬ ‫»ﺁﺗﻴﺶ ﺧﻔﻪ ﺷﺪ‪ .‬ﺣﺎﻻ ﭼﻰ؟«‬ ‫ﻧﺎﮔﻬﺎﻥ ﺟﺮﻗﻪﻯ ﻧﻮﺭﻯ ﺭﻭﺑﻪﺭﻭﻯ ﺁﻥﻫﺎ ﺩﻳﺪﻩ ﺷﺪ ﻭ ﺻﺪﺍﻯ ﻧﺎﻟﻪﻯ ﮔﺮگ ﺑﻪ ﮔﻮﺵ ﺭﺳﻴﺪ‪.‬‬ ‫‪‬ﺁﺳﻤﺎﻥ ﮔﺮگ ﻭ ﻣﻴﺶ ﺑﻮﺩ‪ .‬ﻛﺒﻼﻳﻰ ﺣﺴﻴﻦ ﺧﻴﺮﻩ ﺭﻭﺑﻪﺭﻭ ﺭﺍ ﻧﮕﺎﻩ ﻣﻰﻛﺮﺩ‪ .‬ﭘﻴﺮﻣﺮﺍﺩ ﭼﺸﻤﺎﻧﺶ ﺭﺍ‬ ‫ﺑﺴﺘﻪ ﺑﻮﺩ‪ .‬ﻛﺒﻼﻳﻰ ﺣﺴﻴﻦ ﺩﺳﺘﺶ ﺭﺍ ﺭﻭﻯ ﮔﺮﺩﻧﺶ ﻛﺸﻴﺪ‪ .‬ﺧﻮﻥ ﺑﺨﺸﻰ ﺍﺯ ﺩﺳﺘﺶ ﺭﺍ ﻗﺮﻣﺰ ﻛﺮﺩ‪.‬‬ ‫»ﭘﻴﺮﻣﺮﺍﺩ‪ ...‬ﺍﻭﻥﺟﺎ ﺭﻭ‪«.‬‬ ‫ﭘﻴﺮﻣﺮﺍﺩ ﭼﺸﻤﺎﻧﺶ ﺭﺍ ﺑﺎﺯ ﻛﺮﺩ‪ .‬ﻣﺮﺩ ﺟﻮﺍﻧﻰ ﺩﺭ ﻣﻴﺎﻥ ﺩﺍﻳﺮﻩﻯ ﺧﺎﻟﻰ ﺍﻓﺘﺎﺩﻩ ﺑﻮﺩ‪ .‬ﻛﺒﻼﻳﻰ ﺣﺴﻴﻦ ﺍﺯ‬ ‫ﺟﺎﻳﺶ ﺑﻠﻨﺪ ﺷﺪ ﻭ ﻧﮕﺎﻫﻰ ﺑﻪ ﺩﻭﺭ ﻭ ﺑﺮ ﺍﻧﺪﺍﺧﺖ ﻭ ﻗﺪﺍﺭﻩﺍﺵ ﺭﺍ ﻣﺤﻜﻢ ﺩﺭ ﺩﺳﺘﺶ ﮔﺮﻓﺖ‪.‬‬ ‫»ﺑﺸﻴﻦ ﻛﺒﻼﻳﻰ‪ .‬ﺑﺎﻳﺪ ﺁﻓﺘﺎﺏ ﺑﺰﻧﻪ ﺗﺎ ﺑﺘﻮﻧﻰ ﺍﻣﻦ ﻭ ﺍﻣﺎﻥ ﺍﺯ ﺍﻳﻦ ﺩﺍﻳﺮﻩ ﺑﺮﻯ ﺑﻴﺮﻭﻥ‪«.‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،9-10‬ﺷﻬﺮﻳﻮﺭ ﻭ ﻣﻬﺮ ‪1390‬‬

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‫ﻭﺣﺸﺖ ‪ -‬ﻧﮕﺎﺭﺵ‬

‫»ﺩﺭﺳﺘﻪ ﻣﻰﺷﻪ ﻛﺮﺑﻼﻳﻰ‪ .‬ﺩﺭﺳﺖ ﻣﻰﺷﻪ‪ .‬ﺻﺒﺮ ﺩﺍﺷﺘﻪ ﺑﺎﺵ‪«.‬‬ ‫»ﺁﺧﻪ ﭼﻪﺟﻮﺭﻯ ﺩﺭﺳﺖ ﻣﻰﺷﻪ‪ .‬ﻭﻗﺘﻰ ﺍﻧﮕﻠﻴﺲﻫﺎ ﺑﺎ ﺍﻭﻥ ﻫﻤﻪ ﺍﺳﻠﺤﻪ ﻭ‬ ‫ﻋﻠﻢ ﻭ ﻛﺘﻞ ﻧﺘﻮﻧﺴﺘﻦ ﻫﻴﭻﻛﺎﺭﻯ ﺑﻜﻨﻦ‪ ،‬ﻣﺎ ﻛﻪ ﺩﻳﮕﻪ ﺟﺎﻯ ﺧﻮﺩ ﺩﺍﺭﻳﻢ‪.‬‬ ‫ﺗﻮ ﻫﻢ ﻛﻪ ﺑﻪ ﻣﺎ ﻧﻤﻰﮔﻰ ﻗﺮﺍﺭﻩ ﭼﻜﺎﺭ ﻛﻨﻴﻢ‪«.‬‬ ‫»ﺗﻮﻛﻠﺖ ﺑﻪ ﺧﺪﺍ ﺑﺎﺷﻪ ﻛﺮﺑﻼﻳﻰ‪ .‬ﻓﻌ ً‬ ‫ﻼ ﺧﻮﺩﺕ ﺭﻭ ﺁﻣﺎﺩﻩ ﻛﻦ ﻛﻪ ﻭﻗﺖ‬ ‫ﺷﻜﺎﺭﻩ‪«.‬‬ ‫‪ ‬ﭘﻴﺮﻣﺮﺍﺩ ﺩﺭ ﻣﻴﺎﻥ ﺩﻫﻜﺪﻩﻯ ﻣﺘﺮﻭﻛﻪﻯ ﺗﺠﺮﺷﺖ ﺍﻳﺴﺘﺎﺩﻩ ﺑﻮﺩ ﻭ ﺑﻪ‬ ‫ﺍﻃﺮﺍﻑ ﻧﮕﺎﻩ ﻣﻰﻛﺮﺩ‪ .‬ﺩﺭﻫﺎﻯ ﺧﺎﻧﻪﻫﺎ ﺑﺎ ﺑﺎﺩ ﺗﻜﺎﻥ ﻣﻰﺧﻮﺭﺩ ﻭ ﭘﻨﺠﺮﻩﻫﺎ ﺑﻪ‬ ‫ﭼﺎﺭﭼﻮﺏ ﻛﻮﻓﺘﻪ ﻣﻰﺷﺪﻧﺪ‪.‬‬ ‫»ﭘﻴﺮﻣﺮﺍﺩ ﻭﺍﻳﺴﺎﺩﻳﻢ ﺍﻳﻦﺟﺎ ﭼﻴﻜﺎﺭ؟«‬ ‫ﭘﻴﺮﻣﺮﺍﺩ ﻋﺼﺎﻳﺶ ﺭﺍ ﺭﻭﻯ ﺯﻣﻴﻦ ﮔﺬﺍﺷﺖ ﻭ ﺩﻭﺭ ﺗﺎ ﺩﻭﺭ ﺧﻮﺩﺵ ﻭ ﻛﺒﻼﻳﻰ‬ ‫ﺣﺴﻴﻦ ﺩﺍﻳﺮﻩﺍﻯ ﻛﺸﻴﺪ‪.‬‬ ‫»ﺍﻳﻦ ﭼﻴﻪ ﭘﻴﺮﻣﺮﺍﺩ؟ ﺍﻳﻦﺟﺎ ﭘﺮ ﮔﺮﮔﻪ‪ .‬ﻣﺮﺩﻣﺶ ﻫﻢ ﺍﺯ ﺩﺳﺖ ﺍﻳﻦ ﮔﺮگﻫﺎ‬ ‫ﻓﺮﺍﺭ ﻛﺮﺩﻥ ﻭ ﺭﻓﺘﻦ‪ .‬ﻣﻰﺧﻮﺍﻯ ﺗﻴﻜﻪ ﺗﻴﻜﻪﻣﻮﻥ ﻛﻨﻦ؟!«‬ ‫ﭘﻴﺮﻣﺮﺍﺩ ﻧﮕﺎﻫﻰ ﺑﻪ ﺁﺳﻤﺎﻥ ﻛﺮﺩ ﻭ ﺳﺮﺵ ﺭﺍ ﭘﺎﻳﻴﻦ ﺍﻧﺪﺍﺧﺖ‪.‬‬ ‫»ﺗﻮﻛﻞ ﻛﻦ ﺑﻪ ﺧﺪﺍ‪ .‬ﻓﻘﻂ ﺭﻭﻯ ﺯﻣﻴﻦ ﺑﺸﻴﻦ ﻭ ﺍﺯ ﺍﻳﻦ ﺩﺍﻳﺮﻩ ﺑﻴﺮﻭﻥ ﻧﺮﻭ‪«.‬‬ ‫ﻛﺒﻼﻳﻰ ﺣﺴﻴﻦ ﺭﻭﻯ ﺯﻣﻴﻦ ﻧﺸﺴﺖ ﻭ ﺗﺴﺒﻴﺤﺶ ﺭﺍ ﺍﺯ ﺩﺭ ﺩﺳﺖ ﮔﺮﻓﺖ‬ ‫ﻭ ﻗﺪﺍﺭﻩﺍﺵ ﺭﺍ ﺁﻣﺎﺩﻩ ﺭﻭﻯ ﭘﺎﻫﺎﻳﺶ ﮔﺬﺍﺷﺖ‪ .‬ﭘﻴﺮﻣﺮﺍﺩ ﻛﻤﻰ ﺁﻥ ﻃﺮﻑﺗﺮ‬ ‫ﺷﺮﻭﻉ ﺑﻪ ﻛﺸﻴﺪﻥ ﺩﺍﻳﺮﻩﺍﻯ ﺩﻳﮕﺮ ﻛﺮﺩ ﻭ ﻗﻄﺮﻩﺍﻯ ﺍﺯ ﺷﻴﺸﻪﺍﻯ ﻛﻪ ﺩﺭ‬ ‫ﺩﺳﺖ ﺩﺍﺷﺖ ﺩﺭ ﻣﻴﺎﻥ ﺩﺍﻳﺮﻩ ﭼﻜﺎﻧﺪ‪.‬‬ ‫‪ ‬ﻗﺮﺹ ﻣﺎﻩ ﺩﺭ ﻣﻴﺎﻥ ﺁﺳﻤﺎﻥ ﺗﺎﺭﻳﻚ ﻣﻰﺩﺭﺧﺸﻴﺪ‪ .‬ﺻﺪﺍﻯ ﺯﻭﺯﻩﻯ‬ ‫ﮔﺮگﻫﺎ ﺷﻨﻴﺪﻩ ﻣﻰﺷﺪ‪.‬‬ ‫»ﭘﻴﺮﻣﺮﺍﺩ‪«...‬‬ ‫ﻛﺒﻼﻳﻰ ﺣﺴﻴﻦ ﺷﻌﻠﻪﺍﻯ ﺁﺗﺶ ﺩﺭ ﺩﺳﺘﺶ ﺩﺍﺷﺖ ﻭ ﺑﻪ ﺍﻃﺮﺍﻑ‬ ‫ﻣﻰﭼﺮﺧﺎﻧﺪ‪ .‬ﺻﺪﺍﻯ ﺧﺶﺧﺶ ﺍﺯ ﺍﻃﺮﺍﻑ ﺑﻪ ﮔﻮﺵ ﻣﻰﺭﺳﻴﺪ‪ .‬ﻫﻤﻪ ﺟﺎ‬ ‫‪65‬‬

‫ﻭﻳﮋﻩﻧﺎﻣﻪﻯ ﺧﻮﻥﺁﺷﺎﻡﻫﺎ‬

‫ﭘﻴﺮﻣﺮﺍﺩ ﻛﻤﻰ‬ ‫ﺁﻥ ﻃﺮﻑﺗﺮ‬ ‫ﺷﺮﻭﻉ ﺑﻪ‬ ‫ﻛﺸﻴﺪﻥ‬ ‫ﺩﺍﻳﺮﻩﺍﻯ‬ ‫ﺩﻳﮕﺮ ﻛﺮﺩ‬ ‫ﻭ ﻗﻄﺮﻩﺍﻯ‬ ‫ﺍﺯ ﺷﻴﺸﻪﺍﻯ‬ ‫ﻛﻪ ﺩﺭ ﺩﺳﺖ‬ ‫ﺩﺍﺷﺖ ﺩﺭ‬ ‫ﻣﻴﺎﻥ ﺩﺍﻳﺮﻩ‬ ‫ﭼﻜﺎﻧﺪ‪.‬‬

‫ﻫﻢ ﻛﻪ ﺯﻭﺩﺗﺮ ﺍﺯ ﻫﻤﻪ ﺩﺭ ﺭﻓﺘﻦ‪ .‬ﺍﻭﻣﺪﻥ ﺍﻳﻦ ﺑﻼ ﺭﻭ ﺍﻧﺪﺍﺧﺘﻦ ﺑﻪ ﺟﻮﻥ ﻣﺮﺩﻡ ﻭ ﺍﻟﻔﺮﺍﺭ‪«.‬‬ ‫ﭘﻴﺮﻣﺮﺍﺩ ﺍﺯ ﺩﻭﺭ ﺩﻳﺪﻩ ﻣﻰﺷﺪ‪.‬‬ ‫»ﺧﺐ ﻛﺒﻼﻳﻰ‪ .‬ﺍﻳﺸﺎﻻ ﭼﻨﺪ ﻭﻗﺖ ﺩﻳﮕﻪ‪ .‬ﺩﻭﺑﺎﺭﻩ ﺻﺤﻴﺢ ﻭ ﺳﻼﻣﺖ ﺑﺒﻴﻨﻤﺖ‪«.‬‬ ‫ﺳﺮﺑﺎﺯ ﺍﻧﮕﻠﻴﺴﻰ ﺑﻪ ﮔﺎﺭﻯﻫﺎ ﻭ ﻣﺮﺩﻡ ﻧﮕﺎﻩ ﻣﻰﻛﺮﺩ‪.‬‬ ‫‪‬ﻛﺒﻼﻳﻰ ﺣﺴﻴﻦ ﺍﺯ ﺧﺎﻧﻪ ﺑﻴﺮﻭﻥ ﺁﻣﺪ‪ .‬ﺁﺳﻤﺎﻥ ﮔﺮگ ﻭ ﻣﻴﺶ ﺑﻮﺩ‪ .‬ﺁﺭﺍﻡ ﻭ ﺁﻫﺴﺘﻪ ﺑﻪ ﺳﻤﺖ ﭘﺎﻳﻴﻦ‬ ‫ﻛﻮﭼﻪﺑﺎﻍ ﺑﻪ ﺭﺍﻩ ﺍﻓﺘﺎﺩ‪ .‬ﭼﻤﺎﻗﻰ ﺩﺭ ﺩﺳﺖ ﺩﺍﺷﺖ ﻭ ﻗﺪﺍﺭﻩﺍﻯ ﺑﻪ ﻛﻤﺮ ﺑﺴﺘﻪ ﺑﻮﺩ‪ .‬ﺗﻨﻬﺎ ﺻﺪﺍﻯ ﺑﺎﺩ ﺩﺭ‬ ‫ﻣﻴﺎﻥ ﺷﺎﺧﻪﻫﺎﻯ ﺩﺭﺧﺘﺎﻥ ﺷﻨﻴﺪﻩ ﻣﻰﺷﺪ‪ .‬ﻛﺒﻼﻳﻰ ﻧﮕﺎﻫﻰ ﺑﻪ ﭘﺸﺖ ﺳﺮﺵ ﺍﻧﺪﺍﺧﺖ ﻭ ﺑﻪ ﺳﻤﺖ‬ ‫ﭘﺎﻳﻴﻦ ﻛﻮﭼﻪﺑﺎﻍ ﺑﻪ ﺭﺍﻩ ﺍﻓﺘﺎﺩ‪.‬‬ ‫»ﺑﺴﻢ ﺍﷲ ﺍﻟﺮﺣﻤﻦ ﺍﻟﺮﺣﻴﻢ‪ .‬ﺍﷲ ﻻ ﺍﻟﻪ ﺍﻻ ﻫﻮ ﺍﻟﺤﻰ ﺍﻟﻘﻴﻮﻡ‪«...‬‬ ‫ﺻﺪﺍﻯ ﺧﺶﺧﺶ ﭘﺎﻳﻰ ﺍﺯ ﭘﺸﺖ ﺳﺮﺵ ﺷﻨﻴﺪ‪ .‬ﺳﺮﺵ ﺭﺍ ﺑﺮﮔﺮﺩﺍﻧﺪ ﻭ ﺻﺪﺍﻳﺶ ﺭﺍ ﺑﻠﻨﺪﺗﺮ ﻛﺮﺩ‪.‬‬ ‫»ﻻﺗﺄﺧﺬﻩ ﺳﻨﺔ ﻭ ﻻ ﻧﻮﻡ‪«...‬‬ ‫ﺁﺏ ﺩﻫﺎﻧﺶ ﺭﺍ ﻗﻮﺭﺕ ﺩﺍﺩ‪ .‬ﭼﻤﺎﻕ ﺭﺍ ﺩﺭ ﺩﺳﺘﺎﻧﺶ ﻣﺤﻜﻢﺗﺮ ﮔﺮﻓﺖ‪.‬‬ ‫»ﻳﺨﺮﺟﻮﻧﻬﻢ ﻣﻦ ﺍﻟﻨﻮﺭ ﺍﻟﻰ ﺍﻟﻈﻠﻤﺎﺕ ﺍﻭﻟﺌﻚ ﺍﺻﺤﺎﺏ ﺍﻟ ّﻨﺎﺭ ﻫﻢ ﻓﻴﻬﺎ ﺧﺎﻟﺪﻭﻥ‪«.‬‬ ‫ﺑﻪ ﺳﺮ ﻛﻮﭼﻪﺑﺎﻍ ﺭﺳﻴﺪ‪ .‬ﺑﻪ ﺩﻭ ﻃﺮﻑ ﺟﺎﺩﻩ ﺍﺻﻠﻰ ﻧﮕﺎﻩ ﻛﺮﺩ‪ .‬ﭼﻤﺎﻗﺶ ﺭﺍ ﺑﻪ ﺩﻳﻮﺍﺭ ﺗﻜﻴﻪ ﺩﺍﺩ ﻭ ﺑﺎ‬ ‫ﺩﺳﺘﻤﺎﻟﺶ ﻋﺮﻕ ﺭﺍ ﺍﺯ ﺳﺮ ﻭ ﺻﻮﺭﺗﺶ ﭘﺎﻙ ﻛﺮﺩ‪ .‬ﺩﺳﺘﻰ ﺑﻪ ﺭﻭﻯ ﺷﺎﻧﻪﺍﺵ ﺧﻮﺭﺩ‪ .‬ﻓﺮﻳﺎﺩ ﺑﻠﻨﺪﻯ ﺯﺩ‪.‬‬ ‫»ﺳﻼﻡ ﻋﻠﻴﻜﻢ ﻛﺮﺑﻼﻳﻰ‪«.‬‬ ‫ﻛﺒﻼﻳﻰ ﺣﺴﻴﻦ ﺳﺮﺵ ﺭﺍ ﺑﺮﮔﺮﺩﺍﻧﺪ ﻭ ﭘﻴﺮﻣﺮﺍﺩ ﺭﺍ ﺩﻳﺪ‪ .‬ﻧﻔﺲ ﻋﻤﻴﻘﻰ ﻛﺸﻴﺪ‪.‬‬ ‫»ﭘﻴﺮﻣﺮﺍﺩ ﺳﻨﮕﻜﻮﺏ ﻛﺮﺩﻡ‪«.‬‬ ‫»ﺁﻣﺎﺩﻩﺍﻯ؟«‬ ‫ﻛﺒﻼﻳﻰ ﺣﺴﻴﻦ ﺩﺳﺘﻰ ﺑﻪ ﻗﺪﺍﺭﻩﺍﺵ ﻛﺸﻴﺪ‪.‬‬ ‫»ﺁﻣﺎﺩﻩ ﻭ ﺣﺎﺿﺮ ﺑﻪ ﻳﺮﺍﻕ‪«.‬‬ ‫‪‬ﻛﺒﻼﻳﻰ ﺣﺴﻴﻦ ﻭ ﭘﻴﺮﻣﺮﺍﺩ ﺳﻮﺍﺭ ﺑﺮ ﮔﺎﺭﻯ ﺑﻪ ﺳﻤﺖ ﺷﻤﺎﻝ ﺟﺎﺩﻩ ﺷﻤﻴﺮﺍﻥ ﺩﺭ ﺣﺮﻛﺖ ﺑﻮﺩﻧﺪ‪ .‬ﺩﺭ‬ ‫ﺣﺎﺷﻴﻪﻯ ﺟﺎﺩﻩ ﺩﺭﺧﺘﺎﻥ ﭼﻨﺎﺭ ﺻﻒ ﻛﺸﻴﺪﻩ ﺑﻮﺩﻧﺪ ﻭ ﺍﺯ ﺩﻭﺭ ﻛﻮﻩ ﺩﻣﺎﻭﻧﺪ ﺩﻳﺪﻩ ﻣﻰﺷﺪ‪.‬‬ ‫ﭘﻴﺮﻣﺮﺍﺩ ﻧﮕﺎﻫﺶ ﺭﺍ ﺑﻪ ﺟﺎﺩﻩ ﺩﻭﺧﺘﻪ ﺑﻮﺩ‪ .‬ﻛﺒﻼﻳﻰ ﺣﺴﻴﻦ ﺩﺳﺘﻰ ﺑﻪ ﮔﺮﺩﻧﺶ ﻛﺸﻴﺪ‪ .‬ﭘﻴﺮﻣﺮﺍﺩ ﺑﻪ‬ ‫ﭼﺸﻤﺎﻥ ﺗﺮﺳﻴﺪﻩ ﻛﺒﻼﻳﻰ ﺣﺴﻴﻦ ﻧﮕﺎﻩ ﻛﺮﺩ‪.‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،9-10‬ﺷﻬﺮﻳﻮﺭ ﻭ ﻣﻬﺮ ‪1390‬‬

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‫ﻭﺣﺸﺖ ‪ -‬ﻧﮕﺎﺭﺵ‬

‫ﺑﺨﺸﻴﺪ ﺑﻪ ﺍﻧﮕﻠﻴﺴﻰﻫﺎ‪ .‬ﭘﺲ ﺑﮕﻮ ﭼﺮﺍ ﺟﻨﺎﺯﻩﻫﺎ ﺭﻭ ﭘﺸﺖ ﺑﺎﻍ ﺍﻧﮕﻠﻴﺲﻫﺎ ﭘﻴﺪﺍ ﻣﻰﻛﻨﻦ‪«.‬‬ ‫»ﺷﺎﻳﺪ‪ ...‬ﺷﺎﻳﺪ‪«...‬‬ ‫ﭘﻴﺮﻣﺮﺍﺩ ﻛﺎﺳﻪﻯ ﺁﺏ ﺭﺍ ﺑﻪ ﺳﻤﺖ ﻛﺒﻼﻳﻰ ﺣﺴﻴﻦ ﮔﺮﻓﺖ‪ .‬ﻛﺒﻼﻳﻰ ﺣﺴﻴﻦ ﺩﺳﺘﺶ ﺭﺍ ﺭﻭﻯ‬ ‫ﮔﺮﺩﻧﺶ ﻛﺸﻴﺪ‪ .‬ﻗﻄﺮﻩﺍﻯ ﺧﻮﻥ ﺍﺯ ﮔﺮﺩﻧﺶ ﺭﻭﻯ ﺩﺳﺘﺶ ﻧﺸﺴﺖ‪.‬‬ ‫‪‬ﻣﺮﺩﺍﻥ ﻭ ﺯﻧﺎﻥ ﺩﻩ ﺟﻠﻮﻯ ﺩﺭ ﺑﺎﻍ ﺍﻧﮕﻠﻴﺲﻫﺎ ﺍﻳﺴﺘﺎﺩﻩ ﺑﻮﺩﻧﺪ‪ .‬ﺻﺪﺍﻯ ﺯﻣﺰﻣﻪﻫﺎﻳﻰ ﺷﻨﻴﺪﻩ ﻣﻰﺷﺪ‪.‬‬ ‫ﭘﺲ ﺍﺯ ﭼﻨﺪ ﻟﺤﻈﻪ‪ ،‬ﺳﺮﺑﺎﺯﻫﺎ ﺍﺯ ﺩﺭ ﺑﻴﺮﻭﻥ ﺁﻣﺪﻧﺪ‪.‬‬ ‫»ﺍﻳﻦﺟﺎ ﺭﻭ ﺧﻠﻮﺕ ﻛﻨﻴﺪ‪ .‬ﺧﻠﻮﺕ ﻛﻨﻴﺪ‪ .‬ﺑﺮﻳﺪ ﻋﻘﺐ‪«.‬‬ ‫ﻣﺮﺩ ﻣﻴﺎﻧﺴﺎﻟﻰ ﺍﺯ ﭘﺸﺖ ﺳﺮﺑﺎﺯﺍﻥ ﺍﻧﮕﻠﻴﺴﻰ ﺑﻴﺮﻭﻥ ﺁﻣﺪ ﻭ ﺭﻭﻯ ﺳﻜﻮﻯ ﺳﻨﮕﻰ ﺟﻠﻮﻯ ﺑﺎﻍ ﺍﻳﺴﺘﺎﺩ‪.‬‬ ‫»ﺍﻯ ﺭﻋﺎﻳﺎﻯ ﻣﻠﻜﻪ ﻭﻳﻜﺘﻮﺭﻳﺎ‪ .‬ﺍﻯ ﺭﻋﺎﻳﺎﻯ ﺍﻣﭙﺮﺍﺗﻮﺭﻯ ﻣﻌﻈﻢ ﺑﺮﻳﺘﺎﻧﻴﺎﻯ ﻛﺒﻴﺮ‪«.‬‬ ‫ﺻﺪﺍﻯ ﺯﻣﺰﻣﻪ ﻫﻤﭽﻨﺎﻥ ﺷﻨﻴﺪﻩ ﻣﻰﺷﺪ‪.‬‬ ‫»ﺑﺎ ﺗﻮﺟﻪ ﺑﻪ ﻣﺮگ ﻟﺮﺩ ﺁﺭﺗﻮﺭ ﻭﺍﺗﺴﻮﻥ ﻭ ﭼﻨﺪﻯ ﺍﺯ ﺳﺮﺑﺎﺯﺍﻥ ﻭ ﺑﻪ ﺩﺳﺘﻮﺭ ﻣﻠﻜﻪ ﺑﺰﺭگ‪ ،‬ﺩﻭﻟﺖ‬ ‫ﺑﺮﻳﺘﺎﻧﻴﺎﻯ ﻛﺒﻴﺮ ﺭﻭﺳﺘﺎﻯ ﻗﻠﻬﻚ ﺭﺍ ﺗﺨﻠﻴﻪ ﻛﺮﺩﻩ ﻭ ﺩﺭ ﺟﻬﺖ ﺣﻔﻆ ﺍﻣﻨﻴﺖ ﺩﻳﮕﺮ ﻣﺮﺩﻡ ﺑﺮﻳﺘﺎﻧﻴﺎﻯ‬ ‫ﺳﺎﻛﻦ ﺩﺭ ﻗﻠﻬﻚ ﺍﻳﻦﺟﺎ ﺭﺍ ﺗﺮﻙ ﮔﻔﺘﻪ ﻭ ﺑﻪ ﺑﺮﻳﺘﺎﻧﻴﺎ ﺑﺎﺯﻣﻰﮔﺮﺩﻳﻢ‪ .‬ﺗﻌﺪﺍﺩﻯ ﺍﺯ ﺳﺮﺑﺎﺯﺍﻧﻤﺎﻥ ﺭﻭﺳﺘﺎ‬ ‫ﺭﺍ ﺩﺭ ﻣﺤﺎﺻﺮﻩ ﮔﺮﻓﺘﻪﺍﻧﺪ ﺗﺎ ﺁﺳﻴﺒﻰ ﺑﻪ ﺳﺎﻳﺮ ﻣﺮﺩﻡ ﻭﺍﺭﺩ ﻧﺸﻮﺩ‪«.‬‬ ‫ﻫﻤﻪ ﺑﺎ ﻧﮕﺮﺍﻧﻰ ﺑﻪ ﻫﻤﺪﻳﮕﺮ ﻧﮕﺎﻩ ﻣﻰﻛﺮﺩﻧﺪ‪.‬‬ ‫‪‬ﻛﺒﻼﻳﻰ ﺣﺴﻴﻦ ﺳﺮ ﻛﻮﭼﻪﺑﺎﻍ ﺍﻳﺴﺘﺎﺩﻩ ﺑﻮﺩ ﻭ ﺑﻪ ﻣﺮﺩﻡ ﺩﻩ ﻧﮕﺎﻩ ﻣﻰﻛﺮﺩ‪ .‬ﻣﺮﺩﻡ ﺍﺛﺎﺛﻴﻪﺷﺎﻥ ﺭﺍ ﺑﺎﺭ‬ ‫ﮔﺎﺭﻯ ﻭ ﺍﻻﻍ ﻭ ﻗﺎﻃﺮ ﻛﺮﺩﻩ ﺑﻮﺩﻧﺪ ﻭ ﺑﻪ ﺳﻤﺖ ﺗﻬﺮﺍﻥ ﺑﻪ ﺭﺍﻩ ﺍﻓﺘﺎﺩﻩ ﺑﻮﺩﻧﺪ‪ .‬ﻣﺶ ﺣﻴﺪﺭ ﺍﻻﻏﺶ ﺭﺍ‬ ‫ﺑﻪ ﮔﺎﺭﻯ ﺑﺴﺘﻪ ﺑﻮﺩ‪.‬‬ ‫»ﻛﺒﻼﻳﻰ ﻧﻤﻴﺎﻯ؟«‬ ‫ﻛﺒﻼﻳﻰ ﺣﺴﻴﻦ ﮔﺮﺩﻧﺶ ﺭﺍ ﺑﺎ ﭘﺎﺭﭼﻪﻯ ﺳﻔﻴﺪﻯ ﺑﺴﺘﻪ ﺑﻮﺩ ﻭ ﻟﻜﻪﺍﻯ ﺧﻮﻥ ﺭﻭﻯ ﭘﺎﺭﭼﻪ ﺳﻔﻴﺪ ﺩﻳﺪﻩ‬ ‫ﻣﻰﺷﺪ‪ .‬ﺍﻭ ﺑﻪ ﺳﻤﺖ ﮔﺎﺭﻯ ﻣﺶ ﺣﻴﺪﺭ ﺣﺮﻛﺖ ﻛﺮﺩ‪.‬‬ ‫»ﻧﻪ ﻣﺸﺪﻯ‪ .‬ﻣﻰﺑﻴﻨﻰ ﺣﺎﻝ ﻭ ﺭﻭﺯﻡ ﺭﻭ‪ .‬ﺑﺎﻳﺪ ﺑﻤﻮﻧﻢ‪ .‬ﻳﺎ ﻣﺎ ﺣﺮﻳﻔﺶ ﻣﻰﺷﻴﻢ ﻳﺎ‪«...‬‬ ‫ﻣﺶ ﺣﻴﺪﺭ ﺩﺳﺘﺶ ﺭﺍ ﺭﻭﻯ ﺷﺎﻧﻪﻯ ﻛﺒﻼﻳﻰ ﺣﺴﻴﻦ ﮔﺬﺍﺷﺖ‪.‬‬ ‫»ﺍﻳﺸﺎﻻ ﺧﻴﺮﻩ ﻛﺒﻼﻳﻰ‪ .‬ﺍﻳﺸﺎﻻ ﺷﻔﺎ ﭘﻴﺪﺍ ﻣﻰﻛﻨﻰ‪ .‬ﺩﺍﺷﺘﻴﻢ ﺯﻧﺪﮔﻰﻣﻮﻥ ﺭﻭ ﻣﻰﻛﺮﺩﻳﻢ ﺍﻣﺎ ﻣﻌﻠﻮﻡ‬ ‫ﻧﻴﺴﺖ ﺍﻳﻦ ﺟﻮﻧﻮﺭ ﺍﺯ ﻛﺠﺎ ﭘﻴﺪﺍﺵ ﺷﺪ‪ .‬ﭼﻪ ﺍﺳﻤﻰ ﻫﻢ ﺩﺍﺭﻩ‪ .‬ﺁﺩﻡ ﻣﻰﺧﻮﺍﺩ ﺑﺎﻻ ﺑﻴﺎﺭﻩ‪ .‬ﺍﻧﮕﻠﻴﺴﻰﻫﺎ‬ ‫‪63‬‬

‫ﻭﻳﮋﻩﻧﺎﻣﻪﻯ ﺧﻮﻥﺁﺷﺎﻡﻫﺎ‬

‫ﻭﺣﺸﺖ ‪ -‬ﻧﮕﺎﺭﺵ‬

‫ﻣﻰﺁﻣﺪ‪.‬‬ ‫»ﺻﺒﺢﺑﺨﻴﺮ ﻛﺮﺑﻼﻳﻰ‪«.‬‬ ‫»ﺳﻼﻡ ﭘﻴﺮﻣﺮﺍﺩ‪«.‬‬ ‫»ﺧﻮﺏ ﺧﻮﺍﺑﻴﺪﻯ؟«‬ ‫»ﺩﺍﺷﺘﻢ ﻛﺎﺑﻮﺱ ﻣﻰﺩﻳﺪﻡ‪ .‬ﺩﺍﺷﺘﻢ ﺑﺮﻣﻰﮔﺸﺘﻢ ﺧﻮﻧﻪ ﻛﻪ ﻳﻬﻮ ﻭﺳﻂ ﺭﺍﻩ ﻳﻪ ﺍﺗﻔﺎﻗﻰ ﺍﻓﺘﺎﺩ‪ .‬ﺯﻣﻴﻦ‬ ‫ﺧﻮﺭﺩﻡ ﻭ ﻳﻬﻮ ﺩﻭ ﺗﺎ ﭼﺸﻢ ﺳﺮﺥ ﺑﻬﻢ ﺧﻴﺮﻩ ﺷﺪﻩ ﺑﻮﺩﻥ‪«.‬‬ ‫ﻛﺒﻼﻳﻰ ﻛﺎﺳﻪﻯ ﺁﺏ ﺭﺍ ﺍﺯ ﭘﻴﺮﻣﺮﺍﺩ ﮔﺮﻓﺖ‪ .‬ﭘﻴﺮﻣﺮﺍﺩ ﺑﺮگ ﺳﺒﺰﻯ ﺭﺍ ﺩﺭ ﺩﺳﺘﺶ ﻣﻰﭼﺮﺧﺎﻧﺪ‪.‬‬ ‫»ﺧﻮﺍﺏ ﻧﺪﻳﺪﻯ ﻛﺮﺑﻼﻳﻰ‪«.‬‬ ‫ﻛﺒﻼﻳﻰ ﺣﺴﻴﻦ ﻛﺎﺳﻪﻯ ﺁﺏ ﺭﺍ ﺍﺯ ﺩﻫﺎﻧﺶ ﺟﺪﺍ ﻛﺮﺩ‪.‬‬ ‫»ﺧﻮﺍﺏ ﻧﺒﻮﺩ؟! ﻳﻌﻨﻰ؟‪«...‬‬ ‫»ﺁﺭﻩ ﻛﺮﺑﻼﻳﻰ‪ .‬ﻭﺍﻗﻌﻴﺖ ﺩﺍﺭﻩ‪ .‬ﺩﻳﺸﺐ ﺩﺍﺷﺘﻰ ﻣﻰﺍﻭﻣﺪﻯ ﺑﻪ ﺳﻤﺖ ﺧﻮﻧﻪ ﻛﻪ ﻳﻬﻮ ﻣﻰﺍﻓﺘﻰ ﻭ‬ ‫ﻓﺎﻧﻮﺳﺖ ﺧﺎﻣﻮﺵ ﻣﻰﺷﻪ‪ .‬ﺑﻌﺪﺵ ﻳﻪ ﻧﻔﺮ ﺑﻬﺖ ﺣﻤﻠﻪ ﻣﻰﻛﻨﻪ‪«.‬‬ ‫ﻛﺒﻼﻳﻰ ﺑﺎ ﺗﺮﺱ ﺑﻪ ﺩﻭﺭ ﻭ ﺑﺮﺵ ﻧﮕﺎﻩ ﻛﺮﺩ‪.‬‬ ‫»ﻛﻰ؟ ﭼﺸﻤﺎﺵ ﻛﺎﺳﻪﻯ ﺧﻮﻥ ﺑﻮﺩ‪ .‬ﺁﺩﻣﻴﺰﺍﺩ ﻧﺒﻮﺩ‪«.‬‬ ‫»ﻳﻪ ﻣﻮﺟﻮﺩﻯ‪«...‬‬ ‫»ﺷﻴﻄﻮﻥ؟ ﺟﻦ؟ ﺑﺨﺘﻚ؟«‬ ‫»ﻫﻴﭻ ﻛﺪﻭﻡ‪ .‬ﺧﻮﻥﺁﺷﺎﻡ‪ .‬ﺍﮔﻪ ﺩﻳﺮ ﺭﺳﻴﺪﻩ ﺑﻮﺩﻡ‪ ،‬ﺷﺎﻳﺪ ﺗﻮ ﻫﻢ‪«...‬‬ ‫ﻛﺒﻼﻳﻰ ﺣﺴﻴﻦ ﺩﻭﺑﺎﺭﻩ ﺩﺳﺘﻰ ﺑﻪ ﮔﺮﺩﻧﺶ ﻛﺸﻴﺪ ﻭ ﺁﻳﻨﻪﺍﻯ ﺭﺍ ﻛﻨﺎﺭ ﺗﺨﺖ ﺑﺮﺩﺍﺷﺖ‪.‬‬ ‫»ﭼﻰ ﭼﻰ؟«‬ ‫»ﻳﻪ ﻣﻮﺟﻮﺩﻳﻪ ﻛﻪ ﺧﻮﻥ ﻣﻰﺧﻮﺭﻩ‪ .‬ﻓﻘﻂ ﻫﻢ ﺧﻮﻥ ﺁﺩﻡ‪«.‬‬ ‫ﻛﺒﻼﻳﻰ ﺣﺴﻴﻦ ﺁﺏ ﺩﻫﺎﻧﺶ ﺭﺍ ﻗﻮﺭﺕ ﺩﺍﺩ ﻭ ﭼﻤﺎﻗﺶ ﺭﺍ ﺩﺭ ﺩﺳﺖ ﮔﺮﻓﺖ‪ .‬ﭘﻴﺮﻣﺮﺍﺩ ﺑﻠﻨﺪ ﺷﺪ‪.‬‬ ‫»ﺧﻮﻥ ﻭﺍﺳﺶ ﻣﺜﻞ ﺁﺏ ﻭﺍﺳﻪ ﺁﺩﻣﻴﺰﺍﺩﻩ‪«.‬‬ ‫»ﺍﻣﺎ‪ ...‬ﺍﻣﺎ ﺍﻳﻦ ﺭﻭ ﻧﺸﻨﻴﺪﻩ ﺑﻮﺩﻡ‪«.‬‬ ‫»ﺗﻮ ﺍﻳﺮﺍﻥ ﻧﺒﻮﺩﻩ‪ .‬ﺍﻣﺎ ﻭﻗﺘﻰ ﻛﻪ ﺗﻮ ﺍﺳﺘﺎﻧﺒﻮﻝ ﺑﻮﺩﻡ‪ ،‬ﻓﺮﻧﮕﻰﻫﺎ ﻭﻗﺖ ﻏﺮﻭﺏ ﺗﻮ ﻛﺎﻓﻪﻫﺎ ﻳﻪ ﺩﺍﺳﺘﺎﻥﻫﺎﻳﻰ‬ ‫ﺍﺯﺵ ﻣﻰﮔﻔﺘﻦ‪«.‬‬ ‫ﻛﺒﻼﻳﻰ ﭼﻤﺎﻗﺶ ﺭﺍ ﺩﺭ ﺩﺳﺘﺶ ﻣﺤﻜﻢ ﻛﺮﺩ ﻭ ﺍﺯ ﺟﺎﻳﺶ ﺑﻠﻨﺪ ﺷﺪ‪.‬‬ ‫»ﭘﺲ ﺑﮕﻮ‪ .‬ﻛﺎﺭ ﺍﻳﻦ ﺍﻧﮕﻠﻴﺴﻰﻫﺎﺳﺖ‪ .‬ﻫﻤﻪﺵ ﺗﻘﺼﻴﺮﻩ ﺍﻳﻦ ﺷﺎﻩ ﺑﻰﻋﺮﺿﻪ ﺍﺳﺖ ﻛﻪ ﻗﻠﻬﻚ ﺭﻭ‬ ‫‪61‬‬

‫ﻭﻳﮋﻩﻧﺎﻣﻪﻯ ﺧﻮﻥﺁﺷﺎﻡﻫﺎ‬

‫‪‬ﺻﺪﺍﻯ ﻛﻮﺑﻪﻯ ﺩﺭ‪ ،‬ﻛﺒﻼﻳﻰ ﺣﺴﻴﻦ ﺭﺍ ﺍﺯ ﺧﻮﺍﺏ ﭘﺮﺍﻧﺪ‪.‬‬ ‫»ﺍﻭﻣﺪﻡ‪ ....‬ﺍﻭﻣﺪﻡ‪ .‬ﺻﺒﺮ ﻛﻦ‪ ....‬ﺑﺎﺑﺎ‪ .‬ﭘﺎﺷﻨﻪ ﺩﺭ ﺭﻭ ﺍﺯ ﺟﺎ ﺩﺭﺁﻭﺭﺩﻯ‪«.‬‬ ‫ﻛﺒﻼﻳﻰ ﺣﺴﻴﻦ ﺍﺯ ﺩﺭﻭﻥ ﭘﺸﻪﺑﻨﺪ ﺑﻴﺮﻭﻥ ﺁﻣﺪ‪ .‬ﺩﺭﺧﺘﺎﻥ ﺁﻟﺒﺎﻟﻮ ﻭ ﮔﻴﻼﺱ ﺑﺎﻍ ﺭﺍ ﭘﺮ ﻛﺮﺩﻩ ﺑﻮﺩﻧﺪ‬ ‫ﻭ ﺻﺪﺍﻯ ﭘﺮﻧﺪﮔﺎﻥ ﺍﺯ ﺟﺎﻯ ﺟﺎﻯ ﺑﺎﻍ ﺷﻨﻴﺪﻩ ﻣﻰﺷﺪ‪ .‬ﻛﺒﻼﻳﻰ ﺣﺴﻴﻦ ﺑﺎ ﭼﻬﺮﻩﺍﻯ ﺧﻮﺍﺏﺁﻟﻮﺩ ﺩﺭ‬ ‫ﭼﻮﺑﻰ ﺭﺍ ﺭﺍ ﺑﺎﺯ ﻛﺮﺩ‪.‬‬ ‫»ﺳﻼﻡ ﻣﺶ ﺣﻴﺪﺭ‪ ،‬ﭼﻰ ﺷﺪﻩ ﻛﻠﻪﻯ ﺳﺤﺮ‪«...‬‬ ‫ﻣﺶ ﺣﻴﺪﺭ ﻧﻔﺲﻧﻔﺲ ﻣﻰﺯﺩ‪.‬‬ ‫»ﺩﻭﺑﺎﺭﻩ‪ ...‬ﺩﻭﺑﺎﺭﻩ‪«...‬‬ ‫»ﺩﻭﺑﺎﺭﻩ ﭼﻰ؟ ﺩﻭﺑﺎﺭﻩ ﻳﻜﻰ ﺍﺯ ﻣﺮﻍ ﻭ ﺧﺮﻭﺱﻫﺎﺕ ﺭﻭ ﺑﺮﺩﻥ؟ ﺩﻭﺑﺎﺭﻩ ﺳﺮ ﺁﺏ ﺩﻋﻮﺍ ﺷﺪﻩ؟«‬ ‫»ﻧﻪ‪ ...‬ﺩﻭﺑﺎﺭﻩ‪ ...‬ﺩﻭﺑﺎﺭﻩ ﺍﻭﻥ ﺍﺗﻔﺎﻕ ﺍﻓﺘﺎﺩ‪ .‬ﻳﻪ ﻧﻔﺮ ﺩﻳﮕﻪ‪ .‬ﺣﺎﺝ ﺭﺣﻤﺖ‪ ...‬ﭘﺸﺖ ﺑﺎﻍ ﺍﻧﮕﻠﻴﺲﻫﺎ‪«...‬‬ ‫ﻛﺒﻼﻳﻰ ﺣﺴﻴﻦ ﺩﺳﺘﺶ ﺭﺍ ﺭﻭﻯ ﻟﻨﮕﻪﻯ ﺩﺭ ﭼﻮﺑﻰ ﮔﺬﺍﺷﺖ‪.‬‬ ‫‪ ‬ﺁﺳﻤﺎﻥ ﺗﺎﺭﻳﻚ ﺑﻮﺩ‪ .‬ﺻﺪﺍﻯ ﭘﺎﺭﺱ ﺳﮓﻫﺎ ﺍﺯ ﺩﻭﺭ ﻭ ﻧﺰﺩﻳﻚ ﺷﻨﻴﺪﻩ ﻣﻰﺷﺪ‪ .‬ﻛﺒﻼﻳﻰ ﺣﺴﻴﻦ‬ ‫ﺑﻴﻠﺶ ﺭﺍ ﺭﻭﻯ ﺩﻭﺷﺶ ﮔﺬﺍﺷﺘﻪ ﺑﻮﺩ ﻭ ﺑﻪ ﺳﻤﺖ ﺧﺎﻧﻪﺍﺵ ﺣﺮﻛﺖ ﻣﻰﻛﺮﺩ‪ .‬ﻓﺎﻧﻮﺳﻰ ﺭﺍ ﺩﺭ ﺩﺳﺖ‬ ‫ﺭﺍﺳﺘﺶ ﮔﺮﻓﺘﻪ ﺑﻮﺩ‪ .‬ﺻﺪﺍﻯ ﺧﺶﺧﺶ ﺑﻪ ﮔﻮﺷﺶ ﺭﺳﻴﺪ‪ .‬ﺩﺭ ﻧﻮﺭ ﻓﺎﻧﻮﺱ ﺑﻪ ﭘﺸﺖ ﺳﺮﺵ ﻧﮕﺎﻩ‬ ‫ﻛﺮﺩ ﻭ ﺩﻭﺑﺎﺭﻩ ﺑﻪ ﺭﺍﻫﺶ ﺍﺩﺍﻣﻪ ﺩﺍﺩ‪.‬‬ ‫ﺩﻭﺑﺎﺭﻩ ﺻﺪﺍﻯ ﺧﺶﺧﺶ ﺑﻪ ﮔﻮﺷﺶ ﺭﺳﻴﺪ‪.‬‬ ‫»ﺍﻋﻮﺫ ﺑﺎﷲ ﻣﻦ ﺍﻟﺸﻴﻄﺎﻥ ﺍﻟﺮﺟﻴﻢ‪«...‬‬ ‫ﺁﺏ ﺩﻫﺎﻧﺶ ﺭﺍ ﻗﻮﺭﺕ ﺩﺍﺩ‪ .‬ﺑﻪ ﺁﺳﻤﺎﻥ ﻧﮕﺎﻩ ﻛﺮﺩ‪ .‬ﺳﺘﺎﺭﻩﻫﺎ ﻣﻰﺩﺭﺧﺸﻴﺪﻧﺪ‪ .‬ﻧﺎﮔﻬﺎﻥ ﭘﺎﻳﺶ ﺑﻪ ﺳﻨﮕﻰ‬ ‫ﮔﻴﺮ ﻛﺮﺩ ﻭ ﺯﻣﻴﻦ ﺧﻮﺭﺩ‪ .‬ﻓﺎﻧﻮﺱ ﺑﻪ ﮔﻮﺷﻪﺍﻯ ﺍﻓﺘﺎﺩ ﻭ ﻧﻮﺭﺵ ﺧﺎﻣﻮﺵ ﺷﺪ‪ .‬ﺑﻪ ﺑﻴﻠﺶ ﺗﻜﻴﻪ ﺩﺍﺩ ﻭ‬ ‫ﺑﻠﻨﺪ ﺷﺪ‪ .‬ﻧﺎﮔﻬﺎﻥ ﺿﺮﺑﻪﺍﻯ ﻣﺤﻜﻢ ﺍﻭ ﺭﺍ ﺑﻪ ﺩﻳﻮﺍﺭ ﻛﻮﻓﺖ‪ .‬ﭼﺸﻤﺎﻥ ﺳﺮﺥ ﺭﻧﮕﻰ ﺑﻪ ﭼﺸﻤﺎﻧﺶ ﺧﻴﺮﻩ‬ ‫ﺷﺪﻩ ﺑﻮﺩﻧﺪ‪ .‬ﻧﻔﺲﻧﻔﺲ ﻣﻰﺯﺩ ﻭ ﭘﺲ ﺍﺯ ﭼﻨﺪ ﻟﺤﻈﻪ ﺭﻭﻯ ﺯﻣﻴﻦ ﺍﻓﺘﺎﺩ‪.‬‬ ‫‪‬ﻛﺒﻼﻳﻰ ﺣﺴﻴﻦ ﺍﺯ ﺧﻮﺍﺏ ﭘﺮﻳﺪ‪ .‬ﺑﻪ ﺩﻭﺭ ﻭ ﺑﺮﺵ ﻧﮕﺎﻩ ﻛﺮﺩ ﻭ ﺳﭙﺲ ﺩﺳﺘﻰ ﺑﻪ ﮔﺮﺩﻧﺶ ﻛﺸﻴﺪ‪.‬‬ ‫ﺩﺭﺧﺘﺎﻥ ﺳﺒﺰ ﺑﺎﻏﺶ ﺩﻳﺪﻩ ﻣﻰﺷﺪﻧﺪ‪.‬‬ ‫»ﺳﻼﻡ ﻛﺒﻼﻳﻰ‪«.‬‬ ‫ﺳﺮﻳﻊ ﺑﻪ ﭘﺸﺖ ﺳﺮﺵ ﻧﮕﺎﻩ ﻛﺮﺩ ﻭ ﭘﻴﺮﻣﺮﺍﺩ ﺭﺍ ﺩﻳﺪ‪ .‬ﭘﻴﺮﻣﺮﺍﺩ ﺑﺎ ﻛﺎﺳﻪﺍﻯ ﺩﺭ ﺩﺳﺖ ﺑﻪ ﺳﻤﺖ ﺍﻭ‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،9-10‬ﺷﻬﺮﻳﻮﺭ ﻭ ﻣﻬﺮ ‪1390‬‬

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‫ﻭﺣﺸﺖ ‪ -‬ﻧﮕﺎﺭﺵ‬

‫ﺻﻮﺭﺕ ﺁﻥﻫﺎ ﻣﻰﺗﺎﺑﻴﺪ‪.‬‬ ‫»ﻭ ﺷﻤﺎ؟«‬ ‫ﻣﺶ ﺣﻴﺪﺭ ﻛﻼﻫﺶ ﺭﺍ ﺍﺯ ﺳﺮ ﺑﺮﺩﺍﺷﺖ‪.‬‬ ‫»ﺁﻗﺎ ﺑﻪ ﺧﺪﺍ ﻣﺎ ﻛﺎﺭﻯ ﻧﻜﺮﺩﻳﻢ‪ .‬ﻣﺎ ﺑﻰﮔﻨﺎﻫﻴﻢ‪«.‬‬ ‫»ﺑﻠﻪ‪ ،‬ﺑﻠﻪ‪ .‬ﺧﺐ ﺍﻳﻦ ﻛﻪ ﻣﻌﻠﻮﻣﻪ ﺷﻤﺎ ﻛﺎﺭﻯ ﻧﻜﺮﺩﻳﺪ‪ .‬ﺍﻣﺎ ﺑﺎﻳﺪ ﺗﻮﺿﻴﺢ‬ ‫ﺑﺪﻳﺪ ﺩﺭﺑﺎﺭﻩﻯ ﺍﻳﻦ ﻭﺍﻗﻌﻪ‪«.‬‬ ‫»ﺧﺐ‪ ...‬ﺧﺐ‪«...‬‬ ‫ﻛﺒﻼﻳﻰ ﺣﺴﻴﻦ ﺻﺪﺍﻳﺶ ﺭﺍ ﺻﺎﻑ ﻛﺮﺩ‪.‬‬ ‫»ﺧﺐ ﻣﺎ ﺻﺒﺢ ﺍﺯ ﺧﺎﻧﻪ ﺍﻭﻣﺪﻳﻢ ﺑﻴﺮﻭﻥ ﻭ ﺧﺒﺮ ﺁﻭﺭﺩﻥ ﻛﻪ ﺍﺻﻐﺮ ﺧﺪﺍﺑﻴﺎﻣﺮﺯﻩ‬ ‫ﭘﺸﺖ ﺩﻳﻮﺍﺭ ﺑﺎﻍ ﺷﻤﺎ ﻣﺮﺩﻩ‪«.‬‬ ‫»ﺧﺐ ﻭ ﺑﻌﺪﺵ‪«...‬‬ ‫»ﺑﻌﺪﺵ ﻫﻴﭽﻰ‪ .‬ﺭﻓﺘﻴﻢ ﻣﺮﺩﻩﺷﻮﺭﺧﻮﻧﻪ ﺗﺎ ﺑﺒﻴﻨﻴﻢ ﭼﻰ ﺷﺪﻩ‪ .‬ﺁﺧﻪ ﺍﻣﻜﺎﻥ‬ ‫ﻧﺪﺍﺷﺖ ﺍﺻﻐﺮ ﺍﻳﻦ ﺟﻮﺭﻯ ﺑﻤﻴﺮﻩ‪ .‬ﭘﻬﻠﻮﻭﻥ ﻗﻠﻬﻚ ﺑﻮﺩ‪ .‬ﻗﺮﺍﺭ ﺑﻮﺩ ﺑﺮﻩ‬ ‫ﻣﺴﺎﺑﻘﺎﺕ ﻗﻬﺮﻣﺎﻧﻰ ﺗﻮ ﺗﻬﺮﺍﻥ‪«.‬‬ ‫ﺻﺪﺍﻯ ﮔﺮﻳﻪﻯ ﺭﺿﺎﻗﻠﻰﺧﺎﻥ ﺗﻮﺟﻪ ﺁﻥﻫﺎ ﺭﺍ ﺑﻪ ﺍﻭ ﺟﻠﺐ ﻛﺮﺩ‪ .‬ﻣﺮﺩ‬ ‫ﺳﻴﺎﻩﭘﻮﺵ ﭘﻴﭙﺶ ﺭﺍ ﮔﻮﺷﻪﻯ ﻟﺒﺶ ﮔﺬﺍﺷﺖ‪.‬‬ ‫‪ ‬ﻛﺒﻼﻳﻰ ﺣﺴﻴﻦ ﻭ ﻣﺶﺣﻴﺪﺭ ﺍﺯ ﻋﻤﺎﺭﺕ ﺑﺎﻍ ﺑﻴﺮﻭﻥ ﺁﻣﺪﻧﺪ‪ .‬ﺩﺭﺧﺘﺎﻥ‬ ‫ﺳﺮﻭ ﻭ ﭼﻨﺎﺭ ﺩﺭ ﺳﺮﺍﺳﺮ ﺑﺎﻍ ﺩﻳﺪﻩ ﻣﻰﺷﺪﻧﺪ ﻭ ﭼﻤﻦﻫﺎﻯ ﺳﺒﺰ ﺯﻣﻴﻦ ﺭﺍ‬ ‫ﭘﺮ ﻛﺮﺩﻩ ﺑﻮﺩﻧﺪ‪ .‬ﺳﺮﺑﺎﺯﺍﻥ ﺑﺎ ﻟﺒﺎﺱ ﺧﺎﻛﻰ ﺭﻧﮓ ﺩﺭ ﻣﺤﻮﻃﻪﻯ ﺑﺎﻍ ﻗﺪﻡ‬ ‫ﻣﻰﺯﺩﻧﺪ‪ .‬ﻣﺶ ﺣﻴﺪﺭ ﭘﺎﺷﻨﻪﻯ ﮔﻴﻮﻩﺍﺵ ﺭﺍ ﻭﺭﻛﺸﻴﺪ‪.‬‬ ‫»ﻛﺒﻼﻳﻰ‪ ،‬ﻳﻌﻨﻰ ﺑﺎﻻﺧﺮﻩ ﭼﻰ ﺷﺪ؟«‬ ‫»ﻫﻴﭽﻰ‪ .‬ﻣﺜﻞ ﻫﻤﻴﺸﻪ‪ .‬ﻳﻪ ﻣﺎﻟﻪ ﻛﺸﻴﺪﻥ ﺭﻭﺵ ﻭ ﺗﻤﻮﻡ‪ .‬ﭼﻰ ﻣﻰﺧﻮﺍﺳﺘﻰ‬ ‫ﺑﺸﻪ‪ .‬ﻣﻌﻠﻮﻡ ﻧﻴﺴﺖ ﺧﻮﺩﺷﻮﻥ ﭼﻪ ﻏﻠﻄﻰ ﻛﺮﺩﻥ ﻭ ﻣﻰﺧﻮﺍﻥ ﺗﻘﺼﻴﺮﺵ‬ ‫ﺭﻭ ﺑﻨﺪﺍﺯﻥ ﮔﺮﺩﻥ ﻣﺎ‪«.‬‬ ‫ﺩﺭ ﻛﻨﺎﺭ ﻣﺴﻴﺮ ﺩﺭﻭﻥ ﺑﺎﻍ‪ ،‬ﺳﻨﮓ ﻗﺒﺮﻯ ﺳﻔﻴﺪ ﺭﻧﮓ ﺩﻳﺪﻩ ﻣﻰﺷﺪ‪.‬‬ ‫»ﻟﺮﺩ ﻭﻳﻠﻴﺎﻡ ﭼﺎﺭﻟﺘﻮﻥ؛ ﻧﺨﺴﺘﻴﻦ ﻧﺨﺴﺖﻭﺯﻳﺮ ﻗﻠﻬﻚ؛ ﻣﺮگ‪«...‬‬ ‫‪59‬‬

‫ﻭﻳﮋﻩﻧﺎﻣﻪﻯ ﺧﻮﻥﺁﺷﺎﻡﻫﺎ‬

‫ﻣﺜﻞ ﻫﻤﻴﺸﻪ‪.‬‬ ‫ﻳﻪ ﻣﺎﻟﻪ‬ ‫ﻛﺸﻴﺪﻥ ﺭﻭﺵ‬ ‫ﻭ ﺗﻤﻮﻡ‪ .‬ﭼﻰ‬ ‫ﻣﻰﺧﻮﺍﺳﺘﻰ‬ ‫ﺑﺸﻪ‪ .‬ﻣﻌﻠﻮﻡ‬ ‫ﻧﻴﺴﺖ‬ ‫ﺧﻮﺩﺷﻮﻥ ﭼﻪ‬ ‫ﻏﻠﻄﻰ ﻛﺮﺩﻥ‬ ‫ﻭ ﻣﻰﺧﻮﺍﻥ‬ ‫ﺗﻘﺼﻴﺮﺵ ﺭﻭ‬ ‫ﺑﻨﺪﺍﺯﻥ ﮔﺮﺩﻥ‬ ‫ﻣﺎ‪.‬‬

‫‪‬ﻛﺒﻼﻳﻰ ﺣﺴﻴﻦ ﺍﺯ ﻛﻨﺎﺭ ﻗﺒﺮﺳﺘﺎﻥ ﮔﺬﺷﺖ ﻭ ﺑﻪ ﺻﺤﻦ ﺍﻣﺎﻡﺯﺍﺩﻩ ﺭﺳﻴﺪ‪ .‬ﺳﺮﺵ ﺭﺍ ﺑﺎﻻ ﮔﺮﻓﺖ ﻭ‬ ‫ﺑﻪ ﻃﺮﻑ ﺿﺮﻳﺢ ﺳﻼﻡ ﺩﺍﺩ‪.‬‬ ‫ﻧﮕﺎﻫﺶ ﺭﺍ ﺑﻪ ﺍﻃﺮﺍﻑ ﭼﺮﺧﺎﻧﺪ‪ .‬ﭘﻴﺮﻣﺮﺩﻯ ﺩﺭ ﮔﻮﺷﻪﺍﻯ ﺍﺯ ﺍﻣﺎﻣﺰﺍﺩﻩ ﻧﺸﺴﺘﻪ ﺑﻮﺩ ﻭ ﻛﺘﺎﺑﻰ ﺭﺍ ﻭﺭﻕ‬ ‫ﻣﻰﺯﺩ‪.‬‬ ‫»ﺳﻼﻡ ﭘﻴﺮﻣﺮﺍﺩ‪«.‬‬ ‫»ﻋﻠﻴﻚ ﺳﻼﻡ ﻛﺒﻼﻳﻰ‪ .‬ﺍﺣﻮﺍﻟﺖ؟«‬ ‫»ﺷﻜﺮ‪ .‬ﻓﻌﻠﻦ ﻧﻔﺴﻰ ﻣﻴﺎﺩ ﻭ ﻣﻰﺭﻩ‪«.‬‬ ‫ﭘﻴﺮﻣﺮﺍﺩ ﺑﺮگ ﺩﻳﮕﺮﻯ ﺍﺯ ﻛﺘﺎﺏ ﺭﺍ ﻭﺭﻕ ﺯﺩ‪.‬‬ ‫»ﺭﺍﺳﺘﻰ ﭘﻴﺮﻣﺮﺍﺩ ﺧﺒﺮ ﻣﺮگ ﺍﺻﻐﺮ ﺭﻭ ﺷﻨﻴﺪﻯ؟«‬ ‫»ﺧﺪﺍ ﺑﻴﺎﻣﺮﺯﺩﺵ‪ .‬ﺟﻮﻭﻥ ﺧﻮﺑﻰ ﺑﻮﺩ‪«.‬‬ ‫»ﺍﻣﺎ ﭘﻴﺮﻣﺮﺍﺩ ﻣﺮﮔﺶ ﺧﻴﻠﻰ ﻋﺠﻴﺐ ﺑﻮﺩ‪ .‬ﻫﻴﭻﺟﻮﺭﻩ ﻋﺎﺩﻯ ﻧﻤﺮﺩﻩ ﺑﻮﺩ‪ .‬ﺍﻧﮕﺎﺭ ﻳﻪ ﻛﺴﻰ ﻳﺎ ﻳﻪ ﭼﻴﺰﻯ‬ ‫ﺑﻬﺶ ﺣﻤﻠﻪ ﻛﺮﺩﻩ ﺑﺎﺷﻪ‪ .‬ﻳﻪ ﺭﺩ ﮔﺎﺯﮔﺮﻓﺘﮕﻰ ﺭﻭ ﮔﺮﺩﻧﺶ ﺑﻮﺩ‪«.‬‬ ‫ﭘﻴﺮﻣﺮﺍﺩ ﺑﻪ ﭼﺸﻤﺎﻥ ﻛﺒﻼﻳﻰ ﺣﺴﻴﻦ ﺧﻴﺮﻩ ﺷﺪ‪.‬‬ ‫‪‬ﺩﺭ ﺗﺎﻻﺭ ﺻﺪﺍﻳﻰ ﺩﺍﺩ ﻭ ﻣﺮﺩ ﺳﻴﺎﻩﭘﻮﺵ ﻭﺍﺭﺩ ﺗﺎﻻﺭ ﺷﺪ‪ .‬ﺻﺪﺍﻯ ﻗﺪﻡﻫﺎﻳﺶ ﺩﺭ ﺗﺎﻻﺭ ﭘﻴﭽﻴﺪ‪ .‬ﺩﻭ‬ ‫ﺳﺮﺑﺎﺯ ﺩﺭ ﺩﻭ ﻃﺮﻑ ﺩﺭ ﺑﻪ ﺍﺣﺘﺮﺍﻡ ﻣﺮﺩ ﺳﻴﺎﻩﭘﻮﺵ ﭘﺎ ﺑﻪ ﻫﻢ ﻛﻮﺑﻴﺪﻧﺪ‪.‬‬ ‫»ﺧﺐ‪ ،‬ﺧﺐ‪ ،‬ﺧﺐ‪«...‬‬ ‫ﻣﺶ ﺣﻴﺪﺭ‪ ،‬ﻛﺮﺑﻼﻳﻰ ﺣﺴﻴﻦ ﻭ ﺭﺿﺎﻗﻠﻰﺧﺎﻥ ﺳﺮﺷﺎﻥ ﺭﺍ ﺑﻪ ﺳﻤﺖ ﺻﺪﺍ ﭼﺮﺧﺎﻧﺪﻧﺪ ﻭ ﺍﺯ ﺭﻭﻯ‬ ‫ﺻﻨﺪﻟﻰﻫﺎ ﺑﻠﻨﺪ ﺷﺪﻧﺪ‪.‬‬ ‫»ﺭﺿﺎﻗﻠﻰﺧﺎﻥ ﺗﺴﻠﻴﺖ ﻣﻰﮔﻢ‪«.‬‬ ‫ﻣﺶ ﺣﻴﺪﺭ ﻧﮕﺎﻫﺶ ﺭﺍ ﺑﻪ ﺗﺎﺑﻠﻮﻯ ﭘﺮﺗﺮﻩﻯ ﻣﺮﺩ ﻣﻴﺎﻧﺴﺎﻟﻰ ﺑﺮ ﺭﻭﻯ ﻳﻜﻰ ﺍﺯ ﺗﺎﻻﺭﻫﺎﻯ ﺩﻳﻮﺍﺭ ﺩﻭﺧﺘﻪ‬ ‫ﺑﻮﺩ‪.‬‬ ‫ﺭﺿﺎﻗﻠﻰﺧﺎﻥ ﭼﺸﻤﺎﻧﺶ ﺭﺍ ﺑﻪ ﻓﺮﺵ ﻛﻒ ﺗﺎﻻﺭ ﺩﻭﺧﺖ‪.‬‬ ‫»ﻣﻤﻨﻮﻧﻢ ﻣﺴﺘﺮ‪«.‬‬ ‫»ﺑﻪ ﻗﻮﻝ ﺷﻤﺎ ﺍﻳﺮﺍﻧﻰﻫﺎ‪ ،‬ﻣﺮگ ﺣﻘﻪ‪ .‬ﺷﺘﺮﻯ ﻛﻪ ﺩﺭ ﺧﻮﻧﻪﻯ ﻫﻤﻪ ﻣﻰﺧﻮﺍﺑﻪ‪ .‬ﻳﻚ ﺭﻭﺯ ﻟﺮﺩ ﭼﺎﺭﻟﺘﻮﻥ‬ ‫ﻣﺮﺩ ﻭ ﻳﻚ ﺭﻭﺯ ﻫﻢ ﺍﺻﻐﺮ‪«.‬‬ ‫ﻣﺮﺩ ﺳﻴﺎﻩﭘﻮﺵ ﻧﮕﺎﻫﺶ ﺭﺍ ﺑﻪ ﻃﺮﻑ ﻣﺶ ﺣﻴﺪﺭ ﻭ ﻛﺒﻼﻳﻰ ﺣﺴﻴﻦ ﺑﺮﮔﺮﺩﺍﻧﺪ‪ .‬ﻧﻮﺭ ﭼﻠﭽﺮﺍﻍ ﺭﻭﻯ‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،9-10‬ﺷﻬﺮﻳﻮﺭ ﻭ ﻣﻬﺮ ‪1390‬‬

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‫ﻭﺣﺸﺖ ‪ -‬ﻧﮕﺎﺭﺵ‬

‫»ﺑﺮﻭ ﺍﻭﻥ ﻭﺭ‪«.‬‬ ‫ﻣﺶ ﺣﻴﺪﺭ ﻟﺒﺨﻨﺪﻯ ﺯﺩ ﻭ ﺍﺯ ﺟﻠﻮﻯ ﺩﺭ ﻛﻨﺎﺭ ﺭﻓﺖ ﻭ ﺳﺮﺑﺎﺯﻯ ﺑﺎ ﻟﺒﺎﺱ ﺧﺎﻛﻰ ﺭﻧﮓ ﻭﺍﺭﺩ ﺷﺪ ﻭ‬ ‫ﭘﺸﺖ ﺳﺮﺵ ﻣﺮﺩﻯ ﺑﺎ ﻛﺖ ﻭ ﺷﻠﻮﺍﺭ ﻭ ﻛﻼﻩ ﺳﻴﺎﻩ‪.‬‬ ‫ﻣﺶ ﺣﻴﺪﺭ ﺁﻫﺴﺘﻪ ﺑﻪ ﺩﺭﻭﻥ ﻣﺮﺩﻩﺷﻮﺭﺧﺎﻧﻪ ﺁﻣﺪ‪.‬‬ ‫»ﺳﻼﻡ ﻣﺴﺘﺮ‪«.‬‬ ‫ﻣﺮﺩ ﺳﻴﺎﻩﭘﻮﺵ ﻛﻼﻫﺶ ﺭﺍ ﺍﺯ ﺳﺮﺵ ﺑﺮﺩﺍﺷﺖ ﻭ ﺑﻪ ﺳﻤﺖ ﺳﺮﺑﺎﺯ ﮔﺮﻓﺖ ﻭ ﺳﭙﺲ ﺑﺪﻭﻥ ﺗﻮﺟﻪ ﺑﻪ‬ ‫ﻣﺶ ﺣﻴﺪﺭ ﺑﻪ ﺳﻤﺖ ﺗﺨﺖ ﻣﺮﺩﻩﺷﻮﺭﺧﺎﻧﻪ ﺭﻓﺖ‪.‬‬ ‫»ﻭﺍﻯ ﺧﺪﺍﻯ ﻣﻦ‪ .‬ﻧﮕﺎﻩ ﻛﻨﻴﺪ‪«.‬‬ ‫ﻣﺮﺩ ﺳﻴﺎﻩﭘﻮﺵ ﺳﺮﺵ ﺭﺍ ﺑﺎﻻ ﺁﻭﺭﺩ ﻭ ﺑﻪ ﻛﺒﻼﻳﻰ ﺣﺴﻴﻦ ﻧﮕﺎﻩ ﻛﺮﺩ‪.‬‬ ‫»ﺑﺎﺯ ﭼﻪ ﻛﺮﺩﻳﺪ؟ ﻛﻰ ﺍﻳﻦ ﺭﻭ ﻛﺸﺘﻪ؟«‬ ‫ﻛﺒﻼﻳﻰ ﺣﺴﻴﻦ ﺗﺴﺒﻴﺤﺶ ﺭﺍ ﺩﺭ ﺩﺳﺘﺶ ﭼﺮﺧﺎﻧﺪ ﻭ ﺑﻪ ﺁﻓﺘﺎﺏﮔﻴﺮ ﺧﻴﺮﻩ ﺷﺪ‪.‬‬ ‫»ﺍﻭﻟﻦ ﺳﻼﻡ‪ .‬ﺩﻭﻳﻤﻦ ﻧﻤﻰﺩﻭﻧﻢ‪ .‬ﺳﻴﻤﻦ ﺍﺻﻐﺮ ﺭﻭ ﭘﺸﺖ ﺩﻳﻮﺍﺭ ﺑﺎﻍ ﺷﻤﺎ ﭘﻴﺪﺍ ﻛﺮﺩﻥ‪ .‬ﺍﮔﻪ ﻗﺮﺍﺭ‬ ‫ﺑﺎﺷﻪ‪«...‬‬ ‫»ﺍﻭﻟﻦ‪ ،‬ﺩﻭﻣﻦ ﻧﮕﻮ ﻛﺮﺑﻼﻳﻰ‪ .‬ﻫﺮ ﻭﻗﺖ ﻣﺎ ﻧﻴﺴﺘﻴﻢ‪ ،‬ﻳﻪ ﻣﺎﺟﺮﺍﻳﻰ ﺑﺮﺍﻯ ﻣﺎ ﺩﺭﺳﺖ ﻣﻰﻛﻨﻴﺪ‪«.‬‬ ‫ﻣﺮﺩ ﺳﻴﺎﻩﭘﻮﺵ ﺩﻭﺭ ﺗﺨﺖ ﭼﺮﺧﻴﺪ ﻭ ﺟﻨﺎﺯﻩﻯ ﺍﺻﻐﺮ ﺭﺍ ﺑﺮﺍﻧﺪﺍﺯ ﻛﺮﺩ‪.‬‬ ‫»ﺧﺐ ﺧﺐ‪ .‬ﻣﺜﻞ ﺍﻳﻦ ﻛﻪ ﻧﻪ ﺭﺩﻯ ﺍﺯ ﺷﻤﺸﻴﺮ ﻭ ﭼﺎﻗﻮ ﻫﺴﺖ‪ ،‬ﻧﻪ ﺭﺩﻯ ﺍﺯ ﮔﻠﻮﻟﻪ‪«.‬‬ ‫ﻛﺒﻼﻳﻰ ﺫﻛﺮﻯ ﺯﻳﺮ ﻟﺐ ﺗﻜﺮﺍﺭ ﻣﻰﻛﺮﺩ‪.‬‬ ‫»ﺍﻣﺎ ﺍﻳﻦ ﺟﺎﻯ ﮔﺎﺯﮔﺮﻓﺘﮕﻰ ﭼﻴﻪ ﺭﻭﻯ ﮔﺮﺩﻥ؟«‬ ‫ﻛﺒﻼﻳﻰ ﺻﺪﺍﻳﺶ ﺭﺍ ﺻﺎﻑ ﻛﺮﺩ‪.‬‬ ‫»ﻭﺍﻻ ﻗﺒﻞ ﺷﻤﺎ ﻣﺎ ﺍﺯ ﺍﻳﻦ ﻣﺎﺟﺮﺍﻫﺎ ﻧﺪﺍﺷﺘﻴﻢ‪ .‬ﺍﺯ ﻭﻗﺘﻰ ﻛﻪ ﺷﻤﺎ ﺍﻭﻣﺪﻳﺪ ﺍﻳﻦ ﺟﻮﺭﻯ ﺷﺪﻩ‪«.‬‬ ‫»ﭘﺮﺕ ﻭ ﭘﻼ ﻧﮕﻮ ﻛﺒﻼﻳﻰ‪ .‬ﻣﻰﮔﻢ ﺍﻳﻨﺎ ﭼﻴﻪ ﺭﻭ ﮔﺮﺩﻧﺶ؟«‬ ‫ﻣﺮﺩ ﺳﻴﺎﻩﭘﻮﺵ ﻧﮕﺎﻫﻰ ﺑﻪ ﻣﺶ ﺣﻴﺪﺭ ﺍﻧﺪﺍﺧﺖ‪ .‬ﻣﺶ ﺣﻴﺪﺭ ﻟﺤﻈﻪﺍﻯ ﺑﻪ ﺩﻭﺭ ﻭ ﺑﺮﺵ ﻧﮕﺎﻩ ﻛﺮﺩ‪.‬‬ ‫»ﻣﺎ ﻧﻤﻰﺩﻭﻧﻴﻢ ﻣﺴﺘﺮ‪ .‬ﻳﺤﺘﻤﻞ ﺑﺎﻳﺪ ﻣﺎﺭﮔﺰﻳﺪﮔﻰ ﺑﺎﺷﻪ‪«.‬‬ ‫»ﺁﻫﺎ‪ ،‬ﻣﺎﺭﮔﺰﻳﺪﮔﻰ! ﺑﻪ ﮔﻤﺎﻧﻢ ﺩﻟﻴﻞ ﺧﻮﺑﻴﻪ‪«.‬‬ ‫ﺻﺪﺍﻯ ﺷﻴﻮﻥ ﻭ ﺯﺍﺭﻯ ﺍﺯ ﺑﻴﺮﻭﻥ ﻣﺮﺩﻩﺷﻮﺭﺧﺎﻧﻪ ﺷﻨﻴﺪﻩ ﺷﺪ‪ .‬ﻣﺶ ﺣﻴﺪﺭ ﺑﻪ ﺳﻤﺖ ﺑﻴﺮﻭﻥ‬ ‫ﻣﺮﺩﻩﺷﻮﺭﺧﺎﻧﻪ ﺑﻪ ﺭﺍﻩ ﺍﻓﺘﺎﺩ‪.‬‬ ‫»ﺧﺪﺍ ﺑﻪ ﻫﻴﺸﻜﻰ ﺩﺍﻍ ﺟﻮﻭﻥ ﻧﺪﻩ‪ .‬ﻧﻨﻪ ﺍﺻﻐﺮ ﻭ ﺭﺿﺎﻗﻠﻰ ﺧﺎﻥ ﺍﻭﻣﺪﻥ‪«.‬‬ ‫‪57‬‬

‫ﻭﻳﮋﻩﻧﺎﻣﻪﻯ ﺧﻮﻥﺁﺷﺎﻡﻫﺎ‬

‫‪‬ﻛﺒﻼﻳﻰ ﺍﻳﺴﺘﺎﺩ‪ .‬ﺳﺮﺵ ﺭﺍ ﺑﻪ ﻃﺮﻑ ﻣﺶ ﺣﻴﺪﺭ ﺑﺮﮔﺮﺩﺍﻧﺪ ﻭ ﺩﺳﺘﻰ ﺑﻪ ﺻﻮﺭﺗﺶ ﻛﺸﻴﺪ‪.‬‬ ‫»ﺍﺻﻐﺮ؟! ﻣﮕﻪ ﻧﺮﻓﺘﻪ ﺑﻮﺩ ﺗﻬﺮﻭﻥ؟!«‬ ‫»ﻧﻪ ﻛﺒﻼﻳﻰ‪ .‬ﺭﺿﺎﻗﻠﻰ ﺧﺎﻥ ﮔﻔﺘﻪ ﺑﻮﺩ ﻛﻪ ﻗﺮﺍﺭ ﺑﻮﺩ ﺩﻳﺸﺐ ﺑﺮﮔﺮﺩﻩ ﺍﻣﺎ ﻧﻴﻮﻣﺪﻩ‪ .‬ﺻﺒﺢ ﻛﻪ ﭘﺎ ﺷﺪﻥ‪،‬‬ ‫ﻓﻀﻠﻌﻠﻰ ﺧﺒﺮ ﺁﻭﺭﺩﻩ ﻛﻪ ﺟﻨﺎﺯﻩﺵ ﺭﻭ ﭘﺸﺖ ﺑﺎﻍ ﺍﻧﮕﻠﻴﺲﻫﺎ ﭘﻴﺪﺍ ﻛﺮﺩﻥ‪«.‬‬ ‫ﻛﺒﻼﻳﻰ ﺑﻪ ﺁﺳﻤﺎﻥ ﻧﮕﺎﻩ ﻛﺮﺩ‪ .‬ﺗﺴﺒﻴﺢ ﺳﺒﺰ ﺭﻧﮕﺶ ﺭﺍ ﺍﺯ ﺟﻴﺒﺶ ﺩﺭﺁﻭﺭﺩ ﻭ ﻫﻤﺎﻥﻃﻮﺭ ﻛﻪ ﺩﺭ ﺩﺳﺘﺶ‬ ‫ﻣﻰﭼﺮﺧﺎﻧﺪ‪ ،‬ﺫﻛﺮﻯ ﺭﺍ ﺯﻳﺮ ﻟﺐ ﺗﻜﺮﺍﺭ ﻣﻰﻛﺮﺩ‪.‬‬ ‫»ﺑﺪﻧﺶ ﻫﻢ ﺳﺎﻟﻤﻪ ﺳﺎﻟﻤﻪ‪ .‬ﺭﺩ ﻗﻤﻪ ﻭ ﻗﺪﺍﺭﻩ ﻫﻢ ﻧﺪﺍﺭﻩ‪ .‬ﻓﻘﻂ‪«...‬‬ ‫ﻣﺶ ﺣﻴﺪﺭ ﺍﻓﺴﺎﺭ ﺍﻻﻍ ﺭﺍ ﻛﺸﻴﺪ‪.‬‬ ‫»ﺍﷲ ﺍﻛﺒﺮ‪ .‬ﻓﻘﻂ ﭼﻰ؟«‬ ‫»ﻓﻘﻂ ﺟﺎﻯ ﺩﻭ ﺗﺎ ﻧﻘﻄﻪ ﺭﻭ ﮔﺮﺩﻧﺶ ﻣﻮﻧﺪﻩ‪ .‬ﻳﺤﺘﻤﻞ ﻣﺎﺭ ﺯﺩﻩﺗﺶ‪«.‬‬ ‫»ﻣﺎﺭ؟! ﻳﻪ ﭼﻰ ﻣﻰﮔﻰ ﻣﺸﺪﻯ‪ .‬ﺍﻭﻥ ﻫﻴﻜﻞ ﺍژﺩﻫﺎ ﺭﻭ ﻫﻢ ﺣﺮﻳﻒ ﺑﻮﺩ‪ ،‬ﭼﻪ ﺑﺮﺳﻪ ﺑﻪ ﻣﺎﺭ‪«.‬‬ ‫»ﻭﺍﻻ ﭼﻰ ﺑﮕﻢ‪ .‬ﻣﺎ ﻛﻪ ﺍﻳﻨﺠﻮﺭﻯ ﺩﻳﺪﻳﻢ‪ .‬ﺑﻘﻴﻪ ﻫﻢ ﺍﻳﻦﺟﻮﺭﻯ ﻣﻰﮔﻦ‪«.‬‬ ‫‪‬ﻣﺶ ﺣﻴﺪﺭ ﺩﺭ ﺁﺳﺘﺎﻧﻪﻯ ﻣﺮﺩﻩﺷﻮﺭﺧﺎﻧﻪ ﺍﻳﺴﺘﺎﺩﻩ ﺑﻮﺩ‪ .‬ﺁﻓﺘﺎﺏ ﺍﺯ ﻣﻴﺎﻥ ﺭﻭﺯﻧﻪﻯ ﺳﻘﻒ ﺑﻪ ﺭﻭﻯ‬ ‫ﺻﻮﺭﺕ ﺍﺻﻐﺮ ﻣﻰﺗﺎﺑﻴﺪ‪ .‬ﻛﺒﻼﻳﻰ ﺣﺴﻴﻦ ﺳﺮﺵ ﺭﺍ ﺧﻢ ﻛﺮﺩﻩ ﺑﻮﺩ ﻭ ﺑﻪ ﮔﺮﺩﻥ ﺍﺻﻐﺮ ﻧﮕﺎﻩ ﻣﻰﻛﺮﺩ‪.‬‬ ‫ﺟﺎﻯ ﺳﻮﺭﺍﺥﻫﺎﻯ ﺭﻭﻯ ﮔﺮﺩﻥ ﺍﺻﻐﺮ ﻣﻰﺩﺭﺧﺸﻴﺪ‪.‬‬ ‫ّ‬ ‫»ﺟﻞﺍﻟﺨﺎﻟﻖ‪ .‬ﺍﻳﻦﺟﻮﺭﻳﺶ ﺭﻭ ﺩﻳﮕﻪ ﻧﺪﻳﺪﻩ ﺑﻮﺩﻡ‪ .‬ﺍﻳﻦ ﺟﺎﻯ ﻧﻴﺶ ﻣﺎﺭ ﻧﻴﺴﺖ‪ .‬ﺧﻴﻠﻰ ﺩﺭﺷﺘﻪ‪«.‬‬ ‫»ﻛﺒﻼﻳﻰ ﺍﻳﻦ ﭼﻪ ﺣﺮﻓﻴﻪ! ﺍﮔﻪ ﺟﺎﻯ ﻧﻴﺶ ﻣﺎﺭ ﻧﻴﺴﺖ‪ ،‬ﭘﺲ ﭼﻴﻪ؟!«‬ ‫»ﻧﻤﻰﺩﻭﻧﻢ ﻭﺍﻻ‪ .‬ﺍﻣﺎ ﺟﺎﻯ ﻧﻴﺶ ﻣﺎﺭ ﻧﻴﺴﺖ‪ .‬ﻳﻪ ﺩﺍﻳﺮﻩ ﻫﻢ ﺭﻭ ﮔﺮﺩﻧﺶ ﻫﺴﺖ‪ ،‬ﺑﺒﻴﻦ‪ .‬ﻇﺎﻫﺮﺍ ً ﻓ ّﻜﺶ‬ ‫ﺑﺰﺭگﺗﺮ ﺍﺯ ﻣﺎﺭ ﺑﻮﺩﻩ‪«.‬‬ ‫ﻛﺒﻼﻳﻰ ﺣﺴﻴﻦ ﺑﻪ ﭼﻬﺮﻩﻯ ﺧﻮﺩﺵ ﺩﺭ ﻛﺎﺳﻪﻯ ﻏﺴﻞ ﻣﻴﺖ ﺧﻴﺮﻩ ﺷﺪ‪ .‬ﺩﺭ ﺍﻳﻦ ﻫﻨﮕﺎﻡ ﺻﺪﺍﻯ‬ ‫ﺑﻠﻨﺪﻯ ﺩﺭ ﮔﻮﺭﺳﺘﺎﻥ ﭘﻴﭽﻴﺪ‪.‬‬ ‫»ﺭﺍﻩ ﺭﻭ ﺑﺎﺯ ﻛﻨﻴﺪ‪«.‬‬ ‫ﻣﺶ ﺣﻴﺪﺭ ﺳﺮﺵ ﺭﺍ ﺑﻪ ﻋﻘﺐ ﺑﺮﮔﺮﺩﺍﻧﺪ‪ .‬ﺩﻭ ﺳﺮﺑﺎﺯ ﺑﻪ ﻫﻤﺮﺍﻩ ﻣﺮﺩﻯ ﺑﻪ ﺳﻤﺖ ﻣﺮﺩﻩﺷﻮﺭﺧﺎﻧﻪ‬ ‫ﻣﻰﺁﻣﺪﻧﺪ‪ .‬ﻗﺪﻡﻫﺎﻳﺸﺎﻥ ﺭﻭﻯ ﺧﺎﻙ ﮔﻮﺭﺳﺘﺎﻥ ﮔﺮﺩ ﻭ ﻏﺒﺎﺭ ﺑﻪ ﻫﻮﺍ ﺑﻠﻨﺪ ﻣﻰﻛﺮﺩ‪.‬‬ ‫»ﺍﻧﮕﻠﻴﺲﻫﺎ ﺍﻭﻣﺪﻥ‪«.‬‬ ‫ﻛﺒﻼﻳﻰ ﺣﺴﻴﻦ ﺳﺮﺵ ﺭﺍ ﺑﺎﻻ ﺁﻭﺭﺩ ﻭ ﺑﻪ ﻣﺶ ﺣﻴﺪﺭ ﻧﮕﺎﻩ ﻛﺮﺩ‪.‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،9-10‬ﺷﻬﺮﻳﻮﺭ ﻭ ﻣﻬﺮ ‪1390‬‬

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‫ﻭﺣﺸﺖ ‪ -‬ﻧﮕﺎﺭﺵ‬

‫ﻛﻮ ﭼﻪ ﺑﺎ ﻍ‬ ‫ﻣﻴﻼﺩ ﻗﺰﻟﻠﻮ‬

‫ﺧﺮﻭﺳﻰ ﺭﻭﻯ ﺩﻳﻮﺍﺭ ﻛﺎﻩﮔﻠﻰ ﻧﺸﺴﺘﻪ ﺑﻮﺩ ﻭ ﻗﻮﻗﻮﻟﻰﻗﻮﻗﻮ ﻣﻰﻛﺮﺩ‪ .‬ﺧﻮﺭﺷﻴﺪ ﺁﺭﺍﻡ ﺁﺭﺍﻡ ﺍﺯ‬ ‫ﭘﺸﺖ ﻛﻮﻩﻫﺎﻯ ﺩﻭﺭﺩﺳﺖ ﺷﺮﻕ ﺑﺮ ﻛﻮﭼﻪﺑﺎﻍﻫﺎﻯ ﺳﺒﺰ ﻗﻠﻬﻚ ﻣﻰﺗﺎﺑﻴﺪ‪.‬‬ ‫»ﺳﻼﻡ ﻛﺒﻼﻳﻰ‪ ،‬ﺣﺎﻝ‪ ،‬ﺍﺣﻮﺍﻝ؟«‬ ‫ﻛﺒﻼﻳﻰ ﺣﺴﻴﻦ ﺩﺳﺘﻰ ﺑﻪ ﻛﻼﻩ ﻧﻤﺪﻯﺍﺵ ﻛﺸﻴﺪ‪ .‬ﻟﺤﻈﻪﺍﻯ ﺍﻳﺴﺘﺎﺩ ﻭ ﺑﻪ ﭘﺸﺖ ﺳﺮﺵ‬ ‫ﻧﮕﺎﻩ ﻛﺮﺩ‪.‬‬ ‫»ﺳﻼﻡ ﻣﺶ ﺣﻴﺪﺭ‪ ،‬ﺍﻭﻏﻮﺭ ﺑﺨﻴﺮ‪«.‬‬ ‫ﻣﺶ ﺣﻴﺪﺭ ﺳﻮﺍﺭ ﺑﺮ ﺍﻻﻍ ﺧﺎﻛﺴﺘﺮﻯ ﺭﻧﮕﻰ ﺑﻪ ﺳﻤﺖ ﻛﺒﻼﻳﻰ ﺣﺴﻴﻦ ﺭﻓﺖ ﻭ ﺑﺎ ﺍﻭ ﺩﺳﺖ‬ ‫ﺩﺍﺩ‪ .‬ﻛﺒﻼﻳﻰ ﺣﺴﻴﻦ ﭘﺎﺷﻨﻪﻫﺎﻯ ﮔﻴﻮﻩﺍﺵ ﺭﺍ ﻭﺭ ﻛﺸﻴﺪ ﻭ ﻫﻤﺮﺍﻩ ﻣﺶ ﺣﻴﺪﺭ ﺑﻪ ﺳﻤﺖ‬ ‫ﭘﺎﻳﻴﻦ ﻛﻮﭼﻪﺑﺎﻍ ﺑﻪ ﺭﺍﻩ ﺍﻓﺘﺎﺩ‪ .‬ﺻﺪﺍﻯ ﮔﻨﺠﺸﻚﻫﺎ ﺩﺭ ﻛﻮﭼﻪﺑﺎﻍ ﻣﻰﭘﻴﭽﻴﺪ‪.‬‬ ‫»ﺧﺒﺮ ﺭﻭ ﺷﻨﻴﺪﻯ ﻛﺒﻼﻳﻰ؟«‬ ‫ﻛﺒﻼﻳﻰ ﻧﮕﺎﻫﺶ ﺭﺍ ﺑﻪ ﺷﺎﺧﻪﻫﺎﻯ ﺩﺭﺧﺘﺎﻥ ﺁﻟﺒﺎﻟﻮ ﺩﻭﺧﺘﻪ ﺑﻮﺩ ﻛﻪ ﺍﺯ ﺭﻭﻯ ﺩﻳﻮﺍﺭﻫﺎﻯ‬ ‫ﻛﺎﻩﮔﻠﻰ ﻛﻨﺎﺭ ﻛﻮﭼﻪﺑﺎﻍ ﺑﻴﺮﻭﻥ ﺁﻣﺪﻩ ﺑﻮﺩﻧﺪ‪.‬‬ ‫»ﺍﻣﺮﻭﺯ ﺻﺒﺢ ﺑﻌﺪ ﺍﺫﻭﻥ‪ ،‬ﺟﻨﺎﺯﻩ ﺍﺻﻐﺮ ﺭﻭ ﭘﻴﺪﺍ ﻛﺮﺩﻥ‪ ،‬ﭘﺴﺮ ﺭﺿﺎﻗﻠﻰ ﺧﺎﻥ‪«.‬‬

‫ﻭﺣﺸﺖ ‪ -‬ﻧﮕﺎﺭﺵ‬

‫ﭘﻠﻴﺲ ‪ 110‬ﻭﻗﺘﻰ ﺑﻪ ﺟﻠﻮﻯ ﺩﺭ ﻣﺠﺘﻤﻊ ﺭﺳﻴﺪ ﻛﻪ ﺩﺭ ﺷﻜﺴﺘﻪ ﺑﻮﺩ‪ .‬ﺁﻗﺎﻯ ﻭﺯﻳﺮﻯ ﻭﻗﺘﻰ ﺑﻪ ﺍﺗﺎﻕ‬ ‫ﺧﻮﺍﺏ ﺭﺳﻴﺪ ﺩﻳﻮﺍﻧﻪﺗﺮ ﺷﺪ‪ .‬ﺧﺎﻧﻢ ﻭﺯﻳﺮﻯ ﺭﻭﻯ ﺷﻜﻢ ﺧﺎﻧﻢ ﺍﺻﻼﻧﻰ ﻧﺸﺴﺘﻪ ﺑﻮﺩ ﻭ ﺭﻭﻯ ﺻﻮﺭﺗﺶ‬ ‫ﺧﻢ ﺷﺪﻩ ﺑﻮﺩ‪ .‬ﺩﺍﺩ ﻛﺸﻴﺪ‪» :‬ﭼﺮﺍ ﺻﺒﺮ ﻧﻜﺮﺩﻯ! ﺣﺎﻻ ﻣﻦ ﭼﻰ ﻛﺎﺭ ﻛﻨﻢ!« ﺑﻌﺪ ﺧﺎﻧﻢ ﻭﺯﻳﺮﻯ ﺭﺍ ﺑﺎ‬ ‫ﺷﺪﺕ ﻛﻨﺎﺭ ﺯﺩ ﻭ ﺭﻭﻯ ﺯﻣﻴﻦ ﺍﻧﺪﺍﺧﺖ ﻭ ﮔﻔﺖ‪» :‬ﻓﺮﻗﺶ ﺩﻩ ﺩﻗﻴﻘﻪ ﺑﻮﺩ!«‪ .‬ﺧﺎﻧﻢ ﻭﺯﻳﺮﻯ ﻧﺎﻟﻪﺍﻯ‬ ‫ﻛﺮﺩ ﻭ ﻫﻤﺎﻥ ﺟﺎ ﻣﺎﻧﺪ ﻭ ﻭﺯﻳﺮﻯ ﮔﻔﺖ‪» :‬ﮔﻔﺘﻢ ﺍﺯ ﺻﺒﺢ ﺷﺮﻭﻉ ﻛﻦ‪ .‬ﺯﺧﻢ ﻗﺒﻠﻰ ﺭﻭ ﭘﺎﻙ ﻛﺮﺩﻡ‪«.‬‬ ‫‪ .‬ﺍﺯ ﺯﺧﻢﻫﺎﻯ ﺭﻭﻯ ﺷﺎﻧﻪ ﻭ ﺩﺳﺖ ﻭ ﮔﺮﺩﻥ ﻭ ﺻﻮﺭﺕ ﺧﺎﻧﻢ ﺍﺻﻼﻧﻰ ﺧﻮﻥ ﺑﻴﺮﻭﻥ ﻣﻰﺯﺩ ﻭ ﺗﺸﻨﺞ‬ ‫ﻫﻴﻜﻠﺶ ﺭﺍ ﺑﻪ ﺭﻗﺼﻰ ﺗﺮﺳﻨﺎﻙ ﻭﺍﺩﺍﺷﺘﻪ ﺑﻮﺩ‪ .‬ﺗﺎ ﭘﻠﻴﺲ ﺑﻪ ﺟﻠﻮﻯ ﺩﺭ ﺑﺮﺳﺪ ﻭ ﺁﻗﺎﻯ ﻭﺯﻳﺮﻯ ﺭﺍ ﺑﮕﻴﺮﻧﺪ‬ ‫ﻭ ﻣﺤﻜﻢ ﺑﻪ ﺯﻣﻴﻦ ﺑﻜﻮﺑﻨﺪ ﻭ ﺑﺎ ﻣﺸﺖ ﻭ ﻟﮕﺪ ﺩﺳﺖﺑﻨﺪ ﺑﺰﻧﻨﺪ‪ ،‬ﺯﺧﻢﻫﺎ ﻣﺤﻜﻢ ﺑﺴﺘﻪ ﺑﻮﺩﻧﺪ ﻭ ﺩﻳﮕﺮ‬ ‫ﺧﻮﻧﻰ ﺑﻪ ﺩﺭﻳﺎﭼﻪﻯ ﺭﻭﻯ ﺗﺨﺖﺧﻮﺍﺏ ﺍﺿﺎﻓﻪ ﻧﻤﻰﺷﺪ‪ .‬ﺍﻣﺎ ﺗﺸﻨﺞ ﻫﻨﻮﺯ ﺍﺩﺍﻣﻪ ﺩﺍﺷﺖ ﻭ ﺧﺎﻧﻢ ﻭﺯﻳﺮﻯ‬ ‫ﺭﻭﻯ ﺯﻣﻴﻦ ﻛﻨﺎﺭ ﺗﺨﺖﺧﻮﺍﺏ ﺯﺍﺭ ﻣﻰﺯﺩ‪.‬‬ ‫ﺑﭽﻪ ﺑﻪ ﻫﻤﺴﺎﻳﻪ ﮔﻔﺖ‪» :‬ﺑﺎﺑﺎﻡ ﻣﺎﻫﻰ ﻳﻚ ﺑﺎﺭ ﺩﺳﺘﺶ ﺯﺧﻢ ﻣﻰﺷﻪ ﻭ ﺧﻮﻥ ﻣﻰﻳﺎﺩ‪ .‬ﻣﺎﻣﺎﻧﻢ ﺑﺎﻳﺪ‬ ‫ﺣﻮﺍﺳﺶ ﺑﺎﺷﻪ‪ .‬ﭼﻮﻥ ﻣﻌﻠﻮﻡ ﻧﻴﺴﺖ ﻛﻰ ﺧﻮﻥ ﻣﻰﻳﺎﺩ‪ .‬ﻫﺮ ﺩﻭ ﺷﻮﻥ ﻫﻤﻪﻯ ﻣﺪﺕ ﺑﻴﺪﺍﺭﻥ‪«.‬‬ ‫ﺑﻬﺰﻳﺴﺘﻰ ﻫﻤﺎﻥ ﺷﺐ ﺑﭽﻪ ﺭﺍ ﺍﺯ ﻫﻤﺴﺎﻳﻪ ﮔﺮﻓﺖ‪.‬‬

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‫ﻭﻳﮋﻩﻧﺎﻣﻪﻯ ﺧﻮﻥﺁﺷﺎﻡﻫﺎ‬

‫ﺑﻪ ﺗﺸﻨﺞ ﺍﻧﺪﺍﺧﺘﻪ ﺑﺎﺷﺪﺵ‪ .‬ﺩﺭ ﻫﻤﺎﻥ ﺣﺎﻝ ﺑﺎ ﺻﺪﺍﻳﻰ ﻛﻪ ﺍﻧﮕﺎﺭ ﺑﻪ ﺯﻭﺭ ﺩﺭ ﻣﻰﺁﻣﺪ ﮔﻔﺖ‪» :‬ﺑﺎﻳﺪ‪...‬‬ ‫ﺑﺮﻡ‪ ...‬ﺧﻮﻧﻪ‪ ...‬ﺍﺣﻤﺪ‪ ...‬ﻣﻴﺎﺩ‪ «.‬ﻭ ﺍﻧﮕﺎﺭ ﺟﺎﻥ ﺗﺎﺯﻩﺍﻯ ﺑﻪ ﺩﺭﻭﻧﺶ ﺩﻣﻴﺪﻩ ﺷﺪﻩ ﺑﺎﺷﺪ‪ ،‬ﺷﺮﻭﻉ ﺑﻪ ﺩﺳﺖ‬ ‫ﻭ ﭘﺎ ﺯﺩﻥ ﻛﺮﺩ‪ .‬ﺧﺎﻧﻢ ﺍﺻﻼﻧﻰ ﻧﻤﻰﻓﻬﻤﻴﺪ ﭼﺮﺍ ﺑﺪﻥ ﺩﺧﺘﺮ ﺍﻳﻦ ﻗﺪﺭ ﺳﺮﺩ ﺍﺳﺖ ﻭ ﭼﺮﺍ ﺍﻳﻦ ﻗﺪﺭ ﺑﻪ‬ ‫ﻫﺬﻳﺎﻥ ﺍﻓﺘﺎﺩﻩ ﺍﺳﺖ‪ .‬ﻣﺎگ ﺭﺍ ﻛﻨﺎﺭ ﮔﺬﺍﺷﺖ ﻭ ﺳﻌﻰ ﻛﺮﺩ ﺍﻭ ﺭﺍ ﺑﺨﻮﺍﺑﺎﻧﺪ ﻭ ﭘﺘﻮ ﺭﺍ ﺭﻭﻳﺶ ﺑﻜﺸﺪ‪.‬‬ ‫ﺳﻮﺍﻝ ﻭ ﺍﺑﻬﺎﻡ ﻭ ﻣﺸﻜﻞ ﺧﺎﻧﻢ ﺍﺻﻼﻧﻰ ﺑﻪ ﻛﻨﺎﺭ‪ ،‬ﺑﺎﻳﺪ ﺍﻳﻦ ﺩﺧﺘﺮ ﺑﻴﭽﺎﺭﻩ ﺭﺍ ﮔﺮﻡ ﻣﻰﻛﺮﺩ ﺗﺎ ﻋﺮﻕ ﻛﻨﺪ‬ ‫ﻭ ﺑﺘﻮﺍﻧﺪ ﺳﺮﺵ ﺭﺍ ﺭﻭﻯ ﺯﻣﻴﻦ ﺑﮕﺬﺍﺭﺩ‪.‬‬ ‫ﺩﺧﺘﺮ ﻫﻨﻮﺯ ﺩﺳﺖ ﻭ ﭘﺎ ﻣﻰﺯﺩ‪ .‬ﺍﻣﺎ ﻛﺎﻣ ً‬ ‫ﻼ ﻭﺍﺿﺢ ﺑﻮﺩ ﻛﻪ ﺳﻨﺒﻪﻯ ﺿﻌﻒ ﭘﺮ ﺯﻭﺭﺗﺮ ﺍﺳﺖ ﻭ ﺧﺎﻧﻢ‬ ‫ﺍﺻﻼﻧﻰ ﺗﻮﺍﻧﺴﺘﻪ ﺑﻮﺩ ﺑﺎﻻﺧﺮﻩ ﺍﻭ ﺭﺍ ﻛﻨﺘﺮﻝ ﻛﻨﺪ‪ .‬ﻧﺎﮔﻬﺎﻥ ﺻﺪﺍﻳﻰ ﺗﻮﻯ ﺭﺍﻫﺮﻭ ﭘﻴﭽﻴﺪ‪.‬‬ ‫»ﺷﻴﺮﻳﻦ‪ ...‬ﺷﻴﺮﻳﻦ‪ ..‬ﻛﺠﺎﻳﻰ‪ ...‬ﺷﻴﺮﻳﻦ! ﺍﻯ ﺧﺪﺍ ﻛﺠﺎ ﺭﻓﺘﻪ! ﺧﺪﺍﻳﺎ ﺭﺣﻢ ﻛﻦ!«‬ ‫ﺩﺧﺘﺮﻙ ﺑﻪ ﺷﻨﻴﺪﻥ ﺍﻳﻦ ﺻﺪﺍ ﺩﻭﺑﺎﺭﻩ ﻣﺠﻨﻮﻥ ﺷﺪ‪ .‬ﺩﺳﺖﻫﺎﻳﺶ ﺩﻭﺑﺎﺭﻩ ﺷﺮﻭﻉ ﻛﺮﺩ ﻣﺜﻞ ﺩﺳﺖﻫﺎﻯ‬ ‫ﻋﺮﻭﺳﻚﻫﺎﻯ ﺑﺎﺩﻯ ﭼﺮﺧﻴﺪﻥ ﻭ ﮔﺮﺩﻳﺪﻥ ﻭ ﺧﻢ ﻭ ﺭﺍﺳﺖ ﺷﺪﻥ‪ .‬ﺩﺳﺖﻫﺎ ﻭ ﭘﺎﻫﺎ ﺍﻧﮕﺎﺭ ﻫﻤﻪ ﺟﺎ ﺑﻮﺩ‪.‬‬ ‫ﺧﺎﻧﻢ ﺍﺻﻼﻧﻰ ﺁﻣﺪ ﺩﻭﺑﺎﺭﻩ ﺍﻭ ﺭﺍ ﺳﻔﺖ ﺑﺎ ﺩﻭ ﺩﺳﺖ ﺑﮕﻴﺮﺩ‪.‬‬ ‫»ﺷﻴﺮﻳﻦ‪ ...‬ﺩﺧﺘﺮ ﻛﺠﺎﻳﻰ‪«...‬‬ ‫ﺩﺧﺘﺮ ﺑﻴﻦ ﺩﺳﺖﻫﺎﻯ ﺧﺎﻧﻢ ﺍﺻﻼﻧﻰ ﻛﻪ ﻣﻰﺧﻮﺍﺳﺖ ﻣﻬﺎﺭﺵ ﻛﻨﺪ‪ ،‬ﭼﺮﺧﻴﺪ ﺗﺎ ﭼﻬﺮﻩ ﺑﻪ ﭼﻬﺮﻩ ﻗﺮﺍﺭ‬ ‫ﮔﺮﻓﺘﻨﺪ ﻭ ﺩﺳﺖﻫﺎ ﻫﻤﭽﻨﺎﻥ ﺩﻳﻮﺍﻧﻪ ﺑﻮﺩﻧﺪ‪ .‬ﺭﻭﻯ ﺯﺍﻧﻮﻫﺎﻯ ﺧﺎﻧﻢ ﺍﺻﻼﻧﻰ ﻣﻰﻟﻐﺰﻳﺪ ﻭ ﺑﺎﻻ ﻭ ﭘﺎﻳﻴﻦ‬ ‫ﻣﻰﺭﻓﺖ ﻭ ﺳﻌﻰ ﻣﻰﻛﺮﺩ ﺩﺳﺘﺶ ﺭﺍ ﺑﻪ ﺟﺎﻳﻰ ﮔﻴﺮ ﺑﺪﻫﺪ‪ .‬ﺻﻮﺭﺗﺶ ﭘﺮ ﺍﺯ ﺗﺮﺱ ﻭ ﻭﺣﺸﺖ ﺑﻮﺩ ﻭ‬ ‫ﭼﺸﻢﻫﺎﻳﺶ ﺍﺯ ﺑﺮﻕ ﺟﻨﻮﻥ ﺟﺮﻗﻪ ﻣﻰﺯﺩ‪ .‬ﺧﺎﻧﻢ ﺍﺻﻼﻧﻰ ﻳﻚ ﺁﻥ ﺍﺯ ﻧﮕﺎﻩ ﺩﻳﻮﺍﻧﻪﻭﺍﺭ ﻭ ﭘﺮ ﺍﺯ ﻫﺮﺍﺱ‬ ‫ﺩﺧﺘﺮ ﺟﺎ ﺧﻮﺭﺩ‪ .‬ﺩﺳﺖﻫﺎﻳﺶ ﻛﻤﻰ ﺷﻞ ﺷﺪ‪.‬‬ ‫ﺍﻧﮕﺎﺭ ﺧﺎﻧﻢ ﺍﺻﻼﻧﻰ ﺑﻘﻴﻪﻯ ﺻﺤﻨﻪ ﺭﺍ ﺑﻪ ﺻﻮﺭﺕ ﺣﺮﻛﺖ ﺁﻫﺴﺘﻪ ﻣﻰﺩﻳﺪ‪ .‬ﺩﺳﺖﻫﺎﻯ ﻭﺣﺸﻰ‬ ‫ﺑﻪ ﺑﺎﺯﻭﻫﺎ ﻭ ﮔﺮﺩﻥ ﻭ ﺳﻴﻨﻪ ﻭ ﺻﻮﺭﺗﺶ ﺿﺮﺑﻪ ﻣﻰﺯﺩﻧﺪ‪ .‬ﺿﺮﺑﻪﻫﺎ ﺳﺮﻳﻊ ﺑﻮﺩ‪ .‬ﺍﻣﺎ ﻗﺪﺭﺗﻰ ﻧﺪﺍﺷﺖ‪.‬‬ ‫ﺣﺮﻛﺖ ﺑﺮﮔﺸﺖ ﺩﺳﺖ ﺭﺍﺳﺘﺶ ﺑﻮﺩ ﻛﻪ ﺑﺎﻋﺚ ﺷﺪ ﻧﺎﺧﻨﺶ ﺑﻪ ﺻﻮﺭﺕ ﺧﺎﻧﻢ ﺍﺻﻼﻧﻰ ﻛﺸﻴﺪﻩ ﺷﻮﺩ‪.‬‬ ‫ﺻﻮﺭﺗﺶ ﮔﺮﻡ ﺷﺪ ﻭ ﺩﺧﺘﺮ ﻧﺎﮔﻬﺎﻥ ﺍﺯ ﺗﻘﻼ ﺍﻳﺴﺘﺎﺩ‪ .‬ﺻﺪﺍﻯ ﻫﺮﺍﺳﺎﻧﻰ ﻛﻪ ﺍﺯ ﺑﻴﺮﻭﻥ ﻣﻰﺁﻣﺪ ﺩﻳﮕﺮ‬ ‫ﺗﺄﺛﻴﺮﺵ ﺭﺍ ﺍﺯ ﺩﺳﺖ ﺩﺍﺩﻩ ﺑﻮﺩ‪ .‬ﭼﺸﻢﻫﺎﻯ ﭘﺮ ﺍﺯ ﺁﺗﺸﺶ ﺧﺎﻣﻮﺵ ﺷﺪ ﻭ ﻧﮕﺎﻫﺶ ﺭﻧﮓ ﻣﺎﺗﻰ ﮔﺮﻓﺖ‪...‬‬ ‫ﺻﺪﺍﻯ ﺟﻴﻎ ﺑﻠﻨﺪ ﺧﺎﻧﻢ ﺍﺻﻼﻧﻰ ﺗﺎ ﺩﺭﻭﻥ ﺁﺳﺎﻧﺴﻮﺭ ﺁﻣﺪ‪ .‬ﺍﺣﻤﺪ ﺑﺪﻭﻥ ﺗﻮﺟﻪ ﺑﻪ ﺍﻋﺘﺮﺍﺽ ﻣﺴﺎﻓﺮﺍﻥ‬ ‫ﺑﻪ ﺯﻭﺭ ﺩﺭ ﺁﺳﺎﻧﺴﻮﺭ ﺭﺍ ﺑﺎﺯ ﻛﺮﺩ ﻭ ﺑﻴﻦ ﻃﺒﻘﺎﺕ ﺍﺯ ﺍﺗﺎﻗﻚ ﺑﻴﺮﻭﻥ ﭘﺮﻳﺪ ﻭ ﺑﻪ ﺳﻤﺖ ﺩﺭ ﺧﺎﻧﻪﻯ ﺧﺎﻧﻢ‬ ‫ﺍﺻﻼﻧﻰ ﺩﻭﻳﺪ‪ .‬ﺗﺒﺮ ﺁﺗﺶﻧﺸﺎﻧﻰ ﺭﺍ ﺳﺮ ﺭﺍﻫﺶ ﺑﺮﺩﺍﺷﺖ ﻭ ﺑﻪ ﺩﺭ ﺣﻤﻠﻪ ﻛﺮﺩ‪ .‬ﻛﺴﻰ ﺍﺯ ﻫﻤﺴﺎﻳﻪﻫﺎ‬ ‫ﺟﺮﺃﺕ ﻧﻜﺮﺩ ﺑﻪ ﺍﻳﻦ ﻣﺮﺩ ﺩﻳﻮﺍﻧﻪ ﻧﺰﺩﻳﻚ ﺷﻮﺩ ﻛﻪ ﻧﻌﺮﻩ ﻣﻰﻛﺸﻴﺪ »ﺍﻭﺭژﺍﻧﺲ ﺧﺒﺮ ﻛﻨﻴﺪ!«‪ .‬ﻣﺎﺷﻴﻦ‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،9-10‬ﺷﻬﺮﻳﻮﺭ ﻭ ﻣﻬﺮ ‪1390‬‬

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‫ﻭﺣﺸﺖ ‪ -‬ﻧﮕﺎﺭﺵ‬

‫ﺧﺎﻧﻢ ﻭﺯﻳﺮﻯ ﮔﻔﺖ‪» :‬ﺍﻣﺎ‪ «...‬ﻭ ﺍﺯ ﺿﻌﻒ ﺗﻠﻮﺗﻠﻮ ﺧﻮﺭﺩ‪ .‬ﺧﺎﻧﻢ ﺍﺻﻼﻧﻰ‬ ‫ﻓﺮﺯﺗﺮ ﺑﻮﺩ‪ .‬ﺳﺮﻳﻊ ﺧﻢ ﺷﺪ ﻭ ﺍﻭ ﺭﺍ ﺑﻐﻞ ﮔﺮﻓﺖ‪ .‬ﺧﻮﻥ ﺧﺎﻧﻢ ﺍﺻﻼﻧﻰ‬ ‫ﻣﻰﺟﻮﺷﻴﺪ‪ .‬ﺣﺪﺳﺶ ﺩﺭﺳﺖ ﺑﻮﺩ‪ .‬ﺍﻳﻦ ﺭﺍ ﻓﻬﻤﻴﺪﻩ ﺑﻮﺩ‪ .‬ﺍﻣﺎ ﭼﻪ ﭼﻴﺰﻯ‬ ‫ﺍﻳﻦ ﻭﺿﻌﻴﺖ ﺭﺍ ﺣﺎﺩ ﻣﻰﻛﺮﺩ؟ ﭼﻪ ﭼﻴﺰﻯ ﺑﻮﺩ ﻛﻪ ﺁﻗﺎﻯ ﻭﺯﻳﺮﻯ ﺭﺍ ﻭﺍﺩﺍﺭ‬ ‫ﻣﻰﻛﺮﺩ ﺑﻪ ﺳﺮﻋﺖ ﺑﻪ ﺧﺎﻧﻪ ﺑﺮﮔﺮﺩﺩ‪ .‬ﺑﺮﺍﻯ ﺑﻌﻀﻰﻫﺎ ﺳﺨﺖﺗﺮ ﺑﻮﺩ‪ .‬ﺍﻣﺎ‬ ‫ﭼﺮﺍ؟ ﺗﺼﻤﻴﻤﺶ ﺭﺍ ﮔﺮﻓﺖ‪ .‬ﻫﻤﻴﻦ ﺣﺎﻻ ﻣﻌﻤﺎ ﺭﺍ ﺣﻞ ﻣﻰﻛﺮﺩ‪ .‬ﻫﻤﻴﻦ‬ ‫ﺣﺎﻻ‪.‬‬ ‫»ﺍﻳﻦ ﺟﻮﺭﻯ ﻧﻤﻰﺷﻪ ﺗﻨﻬﺎ ﺑﺎﺷﻰ‪ .‬ﻣﻰﺑﺮﻣﺖ ﺧﻮﻧﻪﻯ ﺧﻮﺩﻣﻮﻥ‪ .‬ﺍﻭﻥﺟﺎ‬ ‫ﻫﻤﻪ ﭼﻴﺰ ﺩﺍﺭﻳﻢ‪«.‬‬ ‫ﺧﺎﻧﻢ ﻭﺯﻳﺮﻯ ﻧﻔﺲﻧﻔﺲﺯﻧﺎﻥ ﮔﻔﺖ‪» :‬ﻧﻪ‪ ...‬ﺍﺣﻤﺪ‪ ...‬ﺍﻻﻥ ﻣﻴﺎﺩ‪... ...‬‬ ‫ﺧﻄﺮﻧﺎﻛﻪ‪«...‬‬ ‫ﺍﻣﺎ ﺧﺎﻧﻢ ﺍﺻﻼﻧﻰ ﺍﻫﻤﻴﺖ ﻧﺪﺍﺩ‪ .‬ﺑﺎ ﺩﺳﺖ ﺁﺯﺍﺩﺵ ﺩﺭ ﺧﺎﻧﻪ ﺭﺍ ﺑﺴﺖ ﻭ ﺑﻌﺪ‬ ‫ﺩﻭ ﺩﺳﺘﻰ ﺧﺎﻧﻢ ﻭﺯﻳﺮﻯ ﺭﺍ ﻛﻪ ﻣﻰﮔﻔﺖ‪» :‬ﻧﻪ‪ ...‬ﻧﻜﻦ‪ ...‬ﺍﺣﻤﺪ‪ ...‬ﻣﻴﺎﺩ‪«...‬‬ ‫ﻣﺜﻞ ﺑﭽﻪﻫﺎ ﺑﻐﻞ ﮔﺮﻓﺖ ﻭ ﺑﺎ ﻭﺟﻮﺩ ﻣﻘﺎﻭﻣﺖ ﺑﻰﺭﻣﻘﺶ ﺍﻭ ﺭﺍ ﺑﻪ ﺳﻤﺖ‬ ‫ﺧﺎﻧﻪﺍﺵ ﺑﺮﺩ‪ .‬ﺩﺭ ﺭﺍ ﻛﻪ ﻗﺒ ً‬ ‫ﻼ ﺑﺎﺯ ﻛﺮﺩﻩ ﺑﻮﺩ ﺑﺎ ﭘﺎ ﻫﻞ ﺩﺍﺩ ﻭ ﻭﺍﺭﺩ ﺷﺪ‪ .‬ﺧﺎﻧﻢ‬ ‫ﻭﺯﻳﺮﻯ ﺭﺍ ﺭﻭﻯ ﺗﺨﺖ ﮔﺬﺍﺷﺖ ﻭ ﺑﻌﺪ ﺑﻪ ﺩﻭ ﺭﻓﺖ ﺗﺎ ﺩﻡﻛﺮﺩﻩﻯ ﺁﻭﻳﺸﻨﻰ‬ ‫ﻛﻪ ﻗﺒ ً‬ ‫ﻼ ﺩﺭﺳﺖ ﻛﺮﺩﻩ ﺑﻮﺩ ﺭﺍ ﮔﺮﻡ ﻛﻨﺪ‪.‬‬ ‫ﻭﻗﺘﻰ ﺑﺎ ﻳﻚ ﻣﺎگ ﺑﺰﺭگ ﭘﺮ ﺍﺯ ﺩﻡﻛﺮﺩﻩ ﺑﺮﮔﺸﺖ ﺧﺎﻧﻢ ﻭﺯﻳﺮﻯ ﺑﺎ ﺯﺣﻤﺖ‬ ‫ﺍﺯ ﺟﺎ ﺑﻠﻨﺪ ﺷﺪﻩ ﻭ ﭘﺎﻫﺎﻳﺶ ﺭﺍ ﺭﻭﻯ ﺯﻣﻴﻦ ﮔﺬﺍﺷﺘﻪ ﺑﻮﺩ ﻭ ﺩﺍﺷﺖ ﺑﺎ‬ ‫ﻣﺸﻘﺘﻰ ﺑﻪ ﭼﺸﻢﺁﻣﺪﻧﻰ ﺑﺮﺍﻯ ﺍﻳﺴﺘﺎﺩﻥ ﺟﺎﻥ ﻣﻰﻛﻨﺪ‪ .‬ﻋﺮﻕ ﺍﺯ ﭼﻬﺎﺭ‬ ‫ﺳﺘﻮﻥ ﺑﺪﻧﺶ ﺟﺎﺭﻯ ﺑﻮﺩ ﻭ ﺑﺎ ﺻﺪﺍﻳﻰ ﻟﺮﺯﺍﻥ ﻭ ﻫﺬﻳﺎﻥﻭﺍﺭ ﻣﻰﮔﻔﺖ‪:‬‬ ‫»ﺍﺣﻤﺪ‪ ...‬ﺍﺣﻤﺪ‪«...‬‬ ‫ﺧﺎﻧﻢ ﺍﺻﻼﻧﻰ ﺩﺳﺖ ﺁﺯﺍﺩﺵ ﺭﺍ ﺩﻭﺭ ﺷﺎﻧﻪﻯ ﻳﺦﺯﺩﻩ ﺍﺯ ﻋﺮﻕ ﺳﺮﺩ ﺧﺎﻧﻢ‬ ‫ﻭﺯﻳﺮﻯ ﮔﺬﺍﺷﺖ ﻭ ﺍﻭ ﺭﺍ ﺩﻭﺑﺎﺭﻩ ﺭﻭﻯ ﺗﺨﺖ ﻧﺸﺎﻧﺪ ﻭ ﺑﺎ ﺩﺳﺖ ﺩﻳﮕﺮ ﻣﺎگ‬ ‫ﺭﺍ ﺑﻪ ﺩﻫﺎﻥ ﺧﺎﻧﻢ ﻭﺯﻳﺮﻯ ﻧﺰﺩﻳﻚ ﻛﺮﺩ ﻭ ﮔﻔﺖ‪» :‬ﻳﻚ ﻛﻢ ﺑﺨﻮﺭ ﺷﻴﺮﻳﻦ‬ ‫ﺟﺎﻥ‪ .‬ﺑﻬﺘﺮ ﻣﻰﺷﻰ‪ .‬ﻧﻤﻰﺩﻭﻧﺴﺘﻢ ‪ «...‬ﻧﺎﮔﻬﺎﻥ ﺧﺎﻧﻢ ﻭﺯﻳﺮﻯ ﺣﺮﻛﺘﻰ‬ ‫ﻧﺎﮔﻬﺎﻧﻰ ﻛﺮﺩ‪ .‬ﺍﻧﮕﺎﺭ ﺑﻮﻯ ﺁﻭﻳﺸﻦ ﺩﻡﻛﺮﺩﻩ ﺣﺎﻟﺶ ﺭﺍ ﺑﺪ ﻛﺮﺩﻩ ﺑﺎﺷﺪ ﻭ‬ ‫‪51‬‬

‫ﻭﻳﮋﻩﻧﺎﻣﻪﻯ ﺧﻮﻥﺁﺷﺎﻡﻫﺎ‬

‫ﭼﻪ ﭼﻴﺰﻯ‬ ‫ﺍﻳﻦ ﻭﺿﻌﻴﺖ‬ ‫ﺭﺍ ﺣﺎﺩ‬ ‫ﻣﻰﻛﺮﺩ؟‬ ‫ﭼﻪ ﭼﻴﺰﻯ‬ ‫ﺑﻮﺩ ﻛﻪ ﺁﻗﺎﻯ‬ ‫ﻭﺯﻳﺮﻯ ﺭﺍ‬ ‫ﻭﺍﺩﺍﺭ ﻣﻰﻛﺮﺩ‬ ‫ﺑﻪ ﺳﺮﻋﺖ ﺑﻪ‬ ‫ﺧﺎﻧﻪ ﺑﺮﮔﺮﺩﺩ‪.‬‬ ‫ﺑﺮﺍﻯ ﺑﻌﻀﻰﻫﺎ‬ ‫ﺳﺨﺖﺗﺮ ﺑﻮﺩ‪.‬‬ ‫ﺍﻣﺎ ﭼﺮﺍ؟‬

‫ﻟﻘﻤﻪﮔﻴﺮﻯ ﻧﺎﻫﺎﺭ ﺑﺎ ﺍﻧﺤﺮﺍﻑ ﻣﻌﻴﺎﺭ ﺳﺎﻋﺖ ﻭﺭﻭﺩ ﺑﻪ ﺍﺩﺍﺭﻩ‪ ،‬ﻭﺍﺩﺍﺭﺵ ﻛﺮﺩﻩ ﺑﻮﺩ ﻛﻤﻰ ﻫﻢ ﻣﻴﻨﻰﺗﺐ‬ ‫ﻳﺎﺩ ﺑﮕﻴﺮﺩ‪ .‬ﻧﻤﻮﺩﺍﺭ ﺳﺎﻋﺖ ﻭﺭﻭﺩ ﻫﻤﻴﺸﻪ ﻛﻤﻰ ﭼﻮﻟﻪ ﺑﻪ ﭼﭗ ﺑﻮﺩ ﻭ ﺍﻳﻦ ﺩﺍﺷﺖ ﺩﻳﻮﺍﻧﻪﺍﺵ ﻣﻰﻛﺮﺩ‪.‬‬ ‫ﭼﻴﺰﻯ ﺩﺭ ﺭﺍﻩ ﺭﻓﺘﻦ ﻣﺮﺗﺐ ﻭ ﺁﺭﺍﻡ ﻭ ﻣﻄﻴﻊ ﻭﺯﻳﺮﻯ ﺑﻮﺩ ﻛﻪ ﺷﻬﺮﻩ ﺍﺻﻼﻧﻰ ﺭﺍ ﺍﺫﻳﺖ ﻣﻰﻛﺮﺩ‪ .‬ﭼﻴﺰﻯ‬ ‫ﺩﺭ ﺩﻭ ﺭﻭﺯ ﻣﺮﺧﺼﻰ ﻣﺎﻫﺎﻧﻪﻯ ﻭﺯﻳﺮﻯ ﺟﻮﺭ ﺩﺭ ﻧﻤﻰﺁﻣﺪ‪ .‬ﺑﻪ ﻃﻮﺭ ﻣﺘﻮﺳﻂ ﻫﺮ ﺑﻴﺴﺖ ﻭ ﻫﺸﺖ ﺭﻭﺯ‪،‬‬ ‫ﺁﻗﺎﻯ ﻭﺯﻳﺮﻯ ﺩﻭ ﺭﻭﺯ ﻣﺮﺧﺼﻰ ﻣﻰﮔﺮﻓﺖ‪ .‬ﮔﺎﻫﻰ ﺩﻭ ﺗﺎ ﻧﺼﻒ ﺭﻭﺯ ﻭ ﻳﻚ ﺭﻭﺯ ﻛﺎﻣﻞ‪ .‬ﮔﺎﻫﻰ ﺭﻭﺯ‬ ‫ﺑﻴﺴﺖ ﻭ ﻧﻬﻢ ﻭ ﺳﻰﺍﻡ‪ ،‬ﮔﺎﻫﻰ ﻫﻢ ﺑﻴﺴﺖ ﻭ ﻫﺸﺘﻢ ﻭ ﺑﻴﺴﺖ ﻭ ﻧﻬﻢ ﻭ ﺣﺘﻰ ﮔﺎﻫﻰ ﻫﻢ ﺑﻴﺴﺖ ﻫﻔﺘﻢ‬ ‫ﻭ ﺑﻴﺴﺖ ﻭ ﻫﺸﺘﻢ‪ .‬ﺧﺎﻧﻢ ﺍﺻﻼﻧﻰ ﺗﺎ ﺍﻳﻦﺟﺎﻳﺶ ﺭﺍ ﺳﺮ ﺩﺭ ﺁﻭﺭﺩﻩ ﺑﻮﺩ ﻛﻪ ﺩﺭﺳﺖ ﻭﻗﺘﻰ ﺭﻧﮓ ﺻﻮﺭﺕ‬ ‫ﺷﻴﺮﻳﻦ ﻭﺯﻳﺮﻯ ﺑﻪ ﺳﺒﺰﮔﻰ ﻣﻰﮔﺮﺍﻳﺪ‪ ،‬ﺭﻭﺯ ﺑﻌﺪﺵ ﻣﺮﺧﺼﻰ ﺍﺣﻤﺪ ﻭﺯﻳﺮﻯ ﺷﺮﻭﻉ ﻣﻰﺷﻮﺩ ﻭ ﺣﺲ‬ ‫ﺷﺸﻢ ﺧﻄﺎﻧﺎﭘﺬﻳﺮﺵ ﻣﻰﮔﻔﺖ ﻫﻤﻴﻦ ﻗﻀﻴﻪ ﺍﺳﺖ ﻛﻪ ﺑﺎﻻﺧﺮﻩ ﮔﺮﻩ ﺭﺍ ﺑﺎﺯ ﻣﻰﻛﻨﺪ‪.‬‬ ‫ﺍﻳﻦ ﺑﺎﺭ ﺧﺎﻧﻢ ﺍﺻﻼﻧﻰ ﺍﺯ ﻗﺒﻞ ﺁﻣﺎﺩﻩ ﺑﻮﺩ‪ .‬ﺍﺯ ﻗﺒﻞ ﻣﺄﻣﻮﺭﻳﺖ ﮔﺮﻓﺘﻪ ﺑﻮﺩ‪ .‬ﻣﻰﺩﺍﻧﺴﺖ ﻛﻪ ﻭﺯﻳﺮﻯ ﺑﻪ‬ ‫ﺍﺣﺘﻤﺎﻝ ‪ 69‬ﺍﻣﺮﻭﺯ ﺑﻌﺪ ﺍﺯ ﻇﻬﺮ ﻣﺮﺧﺼﻰ ﺧﻮﺍﻫﺪ ﮔﺮﻓﺖ ﻭ ﻫﻤﻴﻦ ﻃﻮﺭ ﻫﻢ ﺷﺪ‪ .‬ﺧﺎﻧﻢ ﺍﺻﻼﻧﻰ‬ ‫ﺩﻩ ﺩﻗﻴﻘﻪ ﺍﺯ ﻭﺯﻳﺮﻯ ﺟﻠﻮ ﺑﻮﺩ‪ .‬ﻭﻗﺘﻰ ﻭﺯﻳﺮﻯ ﺯﻭﺩﺗﺮ ﺍﺯ ﻣﻮﻗﻊ ﺷﺮﻭﻉ ﻛﺮﺩ ﺑﻪ ﺑﺴﺘﻦ ﭘﻮﺷﻪﻫﺎﻯ ﺭﻭﻯ‬ ‫ﻣﻴﺰﺵ‪ ،‬ﺁﻥﻫﺎﻳﻰ ﻛﻪ ﺩﺭ ﺩﻓﺘﺮ ﺑﻮﺩﻧﺪ ﺍﺣﺴﺎﺱ ﻛﺮﺩﻧﺪ ﺧﺎﻧﻢ ﺍﺻﻼﻧﻰ ﻏﻴﺐ ﺷﺪ‪ .‬ﺩﻩ ﺩﻗﻴﻘﻪﻯ ﺑﻌﺪ‪،‬‬ ‫ﺑﻴﺴﺖ ﺩﻗﻴﻘﻪ ﻗﺒﻞ ﺍﺯ ﺍﻳﻦ ﻛﻪ ﺁﻗﺎﻯ ﻭﺯﻳﺮﻯ ﺑﺘﻮﺍﻧﺪ ﺧﻮﺩﺵ ﺭﺍ ﺍﺯ ﺷﺮ ﻧﮕﻬﺒﺎﻥ ﺭﻫﺎ ﻛﻨﺪ‪ ،‬ﺧﺎﻧﻢ ﺍﺻﻼﻧﻰ‬ ‫ﺟﻠﻮﻯ ﺩﺭ ﺁﭘﺎﺭﺗﻤﺎﻥ ﻭﺯﻳﺮﻯﻫﺎ ﺑﻮﺩ‪ .‬ﻧﮕﻬﺒﺎﻥ ﺷﺮﻛﺖ ﺗﻮﻯ ﺟﻴﺒﺶ ﻳﻚ ﭘﻨﺞﻫﺰﺍﺭﻯ ﺩﺍﺷﺖ ﻛﻪ ﺻﺒﺢ‬ ‫ﺁﻥﺟﺎ ﻧﺒﻮﺩ‪.‬‬ ‫ﺧﺎﻧﻢ ﺍﺻﻼﻧﻰ ﺩﺭ ﺯﺩ ﻭ ﻫﻤﺎﻥ ﻃﻮﺭ ﻛﻪ ﺣﺪﺱ ﻣﻰﺯﺩ ﺷﻴﺮﻳﻦ ﻭﺯﻳﺮﻯ ﺑﺎ ﺗﺄﺧﻴﺮﻯ ﺑﻴﺸﺘﺮ ﺍﺯ ﻫﻤﻴﺸﻪ‬ ‫ﺩﺭ ﺭﺍ ﺑﺎﺯ ﻛﺮﺩ ﻭ ﺑﺎ ﭼﻬﺮﻩﺍﻯ ﺗﻴﺮﻩﺗﺮ ﺍﺯ ﻫﻤﻴﺸﻪ ﻭ ﺩﺭ ﻫﻢ ﭘﻴﭽﻴﺪﻩ ﺍﺯ ﺩﺭﺩ‪ ،‬ﺳﺮﺵ ﺭﺍ ﺑﺎﻻ ﮔﺮﻓﺖ ﺑﺎ‬ ‫ﺗﻌﺠﺐ ﺑﻪ ﺧﺎﻧﻢ ﺍﺻﻼﻧﻰ ﻧﮕﺎﻩ ﻛﺮﺩ‪ .‬ﺻﻮﺭﺗﺶ ﺯﺍﺭ ﻭ ﻧﺰﺍﺭ ﺑﻮﺩ ﻭ ﺩﺭ ﻣﻘﺎﺑﻞ ﺳﻔﻴﺪﻯ ﭼﺎﺩﺭ ﮔﻮﻳﻰ ﺩﻭ‬ ‫ﺩﺭﺟﻪ ﺑﻪ ﺗﻴﺮﮔﻰ ﮔﺮﺍﻳﻴﺪﻩ ﻭ ﺧﻮﺩﺵ ﺍﻧﮕﺎﺭ ﺑﻪ ﺯﻭﺭ ﺳﺮ ﭘﺎ ﺍﻳﺴﺘﺎﺩﻩ ﺑﻮﺩ‪ .‬ﭼﺸﻢﻫﺎﻳﺶ ﺑﺮﻗﻰ ﺩﺍﺷﺖ ﻛﻪ‬ ‫ﺩﺭ ﻣﺮﻳﺾﻫﺎﻯ ﻻﻋﻼﺝ ﻭ ﺩﻳﻮﺍﻧﻪﻫﺎ ﺩﻳﺪﻩ ﻣﻰﺷﻮﺩ‪ .‬ﺩﺳﺖﻫﺎ ﻭ ﻟﺐﻫﺎﻯ ﺑﻰﺭﻧﮕﺶ ﺁﻏﺸﺘﻪ ﺑﻪ ﭘﻮﺩﺭ‬ ‫ﺳﻔﻴﺪﻯ ﺑﻮﺩﻧﺪ ﻛﻪ ﺷﺒﻴﻪ ﻧﻤﻚ ﺑﻮﺩ‪.‬‬ ‫ﺍﻧﺪﻛﻰ ﻃﻮﻝ ﻛﺸﻴﺪ ﺗﺎ ﺗﺸﺨﻴﺺ ﺩﻫﺪ ﭼﻪ ﻛﺴﻰ ﺟﻠﻮﻳﺶ ﺍﻳﺴﺘﺎﺩﻩ ﺍﺳﺖ‪ .‬ﺧﻮﺍﺳﺖ ﭼﻴﺰﻯ ﺑﮕﻮﻳﺪ‬ ‫ﻛﻪ ﺧﺎﻧﻢ ﺍﺻﻼﻧﻰ ﻓﺮﺻﺖ ﻧﺪﺍﺩ‪ ،‬ﺗﻨﺪ ﮔﻔﺖ‪» :‬ﺳﻼﻡ‪ ،‬ﺍﺣﻤﺪ ﺁﻗﺎ ﮔﻔﺘﻦ ﺣﺎﻟﺖ ﺑﺪﻩ ﺷﻴﺮﻳﻦ ﺟﺎﻥ‪ «.‬ﺑﻌﺪ‬ ‫ﺩﺳﺖ ﺳﺮﺩ ﺧﺎﻧﻢ ﻭﺯﻳﺮﻯ ﻣﺒﻬﻮﺕ ﺭﺍ ﮔﺮﻓﺖ ﻭ ﺍﻭ ﺭﺍ ﺍﺯ ﺧﺎﻧﻪ ﺑﻴﺮﻭﻥ ﻛﺸﻴﺪ‪.‬‬ ‫»ﺧﻮﺩﺵ ﻧﻤﻰﺗﻮﻧﺴﺖ ﺑﻴﺎﺩ‪ ،‬ﻣﻦ ﮔﻔﺘﻢ ﻣﻴﺎﻡ ﺗﻴﻤﺎﺭﺕ ﻣﻰﻛﻨﻢ ﺗﺎ ﺳﺎﻋﺖ ﻛﺎﺭﻳﺶ ﺗﻤﻮﻡ ﺑﺸﻪ‪.‬‬ ‫ﻫﻤﺴﺎﻳﻪﺍﻯ ﮔﻔﺘﻦ‪«.‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،9-10‬ﺷﻬﺮﻳﻮﺭ ﻭ ﻣﻬﺮ ‪1390‬‬

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‫ﻭﺣﺸﺖ ‪ -‬ﻧﮕﺎﺭﺵ‬

‫ﺍﺻﻼﻧﻰ ﺧﻮﺏ ﺑﻠﺪ ﺑﻮﺩ ﻫﻤﻪ ﭼﻴﺰ ﺭﺍ ﺍﺯ ﺑﺎﻻ ﺗﺨﻤﻴﻦ ﺑﺰﻧﺪ‪ .‬ﺣﺘﻰ ﻭﺯﻧﺶ ﺭﺍ‬ ‫ﻫﻢ ﺗﺨﻤﻴﻦ ﺯﺩ ﻭ ﻭﻗﺘﻰ ﺑﻪ ﺑﻬﺎﻧﻪﻯ ﻧﺬﺭﻯ ﻭﺍﺭﺩ ﺧﺎﻧﻪﻯ ﻭﺯﻳﺮﻯﻫﺎ ﺷﺪ‪،‬‬ ‫ﺩﻳﺪ ﻛﻪ ﺗﺨﻤﻴﻨﺶ ﻛﻤﺘﺮ ﺍﺯ ﻳﻚ ﺩﺭﺻﺪ ﺧﻄﺎ ﺩﺍﺷﺘﻪ‪ .‬ﺑﻪ ﻫﺮ ﺣﺎﻝ ﺳﺎﻝﻫﺎ‬ ‫ﺗﺠﺮﺑﻪ ﺣﻮﺍﺱ ﻫﺮ ﻛﺴﻰ ﺭﺍ ﺗﻴﺰ ﻣﻰﻛﻨﺪ‪ .‬ﭼﻪ ﺭﺳﺪ ﺑﻪ ﺧﺎﻧﻢ ﺍﺻﻼﻧﻰ ﻛﻪ‬ ‫ﺷﻐﻠﺶ ﻫﻢ ﺍﺻ ً‬ ‫ﻼ ﺑﺎﺯﺭﺳﻰ ﺣﺴﺎﺏﺭﺳﻰ ﺑﻮﺩ‪.‬‬ ‫ﺍﻣﺎ ﭼﻴﺰﻯ ﺩﺭ ﺁﻗﺎﻯ ﻭﺯﻳﺮﻯ‪ ،‬ﺩﺭ ﻣﻮﺟﻮﺩﻳﺘﺶ‪ ،‬ﺩﺭ ﺭﺍﻩ ﺭﻓﺘﻦ ﻭ ﺣﺮﻑ‬ ‫ﺯﺩﻧﺶ ﺑﻮﺩ ﻛﻪ ﺧﺎﻧﻢ ﺍﺻﻼﻧﻰ ﺳﺮ ﺩﺭ ﻧﻤﻰﺁﻭﺭﺩ ﻭ ﺁﻣﺪﻩ ﺑﻮﺩ ﺭﻭﺯﻯ ﻛﻪ‬ ‫ﺧﺪﺍ ﻧﻴﺎﻭﺭﺩ‪ .‬ﺷﻮﻫﺮ ﺧﺎﻧﻢ ﺍﺻﻼﻧﻰ ﻧﻤﻰﺗﻮﺍﻧﺴﺖ ﺣﺮﻓﻰ ﺩﺍﺷﺘﻪ ﺑﺎﺷﺪ‪.‬‬ ‫ﻭﻗﺘﻰ ﻧﺎﮔﻬﺎﻥ ﻫﻤﺴﺮﺵ ﺗﺼﻤﻴﻢ ﮔﺮﻓﺖ ﻛﻪ ﻣﺠﺘﻤﻊ ﻭ ﻣﺤﻠﻪﺷﺎﻥ ﺧﻮﺏ‬ ‫ﻧﻴﺴﺖ ﻭ ﺑﺎﻳﺪ ﺑﺮﻭﻧﺪ ﺁﻥ ﺳﻮﻯ ﺷﻬﺮ ﻭ ﺗﻨﻬﺎ ﻭ ﺗﻨﻬﺎ ﺩﺭ ﻳﻚ ﻣﺠﺘﻤﻊ ﻛﻪ‬ ‫ﺍﺳﻤﺶ ﺳﻴﻨﺎ ﺑﻮﺩ ﺧﺎﻧﻪ ﺑﮕﻴﺮﻧﺪ‪ ،‬ﻫﺮ ﭼﻨﺪ ﺗﻌﺠﺐ ﻛﺮﺩ‪ .‬ﺍﻣﺎ ﻣﺨﺎﻟﻔﺘﻰ‬ ‫ﻧﻜﺮﺩ‪ .‬ﻣﻰﺩﺍﻧﺴﺖ ﻛﻪ ﻣﺨﺎﻟﻔﺖ ﺳﻮﺩﻯ ﻧﺪﺍﺭﺩ‪ .‬ﻣﻰﺩﺍﻧﺴﺖ ﻛﻪ ﺁﺭﺍﻣﺶ‬ ‫ﺭﻭﺍﻧﻰﺍﺵ ﺩﺭ ﭼﻨﺪ ﺳﺎﻝ ﺁﻳﻨﺪﻩ ﻭﺍﺑﺴﺘﻪ ﺑﻪ ﺍﻳﻦ ﺍﺳﺖ ﻛﻪ ﻣﻮﺍﻓﻘﺖ ﻛﻨﺪ ﻭ‬ ‫ﺩﺭﺩ ﺟﺎﺑﻪﺟﺎﻳﻰ ﺭﺍ ﺑﻪ ﺟﺎﻥ ﺑﺨﺮﺩ‪ .‬ﻭﻗﺘﻰ ﭘﺎﻯ ﻛﺸﻒ ﺣﻘﻴﻘﺖ ﺩﺭ ﻣﻴﺎﻥ‬ ‫ﺑﻮﺩ‪ ،‬ﺧﺴﺘﮕﻰ ﺩﺭ ﻗﺎﻣﻮﺱ ﺧﺎﻧﻢ ﺍﺻﻼﻧﻰ ﺗﻌﺮﻳﻒ ﻧﺸﺪﻩ ﺑﻮﺩ‪ .‬ﺧﺴﺘﮕﻰ ﻣﺎﻝ‬ ‫ﻭﻗﺘﻰ ﺑﻮﺩ ﻛﻪ ﻗﺮﺍﺭ ﺑﻮﺩ ﻛﺎﺭﻯ ﺑﺮﺍﻯ ﺷﻮﻫﺮ ﺑﻜﻨﺪ‪.‬‬ ‫ﻭﻟﻰ ﻫﺮ ﭼﻪ ﺑﻮﺩ‪ ،‬ﺧﺎﻧﻢ ﺍﺻﻼﻧﻰ ﻫﻨﻮﺯ ﺳﺮ ﺍﺯ ﻛﺎﺭ ﺁﻗﺎﻯ ﻭﺯﻳﺮﻯ ﺩﺭ ﻧﻴﺎﻭﺭﺩﻩ‬ ‫ﺑﻮﺩ‪ .‬ﺍﺣﻤﺪ ﻭﺯﻳﺮﻯ‪ ،‬ﻓﺮﺯﻧﺪ ﺳﻴﺎﻣﻚ‪ ،‬ﻣﺘﻮﻟﺪ ﻫﺰﺍﺭ ﻭ ﺳﻴﺼﺪ ﻭ ﭘﻨﺠﺎﻩ ﻭ‬ ‫ﺳﻪ‪ ،‬ﺷﻤﺎﺭﻩ ﺷﻨﺎﺳﻨﺎﻣﻪﻯ ‪ ،4456‬ﺻﺎﺩﺭﻩ ﺍﺯ ﻗﺼﺒﻪ ﺑﻪ ﺷﻤﺎﺭﻩ ﻣﻠﻰ ﻓﻼﻥ‪.‬‬ ‫ﺧﺎﻧﻢ ﺍﺻﻼﻧﻰ ﺣﺘﻰ ﺟﺪﻭﻝ ﺍﺣﺘﻤﺎﻝ ﻧﻮﻉ ﺧﻮﺭﺍﻛﻰ ﺭﺍ ﻛﻪ ﻭﺯﻳﺮﻯ ﺍﺯ ﺧﺎﻧﻪ‬ ‫ﻣﻰﺁﻭﺭﺩ‪ ،‬ﺩﺭ ﺁﻭﺭﺩﻩ ﻭ ﺑﺎ ﻓﺎﺻﻠﻪﻯ ﺗﻌﻮﻳﺾﻫﺎﻯ ﭘﻴﺮﺍﻫﻨﺶ ﺗﻄﺒﻴﻖ ﺩﺍﺩﻩ‬ ‫ﺑﻮﺩ‪.‬‬ ‫ﺩﺍﺩﻩﻫﺎ ﺍﻳﻦ ﻗﺪﺭ ﺯﻳﺎﺩ ﺷﺪﻩ ﺑﻮﺩ ﻛﻪ ﺧﺎﻧﻢ ﺍﺻﻼﻧﻰ ﺗﺼﻤﻴﻢ ﮔﺮﻓﺖ ﺍﺯ‬ ‫ﻧﺮﻡﺍﻓﺰﺍﺭ ﺍﺳﺘﻔﺎﺩﻩ ﻛﻨﺪ‪ .‬ﻫﺮ ﺻﻔﺤﻪﻯ ﺍﻛﺴﻞ ﺍﺣﻤﺪ ﻭﺯﻳﺮﻯ ﻳﻚ ﺟﻮﺭ ﺁﻣﺎﺭ‬ ‫ﺭﺍ ﺩﺍﺷﺖ‪ .‬ﺍﻛﺴﻞ ﺷﻴﺮﻳﻦ ﻭﺯﻳﺮﻯ ﻭ ﺳﻴﺎﻣﻚ ﻛﻮﭼﻚ ﻫﻢ ﺍﺯ ﻓﺎﻳﻞ ﺧﻮﺩ‬ ‫ﻭﺯﻳﺮﻯ ﻛﻢ ﻧﺪﺍﺷﺖ‪ .‬ﺧﺎﻧﻢ ﺍﺻﻼﻧﻰ ﻫﺮ ﭼﻪ ﺍﺯ ﺁﻣﺎﺭ ﻳﺎﺩ ﮔﺮﻓﺘﻪ ﺑﻮﺩ ﺭﺍ ﻫﻢ‬ ‫ﺭﻭﻯ ﺍﻳﻦ ﺍﻃﻼﻋﺎﺕ ﭘﻴﺎﺩﻩ ﻛﺮﺩﻩ ﺑﻮﺩ‪ .‬ﺗﻄﺒﻴﻖ ﻧﻤﻮﺩﺍﺭ ﺯﻧﮓ ﻣﺎﻧﻨﺪ ﺗﻌﺪﺍﺩ‬ ‫‪49‬‬

‫ﻭﻳﮋﻩﻧﺎﻣﻪﻯ ﺧﻮﻥﺁﺷﺎﻡﻫﺎ‬

‫ﺍﺣﻤﺪ ﻭﺯﻳﺮﻯ‪،‬‬ ‫ﻓﺮﺯﻧﺪ‬ ‫ﺳﻴﺎﻣﻚ‪،‬‬ ‫ﻣﺘﻮﻟﺪ ﻫﺰﺍﺭ‬ ‫ﻭ ﺳﻴﺼﺪ‬ ‫ﻭ ﭘﻨﺠﺎﻩ ﻭ‬ ‫ﺳﻪ‪ ،‬ﺷﻤﺎﺭﻩ‬ ‫ﺷﻨﺎﺳﻨﺎﻣﻪﻯ‬ ‫‪ ،4456‬ﺻﺎﺩﺭﻩ‬ ‫ﺍﺯ ﻗﺼﺒﻪ ﺑﻪ‬ ‫ﺷﻤﺎﺭﻩ ﻣﻠﻰ‬ ‫ﻓﻼﻥ‪.‬‬

‫ﺧﺎﻧﻢ ﺍﺻﻼﻧﻰ ﺍﺯ ﺁﻥ ﺁﺩﻡﻫﺎﻳﻰ ﺑﻮﺩ ﻛﻪ ﺑﻪ ﺧﻮﺩﺵ ﻣﻰﮔﻔﺖ ﺑﺎﻫﻮﺵ‪ .‬ﺍﺯ ﻫﻤﺎﻥ ﺁﺩﻡﻫﺎﻳﻰ ﻛﻪ ﺑﺎﻳﺪ‬ ‫ﺍﺯ ﻫﻤﻪ ﭼﻴﺰ ﺳﺮ ﺩﺭ ﺑﻴﺎﻭﺭﻧﺪ‪ .‬ﺑﺮﺍﻯ ﺳﺮ ﺩﺭ ﺁﻭﺭﺩﻥ ﻫﻢ ﻫﻤﻪ ﭼﻴﺰ ﺗﻮﺟﻴﻪﭘﺬﻳﺮ ﺑﻮﺩ‪ .‬ﻭﻗﺘﻰ ﺧﺎﻧﻢ‬ ‫ﺍﺻﻼﻧﻰ ﭘﺎﻯ ﻣﺎﺟﺮﺍﻳﻰ ﺑﻮﺩ ﻛﻪ ﺑﺎﻳﺪ ﺍﺯ ﺁﻥ ﺳﺮ ﺩﺭ ﻣﻰﺁﻭﺭﺩ‪ ،‬ﺍﺯ ﻫﻴﭻ ﻛﺎﺭﻯ ﻓﺮﻭﮔﺬﺍﺭ ﻧﻤﻰﻛﺮﺩ‪ .‬ﺍﻳﻦ‬ ‫ﻃﻮﺭ ﻭﻗﺖﻫﺎ ﻋﻘﻞ ﺳﻠﻴﻢ ﻛﻪ ﺑﻪ ﺁﻥ ﻣﻰﮔﻔﺖ ﻣﻌﻴﺎﺭ‪ ،‬ﺧﺎﻣﻮﺵ ﻣﻰﺷﺪ ﻭ ﺍﺻﻼﻧﻰ ﻳﻚ ﺟﻮﺭ ﺩﻳﮕﺮ ﻓﻜﺮ‬ ‫ﻣﻰﻛﺮﺩ‪ .‬ﻭﻗﺖﻫﺎﻯ ﺩﻳﮕﺮ ﻫﻤﻪﻯ ﺍﻃﺮﺍﻓﻴﺎﻥ ﺧﺎﻧﻢ ﺍﺻﻼﻧﻰ ﺑﺎﻳﺪ ﺧﻮﺏ ﻭ ﺑﺪ ﺭﺍ ﺑﺎ ﻋﻘﻞ ﺍﻭ ﺗﺸﺨﻴﺺ‬ ‫ﻣﻰﺩﺍﺩﻧﺪ‪.‬‬ ‫ﻭ ﺧﺎﻧﻢ ﺍﺻﻼﻧﻰ ﺗﺼﻤﻴﻢ ﮔﺮﻓﺘﻪ ﺑﻮﺩ ﺑﻔﻬﻤﺪ ﺣﻜﻤﺖ ﺁﻗﺎﻯ ﻭﺯﻳﺮﻯ ﭼﻴﺴﺖ‪ .‬ﻣﻌﻨﻰﺍﺵ ﺍﻳﻦ ﺑﻮﺩ ﻛﻪ‬ ‫ﻣﻰﺧﻮﺍﻫﺪ ﺍﺯ ﻛﺎﺭ ﺁﻗﺎﻯ ﻭﺯﻳﺮﻯ ﺳﺮ ﺩﺭ ﺑﻴﺎﻭﺭﺩ‪.‬‬ ‫ﺁﻗﺎﻯ ﻭﺯﻳﺮﻯ ﻣﺮﺩﻯ ﺳﺎﺩﻩ ﺑﻮﺩ‪ .‬ﺳﺎﺩﻩﭘﻮﺵ ﺑﻮﺩ ﻭ ﻫﻤﻪ ﭼﻴﺰﺵ ﺭﺍ ﻫﻤﻪ ﻣﻰﺩﺍﻧﺴﺘﻨﺪ‪ .‬ﻫﻤﻪ‬ ‫ﻣﻰﺩﺍﻧﺴﺘﻨﺪ ﻛﻪ ﺩﺭ ﺑﻴﺴﺖ ﻭ ﭘﻨﺞ ﺳﺎﻟﮕﻰ ﺍﺯﺩﻭﺍﺝ ﻛﺮﺩﻩ‪ .‬ﻋﻜﺲ ﻫﻤﺴﺮ ﻭ ﺗﻚ ﻓﺮﺯﻧﺪﺵ ﺭﻭﻯ‬ ‫ﻣﻴﺰﺵ ﺑﻮﺩ‪ .‬ﺧﻮﺩﺵ ﻫﻢ ﻫﻤﻴﺸﻪ ﺗﻤﻴﺰ ﺑﻮﺩ ﻭ ﻣﺮﺗﺐ‪ .‬ﺧﺎﻧﻢ ﺍﺻﻼﻧﻰ ﺩﻳﺪﻩ ﺑﻮﺩ ﻛﻪ ﺣﺘﻰ ﭼﺸﻢﻫﺎﻳﺶ‬ ‫ﺭﺍ ﻫﻢ ﺳﺮ ﺳﺎﻋﺖ ﻣﻰﻣﺎﻟﺪ ﺗﺎ ﺧﺴﺘﮕﻰ ﺁﻥﻫﺎ ﺩﺭ ﺑﺮﻭﺩ‪.‬‬ ‫ﻛﺖ ﻭ ﺷﻠﻮﺍﺭ ﺁﻗﺎﻯ ﻭﺯﻳﺮﻯ ﻫﻤﻴﺸﻪ ﺻﺎﻑ ﻭ ﻣﺮﺗﺐ ﻭ ﺍﺗﻮ ﻛﺸﻴﺪﻩ ﺑﻮﺩ‪ .‬ﺧﺎﻧﻢ ﺍﺻﻼﻧﻰ ﺍﺯ ﻭﻗﺘﻰ ﺧﺎﻧﻪﺍﺵ‬ ‫ﺭﺍ ﺑﻪ ﻣﺠﺘﻤﻊ ﺳﻴﻨﺎ ﻣﻨﺘﻘﻞ ﻛﺮﺩﻩ ﺑﻮﺩ ﻣﻰﺩﺍﻧﺴﺖ ﻛﻪ ﺍﺗﻮﻛﺸﻰ ﻛﺎﺭ ﻫﻤﺴﺮ ﻭﺯﻳﺮﻯ ﺍﺳﺖ‪ .‬ﻛﻨﺘﻮﺭﻫﺎﻯ‬ ‫ﮔﺮﺩﺷﻰ ﻣﺠﺘﻤﻊ ﺩﺭ ﺭﺍﻫﺮﻭﻯ ﻭﺭﻭﺩﻯ ﺑﻮﺩﻧﺪ ﻭ ﻭﻗﺘﻰ ﺻﺪﺍﻳﻰ ﻧﻤﻰﺁﻣﺪ ﻭ ﺳﺮﻋﺖ ﭼﺮﺧﺶ ﻛﻨﺘﻮﺭ‬ ‫ﻭﺯﻳﺮﻯ ﺑﻴﺸﺘﺮ ﻣﻰﺷﺪ‪ ،‬ﺧﺎﻧﻢ ﺍﺻﻼﻧﻰ ﻓﻬﻤﻴﺪ ﻛﻪ ﻭﻗﺖ ﺍﺗﻮﻛﺸﻰ ﺍﺳﺖ‪ .‬ﻓﻬﻤﻴﺪﻥ ﺍﻳﻦ ﻣﻮﺿﻮﻉ ﺳﻪ‬ ‫ﺭﻭﺯ ﻣﺮﺧﺼﻰ ﺍﺳﺘﺤﻘﺎﻗﻰ ﺧﺎﻧﻢ ﺍﺻﻼﻧﻰ ﺭﺍ ﻣﺼﺮﻑ ﻛﺮﺩﻩ ﺑﻮﺩ‪.‬‬ ‫ﻟﺒﺎﺱ ﺁﻗﺎﻯ ﻭﺯﻳﺮﻯ‪ ،‬ﺯﻣﺴﺘﺎﻥ ﻭ ﺗﺎﺑﺴﺘﺎﻥ‪ ،‬ﺑﻬﺎﺭ ﻭ ﭘﺎﻳﻴﺰ‪ ،‬ﻫﺮ ﻫﻔﺘﻪ ﻳﻚ ﺭﻧﮓ ﻛﺖ ﻭ ﺷﻠﻮﺍﺭ ﻣﻰﭘﻮﺷﻴﺪ‪.‬‬ ‫ﺩﻭﺭﻩﻯ ﻛﺎﻣﻞ ﺩﻭ ﻣﺎﻫﻪ ﺑﻮﺩ‪ .‬ﻫﻤﻴﺸﻪ ﻫﻢ ﭘﻴﺮﺍﻫﻨﻰ ﺳﺒﺰ ﺧﺎﻛﺴﺘﺮﻯ ﻭ ﻳﻘﻪﺑﻠﻨﺪ ﺑﻪ ﺗﻦ ﻣﻰﻛﺮﺩ‪ .‬ﺍﻧﮕﺎﺭ‬ ‫ﺻﺪ ﺗﺎ ﺍﺯ ﺍﻳﻦ ﭘﻴﺮﺍﻫﻦ ﺩﺍﺷﺖ‪ .‬ﻫﺮ ﺭﻭﺯ ﺍﻧﮕﺎﺭ ﭘﻴﺮﺍﻫﻨﻰ ﺗﺎﺯﻩ ﺍﺯ ﺟﻌﺒﻪ ﺑﻴﺮﻭﻥ ﺁﻭﺭﺩﻩ ﺑﺎﺷﺪ‪.‬‬ ‫ﺍﻣﺎ ﺳﻮﺍﻝ ﺑﺰﺭگ ﺍﻳﻦ ﺭﻭﺯﻫﺎﻯ ﺧﺎﻧﻢ ﺍﺻﻼﻧﻰ ﺧﻮﺩ ﺁﻗﺎﻯ ﻭﺯﻳﺮﻯ ﺑﻮﺩ‪ .‬ﻧﻪ ﺷﻴﺮﻳﻦ ﻭﺯﻳﺮﻯ ﻭ ﻭﻗﺖ‬ ‫ﺍﺗﻮﻛﺸﻰ ﻭ ﻟﺒﺎﺱ ﺷﺴﺘﻦ ﻭ ﺷﻐﻠﺶ ﻭ ﺳﺎﻋﺖﻫﺎﻯ ﻛﺎﺭﻯﺍﺵ ﻭ ﺳﻠﻴﻘﻪﺍﺵ ﺩﺭ ﻟﺒﺎﺱ ﭘﻮﺷﻴﺪﻥ ﻭ‬ ‫ﻧﻮﻉ ﺧﺮﻳﺪ ﺧﺎﻧﻪﺍﺵ‪ .‬ﺍﻳﻦﻫﺎ ﻫﻴﭻ ﻛﺪﺍﻡ ﺑﻴﺸﺘﺮ ﺍﺯ ﻳﻚ ﺳﺎﻋﺖ ﻭ ﺩﻭ ﺳﺎﻋﺖ ﻭﻗﺘﺶ ﺭﺍ ﻧﮕﺮﻓﺘﻪ ﺑﻮﺩﻧﺪ‪.‬‬ ‫ﺑﻪ ﻫﺮ ﺣﺎﻝ ﺧﺎﻧﻢ ﺍﺻﻼﻧﻰ ﻣﺸﺎﻫﺪﻩﻛﻨﻨﺪﻩﻯ ﺩﻗﻴﻘﻰ ﺑﻮﺩ ﻭ ﺗﻮﺍﻧﺶ ﺩﺭ ﺑﻴﺮﻭﻥ ﻛﺸﻴﺪﻥ ﺣﺮﻑ ﺍﺯ‬ ‫ﻫﻤﺴﺎﻳﻪﻫﺎﻳﻰ ﻛﻪ ﺳﺮ ﻛﺎﺭ ﻧﻤﻰﺭﻓﺘﻨﺪ‪ ،‬ﺑﻪ ﺍﻓﺴﺎﻧﻪ ﻣﻰﺯﺩ‪ .‬ﺍﻳﻦ ﭼﻴﺰﻫﺎ ﻫﻴﭻ ﻛﺪﺍﻡ ﺩﺭ ﻣﻘﺎﺑﻞ ﭼﻴﺰﻯ‬ ‫ﻛﻪ ﺍﺳﻤﺶ ﺭﺍ ﮔﺬﺍﺷﺘﻪ ﺑﻮﺩ ﻏﺮﻳﺰﻩﻯ ﺣﻘﻴﻘﺖﺟﻮﻳﻰ ﺑﻪ ﭼﻴﺰﻯ ﺣﺴﺎﺏ ﻧﻤﻰﺷﺪ‪.‬‬ ‫ﺷﻴﺮﻳﻦ ﻭﺯﻳﺮﻯ‪ ،‬ﺍﺯ ﺗﺼﻮﻳﺮﺵ ﺩﺭ ﺁﻳﻨﻪﻯ ﺁﺳﺎﻧﺴﻮﺭ‪ ،‬ﺩﻗﻴﻘﺎً ﺻﺪ ﻭ ﭼﻬﻞ ﻭ ﻳﻚ ﺳﺎﻧﺖ ﻗﺪﺵ ﺑﻮﺩ‪ .‬ﺧﺎﻧﻢ‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،9-10‬ﺷﻬﺮﻳﻮﺭ ﻭ ﻣﻬﺮ ‪1390‬‬

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‫ﻭﺣﺸﺖ ‪ -‬ﻧﮕﺎﺭﺵ‬

‫ﻣﺎﺟﺮﺍﻯ ﺷﻴﺮ ﻭ ﻭﺯﻳﺮ‬ ‫ﻣﻬﺪﻯ ﺑﻨﻮﺍﺭﻯ‬

‫ﺗﻨﻬﺎ ﻛﺴﻰ ﻛﻪ ﺍﺯ ﺣﻘﻴﻘﺖ ﻣﺎﺟﺮﺍ ﺳﺮ ﺩﺭ ﺁﻭﺭﺩ‪ ،‬ﻫﻤﺴﺎﻳﻪﻯ ﺭﻭﺑﻪﺭﻭﻳﻰ ﻭﺯﻳﺮﻯ ﺑﻮﺩ ﻛﻪ ﺁﻥ‬ ‫ﺭﻭﺯ ﺑﭽﻪ ﺭﺍ ﻧﮕﻪ ﺩﺍﺷﺘﻪ ﺑﻮﺩ‪ .‬ﻣﺎﻫﻰ ﻳﻜﻰ ﺩﻭ ﺭﻭﺯ ﺑﭽﻪ ﭘﻴﺶ ﻫﻤﺴﺎﻳﻪ ﻣﻰﻣﺎﻧﺪ‪ .‬ﺟﺎﻳﺶ ﻫﻢ‬ ‫ﭼﻴﺰ ﺧﺎﺻﻰ ﻧﻤﻰﺧﻮﺍﺳﺖ‪ .‬ﻓﻘﻂ ﻭﻗﺘﻰ ﭘﺮﻭﺍﺯ ﺧﺎﻧﻢ ﻭﺯﻳﺮﻯ ﺑﻪ ﺟﻨﻮﺏ ﺑﻮﺩ‪ ،‬ﺑﺮﺍﻳﺶ ﭘﻨﻴﺮ‬ ‫ﺧﺮﻣﺎ ﻣﻰﺁﻭﺭﺩ‪ .‬ﺍﻧﮕﺎﺭ ﺁﻗﺎﻯ ﻭﺯﻳﺮﻯ ﺑﻴﻤﺎﺭﻯ ﺧﺎﺻﻰ ﺩﺍﺷﺖ ﻭ ﻭﻗﺘﻰ ﺣﻤﻠﻪﻯ ﺑﻴﻤﺎﺭﻯ ﻋﻮﺩ‬ ‫ﻣﻰﻛﺮﺩ‪ ،‬ﺑﺮﺍﻯ ﺑﭽﻪ ﺧﻮﺏ ﻧﺒﻮﺩ ﻧﺰﺩﻳﻚ ﺑﺎﺷﺪ‪.‬‬ ‫ﺧﺎﻧﻢ ﺍﺻﻼﻧﻰ‪ ،‬ﭘﺸﺖ ﺑﻪ ﺩﺭ ﺁﺳﺎﻧﺴﻮﺭ‪ ،‬ﺭﻭ ﺑﻪ ﺁﻳﻨﻪ ﺍﻳﺴﺘﺎﺩﻩ ﺑﻮﺩ ﻭ ﺑﺎ ﺍﺧﻢ ﺍﺯ ﺑﺎﻻﻯ ﻗﺪ‬ ‫ﻗﺎﺑﻞ ﺗﻮﺟﻬﺶ‪ ،‬ﺑﻪ ﻣﺮﺩ ﻻﻏﺮ ﻛﻮﭼﻚﺍﻧﺪﺍﻡ ﺷﻴﻚﭘﻮﺵ ﺁﺭﺍﻡ ﺳﺎﻛﺖ ﺭﻧﮓﭘﺮﻳﺪﻩﺍﻯ ﻧﮕﺎﻩ‬ ‫ﻣﻰﻛﺮﺩ ﻛﻪ ﺳﺮﺵ ﺭﺍ ﭘﺎﻳﻴﻦ ﺍﻧﺪﺍﺧﺘﻪ ﺑﻮﺩ‪ .‬ﺍﺧﻢ ﺧﺎﻧﻢ ﺍﺻﻼﻧﻰ ﻳﻚ ﻛﻼﻓﮕﻰ ﺩﺭﻭﻧﻰ ﺭﺍ‬ ‫ﺗﺼﻮﻳﺮ ﻣﻰﻛﺮﺩ ﻛﻪ ﺩﺍﺷﺖ ﻭﺟﻮﺩﺵ ﺭﺍ ﻣﻰﺧﻮﺭﺩ‪ .‬ﺁﻗﺎﻯ ﻭﺯﻳﺮﻯ‪ ،‬ﻫﻤﻜﺎﺭ ﺧﺎﻧﻢ ﺍﺻﻼﻧﻰ ﻭ‬ ‫ﺑﺰﺭگﺗﺮﻳﻦ ﻣﺸﻜﻠﺶ ﺷﻤﺮﺩﻩ ﻣﻰﺷﺪ‪.‬‬

‫ﻭﺣﺸﺖ ‪ -‬ﺗﺮﺟﻤﻪ‬

‫ﺍﻭﺿﺎﻉ ﺩﺭ ﻻﺕ ﻫﻢ ﻫﻤﺎﻥﺟﻮﺭ ﺍﺳﺖ ﻛﻪ ﻗﺒ ً‬ ‫ﻼ ﺑﻮﺩ‪ .‬ﻛﻼﻧﺘﺮ ﻣﺎﺷﻴﻦ ﺁﻥ ﻳﺎﺭﻭ ﻟﻮﻣﻠﻰ ﺭﺍ ﺭﻭﺯ ﺑﻌﺪﺵ‬ ‫ﭘﻴﺪﺍ ﻛﺮﺩ‪ ،‬ﺑﻨﺰﻳﻨﺶ ﺗﻤﺎﻡ ﺷﺪﻩ ﻭ ﺑﺎﺗﺮﻯ ﻫﻢ ﺧﺎﻟﻰ ﺷﺪﻩ ﺑﻮﺩ‪ .‬ﺗﻮﻛﻰ ﻭ ﻣﻦ ﻫﻴﭻﻛﺪﺍﻡ ﭼﻴﺰﻯ‬ ‫ﻧﮕﻔﺘﻴﻢ‪ .‬ﻓﺎﻳﺪﻩﺍﺵ ﭼﻪ ﺑﻮﺩ؟ ﻫﺮ ﺍﺯ ﮔﺎﻫﻰ ﻫﻢ ﻳﻚ ﻣﺴﺎﻓﺮ ﻣﺠﺎﻧﻰ ﻳﺎ ﻳﻚ ﺩﻭﺭﻩﮔﺮﺩ ﺁﻥ ﺍﻃﺮﺍﻑ‬ ‫ﻧﺎﭘﺪﻳﺪ ﻣﻰﺷﺪ‪ ،‬ﺗﻮﻯ ﺣﻴﺎﻁ ﻣﺪﺭﺳﻪ ﻳﺎ ﻧﺰﺩﻳﻚ ﻗﺒﺮﺳﺘﺎﻥ ﻫﺎﺭﻣﻮﻧﻰ )‪ .(29‬ﻛﻮﻟﻪﭘﺸﺘﻰ ﻃﺮﻑ‪ ،‬ﻳﺎ‬ ‫ﺩﻓﺘﺮﭼﻪ ﻳﺎﺩﺩﺍﺷﺘﺶ ﺭﺍ ﺑﺮﻣﻰﮔﺮﺩﺍﻧﺪﻧﺪ ﻛﻪ ﺑﺎﺭﺍﻥ ﻭ ﺑﺮﻑ ﺧﻴﺲ ﻭ ﻧﺎﺑﻮﺩﺵ ﻛﺮﺩﻩ ﺑﻮﺩ‪ .‬ﺍﻣﺎ ﺧﻮﺩﺷﺎﻥ‬ ‫ﻫﻴﭻﻭﻗﺖ ﺑﺮﻧﻤﻰﮔﺸﺘﻨﺪ‪.‬‬ ‫ﻣﻦ ﻫﻨﻮﺯ ﻛﻪ ﻫﻨﻮﺯ ﺍﺳﺖ ﺍﺯ ﺁﻥ ﺷﺐ ﺗﻮﻓﺎﻧﻰ ﻛﺎﺑﻮﺱ ﻣﻰﺑﻴﻨﻢ‪ .‬ﻛﺎﺑﻮﺱﻫﺎﻳﻢ ﺑﻴﺸﺘﺮ ﺩﺭﺑﺎﺭﻩﻯ‬ ‫ﺩﺧﺘﺮﺑﭽﻪ ﻫﺴﺘﻨﺪ ﺗﺎ ﺁﻥ ﺯﻥ‪ ،‬ﺩﺧﺘﺮﺑﭽﻪ ﺑﺎ ﺁﻥ ﺷﻴﻮﻩﻯ ﻟﺒﺨﻨﺪ ﺯﺩﻧﺶ ﻭﻗﺘﻰ ﻛﻪ ﺑﺎﺯﻭﻫﺎﻳﺶ ﺭﺍ ﺑﺎﺯ‬ ‫ﻛﺮﺩﻩ ﺑﻮﺩ ﻛﻪ ﻣﻦ ﺑﻐﻠﺶ ﻛﻨﻢ ﺗﺎ ﺑﻮﺳﻢ ﻛﻨﺪ‪ .‬ﺍﻣﺎ ﻣﻦ ﭘﻴﺮ ﻫﺴﺘﻢ ﻭ ﺧﻴﻠﻰ ﺯﻭﺩ ﺯﻣﺎﻥ ﺭﻭﻳﺎ ﺩﻳﺪﻥ‬ ‫ﻣﻦ ﻫﻢ ﺗﻤﺎﻡ ﻣﻰﺷﻮﺩ‪.‬‬ ‫ﺷﺎﻳﺪ ﻳﻜﻰ ﺍﺯ ﺍﻳﻦ ﺭﻭﺯﻫﺎ ﮔﺬﺭ ﺷﻤﺎ ﻫﻢ ﺑﻪ ﻣﻴﻦ ﺟﻨﻮﺑﻰ ﺑﻴﺎﻓﺘﺪ‪ .‬ﻣﻨﻄﻘﻪﻯ ﻳﻴﻼﻗﻰ ﻗﺸﻨﮕﻰ ﺍﺳﺖ‪.‬‬ ‫ﺷﺎﻳﺪ ﺣﺘﺎ ﺩﺭ ﺑﺎﺭ ﺗﻮﻛﻰ ﻳﻚ ﻧﻮﺷﻴﺪﻧﻰ ﻫﻢ ﺑﺰﻧﻴﺪ‪ .‬ﺟﺎﻯ ﻗﺸﻨﮕﻰ ﺷﺪﻩ ﺍﺳﺖ‪ .‬ﺍﺳﻤﺶ ﺭﺍ ﻫﻢ‬ ‫ﮔﺬﺍﺷﺘﻨﺪ ﻫﻤﺎﻥ ﺑﻤﺎﻧﺪ‪ .‬ﭘﺲ ﻧﻮﺷﻴﺪﻧﻰﺗﺎﻥ ﺭﺍ ﺑﺨﻮﺭﻳﺪ‪ ،‬ﺍﻣﺎ ﻧﺼﻴﺤﺖ ﻣﻦ ﺑﻪ ﺷﻤﺎ ﺍﻳﻦ ﺍﺳﺖ ﻛﻪ ﻳﻚ‬ ‫ﺭﺍﺳﺖ ﺑﻪ ﺷﻤﺎﻝ ﺑﺮﻭﻳﺪ‪ .‬ﻫﺮ ﻛﺎﺭﻯ ﻛﻪ ﻣﻰﻛﻨﻴﺪ ﺍﺯ ﺟﺎﺩﻩﻯ ﻣﻨﺘﻬﻰ ﺑﻪ ﺍﻭﺭﺷﻠﻴﻢ ﻻﺕ ﻋﺒﻮﺭ ﻧﻜﻨﻴﺪ‪.‬‬ ‫ﺑﻪ ﺧﺼﻮﺹ ﺍﮔﺮ ﻧﺰﺩﻳﻚ ﻏﺮﻭﺏ ﺑﺎﺷﺪ‪.‬‬ ‫ﺁﻥﺟﺎ ﺩﺧﺘﺮ ﻛﻮﭼﻜﻰ ﺁﻥ ﺑﻴﺮﻭﻥ ﺍﺳﺖ ﻛﻪ ﮔﻤﺎﻧﻢ ﻫﻨﻮﺯ ﻣﻨﺘﻈﺮ ﺑﻮﺱ ﺷﺐ ﺑﻪ ﺧﻴﺮﺵ ﺍﺳﺖ‪.‬‬ ‫ﭘﻰﻧﻮﺷﺖﻫﺎ‪:‬‬ ‫‪Sunday Telegram‬‬ ‫‪Boston Glob‬‬ ‫‪Jerusalem’s Lot‬‬ ‫‪Gerard Lumley‬‬ ‫‪Marsten‬‬ ‫‪Jointner Avenue‬‬ ‫‪Richie Messina‬‬ ‫‪Freeport‬‬ ‫‪Lamont Henry‬‬ ‫‪Rhode Island‬‬ ‫‪Janey‬‬ ‫‪Francie‬‬ ‫‪Walter de la Mare‬‬ ‫‪Waterville‬‬ ‫‪Harmony‬‬

‫‪1.The Shining, The Dark Tower, The Stand, and‬‬ ‫‪The Dead Zone‬‬ ‫‪2.Salem’s Lot‬‬ ‫‪3.Duma Key‬‬ ‫‪4.Just After Sunset‬‬ ‫‪5.Entertainment Weekly‬‬ ‫‪6.Danse Macabre‬‬ ‫‪7.Maine‬‬ ‫‪ :Tookey .8‬ﻣﺨﻔﻒ ﺗﻮﻙﻟﻨﺪﺭ‬ ‫‪9.Falmouth‬‬ ‫‪10. Billy Larribee‬‬ ‫‪11. Portland‬‬ ‫‪12. Booth‬‬ ‫‪13. Woodrow Wilson‬‬ ‫‪14. Dawn East‬‬

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‫ﻭﻳﮋﻩﻧﺎﻣﻪﻯ ﺧﻮﻥﺁﺷﺎﻡﻫﺎ‬

‫‪15.‬‬ ‫‪16.‬‬ ‫‪17.‬‬ ‫‪18.‬‬ ‫‪19.‬‬ ‫‪20.‬‬ ‫‪21.‬‬ ‫‪22.‬‬ ‫‪23.‬‬ ‫‪24.‬‬ ‫‪25.‬‬ ‫‪26.‬‬ ‫‪27.‬‬ ‫‪28.‬‬ ‫‪29.‬‬

‫ﺍﻭ ﺁﻥﺟﺎ ﺍﻳﺴﺘﺎﺩﻩ ﺑﻮﺩ‪ ،‬ﻣﺘﻮﺟﻪ ﻛﻪ ﻫﺴﺘﻴﺪ‪ ،‬ﺍﻣﺎ ﺭﻭﻯ ﺑﺮﻑ ﺍﻳﺴﺘﺎﺩﻩ ﺑﻮﺩ ﻭ ﻫﻴﭻ ﺭﺩﭘﺎﻳﻰ ﺩﺭ ﻫﻴﭻ‬ ‫ﺟﻬﺘﻰ ﻧﺪﺍﺷﺖ‪.‬‬ ‫ﻭ ﺑﻌﺪ‪ ،‬ﻓﺮﺍﻧﺴﻰ‪ ،‬ﺩﺧﺘﺮ ﻟﻮﻣﻠﻰ ﺑﻪ ﻣﻦ ﻧﮕﺎﻩ ﻛﺮﺩ‪ .‬ﻓﻘﻂ ﻫﻔﺖ ﺳﺎﻝ ﺩﺍﺷﺖ ﻭ ﺣﺎﻻ ﺑﻰﻧﻬﺎﻳﺖ ﺷﺐﻫﺎﻯ‬ ‫ﺍﺑﺪﻯ ﺭﺍ ﻫﻔﺖﺳﺎﻟﻪ ﺑﺎﻗﻰ ﻣﻰﻣﺎﻧﺪ‪ .‬ﭼﻬﺮﻩﻯ ﻛﻮﭼﻜﺶ ﻣﺜﻞ ﺟﺴﺪ ﺳﻔﻴﺪ ﺑﻮﺩ‪ ،‬ﭼﺸﻢﻫﺎﻳﺶ ﻗﺮﻣﺰ ﻭ‬ ‫ﻧﻘﺮﻩﺍﻯ ﺑﻮﺩ ﻭ ﻣﻰﺷﺪ ﺩﺭ ﺁﻥﻫﺎ ﻏﺮﻕ ﺷﺪ‪ .‬ﺯﻳﺮ ﺍﺳﺘﺨﻮﺍﻥ ﻓﻜﺶ ﻣﻰﺗﻮﺍﻧﺴﺘﻢ ﺳﻮﺭﺍﺥﻫﺎﻯ ﻛﻮﭼﻜﻰ‬ ‫ﺭﺍ ﺑﺒﻴﻨﻢ ﻛﻪ ﺣﺎﺷﻴﻪﻫﺎﻳﺸﺎﻥ ﺑﻪ ﻃﺮﺯ ﻣﺨﻮﻓﻰ ﭘﺎﺭﻩ ﭘﺎﺭﻩ ﺑﻮﺩ‪.‬‬ ‫ﺩﺳﺖﻫﺎﻳﺶ ﺭﺍ ﺩﺭﺍﺯ ﻛﺮﺩ ﻭ ﻟﺒﺨﻨﺪ ﺯﺩ‪ ،‬ﺑﻪ ﺁﺭﺍﻣﻰ ﮔﻔﺖ‪» :‬ﺁﻗﺎ ﻣﻦ ﺭﻭ ﺑﻠﻨﺪ ﻛﻦ‪ .‬ﻣﻰﺧﻮﺍﻡ ﺑﻮﺳﺖ‬ ‫ﻛﻨﻢ‪ .‬ﺑﻌﺪﺵ ﻣﻰﺗﻮﻧﻰ ﻣﻦ ﺭﻭ ﺑﺒﺮﻯ ﭘﻴﺶ ﻣﺎﻣﺎﻧﻢ‪«.‬‬ ‫ﻧﻤﻰﺧﻮﺍﺳﺘﻢ ﺍﻳﻦ ﻛﺎﺭ ﺭﺍ ﺑﻜﻨﻢ ﺍﻣﺎ ﺩﺳﺖ ﺧﻮﺩﻡ ﻧﺒﻮﺩﻡ‪ .‬ﺩﺍﺷﺘﻢ ﺑﻪ ﺟﻠﻮ ﺧﻢ ﻣﻰﺷﺪﻡ ﻭ ﺩﺳﺖﻫﺎﻳﻢ‬ ‫ﺭﺍ ﺩﺭﺍﺯ ﻛﺮﺩﻩ ﺑﻮﺩﻡ‪ .‬ﻣﻰﺗﻮﺍﻧﺴﺘﻢ ﺑﺒﻴﻨﻢ ﺩﻫﺎﻧﺶ ﺑﺎﺯ ﻣﻰﺷﻮﺩ ﻭ ﺩﻧﺪﺍﻥﻫﺎﻯ ﻧﻴﺶﺍﺵ ﺩﺍﺧﻞ ﻟﺐﻫﺎﻯ‬ ‫ﺻﻮﺭﺗﻰﺭﻧﮕﺶ ﺑﺮﻕ ﻣﻰﺯﺩﻧﺪ‪ .‬ﭼﻴﺰﻯ ﺭﻭﻯ ﭼﺎﻧﻪﺍﺵ ﻏﻠﺘﻴﺪ‪ ،‬ﺭﻭﺷﻦ ﻭ ﻧﻘﺮﻩﺍﻯ ﺑﻮﺩ‪ ،‬ﺑﺎ ﻭﺣﺸﺘﻰ ﮔﻨﮓ‬ ‫ﻭ ﺩﻭﺭ ﺩﺳﺖ ﺩﺭﻳﺎﻓﺘﻢ ﻛﻪ ﺁﺏ ﺩﻫﺎﻧﺶ ﺭﺍﻩ ﺍﻓﺘﺎﺩﻩ‪.‬‬ ‫ﺩﺳﺖﻫﺎﻯ ﻛﻮﭼﻜﺶ ﺭﺍ ﺩﻭﺭ ﮔﺮﺩﻧﻢ ﺣﻘﻠﻪ ﻛﺮﺩ ﻭ ﻣﻦ ﺩﺍﺷﺘﻢ ﺑﺎ ﺧﻮﺩﻡ ﻓﻜﺮ ﻣﻰﻛﺮﺩﻡ ‪» :‬ﺧﺐ‪ ،‬ﺷﺎﻳﺪ‬ ‫ﺍﻭﻥﻗﺪﺭﺍ ﻫﻢ ﺑﺪ ﻧﺒﺎﺷﻪ‪ ،‬ﻧﻪ ﺍﻭﻥﻗﺪﺭﺍ ﻫﻢ ﺑﺪ ﻧﻴﺴﺖ‪ ،‬ﺷﺎﻳﺪ ﺑﻌﺪ ﺍﺯ ﻣﺪﺗﻰ ﺩﻳﮕﻪ ﺧﻴﻠﻰ ﻭﺣﺸﺘﻨﺎﻙ‬ ‫ﻧﺒﺎﺷﻪ‪ «...‬ﺩﺭ ﺍﻳﻦ ﻓﻜﺮﻫﺎ ﺑﻮﺩﻡ ﻛﻪ ﭼﻴﺰﻯ ﺳﻴﺎﻩ ﺍﺯ ﺍﺳﻜﺎﺕ ﺑﻴﺮﻭﻥ ﺁﻣﺪ ﻭ ﻣﺤﻜﻢ ﺑﻪ ﺳﻴﻨﻪﺍﺵ‬ ‫ﺑﺮﺧﻮﺭﺩ ﻛﺮﺩ‪ .‬ﺩﻭﺩﻯ ﺑﺎ ﺑﻮﻯ ﻋﺠﻴﺐ ﺑﻠﻨﺪ ﺷﺪ‪ ،‬ﺩﺭﺧﺸﺸﻰ ﻛﻪ ﺁﻧﻰ ﺑﻌﺪ ﻧﺎﭘﺪﻳﺪ ﺷﺪﻩ ﺑﻮﺩ ﻭ ﺑﻌﺪ‬ ‫ﺩﺧﺘﺮﻙ ﺩﺍﺷﺖ ﻫﻴﺲﻫﻴﺲﻛﻨﺎﻥ ﺩﻭﺭ ﻣﻰﺷﺪ‪ .‬ﭼﻬﺮﻩﺍﺵ ﺩﺭ ﻫﻢ ﭘﻴﭽﻴﺪﻩ ﻭ ﺗﺒﺪﻳﻞ ﺑﻪ ﻣﺎﺳﻜﻰ‬ ‫ﺩﺭﻫﻢ ﺍﺯ ﺧﺸﻢ‪ ،‬ﻧﻔﺮﺕ ﻭ ﺩﺭﺩ ﺗﺒﺪﻳﻞ ﺷﺪﻩ ﺑﻮﺩ‪ .‬ﺑﻪ ﻛﻨﺎﺭﻩﻫﺎ ﺭﻓﺖ ﻭ ﺑﻌﺪ‪ ...‬ﺑﻌﺪ ﺭﻓﺘﻪ ﺑﻮﺩ‪ .‬ﻳﻚ ﻟﺤﻈﻪ‬ ‫ﺁﻥﺟﺎ ﺑﻮﺩ ﻭ ﻟﺤﻈﻪﻯ ﺩﻳﮕﺮ ﻧﺎﭘﺪﻳﺪ ﺷﺪﻩ ﺑﻮﺩ ﻭ ﺑﻪ ﭘﻴﻜﺮﻩﺍﻯ ﺩﺭﻫﻢ ﺍﺯ ﺑﺮﻑ ﺗﺒﺪﻳﻞ ﺷﺪﻩ ﺑﻮﺩ ﻛﻪ‬ ‫ﻗﺪﺭﻯ ﺑﻪ ﺍﻧﺴﺎﻥ ﺷﺒﺎﻫﺖ ﺩﺍﺷﺖ‪ .‬ﺑﻌﺪ ﺑﺎﺩ ﺁﻥ ﺭﺍ ﺍﺯ ﻫﻢ ﭘﺎﺷﺎﻧﺪ ﻭ ﺩﺭ ﻫﻤﻪ ﺟﺎ ﭘﺮﺍﻛﻨﺪﻩ ﻛﺮﺩ‪.‬‬ ‫ﺗﻮﻛﻰ ﺯﻳﺮﻟﺒﻰ ﮔﻔﺖ‪» :‬ﺯﻭﺩ ﺑﺎﺵ ﺑﻮﺙ! ﺣﺎﻻ ﻋﺠﻠﻪ ﻛﻦ!« ﻭ ﻣﻦ ﻫﻢ ﻋﺠﻠﻪ ﻛﺮﺩﻡ‪ .‬ﺍﻣﺎ ﺩﺭ ﻫﻤﺎﻥ‬ ‫ﺣﻴﻦ ﭼﻴﺰﻯ ﺭﺍ ﻛﻪ ﺗﻮﻛﻰ ﺑﻪ ﻃﺮﻑ ﺩﺧﺘﺮ ﺟﻬﻨﻤﻰ ﭘﺮﺗﺎﺏ ﻛﺮﺩﻩ ﺑﻮﺩ ﺍﺯ ﺯﻣﻴﻦ ﺑﺮﺩﺍﺷﺘﻢ‪ .‬ﺍﻧﺠﻴﻞ‬ ‫ﻣﺎﺩﺭﺵ ﺑﻮﺩ‪.‬‬ ‫ﻣﺎﺟﺮﺍ ﻣﺎﻝ ﻣﺪﺕﻫﺎ ﭘﻴﺶ ﺍﺳﺖ‪ .‬ﺣﺎﻻ ﻣﻦ ﺧﻴﻠﻰ ﭘﻴﺮﺗﺮ ﺷﺪﻩﺍﻡ ﻭ ﺍﻟﺒﺘﻪ ﺁﻥ ﻣﻮﻗﻊ ﻫﻢ ﺟﻮﺍﻥ ﻧﺒﻮﺩﻡ‪.‬‬ ‫ﻫﺮﺏ ﺗﻮﻙﻟﻨﺪﺭ ﺩﻭ ﺳﺎﻝ ﭘﻴﺶ ﺭﻓﺖ‪ .‬ﻳﻚ ﺷﺐ ﺩﺭ ﺁﺭﺍﻣﺶ ﺩﺭﮔﺬﺷﺖ‪ .‬ﺑﺎﺭ ﻫﻨﻮﺯ ﺁﻥﺟﺎ ﺍﺳﺖ‪ ،‬ﻳﻚ‬ ‫ﻧﻔﺮ ﺑﺎ ﻫﻤﺴﺮﺵ ﺍﺯ ﺍﻫﺎﻟﻰ ﻭﺍﺗﺮﻭﻳﻞ )‪ (28‬ﺁﻥ ﺭﺍ ﺧﺮﻳﺪﻧﺪ‪ ،‬ﺁﺩﻡﻫﺎﻯ ﻧﺎﺯﻧﻴﻨﻰ ﻫﺴﺘﻨﺪ ﻭ ﺁﻥﺟﺎ ﺭﺍ‬ ‫ﻫﻤﺎﻥ ﺷﻜﻠﻰ ﻛﻪ ﺑﻮﺩ ﺣﻔﻆ ﻛﺮﺩﻩﺍﻧﺪ‪ .‬ﺍﻣﺎ ﻣﻦ ﺧﻴﻠﻰ ﺑﻪ ﺁﻥﺟﺎ ﺳﺮ ﻧﻤﻰﺯﻧﻢ‪ .‬ﺑﺪﻭﻥ ﺗﻮﻛﻰ ﺍﺻﻼ ﺟﻮﺭ‬ ‫ﺩﻳﮕﺮﻯ ﺷﺪﻩ ﺍﺳﺖ‪.‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،9-10‬ﺷﻬﺮﻳﻮﺭ ﻭ ﻣﻬﺮ ‪1390‬‬

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‫ﻭﺣﺸﺖ ‪ -‬ﺗﺮﺟﻤﻪ‬

‫ﻧﻴﺸﺨﻨﺪ ﺯﺩ‪ .‬ﻣﺎ ﺧﻴﻠﻰ ﺍﺯ ﺍﻭ ﺩﻭﺭ ﺑﻮﺩﻳﻢ ﻭ ﺷﺎﻳﺪ ﻫﻢ ﺧﻴﻠﻰ ﺗﺮﺳﻴﺪﻩ‪.‬‬ ‫ﺯﻳﺮﻟﺒﻰ ﮔﻔﺘﻢ‪» :‬ﻧﻤﻰﺗﻮﻧﻴﻢ ﺟﻠﻮﺵ ﺭﻭ ﺑﮕﻴﺮﻳﻢ؟«‬ ‫ﺗﻮﻛﻰ ﺑﺎ ﺍﻧﺪﻭﻩ ﮔﻔﺖ‪» :‬ﺩﻳﮕﺮ ﺩﻳﺮ ﺷﺪﻩ ﺑﻮﺙ!«‬ ‫ﻟﻮﻣﻠﻰ ﺑﻪ ﺍﻭ ﺭﺳﻴﺪ‪ .‬ﺁﻥ ﻃﻮﺭ ﻛﻪ ﺑﺮﻑ ﺭﻭﻳﺶ ﻧﺸﺴﺘﻪ ﺑﻮﺩ‪ ،‬ﺧﻮﺩﺵ ﻫﻢ ﺷﺒﻴﻪ ﺑﻪ ﺭﻭﺡ ﺷﺪﻩ ﺑﻮﺩ‪.‬‬ ‫ﺑﻪ ﻃﺮﻓﺶ ﺩﺳﺖ ﺩﺭﺍﺯ ﻛﺮﺩ‪ ...‬ﻭ ﺑﻌﺪ ﺷﺮﻭﻉ ﻛﺮﺩ ﺑﻪ ﺟﻴﻎ ﻛﺸﻴﺪﻥ‪ .‬ﻭ ﺁﻥ ﺻﺪﺍ ﺭﺍ ﺩﺭ ﻛﺎﺑﻮﺱﻫﺎﻳﻢ‬ ‫ﻣﻰﺷﻨﻮﻡ‪ ،‬ﺻﺪﺍﻯ ﺁﻥ ﻣﺮﺩ ﺭﺍ ﻛﻪ ﻣﺜﻞ ﻳﻚ ﺑﭽﻪ ﻛﻪ ﻛﺎﺑﻮﺱ ﺩﻳﺪﻩ ﺑﺎﺷﺪ ﺟﻴﻎ ﻣﻰﻛﺸﺪ‪ .‬ﺗﻼﺵ ﻛﺮﺩ‬ ‫ﺍﺯ ﺁﻥ ﺯﻥ ﺩﻭﺭ ﺷﻮﺩ‪ ،‬ﺍﻣﺎ ﺑﺎﺯﻭﻫﺎﻳﺶ ﻛﻪ ﺑﻠﻨﺪ ﻭ ﺑﺮﻫﻨﻪ ﻭ ﻫﻤﭽﻮﻥ ﺑﺮﻑ ﺳﻔﻴﺪ ﺑﻮﺩﻧﺪ‪ ،‬ﺩﺭﺍﺯ ﺷﺪﻧﺪ ﻭ‬ ‫ﻟﻮﻣﻠﻰ ﺭﺍ ﺑﻪ ﻃﺮﻑ ﺧﻮﺩ ﻛﺸﻴﺪﻧﺪ‪ .‬ﻣﻰﺗﻮﺍﻧﺴﺘﻢ ﺑﺒﻴﻨﻢ ﻛﻪ ﭼﻄﻮﺭ ﺳﺮﺵ ﺭﺍ ﻋﻘﺐ ﺍﻧﺪﺍﺧﺖ ﻭ ﺑﻌﺪ ﺑﻪ‬ ‫ﺟﻠﻮ ﺣﻤﻠﻪ ﻛﺮﺩ‪.‬‬ ‫ﺗﻮﻛﻰ ﺑﺎ ﻭﺣﺸﺖ ﮔﻔﺖ‪» :‬ﺑﻮﺙ! ﺑﺎﻳﺪ ﺍﺯ ﺍﻳﻦﺟﺎ ﺩﻭﺭ ﺑﺸﻴﻢ!«‬ ‫ﻭ ﺷﺮﻭﻉ ﻛﺮﺩﻳﻢ ﺑﻪ ﺩﻭﻳﺪﻥ‪ .‬ﺷﺎﻳﺪ ﺑﻌﻀﻰﻫﺎ ﺑﮕﻮﻳﻨﺪ ﻣﺜﻞ ﺩﻭ ﺗﺎ ﻣﻮﺵ‪ ،‬ﻭﻟﻰ ﻛﺴﺎﻧﻰ ﺍﻳﻦ ﺣﺮﻑ‬ ‫ﺭﺍ ﻣﻰﺯﻧﻨﺪ ﻛﻪ ﺁﻥ ﺷﺐ ﺁﻥﺟﺎ ﻧﺒﻮﺩﻩﺍﻧﺪ‪ .‬ﺩﺭ ﺍﻣﺘﺪﺍﺩ ﺭﺩﭘﺎﻯ ﺧﻮﺩﻣﺎﻥ ﺩﻭﻳﺪﻳﻢ‪ ،‬ﻣﻰﺍﻓﺘﺎﺩﻳﻢ‪ ،‬ﺑﻠﻨﺪ‬ ‫ﻣﻰﺷﺪﻳﻢ ﻭ ﺩﻭﺑﺎﺭﻩ ﻣﻰﺍﻓﺘﺎﺩﻳﻢ ﻭ ﺩﺍﺋﻢ ﻟﻴﺰ ﻣﻰﺧﻮﺭﺩﻳﻢ‪ .‬ﻫﻤﻴﻦﻃﻮﺭ ﭘﺸﺖ ﺳﺮﻡ ﺭﺍ ﻧﮕﺎﻩ ﻣﻰﻛﺮﺩﻡ‬ ‫ﻛﻪ ﺑﺒﻴﻨﻢ ﺁﻳﺎ ﺁﻥ ﺯﻥ ﺩﺍﺭﺩ ﺩﻧﺒﺎﻟﻤﺎﻥ ﻣﻰﺁﻳﺪ ﻳﺎ ﺧﻴﺮ‪ ،‬ﺁﻳﺎ ﻧﻴﺸﺨﻨﺪ ﻣﻰﺯﻧﺪ ﻭ ﺑﺎ ﭼﺸﻢﻫﺎﻯ ﻗﺮﻣﺰﺵ‬ ‫ﻣﺎ ﺭﺍ ﻣﻰﭘﺎﻳﺪ؟‬ ‫ﺑﻪ ﺍﺳﻜﺎﺕ ﺭﺳﻴﺪﻳﻢ‪ ،‬ﺗﻮﻛﻰ ﺑﻪ ﺟﻠﻮ ﺧﻢ ﺷﺪ ﻭ ﺳﻴﻨﻪﺍﺵ ﺭﺍ ﭼﻨﮓ ﺯﺩ‪ .‬ﻣﻦ ﻛﻪ ﺑﺪﺟﻮﺭﻯ ﺗﺮﺳﻴﺪﻩ‬ ‫ﺑﻮﺩﻡ ﮔﻔﺘﻢ‪» :‬ﺗﻮﻛﻰ! ﭼﻰ ﺷﺪﻩ‪«...‬‬ ‫ﮔﻔﺖ ‪»:‬ﻗﻠﺒﻤﻪ‪ ،‬ﭘﻨﺞ ﺳﺎﻟﻰ ﻫﺴﺖ ﻛﻪ ﺍﻭﺿﺎﻋﺶ ﺧﺮﺍﺑﻪ‪ .‬ﺑﻮﺙ ﻣﻦ ﺭﻭ ﺑﺬﺍﺭ ﺗﻮﻯ ﺻﻨﺪﻟﻰ ﭘﺸﺖ‬ ‫ﺷﺎﺕﮔﺎﻥ‪ ،‬ﻭ ﺟﻔﺘﻤﻮﻥ ﺭﻭ ﺍﺯ ﺍﻳﻦ ﺟﻬﻨﻢ ﺑﺒﺮ ﺑﻴﺮﻭﻥ‪«.‬‬ ‫ﺩﺳﺘﻢ ﺭﺍ ﺯﻳﺮ ﺑﻠﻐﺶ ﮔﺬﺍﺷﺘﻢ ﻭ ﻫﺮ ﺟﻮﺭ ﺷﺪﻩ ﺑﻮﺩ ﺩﻭﺭ ﻣﺎﺷﻴﻦ ﻛﺸﺎﻧﺪﻣﺶ ﻭ ﮔﺬﺍﺷﺘﻤﺶ ﺩﺍﺧﻞ‬ ‫ﻣﺎﺷﻴﻦ‪ .‬ﺳﺮﺵ ﺭﺍ ﺑﻪ ﻋﻘﺐ ﺗﻜﻴﻪ ﺩﺍﺩ ﻭ ﭼﺸﻢﻫﺎﻳﺶ ﺭﺍ ﺑﺴﺖ‪ .‬ﭘﻮﺳﺘﺶ ﺯﺭﺩ ﻭ ﺭﻧﮓﭘﺮﻳﺪﻩ ﺷﺪﻩ ﺑﻮﺩ‪.‬‬ ‫ﺍﺯ ﺟﻠﻮﻯ ﺩﺭ ﻣﻮﺗﻮﺭ ﺭﺩ ﺷﺪﻡ ﻭ ﭼﻴﺰﻯ ﻧﻤﺎﻧﺪﻩ ﺑﻮﺩ ﺑﻪ ﺩﺧﺘﺮ ﻛﻮﭼﻮﻟﻮ ﺑﺮﺧﻮﺭﺩ ﻛﻨﻢ‪ .‬ﻛﻨﺎﺭ ﺩﺭ ﺳﻤﺖ‬ ‫ﺭﺍﻧﻨﺪﻩ ﺍﻳﺴﺘﺎﺩﻩ ﺑﻮﺩ‪ ،‬ﻣﻮﻫﺎﻳﺶ ﺭﺍ ﺩﻡﻣﻮﺷﻰ ﺑﺴﺘﻪ ﺑﻮﺩ ﻭ ﭼﻴﺰﻯ ﺑﻪ ﺟﺰ ﻳﻚ ﺗﻜﻪ ﻟﺒﺎﺱ ﺯﺭﺩ ﺗﻨﺶ‬ ‫ﻧﺒﻮﺩ‪.‬‬ ‫ﺑﺎ ﺻﺪﺍﻳﻰ ﺑﻠﻨﺪ ﻭ ﺷﻔﺎﻑ ﻛﻪ ﺑﻪ ﺷﻴﺮﻳﻨﻰ ﻣﻪ ﺻﺒﺢﮔﺎﻫﻰ ﺑﻮﺩ‪ ،‬ﮔﻔﺖ‪» :‬ﺁﻗﺎ‪ ،‬ﻛﻤﻜﻢ ﻣﻰﻛﻨﻰ ﻣﺎﻣﺎﻧﻢ‬ ‫ﺭﻭ ﭘﻴﺪﺍ ﻛﻨﻢ؟ ﮔﻢ ﺷﺪﻩ ﻭ ﻣﻦ ﻫﻢ ﺳﺮﺩﻣﻪ‪«.‬‬ ‫ﮔﻔﺘﻢ ‪»:‬ﻋﺰﻳﺰﻡ‪ ،‬ﻋﺰﻳﺰﻡ‪ ،‬ﺑﺮﻭ ﺗﻮ ﻣﺎﺷﻴﻦ‪ ...‬ﻣﺎﻣﺎﻧﺖ‪«...‬‬ ‫ﺳﺎﻛﺖ ﺷﺪﻡ‪ .‬ﺍﮔﺮ ﻫﺮﮔﺰ ﺩﺭ ﺯﻧﺪﮔﻰﺍﻡ ﺑﺎ ﺩﻳﺪﻥ ﻛﺴﻰ ﻫﻴﺠﺎﻥﺯﺩﻩ ﺷﺪﻩ ﺑﺎﺷﻢ‪ ،‬ﻫﻤﺎﻥ ﻟﺤﻈﻪ ﺑﻮﺩ‪.‬‬

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‫ﻭﻳﮋﻩﻧﺎﻣﻪﻯ ﺧﻮﻥﺁﺷﺎﻡﻫﺎ‬

‫ﻭﺣﺸﺖ ‪ -‬ﺗﺮﺟﻤﻪ‬

‫»ﺟﻨﻰ‪ ...‬ﺟﻨﻰ‪ ...‬ﺧﻮﺩﺗﻰ؟«‬ ‫ﻟﻮﻣﻠﻰ ﺑﻪ ﻃﺮﻑ ﺻﺪﺍ ﭼﺮﺧﻴﺪ‪ .‬ﻭ ﺍﻭ ﺩﺍﺷﺖ ﻣﻰﺁﻣﺪ‪ ،‬ﻫﻤﭽﻮﻥ ﻳﻚ ﺭﻭﺡ ﺍﺯ‬ ‫ﻣﻴﺎﻥ ﺳﺎﻳﻪﻫﺎ ﻭ ﺗﻌﺪﺍﺩﻯ ﺩﺭﺧﺖ‪ ،‬ﺑﻴﺮﻭﻥ ﻟﻐﺰﻳﺪ‪.‬‬ ‫ﺑﺴﻴﺎﺭ ﺧﺐ‪ ،‬ﻳﻚ ﺯﻥ ﺷﻬﺮﻯ ﺑﻮﺩ ﻭ ﻣﻰﺷﻮﺩ ﮔﻔﺖ ﺯﻳﺒﺎﺗﺮﻳﻦ ﺯﻧﻰ ﺑﻮﺩ ﻛﻪ‬ ‫ﺗﺎ ﺁﻥ ﻣﻮﻗﻊ ﺑﻪ ﻋﻤﺮﻡ ﺩﻳﺪﻩ ﺑﻮﺩﻡ‪ .‬ﺍﺣﺴﺎﺱ ﻛﺮﺩﻡ ﺩﻟﻢ ﻣﻰﺧﻮﺍﻫﺪ ﺑﻪ ﺳﻮﻯ‬ ‫ﺍﻭ ﺑﺮﻭﻡ ﻭ ﺑﻪ ﺍﻭ ﺑﮕﻮﻳﻢ ﭼﻘﺪﺭ ﺍﺯ ﺍﻳﻦ ﻛﻪ ﻧﺠﺎﺕ ﭘﻴﺪﺍ ﻛﺮﺩﻩ ﺧﻮﺷﺤﺎﻟﻢ‪ .‬ﻳﻚ‬ ‫ﺟﻮﺭ ﭘﺎﻟﺘﻮﻯ ﻛﻠﻔﺖ ﺳﺒﺰ ﺭﻧﮓ ﺑﻪ ﺗﻦ ﺩﺍﺷﺖ‪ ،‬ﻓﻜﺮ ﻛﻨﻢ ﺑﻬﺸﺎﻥ ﻣﻰﮔﻮﻳﻨﺪ‬ ‫ﭘﺎﻧﭽﻮ‪ .‬ﭘﺎﻟﺘﻮ ﺩﺭ ﺍﻃﺮﺍﻓﺶ ﺩﺭ ﺍﻫﺘﺰﺍﺯ ﺑﻮﺩ ﻭ ﻣﻮﻫﺎﻯ ﺳﻴﺎﻫﺶ ﺩﺭ ﺩﺳﺖ ﺑﺎﺩ‬ ‫ﻭﺣﺸﻰ ﻣﻮﺝ ﻣﻰﺯﺩ‪ ،‬ﺩﺭﺳﺖ ﻣﺜﻞ ﺁﺏ ﺩﺭ ﻧﻬﺮﻯ ﻛﻮﭼﻚ ﺩﺭ ﻣﺎﻩ ﺩﺳﺎﻣﺒﺮ‪،‬‬ ‫ﭘﻴﺶ ﺍﺯ ﺁﻥ ﻛﻪ ﺯﻣﺴﺘﺎﻥ ﺁﻥ ﺭﺍ ﻣﻨﺠﻤﺪ ﻭ ﻣﺴﺪﻭﺩ ﻛﻨﺪ‪.‬‬ ‫ﺷﺎﻳﺪ ﻳﻚ ﻗﺪﻡ ﺑﻪ ﻃﺮﻓﺶ ﺑﺮﺩﺍﺷﺘﻪ ﺑﺎﺷﻢ‪ ،‬ﭼﻮﻥ ﺩﺳﺖ ﺗﻮﻛﻰ ﺭﺍ ﺭﻭﻯ‬ ‫ﺷﺎﻧﻪﺍﻡ ﺍﺣﺴﺎﺱ ﻛﺮﺩﻡ ﻛﻪ ﮔﺮﻡ ﻭ ﻣﺤﻜﻢ ﺑﻮﺩ‪ .‬ﻭ ﺑﺎ ﺍﻳﻦﺣﺎﻝ‪ ،‬ﭼﻄﻮﺭ‬ ‫ﺑﮕﻮﻳﻢ؟ ﺩﺭ ﺍﺷﺘﻴﺎﻗﺶ ﻣﻰﺳﻮﺧﺘﻢ ﻛﻪ ﺁﻥ ﻗﺪﺭ ﺗﻴﺮﻩ ﻭ ﺯﻳﺒﺎ ﺑﻮﺩ ﺑﺎ ﺁﻥ‬ ‫ﭘﺎﻧﭽﻮﻯ ﺳﺒﺰ ﻛﻪ ﺍﻃﺮﺍﻑ ﮔﺮﺩﻥ ﻭ ﺷﺎﻧﻪﻫﺎﻳﺶ ﻣﻮﺝ ﻣﻰﺯﺩ‪ ،‬ﻫﻤﭽﻮﻥ ﺯﻧﻰ‬ ‫ﺩﺭ ﺍﺷﻌﺎﺭ ﻭﺍﻟﺘﺮ ﺩﻻﻣﺮ )‪ (27‬ﻏﺮﻳﺐ ﻭ ﺷﮕﻔﺖ ﺑﻮﺩ‪.‬‬ ‫ﻟﻮﻣﻠﻰ ﻓﺮﻳﺎﺩ ﺯﺩ‪» :‬ﺟﻨﻰ! ﺟﻨﻰ!« ﺑﺎ ﺳﺨﺘﻰ ﺍﺯ ﻣﻴﺎﻥ ﺑﺮﻑ ﺑﻪ ﻃﺮﻑ ﺍﻭ ﺑﻪ‬ ‫ﺭﺍﻩ ﺍﻓﺘﺎﺩ ﻭ ﺑﺎﺯﻭﻫﺎﻳﺶ ﺭﺍ ﺑﻪ ﺟﻠﻮ ﺩﺭﺍﺯ ﻛﺮﺩﻩ ﺑﻮﺩ‪.‬‬ ‫ﺗﻮﻛﻰ ﻓﺮﻳﺎﺩ ﺯﺩ‪» :‬ﻟﻮﻣﻠﻰ‪ ،‬ﻧﻪ ﻟﻮﻣﻠﻰ‪«.‬‬ ‫ﺣﺘﺎ ﻧﮕﺎﻫﻰ ﻫﻢ ﺑﻪ ﻣﺎ ﻧﻴﻨﺪﺍﺧﺖ‪ ...‬ﺍﻣﺎ ﺁﻥ ﺯﻥ ﭼﺮﺍ‪ .‬ﺍﻭ ﺻﺎﻑ ﺑﻪ ﻣﺎ ﻧﮕﺎﻩ‬ ‫ﻛﺮﺩ ﻭ ﻧﻴﺸﺨﻨﺪ ﺯﺩ‪ .‬ﻭ ﻫﻨﮕﺎﻣﻰ ﻛﻪ ﺍﻳﻦ ﻛﺎﺭ ﺭﺍ ﻛﺮﺩ‪ ،‬ﺍﺷﺘﻴﺎﻕ ﻭ ﺗﻤﻨﺎﻳﻢ‬ ‫ﺑﺮﺍﻯ ﺍﻭ ﺑﻪ ﻭﺣﺸﺘﻰ ﺳﺮﺩ ﻫﻢﭼﻮﻥ ﮔﻮﺭ‪ ،‬ﻭ ﺳﻔﻴﺪ ﻭ ﺳﺎﻛﺖ ﻫﻢﭼﻮﻥ‬ ‫ﺍﺳﺘﺨﻮﺍﻥﻫﺎﻯ ﻳﻚ ﻛﻔﻦ ﺗﺒﺪﻳﻞ ﺷﺪ‪.‬‬ ‫ﺣﺘﺎ ﺍﺯ ﺑﺎﻻﻯ ﺁﻥ ﺗﭙﻪ ﻫﻢ ﻣﻰﺗﻮﺍﻧﺴﺘﻴﻢ ﺩﺭﺧﺸﺶ ﻗﺮﻣﺰ ﺁﻣﺎﺱ ﻛﺮﺩﻩ ﺭﺍ‬ ‫ﺩﺭ ﭼﺸﻢﻫﺎﻳﺶ ﺑﺒﻴﻨﻴﻢ‪ .‬ﺣﺘﺎ ﺍﺯ ﭼﺸﻢﻫﺎﻯ ﻳﻚ ﮔﺮگ ﻫﻢ ﻛﻤﺘﺮ ﺍﻧﺴﺎﻧﻰ‬ ‫ﺑﻮﺩﻧﺪ‪ .‬ﻭﻗﺘﻰ ﻧﻴﺸﺨﻨﺪ ﺯﺩ‪ ،‬ﻣﻰﺷﺪ ﺩﻳﺪ ﻛﻪ ﺩﻧﺪﺍﻥﻫﺎﻯ ﻧﻴﺶﺍﺵ ﭼﻘﺪﺭ‬ ‫ﺑﻠﻨﺪ ﺷﺪﻩ ﺑﻮﺩﻧﺪ‪ .‬ﺩﻳﮕﺮ ﺍﻧﺴﺎﻥ ﻧﺒﻮﺩ‪ .‬ﻳﻚ ﭼﻴﺰ ﻣﺮﺩﻩ ﺑﻮﺩ ﻛﻪ ﻳﻚ ﺟﻮﺭﻯ‬ ‫ﺩﺭ ﺍﻳﻦ ﺗﻮﻓﺎﻥ ﺳﻴﺎﻩ ﺧﺮﻭﺷﺎﻥ ﺑﻪ ﺯﻧﺪﮔﻰ ﺑﺎﺯﮔﺸﺘﻪ ﺑﻮﺩ‪.‬‬ ‫ﺗﻮﻛﻰ ﺑﻪ ﻃﺮﻓﺶ ﺻﻠﻴﺐ ﻛﺸﻴﺪ‪ .‬ﺯﻥ ﻋﻘﺐ ﭘﺮﻳﺪ‪ ...‬ﻭ ﺑﻌﺪ ﺩﻭﺑﺎﺭﻩ ﺑﻪ ﻣﺎ‬

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‫ﻭﻳﮋﻩﻧﺎﻣﻪﻯ ﺧﻮﻥﺁﺷﺎﻡﻫﺎ‬

‫ﭘﺸﺖ ﺳﺮﻡ ﺭﺍ‬ ‫ﻧﮕﺎﻩ ﻣﻰﻛﺮﺩﻡ‬ ‫ﻛﻪ ﺑﺒﻴﻨﻢ ﺁﻳﺎ‬ ‫ﺁﻥ ﺯﻥ ﺩﺍﺭﺩ‬ ‫ﺩﻧﺒﺎﻟﻤﺎﻥ‬ ‫ﻣﻰﺁﻳﺪ ﻳﺎ‬ ‫ﺧﻴﺮ‪ ،‬ﺁﻳﺎ‬ ‫ﻧﻴﺸﺨﻨﺪ‬ ‫ﻣﻰﺯﻧﺪ ﻭ ﺑﺎ‬ ‫ﭼﺸﻢﻫﺎﻯ‬ ‫ﻗﺮﻣﺰﺵ ﻣﺎ ﺭﺍ‬ ‫ﻣﻰﭘﺎﻳﺪ؟‬

‫ﺑﻌﺪ ﺑﺮﮔﺸﺖ‪ ،‬ﺩﺳﺖﻫﺎﻳﺶ ﺭﺍ ﺩﻭﺭ ﺩﻫﺎﻧﺶ ﮔﺬﺍﺷﺖ ﻭ ﻓﺮﻳﺎﺩ ﺯﺩ‪» :‬ﻓﺮﺍﻧﺴﻰ! ﺟﻨﻰ!« ﺩﻭﺑﺎﺭﻩ ﺑﻪ ﺭﺍﻩ‬ ‫ﺍﻓﺘﺎﺩ‪ .‬ﺑﺮﻑ ﺭﻭﻯ ﺣﺎﺷﻴﻪﻫﺎﻯ ﻛﺖ ﮔﺮﺍﻥﻗﻴﻤﺘﺶ ﻧﺸﺴﺘﻪ ﺑﻮﺩ‪.‬‬ ‫ﺑﻪ ﺗﻮﻛﻰ ﻧﮕﺎﻩ ﻛﺮﺩﻡ ﻭ ﮔﻔﺘﻢ ‪» :‬ﺧﺐ ﺣﺎﻻ ﭼﻰ ﻛﺎﺭ ﻛﻨﻴﻢ؟«‬ ‫ﺗﻮﻛﻰ ﮔﻔﺖ‪» :‬ﺩﻧﺒﺎﻟﺶ ﻣﻰﺭﻳﻢ‪ .‬ﻧﻤﻰﺗﻮﻧﻢ ﺑﺬﺍﺭﻣﺶ ﺍﻳﻦ ﺑﻴﺮﻭﻥ ﺑﻤﻮﻧﻪ ﺑﻮﺙ‪ .‬ﺗﻮ ﻣﻰﺗﻮﻧﻰ؟« ﺑﺮﻑ‬ ‫ﻣﻮﻫﺎﻳﺶ ﺭﺍ ﺑﻪ ﻫﻢ ﭼﺴﺒﺎﻧﺪﻩ ﺑﻮﺩ ﻭ ﻗﺪﺭﻯ ﻣﺜﻞ ﺩﻳﻮﺍﻧﻪﻫﺎ ﺑﻪ ﻧﻈﺮ ﻣﻰﺭﺳﻴﺪ‪.‬‬ ‫ﮔﻔﺘﻢ‪» :‬ﮔﻤﻮﻧﻢ ﻧﻜﻨﻢ‪«.‬‬ ‫ﻫﺮ ﺟﻮﺭ ﻛﻪ ﺑﻮﺩ ﺩﻧﺒﺎﻝ ﻟﻮﻣﻠﻰ ﺩﺭ ﺑﺮﻑ ﺑﻪ ﺭﺍﻩ ﺍﻓﺘﺎﺩﻳﻢ‪ .‬ﻧﻬﺎﻳﺖ ﺗﻼﺷﻤﺎﻥ ﺭﺍ ﻣﻰﻛﺮﺩﻳﻢ‪ ،‬ﻭﻟﻰ ﺍﻭ‬ ‫ﻫﻤﻴﻦﻃﻮﺭ ﺩﻭﺭﺗﺮ ﻭ ﺩﻭﺭﺗﺮ ﻣﻰﺷﺪ‪ .‬ﻣﺘﻮﺟﻪ ﻛﻪ ﻫﺴﺘﻴﺪ‪ ،‬ﺍﻭ ﻫﻨﻮﺯ ﺟﻮﺍﻥ ﺑﻮﺩ‪ .‬ﺍﺯ ﻣﺴﻴﺮ ﺧﺎﺭﺝ ﺷﺪﻩ‬ ‫ﻭ ﻣﺜﻞ ﻳﻚ ﮔﺎﻭ ﺑﻪ ﺑﺮﻑﻫﺎ ﺯﺩﻩ ﺑﻮﺩ‪ .‬ﺁﺭﺗﺮﻭﺯﻡ ﺑﺪﺟﻮﺭ ﺍﺫﻳﺘﻢ ﻣﻰﻛﺮﺩ ﻭ ﺑﻌﺪ ﺑﻪ ﭘﺎﻫﺎﻳﻢ ﻧﮕﺎﻩ ﻛﺮﺩﻡ‬ ‫ﻭ ﺑﺎ ﺧﻮﺩ ﮔﻔﺘﻢ‪» :‬ﻳﻚ ﻛﻤﻰ ﺟﻠﻮﺗﺮ‪ ،‬ﻓﻘﻂ ﻳﻚ ﻛﻤﻰ ﺟﻠﻮﺗﺮ‪ ،‬ﺍﺩﺍﻣﻪ ﺑﺪﻩ‪ ...‬ﻟﻌﻨﺘﻰ‪ ...‬ﺍﺩﺍﻣﻪ ﺑﺪﻩ‪«...‬‬ ‫ﺑﻪ ﺗﻮﻛﻰ ﺧﻮﺭﺩﻡ ﻛﻪ ﺑﺎ ﭘﺎﻫﺎﻯ ﺑﺎﺯ ﺭﻭﻯ ﻳﻚ ﻛﭙﻪ ﺑﺮﻑ ﺍﻳﺴﺘﺎﺩﻩ ﺑﻮﺩ‪ .‬ﺳﺮﺵ ﺁﻭﻳﺰﺍﻥ ﺑﻮﺩ ﻭ ﻫﺮ ﺩﻭ‬ ‫ﺩﺳﺘﺶ ﺭﺍ ﺑﻪ ﺳﻴﻨﻪ ﭼﺴﺒﺎﻧﺪﻩ ﺑﻮﺩ‪.‬‬ ‫ﮔﻔﺘﻢ ‪» :‬ﺗﻮﻛﻰ‪ ،‬ﺣﺎﻟﺖ ﺧﻮﺑﻪ؟«‬ ‫ﺩﺳﺖﻫﺎﻳﺶ ﺭﺍ ﺍﻧﺪﺍﺧﺖ ﻭ ﮔﻔﺖ ‪» :‬ﺧﻮﺑﻢ‪ .‬ﻧﺒﺎﻳﺪ ﻭﻟﺶ ﻛﻨﻴﻢ ﺑﻮﺙ‪ ،‬ﺧﻮﺩﺵ ﺑﺎﻻﺧﺮﻩ ﻣﻰﻓﻬﻤﻪ ﭼﻪ‬ ‫ﺍﺷﺘﺒﺎﻫﻰ ﺩﺍﺭﻩ ﻣﻰﻛﻨﻪ‪«.‬‬ ‫ﺍﺯ ﻳﻚ ﺗﭙﻪ ﺑﺎﻻ ﺭﻓﺘﻴﻢ ﻭ ﭘﺎﻳﻴﻨﺶ ﻟﻮﻣﻠﻰ ﺍﻳﺴﺘﺎﺩﻩ ﺑﻮﺩ ﻭ ﺑﺎ ﻓﻼﻛﺖ ﺩﻧﺒﺎﻝ ﺭﺩ ﭘﺎﻫﺎﻯ ﺑﻴﺸﺘﺮﻯ‬ ‫ﻣﻰﮔﺸﺖ‪ .‬ﻣﺮﺩ ﺑﻴﭽﺎﺭﻩ‪ ،‬ﺍﻣﻜﺎﻥ ﻧﺪﺍﺷﺖ ﺩﻳﮕﺮ ﺭﺩﭘﺎﻳﻰ ﺑﺒﻴﻨﺪ‪ .‬ﺑﺎﺩ ﺩﺭﺳﺖ ﺍﺯ ﺁﻥ ﭘﺎﻳﻴﻦ‪ ،‬ﺟﺎﻳﻰ ﻛﻪ‬ ‫ﺍﻭ ﺍﻳﺴﺘﺎﺩﻩ ﺑﻮﺩ‪ ،‬ﻣﻰﻭﺯﻳﺪ ﻭ ﻫﺮ ﺭﺩﻯ ﺳﻪ ﺩﻗﻴﻘﻪ ﺑﻌﺪ ﺍﺯ ﺍﻳﺠﺎﺩ ﭘﺎﻙ ﻣﻰﺷﺪ‪ ،‬ﭼﻪ ﺑﺮﺳﺪ ﺑﻪ ﭼﻨﺪ‬ ‫ﺳﺎﻋﺖ ﺑﻌﺪ‪.‬‬ ‫ﺳﺮﺵ ﺭﺍ ﺑﻠﻨﺪ ﻛﺮﺩ ﻭ ﺭﻭ ﺑﻪ ﺷﺐ ﻓﺮﻳﺎﺩ ﺯﺩ‪»:‬ﻓﺮﺍﻧﺴﻰ! ﺟﻨﻰ! ﺗﻮ ﺭﻭ ﺧﺪﺍ!« ﻣﻰﺷﺪ ﻓﻼﻛﺖ‪ ،‬ﻭﺣﺸﺖ‬ ‫ﻭ ﺑﻴﭽﺎﺭﮔﻰ ﺭﺍ ﺩﺭ ﺻﺪﺍﻳﺶ ﺷﻨﻴﺪ‪ .‬ﺻﺪﺍﻯ ﻗﻄﺎﺭ ﻭﺣﺸﺖ ﺑﺎﺩ‪ ،‬ﺗﻨﻬﺎ ﺻﺪﺍﻳﻰ ﺑﻮﺩ ﻛﻪ ﭘﺎﺳﺨﺶ ﮔﻔﺖ‪.‬‬ ‫ﺍﻧﮕﺎﺭ ﺑﺎﺩ ﺩﺍﺷﺖ ﺑﻬﺶ ﻣﻰﺧﻨﺪﻳﺪ ﻭ ﻣﻰﮔﻔﺖ ‪»:‬ﺁﻗﺎﻯ ﻧﻴﻮﺟﺮﺳﻰ ﺑﺎ ﻣﺎﺷﻴﻦ ژﻳﮕﻮﻟﻰ ﻭ ﻛﺖ ﭘﻮﺳﺖ‬ ‫ﺷﺘﺮ‪ ،‬ﻣﻦ ﺑﺮﺩﻣﺸﻮﻥ‪ .‬ﻣﻦ ﺑﺮﺩﻣﺸﻮﻥ ﻭ ﺭﺩﭘﺎﺷﻮﻥ ﺭﻭ ﻫﻢ ﭘﺎﻙ ﻛﺮﺩﻡ ﻭ ﺗﺎ ﻓﺮﺩﺍ ﺻﺒﺢ ﻣﺜﻞ ﻳﻚ ﺟﻔﺖ‬ ‫ﺗﻮﺕﻓﺮﻧﮕﻰ ﺧﻮﺷﮕﻞ ﺗﻮ ﻓﺮﻳﺰﺭ‪ ،‬ﺗﺮ ﻭ ﺗﻤﻴﺰ ﻳﺨﺸﻮﻥ ﻛﺮﺩﻡ‪«.‬‬ ‫ﺗﻮﻛﻰ ﺑﺎ ﺻﺪﺍﻳﻰ ﺑﻠﻨﺪﺗﺮ ﺍﺯ ﺑﺎﺩ ﻓﺮﻳﺎﺩ ﺯﺩ‪» :‬ﻟﻮﻣﻠﻰ‪ ،‬ﮔﻮﺵ ﻛﻦ‪ ،‬ﺍﺻ ً‬ ‫ﻼ ﺑﻰﺧﻴﺎﻝ ﺧﻮﻥﺁﺷﺎﻣﺎ ﻭ ﻟﻮﻟﻮﻫﺎ‬ ‫ﻭ ﭼﻴﺰﻫﺎﻯ ﺷﺒﻴﻪ ﺑﻪ ﺍﻭﻥ‪ ،‬ﺍﻣﺎ ﺗﻮ ﺩﺍﺭﻯ ﻛﺎﺭ ﺭﻭ ﺑﺮﺍﻯ ﺍﻭﻧﺎ ﺑﺪﺗﺮ ﻣﻰﻛﻨﻰ‪ ،‬ﻣﺎ ﺑﺎﻳﺪ ﺑﻪ‪«...‬‬ ‫ﻭ ﺑﻌﺪ ﭘﺎﺳﺨﻰ ﺁﻣﺪ‪ ،‬ﺻﺪﺍﻳﻰ ﺑﻮﺩ ﻛﻪ ﻫﻤﭽﻮﻥ ﺩﻟﻨﮓ ﺩﻭﻟﻮﻧﮓ ﻳﻚ ﺯﻧﮓ ﻧﻘﺮﻩﺍﻯ ﺍﺯ ﺗﻮﻯ ﺗﺎﺭﻳﻜﻰ‬ ‫ﻣﻰﺁﻣﺪ‪ ،‬ﻭ ﺑﻌﺪ ﻗﻠﺒﻢ ﻣﺜﻞ ﻳﻚ ﺗﻜﻪ ﻳﺦ ﺩﺭ ﻳﺨﺪﺍﻥ‪ ،‬ﺳﺮﺩ ﺷﺪ‪.‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،9-10‬ﺷﻬﺮﻳﻮﺭ ﻭ ﻣﻬﺮ ‪1390‬‬

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‫ﻭﺣﺸﺖ ‪ -‬ﺗﺮﺟﻤﻪ‬

‫ﺍﺯ ﻣﻦ ﮔﺬﺷﺖ ﻭ ﻫﻤﭽﻨﺎﻥ ﻓﺮﻳﺎﺩ ﻣﻰﺯﺩ‪»:‬ﻓﺮﺍﻧﺴﻰ! ﺟﻨﻰ! ﻛﺠﺎ ﻫﺴﺘﻴﻦ؟ ﻛﺠﺎ ﻫﺴﺘﻴﻦ؟«‬ ‫ﺩﺳﺖ ﺗﻮﻛﻰ ﺭﺍ ﮔﺮﻓﺘﻢ ﻭ ﺑﻠﻨﺪﺵ ﻛﺮﺩﻡ‪» .‬ﺣﺎﻟﺖ ﺧﻮﺑﻪ‪«...‬‬ ‫ﺗﻮﻛﻰ ﮔﻔﺖ‪» :‬ﻣﻬﻢ ﻧﻴﺴﺖ‪ .‬ﺑﺎﻳﺪ ﺑﮕﻴﺮﻳﻤﺶ ﺑﻮﺙ‪«.‬‬ ‫ﺗﺎ ﺟﺎﻳﻰ ﻣﻰﺗﻮﺍﻧﺴﺘﻴﻢ ﺑﻪ ﺳﺮﻋﺖ ﺑﻪ ﺩﻧﺒﺎﻟﺶ ﺭﻓﺘﻴﻢ‪ ،‬ﻛﻪ ﺑﺎ ﻭﺟﻮﺩ ﺍﻳﻦ ﻛﻪ ﺗﺎ ﻛﻤﺮ ﺗﻮﻯ ﺑﺮﻑ ﺑﻮﺩﻳﻢ‪،‬‬ ‫ﭼﻨﺪﺍﻥ ﺳﺮﻋﺘﻰ ﻧﺪﺍﺷﺘﻴﻢ‪ .‬ﺍﻣﺎ ﺑﻌﺪ ﺍﻳﺴﺘﺎﺩ ﻭ ﻣﺎ ﺑﻪ ﺍﻭ ﺭﺳﻴﺪﻳﻢ‪.‬‬ ‫ﺗﻮﻛﻰ ﺩﺳﺘﻰ ﺭﻭﻯ ﺷﺎﻧﻪﺍﺵ ﮔﺬﺍﺷﺖ ﻭ ﺷﺮﻭﻉ ﺑﻪ ﺣﺮﻑ ﺯﺩﻥ ﻛﺮﺩ‪» :‬ﺁﻗﺎﻯ ﻟﻮﻣﻠﻰ‪«.‬‬ ‫ﻟﻮﻣﻠﻰ ﮔﻔﺖ‪» :‬ﺍﺯ ﺍﻳﻦ ﻃﺮﻑ‪ .‬ﺍﻭﻧﺎ ﺍﺯ ﺍﻳﻦ ﻃﺮﻑ ﺭﻓﺘﻦ‪ ،‬ﺑﺒﻴﻨﻴﺪ‪«.‬‬ ‫ﭘﺎﻳﻴﻦ ﺭﺍ ﻧﮕﺎﻩ ﻛﺮﺩﻳﻢ‪ .‬ﺟﺎﻳﻰ ﻛﻪ ﺍﻳﺴﺘﺎﺩﻩ ﺑﻮﺩﻳﻢ ﻳﻚ ﺟﻮﺭ ﮔﻮﺩﺍﻝ ﺑﻮﺩ ﻭ ﺑﺎﺩ ﺍﺯ ﺑﺎﻻﻯ ﺳﺮ ﻣﺎ ﺭﺩ‬ ‫ﻣﻰﺷﺪ‪ .‬ﻣﻰﺷﺪ ﺩﻭ ﺟﻔﺖ ﺭﺩ ﭘﺎ ﺭﺍ ﺩﻳﺪ‪ ،‬ﻳﻜﻰ ﺑﺰﺭگﺗﺮ ﺑﻮﺩ ﻭ ﺩﻳﮕﺮﻯ ﻛﻮﭼﻚﺗﺮ ﻭ ﺩﺍﺷﺘﻨﺪ ﺍﺯ ﺑﺮﻑ‬ ‫ﭘﺮ ﻣﻰﺷﺪﻧﺪ‪ .‬ﺍﮔﺮ ﭘﻨﺞ ﺩﻗﻴﻘﻪ ﺩﻳﺮﺗﺮ ﺭﺳﻴﺪﻩ ﺑﻮﺩﻳﻢ‪ ،‬ﻛﺎﻣ ً‬ ‫ﻼ ﭘﺎﻙ ﻣﻰﺷﺪﻧﺪ‪.‬‬ ‫ﺳﺮﺵ ﺭﺍ ﭘﺎﻳﻴﻦ ﮔﺮﻓﺖ ﻭ ﺑﻪ ﺭﺍﻩ ﺍﻓﺘﺎﺩ ﻛﻪ ﺗﻮﻛﻰ ﺍﻭ ﺭﺍ ﺍﺯ ﭘﺸﺖ ﮔﺮﻓﺖ‪» .‬ﻧﻪ! ﻧﻪ! ﻟﻮﻣﻠﻰ!«‬ ‫ﻟﻮﻣﻠﻰ ﭼﻬﺮﻩﻯ ﺩﻳﻮﺍﻧﻪﺍﺵ ﺭﺍ ﺑﺮﮔﺮﺩﺍﻧﺪ ﻭ ﻣﺸﺘﺶ ﺭﺍ ﻧﺸﺎﻥ ﺩﺍﺩ‪ .‬ﺗﻮﻛﻰ ﻋﻘﺐ ﻛﺸﻴﺪ‪ ،‬ﺍﻣﺎ ﭼﻴﺰﻯ ﺩﺭ‬ ‫ﭼﻬﺮﻩﻯ ﺗﻮﻛﻰ ﺑﻮﺩ ﻛﻪ ﺑﺎﻋﺚ ﺷﺪ ﺍﻭ ﺩﺭﻧﮓ ﻛﻨﺪ‪ .‬ﺍﺯ ﺗﻮﻛﻰ ﺑﻪ ﻣﻦ ﻭ ﺑﻌﺪ ﺍﺯ ﻣﻦ ﺑﻪ ﺗﻮﻛﻰ ﻧﮕﺎﻩ ﻛﺮﺩ‪.‬‬ ‫ﮔﻔﺖ‪» :‬ﻳﺦ ﻣﻰﺯﻧﻪ‪ «.‬ﺍﻧﮕﺎﺭ ﻣﺎ ﻳﻚ ﻣﺸﺖ ﺑﭽﻪﻯ ﺍﺣﻤﻖ ﺑﻮﺩﻳﻢ‪» .‬ﻧﻤﻰﻓﻬﻤﻴﺪ؟ ژﺍﻛﺘﺶ ﺭﻭ ﻧﭙﻮﺷﻴﺪﻩ‬ ‫ﻭ ﻓﻘﻂ ﻫﻔﺖ ﺳﺎﻟﺸﻪ‪«.‬‬ ‫ﺗﻮﻛﻰ ﮔﻔﺖ‪» :‬ﺣﺎﻻ ﺩﻳﮕﻪ ﻫﺮ ﺟﺎﻳﻰ ﻣﻤﻜﻨﻪ ﺑﺎﺷﻦ‪ .‬ﻧﻤﻰﺗﻮﻧﻰ ﺩﻧﺒﺎﻝ ﺍﻭﻥ ﺭﺩ ﭘﺎﻫﺎ ﺑﺮﻯ‪ ،‬ﻳﻪ ﺗﻨﺪﺑﺎﺩ‬ ‫ﺑﻴﺎﺩ ﭘﺎﻛﺸﻮﻥ ﻛﺮﺩﻩ‪«.‬‬ ‫ﻟﻮﻣﻠﻰ ﻓﺮﻳﺎﺩ ﺯﺩ‪» :‬ﺧﺐ ﻣﻰﮔﻰ ﭼﻰ ﻛﺎﺭ ﻛﻨﻢ؟ ﺑﺮﮔﺮﺩﻳﻢ ﺑﺮﻳﻢ ﺳﺮﺍﻍ ﭘﻠﻴﺲ؟ ﺧﺐ ﻳﺦ ﻣﻰﺯﻧﻪ‬ ‫ﻣﻰﻣﻴﺮﻩ ﻛﻪ‪ .‬ﻓﺮﺍﻧﺴﻰ ﻭ ﻫﻤﺴﺮﻡ‪ ،‬ﻫﺮ ﺩﻭﺷﻮﻥ‪«.‬‬ ‫ﺗﻮﻛﻰ ﭼﺸﻢ ﺩﺭ ﭼﺸﻢ ﻟﻮﻣﻠﻰ ﺩﻭﺧﺖ ﻭ ﮔﻔﺖ‪» :‬ﺷﺎﻳﺪ ﻫﻤﻴﻦ ﺍﻻﻥ ﻫﻢ ﻳﺦ ﺯﺩﻩ ﺑﺎﺷﻨﺪ‪ .‬ﻳﺦﺯﺩﻩ ﻳﺎ‬ ‫ﺣﺘﺎ ﭼﻴﺰﻯ ﺑﺪﺗﺮ‪«.‬‬ ‫ﻟﻮﻣﻠﻰ ﺯﻳﺮ ﻟﺒﻰ ﮔﻔﺖ‪» :‬ﻣﻨﻈﻮﺭﺕ ﭼﻴﻪ‪ ،‬ﺧﺪﺍ ﻟﻌﻨﺘﺖ ﻛﻨﻪ ﺭﻭ ﺭﺍﺳﺖ ﺑﺎﺵ! ﺑﻪ ﻣﻦ ﺑﮕﻮ!«‬ ‫ﺗﻮﻛﻰ ﮔﻔﺖ‪» :‬ﺁﻗﺎﻯ ﻟﻮﻣﻠﻰ‪ ،‬ﻳﻚ ﭼﻴﺰﻯ ﺗﻮﻯ ﻻﺕ ﻫﺴﺖ‪«...‬‬ ‫ﺍﻣﺎ ﻛﺴﻰ ﻛﻪ ﺑﺎﻻﺧﺮﻩ ﻗﺎﻝ ﻗﻀﻴﻪ ﺭﺍ ﻛﻨﺪ ﻭ ﻛﻠﻤﻪﺍﻯ ﺭﺍ ﻛﻪ ﻫﺮﮔﺰ ﺍﻧﺘﻈﺎﺭﺵ ﺭﺍ ﻧﺪﺍﺷﺖ ﺑﻪ ﺯﺑﺎﻥ‬ ‫ﺁﻭﺭﺩ‪ ،‬ﻣﻦ ﺑﻮﺩﻡ‪» .‬ﺧﻮﻥﺁﺷﺎﻡﻫﺎ ﺁﻗﺎﻯ ﻟﻮﻣﻠﻰ‪ ،‬ﺍﻭﺭﺷﻠﻴﻢ ﻻﺕ ﭘﺮ ﺍﺯ ﺧﻮﻥﺁﺷﺎﻣﻪ‪ .‬ﮔﻤﻮﻧﻢ ﺑﺎﻭﺭ ﻛﺮﺩﻧﺶ‬ ‫ﺑﺮﺍﺗﻮﻥ ﺳﺨﺖ ﺑﺎﺷﻪ‪«...‬‬ ‫ﺟﻮﺭﻯ ﺑﻪ ﻣﻦ ﺧﻴﺮﻩ ﺷﺪﻩ ﺑﻮﺩ ﺍﻧﮕﺎﺭ ﺭﻧﮕﻢ ﺯﺭﺩ ﺷﺪﻩ ﺑﺎﺷﺪ‪ .‬ﺯﻳﺮ ﻟﺒﻰ ﮔﻔﺖ‪» :‬ﺩﻳﻮﻭﻧﻪﻫﺎ‪ ،‬ﺟﻔﺖﺗﻮﻥ‬ ‫ﺩﻳﻮﻭﻧﻪﺍﻳﺪ‪«.‬‬

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‫ﻭﻳﮋﻩﻧﺎﻣﻪﻯ ﺧﻮﻥﺁﺷﺎﻡﻫﺎ‬

‫ﮔﻔﺘﻢ‪» :‬ﻓﻜﺮ ﻛﻨﻢ ﺑﺎﺷﻢ‪«.‬‬ ‫ﻫﻤﻪ ﺑﺎ ﻫﻢ ﺧﺎﺭﺝ ﺷﺪﻳﻢ‪ ،‬ﺑﺎﺩ ﺩﺭ ﺑﺮ ﮔﺮﻓﺘﻤﺎﻥ ﻭ ﺑﺮﻑ ﺭﺍ ﺑﻪ ﺻﻮﺭﺗﻤﺎﻥ ﻛﻮﺑﻴﺪ‪ .‬ﻟﻮﻣﻠﻰ ﺍﻭﻝ ﺍﺯ ﻫﻤﻪ‬ ‫ﺑﻴﺮﻭﻥ ﺭﻓﺖ‪ ،‬ﺩﺭ ﺑﺎﺩ ﺧﻢ ﺷﺪﻩ ﺑﻮﺩ‪ ،‬ﻛﺖ ﮔﺮﺍﻥﻗﻴﻤﺘﺶ ﭘﺸﺖ ﺳﺮﺵ ﻣﺜﻞ ﺑﺎﺩﺑﺎﻥ ﺩﺭ ﺍﻫﺘﺰﺍﺯ ﺑﻮﺩ‪.‬‬ ‫ﺩﻭ ﺗﺎ ﺳﺎﻳﻪ ﺭﻭﻯ ﺑﺮﻑ ﺍﻧﺪﺍﺧﺘﻪ ﺑﻮﺩ‪ ،‬ﻳﻜﻰ ﺍﺯ ﻧﻮﺭﻫﺎﻯ ﺟﻠﻮﻯ ﺗﻮﻛﻰ ﺩﻳﮕﺮﻯ ﺍﺯ ﻧﻮﺭ ﻋﻘﺐ ﻣﺎﺷﻴﻦ‬ ‫ﺧﻮﺩﺵ‪ .‬ﻣﻦ ﭘﺸﺖ ﺳﺮﺵ ﺑﻮﺩﻡ ﻭ ﺗﻮﻛﻰ ﻳﻚ ﻗﺪﻡ ﭘﺸﺖ ﺳﺮ ﻣﻦ‪ .‬ﻭﻗﺘﻰ ﺑﻪ ﺑﺪﻧﻪﻯ ﻣﺮﺳﺪﺱ‬ ‫ﺭﺳﻴﺪﻡ‪ ،‬ﺗﻮﻛﻰ ﻧﮕﻪﺍﻡ ﺩﺍﺷﺖ‪.‬‬ ‫ﮔﻔﺖ‪» :‬ﺑﺬﺍﺭ ﺧﻮﺩﺵ ﺑﺮﻩ‪«.‬‬ ‫ﻟﻮﻣﻠﻰ ﻓﺮﻳﺎﺩ ﺯﺩ‪» :‬ﺟﻨﻰ )‪ ،(25‬ﻓﺮﺍﻧﺴﻰ )‪ !(26‬ﻫﻤﻪ ﭼﻰ ﺭﻭ ﺑﻪ ﺭﺍﻫﻪ؟« ﺩﺭ ﺳﻤﺖ ﺭﺍﻧﻨﺪﻩ ﺭﺍ ﺑﺎﺯ ﻛﺮﺩ‬ ‫ﻭ ﺑﻪ ﺩﺍﺧﻞ ﺧﻢ ﺷﺪ‪» .‬ﻫﻤﻪ ﭼﻰ‪«...‬‬ ‫ﺗﻮﻛﻰ ﻓﺮﻳﺎﺩ ﺯﺩ‪» :‬ﺧﺪﺍﻯ ﺑﺰﺭگ‪ ،‬ﺑﻮﺙ ﻓﻜﺮ ﻛﻨﻢ ﺑﺎﺯ ﻫﻢ ﺍﺗﻔﺎﻕ ﺍﻓﺘﺎﺩﻩ‪ «.‬ﺻﺪﺍﻳﺶ ﺩﺭ ﺯﻭﺯﻩﻯ ﺑﺎﺩ‬ ‫ﮔﻢ ﺷﺪﻩ ﺑﻮﺩ‪.‬‬ ‫ﻟﻮﻣﻠﻰ ﺑﻪ ﺳﻤﺖ ﻣﺎ ﺑﺮﮔﺸﺖ‪ .‬ﭼﻬﺮﻩﺍﺵ ﻣﺘﻌﺠﺐ ﻭ ﻭﺣﺸﺖﺯﺩﻩ ﺑﻮﺩ‪ .‬ﭼﺸﻢﻫﺎﻳﺶ ﮔﺸﺎﺩ ﺷﺪﻩ ﺑﻮﺩﻧﺪ‪.‬‬ ‫ﻧﺎﮔﻬﺎﻥ ﺍﺯ ﻣﻴﺎﻥ ﺑﺮﻑ ﺑﻪ ﺳﻤﺖ ﻣﺎ ﺧﻴﺰ ﺑﺮﺩﺍﺷﺖ‪ ،‬ﭼﻴﺰﻯ ﻧﻤﺎﻧﺪﻩ ﺑﻮﺩ ﻟﻴﺰ ﺑﺨﻮﺭﺩ ﻭ ﺑﻴﺎﻓﺘﺪ‪ .‬ﻃﻮﺭﻯ‬ ‫ﺍﺯ ﻛﻨﺎﺭ ﻣﻦ ﮔﺬﺷﺖ ﺍﻧﮕﺎﺭ ﻛﻪ ﻣﻦ ﭼﻴﺰﻯ ﻧﺒﺎﺷﻢ ﻭ ﺑﻌﺪ ﻳﻘﻪﻯ ﺗﻮﻛﻰ ﺭﺍ ﮔﺮﻓﺖ‪.‬‬ ‫ﻓﺮﻳﺎﺩ ﺯﺩ‪» :‬ﺍﺯ ﻛﺠﺎ ﻣﻰﺩﻭﻧﺴﺘﻰ؟ ﻛﺠﺎ ﺭﻓﺘﻦ؟ ﭼﻪ ﺍﺗﻔﺎﻗﻰ ﺩﺍﺭﻩ ﻣﻰﺍﻓﺘﻪ؟«‬ ‫ﺗﻮﻛﻰ ﺧﻮﺩﺵ ﺭﺍ ﺍﺯ ﺩﺳﺖ ﺍﻭ ﺁﺯﺍﺩ ﻛﺮﺩ‪ .‬ﻫﺮ ﺩﻭ ﺑﺎ ﻫﻢ ﺩﺍﺧﻞ ﻣﺮﺳﺪﺱ ﺭﺍ ﻧﮕﺎﻩ ﻛﺮﺩﻳﻢ‪ .‬ﮔﺮﻡ ﺑﻮﺩ‪،‬‬ ‫ﺍﻣﺎ ﻣﺪﺕ ﺯﻳﺎﺩﻯ ﺑﻪ ﺁﻥ ﺣﺎﻝ ﻧﻤﻰﻣﺎﻧﺪ‪ .‬ﭼﺮﺍﻍ ﺑﻨﺰﻳﻦ ﻗﺮﻣﺰ ﺷﺪﻩ ﺑﻮﺩ‪ .‬ﻣﺎﺷﻴﻦ ﺑﺰﺭگ ﺧﺎﻟﻰ ﺑﻮﺩ‪.‬‬ ‫ﻋﺮﻭﺳﻚ ﺑﺎﺭﺑﻰ ﺑﭽﻪ ﺭﻭﻯ ﺻﻨﺪﻟﻰ ﻣﺴﺎﻓﺮ ﺑﻮﺩ ﻭ ژﺍﻛﺖ ﭘﺸﻤﻰ ﺑﭽﻪﮔﺎﻧﻪﺍﻯ ﻫﻢ ﺭﻭﻯ ﺻﻨﺪﻟﻰ ﻋﻘﺒﻰ‬ ‫ﺍﻓﺘﺎﺩﻩ ﺑﻮﺩ‪.‬‬ ‫ﺗﻮﻛﻰ ﺩﺳﺖﻫﺎﻳﺶ ﺭﺍ ﺭﻭﻯ ﺻﻮﺭﺗﺶ ﮔﺬﺍﺷﺖ‪ ...‬ﻭ ﺑﻌﺪ ﻧﺎﮔﻬﺎﻥ ﻏﻴﺒﺶ ﺯﺩ‪ .‬ﻟﻮﻣﻠﻰ ﺍﻭ ﺭﺍ ﮔﺮﻓﺘﻪ ﻭ ﺑﻪ‬ ‫ﻛﻨﺎﺭﻩﻯ ﺟﺎﺩﻩ ﭘﺮﺗﺎﺏ ﻛﺮﺩﻩ ﺑﻮﺩ‪ .‬ﺻﻮﺭﺗﺶ ﺭﻧﮓﭘﺮﻳﺪﻩ ﻭ ﻭﺣﺸﻰ ﺑﻮﺩ‪ .‬ﺩﻫﺎﻧﺶ ﻃﻮﺭﻯ ﻛﺎﺭ ﻣﻰﻛﺮﺩ‬ ‫ﺍﻧﮕﺎﺭ ﻳﻚ ﭼﻴﺰ ﺗﻠﺨﻰ ﺧﻮﺭﺩﻩ ﺑﺎﺷﺪ ﻭ ﻧﺘﻮﺍﻧﺪ ﺗﻔﺶ ﻛﻨﺪ ﺑﻴﺮﻭﻥ‪ .‬ﺩﺳﺖ ﺩﺭﺍﺯ ﻛﺮﺩ ﻭ ژﺍﻛﺖ ﭘﺸﻤﻰ‬ ‫ﺭﺍ ﺑﺮﺩﺍﺷﺖ‪.‬‬ ‫ﺍﻭﻝ ﺧﻄﺎﺏ ﺑﻪ ﺧﻮﺩﺵ ﮔﻔﺘﺶ‪»:‬ﻛﺖ ﻓﺮﺍﻧﺴﻰ؟« ﺑﻌﺪ ﺑﺎ ﺻﺪﺍﻯ ﺑﻠﻨﺪ ﻭ ﺧﺮﻭﺷﺎﻥ ﮔﻔﺖ‪» :‬ﻛﺖ‬ ‫ﻓﺮﺍﻧﺴﻰ!« ﺑﺮﮔﺸﺖ ﻭ ﺁﻥ ﺭﺍ ﺍﺯ ﺳﻤﺖ ﻛﻼﻩ ﭘﺸﻤﻰ ﻛﻮﭼﻜﺶ ﻣﻘﺎﺑﻞ ﺻﻮﺭﺕ ﺧﻮﺩﺵ ﮔﺮﻓﺖ‪ .‬ﺑﻪ‬ ‫ﻣﻦ ﻧﮕﺎﻩ ﻛﺮﺩ‪ ،‬ﻧﮕﺎﻫﺶ ﺗﻬﻰ ﻭ ﺑﻬﺖﺯﺩﻩ ﺑﻮﺩ‪» .‬ﺁﻗﺎﻯ ﺑﻮﺙ‪ ،‬ﺍﻭﻥ ﺑﺪﻭﻥ ﻛﺘﺶ ﻃﺎﻗﺖ ﻧﻤﻰﺁﺭﻩ‪ .‬ﭼﺮﺍ‪...‬‬ ‫ﭼﺮﺍ‪ ...‬ﻳﺦ ﻣﻰﺯﻧﻪ‪«.‬‬ ‫»ﺁﻗﺎﻯ ﻟﻮﻣﻠﻰ‪«...‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،9-10‬ﺷﻬﺮﻳﻮﺭ ﻭ ﻣﻬﺮ ‪1390‬‬

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‫ﻭﺣﺸﺖ ‪ -‬ﺗﺮﺟﻤﻪ‬

‫ﺭﺩ ﭼﺮﺥﻫﺎﻯ ﺩﻳﮕﺮﻯ ﺭﺍ ﻧﺸﺎﻥ ﻣﻰﺩﺍﺩ‪ ،‬ﻣﺎﻝ ﻣﺎﺷﻴﻦ ﻟﻮﻣﻠﻰ ﺑﻮﺩﻧﺪ‪ ،‬ﻭﻟﻰ ﻣﻨﻘﻄﻊ ﺑﻮﺩﻧﺪ ﻭ ﻧﺎﭘﺪﻳﺪ‬ ‫ﻣﻰﺷﺪﻧﺪ‪ .‬ﻟﻮﻣﻠﻰ ﺑﻪ ﺟﻠﻮ ﺧﻢ ﺷﺪﻩ ﺑﻮﺩ ﻭ ﺩﻧﺒﺎﻝ ﻣﺎﺷﻴﻦ ﺧﻮﺩﺵ ﻣﻰﮔﺸﺖ‪ .‬ﺗﻮﻛﻰ ﻓﻘﻂ ﺗﻮﺍﻧﺴﺖ‬ ‫ﺑﮕﻮﻳﺪ‪» :‬ﺁﻗﺎﻯ ﻟﻮﻣﻠﻰ‪«.‬‬ ‫ﺑﻪ ﺗﻮﻛﻰ ﻧﮕﺎﻩ ﻛﺮﺩ ﻭ ﮔﻔﺖ‪» :‬ﭼﻴﻪ؟«‬ ‫ﺗﻮﻛﻰ ﮔﻔﺖ‪» :‬ﻣﺮﺩﻡ ﺍﻃﺮﺍﻑ ﺍﻳﻦﺟﺎ ﻛﻤﻰ ﺩﺭﺑﺎﺭﻩﻯ ﺷﻬﺮ ﺳﺎﻟﻤﺰﻻﺕ ﺧﺮﺍﻓﺎﺗﻰ ﻫﺴﺘﻨﺪ‪ «.‬ﺻﺪﺍﻳﺶ‬ ‫ﺁﺭﺍﻣﺶ ﺩﺍﺷﺖ‪ ،‬ﻭﻟﻰ ﻣﻰﺗﻮﺍﻧﺴﺘﻢ ﺧﻄﻮﻁ ﻧﮕﺮﺍﻧﻰ ﺭﺍ ﺍﻃﺮﺍﻑ ﺩﻫﺎﻧﺶ ﺑﺒﻴﻨﻢ ﻭ ﻧﺎﺁﺭﺍﻣﻰ ﺩﺭ ﺷﻴﻮﻩﻯ‬ ‫ﻧﮕﺎﻩ ﻛﺮﺩﻧﺶ ﺍﺯ ﺍﻳﻦ ﻃﺮﻑ ﺑﻪ ﺁﻥ ﻃﺮﻑ ﻣﺸﺨﺺ ﺑﻮﺩ‪» .‬ﺍﮔﺮ ﺧﻮﻧﻮﺍﺩﻩﺍﺕ ﺗﻮ ﻣﺎﺷﻴﻦ ﺑﻮﺩﻧﺪ ﻛﻪ ﺣﻠﻪ‪.‬‬ ‫ﺳﻮﺍﺭﺷﻮﻥ ﻣﻰﻛﻨﻴﻢ ﻭ ﺑﺮﻣﻰﮔﺮﺩﻳﻢ ﺑﻪ ﺑﺎﺭ ﻣﻦ ﻭ ﻓﺮﺩﺍ ﻭﻗﺘﻰ ﻛﻪ ﺗﻮﻓﺎﻥ ﺗﻤﻮﻡ ﺷﺪ‪ ،‬ﺑﻴﻠﻰ ﺑﺎ ﻛﻤﺎﻝ‬ ‫ﻣﻴﻞ ﻣﺎﺷﻴﻦ ﺭﻭ ﺍﺯ ﺑﺮﻑ ﺑﻴﺮﻭﻥ ﻣﻰﻛﺸﻪ‪ .‬ﺍﻣﺎ ﺍﮔﻪ ﺗﻮﻯ ﻣﺎﺷﻴﻦ ﻧﺒﻮﺩﻥ‪«...‬‬ ‫ﻟﻮﻣﻠﻰ ﺑﻪ ﺳﺮﻋﺖ ﮔﻔﺖ‪» :‬ﭼﺮﺍ ﺗﻮ ﻣﺎﺷﻴﻦ ﻧﺒﺎﺷﻦ؟ ﻣﻨﻈﻮﺭﺕ ﭼﻴﻪ؟«‬ ‫ﺗﻮﻛﻰ ﺑﺪﻭﻥ ﺍﻳﻦ ﻛﻪ ﭘﺎﺳﺨﺶ ﺭﺍ ﺑﺪﻫﺪ ﺍﺩﺍﻣﻪ ﺩﺍﺩ‪» :‬ﺍﮔﺮ ﺗﻮﻯ ﻣﺎﺷﻴﻦ ﻧﺒﻮﺩﻥ‪ ،‬ﻣﺎ ﺑﺮﻣﻰﮔﺮﺩﻳﻢ ﻭ ﺑﻪ‬ ‫ﻣﺮﻛﺰ ﻓﺎﻟﻤﺎﻭﺙ ﻣﻰﺭﻳﻢ ﻭ ﻛﻼﻧﺘﺮ ﺭﻭ ﺧﺒﺮ ﻣﻰﻛﻨﻴﻢ‪ .‬ﺑﻪ ﻫﺮﺣﺎﻝ ﻛﻪ ﻧﺼﻔﻪﺷﺒﻰ ﺗﻮﻯ ﺑﺮﻑ ﺳﺮﮔﺮﺩﻭﻥ‬ ‫ﺷﺪﻥ ﻓﺎﻳﺪﻩﺍﻯ ﻧﺪﺍﺭﻩ‪ ،‬ﺩﺍﺭﻩ؟«‬ ‫»ﺗﻮ ﻣﺎﺷﻴﻦ ﻫﺴﺘﻦ‪ ،‬ﺩﻳﮕﻪ ﻛﺠﺎ ﺩﺍﺭﻥ ﺑﺮﻥ؟«‬ ‫ﮔﻔﺘﻢ‪»:‬ﻳﻚ ﭼﻴﺰ ﺩﻳﮕﻪ ﺁﻗﺎﻯ ﻟﻮﻣﻠﻰ‪ .‬ﺍﮔﻪ ﻛﺴﻰ ﺭﻭ ﺩﻳﺪﻳﻢ‪ ،‬ﺑﺎﻫﺎﺵ ﺻﺤﺒﺖ ﻧﻤﻰﻛﻨﻴﻢ‪ .‬ﺣﺘﺎ ﺍﮔﻪ ﺍﻭﻧﺎ‬ ‫ﺑﺎ ﻣﺎ ﺻﺤﺒﺖ ﻛﻨﻦ‪ .‬ﻣﻰﻓﻬﻤﻰ؟«‬ ‫ﻟﻮﻣﻠﻰ ﺑﻪ ﺁﺭﺍﻣﻰ ﮔﻔﺖ‪» :‬ﺍﻳﻦ ﺧﺮﺍﻓﺎﺗﻰ ﻛﻪ ﻣﻰﮔﻴﺪ ﭼﻰ ﻫﺴﺘﻦ؟«‬ ‫ﻗﺒﻞ ﺍﺯ ﺍﻳﻦ ﻛﻪ ﺑﺘﻮﺍﻧﻢ ﭼﻴﺰﻯ ﺑﮕﻮﻳﻢ‪ ،‬ﻛﻪ ﺍﻟﺒﺘﻪ ﺧﺪﺍ ﻣﻰﺩﺍﻧﺪ ﺍﺻ ً‬ ‫ﻼ ﻣﻰﺧﻮﺍﺳﺘﻢ ﭼﻪ ﺑﮕﻮﻳﻢ‪ ،‬ﺗﻮﻛﻰ‬ ‫ﮔﻔﺖ‪» :‬ﺧﺐ ﺩﻳﮕﻪ ﺭﺳﻴﺪﻳﻢ‪«.‬‬ ‫ﺭﺳﻴﺪﻩ ﺑﻮﺩﻳﻢ ﭘﺸﺖ ﻳﻚ ﻣﺮﺳﺪﺱ ﺑﺰﺭگ‪ .‬ﻛﻞ ﺟﻠﻮﻯ ﻣﺎﺷﻴﻦ ﺩﺭ ﺑﺮﻑ ﺩﻓﻦ ﺷﺪﻩ ﺑﻮﺩﻡ ﻭ ﻳﻚ‬ ‫ﺗﻨﺪﺑﺎﺩ ﺩﻳﮕﺮ ﻣﻰﺗﻮﺍﻧﺴﺖ ﻛﻞ ﺳﻤﺖ ﭼﭗ ﻣﺎﺷﻴﻦ ﺭﺍ ﺩﻓﻦ ﻛﻨﺪ‪ .‬ﺍﻣﺎ ﻧﻮﺭﻫﺎﻯ ﻋﻘﺐ ﻫﻨﻮﺯ ﺭﻭﺷﻦ‬ ‫ﺑﻮﺩﻧﺪ ﻭ ﻣﻰﺗﻮﺍﻧﺴﺘﻴﻢ ﺩﻭﺩ ﺍﮔﺰﻭﺯ ﺭﺍ ﺑﺒﻴﻨﻴﻢ‪.‬‬ ‫ﻟﻮﻣﻠﻰ ﮔﻔﺖ‪» :‬ﺣﺪﺍﻗﻞ ﺑﻨﺰﻳﻦ ﺗﻤﻮﻡ ﻧﻜﺮﺩﻥ‪«.‬‬ ‫ﺗﻮﻛﻰ ﺗﺮﻣﺰ ﺩﺳﺘﻰ ﺍﺳﻜﺎﺕ ﺭﺍ ﻛﺸﻴﺪ‪» :‬ﻟﻮﻣﻠﻰ‪ ،‬ﺣﻮﺍﺳﺖ ﺑﺎﺷﻪ ﻣﻦ ﻭ ﺑﻮﺙ ﺑﻬﺖ ﭼﻰ ﮔﻔﺘﻴﻢ‪«.‬‬ ‫ﮔﻔﺖ‪» :‬ﺧﻴﻠﻰ ﺧﺐ‪ ،‬ﺧﻴﻠﻰ ﺧﺐ‪ «.‬ﺍﻣﺎ ﻧﻤﻰﺗﻮﺍﻧﺴﺖ ﺑﻪ ﭼﻴﺰﻯ ﺑﻪ ﺟﺰ ﻫﻤﺴﺮ ﻭ ﺩﺧﺘﺮﺵ ﻓﻜﺮ ﻛﻨﺪ‪.‬‬ ‫ﻧﻤﻰﺷﻮﺩ ﺳﺮﺯﻧﺶﺍﺵ ﻛﺮﺩ‪.‬‬ ‫ﺗﻮﻛﻰ ﺍﺯ ﻣﻦ ﭘﺮﺳﻴﺪ‪» :‬ﺣﺎﺿﺮﻯ ﺑﻮﺙ؟« ﭼﺸﻢﻫﺎﻳﺶ ﻛﻪ ﺩﺭ ﻧﻮﺭ ﺩﺍﺷﺒﻮﺭﺩ ﺧﺎﻛﺴﺘﺮﻯ ﻭ ﻏﻤﮕﻴﻦ‬ ‫ﺑﻮﺩﻧﺪ‪ ،‬ﺭﻭﻯ ﻣﻦ ﺧﻴﺮﻩ ﻣﺎﻧﺪﻩ ﺑﻮﺩﻧﺪ‪.‬‬

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‫ﻭﻳﮋﻩﻧﺎﻣﻪﻯ ﺧﻮﻥﺁﺷﺎﻡﻫﺎ‬

‫ﻭﺣﺸﺖ ‪ -‬ﺗﺮﺟﻤﻪ‬

‫ﻧﮕﺎﻫﻰ ﺳﺮﺯﻧﺶﺁﻣﻴﺰ ﻭ ﺳﺮﺩﺭﮔﻢ ﺑﻪ ﻣﻦ ﺍﻧﺪﺍﺧﺖ‪ ،‬ﺍﻣﺎ ﭼﻴﺰﻯ ﻧﮕﻔﺖ‪ .‬ﺑﺎ ﺳﺮﻋﺖ ﺛﺎﺑﺖ ﺑﻴﺴﺖ ﻭ ﭘﻨﺞ‬ ‫ﻣﺎﻳﻞ ﺩﺭ ﺳﺎﻋﺖ ﺑﻪ ﺭﺍﻩ ﺍﻓﺘﺎﺩﻳﻢ‪ .‬ﺳﺨﺖ ﻣﻰﺷﺪ ﺑﺎﻭﺭ ﻛﺮﺩ ﺑﻴﻠﻰ ﻟﺮﻳﺒﻰ ﺍﻳﻦﺟﺎ ﺭﺍ ﻳﻚ ﺳﺎﻋﺖ ﭘﻴﺶ‬ ‫ﺑﺎ ﺗﺮﺍﻛﺘﻮﺭ ﺻﺎﻑ ﻛﺮﺩﻩ‪ ،‬ﺩﻭ ﺍﻳﻨﭻ ﺩﻳﮕﺮ ﺭﻭﻯ ﺯﻣﻴﻦ ﻧﺸﺴﺘﻪ ﺑﻮﺩ ﻭ ﺩﺍﺷﺖ ﺑﺎﺯ ﻫﻢ ﺍﻧﺒﺎﺷﺘﻪ ﻣﻰﺷﺪ‪.‬‬ ‫ﻭﺯﺵﻫﺎﻯ ﺷﺪﻳﺪ ﺑﺎﺩ‪ ،‬ﺍﺳﻜﺎﺕ ﺭﺍ ﺭﻭﻯ ﭼﻬﺎﺭ ﭼﺮﺧﺶ ﻣﻰﻟﺮﺯﺍﻧﺪ‪ .‬ﻧﻮﺭﻫﺎﻯ ﺟﻠﻮ ﺳﻔﻴﺪﻯ ﭘﻮﭼﻰ ﺭﺍ‬ ‫ﻛﻪ ﭘﻴﭻ ﻭ ﺗﺎﺏ ﻣﻰﺧﻮﺭﺩ‪ ،‬ﻣﻘﺎﺑﻞ ﻣﺎ ﻧﺸﺎﻥ ﻣﻰﺩﺍﺩ‪ .‬ﺣﺘﺎ ﻳﻚ ﻣﺎﺷﻴﻦ ﻫﻢ ﻧﺪﻳﺪﻩ ﺑﻮﺩﻳﻢ‪.‬‬ ‫ﺩﻩ ﺩﻗﻴﻘﻪ ﺩﻳﮕﺮ ﮔﺬﺷﺖ ﻭ ﻟﻮﻣﻠﻰ ﮔﻔﺖ‪» :‬ﻫﻰ‪ ،‬ﺍﻭﻥ ﭼﻰ ﺑﻮﺩ؟«‬ ‫ﺩﺍﺷﺖ ﺑﻪ ﺑﻴﺮﻭﻥ ﺍﺯ ﻣﺎﺷﻴﻦ ﺩﺭ ﻃﺮﻑ ﻣﻦ ﺍﺷﺎﺭﻩ ﻣﻰﻛﺮﺩ‪ ،‬ﻣﻦ ﺑﻪ ﺟﻠﻮ ﺧﻴﺮﻩ ﺷﺪﻩ ﺑﻮﺩﻡ‪ .‬ﭼﺮﺧﻴﺪﻡ‪،‬‬ ‫ﺍﻣﺎ ﺧﻴﻠﻰ ﺩﻳﺮ ﺷﺪﻩ ﺑﻮﺩ‪ .‬ﺑﻪ ﻧﻈﺮﻡ ﺭﺳﻴﺪ ﻳﻚ ﺟﻮﺭ ﻫﻴﻜﻞ ﺧﻤﻴﺪﻩ ﺩﻳﺪﻡ ﻛﻪ ﭘﺸﺖ ﻣﺎﺷﻴﻦ‪ ،‬ﻣﻴﺎﻥ‬ ‫ﺑﺮﻑ ﺍﺯ ﻧﻈﺮ ﭘﻨﻬﺎﻥ ﺷﺪ‪ ،‬ﺍﻣﺎ ﺷﺎﻳﺪ ﻫﻢ ﺧﻴﺎﻝ ﻛﺮﺩﻩ ﺑﻮﺩﻡ‪.‬‬ ‫ﭘﺮﺳﻴﺪﻡ‪» :‬ﭼﻰ ﺑﻮﺩ؟ ﮔﻮﺯﻥ؟«‬ ‫ﻟﻮﻣﻠﻰ ﺑﺎ ﺻﺪﺍﻳﻰ ﻟﺮﺯﺍﻥ ﮔﻔﺖ‪» :‬ﮔﻤﺎﻥ ﻛﻨﻢ‪ .‬ﺍﻣﺎ ﭼﺸﻢﻫﺎﺵ ﻗﺮﻣﺰ ﺑﻮﺩﻧﺪ‪ «.‬ﺑﻪ ﻣﻦ ﻧﮕﺎﻩ ﻛﺮﺩ‪.‬‬ ‫»ﭼﺸﻢﻫﺎﻯ ﮔﻮﺯﻥ ﺗﻮ ﺷﺐ ﻗﺮﻣﺰ ﻣﻰﺷﻪ؟« ﺗﻀﺮﻉ ﻭ ﺍﻟﺘﻤﺎﺱ ﺩﺭ ﺻﺪﺍﻳﺶ ﺑﻮﺩ‪.‬‬ ‫ﮔﻔﺘﻢ‪» :‬ﻣﻤﻜﻨﻪ ﻫﺮ ﺷﻜﻠﻰ ﺑﺎﺷﻦ‪ «.‬ﺑﻪ ﻧﻈﺮ ﺧﻮﺩﻡ ﻛﻪ ﺭﺍﺳﺖ ﮔﻔﺘﻪ ﺑﻮﺩﻡ‪ ،‬ﺍﻣﺎ ﻣﻦ ﻛﻠﻰ ﮔﻮﺯﻥ ﺩﺭ‬ ‫ﺷﺐ ﺩﻳﺪﻩ ﺑﻮﺩﻡ ﻛﻪ ﺍﺯ ﻣﻘﺎﺑﻞ ﻣﺎﺷﻴﻦﻫﺎ ﻋﺒﻮﺭ ﻛﻨﻨﺪ‪ ،‬ﻭ ﺗﺎ ﺣﺎﻻ ﻧﺪﻳﺪﻩ ﺑﻮﺩﻡ ﭼﺸﻢﻫﺎﻳﺸﺎﻥ ﻗﺮﻣﺰ‬ ‫ﺑﺎﺷﻨﺪ‪.‬‬ ‫ﺗﻮﻛﻰ ﻫﻢ ﭼﻴﺰﻯ ﻧﮕﻔﺖ‪.‬‬ ‫ﻳﻚ ﺭﺑﻊ ﺑﻌﺪ‪ ،‬ﺑﻪ ﺟﺎﻳﻰ ﺭﺳﻴﺪﻳﻢ ﻛﻪ ﺍﺭﺗﻔﺎﻉ ﺑﺮﻑ ﺩﺭ ﻛﻨﺎﺭﻩﻫﺎﻯ ﺟﺎﺩﻩ ﺁﻥﻗﺪﺭ ﺑﺎﻻ ﻧﺒﻮﺩ‪ ،‬ﭼﻮﻥ‬ ‫ﭼﻨﮕﻚﻫﺎﻯ ﺗﺮﺍﻛﺘﻮﺭ ﺩﺭ ﺗﻘﺎﻃﻊﻫﺎ ﻗﺪﺭﻯ ﺑﻴﺸﺘﺮ ﻓﺮﻭ ﻣﻰ ﺭﻭﺩ‪.‬‬ ‫ﻟﻮﻣﻠﻰ ﻛﻪ ﭼﻨﺪﺍﻥ ﻣﻄﻤﺌﻦ ﺑﻪ ﻧﻈﺮ ﻧﻤﻰﺭﺳﻴﺪ‪ ،‬ﮔﻔﺖ‪ »:‬ﻣﻦ ﻋﻼﻣﺖ ﺭﻭ ﻧﻤﻰﺑﻴﻨﻢ‪«.‬‬ ‫ﺗﻮﻛﻰ ﮔﻔﺖ‪» :‬ﺧﻮﺩﺷﻪ‪ .‬ﺳﺮ ﻋﻼﻣﺖ ﺑﻴﺮﻭﻥ ﻣﻮﻧﺪﻩ‪ «.‬ﺗﻮﻛﻰ ﻫﻢ ﭼﻨﺪﺍﻥ ﻣﻄﻤﺌﻦ ﺑﻪ ﻧﻈﺮ ﻧﻤﻰﺭﺳﻴﺪ‪.‬‬ ‫ﻟﻮﻣﻠﻰ ﺑﺎ ﺧﻴﺎﻝ ﺭﺍﺣﺖ ﮔﻔﺖ‪» :‬ﺧﻮﺩﺷﻪ‪ .‬ﺑﺒﻴﻦ ﺁﻗﺎﻯ ﺗﻮﻙﻟﻨﺪﺭ‪ ،‬ﺍﺯ ﺍﻳﻦ ﻛﻪ ﺑﺪﺍﺧﻼﻗﻰ ﻛﺮﺩﻡ‬ ‫ﻣﺘﺄﺳﻔﻢ‪ .‬ﺧﻴﻠﻰ ﺳﺮﺩﻡ ﺑﻮﺩ ﻭ ﺗﺮﺳﻴﺪﻩ ﺑﻮﺩﻡ ﻭ ﺧﻮﺩﻡ ﺭﻭ ﻛﻠﻰ ﺍﺣﻤﻖ ﻓﺮﺽ ﻛﺮﺩﻡ‪ .‬ﻣﻰﺧﻮﺍﻡ ﺍﺯ‬ ‫ﺟﻔﺖﺗﻮﻥ ﺗﺸﻜﺮ ﻛﻨﻢ‪«...‬‬ ‫ﺗﻮﻛﻰ ﮔﻔﺖ‪» :‬ﺗﺎ ﻭﻗﺘﻰ ﻧﻴﺎﻭﺭﺩﻳﻤﺸﻮﻥ ﺗﻮﻯ ﻣﺎﺷﻴﻦ ﺍﺯ ﻣﻦ ﻭ ﺑﻮﺙ ﺗﺸﻜﺮ ﻧﻜﻦ‪ «.‬ﺍﺳﻜﺎﺕ ﺭﺍ ﺭﻭﻯ‬ ‫ﺣﺎﻟﺖ ﺩﻭ ﺩﻳﻔﺮﺍﻧﺴﻴﻞ ﮔﺬﺍﺷﺖ ﻭ ﺭﺍﻫﺶ ﺭﺍ ﺍﺯ ﻛﻨﺎﺭﻩﻫﺎﻯ ﺑﺮﻓﻰ ﺑﻪ ﺳﻤﺖ ﺧﻴﺎﺑﺎﻥ ﺟﻮﻳﻨﺘﺮ ﺑﺎﺯ‬ ‫ﻛﺮﺩ‪ ،‬ﺁﻥ ﺧﻴﺎﺑﺎﻥ ﺑﻪ ﺳﻤﺖ ﻻﺕ ﻣﻰﺭﻭﺩ ﻭ ﺑﻪ ‪ 295‬ﻣﻰﺭﺳﺪ‪ .‬ﺑﺮﻑ ﺍﺯ ﮔﻞﮔﻴﺮﻫﺎ ﻣﻰﭼﻜﻴﺪ‪ .‬ﭘﺸﺖ‬ ‫ﻣﺎﺷﻴﻦ ﻗﺪﺭﻯ ﺑﺎﻻ ﺭﻓﺖ‪ ،‬ﺍﻣﺎ ﺗﻮﻛﻰ ﺍﺯ ﺯﻣﺎﻧﻰ ﻛﻪ ﻫﻜﺘﻮﺭ ﻗﻬﺮﻣﺎﻥ ﺗﺮﻭﺍ ﺑﻮﺩ‪ ،‬ﺩﺭ ﺑﺮﻑ ﺭﺍﻧﻨﺪﮔﻰ ﻛﺮﺩﻩ‬ ‫ﺑﻮﺩ‪ .‬ﻗﺪﺭﻯ ﺑﺎ ﻣﺎﺷﻴﻦ ﺻﺤﺒﺖ ﻛﺮﺩ‪ ،‬ﺁﺭﺍﻣﺶ ﻛﺮﺩ ﻭ ﺑﻪ ﺭﺍﻩ ﺍﺩﺍﻣﻪ ﺩﺍﺩ‪ .‬ﻧﻮﺭﻫﺎﻯ ﺟﻠﻮ ﻫﺮ ﺍﺯ ﮔﺎﻫﻰ‬

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‫ﻭﻳﮋﻩﻧﺎﻣﻪﻯ ﺧﻮﻥﺁﺷﺎﻡﻫﺎ‬

‫ﺗﻮﻛﻰ ﺩﻭﺑﺎﺭﻩ ﮔﻔﺖ‪» :‬ﻧﻤﻰﺗﻮﻧﻴﻢ ﺑﺬﺍﺭﻳﻢ ﺍﻭﻥ ﺑﻴﺮﻭﻥ ﺑﻤﻮﻧﻦ‪ ،‬ﺑﻮﺙ‪«.‬‬ ‫»ﺁﺭﻩ ﻣﻰﺩﻭﻧﻢ‪«.‬‬ ‫ﻛﻤﻰ ﺩﻳﮕﺮ ﻫﻤﺪﻳﮕﺮ ﺭﺍ ﻧﮕﺎﻩ ﻛﺮﺩﻳﻢ ﻭ ﺑﻌﺪ ﺍﻭ ﺩﺳﺘﺶ ﺭﺍ ﺩﺭﺍﺯ ﻛﺮﺩ ﻭ ﺭﻭﻯ ﺷﺎﻧﻪﺍﻡ ﮔﺬﺍﺷﺖ‪» .‬ﺗﻮ‬ ‫ﻣﺮﺩ ﺧﻮﺑﻰ ﻫﺴﺘﻰ ﺑﻮﺙ‪ «.‬ﻫﻤﻴﻦ ﻛﺎﻓﻰ ﺑﻮﺩ ﻛﻪ ﺑﻪ ﻣﻦ ﺩﻝ ﻭ ﺟﺮﺃﺕ ﺑﺪﻫﺪ‪ .‬ﺑﻪ ﻧﻈﺮ ﻣﻰﺭﺳﺪ ﻭﻗﺘﻰ‬ ‫ﺳﻨﺖ ﺍﺯ ﻫﻔﺘﺎﺩ ﺳﺎﻝ ﮔﺬﺷﺖ‪ ،‬ﻣﺮﺩﻡ ﻳﺎﺩﺷﺎﻥ ﻣﻰﺭﻭﺩ ﺗﻮ ﻣﺮﺩ ﻫﺴﺘﻰ ﻳﺎ ﺍﺻ ً‬ ‫ﻼ ﻫﺮﮔﺰ ﻣﺮﺩ ﺑﻮﺩﻩﺍﻯ‪.‬‬ ‫ﺗﻮﻛﻰ ﺑﻪ ﺳﻮﻯ ﻟﻮﻣﻠﻰ ﺭﻓﺖ ﻭ ﮔﻔﺖ‪» :‬ﻣﻦ ﻳﻪ ﺍﺳﻜﺎﺕ ﺩﻭ ﺩﻳﻔﺮﺍﻧﺴﻴﻞ ﺩﺍﺭﻡ‪ .‬ﻣﻰﺭﻡ ﺑﻴﺎﺭﻣﺶ‬ ‫ﺑﻴﺮﻭﻥ‪«.‬‬ ‫ﺭﻭﻳﺶ ﺭﺍ ﺍﺯ ﭘﻨﺠﺮﻩ ﭼﺮﺧﺎﻧﺪ ﻭ ﺑﺎ ﻋﺼﺒﺎﻧﻴﺖ ﺑﻪ ﺗﻮﻛﻰ ﺧﻴﺮﻩ ﺷﺪ‪» .‬ﻣﺤﺾ ﺭﺿﺎﻯ ﺧﺪﺍ ﻣﺮﺩ‪ ،‬ﭼﺮﺍ‬ ‫ﺯﻭﺩﺗﺮ ﻧﮕﻔﺘﻰ؟ ﭼﺮﺍ ﺩﻩ ﺩﻗﻴﻘﻪ ﺍﺳﺖ ﺍﻳﻦ ﭘﺎ ﺍﻭﻥ ﭘﺎ ﻣﻰﻛﻨﻰ؟«‬ ‫ﺗﻮﻛﻰ ﺧﻴﻠﻰ ﺁﺭﺍﻡ ﮔﻔﺖ‪» :‬ﺁﻗﺎ ﺩﻫﻨﺖ ﺭﻭ ﺑﺒﻨﺪ‪ .‬ﺍﮔﺮ ﻫﻢ ﺍﺣﺴﺎﺱ ﻛﺮﺩﻯ ﻻﺯﻣﻪ ﺑﺎﺯﺵ ﻛﻨﻰ‪ ،‬ﻳﺎﺩﺕ‬ ‫ﺑﻴﺎﺩ ﭼﻪ ﻛﺴﻰ ﻭﺳﻂ ﺗﻮﻓﺎﻥ ﻟﻌﻨﺘﻰ ﺍﺷﺘﺒﺎﻫﻰ ﺗﻮﻯ ﺟﺎﺩﻩﻯ ﺑﺴﺘﻪ ﭘﻴﭽﻴﺪ‪«.‬‬ ‫ﺧﻮﺍﺳﺖ ﭼﻴﺰﻯ ﺑﮕﻮﻳﺪ‪ ،‬ﻭﻟﻰ ﺩﻫﺎﻧﺶ ﺭﺍ ﺑﺴﺖ‪ .‬ﮔﻮﻧﻪﻫﺎﻳﺶ ﻗﺮﻣﺰ ﺷﺪﻩ ﺑﻮﺩﻧﺪ‪ .‬ﺗﻮﻛﻰ ﺭﻓﺖ ﻛﻪ‬ ‫ﺍﺳﻜﺎﺕ ﺭﺍ ﺍﺯ ﮔﺎﺭﺍژ ﺑﻴﺮﻭﻥ ﺑﻴﺎﻭﺭﺩ‪ .‬ﺯﻳﺮ ﺑﺎﺭ ﺩﻧﺒﺎﻝ ﻓﻼﺳﻜﺶ ﮔﺸﺘﻢ ﻭ ﺁﻥ ﺭﺍ ﺑﺎ ﺑﺮﻧﺪﻯ ﭘﺮ ﻛﺮﺩﻡ‪ .‬ﺑﻪ‬ ‫ﺫﻫﻨﻢ ﺭﺳﻴﺪ ﺷﺎﻳﺪ ﭘﻴﺶ ﺍﺯ ﺍﻳﻦ ﻛﻪ ﺷﺐ ﺑﻪ ﺳﺮ ﺑﺮﺳﺪ‪ ،‬ﻻﺯﻡﻣﺎﻥ ﺷﻮﺩ‪.‬‬ ‫ﺗﺎ ﺣﺎﻻ ﺩﺭ ﺗﻮﻓﺎﻥ ﻣﻴﻦ ﺑﻴﺮﻭﻥ ﺑﻮﺩﻩﺍﻯ؟‬ ‫ﺑﺮﻑ ﭼﻨﺎﻥ ﺳﻨﮕﻴﻦ ﻭ ﻳﻚﺩﺳﺖ ﻣﻰﺑﺎﺭﺩ ﻛﻪ ﺍﻧﮕﺎﺭ ﺷﻦ ﺑﺎﺷﺪ ﻭ ﺻﺪﺍﻳﺶ ﻫﻢ ﻭﻗﺘﻰ ﺭﻭﻯ ﻭﺍﻧﺖ ﻳﺎ‬ ‫ﻣﺎﺷﻴﻨﺖ ﻣﻰﺧﻮﺭﺩ‪ ،‬ﺷﺒﻴﻪ ﺑﻪ ﺻﺪﺍﻯ ﺑﺮﺧﻮﺭﺩ ﺷﻦ ﺍﺳﺖ‪ .‬ﻧﺒﺎﻳﺪ ﺍﺯ ﻧﻮﺭ ﺑﺎﻻ ﺍﺳﺘﻔﺎﺩﻩ ﻛﻨﻴﺪ‪ ،‬ﭼﻮﻥ‬ ‫ﺩﺭﺧﺸﺶ ﺑﺮﻑ ﺭﺍ ﺑﺎﺯﻣﻰﺗﺎﺑﺎﻧﺪ ﻭ ﺁﻥﻭﻗﺖ ﺩﻩ ﭘﺎ ﺟﻠﻮﺗﺮ ﺍﺯ ﺧﻮﺩﺕ ﺭﺍ ﻫﻢ ﻧﻤﻰﺗﻮﺍﻧﻰ ﺑﺒﻴﻨﻰ‪ .‬ﺑﺎ‬ ‫ﻧﻮﺭﻫﺎﻯ ﭘﺎﻳﻴﻦ‪ ،‬ﭼﻴﺰﻯ ﻧﺰﺩﻳﻚ ﺑﻪ ﭘﺎﻧﺰﺩﻩ ﭘﺎ ﺭﺍ ﻣﻰﺗﻮﺍﻧﻰ ﺑﺒﻴﻨﻰ‪ .‬ﺍﻣﺎ ﻣﻦ ﻣﻰﺗﻮﺍﻧﻢ ﺑﺎ ﺑﺮﻑ ﺯﻧﺪﮔﻰ‬ ‫ﻛﻨﻢ‪ .‬ﭼﻴﺰﻯ ﻛﻪ ﺗﺤﻤﻠﺶ ﺭﺍ ﻧﺪﺍﺭﻡ‪ ،‬ﺑﺎﺩ ﺍﺳﺖ‪ ،‬ﺑﻪ ﺧﺼﻮﺹ ﻭﻗﺘﻰ ﻛﻪ ﺯﻭﺯﻩ ﻣﻰﻛﺸﺪ ﻭ ﺑﺮﻑ ﺭﺍ ﺑﻪ‬ ‫ﻫﺰﺍﺭﺍﻥ ﺷﻜﻞ ﻣﻌﻠﻖ ﺩﺭ ﻣﻰﺁﻭﺭﺩ ﻭ ﺻﺪﺍﻳﺶ ﻣﺎﻧﻨﺪ ﺗﻤﺎﻡ ﺗﻨﻔﺮﻫﺎ‪ ،‬ﺭﻧﺞﻫﺎ ﻭ ﺗﺮﺱﻫﺎﻯ ﺟﻬﺎﻥ ﺍﺳﺖ‪.‬‬ ‫ﻣﺮگ ﺩﺭ ﮔﻠﻮﻯ ﺑﺎﺩ ﺗﻮﻓﺎﻥﻫﺎﻯ ﺑﺮﻓﻰ ﺍﺳﺖ‪ ،‬ﻣﺮگ ﺳﻔﻴﺪ ﻭ ﺣﺘﺎ ﺷﺎﻳﺪ ﭼﻴﺰﻯ ﻓﺮﺍﺗﺮ ﺍﺯ ﻣﺮگ‪ .‬ﻭﻗﺘﻰ‬ ‫ﺩﺭ ﺭﺧﺘﺨﻮﺍﺏ ﮔﺮﻡ ﻭ ﻧﺮﻣﺖ ﻫﺴﺘﻰ ﻭ ﻣﺤﺎﻓﻆﻫﺎﻯ ﭘﻨﺠﺮﻩ ﺭﺍ ﺑﺴﺘﻰ ﻭ ﺩﺭﻫﺎ ﺭﺍ ﻗﻔﻞ ﻛﺮﺩﻯ ﭼﻴﺰﻯ‬ ‫ﺑﺮﺍﻯ ﺷﻨﻴﺪﻥ ﻭﺟﻮﺩ ﻧﺪﺍﺭﺩ‪ .‬ﺍﮔﺮ ﺩﺭ ﺣﺎﻝ ﺭﺍﻧﻨﺪﮔﻰ ﺑﺎﺷﻰ ﺍﻭﺿﺎﻉ ﺧﺮﺍﺏ ﺍﺳﺖ‪ .‬ﻭ ﻣﺎ ﺩﺍﺷﺘﻴﻢ ﻳﻚ‬ ‫ﺭﺍﺳﺖ ﺑﻪ ﻃﺮﻑ ﺳﺎﻟﻤﺰﻻﺕ ﻣﻰﺭﻓﺘﻴﻢ‪.‬‬ ‫ﻟﻮﻣﻠﻰ ﭘﺮﺳﻴﺪ‪» :‬ﻣﻰﺷﻪ ﻳﻚ ﻛﻤﻰ ﻋﺠﻠﻪ ﻛﻨﻴﻦ؟«‬ ‫ﮔﻔﺘﻢ‪» :‬ﺗﻮ ﻛﻪ ﻧﻴﻤﻪ ﻳﺦﺯﺩﻩ ﺭﺳﻴﺪﻩ ﺑﻮﺩﻯ‪ ،‬ﺣﺎﻻ ﻫﻢ ﺑﺪﺟﻮﺭﻯ ﻋﺠﻠﻪ ﺩﺍﺭﻯ ﻛﻪ ﺩﻭﺑﺎﺭﻩ ﺑﺮﮔﺮﺩﻯ‬ ‫ﺗﻮﻯ ﻳﺦﻫﺎ‪«.‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،9-10‬ﺷﻬﺮﻳﻮﺭ ﻭ ﻣﻬﺮ ‪1390‬‬

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‫ﻭﺣﺸﺖ ‪ -‬ﺗﺮﺟﻤﻪ‬

‫ﺭﻳﭽﻰ ﻣﺴﻴﻨﺎ ﺑﻪ ﻣﺎ ﮔﻔﺖ‪» :‬ﺍﻭﻥﺟﺎ ﮔﺮﻭﻩ ﺳﮓﻫﺎﻯ ﻭﺣﺸﻰ ﺷﻤﺎ ﻫﺴﺘﻦ‪.‬‬ ‫ﻫﻤﻪﺍﺵ ﻫﻤﻴﻨﻪ‪ .‬ﺑﻪ ﻋﻼﻭﻩﻯ ﻳﻪ ﻣﺸﺖ ﭘﻴﺮﺯﻥ ﻛﻪ ﺍﺯ ﺩﺍﺳﺘﺎﻥﻫﺎﻯ‬ ‫ﺗﺮﺳﻨﺎﻙ ﺧﻮﺷﺸﻮﻥ ﻣﻰﺁﺩ‪ .‬ﻫﺸﺘﺎﺩ ﺩﻻﺭ ﺑﻬﻢ ﺑﺪﻳﻦ ﻣﻰﺭﻡ ﺍﻭﻥﺟﺎ ﻭ‬ ‫ﺷﺐ ﺭﻭ ﺗﻮﻯ ﺍﻭﻥ ﺧﻮﻧﻪﻯ ﺗﺴﺨﻴﺮ ﺷﺪﻩ ﻛﻪ ﻫﻤﻪﺗﻮﻥ ﺍﻳﻦ ﻗﺪﺭ ﺍﺯﺵ‬ ‫ﻣﻰﺗﺮﺳﻴﻦ ﻣﻰﻣﻮﻧﻢ‪ .‬ﺧﺐ‪ ،‬ﻧﻈﺮﺗﻮﻥ ﭼﻴﻪ؟ ﻛﺴﻰ ﺣﺎﺿﺮﻩ ﺍﻳﻦ ﭘﻮﻝ ﺭﻭ‬ ‫ﺑﺪﻩ؟«‬ ‫ﺍﻣﺎ ﻛﺴﻰ ﺣﺎﺿﺮ ﻧﺒﻮﺩ‪ .‬ﺭﻳﭽﻰ ﺭﺍﻧﻨﺪﻩ ﻛﺎﻣﻴﻮﻥ ﺑﺪﺩﻫﻦ ﻭ ﺑﺪﺟﻨﺴﻰ‬ ‫ﺑﻮﺩ ﻭ ﻛﺴﻰ ﺑﺎﺑﺖ ﻧﺒﻮﺩﻧﺶ ﺍﺷﻚ ﻧﻤﻰﺭﻳﺨﺖ‪ ،‬ﺍﻣﺎ ﻫﻴﭻﻛﺪﺍﻡ ﺩﻟﻤﺎﻥ‬ ‫ﻧﻤﻰﺧﻮﺍﺳﺖ ﺑﻌﺪ ﺍﺯ ﺗﺎﺭﻳﻚ ﺷﺪﻥ ﻫﻮﺍ ﺑﻪ ﺳﺎﻟﻤﺰﻻﺕ ﺑﺮﻭﺩ‪.‬‬ ‫ﺭﻳﭽﻰ ﮔﻔﺖ‪ُ » :‬ﮔﻪ ﺑﮕﻴﺮﻩ ﺑﻪ ﻫﻤﻪﺗﻮﻥ‪ .‬ﺗﻔﻨﮕﻢ ﺗﻮﻯ ﺷﻮﺭﻟﺘﻤﻪ ﻭ ﺍﻭﻥ‬ ‫ﻣﻰﺗﻮﻧﻪ ﻫﺮ ﭼﻴﺰﻯ ﺗﻮ ﻓﺎﻟﻤﺎﻭﺙ ﻳﺎ ﻛﺎﺑﺮﻟﻨﺪ ﻳﺎ ﺍﻭﺭﺷﻠﻴﻢﻻﺕ ﺭﻭ ﺳﺮﺟﺎﺵ‬ ‫ﺑﻨﺸﻮﻧﻪ‪ .‬ﺣﺎﻻ ﻫﻢ ﺩﺍﺭﻡ ﺑﻪ ﻻﺕ ﻣﻰﺭﻡ‪«.‬‬ ‫ﺩﺭ ﺭﺍ ﻛﻮﺑﻴﺪ ﻭ ﺑﻴﺮﻭﻥ ﺭﻓﺖ ﻭ ﺗﺎ ﻣﺪﺗﻰ ﺑﻌﺪ ﺍﺯ ﺭﻓﺘﻨﺶ ﻛﺴﻰ ﭼﻴﺰﻯ‬ ‫ﻧﮕﻔﺖ‪ .‬ﺑﻌﺪ ﻟﻤﻮﻧﺖ ﻫﻨﺮﻯ )‪ (23‬ﺧﻴﻠﻰ ﺁﺭﺍﻡ ﮔﻔﺖ‪» :‬ﺍﻳﻦ ﺁﺧﺮﻳﻦ ﺑﺎﺭﻯ‬ ‫ﺑﻮﺩ ﻛﻪ ﻛﺴﻰ ﺭﻳﭽﻰ ﻣﺴﻴﻨﺎ ﺭﻭ ﺩﻳﺪ‪ .‬ﺧﺪﺍﻯ ﺑﺰﺭگ‪ «.‬ﻟﻤﻮﻧﺖ ﻛﻪ ﺍﺯ ﺑﻐﻞ‬ ‫ﻣﺎﺩﺭﺵ ﻳﻚ ﻣﺘﻌﺼﺐ ﺑﻴﺮﻭﻥ ﺁﻣﺪﻩ ﺑﻮﺩ‪ ،‬ﺑﺮ ﺧﻮﺩﺵ ﺻﻠﻴﺐ ﻛﺸﻴﺪ‪.‬‬ ‫ﺗﻮﻛﻰ ﮔﻔﺖ‪» :‬ﻣﺴﺘﻰ ﻛﻪ ﺍﺯ ﺳﺮﺵ ﺑﭙﺮﻩ ﻧﻈﺮﺵ ﻋﻮﺽ ﻣﻰﺷﻪ‪ .‬ﻣﻮﻗﻊ‬ ‫ﺑﺴﺘﻦ ﺑﺮﻣﻰﮔﺮﺩﻩ ﻭ ﻣﻰﮔﻪ ﻫﻤﻪﺍﺵ ﺷﻮﺧﻰ ﺑﻮﺩ‪ «.‬ﺍﻣﺎ ﭼﻨﺪﺍﻥ ﻣﻄﻤﺌﻦ‬ ‫ﺑﻪ ﻧﻈﺮ ﻧﻤﻰﺭﺳﻴﺪ‪.‬‬ ‫ﺍﻣﺎ ﺣﻖ ﺑﺎ ﻟﻤﻮﻧﺖ ﺑﻮﺩ‪ ،‬ﺩﻳﮕﺮ ﻫﻴﭻ ﻛﺲ ﺭﻳﭽﻰ ﺭﺍ ﻧﺪﻳﺪ‪ .‬ﻫﻤﺴﺮﺵ‬ ‫ﺑﻪ ﭘﻠﻴﺲﻫﺎﻯ ﺍﻳﺎﻟﺖ ﮔﻔﺖ ﺍﻭ ﺑﻪ ﻓﻠﻮﺭﻳﺪﺍ ﺭﻓﺘﻪ ﻛﻪ ﭘﻮﻟﺶ ﺭﺍ ﺍﺯ ﻳﻚ‬ ‫ﺻﻨﺪﻭﻕ ﺳﺮﻣﺎﻳﻪﮔﺬﺍﺭﻯ ﺑﮕﻴﺮﺩ‪ ،‬ﺍﻣﺎ ﭼﺸﻢﻫﺎﻳﺶ ﭼﻴﺰ ﺩﻳﮕﺮﻯ ﻣﻰﮔﻔﺘﻨﺪ‪،‬‬ ‫ﭼﺸﻢﻫﺎﻯ ﺑﻴﻤﺎﺭ ﻭ ﺗﺮﺳﻴﺪﻩﺍﺵ‪ .‬ﻛﻤﻰ ﭘﺲ ﺍﺯ ﺁﻥ ﺑﻪ ُﺭﺩ ﺁﻳﻠﻨﺪ )‪(24‬‬ ‫ﺭﻓﺖ‪ .‬ﺷﺎﻳﺪ ﺧﻴﺎﻝ ﻣﻰﻛﺮﺩ ﺭﻳﭽﻰ ﻣﻤﻜﻦ ﺍﺳﺖ ﻳﻚ ﺷﺐ ﺗﺎﺭﻳﻚ ﺑﻪ‬ ‫ﺳﺮﺍﻏﺶ ﺑﻴﺎﻳﺪ‪ .‬ﺍﺯ ﻣﻦ ﺑﭙﺮﺳﻴﺪ ﻣﻰﮔﻮﻳﻢ ﻛﻪ ﺍﻣﻜﺎﻧﺶ ﻫﺴﺖ‪.‬‬ ‫ﺣﺎﻻ ﺗﻮﻛﻰ ﺩﺍﺷﺖ ﺑﻪ ﻣﻦ ﻧﮕﺎﻩ ﻣﻰﻛﺮﺩ ﻭ ﻣﻦ ﺑﻪ ﺗﻮﻛﻰ‪ ،‬ﺻﻠﻴﺒﻢ ﺭﺍ ﺩﺍﺧﻞ‬ ‫ﭘﻴﺮﺍﻫﻨﻢ ﺍﻧﺪﺍﺧﺘﻢ‪ .‬ﻫﻴﭻﻭﻗﺖ ﺩﺭ ﺯﻧﺪﮔﻰﺍﻡ ﺍﻳﻦ ﻗﺪﺭ ﺍﺣﺴﺎﺱ ﭘﻴﺮﻯ ﻭ‬ ‫ﺗﺮﺱ ﻧﻜﺮﺩﻩ ﺑﻮﺩﻡ‪.‬‬

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‫ﻭﻳﮋﻩﻧﺎﻣﻪﻯ ﺧﻮﻥﺁﺷﺎﻡﻫﺎ‬

‫ﺗﺎ ﻣﺪﺗﻰ ﺑﻌﺪ‬ ‫ﺍﺯ ﺭﻓﺘﻨﺶ‬ ‫ﻛﺴﻰ ﭼﻴﺰﻯ‬ ‫ﻧﮕﻔﺖ‪ .‬ﺑﻌﺪ‬ ‫ﻟﻤﻮﻧﺖ ﻫﻨﺮﻯ‬ ‫ﺧﻴﻠﻰ ﺁﺭﻭﻡ‬ ‫ﮔﻔﺖ‪» :‬ﺍﻳﻦ‬ ‫ﺁﺧﺮﻳﻦ ﺑﺎﺭﻯ‬ ‫ﺑﻮﺩ ﻛﻪ ﻛﺴﻰ‬ ‫ﺭﻳﭽﻰ ﻣﺴﻴﻨﺎ‬ ‫ﺭﻭ ﺩﻳﺪ‪«.‬‬

‫ﮔﻔﺖ‪» :‬ﻧﻤﻰﺗﻮﻧﻴﻢ ﺍﻭﻥ ﺑﻴﺮﻭﻥ ﻭﻟﺸﻮﻥ ﻛﻨﻴﻢ‪«.‬‬ ‫ﺑﻪ ﺑﻴﻠﻰ ﻧﺰﺩﻳﻚﺗﺮ ﺷﺪﻡ‪ .‬ﻟﻮﻣﻠﻰ ﺩﻭﺭ ﺷﺪﻩ ﺑﻮﺩ ﻛﻪ ﺍﺯ ﭘﻨﺠﺮﻩ ﺷﺐ ﺑﺮﻓﻰ ﺭﺍ ﺗﻤﺎﺷﺎ ﻛﻨﺪ‪.‬‬ ‫ﭘﺮﺳﻴﺪﻡ‪» :‬ﺍﮔﻪ ﮔﻴﺮ ﺍﻓﺘﺎﺩﻩ ﺑﺎﺷﻦ ﭼﻰ؟«‬ ‫ﮔﻔﺖ‪»:‬ﻣﻤﻜﻨﻪ‪ .‬ﺍﻣﺎ ﻣﺎ ﻧﻤﻰﺗﻮﻧﻴﻢ ﻣﻄﻤﺌﻦ ﺑﺎﺷﻴﻢ‪ .‬ﺍﻧﺠﻴﻠﻢ ﺭﻭﻯ ﻃﺎﻗﭽﻪ ﺍﺳﺖ‪ .‬ﺗﻮ ﻫﻨﻮﺯ ﻣﺪﺍﻝ ﭘﺎﭘﺖ‬ ‫ﺭﻭ ﻫﻤﺮﺍﻫﺖ ﺩﺍﺭﻯ؟«‬ ‫ﺑﻴﺸﺘﺮ ﻛﺴﺎﻧﻰ ﻛﻪ ﺩﻭﺭ ﻭ ﺑﺮ ﻻﺕ ﺯﻧﺪﮔﻰ ﻣﻰﻛﻨﻨﺪ‪ ،‬ﻳﻚ ﭼﻴﺰﻯ ﻫﻤﺮﺍﻫﺸﺎﻥ ﺩﺍﺭﻧﺪ‪ ،‬ﺻﻠﻴﺒﻰ‪ ،‬ﻣﺪﺍﻝ‬ ‫ﺳﻨﺖ ﻛﺮﻳﺴﺘﻮﻓﺮﻯ‪ ،‬ﺗﺴﺒﻴﺤﻰ‪ ،‬ﭼﻴﺰﻯ‪ .‬ﺩﻭ ﺳﺎﻝ ﭘﻴﺶ‪ ،‬ﺩﺭ ﻳﻚ ﺍﻛﺘﺒﺮ ﺗﺎﺭﻳﻚ‪ ،‬ﺍﻭﺿﺎﻉ ﺩﺭ ﻻﺕ‬ ‫ﺧﺮﺍﺏ ﺷﺪ‪ .‬ﺑﺮﺧﻰ ﺍﻭﻗﺎﺕ‪ ،‬ﺩﻳﺮ ﻭﻗﺖ ﺷﺐﻫﺎ‪ ،‬ﻭﻗﺘﻰ ﻓﻘﻂ ﭼﻨﺪ ﺗﺎﻳﻰ ﺍﺯ ﭘﺮ ﻭ ﭘﺎﻗﺮﺹﻫﺎﻯ ﺗﻮﻛﻰ‬ ‫ﺩﻭﺭ ﺁﺗﺶ ﺑﺎﻗﻰ ﻣﻰﻣﺎﻧﻨﺪ‪ ،‬ﻛﺴﻰ ﺩﺭﺑﺎﺭﻩﺍﺵ ﺣﺮﻑ ﻣﻰﺯﺩ‪ .‬ﺣﺮﻑ ﺯﺩﻥ ﺩﺭﺑﺎﺭﻩﺍﺵ ﻣﺜﻞ ﺍﻓﺸﺎ ﻛﺮﺩﻥ‬ ‫ﺣﻘﻴﻘﺖ ﺍﺳﺖ‪ .‬ﻣﻮﺿﻮﻉ ﺍﺯ ﺍﻳﻦ ﻗﺮﺍﺭ ﺑﻮﺩ ﻛﻪ ﺍﻫﺎﻟﻰ ﻻﺕ ﻧﺎﭘﺪﻳﺪ ﻣﻰﺷﺪﻧﺪ‪ .‬ﺍﻭﻝ ﭼﻨﺪ ﺗﺎﻳﻰ‪ ،‬ﺑﻌﺪ ﭼﻨﺪ‬ ‫ﺗﺎ ﺑﻴﺸﺘﺮ ﻭ ﺑﻌﺪﺵ ﻫﻢ ﻳﻚ ﻋﺎﻟﻤﻪ ﺁﺩﻡ‪ .‬ﻣﺪﺭﺳﻪﻫﺎ ﺑﺴﺘﻪ ﺷﺪﻧﺪ‪ .‬ﺷﻬﺮ ﺑﻴﺸﺘﺮ ﺳﺎﻝ ﺧﺎﻟﻰ ﻣﺎﻧﺪ‪.‬‬ ‫ﻭ ﺍﻟﺒﺘﻪ ﭼﻨﺪ ﺗﺎﻳﻰ ﻫﻢ ﺑﻪ ﺁﻥ ﻧﻘﻞﻣﻜﺎﻥ ﻛﺮﺩﻧﺪ‪ ،‬ﺑﻴﺸﺘﺮﺷﺎﻥ ﺍﺣﻤﻖﻫﺎﻳﻰ ﺍﻫﻞ ﺍﻳﺎﻻﺕ ﺩﻳﮕﺮ ﻣﺜﻞ‬ ‫ﺍﻳﻦ ﻧﻤﻮﻧﻪﻯ ﻧﺎﺏ ﺑﻮﺩﻧﺪ‪ ،‬ﺑﻪ ﺧﺎﻃﺮ ﻗﻴﻤﺖ ﺍﺭﺯﺍﻥ ﺍﻣﻼﻙ ﺟﺬﺏ ﻣﻰﺷﺪﻧﺪ‪ .‬ﺍﻣﺎ ﺩﻭﺍﻡ ﻧﻤﻰﺁﻭﺭﺩﻧﺪ‪.‬‬ ‫ﺧﻴﻠﻰﻫﺎﻳﺸﺎﻥ ﻳﻜﻰ ﺩﻭ ﻣﺎﻩ ﭘﺲ ﺍﺯ ﻧﻘﻞﻣﻜﺎﻥ‪ ،‬ﺁﻥﺟﺎ ﺭﺍ ﺗﺮﻙ ﻛﺮﺩﻧﺪ‪ .‬ﺑﻘﻴﻪ‪ ...‬ﺧﺐ‪ ،‬ﻧﺎﭘﺪﻳﺪ ﺷﺪﻧﺪ‪.‬‬ ‫ﻭ ﺑﻌﺪ ﺷﻬﺮ ﺳﻮﺧﺖ ﻭ ﺧﺎﻛﺴﺘﺮ ﺷﺪ‪ .‬ﺩﺭ ﺍﻧﺘﻬﺎﻯ ﻳﻚ ﭘﺎﻳﻴﺰ ﺧﺸﻚ ﺑﻮﺩ‪ .‬ﻓﻬﻤﻴﺪﻧﺪ ﺁﺗﺶﺳﻮﺯﻯ ﺍﺯ‬ ‫ﺧﺎﻧﻪﻯ ﻣﺎﺭﺳﺘﻦ )‪ (19‬ﻛﻪ ﺑﺎﻻﻯ ﺧﻴﺎﺑﺎﻥ ﺟﻮﻧﻴﺘﺮ )‪ (20‬ﻗﺮﺍﺭ ﺩﺍﺭﺩ‪ ،‬ﺷﺮﻭﻉ ﺷﺪﻩ‪ ،‬ﻭﻟﻰ ﺗﺎ ﺑﻪ ﺍﻣﺮﻭﺯ‬ ‫ﻛﺴﻰ ﻣﺘﻮﺟﻪ ﻧﺸﺪﻩ ﺩﻟﻴﻞ ﺷﺮﻭﻋﺶ ﭼﻪ ﺑﻮﺩﻩ‪ .‬ﺷﻬﺮ ﺳﻪ ﺭﻭﺯ ﺳﻮﺧﺖ‪ .‬ﭘﺲ ﺍﺯ ﺁﻥ ﺗﺎ ﻣﺪﺗﻰ ﺍﻭﺿﺎﻉ‬ ‫ﺑﻬﺘﺮ ﺑﻮﺩ‪ .‬ﻭ ﺑﻌﺪ ﺩﻭﺑﺎﺭﻩ ﺷﺮﻭﻉ ﺷﺪ‪.‬‬ ‫ﻣﻦ ﻓﻘﻂ ﻳﻚ ﺑﺎﺭ ﻛﻠﻤﻪﻯ »ﺧﻮﻥﺁﺷﺎﻡ« ﺭﺍ ﺷﻨﻴﺪﻡ‪ .‬ﻳﻚ ﺭﺍﻧﻨﺪﻩ ﻛﺎﻣﻴﻮﻥ ﺩﻳﻮﺍﻧﻪ ﺑﻪ ﺍﺳﻢ ﺭﻳﭽﻰ‬ ‫ﻣﺴﻴﻨﺎ )‪ (21‬ﺍﻫﻞ ﻓﺮﻯﭘﻮﺭﺕ )‪ ،(22‬ﺁﻥ ﺷﺐ ﺩﺭ ﺑﺎﺭ ﺗﻮﻛﻰ ﺑﻮﺩ ﻭ ﺣﺴﺎﺑﻰ ﻣﺴﺖ ﻛﺮﺩﻩ ﺑﻮﺩ‪ .‬ﻣﺮﺩﻙ‬ ‫ﺑﺎ ﺁﻥ ﺷﻠﻮﺍﺭ ﭘﺸﻤﻰ ﻭ ﭘﻴﺮﺍﻫﻦ ﻛﺘﺎﻥ ﭼﻬﺎﺭﺧﺎﻧﻪ ﻭ ﭼﻜﻤﻪﻫﺎﻯ ﭼﺮﻣﻰﺍﺵ‪ ،‬ﻧﺰﺩﻳﻚ ﺑﻪ ﻧﻪ ﻓﻮﺕ ﻗﺪ‬ ‫ﺩﺍﺷﺖ ﻭ ﺍﻳﺴﺘﺎﺩﻩ ﺑﻮﺩ ﻣﻰﻏﺮﻳﺪ‪» :‬ﻳﻌﻨﻰ ﻫﻤﻪﺗﻮﻥ ﺍﻳﻦ ﻗﺪﺭ ﻣﻰﺗﺮﺳﻴﻦ ﻛﻪ ﺍﺳﻤﺶ ﺭﻭ ﺑﻠﻨﺪ ﺑﮕﻴﻦ؟‬ ‫ﺧﻮﻥﺁﺷﺎﻡﻫﺎ! ﻫﻤﻪﺗﻮﻥ ﺑﻪ ﻫﻤﻴﻦ ﻓﻜﺮ ﻣﻰﻛﻨﻴﻦ‪ ،‬ﻣﮕﻪ ﻧﻪ؟ ﻳﺎ ﻋﻴﺴﻰ ﻣﺴﻴﺢ ﻣﻮﺗﻮﺭﺳﻮﺍﺭ! ﻣﺜﻞ‬ ‫ﻳﻪ ﻣﺸﺖ ﺑﭽﻪ ﻫﺴﺘﻦ ﻛﻪ ﺍﺯ ﻓﻴﻠﻢ ﺗﺮﺳﻨﺎﻙ ﺗﺮﺳﻴﺪﻥ! ﻣﻰﺩﻭﻧﻴﻦ ﺍﻭﻥ ﭘﺎﻳﻴﻦ ﺗﻮ ﺳﺎﻟﻤﺰﻻﺕ ﭼﻰ‬ ‫ﻫﺴﺖ؟ ﻣﻰﺧﻮﺍﻫﻴﻦ ﺑﻬﺘﻮﻥ ﺑﮕﻢ؟ ﻣﻰﺧﻮﺍﻫﻴﻦ ﺑﻬﺘﻮﻥ ﺑﮕﻢ؟«‬ ‫ﺗﻮﻛﻰ ﮔﻔﺖ‪» :‬ﺑﮕﻮ ﺑﺒﻴﻨﻢ ﺭﻳﭽﻰ‪ .‬ﺻﺎﺣﺐ ﻣﺠﻠﺲ ﺗﻮﻳﻰ‪ «.‬ﺑﺎﺭ ﻛﺎﻣ ً‬ ‫ﻼ ﺳﺎﻛﺖ ﺷﺪﻩ ﺑﻮﺩ‪ .‬ﻣﻰﺗﻮﺍﻧﺴﺘﻴﺪ‬ ‫ﺻﺪﺍﻯ ﺗﺮﻕ ﻭ ﺗﻮﺭﻭﻕ ﺁﺗﺶ ﺭﺍ ﺑﺸﻨﻮﻳﺪ ﻭ ﺍﺯ ﺑﻴﺮﻭﻥ ﻫﻢ ﺻﺪﺍﻯ ﺑﺎﺭﺍﻥ ﺁﺭﺍﻡ ﻣﺎﻩ ﻧﻮﺍﻣﺒﺮ ﻣﻰﺁﻣﺪ ﻛﻪ‬ ‫ﺩﺭ ﺗﺎﺭﻳﻜﻰ ﻓﺮﻭ ﻣﻰﺭﻳﺨﺖ‪.‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،9-10‬ﺷﻬﺮﻳﻮﺭ ﻭ ﻣﻬﺮ ‪1390‬‬

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‫ﻭﺣﺸﺖ ‪ -‬ﺗﺮﺟﻤﻪ‬

‫ﻣﻰﻛﻮﺑﻴﺪ‪.‬‬ ‫ﻧﮕﺎﻩ ﻟﻮﻣﻠﻰ ﺩﻭﺑﺎﺭﻩ ﻣﻴﺎﻥ ﻣﻦ ﻭ ﺗﻮﻛﻰ ﺳﺮﮔﺮﺩﺍﻥ ﺷﺪﻩ ﺑﻮﺩ‪.‬‬ ‫ﭘﺮﺳﻴﺪ‪» :‬ﻫﻴﭻﻛﺪﻭﻣﺘﻮﻥ ﻣﺎﺷﻴﻦ ﻧﺪﺍﺭﻳﻦ؟ ﺑﺮﺍﻯ ﺍﻳﻦ ﻛﻪ ﺑﺨﺎﺭﻯ ﺭﻭﺷﻦ ﺑﺎﺷﻪ‪ ،‬ﻣﺠﺒﻮﺭﻥ ﻣﻮﺗﻮﺭ ﺭﻭ‬ ‫ﺭﻭﺷﻦ ﺑﺬﺍﺭﻥ‪ .‬ﻓﻘﻂ ﻳﻚ ﭼﻬﺎﺭﻡ ﺑﺎﻛﻢ ﭘﺮ ﺑﻮﺩ ﻭ ﻳﻚ ﺳﺎﻋﺖ ﻭ ﻧﻴﻢ ﻫﻢ ﻃﻮﻝ ﻛﺸﻴﺪﻩ ﺗﺎ‪ ...‬ﺑﺒﻴﻨﻴﻦ‪،‬‬ ‫ﺟﻮﺍﺏ ﺳﻮﺍﻝ ﻣﻦ ﺭﻭ ﻣﻰﺩﻳﻦ؟« ﺻﺪﺍﻳﺶ ﺩﻭﺑﺎﺭﻩ ﭘﺮ ﺍﺯ ﺍﺿﻄﺮﺍﺏ ﺷﺪﻩ ﺑﻮﺩ‪ .‬ﺍﻳﺴﺘﺎﺩ ﻭ ﭘﻴﺮﺍﻫﻦ ﺗﻮﻛﻰ‬ ‫ﺭﺍ ﮔﺮﻓﺖ‪.‬‬ ‫ﺗﻮﻛﻰ ﮔﻔﺖ‪» :‬ﺁﻗﺎ ﮔﻤﻮﻥ ﻛﻨﻢ ﺩﺳﺘﺘﻮﻥ ﺯﻳﺎﺩﻯ ﺩﺭﺍﺯ ﺷﺪﻩ‪«.‬‬ ‫ﻟﻮﻣﻠﻰ ﺑﻪ ﺩﺳﺘﺶ ﻧﮕﺎﻩ ﻛﺮﺩ ﻭ ﺑﻪ ﺑﻌﺪ ﺑﻪ ﺗﻮﻛﻰ‪ ،‬ﺑﻌﺪ ﺩﺳﺘﺶ ﺭﺍ ﺍﻧﺪﺍﺧﺖ‪ .‬ﺯﻳﺮ ﻟﺒﻰ ﮔﻔﺖ‪» :‬ﻣﻴﻦ«‪.‬‬ ‫ﺟﻮﺭﻯ ﺍﻳﻦ ﻛﻠﻤﻪ ﺭﺍ ﮔﻔﺖ ﺍﻧﮕﺎﺭ ﺩﺍﺭﺩ ﻓﺤﺶ ﺧﻮﺍﻫﺮﻣﺎﺩﺭ ﻣﻰﺩﻫﺪ‪ .‬ﺑﻌﺪ ﮔﻔﺖ‪» :‬ﺑﺴﻴﺎﺭ ﺧﺐ‪،‬‬ ‫ﻧﺰﺩﻳﻚﺗﺮﻳﻦ ﭘﻤﭗﺑﻨﺰﻳﻦ ﻛﺠﺎ ﺍﺳﺖ؟ ﺣﺘﻤﺎ ﻳﻚ ﻣﺎﺷﻴﻦ ﺑﺮﻑﺭﻭﺏ ﺩﺍﺭﻥ‪«...‬‬ ‫ﮔﻔﺘﻢ‪» :‬ﻧﺰﺩﻳﻚﺗﺮﻳﻦ ﭘﻤﭗﺑﻨﺰﻳﻦ ﺩﺭ ﻣﺮﻛﺰ ﻓﺎﻟﻤﺎﻭﺛﻪ‪ .‬ﻳﻌﻨﻰ ﺳﻪ ﻣﺎﻳﻞ ﭘﺎﻳﻴﻦﺗﺮ ﺍﺯ ﺍﻳﻦﺟﺎ‪«.‬‬ ‫ﺑﺎ ﻟﺤﻨﻰ ﺁﻣﻴﺨﺘﻪ ﺑﻪ ﺗﻤﺴﺨﺮ ﮔﻔﺖ‪» :‬ﻣﻤﻨﻮﻥ‪ «.‬ﻭ ﺑﻪ ﺳﻤﺖ ﺩﺭ ﺑﻪ ﺭﺍﻩ ﺍﻓﺘﺎﺩ ﻭ ﺩﺭ ﻫﻤﺎﻥ ﺣﺎﻝ‬ ‫ﺩﻛﻤﻪﻫﺎﻯ ﻛﺘﺶ ﺭﺍ ﺑﺴﺖ‪.‬‬ ‫ﮔﻔﺘﻢ‪» :‬ﺍﻟﺒﺘﻪ ﺍﻻﻥ ﻛﻪ ﺑﺎﺯ ﻧﻴﺴﺖ‪«.‬‬ ‫ﺑﻪ ﺁﺭﺍﻣﻰ ﺑﺮﮔﺸﺖ ﻭ ﺑﻪ ﻣﺎ ﻧﮕﺎﻩ ﻛﺮﺩ‪.‬‬ ‫»ﭼﻰ ﺩﺍﺭﻯ ﻣﻰﮔﻰ ﭘﻴﺮﻣﺮﺩ؟«‬ ‫ﺗﻮﻛﻰ ﺑﺎ ﻃﻤﺄﻧﻴﻨﻪ ﮔﻔﺖ‪» :‬ﺩﺍﺭﻩ ﺑﻬﺖ ﻣﻰﮔﻪ ﻛﻪ ﭘﻤﭗ ﺑﻨﺰﻳﻦ ﻣﺮﻛﺰ ﻓﺎﻟﻤﺎﻭﺙ ﻣﺎﻝ ﺑﻴﻠﻰ ﻟﺮﻳﺒﻰ‬ ‫ﻫﺴﺖ ﻛﻪ ﺍﻻﻥ ﺑﻴﺮﻭﻥ ﺩﺍﺭﻩ ﺗﺮﺍﻛﺘﻮﺭ ﻣﻰﺭﻭﻧﻪ‪ ،‬ﺍﺣﻤﻖﺟﻮﻥ‪ .‬ﺣﺎﻻ ﺑﻴﺎ ﺑﺸﻴﻦ ﺍﻳﻦﺟﺎ ﻭ ﺑﻰﺧﻴﺎﻝ ﺑﻪ‬ ‫ﻫﻢ ﺭﻳﺨﺘﻦ ﺩﻧﻴﺎ ﺷﻮ‪«.‬‬ ‫ﻭﺣﺸﺖﺯﺩﻩ ﻭ ﺧﻴﺮﻩ ﺑﺮﮔﺸﺖ ‪».‬ﻳﻌﻨﻰ ﻣﻨﻈﻮﺭﺗﻮﻥ ﺍﻳﻨﻪ ﻛﻪ ﻧﻤﻰﺗﻮﻧﻴﻦ‪ ...‬ﻛﻪ ﻳﻌﻨﻰ ﺭﺍﻫﻰ ﻧﻴﺴﺖ‬ ‫ﻛﻪ‪«...‬‬ ‫ﺗﻮﻛﻰ ﮔﻔﺖ‪» :‬ﻣﻦ ﺍﺻ ً‬ ‫ﻼ ﭼﻴﺰﻯ ﻧﮕﻔﺘﻢ‪ .‬ﺗﻮ ﻫﻤﻪﺍﺵ ﺩﺍﺭﻯ ﺣﺮﻑ ﻣﻰﺯﻧﻰ ﻭ ﺍﮔﻪ ﻳﻚ ﺩﻗﻴﻘﻪ ﺧﻔﻪ‬ ‫ﺷﻰ ﻣﺎ ﻣﻰﺗﻮﻧﻴﻢ ﻓﻜﺮ ﻛﻨﻴﻢ‪«.‬‬ ‫ﭘﺮﺳﻴﺪ‪» :‬ﺍﻳﻦ ﺷﻬﺮ‪ ،‬ﺍﻭﺭﺷﻠﻴﻢﻻﺕ‪ ،‬ﺍﺻﻼ ﭼﻰ ﻫﺴﺖ؟ ﭼﺮﺍ ﺟﺎﺩﻩ ﺑﺴﺘﻪ ﺑﻮﺩ؟ ﭼﺮﺍ ﻫﻴﭻﺟﺎ ﻫﻴﭻ‬ ‫ﭼﺮﺍﻏﻰ ﺭﻭﺷﻦ ﻧﺒﻮﺩ‪«.‬‬ ‫ﮔﻔﺘﻢ‪» :‬ﺍﻭﺭﺷﻠﻴﻢﻻﺕ ﺩﻭ ﺳﺎﻝ ﭘﻴﺶ ﺳﻮﺧﺖ ﻭ ﺧﺎﻛﺴﺘﺮ ﺷﺪ‪«.‬‬ ‫»ﻭ ﻫﻴﭻﻭﻗﺖ ﺑﺎﺯﺳﺎﺯﻯ ﻧﺸﺪ؟« ﺍﻧﮕﺎﺭ ﺑﺎﻭﺭﺵ ﻧﻤﻰﺷﺪ‪.‬‬ ‫ﮔﻔﺘﻢ‪»:‬ﻇﺎﻫﺮﺍ ً ﻛﻪ ﺍﻳﻦ ﻃﻮﺭﻩ‪ «.‬ﻭ ﺑﻪ ﺑﻴﻠﻰ ﻧﮕﺎﻩ ﻛﺮﺩﻡ‪» .‬ﺣﺎﻻ ﭼﻰ ﻛﺎﺭ ﻛﻨﻴﻢ؟«‬

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‫ﻭﻳﮋﻩﻧﺎﻣﻪﻯ ﺧﻮﻥﺁﺷﺎﻡﻫﺎ‬

‫ﻭﺣﺸﺖ ‪ -‬ﺗﺮﺟﻤﻪ‬

‫»ﻛﺎﻣ ً‬ ‫ﻼ ﻣﻄﻤﺌﻨﻢ‪ .‬ﺗﻘﺎﻃﻊ ﺭﻭ ﭘﻴﺪﺍ ﻛﺮﺩﻡ ﻭﻟﻰ ﭘﺮ ﺑﺮﻑ ﺷﺪﻩ ﺑﻮﺩ‪ ...‬ﺍﻭﻥ‪«...‬‬ ‫ﺗﻮﻛﻰ ﮔﺮﻓﺘﺶ‪ .‬ﺩﺭ ﻧﻮﺭ ﻟﻐﺰﺍﻥ ﺁﺗﺶ ﭼﻬﺮﻩﺍﺵ ﺭﻧﮓﭘﺮﻳﺪﻩ ﻭ ﻣﻨﻘﺒﺾ ﺑﻪ ﻧﻈﺮ ﻣﻰﺭﺳﻴﺪ‪ ،‬ﭘﻴﺮﺗﺮ ﺍﺯ‬ ‫ﺷﺼﺖ ﻭ ﺷﺶ ﺳﺎﻟﺶ ﺷﺪﻩ ﺑﻮﺩ‪» .‬ﭘﺲ ﺑﻪ ﺭﺍﺳﺖ ﭘﻴﭽﻴﺪﻯ؟«‬ ‫»ﺑﻠﻪ ﺭﺍﺳﺖ‪ ،‬ﻫﻤﺴﺮﻡ‪«...‬‬ ‫»ﻳﻚ ﻋﻼﻣﺖ ﻧﺪﻳﺪﻯ؟«‬ ‫ﺑﺎ ﻧﮕﺎﻫﻰ ﺗﻬﻰ ﺑﻪ ﺗﻮﻛﻰ ﻧﮕﺎﻩ ﻛﺮﺩ ﻭ ﺑﻴﻨﻰﺍﺵ ﺭﺍ ﺗﻤﻴﺰ ﻛﺮﺩ‪» .‬ﻋﻼﻣﺖ؟ ﺍﻟﺒﺘﻪ ﻛﻪ ﺩﻳﺪﻡ‪ .‬ﺗﻮﻯ‬ ‫ﻧﻘﺸﻪﺍﻡ ﺑﻮﺩ‪ .‬ﺍﺯ ﺗﻘﺎﻃﻊ ﺗﻮﻯ ﺍﻭﺭﺷﻠﻴﻢ ﻻﺕ )‪ (17‬ﺑﻪ ﻭﺭﻭﺩﻯ ‪ 295‬ﺑﺮﻭ‪ «.‬ﻧﮕﺎﻫﺶ ﺑﻴﻦ ﻣﻦ ﻭ ﺗﻮﻛﻰ‬ ‫ﺩﺭ ﺣﺮﻛﺖ ﺑﻮﺩ‪ .‬ﺑﻴﺮﻭﻥ‪ ،‬ﺑﺎﺩ ﺩﺭ ﻟﺒﻪﻫﺎﻯ ﺳﻘﻒﻫﺎ ﺯﻭﺯﻩ ﻣﻰﻛﺸﻴﺪ ﻭ ﻧﺎﻟﻪ ﻣﻰﻛﺮﺩ ﻭ ﻣﻰﻏﺮﻳﺪ‪» .‬ﻛﺎﺭ‬ ‫ﺩﺭﺳﺘﻰ ﻧﻜﺮﺩﻡ ﺁﻗﺎ؟«‬ ‫ﺗﻮﻛﻰ ﺧﻴﻠﻰ ﺁﺭﺍﻡ‪ ،‬ﻃﻮﺭﻯ ﻛﻪ ﺑﻪ ﺳﺨﺘﻰ ﺷﻨﻴﺪﻩ ﻣﻰﺷﺪ ﮔﻔﺖ‪» :‬ﻻﺕ‪ ،‬ﺧﺪﺍﻯ ﻣﻦ‪«.‬‬ ‫ﻣﺮﺩ ﻛﻪ ﺻﺪﺍﻳﺶ ﺩﺍﺷﺖ ﺑﺎﻻ ﻣﻰﺭﻓﺖ ﭘﺮﺳﻴﺪ‪» :‬ﭼﻰ ﺷﺪﻩ؟ ﺭﺍﻩ ﺩﺭﺳﺘﻰ ﻧﺮﻓﺘﻢ؟ ﻣﻨﻈﻮﺭﻡ ﺍﻳﻨﻪ ﻛﻪ‬ ‫ﺑﻪ ﻧﻈﺮ ﻣﻰﺭﺳﻴﺪ ﺟﺎﺩﻩ ﺑﺴﺘﻪ ﺷﺪﻩ‪ ،‬ﺍﻣﺎ ﻓﻜﺮ ﻛﺮﺩﻡ ﻳﻚ ﺷﻬﺮ ﺍﻭﻥﺟﺎ ﺍﺳﺖ‪ ،‬ﺗﺮﺍﻛﺘﻮﺭﻫﺎ ﻣﻴﺎﻥ ﺑﻴﺮﻭﻥ‬ ‫ﻭ‪ ...‬ﺑﻌﺪﺵ‪«...‬‬ ‫ﺻﺪﺍﻳﺶ ﺧﺎﻣﻮﺵ ﺷﺪ‪.‬‬ ‫ﺗﻮﻛﻰ ﺁﺭﺍﻡ ﺑﻪ ﻣﻦ ﮔﻔﺖ‪» :‬ﺑﻮﺙ‪ .‬ﺑﺮﻭ ﺑﻪ ﻛﻼﻧﺘﺮ ﺯﻧﮓ ﺑﺰﻥ‪«.‬‬ ‫ﺍﺣﻤﻖ ﺍﻫﻞ ﻧﻴﻮﺟﺮﺳﻰ ﮔﻔﺖ‪» :‬ﺑﻠﻪ‪ ،‬ﺩﺭﺳﺘﻪ‪ .‬ﺷﻤﺎﻫﺎ ﭼﻪﺗﻮﻥ ﺷﺪﻩ؟ ﺍﻧﮕﺎﺭ ﺭﻭﺡ ﺩﻳﺪﻳﻦ‪«.‬‬ ‫ﺗﻮﻛﻰ ﮔﻔﺖ‪» :‬ﺁﻗﺎ ﺗﻮﻯ ﻻﺕ ﺭﻭﺣﻰ ﻭﺟﻮﺩ ﻧﺪﺍﺭﻩ‪ .‬ﺑﻬﺸﻮﻥ ﮔﻔﺘﻰ ﺗﻮﻯ ﻣﺎﺷﻴﻦ ﺑﻤﻮﻧﻦ؟«‬ ‫ﻣﺮﺩ ﻛﻪ ﺍﻧﮕﺎﺭ ﺑﻬﺶ ﺑﺮﺧﻮﺭﺩﻩ ﺑﻮﺩ‪ ،‬ﮔﻔﺖ‪» :‬ﺑﻠﻪ ﺍﻟﺒﺘﻪ ﻛﻪ ﮔﻔﺘﻢ‪ ،‬ﺩﻳﻮﻭﻧﻪ ﻛﻪ ﻧﻴﺴﺘﻢ‪«.‬‬ ‫ﺟﻮﻥ ﺧﻮﺩﺕ‪ ،‬ﻣﻦ ﻛﻪ ﺟﻮﺭ ﺩﻳﮕﺮﻯ ﻓﻜﺮ ﻣﻰﻛﻨﻢ‪.‬‬ ‫ﺍﺯ ﺍﻭ ﭘﺮﺳﻴﺪﻡ‪» :‬ﺍﺳﻤﺖ ﭼﻴﻪ ﺁﻗﺎ؟ ﺑﺮﺍﻯ ﺍﻳﻦ ﻛﻪ ﺑﻪ ﻛﻼﻧﺘﺮ ﺑﮕﻢ‪«.‬‬ ‫ﻣﺮﺩ ﮔﻔﺖ‪» :‬ﻟﻮﻣﻠﻰ‪ ،‬ﺟﺮﺍﺭﺩ ﻟﻮﻣﻠﻰ )‪«.(18‬‬ ‫ﺩﻭﺑﺎﺭﻩ ﻣﺸﻐﻮﻝ ﺣﺮﻑ ﺯﺩﻥ ﺑﺎ ﺗﻮﻛﻰ ﺷﺪ ﻭ ﻣﻦ ﺑﻪ ﻃﺮﻑ ﺗﻠﻔﻦ ﺭﻓﺘﻢ‪ .‬ﺗﻠﻔﻦ ﺭﺍ ﺑﺮﺩﺍﺷﺘﻢ ﻭ ﺻﺪﺍﻳﻰ‬ ‫ﻧﺸﻨﻴﺪﻡ‪ ،‬ﺳﻜﻮﺕ ﻣﻄﻠﻖ ﺑﻮﺩ‪ .‬ﭼﻨﺪ ﺑﺎﺭ ﺩﻛﻤﻪﻫﺎ ﺭﺍ ﺯﺩﻡ ﻭﻟﻰ ﺧﺒﺮﻯ ﻧﺸﺪ‪ .‬ﻫﻨﻮﺯ ﺳﻜﻮﺕ ﺑﻮﺩ‪.‬‬ ‫ﺑﺮﮔﺸﺘﻢ‪ .‬ﺗﻮﻛﻰ ﺑﺮﺍﻯ ﺟﺮﺍﺭﺩ ﻟﻮﻣﻠﻰ ﻳﻚ ﻛﻤﻰ ﺩﻳﮕﺮ ﺑﺮﻧﺪﻯ ﺭﻳﺨﺘﻪ ﺑﻮﺩ‪ ،‬ﺍﻳﻦ ﺩﻓﻌﻪ ﺭﺍﺣﺖﺗﺮ‬ ‫ﭘﺎﻳﻴﻨﺶ ﺩﺍﺩ‪.‬‬ ‫ﺗﻮﻛﻰ ﭘﺮﺳﻴﺪ‪» :‬ﺑﻴﺮﻭﻥ ﺑﻮﺩ؟«‬ ‫»ﺗﻠﻔﻦ ﻗﻄﻊ ﺷﺪﻩ‪«.‬‬ ‫ﺗﻮﻛﻰ ﮔﻔﺖ‪» :‬ﻟﻌﻨﺖ« ﻭ ﺑﻪ ﻫﻤﺪﻳﮕﺮ ﺧﻴﺮﻩ ﺷﺪﻳﻢ‪ .‬ﺑﻴﺮﻭﻥ ﺑﺎﺩ ﻏﻮﻏﺎ ﻣﻰﻛﺮﺩ ﻭ ﺑﺮﻑ ﺭﺍ ﺑﻪ ﭘﻨﺠﺮﻩﻫﺎ‬

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‫ﻭﻳﮋﻩﻧﺎﻣﻪﻯ ﺧﻮﻥﺁﺷﺎﻡﻫﺎ‬

‫ﺍﻭ ﺭﺍ ﺗﺎ ﺷﻮﻣﻴﻨﻪ ﺑﺮﺩﻳﻢ ﻭ ﺗﻮﻯ ﺻﻨﺪﻟﻰ ﻧﻨﻮﻳﻰ ﻣﺤﺒﻮﺏ ﺧﺎﻧﻮﻡ ﺗﻮﻛﻰ ﮔﺬﺍﺷﺘﻴﻢ؛ ﺗﺎ ﺳﺎﻝ ‪ 74‬ﻛﻪ‬ ‫ﻓﻮﺕ ﻛﺮﺩ‪ ،‬ﺻﻨﺪﻟﻰ ﻣﻮﺭﺩ ﻋﻼﻗﻪﺍﺵ ﺑﻮﺩ‪ .‬ﺑﺎﻋﺚ ﻭ ﺑﺎﻧﻰ ﺍﻳﻦ ﻣﻜﺎﻥ ﺧﺎﻧﻢ ﺗﻮﻛﻰ ﺑﻮﺩ‪ ،‬ﻣﺎﺟﺮﺍﻳﺶ ﺭﺍ ﺩﺭ‬ ‫ﺩﺍﻭﻥﺍﻳﺴﺖ )‪ (14‬ﻭ ﺳﺎﻧﺪﻯ ﺗﻠﮕﺮﺍﻡ )‪ (15‬ﻧﻮﺷﺘﻪ ﺑﻮﺩﻧﺪ ﻭ ﺣﺘﺎ ﻳﻚ ﺑﺎﺭ ﻫﻢ ﺩﺭ ﺑﻮﺳﺘﻮﻥ ﮔﻠﻮﺏ )‪(16‬‬ ‫ﺩﺭﺑﺎﺭﻩﺍﺵ ﻧﻮﺷﺘﻨﺪ‪ .‬ﺍﻳﻦﺟﺎ ﺑﻴﺸﺘﺮ ﺷﺒﻴﻪ ﺑﻪ ﻳﻚ ﺳﺎﻟﻦ ﺍﺟﺘﻤﺎﻋﺎﺕ ﻋﻤﻮﻣﻰ ﺑﻮﺩ ﺗﺎ ﺑﺎﺭ‪ ،‬ﻛﻒ ﭼﻮﺑﻰ‬ ‫ﺑﺰﺭﮔﺶ ﺍﺯ ﺗﺨﺘﻪﻫﺎﻳﻰ ﺑﻮﺩ ﻛﻪ ﺑﻪ ﻳﻜﺪﻳﮕﺮ ﭼﺴﺒﺎﻧﺪﻩ ﺷﺪﻩ ﺑﻮﺩﻧﺪ‪ ،‬ﺑﺎﺭﻯ ﺑﺰﺭگ ﺍﺯ ﭼﻮﺏ ﺍﻓﺮﺍ‪ ،‬ﺳﻘﻒ‬ ‫ﻛﻬﻨﻪ ﺍﺯ ﺗﻴﺮﻫﺎﻯ ﭼﻮﺑﻰ ﻭ ﺷﻮﻣﻴﻨﻪﻯ ﻋﻈﻴﻤﻰ ﺩﺍﺷﺖ‪ .‬ﺑﻌﺪ ﺍﺯ ﺍﻳﻦ ﻛﻪ ﻣﻘﺎﻟﻪﻯ ﺩﺍﻭﻥﺍﻳﺴﺖ ﻣﻨﺘﺸﺮ‬ ‫ﺷﺪ‪ ،‬ﺧﺎﻧﻢ ﺗﻮﻛﻰ ﺍﻳﺪﻩﻫﺎﻳﻰ ﺑﻪ ﺫﻫﻨﺶ ﺭﺳﻴﺪ‪ ،‬ﺩﻟﺶ ﻣﻰﺧﻮﺍﺳﺖ ﺁﻥﺟﺎ ﺭﺍ ﻣﻬﻤﺎﻥﺧﺎﻧﻪﻯ ﺗﻮﻛﻰ ﻳﺎ‬ ‫ﺍﺳﺘﺮﺍﺣﺘﮕﺎﻩ ﺗﻮﻛﻰ ﺑﻨﺎﻣﺪ‪ ،‬ﻗﺒﻮﻝ ﺩﺍﺭﻡ ﻳﻚ ﺟﻮﺭ ﺁﻫﻨﮓ ﺣﻮﻣﻪﻯ ﺷﻬﺮﻯ ﺩﺍﺷﺖ‪ ،‬ﻭﻟﻰ ﻣﻦ ﻫﻤﺎﻥ ﺑﺎﺭ‬ ‫ﺗﻮﻛﻰ ﺭﺍ ﺗﺮﺟﻴﺢ ﻣﻰﺩﻫﻢ‪ .‬ﺩﺭ ﺗﺎﺑﺴﺘﺎﻥ ﻭﻗﺘﻰ ﻛﻪ ﺍﻳﺎﻟﺖ ﭘﺮ ﺍﺯ ﺗﻮﺭﻳﺴﺖﻫﺎ ﺍﺳﺖ‪ ،‬ﻣﺴﺖ ﻛﺮﺩﻥ ﻳﻚ‬ ‫ﭼﻴﺰ ﺍﺳﺖ ﻭ ﺩﺭ ﺯﻣﺴﺘﺎﻥ ﻛﻪ ﻣﺠﺒﻮﺭﻯ ﺑﺎ ﻫﻤﺴﺎﻳﻪﻫﺎﻳﺖ ﻣﻌﺎﻣﻠﻪﻯ ﭘﺎﻳﺎﭘﺎﻯ ﺩﺍﺷﺘﻪ ﺑﺎﺷﻰ‪ ،‬ﻳﻚ ﭼﻴﺰ‬ ‫ﺩﻳﮕﺮ‪ .‬ﻭ ﺷﺐﻫﺎﻯ ﺯﻣﺴﺘﺎﻧﻰ ﻣﺜﻞ ﺍﻳﻦ ﺑﺴﻴﺎﺭﻧﺪ‪ ،‬ﺷﺐﻫﺎﻳﻰ ﻛﻪ ﻣﻦ ﻭ ﺗﻮﻛﻰ ﺗﻨﻬﺎﻳﻰ ﺑﻪ ﺳﺮ ﻛﺮﺩﻳﻢ‪،‬‬ ‫ﻭﻳﺴﻜﻰ ﻭ ﺁﺏ ﺧﻮﺭﺩﻳﻢ ﻭ ﮔﺎﻫﻰ ﻓﻘﻂ ﭼﻨﺪ ﺗﺎ ﺁﺑﺠﻮ ﺯﺩﻳﻢ‪ .‬ﻭﻳﻜﺘﻮﺭﻳﺎﻯ ﻣﻦ ﺳﺎﻝ ‪ 73‬ﺭﻓﺖ ﻭ ﺑﺎﺭ‬ ‫ﺗﻮﻛﻰ ﺗﻨﻬﺎ ﺟﺎﻳﻰ ﺑﻮﺩ ﻛﻪ ﻣﻰﺷﺪ ﺭﻓﺖ‪ ،‬ﺗﻨﻬﺎ ﺟﺎﻳﻰ ﻛﻪ ﺁﻥ ﻗﺪﺭ ﺳﺮ ﻭ ﺻﺪﺍ ﺑﻮﺩ ﺗﺎ ﺗﻴﻚ ﺗﻴﻚ ﺳﺎﻋﺖ‬ ‫ﻣﺮگ ﺭﺍ ﺧﻔﻪ ﻛﻨﺪ‪ ،‬ﺣﺘﺎ ﺍﮔﺮ ﻓﻘﻂ ﻣﻦ ﻭ ﺗﻮﻛﻰ ﺑﻮﺩﻳﻢ‪ ،‬ﻛﻔﺎﻳﺖ ﻣﻰﻛﺮﺩ‪ .‬ﺍﮔﺮ ﺍﺳﻤﺶ ﺍﺳﺘﺮﺍﺣﺘﮕﺎﻩ‬ ‫ﺗﻮﻛﻰ ﺑﻮﺩ‪ ،‬ﺍﻳﻦ ﺍﺣﺴﺎﺱ ﺭﺍ ﭘﻴﺪﺍ ﻧﻤﻰﻛﺮﺩﻡ‪ .‬ﺍﺣﻤﻘﺎﻧﻪ ﺍﺳﺖ‪ ،‬ﻭﻟﻰ ﺧﺐ ﺍﻳﻦ ﺟﻮﺭﻯ ﺍﺳﺖ ﺩﻳﮕﺮ‪.‬‬ ‫ﺍﻭ ﺭﺍ ﺟﻠﻮﻯ ﺁﺗﺶ ﺑﺮﺩﻳﻢ ﻭ ﻟﺮﺯﺵﻫﺎﻳﺶ ﺍﺯ ﻗﺒﻞ ﻫﻢ ﺑﺪﺗﺮ ﺷﺪ‪ .‬ﺯﺍﻧﻮﻫﺎﻳﺶ ﺭﺍ ﺑﻐﻞ ﻛﺮﺩ ﻭ ﺩﻧﺪﺍﻥﻫﺎﻳﺶ‬ ‫ﺑﻪ ﻫﻢ ﻣﻰﺧﻮﺭﺩﻧﺪ‪ ،‬ﺁﺏ ﺑﻴﻨﻰﺍﺵ ﺭﺍﻩ ﺍﻓﺘﺎﺩﻩ ﺑﻮﺩ‪ .‬ﮔﻤﺎﻧﻢ ﺧﻮﺩﺵ ﻫﻢ ﻓﻬﻤﻴﺪﻩ ﺑﻮﺩ ﺍﮔﺮ ﻳﻚ ﺭﺑﻊ‬ ‫ﺩﻳﮕﺮ ﺑﻴﺮﻭﻥ ﻣﻰﻣﺎﻧﺪ‪ ،‬ﻣﺮﺩﻩ ﺑﻮﺩ‪ .‬ﻣﺴﺄﻟﻪ ﺑﺮﻑ ﻧﻴﺴﺖ‪ ،‬ﻛﺎﺭ‪ ،‬ﻛﺎﺭ ﺑﺎﺩ ﺍﺳﺖ‪ .‬ﻗﻠﺒﺖ ﺭﺍ ﺧﺸﻚ ﻣﻰﻛﻨﺪ‪.‬‬ ‫ﺗﻮﻛﻰ ﺍﺯ ﺍﻭ ﭘﺮﺳﻴﺪ‪» :‬ﻛﺠﺎ ﺍﺯ ﺟﺎﺩﻩ ﺧﺎﺭﺝ ﺷﺪﻯ؟«‬ ‫ﮔﻔﺖ‪» :‬ﺵ‪ ...‬ﺷﺶ ﻣﺎﻳﻞ ﺟﻨﻮﺏ ﺍﻳﻦﺟﺎ‪«.‬‬ ‫ﻣﻦ ﻭ ﺗﻮﻛﻰ ﺑﻪ ﻫﻢ ﻧﮕﺎﻩ ﻛﺮﺩﻳﻢ ﻭ ﻧﺎﮔﻬﺎﻥ ﻳﺦ ﻛﺮﺩﻡ‪ .‬ﺗﻤﺎﻡ ﺑﺪﻧﻢ ﻳﺦ ﻛﺮﺩ‪.‬‬ ‫ﺗﻮﻛﻰ ﭘﺮﺳﻴﺪ‪» :‬ﻣﻄﻤﺌﻨﻰ؟ ﺷﺶ ﻣﺎﻳﻞ ﺗﻮﻯ ﺑﺮﻑ ﺭﺍﻩ ﺁﻣﺪﻯ؟«‬ ‫ﺳﺮﻯ ﺗﻜﺎﻥ ﺩﺍﺩ‪» :‬ﻭﻗﺘﻰ ﻭﺍﺭﺩ ﺷﻬﺮ ﺷﺪﻳﻢ ﻛﻴﻠﻮﻣﺘﺮﺷﻤﺎﺭ ﻣﺎﺷﻴﻦ ﺭﻭ ﻧﮕﺎﻩ ﻛﺮﺩﻡ‪ .‬ﺩﺍﺷﺘﻢ ﻃﺒﻖ‬ ‫ﻧﻘﺸﻪ ﭘﻴﺶ ﻣﻰﺭﻓﺘﻢ‪ ...‬ﻣﻰﺭﻓﺘﻴﻢ ﺩﻳﺪﻥ ﺧﻮﺍﻫﺮ ﻫﻤﺴﺮﻡ‪ ...‬ﺩﺭ ﻛﺎﻣﺒﺮﻟﻨﺪ‪ ...‬ﻗﺒ ً‬ ‫ﻼ ﺍﻭﻥﺟﺎ ﻧﺮﻓﺘﻢ‪ ...‬ﺍﻫﻞ‬ ‫ﻧﻴﻮﺟﺮﺳﻰ ﻫﺴﺘﻴﻢ‪«...‬‬ ‫ﻧﻴﻮﺟﺮﺳﻰ‪ .‬ﺍﮔﺮ ﺍﺣﻤﻖﺗﺮ ﺍﺯ ﻳﻚ ﻧﻴﻮﻳﻮﺭﻛﻰ ﭼﻴﺰﻯ ﻭﺟﻮﺩ ﺩﺍﺷﺘﻪ ﺑﺎﺷﺪ‪ ،‬ﻳﻚ ﻧﻔﺮ ﺍﻫﻞ ﻧﻴﻮﺟﺮﺳﻰ‬ ‫ﺍﺳﺖ‪.‬‬ ‫ﺗﻮﻛﻰ ﭘﺮﺳﻴﺪ‪» :‬ﺷﺶ ﻣﺎﻳﻞ؟ ﻳﻌﻨﻰ ﻣﻄﻤﺌﻨﻰ؟«‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،9-10‬ﺷﻬﺮﻳﻮﺭ ﻭ ﻣﻬﺮ ‪1390‬‬

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‫ﻭﺣﺸﺖ ‪ -‬ﺗﺮﺟﻤﻪ‬

‫ﺑﺮﺵ ﺩﺍﺷﺘﻢ ﻭ ﺑﺮﮔﺸﺘﻢ‪ .‬ﺗﻮﻛﻰ ﻛﺖ ﻳﺎﺭﻭ ﺭﺍ ﺑﺎﺯ ﻛﺮﺩﻩ ﺑﻮﺩ‪ .‬ﻳﻚ ﻛﻤﻰ ﺑﻪ ﺣﺎﻝ ﺁﻣﺪﻩ ﺑﻮﺩ‪ ،‬ﭼﺸﻢﻫﺎﻳﺶ‬ ‫ﻧﻴﻤﻪ ﺑﺎﺯ ﺑﻮﺩﻧﺪ ﻭ ﺯﻳﺮ ﻟﺒﻰ ﺩﺍﺷﺖ ﭼﻴﺰﻯ ﺯﻣﺰﻣﻪ ﻣﻰﻛﺮﺩ‪.‬‬ ‫ﺗﻮﻛﻰ ﮔﻔﺖ‪» :‬ﺩﺭﺵ ﺭﻭ ﭘﺮ ﻛﻦ ﺑﺪﻩ‪«.‬‬ ‫ﭘﺮﺳﻴﺪﻡ‪» :‬ﻓﻘﻂ ﺍﻧﺪﺍﺯﻩﻯ ﺩﺭ؟«‬ ‫ﺗﻮﻛﻰ ﮔﻔﺖ‪» :‬ﺍﻳﻦ ﺑﺮﻧﺪﻯ ﻣﺜﻞ ﺩﻳﻨﺎﻣﻴﺘﻪ‪ .‬ﻣﺎ ﻛﻪ ﻧﻤﻰﺧﻮﺍﻳﻢ ﻣﻨﻔﺠﺮﺵ ﻛﻨﻴﻢ‪«.‬‬ ‫ﺩﺭ ﺑﻄﺮﻯ ﺭﺍ ﭘﺮ ﻛﺮﺩﻡ ﻭ ﺗﻮﻛﻰ ﺭﺍ ﻧﮕﺎﻩ ﻛﺮﺩﻡ‪ .‬ﺳﺮﻯ ﺗﻜﺎﻥ ﺩﺍﺩﻭ ﮔﻔﺖ‪» :‬ﺑﺮﻳﺰ ﺗﻪ ﺣﻠﻘﺶ‪«.‬‬ ‫ﺑﺮﻧﺪﻯ ﺭﺍ ﺗﻪ ﺣﻠﻘﺶ ﺭﻳﺨﺘﻢ‪ .‬ﺗﻤﺎﺷﺎﻳﻰ ﺑﻮﺩ‪ .‬ﺗﻤﺎﻡ ﺑﺪﻧﺶ ﻟﺮﺯﻳﺪ ﻭ ﺑﻌﺪ ﺷﺮﻭﻉ ﻛﺮﺩ ﺑﻪ ﺳﺮﻓﻪ ﻛﺮﺩﻥ‪.‬‬ ‫ﭼﻬﺮﻩﺍﺵ ﺳﺮﺥﺗﺮ ﺷﺪ‪ .‬ﭘﻠﻚﻫﺎﻳﺶ ﻛﻪ ﻧﻴﻤﻪﺑﺴﺘﻪ ﺑﻮﺩﻧﺪ‪ ،‬ﻣﺜﻞ ﻛﺮﻛﺮﻩﻯ ﭘﻨﺠﺮﻩ ﺑﺎﻻ ﺭﻓﺘﻨﺪ‪ .‬ﻗﺪﺭﻯ‬ ‫ﺗﺮﺳﻴﺪﻩ ﺑﻮﺩ‪ ،‬ﺍﻣﺎ ﺗﻮﻛﻰ ﺍﻭ ﺭﺍ ﻣﺜﻞ ﻳﻚ ﺑﭽﻪﻯ ﺑﺰﺭگ ﻧﺸﺎﻧﺪ ﻭ ﺑﻪ ﭘﺸﺘﺶ ﺿﺮﺑﻪ ﺯﺩ‪.‬‬ ‫ﺷﺮﻭﻉ ﻛﺮﺩ ﺑﻪ ﻋﻖ ﺯﺩﻥ ﻭ ﺗﻮﻛﻰ ﺑﺎﺯ ﺑﻪ ﭘﺸﺘﺶ ﺿﺮﺑﻪ ﺯﺩ‪.‬‬ ‫ﮔﻔﺖ‪» :‬ﺍﺩﺍﻣﻪ ﺑﺪﻩ‪ ،‬ﺑﺮﻧﺪﻯ ﻛﺎﺭﺵ ﺩﺭﺳﺘﻪ‪«.‬‬ ‫ﻣﺮﺩ ﺑﺎﺯ ﻫﻢ ﺳﺮﻓﻪ ﻛﺮﺩ‪ ،‬ﻭﻟﻰ ﺣﺎﻻ ﺳﺮﻓﻪﻫﺎﻳﺶ ﻣﻼﻳﻢﺗﺮ ﺷﺪﻩ ﺑﻮﺩﻧﺪ‪ .‬ﺣﺎﻻ ﻳﻚ ﻧﮕﺎﻩ ﺩﺭﺳﺖ ﻭ‬ ‫ﺣﺴﺎﺑﻰ ﺑﻬﺶ ﺍﻧﺪﺍﺧﺘﻢ‪ .‬ﺧﻴﻠﻰﺧﺐ‪ ،‬ﺷﻬﺮﻯ ﺑﻮﺩ ﻭ ﺍﮔﺮ ﺑﺨﻮﺍﻫﻢ ﺣﺪﺱ ﺑﺰﻧﻢ‪ ،‬ﺑﺎﻳﺪ ﺑﮕﻮﻳﻢ ﺍﻫﻞ‬ ‫ﻳﻚ ﺟﺎﻳﻰ ﺟﻨﻮﺏ ﺑﻮﺳﺘﻮﻥ‪ .‬ﺩﺳﺘﻜﺶﻫﺎﻯ ﻛﻮﺩﻛﺎﻧﻪ ﺑﻪ ﺩﺳﺖ ﺩﺍﺷﺖ‪ ،‬ﮔﺮﺍﻥ ﻭﻟﻰ ﻧﺎﺯﻙ‪ .‬ﺍﺣﺘﻤﺎﻻ‬ ‫ﺗﻌﺪﺍﺩﻯ ﺍﺯ ﺁﻥ ﻟﻜﻪﻫﺎﻯ ﺧﺎﻛﺴﺘﺮﻯ ﺭﻭﻯ ﺍﻧﮕﺸﺖﻫﺎﻳﺶ ﻫﻢ ﻭﺟﻮﺩ ﺩﺍﺷﺖ ﻭ ﺷﺎﻧﺲ ﻣﻰﺁﻭﺭﺩ ﺍﮔﺮ‬ ‫ﻳﻜﻰ ﺩﻭﺗﺎ ﺍﻧﮕﺸﺖ ﺍﺯ ﺩﺳﺖ ﻧﻤﻰﺩﺍﺩ‪ .‬ﻛﺘﺶ ﻫﻢ ﮔﺮﺍﻥﻗﻴﻤﺖ ﺑﻮﺩ‪ ،‬ﺑﺎﻳﺪ ﺑﮕﻮﻳﻢ ﺳﻴﺼﺪ ﺩﻻﺭﻯ‬ ‫ﻣﻰﺍﺭﺯﻳﺪ‪ ،‬ﺍﻟﺒﺘﻪ ﺍﮔﺮ ﺍﺻ ً‬ ‫ﻼ ﻫﻤﭽﻮﻥ ﭼﻴﺰﻯ ﺑﻪ ﻋﻤﺮﻡ ﺩﻳﺪﻩ ﺑﺎﺷﻢ‪ .‬ﭼﻜﻤﻪﻫﺎﻯ ﻛﻮﭼﻚ ﺑﻪ ﭘﺎ ﺩﺍﺷﺖ‬ ‫ﻛﻪ ﺑﻪ ﺯﻭﺭ ﺗﺎ ﺭﻭﻯ ﻣﭻ ﭘﺎﻳﺶ ﻣﻰﺭﺳﻴﺪﻧﺪ ﻭ ﻫﻤﻴﻦ ﺑﺎﻋﺚ ﺷﺪ ﺑﻪ ﻓﻜﺮ ﭘﻨﺠﻪﻫﺎﻳﺶ ﺑﻴﺎﻓﺘﻢ‪.‬‬ ‫ﮔﻔﺖ‪» :‬ﺑﻬﺘﺮﻡ‪«.‬‬ ‫ﺗﻮﻛﻰ ﮔﻔﺖ‪» :‬ﺧﻴﻠﻰ ﺧﺐ‪ ،‬ﺣﺎﻻ ﻣﻰﺗﻮﻧﻰ ﺑﻴﺎﻳﻰ ﻛﻨﺎﺭ ﺁﺗﻴﺶ؟«‬ ‫ﮔﻔﺖ‪» :‬ﻫﻤﺴﺮ ﻭ ﺩﺧﺘﺮﻡ‪ ،‬ﺍﻭﻥ ﺑﻴﺮﻭﻥ ﺗﻮﻯ ﺗﻮﻓﺎﻥ ﻫﺴﺘﻦ‪«.‬‬ ‫ﺗﻮﻛﻰ ﮔﻔﺖ‪» :‬ﺍﻭﻥﺟﻮﺭﻯ ﻛﻪ ﺗﻮ ﺍﻭﻣﺪﻯ ﺗﻮ‪ ،‬ﻣﻦ ﻫﻢ ﺧﻴﺎﻝ ﻧﻜﺮﺩﻡ ﺗﻮ ﺧﻮﻧﻪ ﺩﺍﺭﻥ ﺗﻠﻮﻳﺰﻳﻮﻥ ﺗﻤﺎﺷﺎ‬ ‫ﻣﻰﻛﻨﻦ‪ .‬ﺣﺎﻻ ﻛﻨﺎﺭ ﺁﺗﻴﺶ ﻫﻢ ﻣﻰﺗﻮﻧﻰ ﻣﺎﺟﺮﺍ ﺭﻭ ﺗﻌﺮﻳﻒ ﻛﻨﻰ‪ ،‬ﻻﺯﻡ ﻧﻴﺴﺖ ﭘﺨﺶ ﺯﻣﻴﻦ ﺑﺎﺷﻰ‪.‬‬ ‫ﻛﻤﻚ ﻛﻦ ﺑﻮﺙ‪ «.‬ﺑﻠﻨﺪ ﺷﺪ ﻭ ﺍﻳﺴﺘﺎﺩ‪ ،‬ﻧﺎﻟﻪﺍﻯ ﻛﺮﺩ ﻭ ﺩﻫﺎﻧﺶ ﺍﺯ ﺩﺭﺩ ﭘﻴﭻ ﻭ ﺗﺎﺏ ﺧﻮﺭﺩ‪ .‬ﺩﻭﺑﺎﺭﻩ‬ ‫ﺑﻪ ﭘﻨﺠﻪﻫﺎﻳﺶ ﻓﻜﺮ ﻛﺮﺩﻡ ﻭ ﺍﺯ ﺧﻮﺩﻡ ﭘﺮﺳﻴﺪﻡ ﭼﺮﺍ ﺧﺪﺍ ﺍﺣﺴﺎﺱ ﻛﺮﺩﻩ ﺑﺎﻳﺪ ﺍﺣﻤﻖﻫﺎﻯ ﺍﻫﻞ‬ ‫ﻧﻴﻮﻳﻮﺭﻙ ﺭﺍ ﺧﻠﻖ ﻛﻨﺪ ﻛﻪ ﺩﺭﺳﺖ ﻭﺳﻂ ﺗﻮﻓﺎﻥ ﺷﻤﺎﻝ ﺷﺮﻗﻰ ﺑﻪ ﺳﺮﺷﺎﻥ ﻣﻰﺯﺩ ﺩﺭ ﺍﻃﺮﺍﻑ ﻣﻴﻦ‬ ‫ﺟﻨﻮﺑﻰ ﺭﺍﻧﻨﺪﮔﻰ ﻛﻨﻨﺪ ﻭ ﺑﻪ ﺍﻳﻦ ﻓﻜﺮ ﻛﺮﺩﻡ ﺍﺣﺘﻤﺎﻻ ﻫﻤﺴﺮ ﻭ ﺩﺧﺘﺮ ﻛﻮﭼﻜﺶ ﻫﻢ ﻟﺒﺎﺱﻫﺎﻳﺸﺎﻥ‬ ‫ﻫﻤﻴﻦﻗﺪﺭ ﺑﻪ ﺩﺭﺩ ﻧﺨﻮﺭ ﺍﺳﺖ‪.‬‬

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‫ﻭﻳﮋﻩﻧﺎﻣﻪﻯ ﺧﻮﻥﺁﺷﺎﻡﻫﺎ‬

‫ﺳﺎﻋﺖ ﺩﻩ ﻭ ﺭﺑﻊ ﺑﻮﺩ ﻭ ﻫﺮﺏ ﺗﻮﻙﻟﻨﺪﺭ ﺩﻳﮕﺮ ﻣﻰﺧﻮﺍﺳﺖ ﺗﻌﻄﻴﻞ ﻛﻨﺪ ﻛﻪ ﺁﻥ ﻣﺮﺩ ﺑﺎ ﺍﻭﺭﻛﺖ‬ ‫ﮔﺮﺍﻥﻗﻴﻤﺖ ﻭ ﭼﻬﺮﻩﻯ ﺳﻔﻴﺪ ﺧﻴﺮﻩ ﻭﺍﺭﺩ ﺑﺎﺭ ﺗﻮﻛﻰ )‪ (8‬ﺷﺪ‪ .‬ﺑﺎﺭ ﺗﻮﻛﻰ ﺩﺭ ﺑﺨﺶ ﺷﻤﺎﻟﻰ ﻓﺎﻟﻤﺎﻭﺙ‬ ‫)‪ (9‬ﻗﺮﺍﺭ ﺩﺍﺭﺩ‪ .‬ﺩﻩ ژﺍﻧﻮﻳﻪ ﺑﻮﺩ‪ ،‬ﺯﻣﺎﻧﻰ ﻛﻪ ﺑﻴﺸﺘﺮ ﺍﻫﺎﻟﻰ ﺩﺍﺷﺘﻨﺪ ﺑﻪ ﺯﻧﺪﮔﻰ ﺭﺍﺣﺖ ﭘﺲ ﺍﺯ ﺳﺎﻝ ﻧﻮ‬ ‫ﺩﻭﺑﺎﺭﻩ ﻋﺎﺩﺕ ﻣﻰﻛﺮﺩﻧﺪ ﻭ ﻳﻜﻰ ﺍﺯ ﺟﻬﻨﻤﻰﺗﺮﻳﻦ ﺗﻮﻓﺎﻥﻫﺎﻯ ﻣﻨﺎﻃﻖ ﺷﻤﺎﻟﻰ ﺁﻥ ﺑﻴﺮﻭﻥ ﻏﻮﻏﺎ ﻣﻰﻛﺮﺩ‪.‬‬ ‫ﺑﻌﺪ ﺍﺯ ﺗﺎﺭﻳﻚ ﺷﺪﻥ ﻫﻮﺍ ﺷﺶ ﺍﻳﻨﭻ ﺑﺮﻑ ﺑﺎﺭﻳﺪﻩ ﺑﻮﺩ ﻭ ﺍﺯ ﺁﻥ ﻣﻮﻗﻊ ﻫﻤﻴﻦﻃﻮﺭ ﺩﺍﺷﺖ ﺑﻴﺸﺘﺮ ﻭ‬ ‫ﺳﻨﮕﻴﻦﺗﺮ ﻣﻰﺷﺪ‪ .‬ﺩﻭ ﺑﺎﺭ ﺑﻴﻠﻰ ﻻﺭﻳﺒﻰ )‪ (10‬ﺭﺍ ﺩﻳﺪﻳﻢ ﻛﻪ ﺑﺎ ﺗﺮﺍﻛﺘﻮﺭ ﺷﻬﺮ ﺩﺭ ﺣﺮﻛﺖ ﺑﻮﺩ‪ ،‬ﺩﻓﻌﻪﻯ‬ ‫ﺩﻭﻡ ﺗﻮﻛﻰ ﺑﻬﺶ ﻳﻚ ﺁﺑﺠﻮ ﺩﺍﺩ‪ ،‬ﺍﮔﺮ ﻣﺎﺩﺭﻡ ﺑﻮﺩ ﻣﻰﮔﻔﺖ ﻳﻚ ﻋﻤﻞ ﻛﺎﻣ ً‬ ‫ﻼ ﺧﻴﺮﺧﻮﺍﻫﺎﻧﻪ‪ ،‬ﻓﻘﻂ ﺧﻮﺩ‬ ‫ﺧﺪﺍ ﻣﻰﺩﺍﻧﺪ ﻣﺎﺩﺭ ﺩﺭ ﺯﻣﺎﻥ ﺧﻮﺩﺵ ﭼﻘﺪﺭ ﺍﺯ ﺁﺑﺠﻮﻫﺎﻯ ﺗﻮﻛﻰ ﺭﺍ ﺧﻴﺮﺧﻮﺍﻫﺎﻧﻪ ﺑﺎﻻ ﺍﻧﺪﺍﺧﺘﻪ ﺑﻮﺩ‪.‬‬ ‫ﺑﻴﻠﻰ ﺑﻪ ﺗﻮﻛﻰ ﮔﻔﺖ ﺭﺍﻩﻫﺎﻯ ﺍﺻﻠﻰ ﺭﺍ ﺑﺎﺯ ﻧﮕﻪﺩﺍﺷﺘﻪﺍﻧﺪ‪ ،‬ﺍﻣﺎ ﺭﺍﻩﻫﺎﻯ ﻓﺮﻋﻰ ﺑﺴﺘﻪ ﺷﺪﻧﺪ ﻭ ﻻﺟﺮﻡ‬ ‫ﺗﺎ ﺻﺒﺢ ﺑﻪ ﻫﻤﺎﻥ ﺣﺎﻝ ﻣﻰﻣﺎﻧﻨﺪ‪ .‬ﺭﺍﺩﻳﻮﻯ ﭘﺮﺗﻠﻨﺪ )‪ (11‬ﺩﺍﺷﺖ ﻳﻚ ﻓﻮﺕ ﺑﺮﻑ ﺩﻳﮕﺮ ﻭ ﺑﺎﺩﻯ ﺑﻪ‬ ‫ﺳﺮﻋﺖ ﭼﻬﻞ ﻣﺎﻳﻞ ﺩﺭ ﺳﺎﻋﺖ ﺭﺍ ﭘﻴﺶﺑﻴﻨﻰ ﻣﻰﻛﺮﺩ ﻛﻪ ﺑﺮﻑﻫﺎ ﺭﺍ ﺗﻞﺍﻧﺒﺎﺭ ﻣﻰﻛﺮﺩ‪.‬‬ ‫ﻓﻘﻂ ﻣﻦ ﻭ ﺗﻮﻛﻰ ﺗﻮﻯ ﺑﺎﺭ ﺑﻮﺩﻳﻢ‪ ،‬ﺩﺍﺷﺘﻴﻢ ﺑﻪ ﺯﻭﺯﻩﻯ ﺑﺎﺩ ﺩﺭ ﺍﻃﺮﺍﻑ ﻟﺒﻪﻫﺎﻯ ﺳﻘﻒ ﮔﻮﺵ‬ ‫ﻣﻰﻛﺮﺩﻳﻢ ﻭ ﺭﻗﺺ ﺁﺗﺶ ﺩﺭ ﺷﻮﻣﻴﻨﻪ ﺭﺍ ﺗﻤﺎﺷﺎ ﻣﻰﻛﺮﺩﻳﻢ‪ .‬ﺗﻮﻛﻰ ﮔﻔﺖ‪» :‬ﺑﻮﺙ )‪ ،(12‬ﻳﻜﻰ ﺑﻪ‬ ‫ﺳﻼﻣﺘﻰ ﺟﺎﺩﻩ ﺑﺰﻥ‪ .‬ﻣﻰﺧﻮﺍﻡ ﺗﻌﻄﻴﻠﺶ ﻛﻨﻢ‪«.‬‬ ‫ﻳﻜﻰ ﺑﺮﺍﻯ ﺧﻮﺩﺵ ﺭﻳﺨﺖ ﻭ ﻳﻜﻰ ﺑﺮﺍﻯ ﻣﻦ‪ ،‬ﻫﻤﻴﻦ ﻣﻮﻗﻊ ﺑﻮﺩ ﻛﻪ ﻻﻯ ﺩﺭ ﺑﺎﺯ ﺷﺪ ﻭ ﺁﻥ ﻏﺮﻳﺒﻪ‬ ‫ﺗﻠﻮﺗﻠﻮ ﺧﻮﺭﺍﻥ ﺩﺍﺧﻞ ﺷﺪ‪ ،‬ﺑﺮﻑ ﺭﻭﻯ ﺷﺎﻧﻪﻫﺎ ﻭ ﺗﻮﻯ ﻣﻮﻫﺎﻳﺶ ﻧﺸﺴﺘﻪ ﺑﻮﺩ‪ ،‬ﺍﻧﮕﺎﺭ ﺗﻮﻯ ﺷﻜﺮﺩﺍﻥ‬ ‫ﻏﻠﺖ ﺯﺩﻩ ﺑﺎﺷﺪ‪ .‬ﭘﺸﺖ ﺳﺮﺵ ﺑﺎﺩ ﻳﻚ ﻻﻳﻪ ﺑﺮﻑ ﺷﻦﻣﺎﻧﻨﺪ ﺭﺍ ﺩﺍﺧﻞ ﻛﺮﺩ‪.‬‬ ‫ﺗﻮﻛﻰ ﺳﺮﺵ ﺩﺍﺩ ﺯﺩ ﻛﻪ‪» :‬ﺩﺭ ﺭﻭ ﺑﺒﻨﺪ‪ .‬ﻣﮕﻪ ﺗﻮ ﻃﻮﻳﻠﻪ ﺑﻪ ﺩﻧﻴﺎ ﺍﻭﻣﺪﻯ؟«‬ ‫ﺑﻪ ﻋﻤﺮﻡ ﻛﺴﻰ ﺭﺍ ﻧﺪﻳﺪﻩ ﺑﻮﺩﻡ ﻛﻪ ﺁﻥ ﻗﺪﺭ ﺗﺮﺳﻴﺪﻩ ﺑﺎﺷﺪ‪ .‬ﺷﺒﻴﻪ ﺍﺳﺒﻰ ﺑﻮﺩ ﻛﻪ ﻳﻚ ﺑﻌﺪﺍﺯﻇﻬﺮ‬ ‫ﺗﻤﺎﻡ ﮔﺰﻧﻪ ﺧﻮﺭﺩﻩ ﺑﺎﺷﺪ‪ .‬ﭼﺸﻢﻫﺎﻳﺶ ﺑﻪ ﻃﺮﻑ ﺗﻮﻛﻰ ﭼﺮﺧﻴﺪ ﻭ ﮔﻔﺖ‪» :‬ﻫﻤﺴﺮﻡ‪ ...‬ﺩﺧﺘﺮﻡ‪«...‬‬ ‫ﻏﺶ ﻛﺮﺩ ﻭ ﭘﺨﺶ ﺯﻣﻴﻦ ﺷﺪ‪.‬‬ ‫ﺗﻮﻛﻰ ﮔﻔﺖ‪» :‬ﺟﻮﻯ ﻣﻘﺪﺱ‪ .‬ﺑﻮﺙ ﺩﺭ ﺭﻭ ﻣﻰﺑﻨﺪﻯ؟«‬ ‫ﺭﻓﺘﻢ ﻭ ﺩﺭ ﺭﺍ ﺑﺴﺘﻢ‪ ،‬ﺑﺴﺘﻦ ﺩﺭ ﺑﺎ ﻭﺟﻮﺩ ﻓﺸﺎﺭ ﺑﺎﺩ ﺍﺯ ﺁﻥ ﻛﺎﺭﻫﺎﻯ ﺧﺴﺘﻪﻛﻨﻨﺪﻩ ﺍﺳﺖ‪ .‬ﺗﻮﻛﻰ ﺯﺍﻧﻮ ﺯﺩﻩ‬ ‫ﺑﻮﺩ‪ ،‬ﺳﺮ ﻳﺎﺭﻭ ﺭﺍ ﮔﺮﻓﺘﻪ ﺑﻮﺩ ﺗﻮﻯ ﺩﺳﺘﺶ ﻭ ﺩﺍﺷﺖ ﺑﻪ ﮔﻮﻧﻪﻫﺎﻳﺶ ﺿﺮﺑﻪ ﻣﻰﺯﺩ‪ .‬ﺭﻭﻳﺶ ﺧﻢ ﺷﺪﻡ‬ ‫ﻭ ﺑﻼﻓﺎﺻﻠﻪ ﻣﺘﻮﺟﻪ ﺷﺪﻡ ﺍﻭﺿﺎﻉ ﺧﺮﺍﺏ ﺍﺳﺖ‪ .‬ﺻﻮﺭﺗﺶ ﺳﺮﺥ ﺁﺗﺸﻴﻦ ﺑﻮﺩ‪ ،‬ﺍﻣﺎ ﺟﺎ ﺑﻪ ﺟﺎ ﻟﻜﻪﻫﺎﻯ‬ ‫ﺧﺎﻛﺴﺘﺮﻯ ﻭﺟﻮﺩ ﺩﺍﺷﺖ‪ ،‬ﺍﮔﺮ ﻣﺜﻞ ﻣﻦ ﺍﺯ ﺯﻣﺎﻧﻰ ﻛﻪ ﻭﻭﺩﺭﻭ ﻭﻳﻠﺴﻮﻥ )‪ (13‬ﺭﻳﻴﺲﺟﻤﻬﻮﺭ ﺑﻮﺩ‪ ،‬ﺩﺭ‬ ‫ﻣﻴﻦ ﺯﻧﺪﮔﻰ ﻛﺮﺩﻩ ﺑﺎﺷﻰ‪ ،‬ﻣﻰﻓﻬﻤﻰ ﺁﻥ ﻟﻜﻪﻫﺎﻯ ﺧﺎﻛﺴﺘﺮﻯ‪ ،‬ﻳﻌﻨﻰ ﺳﺮﻣﺎﺯﺩﮔﻰ‪.‬‬ ‫ﺗﻮﻛﻰ ﮔﻔﺖ‪» :‬ﻏﺶ ﻛﺮﺩﻩ‪ ،‬ﺑﺮﻧﺪﻯ ﺭﻭ ﺍﺯ ﭘﺸﺖ ﺑﺎﺭ ﺑﺮﺍﻡ ﺑﻴﺎﺭ‪«.‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،9-10‬ﺷﻬﺮﻳﻮﺭ ﻭ ﻣﻬﺮ ‪1390‬‬

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‫ﻭﺣﺸﺖ ‪ -‬ﺗﺮﺟﻤﻪ‬

‫ﺑﻪ ﺳﻼﻣﺘﻰ ﺟﺎﺩﻩ‬ ‫ﺍﺳﺘﻔﻦ ﻛﻴﻨﮓ‬ ‫ﺑﺮﮔﺮﺩﺍﻥ‪ :‬ﺳﻤﻴﻪ ﻛﺮﻣﻰ‬

‫ﺍﺳﺘﻔﻦ ﻛﻴﻨﮓ ﻧﻮﻳﺴﻨﺪﻩﻯ ﺑﺴﻴﺎﺭﻯ ﺍﺯ ﻛﻼﺳﻴﻚﻫﺎ ﻭ ﭘﺮﻓﺮﻭﺵﺗﺮﻳﻦﻫﺎ ﺍﺳﺖ‪ ،‬ﺁﺛﺎﺭﻯ ﻧﻈﻴﺮ »ﺩﺭﺧﺸﺶ«‪،‬‬ ‫»ﺑﺮﺝ ﺗﺎﺭﻳﻚ«‪» ،‬ﺍﻳﺴﺘﺎﺩﮔﻰ«‪ ،‬ﻭ »ﻣﻨﻄﻘﻪﻯ ﻣﺮﺩﻩ« )‪ (1‬ﺩﺍﺭﺩ‪ .‬ﺭﻣﺎﻥ ﺍﻭ ﺑﻪ ﻧﺎﻡ »ﺳﺎﻟﻤﺰﻻﺕ« )‪ (2‬ﻳﻜﻰ ﺍﺯ‬ ‫ﺑﻬﺘﺮﻳﻦ ﻧﻤﻮﻧﻪﻫﺎﻯ ﻛﻼﺳﻴﻚ ﺯﻳﺮﮔﻮﻧﻪﻯ ﺧﻮﻥﺁﺷﺎﻣﻰ ﺍﺳﺖ‪ .‬ﺁﺧﺮﻳﻦ ﺭﻣﺎﻧﺶ ﺑﻪ ﻧﺎﻡ »ﻛﻠﻴﺪ ﺩﻭﻣﺎ« )‪ (3‬ﺩﺭ‬ ‫ﺳﺎﻝ ‪ 2008‬ﻣﻨﺘﺸﺮ ﺷﺪ ﻭ ﻣﺠﻤﻮﻋﻪ ﺩﺍﺳﺘﺎﻧﻰ ﻛﻮﺗﺎﻩ ﺑﻪ ﻧﺎﻡ »ﺩﺭﺳﺖ ﭘﺲ ﺍﺯ ﻏﺮﻭﺏ ﺁﻓﺘﺎﺏ« )‪ (4‬ﻫﻢ ﻫﻤﻴﻦ‬ ‫ﭘﺎﻳﻴﺰ ﮔﺬﺷﺘﻪ ﻣﻨﺘﺸﺮ ﺷﺪ‪ .‬ﺩﺍﺳﺘﺎﻥﻫﺎﻳﻰ ﺍﺯ ﻛﻴﻨﮓ ﻛﻪ ﺩﺳﺖﻣﺎﻳﻪﻯ ﺳﺎﺧﺖ ﻓﻴﻠﻢ ﻗﺮﺍﺭ ﮔﺮﻓﺘﻪﺍﻧﺪ‪ ،‬ﻫﻤﺮﺍﻩ‬ ‫ﺑﺎ ﺗﻮﺿﻴﺤﺎﺕ ﺍﻭ ﺩﺭ ﻣﺠﻤﻮﻋﻪﺍﻯ ﺑﺎ ﻋﻨﻮﺍﻥ »ﺍﺳﺘﻔﻦ ﻛﻴﻨﮓ ﺑﻪ ﺳﻴﻨﻤﺎ ﻣﻰﺭﻭﺩ«‪ ،‬ﺩﺭ ﺳﺎﻝ ﺟﺎﺭﻯ ﻣﻨﺘﺸﺮ ﺷﺪ‪.‬‬ ‫ﻛﻴﻨﮓ ﭘﺮﻭژﻩﻫﺎﻳﻰ ﺩﻳﮕﺮﻯ ﻫﻢ ﺩﺭ ﺩﺳﺖ ﺩﺍﺭﺩ ﻛﻪ »ﺑﻬﺘﺮﻳﻦ ﺩﺍﺳﺘﺎﻥ ﻛﻮﺗﺎﻩﻫﺎﻯ ﺁﻣﺮﻳﻜﺎﻳﻰ ﺳﺎﻝ ‪ «2007‬ﻭ‬ ‫ﻧﻮﺷﺘﻦ ﺳﺘﻮﻧﻰ ﻋﺎﻣﻪﭘﺴﻨﺪ ﺑﺮﺍﻯ »ﻭﻳﻜﻠﻰ ﺍﻧﺘﺮﺗﻴﻨﻤﻨﺖ« )‪ (5‬ﺍﺯ ﺁﻥ ﺟﻤﻠﻪ ﻫﺴﺘﻨﺪ‪.‬‬ ‫ﻛﻴﻨﮓ ﺩﺭ ﻛﺘﺎﺑﺶ ﺑﻪ ﻧﺎﻡ »ﺩﻧﺲ ﻣﻜﺎﺑﺮ« )‪ (6‬ﻛﻪ ﻣﻄﺎﻟﻌﻪﻯ ﺍﺩﺑﻴﺎﺕ ﻭﺣﺸﺖ ﺍﺳﺖ‪ ،‬ﺍﻳﻦ ﻃﻮﺭ ﺑﻴﺎﻥ ﻛﺮﺩﻩ ﻛﻪ‬ ‫ﻫﻴﻮﻻﻫﺎﻯ ﻣﺎﻭﺭﺍﻯ ﻃﺒﻴﻌﻰ ﺑﺮﺍﻯ ﺍﻳﻦ ﻛﻪ ﺗﺄﺛﻴﺮﮔﺬﺍﺭ ﻭ ﺧﻴﺎﻟﻰ ﺑﺎﺷﻨﺪ‪ ،‬ﺑﺎﻳﺪ ﺑﺎ ﺍﺳﺘﻌﺎﺭﻩﻫﺎﻯ ﻗﻮﻯ ﻫﺮﺍﺱﻫﺎﻯ‬ ‫ﻭﺍﻗﻌﻰ ﻣﺎ ﺍﺯ ﺟﻬﺎﻥ ﻭﺍﻗﻌﻰ ﺭﺍ ﺑﺎﺯ ﻧﻤﺎﻳﺎﻧﻨﺪ‪.‬‬ ‫ﺑﺮﺍﻯ ﺍﻫﺎﻟﻰ ﻣﻴﻦ )‪ ،(7‬ﻫﺮﺍﺱ ﻭﺍﻗﻌﻰ ﺍﻳﻦ ﺍﺳﺖ ﻛﻪ ﻣﺎﺷﻴﻨﺸﺎﻥ ﺩﺭ ﺑﺮﻑ ﺍﺯ ﻛﺎﺭ ﺑﻴﻔﺘﺪ ﻭ ﻗﺒﻞ ﺍﺯ ﺍﻳﻦ ﻛﻪ‬ ‫ﻛﻤﻚ ﺑﺮﺳﺪ‪ ،‬ﺍﺯ ﺳﺮﻣﺎ ﻳﺦ ﺑﺰﻧﻨﺪ‪ .‬ﺩﺍﺳﺘﺎﻥﻫﺎﻯ ﻓﻮﻟﻜﻮﺭﻳﻚ ﻛﻼﺳﻴﻚ‪ ،‬ﻣﻪﻫﺎﻯ ﭼﺮﺧﺎﻥ ﺗﺮﺍﻧﺴﻴﻠﻮﺍﻧﻴﺎ ﺭﺍ ﺑﻪ‬ ‫ﭘﻴﻜﺮﻫﺎﻳﻰ ﺑﺪﺧﻴﻢ ﻭ ﺍﻧﺴﺎﻥﻭﺍﺭﻩ ﺗﺸﺒﻴﻪ ﻛﺮﺩﻩﺍﻧﺪ‪ .‬ﺍﻳﻦﺟﺎ ﻛﻴﻨﮓ ﻫﻤﻴﻦﻛﺎﺭ ﺭﺍ ﺑﺎ ﺳﻔﻴﺪﻯﻫﺎﻯ ﻛﺎﻣﺒﺮﻟﻨﺪ‬ ‫ﺍﻧﺠﺎﻡ ﺩﺍﺩﻩ ﺍﺳﺖ‪.‬‬ ‫ﺍﻳﻦ ﺧﻮﻥﺁﺷﺎﻡﻫﺎ‪ ،‬ﻧﻤﺎﺩﻫﺎﻯ ﺯﻣﺴﺘﺎﻥ ﻫﺴﺘﻨﺪ ﻛﻪ ﺍﺯ ﻫﺮ ﻧﻈﺮ ﺁﺩﻡ ﺭﺍ ﺑﻪ ﻭﺣﺸﺖ ﻣﻰﺍﻧﺪﺍﺯﻧﺪ‪.‬‬

‫ﻭﺣﺸﺖ ‪ -‬ﺗﺮﺟﻤﻪ‬

‫ﭘﺎﻭﻟﻮﻳﭻ ﻓﺮﻳﺎﺩ ﺯﺩ‪» :‬ﺍﺣﻤﻖ ﻛﻠﻪﺧﺮﺍﺏ!« ﺁﻥﻗﺪﺭ ﻭﺣﺸﺖﺯﺩﻩ ﺑﻮﺩ ﻛﻪ ﺩﻳﮕﺮ ﺍﺯ ﻫﻴﭻ ﭼﻴﺰ ﻧﻤﻰﺗﺮﺳﻴﺪ‪.‬‬ ‫»ﻛﻠﻪﺧﺮﺍﺏ! ﻣﺎ ﺧﻮﻥﺁﺷﺎﻡ ﻧﻴﺴﺘﻴﻢ! ﻓﻘﻂ ﺍﺳﻢ ﺧﻮﺩﻣﺎﻥ ﺭﺍ »ﺧﻮﻥﺁﺷﺎﻡﻫﺎﻯ ﻧﻴﻢﺭﻭﺯ« ﮔﺬﺍﺷﺘﻪ‬ ‫ﺑﻮﺩﻳﻢ! ﻣﺎ ﻳﻪ ﮔﺮﻭﻩ ﻣﻌﻤﻮﻟﻰ ﻫﺴﺘﻴﻢ‪ ،‬ﻣﻰﻓﻬﻤﻰ؟ ﻳﻪ ﮔﺮﻭﻩ ﻣﻌﻤﻮﻟﻰ!«‬ ‫ﺩﻧﻴﺲ ﺳﺮﻯ ﺗﻜﺎﻥ ﺩﺍﺩ ﻭ ﮔﻔﺖ‪» :‬ﻣﻰﻓﻬﻤﻢ‪«.‬‬ ‫»ﺍﻳﻦﺟﺎ ﻫﻢ ﺷﻬﺮ ﻣﺎ ﻫﺴﺖ!«‬ ‫ﺩﻧﻴﺲ ﮔﻔﺖ‪» :‬ﺷﻬﺮﺕ ﺑﻮﺩ‪«.‬‬ ‫ﭘﺎﻭﻟﻮﻳﭻ ﺳﺎﻛﺖ ﺷﺪ‪ .‬ﻟﺤﻈﻪﺍﻯ ﺑﻪ ﺻﻮﺭﺕ ﺩﻧﻴﺲ ﭼﺸﻢ ﺩﻭﺧﺖ ﻭ ﺑﻌﺪ ﻧﮕﺎﻫﺶ ﺑﻪ ﻃﺮﻑ ﺳﻴﻨﻪﺍﺵ‬ ‫ُﺳﺮ ﺧﻮﺭﺩ‪» .‬ﺗﻴﺮﻡ ﺑﻪ ﺧﻄﺎ ﻧﺮﻓﺖ‪ .‬ﺍﻣﻜﺎﻥ ﻧﺪﺍﺭﺩ ﺑﻪ ﺧﻄﺎ ﺭﻓﺘﻪ ﺑﺎﺷﺪ!«‬ ‫ﺩﻧﻴﺲ ﻛﺘﺶ ﺭﺍ ﺩﺭﺁﻭﺭﺩ ﻭ ﺳﻮﺭﺍﺧﻰ ﺭﺍ ﻧﻤﺎﻳﺎﻥ ﻛﺮﺩ ﻛﻪ ﺁﺭﺍﻡﺁﺭﺍﻡ ﺧﻮﻥ ﺳﻴﺎﻫﻰ ﺍﺯ ﺁﻥ ﺑﻴﺮﻭﻥ‬ ‫ﻣﻰﺭﻳﺨﺖ؛ ﺧﻮﻧﻰ ﻛﻪ ﻫﻤﺎﻥ ﺭﻭﺯ ﺻﺒﺢ ﺩﺭ ﺭگﻫﺎﻯ ﭘﺴﺮ ﺩﻛﺘﺮ ﺟﺮﻳﺎﻥ ﺩﺍﺷﺖ‪ .‬ﺣﺎﺷﻴﻪﻯ ﺳﺮﺩ ﻭ‬ ‫ﺧﺎﻛﺴﺘﺮﻯ ﺯﺧﻢ ﻛﻢﻛﻢ ﺩﺍﺷﺖ ﺑﻬﺒﻮﺩ ﻣﻰﻳﺎﻓﺖ‪.‬‬ ‫ﺩﻧﻴﺲ ﮔﻔﺖ‪» :‬ﺗﻴﺮﺕ ﺑﻪ ﺧﻄﺎ ﻧﺮﻓﺖ‪ ،‬ﻭﻟﻰ ﻛﺸﺘﻦ ﻣﺎ ﻛﺎﺭ ﺧﻴﻠﻰ ﺳﺨﺘﻰ ﺍﺳﺖ‪ .‬ﺁﻥﻫﺎﻳﻰ ﻛﻪ ﻳﻚ ﺑﺎﺭ‬ ‫ﻣﺮﺩﻩﺍﻧﺪ‪ ،‬ﺩﻳﮕﺮ ﺩﻟﺸﺎﻥ ﻧﻤﻰﺧﻮﺍﻫﺪ ﺩﻭﺑﺎﺭﻩ ﺑﻤﻴﺮﻧﺪ‪«.‬‬ ‫ﻟﺤﻈﻪﺍﻯ ﺳﺎﻛﺖ ﺷﺪ ﻭ ﺑﻪ ﮔﺮﺩﻥ ﭘﺎﻭﻟﻮﻳﭻ ﭼﺸﻢ ﺩﻭﺧﺖ‪ .‬ﺑﻌﺪ ﺍﺩﺍﻣﻪ ﺩﺍﺩ‪» :‬ﺍﺭﺑﺎﺑﻢ ﺧﻮﺷﺶ ﻧﻤﻰﺁﻳﺪ‬ ‫ﻳﻚ ﮔﺮﻭﻩ ﺷﺎﺭﻻﺗﺎﻥ ﺍﺳﻢ ﺧﻮﺩﺷﺎﻥ ﺭﺍ ﺧﻮﻥﺁﺷﺎﻡ ﺑﮕﺬﺍﺭﻧﺪ‪ .‬ﻣﺎ ﺍﺯ ﻛﺸﺘﻦ ﺧﻮﺷﻤﺎﻥ ﻧﻤﻰﺁﻳﺪ‪ .‬ﻭﻟﻰ‬ ‫ﺑﻌﻀﻰ ﺍﻭﻗﺎﺕ ﻣﺠﺒﻮﺭﻳﻢ؛ ﭼﻮﻥ ﻣﺎ ﻫﻤﻴﻨﻴﻢ‪ .‬ﻭﻟﻰ ﺍﮔﺮ ﺣﻖ ﺍﻧﺘﺨﺎﺏ ﺩﺍﺷﺘﻪ ﺑﺎﺷﻴﻢ‪ ،‬ﻫﻤﻴﺸﻪ ﺁﻥﻫﺎﻳﻰ‬ ‫ﺭﺍ ﺑﺮﺍﻯ ﻛﺸﺘﻦ ﺍﻧﺘﺨﺎﺏ ﻣﻰﻛﻨﻴﻢ ﻛﻪ ﺍﺯ ﺧﻮﺩﻣﺎﻥ ﺑﺪﺗﺮ ﺑﺎﺷﻨﺪ‪«.‬‬ ‫ﭼﺮﺥﻫﺎﻯ ﻗﻄﺎﺭ ﻣﻰﻟﺮﺯﻳﺪﻧﺪ –ﺩﻳﻨﮓ ﺩﻧﮓ ﺩﻧﮓ‪ ،‬ﺩﻳﻨﮓ ﺩﻧﮓ ﺩﻧﮓ– ﻭ ﺍﺯ ﺩﻭﺭﺩﺳﺖ ﻣﻠﻮﺩﻯ‬ ‫ﺑﺮﺧﻮﺭﺩ ﺍﻣﻮﺍﺝ ﺑﻪ ﺳﺎﺣﻞ ﺑﻪ ﮔﻮﺵ ﻣﻰﺭﺳﻴﺪ‪.‬‬ ‫ﻣﺎﻫﻰﻫﺎﻯ ﺍﺳﻴﺮ ﻣﻴﺎﻥ ﺟﻠﺒﻚ ﺗﻮﻯ ﺑﺸﻜﻪﻫﺎ‪ ،‬ﺗﻘﻼ ﻣﻰﻛﺮﺩﻧﺪ‪.‬‬ ‫ﺍﻟﺒﺘﻪ ﺑﺮﻋﻜﺲ ﭘﺎﻭﻟﻮﻳﭻ‪ ،‬ﺁﻥﻫﺎ ﺗﺎ ﺧﻮﺩ ﺷﻬﺮ ﺯﻧﺪﻩ ﻣﻰﻣﺎﻧﺪﻧﺪ‪.‬‬ ‫ﭘﻰﻧﻮﺷﺖﻫﺎ‪:‬‬ ‫* ﺍﺻﻞ ﺍﻳﻦ ﺩﺍﺳﺘﺎﻥ ﺑﻪ ﺯﺑﺎﻥ ﺭﻭﺳﻰ ﺑﻮﺩﻩ ﻭ ﺗﺮﺟﻤﻪﻯ ﻓﺎﺭﺳﻰ ﺍﺯ ﺭﻭﻯ ﺑﺮﮔﺮﺩﺍﻥ ﻧﺴﺨﻪﻯ ﺍﻧﮕﻠﻴﺴﻰ ﺍﻧﺠﺎﻡ ﺷﺪﻩ ﺍﺳﺖ‪.‬‬ ‫** ﻓﺎﻛﺲﺗﺮﺍﺕ‪ :‬ﻧﻮﻋﻰ ﺭﻗﺺ ﮔﺮﻭﻫﻰ ﺁﻣﺮﻳﻜﺎﻳﻰ‪.‬‬

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‫ﻭﻳﮋﻩﻧﺎﻣﻪﻯ ﺧﻮﻥﺁﺷﺎﻡﻫﺎ‬

‫ﺑﺎ ﺳﺮﻋﺘﻰ ﺷﮕﻔﺖﺍﻧﮕﻴﺰ ﭘﺎﻳﻴﻦ ﭘﺮﻳﺪ‪ ،‬ﺍﻣﺎ ﺳﻌﻰ ﻧﻜﺮﺩ ﺑﻼﻓﺎﺻﻠﻪ ﺳﺮ ﭘﺎ ﺷﻮﺩ‪ ،‬ﺑﻠﻜﻪ ﻓﻘﻂ ﺭﻭﻳﺶ ﺭﺍ‬ ‫ﺑﺮﮔﺮﺩﺍﻧﺪ ﻭ ﺑﻪ ﺩﻧﻴﺲ ﻛﻪ ﺟﻠﻮ ﻣﻰﺁﻣﺪ‪ ،‬ﭼﺸﻢﻏﺮﻩ ﺭﻓﺖ‪.‬‬ ‫ﺩﻧﻴﺲ ﺑﻪ ﺁﺭﺍﻣﻰ ﺑﻪ ﻃﺮﻑ ﺍﻭ ﭘﻴﺶ ﺭﻓﺖ‪.‬‬ ‫ﭘﺎﻭﻟﻮﻳﭻ ﺗﻔﻨﮕﻰ ﺑﻴﺮﻭﻥ ﻛﺸﻴﺪ ﻭ ﻳﻚ ﮔﻠﻮﻟﻪ ﺷﻠﻴﻚ ﻛﺮﺩ‪ ،‬ﺍﻣﺎ ﺩﻧﻴﺲ ﺑﺎ ﻟﮕﺪ ﺗﻔﻨﮓ ﺭﺍ ﺍﺯ ﺩﺳﺘﺶ‬ ‫ﺑﻴﺮﻭﻥ ﺍﻧﺪﺍﺧﺖ ﻭ ﻳﻘﻪﻯ ﭘﺎﻭﻟﻮﻳﭻ ﺭﺍ ﮔﺮﻓﺖ ﻭ ﺳﺮ ﭘﺎﻳﺶ ﻛﺮﺩ‪.‬‬ ‫»ﺗﻴﺮﺕ ﺑﻪ ﺧﻄﺎ ﺭﻓﺖ‪«.‬‬ ‫ﺩﺳﺖ ﭘﺎﻭﻟﻮﻳﭻ ﺭﺍ ﺑﺎ ﻛﻤﺮﺑﻨﺪ ﺧﻮﺩﺵ ﺑﺴﺖ ﻭ ﺑﺎ ﺩﺳﺘﻤﺎﻟﻰ ﺗﻮﻯ ﺩﻫﺎﻧﺶ ﻓﺮﻭ ﻛﺮﺩ ﺗﺎ ﺳﺮ ﻭ ﺻﺪﺍ‬ ‫ﻧﻜﻨﺪ ﻭ ﺑﻌﺪ ﺍﻭ ﺭﺍ ﻛﺸﺎﻥﻛﺸﺎﻥ ﺑﻪ ﻃﺮﻑ ﺍﻳﺴﺘﮕﺎﻩ ﺭﺍﻩﺁﻫﻦ ﺑﺮﺩ‪.‬‬ ‫ﻭﻗﺘﻰ ﺍﺯ ﺟﻠﻮﻯ ﻛﺎﻓﻪ ﺭﺩ ﻣﻰﺷﺪﻧﺪ‪ ،‬ﺻﺎﺣﺐ ﺁﻥ ﺑﻴﺮﻭﻥ ﺁﻣﺪ؛ ﻓﻨﺠﺎﻧﻰ ﻗﻬﻮﻩ ﻣﻴﺎﻥ ﺩﺳﺘﺎﻥ ﻟﺮﺯﺍﻧﺶ‬ ‫ﮔﺮﻓﺘﻪ ﺑﻮﺩ‪.‬‬ ‫ﺩﻧﻴﺲ ﺗﻮﻯ ﻓﻨﺠﺎﻥ ﺭﺍ ﻧﮕﺎﻩ ﻛﺮﺩ‪ .‬ﻛﺎﭘﻮﭼﻴﻨﻮ ﺑﻮﺩ‪.‬‬ ‫»ﻋﺠﺐ ﺳﺮﻋﺘﻰ ﺩﺍﺭﻯ‪«.‬‬ ‫ﺯﻥ ﮔﻔﺖ‪» :‬ﺗﻮ ﺳﺮﻳﻊﺗﺮ ﺑﻮﺩﻯ‪«.‬‬ ‫ﺩﺧﺘﺮ ﺯﻥ ﭘﺸﺖ ﺳﺮﺵ ﺍﻳﺴﺘﺎﺩﻩ ﺑﻮﺩ ﻭ ﻟﺒﺨﻨﺪ ﻣﻰﺯﺩ‪.‬‬ ‫ﺩﻧﻴﺲ ﮔﻔﺖ‪» :‬ﺑﺎﻳﺪ ﺍﺳﺐ ﺭﺍ ﺧﻼﺹ ﻛﻨﻴﻢ‪ .‬ﺷﻤﺎﻫﺎ ﺍﺯ ﭘﺴﺶ ﺑﺮ ﻣﻰﺁﻳﻴﺪ؟ ﺁﻥﺟﺎ ﭘﺮ ﺍﺯ ﺗﻔﻨﮓ ﺍﺳﺖ‪«.‬‬ ‫ﺯﻥ ﮔﻔﺖ‪» :‬ﻣﺮگ ﺩﻳﮕﺮ ﺑﺲ ﺍﺳﺖ‪ .‬ﺣﺘﺎ ﻳﻚ ﺍﺳﺐ ﻟﻨﮓ ﺯﻧﺪﻩ ﻫﻢ ﺯﻧﺪﻩ ﺍﺳﺖ‪«.‬‬ ‫ﺩﻧﻴﺲ ﻛﺎﭘﻮﭼﻴﻨﻮﻳﺶ ﺭﺍ ﺳﺮ ﻛﺸﻴﺪ‪ .‬ﭘﺎﻭﻟﻮﻳﭻ ﺍﺯ ﭘﺸﺖ ﺩﻫﺎﻥﺑﻨﺪ ﭼﻴﺰ ﻧﺎﻣﻔﻬﻮﻣﻰ ﮔﻔﺖ‪.‬‬ ‫ﺯﻥ ﻓﺮﻳﺎﺩ ﻛﺸﻴﺪ‪» :‬ﺧﻮﺍﻫﺶ ﻣﻰﻛﻨﻢ ﺑﺮﻭ‪ .‬ﺑﻪ ﺧﺎﻃﺮ ﺧﺪﺍ ﺑﺮﻭ!« ﺍﻧﮕﺎﺭ ﺩﻳﮕﺮ ﺗﺤﻤﻠﺶ ﺭﺍ ﻧﺪﺍﺷﺖ‪.‬‬ ‫ﺩﻧﻴﺲ ﮔﻔﺖ‪» :‬ﺑﻪ ﻧﻔﻊ ﺧﻮﺩﺕ ﺍﺳﺖ ﻛﻪ ﺑﻪ ﻛﺴﻰ ﻧﮕﻮﻳﻰ ﺍﻣﺮﻭﺯ ﺩﻗﻴﻘﺎً ﺍﻳﻦﺟﺎ ﭼﻰ ﺩﻳﺪﻯ‪«.‬‬ ‫ﺑﻌﺪ ﻓﻨﺠﺎﻥ ﻧﻴﻢﺧﻮﺭﺩﻩ ﺭﺍ ﺑﻪ ﺩﺳﺖ ﺯﻥ ﺩﺍﺩ ﻭ ﺭﻳﻴﺲ ﺭﺍ ﺑﻪ ﻃﺮﻑ ﺍﻳﺴﺘﮕﺎﻩ ﻗﻄﺎﺭ ﻛﺸﻴﺪ‪.‬‬ ‫ﺑﺸﻜﻪﻫﺎﻯ ﻣﺎﻫﻰ ﺭﻭﻯ ﺳﻜﻮ ﺑﻮﺩﻧﺪ‪ ،‬ﺍﻣﺎ ﻛﺴﻰ ﺁﻥ ﺍﻃﺮﺍﻑ ﺑﻪ ﭼﺸﻢ ﻧﻤﻰﺧﻮﺭﺩ‪ .‬ﺩﻧﻴﺲ ﺧﻮﺩﺵ ﺑﻪ‬ ‫ﻗﻄﺎﺭ ﺩﺭ ﺣﺎﻝ ﻧﺰﺩﻳﻚ ﺷﺪﻥ ﻋﻼﻣﺖ ﺩﺍﺩ ﻭ ﺧﻮﺩﺵ ﺑﺸﻜﻪﻫﺎ ﺭﺍ ﺗﻮﻯ ﻭﺍﮔﻦ ﺑﺎﺭﻯ ﺁﺧﺮ ﻗﻄﺎﺭ ﺟﺎ ﺩﺍﺩ‪.‬‬ ‫ﺑﻌﺪ ﺭﻳﻴﺲ ﺭﺍ ﺗﻮﻯ ﻭﺍﮔﻦ ﺍﻧﺪﺍﺧﺖ ﻭ ﺧﻮﺩﺵ ﻫﻢ ﺳﻮﺍﺭ ﺷﺪ‪.‬‬ ‫ﻗﻄﺎﺭ ﺳﻮﺕ ﻛﺸﻴﺪ ﻭ ﺑﻪ ﺭﺍﻩ ﺍﻓﺘﺎﺩ‪.‬‬ ‫ﺩﻧﻴﺲ ﺑﺮﺍﻯ ﻣﺪﺗﻰ ﻛﻨﺎﺭ ﺩﺭ ﺑﺎﺯ ﻭﺍﮔﻦ ﺍﻳﺴﺘﺎﺩ ﻭ ﺑﻪ ﺷﻬﺮ ﻛﻪ ﺩﺭ ﺩﻭﺭﺩﺳﺖ ﻣﺤﻮ ﻣﻰﺷﺪ‪ ،‬ﭼﺸﻢ‬ ‫ﺩﻭﺧﺖ‪ .‬ﺑﺪﻭﻥ ﺍﻳﻦ ﻛﻪ ﺣﺘﺎ ﺳﺮﺵ ﺭﺍ ﺑﺮﮔﺮﺩﺍﻧﺪ‪ ،‬ﻳﻘﻪﻯ ﭘﺎﻭﻟﻮﻳﭻ ﻛﻪ ﺑﻠﻨﺪ ﺷﺪﻩ ﺑﻮﺩ ﻭ ﻣﻰﺧﻮﺍﺳﺖ‬ ‫ﺧﻮﺩﺵ ﺭﺍ ﺍﺯ ﻗﻄﺎﺭ ﺑﻴﺮﻭﻥ ﺑﻴﻨﺪﺍﺯﺩ‪ ،‬ﮔﺮﻓﺖ ﻭ ﺩﻭﺑﺎﺭﻩ ﺗﻪ ﻭﺍﮔﻦ ﺍﻧﺪﺍﺧﺘﺶ‪ .‬ﻋﺎﻗﺒﺖ ﺩﺭ ﺭﺍ ﺑﺴﺖ ﻭ ﺑﻪ‬ ‫ﻃﺮﻑ ﻣﺮﺩ ﺭﻓﺖ ﻭ ﺩﺳﺘﻤﺎﻝ ﺭﺍ ﺍﺯ ﺗﻮﻯ ﺩﻫﺎﻧﺶ ﺑﻴﺮﻭﻥ ﻛﺸﻴﺪ‪.‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،9-10‬ﺷﻬﺮﻳﻮﺭ ﻭ ﻣﻬﺮ ‪1390‬‬

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‫ﻭﺣﺸﺖ ‪ -‬ﺗﺮﺟﻤﻪ‬

‫ﺁﺳﻴﺎﻳﻰ ﺑﺎ ﻣﻮﻫﺎﻯ ﻛﻮﺗﺎﻩ ﻭ ﭼﺸﻤﺎﻥ ﺑﻰﺍﺣﺴﺎﺱ ﻭ ﺳﺮﺩ‪.‬‬ ‫ﻳﻜﻰ ﺷﻠﻴﻚ ﻛﺮﺩ ﻭ ﺗﻴﺮﺵ ﺑﻪ ﺧﻄﺎ ﺭﻓﺖ‪.‬‬ ‫ﺍﺳﺐﻫﺎ ﺷﻴﻬﻪ ﻛﺸﻴﺪﻩ ﻭ ﺭﻡ ﻛﺮﺩﻧﺪ‪.‬‬ ‫ﺩﻧﻴﺲ ﻣﻴﺎﻥ ﺩﺷﻤﻨﺎﻥ ﺑﺎﻗﻴﻤﺎﻧﺪﻩ ﺑﻪ ﺭﻗﺺ ﺩﺭ ﺁﻣﺪ ﻭ ﮔﺮﺩﻥ ﺩﻭ ﺗﺎﻳﺸﺎﻥ ﺭﺍ ﺑﺎ ﻳﻚ ﺿﺮﺑﻪﻯ ﺩﺳﺖ‬ ‫ﺷﻜﺴﺖ ﻭ ﻗﻠﺐ ﺳﻮﻣﻰ ﺭﺍ ﺍﺯ ﺳﻴﻨﻪ ﺑﻴﺮﻭﻥ ﻛﺸﻴﺪ‪ .‬ﻧﻮﺟﻮﺍﻧﻰ ﻛﻪ ﺳﻮﺍﺭ ﮔﺎﺭﻯ ﺩﻭﻡ ﺑﻮﺩ‪ ،‬ﺻﺤﻨﻪ ﺭﺍ‬ ‫ﺗﻤﺎﺷﺎ ﻛﺮﺩ ﻭ ﺩﻫﺎﻧﻪﻯ ﺭﻭﻟﻮﺭﺵ ﺭﺍ ﺑﻪ ﺩﻫﺎﻥ ﺑﺮﺩ ﻭ ﻣﻐﺰ ﺧﻮﺩﺵ ﺭﺍ ﻣﻨﻔﺠﺮ ﻛﺮﺩ‪.‬‬ ‫ﺑﺪﻥ ﺷﻞ ﻭ ﻭﻝ ﺩﺧﺘﺮ ﺷﺎﺕﮔﺎﻥ ﺑﻪ ﺩﺳﺖ ﺍﺯ ﻳﻚ ﻃﺮﻑ ﮔﺎﺭﻯ ﺁﻭﻳﺰﺍﻥ ﺑﻮﺩ ﻭ ﺗﻔﻨﮓ ﺩﺍﺷﺖ ﺍﺯ‬ ‫ﻣﻴﺎﻥ ﺍﻧﮕﺸﺘﺎﻥ ﻣﺮﺩﻩﺍﺵ ﺑﻪ ﺯﻣﻴﻦ ﻣﻰﺍﻓﺘﺎﺩ‪ .‬ﺩﻧﻴﺲ ﺁﻥ ﺭﺍ ﻗﺎپ ﺯﺩ ﻭ ﻳﻚ ﮔﻠﻮﻟﻪ ﺗﻮﻯ ﺳﺮ ﻳﻜﻰ ﺍﺯ‬ ‫ﺍﺳﺐﺳﻮﺍﺭﻫﺎ ﺧﺎﻟﻰ ﻛﺮﺩ؛ ﺳﺮ ﻣﺮﺩ ﺑﻪ ﺷﻜﻞ ﺍﺑﺮﻯ ﺳﺮﺥ ﺩﺭ ﻫﻮﺍ ﻣﻨﺘﺸﺮ ﺷﺪ‪.‬‬ ‫ﺩﻧﻴﺲ ﻣﺜﻞ ﺭﻳﺘﻢ ﻳﻚ ﻓﺎﻛﺲﺗﺮﺍﺕ »ﺩﻳﻨﮓ ﺩﻧﮓ ﺩﻧﮓ ‪ ...‬ﺩﻳﻨﮓ ﺩﻧﮓ ﺩﻧﮓ ‪ ...‬ﺩﻧﮓ ﺩﻧﮓ«‬ ‫ﺯﻣﺰﻣﻪ ﻣﻰﻛﺮﺩ ﻭ ﺩﺷﻤﻨﺎﻥ ﻣﺮﺩﻩﺍﺵ ﺭﺍ ﻣﻰﺷﻤﺮﺩ‪ .‬ﺗﺼﻤﻴﻢ ﮔﺮﻓﺖ ﺟﻮﺍﻧﻜﻰ ﻛﻪ ﺧﻮﺩﺵ ﺭﺍ ﺧﻼﺹ‬ ‫ﻛﺮﺩﻩ ﺑﻮﺩ‪ ،‬ﺑﻪ ﺣﺴﺎﺏ ﻧﻴﺎﻭﺭﺩ‪ .‬ﺭﻳﻴﺲﺷﺎﻥ ﻫﻢ ﺑﺎ ﺁﻫﻨﮕﺶ ﺟﻮﺭ ﺩﺭ ﻧﻤﻰﺁﻣﺪ ﻭ ﺳﺮﻧﻮﺷﺖ ﺑﻬﺘﺮﻯ‬ ‫ﺑﺮﺍﻳﺶ ﺳﺮﺍﻍ ﺩﺍﺷﺖ‪.‬‬ ‫ﺑﺎﻗﻴﻤﺎﻧﺪﻩﻯ ﺧﻮﻥﺁﺷﺎﻣﺎﻥ ﻧﻴﻢﺭﻭﺯ ﺩﺭ ﺗﻤﺎﻣﻰ ﺟﻬﺎﺕ ﺭﻭ ﺑﻪ ﻓﺮﺍﺭ ﮔﺬﺍﺷﺘﻨﺪ‪.‬‬ ‫ﻭﻟﻰ ﺭﻗﺺ ﻫﻨﻮﺯ ﺑﻪ ﭘﺎﻳﺎﻥ ﻧﺮﺳﻴﺪﻩ ﺑﻮﺩ‪.‬‬ ‫ﺩﻭﻣﻴﻦ ﮔﻠﻮﻟﻪﻯ ﺷﺎﺕﮔﺎﻥ ﺑﻪ ﻣﺮﺩﻯ ﺑﺮﺧﻮﺭﺩ ﻛﺮﺩ ﻛﻪ ﻳﻚ ﺗﻔﻨﮓ ﺷﻜﺎﺭﻯ ﺑﻪ ﭘﺸﺖ ﺑﺴﺘﻪ ﺑﻮﺩ‪ .‬ﻣﺮﺩ‬ ‫ﺍﻓﺘﺎﺩ ﻭ ﺭﻭﻯ ﮔﺮﺩ ﻭ ﺧﺎﻙ ﺧﻴﺎﺑﺎﻥ ﺑﻪ ﺧﻮﺩ ﭘﻴﭽﻴﺪ‪ .‬ﺑﻌﺪ ﺩﻧﻴﺲ ﻗﻨﺪﺍﻕ ﺗﻔﻨﮓ ﺭﺍ ﺗﻮﻯ ﭘﻴﺸﺎﻧﻰ ﻣﺮﺩ‬ ‫ﻻﻏﺮﻯ ﺑﺎ ﭼﺸﻤﺎﻥ ﺩﻳﻮﺍﻧﻪ ﻛﻮﺑﻴﺪ ﻛﻪ ﺩﺍﺷﺖ ﻋﻘﺐﻋﻘﺐ ﻣﻰﺭﻓﺖ ﻭ ﻃﻮﺭﻯ ﭘﺎ ﻣﻰﻛﺸﻴﺪ ﻭ ﺭﻳﺰﺭﻳﺰ‬ ‫ﻣﻰﺧﻨﺪﻳﺪ‪ ،‬ﺍﻧﮕﺎﺭ ﭼﻴﺰ ﻓﻮﻕﺍﻟﻌﺎﺩﻩ ﺟﺎﻟﺒﻰ ﺩﻳﺪﻩ ﺑﺎﺷﺪ‪.‬‬ ‫ﺩﻧﻴﺲ ﺯﻣﺰﻣﻪ ﻛﺮﺩ‪» :‬ﺩﻳﻨﮓ ﺩﻧﮓ ‪«...‬‬ ‫ﺳﻪ ﺗﺎ ﺍﺯ ﺍﺳﺐﻫﺎ ﺑﻪ ﻃﺮﻑ ﺩﺭﻳﺎ ﻓﺮﺍﺭ ﻛﺮﺩﻧﺪ‪ .‬ﺩﻧﻴﺲ ﺭﻭﻟﻮﺭ ﺭﺍ ﺑﻪ ﺩﺳﺖ ﺩﻳﮕﺮ ﺩﺍﺩ ﻭ ﻓﺸﻨﮓﻫﺎﻯ‬ ‫ﺧﺎﻟﻰ ﺭﺍ ﺑﻴﺮﻭﻥ ﺭﻳﺨﺖ ﻭ ﺳﻪ ﮔﻠﻮﻟﻪ ﺟﺎ ﺍﻧﺪﺍﺧﺖ‪.‬‬ ‫»ﺩﻳﻨﮓ ﺩﻧﮓ ‪«...‬‬ ‫ﺯﻣﺰﻣﻪﺍﺵ ﺭﺍ ﺑﻪ ﭘﺎﻳﺎﻥ ﺑﺮﺩ ﻭ ﺷﻠﻴﻚ ﻛﺮﺩ‪ .‬ﺩﻭ ﺗﺎ ﺍﺯ ﺍﺳﺐﻫﺎ ﺳﺮﻋﺘﺸﺎﻥ ﺭﺍ ﺑﻴﺸﺘﺮ ﻛﺮﺩﻧﺪ ﻭ ﺳﻮﺍﺭﺍﻥ‬ ‫ﻣﺮﺩﻩﺷﺎﻥ ﺭﺍ ﺯﻣﻴﻦ ﺍﻧﺪﺍﺧﺘﻨﺪ‪ .‬ﭘﺎﻯ ﺳﻮﺍﺭ ﺳﻮﻡ ﺗﻮﻯ ﺭﻛﺎﺏ ﮔﻴﺮ ﺍﻓﺘﺎﺩ ﻭ ﭼﻨﺪ ﻣﺘﺮﻯ ﺭﻭﻯ ﺯﻣﻴﻦ‬ ‫ﻛﺸﻴﺪﻩ ﺷﺪ؛ ﺗﺎ ﺟﺎﻳﻰ ﻛﻪ ﭼﻜﻤﻪﺍﺵ ﺍﺯ ﭘﺎ ﺩﺭ ﺁﻣﺪ ﻭ ﺧﻮﺩﺵ ﻫﻤﺎﻥﻃﻮﺭ ﻣﺮﺩﻩ ﻭ ﺑﻰﺣﺮﻛﺖ ﺭﻭﻯ‬ ‫ﺳﻄﺢ ﺧﻴﺎﺑﺎﻥ ﺑﺎﻗﻰ ﻣﺎﻧﺪ‪.‬‬ ‫ﺣﺎﻻ ﻓﻘﻂ ﺭﻳﻴﺲ ﻣﺎﻧﺪﻩ ﺑﻮﺩ‪ .‬ﺩﻧﻴﺲ ﺑﺎ ﺍﻓﺴﻮﺱ ﮔﻠﻮﻟﻪﺍﻯ ﺗﻮﻯ ﭘﺎﻯ ﺍﺳﺒﺶ ﺧﺎﻟﻰ ﻛﺮﺩ‪ .‬ﭘﺎﻭﻟﻮﻳﭻ‬

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‫ﻭﻳﮋﻩﻧﺎﻣﻪﻯ ﺧﻮﻥﺁﺷﺎﻡﻫﺎ‬

‫ﻭﺣﺸﺖ ‪ -‬ﺗﺮﺟﻤﻪ‬

‫ﻛﺮﺩﻧﺪ‪ .‬ﺩﺧﺘﺮﻯ ﻛﻪ ﭘﺸﺖ ﻣﺴﻠﺴﻞ ﻧﺸﺴﺘﻪ ﺑﻮﺩ ﺁﺩﺍﻣﺲ ﻣﻰﺟﻮﻳﺪ ﻭ ﺑﺎ ﺍﺧﻢ‪ ،‬ﺍﻣﺎ ﺑﺪﻭﻥ ﻛﻴﻨﻪ ﻭ‬ ‫ﺩﺷﻤﻨﻰ ﺑﺮﺍﻧﺪﺍﺯﺵ ﻣﻰﻛﺮﺩ‪.‬‬ ‫ﺭﻫﺒﺮﺷﺎﻥ –ﻛﻪ ﺩﻧﻴﺲ ﻳﺎﺩﺵ ﺁﻣﺪ ﺍﺳﻤﺶ ﺁﻧﺘﻮﻥ ﭘﺎﻭﻟﻮﻳﭻ ﺍﺳﺖ– ﮔﻔﺖ‪» :‬ﻭ ﺍﻳﻦ‪ ...‬ﻣﺜ ً‬ ‫ﻼ ﻳﻪ ﻛﺎﺑﻮﻯ‬ ‫ﻛﻮﻓﺘﻴﻪ‪«...‬‬ ‫ﻣﺮﺩ ﻣﻴﺎﻧﺴﺎﻟﻰ ﺑﻮﺩ‪ ،‬ﺍﻣﺎ ﭘﻴﺮ ﻧﺒﻮﺩ؛ ﺑﺪﻧﻰ ﻗﻮﻯ ﻭ ﭼﺸﻤﺎﻧﻰ ﻫﻮﺷﻤﻨﺪ ﻭ ﺗﻴﺰ ﺩﺍﺷﺖ‪ .‬ﺗﻔﻨﮕﺶ ﺗﻮﻯ‬ ‫ﺟﻠﺪﻯ ﭼﺮﻣﻰ ﻭ ﺳﺮ ﺑﺎﺯ ﺑﻮﺩ ﻭ ﺑﻬﺘﺮﻳﻦ ﺍﺳﺐ ﺭﺍ ﺯﻳﺮ ﭘﺎ ﺩﺍﺷﺖ‪ .‬ﺍﺯ ﺁﻥﺟﺎﻳﻰ ﻛﻪ ﺣﺮﻓﺶ ﺭﺍ ﺑﻪ ﺻﻮﺭﺕ‬ ‫ﺳﺆﺍﻟﻰ ﻧﭙﺮﺳﻴﺪﻩ ﺑﻮﺩ‪ ،‬ﺩﻧﻴﺲ ﺗﺮﺟﻴﺢ ﺩﺍﺩ ﺳﺎﻛﺖ ﺑﺎﻗﻰ ﺑﻤﺎﻧﺪ‪.‬‬ ‫ﭘﺎﻭﻟﻮﻳﭻ ﮔﻔﺖ‪» :‬ﭘﺲ ﺗﻮ ﺁﻧﺪﺭﻯ ﺭﻭ ﻛﺸﺘﻰ‪«.‬‬ ‫ﺩﻧﻴﺲ ﮔﻔﺖ‪» :‬ﻣﻦ ﺑﻮﺩﻡ‪«.‬‬ ‫ﭘﺎﻭﻟﻮﻳﭻ ﻣﺘﻔﻜﺮﺍﻧﻪ ﺳﺮﻯ ﺗﻜﺎﻥ ﺩﺍﺩ ﻭ ﮔﻔﺖ‪» :‬ﺧﻮﺏ‪ ،‬ﺍﮔﺮ ﺍﻳﻦﺟﻮﺭﻯ ﻣﻰﺧﻮﺍﺳﺘﻰ ﺑﮕﻰ ﺩﻭﺳﺖ‬ ‫ﺩﺍﺭﻯ ﻋﻀﻮ ﮔﺮﻭﻩ ﻣﺎ ﺑﺎﺷﻰ‪ ،‬ﭘﺲ ﻗﺒﻮﻝ ﺷﺪﻯ‪ .‬ﺭﺍﺳﺘﺶ ﺍﺯ ﺩﺳﺖ ﺍﻭﻥ ﻋﻮﺿﻰ ﺧﺴﺘﻪ ﺷﺪﻩ ﺑﻮﺩﻡ‪«.‬‬ ‫ﺩﻧﻴﺲ ﭘﺮﺳﻴﺪ‪» :‬ﺗﻮ ﺍﺭﺑﺎﺑﻰ؟«‬ ‫»ﭼﻰ؟«‬ ‫»ﺍﺭﺑﺎﺏ ﺗﻮﻳﻰ؟ ﺑﻪ ﺭﻳﻴﺲ ﻳﻚ ﮔﺮﻭﻩ ﺧﻮﻥﺁﺷﺎﻡ ﻣﻰﮔﻮﻳﻨﺪ »ﺍﺭﺑﺎﺏ«‪ .‬ﻧﻜﻨﺪ ﺣﺘﺎ ﻫﻤﻴﻦﻗﺪﺭ ﻫﻢ ﺳﺮﺕ‬ ‫ﻧﻤﻰﺷﻮﺩ؟«‬ ‫ﻣﺮﺩ ﭼﺎﻗﻰ ﻛﻨﺎﺭ ﺩﺳﺖ ﭘﺎﻭﻟﻮﻳﭻ ﺯﺩ ﺯﻳﺮ ﺧﻨﺪﻩ‪ .‬ﺩﺧﺘﺮ ﭘﺸﺖ ﻣﺴﻠﺴﻞ ﻫﻢ ﻟﺒﺨﻨﺪ ﺯﺩ‪.‬‬ ‫ﭘﺎﻭﻟﻮﻳﭻ ﺁﻫﻰ ﻛﺸﻴﺪ ﻭ ﮔﻔﺖ‪» :‬ﺑﻜﺸﻴﺪﺵ‪«.‬‬ ‫ﺍﻭﻟﻴﻦ ﮔﻠﻮﻟﻪ ﺩﺭﺳﺖ ﻭﺳﻂ ﺩﻭ ﺍﺑﺮﻭﻯ ﺩﺧﺘﺮ ﭘﺸﺖ ﻣﺴﻠﺴﻞ ﻧﺸﺴﺖ‪.‬‬ ‫ﺩﻧﻴﺲ ﻗﺪﻣﻰ ﺑﻪ ﺭﺍﺳﺖ ﺑﺮﺩﺍﺷﺖ ﻭ ﺁﺩﻡ ﺩﺳﺖ ﺭﺍﺳﺖ ﭘﺎﻭﻟﻮﻳﭻ ﺭﺍ ﺍﺯ ﺍﺳﺐ ﺑﻪ ﺯﻳﺮ ﻛﺸﻴﺪ ﻭ ﺑﻪ ﻃﺮﻑ‬ ‫ﮔﺎﺭﻯ ﭘﺮﺗﺎﺑﺶ ﻛﺮﺩ؛ ﻣﺮﺩﻙ ﺩﺭ ﺑﺮﺧﻮﺭﺩ ﺑﺎ ﮔﺎﺭﻯ ﻣﺴﺎﻓﺮﺍﻥ ﺁﻥ ﺭﺍ ﺩﺭﺳﺖ ﻣﺜﻞ ﻣﻴﻠﻪﻫﺎﻯ ﺑﻮﻟﻴﻨﮓ‬ ‫ﭘﺨﺶ ﻭ ﭘﻼ ﻛﺮﺩ‪ .‬ﺧﻮﺩﺵ ﺑﺎ ﮔﺮﺩﻥ ﺷﻜﺴﺘﻪ‪ ،‬ﺷﻞ ﻭ ﻭﻝ ﺗﻪ ﮔﺎﺭﻯ ﻓﺮﻭﺩ ﺁﻣﺪ‪.‬‬ ‫ﺩﻭﻣﻴﻦ ﮔﻠﻮﻟﻪ ﻗﻠﺐ ﻣﺮﺩﻯ ﻛﻪ ﺗﻔﻨﮓ ﺍﺗﻮﻣﺎﺗﻴﻚ ﺑﻪ ﺩﺳﺖ ﺩﺍﺷﺖ‪ ،‬ﺳﻮﺭﺍﺥ ﻛﺮﺩ‪.‬‬ ‫ﮔﻠﻮﻟﻪﻯ ﺳﻮﻡ ﺑﻪ ﻃﺮﻑ ﺻﻮﺭﺕ ﺩﺧﺘﺮﻯ ﻛﻪ ﺷﺎﺕﮔﺎﻥ ﺑﻪ ﺩﺳﺖ ﺩﺍﺷﺖ‪ ،‬ﺷﻠﻴﻚ ﺷﺪ‪ .‬ﺍﻣﺎ ﺩﺧﺘﺮ‬ ‫ﺩﺭ ﺁﺧﺮﻳﻦ ﻟﺤﻈﻪ ﺳﺮﺵ ﺭﺍ ﻛﻨﺎﺭ ﻛﺸﻴﺪ ﻭ ﮔﻠﻮﻟﻪ ﺗﻨﻬﺎ ﺑﺨﺸﻰ ﺍﺯ ﮔﻮﺷﺶ ﺭﺍ ﺑﺎ ﺧﻮﺩ ﺑﺮﺩ ﻭ ﺩﻧﻴﺲ‬ ‫ﻣﺠﺒﻮﺭ ﺷﺪ ﮔﻠﻮﻟﻪﻯ ﭼﻬﺎﺭﻡ ﺭﺍ ﻫﻢ ﻫﻤﺎﻥﻃﺮﻓﻰ ﺑﻔﺮﺳﺘﺪ‪.‬‬ ‫ﮔﻠﻮﻟﻪﻫﺎﻯ ﭘﻨﺠﻢ ﻭ ﺷﺸﻢ ﺩﻭ ﺟﻮﺍﻧﻚ ﺗﻔﻨﮓ ﺑﻪ ﺩﺳﺖ ﺭﺍ ﺑﻪ ﺯﻳﺮ ﻛﺸﻴﺪ ﻛﻪ ﺑﺎ ﻫﻢﺩﻳﮕﺮ ﻣﻮ ﻧﻤﻰﺯﺩﻧﺪ‬ ‫)ﺑﺮﺍﺩﺭ ﺑﻮﺩﻧﺪ؟ ﺩﻭﻗﻠﻮ ﺑﻮﺩﻧﺪ؟(‪.‬‬ ‫ﻫﻔﺘﻤﻴﻦ ﻭ ﺁﺧﺮﻳﻦ ﮔﻠﻮﻟﻪ ﻭﺍﺭﺩ ﺷﻜﻢ ﻣﺮﺩﻯ ﺷﺪ ﻛﻪ ﻣﻰﺧﻮﺍﺳﺖ ﺭﻭﻯ ﺳﺮ ﺩﻧﻴﺲ ﺑﭙﺮﺩ؛ ﻳﻚ‬

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‫ﻭﻳﮋﻩﻧﺎﻣﻪﻯ ﺧﻮﻥﺁﺷﺎﻡﻫﺎ‬

‫ﻣﻰﻓﺸﺮﺩ‪ .‬ﺩﻧﻴﺲ ﭘﺮﺳﻴﺪ‪» :‬ﺍﺯ ﻣﻦ ﻣﻰﺗﺮﺳﺪ؟«‬ ‫ﺯﻥ ﺑﺪﻭﻥ ﺍﻳﻦ ﻛﻪ ﺳﺮﺵ ﺭﺍ ﺑﺮﮔﺮﺩﺍﻧﺪ ﺟﻮﺍﺏ ﺩﺍﺩ‪» :‬ﺍﺯ ﻫﻤﻪ ﻣﻰﺗﺮﺳﺪ‪ .‬ﺍﺯ ﻫﻤﺎﻥ ﭘﺎﺭﺳﺎﻝ ﻛﻪ ﺑﻪ ﺯﻭﺭ‬ ‫ﺑﺮﺩﻧﺪﺵ‪ .‬ﺳﻪ ﺭﻭﺯ ﻧﮕﻬﺶ ﺩﺍﺷﺘﻨﺪ‪«.‬‬ ‫ﺩﺧﺘﺮ ﺣﺪﻭﺩ ﭼﻬﺎﺭﺩﻩ ﻳﺎ ﭘﺎﻧﺰﺩﻩ ﺳﺎﻝ ﺩﺍﺷﺖ‪ .‬ﺩﻧﻴﺲ ﺑﺎ ﺍﻳﻦ ﻛﻪ ﻣﻰﺩﺍﻧﺴﺖ ﺣﺮﻓﺶ ﺑﺮﺍﻯ ﺍﻭ ﻏﻴﺮﻗﺎﺑﻞ‬ ‫ﺑﺎﻭﺭ ﺍﺳﺖ‪ ،‬ﺍﻣﺎ ﮔﻔﺖ‪» :‬ﻧﮕﺮﺍﻥ ﻧﺒﺎﺵ‪ .‬ﻫﻤﻪﺷﺎﻥ ﺭﺍ ﻣﻰﻛﺸﻢ‪«.‬‬ ‫ﺯﻥ ﮔﻔﺖ‪» :‬ﻫﻴﺠﺪﻩ ﺗﺎ ﻫﺴﺘﻨﺪ‪«.‬‬ ‫ﺩﻧﻴﺲ ﺍﺯ ﺩﻗﺖ ﻭ ﺻﺮﺍﺣﺖ ﺯﻥ ﺧﻮﺷﺶ ﺁﻣﺪ‪» .‬ﻣﻰﺩﺍﻧﻢ‪ .‬ﺯﻳﺎﺩ ﻧﻴﺴﺘﻨﺪ‪«.‬‬ ‫ﻧﮕﺎﻩ ﺯﻥ ﻛﻤﻰ ﺗﻐﻴﻴﺮ ﻛﺮﺩ‪ ،‬ﺍﻧﮕﺎﺭ ﻛﻢﻛﻢ ﺩﺍﺷﺖ ﺑﺎﻭﺭﺵ ﻣﻰﻛﺮﺩ‪.‬‬ ‫ﺯﻥ ﺩﺳﺘﻰ ﺑﻪ ﮔﺮﺩﻧﺶ ﺑﺮﺩ ﻭ ﺯﻧﺠﻴﺮﻯ ﺑﻴﺮﻭﻥ ﻛﺸﻴﺪ‪» .‬ﺍﻳﻦ ﺭﺍ ﺑﮕﻴﺮ‪ .‬ﺳﻤﺒﻞ ﻣﺮﻳﻢ ﻣﻘﺪﺱ ﺍﺳﺖ‪.‬‬ ‫ﻣﻄﻤﺌﻨﻢ ﻫﻤﻴﻦ ﺟﺎﻥ ﺩﺧﺘﺮﻡ ﺭﺍ ﻧﺠﺎﺕ ﺩﺍﺩ‪«.‬‬ ‫ﺩﻧﻴﺲ ﺑﺎ ﻣﻼﻳﻤﺖ ﺍﻣﺎ ﺻﺮﺍﺣﺖ ﺩﺳﺖ ﺯﻥ ﺭﺍ ﭘﺲ ﺭﺍﻧﺪ ﻭ ﮔﻔﺖ‪» :‬ﻧﻪ‪ .‬ﻧﻤﻰﺗﻮﺍﻧﻢ ﻗﺒﻮﻟﺶ ﻛﻨﻢ‪ .‬ﻭﻟﻰ‬ ‫ﺍﮔﺮ ﻧﻴﻢ ﺳﺎﻋﺖ ﺩﻳﮕﺮ ﻳﻚ ﻓﻨﺠﺎﻥ ﻗﻬﻮﻩﻯ ﺩﻳﮕﺮ ﺑﺮﺍﻳﻢ ﺑﻴﺎﻭﺭﻯ‪ ،‬ﺣﺴﺎﺑﻰ ﻣﻤﻨﻮﻥ ﻣﻰﺷﻮﻡ‪«.‬‬ ‫ﺻﺎﺣﺐ ﻛﺎﻓﻪ ﮔﻔﺖ‪» :‬ﺍﮔﺮ ﻫﻤﻪﺷﺎﻥ ﺭﺍ ﺑﻜﺸﻰ ﺑﺮﺍﻳﺖ ﻛﺎﭘﻮﭼﻴﻨﻮ ﺩﺭﺳﺖ ﻣﻰﻛﻨﻢ‪ .‬ﺑﺎ ﺧﺎﻣﻪ‪«.‬‬ ‫‪‬ﺍﺯ ﺳﻤﺖ ﺩﺭﻳﺎ ﺁﻣﺪﻧﺪ؛ ﺍﺯ ﺳﻤﺖ ﺍﺳﻜﻠﻪ ﻭ ﺳﺮ ﺭﺍﻫﺸﺎﻥ ﻭ ﺍﺯ ﺭﻭﻯ ﺑﻰﺣﻮﺻﻠﮕﻰ‪ ،‬ﭼﻨﺪ ﺗﺎﻳﻰ ﺁﻏﻞ‬ ‫ﻛﻬﻨﻪ ﺭﺍ ﺁﺗﺶ ﺯﺩﻧﺪ‪ .‬ﻣﺎﻫﻴﮕﻴﺮﻫﺎ ﺧﻴﻠﻰ ﻭﻗﺖ ﭘﻴﺶ ﺑﺎ ﺯﻥ ﻭ ﺑﭽﻪ ﻭ ﺗﻤﺎﻣﻰ ﺍﺷﻴﺎﻯ ﺍﺭﺯﺷﻤﻨﺪﺷﺎﻥ‬ ‫ﺑﻪ ﺩﺭﻳﺎ ﺯﺩﻩ ﺑﻮﺩﻧﺪ‪.‬‬ ‫ﭘﻨﺞ ﺗﺎﻳﺸﺎﻥ ﺳﻮﺍﺭ ﺍﺳﺐ ﻭ ﺑﻘﻴﻪ ﺗﻮﻯ ﺩﻭ ﮔﺎﺭﻯ ﺍﺳﺒﻰ ﭼﻤﺒﺎﺗﻤﻪ ﺯﺩﻩ ﺑﻮﺩﻧﺪ‪ .‬ﺗﻮﻯ ﻳﻜﻰ ﺍﺯ ﮔﺎﺭﻯﻫﺎ ﻳﻚ‬ ‫ﻣﺴﻠﺴﻞ ﺍﺗﻮﻣﺎﺗﻴﻚ ﺭﺍ ﺳﻮﺍﺭ ﭘﺎﻳﻪ ﻛﺮﺩﻩ ﻭ ﭘﺸﺘﺶ ﺯﻥ ﺟﻮﺍﻧﻰ ﺭﻭﻯ ﻳﻚ ﺻﻨﺪﻟﻰ ﺍﺩﺍﺭﻯ ﻧﺸﺴﺘﻪ ﺑﻮﺩ‪.‬‬ ‫ﻫﻤﮕﻰ ﭼﺮﻡ ﺳﻴﺎﻩ ﺑﺎ ﺩﻛﻤﻪﻫﺎﻯ ﻧﻘﺮﻩﺍﻯ ﺑﻪ ﺗﻦ ﺩﺍﺷﺘﻨﺪ ﻛﻪ ﺯﻳﺮ ﻧﻮﺭ ﺁﻓﺘﺎﺏ ﺩﺭﺧﺸﺶ ﻛﻮﺭﻛﻨﻨﺪﻩﺍﻯ‬ ‫ﺩﺍﺷﺖ‪ .‬ﺩﻧﻴﺲ ﺑﺎ ﺷﮕﻔﺘﻰ ﺯﻥ ﭘﺸﺖ ﻣﺴﻠﺴﻞ ﺭﺍ ﺗﻤﺎﺷﺎ ﻛﺮﺩ‪ .‬ﺻﺪ ﺍﻟﺒﺘﻪ ﻛﻪ ﺧﻮﻥﺁﺷﺎﻡﻫﺎ ﺍﺯ ﺧﻮﺭﺷﻴﺪ‬ ‫ﻳﺎ ﻧﻘﺮﻩ ﻧﻤﻰﺗﺮﺳﻴﺪﻧﺪ‪ .‬ﺁﺩﻡﻫﺎ ﻫﻢ ﻣﻰﺗﻮﺍﻧﺴﺘﻨﺪ ﺑﻜﺸﻨﺪﺷﺎﻥ؛ ﻓﻘﻂ ﻛﻤﻰ ﺳﺨﺖﺟﺎﻥﺗﺮ ﺑﻮﺩﻧﺪ‪.‬‬ ‫ﺷﻬﺮ ﺧﺎﻟﻰ ﺷﺪﻩ ﺑﻮﺩ‪ .‬ﺍﻫﺎﻟﻰ ﺣﺘﺎ ﺁﻥﻗﺪﺭ ﺟﺮﺃﺕ ﻧﺪﺍﺷﺘﻨﺪ ﻛﻪ ﺍﺯ ﮔﻮﺷﻪﻯ ﭼﺸﻢ ﻣﺎﺟﺮﺍ ﺭﺍ ﺗﻤﺎﺷﺎ‬ ‫ﻛﻨﻨﺪ‪ .‬ﺑﺎ ﺍﻳﻦ ﺣﺎﻝ ﮔﻮﺷﻪﻯ ﭘﺮﺩﻩﻯ ﻳﻜﻰ ﺍﺯ ﭘﻨﺠﺮﻩﻫﺎﻯ ﻛﺎﻓﻪ ﺗﻜﺎﻥ ﻣﻰﺧﻮﺭﺩ‪ .‬ﺩﻧﻴﺲ ﺑﻪ ﺁﻥ ﺳﻤﺖ‬ ‫ﻟﺒﺨﻨﺪﻯ ﺯﺩ ﻭ ﺑﻌﺪ ﺗﻮﺟﻪﻫﺎﺵ ﺭﺍ ﺑﻪ ﻃﺮﻑ ﭘﻨﺞ ﺳﻮﺍﺭ ﻭ ﺩﻭ ﮔﺎﺭﻯ ﺑﺮﮔﺮﺩﺍﻧﺪ‪.‬‬ ‫ﻭﻗﺘﻰ ﺩﻧﻴﺲ ﺭﺍ ﺩﻳﺪﻧﺪ ﻛﻪ ﻭﺳﻂ ﺧﻴﺎﺑﺎﻥ ﺍﻳﺴﺘﺎﺩﻩ‪ ،‬ﺳﺮﻋﺘﺸﺎﻥ ﺭﺍ ﻛﻢ ﻛﺮﺩﻩ ﻭ ﺑﺎ ﺍﺣﺘﻴﺎﻁ ﺑﻴﺸﺘﺮﻯ‬ ‫ﭘﻴﺶ ﺁﻣﺪﻧﺪ؛ ﻧﮕﺎﻫﻰ ﺑﻪ ﺩﻭﺭ ﻭ ﺑﺮ ﺍﻧﺪﺍﺧﺘﻨﺪ‪ ،‬ﺳﺮ ﺗﻔﻨﮓﻫﺎﻳﺸﺎﻥ ﺭﺍ ﺑﻠﻨﺪ ﻛﺮﺩﻧﺪ ﻭ ﺿﺎﻣﻦ ﺭﻭﻟﻮﺭ‬ ‫ﻭ ﺍﺳﻠﺤﻪﻫﺎﻯ ﺧﻮﺩﻛﺎﺭﺷﺎﻥ ﺭﺍ ﺁﺯﺍﺩ ﻛﺮﺩﻧﺪ‪ .‬ﺩﻧﻴﺲ ﺻﺒﻮﺭﺍﻧﻪ ﺍﻧﺘﻈﺎﺭ ﻛﺸﻴﺪ ﺗﺎ ﻛﺎﻣ ً‬ ‫ﻼ ﻣﺤﺎﺻﺮﻩﺍﺵ‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،9-10‬ﺷﻬﺮﻳﻮﺭ ﻭ ﻣﻬﺮ ‪1390‬‬

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‫ﻭﺣﺸﺖ ‪ -‬ﺗﺮﺟﻤﻪ‬

‫ﺩﻧﻴﺲ ﺧﻴﻠﻰ ﺭﺍﺣﺖ ﮔﻔﺖ‪» :‬ﻫﻤﻪﺷﺎﻥ ﺭﺍ ﻣﻰﻛﺸﻢ‪ .‬ﭼﻴﺰﻯ ﺑﺮﺍﻯ‬ ‫ﻧﻮﺷﻴﺪﻥ ﺩﺍﺭﻳﺪ؟«‬ ‫»ﭼﻴﺰﻯ ﺑﺮﺍﻯ ﻧﻮﺷﻴﺪﻥ ﻳﺎ ﭼﻴﺰ ﺧﺎﺻﻰ ﺑﺮﺍﻯ ﻧﻮﺷﻴﺪﻥ؟«‬ ‫»ﻓﻘﻂ ﻳﻚ ﻧﻮﺷﻴﺪﻧﻰ‪ .‬ﺍﻟﻜﻞ ﺑﻪ ﻣﻦ ﻧﻤﻰﺳﺎﺯﺩ‪«.‬‬ ‫»ﻗﻬﻮﻩ؟«‬ ‫ﺩﻧﻴﺲ ﻓﻘﻂ ﻟﺒﺨﻨﺪ ﺯﺩ؛ ﺍﻧﮕﺎﺭ ﺯﻥ ﺟﻮﻙ ﮔﻔﺘﻪ ﺑﺎﺷﺪ‪.‬‬ ‫ﻭﻟﻰ ﺯﻥ ﺭﻓﺖ ﭘﺸﺖ ﭘﻴﺸﺨﻮﺍﻥ‪ ،‬ﺻﺪﺍﻯ ﺟﻴﺮﻳﻨﮓ ﺟﻴﺮﻳﻨﮓ ﺩﺳﺘﻪ‬ ‫ﻛﻠﻴﺪﻯ ﺑﻠﻨﺪ ﺷﺪ ﻭ ﺑﻌﺪ ﻛﺸﻮﻳﻰ ﺭﺍ ﺑﻴﺮﻭﻥ ﻛﺸﻴﺪ‪ .‬ﺑﺴﺘﻪﺍﻯ ﻛﻮﭼﻚ ﺭﺍ‬ ‫ﺑﻴﺮﻭﻥ ﺁﻭﺭﺩ‪ ،‬ﺑﺎ ﮔﺸﺎﺩﻩﺩﺳﺘﻰ ﺩﺍﻧﻪﻫﺎﻯ ﻗﻬﻮﻩ ﺭﺍ ﺩﺭﻭﻥ ﻳﻚ ﺁﺳﻴﺎﺏ ﺩﺳﺘﻰ‬ ‫ﺭﻳﺨﺖ ﻭ ﺑﻌﺪ ﺑﺎ ﺗﻤﺮﻛﺰ ﻓﺮﺍﻭﺍﻥ ﻣﺸﻐﻮﻝ ﭼﺮﺧﺎﻧﺪﻥ ﺩﺳﺘﻪﻯ ﺁﺳﻴﺎﺏ ﺷﺪ؛‬ ‫ﺍﻧﮕﺎﺭ ﻛﻪ ﻣﺮﺍﺳﻤﻰ ﺳﻨﺘﻰ ﻭ ﻣﻘﺪﺱ ﺭﺍ ﺍﻧﺠﺎﻡ ﺩﻫﺪ‪ .‬ﻛﻪ ﺍﻟﺒﺘﻪ ﺗﺎ ﺍﻧﺪﺍﺯﻩﺍﻯ‬ ‫ﻫﻢ ﻫﻤﻴﻦﻃﻮﺭ ﺑﻮﺩ‪.‬‬ ‫ﺩﻧﻴﺲ ﺑﺎ ﻧﮕﺎﻩ ﺧﻴﺮﻩ‪ ،‬ﺍﻧﮕﺎﺭ ﺟﺎﺩﻭ ﺷﺪﻩ ﺑﺎﺷﺪ‪ ،‬ﻣﻨﺘﻈﺮ ﺑﺎﻗﻰ ﻣﺎﻧﺪ‪.‬‬ ‫ﻗﻬﻮﻩﺍﻯ ﻛﻪ ﺯﻥ ﺩﺭﻭﻥ ﻳﻚ ﻓﻨﺠﺎﻥ ﺑﺰﺭگ ﻭ ﻗﺮﻣﺰ ﺑﺮﺍﻳﺶ ﺁﻭﺭﺩ‪ ،‬ﺩﺍﻍ ﻭ‬ ‫ﻟﺐﺳﻮﺯ ﺑﻮﺩ‪ .‬ﺍﻣﺎ ﻣﻬﻢﺗﺮ ﺍﻳﻦ ﻛﻪ ﺑﻮﻯ ﻗﻬﻮﻩﻯ ﻭﺍﻗﻌﻰ ﻣﻰﺩﺍﺩ‪.‬‬ ‫ﺩﻧﻴﺲ ﺑﻌﺪ ﺍﺯ ﻳﻚ ﺟﺮﻋﻪ ﮔﻔﺖ‪» :‬ﺍﻳﻦ ﮔﻨﺞ ﺩﻳﮕﺮ ﺍﺯ ﻛﺠﺎ ﺁﻣﺪ؟«‬ ‫»ﺍﺯ ﺩﻭﺭﺍﻥ ﮔﺬﺷﺘﻪ‪ .‬ﻫﻤﻴﺸﻪ ﻳﺎﺩﮔﺎﺭﻫﺎﻳﻰ ﺍﺯ ﺩﻭﺭﺍﻥ ﮔﺬﺷﺘﻪ ﺑﺎﻗﻰ‬ ‫ﻣﻰﻣﺎﻧﺪ‪«.‬‬ ‫ﺩﻧﻴﺲ ﺩﺭ ﺳﻜﻮﺕ ﺳﺮﻯ ﺗﻜﺎﻥ ﺩﺍﺩ‪.‬‬ ‫ﺯﻥ ﭘﺮﺳﻴﺪ‪» :‬ﭼﻴﺰﻯ ﺑﺮﺍﻯ ﺧﻮﺭﺩﻥ ﻣﻰﺧﻮﺍﻫﻰ؟ ﭼﻴﺰ ﭼﻨﺪﺍﻧﻰ ﻧﺪﺍﺭﻡ ﻛﻪ‬ ‫ﺑﺮﺍﻳﺖ ﺑﻴﺎﻭﺭﻡ؛ ﺑﺎ ﺷﻜﻢ ﭘﺮ ﻫﻢ ﻛﻪ ﻧﻤﻰﺗﻮﺍﻧﻰ ﺑﺠﻨﮕﻰ‪ .‬ﻭﻟﻰ ﺁﻥﻫﺎ ﺳﺮ ﻇﻬﺮ‬ ‫ﻣﻰﺁﻳﻨﺪ ﺷﻬﺮ؛ ﺗﺎ ﺁﻥ ﻣﻮﻗﻊ ﻭﻗﺖ ﺑﺮﺍﻯ ﻳﻚ ﺧﻮﺭﺩﻧﻰ ﺳﺎﺩﻩ ﺭﺍ ﺩﺍﺭﻯ‪«.‬‬ ‫ﺩﻧﻴﺲ ﺑﺎ ﺍﻳﻦ ﻛﻪ ﺳﻴﺮ ﺑﻮﺩ‪ ،‬ﺍﻣﺎ ﮔﻔﺖ‪» :‬ﺑﺎﺷﺪ‪ .‬ﭘﻴﺸﻨﻬﺎﺩﺕ ﭼﻴﺴﺖ؟«‬ ‫ﺯﻥ ﮔﻔﺖ‪» :‬ﻣﻦ ﺍﺯ ﻣﺎﻫﻰ ﻣﺘﻨﻔﺮﻡ‪ .‬ﻭﻟﻰ ﺍﺳﺘﻴﻚﻫﺎﻯ ﺧﻮﺑﻰ ﺩﺍﺭﻡ‪ .‬ﺭﺍﺳﺖ‬ ‫ﻣﻰﮔﻮﻳﻢ‪«.‬‬ ‫»ﭘﺲ ﻳﻜﻰ ﺩﺭﺳﺖ ﻛﻦ‪ .‬ﺣﺴﺎﺑﻰ ﭘﺨﺘﻪ ﻭ ﺧﻴﻠﻰ ﻫﻢ ﺑﺰﺭگ ﻧﺒﺎﺷﺪ‪«.‬‬ ‫ﺩﺧﺘﺮ ﺟﻮﺍﻧﻰ ﺍﺯ ﻣﻴﺎﻥ ﺩﺭ ﺁﺷﭙﺰﺧﺎﻧﻪ ﺑﻪ ﺩﺭﻭﻥ ﺳﺎﻟﻦ ﻏﺬﺍﺧﻮﺭﻯ ﺳﺮﻙ‬ ‫ﻣﻰﻛﺸﻴﺪ‪ .‬ﺻﻮﺭﺕ ﺭﻧﮓﭘﺮﻳﺪﻩﺍﻯ ﺩﺍﺷﺖ ﻭ ﻟﺐﻫﺎﻯ ﺑﺎﺭﻳﻜﺶ ﺭﺍ ﺑﻪ ﻫﻢ‬

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‫ﻭﻳﮋﻩﻧﺎﻣﻪﻯ ﺧﻮﻥﺁﺷﺎﻡﻫﺎ‬

‫ﺑﺎ ﺗﻤﺮﻛﺰ‬ ‫ﻓﺮﺍﻭﺍﻥ‬ ‫ﻣﺸﻐﻮﻝ‬ ‫ﭼﺮﺧﺎﻧﺪﻥ‬ ‫ﺩﺳﺘﻪﻯ‬ ‫ﺁﺳﻴﺎﺏ ﺷﺪ؛‬ ‫ﺍﻧﮕﺎﺭ ﻛﻪ‬ ‫ﻣﺮﺍﺳﻤﻰ‬ ‫ﺳﻨﺘﻰ ﻭ‬ ‫ﻣﻘﺪﺱ ﺭﺍ‬ ‫ﺍﻧﺠﺎﻡ ﺩﻫﺪ‪.‬‬

‫»ﺧﻮﺏ؟ ﺁﻥﻫﺎ ﻛﻪ ﻓﻘﻂ ﻫﻴﺠﺪﻩ ﻧﻔﺮﻧﺪ‪«.‬‬ ‫ﺩﻛﺘﺮ ﺷﺎﻧﻪﻫﺎﻳﺶ ﺭﺍ ﺑﺎﻻ ﺍﻧﺪﺍﺧﺖ ﻭ ﮔﻔﺖ‪» :‬ﮔﻔﺘﻨﺶ ﺑﺮﺍﻯ ﺗﻮ ﺭﺍﺣﺖ ﺍﺳﺖ‪ .‬ﻫﻴﺠﺪﻩ ﺗﺎ ﻛﻪ ﭘﺎﻧﺰﺩﻩ‬ ‫ﺗﺎﻳﺸﺎﻥ ﺑﭽﻪﻫﺎﻯ ﺧﻮﺩﻣﺎﻥ ﻫﺴﺘﻨﺪ‪«.‬‬ ‫»ﭘﺲ ﺍﺯ ﺍﻭﻝ ﻓﻘﻂ ﺳﻪ ﺗﺎ ﺑﻮﺩﻧﺪ؟«‬ ‫»ﺁﺭﻩ‪ .‬ﺁﻣﺪﻧﺪ ﺍﻳﻦﺟﺎ ﻭ ﻫﻤﻪ ﭼﻴﺰ ﺁﺭﺍﻡﺁﺭﺍﻡ ﺷﺮﻭﻉ ﺷﺪ‪ .‬ﻗﻮﻝ ﺩﺍﺩﻧﺪ ﺍﺯﻣﺎﻥ ﻣﺤﺎﻓﻈﺖ ﻛﻨﻨﺪ ﻭ ﺑﺮﺍﻯ‬ ‫ﻣﺪﺗﻰ ﻫﻢ ﻫﻤﻴﻦ ﻛﺎﺭ ﺭﺍ ﻣﻰﻛﺮﺩﻧﺪ‪ .‬ﺑﻌﺪ ﻳﻜﻰ ﺍﺯ ﭘﺴﺮﻫﺎﻳﻤﺎﻥ ﺭﻓﺖ ﭘﻴﺶﺷﺎﻥ ﻭ ﺑﻌﺪ ﻳﻜﻰ ﺩﻳﮕﺮ ﻭ‬ ‫ﺑﻌﺪ ﺳﻮﻣﻰ ﻭ‪«...‬‬ ‫ﺩﻧﻴﺲ ﮔﻔﺖ‪» :‬ﺑﺎﻳﺪ ﻗﺒﻞ ﺍﺯ ﺍﻳﻦ ﻛﻪ ﺑﺮﻭﻧﺪ ﺳﺮﺍﻏﺸﺎﻥ ﻛﺎﺭﻯ ﻣﻰﻛﺮﺩﻳﺪ‪ .‬ﭼﻨﺪ ﺗﺎ ﻣﺮﺩ‪ ،‬ﭼﻨﺪ ﺗﺎ ﺯﻥ؟«‬ ‫ﺩﻛﺘﺮ ﺻﻮﺭﺗﺶ ﺭﺍ ﺩﺭ ﻫﻢ ﻛﺸﻴﺪ ﻭ ﮔﻔﺖ‪» :‬ﺩﻭ ﺗﺎ ﺯﻥ ﺩﺍﺭﻧﺪ‪ .‬ﻭﻟﻰ ﺍﻳﻦ ﺑﺮﺍﻳﺸﺎﻥ ﻣﺴﺄﻟﻪﺍﻯ ﻧﻴﺴﺖ‪.‬‬ ‫ﺍﮔﺮ ﺣﻮﺻﻠﻪﺷﺎﻥ ﺳﺮ ﺑﺮﻭﺩ‪ ،‬ﻣﻰﺁﻳﻨﺪ ﺯﻥﻫﺎﻯ ﻣﺎ ﺭﺍ ﻣﻰﺑﺮﻧﺪ‪«.‬‬ ‫ﺩﻧﻴﺲ ﭘﺮﺳﻴﺪ‪» :‬ﺍﺳﻢ ﮔﺮﻭﻫﺸﺎﻥ ﭼﻴﺴﺖ؟«‬ ‫»ﺑﻪ ﺧﻮﺩﺷﺎﻥ ﻣﻰﮔﻮﻳﻨﺪ »ﺧﻮﻥﺁﺷﺎﻡﻫﺎﻯ ﻧﻴﻢﺭﻭﺯ«‪ .‬ﭼﻮﻥ ﻫﺮ ﺭﻭﺯ ﺍﺯ ﺭﻭﻯ ﺳﺎﻋﺖ ﺩﻗﻴﻘﺎً ﺳﺮ ﻇﻬﺮ‬ ‫ﻣﻰﺁﻳﻨﺪ ﻛﻪ ﺯﺟﺮﻣﺎﻥ ﺑﺪﻫﻨﺪ‪«.‬‬ ‫»ﻭ ﺭﻳﻴﺲﺷﺎﻥ؟«‬ ‫»ﺍﺳﻤﺶ ﺁﻧﺘﻮﻥ ﭘﺎﻭﻟﻮﻳﭻ ﺍﺳﺖ‪«.‬‬ ‫ﺩﻧﻴﺲ ﺑﻠﻨﺪ ﺷﺪ ﻭ ﺑﻪ ﻃﺮﻑ ﺩﺭ ﺭﻓﺖ‪» .‬ﻣﻦ ﻫﻴﭻﻭﻗﺖ ﺍﻳﻦ ﺟﺮﻳﺎﻥ ﺭﺍ ﺩﺭﻙ ﻧﻤﻰﻛﻨﻢ‪ .‬ﺍﻳﻦ ﻛﻪ‬ ‫ﻳﻚ ﻣﺸﺖ ﺯﺍﻟﻮﻯ ﺧﻮﻧﺨﻮﺍﺭ ﻛﻞ ﻣﺮﺩﻡ ﻳﻚ ﺷﻬﺮ ﺭﺍ ﺑﻪ ﺯﺍﻧﻮ ﺩﺭ ﻣﻰﺁﻭﺭﻧﺪ‪ ...‬ﻭ ﻫﻤﻪ ﻣﺜﻞ ﮔﻮﺳﻔﻨﺪ‬ ‫ﻳﻚ ﮔﻮﺷﻪ ﻣﻰﻧﺸﻴﻨﻨﺪ ﻭ ﻧﮕﺎﻩ ﻣﻰﻛﻨﻨﺪ‪ «.‬ﻟﺤﻈﻪﺍﻯ ﺳﺎﻛﺖ ﻣﺎﻧﺪ ﻭ ﺑﻌﺪ ﺍﺩﺍﻣﻪ ﺩﺍﺩ‪» :‬ﻛﺠﺎ ﻣﻰﺗﻮﺍﻧﻢ‬ ‫ﭼﻴﺰﻯ ﺑﺮﺍﻯ ﺧﻮﺭﺩﻥ ﭘﻴﺪﺍ ﻛﻨﻢ؟«‬ ‫»ﻳﻚ ﻛﺎﻓﻪ ﺁﻥ ﻃﺮﻑ ﺧﻴﺎﺑﺎﻥ ﻫﺴﺖ‪ «.‬ﺩﻛﺘﺮ ﻳﻚ ﺑﺮﺵ ﺩﻳﮕﺮ ﻫﻨﺪﻭﺍﻧﻪ ﺗﻤﺎﻡ ﻛﺮﺩﻩ ﺑﻮﺩ ﻭ ﺣﺎﻻ ﺑﺎ‬ ‫ﭘﺮﻳﺸﺎﻥ ﺧﻴﺎﻟﻰ ﺑﻪ ﭘﻮﺳﺖ ﺳﺒﺰﺵ ﺩﻧﺪﺍﻥ ﻣﻰﻛﺸﻴﺪ‪» .‬ﺍﻳﻦﺟﺎ ﻳﻚ ﻛﺎﻓﻪ ﺑﻴﺸﺘﺮ ﻧﺪﺍﺭﻳﻢ‪«.‬‬ ‫‪ ‬ﺻﺎﺣﺐ ﻛﺎﻓﻪ ﺍﻭﻟﻴﻦ ﺁﺩﻡ ﺷﻬﺮ ﺑﻮﺩ ﻛﻪ ﭼﺸﻤﺎﻧﻰ ﺯﻧﺪﻩ ﺩﺍﺷﺖ‪ .‬ﻭﻗﺘﻰ ﺩﻧﻴﺲ ﻭﺍﺭﺩ ﺷﺪ‪ ،‬ﺳﻪ ﻧﻔﺮ‬ ‫ﭘﺸﺖ ﻣﻴﺰﻫﺎﻯ ﻏﺬﺍﺧﻮﺭﻯ ﻧﺸﺴﺘﻪ ﺑﻮﺩﻧﺪ؛ ﺍﻣﺎ ﻫﺮ ﺳﻪ ﻧﺎﮔﻬﺎﻥ ﺑﻠﻨﺪ ﺷﺪﻧﺪ ﻭ ﺑﻴﺮﻭﻥ ﺭﻓﺘﻨﺪ؛ ﺍﻧﮕﺎﺭ ﻛﻪ‬ ‫ﺑﻮﻯ ﻧﺎﺧﻮﺷﺎﻳﻨﺪﻯ ﺣﻀﻮﺭ ﺩﻧﻴﺲ ﺭﺍ ﻫﻤﺮﺍﻫﻰ ﻛﻨﺪ‪.‬‬ ‫ﺯﻧﻰ ﻛﻪ ﭼﻨﺪﺍﻥ ﻫﻢ ﭘﻴﺮ ﻧﺒﻮﺩ‪ ،‬ﺑﺎ ﺍﻳﻦ ﺣﺎﻝ ﺭﮔﻪﻫﺎﻳﻰ ﺧﺎﻛﺴﺘﺮﻯ ﺩﺭ ﻣﻴﺎﻥ ﻣﻮﻫﺎﻳﺶ ﺑﻪ ﭼﺸﻢ‬ ‫ﻣﻰﺧﻮﺭﺩ‪ ،‬ﺑﻪ ﻃﺮﻑ ﺩﻧﻴﺲ ﺁﻣﺪ ﻭ ﺑﺮﺍﻯ ﭼﻨﺪ ﻟﺤﻈﻪ ﺑﻪ ﭼﺸﻤﺎﻥ ﺍﻭ ﺧﻴﺮﻩ ﺷﺪ ﻭ ﺑﻌﺪ ﺳﺮﻯ ﺗﻜﺎﻥ‬ ‫ﺩﺍﺩ‪ .‬ﮔﻔﺖ‪» :‬ﻫﺮ ﭼﻨﺪﺗﺎﻳﻰﺷﺎﻥ ﺭﺍ ﻛﻪ ﻣﻰﺗﻮﺍﻧﻰ ﺑﻜﺶ‪ .‬ﺍﻟﺘﻤﺎﺳﺖ ﻣﻰﻛﻨﻢ‪«.‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،9-10‬ﺷﻬﺮﻳﻮﺭ ﻭ ﻣﻬﺮ ‪1390‬‬

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‫ﻭﺣﺸﺖ ‪ -‬ﺗﺮﺟﻤﻪ‬

‫‪‬ﺑﻴﻤﺎﺭﺳﺘﺎﻥ ﺧﻴﻠﻰ ﻛﻮﭼﻚ‪ ،‬ﻭﻟﻰ ﺣﺪﺍﻗﻞ ﺍﺯ ﺍﻳﺴﺘﮕﺎﻩ ﻗﻄﺎﺭ ﺑﺰﺭگﺗﺮ ﺑﻮﺩ‪ .‬ﺩﻭ ﻃﺒﻘﻪ ﺩﺍﺷﺖ ﻭ ﺩﺭ‬ ‫ﻃﺒﻘﻪﻯ ﺩﻭﻡ ﭘﺸﺖﭘﻨﺠﺮﻩﺍﻯﻫﺎﻯ ﺷﻜﺴﺘﻪ ﺭﺍ ﻧﺎﺷﻴﺎﻧﻪ ﺑﺎ ﭘﻼﺳﺘﻴﻚ ﭘﻮﺷﺎﻧﺪﻩ ﺑﻮﺩﻧﺪ‪ .‬ﺩﻧﻴﺲ ﺗﻮﻯ‬ ‫ﺣﻴﺎﻁ ﻗﺪﻡ ﺯﺩ ﻭ ﺳﻴﮕﺎﺭﺵ ﺭﺍ ﺗﻤﺎﻡ ﻛﺮﺩ‪ .‬ﻋﺎﻗﺒﺖ ﺗﺼﻤﻴﻤﺶ ﺭﺍ ﮔﺮﻓﺖ ﻭ ﺿﺮﺑﻪﻯ ﻛﻮﺗﺎﻫﻰ ﺑﻪ ﺩﺭ‬ ‫ﺯﺩ ﻭ ﺑﺪﻭﻥ ﺍﻳﻦ ﻛﻪ ﻣﻨﺘﻈﺮ ﺟﻮﺍﺑﻰ ﺷﻮﺩ‪ ،‬ﺩﺍﺧﻞ ﺷﺪ‪.‬‬ ‫ﺍﺣﺘﻤﺎﻻً ﺩﻛﺘﺮ ﺩﺭ ﻫﻤﺎﻥ ﺑﻴﻤﺎﺭﺳﺘﺎﻥ ﺯﻧﺪﮔﻰ ﻣﻰﻛﺮﺩ؛ ﻭﮔﺮﻧﻪ ﭼﺮﺍ ﺑﺎﻳﺪ ﺻﺒﺢ ﺑﻪ ﺍﻳﻦ ﺯﻭﺩﻯ ﺳﺮ ﻛﺎﺭ‬ ‫ﺁﻣﺪﻩ ﺑﺎﺷﺪ؟ ﺩﻛﺘﺮ ﭘﻴﺮ ﻭ ﭼﺎﻕ ﭘﺸﺖ ﻣﻴﺰﺵ ﻧﺸﺴﺘﻪ ﺑﻮﺩ‪ .‬ﻳﻚ ﮔﻮﺷﻰ ﻃﺒﻰ ﻛﻪ ﻧﺸﺎﻧﻪﻯ ﺣﺮﻓﻪﻯ‬ ‫ﺩﻛﺘﺮ ﺑﻮﺩ‪ ،‬ﮔﻮﺷﻪﺍﻯ ﺍﺯ ﻣﻴﺰ ﻗﺮﺍﺭ ﺩﺍﺷﺖ‪ .‬ﺩﻛﺘﺮ ﺩﺍﺷﺖ ﻫﻨﺪﻭﺍﻧﻪ ﻣﻰﺧﻮﺭﺩ‪.‬‬ ‫ﻣﺮﺩ ﺑﺸﻘﺎﺑﻰ ﺑﻪ ﻃﺮﻑ ﺩﻧﻴﺲ ﻫﻞ ﺩﺍﺩ ﻭ ﮔﻔﺖ‪» :‬ﺑﻨﺸﻴﻦ‪ .‬ﺑﺨﻮﺭ‪ .‬ﺧﺎﻙ ﺍﻳﻦﺟﺎ ﺷﻨﻰ ﺍﺳﺖ ﻭ‬ ‫ﻫﻨﺪﻭﺍﻧﻪﻫﺎﻯ ﻣﺤﺸﺮﻯ ﺑﺎﺭ ﻣﻰﺁﻳﺪ‪ .‬ﺑﺮﺍﻯ ﻛﻠﻴﻪ ﻫﻢ ﻣﻔﻴﺪ ﺍﺳﺖ‪«.‬‬ ‫ﺩﻧﻴﺲ ﮔﻔﺖ‪» :‬ﻣﻦ ﻧﮕﺮﺍﻥ ﻛﻠﻴﻪﻫﺎﻳﻢ ﻧﻴﺴﺘﻢ‪ .‬ﭘﺴﺮﺗﺎﻥ‪«...‬‬ ‫ﺩﻛﺘﺮ ﺑﺪﻭﻥ ﺍﻳﻦ ﻛﻪ ﺳﺮﺵ ﺭﺍ ﺑﺎﻻ ﺑﻴﺎﻭﺭﺩ ﻭ ﺍﻭ ﺭﺍ ﻧﮕﺎﻩ ﻛﻨﺪ‪ ،‬ﮔﻔﺖ‪» :‬ﻣﻰﺩﺍﻧﻢ‪ .‬ﭘﻴﻮﺗﺮ ﻛﻤﻰ ﻗﺒﻞ‬ ‫ﺍﻳﻦﺟﺎ ﺑﻮﺩ‪«.‬‬ ‫ﺩﻧﻴﺲ ﭼﻴﺰﻯ ﻧﮕﻔﺖ‪.‬‬ ‫ﺩﻛﺘﺮ ﭘﺮﺳﻴﺪ‪» :‬ﺧﻮﺏ ﭼﻪ ﺍﻧﺘﻈﺎﺭﻯ ﺩﺍﺷﺘﻰ؟ ﻣﻦ ﻛﻪ ﻧﻤﻰﺗﻮﺍﻧﻢ ﺍﺯﺕ ﺗﺸﻜﺮ ﻛﻨﻢ‪ .‬ﻭﻟﻰ ﺑﻪ ﭼﻴﺰﻯ‬ ‫ﻫﻢ ﻣﺘﻬﻤﺖ ﻧﻤﻰﻛﻨﻢ‪ .‬ﺑﻠﻪ‪ ،‬ﻭﺍﻗﻌﺎً ﺧﻮﺷﺤﺎﻟﻢ ﻛﻪ ﺍﻳﻦ ﻋﺬﺍﺏ ﺗﻤﺎﻡ ﺷﺪ‪ .‬ﺍﻳﻦ ﻛﻪ ﺑﺒﻴﻨﻰ ﭘﺴﺮ ﺧﻮﺩﺕ‬ ‫ﺗﺒﺪﻳﻞ ﺑﻪ ﻳﻚ ﻫﻴﻮﻻ ﺷﺪﻩ‪ ...‬ﻭﺍﻗﻌﺎً ﺯﺟﺮﻛﺸﺖ ﻣﻰﻛﻨﺪ‪«.‬‬ ‫ﺩﻧﻴﺲ ﮔﻔﺖ‪» :‬ﺩﺭﻛﺘﺎﻥ ﻣﻰﻛﻨﻢ‪«.‬‬ ‫ﺩﻛﺘﺮ ﭘﻮﺳﺘﻪﻯ ﺳﺒﺰ ﻫﻨﺪﻭﺍﻧﻪ ﺭﺍ ﻛﻨﺎﺭ ﮔﺬﺍﺷﺖ ﻭ ﺗﻜﻪﻯ ﺩﻳﮕﺮﻯ ﺑﺮﺩﺍﺷﺖ‪ .‬ﺯﻳﺮﻟﺒﻰ ﮔﻔﺖ‪» :‬ﺍﻣﺎ ﺣﺎﻻ‬ ‫ﻣﺜ ً‬ ‫ﻼ ﺑﻪ ﭼﻰ ﺭﺳﻴﺪﻯ؟ ﺣﺎﻻ ﻣﻰﺁﻳﻨﺪ ﻣﻰﻛﺸﻨﺪﺕ‪ .‬ﻣﺎ ﺭﺍ ﻫﻢ ﭼﻮﻥ ﺧﻮﺩﻣﺎﻥ ﻧﻜﺸﺘﻴﻤﺖ‪ ،‬ﺗﻨﺒﻴﻪ‬ ‫ﻣﻰﻛﻨﻨﺪ‪«.‬‬ ‫ﺩﻧﻴﺲ ﭘﺮﺳﻴﺪ‪» :‬ﭼﻨﺪ ﺗﺎ ﻫﺴﺘﻨﺪ؟«‬ ‫»ﺣﺪﻭﺩﺍ ً ﺑﻴﺴﺖ ﺗﺎ‪«.‬‬ ‫»ﻣﻰﺷﻮﺩ ﺩﻗﻴﻖﺗﺮ ﺑﮕﻮﻳﻴﺪ؟«‬ ‫ﺩﻛﺘﺮ ﻛﻪ ﺁﺏ ﻗﺮﻣﺰ ﺍﺯ ﻟﺐ ﻭ ﻟﻮﭼﻪﺍﺵ ﺭﻭﺍﻥ ﺷﺪﻩ ﺑﻮﺩ ﮔﻔﺖ‪» :‬ﻫﻴﺠﺪﻩ ﺗﺎ‪ .‬ﺍﻟﺒﺘﻪ ﺑﻪ ﺟﺰ ﭘﺴﺮ ﺧﻮﺩﻡ‪«.‬‬ ‫ﺩﻧﻴﺲ ﺑﺎ ﻟﺤﻦ ﻗﺎﻃﻌﻰ ﮔﻔﺖ‪» :‬ﺩﻳﮕﺮ ﻻﺯﻡ ﻧﻴﺴﺖ ﺍﻭ ﺭﺍ ﺣﺴﺎﺏ ﻛﻨﻴﺪ‪ .‬ﺍﻳﻦ ﺷﻬﺮ ﺻﺪ ﺗﺎﻳﻰ ﻣﺮﺩ ﺩﺍﺭﺩ‪،‬‬ ‫ﻧﻤﻰﺗﻮﺍﻧﻴﺪ ﺧﻮﺩﺗﺎﻥ ﺗﺮﺗﻴﺐﺷﺎﻥ ﺭﺍ ﺑﺪﻫﻴﺪ؟«‬ ‫ﺩﻛﺘﺮ ﺳﺮﺵ ﺭﺍ ﺗﻜﺎﻥ ﺩﺍﺩ ﻭ ﮔﻔﺖ‪» :‬ﺻﺪ ﺗﺎ ﻧﻴﺴﺘﻴﻢ‪ .‬ﺍﮔﺮ ﻓﻘﻂ ﺑﺰﺭﮔﺴﺎﻝﻫﺎ ﺭﺍ ﺣﺴﺎﺏ ﻛﻨﻰ‪ ،‬ﻫﻔﺘﺎﺩ‬ ‫ﺗﺎ ﻫﺴﺘﻴﻢ‪«.‬‬

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‫ﻭﻳﮋﻩﻧﺎﻣﻪﻯ ﺧﻮﻥﺁﺷﺎﻡﻫﺎ‬

‫ﻭﺣﺸﺖ ‪ -‬ﺗﺮﺟﻤﻪ‬

‫ﺑﻮﺩ؛ ﺩﺍﺷﺖ ﻳﺦ ﻣﻰﺯﺩ‪ .‬ﺑﻌﺪﺍﺯﻇﻬﺮ ﻣﻰﺭﻭﺩ‪«.‬‬ ‫ﻣﺮﺩ ﺟﻮﺍﻥ ﺟﻮﺍﺑﻰ ﻧﺪﺍﺩ ﻭ ﻟﺒﺶ ﺭﺍ ﺑﻪ ﺩﻧﺪﺍﻥ ﮔﺮﻓﺖ‪.‬‬ ‫ﺩﻧﻴﺲ ﺍﺯ ﺭﻳﻴﺲ ﺍﻳﺴﺘﮕﺎﻩ ﭘﺮﺳﻴﺪ‪» :‬ﺍﻳﻦ ﻛﻴﻪ؟ ﻳﻚ ﺑﭽﻪ ﻣﺰﻟﻒ؟«‬ ‫ﭼﺎﻯ ﺑﻪ ﮔﻠﻮﻯ ﭘﻴﻮﺗﺮ ﭘﺮﻳﺪ ﻭ ﺗﻨﺪﺗﻨﺪ ﺳﺮﺵ ﺭﺍ ﺗﻜﺎﻥ ﺩﺍﺩ‪.‬‬ ‫ﭼﺸﻤﺎﻥ ﺟﻮﺍﻧﻚ ﺑﺎ ﺷﻨﻴﺪﻥ ﺍﻳﻦ ﺗﻮﻫﻴﻦ ﺩﺭﺷﺖ ﻭ ﮔﺮﺩ ﺷﺪ‪ .‬ﻛﻼﻣﻰ ﺣﺮﻑ ﻧﺰﺩ –ﻛﻪ ﺩﻧﻴﺲ ﺍﺯ ﺍﻳﻦ‬ ‫ﺑﺎﺑﺖ ﺗﻮﻯ ﺩﻝ ﺗﺤﺴﻴﻨﺶ ﻛﺮﺩ– ﻓﻘﻂ ﺧﻴﻠﻰ ﺳﺮﻳﻊ ﺍﺳﻠﺤﻪﺍﺵ ﺭﺍ ﺑﺎﻻ ﺁﻭﺭﺩ‪ .‬ﺭﻳﻴﺲ ﺍﻳﺴﺘﮕﺎﻩ ﺯﻳﺮ‬ ‫ﻣﻴﺰ ﺷﻴﺮﺟﻪ ﺭﻓﺖ‪.‬‬ ‫ﺭﻭﻟﻮﺭ ﺩﻧﻴﺲ ﺗﻨﻬﺎ ﻳﻚ ﮔﻠﻮﻟﻪ ﺷﻠﻴﻚ ﻛﺮﺩ‪ .‬ﺳﻮﺭﺍﺧﻰ ﺭﻭﻯ ﻛﺖ ﭼﺮﻣﻰ ﺳﻴﺎﻩ ﺟﻮﺍﻧﻚ ﻇﺎﻫﺮ ﺷﺪ ﻭ‬ ‫ﺑﻮﻯ ﺗﻨﺪ ﺑﺎﺭﻭﺕ ﺩﺭ ﺍﺗﺎﻕ ﭘﻴﭽﻴﺪ‪ .‬ﺟﻮﺍﻧﻚ ﻧﮕﺎﻫﻰ ﺑﻪ ﺩﻧﻴﺲ ﺍﻧﺪﺍﺧﺖ –ﻧﮕﺎﻫﻰ ﺭﻧﺠﻴﺪﻩ‪ ،‬ﺩﺭﺳﺖ ﻣﺜﻞ‬ ‫ﺑﭽﻪﺍﻯ ﻛﻪ ﺟﻠﻮﻯ ﺑﺎﺯﻯ ﻣﻮﺭﺩ ﻋﻼﻗﻪﺍﺵ ﺭﺍ ﮔﺮﻓﺘﻪ ﺑﺎﺷﻨﺪ– ﻭ ﺑﻌﺪ ﺑﻪ ﺳﻨﮕﻴﻨﻰ ﺭﻭﻯ ﺯﻣﻴﻦ ﺍﻓﺘﺎﺩ‪.‬‬ ‫ﺩﻧﻴﺲ ﺑﻪ ﭘﻴﻮﺗﺮ ﮔﻔﺖ‪» :‬ﺗﻮ ﺑﺮﻭ‪ .‬ﻣﻦ ﺍﻳﻦﺟﺎ ﺭﺍ ﺗﺮ ﻭ ﺗﻤﻴﺰ ﻣﻰﻛﻨﻢ‪«.‬‬ ‫ﺭﻳﻴﺲ ﺍﻳﺴﺘﮕﺎﻩ ﻫﻤﺎﻥﻃﻮﺭ ﻛﻪ ﺍﺯ ﺯﻳﺮ ﻣﻴﺰ ﺑﻴﺮﻭﻥ ﻣﻰﺧﺰﻳﺪ ﮔﻔﺖ‪» :‬ﭼﻰ ﻛﺎﺭ ﻛﺮﺩﻯ؟ ﭼﻰ ﻛﺎﺭ‬ ‫ﻛﺮﺩﻯ؟ ﺑﻬﺘﺮ ﺑﻮﺩ ﺑﻌﺪﺍﺯﻇﻬﺮ ﺑﻰﺳﺮ ﻭ ﺻﺪﺍ ﻣﻰﺭﻓﺘﻰ ‪«...‬‬ ‫»ﺍﺯ ﺍﻳﻦ ﻣﺪﻝ ﺯﻧﺪﮔﻰ ﺧﺴﺘﻪ ﻧﺸﺪﻯ؟«‬ ‫»ﻫﻤﻪ ﺍﻳﻦ ﻣﺪﻟﻰ ﺯﻧﺪﮔﻰ ﻣﻰﻛﻨﻨﺪ‪ ،‬ﺣﺎﻻ ﺑﺪﻯﺍﺵ ﺑﺮﺍﻯ ﻫﻤﻪ ﺍﺳﺖ!«‬ ‫ﺩﻧﻴﺲ ﻣﺼﻤﻢ ﮔﻔﺖ‪» :‬ﻧﻪ‪ ،‬ﻫﻤﻪ ﺍﻳﻦﻃﻮﺭﻯ ﺯﻧﺪﮔﻰ ﻧﻤﻰﻛﻨﻨﺪ‪ .‬ﺑﺮﻭ‪«.‬‬ ‫ﺭﻳﻴﺲ ﺍﻳﺴﺘﮕﺎﻩ ﺑﺎ ﻗﻮﺱ ﺑﺰﺭﮔﻰ ﺑﻪ ﻃﺮﻑ ﺩﺭ ﺭﻓﺖ‪ ،‬ﺍﻣﺎ ﭼﻜﻤﻪﻫﺎﻯ ﺟﻮﺍﻧﻚ –ﭼﻜﻤﻪﻫﺎﻳﻰ ﺳﻨﮕﻴﻦ‬ ‫ﻭ ﻧﻈﺎﻣﻰ ﻭ ﺑﻨﺪﺩﺍﺭ– ﺩﺭﺳﺖ ﻣﻴﺎﻥ ﭼﺎﺭﭼﻮﺏ ﺭﺍ ﮔﺮﻓﺘﻪ ﺑﻮﺩﻧﺪ ﻭ ﭘﻴﺮﻣﺮﺩ ﻋﺎﻗﺒﺖ ﻣﺠﺒﻮﺭ ﺷﺪ ﺍﺯ ﺭﻭﻯ‬ ‫ﺟﻨﺎﺯﻩ ﺭﺩ ﺷﻮﺩ‪.‬‬ ‫ﺩﻧﻴﺲ ﭘﺮﺳﻴﺪ‪» :‬ﺍﻳﻦ ﻳﻜﻰ ﺧﺎﺭﺟﻰ ﺑﻮﺩ ﻳﺎ ﺍﺯ ﺍﻫﺎﻟﻰ ﺧﻮﺩﺗﺎﻥ؟«‬ ‫ﺭﻳﻴﺲ ﺍﻳﺴﺘﮕﺎﻩ ﺍﻳﺴﺘﺎﺩ ﻭ ﺩﺳﺘﭙﺎﭼﻪ ﺍﺯ ﺳﺮ ﺟﻨﺎﺯﻩ ﺧﻢ ﺷﺪ‪ .‬ﺭﻭﻯ ﻟﺐﻫﺎﻯ ﺧﺸﻜﺶ ﺯﺑﺎﻥ ﻛﺸﻴﺪ ﻭ‬ ‫ﻛﻼﻩ ﺧﺪﻣﺘﺶ ﺑﺎ ﻗﻴﻄﺎﻥﺩﻭﺯﻯ ﺍﺭﻏﻮﺍﻧﻰ ﺭﺍ ﺑﺮﺩﺍﺷﺖ ﻭ ﺁﻥ ﺭﺍ ﻣﻴﺎﻥ ﺩﺳﺖﻫﺎﻳﺶ ﻣﭽﺎﻟﻪ ﻛﺮﺩ‪.‬‬ ‫»ﺍﺯ ﺧﻮﺩﻣﺎﻥ‪ .‬ﺍﻳﻦ ﭘﺴﺮ ﺩﻛﺘﺮ ﺍﺳﺖ‪«.‬‬ ‫»ﻛﺠﺎ ﻣﻰﺗﻮﺍﻧﻢ ﭘﻴﺪﺍﻳﺶ ﻛﻨﻢ؟«‬ ‫»ﺩﻛﺘﺮ ﺭﺍ؟ ﺍﻳﻦ ﺧﻴﺎﺑﺎﻥ ﺭﺍ ﺑﮕﻴﺮ‪ «...‬ﻭ ﻃﻮﺭﻯ ﺩﺳﺘﺶ ﺭﺍ ﺗﻜﺎﻥ ﺩﺍﺩ ﻛﻪ ﻧﺸﺎﻥ ﺩﻫﺪ ﺷﻬﺮ ﻓﻘﻂ ﻳﻚ‬ ‫ﺧﻴﺎﺑﺎﻥ ﺩﺍﺭﺩ ﻛﻪ ﺍﺯ ﺍﻳﺴﺘﮕﺎﻩ ﺑﻪ ﻃﺮﻑ ﺩﺭﻳﺎ ﻛﺸﻴﺪﻩ ﺷﺪﻩ ﺍﺳﺖ‪» .‬ﻭﺳﻂ ﺭﺍﻩ ﻳﻚ ﺑﻴﻤﺎﺭﺳﺘﺎﻥ ﻛﻮﭼﻚ‬ ‫ﻫﺴﺖ‪ .‬ﺍﻟﺒﺘﻪ ﻳﻚ ﻛﻠﻴﻨﻴﻚ ﺍﺳﺖ‪ ،‬ﻧﻪ ﺑﻴﻤﺎﺭﺳﺘﺎﻥ‪ .‬ﻭﻟﻰ ﻣﺎ ﺍﻳﻦﺟﻮﺭﻯ ﺻﺪﺍﻳﺶ ﻣﻰﻛﻨﻴﻢ‪«.‬‬ ‫ﺩﻧﻴﺲ ﮔﻔﺖ‪» :‬ﺗﻮ ﺑﺮﻭ ﺧﺎﻧﻪ‪ .‬ﺑﺮﻭ‪ .‬ﺑﺮﻭ‪ .‬ﻣﻦ ﺍﻳﻦﺟﺎ ﺭﺍ ﺗﺮ ﻭ ﺗﻤﻴﺰ ﻣﻰﻛﻨﻢ‪«.‬‬

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‫ﻭﻳﮋﻩﻧﺎﻣﻪﻯ ﺧﻮﻥﺁﺷﺎﻡﻫﺎ‬

‫ﻣﻰﺁﻭﺭﻧﺪ‪ .‬ﻣﺎﻫﻴﮕﻴﺮﻫﺎ ﻫﻢ ﻳﻚ ﺗﻮﺭﺑﻴﻦ ﺑﺎﺩﻯ ﺩﺍﺭﻧﺪ‪ .‬ﻳﻜﻰ ﺍﺯ ﺁﻥ ﻗﺪﻳﻤﻰﻫﺎ‪«.‬‬ ‫»ﭼﻄﻮﺭ ﺍﻣﺮﺍﺭ ﻣﻌﺎﺵ ﻣﻰﻛﻨﻴﺪ؟«‬ ‫ﭘﻴﻮﺗﺮ ﺑﺎ ﺭﮔﻪﺍﻯ ﺍﺯ ﺗﻨﻔﺮ ﺩﺭ ﺻﺪﺍﻳﺶ ﮔﻔﺖ‪» :‬ﻣﺜﻞ ﻫﻤﻪ‪ .‬ﻫﺮ ﻛﺎﺭﻯ ﻻﺯﻡ ﺑﺎﺷﺪ ﻣﻰﻛﻨﻴﻢ‪ .‬ﺑﻪ ﺧﺎﻙ‬ ‫ﺳﻴﺨﻮﻧﻚ ﻣﻰﺯﻧﻴﻢ‪ ،‬ﺍﻣﺎ ﺧﺎﻙ ﺍﻳﻦ ﺍﻃﺮﺍﻑ ﻣﺮﻏﻮﺏ ﻧﻴﺴﺖ‪ .‬ﻣﺎﻫﻰ ﻣﻰﮔﻴﺮﻳﻢ‪ .‬ﺭﻭﺯﻫﺎ ﻗﻄﺎﺭ ﺑﺎﺭﻯ‬ ‫ﻣﻰﺁﻳﺪ ﻭ ﺭﻭﺯﻯ ﺩﻩ ﺑﺸﻜﻪ ﻣﺎﻫﻰ ﺑﻪ ﺷﻬﺮ ﻣﻰﻓﺮﺳﺘﻴﻢ‪«.‬‬ ‫»ﻧﻤﻚﺳﻮﺩ؟«‬ ‫»ﺗﺎﺯﻩ‪ .‬ﺑﻴﻦﺷﺎﻥ ﻋﻠﻒ ﺧﻴﺲ؛ ﻳﻌﻨﻰ ﺟﻠﺒﻚ ﺩﺭﻳﺎﻳﻰ ﻣﻰﮔﺬﺍﺭﻳﻢ‪ .‬ﺍﻳﻦﻃﻮﺭﻯ ﺗﻤﺎﻡ ﺭﻭﺯ ﺗﺎﺯﻩ‬ ‫ﻣﻰﻣﺎﻧﻨﺪ‪«.‬‬ ‫»ﺩﻳﮕﺮ ﭼﻰ؟«‬ ‫ﺭﻳﻴﺲ ﺍﻳﺴﺘﮕﺎﻩ ﺍﻫﻢﺍﻫﻤﻰ ﻛﺮﺩ ﻭ ﺟﻮﺍﺏ ﺩﺍﺩ‪» :‬ﺧﻮﺏ ﺑﻪ ﻃﻮﺭ ﻛﻠﻰ ﻫﻴﭽﻰ‪ .‬ﻛﺎﺭﻯ ﻭﺟﻮﺩ ﻧﺪﺍﺭﺩ‪.‬‬ ‫ﺍﻳﻦﺟﺎ ﭘﻴﺎﺩﻩ ﺷﺪﻧﺖ ﺑﻰﻓﺎﻳﺪﻩ ﺑﻮﺩ‪«.‬‬ ‫ﺩﻧﻴﺲ ﮔﻔﺖ‪» :‬ﻣﻦ ﻫﻤﻴﺸﻪ ﻛﺎﺭ ﭘﻴﺪﺍ ﻣﻰﻛﻨﻢ‪«.‬‬ ‫ﺑﻌﺪ ﺍﺯ ﻛﺘﺮﻯ ﻧﻴﻜﻠﻰ ﺑﺮﺍﻯ ﺧﻮﺩﺵ ﺩﻭﺑﺎﺭﻩ ﭼﺎﻯ ﺭﻳﺨﺖ‪ .‬ﻛﺘﺮﻯ ﺗﻨﻬﺎ ﻭﺳﻴﻠﻪﻯ ﺗﻤﻴﺰ ﻭ ﻣﺮﺗﺐ ﺩﺭﻭﻥ‬ ‫ﺩﻓﺘﺮ ﺑﻮﺩ‪ .‬ﭼﺎﻯ ﺩﻡ ﻛﺸﻴﺪﻩ ﻫﻢ ﻭﺍﻗﻌﻰ ﺑﻮﺩ‪ ،‬ﺍﻧﮕﺎﺭ ﺍﺯ ﺩﻭﺭﺍﻥ ﮔﺬﺷﺘﻪ ﺭﺳﻴﺪﻩ ﺑﺎﺷﺪ‪.‬‬ ‫ﭘﻴﻮﺗﺮ ﮔﻔﺖ‪» :‬ﻣﺘﺄﺳﻔﺎﻧﻪ ﺷﻜﺮﻯ ﺑﺎﻗﻰ ﻧﻤﺎﻧﺪﻩ‪ .‬ﻫﻴﭻﻭﻗﺖ ﺷﻜﺮ ﺑﻪ ﺍﻧﺪﺍﺯﻩﻯ ﻛﺎﻓﻰ ﻧﺪﺍﺭﻳﻢ‪«.‬‬ ‫»ﻣﻦ ﭼﺎﻳﻢ ﺭﺍ ﺷﻴﺮﻳﻦ ﻧﻤﻰﺧﻮﺭﻡ‪«.‬‬ ‫ﺭﻳﻴﺲ ﺍﻳﺴﺘﮕﺎﻩ ﻧﮕﺎﻩ ﺧﺴﺘﻪ ﻭ ﭼﺸﻤﺎﻥ ﻣﻠﺘﻤﺴﺶ ﺭﺍ ﺑﺎﻻ ﺁﻭﺭﺩ ﻭ ﮔﻔﺖ‪» :‬ﺑﻬﺘﺮ ﺍﺳﺖ ﺑﺮﻭﻯ‪ .‬ﻗﻄﺎﺭ‬ ‫ﺑﺎﺭﻯ ﺑﻌﺪﺍﺯﻇﻬﺮ ﺭﺍﻩ ﻣﻰﺍﻓﺘﺪ‪ .‬ﻣﻦ ﺳﻮﺍﺭﺕ ﻣﻰﻛﻨﻢ‪ .‬ﺑﺎ ﻣﻬﻨﺪﺳﺶ ﺣﺮﻑ ﻣﻰﺯﻧﻢ ﻭ ﺍﻭ ﺗﻮﻯ ﻛﺎﺑﻴﻦ‬ ‫ﺑﻬﺖ ﺟﺎ ﻣﻰﺩﻫﺪ‪ ،‬ﻣﻰﺗﻮﺍﻧﻰ ﺑﺮﻭﻯ ﻭ ‪«...‬‬ ‫ﺍﻣﺎ ﺟﻤﻠﻪﺍﺵ ﻧﻴﻤﻪﺗﻤﺎﻡ ﻣﺎﻧﺪ‪ ،‬ﭼﻮﻥ ﻫﻤﺎﻥ ﻟﺤﻈﻪ ﺿﺮﺑﻪﺍﻯ ﺑﻪ ﺩﺭ ﺧﻮﺭﺩ ﻭ ﻛﺴﻰ ﻭﺍﺭﺩ ﺍﺗﺎﻕ ﺷﺪ‪.‬‬ ‫ﭘﻴﻮﺗﺮ ﺍﻳﺴﺘﺎﺩ ﻭ ﺯﻳﺮ ﻟﺐ ﮔﻔﺖ‪» :‬ﺧﻮﺏ ﺧﻮﺏ‪«.‬‬ ‫ﺩﻧﻴﺲ ﭼﺎﻯﺍﺵ ﺭﺍ ﺗﻤﺎﻡ ﻛﺮﺩ ﻭ ﺑﻌﺪ ﺭﻭﻳﺶ ﺭﺍ ﺑﺮﮔﺮﺩﺍﻧﺪ‪.‬‬ ‫ﻣﺮﺩ ﺟﻮﺍﻧﻰ ﻣﻴﺎﻥ ﭼﺎﺭﭼﻮﺏ ﺩﺭ ﺍﻳﺴﺘﺎﺩﻩ ﺑﻮﺩ؛ ﻻﻏﺮ‪ ،‬ﻣﻮﻣﺸﻜﻰ‪ ،‬ﺑﺎ ﭼﺸﻤﺎﻧﻰ ﺗﻴﺰ ﻭ ﺯﻧﺪﻩ ﻭ ﻟﺒﺎﻧﻰ‬ ‫ﺳﺮﺥ‪ ،‬ﺍﻧﮕﺎﺭ ﻛﻪ ﺁﻥﻫﺎ ﺭﺍ ﺭﻧﮓ ﻛﺮﺩﻩ ﺑﺎﺷﺪ‪ .‬ﻛﺖ ﭼﺮﻣﻰ ﺳﻴﺎﻫﻰ ﺑﺎ ﮔﻞﻣﻴﺦﻫﺎﻯ ﻧﻘﺮﻩﺍﻯ ﺩﺭﺧﺸﺎﻥ‬ ‫ﺑﻪ ﺗﻦ ﻭ ﺷﻠﻮﺍﺭ ﭼﺮﻡ ﺗﻨﮕﻰ ﺑﻪ ﭘﺎﻫﺎﻯ ﻻﻏﺮ ﻭ ﺩﺭﺍﺯﺵ ﺩﺍﺷﺖ‪ .‬ﺑﺎ ﺩﺳﺖ ﭼﭗ ﻳﻚ ﺗﻔﻨﮓ ﺍﺗﻮﻣﺎﺗﻴﻚ‬ ‫ﺭﺍ ﻧﮕﻪ ﺩﺍﺷﺘﻪ ﺑﻮﺩ – ﺁﻥ ﻫﻢ ﺧﻴﻠﻰ ﺑﻰﺧﻴﺎﻝ‪ ،‬ﺩﺭﺳﺖ ﺑﻪ ﺧﻮﺩﺳﺮﻯ ﻳﻚ ﭘﺴﺮﻙ ﻧﺎﺑﺎﻟﻎ‪.‬‬ ‫ﻣﺮﺩ ﺟﻮﺍﻥ ﭘﺮﺳﻴﺪ‪» :‬ﺍﻳﻦ ﻛﻴﻪ؟«‬ ‫ﺭﻳﻴﺲ ﺍﻳﺴﺘﮕﺎﻩ ﮔﻔﺖ‪» :‬ﻓﻘﻂ ﻳﻚ ﻣﺴﺎﻓﺮ ﮔﺬﺭﻯ‪ .‬ﺍﻣﺮﻭﺯ ﺻﺒﺢ ﺍﺯ ﻗﻄﺎﺭ ﭘﻴﺎﺩﻩ ﺷﺪ‪ .‬ﺳﻮﺍﺭ ﻭﺍﮔﻦ ﺑﺎﺭﻯ‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،9-10‬ﺷﻬﺮﻳﻮﺭ ﻭ ﻣﻬﺮ ‪1390‬‬

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‫ﻭﺣﺸﺖ ‪ -‬ﺗﺮﺟﻤﻪ‬

‫ﻟﻮﻛﻮﻣﻮﺗﻴﻮ ﺳﻮﺗﻰ ﻛﺸﻴﺪ ﻭ ﺑﻪ ﺭﺍﻩ ﺍﻓﺘﺎﺩ‪ .‬ﺭﻳﻴﺲ ﺍﻳﺴﺘﮕﺎﻩ ﭘﺮﭼﻢ ﻋﻼﻣﺖﺩﻫﻨﺪﻩ ﺭﺍ ﭘﻴﭽﺎﻧﺪ ﻭ ﺗﻮﻯ‬ ‫ﻟﻮﻟﻪﺍﻯ ﻓﺮﻭ ﻛﺮﺩ‪ .‬ﺑﻌﺪ ﻧﮕﺎﻫﻰ ﺑﻪ ﻗﻄﺎﺭ ﺭﻭﻧﺪﻩ ﺍﻧﺪﺍﺧﺖ ﻭ ﺍﺷﺎﺭﻩﺍﻯ ﻛﺮﺩ ﻭ ﮔﻔﺖ‪» :‬ﻫﻤﺴﻔﺮﺕ ﭼﻰ؟«‬ ‫ﺩﻧﻴﺲ ﻣﺘﻮﺟﻪ ﺷﺪ ﻛﻪ ﭘﺎﻯ ﻭﻟﮕﺮﺩ ﺍﺯ ﻣﻴﺎﻥ ﺩﺭ ﺑﺎﺯ ﻭﺍﮔﻦ ﺑﺎﺭﻯ ﺩﻳﺪﻩ ﻣﻰﺷﻮﺩ‪.‬‬ ‫ﻣﺮﺩ ﺳﻮﺍﻝ ﺭﺍ ﺧﻮﺩﻛﺎﺭ ﭘﺮﺳﻴﺪﻩ ﺑﻮﺩ؛ ﺩﺭﺳﺖ ﻫﻤﺎﻥﻃﻮﺭ ﻛﻪ ﻫﺮ ﺭﻭﺯ ﺑﺮﺍﻯ ﺩﻳﺪﻥ ﻗﻄﺎﺭ ﻣﻰﺁﻣﺪ ﻭ‬ ‫ﺩﺭﺳﺖ ﻫﻤﺎﻥﻃﻮﺭ ﻛﻪ ﭘﺮﭼﻢ ﺭﺍ ﻟﻮﻟﻪ ﻣﻰﻛﺮﺩ‪ .‬ﺍﻭ ﺑﺎﺭﻫﺎ ﭼﻨﻴﻦ ﻭﺿﻌﻴﺘﻰ ﺭﺍ ﺩﻳﺪﻩ ﺑﻮﺩ‪ .‬ﺧﻴﻠﻰ ﺯﻳﺎﺩ‪.‬‬ ‫ﺩﻧﻴﺲ ﺟﻮﺍﺏ ﺩﺍﺩ‪» :‬ﻫﻨﻮﺯ ﺍﺯ ﻣﺴﻴﺮﺵ ﻣﺎﻧﺪﻩ‪ .‬ﺷﻬﺮﺗﺎﻥ ﺑﺰﺭگ ﺍﺳﺖ؟«‬ ‫ﺭﻳﻴﺲ ﺍﻳﺴﺘﮕﺎﻩ ﺟﻮﺍﺏ ﺩﺍﺩ‪» :‬ﺩﻭﻳﺴﺖ ﻭ ﺳﻰ ﻧﻔﺮ ﺟﻤﻌﻴﺖ‪ .‬ﺑﻪ ﺍﺿﺎﻓﻪﻯ ﻳﻚ ﻧﻮﺯﺍﺩ‪ ،‬ﺩﺧﺘﺮ ﻣﻌﻠﻢ‬ ‫ﻣﺪﺭﺳﻪ‪ .‬ﻭﻟﻰ ﺍﺯ ﺍﻭﻟﺶ ﻣﺮﻳﺾ ﺑﻪ ﺩﻧﻴﺎ ﺁﻣﺪﻩ‪ «.‬ﻣﺮﺩ ﺷﺎﻧﻪﺍﻯ ﺑﺎﻻ ﺍﻧﺪﺍﺧﺖ ﻭ ﺍﺩﺍﻣﻪ ﺩﺍﺩ‪» :‬ﻧﻤﻰﺩﺍﻧﻢ‬ ‫ﺍﻳﻦ ﺑﭽﻪ ﻫﻢ ﺣﺴﺎﺏ ﺍﺳﺖ ﻳﺎ ﻧﻪ‪«.‬‬ ‫ﺗﻠﻖﺗﻠﻖ ﭼﺮﺥﻫﺎﻯ ﻗﻄﺎﺭ ﺩﺭ ﺩﻭﺭﺩﺳﺖ ﻣﺤﻮ ﺷﺪ ﻭ ﺣﺎﻻ ﻓﻘﻂ ﺯﻣﺰﻣﻪﻯ ﺩﺭﻳﺎ ﺑﺎﻗﻰ ﻣﺎﻧﺪﻩ ﺑﻮﺩ‪.‬‬ ‫»ﻣﻦ ﺩﻧﻴﺲ ﻫﺴﺘﻢ‪«.‬‬ ‫ﺭﻳﻴﺲ ﺍﻳﺴﺘﮕﺎﻩ ﮔﻔﺖ‪» :‬ﭘﻴﻮﺗﺮ‪«.‬‬ ‫ﻭ ﺑﻌﺪ ﺩﺳﺘﺶ ﺭﺍ –ﻛﺎﻣ ً‬ ‫ﻼ ﻣﻜﺎﻧﻴﻜﻰ ﻭ ﺧﺎﻟﻰ ﺍﺯ ﺍﺣﺴﺎﺱ‪ ،‬ﺩﺭﺍﺯ ﻛﺮﺩ‪ .‬ﺩﻧﻴﺲ ﺩﺳﺘﺶ ﺭﺍ– ﻣﺤﻜﻢ ﻭ‬ ‫ﺑﺎ ﺍﺭﺍﺩﻩ ﻓﺸﺮﺩ‪.‬‬ ‫ﭘﻴﻮﺗﺮ ﻛﻪ ﻋﺎﻗﺒﺖ ﺍﻧﺪﻛﻰ ﺍﺣﺴﺎﺱ ﺩﺭ ﺻﻮﺭﺕ ﻭ ﺻﺪﺍﻳﺶ ﭘﻴﺪﺍ ﺷﺪﻩ ﺑﻮﺩ‪ ،‬ﮔﻔﺖ‪» :‬ﺍﻭﻩ‪ ،‬ﺗﻮ ﻛﻪ ﺩﺍﺭﻯ‬ ‫ﻳﺦ ﻣﻰﺯﻧﻰ‪ .‬ﺑﻴﺎ ﺑﺮﻭﻳﻢ ﺗﻮ‪ .‬ﺑﺮﺍﻳﺖ ﭼﺎﻯ ﺩﺭﺳﺖ ﻣﻰﻛﻨﻢ‪«.‬‬ ‫ﺩﻧﻴﺲ ﺳﺮﻯ ﺗﻜﺎﻥ ﺩﺍﺩ ﻭ ﺑﻪ ﺩﻧﺒﺎﻝ ﺍﻭ ﻭﺍﺭﺩ ﺍﻳﺴﺘﮕﺎﻩ ﺷﺪ – ﺳﺎﺧﺘﻤﺎﻧﻰ ﻛﻮﭼﻚ ﻭ ﻳﻚ ﻃﺒﻘﻪ ﻛﻪ ﺍﺯ‬ ‫ﺁﺟﺮ ﻗﺮﻣﺰ ﻭ ﺳﻘﻒ ﺳﻔﺎﻟﻰ ﺳﺎﺧﺘﻪ ﺷﺪﻩ ﺑﻮﺩ‪.‬‬ ‫ﺩﺭ ﺩﻓﺘﺮ ﺳﺮﺩ ﻭ ﻧﻴﻤﻪﻭﻳﺮﺍﻥ ﺍﻳﺴﺘﮕﺎﻩ ﭼﺎﻯ ﻧﻮﺷﻴﺪﻧﺪ‪ .‬ﺩﺭ ﮔﻮﺷﻪﺍﻯ ﺍﺯ ﺍﺗﺎﻕ ﭘﺮﭼﻢﻫﺎﻯ ﻛﻬﻨﻪ ﻭ‬ ‫ﻗﺮﻣﺰﻯ ﺑﺎ ﻛﻠﻤﺎﺕ ﻃﻼﻳﻰ ﺧﺎﻙ ﺟﻤﻊ ﻣﻰﻛﺮﺩﻧﺪ –ﻇﺎﻫﺮﺍ ً ﻧﺸﺎﻧﻪﻯ ﭘﻴﺮﻭﺯﻯ ﺩﺭ ﻧﻮﻋﻰ ﺭﻗﺎﺑﺖ‬ ‫ﻛﺎﺭﮔﺮﻯ ﺳﻮﺳﻴﺎﻟﻴﺴﺘﻰ ﺍﺯ ﻗﺮﻭﻥ ﮔﺬﺷﺘﻪ ﺑﻮﺩﻧﺪ‪ .‬ﺭﻭﻯ ﻣﻴﺰ ﻳﻚ ﺗﻠﻔﻦ ﭘﻼﺳﺘﻴﻜﻰ ﺳﻴﺎﻩ ﻗﺮﺍﺭ ﺩﺍﺷﺖ؛‬ ‫ﺗﻠﻔﻨﻰ ﻛﻪ ﺍﺻ ً‬ ‫ﻼ ﺑﺎ ﻣﺤﻴﻂ ﺍﻃﺮﺍﻓﺶ ﺳﺎﺯﺵ ﻭ ﻫﻤﺨﻮﺍﻧﻰ ﻧﺪﺍﺷﺖ– ﻳﺎﺩﮔﺎﺭ ﺩﻭﺭﺍﻧﻰ ﻛﻪ ﻫﻨﻮﺯ ﻫﻤﻪ‬ ‫ﭼﻴﺰ ﺑﻪ ﮔﻨﺪ ﻛﺸﻴﺪﻩ ﻧﺸﺪﻩ ﺑﻮﺩ‪.‬‬ ‫ﺩﻧﻴﺲ ﺟﺮﻋﻪﺍﻯ ﺍﺯ ﭼﺎﻯ ﺩﺍﻍ ﻓﺮﻭ ﺩﺍﺩ ﻭ ﮔﻔﺖ‪» :‬ﺍﻳﻦ ﻛﺎﺭ ﻣﻰﻛﻨﺪ؟«‬ ‫ﭘﻴﻮﺗﺮ ﺣﺘﺎ ﻟﺒﺨﻨﺪ ﻫﻢ ﻧﺰﺩ ﻭ ﮔﻔﺖ‪» :‬ﺣﺘﻤﺎً ﺷﻮﺧﻰﺍﺕ ﮔﺮﻓﺘﻪ‪ .‬ﻭﻟﻰ ﺑﺎﻳﺪ ﻳﻚ ﺧﻂ ﺗﻠﻔﻦ ﺩﺍﺷﺘﻪ‬ ‫ﺑﺎﺷﻴﻢ‪ .‬ﻫﻨﻮﺯ ﺍﻳﻦ ﻗﺎﻧﻮﻥ ﻟﻐﻮ ﻧﺸﺪﻩ‪«.‬‬ ‫»ﺷﻬﺮ ﺑﺮﻕ ﺩﺍﺭﺩ؟«‬ ‫ﺭﻳﻴﺲ ﺍﻳﺴﺘﮕﺎﻩ ﻣﺤﺘﺎﻃﺎﻧﻪ ﺟﻮﺍﺏ ﺩﺍﺩ‪» :‬ﺑﻴﻤﺎﺭﺳﺘﺎﻥ ﻳﻚ ژﻧﺮﺍﺗﻮﺭ ﺩﺍﺭﺩ‪ .‬ﻛﻢ ﻭ ﺑﻴﺶ ﻧﻔﺖ ﻫﻢ‬

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‫ﻭﻳﮋﻩﻧﺎﻣﻪﻯ ﺧﻮﻥﺁﺷﺎﻡﻫﺎ‬

‫ﭼﺮﺥﻫﺎﻯ ﻗﻄﺎﺭ ﺁﻭﺍﺯ ﺧﻮﺩﺷﺎﻥ ﺭﺍ ﻣﻰﺧﻮﺍﻧﺪﻧﺪ‪ .‬ﺩﻧﻴﺲ ﻛﻤﻰ ﺟﺎﺑﺠﺎ ﺷﺪ ﻭ ﺯﻳﺮﻟﺒﻰ ﮔﻔﺖ‪:‬‬ ‫»ﻗﻄﺎﺭ ﻣﻰﺭﻭﺩ ‪ /‬ﭼﻪ ﻗﺸﻨﮓ‬ ‫ﭼﺮﺥﻫﺎ ﻣﻰﻟﺮﺯﻧﺪ ‪ /‬ﺩﻳﻨﮓ ﺩﻧﮓ ﺩﻧﮓ!«‬ ‫ﺑﻌﺪ ﻣﺪﺗﻰ ﭼﺮﺕ ﺯﺩ‪.‬‬ ‫ﻭﻗﺘﻰ ﺳﺮﻣﺎﻯ ﺳﭙﻴﺪﻩﺩﻡ ﻭﺍﮔﻦ ﺭﺍ ﺩﺭ ﺧﻮﺩ ﭘﻴﭽﻴﺪ‪ ،‬ﺩﻧﻴﺲ ﺑﺮﺧﺎﺳﺖ‪ .‬ﺑﻠﻨﺪ ﺷﺪ‪ ،‬ﺍﺳﻠﺤﻪﺍﺵ ﺭﺍ‬ ‫ﺑﺮﺩﺍﺷﺖ ﻭ ﺍﺯ ﺍﻧﺘﻬﺎﻯ ﻭﺍﮔﻦ ﺑﻪ ﺳﻤﺖ ﺳﻜﻮﻯ ﻛﺎﺭﮔﺮﺍﻥ ﺭﻓﺖ‪ .‬ﺗﻮﻯ ﻳﻜﻰ ﺍﺯ ﺁﻏﻞﻫﺎ ﻭﻟﮕﺮﺩﻯ‬ ‫ﺑﻰﺣﺮﻛﺖ ﻣﻴﺎﻥ ﺳﺎﻳﻪﻫﺎ ﺩﺭﺍﺯ ﻛﺸﻴﺪﻩ ﺑﻮﺩ‪ .‬ﺩﻧﻴﺲ ﻧﮕﺎﻫﺶ ﺭﺍ ﺑﺮﮔﺮﺩﺍﻧﺪ‪.‬‬ ‫ﺳﭙﻴﺪﻩ ﺯﺩ‪ .‬ﺩﺭ ﻭﺍﮔﻦ ﺑﺎﺯ ﺑﻮﺩ ﻭ ﺩﻳﺸﺐ ﺍﺯ ﻫﻤﻴﻦ ﺭﺍﻩ ﻭﺍﺭﺩ ﻗﻄﺎﺭ ﺷﺪﻩ ﺑﻮﺩ‪ .‬ﺑﻴﺮﻭﻥ ﻭ ﺭﻭﻯ ﺳﻜﻮ ﺳﺮ‬ ‫ﻓﺮﺻﺖ ﺍﺩﺭﺍﺭ ﻛﺮﺩ ﻭ ﺑﻌﺪ ﻧﺸﺴﺖ ﻭ ﭘﺎﻫﺎﻳﺶ ﺭﺍ ﺍﺯ ﻟﺒﻪﻯ ﺳﻜﻮ ﺁﻭﻳﺰﺍﻥ ﻛﺮﺩ‪ .‬ﻧﺮﺩﺑﺎﻥ ﺑﻰﭘﺎﻳﺎﻧﻰ ﺯﻳﺮﺵ‬ ‫ﻛﺸﻴﺪﻩ ﺷﺪﻩ ﺑﻮﺩ؛ ﺭﻳﻞﻫﺎ ﻣﺜﻞ ﺩﻭ ﻛﻤﺎﻥ ﺩﻭﻗﻠﻮ ﻣﻰﻣﺎﻧﺴﺘﻨﺪ ﻭ ﻣﻴﻠﻪﻫﺎﻯ ﺍﺗﺼﺎﻝﺩﻫﻨﺪﻩ ﺍﺯ ﺷﺪﺕ‬ ‫ﻗﻄﺮﺍﻥ ﺳﻴﺎﻩ ﺷﺪﻩ ﺑﻮﺩﻧﺪ‪ .‬ﺍﮔﺮ ﺳﺮﺕ ﺭﺍ ﺑﻪ ﻋﻘﺐ ﺧﻢ ﻣﻰﻛﺮﺩﻯ‪ ،‬ﺩﺭﺳﺖ ﻣﺜﻞ ﺍﻳﻦ ﺑﻮﺩ ﻛﻪ ﻗﻄﺎﺭ‬ ‫ﺩﺍﺭﺩ ﺭﻭﻯ ﺧﻮﺩ ﺁﺳﻤﺎﻥ ﻣﻰﺳﺮﺩ‪.‬‬ ‫ﺩﻧﻴﺲ ﺗﻜﺮﺍﺭ ﻛﺮﺩ‪» :‬ﭼﺮﺥﻫﺎ ﻣﻰﻟﺮﺯﻧﺪ؛ ﺩﻳﻨﮓ ﺩﻧﮓ ﺩﻧﮓ‪«.‬‬ ‫ﻳﻚ ﺭﺑﻊ ﺑﻌﺪ‪ ،‬ﻭﻗﺘﻰ ﻗﻄﺎﺭ ﻣﺸﻐﻮﻝ ﺗﻮﻗﻒ ﺩﺭ ﺷﻬﺮ ﻛﻮﭼﻜﻰ ﺑﻮﺩ‪ ،‬ﺩﻧﻴﺲ ﻣﻴﺎﻥ ﺩﺭﻫﺎﻯ ﺑﺎﺯ ﻭﺍﮔﻦ‬ ‫ﺑﺎﺭﻯ ﺍﻳﺴﺘﺎﺩ ﻭ ﺳﻴﮕﺎﺭﺵ ﺭﺍ ﺗﻤﺎﻡ ﻛﺮﺩ‪ .‬ﻗﻄﺎﺭ ﻭﺍﺭﺩ ﺭﻳﻞ ﺷﻤﺎﺭﻩﻯ ﻳﻚ ﺷﺪ؛ ﺭﻭﻯ ﺭﻳﻞ ﺷﻤﺎﺭﻩﻯ‬ ‫ﺩﻭ ﻗﻄﺎﺭﻯ ﺑﺎ ﺗﺎﻧﻜﺮ ﻭ ﻭﺍﮔﻦﻫﺎﻯ ﺑﺎﺭﻯ ﺑﺎ ﺳﺮ ﻭ ﺻﺪﺍ ﻭ ﺁﻭﺍﺯ ﺭﻭﻯ ﺟﻬﺖ ﻣﺨﺎﻟﻒ ﺑﻪ ﺣﺮﻛﺖ ﺩﺭ ﺁﻣﺪ‪.‬‬ ‫ﺩﻧﻴﺲ ﺑﺪﻭﻥ ﺍﻳﻦ ﻛﻪ ﻣﻨﺘﻈﺮ ﺗﻮﻗﻒ ﻛﺎﻣﻞ ﻗﻄﺎﺭ ﺷﻮﺩ‪ ،‬ﭘﺎﻳﻴﻦ ﭘﺮﻳﺪ ﻭ ﮔﺮﭼﻪ ﻛﻤﻰ ﺗﻠﻮﺗﻠﻮ ﺧﻮﺭﺩ‪،‬‬ ‫ﺍﻣﺎ ﻧﻴﻔﺘﺎﺩ‪.‬‬ ‫ﺭﻳﻴﺲ ﺍﻳﺴﺘﮕﺎﻩ ﻛﻪ ﻛﻨﺎﺭ ﺭﻳﻞﻫﺎ ﺍﻳﺴﺘﺎﺩﻩ ﺑﻮﺩ ﻭ ﭘﺮﭼﻢ ﻗﺮﻣﺰﻯ ﺑﻪ ﺩﺳﺖ ﺩﺍﺷﺖ‪ ،‬ﮔﻔﺖ‪» :‬ﺗﻮﻗﻒ ﻓﻘﻂ‬ ‫ﺑﺮﺍﻯ ﻳﻚ ﺩﻗﻴﻘﻪ ﺍﺳﺖ‪«.‬‬ ‫ﻣﺮﺩ ﻧﮕﺎﻩ ﻣﺸﻜﻮﻛﻰ ﺑﻪ ﻭﺍﮔﻦ ﺧﺎﻟﻰ ﺍﻧﺪﺍﺧﺖ‪ .‬ﺟﺰ ﺍﻭ ﻛﺲ ﺩﻳﮕﺮﻯ ﺩﺭ ﺍﻳﺴﺘﮕﺎﻩ ﻧﺒﻮﺩ ﻭ ﻳﻮﻧﻴﻔﺮﻡ ﻣﺮﺩ‬ ‫ﺩﺭﺳﺖ ﻣﺜﻞ ﭼﻬﺮﻩﺍﺵ‪ -‬ﭘﻴﺮ ﻭ ﺷﻜﺴﺘﻪ ﻭ ﭼﺸﻤﺎﻧﺶ ﻣﺎﺕ ﻭ ﻣﺮﺩﻩ ﺑﻮﺩﻧﺪ‪.‬‬‫ﺩﻧﻴﺲ ﮔﻔﺖ‪» :‬ﻣﻦ ﺑﻪ ﻣﻘﺼﺪﻡ ﺭﺳﻴﺪﻩﺍﻡ‪«.‬‬ ‫ﺟﺮﻗﻪﺍﻯ ﺍﺯ ﻛﻨﺠﻜﺎﻭﻯ ﺩﺭ ﭼﺸﻤﺎﻥ ﺭﻳﻴﺲ ﺍﻳﺴﺘﮕﺎﻩ ﻇﺎﻫﺮ ﺷﺪ‪ .‬ﻣﺮﺩ ﺩﻧﻴﺲ ﺭﺍ ﺑﺮﺍﻧﺪﺍﺯ ﻛﺮﺩ ﻭ ﭘﺮﺳﻴﺪ‪:‬‬ ‫»ﺗﻔﻨﮓ ﺩﺍﺭﻯ؟«‬ ‫»ﺭﻭﻟﻮﺭ ﺩﺍﺭﻡ‪«.‬‬ ‫»ﺑﺎ ﻣﺠﻮﺯ؟«‬ ‫»ﻧﻪ‪«.‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،9-10‬ﺷﻬﺮﻳﻮﺭ ﻭ ﻣﻬﺮ ‪1390‬‬

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‫ﻭﺣﺸﺖ ‪ -‬ﺗﺮﺟﻤﻪ‬

‫ﻓﺎﻛﺲﺗﺮﺍﺕ ﺩﺭ ﻧﻴﻢﺭﻭﺯ‬

‫ﺳﺮﮔﺌﻰ ﻟﻮﻛﻴﺎﻧﻨﻜﻮ‬ ‫ﺑﺮﮔﺮﺩﺍﻥ‪ :‬ﺷﻴﺮﻳﻦ ﺳﺎﺩﺍﺕ ﺻﻔﻮﻯ‬

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‫‪‬ﺷﻬﺮ ﻣﺜﻞ ﻣﺮﺩ ﺳﺮﮔﺮﺩﺍﻧﻰ ﻣﻴﺎﻥ ﺯﻣﻴﻦ ﻭ ﺁﺳﻤﺎﻥ‪ ،‬ﺑﻴﻦ ﺩﺭﻳﺎ ﻭ ﻛﻮﻩ ﮔﻢ ﺷﺪﻩ ﺑﻮﺩ‪.‬‬

‫ﻗﻄﺎﺭ ﺗﻤﺎﻡ ﻃﻮﻝ ﺷﺐ ﺍﻣﺘﺪﺍﺩ ﺳﺎﺣﻞ ﺭﺍ ﭘﻴﺶ ﻣﻰﺭﻓﺖ ﻭ ﺻﺪﺍﻯ ﺗﻠﻖﺗﻠﻖ ﭼﺮﺥﻫﺎﻳﺶ ﺑﺎ ﺻﺪﺍﻯ‬ ‫ﻣﻮﺝﻫﺎﻯ ﺩﺭﻳﺎ ﺗﺮﻛﻴﺐ ﺷﺪﻩ ﻭ ﻣﻠﻮﺩﻯ ﺑﻰﭘﺎﻳﺎﻧﻰ ﻣﻰﺳﺎﺧﺖ‪ .‬ﺩﻧﻴﺲ ﺩﺭ ﻭﺍﮔﻦ ﺑﺎﺭﻯ ﺑﻮﺩ ﻭ ﺧﻮﺍﺑﺶ‬ ‫ﻧﻤﻰﺑﺮﺩ‪ .‬ﺭﻭﻯ ﺗﺨﺘﻪﻫﺎﻯ ﻛﻒ ﺩﺭﺍﺯ ﻛﺸﻴﺪﻩ ﺑﻮﺩ ﻛﻪ ﺑﻮﻯ ﻛﺎﻩ ﻭ ﻛﻮﺩ ﺍﺳﺒﻰ ﻣﻰﺩﺍﺩ ﻭ ﺣﺮﻛﺖ‬ ‫ﺳﺘﺎﺭﻩﻫﺎ ﺭﺍ ﺍﺯ ﻣﻴﺎﻥ ﺳﻮﺭﺍﺥﻫﺎﻯ ﺳﻘﻒ ﺷﻴﺎﺭﺩﺍﺭ ﻭﺍﮔﻦ ﺗﻤﺎﺷﺎ ﻣﻰﻛﺮﺩ‪ .‬ﺍﺳﺒﻰ ﺩﺭ ﻭﺍﮔﻦ ﻭﺟﻮﺩ‬ ‫ﻧﺪﺍﺷﺖ – ﺗﻤﺎﻣﻰ ﺁﻏﻞﻫﺎ ﺧﺎﻟﻰ ﺑﻮﺩﻧﺪ – ﻭﻟﻰ ﻫﻨﻮﺯ ﻛﻤﻰ ﻛﺎﻩ ﺑﻮﺩ ﻛﻪ ﺩﻧﻴﺲ ﺁﻥ ﺭﺍ ﺯﻳﺮ ﺳﺮﺵ‬ ‫ﺑﺎﻟﺶ ﻛﺮﺩﻩ ﺑﻮﺩ‪ .‬ﻗﺒﻞ ﺍﺯ ﺧﻮﺍﺏ ﻟﺒﺎﺱﻫﺎﻳﺶ ﺭﺍ ﺩﺭ ﺁﻭﺭﺩﻩ ﺑﻮﺩ ﻭ ﺣﺎﻻ ﺗﻨﻬﺎ ﺯﻳﺮﺷﻠﻮﺍﺭﻯ ﺑﻪ ﺗﻦ‬ ‫ﺩﺍﺷﺖ‪ .‬ﭼﻜﻤﻪﻫﺎﻳﺶ ﻛﻨﺎﺭ ﭘﺎﻫﺎﻳﺶ ﺑﻮﺩﻧﺪ ﻭ ﺷﻠﻮﺍﺭ ﺟﻴﻦ ﻭ ﭘﻴﺮﺍﻫﻦ ﭼﻬﺎﺭﺧﺎﻧﻪ ﻭ ﻛﺖ ﻣﺨﻤﻞ ﻛﻨﺎﺭ‬ ‫ﺩﺳﺘﺶ ﺭﻭﻯ ﻟﺒﻪﻯ ﻳﻜﻰ ﺍﺯ ﺁﻏﻞﻫﺎ ﺁﻭﻳﺰﺍﻥ ﺷﺪﻩ ﺑﻮﺩﻧﺪ‪ .‬ﺩﺳﺖ ﭼﭙﺶ ﺭﺍ ﺭﻭﻯ ﺭﻭﻟﻮﺭ ﺳﻨﮕﻴﻨﻰ‬ ‫ﻣﻴﺎﻥ ﻳﻚ ﺟﻠﺪ ﭼﺮﻣﻰ ﻛﻬﻨﻪ ﻭ ﻓﺮﺳﻮﺩﻩ ﺗﻜﻴﻪ ﺩﺍﺩﻩ ﺑﻮﺩ‪.‬‬

‫ﺑﻮﻣﻰﺳﺎﺯﻯ ﻣﻰﺗﻮﺍﻥ ﺑﻪ ﺧﻮﻥﺁﺷﺎﻡﻫﺎﻯ ﺷﺮﻕ ﺩﻭﺭ ﺍﺷﺎﺭﻩ ﺩﺍﺷﺖ ﻛﻪ ﺑﻪ ﺷﻜﻠﻰ ﻧﺎﻣﺘﺠﺎﻧﺲ ﺑﻪ‬ ‫ﺍﻓﺴﺎﻧﻪﻫﺎﻯ ﻛﻼﺳﻴﻚ ﭘﻴﻮﻧﺪ ﺧﻮﺭﺩﻩ‪ ،‬ﺩﺭ ﺑﻄﻦ ﺍﻧﻴﻤﻪﻫﺎﻯ ﺧﻮﺩ‪ ،‬ﭼﻨﺎﻥ ﻭﻳﮋﮔﻰﻫﺎﻯ ﻋﺠﻴﺒﻰ‬ ‫ﺑﺮﺍﻯ ﺧﻮﻥﺁﺷﺎﻡﻫﺎ ﻣﻌﺮﻓﻰ ﻛﺮﺩﻩﺍﻧﺪ –ﺭ‪.‬ﻙ ﺻﻔﺤﻪﻯ ‪ 130‬ﻭﻳﮋﻩﻧﺎﻣﻪ‪ -‬ﻛﻪ ﺩﺭ ﺭﻳﺸﻪﻯ ﺍﺭﻭﭘﺎﻳﻰ‬ ‫ﺍﻳﻦ ﻣﻮﺟﻮﺩ‪ ،‬ﻧﺸﺎﻧﻰ ﺍﺯ ﺁﻥﻫﺎ ﻧﺒﻮﺩﻩ ﺍﺳﺖ‪ .‬ﺍﻳﻦ ﺗﻐﻴﻴﺮ ﺩﺭ ﻃﻮﻝ ﺗﺎﺭﻳﺦ ﺍﺩﺑﻴﺎﺕ –ﻭ ﻫﻨﺮ– ﺑﻪ‬ ‫ﺳﻔﺮ ﺧﻮﻥﺁﺷﺎﻡﻫﺎ ﺩﺭ ﻣﻴﺎﻥ ﻓﺮﻫﻨﮓ ﻭ ﻣﻠﻞ ﻣﺨﺘﻠﻒ ﻣﺤﺪﻭﺩ ﻧﺸﺪﻩ ﺍﺳﺖ‪ .‬ﭘﻮﻳﺎﻳﻰ ﺧﺼﻮﺻﻴﺎﺕ‬ ‫ﺍﻳﻦ ﻣﻮﺟﻮﺩ ﺑﻪ ﺣﺪﻯ ﺍﺳﺖ ﻛﻪ ﺩﺭ ﺁﺛﺎﺭ ﻧﻮﻳﺴﻨﺪﮔﺎﻥ ﻭ ﺳﻴﻨﻤﺎﮔﺮﺍﻥ ﻣﺘﺄﺧﺮ‪ ،‬ﺑﻪ ﻭﻳﮋﻩ ﺁﺛﺎﺭ‬ ‫ﻫﻨﺮﭘﺮﺩﺍﺯﺍﻥ ﺑﻴﺴﺖ ﺳﺎﻝ ﺍﺧﻴﺮ‪ ،‬ﺗﻐﻴﻴﺮﺍﺕ ﺑﺴﻴﺎﺭ ﻭﺳﻴﻊ ﺩﺭ ﺧﺼﻮﺻﻴﺎﺕ ﻭ ﺗﻮﺍﻧﻤﻨﺪﻯﻫﺎﻯ ﺍﻳﻦ‬ ‫ﻣﻮﺟﻮﺩﺍﺕ ﺑﻪ ﻭﺟﻮﺩ ﺁﻣﺪﻩ ﺍﺳﺖ‪ .‬ﮔﺸﺖ ﻭ ﮔﺬﺍﺭ ﺩﺭ ﺯﻳﺮ ﻧﻮﺭ ﺧﻮﺭﺷﻴﺪ )‪ ،(Twilight‬ﺟﻬﺶﻫﺎﻯ‬ ‫ژﻧﺘﻴﻜﻰ )‪ ،(Blade‬ﺗﻐﺬﻳﻪ ﺍﺯ ﺧﻮﻥ ﻏﻴﺮ ﺍﻧﺴﺎﻧﻰ )‪ ،(Interview with the Vampire‬ﺑﺎﺯﮔﺸﺖ‬ ‫ﺑﻪ ﺫﺍﺕ ﺍﻧﺴﺎﻧﻰ )‪ ،(Day Breaker‬ﻫﻢﺯﻳﺴﺘﻰ ﻣﺴﺎﻟﻤﺖﺁﻣﻴﺰ ﺑﺎ ﮔﺮﮔﻴﻨﻪﻫﺎ )‪،(Being Human‬‬ ‫ﻣﺼﻮﻧﻴﺖ ﺩﺭ ﺑﺮﺍﺑﺮ ﻋﻼﻳﻢ ﻣﺬﻫﺒﻰ )‪ (The Vampire Diaries‬ﻭ‪ ...‬ﺍﺯ ﺟﻤﻠﻪ ﺗﻐﻴﻴﺮﺍﺗﻰ ﻫﺴﺘﻨﺪ‬ ‫ﻛﻪ ﺩﺭ ﻭﺟﻮﺩ ﻣﻮﺟﻮﺩﻯ ﺫﺍﺗﺎً ﺷﺐﺯﻯ‪ ،‬ﺗﺎﺑﻮﺕﺧﻮﺍﺏ‪ ،‬ﻧﺎﻣﻴﺮﺍ‪ ،‬ﻭﺍﺑﺴﺘﻪ ﺑﻪ ﺧﻮﻥ ﺍﻧﺴﺎﻧﻰ ﻭ ﺩﺷﻤﻦ‬ ‫ﻗﺴﻢﺧﻮﺭﺩﻩﻯ ﮔﺮﮔﻴﻨﻪﻫﺎ ﺑﻪ ﻭﺟﻮﺩ ﺁﻭﺭﺩﻩﺍﻧﺪ‪.‬‬ ‫ﭘﻮﻳﺎﻳﻰ ﻭ ﺗﻐﻴﻴﺮﺍﺕ ﻣﺘﻌﺪﺩ ﻭ ﻣﺪﺍﻭﻣﻰ ﻛﻪ ﺍﺯ ﺳﻮﻯ ﻧﻮﻳﺴﻨﺪﮔﺎﻥ ﺩﺭ ﺧﺼﻮﺻﻴﺎﺕ ﺫﺍﺗﻰ‬ ‫ﺧﻮﻥﺁﺷﺎﻡﻫﺎ ﺍﻋﻤﺎﻝ ﺷﺪﻩ ﺍﺳﺖ‪ ،‬ﻧﺸﺎﻥ ﺍﺯ ﺑﺴﺘﺮ ﺟﺬﺍﺏ ﻭ ﺗﻮﺍﻧﻤﻨﺪﻯ ﺍﺳﺖ ﻛﻪ ﺍﻳﻦ ﻣﻮﺟﻮﺩ ﺑﺮ‬ ‫ﺍﺳﺎﺱ ﺁﻥ ﺧﻠﻖ ﺷﺪﻩ ﺍﺳﺖ‪ .‬ﺩﺭ ﺗﺎﺭﻳﺦ ﻣﻮﺟﻮﺩﺍﺕ ﺧﻴﺎﻟﻰ‪ ،‬ﺩﺭ ﻃﻮﻝ ﻗﺮﻥﻫﺎ ﻣﺨﻠﻮﻗﺎﺕ ﺑﺴﻴﺎﺭﻯ‬ ‫ﺧﻠﻖ ﺷﺪﻩﺍﻧﺪ ﻛﻪ ﮔﺮﭼﻪ ﺍﺯ ﺍﺛﺮﻯ ﺑﻪ ﺍﺛﺮ ﺩﻳﮕﺮ ﺗﻐﻴﻴﺮ ﭘﻴﺪﺍ ﻛﺮﺩﻩﺍﻧﺪ‪ ،‬ﺍﻣﺎ ﻫﻤﻮﺍﺭﻩ ﺍﻳﻦ ﺗﻐﻴﻴﺮﺍﺕ‬ ‫ﺟﺰﻳﻰ ﻭ ﺍﻧﺪﻙ ﺑﻮﺩﻩ ﻭ ﺩﺭ ﻧﻬﺎﻳﺖ ﺧﺼﻮﺻﻴﺎﺕ ﺫﺍﺗﻰ ﻣﻮﺟﻮﺩ ﺩﺳﺖ ﻧﺨﻮﺭﺩﻩ ﺑﺎﻗﻰ ﻣﺎﻧﺪﻩ ﺍﺳﺖ‪.‬‬ ‫ﺷﻜﻮﻩ ﺩﺭﻭﻧﻰ ﺧﻮﻥﺁﺷﺎﻡﻫﺎ‪ ،‬ﺩﺭ ﻛﻨﺎﺭ ﺗﻐﻴﻴﺮﺍﺕ ﻣﺪﺍﻭﻣﻰ ﻛﻪ ﺩﺭ ﺧﻠﻖ ﺩﻭﺑﺎﺭﻩ ﺍﻳﻦ ﻣﻮﺟﻮﺩﺍﺕ‬ ‫ﺻﻮﺭﺕ ﮔﺮﻓﺘﻪ ﺍﺳﺖ‪ ،‬ﺁﻥﻫﺎ ﺭﺍ ﺩﺭ ﻃﻮﻝ ﺗﺎﺭﻳﺦ ﭼﻨﺪ ﺻﺪ ﺳﺎﻟﻪﻯ ﺧﻮﺩ ﺑﻪ ﻳﻜﻰ ﺍﺯ ﺟﺬﺍﺏﺗﺮﻳﻦ‬ ‫ﻭ ﺩﻭﺳﺖﺩﺍﺷﺘﻨﻰﺗﺮﻳﻦ ﻣﻮﺟﻮﺩﺍﺕ ﺧﻴﺎﻟﻰ ﺗﺒﺪﻳﻞ ﻛﺮﺩﻩ ﺍﺳﺖ‪ .‬ﺟﺬﺍﺑﻴﺘﻰ ﻛﻪ ﺩﺭ ﺭﻓﺖ ﻭ ﺁﻣﺪ‬ ‫ﻫﻤﻴﺸﮕﻰ ﺍﻳﻦ ﻣﻮﺟﻮﺩ ﻣﻴﺎﻥ ﺩﻭ ﮔﻮﻧﻪﻯ ﻭﺣﺸﺖ ﻭ ﻓﺎﻧﺘﺰﻯ ﻭ ﺑﺮﻗﺮﺍﺭﻯ ﭘﻴﻮﻧﺪﻯ ﻋﻤﻴﻖ ﺑﻴﻦ‬ ‫ﺍﻳﻦ ﺩﻭ ﮔﻮﻧﻪﻯ ﺍﺩﺑﻰ‪ ،‬ﺭﻳﺸﻪﻫﺎﻯ ﺁﻥ ﺭﺍ ﺗﺎ ﺍﻋﻤﺎﻕ ﮔﻮﻧﻪﻯ ﺍﺩﺑﻰ ﮔﻤﺎﻧﻪﺯﻥ ﮔﺴﺘﺮﺍﻧﺪﻩ ﺍﺳﺖ‪.‬‬ ‫ﺟﺬﺍﺑﻴﺖ ﺩﺍﺳﺘﺎﻧﻰ ﺍﻳﻦ ﻣﻮﺟﻮﺩ ﻭ ﺩﻭﺳﺖﺩﺍﺷﺘﻨﻰ ﺑﻮﺩﻥ ﺁﻥ ﺩﺭ ﻣﻴﺎﻥ ﺍﻏﻠﺐ ﻗﺮﻳﺐ ﺑﻪ ﺍﺗﻔﺎﻕ‬ ‫ﻫﻮﺍﺩﺍﺭﺍﻥ ﺍﺩﺑﻴﺎﺕ ﮔﻤﺎﻧﻪﺯﻥ‪ ،‬ﺩﻟﻴﻞ ﺧﻮﺑﻰ ﺑﻮﺩ ﻛﻪ ﻳﻜﻰ ﺍﺯ ﺷﻤﺎﺭﻩﻫﺎﻯ ﻣﺠﻠﻪ ﺷﮕﻔﺖﺯﺍﺭ ﺭﺍ ﺑﻪ‬ ‫ﭘﺮﻭﻧﺪﻩﺳﺎﺯﻯ )!( ﺑﺮﺍﻯ ﺍﻳﻦ ﻣﻮﺟﻮﺩﺍﺕ ﺍﺧﺘﺼﺎﺹ ﺩﻫﻴﻢ؛ ﭘﺮﻭﻧﺪﻩﺍﻯ ﻛﻪ ﺑﺎ ﺗﻼﺵﻫﺎﻯ ﺗﺤﺮﻳﺮﻳﻪ‬ ‫ﻭ ﻫﻤﻜﺎﺭﺍﻥ ﻣﺠﻠﻪ ﻭ ﻣﺤﺒﺖ ﺩﻭﺳﺘﺎﻧﻰ ﻛﻪ ﻣﻄﺎﻟﺐ ﺍﺭﺯﺷﻤﻨﺪ ﻭ ﺟﺬﺍﺑﻰ ﺑﺮﺍﻯ ﺍﻳﻦ ﻭﻳﮋﻩﻧﺎﻣﻪ‬ ‫ﺍﺭﺳﺎﻝ ﻛﺮﺩﻩﺍﻧﺪ‪ ،‬ﺩﺭ ﺍﻳﻦ ﺷﻤﺎﺭﻩ ﺩﺭ ﺍﺧﺘﻴﺎﺭ ﻋﻼﻗﻤﻨﺪﺍﻥ ﻗﺮﺍﺭ ﮔﺮﻓﺘﻪ ﺍﺳﺖ‪.‬‬ ‫ﮔﺬﺷﺘﻪ ﺍﺯ ﻫﻤﻪ ﺍﻳﻦ ﺣﺮﻑﻫﺎ‪ ،‬ﻛﺪﺍﻡ ﻳﻜﻰ ﺍﺯ ﻣﺎ ﺑﻮﺩﻩﺍﻳﻢ ﻛﻪ ﺑﺪﻭﻥ ﺍﻫﻤﻴﺖ ﺩﺍﺩﻥ ﺑﻪ ﻣﺸﻜﻼﺕ‬ ‫ﻋﻠﻤﻰ ﺁﻥ –ﺭ‪.‬ﻙ ﺻﻔﺤﻪﻯ ‪ 112‬ﻭﻳﮋﻩﻧﺎﻣﻪ– ﺣﺪﺍﻗﻞ ﻳﻚ ﺑﺎﺭ ﺩﻟﻤﺎﻥ ﻧﺨﻮﺍﺳﺘﻪ ﻗﺪﺭﺕ‪ ،‬ﺷﻜﻮﻩ‬ ‫ﻭ ﻧﺎﻣﻴﺮﺍﻳﻰ ﺧﻮﻥﺁﺷﺎﻡﻫﺎ ﺭﺍ ﺗﺠﺮﺑﻪ ﻛﺮﺩﻩ ﺑﺎﺷﻴﻢ؟‬ ‫ﺍﻣﻴﺪﻭﺍﺭﻳﻢ ﺍﺯ ﺧﻮﺍﻧﺪﻥ ﺍﻳﻦ ﻭﻳﮋﻩﻧﺎﻣﻪ ﻟﺬﺕ ﺑﺒﺮﻳﺪ‪.‬‬ ‫ﻣﺤﻤﺪ ﺣﺎﺝ ﺯﻣﺎﻥ‬ ‫‪7‬‬

‫ﻭﻳﮋﻩﻧﺎﻣﻪﻯ ﺧﻮﻥﺁﺷﺎﻡﻫﺎ‬

‫ﺳﺨﻦ ﻣﺎﻩ‬ ‫ﺗﻨﻮﻉ ﻣﻮﺟﻮﺩﺍﺗﻰ ﻛﻪ ﺩﺭ ﺩﻧﻴﺎﻫﺎﻯ ﻓﺎﻧﺘﺰﻯ ﺑﺎ ﺁﻥﻫﺎ ﺳﺮ ﻭ ﻛﺎﺭ ﺩﺍﺭﻳﻢ‪ ،‬ﺁﻥ ﻗﺪﺭ ﻣﻰﺷﻮﺩ ﻛﻪ‬ ‫ﺗﺪﻭﻳﻦ ﻓﺮﻫﻨﮓﻧﺎﻣﻪﻯ ﺟﺎﻣﻊ ﺁﻥﻫﺎ –ﺩﺭ ﺻﻮﺭﺕ ﺍﻣﻜﺎﻥ ﭼﻨﻴﻦ ﺍﻣﺮﻯ‪ -‬ﺑﻪ ﭼﻨﺪﻳﻦ ﻭ ﭼﻨﺪ‬ ‫ﻣﺠﻠﺪ ﺑﺎﻟﻎ ﺷﻮﺩ‪ .‬ﺗﺎ ﺑﻪ ﺍﻣﺮﻭﺯ ﻧﻮﻳﺴﻨﺪﮔﺎﻥ‪ ،‬ﻣﺤﻘﻘﺎﻥ ﻭ ﻣﻨﺘﻘﺪﺍﻥ ﺍﺩﺑﻰ ﺑﺴﻴﺎﺭﻯ ﺩﺭ ﻓﺮﻫﻨﮓﻫﺎ‬ ‫ﻭ ﺩﺍﻳﺮﻩﺍﻟﻤﻌﺎﺭﻑﻫﺎﻯ ﮔﻤﺎﻧﻪﺯﻥ‪ ،‬ﺑﻪ ﻓﻬﺮﺳﺖ ﻛﺮﺩﻥ ﻣﻮﺟﻮﺩﺍﺕ ﻓﺎﻧﺘﺰﻯ ﺍﺯ ﻓﺮﻫﻨﮓﻫﺎ ﻭ ﻣﻠﻞ‬ ‫ﮔﻮﻧﺎﮔﻮﻥ ﺍﻗﺪﺍﻡ ﻛﺮﺩﻩﺍﻧﺪ ﻛﻪ ﺍﺯ ﺟﻤﻠﻪ ﻣﻌﺮﻭﻑﺗﺮﻳﻦ ﺁﻥﻫﺎ ﺑﺎﻳﺪ ﺑﻪ »ﺩﺍﻧﺶﻧﺎﻣﻪﻯ ﻓﺎﻧﺘﺰﻯ« ﺑﻪ‬ ‫ﻛﻮﺷﺶ ﺟﺎﻥ ﻛﻠﻮﺕ ﻭ ﻛﺘﺎﺏ »ﻣﻮﺟﻮﺩﺍﺕ ﺧﻴﺎﻟﻰ« ﺑﻮﺭﺧﺲ ﺍﺷﺎﺭﻩ ﺩﺍﺷﺖ‪ .‬ﻧﻤﻮﻧﻪﻫﺎﻯ ﻣﺤﺪﻭﺩ‬ ‫ﺑﻪ ﺩﻧﻴﺎﻫﺎﻯ ﻓﺎﻧﺘﺰﻯ ﺧﺎﺹ ﻧﻴﺰ ﺩﺭ ﺍﻳﻦ ﻣﻴﺎﻥ ﻭﺟﻮﺩ ﺩﺍﺭﺩ ﻛﻪ ﺍﺯ ﻣﻌﺮﻭﻑﺗﺮﻳﻦ ﺁﻥﻫﺎ »ﻣﻮﺟﻮﺩﺍﺕ‬ ‫ﺷﮕﻔﺖﺍﻧﮕﻴﺰ ﻭ ﺯﻳﺴﺘﮕﺎﻩ ﺁﻥﻫﺎ«‪ ،‬ﺟﻰ‪ .‬ﻛﻰ‪ .‬ﺭﻭﻟﻴﻨﮓ ﺍﺳﺖ ﻛﻪ ﺑﻪ ﻃﻮﺭ ﺧﺎﺹ ﺑﻪ ﺩﻧﻴﺎﻯ‬ ‫ﻣﻮﺟﻮﺩﺍﺕ ﺧﻴﺎﻟﻰ ﻣﺠﻤﻮﻋﻪﻯ ﻫﺮﻯ ﭘﺎﺗﺮ ﺍﺧﺘﺼﺎﺹ ﺩﺍﺭﺩ‪ .‬ﮔﺮﭼﻪ ﻛﺎﻣﻞﺗﺮﻳﻦ ﺍﻳﻦ ﻧﻤﻮﻧﻪﻫﺎ‬ ‫ﻧﻴﺰ ﻓﺎﻗﺪ ﺷﺮﻁ ﺟﺎﻣﻌﻴﺖ ﺑﻮﺩﻩ ﻭ ﺟﺪﺍﻯ ﺁﻥ ﻛﻪ ﺗﻤﺎﻣﻰ ﻣﻮﺟﻮﺩﺍﺕ ﺭﺍ ﺩﺭ ﺑﺮ ﻧﻤﻰﮔﻴﺮﻧﺪ‪ ،‬ﺑﺎ‬ ‫ﺩﺭ ﻧﻈﺮ ﮔﺮﻓﺘﻦ ﻣﻮﺟﻮﺩﺍﺕ ﺍﺳﺎﻃﻴﺮﻯ ﺩﺭ ﺯﻣﺮﻩﻯ ﻃﺒﻘﻪﺑﻨﺪﻯ ﻣﻮﺟﻮﺩﺍﺕ ﻓﺎﻧﺘﺰﻯ‪ ،‬ﺍﻳﻦ ﻋﺪﻡ‬ ‫ﺟﻬﺎﻥﺷﻤﻮﻟﻰ ﻭ ﻧﻘﺺ ﺧﻮﺩ ﺭﺍ ﺑﻴﺸﺘﺮ ﻧﻤﺎﻳﺎﻥ ﻣﻰﻛﻨﺪ‪.‬‬ ‫ﺩﺭ ﺍﻳﻦ ﻣﻴﺎﻥ‪ ،‬ﻳﻜﻰ ﺍﺯ ﺟﺬﺍﺏﺗﺮﻳﻦ ﻭ ﻋﺎﻡﺗﺮﻳﻦ ﺍﻳﻦ ﻣﻮﺟﻮﺩﺍﺕ ﻛﻪ ﺩﺭ ﺍﻏﻠﺐ ﻓﺮﻫﻨﮓﻫﺎ ﻭ‬ ‫ﻛﺘﺎﺏﻫﺎﻯ ﺣﺎﻝ ﺣﺎﺿﺮ ﻧﺸﺎﻧﻰ ﺍﺯ ﺁﻥ ﺑﻪ ﭼﺸﻢ ﻣﻰﺧﻮﺭﺩ ﻭ ﺩﺭ ﺑﺴﻴﺎﺭﻯ ﺍﺯ ﻓﺮﻫﻨﮓﻫﺎﻯ ﻣﻠﻞ‬ ‫ﮔﻮﻧﺎﮔﻮﻥ ﺭﺳﻮﺥ ﻛﺮﺩﻩ ﺍﺳﺖ‪ ،‬ﺧﻮﻥﺁﺷﺎﻡﻫﺎ ﻫﺴﺘﻨﺪ‪ .‬ﻧﻔﻮﺫ ﺍﻳﻦ ﻣﻮﺟﻮﺩﺍﺕ ﺩﺭ ﻓﺮﻫﻨﮓ ﻣﻠﻞ ﺗﺎ‬ ‫ﺁﻥﺟﺎ ﭘﻴﺶ ﺭﻓﺘﻪ ﺍﺳﺖ ﻛﻪ ﺑﺮﺧﻰ ﻣﻠﺖﻫﺎﻳﻰ ﻛﻪ ﺩﺭ ﻧﻮﺷﺘﻪﻫﺎﻯ ﻛﻬﻦ ﺁﻥﻫﺎ ﻧﺸﺎﻧﻰ ﺍﺯ ﺍﻳﻦ‬ ‫ﻣﻮﺟﻮﺩ ﺑﻪ ﭼﺸﻢ ﻧﻤﻰﺧﻮﺭﺩﻩ ﺍﺳﺖ‪ ،‬ﭘﺲ ﺍﺯ ﻭﺍﻡ ﮔﺮﻓﺘﻦ ﺧﻮﻥﺁﺷﺎﻡﻫﺎ ﺍﺯ ﺭﻳﺸﻪﻫﺎﻯ ﺍﺭﻭﭘﺎﻳﻰ ﺁﻥ‪،‬‬ ‫ﺭﻧﮓ ﺑﻮﻣﻰ ﺑﺮ ﻗﺎﻣﺘﺶ ﺯﺩﻩﺍﻧﺪ ﻭ ﺑﺎ ﺍﺳﺘﻔﺎﺩﻩ ﺍﺯ ﺍﻟﻤﺎﻥﻫﺎﻯ ﺳﻨﺘﻰ–ﺍﺳﺎﻃﻴﺮﻯ ﻓﺮﻫﻨﮓ ﺧﻮﻳﺶ‪،‬‬ ‫ﺁﻥ ﺭﺍ ﺩﺭ ﻗﺎﻟﺒﻰ ﻧﻮ ﺭﻳﺨﺘﻪ‪ ،‬ﺗﻌﺮﻳﻔﻰ ﻣﺘﻔﺎﻭﺕ ﺍﺯ ﺁﻥ ﺍﺭﺍﺋﻪ ﺩﺍﺩﻩﺍﻧﺪ‪ .‬ﺍﺯ ﻣﻬﻢﺗﺮﻳﻦ ﻧﻤﻮﻧﻪﻫﺎﻯ ﺍﻳﻦ‬ ‫ﺷﻤﺎﺭﻩﻯ ‪ ،9-10‬ﺷﻬﺮﻳﻮﺭ ﻭ ﻣﻬﺮ ‪1390‬‬

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‫ﺧﻮﻥﺁﺷﺎﻡﻫﺎ ﺍﺯ ﻣﻨﻈﺮ ﻭﺍﻗﻌﻴﺖ‪ :‬ﻧﮕﺎﻫﻰ ﻭﺍﻗﻊﮔﺮﺍﻳﺎﻧﻪ ﺑﻪ ﺧﻮﻥﺁﺷﺎﻡﻫﺎ‬ ‫ﭘﻮﺭﻳﺎ ﻧﺎﻇﻤﻰ‬

‫ﺑﺨﺶ ﺳﻮﻡ‪ :‬ﭘﺮﻭﻧﺪﻩ‬ ‫‪122‬‬

‫ﺳﻴﻨﻤﺎ‪ :‬ﺷﺎﻋﺮﺍﻧﻪﺗﺮﻳﻦ ﻫﻴﻮﻻﻯ ﺗﺎﺭﻳﺦ ﺳﻴﻨﻤﺎ‬ ‫ﺳﻴﺪ ﺁﺭﻳﺎ ﻗﺮﻳﺸﻰ‬

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‫ﺗﻠﻮﻳﺰﻳﻮﻥ‪ :‬ﻛﻴﻮﻛﺘﺴﻮﻛﻰ‪ :‬ﻧﮕﺎﻫﻰ ﺑﻪ ﺧﻮﻥﺁﺷﺎﻡﻫﺎﻯ ﺁﺳﻴﺎ‬ ‫ﺍﻟﻬﻪ ﻣﺮﺍﺩﻯ‪ ،‬ﻓﺮﺯﻳﻦ ﺳﻮﺭﻯ‪ ،‬ﻫﺎﻧﻴﻪﺳﺎﺩﺍﺕ ﺳﺮﻛﻰ‬

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‫ﺗﻠﻮﻳﺰﻳﻮﻥ‪True Blood :‬؛ ﺟﻮﺷﻴﺪﻥ ﺧﻮﻥ ﻭ ﺷﻬﻮﺕ ﺩﺭ ﺩﻳﮓ‬ ‫ﺧﺮﺩﻩﻓﺮﻫﻨﮓﻫﺎ‬ ‫ﺍﺣﺴﺎﻥ ﻣﺤﻤﺪﺯﺍﺩﻩ‬

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‫ﺗﻠﻮﻳﺰﻳﻮﻥ‪ :‬ﻋﺸﻖ‪ ،‬ﺧﻮﻥ ﻭ ﺳﺎﻳﻪﻫﺎﻯ ﺷﺐ‬ ‫)ﻧﮕﺎﻫﻰ ﺑﻪ ﻣﺠﻤﻮﻋﻪﻫﺎﻯ ﺗﻠﻮﻳﺰﻳﻮﻧﻰ ﺑﺎﻓﻰ ﻭ ﺍﻧﺠﻞ(‬ ‫ﺳﻤﻴﻪ ﻛﺮﻣﻰ‬

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‫ﻛﺘﺎﺏ‪ :‬ﻣﻮﺭﺥ‬ ‫ﻓﺮﺯﻳﻦ ﺳﻮﺭﻯ‬

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‫ﻛﺘﺎﺏ‪ :‬ﺧﻮﻥﺁﺷﺎﻡﻫﺎﻯ ﻛﺘﺎﺏﻫﺎ ﻳﺎ ﻛﺘﺎﺏﻫﺎﻯ ﺧﻮﻥﺁﺷﺎﻣﻰ )ﺗﺮﺟﻤﻪ(‬ ‫ﺑﻬﺎﺭﻩ ﻧﻮﺭﺑﺨﺶ‪ ،‬ﺳﻴﻨﺎ ﻓﺮﺧﻰ‪ ،‬ﻓﺮﺯﻳﻦ ﺳﻮﺭﻯ‬

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‫ﻛﺘﺎﺏ‪ :‬ﺁﻛﺎﺩﻣﻰ ﺧﻮﻥﺁﺷﺎﻡ‬ ‫ﻣﻴﻼﺩ ﻗﺰﻟﻠﻮ‬

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‫ﻛﺘﺎﺏ‪ :‬ﺧﻮﻥﺁﺷﺎﻡﻫﺎﻯ ﻛﺘﺎﺏﻫﺎ ﻳﺎ ﻛﺘﺎﺏﻫﺎﻯ ﺧﻮﻥﺁﺷﺎﻣﻰ )ﺯﺑﺎﻥ ﺍﺻﻠﻰ(‬ ‫ﺷﻴﺮﻳﻦ ﺳﺎﺩﺍﺕ ﺻﻔﻮﻯ‬

‫ﻓﻬﺮﺳﺖ‬ ‫ﺳﺨﻦ ﻣﺎﻩ‬

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‫ﺑﺨﺶ ﺍﻭﻝ‪ :‬ﺩﺍﺳﺘﺎﻥ‬ ‫ﻭﺣﺸﺖ‪ ،‬ﺗﺮﺟﻤﻪ‪ :‬ﻓﺎﻛﺲﺗﺮﺍﺕ ﺩﺭ ﻧﻴﻢﺭﻭﺯ‬

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‫ﺳﺮﮔﺌﻰ ﻟﻮﻛﻴﺎﻧﻨﻜﻮ ‪ /‬ﺷﻴﺮﻳﻦ ﺳﺎﺩﺍﺕ ﺻﻔﻮﻯ‬

‫ﻭﺣﺸﺖ‪ ،‬ﺗﺮﺟﻤﻪ‪ :‬ﺑﻪ ﺳﻼﻣﺘﻰ ﺟﺎﺩﻩ‬

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‫ﺍﺳﺘﻔﻦ ﻛﻴﻨﮓ ‪ /‬ﺳﻤﻴﻪ ﻛﺮﻣﻰ‬

‫ﻭﺣﺸﺖ‪ ،‬ﻧﮕﺎﺭﺵ‪ :‬ﻣﺎﺟﺮﺍﻯ ﺷﻴﺮ ﻭ ﻭﺯﻳﺮ‬

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‫ﻣﻬﺪﻯ ﺑﻨﻮﺍﺭﻯ‬

‫ﻭﺣﺸﺖ‪ ،‬ﻧﮕﺎﺭﺵ‪ :‬ﻛﻮﭼﻪ ﺑﺎﻍ‬

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‫ﻣﻴﻼﺩ ﻗﺰﻟﻠﻮ‬

‫ﺑﺨﺶ ﺩﻭﻡ‪ :‬ﻣﻘﺎﻟﻪ‬ ‫ﺗﺎﻳﭗ ﺧﻮﻥﺁﺷﺎﻣﻰ ﺩﺭﺍﻛﻮﻻ ﻭ ﺭﺳﺎﻧﻪﻫﺎﻯ ﺁﻥ‬

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‫ﺟﻨﻴﻔﺮ ﻭﺍﻳﻚ ‪ /‬ﺷﻬﺮﻳﺎﺭ ﻭﻗﻔﻰ ﭘﻮﺭ‬

‫ﺗﺮﺳﻨﺎﻙ ﺩﻭﺳﺖﺩﺍﺷﺘﻨﻰ‬

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‫ﺍﺑﺮﺍﻫﻴﻢ ﺗﻘﻮﻯ‬

‫ﺩﺍﺳﺘﺎﻥ ﺯﻧﺪﮔﻰ ﻭﻻﺩ ﺗﭙﺶ‪ ،‬ﺻﻼﺑﻪﮔﺮ ﻭﺍﻻﺷﻴﺎ‬

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‫ﻓﺮﺯﻳﻦ ﺳﻮﺭﻯ‬

‫ﺩﺭﺍﻛﻮﻻ ﺍﺯ ﻛﺠﺎ ﺁﻣﺪ ﻭ ﺑﻪ ﻛﺠﺎ ﺭﻓﺖ‬ ‫ﻣﺤﻤﺪ ﺍﻣﻴﻦ ﺑﺎﺑﺎﻳﻰ‬

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‫ﻣﺎﻫﻨﺎﻣﻪﻯ ﺍﺩﺑﻴﺎﺕ ﮔﻤﺎﻧﻪﺯﻥ‬ ‫ﺩﻭﺭﻩﻯ ﻧﺨﺴﺖ‪ ،‬ﺷﻤﺎﺭﻩﻯ ‪ ، 9-10‬ﺷﻬﺮﻳﻮﺭ ﻭ ﻣﻬﺮ ‪1390‬‬

‫ﮔﺮﻭﻩ ﺍﺩﺑﻴﺎﺕ ﮔﻤﺎﻧﻪﺯﻥ‬

‫ﺩﺑﻴﺮ ﺷﻮﺭﺍﻯ ﺳﻴﺎﺳﺖﮔﺬﺍﺭﻯ‪ :‬ﻣﻬﺪﻯ ﺑﻨﻮﺍﺭﻯ‬ ‫ﺳﺮﺩﺑﻴـــــﺮ ﻣﺠﻠـــــﻪ‪ :‬ﺷﻴﺮﻳﻦ ﺳﺎﺩﺍﺕ ﺻﻔﻮﻯ‬ ‫ﻫﻴــــﺄﺕ ﺗﺤﺮﻳﺮﻳـــــﻪ‪ :‬ﻣﺤﻤﺪ ﺣﺎﺝ ﺯﻣﺎﻥ‪ ،‬ﺳﻤﻴﻪ ﻛﺮﻣﻰ‬ ‫ﻫﻤﻜــﺎﺭﺍﻥ ﺍﻳـﻦ ﺷــﻤﺎﺭﻩ‪ :‬ﻣﺤﻤﺪ‬

‫ﺍﻣﻴﻦ‬

‫ﺑﺎﺑﺎﻳﻰ‪،‬‬

‫ﻣﻬﺪﻯ‬

‫ﺑﻨﻮﺍﺭﻯ‪،‬‬

‫ﺍﺑﺮﺍﻫﻴﻢ‬

‫ﺗﻘﻮﻯ‪،‬‬

‫ﻫﺎﻧﻴﻪﺳﺎﺩﺍﺕ ﺳﺮﻛﻰ‪ ،‬ﻓﺮﺯﻳﻦ ﺳﻮﺭﻯ‪ ،‬ﻣﺤﻤﺪ ﺣﺴﻴﻦ ﻋﺒﺪﺍﻟﻬﻰ ﺛﺎﺑﺖ‪،‬‬ ‫ﺳﻴﻨﺎ ﻓﺮﺧﻰ‪ ،‬ﺳﻴﺪ ﺁﺭﻳﺎ ﻗﺮﻳﺸﻰ‪ ،‬ﻣﻴﻼﺩ ﻗﺰﻟﻠﻮ‪ ،‬ﺍﺣﺴﺎﻥ ﻣﺤﻤﺪﺯﺍﺩﻩ‪،‬‬ ‫ﺍﻟﻬﻪ ﻣﺮﺍﺩﻯ‪ ،‬ﭘﻮﺭﻳﺎ ﻧﺎﻇﻤﻰ‪ ،‬ﺑﻬﺎﺭﻩ ﻧﻮﺭﺑﺨﺶ‪ ،‬ﺷﻬﺮﻳﺎﺭ ﻭﻗﻔﻰ ﭘﻮﺭ‬ ‫ﺻﻔﺤــــــﻪ ﺁ ﺭ ﺍ ﻳـــــﻰ ‪ :‬ﻣﺤﻤﺪ ﺣﺎﺝ ﺯﻣﺎﻥ‬ ‫ﻧﺸـــــــﺎﻧﻰ ﻭﺑــــﮕﺎﻩ‪:‬‬

‫‪www.fantasy.ir‬‬

‫ﭘـــﺴﺖ ﺍﻟﻜﺘﺮﻭﻧﻴــــﻚ‪:‬‬

‫‪mag@fantasy.ir‬‬

‫ﻃــــــﺮﺡ‬

‫ﺟﻠــــــﺪ‪ :‬ﻣﺤﺒﻮﺑﻪ ﺁﻗﺎﺟﺎﻧﻰ‬

‫ﺗﻜﺬﻳﺐﻧﺎﻣﻪ‪ :‬ﻛﻠﻴﻪﻯ ﻣﻄﺎﻟﺐ ﻣﺠﻠﻪ ﺩﺭ ﻗﺎﻟﺐ ﺗﺤﻘﻴﻘﺎﺗﻰ ﻭ ﺑﺮﺍﻯ ﺁﺷﻨﺎﻳﻰ ﻣﺨﺎﻃﺐ ﻋﻼﻗﻤﻨﺪ ﺑﺎ ﻣﺒﺎﺣﺚ‬ ‫ﻣﻮﺟﻮﺩ ﺩﺭ ﺍﺩﺑﻴﺎﺕ ﮔﻤﺎﻧﻪﺯﻥ ﻭ ﺁﺛﺎﺭ ﺷﺎﺧﺺ ﺍﻳﻦ ژﺍﻧﺮ ﻣﻨﺘﺸﺮ ﺷﺪﻩﺍﻧﺪ‪ .‬ﺑﺎ ﺗﻮﺟﻪ ﺑﻪ ﻭﻳﮋﮔﻰﻫﺎﻯ ژﺍﻧﺮ‪،‬‬ ‫ﺩﺍﺳﺘﺎﻥﻫﺎﻯ ﻣﻨﺘﺸﺮ ﺷﺪﻩ ﻫﻤﮕﻰ ﺧﻴﺎﻝﭘﺮﺩﺍﺯﺍﻧﻪ ﺑﻮﺩﻩ ﻭ ﻣﺒﻠﻎ ﺍﻋﺘﻘﺎﺩ ﺧﺎﺻﻰ ﻧﻴﺴﺘﻨﺪ‪.‬‬ ‫ﺣﻖ ﻧﺸﺮ‪ :‬ﻛﻠﻴﻪﻯ ﺣﻘﻮﻕ ﻧﺸﺮ ﻣﻄﺎﻟﺐ ﻣﺠﻠﻪﻯ ﺷﮕﻔﺖﺯﺍﺭ ﻣﺤﻔﻮﻅ ﺑﻮﺩﻩ ﻭ ﻧﺸﺮ ﻣﺠﺪﺩ ﻣﺤﺘﻮﺍﻯ ﻧﮕﺎﺭﺵ‬ ‫ﻭ ﺑﺮﮔﺮﺩﺍﻥ‪ ،‬ﺗﻨﻬﺎ ﺑﺎ ﺍﺟﺎﺯﻩﻯ ﻛﺘﺒﻰ ﻭ ﻳﺎ ﺑﺮ ﺍﺳﺎﺱ ﺍﺟﺎﺯﻩﻧﺎﻣﻪﻫﺎ ﻭ ﻣﺠﻮﺯﻫﺎﻯ ﻣﺬﻛﻮﺭ ﺩﺭ ﻭﺏﮔﺎﻩ ﺁﻛﺎﺩﻣﻰ‬ ‫ﻓﺎﻧﺘﺰﻯ ﻣﺠﺎﺯ ﺍﺳﺖ‪ .‬ﻧﺎﺩﻳﺪﻩ ﮔﺮﻓﺘﻦ ﺍﻳﻦ ﺣﻘﻮﻕ ﻣﺎﻟﻜﻴﺖ ﻣﻌﻨﻮﻯ ﺑﺮ ﺍﺳﺎﺱ ﻗﻮﺍﻧﻴﻦ ﻣﺆﻟﻔﻴﻦ ﻭ ﻣﺼﻨﻔﻴﻦ‬ ‫ﻗﺎﺑﻞ ﭘﻴﮕﺮﺩ ﻗﺎﻧﻮﻧﻰ ﺍﺳﺖ‪.‬‬ ‫ﭘﺨﺶ‪ :‬ﺍﻧﺘﺸﺎﺭ ﺍﻟﻜﺘﺮﻭﻧﻴﻜﻰ‪ ،‬ﺑﺎﺭﮔﺬﺍﺭﻯ ﻣﺠﺪﺩ‪ ،‬ﺍﺭﺳﺎﻝ ﺑﺮﺍﻯ ﺩﻳﮕﺮﺍﻥ‪ ،‬ﭼﺎپ ﺑﺮﺍﻯ ﺍﺳﺘﻔﺎﺩﻩﻯ ﺷﺨﺼﻰ ﻭ‬ ‫ﻳﺎ ﻋﻤﻮﻣﻰ ﺑﻪ ﺻﻮﺭﺕ ﻏﻴﺮ ﺍﻧﺘﻔﺎﻋﻰ؛ ﻣﻮﺭﺩ ﺗﺸﻮﻳﻖ ﻭ ﺗﺄﻳﻴﺪ ﮔﺮﻭﻩ ﺍﺩﺑﻴﺎﺕ ﮔﻤﺎﻧﻪﺯﻥ ﺍﺳﺖ‪.‬‬