wonderland-Vol03-No29

‫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

‫ﻳﻮﻧﻴﻔﻮﺭﻣﺶ ﺑﻴﺎﻳﺪ‪ ،‬ﺍﻭ ﻫﻢ ﻣﺘﻮﺟﻪ ﻣﻰﺷﺪ‪ .‬ﺗﻮ ﺭﻭ ﺧﺪﺍ‪ ،‬ﺍﻭ ﻫﻤﻴﻦ ﺍﻵﻥ ﺍﻳﻦ ﺭﺍ ﮔﻔﺖ!«‬ ‫»ﭘﺲ ﭼﺮﺍ ﮔﻔﺘﻰ ﭼﻴﺰﻯ ﺍﺷﺘﺒﺎﻩ ﺍﺳﺖ؟ ﭼﺮﺍ ﮔﻔﺘﻰ ﺳﺮﺧﭙﻮﺳﺘﺎﻥ ﺑﻴﺮﻭﻥ ﻫﺴﺘﻨﺪ؟«‬ ‫»ﭼﻮﻥ ﺑﻮﺩﻧﺪ ﻭ ﻫﺴﺘﻨﺪ! ﻭﻗﺘﻰ ﺁﺩﻣﻴﺮﺍﻝ ﺳﭗ ]‪ [8‬ﻫﻢ ﺑﻴﺎﻳﺪ ﻧﻤﻰﺗﻮﺍﻧﺪ ﭼﻴﺰﻯ ﺑﻪ ﻣﻦ ﺑﮕﻮﻳﺪ‪ .‬ﻣﺎ ﺩﺭ‬ ‫ﻟﻴﻨﻜﻠﻦ ﻧﺒﺮﺍﺳﻜﺎ ﻓﺮﻭﺩ ﻧﻴﺎﻣﺪﻳﻢ‪ ،‬ﭘﺲ ﺣﺘﻤﺎً ﺟﺎﻳﻰ ﺍﺷﺘﺒﺎﻩ ﺷﺪﻩ ﺍﺳﺖ‪ .‬ﺍﻣﺎ ﺩﺭ ﻣﻮﺭﺩ ﺳﺮﺧﭙﻮﺳﺘﺎﻥ‪ ،‬ﺧﻮﺏ‪،‬‬ ‫ﺍﮔﺮ ﻣﻦ ﻋﻼﺋﻢ ﺗﺮﺍﻓﻴﻜﻰ ﺭﺍ ﺩﺭﺳﺖ ﺧﻮﺍﻧﺪﻩ ﺑﺎﺷﻢ ﻣﺎ ﺩﺭ ﺣﺎﺷﻴﻪﻯ ﻛﻠﻜﺘﻪ ﻓﺮﻭﺩ ﺁﻣﺪﻩﺍﻳﻢ!«‬

‫ﯾﺎدداﺷﺖ ﻣﱰﺟﻢ‪:‬‬ ‫ﻗﺴﻤﺖ آﺧﺮ اﯾﻦ داﺳﺘﺎن در واﻗﻊ ﻗﺎﺑﻞ ﺗﺮﺟﻤﻪ ﺑﻪ ﻓﺎرﺳﯽ ﻧﯿﺴﺖ‪ .‬آﯾﺰاک آﺳﯿﻤﻮف ﮐﻪ داﺳﺘﺎنﻫﺎی‬ ‫ﻣﺒﺘﻨﯽ ﺑﺮ ﺑﺎزی ﺑﺎ ﮐﻠامﺗﺶ در اﻧﮕﻠﯿﺴﯽ ﻣﺸﻬﻮر ﻫﺴﺘﻨﺪ‪ ،‬در اﯾﻦﺟﺎ ﻫﻢ از ﮐﻠﻤﻪ ‪ Indian‬اﺳﺘﻔﺎده‬ ‫ﮐﺮده ﮐﻪ ﻣﯽداﻧﯿﺪ در اﻧﮕﻠﯿﺴﯽ ﻫﻢ ﺑﻪ ﻣﻌﻨﯽ ﻫﻨﺪی اﺳﺖ و ﻫﻢ ﺑﻪ ﻣﻌﻨﯽ ﴎﺧﭙﻮﺳﺖ )ﺑﻪ‬ ‫دﻟﯿﻞ اﺷﺘﺒﺎه ﺗﺎرﯾﺨﯽ ﮐﺮﯾﺴﺘﻮف ﮐﻠﻤﺐ(‪ .‬ﻣﺎ ﻫﻢ ﺑﺮای ﺣﻔﻆ ﻫﯿﺠﺎن داﺳﺘﺎن‪ ،‬ﺗﺎ ﺧﻂ آﺧﺮ ﮐﻠﻤﻪی‬ ‫ﴎﺧﭙﻮﺳﺖ را ﺣﻔﻆ منﻮدﯾﻢ و ﻟﺬت ﺷﻮک ﺧﻂ آﺧﺮ را ﺑﺮای ﺧﻮاﻧﻨﺪﮔﺎن ﻋﻼﻗﻤﻨﺪ ﺑﻪ ﺟﻨﺎس ﺑﺎﻗﯽ‬ ‫ﮔﺬاردﯾﻢ‪.‬‬

‫‪5. Almirante‬‬ ‫‪6. Pellagrini‬‬ ‫‪7. Cudahi‬‬ ‫‪8. Admiral Sap‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،29‬ﺍﺭﺩﻳﺒﻬﺸﺖ ‪1392‬‬

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‫‪1. Thiotimoline to the Stars‬‬ ‫‪2. Ensign Feet‬‬ ‫‪3. Lieutenant Prohorov‬‬ ‫‪4. Admiral Vernon‬‬

‫ﭘﺎﻭﺭﻗﻰ‬

‫ﺑﻪ ﻧﻈﺮ ﻣﻰﺭﺳﻴﺪ ﺍﺯ ﺟﻨﺐ ﻭ ﺟﻮﺵ ﻧﺎﮔﻬﺎﻧﻰ ﺗﺎﻻﺭ ﺍﺣﺴﺎﺱ ﺭﺿﺎﻳﺖ ﺷﻴﻄﺎﻧﻰﺍﻯ ﻣﻰﻛﻨﺪ‪.‬‬ ‫»ﻧﺒﺎﻳﺪ ﻧﮕﺮﺍﻥ ﺑﺎﺷﻴﺪ‪ ،‬ﻓﺎﺭﻍﺍﻟﺘﺤﺼﻴﻼﻥ‪ .‬ﺍﺯ ﺁﻥﺟﺎ ﻛﻪ ﺗﺄﺛﻴﺮ ﺍﻳﻨﺮﺳﻰ ﺭﺍ ﺍﺣﺴﺎﺱ ﻧﻜﺮﺩﻳﻢ‪ ،‬ﺗﺄﺛﻴﺮ ﮔﺮﺍﻧﺶ‬ ‫ﺭﺍ ﻫﻢ ﺍﺣﺴﺎﺱ ﻧﻤﻰﻛﻨﻴﻢ )ﭼﻮﻥ ﻫﺮ ﺩﻭ ﺫﺍﺗﺎً ﻳﻜﻰ ﻫﺴﺘﻨﺪ(‪ ،‬ﭘﺲ ﺳﻔﺮ ﻣﺎ ﺍﺻ ً‬ ‫ﻼ ﺗﻮﺳﻂ ﮔﺮﺍﻧﺶ ﺯﺣﻞ‬ ‫ﻣﺨﺘﻞ ﻧﺨﻮﺍﻫﺪ ﺷﺪ‪ .‬ﻣﺎ ﺩﻳﮕﺮ ﺩﺍﺭﻳﻢ ﺑﻪ ﺳﻄﺢ ﺯﻣﻴﻦ ﺑﺮﻣﻰﮔﺮﺩﻳﻢ‪ .‬ﺑﻪ ﻋﻨﻮﺍﻥ ﻳﻚ ﻫﺪﻳﻪ ﻭﻳﮋﻩ ﻫﻢ ﺩﺭ‬ ‫ﻓﺮﻭﺩﮔﺎﻩ ﻣﻠﻞ ﻣﺘﺤﺪ ﺩﺭ ﺷﻬﺮ ﻟﻴﻨﻜﻠﻦ ﻧﺒﺮﺍﺳﻜﺎ ﻓﺮﻭﺩ ﻣﻰﺁﻳﻴﻢ ﻭ ﺷﻤﺎ ﻣﻰﺗﻮﺍﻧﻴﺪ ﺍﺯ ﺁﺧﺮ ﻫﻔﺘﻪ ﺧﻮﺩ ﺩﺭ‬ ‫ﺍﻳﻦ ﻛﻼﻥﺷﻬﺮ ﻟﺬﺕ ﺑﺒﺮﻳﺪ‪.‬‬ ‫»ﺿﻤﻨﺎً‪ ،‬ﺍﻳﻦ ﻭﺍﻗﻌﻴﺖ ﻛﻪ ﻣﺎ ﺍﺛﺮ ﺍﻳﻨﺮﺳﻰ ﺭﺍ ﺍﺻ ً‬ ‫ﻼ ﺍﺣﺴﺎﺱ ﻧﻜﺮﺩﻳﻢ ﻧﺸﺎﻥ ﻣﻰﺩﻫﺪ ﻛﻪ ﺍﺛﺮ ﺩﺭﻭﻥﺯﻣﺎﻧﻰ ﺑﻪ‬ ‫ﭼﻪ ﺧﻮﺑﻰ ﺍﺛﺮ ﺍﻳﻨﺮﺳﻰ ﺭﺍ ﺧﻨﺜﻰ ﻛﺮﺩﻩ ﺍﺳﺖ‪ .‬ﺩﺭ ﺻﻮﺭﺕ ﻭﺟﻮﺩ ﻫﺮ ﮔﻮﻧﻪ ﻋﺪﻡ ﻫﻤﺎﻫﻨﮕﻰ‪ ،‬ﺣﺘﺎ ﺧﻴﻠﻰ‬ ‫ﻛﻢ‪ ،‬ﺷﻤﺎ ﺍﺛﺮ ﺍﻳﻨﺮﺳﻰ ﺭﺍ ﺍﺣﺴﺎﺱ ﻣﻰﻛﺮﺩﻳﺪ؛ ﺩﻟﻴﻞ ﺩﻳﮕﺮﻯ ﺑﺮﺍﻯ ﺑﺎﺯﻯ ﻧﻜﺮﺩﻥ ﺑﺎ ﺯﻣﺎﻥ!‬ ‫»ﻓﺎﺭﻍﺍﻟﺘﺤﺼﻴﻼﻥ ﺑﻪ ﺧﺎﻃﺮ ﺑﺴﭙﺎﺭﻳﺪ‪ ،‬ﺷﺼﺖ ﺛﺎﻧﻴﻪ ﻋﺪﻡ ﺗﻄﺎﺑﻖ ﺧﺮﺍﺑﻜﺎﺭﻯ ﻭ ﺻﺪ ﻭ ﺑﻴﺴﺖ ﺛﺎﻧﻴﻪ ﻏﻴﺮ‬ ‫ﻗﺎﺑﻞ ﺗﺤﻤﻞ ﺍﺳﺖ‪ .‬ﺩﻳﮕﺮ ﺩﺍﺭﻳﻢ ﻓﺮﻭﺩ ﻣﻰﺁﻳﻴﻢ‪ .‬ﺳﺘﻮﺍﻥ ﭘﺮﻭﻫﻮﺭﻭﻑ‪ ،‬ﻣﻴﺸﻪ ﺑﻪ ﺑﺮﺝ ﻣﺮﺍﻗﺒﺖ ﺑﺮﻭﻳﺪ ﻭ ﺑﺮ‬ ‫ﻓﺮﻭﺩ ﻧﻈﺎﺭﺕ ﻛﻨﻴﺪ؟«‬ ‫ﭘﺮﻭﻫﻮﺭﻭﻑ ﻓﻮﺭﺍ ً ﮔﻔﺖ‪» :‬ﺑﻠﻪ ﻗﺮﺑﺎﻥ‪ «.‬ﻭ ﺍﺯ ﻧﺮﺩﺑﺎﻥ ﻋﻘﺐ ﺳﺎﻟﻦ ﺑﺎﻻ ﺭﻓﺖ‪.‬‬ ‫ﺁﺩﻣﻴﺮﺍﻝ ﻭﺭﻧﻮﻥ ﻟﺒﺨﻨﺪ ﺯﺩ ﻭ ﮔﻔﺖ‪» :‬ﻫﻤﮕﻰ ﺳﺮ ﺟﺎﻯ ﺧﻮﺩ ﺑﻨﺸﻴﻨﻴﺪ‪ .‬ﻣﺎ ﺩﻗﻴﻘﺎً ﺳﺮ ﻣﻮﻗﻊ ﺭﺳﻴﺪﻳﻢ‪.‬‬ ‫ﻛﺸﺘﻰﻫﺎﻯ ﻣﻦ ﻫﻤﻴﺸﻪ ﺑﻪ ﻣﻮﻗﻊ ﻋﻤﻞ ﻣﻰﻛﻨﻨﺪ‪«.‬‬ ‫ﺍﻣﺎ ﭘﺮﻭﻫﻮﺭﻭﻑ ﺑﻪ ﭘﺎﻳﻴﻦ ﺑﺮﮔﺸﺖ ﻭ ﺍﺯ ﺭﺍﻫﺮﻭ ﺑﻪ ﺳﻤﺖ ﺁﺩﻣﻴﺮﺍﻝ ﺩﻭﻳﺪ‪ .‬ﻭﻗﺘﻰ ﺑﻪ ﺁﺩﻣﻴﺮﺍﻝ ﺭﺳﻴﺪ ﺑﻪ‬ ‫ﻧﺠﻮﺍ ﺑﻪ ﺍﻭ ﮔﻔﺖ »ﺁﺩﻣﻴﺮﺍﻝ‪ ،‬ﺍﮔﺮ ﺍﻳﻦﺟﺎ ﻟﻴﻨﻜﻠﻦ ﺩﺭ ﻧﺒﺮﺍﺳﻜﺎ ﺍﺳﺖ‪ ،‬ﭼﻴﺰﻯ ﺍﺷﺘﺒﺎﻩ ﺷﺪﻩ ﺍﺳﺖ‪ .‬ﺗﻨﻬﺎ‬ ‫ﭼﻴﺰﻯ ﻛﻪ ﻣﻦ ﻣﻰﺑﻴﻨﻢ ﺳﺮﺧﭙﻮﺳﺘﺎﻥ ﻫﺴﺘﻨﺪ‪ ،‬ﭼﻨﺪﻳﻦ ﮔﺮﻭﻩ‪ .‬ﺳﺮﺧﭙﻮﺳﺘﺎﻥ ﺩﺭ ﺩﺭ ﻧﺒﺮﺍﺳﻜﺎ‪ ،‬ﺍﻳﻦ ﺯﻣﺎﻥ‪،‬‬ ‫ﺁﺩﻣﻴﺮﺍﻝ؟!«‬ ‫ﺭﻧﮓ ﺁﺩﻣﻴﺮﺍﻝ ﻭﺭﻧﻮﻥ ﭘﺮﻳﺪ ﻭ ﺻﺪﺍﻫﺎﻳﻰ ﺍﺯ ﮔﻠﻮﻯ ﺍﻭ ﺷﻨﻴﺪﻩ ﻣﻰﺷﺪ‪ .‬ﺍﻭ ﻣﭽﺎﻟﻪ ﺷﺪ ﻭ ﺑﻪ ﺯﻣﻴﻦ ﺍﻓﺘﺎﺩ‪ ،‬ﺩﺭ‬ ‫ﻫﻤﻴﻦ ﺯﻣﺎﻥ ﮔﺮﻭﻩ ﻓﺎﺭﻍﺍﻟﺘﺤﺼﻴﻼﻥ ﻧﺎﻣﻄﻤﺌﻦ ﺑﺮﺧﺎﺳﺘﻨﺪ‪ .‬ﺍﻧﺴﺎﻳﻦ ﭘﻴﺖ ﻫﻢ ﻛﻪ ﺑﻪ ﺩﻧﺒﺎﻝ ﭘﺮﻭﻫﻮﺭﻭﻑ‬ ‫ﺭﻭﻯ ﺳﻜﻮ ﺭﻓﺘﻪ ﺑﻮﺩ ﻭ ﺣﺮﻑ ﺍﻭ ﺭﺍ ﺷﻨﻴﺪﻩ ﺑﻮﺩ ﻣﺜﻞ ﺑﺮﻕﺯﺩﻩﻫﺎ ﻫﻤﺎﻥ ﺟﺎ ﺍﻳﺴﺘﺎﺩﻩ ﺑﻮﺩ‪.‬‬ ‫ﭘﺮﻭﻫﻮﺭﻭﻑ ﺩﺳﺘﺶ ﺭﺍ ﺑﻠﻨﺪ ﻛﺮﺩ ﻭ ﮔﻔﺖ‪» :‬ﺧﺎﻧﻢﻫﺎ ﻭ ﺁﻗﺎﻳﺎﻥ‪ ،‬ﻫﻤﻪ ﭼﻴﺰ ﻣﺮﺗﺐ ﺍﺳﺖ‪ .‬ﺁﺭﺍﻡ ﺑﺎﺷﻴﺪ‪.‬‬ ‫ﺁﺩﻣﻴﺮﺍﻝ ﻳﻚ ﻟﺤﻈﻪ ﺳﺮﺷﺎﻥ ﮔﻴﺞ ﺭﻓﺖ‪ .‬ﺑﻌﻀﻰ ﻭﻗﺖﻫﺎ ﻣﻮﻗﻊ ﻓﺮﻭﺩ ﺑﺮﺍﻯ ﺍﻓﺮﺍﺩ ﻣﺴﻦ ﭘﻴﺶ ﻣﻰﺁﻳﺪ‪«.‬‬ ‫ﭘﻴﺖ ﺑﺎ ﻋﺼﺒﺎﻧﻴﺖ ﺯﻣﺰﻣﻪ ﻛﺮﺩ‪» :‬ﺍﻣﺎ ﭘﺮﻭﻫﻮﺭﻭﻑ‪ ،‬ﻣﺎ ﺩﺭ ﮔﺬﺷﺘﻪ ﮔﻴﺮ ﻛﺮﺩﻩﺍﻳﻢ‪«.‬‬ ‫ﭘﺮﻭﻫﻮﺭﻭﻑ ﺍﺑﺮﻭﻳﺶ ﺭﺍ ﺑﺎ ﻻﺑﺮﺩ ﻭ ﮔﻔﺖ‪» :‬ﺍﻟﺒﺘﻪ ﻛﻪ ﻧﻪ‪ .‬ﺗﻮ ﻫﻴﭻ ﺍﺛﺮ ﺍﻳﻨﺮﺳﻰ ﺍﺣﺴﺎﺱ ﻧﻜﺮﺩﻯ‪ ،‬ﻛﺮﺩﻯ؟‬ ‫ﺣﺘﺎ ﺍﻣﻜﺎﻥ ﻧﺪﺍﺭﺩ ﻛﻪ ﻳﻚ ﺳﺎﻋﺖ ﺟﺎﺑﺠﺎ ﺷﺪﻩ ﺑﺎﺷﻴﻢ‪ .‬ﺍﮔﺮ ﺁﺩﻣﻴﺮﺍﻝ ﺍﻳﻦ ﻗﺪﺭ ﻋﻘﻞ ﺩﺍﺷﺖ ﻛﻪ ﺑﺎ‬ ‫‪135‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،29‬ﺍﺭﺩﻳﺒﻬﺸﺖ ‪1392‬‬

‫ﻋﻤﺮﻣﺎﻥ ﺍﺣﺴﺎﺱ ﻣﻰﻛﻨﻴﻢ ﻛﻪ ﻧﺒﺎﻳﺪ ﺍﻳﻦ ﮔﻮﻧﻪ ﺑﺎﺷﺪ‪.‬‬ ‫»ﺩﺭ ﻭﺍﻗﻊ ﺑﺮﺍﻯ ﺣﺮﻛﺖ ﺩﺭ ﺯﻣﺎﻥ ﻫﻴﭻ ﺍﻳﻨﺮﺳﻰ ﻭﺟﻮﺩ ﻧﺪﺍﺭﺩ‪ .‬ﺍﮔﺮ ﻳﻚ ﻗﺴﻤﺖ ﺷﻰء ﺑﻪ ﺳﻤﺖ ﮔﺬﺷﺘﻪ‬ ‫ﻳﺎ ﺁﻳﻨﺪﻩ ﺣﺮﻛﺖ ﻛﻨﺪ‪ ،‬ﺑﻘﻴﻪﻯ ﺁﻥ ﻫﻢ ﺑﺎ ﻫﻤﺎﻥ ﺳﺮﻋﺖ ﺑﻪ ﺩﻧﺒﺎﻟﺶ ﻣﻰﺭﻭﺩ‪ .‬ﻫﻴﭻ ﻓﺎﻛﺘﻮﺭ ﺟﺮﻣﻰ ﻭﺟﻮﺩ‬ ‫ﻧﺪﺍﺭﺩ‪ .‬ﺑﻪ ﻫﻤﻴﻦ ﺧﺎﻃﺮ ﺍﺳﺖ ﻛﻪ ﺑﻪ ﻫﻤﺎﻥ ﺁﺳﺎﻧﻰ ﻛﻪ ﻳﻚ ﻛﺸﺘﻰ ﺩﺭ ﺯﻣﺎﻥ ﺑﻪ ﺟﻠﻮ ﻣﻰﺭﻭﺩ‪ ،‬ﺗﻤﺎﻡ ﺟﻬﺎﻥ‬ ‫ﺑﺎ ﻫﻤﺎﻥ ﻧﺮﺥ ﺩﺭ ﺯﻣﺎﻥ ﺑﻪ ﻋﻘﺐ ﻣﻰﺭﻭﺩ‪.‬‬ ‫»ﺍﻣﺎ ﻣﺴﺄﻟﻪﻯ ﺩﻳﮕﺮﻯ ﻫﻢ ﺍﻳﻦﺟﺎ ﻭﺟﻮﺩ ﺩﺍﺭﺩ‪ .‬ﺍﺗﺴﺎﻉ ﺯﻣﺎﻥ ﺗﺄﺛﻴﺮ ﺷﺘﺎﺏ ﺷﻤﺎ ﻧﺴﺒﺖ ﺑﻪ ﺑﻘﻴﻪﻯ ﺟﻬﺎﻥ‬ ‫ﺍﺳﺖ‪ .‬ﺷﻤﺎ ﺍﻳﻦ ﺭﺍ ﺩﺭ ﻛﻼﺱ ﻓﻴﺰﻳﻚ ﻧﺴﺒﻴﺖ ﻣﺘﻮﺳﻂ ﺩﺭ ﻣﺪﺭﺳﻪ ﺁﻣﻮﺧﺘﻪﺍﻳﺪ‪ .‬ﺍﻳﻦ ﺟﺰﺋﻰ ﺍﺯ ﺗﺄﺛﻴﺮ‬ ‫ﺍﻳﻨﺮﺳﻰ ﺷﺘﺎﺏ ﺍﺳﺖ‪.‬‬ ‫»ﺍﻣﺎ ﻣﺎ ﺑﺎ ﺍﺳﺘﻔﺎﺩﻩ ﺍﺯ ﺗﺄﺛﻴﺮ ﺩﺭﻭﻥﺯﻣﺎﻧﻰ ﺗﺄﺛﻴﺮ ﺍﺗﺴﺎﻉ ﺯﻣﺎﻥ ﺭﺍ ﺍﺯ ﺑﻴﻦ ﻣﻰﺑﺮﻳﻢ‪ .‬ﺍﮔﺮ ﺗﺄﺛﻴﺮ ﺍﺗﺴﺎﻉ ﺯﻣﺎﻥ ﺭﺍ‬ ‫ﺍﺯ ﺑﻴﻦ ﺑﺒﺮﻳﻢ‪ ،‬ﺩﺭ ﻭﺍﻗﻊ ﺁﻥ ﭼﻪ ﻛﻪ ﺁﻥ ﺭﺍ ﺑﻪ ﻭﺟﻮﺩ ﺁﻭﺭﺩﻩ ﺍﺳﺖ ﺭﺍ ﺍﺯ ﺑﻴﻦ ﺑﺮﺩﻩﺍﻳﻢ‪ .‬ﺧﻼﺻﻪ ﺍﻳﻦ ﻛﻪ ﺑﺎ‬ ‫ﺑﺎﻻﻧﺲ ﺗﺄﺛﻴﺮ ﺩﺭﻭﻥﺯﻣﺎﻧﻰ ﻭ ﺗﺄﺛﻴﺮ ﺍﺗﺴﺎﻉ ﺯﻣﺎﻥ‪ ،‬ﺗﺄﺛﻴﺮ ﺍﻳﻨﺮﺳﻰ ﺷﺘﺎﺏ ﺍﺯ ﺑﻴﻦ ﻣﻰﺭﻭﺩ‪.‬‬ ‫»ﺍﮔﺮ ﺗﻤﺎﻡ ﺍﻳﻨﺮﺳﻰ ﺭﺍ ﺍﺯ ﺑﻴﻦ ﻧﺒﺮﻳﺪ‪ ،‬ﻧﻤﻰﺗﻮﺍﻧﻴﺪ ﺗﺄﺛﻴﺮ ﺍﻳﻨﺮﺳﻰ ﺭﺍ ﺣﺬﻑ ﻛﻨﻴﺪ‪ .‬ﭘﺲ ﺍﻳﻨﺮﺳﻰ ﻣﺤﻮ‬ ‫ﻣﻰﺷﻮﺩ ﻭ ﺷﻤﺎ ﻣﻰﺗﻮﺍﻧﻴﺪ ﺑﺪﻭﻥ ﺍﺣﺴﺎﺱ ﺁﻥ ﺑﺎ ﻫﺮ ﺳﺮﻋﺘﻰ ﻛﻪ ﺑﺨﻮﺍﻫﻴﺪ ﺷﺘﺎﺏ ﺑﮕﻴﺮﻳﺪ‪ .‬ﺑﺎ ﺍﺟﺮﺍﻯ‬ ‫ﺻﺤﻴﺢ ﺗﺄﺛﻴﺮ ﺩﺭﻭﻥﺯﻣﺎﻧﻰ‪ ،‬ﻣﻰﺗﻮﺍﻧﻴﺪ ﻇﺮﻑ ﻣﺪﺕ ﭼﻨﺪ ﺳﺎﻋﺖ ﻳﺎ ﺣﺘﺎ ﭼﻨﺪ ﺩﻗﻴﻘﻪ ﺍﺯ ﺣﺎﻟﺖ ﺳﺎﻛﻦ‬ ‫ﻧﺴﺒﺖ ﺑﻪ ﺯﻣﻴﻦ ﺑﻪ ﺳﺮﻋﺖ ‪ 300‬ﻫﺰﺍﺭ ﻛﻴﻠﻮﻣﺘﺮ ﺩﺭ ﺳﺎﻋﺖ ﺑﺮﺳﻴﺪ‪ .‬ﻫﺮ ﭼﻪ ﺩﺭ ﻛﺎﺭﺑﺮﺩ ﺍﺛﺮ ﺩﺭﻭﻥﺯﻣﺎﻧﻰ‬ ‫ﺑﺎﺍﺳﺘﻌﺪﺍﺩﺗﺮ ﻭ ﺣﺮﻓﻪﺍﻯﺗﺮ ﺑﺎﺷﻴﺪ ﺳﺮﻳﻊﺗﺮ ﻣﻰﺗﻮﺍﻧﻴﺪ ﺷﺘﺎﺏ ﺑﮕﻴﺮﻳﺪ‪.‬‬ ‫»ﺁﻗﺎﻳﺎﻥ‪ ،‬ﺷﻤﺎ ﻫﻢﺍﻛﻨﻮﻥ ﺩﺍﺭﻳﺪ ﺁﻥ ﺭﺍ ﺗﺠﺮﺑﻪ ﻣﻰﻛﻨﻴﺪ‪ .‬ﺑﻪ ﻧﻈﺮ ﻣﻰﺭﺳﺪ ﻛﻪ ﺷﻤﺎ ﺩﺭ ﺗﺎﻻﺭﻯ ﺭﻭﻯ ﺳﻄﺢ‬ ‫ﺳﻴﺎﺭﻩ ﺯﻣﻴﻦ ﻧﺸﺴﺘﻪﺍﻳﺪ‪ ،‬ﻣﻦ ﻣﻄﻤﺌﻨﻢ ﻫﻴﭻ ﻳﻚ ﺍﺯ ﺷﻤﺎ ﺩﻟﻴﻠﻰ ﺑﺮﺍﻯ ﺷﻚ ﻛﺮﺩﻥ ﺩﺭ ﺻﺤﺖ ﺍﻳﻦ‬ ‫ﺍﺣﺴﺎﺱ ﻧﺪﺍﺭﺩ‪ .‬ﺍﻣﺎ ﺍﺷﺘﺒﺎﻩ ﻣﻰﻛﻨﻴﺪ!‬ ‫»ﺗﺄﻳﻴﺪ ﻣﻰﻛﻨﻢ ﻛﻪ ﺷﻤﺎ ﺩﺭ ﻳﻚ ﺗﺎﻻﺭ ﻫﺴﺘﻴﺪ‪ ،‬ﺍﻣﺎ ﻧﻪ ﺩﻳﮕﺮ ﺭﻭﻯ ﺳﻄﺢ ﺳﻴﺎﺭﻩ ﺯﻣﻴﻦ‪ .‬ﺷﻤﺎ‪ ،‬ﻣﻦ‪ ،‬ﻫﻤﻪ‬ ‫ﻣﺎ‪ ،‬ﺩﺭ ﻳﻚ ﻓﻀﺎﭘﻴﻤﺎﻯ ﺑﺰﺭگ ﻫﺴﺘﻴﻢ ﻛﻪ ﻫﻤﺎﻥ ﻟﺤﻈﻪ ﻛﻪ ﻣﻦ ﺻﺤﺒﺘﻢ ﺭﺍ ﺷﺮﻭﻉ ﻛﺮﺩﻡ ﺍﺯ ﺯﻣﻴﻦ‬ ‫ﺑﺮﺧﺎﺳﺘﻪ ﻭ ﺑﺎ ﺷﺘﺎﺏ ﺑﺴﻴﺎﺭ ﺯﻳﺎﺩﻯ ﺳﺮﻋﺖ ﻣﻰﮔﻴﺮﺩ‪ .‬ﺩﺭ ﺣﻴﻨﻰ ﻛﻪ ﻣﻦ ﺻﺤﺒﺖ ﻣﻰﻛﺮﺩﻡ ﺑﻪ ﺣﺎﺷﻴﻪ‬ ‫ﻣﻨﻈﻮﻣﻪ ﺷﻤﺴﻰ ﺭﺳﻴﺪﻳﻢ ﻭ ﺍﻵﻥ ﺩﺍﺭﻳﻢ ﺑﺮﻣﻰﮔﺮﺩﻳﻢ‪.‬‬ ‫»ﺷﻤﺎ ﺍﺻ ً‬ ‫ﻼ ﻫﻴﭻ ﺷﺘﺎﺑﻰ ﺭﺍ ﺍﺣﺴﺎﺱ ﻧﻜﺮﺩﻳﺪ‪ ،‬ﭼﻪ ﺩﺭ ﻣﻮﻗﻊ ﺳﺮﻋﺖ ﮔﺮﻓﺘﻦ ﻭ ﭼﻪ ﺩﺭ ﻣﻮﻗﻊ ﺗﻐﻴﻴﺮ ﺟﻬﺖ‬ ‫ﺳﻔﺮ‪ ،‬ﺩﺭ ﻧﺘﻴﺠﻪ ﺷﻤﺎ ﺗﺼﻮﺭ ﻣﻰﻛﺮﺩﻳﺪ ﻧﺴﺒﺖ ﺑﻪ ﺳﻄﺢ ﺯﻣﻴﻦ ﺳﺎﻛﻦ ﻫﺴﺘﻴﺪ‪.‬‬ ‫»ﺑﻪ ﻫﻴﭻ ﻭﺟﻪ ﺍﻳﻦ ﮔﻮﻧﻪ ﻧﻴﺴﺖ‪ ،‬ﻓﺎﺭﻍﺍﻟﺘﺤﺼﻴﻼﻥ‪ .‬ﺗﻤﺎﻡ ﻣﺪﺗﻰ ﻛﻪ ﻣﻦ ﺻﺤﺒﺖ ﻣﻰﻛﺮﺩﻡ ﺷﻤﺎ ﺩﺭ ﻓﻀﺎ‬ ‫ﺑﻮﺩﻳﺪ ﻭ ﺍﺯ ﻓﺎﺻﻠﻪ ﺳﻪ ﻣﻴﻠﻴﻮﻥ ﻛﻴﻠﻮﻣﺘﺮﻯ ﺯﺣﻞ ﮔﺬﺷﺘﻪﺍﻳﺪ‪«.‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،29‬ﺍﺭﺩﻳﺒﻬﺸﺖ ‪1392‬‬

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‫ﭘﺎﻭﺭﻗﻰ‬

‫ﺑﻪ ﻳﻚ ﺩﻟﻴﻞ ﺧﻴﻠﻰ ﺳﺎﺩﻩ ﻧﻤﻰﺗﻮﺍﻧﻴﻢ ﭼﻨﻴﻦ ﻛﺎﺭﻫﺎﻳﻰ ﺑﻜﻨﻴﻢ‪ .‬ﺧﻮﺍﺹ ﺩﺭﻭﻥﺯﻣﺎﻧﻰ ﻧﺎﭘﺎﻳﺪﺍﺭ ﻫﺴﺘﻨﺪ‪.‬‬ ‫ﻣﻮﻟﻜﻠﻮﻝﻫﺎﻳﻰ ﻛﻪ ﺩﺭ ﺯﻣﺎﻥ ﺗﻨﻴﺪﻩ ﺷﺪﻩﺍﻧﺪ‪ ،‬ﺣﺴﺎﺱ ﻫﺴﺘﻨﺪ‪ .‬ﺗﺄﺛﻴﺮﺍﺕ ﻧﺴﺒﺘﺎً ﻛﻮﭼﻜﻰ ﺁﻥﻫﺎ ﺭﺍ ﻭﺍﺩﺍﺭ‬ ‫ﺑﻪ ﻭﺍﻛﻨﺶ ﺷﻴﻤﻴﺎﻳﻰ ﻣﻰﻛﻨﺪ ﻛﻪ ﭘﻴﻮﻧﺪ ﺁﻥﻫﺎ ﺭﺍ ﺑﺎ ﺑﻌﺪ ﺯﻣﺎﻥ ﺑﺎﺯ ﻣﻰﻛﻨﺪ‪ .‬ﺣﺘﺎ ﺍﮔﺮ ﻫﻴﭻ ﺍﺛﺮﻯ ﻭﺟﻮﺩ‬ ‫ﻧﺪﺍﺷﺘﻪ ﺑﺎﺷﺪ‪ ،‬ﺑﺎﺯ ﻫﻢ ﻧﻮﺳﺎﻧﺎﺕ ﺗﺼﺎﺩﻓﻰ ﻣﻰﺗﻮﺍﻧﻨﺪ ﻣﻮﺟﺐ ﺗﻐﻴﻴﺮﺍﺗﻰ ﻣﻰﺷﻮﻧﺪ ﻛﻪ ﺗﻨﻴﺪﮔﻰ ﺯﻣﺎﻧﻰ‬ ‫ﺁﻥﻫﺎ ﺭﺍ ﺑﺎﺯ ﻣﻰﻛﻨﺪ‪.‬‬ ‫»ﺑﻪ ﺯﺑﺎﻥ ﺳﺎﺩﻩ ﺍﻳﻦ ﻛﻪ ﻛﺸﺘﻰ ﺩﺭﻭﻥﺯﻣﺎﻧﻰ ﻛﻢﻛﻢ ﻫﻤﺰﻣﺎﻥ ﻣﻰﺷﻮﺩ ﻭ ﺗﺒﺪﻳﻞ ﺑﻪ ﻣﺎﺩﻩﺍﻯ ﻣﻌﻤﻮﻟﻰ‬ ‫ﺑﺪﻭﻥ ﺑﻌﺪ ﺯﻣﺎﻥ ﻣﻰﺷﻮﺩ‪ .‬ﻓﻨﺎﻭﺭﻯ ﺟﺪﻳﺪ ﻧﺮﺥ ﺑﺎﺯ ﺷﺪﻥ ﺭﺍ ﺑﺴﻴﺎﺭ ﻛﺎﻫﺶ ﺩﺍﺩﻩ ﺍﺳﺖ ﻭ ﺷﺎﻳﺪ ﻫﻨﻮﺯ ﻛﻤﺘﺮ‬ ‫ﻫﻢ ﺑﺸﻮﺩ‪ ،‬ﺍﻣﺎ ﻧﻈﺮﻳﻪ ﺑﻪ ﻣﺎ ﻣﻰﮔﻮﻳﺪ ﻣﺎ ﻫﺮ ﻛﺎﺭ ﻛﻪ ﺑﻜﻨﻴﻢ ﻧﻤﻰﺗﻮﺍﻧﻴﻢ ﻳﻚ ﻣﺎﺩﻩﻯ ﺩﺭﻭﻥﺯﻣﺎﻧﻰ ﻛﺎﻣ ً‬ ‫ﻼ‬ ‫ﭘﺎﻳﺪﺍﺭ ﺑﺴﺎﺯﻳﻢ‪.‬‬ ‫»ﭘﺲ ﻓﻀﺎﭘﻴﻤﺎﻯ ﺷﻤﺎ ﻋﻤﺮ ﻣﺤﺪﻭﺩﻯ ﺑﻪ ﻋﻨﻮﺍﻥ ﻳﻚ ﻓﻀﺎﭘﻴﻤﺎ ﺩﺍﺭﺩ‪ .‬ﺑﺎﻳﺪ ﻗﺒﻞ ﺍﺯ ﺗﻤﺎﻡ ﺷﺪﻥ ﺍﺛﺮ‬ ‫ﺩﺭﻭﻥﺯﻣﺎﻧﻰ ﺑﻪ ﺯﻣﻴﻦ ﺑﺎﺯﮔﺮﺩﺩ ﺗﺎ ﺑﺮﺍﻯ ﺳﻔﺮ ﺑﻌﺪﻯ ﺩﺭﻭﻥﺯﻣﺎﻧﻰ ﺁﻥ ﺗﺠﺪﻳﺪ ﮔﺮﺩﺩ‪.‬‬ ‫»ﺧﻮﺏ‪ ،‬ﺣﺎﻻ ﺍﮔﺮ ﺷﻤﺎ ﺑﻌﺪ ﺍﺯ ﻣﺤﺪﻭﺩﻩﻯ ﺯﻣﺎﻧﻰ ﺑﻪ ﺯﻣﻴﻦ ﺑﺎﺯﮔﺮﺩﻳﺪ ﭼﻪ ﺍﺗﻔﺎﻗﻰ ﻣﻰﺍﻓﺘﺪ؟ ﺍﮔﺮ ﺧﻴﻠﻰ‬ ‫ﻧﺰﺩﻳﻚ ﺑﻪ ﺯﻣﺎﻥ ﺧﻮﺩﺗﺎﻥ ﻧﺒﺎﺷﻴﺪ‪ ،‬ﻧﻤﻰﺗﻮﺍﻧﻴﺪ ﻣﻄﻤﺌﻦ ﺑﺎﺷﻴﺪ ﻛﻪ ﻓﻨﺎﻭﺭﻯ ﺷﻤﺎ ﺑﺘﻮﺍﻧﺪ ﻛﺸﺘﻰ ﺷﻤﺎ ﺭﺍ‬ ‫ﻣﺠﺪﺩﺍ ً ﺩﺭﻭﻥﺯﻣﺎﻥ ﺑﺒﺮﺩ‪ .‬ﺍﮔﺮ ﺩﺭ ﺁﻳﻨﺪﻩ ﺑﺎﺷﻴﺪ ﺷﺎﻳﺪ ﺧﻮﺵﺷﺎﻧﺲ ﺑﺎﺷﻴﺪ‪ ،‬ﺍﻣﺎ ﺩﺭ ﮔﺬﺷﺘﻪ ﻣﻄﻤﺌﻨﺎً ﺍﻳﻦ‬ ‫ﮔﻮﻧﻪ ﻧﻴﺴﺖ‪ .‬ﺍﮔﺮ ﺑﻪ ﺩﻟﻴﻞ ﺑﻰﺗﻮﺟﻬﻰ ﺧﻮﺩﺗﺎﻥ ﻳﺎ ﺣﺘﺎ ﻛﻤﺒﻮﺩ ﻣﻬﺎﺭﺕ‪ ،‬ﺑﻪ ﺯﻣﺎﻧﻰ ﺧﻴﻠﻰ ﺩﻭﺭ ﺩﺭ ﮔﺬﺷﺘﻪ‬ ‫ﺭﻓﺘﻴﺪ ﻣﻰﺗﻮﺍﻧﻴﺪ ﻣﻄﻤﺌﻦ ﺑﺎﺷﻴﺪ ﻛﻪ ﺁﻥﺟﺎ ﮔﻴﺮ ﺍﻓﺘﺎﺩﻩﺍﻳﺪ‪ ،‬ﺯﻳﺮﺍ ﺑﻪ ﻫﻴﭻ ﺗﺮﺗﻴﺒﻰ ﻧﻤﻰﺗﻮﺍﻧﻴﺪ ﺑﺎ ﻛﺸﺘﻰ‬ ‫ﺧﻮﺩ ﻛﺎﺭﻯ ﺑﻜﻨﻴﺪ ﻛﻪ ﺑﻪ ﺟﺎﻳﻰ ﻛﻪ ﺩﻳﮕﺮ ﺁﻳﻨﺪﻩﻯ ﺷﻤﺎ ﺍﺳﺖ ﺑﺮﻭﻳﺪ‪«.‬‬ ‫ﺍﻭ ﺑﺮﺍﻯ ﺗﺄﻛﻴﺪ ﺑﺮ ﺣﺮﻓﺶ ﻳﻚ ﺩﺳﺖ ﺭﺍ ﺑﺮ ﺩﺳﺖ ﺩﻳﮕﺮ ﻛﻮﺑﻴﺪ ﻭ ﮔﻔﺖ‪» :‬ﻣﻰﺧﻮﺍﻫﻢ ﻣﺘﻮﺟﻪ ﺑﺎﺷﻴﺪ‬ ‫ﻛﻪ ﻫﻴﭻ ﺟﺎﻳﻰ ﺩﺭ ﮔﺬﺷﺘﻪ ﻭﺟﻮﺩ ﻧﺪﺍﺭﺩ ﻛﻪ ﻳﻚ ﺍﻓﺴﺮ ﻣﺘﻤﺪﻥ ﻧﻴﺮﻭﻯ ﻫﻮﺍﻳﻰ ﺑﺨﻮﺍﻫﺪ ﻋﻤﺮﺵ ﺭﺍ ﺩﺭ‬ ‫ﺁﻥ ﺑﮕﺬﺭﺍﻧﺪ‪ .‬ﻣﺜ ً‬ ‫ﻼ ﻣﻤﻜﻦ ﺍﺳﺖ ﺷﻤﺎ ﺩﺭ ﻓﺮﺍﻧﺴﻪ ﻗﺮﻥ ﺑﻴﺴﺖ ﻭ ﺷﺸﻢ ﮔﻴﺮ ﺑﻜﻨﻴﺪ‪ ،‬ﻳﺎ ﺍﺯ ﺁﻥ ﺑﺪﺗﺮ ﺩﺭ‬ ‫ﺁﻣﺮﻳﻜﺎﻯ ﻗﺮﻥ ﺑﻴﺴﺘﻢ!‬ ‫»ﺟﻠﻮﻯ ﻫﺮﮔﻮﻧﻪ ﻭﺳﻮﺳﻪﻯ ﺑﺎﺯﻯ ﺑﺎ ﺯﻣﺎﻥ ﺭﺍ ﺑﮕﻴﺮﻳﺪ!‬ ‫»ﺑﻴﺎﻳﻴﺪ ﺑﻪ ﻣﻮﺿﻮﻉ ﺩﻳﮕﺮﻯ ﺑﭙﺮﺩﺍﺯﻳﻢ ﻛﻪ ﺩﺭ ﺭﻭﺯﻫﺎﻯ ﺭﺳﻤﻰ ﻣﺪﺭﺳﻪ ﺣﺘﺎ ﺍﺷﺎﺭﻩﺍﻯ ﻫﻢ ﺑﻪ ﺁﻥ ﻧﺸﺪﻩ‬ ‫ﺍﺳﺖ‪ ،‬ﺍﻣﺎ ﺷﻤﺎ ﺑﺎ ﺁﻥ ﻣﻮﺍﺟﻪ ﺧﻮﺍﻫﻴﺪ ﺷﺪ‪.‬‬ ‫»ﺷﺎﻳﺪ ﺷﻤﺎ ﺑﻪ ﺍﻳﻦ ﻓﻜﺮ ﻛﻨﻴﺪ ﻛﻪ ﭼﻄﻮﺭ ﻣﻤﻜﻦ ﺍﺳﺖ ﭼﻨﺪ ﺗﺎ ﭘﻴﻮﻧﺪ ﺍﺗﻤﻰ ﺩﺭﻭﻥﺯﻣﺎﻧﻰ ﺩﻭﺭ ﻭ ﺑﺮ‬ ‫ﺟﺴﻤﻰ ﺗﻤﺎﻣﺎً ﻫﻤﺰﻣﺎﻥ ﺁﻥ ﺭﺍ ﺑﻪ ﺩﻧﺒﺎﻝ ﺧﻮﺩ ﺑﻜﺸﻨﺪ‪ .‬ﭼﺮﺍ ﻳﻚ ﺍﺗﻢ ﺩﺭﻭﻥﺯﻣﺎﻧﻰ ﻣﻴﻠﻴﻮﻥﻫﺎ ﺍﺗﻢ ﺑﺎ‬ ‫ﭘﻴﻮﻧﺪﻫﺎﻯ ﻫﻤﺰﻣﺎﻥ ﺑﻪ ﺑﺎ ﺧﻮﺩ ﺑﻪ ﺳﻤﺖ ﺁﺏ ﺑﻜﺸﺎﻧﺪ؟ ﻣﺎ ﺑﻪ ﺧﺎﻃﺮ ﻣﺸﺎﻫﺪﻩﻯ ﺍﻳﻨﺮﺳﻰ ﺩﺭ ﺗﻤﺎﻡ‬ ‫‪133‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،29‬ﺍﺭﺩﻳﺒﻬﺸﺖ ‪1392‬‬

‫ﺑﺎ ﺩﻗﺖ ﻧﮕﺎﻫﻰ ﺑﻪ ﻫﻤﻪ ﺍﻧﺪﺍﺧﺖ ﻭ ﺑﺎ ﺻﺪﺍﻯ ﺁﺭﺍﻡ ﻭ ﻛﻠﻔﺘﻰ ﮔﻔﺖ‪» :‬ﺍﻣﺎ ﺍﮔﺮ ﻣﺎ ﺍﺯ ﻳﻚ ﻛﺸﺘﻰ ﺩﺭﻭﻥﺯﻣﺎﻧﻰ‬ ‫ﺍﺳﺘﻔﺎﺩﻩ ﻛﻨﻴﻢ‪ ،‬ﻣﻰﺗﻮﺍﻧﻴﻢ ﺗﺄﺛﻴﺮ ﺍﺗﺴﺎﻉ ﺯﻣﺎﻧﻰ ﺭﺍ ﺑﺎ ﺗﺄﺛﻴﺮ ﺩﺭﻭﻥﺯﻣﺎﻧﻰ ﺗﻄﺒﻴﻖ ﺑﺪﻫﻴﻢ‪ .‬ﻫﻤﺰﻣﺎﻥ ﺑﺎ‬ ‫ﺳﻔﺮ ﺑﺴﻴﺎﺭ ﺳﺮﻳﻊ ﻛﺸﺘﻰ ﺩﺭ ﻓﻀﺎ ﻭ ﮔﺬﺭﺍﻧﺪﻥ ﺯﻣﺎﻧﻰ ﺑﺴﻴﺎﺭ ﻛﻨﺪ‪ ،‬ﺗﺄﺛﻴﺮ ﺩﺭﻭﻥﺯﻣﺎﻧﻰ ﺟﻬﺎﻥ ﺭﺍ ﻧﺴﺒﺖ‬ ‫ﺑﻪ ﻛﺸﺘﻰ ﺑﻪ ﻋﻘﺐ ﻣﻰﺭﺍﻧﺪ‪ .‬ﺍﮔﺮ ﺍﻳﻦ ﻛﺎﺭ ﺩﺭﺳﺖ ﺍﻧﺠﺎﻡ ﺷﻮﺩ‪ ،‬ﻭﻗﺘﻰ ﻛﻪ ﻛﺸﺘﻰ ﺑﻌﺪ ﺍﺯ ﻣﺜ ً‬ ‫ﻼ ﺩﻭ ﻣﺎﻩ‬ ‫ﺑﺮﺍﻯ ﺧﺪﻣﻪ ﺑﻪ ﺯﻣﻴﻦ ﺑﺎﺯﻣﻰﮔﺮﺩﺩ ﺩﺭ ﺗﻤﺎﻡ ﺟﻬﺎﻥ ﻫﻢ ﻫﻤﺎﻥ ﺩﻭ ﻣﺎﻩ ﮔﺬﺷﺘﻪ ﺍﺳﺖ‪ .‬ﺑﺎﻻﺧﺮﻩ ﺳﻔﺮ ﺑﻴﻦ‬ ‫ﺳﺘﺎﺭﻩﺍﻯ ﻋﻤﻠﻰ ﺷﺪ‪.‬‬ ‫»ﺍﻣﺎ ﻓﻘﻂ ﺍﮔﺮ ﺑﺴﻴﺎﺭ ﺩﻗﻴﻖ ﻛﻨﺘﺮﻝ ﺷﻮﺩ‪.‬‬ ‫»ﺍﮔﺮ ﺗﺄﺛﻴﺮ ﺩﺭﻭﻥﺯﻣﺎﻧﻰ ﻛﻤﻰ ﺍﺯ ﺗﺄﺛﻴﺮ ﺍﺗﺴﺎﻉ ﺯﻣﺎﻥ ﻋﻘﺐﺗﺮ ﺑﺎﺷﺪ‪ ،‬ﻛﺸﺘﻰ ﭘﺲ ﺍﺯ ﺑﺎﺯﮔﺸﺖ ﺍﺯ ﺳﻔﺮ ﺩﻭ‬ ‫ﻣﺎﻫﻪ ﻣﻰﺑﻴﻨﺪ ﭼﻬﺎﺭ ﻣﺎﻩ ﺩﺭ ﺯﻣﻴﻦ ﮔﺬﺷﺘﻪ ﺍﺳﺖ‪ .‬ﺷﺎﻳﺪ ﻓﻜﺮ ﻛﻨﻴﺪ ﺍﻳﻦ ﺗﺄﺧﻴﺮ ﺯﻳﺎﺩﻯ ﻧﻴﺴﺖ ﻭ ﻣﻰﺷﻮﺩ‬ ‫ﺑﺎ ﺁﻥ ﺯﻧﺪﮔﻰ ﻛﺮﺩ‪ ،‬ﺍﻣﺎ ﺍﻳﻦ ﮔﻮﻧﻪ ﻧﻴﺴﺖ‪ .‬ﺧﺪﻣﻪﻯ ﻛﺸﺘﻰ ﺑﻪ ﻫﻢ ﻣﻰﺭﻳﺰﻧﺪ‪ .‬ﺯﻳﺮﺍ ﺍﻳﺸﺎﻥ ﺍﺣﺴﺎﺱ‬ ‫ﻣﻰﻛﻨﻨﺪ ﻫﻤﻪ ﭼﻴﺰ ﻧﺴﺒﺖ ﺑﻪ ﺁﻥﻫﺎ ﺩﻭ ﻣﺎﻩ ﭘﻴﺮﺗﺮ ﺷﺪﻩ ﺍﺳﺖ‪ .‬ﺍﺯ ﺁﻥ ﺑﺪﺗﺮ ﺍﻳﻦ ﻛﻪ ﻣﺮﺩﻡ ﻋﺎﺩﻯ ﺍﺣﺴﺎﺱ‬ ‫ﻣﻰﻛﻨﻨﺪ ﺧﺪﻣﻪﻯ ﻛﺸﺘﻰ ﺩﻭ ﻣﺎﻩ ﺍﺯ ﺁﻥ ﭼﻪ ﻛﻪ ﺑﺎﻳﺪ ﺑﺎﺷﻨﺪ‪ ،‬ﺟﻮﺍﻥﺗﺮ ﻫﺴﺘﻨﺪ‪ .‬ﺍﻳﻦ ﻣﺴﺄﻟﻪ ﻣﻮﺟﺐ‬ ‫ﻧﺎﺭﺍﺣﺘﻰ ﻣﻰﺷﻮﺩ‪.‬‬ ‫»ﺑﻪ ﻫﻤﻴﻦ ﺗﺮﺗﻴﺐ ﺍﮔﺮ ﺗﺄﺛﻴﺮ ﺩﺭﻭﻥﺯﻣﺎﻧﻰ ﻛﻤﻰ ﺍﺯ ﺗﺄﺛﻴﺮ ﺍﺗﺴﺎﻉ ﺯﻣﺎﻥ ﺟﻠﻮﺗﺮ ﺑﺮﻭﺩ‪ ،‬ﻛﺸﺘﻰ ﺑﻌﺪ ﺍﺯ ﺩﻭ ﻣﺎﻩ‬ ‫ﺑﻪ ﺯﻣﻴﻦ ﺑﺮﻣﻰﮔﺮﺩﺩ ﻭ ﻣﻰﺑﻴﻨﺪ ﻛﻪ ﺩﺭ ﺯﻣﻴﻦ ﻫﻴﭻ ﺯﻣﺎﻧﻰ ﻧﮕﺬﺷﺘﻪ ﺍﺳﺖ‪ .‬ﻣﺜﻞ ﺍﻳﻦ ﻛﻪ ﻛﺸﺘﻰ ﻓﻘﻂ ﺑﻪ‬ ‫ﺁﺳﻤﺎﻥ ﺑﺎﻻ ﺭﻓﺘﻪ ﻭ ﻓﻮﺭﺍ ً ﺑﺎﺯﮔﺸﺘﻪ ﺍﺳﺖ‪ .‬ﻣﺸﻜﻼﺕ ﻭ ﻧﺎﺭﺍﺣﺘﻰﻫﺎ ﻫﻢ ﻣﺠﺪﺩﺍ ً ﻭﺟﻮﺩ ﺩﺍﺭﻧﺪ‪.‬‬ ‫»ﺧﻴﺮ ﻓﺎﺭﻍﺍﻟﺘﺤﺼﻴﻼﻥ‪ ،‬ﺍﮔﺮ ﻣﺪﺕ ﺯﻣﺎﻥ ﭘﺮﻭﺍﺯ ﺑﺮﺍﻯ ﺧﺪﻣﻪ ﻭ ﺯﻣﻴﻦ ﺩﻗﻴﻘﻪ ﺑﻪ ﺩﻗﻴﻘﻪ ﻣﺸﺎﺑﻪ ﻧﺒﺎﺷﺪ‪،‬‬ ‫ﭘﺮﻭﺍﺯ ﺑﻴﻦ ﺳﺘﺎﺭﻩﺍﻯ ﻣﻮﻓﻖ ﻧﺒﻮﺩﻩ ﺍﺳﺖ‪ .‬ﻳﻚ ﺍﺧﺘﻼﻑ ﺷﺼﺖ ﺛﺎﻧﻴﻪ ﻳﻚ ﺧﺮﺍﺑﻜﺎﺭﻯ ﺍﺳﺖ ﻛﻪ ﻫﻴﭻ‬ ‫ﺍﻓﺘﺨﺎﺭﻯ ﺑﺮﺍﻯ ﺷﻤﺎ ﻧﺪﺍﺭﺩ‪ .‬ﺻﺪ ﻭ ﺑﻴﺴﺖ ﺛﺎﻧﻴﻪ ﺩﻳﮕﺮ ﻗﺎﺑﻞ ﺗﺤﻤﻞ ﻧﻴﺴﺖ‪.‬‬ ‫»ﺧﻴﻠﻰ ﺧﻮﺏ ﻣﻰﺩﺍﻧﻢ ﭼﻪ ﺳﺆﺍﻻﺗﻰ ﺩﺭ ﺫﻫﻦ ﺷﻤﺎ ﻫﺴﺖ ﻓﺎﺭﻍﺍﻟﺘﺤﺼﻴﻼﻥ‪ ،‬ﺍﻳﻦ ﺳﺆﺍﻻﺕ ﻣﻮﻗﻊ‬ ‫ﻓﺎﺭﻍﺍﻟﺘﺤﺼﻴﻠﻰ ﺩﺭ ﺫﻫﻦ ﻣﻦ ﻫﻢ ﺑﻮﺩﻩ ﺍﺳﺖ‪ .‬ﺁﻳﺎ ﻣﺎ ﺩﺭ ﻛﺸﺘﻰﻫﺎﻯ ﺩﺭﻭﻥﺯﻣﺎﻧﻰ ﭼﻴﺰﻯ ﻣﺸﺎﺑﻪ ﻣﺎﺷﻴﻦ‬ ‫ﺯﻣﺎﻥ ﺩﺍﺭﻳﻢ؟ ﺁﻳﺎ ﺑﺎ ﺗﻨﻈﻴﻢ ﺻﺤﻴﺢ ﺍﺑﺰﺍﺭ ﺩﺭﻭﻥﺯﻣﺎﻧﻰ ﻣﻰﺗﻮﺍﻧﻴﻢ ﺑﻪ ﻳﻚ ﻗﺮﻥ ﺑﻌﺪ ﺑﺮﻭﻳﻢ‪ ،‬ﺗﻤﺎﺷﺎ ﻛﻨﻴﻢ‬ ‫ﻭ ﺑﻪ ﺯﻣﺎﻥ ﺧﻮﺩﻣﺎﻥ ﺑﺎﺯﮔﺮﺩﻳﻢ؟ ﻳﺎ ﺑﺮﻋﻜﺲ‪ ،‬ﺁﻳﺎ ﻣﻰﺗﻮﺍﻧﻴﻢ ﺑﻪ ﮔﺬﺷﺘﻪ ﺑﺮﻭﻳﻢ ﻭ ﺑﻌﺪ ﺑﻪ ﺯﻣﺎﻥ ﺧﻮﺩ ﺩﺭ‬ ‫ﺁﻳﻨﺪﻩ ﺑﺎﺯﮔﺮﺩﻳﻢ؟ ﻳﺎ ﻫﺰﺍﺭ ﺳﺎﻝ؟ ﻳﻚ ﻣﻴﻠﻴﻮﻥ ﺳﺎﻝ؟ ﻧﻤﻰﺗﻮﺍﻧﻴﻢ ﺗﻮﻟﺪ ﺯﻣﻴﻦ‪ ،‬ﺁﻓﺮﻳﻨﺶ ﺣﻴﺎﺕ ﻭ ﻣﺮگ‬ ‫ﺧﻮﺭﺷﻴﺪ ﺭﺍ ﺑﺒﻴﻨﻴﻢ؟‬ ‫»ﻓﺎﺭﻍﺍﻟﺘﺤﺼﻴﻼﻥ‪ ،‬ﺑﭽﻪﻫﺎﻯ ﺭﻳﺎﺿﻴﺪﺍﻥ ﻣﻰﮔﻮﻳﻨﺪ ﺍﻳﻦ ﺟﻮﺭ ﭼﻴﺰﻫﺎ ﭘﺎﺭﺍﺩﻭﻛﺲ ﺍﻳﺠﺎﺩ ﻣﻰﻛﻨﻨﺪ ﻭ ﺍﻧﺮژﻯ‬ ‫ﺯﻳﺎﺩﻯ ﺑﺮﺍﻯ ﻋﻤﻠﻰ ﺷﺪﻥ ﺻﺮﻑ ﻣﻰﻛﻨﻨﺪ‪ .‬ﺍﻣﺎ ﻣﻦ ﺑﺮﺍﻯ ﺷﻤﺎ ﺩﻟﻴﻞ ﭘﺎﺭﺍﺩﻭﻛﺲ ﺭﺍ ﺷﺮﺡ ﻣﻰﺩﻫﻢ‪ .‬ﻣﺎ‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،29‬ﺍﺭﺩﻳﺒﻬﺸﺖ ‪1392‬‬

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‫ﭘﺎﻭﺭﻗﻰ‬

‫ﺍﺷﻴﺎء ﺩﺭﻭﻥ ﺁﻥ ﻭ ﻛﺎﺭﻛﻨﺎﻥ ﺭﺍ ﺧﻮﺍﻫﺪ ﺑﺮﺩ‪.‬‬ ‫»ﻣﻄﻤﺌﻨﺎً ﻫﻴﭻ ﭼﻴﺰ ﻣﻄﻠﻖ ﻧﻴﺴﺖ‪ .‬ﻛﺸﺘﻰ ﻧﺴﺒﺖ ﺑﻪ ﺟﻬﺎﻥ ﺩﺭ ﺯﻣﺎﻥ ﺑﻪ ﺟﻠﻮ ﺣﺮﻛﺖ ﻣﻰﻛﻨﺪ ﻭ ﺍﻳﻦ‬ ‫ﻋﻴﻨﺎً ﻣﺜﻞ ﺍﻳﻦ ﺍﺳﺖ ﻛﻪ ﺑﮕﻮﻳﻴﻢ ﺗﻤﺎﻡ ﺟﻬﺎﻥ ﻧﺴﺒﺖ ﺑﻪ ﻛﺸﺘﻰ ﺩﺭ ﺯﻣﺎﻥ ﺑﻪ ﻋﻘﺐ ﺣﺮﻛﺖ ﻣﻰﻛﻨﺪ‪.‬‬ ‫ﺳﺮﻋﺖ ﺣﺮﻛﺖ ﺑﻪ ﺟﻠﻮﻯ ﻛﺸﺘﻰ ﻳﺎ ﺣﺮﻛﺖ ﺑﻪ ﻋﻘﺐ ﺟﻬﺎﻥ ﺩﺭ ﺯﻣﺎﻥ ﺭﺍ ﻣﻰﺗﻮﺍﻥ ﺑﺎ ﺍﺻﻼﺡ ﺩﺳﺘﮕﺎﻩ‬ ‫ﺍﺿﺎﻓﻪ ﻛﺮﺩﻥ ﺁﺏ ﺑﻪ ﺩﻗﺖ ﺗﻨﻈﻴﻢ ﻛﺮﺩ‪ .‬ﺷﻴﻮﻩ ﺻﺤﻴﺢ ﺍﻧﺠﺎﻡ ﺍﻳﻦ ﻛﺎﺭ ﺭﺍ ﻣﻰﺗﻮﺍﻥ ﺑﻪ ﺯﺣﻤﺖ ﺁﻣﻮﺯﺵ‬ ‫ﺩﺍﺩ‪ ،‬ﺍﻣﺎ ﺧﻮﺏ ﺍﻧﺠﺎﻡ ﺩﺍﺩﻧﺶ ﻓﻘﻂ ﺑﺎ ﺍﺳﺘﻌﺪﺍﺩ ﻣﺎﺩﺭﺯﺍﺩﻯ ﻣﻤﻜﻦ ﺍﺳﺖ‪ .‬ﭼﻴﺰﻯ ﻛﻪ ﻣﻰﺧﻮﺍﻫﻴﻢ ﺩﺭ ﻣﻮﺭﺩ‬ ‫ﺷﻤﺎ ﺑﻴﺎﺑﻴﻢ ﺍﻳﻦ ﺍﺳﺖ ﻛﻪ ﺁﻳﺎ ﺷﻤﺎ ﺍﻳﻦ ﺍﺳﺘﻌﺪﺍﺩ ﺭﺍ ﺩﺍﺭﻳﺪ ﻳﺎ ﺧﻴﺮ‪«.‬‬ ‫ﻣﺠﺪﺩﺍ ً ﻣﻜﺚ ﻭ ﺁﻥﻫﺎ ﺭﺍ ﺍﺭﺯﻳﺎﺑﻰ ﻛﺮﺩ‪ .‬ﺳﭙﺲ ﺩﺭ ﻣﻴﺎﻥ ﺳﻜﻮﺕ ﻣﺤﺾ ﺩﻭﺑﺎﺭﻩ ﺷﺮﻭﻉ ﻛﺮﺩ‪:‬‬ ‫»ﺍﻣﺎ ﻫﻤﻪ ﺍﻳﻦﻫﺎ ﭼﻪ ﻓﺎﻳﺪﻩﺍﻯ ﺩﺍﺭﺩ؟ ﺑﻴﺎﻳﻴﺪ ﺟﻨﮓ ﺳﺘﺎﺭﻩﺍﻯ ﺭﺍ ﺩﺭ ﻧﻈﺮ ﺑﮕﻴﺮﻳﻢ ﻭ ﺑﻌﻀﻰ ﺍﺯ ﭼﻴﺰﻫﺎﻳﻰ‬ ‫ﺭﺍ ﻛﻪ ﺷﻤﺎ ﺩﺭ ﻣﺪﺭﺳﻪ ﺁﻣﻮﺧﺘﻴﺪ ﻣﺮﻭﺭ ﻛﻨﻴﻢ‪.‬‬ ‫»ﺳﺘﺎﺭﮔﺎﻥ ﺑﺴﻴﺎﺭ ﺍﺯ ﻫﻤﺪﻳﮕﺮ ﺩﻭﺭ ﻫﺴﺘﻨﺪ ﻭ ﺑﺎ ﺗﻮﺟﻪ ﺑﻪ ﻣﺤﺪﻭﺩﻳﺖ ﺳﺮﻋﺖ ﻧﻮﺭ‪ ،‬ﺳﻔﺮ ﺍﺯ ﻳﻚ ﺳﺘﺎﺭﻩ‬ ‫ﺑﻪ ﺩﻳﮕﺮ ﺳﺎﻝﻫﺎ ﻳﺎ ﻗﺮﻥﻫﺎ ﻭ ﻫﺰﺍﺭﻩﻫﺎ ﻃﻮﻝ ﻣﻰﻛﺸﺪ‪ .‬ﻳﻚ ﺭﺍﻩ ﺍﻧﺠﺎﻡ ﺍﻳﻦ ﻛﺎﺭ ﺍﺳﺘﻔﺎﺩﻩ ﺍﺯ ﻳﻚ ﻛﺸﺘﻰ‬ ‫ﺑﺎ ﺯﻳﺴﺖﺑﻮﻡ ﺑﺴﺘﻪ ﺍﺳﺖ‪ ،‬ﻳﻌﻨﻰ ﻳﻚ ﺟﻬﺎﻥ ﻛﻮﭼﻚ ﺧﻮﺩﻛﻔﺎ‪ .‬ﻳﻚ ﮔﺮﻭﻩ ﻣﺮﺩﻡ ﺳﻮﺍﺭ ﻣﻰﺷﻮﻧﺪ ﻭ ﻧﺴﻞ‬ ‫ﺩﻫﻢ ﺁﻥﻫﺎ ﺑﻪ ﻣﻘﺼﺪ ﺳﺘﺎﺭﻩ ﺩﻭﺭﺩﺳﺖ ﻣﻰﺭﺳﻨﺪ‪ .‬ﻫﻴﭻ ﻛﺲ ﺑﻪ ﺗﻨﻬﺎﻳﻰ ﻧﻤﻰﺗﻮﺍﻧﺪ ﭼﻨﻴﻦ ﺳﻔﺮﻯ ﺑﻜﻨﺪ‬ ‫ﻭ ﺣﺘﺎ ﺍﮔﺮ ﻛﺸﺘﻰ ﺑﻪ ﺧﺎﻧﻪ ﺑﺎﺯﮔﺮﺩﺩ‪ ،‬ﻗﺮﻥﻫﺎ ﮔﺬﺷﺘﻪ ﺍﺳﺖ‪.‬‬ ‫»ﺑﺮﺍﻯ ﺭﺳﺎﻧﺪﻥ ﺧﺪﻣﻪ ﺍﺻﻠﻰ ﺑﻪ ﻣﻘﺼﺪ‪ ،‬ﺍﺯ ﺷﻴﻮﻩﻯ ﻣﻨﺠﻤﺪ ﻛﺮﺩﻥ ﺑﺮﺍﻯ ﻛﻞ ﺳﻔﺮ ﻫﻢ ﻣﻰﺗﻮﺍﻥ ﺍﺳﺘﻔﺎﺩﻩ‬ ‫ﻛﺮﺩ‪ .‬ﺍﻣﺎ ﺍﻧﺠﻤﺎﺩ ﺷﻴﻮﻩ ﻧﺎﻣﻄﻤﺌﻨﻰ ﺍﺳﺖ ﻭ ﺣﺘﺎ ﺍﮔﺮ ﺧﺪﻣﻪ ﺳﺎﻟﻢ ﺑﻤﺎﻧﻨﺪ ﻭ ﺑﻪ ﺧﺎﻧﻪ ﺑﺎﺯﮔﺮﺩﻧﺪ‪ ،‬ﻣﻰﺑﻴﻨﻨﺪ‬ ‫ﻛﻪ ﭼﻨﺪﻳﻦ ﻗﺮﻥ ﺩﺭ ﺯﻣﻴﻦ ﮔﺬﺷﺘﻪ ﺍﺳﺖ‪.‬‬ ‫»ﺑﺮﺍﻯ ﺑﺮﺩﻥ ﺧﺪﻣﻪ ﺑﻪ ﺳﺘﺎﺭﮔﺎﻥ ﺑﺪﻭﻥ ﻣﻨﺠﻤﺪ ﻛﺮﺩﻥ ﺩﺭ ﻃﻮﻝ ﻋﻤﺮ ﺧﻮﺩﺷﺎﻥ ﻓﻘﻂ ﺑﺎﻳﺴﺘﻰ ﺗﺎ ﻧﺰﺩﻳﻚ‬ ‫ﺳﺮﻋﺖ ﻧﻮﺭ ﺳﺮﻋﺖ ﮔﺮﻓﺖ‪ .‬ﺯﻣﺎﻥ ﺩﺍﺧﻠﻰ ﻛﻨﺪ ﻣﻰﺷﻮﺩ ﻭ ﻛﻞ ﺳﻔﺮ ﺑﻪ ﻧﻈﺮ ﺧﺪﻣﻪ ﻓﻘﻂ ﭼﻨﺪ ﻣﺎﻩ‬ ‫ﻣﻰﺭﺳﺪ‪ .‬ﺍﻣﺎ ﺯﻣﺎﻥ ﺑﺮﺍﻯ ﺑﻘﻴﻪ ﺟﻬﺎﻥ ﺑﺎ ﺳﺮﻋﺖ ﻣﻌﻤﻮﻟﻰ ﺣﺮﻛﺖ ﻣﻰﻛﻨﺪ ﻭ ﻭﻗﺘﻰ ﻛﻪ ﺧﺪﻣﻪ ﺑﻪ ﺧﺎﻧﻪ‬ ‫ﺑﺎﺯﮔﺮﺩﻧﺪ‪ ،‬ﻣﻰﺑﻴﻨﻨﺪ ﻛﻪ ﺑﺎ ﻭﺟﻮﺩﻯ ﻛﻪ ﺁﻥﻫﺎ ﺣﺪﺍﻛﺜﺮ ﺩﻭ ﻣﺎﻩ ﮔﺬﺭﺍﻧﺪﻩﺍﻧﺪ ﺍﻣﺎ ﺯﻣﻴﻦ ﭼﻨﺪﻳﻦ ﻗﺮﻥ ﺭﺍ ﺍﺯ‬ ‫ﺳﺮ ﮔﺬﺭﺍﻧﺪﻩ ﺍﺳﺖ‪.‬‬ ‫»ﺩﺭ ﻫﻤﻪ ﻣﻮﺍﺭﺩ ﺳﻔﺮ ﺩﺭ ﻓﻀﺎ ﻫﺮ ﭼﻨﺪ ﺑﺮﺍﻯ ﺧﺪﻣﻪ ﻛﻮﺗﺎﻩ ﺑﺎﺷﺪ‪ ،‬ﺍﻣﺎ ﺑﺮﺍﻯ ﺯﻣﻴﻦ ﺑﺴﻴﺎﺭ ﻃﻮﻻﻧﻰ ﺧﻮﺍﻫﺪ‬ ‫ﺑﻮﺩ‪ .‬ﺍﺷﺨﺎﺹ ﻣﺠﺒﻮﺭﻧﺪ ﺩﺭ ﺁﻳﻨﺪﻩﻯ ﺩﻭﺭ ﺑﻪ ﺯﻣﻴﻦ ﺑﺎﺯﮔﺮﺩﻧﺪ ﺍﻟﺒﺘﻪ ﺍﮔﺮ ﺍﺻ ً‬ ‫ﻼ ﺑﺎﺯﮔﺸﺘﻰ ﺩﺭ ﻛﺎﺭ ﺑﺎﺷﺪ‪.‬‬ ‫ﭘﺲ ﺳﻔﺮ ﺑﻴﻦ ﺳﺘﺎﺭﻩﺍﻯ ﺍﺯ ﻧﻈﺮ ﺭﻭﺍﻥﺷﻨﺎﺧﺘﻰ ﻏﻴﺮ ﻋﻤﻠﻰ ﺍﺳﺖ‪.‬‬ ‫»ﺍﻣﺎ‪ ...‬ﺍﻣﺎ ﻓﺎﺭﻍ ﺍﻟﺘﺤﺼﻴﻼﻥ!‪«...‬‬ ‫‪131‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،29‬ﺍﺭﺩﻳﺒﻬﺸﺖ ‪1392‬‬

‫ﭘﺎﻭﺭﻗﻰ‬

‫ﺗﻴﻮﺗﻴﻤﻮﻟﻴﻦ ﺳﺎﺧﺖ ﺗﺠﻬﻴﺰﺍﺕ ﺑﺴﻴﺎﺭ ﺧﺎﺻﻰ ﺭﺍ ﻣﻤﻜﻦ ﺳﺎﺧﺖ‪ ،‬ﻛﺎﺭﺑﺮﺩ ﺍﺻﻠﻰ ﺩﺭﻭﻥﺯﻣﺎﻧﻰ ﻣﻰﺑﺎﻳﺴﺖ‬ ‫ﻣﻨﺘﻈﺮ ﻣﻮﻟﻜﻮﻝﻫﺎﻯ ﭘﻴﭽﻴﺪﻩﺗﺮ ﺑﺎﺷﺪ‪ :‬ﭘﻠﻴﻤﺮﻫﺎﻳﻰ ﻛﻪ ﺩﺭﻭﻥﺯﻣﺎﻧﻰ ﺭﺍ ﺑﺎ ﺳﺎﺧﺘﺎﺭ ﻣﺴﺘﺤﻜﻢ ﭘﻴﻮﻧﺪ‬ ‫ﺩﺍﺩﻩﺍﻧﺪ‪.‬‬ ‫»ﭘﻼﮔﺮﻳﻨﻰ ]‪ [6‬ﺍﻭﻟﻴﻦ ﻛﺴﻰ ﺑﻮﺩ ﻛﻪ ﺭﺯﻳﻦﻫﺎ ﻭ ﭘﻼﺳﺘﻴﻚﻫﺎﻯ ﺩﺭﻭﻥﺯﻣﺎﻧﻰ ﺳﺎﺧﺖ‪ .‬ﺑﻴﺴﺖ ﺳﺎﻝ ﺑﻌﺪ‬ ‫ﻛﻮﺩﺍﻫﻰ ]‪ [7‬ﺗﻜﻨﻴﻜﻰ ﺑﺮﺍﻯ ﺍﺗﺼﺎﻝ ﭘﻼﺳﺘﻴﻚﻫﺎﻯ ﺩﺭﻭﻥﺯﻣﺎﻧﻰ ﺑﻪ ﻓﻠﺰﺍﺕ ﻣﻌﺮﻓﻰ ﻛﺮﺩ‪ .‬ﺩﺭﻭﻥﺯﻣﺎﻧﻰ‬ ‫ﻛﺮﺩﻥ ﺍﺷﻴﺎء ﺑﺰﺭگ ﻣﻤﻜﻦ ﺷﺪ‪ ،‬ﻣﺜ ً‬ ‫ﻼ ﻛﻞ ﻓﻀﺎﭘﻴﻤﺎﻫﺎ‪.‬‬ ‫»ﺣﺎﻻ ﺑﻴﺎﻳﻴﺪ ﺑﺒﻴﻨﻴﻢ ﻭﻗﺘﻰ ﻳﻚ ﺷﻰء ﺑﺰﺭگ ﺩﺭﻭﻥﺯﻣﺎﻧﻰ ﺑﺎﺷﺪ‪ ،‬ﭼﻪ ﺍﺗﻔﺎﻗﻰ ﻣﻰﺍﻓﺘﺪ‪ .‬ﻣﻦ ﻓﻘﻂ ﻛﻴﻔﻰ‬ ‫ﺗﻮﺿﻴﺢ ﻣﻰﺩﻫﻢ‪ .‬ﻧﻈﺮﻳﻪﭘﺮﺩﺍﺯﺍﻥ ﺗﻤﺎﻡ ﺍﻳﻦ ﺭﺍ ﺑﺎ ﺭﻳﺎﺿﻴﺎﺕ ﺍﻧﺠﺎﻡ ﻣﻰﺩﻫﻨﺪ‪ ،‬ﺍﻣﺎ ﻣﻦ ﻫﻴﭻ ﻭﻗﺖ ﻓﻴﺰﻳﻜﺪﺍﻧﻰ‬ ‫ﻧﺪﻳﺪﻡ ﻛﻪ ﺑﺘﻮﺍﻧﺪ ﻳﻚ ﻓﻀﺎﭘﻴﻤﺎ ﺭﺍ ﺑﺮﺍﻧﺪ‪ .‬ﭘﺲ ﺑﮕﺬﺍﺭﻳﺪ ﺁﻥﻫﺎ ﻧﻈﺮﻳﻪ ﺭﺍ ﻫﺪﺍﻳﺖ ﻛﻨﻨﺪ‪ ،‬ﺷﻤﺎ ﻫﻢ ﻛﺸﺘﻰ‬ ‫ﺭﺍ ﻫﺪﺍﻳﺖ ﻛﻨﻴﺪ‪.‬‬ ‫»ﻣﻮﻟﻜﻮﻝ ﻛﻮﭼﻚ ﺗﻴﻮﺗﻴﻤﻮﻟﻴﻦ ﺑﻪ ﺣﺎﻻﺕ ﺍﺣﺘﻤﺎﻟﻰ ﺁﻳﻨﺪﻩ ﺑﺴﻴﺎﺭ ﺣﺴﺎﺱ ﺍﺳﺖ‪ .‬ﺍﮔﺮ ﺷﻤﺎ ﻣﻄﻤﺌﻦ‬ ‫ﺑﺎﺷﻴﺪ ﻛﻪ ﺩﺍﺭﻳﺪ ﺁﺏ ﺭﺍ ﺍﺿﺎﻓﻪ ﻣﻰﻛﻨﻴﺪ‪ ،‬ﺗﻴﻮﺗﻴﻤﻮﻟﻴﻦ ﻗﺒﻞ ﺍﺯ ﺍﺿﺎﻓﻪ ﺷﺪﻥ ﺁﺏ ﺣﻞ ﻣﻰﺷﻮﺩ‪ .‬ﺍﮔﺮ‬ ‫ﻛﻮﭼﻚﺗﺮﻳﻦ ﺷﻜﻰ ﺩﺭ ﺫﻫﻦ ﺷﻤﺎ ﺑﺎﺷﺪ ﻛﻪ ﺁﻳﺎ ﺁﺏ ﺭﺍ ﺍﺿﺎﻓﻪ ﺧﻮﺍﻫﻴﺪ ﻛﺮﺩ ﻳﺎ ﻧﻪ‪ ،‬ﺣﻞ ﻧﻤﻰﺷﻮﺩ ﺗﺎ ﺍﻳﻦ‬ ‫ﻛﻪ ﻭﺍﻗﻌﺎً ﺁﺏ ﺍﺿﺎﻓﻪ ﺷﻮﺩ‪.‬‬ ‫»ﻫﺮ ﭼﻪ ﻣﻮﻟﻜﻮﻝ ﺑﺎ ﺧﻮﺍﺹ ﺩﺭﻭﻥﺯﻣﺎﻧﻰ ﺑﺰﺭگﺗﺮ ﺑﺎﺷﺪ‪ ،‬ﺑﻪ ﺗﺮﺩﻳﺪ ﻛﻤﺘﺮ ﺣﺴﺎﺱ ﺍﺳﺖ‪ .‬ﻳﻌﻨﻰ ﺣﺘﺎ ﺍﮔﺮ‬ ‫ﺷﻤﺎ ﺗﻘﺮﻳﺒﺎً ﻣﻄﻤﺌﻦ ﺑﺎﺷﻴﺪ ﻛﻪ ﺁﺏ ﺭﺍ ﺍﺿﺎﻓﻪ ﻧﻤﻰﻛﻨﻴﺪ‪ ،‬ﺑﺎﺯ ﻫﻢ ﻣﺎﺩﻩ ﺣﻞ ﻣﻰﺷﻮﺩ‪ ،‬ﻣﺘﻮﺭﻡ ﻣﻰﺷﻮﺩ‪،‬‬ ‫ﺧﻮﺍﺹ ﺍﻟﻜﺘﺮﻳﻜﻰ ﺁﻥ ﺗﻐﻴﻴﺮ ﻣﻰﻛﻨﺪ ﻭ ﺣﺘﺎ ﺑﻌﻀﻰ ﻣﻮﺍﻗﻊ ﺑﺎ ﺁﺏ ﻭﺍﻛﻨﺶ ﻣﻰﺩﻫﺪ‪ .‬ﺍﻣﺎ ﺍﮔﺮ ﺷﻤﺎ ﻋﻤ ً‬ ‫ﻼ ﺁﺏ‬ ‫ﺭﺍ ﺍﺿﺎﻓﻪ ﻧﻜﻨﻴﺪ ﭼﻪ ﺍﺗﻔﺎﻗﻰ ﻣﻰﺍﻓﺘﺪ؟ ﭘﺎﺳﺦ ﺳﺎﺩﻩ ﺍﺳﺖ‪ .‬ﺳﺎﺧﺘﺎﺭ ﺩﺭﻭﻥﺯﻣﺎﻧﻰ ﺑﻪ ﺩﻧﺒﺎﻝ ﺁﺏ ﺑﻪ ﺁﻳﻨﺪﻩ‬ ‫ﺣﺮﻛﺖ ﻣﻰﻛﻨﺪ ﻭ ﺍﮔﺮ ﺁﻥ ﺭﺍ ﻧﻴﺎﺑﺪ‪ ،‬ﻫﻤﻴﻦ ﻃﻮﺭ ﺑﻪ ﺣﺮﻛﺖ ﺧﻮﺩ ﺍﺩﺍﻣﻪ ﻣﻰﺩﻫﺪ‪.‬‬ ‫»ﺍﻳﻦ ﺍﺛﺮ ﺑﺴﻴﺎﺭ ﺷﺒﻴﻪ ﺍﻻﻏﻰ ﺍﺳﺖ ﻛﻪ ﻫﻮﻳﺠﻰ ﺭﺍ ﺩﻧﺒﺎﻝ ﻣﻰﻛﻨﺪ ﻛﻪ ﺩﺭ ﻓﺎﺻﻠﻪﻯ ﻧﻴﻢ ﻣﺘﺮﻯ ﺟﻠﻮﻯ‬ ‫ﭘﻮﺯﻩﻯ ﺁﻥ ﺁﻭﻳﺰﺍﻥ ﺷﺪﻩ ﺍﺳﺖ‪ .‬ﺑﺎ ﺍﻳﻦ ﺗﻔﺎﻭﺕ ﻛﻪ ﺳﺎﺧﺘﺎﺭ ﺩﺭﻭﻥﺯﻣﺎﻧﻰ ﺑﻪ ﺑﺎﻫﻮﺷﻰ ﺍﻻﻍ ﻧﻴﺴﺖ ﻭ ﻫﺮﮔﺰ‬ ‫ﻫﻢ ﺧﺴﺘﻪ ﻧﻤﻰﺷﻮﺩ‪.‬‬ ‫»ﺍﮔﺮ ﺗﻤﺎﻡ ﻛﺸﺘﻰ ﺩﺭﻭﻥﺯﻣﺎﻧﻰ ﺑﺎﺷﺪ ‪-‬ﻛﻪ ﻳﻌﻨﻰ ﮔﺮﻭﻩﻫﺎﻯ ﺩﺭﻭﻥﺯﻣﺎﻧﻰ ﺩﺭ ﻓﻮﺍﺻﻞ ﻣﻌﻴﻦ ﺑﻪ ﺑﺪﻧﻪ ﻣﺘﺼﻞ‬ ‫ﺷﺪﻩﺍﻧﺪ‪ -‬ﻣﻰﺗﻮﺍﻥ ﺑﻪ ﺭﺍﺣﺘﻰ ﻭﺳﻴﻠﻪﺍﻯ ﺳﺎﺧﺖ ﻛﻪ ﺁﺏ ﺭﺍ ﺑﻪ ﻧﻘﻄﻪﻯ ﻣﻌﻴﻨﻰ ﺩﺭ ﺁﻳﻨﺪﻩ ﻣﻨﺘﻘﻞ ﻛﻨﺪ ﻭ‬ ‫ﺑﻪ ﻧﺤﻮﻯ ﺗﺮﺗﻴﺐ ﻛﺎﺭ ﺭﺍ ﺩﺍﺩ ﻛﻪ ﺩﺭ ﻋﻴﻦ ﺍﻳﻦ ﻛﻪ ﺁﺏ ﺩﺭ ﻭﺿﻌﻴﺖ ﺁﻣﺎﺩﻩﻯ ﺗﺤﻮﻳﻞ ﻗﺮﺍﺭ ﺩﺍﺭﺩ‪ ،‬ﺍﻣﺎ ﻋﻤ ً‬ ‫ﻼ‬ ‫ﺍﻳﻦ ﺍﺗﻔﺎﻕ ﻧﻴﻔﺘﺪ‪.‬‬ ‫»ﺩﺭ ﺍﻳﻦ ﺣﺎﻟﺖ‪ ،‬ﻣﺠﻤﻮﻋﻪﻯ ﺩﺭﻭﻥﺯﻣﺎﻧﻰ ﺩﺭ ﺯﻣﺎﻥ ﺑﻪ ﺟﻠﻮ ﺣﺮﻛﺖ ﻣﻰﻛﻨﺪ ﻭ ﺑﺎ ﺧﻮﺩ ﺗﻤﺎﻡ ﻛﺸﺘﻰ ﻭ‬ ‫‪129‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،29‬ﺍﺭﺩﻳﺒﻬﺸﺖ ‪1392‬‬

‫ﺩﺭ ﺍﻳﻦ ﻟﺤﻈﻪ ﺁﺩﻣﻴﺮﺍﻝ ﻭﺭﻧﻮﻥ ]‪ [4‬ﻭﺍﺭﺩ ﺷﺪ ﻭ ﺑﻪ ﺳﺮﻋﺖ ﺑﻪ ﺳﻤﺖ ﺳﻜﻮ ﺭﻓﺖ‪.‬‬ ‫»ﻛﻼﺱ ﺗﺤﺼﻴﻼﺕ ﺗﻜﻤﻴﻠﻰ ﻭﺭﻭﺩﻯ ‪ ،22‬ﺧﻮﺵ ﺁﻣﺪﻳﺪ! ﺭﻭﺯﻫﺎﻯ ﻣﺪﺭﺳﻪﻯ ﺷﻤﺎ ﺗﻤﺎﻡ ﺷﺪﻩ ﺍﺳﺖ‪.‬‬ ‫ﺗﺤﺼﻴﻼﺕ ﺷﻤﺎ ﻫﻢ ﺍﻛﻨﻮﻥ ﺁﻏﺎﺯ ﻣﻰﺷﻮﺩ‪.‬‬ ‫»ﺗﻨﻬﺎ ﭼﻴﺰﻯ ﻛﻪ ﺷﻤﺎ ﺁﻥﺟﺎ ﻳﺎﺩ ﮔﺮﻓﺘﻪﺍﻳﺪ‪ ،‬ﻧﻈﺮﻳﻪﻯ ﻛﻼﺳﻴﻚ ﺟﻨﮓ ﻓﻀﺎﻳﻰ ﺍﺳﺖ‪ .‬ﺷﻤﺎ ﺍﺯ ﺍﺧﺘﺮﻓﻴﺰﻳﻚ‬ ‫ﻭ ﻣﻜﺎﻧﻴﻚ ﻧﺴﺒﻴﺖ ﺳﻤﺎﻭﻯ ﻟﺒﺮﻳﺰ ﺷﺪﻩﺍﻳﺪ‪ .‬ﺍﻣﺎ ﻫﻨﻮﺯ ﭼﻴﺰﻯ ﺩﺭ ﻣﻮﺭﺩ ﺗﻴﻮﺗﻴﻤﻮﻟﻴﻦ ﺑﻪ ﺷﻤﺎ ﮔﻔﺘﻪ ﻧﺸﺪﻩ‬ ‫ﺍﺳﺖ‪.‬‬ ‫»ﺩﻟﻴﻞ ﺧﻮﺑﻰ ﺑﺮﺍﻯ ﺍﻳﻦ ﻣﻮﺿﻮﻉ ﻭﺟﻮﺩ ﺩﺍﺭﺩ‪ .‬ﮔﻔﺘﻦ ﺁﻥ ﺩﺭ ﻣﺪﺭﺳﻪ ﻫﻴﭻ ﻣﺼﺮﻓﻰ ﺑﺮﺍﻯ ﺷﻤﺎ ﻧﺪﺍﺷﺖ‪.‬‬ ‫ﺷﻤﺎ ﺑﺎﻳﺴﺘﻰ ﺑﻴﺎﻣﻮﺯﻳﺪ ﻛﻪ ﺑﺎ ﺗﻴﻮﺗﻴﻤﻮﻟﻴﻦ ﭘﺮﻭﺍﺯ ﻛﻨﻴﺪ‪ .‬ﻓﻘﻂ ﻭ ﻓﻘﻂ ﺗﻴﻮﺗﻴﻤﻮﻟﻴﻦ ﺍﺳﺖ ﻛﻪ ﺷﻤﺎ ﺭﺍ ﺑﻪ‬ ‫ﺳﺘﺎﺭﮔﺎﻥ ﻣﻰﺑﺮﺩ‪ .‬ﺷﻤﺎ ﺑﺎ ﺁﻣﻮﺯﺵﻫﺎﻯ ﻛﺘﺎﺑﻰ ﻫﺮﮔﺰ ﻧﻤﻰﺗﻮﺍﻧﻴﺪ ﺗﻴﻮﺗﻴﻤﻮﻟﻴﻦ ﺭﺍ ﺍﺳﺘﻔﺎﺩﻩ ﻛﻨﻴﺪ‪ .‬ﺑﺎ ﺁﻥ‬ ‫ﺁﻣﻮﺯﺵﻫﺎ ﻣﻰﺗﻮﺍﻧﻴﺪ ﺷﻐﻞﻫﺎﻯ ﺯﻳﺎﺩﻯ ﺩﺭ ﻓﻀﺎ ﺑﮕﻴﺮﻳﺪ‪ ،‬ﺍﻣﺎ ﺧﻠﺒﺎﻧﻰ ﺟﺰء ﺁﻥﻫﺎ ﻧﻴﺴﺖ!‬ ‫»ﺗﻨﻬﺎ ﺳﺨﻨﺮﺍﻧﻰﺍﻯ ﻛﻪ ﺷﻤﺎ ﺩﺭﺑﺎﺭﻩﻯ ﺍﻳﻦ ﻣﻮﺿﻮﻉ ﻣﻰﺷﻨﻮﻳﺪ‪ ،‬ﻫﻤﻴﻨﻰ ﺍﺳﺖ ﻛﻪ ﻣﻦ ﺍﻣﺮﻭﺯ ﺑﺮﺍﻯ ﺷﻤﺎ‬ ‫ﺍﺭﺍﺋﻪ ﻣﻰﻛﻨﻢ‪ .‬ﺍﺯ ﺍﻳﻦ ﺑﻪ ﺑﻌﺪ ﺷﻤﺎ ﺣﻴﻦ ﭘﺮﻭﺍﺯ ﺑﺎ ﺗﻴﻮﺗﻴﻤﻮﻟﻴﻦ ﺑﺮﺧﻮﺭﺩ ﺧﻮﺍﻫﻴﺪ ﻛﺮﺩ ﻭ ﻣﺎ ﺑﻪ ﺳﺮﻋﺖ‬ ‫ﺧﻮﺍﻫﻴﻢ ﻓﻬﻤﻴﺪ ﻛﻪ ﺁﻳﺎ ﺷﻤﺎ ﺍﺳﺘﻌﺪﺍﺩﻯ ﺑﺮﺍﻯ ﺍﺳﺘﻔﺎﺩﻩ ﺍﺯ ﺁﻥ ﺩﺍﺭﻳﺪ ﻳﺎ ﺧﻴﺮ‪«.‬‬ ‫ﺁﺩﻣﻴﺮﺍﻝ ﻣﻜﺚ ﻛﺮﺩ‪ ،‬ﺑﻪ ﻧﻈﺮ ﻣﻰﺭﺳﻴﺪ ﺑﻪ ﻫﻤﻪ ﺑﻪ ﺩﻗﺖ ﻧﮕﺎﻩ ﻣﻰﻛﻨﺪ ﺗﺎ ﺍﺳﺘﻌﺪﺍﺩ ﻫﻤﻪ ﺍﻓﺮﺍﺩ ﺭﺍ ﻛﺸﻒ‬ ‫ﻛﻨﺪ‪ .‬ﺑﺎﺯ ﺑﻪ ﺻﺪﺍ ﺩﺭﺁﻣﺪ‪:‬‬ ‫»ﺗﻴﻮﺗﻴﻤﻮﻟﻴﻦ! ﻃﺒﻖ ﺍﻓﺴﺎﻧﻪ ﺍﻭﻟﻴﻦ ﺑﺎﺭ ﺩﺭ ﺳﺎﻝ ‪ 1948‬ﺁﺯﻳﻤﻮﺕ ﻳﺎ ﺷﺎﻳﺪ ﺁﺳﻴﻤﭙﺘﻮﺕ ‪-‬ﻛﻪ ﺷﺎﻳﺪ ﺍﺻ ً‬ ‫ﻼ‬ ‫ﭼﻨﻴﻦ ﻛﺴﻰ ﻭﺟﻮﺩ ﻧﺪﺍﺷﺘﻪ ﺍﺳﺖ‪ -‬ﺑﻪ ﺁﻥ ﺍﺷﺎﺭﻩ ﻛﺮﺩ‪ .‬ﻫﻴﭻ ﺍﺛﺮﻯ ﺍﺯ ﻣﻘﺎﻟﻪﻯ ﺍﺻﻠﻰ ﻣﻨﺴﻮﺏ ﺑﻪ ﺍﻭ ﻭﺟﻮﺩ‬ ‫ﻧﺪﺍﺭﺩ ﻭ ﻓﻘﻂ ﺍﺭﺟﺎﻋﺎﺕ ﻣﺒﻬﻤﻰ ﺑﻪ ﺁﻥ ﻣﺎﻧﺪﻩ‪ ،‬ﺁﻥ ﻫﻢ ﺑﻌﺪ ﺍﺯ ﻗﺮﻥ ﺑﻴﺴﺖ ﻭ ﻳﻜﻢ‪.‬‬ ‫»ﻣﻄﺎﻟﻌﺎﺕ ﺟﺪﻯ ﺗﻮﺳﻂ ﺁﻟﻤﻴﺮﺍﻧﺖ ]‪ [5‬ﺁﻏﺎﺯ ﺷﺪ ﻛﻪ ﺗﻴﻮﺗﻴﻤﻮﻟﻴﻦ ﺭﺍ ﻛﺸﻒ ﻧﻤﻮﺩ‪ ،‬ﻳﺎ ﺍﮔﺮ ﺩﺍﺳﺘﺎﻥ‬ ‫ﺁﺯﻳﻤﻮﺕ‪/‬ﺁﺳﻴﻤﭙﺘﻮﺕ ﺩﺭﺳﺖ ﺑﺎﺷﺪ‪ ،‬ﺁﻥ ﺭﺍ ﺑﺎﺯﻳﺎﺑﻰ ﻛﺮﺩ‪ .‬ﺁﻟﻤﻴﺮﺍﻧﺖ ﺭﻭﻯ ﻧﻈﺮﻳﻪﻯ ﺗﺄﺧﻴﺮ ﺍﺑﺮﺳﺎﺧﺘﺎﺭﻯ‬ ‫ﻛﺎﺭ ﻣﻰﻛﺮﺩ ﻭ ﻧﺸﺎﻥ ﺩﺍﺩ ﻛﻪ ﻣﻮﻟﻜﻮﻝ ﺗﻴﻮﺗﻴﻤﻮﻟﻴﻦ ﺑﺴﻴﺎﺭ ﺗﻐﻴﻴﺮ ﺷﻜﻞ ﻳﺎﻓﺘﻪ ﻭ ﻳﻚ ﭘﻴﻮﻧﺪ ﺁﻥ ﺩﺭ ﺑﻌﺪ‬ ‫ﺯﻣﺎﻥ ﺑﻪ ﺳﻤﺖ ﮔﺬﺷﺘﻪ ﺷﺪﻩ ﺍﺳﺖ ﻭ ﻳﻚ ﭘﻴﻮﻧﺪ ﺁﻥ ﺑﻪ ﺳﻤﺖ ﺁﻳﻨﺪﻩ‪.‬‬ ‫»ﺗﻴﻮﺗﻴﻤﻮﻟﻴﻦ ﺑﻪ ﺧﺎﻃﺮ ﺍﺭﺗﺒﺎﻃﻰ ﻛﻪ ﺑﺎ ﺁﻳﻨﺪﻩ ﺩﺍﺭﺩ‪ ،‬ﺑﺎ ﻭﻗﺎﻳﻌﻰ ﻛﻪ ﻫﻨﻮﺯ ﺍﺗﻔﺎﻕ ﻧﻴﻔﺘﺎﺩﻩﺍﻧﺪ ﻭﺍﻛﻨﺶ‬ ‫ﻣﻰﺩﻫﺪ‪ .‬ﻣﺜﺎﻝ ﻛﻼﺳﻴﻚ ﺁﻥ ﺣﻞ ﺷﺪﻥ ﺗﻴﻮﺗﻴﻤﻮﻟﻴﻦ ﺩﺭ ﺁﺏ ﺍﺳﺖ ﻛﻪ ﺣﺪﻭﺩ ﻳﻚ ﺛﺎﻧﻴﻪ ﻗﺒﻞ ﺍﺯ ﺍﺿﺎﻓﻪ‬ ‫ﺷﺪﻥ ﺁﺏ ﺍﺗﻔﺎﻕ ﻣﻰﺍﻓﺘﺪ‪.‬‬ ‫»ﺍﻟﺒﺘﻪ ﺗﻴﻮﺗﻴﻤﻮﻟﻴﻦ ﻧﺴﺒﺘﺎً ﻣﻮﻟﻜﻮﻝ ﺳﺎﺩﻩﺍﻯ ﺍﺳﺖ‪ .‬ﺩﺭ ﻭﺍﻗﻊ ﺳﺎﺩﻩﺗﺮﻳﻦ ﻣﻮﻟﻜﻮﻟﻰ ﺍﺳﺖ ﻛﻪ ﺧﻮﺍﺹ‬ ‫ﺩﺭﻭﻥﺯﻣﺎﻧﻰ ﻧﺸﺎﻥ ﻣﻰﺩﻫﺪ‪ ،‬ﻳﻌﻨﻰ ﻫﻤﺎﻥ ﺧﺎﺻﻴﺖ ﺍﺭﺗﺒﺎﻁ ﺑﺎ ﮔﺬﺷﺘﻪ ﻭ ﺁﻳﻨﺪﻩ‪ .‬ﺑﺎ ﻭﺟﻮﺩ ﺍﻳﻦ ﻛﻪ‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،29‬ﺍﺭﺩﻳﺒﻬﺸﺖ ‪1392‬‬

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‫ﺗﻴـﻮﺗﻴﻤـﻮﻟﻴـﻦ‬

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‫ﺑﻪ ﺳﻮﻯ ﺳﺘﺎﺭﮔﺎﻥ‬ ‫)ﺑﺨﺶ ﭼﻬﺎﺭﻡ ﻭ ﺁﺧﺮ(‬ ‫ﺁﻳﺰﺍﻙ ﺁﺳﻴﻤﻮﻑ‬ ‫ﺍﺑﺮﺍﻫﻴﻢ ﻓﺮﻭﺯﺍﻥ‬

‫ﺍﻧﺴﺎﻳﻦ ﻓﻴﺖ ]‪ [2‬ﮔﻔﺖ‪» :‬ﻓﻜﺮ ﻣﻰﻛﻨﻢ ﺗﻜﺮﺍﺭﻯ ﺑﺎﺷﺪ‪«.‬‬ ‫ﺳﺘﻮﺍﻥ ﭘﺮﻭﻫﻮﺭﻭﻑ ]‪ [3‬ﻛﻪ ﭼﺸﻢﻫﺎﻳﺶ ﺭﺍ ﺑﺴﺘﻪ ﻭ ﺑﺎ ﺩﻗﺖ ﻧﺸﺴﺘﻪ ﺑﻮﺩ‪ ،‬ﮔﻔﺖ‪» :‬ﺧﻮﺏ‬ ‫ﻣﻌﻠﻮﻣﻪ‪ ،‬ﭘﺎﻧﺰﺩﻩ ﺳﺎﻟﻪ ﻛﻪ ﺩﺍﺭﻩ ﻫﻤﻴﻦ ﺣﺮﻑﻫﺎ ﺭﺍ ﺩﺭ ﻛﻼﺱﻫﺎﻯ ﻓﺎﺭﻍﺍﻟﺘﺤﺼﻴﻼﻥ ﺁﻛﺎﺩﻣﻰ‬ ‫ﻓﻀﺎﻧﻮﺭﺩﻯ ﺗﻜﺮﺍﺭ ﻣﻰﻛﻨﺪ‪«.‬‬ ‫ﻓﻴﺖ ﻛﻪ ﻫﻤﻪﻯ ﺍﻳﻦﻫﺎ ﺭﺍ ﺳﺎﻝ ﻗﺒﻞ ﺍﺯ ﺍﻭﻟﻴﻦ ﺳﺨﻨﺮﺍﻧﻰ ﺷﻨﻴﺪﻩ ﺑﻮﺩ‪ ،‬ﮔﻔﺖ‪» :‬ﺷﺮﻁ ﻣﻰﺑﻨﺪﻡ‬ ‫ﻛﻠﻤﻪ ﺑﻪ ﻛﻠﻤﻪ ﺗﻜﺮﺍﺭﻯ ﺍﺳﺖ‪«.‬‬ ‫»ﺗﺎ ﺟﺎﻳﻰ ﻛﻪ ﻣﻰﺗﻮﺍﻧﻢ ﺑﮕﻮﻳﻢ‪ ...‬ﺑﺮﺍﻯ ﺳﻮﺯﻧﻰ ﻛﻪ ﺍﻳﻦ ﺍﺩﻋﺎ ﺭﻭ ﺳﻮﺭﺍﺥ ﻛﻨﻪ ﭼﻪ ﺳﻮﺭﺍﺥ‬ ‫ﭘﺮﺍﻓﺘﺨﺎﺭﻯ ﺧﻮﺍﻫﺪ ﺑﻮﺩ!«‬ ‫ﺍﻣﺎ ﻛﻼﺱ ﺩﻳﮕﺮ ﺩﺍﺷﺖ ﺑﻪ ﺻﻒ ﻣﻰﺷﺪ‪ ،‬ﻳﻮﻧﻴﻔﻮﺭﻡ ﭘﻮﺷﻴﺪﻩ ﻭ ﻣﻨﺘﻈﺮ‪ ،‬ﺑﻪ ﺟﻠﻮ ﺭژﻩ ﻣﻰﺭﻓﺘﻨﺪ‬ ‫ﻭ ﺑﻪ ﺩﻗﺖ ﺩﺭ ﺻﻔﻮﻑ ﺗﻘﺴﻴﻢ ﻣﻰﺷﺪﻧﺪ‪ .‬ﻫﺮ ﻛﺲ ﺑﺎ ﺿﺮﺏ ﻃﺒﻞ ﺑﻪ ﺳﻤﺖ ﺻﻨﺪﻟﻰ ﻣﺨﺼﻮﺹ‬ ‫ﺧﻮﺩ ﻣﻰﺭﻓﺖ ﻭ ﺩﺭ ﺍﻧﺘﻬﺎ ﻫﻤﺰﻣﺎﻥ ﺑﺎ ﺻﺪﺍﻯ ﺑﻠﻨﺪﻯ ﻧﺸﺴﺘﻨﺪ‪.‬‬

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‫ﺁﻭﺭﺩﻩ ﻛﻪ ﺍﻭ ﺭﺍ ﺑﺮﺍﻯ ﺳﺮﻣﺎﻳﻪﮔﺬﺍﺭﻯ ﺩﺭ ﺑﺎﺯﺍﺭ ﺑﻮﺭﺱ ﺭﺍﻫﻨﻤﺎﻳﻰ ﻣﻰﻛﺮﺩﻩ ﺍﺳﺖ‪ .‬ﺭﺍﻣﻔﻮﺭﺩ ﻧﻴﺰ ﺑﻨﻴﺎﻥﮔﺬﺍﺭ‬ ‫ﻣﺬﻫﺒﻰ ﻣﻰﺷﻮﺩ ﻛﻪ ﺑﻨﻴﺎﻥ ﺍﻋﺘﻘﺎﺩﺍﺗﺶ ﺑﺮ ﭘﺎﻳﻪﻯ ﺍﻧﻜﺎﺭ ﺍﺣﺴﺎﺳﺎﺕ ﻣﻰﺑﺎﺷﺪ‪ .‬ﻗﺎﺑﻞ ﺗﻮﺟﻪ ﺍﺳﺖ ﻛﻪ ﻭﻗﺘﻰ‬ ‫ﻣﻼﻛﻰ ﺑﻪ ﻗﺼﺪ ﺩﻳﺪﺍﺭ ﺗﺠﺴﻢﻳﺎﺑﻰ ﺭﺍﻣﻔﻮﺭﺩ ﻣﻰﺁﻳﺪ‪ ،‬ﺑﺎ ﻧﺎﻡ ﺟﻌﻠﻰ ﻳﻜﻰ ﺩﻳﮕﺮ ﺍﺯ ﭘﻴﺎﻣﺒﺮﺍﻥ ﻳﻌﻨﻰ ﻳﻮﻧﺲ‬ ‫ﺍﺳﺖ ﻛﻪ ﺑﻪ ﻣﻠﻚ ﺭﺍﻣﻔﻮﺭﺩ ﻣﻰﺭﻭﺩ‪ .‬ﻧﺎﻡ ﺳﻔﻴﻨﻪﻯ ﻓﻀﺎﻳﻰ ﻛﻪ ﺑﺎ ﺁﻥ ﺑﻪ ﻣﺮﻳﺦ ﻣﻰﺭﻭﺩ ﻧﻬﻨﮓ ﺍﺳﺖ ﻭ‬ ‫ﺍﺷﺎﺭﻩ ﺑﻪ ﺩﺍﺳﺘﺎﻥ ﺑﻠﻌﻴﺪﻩ ﺷﺪﻥ ﻳﻮﻧﺲ ﭘﻴﺎﻣﺒﺮ ﺗﻮﺳﻂ ﻧﻬﻨﮓ ﺩﺭ ﻛﺘﺎﺏ ﻣﻘﺪﺱ ﺩﺍﺭﺩ‪ .‬ﺑﻌﺪﻫﺎ ﺗﺒﺪﻳﻞ ﺑﻪ‬ ‫ﺑﺰ ﺑﻼﮔﺮﺩﺍﻥ ﻣﺬﻫﺐ ﺟﺪﻳﺪ ﻣﻰﮔﺮﺩﺩ ﻭ ﺑﻪ ﺗﺎﻳﺘﺎﻥ ﺗﺒﻌﻴﺪ ﻣﻰﮔﺮﺩﺩ‪ .‬ﺟﺎﻳﻰ ﻛﻪ ﺷﺎﻳﺪ ﺩﺭ ﺁﻥ ﺷﺨﺼﺎً ﺑﻪ‬ ‫ﺧﺮﺳﻨﺪﻯ ﻭ ﺭﺿﺎﻳﺖ ﻣﻰﺭﺳﺪ‪ ،‬ﺍﻣﺎ ﺑﻪﻫﻴﭻ ﻭﺟﻪ ﺑﻪ ﺑﺼﻴﺮﺕ ﻣﻌﻨﻮﻯ ﺩﺳﺖ ﻧﻤﻰﻳﺎﺑﺪ‪.‬‬ ‫ﺑﺎﻻﺧﺮﻩ ﺩﺍﺳﺘﺎﻥ ﻋﻠﻤﻰﺗﺨﻴﻠﻰ ﺍﺳﺖ ﻳﺎ ﻧﻪ؟‬ ‫ﻧﻮﻳﺴﻨﺪﻩﻯ ﻋﻠﻤﻰﺗﺨﻴﻠﻰ ﺧﻮﺍﻧﺪﻥ ﻭﻧﻪﮔﻮﺕ ﻫﻢ ﺩﺭﺳﺖ ﺍﺳﺖ ﻭ ﻫﻢ ﻧﺎﺩﺭﺳﺖ‪ :‬ﺍﻭ ﻣﻤﻜﻦ ﺍﺳﺖ ﺩﺭ‬ ‫ﺍﻓﺴﻮﻧﮕﺮﺍﻥ ﺗﺎﻳﺘﺎﻥ ﻣﺘﻬﻢ ﺑﻪ ﺳﺎﺧﺘﺎﺭﺷﻜﻨﻰ ﺩﺭ ﻣﺮﺯﻫﺎﻯ ژﺍﻧﺮ ﺷﻮﺩ‪ ،‬ﺁﻥ ﻫﻢ ﺧﻴﻠﻰ ﭘﻴﺶﺗﺮ ﺍﺯ ﺁﻥﻛﻪ‬ ‫ﺍﻳﻦ ﻣﺮﺯﻫﺎ ﻣﺘﺪﺍﻭﻝ ﮔﺮﺩﻧﺪ‪ .‬ﺩﺭ ﺣﻘﻴﻘﺖ ﺍﻓﺴﻮﻧﮕﺮﺍﻥ ﺗﺎﻳﺘﺎﻥ ﻧﻪ ﺗﻨﻬﺎ ﺍﻳﻦ ﺳﻮﺍﻝ ﺭﺍ ﺑﻪ ﻭﺟﻮﺩ ﻣﻰﺁﻭﺭﺩ‬ ‫ﻛﻪ »ژﺍﻧﺮ ﺍﻳﻦ ﻛﺘﺎﺏ ﭼﻴﺴﺖ«‪ ،‬ﺑﻠﻜﻪ ﻣﻰﭘﺮﺳﺪ‪» :‬ﺁﻳﺎ ﺍﻳﻦ ﺳﻮﺍﻝ ﻣﻌﻨﺎﻳﻰ ﻫﻢ ﺩﺍﺭﺩ؟« ﺍﻳﻦ ﺭﺍ ﺩﺭﺑﺎﺭﻩﻯ‬ ‫ﺳﺎﺧﺘﺎﺭﺷﻜﻨﻰ ژﺍﻧﺮ ﻧﻴﺰ ﻣﻰﺗﻮﺍﻥ ﮔﻔﺖ‪ .‬ﺑﺎ ﺍﻳﻦ ﺑﻴﺎﻥ ﻣﻰﺗﻮﺍﻥ ﺍﻳﻦ ﺩﺍﺳﺘﺎﻥ ﺭﺍ ﺩﺭ ﺍﻧﻮﺍﻉ ﺩﺍﺳﺘﺎﻧﻰ ﺟﺮﻳﺎﻥ‬ ‫ﺍﺻﻠﻰ‪ ،‬ﻋﺎﻣﻪﭘﺴﻨﺪ ﻭ ﺁﻭﺍﻧﮕﺎﺭﺩ ﻧﻴﺰ ﺳﺎﺧﺘﺎﺭﺷﻜﻦ ﻗﻠﻤﺪﺍﺩ ﻛﺮﺩ‪ .‬ﺍﻧﻮﺍﻉ ﺍﺩﺑﻰ ﻛﻪ ﺧﻴﻠﻰ ﺑﻌﺪ ﺍﺯ ﺍﻧﺘﺸﺎﺭ ﺍﻳﻦ‬ ‫ﺩﺍﺳﺘﺎﻥ ﺗﻌﺮﻳﻒ ﺷﺪﻧﺪ‪.‬ﺩﺭ ﺍﻳﻦ ﺭﺍﺑﻄﻪ‪ ،‬ﻭﻧﻪﮔﻮﺕ ﺑﺴﻴﺎﺭ ﺷﺒﻴﻪ ﺑﻪ ﻧﻮﻳﺴﻨﺪﮔﺎﻥ ﺁﻭﺍﻧﮕﺎﺭﺩﻯ ﻣﺎﻧﻨﺪ ﺍﺩﮔﺎﺭ‬ ‫ﺭﺍﻳﺲ ﺑﺎﺭﻭﺯ‪ ،‬ﺟﺎﻥ ﺑﺎﺭﺕ ﻳﺎ ﺗﻮﻣﺎﺱ ﭘﻴﻨﭽﻦ ﺍﺳﺖ ﻛﻪ ﺑﻌﻀﻰ ﺍﻭﻗﺎﺕ ﺍﺯ ﻣﻔﺎﻫﻴﻢ ﻋﻠﻤﻰﺗﺨﻴﻠﻰ ﺑﻪ ﺩﻻﻳﻞ‬ ‫ﻣﺸﺎﺑﻬﻰ ﺍﺳﺘﻔﺎﺩﻩ ﻣﻰﻛﻨﻨﺪ‪ ،‬ﺍﻣﺎ ﺑﺎﻳﺪ ﺗﺼﺪﻳﻖ ﻧﻤﻮﺩ ﻛﻪ ﺍﻓﺴﻮﻧﮕﺮﺍﻥ ﺗﺎﻳﺘﺎﻥ ﺍﺯ ﺍﻭﻟﻴﻦ ﺭﻣﺎﻥﻫﺎﻳﻰ ﺑﻮﺩ ﻛﻪ‬ ‫ﺑﻪ ﺍﻳﻦ ﺭﻭﺵ ﻧﻮﺷﺘﻪ ﺷﺪﻩ ﺍﺳﺖ‪.‬‬

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‫ﺷﻤﺎﺭﻩﻯ ‪ ،29‬ﺍﺭﺩﻳﺒﻬﺸﺖ ‪1392‬‬

‫ﻭﻗﺘﻰ ﺳﺎﻟﻮ ﺑﻪ ﺳﻔﺮ ﺧﻮﺩ ﺍﺩﺍﻣﻪ ﻣﻰﺩﻫﺪ‪ ،‬ﻧﺴﻞ ﺑﺸﺮ ﺑﺮﺍﻯ ﺍﺩﺍﻣﻪ ﺩﺍﺩﻥ ﺭﺍﻩ ﺧﻮﺩ ﻭ ﺗﺤﻘﻖ ﺍﻫﺪﺍﻑ ﺧﻮﺩ‬ ‫ﺁﺯﺍﺩ ﻣﻰﺷﻮﺩ‪ .‬ﺍﻓﺰﻭﻥ ﺑﺮ ﺁﻥ ﻣﻰﺗﻮﺍﻥ ﭼﻨﻴﻦ ﮔﻔﺖ ﻛﻪ ﺩﺍﺳﺘﺎﻥ ﭼﻨﻴﻦ ﻗﺼﺪ ﻧﺪﺍﺭﺩ ﻛﻪ ﺑﮕﻮﻳﺪ ﺯﻧﺪﮔﻰ‬ ‫ﭘﻮچ ﺍﺳﺖ‪ ،‬ﺑﻠﻜﻪ ﺑﻴﺸﺘﺮ ﻗﺼﺪﺵ ﺍﻳﻦ ﺍﺳﺖ ﻛﻪ ﺑﮕﻮﻳﺪ ﮔﺸﺘﻦ ﺑﻪ ﺩﻧﺒﺎﻝ ﻣﻌﻨﻰ ﺯﻧﺪﮔﻰ ﺩﺭ ﻣﻨﺎﺑﻊ‬ ‫ﺧﺎﺭﺟﻰ ﺑﻰﻣﻌﻨﺎﺳﺖ‪ .‬ﺧﻮﺍﻧﻨﺪﻩ ﻧﺒﺎﻳﺪ ﺗﺎ ﺣﺪ ﻟﻮﺭﻧﺲ ﺑﺮﻭﺋﺮ ﭘﻴﺶ ﺑﺮﻭﺩ ﻛﻪ ﺍﻓﺴﻮﻧﮕﺮﺍﻥ ﺗﺎﻳﺘﺎﻥ ﺭﺍ ﻛﺎﻣ ً‬ ‫ﻼ‬ ‫ﻳﻚ ﺭﻣﺎﻥ ﺭﻭﺍﻥﺷﻨﺎﺳﺎﻧﻪﺍﻯ ﺗﻔﺴﻴﺮ ﻛﻨﺪ ﻛﻪ ﺍﺗﻔﺎﻗﺎﺕ ﺩﺭ ﺁﻥ ﺗﻨﻬﺎ ﺩﺭ ﺫﻫﻦ ﺷﺨﺼﻴﺖ ﺍﻭﻝ ﺩﺍﺳﺘﺎﻥ ﺭﺥ‬ ‫ﻣﻰﺩﻫﻨﺪ‪ .‬ﺍﻣﺎ ﺩﺭ ﺑﻌﻀﻰ ﻣﻮﺍﻗﻊ ﻣﻰﺗﻮﺍﻥ ﻛﺎﻣ ً‬ ‫ﻼ ﺣﻖ ﺭﺍ ﺑﻪ ﺍﻭ ﺩﺍﺩ‪ ،‬ﺯﻳﺮﺍ ﻣﻼﻛﻰ ﺩﺭ ﺍﺑﺘﺪﺍ ﻭ ﺍﻧﺘﻬﺎﻯ ﺩﺍﺳﺘﺎﻥ‬ ‫ﺩﭼﺎﺭ ﺗﻐﻴﻴﺮﺍﺕ ﺫﻫﻨﻰ ﺑﺰﺭﮔﻰ ﻣﻰﺷﻮﺩ‪ .‬ﭘﻴﺸﺮﻓﺘﻰ ﻛﻪ ﺍﻭ ﺭﺍ ﺍﺯ ﻳﻚ ﺧﻮﺩﻣﺤﻮﺭ ﺷﻬﻮﺕﺭﺍﻥ ﺟﺪﺍ ﻛﺮﺩﻩ ﻭ‬ ‫ﺑﻪ ﺟﺴﺘﺠﻮ ﺑﺮﺍﻯ ﻳﺎﻓﺘﻦ ﻣﻌﻨﺎﻳﻰ ﻭﺍﻻﺗﺮ ﺑﺮﺍﻯ ﭘﺬﻳﺮﺵ ﻭ ﺑﻪ ﺩﺳﺖ ﺁﻭﺭﺩﻥ ﺣﺲ ﺭﺿﺎﻳﺖ ﺩﺭ ﺯﻧﺪﮔﻴﺶ‬ ‫ﺑﻪ ﺁﻥ ﮔﻮﻧﻪ ﻛﻪ ﻫﺴﺖ ﺳﻮﻕ ﻣﻰﺩﻫﺪ‪ .‬ﺍﺯ ﺍﻳﻦﺭﻭ ﻣﻼﻛﻰ ﺗﺒﺪﻳﻞ ﺑﻪ ﻳﻜﻰ ﺩﻳﮕﺮ ﺍﺯ ﺁﻥ ﻫﺮﺯﻩﻫﺎﻳﻰ ﻣﻰﺷﻮﺩ‬ ‫ﻛﻪ ﺑﻌﺪﻫﺎ ﺗﺒﺪﻳﻞ ﺑﻪ ﻗﺪﻳﺲ ﻣﻰﮔﺮﺩﻧﺪ ﻭ ﺩﺍﺳﺘﺎﻧﺶ ﺳﻪ ﻣﺮﺣﻠﻪﻯ ﺧﺮﻭﺝ‪ ،‬ﺷﺮﻭﻉ ﻭ ﺑﺎﺯﮔﺸﺖ ﺍﺯ ﺳﻪ‬ ‫ﻣﺮﺣﻠﻪﻯ ﺍﺳﺎﺳﻰ ﺍﻟﮕﻮﻯ ﻣﺎﺟﺮﺍﺟﻮﻳﻰ ﺍﺳﺎﻃﻴﺮﻯ ﺭﺍ ﺩﺭ ﺑﺮ ﺩﺍﺭﺩ )ﻣﺮﺍﺣﻞ ﭘﻴﺸﻨﻬﺎﺩﻯ ﺟﻮﺯﻑ ﻛﻤﭙﻞ(‪.‬‬ ‫ﺩﺭ ﺍﻳﻦ ﺭﺍﻩ‪ ،‬ﺳﻔﺮ ﻣﻼﻛﻰ ﺩﺭﻭﻥ ﻣﻨﻈﻮﻣﻪﻯ ﺷﻤﺴﻰ ﻣﺎﻧﻨﺪ ﺗﻤﺜﻴﻠﻰ ﺑﺮ ﺷﺮﺍﻳﻂ ﺭﻭﺣﻰ ﺍﻧﺴﺎﻥ ﻣﻰﻣﺎﻧﺪ‬ ‫ﻭ ﮔﺎﻡﻫﺎﻳﻰ ﻛﻪ ﺑﺮﺍﻯ ﺗﻐﻴﻴﺮ ﺁﻥ ﺑﺎﻳﺪ ﺑﺮﺩﺍﺭﺩ‪ .‬ﻣﻬﻢﺗﺮ ﺍﺯ ﻫﻤﻪ ﺍﻳﻦﻛﻪ ﺍﻭ ﺑﺎﻳﺪ ﺍﺯ ﺍﻧﺰﻭﺍﻯ ﺧﻮﺩﻣﺤﻮﺭﺍﻧﻪﺍﺵ‬ ‫ﻛﻪ ﺑﻪﻭﺍﺳﻄﻪﻯ ﺧﻮﺩﺷﻴﻔﺘﮕﻰ ﺑﻪ ﻭﺟﻮﺩ ﺁﻣﺪﻩ ﻋﺒﻮﺭ ﻛﻨﺪ‪ .‬ﺷﺎﺧﺺﺗﺮ ﺍﺯ ﻫﻤﻪ ﻧﺎﻡ »ﻣﻼﻛﻰ ﻛﻨﺴﺘﺎﻧﺖ«‬ ‫ﺍﺳﺖ ﻛﻪ ﺑﻪ »ﭘﻴﺎﻣﺒﺮ ﺑﺎ ﺍﻳﻤﺎﻥ« ﺗﺮﺟﻤﻪ ﻣﻰﺷﻮﺩ‪ ،‬ﺍﻣﺎ ﭘﻴﺎﻣﻰ ﻛﻪ ﻣﻼﻛﻰ ﻣﺴﺌﻮﻝ ﺣﻤﻞ ﺁﻥ ﺷﺪﻩ ﺍﺳﺖ‬ ‫ﺁﻥ ﻃﻮﺭ ﻛﻪ ﺍﻣﻴﺪ ﺩﺍﺭﺩ »ﭘﻴﺎﻣﻰ ﺩﺭﺟﻪ ﻳﻚ ﺍﺯ ﻃﺮﻑ ﺧﺪﺍ ﺑﺮﺍﻯ ﻓﺮﺩﻯ ﺑﻪ ﻫﻤﺎﻥ ﺣﺪ ﻣﺘﻤﺎﻳﺰ ﻧﻴﺴﺖ«‪،‬‬ ‫ﺑﻠﻜﻪ ﭘﻴﻐﺎﻣﻰ ﺍﺳﺖ ﻛﻪ ﺧﺪﺍﻳﻰ ﺑﺮﺍﻯ ﺧﻮﺩ ﻣﻰﻓﺮﺳﺘﺪ ﺗﺎ ﺑﺎ ﺁﻥ ﺩﺭ ﺗﻼﺷﻰ ﻧﺎﺍﻣﻴﺪﺍﻧﻪ ﻫﻮﻳﺖ ﺧﻮﺩ ﺭﺍ ﺣﻔﻆ‬ ‫ﻧﻤﺎﻳﺪ‪ .‬ﺍﺯ ﻗﻀﺎ ﺍﻭ ﺣﺘﺎ ﻧﻤﻰﺗﻮﺍﻧﺪ ﺑﻪ ﺧﺎﻃﺮ ﺁﻭﺭﺩ ﻛﻪ ﺍﻳﻦ ﭘﻴﻐﺎﻡ ﺭﺍ ﺑﺮﺍﻯ ﭼﻪ ﻓﺮﺳﺘﺎﺩﻩ ﺍﺳﺖ‪ .‬ﺑﻴﺸﺘﺮﻳﻦ‬ ‫ﭼﻴﺰﻯ ﻛﻪ ﺍﻭ ﻳﺎ ﻫﺮ ﻛﺲ ﺩﻳﮕﺮﻯ ﻣﻰﺗﻮﺍﻧﺪ ﺗﻮﻗﻊ ﺩﺍﺷﺘﻨﺶ ﺭﺍ ﺩﺭ ﺭﺍﻩ ﺍﺭﺗﺒﺎﻁ ﺷﺨﺼﻰ ﺩﺍﺷﺘﻪ ﺑﺎﺷﺪ‪،‬‬ ‫ﺑﻪﻧﻈﺮ ﺩﺭ ﻫﻤﺎﻥ ﺳﻄﺢ ﻫﺎﺭﻣﻮﻧﻴﻮﻡﻫﺎ ﺑﺎﻗﻰ ﻣﻰﻣﺎﻧﺪ‪» :‬ﻣﻦ ﺍﻳﻦﺟﺎ ﻫﺴﺘﻢ‪» «.‬ﺧﻴﻠﻰ ﺧﻮﺷﺤﺎﻟﻢ ﻛﻪ‬ ‫ﺍﻳﻦﺟﺎﻳﻰ‪ «.‬ﻳﺎ »ﺩﺭﻭﺩ ﻭ ﺗﻬﻨﻴﺖ« ﺳﺎﻟﻮ‪.‬‬ ‫ﻫﻤﭽﻨﻴﻦ ﺳﻔﺮ ﻣﻼﻛﻰ ﭘﻮﻳﺸﻰ ﺑﺮﺍﻯ ﺭﺳﺘﮕﺎﺭﻯ ﻣﻌﻨﻮﻯ ﺍﺳﺖ‪ .‬ﭘﻴﺸﻴﻨﻪﻯ ﺍﺩﺑﻰ ﺍﻳﻦ ﭘﻮﻳﺶ ﺑﻪ ﻛﻤﺪﻯ‬ ‫ﺍﻟﻬﻰ ﺩﺍﻧﺘﻪ ﺑﺎﺯ ﻣﻰﮔﺮﺩﺩ‪ .‬ﻣﻼﻛﻰ ﺍﺯ ﺩﻭﺯﺥ ﻣﺮﻳﺦ ‪ ،‬ﻭﺍﺩﻯ ﻓﺮﺍﻣﻮﺷﻰ ﻋﻄﺎﺭﺩ ﻭ ﺑﺮﺯﺥ ﺯﻣﻴﻦ ﮔﺬﺷﺘﻪ ﻭ ﺑﻪ‬ ‫ﺳﺮﺯﻣﻴﻦ ﺍﻟﻬﻰ ﺗﺎﻳﺘﺎﻥ ﺭﺳﻴﺪﻩ‪ ،‬ﻭ ﺑﺎ ﻧﻈﺮ ﻛﻮﺗﺎﻫﻰ ﺑﺮ ﺑﻬﺸﺖ ﻣﻰﻣﻴﺮﺩ‪ .‬ﺍﻳﻦ ﺑﻬﺸﺖ ﻳﻚ ﺑﻬﺸﺖ ﺩﺭﻭﻧﻰ‬ ‫ﺍﺳﺖ ﻛﻪ ﻫﻤﺎﻧﻨﺪ ﺁﻥ ﺭﺍ ﺩﺭ ﺑﻬﺸﺖ ﮔﻤﺸﺪﻩﻯ ﻣﻴﻠﺘﻮﻥ ﻣﻰﺗﻮﺍﻥ ﻳﺎﻓﺖ‪ :‬ﻭﻗﺘﻰ ﻛﻪ ﺁﺩﻡ ﻭ ﺣﻮﺍ ﺍﺯ ﺑﺎﻍ ﻋﺪﻥ‬ ‫ﺗﺒﻌﻴﺪ ﺷﺪﻧﺪ‪ ،‬ﻣﻴﻜﺎﺋﻴﻞ ﺁﻥ ﻓﺮﺷﺘﻪﻯ ﻣﻘﺮﺏ ﻣﺼﻴﺒﺘﻰ ﺭﺍ ﻛﻪ ﺩﺭ ﺍﻧﺘﻈﺎﺭ ﺁﻥﻫﺎﺳﺖ ﻧﺸﺎﻧﺸﺎﻥ ﻣﻰﺩﻫﺪ‪،‬‬ ‫ﺍﻣﺎ ﻫﻤﭽﻨﻴﻦ ﺑﻪ ﺁﻥﻫﺎ ﻗﺪﺭﺕ ﻛﺸﻒ ﺑﻬﺸﺖ ﺩﺭ ﺩﺭﻭﻥ ﺧﻮﺩﺷﺎﻥ ﻋﻄﺎ ﻣﻰﮔﺮﺩﺩ‪.‬‬ ‫ﻣﺬﻫﺐ‪ ،‬ﺍﮔﺮﭼﻪ ﺩﺭﺳﺖ ﺑﻪ ﺍﻧﺪﺍﺯﻩﻯ ﻫﺮ ﭼﻴﺰ ﺩﻳﮕﺮﻯ‪ ،‬ﺩﺭ ﺍﻳﻦ ﺭﻣﺎﻥ ﺭﺍﻩﺣﻠﻰ ﺍﺳﺖ ﻛﻪ ﺧﺸﻨﻮﺩﻯ ﺩﺭ‬ ‫ﭘﻰ ﺧﻮﺩ ﻧﺪﺍﺭﺩ‪ .‬ﭘﺪﺭ ﻣﻼﻛﻰ ﺑﺨﺖ ﻭ ﺍﻗﺒﺎﻝ ﺑﻠﻨﺪ ﺧﻮﺩ ﺭﺍ ﺍﺯ ﺍﺳﺘﻔﺎﺩﻩﻯ ﻓﺎﻝﮔﻮﻧﻪﺍﻯ ﺍﺯ ﺍﻧﺠﻴﻞ ﺑﻪ ﺩﺳﺖ‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،29‬ﺍﺭﺩﻳﺒﻬﺸﺖ ‪1392‬‬

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‫ﺍﻟﺒﺘﻪ ﻛﺎﻣ ً‬ ‫ﻼ ﻗﺎﺑﻞ ﺩﺭﻙ ﺍﺳﺖ ﻛﻪ ﺑﻌﻀﻰ ﻣﻨﺘﻘﺪﻳﻦ ﮔﻤﺎﻥ ﻛﺮﺩﻩ ﺑﺎﺷﻨﺪ ﻛﻪ ﻭﻧﻪﮔﻮﺕ ﺩﺭ ﺍﻳﻦ ﺭﻣﺎﻥ‬ ‫ﺟﺪﻳﺖ ﻧﺪﺍﺭﺩ‪ .‬ﺑﺪﻳﻬﻰ ﺍﺳﺖ ﺍﺯ ﺁﻥﺟﺎ ﻛﻪ ﺍﻭ ﺑﺎ ﭼﻨﺪﻳﻦ ﻣﻔﻬﻮﻡ ﺩﻳﺮﻳﻨﻪ ﻭ ﺳﻨﺘﻰ ﻋﻠﻤﻰﺗﺨﻴﻠﻰ ﻣﺎﻧﻨﺪ‬ ‫ﺳﻔﺮ ﺩﺭ ﺯﻣﺎﻥ ﻭ ﻓﻀﺎ‪ ،‬ﺭﻭﺑﺎﺕﻫﺎ ﻭ ﺟﻨﮓﻫﺎﻯ ﺑﻴﻦ ﺳﺘﺎﺭﻩﺍﻯ ﺷﻮﺧﻰ ﻛﺮﺩﻩ ﺍﺳﺖ‪ ،‬ﺍﻓﺮﺍﺩﻯ ﻇﻨﻴﻦ ﺷﺪﻩ‬ ‫ﺧﻮﺩ ﺭﺍ ﭼﻨﻴﻦ ﺗﻮﺟﻴﻪ ﻛﻨﻨﺪ ﻛﻪ ﺍﻳﻦ ﻛﺘﺎﺏ ﻳﻚ ﭘﺎﺭﻭﺩﻯ ﺍﺯ ﻛﻞ ژﺍﻧﺮ ﺍﺳﺖ‪ .‬ﺍﻟﺒﺘﻪ ﺍﻳﻦ ﺳﻮﺍﻝ ﺑﺎﻗﻰ‬ ‫ﺧﻮﺍﻫﺪ ﺑﻮﺩ ﻛﻪ ﭼﻪ ﺑﺸﻮﺩ؟‬ ‫ﺍﻓﺴﻮﻧﮕﺮﺍﻥ ﺗﺎﻳﺘﺎﻥ ﻧﻪ ﻳﻚ ﺭﻣﺎﻥ ﻋﻠﻤﻰﺗﺨﻴﻠﻰ ﺳﺮﺭﺍﺳﺖ ﺍﺳﺖ ﻭ ﻧﻪ ﭘﺎﺭﻭﺩﻯ ﺍﻳﻦ ژﺍﻧﺮ‪ ،‬ﺍﻣﺎ ﻭﻧﻪﮔﻮﺕ ﺍﺯ‬ ‫ﻋﺮﻑ ﻭ ﻗﺮﺍﺭﺩﺍﺩﻫﺎﻯ ﺁﻥ ﺑﻪ ﻋﻨﻮﺍﻥ ﻣﺤﻤﻠﻰ ﺑﺮﺍﻯ ﺍﻫﺪﺍﻑ ﺩﻳﮕﺮﻯ ﻛﻪ ﺑﻪ ﻃﻮﺭ ﻛﻠﻰ ﺁﻥ ﺭﺍ ﻣﻰﺗﻮﺍﻥ ﻫﺰﻝ‬ ‫ﻧﺎﻣﻴﺪ‪ ،‬ﺍﺳﺘﻔﺎﺩﻩ ﻣﻰﻛﻨﺪ‪ .‬ﺍﻣﺎ ﺩﺭ ﺍﻳﻦ ﺩﺍﺳﺘﺎﻥ ﻣﺎﺑﻪﺍﺯﺍﻯ ﺍﻳﻦ ﻫﺰﻝ ﭼﻴﺴﺖ ﻭ ﺑﺎ ﺗﻮﺟﻪ ﺑﻪ ﺁﻥ ﭼﻪ ژﺍﻧﺮﻯ‬ ‫ﺭﺍ ﻣﻰﺗﻮﺍﻥ ﺑﺮﺍﻯ ﺍﻳﻦ ﻛﺘﺎﺏ ﭘﺬﻳﺮﻓﺖ؟‬ ‫ﺁﻥﭼﻪ ﻣﺸﻬﻮﺩ ﺍﺳﺖ‪ ،‬ﺩﻳﺪ ﺍﻧﺘﻘﺎﺩﻯ ﺍﻳﻦ ﻛﺘﺎﺏ ﺍﺳﺖ‪ .‬ﺣﺎﻝ ﺍﻧﺘﻘﺎﺩ ﺍﺯ ﭼﻪ ﭼﻴﺰﻯ‪ ،‬ﻛﻤﻰ ﻣﺤﻞ ﺑﺤﺚ‬ ‫ﺩﺍﺭﺩ؛ ﭼﻮﻥ ﻧﻮﻳﺴﻨﺪﻩ ﻣﻮﺿﻌﺶ ﺭﺍ ﻏﻴﺮﻣﺴﺘﻘﻴﻢ ﻣﻰﮔﻴﺮﺩ ﻭ ﻣﻨﺘﻘﺪﻳﻦ ﺑﻪ ﻃﺮﻗﻰ ﻏﻴﺮﻣﺴﺘﻘﻴﻢ ﺑﺎ ﻣﺴﺎﺋﻞ‬ ‫ﻣﻄﺮﻭﺣﻪ ﺩﺭ ﺁﻥ ﺑﺮﺧﻮﺭﺩ ﻣﻰﻛﻨﻨﺪ )ﺻﺮﻑﻧﻈﺮ ﺍﺯ ﮔﻤﺎﻧﺸﺎﻥ ﺑﺮ ﭘﺎﺭﻭﺩﻯ ﻋﻠﻤﻰﺗﺨﻴﻠﻰ ﺑﻮﺩﻥ ﻛﺘﺎﺏ(‪ .‬ﺍﻣﺎ‬ ‫ﺷﺎﻳﺪ ﺑﻬﺘﺮ ﺑﺎﺷﺪ ﻛﻪ ﻛﻤﻰ ﺩﺍﺳﺘﺎﻥ ﺭﺍ ﺟﺪﻯﺗﺮ ﺑﮕﻴﺮﻧﺪ ﻭ ﻟﺰﻭﻡ ﺍﻳﻦ ﻓﺮﻡ ﺳﺎﺧﺘﺎﺭﻯ ﺭﺍ ﺑﺮﺍﻯ ﻣﺤﺘﻮﺍﻳﺶ‬ ‫ﺑﭙﺬﻳﺮﻧﺪ‪ .‬ﻳﻚ ﺭﺍﻩ ﻧﮕﺮﺵ ﻧﺴﺒﺖ ﺑﻪ ﺍﻓﺴﻮﻧﮕﺮﺍﻥ ﺗﺎﻳﺘﺎﻥ ﺍﻳﻦ ﺍﺳﺖ ﻛﻪ ﺁﻥ ﺭﺍ ﺑﻪ ﺳﻨﺖ ﻛﺘﺎﺏﻫﺎﻳﻰ ﻣﺜﻞ‬ ‫»ﺁﻟﻴﺲ ﺩﺭ ﺳﺮﺯﻣﻴﻦ ﻋﺠﺎﻳﺐ« ﺑﻪ ﻋﻨﻮﺍﻥ ﻛﺘﺎﺏﻫﺎﻳﻰ ﻣﻬﻤﻞ ﻗﻠﻤﺪﺍﺩ ﻛﻨﻨﺪ )ﻧﻈﺮ ﻧﻮﺭﺗﺮﻭپ ﻓﺮﺍﻯ‪،‬‬ ‫ﻣﻨﺘﻘﺪ ﻛﺎﻧﺎﺩﺍﻳﻰ ﺩﺭﺑﺎﺭﻩﻯ ﺩﻭ ﻛﺘﺎﺏ ﺁﻟﻴﺲ(‪ .‬ﺍﻟﺒﺘﻪ ﺗﻌﺪﺍﺩﻯ ﻣﻮﺗﻴﻒ ﻣﺸﺘﺮﻙ ﺑﻴﻦ ﻛﺘﺎﺏﻫﺎﻯ ﺁﻟﻴﺲ‬ ‫ﻭ ﺍﻳﻦ ﻛﺘﺎﺏ ﻭﺟﻮﺩ ﺩﺍﺭﺩ‪ :‬ﺩﺭﻯ ﻛﻪ ﻣﻼﻛﻰ ﺍﺯ ﻃﺮﻳﻘﺶ ﻭﺍﺭﺩ ﻣﻠﻚ ﺭﺍﻣﻔﻮﺭﺩ ﺷﺪ ﺻﺮﺍﺣﺘﺎً ﺑﻪ ﺩ ِﺭ ﺁﻟﻴﺲ‬ ‫ﻣﻨﺘﺴﺐ ﮔﺸﺖ )ﺑﻪ ﮔﻔﺘﻪﻯ ﺧﻮﺩ ﻭﻧﻪﮔﻮﺕ( ﻭ ﺭﺍﻣﻔﻮﺭﺩ ﻫﻢ ﻣﺎﻧﻨﺪ ﮔﺮﺑﻪﻯ ﭼﺸﺎﻳﺮ ﺩﺭ ﺩﺍﺳﺘﺎﻥ ﺁﻟﻴﺲ‪،‬‬ ‫ﺑﻪ ﺷﻜﻠﻰ ﻣﺎﺭﭘﻴﭻ ﻭ ﺩﺭ ﻗﻴﻔﻰ ﺯﻧﮕﻮﻟﻪ ﺷﻜﻞ ﺍﺯ ﻧﻈﺮ ﭘﻨﻬﺎﻥ ﻣﻰﺷﻮﺩ‪ .‬ﺍﻣﺎ ﻫﻤﺎﻥﻃﻮﺭ ﻛﻪ ﻛﺎﺭﻭﻝ ﻗﻄﻌﻴﺖ‬ ‫ﻭﺍﺑﺴﺘﻪ ﺑﻪ ﻣﻨﻄﻖ ﻭ ﻋﻴﻨﻴﺖﮔﺮﺍﻳﻰ ﺩﻭﺭﻩﻯ ﻭﻳﻜﺘﻮﺭﻳﺎﻳﻰ ﺭﺍ ﻭﺍژﮔﻮﻧﻪ ﻣﻰﻛﻨﺪ‪ ،‬ﻭﻧﻪﮔﻮﺕ ﻧﻴﺰ ﺳﻌﻰ ﺑﺮ ﺍﻳﻦ‬ ‫ﺩﺍﺭﺩ ﻛﻪ ﺍﻳﻤﺎﻥ ﻣﺮﺩﻡ ﻗﺮﻥ ﺑﻴﺴﺘﻢ ﺭﺍ ﻧﺴﺒﺖ ﺑﻪ ﺩﺍﻧﺶ ﻭ ﭘﻴﺸﺮﻓﺖ ﻣﻐﺸﻮﺵ ﻛﻨﺪ‪.‬‬ ‫ﻫﻤﭽﻨﻴﻦ ﻣﻤﻜﻦ ﺍﺳﺖ ﺍﻳﻦ ﺭﻣﺎﻥ ﺑﻪ ﻋﻨﻮﺍﻥ ﻳﻚ »ﺟﻮﻙ ﻃﻮﻻﻧﻰ ﻭ ﺑﻰﻣﺰﻩ« ﻗﻠﻤﺪﺍﺩ ﮔﺮﺩﺩ‪ ،‬ﻳﻚ‬ ‫ﺷﻮﺧﻰ ﭘﺮﺟﺰﺋﻴﺎﺕ ﻛﻪ ﻧﻤﻰﺗﻮﺍﻧﺪ ﻣﺨﺎﻃﺐ ﺭﺍ ﺑﻪ ﺁﻥ ﻧﻘﻄﻪﻯ ﺍﻭﺝ ﺧﻨﺪﻩ ﺑﺮﺳﺎﻧﺪ )ﺑﻪ ﮔﻔﺘﻪﻯ ‪C. F‬‬ ‫‪ .(.Lawler‬ﺩﺭ ﺍﻳﻦ ﺑﺮﺩﺍﺷﺖ ﻛﻠﻴﺸﻪﻫﺎﻯ ﺍﻏﺮﺍﻕﺷﺪﻩﻯ ﻋﻠﻤﻰﺗﺨﻴﻠﻰ ﺑﻪ ﺍﻳﻦ ﺣﺪ ﺗﻨﺰﻝ ﭘﻴﺪﺍ ﻣﻰﻛﻨﻨﺪ‬ ‫ﻛﻪ ﻛﻞ ﺗﻼﺵﻫﺎﻯ ﺑﺸﺮﻳﺖ ﺗﺎ ﺍﻳﻦ ﺭﻭﺯ ﻣﻌﻄﻮﻑ ﺑﻪ ﺍﻳﻦ ﻫﺪﻑ ﻳﮕﺎﻧﻪ ﺑﻮﺩﻩ ﺍﺳﺖ ﻛﻪ ﻗﻄﻌﻪﺍﻯ ﻓﻠﺰﻯ ﺭﺍ‬ ‫ﺑﻪ ﻳﻚ ﻓﻀﺎﭘﻴﻤﺎﻯ ﺍﺯ ﻛﺎﺭ ﺍﻓﺘﺎﺩﻩ ﺑﺮﺳﺎﻧﺪ ﻛﻪ ﺭﺍﻛﺐ ﺁﻥ ﺭﻭﺑﺎﺗﻰ ﺍﺳﺖ ﺑﺎ ﭘﻴﻐﺎﻣﻰ ﺍﺣﻤﻘﺎﻧﻪ ﺩﺭ ﺩﺳﺘﺎﻧﺶ‪.‬‬ ‫ﺷﺎﻳﺪ ﻧﺘﻮﺍﻥ ﺍﺯ ﺍﻳﻦ ﺗﻔﺴﻴﺮﻯ ﻣﻨﻔﻰﺗﺮ ﺑﺮ ﺍﻋﺘﻘﺎﺩ ﺑﺸﺮﻳﺖ ﺩﺭﺑﺎﺭﻩﻯ ﺍﺧﺘﻴﺎﺭﺵ ﺑﺮ ﺷﻜﻞﺩﻫﻰ ﺳﺮﻧﻮﺷﺖ‬ ‫ﺧﻮﺩ ﻳﺎﻓﺖ‪ .‬ﺩﺭﻭﺍﻗﻊ ﺍﻳﻦ ﺗﻔﺴﻴﺮ‪ ،‬ﺍﻓﺴﻮﻧﮕﺮﺍﻥ ﺗﺎﻳﺘﺎﻥ ﺭﺍ ﺗﻘﺮﻳﺒﺎً ﺑﻪ ﺭﻣﺎﻧﻰ ﭘﻮچ ﻭ ﺍﺑﺰﻭﺭﺩ ﺗﺒﺪﻳﻞ ﻣﻰﻛﻨﺪ‪.‬‬ ‫ﭼﻴﺰﻯ ﺷﺒﻴﻪ ﺑﻪ ﻣﻔﺎﻫﻴﻢ ﻣﻮﺟﻮﺩ ﺩﺭ ﻛﺎﺭﻫﺎﻯ ﻛﺎﻓﻜﺎ ﻭ ﺑﻜﺖ‪ .‬ﺍﻟﺒﺘﻪ ﺍﻳﻦ ﺗﻔﺴﻴﺮ ﺟﺎﻯ ﺑﺤﺚ ﺩﺍﺭﺩ‪ ،‬ﭼﻮﻥ‬ ‫‪123‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،29‬ﺍﺭﺩﻳﺒﻬﺸﺖ ‪1392‬‬

‫ﻣﺎﺷﻴﻦﻫﺎ ﺩﺭ ﺳﺎﻝﻫﺎﻯ ﺑﺴﻴﺎﺭ ﺩﻭﺭ ﺑﺮ ﺗﺮﺍﻟﻔﺎﻣﺎﺩﻭﺭ ﭼﻴﺮﻩ ﺷﺪﻩﺍﻧﺪ ﻭ ﺣﻴﺎﺕ ﻃﺒﻴﻌﻰ ﺩﺭ ﺁﻥ ﻣﻨﻘﺮﺽ ﺷﺪﻩ‬ ‫ﺍﺳﺖ‪ .‬ﺳﺎﻟﻮ ﺑﻪ ﻋﻨﻮﺍﻥ ﻳﻚ ﻓﺮﺳﺘﺎﺩﻩ ﺑﻪ ﺁﻥ ﺳﻮﻯ ﻛﻬﻜﺸﺎﻥ ﺭﺍﻫﻰ ﺷﺪﻩ ﺑﻮﺩ ﺗﺎ ﺍﻳﻦﻛﻪ ﺳﻔﻴﻨﻪﺍﺵ ﺩﺭ ﺳﺎﻝ‬ ‫‪ 203117‬ﻗﺒﻞ ﺍﺯ ﻣﻴﻼﺩ ﺧﺮﺍﺏ ﺷﺪﻩ ﻭ ﺣﺎﻝ ﺍﻭ ﺑﺎﻳﺪ ﺭﻭﻯ ﺗﺎﻳﺘﺎﻥ ﻣﻨﺘﻈﺮ ﺑﻤﺎﻧﺪ ﺗﺎ ﻗﻄﻌﻪﻯ ﻳﺪﻛﻰ ﻣﻮﺭﺩ‬ ‫ﻧﻴﺎﺯﺵ ﺑﻪ ﺩﺳﺘﺶ ﺑﺮﺳﺪ‪ .‬ﻛﺎﺷﻒ ﺑﻪ ﻋﻤﻞ ﻣﻰﺁﻳﺪ ﻛﻪ ﻛﻞ ﺗﺎﺭﻳﺦ ﺑﺸﺮﻳﺖ ﺗﻮﺳﻂ ﺗﺮﺍﻟﻔﺎﻣﺎﺩﻭﺭﻳﺎﻳﻰﻫﺎ‬ ‫ﺩﺳﺖﻛﺎﺭﻯ ﺷﺪﻩ ﺗﺎ ﺑﻪ ﺍﻭ ﭘﻴﻐﺎﻡ ﺩﻝﮔﺮﻣﻰﺩﻫﻨﺪﻩﺍﻯ ﺑﻪ ﺳﺎﻟﻮ ﺑﺮﺳﺎﻧﻨﺪ ﻭ ﻫﻤﭽﻨﻴﻦ ﻗﻄﻌﻪﻯ ﻳﺪﻛﻰ‬ ‫ﻣﻮﺭﺩ ﻧﻈﺮﺵ ﺭﺍ ﺑﻪ ﺍﻭ ﺗﺤﻮﻳﻞ ﺩﻫﻨﺪ‪ .‬ﺍﻳﻦ ﻗﻄﻌﻪﻯ ﻳﺪﻛﻰ ﺗﻜﻪﺍﻯ ﻓﻠﺰ ﺍﺳﺖ ﻛﻪ ﻛﺮﻭﻧﻮ ﺁﻥ ﺭﺍ ﺩﺭ ﻣﺮﻳﺦ‬ ‫ﺑﺮﺩﺍﺷﺘﻪ ﻭ ﺗﺎ ﺁﻥ ﺯﻣﺎﻥ ﻫﻢ ﺁﻥ ﺭﺍ ﺩﻭﺭ ﻧﻴﻨﺪﺍﺧﺘﻪ ﺍﺳﺖ‪ .‬ﺳﺎﻟﻮ ﻗﺼﺪ ﺳﻔﺮ ﺩﺍﺭﺩ ﻭ ﺩﺭ ﻫﻤﻴﻦ ﺯﻣﺎﻥ‬ ‫ﺭﺍﻣﻔﻮﺭﺩ ﻫﻢ ﺑﻪ ﺯﻭﺩﻯ ﻭ ﺑﻪ ﺩﻟﻴﻞ ﺟﻮﺵﻫﺎﻯ ﻫﺴﺘﻪﺍﻯ ﺭﻭﻯ ﺳﻄﺢ ﺧﻮﺭﺷﻴﺪ‪ ،‬ﺑﻪ ﻳﻚ ﻛﻬﻜﺸﺎﻥ ﺩﻳﮕﺮ‬ ‫ﻣﻨﺘﻘﻞ ﺧﻮﺍﻫﺪ ﺷﺪ‪ .‬ﺍﻭ ﺑﻪ ﻋﻨﻮﺍﻥ ﺁﺧﺮﻳﻦ ﺩﺭﺧﻮﺍﺳﺖ ﺍﺯ ﺳﺎﻟﻮ ﻣﻰﺧﻮﺍﻫﺪ ﻛﻪ ﭘﻴﻐﺎﻣﺶ ﺭﺍ ﺑﺮ ﺍﻭ ﺁﺷﻜﺎﺭ‬ ‫ﻛﻨﺪ‪ .‬ﺳﺎﻟﻮ ﻋﻠﻰﺭﻏﻢ ﻏﺪﻗﻦ ﺑﻮﺩﻥ ﺍﻧﺠﺎﻡ ﺍﻳﻦ ﻛﺎﺭ‪ ،‬ﻧﻬﺎﻳﺘﺎً ﺩﺭﺧﻮﺍﺳﺖ ﺍﻭ ﺭﺍ ﺍﺟﺎﺑﺖ ﻣﻰﻛﻨﺪ؛ ﺍﻣﺎ ﺭﺍﻣﻔﻮﺭﺩ‬ ‫ﻗﺒﻞ ﺍﺯ ﺁﻥ ﻧﺎﭘﺪﻳﺪ ﺷﺪﻩ ﺍﺳﺖ‪ .‬ﭘﻴﻐﺎﻡ ﺷﺎﻣﻞ ﻳﻚ ﻧﻘﻄﻪ ﺍﺳﺖ‪ ،‬ﻛﻪ ﺩﺭ ﺯﺑﺎﻥ ﺗﺮﺍﻟﻔﺎﻣﺎﺩﻭﺭﻳﺎﻳﻰﻫﺎ ﻣﻌﻨﻰ‬ ‫»ﺗﻬﻨﻴﺖ ﻭ ﺳﻼﻡ« ﺭﺍ ﻣﻰﺩﻫﺪ‪ .‬ﺳﺎﻟﻮ ﺍﺯ ﺑﻰﻣﻌﻨﻰ ﺑﻮﺩﻥ ﻣﺎﻣﻮﺭﻳﺘﺶ ﺩﭼﺎﺭ ﺍﻓﺴﺮﺩﮔﻰ ﻣﻰﺷﻮﺩ‪ ،‬ﻛﻪ ﺍﻳﻦ‬ ‫ﺍﺣﺴﺎﺱ ﺍﻭ ﺭﺍ ﺑﻪ ﭘﻴﺎﺩﻩ ﻭ ﺍﺯ ﻫﻢ ﺟﺪﺍ ﻛﺮﺩﻥ ﺍﺟﺰﺍﻯ ﺧﻮﺩ ﺳﻮﻕ ﻣﻰﺩﻫﺪ‪ .‬ﻛﺮﻭﻧﻮ ﻣﻰﺭﻭﺩ ﺗﺎ ﺑﺎ ﻣﺮﻍ‬ ‫ﺁﺑﻰﺭﻧﮓ ﺑﺰﺭگ ﺗﺎﻳﺘﺎﻥ ﺯﻧﺪﮔﻰ ﻛﻨﺪ‪ ،‬ﺁﻥ ﻫﻢ ﺯﻣﺎﻧﻰ ﻛﻪ ﺑﺎﻻﺧﺮﻩ ﺑﺌﺎﺗﺮﻳﺲ ﻭ ﻣﻼﻛﻰ ﺑﻪ ﺗﺴﻼﻯ ﺩﻝ‬ ‫ﻫﻢ ﻣﻰﭘﺮﺩﺍﺯﻧﺪ‪ .‬ﺑﺌﺎﺗﺮﻳﺲ ﻣﻰﻣﻴﺮﺩ ﻭ ﺳﺎﻟﻮ ﻛﻪ ﺑﺎﻻﺧﺮﻩ ﺗﻮﺳﻂ ﻣﻼﻛﻰ ﺩﻭﺑﺎﺭﻩ ﺑﻪ ﺣﺎﻟﺖ ﺍﻭﻝ ﺑﺮﮔﺸﺘﻪ‬ ‫ﺍﻭ ﺭﺍ ﺑﻪ ﺯﻣﻴﻦ ﻣﻰﺑﺮﺩ‪ ،‬ﺟﺎﻳﻰ ﻛﻪ ﺍﻭ ﺭﺍ ﺩﺭ ﺍﻳﺴﺘﮕﺎﻩ ﺍﺗﻮﺑﻮﺳﻰ ﻧﺰﺩﻳﻚ ﺍﻳﻨﺪﻳﺎﻧﺎﭘﻮﻟﻴﺲ ﺩﺭ ﺯﻣﺴﺘﺎﻥ ﺭﻫﺎ‬ ‫ﻣﻰ ﻛﻨﺪ‪ .‬ﻣﺘﺎﺳﻔﺎﻧﻪ ﺍﺗﻮﺑﻮﺱ ﺩﻭ ﺳﺎﻋﺖ ﺗﺎﺧﻴﺮ ﺩﺍﺭﺩ‪ ،‬ﺍﺯ ﺍﻳﻦ ﺭﻭ ﻛﻨﺴﺘﺎﻧﺖ ﺩﺭ ﺍﺛﺮ ﻳﺦﺯﺩﮔﻰ ﻣﻰﻣﻴﺮﺩ‪ .‬ﺑﻪ‬ ‫ﻟﻄﻒ ﻫﻴﭙﻨﻮﺗﻴﺰﻡ ﺳﺎﻟﻮ‪ ،‬ﺁﺧﺮﻳﻦ ﺩﻗﺎﻳﻖ ﺯﻧﺪﮔﻰ ﻣﻼﻛﻰ ﺑﺎ ﺗﻮﻫﻢ ﺑﺎﺯﮔﺸﺖ ﺑﻪ ﭘﻴﺶ ﺩﻭﺳﺘﺶ ﺍﺳﺘﻮﻧﻰ‬ ‫ﺍﺳﺘﻴﻮﻧﺴﻦ ﺭﻭﺷﻦ ﻣﻰﺷﻮﺩ‪.‬‬ ‫ﻧﻘﺪ ﻭ ﺑﺮﺭﺳﻰ‬ ‫ﻗﺼﺪﻡ ﺍﺯ ﺍﻳﻦ ﻣﻌﺮﻓﻰ ﻛﻮﺗﺎﻩ ﺍﻳﻦ ﻧﺒﻮﺩ ﻛﻪ ﺩﺍﺳﺘﺎﻥ ﺭﺍ ﺍﺯ ﺁﻥ ﭼﻴﺰﻯ ﻛﻪ ﻫﺴﺖ ﻋﺠﻴﺐ ﻭ ﻏﺮﻳﺐﺗﺮ ﻧﺸﺎﻥ‬ ‫ﺩﻫﻢ‪ ،‬ﺑﻠﻜﻪ ﻣﻰﺧﻮﺍﺳﺘﻢ ﺗﻨﻬﺎ ﻧﻤﺎﻳﻰ ﻛﻠﻰ ﺍﺯ ﻃﺮﺡ ﻭ ﻣﻮﺗﻴﻒﻫﺎﻯ ﺍﺳﺘﻔﺎﺩﻩ ﺷﺪﻩ ﺩﺭ ﺁﻥ ﺍﺭﺍﺋﻪ ﺩﻫﻢ‪ .‬ﺍﮔﺮ‬ ‫ﻗﺮﺍﺭ ﺑﺎﺷﺪ ﻛﺴﻰ ﺗﻨﻬﺎ ﺑﺮ ﺍﺳﺎﺱ ﺍﻳﻦ ﻣﻌﺮﻓﻰ ﻛﻪ ﺍﺯ ﺩﺍﺳﺘﺎﻥ ﺩﺍﺩﻩ ﺷﺪ ﺁﻥ ﺭﺍ ﺑﺴﻨﺠﺪ‪ ،‬ﻣﻤﻜﻦ ﺍﺳﺖ ﻣﺎﻧﻨﺪ‬ ‫ﺟﻴﻤﺰ ﻣﻼﺭﺩ )‪ (James Mellard‬ﺑﻪ ﺍﺷﺘﺒﺎﻩ ﺑﻴﻔﺘﺪ ﻛﻪ‪:‬‬

‫اﻓﺴﻮﻧﮕﺮان ﺗﺎﯾﺘﺎن ﺑﺎ ﻫﺮ دﯾﺪﮔﺎﻫﯽ ﺟﺰء ادﺑﯿﺎت ﺳﺎده ﻗﻠﻤﺪاد ﻣﯽﮔﺮدد‪ .‬از آن رو ﮐﻪ اﯾﻦ داﺳﺘﺎن از‬ ‫ﻧﻮﻋﯽ ﺳﺎﺧﺖ ﯾﺎﻓﺘﻪ و ﻓﺮﻣﻮﻻﺗﯿﮏ اﺳﺖ )ﻋﻠﻤﯽ ﺗﺨﯿﻠﯽ(‪ ،‬ﻣﺴﺘﻠﺰم اﺳﺘﻔﺎده از ﺷﺨﺼﯿﺖﻫﺎ‪ ،‬ﺣﻮادث‪،‬‬ ‫ﻣﻮﺿﻮﻋﺎت‪ ،‬وﯾﮋﮔﯽﻫﺎ و ﻣﺤﯿﻂ ﻓﺮﻣﻮلدار اﺳﺖ و در ﺳﺒﮑﯽ ﮐﺎﻣﻼً ﺳﺎده ﻧﻮﺷﺘﻪ ﺷﺪه اﺳﺖ‪.‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،29‬ﺍﺭﺩﻳﺒﻬﺸﺖ ‪1392‬‬

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‫ﺍﻧﺠﺎﻣﻴﺪ )ﺁﻥﻃﻮﺭ ﻛﻪ ﮔﻔﺘﻪ ﺷﺪﻩ ﭼﻴﺰﻯ ﺑﻴﻦ ﺟﻨﮓ ﺟﻬﺎﻧﻰ ﺩﻭﻡ ﻭ ﺳﻮﻣﻴﻦ ﺭﻛﻮﺩ ﺑﺰﺭگ ﺍﻗﺘﺼﺎﺩﻯ( ﻭ‬ ‫ﺩﺭ ﺳﻴﺎﺭﻩﻫﺎﻯ ﻣﺨﺘﻠﻔﻰ ﺍﺯ ﻣﻨﻈﻮﻣﻪﻯ ﺷﻤﺴﻰ ﺭﺥ ﻣﻰﺩﻫﺪ‪.‬‬ ‫»ﻭﻳﻨﺴﺘﻮﻥ ﻧﺎﻳﻠﺰ ﺭﺍﻣﻔﻮﺭﺩ« ﺍﺷﺮﺍﻑﺯﺍﺩﻩﻯ ﻧﻴﻮﺍﻧﮕﻠﻨﺪﻯ ﺍﺳﺖ ﻛﻪ ﻣﻮﻗﻊ ﺳﻔﺮ ﺩﺭ ﺳﻔﻴﻨﻪﻯ ﻓﻀﺎﻳﻰ‬ ‫ﺍﺧﺘﺼﺎﺻﻰﺍﺵ ﺑﻪ ﻫﻤﺮﺍﻩ ﺳﮕﺶ ﻛﺎﺯﺍﻙ‪ ،‬ﺩﺭ ﻓﻀﺎ ﺑﺎ »ﻗﻴﻔﻰﻫﺎﻯ ﻛﺮﻭﻧﻮ‪-‬ﺳﻴﻨﻜﻼﺳﺘﻴﻚ« ﺑﺮﺧﻮﺭﺩ‬ ‫ﻣﻰﻛﻨﺪ ﻭ ﺍﺯ ﺁﻥ ﺯﻣﺎﻥ ﺑﻪ ﺑﻌﺪ‪ ،‬ﺁﻥ ﺩﻭ ﺗﻨﻬﺎ ﺑﻪ ﻋﻨﻮﺍﻥ ﺍﻣﻮﺍﺝ ﻣﺎﺭﭘﻴﭽﻰ ﺑﻴﻦ ﻳﺪﺍﻟﺠﻮﺯﺍ ﻭ ﺧﻮﺭﺷﻴﺪ ﻇﺎﻫﺮ‬ ‫ﻣﻰﮔﺮﺩﻧﺪ ﻭ ﻫﺮ ‪ 59‬ﺭﻭﺯ ﻳﻚ ﺑﺎﺭ ﺑﻪﻣﺪﺕ ﻛﻮﺗﺎﻫﻰ ﺭﻭﻯ ﺯﻣﻴﻦ ﺗﺠﺴﻢ ﭘﻴﺪﺍ ﻣﻰﻛﻨﻨﺪ‪ .‬ﻣﻼﻛﻰ ﻛﻨﺴﺘﺎﻧﺖ‪،‬‬ ‫ﭘﻮﻟﺪﺍﺭﺗﺮﻳﻦ ﻣﺮﺩ ﺁﻣﺮﻳﻜﺎ ﺑﺮﺍﻯ ﻳﻜﻰ ﺍﺯ ﺍﻳﻦ ﺗﺠﺴﻢﻳﺎﺑﻰﻫﺎ ﺩﻋﻮﺕ ﻣﻰﺷﻮﺩ‪ ،‬ﺟﺎﻳﻰ ﻛﻪ ﺩﺭ ﺁﻥ ﺗﻮﺳﻂ‬ ‫ﭘﻴﺸﮕﻮﻳﻰ ﺭﺍﻣﻔﻮﺭﺩ ﻣﺘﻮﺟﻪ ﻣﻰﺷﻮﺩ ﻛﻪ ﻗﺮﺍﺭ ﺍﺳﺖ ﺑﻪ ﻣﺮﻳﺦ ﺳﻔﺮ ﻛﻨﺪ ﻭ ﺩﺭ ﺁﻥﺟﺎ ﺍﺯ ﺑﺌﺎﺗﺮﻳﺲ‪ ،‬ﻫﻤﺴﺮ‬ ‫ﺳﺮﻛﺶ ﺭﺍﻣﻔﻮﺭﺩ ﺻﺎﺣﺐ ﻓﺮﺯﻧﺪﻯ ﺷﻮﺩ‪ .‬ﻫﻢ ﺑﺌﺎﺗﺮﻳﺲ ﻭ ﻫﻢ ﻣﻼﻛﻰ ﺩﺭ ﻣﻤﺎﻧﻌﺖ ﺑﺮﺍﻯ ﺗﺤﻘﻖ ﺍﻳﻦ‬ ‫ﭘﻴﺶﺑﻴﻨﻰ ﻛﻪ ﻧﺰﺩ ﻫﺮ ﺩﻭﻳﺸﺎﻥ ﺑﻪ ﻳﻚ ﺍﻧﺪﺍﺯﻩ ﻧﻔﺮﺕﺍﻧﮕﻴﺰ ﺍﺳﺖ‪ ،‬ﻣﻰﻛﻮﺷﻨﺪ؛ ﺍﻣﺎ ﻧﺎﮔﻔﺘﻪ ﭘﻴﺪﺍﺳﺖ ﻛﻪ‬ ‫ﺍﻭﺿﺎﻉ ﺩﻗﻴﻘﺎ ﻃﺒﻖ ﭘﻴﺶﺑﻴﻨﻰ ﺭﺍﻣﻔﻮﺭﺩ ﭘﻴﺶ ﻣﻰﺭﻭﺩ‪ .‬ﺁﻥﻫﺎ ﻣﺠﺒﻮﺭ ﺑﻪ ﻋﻀﻮﻳﺖ ﺩﺭ ﺍﺭﺗﺸﻰ ﻣﺘﺸﻜﻞ‬ ‫ﺍﺯ ﺗﺒﻌﻴﺪﻯﻫﺎﻯ ﺯﻣﻴﻦ ﺩﺭ ﻣﺮﻳﺦ ﻣﻰﺷﻮﻧﺪ‪ ،‬ﻛﻪ ﺷﺴﺘﺸﻮﻯ ﻣﻐﺰﻯ ﺩﺍﺩﻩ ﺷﺪﻩﺍﻧﺪ ﻭ ﺑﻪ ﻣﺎﻧﻨﺪ ﻳﻚ ﻣﺎﺷﻴﻦ‬ ‫ﺍﻧﺴﺎﻥﻧﻤﺎ ﺭﻓﺘﺎﺭ ﻣﻰﻛﻨﻨﺪ ﻭ ﻫﻮﻳﺘﺸﺎﻥ ﺭﺍ ﺍﺯ ﺩﺳﺖ ﺩﺍﺩﻩﺍﻧﺪ‪ .‬ﺣﺎﻻ ﺑﻪ ﻛﻨﺴﺘﺎﻧﺖ »ﺩﺍﻳﻰ« ﻣﻰﮔﻮﻳﻨﺪ ﻭ ﺍﻭ‬ ‫ﺗﻤﺎﻣﺎً ﺧﺎﻃﺮﺍﺕ ﺯﻧﺪﮔﻰ ﮔﺬﺷﺘﻪﺍﺵ ﺭﺍ ﺍﺯ ﺩﺳﺖ ﺩﺍﺩﻩ ﺍﺳﺖ‪ .‬ﺍﻭ ﺣﺘﺎ ﺑﻰﻫﻴﭻ ﺗﺮﺩﻳﺪﻯ ﻣﻰﺗﻮﺍﻧﺪ ﺑﻬﺘﺮﻳﻦ‬ ‫ﺩﻭﺳﺘﺶ ﺍﺳﺘﻴﻮﻯ ﺍﺳﺘﻴﻮﻧﺴﻮﻥ ﺭﺍ ﺑﻜﺸﺪ‪ .‬ﺑﻨﺎ ﺑﻪ ﻧﻘﺸﻪﻯ ﺭﺍﻣﻔﻮﺭﺩ‪ ،‬ﺍﻳﻦ ﺍﺭﺗﺶ ﺑﻪ ﺳﻴﺎﺭﻩﻯ ﺯﻣﻴﻦ ﺣﻤﻠﻪ‬ ‫ﺧﻮﺍﻫﺪ ﺑﺮﺩ ﺗﺎ ﺩﺭ ﺁﻥ ﻧﺒﺮﺩ ﻧﺎﺑﻮﺩ ﺷﻮﺩ ﻭ ﺍﺯ ﺍﻳﻦ ﻃﺮﻳﻖ ﭘﺎﻳﺎﻥ ﺗﻤﺎﻡ ﺟﻨﮓﻫﺎ ﻭ ﺍﺗﺤﺎﺩ ﻧﻮﻉ ﺑﺸﺮ ﺭﺍ ﻣﻨﺠﺮ‬ ‫ﺷﻮﺩ‪ ،‬ﺩﺭ ﺣﺎﻟﻰ ﻛﻪ ﺭﺍﻣﻔﻮﺭﺩ ﺑﻨﻴﺎﻥﮔﺬﺍﺭ ﻳﻚ ﻣﺬﻫﺐ ﻓﺮﺍﮔﻴﺮ ﻣﻰﺷﻮﺩ‪ ،‬ﻛﻠﻴﺴﺎﻯ ﺧﺪﺍﻯ ﻣﻄﻠﻘﺎً ﺑﻰﺗﻔﺎﻭﺕ‪.‬‬ ‫ﻭﻗﺘﻰ ﻛﻪ ﺩﺭ ﻧﻬﺎﻳﺖ ﺍﻳﻦ ﺣﻤﻠﻪ ﺭﺥ ﺩﺍﺩ‪ ،‬ﻧﺠﺎﺕﻳﺎﻓﺘﮕﺎﻥ ﺑﺴﻴﺎﺭ ﺍﻧﺪﻛﻰ ﺑﺎﻗﻰ ﻣﺎﻧﺪﻧﺪ‪ .‬ﺑﺌﺎﺗﺮﻳﺲ ﻭ ﻛﺮﻭﻧﻮ‬ ‫ﭘﺴﺮﺵ ﺩﺭ ﺟﻨﮕﻞﻫﺎﻯ ﺁﻣﺎﺯﻭﻥ ﻓﺮﻭﺩ ﺁﻣﺪﻩ ﻭ ﺑﻪ ﻋﻀﻮﻳﺖ ﻗﺒﻴﻠﻪﻯ ﺳﺮﺧﭙﻮﺳﺖﻫﺎﻯ ﮔﻮﻣﺒﻮ ﺩﺭ ﺁﻣﺪﻧﺪ‪.‬‬ ‫ﺍﮔﺮﭼﻪ ﻣﻼﻛﻰ ﺩﺭ ﻣﺒﺎﺭﺯﻩ ﺷﺮﻛﺖ ﻧﺪﺍﺷﺖ‪ ،‬ﺍﻣﺎ ﺑﻪ ﻫﻤﺮﺍﻩ ﺳﺮﺑﺎﺯ ﺩﻳﮕﺮﻯ ﺑﻪ ﻧﺎﻡ »ﺑﻮﺍﺯ« ﺑﻪ ﻣﺪﺕ ‪3‬‬ ‫ﺳﺎﻝ ﺩﺭ ﻋﻄﺎﺭﺩ ﮔﻴﺮ ﺍﻓﺘﺎﺩ‪ .‬ﺑﻮﺍﺯ ﺩﺭ ﺁﻥﺟﺎ ﺩﻝ ﺩﺭ ﮔﺮﻭﻯ ﻫﺎﺭﻣﻮﻧﻴﻮﻡﻫﺎ ﻣﻰﺑﻨﺪﺩ؛ ﺗﻨﻬﺎ ﺳﺎﻛﻨﻴﻦ ﺑﻮﻣﻰ‬ ‫ﻋﻄﺎﺭﺩ ﻛﻪ ﻛﻮﭼﻚ ﻭ ﺑﺎﺩﺑﺎﺩﻙ ﺷﻜﻠﻨﺪ ﻭ ﺍﺯ ﺻﺪﺍ ﺧﻮﺷﻨﻮﺩ ﻣﻰﺷﻮﻧﺪ‪ .‬ﻫﺎﺭﻣﻮﻧﻴﻮﻡ ﺗﻨﻬﺎ ﺷﻜﻞ ﺷﻨﺎﺧﺘﻪ‬ ‫ﺷﺪﻩﻯ ﺣﻴﺎﺕ ﺩﺭ ﺳﻴﺎﺭﻩﻯ ﻋﻄﺎﺭﺩ ﻫﺴﺘﻨﺪ‪ .‬ﻫﺎﺭﻣﻮﻧﻴﻮﻡ ﻳﻚ ﻣﻮﺟﻮﺩ ﻏﺎﺭﻧﺸﻴﻦ ﺍﺳﺖ‪ .‬ﺑﺰﺭﮔﻮﺍﺭﺗﺮ ﺍﺯ ﺍﻳﻦ‬ ‫ﻣﻮﺟﻮﺩ ﻗﺎﺑﻞ ﺗﺼﻮﺭ ﻧﻴﺴﺖ‪ .‬ﻭﻗﺘﻰ ﻧﻬﺎﻳﺘﺎً ﻣﻼﻛﻰ ﺭﺍﻩ ﺧﺮﻭﺝ ﺍﺯ ﺁﻥﺟﺎ ﺭﺍ ﻣﻰﻳﺎﺑﺪ‪ ،‬ﺑﻮﺍﺯ ﺗﺼﻤﻴﻢ ﻣﻰﮔﻴﺮﺩ‬ ‫ﻛﻪ ﻫﻤﭽﻨﺎﻥ ﺩﺭ ﻋﻄﺎﺭﺩ ﺑﺎﻗﻰ ﺑﻤﺎﻧﺪ‪ .‬ﻣﻼﻛﻰ ﺑﻌﺪ ﺍﺯ ﺑﺎﺯﮔﺸﺘﺶ ﺑﻪ ﺯﻣﻴﻦ ﻣﺘﻮﺟﻪ ﻣﻰﺷﻮﺩ ﻛﻪ ﻧﻤﺎﺩﻯ‬ ‫ﺑﺮ ﺩﻳﻦ ﺟﺪﻳﺪ ﺷﺪﻩ ﺍﺳﺖ ﻭ ﺩﺭ ﻧﻬﺎﻳﺖ ﺑﻪ ﻫﻤﺮﺍﻩ ﺑﺌﺎﺗﺮﻳﺲ ﻭ ﭘﺴﺮﺵ ﻛﺮﻭﻧﻮ ﺩﻭﺑﺎﺭﻩ ﺑﻪ ﻓﻀﺎ ﺑﺎﺯﮔﺮﺩﺍﻧﺪﻩ‬ ‫ﻣﻰﺷﻮﺩ‪ .‬ﺁﻥﻫﺎ ﺭﻭﻯ ﺗﺎﻳﺘﺎﻥ ﻓﺮﻭﺩ ﻣﻰﺁﻳﻨﺪ‪ ،‬ﺟﺎﻳﻰ ﻛﻪ ﺭﺍﻣﻔﻮﺭﺩ ﺩﺭ ﺁﻥ ﻳﻚ ﺍﻗﺎﻣﺘﮕﺎﻩ ﺩﺍﺋﻤﻰ ﺳﺎﺧﺘﻪ‬ ‫ﻭ ﺍﺯ ﺁﻥﺟﺎ ﺑﻪ ﻛﻤﻚ ﺭﻭﺑﺎﺗﻰ ﺑﻪ ﻧﺎﻡ »ﺳﺎﻟﻮ« ﻛﻪ ﺍﺯ ﺳﻴﺎﺭﻩﺍﻯ ﺑﻪ ﻧﺎﻡ ﺗﺮﺍﻟﻤﺎﻓﺎﺩﻭﺭ ﺁﻣﺪﻩ‪ ،‬ﺑﻪ ﺭﺗﻖ ﻭ ﻓﺘﻖ‬ ‫ﺍﻣﻮﺭ ﺩﺭ ﺯﻣﻴﻦ ﻣﻰﭘﺮﺩﺍﺯﺩ‪.‬‬ ‫‪121‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،29‬ﺍﺭﺩﻳﺒﻬﺸﺖ ‪1392‬‬

‫ﺩﺭ ﺳﺎﻝ ‪ 1974‬ﺍﻗﺘﺒﺎﺳﻰ ﺍﺯ ﺁﻥ ﺑﺮ ﺭﻭﻯ ﺻﺤﻨﻪﻯ ﻧﻤﺎﻳﺶ ﺭﻓﺖ ﻭ ﺩﺭ ﺍﻭﺍﺧﺮ ﺩﻫﻪﻯ ﺷﺼﺖ‪ ،‬ﺑﻪ ﻫﻤﺮﺍﻩ‬ ‫»ﻏﺮﻳﺒﻪﺍﻯ ﺩﺭ ﻏﺮﻳﺐﺁﺑﺎﺩ« ﺍﺛﺮ »ﺭﺍﺑﺮﺕ ﻫﺎﻳﻦﻻﻳﻦ« ﻭ »ﺗﻞﻣﺎﺳﻪ« ﺍﺛﺮ»ﻓﺮﺍﻧﻚ ﻫﺮﺑﺮﺕ« ﺗﺒﺪﻳﻞ ﺑﻪ ﻳﻜﻰ‬ ‫ﺍﺯ ﻛﺘﺎﺏﻫﺎﻯ ﺁﺋﻴﻨﻰ ﺿﺪﻓﺮﻫﻨﮓﻫﺎ ﺷﺪ‪ .‬ﺍﻳﻦ ﻣﺴﺌﻠﻪ ﺷﻬﺮﺕ ﻭ ﺍﻋﺘﺒﺎﺭ ﻧﻪﭼﻨﺪﺍﻥ ﺧﻮﺏ ﻛﺘﺎﺏ ﻧﺰﺩ‬ ‫ﻣﻨﺘﻘﺪﺍﻥ ﺍﺩﺑﻰ ﺭﺍ ﺗﻮﺟﻴﻪ ﻣﻰﻛﻨﺪ‪.‬‬ ‫ﻣﻮﻓﻘﻴﺖ ﭼﺸﻢﮔﻴﺮ ﺍﻳﻦ ﻛﺘﺎﺏ ﺳﻮﺍﻟﻰ ﺭﺍ ﺩﺭ ﻣﻴﺎﻥ ﻣﻨﺘﻘﺪﺍﻥ ﻭ ﺧﻮﺍﻧﻨﺪﮔﺎﻥ ﭘﻴﺶ ﺁﻭﺭﺩ ﻛﻪ ﺁﻳﺎ ﻛﺘﺎﺏ‬ ‫ﻋﻠﻤﻰﺗﺨﻴﻠﻰ ﺍﺳﺖ ﻳﺎ ﻧﻪ‪ .‬ﺩﺳﺘﻪﺑﻨﺪﻯﻫﺎ ﻭ ﻣﺎﺭﻙﻫﺎﻯ ﺯﻳﺎﺩﻯ ﺭﻭﻯ ﺍﻳﻦ ﻛﺘﺎﺏ ﺯﺩﻩ ﺷﺪ‪ ،‬ﺍﻣﺎ ﺩﺭ ﻧﻬﺎﻳﺖ‬ ‫ﺍﻣﺮ ﺍﻛﺜﺮﺍ ً ﺩﻭﺑﺎﺭﻩ ﺗﻮﺍﻓﻖ ﺑﺮ ﻫﻤﺎﻥ ﻋﻠﻤﻰﺗﺨﻴﻠﻰ ﺑﻮﺩﻥ ﻛﺘﺎﺏ ﻛﺮﺩﻧﺪ‪ .‬ﻭﻧﻪﮔﻮﺕ ﺩﺭ ﻣﻘﺎﻟﻪﻯ ﻣﺸﻬﻮﺭﻯ ﻛﻪ‬ ‫ﺑﺮﺍﻯ ﻗﺴﻤﺖ ﻣﻌﺮﻓﻰ ﻛﺘﺎﺏ ﻧﻴﻮﻳﻮﺭﻙﺗﺎﻳﻤﺰ ﻧﻮﺷﺖ ﺍﺫﻋﺎﻥ ﺩﺍﺷﺖ ﺗﺎ ﺯﻣﺎﻧﻰ ﻛﻪ ﭘﺲ ﺍﺯ ﺍﻧﺘﺸﺎﺭ ﺍﻭﻟﻴﻦ‬ ‫ﻛﺘﺎﺑﺶ )ﭘﻴﺎﻧﻮﻯ ﻧﻮﺍﺯﻧﺪﻩ( ﺗﻮﺳﻂ ﻣﻨﺘﻘﺪﺍﻥ ﺑﻪ ﻋﻨﻮﺍﻥ ﻳﻚ ﻧﻮﻳﺴﻨﺪﻩﻯ ﻋﻠﻤﻰﺗﺨﻴﻠﻰ ﻣﻌﺮﻓﻰ ﺷﺪ‪،‬‬ ‫ﻫﺮﮔﺰ ﺧﻮﺩ ﺭﺍ ﻳﻚ ﻧﻮﻳﺴﻨﺪﻩﻯ ﻋﻠﻤﻰﺗﺨﻴﻠﻰ ﻧﻤﻰﭘﻨﺪﺍﺷﺘﻪ ﺍﺳﺖ‪ .‬ﻛﺘﺎﺑﻰ ﺑﺎ ﻓﻀﺎﻯ ﺩﻳﺴﺘﻮﭘﻴﺎﻳﻰ ﻭ ﺑﺎ‬ ‫ﺷﺒﺎﻫﺖ ﺑﻪ »ﺩﻧﻴﺎﻯ ﺟﺪﻳﺪ ﻧﻮ« ﺍﺯ »ﺁﻟﺪﻭﺱ ﻫﺎﻛﺴﻠﻰ«‪ .‬ﻭﻧﻪﮔﻮﺕ ﺑﻴﺎﻥﺩﺍﺷﺖ ﻛﻪ ﺍﻭ ﺑﻪ ﻋﻠﻢ ﻭ ﻓﻦﺁﻭﺭﻯ‬ ‫ﻋﻼﻗﻪ ﺩﺍﺭﺩ‪ ،‬ﭼﻮﻥ ﺍﻳﻦ ﺩﻭ ﺍﺟﺰﺍﻯ ﻻﻳﻨﻔﻚ ﺯﻧﺪﮔﻰ ﻣﺎ ﻫﺴﺘﻨﺪ ﻭ ﺍﺯ ﺍﻳﻦﺭﻭ ﭼﻨﻴﻦ ﻛﺘﺎﺏﻫﺎﻳﻰ ﻧﺒﺎﻳﺪ‬ ‫ﺩﺭ ﻛﺘﺎﺏﻓﺮﻭﺷﻰﻫﺎ ﻣﻨﺤﺼﺮ ﺑﻪ ﻃﺒﻘﻪﻫﺎﻯ ﺍﺩﺑﻰ ﻋﻠﻤﻰﺗﺨﻴﻠﻰ ﺑﺎﺷﻨﺪ‪ ،‬ﺑﻠﻜﻪ ﺑﺎﻳﺪ ﺩﺭ ﻃﺒﻘﻪﻯ ﺍﺩﺑﻴﺎﺕ‬ ‫ﺟﺮﻳﺎﻥ ﺍﺻﻠﻰ ﺟﺎﻯ ﺑﮕﻴﺮﻧﺪ‪.‬‬ ‫ﺍﻓﺴﻮﻧﮕﺮﺍﻥ ﺗﺎﻳﺘﺎﻥ ﺑﻪ ﻗﻠﻢ ﭼﻬﺮﻩﻯ ﻧﺎﻡﺁﺷﻨﺎﻯ ﺍﺩﺑﻴﺎﺕ ﻋﻠﻤﻰ ﺗﺨﻴﻠﻰ ﺍﻳﺮﺍﻥ‪ ،‬ﻋﻠﻰﺍﺻﻐﺮ ﺑﻬﺮﺍﻣﻰ ﺗﺮﺟﻤﻪ‬ ‫ﻭ ﺩﺭ ﺯﻣﺴﺘﺎﻥ ‪ 1390‬ﺗﻮﺳﻂ ﺍﻧﺘﺸﺎﺭﺍﺕ ﻧﻴﻠﻮﻓﺮ ﺑﻪ ﭼﺎپ ﺭﺳﻴﺪ‪ .‬ﺩﻭﺳﺖﺩﺍﺭﺍﻥ ﺍﺩﺑﻴﺎﺕ ﻋﻠﻤﻰﺗﺨﻴﻠﻰ‬ ‫ﺍﻳﺮﺍﻥ ﺍﻭ ﺭﺍ ﺑﺎ ﺗﺮﺟﻤﻪﻫﺎﻳﺶ ﺍﺯ ﺟﻰ‪ .‬ﺟﻰ‪ .‬ﺑﺎﻻﺭﺩ ﻭ ﺑﺎﻻﺭﺩ ﺭﺍ ﺑﺎ ﺗﺮﺟﻤﻪﻫﺎﻯ ﺍﻭ ﺷﻨﺎﺧﺘﻨﺪ‪ .‬ﻉ‪ .‬ﺍ‪ .‬ﺑﻬﺮﺍﻣﻰ‬ ‫ﭘﻴﺶ ﺍﺯ ﺍﻓﺴﻮﻧﮕﺮﺍﻥ ﺗﺎﻳﺘﺎﻥ‪ ،‬ﭼﻨﺪ ﺍﺛﺮ ﺩﻳﮕﺮ ﺭﺍ ﺍﺯ ﻭﻧﻪﮔﻮﺕ ﺗﺮﺟﻤﻪ ﻛﺮﺩﻩ ﺑﻮﺩ ﻭ ﻗﺮﺍﺭ ﮔﺮﻓﺘﻦ ﺗﺮﺟﻤﻪﻯ‬ ‫ﺩﻳﮕﺮﻯ ﺍﺯ ﻭﻧﻪﮔﻮﺕ ﺭﺍ ﺩﺭ ﻛﺎﺭﻧﺎﻣﻪﺍﺵ ﭼﻨﺪﺍﻥ ﻣﺤﺘﻤﻞ ﻧﻤﻰﺩﺍﻧﺴﺖ؛ ﺍﻣﺎ ﺩﺳﺖ ﻃﺒﻴﻌﺖ ﻛﻪ ﺩﺭ ﺳﺎﻝ‬ ‫‪ 2007‬ﮔﺮﻳﺒﺎﻥ ﻧﻮﻳﺴﻨﺪﻩ ﺭﺍ ﮔﺮﻓﺖ )ﺑﻠﻪ‪ ،‬ﺭﺳﻢ ﺭﻭﺯﮔﺎﺭ ﭼﻨﻴﻦ ﺍﺳﺖ!( ﻣﺘﺮﺟﻤﻴﻦ ﺯﻳﺎﺩﻯ ﺭﺍ ﺑﻪ ﻓﻜﺮ‬ ‫ﺗﺮﺟﻤﻪﻯ ﺁﺛﺎﺭ ﺑﺎﻗﻰ ﻣﺎﻧﺪﻩ ﺍﺯ ﻭﻧﻪﮔﻮﺕ ﺍﻧﺪﺍﺧﺖ‪ .‬ﺍﻓﺴﻮﻧﮕﺮﺍﻥ ﺗﺎﻳﺘﺎﻥ ﻛﻪ ﺍﻭﻟﻴﻦ ﺍﺛﺮ ﻣﻬﻢ ﻭﻧﻪﮔﺎﺕ ﻭ ﺍﺯ‬ ‫ﺟﺮﻳﺎﻥﺳﺎﺯﺗﺮﻳﻦ ﺁﺛﺎﺭ ﺍﻭ ﺑﻪ ﺣﺴﺎﺏ ﻣﻰﺁﻳﺪ‪ ،‬ﺑﻬﺘﺮﻳﻦ ﻛﺘﺎﺏ ﺍﻳﻦ ﻧﻮﻳﺴﻨﺪﻩ ﺍﺳﺖ ﻛﻪ ﺑﻌﺪ ﺍﺯ ﻣﺮگ ﺍﻭ ﺑﻪ‬ ‫ﭼﺎپ ﺭﺳﻴﺪ‪.‬‬ ‫ﺷﺎﻳﺎﻥ ﺫﻛﺮ ﺍﺳﺖ ﻛﻪ ﭘﻴﺶ ﺍﺯ ﺍﻳﻦ ﻋﻠﻰﺍﺻﻐﺮ ﺑﻬﺮﺍﻣﻰ ﺑﺮﻧﺪﻩﻯ ﺩﻭ ﺩﻭﺭﻩ ﺟﺎﻳﺰﻩﻯ ﺑﻬﺘﺮﻳﻦ ﻣﺘﺮﺟﻢ‬ ‫ﺍﺩﺑﻴﺎﺕ ﮔﻤﺎﻧﻪﺯﻥ ﺷﺪﻩ ﺍﺳﺖ‪.‬‬ ‫ﺧﻼﺻﻪﺍﻯ ﺍﺯ ﺩﺍﺳﺘﺎﻥ‬ ‫ﺑﺎ ﭘﻴﺸﺮﻓﺖ ﺩﺭ ﺩﺍﺳﺘﺎﻥ ‪ ،‬ﻧﻪﺗﻨﻬﺎ ﺑﺪﺗﺮﻳﻦ ﺗﺮﺱﻫﺎﻯ ﺁﺩﻣﻰ ﺑﺮ ﺍﻭ ﭼﻴﺮﻩ ﻣﻰﮔﺮﺩﻧﺪ‪ ،‬ﺑﻠﻜﻪ ﺍﺯ ﭘﻴﺶ‬ ‫ﻧﻴﺰ ﺑﺪﺗﺮ ﺧﻮﺍﻫﻨﺪ ﺷﺪ‪ .‬ﺩﺍﺳﺘﺎﻥ ﺭﻭﺍﻳﺖ ﻳﻚ ﺗﺎﺭﻳﺦﺩﺍﻥ ﺍﺳﺖ ﺍﺯ ﺁﻳﻨﺪﻩ ﻛﻪ ‪ 43‬ﺳﺎﻝ ﺑﻪ ﻃﻮﻝ ﺧﻮﺍﻫﺪ‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،29‬ﺍﺭﺩﻳﺒﻬﺸﺖ ‪1392‬‬

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‫ﻗﺮﺑﺎﻧﻰ ﺍﺗﻔﺎﻗﺎﺕ‬ ‫)ﻣﻌﺮﻓﻰ ﻭ ﻧﻘﺪ ﺍﻓﺴﻮﻧﮕﺮﺍﻥ ﺗﺎﻳﺘﺎﻥ ﻛﻮﺭﺕ ﻭﻧﻪﮔﻮﺕ(‬

‫ﺍﺣﺴﺎﻥ ﻣﺤﻤﺪﺯﺍﺩﻩ‬

‫ﻣﻦ ﻗﺮﺑﺎﻧﯽ ﻣﺠﻤﻮﻋﻪای اﺗﻔﺎق ﺑﻮدهام‪ ،‬ﻫامنﻃﻮر ﮐﻪ ﻫﻤﻪی ﻣﺎ ﻗﺮﺑﺎﻧﯽ اﺗﻔﺎق ﻫﺴﺘﯿﻢ‪.‬‬ ‫ﻣﻼﮐﯽ ﮐﻨﺴﺘﺎﻧﺖ‬ ‫ﺍﻓﺴﻮﻧﮕﺮﺍﻥ )ﺳﺎﻳﺮﻥﻫﺎﻯ( ﺗﺎﻳﺘﺎﻥ ﺩﻭﻣﻴﻦ ﺭﻣﺎﻥ ﻛﻮﺭﺕ ﻭﻧﻪﮔﻮﺕ ﺟﻮﻧﻴﻮﺭﺍﺳﺖ ﻛﻪ ﺩﺭ ﺳﺎﻝ‬ ‫‪ ،1959‬ﻳﻌﻨﻰ ‪ 7‬ﺳﺎﻝ ﺑﻌﺪ ﺍﺯ ﺍﻭﻟﻴﻦ ﺭﻣﺎﻧﺶ »ﭘﻴﺎﻧﻮﻯ ﻧﻮﺍﺯﻧﺪﻩ« ﻧﻮﺷﺘﻪ ﺷﺪ‪ .‬ﺍﻟﺒﺘﻪ ﺍﻭ ﺩﺭ‬ ‫ﺍﻳﻦ ﻓﺎﺻﻠﻪ ﺩﺍﺳﺘﺎﻥ ﻛﻮﺗﺎﻩﻫﺎﻯ ﺩﻳﮕﺮﻯ ﻫﻢ ﻧﻮﺷﺖ ﻛﻪ ﺑﻌﺪﻫﺎ ﺗﺤﺖ ﻋﻨﻮﺍﻥ »ﻗﻨﺎﺭﻯ ﺩﺭ‬ ‫ﺧﺎﻧﻪﻯ ﮔﺮﺑﻪ« ﺟﻤﻊﺁﻭﺭﻯ ﺷﺪﻧﺪ‪ .‬ﺍﻓﺴﻮﻧﮕﺮﺍﻥ ﺗﺎﻳﺘﺎﻥ ﺩﺍﺳﺘﺎﻥ ﭼﺎپ ﻋﺠﻴﺒﻰ ﺩﺍﺭﺩ‪ .‬ﺍﺑﺘﺪﺍ ﺑﺎ‬ ‫ﺟﻠﺪ ﻛﺎﻏﺬﻯ ﻭ ﺑﻪ ﻗﻴﻤﺖ ‪ 35‬ﺳﻨﺖ ﻋﺮﺿﻪ ﺷﺪ ﻭ ﺑﺎﺯﺍﺭ ﻫﺪﻓﺶ ﺧﻮﺍﻧﻨﺪﮔﺎﻥ ﻋﻠﻤﻰﺗﺨﻴﻠﻰ‬ ‫ﺑﻮﺩ‪ ،‬ﺍﻣﺎ ﭘﺲ ﺍﺯ ﻣﻮﻓﻘﻴﺖ ﻏﺎﻓﻠﮕﻴﺮﻛﻨﻨﺪﻩﺍﺵ ﻫﻢ ﺩﺭﻭﻥ ﻭ ﻫﻢ ﺩﺭ ﺑﻴﺮﻭﻥ ﺣﻮﺯﻩﻯ ﻃﺮﻓﺪﺍﺭﺍﻥ‬ ‫ﻋﻠﻤﻰﺗﺨﻴﻠﻰ‪ ،‬ﺩﺭ ﺳﺎﻝ ‪ 1961‬ﺩﻭﺑﺎﺭﻩ ﻭ ﺍﻳﻦ ﺑﺎﺭ ﺑﺎ ﭼﺎپ ﺳﺨﺖ ﺗﻮﺳﻂ ﺍﻧﺘﺸﺎﺭﺍﺕ »ﻫﻮﺗﻮﻥ‬ ‫ﻣﻴﻔﻠﻴﻦ« ﺑﻪ ﭼﺎپ ﺭﺳﻴﺪ ﻭ ﺑﻪ ﺯﺑﺎﻥﻫﺎﻯ ﺯﻳﺎﺩﻯ ﺗﺮﺟﻤﻪ ﺷﺪ‪.‬‬

‫ﻣﻘﺎﻟﻪ‬

‫ﺩﺭ ﻛﺮﺍﺕ ﺩﻳﮕﺮ‪ ،‬ﺟﻨﮓ ﺳﺮﺩ‪ ،‬ﺗﺮﺱ ﻭ ﻫﺮﺍﺱ ﺍﺯ ﺻﻨﻌﺖ‪ ،‬ﻫﻤﺴﺎﻥﺳﺎﺯﻯ ﺍﻧﺴﺎﻧﻰ ﻭ ﺁﻳﻨﺪﻩﻯ ﺑﺸﺮﻯ ﻭ‪...‬‬ ‫ﺗﺎ ﺁﺧﺮﻳﻦ ﻣﺮﺣﻠﻪ ﻛﻪ ﺑﻪ ﻓﻠﺴﻔﻪ ﻭ ﻏﺎﻳﺖﺍﻧﺪﻳﺸﻰ ﻭ ﻛﻨﺪﻭﻛﺎﻭ ﺍﻧﺴﺎﻧﻰ ﺩﺭ ﺑﺮﺯﺥ ﺗﻜﻨﻮﻟﻮژﻯ ﻭ ﺭﻭﻳﺎ ﺑﺮﺍﻯ‬ ‫ﺩﺳﺖﻳﺎﺑﻰ ﺑﻪ »ﺧﻮﺩ« ﻭ »ﻫﻮﻳﺖ ﺧﻮﺩ« ﺭﺳﻴﺪ‪.‬‬ ‫ﻣﺮﺍﺟﻊ‬ ‫‪ (1‬ﺑﺎﻻﺯﺍﺩﻩ‪ ،‬ﺍﻣﻴﺮﻛﺎﻭﻭﺱ‪» .‬ﺍﺳﻄﻮﺭﻩ ﻭ ﺫﻫﻦ ﺍﺳﻄﻮﺭﻩﭘﺮﺩﺍﺯ«‪ .‬ﻧﺎﻣﻪ ﻓﺮﻫﻨﮓ‪ ،1371،‬ﺵ‪ ،7‬ﺹ ‪.74-83‬‬ ‫‪ (2‬ﻗﺎﺳﻢﺯﺍﺩﻩ‪ ،‬ﻛﻮﺭﻭﺵ‪» .‬ﺗﺎﻣﻠﻰ ﺩﺭ ﺑﺎﺏ ﺍﺳﻄﻮﺭﻩ ﻭ ﺳﻴﻨﻤﺎ«‪ .‬ﺩﺍﻧﺸﮕﺎﻩ ﻫﻨﺮ ﺗﻬﺮﺍﻥ‪ ،1381،‬ﺻﻔﺤﺎﺕ ‪.58-68‬‬ ‫‪ (3‬ﮔﻮﺩﺭﺯﻯ‪ ،‬ﻋﻠﻴﺮﺿﺎ‪» .‬ﺍﺳﻄﻮﺭﻩ ﺩﺭ ﺗﺎﺭﻳﺦ‪-‬ﺗﺎﺭﻳﺦ ﺩﺭ ﺍﺳﻄﻮﺭﻩ«‪ .‬ﻛﺘﺎﺏ ﻣﺎﻩ ﺗﺎﺭﻳﺦ ﻭ ﺟﻐﺮﺍﻓﻴﺎ‪ ،1389 ،‬ﺵ ‪ ،149‬ﺹ‬ ‫‪.64-68‬‬ ‫‪ (4‬ﻭﺍﺭﻧﺮ‪،‬ﺭﻛﺲ‪ .‬ﻣﺘﺮﺟﻢ‪ :‬ﺍﺑﻮﻟﻘﺎﺳﻢ ﺍﺳﻤﺎﻋﻴﻞﭘﻮﺭ‪» .‬ﺩﺍﻧﺸﻨﺎﻣﻪ ﺍﺳﺎﻃﻴﺮ ﺍﻳﺮﺍﻥ«‪ .‬ﻧﺸﺮ ﺍﺳﻄﻮﺭﻩ‪ ،‬ﺗﻬﺮﺍﻥ‪ ،1386 ،‬ﺹ ‪.13-18‬‬ ‫‪ (5‬ﻫﻴﻮﺍﺭﺩ‪ ،‬ﺳﻮﺯﺍﻥ‪ .‬ﻣﺘﺮﺟﻢ‪ :‬ﻓﺘﺎﺡ ﻣﺤﻤﺪﻯ‪» .‬ﻣﻔﺎﻫﻴﻢ ﻛﻠﻴﺪﻯ ﺩﺭ ﻣﻄﻠﻌﺎﺕ ﺳﻴﻨﻤﺎﻳﻰ«‪ .‬ﻧﺸﺮ ﻫﺰﺍﺭﻩ ﺳﻮﻡ‪.1381،‬‬

‫‪4. James Frazer‬‬ ‫‪5. Existential function of myth‬‬

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‫‪1. Xcruiser‬‬ ‫‪2. Max Muller‬‬ ‫‪3. Andrew Lang‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،29‬ﺍﺭﺩﻳﺒﻬﺸﺖ ‪1392‬‬

‫ﻣﻰﺗﻮﺍﻧﻨﺪ ﺑﭙﺮﻧﺪ‪ ،‬ﺗﻐﻴﻴﺮ ﺷﻜﻞ ﺩﻫﻨﺪ‪ ،‬ﺑﻤﻴﺮﻧﺪ ﻭ ﺩﻭﺑﺎﺭﻩ ﺯﻧﺪﻩ ﺷﻮﻧﺪ‪ .‬ﮔﺎﻩ ﺩﺭ ژﺍﻧﺮ ﻋﻠﻤﻰﺗﺨﻴﻠﻰ ﺍﺯ ﺍﺳﺎﻃﻴﺮ‬ ‫ﺑﻪ ﻣﺜﺎﺑﻪ ﺭﻭﻳﺎﻫﺎﻯ ﮔﺮﻭﻫﻰ ﻳﻚ ﻗﺒﻴﻠﻪ ﻳﺎ ﺟﻤﺎﻋﺖ ﺳﻮﺩ ﺑﺮﺩﻩﺍﻧﺪ‪ .‬ﮔﺎﻩ ﻧﻴﺰ ﺩﺍﻣﻨﻪﻯ ﻧﻤﺎﺩﭘﺮﺩﺍﺯﻯ ﺭﺍ ﺍﺯ‬ ‫ﺍﺳﺎﻃﻴﺮ ﻭ ﻛﻬﻦﺍﻟﮕﻮﻫﺎ ﻭﺍﺭﺩ ژﺍﻧﺮ ﺳﻴﻨﻤﺎﻯ ﻋﻠﻤﻰﺗﺨﻴﻠﻰ ﻛﺮﺩﻩﺍﻧﺪ ﻭ ﺁﻥ ﺭﺍ ﺩﺭ ﺯﻳﺮﻻﻳﻪﻫﺎﻯ ﺁﻥ ﮔﺮﻭﻩ‬ ‫ﺧﺎﺹ ﺑﺎﻭﺭﭘﺬﻳﺮ ﻧﺸﺎﻥ ﺩﺍﺩﻩﺍﻧﺪ‪.‬‬ ‫ژﺍﻧﺮ ﻋﻠﻤﻰﺗﺨﻴﻠﻰ‬ ‫ﻭﺍژﻩﻯ ﻋﻠﻤﻰﺗﺨﻴﻠﻰ ﺳﺎﺑﻘﻪﺍﻯ ﺑﺲ ﻃﻮﻻﻧﻰ ﺩﺍﺭﺩ ﻭ ﺩﺭ ﺍﺩﻭﺍﺭ ﻣﺨﺘﻠﻒ ﺍﺩﺑﻴﺎﺕ ﻭ ﺳﻴﻨﻤﺎ ﺑﻪ ﻛﺎﺭ ﻣﻰﺭﻓﺘﻪ‬ ‫ﺍﺳﺖ‪ ،‬ﺍﻣﺎ ﺑﻪ ﻋﻨﻮﺍﻥ ﻳﻚ ژﺍﻧﺮ ﺗﻮﺳﻂ ﻫﻮﮔﻮ ﮔﺮﻧﺰﺑﻚ ‪-‬ﻧﺎﺷﺮ ﻣﺠﻠﻪﻯ ﺩﺍﺳﺘﺎﻥﻫﺎﻯ ﺷﮕﻔﺖﺍﻧﮕﻴﺰ‪ -‬ﻣﻄﺮﺡ‬ ‫ﺷﺪ‪ .‬ﺩﺭ ﺍﺑﺘﺪﺍﻯ ﺗﺎﺭﻳﺦ ﺳﻴﻨﻤﺎ‪ ،‬ﺍﻳﻦ ﻧﻮﻉ ﻓﻴﻠﻢﻫﺎ ﺑﺮ ﭘﺎﻳﻪﻯ ﺩﺍﺳﺘﺎﻥﻫﺎﻳﻰ ﺍﺯ ﻧﻮﻳﺴﻨﺪﮔﺎﻥ ﺍﺩﺑﻴﺎﺕ‬ ‫ﻋﻠﻤﻰﺗﺨﻴﻠﻰ ﻣﺎﻧﻨﺪ ژﻭﻝ ﻭﺭﻥ‪ ،‬ﻫﻮﮔﻮ ﮔﺮﻧﺰﺑﻚ‪ ،‬ﻣﺮﻯ ﺷﻠﻰ ﺳﺎﺧﺘﻪ ﻣﻰﺷﺪ‪ .‬ﺍﻳﻦ ﻓﻴﻠﻢﻫﺎ ﺩﺭ ﻓﺮﺍﻧﺴﻪ ﺑﺎ‬ ‫ﻋﺪﻡ ﺍﺳﺘﻘﺒﺎﻝ ﻣﺮﺩﻡ ﺭﻭﺑﻪﺭﻭ ﻣﻰﺷﻮﺩ‪ .‬ﺍﻭﻟﻴﻦ ﻧﻤﻮﻧﻪﻯ ﺍﻳﻦ ژﺍﻧﺮ ﺭﺍ ﻣﻰ ﺗﻮﺍﻥ ﺳﻔﺮ ﺑﻪ ﻣﺎﻩ ﺳﺎﺧﺘﻪﻯ ﻣﻠﻰ‬ ‫ﻳﺲ ﺩﺭ ﺳﺎﻝ ‪ 1902‬ﺩﺍﻧﺴﺖ‪ .‬ﻓﻴﻠﻢﻫﺎﻯ ﺍﻳﻦ ژﺍﻧﺮ ﺗﺎ ﺳﺎﻝﻫﺎﻯ ﺳﺎﻝ ﻣﺨﺎﻃﺐ ﺯﻳﺎﺩﻯ ﺟﺬﺏ ﻧﻜﺮﺩ ﻭ ﺍﺯ‬ ‫ﻧﻈﺮ ﮔﻴﺸﻪ ﻣﻮﻓﻖ ﻧﺒﻮﺩ‪.‬‬ ‫ﺍﻳﻦ ﻓﻴﻠﻢﻫﺎ ﭘﺮ ﺑﻮﺩ ﺍﺯ ﺟﻠﻮﻩﻫﺎﻯ ﺷﻌﺒﺪﻩ‪ ،‬ﺗﺮﺩﺳﺘﻰ ﻭ ﻛﺎﺭﻫﺎﻯ ﺳﻄﺤﻰ ﻛﻪ ﻋﻤﻮﻣﺎً ﻛﺎﺭﻳﻜﺎﺗﻮﺭﮔﻮﻧﻪ ﺍﺯ‬ ‫ﺁﺏ ﺩﺭ ﻣﻰﺁﻣﺪ‪ .‬ﻫﻤﻴﻦ ﻃﻮﺭ ﺟﻠﻮﻩﻫﺎﻯ ﻭﻳﮋﻩﻯ ﺍﻳﻦ ژﺍﻧﺮ ﺳﻄﺤﻰ ﻭ ﺯﻣﺨﺖ ﺑﻮﺩ ﻭ ﺑﺎﻋﺚ ﻣﻰﺷﺪ ﺩﺭ‬ ‫ﺳﺎﻝﻫﺎﻳﻰ ﻛﻪ ﺳﻴﻨﻤﺎ ﻫﺮ ﭼﻪ ﺑﻴﺸﺘﺮ ﺑﻪ ﺳﻤﺖ ﺭﺋﺎﻟﻴﺴﻢ ﺍﺑﺘﺪﺍﻳﻰ ﭘﻴﺶ ﻣﻰﺭﻓﺖ‪ ،‬ﺍﻳﻦ ﻓﻴﻠﻢﻫﺎ ﻏﻴﺮﻭﺍﻗﻌﻰ‬ ‫ﻭ ﻣﻀﺤﻚ ﺟﻠﻮﻩ ﻛﻨﻨﺪ‪ .‬ﺍﺯ ﺟﻤﻠﻪ ﻓﻴﻠﻢﻫﺎﻯ ﺍﻭﻟﻴﻪﻯ ﺍﻳﻦ ژﺍﻧﺮ ﻣﻰﺗﻮﺍﻥ »ﺳﻔﺮ ﺑﻪ ﺩﺭﻭﻥ ﻏﻴﺮﻣﻤﻜﻦ«‬ ‫)ﻣﻠﻴﺲ‪» ،(1904 ،‬ﺍﻟﺮﺍﺋﻦ« )ﻳﻮﮔﻦ ﺍﻳﻠﻨﺮ‪» ،(1918 ،‬ﻫﻮﺩﻳﻨﻰ ﻭ ﺭﻭﺑﻮﺕ« )ﺑﺮﺗﻮﻥ ﻛﻴﻨﮓ‪،(1919 ،‬‬ ‫»ﮔﻮﻟﻢ ﭼﮕﻮﻧﻪ ﺑﻪ ﺩﻧﻴﺎ ﺁﻣﺪ« )ﭘﻞ ﻭﺍﮔﻨﺮ‪ (1920 ،‬ﺭﺍ ﻧﺎﻡ ﺑﺮﺩ‪.‬‬ ‫ﺩﺭ ﺩﻫﻪﻯ ‪ 1930‬ﺑﻮﺩ ﻛﻪ ﺣﻤﺎﻳﺖ ﻛﻤﭙﺎﻧﻰ ﻳﻮﻧﻴﻮﺭﺳﺎﻝ ﺍﻳﻦ ژﺍﻧﺮ ﺭﺍ ﻧﺠﺎﺕ ﺩﺍﺩ‪ .‬ﻫﻤﭽﻨﻴﻦ ﺩﺭ ‪1950‬‬ ‫ﻛﻤﭙﺎﻧﻰ ﭘﺎﺭﺍﻣﻮﻧﺖ ﻧﻴﺰ ﺍﺯ ﺍﻳﻦ ﺩﺳﺘﻪ ﺍﺯ ﻓﻴﻠﻢﻫﺎ ﺣﻤﺎﻳﺖ ﻛﺮﺩ ﻭ ﺍﻳﻦ ژﺍﻧﺮ ﺩﺭ ﺳﻴﻨﻤﺎﻯ ﺁﻣﺮﻳﻜﺎ ﺟﺎﻯ‬ ‫ﺧﻮﺩ ﺭﺍ ﺑﺎﺯ ﻛﺮﺩ‪ .‬ﻋﻼﻭﻩ ﺑﺮ ﺍﻳﻦ ﻣﻮﺿﻮﻋﺎﺗﻰ ﭼﻮﻥ ﺗﻜﻨﻮﻟﻮژﻯ‪ ،‬ﺻﻨﻌﺖ ﻭ ﻓﻀﺎ ﺑﻪ ﺳﻮﻯ ﻫﺮ ﭼﻪ ﻋﻴﻨﻰ‬ ‫ﺷﺪﻥ ﺑﻴﺸﺘﺮ ﺑﻮﺩﻧﺪ ﻭ ﻧﻮﻋﻰ ﺧﻮﺵﺑﻴﻨﻰ ﻭ ﻧﺎﺷﻨﺎﺧﺘﮕﻰ ﻧﺴﺒﺖ ﺑﻪ ﺁﻥ ﻫﺎ ﻭﺟﻮﺩ ﺩﺍﺷﺖ ﻭ ﺩﺭ ﺍﻭﺍﺳﻂ‬ ‫ﺩﻫﻪﻯ ‪1960‬ﺑﺎ ﺭﻭﻯ ﻛﺎﺭ ﺁﻣﺪﻥ ﻓﻴﻠﻤﺴﺎﺯﺍﻧﻰ ﻣﺎﻧﻨﺪ ژﺍﻥ ﻟﻮﻙ ﮔﺪﺍﺭ )ﺁﻟﻔﺎﻭﻳﻞ(‪ ،‬ﺁﻟﻦ ﺭﻧﻪ )ﺩﻭﺳﺘﺖ‬ ‫ﺩﺍﺭﻡ‪ ،‬ﺩﻭﺳﺘﺖ ﺩﺍﺭﻡ(‪ ،‬ﻓﺮﺍﻧﺴﻮﺍ ﺗﺮﻭﻓﻮ )ﻓﺎﺭﻧﻬﺎﻳﺖ ‪ ،(451‬ﻛﻮﺑﺮﻳﻚ )ﺍﺩﻳﺴﻪﻯ ﻓﻀﺎﻳﻰ( ﻭ ﺳﺮﺍﻧﺠﺎﻡ ﻓﻴﻠﻢ‬ ‫ﻣﻮﻓﻖ ﺟﻨﮓ ﺳﺘﺎﺭﮔﺎﻥ ﺳﺎﺧﺘﻪﻯ ﺟﻮﺭﺝ ﻟﻮﻛﺎﺱ ﺩﺭ ﺳﺎﻝ‪ 1977‬ﺍﻳﻦ ژﺍﻧﺮ ﺑﺴﻴﺎﺭ ﻗﺎﺑﻞ ﺍﺣﺘﺮﺍﻡ ﮔﺸﺖ‪.‬‬ ‫ﺍﻳﻦ ژﺍﻧﺮ ﺍﺯ ﻧﻈﺮ ﻣﻮﺿﻮﻉ ﻭ ﻣﺤﺘﻮﺍ ﻣﺮﺍﺣﻞ ﺯﻳﺎﺩﻯ ﺭﺍ ﭘﺸﺖ ﺳﺮ ﮔﺬﺍﺷﺖ‪ :‬ﻫﺮﺍﺱ ﺍﺯ ﻣﻮﺟﻮﺩﺍﺕ ﺑﻴﮕﺎﻧﻪ‪،‬‬ ‫ﻣﻘﺎﺑﻠﻪ ﺑﺎ ﻣﻬﺎﺟﻤﺎﻥ ﻭ ﺿﺪﻗﻬﺮﻣﺎﻧﺎﻥ‪ ،‬ﻧﺎﺑﻮﺩﻯ ﺯﻣﻴﻦ ﻭ ﺗﻤﺪﻥ ﺑﺸﺮﻯ‪ ،‬ﺣﻤﻠﻪ ﺑﻪ ﺯﻣﻴﻦ ﺗﻮﺳﻂ ﻣﻮﺟﻮﺩﺍﺕ‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،29‬ﺍﺭﺩﻳﺒﻬﺸﺖ ‪1392‬‬

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‫ﻭﺟﻬﻪﺍﻯ ﺍﺯ ﺑﻠﻨﺪﭘﺮﻭﺍﺯﻯ ﺍﻧﺴﺎﻥ ﻣﻌﺎﺻﺮ ﺩﺭ ﻛﺸﻒ ﻧﺎﺩﻳﺪﻩﻫﺎ ﻭ ﻧﺎﺷﻨﺎﺧﺘﻪﻫﺎ ﻭ ﺗﻼﺵ ﺑﺮﺍﻯ ﺭﺳﻴﺪﻥ ﺍﺯ‬ ‫ﻃﺒﻴﻌﺖ ﺑﻪ ﻓﺮﺍﻃﺒﻴﻌﺖ‪ .‬ﺍﻳﻜﺎﺭﻭﺱ ﺍﺯ ﺗﻜﻨﻮﻟﻮژﻯ ﻭ ﺍﺑﺪﺍﻋﺎﺕ ﺧﻮﺩﺳﺎﺧﺘﻪﻯ ﺑﺸﺮﻯ ﺳﻮﺩ ﻣﻰﺑﺮﺩ‪ ،‬ﺍﻣﺎ‬ ‫ﻫﻤﺎﻥ ﺗﻜﻨﻮﻟﻮژﻯ ﺑﻪ ﻫﻤﺮﺍﻩ ﺭﻭﻳﺎﻳﺶ ﺩﺭ ﺑﻠﻨﺪﭘﺮﻭﺍﺯﻯﻫﺎ ﻣﻮﺟﺐ ﺳﻘﻮﻁ ﻣﺮﮔﺒﺎﺭﺵ ﺍﺳﺖ‪.‬‬ ‫ﺍﻳﻜﺎﺭﻭﺱ ﺑﺮﺁﻣﺪﻩ ﺍﺯ ﻛﻬﻦﺍﻟﮕﻮﻳﻰ ﺩﺳﺘﻪﺟﻤﻌﻰ ﺩﺭ ﻧﺎﺧﻮﺩﺁﮔﺎﻩ ﺑﺸﺮ ﺍﺳﺖ‪ .‬ﻛﻬﻦﺍﻟﮕﻮﻳﻰ ﺩﺭ ﻫﻢ ﺗﻨﻴﺪﻩ ﺍﺯ‬ ‫ﻫﺮﺍﺱ ﻭ ﻛﺸﻒ‪ .‬ﻓﻨﺎﻭﺭﻯ ﻭ ﺭﻭﻳﺎ‪ ،‬ﺻﻨﻌﺖ ﻭ ﺗﺨﻴﻞ‪.‬‬ ‫ﻋﻠﻤﻰﺗﺨﻴﻠﻰ ﻭ ﺍﺳﻄﻮﺭﻩ‬ ‫ﻋﻠﻤﻰﺗﺨﻴﻠﻰ ﺑﻪ ﻣﺜﺎﺑﻪ ﻳﻚ ژﺍﻧﺮ ﺑﺮﺁﻣﺪﻩ ﺍﺯ ﺍﻳﻜﺎﺭﻭﺱ ﻣﻰﺑﺎﺷﺪ‪ .‬ﻋﻠﻤﻰﺗﺨﻴﻠﻰ ﺩﺭ ﻳﻚ ﺗﻘﺴﻴﻢﺑﻨﺪﻯ‪،‬‬ ‫ﺯﻳﺮﺷﺎﺧﻪﻯ ژﺍﻧﺮ ﻓﺎﻧﺘﺰﻯ ﻭﺍﻗﻊ ﻣﻰﺷﻮﺩ‪ .‬ﻓﻴﻠﻢ ﻓﺎﻧﺘﺰﻯ ﺩﺍﺭﺍﻯ ‪ 4‬ﻣﻘﻮﻟﻪ ﺍﺳﺖ‪ -‬ﻓﻴﻠﻢﻫﺎﻯ ﻭﺣﺸﺖ‪،‬‬ ‫ﻋﻠﻤﻰﺗﺨﻴﻠﻰ‪ ،‬ﻗﺼﻪﻯ ﭘﺮﻳﺎﻥ‪ ،‬ﺣﺎﺩﺛﻪﺍﻯ‪.‬‬ ‫ﻋﻠﻤﻰﺗﺨﻴﻠﻰ ﻧﻴﺰ ﻣﺎﻧﻨﺪ ﺍﻳﻜﺎﺭﻭﺱ ﺧﻮﺍﺳﺘﺎﺭ ﺩﺳﺘﻴﺎﺑﻰ ﺑﻪ ﻋﻠﻢ ﻭ ﺗﻜﻨﻮﻟﻮژﻯ ﻭ ﺻﻨﻌﺖ ﻭ ﻛﺸﻒ ﻓﺮﺍﺻﻨﻌﺖ‬ ‫ﺍﺳﺖ ﻭ ﺑﺎﻝ ﭘﺮﻭﺍﺯﺵ ﺑﺮﺳﺎﺧﺘﻪﺍﻯ ﺍﺯ ﺻﻨﻌﺖ )ﺟﻠﻮﻩ ﻫﺎﻯ ِﻭﻳﮋﻩ ﻭ‪...‬ﺩﺭ ﺍﻳﻦ ﻧﻮﻉ ﻓﻴﻠﻢﻫﺎ( ﻭ ﺭﻭﻳﺎ ﻭ ﺗﺨﻴﻞ‬ ‫ﺍﺳﺖ‪.‬‬ ‫ﻋﻠﻢ‪ ،‬ﻭﻳﮋﮔﻰ ﻣﺸﺘﺮﻙ ﺍﻳﻜﺎﺭﻭﺱ ﻭ ژﺍﻧﺮ ﺍﺳﺖ‪ .‬ﺍﻳﻜﺎﺭﻭﺱ ﺑﺎ ﺗﻜﻴﻪ ﺑﺮ ﻋﻠﻢ ﭘﺪﺭ ﻭ ﺍﺧﺘﺮﺍﻉ ﺟﺪﻳﺪ ﺍﻭ‬ ‫ﺣﺮﻛﺖ ﻣﻰﻛﻨﺪ‪ ،‬ﻫﻤﺎﻥ ﮔﻮﻧﻪ ﻛﻪ ژﺍﻧﺮ ﻋﻠﻤﻰﺗﺨﻴﻠﻰ ﻧﻴﺰ ﺍﻭﻟﻴﻦ ﺗﻜﻴﻪﮔﺎﻫﺶ ﺭﺍ ﻋﻠﻢ ﺑﺸﺮﻯ ﻭ ﺻﻨﻌﺖ‬ ‫ﻭ ﺗﻜﻨﻮﻟﻮژﻯ ﻗﺮﺍﺭ ﻣﻰﺩﻫﺪ‪.‬ﺍﺧﺘﺮﺍﻉ ﻭ ﺍﻛﺘﺸﺎﻓﺎﺕ ﺑﻪ ﻋﻨﻮﺍﻥ ﺯﻳﺮﺷﺎﺧﻪﺍﻯ ﺍﺯ ﻋﻠﻢ ﺩﺭ ﺍﻳﻜﺎﺭﻭﺱ ﻭ ژﺍﻧﺮ‬ ‫ﻋﻠﻤﻰﺗﺨﻴﻠﻰ ﻣﻄﺮﺡ ﻣﻰﺷﻮﻧﺪ‪.‬‬ ‫ﺍﺯ ﺩﻳﮕﺮ ﻭﺟﻮﻩ ﻣﺸﺘﺮﻙ ﺍﻳﻜﺎﺭﻭﺱ ﺑﻪ ﻣﺜﺎﺑﻪ ﺍﺳﻄﻮﺭﻩ ﻭ ژﺍﻧﺮ ﻋﻠﻤﻰﺗﺨﻴﻠﻰ‪ ،‬ﻫﻤﺎﻥ ﻃﻮﺭ ﻛﻪ ﺍﺯ ﻧﺎﻣﺶ‬ ‫ﭘﻴﺪﺍﺳﺖ‪ ،‬ﻋﻨﺼﺮ ﺑﺎﺭﺯ ﺗﺨﻴﻞ ﻭ ﺭﻭﻳﺎ ﺍﺳﺖ‪ .‬ﺁﻥﻫﺎ ﺯﺍﻳﻴﺪﻩﻯ ﺧﻴﺎﻝ ﻫﺴﺘﻨﺪ ﻭ ﺑﻨﺎﺑﺮ ﺁﻥ ﭼﻪ ﻣﻤﻜﻦ ﺍﺳﺖ‬ ‫ﺩﺭ ﺧﻴﺎﻝ ﺻﻮﺭﺕ ﺑﮕﻴﺮﺩ‪ ،‬ﺁﺭﺍﺳﺘﻪ ﺷﺪﻩ ﻭ ﻋﻤﻞ ﻣﻰﻛﻨﻨﺪ ﻭ ﺍﺗﻔﺎﻕ ﻣﻰﺍﻓﺘﻨﺪ‪ .‬ﺧﻴﺎﻝ ﺑﺴﺘﺮ ﺁﻥﻫﺎﺳﺖ ﺑﺮﺍﻯ‬ ‫ﺩﻧﻴﺎﻳﻰ ﻛﻪ ﺩﺭ ﻋﺪﻡ ﺗﻮﺍﻟﻰ ﺯﻣﺎﻥ ﻣﻰﺳﺎﺯﻧﺪ ﻭ ﺑﺎﻭﺭﭘﺬﻳﺮﺵ ﻣﻰﻛﻨﻨﺪ‪ .‬ﺟﺮﻳﺎﻥ ﺍﻣﻮﺭ ﺩﺭ ﺍﺳﻄﻮﺭﻩﻫﺎ ﻭ ژﺍﻧﺮ‬ ‫ﻋﻠﻤﻰﺗﺨﻴﻠﻰ ﺩﺭ ﺳﻴﻨﻤﺎ ﺑﺎ ﺍﺻﻮﻝ ﻋﻘﻼﻧﻰ ﻭ ﻣﻨﻄﻘﻰ ﻭ ﻋﻴﻨﻰ ﺟﻬﺎﻥ ﻣﻨﻄﺒﻖ ﻧﻤﻰﺷﻮﺩ‪ .‬ﻣﻰﺗﻮﺍﻥ ﮔﻔﺖ‬ ‫ﺁﻥﻫﺎ ﺻﺮﻓﺎً ﺑﺎ ﺟﻬﺎﻥ ﺧﻮﺩﺳﺎﺧﺘﻪﻯ ﺧﻮﺩ ﺳﺎﺯﮔﺎﺭﻯ ﺩﺍﺭﻧﺪ‪.‬‬ ‫ﻳﻜﻰ ﺩﻳﮕﺮ ﺍﺯ ﺍﺷﺘﺮﺍﻛﺎﺕ ﺍﻳﻜﺎﺭﻭﺱ ﻭ ژﺍﻧﺮ ﻋﻠﻤﻰﺗﺨﻴﻠﻰ‪ ،‬ﺷﺨﺼﻴﺖﻫﺎ ﺍﺳﺖ‪ .‬ﺷﺨﺼﻴﺖﻫﺎﻳﻰ ﻛﻪ ﺩﺭ‬ ‫ﺟﻬﺎﻥ ﺑﺮﺁﻣﺪﻩ ﺍﺯ ﺗﺨﻴﻞ ﻣﻌﻨﺎ ﺩﺍﺭﻧﺪ‪ .‬ﺷﺨﺼﻴﺖﻫﺎﻳﻰ ﻫﻤﭽﻮﻥ ﺩﻳﻮﻫﺎ‪ ،‬ﻏﻮﻝﻫﺎ‪ ،‬ﺟﺎﺩﻭﮔﺮﺍﻥ ﺗﻮﺍﻧﻤﻨﺪ ﻭ‬ ‫ﺳﺎﺣﺮﺍﻥ ﺑﺎ ﻭﻳﮋﮔﻰﻫﺎﻯ ﺧﺎﺹ‪ ،‬ﭘﺮﻳﺎﻥ ﻭ ﻗﻬﺮﻣﺎﻧﺎﻧﻰ ﻛﻪ ﺩﺭ ﺑﺮﺍﺑﺮ ﺿﺪﻗﻬﺮﻣﺎﻧﺎﻥ ﺍﺯ ﻧﻴﺮﻭﻳﻰ ﺧﺎﺭﻕﺍﻟﻌﺎﺩﻩ‬ ‫ﺑﺮﺧﻮﺭﺩﺍﺭﻧﺪ‪ .‬ﺷﺨﺼﻴﺖﻫﺎﻯ ﺍﺳﺎﻃﻴﺮﻯ ﺷﺎﻣﻞ ﺍﻳﺰﺩﺍﻥ ﻭ ﻗﻬﺮﻣﺎﻧﺎﻥ ﻭ ﺷﻴﺎﻃﻴﻦ ﻭ ﺷﺨﺼﻴﺖﻫﺎﻯ‬ ‫ﻋﻠﻤﻰﺗﺨﻴﻠﻰ ﺩﺭ ﺩﺍﺷﺘﻦ ﻋﻨﺼﺮﻯ ﺧﺎﺹ ﻭ ﺷﮕﻔﺖﺍﻧﮕﻴﺰ ﺑﻪ ﻣﺎﻧﻨﺪ ﻫﻢ ﻣﻰﺑﺎﺷﻨﺪ‪ .‬ﺍﻳﻦ ﺷﺨﺼﻴﺖﻫﺎ‬

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‫ﺷﻤﺎﺭﻩﻯ ‪ ،29‬ﺍﺭﺩﻳﺒﻬﺸﺖ ‪1392‬‬

‫ﻭﺍﻗﻌﺎً ﻧﻤﻰ ﺗﻮﺍﻧﺪ ﻭﺟﻮﺩ ﺩﺍﺷﺘﻪ ﺑﺎﺷﺪ‪ .‬ﺍﻟﺒﺘﻪ ﺑﺎﻳﺪ ﺩﺭ ﻧﻈﺮ ﺩﺍﺷﺖ ﻛﻪ ﻣﻮﺿﻮﻋﺎﺕ ﺍﺳﺎﻃﻴﺮﻯ ﺑﺴﻴﺎﺭﻯ ﻫﻢ‬ ‫ﻭﺟﻮﺩ ﺩﺍﺭﺩ ﻛﻪ ﺑﻪ ﺟﺰ ﺩﺭ ﻳﻚ ﻣﻔﻬﻮﻡ ﺑﺴﻴﺎﺭ ﺿﻌﻴﻒ‪ ،‬ﺍﺻ ً‬ ‫ﻼ ﺭﻳﺸﻪ ﻯ ﺗﺎﺭﻳﺨﻰ ﻧﺪﺍﺭﺩ؛ ﭼﻨﺎﻥ ﻛﻪ ﺑﺴﻴﺎﺭﻯ‬ ‫ﺍﺯ ﺍﺳﻄﻮﺭﻩﻫﺎﻯ ﻛﺸﻮﺭﻫﺎﻯ ﻣﺨﺘﻠﻒ ﺩﺭﺻﺪﺩ ﺗﻮﺟﻴﻪ ﺟﻬﺎﻥ ﻭ ﻣﺴﺄﻟﻪﻯ ﺁﻓﺮﻳﻨﺶ ﻫﺴﺘﻨﺪ‪.‬‬ ‫ﻓﺮﻳﺪﺭﻳﺶ ﻛﺮﻭﺯﺭ ]‪ [1‬ﺩﺭ ﻗﺮﻥ ‪ 19‬ﺍﺳﻄﻮﺭﻩﺷﻨﺎﺳﻰ ﺭﺍ ﺑﻪ ﻋﻨﻮﺍﻥ ﻳﻚ ﻋﻠﻢ ﻣﺴﺘﻘﻞ ﻣﻄﺮﺡ ﻛﺮﺩ ﻭ‬ ‫ﻣﻜﺘﺐ ﻧﻤﺎﺩﻳﻦ ﻭ ﺭﻣﺰﻯ ﺭﺍ ﺑﻨﻴﺎﻥ ﻧﻬﺎﺩ ﻭ ﺍﺯ ﺍﺳﺎﻃﻴﺮ ﺗﻌﺎﺑﻴﺮ ﻧﻤﺎﺩﻳﻦ ﻛﺮﺩ‪ .‬ﻣﻄﺎﻟﻌﻪﻯ ﻋﻠﻤﻰ ﺍﺳﺎﻃﻴﺮ ﺩﺭ‬ ‫ﻧﻴﻤﻪﻯ ﺩﻭﻡ ﺳﺪﻩﻯ ﻧﻮﺯﺩﻫﻢ ﺭﻭﺍﺝ ﻳﺎﻓﺖ‪ ،‬ﺑﻪﻭﻳﮋﻩ ﺩﺭ ﺁﺛﺎﺭ ﻣﺎﻛﺲ ﻣﻮﻟﺮ ]‪ ،[2‬ﺍﻧﺪﺭﻭ ﻻﻧﮓ ]‪ ،[3‬ﺟﻴﻤﺰ‬ ‫ﻓﺮﻳﺰﺭ ]‪ .[4‬ﺑﻪ ﺯﻋﻢ ﻣﻮﻟﺮ‪ ،‬ﺍﺳﺎﻃﻴﺮ ﻧﻮﻋﻰ »ﺑﻴﻤﺎﺭﻯ ﺯﺑﺎﻧﻰ« ﻫﺴﺘﻨﺪ ﻛﻪ ﺍﺯ ﻃﺮﻳﻖ ﺭﻳﺸﻪﻫﺎﻯ ﻣﺸﺘﺮﻙ‬ ‫ﻭ ﻧﺎﺧﻮﺩﺁﮔﺎﻩ ﻣﻴﺎﻥ ﺍﻧﺴﺎﻥﻫﺎ ﮔﺴﺘﺮﺵ ﻳﺎﻓﺘﻪﺍﻧﺪ‪ .‬ﻻﻧﮓ ﻣﺪﻋﻰ ﺑﻮﺩ ﻛﻪ ﺍﺳﻄﻮﺭﻩﻫﺎ ﻣﻨﺘﺞ ﺍﺯ ﺷﺨﺼﻴﺖ‬ ‫ﺑﺨﺸﻴﺪﻥ ﻧﻴﺮﻭﻫﺎ ﻭ ﭘﺪﻳﺪﺍﺭﻫﺎﻯ ﻃﺒﻴﻌﻰ ﻫﺴﺘﻨﺪ‪ .‬ﻓﺮﺁﻳﻨﺪﻯ ﺫﻫﻨﻰ ﻛﻪ ﻭﻳﮋﮔﻰ »ﻣﺮﺣﻠﻪﻯ ﺯﻧﺪﻩﺍﻧﮕﺎﺭﻯ‬ ‫ﻓﺮﻫﻨﮓ« ]‪ [5‬ﺑﻮﺩﻩ ﺍﺳﺖ‪ .‬ﻓﺮﻳﺰﺭ ﺍﺳﻄﻮﺭﻩﻫﺎ ﺭﺍ ﺑﻪ ﻣﺜﺎﺑﻪ ﺗﻮﺟﻴﻬﺎﺕ ﻧﺎﺩﺭﺳﺖ ﺍﻧﺴﺎﻥ ﺍﺯ ﭘﺪﻳﺪﻩﻫﺎﻯ‬ ‫ﻃﺒﻴﻌﻰ ﻣﻰﭘﻨﺪﺍﺷﺖ‪.‬‬ ‫ﺑﻪ ﻋﺒﺎﺭﺕ ﺩﻳﮕﺮ‪ ،‬ﺍﺳﻄﻮﺭﻩﻫﺎ ﻣﺎﺟﺮﺍﻳﻰ ﻣﻘﺪﺱ ﻫﺴﺘﻨﺪ ﻛﻪ ﭼﮕﻮﻧﮕﻰ ﺁﻓﺮﻳﻨﺶ ﻭ ﻫﺮﺍﺱﻫﺎ ﻭ ﻛﻨﻜﺎﺵ‬ ‫ﺍﻧﺴﺎﻥ ﺭﺍ ﺩﺭ ﺭﺍﺳﺘﺎﻯ ﺩﺭﻙ ﺟﻬﺎﻥ ﻫﺴﺘﻰ ﺑﻪ ﺷﻴﻮﻩﻫﺎﻳﻰ ﮔﻮﻧﺎﮔﻮﻥ ﻧﺸﺎﻥ ﻣﻰﺩﻫﻨﺪ‪ .‬ﺍﺯ ﻃﺮﻓﻰ ﺍﺳﻄﻮﺭﻩﻫﺎ‬ ‫ﻧﺸﺎﻥ ﺩﻫﻨﺪﻩﻯ ﻭﺍﻛﻨﺸﻰ ﺍﺯ ﺿﻌﻒﻫﺎﻯ ﺑﺸﺮﻯ ﺩﺭ ﺑﺮﺍﺑﺮ ﺩﺭﻙ ﻫﺴﺘﻰ ﻭ ﺩﺭﻣﺎﻧﺪﮔﻰ ﻭ ﻧﺎﺗﻮﺍﻧﻰ ﺍﻧﺴﺎﻥ‬ ‫ﻫﺴﺘﻨﺪ‪ .‬ﺍﺳﻄﻮﺭﻩﻫﺎ ﺩﺭ ﺯﻧﺪﮔﻰ ﺍﻧﺴﺎﻥﻫﺎ ﺩﺭﻫﻢ ﺗﻨﻴﺪﻩ ﻣﻰﺷﻮﻧﺪ ﻭ ﺑﻪ ﺍﻳﻦ ﺗﺮﺗﻴﺐ ﺩﺭ ﻧﺎﺧﻮﺩﺁﮔﺎﻩﺷﺎﻥ‬ ‫ﺁﺭﺍﻣﺶ ﻣﻰﺁﻓﺮﻳﻨﻨﺪ‪.‬‬ ‫ﺍﺳﻄﻮﺭﻩﻯ ﺍﻳﻜﺎﺭﻭﺱ‬ ‫ﺍﻳﻜﺎﺭﻭﺱ ﺑﻪ ﻋﻨﻮﺍﻥ ﺍﺳﻄﻮﺭﻩﺍﻯ ﻳﻮﻧﺎﻧﻰ ﻣﻄﺮﺡ ﺍﺳﺖ‪ .‬ﺍﻭ ﻓﺮﺯﻧﺪ ﺩﺩﺍﻟﻮﺱ ‪-‬ﻫﻨﺮﻭﺭ ﻭ ﻣﺨﺘﺮﻉ ﺩﺭﺑﺎﺭ‬ ‫ﻣﻴﻨﻮﺱ ﺷﺎﻩ‪ -‬ﺑﻮﺩ‪ .‬ﺩﺩﺍﻟﻮﺱ ﺑﺮﺍﻯ ﺩﺭﺑﺎﺭ ﺷﺎﻩ‪ ،‬ﻫﺰﺍﺭﺗﻮﻯ ﭘﻴﭽﻴﺪﻩﺍﻯ ﺭﺍ ﻃﺮﺍﺣﻰ ﻣﻰﻛﻨﺪ ﻛﻪ ﻫﺮ ﻛﺴﻰ‬ ‫ﻭﺍﺭﺩ ﺁﻥ ﻣﻰﺷﻮﺩ‪ ،‬ﺩﺭ ﺁﻥ ﺳﺮﺩﺭﮔﻢ ﺷﺪﻩ ﻭ ﻧﻤﻰﺗﻮﺍﻧﺪ ﺍﺯ ﺁﻥ ﺭﻫﺎﻳﻰ ﻳﺎﺑﺪ‪ .‬ﺗﺎ ﺁﻥ ﻛﻪ ﺭﻭﺯﻱ ﺗﺴﻴﻮﺱ‬ ‫ﻛﻪ ﺑﻪ ﻋﻨﻮﺍﻥ ﻗﺮﺑﺎﻧﻲ ﻭﺍﺭﺩ ﻫﺰﺍﺭﺗﻮ ﺷﺪﻩ ﺑﻮﺩ‪ ،‬ﺗﻮﺍﻧﺴﺖ ﺍﺯ ﺁﻥ ﻓﺮﺍﺭ ﻛﻨﺪ ﻭ ﺣﺎﺻﻞ ﺧﻼﻗﻴﺖ ﺩﺩﺍﻟﻮﺱ ﺭﺍ‬ ‫ﺑﻲﺍﻋﺘﺒﺎﺭ ﻛﻨﺪ‪ .‬ﻣﻴﻨﻮﺱ ﺷﺎﻩ ﻧﻴﺰ ﺑﺮ ﺩﺩﺍﻟﻮﺱ ﺧﺸﻢ ﻣﻰﮔﻴﺮﺩ ﻭ ﻗﺼﺪ ﺟﺎﻥ ﺍﻭ ﺭﺍ ﻣﻰﻛﻨﺪ‪ .‬ﺩﺩﺍﻟﻮﺱ ﻧﻴﺰ‬ ‫ﻛﻪ ﻛﺸﺘﻲﻫﺎ ﺍﺯ ﺳﻮﺍﺭ ﻛﺮﺩﻥ ﺍﻭ ﺳﺮ ﺑﺎﺯ ﻣﻲﺯﺩﻧﺪ‪ ،‬ﺑﺎ ﺑﻪ ﻫﻢ ﺑﺴﺘﻦ ﭘﺮﻫﺎﻱ ﭘﺮﻧﺪﮔﺎﻥ ﺑﻪ ﻭﺳﻴﻠﻪﻱ ﻣﻮﻡ‪،‬‬ ‫ﺑﺮﺍﻱ ﺧﻮﺩ ﻭ ﭘﺴﺮﺵ ﺍﻳﻜﺎﺭﻭﺱ ﺩﻭ ﺟﻔﺖ ﺑﺎﻝ ﺳﺎﺧﺖ‪ .‬ﺍﻳﻜﺎﺭﻭﺱ ﺩﺭ ﺣﻴﻦ ﭘﺮﻭﺍﺯ ﻣﻐﺮﻭﺭ ﺷﺪ ﻭ ﺑﺎ ﻧﺰﺩﻳﻜﻲ‬ ‫ﺑﻴﺶ ﺍﺯ ﺣﺪ ﺑﻪ ﺧﻮﺭﺷﻴﺪ‪ ،‬ﺑﺎﻝﻫﺎﻱ ﻣﻮﻣﻲﺍﺵ ﺭﺍ ﺁﺏ ﺷﺪﻩ ﺩﻳﺪ ﻭ ﺩﺭ ﺩﺭﻳﺎ ﻓﺮﻭ ﺍﻓﺘﺎﺩ ﻭ ﻏﺮﻕ ﺷﺪ‪ .‬ﺍﻣﺎ‬ ‫ﺩﺩﺍﻟﻮﺱ ﻧﺠﺎﺕ ﭘﻴﺪﺍ ﻛﺮﺩ ﻭ ﺑﺎ ﺗﺮﻓﻨﺪﻫﺎﻳﻲ ﻣﻴﻨﻮﺱ ﺷﺎﻩ ﺭﺍ ﻧﻴﺰ ﺍﺯ ﻣﻴﺎﻥ ﺑﺮﺩ ‪.‬‬ ‫ﺍﻳﻜﺎﺭﻭﺱ ﻧﻤﺎﺩ ﻏﺮﻭﺭ ﺑﺸﺮ ﺑﺮﺍﻯ ﺩﺳﺖ ﻳﺎﻓﺘﻦ ﺑﻪ ﻧﺎﺷﻨﺎﺧﺘﻪﻫﺎ ﺍﺳﺖ‪ .‬ﺍﻳﻜﺎﺭﻭﺱ ﻭﺟﻬﻪﺍﻯ ﺍﺯ ﺍﻧﺴﺎﻥ ﺍﺳﺖ‪.‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،29‬ﺍﺭﺩﻳﺒﻬﺸﺖ ‪1392‬‬

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‫ﺍﺯ ﺍﺳﻄﻮﺭﻩ‬ ‫ﺗﺎ ﻋﻠﻤﻰﺗﺨﻴﻠﻰ‬

‫ﺭﺍﺿﻴﻪ ﻣﻬﺪﻯﺯﺍﺩﻩ‬

‫ﺍﺳﻄﻮﺭﻩ‬ ‫ﺍﺳﺎﻃﻴﺮ ﺍﺯ ﻗﺪﻳﻤﻰﺗﺮﻳﻦ ﻣﺸﺘﺮﻛﺎﺕ ﺍﻧﺴﺎﻥﻫﺎ ﻣﺤﺴﻮﺏ ﻣﻰﺷﻮﻧﺪ ﻭ ﺑﺮﺍﻯ ﺁﻥﻫﺎ ﻧﻤﻰﺗﻮﺍﻥ ﺗﺎﺭﻳﺦ‬ ‫ﻣﺸﺨﺼﻰ ﺭﺍ ﺫﻛﺮ ﻛﺮﺩ‪ .‬ﻫﺮ ﺩﻭﺭﻩﻯ ﺯﻣﺎﻧﻰ ﺑﺮﺍﻯ ﺧﻮﺩ ﺍﺳﺎﻃﻴﺮﻯ ﺩﺍﺷﺘﻪ ﻛﻪ ﻧﺴﻞ ﺑﻪ ﻧﺴﻞ ﺍﺯ‬ ‫ﻃﺮﻳﻖ ﻧﻘﻞ ﻭ ﻗﻮﻝ ﻭ ﺩﺭ ﻗﺎﻟﺐ ﺩﺍﺳﺘﺎﻥﻫﺎﻯ ﻋﺎﻣﻴﺎﻧﻪ‪ ،‬ﺩﺭ ﺑﺴﺘﺮ ﻣﺮﺍﺳﻢ ﺁﻳﻴﻨﻰ ﺧﺎﺹ ﺩﺭ ﻣﻮﺳﻢ‬ ‫ﻣﻌﻴﻦ ﻳﺎ ﺑﻪ ﻃﺮﻳﻖ ﻣﻜﺘﻮﺏ ﻣﻄﺮﺡ ﺷﺪﻩ ﺍﺳﺖ‪ .‬ﺍﺯ ﺍﻭﻟﻴﻦ ﻧﻤﻮﺩﻫﺎﻯ ﻣﻜﺘﻮﺏ ﻛﻪ ﺩﺭ ﺁﻥ ﺍﺷﺎﺭﻩ‬ ‫ﺑﻪ ﺍﺳﺎﻃﻴﺮ ﺷﺪﻩ‪ ،‬ﻣﻰﺗﻮﺍﻥ ﺁﺛﺎﺭ ﻓﻴﻠﺴﻮﻓﺎﻥ ﺳﺪﻩﻯ ‪ 2‬ﭘﺲ ﺍﺯ ﻣﻴﻼﺩ ﺭﺍ ﻧﺎﻡ ﺑﺮﺩ‪ .‬ﺭﺷﺪ ﻓﻠﺴﻔﻪ ﺩﺭ‬ ‫ﻳﻮﻧﺎﻥ ﺑﺎﻋﺚ ﺭﺷﺪ ﺗﻔﺴﻴﺮﻫﺎﻯ ﺗﻤﺜﻴﻠﻰ ﺍﺯ ﺍﺳﻄﻮﺭﻩ ﻧﻴﺰ ﮔﺸﺖ‪.‬‬ ‫ﺍﻣﺮﻭﺯﻩ ﻋﻤﻮﻣﺎً ﭘﺪﻳﺮﻓﺘﻪ ﺷﺪﻩ ﻛﻪ ﺍﺳﻄﻮﺭﻩ ﻭ ﺍﻓﺴﺎﻧﻪ ﻣﻰﺗﻮﺍﻧﺪ ﺭﻳﺸﻪ ﺩﺭ ﺣﻘﺎﻳﻖ ﺗﺎﺭﻳﺨﻰ ﺩﺍﺷﺘﻪ‬ ‫ﺑﺎﺷﺪ‪ ،‬ﻫﺮ ﭼﻨﺪ ﻛﻪ ﺑﻪ ﻃﻮﺭ ﺩﻗﻴﻖ ﻭ ﺟﺰﻳﻰ ﺗﺎﺭﻳﺨﻰ ﻧﺒﺎﺷﺪ‪ .‬ﺯﻳﺮﺍ ﺩﺭ ﺗﻌﺮﻳﻒ ﺍﺳﻄﻮﺭﻩ ‪-‬ﻣﻴﺜﻮﺱ‪-‬‬ ‫ﻭ ﺍﻓﺴﺎﻧﻪ ﺁﻭﺭﺩﻩ ﺷﺪﻩ ﻛﻪ ﮔﻔﺖﻭﮔﻮ ﻭ ﺳﺨﻦ ﻣﻰﺑﺎﺷﺪ؛ ﺍﻣﺎ ﻧﻬﺎﻳﺘﺎً ﺑﻪ ﭼﻴﺰﻯ ﺍﻃﻼﻕ ﮔﺮﺩﻳﺪ ﻛﻪ‬

‫ﻣﻘﺎﻟﻪ‬

،‫ ﺷﻴﻮﺍ ﺩﻭﻟﺖﺁﺑﺎﺩﻯ‬،‫ ﺗﺮﺟﻤﻪﻯ ﺧﺴﺮﻭ ﭘﺎﺭﺳﺎ‬.«‫ »ﺧﺎﺳﺘﮕﺎﻩ ﺁﮔﺎﻫﻰ ﺩﺭ ﻓﺮﻭﭘﺎﺷﻰ ﺫﻫﻦ ﺩﻭﺟﺎﻳﮕﺎﻫﻰ‬.‫ ﺟﻮﻟﻴﺎﻥ‬،‫( ﺟﻴﻨﺰ‬11 ،‫ ﭼﺎپ ﺳﻮﻡ‬،‫ ﺁﮔﻪ‬:‫ ﺗﻬﺮﺍﻥ‬،‫ﻧﺠﻞ ﺭﺣﻴﻢ ﻭ ﺭﺿﺎ ﻧﻴﻠﻰﭘﻮﺭ‬.‫ ﻉ‬،‫ ﺍﺣﻤﺪ ﻣﺤﻴﻂ‬،‫ ﺍﺻﻼﻥ ﺿﺮﺍﺑﻰ‬،‫ ﻫﻤﺎ ﺻﺎﺩﻗﻰ‬،‫ﻫﻮﺷﻨﮓ ﺭﻫﻨﻤﺎ‬ .1389 12) Rowlands, Mark. “The Philosopher at the End of the Universe: Philosophy Explained Through Science Fiction Films”. Ebury: 2003. 13) www.naghdefarsi.com

1. Matrix 2. Wachowski Brothers 3. Armageddon 4. Animatrix 5. Agent Smith 6. Morpheus 7. Human Plant 8. Virtual Reality 9. Serial 10. Parallel 11. Neo 12. Bio Electricity 13. B. T. U. (British thermal unit) 14. Allegory of the Cave 15. Republica 16. Brain in a vat 17. Zion

1392 ‫ ﺍﺭﺩﻳﺒﻬﺸﺖ‬،29 ‫ﺷﻤﺎﺭﻩﻯ‬

18. Oracle 19. Super Gravity 20. Nebuchadnezzar 21. Sentinel 22. The Architect 23. Pontius Pilates 24. Counselor Hamann 25. Squiddy 26. Cellular Automaton 27. Self Generation 28. Self Organization 29. Merovingian 30. Key Maker 31. Train Man 32. Ramachandra 33. Seraph 34. Bane

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‫ﻓﺎﻧﺘﺰﻯ ﺟﺪﻳﺪ ﺗﺤﺖ ﻋﻨﻮﺍﻥ ﻣﺎﺗﺮﻳﻜﺲ‪ ،‬ﻓﺮﺍﺗﺮ ﺍﺯ ﻫﺮﮔﻮﻧﻪ ﻫﺪﻑ ﻳﺎ ﺍﻧﮕﻴﺰﻩ ﻣﺬﻫﺒﻰ ﻳﺎ ﺳﻴﺎﺳﻰ ﺧﺎﺹ‪،‬‬ ‫ﻳﻚ ﻧﻮﺁﻭﺭﻯ ﺧﻼﻗﺎﻧﻪ ﻭ ﺍﺣﺘﺮﺍﻡﺁﻣﻴﺰ ﺍﺳﺖ ﻛﻪ ﺳﺰﺍﻭﺍﺭ ﺗﻘﺪﻳﺮ ﺍﺳﺖ‪ .‬ﺑﻪﻭﻳﮋﻩ ﺗﻼﺵ ﺳﺎﺯﻧﺪﮔﺎﻥ ﻓﻴﻠﻢ ﺑﺮﺍﻯ‬ ‫ﺑﻬﺮﻩﮔﻴﺮﻯ ﺍﺯ ﻋﻤﺪﻩﻯ ﻣﻴﺮﺍﺙ ﺍﺳﻄﻮﺭﻩﺍﻯ‪ ،‬ﻣﺬﻫﺒﻰ ﻭ ﺗﺎﺭﻳﺨﻰ ﺑﺸﺮ ﺩﺭ ﻗﺎﻟﺐ ﻧﻤﺎﺩﻫﺎﻯ ﺭﺍﺯﺁﻣﻴﺰ ﻭ ﻏﺮﻕ‬ ‫ﺩﺭ ﺗﻦﭘﻮﺷﻰ ﺍﺯ ﺍﺑﻬﺎﻡ ﻗﺎﺑﻞ ﻛﺸﻒ‪ ،‬ﺳﺘﻮﺩﻧﻰ ﺍﺳﺖ‪.‬‬ ‫ﺑﺪﻭﻥ ﺷﻚ ﺁﻓﺮﻳﻨﺶ ﭼﻨﻴﻦ ﻓﻀﺎﻫﺎﻯ ﻣﺎﺗﺮﻳﻜﺲﮔﻮﻧﻪﺍﻯ ﺩﺭ ﺁﻳﻨﺪﻩ ﺩﺍﻧﺶ ﻭ ﻓﻦﺁﻭﺭﻯ ﺑﻪ ﻟﺤﺎﻅ‬ ‫ﻧﺮﻡﺍﻓﺰﺍﺭﻯ ﻛﺎﻣ ً‬ ‫ﻼ ﻣﻤﻜﻦ ﻭ ﺷﺪﻧﻰ ﺍﺳﺖ‪ .‬ﺍﻟﺒﺘﻪ ﻧﺎﮔﻔﺘﻪ ﻧﻤﺎﻧﺪ ﻛﻪ ﺍﺯ ﺩﻳﺪ ﺳﺨﺖﺍﻓﺰﺍﺭ ﻭ ﺁﻓﺮﻳﻨﺶ‬ ‫ﻣﺎﺷﻴﻦﻫﺎﻳﻰ ﺑﺎ ﻫﻮﺷﻤﻨﺪﻯ ﻫﻢﺗﺮﺍﺯ ﺍﻧﺴﺎﻥ‪ ،‬ﻧﻈﺮ ﻏﺎﻟﺐ ﺩﺍﻧﺸﻤﻨﺪﺍﻥ ﻭ ﺻﺎﺣﺐﻧﻈﺮﺍﻥ ﻣﺒﻨﻰ ﺑﺮ ﺍﻳﻦ‬ ‫ﺍﺳﺖ ﻛﻪ ﻣﺴﻴﺮ ﻓﻌﻠﻰ ﺩﺍﻧﺶ ﺗﺎ ﺧﻠﻖ ﻣﺎﺷﻴﻦﻫﺎﻯ ﻫﻮﺷﻤﻨﺪ ﻭ ﻫﻮﺵ ﻣﺼﻨﻮﻋﻰ ﺑﻪ ﺁﻥ ﺷﻜﻠﻰ ﻛﻪ ﺩﺭ‬ ‫ﻓﻴﻠﻢ ﻣﺎﺗﺮﻳﻜﺲ ﺧﻮﺩﻧﻤﺎﻳﻰ ﻣﻰﻛﻨﺪ ﻭ ﺑﻪ ﻧﻘﻞ ﺍﺯ ﻣﻮﺭﻓﻴﻮﺱ ﺩﺭ ﺍﭘﻴﺰﻭﺩ ﺍﻭﻝ‪ ،‬ﺍﻧﺴﺎﻥﻫﺎ ﺩﺭ ﺍﺑﺘﺪﺍﻯ ﻗﺮﻥ‬ ‫ﺑﻴﺴﺖ ﻭ ﻳﻜﻢ ﺑﺮﺍﻳﺶ ﺟﺸﻦ ﻣﻰﮔﻴﺮﻧﺪ‪ ،‬ﻓﺎﺻﻠﻪﻯ ﺯﻳﺎﺩﻯ ﺩﺍﺭﺩ ﻭ ﺣﺘﺎ ﺑﺮﺧﻰ ﻣﻌﺘﻘﺪﻧﺪ ﻛﻪ ﺍﻳﻦ ﭘﺪﻳﺪﻩ‬ ‫ﻧﺎﺷﺪﻧﻰ ﺍﺳﺖ‪.‬‬ ‫ﺟﺪﺍ ﺍﺯ ﺗﻤﺎﻡ ﺍﻳﻦ ﻣﻮﺍﺭﺩ‪ ،‬ﺑﺎﻳﺪ ﻣﺘﺬﻛﺮ ﺷﺪ ﻛﻪ ﺁﻳﻨﺪﻩﻯ ﺑﺸﺮ ﺑﻪ ﺷﻜﻞ ﺗﻨﮕﺎﺗﻨﮕﻰ ﺑﺎ ﻧﺮﻡﺍﻓﺰﺍﺭ ﻭ ﺳﺨﺖﺍﻓﺰﺍﺭ‬ ‫ﮔﺮﻩ ﺧﻮﺭﺩﻩ ﺍﺳﺖ ﻭ ﺑﻰﺷﻚ ﺭﻭﺯﻯ ﺩﺭ ﺁﻳﻨﺪﻩﺍﻯ ﻧﻪ ﭼﻨﺪﺍﻥ ﺩﻭﺭ‪ ،‬ﺍﻧﺴﺎﻥﻫﺎ ﺑﻴﺶ ﺍﺯ ﺣﺪ ﺍﻧﺘﻈﺎﺭ ﺷﺎﻫﺪ‬ ‫ﺩﻧﻴﺎﻳﻰ ﺁﻣﻴﺨﺘﻪ ﺍﺯ ﺳﺨﺖﺍﻓﺰﺍﺭﻫﺎ ﻭ ﻧﺮﻡﺍﻓﺰﺍﺭﻫﺎﻯ ﻣﻮﻟﺪ ﺷﮕﻔﺖﺯﺍﺭ ﺩﺭ ﺷﮕﻔﺖﺯﺍﺭ ﺧﻮﺍﻫﻨﺪ ﺑﻮﺩ‪.‬‬ ‫ﻣﺮﺍﺟﻊ‬ ‫‪ (1‬ﺣﺎﻓﻈﻰ ﻣﻄﻠﻖ‪ ،‬ﻧﺎﺻﺮ‪» .‬ﺁﻳﺰﺍﻙ ﺁﺳﻴﻤﻮﻑ ﻭ ﺗﻤﺪﻥ ﻛﻬﻜﺸﺎﻧﻰ‪ :‬ﭘﺮﻭﻧﺪﻩﺍﻯ ﺩﺭﺑﺎﺭﻩﻯ ﺯﻣﺎﻥﻧﺎﻣﻪﻯ ﺑﻨﻴﺎﺩ«‪ .‬ﻣﺎﻫﻨﺎﻣﻪﻯ‬ ‫ﺷﮕﻔﺖﺯﺍﺭ‪ ،‬ﺳﺎﻝ ﺩﻭﻡ‪ ،‬ﺷﻤﺎﺭﻩ ‪ ،24‬ﺁﺫﺭ ‪ ،1391‬ﺻﺺ‪.82 - 100‬‬ ‫‪ (2‬ﺣﺎﻓﻈﻰ ﻣﻄﻠﻖ‪ ،‬ﻧﺎﺻﺮ‪» .‬ﻧﻴﺮﻭ ﺑﺎ ﺗﻮ ﺑﺎﺩ‪ :‬ﭘﺮﻭﻧﺪﻩﺍﻯ ﺩﺭﺑﺎﺭﻩﻯ ﭘﻬﻠﻮﺍﻥﻧﺎﻣﻪﻯ ﺟﻨﮓ ﺳﺘﺎﺭﮔﺎﻥ«‪ .‬ﻣﺎﻫﻨﺎﻣﻪﻯ ﺷﮕﻔﺖﺯﺍﺭ‪ ،‬ﺳﺎﻝ‬ ‫ﺳﻮﻡ‪ ،‬ﺷﻤﺎﺭﻩ ‪ ،25‬ﺩﻯ ‪ ،1391‬ﺻﺺ‪.58 - 81‬‬ ‫‪ (3‬ﻛﻠﻮﻭﺭ‪ ،‬ﺟﺎﺷﻮﺁ‪» .‬ﻣﺎﺗﺮﻳﻜﺲ«‪ .‬ﺗﺮﺟﻤﻪﻯ ﻣﺤﻤﺪ ﺷﻬﺒﺎ‪ ،‬ﺗﻬﺮﺍﻥ‪ :‬ﻫﺮﻣﺲ‪.1387 ،‬‬ ‫‪ (4‬ﺍﻓﻼﻃﻮﻥ‪» .‬ﺟﻤﻬﻮﺭﻯ«‪ .‬ﺗﺮﺟﻤﻪﻯ ﻓﺆﺍﺩ ﺭﻭﺣﺎﻧﻰ‪ ،‬ﺗﻬﺮﺍﻥ‪ :‬ﻋﻠﻤﻰ ﻓﺮﻫﻨﮕﻰ‪ ،‬ﭼﺎپ ﻫﻔﺘﻢ‪.1379 ،‬‬ ‫‪ (5‬ﻣﺠﺘﻬﺪﻯ‪ ،‬ﻛﺮﻳﻢ‪» .‬ﺩﻛﺎﺭﺕ ﻭ ﻓﻠﺴﻔﻪ ﺍﻭ«‪ .‬ﺗﻬﺮﺍﻥ‪ :‬ﺍﻣﻴﺮﻛﺒﻴﺮ‪.1382 ،‬‬ ‫‪ (6‬ﻭﺍﺭﺑﺮﺗﻮﻥ‪ ،‬ﻧﺎﻳﺠﻞ‪» .‬ﺍﻟﻔﺒﺎﻯ ﻓﻠﺴﻔﻪ«‪ .‬ﺗﺮﺟﻤﻪﻯ ﻣﺴﻌﻮﺩ ﻋﻠﻴﺎ‪ ،‬ﺗﻬﺮﺍﻥ‪ :‬ﻗﻘﻨﻮﺱ‪ ،‬ﭼﺎپ ﺩﻭﻡ‪.1386 ،‬‬ ‫‪ (7‬ﺗﺎﻟﺒﻮﺕ‪ ،‬ﻣﺎﻳﻜﻞ‪» .‬ﺟﻬﺎﻥ ﻫﻮﻟﻮﮔﺮﺍﻓﻴﻚ«‪ .‬ﺗﺮﺟﻤﻪﻯ ﺩﺍﺭﻳﻮﺵ ﻣﻬﺮﺟﻮﻳﻰ‪ ،‬ﺗﻬﺮﺍﻥ‪ :‬ﻫﺮﻣﺲ‪.1385 ،‬‬ ‫‪ (8‬ﮔﺮﻭﻑ‪ ،‬ﺍﺳﺘﺎﻧﻴﺴﻼﻭ‪ .‬ﺯﻳﻨﺎ ﺑﻨﺖ‪ ،‬ﻫﺎﻝ‪» .‬ﺫﻫﻦ ﻫﻮﻟﻮﺗﺮﺍﭘﻴﻚ«‪ .‬ﺗﺮﺟﻤﻪﻯ ﻣﺤﻤﺪ ﮔﺬﺭﺁﺑﺎﺩﻯ‪ ،‬ﺗﻬﺮﺍﻥ‪ :‬ﻫﺮﻣﺲ‪.1389 ،‬‬ ‫‪ (9‬ﻫﺎﻳﻢ‪ ،‬ﻣﺎﻳﻜﻞ‪» .‬ﻣﺘﺎﻓﻴﺰﻳﻚ ﻭ ﻭﺍﻗﻌﻴﺖ ﻣﺠﺎﺯﻯ«‪ .‬ﺗﺮﺟﻤﻪﻯ ﺳﺮﻭﻧﺎﺯ ﺗﺮﺑﺘﻰ‪ ،‬ﺗﻬﺮﺍﻥ‪ :‬ﺭﺥﺩﺍﺩ ﻧﻮ‪.1390 ،‬‬ ‫‪ (10‬ﺭﻳﺘﻰ‪ ،‬ﺟﺎﻥ ﺟﻰ‪» .‬ﺭﺍﻫﻨﻤﺎﻯ ﻛﺎﺭﺑﺮﺍﻥ ﻣﻐﺰ«‪ .‬ﺗﺮﺟﻤﻪﻯ ﺭﺿﺎ ﺍﻣﻴﺮﺭﺣﻴﻤﻰ‪ ،‬ﺗﻬﺮﺍﻥ‪ :‬ﻧﻴﻠﻮﻓﺮ‪.1390 ،‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،29‬ﺍﺭﺩﻳﺒﻬﺸﺖ ‪1392‬‬

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‫ﻣﻘﺎﻟﻪ‬

‫ﻭ ﺷﺨﺼﻴﺖﻫﺎ ﺭﺍ ﺑﺮﻃﺮﻑ ﻣﻰﻛﻨﺪ‪ ،‬ﻛﻪ ﺷﺨﺼﻴﺖﻫﺎ ﻭ ﻭﻗﺎﻳﻊ ﺟﺪﻳﺪﻯ ﺭﺍ ﻫﻢ ﺑﻪ ﺧﻂﺭﺍﻫﻪﻯ ﺩﺍﺳﺘﺎﻧﻰ‬ ‫ﻣﻰﺍﻓﺰﺍﻳﺪ؛ ﻣﺎﻧﻨﺪ »ﺑﻰﻭﺍﻥﺳﻴﻜﺲﺳﻴﻜﺲﺍﻯﺁﺭ« )‪ ،(B166ER‬ﺍﻭﻟﻴﻦ ﻣﺎﺷﻴﻨﻰ ﻛﻪ ﺑﻪﺧﺎﻃﺮ ﻇﻠﻢ ﻭ‬ ‫ﺟﻮﺭ ﺩﺭ ﺑﺮﺍﺑﺮ ﺍﺭﺑﺎﺑﺎﻥ ﺧﻮﺩ ﻳﻌﻨﻰ ﺍﻧﺴﺎﻥﻫﺎ ﺍﻳﺴﺘﺎﺩ ﻭ ﺩﺭ ﺩﺍﺩﮔﺎﻩ ﻣﺤﺎﻛﻤﻪ ﺷﺪ‪ .‬ﻧ ُﻪ ﭘﻮﻳﺎﻧﻤﺎﻳﻰ ﻣﺠﻤﻮﻋﻪ‬ ‫ﺍﻧﻴﻤﺎﺗﺮﻳﻜﺲ ﻋﺒﺎﺭﺗﻨﺪ ﺍﺯ‪:‬‬ ‫‪ .1‬ﺁﺧﺮﻳﻦ ﭘﺮﻭﺍﺯ ﺍﻭﺯﻳﺮﻳﺲ‬ ‫‪ .2‬ﺩﻭﻣﻴﻦ ﺭﻧﺴﺎﻧﺲ )ﻗﺴﻤﺖ ﺍﻭﻝ(‬ ‫‪ .3‬ﺩﻭﻣﻴﻦ ﺭﻧﺴﺎﻧﺲ )ﻗﺴﻤﺖ ﺩﻭﻡ(‬ ‫‪ .4‬ﺑﺮﻧﺎﻣﻪ‬ ‫‪ .5‬ﺩﺍﺳﺘﺎﻥ ﻛﺎﺭﺁﮔﺎﻩ‬ ‫‪ .6‬ﻣﺎﻭﺭﺍء‬ ‫‪ .7‬ﭘﺬﻳﺮﻓﺘﻪ ﺷﺪﻩ‬ ‫‪ .8‬ﺭﻛﻮﺭﺩ ﺟﻬﺎﻧﻰ‬ ‫‪ .9‬ﺩﺍﺳﺘﺎﻥ ﻛﻴﺪ‬ ‫ﺭﻭﻳﻜﺮﺩﻫﺎﻯ ﻓﻠﺴﻔﻰ ﻣﺘﻀﺎﺩ ﺑﺮﺁﻣﺪﻩ ﺍﺯ ﻭﺍﻗﻊﮔﺮﺍﻳﻰ ﺩﺭ ﻣﻘﺎﺑﻞ ﻓﻠﺴﻔﻪﻯ ﻟﺬﺕ ﻳﺎ ﺍﭘﻴﻜﻮﺭﻳﺴﻢ ﺩﺭ‬ ‫ﭘﻮﻳﺎﻧﻤﺎﻳﻰ »ﺑﺮﻧﺎﻣﻪ« ﻗﺎﺑﻞ ﻣﻼﺣﻈﻪ ﺍﺳﺖ‪ .‬ﺷﻌﺎﺭ ﺗﺄﻣﻞ ﺑﺮﺍﻧﮕﻴﺰ »ﻋﺪﻡ ﺍﻫﻤﻴﺖ ﻭﺍﻗﻌﻴﺖ ﺩﺭ ﻗﺒﺎﻝ ﺍﻫﻤﻴﺖ‬ ‫ﭼﮕﻮﻧﮕﻰ ﺯﻧﺪﮔﻰﻛﺮﺩﻥ« ﺑﻪﺧﻮﺑﻰ ﻋﻼﻗﻪ ﺁﺯﺍﺩﺷﺪﮔﺎﻥ ﺍﺯ ﻛﺸﺖﺯﺍﺭ ﺭﺍ ﺑﻪ ﺑﺎﺯﮔﺸﺖ ﻣﺠﺪﺩ ﺑﻪ ﺯﻧﺪﮔﻰ‬ ‫ﭘﻴﺸﻴﻦ ﻭ ﺯﻳﺴﺘﻦ ﺩﺭ ﻣﺎﺗﺮﻳﻜﺲ ﻧﺎﺩﺍﻧﻰ ﺗﻮﺟﻴﻪ ﻣﻰﻛﻨﺪ‪.‬‬ ‫ﻗﺴﻤﺖ ﺍﻭﻝ ﻭ ﺩﻭﻡ ﭘﻮﻳﺎﻧﻤﺎﻳﻰ »ﺭﻧﺴﺎﻧﺲ ﺩﻭﻡ« ﻋﺎﺩﻻﻧﻪ ﻧﺸﺎﻥ ﻣﻰﺩﻫﺪ ﻛﻪ ﺧﻴﺰﺵ ﻣﺎﺷﻴﻦﻫﺎ ﺑﺮﺍﺑﺮ‬ ‫ﺍﻧﺴﺎﻥ‪ ،‬ﺑﺮﺁﻣﺪﻩ ﺍﺯ ﺍﺷﺘﺒﺎﻫﺎﺕ ﻣﺘﻌﺪﺩ ﺧﻮﺩ ﺍﻧﺴﺎﻥﻫﺎ ﺑﻮﺩﻩ ﺍﺳﺖ‪.‬‬ ‫»ﺁﺧﺮﻳﻦ ﭘﺮﻭﺍﺯ ﺍﻭﺯﻳﺮﻳﺲ« ﻓﻀﺎﻯ ﺁﻏﺎﺯ ﺣﻤﻠﻪﻯ ﺳﻨﺘﻴﻨﻞﻫﺎ ﺑﻪ ﺯﺍﻳﻮﻥ ﻭ »ﺩﺍﺳﺘﺎﻥ ﻛﻴﺪ«‪ ،‬ﭼﮕﻮﻧﮕﻰ‬ ‫ﺭﻫﺎﺳﺎﺯﻯ ﻛﻴﺪ ﺍﺯ ﻓﻀﺎﻯ ﻣﺎﺗﺮﻳﻜﺲ ﺭﺍ ﺑﻪ ﻧﻤﺎﻳﺶ ﻣﻰﻛﺸﺪ‪.‬‬ ‫ﺩﺭ ﭘﻮﻳﺎﻧﻤﺎﻳﻰ »ﭘﺬﻳﺮﻓﺘﻪ ﺷﺪﻩ«‪ ،‬ﻣﻮﺿﻮﻉ ﺑﺮ ﺳﺮ ﺗﻼﺵ ﻧﺎﻣﻮﻓﻖ ﻭ ﺗﻮﺁﻡ ﺑﺎ ﺍﺛﺮﺍﺕ ﻏﻴﺮﻗﺎﺑﻞ ﭘﻴﺶﺑﻴﻨﻰ‬ ‫ﺗﺒﺪﻳﻞ ﻣﺎﺷﻴﻦﻫﺎﻯ ﺩﺷﻤﻦ ﺑﻪ ﻣﺎﺷﻴﻦﻫﺎﻯ ﺩﻭﺳﺖ ﺍﺳﺖ‪.‬‬ ‫»ﺭﻛﻮﺭﺩ ﺟﻬﺎﻧﻰ« ﻭ »ﻣﺎﻭﺭﺍء« ﻧﻤﺎﻳﺶ ﮔﻮﺷﻪﺍﻯ ﺍﺯ ﺿﻌﻒﻫﺎﻯ ﺟﺰﺋﻰ ﺩﺭ ﺑﺮﻧﺎﻣﻪﻧﻮﻳﺴﻰ ﻣﺎﺗﺮﻳﻜﺲ‬ ‫ﻫﺴﺘﻨﺪ ﻭ »ﺩﺍﺳﺘﺎﻥ ﻛﺎﺭﺁﮔﺎﻩ« ﺑﺎﺯﻧﻤﺎﻳﻰ ﻓﻀﺎﻯ ﭘﻴﺮﺍﻣﻮﻧﻰ ﻳﻜﻰ ﺍﺯ ﺑﻰﺷﻤﺎﺭ ﻓﻌﺎﻟﻴﺖ ﻣﺒﺎﺭﺯﺍﺗﻰ ﺗﺮﻳﻨﻴﺘﻰ‬ ‫ﺩﺭ ﻓﻀﺎﻯ ﻣﺠﺎﺯﻯ ﺍﺳﺖ‪.‬‬ ‫ﺩﺭ ﻣﺠﻤﻮﻉ‪ ،‬ﺍﺳﺘﻔﺎﺩﻩ ﻣﻨﺎﺳﺐ ﺍﺯ ﺯﻳﺮﺳﺎﺧﺖ ﻓﻦﺁﻭﺭﻯ ﺩﻳﺠﻴﺘﺎﻝ ﻭ ﻭﺍﻗﻌﻴﺖ ﻣﺠﺎﺯﻯ ﺩﺭ ﺧﻠﻖ ﻳﻚ ﻓﻀﺎﻯ‬ ‫‪97‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،29‬ﺍﺭﺩﻳﺒﻬﺸﺖ ‪1392‬‬

‫ﺳﺎﻟﻢ ﺑﻪ ﺩﺭ ﺧﻮﺍﻫﺪ ﺑﺮﺩ‪ ،‬ﺩﺭ ﺍﭘﻴﺰﻭﺩ ﺳﻮﻡ ﻣﺪﻋﻰ ﺍﺳﺖ ﻛﻪ ﻣﻰﺩﺍﻧﺪ ﻋﺸﻖ ﭼﻪ ﺍﻧﺪﺍﺯﻩ ﺑﻪ ﺟﻨﻮﻥ ﻧﺰﺩﻳﻚ‬ ‫ﺍﺳﺖ ﻭ ﻣﺠﺒﻮﺭ ﻣﻰﺷﻮﺩ ﻛﻪ ﺩﺭ ﻗﺒﺎﻝ ﺍﻧﺴﺎﻥﻫﺎﻯ ﻣﺒﺎﺭﺯ ﻋﻘﺐﻧﺸﻴﻨﻰ ﻛﻨﺪ‪.‬‬ ‫ﺩﺭ ﺍﻳﻦ ﻣﻴﺎﻥ‪ ،‬ﺑﺮﻧﺎﻣﻪﻫﺎﻯ ﻣﺤﺎﻓﻆ ﻫﻢ ﻧﻘﺶ ﺟﺎﻟﺒﻰ ﺍﻳﻔﺎ ﻣﻰﻛﻨﻨﺪ‪ .‬ﻳﻚ ﻧﻤﻮﻧﻪ ﺍﺯ ﺁﻥﻫﺎ »ﺳِ ﺮﺍﻑ« ]‪[33‬‬ ‫ﺍﺳﺖ ﻛﻪ ﻭﻇﻴﻔﻪ ﻣﺤﺎﻓﻈﺖ ﺍﺯ ﺍﻭﺭﺍﻛﻞ ﺭﺍ ﺑﻪ ﻋﻬﺪﻩ ﺩﺍﺭﺩ‪ .‬ﺍﻭ ﺑﺎ ﺍﻳﻦﻛﻪ ﺻﺮﻓﺎً ﺑﺮﺍﻯ ﻭﻇﻴﻔﻪ ﺳﺎﺩﻩ ﺣﻔﺎﻇﺖ‬ ‫ﻧﻮﺷﺘﻪ ﺷﺪﻩ‪ ،‬ﺍﻣﺎ ﺑﺮﻧﺎﻣﻪﻯ ﻓﻠﺴﻔﻰ ﺑﺴﻴﺎﺭ ﭘﻴﭽﻴﺪﻩﺍﻯ ﺍﺳﺖ ﻛﻪ ﻧﻮﻋﻰ ﻣﻨﺶ ﺳﺎﻣﻮﺭﺍﻳﻰ ﻭ ﺷﻴﻨﺘﻮ ﺑﺮ‬ ‫ﺍﻋﻤﺎﻟﺶ ﺣﺎﻛﻢ ﺍﺳﺖ‪.‬‬ ‫ﺗﻤﺎﻡ ﺍﻳﻦ ﻣﻮﺍﺭﺩ‪ ،‬ﻧﺮﻡﺍﻓﺰﺍﺭﻫﺎﻯ ﺧﻮﺩﺳﺎﺯﻣﺎﻥﺩﻫﻰ ﻫﺴﺘﻨﺪ ﻛﻪ ﺩﺭ ﻓﻀﺎﻯ ﻣﺠﺎﺯﻯ ﻣﺎﺗﺮﻳﻜﺲ ﺑﺎ ﭼﻬﺮﻩﺍﻯ‬ ‫ﺍﻧﺴﺎﻧﻰ ﻧﻤﺎﻳﺎﻥ ﻣﻰﺷﻮﻧﺪ‪ .‬ﺁﻥﻫﺎ ﺩﺭ ﻋﺎﻟﻢ ﺩﻳﺠﻴﺘﺎﻝ ﻣﺤﺪﻭﺩﻳﺖﻫﺎﻯ ﻋﺎﻟﻢ ﻣﺎﺩﻯ ﺍﻧﺴﺎﻥﻫﺎ ﺭﺍ ﻧﺪﺍﺭﻧﺪ ﻭ‬ ‫ﻫﻤﻴﺸﻪ ﺩﺭ ﻗﺒﺎﻝ ﺿﻌﻒ ﺑﺮﺁﻣﺪﻩ ﺍﺯ ﺗﻠﻘﻴﻦ ﻣﻨﻔﻰ ﺍﻧﺴﺎﻥﻫﺎ ﻛﻪ ﺑﻪ ﻣﺤﺪﻭﺩﻳﺖﻫﺎﻯ ﺟﻬﺎﻥ ﻣﺎﺩﻯ ﺧﻮ‬ ‫ﮔﺮﻓﺘﻪﺍﻧﺪ‪ ،‬ﺑﻪ ﺷﻜﻠﻰ ﻃﻨﺰﺁﻣﻴﺰ ﻭ ﺍﺳﺘﻬﺰﺍءﮔﻮﻧﻪ ﻣﻰﮔﻮﻳﻨﺪ‪» :‬ﻓﻘﻂ ﻳﻚ ﺍﻧﺴﺎﻥ!«‬ ‫ﺷﮕﻔﺘﻰﻫﺎﻯ ﺭﺍﺯﺁﻟﻮﺩ ﺷﮕﻔﺖﺯﺍﺭ ﻣﺎﺗﺮﻳﻜﺲ ﺑﺴﻴﺎﺭﻧﺪ‪ .‬ﻋﺪﺩ ‪ 101‬ﺩﺭ ﺑﺴﻴﺎﺭﻯ ﺍﺯ ﺻﺤﻨﻪﻫﺎﻯ ﻓﻴﻠﻢ ﺑﻪ‬ ‫ﭼﺸﻢ ﻣﻰﺧﻮﺭﺩ‪ .‬ﻋﺪ ﺑﺎﻳﻨﺮﻯ ‪ 101‬ﻣﻌﺎﺩﻝ ﻋﺪﺩ ﺩﻫﺪﻫﻰ ‪ 5‬ﺍﺳﺖ ﻭ ﺑﺎ ﺗﻮﺟﻪ ﺑﻪ ﺍﻳﻦﻛﻪ ﺷﺮﻭﻉ ﺷﻤﺎﺭﺵ‬ ‫ﺩﺭ ﻛﺎﻣﭙﻴﻮﺗﺮ ﺍﺯ ﺻﻔﺮ ﺍﺳﺖ‪ 5 ،‬ﺑﻪ ﻣﻌﻨﻰ ﺷﺸﻤﻴﻦ ﻧﺴﺨﻪ ﻣﺎﺗﺮﻳﻜﺲ ﺍﺳﺖ ﻛﻪ ﺟﺮﻳﺎﻥ ﺩﺍﺭﺩ‪.‬‬ ‫ﺩﺭ ﺍﭘﻴﺰﻭﺩ ﺩﻭﻡ‪ ،‬ﺷﺨﺼﻴﺘﻰ ﺍﻧﺴﺎﻧﻰ ﺑﻪ ﻧﺎﻡ »ﺑﻴﻦ« ]‪ [34‬ﺩﺭ ﺭﺍﻩ ﺑﺎﺯﮔﺸﺖ ﺍﺯ ﻣﺄﻣﻮﺭﻳﺖ ﻣﻬﻢ ﺩﺭﻳﺎﻓﺖ‬ ‫ﺍﻃﻼﻋﺎﺕ ﺍﺯ ﺍﻭﺭﺍﻛﻞ‪ ،‬ﺩﺭ ﻓﻀﺎﻯ ﻣﺎﺗﺮﻳﻜﺲ ﺗﺒﺪﻳﻞ ﺑﻪ ﻧﺴﺨﻪﺍﻯ ﺍﺯ ﻣﺄﻣﻮﺭ ﺍﺳﻤﻴﺖ ﻣﻰﺷﻮﺩ‪ .‬ﺩﺭ ﻋﺎﻟﻢ‬ ‫ﻭﺍﻗﻌﻴﺖ‪ ،‬ﺩﺭ ﺷﺮﺍﻳﻄﻰ ﻛﻪ ﺑﻴﻦ ﺑﻰﻫﻮﺵ ﺍﺳﺖ‪ ،‬ﺻﺤﺒﺖ ﺍﺯ ﺍﻋﻤﺎﻝ ﺁﺯﻣﻮﻧﻰ ﺑﻪ ﻧﺎﻡ ﻭﻯﺩﻯﺗﻰ ﺭﻭﻯ ﺍﻭ‬ ‫ﺍﺳﺖ‪ .‬ﻧﺸﺎﻥ »ﻭﻯﺩﻯﺗﻰ« ﺳﺮﻧﺎﻡ ‪ Virtual Delirium Tremens‬ﺍﺳﺖ ﻛﻪ ﺍﺷﺎﺭﻩ ﺑﻪ ﻧﻮﻉ ﻣﺠﺎﺯﻯ ﻳﻚ‬ ‫ﺍﺧﺘﻼﻝ ﺭﻭﺍﻧﻰ ﻣﻮﻟﺪ ﺍﺛﺮﺍﺗﻰ ﻣﺎﻧﻨﺪ ﺗﻮﻫﻢ‪ ،‬ﺗﺸﻨﺞ‪ ،‬ﻫﺬﻳﺎﻥﮔﻮﻳﻰ ﻭ ﺣﺎﻟﺖ ﺗﻬﻮﻉ ﺍﺳﺖ‪ .‬ﺍﻟﺒﺘﻪ ﻣﺸﻜﻞ ﺑﻴﻦ‬ ‫ﻫﻴﭻﻛﺪﺍﻡ ﺍﺯ ﺍﻳﻦ ﻣﻮﺍﺭﺩ ﻧﻴﺴﺖ‪ .‬ﺑﻠﻜﻪ ﺍﻭ ﺑﻪ ﻟﺤﺎﻅ ﻧﺮﻡﺍﻓﺰﺍﺭ ﺫﻫﻨﻰ ﺗﺒﺪﻳﻞ ﺑﻪ ﻳﻚ ﺭﻭﻧﻮﺷﺖ ﺍﺯ ﻣﺄﻣﻮﺭ‬ ‫ﺍﺳﻤﻴﺖ ﺷﺪﻩ‪ ،‬ﺩﺭ ﺣﺎﻟﻰﻛﻪ ﺑﻪ ﺷﻜﻞ ﺳﺨﺖﺍﻓﺰﺍﺭﻯ ﻫﻤﺎﻥ ﺑﻴﻦ ﺍﺳﺖ‪ .‬ﺍﻳﻦ ﺩﮔﺮﺩﻳﺴﻰ ﺧﻄﺮﻧﺎﻙ ﺑﺮﺍﻯ‬ ‫ﻣﺒﺎﺭﺯﺍﻥ ﺑﺴﻴﺎﺭ ﭘﺮﻫﺰﻳﻨﻪ ﺗﻤﺎﻡ ﻣﻰﺷﻮﺩ‪.‬‬ ‫ﺩﺭ ﺍﭘﻴﺰﻭﺩ ﺍﻭﻝ‪ ،‬ﺩﻭﮔﺎﻧﻪﻯ ﻗﺮﺹ ﻗﺮﻣﺰ ﻭ ﻗﺮﺹ ﺁﺑﻰ‪ ،‬ﻧﻮﻋﻰ ﺍﺳﺘﻌﺎﺭﻩﻯ ﺗﻜﺎﻥﺩﻫﻨﺪﻩ ﻭ ﺩﺭ ﻋﻴﻦ ﺣﺎﻝ‬ ‫ﻗﺪﻳﻤﻰ ﺍﺯ ﺟﺒﺮ ﻭ ﺍﺧﺘﻴﺎﺭ ﻭ ﺍﻧﺘﺨﺎﺏ ﺑﻴﻦ ﻟﺬﺕ ﻧﺎﺩﺍﻧﻰ ﻭ ﺩﺭﺩ ﺩﺍﻧﺎﻳﻰ ﻫﺴﺘﻨﺪ‪ .‬ﻧﺌﻮ ﺑﺎ ﺍﻧﺘﺨﺎﺏ ﻗﺮﺹ ﻗﺮﻣﺰ‪،‬‬ ‫ﺍﻧﺘﺨﺎﺏﮔﺮ ﻣﺴﻴﺮﻯ ﺍﺳﺖ ﻛﻪ ﺩﺭﺁﻥ ﻏﻮﻃﻪﻭﺭ ﺩﺭ ﻋﺬﺍﺏ ﺩﺍﻧﺴﺘﻦ‪ ،‬ﺍﺧﺘﻴﺎﺭﻯ ﺩﺭ ﺑﻪ ﺳﺮﺍﻧﺠﺎﻡ ﺭﺳﺎﻧﺪﻥ‬ ‫ﺳﺮﻧﻮﺷﺘﺶ ﺩﺍﺷﺘﻪ ﺑﺎﺷﺪ‪.‬‬ ‫ﺩﺭ ﻧﻬﺎﻳﺖ ﺑﺮﺍﻯ ﺗﻜﻤﻴﻞ ﻧﻬﺎﻳﻰ ﺍﻳﻦ ﺳﺎﺧﺘﺎﺭ ﺷﮕﻔﺖ‪ ،‬ﺳﺎﺯﻧﺪﮔﺎﻥ ﺳﻪﮔﺎﻧﻪﻯ ﻣﺎﺗﺮﻳﻜﺲ ﺑﺎ ﺳﺎﺧﺘﻦ‬ ‫ﭘﻮﻳﺎﻧﻤﺎﻳﻰﻫﺎﻯ ﻣﺠﻤﻮﻋﻪ ﺍﻧﻴﻤﺎﺗﺮﻳﻜﺲ‪ ،‬ﺗﺎ ﺣﺪ ﺯﻳﺎﺩﻯ ﺍﺯ ﺑﺮﺧﻰ ﺯﻳﺮﺳﺎﺧﺖﻫﺎﻯ ﮔﻨﮓ ﻓﻴﻠﻢ ﻣﺎﺗﺮﻳﻜﺲ‬ ‫ﺍﺑﻬﺎﻡﺯﺩﺍﻳﻰ ﻛﺮﺩﻩﺍﻧﺪ‪ .‬ﻣﺠﻤﻮﻋﻪ ﻧ ُﻪ ﭘﻮﻳﺎﻧﻤﺎﻳﻰ ﺍﻧﻴﻤﺎﺗﺮﻳﻜﺲ‪ ،‬ﻧﻪ ﻓﻘﻂ ﺍﺑﻬﺎﻣﺎﺕ ﭘﻴﺮﺍﻣﻮﻥ ﺑﻌﻀﻰ ﺍﺯ ﻭﻗﺎﻳﻊ‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،29‬ﺍﺭﺩﻳﺒﻬﺸﺖ ‪1392‬‬

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‫‪ .5‬ﺷﮕﻔﺖﺯﺍﺭ‬ ‫ﺩﺭ ﺍﭘﻴﺰﻭﺩ ﺍﻭﻝ‪ ،‬ﺗﺮﻳﻨﻴﺘﻰ ﺩﺭ ﻳﻚ ﮔﻔﺘﮕﻮﻯ ﻣﺠﺎﺯﻯ ﺍﺯ ﻧﺌﻮ ﻣﻰﺧﻮﺍﻫﺪ ﻛﻪ »ﺧﺮﮔﻮﺵ ﺳﻔﻴﺪ« ﺭﺍ ﺩﻧﺒﺎﻝ‬ ‫ﻛﻨﺪ‪ .‬ﺧﺮﮔﻮﺵ ﺳﻔﻴﺪ ﺩﺭ ﻓﻴﻠﻢ ﻣﺎﺗﺮﻳﻜﺲ ﻳﻚ ﺧﺎﻝﻛﻮﺑﻰ ﺑﺮ ﺭﻭﻯ ﺩﺳﺖ ﻳﻜﻰ ﺍﺯ ﺷﺨﺼﻴﺖﻫﺎﻯ‬ ‫ﻓﺮﻋﻰ ﻓﻴﻠﻢ ﺍﺳﺖ‪ ،‬ﺍﻣﺎ ﺗﻌﻘﻴﺐ ﺁﻥ ﺑﺴﺎﻥ ﺗﻌﻘﻴﺐ ﺧﺮﮔﻮﺵ ﺳﻔﻴﺪ ﺩﺭ ﺩﺍﺳﺘﺎﻥ »ﻣﺎﺟﺮﺍﻫﺎﻯ ﺁﻟﻴﺲ ﺩﺭ‬ ‫ﺷﮕﻔﺖﺯﺍﺭ« ﻧﻮﺷﺘﻪﻯ ﻟﻮﺋﻴﺲ ﻛﺎﺭﻭﻝ‪ ،‬ﻧﺌﻮ ﺭﺍ ﺑﻪ ﺷﮕﻔﺖﺯﺍﺭ ﻭﺍﻗﻌﻴﺖ ﻣﻰﻛﺸﺎﻧﺪ‪ .‬ﺟﺎﻳﻰ ﻛﻪ ﺷﮕﻔﺘﻰ ﺩﺭ‬ ‫ﺷﮕﻔﺘﻰ ﭘﺪﻳﺪﺍﺭ ﻣﻰﺷﻮﺩ‪.‬‬ ‫ﺑﺴﺎﻥ ﻳﻚ ﺷﮕﻔﺘﻰ‪ ،‬ﺩﺭ ﻓﻀﺎﻯ ﻣﺠﺎﺯﻯ ﻣﺎﺗﺮﻳﻜﺲ ﺑﺮﻧﺎﻣﻪﻫﺎﻯ ﻫﻮﺷﻤﻨﺪ ﺧﻮﺩ ﺑﺎ ﻫﻢ ﺑﺮ ﺳﺮ ﻗﺪﺭﺕ ﺩﺭ‬ ‫ﻧﺒﺮﺩﻧﺪ‪ .‬ﺑﻬﺘﺮﻳﻦ ﻣﺜﺎﻝ ﺍﻳﻦ ﺭﻭﻳﻜﺮﺩ ﺭﺍ ﺩﺭ ﺍﭘﻴﺰﻭﺩ ﺩﻭﻡ ﻣﻰﺑﻴﻨﻴﻢ ﻛﻪ »ﻣﺮﻭ ِﻭﻧﺠﻴﻦ« ]‪ [29‬ﻛﻪ ﻧﺎﻣﺶ‬ ‫ﺑﺮﮔﺮﻓﺘﻪ ﺍﺯ ﻧﺨﺴﺘﻴﻦ ﺳﻠﺴﻠﻪﻯ ﺳﻼﻃﻴﻦ ﻓﺮﺍﻧﺴﻮﻯ ﺍﺳﺖ‪» ،‬ﻛﻠﻴﺪﺳﺎﺯ« ]‪ [30‬ﺭﺍ ﻛﻪ ﺩﺍﺭﺍﻯ ﻛﻠﻴﺪ‬ ‫ﺍﺗﺎﻕ ﺑﺎﺯﺷﻮﻧﺪﻩ ﺑﻪ ﻣﻼﻗﺎﺕ ﺑﺎ ﻣﻌﻤﺎﺭ ﺍﺳﺖ‪ ،‬ﺑﻪ ﺍﺳﺎﺭﺕ ﮔﺮﻓﺘﻪ ﻭ ﺩﺭ ﺑﺮﺍﺑﺮ ﻛﺴﺎﻧﻰ ﻛﻪ ﺑﺮﺍﻯ ﺁﺯﺍﺩﺳﺎﺯﻯ‬ ‫ﻛﻠﻴﺪﺳﺎﺯ ﺁﻣﺪﻩﺍﻧﺪ‪ ،‬ﺑﺴﺎﻥ ﻳﻚ ﻓﻴﻠﺴﻮﻑ ﺗﺤﻠﻴﻠﻰ ﺗﻌﺎﺑﻴﺮﻯ ﺭﺳﺎ ﺍﺯ ﻗﺎﻧﻮﻥ ﻋﻠﻴﺖ ﺍﺭﺍﺋﻪ ﻣﻰﻛﻨﺪ‪ .‬ﺍﻭ ﺑﺎ‬ ‫ﺳﺨﻨﺎﻥ ﭼﺎﻟﺸﻰﺍﺵ ﺩﺭ ﻣﻘﺎﺑﻞ ﻧﺌﻮ‪ ،‬ﻣﻮﺭﻓﻴﻮﺱ ﻭ ﺗﺮﻳﻨﻴﺘﻰ ﻛﻪ ﻣﻈﺎﻫﺮ ﺗﺠﺮﺑﻪﮔﺮﺍﻳﻰ ﻭ ﻭﺍﻗﻊﮔﺮﺍﻳﻰ‬ ‫ﻫﺴﺘﻨﺪ‪ ،‬ﻣﻨﺸﻰ ﺑﺮﺁﻣﺪﻩ ﺍﺯ ﺍﺭﺍﺩﻩ ﻣﻌﻄﻮﻑ ﺑﻪ ﻗﺪﺭﺕ ﺑﺮ ﺑﻨﻴﺎﻥ ﻗﺎﻧﻮﻥ ﻋﻠﻴﺖ ﺍﺭﺍﺋﻪ ﻣﻰﺩﻫﺪ‪ .‬ﺍﻳﻦ‬ ‫ﺳﺎﺧﺘﺎﺭﺳﺎﺯﻯ ﺷﮕﻔﺖ ﺩﺭ ﭼﺎﺭﭼﻮﺏ ﺷﺨﺼﻴﺖﺳﺎﺯﻯ ﻫﻮﺷﻤﻨﺪﺍﻧﻰ ﻛﻪ ﺻﺮﻓﺎً ﻣﺎﻫﻴﺖ ﻧﺮﻡﺍﻓﺰﺍﺭﻯ‬ ‫ﺩﺍﺭﻧﺪ‪ ،‬ﺟﺰ ﺑﺎ ﺍﺗﻜﺎ ﺑﻪ ﻓﻠﺴﻔﻪ ﻭ ﺟﻮﺍﻧﺒﺶ ﺍﻣﻜﺎﻥﭘﺬﻳﺮ ﻧﻴﺴﺖ ﻭ ﺍﺯ ﺍﻳﻦ ﺩﺳﺖ ﺷﮕﻔﺘﻰﻫﺎ ﺩﺭ ﺷﮕﻔﺖﺯﺍ ِﺭ‬ ‫ﻣﺎﺗﺮﻳﻜﺲ ﻛﻢ ﻧﻴﺴﺘﻨﺪ‪.‬‬ ‫ﺍﺑﺰﺍﺭﻫﺎﻯ ﻣﺮﻭﻭﻧﺠﻴﻦ ﺑﺮﺍﻯ ﻛﺴﺐ ﻗﺪﺭﺕ ﺑﻴﺸﺘﺮ ﺑﺴﻴﺎﺭﻧﺪ‪ .‬ﺑﻪﻋﻨﻮﺍﻥ ﻣﺜﺎﻝ ﺍﻭ ﮔﻤﺎﺷﺘﻪﺍﻯ ﺩﺍﺭﺩ ﺑﻪ ﻧﺎﻡ‬ ‫»ﻣﺮﺩ ﻗﻄﺎﺭﻯ« ]‪ ،[31‬ﻛﻪ ﺩﺭ ﺍﺑﺘﺪﺍﻯ ﺍﭘﻴﺰﻭﺩ ﺳﻮﻡ ﻧﺌﻮ ﺭﺍ ﺩﺭ ﺟﺎﻳﻰ ﺑﻴﻦ ﺩﻧﻴﺎﻯ ﺍﻧﺴﺎﻥ ﻭ ﻣﺎﺷﻴﻦ‬ ‫ﺯﻧﺪﺍﻧﻰ ﻛﺮﺩﻩ ﺍﺳﺖ‪ .‬ﺍﺯ ﻃﺮﻑ ﺩﻳﮕﺮ ﻣﺮﻭﻭﻧﺠﻴﻦ ﺑﺮﺍﻯ ﺑﺮﻧﺎﻣﻪﻫﺎﻯ ﻣﺤﻜﻮﻡ ﺑﻪ ﻧﺎﺑﻮﺩﻯ‪ ،‬ﻧﺴﺨﻪ ﺧﺪﻣﺖ‬ ‫ﺑﻪ ﺍﺯﺍء ﺗﺒﻌﻴﺪ ﺭﺍ ﻣﻰﭘﻴﭽﻴﺪ‪ .‬ﺑﺮﻧﺎﻣﻪﻫﺎﻳﻰ ﻣﺎﻧﻨﺪ »ﺭﺍﻣﺎﭼﺎﻧﺪﺭﺍ« ]‪ [32‬ﻭ ﻫﻤﺴﺮﺵ ﻭ ﺩﺧﺘﺮﺵ ﮔﻮﺵ ﺑﻪ‬ ‫ﻓﺮﻣﺎﻥ ﺍﻭ ﻫﺴﺘﻨﺪ‪ ،‬ﭼﻮﻥ ﺩﺭ ﻏﻴﺮ ﺍﻳﻦ ﺻﻮﺭﺕ ﺣﺬﻑ ﺧﻮﺍﻫﻨﺪ ﺷﺪ‪ .‬ﺭﺍﻣﺎﭼﺎﻧﺪﺍﺭﺍ ﻭ ﻫﻤﺴﺮﺵ ﺑﺮﮔﺮﻓﺘﻪ‬ ‫ﺍﺯ ﺍﺳﺎﻃﻴﺮﻯ ﺑﻪ ﻫﻤﻴﻦ ﻧﺎﻡ ﺩﺭ ﻫﻨﺪﻭﺋﻴﺴﻢ ﻫﺴﺘﻨﺪ‪ .‬ﺭﺍﻣﺎﭼﺎﻧﺪﺭﺍ ﺩﺭ ﺗﻔﻜﺮﺍﺕ ﻫﻨﺪﻭ‪ ،‬ﻭﺟﻪ ﺍﻟﻬﻰ ﻣﻨﺠﻰ‬ ‫ﺍﺳﺖ‪ .‬ﺍﻭ ﺩﺭ ﻓﻴﻠﻢ‪ ،‬ﺑﻪ ﺯﻳﺒﺎﻳﻰ ﺗﻤﺎﻡ ﺍﺯ ﺯﺑﺎﻥ ﻳﻚ ﻧﺮﻡﺍﻓﺰﺍﺭ‪ ،‬ﺻﺤﺒﺖ ﺍﺯ ﻋﺸﻖ ﻭ ﺍﺣﺴﺎﺳﺎﺕ ﻭ ﺳﺮﻧﻮﺷﺖ‬ ‫ﻣﻰﻛﻨﺪ؛ ﮔﻮﻳﻰ ﻛﻪ ﺑﻴﺶ ﺍﺯ ﺧﻮﺩ ﺍﻧﺴﺎﻥﻫﺎ ﻛﻪ ﺁﻓﺮﻳﻨﻨﺪﻩ ﺍﻳﻦ ﻭﺍژﮔﺎﻧﻨﺪ ﺍﺯ ﺁﻥﻫﺎ ﺁﮔﺎﻩ ﺍﺳﺖ‪ .‬ﺩﺭ ﻛﻨﺎﺭ‬ ‫ﺍﻳﻦ ﺳﺨﻨﺎﻥ‪ ،‬ﻳﻚ ﺍﺷﺎﺭﻩ ﭘﺮﺍﮔﻤﺎﺗﻴﺴﻤﻰ ﻭ ﻋﻤﻞﮔﺮﺍﻳﺎﻧﻪ ﻗﻮﻯ ﻫﻢ ﺍﺭﺍﺋﻪ ﻣﻰﺩﻫﺪ‪» :‬ﻫﺮ ﺑﺮﻧﺎﻣﻪ ﺑﺎﻳﺪ ﻫﺪﻓﻰ‬ ‫ﺩﺍﺷﺘﻪ ﺑﺎﺷﺪ‪ ،‬ﺑﺮﻧﺎﻣﻪ ﺑﻰﻫﺪﻑ ﭘﺎﻙ ﺧﻮﺍﻫﺪ ﺷﺪ‪«.‬‬ ‫ﺍﻣﺎ ﺩﺭﻧﻬﺎﻳﺖ ﻣﺮﻭﻭﻧﺠﻴﻦ ﺑﺎ ﺗﻤﺎﻡ ﺍﺑﺰﺍﺭﻫﺎﻳﺶ ﺩﺭ ﻣﺘﻮﻗﻒ ﻛﺮﺩﻥ ﺍﻧﻘﻼﺑﻴﻮﻥ ﻧﺎﺗﻮﺍﻥ ﺍﺳﺖ؛ ﺍﻭ ﻛﻪ ﺩﺭ ﺍﭘﻴﺰﻭﺩ‬ ‫ﺩﻭﻡ ﺍﺩﻋﺎ ﻣﻰﻛﻨﺪ ﻛﻪ ﺍﺯ ﻧﺒﺮﺩ ﺑﺎ ﺗﻤﺎﻡ ﻧﺴﺨﻪﻫﺎﻯ ﭘﻴﺸﻴﻦ ﻣﻨﺠﻰ ﻧﺠﺎﺕ ﻳﺎﻓﺘﻪ ﻭ ﺍﺯ ﺍﻳﻦ ﻳﻜﻰ ﻫﻢ ﺟﺎﻥ‬

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‫ﺷﻤﺎﺭﻩﻯ ‪ ،29‬ﺍﺭﺩﻳﺒﻬﺸﺖ ‪1392‬‬

‫ﺷﻜﻞ ‪ :12‬ﺳﺎﻳﻔﺮ‬

‫ﺷﻜﻞ ‪ :13‬ﺳﺮﺍﻑ ﺩﺭ ﻛﻨﺎﺭ ﻧﺌﻮ‬

‫ﺷﻜﻞ ‪ :14‬ﻃﺮﺣﻰ ﺍﺯ ﻳﻚ ﺳﻨﺘﻴﻨﻞ‬

‫ﺷﻜﻞ ‪ :15‬ﻣﺄﻣﻮﺭﺍﻥ‬

‫ﺷﻜﻞ ‪ :16‬ﻇﻬﻮﺭ ﻣﻨﺠﻰ ﺩﺭ ﺩﻧﻴﺎﻯ ﺗﺎﺭﻳﻚ ﺍﻋﺪﺍﺩ ﻭ ﺍﺭﻗﺎﻡ‬

‫ﺷﻜﻞ ‪ :18‬ﺷﻬﺮ ﻣﺎﺷﻴﻦﻫﺎ‬

‫ﺷﻜﻞ ‪ :17‬ﻣﺮﺩ ﻗﻄﺎﺭﻯ‬

‫ﻣﻘﺎﻟﻪ‬

‫ﭘﻴﭽﻴﺪﻩ ﺷﺪﻩ ﺩﺭ ﻳﻚ ﭘﺎﺭﭼﻪ‪ ،‬ﺍﻫﺪﺍﻳﻰ ﻳﻚ ﻛﻮﺩﻙ ﻳﺘﻴﻢ ﺑﻪ ﻧﺌﻮ ﺍﺳﺖ‪ ،‬ﺗﺎ ﺍﻭ ﺑﻪ ﺧﺎﻃﺮ ﺑﺴﭙﺎﺭﺩ ﻫﻴﭻ‬ ‫ﻗﺎﺷﻘﻰ ﺩﺭ ﻛﺎﺭ ﻧﻴﺴﺖ‪.‬‬ ‫ﺍﻣﺎ ﻣﺄﻣﻮﺭ ﺍﺳﻤﻴﺖ ﻧﺎﺑﻮﺩ ﺷﺪﻩ ﺩﺭ ﺍﻧﺘﻬﺎﻯ ﺍﭘﻴﺰﻭﺩ ﺍﻭﻝ‪ ،‬ﺩﺭ ﺍﭘﻴﺰﻭﺩ ﺩﻭﻡ ﻭ ﺳﻮﻡ ﺩﻭﺑﺎﺭﻩ ﺍﺯ ﺧﺎﻛﺴﺘﺮ‬ ‫ﻧﺎﺑﻮﺩﻯ ﺑﺮ ﻣﻰﺧﻴﺰﺩ‪ .‬ﺷﻜﺴﺖ ﺍﻭ ﺭﺍ ﻗﻮﻯﺗﺮ ﺍﺯ ﻗﺒﻞ ﻛﺮﺩﻩ‪ .‬ﺑﻪ ﻧﻈﺮ ﻣﻰﺁﻳﺪ ﻗﺴﻤﺖﻫﺎﻳﻰ ﺍﺯ ﻭﺟﻮﺩ ﻧﺌﻮ ﺩﺭ‬ ‫ﺯﻳﺮﺳﺎﺧﺘﺶ ﺭﻭﻳﻴﺪﻩ ﺷﺪﻩ ﻭ ﺑﻪ ﺍﻭ ﻭﻳﮋﮔﻰ ﺭﻭﻳﻴﻦﺗﻨﻰ ﺩﺍﺩﻩ‪ .‬ﺣﺎﻻ ﺩﻳﮕﺮ ﺍﻭ ﻳﻚ ﺑﺮﻧﺎﻣﻪﻯ ﻛﺎﻣﭙﻴﻮﺗﺮﻯ‬ ‫ﺻﺮﻑ ﻧﻴﺴﺖ‪ .‬ﺣﺘﺎ ﻳﻚ ﻭﻳﺮﻭﺱ ﻛﺎﻣﭙﻴﻮﺗﺮﻯ ﻫﻢ ﻧﻴﺴﺖ‪ ،‬ﺑﻠﻜﻪ ﺑﻴﺸﺘﺮ ﺷﺒﻴﻪ ﺑﻪ ﻳﻚ ﻭﻳﺮﻭﺱ ﻭﺍﻗﻌﻰ‬ ‫ﺍﺳﺖ؛ ﻳﻌﻨﻰ ﻫﻤﺎﻥ ﭼﻴﺰﻯ ﻛﻪ ﺑﻪ ﺍﻧﺴﺎﻥﻫﺎ ﻧﺴﺒﺖ ﻣﻰﺩﺍﺩ‪ .‬ﺍﻟﮕﻮﺭﻳﺘﻢ ﻓﻌﺎﻟﻴﺖ ﺍﻭ ﻛﻤﻰ ﺷﺒﻴﻪ ﺑﻪ ﻭﻳﺮﻭﺱ‬ ‫‪ HIV‬ﺍﺳﺖ‪ .‬ﻫﺮ ﭼﻪ ﺭﺍ ﺩﺭ ﻣﺴﻴﺮﺵ ﻗﺮﺍﺭ ﺩﺍﺷﺘﻪ ﺑﺎﺷﺪ‪ ،‬ﺗﺒﺪﻳﻞ ﺑﻪ ﺧﻮﺩﺵ ﻣﻰﻛﻨﺪ‪ .‬ﻳﺎ ﺷﺎﻳﺪ ﻳﻚ‬ ‫ﺍﺗﻮﻣﺎﺗﺎﻯ ﺳﻠﻮﻟﻰ ]‪ [26‬ﺑﺴﻴﺎﺭ ﭘﻴﺸﺮﻓﺘﻪ ﺍﺳﺖ ﻛﻪ ﻗﺎﺑﻠﻴﺖ ﺧﻮﺩﺯﺍﻳﻰ ]‪ [27‬ﺳﺮﻳﻊ ﺩﺍﺭﺩ‪ .‬ﮔﻮﻳﺎ ﻧﺒﺮﺩ ﺍﻭ‬ ‫ﺑﺎ ﻧﺌﻮ ﺩﺭ ﺍﻧﺘﻬﺎﻯ ﺍﭘﻴﺰﻭﺩ ﺍﻭﻝ‪ ،‬ﺳﺎﺧﺘﺎﺭ ﺧﻮﺩﺳﺎﺯﻣﺎﻥﺩﻫﻰ ]‪ [28‬ﺍﻧﺴﺎﻧﻰ ﺭﺍ ﺩﺭ ﺯﻳﺮﺳﺎﺧﺖ ﻧﺮﻡﺍﻓﺰﺍﺭﻯ‬ ‫ﺍﻭ ﭘﺮﻭﺭﺍﻧﺪﻩ‪.‬‬ ‫ﻧﺌﻮ ﺑﺮﺍﻯ ﻧﺒﺮﺩ ﻧﻬﺎﻳﻰ ﺑﺎ ﺍﺳﻤﻴﺖ ﺩﻳﮕﺮ ﻧﻤﻰﺗﻮﺍﻧﺪ ﺗﻨﻬﺎ ﺑﻪ ﻧﺒﻮﺩﻥ ﻗﺎﺷﻖ ﺩﻝ ﺧﻮﺵ ﻛﻨﺪ‪ .‬ﺑﻠﻜﻪ ﭼﻴﺰﻯ‬ ‫ﻓﺮﺍﺗﺮ ﻻﺯﻡ ﺍﺳﺖ‪ .‬ﺍﻭ ﺍﻳﻨﻚ ﻧﻴﺎﺯﻣﻨﺪ ﺍﻳﻦ ﺍﺳﺖ ﻛﻪ ﺩﺭﻳﺎﺑﺪ ﻛﻪ ﻧﻪ ﻓﻘﻂ ﻗﺎﺷﻖ‪ ،‬ﻛﻪ ﺣﺘﺎ ﺧﻮﺩﺵ ﻫﻢ‬ ‫ﻣﻮﺟﻮﺩ ﻧﻴﺴﺖ‪ .‬ﻭ ﺍﻳﻦﮔﻮﻧﻪ ﺍﺳﺖ ﻛﻪ ﺑﺎ ﻧﺎﺑﻮﺩﻯ ﺧﻮﺩﺵ‪ ،‬ﺍﺳﻤﻴﺖ ﻭ ﺑﻰﻧﻬﺎﻳﺖ ﻧﺴﺨﻪﻯ ﻛﭙﻰﺷﺪﻩ ﺁﻥ‬ ‫ﺭﺍ ﻫﻢ ﻧﺎﺑﻮﺩ ﻣﻰﻛﻨﺪ‪ .‬ﻣﺄﻣﻮﺭ ﺍﺳﻤﻴﺖ ﺑﻪﺳﺎﻥ ﻭﻳﺮﻭﺳﻰ ﻛﻪ ﺑﺎ ﻳﻚ ﺁﻧﺘﻰﻭﻳﺮﻭﺱ ﮔﻼﻭﻳﺰ ﺷﺪﻩ‪ ،‬ﺧﻮﺩ ﻭ‬ ‫ﻧﺌﻮ ﺭﺍ ﺑﺎ ﻫﻢ ﺍﺯ ﺑﻴﻦ ﻣﻰﺑﺮﺩ‪ .‬ﺩﺭ ﺍﻧﺘﻬﺎﻯ ﺍﭘﻴﺰﻭﺩ ﺳﻮﻡ‪ ،‬ﺻﺤﻨﻪﻯ ﻧﺒﺮﺩ ﻧﻬﺎﻳﻰ ﺍﻳﻦ ﺩﻭ ﻗﻬﺮﻣﺎﻥ ﺍﺳﻄﻮﺭﻩﺍﻯ‬ ‫ﻛﻪ ﺩﺭ ﺣﻘﻴﻘﺖ ﻳﻚ ﻭﺟﻮﺩ ﻫﺴﺘﻨﺪ ﺩﺭ ﺩﻭ ﺟﺎﻳﮕﺎﻩ ﻣﺘﻀﺎﺩ‪ ،‬ﻧﻮﻋﻰ ﺧﻮﺩﻭﻳﺮﺍﻥﮔﺮﻯ ﺩﻭﺟﺎﻧﺒﻪ ﺍﺳﺖ‬ ‫ﻛﻪ ﺑﻰﻧﻬﺎﻳﺖ ﻧﮕﺎﺭﺵ ﺩﻳﮕﺮ ﺍﺯ ﻣﺄﻣﻮﺭ ﺍﺳﻤﻴﺖ ﺑﻪ ﺗﻤﺎﺷﺎﻯ ﺁﻥ ﻧﺸﺴﺘﻪﺍﻧﺪ‪ .‬ﺍﺳﻤﻴﺖ ﺩﺭ ﺳﺨﻨﺎﻥ ﺑﻪ‬ ‫ﻳﺎﺩﻣﺎﻧﺪﻧﻰ ﭘﺎﻳﺎﻧﻰ‪ ،‬ﺩﻭﺑﺎﺭﻩ ﻧﮕﺎﻫﻰ ﺍﻧﺴﺎﻥﺷﻨﺎﺳﺎﻧﻪ ﺩﺍﺭﺩ‪» :‬ﻓﻘﻂ ﺫﻫﻦ ﺍﻧﺴﺎﻥ ﺑﻪ ﺧﻠﻖ ﭼﻴﺰﻯ ﺑﻰﺭﻭﺡﺗﺮ‬ ‫ﺍﺯ ﻋﺸﻖ ﺗﻮﺍﻧﺎ ﺍﺳﺖ‪«.‬‬ ‫ﭘﺲ ﺍﺯ ﻧﺎﺑﻮﺩﻯ ﻧﻬﺎﻳﻰ ﺍﺳﻤﻴﺖ ﻭ ﻣﺮگ ﻧﺌﻮ‪ ،‬ﻛﺎﻟﺒﺪ ﺑﻰﺟﺎﻥ ﻧﺌﻮ ﺩﺭ ﺷﻬﺮ ﻣﺎﺷﻴﻦﻫﺎ ﺑﻪ ﺷﻜﻞ ﻣﺴﻴﺤﺎﻳﻰ‬ ‫ﺑﺮ ﭼﻠﻴﭙﺎ‪ ،‬ﺩﺭ ﻓﻀﺎ ﺑﻪ ﭘﺮﻭﺍﺯ ﺩﺭ ﻣﻰﺁﻳﺪ ﻭ ﺻﻠﺢ ﺑﺮ ﺻﺤﻨﻪﻯ ﺟﻨﮓ ﺍﻧﺴﺎﻥ ﻭ ﻣﺎﺷﻴﻦ ﺳﺎﻳﻪ ﻣﻰﺍﻧﺪﺍﺯﺩ‪.‬‬ ‫ﻣﻨﺠﻰ ﻣﺎﺷﻴﻦﻫﺎ ﺭﺍ ﺍﺯ ﺩﻡ ﺗﻴﻎ ﻧﮕﺬﺭﺍﻧﺪﻩ‪ ،‬ﺑﻠﻜﻪ ﺑﺎ ﺁﻥﻫﺎ ﺑﻪ ﺻﻠﺢ ﺭﺳﻴﺪﻩ‪ .‬ﺳﻴﺎﺭﻩﻯ ﺯﻣﻴﻦ ﺑﻪ ﺍﻧﺪﺍﺯﻩﻯ‬ ‫ﻛﺎﻓﻰ ﺟﺎ ﺩﺍﺭﺩ ﻛﻪ ﻫﻢ ﺍﻧﺴﺎﻥﻫﺎ ﻭ ﻫﻢ ﻣﺎﺷﻴﻦﻫﺎ ﺑﺪﻭﻥ ﺍﻳﻦﻛﻪ ﺑﺎ ﻫﻢ ﺑﺠﻨﮕﻨﺪ ﺩﺭ ﺁﻥ ﺯﻧﺪﮔﻰ ﻛﻨﻨﺪ ﻭ‬ ‫ﻧﻴﺎﺯﻯ ﺑﻪ ﺭﺯﻡ ﺑﺎ ﻫﻢ ﻧﺪﺍﺷﺘﻪ ﺑﺎﺷﻨﺪ‪ .‬ﺗﺤﻘﻖ ﺍﻳﻦ ﺑﻬﺸﺖﺯﺍﺭ ﺧﻴﺎﻟﻰ‪ ،‬ﻛﺎﺭ ﻧﻪ ﺍﻧﺴﺎﻥﻫﺎﻯ ﻋﺎﺩﻯ ﺍﺳﺖ ﻭ‬ ‫ﻧﻪ ﻣﺎﺷﻴﻦﻫﺎ‪ ،‬ﺑﻠﻜﻪ ﺗﻨﻬﺎ ﻳﻚ ﻣﻨﺠﻰ ﺗﻤﺎﻡﻋﻴﺎﺭ ﺑﻪ ﺍﻧﺠﺎﻡ ﺁﻥ ﺗﻮﺍﻧﺎ ﺍﺳﺖ‪ .‬ﺍﺯ ﺍﻳﻦ ﺑﻪ ﺑﻌﺪ ﺁﻧﺎﻥ ﻛﻪ ﺩﻭﺳﺖ‬ ‫ﺩﺍﺷﺘﻪ ﺑﺎﺷﻨﺪ ﺍﺯ ﻛﺸﺖﺯﺍﺭ ﺭﻫﺎ ﺷﺪﻩ ﻭ ﺑﻪ ﺯﺍﻳﻮﻥ ﻣﻰﭘﻴﻮﻧﺪﻧﺪ‪.‬‬

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‫ﺷﻤﺎﺭﻩﻯ ‪ ،29‬ﺍﺭﺩﻳﺒﻬﺸﺖ ‪1392‬‬

‫‪ .3‬ﻣﺮگﺯﺍﺭ‬ ‫ﻣﺒﺎﺭﺯﺍﻥ ﻣﺎﺗﺮﻳﻜﺲ ﺑﺎ ﺩﺷﻤﻨﺎﻥ ﺧﻄﺮﻧﺎﻙ ﺯﻳﺎﺩﻯ ﺭﻭﺑﺮﻭ ﻫﺴﺘﻨﺪ‪ .‬ﺍﻣﺎ ﺍﺯ ﻫﻤﻪ ﺁﻥﻫﺎ ﭼﺸﻢﻧﻮﺍﺯﺗﺮ‪ ،‬ﻣﺄﻣﻮﺭﺍﻥ‬ ‫ﺩﺭ ﻋﺮﺿﻪ ﺩﻧﻴﺎﻯ ﻣﺠﺎﺯﻯ ﻭ ﺳﻨﺘﻴﻨﻞﻫﺎ ﻳﺎ ﺍﺳﻜﻮﺩﻯﻫﺎ ]‪ [25‬ﺩﺭ ﻋﺮﺻﻪﻯ ﺩﻧﻴﺎﻯ ﻭﺍﻗﻌﻰ ﻫﺴﺘﻨﺪ‪.‬‬ ‫ﻣﻮﺍﺟﻬﻪ ﺑﺎ ﻫﺮ ﺩﻭ ﺑﻪ ﻣﻌﻨﺎﻯ ﻣﺮگ ﺍﺳﺖ‪ .‬ﺍﺯ ﻣﺄﻣﻮﺭﺍﻥ ﻓﻘﻂ ﺑﺎﻳﺪ ﮔﺮﻳﺨﺖ ﻭ ﺩﺭ ﻣﻘﺎﺑﻞ ﺳﻨﺘﻴﻨﻞﻫﺎ ﻓﻘﻂ‬ ‫ﺑﺎﻳﺪ ﺑﻪ ﺗﻜﺎﻧﻪﻯ ﺍﻟﻜﺘﺮﻭﻣﻐﻨﺎﻃﻴﺴﻰ )‪ (EMP‬ﭘﻨﺎﻩ ﺑﺮﺩ‪.‬‬ ‫ﻣﺄﻣﻮﺭﺍﻥ ﻛﻪ ﻃﻼﻳﻪﺩﺍﺭ ﺍﺻﻠﻰﺷﺎﻥ‪ ،‬ﻓﻴﻠﺴﻮﻑ ﻣﺒﺎﺭﺯﻯ ﺍﺳﺖ ﺑﻪ ﻧﺎﻡ ﺍﺳﻤﻴﺖ‪ ،‬ﺑﺮﻧﺎﻣﻪﻫﺎﻯ ﻃﺮﺍﺣﻰ ﺷﺪﻩ‬ ‫ﺑﺮﺍﻯ ﺣﻔﻆ ﺗﻌﺎﺩﻝ ﺩﻧﻴﺎﻯ ﻣﺎﺗﺮﻳﻜﺴﻨﺪ ﻭ ﺳﻨﺘﻴﻨﻞﻫﺎ ﻳﺎ ﭘﻴﺶﻗﺮﺍﻭﻻﻥ ﻣﺎﺷﻴﻦﻫﺎﻯ ﻧﺎﺑﻮﺩﮔﺮﻯ ﻛﻪ ﺑﻪ ﻫﺮ‬ ‫ﻓﻌﺎﻟﻴﺖ ﻏﻴﺮﻣﺠﺎﺯ ﻭ ﺗﺄﻳﻴﺪ ﻧﺸﺪﻩ ﺩﺭ ﺩﻧﻴﺎﻯ ﻭﺍﻗﻌﻰ ﺣﻤﻠﻪ ﻣﻰﺑﺮﻧﺪ‪.‬‬ ‫ﺍﻣﺎ ﺍﻳﻦ ﺩﻭ ﺩﺷﻤﻦ ﻛﻤﻰ ﻣﺘﻔﺎﻭﺗﻨﺪ‪ .‬ﻣﺄﻣﻮﺭﺍﻥ ﻭ ﺑﻪﻭﻳﮋﻩ ﺍﺳﻤﻴﺖ ﺑﻪ ﺩﺭﺟﻪﺍﻯ ﺍﺯ ﻫﻮﺷﻤﻨﺪﻯ ﺭﺳﻴﺪﻩﺍﻧﺪ‬ ‫ﻛﻪ ﻧﻘﺪﻫﺎ ﻭ ﺗﺤﻠﻴﻞﻫﺎﻳﻰ ﺩﻗﻴﻖﺗﺮ ﺍﺯ ﺍﻧﺴﺎﻥﻫﺎ ﻭ ﻣﺎﺷﻴﻦﻫﺎ ﺍﺯ ﺩﻧﻴﺎﻯ ﭘﻴﺮﺍﻣﻮﻧﻰ ﺧﻮﺩ ﺍﺭﺍﺋﻪ ﻣﻰﻛﻨﻨﺪ‪.‬‬ ‫ﻫﻤﻴﻦ ﻫﻮﺵﻣﻨﺪﻯ ﺩﺭ ﻧﻬﺎﻳﺖ ﺳﺒﺐ ﻣﻰﺷﻮﺩ ﻛﻪ ﺍﺳﻤﻴﺖ ﺍﺯ ﺗﺴﻠﻂ ﺩﻧﻴﺎﻯ ﻣﺎﺗﺮﻳﻜﺲ ﺧﺎﺭﺝ ﺷﺪﻩ ﻭ‬ ‫ﺑﻪ ﺩﺷﻤﻨﻰ ﻣﺸﺘﺮﻙ ﺑﺮﺍﻯ ﺍﻧﺴﺎﻥ ﻭ ﻣﺎﺷﻴﻦ ﺗﺒﺪﻳﻞ ﺷﻮﺩ‪ .‬ﻭ ﺣﺎﻻ ﺍﻳﻦ ﺳﻪﮔﺎﻧﻪﻯ ﺗﺜﻠﻴﺜﻰ ﻧﺒﺮﺩ ﺑﻴﻦ‬ ‫ﺳﺨﺖﺍﻓﺰﺍﺭ‪ ،‬ﻧﺮﻡﺍﻓﺰﺍﺭ ﻭ ﺍﻧﺴﺎﻥ ﺗﻜﻤﻴﻞ ﻣﻰﺷﻮﺩ‪.‬‬ ‫ﺍﻣﺎ ﺳﻨﺘﻴﻨﻞﻫﺎ ﻛﻪ ﻧﮕﻬﺒﺎﻧﺎﻥ ﺩﻧﻴﺎﻯ ﻭﺍﻗﻌﻰ ﻫﺴﺘﻨﺪ‪ ،‬ﺻﺮﻓﺎً ﺍﺳﻮﻩﻫﺎﻳﻰ ﻫﺴﺘﻨﺪ ﺑﺮﺍﻯ ﻭﻇﻴﻔﻪﺷﻨﺎﺳﻰ‬ ‫ﻭ ﺭﻋﺎﻳﺖ ﺳﻠﺴﻠﻪﻣﺮﺍﺗﺐ‪ .‬ﺁﻥﻫﺎ ﻭﻇﺎﻳﻒ ﻣﺤﻮﻟﻪ ﺭﺍ ﺑﻪ ﻧﺤﻮ ﺍﺣﺴﻦ ﺍﻧﺠﺎﻡ ﻣﻰﺩﻫﻨﺪ ﻭ ﺗﺎ ﺯﻣﺎﻧﻰ ﻛﻪ ﻳﻚ‬ ‫ﺗﻜﺎﻧﻪﻯ ﺍﻟﻜﺘﺮﻭﻣﻐﻨﺎﻃﻴﺴﻰ ﻳﺎ ﻓﺸﻨﮓﻫﺎﻯ ﺗﻴﺮﺑﺎﺭ ﺷﻬﺮ ﺯﺍﻳﻮﻥ ﻭ ﻧﺎﻭﻫﺎﻯ ﻣﺒﺎﺭﺯﺍﻥ ﺍﺯ ﻛﺎﺭﺷﺎﻥ ﻧﻴﻨﺪﺍﺧﺘﻪ‪،‬‬ ‫ﺍﺯ ﭘﺎ ﻧﻤﻰﻧﺸﻴﻨﻨﺪ‪.‬‬ ‫ﺩﺭ ﻧﻬﺎﻳﺖ ﺣﻤﻠﻪﻯ ﻫﻤﻪ ﺟﺎﻧﺒﻪﻯ ﺩﻭﻳﺴﺖ ﻭ ﭘﻨﺠﺎﻩ ﻫﺰﺍﺭ ﺳﻨﺘﻴﻨﻞ ﺑﻪ ﺯﺍﻳﻮﻥ ﺍﺯ ﻃﺮﻳﻖ ﺣﻔﺮ ﺯﻣﻴﻦ ﻭ‬ ‫ﺩﻓﺎﻉ ﻗﻬﺮﻣﺎﻧﺎﻧﻪﻯ ﻣﺒﺎﺭﺯﺍﻥ ﻣﺴﺘﻘﺮ ﺩﺭ ﺷﻬﺮ‪ ،‬ﻣﺴﻴﺮ ﺩﺍﺳﺘﺎﻥ ﺭﺍ ﺗﺎ ﻧﺰﺩﻳﻚ ﻧﺎﺑﻮﺩﻯ ﺁﺧﺮﻳﻦ ﺑﺎﺯﻣﺎﻧﺪﻩﻫﺎﻯ‬ ‫ﺑﺸﺮ ﭘﻴﺶ ﻣﻰﺑﺮﺩ‪ .‬ﺍﻣﺎ ﺩﺭ ﻫﻤﻴﻦ ﺯﻣﺎﻥ ﻧﺌﻮ ﺑﻪ ﺷﻬﺮ ﻣﺨﻮﻑ ﻣﺎﺷﻴﻦﻫﺎ ﺭﻓﺘﻪ ﻭ ﺑﺎ ﺁﻥﻫﺎ ﻭﺍﺭﺩ ﻣﺬﺍﻛﺮﻩ‬ ‫ﻣﻰﺷﻮﺩ‪ .‬ﺍﻭ ﺩﺭ ﻗﺒﺎﻝ ﻧﺎﺑﻮﺩﻛﺮﺩﻥ ﺑﺮﻧﺎﻣﻪﻯ ﺍﺳﻤﻴﺖ ﻛﻪ ﺍﺯ ﻛﻨﺘﺮﻝ ﺧﺎﺭﺝ ﺷﺪﻩ‪ ،‬ﺍﺯ ﻣﺎﺷﻴﻦﻫﺎ ﻗﻮﻝ ﺻﻠﺢ‬ ‫ﻣﻰﮔﻴﺮﺩ‪ .‬ﻭ ﺍﻟﺒﺘﻪ ﻭﺍﺿﺢ ﺍﺳﺖ ﻛﻪ ﺑﻪ ﻗﻮﻝ ﻳﻚ ﻣﺎﺷﻴﻦ ﺑﺴﻴﺎﺭ ﺑﻴﺸﺘﺮ ﺍﺯ ﻗﻮﻝ ﻳﻚ ﺍﻧﺴﺎﻥ ﻣﻰﺗﻮﺍﻥ‬ ‫ﺍﻋﺘﻤﺎﺩ ﻛﺮﺩ‪.‬‬ ‫‪ .4‬ﺑﻬﺸﺖﺯﺍﺭ‬ ‫ﺩﺭ ﺍﭘﻴﺰﻭﺩ ﺍﻭﻝ‪ ،‬ﻳﻚ ﻛﻮﺩﻙ ﺑﻪ ﻧﺌﻮ ﻣﻰﺁﻣﻮﺯﺍﻧﺪ ﻛﻪ ﺑﺮﺍﻯ ﺧﻢ ﻛﺮﺩﻥ ﻳﻚ ﻗﺎﺷﻖ ﺑﺎ ﻗﻮﺍﻯ ﺫﻫﻨﻰ ﺗﻨﻬﺎ‬ ‫ﺑﺎﻳﺪ ﺑﻪ ﺍﻳﻦ ﺑﻴﻨﺪﻳﺸﺪ ﻛﻪ ﻗﺎﺷﻘﻰ ﺩﺭ ﻛﺎﺭ ﻧﻴﺴﺖ‪ .‬ﻭ ﺟﻨﮓ ﺍﺑﺘﺪﺍﻳﻰ ﻧﺌﻮ ﺑﺎ ﻣﺄﻣﻮﺭ ﺍﺳﻤﻴﺖ ﺑﺮ ﻣﺒﻨﺎﻯ‬ ‫ﻫﻤﻴﻦ ﺍﺻﻞ ﻛﻪ ﻗﺎﺷﻘﻰ ﺩﺭ ﻛﺎﺭ ﻧﻴﺴﺖ‪ ،‬ﺑﻪ ﻧﺎﺑﻮﺩﻯ ﺍﺳﻤﻴﺖ ﻣﻰﺍﻧﺠﺎﻣﺪ‪ .‬ﺩﺭ ﺍﭘﻴﺰﻭﺩ ﺩﻭﻡ ﻫﻢ ﻗﺎﺷﻖ‬

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‫ﺍﻣﺎ ﻗﺴﻤﺖ ﻃﻨﺰﺁﻣﻴﺰ ﻭ ﺁﻥ ﻫﻢ ﻃﻨﺰﻯ ﺑﻪ ﺷﻜﻞ ﺗﻠﺦ ﺩﺭ ﺩﺍﺳﺘﺎﻥ ﺍﻳﻦﺟﺎ ﺍﺳﺖ ﻛﻪ ﺩﺭ ﺑﺨﺶﻫﺎﻯ‬ ‫ﺍﻧﺘﻬﺎﻳﻰ ﺍﭘﻴﺰﻭﺩ ﺩﻭﻡ‪ ،‬ﺑﺮﻧﺎﻣﻪﻧﻮﻳﺲ ﺍﺻﻠﻰ ﻣﺎﺗﺮﻳﻜﺲ ﻣﻠﻘﺐ ﺑﻪ »ﻣﻌﻤﺎﺭ« ]‪ [22‬ﭘﺮﺩﻩ ﺍﺯ ﺭﺍﺯﻯ ﺧﻨﺪﻩﺩﺍﺭ‬ ‫ﺑﺮ ﻣﻰﺩﺍﺭﺩ‪ :‬ﻣﻨﺠﻰ ﻭ ﻇﻬﻮﺭ ﺍﻭ ﻫﻢ ﻳﻚ ﺑﺮﻧﺎﻣﻪ ﻧﺮﻡﺍﻓﺰﺍﺭﻯ ﺍﺯ ﻗﺒﻞ ﭘﻴﺶﺑﻴﻨﻰ ﺷﺪﻩ ﺑﻮﺩﻩ ﻭ ﻧﺌﻮ ﺷﺸﻤﻴﻦ‬ ‫ﻣﻨﺠﻰ ﻃﺮﺍﺣﻰ ﺷﺪﻩ ﺑﻪ ﺩﺳﺖ ﻣﻌﻤﺎﺭ ﺍﺳﺖ‪ .‬ﻣﺎﺷﻴﻦﻫﺎ ﺩﺭ ﻃﺮﺍﺣﻰ ﻧﺴﺨﻪ ﻧﻬﺎﻳﻰ ﻭ ﻛﺎﻣﻞ ﻣﺎﺗﺮﻳﻜﺲ‪،‬‬ ‫ﺿﻌﻒ ﺍﻧﺴﺎﻥﻫﺎ ﺩﺭ ﺍﻣﻴﺪﻭﺍﺭﻯ ﺑﻪ ﻇﻬﻮﺭ ﻳﻚ ﻣﻨﺠﻰ ﺭﺍ ﺍﺯ ﻗﻠﻢ ﻧﻴﻨﺪﺍﺧﺘﻪﺍﻧﺪ‪ .‬ﺍﺯ ﺍﻳﻦ ﻗﺴﻤﺖ ﻣﺎﺟﺮﺍ ﺑﻪ‬ ‫ﺑﻌﺪ ﺗﻌﺮﻳﻒ ﻣﻨﺠﻰ ﻭ ﻭﻇﻴﻔﻪﻯ ﺍﻭ ﻛﻤﻰ ﻣﺘﻔﺎﻭﺕ ﻣﻰﺷﻮﺩ ﻭ ﺷﺎﻳﺪ ﺑﻪ ﻫﻤﻴﻦ ﺩﻟﻴﻞ ﺍﺳﺖ ﻛﻪ ﺳﺎﺯﻧﺪﮔﺎﻥ‬ ‫ﻣﺠﻤﻮﻋﻪﻯ ﻣﺎﺗﺮﻳﻜﺲ‪ ،‬ﻧﺎﻡ ﻧﺌﻮ ﺭﺍ ﺑﺮﺍﻯ ﺍﻳﻦ ﻣﻨﺠﻰ ﺑﺮﮔﺰﻳﺪﻩﺍﻧﺪ‪ .‬ﺑﺮﺧﻮﺭﺩ ﻣﻌﻤﺎﺭ ﺑﺎ ﻧﺌﻮ ﺗﺎ ﺣﺪﻭﺩﻯ‬ ‫ﺷﺒﻴﻪ ﺑﺮﺧﻮﺭﺩﻫﺎﻯ ﻧﻴﺶﺧﻨﺪﻭﺍﺭ ﭘﻨﻄﻴﻮﺱ ﭘﻴﻼﺗﻮﺱ ]‪ ،[23‬ﻓﺮﻣﺎﻧﺪﺍﺭ ﺭﻭﻣﻰ ﻳﻬﻮﺩﻳﻪ ﺑﺎ ﻣﺴﻴﺢ ﺍﺳﺖ‪ .‬ﺍﻭ‬ ‫ﻭﺍﻗﻌﻴﺘﻰ ﺭﺍ ﺑﻬﺘﺮ ﺍﺯ ﺧﻮﺩ ﺍﻧﺴﺎﻥﻫﺎ ﺩﺭ ﻣﻮﺭﺩ ﺍﻧﺴﺎﻥﻫﺎ ﻓﻬﻤﻴﺪﻩ ﺍﺳﺖ‪» :‬ﺍﻣﻴﺪ‪ ،‬ﺍﺻﻠﻰﺗﺮﻳﻦ ﺗﻮﻫﻢ ﺍﻧﺴﺎﻥﻫﺎ‪.‬‬ ‫ﺳﺮﭼﺸﻤﻪﻯ ﺑﻬﺘﺮﻳﻦ ﻧﻘﻄﻪ ﻗﻮﺕ ﻭ ﺩﺭ ﻋﻴﻦ ﺣﺎﻝ ﺑﺰﺭگﺗﺮﻳﻦ ﻧﻘﻄﻪﻯ ﺿﻌﻒ‪«.‬‬ ‫ﻣﺪﺧﻞ ﻭﺭﻭﺩﻯ ﻭﻇﻴﻔﻪ ﺟﺪﻳﺪ ﻣﻨﺠﻰ‪ ،‬ﺻﺤﺒﺖﻫﺎﻯ ﺭﺋﻴﺲ ﺷﻮﺭﺍﻯ ﺷﻬﺮ ﺯﺍﻳﻮﻥ‪ ،‬ﻳﻌﻨﻰ ﻛﺎﺭﮔﺰﺍﺭ ﻫﺎﻣﺎﻥ‬ ‫]‪ [24‬ﺩﺭ ﻳﻚ ﮔﺮﺩﺵ ﺷﺒﺎﻧﻪ ﺩﺭ ﺑﺨﺶ ﺗﺄﺳﻴﺴﺎﺕ ﺷﻬﺮ ﺯﺍﻳﻮﻥ ﺍﺳﺖ‪ .‬ﺍﻭ ﺍﻳﻦ ﻧﻜﺘﻪ ﺭﺍ ﺩﺭ ﻗﺎﻟﺐ ﭼﻨﺪ‬ ‫ﺟﻤﻠﻪﻯ ﺭﺍﺯﺁﻣﻴﺰ ﺑﺮﺍﻯ ﻧﺌﻮ ﻭﺍﺿﺢ ﻣﻰﺳﺎﺯﺩ ﻛﻪ ﺣﻖ ﻭ ﺑﺎﻃﻠﻰ ﺩﺭ ﻛﺎﺭ ﻧﻴﺴﺖ‪ .‬ﺍﻧﺴﺎﻥﻫﺎ ﻭ ﻣﺎﺷﻴﻦﻫﺎ ﻫﺮ‬ ‫ﺩﻭ ﺷﺎﻳﺴﺘﻪﻯ ﺑﻘﺎ ﻫﺴﺘﻨﺪ ﻭ ﻭﺟﻮﺩﺷﺎﻥ ﺩﺭ ﻫﻢ ﺗﻨﻴﺪﻩ ﻭ ﺑﻪ ﻫﻢ ﻭﺍﺑﺴﺘﻪ ﺍﺳﺖ‪.‬‬ ‫ﻛﺎﺭﺯﺍﺭ ﺟﻨﮓ ﺑﺎ ﻣﺎﺷﻴﻦﻫﺎ ﭘﺲ ﺍﺯ ﭘﺮﺩﻩﺑﺮﺩﺍﺭﻯ ﺍﺯ ﺍﻳﻦ ﺭﺍﺯ ﻋﻈﻴﻢ‪ ،‬ﺑﻪ ﺗﺪﺭﻳﺞ ﻭ ﺑﻪ ﺷﻜﻠﻰ ﻏﻴﺮﻣﺤﺴﻮﺱ‬ ‫ﻣﺒﺪﻝ ﻣﻰﺷﻮﺩ ﺑﻪ ﻳﺎﻓﺘﻦ ﺭﺍﻫﻰ ﺑﺮﺍﻯ ﺍﻳﺠﺎﺩ ﺗﻌﺎﻣﻞ ﻭ ﺻﻠﺢ‪ .‬ﻣﻨﺠﻰ ﺩﺭ ﺍﻧﺘﻬﺎ‪ ،‬ﺍﻳﻦ ﺻﻠﺢ ﺭﺍ ﺑﻪ ﺍﺭﻣﻐﺎﻥ‬ ‫ﻣﻰﺁﻭﺭﺩ ﺍﻣﺎ ﺻﺤﺒﺖﻫﺎﻯ ﻣﻌﻨﻰﺩﺍﺭ ﺍﻭﺭﺍﻛﻞ ﻭ ﻣﻌﻤﺎﺭ ﺩﺭ ﺍﻧﺘﻬﺎﻯ ﺍﭘﻴﺰﻭﺩ ﺳﻮﻡ ﺗﺄﻛﻴﺪ ﺟﺎﻟﺒﻰ ﺑﺮ ﻧﺎﭘﺎﻳﺪﺍﺭ‬ ‫ﻭ ﮔﺬﺭﺍ ﺑﻮﺩﻥ ﺍﻳﻦ ﺁﺗﺶﺑﺲ ﺍﺳﺖ‪.‬‬ ‫ﺍﻣﺎ ﻳﻚ ﭼﺎﺷﻨﻰ ﺍﻏﺮﺍﻕﺁﻣﻴ ِﺰ ﻋﺸﻘﻰ ﻧﻴﺰ ﺑﻪ ﻣﻮﺍﺯﺍﺕ ﻛﻞ ﺩﺍﺳﺘﺎﻥ ﺍﻣﺘﺪﺍﺩ ﺩﺍﺩﻩ ﺷﺪﻩ‪ .‬ﺍﻭﺭﺍﻛﻞ ﺍﺯ ﻧﺸﺎﻧﻪﻫﺎﻯ‬ ‫ﻣﻨﺠﻰ ﻳﻜﻰ ﺭﺍ ﻫﻢ ﺍﻳﻦ ﻗﻠﻢﺩﺍﺩ ﻛﺮﺩﻩ ﻛﻪ ﺗﺮﻳﻨﻴﺘﻰ ﻋﺎﺷﻘﺶ ﺧﻮﺍﻫﺪ ﺷﺪ‪ .‬ﻭ ﺍﻳﻦ ﺷﺨﺺ ﻧﺌﻮ ﺍﺳﺖ‪.‬‬ ‫ﺍﻟﺒﺘﻪ ﺍﺑﻬﺎﻡ ﻣﻌﻨﻰﺩﺍﺭﻯ ﺩﺭ ﺍﻳﻦ ﺟﺮﻳﺎﻥ ﺍﺣﺴﺎﺳﻰ ﺟﺎﺭﻯ ﺍﺳﺖ ﻛﻪ ﺁﻳﺎ ﺗﺮﻳﻨﻴﺘﻰ ﻋﺎﺷﻖ ﻣﻨﺠﻰ ﻣﻰﺷﻮﺩ‬ ‫ﻳﺎ ﺗﺮﻳﻨﻴﺘﻰ ﺑﺎ ﻋﺎﺷﻖ ﺷﺪﻥ‪ ،‬ﺍﺯ ﻳﻚ ﻧﻔﺮ ﻣﻨﺠﻰ ﻣﻰﺳﺎﺯﺩ؟‬ ‫ﺩﺭ ﺍﭘﻴﺰﻭﺩ ﺩﻭﻡ ﻧﺌﻮ ﻛﻪ ﺍﻳﻨﻚ ﻳﻚ ﻣﻨﺠﻰ ﺟﻬﺶﻳﺎﻓﺘﻪ ﺷﺪﻩ‪ ،‬ﺑﺮ ﺧﻼﻑ ﺗﻤﺎﻡ ﻧﮕﺎﺭﺵﻫﺎﻯ ﭘﻴﺸﻴﻦ‪،‬‬ ‫ﺑﻴﻦ ﻧﺠﺎﺕ ﺯﺍﻳﻮﻥ ﻭ ﻧﺠﺎﺕ ﺗﺮﻳﻨﻴﺘﻰ‪ ،‬ﺩﻭﻣﻰ ﺭﺍ ﺑﺮ ﻣﻰﮔﺰﻳﻨﺪ ﻭ ﺑﻪﻧﻮﻋﻰ ﻋﺸﻖ ﺭﺍ ﺑﺮ ﺍﻧﺴﺎﻧﻴﺖ ﻣﻘﺪﻡ‬ ‫ﻣﻰﺷﻤﺎﺭﺩ‪.‬‬ ‫ﻭ ﺩﺭ ﻧﻬﺎﻳﺖ ﺗﺮﻳﻨﻴﺘﻰ ﺩﺭ ﺍﭘﻴﺰﻭﺩ ﺳﻮﻡ ﺩﺭ ﺭﺍﻩ ﺭﺳﺎﻧﺪﻥ ﻣﻨﺠﻰ ﺑﻪ ﻫﺪﻓﺶ‪ ،‬ﺑﻪ ﺍﻓﺘﺨﺎﺭ ﻧﻮﻋﻰ ﻣﺮگ‬ ‫ﺷﻬﺎﺩﺕﮔﻮﻧﻪ ﻧﺎﺋﻞ ﻣﻰﺷﻮﺩ‪ .‬ﺍﻭ ﭘﻴﺶ ﺍﺯ ﻣﺮگ‪ ،‬ﺑﺎﻻﺗﺮ ﺍﺯ ﺳﻘﻒ ﺁﺳﻤﺎﻥ ﺗﻴﺮﻩ‪ ،‬ﺧﻮﺭﺷﻴﺪ ﺭﺍ ﺭﺅﻳﺖ ﻣﻰﻛﻨﺪ‬ ‫ﻭ ﺍﻳﻦ ﻳﻚ ﭘﺎﻳﺎﻥ ﻛﻠﻴﺸﻪﺍﻯ ﺍﺳﺖ ﺑﺮﺍﻯ ﻳﻚ ﻋﺸﻖ ﺁﺭﻣﺎﻧﻰ ﻭ ﺍﻟﺒﺘﻪ ﻛﻤﻰ ﻫﻢ ﻣﺼﻨﻮﻋﻰ‪.‬‬

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‫ﺷﻤﺎﺭﻩﻯ ‪ ،29‬ﺍﺭﺩﻳﺒﻬﺸﺖ ‪1392‬‬

‫ﺷﻜﻞ ‪ :5‬ﺍﻭﺭﺍﻛﻞ‬

‫ﺷﻜﻞ ‪ :6‬ﺗﺮﻳﻨﻴﺘﻰ‬

‫ﺷﻜﻞ ‪ :7‬ﻣﻌﻤﺎﺭ‪ ،‬ﺑﺮﻧﺎﻣﻪﻧﻮﻳﺲ ﻣﺎﺗﺮﻳﻜﺲ‬

‫ﺷﻜﻞ ‪ :8‬ﻫﻴﭻ ﻗﺎﺷﻘﻰ ﺩﺭ ﻛﺎﺭ ﻧﻴﺴﺖ‪.‬‬

‫ﺷﻜﻞ ‪ :9‬ﻣﺮﻭﻭﻧﺠﻴﻦ‬

‫ﺷﻜﻞ ‪ :10‬ﻛﻠﻴﺪﺳﺎﺯ‬

‫ﺷﻜﻞ ‪ :11‬ﺩﻭﮔﺎﻧﻪﻯ ﻗﺮﺹ ﻗﺮﻣﺰ ﻭ ﻗﺮﺹ ﺁﺑﻰ‬

‫ﻣﻘﺎﻟﻪ‬

‫ﻛﻪ »ﻣﺴﻴﺢ« ﻟﻘﺐ ﮔﺮﻓﺘﻪ‪ ،‬ﭘﺎﻳﺎﻥﺑﺨﺶ ﻧﻬﺎﻳﻰ ﺭﻧﺞﻫﺎ ﻭ ﻋﺬﺍﺏ ﺑﺸﺮﻳﺖ ﺍﺳﺖ‪ .‬ﺩﺭ ﺳﻪﮔﺎﻧﻪﻯ ﻣﺎﺗﺮﻳﻜﺲ‬ ‫ﺍﻳﻦ ﺍﻋﺘﻘﺎﺩ ﺳﻨﺘﻰ ﺑﻪ ﺷﻜﻞ ﻧﻮﻳﻨﻰ ﺑﺎﺯﺳﺎﺯﻯ ﺷﺪﻩ ﺍﺳﺖ‪.‬‬ ‫ﻣﻮﺭﻓﻴﻮﺱ ﻛﻪ ﺧﻮﺩ ﻳﺎﺩﺁﻭﺭ ﻳﺤﻴﻰ ﺗﻌﻤﻴﺪ ﺩﻫﻨﺪﻩ ﺍﺳﺖ‪ ،‬ﺩﺍﺳﺘﺎﻧﻰ ﺭﺍ ﺑﺎ ﺍﻳﻦ ﻣﻀﻤﻮﻥ ﻧﻘﻞ ﻣﻰﻛﻨﺪ ﻛﻪ‬ ‫ﺍﻭﻟﻴﻦ ﺍﻧﺴﺎﻧﻰ ﻛﻪ ﺧﻮﺩ ﺭﺍ ﺍﺯ ﻛﺸﺖﺯﺍﺭ ﺭﻫﺎﻧﻴﺪ ﻭ ﺑﺮﺧﻰ ﺍﺯ ﺩﻳﮕﺮﺍﻥ ﺭﺍ ﻫﻢ ﺁﺯﺍﺩ ﻛﺮﺩ‪ ،‬ﺩﺭ ﺁﺧﺮ ﺑﺎﺯﺧﻮﺍﻫﺪ‬ ‫ﮔﺸﺖ ﻭ ﻧﺒﺮﺩ ﺑﺎ ﻣﺎﺷﻴﻦﻫﺎ ﺭﺍ ﺑﻪ ﻧﻘﻄﻪ ﻧﻬﺎﻳﻰ ﺧﻮﺍﻫﺪ ﺭﺳﺎﻧﺪ‪ .‬ﺍﻳﻦ ﺭﻫﺎﻧﻴﺪﮔﺎﻥ‪ ،‬ﺁﺧﺮﻳﻦ ﺷﻬﺮ ﺍﻧﺴﺎﻥﻫﺎ‬ ‫ﺭﺍ ﺩﺭ ﻧﺰﺩﻳﻜﻰ ﻣﺮﻛﺰ ﺯﻣﻴﻦ ‪-‬ﻳﻌﻨﻰ ﺟﺎﻳﻰ ﻛﻪ ﺍﻧﺮژﻯ ﺯﻣﻴﻦﮔﺮﻣﺎﻳﻰ ﻗﺎﺑﻞ ﺗﻮﺟﻬﻰ ﺑﺮﺍﻯ ﺯﻧﺪﮔﻰ ﺩﺭ‬ ‫ﺍﺧﺘﻴﺎﺭ ﻣﻰﮔﺬﺍﺭﺩ‪ -‬ﺑﻨﺎ ﻧﻬﺎﺩﻩﺍﻧﺪ‪ .‬ﺷﻬﺮﻯ ﺑﻪ ﻧﺎﻡ »ﺯﺍﻳﻮﻥ« ]‪ [17‬ﻳﺎ ﻫﻤﺎﻥ ﺻﻬﻴﻮﻥ‪ .‬ﺻﻬﻴﻮﻥ ﻛﻮﻫﻰ‬ ‫ﺍﺳﺖ ﺩﺭ ﺟﻨﻮﺏ ﻏﺮﺑﻰ ﺑﻴﺖﺍﻟﻤﻘﺪﺱ ﻛﻪ ﺑﻨﺎ ﺑﺮ ﺍﻋﺘﻘﺎﺩﺍﺕ ﺑﻨﻰﺍﺳﺮﺍﺋﻴﻠﻰ‪ ،‬ﺟﺎﻳﮕﺎﻩ ﻧﺒﺮﺩ ﺁﺧﺮﺍﻟﺰﻣﺎﻥ ﻭ‬ ‫ﻇﻬﻮﺭ ﻣﺴﻴﺢ ﺧﻮﺍﻫﺪ ﺑﻮﺩ‪ .‬ﻣﻘﺪﻣﻪﻯ ﻇﻬﻮﺭ ﻣﺴﻴﺢ ﻭﻗﻮﻉ ﺟﻨﮕﻰ ﺩﺭ ﻣﻨﻄﻘﻪﺍﻯ ﻭﺍﻗﻊ ﺩﺭ ﺷﻤﺎﻝ ﻏﺮﺑﻰ‬ ‫ﺑﻴﺖﺍﻟﻤﻘﺪﺱ ﺑﻪ ﻧﺎﻡ ﺣﺎﺭﻣﺠﺪﻭﻥ ﻳﺎ ﻫﻤﺎﻥ ﺁﺭﻣﺎﮔﺪﻭﻥ ﺍﺳﺖ‪ .‬ﺍﻧﺴﺎﻥﻫﺎﻯ ﻣﻘﻴﻢ ﺩﺭ ﺷﻬﺮ ﺯﺍﻳﻮﻥ ﺩﺭ ﻓﻴﻠﻢ‬ ‫ﻣﺎﺗﺮﻳﻜﺲ‪ ،‬ﺩﺭ ﭘﺲ ﻧﺒﺮﺩﻫﺎﻯ ﺻﺪ ﺳﺎﻟﻪ ﺁﺭﻣﺎﮔﺪﻭﻧﻰ ﺑﺎ ﻣﺎﺷﻴﻦﻫﺎ‪ ،‬ﺍﻳﻨﻚ ﻣﻨﺘﻈﺮ ﻇﻬﻮﺭ ﻣﺴﻴﺤﺎ ﻭ ﻧﺒﺮﺩ‬ ‫ﻧﻬﺎﻳﻰ ﻫﺴﺘﻨﺪ‪.‬‬ ‫ﭘﻴﺮﺍﻣﻮﻥ ﺷﺨﺼﻴﺖﺳﺎﺯﻯ ﻣﻨﺠﻰ ﻧﻴﺰ ﺩﺭ ﺳﻪﮔﺎﻧﻪﻯ ﻣﺎﺗﺮﻳﻜﺲ ﺗﺎ ﺣﺪ ﺍﻣﻜﺎﻥ ﺍﺯ ﻧﻤﺎﺩﻫﺎﻯ ﻣﺴﻴﺢﮔﻮﻧﻪ‬ ‫ﺍﺳﺘﻔﺎﺩﻩ ﺷﺪﻩ ﺍﺳﺖ‪ .‬ﺍﺯ ﭘﻴﺶﮔﻮﻳﻰﻫﺎﻯ ﻋﻬﺪ ﻋﺘﻴﻖﮔﻮﻧﻪﻯ »ﺍﻭﺭﺍﻛﻞ« ]‪ [18‬ﻛﻪ ﺑﻪﻇﺎﻫﺮ ﻳﻚ ﻧﺮﻡﺍﻓﺰﺍﺭ‬ ‫ﻃﺮﻑﺩﺍﺭ ﺍﻧﺴﺎﻥﻫﺎ ﺍﺳﺖ ﻭ ﻇﻬﻮﺭ ﻧﺌﻮ ﺭﺍ ﭘﻴﺶﺑﻴﻨﻰ ﻛﺮﺩﻩ‪ ،‬ﺗﺎ ﺗﻌﻤﻴﺪ ﺩﻫﻨﺪﻩﺍﻯ ﺑﻪ ﻧﺎﻡ ﻣﻮﺭﻓﻴﻮﺱ ﻭ‬ ‫ﻫﻤﭽﻨﻴﻦ ﺯﻧﻰ ﺑﻪ ﻧﺎﻡ ﺗﺮﻳﻨﻴﺘﻰ ﻛﻪ ﻳﺎﺩﺁﻭﺭ ﻣﺮﻳﻢ ﻣﺠﺪﻟﻴﻪ ﺍﺳﺖ ﻭ ﺣﻮﺍﺭﻳﻮﻥ ﻭﻓﺎﺩﺍﺭ ﻭ ﻳﻬﻮﺩﺍﻯ ﺧﺎﺋﻨﻰ‬ ‫ﺑﻪ ﻧﺎﻡ ﺳﺎﻳﻔﺮ ﺭﻳﮕﺎﻥ‪.‬‬ ‫ﻭﺍژﻩﮔﺰﻳﻨﻰ ﻧﻴﺰ ﺩﺭ ﻓﻴﻠﻢ ﻣﺎﺗﺮﻳﻜﺲ ﺑﺴﻴﺎﺭ ﻧﻤﺎﺩﮔﻮﻧﻪ ﺍﺳﺖ‪ .‬ﻭﺍژﻩﻯ ﺗﺮﻳﻨﻴﺘﻰ ﺑﻪ ﻣﻌﻨﺎﻯ ﺗﺜﻠﻴﺚ )ﺁﻥﮔﻮﻧﻪ ﻛﻪ‬ ‫ﻣﺴﻴﺤﻴﺎﻥ ﺑﻪ ﺁﻥ ﻣﻌﺘﻘﺪﻧﺪ(‪ ،‬ﻭﺍژﻩ ﻣﻮﺭﻓﻴﻮﺱ ﺑﺮﮔﺮﻓﺘﻪ ﺍﺯ ﻧﺎﻡ ﺍﻳﺰﺩ ﻳﻮﻧﺎﻧﻰ ﺭﻭﻳﺎﻫﺎ‪ ،‬ﻭﺍژﻩﻯ ﺍﻭﺭﺍﻛﻞ ﺑﺮﮔﺮﻓﺘﻪ‬ ‫ﺍﺯ ﻧﺎﻡ ﭘﻴﺶﮔﻮﻯ ﻣﻌﺒﺪ ﺩﻟﻔﻰ ﺩﺭ ﻳﻮﻧﺎﻥ ﻭ ﻭﺍژﻩﻯ ﺳﺎﻳﻔﺮ ﺑﻪ ﻣﻌﻨﺎﻯ ﺳﻴﺴﺘﻢ ﻧﻮﺷﺘﺎﺭﻯ ﺭﻣﺰﻯ ﺍﺳﺖ‪.‬‬ ‫ﻫﻢﭼﻨﻴﻦ ﻧﺎﻡ ﻧﺎ ِﻭ ﺑﻪ ﻇﺎﻫﺮ ﺍﺑﺮﮔﺮﺍﻧﺸﻰ ]‪ [19‬ﻣﻮﺭﻓﻴﻮﺱ ﻭ ﻫﻤﻜﺎﺭﺍﻧﺶ‪» ،‬ﻧﺒﻮﻛﺪﻧﺰﺭ« ]‪ [20‬ﺍﺳﺖ‪.‬‬ ‫ﻧﺒﻮﻛﺪﻧﺰﺭ ﻧﺎﻡ ﻳﻜﻰ ﺍﺯ ﭘﺎﺩﺷﺎﻫﺎﻥ ﺑﺎﺑ ِﻞ ﺍﺳﺖ ﻛﻪ ﺩﺭ ﻧﺒﺮﺩ ﺑﺎ ﻛﻮﺭﻭﺵ ﺷﺎﻩ ﺍﻳﺮﺍﻥ‪ ،‬ﺷﻜﺴﺖ ﺧﻮﺭﺩ ﻭ‬ ‫ﺑﺮ ﺍﺛﺮ ﺷﻜﺴﺖ ﺍﻭ‪ ،‬ﻳﻬﻮﺩﻳﺎﻥ ﻛﻪ ﺑﺮﺩﻩﻯ ﺣﻜﻮﻣﺖ ﺑﺎﺑ ِﻞ ﺑﻮﺩﻧﺪ‪ ،‬ﺁﺯﺍﺩ ﺷﺪﻩ ﻭ ﺩﺭ ﻧﻬﺎﻳﺖ ﺑﻪ ﺳﺮﺯﻣﻴﻦ‬ ‫ﻣﻮﻋﻮﺩ ﺑﺎﺯﮔﺸﺘﻨﺪ‪ .‬ﻣﻮﺭﻓﻴﻮﺱ ﻭ ﺳﺎﻳﺮ ﺣﻮﺍﺭﻳﻮﻥ ﺩﺭ ﻧﺎﻭ ﻧﺒﻮﻛﺪﻧﺰﺭ ﻛﻪ ﺩﺭ ﺍﻧﺘﻬﺎﻯ ﺍﭘﻴﺰﻭﺩ ﺩﻭﻡ ﺑﻪ ﺩﺳﺖ‬ ‫»ﺳﻨﺘﻴﻨﻞﻫﺎ« ]‪ [21‬ﻧﺎﺑﻮﺩ ﻣﻰﺷﻮﺩ‪ ،‬ﺩﺭ ﺑﺎﺯﻣﺎﻧﺪﻩﻫﺎﻯ ﻓﺎﺿﻼﺏ ﺷﻬﺮﻫﺎﻳﻰ ﻛﻪ ﻣﺪﺕﻫﺎ ﭘﻴﺶ ﺑﻪ ﺩﺳﺖ‬ ‫ﻣﺎﺷﻴﻦﻫﺎ ﻧﺎﺑﻮﺩ ﻭ ﺧﺎﻟﻰ ﺍﺯ ﺳﻜﻨﻪ ﺷﺪﻩﺍﻧﺪ‪ ،‬ﺑﻪ ﮔﺸﺖ ﻭ ﮔﺬﺍﺭ ﻭ ﻣﺒﺎﺭﺯﻩ ﻣﺸﻐﻮﻟﻨﺪ‪.‬‬ ‫ﺑﻪ ﺟﺰ ﻣﻮﺍﺭﺩ ﺫﻛﺮ ﺷﺪﻩ ﻧﻴﺰ‪ ،‬ﺑﺴﻴﺎﺭﻯ ﺩﻳﮕﺮ ﺍﺯ ﺍﻳﻦ ﺩﺳﺖ ﻧﻤﺎﺩﺳﺎﺯﻯﻫﺎ ﻭ ﺍﺩﺍﻯ ﺩﻳﻦ ﺑﻪ ﺍﺳﻄﻮﺭﻩ ﺩﺭ‬ ‫ﻣﺠﻤﻮﻋﻪﻯ ﻣﺎﺗﺮﻳﻜﺲ ﻭﺟﻮﺩ ﺩﺍﺭﺩ‪.‬‬

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‫ﺷﻤﺎﺭﻩﻯ ‪ ،29‬ﺍﺭﺩﻳﺒﻬﺸﺖ ‪1392‬‬

‫ﺩﺭ ﺍﻳﻦ ﺷﺮﺍﻳﻂ ﻳﻚ ﻳﺎ ﭼﻨﺪ ﻧﻔﺮ ﺍﺯ ﺍﻳﻦ ﻏﺎﺭﻧﺸﻴﻨﺎﻥ ﺑﺎﻳﺪ ﺯﻧﺠﻴﺮﻫﺎ ﺭﺍ ﺑﺎﺯ ﻛﺮﺩﻩ ﺑﻪ ﺟﺴﺖ ﻭ ﺟﻮﻯ ﻧﻮﺭ‬ ‫ﺑﺮﻭﻧﺪ ﻭ ﺑﻌﺪ ﺍﺯ ﻳﺎﻓﺘﻦ ﺳﺮﻣﻨﺸﺄ ﺁﻥ‪ ،‬ﺳﺎﻳﺮﻳﻦ ﺭﺍ ﻫﻢ ﺑﻪ ﺳﻤﺖ ﻧﻮﺭ ﺑﺒﺮﻧﺪ ﻭ ﺍﻟﺒﺘﻪ ﭘﺮ ﻭﺍﺿﺢ ﺍﺳﺖ ﻛﻪ ﺁﻥ‬ ‫ﺳﺎﻳﺮﻳﻦ ﺩﺭ ﻗﺒﺎﻝ ﭼﻨﻴﻦ ﺣﺮﻛﺘﻰ ﻣﻘﺎﻭﻣﺖ ﻭ ﻣﺨﺎﻟﻔﺖ ﺧﻮﺍﻫﻨﺪ ﻛﺮﺩ‪ ،‬ﺯﻳﺮﺍ ﻛﻪ ﺑﻪ ﺗﺎﺭﻳﻜﻰ ﻭ ﺳﺎﻳﻪﻫﺎ ﺧﻮ‬ ‫ﮔﺮﻓﺘﻪﺍﻧﺪ ﻭ ﺍﻳﻨﺮﺳﻰ ﻋﻈﻴﻢ ﺁﻥﻫﺎ ﻣﺎﻧﻊ ﺣﺮﻛﺘﺸﺎﻥ ﺑﻪ ﺳﻮﻯ ﻧﻮﺭ ﺧﻮﺍﻫﺪ ﺷﺪ‪ .‬ﺩﻗﻴﻘﺎً ﭼﻨﻴﻦ ﻓﻀﺎﻳﻰ ﺑﺮ‬ ‫ﺩﻧﻴﺎﻯ ﻣﺎﺗﺮﻳﻜﺲ ﻫﻢ ﺣﺎﻛﻢ ﺍﺳﺖ‪ .‬ﻣﺮﺩﻡ ﻣﺎﺗﺮﻳﻜﺲ‪ ،‬ﺧﻮﺩ ﺑﺮﺍﻯ ﻣﻨﺠﻴﺎﻧﻰ ﻛﻪ ﻗﺼﺪ ﺩﺍﺭﻧﺪ ﺁﻥﻫﺎ ﺭﺍ ﺍﺯ‬ ‫ﺑﺮﺩﮔﻰ ﺭﻫﺎ ﻛﻨﻨﺪ‪ ،‬ﺩﺷﻤﻦ ﺩﺭﺟﻪ ﻳﻚ ﻣﺤﺴﻮﺏ ﻣﻰﺷﻮﻧﺪ‪.‬‬ ‫ﺍﻳﺪﻩ ﺟﺎﻟﺐ ﺩﻳﮕﺮ ﺍﻳﺪﻩﺍﻯ ﺍﺳﺖ ﺑﻪ ﻧﺎﻡ ﻣﻐﺰ ﺩﺭ ﺧﻤﺮﻩ ]‪ [16‬ﺍﺯ ﻓﻴﻠﺴﻮﻑ ﻓﺮﺍﻧﺴﻮﻯ ﺭﻧﻪ ﺩﻛﺎﺭﺕ‪ .‬ﺍﻳﻦ ﺍﻳﺪﻩ‬ ‫ﺑﺮ ﺿﻌﻒ ﺳﺎﺧﺘﺎﺭ ﺍﺩﺭﺍﻛﻰ ﺍﻧﺴﺎﻥ ﺑﻨﺎ ﺷﺪﻩ‪ .‬ﻓﺮﺽ ﻛﻨﻴﻢ ﺩﺍﻧﺸﻤﻨﺪﻯ ﭘﻠﻴﺪ ﻣﻐﺰ ﺍﻧﺴﺎﻧﻰ ﺍﺯ ﺑﺪﻧﺶ ﺑﻴﺮﻭﻥ‬ ‫ﺑﻴﺎﻭﺭﺩ ﻭ ﺩﺭ ﺧﻤﺮﻩﺍﻯ ﻛﻪ ﻣﻮﺍﺩ ﻏﺬﺍﻳﻰ ﻻﺯﻡ ﺭﺍ ﺑﺮﺍﻯ ﺯﻧﺪﻩ ﻧﮕﻪﺩﺍﺷﺘﻦ ﻣﻐﺰ ﺩﺍﺭﺩ‪ ،‬ﻗﺮﺍﺭ ﺩﻫﺪ‪ .‬ﺍﮔﺮ ﺍﻳﻦ‬ ‫ﺩﺍﻧﺸﻤﻨﺪ ﭘﺎﻳﺎﻧﻪﻫﺎﻯ ﻋﺼﺒﻰ ﻣﻐﺰ ﺭﺍ ﺑﻪ ﺍﺑﺮﺭﺍﻳﺎﻧﻪﺍﻯ ﻣﺘﺼﻞ ﻛﻨﺪ‪ ،‬ﺍﺯ ﻃﺮﻳﻖ ﺍﻳﻦ ﺍﺑﺮﺭﺍﻳﺎﻧﻪ ﻣﻰﺗﻮﺍﻧﺪ ﻣﻐﺰ‬ ‫ﻓﺮﺩ ﺭﺍ ﺯﻳﺮ ﺑﻤﺒﺎﺭﺍﻥ ﺗﻮﻫﻤﺎﺗﻰ ﻛﻪ ﺍﺯ ﻧﮕﺎﻩ ﺷﺨﺺ ﻭﺍﻗﻌﻰ ﻭ ﻛﺎﻣ ً‬ ‫ﻼ ﻋﺎﺩﻯ ﻫﺴﺘﻨﺪ ﻗﺮﺍﺭ ﺩﻫﺪ؛ ﺩﺭ ﺣﺎﻟﻰﻛﻪ‬ ‫ﺣﻘﻴﻘﺖ ﭼﻴﺰ ﺩﻳﮕﺮﻯ ﺍﺳﺖ‪ .‬ﻫﻤﻪﻯ ﺗﺠﺮﺑﻪﻫﺎﻯ ﻓﺮﺩ ﺩﺭ ﺍﻳﻦ ﺣﺎﻟﺖ ﻧﺘﺎﻳﺞ ﺣﺎﺻﻞ ﺍﺯ ﺍﻋﻤﺎﻝ ﺗﻜﺎﻧﻪﻫﺎﻯ‬ ‫ﺍﻟﻜﺘﺮﻳﻜﻰ ﺭﺍﻳﺎﻧﻪ ﺑﻪ ﭘﺎﻳﺎﻧﻪﻫﺎﻯ ﻋﺼﺒﻰ ﻭﻯ ﺍﺳﺖ‪ .‬ﺩﺭ ﺣﺎﻟﻰﻛﻪ ﺧﻮﺩ ﺷﺨﺺ ﺗﻤﺎﻡ ﺍﻳﻦ ﺗﻮﻫﻤﺎﺕ ﺭﺍ‬ ‫ﺣﻘﻴﻘﻰ ﻣﻰﭘﻨﺪﺍﺭﺩ‪ .‬ﺩﻛﺎﺭﺕ ﺑﺎ ﺍﻳﻦ ﺍﻳﺪﻩ ﻧﻮﻋﻰ ﻧﮕﺎﻩ ﺷﻚﺁﻣﻴﺰ ﺑﻪ ﻣﻔﻬﻮﻡ ﺣﻘﻴﻘﺖ ﻭ ﻭﺍﻗﻌﻴﺖ ﻭ ﻣﻨﻄﺒﻖ‬ ‫ﻳﺎ ﻏﻴﺮﻣﻨﻄﺒﻖ ﺑﻮﺩﻥ ﺍﻳﻦ ﺩﻭ ﺍﺭﺍﺋﻪ ﻣﻰﻛﻨﺪ‪ .‬ﺍﻭ ﺍﻳﻦ ﻧﻜﺘﻪ ﺭﺍ ﻣﻄﺮﺡ ﻣﻰﺳﺎﺯﺩ ﻛﻪ ﺷﺎﻳﺪ ﺗﻤﺎﻣﻰ ﺍﺩﺭﺍﻛﺎﺕ‬ ‫ﻭ ﺍﺣﺴﺎﺳﺎﺕ ﺭﻭﺯﻣﺮﻩﻯ ﻣﺎ ﭼﻴﺰﻯ ﺟﺰ ﺗﻮﻫﻤﺎﺕ ﻏﻴﺮﺣﻘﻴﻘﻰ ﻧﺒﺎﺷﺪ‪ .‬ﺷﺎﻳﺪ ﻣﺎ ﺻﺮﻓﺎً ﻣﻐﺰﻫﺎﻳﻰ ﺩﺭ ﺧﻤﺮﻩ‬ ‫ﻫﺴﺘﻴﻢ ﻭ ﺩﺍﻧﺸﻤﻨﺪﻯ ﺩﻳﻮﺍﻧﻪ ﺑﺮﺍﻯ ﺫﻫﻦ ﻣﺎ ﺩﺍﺳﺘﺎﻥﺳﺎﺯﻯ ﻣﻰﻛﻨﺪ‪ .‬ﻭ ﺗﻮﻫﻤﺎﺕ ﺍﻧﺴﺎﻥﻫﺎﻯ ﺧﻮﺍﺑﻴﺪﻩ‬ ‫ﺩﺭ ﻛﺸﺖﺯﺍﺭ ﺩﺭﻓﻴﻠﻢ ﻣﺎﺗﺮﻳﻜﺲ ﺩﻗﻴﻘﺎً ﺍﺯ ﻫﻤﻴﻦ ﺟﻨﺲ ﺍﺳﺖ‪ .‬ﺁﻥﻫﺎ ﺑﺎ ﻭﺍﻗﻌﻴﺘﻰ ﺩﺭ ﺫﻫﻦ ﺧﻮﺩ ﺭﻭﺑﺮﻭ‬ ‫ﻫﺴﺘﻨﺪ ﻛﻪ ﺣﻘﻴﻘﺖ ﻧﺪﺍﺭﺩ‪.‬‬ ‫ﺑﺎ ﺍﻳﻦ ﭘﻴﺶﺯﻣﻴﻨﻪﻯ ﺍﻓﻼﻃﻮﻧﻰ ﻭ ﺩﻛﺎﺭﺗﻰ‪ ،‬ﺩﺍﺳﺘﺎﻥ ﻓﻴﻠﻢ ﻣﺎﺗﺮﻳﻜﺲ ﺁﺷﻜﺎﺭﺍ ﻣﺤﺘﺎﺝ ﻳﻚ ﻣﻨﺠﻰ ﺍﺳﺖ‬ ‫ﻛﻪ ﺍﺯ ﺍﻧﺘﻬﺎﻯ ﻏﺎﺭ ﺗﺎﺭﻳﻚ ﻛﺸﺖﺯﺍﺭ ﺍﻧﺴﺎﻧﻰ ﺑﺮﺧﺎﺳﺘﻪ ﻭ ﺧﻮﺩ ﺭﺍ ﺍﺯ ﺗﻜﺎﻧﻪﻫﺎﻯ ﺍﻟﻜﺘﺮﻳﻜﻰ ﺗﻮﻫﻢﺯﺍ ﺭﻫﺎ‬ ‫ﻛﺮﺩﻩ‪ ،‬ﺳﭙﺲ ﺳﺎﻳﺮ ﺍﻧﺴﺎﻥﻫﺎ ﺭﺍ ﻧﻴﺰ ﺍﺯ ﻗﻠﺐ ﺗﺎﺭﻳﻜﻰ ﺑﻪ ﺳﻮﻯ ﻧﻮﺭ ﺭﻫﻨﻤﻮﻥ ﮔﺮﺩﺩ‪ .‬ﺍﻳﻦ ﻣﻨﺠﻰ ﺩﺭ‬ ‫ﺳﻪﮔﺎﻧﻪﻯ ﻣﺎﺗﺮﻳﻜﺲ ﺷﺨﺼﻰ ﺍﺳﺖ ﺑﻪ ﻧﺎﻡ ﺗﻮﻣﺎﺱ ﺁﻧﺪﺭﺳﻮﻥ ﻛﻪ ﺑﺎ ﻧﺎﻡ ﺍﺧﺘﺼﺎﺭﻯ ﻭ ﭘﻨﻬﺎﻧﻰ‪ ،‬ﺑﺎ ﻧﺎﻡ‬ ‫ﻧﺌﻮ ﺷﻨﺎﺧﺘﻪ ﻣﻰﺷﻮﺩ‪.‬‬ ‫‪ .2‬ﻛﺎﺭﺯﺍﺭ‬ ‫ﺩﺭ ﺍﻋﺘﻘﺎﺩﺍﺕ ﺑﻨﻰﺍﺳﺮﺍﺋﻴﻠﻰ‪ ،‬ﻫﻤﻴﺸﻪ ﺩﺭ ﺟﺎﻯ ﺟﺎﻯ ﺗﺎﺭﻳﺦ‪ ،‬ﺍﻧﺘﻈﺎﺭ ﻇﻬﻮﺭ ﻳﻚ ﻣﻨﺠﻰ ﺭﻫﺎﻳﻰﺑﺨﺶ‬ ‫ﺟﻬﺖ ﺁﺯﺍﺩﺳﺎﺯﻯ ﺍﻧﺴﺎﻥﻫﺎ ﺍﺯ ﺑﺮﺩﮔﻰ ﻭ ﻇﻠﻢ ﻭ ﺟﻮﺭ ﺑﻪ ﭼﺸﻢ ﻣﻰﺧﻮﺭﺩ‪ .‬ﻧﺴﺨﻪ ﻧﻬﺎﻳﻰ ﺍﻳﻦ ﻣﻨﺠﻰﻫﺎ‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،29‬ﺍﺭﺩﻳﺒﻬﺸﺖ ‪1392‬‬

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‫ﺁﻥ ﻫﺮﻛﺴﻰ ﻣﻰﺗﻮﺍﻧﺪ ﺑﺒﻴﻨﺪ‪ ،‬ﺑﺸﻨﻮﺩ‪ ،‬ﺑﺒﻮﻳﺪ‪ ،‬ﺯﻧﺪﮔﻰ ﻛﻨﺪ ﻭ ﺧﺎﻃﺮﻩ ﺩﺍﺷﺘﻪ ﺑﺎﺷﺪ ﺑﺪﻭﻥ ﺍﻳﻦ ﻛﻪ ﺣﺘﺎ‬ ‫ﻟﺤﻈﻪﺍﻯ ﺑﻪ ﺍﻳﻦ ﺑﻴﻨﺪﻳﺸﺪ ﻛﻪ ﻣﻤﻜﻦ ﺍﺳﺖ ﻫﻤﻪﻯ ﺍﻳﻦﻫﺎ ﺗﻮﻫﻢ ﺑﺎﺷﺪ‪ .‬ﺍﻳﻦ ﻓﻀﺎﻯ ﻣﺠﺎﺯﻯ ﺑﺮﺁﻣﺪﻩ ﺍﺯ‬ ‫ﻧﺮﻡﺍﻓﺰﺍﺭﻫﺎﻯ ﭘﻴﭽﻴﺪﻩ ﻛﺎﻣﭙﻴﻮﺗﺮﻯ ﻛﻪ ﺩﻧﻴﺎﻳﻰ ﺑﻰﻧﻘﺺ ﺍﺯ ﺫﻫﻦ ﺍﻧﺴﺎﻥﻫﺎ ﻭ ﺯﻧﺪﮔﻰﻫﺎﻯ ﻣﺠﺎﺯﻯﺷﺎﻥ‬ ‫ﺍﺳﺖ‪ ،‬ﻣﺎﺗﺮﻳﻜﺲ ﻧﺎﻡ ﺩﺍﺭﺩ‪.‬‬ ‫ﺟﺎﻟﺐ ﺍﻳﻦﺟﺎ ﺍﺳﺖ ﻛﻪ ﺩﺭ ﺳﺨﻨﺎﻥ ﺟﻨﺠﺎﻟﻰ ﻣﺄﻣﻮﺭ ﺍﺳﻤﻴﺖ ﺩﺭ ﺍﭘﻴﺰﻭﺩ ﺍﻭﻝ ﻭ ﻫﻢﭼﻨﻴﻦ ﺑﺮ ﺍﺳﺎﺱ‬ ‫ﻭﻗﺎﻳﻊ ﺑﺨﺶﻫﺎﻯ ﺍﻧﺘﻬﺎﻳﻰ ﺍﭘﻴﺰﻭﺩ ﺩﻭﻡ‪ ،‬ﺗﺎﺯﻩ ﺁﺷﻜﺎﺭ ﻣﻰﺷﻮﺩ ﻛﻪ ﺑﺮﺍﻯ ﺳﺎﺧﺘﻦ ﭼﻨﻴﻦ ﺩﻧﻴﺎﻳﻰ ﭼﻘﺪﺭ‬ ‫ﺳﻌﻰ ﻭ ﺧﻄﺎ ﺷﺪﻩ ﺍﺳﺖ ﻭ ﭼﻪ ﺍﻧﺪﺍﺯﻩ ﺳﺎﺧﺘﻦ ﻓﻀﺎﻳﻰ ﻣﺠﺎﺯﻯ ﻛﻪ ﺍﺯ ﺩﻳﺪ ﺍﻧﺴﺎﻥﻫﺎ ﻗﺎﺑﻞ ﻗﺒﻮﻝ ﺑﻪ‬ ‫ﻧﻈﺮ ﺑﺮﺳﺪ ﻣﺸﻜﻞ ﻭ ﻧﺰﺩﻳﻚ ﺑﻪ ﺷﻜﺴﺖ ﺍﺳﺖ‪ .‬ﻣﺄﻣﻮﺭ ﺍﺳﻤﻴﺖ ﻛﻪ ﺑﻪ ﻧﻮﻋﻰ ﻳﻜﻰ ﺍﺯ ﻗﻬﺮﻣﺎﻧﺎﻧﻪﺗﺮﻳﻦ ﻭ‬ ‫ﺍﺳﻄﻮﺭﻩﺍﻯﺗﺮﻳﻦ ﻧﻘﺶﻫﺎﻯ ﻣﻨﻔﻰ ﺗﻤﺎﻡ ﺗﺎﺭﻳﺦ ﺍﺩﺑﻴﺎﺕ ﻭ ﺳﻴﻨﻤﺎ ﺍﺳﺖ‪ ،‬ﺩﺭ ﺳﺨﻦ ﺑﻪ ﻳﺎﺩﻣﺎﻧﺪﻧﻰ ﺩﻳﮕﺮﻯ‬ ‫ﻣﺘﺬﻛﺮ ﻣﻰﺷﻮﺩ ﻛﻪ ﻧﺴﺨﻪﻯ ﺍﻭﻟﻴﻪ ﻣﺎﺗﺮﻳﻜﺲ ﺑﻪ ﻭﺍﺳﻄﻪﻯ ﺑﻰﻧﻘﺺ ﺑﻮﺩﻧﺶ ﻣﺤﻜﻮﻡ ﺑﻪ ﺷﻜﺴﺖ ﺑﻮﺩ‪.‬‬ ‫ﭼﻮﻥ ﺍﻧﺴﺎﻥﻫﺎ ﻫﻤﻴﺸﻪ ﻧﻴﺎﺯﻣﻨﺪ ﺯﺟﺮ ﻭ ﻋﺬﺍﺏ ﻭ ﺳﺨﺘﻰ ﻭ ﺭﻧﺞ ﻫﺴﺘﻨﺪ ﻭ ﺑﺪﻭﻥ ﺍﻳﻦﻫﺎ ﺯﻧﺪﮔﻰ ﺑﺮﺍﻳﺸﺎﻥ‬ ‫ﻣﺘﺼﻮﺭ ﻧﻴﺴﺖ‪ .‬ﻭ ﺍﻳﻦ ﻳﻜﻰ ﺩﻳﮕﺮ ﺍﺯ ﺗﺤﻠﻴﻞﻫﺎﻯ ﺑﺴﻴﺎﺭ ﺩﻗﻴﻖ ﻭ ﺻﺤﻴﺢ ﻳﻚ ﻧﺮﻡﺍﻓﺰﺍﺭ ﻫﻮﺷﻤﻨﺪ ﺩﺭ‬ ‫ﻣﻮﺭﺩ ﻣﻮﺟﻮﺩﻯ ﺑﻪ ﻧﺎﻡ ﺍﻧﺴﺎﻥ ﺍﺳﺖ‪.‬‬ ‫ﺑﻪﺍﺧﺘﺼﺎﺭ ﺍﮔﺮ ﺑﺨﻮﺍﻫﻴﻢ ﻭﻳﮋﮔﻰﻫﺎﻯ ﺷﻜﻞﮔﻴﺮﻯ ﻓﻀﺎﻯ ﻣﺎﺗﺮﻳﻜﺲ ﺭﺍ ﻣﺮﻭﺭ ﻛﻨﻴﻢ‪ ،‬ﻋﺒﺎﺭﺕ ﺍﺳﺖ ﺍﺯ‪:‬‬ ‫ﺍﻟﻒ( ﻣﻐﺰ ﺍﻧﺴﺎﻥ‪ ،‬ﺗﻨﻬﺎ ﺳﻴﮕﻨﺎﻝﻫﺎﻯ ﺍﻟﻜﺘﺮﻳﻜﻰ ﺭﺍ ﺩﺭﻙ ﻣﻰﻛﻨﺪ‪ ،‬ﻓﺎﺭﻍ ﺍﺯ ﺍﻳﻦﻛﻪ ﺁﻥﻫﺎ ﺳﺮﭼﺸﻤﻪ‬ ‫ﮔﺮﻓﺘﻪ ﺍﺯ ﻭﺍﻗﻌﻴﺖ ﻫﺴﺘﻨﺪ ﻳﺎ ﺑﻪ ﺷﻜﻞ ﻣﺼﻨﻮﻋﻰ ﺗﻮﻟﻴﺪ ﺷﺪﻩﺍﻧﺪ‪.‬‬ ‫ﺏ( ﺍﻧﺴﺎﻥﻫﺎ ﺑﺮﺍﻯ ﺷﻜﺴﺖﺩﺍﺩﻥ ﻣﺎﺷﻴﻦﻫﺎ‪ ،‬ﺁﺳﻤﺎﻥ ﺭﺍ ﺳﻴﺎﻩ ﻛﺮﺩﻩﺍﻧﺪ ﺗﺎ ﻣﻨﺒﻊ ﺍﻧﺮژﻯ ﺧﻮﺭﺷﻴﺪ ﺩﻭﺭ‬ ‫ﺍﺯ ﺩﺳﺘﺮﺱ ﻗﺮﺍﺭ ﮔﻴﺮﺩ‪.‬‬ ‫پ( ﻣﺎﺷﻴﻦﻫﺎ ﭘﺲ ﺍﺯ ﺷﻜﺴﺖ ﺍﻧﺴﺎﻥﻫﺎ‪ ،‬ﺁﻥﻫﺎ ﺭﺍ ﺗﺒﺪﻳﻞ ﺑﻪ ﺑﺎﺗﺮﻯ ﻛﺮﺩﻩﺍﻧﺪ‪ ،‬ﺩﺭ ﺷﺮﺍﻳﻄﻰ ﻛﻪ ﺍﻧﺴﺎﻥﻫﺎ‬ ‫ﺩﺭ ﻛﺸﺖﺯﺍﺭﻫﺎﻯ ﻣﺎﺷﻴﻨﻰ ﻛﺎﺷﺘﻪ ﻭ ﺑﺮﺩﺍﺷﺖ ﻣﻰﺷﻮﻧﺪ ﻭ ﺫﻫﻨﺸﺎﻥ ﺩﺭ ﺩﺭﻭﻥ ﺍﺩﺭﺍﻛﻰ ﺑﺮﺁﻣﺪﻩ ﺍﺯ‬ ‫ﺳﻴﮕﻨﺎﻝﻫﺎﻯ ﺍﻟﻜﺘﺮﻳﻜﻰ ﻣﺼﻨﻮﻋﻰ‪ ،‬ﻏﺮﻕ ﺩﺭ ﺟﻬﺎﻧﻰ ﻣﺠﺎﺯﻯ ﻭ ﻏﻴﺮﻭﺍﻗﻌﻰ ﺍﺳﺖ‪.‬‬ ‫ﺭﺩﭘﺎﻯ ﻓﻠﺴﻔﻰ ﻭﺟﻮﺩ ﺍﻳﻦ ﻓﻀﺎﻯ ﺗﺮﺳﻨﺎﻙ ﻣﺎﺗﺮﻳﻜﺴﻰ ﻧﻪ ﻓﻘﻂ ﺩﺭ ﻗﺮﻥ ﺑﻴﺴﺘﻢ‪ ،‬ﺑﻠﻜﻪ ﺩﺭ ﺳﺪﻩﻫﺎ ﻭ‬ ‫ﻫﺰﺍﺭﻩﻫﺎﻯ ﭘﻴﺶ ﺍﺯ ﺁﻥ ﻫﻢ ﻗﺎﺑﻞ ﺭﺩﮔﻴﺮﻯ ﺍﺳﺖ‪.‬‬ ‫ﺷﺎﻳﺪ ﺍﻳﺪﻩﻯ ﺗﻤﺜﻴﻞ ﻏﺎﺭ ]‪ [14‬ﺍﻓﻼﻃﻮﻥ ﺭﺍ ﺑﺘﻮﺍﻥ ﻗﻮﻯﺗﺮﻳﻦ ﺗﺤﻠﻴﻞ ﻓﻠﺴﻔﻰ ﻣﺎﺗﺮﻳﻜﺴﻰﮔﻮﻧﻪ ﺩﺭ‬ ‫ﮔﺬﺷﺘﻪ ﺩﺍﻧﺴﺖ‪ .‬ﺍﻓﻼﻃﻮﻥ ﺩﺭ ﻛﺘﺎﺏ ﺍﺭﺯﺷﻤﻨﺪ »ﺟﻤﻬﻮﺭﻯ« ]‪ [15‬ﺷﺮﺡ ﻛﺎﻣﻞ ﺗﻤﺜﻴﻞ ﻏﺎﺭ ﺭﺍ ﺑﻪ‬ ‫ﺷﻜﻠﻰ ﻭﺍﺿﺢ ﺑﻴﺎﻥ ﻛﺮﺩﻩ ﺍﺳﺖ‪ .‬ﺍﻭ ﻣﻌﺘﻘﺪ ﺍﺳﺖ ﻛﻪ ﺯﻧﺪﮔﻰ ﺍﻧﺴﺎﻥﻫﺎ ﺩﺭ ﺍﻳﻦ ﻋﺎﻟﻢ ﻣﺎﻧﻨﺪ ﻋﺪﻩﺍﻯ ﺍﺳﺖ‬ ‫ﺩﺭ ﺍﻧﺘﻬﺎﻯ ﻳﻚ ﻏﺎﺭ ﺑﺎ ﭘﺎﻫﺎﻯ ﺯﻧﺠﻴﺮ ﺷﺪﻩ ﻭ ﭘﺸﺖ ﺑﻪ ﻣﺪﺧﻞ ﻭﺭﻭﺩﻯ‪ ،‬ﺑﻪ ﺷﻜﻠﻰ ﻛﻪ ﺍﺯ ﺩﻳﺪﻥ ﻧﻮﺭ‬ ‫ﺑﻴﺮﻭﻥ ﻣﺤﺮﻭﻣﻨﺪ ﻭ ﺗﻨﻬﺎ ﺳﺎﻳﻪﻫﺎﻳﻰ ﺍﺯ ﺣﻘﻴﻘﺖ ﺑﻴﺮﻭﻥ ﻏﺎﺭ ﺑﺮ ﺭﻭﻯ ﺩﻳﻮﺍﺭ ﺑﺮﺍﻯ ﺁﻥﻫﺎ ﻧﻘﺶ ﻣﻰﺑﻨﺪﺩ‪.‬‬

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‫ﺷﻤﺎﺭﻩﻯ ‪ ،29‬ﺍﺭﺩﻳﺒﻬﺸﺖ ‪1392‬‬

‫ﺷﻜﻞ ‪ :1‬ﻣﺄﻣﻮﺭ ﺍﺳﻤﻴﺖ‬

‫ﺷﻜﻞ ‪ :2‬ﻛﺸﺖﺯﺍﺭﻫﺎﻯ ﺍﻧﺴﺎﻧﻰ‬

‫ﺷﻜﻞ ‪ :3‬ﺗﻮﻣﺎﺱ ﺍﻧﺪﺭﺳﻮﻥ )ﻧﺌﻮ(‬

‫ﺷﻜﻞ ‪ :4‬ﻣﻮﺭﻓﻴﻮﺱ ﺍﺳﺘﻔﺎﺩﻩﻯ ﺑﺎﺗﺮﻯﮔﻮﻧﻪﻯ ﻣﺎﺷﻴﻦﻫﺎ ﺍﺯ‬ ‫ﺍﻧﺴﺎﻥ ﺭﺍ ﺑﺮﺍﻯ ﻧﺌﻮ ﺷﺮﺡ ﻣﻰﺩﻫﺪ‪.‬‬

‫ﻣﻘﺎﻟﻪ‬

‫ﻣﺠﺎﺯﻯ ﻣﺎﺗﺮﻳﻜﺲ ﺍﺧﺘﺼﺎﺹ ﺩﺍﺭﺩ‪ .‬ﻳﻌﻨﻰ ﻓﻀﺎﻳﻰ ﻛﻪ ﺩﻭﺭ ﺍﺯ ﻭﺍﻗﻌﻴﺖ ﻣﺎﺩﻯ ﻭ ﺗﻨﻬﺎ ﺩﺭ ﺫﻫﻦ ﺍﻧﺴﺎﻥﻫﺎﻳﻰ‬ ‫ﻛﻪ ﺧﻮﺩ ﺩﺭ ﺧﻮﺍﺑﻰ ﺩﻳﺠﻴﺘﺎﻟﻰ ﻓﺮﻭ ﺭﻓﺘﻪﺍﻧﺪ‪ ،‬ﺟﺎﺭﻯ ﺍﺳﺖ‪ .‬ﻣﺎﺗﺮﻳﻜﺲ ﻳﺎ ﻫﻤﺎﻥ »ﻣﺎﺗﺮﻳﺲ« ﺩﺭ ﺭﻳﺎﺿﻴﺎﺕ‬ ‫ﺑﻪ ﻣﻔﻬﻮﻡ ﺁﺭﺍﻳﻪﻫﺎﻳﻰ ﺍﺯ ﺍﻋﺪﺍﺩ ﻳﺎ ﻧﺸﺎﻧﻪﻫﺎ ﻭ‪ ...‬ﺍﺳﺖ ﻛﻪ ﻋﻤﺪﺗﺎً ﺑﻪ ﻳﻚ ﻭﺿﻌﻴﺖ ﻧﺴﺒﺖ ﺩﺍﺩﻩ ﻣﻰﺷﻮﺩ‪.‬‬ ‫ﻣﺜ ً‬ ‫ﻼ ﻧﻤﺎﻳﺶ ﺣﺎﻟﺘﻰ ﺍﺯ ﻳﻚ ﺳﺎﻣﺎﻧﻪ‪ .‬ﻫﻢﭼﻨﻴﻦ ﺩﺭ ﻟﻐﺖ‪ ،‬ﻭﺍژﻩﻯ ﻣﺎﺗﺮﻳﻜﺲ ﺑﻪ ﻣﻌﻨﺎﻯ ﻭﺿﻌﻴﺖ ﻳﺎ ﺑﺴﺘ ِﺮ‬ ‫ﺯﻣﻴﻨﻪ ﻳﻚ ﺳﺎﻣﺎﻧﻪ ﻳﺎ ﺳﺎﺧﺘﺎﺭ ﻧﻴﺰ ﻫﺴﺖ‪.‬‬ ‫ﺩﺭ ﻓﻀﺎﻯ ﻣﺨﻮﻑ ﻓﻴﻠﻢ ﻣﺎﺗﺮﻳﻜﺲ‪ ،‬ﭘﻴﺮﺯﻭﻯ ﻧﻬﺎﻳﻰ ﻣﺎﺷﻴﻦﻫﺎﻯ ﺳﺎﺧﺘﻪ ﺷﺪﻩ ﺑﻪ ﺩﺳﺖ ﺑﺸﺮ ﺩﺭ ﻣﺪﺕﻫﺎ‬ ‫ﭘﻴﺶ ﻛﻪ ﺯﻣﺎﻥ ﺩﻗﻴﻖ ﺁﻥ ﻫﻢ ﻣﻌﻠﻮﻡ ﻧﻴﺴﺖ‪ ،‬ﻣﻨﺠﺮ ﺑﻪ ﻧﻮﻋﻰ ﺑﺮﺩﮔﻰ ﺍﻧﺴﺎﻧﻰ ﺷﺪﻩ ﺍﺳﺖ؛ ﺑﻪ ﺍﻳﻦ ﺷﻜﻞ‬ ‫ﻛﻪ ﻣﺎﺷﻴﻦﻫﺎ ﺑﺮﺍﻯ ﺗﺄﻣﻴﻦ ﺍﻧﺮژﻯ ﻣﻮﺩ ﻧﻴﺎﺯ ﺧﻮﺩ‪ ،‬ﻛﺸﺖﺯﺍﺭﻫﺎﻳﻰ ]‪ [7‬ﺍﺯ ﺍﻧﺴﺎﻥﻫﺎﻯ ﺧﻮﺍﺑﻴﺪﻩ ﻭ ﻏﻮﻃﻪﻭﺭ‬ ‫ﺩﺭ ﻭﺍﻗﻌﻴﺖ ﻣﺠﺎﺯﻯ ]‪ [8‬ﺭﺍ ﺑﻪ ﺻﻮﺭﺕ ﺳﺮﻯ ]‪ [9‬ﻭ ﻣﻮﺍﺯﻯ ]‪ [10‬ﺑﻪ ﻣﻨﺒﻊ ﺍﻧﺮژﻯ ﺍﻟﻜﺘﺮﻳﻜﻰ ﻭ ﮔﺮﻣﺎﻳﻰ‬ ‫ﺗﺒﺪﻳﻞ ﻛﺮﺩﻩﺍﻧﺪ‪ .‬ﺩﺭ ﺣﻘﻴﻘﺖ ﺍﻧﺴﺎﻥﻫﺎ ﻛﻪ ﺩﺭ ﻣﺮﺍﺣﻠﻰ ﺍﺯ ﻣﺒﺎﺭﺯﻩ ﺑﺎ ﻣﺎﺷﻴﻦﻫﺎ ﺁﺳﻤﺎﻥ ﺭﺍ ﺑﺎ ﺍﺑﺮﻫﺎﻯ ﺳﻴﺎﻩ‬ ‫ﭘﻮﺷﺎﻧﺪﻩﺍﻧﺪ ﺗﺎ ﻧﻮﺭ ﺧﻮﺭﺷﻴﺪ ﺑﻪ ﺳﻠﻮﻝﻫﺎﻯ ﺧﻮﺭﺷﻴﺪﻯ ﺗﻐﺬﻳﻪ ﻛﻨﻨﺪﻩﻯ ﺁﻥﻫﺎ ﻧﺮﺳﺪ‪ ،‬ﻣﻘﺪﻣﺎﺕ ﻻﺯﻡ ﺭﺍ‬ ‫ﺑﺮﺍﻯ ﺍﻳﻦﻛﻪ ﺧﻮﺩ ﺑﻪ ﺑﺎﺗﺮﻯﻫﺎﻯ ﻗﺎﺑﻞ ﺑﺎﺯﻳﺎﻓﺖ ﺗﺒﺪﻳﻞ ﺷﻮﻧﺪ‪ ،‬ﻓﺮﺍﻫﻢ ﻛﺮﺩﻩﺍﻧﺪ‪ .‬ﻣﻮﺭﻓﻴﻮﺱ ﺩﺭ ﺍﭘﻴﺰﻭﺩ‬ ‫ﺍﻭﻝ ﺍﺫﻋﺎﻥ ﻣﻰﻛﻨﺪ ﻛﻪ ﺯﻣﺎﻥ ﺑﻴﺸﺘﺮ ﺑﻪ ﺳﺎﻝ ‪ 2199‬ﺷﺒﺎﻫﺖ ﺩﺍﺭﺩ ﺗﺎ ﺳﺎﻝ ‪ 1999‬ﻭ ﺍﻧﺴﺎﻥﻫﺎ ﺧﻂ‬ ‫ﺳﻴﺮ ﺯﻣﺎﻧﻰ ﺭﺍ ﻛﺎﻣ ً‬ ‫ﻼ ﺍﺯ ﺩﺳﺖ ﺩﺍﺩﻩﺍﻧﺪ‪.‬‬ ‫ﺍﻣﺎ ﭼﮕﻮﻧﻪ ﺍﻧﺴﺎﻥﻫﺎ ﺑﺎﺗﺮﻯ ﻣﻰﺷﻮﻧﺪ؟ ﻣﻮﺭﻓﻴﻮﺱ ﺩﺭ ﺻﺤﻨﻪﺍﻯ ﺍﺯ ﺍﭘﻴﺰﻭﺩ ﺍﻭﻝ ﺑﻪ ﻗﻬﺮﻣﺎﻥ ﺩﺍﺳﺘﺎﻥ ‪-‬ﻧﺌﻮ‬ ‫]‪ -[11‬ﻣﻰﮔﻮﻳﺪ‪» :‬ﺑﺪﻥ ﺍﻧﺴﺎﻥ ﺗﻮﺍﻧﺎﻳﻰ ﺗﻮﻟﻴﺪ ﺑﺮﻕ ﺯﻳﺴﺘﻰ ]‪ [12‬ﺑﻴﺶ ﺍﺯ ﻳﻚ ﺑﺎﺗﺮﻯ ‪ 120‬ﻭﻟﺘﻰ ﻭ‬ ‫ﻫﻢﭼﻨﻴﻦ ﺗﻮﻟﻴﺪ ﮔﺮﻣﺎﻳﻰ ﺑﻴﺸﺘﺮ ﺍﺯ ﺑﻴﺴﺖ ﻭ ﭘﻨﺞ ﻫﺰﺍﺭ ﺑﻰﺗﻰﻳﻮ ]‪ [13‬ﺭﺍ ﺩﺍﺭﺩ‪ «.‬ﻳﻚ ﺑﻰﺗﻰﻳﻮ ﻋﺒﺎﺭﺕ‬ ‫ﺍﺳﺖ ﺍﺯ ﮔﺮﻣﺎﻯ ﻻﺯﻡ ﺑﺮﺍﻯ ﺭﺳﺎﻧﺪﻥ ﺩﻣﺎﻯ ﻳﻚ ﭘﻮﻧﺪ ﺁﺏ ﺍﺯ ﺩﻣﺎﻯ ‪ 60‬ﺩﺭﺟﻪﻯ ﻓﺎﺭﻧﻬﺎﻳﺖ ﺑﻪ ﺩﻣﺎﻯ ‪61‬‬ ‫ﺩﺭﺟﻪﻯ ﻓﺎﺭﻧﻬﺎﻳﺖ ﺩﺭ ﻓﺸﺎﺭ ﺛﺎﺑﺖ ﻳﻚ ﺍﺗﻤﺴﻔﺮ‪ .‬ﺍﻣﻜﺎﻥﭘﺬﻳﺮﻯ ﻋﻠﻤﻰ ﺗﺒﺪﻳﻞ ﺑﺪﻥ ﺍﻧﺴﺎﻥ ﺑﻪ ﻳﻚ ﻣﻨﺒﻊ‬ ‫ﺍﻧﺮژﻯ ﺍﻟﻜﺘﺮﻳﻜﻰ ﻭ ﮔﺮﻣﺎﻳﻰ ﻛﺎﻣ ً‬ ‫ﻼ ﻣﺤﺘﻤﻞ ﺍﺳﺖ‪.‬‬ ‫ﺩﺭ ﻛﺸﺖﺯﺍﺭﻫﺎﻯ ﺍﻧﺴﺎﻧﻰ ﺧﺒﺮﻯ ﺍﺯ ﺗﻮﻟﻴﺪﻣﺜﻞ ﻧﻴﺴﺖ‪ ،‬ﺑﻠﻜﻪ ﺍﻧﺴﺎﻥﻫﺎ ﻣﺎﻧﻨﺪ ﺑﺬﺭ ﻛﺎﺷﺘﻪ ﻣﻰﺷﻮﻧﺪ‬ ‫ﺗﺎ ﺩﺭ ﺯﻣﺎﻥ ﻣﻨﺎﺳﺐ ﻣﺤﺼﻮﻝ ﺍﻧﺮژﻯ ﻻﺯﻡ ﺭﺍ ﺗﻘﺪﻳﻢ ﻣﺎﺷﻴﻦﻫﺎ ﻛﻨﻨﺪ‪ .‬ﺩﺳﺖﺁﻭﺭﺩﻫﺎﻯ ﺩﺍﻧﺶ ژﻧﺘﻴﻚ‬ ‫ﺍﻣﻜﺎﻥﭘﺬﻳﺮﻯ ﭼﻨﻴﻦ ﻭﺍﻗﻌﻪﺍﻯ ﺭﺍ ﺑﺮ ﻣﺒﻨﺎﻯ ﺷﺒﻴﻪﺳﺎﺯﻯ ژﻧﺘﻴﻜﻰ ﻧﺎﻣﺤﺘﻤﻞ ﻧﻤﻰﺩﺍﻧﺪ‪.‬‬ ‫ﺍﻳﻦ ﺍﻧﺴﺎﻥﻫﺎﻯ ﺧﻮﺍﺑﻴﺪﻩ ﺩﺭﻭﻥ ﻛﭙﺴﻮﻝﻫﺎﻯ ﻛﺸﺖﺯﺍﺭ ﺍﻧﺴﺎﻧﻰ‪ ،‬ﻏﺮﻕ ﺩﺭ ﻓﻀﺎﻳﻰ ﻣﺠﺎﺯﻯ ﺩﺭ ﺫﻫﻦ‬ ‫ﺧﻮﺩ ﻫﺴﺘﻨﺪ ﻛﻪ ﺗﻨﻬﺎ ﺑﺎ ﺍﻋﻤﺎﻝ ﻭﻟﺘﺎژﻫﺎ ﻭ ﺗﺤﺮﻳﻚﻫﺎﻯ ﺍﻟﻜﺘﺮﻳﻜﻰ ﻻﺯﻡ ﺑﻪ ﻣﻐﺰﺷﺎﻥ‪ ،‬ﺑﺮﺍﻳﺸﺎﻥ ﻭﺍﻗﻌﻴﺖ‬ ‫ﻳﺎﻓﺘﻪ ﺍﺳﺖ‪ .‬ﻭ ﺍﻟﺒﺘﻪ ﻭﺍﻗﻌﺎً ﻣﻐﺰ ﺍﻧﺴﺎﻥ ﭼﻨﻴﻦ ﻗﺎﺑﻠﻴﺘﻰ ﺩﺍﺭﺩ ﻛﻪ ﺑﺎ ﺍﻋﻤﺎﻝ ﺗﺤﺮﻳﻚﻫﺎﻯ ﺍﻟﻜﺘﺮﻳﻜﻰ ﻻﺯﻡ‬ ‫ﺑﺪﻭﻥ ﻧﻴﺎﺯ ﺑﻪ ﺣﻮﺍﺱ ﻣﺮﺑﻮﻃﻪ‪ ،‬ﺗﻮﺍﻧﺎﻳﻰ ﺍﺩﺭﺍﻙ ﻭﺍﻗﻌﻰ ﻏﻴﺮﻭﺍﻗﻌﻴﺖﻫﺎ ﺭﺍ ﺩﺍﺭﺍ ﺑﺎﺷﺪ‪ .‬ﻣﺎﺷﻴﻦﻫﺎ‪ ،‬ﺑﺎ ﻛﻤﻚ‬ ‫ﻓﻦﺁﻭﺭﻯ ﻧﮕﺎﺭﺵ ﻧﺮﻡﺍﻓﺰﺍﺭﻫﺎﻯ ﭘﻴﭽﻴﺪﻩ‪ ،‬ﺩﻧﻴﺎﻳﻰ ﻣﺠﺎﺯﻯ ﺑﺮﺍﻯ ﺍﻧﺴﺎﻥﻫﺎﻯ ﺩﺭ ﺧﻮﺍﺏ ﺳﺎﺧﺘﻪﺍﻧﺪ ﻛﻪ ﺩﺭ‬

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‫ﺷﻤﺎﺭﻩﻯ ‪ ،29‬ﺍﺭﺩﻳﺒﻬﺸﺖ ‪1392‬‬

‫ﺑﻪﺩﻧﺒﺎﻝ ﺍﻳﻦ ﺳﻪﮔﺎﻧﻪ‪ ،‬ﺳﺎﺯﻧﺪﮔﺎﻥ ﺁﻥ ﺑﺮﺍﻯ ﺭﻓﻊ ﺍﺑﻬﺎﻡ ﻭ ﺭﻣﺰﮔﺸﺎﻳﻰ ﺑﻴﺸﺘﺮ ﺍﺯ ﻓﻀﺎﻯ ﻣﺎﺗﺮﻳﻜﺲ‪،‬‬ ‫ﻣﺠﻤﻮﻋﻪ ﻧ ُﻪ ﭘﻮﻳﺎﻧﻤﺎﻳﻰ ﺭﺍ ﻛﻪ ﺣﺎﺻﻞ ﻳﻚ ﻓﻌﺎﻟﻴﺖ ﭼﻨﺪﺳﺎﻟﻪ ﺍﺳﺖ‪ ،‬ﺑﺎ ﻧﺎﻡ »ﺍﻧﻴﻤﺎﺗﺮﻳﻜﺲ« ]‪ [4‬ﺍﺭﺍﺋﻪ‬ ‫ﺩﺍﺩﻧﺪ‪ .‬ﺗﺮﺗﻴﺐ ﺯﻣﺎﻧﻰ ﺳﺎﺧﺖ ﻣﺠﻤﻮﻋﻪ ﺳﻪﮔﺎﻧﻪ ﻣﺎﺗﺮﻳﻜﺲ ﻭ ﺍﻧﻴﻤﺎﺗﺮﻳﻜﺲ ﺑﻪﺻﻮﺭﺕ ﺯﻳﺮ ﺍﺳﺖ‪:‬‬ ‫‪ .1‬ﻣﺎﺗﺮﻳﻜﺲ )‪(1999‬‬ ‫‪ .2‬ﻣﺎﺗﺮﻳﻜﺲ‪ :‬ﺑﺎﺭﮔﺬﺍﺭﻯ ﻣﺠﺪﺩ )‪(2003‬‬ ‫‪ .3‬ﻣﺎﺗﺮﻳﻜﺲ‪ :‬ﺍﻧﻘﻼﺏﻫﺎ )‪(2003‬‬ ‫‪ .4‬ﺍﻧﻴﻤﺎﺗﺮﻳﻜﺲ )‪(2003‬‬ ‫ﺍﻳﻦ ﻣﻘﺎﻟﻪ ﺑﻪ ﺑﺮﺭﺳﻰ ﺯﻳﺮﺳﺎﺧﺖ ﻓﻠﺴﻔﻰ ﻭ ﻧﻤﺎﺩﺷﻨﺎﺳﻰ ﺣﺎﻛﻢ ﺑﺮ ﻣﺠﻤﻮﻋﻪﻯ ﻣﺎﺗﺮﻳﻜﺲ ﻛﻪ ﺟﺎﻳﮕﺎﻩ‬ ‫ﻭﻳﮋﻩﺍﻯ ﺩﺭ ﺳﻴﻨﻤﺎﻯ ﺩﺍﻧﺶ ﺷﮕﻔﺖ ﺩﺍﺭﺩ‪ ،‬ﻣﻰﭘﺮﺩﺍﺯﺩ‪.‬‬ ‫‪ .1‬ﻛﺸﺖﺯﺍﺭ‬ ‫ﺳﺨﻦ ﺑﻪﻳﺎﺩﻣﺎﻧﺪﻧﻰ »ﻣﺄﻣﻮﺭ ﺍﺳﻤﻴﺖ« ]‪ [5‬ﺩﺭ ﺍﭘﻴﺰﻭﺩ ﺍﻭﻝ ﺳﻪﮔﺎﻧﻪﻯ ﻣﺎﺗﺮﻳﻜﺲ ﺑﻬﺘﺮﻳﻦ ﺷﺮﻭﻉ ﻣﻤﻜﻦ‬ ‫ﺑﺮﺍﻯ ﻧﻮﺷﺘﻦ ﺍﻳﻦ ﻣﻘﺎﻟﻪ ﺍﺳﺖ‪ .‬ﺍﻭ ﺑﻪ ﻣﻮﺭﻓﻴﻮﺱ ]‪ [6‬ﻣﻰﮔﻮﻳﺪ‪:‬‬ ‫»ﻣﻰﺩﻭﻧﻰ ﭼﻴﻪ؟ ﺷﻤﺎﻫﺎ ﺩﺭ ﻭﺍﻗﻊ ﭘﺴﺘﺎﻥﺩﺍﺭ ﻧﻴﺴﺘﻴﻦ‪ .‬ﻫﺮ ﭘﺴﺘﺎﻥﺩﺍﺭﻱ ﺗﻮﻯ ﺍﻳﻦ ﺳﻴﺎﺭﻩ‪ ،‬ﺧﻮﺩﺵ ﺭﻭ‬ ‫ﺑﻪﻃﻮﺭ ﻏﺮﻳﺰﻱ ﺑﺎ ﻣﺤﻴﻂ ﺍﻃﺮﺍﻓﺶ ﺗﻄﺒﻴﻖ ﻣﻲﺩﻩ ﻭ ﺑﻪ ﺗﻌﺎﺩﻝ ﻣﻲﺭﺳﻮﻧﻪ‪ .‬ﺍﻣﺎ ﺷﻤﺎ ﺍﻧﺴﺎﻥﻫﺎ ﺍﻳﻦﻃﻮﺭﻯ‬ ‫ﻧﻴﺴﺘﻴﻦ‪ .‬ﺷﻤﺎﻫﺎ ﻭﺍﺭﺩ ﻳﻪ ﻣﻨﻄﻘﻪ ﻣﻲﺷﻴﻦ ﻭ ﺷﺮﻭﻉ ﺑﻪ ﺗﻮﻟﻴﺪﻣﺜﻞ ﻣﻲﻛﻨﻴﻦ ﻭ ﺍﻭﻥﻗﺪﺭ ﺧﻮﺩﺗﻮﻥ ﺭﻭ‬ ‫ﺗﻜﺜﻴﺮ ﻣﻲﻛﻨﻴﻦ ﺗﺎ ﺗﻤﺎﻡ ﻣﻨﺎﺑﻊ ﻃﺒﻴﻌﻲ ﻣﺼﺮﻑ ﺑﺸﻪ‪ .‬ﺍﻭﻥﻭﻗﺖ ﺗﻨﻬﺎ ﺭﺍﻩ ﺑﻘﺎﺗﻮﻥ ﺍﻳﻨﻪ ﻛﻪ ﺑﻪ ﻳﻪ ﻣﻨﻄﻘﻪ‬ ‫ﺩﻳﮕﻪ ﻣﻬﺎﺟﺮﺕ ﻛﻨﻴﻦ‪ .‬ﻣﻮﺟﻮﺩ ﺩﻳﮕﻪﺍﻱ ﺗﻮﻱ ﺍﻳﻦ ﺳﻴﺎﺭﻩ ﺯﻧﺪﮔﻲ ﻣﻲﻛﻨﻪ ﻛﻪ ﺍﻟﮕﻮﻱ ﺯﻧﺪﮔﻴﺶ ﻣﺸﺎﺑﻪ‬ ‫ﺷﻤﺎﺳﺖ‪ ،‬ﻣﻲﺩﻭﻧﻲ ﺍﻭﻥ ﭼﻴﻪ؟ ﻭﻳﺮﻭﺱ‪.‬‬ ‫ﺍﻧﺴﺎﻥﻫﺎ ﻳﻚ ﺑﻴﻤﺎﺭﻱﺍﻧﺪ‪ ،‬ﺳﺮﻃﺎﻥ ﺍﻳﻦ ﺳﻴﺎﺭﻩ!‬ ‫ﺷﻤﺎﻫﺎ ﻃﺎﻋﻮﻥ ﻫﺴﺘﻴﻦ‪ ،‬ﻭ ﻣﺎ ﺩﺭﻣﺎﻧﺶ !«‬ ‫ﺍﻳﻦ ﺗﺤﻠﻴﻞ ﻣﺄﻣﻮﺭ ﺍﺳﻤﻴﺖ ﺷﺎﻳﺪ ﻳﻜﻰ ﺍﺯ ﺩﻗﻴﻖﺗﺮﻳﻦ ﻣﻮﺷﻜﺎﻓﻰﻫﺎﻯ ﺟﺎﻣﻌﻪﺷﻨﺎﺳﺎﻧﻪ ﻭ ﺣﺘﺎ‬ ‫ﺯﻳﺴﺖﺷﻨﺎﺳﺎﻧﻪﻯ ﺍﺭﺍﺋﻪ ﺷﺪﻩ ﺩﺭ ﺣﻴﻄﻪﻯ ﺍﻧﺴﺎﻥﺷﻨﺎﺳﻰ ﻣﺪﺭﻥ ﺍﺳﺖ‪ .‬ﺍﺳﻤﻴﺖ ﻳﻚ ﻣﺄﻣﻮﺭ ﺍﺳﺖ‬ ‫ﻭ ﻣﺄﻣﻮﺭﺍﻥ‪ ،‬ﺑﺮﻧﺎﻣﻪﻫﺎﻯ ﻧﺮﻡﺍﻓﺰﺍﺭﻯ ﻛﻨﺘﺮﻝ ﺳﺎﺧﺘﺎﺭ ﻣﺎﺗﺮﻳﻜﺲ ﻭ ﻣﺘﻌﺎﺩﻝ ﻧﮕﻪ ﺩﺍﺷﺘﻦ ﺁﻥ ﻫﺴﺘﻨﺪ‪ .‬ﻭ‬ ‫ﻣﺄﻣﻮﺭ ﺍﺳﻤﻴﺖ ﺑﻪ ﺩﺭﺳﺘﻰ ﺩﺭﻳﺎﻓﺘﻪ ﻛﻪ ﺍﻧﺴﺎﻥﻫﺎ ﺧﻄﺮﻧﺎﻙﺗﺮﻳﻦ ﺗﻬﺪﻳﺪ ﺍﻛﻮﻟﻮژﻳﻜﻰ ﺳﻴﺎﺭﻩﻯ ﺯﻣﻴﻦ‬ ‫ﺗﻠﻘﻰ ﻣﻰﺷﻮﻧﺪ‪.‬‬ ‫ﺩﺭﺻﺪ ﻗﺎﺑﻞ ﺗﻮﺟﻬﻰ ﺍﺯ ﺩﺍﺳﺘﺎﻥ ﺍﭘﻴﺰﻭﺩ ﺍﻭﻝ ﺳﻪﮔﺎﻧﻪﻯ ﻣﺎﺗﺮﻳﻜﺲ ﺑﻪ ﺭﻣﺰﮔﺸﺎﻳﻰ ﺍﺯ ﻣﻔﻬﻮﻡ ﻓﻀﺎﻯ‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،29‬ﺍﺭﺩﻳﺒﻬﺸﺖ ‪1392‬‬

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‫ﻣﻘﺎﻟﻪ‬

‫ﺍﻓﻼﻃﻮﻥ‪ ،‬ﺩﻛﺎﺭﺕ‬ ‫ﻭ ﺟﻠﻮﻩﻫﺎﻯ ﻭﻳﮋﻩ‬ ‫ﭘﺮﻭﻧﺪﻩﺍﻯ ﺩﺭﺑﺎﺭﻩﻯ ﻣﺴﻴﺢﻧﺎﻣﻪﻯ »ﻣﺎﺗﺮﻳﻜﺲ«‬

‫ﻧﺎﺻﺮ ﺣﺎﻓﻈﻰ ﻣﻄﻠﻖ‬

‫ﺗﻘﺪﯾﻢ ﺑﻪ وﻇﯿﻔﻪﺷﻨﺎﺳﺎن‪» :‬ﺳﻨﺘﯿﻨﻞﻫﺎ«‬ ‫و ﺑﻪ ﻓﺮاﺑﺮﻧﺎﻣﻪی اﺑﺮاﻧﺴﺎن‪» :‬ﻣﺄﻣﻮر اﺳﻤﯿﺖ«‬ ‫ﺳﻪﮔﺎﻧﻪﻯ »ﻣﺎﺗﺮﻳﻜﺲ« ]‪ [1‬ﺳﺎﺧﺘﻪﻯ ﺑﺮﺍﺩﺭﺍﻥ ﻭﺍﭼﻮﻓﺴﻜﻰ ]‪ ،[2‬ﻳﻜﻰ ﺍﺯ ﭘﺮﻃﺮﻓﺪﺍﺭﺗﺮﻳﻦ‬ ‫ﻣﺴﻴﺢﻧﺎﻣﻪﻫﺎﻯ ﺗﺎﺭﻳﺦ ﺍﺩﺑﻴﺎﺕ ﻭ ﺳﻴﻨﻤﺎﻯ ﻏﺮﺏ ﺍﺳﺖ‪ .‬ﺍﻳﻦ ﺳﻪﮔﺎﻧﻪ ﻛﻪ ﺩﺭ ﺟﺎﻯ ﺟﺎﻯ ﺁﻥ ﺑﻴﺶ‬ ‫ﺍﺯ ﺻﺪﻫﺎ ﻧﻤﺎﺩ ﺗﺎﺭﻳﺨﻰ ﻭ ﻣﺬﻫﺒﻰ ﺍﺯ ﺳﺮﺍﺳﺮ ﺟﻬﺎﻥ ﺧﻮﺩﻧﻤﺎﻳﻰ ﻣﻰﻛﻨﺪ‪ ،‬ﻧﻮﻋﻰ ﺁﺭﻣﺎﮔﺪﻭﻥ ]‪[3‬‬ ‫ﺧﻴﺎﻟﻰ ﺭﺍ ﺩﺭ ﻗﺎﻟﺐ ﻳﻚ ﻓﻀﺎﻯ ﺁﺧﺮﺍﻟﺰﻣﺎﻧﻰ ﻭ ﭘﺴﺎﺁﺧﺮﺍﻟﺰﻣﺎﻧﻰ ﺑﻪ ﺗﺼﻮﻳﺮ ﻣﻰﻛﺸﺪ ﻛﻪ ﺩﺭ ﺁﻥ ﻧﻮﻉ‬ ‫ﺑﺸﺮ ﺑﺮﺍﻯ ﺑﻘﺎﻯ ﺧﻮﺩ ﻣﺤﺘﺎﺝ ﻣﺒﺎﺭﺯﻩ ﺑﺎ ﻣﺨﻠﻮﻗﺎﺗﻰ ﻣﺎﺷﻴﻨﻰ ﺍﺳﺖ ﻛﻪ ﺯﻣﺎﻧﻰ ﺑﺮﺍﻯ ﺭﺍﺣﺘﻰ ﺑﺸﺮﻳﺖ‬ ‫ﺁﻓﺮﻳﺪﻩ ﺷﺪﻩ ﺑﻮﺩﻧﺪ‪ .‬ﺍﻟﺒﺘﻪ ﻧﺎﮔﻔﺘﻪ ﻧﻤﺎﻧﺪ ﻛﻪ ﻓﻀﺎﻯ ﺭﺍﺯﺁﻟﻮﺩ ﺣﺎﻛﻢ ﺑﺮ ﻧﻤﺎﺩﻫﺎﻯ ﺍﻳﻦ ﻣﺠﻤﻮﻋﻪ‬ ‫ﺭﻭﻳﻜﺮﺩ ﻗﺎﺑﻞ ﺗﻮﺟﻬﻰ ﺩﺭ ﺑﻪ ﺗﺼﻮﻳﺮ ﻛﺸﻴﺪﻥ ﺍﺳﻄﻮﺭﻩﻫﺎﻯ ﺍﻟﻬﻴﺎﺕ ﺑﻨﻰﺍﺳﺮﺍﺋﻴﻠﻰ ﺩﺍﺭﺩ‪.‬‬

‫ﻓﺎﻧﺘﺰﻯ ‪ -‬ﻧﮕﺎﺭﺵ‬

‫ﺁﻥ ﮔﺎﻩ ﻟﺒﺨﻨﺪﻯ ﺯﺩ ﻭ ﮔﻔﺖ‪» :‬ﻫﺮﮔﺰ ﺩﻭﺳﺖ ﻧﺪﺍﺷﺘﻢ ﺯﻳﺮ ﺑﺎﺭ ﻣﺴﺌﻮﻟﻴﺘﻰ ﺑﺮﻡ ﻛﻪ ﺑﻪ ﺧﺎﻃﺮﺵ ﺣﺘﺎ‬ ‫ﻳﻪ ﺭﻭﺯ ﺑﻴﺸﺘﺮ ﺗﻮ ﺩﻧﻴﺎ ﻣﻌﻄﻞ ﺑﺸﻢ‪ .‬ﺍﻣﺎ ﺣﺎﻻ ﻣﻰﺑﻴﻨﻢ ﻛﻪ ﺑﺎﻳﺪ ﺳﺎﻝﻫﺎﻯ ﻃﻮﻻﻧﻰ‪ ،‬ﺍﻳﻦ ﺟﺴﻢ ﺭﻭ ﺑﺮﺍﻯ‬ ‫ﺗﻌﻠﻴﻢ ﻓﺮﺯﻧﺪﺕ ﺣﻔﻆ ﻛﻨﻢ‪«.‬‬ ‫ﺑﺮﺧﻮﺍﺳﺖ‪ ،‬ﺩﺧﺘﺮ ﺭﺍ ﺩﺭ ﺁﻏﻮﺵ ﮔﺮﻓﺖ‪ .‬ﺯﺍﻧﻮ ﺯﺩ ﻭ ﮔﻔﺖ‪» :‬ﺑﮕﺬﺍﺭ ﺑﺮﺍﻯ ﺧﺎﻧﻮﺍﺩﻩﻯ ﻛﻮﭼﻜﻰ ﻛﻪ ﺗﺸﻜﻴﻞ‬ ‫ﺧﻮﺍﻫﻴﻢ ﺩﺍﺩ ﺩﻋﺎﻯ ﺧﻴﺮ ﻛﻨﻴﻢ‪«.‬‬

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‫ﺷﻤﺎﺭﻩﻯ ‪ ،29‬ﺍﺭﺩﻳﺒﻬﺸﺖ ‪1392‬‬

‫ﺑﻬﺮﺍﻡ ﺑﺎ ﺗﺮﺩﻳﺪ ﭘﺮﺳﻴﺪ‪» :‬ﻣﻨﻈﻮﺭﺕ ﭼﻴﻪ؟«‬ ‫ﭘﻴﺶ ﺍﺯ ﺁﻥ ﻛﻪ ﺟﻤﻠﻪﺍﺵ ﺗﻤﺎﻡ ﺷﻮﺩ‪ ،‬ﺍﺳﺤﺎﻕ ﺑﺎ ﺩﻭ ﭘﺎ ﺑﻪ ﺳﻴﻨﻪﻯ ﺍﻭ ﺯﺩ‪ .‬ﺑﻬﺮﺍﻡ ﻛﻪ ﺳﻦ ﻛﻤﻰ ﻫﻢ‬ ‫ﻧﺪﺍﺷﺖ‪ ،‬ﺭﻭﻯ ﭘﺎﻯ ﻛﻮﺗﺎﻫﺶ ﻟﻐﺰﻳﺪ ﻭ ﭘﻴﻠﻰﭘﻴﻠﻰﺧﻮﺭﺍﻥ ﺑﻪ ﺳﻤﺖ ﻛﻨﺎﺭﻩﻯ ﭘﻞ ﺭﻓﺘﻪ ﺩﺭ ﺣﺎﻟﻰ ﻛﻪ ﭼﻨﺪ‬ ‫ﺗﺎﺭ ﺭﻳﺶ ﺍﺳﺤﺎﻕ ﺩﺭ ﭼﻨﮕﺶ ﻣﺎﻧﺪﻩ ﺑﻮﺩ‪ ،‬ﺑﻪ ﭘﺎﻳﻴﻦ ﺳﻘﻮﻁ ﻛﺮﺩ‪ .‬ﺷﺒﺰﻯﻫﺎﻯ ﻏﺎﻓﻠﮕﻴﺮ ﺷﺪﻩ‪ ،‬ﺳﻌﺒﺎﻧﻪ‬ ‫ﺑﺮ ﺍﺳﺤﺎﻕ ﻫﺠﻮﻡ ﺁﻭﺭﺩﻧﺪ‪.‬‬ ‫‪ ‬ﭘﻴﺮﻣﺮﺩ ﺑﺮ ﺻﻨﺪﻟﻰ ﻧﺸﺴﺘﻪ ﻭ ﻛﺸﺘﻰﻫﺎﻳﺶ ﻏﺮﻕ ﺷﺪﻩ ﺑﻮﺩﻧﺪ‪ .‬ﺍﺯ ﺟﺎﻯ ﺑﺮﺧﻮﺍﺳﺖ ﻭ ﺗﺎﺑﻠﻮﻯ ﻛﻨﺎﺭ‬ ‫ﺳﺎﻋﺖ ﺭﺍ ﺻﺎﻑ ﻳﺎﻓﺖ‪ .‬ﻛﺴﻰ ﺩﺭ ﺯﺩ ﻭ ﺍﻭ ﺍﺟﺎﺯﻩﻯ ﻭﺭﻭﺩ ﺩﺍﺩ‪ .‬ﺁﺯﺍﺩﻩ ﺑﻮﺩ ﺑﺎ ﭼﺸﻤﺎﻧﻰ ﺳﺮﺥ ﺍﺯ ﺍﺷﻚ‪ .‬ﭘﻴﺶ‬ ‫ﺁﻣﺪ ﻭ ﭘﺮﺳﻴﺪ‪» :‬ﺧﺒﺮ ﺑﻬﺘﻮﻥ ﺭﺳﻴﺪ؟«‬ ‫ﭘﻴﺮﻣﺮﺩ ﮔﻔﺖ‪» :‬ﻭﺍﻗﻌﺎً ﻏﻢﺍﻧﮕﻴﺰﻩ! ﺍﻳﻦ ﭘﺴﺮ ﻫﻤﻴﺸﻪ ﺑﻪ ﮔﻮﻧﻪﺍﻯ ﻛﻮﺩﻛﺎﻧﻪ ﺑﻪ ﺟﺎﻭﺩﺍﻧﮕﻰ ﺧﻮﺩﺵ ﺍﻋﺘﻤﺎﺩ‬ ‫ﺩﺍﺷﺖ‪«.‬‬ ‫ﺩﺧﺘﺮ ﺑﺎ ﺧﺸﻢ ﮔﻔﺖ‪» :‬ﻏﻢﺍﻧﮕﻴﺰﺗﺮ ﺍﻳﻨﻪ ﻛﻪ ﺷﻤﺎ ﻣﻰﺗﻮﻧﺴﺘﻴﺪ ﺑﻬﺶ ﻛﻤﻚ ﻛﻨﻴﺪ ﻭ ﺍﻳﻦ ﺑﺮﺍﺗﻮﻥ ﺧﻴﻠﻰ‬ ‫ﺳﺎﺩﻩ ﺑﻮﺩ‪«.‬‬ ‫ﭘﻴﺮﻣﺮﺩ ﮔﻔﺖ‪» :‬ﺗﻮ ﻳﻜﻰ ﺭﻭ ﻣﻰﺩﻭﻧﻰ‪ ،‬ﺩﻭ ﺗﺎ ﺭﻭ ﻧﻤﻰﺩﻭﻧﻰ‪ .‬ﺍﻭﻥ ﭘﺴﺮ ﺭﺍﻫﻰ ﺑﺮﺍﻯ ﻣﻦ ﺑﺎﻗﻰ ﻧﮕﺬﺍﺷﺖ‪.‬‬ ‫ﺁﻥﻗﺪﺭ ﺑﺪ ﺑﺎﺯﻯ ﻛﺮﺩ ﻛﻪ ﺗﻮ ﻫﺮ ﺣﺮﻛﺖ ﺧﻮﺩﺵ ﺭﻭ ﺑﻪ ﻣﺎﺕ ﺷﺪﻥ ﻧﺰﺩﻳﻚﺗﺮ ﺷﺪ‪«.‬‬ ‫ﺩﺧﺘﺮ ﺑﻴﻨﻴﺶ ﺭﺍ ﺑﺎ ﺩﺳﺘﻤﺎﻝ ﭘﺎﻙ ﻛﺮﺩ ﻭ ﮔﻔﺖ‪» :‬ﺍﻳﻦ ﺷﻄﺮﻧﺞ ﻧﺒﻮﺩ ﭘﺪﺭ! ﻣﮕﺮ ﺍﻳﻦ ﻛﻪ ﻫﺮ ﺩﻭ ﺑﺎﺯﻳﻜﻦ‬ ‫ﺷﻄﺮﻧﺞ ﺑﺘﻮﻧﻦ ﻫﻤﺰﻣﺎﻥ ﺑﺎﺯﻧﺪﻩ ﺑﺎﺷﻦ‪ .‬ﺑﻬﺮﺍﻡ ﺑﻌﺪ ﺍﺯ ﺳﻘﻮﻁ ﺍﺯ ﺭﻭﻯ ﭘﻞ ﺑﺎ ﺍﺗﻮﻣﺒﻴﻞﻫﺎﻯ ﮔﺬﺭﻯ ﺗﺼﺎﺩﻑ‬ ‫ﻛﺮﺩﻩ ﻭ ﻛﺸﺘﻪ ﺷﺪﻩ‪«.‬‬ ‫ﭘﻴﺮﻣﺮﺩ ﮔﻔﺖ‪» :‬ﻣﻈﻔﺮﺯﺍﺩﻩﻫﺎ ﻣﺜﻞ ﺧﺮﮔﻮﺵ ﻣﻰﻣﻮﻧﻦ‪ .‬ﻭﻟﻰ ﺍﻣﺮﻭﺯ ﺍﺳﺤﺎﻕ ﺁﺧﺮﻳﻦ ﺑﺎﺯﻣﺎﻧﺪﻩﻯ ﻟﻮﺭﻳﺎ ﺑﻮﺩ‬ ‫ﻛﻪ ﻛﺸﺘﻪ ﺷﺪ‪ .‬ﻏﻢ ﺑﺰﺭگﺗﺮ ﻣﻦ ﺍﻳﻨﻪ ﺩﺧﺘﺮﻡ‪«.‬‬ ‫ﺩﺧﺘﺮ ﻛﻪ ﮔﻮﻳﻰ ﻗﺼﺪ ﺩﺍﺷﺖ ﺑﻪ ﻧﺤﻮﻯ ﺑﺤﺚ ﺭﺍ ﺑﻪ ﺍﻳﻦﺟﺎ ﺑﻜﺸﺎﻧﺪ‪ ،‬ﺍﻳﻦ ﭘﺎ ﺁﻥ ﭘﺎ ﻛﺮﺩ ﻭ ﺑﺎ ﺳﺮﻯ ﺍﻓﻜﻨﺪﻩ‬ ‫ﮔﻔﺖ‪» :‬ﭘﺪﺭ! ﻣﻦ ﺍﺯ ﺍﺳﺤﺎﻕ ﺑﺎﺭﺩﺍﺭﻡ!«‬ ‫ﺳﺎﻝﻫﺎ ﺑﻮﺩ ﻛﻪ ﭘﻴﺮﻣﺮﺩ ﺍﻳﻦﭼﻨﻴﻦ ﻏﺎﻓﻠﮕﻴﺮ ﻧﺸﺪﻩ ﺑﻮﺩ ﻭ ﭼﺸﻤﺎﻧﺶ ﺗﺎ ﺍﻳﻦ ﺣﺪ ﻗﺼﺪ ﺑﻴﺮﻭﻥ ﭘﺮﻳﺪﻥ ﻧﺪﺍﺷﺘﻨﺪ‪.‬‬ ‫ﻧﻤﻰﺩﺍﻧﺴﺖ ﭼﻄﻮﺭ ﺍﻳﻦ ﺧﺒﺮ ﺭﺍ ﻫﻀﻢ ﻛﻨﺪ‪ .‬ﺧﻮﺷﺤﺎﻝ ﺑﺎﺷﺪ ﻳﺎ ﻧﺎﺭﺍﺣﺖ‪ ،‬ﺑﺨﺸﻨﺪﻩ ﺑﺎﺷﺪ ﻳﺎ ﺧﺸﻤﮕﻴﻦ! ﺭﻭ ﺑﻪ‬ ‫ﺩﺧﺘﺮﺵ ﮔﻔﺖ‪» :‬ﺍﻳﻦ ﺧﺒﺮ ﻏﺎﻓﻠﮕﻴﺮ ﻛﻨﻨﺪﻩﺍﻯ ﺑﻮﺩ‪ .‬ﺗﻘﺼﻴﺮ ﺑﺮ ﻋﻬﺪﻩﻯ ﻣﻨﻪ ﻛﻪ ﺗﻤﺎﻡ ﺗﻮﺍﻥ ﻓﻜﺮﻯ ﻭ ﺟﺴﻤﻴﻢ‬ ‫ﺭﻭ ﻣﻌﻄﻮﻑ ﻣﺤﻴﻂ ﺧﺎﺭﺝ ﺍﺯ ﺧﻮﻧﻪ ﻛﺮﺩﻡ ﻭ ﻧﻈﺎﺭﺗﻰ ﺑﺮ ﺗﻮ ﻭ ﺭﻭﺍﺑﻄﺖ ﻧﺪﺍﺷﺘﻢ‪ .‬ﺍﻣﺎ ﻫﺮ ﭼﻪ ﮔﺬﺷﺘﻪ‪ ،‬ﺗﺎﺭﻳﺦ‬ ‫ﺁﻳﻨﺪﻩ ﺭﻭ ﺭﻗﻢ ﺧﻮﺍﻫﺪ ﺯﺩ‪ .‬ﻣﻘﺪﻣﺶ ﮔﺮﺍﻣﻰ ﺧﻮﺍﻫﺪ ﺑﻮﺩ‪ .‬ﭘﺲ ﻫﻨﻮﺯ ﺷﺎﻧﺴﻰ ﻭﺟﻮﺩ ﺩﺍﺭﻩ‪«.‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،29‬ﺍﺭﺩﻳﺒﻬﺸﺖ ‪1392‬‬

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‫ﻓﺎﻧﺘﺰﻯ ‪ -‬ﻧﮕﺎﺭﺵ‬

‫ﺍﺳﺤﺎﻕ ﺑﺎ ﺻﺪﺍﻳﻰ ﺑﻠﻨﺪ ﻛﻪ ﺑﻪ ﮔﻮﺵ ﻫﻤﻪ ﺑﺮﺳﺪ ﭘﺮﺳﻴﺪ‪» :‬ﭘﺲ ﭼﻴﺰﻯ ﻛﻪ ﺩﺭ ﻣﻮﺭﺩ ﺑﻼﻫﺖ ﻣﺮﺩﻡ ﺗﻮ‬ ‫ﺷﻨﻴﺪﻡ‪ ،‬ﺩﺭﺳﺖ ﺑﻮﺩﻩ؛ ﭼﻮﻥ ﻣﻰﺑﻴﻨﻢ ﻫﻨﻮﺯ ﺑﻌﺪ ﺍﺯ ﺍﻳﻦ ﻫﻤﻪ ﻭﻗﺖ ﻣﺘﻮﺟﻪ ﺗﻐﻴﻴﺮ ﻓﺼﻞ ﻧﺸﺪﻥ‪«.‬‬ ‫ﺁﻥ ﺩﻭ ﺧﻮﺩ ﺭﺍ ﺯﻭﺩﺗﺮ ﺑﻪ ﺍﻭ ﺭﺳﺎﻧﺪﻩ‪ ،‬ﺑﺎ ﻟﮕﺪ ﺑﻪ ﺟﺎﻧﺶ ﺍﻓﺘﺎﺩﻧﺪ ﺗﺎ ﺑﻬﺮﺍﻡ ﻛﻪ ﻣﺎﺗﻢﺯﺩﻩ ﺑﻪ ﻧﻈﺮ ﻣﻰﺭﺳﻴﺪ‬ ‫ﻧﺰﺩﻳﻚ ﺷﺪ ﻭ ﻓﺮﻣﺎﻥ ﺩﺍﺩ ﺩﺳﺖ ﻧﮕﻪ ﺩﺍﺭﻧﺪ‪ .‬ﺍﺯ ﺯﺧﻢ ﺑﺎﻻﻯ ﭘﻴﺸﺎﻧﻴﺶ ﺧﻮﻥ ﺑﺎﺯ ﺷﺪﻩ ﺑﻮﺩ‪ .‬ﺑﻬﺮﺍﻡ ﻳﻚ‬ ‫ﺩﻭﺭ ﻛﺎﻣﻞ ﺯﺩ ﻭ ﮔﻔﺖ‪» :‬ﻫﻤﻴﺸﻪ ﻟﺤﻈﻪﻯ ﻛﺸﺘﻨﺖ ﺭﻭ ﺧﻴﻠﻰ ﺷﻴﺮﻳﻦ ﺗﺠﺴﻢ ﻣﻰﻛﺮﺩﻡ ﻭ ﺩﺭ ﺁﺭﺯﻭﻯ‬ ‫ﺩﻳﺪﻧﺶ ﺑﻮﺩﻡ‪«.‬‬ ‫ﺳﭙﺲ ﺑﺎ ﺍﻧﮕﺸﺖ ﺧﻮﻥ ﺍﻭ ﺭﺍ ﭼﺸﻴﺪﻩ ﮔﻔﺖ‪» :‬ﺍﻧﮕﺎﺭ ﺷﻤﺎ ﺟﻬﻮﺩﻫﺎ ﻫﻴﭻ ﺟﻨﺲ ﻣﺮﻏﻮﺑﻰ ﻧﺪﺍﺭﻳﺪ‪ .‬ﺩﺭﺳﺖ‬ ‫ﻧﻤﻰﮔﻢ؟«‬ ‫ﻓﻚ ﺍﺳﺤﺎﻕ ﺯﻳﺮ ﻓﺸﺎﺭ ﺑﻮﺩ ﻭ ﻧﻤﻰﺗﻮﺍﻧﺴﺖ ﭼﻴﺰﻯ ﺑﮕﻮﻳﺪ‪ ،‬ﭘﺲ ﺑﻪ ﺍﻳﻦ ﻛﻔﺎﻳﺖ ﻛﺮﺩ ﻛﻪ ﺑﺎ ﭼﺸﻢﻫﺎ ﺑﻪ‬ ‫ﭘﺎﻳﻴﻦ ﺍﺷﺎﺭﻩ ﻛﻨﺪ‪ .‬ﺑﻬﺮﺍﻡ ﺳﻴﻠﻰ ﻣﺤﻜﻤﻰ ﺑﻪ ﺍﻭ ﺯﺩ ﻭ ﮔﻔﺖ‪» :‬ﺍﻳﻦ ﺑﻪ ﺧﺎﻃﺮ ﭘﺴﺮﻡ ﺑﻮﺩ؛ ﭼﻮﻥ ﻭﻗﺘﻰ‬ ‫ﭘﻴﺸﺖ ﺍﺯ ﻛﺸﺘﻪﻫﺎﻯ ﺑﻴﺸﺘﺮ ﺣﺮﻑ ﻣﻰﺯﺩﻡ ﻣﻨﻈﻮﺭﻡ ﺍﻭﻥ ﻧﺒﻮﺩ ﻭ ﮔﺮﭼﻪ ﺩﻋﺎﻡ ﺑﺮﺁﻭﺭﺩﻩ ﺷﺪ‪ ،‬ﺍﻣﺎ ﺩﺭ‬ ‫ﺍﺯﺍﺵ ﺑﻬﺎﻯ ﺯﻳﺎﺩﻯ ﭘﺮﺩﺍﺧﺘﻢ‪«.‬‬ ‫ﺳﭙﺲ ﺁﻫﻰ ﻛﺸﻴﺪ ﻭ ﺑﺎ ﺍﻓﺴﻮﺱ ﮔﻔﺖ‪» :‬ﺩﻳﺸﺐ ﺑﺎ ﺩﻓﺘﺮ ﻣﻦ ﺗﻤﺎﺱ ﮔﺮﻓﺘﻨﺪ ﻭ ﺻﺪﺍﻳﻰ ﭘﺮﺍﺿﻄﺮﺍﺏ‬ ‫ﺣﻤﻠﻪﻯ ﺟﺪﻳﺪ ﺭﻭ ﻣﺨﺎﺑﺮﻩ ﻛﺮﺩ‪ .‬ﺍﻧﺘﻈﺎﺭﺵ ﺭﻭ ﺩﺍﺷﺘﻢ‪ ،‬ﻭﻟﻰ ﻧﻴﺮﻭﻫﺎﻡ ﺭﻭ ﺑﺎ ﺗﺎﺧﻴﺮ ﺑﻪ ﺍﻭﻥﺟﺎ ﮔﺴﻴﻞ‬ ‫ﻛﺮﺩﻡ ﻛﻪ ﻛﺴﻰ ﺻﺪﻣﻪ ﻧﺒﻴﻨﻪ ﻭ ﺑﻬﺎﻧﻪﻯ ﻻﺯﻡ ﺑﺮﺍﻯ ﻛﺸﺘﻨﺖ ﺭﻭ ﺑﻪ ﺩﺳﺖ ﺑﻴﺎﺭﻡ‪ .‬ﻭﻟﻰ ﻣﺤﺎﺳﺒﺎﺗﻢ ﺑﻪ‬ ‫ﻫﻢ ﺧﻮﺭﺩ‪«.‬‬ ‫ﺁﻥ ﮔﺎﻩ ﭼﺮﺧﻴﺪ ﻭ ﺩﺭ ﺣﺎﻟﻰ ﻛﻪ ﺍﺯ ﺑﺎﻻﻯ ﭘﻞ ﺑﻪ ﺍﺗﻮﻣﺒﻴﻞﻫﺎﻯ ﮔﺬﺭﻧﺪﻩ ﺍﺯ ﭘﺎﻳﻴﻦ ﺧﻴﺮﻩ ﺷﺪﻩ ﺑﻮﺩ‪ ،‬ﮔﻔﺖ‪:‬‬ ‫»ﻗﺎﺗﻞ ﻫﻤﭽﻨﺎﻥ ﻛﻤﻴﻦ ﻧﺸﺴﺘﻪ ﺑﻮﺩ ﻭ ﻗﺼﺪ ﺧﺮﻭﺝ ﻧﺪﺍﺷﺖ‪«.‬‬ ‫ﺳﭙﺲ ﺑﻪ ﺳﻤﺖ ﺍﺳﺤﺎﻕ ﺑﺮﮔﺸﺖ ﻭ ﭘﺮﺳﻴﺪ‪» :‬ﺭﺍﺳﺘﻰ ﻋﻤﻮﺕ ﺑﻬﺖ ﻛﻤﻜﻰ ﻧﻜﺮﺩ؟«‬ ‫ﺑﻪ ﺁﻥ ﺩﻭ ﻣﺤﺎﻓﻆ ﺩﺳﺘﻮﺭ ﺩﺍﺩ ﻛﻤﻰ ﺭﻫﺎﻳﺶ ﺑﮕﺬﺍﺭﻧﺪ ﺗﺎ ﭘﺎﺳﺨﻰ ﺑﺪﻫﺪ‪ .‬ﻣﺤﺎﻓﻈﻴﻦ ﺑﻪ ﮔﺮﻓﺘﻦ ﺑﺎﺯﻭﺍﻧﺶ‬ ‫ﻛﻔﺎﻳﺖ ﻛﺮﺩﻧﺪ‪ .‬ﺑﻬﺮﺍﻡ ﺭﻳﺶ ﭼﺎﻧﻪﻯ ﺍﺳﺤﺎﻕ ﺭﺍﻛﺸﻴﺪ ﻭ ﮔﻔﺖ‪» :‬ﻓﻜﺮ ﻣﻰ ﻛﺮﺩﻡ ﺍﺯ ﺍﻳﻦ ﻫﭽﻞ ﻫﻢ ﺑﺎ‬ ‫ﻛﻤﻚ ﻋﻤﻮﺕ ﻓﺮﺍﺭ ﻛﻨﻰ‪ .‬ﻭﻟﻰ ﻣﺜﻞ ﺍﻳﻦ ﻛﻪ ﺳﺮﺵ ﮔﺮﻡ ﻛﺎﺭﻫﺎﻯ ﻣﻬﻢﺗﺮ ﺍﺯ ﺿﺮﺭﻫﺎﻳﻰ ﺷﺪﻩ ﻛﻪ ﺗﻮ ﺑﻪ‬ ‫ﺑﺎﺭ ﻣﻰﺁﺭﻯ‪«.‬‬ ‫ﺍﺳﺤﺎﻕ ﺗﻨﻬﺎ ﺑﺎ ﺧﺸﻢ ﻧﮕﺎﻩ ﻣﻰﻛﺮﺩ ﻭ ﻧﻔﺲﻫﺎﻯ ﻋﻤﻴﻖ ﻣﻰﻛﺸﻴﺪ‪ .‬ﺑﻬﺮﺍﻡ ﭘﺮﺳﻴﺪ‪» :‬ﻣﻰﺩﻭﻧﻰ ﭼﻪ ﺑﻼﻳﻰ‬ ‫ﺳﺮ ﺷﺎﻫﺪ ﺍﻭﻣﺪ؟ ﺍﻭﻥ ﺑﺎ ﭘﺮﺕ ﻛﺮﺩﻥ ﺧﻮﺩﺵ ﺍﺯ ﺍﺭﺗﻔﺎﻉ ﺧﻮﺩﻛﺸﻰ ﻛﺮﺩ ﺗﺎ ﻭﻋﺪﻩﻯ ﻗﺎﺗﻞ ﻣﺒﻨﻰ ﺑﺮ ﺍﻳﻦ‬ ‫ﻛﻪ ﺍﻭﻥ ﻧﻔﺮﺑﻌﺪﻳﻪ ﺭﻭ ﺑﺎﻃﻞ ﻛﻨﻪ‪«.‬‬ ‫ﺍﺳﺤﺎﻕ ﭘﺮﺳﻴﺪ‪» :‬ﺗﻮ ﻣﻰﺧﻮﺍﻯ ﭼﻰ ﺭﻭ ﺑﺎﻃﻞ ﻛﻨﻰ؟«‬ ‫‪79‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،29‬ﺍﺭﺩﻳﺒﻬﺸﺖ ‪1392‬‬

‫ﻻﺍﻗﻞ ﻧﻪ ﺗﺎ ﺯﻣﺎﻧﻰ ﻛﻪ ﺧﻮﺩﻡ ﺭﻭ ﺑﺎﺯﻳﺎﺑﻰ ﻛﻨﻢ‪ .‬ﻣﻦ ﺑﻪ ﻣﺮگ ﺑﻴﻮﻟﻮژﻳﻜﻰ ﺧﻮﺩﻡ ﻓﻜﺮ ﻣﻰﻛﻨﻢ‪ ،‬ﺑﻪ ﻗﺪﺭﺕ‬ ‫ﺭﺳﻴﺪﻥ ﺑﻨﻰﺍﺳﺮﺍﺋﻴﻞ ﻧﻤﻰﺗﻮﻧﻪ ﺑﺮﺍﻡ ﺟﺬﺍﺏ ﺑﺎﺷﻪ ﻭﻗﺘﻰ ﻧﻴﺴﺘﻢ ﻛﻪ ﺑﺒﻴﻨﻤﺶ‪«.‬‬ ‫ﺩﺳﺖ ﭘﻴﺮﻣﺮﺩ ﺭﺍ ﺑﻮﺳﻴﺪ ﻭ ﮔﻔﺖ‪» :‬ﻣﺘﺎﺳﻔﻢ ﻛﻪ ﻧﺎﺍﻣﻴﺪﺗﻮﻥ ﻣﻰﻛﻨﻢ‪ .‬ﺑﺎﺑﺖ ﻣﻴﺮﺍﺙ ﺍﺯ ﺩﺳﺖ ﺭﻓﺘﻪﻯ‬ ‫ﻟﻮﺭﻳﺎ‪ .‬ﺁﻩ ﻛﻪ ﺍﺯ ﻫﻢ ﺍﻛﻨﻮﻥ ﺍﺯ ﺩﺳﺖ ﺭﻓﺘﻪ ﻣﻰﺑﻴﻨﻤﺶ‪ .‬ﻣﻦ ﺑﺮﺍﻯ ﺷﻤﺎ ﻣﺸﻜﻼﺕ ﺯﻳﺎﺩﻯ ﺍﻳﺠﺎﺩ ﻛﺮﺩﻡ‪،‬‬ ‫ﺑﺎﺑﺖ ﺍﻳﻦ ﺍﺯ ﺷﻤﺎ ﻋﺬﺭ ﻣﻰﺧﻮﺍﻡ؛ ﺍﻣﺎ ﺍﻭﻥ ﻋﺬﺭﺧﻮﺍﻫﻰ ﻛﻪ ﺑﺎﻳﺪ ﺍﺯ ﺁﺯﺍﺩﻩ ﺑﺸﻪ ﺩﺭ ﻗﺎﻟﺐ ﻛﻼﻡ ﻧﻤﻰﮔﻨﺠﻪ‪.‬‬ ‫ﻓﻘﻂ ﺑﻬﺶ ﺑﮕﻴﺪ ﮔﺎﻫﻰ ﺑﻪ ﻳﺎﺩﻡ ﺑﺎﺷﻪ‪ .‬ﺣﺘﺎ ﺍﮔﻪ ﺑﻪ ﻧﻔﺮﺕ ﺍﺯﻡ ﻳﺎﺩ ﻛﻨﻪ‪«.‬‬ ‫ﺗﻌﻈﻴﻤﻰ ﻛﺮﺩ ﻭ ﺍﺯ ﺩﺭ ﺧﺎﺭﺝ ﺷﺪ‪ .‬ﻣﻀﻄﺮﺏ ﺑﻪ ﺩﻧﺒﺎﻝ ﻛﺘﺶ ﮔﺸﺖ ﻭ ﭼﻮﻥ ﻧﻤﻰﺧﻮﺍﺳﺖ ﺧﺪﻣﺘﻜﺎﺭ‬ ‫ﭘﻴﺮ ﺭﺍ ﺑﺒﻴﻨﺪ‪ ،‬ﺍﺯ ﺁﻥ ﻣﻨﺼﺮﻑ ﺷﺪ ﻭ ﺑﻴﺮﻭﻥ ﺭﻓﺖ‪ .‬ﭘﻴﺶ ﺍﺯ ﻋﺼﺮ ﻫﻤﻪﻯ ﺍﻣﻮﺍﻟﺶ ﺭﺍ ﺑﻪ ﭘﻮﻝ ﻧﻘﺪ ﺗﺒﺪﻳﻞ‬ ‫ﻛﺮﺩ ﻭ ﻭﺳﺎﻳﻞ ﻓﺮﺍﺭﺵ ﺭﺍ ﺗﻬﻴﻪ ﺩﻳﺪ‪ .‬ﺩﺭ ﺧﺎﻧﻪ ﺭﺍ ﻗﻔﻞ ﻛﺮﺩ ﻭ ﻛﻠﻴﺪﺵ ﺭﺍ ﺩﻭﺭ ﺍﻧﺪﺍﺧﺖ ﻭ ﺑﺎ ﻛﻮﻟﻪﺍﻯ ﺑﻪ‬ ‫ﺭﺍﻩ ﺍﻓﺘﺎﺩ‪ .‬ﻣﻰﺧﻮﺍﺳﺖ ﺁﻥﻗﺪﺭ ﺍﺯ ﺧﺎﻧﻪﺍﺵ ﻓﺎﺻﻠﻪ ﺑﮕﻴﺮﺩ ﻛﻪ ﺧﻴﺎﻟﺶ ﺍﺯ ﺗﻌﻘﻴﺐ ﺷﺒﺰﻯﻫﺎ ﺭﺍﺣﺖ ﺑﺎﺷﺪ‪.‬‬ ‫ﺑﺮﺍﻯ ﺻﺮﻑ ﻧﻮﺷﻴﺪﻧﻰ ﺩﺭ ﻛﺎﻓﻪﺍﻯ ﺣﻮﺍﻟﻰ ﺍﻧﻘﻼﺏ ﺗﻮﻗﻒ ﻛﺮﺩ‪ .‬ﺗﺼﻤﻴﻢ ﺩﺍﺷﺖ ﺷﺐ ﺭﺍ ﻣﺨﻔﻰ ﺑﻤﺎﻧﺪ ﻭ‬ ‫ﻓﺮﺩﺍ ﺻﺒﺢ ﺑﻌﺪ ﺍﺯ ﻃﻠﻮﻉ ﺁﻓﺘﺎﺏ ﺣﺮﻛﺖ ﻛﻨﺪ ﻭ ﺑﻪ ﺳﻔﺮﻫﺎﻯ ﺭﻭﺯﺍﻧﻪ ﺍﺩﺍﻣﻪ ﺩﻫﺪ‪ .‬ﺟﻮﺍﻥ ﺧﻮﺵﻗﻴﺎﻓﻪﺍﻯ‬ ‫ﺑﻪ ﺗﻨﻬﺎﻳﻰ ﭘﺸﺖ ﻣﻴﺰ ﻣﻘﺎﺑﻞ ﻧﺸﺴﺘﻪ ﺑﻮﺩ ﻭ ﺑﻪ ﻃﺮﺯ ﻧﺎﺷﻴﺎﻧﻪﺍﻯ ﺍﺯ ﻧﮕﺎﻩ ﺍﻭ ﺍﺣﺘﺮﺍﺯ ﻣﻰﻛﺮﺩ‪ .‬ﮔﺮﭼﻪ‬ ‫ﺭﻧﮓ ﭘﻮﺳﺘﺶ ﻧﺸﺎﻥ ﻧﻤﻰﺩﺍﺩ ﻛﻪ ﺷﺒﺰﻯ ﺑﺎﺷﺪ‪ ،‬ﺍﻣﺎ ﺑﺎﻋﺚ ﻧﮕﺮﺍﻧﻰ ﺑﻮﺩ‪ .‬ﻗﻬﻮﻩﺍﺵ ﺭﺍ ﻧﻴﻢﺧﻮﺭﺩﻩ ﺭﻫﺎ‬ ‫ﻛﺮﺩ‪ ،‬ﻛﻮﻟﻪﺍﺵ ﺭﺍ ﺑﺮﺩﺍﺷﺖ ﻭ ﺑﻪ ﺩﺳﺘﺸﻮﻳﻰ ﺭﻓﺖ‪ .‬ﺩﻧﺒﺎﻝ ﭘﻨﺠﺮﻩﺍﻯ ﺑﺮﺍﻯ ﻓﺮﺍﺭ ﻣﻰﮔﺸﺖ ﻛﻪ ﺩﺭ ﻛﻤﺎﻝ‬ ‫ﺗﻌﺠﺐ ﺩﻳﺪ ﺟﻮﺍﻥ ﻭﺍﺭﺩ ﺩﺳﺘﺸﻮﻳﻰ ﺷﺪ‪ .‬ﺟﺎﻳﻰ ﺑﺮﺍﻯ ﮔﭗ ﻭ ﮔﻔﺖ ﺩﻭﺳﺘﺎﻧﻪ ﻧﺒﻮﺩ‪ .‬ﺁﻥ ﺍﺣﻤﻖ ﺭﺍ ‪-‬ﻫﺮ‬ ‫ﻛﻪ ﻣﻰﺧﻮﺍﺳﺖ ﺑﺎﺷﺪ‪ -‬ﺑﺎ ﻣﺸﺘﻰ ﺯﻳﺮ ﭼﺎﻧﻪﺍﺵ ﻧﺎﻙﺍﻭﺕ ﻛﺮﺩ ﻭ ﺷﺘﺎﺑﺎﻥ ﭘﻮﻟﻰ ﺑﺮ ﺭﻭﻯ ﻣﻴﺰ ﮔﺬﺍﺷﺘﻪ ﺑﻪ‬ ‫ﺧﻴﺎﺑﺎﻥ ﺩﻭﻳﺪ‪ .‬ﻫﺮ ﻛﻮﭼﻪ ﺭﺍ ﻛﻪ ﺩﺭ ﻣﻰﻧﻮﺭﺩﻳﺪ‪ ،‬ﺑﻪ ﺍﻃﺮﺍﻑ ﻧﮕﺎﻩ ﻣﻰﻛﺮﺩ‪ .‬ﻛﻢﻛﻢ ﺗﺮﺳﺶ ﺭﺍ ﻓﺮﻭ ﺧﻮﺭﺩ ﻭ‬ ‫ﻋﺎﻗﻼﻧﻪ ﺗﺼﻤﻴﻢ ﮔﺮﻓﺖ ﻫﻤﺎﻥ ﺷﺐ ﺍﺯ ﺷﻬﺮ ﺑﮕﺮﻳﺰﺩ‪ .‬ﺍﺯ ﭘﻞ ﻋﺎﺑﺮ ﭘﻴﺎﺩﻩ ﺑﺎﻻ ﺭﻓﺖ ﻭ ﻭﻗﺘﻰ ﺑﻪ ﺑﺎﻻﻯ ﺁﻥ‬ ‫ﺭﺳﻴﺪ‪ ،‬ﻏﺮﻕ ﻓﻜﺮ ﺑﻮﺩ‪ .‬ﭘﻞ ﺩﺭﺍﺯﻯ ﺑﻮﺩ‪ .‬ﺗﻘﺮﻳﺒﺎً ﺑﻪ ﺍﻭﺍﺳﻄﺶ ﺭﺳﻴﺪﻩ ﺑﻮﺩ ﻛﻪ ﻫﻴﻜﻠﻰ ﺩﻳﺪ ﺑﺎ ﺑﺎﺭﺍﻧﻰ ﺑﻠﻨﺪ‬ ‫ﻭ ﺷﺎﻝ ﮔﺮﺩﻧﻰ ﻛﻴﭗ ﺑﺴﺘﻪ ﻣﻘﺎﺑﻞ ﺻﻮﺭﺗﺶ ﻛﻪ ﺑﺎ ﺣﺎﻟﺘﻰ ﺗﻬﺪﻳﺪﺁﻣﻴﺰ ﺁﻥ ﺳﻮﻯ ﭘﻞ ﺑﻪ ﺩﻳﻮﺍﺭﻩﺍﺵ ﺗﻜﻴﻪ‬ ‫ﺩﺍﺩﻩ ﺑﻮﺩ ﻭ ﻣﺴﺘﻘﻴﻤﺎً ﺍﻭ ﺭﺍ ﻧﮕﺎﻩ ﻣﻰﻛﺮﺩ‪ .‬ﺑﺮ ﺟﺎﻯ ﺍﻳﺴﺘﺎﺩ‪ ،‬ﺳﭙﺲ ﻗﺪﻣﻰ ﺑﻪ ﻋﻘﺐ ﺑﺮﺩﺍﺷﺖ ﻭ ﻧﮕﺎﻫﻰ‬ ‫ﺑﻪ ﭘﺸﺖ ﺳﺮ ﺍﻧﺪﺍﺧﺖ ﻭ ﺩﺭ ﻛﻤﺎﻝ ﻳﺎﺱ ﻓﺮﺩ ﺩﻳﮕﺮﻯ ﺑﺎ ﻫﻤﻴﻦ ﻣﺸﺨﺼﺎﺕ ﺭﺍ ﺩﺭ ﺁﻥ ﺳﻮﻯ ﭘﻞ ﺩﻳﺪ‪.‬‬ ‫ﺯﻳﺮ ﻟﺐ ﻧﺎﺳﺰﺍﻳﻰ ﮔﻔﺖ‪ ،‬ﺑﺮ ﺟﺎﻯ ﻧﺸﺴﺖ ﻭ ﺑﻪ ﺧﻴﺎﺑﺎﻥ ﺯﻳﺮ ﭘﺎ ﻧﮕﺎﻩ ﻛﺮﺩ ﻛﻪ ﺍﺯ ﻫﺮ ﺳﻮ ﺍﻓﺮﺍﺩﻯ ﺑﻪ ﺟﻤﻊ‬ ‫ﻣﺤﺎﺻﺮﻩﻛﻨﻨﺪﮔﺎﻥ ﻣﻰﭘﻴﻮﺳﺘﻨﺪ‪ .‬ﻣﺜﻞ ﺣﻴﻮﺍﻧﻰ ﻛﻪ ﺑﺎ ﻃﻌﻤﻪﺍﺵ ﺑﺎﺯﻯ ﻛﻨﺪ‪ ،‬ﺑﺮ ﺟﺎﻯ ﺍﻳﺴﺘﺎﺩﻩ ﺑﻮﺩﻧﺪ ﻭ‬ ‫ﺍﻭ ﺭﺍ ﺗﻤﺎﺷﺎ ﻣﻰﻛﺮﺩﻧﺪ‪ .‬ﻏﺮﻭﺏ ﺁﻓﺘﺎﺏ ﺩﺭ ﺩﺳﺖ ﺑﻮﺩ ﻭ ﻫﻤﺰﻣﺎﻥ ﺑﺎ ﭘﺎﻳﻴﻦ ﺭﻓﺘﻦ ﺧﻮﺭﺷﻴﺪ‪ ،‬ﺍﺳﺤﺎﻕ ﺩﺭ‬ ‫ﺍﻧﺘﻬﺎﻯ ﺭﺍﻩﭘﻠﻪﻫﺎ ﺑﻬﺮﺍﻡ ﺭﺍ ﺩﻳﺪ ﻛﻪ ﺑﺎﻻ ﻣﻰﺁﻳﺪ ﻭ ﺩﻭ ﻧﻔﺮ ﻫﻤﺮﺍﻫﺶ ﺑﻮﺩﻧﺪ‪.‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،29‬ﺍﺭﺩﻳﺒﻬﺸﺖ ‪1392‬‬

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‫ﭘﻴﺮﻣﺮﺩ ﺩﺭ ﭘﺎﺳﺦ ﮔﻔﺖ‪» :‬ﻧﻪ‪ .‬ﻣﻤﻨﻮﻥ ﺳﺎﺭﺍﻯ ﻋﺰﻳﺰ! ﺑﻪ ﺯﻭﺩﻯ ﺩﺳﺘﻴﺎﺭﻯ ﺑﺮﺍﺕ ﭘﻴﺪﺍ ﻣﻰﻛﻨﻢ‪ .‬ﻣﻰﺩﻭﻧﻢ‬ ‫ﻛﺎﺭ ﺯﻳﺎﺩ ﺍﻳﻦ ﺧﻮﻧﻪ ﺑﺮﺍﺕ ﻃﺎﻗﺖﻓﺮﺳﺎﺳﺖ‪«.‬‬ ‫ﭘﻴﺮﺯﻥ ﮔﻔﺖ‪» :‬ﺟﺰ ﻟﺬﺕ ﻧﺼﻴﺒﻢ ﻧﺸﺪﻩ ﻗﺮﺑﺎﻥ‪ «.‬ﻟﺒﻪﻯ ﺩﺍﻣﻨﺶ ﺭﺍ ﮔﺮﻓﺖ‪ ،‬ﺍﺣﺘﺮﺍﻡ ﮔﺬﺍﺷﺖ ﻭ ﺧﺎﺭﺝ ﺷﺪ‪.‬‬ ‫ﭘﻴﺮﻣﺮﺩ ﺑﺎ ﻟﺨﻨﺪ ﮔﻔﺖ‪» :‬ﺍﻳﻦ ﺷﺎﺋﻮﻝ! ﺛﻤﺮﻩﻯ ﺍﻋﺘﻤﺎﺩﺵ ﺑﻪ ﻣﻦ ﻧﺠﺎﺕ ﺍﺯ ﭼﻨﮓ ﺧﻮﻥﺧﻮﺍﺭﺍﻥ ﺑﻮﺩ‪.‬‬ ‫ﻗﺼﺪ ﺩﺍﺷﺘﻦ ﺍﺯ ﺍﻭﻥ ﺑﻪ ﻋﻨﻮﺍﻥ ﮔﺮﻭﮔﺎﻥ ﺑﺮﺍﻯ ﻧﺠﺎﺕ ﺟﺎﻥ ﻫﺪﻑ ﺍﺳﺘﻔﺎﺩﻩ ﻛﻨﻦ ﻭ ﺍﺣﻴﺎﻧﺎً ﺍﻭﻧﻮ ﺑﻪ ﺩﻟﻴﻞ‬ ‫ﭘﻴﺸﮕﻮﻳﻴﺶ ﺗﻨﺒﻴﻪ ﻛﻨﻦ‪«.‬‬ ‫ﺷﺎﺋﻮﻝ ﺑﺎ ﺑﻪ ﻳﺎﺩ ﺁﻭﺭﺩﻥ ﺷﺐ ﻗﺒﻞ ﺑﺮ ﺧﻮﺩ ﻟﺮﺯﻳﺪ ﻭ ﭼﻮﻥ ﺗﺮﺟﻴﺢ ﻣﻰﺩﺍﺩ ﺍﺯ ﺑﺤﺚ ﺩﻭﺭ ﺑﺎﺷﺪ‪ ،‬ﮔﻔﺖ‪» :‬ﺑﺎ‬ ‫ﻋﺮﺽ ﭘﻮﺯﺵ‪ ،‬ﻣﻦ ﻛﻨﺎﺭ ﺷﻮﻣﻴﻨﻪ ﻣﻰﺍﻳﺴﺘﻢ‪«.‬‬ ‫ﭘﻴﺮﻣﺮﺩ ﺍﺩﺍﻣﻪ ﺩﺍﺩ‪» :‬ﺑﺎ ﻛﻤﻚ ﺟﺎﺩﻭﻳﻰ ﻛﻪ ﺍﺯ ﺁﻥ ﺭﻭﺡ ﺁﻣﻮﺧﺘﻢ‪ ،‬ﺗﻮﺍﻥ ﺗﺴﻠﻂ ﺑﺮ ﻳﻚ ﻣﻨﻄﻘﻪ ﺭﻭ ﺑﺪﻭﻥ‬ ‫ﺣﻀﻮﺭ ﻓﻴﺰﻳﻜﻰ ﭘﻴﺪﺍ ﻛﺮﺩﻡ‪«.‬‬ ‫ﺍﺳﺤﺎﻕ ﺑﺎ ﻫﻴﺠﺎﻥ ﭘﺮﺳﻴﺪ‪» :‬ﭼﻄﻮﺭ ﺗﺴﻠﻄﻰ؟ ﺷﺮﺍﻳﻄﺶ ﭼﻴﻪ؟«‬ ‫ﭘﻴﺮﻣﺮﺩ ﮔﻔﺖ‪» :‬ﺟﺎﻟﺒﻪ ﻛﻪ ﻋﻼﻗﻪ ﻧﺸﻮﻥ ﻣﻰﺩﻯ‪ .‬ﭼﻮﻥ ﺳﺎﺑﻘﻪﻯ ﺁﺧﺮﻳﻦ ﺑﺎﺭ ﻛﻪ ﺍﻳﻦ ﻛﺎﺭ ﺭﻭ ﻛﺮﺩﻯ ﺑﻪ‬ ‫ﮔﺬﺷﺘﻪﻫﺎﻯ ﺩﻭﺭ ﺑﺮ ﻣﻰﮔﺮﺩﻩ‪ «.‬ﺭﻭﻯ ﺻﻨﺪﻟﻴﺶ ﺟﺎﺑﻪﺟﺎ ﺷﺪ ﻭ ﺍﺩﺍﻣﻪ ﺩﺍﺩ‪» :‬ﺍﻳﻦ ﺗﺴﻠﻂ ﺷﺎﻣﻞ ﻣﺤﻴﻂ‬ ‫ﻭ ﺍﻓﺮﺍﺩﻯ ﻣﻰﺷﻪ ﻛﻪ ﺑﻴﺸﺘﺮ ﺍﺯ ﻫﻤﻪ ﺑﻪ ﻣﺠﺮﻯ ﺟﺎﺩﻭ ﻧﺰﺩﻳﻜﻪ‪ .‬ﺑﻪ ﺳﻤﺖ ﺍﻭﻟﻴﻦ ﻣﻨﻄﻘﻪﺍﻯ ﻛﻪ ﺩﺭ ﺍﻭﻥ‬ ‫ﺷﺒﺰﻯ ﺑﺎﺷﻪ ﻫﺪﺍﻳﺖ ﻣﻰﺷﻪ ﻭ ﺣﺘﺎ ﺗﻔﻜﺮ ﻭ ﺭﻓﺘﺎﺭﻫﺎﺷﻮﻥ ﺭﻭ ﻫﻢ ﺗﺤﺖ ﻛﻨﺘﺮﻝ ﺩﺭ ﻣﻴﺎﺭﻩ‪ .‬ﻣﻦ ﺑﻪ ﺍﺑﺘﻜﺎﺭ‬ ‫ﺧﻮﺩﻡ‪ ،‬ﻫﺪﻑ ﺑﻌﺪﻯ ﺭﻭ ﻫﺮ ﺩﻓﻌﻪ ﺯﻧﺪﻩ ﻣﻰﮔﺬﺍﺭﻡ ﺗﺎ ﺯﻣﺎﻧﻰ ﺑﺮﺳﻪ ﻛﻪ ﻛﺴﻰ ﺟﺮﺍﺕ ﺑﺎﻗﻰ ﻣﻮﻧﺪﻥ ﭘﻴﺶ‬ ‫ﺍﻭﻥ ﺷﺨﺺ ﺭﻭ ﭘﻴﺪﺍ ﻧﻜﻨﻪ‪ .‬ﺍﻭﻥ ﻭﻗﺘﻴﻪ ﻛﻪ ﺍﺗﺤﺎﺩﺷﻮﻥ ﺩﺭ ﻫﻢ ﻣﻰﺷﻜﻨﻪ ﻭ ﺳﺮﻋﺖ ﺷﻜﺴﺘﺸﻮﻥ ﺧﻴﺮﻩ‬ ‫ﻛﻨﻨﺪﻩ ﺧﻮﺍﻫﺪ ﺑﻮﺩ‪«.‬‬ ‫ﺍﺳﺤﺎﻕ ﺑﺮﺧﻮﺍﺳﺖ ﻭ ﮔﻔﺖ‪» :‬ﺍﺣﺴﺎﺳﻢ ﺑﻬﻢ ﻣﻰﮔﻪ ﭼﻴﺰﻫﺎﻳﻰ ﺭﻭ ﭘﻴﺶﺑﻴﻨﻰ ﻧﻜﺮﺩﻳﺪ‪ .‬ﻣﻦ ﺍﺯ ﺍﻳﻦ‬ ‫ﺷﺮﺍﻳﻂ ﻣﻰﺗﺮﺳﻢ‪ .‬ﻧﻤﻰﺧﻮﺍﻡ ﺑﻘﻴﻪﻯ ﻋﻤﺮﻡ ﻫﺮ ﺑﺎﺭ ﻛﻪ ﺩﺭ ﺍﺗﺎﻗﻢ ﺑﺎﺯ ﺷﺪ‪ ،‬ﻭﺣﺸﺖ ﺣﻤﻠﻪﻯ ﺷﺒﺰﻯﻫﺎ ﺗﻮ‬ ‫ﺩﻟﻢ ﺑﺎﺷﻪ‪ .‬ﺍﺣﺘﻤﺎﻝ ﮔﺮﻓﺘﺎﺭ ﺷﺪﻥ ﺩﺭ ﺣﻴﻦ ﺍﺟﺮﺍﻯ ﺟﺎﺩﻭ ﻫﻢ ﻭﺟﻮﺩ ﺩﺍﺭﻩ‪ .‬ﺣﺎﻻ ﺑﻪ ﺑﺮﻧﺎﻣﻪﺍﻯ ﻛﻪ ﻗﺮﺍﺭﻩ‬ ‫ﺍﺟﺮﺍﺵ ﻛﻨﻢ ﮔﻮﺵ ﻛﻨﻴﺪ‪ .‬ﻣﻦ ﻣﺪﺗﻰ ﺍﺯ ﺷﻬﺮ ﺧﺎﺭﺝ ﻣﻰﺷﻢ‪ .‬ﻣﻰﺧﻮﺍﻡ ﻣﺨﻔﻰ ﺑﺎﺷﻢ ﺗﺎ ﺁﺏﻫﺎ ﺍﺯ ﺁﺳﻴﺎﺏ‬ ‫ﺑﻴﻔﺘﻪ‪ .‬ﺑﻬﺮﺍﻡ ﺑﻬﻮﻧﻪﻯ ﻛﺎﻓﻰ ﺑﺮﺍﻯ ﻛﺸﺘﻦ ﻣﻦ ﺭﻭ ﭘﻴﺪﺍ ﻛﺮﺩﻩ ﻭ ﺣﺘﺎ ﺍﮔﻪ ﺩﺳﺖ ﺷﻤﺎ ﺭﻭ ﻫﻢ ﺗﻮ ﺩﺳﺘﺶ‬ ‫ﺑﺬﺍﺭﻡ ﺭﺍﺿﻰ ﻧﻤﻰﺷﻪ‪«.‬‬ ‫ﭘﻴﺮﻣﺮﺩ ﺍﺯ ﺻﻨﺪﻟﻴﺶ ﺑﺮﺧﻮﺍﺳﺖ ﻭ ﮔﻔﺖ‪» :‬ﺍﺷﺘﺒﺎﻩ ﻧﻜﻦ‪ ،‬ﺍﺳﺤﺎﻕ! ﻣﻦ ﻧﻤﻰﺧﻮﺍﻡ ﺗﻮ ﺍﻳﻦ ﻗﻀﻴﻪ ﺧﻮﻥ‬ ‫ﺗﻮ ﺭﻳﺨﺘﻪ ﺑﺸﻪ‪«.‬‬ ‫ﺍﺳﺤﺎﻕ ﮔﻔﺖ‪» :‬ﻧﻪ ﺑﻪ ﺍﻧﺪﺍﺯﻩﻯ ﺧﻮﺩﻡ‪ ،‬ﻣﻄﻤﺌﻦ ﺑﺎﺷﻴﺪ‪ .‬ﻣﻦ ﺩﻏﺪﻏﻪﻯ ﭘﻴﺸﮕﻮﻳﻰﻫﺎﻯ ﻋﻤﻮﻣﻰ ﺭﻭ ﻧﺪﺍﺭﻡ‪.‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،29‬ﺍﺭﺩﻳﺒﻬﺸﺖ ‪1392‬‬

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‫ﻓﺎﻧﺘﺰﻯ ‪ -‬ﻧﮕﺎﺭﺵ‬

‫ﺩﺍﺳﺘﺎﻥ ﻣﻰﮔﺬﺭﻩ‪ .‬ﻣﻦ ﻫﻢ ﻣﺸﻜﻮﻙ ﺑﻮﺩﻡ ﻭ ﺩﺳﺖ ﺑﻪ ﺁﺯﻣﺎﻳﺸﺎﺗﻰ ﺯﺩﻡ ﻛﻪ ﻃﻰ ﺁﻥ ﻳﻚ ﺷﺒﺰﻯ ﻛﺸﺘﻪ‬ ‫ﻭ ﺩﺭ ﺍﺛﺮ ﺁﻥ ﺭﻭﺍﺑﻄﻢ ﺑﺎ ﺁﻥﻫﺎ ﺑﻪ ﺗﻴﺮﮔﻰ ﮔﺮﺍﻳﻴﺪ‪«.‬‬ ‫ﺍﺳﺤﺎﻕ ﺳﺮ ﺑﺮﮔﺮﺩﺍﻧﺪ ﻭ ﻫﻮﺷﻴﺎﺭ ﺑﻪ ﻧﻈﺮ ﻣﻰﺭﺳﻴﺪ‪ .‬ﺷﻤﺮﺩﻩﺷﻤﺮﺩﻩ ﭘﺮﺳﻴﺪ‪» :‬ﺣﻘﻴﻘﺖ ﺩﺍﺭﻩ؟ ﻣﺎ ﻫﻤﻴﺸﻪ‬ ‫ﺍﻭﻥﻫﺎ ﺭﻭ ﻣﺘﻬﻢ ﺑﻪ ﺗﻬﻤﺖ ﻣﻰﻛﺮﺩﻳﻢ‪«.‬‬ ‫ﭘﻴﺮﻣﺮﺩ ﺳﺮﺵ ﺭﺍ ﺑﻪ ﻧﺸﺎﻧﻪﻯ ﺗﺎﻳﻴﺪ ﺗﻜﺎﻥ ﺩﺍﺩ ﻭ ﺁﺏ ﺩﻫﺎﻧﺶ ﺭﺍ ﻓﺮﻭ ﺩﺍﺩ‪ .‬ﭘﻴﺮﻣﺮﺩ ﺍﺩﺍﻣﻪ ﺩﺍﺩ‪» :‬ﻣﻦ ﻣﺪﺗﻰ‬ ‫ﺑﻪ ﺩﻧﺒﺎﻝ ﺳﻨﺪ ﻣﻰ ﮔﺸﺘﻢ ﻛﻪ ﺍﻭﻥ ﺭﻭ ﻫﻢ ﺑﺎ ﺭﺍﻫﻨﻤﺎﻳﻰ ﺷﺎﺋﻮﻝ ﺩﺭ ﺷﻮﺵ ﻳﺎﻓﺘﻢ‪ .‬ﺍﮔﻪ ﻣﻮﻗﻊ ﻛﻤﻚ‬ ‫ﮔﺮﻓﺘﻦ ﺍﺯ ﺷﺎﺋﻮﻝ ﺯﻳﺮﻙ ﻧﺒﺎﺷﻰ‪ ،‬ﻣﻤﻜﻨﻪ ﻧﺎﺧﻮﺍﺳﺘﻪ ﮔﻤﺮﺍﻫﺖ ﻛﻨﻪ‪«.‬‬ ‫ﺩﺳﺖ ﺑﺮ ﻛﺘﺎﺏ ﮔﺬﺍﺷﺖ ﻭ ﮔﻔﺖ‪» :‬ﺍﻳﻦ ﺳﻨﺪ ﺗﺮﺟﻤﺎﻧﻰ ﺍﺯ ﻳﻚ ﻣﺘﻦ ﻋﺒﺮﻳﻪ ﻛﻪ ﻃﻰ ﺯﻣﺎﻥ ﺗﻮﺳﻂ‬ ‫ﺧﺎﺧﺎﻡﻫﺎﻯ ﺍﻭﻥ ﻣﻨﻄﻘﻪ ﺗﻜﻤﻴﻞ ﺷﺪﻩ ﺗﺎ ﺑﻪ ﺩﺳﺖ ﻣﺎ ﺭﺳﻴﺪﻩ‪ «.‬ﺳﭙﺲ ﺑﻪ ﻛﺘﺎﺏ ﻧﮕﺎﻩ ﻛﺮﺩ ﻭ ﮔﻔﺖ‪:‬‬ ‫»ﭼﻴﺰﻯ ﻛﻪ ﺗﻮ ﻛﺘﺎﺏ ﭘﻴﺪﺍ ﻛﺮﺩﻡ‪ ،‬ﺧﻴﻠﻰ ﺟﺎﻟﺐ ﻭ ﻧﻮﻳﺪﺑﺨﺶ ﺑﻮﺩ‪ .‬ﺑﺮﺗﺮﻯ ﻭﻋﺪﻩ ﺩﺍﺩﻩ ﺷﺪﻩ ﻭﻗﺘﻰ ﺑﻪ‬ ‫ﺳﻤﺖ ﻣﺎ ﻭﺍﺭﺛﺎﻥ ﺣﻘﻴﻘﻴﺶ ﺑﺎﺯ ﻣﻰﮔﺮﺩﻩ ﻛﻪ ﻫﻤﻪ ﺷﺒﺰﻯﻫﺎ ﺗﻮﺳﻂ ﺑﻨﻰﺍﺳﺮﺍﺋﻴﻞ ﻧﺎﺑﻮﺩ ﺑﺸﻦ‪«.‬‬ ‫ﺟﻤﻠﻪﻯ ﺁﺧﺮ ﺭﺍ ﺑﺎ ﻟﺤﻨﻰ ﮔﻔﺖ ﻛﻪ ﮔﻮﻳﻰ ﺍﺯ ﻛﺸﻒ ﻣﻬﻤﻰ ﭘﺮﺩﻩ ﺑﺮ ﻣﻰﺩﺍﺭﺩ ﻭ ﺗﺤﺖ ﺗﺎﺛﻴﺮ ﺁﻥ‪ ،‬ﭼﻨﺪ‬ ‫ﻟﺤﻈﻪ ﺑﺮ ﺍﺗﺎﻕ ﺳﻜﻮﺕ ﺣﺎﻛﻢ ﺷﺪ‪ .‬ﺍﺳﺤﺎﻕ ﺑﺮ ﺻﻨﺪﻟﻴﺶ ﻣﻴﺨﻜﻮﺏ ﺷﺪﻩ ﻭ ﺩﺭ ﺣﺎﻟﺘﻰ ﻋﺼﺒﻰ ﭘﻠﻚﻫﺎﻯ‬ ‫ﺑﻰﺣﺎﻝ ﻋﻤﻮﻳﺶ ﺭﺍ ﻧﮕﺎﻩ ﻣﻰﻛﺮﺩ‪ .‬ﺗﺤﺖ ﺗﺎﺛﻴﺮ ﻫﺠﻮﻡ ﺍﻓﻜﺎﺭ ﻣﺨﺘﻠﻒ ﭘﺮﺳﻴﺪ‪» :‬ﭼﻄﻮﺭ؟ ﭼﻄﻮﺭ ﺗﻮﻧﺴﺘﻴﺪ‬ ‫ﭼﻨﻴﻦ ﻓﻜﺮﻯ ﻛﻨﻴﺪ؟ ﭼﻄﻮﺭ ﺗﻮﺍﻥ ﻣﻘﺎﺑﻠﻪ ﺑﺎ ﺍﻳﻦ ﺟﻤﻌﻴﺖ ﺯﻳﺎﺩ ﺭﻭ ﺩﺭ ﺧﻮﺩﺗﻮﻥ ﻣﻰﺑﻴﻨﻴﺪ؟ ﺑﻪ ﺗﻨﻬﺎﻳﻰ؟‬ ‫ﺍﻳﻦ ﻗﺘﻞﻫﺎ؟ ﺍﻳﻦ ﻛﺸﺘﺎﺭﻫﺎﻯ ﻋﺠﻴﺐ‪ .‬ﻭﺍﻯ ﺧﺪﺍﻯ ﻣﻦ! ﺩﺍﺭﻩ ﭼﻪ ﺍﺗﻔﺎﻗﻰ ﻣﻴﻔﺘﻪ؟«‬ ‫ﭘﻴﺮﻣﺮﺩ ﺩﺳﺘﺎﻥ ﭘﺴﺮ ﺭﺍ ﮔﺮﻓﺖ ﻭ ﮔﻔﺖ‪» :‬ﺑﻪ ﺍﻋﺘﺒﺎﺭ ﺟﺎﺩﻭﻳﻰ ﻛﻪ ﺍﺯ ﻛﺘﺎﺏ ﺭﺩﺵ ﺭﻭ ﮔﺮﻓﺘﻢ ﻭ ﻓﺮﺍ‬ ‫ﺧﻮﻧﺪﻣﺶ‪ «.‬ﺑﻪ ﻛﺘﺎﺏ ﺍﺷﺎﺭﻩ ﻛﺮﺩ ﻭ ﮔﻔﺖ‪» :‬ﺍﮔﻪ ﺑﻪ ﺍﻳﻦ ﺧﻄﻮﻁ ﺩﻗﺖ ﻛﻨﻰ‪ ،‬ﺍﻳﻦ ﺍﻭﻟﻴﻦ ﺑﺎﺭ ﻧﺒﻮﺩﻩ ﻛﻪ‬ ‫ﺍﻳﻦ ﺟﺎﺩﻭ ﻓﺮﺍ ﺧﻮﻧﺪﻩ ﺷﺪﻩ ﺑﻮﺩﻩ ﻭ ﺑﺎﺭ ﻗﺒﻠﻰ ﺩﺭ ﺗﺎﺭﻳﺦ ﺑﺎﺳﺘﺎﻥ ﻣﺼﺮ ﺑﻪ ﺩﻭﺭﺍﻥ ﺳﻴﺎﻩ ﻣﺸﻬﻮﺭ ﺑﻮﺩﻩ‪ .‬ﺩﺭ‬ ‫ﺻﺪﺩ ﻳﺎﻓﺘﻦ ﺭﺍﻫﻰ ﺑﺮﺍﻯ ﺩﺳﺘﻴﺎﺑﻰ ﺑﻪ ﺩﺍﺳﺘﺎﻥ ﻗﺪﻳﻤﻰ ﺑﻮﺩﻡ‪ .‬ﻓﺮﺍ ﺧﻮﻧﺪﻥ ﺍﺭﻭﺍﺡ ﺑﺎﺳﺘﺎﻧﻰ ﻛﺎﺭ ﺳﺎﺩﻩﺍﻯ‬ ‫ﻧﻴﺴﺖ‪ .‬ﻫﻴﭻ ﺷﺒﺎﻫﺘﻰ ﺑﻪ ﺗﺴﺨﻴﺮ ﺟﻦ ﻭ ﺍﺣﻀﺎﺭ ﺍﺭﻭﺍﺡ ﻋﺎﺩﻯ ﻧﺪﺍﺭﻩ‪ .‬ﻛﺎﺭ ﺯﻣﺎﻥﺑﺮﻳﻪ‪ ...‬ﻭﻟﻰ ﺧﻮﺷﺒﺨﺘﺎﻧﻪ‬ ‫ﻣﻮﻓﻖ ﺷﺪﻡ ﻭ ﺣﺎﻻ ﻧﺘﻴﺠﻪﺍﺵ ﺭﻭ ﺩﻳﺪﻯ‪«.‬‬ ‫ﺍﺳﺤﺎﻕ ﺑﺎ ﻧﮕﺮﺍﻧﻰ ﮔﻔﺖ‪» :‬ﺍﻣﺎ ﺟﺎﺩﻭﻯ ﺷﻤﺎ ﻛﻤﻜﻰ ﺑﻪ ﺷﺎﺋﻮﻝ ﻧﻜﺮﺩ‪ .‬ﺍﻭﻥ ﺩﻳﺸﺐ ﻧﺎﭘﺪﻳﺪ ﺷﺪ ﻭ‪«...‬‬ ‫ﭘﻴﺮﻣﺮﺩ ﺑﺎ ﺍﺷﺎﺭﻩﻯ ﺩﺳﺖ ﺍﺟﺎﺯﻩ ﻧﺪﺍﺩ ﺳﺨﻨﺶ ﺭﺍ ﺗﻤﺎﻡ ﻛﻨﺪ ﻭ ﺑﺎ ﺻﺪﺍﻯ ﺑﻠﻨﺪﮔﻔﺖ‪» :‬ﺳﺎﺭﺍ! ﺷﺎﺋﻮﻝ ﺭﻭ‬ ‫ﺑﻪ ﺩﺍﺧﻞ ﻫﺪﺍﻳﺖﻛﻦ‪«.‬‬ ‫ﺯﻣﺎﻧﻰ ﻧﮕﺬﺷﺖ ﻛﻪ ﺷﺎﺋﻮﻝ ﺑﻪ ﺍﺗﺎﻕ ﻭﺍﺭﺩ ﺷﺪ‪ .‬ﻛﻠﻔﺖ ﭘﻴﺮ ﺩﺭ ﺁﺳﺘﺎﻧﻪﻯ ﺩﺭ ﭘﺮﺳﻴﺪ‪» :‬ﺍﻣﺮ ﺩﻳﮕﻪﺍﻯ‬ ‫ﻧﺪﺍﺭﻳﺪ؟«‬ ‫‪75‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،29‬ﺍﺭﺩﻳﺒﻬﺸﺖ ‪1392‬‬

‫ﻣﻴﺰ ﻣﺴﺘﺎﺻﻞ ﻣﻰﻣﺎﻧﺪ ﻭ ﭘﺎﺳﺨﻰ ﺑﺮﺍﻯ ﭘﺮﺳﺶﻫﺎﻯ ﺑﻰﭘﺎﻳﺎﻥ ﻋﻤﻮﻳﺶ ﻧﻤﻰﻳﺎﻓﺖ‪ .‬ﺑﺎ ﺧﻴﺮﻩ ﺷﺪﻥ ﺑﻪ‬ ‫ﺗﻴﺘﺮ ﺁﻥ ﮔﻔﺖ‪» :‬ﻣﺮﺩﻡ ﺍﺯ ﺩﺭﺳﺖ ﻛﺮﺩﻥ ﺭﻭﺍﻳﺖﻫﺎﻯ ﺟﺪﻳﺪ ﺍﺯ ﺩﺍﺳﺘﺎﻥﻫﺎﻯ ﻗﺪﻳﻤﻰ ﺩﺳﺖ ﻧﺨﻮﺍﻫﻨﺪ‬ ‫ﻛﺸﻴﺪ‪«.‬‬ ‫ﭘﻴﺮﻣﺮﺩ ﻭﺭﻕ ﺯﺩ ﻭ ﺑﻪ ﺟﺎﻳﻰ ﺭﺳﻴﺪ ﻛﻪ ﺍﺳﺤﺎﻕ ﻛﺘﺎﺏ ﺭﺍ ﺑﺴﺘﻪ ﺑﻮﺩ‪ .‬ﺑﺎ ﺍﻓﺴﻮﺱ ﮔﻔﺖ‪» :‬ﻫﻴﭻ ﻭﻗﺖ ﻧﺸﺪ‬ ‫ﻛﺎﺭﻯ ﺭﻭ ﺷﺮﻭﻉ ﻛﻨﻰ ﻛﻪ ﺑﺒﻴﻨﻢ ﺗﻤﻮﻣﺶ ﻛﺮﺩﻯ‪ .‬ﻫﻤﻴﺸﻪ ﺯﻭﺩ ﻗﻀﺎﻭﺕ ﻣﻰﻛﻨﻰ ﻭ ﻋﺠﻮﻟﻰ‪«.‬‬ ‫ﺍﺳﺤﺎﻕ ﻛﻪ ﺧﺸﻢ ﻣﺒﻬﻤﻰ ﻧﺴﺒﺖ ﺑﻪ ﺟﺮﻳﺎﻥ ﺑﺤﺚ ﺩﺍﺷﺖ‪ ،‬ﭘﺮﺳﻴﺪ‪» :‬ﻣﻨﻈﻮﺭﺗﻮﻥ ﭼﻴﻪ؟«‬ ‫ﭘﻴﺮﻣﺮﺩ ﺑﺮگﻫﺎﻯ ﺍﻧﺘﻬﺎﻳﻰ ﻣﺮﺑﻮﻁ ﺑﻪ ﺷﺒﺰﻯﻫﺎ ﺭﺍ ﺩﺭ ﺩﺳﺖ ﮔﺮﻓﺖ ﻭ ﮔﻔﺖ‪» :‬ﻓﻜﺮ ﻣﻰﻛﺮﺩﻡ ﺍﺻﻼﺡ‬ ‫ﺷﺪﻯ ﻭ ﻗﺼﺪ ﺍﺩﺍﻣﻪ ﺩﺍﺩﻥ ﺗﻌﻠﻴﻤﺎﺗﺖ ﺭﻭ ﺩﺍﺭﻯ‪ «.‬ﺻﺪﺍﻳﺶ ﺭﺍ ﭘﺎﻳﻴﻦ ﺁﻭﺭﺩ ﻭ ﮔﻔﺖ‪» :‬ﮔﺮﭼﻪ ﻛﻤﻰ ﺩﻳﺮﻩ‪«.‬‬ ‫ﺳﭙﺲ ﺑﺎ ﻟﺤﻦ ﺳﺎﺑﻖ ﮔﻔﺖ‪» :‬ﻻﺍﻗﻞ ﺑﺮﺍﻯ ﻳﻚ ﺑﺎﺭ ﻫﻢ ﻛﻪ ﺷﺪﻩ ﻛﺘﺎﺏ ﺭﻭ ﻛﺎﻣﻞ ﻣﻰﺧﻮﻧﺪﻯ‪«.‬‬ ‫ﭼﺸﻢﻫﺎﻯ ﮔﻮﺩ ﺭﻓﺘﻪﺍﺵ ﺭﺍ ﺑﻪ ﭘﺴﺮ ﺩﻭﺧﺖ ﻭ ﺑﻪ ﺍﻭ ﮔﻔﺖ‪» :‬ﻛﺎﺭﻫﺎﻯ ﻧﺎﺗﻤﺎﻡ ﺩﻳﮕﺮﻯ ﻫﻢ ﺩﺍﺭﻯ‪ .‬ﺑﻪ‬ ‫ﺍﻧﺪﺍﺯﻩﻯ ﻛﺎﻓﻰ ﻫﻢ ﺩﺍﺭﻯ‪ .‬ﺁﻥﻗﺪﺭ ﻛﻪ ﻛﺎﻣ ً‬ ‫ﻼ ﻭﻗﺘﺖ ﺭﻭ ﺑﮕﻴﺮﻩ ﻭ ﺍﺟﺎﺯﻩﻯ ﺗﻔﻜﺮ ﺭﻭ ﺍﺯﺕ ﺳﻠﺐ ﻛﻨﻪ‪.‬‬ ‫ﺭﺍﺳﺘﻰ‪ ،‬ﺍﻣﺮﻭﺯ ﻳﻪ ﻧﻔﺮ ﺍﺧﺮﺍﺝ ﺷﺪ‪ .‬ﺩﻗﻴﻖﺗﺮ ﺑﮕﻢ‪ ،‬ﻳﻚ ﺟﻦ ﻛﻪ ﺗﺎ ﻫﻤﻴﻦ ﺍﻣﺮﻭﺯ ﺩﺭ ﺧﺪﻣﺖ ﻣﻦ ﺑﻮﺩ‪«.‬‬ ‫ﺍﺳﺤﺎﻕ ﺑﺎ ﺩﻗﺖ ﺍﺯ ﭼﺸﻢﻫﺎﻯ ﺍﻭ ﺩﻭﺭﻯ ﻣﻰﺟﺴﺖ ﻭ ﻣﻄﻤﺌﻦ ﺑﻮﺩ ﺍﮔﺮ ﻧﮕﺎﻫﺶ ﺑﺎ ﻧﮕﺎﻩ ﺍﻭ ﺗﻼﻗﻰ ﻛﻨﺪ‪،‬‬ ‫ﺁﻥ ﺭﺍ ﺑﺴﻴﺎﺭ ﭘﺮﻣﻌﻨﻰ ﺧﻮﺍﻫﺪ ﻳﺎﻓﺖ‪ .‬ﭘﻴﺮﻣﺮﺩ ﮔﻔﺖ‪» :‬ﻣﻦ ﺑﺮﺍﻯ ﺭﺍﺯﺩﺍﺭﻯ ﺍﻫﻤﻴﺖ ﺯﻳﺎﺩﻯ ﻗﺎﺋﻠﻢ‪ .‬ﻣﻰﺩﻭﻧﻢ‬ ‫ﻛﻪ ﭼﻪ ﺭﻭﺯﻫﺎﻳﻰ ﺭﻭ ﺳﭙﺮﻯ ﻛﺮﺩﻯ‪ .‬ﻭﻟﻰ ﺍﻳﻦ ﺩﻟﻴﻞ ﻧﻤﻰﺷﻪ ﭘﺎﺕ ﺭﻭ ﺍﺯ ﺣﺪ ﺧﻮﺩﺕ ﻓﺮﺍﺗﺮ ﺑﺬﺍﺭﻯ‪ .‬ﺍﻣﺮﻭﺯ‬ ‫ﺑﺎ ﺧﺪﻣﺘﻜﺎﺭﻡ ﺻﺤﺒﺖ ﻛﺮﺩﻡ ﻭ ﺍﻭﻥ ﺭﻭ ﺑﻪ ﻃﺮﺯ ﻛﺮﻳﻬﻰ ﺩﺳﺘﭙﺎﭼﻪ ﺩﻳﺪﻡ‪ .‬ﻧﻤﻰﺩﻭﻧﻰ ﻛﻪ ﻗﻮﻝ ﺍﻭﻥ ﺩﺧﺘﺮ‬ ‫ﭼﻘﺪﺭ ﻣﻰﺗﻮﻧﻪ ﺳﺴﺖ ﺑﺎﺷﻪ؟ ﺍﻳﻦ ﻫﻢ ﺍﺯ ﻧﺘﺎﻳﺞ ﺑﻰﻋﻼﻗﮕﻴﺖ ﺑﻪ ﺩﺍﻧﺶ ﻣﻨﻪ‪«.‬‬ ‫ﺍﺳﺤﺎﻕ ﺳﺮﺍﻓﻜﻨﺪﻩ ﺑﻮﺩ ﻭ ﭼﻴﺰﻯ ﻧﻤﻰﮔﻔﺖ‪ .‬ﭘﻴﺮﻣﺮﺩ ﺑﺎ ﻟﺤﻨﻰ ﭘﺪﺭﺍﻧﻪ ﮔﻔﺖ‪» :‬ﭘﺴﺮﻡ! ﻣﻰﺧﻮﺍﺳﺘﻢ‬ ‫ﺟﺎﻧﺸﻴﻨﻢ ﺑﺎﺷﻰ‪ .‬ﺑﻪ ﻣﻦ ﻧﺰﺩﻳﻚ ﺑﺎﺷﻰ ﻭ ﺑﻪ ﺟﺎﻯ ﮔﺴﺘﺮﺩﻥ ﺩﻳﻮﺍﺭ ﺑﻰﺍﻋﺘﻤﺎﺩﻯ‪ ،‬ﺳﻮﺍﻻﺗﺖ ﺭﻭ ﺍﺯ ﺧﻮﺩﻡ‬ ‫ﻣﻰﭘﺮﺳﻴﺪﻯ‪ .‬ﭼﺮﺍ ﺑﺎﻳﺪ ﺗﻮ ﺍﻳﻦ ﺧﻮﻧﻪ ﭼﻴﺰﻯ ﻭﺟﻮﺩ ﺩﺍﺷﺘﻪ ﺑﺎﺷﻪ ﻛﻪ ﺑﺨﻮﺍﻡ ﺍﺯ ﺗﻮ ﻣﺨﻔﻰ ﻧﮕﻬﺶ ﺩﺍﺭﻡ؟‬ ‫ﻛﺎﻓﻰ ﺑﻮﺩ ﻗﺪﻣﻰ ﺑﻪ ﺳﻤﺘﻢ ﺑﺮﺩﺍﺭﻯ ﺗﺎ ﺟﺎﻳﮕﺎﻫﺖ ﺍﺯ ﻳﻪ ﺷﻜﺎﺭ ﺗﺮﺳﻮ ﺑﻪ ﻳﻪ ﺷﻜﺎﺭﭼﻰ ﻭﺣﺸﺖﺁﻓﺮﻳﻦ‬ ‫ﺗﺒﺪﻳﻞ ﺑﺸﻪ‪ .‬ﺁﻥﻗﺪﺭ ﺑﻪ ﻣﻴﺰ ﻧﮕﺎﻩ ﻧﻜﻦ ﻛﻪ ﺍﻧﮕﺎﺭ ﭼﻴﺰ ﺗﻤﺎﺷﺎﻳﻰ ﺭﻭﺵ ﻫﺴﺖ‪ .‬ﻧﻤﻰ ﺧﻮﺍﻡ ﺗﺎ ﺍﻳﻦ ﺣﺪ‬ ‫ﺷﺮﻣﻨﺪﻩﺍﺕ ﻛﻨﻢ ﻛﻪ ﺑﺨﻮﺍﻯ ﺍﺯﻡ ﻓﺮﺍﺭ ﻛﻨﻰ‪ .‬ﺣﺎﻝ ﺑﻪ ﺗﻮ ﻣﮋﺩﻩ ﻣﻰﺩﻡ ﻛﻪ ﺍﻳﻦﻗﺪﺭ ﺑﻪ ﺧﺎﻃﺮ ﺑﻄﺎﻟﺖ‬ ‫ﮔﺬﺷﺘﺖ ﺣﺴﺮﺕ ﻧﺨﻮﺭﻯ‪ .‬ﻋﺎﻣﻞ ﺳﺮﺍﻓﺮﺍﺯﻯ ﺗﻮ ﺩﺭ ﺍﻳﻦ ﻛﺘﺎﺑﻪ‪«.‬‬ ‫ﺑﺎ ﭘﻨﺠﻪﺍﺵ ﺑﺮ ﺻﻔﺤﻪﻯ ﮔﺸﻮﺩﻩ ﺁﻥ ﻛﻮﺑﻴﺪ ﻭ ﮔﻔﺖ‪» :‬ﭼﻴﺰﻯ ﻛﻪ ﭘﻴﺶ ﺷﺎﺋﻮﻝ ﺍﺯ ﻣﺸﻜﻼﺗﺖ ﮔﻔﺘﻰ‪،‬‬ ‫ﺍﻭﻥ ﺭﻭ ﺑﻪ ﺗﻜﺎﭘﻮ ﺑﺮﺍﻯ ﻳﺎﻓﺘﻦ ﺭﺍﻩ ﻧﺠﺎﺕ ﺍﻧﺪﺍﺧﺖ‪ .‬ﺛﻤﺮﻩﺍﺵ ﺍﺳﺘﺨﺮﺍﺝ ﻳﻪ ﭘﻴﺸﮕﻮﻳﻰ ﺑﺎﺳﺘﺎﻧﻰ ﺍﺯ‬ ‫ﺁﺳﻤﺎﻥﻫﺎ ﺑﻮﺩ‪ .‬ﺷﺎﺋﻮﻝ ﺍﺑﺘﺪﺍ ﻣﺮﺩﺩ ﺑﻮﺩ ﻭ ﻗﻀﻴﻪ ﺭﺍ ﺑﺎ ﻣﻦ ﺩﺭ ﻣﻴﺎﻥ ﮔﺬﺍﺷﺖ‪ .‬ﺣﺪﻭﺩ ﻳﻚ ﺳﺎﻝ ﺍﺯ ﺍﻳﻦ‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،29‬ﺍﺭﺩﻳﺒﻬﺸﺖ ‪1392‬‬

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‫ﻓﺎﻧﺘﺰﻯ ‪ -‬ﻧﮕﺎﺭﺵ‬

‫ﺟﻮﺍﻥ ﺩﺭ ﻣﻴﺎﻥ ﺍﺗﺎﻕ ﺛﺎﺑﺖ ﺍﻳﺴﺘﺎﺩ ﻭ ﮔﻔﺖ‪» :‬ﭘﺲ ﻻﺑﺪ ﺍﺯ ﮔﺮﻓﺘﺎﺭﻯ ﻣﻦ ﻫﻢ ﺑﺎ ﺧﺒﺮﻳﺪ‪«.‬‬ ‫ﭘﻴﺮﻣﺮﺩ ﺍﺑﺮﻭ ﺑﺎﻻ ﺍﻧﺪﺍﺧﺖ‪ ،‬ﺑﻪ ﺳﻤﺖ ﻣﻴﺰﺵ ﺭﻓﺖ ﻭ ﮔﻔﺖ‪» :‬ﻣﻦ ﺍﻳﻨﻮ ﮔﺮﻓﺘﺎﺭﻯ ﻧﻤﻰﺩﻭﻧﻢ‪ «.‬ﺁﻥ ﮔﺎﻩ‬ ‫ﺭﻭﻯ ﺻﻨﺪﻟﻴﺶ ﻧﺸﺴﺖ‪.‬‬ ‫ﺟﻮﺍﻥ ﺣﺴﺮﺕﺑﺎﺭ ﮔﻔﺖ‪» :‬ﻣﻰﺩﻭﻧﻢ ﺷﻤﺎ ﺗﻘﺮﻳﺒﺎً ﻫﻴﭻ ﮔﺮﻓﺘﺎﺭﻯ ﺭﻭ ﺑﻪ ﺭﺳﻤﻴﺖ ﻧﻤﻰﺷﻨﺎﺳﻴﺪ‪ .‬ﺍﻣﺎ‬ ‫ﻣﻮﻗﻌﻴﺘﻰ ﻛﻪ ﻣﻦ ﺩﺭﺵ ﻫﺴﺘﻢ‪ ،‬ﺗﻬﺪﻳﺪﺍﺗﻰ ﺭﻭ ﺑﻪ ﺳﻤﺘﻢ ﺭﻭﺍﻧﻪ ﻛﺮﺩﻩ ﻛﻪ ﺧﺎﺭﺝ ﺍﺯ ﺗﻮﺍﻥ ﻭ ﻛﺸﺶ ﻣﻨﻪ‪.‬‬ ‫ﻣﻦ ﺗﻨﻬﺎ ﭘﺴﺮ ﺑﺮﺍﺩﺭﺗﻮﻥ ﻫﺴﺘﻢ ﻋﻤﻮ ﺟﺎﻥ! ﭼﻪ ﻃﻮﺭ ﺗﻮﻧﺴﺘﻴﺪ ﺗﻨﻬﺎﻡ ﺑﺬﺍﺭﻳﺪ؟«‬ ‫ﭘﻴﺮﻣﺮﺩ ﺑﺎ ﻟﺤﻨﻰ ﺣﺎﻛﻰ ﺍﺯ ﺍﻳﻦ ﻛﻪ ﺍﺯ ﺷﻜﻴﺒﺎﻳﻰ ﺧﻮﺩ ﺁﮔﺎﻩ ﺍﺳﺖ‪ ،‬ﮔﻔﺖ‪» :‬ﺗﻘﺼﻴﺮ ﺧﻮﺩﺗﻪ ﻛﻪ ﺩﺭ‬ ‫ﻳﺎﺩﮔﻴﺮﻯ ﺩﺍﻧﺶ ﻣﻴﺮﺍﺛﻴﻤﻮﻥ ﺗﻨﺒﻠﻰ‪ .‬ﻣﻦ ﻣﺪﺕ ﺯﻳﺎﺩﻯ ﺗﻮ ﺍﻳﻦ ﺩﻧﻴﺎ ﻧﺨﻮﺍﻫﻢ ﻣﻮﻧﺪ ﻭ ﺗﻮ ﻫﻤﻪﻯ ﺯﻧﺪﮔﻴﺖ‬ ‫ﺭﻭ ﻣﻘﺎﺑﻠﺖ ﺩﺍﺭﻯ‪ .‬ﺑﺎﻳﺪ ﺭﻭﻯ ﭘﺎﻯ ﺧﻮﺩﺕ ﺑﺎﻳﺴﺘﻰ ﻭ ﺍﺯ ﻧﮕﺎﻩ ﻛﺮﺩﻥ ﺑﻪ ﻣﻦ ﺑﻪ ﭼﺸﻢ ﺳﻮﭘﺎپ ﺍﻃﻤﻴﻨﺎﻥ‬ ‫ﺩﺳﺖ ﺑﺮﺩﺍﺭﻯ‪«.‬‬ ‫ﭘﺴﺮ ﺧﻮﺍﺳﺖ ﺑﺤﺚ ﺭﺍ ﺍﺩﺍﻣﻪ ﺩﻫﺪ ﻛﻪ ﭘﻴﺮﻣﺮﺩ ﺍﻭ ﺭﺍ ﻣﺘﻮﻗﻒ ﻛﺮﺩ ﻭ ﭘﺮﺳﻴﺪ‪» :‬ﺍﻳﻦ ﻛﺘﺎﺏ ﺭﻭ‬ ‫ﺧﻮﻧﺪﻯ؟«‬ ‫ﺍﺳﺤﺎﻕ ﻣﺮﺩﺩ ﺑﻴﻦ ﺗﺎﻳﻴﺪ ﻭ ﺍﻧﻜﺎﺭ‪ ،‬ﮔﻔﺖ‪» :‬ﺗﻨﻬﺎ ﺑﺨﺸﻰ ﻛﻮﭼﻚ ﺍﺯ ﺍﻭﻧﻮ‪«.‬‬ ‫ﭘﻴﺮﻣﺮﺩ ﺩﺳﺖ ﺑﺮ ﺟﻠﺪ ﻧﻬﺎﺩ ﻭ ﺻﻔﺤﻪﻯ ﺁﺧﺮﻯ ﺭﺍ ﻛﻪ ﺍﺳﺤﺎﻕ ﺧﻮﺍﻧﺪﻩ ﺑﻮﺩ ﺁﻭﺭﺩ‪ ،‬ﺍﺩﺍﻣﻪ ﺩﺍﺩ‪» :‬ﻫﻤﻮﻥ‬ ‫ﺑﺨﺸﻰ ﻫﺴﺖ ﻛﻪ ﻣﺪ ﻧﻈﺮ ﻣﻨﻪ‪ .‬ﺑﻨﺸﻴﻦ ﭘﺴﺮﻡ!« ﺑﺎ ﺩﺳﺖ ﻳﻜﻰ ﺍﺯ ﺻﻨﺪﻟﻰﻫﺎ ﺭﺍ ﻧﺸﺎﻧﺶ ﺩﺍﺩ‪ .‬ﺩﺭ ﺍﻳﻦ‬ ‫ﺍﺛﻨﺎ ﮔﻔﺖ‪» :‬ﺗﻮ ﺍﻭﻥ ﻻﻻﻳﻰ ﺭﻭ ﺑﻪ ﺧﺎﻃﺮ ﻣﻴﺎﺭﻯ؟ ﻫﻤﻮﻥ ﻛﻪ ﺗﻮﺵ ﻣﻰﺧﻮﻧﺪ‪ :‬ﺁﺳﻮﺩﻩ ﺑﺨﻮﺍﺏ ﻛﻪ ﺷﺐ‬ ‫ﮔﺬﺭﺍﺳﺖ ﻭ ﻣﻦ ﺍﺯ ﺗﻮ ﺩﺭ ﺑﺮﺍﺑﺮﺵ ﻣﺤﺎﻓﻈﺖ ﺧﻮﺍﻫﻢ ﻛﺮﺩ‪«.‬‬ ‫ﺍﺳﺤﺎﻕ ﺑﺎ ﺍﻭ ﺧﻮﺍﻧﺪ‪» :‬ﺁﺳﻮﺩﻩ ﺑﺨﻮﺍﺏ ﻛﻪ ﻣﻦ ﺍﻳﻦﺟﺎ ﺑﺎ ﺗﻮ ﻫﺴﺘﻢ ﻭ ﺑﻪ ﺯﻭﺩﻯ ﻫﻤﻪ ﺟﺎ ﺭﻭﺷﻦ ﻣﻴﺸﻪ‪«.‬‬ ‫ﺍﺳﺤﺎﻕ ﺳﺮﺵ ﺭﺍ ﺧﺎﺭﺍﻧﺪ ﻭ ﮔﻔﺖ‪» :‬ﺩﺭ ﻛﻮﺩﻛﻰ ﭼﻨﺪﻳﻦ ﺑﺎﺭ ﺩﺭ ﮔﻮﺷﻢ ﺯﻣﺰﻣﻪ ﺷﺪﻩ‪«.‬‬ ‫ﭘﻴﺮﻣﺮﺩ ﮔﻔﺖ‪» :‬ﻣﻦ ﺑﺎ ﺑﻪ ﻳﺎﺩ ﺁﻭﺭﺩﻥ ﺍﺷﻌﺎﺭ ﻛﻮﺩﻛﻰ‪ ،‬ﺁﻥ ﭼﻪ ﺭﺍ ﻛﻪ ﻣﺎﺩﺭﻡ ﻗﺼﺪ ﺍﻧﺘﻘﺎﻟﺶ ﺭﺍ ﺩﺍﺷﺘﻪ ﺩﺭ‬ ‫ﻣﻰﻳﺎﻓﺘﻢ‪ .‬ﻫﻴﭻ ﻭﻗﺖ ﺑﻪ ﻣﻔﻬﻮﻡ ﺁﻥ ﻓﻜﺮ ﻛﺮﺩﻩﺍﻯ؟«‬ ‫ﺍﺳﺤﺎﻕ ﺑﺎ ﺗﺮﺩﻳﺪ ﭘﺮﺳﻴﺪ‪» :‬ﻣﻰﺧﻮﺍﻳﺪ ﺭﺍﺟﻊ ﺑﻪ ﺍﻭﻥ ﺁﻫﻨﮓ ﺑﺎ ﻣﻦ ﺻﺤﺒﺖ ﻛﻨﻴﺪ؟«‬ ‫ﭘﻴﺮﻣﺮﺩ ﺩﺳﺘﻰ ﺑﻪ ﺭﻳﺸﺶ ﻛﺸﻴﺪ ﮔﻔﺖ‪» :‬ﭼﻴﺰﻯ ﻛﻪ ﺩﺭ ﻣﻮﺭﺩﺵ ﺻﺤﺒﺖ ﺧﻮﺍﻫﻴﻢ ﻛﺮﺩ‪ ،‬ﺗﺎ ﺍﻳﻦ ﺣﺪ‬ ‫ﺩﻟﭽﺴﺐ ﻧﺨﻮﺍﻫﺪ ﺑﻮﺩ‪ «.‬ﺑﻪ ﻛﺘﺎﺏ ﺿﺮﺑﻪﺍﻯ ﺯﺩ ﻭ ﺻﻔﺤﻪﻯ ﺷﺒﺰﻯﻫﺎ ﮔﺸﻮﺩﻩ ﺷﺪ‪ .‬ﺍﺯ ﭘﺴﺮ ﭘﺮﺳﻴﺪ‪:‬‬ ‫»ﻣﻄﺎﻟﺐ ﻛﺘﺎﺏ ﺭﻭ ﭼﻄﻮﺭ ﺩﻳﺪﻯ؟ ﮔﺮﻣﺎﻯ ﺍﻧﮕﺸﺘﺎﺕ ﻫﻨﻮﺯ ﺑﺮ ﺻﻔﺤﺎﺕ ﺑﺎﻗﻰ ﻣﻮﻧﺪﻩ ﻭ ﻣﻰﺩﻭﻧﻢ ﺍﻳﻦ‬ ‫ﺻﻔﺤﺎﺕ ﺭﻭ ﺧﻮﻧﺪﻯ‪«.‬‬ ‫ﺟﻮﺍﻥ ﺑﻪ ﺍﺳﺘﺎﺩ ﻗﺪﻳﻤﻴﺶ ﻧﮕﺎﻩ ﻛﺮﺩ ﻭ ﺑﻪ ﻳﺎﺩ ﺩﻭﺭﺍﻥ ﺁﻣﻮﺯﺵﻫﺎﻯ ﻧﺎﺗﻤﺎﻣﻰ ﺍﻓﺘﺎﺩ ﻛﻪ ﺍﻳﻦ ﭼﻨﻴﻦ ﭘﺸﺖ‬ ‫‪73‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،29‬ﺍﺭﺩﻳﺒﻬﺸﺖ ‪1392‬‬

‫ﺍﺳﺤﺎﻕ ﮔﻔﺖ‪» :‬ﺩﺭﮔﻴﺮ ﺑﻮﺩﻡ‪ .‬ﺗﻨﻬﺎ ﺑﻮﺩﻡ‪ .‬ﻫﻴﭻ ﻛﻤﻜﻰ ﺑﻬﻢ ﻧﺸﺪ‪ .‬ﻣﺨﺼﻮﺻﺎً ﺍﺯ ﻃﺮﻑ ﻛﺴﻰ ﻛﻪ ﺧﻴﻠﻰ‬ ‫ﺑﻪ ﻛﻤﻜﺶ ﺍﻣﻴﺪ ﺩﺍﺷﺘﻢ‪ .‬ﺁﺯﺍﺩﻩ! ﻣﻦ ﺍﺯ ﺩﺳﺖ ﺭﻓﺘﻢ‪ .‬ﺭﻳﺴﻜﻰ ﻛﺮﺩﻡ ﻭ ﺑﺎﺧﺘﻢ‪ .‬ﺣﺎﻻ ﺍﻳﻦﺟﺎﻡ ﺗﺎ ﻓﻘﻂ ﺍﺯ‬ ‫ﭘﺪﺭﺕ ﺑﭙﺮﺳﻢ ﭼﺮﺍ؟ ﭼﺮﺍ ﺑﻬﻢ ﻛﻤﻚ ﻧﻜﺮﺩ؟«‬ ‫ﺩﺧﺘﺮ ﺩﻟﺴﻮﺯﺍﻧﻪ ﮔﻔﺖ‪» :‬ﭼﻰ ﺑﻪ ﺳﺮﺕ ﺍﻭﻣﺪﻩ؟ ﺍﻳﻦ ﭼﻪ ﻭﺿﻌﻴﻪ ﻛﻪ ﺩﺍﺭﻯ؟ ﻧﻤﻰﺩﻭﻧﺴﺘﻢ ﺗﺎ ﺍﻳﻦ ﺣﺪ‬ ‫ﺑﺮﺍﺕ ﻣﻬﻤﻪ‪ ،‬ﻭﻟﻰ ﺑﺎ ﺍﻳﻦ ﺣﺎﻝ ﻫﻤﻪﻯ ﺳﻌﻴﻤﻮ ﻛﺮﺩﻡ ﻛﻪ ﭘﺪﺭﻡ ﺭﻭ ﺭﺍﺿﻰ ﻛﻨﻢ‪ .‬ﻛﺎﻣ ً‬ ‫ﻼ ﺑﻪ ﺭﺍﻯ ﺧﻮﺩﺷﻪ‬ ‫ﻭ ﻫﻴﭻ ﭘﻴﺸﻨﻬﺎﺩﻯ ﺭﻭ ﻧﻤﻰﭘﺬﻳﺮﻩ‪ .‬ﻫﺮﮔﺰ ﺗﺎ ﺍﻳﻦ ﺣﺪ ﻧﻔﻮﺫﻧﺎﭘﺬﻳﺮ ﻧﺪﻳﺪﻩ ﺑﻮﺩﻣﺶ‪«.‬‬ ‫ﺁﻥ ﮔﺎﻩ ﻧﮕﺎﻫﻰ ﺑﻪ ﺣﺎﻝ ﺭﻗﺖﺍﻧﮕﻴﺰ ﺍﻭ ﺍﻧﺪﺍﺧﺖ ﻭ ﻧﺎﺧﻮﺍﺳﺘﻪ ﻟﺤﻈﺎﺗﻰ ﺩﺭ ﺍﻭ ﺣﺲ ﺗﻨﻔﺮﻯ ﺷﻜﻞ ﮔﺮﻓﺖ‪.‬‬ ‫ﺍﺳﺤﺎﻕ ﺑﺎ ﻧﺎﺭﺍﺣﺘﻰ ﺁﺭﻧﺞﻫﺎﻳﺶ ﺭﺍ ﺭﻭﻯ ﻣﻴﺰ ﺗﻜﻴﻪ ﺩﺍﺩ ﻭ ﺻﻮﺭﺗﺶ ﺭﺍ ﺩﺭ ﺩﺳﺖﻫﺎﻳﺶ ﮔﻢ ﻛﺮﺩ‪ .‬ﭘﺮﺳﻴﺪ‪:‬‬ ‫»ﺧﺒﺮ ﻧﺪﺍﺭﻯ ﺩﻳﺮﻭﺯ ﭼﻪ ﻛﺴﻰ ﺑﻪ ﺩﻳﺪﻥ ﭘﺪﺭﺕ ﺍﻭﻣﺪﻩ ﺑﻮﺩ؟«‬ ‫ﺩﺧﺘﺮ ﺑﺎ ﻛﻨﺠﻜﺎﻭﻯ ﮔﻔﺖ‪» :‬ﻧﻪ‪ .‬ﺍﻣﺎ ﺍﺻ ً‬ ‫ﻼ ﺍﺯ ﻛﻰ ﺷﻨﻴﺪﻯ ﻛﻪ ﺍﻭﻣﺪﻩ ﺑﻮﺩ؟«‬ ‫ﭘﺴﺮ ﻃﻔﺮﻩ ﺭﻓﺖ ﻛﻪ‪» :‬ﻣﺴﺌﻠﻪﻯ ﻣﻬﻤﻰ ﻧﻴﺴﺖ‪ .‬ﭘﺪﺭﺕ ﺍﺧﻴﺮﺍ ً ﺑﺎ ﭼﻪ ﻛﺴﺎﻳﻰ ﻣﻌﺎﺷﺮﺕ ﺩﺍﺷﺘﻪ؟«‬ ‫ﺩﺧﺘﺮ ﺑﺎ ﺍﺧﻢ ﮔﻔﺖ‪» :‬ﻳﻜﻰ ﺗﻮ ﺍﻳﻦ ﺧﻮﻧﻪ ﻫﺴﺖ ﻛﻪ ﺍﺧﺒﺎﺭ ﺭﻭ ﺑﻪ ﺧﻮﺑﻰ ﺑﻬﺖ ﻣﻰﺭﺳﻮﻧﻪ ‪ .‬ﭼﺮﺍ ﺍﺯﺵ‬ ‫ﺳﻮﺍﻝ ﻧﻤﻰﻛﻨﻰ؟ ﻧﻜﻨﻪ‪«...‬‬ ‫ﺍﺳﺤﺎﻕ ﻓﺮﻳﺎﺩ ﺯﺩ‪» :‬ﻣﻦ ﺩﺭ ﺷﺮﺍﻳﻄﻰ ﻧﻴﺴﺘﻢ ﻛﻪ ﭘﺎﺳﺨﮕﻮﻯ ﺷﻚ ﻭ ﮔﻤﺎﻥﻫﺎﻯ ﭘﺎﺭﺍﻧﻮﺋﻴﻚ ﺗﻮ ﺑﺎﺷﻢ‪«.‬‬ ‫ﺩﺧﺘﺮ ﺟﺎ ﺧﻮﺭﺩ‪ .‬ﺩﻫﺎﻥ ﻧﻴﻤﻪﺑﺎﺯ ﻣﺎﻧﺪﻩﺍﺵ ﺭﺍ ﺑﺴﺖ ﻭ ﺑﺎ ﭼﺸﻤﺎﻧﻰ ﺍﺷﻚﺁﻟﻮﺩ ﺍﺯ ﺍﺗﺎﻕ ﺑﻴﺮﻭﻥ ﺭﻓﺖ‪ .‬ﭘﺴﺮ‬ ‫ﺑﺎ ﺧﻮﺩ ﺯﻣﺰﻣﻪ ﻛﺮﺩ‪ »:‬ﻫﻴﭻ ﻭﻗﺖ ﻧﻔﻬﻤﻴﺪﻡ ﻭﺍﻗﻌﺎً ﺩﺍﺭﻩ ﮔﺮﻳﻪ ﻣﻰﻛﻨﻪ ﻳﺎ ﺍﺩﺍﺷﻮ ﺩﺭ ﻣﻴﺎﺭﻩ‪«.‬‬ ‫ﺍﺳﺤﺎﻕ ﻫﻮﺍ ﺭﺍ ﺍﺯ ﺑﻴﻨﻰﺍﺵ ﺧﺎﺭﺝ ﻭ ﺑﻪ ﺟﻠﺪ ﻛﺘﺎﺏ ﺭﻫﺎ ﺷﺪﻩ ﻧﮕﺎﻩ ﻛﺮﺩ‪ .‬ﺣﻮﺻﻠﻪﻯ ﺧﻮﺍﻧﺪﻥ‬ ‫ﺗﺎﺭﻳﺦﻫﺎﻯ ﺩﺳﺘﻜﺎﺭﻯ ﺷﺪﻩﻯ ﻳﻬﻮﺩﻯ ﺭﺍ ﻧﺪﺍﺷﺖ‪ .‬ﻛﻤﻰ ﺩﺭ ﻣﻴﺎﻥ ﻛﺘﺎﺏﻫﺎ ﺑﻪ ﺟﺴﺘﺠﻮ ﭘﺮﺩﺍﺧﺖ‬ ‫ﻭ ﺑﺎ ﺧﻮﺩ ﻓﻜﺮ ﻛﺮﺩ ﺑﻪ ﻋﻠﺖ ﺍﻳﻦ ﻛﻪ ﻋﻤﻮﻳﺶ ﭼﻨﻴﻦ ﻛﺘﺎﺑﻰ ﺭﺍ ﻣﻰﺧﻮﺍﻧﺪ‪ ،‬ﺍﺣﺘﻤﺎﻝ ﺍﻳﻦ ﻛﻪ ﺍﻭ ﺑﻪ‬ ‫ﻳﺎﻓﺘﻦ ﻗﺎﺗﻞ ﺑﻴﻨﺪﻳﺸﺪ ﻭﺟﻮﺩ ﺩﺍﺭﺩ‪ .‬ﺑﺮﺧﺎﺳﺖ ﻭ ﺩﺭ ﺍﺗﺎﻕ ﻗﺪﻡ ﺯﺩ‪ .‬ﺳﺎﻋﺘﻰ ﮔﺬﺷﺖ ﻛﻪ ﺩﻭ ﺿﺮﺑﻪ‬ ‫ﺑﻪ ﺩﺭ ﺧﻮﺭﺩ ﻭ ﭘﺲ ﺍﺯ ﺁﻥ ﻋﻤﻮﻳﺶ ﻭﺍﺭﺩ ﺷﺪ‪ .‬ﺷﺎﻟﻰ ﻣﺨﻤﻠﻰ ﻭ ﺑﺴﻴﺎﺭ ﺑﺰﺭگ ﺑﺮ ﺭﻭﻯ ﭘﺎﻟﺘﻮﻳﺶ‬ ‫ﺍﻧﺪﺍﺧﺘﻪ ﺑﻮﺩ ﻭ ﻛﻼﻫﺶ ﺭﺍ ﺩﺭ ﺩﺳﺖ ﺩﺍﺷﺖ‪ .‬ﺍﺳﺤﺎﻕ ﺳﻼﻡ ﺩﺍﺩ ﻭ ﺑﻪ ﺁﻭﻳﺨﺘﻦ ﻟﺒﺎﺱﻫﺎ ﺍﺯ ﺟﺎﻟﺒﺎﺳﻰ‬ ‫ﻧﮕﺎﻩ ﻛﺮﺩ‪.‬‬ ‫ﺁﻥ ﮔﺎﻩ ﭘﺮﺳﻴﺪ‪» :‬ﻛﻤﻰ ﺩﻳﺮ ﻧﻴﻮﻣﺪﻳﺪ؟«‬ ‫ﭘﻴﺮﻣﺮﺩ ﺩﺭ ﺣﺎﻟﻰ ﻛﻪ ﭘﺎﻟﺘﻮﻳﺶ ﺭﺍ ﺩﺭ ﻣﻰﺁﻭﺭﺩ ﮔﻔﺖ‪» :‬ﻧﻪ ﺩﻳﺮﺗﺮ ﺍﺯ ﺯﻣﺎﻧﻰ ﻛﻪ ﻗﺼﺪ ﺩﺍﺷﺘﻢ ﺑﻴﺎﻡ‪ «.‬ﭘﺎﻟﺘﻮ‬ ‫ﺭﺍ ﺁﻭﻳﺨﺖ ﻭ ﺭﻭ ﺑﻪ ﺟﻮﺍﻥ ﮔﻔﺖ‪» :‬ﺑﻪ ﺧﺎﻃﺮ ﻧﺪﺍﺭﻡ ﺑﺎ ﻣﻦ ﻗﺮﺍﺭ ﻣﻼﻗﺎﺗﻰ ﮔﺬﺍﺷﺘﻪ ﺑﺎﺷﻰ‪ ،‬ﻭﻟﻰ ﺍﺯ ﻗﺮﺍﺭﻫﺎ‬ ‫ﻭ ﻣﻼﻗﺎﺕﻫﺎﻯ ﺩﻳﮕﺮﺕ ﺑﻪ ﺧﻮﺑﻰ ﺧﺒﺮ ﺩﺍﺭﻡ‪«.‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،29‬ﺍﺭﺩﻳﺒﻬﺸﺖ ‪1392‬‬

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‫ﻓﺎﻧﺘﺰﻯ ‪ -‬ﻧﮕﺎﺭﺵ‬

‫ﺧﺪﻋﻪ ﺑﺴﯿﺎر ﻧﺎاﻣﯿﺪ ﺷﺪ‪ .‬ﭘﺲ ﮔﺮوﻫﯽ از ﯾﻬﻮدﯾﺎن ﺑﺮای ﺟﱪان ﻟﻄﻒ ﭘﺪرش ﺑﻪ او ﭘﯿﺸﻨﻬﺎد‬ ‫ﮐﻤﮏ دادﻧﺪ‪ .‬آﻧﺎن ﻣﺠﻤﻌﯽ از ﺟﺎدوﭘﯿﺸﮕﺎن ﯾﻬﻮد و ﻣﴫی ﺗﺸﮑﯿﻞ دادﻧﺪ و ﭘﺮده از رازی‬ ‫ﻧﻬﺎن در ﺟﺎدوی ﺑﺎﺳﺘﺎﻧﯽ ﻣﴫی ﺑﺮداﺷﺘﻨﺪ ﮐﻪ ﭘﯿﺶﺗﺮ ﻓﻘﻂ در ﯾﮏ دوره از آن اﺳﺘﻔﺎده‬ ‫ﺷﺪه ﺑﻮد و آن دوران را ﺳﯿﺎه ﻣﯽداﻧﺴﺘﻨﺪ‪ ،‬ﭼﻮن ﺗﻮان ﻣﻬﺎر ﻧﯿﺮوی ﺟﺎدو در آن زﻣﺎن ﻣﻤﮑﻦ‬ ‫ﻧﺒﻮده و از ﮐﻨﱰﻟﺸﺎن ﺧﺎرج ﺷﺪه ﺑﻮد‪ .‬ﻟﯿﮑﻦ ﺣﺎل ﺑﺎ اﻋﺘامد ﺑﻪ ﻗﺪرت زﯾﺎدﺷﺎن ﺧﻮد را واﺟﺪ‬ ‫ﴍاﯾﻂ ﻓﺮاﺧﻮاﻧﯽ دوﺑﺎرهی آن ﻣﯽداﻧﺴﺘﻨﺪ‪.‬ﮐﻤﺒﻮﺟﯿﻪ از اﯾﻦ ﻣﻮﺿﻮع اﺑﺮاز ﻧﮕﺮاﻧﯽ ﮐﺮد و ﺑﻪ‬ ‫دﻟﯿﻞ اﻋﺘﻘﺎدات ﻣﺬﻫﺒﯽ و ﻧﺎﭘﺴﻨﺪ داﻧﺴنت ﺟﺎدو‪ ،‬ﭘﯿﺸﻨﻬﺎد آﻧﺎن را ﻧﭙﺬﯾﺮﻓﺖ؛ اﻣﺎ ﯾﻬﻮدﯾﺎن‬ ‫ﺑﺪون ﻣﺸﻮرت ﺑﺎ او ﺟﺎدو را ﺑﻪ ﺟﺮﯾﺎن اﻧﺪاﺧﺘﻪ ﺑﻮدﻧﺪ و دﯾﮕﺮ ﺗﻮان ﻣﺘﻮﻗﻒ ﮐﺮدﻧﺶ را‬ ‫ﻧﺪاﺷﺘﻨﺪ‪ .‬ﮔﺮوﻫﯽ از ﺑﻨﯽاﴎاﺋﯿﻞ ﺑﺎﻗﯽ ﻣﺎﻧﺪه از ﻋﻬﺪ ﻋﺘﯿﻖ در ﻣﴫ‪ ،‬ﺑﻪ ﻋﻨﻮان داوﻃﻠﺒﺎﻧﯽ‬ ‫ﮐﻪ از ﻫﺮ دو ﻃﺮف ﺑﺎ ﺟﺎدوﮔﺮان ﻧﺴﺒﺖ داﺷﺘﻨﺪ اﻧﺘﺨﺎب ﺷﺪﻧﺪ ﺗﺎ ﻣﻮرد آزﻣﺎﯾﺶ ﺟﺎدو ﻗﺮار‬ ‫ﮔﯿﺮﻧﺪ و اﯾﻦ ﮔﻮﻧﻪ ﺑﻮد ﮐﻪ ﺷﺒﺰیﻫﺎ ﺧﻠﻖ ﺷﺪﻧﺪ‪ .‬روح آنﻫﺎ ﺳﺘﺎﻧﺪه ﺷﺪ ﺗﺎ وﻋﺪهی آزادﯾﺸﺎن‬ ‫ﻣﺤﻘﻖ ﮔﺮدد و ﺑﺎ ﻗﺪرت ﺑﺴﯿﺎر ﺑﺮ ﻣﺮدم ﺑﺮﺗﺮی ﯾﺎﻓﺘﻨﺪ‪ .‬در ﻫامن اﺑﺘﺪای ﮐﺎر ﻣﻌﻠﻮم ﺷﺪ ﮐﻪ‬ ‫اﺷﮑﺎﻟﯽ وﺟﻮد دارد‪ ،‬ﭼﻮن ﺧﺸﻮﻧﺖ آنﻫﺎ ﺑﺴﯿﺎر ﺧﺎرج از ﮐﻨﱰل ﺑﻮد و ﻫﯿﭻ ﻓﺮﻣﺎﻧﺪهای را‬ ‫منﯽﭘﺬﯾﺮﻓﺘﻨﺪ‪ .‬اﻟﺒﺘﻪ اﯾﻦ ﻧﻘﯿﺼﻪ در ﻃﯽ زﻣﺎن ﺑﺴﯿﺎر ﺗﻌﺪﯾﻞ و ﺳﺘﯿﺰهﺟﻮﯾﯽ ﻓﻄﺮﯾﺸﺎن ﺑﺴﯿﺎر‬ ‫ﺗﺤﺖ ﮐﻨﱰل درآﻣﺪ‪ .‬ﺗﻨﻬﺎ ﻫﺪف ذﮐﺮ ﺷﺪه در ﺧﻠﻘﺘﺸﺎن‪ ،‬از ﺗﺨﺖ ﺑﻪ زﯾﺮ ﮐﺸﯿﺪن ﺑﺮدﯾﺎ‬ ‫ﺑﻮد‪ .‬ﭘﺲ ﺣﺘﺎ در ﻣﻘﺎﺑﻞ ﮐﻤﺒﻮﺟﯿﻪ ﻫﻢ اﯾﺴﺘﺎدﻧﺪ و ﺑﻪ ﺧﺎﻃﺮ ﺑﯽﻋﻼﻗﮕﯽ ﻧﺎﮔﻬﺎﻧﯽاش ﺑﻪ‬ ‫ﺑﺎزﭘﺲﮔﯿﺮی ﺷﺎﻫﻨﺸﺎﻫﯽ و ﺟﻠﻮﮔﯿﺮی از اﻧﺠﺎم ﻣﺎﻣﻮرﯾﺘﺸﺎن‪ ،‬او را ﺑﻪ ﻗﺘﻞ رﺳﺎﻧﺪﻧﺪ‪ .‬ﻫامن‬ ‫ﻃﻮر ﮐﻪ ﭘﯿﺶﮔﻮﯾﯽ ﺷﺪه ﺑﻮد‪ ،‬ﺷﺒﺰیﻫﺎ در ﻫﺪﻓﺸﺎن ﻣﻮﻓﻖ ﺑﻮدﻧﺪ و ﻋﺪاﻟﺖ ﺑﯽﺑﺪﯾﻞ ﺑﺮدﯾﺎ‬ ‫ﻫﻢ ﻧﺘﻮاﻧﺴﺖ ﻣﺎﻧﻌﯽ ﺑﺮ ﴎ راه ﺷﺒﺰیﻫﺎ ﺑﺎﺷﺪ‪ .‬ﭘﺲ از اﯾﻦ اﺗﻔﺎق دوران ﻧﻔﻮذ ﯾﻬﻮدﯾﺎن در‬ ‫اﯾﺮان آﻏﺎز ﺷﺪ ﮐﻪ اوج آن در زﻣﺎن اﺳﱰ و ﻣﺮدﺧﺎی رواﯾﺖ ﺷﺪه اﺳﺖ‪ .‬ﭘﺲ از اﯾﻦ اﺗﻔﺎق‬ ‫ﺑﻮد ﮐﻪ ﯾﻬﻮد ﻣﺘﻮﺟﻪ ﺷﺪ ﭘﯿﺸﮕﻮﯾﯽ ﺗﻮرات ﻣﺤﻘﻖ ﺷﺪه‪ ،‬ﮔﺮوﻫﯽ از اﺳﺎرت ﻣﴫﯾﺎن ﺧﻼص‬ ‫و ﺑﺮ ﻣﺮدم ﺑﺮﺗﺮی ﯾﺎﻓﺘﻪاﻧﺪ‪ .‬ﻫﻨﻮز ﻫﻢ ﮐﺴﺎﻧﯽ ﮐﻪ‪«...‬‬ ‫»ﻓﻜﺮ ﻛﻨﻢ ﻗﺮﺍﺭﻣﻮﻥ ﺷﻨﺒﻪ ﺑﻮﺩ‪«.‬‬ ‫ﺍﺳﺤﺎﻕ ﺑﺎ ﺍﺿﻄﺮﺍﺏ ﺑﻪ ﺑﺎﻻ ﻧﮕﺎﻩ ﻛﺮﺩ ﻭ ﺁﺯﺍﺩﻩ ﺭﺍ ﻣﻘﺎﺑﻞ ﺧﻮﺩ ﻳﺎﻓﺖ‪ .‬ﺑﺴﻴﺎﺭ ﺷﻮﻛﻪ ﺷﺪﻩ ﺑﻮﺩ‪ ،‬ﭘﺲ ﮔﻔﺖ‪:‬‬ ‫»ﻣﺘﻮﺟﻪ ﻭﺭﻭﺩﺕ ﺑﻪ ﺍﺗﺎﻕ ﻧﺸﺪﻡ‪«.‬‬ ‫ﺁﺯﺍﺩﻩ ﺑﺎ ﺧﻨﺪﻩ ﮔﻔﺖ‪» :‬ﻧﺒﺎﻳﺪ ﻫﻢ ﺑﺸﻰ‪ .‬ﺧﻴﻠﻰ ﻣﺸﻐﻮﻝ ﺑﻮﺩﻯ‪«.‬‬ ‫‪71‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،29‬ﺍﺭﺩﻳﺒﻬﺸﺖ ‪1392‬‬

‫ﭘﺮﻯ ﺑﺮﺧﺎﺳﺖ ﻭ ﮔﻔﺖ‪» :‬ﺣﺘﻤﺎً‪ .‬ﻣﻄﻤﺌﻦ ﺑﺎﺵ‪ «.‬ﺁﻥ ﮔﺎﻩ ﺑﻪ ﺳﻴﻨﻰ ﺍﺷﺎﺭﻩ ﻛﺮﺩ ﻭ ﮔﻔﺖ‪» :‬ﺍﺯ ﻛﻴﻚ‬ ‫ﻧﺨﻮﺭﺩﻯ!«‬ ‫ﺍﺳﺤﺎﻕ ﺩﺭ ﺣﺎﻟﻰ ﻛﻪ ﻛﺘﺎﺏ ﺭﺍ ﻣﻰﮔﺸﻮﺩ ﻭ ﺍﺑﺘﺪﺍﻯ ﻓﺼﻠﻰ ﺭﺍ ﻣﻰﺁﻭﺭﺩ ﻛﻪ ﻋﻤﻮﻳﺶ ﺁﻥ ﺭﺍ ﻧﺸﺎﻥ ﻛﺮﺩﻩ‬ ‫ﺑﻮﺩ‪ ،‬ﭘﺎﺳﺦ ﺩﺍﺩ‪» :‬ﮔﻔﺘﻢ ﻛﻪ! ﺍﺷﺘﻬﺎ ﻧﺪﺍﺭﻡ‪«.‬‬ ‫ﺩﺧﺘﺮ ﺳﺮﺧﻮﺭﺩﻩ ﺳﻴﻨﻰ ﺭﺍ ﺑﺮﺩﺍﺷﺖ ﻭ ﺧﺎﺭﺝ ﺷﺪ‪ .‬ﺍﺳﺤﺎﻕ ﺷﺮﻭﻉ ﺑﻪ ﺧﻮﺍﻧﺪﻥ ﻛﺮﺩ‪:‬‬

‫»ﻓﺼﻞ ‪:۷‬دﮔﺮﮔﻮﻧﯽ‬ ‫آن ﭼﻪ ﭘﯿﺶﺗﺮ از ﺟﺎدوﻫﺎی ﺟﺎوﯾﺪاﻻﺛﺮ ﺧﻮاﻧﺪﯾﺪ‪ ،‬ارﺗﺒﺎط ﻣﺴﺘﻘﯿﻤﯽ ﺑﺎ ﻣﻮﺟﻮدات زﻧﺪه‬ ‫ﻧﺪاﺷﺖ‪ .‬اﯾﻦ ﺑﺎر منﻮﻧﻪﻫﺎﯾﯽ را ﻣﺜﺎل ﻣﯽزﻧﯿﻢ ﮐﻪ ﻣﻮﺟﻮدات زﻧﺪه در آن دﮔﺮﮔﻮن ﺷﺪهاﻧﺪ و‬ ‫ﻧﮋاد ﯾﺎ ﮔﻮﻧﻪای ﺟﺪﯾﺪ اﯾﺠﺎد ﮐﺮدهاﻧﺪ ﮐﻪ ﺑﻪ ﺑﺮرﺳﯽ ﻋﻠﻞ و ﺗﺎرﯾﺨﭽﻪی آنﻫﺎ ﻣﯽ ﭘﺮدازﯾﻢ‪«.‬‬ ‫ﺍﺳﺤﺎﻕ ﻧﮕﺎﻫﻰ ﺑﻪ ﺗﻴﺘﺮﻫﺎ ﺍﻧﺪﺍﺧﺖ‪ .‬ﻣﻮﺟﻮﺩﺍﺗﻰ ﺍﺳﺎﻃﻴﺮﻯ ﭼﻮﻥ ﺍژﺩﻫﺎﻳﺎﻥ‪ ،‬ﺷﻴﺮﺩﺍﻝ‪ ،‬ﻣﺮﺩﻯﺧﻮﺍﺭ‬ ‫)ﻣﺎﻧﺘﻴﻜﻮﺭ(‪ ،‬ﻫﻤﺎﻯ‪ ،‬ﻫﻴﻮﻻﻯ ﺩﺭﻳﺎﭼﻪﻯ ﻧﻴﺲ ﻭ ﻳﺘﻰ ﺭﺍ ﺍﺯ ﻧﻈﺮ ﮔﺬﺭﺍﻧﺪ ﻛﻪ ﺑﺴﻴﺎﺭﻯ ﺍﺯ ﺁﻥﻫﺎ ﺩﻳﮕﺮ‬ ‫ﻭﺟﻮﺩ ﻧﺪﺍﺷﺘﻨﺪ‪ .‬ﺁﻥ ﮔﺎﻩ ﺑﻪ ﺑﺨﺶ ﺍﻧﺴﺎﻥﻫﺎ ﺭﺳﻴﺪ‪ .‬ﻣﻘﺪﻣﻪ ﺭﺍ ﺳﺮﺳﺮﻯ ﮔﺬﺭﺍﻧﺪ ﻭ ﻧﻤﻮﻧﻪﻫﺎﻳﻰ ﭼﻮﻥ‬ ‫ﻣﻴﻨﻮﺗﻮﺭ‪ ،‬ﺑﻮﺯﻳﻨﻪﻫﺎ ﻭ‪ ...‬ﺑﺎﻻﺧﺮﻩ ﺑﻪ ﺁﻥ ﭼﻪ ﻣﻰﺧﻮﺍﺳﺖ ﺭﺳﻴﺪ‪ .‬ﺷﺒﺰﻯﻫﺎ‪.‬‬

‫»ﺷﺒﺰیﻫﺎ ﯾﺎ ﻣﻮﺟﻮدات ﺷﺐ ﺑﻪ دﺳﺘﻪای از ﺑﻮﻧﺪﮔﺎن اﻃﻼق ﻣﯽﺷﻮﻧﺪ ﮐﻪ ﺣﺴﺎﺳﯿﺖ زﯾﺎدی‬ ‫ﺑﻪ ﻧﻮر ﺧﻮرﺷﯿﺪ دارﻧﺪ‪ ،‬ﺗﺎ ﺣﺪی ﮐﻪ در اﺛﺮ ﺗﺎﺑﺶ ﻣﺴﺘﻘﯿﻢ آن ﻧﺎﺑﻮد ﻣﯽﺷﻮﻧﺪ‪ .‬ﺑﻪ دﻟﯿﻞ‬ ‫اﯾﻦ ﺧﺼﻮﺻﯿﺖ ﻣﻌﻤﻮﻻً در ﻣﮑﺎنﻫﺎی ﺗﺎرﯾﮏ و زﯾﺮ زﻣﯿﻦ زﻧﺪﮔﯽ ﻣﯽﮐﻨﻨﺪ و ﺟﺰ اﯾﻦ‪،‬‬ ‫ﺗﻔﺎوتﻫﺎی دﯾﮕﺮی ﻫﻢ ﺑﺎ اﻧﺴﺎنﻫﺎ دارﻧﺪ‪ .‬اﯾﻦ ﻣﻮﺟﻮدات در ﴎﻋﺖ‪ ،‬درﻧﺪﮔﯽ و ﻗﺪرت ﺑﺮ‬ ‫اﻧﺴﺎنﻫﺎ ﺑﺮﺗﺮی دارﻧﺪ‪ .‬ﺷﺒﺰیﻫﺎ از ﺧﻮن ﺗﻐﺬﯾﻪ ﻣﯽﮐﻨﻨﺪ و ﺗﻔﺎوت ﻇﺎﻫﺮﯾﺸﺎن در ﭘﻮﺳﺖ‬ ‫رﻧﮓ ﭘﺮﯾﺪهﺷﺎن اﺳﺖ‪ .‬ﻣﻬﻢﺗﺮﯾﻦ ﺗﻔﺎوت آنﻫﺎ ﺑﺎ اﻧﺴﺎن اﯾﻦ اﺳﺖ ﮐﻪ آنﻫﺎ ﻓﺎﻗﺪ روح‬ ‫ﻫﺴﺘﻨﺪ‪ .‬در داﺳﺘﺎن ﺧﻠﻘﺘﺸﺎن ﺑﻪ اﯾﻦ ﻣﻮﺿﻮع ﺑﯿﺸﱰ ﺧﻮاﻫﯿﻢ ﭘﺮداﺧﺖ‪.‬‬ ‫ﺑﺪان ﮔﺎه ﮐﻪ ﮐﻮروش ﺷﺎﻫﻨﺸﺎه اﯾﺮان ﯾﻬﻮدﯾﺎن را از ﺟﻮر ﺑﺎﺑﻠﯿﺎن ﻧﺠﺎت داد‪ ،‬آﻧﺎن ﺧﻮد را‬ ‫ﻣﻮﻇﻒ داﻧﺴﺘﻨﺪ در ازای ﭼﻨﯿﻦ ﺧﺪﻣﺘﯽ دﯾﻦ ﺧﻮد را ﺑﻪ او ادا ﮐﻨﻨﺪ؛ ﻟﯿﮑﻦ در زﻣﺎن ﺣﯿﺎت‬ ‫او ﭼﻨﯿﻦ ﻓﺮﺻﺘﯽ ﻧﯿﺎﻓﺘﻨﺪ‪ .‬آن زﻣﺎن ﮐﻪ ﮐﻤﺒﻮﺟﯿﻪ ﭘﴪ ﮐﻮروش ﻣﴪور از ﺗﴫف ﻣﴫ ﺑﻮد‪،‬‬ ‫ﮔﺮوﻫﯽ ﺑﺮادرش ﺑﺮدﯾﺎ را ﺑﻪ ﺟﺎی او ﺑﺮ ﺗﺨﺖ ﺷﺎﻫﯽ ﻧﺸﺎﻧﺪﻧﺪ و ﺷﺎه ﻓﺎﺗﺢ ﺑﺎ ﺷﻨﯿﺪن ﺧﱪ اﯾﻦ‬ ‫ﺷﻤﺎﺭﻩﻯ ‪ ،29‬ﺍﺭﺩﻳﺒﻬﺸﺖ ‪1392‬‬

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‫ﻓﺎﻧﺘﺰﻯ ‪ -‬ﻧﮕﺎﺭﺵ‬

‫ﺍﺳﺤﺎﻕ ﺍﻭ ﺭﺍ ﻣﻄﻤﺌﻦ ﻛﺮﺩ ﻛﻪ‪» :‬ﻧﻪ‪ ،‬ﻫﻴﭻ ﻭﻗﺖ‪ .‬ﺍﻣﺎ ﻗﻀﻴﻪ ﺍﺯ ﺍﻳﻦ ﻗﺮﺍﺭﻩ ﻛﻪ ﻣﻦ ﺑﺎﻳﺪ ﺷﺮﺍﻳﻂ ﺭﻭ ﻣﻬﻴﺎ‬ ‫ﻛﻨﻢ ﻭ ﺑﻌﻀﻰ ﻗﺪﻡﻫﺎﻯ ﺍﺷﺘﺒﺎﻩ ﮔﺬﺷﺘﻪ ﺭﻭ ﺍﺻﻼﺡ‪ .‬ﺍﻳﻦ ﻛﻤﻰ ﻭﻗﺖ ﻣﻰﺑﺮﻩ‪ ،‬ﻭﻟﻰ ﺗﻮ ﻗﻮﻝ ﻣﻦ ﺭﻭ ﺧﻮﺍﻫﻰ‬ ‫ﺩﺍﺷﺖ‪«.‬‬ ‫ﺩﺧﺘﺮ ﺳﻌﻰ ﻛﺮﺩ ﻣﺘﻴﻦ ﺑﻪ ﻧﻈﺮ ﺑﻴﺎﻳﺪ ﻭ ﮔﻔﺖ‪» :‬ﻣﻦ ﻫﻤﻴﺸﻪ ﺑﻪ ﺗﻮ ﺍﻃﻤﻴﻨﺎﻥ ﺩﺍﺷﺘﻢ‪«.‬‬ ‫ﺍﺳﺤﺎﻕ ﺑﻪ ﺻﻨﺪﻟﻴﺶ ﺗﻜﻴﻪ ﺩﺍﺩ ﻭ ﭘﺮﺳﻴﺪ‪» :‬ﺭﺍﺳﺘﻰ‪ ،‬ﺩﻡ ﺩﺭ ﺩﺍﺷﺘﻰ ﻣﻰﮔﻔﺘﻰ ﻋﻤﻮﻡ ﺍﺯ ﻛﻰ ﺑﻴﺮﻭﻥ‬ ‫ﺭﻓﺘﻪ؟«‬ ‫ﺩﺧﺘﺮ ﻟﺤﻈﻪﺍﻯ ﻣﺮﺩﺩ ﻣﺎﻧﺪ ﻭ ﺑﻪ ﺣﺮﻑﻫﺎﻯ ﻛﻠﻔﺖ ﭘﻴﺮ ﻓﻜﺮ ﻛﺮﺩ‪ ،‬ﺍﻣﺎ ﺍﻭ ﺍﺭﺑﺎﺑﺶ ﺭﺍ ﺧﻴﻠﻰ ﻭﻗﺖ ﭘﻴﺶ‬ ‫ﺍﻧﺘﺨﺎﺏ ﻛﺮﺩﻩ ﺑﻮﺩ‪ .‬ﺍﻟﺒﺘﻪ ﺑﻪ ﻋﻨﻮﺍﻥ ﺷﺮﻳﻚ ﺁﻳﻨﺪﻩﻯ ﺯﻧﺪﮔﻰ‪ .‬ﭘﺲ ﮔﻔﺖ‪» :‬ﺩﻳﺸﺐ ﺑﻌﺪ ﺍﺯ ﻏﺮﻭﺏ ﺑﻪ‬ ‫ﺍﺗﺎﻗﺸﻮﻥ ﺍﻭﻣﺪﻥ‪ .‬ﺍﻟﺒﺘﻪ ﻣﻦ ﻭﺭﻭﺩﺷﻮﻥ ﺭﻭ ﻧﺪﻳﺪﻡ‪ .‬ﭼﻮﻥ ﻛﻤﻰ ﺩﻳﺮﺗﺮ ﺍﺯ ﺳﺎﻋﺖ ﻣﻌﻤﻮﻟﻰ ﻛﻪ ﺍﺯ ﻛﻨﻴﺴﻪ‬ ‫ﺑﺮﻣﻰﮔﺮﺩﻥ ﺑﻮﺩ‪«.‬‬ ‫ﺍﺳﺤﺎﻕ ﻣﺘﻔﻜﺮﺍﻧﻪ ﭘﺮﺳﻴﺪ‪» :‬ﺑﻌﺪ ﺍﺯ ﺍﻳﻦ ﻛﻪ ﺩﻳﺸﺐ ﺑﺮﮔﺸﺖ‪ ،‬ﻭﺍﺭﺩ ﺍﻳﻦ ﺍﺗﺎﻕ ﻧﺸﺪﻯ؟«‬ ‫ﺑﺎ ﺣﺎﻟﺘﻰ ﺧﻄﺎﻛﺎﺭﺍﻧﻪ ﮔﻔﺖ‪» :‬ﻧﻪ‪ ،‬ﺑﻪ ﻫﻴﭻ ﻭﺟﻪ‪ .‬ﺣﺘﺎ ﺧﻮﺍﺳﺘﻢ ﺑﺮﺍﻯ ﻣﻬﻤﻮﻧﺸﻮﻥ ﭼﻴﺰﻯ ﺑﺒﺮﻡ ﻛﻪ ﺳﺮﻡ‬ ‫ﺩﺍﺩ ﻛﺸﻴﺪﻥ ﻭ ﮔﻔﺘﻦ ﻧﺰﺩﻳﻚ ﺍﺗﺎﻕ ﻧﺸﻢ‪«.‬‬ ‫ﺍﺳﺤﺎﻕ ﮔﻔﺖ‪» :‬ﻣﮕﻪ ﺗﻨﻬﺎ ﻧﻴﻮﻣﺪﻩ ﺑﻮﺩ؟ ﻣﻬﻤﻮﻧﺶ ﻛﻰ ﺑﻮﺩ؟«‬ ‫ﺩﺧﺘﺮ ﺑﺎ ﺗﻜﺎﻥ ﺩﺍﺩﻥ ﺩﺳﺖﻫﺎ ﺍﻇﻬﺎﺭ ﺑﻰﺍﻃﻼﻋﻰ ﻛﺮﺩ ﻭ ﮔﻔﺖ‪» :‬ﻓﻘﻂ ﺻﺪﺍﻯ ﺻﺤﺒﺘﺸﻮﻥ ﺑﺎ ﻳﻪ ﻣﺮﺩ ﺭﻭ‬ ‫ﺷﻨﻴﺪﻡ‪ .‬ﺍﺯ ﺻﺪﺍﺵ ﻣﻌﻠﻮﻡ ﺑﻮﺩ ﻣﻴﺎﻧﺴﺎﻝ ﺑﺎﺷﻪ‪«.‬‬ ‫ﺍﺳﺤﺎﻕ ﻋﺼﺒﺎﻧﻰ ﺷﺪ ﻭ ﮔﻔﺖ‪» :‬ﭘﺲ ﻛﺴﻰ ﻛﻪ ﻭﺍﺭﺩ ﺷﺪﻩ ﺑﺎﻻﺧﺮﻩ ﺑﺎﻳﺪ ﺧﺎﺭﺝ ﺑﺸﻪ ﻳﺎ ﻧﻪ؟ ﻛﻰ ﺍﺯ ﺍﺗﺎﻕ‬ ‫ﺑﻴﺮﻭﻥ ﺍﻭﻣﺪ؟«‬ ‫ﭘﺮﻯ ﻛﻪ ﺗﺮﺳﻴﺪﻩ ﺑﻮﺩ ﮔﻔﺖ‪» :‬ﻛﺴﻰ ﺭﻭ ﻧﺪﻳﺪﻡ‪ .‬ﻭﻗﺘﻰ ﺍﺟﺎﺯﻩﻯ ﻭﺭﻭﺩ ﮔﺮﻓﺘﻢ ﺍﺗﺎﻕ ﺧﺎﻟﻰ ﺑﻮﺩ‪ .‬ﮔﻔﺘﻦ ﻛﻪ‬ ‫ﻣﻬﻤﻮﻧﺸﻮﻥ ﻋﺠﻠﻪ ﺩﺍﺷﺘﻪ ﻭ ﺭﻓﺘﻪ‪«.‬‬ ‫ﺍﺳﺤﺎﻕ ﺑﺎ ﺑﻰﺣﻮﺻﻠﮕﻰ ﭘﺮﺳﻴﺪ‪» :‬ﺑﻌﺪ ﭼﻰﻛﺎﺭ ﻛﺮﺩ؟«‬ ‫ﭘﺮﻯ ﻛﻪ ﺑﺮﺧﻼﻑ ﺍﻧﺘﻈﺎﺭﺵ ﺟﻠﺴﻪﻯ ﻣﻜﺎﻟﻤﻪ ﺭﺍ ﺩﺭ ﺣﺎﻝ ﺗﺒﺪﻳﻞ ﺷﺪﻥ ﺑﻪ ﺑﺎﺯﺟﻮﻳﻰ ﺍﺣﺴﺎﺱ ﻣﻰﻛﺮﺩ‪،‬‬ ‫ﺗﺮﺟﻴﺢ ﺩﺍﺩ ﭘﺎﺳﺦﻫﺎﻯ ﺩﺭﺳﺖ ﺑﺪﻫﺪ ﻭ ﺧﻮﺩ ﺭﺍ ﺍﺯ ﻣﺨﻤﺼﻪ ﻧﺠﺎﺕ ﺩﻫﺪ‪ .‬ﭘﺲ ﻣﺨﺘﺼﺮ ﮔﻔﺖ‪» :‬ﺩﻭﺑﺎﺭﻩ‬ ‫ﻟﺒﺎﺱ ﭘﻮﺷﻴﺪﻥ ﻭ ﺑﻴﺮﻭﻥ ﺭﻓﺘﻦ‪ .‬ﭼﻴﺰﻯ ﻫﻢ ﺑﻪ ﻣﻦ ﻧﮕﻔﺘﻦ‪ .‬ﻫﻨﻮﺯ ﻫﻢ ﺑﺮﻧﮕﺸﺘﻦ‪«.‬‬ ‫ﺍﺳﺤﺎﻕ ﻛﻪ ﺣﺲ ﻛﺮﺩ ﺩﺧﺘﺮ ﺗﺮﺳﻴﺪﻩ ﺑﺮ ﺧﻮﺩ ﻣﺴﻠﻂ ﺷﺪ‪ ،‬ﻟﺤﻨﻰ ﻣﻬﺮﺑﺎﻥ ﮔﺮﻓﺖ ﻭ ﮔﻔﺖ‪» :‬ﺑﺴﻴﺎﺭ‬ ‫ﺧﻮﺏ! ﻣﻰﺗﻮﻧﻰ ﺑﺮﻯ‪ .‬ﺍﮔﺮ ﺧﺒﺮﻯ ﺷﺪ ﺑﻬﻢ ﺑﮕﻮ‪ .‬ﺍﺗﻔﺎﻗﺎﺕ ﺍﻳﻦ ﭼﻨﺪ ﻭﻗﺘﻪ ﻣﺴﺘﻘﻴﻢ ﺑﺎ ﺁﻳﻨﺪﻣﻮﻥ ﺩﺭ‬ ‫ﺍﺭﺗﺒﺎﻃﻪ‪ .‬ﺑﻬﻢ ﻗﻮﻝ ﺑﺪﻩ ﻛﺴﻰ ﺍﺯ ﺍﺭﺗﺒﺎﻁ ﺑﻴﻦ ﻣﺎ ﺑﺎﺧﺒﺮ ﻧﺸﻪ‪«.‬‬ ‫‪69‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،29‬ﺍﺭﺩﻳﺒﻬﺸﺖ ‪1392‬‬

‫ﻓﺎﻧﺘﺰﻯ ‪ -‬ﻧﮕﺎﺭﺵ‬

‫ﭘﺮﻯ ﺍﻳﻦ ﭘﺎ ﺁﻥ ﭘﺎ ﻛﺮﺩ ﻭ ﮔﻔﺖ‪» :‬ﻣﻦ ﭼﻪ ﺗﻘﺼﻴﺮﻯ ﺩﺍﺭﻡ؟ ﺧﻮﺩﺷﻮﻥ ﺍﺯ ﻛﻴﻚﻫﺎﻯ ﻣﻦ ﺧﻮﺷﺸﻮﻥ‬ ‫ﻣﻴﺎﺩ‪«.‬‬ ‫ﭘﻴﺮﺯﻥ ﺑﺎ ﻟﺤﻨﻰ ﺩﻧﺪﺍﻥﺷﻜﻦ ﮔﻔﺖ‪» :‬ﻫﺮ ﺩﻭﻣﻮﻥ ﻣﻰﺩﻭﻧﻴﻢ ﻛﻴﻚﻫﺎﺕ ﭼﻨﺪﺍﻥ ﺗﻌﺮﻳﻔﻰ ﻧﺪﺍﺭﻥ ﻭ ﺍﻭﻥ‬ ‫ﺟﻮﻭﻥ ﺩﻧﺒﺎﻝ ﭼﻴﺰ ﺩﻳﮕﻪﺍﻳﻪ‪ .‬ﺍﻣﺎ ﺍﺭﺑﺎﺑﺖ ﺭﻭ ﺑﺸﻨﺎﺱ ﻭ ﺑﺪﻭﻥ ﻛﻪ ﺑﻪ ﭼﻪ ﻛﺴﻰ ﺧﺪﻣﺖ ﻣﻰﻛﻨﻰ‪«.‬‬ ‫ﺩﺧﺘﺮ ﺟﻮﺍﻥ ﮔﻔﺖ‪» :‬ﭼﺸﻢ ﺧﺎﻧﻢ‪ ،‬ﻳﺎﺩﻡ ﻣﻰﻣﻮﻧﻪ‪ .‬ﺣﺎﻻ ﻣﻰﺗﻮﻧﻢ ﺑﺮﻡ؟ ﺍﺭﺑﺎﺏ ﺩﻭﺳﺖ ﻧﺪﺍﺭﻥ ﺯﻳﺎﺩ ﻣﻨﺘﻈﺮ‬ ‫ﺑﻤﻮﻧﻦ‪«.‬‬ ‫ﭘﻴﺮﺯﻥ ﺑﺎ ﺍﺧﻢ ﺍﺯ ﻣﻘﺎﺑﻠﺶ ﺭﻓﺖ‪ .‬ﭼﻨﺪﺍﻥ ﻃﻮﻝ ﻧﻜﺸﻴﺪ ﻛﻪ ﭘﺮﻯ ﺑﺎ ﺳﻴﻨﻰ ﭼﺎﻯ ﻭ ﻛﻴﻚ ﻣﻘﺎﺑﻞ ﺩﺭ‬ ‫ﺍﻳﺴﺘﺎﺩ ﻭ ﻭ ﺍﺟﺎﺯﻩﻯ ﻭﺭﻭﺩ ﺧﻮﺍﺳﺖ‪ .‬ﮔﻮﻳﻰ ﺍﺳﺤﺎﻕ ﭼﻴﺰﻯ ﺭﺍ ﻛﻪ ﻣﻰﺧﻮﺍﺳﺖ ﻳﺎﻓﺘﻪ ﺑﻮﺩ‪ ،‬ﭼﻮﻥ ﻛﺘﺎﺑﻰ‬ ‫ﻗﻄﻮﺭ ﺑﻪ ﺩﺳﺖ ﺩﺍﺷﺖ ﻭ ﺭﻭﻯ ﺻﻨﺪﻟﻰ ﺷﺨﺼﻰ ﺧﺎﺧﺎﻡ ﺩﺭ ﺣﺎﻝ ﺑﺮﺭﺳﻰ ﺁﻥ ﺑﻮﺩ‪ .‬ﺳﺮ ﺑﺮﺩﺍﺷﺖ ﻭ ﺑﻪ‬ ‫ﺯﻭﺭ ﻟﺒﺨﻨﺪﻯ ﺯﺩ‪ ،‬ﮔﻮﻳﻰ ﺗﺎﺭﻫﺎﻳﻰ ﻧﺎﻣﺮﻳﻰ ﻋﻀﻼﺕ ﺻﻮﺭﺗﺶ ﺭﺍ ﻣﻰﻛﺸﻴﺪﻧﺪ ﺗﺎ ﺑﻪ ﺣﺎﻟﺖ ﺍﻭﻝ ﺑﺎﺯﮔﺮﺩﺩ‪.‬‬ ‫ﮔﻔﺖ‪» :‬ﺳﻴﻨﻰ ﺭﻭ ﺑﺬﺍﺭ ﻭ ﺧﻮﺩﺕ ﺑﺸﻴﻦ‪«.‬‬ ‫ﺩﺧﺘﺮ ﺑﺎ ﺧﻮﺷﺤﺎﻟﻰ ﭘﻴﺸﻨﻬﺎﺩ ﺍﻭ ﺭﺍ ﭘﺬﻳﺮﻓﺖ ﻭ ﺭﻭﻯ ﻧﺰﺩﻳﻚﺗﺮﻳﻦ ﺻﻨﺪﻟﻰ ﺑﻪ ﺍﻭ ﺩﺭ ﻛﻨﺎﺭ ﻣﻴﺰ ﻧﺸﺴﺖ‪.‬‬ ‫ﺍﺳﺤﺎﻕ ﺑﺮﺧﺎﺳﺖ ﻭ ﺑﺮﺍﻯ ﻫﺮ ﺩﻭﺷﺎﻥ ﭼﺎﻯ ﺭﻳﺨﺖ‪ .‬ﺑﻴﻦ ﺻﻔﺤﺎﺕ ﻛﺘﺎﺏ ﭘﺮ ﻛﻼﻏﻰ ﺑﻪ ﻋﻨﻮﺍﻥ ﻧﺸﺎﻥ‬ ‫ﻭﺟﻮﺩ ﺩﺍﺷﺖ ﻛﻪ ﮔﻮﻳﻰ ﺷﺨﺺ ﺧﺎﺧﺎﻡ ﺑﺮﺍﻯ ﮔﻢ ﻧﻜﺮﺩﻥ ﺻﻔﺤﻪ ﻣﻴﺎﻥ ﺁﻥ ﮔﺬﺍﺷﺘﻪ ﺑﻮﺩ‪.‬‬ ‫ﺩﺭ ﺣﺎﻟﻰ ﻛﻪ ﺍﺯ ﭼﺎﻯ ﻣﻰﻧﻮﺷﻴﺪ‪ ،‬ﮔﻔﺖ‪» :‬ﻭﻗﺘﺸﻪ ﭼﻴﺰﻯ ﻛﻪ ﻗﺒ ً‬ ‫ﻼ ﺩﺭ ﻓﺎﺵ ﻛﺮﺩﻧﺶ ﻣﺮﺩﺩ ﺑﻮﺩﻡ ﺭﻭ‬ ‫ﺑﺎﻻﺧﺮﻩ ﺑﻬﺖ ﺑﮕﻢ‪«.‬‬ ‫ﻓﻨﺠﺎﻥ ﺭﺍ ﺑﺮ ﻣﻴﺰ ﮔﺬﺍﺷﺖ ﻭ ﮔﻔﺖ‪» :‬ﺯﻣﺎﻧﻰ ﻋﺸﻘﻢ ﺭﻭ ﺗﻮ ﺍﻳﻦ ﺧﻮﻧﻪ ﺟﺴﺘﺠﻮ ﻣﻰﻛﺮﺩﻡ ﻭ ﺍﻳﻦ ﺗﻘﺪﻳﺮﻯ‬ ‫ﺑﻮﺩ ﻛﻪ ﺷﺎﺋﻮﻝ ﺑﺮﺍﻡ ﭘﻴﺸﮕﻮﻳﻰ ﻛﺮﺩﻩ ﺑﻮﺩ‪«.‬‬ ‫ﺑﺎ ﺑﻪ ﻳﺎﺩ ﺁﻭﺭﺩﻥ ﺷﺎﺋﻮﻝ‪ ،‬ﻟﺤﻈﻪﺍﻯ ﺍﺧﻢﻫﺎﻳﺶ ﺩﺭ ﻫﻢ ﻓﺮﻭ ﺭﻓﺖ ﻭ ﺑﺎ ﻧﻈﺎﺭﻩﻯ ﭼﺸﻢﻫﺎﻯ ﻣﻨﺘﻈﺮ ﺩﺧﺘﺮ‬ ‫ﺍﺩﺍﻣﻪ ﺩﺍﺩ‪» :‬ﮔﻤﻮﻥ ﻣﻰﻛﺮﺩﻡ ﻣﻨﻈﻮﺭﺵ ﺩﺧﺘﺮﻋﻤﻮﻡ ﺑﺎﺷﻪ ﻭ ﺍﻳﻦ ﭘﻴﺸﮕﻮﻳﻰ ﺑﺎﻋﺚ ﺍﻳﺠﺎﺩ ﻣﺤﺒﺖ ﺑﻴﻦ‬ ‫ﻣﺎ ﺷﺪ‪«.‬‬ ‫ﺩﺳﺖﻫﺎﻳﺶ ﺭﺍ ﺑﻪ ﺭﻭﻯ ﻣﻴﺰ ﮔﺬﺍﺷﺖ ﻭ ﮔﻔﺖ‪» :‬ﺍﻣﺎ ﻣﺪﺗﻴﻪ ﻛﻪ ﻣﺘﻮﺟﻪ ﺷﺪﻡ ﺭﻭﻯ ﺳﺨﻦ ﺷﺎﺋﻮﻝ ﺑﻪ‬ ‫ﺳﻤﺖ ﺁﺯﺍﺩﻩ ﻧﺒﻮﺩﻩ‪«.‬‬ ‫ﺩﺧﺘﺮ ﻫﻴﺠﺎﻥﺯﺩﻩ ﺷﺪ ﻭ ﻧﮕﺎﻩ ﺍﺳﺤﺎﻕ ﺭﺍ ﺑﺎ ﺳﺮ ﺑﻪ ﺯﻳﺮ ﺑﻮﺩﻥ ﭘﺎﺳﺦ ﺩﺍﺩ ﻭ ﻧﺠﻮﺍ ﻛﻨﺎﻥ ﮔﻔﺖ‪» :‬ﺍﻳﻦ ﻛﻪ‬ ‫ﺗﻮ ﻃﺒﻊ ﺁﺗﺸﻴﻨﻰ ﺩﺍﺭﻯ ﺭﻭ ﺷﻨﻴﺪﻩ ﺑﻮﺩﻡ‪ «.‬ﺳﭙﺲ ﺑﺎ ﺧﻨﺪﻩﺍﻯ ﻧﺎﺷﺎﻳﺴﺖ ﺍﺿﺎﻓﻪ ﻛﺮﺩ‪» :‬ﺍﻟﺒﺘﻪ ﻣﻄﻤﺌﻦ‬ ‫ﺑﺎﺵ ﺍﻳﻦ ﺧﺒﺮﻫﺎ ﺭﻭ ﻣﻦ ﺑﻴﻦ ﻣﺮﺩﻡ ﭘﺨﺶ ﻧﻜﺮﺩﻡ‪ .‬ﺍﻣﺎ ﺣﺎﻻ ﻛﻪ ﭘﺎﻯ ﭘﻴﺸﮕﻮﻳﻰ ﺩﻭﺳﺘﺖ ﺩﺭ ﻣﻴﻮﻧﻪ‪...‬‬ ‫ﺧﻮﺏ! ﻣﻨﻈﻮﺭﻡ ﺍﻳﻨﻪ ﻛﻪ ﺷﺎﺋﻮﻝ ﻫﻴﭻ ﻭﻗﺖ ﺍﺷﺘﺒﺎﻩ ﻧﻜﺮﺩﻩ‪ .‬ﺩﺭﺳﺖ ﻧﻤﻰﮔﻢ؟«‬ ‫‪67‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،29‬ﺍﺭﺩﻳﺒﻬﺸﺖ ‪1392‬‬

‫‪ ‬ﻣﺮﺩ ﺟﻮﺍﻥ ﻛﺘﺶ ﺭﺍ ﺑﻪ ﺧﺎﻃﺮ ﮔﺮﻣﺎ ﺑﻪ ﺩﺳﺖ ﮔﺮﻓﺘﻪ ﺑﻮﺩ ﻭ ﺭﻭﻯ ﻣﻮﻫﺎﻯ ﺷﺎﻧﻪ ﻧﻜﺮﺩﻩﺍﺵ ﻫﻢ ﻛﻼﻫﻰ‬ ‫ﺩﻳﺪﻩ ﻧﻤﻰﺷﺪ‪ .‬ﻭﺍﺭﺩ ﻛﻮﭼﻪ ﺷﺪ ﻭ ﺑﺎ ﺳﺮﻋﺖ ﺧﻮﺩ ﺭﺍ ﺑﻪ ﺩﺭ ﺧﺎﻧﻪﺍﻯ ﺭﺳﺎﻧﺪ ﻛﻪ ﺳﺮﺗﺎﺳﺮ ﺩﻳﻮﺍﺭﺵ ﺭﺍ‬ ‫ﮔﻴﺎﻫﺎﻥ ﺭﻭﻧﺪﻩ ﭘﻮﺷﺎﻧﺪﻩ ﺑﻮﺩ‪ .‬ﭼﻨﺪ ﺑﺎﺭ ﺯﻧﮓ ﺯﺩ ﺗﺎ ﻛﻠﻔﺖ ﺟﻮﺍﻥ ﺩﺭ ﺭﺍ ﺑﻪ ﺭﻭﻳﺶ ﮔﺸﻮﺩ‪ .‬ﺑﻼﻓﺎﺻﻠﻪ‬ ‫ﭘﺮﺳﻴﺪ‪» :‬ﻋﺎﻟﻴﺠﻨﺎﺏ ﻣﻨﺰﻝ ﻫﺴﺘﻦ؟«‬ ‫ﺩﺧﺘﺮ ﺑﻪ ﭼﺸﻢﻫﺎﻯ ﺑﻰﺧﻮﺍﺏ ﺟﻮﺍﻥ ﻧﮕﺎﻩ ﻛﺮﺩ ﻭ ﺑﺎ ﺷﺎﺩﻯ ﻣﺤﺴﻮﺳﻰ ﺩﺭ ﺻﺪﺍﻯ ﺟﻴﺮﺟﻴﺮ ﻣﺎﻧﻨﺪﺵ‬ ‫ﮔﻔﺖ‪» :‬ﺧﻴﺮ‪ .‬ﺩﻳﺸﺐ‪«...‬‬ ‫ﻛﻠﻔﺘﻰ ﺩﻳﮕﺮ ﺩﺭ ﺣﺎﻟﻰ ﻛﻪ ﻣﻮﻫﺎﻯ ﺳﭙﻴﺪﺵ ﺭﺍ ﺍﺯ ﭘﺸﺖ ﻣﻰﺑﺴﺖ‪ ،‬ﺟﻠﻮ ﺁﻣﺪ ﻭ ﮔﻔﺖ‪» :‬ﺧﻮﺵ ﺍﻭﻣﺪﻳﺪ‬ ‫ﻗﺮﺑﺎﻥ‪ .‬ﭼﺮﺍ ﺩﺍﺧﻞ ﺗﺸﺮﻳﻒ ﻧﻤﻰﺁﺭﻳﺪ؟ ﺧﺎﺧﺎﻡ ﻫﺮ ﺟﺎ ﺑﺎﺷﻦ ﺑﻪ ﺯﻭﺩﻯ ﺑﺮ ﻣﻰﮔﺮﺩﻥ‪ .‬ﻣﻰﺗﻮﻧﻴﺪ ﺗﻮ ﺳﺎﻟﻦ‬ ‫ﭘﺬﻳﺮﺍﻳﻰ ﻣﻨﺘﻈﺮﺷﻮﻥ ﺑﺎﺷﻴﺪ‪ .‬ﺗﻤﺎﻳﻞ ﺩﺍﺭﻳﺪ ﺧﺎﻧﻢ ﺭﻭ ﺍﺯ ﺧﻮﺍﺏ ﺑﻴﺪﺍﺭ ﻭ ﺍﺯ ﺣﻀﻮﺭﺗﻮﻥ ﻣﻄﻠﻌﺸﻮﻥ ﻛﻨﻢ؟«‬ ‫ﺟﻮﺍﻥ ﺑﻪ ﭼﻬﺮﻩﻯ ﻣﺼﻤﻢ ﺯﻥ ﻛﻬﻨﺴﺎﻝ ﻧﮕﺎﻩ ﻛﺮﺩ ﻭ ﮔﻔﺖ‪» :‬ﻧﻪ! ﻟﺰﻭﻣﻰ ﻧﺪﺍﺭﻩ ﻣﺰﺍﺣﻤﺸﻮﻥ ﺑﺸﻢ‪ .‬ﺗﻮ‬ ‫ﺍﺗﺎﻕ ﻣﻨﺘﻈﺮ ﻣﻰﻣﻮﻧﻢ‪«.‬‬ ‫ﭘﻴﺮﺯﻥ ﺑﺎ ﭼﻬﺮﻩﺍﻯ ﺩﻟﺴﻮﺯﺍﻧﻪ ﮔﻔﺖ‪» :‬ﺍﻭﻩ ﭘﺴﺮﻡ! ﻣﺘﺎﺳﻔﺎﻧﻪ ﻋﺎﻟﻴﺠﻨﺎﺏ ﻫﻴﭻ ﻭﻗﺖ ﻛﻠﻴﺪﻫﺎﺷﻮﻥ ﺭﻭ ﺑﺮﺍﻯ‬ ‫ﻣﺎ ﺑﺎﻗﻰ ﻧﻤﻰﮔﺬﺍﺭﻥ‪«.‬‬ ‫ﺟﻮﺍﻥ ﺭﻭﻯ ﺗﺮﺵ ﻛﺮﺩ ﻛﻪ‪» :‬ﺑﻌﺪ ﺍﺯ ﺍﻳﻦ ﻫﻤﻪ ﺳﺎﻝ ﺧﺪﻣﺖ ﺩﺭ ﺍﻳﻦ ﺧﺎﻧﻪ‪ ،‬ﺑﺎﻳﺪ ﺑﺪﻭﻧﻰ ﻛﻪ ﺩﺭﻫﺎﻯ ﻗﻔﻞ‬ ‫ﻣﺎﻧﻊ ﻭﺭﻭﺩ ﻫﻴﭻ ﻳﻚ ﺍﺯ ﻟﻮﺭﻳﺎﻫﺎ ﺑﻪ ﺟﺎﻳﻰ ﻛﻪ ﻣﻰﺧﻮﺍﻥ ﻧﻤﻰﺷﻦ‪ .‬ﻣﻦ ﺍﻳﻦ ﺣﻖ ﺭﻭ ﺑﻪ ﺧﻮﺩﻡ ﻣﻰﺩﻡ ﻛﻪ‬ ‫ﺍﺯ ﺍﺳﻨﺎﺩ ﺑﺎﻳﮕﺎﻧﻰ ﭘﺪﺭﻡ ﻛﻪ ﺩﺍﺧﻞ ﺍﺗﺎﻕ ﻫﺴﺘﻦ ﺍﺳﺘﻔﺎﺩﻩ ﻛﻨﻢ‪ .‬ﻫﻤﺎﻥﻃﻮﺭ ﻛﻪ ﺧﻮﺩ ﻋﺎﻟﻴﺠﻨﺎﺏ ﭼﻨﻴﻦ‬ ‫ﻣﻰﻛﻨﻦ‪ .‬ﭘﺲ ﻓﻜﺮ ﻧﻜﻨﻢ ﻣﺸﻜﻠﻰ ﺑﺎﺷﻪ‪«.‬‬ ‫ﻛﺘﺶ ﺭﺍ ﺑﻪ ﺩﺳﺖ ﺍﻭ ﺩﺍﺩ ﻭ ﺑﺎ ﺻﻼﺑﺖ ﺑﻪ ﺳﻤﺖ ﺍﺗﺎﻕ ﺭﻓﺖ ﺗﺎ ﺯﻥ ﻟﺤﻈﻪﺍﻯ ﺑﻪ ﺧﻮﺩ ﺍﺟﺎﺯﻩﻯ ﻣﺪﺍﺧﻠﻪ‬ ‫ﻧﺪﻫﺪ‪ .‬ﻛﻠﻔﺖ ﭘﻴﺮ ﻛﻪ ﻣﻰﺧﻮﺍﺳﺖ ﻫﻤﻪﻯ ﺳﻌﻴﺶ ﺭﺍ ﻛﺮﺩﻩ ﺑﺎﺷﺪ‪ ،‬ﭘﺮﺳﻴﺪ‪» :‬ﺻﺒﺤﺎﻧﻪ ﻣﻴﻞ ﺩﺍﺭﻳﺪ ﻗﺮﺑﺎﻥ؟«‬ ‫ﺍﺳﺤﺎﻕ ﺳﺮﺵ ﺭﺍ ﺧﺎﺭﺍﻧﺪ ﻭ ﮔﻔﺖ‪» :‬ﻧﻪ‪ .‬ﺑﻪ ﻛﻞ ﺍﺷﺘﻬﺎﻡ ﺭﻭ ﺍﺯ ﺩﺳﺖ ﺩﺍﺩﻡ‪«.‬‬ ‫ﺁﻥ ﮔﺎﻩ ﺭﻭ ﺑﻪ ﺯﻥ ﺟﻮﺍﻥ ﻛﺮﺩ ﻭ ﮔﻔﺖ‪» :‬ﭘﺮﻯ! ﻓﻘﻂ ﻛﻤﻰ ﺍﺯ ﻛﻴﻚﻫﺎﻯ ﻣﺨﺼﻮﺹ ﺧﻮﺩﺕ ﺑﻴﺎﺭ‪ ،‬ﺑﺎ‬ ‫ﻛﻤﻰ ﭼﺎﻯ‪«.‬‬ ‫ﺩﺧﺘﺮ ﻟﺒﺨﻨﺪ ﻭﺳﻴﻌﻰ ﺯﺩ ﻭ ﮔﻔﺖ‪» :‬ﭼﺸﻢ ﻗﺮﺑﺎﻥ‪ .‬ﻫﻤﻴﻦ ﺍﻻﻥ‪«.‬‬ ‫ﭘﻴﺮﺯﻥ ﺩﺭ ﺣﺎﻟﻰ ﻛﻪ ﻛﺖ ﺍﺳﺤﺎﻕ ﺭﺍ ﻣﻰﺁﻭﻳﺨﺖ ﻭ ﺑﻪ ﺍﻭ ﻧﮕﺎﻩ ﻣﻰﻛﺮﺩ ﻛﻪ ﭼﮕﻮﻧﻪ ﻃﻮﻝ ﺭﺍﻫﺮﻭ ﺭﺍ ﻃﻰ‬ ‫ﻣﻰﻛﻨﺪ ﻭ ﺑﻪ ﺳﻤﺖ ﺍﺗﺎﻕ ﺧﺎﺧﺎﻡ ﻣﻰﺭﻭﺩ‪ ،‬ﺑﺎ ﺗﺸﺮ ﺑﻪ ﭘﺮﻯ ﮔﻔﺖ‪» :‬ﻫﻤﻮﻥ ﻃﻮﺭ ﻛﻪ ﺷﻨﻴﺪﻯ‪ ،‬ﻣﻦ ﻣﺪﺕ‬ ‫ﺯﻳﺎﺩﻯ ﺗﻮﻯ ﺍﻳﻦ ﺧﻮﻧﻪ ﺑﻮﺩﻩﺍﻡ ﻭ ﺭﺍﺯ ﺑﺎﻗﻰ ﻣﻮﻧﺪﻧﻢ ﺩﺭ ﻛﺮ ﻭ ﻛﻮﺭ ﻭ ﻻﻝ ﺑﻮﺩﻧﻤﻪ‪ .‬ﭼﻴﺰﻫﺎﻯ ﺯﻳﺎﺩﻯ ﺑﺮﺍﻯ‬ ‫ﮔﻔﺘﻦ ﻭﺟﻮﺩ ﺩﺍﺭﻩ‪ ،‬ﻭﻟﻰ ﺑﻌﻀﻰﻫﺎﺷﻮﻥ ﻣﻤﻜﻨﻪ ﺑﺎﻋﺚ ﺍﺧﺮﺍﺝ ﻳﺎ ﺑﺪﺗﺮ ﺍﺯ ﺍﻭﻥ ﺑﺸﻦ‪«.‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،29‬ﺍﺭﺩﻳﺒﻬﺸﺖ ‪1392‬‬

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‫ﻓﺎﻧﺘﺰﻯ ‪ -‬ﻧﮕﺎﺭﺵ‬

‫ﺁﺧﺮﻳﻦ ﻧﻔﺮ ﺛﺎﺑﺖ ﻣﺎﻧﺪ‪ .‬ﺟﻮﺍﻥ ﺍﺯ ﺍﻳﻦ ﺗﻮﺟﻪ ﻭﺣﺸﺖﺯﺩﻩ ﺷﺪ ﻭ ﺩﻭﺑﺎﺭﻩ ﺍﺳﻠﺤﻪﺍﺵ ﺭﺍ ﻧﺸﺎﻧﻪ ﮔﺮﻓﺖ‪.‬‬ ‫ﺷﺒﺢ ﻗﻬﻘﻬﻪﺍﻯ ﺳﺮ ﺩﺍﺩ ﻭ ﮔﻔﺖ‪» :‬ﻫﺮ ﻛﺴﻰ ﻛﻪ ﺍﺯ ﺑﺎﻫﻮﺵ ﺑﻮﺩﻥ ﺷﻤﺎ ﺷﺒﺰﻯﻫﺎ ﺩﻓﺎﻉ ﻛﻨﻪ‪ ،‬ﺑﺎﻳﺪ ﺑﻪ‬ ‫ﺩﺭﺍﻳﺖ ﺧﻮﺩﺵ ﺷﻚ ﻛﺮﺩ‪ «.‬ﺑﺎ ﺗﺤﻜﻢ ﮔﻔﺖ‪» :‬ﻭﻗﺘﺸﻪ ﺍﺯ ﻏﺮﻳﺰﻩﺍﺕ ﭘﻴﺮﻭﻯ ﻛﻨﻰ‪«.‬‬ ‫ﺟﻮﺍﻥ ﮔﻮﻳﻰ ﺍﺧﺘﻴﺎﺭﻯ ﺍﺯ ﺧﻮﺩ ﻧﺪﺍﺷﺘﻪ ﺑﺎﺷﺪ ﻳﺎ ﺗﺤﺖ ﺟﺬﺑﻪﻯ ﺻﺪﺍﻯ ﺷﺒﺢ‪ ،‬ﺷﻠﻴﻚ ﻛﺮﺩ؛ ﺍﻣﺎ ﺍﻳﻦ‬ ‫ﺑﺎﺭ ﺗﻴﺮ ﺍﺯ ﻣﻴﺎﻥ ﺷﺒﺢ ﻧﮕﺬﺷﺖ‪ .‬ﺷﺒﺢ ﺩﻭ ﺩﺳﺖ ﺧﻮﺩ ﺭﺍ ﺑﻪ ﺷﻜﻞ ﺳﭙﺮﻯ ﺟﻠﻮﻯ ﭼﺸﻤﺎﻧﺶ ﮔﺮﻓﺖ ﻭ‬ ‫ﺗﻴﺮﻫﺎﻯ ﺑﺎﻗﻰ ﻣﺎﻧﺪﻩ ﺩﺭ ﺧﺸﺎﺏ ﺍﺳﻠﺤﻪ ﺑﻪ ﺳﻤﺖ ﺧﻮﺩﺵ ﺑﺎﺯﮔﺸﺘﻨﺪ ﻭ ﺍﺯ ﺍﻧﺘﻬﺎ ﻭﺍﺭﺩ ﺑﺪﻧﺶ ﺷﺪﻧﺪ‪.‬‬ ‫ﺳﻮﺭﺍﺥﻫﺎﻯ ﺑﺰﺭﮔﻰ ﭘﺪﻳﺪ ﺁﻭﺭﺩﻧﺪ ﻭ ﺍﺯ ﺁﻥ ﺳﻮ ﺧﺎﺭﺝ ﺷﺪﻩ ﺑﺮ ﺩﻳﻮﺍﺭ ﻧﺸﺴﺘﻨﺪ‪ .‬ﺳﻘﻮﻁ ﺟﻮﺍﻥ ﺁﻧﻰ ﺑﻮﺩ‪.‬‬ ‫ﺁﻥﮔﺎﻩ ﺑﻮﺩ ﻛﻪ ﺑﻬﺰﺍﺩ ﺍﺳﻠﺤﻪﺍﺵ ﺭﺍ ﻛﻨﺎﺭ ﮔﺬﺍﺷﺖ‪.‬‬ ‫ﺷﺒﺢ ﮔﻔﺖ‪» :‬ﻣﻦ ﺑﻪ ﺍﻳﻦ ﻣﻰﮔﻢ ﺗﺮﺟﻴﺢ ﻋﻘﻞ ﺑﻪ ﻏﺮﻳﺰﻩ‪ .‬ﭼﻴﺰﻯ ﻛﻪ ﺑﺎ ﺍﺗﻜﺎ ﺑﻬﺶ ﭘﻴﺮﻭﺯ ﺑﻮﺩﻯ‪،‬‬ ‫ﻣﻤﻜﻨﻪ ﺭﻭﺯﻯ ﺑﺎﻋﺚ ﺷﻜﺴﺘﺖ ﺑﺸﻪ‪ .‬ﺑﺎ ﭼﻨﺎﻥ ﻗﺪﺭﺗﻰ ﻭﺍﺭﺩ ﺍﺗﺎﻕ ﺷﺪﻯ ﻛﻪ ﻓﻜﺮ ﻛﺮﺩﻡ ﻣﻘﺎﺑﻞ ﺳﺎﻣﺴﻮﻥ‬ ‫ﺍﻳﺴﺘﺎﺩﻩﺍﻡ‪ ،‬ﺍﻣﺎ ﺣﺎﻻ‪«...‬‬ ‫ﺑﻬﺰﺍﺩ ﺧﻮﺩ ﺭﺍ ﺷﻜﺴﺖ ﺧﻮﺭﺩﻩ ﻭ ﺩﺭ ﺁﺳﺘﺎﻧﻪﻯ ﻣﺮگ ﻣﻰﺩﻳﺪ‪ ،‬ﭘﺲ ﮔﻔﺖ‪» :‬ﺍﻓﺴﺎﻧﻪﻫﺎﻯ ﭘﻴﺸﻴﻦ‬ ‫ﺭﻧﮓ ﺣﻘﻴﻘﺖ ﻣﻰﮔﻴﺮﻥ‪ .‬ﭘﻴﺸﮕﻮﻳﻰﻫﺎﻳﻰ ﻛﻪ ﻗﺮﻥﻫﺎﺳﺖ ﻣﺮﺩﻡ ﺩﻳﮕﻪ ﺍﺯ ﺗﻜﺮﺍﺭﺵ ﺧﺴﺘﻪ ﺷﺪﻥ ﻭ ﺍﺯ‬ ‫ﺣﺎﻓﻈﻪﻫﺎ ﭘﺎﻙ ﺷﺪﻩ‪ .‬ﺧﺎﻧﺪﺍﻥ ﻣﺎ ﻧﺴﻞ ﺩﺭ ﻧﺴﻞ ﺍﻭﻥﻫﺎ ﺭﻭ ﺣﻔﻆ ﻛﺮﺩﻥ‪ .‬ﺑﻪ ﻫﻤﻴﻦ ﺧﺎﻃﺮ ﻧﻴﺴﺖ ﻛﻪ‬ ‫ﺭﻭﻯ ﺍﺻﻠﻰ ﺩﺷﻤﻨﻴﺖ ﺑﺎ ﻣﺎﺳﺖ؟«‬ ‫ﺷﺒﺢ ﺧﻨﺪﻳﺪ ﻭ ﮔﻔﺖ‪» :‬ﺍﺷﺘﺒﺎﻩ ﻧﻜﻦ! ﻃﻼﻳﻪﺩﺍﺭﺍﻥ ﺩﺭ ﺟﻨﮓ‪ ،‬ﺑﻴﺸﺘﺮ ﺍﺯ ﺑﻘﻴﻪ ﺩﺭ ﻣﻌﺮﺽ ﻛﺸﺘﻪ ﺷﺪﻥ ﻫﺴﺘﻦ‪.‬‬ ‫ﺍﻳﻦ ﺟﺎﻳﮕﺎﻫﻴﻪ ﻛﻪ ﺧﻮﺩﺗﻮﻥ ﺍﻧﺘﺨﺎﺏ ﻛﺮﺩﻳﺪ‪ ،‬ﻭﮔﺮﻧﻪ ﻣﻦ ﺩﺷﻤﻨﻰ ﺑﺎ ﻫﻴﭻ ﺧﺎﻧﻮﺍﺩﻩﺍﻯ ﻧﺪﺍﺭﻡ‪ .‬ﺣﺮﻑ ﺁﺧﺮ؟«‬ ‫ﺑﻬﺰﺍﺩ ﮔﻔﺖ‪» :‬ﺧﻮﺍﻫﺶ ﻣﻰﻛﻨﻢ ﺑﺎﺷﻠﻘﺖ ﺭﻭ ﻛﻨﺎﺭ ﺑﺰﻥ ﻭ ﺍﺟﺎﺯﻩ ﺑﺪﻩ ﭘﻴﺶ ﺍﺯ ﻣﺮگ ﭼﻬﺮﻩﺍﺕ ﺭﻭ ﺑﺒﻴﻨﻢ‪«.‬‬ ‫ﺷﺒﺢ ﺳﺮ ﺗﻜﺎﻥ ﺩﺍﺩ ﻭ ﮔﻔﺖ‪» :‬ﺍﻭﻥ ﭘﺴﺮ ﺗﻮﺍﻥ ﺷﻨﺎﺧﺖ ﻣﻦ ﺭﻭ ﻧﺨﻮﺍﻫﺪ ﺩﺍﺷﺖ‪ .‬ﺣﺘﺎ ﻳﻚ ﻛﻠﻤﻪ ﺍﺯ‬ ‫ﮔﻔﺘﮕﻮﻯ ﻣﺎ ﺭﻭ ﻧﺸﻨﻴﺪ‪ .‬ﺩﺭ ﻭﺍﻗﻊ ﭼﻴﺰﻯ ﻧﺸﻨﻴﺪ ﺟﺰ ﻣﻮﺳﻴﻘﻰ ﺩﻝﭘﺬﻳﺮ ﻛﺎﺭﻝﺍﻭﺭﻑ‪ .‬ﺍﻭﻥ ﻭﻇﻴﻔﻪﺍﻯ ﺟﺰ‬ ‫ﺍﻳﺠﺎﺩ ﻭﺣﺸﺖ ﻧﺪﺍﺭﻩ‪ .‬ﺣﺎﻻ ﺁﺧﺮﻳﻦ ﺧﻮﺍﺳﺘﻪﺍﺕ ﺭﻭ ﺑﺮﺁﻭﺭﺩﻩ ﻣﻰﻛﻨﻢ‪ .‬ﺍﻣﺎ ﻗﺒﻞ ﺍﺯ ﺍﻭﻥ‪«...‬‬ ‫ﻛﻒ ﺩﻭ ﺩﺳﺖ ﺭﺍ ﻣﻘﺎﺑﻞ ﺻﻮﺭﺕ ﺧﻮﺩ ﮔﺮﻓﺖ ﻭ ﺑﻪ ﺩﻭ ﻃﺮﻑ ﻛﺸﻴﺪ‪ ،‬ﮔﻮﻳﻰ ﭘﺮﺩﻩﺍﻯ ﺭﺍ ﻣﻰﮔﺸﺎﻳﺪ‪ .‬ﺁﻥ‬ ‫ﮔﺎﻩ ﺑﺎﺷﻠﻘﺶ ﺭﺍ ﺩﺭ ﻣﻴﺎﻥ ﺑﻬﺖ ﺑﻬﺰﺍﺩ ﺍﺯ ﺳﺮ ﺑﺮﺩﺍﺷﺖ‪ .‬ﺻﺪﺍﻯ ﻣﻮﺳﻴﻘﻰ ﻗﻄﻊ ﺷﺪ‪ ،‬ﭘﺴﺮﻙ ﺻﺪﺍﻯ‬ ‫ﺷﻠﻴﻚ ﮔﻠﻮﻟﻪﺍﻯ ﺭﺍ ﺷﻨﻴﺪ ﻭ ﭘﺲ ﺍﺯ ﭼﻨﺪﻯ ﺑﺪﻥ ﺑﻰﺟﺎﻥ ﺑﻬﺰﺍﺩ ﺭﺍ ﺑﺎ ﺍﺳﻠﺤﻪﺍﻯ ﺩﺭ ﺩﺳﺖ ﺩﻳﺪ ﻛﻪ ﺭﻭﻯ‬ ‫ﺯﻣﻴﻦ ﻧﻘﺶ ﺑﺴﺘﻪ ﺑﻮﺩ ﻭ ﺧﻮﻥ ﺑﺪﺭﻧﮕﻰ ﺍﺯ ﺳﺮﺵ ﺭﻭﺍﻥ ﺑﺮ ﻛﻒﭘﻮﺵ ﭼﻮﺑﻰ ﺍﺳﺖ‪ .‬ﺍﺛﺮﻯ ﺍﺯ ﺷﺒﺢ ﻭ‬ ‫ﺻﻨﺪﻟﻰ ﻧﻴﺎﻓﺖ‪ .‬ﺳﻜﻮﺗﻰ ﻣﺮﮔﺒﺎﺭ ﺑﺮ ﺍﺗﺎﻕ ﺣﺎﻛﻢ ﺷﺪ‪.‬‬

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‫ﺷﻤﺎﺭﻩﻯ ‪ ،29‬ﺍﺭﺩﻳﺒﻬﺸﺖ ‪1392‬‬

‫ﺳﻤﺖ ﺟﺴﺪ ﺁﻭﻳﺨﺘﻪ ﺭﻓﺖ‪ .‬ﺩﺭ ﺍﺗﺎﻕ ﻛﺲ ﺩﻳﮕﺮﻯ ﺭﺍ ﻧﺪﻳﺪ‪ .‬ﺑﻬﺰﺍﺩ ﺯﻳﺮ ﭘﺎﻯ ﺟﺴﺪ ﺭﺍ ﮔﺮﻓﺖ ﻭ ﮔﻔﺖ‪:‬‬ ‫»ﺑﺮﻭ ﻃﻨﺎﺏ ﺭﻭ ﺑﺒﺮ‪«.‬‬ ‫ﺍﺯ ﺁﻥ ﭘﺴﺮ ﭘﺮﺳﻴﺪ‪» :‬ﭼﻪ ﻛﺴﻰ ﺍﻳﻦ ﻛﺎﺭ ﺭﻭ ﻛﺮﺩ؟ ﺍﻻﻥ ﻛﺠﺎﺳﺖ؟ ﺗﻮ ﺩﻳﺪﻳﺶ؟«‬ ‫ﭘﺎﺳﺨﻰ ﻧﺸﻨﻴﺪ‪ .‬ﺟﻮﺍﻥ ﺑﻠﻨﺪ ﻗﺪ ﺧﻨﺠﺮﻯ ﺍﺯ ﻛﻨﺎﺭ ﻛﻤﺮﺑﻨﺪﺵ ﺩﺭﺁﻭﺭﺩ ﻭ ﺑﺎﻻﻯ ﭼﻬﺎﺭﭘﺎﻳﻪﻯ ﻭﺍژﮔﻮﻥ‬ ‫ﺭﻓﺖ‪ ،‬ﺍﻣﺎ ﻫﺮﭼﻪ ﺑﺮ ﻃﻨﺎﺏ ﺳﭙﻴﺪﺭﻧﮓ ﻛﺸﻴﺪ ﺍﺛﺮ ﻧﻜﺮﺩ‪ .‬ﻭﻗﺘﻰ ﺩﺳﺘﺶ ﺭﺍ ﻋﻘﺐ ﻛﺸﻴﺪ‪ ،‬ﺗﺎﺭﻫﺎﻳﻰ‬ ‫ﺳﭙﻴﺪ ﺑﺮ ﺭﻭﻯ ﺁﻥ ﺑﺎﻗﻰ ﻣﺎﻧﺪ‪ .‬ﺑﺎ ﺗﻌﺠﺒﻰ ﻣﺘﺎﺛﺮ ﺍﺯ ﻭﺣﺸﺖ ﮔﻔﺖ‪» :‬ﺑﺎﻭﺭﻡ ﻧﻤﻰﺷﻪ‪ .‬ﺗﺎﺭﻋﻨﻜﺒﻮﺕ؟ ﺑﺮﻳﺪﻩ‬ ‫ﻧﻤﻰﺷﻪ‪«.‬‬ ‫ﻧﺎﮔﻬﺎﻥ ﺩﺭ ﻣﺤﻜﻢ ﺑﺴﺘﻪ ﺷﺪ ﻭ ﺩﺭ ﺗﺎﺭﻳﻜﻰ ﺣﺎﺻﻞ ﺍﺯ ﺁﻥ‪ ،‬ﺷﺒﺤﻰ ﺳﺮﺍﭘﺎ ﺳﻴﺎﻫﭙﻮﺵ ﻧﺸﺴﺘﻪ ﺑﺮ ﺻﻨﺪﻟﻰ‬ ‫ﻣﺠﻠﻠﻰ ﻣﻘﺎﺑﻞ ﺁﻥ ﻧﻤﺎﻳﺎﻥ ﺷﺪ‪ .‬ﺟﻮﺍﻥ ﺑﻠﻨﺪ ﻗﺪ ﺷﻠﻴﻚ ﻛﺮﺩ ﻭ ﺗﻴﺮ ﺍﺯ ﺳﺮ ﺷﺒﺢ ﮔﺬﺷﺖ ﻭ ﺩﺭ ﺭﺍ ﺳﻮﺭﺍﺥ‬ ‫ﻛﺮﺩ‪ .‬ﺷﺒﺢ ﻟﺤﻈﻪﺍﻯ ﻣﺤﻮ ﺷﺪ ﻭ ﺩﻭﺑﺎﺭﻩ ﺑﺮ ﺟﺎﻯ ﺧﻮﺩ ﺑﺎﺯﮔﺸﺖ‪ .‬ﺑﺎ ﺻﺪﺍﻳﻰ ﻗﺪﺭﺗﻤﻨﺪ ﻭ ﺑﻢ ﺍﺯ ﻛﺘﺎﺑﻰ ﻛﻪ‬ ‫ﺑﺮ ﺭﻭﻯ ﭘﺎ ﺩﺍﺷﺖ ﺧﻮﺍﻧﺪ‪» :‬ﺧﺪﺍﻭﻧﺪ ﺍﺳﻤﺎﻋﻴﻞ ﺭﺍ ﺍﺯ ﻗﺮﺑﺎﻧﻰ ﺷﺪﻥ ﻧﺠﺎﺕ ﺩﺍﺩ‪«.‬‬ ‫ﮔﺮﺩﻥ ﺟﺴﺪ ﺩﺭ ﺍﺛﺮ ﺭﻫﺎ ﺷﺪﻥ ﭘﺎﻫﺎﻳﺶ ﻭ ﻓﺴﺎﺩ ﻣﻮﺿﻌﻰ ﺑﻪ ﺩﻟﻴﻞ ﺯﺧﻢ‪ ،‬ﺍﺯ ﺳﺮﺵ ﺟﺪﺍ ﺷﺪ ﻭ ﺭﻭﻯ‬ ‫ﺯﻣﻴﻦ ﺍﻓﺘﺎﺩ‪ .‬ﭘﺴﺮ ﭘﺸﺖ ﺳﺮﺷﺎﻥ ﺑﺎ ﭼﺸﻤﺎﻧﻰ ﻭﺣﺸﺖﺁﺷﻨﺎ‪ ،‬ﺑﺮﺍﻯ ﻓﺮﻳﺎﺩ ﺗﻘﻼ ﻣﻰﻛﺮﺩ؛ ﺍﻣﺎ ﻧﻤﻰﺗﻮﺍﻧﺴﺖ‪.‬‬ ‫ﺑﻬﺰﺍﺩ ﺩﺭ ﺣﺎﻟﻰ ﻛﻪ ﺭگﻫﺎﻯ ﮔﺮﺩﻧﺶ ﻣﺜﻞ ﭼﻮﺏ ﺑﺮﺁﻣﺪﻩ ﺷﺪﻩ ﺑﻮﺩ‪ ،‬ﺑﻪ ﺟﻮﺍﻥ ﻭﺣﺸﺖ ﺯﺩﻩ ﮔﻔﺖ‪:‬‬ ‫»ﺩﺳﺖ ﻧﮕﻪﺩﺍﺭ ﻭ ﺷﻠﻴﻚ ﻧﻜﻦ‪«.‬‬ ‫ﺭﻭ ﺑﻪ ﺷﺒﺢ ﭘﺮﺳﻴﺪ‪» :‬ﻛﻪ ﻫﺴﺘﻰ ﻭ ﭼﻪ ﻣﻰﺧﻮﺍﻯ؟«‬ ‫ﺷﺒﺢ ﺻﻔﺤﺎﺕ ﺭﺍ ﻭﺭﻕ ﺯﺩ ﻭ ﺧﻮﺍﻧﺪ‪» :‬ﻣﻦ ﺧﺪﺍﻭﻧﺪ‪ ،‬ﺧﺎﻟﻖ ﺗﻮ ﻫﺴﺘﻢ ﻛﻪ ﺗﻮ ﺭﺍ ﺍﺯ ﺍﺳﺎﺭﺕ ﻭ ﺑﻨﺪﮔﻰ‬ ‫ﻣﺼﺮﻳﺎﻥ ﻧﺠﺎﺕ ﺑﺨﺸﻴﺪ‪«.‬‬ ‫ﺁﻥ ﮔﺎﻩ ﺳﺮ ﺑﺮﺩﺍﺷﺖ‪ ،‬ﻛﺘﺎﺏ ﺭﺍ ﺑﺴﺖ ﻭ ﮔﻔﺖ‪» :‬ﺍﺯ ﺧﻠﻖ ﺷﻤﺎ ﭘﺸﻴﻤﻮﻧﻢ‪ .‬ﻣﻰﺧﻮﺍﻡ ﺍﺷﺘﺒﺎﻩ ﮔﺬﺷﺘﻪ ﺭﻭ‬ ‫ﺟﺒﺮﺍﻥ ﻛﻨﻢ‪ .‬ﺷﺎﻫﺪﺍﻥ ﻛﻮﭼﻚ‪ ،‬ﻗﺮﺑﺎﻧﻴﺎﻥ ﺑﻌﺪﻯ ﺧﻮﺍﻫﻨﺪ ﺑﻮﺩ‪«.‬‬ ‫ﻧﮕﺎﻫﺶ ﻣﻌﻄﻮﻑ ﺻﻨﺪﻟﻰ ﭘﺸﺖ ﺳﺮ ﺑﻬﺰﺍﺩ ﺷﺪ‪ .‬ﭘﺴﺮ ﺑﻪ ﭘﻬﻨﺎﻯ ﺻﻮﺭﺕ ﺍﺷﻚ ﻣﻰﺭﻳﺨﺖ ﻭ ﺗﻤﺎﻡ ﺑﺪﻧﺶ‬ ‫ﺍﺯ ﮔﺮﻳﻪ ﻭ ﺗﺮﺱ ﺑﻪ ﻟﺮﺯﻩ ﺍﻓﺘﺎﺩﻩ ﺑﻮﺩ‪ .‬ﺑﻬﺰﺍﺩ ﮔﻔﺖ‪» :‬ﻣﻦ ﻫﻢ ﻛﺘﺎﺑﻰ ﻛﻪ ﺩﺭ ﺩﺳﺖ ﺩﺍﺭﻯ ﺭﻭ ﺧﻮﻧﺪﻩﺍﻡ‪.‬‬ ‫ﭼﻨﺪ ﺳﻄﺮ ﭘﺎﻳﻴﻦﺗﺮ ﺭﻭ ﻧﮕﺎﻩ ﻛﻦ ﻛﻪ ﺑﻬﺘﻮﻥ ﺍﻣﺮ ﻛﺮﺩﻩ ﻫﻤﻨﻮﻉ ﺧﻮﺩ ﺭﺍ ﻧﻜﺸﻴﺪ‪«.‬‬ ‫ﺷﺒﺢ ﻧﮕﺎﻩ ﻋﺎﻗﻞ ﺍﻧﺪﺭ ﺳﻔﻴﻬﻰ ﻛﺮﺩ ﻭ ﮔﻔﺖ‪» :‬ﻛﻰ ﺑﻬﺖ ﮔﻔﺘﻪ ﺷﻤﺎ ﻫﻢﻧﻮﻉ ﻣﺎ ﻫﺴﺘﻴﺪ؟«‬ ‫ﺁﻥ ﮔﺎﻩ ﺑﺎ ﺧﻨﺪﻩ ﺍﺩﺍﻣﻪ ﺩﺍﺩ‪» :‬ﻭﺍﻗﻌﺎً ﻓﻜﺮ ﻛﺮﺩﻳﺪ ﺑﺎ ﻣﺨﻔﻰ ﻛﺮﺩﻥ ﺍﻭﻥ ﺑﭽﻪ ﺗﻮ ﺧﻮﻧﻪﻯ ﭘﺪﺭﻳﺘﻮﻥ ﻣﻰﺗﻮﻧﻴﺪ‬ ‫ﺟﻠﻮﻯ ﻛﺸﺘﻪ ﺷﺪﻧﺶ ﺭﻭ ﺑﮕﻴﺮﻳﺪ؟ ﻭﻋﺪﻩﻯ ﺧﺎﻟﻖ ﺑﺮﺍﻯ ﺷﻤﺎ ﺣﻖ ﺧﻮﺍﻫﺪ ﺑﻮﺩ‪ .‬ﺑﺮﺍﻯ ﺗﻚﺗﻜﺘﻮﻥ‪ «...‬ﻭ‬ ‫ﺁﻥ ﮔﺎﻩ ﺑﺎ ﺍﻧﮕﺸﺖ ﺑﻪ ﺗﺮﺗﻴﺐ ﺑﻪ ﺳﻤﺖ ﭘﺴﺮ ﺭﻭﻯ ﺻﻨﺪﻟﻰ‪ ،‬ﺑﻬﺰﺍﺩ ﻭ ﺟﻮﺍﻥ ﺑﻠﻨﺪ ﻗﺪ ﺍﺷﺎﺭﻩ ﻛﺮﺩ ﻭ ﺭﻭﻯ‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،29‬ﺍﺭﺩﻳﺒﻬﺸﺖ ‪1392‬‬

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‫ﻓﺎﻧﺘﺰﻯ ‪ -‬ﻧﮕﺎﺭﺵ‬

‫ﺟﻮﺍﻥ ﮔﻔﺖ‪» :‬ﻧﻤﻰﺩﻭﻧﻢ‪ .‬ﻣﻦ ﻃﺒﻘﻪﻯ ﺩﻭﻡ ﺑﻮﺩﻡ ﻭ ﺻﺪﺍ ﺍﺯ ﺑﺎﻻ ﺍﻭﻣﺪ‪ ،‬ﺍﻣﺎ ﺑﻴﺶ ﺍﺯ ﺍﻳﻦ ﻧﻤﻰﺩﻭﻧﻢ‪«.‬‬ ‫ﺑﻬﺰﺍﺩ ﻧﮕﺎﻫﻰ ﺑﻪ ﺳﺎﻟﻦ ﺧﺎﻟﻰ ﺍﺯ ﻫﺮ ﮔﻮﻧﻪ ﻣﻮﺟﻮﺩ ﺯﻧﺪﻩ ﻛﺮﺩ ﻭ ﺁﮔﺎﻫﻰ ﻧﺎﮔﻬﺎﻧﻰ ﭼﻬﺮﻩﻯ ﺍﻭ ﺭﺍ ﮔﺸﻮﺩ‪.‬‬ ‫ﻓﺮﻳﺎﺩ ﺯﺩ‪» :‬ﺯﻳﺮﺷﻴﺮﻭﻧﻰ‪ .‬ﺣﺴﺎﻡ ﻫﻤﻮﻥ ﺟﺎ ﻣﻮﻧﺪ ﻭ ﭘﺎﻳﻴﻦ ﻧﻴﻮﻣﺪ‪ .‬ﭼﻄﻮﺭ ﻣﻰﺗﻮﻧﻢ ﺍﻳﻦﻗﺪﺭ ﺍﺣﻤﻖ ﺑﺎﺷﻢ؟‬ ‫ﺍﺳﻠﺤﻪﺕ ﺭﻭ ﺁﻣﺎﺩﻩ ﻧﮕﻬﺪﺍﺭ‪«.‬‬ ‫ﺍﺯ ﺳﺮﺗﺎﺳﺮ ﺭﺍﻫﺮﻭﻫﺎ ﻭ ﺭﺍﻩﭘﻠﻪﻫﺎ ﻫﻴﭻ ﺻﺪﺍﻳﻰ ﺑﻪ ﮔﻮﺵ ﻧﻤﻰﺭﺳﻴﺪ‪ .‬ﭘﺎﻯ ﺭﺍﻩﭘﻠﻪﻯ ﺁﺧﺮ ﮔﻔﺖ‪» :‬ﺍﻧﮕﺎﺭ‬ ‫ﭘﺪﺭﺑﺰﺭﮔﻢ ﺍﺳﻢ ﺧﻮﺑﻰ ﺭﻭﻯ ﺍﺗﺎﻕ ﺯﻳﺮﺷﻴﺮﻭﻧﻰ ﮔﺬﺍﺷﺘﻪ ﺑﻮﺩ‪ .‬ﻟﻮﻧﻪﻯ ﻋﻨﻜﺒﻮﺕ؛ ﺍﻟﺒﺘﻪ ﺍﻳﻦ ﺍﺳﻢ ﺭﻭ ﺑﻪ‬ ‫ﺧﺎﻃﺮ ﺯﻳﺎﺩ ﺑﻮﺩﻥ ﺗﺎﺭﻫﺎﻯ ﺩﻳﻮﺍﺭﻫﺎ ﺑﻬﺶ ﺩﺍﺩﻩ ﺑﻮﺩ‪ ،‬ﻭﻟﻰ ﺣﺎﻻ ﻣﻰﺑﻴﻨﻢ‪ ...‬ﻧﻜﻨﻪ ﺍﻳﻦ ﻫﻢ ﻳﻪ ﭘﻴﺸﮕﻮﻳﻰ‬ ‫ﺩﻳﮕﻪ ﺑﻮﺩﻩ؟ ﻟﻌﻨﺖ ﺑﻪ ﺍﻳﻦ ﺍﻓﻜﺎﺭ ﺁﺯﺍﺭ ﺩﻫﻨﺪﻩ‪«.‬‬ ‫ﭘﺴﺮ ﻗﺪ ﺑﻠﻨﺪ ﭼﻨﺪ ﺑﺎﺭ ﺍﺯ ﺩﺭ ﺑﻪ ﺑﻬﺰﺍﺩ ﻭ ﺑﺮﻋﻜﺲ ﻧﮕﺎﻩ ﻛﺮﺩ‪ .‬ﺗﺮﺟﻴﺢ ﻣﻰﺩﺍﺩ ﻫﻤﺮﺍﻩ ﺑﻬﺰﺍﺩ ﻧﺒﺎﺷﺪ ﻭ ﺑﺎ‬ ‫ﻧﺎﺩﻳﺪﻩ ﮔﺮﻓﺘﻦ ﺍﺗﺎﻕ ﺟﺴﺘﺠﻮ ﻧﺸﺪﻩ‪ ،‬ﮔﺰﺍﺭﺷﻰ ﺳﺎﺩﻩ ﺑﻪ ﺑﻬﺮﺍﻡ ﺑﺪﻫﺪ‪ :‬ﻫﻤﻪ ﺟﺎ ﺭﻭ ﮔﺸﺘﻴﻢ‪ .‬ﻫﻤﻪ ﻛﺸﺘﻪ‬ ‫ﺷﺪﻩ ﺑﻮﺩﻥ ﻭ ﻭﻗﺘﻰ ﺭﺳﻴﺪﻳﻢ ﻗﺎﺗﻞ ﮔﺮﻳﺨﺘﻪ ﺑﻮﺩ‪ .‬ﺍﺯ ﺍﺑﺘﺪﺍﻯ ﺣﺮﻛﺖ ﺑﺎ ﮔﺮﻭﻩ ﻫﻢ ﺟﺰ ﺍﻳﻦ ﺍﻧﺘﻈﺎﺭ ﻧﺪﺍﺷﺖ‪.‬‬ ‫ﻓﺎﺻﻠﻪﻯ ﺑﻴﻦ ﺗﻤﺎﺱ ﺑﺮﺍﻯ ﻛﻤﻚ ﺗﺎ ﺭﺳﻴﺪﻥ ﺁﻥﻫﺎ ﺑﻪ ﺍﻳﻦ ﺧﺎﻧﻪﻯ ﻗﺪﻳﻤﻰ ﻭ ﺯﺷﺖ ﺁﻥﻗﺪﺭ ﺯﻳﺎﺩ ﺑﻮﺩ‬ ‫ﻛﻪ ﺣﺘﺎ ﻗﺎﺗﻞ ﻭﻗﺖ ﻛﺎﻓﻰ ﺩﺍﺷﺖ ﺑﺎ ﺧﻴﺎﻝ ﺭﺍﺣﺖ ﺑﻪ ﺗﺎﻛﺴﻰ ﺳﺮﻭﻳﺲ ﺯﻧﮓ ﺯﺩﻩ‪ ،‬ﻣﻨﺘﻈﺮ ﺑﻤﺎﻧﺪ ﻭ ﺑﺎ ﺁﻥ‬ ‫ﺑﺮﻭﺩ‪ .‬ﺍﮔﺮ ﻣﻌﻄﻞ ﻛﺮﺩﻩ ﺑﻮﺩ‪ ،‬ﭘﺲ ﻗﺼﺪ ﺩﺍﺷﺘﻪ ﺑﺎ ﻣﺎ ﺭﻭﺑﺮﻭ ﺷﻮﺩ‪.‬‬ ‫ﺑﻬﺰﺍﺩ ﻭﺣﺸﺖ ﺭﺍ ﺍﺯ ﭼﺸﻢﻫﺎﻳﺶ ﺧﻮﺍﻧﺪ ﻭ ﮔﻔﺖ‪» :‬ﺑﻪ ﺧﻮﺩﺕ ﺍﻋﺘﻤﺎﺩ ﺩﺍﺷﺘﻪ ﺑﺎﺵ‪ .‬ﻫﻴﭻ ﺍﻧﺴﺎﻧﻰ ﺗﻮﺍﻥ‬ ‫ﻣﻘﺎﺑﻠﻪ ﺑﺎ ﻣﺎ ﺭﻭ ﻧﺪﺍﺭﻩ‪«.‬‬ ‫ﺟﻮﺍﻥ ﺑﺎ ﺍﺧﻢ ﮔﻔﺖ‪» :‬ﺩﺭﺳﺘﻪ ﻗﺮﺑﺎﻥ‪ .‬ﻭﻟﻰ ﺑﻴﺸﺘﺮ ﺑﻪ ﺍﺳﻠﺤﻪﺍﻯ ﻛﻪ ﺩﺭ ﺩﺳﺘﻤﻪ ﺍﻋﺘﻤﺎﺩ ﺩﺍﺭﻡ ﻭ ﻏﺮﻳﺰﻩﺍﻡ‪«.‬‬ ‫ﺁﻥ ﮔﺎﻩ ﺍﺳﻠﺤﻪﺍﺵ ﺭﺍ ﺑﻪ ﻛﻨﺎﺭ ﺻﻮﺭﺗﺶ ﻛﻪ ﻫﻨﻮﺯ ﭘﺮ ﺍﺯ ﻛﺮﻙ ﺑﻮﺩ ﻛﺸﻴﺪ‪.‬‬ ‫ﺑﻬﺰﺍﺩ ﮔﻔﺖ‪» :‬ﺩﺭﺳﺘﻪ‪ .‬ﻣﺎ ﺷﻜﺎﺭﭼﻰ ﺯﺍﺩﻩ ﺷﺪﻩﺍﻳﻢ‪ .‬ﺣﺎﻻ ﺁﺯﺍﺩ ﺑﺬﺍﺭﺵ ﺗﺎ ﺧﻮﺩﺵ ﻋﻤﻞ ﻛﻨﻪ‪ .‬ﺁﻣﺎﺩﻩ‬ ‫ﺑﺎﺵ!«‬ ‫ﺑﺎ ﺷﻤﺎﺭﻩﻯ ﺳﻪ ﺩﺭﺏ ﺭﺍ ﺷﻜﺴﺘﻨﺪ ﻭ ﮔﺮﺩ ﻭ ﺧﺎﻙ ﺯﻳﺎﺩﻯ ﺑﻪ ﭘﺎ ﺷﺪ‪ .‬ﺩﺭ ﻧﮕﺎﻩ ﻧﺨﺴﺖ ﺣﺴﺎﻡ ﺭﺍ ﺩﻳﺪﻧﺪ‬ ‫ﻛﻪ ﺩﺭﺳﺖ ﺩﺭ ﻭﺳﻂ ﺍﺗﺎﻕ ﺍﺯ ﺳﻘﻒ ﺷﻴﺮﻭﺍﻧﻰ ﺑﻪ ﺩﺍﺭ ﺁﻭﻳﺨﺘﻪ ﺷﺪﻩ ﺑﻮﺩ‪ .‬ﺟﻮﺍﻥ ﺍﺳﻠﺤﻪﺍﺵ ﺭﺍ ﺍﺯ ﺭﻭﻯ‬ ‫ﺟﺴﻢ ﺑﻰﺟﺎﻥ ﺣﺴﺎﻡ ﺑﻪ ﺳﻤﺖ ﻛﺴﻰ ﻛﻪ ﺭﻭﻯ ﺻﻨﺪﻟﻰ ﺩﺭ ﺍﻧﺘﻬﺎﻯ ﺍﺗﺎﻕ ﻧﺸﺴﺘﻪ ﺑﻮﺩ ﻧﺸﺎﻧﻪ ﺭﻓﺖ‪.‬‬ ‫ﭘﺴﺮﻯ ﻧﻮﺟﻮﺍﻥ ﺑﺎ ﭼﺸﻢﻫﺎﻳﻰ ﻛﻪ ﺍﺯ ﺑﺲ ﮔﺮﻳﺴﺘﻪ ﺑﻮﺩﻧﺪ‪ ،‬ﺑﻪ ﺭﻧﮓ ﺁﺑﻰ ﺑﺴﻴﺎﺭ ﺭﻭﺷﻨﻰ ﺩﺭ ﺁﻣﺪﻩ ﻭ‬ ‫ﺻﻮﺭﺗﺶ ﺣﺘﺎ ﺍﺯ ﺣﺎﻟﺖ ﻋﺎﺩﻯ ﻫﻢ ﺭﻧﮓﭘﺮﻳﺪﻩﺗﺮ ﺑﻮﺩ‪ .‬ﺩﺳﺘﺎﻧﺶ ﺑﻪ ﺻﻨﺪﻟﻰ ﺑﺴﺘﻪ ﺷﺪﻩ ﺑﻮﺩ ﻭ ﻟﺐﻫﺎﻳﺶ‬ ‫ﻫﻢ ﺗﻜﺎﻥﻧﻤﻰﺧﻮﺭﺩﻧﺪ‪ .‬ﻛﺎﺭﻣﻴﻦ ﻫﻤﭽﻨﺎﻥ ﻣﻰﻧﻮﺍﺧﺖ‪ ،‬ﺍﻣﺎ ﻣﻨﺸﺎ ﺁﻥ ﺩﻗﻴﻖ ﻣﺸﺨﺺ ﻧﺒﻮﺩ؛ ﮔﻮﻳﻰ ﺗﻤﺎﻡ‬ ‫ﺩﻳﻮﺍﺭﻫﺎ ﭼﻮﻥ ﺩﺳﺘﮕﺎﻩ ﭘﺨﺶ ﺑﺰﺭﮔﻰ ﺻﺪﺍ ﺭﺍ ﺑﻪ ﺳﻤﺖ ﺍﺗﺎﻕ ﻣﻨﺘﻘﻞ ﻣﻰﻛﺮﺩﻧﺪ‪ .‬ﺑﻬﺰﺍﺩ ﺑﺎ ﺍﺣﺘﻴﺎﻁ ﺑﻪ‬ ‫‪63‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،29‬ﺍﺭﺩﻳﺒﻬﺸﺖ ‪1392‬‬

‫ﻭ ﺧﺎﻛﺴﺘﺮﻯ ﺭﻧﮓ ﺗﺮﺍﻭﺵ ﻣﻰﻛﺮﺩ ﻭ ﺁﻥﻫﺎ ﺭﺍ ﺗﺒﺪﻳﻞ ﺑﻪ ﺍﺷﻜﺎﻟﻰ ﺣﺒﺎﺑﻰ ﻣﻰﻧﻤﻮﺩ ﻛﻪ ﺗﻼﻟﻮ ﻛﺪﺭﻯ‬ ‫ﺩﺍﺷﺘﻨﺪ ﻭ ﺗﺎ ﻭﻗﺘﻰ ﻛﻪ ﺑﻪ ﻣﺎﻧﻌﻰ ﺑﺮ ﻧﻤﻰﺧﻮﺭﺩﻧﺪ‪ ،‬ﺑﺎﻻ ﻣﻰﺭﻓﺘﻨﺪ ﻭ ﺩﺭ ﻧﻬﺎﻳﺖ ﺑﺎ ﺑﺮﺧﻮﺭﺩ ﺑﻪ ﺳﻘﻒ ﻭ‬ ‫ﺩﻳﻮﺍﺭﻫﺎ ﻣﻰﺗﺮﻛﻴﺪﻧﺪ ﻭ ﺍﺛﺮﻯ ﺍﺯﺷﺎﻥ ﺑﺎﻗﻰ ﻧﻤﻰﻣﺎﻧﺪ‪ .‬ﺳﺮﻋﺖ ﺻﻌﻮﺩﺷﺎﻥ ﺁﻥﻗﺪﺭ ﺯﻳﺎﺩ ﺑﻮﺩ ﻛﻪ ﺍﻭﻟﻴﻦ‬ ‫ﺁﻥﻫﺎ ﻫﻨﮕﺎﻡ ﮔﺸﻮﺩﻩ ﺷﺪﻥ ﺩﺭ ﺗﻮﺳﻂ ﺟﻮﺍﻥ ﺑﻪ ﺳﻘﻒ ﺭﺳﻴﺪ ﻭ ﺁﺧﺮﻳﻨﺸﺎﻥ ﺑﺎ ﺑﺴﺘﻪ ﺷﺪﻥ ﺩﺭ ﺗﺮﻛﻴﺪ‪.‬‬ ‫ﺟﻮﺍﻥ ﺭﺍﻫﺮﻭﻫﺎﻯ ﺗﻮﺩﺭﺗﻮﻯ ﻃﺒﻘﻪﻯ ﺩﻭﻡ ﺭﺍ ﺑﺴﻴﺎﺭ ﺳﺮﻳﻊ ﻭ ﺑﻰﻫﻴﭻ ﻣﺸﻜﻠﻰ ﻃﻰ ﻛﺮﺩ ﻭ ﺩﻗﻴﻘﺎً ﺑﻪ‬ ‫ﺳﻤﺖ ﺭﺍﻩﭘﻠﻪﻫﺎﻯ ﺯﻳﺮﺷﻴﺮﻭﺍﻧﻰ ﺭﻓﺖ‪ .‬ﺻﺪﺍﻯ ﻣﻮﺳﻴﻘﻰ ﺗﻨﺪ ﻭ ﺁﺷﻨﺎﻳﻰ ﺑﻪ ﮔﻮﺷﺶ ﺧﻮﺭﺩ‪ .‬ﺑﻰﺳﺮ ﻭ ﺻﺪﺍ‬ ‫ﻧﺰﺩﻳﻚ ﺩﺭ ﺷﺪ‪ .‬ﺁﻭﺍﻳﻰ ﻛﻪ ﺧﺎﺭﺝ ﻣﻰﺷﺪ‪ ،‬ﻛﺎﺭﻣﻴﻦ ﺑﻮﺩ ﺑﺎ ﺗﻤﺎﻡ ﺍﺿﻄﺮﺍﺏ ﻭ ﻫﻴﺠﺎﻧﺶ‪ .‬ﭘﻴﺶ ﺍﺯ ﺁﻥ ﻛﻪ‬ ‫ﺩﺳﺘﺶ ﺑﻪ ﺩﺳﺘﮕﻴﺮﻩ ﺑﺮﺳﺪ‪ ،‬ﺩﺭ ﮔﺸﻮﺩﻩ ﺷﺪ ﻭ ﺩﻭ ﺍﺳﻠﺤﻪ ﺑﻪ ﺳﻤﺖ ﻫﻢ ﻧﺸﺎﻧﻪ ﺭﻓﺘﻨﺪ‪.‬‬ ‫ﻣﺎﻣﻮﺭ ﺍﺭﺷﺪ ﺳﺮﻳﻊ ﺍﺳﻠﺤﻪ ﺭﺍ ﭘﺎﻳﻴﻦ ﺁﻭﺭﺩ ﻭ ﭘﺮﺳﻴﺪ‪» :‬ﺍﺛﺮﻯ ﺍﺯ ﻗﺎﺗﻞ ﭘﻴﺪﺍ ﻛﺮﺩﻳﺪ؟«‬ ‫ﻣﺎﻣﻮﺭﻯ ﻛﻪ ﻣﻘﺎﺑﻞ ﺩﺭ ﺍﻳﺴﺘﺎﺩﻩ ﺑﻮﺩ‪ ،‬ﺁﻥ ﺭﺍ ﺗﺎ ﻧﻴﻤﻪ ﺑﺴﺖ ﻭ ﮔﻔﺖ‪» :‬ﻧﻪ‪ .‬ﻫﻤﻪ ﺟﺎ ﺭﻭ ﮔﺸﺘﻴﻢ‪ .‬ﺷﺎﻳﺪ‪...‬‬ ‫ﺍ ِ‪ ...‬ﺯﻭﺩﺗﺮ ﻣﺘﻮﺟﻪ ﺣﻀﻮﺭﻣﻮﻥ ﺷﺪﻩ ﻭ ﻓﺮﺍﺭ ﻛﺮﺩﻩ‪«.‬‬ ‫ﻣﺎﻣﻮﺭ ﺍﺭﺷﺪ ﺑﺎ ﺧﺸﻢ ﮔﻔﺖ‪» :‬ﺍﺑﻠﻪ! ﭘﺲ ﭼﻪ ﻛﺴﻰ ﺷﻠﻴﻚ ﻛﺮﺩ؟«‬ ‫ﺩﺭ ﺣﺎﻟﻰ ﻛﻪ ﻣﺨﺎﻃﺒﺶ ﺍﻇﻬﺎﺭ ﺑﻰﺍﻃﻼﻋﻰ ﻣﻰﻛﺮﺩ‪ ،‬ﺟﻮﺍﻥ ﻗﺪ ﺑﻠﻨﺪﻯ ﺑﺎ ﻋﺠﻠﻪ ﺑﻪ ﭘﺎﻳﻴﻦ ﺭﺍﻩ ﭘﻠﻪ ﺁﻣﺪ ﻭ‬ ‫ﮔﻔﺖ‪» :‬ﺑﺎ ﭘﻠﻴﺲ ﺑﻪ ﻣﺸﻜﻞ ﺑﺮ ﺧﻮﺭﺩﻳﻢ‪ .‬ﻣﻰﺧﻮﺍﻥ ﻭﺍﺭﺩ ﺑﺸﻦ ﻭ ﺩﻟﻴﻞ ﺗﻴﺮﺍﻧﺪﺍﺯﻯ ﺭﻭ ﺑﻔﻬﻤﻦ‪«.‬‬ ‫ﻣﺎﻣﻮﺭ ﺍﺭﺷﺪ ﻧﮕﺎﻫﻰ ﺑﻪ ﺳﺎﻋﺘﺶ ﺍﻧﺪﺍﺧﺖ ﻭ ﺑﺎ ﺗﻤﺴﺨﺮ ﮔﻔﺖ‪» :‬ﭼﻘﺪﺭ ﺳﺮﻳﻊ ﺭﺳﻴﺪﻥ! ﻫﻤﺮﺍﻩ ﻣﻦ ﺑﻴﺎﻳﺪ‪.‬‬ ‫ﺑﻬﺘﺮﻩ ﻛﺴﻰ ﺗﻨﻬﺎ ﺟﺎﻳﻰ ﻧﺮﻩ‪«.‬‬ ‫ﺑﻼﻓﺎﺻﻠﻪ ﺣﺮﻛﺖ ﻛﺮﺩ‪ .‬ﺍﺯ ﺟﻮﺍﻥ ﻗﺪ ﺑﻠﻨﺪ ﭘﺮﺳﻴﺪ‪» :‬ﻭﺍﺭﺩ ﻛﻪ ﻧﺸﺪﻥ؟«‬ ‫ﺟﻮﺍﻥ ﻛﻢﺳﻦ ﻭ ﺳﺎﻝ ﺑﻮﺩ ﻭ ﻣﻀﻄﺮﺏ ﻧﺸﺎﻥ ﻣﻰﺩﺍﺩ‪ .‬ﭘﺎﺳﺦ ﺩﺍﺩ‪» :‬ﻧﻪ‪ .‬ﭼﻨﺪ ﻧﻔﺮ ﺭﻭ ﺟﻠﻮﻯ ﺩﺭ ﮔﺬﺍﺷﺘﻴﻢ‬ ‫ﻛﻪ ﺗﺎ ﺷﻤﺎ ﺑﺮﺳﻴﺪ ﻣﻌﻄﻠﺸﻮﻥ ﻛﻨﻦ‪«.‬‬ ‫ﻫﻨﮕﺎﻡ ﻋﺒﻮﺭ ﺍﺯ ﺭﺍﻫﺮﻭﻯ ﺧﺮﻭﺟﻰ‪ ،‬ﺍﺯ ﺟﺴﺪﻯ ﻛﻪ ﭘﻴﺸﺘﺮ ﺑﻪ ﺩﻳﻮﺍﺭ ﺗﻜﻴﻪ ﺩﺍﺷﺖ ﺍﺛﺮﻯ ﻧﺒﻮﺩ‪ .‬ﻟﺤﻈﻪﺍﻯ‬ ‫ﺗﻤﺮﻛﺰ ﻛﺮﺩ‪ ،‬ﺩﺭ ﺭﺍ ﮔﺸﻮﺩ ﻭ ﺩﺭ ﺣﺎﻟﻰ ﻛﻪ ﺍﺯ ﺟﻴﺒﺶ ﻛﺎﺭﺗﻰ ﺧﺎﺭﺝ ﻣﻰﻛﺮﺩ ﮔﻔﺖ‪» :‬ﺍﻳﻦ ﺟﻨﺠﺎﻝ ﺭﻭ‬ ‫ﺗﻤﻮﻣﺶ ﻛﻨﻴﺪ‪ .‬ﻣﺎﻣﻮﺭ ﺍﻃﻼﻋﺎﺕ!«‬ ‫ﺩﺭ ﺣﺎﻟﻰ ﻛﻪ ﻛﺎﺭﺗﺶ ﺭﺍ ﻣﻘﺎﺑﻞ ﺩﻣﺎﻍ ﺍﻓﺴﺮ ﮔﺮﻓﺘﻪ ﺑﻮﺩ ﻭ ﺍﻭ ﺑﻪ ﺳﺨﺘﻰ ﻧﺎﻡ ﺑﻬﺰﺍﺩ ﻣﻈﻔﺮﺯﺍﺩﻩ ﺭﺍ ﻣﻰﺧﻮﺍﻧﺪ‪،‬‬ ‫ﺑﺎ ﺗﺤﻜﻢ ﺍﺩﺍﻣﻪ ﺩﺍﺩ‪» :‬ﺍﻃﻼﻋﺎﺕ ﻣﺤﺮﻣﺎﻧﻪﺍﺱ‪ .‬ﺍﺟﺎﺯﻩﻯ ﻭﺭﻭﺩ ﻧﺪﺍﺭﻳﺪ‪ .‬ﻣﺎ ﺭﺳﻴﺪﮔﻰ ﻣﻰﻛﻨﻴﻢ ﻭ ﻧﺘﻴﺠﻪﻯ‬ ‫ﺗﺤﻘﻴﻘﺎﺗﻤﻮﻥ ﺭﻭ ﺗﺎ ﺟﺎﻳﻰ ﻛﻪ ﺻﻼﺡ ﺑﺪﻭﻧﻴﻢ ﺩﺭ ﺍﺧﺘﻴﺎﺭ ﭘﻠﻴﺲ ﻣﻰﺫﺍﺭﻳﻢ‪«.‬‬ ‫ﺍﻓﺴﺮ ﺟﻮﺭﻯ ﻧﮕﺎﻩ ﻣﻰﻛﺮﺩ ﻛﻪ ﮔﻮﻳﻰ ﻫﻤﻴﻦ ﺣﺎﻻ ﻓﺤﺶ ﺭﻛﻴﻜﻰ ﺷﻨﻴﺪﻩ‪ .‬ﺍﻟﺒﺘﻪ ﺑﻬﺰﺍﺩ ﺍﻋﺘﻨﺎﻳﻰ ﻧﻜﺮﺩ ﻭ‬ ‫ﺑﻪ ﺩﺍﺧﻞ ﺑﺮﮔﺸﺖ‪ .‬ﺟﻮﺍﻥ ﺑﻠﻨﺪ ﻗﺪ ﺭﺍ ﺩﺭ ﻭﺭﻭﺩﻯ ﺳﺎﻟﻦ ﻳﺎﻓﺖ‪ .‬ﭘﺮﺳﻴﺪ‪» :‬ﭼﻪ ﻛﺴﻰ ﺗﻴﺮﺍﻧﺪﺍﺯﻯ ﻛﺮﺩ؟«‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،29‬ﺍﺭﺩﻳﺒﻬﺸﺖ ‪1392‬‬

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‫ﻓﺎﻧﺘﺰﻯ ‪ -‬ﻧﮕﺎﺭﺵ‬

‫‪ ‬ﻋﻤﺎﺭﺕ ﭘﻼﻙ ﻳﻚ ﺧﻴﺎﺑﺎﻥ ﺳﺎﻏﺮ ﺑﻪ ﻃﻮﺭ ﻏﻴﺮﺭﺳﻤﻰ ﺑﻴﻦ ﻣﺮﺩﻡ ﺑﻪ ﺑﻨﺎﻳﻰ ﺗﺎﺭﻳﺨﻰ ﻣﺸﻬﻮﺭ ﺷﺪﻩ‬ ‫ﺑﻮﺩ‪ .‬ﺻﺪﺍﻫﺎﻯ ﻋﺠﻴﺒﻰ ﺍﺯ ﺩﺍﺧﻠﺶ ﻣﻰﺁﻣﺪ ﻭ ﻫﻴﭻ ﭘﻨﺠﺮﻩﺍﻯ ﻧﺪﺍﺷﺖ‪ .‬ﺍﻓﺴﺎﻧﻪﻫﺎﻯ ﺯﻳﺎﺩﻯ ﺩﺭ ﻣﻮﺭﺩ ﺁﻥ‬ ‫ﺳﺎﺧﺘﻪ ﺷﺪﻩ ﺑﻮﺩ ﻭ ﺁﻥﺟﺎ ﺭﺍ ﻛﻨﺎﻡ ﻣﺎﺭ ﻭ ﺍﺟﻨﻪ ﻣﻰﺩﺍﻧﺴﺘﻨﺪ؛ ﺍﻣﺎ ﭼﻴﺰﻯ ﻛﻪ ﻭﺍﺿﺢ ﺍﺳﺖ‪ ،‬ﻗﺪﻣﺖ ﺁﻥ ﺍﺯ‬ ‫ﻛﻞ ﻣﺤﻠﻪ ﺑﻴﺸﺘﺮ ﺑﻮﺩ ﻭ ﺑﻌﺪﻫﺎ ﺩﺭ ﺍﺛﺮ ﮔﺴﺘﺮﺵ ﺗﻬﺮﺍﻥ ﻭﺍﺭﺩ ﺁﻥ ﺷﺪﻩ ﺑﻮﺩ ﻭ ﺗﺎ ﺁﻥ ﺷﺐ ﺁﻏﺎﺯﻳﻦ ﺑﻬﺎﺭ‪،‬‬ ‫ﻫﻴﭻ ﮔﺎﻩ ﺭﻓﺖ ﻭ ﺁﻣﺪﻯ ﺩﺭ ﺁﻥ ﻣﺸﺎﻫﺪﻩ ﻧﺸﺪﻩ ﺑﻮﺩ‪.‬‬ ‫ﺑﻪ ﻫﻤﻴﻦ ﺩﻟﻴﻞ ﺑﻮﺩ ﻛﻪ ﻭﻗﺘﻰ ﺳﻪ ﺍﺗﻮﻣﺒﻴﻞ ﺑﺎ ﺷﻴﺸﻪﻫﺎﻳﻰ ﺑﻪ ﺗﻴﺮﮔﻰ ﺷﺐ ﺑﺎ ﺳﺮﻋﺖ ﻭﺍﺭﺩ ﺧﻴﺎﺑﺎﻥ‬ ‫ﺷﺪﻧﺪ ﻭ ﻣﻘﺎﺑﻞ ﺳﺎﺧﺘﻤﺎﻥ ﻗﺪﻳﻤﻰ ﺳﻪ ﺍﺷﻜﻮﺑﻪ ﺗﻮﻗﻒ ﻛﺮﺩﻩ ﻭ ﺭﺍﻩ ﺭﺍ ﺍﺯ ﻫﺮ ﻃﺮﻑ ﺑﻨﺪ ﺁﻭﺭﺩﻧﺪ‪ ،‬ﺗﻌﺠﺐ‬ ‫ﺍﻫﺎﻟﻰ ﻣﺤﻞ ﺭﺍ ﺑﺮﺍﻧﮕﻴﺨﺘﻨﺪ‪ .‬ﺟﻮﺍﻥﻫﺎﻳﻰ ﺑﺎ ﺭﻧﮓ ﭘﺮﻳﺪﻩ ﻭ ﻣﺴﻠﺢ‪ ،‬ﺷﺘﺎﺑﺎﻥ ﺍﺯ ﺍﺗﻮﻣﺒﻴﻞﻫﺎ ﺧﺎﺭﺝ ﺷﺪﻧﺪ ﻭ‬ ‫ﺑﻪ ﻓﺮﻣﺎﻥ ﺟﻮﺍﻥ ﻻﻏﺮﻯ ﺑﺎ ﺑﻴﻨﻰ ﻋﻘﺎﺑﻰ ﻛﻪ ﺑﻪ ﭼﺎﻻﻛﻰ ﺧﻮﺩ ﺭﺍ ﺑﻪ ﺩﺭ ﺳﺎﺧﺘﻤﺎﻥ ﺭﺳﺎﻧﺪ‪ ،‬ﺩﺭ ﺭﺍ ﺷﻜﺴﺘﻪ‬ ‫ﻭ ﻭﺍﺭﺩ ﺷﺪﻧﺪ‪ .‬ﺁﻥ ﮔﺎﻩ ﭼﻨﺪ ﻧﻔﺮ ﺭﺍ ﺑﻪ ﺳﻮﻯ ﻣﺮﺩﻡ ﻭﺣﺸﺖﺯﺩﻩﺍﻯ ﮔﺴﻴﻞ ﻛﺮﺩ ﻛﻪ ﺑﺮﺍﻯ ﺩﻳﺪ ﻭ ﺑﺎﺯﺩﻳﺪ‬ ‫ﻧﻮﺭﻭﺯﻯ ﺩﺭ ﺧﻴﺎﺑﺎﻥ ﺑﻮﺩﻧﺪ ﺗﺎ ﺁﻥﻫﺎ ﺭﺍ ﻣﺘﻔﺮﻕ ﻛﻨﻨﺪ‪ .‬ﮔﺮﻭﻫﻰ ﻭﻟﮕﺮﺩ ﺳﺮﻙ ﻣﻰﻛﺸﻴﺪﻧﺪ ﻭ ﻛﻨﺠﻜﺎﻭ‬ ‫ﺑﻮﺩﻧﺪ‪ ،‬ﺍﻣﺎ ﺻﺪﺍﻯ ﺷﻠﻴﻚ ﮔﻠﻮﻟﻪ ﺍﺯ ﺩﺍﺧﻞ ﺳﺎﺧﺘﻤﺎﻥ ﺍﺯ ﺑﻴﻢ ﺟﺎﻥ ﻛﻨﺠﻜﺎﻭﺗﺮﻳﻦ ﺍﻧﺴﺎﻥﻫﺎ ﺭﺍ ﻫﻢ ﻣﻨﺼﺮﻑ‬ ‫ﻣﻰﻛﻨﺪ‪ .‬ﻣﺎﻣﻮﺭ ﺍﺭﺷﺪ ﺍﺳﻠﺤﻪﺍﺵ ﺭﺍ ﺁﻣﺎﺩﻩﻯ ﺷﻠﻴﻚ ﻛﺮﺩ ﻭ ﺑﺎ ﻓﻜﻰ ﻗﻔﻞ ﺷﺪﻩ‪ ،‬ﭘﺎﻭﺭﭼﻴﻦ ﺑﻪ ﺩﺍﺧﻞ‬ ‫ﻗﺪﻡ ﮔﺬﺍﺷﺖ‪ .‬ﻧﺰﺩﻳﻚ ﺩﺭ ﺟﻨﺎﺯﻩﺍﻯ ﺍﻓﺘﺎﺩﻩ ﺑﻮﺩ ﻛﻪ ﺩﺭ ﻣﺮﺍﺣﻞ ﭘﻴﺸﺮﻓﺘﻪﻯ ﺗﺠﺰﻳﻪ ﻗﺮﺍﺭ ﺩﺍﺷﺖ‪ .‬ﺟﺴﺪ‬ ‫ﺑﻪ ﺩﻳﻮﺍﺭ ﺗﻜﻴﻪ ﺩﺍﺩﻩ ﻭ ﺩﻭ ﺩﺳﺘﺶ ﺑﻪ ﺍﻃﺮﺍﻑ ﮔﺸﻮﺩﻩ ﺷﺪﻩ ﺑﻮﺩ‪ .‬ﻟﺒﺎﺱﻫﺎﻳﺶ ﮔﺮﭼﻪ ﺁﻟﻮﺩﻩ ﺑﻪ ﻓﺴﺎﺩ ﺗﻦ‬ ‫ﺑﻮﺩﻧﺪ‪ ،‬ﺍﻣﺎ ﮔﻮﻳﻰ ﻛﺴﻰ ﺁﻥﻫﺎ ﺭﺍ ﺑﻪ ﺗﺎﺯﮔﻰ ﺗﻨﺶ ﻛﺮﺩﻩ ﺑﻮﺩ‪ .‬ﻣﺮﺩ ﺭﻭ ﮔﺮﺩﺍﻧﺪ ﻭ ﺍﺳﻠﺤﻪﺍﺵ ﺭﺍ ﺑﺎﻻ ﮔﺮﻓﺖ‬ ‫ﻭ ﺑﺎ ﺳﺮﻋﺖ ﺑﻪ ﺩﺍﺧﻞ ﺭﺍﻫﺮﻭ ﺷﺘﺎﻓﺖ ﻭ ﻭﺍﺭﺩ ﺳﺎﻟﻨﻰ ﻣﺠﻠﻞ ﻭ ﺑﺰﺭگ ﺷﺪ‪ .‬ﭼﻬﺎﺭ ﻣﺎﻣﻮﺭ ﭘﺮﺍﻛﻨﺪﻩ ﺍﻃﺮﺍﻑ‬ ‫ﺭﺍ ﻣﻰﺟﺴﺘﻨﺪ ﻭ ﺑﻪ ﺍﻣﻴﺪ ﻳﺎﻓﺘﻦ ﻋﻼﻳﻢ ﺣﻴﺎﺕ‪ ،‬ﻛﺸﺘﻪ ﺷﺪﮔﺎﻥ ﺭﺍ ﻭﺍﺭﺳﻰ ﻣﻰﻛﺮﺩﻧﺪ‪ .‬ﻛﺸﺘﺎﺭﻯ ﺩﻳﮕﺮ ﺭﺥ‬ ‫ﺩﺍﺩﻩ ﺑﻮﺩ‪ .‬ﺭﻭﻯ ﻣﻴﺰ ﺑﺰﺭگ ﻭﺳﻂ ﺳﺎﻟﻦ‪ ،‬ژﺗﻮﻥﻫﺎ ﻭ ﺑﺮﮔﻪﻫﺎﻯ ﭘﺎﺳﻮﺭ ﭘﺮﺍﻛﻨﺪﻩ ﺑﻮﺩﻧﺪ ﻭ ﻟﻜﻪﻫﺎﻯ ﺧﻮﻥ‬ ‫ﻣﺘﻌﻔﻦ ﺑﺮ ﺩﻳﻮﺍﺭ ﻭ ﻛﻒ ﺯﻣﻴﻦ ﭘﺨﺶ ﺑﻮﺩ‪.‬‬ ‫ﭘﺮﺳﻴﺪ‪» :‬ﭼﺮﺍ ﺷﻠﻴﻚ ﻛﺮﺩﻳﺪ؟«‬ ‫ﻣﺎﻣﻮﺭ ﻛﻨﺎﺭ ﺭﺍﻩﭘﻠﻪ ﺑﻪ ﺑﺎﻻ ﺍﺷﺎﺭﻩ ﻛﺮﺩ ﻭ ﮔﻔﺖ‪» :‬ﮔﺮﻭﻫﻰ ﺑﻪ ﻃﺒﻘﻪﻯ ﺑﺎﻻ ﺭﻓﺘﻨﺪ ﻭ ﺑﻌﻀﻰ ﺭﺍﻫﻰ ﺩﺍﻻﻥ‬ ‫ﺯﻳﺮﺯﻣﻴﻨﻰ ﺷﺪﻧﺪ‪ .‬ﺩﺭ ﻃﺒﻘﺎﺕ ﺑﺎﻻ ﺗﻴﺮﺍﻧﺪﺍﺯﻯ ﺷﺪ‪ .‬ﭼﻨﺪ ﺗﺎ ﺍﺯ ﺑﭽﻪﻫﺎ ﺭﻓﺘﻦ ﺑﺮﺭﺳﻰ ﻛﻨﻦ‪ .‬ﻣﺎ ﻫﻢ ﻃﺒﻖ‬ ‫ﺩﺳﺘﻮﺭ ﺷﻤﺎ ﻛﻪ ﮔﻔﺘﻴﺪ ﻫﻴﭻ ﻃﺒﻘﻪﺍﻯ ﺭﻭ ﺧﺎﻟﻰ ﻧﮕﺬﺍﺭﻳﻢ‪ ،‬ﺑﺎﻗﻰ ﻣﻮﻧﺪﻳﻢ‪«.‬‬ ‫ﻣﺮﺩ ﺷﺘﺎﺑﺎﻥ ﭘﻠﻪﻫﺎ ﺭﺍ ﻃﻰ ﻛﺮﺩ‪ .‬ﺟﻨﺎﺯﻩﺍﻯ ﻛﻪ ﺭﻭﻯ ﻧﺮﺩﻩ ﺁﻭﻳﺨﺘﻪ ﺷﺪﻩ ﺑﻮﺩ‪ ،‬ﺩﺭ ﺍﺛﺮ ﺩﻭﻳﺪﻥ ﻣﺮﺩ ﺍﺯ‬ ‫ﻛﻤﺮ ﻧﺼﻒ ﺷﺪ ﻭ ﻫﻨﮕﺎﻣﻰ ﻛﻪ ﺑﻪ ﺯﻣﻴﻦ ﺍﻓﺘﺎﺩ ﺗﻘﺮﻳﺒﺎً ﻫﻴﭻ ﻧﺸﺎﻧﻪﺍﻯ ﺍﺯ ﺁﻥ ﻭﺟﻮﺩ ﻧﺪﺍﺷﺖ‪ .‬ﺗﻤﺎﻡ ﺫﺭﺍﺕ‬ ‫ﺑﺪﻧﺶ ﺑﻪ ﺍﻃﺮﺍﻑ ﭘﺨﺶ ﺷﺪﻩ ﻭ ﺫﺭﺍﺕ ﻏﺒﺎﺭ ﻛﻪ ﺑﻪ ﻫﻮﺍ ﺑﺮ ﻣﻰﺧﺎﺳﺘﻨﺪ‪ ،‬ﺍﺯ ﺩﺭﻭﻧﺸﺎﻥ ﭘﻮﺳﺘﻪﺍﻯ ﺷﻔﺎﻑ‬ ‫‪61‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،29‬ﺍﺭﺩﻳﺒﻬﺸﺖ ‪1392‬‬

‫ﻓﺎﻧﺘﺰﻯ ‪ -‬ﻧﮕﺎﺭﺵ‬

‫ﺩﻫﺪ ﻭ ﻭﺍﻧﻤﻮﺩ ﻛﻨﺪ ﭼﻴﺰﻯ ﻧﺸﻨﻴﺪﻩ‪ .‬ﭘﻴﺮﺯﻥ ﺑﻪ ﺯﺣﻤﺖ ﺧﻢ ﺷﺪ ﻭ ﺗﻜﻪﻫﺎﻯ ﻟﻴﻮﺍﻥ ﺷﻜﺴﺘﻪ ﺭﺍ ﺑﺎ ﺩﺳﺖ‬ ‫ﺑﺮﺩﺍﺷﺖ ﻭ ﺩﺭ ﺳﻄﻞ ﺯﺑﺎﻟﻪ ﺍﻧﺪﺍﺧﺖ‪ .‬ﺧﺎﻙﺍﻧﺪﺍﺯ ﺭﺍ ﺩﺭ ﮔﻮﺷﻪﻯ ﺁﺷﭙﺰﺧﺎﻧﻪ ﭘﻴﺪﺍ ﻛﺮﺩ ﻭ ﻭﻗﺘﻰ ﺟﺎﺭﻭ‬ ‫ﻣﻰﺯﺩ‪ ،‬ﺻﺪﺍﻳﻰ ﺍﺯ ﺭﺍﻫﺮﻭ ﺷﻨﻴﺪ‪ .‬ﺁﺳﻤﺎﻥ ﻛﺎﻣ ً‬ ‫ﻼ ﺭﻧﮓ ﺑﺎﺧﺘﻪ ﺑﻮﺩ ﻭ ﺧﻮﺩ ﺷﻴﻄﺎﻥ ﻫﻢ ﻧﻤﻰﺗﻮﺍﻧﺴﺖ‬ ‫ﭘﺴﺮﺵ ﺭﺍ ﺍﺯ ﺍﺗﺎﻕ ﺧﺎﺭﺝ ﻛﻨﺪ‪ .‬ﮔﺮﺑﻪ ﻫﻢ ﻛﻪ ﻳﻚ ﮔﻮﺷﻪ ﻛﺰ ﻛﺮﺩﻩ ﺑﻮﺩ‪ .‬ﭘﺲ ﻧﺮﻡﻧﺮﻣﻚ ﺑﻪ ﺳﻤﺖ‬ ‫ﺩﺭ ﺭﻓﺖ ﻭ ﺧﺎﻙﺍﻧﺪﺍﺯ ﺭﺍ ﺁﻣﺎﺩﻩ ﻧﮕﻪ ﺩﺍﺷﺖ ﺗﺎ ﺭﻭﻯ ﺳﺮ ﻣﻬﺎﺟﻢ ﺍﺣﺘﻤﺎﻟﻰ ﺑﻜﻮﺑﺪ‪ .‬ﺳﺎﻳﻪﺍﻯ ﺭﺍ ﺩﻳﺪ ﻛﻪ‬ ‫ﻣﻘﺎﺑﻞ ﺩﺭ ﺍﺗﺎﻕ ﺑﻐﻠﻰ ﺍﻧﺪﻛﻰ ﺗﺎﻣﻞ ﻛﺮﺩ ﻭ ﭘﺎﻭﺭﭼﻴﻦ ﺑﻪ ﺳﻤﺖ ﺭﺍﻩﭘﻠﻪﻫﺎ ﺑﻪ ﺭﺍﻩ ﺍﻓﺘﺎﺩ‪ .‬ﭘﻴﺮﺯﻥ ﺑﺎ ﭼﺎﺑﻜﻰ‬ ‫ﻏﻴﺮﻣﻨﺘﻈﺮﻩﺍﻯ ﺑﻴﺮﻭﻥ ﭘﺮﻳﺪ ﻭ ﺑﺎ ﺧﺎﻙﺍﻧﺪﺍﺯ ﺿﺮﺑﻪﺍﻯ ﺑﻪ ﻛﻤﺮ ﻣﻬﺎﺟﻢ ﺯﺩ ﻭ ﭘﺲ ﺍﺯ ﺁﻥ ﻓﺮﻳﺎﺩﻯ ﻧﺎﺷﻰ‬ ‫ﺍﺯ ﻭﺣﺸﺖ ﺳﺮ ﺩﺍﺩ‪ .‬ﺩﺳﺖ ﺟﻠﻮﻯ ﺩﻫﺎﻥ ﺑﺮﺩ ﻭ ﺑﺎ ﺩﻟﺴﻮﺯﻯ ﮔﻔﺖ‪» :‬ﻭﺍﻯ ﺧﺪﺍﻯ ﻣﻦ! ﺍﺳﺤﺎﻕ! ﺍﻳﻦﺟﺎ‬ ‫ﭼﻰﻛﺎﺭ ﻣﻰﻛﻨﻰ؟ ﭼﺮﺍ ﻣﺨﻔﻴﺎﻧﻪ ﻭﺍﺭﺩ ﺷﺪﻯ؟ ﻓﻜﺮ ﻛﺮﺩﻡ ﺩﺯﺩﻯ ﭼﻴﺰﻯ ﺍﻭﻣﺪﻩ‪ .‬ﻃﻮﺭﻳﺖ ﻛﻪ ﻧﺸﺪ؟«‬ ‫ﺍﺳﺤﺎﻕ ﻛﻪ ﺩﺳﺖ ﺑﻪ ﻛﻤﺮ ﮔﺮﻓﺘﻪ ﺑﻮﺩ‪ ،‬ﻧﺎﻟﻴﺪ‪» :‬ﺧﺪﺍ ﺭﻭ ﺷﻜﺮ ﻛﻪ ﭘﻴﺮﻯ ﺑﺎﻋﺚ ﻛﻮﺗﺎﻩ ﺷﺪﻥ ﻗﺪ ﺁﺩﻡﻫﺎ‬ ‫ﻣﻰﺷﻪ‪ ،‬ﻭﮔﺮﻧﻪ ﺑﻌﻴﺪ ﺑﻮﺩ ﺍﻻﻥ ﻛﻒ ﺭﺍﻫﺮﻭ ﭘﻬﻦ ﻧﺸﺪﻩ ﺑﺎﺷﻢ؛ ﺧﺎﻟﻪ ﺟﺎﻥ!«‬ ‫ﭘﻴﺮﺯﻥ ﺑﻪ ﺯﺣﻤﺖ ﺗﻤﺎﻡ ﻗﺪ ﺍﻳﺴﺘﺎﺩ ﻭ ﮔﻔﺖ‪» :‬ﭘﺴﺮﻡ‪ ،‬ﭼﻪ ﺍﻧﺘﻈﺎﺭﻯ ﺍﺯ ﻣﻦ ﺩﺍﺭﻯ؟ ﺍﮔﻪ ﺷﺎﺋﻮﻝ ﺭﻭ ﺑﻪ‬ ‫ﺣﺴﺎﺏ ﻧﻴﺎﺭﻳﻢ‪ ،‬ﺗﻮ ﻣﺤﺎﻓﻈﺖ ﺍﺯ ﺍﻳﻦ ﺧﻮﻧﻪﺍﻯ ﻛﻪ ﺑﻪ ﻃﺮﺯ ﺍﺣﻤﻘﺎﻧﻪﺍﻯ ﺑﺮﺍﻯ ﻫﺮ ﺩﻭﺗﺎﻳﻴﻤﻮﻥ ﺑﺰﺭﮔﻪ‬ ‫ﺗﻨﻬﺎﻡ‪ .‬ﺟﺰ ﺗﻮ ﻭ ﻋﻤﻮﺕ ﻫﻢ ﻛﻪ ﻛﺴﻰ ﺑﻪ ﺩﻳﺪﻥ ﻣﺎ ﻧﻤﻴﺎﺩ‪«.‬‬ ‫ﺍﺳﺤﺎﻕ ﺑﺎ ﻟﺒﺨﻨﺪ ﺗﻠﺨﻰ ﮔﻔﺖ‪» :‬ﺍﻟﺒﺘﻪ ﺩﺭﺳﺘﺶ ﺍﻳﻨﻪ ﻛﻪ ﺑﻪ ﺣﺴﺎﺏ ﻧﻴﺎﺭﻳﻢ‪ ،‬ﻭﻟﻰ ﺍﻣﺸﺐ ﻣﻄﻤﺌﻦ ﺷﺪﻡ‬ ‫ﻛﻪ ﺷﻤﺎ ﺍﺣﺘﻴﺎﺟﻰ ﺑﻪ ﻛﻤﻚ ﻧﺪﺍﺭﻳﺪ‪ «.‬ﭼﺸﻤﻜﻰ ﺯﺩ ﻭ ﮔﻔﺖ‪» :‬ﺗﻮ ﺍﺗﺎﻗﺸﻪ؟«‬ ‫ﭘﻴﺮﺯﻥ ﺷﺎﻧﻪ ﺑﺎﻻ ﺍﻧﺪﺍﺧﺖ ﻭ ﮔﻔﺖ‪» :‬ﺍﻧﺘﻈﺎﺭ ﺩﻳﮕﻪﺍﻯ ﺩﺍﺭﻯ؟« ﺑﺎ ﺷﺎﺩﻯ ﺑﻪ ﺧﺎﻃﺮ ﺣﻀﻮﺭ ﻳﻚ ﻧﻔﺮ ﻏﻴﺮ‬ ‫ﺍﺯ ﭘﺴﺮﺵ ﺩﺭ ﺧﺎﻧﻪ ﺍﺩﺍﻣﻪ ﺩﺍﺩ‪» :‬ﺍﻻﻥ ﺧﺒﺮﺵ ﻣﻰﻛﻨﻢ ﺗﺎ ﺑﺮﻯ ﭘﻴﺸﺶ‪«.‬‬ ‫ﺁﻥ ﮔﺎﻩ ﺷﺮﻭﻉ ﻛﺮﺩ ﺑﻪ ﺑﺎﻻ ﺭﻓﺘﻦ ﺍﺯ ﭘﻠﻪﻫﺎ‪ .‬ﺍﺳﺤﺎﻕ ﺩﺭ ﻫﺮ ﻗﺪﻡ ﭘﺸﺖ ﺳﺮﺵ ﺑﺎﻻ ﻣﻰﺭﻓﺖ ﻭ ﻋﻜﺲﻫﺎﻯ‬ ‫ﺧﺎﻧﻮﺍﺩﮔﻰ ﺩﺭ ﻗﺎﺏﻫﺎﻯ ﻗﺪﻳﻤﻰ ﺭﺍ ﻛﻪ ﺑﺮ ﺩﻳﻮﺍﺭ ﺭﺍﻩﭘﻠﻪ ﻧﺼﺐ ﺷﺪﻩ ﺑﻮﺩ‪ ،‬ﺗﻤﺎﺷﺎ ﻣﻰﻛﺮﺩ‪ .‬ﻧﺴﻴﻢ ﺧﻨﻜﻰ‬ ‫ﻭﺯﻳﺪ‪ .‬ﭘﻴﺮﺯﻥ ﻛﻪ ﺑﻪ ﭘﺸﺖ ﺩﺭ ﺭﺳﻴﺪﻩ ﺑﻮﺩ‪ ،‬ﭼﻨﺪ ﺑﺎﺭ ﺷﺎﺋﻮﻝ ﺭﺍ ﺻﺪﺍ ﻛﺮﺩ ﻭ ﺑﻪ ﺍﻭ ﮔﻔﺖ ﻛﻪ ﺍﺳﺤﺎﻕ ﭘﺸﺖ‬ ‫ﺩﺭ ﺍﺳﺖ‪ ،‬ﺍﻣﺎ ﺟﻮﺍﺑﻰ ﻧﺸﻨﻴﺪ‪ .‬ﺍﺳﺤﺎﻕ ﭘﺸﺖ ﺳﺮ ﭘﻴﺮﺯﻥ ﺁﻣﺪ ﻭ ﮔﻔﺖ‪» :‬ﺯﻳﺎﺩ ﻣﺰﺍﺣﻤﺖ ﻧﻤﻰﺷﻢ‪ ،‬ﭘﻴﺮﻣﺮﺩ‪.‬‬ ‫ﭘﻴﺶ ﺧﻮﺩﻡ ﻓﻜﺮ ﻛﺮﺩﻡ ﺷﺎﻳﺪ ﺩﻟﺖ ﺑﺨﻮﺍﺩ ﺑﻌﻀﻰ ﺧﺒﺮﻫﺎﻯ ﺑﻴﺮﻭﻥ ﺭﻭ ﺑﺸﻨﻮﻯ ﻳﺎ ﺧﺒﺮﻯ ﺑﺪﻯ‪ «.‬ﺑﺎ‬ ‫ﺗﺮﺩﻳﺪ ﮔﻔﺖ‪» :‬ﺷﺎﺋﻮﻝ؟«‬ ‫ﺩﺭ ﺭﺍ ﺍﻣﺘﺤﺎﻥ ﻛﺮﺩ ﻭ ﻗﻔﻞ ﺑﻮﺩ‪ .‬ﭘﻴﺮﺯﻥ ﺩﻟﻮﺍﭘﺲ ﺷﺪﻩ ﺑﻮﺩ‪ .‬ﺍﺳﺤﺎﻕ ﺍﻭ ﺭﺍ ﺑﻪ ﻋﻘﺐ ﻫﺪﺍﻳﺖ ﻛﺮﺩ ﻭ ﺩﺭ‬ ‫ﺭﺍ ﺷﻜﺴﺖ‪ .‬ﭘﻨﺠﺮﻩ ﻛﺎﻣ ً‬ ‫ﻼ ﺑﺎﺯ ﺑﻮﺩ ﻭ ﺑﺎﺩ ﺩﺍﻣﻦ ﭘﻴﺮﺯﻥ ﺭﺍ ﺑﻪ ﻟﺮﺯﺵ ﺩﺭ ﺁﻭﺭﺩ‪ ،‬ﺍﻣﺎ ﻧﻪ ﺁﻥﻗﺪﺭ ﻛﻪ ﻗﻠﺒﺶ‬ ‫ﻟﺮﺯﻳﺪ‪ .‬ﺩﺭ ﺍﺗﺎﻕ ﺍﺛﺮﻯ ﺍﺯ ﭘﻴﺸﮕﻮ ﻧﺒﻮﺩ‪.‬‬ ‫‪59‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،29‬ﺍﺭﺩﻳﺒﻬﺸﺖ ‪1392‬‬

‫ﺩﺧﺘﺮ ﺭﺍ ﺑﻮﺳﻴﺪ ﻭ ﺑﺎ ﻟﺒﺨﻨﺪ ﺑﻴﺮﻭﻥ ﺭﻓﺖ‪ .‬ﻫﻨﮕﺎﻡ ﺑﺴﺘﻦ ﺩﺭﺏ ﺧﺮﻭﺟﻰ ﺧﺎﻧﻪ ﺗﺼﻮﻳﺮ ﺩﺧﺘﺮ ﺭﺍ ﺩﻳﺪ ﻛﻪ‬ ‫ﺍﺯ ﭘﻨﺠﺮﻩﺍﻯ ﭘﻮﺷﻴﺪﻩ ﺍﺯ ﮔﻴﺎﻫﺎﻥ ﺭﻭﻧﺪﻩ ﺍﻭ ﺭﺍ ﻧﮕﺎﻩ ﻣﻰﻛﻨﺪ‪.‬‬ ‫‪ ‬ﻣﺮﺩ ﻣﻴﺎﻧﺴﺎﻝ ﺗﻜﻴﻪ ﺑﺮ ﺻﻨﺪﻟﻰ ﭼﺮﻣﻴﻨﺶ ﺩﺍﺩﻩ ﺑﻮﺩ ﻭ ﺍﺯ ﻭﺭﺍﻯ ﭘﻨﺠﺮﻩ‪ ،‬ﺁﺳﻤﺎﻥ ﺑﻪ ﺧﻮﻥ ﻧﺸﺴﺘﻪ ﺭﺍ‬ ‫ﻧﻈﺎﺭﻩ ﻣﻰﻛﺮﺩ‪ .‬ﺁﻥ ﺑﻴﺮﻭﻥ ﻏﺮﻭﺏ ﺑﻬﺎﺭﻯ ﻣﻄﺒﻮﻋﻰ ﺑﻮﺩ‪ ،‬ﺍﻣﺎ ﻧﻪ ﺗﻨﻬﺎ ﭘﻨﺠﺮﻩ ﺭﺍ ﺑﺴﺘﻪ ﺑﻠﻜﻪ ﭘﺘﻮﻳﻰ ﺭﺍ‬ ‫ﺑﻪ ﺩﻭﺭ ﺧﻮﺩ ﭘﻴﭽﻴﺪﻩ ﻭ ﺗﺎ ﺯﻳﺮ ﺭﻳﺶ ژﻭﻟﻴﺪﻩﺍﺵ ﺑﺎﻻ ﻛﺸﻴﺪﻩ ﺑﻮﺩ‪ .‬ﭘﻴﺮﺯﻧﻰ ﺧﻤﻴﺪﻩ ﻗﺪ ﺑﺎ ﺳﻴﻨﻰﺍﻯ ﺩﺭ‬ ‫ﺩﺳﺖ ﭘﻴﺶ ﺁﻣﺪ ﻭ ﮔﻔﺖ‪» :‬ﻧﻤﻰﺧﻮﺍﻯ ﺍﻭﻥ ﺗﻮﺩﻩﻯ ﮔﻮﺷﺖ ﺭﻭ ﺍﺯ ﺟﻠﻮﻯ ﭘﻨﺠﺮﻩ ﺗﻜﻮﻥ ﺑﺪﻯ؟«‬ ‫ﺳﻴﻨﻰ ﺭﺍ ﺭﻭﻯ ﻣﻴﺰ ﻛﻨﺎﺭ ﺩﺳﺖ ﻣﺮﺩ ﮔﺬﺍﺷﺖ ﻭ ﻟﻴﻮﺍﻥ ﺷﻴﺮ ﻭ ﻇﺮﻑ ﺑﻴﺴﻜﻮﻳﺖ ﺭﺍ ﺑﺎﻗﻰ ﮔﺬﺍﺷﺖ‪ .‬ﻣﺮﺩ‬ ‫ﺑﻪ ﺧﻂ ﺍﻓﻖ ﭼﺸﻢ ﺩﻭﺧﺘﻪ ﺑﻮﺩ‪ .‬ﺍﻧﮕﺸﺘﺶ ﺭﺍ ﺑﻪ ﺳﻮﻯ ﺳﻴﺎﻫﻰ ﺩﺭ ﺁﺳﻤﺎﻥ ﺑﺎﻻ ﺑﺮﺩ ﻭ ﺑﺎ ﺻﺪﺍﻳﻰ ﺑﻢ‬ ‫ﮔﻔﺖ‪» :‬ﺑﻪ ﭘﺮﻧﺪﻩ ﻫﺎ ﻧﮕﺎﻩ ﻛﻦ‪«.‬‬ ‫ﭘﻴﺮﺯﻥ ﺯﺩ ﺯﻳﺮ ﺧﻨﺪﻩ ﻭ ﮔﻔﺖ‪» :‬ﺑﺎ ﺍﻳﻦ ﭼﺸﻢﻫﺎ ﭼﻄﻮﺭ ﻧﮕﺎﻩ ﻛﻨﻢ؟«‬ ‫ﭘﺮﻧﺪﻩﻫﺎ ﻧﺰﺩﻳﻚﺗﺮ ﺷﺪﻧﺪ‪ .‬ﻣﺮﺩ ﺑﺎ ﺻﺪﺍﻳﻰ ﻣﺘﺎﺛﺮ ﺍﺯ ﻭﺣﺸﺘﻰ ﻣﻘﺪﺱ ﺩﺍﺩ ﺯﺩ‪ 7» :‬ﺑﺰﺭگ ﺭﻭ ﻣﻰﺑﻴﻨﻰ؟‬ ‫ﺍﻳﻦ ﻫﻤﻮﻥ ﻧﺸﻮﻧﻪ ﻧﻴﺴﺖ ﻛﻪ ﻗﺒ ً‬ ‫ﻼ ﮔﻔﺘﻪ ﺑﻮﺩﻡ؟«‬ ‫ﺳﺮﺍﺳﻴﻤﻪ ﺍﺯ ﺟﺎﻯ ﺑﺮﺧﻮﺍﺳﺖ ﻭ ﺩﺭ ﺣﺎﻟﻰ ﻛﻪ ﭘﺘﻮﻳﺶ ﺭﻭﻯ ﺯﻣﻴﻦ ﻣﻰﺍﻓﺘﺎﺩ‪ ،‬ﻓﺮﻳﺎﺩ ﺯﺩ‪ »:‬ﭘﻴﺶ ﺍﺯ ﻏﺮﻭﺏ‬ ‫ﺑﺎﻳﺪ ﭘﺸﺖ ﺗﻠﺴﻜﻮپ ﺑﺎﺷﻢ‪ «...‬ﻭ ﺑﻪ ﺳﻤﺖ ﺩﺭ ﻫﺠﻮﻡ ﺑﺮﺩ‪.‬‬ ‫ﭘﻴﺮﺯﻥ ﺑﺎ ﭼﻬﺮﻩﺍﻯ ﺣﻖ ﺑﻪ ﺟﺎﻧﺐ ﺗﺎ ﻟﺤﻈﻪﻯ ﺧﺮﻭﺝ ﺍﻭ ﺭﺍ ﭼﭗﭼﭗ ﻧﮕﺎﻩ ﻛﺮﺩ ﻭ ﺑﻌﺪ ﺗﺎ ﺣﺪﻯ ﻛﻪ‬ ‫ﻣﻰﺗﻮﺍﻧﺴﺖ ﺻﺪﺍﻳﺶ ﺭﺍ ﺑﻠﻨﺪ ﻛﺮﺩ ﻭ ﺑﻪ ﻣﺮﺩ ﮔﻔﺖ‪» :‬ﻣﻬﺎﺟﺮﺕ ﭘﺮﻧﺪﻩﻫﺎ ﻛﻪ ﻫﺮ ﺳﺎﻝ ﺍﺗﻔﺎﻕ ﻣﻰﺍﻓﺘﻪ‪.‬‬ ‫ﺁﺧﻪ ﭼﻪ ﭼﻴﺰﺵ ﻋﺠﻴﺒﻪ؟«‬ ‫ﻭﻗﺘﻰ ﺟﻮﺍﺑﻰ ﻧﺸﻨﻴﺪ‪ ،‬ﻳﻚ ﺍﺑﺮﻭﻳﺶ ﺭﺍ ﺑﺎﻻ ﺍﻧﺪﺍﺧﺖ ﻭ ﺩﺭ ﺣﺎﻟﻰ ﻛﻪ ﺷﻴﺮ ﺭﺍ ﻣﻰﻧﻮﺷﻴﺪ‪ ،‬ﻧﮕﺎﻫﻰ ﻫﻢ ﺑﻪ‬ ‫ﺧﻂ ﭘﺮﻭﺍﺯ ﭘﺮﻧﺪﻩﻫﺎ ﺍﻧﺪﺍﺧﺖ‪ .‬ﺑﺎ ﺍﻓﺴﻮﺱ ﮔﻔﺖ‪» :‬ﺣﻴﻒ ﺩﻳﮕﻪ ﺯﻭﺭﻡ ﻧﻤﻰﺭﺳﻪ ﺑﺎ ﻳﻪ ﺍﺭﺩﻧﮓ ﺑﻨﺸﻮﻧﻤﺶ‬ ‫ﺳﺮ ﺟﺎﺵ‪«.‬‬ ‫ﺑﺮﺧﻮﺍﺳﺖ ﻭ ﺳﻴﻨﻰ ﺭﺍ ﺩﻭﺑﺎﺭﻩ ﭘﺮ ﻛﺮﺩﻩ‪ ،‬ﺑﻪ ﺳﻮﻯ ﺁﺷﭙﺰﺧﺎﻧﻪ ﺑﻪ ﺭﺍﻩ ﺍﻓﺘﺎﺩ‪ .‬ﻭﻗﺘﻰ ﺳﻴﻨﻰ ﺭﺍ ﺭﻭﻯ ﺳﻴﻨﻚ‬ ‫ﺩﺳﺘﺸﻮﻳﻰ ﻣﻰﮔﺬﺍﺷﺖ‪ ،‬ﻧﺎﮔﻬﺎﻥ ﭼﻴﺰﻯ ﺑﻪ ﺭﻭﻯ ﭘﺎﻫﺎﻳﺶ ﭘﺮﻳﺪ ﻭ ﺑﺎ ﭼﻨﮓ ﺯﺩﻥ ﺩﺍﻣﻦ ﺑﺎﻋﺚ ﻫﺮﺍﺳﺶ‬ ‫ﺷﺪ‪ .‬ﭘﺲ ﺍﺯ ﻓﺮﻳﺎﺩ ﺑﺮ ﺳﺮ ﮔﺮﺑﻪ ‪-‬ﻛﻪ ﺁﺷﻜﺎﺭﺍ ﺍﺯ ﺭﻓﺘﺎﺭ ﺧﻮﺩ ﺷﺮﻣﻨﺪﻩ ﺷﺪﻩ ﻭ ﺳﺮ ﺑﻪ ﺯﻳﺮ ﺍﻧﺪﺍﺧﺘﻪ ﺑﻮﺩ‪ -‬ﺑﻪ‬ ‫ﺣﻴﻮﺍﻥ ﺗﺬﻛﺮ ﺩﺍﺩ ﻛﻪ ﺭﻓﺘﺎﺭ ﻧﺠﻴﺒﺎﻧﻪﺍﻯ ﺩﺍﺷﺘﻪ ﺑﺎﺷﺪ‪ ،‬ﻭﮔﺮﻧﻪ ﺩﺳﺘﻪ ﺟﺎﺭﻭ ﺭﻭﻯ ﻛﻤﺮﺵ ﺧﺮﺩ ﺧﻮﺍﻫﺪ‬ ‫ﺷﺪ‪.‬‬ ‫ﮔﺮﺑﻪ ﻭﺣﺸﺖﺯﺩﻩ ﺑﻪ ﻧﻈﺮ ﻣﻰﺭﺳﻴﺪ‪ ،‬ﺍﻣﺎ ﺗﺮﺟﻴﺢ ﺩﺍﺩ ﺧﻮﺩﺵ ﺭﺍ ﺑﻪ ﺑﺎﺯﻯ ﺑﺎ ﺭﻭﻣﻴﺰﻯ ﻣﺸﻐﻮﻝ ﻧﺸﺎﻥ‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،29‬ﺍﺭﺩﻳﺒﻬﺸﺖ ‪1392‬‬

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‫ﻓﺎﻧﺘﺰﻯ ‪ -‬ﻧﮕﺎﺭﺵ‬

‫ﺷﺪﻩ‪ .‬ﺗﻨﻬﺎ ﺷﺎﻫﺪ ﺑﺎﻗﻰ ﻣﻮﻧﺪﻩ ﺧﻴﻠﻰ ﻭﺣﺸﺖﺯﺩﻩ ﻭ ﻛﻢ ﺳﻦ ﻭ ﺳﺎﻟﻪ ﻭ ﺍﻃﻼﻋﺎﺕ ﺧﻮﺑﻰ ﺩﺭ ﺍﺧﺘﻴﺎﺭ‬ ‫ﺑﻬﺮﺍﻡ ﻧﮕﺬﺍﺷﺘﻪ‪ .‬ﻭﻟﻰ ﻣﺎ ﺍﻳﻦﺟﺎ ﻛﺴﻰ ﺭﻭ ﺩﺍﺭﻳﻢ ﻛﻪ ﺑﺮﺍﻯ ﭘﻴﺪﺍ ﻛﺮﺩﻥ ﻗﺎﺗﻞ ﺍﺣﺘﻴﺎﺟﻰ ﺑﻪ ﺷﺎﻫﺪ ﻧﺪﺍﺭﻩ‪«.‬‬ ‫ﺩﺧﺘﺮ ﺑﻪ ﺩﺭ ﺗﻜﻴﻪ ﺩﺍﺩ ﻭ ﮔﻔﺖ‪» :‬ﻳﻪ ﻟﺤﻈﻪ ﺻﺒﺮ ﻛﻦ‪ .‬ﺍﮔﻪ ﺍﺯ ﭘﺪﺭﻡ ﻛﻤﻚ ﻣﻰﺧﻮﺍﻥ‪ ،‬ﺑﺎﻳﺪ ﺍﺯﺵ‬ ‫ﻋﺬﺭﺧﻮﺍﻫﻰ ﺭﺳﻤﻰ ﻛﻨﻦ‪ .‬ﺑﺮﺧﻮﺭﺩ ﺍﻭﻥﻫﺎ ﺧﻴﻠﻰ ﺯﺷﺖ ﺑﻮﺩ؛ ﭼﻮﻥ ﻣﺮگ ﺍﻭﻥ ﺧﻮﻥﺁﺷﺎﻡ ﺭﺑﻄﻰ ﺑﻪ ﻣﺎ‬ ‫ﻧﺪﺍﺷﺖ ﻭ ﺍﮔﻪ ﺍﻭﻥﻫﺎ ﺗﺎ ﺍﻳﻦ ﺣﺪ ﺍﺯ ﺷﻌﻮﺭ ﺑﻰﺑﻬﺮﻩﺍﻥ ﻛﻪ ﺍﻳﻨﻮ ﺩﺭﻙ ﻧﻤﻰﻛﻨﻦ‪ ،‬ﻣﺎ ﻫﻢ ﺩﻟﻴﻠﻰ ﻧﻤﻰﺑﻴﻨﻴﻢ‬ ‫ﺑﺎ ﭼﻨﻴﻦ ﺍﺣﻤﻖﻫﺎﻳﻰ ﻫﻤﻜﺎﺭﻯ ﻛﻨﻴﻢ‪ .‬ﺣﻘﻴﻘﺘﺸﻮ ﺑﺨﻮﺍﻯ‪ ،‬ﻣﻦ ﺍﺯ ﺑﻪ ﻫﻢ ﺧﻮﺭﺩﻥ ﺭﺍﺑﻄﻤﻮﻥ ﺑﺎ ﺍﻳﻦ ﮔﺮﻭﻩ‬ ‫ﺑﺪﻧﺎﻡ ﺭﺍﺿﻴﻢ‪«.‬‬ ‫ﺍﺳﺤﺎﻕ ﻧﻔﺲ ﺑﻠﻨﺪﻯ ﻛﺸﻴﺪ ﻭ ﮔﻔﺖ‪» :‬ﺁﺯﺍﺩﻩ! ﻋﺰﻳﺰﻡ! ﺍﻳﻦ ﻣﻌﻴﺎﺭ ﺧﻮﺑﻰ ﺑﺮﺍﻯ ﺗﺠﺎﺭﺕ ﻧﻴﺴﺖ‪ .‬ﺣﻤﺎﻗﺖ‬ ‫ﺷﺮﻳﻜﺖ ‪-‬ﺗﺎﺯﻩ ﺍﮔﻪ ﺍﺛﺒﺎﺕ ﺑﺸﻪ‪ -‬ﻣﻰﺗﻮﻧﻪ ﻓﺮﺻﺖ ﺑﺎﺷﻪ ﻳﺎ ﺗﻬﺪﻳﺪ‪ .‬ﺍﻳﻦ ﺑﺴﺘﮕﻰ ﺑﻪ ﺧﻮﺩﺕ ﺩﺍﺭﻩ‪ .‬ﻣﻦ‬ ‫ﻓﺮﻣﺎﻥ ﻛﺎﺭﻫﺎ ﺭﻭ ﺑﻪ ﺩﺳﺖ ﻣﻰﮔﻴﺮﻡ‪ .‬ﻣﻰﺩﻭﻧﻢ ﻛﻪ ﺑﻬﻢ ﺍﻋﺘﻤﺎﺩ ﺩﺍﺭﻯ‪ .‬ﻳﻪ ﭼﻴﺰ ﺩﻳﮕﻪ ﺭﻭ ﻫﻢ ﻣﻰﺩﻭﻧﻢ‪.‬‬ ‫ﺗﻮ ﺍﻳﻦ ﻗﺪﺭﺕ ﺭﻭ ﺩﺍﺭﻯ ﻛﻪ ﭘﺪﺭﺕ ﺭﻭ ﺭﺍﺿﻰ ﻛﻨﻰ‪«.‬‬ ‫ﺩﺧﺘﺮ ﺍﺧﻢ ﻛﺮﺩ ﻭ ﮔﻔﺖ‪» :‬ﺯﻳﺮ ﺑﺎﺭ ﭼﻨﻴﻦ ﻣﺎﻣﻮﺭﻳﺖﻫﺎﻳﻰ ﻧﻤﻰﺭﻡ‪«.‬‬ ‫ﺩﺳﺖﻫﺎﻯ ﺩﺧﺘﺮ ﺭﺍ ﮔﺮﻓﺖ ﻭ ﮔﻔﺖ‪» :‬ﻧﺬﺍﺭ ﭘﺪﺭﺕ ﺑﺎﻗﻰ ﻋﻤﺮﺵ ﺭﻭ ﺗﻮ ﺍﻳﻦ ﺍﺗﺎﻕ ﺑﮕﺬﺭﻭﻧﻪ ﻭ ﺧﻮﺩﺵ‬ ‫ﺭﻭ ﺗﻮ ﻛﺘﺎﺏ ﮔﻢ ﻛﻨﻪ‪ .‬ﻛﻤﻜﺶ ﻛﻦ ﺍﺯ ﺩﺍﻧﺴﺘﻪﻫﺎﺵ ﺑﻪ ﺧﻮﻧﻮﺍﺩﻩ ﺳﻮﺩ ﺑﺮﺳﻮﻧﻪ‪ .‬ﻣﻦ ﺑﺪﺟﻮﺭ ﺩﺭﮔﻴﺮ ﺍﻳﻦ‬ ‫ﭘﺮﻭﻧﺪﻩ ﺷﺪﻡ‪«.‬‬ ‫ﺩﺧﺘﺮ ﺑﺎ ﺗﺒﺨﺘﺮ ﮔﻔﺖ‪» :‬ﻓﻜﺮ ﻧﻜﻨﻢ ﺟﺰ ﻣﻦ ﺭﺍﻩ ﺩﻳﮕﻪﺍﻯ ﺩﺍﺷﺘﻪ ﺑﺎﺷﻰ‪ .‬ﺁﻥﻗﺪﺭ ﻗﺒ ً‬ ‫ﻼ ﺍﺯ ﺧﻮﺩﺕ ﻛﻢ‬ ‫ﺭﺍﺿﻴﺶ ﻛﺮﺩﻯ ﻛﻪ ﺧﻴﻠﻰ ﺧﻮﺷﺒﻴﻨﺎﻧﻪﺍﺱ ﻓﻜﺮ ﻛﻨﻰ ﺑﻪ ﺣﺮﻓﺖ ﮔﻮﺵ ﻣﻰﺩﻩ‪«.‬‬ ‫ﭘﺴﺮ ﺑﻪ ﭼﺸﻢﻫﺎﻯ ﺩﺧﺘﺮ ﻧﮕﺎﻩ ﻛﺮﺩ ﻭ ﮔﻔﺖ‪» :‬ﻛﺎﺵ ﻋﺎﻗﻞ ﺑﻮﺩﻡ ﻭ ﻛﺎﺭ ﺭﻭ ﺑﻪ ﺍﻳﻦﺟﺎ ﻧﻤﻰﺭﺳﻮﻧﺪﻡ‪ ،‬ﺍﻣﺎ‬ ‫ﺣﺎﻻ ﺟﺰ ﻳﺎﺭﻯ ﺗﻮ ﺍﻣﻴﺪﻯ ﻧﻤﻰﺑﻴﻨﻢ‪ .‬ﺍﻣﺮﻭﺯ ﻛﻤﺮ ﻣﺨﺎﻟﻔﺖ ﺑﺎ ﻫﺮ ﺟﻮﺭ ﺳﺎﺯﺷﻰ ﺭﻭ ﺑﺴﺘﻪ ﺑﻮﺩ‪«.‬‬ ‫ﻟﺒﺨﻨﺪ ﻣﻌﺼﻮﻣﺎﻧﻪﺍﻯ ﺗﺤﻮﻳﻠﺶ ﺩﺍﺩ ﻭ ﮔﻔﺖ‪» :‬ﻏﺮﻭﺭﻣﻮﻧﻮ ﻛﻨﺎﺭ ﺑﺬﺍﺭﻳﻢ ﺗﺎ ﻣﺰﺍﻳﺎﻯ ﺯﻳﺎﺩﻯ ﺍﺯ ﺍﻳﻦ ﻓﺪﺍﻛﺎﺭﻯ‬ ‫ﺑﺒﺮﻳﻢ‪ .‬ﻫﺮ ﺳﻮﺩ‪ ،‬ﺯﻳﺎﻧﻰ ﺑﻪ ﻫﻤﺮﺍﻩ ﺩﺍﺭﻩ‪ .‬ﺍﺯ ﭘﺪﺭﺕ ﺑﺨﻮﺍﻩ ﺑﻴﺸﺘﺮ ﺭﻭﻯ ﭘﻴﺸﻨﻬﺎﺩ ﻣﻦ ﻓﻜﺮ ﻛﻨﻪ‪«.‬‬ ‫ﺩﺧﺘﺮ ﺑﺎ ﻛﻤﻰ ﺗﺎﻣﻞ ﮔﻔﺖ‪» :‬ﺑﺮﺍﻡ ﻛﺎﻓﻴﻪ ﻛﻪ ﻣﺮﺍﻗﺐ ﺗﻮ ﺑﺎﺷﻢ ﻭ ﺍﺯ ﺧﻄﺮ ﺩﻭﺭ ﻧﮕﻬﺖ ﺩﺍﺭﻡ‪ .‬ﺳﻌﻴﻢ ﺭﻭ‬ ‫ﻣﻰﻛﻨﻢ‪ «.‬ﺳﭙﺲ ﺑﺎ ﺍﻧﺪﻛﻰ ﻣﻜﺚ ﮔﻔﺖ‪» :‬ﺑﺮﺍﻯ ﻧﻬﺎﺭ ﻣﻰﻣﻮﻧﻰ؟«‬ ‫ﭘﺴﺮ ﺑﺎ ﺧﻮﺷﺤﺎﻟﻰ ﮔﻔﺖ‪» :‬ﺧﻴﻠﻰ ﻣﻤﻨﻮﻥ‪ .‬ﻭﺍﻗﻌﺎً ﺩﻭﺳﺖ ﺩﺍﺷﺘﻢ ﺑﻤﻮﻧﻢ؛ ﻭﻟﻰ ﻋﻼﻭﻩ ﺑﺮ ﺍﻳﻦ ﻛﻪ ﻛﺎﺭ ﺩﺍﺭﻡ‪،‬‬ ‫ﺑﻬﺘﺮ ﻣﻰﺩﻭﻧﻢ ﭘﺪﺭﺕ ﻓﻌ ً‬ ‫ﻼ ﻣﻨﻮ ﻛﻨﺎﺭ ﺗﻮ ﻧﺒﻴﻨﻪ‪ «.‬ﺳﭙﺲ ﺩﺭ ﺣﺎﻟﻰ ﻛﻪ ﻛﻼﻫﺶ ﺭﺍ ﺑﺮ ﺳﺮ ﻣﻰﮔﺬﺍﺷﺖ‪،‬‬ ‫ﮔﻔﺖ‪» :‬ﻟﻴﺴﺘﻰ ﺍﺯ ﻭﺳﺎﻳﻞ ﺿﺮﻭﺭﻯ ﻛﻤﭙﻴﻨﮓ ﺗﻬﻴﻪ ﻛﻦ‪ .‬ﺷﻨﺒﻪ ﺣﺮﻛﺖ ﻣﻰﻛﻨﻴﻢ‪ .‬ﺑﻪ ﻣﺤﺾ ﺍﻳﻦ ﻛﻪ‬ ‫ﺟﻮﺍﺑﻰ ﮔﺮﻓﺘﻰ ﺑﺎ ﻣﻦ ﺗﻤﺎﺱ ﺑﮕﻴﺮ‪«.‬‬ ‫‪57‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،29‬ﺍﺭﺩﻳﺒﻬﺸﺖ ‪1392‬‬

‫ﻣﻰﺁﻭﺭﺩ ﺩﻭﺧﺘﻪ ﺷﺪﻩ ﺑﻮﺩ‪ .‬ﭘﻴﺮﻣﺮﺩ ﺯﺑﺎﻧﺶ ﺭﺍ ﺩﺭ ﺩﻫﺎﻥ ﭼﺮﺧﺎﻧﺪ ﻭ ﺩﺭ ﻇﺮﻑ ﻣﺴﻰ ﻛﻨﺎﺭ ﺻﻨﺪﻟﻴﺶ‬ ‫ﺗﻒ ﻛﺮﺩ‪ .‬ﻛﺘﺎﺏ ﺭﺍ ﺑﺪﻭﻥ ﮔﺬﺍﺷﺘﻦ ﻧﺸﺎﻥ ﺑﺴﺖ‪ ،‬ﺗﻌﻠﻴﻤﻰﺍﺵ ﺭﺍ ﺑﻪ ﺩﺳﺖ ﮔﺮﻓﺖ ﻭ ﺍﺯ ﺍﺗﺎﻕ ﺧﺎﺭﺝ ﺷﺪ‪.‬‬ ‫ﺍﺳﺤﺎﻕ ﻣﺪﺗﻰ ﺑﺎ ﺧﺸﻢ ﺑﻪ ﻛﻠﻤﻪﻯ ُ‬ ‫»ﻇ َﻬﺮ« ﺭﻭﻯ ﺟﻠﺪ ﭼﺮﻣﻰ ﻛﺘﺎﺏ ﺭﻫﺎ ﺷﺪﻩ ﺭﻭﻯ ﻣﻴﺰ ﻣﻰﻧﮕﺮﻳﺴﺖ‬ ‫ﻭ ﻓﻜﺮ ﻣﻰﻛﺮﺩ ﻛﻪ ﺍﻗﺪﺍﻡ ﺑﺪﻭﻥ ﭘﺸﺘﻴﺒﺎﻧﻰ ﻋﻤﻮﻳﺶ ﺍﻭ ﺭﺍ ﺑﻪ ﭼﻪ ﮔﺮﺩﺍﺏ ﻫﻮﻟﻨﺎﻛﻰ ﺧﻮﺍﻫﺪ ﻛﺸﺎﻧﺪ‪ .‬ﺧﻮﺩ‬ ‫ﺑﻪ ﺧﻮﺑﻰ ﻭﺍﻗﻒ ﺑﻮﺩ ﻛﻪ ﺍﻳﻦ ﭘﺮﻭﻧﺪﻩ ﺍﺳﻤﺎً ﺑﻪ ﺍﻭ ﻣﺤﻮﻝ ﺷﺪﻩ ﻭ ﺗﻨﻬﺎ ﻭﻇﻴﻔﻪﻯ ﺍﻭ ﺍﻳﺠﺎﺩ ﺍﺭﺗﺒﺎﻁ ﺑﻴﻦ‬ ‫ﻋﻤﻮﻳﺶ ﻭ ﻫﻤﺎﻳﻮﻥ ﺍﺳﺖ‪ .‬ﺑﻪ ﻫﻴﭻ ﻭﺟﻪ ﻓﻜﺮ ﻧﻤﻰﻛﺮﺩ ﻋﻤﻮﻳﺶ ﭘﺲ ﺍﺯ ﺭﺩ ﺩﺭﺧﻮﺍﺳﺘﺶ ﺑﺮﺍﻯ ﻛﻤﻚ‬ ‫ﻣﺎﻟﻰ‪ ،‬ﻳﻚ ﺑﺎﺭ ﺩﻳﮕﺮ ﺍﻭ ﺭﺍ ﻧﺎﺩﻳﺪﻩ ﺑﮕﻴﺮﺩ‪ .‬ﺳﺮ ﻛﻪ ﺑﺮﺩﺍﺷﺖ‪ ،‬ﺩﻳﺪ ﺗﺎﺑﻠﻮ ﺩﻭﺑﺎﺭﻩ ﻛﺞ ﺷﺪﻩ ﺍﺳﺖ‪ .‬ﺑﺮﮔﺸﺖ‬ ‫ﺗﺎ ﺑﻪ ﺳﻤﺖ ﺩﺭ ﺑﺮﻭﺩ ﻛﻪ ﻫﻤﺎﻥ ﻣﻮﻗﻊ ﺩﺭ ﮔﺸﻮﺩﻩ ﻭ ﺩﺧﺘﺮﻯ ﻭﺍﺭﺩ ﺍﺗﺎﻕ ﺷﺪ‪ .‬ﺍﺳﺤﺎﻕ ﺩﺳﺘﭙﺎﭼﻪ ﺑﺮ ﺟﺎﻯ‬ ‫ﺍﻳﺴﺘﺎﺩ ﻭ ﺑﺎ ﻟﺤﻨﻰ ﭘﻮﺯﺵﺧﻮﺍﻫﺎﻧﻪ ﻭ ﺣﺎﻛﻰ ﺍﺯ ﻏﺎﻓﻠﮕﻴﺮﻯ ﮔﻔﺖ‪» :‬ﻣﺰﺍﺣﻤﺖ ﻧﺸﺪﻡ ﭼﻮﻥ ﻗﺮﺍﺭ ﻧﺒﻮﺩ‬ ‫ﺯﻳﺎﺩ ﺑﻤﻮﻧﻢ‪«.‬‬ ‫ﺩﺧﺘﺮ ﻛﻪ ﺩﺳﺖ ﺑﻪ ﻛﻤﺮﺵ ﺯﺩﻩ ﺑﻮﺩ‪ ،‬ﺑﺎ ﺩﻟﺨﻮﺭﻯ ﮔﻔﺖ‪» :‬ﺷﺎﻳﺪ ﻣﺴﺌﻠﻪ ﻓﻘﻂ ﺍﻳﻦ ﻧﺒﺎﺷﻪ ﺍﺳﺤﺎﻕ‪ .‬ﻛﻢﻛﻢ‬ ‫ﺍﺣﺴﺎﺱ ﻣﻰﻛﻨﻢ ﺩﺍﺭﻯ ﺍﺯ ﺩﺳﺘﻢ ﻓﺮﺍﺭ ﻣﻰﻛﻨﻰ‪ .‬ﺑﺎﻳﺪ ﺍﺯ ﺩﻳﮕﺮﺍﻥ ﺑﺸﻨﻮﻡ ﻛﻪ ﺑﻪ ﺧﻮﻧﻪﻡ ﺍﻭﻣﺪﻯ ﻭ ﺍﮔﻪ‬ ‫ﺩﻳﺮ ﺑﺠﻨﺒﻢ ﺑﺪﻭﻥ ﺩﻳﺪﻥ ﻣﻦ ﺟﻴﻢ ﻣﻰﺷﻰ؟«‬ ‫ﺍﺳﺤﺎﻕ ﺩﺳﺘﻰ ﺑﻪ ﻣﻮﻫﺎﻯﺩﺧﺘﺮ ﻛﺸﻴﺪ ﻭ ﮔﻔﺖ‪» :‬ﺧﻮﺍﻫﺶ ﻣﻰﻛﻨﻢ ﺁﺯﺍﺩﻩ‪ .‬ﻗﻀﻴﻪ ﺭﻭ ﭘﻴﭽﻴﺪﻩ ﻧﻜﻦ‪.‬‬ ‫ﺍﺟﺎﺯﻩ ﻧﺪﻩ ﻛﺴﻰ ﻧﻈﺮﺍﺕ ﺧﻮﺩﺵ ﺭﻭ ﺑﻬﺖ ﺍﻟﻘﺎ ﻛﻨﻪ‪«.‬‬ ‫ﺩﺧﺘﺮ ﺳﺮﺵ ﺭﺍ ﺗﻜﺎﻥ ﺩﺍﺩ‪ ،‬ﻃﺮﻩﻯ ﻣﻮﻳﺶ ﺭﺍ ﺍﺯ ﺩﺳﺖ ﺍﺳﺤﺎﻕ ﺧﺎﺭﺝ ﻛﺮﺩﻩ ﻭ ﮔﻔﺖ‪» :‬ﺗﻮ ﻫﻢ ﺑﻪ ﺍﺣﺴﺎﺱ‬ ‫ﻣﻦ ﺗﻮﻫﻴﻦ ﻧﻜﻦ‪ .‬ﻫﻤﻪ ﭼﻴﺰ ﺭﻭﺷﻨﻪ ﻭ ﺗﻮﺟﻴﻪﭘﺬﻳﺮ ﻧﻴﺴﺖ‪«.‬‬ ‫ﺍﺳﺤﺎﻕ ﺑﺪﻭﻥ ﻧﮕﺎﻩ ﻛﺮﺩﻥ ﺑﻪ ﭼﺸﻢﻫﺎﻯ ﻛﺎﻭﻧﺪﻩﻯ ﺩﺧﺘﺮ ﮔﻔﺖ‪» :‬ﺑﻪ ﻫﺮ ﺣﺎﻝ‪ ،‬ﻣﻦ ﻗﺼﺪ ﺩﺍﺷﺘﻢ ﻫﻤﻴﻦ‬ ‫ﻛﻪ ﻛﺎﺭ ﺍﻳﻦ ﭘﺮﻭﻧﺪﻩ ﺭﻭﻯ ﺭﻭﺍﻝ ﺍﻓﺘﺎﺩ‪ ،‬ﺑﺮﺍﻯ ﻛﻤﭗ ﺯﺩﻥ ﭼﻨﺪ ﺭﻭﺯﻩ ﺗﻮ ﺟﻨﮕﻞﻫﺎﻯ ﮔﺮﮔﺎﻥ ﺑﻬﺖ ﭘﻴﺸﻨﻬﺎﺩ‬ ‫ﺑﺪﻡ‪ .‬ﺧﻮﺏ ﻣﻰﺩﻭﻧﻰ؟ ﺍﻳﻦ ﻳﻪ ﺳﻮﺭﭘﺮﺍﻳﺰ ﺑﻮﺩ‪ ،‬ﻭﻟﻰ ﺑﺮﺍﻯ ﺭﻓﻊ ﻛﺪﻭﺭﺕ ﺑﻬﺘﺮ ﺩﻳﺪﻡ ﻛﻪ ﻓﺎﺷﺶ ﻛﻨﻢ‪«.‬‬ ‫ﺩﺧﺘﺮ ﺑﻪ ﻭﺿﻮﺡ ﻋﻘﺐﻧﺸﻴﻨﻰ ﻛﺮﺩﻩ ﺑﻮﺩ‪ ،‬ﻭﻟﻰ ﻇﺎﻫﺮﺵ ﺭﺍ ﺣﻔﻆ ﻣﻰﻛﺮﺩ ﻭ ﺑﺎ ﮔﺮﻓﺘﻦ ژﺳﺖ ﺑﻰ ﺍﻃﻼﻋﻰ‬ ‫ﭘﺮﺳﻴﺪ‪» :‬ﻣﺸﻜﻞ ﺍﺯ ﻛﻴﻪ؟«‬ ‫ﭘﺴﺮ ﺑﻪ ﻧﻘﻄﻪﺍﻯ ﻛﺜﻴﻒ ﺭﻭﻯ ﺩﻳﻮﺍﺭ ﺍﺗﺎﻕ ﻧﮕﺎﻩ ﻛﺮﺩ ﻭ ﮔﻔﺖ‪» :‬ﺗﻨﻬﺎ ﻛﺴﻰ ﻛﻪ ﺍﺯ ﺗﻮ ﻟﺠﻮﺝ ﺗﺮﻩ!‬ ‫ﻣﻰﺷﻨﺎﺳﻴﺶ؟«‬ ‫ﺩﺧﺘﺮ ﭘﺸﺖ ﭼﺸﻤﻰ ﻧﺎﺯﻙ ﻛﺮﺩ‪ .‬ﺍﺳﺤﺎﻕ ﭘﺮﺳﻴﺪ‪» :‬ﺧﻮﺍﻫﺮﺯﺍﺩﻩﻯ ﺑﻬﺮﺍﻡ ﺭﻭ ﺑﻪ ﺧﺎﻃﺮ ﺩﺍﺭﻯ؟ ﭘﺎﺭﺳﺎﻝ‬ ‫ﺗﻮ ﻳﻪ ﺷﺐﻧﺸﻴﻨﻰ ﺭﺳﻤﻰ ﺩﻳﺪﻳﻤﺶ‪«.‬‬ ‫ﺩﺧﺘﺮ ﭘﻠﻚ ﺯﺩ ﻭ ﻛﻤﻰ ﺳﺮﺵ ﺭﺍ ﭘﺎﻳﻴﻦ ﺁﻭﺭﺩ‪ .‬ﺍﺳﺤﺎﻕ ﺍﺩﺍﻣﻪ ﺩﺍﺩ‪» :‬ﺩﻭ ﻫﻔﺘﻪ ﭘﻴﺶ ﺗﻮ ﻳﻪ ﻗﺘﻞﻋﺎﻡ ﻛﺸﺘﻪ‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،29‬ﺍﺭﺩﻳﺒﻬﺸﺖ ‪1392‬‬

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‫ﻓﺎﻧﺘﺰﻯ ‪ -‬ﻧﮕﺎﺭﺵ‬

‫‪» ‬ﻣﻄﻤﺌﻨﻴﺪ ﻛﻪ ﺑﺮﺍﺗﻮﻥ ﻫﻴﭻ ﺍﻫﻤﻴﺘﻰ ﻧﺪﺍﺭﻩ؟«‬ ‫ﺍﺳﺤﺎﻕ ﺩﺭ ﺣﺎﻟﻰ ﻛﻪ ﻫﻨﻮﺯ ﺍﺟﺎﺯﻩﻯ ﻧﺸﺴﺘﻦ ﻧﮕﺮﻓﺘﻪ ﺑﻮﺩ‪ ،‬ﻧﮕﺎﻫﺶ ﺭﺍ ﺑﻪ ﻣﻴﺰ ﺗﺤﺮﻳﺮ ﺑﺰﺭگ ﻭ ﺷﻠﻮﻍ‬ ‫ﻋﻤﻮﻳﺶ ﺩﻭﺧﺘﻪ ﻭ ﺳﻌﻰ ﺩﺭ ﻣﺘﻘﺎﻋﺪ ﻛﺮﺩﻥ ﺍﻭ ﺑﺮﺍﻯ ﻛﻤﻚ ﺩﺭ ﻳﺎﻓﺘﻦ ﻗﺎﺗﻞ ﻣﻰﻛﺮﺩ‪ .‬ﭘﻴﺮﻣﺮﺩ ﻛﻮﺗﺎﻩ ﻗﺪ‬ ‫ﻭ ﺍﺳﺘﺨﻮﺍﻧﻰ ﮔﻮﻳﺎ ﺍﺻ ً‬ ‫ﻼ ﺑﻪ ﺣﺮﻑ ﺍﻭ ﺗﻮﺟﻬﻰ ﻧﺪﺍﺷﺖ ﻭ ﺳﻌﻰ ﻣﻰﻛﺮﺩ ﻫﺮ ﭼﻪ ﺯﻭﺩﺗﺮ ﺍﻭ ﺭﺍ ﺩﻙ ﻛﻨﺪ ﺗﺎ‬ ‫ﺑﻪ ﻣﻄﺎﻟﻌﻪﺍﺵ ﺍﺩﺍﻣﻪ ﺩﻫﺪ‪ .‬ﺳﺮ ﺭﺍ ﻛﻪ ﺍﺯ ﻛﺘﺎﺏ ﺑﺮﺩﺍﺷﺖ‪ ،‬ﺍﻧﺪﺍﻡ ﻧﺎﻣﺘﻮﺍﺯﻥ ﻭ ﺑﺪﺷﻜﻞ ﺑﺮﺍﺩﺭﺯﺍﺩﻩﺍﺵ ﻛﻪ‬ ‫ﺑﺎ ﺍﻣﻴﺪ ﻣﻘﺎﺑﻞ ﺩﺭ ﺍﻳﺴﺘﺎﺩﻩ ﻭ ﻫﻴﭻ ﺗﻨﺎﺳﺒﻰ ﺑﺎ ﻗﺎﺏ ﺯﻳﺒﺎﻯ ﺁﻥ ﻧﺪﺍﺷﺖ‪ ،‬ﭼﺸﻤﺎﻥ ﺑﻰﺣﺎﻟﺖ ﭘﻴﺮﻣﺮﺩ ﺭﺍ‬ ‫ﺑﻪ ﺧﻨﺪﻩ ﻭﺍ ﺩﺍﺷﺖ‪ .‬ﺍﺳﺤﺎﻕ ﻣﺘﺮﺻﺪ ﻛﻮﭼﻚﺗﺮﻳﻦ ﻧﺮﻣﺸﻰ ﺑﻮﺩ ﺗﺎ ﮔﺎﻣﻰ ﺑﻪ ﭘﻴﺶ ﺑﺮﺩﺍﺭﺩ ﻭ ﺣﺎﻻ ﺁﻥ ﺭﺍ‬ ‫ﺑﻪ ﺩﺳﺖ ﺁﻭﺭﺩﻩ ﺑﻮﺩ‪ .‬ﺑﺎ ﺍﺩﺑﻰ ﻣﺘﻈﺎﻫﺮﺍﻧﻪ ﻛﻪ ﻣﺜﻞ ﺑﺴﻴﺎﺭﻯ ﺧﺼﺎﻳﺺ ﺩﻳﮕﺮ ﺟﺰء ﻣﻴﺮﺍﺙ ﺧﺎﻧﺪﺍﻥ ﻟﻮﺭﻳﺎ‬ ‫ﻣﺤﺴﻮﺏ ﻣﻰﺷﺪ‪ ،‬ﺍﺫﻋﺎﻥ ﺩﺍﺷﺖ‪» :‬ﺭﻋﺐ ﻭ ﻭﺣﺸﺖ ﺍﻳﺠﺎﺩ ﺷﺪﻩ ﺑﻴﻦ ﺍﻳﻦ ﻣﺮﺩﻡ ﻧﮋﺍﺩﻩ ﺗﻮﺳﻂ ﺷﺎﺋﻮﻝ‬ ‫ﺍﺧﺘﺮﻣﺎﺭ ﭘﻴﺶﺑﻴﻨﻰ ﺷﺪﻩ ﺑﻮﺩ‪ .‬ﺍﻣﺎ ﻫﻤﻴﻦﻃﻮﺭ ﻛﻪ ﺧﻮﺩﺗﻮﻧﻢ ﻣﻰﺩﻭﻧﻴﺪ‪ ،‬ﺍﻳﻦ ﺗﻨﻬﺎ ﺑﺨﺶ ﻧﺨﺴﺘﻴﻦ‬ ‫ﭘﻴﺸﮕﻮﻳﻰ ﻧﺎﺗﻤﺎﻡ ﺷﺎﺋﻮﻟﻪ‪«.‬‬ ‫ﻧﮕﺎﻫﺶ ﺍﺯ ﺭﻭﻯ ﺳﺎﻋﺖ ﺩﻳﻮﺍﺭﻯ ﺑﺮ ﺗﺎﺑﻠﻮﻳﻰ ﺍﻓﺘﺎﺩ ﻛﻪ ﻳﻚ ﻛﺸﺘﻰ ﮔﺮﻓﺘﺎﺭ ﻃﻮﻓﺎﻥ ﺩﺭ ﺍﻗﻴﺎﻧﻮﺱ ﺭﺍ ﻧﺸﺎﻥ‬ ‫ﻣﻰﺩﺍﺩ ﻭ ﺗﺎﺑﻠﻮ ﻛﻤﻰ ﻛﺞ ﺷﺪﻩ ﺑﻮﺩ‪ .‬ﺩﻭﺑﺎﺭﻩ ﺗﻤﺮﻛﺰ ﺧﻮﺩ ﺭﺍ ﺑﻪ ﺩﺳﺖ ﺁﻭﺭﺩ ﻭ ﺍﺩﺍﻣﻪ ﺩﺍﺩ‪» :‬ﺍﻳﻦ ﻗﺘﻞﻫﺎ‬ ‫ﺑﺎﻋﺚ ﺍﻋﺘﺒﺎﺭ ﭘﻴﺶﮔﻮﻳﻰ ﺑﻴﻦ ﺷﺒﺰﻯﻫﺎ ﺷﺪﻩ‪ ،‬ﺗﺎ ﺣﺪﻯ ﻛﻪ ﺩﻳﺸﺐ ﭘﻴﻐﺎﻣﻰ ﺍﺯ ﻫﻤﺎﻳﻮﻥ ﺩﺭﻳﺎﻓﺖ ﻛﺮﺩﻡ‪«.‬‬ ‫ﻧﮕﺎﻩ ﭘﻴﺮ ﺭﻭﻯ ﭼﻬﺮﻩﻯ ﺟﻮﺍﻥ ﺛﺎﺑﺖ ﻣﺎﻧﺪ‪ .‬ﺍﺳﺤﺎﻕ ﺧﻨﺪﻳﺪ ﻭ ﺍﺩﺍﻣﻪ ﺩﺍﺩ‪» :‬ﻓﻜﺮ ﻛﻨﻢ ﺗﺎ ﺣﺎﻻ ﺣﺪﺱ ﺯﺩﻩ‬ ‫ﺑﺎﺷﻴﺪ ﻛﻪ ﻳﻜﻰ ﺍﺯ ﻣﻈﻔﺮﺯﺍﺩﻩﻫﺎ ﻫﻢ ﺟﺰء ﻗﺮﺑﺎﻧﻰﻫﺎ ﺑﻮﺩﻩ‪«.‬‬ ‫ﺑﻪ ﺳﻤﺖ ﺩﻳﻮﺍﺭ ﻗﺪﻡ ﺑﺮﺩﺍﺷﺖ ﻭ ﺭﻭﺑﺮﻭﻯ ﺗﺎﺑﻠﻮ ﺍﻳﺴﺘﺎﺩﻩ ﺁﻥ ﺭﺍ ﺻﺎﻑ ﻛﺮﺩ‪ .‬ﺳﭙﺲ ﮔﻔﺖ‪» :‬ﺩﻳﺸﺐ‬ ‫ﺑﺮﺍﺩﺭﺵ ﺭﻭ ﻓﺮﺳﺘﺎﺩﻩ ﺑﻮﺩ ﺩﻧﺒﺎﻝ ﻣﻦ‪ .‬ﺍﺯ ﻃﺮﻑ ﺧﻮﺍﻫﺮﺵ ﺷﺪﻳﺪﺍ ً ﺗﺤﺖ ﻓﺸﺎﺭﻩ‪ ،‬ﻭﮔﺮﻧﻪ ﺑﻪ ﺳﻤﺖ ﻣﻦ‬ ‫ﻧﻤﻰﺍﻭﻣﺪ‪«.‬‬ ‫ﺑﻪ ﻃﺮﻑ ﻣﻴﺰ ﭼﺮﺧﻴﺪ ﻭ ﮔﻔﺖ‪» :‬ﻋﻤﻮ ﺟﺎﻥ! ﻣﻰﺩﻭﻧﻴﺪ ﻛﻪ ﺗﺤﻤﻞ ﻣﺮگ ﺟﻮﻭﻥ ﺧﻴﻠﻰ ﺳﺨﺘﻪ‪«.‬‬ ‫ﻧﻴﺸﺨﻨﺪﻯ ﺯﺩ ﻭ ﺍﺿﺎﻓﻪ ﻛﺮﺩ‪» :‬ﻫﺮ ﭼﻘﺪﺭ ﻫﻢ ﻛﻪ ﻻ ﺍﺑﺎﻟﻰ ﺑﺎﺷﻪ‪ ،‬ﻓﺮﻗﻰ ﻧﺪﺍﺭﻩ‪«.‬‬ ‫ﺁﺭﺍﻡ ﺑﻪ ﭘﺸﺖ ﺻﻨﺪﻟﻰ ﺭﻓﺖ ﻭ ﺩﺳﺖﻫﺎﻳﺶ ﺭﺍ ﺭﻭﻯ ﺩﻭ ﻃﺮﻑ ﺁﻥ ﮔﺬﺍﺷﺖ‪ .‬ﺁﻫﻰ ﻛﺸﻴﺪ ﻭ ﮔﻔﺖ‪:‬‬ ‫»ﺑﮕﺬﺭﻳﻢ ﻋﻤﻮ ﺟﺎﻥ! ﺣﺎﻻ ﻭﻗﺘﻴﻪ ﻛﻪ ﻭﺟﻬﻪﻯ ﺍﺯ ﺩﺳﺖ ﺭﻓﺘﻤﻮﻥ ﭘﻴﺶ ﺷﺒﺰﻯﻫﺎ ﺭﻭ ﺩﻭﺑﺎﺭﻩ ﺍﺣﻴﺎ‬ ‫ﻛﻨﻴﻢ‪ «.‬ﺩﺳﺘﺶ ﺭﺍ ﻣﺸﺖ ﻛﺮﺩ ﻭ ﮔﻔﺖ‪» :‬ﺍﻭﻥﻫﺎ ﺍﺯ ﺁﺩﻡﻫﺎﻯ ﻋﺎﺩﻯ ﺳﺮﻳﻊﺗﺮ‪ ،‬ﻗﻮﻯﺗﺮ ﻭ ﺑﺎﻫﻮﺵﺗﺮﻥ‪.‬‬ ‫ﺣﺎﻻ ﻛﻪ ﺧﻮﺩﺷﻮﻥ ﭘﺎ ﭘﻴﺶ ﮔﺬﺍﺷﺘﻦ‪ ،‬ﺑﻪ ﻣﻌﻨﻰ ﻋﺬﺭﺧﻮﺍﻫﻰ ﺑﺎﺑﺖ ﻛﺪﻭﺭﺕ ﭘﻴﺸﻴﻨﻪ‪ .‬ﻣﺮﺩﻡ ﻣﺎ ﻧﺒﺎﻳﺪ ﺑﻪ‬ ‫ﺍﻳﻦ ﺭﺍﺣﺘﻰ ﺩﺳﺖ ﺩﻭﺳﺘﻰ ﺷﺒﺰﻯﻫﺎ ﺭﻭ ﺭﺩ ﻛﻨﻦ‪«.‬‬ ‫ﺗﻐﻴﻴﺮﻯ ﺩﺭ ﺻﺪﺍﻳﺶ ﺍﻳﺠﺎﺩ ﻧﺸﺪ‪ ،‬ﺍﻣﺎ ﭼﺸﻤﺎﻥ ﭘﻴﺮﻣﺮﺩ ﺑﺮ ﺩﺳﺘﺎﻥ ﺍﻭ ﻛﻪ ﺭﻭﻯ ﺩﺳﺘﻪﻯ ﺻﻨﺪﻟﻰ ﻓﺸﺎﺭ‬ ‫‪55‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،29‬ﺍﺭﺩﻳﺒﻬﺸﺖ ‪1392‬‬

‫ﭼﺸﻢﻫﺎﻳﺶ ﺣﺎﻟﺖ ﻣﺘﺨﺎﺻﻤﻰ ﺑﻪ ﺧﻮﺩ ﮔﺮﻓﺘﻨﺪ ﻭ ﺍﺿﺎﻓﻪ ﻛﺮﺩ‪» :‬ﻣﻦ ﻫﻤﻴﺸﻪ ﺍﺯ ﻫﻤﺎﻳﻮﻥ ﺧﻮﺍﺳﺘﻢ‬ ‫ﻛﻪ ﺗﺎ ﺍﻳﻦ ﺣﺪ ﺍﺯ ﺭﻭﺵﻫﺎﻯ ﺟﻬﻮﺩﻫﺎ ﺍﺳﺘﻔﺎﺩﻩ ﻧﻜﻨﻪ‪ ،‬ﻭﻟﻰ‪ ...‬ﺑﺎﻻﺧﺮﻩ ﺳﺮﺵ ﺑﻪ ﺳﻨﮓ ﻣﻰﺧﻮﺭﻩ‪ .‬ﺁﺧﻪ‬ ‫ﻛﺪﻭﻡ ﺍﺑﻠﻬﻰ ﺑﻪ ﺭﻭﺵﻫﺎﻳﻰ ﻛﻪ ﻫﻴﭻ ﺷﻨﺎﺧﺘﻰ ﺍﺯﺵ ﻧﺪﺍﺭﻩ‪ ،‬ﺍﻋﺘﻤﺎﺩ ﻣﻰﻛﻨﻪ؟ ﺍﻭﻥ ﻫﻢ ﺑﺎ ﭼﻨﻴﻦ ﺭﻗﻢ‬ ‫ﻗﺮﺍﺭﺩﺍﺩ ﺑﺎﻻﻳﻰ‪«.‬‬ ‫ﺍﺳﺤﺎﻕ ﺣﺎﻻ ﺭﺍﺣﺖﺗﺮ ﺑﻪ ﭼﺸﻢﻫﺎﻯ ﺑﻬﺮﺍﻡ ﻧﮕﺎﻩ ﻣﻰﻛﺮﺩ‪ ،‬ﭼﻮﻥ ﻣﺎﺭﻯ ﺑﻮﺩ ﻛﻪ ﺯﻫﺮﺵ ﺭﺍ ﺍﺯ ﭼﺸﻢ ﺑﻪ‬ ‫ﺯﺑﺎﻥ ﻣﻨﺘﻘﻞ ﻛﺮﺩﻩ ﺑﻮﺩ‪ .‬ﺑﻪ ﺳﺮﺩﻯ ﭘﺎﺳﺦ ﮔﻔﺖ‪» :‬ﺍﻟﺒﺘﻪ ﺭﻗﻢ ﻗﺮﺍﺭﺩﺍﺩ ﺩﺭ ﻣﻘﺎﻳﺴﻪ ﺑﺎ ﺑﻬﺎﻳﻰ ﻛﻪ ﺩﺭﺻﻮﺭﺕ‬ ‫ﻋﺪﻡ ﻣﻮﻓﻘﻴﺖ ﺑﺎﻳﺪ ﺑﭙﺮﺩﺍﺯﻡ‪ ،‬ﭼﻨﺪﺍﻥ ﺑﻪ ﭼﺸﻢ ﻧﻤﻰﺁﻳﺪ‪ .‬ﺗﻨﻬﺎ ﺑﺪﻫﻜﺎﺭﻳﻢ ﺑﻪ ﻫﻤﺎﻳﻮﻥ ﺑﺎﻋﺚ ﭘﺬﻳﺮﻓﺘﻦ‬ ‫ﺍﻳﻦ ﭘﺮﻭﻧﺪﻩ ﺷﺪ‪ .‬ﻣﺮﺍﺗﺐ ﺍﺭﺍﺩﺗﺘﻮﻥ ﺭﻭ ﻫﻢ ﺧﺪﻣﺖ ﻋﻤﻮ ﺟﺎﻥ ﺧﻮﺍﻫﻢ ﺭﺳﻮﻧﺪ‪«.‬‬ ‫ﺑﻬﺮﺍﻡ ﺩﺭ ﺣﺎﻟﻰ ﻛﻪ ﺍﺯ ﺧﺸﻢ ﺑﺬﺍﻕ ﺩﻫﺎﻧﺶ ﭘﺨﺶ ﻣﻰﺷﺪ‪ ،‬ﭘﺮﺧﺎﺵ ﻛﺮﺩ‪» :‬ﺍﻟﺒﺘﻪ ﻛﻪ ﻣﻰﺭﺳﻮﻧﻰ‪ .‬ﺑﻪ‬ ‫ﺳﺮﻧﺦﻫﺎﻳﻰ ﺭﺳﻴﺪﻩ ﺑﻮﺩﻡ‪ .‬ﻣﻰﺧﻮﺍﻡ ﺑﺪﻭﻧﻪ ﻛﻪ ﺩﺳﺘﺎﻡ ﺍﻭﻥﻗﺪﺭﻫﺎ ﻫﻢ ﺧﺎﻟﻰ ﻧﻴﺴﺖ‪ .‬ﺑﺪﻭﻧﻪ ﻛﻪ ﺧﻮﺩﻡ‬ ‫ﻣﻴﺪﻭﻥ ﺭﻭ ﺧﺎﻟﻰ ﻧﻜﺮﺩﻡ‪ .‬ﺑﺮﺍﺕ ﺁﺭﺯﻭﻯ ﻣﻮﻓﻘﻴﺖ ﻧﻤﻰﻛﻨﻢ‪ ،‬ﺣﺘﺎ ﺍﮔﻪ ﺑﻬﺎﺵ ﻛﺸﺘﻪﻫﺎﻯ ﺑﻴﺸﺘﺮ ﺑﺎﺷﻪ‪«.‬‬ ‫ﺍﺳﺤﺎﻕ ﺧﻨﺪﻳﺪ ﻭ ﮔﻔﺖ‪» :‬ﺑﺎ ﺍﺯ ﺩﺳﺖ ﺩﺍﺩﻥ ﺩﻋﺎﻯ ﺷﻤﺎ ﻣﻄﻤﺌﻨﺎً ﺑﻪ ﻣﺸﻜﻞ ﺑﺮﺧﻮﺍﻫﻢ ﺧﻮﺭﺩ‪ «.‬ﺳﭙﺲ‬ ‫ﺑﻪ ﻣﺎﻩ ﺍﺷﺎﺭﻩ ﻛﺮﺩ ﻭ ﮔﻔﺖ‪» :‬ﻏﺮﻭﺏ ﻧﺰﺩﻳﻜﻪ‪ .‬ﺑﻬﺘﺮﻩ ﺯﻭﺩﺗﺮ ﺑﻪ ﺧﻮﻧﻪﺗﻮﻥ ﺑﺮﮔﺮﺩﻳﺪ‪ ،‬ﻛﺎﺭﺁﮔﺎﻩ!«‬ ‫ﻛﻠﻤﻪﻯ ﺁﺧﺮﻯ ﺭﺍ ﺁﻥﻗﺪﺭ ﻛﺸﻴﺪ ﺗﺎ ﺑﻬﺮﺍﻡ ﺍﺯ ﻛﻮﺭﻩ ﺩﺭ ﺭﻓﺖ ﻭ ﺑﺎ ﺣﺮﻛﺘﻰ ﺳﻌﺒﺎﻧﻪ ﻛﺖ ﺍﻭ ﺭﺍ ﮔﺮﻓﺘﻪ‪،‬‬ ‫ﻓﺮﻳﺎﺩ ﺯﺩ‪» :‬ﻻﺯﻡ ﻧﻴﺴﺖ ﺗﻮ ﺑﻪ ﻣﻦ ﺑﮕﻰ ﭼﻪ ﻭﻗﺘﻰ ﺑﺎﻳﺪ ﺑﻪ ﺧﻮﻧﻪ ﺑﺮﮔﺮﺩﻡ‪ .‬ﺑﻬﺘﺮﻩ ﺑﻪ ﻓﻜﺮ ﺭﺍﻫﻰ ﺑﺮﺍﻯ‬ ‫ﺯﻧﺪﻩ ﻣﻮﻧﺪﻥ ﺧﻮﺩﺕ ﺑﻌﺪ ﺍﺯ ﺍﻳﻦ ﺑﻠﺒﺸﻮ ﺑﺎﺷﻰ‪ .‬ﺧﺪﺍﺕ ﺭﻭ ﺷﻜﺮ ﻛﻦ ﻛﻪ ﺑﻪ ﻣﻦ ﺑﺪﻫﻜﺎﺭ ﻧﻴﺴﺘﻰ‪ ،‬ﭼﻮﻥ‬ ‫ﭼﻨﻴﻦ ﻓﺮﺻﺘﻰ ﺑﻬﺖ ﻧﻤﻰﺩﺍﺩﻡ‪ .‬ﻫﻤﻮﻥ ﻃﻮﺭ ﻛﻪ ﺷﻴﻮﻩﻯ ﺧﻮﺩﺗﻮﻧﻪ‪«.‬‬ ‫ﺍﺳﺤﺎﻕ ﻛﻪ ﺧﻴﻠﻰ ﺧﻮﺩﺩﺍﺭﻯ ﻛﺮﺩﻩ ﺑﻮﺩ ﺗﺎ ﺍﺯ ﻛﻮﺭﻩ ﺩﺭ ﻧﺮﻭﺩ‪ ،‬ﺩﺳﺖ ﺑﻬﺮﺍﻡ ﺭﺍ ﭘﺲ ﺯﺩ ﻭ ﺩﺭ ﺣﺎﻟﻰ ﻛﻪ‬ ‫ﺑﻪ ﺳﻤﺖ ﺍﻭﻟﻴﻦ ﺗﻘﺎﻃﻊ ﻓﺮﻋﻰ ﻣﻰﺭﻓﺖ‪ ،‬ﺑﺎ ﺻﺪﺍﻳﻰ ﺑﻪ ﺯﺣﻤﺖ ﺗﺤﺖ ﻛﻨﺘﺮﻝ ﺩﺭ ﺁﻣﺪﻩ ﮔﻔﺖ‪» :‬ﻣﻴﻞ‬ ‫ﺧﻮﺩﺗﻮﻧﻪ‪ .‬ﺷﺎﻳﺪ ﺗﺮﺟﻴﺢ ﻣﻰﺩﻳﺪ ﻛﻤﻰ ﺁﻓﺘﺎﺏ ﺑﮕﻴﺮﻳﺪ‪ «...‬ﻭ ﺑﻪ ﻣﺎﻩ ﻛﻪ ﭘﺸﺖ ﺳﺎﺧﺘﻤﺎﻥﻫﺎﻯ ﺷﻬﺮ‬ ‫ﻧﺎﭘﺪﻳﺪ ﻣﻰﺷﺪ ﻧﻈﺮ ﺍﻓﻜﻨﺪ‪.‬‬ ‫ﺑﻬﺮﺍﻡ ﺑﺎ ﺧﺸﻢ ﻧﮕﺎﻫﻰ ﺑﻪ ﺳﺎﻋﺘﺶ ﺍﻧﺪﺍﺧﺖ ﻭ ﻛﺒﺮﻳﺘﻰ ﮔﻴﺮﺍﻧﺪ‪ .‬ﺳﻴﮕﺎﺭ ﻛﺠﻰ ﺭﺍ ﺍﺯ ﺟﻴﺐ ﭘﺎﻟﺘﻮﻳﺶ‬ ‫ﺧﺎﺭﺝ ﻛﺮﺩﻩ‪ ،‬ﺑﺎ ﭘﻚ ﺍﻭﻝ ﺑﻪ ﺩﻳﻮﺍﺭ ﺗﻜﻴﻪ ﺩﺍﺩ ﻭ ﺩﺳﺖ ﺑﺮ ﺳﺮ ﺩﺭﺩﻧﺎﻛﺶ ﮔﺬﺍﺷﺖ‪ .‬ﺑﻪ ﺍﻳﻦ ﻓﻜﺮ ﻣﻰﻛﺮﺩ ﻛﻪ‬ ‫ﻃﻰ ﻫﻔﺘﻪﻯ ﮔﺬﺷﺘﻪ ﺗﻨﻬﺎ ﺑﻴﺴﺖ ﺳﺎﻋﺖ ﺧﻮﺍﺑﻴﺪﻩ ﻭ ﺭﻭﺯﻫﺎﻯ ﺑﻠﻨﺪ ﺭﺍ ﻫﻢ ﺩﺭ ﺩﻓﺘﺮ ﺗﺎﺭﻳﻜﺶ ﺑﻪ ﺑﺮﺭﺳﻰ‬ ‫ﻭ ﺗﻄﺒﻴﻖ ﻣﺪﺍﺭﻙ ﮔﺬﺭﺍﻧﺪﻩ؛ ﺣﺎﻝ ﺗﻤﺎﻡ ﺯﺣﻤﺎﺗﺶ ﺭﺍ ﻧﺎﺩﻳﺪﻩ ﻣﻰﮔﻴﺮﻧﺪ ﻭ ﭘﺮﻭﻧﺪﻩ ﺭﺍ ﺑﻪ ﺟﻬﻮﺩﻫﺎﻯ ﻛﺜﻴﻒ‬ ‫ﻣﻰﺳﭙﺎﺭﻧﺪ‪ .‬ﭘﻚ ﻋﻤﻴﻘﻰ ﺑﻪ ﺳﻴﮕﺎﺭ ﺯﺩ ﻭ ﺩﺭ ﺣﺎﻟﻰ ﻛﻪ ﺳﻴﮕﺎﺭ ﻧﻴﻢﻛﺸﻴﺪﻩ ﺭﺍ ﺑﻪ ﮔﻮﺩﺍﻝ ﻣﻰﺍﻧﺪﺍﺧﺖ‪ ،‬ﺩﺭ‬ ‫ﺧﻼﻑ ﺟﻬﺖ ﺍﺳﺤﺎﻕ ﺑﻪ ﺳﻤﺖ ﺑﺎﻻﻯ ﺧﻴﺎﺑﺎﻥ ﺭﻓﺖ‪.‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،29‬ﺍﺭﺩﻳﺒﻬﺸﺖ ‪1392‬‬

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‫ﻓﺎﻧﺘﺰﻯ ‪ -‬ﻧﮕﺎﺭﺵ‬

‫ﻣﻴﺮﺍﺙ ﺧﺎﻧﺪﺍﻥ ﻟﻮﺭﻳﺎ‬ ‫ﺍﺣﺴﺎﻥ ﻣﺤﻤﺪﺯﺍﺩﻩ‬

‫‪ ‬ﻣﺮﺩ ﺑﻠﻨﺪ ﻗﺎﻣﺘﻰ ﻛﻪ ﺑﻪ ﺗﻴﺮ ﭼﺮﺍﻍ ﺑﺮﻕ ﺗﻜﻴﻪ ﺩﺍﺩﻩ ﺑﻮﺩ‪ ،‬ﺩﻭﺩ ﺳﻴﮕﺎﺭ ﺭﺍ ﺍﺯ ﺑﻴﻨﻰﺍﺵ ﺧﺎﺭﺝ‬ ‫ﻛﺮﺩ ﻭ ﺑﺎ ﺑﻰﻣﻴﻠﻰ ﮔﻔﺖ‪» :‬ﺩﻳﮕﻪ ﻫﻤﻪ ﭼﻴﺰ ﺑﺎ ﺧﻮﺩﺗﻪ ﺍﺳﺤﺎﻕ‪ .‬ﺩﺭﺻﻮﺭﺗﻰ ﻛﻪ ﺍﺗﻔﺎﻕ ﺩﻳﮕﻪﺍﻯ‬ ‫ﺑﻴﻔﺘﻪ‪ ،‬ﻣﺴﺌﻮﻟﻴﺘﺶ ﺑﺎ ﺗﻮﺋﻪ ﻭ ﻋﻮﺍﻗﺒﺶ ﻫﻢ‪«.‬‬ ‫ﻣﺮﺩ ﺟﻮﺍﻥ ﺩﺳﺘﻰ ﺑﻪ ﺭﻳﺶ ﺗﻨﻜﺶ ﻛﺸﻴﺪ ﻭ ﺳﻌﻰ ﻛﺮﺩ ﻧﮕﺎﻩ ﻛﺎﻭﻧﺪﻩﻯ ﻣﺨﺎﻃﺒﺶ ﺭﺍ ﻧﺎﺩﻳﺪﻩ‬ ‫ﺑﮕﻴﺮﺩ‪ ،‬ﻭﻟﻰ ﻣﻐﻨﺎﻃﻴﺲ ﭼﺸﻢﻫﺎﻯ ﺑﻬﺮﺍﻡ ﻗﻮﻯﺗﺮ ﺍﺯ ﺁﻥ ﺑﻮﺩ ﻛﻪ ﺍﺟﺎﺯﻩ ﺩﻫﺪ ﻧﮕﺎﻫﺶ ﺑﻪ ﭼﻴﺰﻯ‬ ‫ﺟﺰ ﺁﻥ ﺩﻭ ﮔﻮﻯ ﺑﺮﺍﻕ ﺟﻠﺐ ﺷﻮﺩ‪ .‬ﺩﻧﺪﺍﻥﻫﺎﻳﺶ ﺭﺍ ﺑﺮ ﻫﻢ ﻓﺸﺮﺩ ﻭ ﺑﺎ ﻟﻬﺠﻪﺍﻯ ﻧﺎﺁﺷﻨﺎ ﺟﻮﺍﺏ‬ ‫ﺩﺍﺩ‪» :‬ﺷﻤﺎ ﻛﻤﻚ ﺑﺰﺭﮔﻰ ﻛﺮﺩﻳﺪ‪ .‬ﻣﻦ ﺭﺍﻩﺣﻠﻰ ﺑﺮﺍﻯ ﺍﻳﻦ ﻣﺸﻜﻞ ﺩﺍﺭﻡ‪ .‬ﺭﺍﻫﻰ ﻛﻪ ﻓﻘﻂ ﺩﺭ‬ ‫ﺑﺪﺗﺮﻳﻦ ﺷﺮﺍﻳﻂ ﺑﻪ ﺳﺮﺍﻏﺶ‪«...‬‬ ‫ﺑﻬﺮﺍﻡ ﺗﻤﺎﻡ ﻗﺪ ﺍﻳﺴﺘﺎﺩ‪ .‬ﻣﻌﻠﻮﻡ ﺑﻮﺩ ﻛﻪ ﻳﻚ ﭘﺎﻳﺶ ﺍﺯ ﺩﻳﮕﺮﻯ ﻛﻮﺗﺎﻩﺗﺮ ﺍﺳﺖ‪ .‬ﺍﺯ ﺭﻭﻯ ﻏﻴﻆ‬ ‫ﺩﺳﺘﺎﻧﺶ ﺭﺍ ﺑﻪ ﺍﻃﺮﺍﻑ ﺗﻜﺎﻥ ﺩﺍﺩ ﻭ ﮔﻔﺖ‪» :‬ﻣﻰﺩﻭﻧﻢ‪ .‬ﺑﺎﺯ ﻫﻢ ﻋﻤﻮﻯ ﭘﻴﺮﺕ‪«.‬‬

‫ﻋﻠﻤﻰﺗﺨﻴﻠﻰ ‪ -‬ﺗﺮﺟﻤﻪ‬

‫ﺭﺍﻫﺐ‪ :‬ﺍﺯ ﻛﺠﺎ ﺑﺪﺍﻧﻢ؟ ﻣﻰﺗﻮﺍﻧﻢ ﺗﻮ ﺭﺍ ﭘﻨﻬﺎﻧﻰ ﺑﺎ ﺧﻮﺩ ﺑﺒﺮﻡ ﻭ ﺁﻥ ﻭﻗﺖ ﺑﺎ ﻫﻢ ﺑﻪ ﺩﻧﺒﺎﻝ ﺟﻮﺍﺏ ﺍﻳﻦ‬ ‫ﺳﻮﺍﻻﺕ ﺧﻮﺍﻫﻴﻢ ﮔﺸﺖ‪.‬‬ ‫ﺭﻭﻛﻮﺭﻭ‪ :‬ﻧﻪ‪ .‬ﺗﻮ ﺳﺮﺷﺎﺭ ﺍﺯ ﻟﻄﻔﻰ‪ ،‬ﻭﻟﻰ ﻓﻜﺮ ﻣﻰﻛﻨﻢ ﺍﻧﻬﺪﺍﻣﻰ ﻛﻪ ﺩﺭ ﺭﺍﻩ ﺍﺳﺖ ﺑﻬﺘﺮ ﺧﻮﺍﻫﺪ ﺑﻮﺩ‪ .‬ﺍﮔﺮ‬ ‫ﻣﻦ ﻫﻴﭽﻢ‪ ،‬ﭘﺲ ﺑﻪ ﻫﻴﭻ ﺑﺎﺯ ﻣﻰﮔﺮﺩﻡ ﻭ ﺩﻳﮕﺮ ﺍﺯ ﺁﻥ ﭼﻪ ﺧﻮﺍﻫﺪ ﺍﻓﺘﺎﺩ ﺧﺒﺮﻯ ﻧﺨﻮﺍﻫﻢ ﺩﺍﺷﺖ‪ .‬ﺩﺭ‬ ‫ﻟﺤﻈﺎﺕ ﺁﺧﺮ ﻓﻜﺮ ﺧﻮﺍﻫﻢ ﻛﺮﺩ ﺫﺭﻩﺍﻯ ﺍﺯ ﺁﻥ ﭼﻪ ﻣﻦ ﺭﺍ ﺑﻪ ﻭﺟﻮﺩ ﺁﻭﺭﺩﻩ ﺑﺮ ﻓﺮﺍﺯ ﺁﺏﻫﺎﻯ ﺷﺐ ﺯﻣﻴﻦ‬ ‫ﺧﻮﺍﻫﺪ ﻟﺮﺯﻳﺪ ﻭ ﺁﻥ ﮔﺎﻩ ﺑﻪ ﺁﺭﺍﻣﺶ ﺧﻮﺍﻫﻢ ﺭﺳﻴﺪ‪.‬‬ ‫ﺭﺍﻫﺐ‪ :‬ﻭﻟﻰ ﺍﮔﺮ ﻭﺍﻗﻌﻰ ﺑﺎﺷﻰ‪...‬‬ ‫ﺭﻭﻛﻮﺭﻭ‪ :‬ﺑﻠﻪ‪ ،‬ﺍﮔﺮ ﻭﺍﻗﻌﻰ ﺑﺎﺷﻢ‪ ،‬ﺁﻥ ﻭﻗﺖ ﭼﻪ؟ ﺑﺮﺍﻳﻢ ﺩﻋﺎ ﻛﻦ‪ ...‬ﺁﻩ‪ ...‬ﺑﺮﺍﻳﻢ ﺩﻋﺎ ﻛﻦ‪...‬‬

‫)ﻳﺎ »ﺳﻮﻫِﻰ«( ﺑﻮﺩ ﻛﻪ ﺑﻪ ﻳﻮﺷﻴﺘﺴﻮﻧﻪ ﺧﺪﻣﺖ ﻣﻰﻛﺮﺩ‪ .‬ﮔﻔﺘﻪ‬ ‫ﺷﺪﻩ ﻛﻪ ﺍﻭ ﺑﺮﺍﻯ ﺍﻋﻤﺎﻝ ﻣﺬﻫﺒﻰ‪ ،‬ﻣﺤﺮﺍﺏ ﻣﺘﺤﺮﻛﻰ ﺩﺍﺷﺘﻪ ﻛﻪ ﺩﺭ‬ ‫ﺣﻴﻦ ﺳﻔﺮ‪ ،‬ﺭﻭﻯ ﻛﻮﻝ ﺣﻤﻞ ﻣﻰﻛﺮﺩﻩ ﺍﺳﺖ‪.‬‬ ‫ﺩﺭﻳﺎﭼﻪﻯ ﺑﻴﻮﺍ‪ ،‬ﺑﻪ ﺟﺮﺍﺕ ﺯﻳﺒﺎﺗﺮﻳﻦ ﻭ ﻣﻌﺮﻭﻑﺗﺮﻳﻦ ﺩﺭﻳﺎﭼﻪ ﺩﺭ‬ ‫ﺗﻤﺎﻡ ﺧﺎﻙ ژﺍﭘﻦ‪.‬‬

‫‪ .1‬ﺑﻮﺩﻳﺴﺎﺗﻮﺍ‪ :‬ﺩﺭ ﺁﺋﻴﻦ ﺑﻮﺩﺍ‪ ،‬ﺁﻥ ﻛﻪ ﺑﻪ ﺭﺳﺘﮕﺎﺭﻯ ﺭﺳﻴﺪﻩ ﺍﺳﺖ‪.‬‬ ‫‪ .2‬ﻣﻮﺭﺍﺳﺎﻛﻰ ﻭ ﻫﻮﻛﻮﺳﺎﻯ‪ :‬ﺍﻭﻟﻰ ﻧﻮﻳﺴﻨﺪﻩ ﻭ ﺩﻭﻣﻰ ﻧﻘﺎﺵ‪ ،‬ﻫﺮ ﺩﻭ‬ ‫ژﺍﭘﻨﻰ ﻭ ﺟﺰء ﺗﺎﺭﻳﺦ ﺁﻥ‪.‬‬ ‫ﻳﻮﺷﻴﺘﺴﻮﻧﻪ ﺍﺯ ﺧﺎﻧﺪﺍﻥ ﻣﻴﻨﺎﻣﻮﺗﻮ‪ ،‬ژﻧﺮﺍﻟﻰ ژﺍﭘﻨﻰ ﻣﺘﻌﻠﻖ ﺑﻪ ﻗﺮﻥ‬ ‫ﺩﻭﺍﺯﺩﻫﻢ ﻣﻴﻼﺩﻯ؛ ﺍﺯ ﻣﻌﺮﻭﻑﺗﺮﻳﻦ ﻭ ﻣﺤﺒﻮﺏﺗﺮﻳﻦ ﺳﺎﻣﻮﺭﺍﻳﻰﻫﺎ ﻭ‬ ‫ژﻧﺮﺍﻝﻫﺎ ﺩﺭ ﺗﻤﺎﻡ ﻃﻮﻝ ﺗﺎﺭﻳﺦ ژﺍﭘﻦ‪ .‬ﻇﺎﻫﺮﺍ ً ﺷﻤﺸﻴﺮﺵ »ﺳﻦﺑﻮﻥ‬ ‫ﺯﺍﻛﻮﺭﺍ« )ﻫﺰﺍﺭ ﺩﺭﺧﺖ ﮔﻴﻼﺱ( ﻧﺎﻡ ﺩﺍﺷﺘﻪ‪.‬‬ ‫ﺭﺍﻫﺐ ﺟﻨﮕﺠﻮﻯ ژﺍﭘﻨﻰ‬ ‫ﺑﻦﻛِﻰ ﻳﺎ ﺩﺭ ﻭﺍﻗﻊ ﻣﻮﺳﺎﺷﻴﺒﻮ ﺑﻦﻛِﻰ ﻳﻚ‬ ‫ِ‬

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‫ﺍﺳﺖ‪ .‬ﻭ ﻫﻴﭻ ﭼﻴﺰ ﺩﻳﮕﺮ ﻧﻴﺴﺖ‪ .‬ﻫﻴﭻ ﭼﻴﺰ‪ .‬ﺍﺷﺘﻴﺎﻕ ﺁﻧﻰ ﺭﺍ ﺩﺍﺭﻡ ﻛﻪ ﺩﺭﻙ ﻧﻜﻨﻢ؛ ﺩﺭﺳﺖ ﻣﺜﻞ ﻛﻮﺭ‬ ‫ﻣﺎﺩﺭﺯﺍﺩﻯ ﻛﻪ ﺍﺷﺘﻴﺎﻕ ﺭﻧﮓ ﻳﺎ ﻛﺮ ﻣﺎﺩﺭﺯﺍﺩﻯ ﻛﻪ ﺍﺷﺘﻴﺎﻕ ﺷﻴﺮﻳﻨﻰ ﺳﻮﺯﺍﻧﻨﺪﻩﻯ ﻓﻠﻮﺕ ﻭ ﻧﻮﺍﻯ ﻋﺒﻮﺭ‬ ‫ﺁﺏ ﺧﻨﻚ ﺭﺍ ﺩﺍﺭﺩ‪ .‬ﺩﻋﺎﻫﺎﻳﻢ ﻏﮋﻏﮋ ﭼﺮﺥﻫﺎﻳﻰ ﺍﺳﺖ ﻛﻪ ﻣﻰﭼﺮﺧﻨﺪ‪ ،‬ﻣﺮﺍﻗﺒﻪﺍﻡ ﻧﻪ ﺑﺮﺍﻯ ﻳﻜﻰ ﺑﻮﺩﻥ‪ ،‬ﻛﻪ‬ ‫ﺑﺮﺍﻯ ﻫﻴﭻ ﺷﺪﻥ ﺍﺳﺖ‪ .‬ﺑﻰﺟﺴﻢ ﭼﻄﻮﺭ ﻣﻰﺗﻮﺍﻧﺪ ﺟﺴﻤﺶ ﺭﺍ ﺩﻭﺭ ﺑﻴﻨﺪﺍﺯﺩ؟ ﻫﻴﭽﻰ ﭼﻄﻮﺭ ﻣﻰﺗﻮﺍﻧﺪ ﺑﻪ‬ ‫ﭘﻮﭼﻰ ﺑﺮﺳﺪ؟ ﺁﻥ ﻛﻪ ﻫﻴﭻ ﻭﻗﺖ ﻧﻤﻰﺗﻮﺍﻧﺪ ﺑﻮﺩﻳﺴﺎﺗﻮﺍ ﺑﺎﺷﺪ‪ ،‬ﭼﻄﻮﺭ ﻣﻰﺗﻮﺍﻧﺪ ﺑﻮﺩﺍ ﺷﻮﺩ؟ ﭼﻨﻴﻦ ﭼﻴﺰﻯ‬ ‫ﭼﻄﻮﺭ ﻣﻰﺗﻮﺍﻧﺪ ﺑﺮ ﺍﻭ ﻋﺎﺷﻖ ﺑﺎﺷﺪ‪ ،‬ﻭﻗﺘﻰ ﻛﻪ ﻓﻘﻂ ﻣﻰﺗﻮﺍﻧﺪ ﻋﺸﻖ ﺍﻭ ﺭﺍ ﺩﻭﺳﺖ ﺩﺍﺷﺘﻪ ﺑﺎﺷﺪ؟ ﺑﺎ ﺫﻫﻦ‬ ‫ﺭﻭﻛﻮﺭﻭ‪ ،‬ﻋﻄﺶ ﺁﻥ ﺁﺯﺍﺩﻯ ﺭﺍ ﺩﺍﺭﻡ ﻛﻪ ﺍﻭ ﻳﺎﻓﺖ‪ .‬ﻭﻟﻰ ﻣﻦ ﺍﺳﻴﺮ ﺧﻮﺩﻡ ﻫﺴﺘﻢ‪ ،‬ﺧﻮﺩﻯ ﻛﻪ ﻗﺪﺭﺕ ﻓﺮﺍﺗﺮ‬ ‫ﺭﻓﺘﻦ ﺭﺍ ﻧﺪﺍﺭﺩ‪ .‬ﻣﻦ ﺍﺳﻴﺮ ﺧﻮﺩﻡ ﻫﺴﺘﻢ‪.‬‬ ‫ﺭﺍﻫﺐ‪ :‬ﻭ ﺳﺎﺯﻧﺪﻩﻯ ﺗﻮ ﺍﻳﻦ ﺭﺍ ﻣﻰﺩﺍﻧﺴﺖ‪ .‬ﺗﻮ ﺭﺍ ﺩﺭ ﻭﺣﺸﺖ ﺁﻥ ﭼﻪ ﻛﻪ ﻛﺮﺩﻩ ﺑﻮﺩ ﺭﻫﺎ ﻛﺮﺩ ﻭ ﺭﻓﺖ؟‬ ‫]ﺭﻭﻛﻮﺭﻭ ﺳﺮ ﺑﺮ ﻣﻰﺩﺍﺭﺩ ﻭ ﺯﺍﻧﻮ ﺯﺩﻩ‪ ،‬ﻣﻰﻧﺸﻴﻨﺪ‪[.‬‬ ‫ﺭﻭﻛﻮﺭﻭ‪ :‬ﻧﻪ‪ ،‬ﺍﻧﺪﻭﻫﮕﻴﻦ ﻭ ﻧﺎﺩﻡ ﺷﺪ‪ .‬ﻧﻤﻰﺗﻮﺍﻧﺴﺖ ﻭﺟﻮﺩﻡ ﺭﺍ ﭘﺎﻙ ﻛﻨﺪ‪ .‬ﺍﺯ ﺁﻥﺟﺎ ﻛﻪ ﻫﺸﻴﺎﺭﻡ‪،‬‬ ‫ﺍﻳﻦ ﻛﺎﺭﺵ ﻗﺘﻞ ﻧﻤﻰﺷﺪ؟ ﺍﻭ ﻋﻤﻞ ﻛﺮﺩﻩ ﺑﻮﺩ؛ ﺳﻨﮕﻰ ﺑﻪ ﻣﻴﺎﻥ ﺑﺮﻛﻪ ﺍﻧﺪﺍﺧﺘﻪ ﺑﻮﺩ؛ ﺣﺎﻝ ﭼﻄﻮﺭ‬ ‫ﻣﻰﺗﻮﺍﻧﺴﺖ ﺑﺎﺯ ﺷﺪﻥ ﻣﻮﺝﻫﺎ ﺑﻪ ﺑﻴﺮﻭﻥ ﺭﺍ ﺑﻪ ﺟﺎﻯ ﺍﻭﻟﻴﻪ ﺑﺎﺯ ﮔﺮﺩﺍﻧﺪ؟ ﺑﺎﻳﺪ ﺁﻥ ﭼﻪ ﺭﺍ ﻛﻪ ﻛﺮﺩﻩ ﺑﻮﺩ‬ ‫ﻣﻰﭘﺬﻳﺮﻓﺖ ﻭ ﺍﺯ ﻣﻦ ﻣﻰﺧﻮﺍﺳﺖ‪ ...‬ﻧﻪ‪ ،‬ﺍﻟﺘﻤﺎﺳﻢ ﻣﻰﻛﺮﺩ ﺗﺎ ﺑﺒﺨﺸﻤﺶ ﻭ ﻗﻮﻝ ﻣﻰﺩﺍﺩ ﻛﻪ ﺑﺮﺍﻯ‬ ‫ﺁﺭﺍﻣﺸﻢ ﺩﻋﺎ ﻛﻨﺪ‪.‬‬ ‫ﺭﺍﻫﺐ‪ :‬ﺁﻥ ﻫﻤﻪ ﺩﻋﺎ ﺩﺭ ﺁﻥ ﻫﻤﻪ ﺳﺎﻝ‪ .‬ﻓﻜﺮ ﻣﻰﻛﻨﻢ ﻫﻤﻴﻦ ﺍﻭ ﺭﺍ ﺑﻪ ﺭﺳﺘﮕﺎﺭﻯ ﺭﺳﺎﻧﺪ‪.‬‬ ‫ﺭﻭﻛﻮﺭﻭ‪ :‬ﻭﻟﻰ ﺑﻪ ﺣﺎﻝ ﻣﻦ ﻓﺎﻳﺪﻩﺍﻯ ﻧﺪﺍﺷﺘﻨﺪ‪.‬‬ ‫ﺭﺍﻫﺐ‪ :‬ﭼﺮﺍ ﺗﺎ ﻗﺒﻞ ﺍﺯ ﺍﻣﺮﻭﺯ ﺑﻪ ﻛﺴﻰ ﭼﻴﺰﻯ ﻧﮕﻔﺘﻰ؟‬ ‫ﺭﻭﻛﻮﺭﻭ‪ :‬ﻣﺜﻞ ﺧﻮﺩ ﺍﻭ‪ ،‬ﺍﺯ ﺍﻓﺘﺎﺩﻥ ﺍﻳﻦ ﻓﻜﺮ ﺑﻪ ﺟﺎﻥ ﺍﻧﺴﺎﻥﻫﺎ ﻣﻰﺗﺮﺳﻢ‪ .‬ﺑﻪ ﻋﻼﻭﻩ‪ ،‬ﭼﻪ ﻛﺴﻰ ﻣﻰﺗﻮﺍﻧﺪ‬ ‫ﺍﻳﻦ ﺯﺧﻤﻰ ﺭﺍ ﻛﻪ ﻣﻦ ﻫﺴﺘﻢ ﺩﺭﻣﺎﻥ ﻛﻨﺪ؟ ﺩﺭ ﺗﻤﺎﻡ ﻃﻮﻝ ﻋﻤﺮﻡ‪ ،‬ﺗﻮ ﺍﻭﻟﻴﻦ ﺭﺍﻫﺒﻰ ﻫﺴﺘﻰ ﻛﻪ ﺑﻪ ﺍﻳﻦﺟﺎ‬ ‫ﻣﻰﺁﻳﺪ‪ .‬ﺣﺪﺍﻗﻞ ﻣﻰﺗﻮﺍﻧﻢ ﺍﺯ ﺗﻮ ﻛﻤﻚ ﺑﺨﻮﺍﻫﻢ‪.‬‬ ‫ﺭﺍﻫﺐ‪ :‬ﭼﻪ ﺍﺯ ﻣﻦ ﺳﺎﺧﺘﻪ ﺍﺳﺖ‪ ،‬ﺭﻭﺡ ﺑﻴﭽﺎﺭﻩ؟ ﺍﺯ ﻣﻨﻰ ﻛﻪ ﺧﻮﺩﻡ ﻫﻢ ﺩﺭ ﺗﺎﺭﻳﻜﻰ ﻛﻮﺭﻣﺎﻝ ﻛﻮﺭﻣﺎﻝ‬ ‫ﭘﻴﺶ ﻣﻰﺭﻭﻡ؟‬ ‫ﺭﻭﻛﻮﺭﻭ‪ :‬ﺣﺪﺍﻗﻞ ﻣﻰﺷﻮﺩ ﺑﻪ ﭼﻨﺪ ﺳﻮﺍﻟﻢ ﺟﻮﺍﺏ ﺩﻫﻰ؟ ﺑﮕﻮ ﻣﻦ ﺯﻧﺪﻩﺍﻡ ﻳﺎ ﺍﻳﻦ‪ ...‬ﺣﺮﻑ ﺯﺩﻧﻢ‪ ،‬ﻓﻜﺮ‬ ‫ﻛﺮﺩﻧﻢ‪ ،‬ﺭﻧﺠﻢ‪ ...‬ﺗﻨﻬﺎ ﻳﻚ ﺍﺗﻔﺎﻕ ﺍﺳﺖ؟ ﻣﺎﺷﻴﻨﻰ ﺩﺭ ﺣﺎﻝ ﻛﺎﺭ ﻛﺮﺩﻥ ﻳﺎ ﺷﻌﻠﻪﺍﻯ ﺩﺭ ﺩﺳﺖ ﺑﺎﺩ ﺍﺳﺖ؟‬ ‫ﺭﺍﻫﺐ‪ :‬ﻫﻤﻪ ﻫﻤﻴﻦ ﻫﺴﺘﻴﻢ‪ ،‬ﺷﻌﻠﻪﺍﻯ ﺩﺭ ﺩﺳﺖ ﺑﺎﺩ ﻫﻤﻪﻯ ﻣﺎ ﻫﺴﺘﻴﻢ‪.‬‬ ‫ﺭﻭﻛﻮﺭﻭ‪ :‬ﻭﻟﻰ ﻫﻴﭻﻭﻗﺖ ﭼﻴﺰﻯ ﺑﻴﺶ ﺍﺯ ﺍﻳﻦ ﺑﻮﺩﻩﺍﻡ؟ ﺁﻳﺎ ﺭﻭﺣﻰ ﺩﺍﺭﻡ؟ ﻛﺎﺭﻣﺎ ﺩﺍﺭﻡ؟‬

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‫ﻋﻠﻤﻰﺗﺨﻴﻠﻰ ‪ -‬ﺗﺮﺟﻤﻪ‬

‫ﮔﻴﺞ‪ ،‬ﻫﻴﺠﺎﻥﺯﺩﻩ ﺍﺯ ﺧﻮﻥ ﺟﻮﺍﻧﻰ ﺟﺎﺭﻯ ﺩﺭ ﻗﻠﺒﺶ‪ .‬ﻧﻪ‪ ،‬ﺣﺘﺎ ﻛﻤﺘﺮ ﺍﺯ ﺁﻥ؛ ﺑﺴﻴﺎﺭ ﻛﻤﺘﺮ‪ .‬ﭼﺮﺍ ﻛﻪ‬ ‫ﻣﻰﮔﻮﻳﻰ ﺍﻭ ﺑﻪ ﻧﻴﺮﻭﺍﻧﺎ ﺭﺳﻴﺪ‪ ،‬ﻭﻟﻰ ﻣﻦ ﻫﻤﻴﻦﺟﺎ ﺍﺳﻴﺮ ﻭ ﺯﻧﺪﺍﻧﻰ ﺑﺎﻗﻰ ﻣﺎﻧﺪﻩﺍﻡ‪.‬‬ ‫ﺭﺍﻫﺐ‪ :‬ﭼﻪ ﺧﻮﺍﺳﺘﻰ ﺳﻮﺳﻮﻯ ﺍﻟﻜﺘﺮﻭﻥﻫﺎ ﺭﺍ ﺍﺳﻴﺮ ﻣﻰﻛﻨﺪ؟ ﭼﻪ ﻣﻰﺗﻮﺍﻧﺪ ﺑﻪ ﺩﺳﺖ ﺷﺎﺭﺵﻫﺎ ﺑﻨﺪ‬ ‫ﺯﻧﺪ؟‬ ‫ﺭﻭﻛﻮﺭﻭ‪ :‬ﺭﻭ ﺑﻪ ﺳﺘﺎﺭﻩﻫﺎ ﻭ ﺳﺮﺩﻯ ﭼﺸﻢ ﮔﺸﻮﺩﻡ‪ .‬ﺧﻮﺭﺷﻴﺪ ﺩﻭﺭ ﺑﻮﺩ‪ ،‬ﻭﻟﻰ ﺳﺘﺎﺭﮔﺎﻥ ﻫﺮ ﻳﻚ‬ ‫ﺧﻮﺭﺷﻴﺪﻯ‪ ،‬ﺩﺭﺧﺸﺎﻥ‪ ،‬ﺭﻭﺷﻦ‪ ،‬ﻛﻪ ﺍﻳﻦ ﺗﻜﻪ ﻳﺦ ﺭﺍ ﺑﻪ ﺳﺮﺧﻰ ﺁﺗﺶ ﺭﻧﮓ ﻣﻰﺯﺩﻧﺪ؛ ﭼﺮﺍ ﻛﻪ ﺳﺘﺎﺭﻩﻫﺎ‬ ‫ﺑﻴﺶ ﺍﺯ ﺳﻴﺎﻫﻰ ﺑﻮﺩﻧﺪ‪ ،‬ﻭ ﺳﺮﺩﻯ ﺍﺯ ﻭﺟﻮﺩ ﺁﻥﻫﺎ ﺭﻭﺷﻦ ﺑﻮﺩ‪ ،‬ﻭ ﻧﻴﺴﺘﻰ ﺍﺯ ﺧﻠﻘﺖ ﻣﻰﺗﭙﻴﺪ‪ .‬ﺍﻳﻦ ﺭﺍ‬ ‫ﭘﻰ‬ ‫ﻣﻰﺩﺍﻧﺴﺘﻢ‪ ،‬ﺑﻰ ﻫﻴﭻ ﺟﺴﻤﻰ‪ ،‬ﺑﺴﺘﻪ ﺑﻪ ﻧﻴﺮﻭﻫﺎ‪ ،‬ﺗﺮﻛﻴﺐ ﻭ ﺩﺭﺧﺸﺶ ﺁﻥﻫﺎ‪ ،‬ﻛﻪ ﻫﻴﭻ ﻭﻗﺖ ﺩﺭ ِ‬ ‫ﺍﺳﺘﺨﻮﺍﻧﻰ ﭼﻨﻴﻦ ﺗﺮﻛﻴﺐ ﻧﻤﻰﻳﺎﺑﻨﺪ ﺗﺎ ﺩﺭ ﻋﻤﻖ ﭼﺎﻟﻪﻫﺎﻯ ﺩﻭﮔﺎﻧﻪ ﻭ ﺳﻴﺎﻩ ﻏﻮﺭ ﻛﻨﻨﺪ‪ .‬ﻣﻦ ﺩﺍﻧﺶ ﺭﺍ ﺩﺭ‬ ‫ﺍﺧﺘﻴﺎﺭ ﺩﺍﺷﺘﻢ‪ ،‬ﺁﻥ ﺭﺍ ﺑﻪ ﺳﻮﻯ ﺧﻮﺩ ﻛﺸﻴﺪﻡ‪ ،‬ﺗﺎ ﺍﺯ ﺁﻥ ﺍﻭ ﺷﺪﻡ‪ ،‬ﻫﻤﺎﻥ ﻃﻮﺭ ﻛﻪ ﺟﻬﺎﻥ ﻣﺎﺩﻯ ﺍﺯ ﻓﺎﻧﻴﺎﻥ‬ ‫ﺑﺮﺩﻩ ﻣﻰﺳﺎﺯﺩ‪ .‬ﻭﻟﻰ ﺍﻳﻦﺟﺎ‪ ...‬ﻭﻟﻰ ﺍﻳﻦﺟﺎ‪ ...‬ﻣﻌﻨﺎ ﻭ ﺑﺨﺸﺎﻳﺶ ﻛﺠﺎﺳﺖ؟‬ ‫]ﺑﺎ ﺣﺮﻛﺎﺗﻰ ﻣﺘﻨﺎﺳﺐ ﺑﺎ ﮔﻔﺘﻪﻫﺎﻳﺶ ﺑﻪ ﺭﻗﺺ ﺩﺭ ﻣﻰﺁﻳﺪ‪[.‬‬ ‫ﺭﻭﻛﻮﺭﻭ‪ :‬ﻋﺸﻖ ﻓﺎﻧﻰ ﺭﺍ ﺩﺭ ﺧﺎﻧﻪﻯ ﻭﺍﻟﺪﻳﻨﻢ ﺑﻪ ﻳﺎﺩ ﺁﻭﺭﺩﻡ‪ ،‬ﺩﺭ ﻣﻴﺎﻥ ﺍﺷﻴﺎﻯ ﻛﻮﭼﻜﻰ ﺭﺷﺪ ﻛﺮﺩﻡ ﻛﻪ ﺍﺯ‬ ‫ﻣﺴﻴﺮ ﺍﺳﺘﻔﺎﺩﻩ ﻋﺰﻳﺰ ﻣﻰﺷﺪﻧﺪ ﻭ ﺍﺯ ﺁﻥ ﭘﺲ ﺍﺳﺘﻔﺎﺩﻩ ﻣﻰﻛﺮﺩﻡ‪ .‬ﺧﻨﺪﻩﻯ ﻛﻮﺩﻛﺎﻥ ﺭﺍ ﺑﻪ ﻳﺎﺩ ﺁﻭﺭﺩﻡ‪ ،‬ﻭ‬ ‫ﭘﺮﻭﺍﺯ ﻟﻚﻟﻚﻫﺎ ﺑﺮ ﻓﺮﺍﺯ ﺩﺭﻳﺎﭼﻪﻯ ﺑﻴﻮﺍ‪ ،‬ﺑﻬﺎﺭ ﻛﻪ ﺗﭙﻪﻫﺎ ﺭﺍ ﺍﺯ ﺧﻮﺩ ﺑﻰ ﺧﻮﺩ ﻣﻰﻛﺮﺩ ﻭ ﺍﻓﺮﺍ ﻛﻪ ﺩﺭ ﭘﺎﻳﻴﺰ‬ ‫ﺁﺗﺶ ﺳﻮﺯﺍﻥ ﺑﻮﺩ‪ .‬ﺑﻪ ﻳﺎﺩ ﺁﻭﺭﺩﻡ ﻛﻪ ﺑﺎ ﺩﻭﺳﺘﺎﻥ ﺑﻪ ﺗﻤﺎﺷﺎﻯ ﻃﻠﻮﻉ ﻣﺎﻩ ﻣﻰﻧﺸﺴﺘﻢ‪ .‬ﺧﺶﺧﺶ‬ ‫ﭼﻮﻥ ِ‬ ‫ﻧﻰﻫﺎ ﻭ ﺩﺍﻣﻦ ﺯﻧﺎﻥ ﺭﺍ ﺑﻪ ﻳﺎﺩ ﺁﻭﺭﺩﻡ؛ ﻭ ﺻﺪﺍﻯ ﻧﺎﻗﻮﺱ ﻣﻌﺒﺪﻯ ﻛﻬﻦ ﻛﻪ ﻋﺼﺮﮔﺎﻩ ﻧﻮﺍﺧﺘﻪ ﻣﻰﺷﺪ‪ .‬ﻫﺮ‬ ‫ﺁﻥ ﭼﻪ ﺭﺍ ﺷﻨﻴﺪﻩ ﺑﻮﺩﻡ‪ ،‬ﺧﻮﺍﻧﺪﻩ ﻭ ﺩﻳﺪﻩ ﺑﻮﺩﻡ‪ ،‬ﺑﻪ ﻳﺎﺩ ﺁﻭﺭﺩﻡ؛ ﻫﺮ ﺁﻥ ﭼﻪ ﻛﻪ ﺭﻭﺣﻢ ﺭﺍ ﺷﻜﻞ ﺩﺍﺩﻩ ﻭ ﺑﻪ‬ ‫ﺁﻥ ﺭﺍﻩ ﻳﺎﻓﺘﻪ ﺑﻮﺩ؛ ﻟﻄﺎﻓﺖ ﻣﻮﺭﺍﺳﺎﻛﻰ ﻭ ﺫﻭﻕ ﻫﻮﻛﻮﺳﺎﻯ ﺭﺍ‪ ،‬ﻣﺤﺮﺍﺏ ﺑﻦﻛِﻰ ﻭ ﺷﻤﺸﻴﺮ ﻳﻮﺷﻴﺘﺴﻮﻧﻪ ﺭﺍ‬ ‫ﺑﻪ ﻳﺎﺩ ﺁﻭﺭﺩﻡ؛ ﺷﻜﺴﺖ‪ ،‬ﺧﺎﻛﺴﺘﺮ ﻭ ﺳﺮﺳﺨﺘﻰ ﻛﻬﻨﻰ ﻛﻪ ﺩﺭ ﻣﻘﺎﺑﻞ ﺁﻥﻫﺎ ﺳﺮ ﺧﻢ ﻧﻤﻰﻛﺮﺩ‪ .‬ﺍﺷﺘﻴﺎﻕ‬ ‫ﻣﻴﻬﻦﭘﺮﺳﺘﺎﻥ‪ ،‬ﻋﺸﺎﻕ ﻭ ﻗﺪﻳﺴﺎﻥ ﺭﺍ ﺑﻪ ﻳﺎﺩ ﺁﻭﺭﺩﻡ‪ .‬ﺍﻳﻦﻫﺎ ﻭ ﭼﻴﺰﻫﺎﻯ ﺩﻳﮕﺮ ﺭﺍ ﺑﻪ ﻳﺎﺩ ﺁﻭﺭﺩﻡ‪[2] ...‬‬ ‫]ﺭﻗﺺ ﻛﻢﻛﻢ ﺍﻭ ﺭﺍ ﺑﻪ ﺯﺍﻧﻮ ﺩﺭ ﻣﻰﺁﻭﺭﺩ؛ ﺣﺎﻻ ﺩﺭ ﺗﻌﻈﻴﻢ ﺍﺳﺖ ﻭ ﺳﺮﺵ ﭘﺸﺖ ﺁﺳﺘﻴﻦﻫﺎﻳﺶ ﭘﻨﻬﺎﻥ‬ ‫ﺍﺳﺖ‪[.‬‬ ‫ﺭﻭﻛﻮﺭﻭ‪ :‬ﻭ ﻫﻨﻮﺯ ﻫﻢ ﺁﻥﻫﺎ ﺭﺍ ﺑﻪ ﻳﺎﺩ ﻣﻰﺁﻭﺭﻡ‪ ،‬ﻫﻤﺎﻥ ﻃﻮﺭ ﻛﻪ ﻣﻌﺎﺩﻻﺕ ﺣﺮﻛﺖ‪ ،‬ﻣﻘﺪﺍﺭ ﻋﺪﺩ ﭘﻰ‪،‬‬ ‫ﻗﻴﻤﺖ ﻛﻔﺶﻫﺎ‪ ،‬ﻧﺎﻡ ﺳﻴﺎﺳﺘﻤﺪﺍﺭﺍﻥ ﺭﺍ ﺑﻪ ﻳﺎﺩ ﻣﻰﺁﻭﺭﻡ‪ .‬ﺍﺳﻢﻫﺎ‪ ...‬ﺍﺳﻢﻫﺎ‪ ...‬ﻛﻠﻤﺎﺕ ﻭ ﻋﺪﺩﻫﺎ‪ ...‬ﻧﻤﻰﺗﻮﺍﻧﻢ‬ ‫ﺣﺴﺸﺎﻥ ﻛﻨﻢ‪ .‬ﺑﻪ ﺍﻧﺪﺍﺯﻩﻯ ﻛﺎﻓﻰ ﺍﻧﺴﺎﻥ ﻧﻴﺴﺘﻢ‪ .‬ﺗﻨﻬﺎ ﺳﺘﺎﺭﮔﺎﻥ ﻗﺎﺩﺭ ﺑﻪ ﻟﻤﺲ ﻣﻦ ﻫﺴﺘﻨﺪ‪ .‬ﺁﻥﻫﺎ ﻭ‬ ‫ﺍﻳﻦ ﻋﻄﺶ ﺑﻪ ﺭﺳﺘﮕﺎﺭ ﺷﺪﻥ‪ .‬ﺑﻪ ﻫﻤﻴﻦ ﺩﻟﻴﻞ ﻫﺴﺘﻢ؛ ﺍﻳﻦ ﺧﻮﺍﺳﺖ ﺗﺎ ﺍﺑﺪ ﺩﺭ ﻣﻦ ﻫﺴﺖ‪ ،‬ﺧﻮﺩ ﻣﻦ‬ ‫‪49‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،29‬ﺍﺭﺩﻳﺒﻬﺸﺖ ‪1392‬‬

‫ﺭﺍﻫﺐ‪ :‬ﻣﻰﺩﺍﻧﻢ‪ .‬ﺩﺭ ﺟﻮﺍﻧﻰ ﺟﺰ ﻣﻮﻓﻖﺗﺮﻳﻦ ﻣﺤﻘﻘﻴﻦ ﻣﺤﺴﻮﺏ ﻣﻰﺷﺪ‪ .‬ﺑﻌﺪﻫﺎ ﻧﻮﺷﺖ‪» :‬ﺭﻭﺷﻨﺎﻳﻰ‬ ‫ﻛﻮﺭ ﻛﻨﻨﺪﻩﻯ ﺧﺮﺩ ﭼﺸﻤﺎﻧﻢ ﺭﺍ ﺧﻴﺮﻩ ﻛﺮﺩﻩ ﺑﻮﺩ‪ ،‬ﺗﺎ ﺍﻳﻦ ﻛﻪ ﻳﻚ ﻏﺮﻭﺏ ﺗﺎﺑﺴﺘﺎﻧﻰ ﺩﺭ ﺑﻴﺸﻪﺍﻯ‪ ،‬ﺻﺪﺍﻯ‬ ‫ﺧﻔﻪﻯ ﻓﺎﺧﺘﻪﺍﻯ ﺭﺍ ﺷﻨﻴﺪﻡ‪«.‬‬ ‫ﺭﻭﻛﻮﺭﻭ‪ :‬ﻫﻤﺎﻥ ﭘﺮﻧﺪﻩﺍﻯ ﻛﻪ ﻣﻴﺎﻥ ﻣﺮگ ﻭ ﺯﻧﺪﮔﻰ ﺑﺎﻝ ﻣﻰﺯﻧﺪ‪.‬‬ ‫ﺭﺍﻫﺐ‪ :‬ﺻﺒﺮ ﻛﻦ! ﻛﻢﻛﻢ ﻣﻌﻨﻰ ﺣﺮﻑﻫﺎﻳﺖ ﺭﺍ ﻣﻰﻓﻬﻤﻢ‪ .‬ﺍﻣﺎ ﺍﺩﺍﻣﻪ ﺑﺪﻩ‪ ،‬ﺍﺩﺍﻣﻪ ﺑﺪﻩ!‬ ‫ﺭﻭﻛﻮﺭﻭ‪ :‬ﻭﻗﺘﻰ ﺍﻭ ﺑﻪ ﺍﻳﻦ ﺩﻧﺒﺎﻟﻪﺩﺍﺭ ﻗﺪﻡ ﮔﺬﺍﺷﺖ‪ ،‬ﻫﻨﻮﺯ ﭼﻨﺎﻥ ﺩﺭ ﺟﻬﺎﻥ ﻣﺎﺩﻯ ﻏﺮﻕ ﺑﻮﺩ ﻛﻪ ﭼﻨﺪ‬ ‫ﻭﺳﻴﻠﻪﻯ ﺧﺎﺹ ﻧﻴﺰ ﺑﻪ ﻫﻤﺮﺍﻩ ﺁﻭﺭﺩ‪ .‬ﻭﻟﻰ ﺑﻌﺪﺗﺮ ﺩﺳﺖ ﺍﺯ ﺁﻥﻫﺎ ﻛﺸﻴﺪ‪ .‬ﺍﻣﺎ ﺗﺎ ﻣﺪﺗﻰ ﻛﻪ ﺍﻳﻦﺟﺎ ﺍﻗﺎﻣﺖ‬ ‫ﺩﺍﺷﺖ‪ ،‬ﺍﻳﻦ ﻓﻜﺮ ﺑﺎ ﺍﻭ ﺑﻮﺩ ﻛﻪ ﺫﻫﻦ ﺁﺯﺍﺩ ﺷﺪﻩ ﺍﺯ ﺟﺴﻢ ﺑﺎ ﺍﺣﺘﻤﺎﻝ ﺑﻴﺸﺘﺮﻯ ﺑﻪ ﺭﺳﺘﮕﺎﺭﻯ ﺧﻮﺍﻫﺪ‬ ‫ﺭﺳﻴﺪ ﻭ ﻣﺴﻴﺮ ﺩﺭﺳﺖ ﺭﺍ ﺧﻮﺍﻫﺪ ﻳﺎﻓﺖ‪ .‬ﺑﻨﺎﺑﺮﺍﻳﻦ ﺍﺳﻜﻨﺮﻯ ﺳﺎﺧﺖ ﻛﻪ ﻫﺸﻴﺎﺭﻯ ﺍﻭ ﺭﺍ ﺩﺭ ﺑﺮﻧﺎﻣﻪﺍﻯ‬ ‫ﻛﭙﻰ ﻣﻰﻛﺮﺩ ﻭ ﺑﻌﺪ ﺁﻥ ﻫﺸﻴﺎﺭﻯ ﺭﺍ ﺩﺭ ﺍﻳﻦ ﻛﺎﻣﭙﻴﻮﺗﺮ ﻗﺮﺍﺭ ﺩﺍﺩ‪.‬‬ ‫ﺭﺍﻫﺐ‪ :‬ﺷﮕﻔﺖﺯﺩﻩﺍﻡ ﻛﺮﺩﻯ‪ .‬ﺗﺎ ﺑﻪ ﺣﺎﻝ ﻫﻴﭻ ﻛﺲ ﺍﺯ ﭼﻨﻴﻦ ﭼﻴﺰﻯ ﺧﺒﺮ ﻧﺪﺍﺩﻩ ﺑﻮﺩ‪.‬‬ ‫ﺭﻭﻛﻮﺭﻭ‪ :‬ﻓﻜﺮ ﻣﻰﻛﻨﻢ ﺧﻮﺩﺵ ﺑﻪ ﻛﺴﻰ ﭼﻴﺰﻯ ﻧﮕﻔﺖ‪ ...‬ﻧﻪ ﺍﺯ ﺳﺮ ﺧﺠﺎﻟﺖ؛ ﻣﻄﻤﺌﻨﻢ ﺍﻭ ﻓﺮﺍﺗﺮ ﺍﺯ‬ ‫ﭼﻨﻴﻦ ﺍﺣﺴﺎﺳﻰ ﺑﻮﺩ‪ .‬ﺑﻠﻜﻪ ﻧﮕﺮﺍﻥ ﺑﻮﺩ ﺑﻘﻴﻪ ﻫﻢ ﺩﺳﺖ ﺑﻪ ﻛﺎﺭ ﻣﺸﺎﺑﻬﻰ ﺑﺰﻧﻨﺪ‪.‬‬ ‫ﺭﺍﻫﺐ‪ :‬ﺳﺎﺧﺘﻦ ﻳﻚ ﺧﻮﺩ ﺍﺯ ﺧﻮﺩ ﻛﻪ ﺭﺍﻫﻨﻤﺎﻯ ﺧﻮﺩ ﺷﻮﺩ‪ .‬ﺍﻣﻴﺪﻭﺍﺭﻡ ﻛﺎﺭﻣﺎﻯ ﻣﻦ ﭼﻨﺎﻥ ﺳﻴﺎﻩ ﻧﺒﺎﺷﺪ‬ ‫ﻛﻪ ﺍﺯ ﻗﺪﻳﺴﻰ ﺑﺪ ﺑﮕﻮﻳﻢ‪ ،‬ﻭﻟﻰ‪ ...‬ﺁﻥ ﺯﻣﺎﻥﻫﺎ ﻫﻨﻮﺯ ﻗﺪﻳﺲ ﻧﺸﺪﻩ ﺑﻮﺩ‪ ،‬ﺩﺭﺳﺖ ﺍﺳﺖ؟ ﭼﻮﻥ ﻣﺤﺎﻝ ﺑﻮﺩ‬ ‫ﻛﻪ ﭼﻨﻴﻦ ﻓﻜﺮ ﺧﻮﺩﺧﻮﺍﻫﺎﻧﻪﺍﻯ ﺑﻪ ﺳﺮﺵ ﺑﺰﻧﺪ‪.‬‬ ‫ﺭﻭﻛﻮﺭﻭ‪ :‬ﻭ ﻣﻦ ﺑﻬﺎﻳﺶ ﺭﺍ ﺑﻪ ﺳﺨﺘﻰ ﭘﺮﺩﺍﺧﺖ ﻛﺮﺩﻡ‪.‬‬ ‫ﺭﺍﻫﺐ‪ :‬ﺧﻮﺍﻫﺶ ﻣﻰﻛﻨﻢ‪ ،‬ﻣﻨﻈﻮﺭﻡ ﺭﺍ ﺑﺪ ﺑﺮﺩﺍﺷﺖ ﻧﻜﻦ‪ .‬ﻗﺼﺪ ﺍﻭ ﻫﻤﻴﺸﻪ ﭘﺎﻙ ﺑﻮﺩ‪ .‬ﻓﻘﻂ ﺯﻣﺎﻧﻰ ﺑﻪ ﺭﺍﻩ‬ ‫ﺧﻄﺎ ﺭﻓﺖ‪ ،‬ﺩﺭﺳﺖ ﻣﺜﻞ ﻫﻤﻴﻦ ﺩﻧﺒﺎﻟﻪﺩﺍﺭ ﻛﻪ ﺣﺎﻻ ﺑﻪ ﺳﻮﻯ ﺧﻮﺭﺷﻴﺪ ﭘﻴﺶ ﻣﻰﺭﻭﺩ‪ .‬ﻭ ﻓﻜﺮ ﻣﻰﻛﻨﻢ‬ ‫ﺍﻳﻦ ﻓﻜﺮ ﺩﺭ ﺍﺑﺘﺪﺍ ﺩﺭﺧﺸﺎﻥ ﻭ ﭘﺮﺟﺬﺑﻪ ﺩﺭ ﻭﺟﻮﺩﺵ ﭘﺎ ﮔﺮﻓﺖ‪ .‬ﺍﻭ ﺭﺍ ﺗﺼﻮﺭ ﻣﻰﻛﻨﻢ ﻛﻪ ﺑﺎ ﺷﮕﻔﺘﻰ ﻓﻜﺮ‬ ‫ﻣﻰﻛﺮﺩ‪ ...‬ﺩﺭﺳﺖ ﻫﻤﺎﻥ ﻃﻮﺭ ﻛﻪ ﮔﻔﺘﻪﻫﺎﻯ ﺑﻮﺩﺍ ﺭﺍ ﻣﻰﻧﻮﻳﺴﻢ ﻭ ﻛﭙﻰ ﻣﻰﻛﻨﻢ‪ ،‬ﻫﺸﻴﺎﺭﻯ ﺭﺍ ﺩﺭ ﺷﻜﻮﻩ‬ ‫ﺑﻮﺩﺍ ﻛﭙﻰ ﺧﻮﺍﻫﻢ ﻛﺮﺩ‪.‬‬ ‫ﺭﻭﻛﻮﺭﻭ‪ :‬ﻭ ﺍﻳﻦ ﻛﺎﺭ ﺭﺍ ﻫﻢ ﻛﺮﺩ‪ .‬ﻓﺮﺍﻣﻮﺵ ﻛﺮﺩ ﻛﻪ ﺳﻮﺗﺮﺍﻫﺎ ﺍﻧﺴﺎﻥ ﻧﻴﺴﺘﻨﺪ‪ ،‬ﺍﺑﺰﺍﺭﻯ ﺑﺮﺍﻯ ﺍﻧﺴﺎﻥ‬ ‫ﻫﺴﺘﻨﺪ‪.‬‬ ‫ﺭﺍﻫﺐ‪ :‬ﻫﻤﻴﻦ ﻃﻮﺭ ﺍﺳﺖ‪ .‬ﺍﺳﺘﺎﺩ‪ ،‬ﻣﻦ ﺭﺍ ﻋﻔﻮ ﻛﻨﻴﺪ ﺍﮔﺮ ﺧﻼﻑ ﺻﺤﺒﺖﺗﺎﻥ ﭼﻴﺰﻯ ﻣﻰﮔﻮﻳﻢ‪ .‬ﭼﺮﺍ ﻛﻪ‬ ‫ﺩﺭ ﺣﻀﻮﺭﺗﺎﻥ ﺳﺮﺷﺎﺭ ﺍﺯ ﺷﮕﻔﺘﻰﺍﻡ‪.‬‬ ‫ﺭﻭﻛﻮﺭﻭ‪ :‬ﻣﻦ ﺍﺳﺘﺎﺩ ﻧﻴﺴﺘﻢ‪ .‬ﻣﻦ ﻓﻘﻂ ﺭﻭﻛﻮﺭﻭ ﻫﺴﺘﻢ ﻫﻤﺎﻥ ﻃﻮﺭ ﻛﻪ ﺭﻭﻛﻮﺭﻭ ﺩﺭ ﺟﻮﺍﻧﻰ ﺑﻮﺩ؛ ﺟﺎﻫﻞ‪،‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،29‬ﺍﺭﺩﻳﺒﻬﺸﺖ ‪1392‬‬

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‫ﻋﻠﻤﻰﺗﺨﻴﻠﻰ ‪ -‬ﺗﺮﺟﻤﻪ‬

‫ﻫﻢﺳﺮﺍﻳﺎﻥ‪ :‬ﻣﻘﺪﺱ ﺑﺎﺩ ﺁﻣﻴﺪﺍ ﺑﻮﺩﺍ‪ ،‬ﻛﻪ ﺩﺭ ﺍﻭﺳﺖ ﺭﺍﻩ‪ ،‬ﻗﺎﻧﻮﻥ؛ ﻛﻪ ﺩﺭ ﺁﻣﻮﺯﻩﻫﺎﻯ ﺍﻭﺳﺖ ﺭﺳﺘﮕﺎﺭﻯ؛ ﻭ‬ ‫ﺑﺨﺸﺎﻳﻨﺪﮔﻰﺍﺵ ﭼﻮﻥ ﻣﻬﺘﺎﺏ ﮔﺴﺘﺮﺩﻩ ﺑﺮ ﻓﺮﺍﺯ ﺩﺭﻳﺎﻫﺎﻯ ﻃﻮﻓﺎﻧﻰ ﻛﻪ ﻃﻌﻢ ﺍﺷﻚ ﺩﺍﺭﻧﺪ‪ ،‬ﺟﺎﺭﻯ ﺍﺳﺖ؛‬ ‫ﻛﻪ ﻇﻬﻮﺭ ﺷﻜﻮﻩ ﺍﻭ ﭼﻮﻧﺎﻥ ﺑﻪ ﺷﻜﻮﻓﻪ ﻧﺸﺴﺘﻦ ﺩﺭﺧﺘﻰ ﺧﺸﻚ ﻭ ﺯﻣﺴﺘﺎﻧﻰ‪ ،‬ﻧﺎﮔﻬﺎﻧﻰ ﺍﺳﺖ‪ .‬ﺍﻭ ﺭﺍ ﺻﺪﺍ‬ ‫ﻣﻰﺯﻧﻴﻢ ﻛﻪ ﻫﺪﺍﻳﺘﻤﺎﻥ ﻛﻨﺪ‪ ،‬ﺩﺭ ﺧﺸﻢ ﺻﺪﺍﻳﺶ ﻣﻰﺯﻧﻴﻢ ﺗﺎ ﺑﺒﺨﺸﺎﻳﺪ‪ ،‬ﺩﺭ ﻧﻔﺮﺕ ﺻﺪﺍ ﻣﻰﺯﻧﻴﻢ ﺗﺎ ﻋﺸﻖ‬ ‫ﺑﻮﺭﺯﺩ‪ ،‬ﺩﺭ ﺍﻧﺪﻭﻩ ﺻﺪﺍ ﻣﻰﺯﻧﻴﻢ ﺗﺎ ﺁﺭﺍﻣﺶ ﺩﻫﺪ‪ ،‬ﺩﺭ ﺗﻨﻬﺎﻳﻰ ﺻﺪﺍ ﻣﻰﺯﻧﻴﻢ ﺗﺎ ﺑﺰﺭﮔﻰ ﺑﺨﺸﺪ؛ ﺑﺎ ﺗﻤﺎﻡ ﺁﻥ‬ ‫ﭼﻪ ﻫﺴﺖ‪ ،‬ﺗﻤﺎﻡ ﺁﻥ ﭼﻪ ﺑﻮﺩﻩ‪ ،‬ﺗﻤﺎﻡ ﺁﻥ ﭼﻪ ﻛﻪ ﺗﺎ ﺍﺑﺪ ﺧﻮﺍﻫﺪ ﺑﻮﺩ‪ .‬ﮔﺮﭼﻪ ﻫﺰﺍﺭ ﻫﺰﺍﺭ ﺩﻋﺎ ﻛﻢ ﺍﺳﺖ‪،‬‬ ‫ﺍﻣﺎ ﻳﻚ ﻧﺎﻟﻪ ﻫﻢ ﻛﺎﻓﻴﺴﺖ‪ .‬ﻣﻘﺪﺱ ﺑﺎﺩ ﺁﻣﻴﺪﺍ ﺑﻮﺩﺍ‪.‬‬ ‫]ﺗﺼﻮﻳﺮ ﺭﻭﻛﻮﺭﻭﻯ ﺟﻮﺍﻥ ﻛﻪ ﻟﺒﺎﺱ ﺭﺍﻫﺒﺎﻥ ﺭﺍ ﺑﻪ ﺗﻦ ﺩﺍﺭﺩ‪ ،‬ﺑﺮ ﺭﻭﻯ ﻧﻤﺎﻳﺸﮕﺮ ﻛﺎﻣﭙﻴﻮﺗﺮ ﻇﺎﻫﺮ ﻣﻰﺷﻮﺩ‪.‬‬ ‫ﺭﺍﻫﺐ ﻛﻪ ﺣﻴﺮﺕ ﻛﺮﺩﻩ‪ ،‬ﺍﺯ ﺟﺎ ﺑﻠﻨﺪ ﻣﻰﺷﻮﺩ‪[.‬‬ ‫ﺭﺍﻫﺐ‪ :‬ﭼﻰ؟ ﻳﻚ ﺍﻧﺴﺎﻥ ﺩﻳﮕﺮ ﺑﻌﺪ ﺍﺯ ﺍﻳﻦ ﻫﻤﻪ ﻣﺪﺕ؟ ﻳﺎ ﺷﺎﻳﺪ ﭘﻴﺎﻣﻰ ﻫﺴﺘﻰ ﻛﻪ ﺍﺯ ﭘﺎﻳﮕﺎﻩ ﻣﺨﺎﺑﺮﻩ‬ ‫ﻣﻰﺷﻮﺩ؟‬ ‫ﺭﻭﻛﻮﺭﻭ‪ :‬ﻧﻪ‪ ،‬ﻣﻦ ﺍﻳﻦﺟﺎ ﻧﻴﺴﺘﻢ‪ .‬ﻭ ﭼﻮﻥ ﺗﻮ ﺍﻧﺴﺎﻥ ﻧﻴﺴﺘﻢ‪.‬‬ ‫ﺭﺍﻫﺐ‪ :‬ﭼﻰ؟ ﭘﺲ ﭼﻪ ﻫﺴﺘﻰ؟ ﺑﺪﺍﻥ ﻛﻪ ﻣﻦ ﺯﺍﺋﺮﻯ ﻫﺴﺘﻢ ﺩﻧﺒﺎﻝ ﻛﻨﻨﺪﻩﻯ ﻣﺴﻴﺮ ﺭﻭﻛﻮﺭﻭ ﺍﺯ ﺟﻬﺎﻧﻰ‬ ‫ﺑﻪ ﺟﻬﺎﻥ ﺩﻳﮕﺮ‪ ،‬ﺑﻪ ﺍﻳﻦ ﺍﻣﻴﺪ ﻛﻪ ﻋﺎﻗﺒﺖ ﻣﻦ ﻫﻢ ﺑﻪ ﻓﺮﺍﻯ ﺍﻳﻦ ﺟﻬﺎﻥﻫﺎ ﻧﺎﺋﻞ ﺷﻮﻡ‪.‬‬ ‫ﺭﻭﻛﻮﺭﻭ‪ :‬ﺑﻠﻪ‪ ،‬ﻗﺒ ً‬ ‫ﻼ ﻫﻢ ﮔﻔﺘﻰ‪.‬‬ ‫ﺭﺍﻫﺐ‪ :‬ﭼﻪ ﺯﻣﺎﻧﻰ؟ ﺑﻪ ﻳﺎﺩ ﻧﻤﻰﺁﻭﺭﻡ ﻛﻪ ﻗﺒ ً‬ ‫ﻼ ﺑﺎ ﺗﻮ ﻣﻼﻗﺎﺕ ﻛﺮﺩﻩ ﺑﺎﺷﻢ‪ .‬ﻭ ﺑﻌﻴﺪ ﻣﻰﺩﺍﻧﻢ ﺩﺭ ﺯﻧﺪﮔﻰﻫﺎﻯ‬ ‫ﻗﺒﻠﻰ ﺩﻳﺪﺍﺭﻯ ﻛﺮﺩﻩ ﺑﺎﺷﻴﻢ‪ .‬ﺍﻳﺰﺩﻯ‪ ،‬ﻳﺎ ﺷﻴﻄﺎﻥ؟ ﺭﻭﺣﻰ ﻳﺎ ﺭﻭﻳﺎ؟‬ ‫ﺭﻭﻛﻮﺭﻭ‪ :‬ﻣﻦ ﻫﻤﺎﻥ ﻫﻮﺷﻰ ﻫﺴﺘﻢ ﻛﻪ ﺭﻭﺑﺎﺕ ﺭﺍ ﻫﺪﺍﻳﺖ ﻣﻰﻛﻨﺪ‪ .‬ﺟﺰ ﻣﻦ ﻧﻴﺴﺖ‪.‬‬ ‫ﺭﺍﻫﺐ‪ :‬ﭘﺲ ﺗﻮ ﺑﺮﻧﺎﻣﻪﻯ ﺩﺭﻭﻥ ﺍﻳﻦ ﻛﺎﻣﭙﻴﻮﺗﺮ ﻫﺴﺘﻰ؟‬ ‫ﺭﻭﻛﻮﺭﻭ‪ :‬ﺑﻠﻪ‪ .‬ﻭ ﺍﺯ ﺁﻥ ﻣﻨﻈﺮ‪ ،‬ﺑﻪ ﺟﻬﺘﻰ ﻫﻢ ﺭﻭﺡ ﻫﺴﺘﻢ؛ ﭼﻮﻥ ﺳﺎﻟﻴﺎﻥ ﺳﺎﻝ ﻗﺒﻞ ﺍﺯ ﺩﻧﻴﺎ ﺭﻓﺘﻢ‪.‬‬ ‫ﺭﺍﻫﺐ‪ :‬ﺁﻳﺎ ﻭﺍﻗﻌﺎً ﺑﺎ ﻳﻚ ﺳﺎﻳﻪ ﺳﺨﻦ ﻣﻰﮔﻮﻳﻢ؟ ﻣﻨﻄﻖ ﻣﻦ ﺳﺮ ﺑﻪ ﻛﺪﺍﻣﻴﻦ ﺑﻴﺎﺑﺎﻥ ﮔﺬﺍﺷﺘﻪ؟ ﻭﻟﻰ ﻧﻪ‪،‬‬ ‫ﺷﺎﻳﺪ ﺍﻳﻦ ﺩﻳﻮﺍﻧﮕﻰ ﻧﺒﺎﺷﺪ‪ .‬ﻫﺮ ﭼﻪ ﻫﺴﺖ ﺗﻮﻫﻢ ﻭ ﺁﺷﻮﺏ ﻳﻚ ﺧﺎﻧﻪﻯ ﺳﻮﺯﺍﻥ ﺍﺳﺖ‪ .‬ﺟﺰ ﺑﻮﺩﻳﺴﺎﺗﻮﺍﻫﺎ‬ ‫]‪ ،[1‬ﻫﺮ ﭼﻪ ﻣﻰﻣﺎﻧﺪ ﻏﺮﻳﺒﻪﺍﻯ ﺍﺳﺖ ﺩﺭ ﻏﺮﻳﺐﺁﺑﺎﺩ‪.‬‬ ‫ﺭﻭﻛﻮﺭﻭ‪ :‬ﮔﻮﺵ ﻛﻦ‪ .‬ﺭﻭﻛﻮﺭﻭ ﭘﻴﺶ ﺍﺯ ﻭﺭﻭﺩ ﺑﻪ ﺣﻠﻘﻪﻯ ﻫﺸﺘﻢ‪ ،‬ﻣﺤﻘﻘﻰ ﺑﻮﺩ ﺩﺭ ﺯﻣﻴﻨﻪﻯ ﺍﺭﺗﺒﺎﻃﺎﺕ‬ ‫ﺍﻧﺴﺎﻥ ﻭ ﻛﺎﻣﭙﻴﻮﺗﺮ‪.‬‬ ‫‪47‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،29‬ﺍﺭﺩﻳﺒﻬﺸﺖ ‪1392‬‬

‫ﻋﻠﻤﻰﺗﺨﻴﻠﻰ ‪ -‬ﺗﺮﺟﻤﻪ‬

‫ﺭﺍﻫﺐ‪ :‬ﻣﺘﺸﻜﺮﻡ‪ ،‬ﻭﻟﻰ ﻓﻜﺮ ﻧﻤﻰﻛﻨﻢ‪ .‬ﺧﻮﺏ‪ ،‬ﺗﻮ ﻫﻨﻮﺯ ﻣﻰﺗﻮﺍﻧﻰ ﺻﺎﺩﻗﺎﻧﻪ ﺑﻪ ﻣﺴﺌﻮﻟﻴﺖﺍﺕ ﺍﺩﺍﻣﻪ ﺩﻫﻰ‬ ‫ﻭ ﺑﺎ ﺩﻗﺖ ﻓﺮﺍﻭﺍﻥ ﻫﻤﻪ ﭼﻴﺰ ﺭﺍ ﺯﻳﺮ ﻧﻈﺮ ﺩﺍﺷﺘﻰ ﺑﺎﺷﻰ ﻭ ﻫﺮ ﻛﺎﺭﻯ ﻛﻪ ﻻﺯﻡ ﺍﺳﺖ ﺍﻧﺠﺎﻡ ﺩﻫﻰ‪ .‬ﺑﻪ ﺟﺮﺍﺕ‬ ‫ﻣﻰﺗﻮﺍﻧﻢ ﺑﮕﻮﻳﻢ ﻛﻪ ﻧﺰﺩﻳﻜﻰ ﺑﻪ ﺧﻮﺭﺷﻴﺪ ﻛﻢﻛﻢ ﻧﺎﺑﻮﺩﻯ ﺑﻪ ﺑﺎﺭ ﻣﻰﺁﻭﺭﺩ‪.‬‬ ‫ﺭﻭﺑﺎﺕ‪ :‬ﻫﻤﻴﻦ ﻃﻮﺭ ﺍﺳﺖ‪ .‬ﮔﻨﺒﺪ ﺑﻪ ﺍﻳﻦ ﺗﺨﺘﻪ ﺳﻨﮓ ﺑﺴﺘﻪ ﺷﺪﻩ‪ ،‬ﻭﻟﻰ ﻫﺮ ﺭﻭﺯ ﻟﺮﺯﻩﻫﺎﻯ ﺳﺨﺖﺗﺮ ﻭ‬ ‫ﺷﺪﻳﺪﺗﺮﻯ ﺍﺯ ﺭﺍﻩ ﻣﻰﺭﺳﺪ ﻭ ﺧﻮﺩﻡ ﺩﻳﺪﻩﺍﻡ ﻛﻪ ﺗﺨﺘﻪﺍﻯ ﻏﻮﻝﺁﺳﺎ ﺍﺯ ﻳﺦ ﺑﻪ ﺍﻳﻦ ﺳﻮ ﺭﻭﺍﻥ ﺍﺳﺖ‪ .‬ﺑﻌﻴﺪ‬ ‫ﻣﻰﺩﺍﻧﻢ ﭘﺲ ﺍﺯ ﻋﺒﻮﺭ ﺍﺯ ﺣﻀﻴﺾ ﭼﻴﺰﻯ ﺑﺎﻗﻰ ﺑﻤﺎﻧﺪ‪.‬‬ ‫ﺭﺍﻫﺐ‪ :‬ﻭﻗﺘﻰ ﺑﻪ ﭘﺎﻳﮕﺎﻩ ﺑﺮﮔﺮﺩﻡ‪ ،‬ﺍﻳﻦ ﻣﻮﺿﻮﻉ ﺭﺍ ﺑﻪ ﺁﻥﻫﺎ ﻳﺎﺩﺁﻭﺭﻯ ﺧﻮﺍﻫﻢ ﻛﺮﺩ‪ .‬ﺣﺪﺍﻗﻞ ﺗﻮ ﻭ ﻛﺎﻣﭙﻴﻮﺗﺮ‬ ‫ﺭﺍ ﺑﺎﻳﺪ ﺑﺎ ﻣﺮﺩﻣﺎﻥ ﺍﺯ ﺍﻳﻦﺟﺎ ﺑﺒﺮﻧﺪ‪ .‬ﺷﻤﺎﻫﺎ ﻳﺎﺩﮔﺎﺭﻫﺎﻯ ﻣﻘﺪﺳﻰ ﻫﺴﺘﻴﺪ‪.‬‬ ‫ﺭﻭﺑﺎﺕ‪ :‬ﺍﻭﻩ ﻗﺮﺑﺎﻥ‪ ،‬ﻧﻪ‪ ،‬ﭼﻨﻴﻦ ﻧﻴﺴﺖ‪.‬‬ ‫ﺭﺍﻫﺐ‪ :‬ﺷﻤﺎ ﺑﺎ ﻳﻚ ﻗﺪﻳﺲ ﺳﺮ ﻭ ﻛﺎﺭ ﺩﺍﺷﺘﻪﺍﻳﺪ؛ ﺩﺭﺳﺖ ﻣﺜﻞ ﻣﻬﺮﻩﻫﺎﻯ ﺗﺴﺒﻴﺤﺶ ﻛﻪ ﺣﺎﻻ ﺩﺭ‬ ‫ﻛﺎﻣﺎﻛﻮﺭﺍ ﻧﮕﻬﺪﺍﺭﻯ ﻣﻰﺷﻮﺩ‪.‬‬ ‫ﺭﻭﺑﺎﺕ‪ :‬ﻗﺮﺑﺎﻥ‪ ،‬ﺷﻤﺎ ﻣﺘﻮﺟﻪ ﻣﻨﻈﻮﺭﻡ ﻧﻤﻰﺷﻮﻳﺪ ﻭ ﻣﻦ ﻫﻢ ﻧﻤﻰﺗﻮﺍﻧﻢ ﺧﻮﺏ ﺗﻮﺿﻴﺢ ﺩﻫﻢ‪ .‬ﻣﻦ ﻓﻘﻂ‬ ‫ﻳﻚ ﻣﺎﺷﻴﻨﻢ‪ ،‬ﻳﻚ ﺑﺮﻧﺎﻣﻪﺍﻡ‪ .‬ﺁﻳﺎ ﺍﺟﺎﺯﻩﻯ ﻣﺮﺧﺼﻰ ﻣﻰﻓﺮﻣﺎﻳﻴﺪ؟‬ ‫ﺭﺍﻫﺐ‪ :‬ﺍﻟﺒﺘﻪ‪.‬‬ ‫ﺭﻭﺑﺎﺕ‪ :‬ﺍﮔﺮ ﻛﻤﻚ ﺧﻮﺍﺳﺘﻴﺪ‪ ،‬ﻛﺎﻓﻰ ﺍﺳﺖ ﺻﺪﺍﻳﻢ ﺑﺰﻧﻴﺪ‪ .‬ﻣﻦ ﺧﻴﻠﻰ ﺩﻭﺭ ﻧﻤﻰﺷﻮﻡ ﻭ ﻫﻤﻴﺸﻪ ﺻﺪﺍﻳﺘﺎﻥ‬ ‫ﺭﺍ ﻣﻰﺷﻨﻮﻡ‪ .‬ﺣﻀﻮﺭ ﺷﻤﺎ ﺟﻨﺒﻪﻫﺎﻳﻰ ﺍﺯ ﺣﻴﺎﺕ ﺭﺍ ﺑﻪ ﻳﺎﺩﻡ ﺁﻭﺭﺩﻩ ﻛﻪ ﻓﻜﺮ ﻣﻰﻛﺮﺩﻡ ﻓﺮﺍﻣﻮﺵ ﻛﺮﺩﻩﺍﻡ؛‬ ‫ﺩﺭﺳﺖ ﻣﺜﻞ ﺭﻭﻳﺎﻳﻰ ﻛﻪ ﺍﺯ ﻳﺎﺩ ﻣﻰﺭﻭﺩ ﻭ ﺑﺎﺯ ﻣﻰﮔﺮﺩﺩ‪.‬‬ ‫]ﺭﻭﺑﺎﺕ ﺗﻌﻈﻴﻢ ﻣﻰﻛﻨﺪ ﻭ ﭘﺸﺖ ﻛﺎﻣﭙﻴﻮﺗﺮ ﻣﻰﺭﻭﺩ‪[.‬‬ ‫ﺭﺍﻫﺐ‪ :‬ﻋﺠﻴﺐ ﺍﺳﺖ‪ .‬ﺗﺎ ﺑﻪ ﺣﺎﻝ ﻛﺠﺎ ﺭﻭﺑﺎﺗﻰ ﺩﻳﺪﻩ ﺷﺪﻩ ﻛﻪ ﺍﻳﻦ ﻃﻮﺭ ﺭﻓﺘﺎﺭ ﻛﻨﺪ ﻳﺎ ﺍﻳﻦ ﻃﻮﺭ ﺣﺮﻑ‬ ‫ﺑﺰﻧﺪ؟ ﻭ ﭼﻄﻮﺭ ﻣﻤﻜﻦ ﺍﺳﺖ ﺑﺎﺭﺍﻥ‪ ،‬ﺑﺎﺩ‪ ،‬ﺧﺎﻙ ﻭ ﻣﺮگ ﺭﺍ ﺑﺸﻨﺎﺳﺪ؟ ﻃﻮﺭﻯ ﺑﺎ ﺍﻭ ﺣﺮﻑ ﻣﻰﺯﻧﻢ ﺍﻧﮕﺎﺭ‬ ‫ﻛﻪ ﺍﻧﺴﺎﻥ ﺑﺎﺷﺪ‪ .‬ﭼﻪ ﺧﺒﺮ ﺍﺳﺖ!‬ ‫]ﺭﺍﻫﺐ ﻃﻮﺭﻯ ﺍﺩﺍ ﺩﺭ ﻣﻰﺁﻭﺭﺩ ﺍﻧﮕﺎﺭ ﺯﻣﻴﻦ ﺯﻳﺮ ﭘﺎﻳﺶ ﺑﻪ ﺷﺪﺕ ﺑﻪ ﻟﺮﺯﻩ ﺍﻓﺘﺎﺩﻩ ﺑﺎﺷﺪ‪[.‬‬ ‫ﺭﺍﻫﺐ‪ :‬ﭼﻪ ﻟﺮﺯﻩﻯ ﻗﺪﺭﺗﻤﻨﺪﻯ‪ .‬ﺍﮔﺮ ﺍﻳﻦ ﺟﺎﺫﺑﻪ ﺍﻳﻦ ﻗﺪﺭ ﺿﻌﻴﻒ ﻧﺒﻮﺩ‪ ،‬ﺣﺘﻤﺎً ﺑﻪ ﺯﻣﻴﻦ ﻛﻮﺑﻴﺪﻩ‬ ‫ﺷﺪﻩ ﻭ ﺁﺳﻴﺐ ﻣﻰﺩﻳﺪﻡ‪ .‬ﺑﺒﻴﻦ ﺷﻜﺎﻑ ﺭﻭﻯ ﻳﺦ ﭼﻘﺪﺭ ﺑﺰﺭگﺗﺮ ﺷﺪﻩ ﻭ ﻟﺒﻪﻫﺎﻯ ﺁﻥ ﻛﻪ ﻫﻴﭻﻭﻗﺖ‬ ‫ﺩﺭ ﺣﺎﻟﺖ ﻣﺎﻳﻊ ﻧﺒﻮﺩﻩﺍﻧﺪ‪ ،‬ﭼﻄﻮﺭ ﺑﻪ ﺑﻴﺮﻭﻥ ﺁﻭﻳﺰﺍﻥ ﺷﺪﻩﺍﻧﺪ‪ .‬ﺑﮕﺬﺍﺭ ﺑﻪ ﻣﻌﺒﺪ ﺑﺮﻭﻡ ﻭ ﺑﺮﺍﻯ ﺁﺭﺍﻣﺶ‬ ‫ﺩﻋﺎ ﻛﻨﻢ‪.‬‬ ‫]ﺭﺍﻫﺐ ﺑﻪ ﻃﺮﻑ ﻛﺎﻣﭙﻴﻮﺗﺮ ﻣﻰﺭﻭﺩ ﻭ ﺟﻠﻮﻯ ﺁﻥ ﺯﺍﻧﻮ ﻣﻰﺯﻧﺪ ﻭ ﺩﺳﺖﻫﺎﻳﺶ ﺭﺍ ﺩﺭ ﻫﻢ ﻗﻔﻞ ﻣﻰﻛﻨﺪ‪[.‬‬ ‫‪45‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،29‬ﺍﺭﺩﻳﺒﻬﺸﺖ ‪1392‬‬

‫ﭘﻴﺸﻜﺶ ﻛﻨﻢ‪ .‬ﻫﻤﺎﻥ ﻃﻮﺭ ﻛﻪ ﻣﻰﺑﻴﻨﻴﺪ ﺳﺮ ﮔﻨﺒﺪ ﺑﺎﺯ ﺍﺳﺖ ﻭ ﭼﻴﺰﻯ ﺟﺰ ﺍﻳﻦ ﻛﺎﻣﭙﻴﻮﺗﺮ‪ ،‬ﻳﻚ ژﻧﺮﺍﺗﻮﺭ‬ ‫ﺑﺮﻕ ﻭ ﻭﺳﺎﻳﻞ ﻣﻮﺭﺩ ﻧﻴﺎﺯ ﻣﻦ ﺩﺭ ﺁﻥ ﻧﻴﺴﺖ‪.‬‬ ‫ﺭﺍﻫﺐ‪ :‬ﻣﻄﻤﺌﻨﺎً ﺭﻭﻛﻮﺭﻭ ﺳﻼﻣﺖ‪ ،‬ﻧﻮﺭ‪ ،‬ﻫﻮﺍ‪ ،‬ﺁﺏ‪ ،‬ﻏﺬﺍ ﻻﺯﻡ ﺩﺍﺷﺘﻪ ﺍﺳﺖ‪ ...‬ﺣﺎﻝ ﺯﻧﺪﮔﻰﺍﺵ ﻫﺮ ﭼﻘﺪﺭ‬ ‫ﺳﺎﺩﻩ ﻛﻪ ﺑﻮﺩﻩ‪.‬‬ ‫ﺭﻭﺑﺎﺕ‪ :‬ﺑﻠﻪ‪ ،‬ﺍﻣﺎ ﻭﻗﺘﻰ ﺍﻭ ﺭﻓﺖ ﺑﻪ ﻣﻌﺪﻧﭽﻴﺎﻥ ﮔﻔﺖ ﺍﺯ ﻭﺳﺎﻳﻞ ﺑﺎﻗﻴﻤﺎﻧﺪﻩﺍﺵ ﺑﻬﺮﻩ ﺑﺒﺮﻧﺪ‪ .‬ﺁﻥﻫﺎ ﺍﺯ‬ ‫ﻭﺳﺎﻳﻠﻰ ﺍﺳﺘﻔﺎﺩﻩ ﻛﺮﺩﻧﺪ ﻛﻪ ﺍﻭ ﺩﻳﮕﺮ ﺍﺣﺘﻴﺎﺟﻰ ﻧﺪﺍﺷﺖ‪ .‬ﮔﺮﭼﻪ ﺍﺯ ﺁﻥﻫﺎ ﺧﻮﺍﺳﺖ ﻛﻪ ﻛﺎﻣﭙﻴﻮﺗﺮ ﻭ ﺭﻭﺑﺎﺕ‬ ‫ﺧﺪﻣﺘﮕﺰﺍﺭ ﺭﺍ ﺑﺎﻗﻰ ﺑﮕﺬﺍﺭﻧﺪ ﻛﻪ ﺧﻮﺩ ﺁﻥﻫﺎ ﺍﺯ ﺳﺮ ﺍﺣﺘﺮﺍﻡ ﻛﻤﻰ ﭘﺲ ﺍﺯ ﻭﺭﻭﺩﺵ ﺑﻪ ﺍﻳﻦﺟﺎ ﭘﻴﺸﻜﺶ‬ ‫ﻛﺮﺩﻩ ﺑﻮﺩﻧﺪ‪.‬‬ ‫ﺭﺍﻫﺐ‪ :‬ﭘﺲ ﻳﻌﻨﻰ ﻫﻤﺎﻥ ﻣﻮﻗﻊ ﻫﻢ ﭼﻨﻴﻦ ﻣﻘﺪﺱ ﺑﻮﺩ؟‬ ‫ﺭﻭﺑﺎﺕ‪ :‬ﻧﻤﻰﺗﻮﺍﻧﻢ ﺟﻮﺍﺑﻰ ﺑﺪﻫﻢ‪ .‬ﺷﺎﻳﺪ ﻓﻘﻂ ﻣﻌﺪﻧﭽﻴﺎﻥ ﺁﻥ ﺭﻭﺯﮔﺎﺭ ﻣﻬﺮﺑﺎﻥ ﻭ ﺑﺨﺸﻨﺪﻩ ﺑﻮﺩﻩﺍﻧﺪ‪.‬‬ ‫ﻛﺴﺎﻧﻰ ﻛﻪ ﺯﻧﺪﮔﻰ ﺳﺨﺖ ﺩﺍﺭﻧﺪ ﻭ ﺗﻨﻬﺎ ﻣﻰﺯﻳﻨﺪ‪ ،‬ﺍﻏﻠﺐ ﭼﻨﻴﻦﺍﻧﺪ‪.‬‬ ‫ﺭﺍﻫﺐ‪ :‬ﺷﺎﻳﺪ ﺍﺯ ﺳﺮ ﺳﺎﺩﮔﻰ ﺭﻭﺣﺸﺎﻥ‪ ،‬ﺣﺲ ﻛﺮﺩﻩ ﺑﻮﺩﻧﺪ ﻛﻪ ﻛﺴﻰ ﺑﻪ ﻣﻴﺎﻧﺸﺎﻥ ﺁﻣﺪﻩ ﻛﻪ ﺭﻭﺯﻯ ﺑﻪ‬ ‫ﻣﻘﺎﻡ ﺑﻮﺩﺍ ﺧﻮﺍﻫﺪ ﺭﺳﻴﺪ‪.‬‬ ‫ﺭﻭﺑﺎﺕ‪ :‬ﭼﻪ‪ ...‬ﻭﺍﻗﻌﺎً ﺑﻪ ﭼﻨﻴﻦ ﻣﻘﺎﻣﻰ ﺭﺳﻴﺪ؟‬ ‫ﺭﺍﻫﺐ‪ :‬ﻣﮕﺮ ﻧﺸﻨﻴﺪﻩﺍﻯ؟‬ ‫ﺭﻭﺑﺎﺕ‪ :‬ﻣﻦ ﺍﺯ ﺯﻣﺎﻥ ﺭﻓﺘﻦ ﺍﻭ ﺗﺎ ﺑﻪ ﺣﺎﻝ ﺗﻘﺮﻳﺒﺎً ﻫﻤﻴﺸﻪ ﺗﻨﻬﺎ ﺑﻮﺩﻩﺍﻡ‪.‬‬ ‫ﺭﺍﻫﺐ‪ :‬ﺑﻠﻪ‪ ،‬ﺍﺯ ﻣﺘﺮﻭﻙ ﺍﻓﺘﺎﺩﻥ ﺍﻳﻦﺟﺎ ﺷﻨﻴﺪﻩ ﺑﻮﺩﻡ‪ .‬ﺑﺎ ﻛﺴﻰ ﻫﻢ ﺍﺭﺗﺒﺎﻃﻰ ﻧﺪﺍﺷﺘﻰ؟‬ ‫ﺭﻭﺑﺎﺕ‪ :‬ﭼﻪ ﻛﺴﻰ ﺍﺳﺖ ﻛﻪ ﺑﺎ ﻳﻚ ﻛﺎﻣﭙﻴﻮﺗﺮ ﻭ ﻳﻚ ﭘﻮﺳﺘﻪﻯ ﺧﺎﻟﻰ ﺻﺤﺒﺖ ﻛﻨﺪ؟‬ ‫ﺭﺍﻫﺐ‪ :‬ﻇﺎﻫﺮﺍ ً ﺯﻳﺎﺭﺕ ﺍﺯ ﺭﺳﻮﻡ ﺍﻳﻦ ﻣﺮﺩﻣﺎﻥ ﻧﻴﺴﺖ‪ .‬ﻗﺎﺑﻞ ﺩﺭﻙ ﺍﺳﺖ‪ .‬ﺟﺰ ﺍﻳﻦ ﻳﻚ ﻣﻜﺎﻥ ﻣﻘﺪﺱ‪،‬‬ ‫ﺩﻳﮕﺮ ﭼﻪ ﭼﻴﺰﻯ ﺑﺮﺍﻯ ﺗﻤﺎﺷﺎ ﺭﻭﻯ ﻳﻚ ﺩﻧﺒﺎﻟﻪﺩﺍﺭ ﻭﺟﻮﺩ ﺩﺍﺭﺩ؟ ﻧﻪ ﺯﻳﺒﺎﺳﺖ‪ ،‬ﻧﻪ ﻓﺼﻠﻰ ﺩﺍﺭﺩ‪ ،‬ﻧﻪ ﺯﻣﻴﻦ‬ ‫ﻣﻘﺪﺱ ﻭ ﭘﺮﺑﺮﻛﺘﻰ ﺩﺍﺭﺩ‪ ،‬ﻧﻪ ﺣﻴﺎﺗﻰ ﺩﺭ ﺁﻥ ﺑﻪ ﭼﺸﻢ ﻣﻰﺧﻮﺭﺩ‪ ...‬ﭼﻴﺰﻯ ﺟﺰ ﺩﻟﺘﻨﮕﻰ ﺩﺭ ﺁﻥ ﻧﻴﺴﺖ‪.‬‬ ‫ﺭﻭﺑﺎﺕ‪ :‬ﺍﺯ ﻧﻈﺮ ﺍﻭ ﭼﻨﻴﻦ ﻧﺒﻮﺩ‪.‬‬ ‫ﺭﺍﻫﺐ‪ :‬ﺍﻟﺒﺘﻪ‪ .‬ﺑﻪ ﻫﻤﻴﻦ ﺩﻟﻴﻞ ﺭﺍﻩ ﺍﻭ ﺭﺍ ﺩﻧﺒﺎﻝ ﻣﻰﻛﻨﻢ ﻭ ﺧﺎﺿﻌﺎﻧﻪ ﺍﻣﻴﺪﻭﺍﺭﻡ ﭼﻨﺪ ﺟﺮﻋﻪ ﺍﺯ ﺁﻥ ﭼﻪ ﺍﻭ‬ ‫ﺩﺭ ﺗﻤﺎﻣﻰ ﺟﻬﺎﻥ ﺩﻳﺪ‪ ،‬ﻧﺼﻴﺐ ﻣﻦ ﻧﻴﺰ ﮔﺮﺩﺩ‪.‬‬ ‫ﺭﻭﺑﺎﺕ‪ :‬ﺍﻭ ﺗﻘﺪﺱ ﺭﺍ ﺩﻳﺪ‪.‬‬ ‫]ﻫﺮ ﺩﻭ ﺑﺮﺍﻯ ﭼﻨﺪ ﻟﺤﻈﻪ ﺳﺎﻛﺖ ﻣﻰﺍﻳﺴﺘﻨﺪ‪[.‬‬ ‫ﺭﻭﺑﺎﺕ‪ :‬ﻣﻰﺗﻮﺍﻧﻢ ﻛﻤﻜﻰ ﺑﻪ ﺷﻤﺎ ﺑﻜﻨﻢ؟‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،29‬ﺍﺭﺩﻳﺒﻬﺸﺖ ‪1392‬‬

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‫ﻋﻠﻤﻰﺗﺨﻴﻠﻰ ‪ -‬ﺗﺮﺟﻤﻪ‬

‫]ﺭﻭﺑﺎﺕ ﺍﺯ ﻳﻚ ﮔﻮﺷﻪﻯ ﺻﺤﻨﻪ ﻭﺍﺭﺩ ﻣﻰﺷﻮﺩ‪[.‬‬ ‫ِ‬ ‫ﻛﻴﺎﻟﻚ ﺑﻪ ﺷﻜﻮﻓﻪ ﻧﺸﺴﺘﻪ ﺑﻠﻨﺪ‬ ‫ﺭﻭﺑﺎﺕ‪ :‬ﻭﻗﺘﻰ ﻓﻮﺍﺭﻩﻯ ﺑﺎﺭﺍﻥ ﻣﻨﻘﻄﻊ ﻣﻰﺷﻮﺩ‪ ،‬ﺑﺮﺍﻯ ﻟﺤﻈﻪﺍﻯ ﻋﻄﺮ‬ ‫ﻣﻰﺷﻮﺩ‪ .‬ﭼﻮﻥ ﺧﺎﻃﺮﻩﺍﻯ‪ ...‬ﺁﻩ‪ ،‬ﻳﻚ ﻣﻬﻤﺎﻥ!‬ ‫]ﺭﻭﺑﺎﺕ ﺟﻠﻮ ﻣﻰﺭﻭﺩ ﺗﺎ ﺑﺎ ﺭﺍﻫﺐ ﺩﻳﺪﺍﺭ ﻛﻨﺪ‪ .‬ﻫﺮ ﺩﻭ ﺍﺩﺍﻯ ﺩﺳﺘﻜﺎﺭﻯ ﻛﺮﺩﻥ ﮔﻴﺮﻧﺪﻩﻫﺎﻯ ﺭﺍﺩﻳﻮﻳﻰ ﺧﻮﺩ‬ ‫ﺭﺍ ﺩﺭ ﻣﻰﺁﻭﺭﻧﺪ‪[.‬‬ ‫ﺭﺍﻫﺐ‪ :‬ﺍﻳﻦﺟﺎ ﻣﻌﺒﺪ ﺭﻭﻛﻮﺭﻭ‪ ،‬ﻫﻤﺎﻥ ﺍﻗﺎﻣﺘﮕﺎﻩ ﺑﺎﺳﺘﺎﻧﻰ ﺍﻭﺳﺖ؟‬ ‫ﺭﻭﺑﺎﺕ‪ :‬ﺑﻠﻰ‪ ،‬ﮔﺮﭼﻪ ﺑﺎﺯﺩﻳﺪ ﻛﻨﻨﺪﮔﺎﻥ ﺁﻥ ﻣﻌﺪﻭﺩﻧﺪ‪ .‬ﻣﻰﺗﻮﺍﻧﻢ ﺑﭙﺮﺳﻢ ﺑﻪ ﭼﻪ ﻗﺼﺪ ﺍﻳﻦﺟﺎ ﺁﻣﺪﻩﺍﻳﺪ؟‬ ‫ﺭﺍﻫﺐ‪ :‬ﭼﻪ ﻗﺼﺪﻯ ﺩﺍﺭﻡ ﺟﺰ ﻭﻗﻒ ﺧﻮﺩ؟ ﻣﻦ ﻳﻚ ﺭﺍﻫﺒﻢ‪ .‬ﺁﻳﺎ ﺗﻮ ﺧﺪﻣﺘﮕﺰﺍﺭ ﻣﻌﺒﺪﻯ؟‬ ‫ﺭﻭﺑﺎﺕ‪ :‬ﻧﮕﻬﺪﺍﺭﻯ ﻭ ﻣﺮﺍﻗﺒﺖﻫﺎﻯ ﺳﺎﺩﻩ ﻭ ﭘﻴﺶ ﭘﺎ ﺍﻓﺘﺎﺩﻩ ﺑﺎ ﻣﻦ ﺍﺳﺖ‪.‬‬ ‫ﺭﺍﻫﺐ‪ :‬ﺑﺮﺍﻳﻢ ﻋﺠﻴﺐ ﺍﺳﺖ ﻛﻪ ﻳﻚ ﻣﺎﺷﻴﻦ ﻣﻰﺧﻮﺍﻫﺪ ﻗﺼﺪﻡ ﺍﺯ ﺑﺎﺯﺩﻳﺪ ﺍﻳﻦﺟﺎ ﺭﺍ ﺑﺪﺍﻧﺪ‪.‬‬ ‫ﺭﻭﺑﺎﺕ‪ :‬ﺁﻥ ﭼﻪ ﺗﻮ ﻣﻰﺑﻴﻨﻰ‪ ،‬ﻓﻘﻂ ﻳﻚ ﻣﻜﺎﻧﻴﺴﻢ ﺍﺳﺖ‪ .‬ﺍﻳﻦ ﺑﺪﻥ ﺑﻪ ﺁﻥ ﻛﺎﻣﭙﻴﻮﺗﺮ ﺩﺭ ﺁﻥ ﺳﻮ ﻣﺘﺼﻞ‬ ‫ﺍﺳﺖ ﻛﻪ ﺩﺭ ﺁﻥ ﻫﻮﺷﻰ ﻣﺼﻨﻮﻋﻰ ﺯﻳﺴﺖ ﺩﺍﺭﺩ؛ ﻫﻮﺷﻰ ﺁﻥﻗﺪﺭ ﻗﺪﺭﺗﻤﻨﺪ ﻛﻪ ﺑﺮﺍﻯ ﺍﻋﻤﺎﻝ ﻭﻇﺎﻳﻒ‬ ‫ﺿﺮﻭﺭﻯ ﻣﻦ ﻛﻔﺎﻳﺖ ﻣﻰﻛﻨﺪ‪.‬‬ ‫]ﺭﻭﺑﺎﺕ ﺑﺎ ﺣﺮﻛﺎﺗﻰ ﻣﺘﻨﺎﺳﺐ ﺑﻪ ﺭﻗﺺ ﺩﺭ ﻣﻰﺁﻳﺪ ﻭ ﻫﻢﺳﺮﺍﻳﺎﻥ ﺑﺮﺍﻳﺶ ﻣﻰﺧﻮﺍﻧﻨﺪ‪[.‬‬ ‫ﻫﻢﺳﺮﺍﻳﺎﻥ‪ :‬ﺩﻧﺒﺎﻟﻪﺩﺍﺭ ﻋﻤﺮﻯ ﺍﺳﺖ ﺩﺭ ﻣﻴﺎﻥ ﺳﻜﻮﺕ ﺭﺍﻫﻰ ﺑﻮﺩﻩ ﺍﺳﺖ‪ .‬ﺗﻮ ﮔﻮﻳﻰ ﻫﻴﭻ ﮔﺎﻩ ﺯﻣﺎﻥ ﺑﺮ‬ ‫ﺳﺮ ﺁﻥ ﻧﻨﺸﺴﺘﻪ‪ .‬ﻳﻚ ﺭﻭﺯ ﻳﺎ ﺩﻩ ﺳﺎﻝ‪ ،‬ﭼﻪ ﺗﻔﺎﻭﺕ ﺩﺍﺭﺩ؟ ﺭﻭﺩ ﻛﺎﺋﻨﺎﺕ ﺑﺮ ﻓﺮﺍﺯ ﻭ ﺍﺯ ﺯﻳﺮ ﺟﺎﺭﻯ ﺍﺳﺖ‪،‬‬ ‫ﻭﻟﻰ ﺩﺭﻳﺎﻳﻰ ﺑﺮ ﺳﺎﺣﻞ ﺍﻳﻦ ﺟﺰﻳﺮﻩ ﻧﻤﻰﺁﺳﺎﻳﺪ‪ .‬ﺗﻮ ﮔﻮﻳﻰ ﺑﺮﺍﻯ ﻫﻤﻴﺸﻪ ﺑﻪ ﺁﺭﺍﻣﺶ ﺭﺳﻴﺪﻩ‪ ،‬ﺩﻓﻦ ﺷﺪﻩ‪،‬‬ ‫ﻭ ﺣﺎﻻ ﺳﺘﺎﺭﮔﺎﻥ ﺑﺮ ﻓﺮﺍﺯ ﻭ ﺯﻳﺮﺵ ﺑﻪ ﺗﻤﺎﺷﺎ ﻧﺸﺴﺘﻪﺍﻧﺪ‪ .‬ﻭﻟﻰ ﺩﺭ ﮔﻮﺭ ﻫﻢ ﺁﺭﺍﻣﺶ ﺭﺍ ﻧﺨﻮﺍﻫﻰ ﻳﺎﻓﺖ‪.‬‬ ‫ﺳﻨﮓ ﮔﻮﺭ ﺯﻳﺮ ﺑﺎﺭﺍﻥ‪ ،‬ﺯﻳﺮ ﺍﺷﻌﻪﻫﺎﻯ ﺧﺮﺩ ﻛﻨﻨﺪﻩﻯ ﺭﻭﺯ ﻭ ﻳﺦﺑﻨﺪﺍﻥ ﭘﻮﺳﺎﻧﻨﺪﻩﻯ ﺷﺐ ﻣﻰﻓﺮﺳﺎﻳﺪ‪.‬‬ ‫ﻣﻮﺵ ﻛﻮﺭ ﻭ ﺳﺨﺖﺗﺮ‬ ‫ﺣﺘﺎ ﺧﺎﻙ ﻫﻢ ﺑﻠﻌﻨﺪﻩﺍﻯ ﺍﺳﺖ ﻛﻪ ﻫﺰﺍﺭ ﺯﺑﺎﻥ ﺁﺏﺩﺍ ِﺭ ﭘﻨﻬﺎﻥ ﺩﺍﺭﺩ ﻛﻪ ﻛﻮﺭﺗﺮ ﺍﺯ‬ ‫ِ‬ ‫ﺍﺯ ﺳﻨﮓ‪ ،‬ﺑﻪ ﺳﻄﺢ ﺭﺍﻩ ﻣﻰﮔﺸﺎﻳﻨﺪ‪ .‬ﺍﻳﻦﻫﺎ ﮔﻨﮓ ﻭ ﻛﻨﺪ‪ ،‬ﺩﺭ ﺟﺮﻳﺎﻧﻨﺪ‪ .‬ﻭ ﻟﺮﺯﻩﻫﺎﻯ ﺯﻣﻴﻦ ﺑﻪ ﺍﻧﺪﺍﺯﻩﻯ‬ ‫ﺁﻧﺎﻥ ﺑﻰﺭﺣﻢ ﻧﻴﺴﺖ‪ .‬ﻭ ﺭﻭﻯ ﺍﻳﻦ ﺟﻬﺎﻥ ﻛﻮﭼﻚ ﻧﻴﺰ ﭼﻴﺰﻯ ﺟﺰ ﺗﻼﺵ‪ ،‬ﻧﺎﺑﻮﺩﻯ ﺭﺍ ﭘﺲ ﻧﻤﻰﺭﺍﻧﺪ؛ ﺣﺘﺎ‬ ‫ﺩﺭ ﻋﻤﻴﻖﺗﺮﻳﻦ ﻧﻘﺎﻁ ﻓﻀﺎ؛ ﺣﺘﺎ ﺩﺭ ﻋﻤﻴﻖﺗﺮﻳﻦ ﻧﻘﺎﻁ ﻓﻀﺎ‪ ...‬ﺗﻨﻬﺎ ﺩﺭ ﺭﺍﻩ ﺍﺳﺖ ﻛﻪ ﺁﺭﺍﻣﺶ ﻣﻰﻳﺎﺑﻴﻢ‪.‬‬ ‫ﺭﺍﻫﺐ‪ :‬ﻣﻘﺪﺱ ﺑﺎﺩ ﻧﺎﻡ ﺁﻣﻴﺪﺍ ﺑﻮﺩﺍ‪.‬‬ ‫ﺭﻭﺑﺎﺕ‪ :‬ﻣﻰﺗﻮﺍﻧﻢ ﻛﻤﻜﻰ ﺑﻪ ﺷﻤﺎ ﺑﻜﻨﻢ؟ ﻣﺘﺎﺳﻔﺎﻧﻪ ﺍﻳﻦﺟﺎ ﺳﺮﭘﻨﺎﻩ ﻳﺎ ﻭﺳﻴﻠﻪﻯ ﺁﺳﺎﻳﺸﻰ ﻧﻴﺴﺖ ﻛﻪ‬ ‫‪43‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،29‬ﺍﺭﺩﻳﺒﻬﺸﺖ ‪1392‬‬

‫ﻣﻬﻨﺪﺱ‪ :‬ﺑﻠﻪ‪.‬‬ ‫]ﻣﻬﻨﺪﺱ ﻭﺳﻴﻠﻪﺍﻯ ﺭﺍ ﻛﻪ ﻣﺜ ً‬ ‫ﻼ ﻟﺒﺎﺱ ﻓﻀﺎﻳﻰ ﺍﺳﺖ ﺭﻭﻯ ﻛﻮﻝ ﺭﺍﻫﺐ ﻣﻰﮔﺬﺍﺭﺩ ﻭ ﺳﻴﻨﻰ ﻓﻠﺰﻯ ﺭﺍ ﺑﻪ‬ ‫ﺩﺳﺘﺶ ﻣﻰﺩﻫﺪ‪[.‬‬ ‫ﻣﻬﻨﺪﺱ‪ :‬ﺑﻔﺮﻣﺎﻳﻴﺪ‪ ،‬ﻫﻤﻪ ﭼﻴﺰ ﺁﻣﺎﺩﻩ ﺍﺳﺖ ﻭ ﺍﻳﻦ ﻧﻘﺸﻪﻯ ﺭﺍﻫﻨﻤﺎﻯ ﺍﻟﻜﺘﺮﻭﻧﻴﻚ ﻫﻢ ﻣﺴﻴﺮ ﺭﺍ ﻧﺸﺎﻧﺘﺎﻥ‬ ‫ﺧﻮﺍﻫﺪ ﺩﺍﺩ‪ .‬ﺑﺎﺷﺪ ﻛﻪ ﺭﺍﻫﺘﺎﻥ ﺑﻪ ﭘﻴﺮﻭﺯﻯ ﺭﻫﻨﻤﻮﻥ ﺑﺎﺷﺪ‪.‬‬ ‫ﺭﺍﻫﺐ‪ :‬ﺩﺭﻭﺩ ﺑﺮ ﺗﻮ‪.‬‬ ‫]ﻣﻬﻨﺪﺱ ﺗﻌﻈﻴﻢ ﻣﻰﻛﻨﺪ ﻭ ﺧﺎﺭﺝ ﻣﻰﺷﻮﺩ‪[.‬‬ ‫ﺭﺍﻫﺐ‪ :‬ﺯﻣﺎﻥ ﺑﻪ ﻃﺮﺯ ﺩﺭﺩﺁﻭﺭﻯ ﻛﻮﺗﺎﻩ ﺍﺳﺖ‪ .‬ﺑﻬﺘﺮ ﺍﺳﺖ ﻫﺮ ﭼﻪ ﺳﺮﻳﻊﺗﺮ ﺍﺯ ﻫﻮﺍﺑﻨﺪ ﺍﺻﻠﻰ ﺧﺎﺭﺝ ﺷﺪﻩ‬ ‫ﻭ ﺑﻪ ﺭﺍﻩ ﺑﻴﻔﺘﻢ‪.‬‬ ‫]ﺭﺍﻫﺐ ﭼﻨﺪ ﮔﺎﻡ ﺑﻪ ﻃﺮﻑ ﺭﺍﺳﺖ ﺻﺤﻨﻪ ﻣﻰﺭﻭﺩ ﻭ ﺩﻭﺑﺎﺭﻩ ﺑﺮ ﻣﻰﮔﺮﺩﺩ؛ ﻣﺜ ً‬ ‫ﻼ ﺩﺭ ﺣﺎﻝ ﺣﺮﻛﺖ ﻭ ﺳﻔﺮ‬ ‫ﺍﺳﺖ‪ .‬ﺩﺭ ﺍﻳﻦ ﺑﻴﻦ‪ ،‬ﺩﺳﺘﻴﺎﺭﺍﻥ ﺻﺤﻨﻪ ﻣﻴﺰ ﺭﺍ ﺑﺮﺩﻩ ﻭ ﺗﺨﺘﻪﺍﻯ ﺭﺍ ﺭﻭﻯ ﺻﺤﻨﻪ ﻣﻰﺁﻭﺭﻧﺪ ﻭ ﺑﻪ ﺳﺘﻮﻧﻰ‬ ‫ﺗﻜﻴﻪ ﻣﻰﺩﻫﻨﺪ ﻛﻪ ﻣﺜ ً‬ ‫ﻼ ﻳﻚ ﻛﺎﻣﭙﻴﻮﺗﺮ ﺑﺰﺭگ ﺍﺳﺖ‪[.‬‬ ‫ﺭﺍﻫﺐ‪ :‬ﭼﻨﺎﻥ ﺳﺮﻳﻊ ﺣﺮﻛﺖ ﻛﺮﺩﻡ ﻛﻪ ﺭﺍﻫﻨﻤﺎﻳﻢ ﻣﻰﮔﻮﻳﺪ ﺑﻪ ﻫﻤﻴﻦ ﺯﻭﺩﻯ ﺑﻪ ﻣﻘﺼﺪ ﺭﺳﻴﺪﻩﺍﻡ‪ .‬ﺁﻥ‬ ‫ﮔﻨﺒﺪ ﺑﺮ ﻓﺮﺍﺯ ﺁﻥ ﻟﺒﻪ‪ ،‬ﻳﻌﻨﻰ ﺍﻗﺎﻣﺘﮕﺎﻫﺶ ﻫﻤﺎﻥ ﺑﻮﺩﻩ ﺍﺳﺖ؟ ﺑﺎﻳﺪ ﺟﻠﻮﺗﺮ ﺑﺮﻭﻡ‪.‬‬ ‫]ﺭﺍﻫﺐ ﺑﻪ ﻃﺮﻑ ﻛﺎﻣﭙﻴﻮﺗﺮ ﺧﻴﺎﻟﻰ ﻣﻰﺭﻭﺩ‪[.‬‬ ‫ﺭﺍﻫﺐ‪ :‬ﺍﻧﮕﺎﺭ ﺑﻰﻭﺯﻥ‪ ،‬ﭼﻮﻥ ﺭﻭﺡ ﺑﺮ ﻫﻮﺍ ﻣﻰﺭﻭﻡ؛ ﺟﻬﺎﻥ ﺩﺭ ﺍﻃﺮﺍﻓﻢ ﭼﻮﻥ ﻣﻬﻰ ﺍﺳﺖ‪ ،‬ﺳﻔﻴﺪ ﻭ ﺧﺸﻚ‪،‬‬ ‫ﺗﺎ ﺍﺑﺪ ﺗﻨﻬﺎ ﻭ ﺗﻬﻰ‪.‬‬ ‫ﻫﻢﺳﺮﺍﻳﺎﻥ‪ :‬ﺳﻜﻮﺕ ﺍﺑﺪﻯ ﻣﻜﺎﻥﻫﺎﻯ ﺑﻰﻛﺮﺍﻥ ﻣﻦ ﺭﺍ ﻣﻰﺗﺮﺳﺎﻧﺪ‪ .‬ﻭﻟﻰ ﺳﻜﻮﺕ ﺭﺍ ﺁﺭﺍﻣﺸﻰ ﻧﻴﺴﺖ‪.‬‬ ‫ﻫﻤﻴﻦ ﻣﻜﺎﻥﻫﺎ ﺟﻬﺎﻥ ﺭﺍ ﺑﻪ ﭘﻴﺶ ﺭﺍﻧﺪﻩ ﻭ ﺍﺷﻜﺶ ﺭﺍ ﺭﻭﺍﻥ ﻣﻰﺳﺎﺯﻧﺪ ﻭ ﺩﻭﺑﺎﺭﻩ ﺁﻥ ﺭﺍ ﺑﻪ ﭘﺲ ﺭﺍﻧﺪﻩ ﻭ‬ ‫ﻫﻴﭽﺶ ﻣﻰﻛﻨﻨﺪ‪ .‬ﺍﻧﺮژﻯ ﺩﺭ ﻫﻤﻪ ﺳﻮ ﺭﻭﺍﻥ ﺍﺳﺖ‪ ،‬ﺻﺪﺍﻯ ﻫﻴﺲ ﻧﺎﺷﻨﻴﺪﻧﻰ ﻧﻮﻳﺰ ﻧﺎﺩﻳﺪﻧﻰ ﺑﻠﻨﺪ ﺍﺳﺖ‪.‬‬ ‫ﺗﺨﺘﻪ ﺳﻨﮕﻰ ﺭﺍ ﻣﻰﺑﻴﻨﻢ ﻛﻪ ﭼﻮﻥ ﺳﻨﮓ ﮔﻮﺭﻯ ﺑﺎﺭﻳﻚ ﺍﺳﺖ ﺑﺮ ﻓﺮﺍﺯ ﺟﺎﻳﻰ ﻛﻪ ﺯﻣﺎﻧﻰ ﻳﺦﺭﻭﺩﻯ‬ ‫ﺟﺎﺭﻯ ﺑﻮﺩﻩ ﻭ ﺍﻛﻨﻮﻥ ﺍﺯ ﺁﻥ ﻓﻮﺍﺭﻩﺍﻯ ﺑﻪ ﺍﺭﺗﻔﺎﻉ ﺁﺳﻤﺎﻥ ﺑﻪ ﺳﻮﻯ ﺳﻴﺎﻫﻰ ﻣﻰﭘﺎﺷﺪ‪ .‬ﺟﺮﻳﺎﻥﻫﺎﻯ ﭘﻬﻨﺎﻭﺭ‬ ‫ﻭ ﻟﺮﺯﺍﻥ‪ ،‬ﺳﺘﺎﺭﮔﺎﻥ ﺭﺍ ﻣﻰﭘﻮﺷﺎﻧﻨﺪ ﻭ ﺍﺯ ﺧﻮﺩ ﺍﻓﻖ ﺧﺸﻢ ﺟﺎﺭﻯ ﺍﺳﺖ ﻛﻪ ﺭﻭ ﺑﻪ ﺳﻮﻯ ﻧﻴﺴﺘﻰ ﺩﺍﺭﺩ‪.‬‬ ‫ﺭﺍﻫﺐ‪ :‬ﺑﺰﺭگ ﺑﺎﺩ ﺁﻣﻴﺪﺍ؛ ﺳﺎﻟﻴﺎﻥ ﺳﺎﻝ ﭘﻴﺶ ﺭﻭﻛﻮﺭﻭ ﺑﻪ ﺍﻳﻦﺟﺎ ﺁﻣﺪ ﻛﻪ ﺁﻥ ﻣﻮﻗﻊ ﺟﺎﻳﻰ ﺩﻳﮕﺮ ﻭ ﺯﻣﺎﻧﻰ ﺩﻳﮕﺮ‬ ‫ﺍﺯ ﺣﺎﻻ ﺑﻮﺩ‪ .‬ﻭﻟﻰ ﻣﻦ ﺍﻛﻨﻮﻥ ﻫﻤﺎﻥ ﻣﺴﻴﺮ ﺭﺍ ﻣﻰﺭﻭﻡ‪ ،‬ﺑﻪ ﺍﻳﻦ ﺍﻣﻴﺪ ﻛﻪ ﻫﻤﭽﻨﺎﻥ ﺑﻪ ﺭﺳﺘﮕﺎﺭﻯ ﺭﻫﻨﻤﻮﻥ ﺷﻮﺩ‪.‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،29‬ﺍﺭﺩﻳﺒﻬﺸﺖ ‪1392‬‬

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‫ﻋﻠﻤﻰﺗﺨﻴﻠﻰ ‪ -‬ﺗﺮﺟﻤﻪ‬

‫ﻣﻬﻨﺪﺱ‪ :‬ﻣﺘﺎﺳﻔﺎﻧﻪ ﭼﺎﺭﻩﺍﻯ ﻧﺪﺍﺭﻳﻢ‪ .‬ﺩﻭ ﻗﺮﻥ ﻣﻰﺷﻮﺩ ﻛﻪ ﺍﻧﺴﺎﻥ ﻭ ﻣﺎﺷﻴﻦ ﻳﺦﻫﺎﻯ ﺍﻳﻦ ﺩﻧﺒﺎﻟﻪﺩﺍﺭ ﺭﺍ‬ ‫ﺟﺴﺘﺠﻮ ﻛﺮﺩﻩﺍﻧﺪ‪.‬‬ ‫ﻫﻢﺳﺮﺍﻳﺎﻥ‪ :‬ﭘﻴﺮﻭﺯﻯ ﻭ ﺗﺮﺍژﺩﻯ‪ ،‬ﺟﺸﻦ ﻭ ﻋﺰﺍ‪ ،‬ﮔﻮﺭﻫﺎﻯ ﻣﻘﺪﺱ‪ ،‬ﻭ ﺍﺛﺮ ﺩﺳﺘﺎﻥ ﺑﻪ ﻳﺎﺩ ﻣﺎﻧﺪﻧﻰ‪ .‬ﺑﻪ‬ ‫ﻣﻮﺷﻚﻫﺎ ﻏﺮﺵ ﺑﺨﺸﻴﺪﻩ ﻭ ﺑﻪ ﻛﻮﺩﻛﺎﻥ ﺯﺍﺩﻩ ﺷﺪﻩﻯ ﻓﺮﺍﻯ ﺯﻣﻴﻦ‪ ،‬ﻧﻔﺲ ﻣﻰﺩﻫﻴﻢ‪ .‬ﻣﺎ‪ ،‬ﺳﻴﺮﺍﺏ‬ ‫ﻛﻨﻨﺪﮔﺎﻧﻴﻢ‪ .‬ﺍﺯ ﺗﻼﺵ ﻣﺎﺳﺖ ﻛﻪ ﺁﺏﻫﺎ ﺍﺯ ﻣﻴﺎﻥ ﺑﻴﺸﻪﻫﺎﻯ ﺳﺒﺰ ﭼﻮﻥ ﺭﻭﻳﺎ ﺑﻪ ﺩﺭﻳﺎﭼﻪﻫﺎ ﻓﺮﻭ ﻣﻰﺭﻳﺰﻧﺪ؛‬ ‫ﺟﺎﻳﻰ ﻛﻪ ﺍﺯ ﺍﺯﻝ ﺳﻨﮓ ﺑﻮﺩ ﻭ ﻏﺒﺎﺭ ﺑﻮﺩ ﻭ ﺷﻜﻮﻓﻪﻫﺎﻯ ﺳﻔﻴﺪ ﺑﺮ ﻓﺮﺍﺯ ﻣﺮﻳﺦ ﺁﻭﻳﺨﺘﻪ ﺑﻮﺩﻧﺪ! ﺍﻣﺎ‬ ‫ﺍﻛﻨﻮﻥ ﺩﻧﺒﺎﻟﻪﺩﺍﺭ ﭼﻮﻧﺎﻥ ﭘﺮﻭﺍﻧﻪﺍﻯ ﺍﺯ ﺗﺎﺭﻳﻜﻰ ﺯﺍﻳﻨﺪﻩ ﺑﻪ ﺩﺳﺖ ﭼﭗ ﺁﻥ ﻭﺍﺭﺩ ﻣﻰﺷﻮﺩ‪ .‬ﺑﺎﺩ ﺧﻮﺭﺷﻴﺪﻯ‬ ‫ﮔﻮﺷﺖﻫﺎ ﺭﺍ ﺁﺏ ﻛﺮﺩﻩ‪ ،‬ﺍﺳﺘﺨﻮﺍﻥﻫﺎ ﺭﺍ ﺫﻭﺏ ﻧﻤﻮﺩﻩ‪ ،‬ﺩﻧﺪﺍﻥﻫﺎ ﺭﺍ ﻣﺒﺪﻝ ﺑﻪ ﺫﻏﺎﻝ ﮔﺪﺍﺧﺘﻪ ﻛﺮﺩﻩ‪،‬‬ ‫ﺳﻴﻠﻴﻜﻮﻥ ﺭﺍ ﺩﺭ ﻛﻮﺭﻩﻫﺎﻯ ﻣﺎﺷﻴﻨﻰ ﭼﻮﻥ ﺁﺏ ﺭﻭﺍﻥ ﻣﻰﺳﺎﺯﺩ‪ .‬ﻣﺎ ﺍﺯ ﺍﻳﻦ ﺧﺎﻧﻪﻯ ﺳﻮﺯﺍﻥ ﮔﺮﻳﺰﺍﻧﻴﻢ‪.‬‬ ‫ﻣﻬﻨﺪﺱ‪ :‬ﺷﺎﻳﺪ ﺑﻌﺪ ﺍﺯ ﮔﺬﺭ ﺍﺯ ﺣﻀﻴﺾ ﺑﺸﻮﺩ ﺩﻭﺑﺎﺭﻩ ﺑﺮﮔﺮﺩﻳﻢ‪.‬‬ ‫ﻫﻢﺳﺮﺍﻳﺎﻥ‪ :‬ﺩﺭ ﺗﺎﺑﺴﺘﺎﻥ ﭘﻴﺶﺭﻭ ﺷﻌﻠﻪﻫﺎ ﭼﻄﻮﺭ ﭼﻮﻥ ﻋﻠﻒﻫﺎﻯ ﺩﺷﺖ ﻣﻮﺝ ﺧﻮﺍﻫﻨﺪ ﺯﺩ‪ ،‬ﺩﺭ ﭘﺎﻳﻴﺰ‬ ‫ﻣﻪﻫﺎﻯ‬ ‫ﻏﺮﻳﺐ ﺩﺭ ﺑﺮ ﮔﻴﺮﻧﺪﻩ ﭼﻄﻮﺭ ﺍﻳﻦ ﺳﺮﺯﻣﻴﻦ ﺭﺍ ﺩﺭ ﺧﻮﺩ ﺧﻮﺍﻫﻨﺪ ﭘﻮﺷﺎﻧﺪ‪ ،‬ﻭ ﺳﻜﻮﻥ ﺯﻣﺴﺘﺎﻥ‬ ‫ِ‬ ‫ﻫﺰﺍﺭ ﺳﺎﻟﻪ ﭼﻄﻮﺭ ﺍﺯ ﺭﺍﻩ ﺧﻮﺍﻫﺪ ﺭﺳﻴﺪ؟‬ ‫ﻣﻬﻨﺪﺱ‪ :‬ﻓﻌ ً‬ ‫ﻼ ﺩﺍﺭﻳﻢ ﺑﺮﺍﻯ ﺗﺨﻠﻴﻪ ﺁﻣﺎﺩﻩ ﻣﻰﺷﻮﻳﻢ‪ .‬ﺳﻔﻴﻨﻪﺍﻯ ﻛﻪ ﺷﻤﺎ ﺭﺍ ﺁﻭﺭﺩ‪ ،‬ﻳﻜﻰ ﺍﺯ ﺳﻔﻴﻨﻪﻫﺎﻯ‬ ‫ﺑﺎﺭﻯ ﻣﺎ ﻣﻰﺷﻮﺩ‪ .‬ﻛﺎﺭﺗﺎﻥ ﻫﺮ ﭼﻰ ﻛﻪ ﻫﺴﺖ‪ ،‬ﻣﺘﺎﺳﻔﺎﻧﻪ ﻭﻗﺖ ﻛﻤﻰ ﺑﺮﺍﻯ ﺍﻧﺠﺎﻡ ﺁﻥ ﺩﺍﺭﻳﺪ‪.‬‬ ‫ﺭﺍﻫﺐ‪ :‬ﻣﺎﻳﻠﻢ ﮔﻨﺒﺪﻯ ﺭﺍ ﺑﺒﻴﻨﻢ ﻛﻪ ﺭﻭﻛﻮﺭﻭﻯ ﻣﻘﺪﺱ ﺩﺭ ﺁﻥ ﺯﻧﺪﮔﻰ ﻭ ﻣﺮﺍﻗﺒﻪ ﻣﻰﻛﺮﺩ‪.‬‬ ‫ﻣﻬﻨﺪﺱ‪ :‬ﭼﻘﺪﺭ ﻋﺠﻴﺐ! ﻓﻜﺮ ﻧﻤﻰﻛﻨﻢ ﻫﻴﭻ ﻛﺲ ﺗﺎ ﺑﻪ ﺣﺎﻝ ﺑﻪ ﺁﻥﺟﺎ ﺭﻓﺘﻪ ﺑﺎﺷﺪ‪ .‬ﺍﻟﺒﺘﻪ ﺑﻪ ﻋﻨﻮﺍﻥ‬ ‫ﻳﻚ ﻣﻌﺒﺪ ﻣﻘﺪﺱ ﺷﻨﺎﺧﺘﻪ ﻣﻰﺷﻮﺩ‪ ،‬ﻭﻟﻰ ﺩﺭ ﻓﺎﺻﻠﻪﻯ ﺩﻭﺭﻯ ﺍﺯ ﭘﺎﻳﮕﺎﻩ ﻣﺎ ﻣﺘﺮﻭﻙ ﺍﻓﺘﺎﺩﻩ ﺍﺳﺖ؛ ﻭ ﺩﺭ‬ ‫ﻫﺮ ﺣﺎﻝ‪ ،‬ﻣﺎ ﻫﻴﭻ ﻭﻗﺖ ﺑﻰ ﻛﺎﺭ ﻧﻴﺴﺘﻴﻢ‪ .‬ﻓﻌ ً‬ ‫ﻼ ﺗﻤﺎﻣﻰ ﺧﻮﺩﺭﻭﻫﺎﻯ ﺯﻣﻴﻦ ﺩﺭ ﺣﺎﻝ ﺍﺳﺘﻔﺎﺩﻩﺍﻧﺪ‪ .‬ﻭﻟﻰ ﺍﮔﺮ‬ ‫ﺍﺳﺘﻔﺎﺩﻩ ﺍﺯ ﻟﺒﺎﺱ ﻓﻀﺎﻳﻰ ﻭ ﺟﺖ ﭘﺸﺘﻰ ﺭﺍ ﺑﻠﺪ ﺑﺎﺷﻴﺪ‪ ،‬ﻣﻰﺗﻮﺍﻧﻢ ﻳﻜﻰ ﺑﻬﺘﺎﻥ ﺑﺪﻫﻢ‪ .‬ﺧﻮﺷﺒﺨﺘﺎﻧﻪ ﺩﺭ‬ ‫ﮔﺮﺩﺵ ﺩﻧﺒﺎﻟﻪﺩﺍﺭ ﻫﻢ ﭘﺎﻳﮕﺎﻩ ﻭ ﻫﻢ ﻣﻌﺒﺪ ﺗﻮﻯ ﺳﺎﻳﻪ ﺭﻓﺘﻪﺍﻧﺪ ﻭ ﻣﻰﺗﻮﺍﻧﻴﺪ ﺍﻣﻦ ﻭ ﺍﻣﺎﻥ ﺑﺎ ﻟﺒﺎﺱ ﻓﻀﺎﻳﻰ‬ ‫ﺑﺮﻭﻳﺪ‪ .‬ﻭﻟﻰ ﺩﻗﺖ ﻛﻨﻴﺪ ﻛﻪ ﻗﺒﻞ ﺍﺯ ﻃﻠﻮﻉ ﻛﺸﻨﺪﻩ ﺣﺘﻤﺎً ﺑﺮﮔﺮﺩﻳﺪ‪.‬‬ ‫ﺭﺍﻫﺐ‪ :‬ﻣﺘﺸﻜﺮﻡ‪ ،‬ﭼﻨﻴﻦ ﺧﻮﺍﻫﻢ ﻛﺮﺩ‪ .‬ﺍﮔﺮ ﺍﺷﺘﺒﺎﻩ ﻧﻜﻨﻢ‪ ،‬ﻧﻪ ﺳﺎﻋﺖ ﻭﻗﺖ ﺧﻮﺍﻫﻢ ﺩﺍﺷﺖ؟‬ ‫‪41‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،29‬ﺍﺭﺩﻳﺒﻬﺸﺖ ‪1392‬‬

‫ﺷﺨﺼﻴﺖﻫﺎ‬ ‫ﻳﻚ ﺭﺍﻫﺐ‬ ‫ﻳﻚ ﻣﻬﻨﺪﺱ‬ ‫ﻳﻚ ﺭﻭﺑﺎﺕ‬ ‫ﺭﻭﺡ ﺟﻮﺍﻧﻰ ﺭﻭﻛﻮﺭﻭ‬ ‫ﻣﻜﺎﻥ‬ ‫ﺩﻧﺒﺎﻟﻪﺩﺍﺭ ﻫﻴﻜﺎﺭﻭ‬ ‫ﺯﻣﺎﻥ‬ ‫ﺑﻬﺎﺭ ﺑﺰﺭگ‪ ،‬ﺳﺎﻝ ﺳﻮﻡ‬ ‫]ﻳﻚ ﺩﺳﺘﻴﺎﺭ ﻣﻴﺰﻯ ﺭﺍ ﺗﺎ ﻭﺳﻂ ﺻﺤﻨﻪ ﻣﻰﺁﻭﺭﺩ‪ .‬ﺭﻭﻯ ﺁﻥ ﻭﺳﻴﻠﻪﺍﻯ ﺍﺳﺖ ﻛﻪ ﺑﻪ ﻋﻨﻮﺍﻥ ﻳﻚ ﻟﺒﺎﺱ‬ ‫ﻓﻀﺎﻳﻰ ﺩﺭ ﻧﻈﺮ ﮔﺮﻓﺘﻪ ﺧﻮﺍﻫﺪ ﺷﺪ؛ ﻫﻤﭽﻨﻴﻦ ﻳﻚ ﺳﻴﻨﻰ ﻓﻠﺰﻯ ﺑﺎﺭﻳﻚ ﻫﻢ ﺭﻭﻯ ﻣﻴﺰ ﺩﻳﺪﻩ ﻣﻰﺷﻮﺩ‪[.‬‬ ‫]ﺭﺍﻫﺐ ﻭﺍﺭﺩ ﺷﺪﻩ ﻭ ﺩﺭ ﮔﻮﺷﻪﻯ ﺻﺤﻨﻪ ﻣﻰﺍﻳﺴﺘﺪ‪[.‬‬ ‫ﺭﺍﻫﺐ‪ :‬ﭼﻮﻧﺎﻥ ﺁﺗﺸﻰ ﭘﺪﻳﺪﺍﺭ ﺍﺯ ﺩﻭﺭ‪ ،‬ﭼﻮﻧﺎﻥ ﺁﺗﺸﻰ ﭘﺪﻳﺪﺍﺭ ﺍﺯ ﺩﻭﺭ‪ ،‬ﻛﻪ ﻣﺴﺎﻓﺮ ﺩﺭ ﺭﺍﻩ ﻣﺎﻧﺪﻩ ﺭﺍ ﺍﺯ ﺷﺐ‬ ‫ﺑﻪ ﺧﻮﺩ ﻣﻰﺧﻮﺍﻧﺪ‪ ،‬ﺭﻭﺷﻨﺎﻳﻰ ﺁﺳﻤﺎﻥ ﻧﻴﺰ ﭼﻨﻴﻦ ﮔﻮﻧﻪ ﺍﺳﺖ‪.‬‬ ‫]ﺭﺍﻫﺐ ﺑﻪ ﻃﺮﻑ ﻭﺳﻂ ﺻﺤﻨﻪ ﺑﺮ ﻣﻰﮔﺮﺩﺩ‪[.‬‬ ‫ﺭﺍﻫﺐ‪ :‬ﻣﻦ ﺭﺍﻫﺒﻰ ﺍﺯ ﻛﻴﻮﺗﻮ ﻭ ﺩﺭ ﺭﺍﻩ ﺯﻳﺎﺭﺕ ﻫﺴﺘﻢ‪ .‬ﺁﺭﺯﻭﻯ ﻣﻦ ﺩﻧﺒﺎﻝ ﻛﺮﺩﻥ ﻣﺴﻴﺮ ﺭﻭﻛﻮﺭﻭﻯ ﻣﻘﺪﺱ‬ ‫ﺍﺳﺖ ﻛﻪ ﺑﻴﺶ ﺍﺯ ﺻﺪ ﺳﺎﻝ ﭘﻴﺶ‪ ،‬ﺑﻪ ﺩﻧﺒﺎﻝ ﻭﺍﺭﺳﺘﮕﻰ ﺩﺭ ﻣﻴﺎﻥ ﺳﻴﺎﺭﻩﻫﺎ ﺑﻪ ﺳﻔﺮ ﭘﺮﺩﺍﺧﺖ‪ .‬ﺍﻭ ﺩﺭ‬ ‫ﺟﻬﺎﻧﻰ ﻛﻪ ﺧﻮﺭﺷﻴﺪ ﺩﺭ ﺁﺳﻤﺎﻧﺶ ﺭﻭﺷﻦﺗﺮﻳﻦ ﺳﺘﺎﺭﻩ ﺑﻮﺩ‪ ،‬ﺑﻪ ﻣﻘﺎﻡ ﻧﻴﺮﻭﺍﻧﺎ ﻧﺎﻳﻞ ﺁﻣﺪ‪ .‬ﺩﺭ ﺍﺑﺘﺪﺍﻯ ﺳﻔﺮ‪،‬‬ ‫ﺍﻭ ﺑﻪ ﺩﻧﺒﺎﻟﻪﺩﺍﺭ ﻫﻴﻜﺎﺭﻭ ﺭﺳﻴﺪ ﻭ ﻣﺪﺗﻰ ﺭﻭﻯ ﺁﻥ ﺍﻗﺎﻣﺖ ﮔﺰﻳﺪ‪ .‬ﻭ ﻣﻦ ﻧﻴﺰ ﺍﻛﻨﻮﻥ ﺑﺮ ﺁﻥ ﻓﺮﻭﺩ ﺁﻣﺪﻩﺍﻡ‪.‬‬ ‫]ﻣﻬﻨﺪﺱ ﻭﺍﺭﺩ ﻣﻰﺷﻮﺩ‪[.‬‬ ‫ﻣﻬﻨﺪﺱ‪ :‬ﺑﻪ ﭘﺎﻳﮕﺎﻩ ﻣﺎ ﺧﻮﺵ ﺁﻣﺪﻳﺪ‪ ،‬ﻋﺎﻟﻴﺠﻨﺎﺏ ﻣﻘﺪﺱ‪ .‬ﻣﺘﺎﺳﻔﺎﻧﻪ ﻣﻮﻗﻊ ﺧﻮﺑﻰ ﻭﺍﺭﺩ ﻧﺸﺪﻩﺍﻳﺪ ﻭ ﻣﻦ‬ ‫ﻫﻢ ﺳﺮﻡ ﺧﻴﻠﻰ ﺷﻠﻮﻍ ﺍﺳﺖ‪ ،‬ﻭﻟﻰ ﺑﺎﻋﺚ ﺍﻓﺘﺨﺎﺭﻡ ﺧﻮﺍﻫﺪ ﺑﻮﺩ ﻛﻪ ﺗﺎ ﺟﺎﻯ ﻣﻤﻜﻦ ﺩﺭ ﺧﺪﻣﺘﺘﺎﻥ ﺑﺎﺷﻢ‪.‬‬ ‫ﺭﺍﻫﺐ‪ :‬ﺳﭙﺎﺳﮕﺰﺍﺭﻡ‪ .‬ﺷﻨﻴﺪﻩﺍﻡ ﺁﻣﺎﺩﻩ ﻣﻰﺷﻮﻳﺪ ﺗﺎ ﺍﻳﻦ ﭘﺎﻳﮕﺎﻩ ﺭﺍ ﺭﻫﺎ ﻛﻨﻴﺪ‪.‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،29‬ﺍﺭﺩﻳﺒﻬﺸﺖ ‪1392‬‬

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‫ﻋﻠﻤﻰﺗﺨﻴﻠﻰ ‪ -‬ﺗﺮﺟﻤﻪ‬

‫ﺭﻭﻛﻮﺭﻭ‬ ‫ﭘﻮﻝ ﺍﻧﺪﺭﺳﻮﻥ‬ ‫ﺷﻴﺮﻳﻦ ﺳﺎﺩﺍﺕ ﺻﻔﻮﻯ‬

‫ﻧﻘﺶ ﻫﻢﴎاﯾﺎن در ﺗﺌﺎﺗﺮ ﺑﻪ ﺳﺒﮏ ﯾﻮﻧﺎن ﺑﺎﺳﺘﺎن‪ ،‬اﻇﻬﺎر ﻧﻈﺮ در ﻣﻮرد ﻋﻤﻠﮑﺮد ﻧﻘﺶآﻓﺮﯾﻨﺎن و‬ ‫ﺑﯿﺎن اوﺿﺎع و اﺣﻮال ﺻﺤﻨﻪﻫﺎ ﺑﺮای متﺎﺷﺎﭼﯿﺎن اﺳﺖ‪ .‬در اﯾﻦﺟﺎ ﻫﻢﴎاﯾﺎن از زﺑﺎن ﺷﺨﺼﯿﺖﻫﺎ‬ ‫ﻧﯿﺰ ﺑﻪ ﺷﮑﻠﯽ ﺣامﺳﯽﺗﺮ ﺳﺨﻦ ﻣﯽﮔﻮﯾﻨﺪ‪ .‬اﯾﻦ ﺳﺒﮏ ﺗﺌﺎﺗﺮ ﺑﺴﯿﺎر ﺳﺎده اﺳﺖ و ﻣﻌﻤﻮﻻً از‬ ‫ﺳﻪ ﯾﮕﺎﻧﮕﯽ »زﻣﺎن‪ ،‬ﻣﮑﺎن‪ ،‬ﻋﻤﻠﮑﺮد« ﭘﯿﺮوی ﻣﯽﮐﻨﺪ؛ ﺑﻪ اﯾﻦ ﻣﻌﻨﺎ ﮐﻪ ﮐﻞ منﺎﯾﺶ ﺣﻮل ﯾﮏ‬ ‫»ﻋﻤﻠﮑﺮد« ﯾﺎ ﺗﻢ ﻣﯽﭼﺮﺧﺪ و زﯾﺮداﺳﺘﺎن ﻧﺪارد و ﺷﺎﻣﻞ اﺗﻔﺎﻗﺎت ﺣﺪاﮐرث ‪ ۲۴‬ﺳﺎﻋﺖ ‪-‬ﯾﮕﺎﻧﮕﯽ‬ ‫زﻣﺎن‪ -‬در ﯾﮏ ﻣﺤﺪوده ﻣﮑﺎﻧﯽ ﻣﺸﺨﺺ ﻣﯽﺷﻮد‪ .‬در اﯾﻦ منﺎﯾﺸﻨﺎﻣﻪ‪ ،‬متﺎﻣﯽ ﺟﻬﺖﻫﺎی ﺻﺤﻨﻪ‬ ‫ﺟﻠﻮ‪ ،‬ﻋﻘﺐ‪ ،‬وﺳﻂ‪ -‬ﺑﻪ ژاﭘﻨﯽ ذﮐﺮ ﺷﺪه ﺑﻮدﻧﺪ‪.‬‬‫ﻣﱰﺟﻢ‬

‫ﻋﻠﻤﻰﺗﺨﻴﻠﻰ ‪ -‬ﺗﺮﺟﻤﻪ‬

‫‪ .۱۰‬آﯾﺎ ﺣﻘﯿﻘﺖ دارد ﮐﻪ ﻣﺎﯾﮑﺮوﺳﺎﻓﺖ ﺑﺮای ﻣﺤﺎﻓﻈﺖ از وﯾﻨﺪوز اوﻟﱰا در ﺑﺮاﺑﺮ ﴎﻗﺖ ﯾﺎ ﻣﻬﻨﺪﺳﯽ‬ ‫ﻣﻌﮑﻮس از ﺗﻠﻪﻫﺎی ﺑﺎزﯾﻠﯿﺴﮑﯽ اﺳﺘﻔﺎده ﻣﯽﮐﻨﺪ؟‬ ‫ﺣﺮﻓﻰ ﺑﺮﺍﻯ ﮔﻔﺘﻦ ﻧﺪﺍﺭﻳﻢ‪.‬‬

‫‪1. William Gibson‬‬ ‫‪2. Fred Hoyle‬‬ ‫‪3. J. B. Priestly‬‬

‫‪4.Piers Anthony‬‬ ‫‪5. Monty Python’s Flying Circus‬‬

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‫ﺷﻤﺎﺭﻩﻯ ‪ ،29‬ﺍﺭﺩﻳﺒﻬﺸﺖ ‪1392‬‬

‫ﺍﻧﺴﺎﻥ ﺑﻪ ﺳﻨﮓ ﻣﻰﺷﻮﺩ‪ .‬ﻃﺒﻖ ﻳﻚ ﺍﻓﺴﺎﻧﻪﻯ ﻗﺪﻳﻤﻰ‪ ،‬ﻧﮕﺎﻩ ﻛﺮﺩﻥ ﺑﻪ ﺑﺎﺯﻳﻠﻴﺴﻚ ﺍﺯ ﻃﺮﻳﻖ ﺁﻳﻨﻪ‬ ‫ﺑﻰﺧﻄﺮ ﺍﺳﺖ‪ .‬ﺍﻣﺎ ﺍﻳﻦ ﺩﺭ ﻣﻮﺭﺩ ﻧﺴﺨﻪﻫﺎﻯ ﻣﺪﺭﻥ ﺁﻥﻫﺎ ﺻﺪﻕ ﻧﻤﻰﻛﻨﺪ‪ .‬ﺍﮔﺮﭼﻪ ﺑﺎﺯﻳﻠﻴﺴﻚﻫﺎﻳﻰ‬ ‫ﻣﺎﻧﻨﺪ ﺑﻰ‪ 756-‬ﻛﻪ ﻛﺎﻣ ً‬ ‫ﻼ ﻧﺎﻣﺘﻘﺎﺭﻥ ﻫﺴﺘﻨﺪ‪ ،‬ﺗﻨﻬﺎ ﺩﺭ ﺻﻮﺭﺗﻰ ﻣﺮﮔﺒﺎﺭﻧﺪ ﻛﻪ ﺑﺴﺘﻪ ﺑﻪ ﻧﻴﻢﻛﺮﻩﻯ ﻏﺎﻟﺐ‬ ‫ﻣﻐﺰ ﻗﺮﺑﺎﻧﻰ‪ ،‬ﺑﻪ ﺗﺼﻮﻳﺮ ﻣﺴﺘﻘﻴﻢ ﻳﺎ ﺍﻧﻌﻜﺎﺱ ﺁﻥﻫﺎ ﻧﮕﺮﻳﺴﺘﻪ ﺷﻮﺩ‪.‬‬

‫‪ .۷‬آﯾﺎ اﯾﻦ ﻓﻘﻂ ﯾﮏ اﻓﺴﺎﻧﻪی ﻣﺤﻠﯽ اﺳﺖ ﮐﻪ ﻧﺨﺴﺘﯿﻦ ﺑﺎزﯾﻠﯿﺴﮏ ﺧﺎﻟﻖ ﺧﻮدش را ﻧﺎﺑﻮد ﮐﺮد؟‬ ‫ﺗﻘﺮﻳﺒﺎً ﺗﻤﺎﻡ ﭼﻴﺰﻫﺎﻯ ﻣﺮﺗﺒﻂ ﺑﺎ ﺍﺗﻔﺎﻗﻰ ﻛﻪ ﺩﺭ ﺗﺎﺳﻴﺴﺎﺕ ﺍﺑﺮ ﺭﺍﻳﺎﻧﻪﻯ ﻛﻤﺒﺮﻳﺞ‪ 4‬ﺍﻓﺘﺎﺩ‪ ،‬ﺗﻮﻗﻴﻒ ﺷﺪﻩ‬ ‫ﻭ ﺑﻪ ﻋﻨﻮﺍﻥ ﺩﺍﻧﺶ ﺑﺴﻴﺎﺭ ﺧﻄﺮﻧﺎﻙ ﻃﺒﻘﻪﺑﻨﺪﻯ ﺷﺪﻩﺍﻧﺪ‪ .‬ﺑﺮﻳﻤﻦ ﺁﺧﺮﻳﻦ ﺁﺯﻣﺎﻳﺶﻫﺎﻳﺶ ﺭﺍ ﺩﺭ ﺁﻥﺟﺎ‬ ‫ﭘﺮﺳﻨﻞ ﺗﺎﺳﻴﺴﺎﺕ ﺟﺎﻥ ﺧﻮﺩ ﺭﺍ ﺍﺯ ﺩﺳﺖ‬ ‫ﺍﻧﺠﺎﻡ ﺩﺍﺩ‪ .‬ﺑﺎﻭﺭ ﻋﻤﻮﻣﻰ ﺑﺮ ﺍﻳﻦ ﺍﺳﺖ ﻛﻪ ﺑﺮﻳﻤﻦ ﻭ ﺑﻴﺸﺘﺮ‬ ‫ِ‬ ‫ﺩﺍﺩﻧﺪ‪ .‬ﺩﺭ ﭘﻰ ﺁﻥ‪ ،‬ﻛﭙﻰﻫﺎﻳﻰ ﺍﺯ ﺑﺎﺯﻳﻠﻴﺴﻚ ﺑﻰ‪ 1-‬ﺑﻪ ﺑﻴﺮﻭﻥ ﺩﺭﺯ ﻛﺮﺩ‪ .‬ﺍﻳﻦ ﺗﺼﻮﻳﺮ ﺑﺎ ﻧﺎﻡ »ﻃﻮﻃﻰ«‬ ‫ﺷﻬﺮﺕ ﻳﺎﻓﺘﻪ‪ ،‬ﭼﺮﺍ ﻛﻪ ﺍﮔﺮ ﺁﻥ ﺭﺍ ﺑﻪ ﺣﺪ ﻛﺎﻓﻰ ﺗﺎﺭ ﻛﻨﻴﻢ ﻛﻪ ﻧﮕﺮﻳﺴﺘﻦ ﺑﻪ ﺁﻥ ﺑﻰﺧﻄﺮ ﺑﺎﺷﺪ‪ ،‬ﺷﺒﻴﻪ‬ ‫ﻳﻚ ﻃﻮﻃﻰ ﺑﻪ ﻧﻈﺮ ﻣﻰﺭﺳﺪ‪ .‬ﺑﻰ‪ 1-‬ﻫﻤﭽﻨﺎﻥ ﻧﺨﺴﺘﻴﻦ ﺍﻧﺘﺨﺎﺏ ﺗﺮﻭﺭﻳﺴﺖﻫﺎﻯ ﺷﻬﺮﻯ ﺍﺳﺖ ﻛﻪ ﺑﻪ‬ ‫ﻭﺳﻴﻠﻪﻯ ﻳﻚ ﺍﺳﭙﺮﻯ ﻭ ﻳﻚ ﺷﺎﺑﻠﻮﻥ‪ ،‬ﺗﺼﻮﻳﺮ ﺑﺎﺯﻳﻠﻴﺴﻚ ﺭﺍ ﺭﻭﻯ ﺩﻳﻮﺍﺭﻫﺎ ﻧﻘﺎﺷﻰ ﻣﻰﻛﻨﻨﺪ‪.‬‬ ‫ﺍﻣﺎ ﺳﺎﻳﺮ ﺑﺎﺯﻳﻠﻴﺴﻚﻫﺎ ﺑﺎ ﺍﺳﺘﻔﺎﺩﻩ ﺍﺯ ﻧﻈﺮﻳﺎﺕ ﺑﺮﻳﻤﻦ ﺳﺎﺧﺘﻪ ﺷﺪﻧﺪ‪ .‬ﺑﻰ‪ 2-‬ﻛﻤﻰ ﺑﻌﺪ ﺩﺭ ﺁﺯﻣﺎﻳﺸﮕﺎﻩ‬ ‫ﻟﻮﺭﻧﺲ ﻟﻴﻮﺭﻣﻮﺭ ﺳﺎﺧﺘﻪ ﺷﺪ ﻭ ﺑﻌﺪ ﻓﺎﺟﻌﻪﻯ ﺳﺎﺧﺖ ﺑﻰ‪ 3-‬ﺩﺭ ﺍﻡﺁﻯﺗﻰ ﭘﻴﺶ ﺁﻣﺪ‪.‬‬

‫‪ .۸‬آﯾﺎ ﺑﺎزﯾﻠﯿﺴﮏﻫﺎ در ﻗﺎﻟﺐ ﻓﺮاﮐﺘﺎلﻫﺎی ﻣﻨﺪلﺑﺮوت وﺟﻮد دارﻧﺪ؟‬ ‫ﺑﻠﻪ‪ ،‬ﺩﻭ ﺧﺎﻧﻮﺍﺩﻩﻯ ﺷﻨﺎﺧﺘﻪ ﺷﺪﻩ ﻭﺟﻮﺩ ﺩﺍﺭﺩ ﻛﻪ ﺩﺭ ﻣﻮﻗﻌﻴﺖﻫﺎﻯ ﻣﺘﻘﺎﺭﻥ‪ ،‬ﺗﺤﺖ ﺑﺰﺭﮔﻨﻤﺎﻳﻰ‬ ‫ﻓﻮﻕﺍﻟﻌﺎﺩﻩ ﻗﺎﺑﻞ ﺭﻭﻳﺖ ﻫﺴﺘﻨﺪ‪ .‬ﺧﻴﺮ‪ ،‬ﺑﻪ ﺷﻤﺎ ﻧﺨﻮﺍﻫﻴﻢ ﮔﻔﺖ ﻛﺠﺎﻯ ﺍﻳﻦ ﻗﺎﻟﺐ‪.‬‬

‫‪ .۹‬ﭼﻄﻮر ﻣﯽﺗﻮاﻧﻢ ﺑﺮای ﮔﺬاﺷنت ﺗﺼﻮﯾﺮ ﺗﻮی وﺑﮕﺎﻫﻢ ﻣﺠﻮز ﺑﮕﯿﺮم؟‬ ‫ﺍﻳﻦ ﺳﺌﻮﺍﻝ ﻣﺮﺑﻮﻁ ﺑﻪ ﺑﺨﺶ »ﺍﺧﺒﺎﺭ‪/‬ﺍﻋﻼﻧﺎﺕ‪/‬ﻛﺎﺭﺑﺮﺍﻥ ﺗﺎﺯﻩ« ﻣﻰﺷﻮﺩ‪ ،‬ﻭﻟﻰ ﻣﺪﺍﻡ ﺍﻳﻦﺟﺎ ﭘﺮﺳﻴﺪﻩ‬ ‫ﻣﻰﺷﻮﺩ‪ .‬ﺑﻪ ﻃﻮﺭ ﺧﻼﺻﻪ‪ :‬ﺑﺪﻭﻥ ﻣﺠﻮﺯ ﺩﺭ ‪ ASCII‬ﻳﺎ ‪ ANSI‬ﺩﻭﻟﺘﻰ ﻛﻪ ﺑﻪ ﻧﺪﺭﺕ ﺩﺍﺩﻩ ﻣﻰﺷﻮﺩ‪،‬‬ ‫ﺷﻤﺎ ﻧﻤﻰﺗﻮﺍﻧﻴﺪ ﭼﻨﻴﻦ ﻛﺎﺭﻯ ﺑﻜﻨﻴﺪ‪ .‬ﺍﺳﺘﻔﺎﺩﻩ ﺍﺯ ﻫﺮ ﭼﻴﺰ ﺩﻳﮕﺮﻯ ﺑﻪ ﺟﺰ ﻣﺘﻦﻫﺎﻯ ﻭﺑﮕﺎﻩ ﻳﺎ ﺍﻳﻤﻴﻠﺘﺎﻥ‪،‬‬ ‫ﺭﺍﻫﻰ ﺗﻀﻤﻴﻦ ﺷﺪﻩ ﺑﺮﺍﻯ ﻗﻄﻊ ﺍﺷﺘﺮﺍﻛﺘﺎﻥ ﺍﺳﺖ‪ .‬ﻫﻤﻪﻯ ﻣﺎ ﺩﻟﺘﻨﮓ ﻭﺏﻫﺎﻯ ﺭﻧﮕﻰ ﻗﺪﻳﻤﻰ ﻭ ﻫﻤﭽﻨﻴﻦ‬ ‫ﺗﻠﻮﻳﺰﻳﻮﻥﻫﺎ ﻫﺴﺘﻴﻢ‪ .‬ﻭﻟﻰ ﺍﻳﻦ ﭼﻴﺰﻫﺎ ﺍﻣﺮﻭﺯﻩ ﺑﺴﻴﺎﺭ ﺧﻄﺮﻧﺎﻛﻨﺪ‪.‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،29‬ﺍﺭﺩﻳﺒﻬﺸﺖ ‪1392‬‬

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‫ﻋﻠﻤﻰﺗﺨﻴﻠﻰ ‪ -‬ﺗﺮﺟﻤﻪ‬

‫ﺍﺯ ﻳﻚ ﺑﻴﮕﺎﻧﻪﻯ ﺍﺣﺘﻤﺎﻻً ﺧﻴﺮﺧﻮﺍﻩ )ﻛﻪ ﺩﺍﺭﺍﻯ ﮔﻨﺠﺎﻳﺶ ﺫﻫﻨﻰ ﻓﻮﻕ ﺑﺸﺮﻯ ﺍﺳﺖ(‪ ،‬ﻣﻰﺗﻮﺍﻧﺪ ﺑﺎﻋﺚ‬ ‫ﺍﻋﻤﺎﻝ ﺍﺿﺎﻓﻪ ﺑﺎﺭ ﺑﻪ ﻣﻐﺰ ﻭ ﺳﻮﺧﺘﻦ ﺁﻥ ﺷﻮﺩ‪.‬‬ ‫ﻳﻚ ﻣﻮﺭﺩ ﻧﺰﺩﻳﻚ ﺑﻪ ﻭﺍﻗﻌﻴﺖ ﺩﺭ »ﺗﺼﺎﻭﻳﺮ ﺧﻮﺍﺏ« ﺍﺛﺮ ﺟﻰ‪ .‬ﺑﻰ‪ .‬ﭘﺮﻳﺴﺘﻠﻰ ]‪ [3‬ﻣﻄﺮﺡ ﺷﺪﻩ ﻛﻪ‬ ‫ﺗﺼﺎﻭﻳﺮﻯ ﺍﺯ ﺑﻬﺘﺮﻳﻦ ﻧﻤﻮﻧﻪﻫﺎﻯ ﺍﺷﻴﺎ ﺭﺍ ﺗﺼﻮﺭ ﻣﻰﻛﻨﺪ ﻛﻪ ﺍﺟﺒﺎﺭﺍ ً ﺍﺣﺴﺎﺳﺎﺕ ﺧﺎﺻﻰ ﺭﺍ ﺩﺭ ﺫﻫﻦ ﺍﻳﺠﺎﺩ‬ ‫ﻣﻰﻛﻨﻨﺪ ﻭ ﺍﺯ ﺁﻥﻫﺎ ﺩﺭ ﺗﺒﻠﻴﻐﺎﺕ ﺍﺳﺘﻔﺎﺩﻩ ﻣﻰﺷﻮﺩ‪.‬‬ ‫ﭘﻴﺮﺱ ﺁﻧﺘﻮﻧﻰ ]‪ [4‬ﺩﺭ »ﻣﺎﻛﺮﻭﺳﻜﻮپ« )ﺑﻪ ﺳﺎﻝ ‪ ،(1969‬ﺑﻪ ﺗﻮﺻﻴﻒ »ﺁﺭﺍﻳﺶ ﻣﺨﺮﺏ« ﻣﻰﭘﺮﺩﺍﺯﺩ‪.‬‬ ‫ﻳﻚ ﺁﺭﺍﻳﺶ ﻫﺪﻓﻤﻨﺪ ﺍﺯ ﺗﺼﺎﻭﻳﺮ ﻛﻪ ﺟﻬﺖ ﺣﻔﺎﻇﺖ ﺍﺯ ﺣﺮﻳﻢ ﺧﺼﻮﺻﻰ ﺍﺭﺗﺒﺎﻃﺎﺕ ﻛﻬﻜﺸﺎﻧﻰ ﺑﻪ ﻛﺎﺭ‬ ‫ﻣﻰﺭﻭﺩ ﻭ ﺫﻫﻦ ﺷﻨﻮﺩ ﻛﻨﻨﺪﮔﺎﻥ ﺭﺍ ﭘﺎﻙ ﻣﻰﻛﻨﺪ‪.‬‬ ‫ﺍﻧﺠﻤﻦ ﺑﺎﺯﻳﻠﻴﺴﻚ ﻣﺎﻳﻞ ﻧﻴﺴﺖ ﺩﻭﺑﺎﺭﻩ ﭘﻴﻐﺎﻣﻰ ﺩﺍﺷﺘﻪ ﺑﺎﺷﺪ ﻣﺒﻨﻰ ﺑﺮ ﻳﺎﺩﺁﻭﺭﻯ ﺍﻳﻦ ﻣﺴﺎﻟﻪ ﻛﻪ ﺭﻣﺎﻥ‬ ‫ﻣﺎﻛﺮﻭﺳﻜﻮپ ﻭ ﻗﺴﻤﺖ ﺍﻭﻝ ﺑﺮﻧﺎﻣﻪﻯ ﺗﻠﻮﻳﺰﻳﻮﻧﻰ ﺳﻴﺮﻙ ﭘﺮﻧﺪﻩﻯ ﻣﻮﻧﺘﻰ ﭘﻴﺘﻮﻥ ]‪ ،[5‬ﻫﺮ ﺩﻭ ﺩﺭ ﻳﻚ‬ ‫ﺳﺎﻝ ﻭ ﻳﻚ ﻣﺎﻩ ﻣﻨﺘﺸﺮ ﺷﺪﻧﺪ‪ .‬ﺩﺭ ﺍﻳﻦ ﺑﺮﻧﺎﻣﻪ ﻃﺮﺡ ﻣﻌﺮﻭﻓﻰ ﺍﺭﺍﺋﻪ ﺷﺪ ﻣﺒﻨﻰ ﺑﺮ ﺍﺭﺍﺋﻪﻯ ﺧﻨﺪﻩﺩﺍﺭﺗﺮﻳﻦ‬ ‫ﻟﻄﻴﻔﻪﻯ ﻣﻤﻜﻦ‪ ،‬ﻃﻮﺭﻯ ﻛﻪ ﺷﻨﻮﻧﺪﮔﺎﻧﺶ ﺍﺯ ﺷﺪﺕ ﺧﻨﺪﻩ ﺩﭼﺎﺭ ﺧﻔﮕﻰ ﻭ ﻣﺮگ ﺷﻮﻧﺪ‪.‬‬

‫‪ .۵‬ﻧﺤﻮهی ﻋﻤﻠﮑﺮد ﯾﮏ ﺑﺎزﯾﻠﯿﺴﮏ ﭼﮕﻮﻧﻪ اﺳﺖ؟‬ ‫ﭘﺎﺳﺦ ﻛﻮﺗﺎﻩ ﭼﻨﻴﻦ ﺍﺳﺖ‪ :‬ﻧﻤﻰﺗﻮﺍﻧﻴﻢ ﺑﮕﻮﻳﻴﻢ‪ .‬ﺍﻃﻼﻋﺎﺕ ﻛﺎﻣﻞﺗﺮ ﺩﺭ ﺭﺩﻩﻯ ﻓﻮﻕﻣﺤﺮﻣﺎﻧﻪ ﻃﺒﻘﻪﺑﻨﺪﻯ‬ ‫ﻣﻰﺷﻮﻧﺪ‪.‬‬ ‫ﭘﺎﺳﺦ ﻣﺸﺮﻭﺡ ﻣﺒﺘﻨﻰ ﺑﺮ ﻣﻘﺎﻟﻪﻯ ﻋﻠﻤﻰ‪-‬ﻋﻤﻮﻣﻰ ﺑﺮﻳﻤﻦ )ﻧﻴﻮ ﺳﺎﻳﻨﺘﻴﺴﺖ‪ (2001 ،‬ﺍﺳﺖ ﻛﻪ ﺩﺭ‬ ‫ﺁﻥ ﺍﻳﺪﻩﻫﺎﻳﺶ ﺭﺍ ﺗﺸﺮﻳﺢ ﻣﻰﻛﻨﺪ‪ .‬ﻭﻯ ﺫﻫﻦ ﺍﻧﺴﺎﻥ ﺭﺍ ﺑﻪ ﺻﻮﺭﺕ ﻳﻚ ﺳﻴﺴﺘﻢ ﺭﺍﻳﺎﻧﺶ ﻗﺮﺍﺭﺩﺍﺩﻯ‬ ‫ﻗﻄﻌﻰ ﻓﺮﺽ ﻣﻰﻛﻨﺪ‪ .‬ﺍﻳﻦ ﺳﻴﺴﺘﻢ ﻫﻤﺎﻥ ﻃﻮﺭ ﻛﻪ ﺻﻮﺭﺗﻰ ﺩﻳﮕﺮ ﺍﺯ ﺗﺌﻮﺭﻯ ﺭﻳﺎﺿﻰ ﮔﻮﺩﻝ ﭘﻴﺶﺑﻴﻨﻰ‬ ‫ﻣﻰﻛﻨﺪ‪ ،‬ﻣﻤﻜﻦ ﺍﺳﺖ ﺗﻮﺳﻂ ﺍﻓﻜﺎﺭﻯ ﻛﻪ ﺫﻫﻦ ﺍﺯ ﻟﺤﺎﻅ ﻓﻴﺰﻳﻜﻰ ﻳﺎ ﻣﻨﻄﻘﻰ ﻗﺎﺩﺭ ﺑﻪ ﺗﻔﻜﺮﺷﺎﻥ ﻧﻴﺴﺖ‪،‬‬ ‫ﺁﺳﻴﺐ ﺑﺒﻴﻨﺪ‪ .‬ﺗﻜﻨﻴﻚ ﺷﻜﻞﺳﺎﺯﻯ ﺍﺳﺘﺪﻻﻟﻰ ﭼﻨﻴﻦ ﺍﻓﻜﺎﺭﻯ ﺭﺍ ﺩﺭ ﻗﺎﻟﺐ ﺻﻮﺭﺕﻫﺎﻳﻰ ﺻﺮﻓﺎً ﺑﺼﺮﻯ‬ ‫ﻧﻤﺎﻳﺶ ﻣﻰﺩﻫﺪ‪ .‬ﻣﺜﻞ ﻳﻚ ﺗﺼﻮﻳﺮ ﺑﺎﺯﻳﻠﻴﺴﻚ ﻛﻪ ﺍﻋﺼﺎﺏ ﺑﻴﻨﺎﻳﻰ ﻣﺎ ﺁﻥ ﺭﺍ ﻣﻰﭘﺬﻳﺮﺩ‪ ،‬ﺩﺭ ﺣﺎﻟﻰ‬ ‫ﻛﻪ ﻧﻤﻰﺗﻮﺍﻧﻨﺪ ﭘﺸﺘﻴﺒﺎﻧﻰ ﻛﻨﺪ‪ .‬ﻧﺘﻴﺠﻪ ﻓﺎﺟﻌﻪﺑﺎﺭ ﺍﺳﺖ‪ .‬ﻣﺜﻞ ﺍﻳﻦ ﺍﺳﺖ ﻛﻪ ﻳﻚ ﻭﻳﺮﻭﺱ ﻣﺨﻔﻰﻛﺎﺭ‬ ‫ﻧﺮﻡﺍﻓﺰﺍﺭﻯ ﺑﻪ ﻣﻐﺰ ﺭﺧﻨﻪ ﻛﻨﺪ‪.‬‬

‫‪ .۶‬ﭼﺮا »ﺑﺎزﯾﻠﯿﺴﮏ«؟‬ ‫ﺑﺎﺯﻳﻠﻴﺴﻚ ﻧﺎﻡ ﻳﻚ ﻣﻮﺟﻮﺩ ﺍﻓﺴﺎﻧﻪﺍﻯ ﺍﺳﺖ‪ .‬ﺧﺰﻧﺪﻩﺍﻯ ﻛﻪ ﺗﻨﻬﺎ ﻳﻚ ﻧﮕﺎﻩ ﺑﻪ ﺁﻥ ﺑﺎﻋﺚ ﺗﺒﺪﻳﻞ ﺷﺪﻥ‬ ‫‪35‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،29‬ﺍﺭﺩﻳﺒﻬﺸﺖ ‪1392‬‬

‫‪ .۱‬ﻫﺪف از اﯾﺠﺎد اﯾﻦ ﮔﺮوه ﺧﱪی ﭼﯿﺴﺖ؟‬ ‫ﻫﺪﻑ ﺍﻳﺠﺎﺩ ﻳﻚ ﺗﺎﻻﺭ ﮔﻔﺘﮕﻮ ﺟﻬﺖ ﺑﺤﺚ ﭘﻴﺮﺍﻣﻮﻥ ﺗﺼﻮﻳﺮﻫﺎﻯ ﺑﺎﺯﻳﻠﻴﺴﻜﻰ ﻳﺎ ﺗﺸﺎﺏﻫﺎ ﺍﺳﺖ‪.‬‬ ‫ﺧﻮﺍﻧﻨﺪﮔﺎﻥ ﺍﺧﺒﺎﺭ ﺍﻳﻨﺘﺮﻧﺘﻰ ﻛﻪ ﻧﺴﺨﻪﻯ ﻛﻢﺣﺠﻢﺗﺮ ﺭﺍ ﺗﺮﺟﻴﺢ ﻣﻰﺩﻫﻨﺪ‪ ،‬ﻣﻰﺗﻮﺍﻧﻨﺪ »ﺑﺎﺯﻳﻠﻴﺴﻚ‪/‬‬ ‫ﺗﻌﺪﻳﻞ ﺷﺪﻩ« ﺭﺍ ﺑﺨﻮﺍﻧﻨﺪ ﻛﻪ ﻓﻘﻂ ﺷﺎﻣﻞ ﻫﺸﺪﺍﺭﻫﺎﻯ ﺩﺭﺟﻪ ﺍﻭﻝ ﻭ ﺷﻨﺎﺳﻪﻫﺎﻯ ﻓﺮﻡﻫﺎﻯ ﺟﺪﻳﺪ‬ ‫ﻣﻰﺑﺎﺷﺪ‪.‬‬

‫‪ .۲‬آﯾﺎ ﻣﯽﺗﻮاﻧﻢ ﻓﺎﯾﻞﻫﺎی ﺑﺎﯾرنی را ﺑﻪ اﯾﻦﺟﺎ ﺑﻔﺮﺳﺘﻢ؟‬ ‫ﺍﮔﺮ ﺷﻤﺎ ﻗﺎﺩﺭ ﺑﻪ ﭘﺮﺳﻴﺪﻥ ﭼﻨﻴﻦ ﺳﺌﻮﺍﻟﻰ ﻫﺴﺘﻴﺪ‪ ،‬ﺑﺎﻳﺪ ﺑﻼﻓﺎﺻﻠﻪ ﺑﻪ ﺑﺨﺶ »ﺍﺧﺒﺎﺭ‪/‬ﺍﻋﻼﻧﺎﺕ‪/‬ﻛﺎﺭﺑﺮﺍﻥ‬ ‫ﺗﺎﺯﻩ« ﻣﺮﺍﺟﻌﻪ ﻛﻨﻴﺪ‪ .‬ﺟﺎﻳﻰ ﻛﻪ ﻃﻰ ﭘﺴﺖﻫﺎﻳﻰ ﻣﻨﻈﻢ ﻫﺸﺪﺍﺭ ﺩﺍﺩﻩ ﻣﻰﺷﻮﺩ ﻛﻪ ﻓﺎﻳﻞﻫﺎﻯ ﺑﺎﻳﻨﺮﻯ ﻭ‬ ‫ﺑﻪ ﻭﻳﮋﻩ ﺗﺼﻮﻳﺮﻯ ﺑﻪ ﻫﻴﭻ ﻭﺟﻪ ﻧﺒﺎﻳﺪ ﺑﻪ ﮔﺮﻭﻩﻫﺎﻯ ﺧﺒﺮﻯ ﺍﺭﺳﺎﻝ ﺷﻮﻧﺪ‪ .‬ﺑﺴﻴﺎﺭﻯ ﺍﺯ ﻛﺸﻮﺭﻫﺎ ﺑﺮﺍﻯ ﺍﻳﻦ‬ ‫ﻛﺎﺭ ﻣﺠﺎﺯﺍﺕ ﺍﻋﺪﺍﻡ ﺭﺍ ﺍﺟﺮﺍ ﻣﻰﻛﻨﻨﺪ‪.‬‬

‫‪ .۳‬ﴎﻧﺎم ﺗﺸﺎب از ﮐﺠﺎ آﻣﺪه؟‬ ‫ﺳﻴﺴﺘﻢ ﺍﻟﮕﻮﺭﻳﺘﻢﻫﺎﻯ ﺗﺼﻮﻳﺮﻯ‪-‬ﺭﻳﺎﺿﻴﺎﺗﻰ ﺩﻛﺘﺮ ﻭﺭﻧﻮﻥ ﺑﺮﻳﻤﻦ )ﻛﻪ ﺩﺭ ﮔﻤﻨﺎﻣﻰ ﻓﻮﺕ ﻛﺮﺩ( ﺑﻪ ﻋﻨﻮﺍﻥ‬ ‫ﺗﻜﻨﻴﻚ ﺷﻜﻞﺳﺎﺯﻯ ﺍﺳﺘﺪﻻﻟﻰ ﺑﺮﻳﻤﻦ ﺷﻨﺎﺧﺘﻪ ﻣﻰﺷﻮﺩ‪ .‬ﺍﻳﻦ ﻋﺒﺎﺭﺕ ﺑﺎﺯﺗﺎﺑﻰ ﺍﺳﺖ ﺍﺯ ﻋﻨﻮﺍﻥ ﻣﻘﺎﻟﻪﻯ‬ ‫ﺍﺻﻠﻰ ﻭﻯ‪» ،‬ﺩﺭﺑﺎﺭﻩﻯ ﺻﻮﺭﺕﻫﺎﻯ ﻗﺎﺑﻞ ﺗﻔﻜﺮ‪ ،‬ﺑﻪ ﻫﻤﺮﺍﻩ ﻳﺎﺩﺩﺍﺷﺘﻰ ﺩﺭ ﺑﺎﺏ ﺗﻜﻨﻴﻚ ﺷﻜﻞﺳﺎﺯﻯ‬ ‫ﺍﺳﺘﺪﻻﻟﻰ« )ﺑﺮﻳﻤﻦ ﻭ ﺗﺮﻧﺮ‪ ،‬ﻧﻴﭽﺮ‪ .(2001 ،‬ﺍﻳﻦ ﻣﻘﺎﻟﻪ ﺑﻪ ﻧﺎﭼﺎﺭ ﺗﻮﻗﻴﻒ ﻭ ﺟﺰ ﺍﺳﻨﺎﺩ ﻓﻮﻕﻣﺤﺮﻣﺎﻧﻪ‬ ‫ﻃﺒﻘﻪﺑﻨﺪﻯ ﺷﺪ‪.‬‬

‫‪ .۴‬آﯾﺎ ﺣﻘﯿﻘﺖ دارد ﮐﻪ ﻧﻮﯾﺴﻨﺪﮔﺎن ﻋﻠﻤﯽﺗﺨﯿﻠﯽ ﺑﺎزﯾﻠﯿﺴﮏﻫﺎ را ﭘﯿﺶﺑﯿﻨﯽ ﮐﺮده ﺑﻮدﻧﺪ؟‬ ‫ﺑﻠﻪ ﻭ ﻧﻪ‪ .‬ﺍﻳﺪﻩﻯ ﺍﻃﻼﻋﺎﺕ ﻏﻴﺮﻗﺎﺑﻞ ﺗﻔﻜﺮﻯ ﻛﻪ ﺑﻪ ﻣﻐﺰ ﺁﺳﻴﺐ ﻣﻰﺯﻧﻨﺪ‪ ،‬ﭘﻴﺸﻴﻨﻪﻯ ﻋﻠﻤﻰﺗﺨﻴﻠﻰ‬ ‫ﺩﻭﺭ ﻭ ﺩﺭﺍﺯﻯ ﺩﺍﺭﺩ‪ .‬ﻭﻟﻰ ﻫﻴﭻ ﻛﺪﺍﻡ ﺁﻥ ﺭﺍ ﺩﻗﻴﻘﺎً ﭘﻴﺶﺑﻴﻨﻰ ﻧﻜﺮﺩﻧﺪ‪ .‬ﺩﺭ ﺍﻳﻦ ﻣﻮﺭﺩ ﺍﻏﻠﺐ ﺑﻪ ﺭﻣﺎﻥ‬ ‫»ﺫﻫﻦﻧﻮﻳﺲ« ﺍﺛﺮ ﻭﻳﻠﻴﺎﻡ ﮔﻴﺒﺴﻮﻥ ]‪) [1‬ﺑﻪ ﺳﺎﻝ ‪ (1984‬ﺍﺷﺎﺭﻩ ﻣﻰﺷﻮﺩ ﻛﻪ ﺍﻳﺪﻩ‪-‬ﻯ ﻓﻀﺎﻯ ﺳﺎﻳﺒﺮﻯ‬ ‫ﺭﺍ ﺩﺭ ﺟﺎﻣﻌﻪ ﮔﺴﺘﺮﺍﻧﺪ‪ .‬ﺩﻟﻴﻞ ﺍﺭﺟﺎﻉ ﺑﻪ ﺍﻳﻦ ﺍﺛﺮ‪ ،‬ﺍﻳﺪﻩﻯ »ﻳﺦ ﺳﻴﺎﻩ« ﺑﻮﺩ؛ ﻧﺮﻡﺍﻓﺰﺍﺭﻯ ﻛﻪ ﺩﺳﺖ ﺑﻪ‬ ‫ﺿﺪﺣﻤﻠﻪ ﺑﻪ ﻣﻐﺰ ﻫﻜﺮﻫﺎ ﻣﻰﺯﺩ‪ .‬ﺍﻣﺎ ﺍﻳﻦ ﺭﻣﺎﻥ ﺍﺗﺼﺎﻝ ﻣﺴﺘﻘﻴﻢ ﺍﻋﺼﺎﺏ ﺑﻪ ﺷﺒﻜﻪ ﺭﺍ ﺗﺼﻮﺭ ﻣﻰﻛﺮﺩ‪.‬‬ ‫ﺩﺭﺣﺎﻟﻰ ﻛﻪ ﺑﺎﺯﻳﻠﻴﺴﻚﻫﺎ ﺑﺴﻴﺎﺭ ﻣﺮﮔﺒﺎﺭﺗﺮ ﻫﺴﺘﻨﺪ‪ ،‬ﭼﺮﺍ ﻛﻪ ﻧﻴﺎﺯﻯ ﺑﻪ ﺗﻤﺎﺱ ﻓﻴﺰﻳﻜﻰ ﻧﺪﺍﺭﻧﺪ‪.‬‬ ‫ﺧﻴﻠﻰ ﭘﻴﺶ ﺍﺯ ﺁﻥ‪ ،‬ﻓﺮﺩ ﻫﻮﻳﻞ ]‪ [2‬ﺩﺭ »ﺍﺑﺮ ﺳﻴﺎﻩ« )ﺑﻪ ﺳﺎﻝ ‪ (1957‬ﺍﺷﺎﺭﻩ ﻛﺮﺩ ﻛﻪ ﺑﺎﺭﮔﺬﺍﺭﻯ ﺩﺍﻧﺶ‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،29‬ﺍﺭﺩﻳﺒﻬﺸﺖ ‪1392‬‬

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‫ﻋﻠﻤﻰﺗﺨﻴﻠﻰ ‪ -‬ﺗﺮﺟﻤﻪ‬

‫ﭘﺮﺳﺶﻫﺎﻯ ﻣﻜﺮﺭ‬ ‫ﺩﺭﺑﺎﺭﻩﻯ ﺑﺎﺯﻳﻠﻴﺴﻚﻫﺎ‬ ‫ﺩﻳﻮﻳﺪ ﻻﻧﮕﻔﻮﺭﺩ‬ ‫ﭘﮋﻣﺎﻥ ﺣﻴﺎﺗﻰ‬

‫ﻣﺠﻤﻮﻋﻪ داﺳﺘﺎنﻫﺎی »ﺑﺎزﯾﻠﯿﺴﮏ«‪ ،‬ﺟﺰ ﻣﻌﺮوفﺗﺮﯾﻦ ﮐﺎرﻫﺎی دﯾﻮﯾﺪ ﻻﻧﮕﻔﻮرد‬ ‫ﻫﺴﺘﻨﺪ‪ .‬از اﯾﻦ ﻣﺠﻤﻮﻋﻪ داﺳﺘﺎن »اﻧﻮاع ﻣﺨﺘﻠﻒ ﺗﺎرﯾﮑﯽ« ﮐﻪ ﺑﺮﻧﺪهی ﺟﺎﯾﺰهی‬ ‫ﻫﻮﮔﻮ اﺳﺖ‪ ،‬ﭘﯿﺶ از اﯾﻦ در آﮐﺎدﻣﯽ ﻓﺎﻧﺘﺰی ﻣﻨﺘﴩ ﺷﺪه‪» .‬ﺗﺸﺎب« ﻧﯿﺰ داﺳﺘﺎن‬ ‫دﯾﮕﺮی از ﻫﻤﯿﻦ ﻣﺠﻤﻮﻋﻪ اﺳﺖ‪.‬‬

‫ﻋﻠﻤﻰﺗﺨﻴﻠﻰ ‪ -‬ﺗﺮﺟﻤﻪ‬

‫ﺯﻣﺎﻥ ﻣﻰﮔﺬﺷﺖ‪ .‬ﺑﻪ ﺭﺍﺣﺘﻰ ﻣﻰﺷﺪ ﭘﺎﻳﺎﻥ ﻛﺎﺭ ﺭﺍ ﺗﺼﻮﺭ ﻛﺮﺩ‪ .‬ﺍﻭ ﺑﺎﺭﻫﺎ ﺁﻥ ﺭﺍ ﺍﺯ ﭘﺸﺖ ﻟﻨﺰﻫﺎﻯ ﺷﻜﻨﻨﺪﻩ‬ ‫ﺩﻳﺪﻩ ﺑﻮﺩ‪ .‬ﻧﻴﻤﺮﺥ ﻛﺸﻴﺪﻩﻯ ﻳﻚ ﭘﺮﻧﺪﻩ ﻛﻪ ﺩﺭ ﻳﻚ ﮔﻮﺷﻪ ﺗﻜﻪﺗﻜﻪ ﺷﺪﻩ ﻭ ﺑﻪ ﺷﻜﻠﻰ ﻛﻨﮕﺮﻩﻭﺍﺭ ﺩﻭﺑﺎﺭﻩ‬ ‫ﺳﺮ ﻫﻢ ﻣﻰﺷﺪ‪ .‬ﺗﻜﻪ ﮔﻮﺷﺘﻰ ﻗﺮﻣﺰ ﺑﺎ ﻧﻘﺎﻁ ﺳﻔﻴﺪ ﺩﺭﻭﻧﺶ‪ .‬ﺩﺭ ﻃﺮﺡﻫﺎﻯ ﺭﻭﻯ ﺩﻳﻮﺍﺭﻫﺎ ﻭ ﭘﻨﺠﺮﻩﻫﺎ ﻭ‬ ‫ﭘﻮﺳﺘﺮﻫﺎ‪ .‬ﺗﺼﻮﻳﺮﻯ ﻣﻨﺠﻤﺪ ﻛﻪ ﺭﻧﮕﺶ ﺍﺯ ﻗﺮﻣﺰ ﺩﺭﺧﺸﺎﻥ ﺑﻪ ﻧﺎﺭﻧﺠﻰ ﺑﺮﺍﻕ ﺗﺒﺪﻳﻞ ﻣﻰﺷﺪ‪ .‬ﻣﺜﻞ ﭼﺸﻢ‬ ‫ﻳﻚ ﻣﺮﺩ ﻣﺮﺩﻩ ﻛﻪ ﺑﻪ ﺍﻭ ﻧﮕﺎﻩ ﻣﻰﻛﺮﺩ‪.‬‬ ‫ﺍﻧﮕﺎﺭ ﭘﺸﺖ ﭘﻠﻚﻫﺎﻯ ﺑﺴﺘﻪﺍﺵ ﻧﺸﺴﺘﻪ ﺑﻮﺩ ﻭ ﺩﺍﺷﺖ ﭘﺮ ﻣﻰﺯﺩ‪ .‬ﭼﺸﻢﻫﺎﻳﺶ ﺭﺍ ﺑﺎﺯ ﻛﺮﺩ ﻭ ﺑﻪ ﺳﻘﻒ‬ ‫ﺩﻭﺭ ﺧﻴﺮﻩ ﺷﺪ‪ .‬ﺳﻘﻒ ﭘﺮ ﺍﺯ ﻳﺎﺩﮔﺎﺭﻯﻫﺎﻯ ﺑﻰ ﻧﺎﻡ ﻭ ﻧﺸﺎﻧﻰ ﺑﻮﺩ ﻛﻪ ﺯﻧﺪﺍﻧﻴﺎﻥ ﻗﺒﻠﻰ ﻛﺸﻴﺪﻩ ﺑﻮﺩﻧﺪ‪ .‬ﺍﮔﺮ‬ ‫ﺗﺼﻮﺭ ﻣﻰﻛﺮﺩ ﻛﻪ ﻧﻘﺎﻁ ﺩﺍﺭﻧﺪ ﺑﻪ ﻫﻢ ﻣﻰﭘﻴﻮﻧﺪﻧﺪ‪ ،‬ﺗﺼﺎﻭﻳﺮ ﺷﺮﻭﻉ ﻣﻰﻛﺮﺩﻧﺪ ﺑﻪ ﺳﺎﺧﺘﻦ ﺧﻮﺩﺷﺎﻥ‪ .‬ﺗﻴﺮﻩ‬ ‫ﻭ ﺩﺭﻫﻢ ﻣﺜﻞ ﺗﺼﺎﻭﻳﺮ ﺩﺍﻳﺮﻩ ﺍﻟﺒﺮﻭﺝ‪ .‬ﺑﻌﺪ ﺍﺯ ﻣﺪﺕ ﻛﻮﺗﺎﻫﻰ‪ ،‬ﻳﻚ ﺗﺼﻮﻳﺮ ﺧﺎﺹ ﺑﻪ ﻃﺮﺯ ﺗﻬﺪﻳﺪﺁﻣﻴﺰﻯ‬ ‫ﺷﺮﻭﻉ ﺑﻪ ﻭﺍﺿﺢ ﺷﺪﻥ ﻣﻰﻛﺮﺩ‪.‬‬ ‫ﻟﺐﻫﺎﻳﺶ ﺭﺍ ﮔﺎﺯ ﮔﺮﻓﺖ ﻭ ﺑﻪ ﻛﻮﺭﺍﻥ ﮔﺬﺭﺍﻯ ﻧﺎﺷﻰ ﺍﺯ ﺩﺭﺩ ﭘﻨﺎﻩ ﺑﺮﺩ‪.‬‬ ‫ﺗﺼﻮﻳﺮ ﺩﺭ ﺩﺭﻭﻧﺶ ﺑﻮﺩ‪ .‬ﺁﻥﻫﺎ ﺍﻳﻦ ﺭﺍ ﻣﻰﺩﺍﻧﺴﺘﻨﺪ‪ .‬ﺣﺘﺎ ﺑﺎ ﻣﺤﺎﻓﻆ ﻫﻢ ﺍﻭ ﺑﻪ ﻣﺪﺕ ﻃﻮﻻﻧﻰ ﻭ ﺍﺯ‬ ‫ﺟﻬﺖﻫﺎﻯ ﺑﺴﻴﺎﺭ ﺑﻪ ﺁﻥ ﻧﮕﺎﻩ ﻛﺮﺩﻩ ﺑﻮﺩ‪ .‬ﺑﻪ ﺁﻥ ﻣﻐﺎﻙ‪ .‬ﺍﻭ ﺁﻟﻮﺩﻩ ﺷﺪﻩ ﺑﻮﺩ‪ .‬ﺭﻭﺑﻮ ﺑﻪ ﺧﻮﺩ ﺁﻣﺪ ﻭ ﺩﻳﺪ ﻛﻪ‬ ‫ﺩﺍﺭﺩ ﺑﻪ ﺩﺭ ﻓﻠﺰﻯ ﺳﻨﮕﻴﻦ ﻣﻰﻛﻮﺑﺪ‪ .‬ﺍﺯ ﺩﺳﺖﻫﺎﻳﺶ ﺧﻮﻥ ﺟﺎﺭﻯ ﺷﺪﻩ ﺑﻮﺩ‪ .‬ﺑﻰﻓﺎﻳﺪﻩ ﺑﻮﺩ‪ ،‬ﻫﻤﺎﻥ ﻃﻮﺭ‬ ‫ﻛﻪ ﺟﺮﻡ ﻣﺸﺨﺼﻰ ﻭﺟﻮﺩ ﻧﺪﺍﺷﺖ ﻛﻪ ﺍﻭ ﻣﺮﺗﻜﺐ ﺷﺪﻩ ﺑﺎﺷﺪ‪ ،‬ﺩﻟﻴﻞ ﭘﺰﺷﻜﻰ ﺧﺎﺻﻰ ﻫﻢ ﻧﺒﻮﺩ ﻛﻪ ﺁﻥ‬ ‫ﭘﻠﻴﺲﻫﺎﻯ ﻣﺘﺨﺎﺻﻢ ﻣﻘﺪﺍﺭ ﺯﻳﺎﺩﻯ ﺍﻟﻜﻞ ﺑﻪ ﺍﻭ ﺑﺪﻫﻨﺪ ﺗﺎ ﺣﺎﻓﻈﻪ ﺍﺵ ﺭﺍ ﺗﻴﺮﻩ ﻭ ﺗﺎﺭ ﻛﻨﺪ‪.‬‬ ‫ﺩﻭﺑﺎﺭﻩ ﺭﻭﻯ ﺗﺨﺖ ﺍﻓﺘﺎﺩ‪ .‬ﺍﻭ ﺩﺍﺷﺖ ﺑﺮﺍﻯ ﺣﻔﻆ ﺟﺎﻧﺶ ﻣﻰﺩﻭﻳﺪ‪ .‬ﺩﺭ ﺁﻥ ﺻﺒﺢ ﻣﻪﺁﻟﻮﺩ‪ ،‬ﻃﻮﻃﻰ ﻫﻢ‬ ‫ﺩﺍﺷﺖ ﺗﻌﻘﻴﺒﺶ ﻣﻰﻛﺮﺩ‪ ،‬ﭘﺮﻫﺎﻯ ﻓﺮﺍﻛﺘﺎﻟﻰﺍﺵ ﺭﺍ ﺻﺎﻑ ﻣﻰﻛﺮﺩ ﻭ ﺧﻮﺩﺵ ﺭﺍ ﺑﻪ ﺁﻫﺴﺘﮕﻰ ﻭﺍﺿﺢ‬ ‫ﻣﻰﻛﺮﺩ‪ .‬ﻣﺜﻞ ﺻﺤﻨﻪﻯ ﺁﻫﺴﺘﻪﻯ ﺗﺒﺪﻳﻞ ﺷﺪﻥ ﻳﻚ ﺗﺼﻮﻳﺮ ﺑﻪ ﺗﺼﻮﻳﺮﻯ ﺩﻳﮕﺮ ﺑﻮﺩ ﻛﻪ ﺩﺍﺷﺖ ﻛﺎﻣﻞ‬ ‫ﭼﺸﻢ ﺫﻫﻦ ﺑﺎﻳﺪ ﻳﻚ ﺗﺼﻮﻳﺮ ﺭﺍ ﻣﻰﺩﻳﺪ‪ ،‬ﻳﻚ ﺗﺼﻮﻳﺮ‪ ،‬ﻳﻚ ﭼﺸﻤﻚ‪.‬‬ ‫ﻣﻰﺷﺪ‪ .‬ﺗﺎ ﺟﺎﻳﻰ ﻛﻪ ﺑﺎﻻﺧﺮﻩ‬ ‫ِ‬

‫‪1. Robbo‬‬

‫‪ :Provo .7‬ﺟﻨﺒﺶ ﻣﻌﺘﺮﺽ ﺍﺟﺘﻤﺎﻋﻰ ﻛﻪ ﺩﺭ ﺩﻫﻪﻯ ‪ 1960‬ﺩﺭ‬ ‫ﻫﻠﻨﺪ ﺷﻜﻞ ﮔﺮﻓﺖ‬

‫‪ :Basilisk .2‬ﻣﻮﺟﻮﺩﻯ ﺍﻓﺴﺎﻧﻪﺍﻯ ﻛﻪ ﻧﮕﺎﻩ ﻛﺮﺩﻥ ﺑﻪ ﺁﻥ ﺑﺎﻋﺚ‬ ‫ﻣﺮگ ﻣﻰﺷﻮﺩ‬

‫‪8. Marquis of Granby‬‬ ‫‪9. Albion‬‬

‫)‪3. Berryman Logical Image Technique (BLIT‬‬

‫‪ :Godelian .4‬ﻣﻨﺼﻮﺏ ﺑﻪ ﻛﻮﺭﺕ ﮔﻮﺩﻝ‪ ،‬ﺭﻳﺎﺿﻰﺩﺍﻥ‪ ،‬ﻣﻨﻄﻖﺩﺍﻥ‬ ‫ﻭ ﻓﻴﻠﺴﻮﻑ ﺍﺗﺮﻳﺸﻰ‬

‫‪ :KuKluxKlan .10‬ﺟﻨﺒﺶ ﻧﮋﺍﺩﭘﺮﺳﺖ ﺁﻣﺮﻳﻜﺎ‬ ‫‪11. Gott‬‬ ‫‪12. Sheldrake‬‬

‫‪5. Mack‬‬

‫‪ :IRA .6‬ﺍﺭﺗﺶ ﺟﻤﻬﻮﺭﻯﺧﻮﺍﻩ ﺍﻳﺮﻟﻨﺪ‬

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‫ﺷﻤﺎﺭﻩﻯ ‪ ،29‬ﺍﺭﺩﻳﺒﻬﺸﺖ ‪1392‬‬

‫‪ .۱۰-۱۸‬ﻓﺮﺿﯿﻪی ﭘَﺲﮐﻨﺶ ﺑﯿﻮﺷﯿﻤﯿﺎﯾﯽ »ﮔﺎت« ]‪ [۱۱‬ﺑﻪ ﻋﻨﻮان ﯾﮏ ﻓﺮﺿﯿﻪی ﻣﺘﻌﺎدلﺗﺮ ﻣﻄﺮح‬ ‫ﻣﯽﺑﺎﺷﺪ‪ .‬اﯾﻦ ﻓﺮﺿﯿﻪ ﭘﯿﺸﻨﻬﺎد ﻣﯽﮐﻨﺪ ﮐﻪ ﻣﻤﮑﻦ اﺳﺖ ﻓﻌﺎﻟﯿﺖﻫﺎی اﻟﮑﱰوﺷﯿﻤﯿﺎﯾﯽ ﻣﺮﺑﻮط ﺑﻪ‬ ‫ذﺧﯿﺮهی اﻟﮕﻮﻫﺎﯾﯽ ﺧﺎص از اﻃﻼﻋﺎت‪ ،‬ﺑﺎﻋﺚ ﺗﺸﮑﯿﻞ ﺳﻤﻮم ﻣﻐﺰی ﺷﻮﻧﺪ‪ .‬ﻫﺮﭼﻨﺪ ﻓﺮﺿﯿﻪای‬ ‫اﺳﺖ ﺟﺎﻟﺐ‪ ،‬اﻣﺎ ﻫﻨﻮز ﻧﯿﺎزﻣﻨﺪ‪...‬‬ ‫‪ .۱۲-۴‬ﴍاﯾﻂ ﮐﻨﻮﻧﯽ ﻣﺎﻧﻨﺪ وﻗﻮع ﯾﮏ اﻧﻔﺠﺎر در ﻓﯿﺰﯾﮏ ذرات ﺑﻨﯿﺎدی اﺳﺖ‪ .‬ﻫامن ﻃﻮر‬ ‫ﮐﻪ در ﺿﻤﯿﻤﻪی آ‪ ۲‬ﺑﻪ ﻃﻮر ﺧﻼﺻﻪ آﻣﺪه‪ ،‬ﻧﻪ ﺗﻨﻬﺎ ﺗﺸﺎبﻫﺎﯾﯽ ﺟﺪﯾﺪ‪ ،‬ﺑﻠﮑﻪ ﻣﺸﺘﻘﺎت و ﻫﻢ‬ ‫ﺧﺎﻧﻮادهﻫﺎی ﺟﺪﯾﺪ آنﻫﺎ ﻧﯿﺰ ﻣﺮﺗﺒﺎً ﺳﺎﺧﺘﻪ ﻣﯽﺷﻮﻧﺪ‪ .‬ﯾﮏ ﺗﻔﺴﯿﺮ ﺟﻨﺠﺎل ﺑﺮاﻧﮕﯿﺰ ﺑﺎ ﮐﻤﮏ ﮔﺮﻓنت‬ ‫از ﺗﺌﻮری ﺗﺸﺪﯾﺪ رﯾﺨﺖﺷﻨﺎﺧﺘﯽ »ﺷﻠﺪرﯾﮏ« ]‪ ،[۱۲‬ﻋﻨﻮان ﮐﺮد ﮐﻪ ﺑﻪ ﺳﺎدﮔﯽ ﻣﯽﺗﻮان ﺑﻪ اﯾﻦ‬ ‫ﻧﺘﯿﺠﻪ رﺳﯿﺪ ﮐﻪ در آن ﺳﻄﺢ از ﺗﺤﻘﯿﻘﺎت ﻫﻮش ﻣﺼﻨﻮﻋﯽ ﮐﻪ در آن ﻗﺮار داﺷﺘﯿﻢ‪ ،‬ﭘﯿﺪاﯾﺶ‬ ‫ﻫﻢزﻣﺎن اﯾﺪهی ﺗﺸﺎب از ﺳﻮی اﻓﺮاد ﻣﺨﺘﻠﻒ اﺟﺘﻨﺎبﻧﺎﭘﺬﯾﺮ ﺑﻮد‪ .‬ﻓﻘﺪان ﺗﺌﻮریﻫﺎی اﺳﺎﺳﯽ‪،‬‬ ‫ﺑﻪ وﯾﮋه آنﻫﺎﯾﯽ ﮐﻪ ﺑﻪ ﺗﺠﺴﻢ ﺗﺼﻮﯾﺮی رﯾﺎﺿﯽ ﻣﺘﮑﯽ ﻫﺴﺘﻨﺪ‪ ،‬ﺑﺎﻋﺚ ﻋﺪم ﭘﯿﴩﻓﺖ در درک‬ ‫ﺑﯿﺸﱰ اﯾﻦ ﭘﺪﯾﺪه ﺷﺪه اﺳﺖ‪.‬‬ ‫‪ ‬ﺩﻳﻮﺍﺭﻫﺎﻯ ﺳﻠﻮﻝ ﺗﺎ ﺍﺭﺗﻔﺎﻉ ﺷﺎﻧﻪ ﺑﺎ ﻛﺎﺷﻰﻫﺎﻯ ﺳﻔﻴﺪ ﭘﻮﺷﺎﻧﺪﻩ ﺷﺪﻩ ﺑﻮﺩ‪ .‬ﺍﺯ ﺁﻥﺟﺎ ﺑﻪ ﺑﺎﻻ ﻧﻴﺰ ﺭﻧﮓ‬ ‫ﺳﻔﻴﺪ ﺑﺮﺍﻕ ﺧﻮﺭﺩﻩ ﺑﻮﺩ‪ .‬ﺑﻮﻯ ﺗﻴﺰ ﺿﺪﻋﻔﻮﻧﻰ ﻛﻨﻨﺪﻩ ﺁﺯﺍﺭﺵ ﻣﻰﺩﺍﺩ‪ .‬ﺍﻧﮕﺎﺭ ﺍﺯ ﺑﻴﻨﻰ ﺗﺎ ﮔﻠﻮﻳﺶ ﺭﺍ ﺑﺎ‬ ‫ﺳﻴﻢ ﻇﺮﻓﺸﻮﻳﻰ ﻣﻰﺳﺎﻳﻴﺪﻧﺪ‪ .‬ﺑﺎ ﻣﻴﻠﻰ ﻣﺒﻬﻢ ﺑﺮﺍﻯ ﺣﺪﺍﻛﺜﺮ ﺍﺳﺘﻔﺎﺩﻩ ﺍﺯ ﺍﻣﻜﺎﻧﺎﺕ ﺳﻠﻮﻝ‪ ،‬ﺭﻭﺑﻮ ﺑﻪ ﺳﺮﺍﻍ‬ ‫ﺩﺳﺘﺸﻮﻳﻰ ﺳﻔﻴﺪ ﭼﻴﻨﻰ ﺭﻓﺖ ﻭ ﺩﺳﺖﻫﺎﻳﺶ ﺭﺍ ﺗﻮﻯ ﺳﻴﻨﻚ ﺷﺴﺖ‪ .‬ﺍﻳﻦ ﻛﺎﺭ ﺑﻰﻓﺎﻳﺪﻩ ﺑﻮﺩ‪ .‬ﺁﺏ ﺳﺮﺩ‬ ‫ﻧﻤﻰﺗﻮﺍﻧﺴﺖ ﺁﻥ ﻟﻜﻪﻫﺎﻯ ﺁﻛﺮﻟﻴﻚ ﺭﺍ ﭘﺎﻙ ﻛﻨﺪ‪ .‬ﺑﻌﺪ ﺩﺭﺍﺯ ﻛﺸﻴﺪ ﻭ ﻣﻨﺘﻈﺮ ﺷﺪ‪.‬‬ ‫ﺁﺧﺮﺵ ﻫﻴﭻ ﻛﺎﺭﻯ ﻧﻤﻰﺗﻮﺍﻧﺴﺘﻨﺪ ﺑﻜﻨﻨﺪ‪ .‬ﻣﻰﺗﻮﺍﻧﺴﺘﻨﺪ ﺑﻪ ﺧﺎﻃﺮ ﺟﺮﻡ ﻣﺴﺨﺮﻩﻯ ﺗﺨﺮﻳﺐ ﺍﻣﻮﺍﻝ‬ ‫ﻋﻤﻮﻣﻰ ﺟﺮﻳﻤﻪﺍﺵ ﻛﻨﻨﺪ‪ .‬ﻭ ﻣﻤﻜﻦ ﺍﺳﺖ ﻗﺒﻞ ﺍﺯ ﺭﺳﻴﺪﻥ ﺑﻪ ﺍﺗﺎﻕ ﻗﺎﺿﻰ ﺯﻣﻴﻦ ﺑﺨﻮﺭﺩ ﻭ ﺍﺯ ﭼﻨﺪ ﺗﺎ‬ ‫ﭘﻠﻪﻯ ﺩﻳﮕﺮ ﻫﻢ ﺑﻴﻔﺘﺪ‪ ...‬ﺍﮔﺮﭼﻪ ﺍﻻﻥ ﻭﺭﻡﻫﺎ ﻭ ﻛﺒﻮﺩﻯﻫﺎﻳﺶ ﺭﻭﻯ ﺁﻥ ﻧﻴﻤﻜﺖ ﺯﻣﺨﺖ ﻓﺸﺮﺩﻩ ﻣﻰﺷﺪ‪،‬‬ ‫ﻭﻟﻰ ﺑﺎ ﮔﺬﺷﺖ ﺯﻣﺎﻥ ﺑﻬﺘﺮ ﻣﻰﺷﺪ‪.‬‬ ‫ﻭ ﺁﻥﻫﺎ ﺍﻳﻦ ﺭﺍ ﻣﻰﺩﺍﻧﺴﺘﻨﺪ‪.‬‬ ‫ﺁﻥﻫﺎ ﺍﻳﻦ ﺭﺍ ﻣﻰﺩﺍﻧﺴﺘﻨﺪ‪ ،‬ﻭﻟﻰ ﺑﻪ ﻧﻈﺮ ﻧﻤﻰﺭﺳﻴﺪ ﻧﺎﺭﺍﺣﺖ ﺑﺎﺷﻨﺪ‪ ،‬ﻏﻴﺮ ﺍﺯ ﺍﻳﻦ ﺑﻮﺩ؟‬ ‫ﺗﺼﻮﻳﺮ ﺁﻥﻫﺎ ﺍﺯ ﺫﻫﻨﺶ ﮔﺬﺷﺖ ﻛﻪ ﺩﺍﺷﺘﻨﺪ ﻟﺒﺨﻨﺪ ﻣﻰﺯﺩﻧﺪ‪» :‬ﺗﺼﻤﻴﻢ ﻧﺪﺍﺭﻳﻢ ﭘﺮﻭﻧﺪﻩﺍﺕ ﺭﻭ ﺑﻪ ﺩﺍﺩﮔﺎﻩ‬ ‫ﺑﻔﺮﺳﺘﻴﻢ‪ «.‬ﻭ »ﺍﺯ ﺍﻳﻦ ﻃﺮﻑ ﺁﻗﺎ« ﻭ »ﻟﻄﻔﺎً ﻭﺳﺎﺋﻠﺘﻮﻥ ﺭﻭ ﺑﺮﺩﺍﺭﻳﺪ‪ «...‬ﺑﻌﺪ ﺩﺭﻯ ﺑﺎﺯ ﻣﻰﺷﻮﺩ ﻭ ﺣﺪﺱ‬ ‫ﺑﺰﻥ ﭘﺸﺘﺶ ﭼﻪ ﭼﻴﺰﻯ ﺍﻧﺘﻈﺎﺭ ﺍﻭ ﺭﺍ ﻣﻰﻛﺸﺪ؟‬ ‫ﺍﺣﻤﻘﺎﻧﻪ ﺍﺳﺖ! ﺁﻥﻫﺎ ﺑﺎﻳﺪ ﭼﻨﻴﻦ ﻛﻨﻨﺪ‪ .‬ﻭﻟﻰ ﻧﺨﻮﺍﻫﻨﺪ ﻛﺮﺩ‪.‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،29‬ﺍﺭﺩﻳﺒﻬﺸﺖ ‪1392‬‬

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‫ﻋﻠﻤﻰﺗﺨﻴﻠﻰ ‪ -‬ﺗﺮﺟﻤﻪ‬

‫ﻣﺎﺟﺮﺍﻯ ﺩﺳﺘﮕﻴﺮﻯ ﺍﻭﻥ ﻫﻜﺮﻫﺎﻯ ﺑﻴﻦ ﺍﻟﻤﻠﻠﻰ ﺗﻠﻔﻦ ﺍﻓﺘﺎﺩﻡ‪ .‬ﺧﻴﻠﻰ ﻭﻗﺖ ﭘﻴﺶ ﺑﻮﺩ‪ .‬ﺗﻨﻬﺎ ﺍﺗﻬﺎﻣﻰ ﻛﻪ‬ ‫ﺗﻮﻧﺴﺘﻴﻢ ﺑﻬﺸﻮﻥ ﺑﺰﻧﻴﻢ ﺍﺳﺘﻔﺎﺩﻩﻯ ﻏﻴﺮﻗﺎﻧﻮﻧﻰ ﺍﺯ ﺑﺮﻕ ﺑﻮﺩ‪ .‬ﺍﻭﻥ ﻣﻮﻗﻊ ﻗﺎﻧﻮﻧﻰ ﺿﺪ ﻫﻚ ﻛﺮﺩﻥ ﺗﻠﻔﻦ‬ ‫ﻭﺟﻮﺩ ﻧﺪﺍﺷﺖ‪ .‬ﺍﻻﻧﻢ ﻗﺎﻧﻮﻧﻰ ﺑﺮﺍﻯ ﻫﻚ ﻛﺮﺩﻥ ﻣﻐﺰ ﻭﺟﻮﺩ ﻧﺪﺍﺭﻩ‪«.‬‬ ‫»ﻣﻨﻈﻮﺭﺕ ﺍﻳﻨﻪ ﻛﻪ ﺧﺮﺍﺑﻜﺎﺭﻯ ﺍﻭﻥ ﺑﭽﻪﻯ ﻋﻮﺿﻰ ﺭﻭ ﺟﻤﻊ ﻭ ﺟﻮﺭ ﻛﻨﻴﻢ ﻭ ﻭﺍﺳﻪﻯ ﺍﻣﺸﺐ ﻳﻪ ﺍﺗﺎﻕ‬ ‫ﺧﻮﺏ ﺑﻬﺶ ﺑﺪﻳﻢ؟ ﻣﻨﻈﻮﺭﺕ ﻫﻤﻴﻨﻪ؟«‬ ‫»ﺍﻩ!« ﺍﺯ ﻟﺤﻦ ﺻﺪﺍﻯ ﮔﻮﻳﻨﺪﻩ ﻣﻌﻠﻮﻡ ﺑﻮﺩ ﻛﻪ ﺑﻴﻦ ﺧﻮﺩﺷﺎﻥ ﺳﺮ ﻭ ﺳﺮﻯ ﺩﺍﺭﻧﺪ‪ .‬ﻳﻚ ﺍﺷﺎﺭﻩ‪ ،‬ﺍﻧﮕﺸﺘﺶ ﺭﺍ‬ ‫ﺑﻪ ﺷﻜﻞ ﻣﻌﻨﻰﺩﺍﺭﻯ ﺭﻭﻯ ﺑﻴﻨﻰﺍﺵ ﮔﺬﺍﺷﺖ ﻭ ﭼﺸﻤﻜﻰ ﺯﺩ‪» .‬ﻣﺎﺷﻴﻦ ﺷﻤﺎﺭﻩ ﺳﻪ ﺍﻭﻥﺟﺎ ﺭﻭ ﭘﺎﻛﺴﺎﺯﻯ‬ ‫ﻣﻰﻛﻨﻪ‪ ،‬ﺍﻭﻧﺎ ﻭﺳﺎﺋﻞ ﺍﻳﻤﻨﻰ ﺑﺼﺮﻯ ﺩﺍﺭﻥ‪ ،‬ﺑﻪ ﺩﺭﺩ ﻫﻤﻴﻦ ﻭﻗﺘﺎ ﻣﻰﺧﻮﺭﻩ ﺩﻳﮕﻪ‪ .‬ﻣﺎ ﻫﻢ ﺍﻳﻦ ﺍﺳﺘﺎﺩ ﺟﻮﻭﻥ‬ ‫ﺗﺮﻭﺭﻳﺴﻢ ﺷﻬﺮﻯ ﺭﻭ ﺑﻪ ﺍﻗﺎﻣﺘﮕﺎﻩ ﻣﺠﻠﻠﺶ ﺭﺍﻫﻨﻤﺎﻳﻰ ﻣﻰﻛﻨﻴﻢ‪ .‬ﺍﻭﻧﻢ ﺍﺯ ﺑﻬﺘﺮﻳﻦ ﻣﺴﻴﺮ‪ .‬ﺑﻌﺪﺵ ﺟﻴﻤﻰ‪،‬‬ ‫ﻭﻗﺘﻰ ﻛﻪ ﺷﻴﻔﺖ ﺑﻌﺪﻯ ﺍﻭﻣﺪﻥ‪ ،‬ﺑﺮﺍﻯ ﻫﻤﻜﺎﺭﺍﻯ ﻣﺮﺣﻮﻣﻤﻮﻥ ﻳﻪ ﻣﺮﺍﺳﻢ ﺑﺮﮔﺬﺍﺭ ﻣﻰﻛﻨﻴﻢ‪ .‬ﺷﻮﺧﻰ‬ ‫ﻧﻤﻰﻛﻨﻢ‪ .‬ﺍﻳﻦ ﺗﻮﻯ ﺁﺧﺮﻳﻦ ﺑﻮﻟﺘﻦ ﺍﻭﻣﺪﻩ‪ .‬ﻭﻗﺘﻰ ﻛﻪ ﺩﻟﻴﻠﺶ ﺭﻭ ﺑﻔﻬﻤﻰ ﺍﺯﻡ ﻣﻤﻨﻮﻥ ﻣﻰﺷﻰ‪«.‬‬ ‫ﻭﻗﺘﻰ ﺩﻭﺑﺎﺭﻩ ﺑﻪ ﺳﻮﻳﺶ ﭼﻨﮓ ﺍﻧﺪﺍﺧﺘﻨﺪ‪ ،‬ﺭﻭﺑﻮ ﺑﺪﻧﺶ ﺭﺍ ﺟﻤﻊ ﻛﺮﺩ‪ .‬ﺍﻭﺿﺎﻉ ﻧﺴﺒﺘﺎً ﺍﻣﻴﺪﻭﺍﺭ ﻛﻨﻨﺪﻩ ﺑﻪ‬ ‫ﻧﻈﺮ ﻣﻰﺭﺳﻴﺪ‪.‬‬

‫ﻣﺤﺮﻣﺎﻧﻪ‪ :‬ﺑﺎزﯾﻠﯿﺴﮏ‬ ‫‪ ...‬ﺗﺤﻠﯿﻞﻫﺎی اﻃﻼﻋﺎﺗﯽ‪ ،‬دﯾﺪﮔﺎه ﻣﺒﻨﯽ ﺑﺮ رﯾﺎﺿﯿﺎت ﻣﺤﺾ را ﺗﺎﯾﯿﺪ ﻣﯽﮐﻨﻨﺪ‪ .‬ﺑﺮ اﺳﺎس اﯾﻦ‬ ‫دﯾﺪﮔﺎه‪ ،‬ﺗﺸﺎبﻫﺎ »ﺗﺒﺎهﮔﺮﻫﺎی« ﮔﻮدﻟﯽ را رﻣﺰﮔﺬاری ﻣﯽﮐﻨﻨﺪ‪ .‬اﯾﻦﻫﺎ ﺑﺮﻧﺎﻣﻪﻫﺎﯾﯽ ﺿﻤﻨﯽ‬ ‫ﻫﺴﺘﻨﺪ ﮐﻪ ﻣﻐﺰ اﻧﺴﺎن منﯽﺗﻮاﻧﺪ ﺑﻪ ﺻﻮرت اﯾﻤﻦ اﺟﺮاﯾﺸﺎن ﮐﻨﺪ‪ .‬ﺑﺮﯾﻤﻦ در آﺧﺮﯾﻦ ﻣﻘﺎﻟﻪاش‬ ‫)‪ (۳‬ﺑﻪ اﯾﻦ ﺑﺤﺚ ﻣﯽﭘﺮدازد ﮐﻪ اﮔﺮ ﭼﻪ ﺗﺠﻬﯿﺰات اﯾﻤﻨﯽ ﻓﺮاﻣﻨﻄﻘﯽ ﺗﺤﻠﯿﻞ و ﺷﻨﺎﺧﺖ ﺣﻠﻘﻪﻫﺎی‬ ‫ﺧﻮد ارﺟﺎع دﻫﻨﺪه را ﻣﻤﮑﻦ ﻣﯽﺳﺎزﻧﺪ )اﻟﺒﺘﻪ اﯾﻦ ﮔﻔﺘﻪ ﻏﻠﻂ اﺳﺖ(‪ ،‬ﯾﮏ ﻣﻌﺎدل ﮔﺮاﻓﯿﮑﯽ‬ ‫ﭘﯿﭽﯿﺪهﺗﺮ از »داﯾﺮهﻫﺎی ﴍور«‪ ،‬ﻣﯽﺗﻮاﻧﺪ ﺑﺎ ﺣﻤﻠﻪ ﻣﺴﺘﻘﯿﻢ از ﻃﺮﯾﻖ ﻗﴩ ﺑﯿﻨﺎﯾﯽ‪ ،‬از ﻣﺤﺎﻓﻆ‬ ‫ﺗﺤﻠﯿﻞ ﺷﻔﺎﻫﯽ ﻋﺒﻮر ﮐﻨﺪ‪.‬‬ ‫اﯾﻦ ﮔﻔﺘﻪ ﺑﺎ ﺗﺎﺛﯿﺮات ﻧﺎﺷﯽ از ﺗﺸﺎب »ﮐﺘﺎبﺧﻮان« ﮐﻪ در ﺑﺨﺶ ‪ ۷‬در ﻣﻮردﺷﺎن ﺑﺤﺚ ﺷﺪ‪،‬‬ ‫ﻫﻤﺨﻮاﻧﯽ ﻧﺪارد‪ .‬ﻣﺸﮑﻞ اﯾﻦﺟﺎﺳﺖ ﮐﻪ ﻧﻪ ﺗﻨﻬﺎ ﻧﺎﺗﻮاﻧﯽ در اﻧﺠﺎم ﻓﻌﺎﻟﯿﺖ ﻗﴩی ﻣﻮﻗﺘﯽ اﺳﺖ‬ ‫)اﻟﺒﺘﻪ در ﺑﻌﻀﯽ ﻣﻮارد آﺳﯿﺐﻫﺎی دامئﯽ روی داوﻃﻠﺒﺎن ارﺗﺶ ﻣﺸﺎﻫﺪه ﺷﺪه(‪ ،‬ﺑﻠﮑﻪ ﺗﺎﺛﯿﺮات‬ ‫آن ﻓﻘﻂ ﺑﺮ ﮐﺴﺎﻧﯽ ﮐﺎرﮔﺮ اﺳﺖ ﮐﻪ ﺧﻮاﻧﺪن و ﻧﻮﺷنت را ﺑﻪ اﻧﮕﻠﯿﺴﯽ ﯾﺎ اﻟﻔﺒﺎﻫﺎی ﻫﻢﺧﺎﻧﻮادهی‬ ‫اﻧﮕﻠﯿﺴﯽ آﻣﻮﺧﺘﻪاﻧﺪ‪ .‬ﺑﻪ ﻋﻼوه اﺣﺘامﻻً ﺑﺎ ﻣﻮارد ﻣﻄﺮح ﺷﺪه در ﺑﺨﺶ ‪ ۱۲‬ﻧﯿﺰ ﻧﺎﺳﺎزﮔﺎریﻫﺎﯾﯽ‬ ‫وﺟﻮد دارد‪.‬‬ ‫‪29‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،29‬ﺍﺭﺩﻳﺒﻬﺸﺖ ‪1392‬‬

‫ﺳﺎﯾﺮ اﻋﻀﺎی ﺧﺎﻧﻮاده ﯾﺎ ﻧﯿﺮوﻫﺎی اﻣﺪادی ﮐﻪ ﻣﺸﻐﻮل رﺳﯿﺪﮔﯽ ﺑﻪ ﻗﺮﺑﺎﻧﯽ ﯾﺎ ﻗﺮﺑﺎﻧﯿﺎن ﺑﻮدهاﻧﺪ‪،‬‬ ‫ﺑﻪ ﻃﻮر اﺗﻔﺎﻗﯽ ﭼﺸﻤﺸﺎن ﺑﻪ ﺗﺼﻮﯾﺮ اﻓﺘﺎده‪ .‬ﻣﺸﮑﻞ ﻣﯽﺗﻮان ﺗﻌﺪاد ﺗﺼﺎوﯾﺮ ﻣﻮﺟﻮد را ﺗﺨﻤﯿﻦ‬ ‫زد‪ ،‬وﻟﯽ ﺑﻪ ﻋﻨﻮان ﯾﮏ ﺑﺮآورد اوﻟﯿﻪ‪...‬‬ ‫‪» ‬ﺩﻭﺭ ﺗﺎ ﺩﻭﺭ ﭘﺎﻛﺖ ﺭﻭ ﭼﺴﺐ ﺑﺰﻥ‪ .‬ﺍﻳﻦ ﺟﻮﺭﻯ‪ .‬ﺑﺎ ﻳﻪ ﻗﻠﻢ ﻗﺮﻣﺰ ﻭ ﺑﺎ ﺧﻂ ﺩﺭﺷﺖ ﺭﻭﺵ ﺑﻨﻮﻳﺲ‬ ‫ﺧﻄﺮﻧﺎﻙ‪ ،‬ﺑﺎﺯ ﻧﻜﻨﻴﺪ‪ .‬ﻫﺮ ﺩﻭ ﻃﺮﻓﺶ ﺑﻨﻮﻳﺲ‪ .‬ﺭﻭﺷﻨﻪ؟«‬ ‫»ﭘﺲ ﺷﻤﺎ ﻫﻤﻪ ﭼﻴﺰ ﺭﻭ ﺭﺍﺟﻊ ﺑﻪ ﺍﻳﻦ ﻣﻰﺩﻭﻧﻴﻦ‪«.‬‬ ‫»ﻳﻪ ﺳﺮﻯ ﺑﻮﻟﺘﻦ ﻫﺎﻯ ﺁﻣﻮﺯﺷﻰ ﺩﺍﺷﺘﻴﻢ‪ .‬ﻧﻴﺮﻭﻫﺎ ﭘﻨﺠﺎﻩ ﺗﺎﺷﻮ ﺗﻮﻯ ﺣﻤﻠﻪﻯ ﺑﻠﻔﺎﺳﺖ ﺟﻤﻊ ﻛﺮﺩﻥ‪ .‬ﻳﻜﻰ‬ ‫ﺩﻳﮕﻪ ﻫﻢ ﺩﺍﻳﺮﻩﻯ ﺟﻨﺎﻳﻰ ﺗﻮﻯ ﻟﻴﺪﺯ ﭘﻴﺪﺍ ﻛﺮﺩ‪ ...‬ﻳﻪ ﺳﺮﻯ ﺁﺩﻣﺎﻯ ﺣﺮﻭﻣﺰﺍﺩﻩ ﺍﺯ ﺍﻳﻦ ﻛﺎﺭ ﺧﻮﺷﺸﻮﻥ‬ ‫ﻣﻴﺎﺩ‪ .‬ﺑﺒﻴﻦ ﺩﺍﺭﻡ ﺑﻬﺖ ﻣﻰﮔﻢ‪ ،‬ﺍﻳﻦ ﭼﻴﺰ ﺳﺎﻝﻫﺎﺳﺖ ﻛﻪ ﺩﺍﺭﻩ ﻣﺮﺩﻡ ﺭﻭ ﻣﻰﻛﺸﻪ ﻭ ﺍﻻﻥ ﺗﺒﺪﻳﻞ ﺑﻪ ﻳﻪ‬ ‫ﻣﺼﻴﺒﺖ ﻟﻌﻨﺘﻰ ﺷﺪﻩ‪ .‬ﺳﻪ ﺗﺎ ﺍﻓﺴﺮ ﻭ ﻳﻪ ﮔﺮﻭﻫﺒﺎﻥ ﻛﺸﺘﻪ ﺷﺪﻥ‪ .‬ﺍﻭﻥ ﻫﻢ ﻭﻗﺘﻰ ﻛﻪ ﺩﺍﺷﺘﻦ ﻳﻪ ﻋﻮﺿﻰ‬ ‫ﺭﻭ ﺩﺳﺘﮕﻴﺮ ﻣﻰﻛﺮﺩﻥ ﻛﻪ ﻣﻴﺸﻪ ﻓﻘﻂ ﺑﺎ ﺗﻒ ﺍﻧﺪﺍﺧﺘﻦ ﺭﻭﺵ ﺩﺧﻠﺸﻮ ﺁﻭﺭﺩ‪«...‬‬ ‫ﻣﺮﺩﺍﻧﻰ ﺧﺸﻦ ﺭﻭﺑﻮ ﺭﺍ ﺭﻭﻳﻚ ﻳﻚ ﻧﻴﻤﻜﺖ ﭘﺮﺕ ﻛﺮﺩﻧﺪ‪ .‬ﭼﻨﺪ ﺟﺎﻯ ﺑﺪﻧﺶ ﺻﺪﻣﻪ ﺩﻳﺪﻩ ﺑﻮﺩ‪ .‬ﻭﻟﻰ ﺁﺭﺍﻡ‬ ‫ﻭ ﺳﺎﻛﺖ‪ ،‬ﺑﺎ ﭼﺸﻤﺎﻧﻰ ﺑﺴﺘﻪ‪ ،‬ﻫﻤﺎﻥﺟﺎ ﺍﻓﺘﺎﺩ‪ .‬ﺍﻭ ﻧﺸﺎﻧﻰ ﺗﻤﺎﻡ ﺟﺎﻫﺎﻳﻰ ﺭﺍ ﻛﻪ ﻣﻮﺭﺩ ﺣﻤﻠﻪ ﻗﺮﺍﺭ ﺩﺍﺩﻩ‬ ‫ﺑﻮﺩ‪ ،‬ﺑﻪ ﺁﻥﻫﺎ ﮔﻔﺖ‪ .‬ﻭﻟﻰ ﺁﻥﻫﺎ ﺑﺎﺯ ﻫﻢ ﻛﺘﻜﺶ ﻣﻰﺯﺩﻧﺪ‪ .‬ﺍﻳﻦ ﻧﺎﻣﺮﺩﻯ ﺑﻮﺩ‪ .‬ﺩﺭﻯ ﺑﺎﺯ ﺷﺪ ﻭ ﺟﺮﻳﺎﻥ ﻫﻮﺍ‬ ‫ﺭﺍ ﺍﺣﺴﺎﺱ ﻛﺮﺩ‪.‬‬ ‫»ﻧﺘﻴﺠﻪﻯ ﺗﻄﺒﻴﻖ ﻋﻜﺲ ﻣﺜﺒﺘﻪ ﻗﺮﺑﺎﻥ‪ .‬ﺭﻭﺑﺮﺕ ﭼﺎﺭﻟﺰ ﺑﻴﺘﻮﻥ‪ ،‬ﻧﻮﺯﺩﻩ ﺳﺎﻟﻪ‪ ،‬ﺩﻭ ﺗﺎ ﺳﺎﺑﻘﻪﻯ ﺗﺨﺮﻳﺐ‬ ‫ﺍﻣﻮﺍﻝ ﻋﻤﻮﻣﻰ ﺩﺍﺭﻩ‪ .‬ﻣﺸﻜﻮﻙ ﺑﻪ ﺍﺭﺗﺒﺎﻁ ﺑﺎ ﮔﺮﻭﻩ ﻋﻤﻠﻴﺎﺕ »ﺁﻟﺒﻴﻮﻥ« ]‪ .[9‬ﭼﻴﺰ ﺩﻳﮕﻪﺍﻯ ﺗﻮﻯ ﭘﺮﻭﻧﺪﻩ‬ ‫ﻧﻴﺴﺖ‪«.‬‬ ‫»ﻓﻜﺮ ﻣﻰﻛﻨﻢ ﺭﻭﺷﻨﻪ‪ .‬ﺧﻼﻓﻜﺎﺭﺍﻯ ﺳﺎﺩﻳﺴﺖ‪ ،‬ﺟﻴﻤﻰ‪ .‬ﺗﺎ ﺣﺎﻻ ﺑﺎﻫﺎﺷﻮﻥ ﺭﻭﺑﺮﻭ ﺷﺪﻯ؟ ﻧﺰﺩﻳﻚﺗﺮﻳﻦ‬ ‫ﭼﻴﺰﻯ ﻛﻪ ﺍﻳﻦﺟﺎ ﺑﻪ ﻛﻮﻛﻠﻮﺱ ﻛﻼﻥﻫﺎﻯ ]‪ [10‬ﻟﻌﻨﺘﻰ ﭘﻴﺪﺍ ﻣﻰﺷﻪ‪«.‬‬ ‫»ﺍﻳﻦ ﻳﻜﻰ ﻛﻪ ﺣﺎﻻ ﺣﺎﻻﻫﺎ ﺍﺯ ﺩﻭﺭ ﺧﺎﺭﺝ ﻣﻰﺷﻪ‪«.‬‬ ‫»ﺟﻴﻤﻰ‪ ،‬ﺗﻮ ﺟﺮﻳﺎﻥ ﺍﻳﻦ ﺗﺸﺎﺑﺎ ﺭﻭ ﺩﻧﺒﺎﻝ ﻧﻤﻰﻛﻨﻰ‪ ،‬ﻣﻰﻛﻨﻰ؟ ﺍﻳﻦ ﻫﻤﻮﻥ ﻛﺎﺑﻮﺱ ﻟﻌﻨﺘﻰ ﻣﺮﺑﻮﻁ ﺑﻪ‬ ‫ﺑﭽﻪﻫﺎ ﻭ ﻛﺎﻣﭙﻴﻮﺗﺮﺍﺷﻮﻧﻪ‪ .‬ﺧﺪﺍ ﻣﻰﺩﻭﻧﻪ ﭼﻘﺪﺭ ﻃﻮﻝ ﻛﺸﻴﺪ ﺗﺎ ﺗﻮﻧﺴﺘﻦ ﻣﻬﺎﺭﺵ ﻛﻨﻦ‪ .‬ﺩﻳﺮ ﻳﺎ ﺯﻭﺩ ﺳﺮ ﻭ‬ ‫ﻛﺎﺭ ﻣﺎ ﻫﻢ ﺑﻬﺶ ﻣﻰﺍﻓﺘﻪ‪ ...‬ﺑﺒﻴﻦ‪ ،‬ﻣﺎ ﭼﻬﺎﺭ ﺗﺎ ﺍﻓﺴﺮ ﺷﻴﻔﺖ ﺷﺐ ﺩﺍﺭﻳﻢ ﻛﻪ ﺩﻟﻴﻞ ﻣﺮﮔﺸﻮﻥ ﻧﺎﻣﻌﻠﻮﻣﻪ ﻭ‬ ‫ﺍﻭﻟﻴﻦ ﺩﻟﻴﻞ ﺩﻡ ﺩﺳﺘﻰ ﻫﻢ ﺍﻳﺴﺖ ﻗﻠﺒﻴﻪ‪ ،‬ﻻﺯﻡ ﻛﻪ ﻧﻴﺴﺖ ﻫﻤﻪﻯ ﺟﺰﻳﻴﺎﺕ ﺭﻭ ﻣﻦ ﺑﮕﻢ؟«‬ ‫»ﺍﻭﻩ‪«.‬‬ ‫»ﺗﻨﻬﺎ ﻣﺪﺭﻛﻤﻮﻥ ﺗﻮﻯ ﺍﻭﻥ ﭘﺎﻛﺖ ﺧﻴﺲ ﺧﻮﺭﺩﻩ ﺍﺳﺖ‪ .‬ﻭﻟﻰ ﺍﻳﻦ ﻭﺍﻗﻌﺎً ﻳﻪ ﻣﺪﺭﻙ ﻣﺤﻜﻤﻪﭘﺴﻨﺪﻩ؟ ﻳﺎﺩ‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،29‬ﺍﺭﺩﻳﺒﻬﺸﺖ ‪1392‬‬

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‫ﻋﻠﻤﻰﺗﺨﻴﻠﻰ ‪ -‬ﺗﺮﺟﻤﻪ‬

‫ﭼﺸﻤﺎﻧﺶ ﺭﺍ ﺑﭙﻮﺷﺎﻧﺪ‪ .‬ﺩﺭ ﻣﺮﻛﺰ ﺁﻥ ﺟﺴﻢ ﺳﻨﮕﻴﻦ ﻳﻚ ﺳﻮﺭﺍﺥ ﻧﺎﻣﻨﻈﻢ ﺑﺰﺭگ ﻭﺟﻮﺩ ﺩﺍﺷﺖ‪ ،‬ﻧﻮﺭ‬ ‫ﭼﺮﺍﻍ ﻗﻮﻩ ﺍﺯ ﺩﺭﻭﻧﺶ ﺑﻪ ﺩﺍﺧﻞ ﻫﺠﻮﻡ ﺁﻭﺭﺩ ﻭ ﺑﻪ ﺳﺮﻋﺖ ﻧﺰﺩﻳﻚ ﺷﺪ‪ .‬ﺻﺪﺍﻳﻰ ﺑﻪ ﮔﻮﺷﺶ ﺧﻮﺭﺩ‪:‬‬ ‫»ﻣﻰﺧﻮﺍﻯ ﺑﻬﻢ ﺑﮕﻰ ﻛﻪ ﺩﺍﺭﻯ ﭼﻰ ﻛﺎﺭ‪ ...‬؟«‬ ‫ﺑﺎ ﻓﺮﻭ ﺍﻓﺘﺎﺩﻥ ﺷﻌﺎﻉ ﻧﻮﺭ ﻭ ﺧﺎﻣﻮﺵ ﺷﺪﻥ ﺻﺪﺍ‪ ،‬ﻧﻤﺎﻯ ﻟﺮﺯﺍﻥ ﻳﻚ ﻛﻼﻩ ﭘﻠﻴﺲ ﺭﺍ ﺍﺯ ﻣﻴﺎﻥ ﻃﻮﻃﻰ ﺩﻳﺪ‪.‬‬ ‫ﭘﺸﺖ ﺗﺼﺎﻭﻳﺮ ﭘﺲﺯﻣﻴﻨﻪﺍﻯ ﻛﺞ ﻭ ﻣﻌﻮﺝ‪ ،‬ﻳﻚ ﭼﻬﺮﻩ ﻧﻤﺎﻳﺎﻥ ﺷﺪ‪ .‬ﻫﻤﺎﻧﻄﻮﺭ ﻛﻪ ﺩﺭ ﺍﻳﻦ ﻗﺴﻤﺖ ﺍﺯ ﺷﻬﺮ‬ ‫ﺍﻧﺘﻈﺎﺭ ﻣﻰﺭﻓﺖ ﻳﻚ ﭼﻬﺮﻩﻯ ﺁﺳﻴﺎﻳﻰ ﺑﻮﺩ‪ .‬ﭼﺸﻢﻫﺎﻳﺶ ﺧﻴﺮﻩ ﻣﺎﻧﺪﻩ ﺑﻮﺩ‪ .‬ﺩﻫﺎﻧﺶ ﻣﻰﺟﻨﺒﻴﺪ‪ .‬ﺭﻭﺑﻮ‬ ‫ﺍﺯ ﺁﻥ ﺩﺍﺳﺘﺎﻥﻫﺎﻯ ﺟﻨﺎﻳﻰ ﻗﺪﻳﻤﻰ ﺧﻮﺍﻧﺪﻩ ﺑﻮﺩ ﻛﻪ ﺩﺭ ﺁﻥﻫﺎ ﭼﻬﺮﻩﻯ ﺍﺟﺴﺎﺩ ﺑﺪﻭﻥ ﻫﻮﻳﺖ‪ ،‬ﺣﺎﻟﺘﻰ‬ ‫ﻣﺮﻣﻮﺯ ﻭ ﺣﺎﻛﻰ ﺍﺯ ﺑﻬﺖ ﻭ ﻭﺣﺸﺖ ﺩﺍﺷﺖ‪ .‬ﺟﻨﺎﺯﻩﻯ ﮔﺮﻡ ﺭﻭﻯ ﺍﻭ ﺍﻓﺘﺎﺩ ﻭ ﻭﺯﻧﺶ ﻫﺮ ﺩﻭ ﺭﺍ ﺑﻪ ﭘﻨﺠﺮﻩﺍﻯ‬ ‫ﻛﻮﺑﻴﺪ ﻛﻪ ﺑﺎ ﺳﺮ ﻭ ﺻﺪﺍ ﺧﺮﺩ ﺷﺪ‪.‬‬ ‫ﻗﺮﺍﺭ ﻧﺒﻮﺩ ﻛﺎﺭ ﺑﻪ ﺍﻳﻦﺟﺎ ﺑﻜﺸﺪ‪ .‬ﻗﺮﺍﺭ ﻧﺒﻮﺩ ﺑﻤﺐ ﭘﻴﺶ ﺍﺯ ﺍﻳﻦ ﻛﻪ ﺷﺶ ﻣﺎﻳﻞ ﺍﺯ ﺁﻥ ﻓﺎﺻﻠﻪ ﺑﮕﻴﺮﺩ ﻋﻤﻞ‬ ‫ﻛﻨﺪ‪ .‬ﺟﺎﻳﻰ ﺩﻭﺭ ﻭ ﺑﺮﺵ ﻧﻤﺎﻯ ﺷﻜﺴﺘﻪﻯ ﻳﻚ ﻛﻼﻩ ﭘﻠﻴﺲ ﺩﻳﮕﺮ ﺭﺍ ﺩﻳﺪ‪.‬‬

‫ﻣﺤﺮﻣﺎﻧﻪ‪ :‬ﺑﺎزﯾﻠﯿﺴﮏ‬ ‫‪ ...‬ﺗﻮﺳﻂ دﺳﺖ ﮐﻢ دو ﮔﺮاﻓﯿﺴﺖ ﮐﺎﻣﭙﯿﻮﺗﺮ آﻣﺎﺗﻮر ﺑﻪ ﻃﻮر ﻣﺴﺘﻘﻞ ﮐﺸﻒ ﺷﺪ‪» .‬ﺳﺘﺎرهی‬ ‫ﻓﺮاﮐﺘﺎﻟﯽ« ﺑﻪ وﺳﯿﻠﻪی ﯾﮏ ﻓﺮآﯾﻨﺪ ﺗﮑﺮار ﺷﻮﻧﺪهی ﻧﺴﺒﺘﺎً ﺳﺎده اﯾﺠﺎد ﻣﯽﺷﻮد‪ .‬اﯾﻦ ﻓﺮآﯾﻨﺪ ﺗﻌﻠﻖ‬ ‫داﺷنت ﯾﺎ ﻧﺪاﺷنت ﻧﻘﺎط ﯾﮏ ﻓﻀﺎی دو ﺑﻌﺪی )ﯾﮏ ﻣﯿﺪان ﻣﺨﺘﻠﻂ( ﺑﻪ داﻣﻨﻪ‪-‬اش را ﺗﻌﯿﯿﻦ‬ ‫ﻣﯽﮐﻨﺪ‪ .‬اﯾﻦ اﻟﮕﻮرﯾﺘﻢ ﻫﻢ اﮐﻨﻮن ﺟﺰ اﺳﻨﺎد ﻃﺒﻘﻪﺑﻨﺪی ﺷﺪه اﺳﺖ‪.‬‬ ‫‪ .۳-۳‬ﺗﺼﻮﯾﺮ ﺳﺘﺎرهی ﻓﺮاﮐﺘﺎﻟﯽ در اﻧﺪازهی ﻣﻌﻤﻮﻟﯽ‪ ،‬ﺧﻮاص ﺗﺸﺎب را از ﺧﻮد ﻧﺸﺎن منﯽدﻫﺪ‪.‬‬ ‫ﻣﯽﺗﻮان ﺑﻪ ﺗﺼﻮﯾﺮ ﮐﻠﯽ آن ﻧﮕﺎه ﮐﺮد‪ .‬ﺿﻤﯿﻤﻪی ﺷامرهی ﺳﻪ‪ ،‬ﺻﻔﺤﻪی آ‪-۳‬ﺳﻪ را ﺑﺒﯿﻨﯿﺪ‪.‬‬ ‫اﯾﻦ وﯾﮋﮔﯽ ﺳﺘﺎره اﻧﺘﺸﺎر ﮔﺴﱰدهی آن ﺗﻮﺳﻂ ﯾﮏ ﻣﺠﻠﻪی ﻋﻤﻮﻣﯽ ﮐﺎﻣﭙﯿﻮﺗﺮ را اﻣﮑﺎن ﭘﺬﯾﺮ‬ ‫ﮐﺮد‪» .‬ﴎﮔﺮﻣﯽ و ﮔﺮاﻓﯿﮏ« ﯾﮏ ﻧﺴﺨﻪ از اﻟﮕﻮرﯾﺘﻢ ﺳﺎﺧﺘﺶ را اﻧﺘﺸﺎر داد ﮐﻪ ﻣﺘﺎﺳﻔﺎﻧﻪ ﻣﺘﻨﯽ‬ ‫ﺿﻤﯿﻤﻪی آن ﺑﻮد ﮐﻪ ﺑﻪ ﮐﺎرﺑﺮان ﭘﯿﺸﻨﻬﺎد ﻣﯽداد ﻧﺮم اﻓﺰار را ﺑﻪ ﮔﻮﻧﻪای ﺑﺎزﻧﻮﯾﺴﯽ ﮐﻨﻨﺪ‬ ‫ﺗﺎ اﺑﺮﺳﺎﺧﺘﺎرﻫﺎی ﻓﺮاﮐﺘﺎﻟﯽ را ﮐﻪ از ﺟﺬاﺑﯿﺖ ﺑﴫی ﺑﺮﺧﻮردارﻧﺪ‪ ،‬از ﻣﯿﺎن داﻣﻨﻪ اﻧﺘﺨﺎب و‬ ‫ﺑﺰرﮔﻨامﯾﯽ ﮐﻨﺪ‪ .‬وﻗﺘﯽ ﮐﻪ ﻧﺘﯿﺠﻪی اﯾﻦ ﺑﺰرﮔﻨامﯾﯽ در منﺎﯾﺸﮕﺮی ﺑﺎ وﺿﻮح ﺑﺎﻻﺗﺮ از ‪ ۶۰۰‬در‬ ‫‪ ۳۰۰‬ﭘﯿﮑﺴﻞ منﺎﯾﺶ داده ﺷﻮد‪ ،‬در ﺑﻌﻀﯽ از ﻣﺤﺪودهﻫﺎی ﻣﯿﺪانﻫﺎی ﻣﺨﺘﻠﻂ‪ ،‬وﯾﮋﮔﯽﻫﺎی ﯾﮏ‬ ‫ﺗﺸﺎب را ﺑﺮوز ﻣﯽدﻫﺪ‪.‬‬ ‫‪ .۳-۴‬ﺗﺨﻤﯿﻦ زده ﻣﯽﺷﻮد ﮐﻪ ﭼﻬﺎر درﺻﺪ از ﺣﺪودا ً ﺻﺪ و ﭘﺎﻧﺰده ﻫﺰار ﺧﻮاﻧﻨﺪهی اﯾﻦ ﻣﺠﻠﻪ‪،‬‬ ‫اﻟﮕﻮی ﺗﺸﺎب ﻧﻬﻔﺘﻪ در ﺳﺘﺎره ﻓﺮاﮐﺘﺎﻟﯽ را ﮐﺸﻒ ﮐﺮده و ﺑﻪ منﺎﯾﺶ ﮔﺬاﺷﺘﻪاﻧﺪ‪ .‬در ﺑﯿﺸﱰ ﻣﻮارد‪،‬‬ ‫‪27‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،29‬ﺍﺭﺩﻳﺒﻬﺸﺖ ‪1392‬‬

‫ﻧﻴﺸﺨﻨﺪ‪ .‬ﭼﺸﻤﻜﻰ ﺯﺩﻩ ﻭ ﮔﻔﺘﻪ ﺑﻮﺩ‪» :‬ﮔﻮﺵ ﻛﻦ‪ ،‬ﺍﻳﻦ ﻳﻪ ﭼﻴﺰ ﺳﻤﻴﻪ‪ ،‬ﺩﻭﺭ ﻭ ﺑﺮﺵ ﻛﻪ ﻣﻰﺭﻯ ﻋﻴﻨﻚ‬ ‫ﺍﻳﻤﻨﻰ ﺑﺰﻥ‪ .‬ﺍﮔﻪ ﻳﻪ ﻭﻗﺖ ﮔﻨﺪ ﺯﺩﻯ ﻭ ﭼﺸﻤﺖ ﺧﻮﺭﺩ ﺑﻪ ﺣﺘﺎ ﻳﻪ ﺗﻴﻜﻪﻯ ﻛﻮﭼﻴﻚ ﺍﺯ ﺍﻭﻥ ﻃﻮﻃﻰ‪،‬‬ ‫ﺍﻳﻦ ﻛﺎﺭﻳﻪ ﻛﻪ ﻣﻰﻛﻨﻰ‪ .‬ﺍﻭﻧﺎ ﺑﻬﻢ ﮔﻔﺘﻦ‪ .‬ﻳﻪ ﺷﻴﺸﻪ ﻭﺩﻛﺎ ﺑﭽﭙﻮﻥ ﺗﻮ ﺩﻫﻨﺖ ﻭ ﻫﻤﺸﻮ ﻳﻪ ﺳﺮﻩ ﺑﺮﻭ ﺑﺎﻻ‪.‬‬ ‫ﭘﺎﻛﺴﺎﺯﻯ‪ ،‬ﺣﺎﻓﻈﻪﻯ ﻛﻮﺗﺎﻩ ﻣﺪﺗﺖ ﺭﻭ ﭘﺎﻙ ﻣﻰﻛﻨﻪ‪ .‬ﻳﻪ ﭼﻴﺰﻯ ﺗﻮ ﻫﻤﻴﻦ ﻣﺎﻳﻪﻫﺎ‪«.‬‬ ‫»ﻳﺎ ﻋﻴﺴﻰ ﻣﺴﻴﺢ‪ ،‬ﺧﻮﺏ ﺩﺭ ﻣﻮﺭﺩ ﭘﺮﻭﻭﻫﺎ ﭼﻄﻮﺭ؟ ﺍﮔﻪ ﺍﻳﻦ ﻗﺼﻪﻯ ﺗﺨﻴﻠﻰ ﻭﺍﻗﻌﻴﺖ ﺩﺍﺭﻩ ﭼﺮﺍ ﺍﻭﻧﺎ‬ ‫ﺍﺯﺵ‪ «...‬ﺻﺪﺍﻯ ﺭﻭﺑﻮ ﺩﺭ ﺣﺮﻛﺎﺕ ﻣﻮﺟﻰ ﻣﺒﻬﻤﻰ ﻣﺤﻮ ﺷﺪ ﻛﻪ ﺑﻪ ﺩﻧﺒﺎﻟﺶ ﭼﻴﺰﻯ ﺷﺒﻴﻪ ﻳﻚ ﺑﻤﺐ‬ ‫ﻧﻮﺗﺮﻭﻧﻰ ﻛﺎﻏﺬﻯ ﺑﻪ ﺫﻫﻦ ﻣﻰﺁﻣﺪ‪.‬‬ ‫ﻧﻴﺸﺨﻨﺪ ﻣﻚ ﺑﺎﺯﺗﺮ ﺷﺪ ﻭ ﺭﺩﻳﻔﻰ ﺍﺯ ﺩﻧﺪﺍﻥﻫﺎﻯ ﻗﻬﻮﻩﺍﻯ ﻛﺞ ﻭ ﻛﻮﻟﻪ ﻧﻤﺎﻳﺎﻥ ﺷﺪ‪ .‬ﻣﺜﻞ ﻭﻗﺘﻰ ﻛﻪ ﺭﺍﺟﻊ‬ ‫ﺑﻪ ﻳﻜﻰ ﺍﺯ ﻋﻤﻠﻴﺎﺕﻫﺎﻯ ﺑﺰﺭگ ﮔﺮﻭﻩ ﺣﺮﻑ ﻣﻰﺯﺩ‪» :‬ﺷﺎﻳﺪ ﺍﻭﻧﺎ ﺍﺯ ﺍﻳﺪﻩﻫﺎﻯ ﺟﺪﻳﺪ ﺧﻮﺷﺸﻮﻥ ﻧﻤﻴﺎﺩ‪...‬‬ ‫ﺷﺎﻳﺪﻡ ﻣﻨﺘﻈﺮ ﻳﻪ ﻟﻘﻤﻪﻯ ﮔﻨﺪﻩﺗﺮﻥ‪ ،‬ﺗﺎ ﺣﺎﻻ ﺑﻪ ﺗﺼﺮﻑ ﻳﻪ ﺍﻳﺴﺘﮕﺎﻩ ﺗﻠﻮﻳﺰﻳﻮﻧﻰ ﻓﻜﺮ ﻛﺮﺩﻯ؟ ﻓﻘﻂ ﺑﺮﺍﻯ‬ ‫ﻳﻚ ﺳﺎﻋﺖ‪ .‬ﺑﻪ ﻫﻤﭽﻴﻦ ﭼﻴﺰﺍﻳﻰ ﻓﻜﺮ ﻧﻜﻦ‪ .‬ﺑﺮﺍﺕ ﺑﺪ ﻣﻰﺷﻪ‪«.‬‬ ‫‪ ...‬ﺻﻔﺤﻪﻫﺎﻯ ﺗﻠﻮﻳﺰﻳﻮﻥﻫﺎﻯ ﺧﺎﻣﻮﺵ‪ ،‬ﺍﺯ ﭘﺸﺖ ﭘﻨﺠﺮﻩﻫﺎﻯ ﺧﺮﺩ ﺷﺪﻩﻯ ﻣﻐﺎﺯﻩ ﺍﻭ ﺭﺍ ﻣﻰﭘﺎﻳﻴﺪﻧﺪ‪ .‬ﻳﻚ‬ ‫ﺁﺷﻐﺎﻟﺪﺍﻧﻰ ﻛﻪ ﻓﻴﻠﻢ ﻫﻨﺪﻯ ﻫﻢ ﻛﺮﺍﻳﻪ ﻣﻰﺩﺍﺩ‪ .‬ﺍﻳﻦ ﺑﺎ ﺁﻥﻫﺎ ﺗﺼﻔﻴﻪ ﺣﺴﺎﺏ ﻣﻰﻛﺮﺩ‪ .‬ﭼﺮﺍ ﺍﻳﻦ ﻋﻮﺿﻰﻫﺎ‬ ‫ﻧﻤﻰﺗﻮﺍﻧﺴﺘﻨﺪ ﺍﻧﮕﻠﻴﺴﻰ ﻳﺎﺩ ﺑﮕﻴﺮﻧﺪ؟ ﮔﺮﻭﻩ ﺩﺭﺱ ﺧﻮﺑﻰ ﺑﻪ ﺁﻥﻫﺎ ﺧﻮﺍﻫﺪ ﺩﺍﺩ‪ :‬ﺷﺎﺑﻠﻮﻥ ﻃﻮﻃﻰ ﺭﻭﻯ‬ ‫ﺩﻳﻮﺍﺭ ﻗﺮﺍﺭ ﮔﺮﻓﺘﻪ ﺑﻮﺩ‪ ،‬ﺍﺳﭙﺮﻯ ﺑﻪ ﺳﺮﻋﺖ ﺍﺯ ﺟﻴﺒﺶ ﺑﻴﺮﻭﻥ ﺁﻣﺪ‪ .‬ﺳﺮﻳﻊﺗﺮﻳﻦ ﻧﻘﺎﺷﻰ ﺩﺭ ﻏﺮﺏ‪ .‬ﺩﺭ‬ ‫ﻣﺪﺭﺳﻪ ﺭﻭﺑﻮ ﻫﻴﭻ ﻭﻗﺖ ﭘﻴﺮﻭﺯ ﻳﻚ ﺩﻋﻮﺍ ﻧﺒﻮﺩ‪ .‬ﻫﻤﻴﺸﻪ ﺁﻥﻗﺪﺭ ﻛﺘﻚ ﺧﻮﺭﺩﻩ ﺑﻮﺩ ﻛﻪ ﺩﺳﺖﻫﺎﻳﺶ ﺭﺍ‬ ‫ﺭﻭﻯ ﺳﺮﺵ ﺳﭙﺮ ﻣﻰﻛﺮﺩ ﻭ ﺑﻪ ﮔﺮﻳﻪ ﻣﻰﺍﻓﺘﺎﺩ‪ .‬ﺍﻭ ﺭﻭﺵﻫﺎﻯ ﺧﻮﺏ‪ ،‬ﺑﻰﺧﻄﺮ ﻭ ﺍﺭﺿﺎ ﻛﻨﻨﺪﻩﺍﻯ ﺑﺮﺍﻯ‬ ‫ﺗﻼﻓﻰ ﻛﺮﺩﻥ ﻳﺎﺩ ﮔﺮﻓﺘﻪ ﺑﻮﺩ ﻛﻪ ﺍﺯ ﺑﻴﻦ ﺁﻥﻫﺎ ﻛﺎﺭ ﮔﺬﺍﺷﺘﻦ ﺗﻠﻪﻫﺎﻯ ﻣﺮﮔﺒﺎﺭ ﮔﺮﻭﻩ ﺑﻬﺘﺮﻳﻨﺸﺎﻥ ﺑﻮﺩ‪،‬‬ ‫ﻳﻚ ﻫﻴﺠﺎﻥ ﺩﺍﺋﻢ ﻭ ﺍﻋﺘﻴﺎﺩ ﺁﻭﺭ‪.‬‬ ‫ﺑﻬﺘﺮ ﺑﻮﺩ ﺩﻳﮕﺮ ﻛﺎﺭﺵ ﺭﺍ ﺗﻤﺎﻡ ﻛﻨﺪ‪ .‬ﻳﺎ ﻳﻜﻰ ﺩﻳﮕﺮ ﻫﻢ ﺑﻜﺸﺪ ﺑﻌﺪ ﺗﻤﺎﻡ ﻛﻨﺪ‪ .‬ﺑﻴﺴﺖ ﺗﺎ ﻋﺪﺩ ﺭﻧﺪ ﺧﻮﺑﻰ‬ ‫ﺑﻮﺩ‪ .‬ﺍﻣﺎ ﺑﻪ ﻧﻈﺮ ﻣﻰﺭﺳﻴﺪ ﭘﺸﺖ ﻟﻜﻪﻫﺎﻯ ﺍﺑﺮ ﺳﻔﻴﺪ ﻭ ﺩﺭﺧﺸﺎﻥ‪ ،‬ﺁﺳﻤﺎﻥ ﺩﺍﺷﺖ ﺭﻋﺪ ﻭ ﺑﺮﻕ ﻣﻰﺯﺩ‪.‬‬ ‫ﺍﮔﺮ ﺑﻪ ﺳﻤﺖ ﺧﻴﺎﺑﺎﻥ ﺁﻟﻤﺎ ﻣﻰﺭﻓﺖ ﻣﻰﺗﻮﺍﻧﺴﺖ ﺑﻪ »ﻣﺎﺭﻛﻴﺰ ﺁﻭ ﮔﺮﻧﺒﻰ« ]‪ [8‬ﻫﻢ ﺣﻤﻠﻪ ﻛﻨﺪ‪ .‬ﺟﺎﻳﻰ ﻛﻪ‬ ‫ﻫﻤﻪ ﻣﻰﮔﻔﺘﻨﺪ ﭘﺎﺗﻮﻕ ﻫﻢﺟﻨﺲﺑﺎﺯﻫﺎ ﺍﺳﺖ‪ .‬ﺁﻥ ﺣﺮﺍﻣﺰﺍﺩﻩﻫﺎ ﺑﺪﻭﻥ ﻫﻴﭻ ﺷﺮﻡ ﻭ ﺣﻴﺎﻳﻰ ﺍﺯ ﺍﻧﺤﺮﺍﻓﺸﺎﻥ‬ ‫ﻳﻜﻰ ﺍﺯ ﺑﺎﺭﻫﺎﻯ ﺧﻮﺏ ﻭ ﻗﺪﻳﻤﻰ ﻣﺤﻞ ﺭﺍ ﻗﺒﻀﻪ ﻣﻰﻛﺮﺩﻧﺪ‪ .‬ﺑﻪ ﻣﺤﺾ ﺍﻳﻦ ﻛﻪ ﭼﺸﻤﺸﺎﻥ ﺑﻪ ﭼﺸﻤﺖ‬ ‫ﻣﻰﺍﻓﺘﺎﺩ‪ ،‬ﻣﺒﺘﻼ ﺑﻪ ﺍﻳﺪﺯ ﻣﻰﺷﺪﻯ‪ .‬ﺩﺭﺳﺖ ﺩﺭ ﻣﺮﻛﺰ ﺩﺭ ﺟﻠﻮﻳﻰ ﺳﺎﺧﺘﻤﺎﻧﺸﺎﻥ‪ ،‬ﺑﻌﺪ ﺭﻧﮓ ﻗﺮﻣﺰ ﺑﺮﺍﻕ‬ ‫ﻭ ﺍﺳﭙﺮﻯ ﻳﻚ ﻓﻮﺗﻰ‪...‬‬ ‫ِ‬ ‫ﻣﺸﺖ ﺁﻫﻨﻴﻦ ﺑﻪ ﺍﻭ ﺿﺮﺑﻪ ﺯﺩ‪ .‬ﻋﻴﻨﻚ ﺍﻳﻤﻨﻰ ﺁﻥ ﺭﺍ ﺑﻪ ﺷﻌﺎﻉﻫﺎﻯ ﺩﺭﺧﺸﺎﻥ ﺯﻧﻨﺪﻩﺍﻯ‬ ‫ﻧﻮﺭ ﻣﺜﻞ ﻳﻚ‬ ‫ﺗﺠﺰﻳﻪ ﻛﺮﺩ‪ .‬ﺭﻭﺑﻮ ﻧﻴﻢ ﺩﻭﺭ ﭼﺮﺧﻴﺪ ﻭ ﺳﻌﻰ ﻛﺮﺩ ﺑﺎ ﺟﺴﻢ ﺳﻨﮕﻴﻦ ﻭ ﻧﺮﻣﻰ ﻛﻪ ﺩﺭ ﺩﺳﺖ ﭼﭗ ﺩﺍﺷﺖ‪،‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،29‬ﺍﺭﺩﻳﺒﻬﺸﺖ ‪1392‬‬

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‫ﻋﻠﻤﻰﺗﺨﻴﻠﻰ ‪ -‬ﺗﺮﺟﻤﻪ‬

‫ﻣﺤﺮﻣﺎﻧﻪ‪ :‬ﺑﺎزﯾﻠﯿﺴﮏ ]‪[۲‬‬ ‫اﻧﺘﺸﺎر ﻓﻘﻂ ﺑﺮای ﻓﻬﺮﺳﺖ ب‪ ۵‬ﺑﺮﯾﺘﺎﻧﯿﺎ‬ ‫‪ ...‬ﭘﺲ از اﻧﺠﺎم ﻓﺮآﯾﻨﺪﻫﺎی ﺑﯽﺧﻄﺮﺳﺎزی روی اﯾﻦ ﺷﮑﻞ‪ ،‬ﺑﻪ دﻟﯿﻞ ﺑﻪ اﺻﻄﻼح ﻃﺮح ﮐﻠﯽاش‪ ،‬ﺑﻪ‬ ‫اﯾﻦ ﭘﺮﻧﺪه ﺷﺒﺎﻫﺖ ﭘﯿﺪا ﻣﯽﮐﻨﺪ‪ .‬منﻮﻧﻪای ﻧﺎﮐﺎﻣﻞ از اﯾﻦ ﺗﺼﻮﯾﺮ )ﺑﻪ ﺻﻮرت ﮐﺶ آﻣﺪه و ﺗﻐﯿﯿﺮ‬ ‫ﺷﮑﻞ ﯾﺎﻓﺘﻪ( در ﺻﻔﺤﻪی آ‪-۳‬دو‪ ،‬در ﺿﻤﯿﻤﻪی ﺷامرهی ﺳﻪ اﯾﻦ ﮔﺰارش آﻣﺪه‪ .‬ﺑﻪ ﻫﯿﭻ وﺟﻪ‬ ‫ﻧﺒﺎﯾﺪ ﺑﺎ ﻋﯿﻨﮏ ﺑﻪ ﺗﺼﻮﯾﺮ ﻣﺬﮐﻮر ﻧﮕﺎه ﮐﺮد‪ .‬ﺑﻪ ﻋﻼوه‪ ،‬ﻗﻮﯾﺎً ﺗﻮﺻﯿﻪ ﻣﯽﺷﻮد ﮐﻪ از ﻧﮕﺎه ﮐﺮدن‬ ‫ﻃﻮﻻﻧﯽ ﻣﺪت ﺑﻪ آن ﺑﭙﺮﻫﯿﺰﯾﺪ‪ .‬ﻟﻄﻔﺎً ﭘﯿﺶ از اداﻣﻪ ﺻﻔﺤﻪی آ‪-۳‬ﯾﮏ را ﺑﺨﻮاﻧﯿﺪ‪.‬‬ ‫‪ .۲-۶‬اﯾﻦ اوﻟﯿﻦ منﻮﻧﻪ از ﺗﮑﻨﯿﮏ ﺷﮑﻞﺳﺎزی اﺳﺘﺪﻻﻟﯽ ﺑﺮﯾﻤﻦ ]‪) [۳‬ﮐﻪ از اﯾﻦ ﺑﻪ ﺑﻌﺪ ﺑﺎ ﴎﻧﺎم‬ ‫ﺗﺸﺎب از آن ﯾﺎد ﻣﯽﺷﻮد( اﺳﺖ ﮐﻪ در ﺗﺎﺳﯿﺴﺎت اﺑﺮراﯾﺎﻧﻪی ﮐﻤﱪﯾﺞ‪ ۴‬و در ﺟﺮﯾﺎن ﺗﺤﻘﯿﻘﺎت‬ ‫ﻣﺮﺑﻮط ﺑﻪ ﻫﻮش ﻣﺼﻨﻮﻋﯽ ﺳﺎﺧﺘﻪ ﺷﺪه‪ .‬اﯾﻦ ﺗﺤﻘﯿﻘﺎت ﻫﻢ اﮐﻨﻮن ﻣﺘﻮﻗﻒ ﺷﺪهاﻧﺪ‪ .‬ﻃﺒﻖ‬ ‫ﻓﺮﺿﯿﻪای ﮐﻪ »و‪ .‬ﺑﺮﯾﻤﻦ« و »س‪ .‬م‪ .‬ﺗﺮﻧﺮ« اراﺋﻪ ﮐﺮدﻧﺪ‪ ،‬ﻣﻤﮑﻦ اﺳﺖ ﺑﺮﻧﺎﻣﻪﻫﺎی ﺗﺸﺨﯿﺺ‬ ‫اﻟﮕﻮﯾﯽ ﮐﻪ ﺑﻪ اﻧﺪازهی ﮐﺎﻓﯽ ﭘﯿﭽﯿﺪه ﻫﺴﺘﻨﺪ‪ ،‬در ﺑﺮاﺑﺮ »دروﻧﺪاد ﺷﻮک آور ﮔﻮدﻟﯽ« ]‪[۴‬‬ ‫آﺳﯿﺐﭘﺬﯾﺮ ﺑﺎﺷﻨﺪ‪ .‬اﯾﻦ دروﻧﺪادﻫﺎ ﺑﻪ ﺻﻮرت دادهﻫﺎﯾﯽ ﻫﺴﺘﻨﺪ ﮐﻪ ﺑﺎ منﺎﯾﺶ دروﻧﯽ ﻧﺎﺳﺎزﮔﺎرﻧﺪ‪.‬‬ ‫ﺑﺮﯾﻤﻦ ﻓﺮاﺗﺮ رﻓﺖ و ﭘﯿﺸﻨﻬﺎد ﮐﺮد ﮐﻪ وﺟﻮد ﯾﮏ ﭼﻨﯿﻦ دروﻧﺪاد ﺑﺎﻟﻘﻮهای‪ ،‬ﯾﮏ ﴐورت ﻣﻨﻄﻘﯽ‬ ‫اﺳﺖ‪...‬‬ ‫‪ .۲-۱۸‬در اﯾﻦ ﺳﻄﺢ از ﻃﺒﻘﻪ ﺑﻨﺪی اﺳﻨﺎد‪ ،‬ﺟﺰﯾﯿﺎت اﻟﮕﻮرﯾﺘﻢﻫﺎی ﺳﺎﺧﺖ ﺗﺸﺎب ﺑﺮﯾﻤﻦ‪-‬ﺗﺮﻧﺮ‬ ‫ﻏﯿﺮﻗﺎﺑﻞ دﺳﱰﺳﯽ ﻫﺴﺘﻨﺪ‪ .‬ﺟﺰﯾﯿﺎت ﻧﻔﻮذ اﻣﻨﯿﺘﯽ اﺣﺘامﻟﯽ ﺑﻪ ﮐﻤﱪﯾﺞ‪ ۴‬ﻧﯿﺰ ﻧﻪ ﻗﺎﺑﻞ دﺳﱰﺳﯽ‬ ‫اﺳﺖ و ﻧﻪ ﺑﻪ ﻃﻮر ﮐﺎﻣﻞ ﺷﻨﺎﺧﺘﻪ ﺷﺪه‪ .‬ﺟﺰﯾﯿﺎت ﺗﻠﻔﺎت ﻧﺎﺷﯽ از ﺗﺼﺎوﯾﺮ ﮐﻤﱪﯾﺞ‪ ،۴‬ﻫﻤﭽﻨﺎن‬ ‫ﻣﺤﻔﻮظ اﺳﺖ )ﺗﺤﻘﯿﻘﺎت ﻗﻀﺎﯾﯽ اداﻣﻪ دارد(‪.‬‬ ‫‪ ‬ﻣﻚ ]‪ [5‬ﮔﻔﺘﻪ ﺑﻮﺩ‪» :‬ﺁﻯﺁﺭﺍ ِﻯ ]‪ [6‬ﻳﻪ ﺟﻮﺭﻯ ﺍﻭﻧﻮ ﺑﺪﺳﺖ ﺁﻭﺭﺩ‪ .‬ﺍﻭﻥ ﭘﺮﻭﻭﻫﺎ ]‪ ،[7‬ﻣﺎ ﺑﻌﻀﻰ ﺍﺯ‬ ‫ﺧﺮﻳﺪﺍﻣﻮﻧﻮ ﺑﺎ ﻫﻢ ﺍﺯ ﻳﻪ ﺟﺎ ﺍﻧﺠﺎﻡ ﻣﻰﺩﻳﻢ‪ ،‬ﭼﻴﺰﺍﻳﻰ ﻣﺜﻞ ژﻟﻪ ﻭ ﺍﻳﻦ ﺟﻮﺭ ﭼﻴﺰﺍ‪ ...‬ﺍﻭﻧﺎ ﻳﻪ ﻛﭙﻰ ﻫﻢ ﺑﻪ‬ ‫ﻣﺎ ﺩﺍﺩﻥ‪«.‬‬ ‫ﺭﻭﺑﻮ ﻧﺎﮔﻬﺎﻥ ﺍﺣﺴﺎﺱ ﻛﺮﺩ ﻛﻪ ﻭﺯﻥ ﻟﻮﻟﻪﻯ ﻣﻘﻮﺍﻳﻰ ﺗﻮﻯ ﺩﺳﺘﺶ ﺩﻩ ﺑﺮﺍﺑﺮ ﺷﺪﻩ‪ .‬ﺍﻭ ﺍﻧﺘﻈﺎﺭ ﻳﻚ ﻧﻘﺸﻪ‬ ‫ﺭﺍ ﺩﺍﺷﺖ‪ ،‬ﻧﻘﺸﻪﻯ ﻳﻜﻰ ﺍﺯ ﻋﻤﻠﻴﺎﺕﻫﺎﻯ ﮔﺮﻭﻩ‪ .‬ﻣﺜ ً‬ ‫ﻼ ﻧﻘﺸﻪﻯ ﻳﻚ ﭼﻴﺰ ﺧﻄﺮﻧﺎﻙ ﻛﻪ ﺑﺎﻳﺪ ﺗﻮﻯ ﻣﻌﺒﺪ‬ ‫ﺳﻴﻚﻫﺎ ﺑﺎﻻﺗﺮ ﺍﺯ ﺧﻴﺎﺑﺎﻥ ﻭﻳﻜﺘﻮﺭﻳﺎ ﻛﺎﺭ ﻣﻰﮔﺬﺍﺷﺘﻨﺪ‪.‬‬ ‫»ﻳﻌﻨﻰ ﻣﻰﮔﻰ ﺍﻳﻦ ﺟﻮﺍﺏ ﻣﻰﺩﻩ؟«‬ ‫»ﻣﻌﻠﻮﻣﻪ ﻛﻪ ﺟﻮﺍﺏ ﻣﻰﺩﻩ‪ ،‬ﻣﻦ ﺍﻣﺘﺤﺎﻧﺶ ﻛﺮﺩﻡ‪ ...‬ﺭﻭ ﻳﻪ ﺩﺍﻭﻃﻠﺐ‪ «.‬ﺍﻭ ﻧﻴﺸﺨﻨﺪ ﺯﺩﻩ ﺑﻮﺩ‪ .‬ﻓﻘﻂ‬

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‫ﺷﻤﺎﺭﻩﻯ ‪ ،29‬ﺍﺭﺩﻳﺒﻬﺸﺖ ‪1392‬‬

‫‪ ‬ﻣﺜﻞ ﺻﺤﻨﻪﻯ ﺁﻫﺴﺘﻪﻯ ﺗﺒﺪﻳﻞ ﺷﺪﻥ ﻳﻚ ﺗﺼﻮﻳﺮ ﺑﻪ ﺗﺼﻮﻳﺮﻯ ﺩﻳﮕﺮ ﺑﻮﺩ ﻛﻪ ﻭﺳﻂ ﻛﺎﺭ ﻣﺘﻮﻗﻒ ﺷﺪﻩ‬ ‫ﺑﺎﺷﺪ‪ .‬ﻋﻴﻨﻚ ﺍﻳﻤﻨﻰ ﺗﺼﻮﻳﺮ ﺧﻴﺎﺑﺎﻥ ﺗﺎﺭﻳﻚ ﺭﺍ ﻣﻰﺷﻜﺴﺖ ﻭ ﺗﻜﻪﺗﻜﻪ ﻣﻰﻛﺮﺩ‪ ،‬ﺳﭙﺲ ﺩﻭﺑﺎﺭﻩ ﺁﻥ ﺭﺍ ﺑﺎ‬ ‫ﺧﻄﻮﻃﻰ ﻣﻮﺭﺏ ﺑﺎﺯﺳﺎﺯﻯ ﻣﻰﻛﺮﺩ‪ .‬ﻳﻚ ﺗﺎﺑﻠﻮﻯ ﺩﺭﺧﺸﺎﻥ »ﻛﺒﺎﺏ« ﺗﺒﺪﻳﻞ ﺑﻪ ﺷﻜﻠﻰ ﺷﺪﻩ ﺑﻮﺩ ﻛﻪ ﻧﺎﻣﺶ‬ ‫ﺭﺍ »ﺷﻜﺴﺘﻪ« ﮔﺬﺍﺷﺘﻪ ﺑﻮﺩﻧﺪ‪ .‬ﺭﻭﺑﻮ ]‪ [1‬ﺗﺼﻤﻴﻤﺶ ﺭﺍ ﮔﺮﻓﺘﻪ ﺑﻮﺩ‪ .‬ﺍﻣﻦﺗﺮﻳﻦ ﻛﺎﺭ ﺍﻳﻦ ﺑﻮﺩ ﻛﻪ ﻋﻴﻨﻚ‬ ‫ﺍﻳﻤﻨﻰ ﺭﺍ ﺑﺮﻧﺪﺍﺭﺩ‪ .‬ﻧﻤﻰﺷﺪ ﻣﻄﻤﺌﻦ ﺑﻮﺩ‪ .‬ﺣﺘﺎ ﺩﺭ ﺳﻮﺳﻮﻯ ﭼﺮﺍﻍﻫﺎﻯ ﻧﻴﻤﻪﺭﻭﺷﻦ ﺩﺭ ﺁﻥ ﺳﺤﺮﮔﺎﻩ‪ ،‬ﺁﺩﻡ‬ ‫ﻧﻤﻰﺩﺍﻧﺴﺖ ﻣﻤﻜﻦ ﺍﺳﺖ ﭼﺸﻤﺶ ﺑﻪ ﭼﻪ ﭼﻴﺰﻯ ﺑﻴﻔﺘﺪ‪ .‬ﻧﻬﺎﻳﺖ ﺑﺪﺑﻴﺎﺭﻯ ﺑﻮﺩ ﺍﮔﺮ ﺷﺎﺑﻠﻮﻥ ﺍﺯ ﺯﻳﺮ ﺑﻐﻠﺶ‬ ‫ﻣﻰﺍﻓﺘﺎﺩ ﻭ ﻫﻤﻴﻦ ﻛﻪ ﭼﻨﮓ ﻣﻰﺍﻧﺪﺍﺧﺖ ﺗﺎ ﺑﺮﺵ ﺩﺍﺭﺩ‪ ،‬ﺟﻠﻮﻯ ﭼﺸﻤﺎﻧﺶ ﺍﺯ ﻫﻢ ﺑﺎﺯ ﻣﻰﺷﺪ‪.‬‬ ‫ﺁﻥﺟﺎ ﺍﺣﺘﻤﺎﻻً ﺟﺎﻯ ﺧﻮﺑﻰ ﺑﻮﺩ‪ ،‬ﭘﺸﺖ ﺍﻳﺴﺘﮕﺎﻩ ﺍﺗﻮﺑﻮﺱ ‪) 34‬ﻳﻚ ‪ 34‬ﺷﻜﺴﺘﻪ(‪ .‬ﺍﻳﻦ ﻗﺴﻤﺖ ﺷﻬﺮ‬ ‫ﭘﺎﺗﻮﻕ ﺁﻥﻫﺎ ﺑﻮﺩ‪ .‬ﻫﺮ ﺭﻭﺯ ﺻﺒﺢ‪ ،‬ﺯﻥﻫﺎﻯ ﺳﺎﺭﻯﭘﻮﺵ ﺁﻥﺟﺎ ﺟﻤﻊ ﻣﻰﺷﺪﻧﺪ ﻭ ﻣﺜﻞ ﻳﻚ ﻣﺸﺖ ﻗﻨﺎﺭﻯ‬ ‫ﺳﺮﺧﻮﺵ ﭼﻬﭽﻪ ﻣﻰﺯﺩﻧﺪ‪ .‬ﺑﺎ ﺁﻥ ﻣﻐﺎﺯﻩﺍﻯ ﻛﻪ ﺭﻭﻯ ﭘﻨﺠﺮﻩﻫﺎﻯ ﺗﺨﺘﻪ ﺷﺪﻩﺍﺵ ﺁﮔﻬﻰﻫﺎﻯ ﺗﺒﻠﻴﻎ‬ ‫ﻛﻨﺴﺮﺕ ﭼﺴﺒﺎﻧﺪﻩ ﺑﻮﺩﻧﺪ‪ ،‬ﺟﺎﻯ ﺧﻮﺑﻰ ﺑﻮﺩ‪.‬‬ ‫ﺭﻭﺑﻮ ﺧﻴﺎﺑﺎﻥ ﺭﺍ ﺍﺯ ﻧﻈﺮ ﮔﺬﺭﺍﻧﺪ ﺗﺎ ﺭﺍﻩ ﺑﻴﻔﺘﺪ‪ .‬ﻧﮕﺎﻫﻰ ﺑﻪ ﺍﻧﮕﺸﺘﺎﻧﺶ ﺍﻧﺪﺍﺧﺖ ﻭ ﺑﺎ ﺩﻳﺪﻥ ﺭﺷﺘﻪﻫﺎﻳﻰ ﺗﻴﺮﻩ‬ ‫ﻭ ﺗﺎﺭ ﺧﻴﺎﻟﺶ ﺟﻤﻊ ﺷﺪ‪ .‬ﻋﻴﻨﻚﻫﺎﻯ ﺍﻳﻤﻨﻰ ﺍﺭﺗﺸﻰ ﺗﻀﻤﻴﻦ ﺷﺪﻩ ﺑﻮﺩﻧﺪ‪ .‬ﻣﻬﺮﻩﻫﺎﻯ ﮔﺮﻭﻩ ﺟﺎﻫﺎﻯ‬ ‫ﺟﺎﻟﺒﻰ ﻧﻔﻮﺫ ﺩﺍﺷﺘﻨﺪ‪ .‬ﺁﻥﻫﺎ ﻣﻰﮔﻔﺘﻨﺪ ﺑﺎﻻﺧﺮﻩ ﭼﺸﻢﻫﺎ ﺧﻮﺩﺷﺎﻥ ﺭﺍ ﺗﻄﺒﻴﻖ ﻣﻰﺩﻫﻨﺪ ﻭ ﻳﻚ ﺭﻭﺯ‬ ‫ﻧﺎﮔﻬﺎﻥ ﻫﻤﻪ ﭼﻴﺰ ﻭﺍﺿﺢ ﻣﻰﺷﻮﺩ‪ .‬ﺑﺎ ﺑﺎﺯ ﺷﺪﻥ ﻭﺭﻕ ﺿﺨﻴﻢ ﭘﻼﺳﺘﻴﻜﻰ ﺭﻭﻳﺶ ﺭﺍ ﺑﺮﮔﺮﺩﺍﻧﺪ‪ .‬ﺑﻌﺪ ﺁﻥ‬ ‫ﻟﺤﻈﻪﻯ ﭘﺮﺗﻨﺶ ﮔﺬﺷﺖ‪ .‬ﺑﺎ ﺩﺳﺖ ﭼﭗ ﺷﺎﺑﻠﻮﻥ ﺭﺍ ﺭﻭﻯ ﻳﻚ ﭘﻮﺳﺘﺮ ﺗﻜﻪ ﭘﺎﺭﻩ ﻣﻰﻓﺸﺮﺩ ﻭ ﺑﺎ ﺩﺳﺖ‬ ‫ﺭﺍﺳﺖ ﺭﻧﮓ ﺭﻭﻯ ﺁﻥ ﺍﺳﭙﺮﻯ ﻣﻰﻛﺮﺩ‪ .‬ﺣﺴﻰ ﻛﻪ ﺑﻮﻯ ﺷﻴﺮﻳﻦ ﻭ ﻣﻄﺒﻮﻉ ﺍﺳﭙﺮﻯ ﺭﻧﮓ ﻣﺎﺷﻴﻦ ﺑﻪ ﺍﻭ‬ ‫ﻣﻰﺩﺍﺩ‪ ،‬ﻓﺮﺳﻨﮓﻫﺎ ﺑﺎ ﺣﺲ ﻳﻚ ﻋﻤﻠﻴﺎﺕ ﺗﺮﻭﺭﻳﺴﺘﻰ ﻓﺎﺻﻠﻪ ﺩﺍﺷﺖ‪.‬‬ ‫ﺩﺭ ﺍﻳﻦ ﮔﺮگ ﻭ ﻣﻴﺶ ﻛﺎﺫﺏ ﺍﺯ ﭘﺸﺖ ﺁﻥ ﻋﻴﻨﻚ‪ ،‬ﺍﻭ ﺩﺭﻳﺎﻓﺖ ﻛﻪ ﺑﻰﺍﺣﺘﻴﺎﻃﻰ ﻭ ﺳﻬﻞﺍﻧﮕﺎﺭﻯ ﻛﺮﺩﻩ‪.‬‬ ‫ﺑﺎ ﻟﻮﻟﻪ ﻛﺮﺩﻥ »ﻃﻮﻃﻰ« ﻣﻘﺪﺍﺭﻯ ﺍﺯ ﺭﻧﮓ ﭼﺴﺒﻨﺎﻙ ﺭﻭﻯ ﺍﻧﮕﺸﺖﻫﺎﻳﺶ ﻣﺎﻟﻴﺪﻩ ﺷﺪﻩ ﺑﻮﺩ‪ .‬ﺗﺎ ﻳﻜﻰ‬ ‫ﺩﻭ ﺳﺎﻋﺖ ﺩﻳﮕﺮ‪ ،‬ﺩﺭ ﺭﻭﺷﻨﺎﻳﻰ ﮔﺮﻓﺘﻪﻯ ﺻﺒﺤﮕﺎﻫﻰ‪ ،‬ﺁﻥ ﺯﻧﺎﻥ ﺳﺒﺰﻩﺭﻭ ﺩﺭ ﺣﺎﻝ ﺍﻧﺠﺎﻡ ﺑﺎﺯﻯ ﭼﺸﻤﻚ‬ ‫ﺧﻮﺍﻫﻨﺪ ﺑﻮﺩ‪ ...‬ﻳﺎ ﻋﻴﺴﻰ ﻣﺴﻴﺢ‪ ،‬ﭼﻨﺪ ﻭﻗﺖ ﺍﺯ ﺯﻣﺎﻧﻰ ﻛﻪ ﻳﻚ ﺑﭽﻪ ﺑﻮﺩ ﻭ ﺍﻳﻦ ﺑﺎﺯﻯ ﺭﺍ ﺍﻧﺠﺎﻡ ﺩﺍﺩﻩ ﺑﻮﺩ‪،‬‬ ‫ﻣﻰﮔﺬﺷﺖ؟ ﺑﺎﻳﺪ ﭘﻨﺞ ﺳﺎﻟﻰ ﻣﻰﺷﺪ‪ .‬ﻛﺴﻰ ﻛﻪ ﻛﺎﺭﺕ ﻣﺮگ ﺭﺍ ﺍﺯ ﺑﻴﻦ ﻛﺎﺭﺕﻫﺎ ﺑﻴﺮﻭﻥ ﻣﻰﻛﺸﻴﺪ‪،‬‬ ‫ﺑﺎﻳﺪ ﻧﮕﺎﻫﺶ ﺭﺍ ﺑﻪ ﻧﮕﺎﻫﺖ ﻣﻰﺍﻧﺪﺍﺧﺖ ﻭ ﭼﺸﻤﻚ ﻣﻰﺯﺩ‪ ،‬ﻭ ﺗﻮ ﺑﺎﻳﺪ ﺑﺎ ﻛﻠﻰ ﺟﺎﻥ ﻛﻨﺪﻥ ﻭ ﺗﻘﻼ‬ ‫ﻛﺮﺩﻥ ﻣﻰﻣﺮﺩﻯ‪ .‬ﺑﺮﺍﻯ ﺯﻧﺪﻩ ﻣﺎﻧﺪﻥ‪ ،‬ﺑﺎﻳﺪ ﻗﺎﺗﻞ ﺭﺍ ﭘﻴﺪﺍ ﻣﻰﻛﺮﺩﻯ ﻭ ﻣﺘﻬﻤﺶ ﻣﻰﻛﺮﺩﻯ‪ ...‬ﻳﺎ ﺣﺪﺍﻗﻞ‬ ‫ﻣﻰﺩﺍﻧﺴﺘﻰ ﻛﻪ ﺑﻪ ﻛﺠﺎ ﻧﺒﺎﻳﺪ ﻧﮕﺎﻩ ﻛﻨﻰ‪.‬‬ ‫ﻫﻮﺍ ﺳﺮﺩ ﺑﻮﺩ‪ .‬ﻭﻗﺘﺶ ﺑﻮﺩ ﻛﻪ ﺑﺮﻭﺩ ﻭ ﺟﺎﻯ ﺩﻳﮕﺮﻯ ﺭﺍ ﺍﻧﺘﺨﺎﺏ ﻛﻨﺪ‪ .‬ﺑﺎ ﻳﺎ ﺑﺪﻭﻥ ﻋﻴﻨﻚ ﺷﻜﺴﺘﻪ ﺳﺎﺯ‪،‬‬ ‫ﺩﻳﮕﺮ ﻧﺒﺎﻳﺪ ﺑﻪ ﺗﺼﻮﻳﺮ ﻃﻮﻃﻰ ﻧﮕﺎﻩ ﻣﻰﻛﺮﺩ‪ .‬ﻣﻤﻜﻦ ﺑﻮﺩ ﭼﺸﻤﻚ ﺑﺰﻧﺪ‪.‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،29‬ﺍﺭﺩﻳﺒﻬﺸﺖ ‪1392‬‬

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‫ﻋﻠﻤﻰﺗﺨﻴﻠﻰ ‪ -‬ﺗﺮﺟﻤﻪ‬

‫ﺗﺸـﺎﺏ‬ ‫ﺩﻳﻮﻳﺪ ﻻﻧﮕﻔﻮﺭﺩ‬ ‫ﭘﮋﻣﺎﻥ ﺣﻴﺎﺗﻰ‬

‫ﻣﺠﻤﻮﻋﻪ داﺳﺘﺎنﻫﺎی »ﺑﺎزﯾﻠﯿﺴﮏ«‪ ،‬ﺟﺰ ﻣﻌﺮوفﺗﺮﯾﻦ ﮐﺎرﻫﺎی دﯾﻮﯾﺪ ﻻﻧﮕﻔﻮرد‬ ‫ﻫﺴﺘﻨﺪ‪ .‬از اﯾﻦ ﻣﺠﻤﻮﻋﻪ داﺳﺘﺎن »اﻧﻮاع ﻣﺨﺘﻠﻒ ﺗﺎرﯾﮑﯽ« ﮐﻪ ﺑﺮﻧﺪهی ﺟﺎﯾﺰهی‬ ‫ﻫﻮﮔﻮ اﺳﺖ‪ ،‬ﭘﯿﺶ از اﯾﻦ در آﮐﺎدﻣﯽ ﻓﺎﻧﺘﺰی ﻣﻨﺘﴩ ﺷﺪه‪» .‬ﺗﺸﺎب« ﻧﯿﺰ داﺳﺘﺎن‬ ‫دﯾﮕﺮی از ﻫﻤﯿﻦ ﻣﺠﻤﻮﻋﻪ اﺳﺖ‪.‬‬

‫ﻋﻠﻤﻰﺗﺨﻴﻠﻰ ‪ -‬ﺗﺮﺟﻤﻪ‬

‫ﺗﻮﺳﻂ ﻣﻨﺪﻝﺑﺮﺕ ﺑﻪ ﻛﺎﺭ ﺭﻓﺖ‪ .‬ﺷﻜﻞﻫﺎﻳﻰ ﻧﻈﻴﺮ ﺳﺎﺣﻞ ﺩﺭﻳﺎ‪،‬‬ ‫ﻛﻮﻩﻫﺎ‪ ،‬ﺍﺑﺮﻫﺎ ﻭ ﺍﻳﻦ ﻗﺒﻴﻞ ﺍﺷﻜﺎﻝ ﺭﺍ ﻧﻤﻰﺗﻮﺍﻥ ﺑﻪ ﺳﺎﺩﮔﻰ ﺑﺎ‬ ‫ﻫﻨﺪﺳﻪﻯ ﺍﻗﻠﻴﺪﺳﻰ ﺗﻮﺻﻴﻒ ﻛﺮﺩ ﻭ ﻓﺮﺍﻛﺘﺎﻝ ﺷﺎﺧﻪﻯ ﺟﺪﻳﺪ‬ ‫ﺭﻳﺎﺿﻴﺎﺕ ﺑﺮﺍﻯ ﺗﻮﺻﻴﻒ ﭼﻨﻴﻦ ﺍﺷﻜﺎﻝ ﻧﺎﻣﻨﻈﻢ‪ ،‬ﺑﻰﻗﺎﻋﺪﻩ‬ ‫ﻭ ﭘﻴﭽﻴﺪﻩﻯ ﺩﻧﻴﺎﻯ ﻭﺍﻗﻌﻰ ﻣﻨﺎﺳﺐ ﺍﺳﺖ‪ .‬ﺍﻳﻦ ﺷﺎﺧﻪ ﺭﺍ‬ ‫ﻫﻨﺪﺳﻪﻯ ﻓﺮﺍﻛﺘﺎﻟﻰ ﻣﻰﻧﺎﻣﻨﺪ‪ .‬ﻫﻨﺪﺳﻪﻯ ﻓﺮﺍﻛﺘﺎﻟﻰ ﻓﺎﻗﺪ‬ ‫ﺍﻧﺪﺍﺯﻩ ﻳﺎ ﻣﻘﻴﺎﺱﺑﻨﺪﻯ ﺍﺳﺖ ﻭ ﻣﻨﺎﺳﺐ ﺑﺮﺍﻯ ﺍﺷﻜﺎﻝ ﻃﺒﻴﻌﻰ‬ ‫ﺍﺳﺖ ﻭ ﻗﺪﻣﺘﻰ ﻛﻤﺘﺮ ﺍﺯ ﺳﻰ ﺳﺎﻝ ﺩﺍﺭﺩ ﻭ ﺩﺭ ﺗﻮﺻﻴﻒ ﺁﻥ ﺍﺯ‬ ‫ﺍﻟﮕﻮﺭﻳﺘﻢﻫﺎﻯ ﺗﻜﺮﺍﺭﻯ ﺍﺳﺘﻔﺎﺩﻩ ﻣﻰﻛﻨﻨﺪ‪ .‬ﺍﺷﻜﺎﻟﻰ ﻣﺎﻧﻨﺪ ﻛﺮﻩ ﻳﺎ‬ ‫ﻣﻜﻌﺐ ﺑﻪ ﺗﺮﺗﻴﺐ ﺩﺍﺭﺍﻯ ﺷﻌﺎﻉ ﻭ ﻭﺟﻪ ﻫﺴﺘﻨﺪ‪ ،‬ﺍﻣﺎ ﺷﻜﻞ ﺳﺎﺣﻞ‬ ‫ﺩﺭﻳﺎ ﺩﺍﺭﺍﻯ ﻫﻴﭻ ﻛﺪﺍﻡ ﺍﺯ ﺍﻳﻦ ﻣﺸﺨﺼﻪﻫﺎ ﻧﻴﺴﺖ‪.‬‬

‫ﺍﺳﺐ ﺗﺮﻭﺍﻯ ﻣﻨﻄﻘﻰ ﺑﺮ ﻣﺒﻨﺎﻯ ﻳﻜﻰ ﺍﺯ ﻋﻠﻮﻡ ﺭﻳﺎﺿﻰ )ﺑﻪ ﺟﺰ‬ ‫ﻫﻨﺪﺳﻪ( ﺳﺎﺧﺖ ﻛﻪ ﺍﺛﺒﺎﺕﻫﺎﻯ ﺭﻳﺎﺿﻰ ﺧﻮﺩ ﺭﺍ ﺩﺭ ﻫﻢ ﺑﺸﻜﻨﺪ‪.‬‬ ‫ﺍﻋﺼﺎﺏ ﺑﻴﻨﺎﻳﻰ ﺣﺠﻢ ﺑﺴﻴﺎﺭ ﺯﻳﺎﺩﻯ ﺍﺯ ﻋﻤﻠﻴﺎﺕ ﺭﺍ ﺭﻭﻯ ﺗﺼﺎﻭﻳﺮﻯ‬ ‫ﻛﻪ ﺯﻳﺎﺩ ﺧﻮﺏ ﺭﻭﻯ ﺷﺒﻜﻴﻪ ﺗﺸﻜﻴﻞ ﻧﺸﺪﻩﺍﻧﺪ‪ ،‬ﺍﻧﺠﺎﻡ ﻣﻰﺩﻫﻨﺪ‪.‬‬ ‫ﺣﺎﻝ ﻓﺮﺽ ﻛﻨﻴﺪ ﻛﻪ ﻳﻚ ﺗﺼﻮﻳﺮ ﺍﺳﺐ ﺗﺮﻭﺍ ﻭﺟﻮﺩ ﺩﺍﺷﺘﻪ ﺑﺎﺷﺪ‬ ‫ﻛﻪ ﺭﻭﺵ ﺗﺸﺨﻴﺺ ﺍﻟﮕﻮﻯ ﺩﺍﺧﻠﻰ ﻣﺎ ﺭﺍ ﺑﺸﻜﻨﺪ ﻭ ﺳﺒﺐ ﺍﺯ ﺑﻴﻦ‬ ‫ﺭﻓﺘﻦ ﺳﻴﺴﺘﻢ ﻋﺎﻣﻞ ﻣﻐﺰ ﺷﻮﺩ‪ .‬ﻧﺘﺎﻳﺞ ﻭﺍﻗﻌﻰ ﻫﻨﻮﺯ ﻣﺸﺎﻫﺪﻩ‬ ‫ﻧﺸﺪﻩﺍﻧﺪ‪ ،‬ﻭﻟﻰ ﺍﻭﻟﻴﻦ ﺑﺎﺭ ﻭﺭﻧﻮﻥ ﺑﺮﻳﻤﻦ )‪(Vernon Berryman‬‬ ‫ﺳﻌﻰ ﺩﺭ ﺳﺎﺧﺖ ﭼﻨﻴﻦ ﺗﺼﻮﻳﺮﻯ ﻛﺮﺩ‪ .‬ﺍﺯ ﺍﻳﻦ ﺭﻭ ﭼﻨﻴﻦ ﺍﻳﺪﻩﺍﻯ‬ ‫ﺭﺍ »ﺗﻜﻨﻴﻚ ﺷﻜﻞﺳﺎﺯﻯ ﺍﺳﺘﺪﻻﻟﻰ ﺑﺮﻳﻤﻦ« ﻳﺎ ﺗﺸﺎﺏ ﮔﻮﻳﻨﺪ‪.‬‬ ‫‪ .3‬ﻭﺍژﻩﻯ ﻓﺮﺍﻛﺘﺎﻝ ﺍﺯ ﻛﻠﻤﻪﻯ ﻻﺗﻴﻦ ﻓﺮﻛﺘﻮﺱ )‪ (Fractus‬ﺑﻪ‬ ‫ﻣﻌﻨﻰ ﺷﻜﺴﺘﻪ ﮔﺮﻓﺘﻪ ﺷﺪﻩ ﺍﺳﺖ ﻭ ﺍﻭﻟﻴﻦ ﺑﺎﺭ ﺩﺭ ﺳﺎﻝ ‪1970‬‬

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‫ﺷﻤﺎﺭﻩﻯ ‪ ،29‬ﺍﺭﺩﻳﺒﻬﺸﺖ ‪1392‬‬

‫ﺍﻭ ﺑﻪ ﭘﻨﺠﺮﻩ ﺍﺷﺎﺭﻩ ﻛﺮﺩ‪ .‬ﺟﺎﻧﺎﺗﺎﻥ ﺗﻼﺵ ﻛﺮﺩ ﻭ ﺳﺮﺵ ﺭﺍ ﭼﺮﺧﺎﻧﺪ‪ .‬ﺍﺯ ﻣﻴﺎﻥ ﭘﻨﺠﺮﻩ‪ ،‬ﺩﺭﺣﺎﻟﻰ ﻛﻪ ﺍﻧﺘﻈﺎﺭ‬ ‫ﺩﺍﺷﺖ ﺳﻴﺎﻫﻰ ﻣﺼﻨﻮﻋﻰ ﺭﺍ ﺑﺒﻴﻨﺪ‪ ،‬ﻣﺨﻠﻮﻃﻰ ﺍﺯ ﻧﻮﺭ ﺳﺮﺥ ﺭﻧﮓ ﻭ ﺩﺭﺧﺸﺎﻥ ﺑﻪ ﺩﺍﺧﻞ ﻣﻰﺗﺎﺑﻴﺪ‪ .‬ﻧﻮﺭﻯ‬ ‫ﻛﻪ ﺍﺑﺘﺪﺍ ﭼﺸﻤﺎﻥ ﺍﻭ ﺭﺍ ﺁﺯﺭﺩ‪ .‬ﺑﻌﺪ ﺍﺯ ﮔﺬﺷﺖ ﭼﻨﺪ ﺛﺎﻧﻴﻪ‪ ،‬ﭼﺸﻤﺎﻧﺶ ﺷﺮﻭﻉ ﺑﻪ ﺗﻄﺒﻴﻖ ﻛﺮﻧﺪ‪ ،‬ﮔﻮﻳﻰ‬ ‫ﻧﻮﺷﺪﺍﺭﻭﻳﻰ ﺷﻔﺎﺑﺨﺶ ﺑﺮﺧﻼﻑ ﺁﻥ ﺍﻟﮕﻮﻫﺎﻯ ﻣﺮﮔﺒﺎﺭ ﻭﺍﺭﺩ ﺩﻳﺪﮔﺎﻧﺶ ﺷﺪﻩ ﺑﻮﺩ‪ .‬ﺗﺎﺑﻠﻮﻯ ﺑﻬﺸﺘﻰ ﺳﺮﺷﺎﺭ‬ ‫ﺍﺯ ﻧﺒﻮﻍ ﻛﻪ ﺳﻘﻔﻰ ﺑﺮ ﺷﻬﺮﺷﺎﻥ ﺑﻮﺩ ﻭ ﺑﺎ ﻧﻮﺭ ﻗﺮﻣﺰ ﺭﻧﮓ ﻏﺮﻭﺏ ﻣﻰﺩﺭﺧﺸﻴﺪﻧﺪ‪ .‬ﺣﺘﺎ ﺩﻭﺩﻛﺶﻫﺎ ﻭ‬ ‫ﺁﻧﺘﻦ ﻣﺎﻫﻮﺍﺭﻩﻫﺎ ﻫﻢ ﺯﻳﺒﺎ ﺑﻪ ﻧﻈﺮ ﻣﻰﺁﻣﺪﻧﺪ‪ .‬ﺍﻭ ﻏﺮﻭﺏ ﺭﺍ ﺩﺭ ﻧﻮﺍﺭﻫﺎﻯ ﻭﻳﺪﺋﻮﻳﻰ ﺩﻳﺪﻩ ﺑﻮﺩ‪ ،‬ﻭﻟﻰ ﺍﻳﻦ‬ ‫ﺗﺼﻮﻳﺮ‪ ،‬ﻛﺎﻣ ً‬ ‫ﻼ ﻣﺘﻔﺎﻭﺕ ﺑﻮﺩ‪ .‬ﺗﻔﺎﻭﺗﻰ ﺩﺭﺩﻧﺎﻙ ﻣﻴﺎﻥ ﺷﻌﻠﻪﻫﺎﻯ ﻭﺍﻗﻌﻰ ﻭ ﺩﺭﺧﺸﻨﺪﮔﻰ ﺑﻰﺭﻣﻖ ﻳﻚ ﺁﺗﺶ‬ ‫ﺍﻟﻜﺘﺮﻳﻜﻰ ﻭﺟﻮﺩ ﺩﺍﺷﺖ‪ .‬ﻣﺸﺎﺑﻪ ﺑﺴﻴﺎﺭﻯ ﺍﺯ ﭼﻴﺰﻫﺎﻯ ﺩﻳﮕﺮ ﺩﻧﻴﺎﻯ ﺑﺰﺭگﺗﺮﻫﺎ‪ ،‬ﺗﻠﻮﻳﺰﻳﻮﻥ ﻫﻢ ﺑﺎ ﻧﻤﺎﻳﺶ‬ ‫ﻧﺪﺍﺩﻥ ﺻﺤﻨﻪﻫﺎﻯ ﻭﺍﻗﻌﻰ‪ ،‬ﺑﻪ ﺗﻮ ﺩﺭﻭﻍ ﻣﻰﮔﻔﺖ‪.‬‬ ‫»ﺍﻭﻥ ﻛﺎﺩﻭ ﻫﻢ ﺍﺯ ﻃﺮﻑ ﺩﻭﺳﺘﺎﺗﻪ‪ .‬ﺍﻭﻧﺎ ﺍﺯﺕ ﻣﻌﺬﺭﺕ ﺧﻮﺍﻫﻰ ﻛﺮﺩﻥ ﻛﻪ ﻧﺘﻮﻧﺴﺘﻦ ﭼﻴﺰ ﺑﻬﺘﺮﻯ ﮔﻴﺮ ﺑﻴﺎﺭﻥ‪«.‬‬ ‫ﻛﺎﺩﻭ ﻳﻚ ﺷﻜﻼﺕ ﺑﺰﺭگ ﺑﻮﺩ ﻛﻪ ﺗﻘﺮﻳﺒﺎً ﺧﻢ ﺷﺪﻩ ﺑﻮﺩ‪) .‬ﮔﺮﻯ ﻫﻤﻴﺸﻪ ﺍﺯ ﺍﻳﻦﻫﺎ ﺩﺭ ﺟﻴﺒﺶ ﻣﻰﭼﭙﺎﻧﺪ(‬ ‫ﻫﻤﺮﺍﻩ ﺷﻜﻼﺕ ﻳﻚ ﻛﺎﺭﺕ ﺑﻮﺩ ﻛﻪ ﺟﻮﻟﻰ ﺑﺎ ﺧﻂ ﻣﺘﻤﺎﻳﻞ ﺑﻪ ﭼﭙﺶ ﻭ ﺑﺎﺩﻗﺖ ﭼﻴﺰﻯ ﺩﺭ ﺁﻥ ﻧﻮﺷﺘﻪ‬ ‫ﺑﻮﺩ ﻭ ﺗﻤﺎﻡ ﺍﻋﻀﺎﻯ ﺑﺎﺷﮕﺎﻩ ﻟﺮﺯﺵ ﻫﻢ ﺁﻥ ﺭﺍ ﺍﻣﻀﺎ ﻛﺮﺩﻩ ﺑﻮﺩﻧﺪ‪ .‬ﻧﻮﺷﺘﻪ ﺩﺭﻭﻥ ﻛﺎﺭﺕ ﺍﻳﻦ ﺑﻮﺩ‪» :‬ﭼﻴﺰﻯ‬ ‫ﻛﻪ ﻣﺎ ﺭﺍ ﻧﻤﻰﻛﺸﺪ‪ ،‬ﻗﻮﻯﺗﺮﻣﺎﻥ ﻣﻰﻛﻨﺪ‪«.‬‬

‫‪ .2‬ﺁﻳﺎ ﻣﻤﻜﻦ ﺍﺳﺖ ﺍﻃﻼﻋﺎﺕ ﻛﺸﻨﺪﻩ ﺑﺎﺷﻨﺪ؟ ﺍﻳﻦ ﻣﺴﺄﻟﻪ ﻫﻤﻮﺍﺭﻩ‬ ‫ﺩﺳﺘﻤﺎﻳﻪﻯ ﺩﺍﺳﺘﺎﻥﻫﺎﻯ ﺗﺮﺳﻨﺎﻛﻰ ﺑﻮﺩﻩ ﻛﻪ ﺩﺭ ﺁﻥﻫﺎ ﻳﻚ ﻧﮕﺎﻩ‬ ‫ﺳﺎﺩﻩ ﻣﻰﺗﻮﺍﻧﺪ ﺳﺒﺐ ﻣﺮگ ﻗﺮﺑﺎﻧﻰ ﺷﻮﺩ‪ .‬ﺩﺭ ﺍﻓﺴﺎﻧﻪﻫﺎﻯ ﻛﻬﻦ‬ ‫ﻧﻴﺰ ﻣﻮﺟﻮﺩﺍﺗﻰ ﻧﻈﻴﺮ ﺑﺎﺯﻳﻠﻴﺴﻚ ﻭ ﻛﻮﻛﺘﺮﻳﺲ ﻭﺟﻮﺩ ﺩﺍﺷﺘﻪﺍﻧﺪ‬ ‫ﻛﻪ ﻧﮕﺎﻩ ﻛﺮﺩﻥ ﺑﻪ ﺁﻥﻫﺎ ﺳﺒﺐ ﻣﺮگ ﻣﻰﺷﺪﻩ ﺍﺳﺖ؛ ﻣﮕﺮ ﺍﻳﻦ ﻛﻪ‬ ‫ﺁﻥﻫﺎ ﺭﺍ ﺍﺯ ﺩﺭﻭﻥ ﻳﻚ ﺁﻳﻨﻪ ﻳﺎ ﻳﻚ ﻣﺤﺎﻓﻆ ﻣﺸﺎﺑﻪ ﻧﮕﺎﻩ ﻣﻰﻛﺮﺩﻧﺪ‪.‬‬ ‫ﺁﻳﺎ ﻣﻤﻜﻦ ﺍﺳﺖ ﻳﻚ ﻣﻌﺎﺩﻝ ﭘﻴﺸﺮﻓﺘﻪ ﺑﺮﺍﻯ ﺍﻳﻦ ﻧﻮﻉ ﺍﻓﺴﺎﻧﻪﻫﺎ‬ ‫ﭘﺪﻳﺪ ﺁﻳﻨﺪ ﻭ ﺍﺯ ﻣﻴﺎﻥ ﻧﻤﺎﻳﺸﮕﺮ ﺭﺍﻳﺎﻧﻪ ﺑﻪ ﻣﺎ ﺣﻤﻠﻪ ﻛﻨﻨﺪ؟ ﭼﻨﻴﻦ‬ ‫ﺍﻳﺪﻩﺍﻯ ﺗﻮﺟﻪ ﺑﺴﻴﺎﺭﻯ ﺍﺯ ﻋﻠﻤﻰﺗﺨﻴﻠﻰﻧﻮﻳﺴﺎﻥ ﺭﺍ ﺑﻪ ﺧﻮﺩ ﺟﻠﺐ‬ ‫ﻛﺮﺩﻩ ﺍﺳﺖ‪ .‬ﺍﻧﻮﺍﻉ ﺩﺍﺳﺘﺎﻥﻫﺎﻯ ﻋﻠﻤﻰ ﺩﺭ ﻗﺮﻥ ﺑﻴﺴﺘﻢ ﺑﺮ ﻣﺒﻨﺎﻯ‬ ‫ﺍﻳﻦ ﺍﻳﺪﻩ ﺑﻨﺎ ﺷﺪﻩﺍﻧﺪ‪ .‬ﺍﻣﺎ ﺁﻳﺎ ﺍﻳﻦ ﻣﺴﺄﻟﻪ ﺍﺯ ﻟﺤﺎﻅ ﻋﻠﻤﻰ ﻧﻴﺰ‬ ‫ﺍﻣﻜﺎﻥ ﺩﺍﺭﺩ؟‬ ‫ﺍﺯ ﺳﻮﻯ ﺩﻳﮕﺮ ﻧﻮﺷﺘﻪﻫﺎﻯ ﺯﻳﺎﺩﻯ ﺩﺭ ﻣﻮﺭﺩ ﻧﻘﺼﺎﻥ ﺭﻭﺵﻫﺎﻯ‬ ‫ﺭﻳﺎﺿﻴﺎﺗﻰ ﺗﺸﺨﻴﺺ ﺍﻟﮕﻮ ﻭ ﭘﺮﺩﺍﺯﺵ ﺗﺼﻮﻳﺮ ﻭﺟﻮﺩ ﺩﺍﺭﺩ‪ .‬ﺟﻤﻊ‬ ‫ﺍﻳﻦ ﺩﻭ ﺍﻳﺪﻩ ﺳﺒﺐ ﺑﺮﻭﺯ ﻣﺸﻜﻞ ﻣﻮﺭﺩ ﺑﺤﺚ ﻣﻰﺷﻮﺩ‪.‬‬ ‫ﺩﺭ ﺳﺎﻝ ‪ ،1949‬ﺗﺌﻮﺭﻯ ﻣﺸﻬﻮﺭ ﮔﻮﺩﻝ ﺍﺭﺍﺋﻪ ﮔﺮﺩﻳﺪ‪ .‬ﺍﻳﻦ ﺩﺍﻧﺸﻤﻨﺪ ﺑﻪ‬ ‫ﻫﻤﺮﺍﻩ ﺁﺷﺮ ﻭ ﺑﺎﺡ ﺩﺭ ﻛﺘﺎﺑﻰ ﺑﺎ ﻧﺎﻡ ‪An Enternal Golden Braid‬‬ ‫ﺍﻳﻦ ﺗﺌﻮﺭﻯ ﺭﺍ ﺍﻳﻦ ﮔﻮﻧﻪ ﺑﻴﺎﻥ ﻣﻰﻛﻨﺪ ﻛﻪ ﻫﻤﻮﺍﺭﻩ ﻣﻰﺗﻮﺍﻥ ﻳﻚ‬

‫* ﺍﻳﻦ ﻣﻄﻠﺐ ﺍﻭﻟﻴﻦ ﺑﺎﺭ ﺩﺭ ﺗﺎﺭﻳﺦ ‪ 5‬ﻓﺮﻭﺭﺩﻳﻦ ‪ 1385‬ﺭﻭﻯ‬ ‫ﻭﺏﮔﺎﻩ ﻗﺪﻳﻢ ﺁﻛﺎﺩﻣﻰ ﻓﺎﻧﺘﺰﻯ ﻣﻨﺘﺸﺮ ﺷﺪ‪ .‬ﺭﺳﻢﺍﻟﺨﻂ ﺍﻳﻦ ﻣﻄﻠﺐ‬ ‫ﺑﻪﺭﻭﺯ ﺭﺳﺎﻧﻰ ﺷﺪﻩ ﺍﺳﺖ‪.‬‬ ‫‪ :Optical Art .1‬ﻫﻨﺮ ﺑﺼﺮﻯ ﻧﻮﻋﻰ ﻫﻨﺮ ﺑﺎ ﺟﻬﺖﮔﻴﺮﻯ ﺭﻳﺎﺿﻰ‬ ‫ﺍﺳﺖ‪ .‬ﺩﺭ ﺍﻳﻦ ﻫﻨﺮ ﺗﻜﺮﺍﺭ ﺍﺷﻜﺎﻝ ﺳﺎﺩﻩ ﻭ ﺭﻧﮓﻫﺎ ﺑﺮﺍﻯ ﺑﻪ ﻭﺟﻮﺩ‬ ‫ﺁﻭﺭﺩﻥ ﺗﺎﺛﻴﺮﺍﺕ ﺍﺭﺗﻌﺎﺷﻰ‪ ،‬ﺍﻳﺠﺎﺩ ﺍﺣﺴﺎﺱ ﺍﻏﺮﺍﻕﺁﻣﻴﺰﻯ ﺍﺯ ﻋﻤﻖ‪،‬‬ ‫ﺍﺧﺘﻼﻁ ﭘﻴﺶﺯﻣﻴﻨﻪ ﻭ ﭘﺲﺯﻣﻴﻨﻪ ﻭ ﺳﺎﻳﺮ ﺗﺎﺛﻴﺮﺍﺕ ﺑﺼﺮﻯ ﺑﻪ ﻛﺎﺭ‬ ‫ﻣﻰﺭﻭﺩ‪.‬‬ ‫ﺍﺯ ﻳﻚ ﺩﻳﺪﮔﺎﻩ‪ ،‬ﻫﻤﻪﻯ ﻧﻘﺎﺷﻰﻫﺎ ﺑﺮ ﻣﺒﻨﺎﻯ ﺧﻄﺎﻯ ﺣﺲ ﺑﻴﻨﺎﻳﻰ‬ ‫ﺑﻨﺎ ﺷﺪﻩﺍﻧﺪ‪ .‬ﺑﻪ ﻛﺎﺭ ﺑﺮﺩﻥ ﻗﺎﻧﻮﻥ ﭘﺮﺳﭙﻜﺘﻴﻮ ﺑﺮﺍﻯ ﺍﻳﺠﺎﺩ ﺗﻮﻫﻢ ﺳﻪ‬ ‫ﺑﻌﺪﻯ‪ ،‬ﺍﺧﺘﻼﻁ ﺭﻧﮓﻫﺎ ﺑﺮﺍﻯ ﺍﻳﺠﺎﺩ ﺣﺲ ﺳﺎﻳﻪ ﻭ ﺭﻭﺷﻦ ﻭ ﻏﻴﺮﻩ‬ ‫ﺍﺯ ﺍﻳﻦ ﺩﺳﺖ ﻫﺴﺘﻨﺪ‪ .‬ﺩﺭ ‪ ،Op Art‬ﻗﻮﺍﻧﻴﻨﻰ ﻛﻪ ﭼﺸﻢ ﺑﺮﺍﻯ‬ ‫ﺍﻳﺠﺎﺩ ﺣﺲ ﺍﺯ ﻳﻚ ﺗﺼﻮﻳﺮ ﺑﺼﺮﻯ ﺑﻪ ﻛﺎﺭ ﻣﻰﺑﺮﺩ‪ ،‬ﺧﻮﺩ ﻣﻮﺿﻮﻉ‬ ‫ﻛﺎﺭ ﻫﻨﺮﻣﻨﺪ ﻫﺴﺘﻨﺪ‪.‬‬ ‫ﺩﺭ ﺍﻭﺍﺳﻂ ﻗﺮﻥ ﺑﻴﺴﺘﻢ‪ ،‬ﻫﻨﺮﻣﻨﺪﺍﻧﻰ ﭼﻮﻥ ﺁﻟﺒﺮﺯ‪ ،‬ﻭﻳﻜﺘﻮﺭ ﻭﺍﺳﺎﺭﻟﻰ‬ ‫ﻭ ﺍﻡ‪ .‬ﺍﺱ‪ .‬ﺁﺷﺮ ﺩﺭ ﺍﻳﻦ ﺯﻣﻴﻨﻪ ﻓﻌﺎﻟﻴﺖ ﻛﺮﺩﻩﺍﻧﺪ‪ .‬ﻛﺎﺭﻫﺎﻯ ﺁﺷﺮ‬ ‫ﺗﻨﻬﺎ ﻧﻘﺎﺷﻰ ﻧﻴﺴﺖ‪ ،‬ﺑﻠﻜﻪ ﺑﻪ ﺻﻮﺭﺕ ﮔﺴﺘﺮﺩﻩ ﺑﺎ ﺍﻧﻮﺍﻉ ﮔﻮﻧﺎﮔﻮﻥ‬ ‫ﺣﻘﻪﻫﺎﻯ ﺑﺼﺮﻯ ﻭ ﭘﺎﺭﺍﺩﻭﻛﺲﻫﺎ ﺳﺮ ﻭ ﻛﺎﺭ ﺩﺍﺭﺩ‪.‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،29‬ﺍﺭﺩﻳﺒﻬﺸﺖ ‪1392‬‬

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‫ﻋﻠﻤﻰﺗﺨﻴﻠﻰ ‪ -‬ﺗﺮﺟﻤﻪ‬

‫‪ ‬ﺑﻌﺪ ﺍﺯ ﺭﻭﻳﺎﻫﺎﻯ ﻃﻮﻻﻧﻰ ﺷﻴﻄﺎﻧﻰ ﻭ ﺩﻳﺪﻥ ﻣﻮﺟﻮﺩﺍﺗﻰ ﺷﺒﻴﻪ ﭘﺮﻧﺪﻩ ﻛﻪ ﺑﺎ ﺍﻭ ﺩﺭ ﺗﺎﺭﻳﻜﻰ ﺭﺍﻩ ﻣﻰﺭﻓﺘﻨﺪ‪،‬‬ ‫ﺟﺎﻧﺎﺗﺎﻥ ﺑﻪ ﻫﻮﺵ ﺁﻣﺪ ﻭ ﻣﺘﻮﺟﻪ ﺷﺪ ﺭﻭﻯ ﻧﻴﻤﻜﺘﻰ ﺧﻮﺍﺑﻴﺪﻩ‪ .‬ﻧﻪ‪ ،‬ﺭﻭﻯ ﺗﺨﺘﻰ ﺩﺭ ﺑﻴﻤﺎﺭﺳﺘﺎﻥ ﻣﺪﺭﺳﻪ‬ ‫ﺑﻮﺩ‪ .‬ﺑﻌﺪ ﺍﺯ ﺍﻳﻦ ﻛﻪ ﻭﻗﻔﻪ ﻛﺎﻣﻠﻰ ﺍﺣﺴﺎﺱ ﻛﺮﺩﻩ ﺑﻮﺩ ﻭ ﻓﻜﺮ ﻛﺮﺩﻩ ﺑﻮﺩ ﺗﻤﺎﻡ ﺯﻧﺪﮔﻰﺍﺵ ﻧﺎﺑﻮﺩ ﺷﺪﻩ‪،‬‬ ‫ﺑﺴﻴﺎﺭ ﺷﮕﻔﺖﺍﻧﮕﻴﺰ ﺑﻮﺩ ﻛﻪ ﺧﻮﺩ ﺭﺍ ﺩﺭ ﻫﺮ ﺟﺎﻳﻰ ﺑﻴﺎﺑﺪ‪ .‬ﺍﻭ ﻫﻨﻮﺯ ﺩﺭ ﺗﻤﺎﻡ ﺑﺪﻧﺶ ﺍﺣﺴﺎﺱ ﺩﺭﺩ ﻣﻰﻛﺮﺩ‬ ‫ﻭ ﺁﻥﻗﺪﺭ ﺧﺴﺘﻪ ﺑﻮﺩ ﻛﻪ ﻛﺎﺭﻯ ﺟﺰ ﻧﮕﺎﻩ ﻛﺮﺩﻥ ﺑﻪ ﺳﻘﻒ ﺳﻔﻴﺪ ﻧﻤﻰﺗﻮﺍﻧﺴﺖ ﺍﻧﺠﺎﻡ ﺩﻫﺪ‪.‬‬ ‫ﺻﻮﺭﺕ ﺁﻗﺎﻯ ﻭﻳﺘﻜﺎﺕ ﺑﻪ ﺁﺭﺍﻣﻰ ﺩﺭ ﻣﻴﺪﺍﻥ ﺩﻳﺪﺵ ﻇﺎﻫﺮ ﺷﺪ‪ .‬ﺍﻭ ﺩﻟﻮﺍﭘﺲ ﺑﻪ ﻧﻈﺮ ﻣﻰﺭﺳﻴﺪ‪» .‬ﺳﻼﻡ؟‬ ‫ﺳﻼﻡ؟ ﻛﺴﻰ ﺍﻭﻥﺟﺎ ﻫﺴﺖ؟«‬ ‫ﺟﺎﻧﺎﺗﺎﻥ ﻧﻪ ﭼﻨﺪﺍﻥ ﺻﺎﺩﻗﺎﻧﻪ ﮔﻔﺖ‪» :‬ﺑﻠﻪ‪ ...‬ﻣﻦ ﺧﻮﺑﻢ‪«.‬‬ ‫»ﺧﺪﺍﻳﺎ‪ ،‬ﻣﺘﺸﻜﺮﻡ‪ .‬ﭘﺮﺳﺘﺎﺭ ﺑﻴﻜﺮ ﺍﺯ ﺯﻧﺪﻩ ﻣﻮﻧﺪﻥ ﺗﻮ ﻣﺘﺤﻴﺮ ﺷﺪﻩ ﺑﻮﺩ‪ .‬ﺍﻳﻦ ﻛﻪ ﺯﻧﺪﻩ ﻭ ﺍﺯ ﻧﻈﺮ ﻋﻘﻠﻰ ﺳﺎﻟﻢ‬ ‫ﺑﻤﻮﻧﻰ ﺧﻴﻠﻰ ﺩﻭﺭ ﺍﺯ ﺍﻧﺘﻈﺎﺭ ﺑﻮﺩ‪ .‬ﺧﺐ‪ ،‬ﻣﻦ ﺍﻳﻦ ﺟﺎﻡ ﻛﻪ ﺑﻪ ﺗﻮ ﺑﮕﻢ ﻛﻪ ﻳﻚ ﻗﻬﺮﻣﺎﻥ ﺷﺪﻯ‪ .‬ﭘﺴﺮﻯ‬ ‫ﺑﺎﺩﻝ ﻭ ﺟﺮﺃﺕ ﺑﻘﻴﻪ ﺷﺎﮔﺮﺩﺍﻥ ﺭﺍ ﻧﺠﺎﺕ ﻣﻰﺩﻫﺪ‪ .‬ﻓﻜﺮ ﻛﻨﻢ ﻣﺘﻌﺠﺐ ﺑﺸﻰ ﺍﮔﺮ ﺑﻔﻬﻤﻰ ﭼﻘﺪﺭ ﺯﻭﺩ ﺍﺯ‬ ‫ﻛﻠﻤﻪﻯ »ﺑﺎﺷﻬﺎﻣﺖ« ﺣﺎﻟﺖ ﺑﻪ ﻫﻢ ﻣﻰﺧﻮﺭﻩ‪«.‬‬ ‫»ﺍﻭﻧﻰ ﻛﻪ ﺭﻭﻯ ﺩﺭ ﺑﻮﺩ‪ ،‬ﭼﻰ ﺑﻮﺩ؟«‬ ‫»ﻳﻜﻰ ﺍﺯ ﺑﺪﺗﺮﻳﻦﻫﺎ‪ .‬ﺑﻪ ﺧﺎﻃﺮ ﺑﻌﻀﻰ ﺩﻻﻳﻞ ﺑﻬﺶ ﻃﻮﻃﻰ ﻣﻰﮔﻦ‪ .‬ﺑﻴﭽﺎﺭﻩ ﺟﻮﺭﺝ ﭘﻴﺮ‪ ،‬ﺳﺮﺍﻳﺪﺍﺭ ﻣﺪﺭﺳﻪ‪،‬‬ ‫ﻗﺒﻞ ﺍﺯ ﺍﻳﻦ ﻛﻪ ﺑﻪ ﺯﻣﻴﻦ ﺑﺮﺳﻪ ﻣﺮﺩﻩ ﺑﻮﺩ‪ .‬ﮔﺮﻭﻩ ﺿﺪﺗﺮﻭﺭﻳﺴﺘﻰ ﻛﻪ ﺑﺮﺍﻯ ﻣﺮﺗﺐ ﻛﺮﺩﻥ ﻛﺎﺭﻫﺎ ﻭ ﻧﺎﺑﻮﺩ‬ ‫ﻛﺮﺩﻥ ﺗﺸﺎﺏ ﺍﻭﻣﺪﻩ ﺑﻮﺩﻧﺪ‪ ،‬ﻧﻤﻰﺗﻮﻧﺴﺘﻨﺪ ﺑﺎﻭﺭ ﻛﻨﻦ ﺗﻮ ﺯﻧﺪﻩ ﻣﻮﻧﺪﻯ‪ .‬ﻣﻦ ﻫﻢ ﻧﻤﻰﺗﻮﻧﺴﺘﻢ ﺑﺎﻭﺭ ﻛﻨﻢ‪«.‬‬ ‫ﺟﺎﻧﺎﺗﺎﻥ ﺧﻨﺪﻳﺪ ﻭ ﮔﻔﺖ‪» :‬ﻣﻦ ﺗﻤﺮﻳﻦ ﻛﺮﺩﻡ‪«.‬‬ ‫»ﺑﻠﻪ‪ .‬ﺯﻳﺎﺩ ﻃﻮﻝ ﻧﻜﺸﻴﺪ ﺗﺎ ﻟﻮﺳﻰ )ﻟﻮﺳﻰ ﺍﺳﻢ ﺧﺎﻧﻢ ﻓﻮﺭﺕﻣﺎﻳﻦ ﺑﻮﺩ( ﺑﻔﻬﻤﻪ ﺑﻪ ﺍﻧﺪﺍﺯﻩﻯ ﻛﺎﻓﻰ ﺍﺯ‬ ‫ﺷﻤﺎ ﺳﺆﺍﻝ ﻧﭙﺮﺳﻴﺪﻩ‪ .‬ﺑﺮﺍﻯ ﻫﻤﻴﻦ ﻣﻦ ﻳﻪ ﺑﺎﺭ ﺩﻳﮕﻪ ﺑﺎ ﺩﻭﺳﺘﺖ ﺧﺎﻟﺪ ﭘﺘﻞ ﺣﺮﻑ ﺯﺩﻡ‪ .‬ﺧﺪﺍﻯ ﻣﻦ‪...‬‬ ‫ﺍﻭﻥ ﭘﺴﺮﻩ ﻣﻰﺗﻮﻧﻪ ﺑﻴﺴﺖ ﺛﺎﻧﻴﻪ ﺑﻪ ﻟﺮﺯﺍﻧﻨﺪﻩ ﺧﻴﺮﻩ ﺑﺸﻪ! ﺍﻛﺜﺮ ﻣﺮﺩﻡ ﺍﮔﻪ ﻛﺎﻣ ً‬ ‫ﻼ‪ ،‬ﭼﻰ ﻣﻰﮔﻴﺪ ﺑﻬﺶ‪،‬‬ ‫ﻧﮕﺎﻫﺸﻮﻥ ﺭﻭ ﺭﻭﻯ ﺗﺼﻮﻳﺮ ﺛﺎﺑﺖ ﻛﻨﻦ ﻭ ﺭﻭﺵ ﻗﻔﻞ ﻛﻨﻦ‪ ،‬ﺑﻪ ﺣﺎﻟﺖ ﺗﺸﻨﺞ ﻣﻰﺍﻓﺘﻨﺪ‪«...‬‬ ‫»ﺭﻛﻮﺭﺩ ﻣﻦ ﺩﻩ ﻭ ﻧﻴﻢ ﺛﺎﻧﻴﻪ‪ ...‬ﺗﻘﺮﻳﺒﺎً ﻳﺎﺯﺩﻩ ﺛﺎﻧﻴﻪ ﺍﺳﺖ‪«.‬‬ ‫ﭘﻴﺮﻣﺮﺩ ﺳﺮﺵ ﺭﺍ ﺑﺎ ﺣﻴﺮﺕ ﺗﻜﺎﻥ ﺩﺍﺩ‪» :‬ﻛﺎﺷﻜﻰ ﻣﻰﺗﻮﻧﺴﺘﻢ ﺑﮕﻢ ﻛﻪ ﺣﺮﻓﺎﺕ ﺭﻭ ﺑﺎﻭﺭ ﻧﺪﺍﺭﻡ‪ .‬ﺍﻭﻧﺎ ﻗﺮﺍﺭﻩ‬ ‫ﺩﻭﺑﺎﺭﻩ ﺗﻤﺎﻡ ﺑﺮﻧﺎﻣﻪﻯ ﻣﺤﺎﻓﻈﺘﻰ ﺑﻴﻮﭼﻴﭗﻫﺎ ﺭﻭ ﺑﺮﺭﺳﻰ ﻛﻨﻨﺪ‪ .‬ﻫﻴﭻ ﻛﺲ ﺗﺎﺣﺎﻻ ﺑﻪ ﻓﻜﺮ ﭘﺮﻭﺭﺵ ﺩﺍﺩﻥ‬ ‫ﺟﻮﻭﻥﻫﺎ ﻧﺒﻮﺩﻩ‪ .‬ﻣﻐﺰ ﺍﻭﻧﺎ ﻗﺎﺑﻞ ﺍﻧﻌﻄﺎﻓﻪ ﻭ ﻣﻰﺗﻮﻧﻪ ﺑﺎ ﻳﻪ ﺭﻭﺵ ﻭﺍﻛﺴﻴﻨﺎﺳﻴﻮﻥ ﺟﻠﻮﻯ ﺣﻤﻠﻪ ﺗﺸﺎﺏ ﺭﻭ‬ ‫ﺑﮕﻴﺮﻩ‪ .‬ﺍﮔﻪ ﻫﻢ ﺭﺍﺟﻊ ﺑﻬﺶ ﻓﻜﺮ ﻛﺮﺩﻩ ﺑﻮﺩﻧﺪ‪ ،‬ﺟﺮﺍﺕ ﺁﺯﻣﺎﻳﺶ ﺭﻭ ﻧﺪﺍﺷﺘﻦ‪ ....‬ﺑﮕﺬﺭﻳﻢ؛ ﻣﻦ ﻭ ﻟﻮﺳﻰ‬ ‫ﺻﺤﺒﺘﻰ ﻛﺮﺩﻳﻢ‪ .‬ﻣﺎ ﻳﻪ ﻫﺪﻳﻪﻯ ﻛﻮﭼﻴﻚ ﺑﺮﺍﺕ ﺩﺍﺭﻳﻢ‪ .‬ﺍﻭﻧﺎ ﻣﻰﺗﻮﻧﻦ ﺑﻴﻮﭼﻴﭗﻫﺎ ﺭﻭ ﺑﻪ ﻭﺳﻴﻠﻪﻯ ﺍﻣﻮﺍﺝ‬ ‫ﺭﺍﺩﻳﻮﻳﻰ ﺩﺭ ﺯﻣﺎﻥ ﻛﻮﺗﺎﻫﻰ ﺩﻭﺑﺎﺭﻩ ﺑﺮﻧﺎﻣﻪﺭﻳﺰﻯ ﻛﻨﻨﺪ ﻭ ﺧﺐ‪«...‬‬

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‫ﺷﻤﺎﺭﻩﻯ ‪ ،29‬ﺍﺭﺩﻳﺒﻬﺸﺖ ‪1392‬‬

‫ﺑﻴﻮﭼﻴﭗﻫﺎﺗﻮﻥ ﻛﺎﻣ ً‬ ‫ﻼ ﺩﺭ ﺩﺳﺖ ﺧﻮﺩﺗﻮﻧﻪ‪ .‬ﻭﻗﺘﻰ ﺑﻪ ﺍﻧﺪﺍﺯﻩﻯ ﻛﺎﻓﻰ ﺑﺰﺭگ ﺷﺪﻳﻦ‪ ،‬ﻣﻰﺗﻮﻧﻴﻦ ﺍﻧﺘﺨﺎﺏ‬ ‫ﻛﻨﻴﺪ ﻛﻪ ﻛﺠﺎ ﺑﺮﺍﺗﻮﻥ ﺧﻄﺮﻧﺎﻛﻪ ﻭ ﻛﺠﺎ ﻧﻴﺴﺖ‪«...‬‬ ‫ﺟﺎﻧﺎﺗﺎﻥ ﺣﺎﺿﺮ ﺑﻮﺩ ﺷﺮﻁ ﺑﺒﻨﺪﺩ ﻛﻪ ﺗﻤﺎﻡ ﭘﻨﺞ ﻋﻀﻮ ﺑﺎﺷﮕﺎﻩ ﻟﺮﺯﺵ ﺩﺍﺷﺘﻨﺪ ﺑﻪ ﭼﻴﺰ ﻣﺸﺎﺑﻬﻰ ﻓﻜﺮ‬ ‫ﻣﻰﻛﺮﺩﻧﺪ‪» :‬ﭼﻪ ﻣﺰﺧﺮﻓﺎﺗﻰ‪ ،‬ﻣﺎ ﺑﺎ ﻧﮕﺎﻩ ﻛﺮﺩﻥ ﺑﻪ ﻟﺮﺯﺍﻧﻨﺪﻩ ﻛﺎﺭ ﺧﻄﺮﻧﺎﻛﻰ ﺍﻧﺠﺎﻡ ﺩﺍﺩﻳﻢ ﻭ ﻣﻮﻓﻖ ﻫﻢ‬ ‫ﺷﺪﻳﻢ‪«.‬‬ ‫ﺯﻣﺎﻧﻰ ﻛﻪ ﻣﺪﻳﺮ ﮔﻔﺖ‪» :‬ﻣﻰﺗﻮﻧﻴﻦ ﺑﺮﻳﺪ‪ «.‬ﻣﺸﺨﺺ ﺑﻮﺩ ﻛﻪ ﺁﻥﻫﺎ ﻣﻰﺗﻮﺍﻧﻨﺪ ﺁﻥﺟﺎ ﺭﺍ ﺗﺮﻙ ﻛﻨﻨﺪ‬ ‫ﺑﺪﻭﻥ ﺍﻳﻦ ﻛﻪ ﭼﻴﺰﻯ ﺩﺭ ﻣﻮﺭﺩ ﺗﻨﺒﻴﻪ ﺑﻴﺎﻥ ﺷﺪﻩ ﺑﺎﺷﺪ‪ .‬ﺍﻋﻀﺎﻯ ﮔﺮﻭﻩ ﺗﺎ ﺁﻥﺟﺎ ﻛﻪ ﺷﻬﺎﻣﺖ ﺁﻥﻫﺎ ﺍﺟﺎﺯﻩ‬ ‫ﻣﻰﺩﺍﺩ‪ ،‬ﺁﺭﺍﻡ ﺑﺎﺯﮔﺸﺘﻨﺪ ﻭ ﺑﻪ ﺳﻮﻯ ﻛﻼﺱ ﺭﻭﺍﻧﻪ ﺷﺪﻧﺪ‪ .‬ﻫﺮﮔﺎﻩ ﺍﺯ ﻣﺤﻴﻄﻰ ﻣﻰﮔﺬﺷﺘﻨﺪ ﻛﻪ ﺗﻮﺳﻂ‬ ‫ﺩﻳﻮﺍﺭﻯ ﺳﻴﺎﻩ ﺭﻧﮓ ﻭ ﺟﺎﻣﺪ ﺍﺣﺎﻃﻪ ﺷﺪﻩ ﺑﻮﺩ‪ ،‬ﺟﺎﻧﺎﺗﺎﻥ ﻧﺎﺧﻮﺩﺁﮔﺎﻩ ﻓﻜﺮ ﻣﻰﻛﺮﺩ ﻛﻪ ﻳﻚ ﺑﻴﻮﭼﻴﭗ ﺩﺭ‬ ‫ﭘﺸﺖ ﭼﺸﻤﺎﻧﺶ ﺁﻥ ﻃﻮﺭ ﻛﻪ ﺑﺮﻧﺎﻣﻪﺭﻳﺰﻯ ﺷﺪﻩ ﺑﻮﺩ ﻧﻮﺭ ﺭﺍ ﻣﻰﺩﺯﺩﻳﺪ ﻭ ﻧﻤﻰﮔﺬﺍﺷﺖ ﺍﻭ ﻫﻤﻪ ﭼﻴﺰ ﻭ‬ ‫ﻫﻤﻪ ﺟﺎ ﺭﺍ ﺑﺒﻴﻨﺪ‪.‬‬ ‫‪ ‬ﻫﻨﮕﺎﻣﻰ ﻛﻪ ﺯﻧﮓ ﺁﺧﺮ ﺑﻪ ﺻﺪﺍ ﺩﺭﺁﻣﺪ‪ ،‬ﺍﺗﻔﺎﻕ ﻭﺣﺸﺘﻨﺎﻙ ﻭ ﻧﺎﮔﻮﺍﺭﻯ ﺭﺥ ﺩﺍﺩ‪ .‬ﺳﺮﺍﻳﺪﺍﺭ ﻃﺒﻖ ﻣﻌﻤﻮﻝ‬ ‫ﺩﺭ ﺣﺎﻟﻰ ﻛﻪ ﺑﭽﻪﻫﺎ ﭘﺸﺖ ﺳﺮ ﺍﻭ ﻫﻤﺪﻳﮕﺮ ﺭﺍ ﻫﻞ ﻣﻰﺩﺍﺩﻧﺪ‪ ،‬ﺩﺭﻫﺎﻯ ﻣﺪﺭﺳﻪ ﺭﺍ ﮔﺸﻮﺩ‪ .‬ﺟﺎﻧﺎﺗﺎﻥ ﻭ‬ ‫ﺑﻘﻴﻪﻯ ﺍﻋﻀﺎﻯ ﺑﺎﺷﮕﺎﻩ ﺗﻘﺮﻳﺒﺎً ﺩﺭ ﺍﺑﺘﺪﺍﻯ ﺟﻤﻌﻴﺖ ﺑﻮﺩﻧﺪ‪ .‬ﺩﺭﻫﺎﻯ ﺑﺰﺭگ ﭼﻮﺑﻰ ﺑﻪ ﺳﻤﺖ ﺩﺍﺧﻞ ﺑﺎﺯ‬ ‫ﺷﺪﻧﺪ‪ .‬ﻣﺎﻧﻨﺪ ﻫﻤﻴﺸﻪ ﺑﻴﺮﻭﻥ ﭘﻮﺷﻴﺪﻩ ﺍﺯ ﺗﺎﺭﻳﻜﻰ ﻧﻮﻉ ﺩﻭﻡ ﺑﻮﺩ‪ ،‬ﻭﻟﻰ ﭼﻴﺰﻯ ﻧﺎﺧﻮﺷﺎﻳﻨﺪ ﻫﻤﺮﺍﻩ ﺑﺎ ﺩﺭﻫﺎ‬ ‫ﺍﺯ ﻣﻴﺎﻥ ﺗﺎﺭﻳﻜﻰ ﺑﻪ ﺩﺍﺧﻞ ﺧﺰﻳﺪ‪ .‬ﺻﻔﺤﻪ ﻛﺎﻏﺬﻯ ﺑﺰﺭگ ﻛﻪ ﺑﺎ ﭘﻮﻧﺰ ﺑﻪ ﻗﺴﻤﺖ ﺧﺎﺭﺟﻰ ﺩﺭ ﻭ ﺍﻧﺪﻛﻰ‬ ‫ﻛﺞ ﭼﺴﺒﺎﻧﺪﻩ ﺷﺪﻩ ﺑﻮﺩ‪ .‬ﺳﺮﺍﻳﺪﺍﺭ ﺑﻪ ﺁﻥ ﻧﮕﺎﻩ ﻛﺮﺩ ﻭ ﻣﺎﻧﻨﺪ ﻛﺴﻰ ﻛﻪ ﺁﺫﺭﺧﺶ ﺑﻪ ﺍﻭ ﺍﺻﺎﺑﺖ ﻛﺮﺩﻩ‬ ‫ﺑﺎﺷﺪ‪ ،‬ﺳﺮﻧﮕﻮﻥ ﺷﺪ‪.‬‬ ‫ﺟﺎﻧﺎﺗﺎﻥ ﺑﺪﻭﻥ ﻟﺤﻈﻪﺍﻯ ﺩﺭﻧﮓ ﺑﺎ ﺗﻨﻪ ﺯﺩﻥ ﺑﻪ ﭼﻨﺪ ﺩﺍﻧﺶﺁﻣﻮﺯ ﻛﻮﭼﻚﺗﺮ ﺍﺯ ﻣﻴﺎﻥ ﺁﻥﻫﺎ ﺭﺩ ﺷﺪ ﻭ ﺑﺮﮔﻪ‬ ‫ﻼ ﻋﻜﺲ ﺭﺍ ﺩﻳﺪﻩ ﺑﻮﺩ‪ .‬ﺩﻗﻴﻘﺎً‬ ‫ﺭﺍ ﮔﺮﻓﺖ ﻭ ﺑﺎ ﻋﺼﺒﺎﻧﻴﺖ ﺁﻥ ﺭﺍ ﻣﭽﺎﻟﻪ ﻛﺮﺩ‪ .‬ﺍﻣﺎ ﺍﻧﺪﻛﻰ ﺩﻳﺮ ﺷﺪﻩ ﺑﻮﺩ‪ .‬ﺍﻭ ﻛﺎﻣ ً‬ ‫ﺷﺒﻴﻪ ﺑﻪ ﻟﺮﺯﺍﻧﻨﺪﻩ ﻧﺒﻮﺩ ﻭﻟﻰ ﻣﻄﻤﺌﻨﺎً ﺍﺯ ﻫﻤﺎﻥ ﺧﺎﻧﻮﺍﺩﻩ ﺑﻮﺩ‪ .‬ﺷﻜﻠﻰ ﺳﻴﺎﻩ ﻭ ﻛﺞ ﺷﺒﻴﻪ ﻧﻴﻤﺮﺥ ﭘﺮﻧﺪﻩﺍﻯ‬ ‫ﺑﻰﺩﻡ‪ ،‬ﻭﻟﻰ ﺑﺪﻭﻥ ﻫﻴﭻﮔﻮﻧﻪ ﭘﻴﭽﻴﺪﮔﻰ‪ ،‬ﺑﺎ ﻧﻘﺎﻁ ﭼﺮﺧﺎﻥ ﻭ ﻃﺮﺡﻫﺎﻳﻰ ﺷﺒﻴﻪ ﺑﻪ ﻓﺮﺍﻛﺘﺎﻝ ]‪ .[3‬ﻋﻜﺲ‬ ‫ﺩﺭ ﺫﻫﻨﺶ ﻣﻰﺩﺭﺧﺸﻴﺪ‪ ،‬ﺩﺭ ﭼﺸﻤﺎﻧﺶ ﺑﻮﺩ ﻭ ﺑﻴﺮﻭﻥ ﻧﻤﻰﺭﻓﺖ‪.‬‬ ‫ﭼﻴﺰﻯ ﺳﺨﺖ ﻭ ﻭﺣﺸﺘﻨﺎﻙ ﻣﺎﻧﻨﺪ ﻗﻄﺎﺭ ﺳﺮﻳﻊﺍﻟﺴﻴﺮﻯ ﻣﻐﺰﺵ ﺭﺍ ﺧﺮﺩ ﻛﺮﺩ‪.‬‬ ‫ﻣﻰﺳﻮﺯﺍﻧﺪ‪ ،‬ﺁﺭﺍﻡ ﻣﻰﮔﺮﻓﺖ‪ ،‬ﻣﻰﺳﻮﺯﺍﻧﺪ‪ ،‬ﺁﺭﺍﻡ ﻣﻰﮔﺮﻓﺖ‪.‬‬ ‫ﺗﺸﺎﺏ!‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،29‬ﺍﺭﺩﻳﺒﻬﺸﺖ ‪1392‬‬

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‫ﻋﻠﻤﻰﺗﺨﻴﻠﻰ ‪ -‬ﺗﺮﺟﻤﻪ‬

‫ﭘﺮﺳﻴﺪﻥ ﺍﻭﻥ ﺳﺆﺍﻝ‪ ،‬ﺷﻤﺎ ﺭﻭ ﻟﻮ ﺩﺍﺩ‪ .‬ﺑﺎ ﺍﻳﻦ ﻛﻪ ﺑﻪ ﻇﺎﻫﺮ ﻣﻰﺧﻮﺍﺳﺖ ﺯﺭﻧﮕﻰ ﺑﻜﻨﻪ‪ ،‬ﻭﻟﻰ ﮔﺮﻓﺘﺎﺭﺗﻮﻥ‬ ‫ﻛﺮﺩ‪ .‬ﻣﻦ ﻳﻪ ﭘﻴﺮﻣﺮﺩ ﺍﺣﻤﻘﻢ ﻛﻪ ﻫﻴﭻﻭﻗﺖ ﺑﻪ ﺍﻳﻦ ﺗﻔﻜﺮ ﻛﻪ ﻳﻚ ﻣﺪﺭﺳﻪ ﻣﻰﺗﻮﻧﻪ ﻫﺪﻑ ﺣﻤﻠﻪ‬ ‫ﺗﺮﻭﺭﻳﺴﺘﻰ ﺑﺎﺷﻪ‪ ،‬ﺧﻮ ﻧﮕﺮﻓﺘﻪﺍﻡ‪«.‬‬ ‫ﻣﺪﻳﺮ ﻧﮕﺎﻩ ﺗﻨﺪﻯ ﺑﻪ ﺍﻭ ﺍﻧﺪﺍﺧﺖ‪ .‬ﺟﺎﻧﺎﺗﺎﻥ ﻧﺎﮔﻬﺎﻥ ﺩﭼﺎﺭ ﺳﺮﮔﻴﺠﻪ ﺷﺪ ﻭ ﺍﻓﻜﺎﺭ ﺩﺭ ﺫﻫﻨﺶ ﺑﻪ ﺗﻜﺎﭘﻮ‬ ‫ﺍﻓﺘﺎﺩﻧﺪ‪ .‬ﺩﺭﺳﺖ ﻣﺎﻧﻨﺪ ﻭﻗﺘﻰ ﻛﻪ ﺭﻭﻯ ﻳﻚ ﻣﺴﺄﻟﻪ ﺟﺒﺮ ﻛﺎﺭ ﻣﻰﻛﻨﻰ‪ .‬ﻫﻤﻪ ﭼﻴﺰ ﺩﺭﺳﺖ ﺍﺳﺖ ﻭ ﻧﺎﮔﻬﺎﻥ‬ ‫ﻣﻰﺗﻮﺍﻧﻰ ﺟﻮﺍﺏ ﻣﺴﺄﻟﻪ ﺭﺍ ﺩﺭ ﻧﺎﺣﻴﻪﻯ ﺳﻔﻴﺪ ﭘﺎﻳﻴﻦ ﺻﻔﺤﻪ ﺑﺒﻴﻨﻰ‪ .‬ﺗﺮﻭﺭﻳﺴﺖﻫﺎﻯ ﺳﺒﺰﺗﻴﺮﻩ ﭼﻪ‬ ‫ﭼﻴﺰﻯ ﺭﺍ ﺩﻭﺳﺖ ﻧﺪﺍﺷﺘﻨﺪ؟ ﺑﺮﺍﻯ ﭼﻪ ﻣﺎ ﻫﺪﻑ ﺣﻤﻠﻪ ﺁﻥﻫﺎ ﻫﺴﺘﻴﻢ؟‬ ‫ﺩﺳﺘﮕﺎﻩ ﻛﻨﺘﺮﻝ‪ .‬ﺗﻮ ﺩﻭﺳﺖ ﻧﺪﺍﺭﻯ ﻛﻨﺘﺮﻝ ﺑﺸﻮﻯ‪.‬‬ ‫ﻛﻠﻤﺎﺕ ﺍﺯ ﺩﻫﺎﻧﺶ ﺧﺎﺭﺝ ﺷﺪﻧﺪ‪» :‬ﺑﻴﻮﭼﻴﭗﻫﺎ‪ .‬ﻣﺎ ﺩﺳﺘﮕﺎﻩ ﻛﻨﺘﺮﻝ ﺑﻴﻮﭼﻴﭗ ﺗﻮﻯ ﺳﺮﻣﻮﻥ ﺩﺍﺭﻳﻢ‪...‬‬ ‫ﻫﻤﻪﻯ ﻣﺎ ﺑﭽﻪﻫﺎ‪ .‬ﺍﻭﻧﺎ ﺑﺎﻋﺚ ﺗﺎﺭﻳﻜﻰ ﻣﻰﺷﻮﻧﺪ‪ .‬ﺗﺎﺭﻳﻜﻰ ﺧﺎﺻﻰ ﻛﻪ ﺑﺰﺭگﺗﺮﻫﺎ ﻣﻰﺗﻮﺍﻧﻨﺪ ﺗﻮﻯ ﺍﻭﻥ‬ ‫ﺑﺒﻴﻨﻨﺪ‪«.‬‬ ‫ﺑﺮﺍﻯ ﻣﺪﺗﻰ‪ ،‬ﺳﻜﻮﺗﻰ ﺳﺮﺩ ﻓﻀﺎ ﺭﺍ ﭘﺮ ﻛﺮﺩ‪.‬‬ ‫ﻭﻳﺘﻜﺎﺕ ﭘﻴﺮ ﺯﻣﺰﻣﻪ ﻛﺮﺩ‪» :‬ﺑﻪ ﻛﻼﺱ ﺑﺮﮔﺮﺩﻳﻦ‪«.‬‬ ‫ﻣﺪﻳﺮ ﻧﮕﺎﻫﻰ ﻛﺮﺩ ﻭ ﺩﺭ ﺣﺎﻟﻰ ﻛﻪ ﻛﻤﻰ ﺩﺭ ﺻﻨﺪﻟﻰﺍﺵ ﺧﻢ ﺷﺪﻩ ﺑﻮﺩ‪ ،‬ﺑﻪ ﺁﺭﺍﻣﻰ ﮔﻔﺖ‪» :‬ﻫﻤﻴﺸﻪ ﺑﺎﻳﺪ‬ ‫ﻳﻪ ﺑﺎﺭ ﺍﻭﻟﻰ ﻭﺟﻮﺩ ﺩﺍﺷﺘﻪ ﺑﺎﺷﻪ‪ .‬ﺍﻳﻦ ﭼﻴﺰﻳﻪ ﻛﻪ ﻣﻦ ﺗﻮﻯ ﺳﺨﻨﺮﺍﻧﻰ ﻛﻮﺗﺎﻫﻢ ﺑﻪ ﺷﺎﮔﺮﺩﺍﻯ ﺳﺎﻝ ﺁﺧﺮﻯ‬ ‫ﻣﻰﮔﻢ‪ .‬ﻛﻪ ﺷﻤﺎ ﺑﭽﻪﻫﺎ ﭼﻪ ﺍﻣﺘﻴﺎﺯ ﺧﺎﺻﻰ ﺩﺍﺭﻳﻦ‪ ،‬ﭼﻪ ﺟﻮﺭﻯ ﺗﻤﺎﻡ ﻋﻤﺮﺗﻮﻥ ﺑﺎ ﺑﻴﻮﭼﻴﭗﻫﺎﻳﻰ ﻛﻪ ﺩﺭ‬ ‫ﺍﻋﺼﺎﺏ ﺑﻴﻨﺎﻳﻴﺘﻮﻥ ﻛﺎﺭ ﮔﺬﺍﺷﺘﻪ ﺷﺪﻩ ﻫﻤﻪ ﭼﻴﺰ ﺭﻭ ﺗﻨﻈﻴﻢ ﺷﺪﻩ ﻣﻰﺑﻴﻨﻴﻦ‪ .‬ﻭﺍﺳﻪ ﻫﻤﻴﻨﻪ ﻛﻪ ﻫﻤﻴﺸﻪ‬ ‫ﺧﻴﺎﺑﻮﻥﻫﺎ ﻭ ﺧﺎﺭﺝ ﺍﺯ ﭘﻨﺠﺮﻩﻫﺎ ﺭﻭ ﺗﺎﺭﻳﻚ ﻣﻰﺑﻴﻨﻴﻦ‪ ،‬ﻫﺮﺟﺎﻳﻰ ﻛﻪ ﺍﻣﻜﺎﻥ ﺩﺍﺭﻩ ﺗﺼﻮﻳﺮ ﺗﺸﺎﺑﻰ ﺑﺮﺍﻯ‬ ‫ﻛﺸﺘﻦ ﺷﻤﺎ ﺑﺎﺷﻪ‪ .‬ﻭﻟﻰ ﺍﻳﻦ ﻧﻮﻉ ﺗﺎﺭﻳﻜﻰ ﻭﺍﻗﻌﻰ ﻧﻴﺴﺖ‪ ،‬ﺟﺰ ﺑﺮﺍﻯ ﺷﻤﺎ‪ .‬ﻳﺎﺩﺗﻮﻥ ﺑﺎﺷﻪ‪ ،‬ﻭﺍﻟﺪﻳﻨﺘﻮﻥ ﺑﺎﻳﺪ‬ ‫ﺍﻧﺘﺨﺎﺏ ﻣﻰﻛﺮﺩﻥ ﻭ ﺩﻳﺪﻧﺪ ﻛﻪ ﺍﻳﻦ ﺭﺍﻩ ﺑﻬﺘﺮﻩ‪«.‬‬ ‫ﺟﺎﻧﺎﺗﺎﻥ ﺩﻋﻮﺍﻫﺎﻯ ﭘﺪﺭ ﻭ ﻣﺎﺩﺭﺵ ﺭﺍ ﺑﻪ ﻳﺎ ﺁﻭﺭﺩ ﻭ ﺑﺎ ﺧﻮﺩ ﮔﻔﺖ‪» :‬ﭘﺪﺭ ﻭ ﻣﺎﺩﺭ ﻣﻦ‪ ،‬ﻫﺮ ﺩﻭ ﻣﻮﺍﻓﻘﺖ‬ ‫ﻧﻜﺮﺩﻥ‪«.‬‬ ‫ﮔﺮﻯ ﺑﺎ ﺣﺎﻟﺘﻰ ﻧﺎﻣﻄﻤﺌﻦ ﮔﻔﺖ‪» :‬ﺍﻳﻦ ﻋﺎﺩﻻﻧﻪ ﻧﻴﺴﺖ‪ .‬ﻣﺜﻞ ﺍﻳﻨﻪ ﻛﻪ ﺭﻭﻯ ﺍﻧﺴﺎﻥ ﺁﺯﻣﺎﻳﺶ ﺍﻧﺠﺎﻡ‬ ‫ﺑﺪﻳﺪ‪«.‬‬ ‫ﺧﺎﻟﺪ ﮔﻔﺖ‪» :‬ﻭ ﺍﻳﻦ ﻛﺎﺭ ﻓﻘﻂ ﺑﺮﺍﻯ ﻣﺤﺎﻓﻈﺖ ﻛﺮﺩﻥ ﺍﺯ ﻣﺎ ﻧﻴﺴﺖ‪ .‬ﺍﻳﻦ ﺟﺎ ﺭﺍﻫﺮﻭﻫﺎﻳﻰ ﻫﺴﺖ ﻛﻪ ﻛﺎﻣ ً‬ ‫ﻼ‬ ‫ﺗﺎﺭﻳﻜﻨﺪ ﺑﺮﺍﻯ ﺍﻳﻦ ﻛﻪ ﻣﺎ ﺑﻪ ﺍﻭﻥﺟﺎﻫﺎ ﻧﺮﻳﻢ‪ .‬ﺗﺎ ﻣﺎ ﺭﻭ ﻛﻨﺘﺮﻝ ﻛﻨﻴﺪ‪«.‬‬ ‫ﺧﺎﻧﻢ ﻓﻮﺭﺕﻣﺎﻳﻦ ﺑﻪ ﺣﺮﻑﻫﺎﻯ ﺍﻭ ﺍﻋﺘﻨﺎﻳﻰ ﻧﻜﺮﺩ‪ .‬ﺷﺎﻳﺪ ﺍﻭ ﻫﻢ ﻳﻚ ﺑﻴﻮﭼﻴﭗ ﺧﺎﺹ ﺩﺍﺷﺖ ﻛﻪ‬ ‫ﺍﺟﺎﺯﻩﻯ ﺷﻨﻴﺪﻥ ﺣﺮﻑﻫﺎﻯ ﺳﺮﻛﺸﺎﻧﻪ ﺭﺍ ﺑﻪ ﺍﻭ ﻧﻤﻰﺩﺍﺩ‪» .‬ﻭﻗﺘﻰ ﻣﺪﺭﺳﻪ ﺭﻭ ﺗﺮﻙ ﺑﻜﻨﻴﻦ‪ ،‬ﻛﻨﺘﺮﻝ‬

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‫ﺷﻤﺎﺭﻩﻯ ‪ ،29‬ﺍﺭﺩﻳﺒﻬﺸﺖ ‪1392‬‬

‫ﻃﺮﻓﻰ ﺩﻳﮕﺮ ﮔﺮﻓﺖ ﻭ ﺑﺎ ﺩﺳﺘﺶ ﺁﻥﻫﺎ ﺭﺍ ﮔﺮﻓﺖ‪ .‬ﺩﺭﺳﺖ ﻣﺎﻧﻨﺪ ﺍﻳﻦ ﻛﻪ ﻧﻮﺭ ﺷﺪﻳﺪﻯ ﭼﺸﻤﺎﻧﺶ ﺭﺍ‬ ‫ﺍﺫﻳﺖ ﻛﺮﺩﻩ ﺑﺎﺷﺪ‪» .‬ﺑﭙﻮﺷﻮﻧﻴﺪﺵ‪ .‬ﭼﺸﻤﺎﺗﻮﻥ ﺭﻭ ﺑﺒﻨﺪﻳﺪ‪ .‬ﭘﺘﻞ ﺑﻬﺶ ﻧﮕﺎﻩ ﻧﻜﻦ‪ .‬ﻓﻘﻂ ﺍﻭﻥ ﭼﻴﺰ ﻟﻌﻨﺘﻰ‬ ‫ﺭﻭ ﺑﭙﻮﺷﻮﻥ‪«.‬‬ ‫ﺧﺎﻟﺪ ﻫﻤﺎﻥ ﻛﺎﺭﻯ ﺭﺍ ﻛﻪ ﺍﻭ ﮔﻔﺘﻪ ﺑﻮﺩ‪ ،‬ﺍﻧﺠﺎﻡ ﺩﺍﺩ‪ .‬ﺁﻥﻫﺎ ﺑﻪ ﻫﺮﻯ ﻛﻤﻚ ﻛﺮﺩﻧﺪ ﻛﻪ ﺭﻭﻯ ﭘﺎﻫﺎﻳﺶ ﺑﺎﻳﺴﺘﺪ‬ ‫ﻭ ﺍﻭ ﻣﺮﺗﺒﺎً ﺑﺎ ﺻﺪﺍﻳﻰ ﻛﻠﻔﺖ ﺩﺭ ﺣﺎﻟﻰ ﻛﻪ ﻣﺎﻧﻨﺪ ﺧﻮﻥﺁﺷﺎﻡﻫﺎ ﺍﺯ ﺩﻫﺎﻧﺶ ﺧﻮﻥ ﻣﻰﭼﻜﻴﺪ‪ ،‬ﻣﻰﮔﻔﺖ‪:‬‬ ‫»ﻣﺘﺄﺳﻔﻢ‪ .‬ﻣﺘﺄﺳﻔﻢ‪ «.‬ﺑﻪ ﻧﻈﺮ ﻣﻰﺭﺳﻴﺪ ﻛﻪ ﺭﺍﻩ ﺭﻓﺘﻦ ﻃﻮﻻﻧﻰ ﺩﺭ ﺭﺍﻫﺮﻭﻫﺎﻯ ﻓﺮﺵ ﻧﺸﺪﻩﺍﻯ ﻛﻪ ﺻﺪﺍ‬ ‫ﺩﺭ ﺁﻥﻫﺎ ﻣﻰﭘﻴﭽﻴﺪ‪ ،‬ﺗﺎ ﺍﺑﺪ ﺑﻪ ﺻﻮﺭﺕ ﺗﺮﺳﻨﺎﻛﻰ ﺍﺩﺍﻣﻪ ﺧﻮﺍﻫﺪ ﺩﺍﺷﺖ‪ .‬ﺁﻥﻫﺎ ﺍﺑﺘﺪﺍ ﺑﻪ ﺑﻴﻤﺎﺭﺳﺘﺎﻥ‬ ‫ﻛﻮﭼﻚ ﻣﺪﺭﺳﻪ ﻭ ﺳﭙﺲ ﺑﻪ ﺍﺗﺎﻕ ﻣﺪﻳﺮ ﺭﻓﺘﻨﺪ‪.‬‬ ‫ﺧﺎﻧﻢ ﻓﻮﺭﺕﻣﺎﻳﻦ‪ ،‬ﻣﺪﻳﺮ ﻣﺪﺭﺳﻪ‪ ،‬ﻣﺜﻞ ﺁﻫﻦ ﺳﺮﺩ ﺑﻮﺩ‪ .‬ﻃﺒﻖ ﺷﺎﻳﻌﺎﺗﻰ ﻛﻪ ﺩﺭ ﻣﺪﺭﺳﻪ ﺑﺮ ﺳﺮ ﺯﺑﺎﻥﻫﺎ‬ ‫ﺑﻮﺩ‪ ،‬ﺍﻭ ﻧﺴﺒﺖ ﺑﻪ ﺣﻴﻮﺍﻧﺎﺕ ﻣﻬﺮﺑﺎﻥ ﺑﻮﺩ‪ ،‬ﻭﻟﻰ ﻣﻰﺗﻮﺍﻧﺴﺖ ﺑﺎ ﮔﻔﺘﻦ ﭼﻨﺪ ﺟﻤﻠﻪ ﺷﺎﮔﺮﺩﺍﻥ ﺭﺍ ﺩﺭ ﺣﺪ‬ ‫ﻳﻚ ﺗﻜﻪ ﺯﺑﺎﻟﻪ ﺗﺤﻘﻴﺮ ﻛﻨﺪ؛ ﻳﻚ ﺍﻧﺴﺎﻥ ﺗﺸﺎﺏ ﻣﺎﻧﻨﺪ‪ .‬ﺍﻭ ﺍﺯ ﺑﺎﻻﻯ ﻣﻴﺰﺵ ﺑﺮﺍﻯ ﻳﻚ ﻟﺤﻈﻪ ﺑﻰﭘﺎﻳﺎﻥ ﺑﻪ‬ ‫ﺍﻋﻀﺎﻯ ﺑﺎﺷﮕﺎﻩ ﻟﺮﺯﺵ ﺧﻴﺮﻩ ﺷﺪ ﻭ ﺳﭙﺲ ﺑﻪ ﺗﻨﺪﻯ ﮔﻔﺖ‪» :‬ﺍﻳﻦ ﻧﻈﺮ ﻛﻰ ﺑﻮﺩ؟«‬ ‫ﺧﺎﻟﺪ ﺑﻪ ﺁﺭﺍﻣﻰ ﺩﺳﺘﺶ ﺭﺍ ﺗﺎ ﺍﺭﺗﻔﺎﻉ ﺷﺎﻧﻪﻫﺎﻳﺶ ﺑﺎﻻ ﺑﺮﺩ‪ .‬ﺟﺎﻧﺎﺗﺎﻥ ﺷﻌﺎﺭ ﺳﻪ ﺗﻔﻨﮕﺪﺍﺭ ﺭﺍ ﺑﻪ ﻳﺎﺩ ﺁﻭﺭﺩ‬ ‫ﻛﻪ ‪-‬ﻳﻜﻰ ﺑﺮﺍﻯ ﻫﻤﻪ‪ ،‬ﻫﻤﻪ ﺑﺮﺍﻯ ﻳﻜﻰ‪ -‬ﻭ ﮔﻔﺖ‪» :‬ﺩﺭ ﺣﻘﻴﻘﺖ ﻧﻈﺮ ﻫﻤﻪﻯ ﻣﺎ ﺑﻮﺩ‪ «.‬ﺟﻮﻟﻰ ﺍﺿﺎﻓﻪ‬ ‫ﻛﺮﺩ‪» :‬ﺩﺭﺳﺘﻪ‪«.‬‬ ‫ﻣﺪﻳﺮ ﺍﻧﮕﺸﺘﺎﻧﺶ ﺭﺍ ﺑﺮ ﺭﻭﻯ ﭘﻮﺷﻪ ﻣﻘﺎﺑﻠﺶ ﻣﻰﻛﻮﺑﻴﺪ‪» :‬ﻭﺍﻗﻌﺎً ﻧﻤﻰﺩﻭﻧﻢ ﭼﻰ ﺑﮕﻢ‪ .‬ﺍﻳﻦ ﺭﺫﻝﺗﺮﻳﻦ‬ ‫ﺍﺳﻠﺤﻪﻯ ﺭﻭﻯ ﺯﻣﻴﻨﻪ‪ ،‬ﺗﻘﺮﻳﺒﺎً ﻣﻌﺎﺩﻝ ﺑﻤﺐ ﺍﺗﻤﻴﻪ ﻭ ﺷﻤﺎ ﺩﺍﺷﺘﻴﺪ ﺑﺎﻫﺎﺵ ﺑﺎﺯﻯ ﻣﻰﻛﺮﺩﻳﻦ‪ .‬ﻣﻦ ﻭﺍﻗﻌﺎً‬ ‫ﻧﻤﻰﺩﻭﻧﻢ ﭼﻰ ﺑﺎﻳﺪ ﺑﮕﻢ‪«...‬‬ ‫ﺧﺎﻟﺪ ﺩﺭ ﺣﺎﻟﻰ ﻛﻪ ﺑﺎ ﺩﺳﺖ ﺍﺷﺎﺭﻩ ﻣﻰﻛﺮﺩ‪ ،‬ﮔﻔﺖ‪» :‬ﻳﻜﻰ ﺍﻭﻥ ﺭﻭ ﺗﻮﻯ ﺩﺳﺘﮕﺎﻩ ﻓﺘﻮﻛﭙﻰ ﺟﺎ ﮔﺬﺍﺷﺘﻪ‬ ‫ﺑﻮﺩ‪ .‬ﺍﻭﻥﺟﺎ‪ .‬ﺍﻭﻥ ﭘﺎﻳﻴﻦ‪«.‬‬ ‫ﻣﺪﻳﺮ ﮔﻔﺖ‪» :‬ﺑﻠﻪ‪ ،‬ﺳﻬﻞﺍﻧﮕﺎﺭﻯ ﻫﻤﻴﺸﻪ ﺍﺗﻔﺎﻕ ﻣﻰﺍﻓﺘﻪ‪ «.‬ﻭ ﺩﺭ ﺍﻳﻦ ﻟﺤﻈﻪ‪ ،‬ﺻﻮﺭﺗﺶ ﻛﻤﻰ ﺣﺎﻟﺖ‬ ‫ﻣﻼﻳﻢﺗﺮﻯ ﺑﻪ ﺧﻮﺩ ﮔﺮﻓﺖ‪» :‬ﻣﻦ ﻣﺴﺆﻭﻟﻴﺖ ﺍﻳﻦ ﻛﺎﺭ ﺭﻭ ﺑﻪ ﻋﻬﺪﻩ ﻣﻰﮔﻴﺮﻡ‪ ،‬ﭼﻮﻥ ﻣﺎ ﺩﺭ ﻭﺍﻗﻊ ﺍﻭﻥ‬ ‫ﺗﺼﻮﻳﺮ ﺗﺸﺎﺏ ﺭﻭ ﺑﻪ ﻋﻨﻮﺍﻥ ﻗﺴﻤﺘﻰ ﺍﺯ ﮔﻔﺘﮕﻮﻯ ﻛﻮﺗﺎﻫﻤﻮﻥ ﺑﺎ ﺷﺎﮔﺮﺩﺍﻯ ﺑﺰﺭگﺗﺮ ﻭﻗﺘﻰ ﻛﻪ ﺩﺍﺭﻥ‬ ‫ﻣﺪﺭﺳﻪ ﺭﻭ ﺗﺮﻙ ﻣﻰﻛﻨﻦ‪ ،‬ﺍﺳﺘﻔﺎﺩﻩ ﻣﻰﻛﻨﻴﻢ‪ .‬ﺍﻭﻧﺎ ﺗﺤﺖ ﻧﻈﺎﺭﺕ ﻛﺎﻣﻞ ﭘﺰﺷﻜﻰ‪ ،‬ﺩﻭ ﺛﺎﻧﻴﻪ ﺑﻬﺶ ﻧﮕﺎﻩ‬ ‫ﻣﻰﻛﻨﺪ‪ .‬ﺍﺳﻢ ﺍﻳﻦ ﻋﻜﺲ »ﻟﺮﺯﺍﻧﻨﺪﻩ« ﺍﺳﺖ ﻭ ﺩﺭ ﺑﻌﻀﻰ ﺍﺯ ﻛﺸﻮﺭﻫﺎ ﺍﺯ ﭘﻮﺳﺘﺮﻫﺎﻯ ﺑﺰﺭﮔﺶ ﺑﺮﺍﻯ‬ ‫ﻛﻨﺘﺮﻝ ﺷﻮﺭﺵﻫﺎ ﺍﺳﺘﻔﺎﺩﻩ ﻣﻰﻛﻨﻦ؛ ﺍﻟﺒﺘﻪ ﻧﻪ ﺗﻮﻯ ﺍﻧﮕﻠﻴﺲ ﻭ ﺁﻣﺮﻳﻜﺎ‪ .‬ﺧﺐ ﺷﻤﺎ ﻫﻢ ﻧﻤﻰﺩﻭﻧﺴﺘﻴﻦ‬ ‫ﻛﻪ ﻫﺮﻯ ﺍﺳﺘﻴﻦ ﺑﻴﻤﺎﺭﻯ ﺻﺮﻉ ﺧﻔﻴﻔﻰ ﺩﺍﺭﻩ ﻭ ﻟﺮﺯﺍﻧﻨﺪﻩ ﺑﺎﻋﺚ ﻣﻰﺷﻪ ﺍﻭﻥ ﻏﺶ ﻛﻨﻪ‪«...‬‬ ‫ﺁﻗﺎﻯ ﻭﻳﺘﻜﺎﺕ ﺍﺯ ﭘﺸﺖ ﺳﺮ ﺑﭽﻪﻫﺎﻯ ﺑﺎﺷﮕﺎﻩ ﮔﻔﺖ‪» :‬ﺑﺎﻳﺪ ﺯﻭﺩﺗﺮ ﺣﺪﺱ ﻣﻰﺯﺩﻡ‪ .‬ﭘﺘﻞ ﺟﻮﺍﻥ ﺑﺎ‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،29‬ﺍﺭﺩﻳﺒﻬﺸﺖ ‪1392‬‬

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‫ﻋﻠﻤﻰﺗﺨﻴﻠﻰ ‪ -‬ﺗﺮﺟﻤﻪ‬

‫ﺗﺎ ﺍﻳﻦ ﻟﺤﻈﻪ‪ ،‬ﻫﺮﻯ ﺣﺘﻤﺎً ﺩﻋﻮﺗﻨﺎﻣﻪﺍﺵ ﺭﺍ ﺍﺯ ﻛﻠﻮپ ﺩﺭﻳﺎﻓﺖ ﻛﺮﺩﻩ ﺑﻮﺩ ﻭ ﺩﺍﺷﺖ ﺛﺎﻧﻴﻪ ﺷﻤﺎﺭﻯ ﻣﻰﻛﺮﺩ‬ ‫ﺗﺎ ﭘﻨﺠﺸﻨﺒﻪ ﺯﻭﺩﺗﺮ ﺑﺮﺳﺪ ﻭ ﺍﻭ ﺑﻪ ﺍﻭﻟﻴﻦ ﺟﻠﺴﻪ ﻛﻪ ﺩﻭ ﺭﻭﺯ ﺑﻪ ﺗﺸﻜﻴﻞ ﺁﻥ ﻣﺎﻧﺪﻩ ﺑﻮﺩ‪ ،‬ﺑﺮﻭﺩ‪ .‬ﺷﺎﻳﺪ ﺍﻭ‬ ‫ﺍﻳﺪﻩﻫﺎﻯ ﺟﺪﻳﺪﻯ ﺩﺍﺷﺘﻪ ﺑﺎﺷﺪ؛ ﺍﻟﺒﺘﻪ ﺑﻌﺪ ﺍﺯ ﮔﺬﺭﺍﻧﺪﻥ ﺁﺯﻣﺎﻳﺶ ﻭ ﭘﻴﻮﺳﺘﻦ ﺑﻪ ﺑﺎﺷﮕﺎﻩ‪ .‬ﻫﺮﻯ ﺧﻴﻠﻰ‬ ‫ﺩﺭ ﺭﻳﺎﺿﻰ ﻭ ﻓﻴﺰﻳﻚ ﻗﻮﻯ ﺑﻮﺩ‪.‬‬ ‫ﮔﺮﻯ ﮔﻔﺖ‪» :‬ﺩﻋﻮﺕ ﺍﻭﻥ ﺑﺎﻋﺚ ﻣﻰﺷﻪ ﻛﺎﺭﻣﻮﻥ ﻳﻪ ﺟﻮﺭﺍﻳﻰ ﺟﺎﻟﺐ ﺑﺸﻪ‪ .‬ﺍﮔﻪ ﻋﻜﺲ ﻣﺎ ﻫﻢ ﻣﺜﻞ ﺗﺸﺎﺏ‬ ‫ﺑﺎ ﺭﻳﺎﺿﻰ ﻛﺎﺭ ﻛﻨﻪ‪ ...‬ﻫﺮﻯ ﺑﻪ ﺧﺎﻃﺮ ﺍﻳﻦ ﻛﻪ ﺗﻮﻯ ﺭﻳﺎﺿﻰ ﻗﻮﻳﻪ‪ ،‬ﻣﻰﺗﻮﻧﻪ ﺑﻴﺸﺘﺮ ﺩﻭﺍﻡ ﺑﻴﺎﺭﻩ؟ ﻳﺎ ﺷﺎﻳﺪ‬ ‫ﭼﻮﻥ ﻃﻮﻝ ﻣﻮﺝ ﻫﺮﺩﻭﺷﻮﻥ ﻳﻜﻴﻪ‪ ،‬ﺑﺮﺍﺵ ﺳﺨﺖﺗﺮ ﻣﻰﺷﻪ؟ ﻳﺎ ﻳﻪ ﻫﻤﭽﻴﻦ ﭼﻴﺰﺍﻳﻰ‪«.‬‬ ‫ﺍﻋﻀﺎﻯ ﺑﺎﺷﮕﺎﻩ ﻟﺮﺯﺵ ﺗﺼﻮﺭ ﻣﻰﻛﺮﺩﻧﺪ ﻛﻪ ﺑﺎ ﺍﻳﻦ ﻛﻪ ﻧﺒﺎﻳﺪ ﺑﺮ ﺭﻭﻯ ﺍﻧﺴﺎﻥﻫﺎ ﺁﺯﻣﺎﻳﺶ ﺍﻧﺠﺎﻡ ﺩﺍﺩ‪ ،‬ﻭﻟﻰ‬ ‫ﺍﻳﻦ ﻳﻚ ﺍﻳﺪﻩ ﺧﻮﺏ ﺍﺳﺖ ﻛﻪ ﺷﻤﺎ ﺑﺘﻮﺍﻧﻰ ﺩﺭ ﻣﻮﺭﺩ ﺣﺎﻻﺕ ﻣﺨﺘﻠﻒ ﺑﺤﺚ ﻛﻨﻰ ﻭ ﺍﻳﻦ ﻫﻤﺎﻥ ﻛﺎﺭﻯ‬ ‫ﺑﻮﺩ ﻛﻪ ﺁﻥﻫﺎ ﻣﺸﻐﻮﻝ ﺍﻧﺠﺎﻡ ﺩﺍﺩﻥ ﺁﻥ ﺑﻮﺩﻧﺪ‪.‬‬ ‫‪ ‬ﺑﺎﻻﺧﺮﻩ ﭘﻨﺠﺸﻨﺒﻪ ﺭﺳﻴﺪ ﻭ ﺑﻌﺪ ﺍﺯ ﺩﺭﺱ ﺗﺎﺭﻳﺦ ﻛﻪ ﺍﺑﺪﻯ ﺑﻪ ﻧﻈﺮ ﻣﻰﺭﺳﻴﺪ ﻭ ﺩﻭ ﺳﺎﻋﺖ ﻣﺘﻮﺍﻟﻰ‬ ‫ﻓﻴﺰﻳﻚ‪ ،‬ﺯﻣﺎﻥ ﺁﺯﺍﺩﻯ ﺑﻮﺩ ﻛﻪ ﺑﻪ ﻣﻄﺎﻟﻌﻪ ﻳﺎ ﻛﺎﺭ ﺑﺎ ﻛﺎﻣﭙﻴﻮﺗﺮ ﺍﺧﺘﺼﺎﺹ ﺩﺍﺷﺖ‪.‬‬ ‫ﻫﻴﭻﻛﺲ ﻧﻤﻰﺩﺍﻧﺴﺖ ﻛﻪ ﺍﻳﻦ ﺁﺧﺮﻳﻦ ﺟﻠﺴﻪﻯ ﺑﺎﺷﮕﺎﻩ ﻟﺮﺯﺵ ﺧﻮﺍﻫﺪ ﺑﻮﺩ‪ ،‬ﺣﺘﺎ ﺟﻮﻟﻰ ‪-‬ﻛﻪ ﻛﭙﻪﻛﭙﻪ‬ ‫ﻛﺘﺎﺏﻫﺎﻯ ﻓﺎﻧﺘﺰﻯ ﻣﻰﺧﻮﺍﻧﺪ‪ -‬ﻭ ﺑﻌﺪﺍ ً ﺍﺻﺮﺍﺭ ﺩﺍﺷﺖ ﻛﻪ ﺩﺭ ﺍﻳﻦ ﻟﺤﻈﻪ ﺍﺣﺴﺎﺱ ﻣﻰﻛﺮﺩﻩ ﺍﺗﻔﺎﻕ ﺷﻮﻣﻰ‬ ‫ﺩﺭ ﺭﺍﻩ ﺍﺳﺖ ﻭ ﺗﻮﺩﻩﻯ ﻏﻠﻴﻈﻰ ﺍﺯ ﺍﺷﺘﺒﺎﻩ ﺁﻥﻫﺎ ﺭﺍ ﺍﺣﺎﻃﻪ ﻛﺮﺩﻩ ﺍﺳﺖ‪ .‬ﺍﻟﺒﺘﻪ ﺟﻮﻟﻰ ﺍﻏﻠﺐ ﺩﻭﺳﺖ ﺩﺍﺷﺖ‬ ‫ﻛﻪ ﺍﺯ ﺍﻳﻦ ﺣﺮﻑﻫﺎ ﺑﺰﻧﺪ‪.‬‬ ‫ﺟﻠﺴﻪ ﺩﺭ ﺍﻧﺒﺎﺭ ﻗﺪﻳﻤﻰ ﺧﻴﻠﻰ ﺧﻮﺏ ﺷﺮﻭﻉ ﺷﺪ‪ .‬ﺧﺎﻟﺪ ﺳﺮﺍﻧﺠﺎﻡ ﺑﻪ ﺭﻛﻮﺭﺩ ﺑﻴﺴﺖ ﺛﺎﻧﻴﻪ ﺩﺳﺖ ﻳﺎﻓﺖ‪.‬‬ ‫ﺟﺎﻧﺎﺗﺎﻥ ﻛﻤﻰ ﺑﻴﺸﺘﺮ ﺍﺯ ﺩﻩ ﺛﺎﻧﻴﻪ ﺗﺤﻤﻞ ﻛﺮﺩ ﺑﺎ ﺍﻳﻦ ﻛﻪ ﻫﻤﻴﻦ ﭼﻨﺪ ﻫﻔﺘﻪ ﭘﻴﺶ ﺍﻳﻦ ﻛﺎﺭ ﺑﻪ ﻧﻈﺮﺵ‬ ‫ﻗﻠﻪﻯ ﺍﻭﺭﺳﺘﻰ ﻓﺘﺢﻧﺎﭘﺬﻳﺮ ﻣﻰﺁﻣﺪ ﻭ )ﻫﻤﺮﺍﻩ ﺑﺎ ﻛﻒ ﺯﺩﻥﻫﺎﻯ ﺧﻔﻪ( ﻫﻴﺘﺮ ﺑﺎﻻﺧﺮﻩ ﻋﻀﻮ ﺍﺻﻠﻰ ﻛﻠﻮپ‬ ‫ﺷﺪ‪ .‬ﺑﻌﺪ ﻧﺎﮔﻬﺎﻥ ﺩﺭﺩﺳﺮ ﺁﻏﺎﺯ ﺷﺪ‪ .‬ﻫﺮﻯ ﻛﻪ ﺍﻭﻟﻴﻦ ﺑﺎﺭﺵ ﺑﻮﺩ‪ ،‬ﻋﻴﻨﻚ ﮔﺮﺩ ﻛﻮﭼﻜﺶ ﺭﺍ ﺗﻨﻈﻴﻢ ﻛﺮﺩ‪،‬‬ ‫ﺷﺎﻧﻪﻫﺎﻳﺶ ﺭﺍ ﻋﻘﺐ ﺩﺍﺩ‪ ،‬ﭘﻮﺷﻪ ﺭﺍ ﺑﺎﺯ ﻛﺮﺩ ﻭ ﺩﺭ ﺟﺎﻳﺶ ﺧﺸﻚ ﺷﺪ‪ .‬ﻧﻪ ﺗﻜﺎﻥ ﻣﻰﺧﻮﺭﺩ ﻭ ﻧﻪ ﻣﻰﻟﺮﺯﻳﺪ‪،‬‬ ‫ﻓﻘﻂ ﺷﻖ ﻭ ﺭﻕ ﻧﺸﺴﺘﻪ ﺑﻮﺩ‪ .‬ﺳﭙﺲ ﺻﺪﺍﻯ ﻭﺣﺸﺘﻨﺎﻛﻰ ﻣﺎﻧﻨﺪ ﺧﺮﺧﺮ ﺧﻮﻙ ﺍﺯ ﺧﻮﺩ ﺩﺭﺁﻭﺭﺩ ﻭ ﺍﺯ ﭘﻬﻠﻮ‬ ‫ﺍﻓﺘﺎﺩ ﻭ ﺧﻮﻥ ﺍﺯ ﺩﻫﺎﻧﺶ ﺟﺎﺭﻯ ﺷﺪ‪.‬‬ ‫ﻫﻴﺘﺮ ﮔﻔﺖ‪» :‬ﺯﺑﻮﻧﺶ ﺭﻭ ﮔﺎﺯ ﮔﺮﻓﺖ‪ .‬ﺍﻭﻩ ﺧﺪﺍﻯ ﻣﻦ‪ ،‬ﻛﻤﻚﻫﺎﻯ ﺍﻭﻟﻴﻪ ﺑﺮﺍﻯ ﻛﺴﻰ ﻛﻪ ﺯﺑﻮﻧﺶ ﺭﻭ ﮔﺎﺯ‬ ‫ﮔﺮﻓﺘﻪ ﭼﻴﻪ؟«‬ ‫ﺩﺭ ﻫﻤﻴﻦ ﻟﺤﻈﻪ ﺩﺭ ﺍﻧﺒﺎﺭ ﺑﺎﺯ ﺷﺪ ﻭ ﺁﻗﺎﻯ ﻭﻳﺘﻜﺎﺕ ﺑﻪ ﺩﺍﺧﻞ ﺁﻣﺪ‪ .‬ﺍﻭ ﭘﻴﺮﺗﺮ ﻭ ﻏﻤﮕﻴﻦﺗﺮ ﺍﺯ ﻫﻤﻴﺸﻪ ﺑﻪ‬ ‫ﻧﻈﺮ ﻣﻰﺭﺳﻴﺪ‪» .‬ﺑﺎﻳﺪ ﻣﻰﻓﻬﻤﻴﺪﻡ ﻛﻪ ﺍﺣﺘﻤﺎﻻً ﻳﻚ ﻫﻤﭽﻴﻦ ﭼﻴﺰﻯ ﻫﺴﺖ‪ «.‬ﻧﺎﮔﻬﺎﻥ ﭼﺸﻤﺎﻧﺶ ﺭﺍ ﺑﻪ‬

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‫ﺷﻤﺎﺭﻩﻯ ‪ ،29‬ﺍﺭﺩﻳﺒﻬﺸﺖ ‪1392‬‬

‫ﻋﻠﻤﻰﺗﺨﻴﻠﻰ ‪ -‬ﺗﺮﺟﻤﻪ‬

‫ﺗﺮﻭﺭﻳﺴﺖﻫﺎ ﻗﺎﻃﻰ ﻧﻜﻦ! ﺍﻳﻦ ﺧﻴﻠﻰ ﺍﺣﻤﻘﺎﻧﻪ ﺍﺳﺖ‪ .‬ﺁﻥﻫﺎ ﺍﺻ ً‬ ‫ﻼ ﺷﺒﻴﻪ ﺗﺮﻭﺭﻳﺴﺖﻫﺎ ﻧﻴﺴﺘﻨﺪ‪«...‬‬ ‫ﺧﺎﻟﺪ ﮔﻔﺖ‪» :‬ﺩﺍﺧﻞ ﺍﻭﻥ ﻣﺠﻠﻪ‪ ،‬ﻳﻪ ﭼﻴﺰﺍﻳﻰ ﻫﻢ ﺩﺭ ﻣﻮﺭﺩ ﺳﻴﺴﺘﻢﻫﺎﻯ ﻛﻨﺘﺮﻝ ﺑﻮﺩ‪ .‬ﻓﻜﺮ ﻧﻜﻨﻢ ﺑﺨﻮﺍﻳﻦ‬ ‫ﻛﻨﺘﺮﻝ ﺑﺸﻴﻦ‪«.‬‬ ‫ﻃﺒﻖ ﻣﻌﻤﻮﻝ‪ ،‬ﭘﺲ ﺍﺯ ﻣﺪﺗﻰ‪ ،‬ﮔﻔﺘﮕﻮﻫﺎ ﺑﻪ ﻳﻚ ﻣﺴﻴﺮ ﺟﺪﻳﺪ ﻳﺎ ﺩﺭ ﻭﺍﻗﻊ ﻳﻚ ﻣﻮﺿﻮﻉ ﻗﺪﻳﻤﻰ ﺭﺳﻴﺪﻧﺪ‪:‬‬ ‫ﺩﻳﻮﺍﺭﻫﺎﻳﻰ ﺍﺯ ﺗﺎﺭﻳﻜﻰ ﻧﻮﻉ ﺩﻭﻡ ﻛﻪ ﺩﺭ ﻣﺪﺭﺳﻪ ﺑﺎ ﺍﺳﺘﻔﺎﺩﻩ ﺍﺯ ﺁﻥﻫﺎ ﻣﻨﻄﻘﻪﻫﺎﻯ ﻣﻤﻨﻮﻉ ‪-‬ﻣﺎﻧﻨﺪ ﺭﺍﻫﺮﻭﻳﻰ‬ ‫ﻛﻪ ﺑﻪ ﺍﻧﺒﺎﺭ ﺧﺘﻢ ﻣﻰﺷﺪ‪ -‬ﺭﺍ ﻋﻼﻣﺖﮔﺬﺍﺭﻯ ﻛﺮﺩﻩ ﺑﻮﺩﻧﺪ‪ .‬ﺑﺎﺷﮕﺎﻩ ﻛﻨﺠﻜﺎﻭ ﺑﻮﺩ ﺑﺪﺍﻧﺪ ﺍﻳﻦ ﺗﺎﺭﻳﻜﻰﻫﺎ‬ ‫ﭼﮕﻮﻧﻪ ﻛﺎﺭ ﻣﻰﻛﻨﻨﺪ ﻭ ﺩﺭ ﺍﻳﻦ ﺭﺍﻩ ﺁﺯﻣﺎﻳﺶﻫﺎﻳﻰ ﺭﺍ ﻫﻢ ﺍﻧﺠﺎﻡ ﺩﺍﺩﻩ ﺑﻮﺩ‪ .‬ﺑﻌﻀﻰ ﭼﻴﺰﻫﺎﻳﻰ ﻛﻪ ﺩﺭ ﻣﻮﺭﺩ‬ ‫ﺳﻴﺎﻫﻰ ﻣﻰﺩﺍﻧﺴﺘﻨﺪ ﻭ ﻣﻄﺎﻟﺒﻰ ﻫﻢ ﺩﺭ ﺁﻥ ﻣﻮﺭﺩ ﻧﻮﺷﺘﻪ ﺑﻮﺩﻧﺪ ﺍﺯ ﻗﺮﺍﺭ ﺯﻳﺮ ﺑﻮﺩ‪:‬‬

‫* ﺗﺌﻮری ﻗﺎﺑﻠﯿﺖ دﯾﺪ ﺧﺎﻟﺪ‪ ،‬ﻛﻪ ﺗﻮﺳﻂ آزﻣﺎﯾﺶ ﻧﺎراﺣﺖ ﻛﻨﻨﺪهای ﺑﻪ اﺛﺒﺎت رﺳﯿﺪه ﺑﻮد‪ .‬ﻣﻨﻄﻘﻪﻫﺎی‬ ‫ﺗﺎرﯾﻚ ﺟﺎی ﻣﻨﺎﺳﺒﯽ ﺑﺮای ﭘﻨﻬﺎن ﺷﺪن از دﺳﺖ ﺑﭽﻪﻫﺎی دﯾﮕﺮ ﺑﻮدﻧﺪ‪ ،‬وﻟﯽ ﻣﻌﻠﻢﻫﺎ ﻣﯽﺗﻮاﻧﺴﺘﻨﺪ‬ ‫ﺣﺘﺎ در ﺗﺎرﯾﻜﯽ ﻣﺤﻞ ﺗﻮ را ﺗﺸﺨﯿﺺ دﻫﻨﺪ و ﺑﺎ ﻋﺼﺒﺎﻧﯿﺖ ﺑﻪ ﺗﻮ ﭘﺮﺧﺎش ﻛﻨﻨﺪ ﻛﻪ ﭼﺮا وارد ﻣﻨﻄﻘﻪی‬ ‫ﻣﻤﻨﻮع ﺷﺪه ﺑﻮدی‪ .‬ﺷﺎﯾﺪ آنﻫﺎ دﺳﺘﮕﺎهﻫﺎی ردﯾﺎب ﺧﺎﺻﯽ داﺷﺘﻨﺪ؛ وﻟﯽ ﺗﺎ ﺑﻪ ﺣﺎل ﻛﺴﯽ منﻮﻧﻪی‬ ‫آنﻫﺎ را ﻧﺪﯾﺪه ﺑﻮد‪.‬‬ ‫* در ﯾﺎدداﺷﺖﻫﺎی ﺟﺎﻧﺎﺗﺎن در اﺗﻮﺑﻮس آﻣﺪه ﺑﻮد ﻛﻪ ﺑﺎ ﺗﻮﺟﻪ ﺑﻪ ﯾﺎﻓﺘﻪﻫﺎی ﺧﺎﻟﺪ‪ ،‬راﻧﻨﺪهی‬ ‫اﺗﻮﺑﻮس ﻣﺪرﺳﻪ ﻣﻄﻤﺌﻨﺎً داﺷﺖ وامنﻮد ﻣﯽﻛﺮد ﻛﻪ از ﻣﯿﺎن ﺳﯿﺎﻫﯽ ﺷﯿﺸﻪی ﺟﻠﻮی اﺗﻮﺑﻮس‪ ،‬ﺑﯿﺮون‬ ‫را ﻣﯽﺑﯿﻨﺪ‪ .‬اﻟﺒﺘﻪ )اﯾﻦ اﯾﺪهی ﮔﺮی ﺑﻮد( اﺗﻮﺑﻮس ﻣﯽﺗﻮاﻧﺴﺖ ﺗﻮﺳﻂ ﻛﺎﻣﭙﯿﻮﺗﺮ ﻫﺪاﯾﺖ ﺷﻮد‪،‬‬ ‫ﭼﺮخﻫﺎی ﺟﻠﻮ ﺧﻮد ﺑﻪ ﺧﻮد ﻣﯽﭼﺮﺧﯿﺪﻧﺪ و راﻧﻨﺪه ﺗﻨﻬﺎ وامنﻮد ﻣﯽﻛﺮد ‪ -‬وﻟﯽ ﭼﺮا ﺑﺎﯾﺪ ﺧﻮد را ﺑﻪ‬ ‫زﺣﻤﺖ ﻣﯽاﻧﺪاﺧﺖ؟‬ ‫* آﺋﯿﻨﻪی ﺟﻮﻟﯽ‪ ،‬ﻣﺮﻣﻮزﺗﺮﯾﻦ ﻛﺸﻒ آنﻫﺎ ﺑﻮد‪ .‬ﺣﺘﺎ ﺧﻮد ﺟﻮﻟﯽ منﯽﺗﻮاﻧﺴﺖ ﺑﺎور ﻛﻨﺪ ﻛﻪ اﯾﻦ‬ ‫ﻛﺎر اﻣﻜﺎن دارد‪ .‬اﮔﺮ درﺳﺖ ﺑﯿﺮون ﯾﻚ ﺗﺎرﯾﻜﯽ ﻧﻮع دوم ﻣﯽاﯾﺴﺘﺎدی و آﯾﯿﻨﻪای را داﺧﻞ ﺗﺎرﯾﻜﯽ‬ ‫ﻧﮕﻪ ﻣﯽداﺷﺘﯽ )اﯾﻦ ﻃﻮر ﺑﻪ ﻧﻈﺮ ﻣﯽرﺳﯿﺪ ﻛﻪ دﺳﺘﺖ ﺗﻮﺳﻂ دﯾﻮاری ﺗﺎرﯾﻚ ﻗﻄﻊ ﺷﺪه ﺑﺎﺷﺪ(‪،‬‬ ‫ﻣﯽﺗﻮاﻧﺴﺘﯽ ﯾﻚ ﻣﺸﻌﻞ ﻧﻮراﻧﯽ را در ﻧﻘﻄﻪای ﻛﻪ ﻓﻜﺮ ﻣﯽﻛﺮدی آﺋﯿﻨﻪ در آﻧﺠﺎ ﻗﺮار دارد‪ ،‬ﺑﻪ وﺟﻮد‬ ‫آوری‪ .‬ﭘﺮﺗﻮﻫﺎی ﻧﻮر از ﻣﯿﺎن ﺗﺎرﯾﻜﯽﻫﺎ ﺑﻪ ﺑﯿﺮون ﺗﺎﺑﯿﺪه ﻣﯽﺷﺪﻧﺪ و ﻟﻜﻪﻫﺎﯾﯽ ﻧﻮراﻧﯽ را ﺑﺮ روی‬ ‫ﻟﺒﺎس ﯾﺎ دﯾﻮار ﻣﯽﺳﺎﺧﺘﻨﺪ‪ .‬ﻫامن ﻃﻮر ﻛﻪ ﺟﺎﻧﺎﺗﺎن اﺷﺎره ﻛﺮده ﺑﻮد‪ ،‬ﺑﻪ ﻫﻤﯿﻦ روش ﺑﻮد ﻛﻪ آنﻫﺎ‬ ‫ﻣﯽﺗﻮاﻧﺴﺘﻨﺪ ﺗﻜﻪﻫﺎی ﻧﻮراﻧﯽ ﺑﺮ روی زﻣﯿﻦ ﻛﻼس داﺷﺘﻪ ﺑﺎﺷﺪ‪ ،‬در ﺣﺎﻟﯽ ﻛﻪ ﭘﻨﺠﺮهﻫﺎی ﻛﻼس ﻛﺎﻣﻼً‬ ‫ﺗﻮﺳﻂ ﺗﺎرﯾﻜﯽ ﻣﺤﺎﻓﻈﺖ ﻣﯽﺷﺪﻧﺪ‪ .‬اﯾﻦ ﺗﺎرﯾﻜﯽ از ﻧﻮﻋﯽ ﺑﻮد ﻛﻪ ﻧﻮر ﻣﯽﺗﻮاﻧﺴﺖ از آن ﻋﺒﻮر‬ ‫ﻛﻨﺪ‪ ،‬وﻟﯽ ﭼﺸﻢ اﻧﺴﺎن ﻗﺎدر ﺑﻪ دﯾﺪن ﭼﯿﺰی ﻧﺒﻮد‪ .‬ﻫﯿﭻ ﻛﺪام از ﻛﺘﺎبﻫﺎی درﺳﯽ ﻛﻪ در ﻣﻮرد ﻧﻮر‬ ‫ﺑﻮدﻧﺪ‪ ،‬ﻣﻄﻠﺒﯽ در اﯾﻦ ﻣﻮرد ﻧﻨﻮﺷﺘﻪ ﺑﻮدﻧﺪ‪.‬‬ ‫‪13‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،29‬ﺍﺭﺩﻳﺒﻬﺸﺖ ‪1392‬‬

‫»ﺧﺐ‪ ...‬ﺑﻠﻪ‪ ،‬ﺩﺭ ﻋﻤﻞ ﺍﻳﻦ ﺣﺮﻑ ﺩﻗﻴﻘﺎً ﺩﺭﺳﺘﻪ‪ «.‬ﻣﻌﻠﻢ ﭘﻴﺮ ﭼﺎﻧﻪﺍﺵ ﺭﺍ ﺑﺎ ﺩﺳﺖ ﺧﺎﺭﺍﻧﺪ‪» .‬ﻭﻗﺘﻰ ﻳﻚ‬ ‫ﻛﻢ ﺑﺰﺭگﺗﺮ ﺑﺸﻴﺪ ﻫﻤﻪ ﭼﻴﺰ ﺭﻭ ﺭﺍﺟﻊ ﺑﻪ ﺍﻳﻦ ﻣﻮﺿﻮﻉ ﺧﻮﺍﻫﻴﺪ ﺷﻨﻴﺪ‪ .‬ﻛﻤﻰ ﻣﻮﺿﻮﻉ ﭘﻴﭽﻴﺪﻩﺍﻳﻪ‪ ...‬ﺍ ِ‪،‬‬ ‫ﺳﻮﺍﻝ ﺩﻳﮕﻪ؟«‬ ‫ﺍﻳﻦ ﺧﺎﻟﺪ ﺑﻮﺩ ﻛﻪ ﺩﺳﺘﺶ ﺭﺍ ﺑﺎﻻ ﺑﺮﺩ‪ .‬ﺑﻪ ﺻﻮﺭﺕ ﺳﺎﺧﺘﮕﻰ ﺳﻌﻰ ﻣﻰﻛﺮﺩ ﺍﺷﺘﻴﺎﻗﺶ ﺭﺍ ﺑﭙﻮﺷﺎﻧﺪ‪ ،‬ﻭﻟﻰ‬ ‫ﺗﻼﺵ ﺍﻭ ﺍﺯ ﻧﻈﺮ ﺟﺎﻧﺎﺗﺎﻥ ﺑﻪ ﻫﻴﭻ ﻭﺟﻪ ﻣﺘﻘﺎﻋﺪﻛﻨﻨﺪﻩ ﻧﺒﻮﺩ‪ .‬ﺧﺎﻟﺪ ﭘﺮﺳﻴﺪ‪» :‬ﺗﻤﺎﻡ ﺍﻳﻦ ﺗﺸﺎﺏﻫﺎ‪ ،‬ﺍ ِ‪ ...‬ﻭﺍﻗﻌﺎً‬ ‫ﺧﻄﺮﻧﺎﻙ ﻫﺴﺘﻨﺪ؟ ﻳﺎ ﺑﻌﻀﻴﺎﺷﻮﻥ ﻫﻢ ﻫﺴﺘﻨﺪ ﻛﻪ ﻓﻘﻂ ﺿﺮﺑﻪﺍﻯ ﺑﻪ ﺁﺩﻡ ﻣﻰﺯﻧﻨﺪ؟«‬ ‫ﺁﻗﺎﻯ ﻭﻳﺘﻜﺎﺕ ﭼﻨﺪ ﻟﺤﻈﻪ‪ ،‬ﺑﻪ ﺍﻧﺪﺍﺯﻩﻯ ﺯﻣﺎﻥ ﻣﺒﺎﺭﺯﻩﻯ ﺍﻋﻀﺎﻯ ﺗﺎﺯﻩ ﻭﺍﺭﺩ ﺑﺎﺷﮕﺎﻩ‪ ،‬ﺑﺎ ﻋﺼﺒﺎﻧﻴﺖ ﺑﻪ ﺍﻭ‬ ‫ﻧﮕﺎﻩ ﻛﺮﺩ‪ .‬ﺑﻌﺪ ﺑﻪ ﺳﻤﺖ ﺗﺨﺘﻪﻯ ﻛﻼﺱ ﺑﺮﮔﺸﺖ ﻭ ﺑﻪ ﻣﺜﻠﺚ ﻛﺞ ﻭ ﻛﻮﻟﻪﺍﻯ ﻛﻪ ﻛﺸﻴﺪﻩ ﺑﻮﺩ ﺍﺷﺎﺭﻩ‬ ‫ﻛﺮﺩ‪» :‬ﺳﺎﻛﺖ‪ .‬ﻫﻤﻮﻥ ﻃﻮﺭ ﻛﻪ ﺩﺍﺷﺘﻢ ﻣﻰﮔﻔﺘﻢ‪ ،‬ﻛﺴﻴﻨﻮﺱ ﺯﺍﻭﻳﻪ‪ ،‬ﭼﻨﻴﻦ ﺗﻌﺮﻳﻒ ﻣﻰﺷﻮﺩ ﻛﻪ‪«...‬‬ ‫‪ ‬ﭼﻬﺎﺭ ﻋﻀﻮﻯ ﻛﻪ ﺟﺰ ﺷﻮﺭﺍﻯ ﺩﺍﺧﻠﻰ ﺑﻮﺩﻧﺪ‪ ،‬ﺩﺭ ﮔﻮﺷﻪﻯ ﻣﺨﺼﻮﺹ ﺧﻮﺩﺷﺎﻥ ﻛﻪ ﺩﺭ ﺯﻣﻴﻦ ﺑﺎﺯﻯ‬ ‫ﺑﻴﺮﻭﻧﻰ ﻗﺮﺍﺭ ﺩﺍﺷﺖ ﺩﻭﺭ ﻫﻢ ﺟﻤﻊ ﺷﺪﻩ ﺑﻮﺩﻧﺪ‪ .‬ﻛﻨﺎﺭ ﭼﺎﺭﭼﻮﺏ ﻛﺜﻴﻔﻰ ﻛﻪ ﻗﺒ ً‬ ‫ﻼ ﺑﭽﻪﻫﺎ ﺍﺯ ﺁﻥ ﺑﺎﻻ‬ ‫ﻣﻰﺭﻓﺘﻨﺪ ﻭﻟﻰ ﺍﻻﻥ ﺩﻳﮕﺮ ﻛﺴﻰ ﺍﺯ ﺁﻥ ﺍﺳﺘﻔﺎﺩﻩ ﻧﻤﻰﻛﺮﺩ‪ ،‬ﺍﻳﺴﺘﺎﺩﻩ ﺑﻮﺩﻧﺪ‪ .‬ﺟﻮﻟﻰ ﺑﻪ ﺷﻮﺧﻰ ﮔﻔﺖ‪:‬‬ ‫»ﭘﺲ ﻣﺎ ﺗﺮﻭﺭﻳﺴﺖ ﻫﺴﺘﻴﻢ‪ .‬ﺑﺎﻳﺪ ﺧﻮﺩﻣﻮﻥ ﺭﻭ ﺗﺴﻠﻴﻢ ﭘﻠﻴﺲ ﻛﻨﻴﻢ‪«.‬‬ ‫ﮔﺮﻯ ﺟﻮﺍﺏ ﺩﺍﺩ‪» :‬ﻧﻪ‪ ،‬ﻋﻜﺲ ﻣﺎ ﻓﺮﻕ ﺩﺍﺭﻩ‪ .‬ﺁﺩﻣﺎ ﺭﻭ ﻧﻤﻰﻛﺸﻪ‪«...‬‬ ‫ﭼﻬﺎﺭ ﻧﻔﺮﻯ ﺑﺎ ﻫﻢ ﮔﻔﺘﻨﺪ‪» :‬ﻣﺎ ﺭﻭ ﻗﻮﻯﺗﺮ ﻣﻰﻛﻨﻪ‪«.‬‬ ‫ﺟﺎﻧﺎﺗﺎﻥ ﮔﻔﺖ‪» :‬ﮔﺮﻭﻩ ﺳﺒﺰ ﺗﻴﺮﻩ‪ ،‬ﺑﺮﺍﻯ ﭼﻰ ﻣﺮﺩﻡ ﺭﻭ ﻣﻰﺗﺮﺳﻮﻧﻪ؟ ﻣﻨﻈﻮﺭﻡ ﺍﻳﻨﻪ ﻛﻪ‪ ،‬ﺍﻭﻧﺎ ﺍﺯ ﭼﻰ‬ ‫ﺧﻮﺵﺷﻮﻥ ﻧﻤﻰﻳﺎﺩ؟«‬ ‫ﺧﺎﻟﺪ ﺑﺪﻭﻥ ﺍﻃﻤﻴﻨﺎﻥ ﺟﻮﺍﺏ ﺩﺍﺩ‪» :‬ﻓﻜﺮ ﻛﻨﻢ ﺑﻪ ﺧﺎﻃﺮ ﺑﻴﻮﭼﻴﭗﻫﺎ ﺑﺎﺷﻪ‪ .‬ﻛﺎﻣﭙﻴﻮﺗﺮﻫﺎﻯ ﻛﻮﭼﻴﻚ ﺑﺮﺍﻯ‬ ‫ﻛﺎﺭ ﮔﺬﺍﺷﺘﻦ ﺗﻮﻯ ﺳﺮ ﺁﺩﻣﺎ‪ .‬ﺍﻭﻧﺎ ﺍﻋﺘﻘﺎﺩ ﺩﺍﺭﻧﺪ ﺍﻳﻦ ﻛﺎﺭ ﻃﺒﻴﻌﻰ ﻧﻴﺴﺖ‪ ...‬ﻳﺎ ﻳﻪ ﻫﻤﭽﻴﻦ ﭼﻴﺰﺍﻳﻰ‪ .‬ﺗﻮﻯ‬ ‫ﺁﺯﻣﺎﻳﺸﮕﺎﻩ ﻳﻪ ﻣﻄﻠﺐ ﻛﻮﭼﻴﻚ ﻛﻪ ﻣﺎﻝ ﻧﺸﺮﻳﻪﻫﺎﻯ ﻗﺪﻳﻤﻰ ﺩﺍﻧﺸﻤﻨﺪﺍﻥ ﺟﺪﻳﺪ ﺑﻮﺩ ﭘﻴﺪﺍ ﻛﺮﺩﻡ‪ ...‬ﺩﺭ‬ ‫ﻣﻮﺭﺩ ﺑﻴﻮﭼﻴﭗﻫﺎ ﻣﻄﺎﻟﺒﻰ ﻧﻮﺷﺘﻪ ﺑﻮﺩ‪«.‬‬ ‫ﺟﺎﻧﺎﺗﺎﻥ ﮔﻔﺖ‪» :‬ﭘﺲ ﺍﻳﻦ ﺑﻴﻮﭼﻴﭗﻫﺎ ﺑﺮﺍﻯ ﺍﻣﺘﺤﺎﻥ ﺩﺍﺩﻥ ﺧﻮﺑﻪ‪ .‬ﻭﻟﻰ ﺍﮔﺮ ﻣﺎﺷﻴﻦ ﺣﺴﺎﺏ ﺳﺮ ﺟﻠﺴﻪ‬ ‫ﺍﻣﺘﺤﺎﻥ ﻣﻤﻨﻮﻉ ﺑﺎﺷﻪ ﭼﻰ؟ ﻫﺮ ﻛﺴﻰ ﻛﻪ ﺑﻴﻮﭼﻴﭗ ﺩﺍﺭﻩ‪ ،‬ﻟﻄﻔﺎً ﺳﺮﺵ ﺭﻭ ﺩﻡ ﺩﺭ ﺑﮕﺬﺍﺭﻩ!«‬ ‫ﻫﻤﻪ ﺧﻨﺪﻳﺪﻧﺪ‪ ،‬ﻭﻟﻰ ﺟﺎﻧﺎﺗﺎﻥ ﺯﻳﺎﺩ ﺍﺣﺴﺎﺱ ﺍﻃﻤﻴﻨﺎﻥ ﻧﻤﻰﻛﺮﺩ؛ ﻣﺜﻞ ﺍﻳﻦ ﻛﻪ ﭘﺎﻳﺶ ﺭﺍ ﺭﻭﻯ ﭘﻠﻪﺍﻯ‬ ‫ﻗﺮﺍﺭ ﺩﺍﺩﻩ ﻛﻪ ﻗﺒ ً‬ ‫ﻼ ﺁﻥﺟﺎ ﻧﺒﻮﺩﻩ ﺍﺳﺖ‪ .‬ﻭﺍژﻩﻯ »ﺑﻴﻮﭼﻴﭗ« ﺧﻴﻠﻰ ﺷﺒﻴﻪ ﭼﻴﺰﻯ ﺑﻮﺩ ﻛﻪ ﺍﻭ ﺑﻪ ﻃﻮﺭ‬ ‫ﺍﺗﻔﺎﻗﻰ ﺩﺭ ﻳﻜﻰ ﺍﺯ ﻣﺸﺎﺟﺮﻩﻫﺎﻯ ﻟﻔﻈﻰ ﭘﺪﺭ ﻭ ﻣﺎﺩﺭﺵ ﺷﻨﻴﺪﻩ ﺑﻮﺩ‪ .‬ﺍﻭ ﻛﺎﻣ ً‬ ‫ﻼ ﻣﻄﻤﺌﻦ ﺑﻮﺩ ﻛﻪ ﻛﻠﻤﻪﻯ‬ ‫»ﻏﻴﺮﻃﺒﻴﻌﻰ« ﺭﺍ ﻫﻢ ﺷﻨﻴﺪﻩ ﺍﺳﺖ‪ .‬ﻧﺎﮔﻬﺎﻥ ﻓﻜﺮ ﻛﺮﺩ ﻛﻪ‪» :‬ﺧﻮﺍﻫﺶ ﻣﻰﻛﻨﻢ ﻣﺎﻣﺎﻥ ﻭ ﺑﺎﺑﺎ ﺭﻭ ﺑﺎ‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،29‬ﺍﺭﺩﻳﺒﻬﺸﺖ ‪1392‬‬

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‫ﻋﻠﻤﻰﺗﺨﻴﻠﻰ ‪ -‬ﺗﺮﺟﻤﻪ‬

‫ﺍﻭﻭﻡ‪ ...‬ﺧﺐ‪ ،‬ﺍﮔﺮ ﺑﻪ ﺯﺑﺎﻥ ﺳﺎﺩﻩ ﺑﻴﺎﻥ ﻛﻨﻴﻢ‪ ،‬ﺍﻳﻦ ﻗﻀﻴﻪ ﻣﻰﮔﻪ ﻛﻪ ﺭﻳﺎﺿﻴﺎﺕ ﻳﻚ ﺩﺍﻡ ﺍﺣﻤﻘﺎﻧﻪ ﺍﺳﺖ‪.‬‬ ‫ﺑﺮﺍﻯ ﻫﺮ ﻛﺎﻣﭙﻴﻮﺗﺮﻯ ﻗﻄﻌﺎً ﻳﻚ ﺳﺮﻯ ﻣﺸﻜﻼﺕ ﻭﺟﻮﺩ ﺩﺍﺭﻩ ﻛﻪ ﺑﺎﻋﺚ ﺍﺯ ﺑﻴﻦ ﺭﻓﺘﻦ ﻛﺎﻣﭙﻴﻮﺗﺮ ﺷﺪﻩ ﻭ‬ ‫ﺍﻭﻥ ﺭﻭ ﻣﺘﻮﻗﻒ ﻣﻰﻛﻨﻪ‪«.‬‬ ‫ﻧﻴﻤﻰ ﺍﺯ ﻛﻼﺱ ﺁﮔﺎﻫﺎﻧﻪ ﺑﺎ ﺗﻜﺎﻥ ﺩﺍﺩﻥ ﺳﺮ ﺍﻳﻦ ﺣﺮﻑ ﺭﺍ ﺗﺄﻳﻴﺪ ﻛﺮﺩﻧﺪ‪ .‬ﺑﺮﻧﺎﻣﻪﻫﺎﻯ ﻛﺎﻣﭙﻴﻮﺗﺮﻯ ﺳﺎﺧﺖ‬ ‫ﺧﻮﺩ ﺁﻥﻫﺎ ﺧﻴﻠﻰ ﻭﻗﺖﻫﺎ ﺩﻗﻴﻘﺎً ﻫﻤﻴﻦ ﻛﺎﺭ ﺭﺍ ﻣﻰﻛﺮﺩﻧﺪ‪.‬‬ ‫»ﺑﺮﻳﻤﻦ ﻣﺮﺩ ﺑﺴﻴﺎﺭ ﺑﺎﺍﺳﺘﻌﺪﺍﺩﻯ ﺑﻮﺩ ﻛﻪ ﺑﻪ ﻃﺮﺯ ﺑﺎﻭﺭﻧﻜﺮﺩﻧﻰ ﺍﺣﻤﻖ ﺑﻮﺩ‪ .‬ﺩﺭ ﺍﻭﺍﺧﺮ ﻗﺮﻥ ﺑﻴﺴﺘﻢ ﺑﻮﺩ‬ ‫ﻛﻪ ﺑﻪ ﺧﻮﺩﺵ ﮔﻔﺖ‪» :‬ﺍﮔﻪ ﻣﺸﻜﻼﺗﻰ ﻭﺟﻮﺩ ﺩﺍﺷﺘﻪ ﺑﺎﺷﻪ ﻛﻪ ﺫﻫﻦ ﺍﻧﺴﺎﻥ ﺭﻭ ﺍﺯ ﺑﻴﻦ ﺑﺒﺮﻩ ﭼﻰ؟« ﻭ‬ ‫ﺑﻌﺪﺵ ﻫﻢ ﺩﻧﺒﺎﻝ ﺍﻳﻦ ﻣﻮﺿﻮﻉ ﺭﻭ ﮔﺮﻓﺖ ﻭ ﻳﻪ ﻧﻤﻮﻧﻪﺍﺵ ﺭﺍ ﭘﻴﺪﺍ ﻛﺮﺩ‪ .‬ﺳﭙﺲ »ﺗﻜﻨﻴﻚ ﺷﻜﻞﺳﺎﺯﻯ«‬ ‫ﺗﺄﺳﻒﺁﻭﺭﺵ ﺭﻭ ﺑﻪ ﻭﺟﻮﺩ ﺁﻭﺭﺩ‪ .‬ﭼﻴﺰﻯ ﻛﻪ ﺑﻪ ﻳﻚ ﻣﺸﻜﻞ ﺑﺰﺭگ ﺗﺒﺪﻳﻞ ﺷﺪ‪ .‬ﻓﻘﻂ ﻧﮕﺎﻩ ﻛﺮﺩﻥ ﺑﻪ‬ ‫ﻳﻚ ﻃﺮﺡ ﺗﺸﺎﺏ‪ ،‬ﻛﻪ ﺗﻮﺳﻂ ﺍﻋﺼﺎﺏ ﺑﻴﻨﺎﻳﻰ ﺑﻪ ﻣﻐﺰ ﻣﻨﺘﻘﻞ ﻣﻰﺷﻮﺩ‪ ،‬ﺳﺒﺐ ﺗﻮﻗﻒ ﺍﻭﻥ ﻣﻰﺷﻮﺩ‪ .‬ﻣﺜﻞ‬ ‫ﺍﻳﻦ‪ «...‬ﻭ ﺑﺎ ﺍﻧﮕﺸﺘﺎﻥ ﭘﻴﺮ ﻭ ﻛﻠﻔﺘﺶ ﺑﺸﻜﻨﻰ ﺯﺩ‪.‬‬ ‫ﺟﺎﻧﺎﺗﺎﻥ ﻭ ﺑﻘﻴﻪ ﺍﻋﻀﺎﻯ ﻛﻠﻮپ ﺯﻳﺮﭼﺸﻤﻰ ﺑﻪ ﻫﻢ ﻧﮕﺎﻩ ﻛﺮﺩﻧﺪ‪ .‬ﺁﻥﻫﺎ ﭼﻴﺰﻫﺎﻳﻰ ﺩﺭ ﻣﻮﺭﺩ ﺧﻴﺮﻩ ﺷﺪﻥ ﺑﻪ‬ ‫ﻋﻜﺲﻫﺎﻯ ﻋﺠﻴﺐ ﻣﻰﺩﺍﻧﺴﺘﻨﺪ‪ .‬ﻫﺮﻯ ﻛﻪ ﺑﻪ ﺧﺎﻃﺮ ﭘﺮﺳﻴﺪﻥ ﺍﻳﻦ ﺳﺆﺍﻝ ﻭ ﮔﺮﻓﺘﻦ ﺗﻤﺎﻡ ﻭﻗﺖ ﻛﻼﺱ‬ ‫ﺧﻮﺷﺤﺎﻝ ﺑﻮﺩ‪ ،‬ﺩﻭﺑﺎﺭﻩ ﺩﺳﺘﺶ ﺭﺍ ﺑﺎﻻ ﺑﺮﺩ‪» :‬ﺍ ِ‪ ،‬ﺍﻳﻦ ﺑﺮﻳﻤﻦ ﺧﻮﺩﺵ ﻫﻢ ﺑﻪ ﺍﻳﻦ ﺍﺷﻜﺎﻝ ﻧﮕﺎﻩ ﻛﺮﺩ؟«‬ ‫ﺁﻗﺎﻯ ﻭﻳﺘﻜﺎﺕ ﺑﺎ ﺗﺄﺳﻒ ﺳﺮﺵ ﺭﺍ ﺗﻜﺎﻥ ﺩﺍﺩ‪» :‬ﺩﺍﺳﺘﺎﻧﺶ ﺍﻳﻦ ﺟﻮﺭﻯ ﻣﻰﮔﻪ ﻛﻪ ﺍﻭﻥ ﺍﻳﻦ ﻛﺎﺭ ﺭﻭ ﻛﺮﺩ‪.‬‬ ‫ﺗﺼﺎﺩﻓﻰ‪ ...‬ﻭ ﺑﺎ ﻳﻚ ﻣﺮگ ﻧﺎﮔﻬﺎﻧﻰ ﻣﺮﺩ‪ .‬ﺧﻴﻠﻰ ﻋﺠﻴﺐ ﺑﻮﺩ‪ .‬ﻗﺮﻥﻫﺎ‪ ،‬ﻣﺮﺩﻡ ﺩﺍﺳﺘﺎﻥﻫﺎﻳﻰ ﺭﺍﺟﻊ ﺑﻪ‬ ‫ﭼﻴﺰﻫﺎﻯ ﺗﺮﺳﻨﺎﻛﻰ ﻣﻰﺳﺎﺧﺘﻨﺪ ﻛﻪ ﻓﻘﻂ ﻧﮕﺎﻩ ﻛﺮﺩﻥ ﺑﻪ ﺍﻭﻥﻫﺎ ﺑﺎﻋﺚ ﻣﺮگ ﺑﻪ ﺧﺎﻃﺮ ﺗﺮﺱ ﻭ ﺳﻜﺘﻪﻯ‬ ‫ﻧﺎﮔﻬﺎﻧﻰ ﻣﻰﺷﺪﻩ‪ .‬ﺑﻌﺪ ﻳﻪ ﺭﻳﺎﺿﻴﺪﺍﻥ ‪-‬ﻛﻪ ﺩﺭ ﻧﺎﺏﺗﺮﻳﻦ ﻭ ﺯﻳﺒﺎﺗﺮﻳﻦ ﻋﻠﻢ ﻛﺎﺭ ﻣﻰﻛﺮﺩ‪ -‬ﺗﻤﺎﻡ ﺍﻳﻦ‬ ‫ﺩﺍﺳﺘﺎﻥﻫﺎ ﺭﻭ ﺑﻪ ﺣﻘﻴﻘﺖ ﻣﻰﺭﺳﻮﻧﻪ‪«...‬‬ ‫ﺳﭙﺲ ﺍﻭ ﺭﺍﺟﻊ ﺑﻪ ﺗﺮﻭﺭﻳﺴﺖﻫﺎﻯ ﺗﺸﺎﺏ‪ ،‬ﻣﺜﻞ ﮔﺮﻭﻩ ﺳﺒﺰ ﺗﻴﺮﻩ‪ ،‬ﭼﻴﺰﻫﺎﻳﻰ ﮔﻔﺖ‪ .‬ﺍﻳﻦ ﮔﺮﻭﻩﻫﺎ ﺍﺣﺘﻴﺎﺝ‬ ‫ﺑﻪ ﺍﺳﻠﺤﻪ ﻭ ﻣﻮﺍﺩ ﻣﻨﻔﺠﺮﻩ ﻧﺪﺍﺷﺘﻨﺪ‪ .‬ﻓﻘﻂ ﻳﻚ ﺩﺳﺘﮕﺎﻩ ﻓﺘﻮﻛﭙﻰ ﻳﺎ ﻳﻚ ﺍﺳﺘﻨﺴﻴﻞ ﻛﻪ ﺑﺎ ﺁﻥ ﺑﺘﻮﺍﻧﻨﺪ‬ ‫ﻋﻜﺲﻫﺎﻯ ُﻛﺸﻨﺪﻩ ﺭﻭﻯ ﺩﻳﻮﺍﺭ ﻧﺼﺐ ﻛﻨﻨﺪ‪ ،‬ﺑﺮﺍﻯ ﺁﻥﻫﺎ ﻛﺎﻓﻰ ﺑﻮﺩ‪.‬‬ ‫ﺑﺮ ﻃﺒﻖ ﮔﻔﺘﻪﻫﺎﻯ ﻭﻳﺘﻜﺎﺕ‪ ،‬ﻗﺒ ً‬ ‫ﻼ ﺑﺴﻴﺎﺭﻯ ﺍﺯ ﺑﺮﻧﺎﻣﻪﻫﺎﻯ ﺗﻠﻮﻳﺰﻳﻮﻧﻰ ﺑﻪ ﺻﻮﺭﺕ ﺯﻧﺪﻩ ﭘﺨﺶ ﻣﻰﺷﺪﻧﺪ‬ ‫ﻭ ﻧﻪ ﺿﺒﻂ ﺷﺪﻩ‪ ،‬ﺗﺎ ﺍﻳﻦ ﻛﻪ ﺯﻣﺎﻧﻰ‪ ،‬ﻋﺪﻩﺍﻯ ﺍﺯ ﻃﺮﻓﺪﺍﺭﺍﻥ ﮔﺮﻭﻩ ﺑﺪﻧﺎﻣﻰ ﺑﻪ ﺍﺳﻢ ﺗﻰ‪-‬ﺯﻳﺮﻭ ﺑﻪ ﺯﻭﺭ ﻭﺍﺭﺩ‬ ‫ﺍﺳﺘﻮﺩﻳﻮﻯ ﺑﻰ‪.‬ﺑﻰ‪.‬ﺳﻰ ﺷﺪﻧﺪ ﻭ ﺗﺸﺎﺑﻰ ﺑﻪ ﻧﺎﻡ ﻃﻮﻃﻰ ﺭﺍ ﻣﻘﺎﺑﻞ ﺩﻭﺭﺑﻴﻦﻫﺎ ﻗﺮﺍﺭ ﺩﺍﺩﻧﺪ ﻭ ﺩﺭ ﻧﺘﻴﺠﻪ‪،‬‬ ‫ﻣﻴﻠﻴﻮﻥﻫﺎ ﻧﻔﺮ ﻣﺮﺩﻧﺪ‪ .‬ﺍﻳﻦ ﺭﻭﺯﻫﺎ ﻧﮕﺎﻩ ﻛﺮﺩﻥ ﺑﻪ ﻫﺮ ﭼﻴﺰﻯ ﺍﻣﻦ ﻧﺒﻮﺩ‪.‬‬ ‫ﺟﺎﻧﺎﺗﺎﻥ ﻣﺠﺒﻮﺭ ﺷﺪﻩ ﻛﻪ ﺑﭙﺮﺳﺪ‪» :‬ﭘﺲ‪ ...‬ﺍﻭﻭﻡ‪ ...‬ﺗﺎﺭﻳﻜﻰ ﺧﺎﺻﻰ ﻛﻪ ﺑﻴﺮﻭﻥ ﻭﺟﻮﺩ ﺩﺍﺭﻩ ﺑﺮﺍﻯ ﺍﻳﻨﻪ ﻛﻪ‬ ‫ﺟﻠﻮﻯ ﻣﺮﺩﻡ ﺭﻭ ﺑﮕﻴﺮﻩ ﺗﺎ ﺍﻳﻦ ﺟﻮﺭ ﭼﻴﺰﺍ ﺭﻭ ﻧﺒﻴﻨﻨﺪ؟«‬

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‫ﺷﻤﺎﺭﻩﻯ ‪ ،29‬ﺍﺭﺩﻳﺒﻬﺸﺖ ‪1392‬‬

‫ﻫﺮ ﻃﻮﺭﻯ ﻛﻪ ﺑﻮﺩ‪ ،‬ﺗﺤﻤﻞ ﻛﺮﺩ؛ ﺣﺘﺎ ﺯﻣﺎﻧﻰ ﻛﻪ ﻫﺮ ﻋﻀﻮﻯ ﺍﺯ ﺑﺪﻧﺶ ﺩﺭ ﻳﻚ ﺟﻬﺖ ﻛﺸﻴﺪﻩ ﻣﻰﺷﺪﻧﺪ‪،‬‬ ‫ﺍﻭ ﺧﻮﺩﺵ ﺭﺍ ﻣﺠﺒﻮﺭ ﻛﺮﺩ ﺗﺎ ﺁﺭﺍﻡ ﺑﻤﺎﻧﺪ‪ .‬ﺗﻠﻮﻟﻮ ﺗﺼﻮﻳﺮ ﺟﻦ ﻣﻰﺭﻓﺖ ﻛﻪ ﺩﺭ ﭘﺲ ﺗﻴﺮﮔﻰ ﺟﺪﻳﺪ‪ ،‬ﺳﺎﻳﻪﺍﻯ‬ ‫ﻛﻪ ﺩﺭ ﭼﺸﻤﺎﻧﺶ ﺑﻮﺩ‪ ،‬ﻣﺤﻮ ﺷﻮﺩ‪ .‬ﻭ ﺍﻭ ﺑﺎ ﺍﻃﻤﻴﻨﺎﻥ ﺩﻫﺸﺘﻨﺎﻛﻰ ﻣﻰﺩﺍﻧﺴﺖ ﻛﻪ ﻏﺶ ﺧﻮﺍﻫﺪ ﻛﺮﺩ‪ ،‬ﻣﺮﻳﺾ‬ ‫ﺧﻮﺍﻫﺪ ﺷﺪ ﻳﺎ ﻫﻢﺯﻣﺎﻥ ﻫﺮ ﺩﻭ ﺭﺍ ﺗﺠﺮﺑﻪ ﺧﻮﺍﻫﺪ ﻛﺮﺩ‪ .‬ﺩﺭ ﺣﺎﻟﻰ ﻛﻪ ﺍﻧﮕﺎﺭ ﺳﺎﻝﻫﺎ ﮔﺬﺷﺘﻪ ﺑﺎﺷﺪ‪ ،‬ﺳﺮﺍﻧﺠﺎﻡ‬ ‫ﺟﺎﻧﺎﺗﺎﻥ ﺗﺴﻠﻴﻢ ﺷﺪ ﻭ ﭼﺸﻤﺎﻧﺶ ﺭﺍ ﺑﺴﺖ‪ .‬ﻛﺎﻣ ً‬ ‫ﻼ ﺑﺎﻭﺭﻧﻜﺮﺩﻧﻰ ﺑﻮﺩ ﻛﻪ ﺷﻤﺎﺭﺵ ﺑﻪ ﻋﺪﺩ ‪ 10‬ﺭﺳﻴﺪﻩ ﺑﻮﺩ‪.‬‬ ‫ﺟﺎﻧﺎﺗﺎﻥ ﺍﺣﺴﺎﺱ ﺑﺴﻴﺎﺭ ﺑﺪﻯ ﺩﺍﺷﺖ ﻭ ﺑﻨﺎﺑﺮﺍﻳﻦ ﺗﻮﺟﻪ ﺯﻳﺎﺩﻯ ﺑﻪ ﺑﻬﺘﺮ ﺷﺪﻥ ﺭﻛﻮﺭﺩ ﻫﻴﺘﺮ ﻧﻜﺮﺩ ‪-‬ﺍﻟﺒﺘﻪ‬ ‫ﺭﻛﻮﺭﺩ ﺍﻭ ﺑﻪ ﺍﻧﺪﺍﺯﻩ ﻛﺎﻓﻰ ﺧﻮﺏ ﻧﺒﻮﺩ‪ -‬ﺑﺮﺍﻯ ﺍﻳﻦ ﻛﻪ ﺷﺨﺼﻰ ﻋﻀﻮ ﺭﺳﻤﻰ ﻛﻠﻮپ ﺑﺎﺷﺪ‪ ،‬ﺑﺎﻳﺪ ﺗﺎ ﭘﻨﺞ‬ ‫ﺛﺎﻧﻴﻪ ﺩﻭﺍﻡ ﺑﻴﺎﻭﺭﺩ‪ .‬ﻫﻴﺘﺮ ﭼﺸﻤﺎﻧﺶ ﺭﺍ ﺑﺎ ﺩﺳﺘﺶ ﻛﻪ ﺑﻪ ﺷﺪﺕ ﻣﻰ ﻟﺮﺯﻳﺪ‪ ،‬ﭘﺎﻙ ﻛﺮﺩ‪ .‬ﺍﻭ ﻣﻄﻤﺌﻦ ﺑﻮﺩ‬ ‫ﻛﻪ ﺩﻓﻌﻪﻯ ﺑﻌﺪ ﻣﻮﻓﻖ ﻣﻰﺷﻮﺩ‪ .‬ﺑﻌﺪ ﺧﺎﻟﺪ ﺟﻠﺴﻪ ﺭﺍ ﺑﺎ ﺑﻴﺎﻥ ﺟﻤﻠﻪﺍﻯ ﻛﻪ ﺩﺭ ﺟﺎﻳﻰ ﻳﺎﻓﺘﻪ ﺑﻮﺩ‪ ،‬ﺑﻪ ﺍﺗﻤﺎﻡ‬ ‫ﺭﺳﺎﻧﺪ‪» :‬ﭼﻴﺰﻯ ﻛﻪ ﻣﺎ ﺭﺍ ﻧﻤﻰﻛﺸﺪ‪ ،‬ﻗﻮﻯﺗﺮﻣﺎﻥ ﻣﻰﻛﻨﺪ‪«.‬‬ ‫‪ ‬ﻣﺪﺭﺳﻪ ﺟﺎﻳﻰ ﺑﻮﺩ ﻛﻪ ﺍﻏﻠﺐ ﺍﺭﺍﺟﻴﻔﻰ ﺑﻪ ﺍﻓﺮﺍﺩ ﻳﺎﺩ ﻣﻰﺩﺍﺩﻧﺪ ﻛﻪ ﻫﻴﭻ ﺭﺑﻄﻰ ﺑﻪ ﺩﻧﻴﺎﻯ ﻭﺍﻗﻌﻰ‬ ‫ﻧﺪﺍﺷﺖ‪ .‬ﺟﺎﻧﺎﺗﺎﻥ ﺑﻪ ﺻﻮﺭﺕ ﻣﺨﻔﻴﺎﻧﻪ ﺩﺭﻳﺎﻓﺘﻪ ﺑﻮﺩ ﻛﻪ ﻣﻌﺎﺩﻟﻪﻫﺎﻯ ﺩﺭﺟﻪ ﺩﻭﻡ ﺑﻪ ﻫﻴﭻ ﻋﻨﻮﺍﻥ ﺧﺎﺭﺝ‬ ‫ﺍﺯ ﻛﻼﺱ ﻛﺎﺭﺑﺮﺩ ﻋﻤﻠﻰ ﻧﺪﺍﺷﺘﻨﺪ‪ .‬ﺑﻨﺎﺑﺮﺍﻳﻦ ﺯﻣﺎﻧﻰ ﻛﻪ ﻣﻄﺎﻟﺐ ﺑﺴﻴﺎﺭ ﺟﺎﻟﺒﻰ ﺩﺭ ﻛﻼﺱ ﺭﻳﺎﺿﻰ ﻣﻄﺮﺡ‬ ‫ﺷﺪ‪ ،‬ﺍﻋﻀﺎﻯ ﺑﺎﺷﮕﺎﻩ ﻟﺮﺯﺵ ﺭﺍ ﺷﮕﻔﺖﺯﺩﻩ ﻛﺮﺩ‪.‬‬ ‫ﺁﻗﺎﻯ ﻭﻳﺘﻜﺎﺕ‪ ،‬ﻛﺎﻣ ً‬ ‫ﻼ ﭘﻴﺮ ﺑﻮﺩ‪ .‬ﺳﻨﺶ ﭼﻴﺰﻯ ﺑﻴﻦ ﺳﻦ ﻳﻚ ﭘﺪﺭﺑﺰﺭگ ﻭ ﺳﻦ ﺑﺎﺯﻧﺸﺴﺘﮕﻰ ﺑﻮﺩ ﻭ ﺑﺪﺵ‬ ‫ﻫﻢ ﻧﻤﻰﺁﻣﺪ ﻛﻪ ﻫﺮ ﭼﻨﺪ ﻭﻗﺖ ﻳﻚ ﺑﺎﺭ ﺍﺯ ﻣﺒﺎﺣﺚ ﺗﻌﻴﻴﻦ ﺷﺪﻩﻯ ﺭﻳﺎﺿﻰ ﺧﺎﺭﺝ ﺷﻮﺩ ﺗﺎ ﺭﺍﺟﻊ ﺑﻪ‬ ‫ﻣﺴﺎﻳﻞ ﺩﻳﮕﺮ ﺻﺤﺒﺖ ﻛﻨﺪ‪ .‬ﻛﺎﻓﻰ ﺑﻮﺩ ﺍﻭ ﺭﺍ ﺑﻪ ﺩﺭﺳﺘﻰ ﺍﻏﻮﺍ ﻛﻨﻰ ﻭ ﺳﺆﺍﻝ ﻣﻨﺎﺳﺒﻰ ﺍﺯ ﺍﻭ ﺑﭙﺮﺳﻰ‪ .‬ﻫﺮﻯ‬ ‫ﺍﺳﺘﻴﻦ ﻛﻮﭼﻮﻟﻮ ‪-‬ﻛﻪ ﺩﻳﻮﺍﻧﻪﻭﺍﺭ ﻋﻼﻗﻤﻨﺪ ﺑﻪ ﺷﻄﺮﻧﺞ ﻭ ﺑﺎﺯﻯﻫﺎﻯ ﺟﻨﮕﻰ ﺑﻮﺩ ﻭ ﺑﺎﺷﮕﺎﻩ ﺍﻭ ﺭﺍ ﺩﺭ ﻟﻴﺴﺖ‬ ‫ﺍﻧﺘﻈﺎﺭ ﺧﻮﺩ ﻗﺮﺍﺭ ﺩﺍﺩﻩ ﺑﻮﺩ‪ -‬ﺑﺎ ﭘﺮﺳﻴﺪﻥ ﺳﺆﺍﻟﻰ ﺩﺭ ﻣﻮﺭﺩ ﺧﺒﺮ ﺟﺪﻳﺪﻯ ﻛﻪ ﺩﺭ ﺧﺎﻧﻪ ﺷﻨﻴﺪﻩ ﺑﻮﺩ‪ ،‬ﺩﺭ‬ ‫ﺍﻳﻦ ﺭﺍﺑﻄﻪ ﻣﻮﻓﻘﻴﺘﻰ ﻫﻮﺷﻤﻨﺪﺍﻧﻪ ﻛﺴﺐ ﻛﺮﺩ‪ .‬ﺳﺆﺍﻝ ﭼﻴﺰﻯ ﺩﺭ ﻣﻮﺭﺩ »ﺟﻨﮓ ﺭﻳﺎﺿﻰ« ﻭ ﺁﻥ ﭼﻴﺰﻯ‬ ‫ﺑﻮﺩ ﻛﻪ ﺗﺮﻭﺭﻳﺴﺖﻫﺎ ﺍﺯ ﺁﻥ ﺍﺳﺘﻔﺎﺩﻩ ﻣﻰﻛﺮﺩﻧﺪ ﻭ ﺁﻥ ﺭﺍ »ﺗﺸﺎﺏ« ﻣﻰﻧﺎﻣﻴﺪﻧﺪ‪[2] .‬‬ ‫ﺁﻗﺎﻯ ﻭﻳﺘﻜﺎﺕ ﺩﺭ ﺣﺎﻟﻰ ﻛﻪ ﺣﺮﻑﻫﺎﻳﺶ ﺯﻳﺎﺩ ﺍﻣﻴﺪﻭﺍﺭ ﻛﻨﻨﺪﻩ ﻧﺒﻮﺩﻧﺪ‪ ،‬ﮔﻔﺖ‪» :‬ﻣﻦ ﻭﺭﻧﻮﻥ ﺑﺮﻳﻤﻦ‬ ‫ﺭﻭ ﺧﻴﻠﻰ ﻛﻢ ﻣﻰﺷﻨﺎﺳﻢ‪ «.‬ﺍﻣﺎ ﺟﻤﻼﺕ ﺑﻌﺪ ﺭﻓﺘﻪﺭﻓﺘﻪ ﻫﻴﺠﺎﻥﺍﻧﮕﻴﺰﺗﺮ ﺷﺪﻧﺪ‪» .‬ﺩﺭ ﻭﺍﻗﻊ ﺣﺮﻑ ﺏ‬ ‫ﺩﺭ ﺗﺸﺎﺏ‪ ،‬ﺍﺷﺎﺭﻩ ﺑﻪ ﺍﻭ ﺩﺍﺭﻩ‪ .‬ﻫﻤﺎﻥ ﻃﻮﺭﻯ ﻛﻪ ﻣﻰﺩﻭﻧﻴﻦ ﺕ‪-‬ﺵ‪-‬ﺍ‪-‬ﺏ ﻣﺨﻔﻒ ﺍﺻﻄﻼﺡ »ﺗﻜﻨﻴﻚ‬ ‫ﺷﻜﻞﺳﺎﺯﻯ ﺍﺳﺘﺪﻻﻟﻰ ﺑﺮﻳﻤﻦ« ﺍﺳﺖ‪ .‬ﺍﻳﻦ ﺍﺳﻤﻴﻪ ﻛﻪ ﺍﻭﻥ ﺑﺮﺍﻯ ﺍﺧﺘﺮﺍﻋﺶ ﺍﻧﺘﺨﺎﺏ ﻛﺮﺩﻩ‪ .‬ﺭﻳﺎﺿﻴﺎﺕ‬ ‫ﺑﺴﻴﺎﺭ ﭘﻴﺸﺮﻓﺘﻪﺍﻯ ﻛﻪ ﺑﺴﻴﺎﺭ ﺑﺎﻻﺗﺮ ﺍﺯ ﺳﻄﺢ ﺷﻤﺎ ﺍﺳﺖ‪ .‬ﺍﮔﺮ ﺑﻪ ﻧﻴﻤﻪﻯ ﺍﻭﻝ ﻗﺮﻥ ﺑﻴﺴﺘﻢ ﺑﺮﮔﺮﺩﻳﻢ‪،‬‬ ‫ﺩﻭ ﺗﺎ ﺭﻳﺎﺿﻴﺪﺍﻥ ﺑﺮﺟﺴﺘﻪ ﺑﻪ ﻧﺎﻡﻫﺎﻯ ﮔﻮﺩﻝ ﻭ ﺗﻮﺭﻳﻦ ﻗﻀﻴﻪﺍﻯ ﺭﻭ ﺍﺛﺒﺎﺕ ﻛﺮﺩﻥ ﻛﻪ ﺑﻴﺎﻥ ﻣﻰﻛﻨﻪ‪...‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،29‬ﺍﺭﺩﻳﺒﻬﺸﺖ ‪1392‬‬

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‫ﻋﻠﻤﻰﺗﺨﻴﻠﻰ ‪ -‬ﺗﺮﺟﻤﻪ‬

‫ﺧﺎﻟﺪ ﺑﻮﺩ‪ .‬ﺗﺸﻜﻴﻞ ﻛﻠﻮپ ﻧﻴﺰ ﺍﺯ ﺍﻳﺪﻩﻫﺎﻯ ﺍﻭ ﺑﻮﺩ‪ .‬ﺍﻳﻦ ﻓﻜﺮ ﺑﻌﺪ ﺍﺯ ﺩﻳﺪﻥ ﺗﺼﻮﻳﺮ ﻳﻚ ﺟﻦ ﻛﻪ ﻛﺴﻰ‬ ‫ﺩﺭ ﺩﺳﺘﮕﺎﻩ ﻓﺘﻮﻛﭙﻰ ﻣﺪﺭﺳﻪ ﺟﺎ ﮔﺬﺍﺷﺘﻪ ﺑﻮﺩ‪ ،‬ﺑﻪ ﺫﻫﻦ ﺍﻭ ﺭﺳﻴﺪ‪ .‬ﺍﺣﺘﻤﺎﻻً ﺍﻭ ﺯﻳﺎﺩﻯ ﺭﺍﺟﻊ ﺑﻪ ﻣﺒﺎﺭﺯﺍﺕ‬ ‫ﺳﺨﺖ ﻭ ﭘﻴﺪﺍﻳﺶ ﺭﺍﺯﻫﺎﻯ ﻋﺠﻴﺐ ﻣﻄﺎﻟﻌﻪ ﻛﺮﺩﻩ ﺑﻮﺩ ﻭ ﻭﻗﺘﻰ ﻛﻪ ﭼﻨﻴﻦ ﺷﺨﺼﻰ ﺍﺗﻔﺎﻗﺎً ﺑﺎ ﻳﻚ ﭼﻨﻴﻦ‬ ‫ﺧﻮﺩﺁﺯﻣﺎﻳﻰ ﺳﺨﺖ ﻭ ﺑﺎﺷﻜﻮﻫﻰ ﺑﺮﺧﻮﺭﺩ ﻣﻰﻛﻨﺪ‪ ،‬ﻓﻘﻂ ﻛﺎﻓﻰ ﺍﺳﺖ ﺍﻧﺠﻤﻨﻰ ﺳﺮﻯ ﺑﻪ ﺭﺍﻩ ﺍﻧﺪﺍﺯﺩ ﻭ‬ ‫ﻣﻮﺿﻮﻉ ﺭﺍ ﺑﺎ ﺁﻥﻫﺎ ﺩﺭ ﻣﻴﺎﻥ ﺑﮕﺬﺍﺭﺩ‪.‬‬ ‫ﺧﺎﻟﺪ‪ ،‬ﺯﻣﺰﻣﻪ ﻛﻨﺎﻥ ﮔﻔﺖ‪» :‬ﻣﺎ ﺍﻋﻀﺎﻯ ﺑﺎﺷﮕﺎﻩ ﻟﺮﺯﺵ ﻫﺴﺘﻴﻢ‪ .‬ﻣﺎ ﻛﺴﺎﻧﻰ ﻫﺴﺘﻴﻢ ﻛﻪ ﻣﻰﺗﻮﻧﻴﻢ ﺍﻳﻦ‬ ‫ﻛﺎﺭ ﺭﻭ ﺍﻧﺠﺎﻡ ﺑﺪﻳﻢ‪ 20 .‬ﺛﺎﻧﻴﻪ‪«.‬‬ ‫ﺍﺑﺮﻭﻫﺎﻯ ﺟﺎﻧﺎﺗﺎﻥ ﺍﺯ ﺗﻌﺠﺐ ﺑﺎﻻ ﺭﻓﺘﻨﺪ‪ .‬ﺑﻴﺴﺖ ﺛﺎﻧﻴﻪ ﻛﺎﻣ ً‬ ‫ﻼ ﺟﺪﻯ ﺑﻮﺩ‪ .‬ﮔﺮﻯ‪ ،‬ﭼﺎﻗﺎﻟﻮﻯ ﮔﺮﻭﻩ‪ ،‬ﺑﺎ ﺳﺮﺵ‬ ‫ﺗﺎﻳﻴﺪ ﻛﺮﺩ ﻭ ﺑﺮ ﺭﻭﻯ ﺳﺎﻋﺘﺶ ﻣﺘﻤﺮﻛﺰ ﺷﺪ‪ .‬ﺧﺎﻟﺪ ﭘﻮﺷﻪ ﺭﺍ ﺑﺎﺯ ﻛﺮﺩ ﻭ ﺑﻪ ﭼﻴﺰﻯ ﻛﻪ ﺩﺍﺧﻞ ﺁﻥ ﺑﻮﺩ‬ ‫ﺧﻴﺮﻩ ﺷﺪ‪» .‬ﻳﻚ‪ ...‬ﺩﻭ‪ ...‬ﺳﻪ‪«...‬‬ ‫ﺍﻭ ﺗﻘﺮﻳﺒﺎً ﻛﺎﺭ ﺭﺍ ﺑﻪ ﺍﺗﻤﺎﻡ ﺭﺳﺎﻧﺪ‪ .‬ﺑﻌﺪ ﺍﺯ ﺍﻳﻦ ﻛﻪ ﻫﻔﺪﻫﻤﻴﻦ ﺛﺎﻧﻴﻪ ﮔﺬﺷﺖ‪ ،‬ﺩﺳﺖﻫﺎﻯ ﺧﺎﻟﺪ ﻣﻨﻘﺒﺾ‬ ‫ﺷﺪﻧﺪ ﻭ ﺷﺮﻭﻉ ﺑﻪ ﻟﺮﺯﻳﺪﻥ ﻛﺮﺩﻧﺪ ﻭ ﺳﭙﺲ ﺑﺎﺯﻭﺍﻧﺶ ﻧﻴﺰ ﺑﻪ ﺍﺭﺗﻌﺎﺵ ﺩﺭﺁﻣﺪﻧﺪ‪ .‬ﺩﺭ ﺣﺎﻟﻰ ﻛﻪ ﮔﺮﻯ ﺛﺎﻧﻴﻪ‬ ‫ﻫﺠﺪﻫﻢ ﺭﺍ ﺍﻋﻼﻡ ﻣﻰﻛﺮﺩ‪ ،‬ﺍﻭ ﭘﻮﺷﻪ ﺭﺍ ﺍﻧﺪﺍﺧﺖ‪ .‬ﭼﻨﺪ ﻟﺤﻈﻪ ﻃﻮﻝ ﻛﺸﻴﺪ ﺗﺎ ﺧﺎﻟﺪ ﺑﺮ ﻟﺮﺯﻩﻫﺎ ﻏﻠﺒﻪ ﻛﻨﺪ‬ ‫ﻭ ﺑﺮ ﺧﻮﺩ ﻣﺴﻠﻂ ﺷﻮﺩ ﻭ ﺑﻌﺪ ﺳﺎﻳﺮ ﺍﻋﻀﺎﻯ ﮔﺮﻭﻩ ﺑﻪ ﺧﺎﻃﺮ ﺭﻛﻮﺭﺩ ﺟﺪﻳﺪﺵ ﺑﻪ ﺍﻭ ﺗﺒﺮﻳﻚ ﮔﻔﺘﻨﺪ‪.‬‬ ‫ﺟﻮﻟﻰ ﻭ ﮔﺮﻯ ﺯﻳﺎﺩ ﺟﺎﻩ ﻃﻠﺐ ﻧﺒﻮﺩﻧﺪ ﻭ ﺗﻼﺵ ‪ 10‬ﺛﺎﻧﻴﻪﺍﻯ ﺭﺍ ﺑﺮﮔﺰﻳﺪﻧﺪ‪ .‬ﻫﺮ ﺩﻭ ﻣﺒﺎﺭﺯﻩ ﺭﺍ ﺁﻏﺎﺯ ﻛﺮﺩﻧﺪ‬ ‫ﻭ ﻫﻨﮕﺎﻣﻰ ﻛﻪ ﻋﺪﺩ ‪ 10‬ﺷﻤﺮﺩﻩ ﺷﺪ‪ ،‬ﺻﻮﺭﺕ ﺟﻮﻟﻰ ﺑﻪ ﻃﻮﺭ ﻭﺣﺸﺘﻨﺎﻛﻰ ﺳﻔﻴﺪ ﺷﺪﻩ ﺑﻮﺩ ﻭ ﺑﺮ ﭘﻴﺸﺎﻧﻰ‬ ‫ﮔﺮﻯ ﻗﻄﺮﺍﺕ ﺩﺭﺷﺖ ﻋﺮﻕ ﻇﺎﻫﺮ ﺷﺪﻩ ﺑﻮﺩ‪ .‬ﺑﻨﺎﺑﺮﺍﻳﻦ ﺟﺎﻧﺎﺗﺎﻥ ﻓﻜﺮ ﻛﺮﺩ ﻛﻪ ﺍﻭ ﻫﻢ ﺑﺎﻳﺪ ‪ 10‬ﺭﺍ ﺍﻧﺘﺨﺎﺏ ﻛﻨﺪ‪.‬‬ ‫ﮔﺮﻯ ﮔﻔﺖ‪» :‬ﺟﺎﻥ ﻣﻄﻤﺌﻨﻰ؟ ﺩﻓﻌﻪ ﻗﺒﻞ ﺗﻮ ﻫﺸﺖ ﺭﻭ ﺍﻧﺘﺨﺎﺏ ﻛﺮﺩﻯ‪ .‬ﻧﻴﺎﺯﻯ ﻧﻴﺴﺖ ﺍﻳﻦ ﺩﻓﻌﻪ‬ ‫ﺯﻳﺎﺩﺵ ﻛﻨﻰ‪ «.‬ﺟﺎﻧﺎﺗﺎﻥ ﻃﺒﻖ ﺗﺸﺮﻳﻔﺎﺕ ﮔﻔﺖ‪» :‬ﻣﺎ ﻛﺴﺎﻧﻰ ﻫﺴﺘﻴﻢ ﻛﻪ ﻣﻰﺗﻮﻧﻴﻢ ﺍﻳﻦ ﻛﺎﺭ ﺭﻭ ﺑﻜﻨﻴﻢ‪«.‬‬ ‫ﻭ ﭘﻮﺷﻪ ﺭﺍ ﺍﺯ ﮔﺮﻯ ﮔﺮﻓﺖ‪» :‬ﺩﻩ‪«.‬‬ ‫ﻭﻗﺘﻰ ﻛﻪ ﺯﻣﺎﻥ ﻣﻰﮔﺬﺭﺩ‪ ،‬ﻫﻤﻴﺸﻪ ﻓﺮﺍﻣﻮﺵ ﻣﻰﻛﻨﻰ ﺟﻦ ﭼﻪ ﺷﻜﻠﻰ ﺩﺍﺷﺘﻪ ﺍﺳﺖ‪ .‬ﺟﻦ ﻫﻤﻴﺸﻪ‬ ‫ﺟﺪﻳﺪ ﺑﻪ ﻧﻈﺮ ﻣﻰﺭﺳﺪ‪ .‬ﻳﻚ ﻃﺮﺡ ﺳﺎﺩﻩ ﺳﻴﺎﻩ ﻭ ﺳﻔﻴﺪ ﻛﻪ ﻣﺪﺍﻡ ﺗﻐﻴﻴﺮ ﺷﻜﻞ ﻣﻰﺩﻫﺪ ﻭ ﻣﻰﻟﺮﺯﺩ؛‬ ‫ﺷﻜﻞ ﺗﻘﺮﻳﺒﺎً ﺯﻳﺒﺎﻳﻰ‬ ‫ﺩﺭﺳﺖ ﻣﺜﻞ ﻳﻜﻰ ﺍﺯ ﻃﺮﺡﻫﺎﻯ ﻗﺪﻳﻤﻰ ‪ .[1] Op Art‬ﺩﺭ ﺍﺑﺘﺪﺍ ﻣﻰﺗﻮﺍﻥ ﮔﻔﺖ‬ ‫ِ‬ ‫ﺩﺍﺭﺩ‪ .‬ﻭﻟﻰ ﻧﺎﮔﻬﺎﻥ ﺗﻤﺎﻡ ﺁﻥ ﭼﻴﺰ‪ ،‬ﺑﺎ ﻳﻚ ﺷﻮﻙ ﻧﺎﺷﻰ ﺍﺯ ﺗﻤﺎﺱ‪ ،‬ﻣﺜﻞ ﻟﻤﺲ ﻛﺮﺩﻥ ﻛﺎﺑﻞ ﺑﺮﻕ ﻓﺸﺎﺭ‬ ‫ﻗﻮﻯ‪ ،‬ﻭﺍﺭﺩ ﺫﻫﻨﺖ ﻣﻰﺷﻮﺩ‪ .‬ﺑﺎ ﻗﻮﻩﻯ ﺑﻴﻨﺎﺋﻴﺖ ﺁﻣﻴﺨﺘﻪ ﻣﻰﺷﻮﺩ‪ .‬ﺑﺎ ﺫﻫﻨﺖ ﺩﺭ ﻫﻢ ﻣﻰﺁﻣﻴﺰﺩ‪ .‬ﺟﺎﻧﺎﺗﺎﻥ‬ ‫ﺍﻳﺴﺖ ﺷﺪﻳﺪﻯ ﺭﺍ ﺩﺭ ﭘﺸﺖ ﭼﺸﻤﺎﻧﺶ ﺍﺣﺴﺎﺱ ﻛﺮﺩ‪ ...‬ﻳﻚ ﻃﻮﻓﺎﻥ ﺍﻟﻜﺘﺮﻳﻜﻰ‪ ،‬ﺟﺎﻳﻰ ﺩﺭ ﺩﺭﻭﻥ ﺍﻭ‬ ‫ﻣﻰﻏﺮﻳﺪ‪ ...‬ﻫﻴﺠﺎﻥ ﺁﻧﻰ ﺩﺭ ﺧﻮﻥ ﺍﻭ ﻣﻰﺟﻮﺷﻴﺪ‪ ...‬ﻣﺎﻫﻴﭽﻪﻫﺎﻳﺶ ﻣﻨﻘﺒﺾ ﻭ ﻣﻨﺒﺴﻂ ﻣﻰﺷﺪﻧﺪ‪ ...‬ﻭ‬ ‫ﻭﺍﻯ ﺧﺪﺍﻯ ﻣﻦ‪ ،‬ﮔﺮﻯ ﻓﻘﻂ ﺑﻪ ﺷﻤﺎﺭﻩﻯ ‪ 4‬ﺭﺳﻴﺪﻩ ﺑﻮﺩ؟‬

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‫ﺷﻤﺎﺭﻩﻯ ‪ ،29‬ﺍﺭﺩﻳﺒﻬﺸﺖ ‪1392‬‬

‫‪ ‬ﺑﻴﺮﻭﻥ ﭘﻨﺠﺮﻩ‪ ،‬ﻫﻤﻴﺸﻪ ﺗﺎﺭﻳﻚ ﺑﻮﺩ‪ .‬ﭘﺪﺭ ﻭ ﻣﺎﺩﺭﻫﺎ ﻭ ﻣﻌﻠﻢﻫﺎ ﻫﻤﻮﺍﺭﻩ ﺑﻪ ﻃﻮﺭ ﺍﺳﺮﺍﺭﺁﻣﻴﺰ ﻭ ﺳﺮﺑﺴﺘﻪﺍﻯ‬ ‫ﻣﻰﮔﻔﺘﻨﺪ ﻛﻪ ﺗﺎﺭﻳﻜﻰ ﺑﻪ ﺧﺎﻃﺮ ﺗﺮﻭﺭﻳﺴﺖﻫﺎﻯ »ﺳﺒﺰ ﺗﻴﺮﻩ« ﺍﺳﺖ‪ ،‬ﻭﻟﻰ ﺟﺎﻧﺎﺗﺎﻥ ﻓﻜﺮ ﻣﻰﻛﺮﺩ ﺩﺍﺳﺘﺎﻥ‬ ‫ﺑﻴﺸﺘﺮ ﺍﺯ ﺁﻧﻰ ﺍﺳﺖ ﻛﻪ ﺁﻥﻫﺎ ﺗﻌﺮﻳﻒ ﻣﻰﻛﻨﻨﺪ‪ .‬ﺑﻘﻴﻪﻯ ﺍﻋﻀﺎﻯ »ﺑﺎﺷﮕﺎﻩ ﻟﺮﺯﺵ« ﻫﻢ ﺑﺎ ﺍﻭ ﻫﻢﻋﻘﻴﺪﻩ‬ ‫ﺑﻮﺩﻧﺪ‪.‬‬ ‫ﺗﺎﺭﻳﻜﻰ ﺁﻥ ﺳﻮﻯ ﺷﻴﺸﻪﻫﺎ ﺩﺭ ﺧﺎﻧﻪ‪ ،‬ﻣﺪﺭﺳﻪ ﻭ ﺍﺗﻮﺑﻮﺱ‪ ،‬ﻧﻮﻉ ﺩﻭﻡ ﺗﺎﺭﻳﻜﻰ ﺑﻮﺩ‪ .‬ﺩﺭ ﺗﺎﺭﻳﻜﻰ ﻧﻮﻉ ﺍﻭﻝ‬ ‫ﻛﻪ ﻫﻤﺎﻥ ﺗﺎﺭﻳﻜﻰ ﻣﻌﻤﻮﻟﻰ ﺍﺳﺖ‪ ،‬ﻓﺮﺩ ﻣﻰﺗﻮﺍﻧﺪ ﻛﻤﻰ ﺍﻃﺮﺍﻓﺶ ﺭﺍ ﺑﺒﻴﻨﺪ ﻭ ﺑﺎ ﻳﻚ ﻣﺸﻌﻞ‪ ،‬ﺳﻴﺎﻫﻰ ﺭﺍ‬ ‫ﺑﺸﻜﺎﻓﺪ‪ .‬ﻭﻟﻰ ﻧﻮﻉ ﺩﻭﻡ ﺗﺎﺭﻳﻜﻰ‪ ،‬ﺗﺎﺭﻳﻜﻰ ﻣﺤﺾ ﺍﺳﺖ ﻭ ﺣﺘﺎ ﺭﻭﺷﻦﺗﺮﻳﻦ ﻣﺸﻌﻞ ﺍﻟﻜﺘﺮﻳﻜﻰ ﻫﻢ ﻗﺎﺩﺭ‬ ‫ﻧﻴﺴﺖ ﻛﻪ ﺑﺎﺭﻗﻪﺍﻯ ﺗﻮﻟﻴﺪ ﻛﻨﺪ ﻳﺎ ﭼﻴﺰﻯ ﺭﺍ ﺭﻭﺷﻦ ﻛﻨﺪ‪ .‬ﻫﺮﮔﺎﻩ ﺟﺎﻧﺎﺗﺎﻥ ﺩﻭﺳﺘﺎﻧﺶ ﺭﺍ ﻣﻰﻧﮕﺮﻳﺴﺖ ﻛﻪ‬ ‫ﻗﺒﻞ ﺍﺯ ﺍﻭ ﺍﺯ ﻣﺪﺭﺳﻪ ﺧﺎﺭﺝ ﻣﻰﺷﺪﻧﺪ‪ ،‬ﺑﻪ ﻧﻈﺮﺵ ﻣﻰﺭﺳﻴﺪ ﻛﻪ ﺁﻥﻫﺎ ﺩﺭﻭﻥ ﺩﻳﻮﺍﺭﻯ ﺟﺎﻣﺪ ﻭ ﺳﻴﺎﻫﺮﻧﮓ‬ ‫ﻓﺮﻭ ﺭﻓﺘﻪﺍﻧﺪ؛ ﻭﻟﻰ ﻫﻨﮕﺎﻣﻰ ﻛﻪ ﻭﻯ ﺑﻪ ﺩﻧﺒﺎﻝ ﺁﻥﻫﺎ ﻭﺍﺭﺩ ﺗﺎﺭﻳﻜﻰ ﻣﻰ ﺷﺪ ﻭ ﻛﻮﺭﻛﻮﺭﺍﻧﻪ ﻧﺮﺩﻩﻫﺎﻳﻰ ﺭﺍ ﻛﻪ‬ ‫ﺑﻪ ﻣﺤﻞ ﺗﻮﻗﻒ ﺍﺗﻮﺑﻮﺱﻫﺎ ﻣﻨﺘﻬﻰ ﻣﻰﺷﺪﻧﺪ ﺩﻧﺒﺎﻝ ﻣﻰﻛﺮﺩ‪ ،‬ﻫﻴﭻ ﭼﻴﺰ ﺍﻃﺮﺍﻑ ﺍﻭ ﻧﺒﻮﺩ ﺑﻪ ﺟﺰ ﻓﻀﺎﻯ‬ ‫ﺧﺎﻟﻰ‪ ،‬ﻫﻮﺍﻯ ﺳﻴﺎﻩ‪.‬‬ ‫ﮔﺎﻫﻰ ﺍﻳﻦ ﺍﺑَﺮﺗﺎﺭﻳﻜﻰﻫﺎ ﺩﺍﺧﻞ ﺳﺎﺧﺘﻤﺎﻥ ﻫﻢ ﭘﻴﺪﺍ ﻣﻰﺷﺪ‪ .‬ﻣﺜﻞ ﻫﻤﻴﻦ ﻟﺤﻈﻪ ﻛﻪ ﺟﺎﻧﺎﺗﺎﻥ ﺩﺍﺷﺖ‬ ‫ﻣﺴﻴﺮ ﺧﻮﺩ ﺭﺍ ﺍﺯ ﻛﻨﺎﺭ ﺩﻳﻮﺍﺭ ﺩﺭﻭﻥ ﻳﻜﻰ ﺍﺯ ﺭﺍﻫﺮﻭﻫﺎﻯ ﺗﺎﺭﻳﻚ ﺑﻪ ﺳﻮﻯ ﻳﻜﻰ ﺍﺯ ﻣﻨﻄﻘﻪﻫﺎﻯ ﻣﻤﻨﻮﻉ‬ ‫ﻣﺪﺭﺳﻪ ﻣﻰﭘﻴﻤﻮﺩ‪ .‬ﻗﺎﻧﻮﻧﺎً ﺍﻭ ﺑﺎﻳﺪ ﺩﺭ ﺣﺎﻝ ﺣﺎﺿﺮ‪ ،‬ﺑﻴﺮﻭﻥ ﺑﻮﺩﻩ ﻭ ﺯﻧﮓ ﺗﻔﺮﻳﺢ ﺭﺍ ﺩﺭ ﺍﻃﺮﺍﻑ ﺯﻣﻴﻦ ﺑﺎﺯﻯ‬ ‫ﻣﻰﭘﻠﻜﻴﺪ‪ .‬ﺟﺎﻳﻰ ﻛﻪ ﺩﻳﻮﺍﺭﻫﺎﻯ ﺑﻠﻨﺪﻯ ﺩﺍﺷﺖ ﻭ )ﺑﻪ ﻃﻮﺭ ﻏﻴﺮ ﻋﺎﺩﻯ( ﺍﺻ ً‬ ‫ﻼ ﺗﺎﺭﻳﻚ ﻧﺒﻮﺩ‪ .‬ﺩﺭ ﺯﻣﻴﻦ‬ ‫ﺑﺎﺯﻯ ﺣﺘﺎ ﺁﺳﻤﺎﻥ ﺑﺎﻻﻯ ﺳﺮﺷﺎﻥ ﻫﻢ ﺩﻳﺪﻩ ﻣﻰﺷﺪ‪ .‬ﺑﻨﺎﺑﺮﺍﻳﻦ ﺑﻴﺮﻭﻥ‪ ،‬ﺩﺭﻭﻥ ﻣﺤﻮﻃﻪﻯ ﻣﺪﺭﺳﻪ‪ ،‬ﺟﺎﻯ‬ ‫ﻣﻨﺎﺳﺒﻰ ﺑﺮﺍﻯ ﺗﺸﻜﻴﻞ ﺑﺎﺷﮕﺎﻩ ﻟﺮﺯﺵ ﺑﺎ ﺭﺍﺯ ﻣﺨﻮﻓﻰ ﻛﻪ ﺁﻥ ﺭﺍ ﺑﻪ ﻭﺟﻮﺩ ﺁﻭﺭﺩﻩ ﺑﻮﺩ‪ ،‬ﻭﺟﻮﺩ ﻧﺪﺍﺷﺖ‪.‬‬ ‫ﺟﺎﻧﺎﺗﺎﻥ ﺑﻪ ﻗﺴﻤﺖ ﺩﻳﮕﺮﻯ ﺍﺯ ﺭﺍﻫﺮﻭﻯ ﻗﻴﺮﮔﻮﻥ ﻗﺪﻡ ﮔﺬﺍﺷﺖ ﻭ ﺑﻪ ﺁﺭﺍﻣﻰ ﺩﺭﻯ ﺭﺍ ﻛﻪ ﺩﻭ ﺗﺮﻡ ﭘﻴﺶ‬ ‫ﭘﻴﺪﺍ ﻛﺮﺩﻩ ﺑﻮﺩﻧﺪ‪ ،‬ﺑﺎﺯ ﻛﺮﺩ‪ .‬ﺍﻳﻦ ﺩﺭ ﺑﻪ ﺍﻧﺒﺎﺭ ﻛﻮﭼﻜﻰ ﺧﺘﻢ ﻣﻰﺷﺪ‪ .‬ﺩﺍﺧﻞ ﺍﻧﺒﺎﺭ‪ ،‬ﻫﻮﺍ ﮔﺮﻡ ﺑﻮﺩ ﻭ ﺑﻮﻯ‬ ‫ﻣﺎﻧﺪﮔﻰ ﻭ ﮔﺮﺩ ﻭ ﺧﺎﻙ ﻣﻰﺩﺍﺩ‪ .‬ﻻﻣﭙﻰ ﺳﺎﺩﻩ ﺍﺯ ﺳﻘﻒ ﺁﻭﻳﺰﺍﻥ ﺑﻮﺩ‪ .‬ﺑﻘﻴﻪ ﻗﺒ ً‬ ‫ﻼ ﺭﺳﻴﺪﻩ ﺑﻮﺩﻧﺪ ﻭ ﺭﻭﻯ‬ ‫ﺟﻌﺒﻪﻫﺎﻯ ﻛﺎﻏﺬ ﻭ ﺗﻮﺩﻩﻫﺎﻯ ﻛﺘﺎﺏﻫﺎﻯ ﺩﺭﺳﻰ ﭘﺎﺭﻩ ﻭ ﺍﺯ ﺭﺩﻩ ﺧﺎﺭﺝ‪ ،‬ﻣﻨﺘﻈﺮ ﺍﻭ ﺑﻮﺩﻧﺪ‪.‬‬ ‫ﮔﺮﻯ‪ ،‬ﺟﻮﻟﻰ ﻭ ﺧﺎﻟﺪ ﺑﺎ ﻫﻢ ﮔﻔﺘﻨﺪ‪» :‬ﺩﻳﺮ ﻛﺮﺩﻯ‪ «.‬ﻧﺎﻣﺰﺩ ﺟﺪﻳﺪ ﻋﻀﻮﻳﺖ‪ ،‬ﻫﻴﺘﺮ‪ ،‬ﻣﻮﻫﺎﻯ ﺑﻠﻨﺪ ﻭ ﺑﻮﺭﺵ‬ ‫ﺭﺍ ﺑﻪ ﻋﻘﺐ ﺯﺩ ﻭ ﻟﺒﺨﻨﺪ ﻛﺞ ﻭ ﻛﻮﻟﻪﺍﻯ ﺗﺤﻮﻳﻞ ﺟﺎﻧﺎﺗﺎﻥ ﺩﺍﺩ‪.‬‬ ‫ﺟﺎﻧﺎﺗﺎﻥ ﮔﻔﺖ‪» :‬ﺑﺎﻻﺧﺮﻩ ﻳﻜﻰ ﺑﺎﻳﺪ ﺁﺧﺮ ﺑﻴﺎﺩ!« ﺍﻳﻦ ﻛﻠﻤﺎﺕ ﺩﺭ ﻭﺍﻗﻊ‪ ،‬ﺟﺰﻳﻰ ﺍﺯ ﺗﺸﺮﻳﻔﺎﺕ ﺑﻮﺩﻧﺪ ﻭ‬ ‫ﻣﺎﻧﻨﺪ ﻛﻠﻤﻪﻯ ﻋﺒﻮﺭﻯ ﺳﺮﻯ‪ ،‬ﻧﺸﺎﻥ ﻣﻰﺩﺍﺩﻧﺪ ﻛﻪ ﺁﺧﺮﻳﻦ ﻧﻔﺮ‪ ،‬ﺟﺎﺳﻮﺱ ﻳﺎ ﻓﺮﺩﻯ ﺧﺎﺭﺟﻰ ﻧﻴﺴﺖ‪.‬‬ ‫ﺍﻟﺒﺘﻪ ﺁﻥﻫﺎ ﻫﻤﺪﻳﮕﺮ ﺭﺍ ﻣﻰ ﺷﻨﺎﺧﺘﻨﺪ؛ ﻭﻟﻰ ﺟﺎﺳﻮﺳﻰ ﺭﺍ ﺗﺼﻮﺭ ﻛﻨﻴﺪ ﻛﻪ ﺍﺳﺘﺎﺩ ﺗﻐﻴﻴﺮ ﭼﻬﺮﻩ ﺑﺎﺷﺪ‪...‬‬ ‫ﺧﺎﻟﺪ‪ ،‬ﻣﻮﻗﺮﺍﻧﻪ ﺑﻪ ﭘﻮﺷﻪﻯ ﻇﺎﻫﺮﺍ ً ﺑﻰﺧﻄﺮﻯ ﻛﻪ ﺩﺭ ﺩﺳﺖ ﺩﺍﺷﺖ ﻧﮕﺮﻳﺴﺖ‪ .‬ﺍﻳﻦ ﭘﻮﺷﻪ ﺍﻣﺘﻴﺎﺯ ﻭﻳﮋﻩﻯ‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،29‬ﺍﺭﺩﻳﺒﻬﺸﺖ ‪1392‬‬

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‫ﻋﻠﻤﻰﺗﺨﻴﻠﻰ ‪ -‬ﺗﺮﺟﻤﻪ‬

‫ﺍﻧﻮﺍﻉ ﻣﺨﺘﻠﻒ ﺗﺎﺭﻳﻜﻰ‬ ‫ﺩﻳﻮﻳﺪ ﻻﻧﮕﻔﻮﺭﺩ‬ ‫ﭘﺮﻳﺎ ﺁﺭﻳﺎ‬

‫دﯾﻮﯾﺪ ﻻﻧﮕﻔﻮرد ﺷﺎﯾﺪ ﯾﻜﯽ از ﺷﻨﺎﺧﺘﻪ ﺷﺪهﺗﺮﯾﻦ ﻋﻠﻤﯽﺗﺨﯿﻠﯽﻧﻮﯾﺴﺎن دﻧﯿﺎ ﺗﺎ ﻛﻨﻮن ﺑﺎﺷﺪ‪.‬‬ ‫او ﺗﺎﻛﻨﻮن ‪ ۲۰‬ﺑﺎر ﺑﺮﻧﺪهی ﺟﺎﯾﺰهی ﻣﻌﺘﱪ داﺳﺘﺎنﻧﻮﯾﺴﯽ ﻫﻮﮔﻮ ﺑﺮای ﻛﺎرﻫﺎی ﮔﻮﻧﺎﮔﻮن‬ ‫ﺧﻮد در زﻣﯿﻨﻪﻫﺎی ﻣﺨﺘﻠﻒ ﺷﺪه اﺳﺖ‪ .‬در ﻛﻨﺎر ﯾﻚ ﻧﻮﯾﺴﻨﺪهی ﻋﻠﻤﯽﺗﺨﯿﻠﯽ‪ ،‬ﻻﻧﮕﻔﻮرد‬ ‫ﯾﻚ ﻓﯿﺰﯾﻜﺪان و ﯾﻚ ﻋﻠﻤﯽﺗﺨﯿﻠﯽﻧﻮﯾﺲ ﻣﺸﻬﻮر‪ ،‬ﻛﺎرﺷﻨﺎس و ﻧﻮﯾﺴﻨﺪهی دامئﯽ ﯾﻜﯽ از‬ ‫ﺳﺘﻮنﻫﺎی ﻣﺠﻼت ‪ SFX‬و ‪ Interzone‬ﻧﯿﺰ ﻫﺴﺖ‪.‬‬ ‫وی در اﻧﮕﻠﺴﺘﺎن زاده ﺷﺪه و ﺗﺤﺼﯿﻼت ﺧﻮد را در رﺷﺘﻪی ﻓﯿﺰﯾﻚ در آﻛﺴﻔﻮرد ﺑﻪ ﭘﺎﯾﺎن‬ ‫رﺳﺎﻧﯿﺪ‪ .‬وی ﺑﻪ ﻣﺪت ﭘﻨﺞ ﺳﺎل ﺑﻪ ﻋﻨﻮان ﻓﯿﺰﯾﻜﺪان ﺗﺴﻠﯿﺤﺎﺗﯽ ﺑﺮای ﻣﺮﻛﺰ ﺗﺤﻘﯿﻘﺎت و‬ ‫ﺗﺴﻠﯿﺤﺎت امتﯽ ﺑﺮﯾﺘﺎﻧﯿﺎ ﺑﻪ ﻛﺎر ﭘﺮداﺧﺖ و ﭘﺲ از اﯾﻦ ﻣﺪت ﺑﻪ ﻋﻨﻮان ﯾﻚ ﻧﻮﯾﺴﻨﺪهی آزاد‬ ‫ﺑﻪ ﻛﺎر ﻣﺸﻐﻮل ﺷﺪ‪ .‬وی ازدواج ﻛﺮده و ﻫﻤﭽﻨﺎن در اﻧﮕﻠﺴﺘﺎن زﻧﺪﮔﯽ ﻣﯽﻛﻨﺪ‪.‬‬

‫ﺩﺭ ﻭﺍﻗﻊ ﺍﮔﺮ ﺧﻮﺍﻧﻨﺪﮔﺎﻥ ﺷﮕﻔﺖﺯﺍﺭ ﺍﺯ ﻧﻮﻳﺴﻨﺪﻩﺍﻯ ﺧﻮﺵﺷﺎﻥ ﺑﻴﺎﻳﺪ ﻭ ﺩﻧﺒﺎﻟﺶ ﺑﺮﻭﻧﺪ ﻭ ﻳﻚ‬ ‫ﺩﺍﺳﺘﺎﻥ ﻛﻮﺗﺎ ِﻩ ﻛﻮﺗﺎﻩ ﻫﻢ ﺍﺯ ﺍﻭ ﺑﺮﺍﻳﻤﺎﻥ ﺑﻔﺮﺳﺘﻨﺪ‪ ،‬ﺁﻥ ﻭﻗﺖ ﻣﻰﺗﻮﺍﻧﻴﻢ ﻧﻔﺲ ﺭﺍﺣﺘﻰ ﺑﻜﺸﻴﻢ‬ ‫ﻛﻪ ﺁﻩ! ﺑﺎﻻﺧﺮﻩ ﺑﻪ ﻫﺪﻓﻤﺎﻥ ﺭﺳﻴﺪﻳﻢ!‬ ‫ﻣﻨﺘﻈﺮ ﺑﺎﺯﺧﻮﺭﺩﻫﺎﻯ ﺑﻴﺸﺘﺮ ﺍﺯ ﺳﻮﻯ ﺷﻤﺎ ﻫﺴﺘﻴﻢ‪.‬‬ ‫ﺷﻴﺮﻳﻦ ﺳﺎﺩﺍﺕ ﺻﻔﻮﻯ‬

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‫ﺷﻤﺎﺭﻩﻯ ‪ ،29‬ﺍﺭﺩﻳﺒﻬﺸﺖ ‪1392‬‬

‫ﺳﺨﻦ ﻣﺎﻩ‬

‫ﺳﻼﻡ‪.‬‬ ‫ﺍﻳﻦ ﺍﻭﻟﻴﻦ ﺷﻤﺎﺭﻩ ﺩﺭ ﺳﺎﻝ ‪ 92‬ﺍﺳﺖ ﻛﻪ ﻛﻢ ﻭ ﺑﻴﺶ ﻣﺜﻞ ﻣﻌﺠﺰﻩ ﺁﻣﺎﺩﻩ ﺷﺪ؛ ﺩﺍﺳﺘﺎﻧﺶ‬ ‫ﻃﻮﻻﻧﻰ ﺍﺳﺖ ﻭ ﺧﺎﺭﺝ ﺍﺯ ﺍﻳﻦ ﻣﻘﺎﻝ‪.‬‬ ‫ﻳﻜﻰ ﺍﺯ ﺩﻭﺳﺘﺎﻥ ﻋﺰﻳﺰ ﺷﮕﻔﺖﺯﺍﺭ ﺩﺍﺳﺘﺎﻧﻰ ﺩﺭ ﻭﺏﮔﺎﻩ ﻗﺪﻳﻤﻰ ﺧﻮﺍﻧﺪﻩ ﺑﻮﺩ ﻭ ﺩﻧﺒﺎﻝ ﻧﻮﻳﺴﻨﺪﻩ‬ ‫ﺭﻓﺘﻪ ﻭ ﺩﺍﺳﺘﺎﻥ ﺩﻳﮕﺮﻯ ﺍﺯ ﺍﻭ ﺗﺮﺟﻤﻪ ﻛﺮﺩﻩ ﺍﺳﺖ؛ ﺍﻳﻦ ﺷﺪ ﺑﻬﺎﻧﻪﺍﻯ ﺑﺮﺍﻯ ﺭﺟﻮﻉ ﺑﻪ ﺁﻥ ﺩﺍﺳﺘﺎﻥ‬ ‫ﻗﺪﻳﻤﻰ ‪-‬ﻗﺪﻳﻤﻰ ﺑﻪ ﺍﻧﺪﺍﺯﻩﻯ ﻫﻔﺖ ﺳﺎﻝ‪ -‬ﻛﻪ ﺍﺗﻔﺎﻗﺎً ﻫﻨﻮﺯ ﺟﺎ ﺑﺮﺍﻯ ﺻﺤﺒﺖ ﻭ ﺑﺤﺚ ﺩﺍﺭﺩ ﻭ‬ ‫ﺑﻪ ﻫﻤﻴﻦ ﺩﻟﻴﻞ ﺍﻳﻦﺟﺎ ﺑﺎﺯﻧﺸﺮ ﻣﻰﻳﺎﺑﺪ‪.‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،29‬ﺍﺭﺩﻳﺒﻬﺸﺖ ‪1392‬‬

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‫ﻓﻬﺮﺳﺖ‬ ‫ﺳﺨﻦ ﻣﺎﻩ‬

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‫ﺑﺨﺶ ﺍﻭﻝ‪ :‬ﺩﺍﺳﺘﺎﻥ‬ ‫ﻋﻠﻤﻰﺗﺨﻴﻠﻰ‪ ،‬ﺗﺮﺟﻤﻪ‪ :‬ﺍﻧﻮﺍﻉ ﻣﺨﺘﻠﻒ ﺗﺎﺭﻳﻜﻰ‬

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‫ﺩﻳﻮﻳﺪ ﻻﻧﮕﻔﻮﺭﺩ ‪ /‬ﭘﺮﻳﺎ ﺁﺭﻳﺎ‬

‫ﻋﻠﻤﻰﺗﺨﻴﻠﻰ‪ ،‬ﺗﺮﺟﻤﻪ‪ :‬ﺗﺸﺎﺏ‬

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‫ﺩﻳﻮﻳﺪ ﻻﻧﮕﻔﻮﺭﺩ ‪ /‬ﭘﮋﻣﺎﻥ ﺣﻴﺎﺗﻰ‬

‫ﻋﻠﻤﻰﺗﺨﻴﻠﻰ‪ ،‬ﺗﺮﺟﻤﻪ‪ :‬ﭘﺮﺳﺶﻫﺎﻯ ﻣﻜﺮﺭ ﺩﺭﺑﺎﺭﻩﻯ ﺑﺎﺯﻳﻠﻴﺴﻚﻫﺎ‬

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‫ﺩﻳﻮﻳﺪ ﻻﻧﮕﻔﻮﺭﺩ ‪ /‬ﭘﮋﻣﺎﻥ ﺣﻴﺎﺗﻰ‬

‫ﻋﻠﻤﻰﺗﺨﻴﻠﻰ‪ ،‬ﺗﺮﺟﻤﻪ‪ :‬ﺭﻭﻛﻮﺭﻭ‬

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‫ﭘﻮﻝ ﺍﻧﺪﺭﺳﻮﻥ ‪ /‬ﺷﻴﺮﻳﻦ ﺳﺎﺩﺍﺕ ﺻﻔﻮﻯ‬

‫ﻓﺎﻧﺘﺰﻯ‪ ،‬ﻧﮕﺎﺭﺵ‪ :‬ﻣﻴﺮﺍﺙ ﺧﺎﻧﺪﺍﻥ ﻟﻮﺭﻳﺎ‬

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‫ﺍﺣﺴﺎﻥ ﻣﺤﻤﺪﺯﺍﺩﻩ‬

‫ﺑﺨﺶ ﺩﻭﻡ‪ :‬ﻣﻘﺎﻟﻪ‬ ‫ﺍﻓﻼﻃﻮﻥ‪ ،‬ﺩﻛﺎﺭﺕ ﻭ ﺟﻠﻮﻩﻫﺎﻯ ﻭﻳﮋﻩ‬ ‫ﭘﺮﻭﻧﺪﻩﺍﻯ ﺩﺭﺑﺎﺭﻩﻯ ﻣﺴﻴﺢﻧﺎﻣﻪﻯ »ﻣﺎﺗﺮﻳﻜﺲ«‬

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‫ﻧﺎﺻﺮ ﺣﺎﻓﻈﻰ ﻣﻄﻠﻖ‬

‫ﺍﺯ ﺍﺳﻄﻮﺭﻩ ﺗﺎ ﻋﻠﻤﻰﺗﺨﻴﻠﻰ‬

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‫ﺭﺍﺿﻴﻪ ﻣﻬﺪﻯﺯﺍﺩﻩ‬

‫ﺑﺨﺶ ﺳﻮﻡ‪ :‬ﭘﺮﻭﻧﺪﻩ‬ ‫ﻛﺘﺎﺏ‪ :‬ﻗﺮﺑﺎﻧﻰ ﺍﺗﻔﺎﻗﺎﺕ )ﻣﻌﺮﻓﻰ ﻭ ﻧﻘﺪ ﺍﻓﺴﻮﻧﮕﺮﺍﻥ ﺗﺎﻳﺘﺎﻥ ﻛﻮﺭﺕ ﻭﻧﻪﮔﻮﺕ(‬

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‫ﺍﺣﺴﺎﻥ ﻣﺤﻤﺪﺯﺍﺩﻩ‬

‫ﺑﺨﺶ ﭼﻬﺎﺭﻡ‪ :‬ﭘﺎﻭﺭﻗﻰ‬ ‫ﺗﻴﻮﺗﻴﻤﻮﻟﻴﻦ ﺑﻪ ﺳﻮﻯ ﺳﺘﺎﺭﮔﺎﻥ )ﺑﺨﺶ ﭼﻬﺎﺭﻡ ﻭ ﺁﺧﺮ(‬ ‫ﺍﺑﺮﺍﻫﻴﻢ ﻓﺮﻭﺯﺍﻥ‬

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‫ﻣﺎﻫﻨﺎﻣﻪﻯ ﺍﺩﺑﻴﺎﺕ ﮔﻤﺎﻧﻪﺯﻥ‬ ‫ﺳﺎﻝ ﺳﻮﻡ‪ ،‬ﺷﻤﺎﺭﻩﻯ ‪ ، 29‬ﺍﺭﺩﻳﺒﻬﺸﺖ ‪1392‬‬

‫ﮔﺮﻭﻩ ﺍﺩﺑﻴﺎﺕ ﮔﻤﺎﻧﻪﺯﻥ‬

‫ﺩﺑﻴﺮ ﺷﻮﺭﺍﻯ ﺳﻴﺎﺳﺖﮔﺬﺍﺭﻯ‪ :‬ﻣﻬﺪﻯ ﺑﻨﻮﺍﺭﻯ‬ ‫ﺳﺮﺩﺑﻴـــــﺮ ﻣﺠﻠـــــﻪ‪ :‬ﺷﻴﺮﻳﻦ ﺳﺎﺩﺍﺕ ﺻﻔﻮﻯ‬ ‫ﻫﻴــــﺄﺕ ﺗﺤﺮﻳﺮﻳـــــﻪ‪ :‬ﻣﺤﻤﺪ ﺣﺎﺝ ﺯﻣﺎﻥ‪ ،‬ﻓﺮﺯﻳﻦ ﺳﻮﺭﻯ‪ ،‬ﺳﻤﻴﻪ ﻛﺮﻣﻰ‬ ‫ﻫﻤﻜــﺎﺭﺍﻥ ﺍﻳـﻦ ﺷــﻤﺎﺭﻩ‪ :‬ﭘﺮﻳﺎ ﺁﺭﻳﺎ‪ ،‬ﻧﺎﺻﺮ ﺣﺎﻓﻈﻰ ﻣﻄﻠﻖ‪ ،‬ﭘﮋﻣﺎﻥ ﺣﻴﺎﺗﻰ‪ ،‬ﺍﺑﺮﺍﻫﻴﻢ ﻓﺮﻭﺯﺍﻥ‪،‬‬ ‫ﺍﺣﺴﺎﻥ ﻣﺤﻤﺪﺯﺍﺩﻩ‪ ،‬ﺭﺍﺿﻴﻪ ﻣﻬﺪﻯ ﺯﺍﺩﻩ‬ ‫ﺻﻔﺤــــــﻪ ﺁ ﺭ ﺍ ﻳـــــﻰ ‪ :‬ﻣﺤﻤﺪ ﺣﺎﺝ ﺯﻣﺎﻥ‬ ‫ﻧﺸـــــــﺎﻧﻰ ﻭﺑــــﮕﺎﻩ‪:‬‬

‫‪www.fantasy.ir‬‬

‫ﭘـــﺴﺖ ﺍﻟﻜﺘﺮﻭﻧﻴــــﻚ‪:‬‬

‫‪mag@fantasy.ir‬‬

‫ﻃــــــﺮﺡ‬

‫ﺟﻠــــــﺪ‪:‬‬

‫ﺟﻮﻫﺎ ﻟﻴﻨﺪﺭﻭﺱ )‪ ،(Juha Lindroos‬ﺍﻧﻮﺍﻉ ﻣﺨﺘﻠﻒ ﺗﺎﺭﻳﻜﻰ‬

‫]ﺑﺨﺸﻰ ﺍﺯ ﺗﺼﻮﻳﺮ[‬

‫‪ ::.‬ﺍﻧﻮﺍﻉ ﻣﺨﺘﻠﻒ ﺗﺎﺭﻳﻜﻰ ‪.::‬‬

‫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.‬‬

‫ﻣﺎﻫﻨﺎﻣﻪﻯ ﺍﺩﺑﻴﺎﺕ ﮔﻤﺎﻧﻪﺯﻥ‬ ‫ﺳﺎﻝ ﺳﻮﻡ‪ ،‬ﺷﻤﺎﺭﻩﻯ ‪ ، 29‬ﺍﺭﺩﻳﺒﻬﺸﺖ ‪1392‬‬