Page 1

‫ﺷﻌﺮ‬

‫ﻧﺼﺮ ﺳﺎﻣﻲ‬

‫‪¿‰ëc@ñ…ìÇ‬‬ ‫‪1‬‬


‫ﻼ‪.‬‬ ‫‪‬ﻀﺖ ﰲ ﺃﺣﺪ ﺍﻷﻳ‪‬ﺎﻡ ﻓﻮﺟﺪ‪‬ﺕ ﻧﻔﺴﻲ ﻛﺎﻣ ﹰ‬ ‫ﻼ‪ .‬ﻓﻤﺎﺭﺳﺖ‬ ‫ﺗﻘﺪ‪‬ﻣﺖ ﻛﻀﻮﺀ ﳓﻮ ﺍﻟﻠﹼﻴﻞ‪ .‬ﺗﺄﻛﹼﺪﺕ ﺃﻧ‪‬ﲏ ﺿﻮﺀ ﻓﻌ ﹰ‬ ‫ﻓﺎﻋﻠﻴ‪‬ﱵ‪ .‬ﺍﻻﻧﻐﺮﺍﺱ ﰲ ﺍﻟﺘ‪‬ﺮﺑﺔ‪ ،‬ﻭﺍﻻﻧﺪﻓﺎﻉ ﳓﻮ ﺁﻓﺎﻕ ﺃﺧﺮﻯ‬ ‫ﻟﻠﻜﺘﺎﺑﺔ‪ ...‬ﺃﲤﺴ‪‬ﻚ ﺑﺎﻟﺸ‪‬ﻌﺮ ﺍﻵﻥ‪ .‬ﺃﲤﺴ‪‬ﻚ ﺑﻪ ﻛﺨﻴﺎﺭ ﺣﻴﺎﺓ‪،‬‬ ‫ﻛﻌﺸﺒﺔ ﺧﻠﻮﺩ‪ .‬ﺃﻗﻮﻝ ﺍﻵﻥ ﻭﻻ ﺃﻋﺮﻑ ﻛﻴﻒ ﻳﻜﻮﻥ ﺍﻷﻣﺮ ﰲ‬ ‫ﺍﻟﻐﺪ‪ .‬ﺃﻛﺘﺐ ﺑﺎﻟﻄﹼﺮﻳﻘﺔ ﻧﻔﺴﻬﺎ ﺍﻟﱵ ﺗﻮﻟﹼﺪ ‪‬ﺎ ﺍﻟﺸ‪‬ﺠﺮﺓ ﺗﻔﹼﺎﺣﻬﺎ ﺃﻭ‬ ‫ﺯﻳﺘﻮ‪‬ﺎ‪ .‬ﺑﺎﻟﻄﺮﻳﻘﺔ ﻧﻔﺴﻬﺎ ﺍﻟﺘ‪‬ﻲ ﺗﺴﺘﻘﻄﺮ ‪‬ﺎ ﺍﻷﻋﺎﱄ ﺿﻮﺀﻫﺎ‬ ‫ﻭﻇﻼﻣﻬﺎ‪ .‬ﻭﻟﻴﺲ ﻣﻬﻤ‪‬ﺎ ﻣﺼﲑ ﺍﻟﺜﹼﻤﺮ ﻭﻻ ﻣﺼﲑ ﺍﻟﻀ‪‬ﻮﺀ‪ ،‬ﻭﻫﻮ‬ ‫ﻏﺎﻟﺒﺎ ﺍﳍﺒﺎﺀ‪ ،‬ﺍﳌﻬ ‪‬ﻢ ﺃ ﹼﻥ ﻓﺎﻋﻠﻴ‪‬ﱵ ﺗﺘﻄﻮﺭ ﺑﺎﺳﺘﻤﺮﺍﺭ‪ ،‬ﻓﺘﻜﺴﺮ ﻭﺗﻐﻴ‪‬ﺮ‬ ‫ﻭﺗﺸﲑ ﻭﲣﺘﻠﻒ‪ .‬ﻭﺗﺆﺳ‪‬ﺲ ﻓﻴﻤﺎ ﻫﻲ ﺗﻨﻘﺎﻝ ﺧﺼﺎﺋﺼﻬﺎ‪.‬‬ ‫)ﺍﳌﻘﺪ‪‬ﻣﺔ(‬

‫‪2‬‬


‫ﻋﻮﺩﺓ ﺃﻭﺭﰲ‬

‫‪3‬‬


‫ﻋﻨﻮﺍﻥ ﺍﻟﻜﺘﺎﺏ‪ :‬ﻋﻮﺩﺓ ﺃﻭﺭﰲ )ﺷﻌﺮ(‬ ‫ﺗﺄﻟﻴﻒ‪ :‬ﻧﺼﺮ ﺳﺎﻣﻲ‬ ‫ﻟﻮﺣﺔ ﺍﻟﻐﻼﻑ‪ :‬ﻧﺼﺮ ﺳﺎﻣﻲ‬ ‫ﺍﻟﻄﹼﺒﻌﺔ ﺍﻹﻟﻜﺘﺮﻭﻧﻴﺔ ﺍﻷﻭﱃ‪ :‬ﺟﺎﻧﻔﻲ ‪2007‬‬

‫© ‪ 2007‬ﲨﻴﻊ ﺍﳊﻘﻮﻕ ﳏﻔﻮﻇﺔ ﻟﻠﺸ‪‬ﺎﻋﺮ‬ ‫‪4‬‬


‫ﻧﺼﺮ ﺳﺎﻣﻲ‬

‫ﻋﻮﺩﺓ ﺃﻭﺭﰲ‬

‫‪..........‬‬ ‫‪5‬‬


‫ﺍﻹﻫﺪﺍﺀ‬ ‫ﻣﻦ ﺩﻭﻧﻚ ﻻ ﺃﻋﲏ ﺷﻴﺌﺎ‪.‬‬ ‫ﻭﺣﻴﺎﰐ ﻻ ﺗﻌﺮﻑ ﺿﻮﺀﺍ‪.‬‬ ‫ﻓﺄﻧﺎ ﰲ ﺍﻷﺭﺽ ﺑﻼ ﻭﻃﻦ‪.‬‬ ‫ﻻ ﺃﻣﻠﻚ‪ ،‬ﻻ ﺃﻣﻠﻚ ﺷﻴﺌﺎ‪.‬‬ ‫ﻥ‪ .‬ﺱ‬

‫‪6‬‬


‫ﺍﻻﻧﺒﺜﺎﻕ ﺩﻭﻥ ﺃﺻﻞ‬ ‫)ﻣﻘﺪ‪‬ﻣﺔ(‬ ‫)ﻭﻋﺪﺕ ﻧﻔﺴﻲ ﻭﻋﺪﺍ ﻗﺎﻃﻌﺎ ﺑﺄﻥ ﺃﻛﻮﻥ ﺟﺪﻳﺮﺍ ﺑﻔ ‪‬ﻦ ﺍﻟﺮﺳﻢ‪ ،‬ﻃﺎﻫﺮﺍ‬ ‫ﻣﻦ ﲨﻴﻊ ﺍﻷﺩﺭﺍﻥ ﻃﻮﺍﻝ ﺣﻴﺎﰐ‪ ،‬ﳏﺘﺮﻣﺎ ﺍﻟﻔ ‪‬ﻦ ﺣﺘ‪‬ﻰ ﳑﺎﰐ(‬ ‫ﻋﻤ‪‬ﺎﺭ ﻓﺮﺣﺎﺕ‬ ‫)ﻟﻴﺲ ﻫﻨﺎﻙ ﺃﻛﺜﺮ ﺇﺻﺎﺑﺔ ﺑﺎﻟﻌﻤﻰ ﻣﻦ ﻫﺆﻻﺀ ﺍﻟﺬﻳﻦ ﻻ ﻳﺮﻳﺪﻭﻥ ﺃﻥ‬ ‫ﻳﺮﻭﺍ(‬ ‫ﺟﻮﻧﺎﺛﺎﻥ ﺳﻮﻳﻔﺖ‬

‫‪7‬‬


‫ﺃﻧﺎ‪ ،‬ﺍﻟﺴﻴ‪‬ﺪ ﻧﺼﺮ ﺳﺎﻣﻲ‪ ،‬ﺃﲪﻞ ﰲ ﻧﻔﺴﻲ ﻧﻘﺎﺋﺾ ﺍﻟﺪ‪‬ﻧﻴﺎ ﻛﻠﹼﻬﺎ‪.‬‬ ‫ﺃﻧﺎ ﺍﻟﹼﻠﻴﻞ ﻭﺃﻧﺎ ﺍﻟﻨ‪‬ﻬﺎﺭ‪ .‬ﻭﻻ ﻳﻌﺠﺒﲏ ﻫﺬﺍ ﺍﳊﺎﻝ‪ .‬ﺃﻗﻮﻝ ﻟﻜﻢ ﺷﻴﺌﺎ ﺭﺑ‪‬ﻤﺎ ﻟﻦ‬ ‫ﻳﻌﺠﺐ ﺍﻟﻜﺜﲑﻳﻦ‪ .‬ﻟﺴﺖ ﺳﻌﻴﺪﺍ ﺑﻜﺘﺎﺑﺔ ﺍﻟﺸ‪‬ﻌﺮ‪ .‬ﺍﻟﺸ‪‬ﻌﺮ ﻟﻴﺲ ﻏﲑ ﻗﱪ‪،‬‬ ‫ﺃﻧﺎ ﳎﱪ ﻋﻠﻰ ﻓﺘﺤﻪ ﻋﺪﻳﺪ ﺍﳌﺮ‪‬ﺍﺕ ﰲ ﺍﻟﻴﻮﻡ ﺍﻟﻮﺍﺣﺪ‪ .‬ﻭﻋﻠﻰ ﺗﺼﻮ‪‬ﺭ ﻧﻔﺴﻲ‬ ‫ﺍﳉﺜﺔ ﺍﳌﺪﻭ‪‬ﺩﺓ ﻣﻦ ﺍﻟﺪ‪‬ﺍﺧﻞ‪ .‬ﻟﺴﺖ ﺃﻛﺮﻩ ﺷﻴﺌﺎ ﺃﻛﺜﺮ ﻣﻦ ﺍﻟﺸ‪‬ﻌﺮ‪ ،‬ﻭﻟﺴﺖ‬ ‫ﺐ ﺷﻴﺌﺎ ﻏﲑﻩ‪.‬‬ ‫ﺃﻳﻀﺎ‪ ،‬ﻭﻳﺎ ﻟﻠﻤﻔﺎﺭﻗﺔ‪ ،‬ﺃﺣ ‪‬‬

‫‪8‬‬


‫ﻱ ﺍﻵﻥ ﺷﺠﺮﺓ ﻗﻮﻝ ﻣﺴﻜﻮﻧﺔ ﺑﺎﻟﻨﺒﻮﺀﺍﺕ ﻭﺍﳊﻜﻢ ﲢﻤﻞ‬ ‫ﻟﺪ ‪‬‬ ‫ﻋﻨ‪‬ﻲ ﻋﺐﺀ ﺍﻹﻧﺴﺎﻧﻴﺔ‪ .‬ﺃﻭﺭﺍﻗﻬﺎ ﺍﳋﻀﺮ ﻳﻨﺎﺑﻴﻊ ﳏﺒ‪‬ﺔ‪ ،‬ﻭﺃﻭﺭﺍﻗﻬﺎ ﺍﻟﺼ‪‬ﻔﺮ‬ ‫ﻱ ﳒﻮﻡ‪...‬‬ ‫ﲰﺎﺀ ﺗﻨﻄﻠﻖ ﻓﻴﻬﺎ ﺷﺠﲑﺍﺕ ﺍﻷﺯﻟ‪‬ﻴﺔ ﲝﺜﺎ ﻋﻦ ﺍﻟﻀ‪‬ﻮﺀ‪ .‬ﻭﻟﺪ ‪‬‬ ‫ﻛ ﹼﻞ ﻫﺬﺍ ﻛﺎﻣﻦ ﰲ ﺍﻷﲜﺪﻳ‪‬ﺔ ﺍﻟﺘ‪‬ﻲ ﺗﻨﺎﻡ ﲢﺖ ﺃﺻﺎﺑﻌﻲ ﻛﻘﻄﻌﺔ ﻣﻦ ﺍﻟﻄﹼﲔ‬ ‫ﺍﳊ ‪‬ﻲ‪.‬‬ ‫ﺃﺭﻛﺾ ﻭﺧﻠﻔﻲ ﻋﺮﺑﺔ ﺍﻷﺳﺎﻃﲑ ﻭﺍﻷﺣﻼﻡ ﻛﱪﺍﻕ ﺿﺎ ﹼﻝ‪.‬‬ ‫ﺺ ﺍﻟﻠﹼﻴﻞ ﻭﺍﻷﺣﺰﺍﻥ ﻭﺍﻟﻔﺠﺎﺋﻊ‪ .‬ﻭﺃﻣﻸ ﻛﺆﻭﺱ‬ ‫ﺃﻏﻄﹼﺲ ﺍﺳﻔﻨﺠﱵ ﻷﻣﺘ ‪‬‬ ‫ﺍﳍ ‪‬ﻢ ﻛﺄﺳﺎ ﻛﺄﺳﺎ‪ ،‬ﻭﺃﻧﻈﺮ ﺇﻟﻴﻬﺎ ﻧﻈﺮﺓ ﺍﻟﻴﺎﺋﺲ‪ .‬ﻟﻮ ﻛﺎﻥ ﺑﺎﺳﺘﻄﺎﻋﱵ‬ ‫ﻧﺴﻴﺎ‪‬ﺎ‪ ،‬ﻟﻮ ﻛﺎﻥ ﺑﺎﺳﺘﻄﺎﻋﱵ ﻛﺴﺮﻫﺎ‪ .‬ﻟﻜﻨ‪‬ﻬﺎ ﻛﺆﻭﺱ ﺭﺍﺋﻌﺔ‪ ،‬ﺃﺑﺪ‪‬ﻳﺎﺕ‬ ‫ﻣﻦ ﺍﻟﺼ‪‬ﺤﻮ ﺍﳉﻤﻴﻞ ﲣﻴ‪‬ﻢ ﻋﻨﺪﻫﺎ ﺷﺒﺎﺑﻴﻚ ﺍﻟﻠﹼﻴﻞ ﺑﺸﺮﻓﺎﺗﻪ ﺍﳌﻐﻠﻘﺔ‪.‬‬ ‫ﺃﺗﻘﺪ‪‬ﻡ ﰲ ﺷﻜﻞ ﻫﺒ‪‬ﺔ ﺿﻮﺀ ﻓﺠﺌ ‪‬ﻲ‪ ،‬ﰲ ﺷﻜﻞ ﺻﺮﺧﺔ ﻣﺒﻄﹼﻨﺔ‬ ‫ﺑﺎﻟﺪ ‪‬ﻡ‪ ،‬ﰲ ﺷﻜﻞ ﻓﺮﺣﺔ ﺍﻏﺘﺼﺒﻬﺎ ﺍﻟﻮﻗﺖ ﻭﻣﻸ ﻧﻮﺍﺣﻬﺎ ﺍﻟﻐﺎﺑﺎﺕ‪ .‬ﺃﺗﻘﺪ‪‬ﻡ‬ ‫ﻛﺮﻳﺢ‪ .‬ﺗﻠﻚ ﺣﻘﻴﻘﱵ‪ ،‬ﻟﻴﺲ ﺍﻟﻀ‪‬ﻮﺀ ﺣﻘﻴﻘﱵ‪ .‬ﻭﻟﻴﺴﺖ ﺗﻠﻚ ﺍﻟﻜﺎﺋﻨﺎﺕ‬ ‫ﺍﻟﻨ‪‬ﺎﻋﻤﺔ‪ :‬ﺍﻟﻔﺮﺍﺷﺎﺕ ﻭﺍﻟﻄﻴﻮﺭ ﻭﺍﻟﻨ‪‬ﺴﺎﺋﻢ ﺍﻟﻌﻠﻴﻠﺔ ﻭﺍﻟﻌﻄﺮ ﺣﻘﻴﻘﱵ‪ .‬ﺍﳌﻮﺕ‬ ‫ﺣﻘﻴﻘﱵ‪ ،‬ﻭﺍﳊﻴﺎﺓ ﻟﻴﺴﺖ ﻏﲑ ﻗﻨﺎﻉ ﺯﺍﺋﻒ‪ .‬ﺍﻟﻌﻄﺶ ﺣﻘﻴﻘﱵ‪ ،‬ﻭﺍﻻﺭﺗﻮﺍﺀ‬ ‫ﺐ ﻏﲑ ﻗﻨﺎﻉ ﺯﺍﺋﻒ‪ .‬ﻣﻠﻠﺖ‬ ‫ﻫﻮ ﺍﻟﻘﻨﺎﻉ‪ .‬ﺍﻟﻜﺮﻩ ﺣﻘﻴﻘﱵ‪ ،‬ﻭﻟﻴﺲ ﺍﳊ ‪‬‬ ‫ﺍﻻﺟﺘﻤﺎﻋﻴ‪‬ﺎﺕ ﺍﻟﻘﺬﺭﺓ‪ .‬ﺍﻟﺼ‪‬ﺪﻕ ﻭﺍﻟ ﹼﻄﻬﺎﺭﺓ‪ ،‬ﺍﻟﱪﺍﺀﺓ‪ ،‬ﻛﻠﹼﻬﺎ ﻛﻠﻤﺎﺕ‬

‫‪9‬‬


‫ﺃﻗﻨﻌﺔ‪ .‬ﳜﺘﻔﻲ ﻭﺭﺍﺀﻫﺎ ﺟﻮﻫﺮ ﺍﻟﻮﺟﻮﺩ‪ :‬ﺍﻟﻘﺴﻮﺓ ﻭﺍﻹﻟﻐﺎﺀ ﻭﺍﻹﻣﺎﺗﺔ ﻭﺍﻟﻠﹼﻮﻥ‬ ‫ﺍﻷﺳﻮﺩ ﺍﻟﻌﻈﻴﻢ ﺑﺄﺟﻨﺤﺘﻪ ﺍﻟ‪‬ﻨﻬﺎﺭﻳﺔ‪.‬‬ ‫ﺃﻋﺮﻑ ﺍﻟﻜﺜﲑ‪ ،‬ﻭﺃﺗﺬﻛﹼﺮ ﺍﻟﻜﺜﲑ‪ ،‬ﻭﺃﺭﻯ‪ .‬ﺬﺍ ﺃﺧﺘﺮﻕ ﺍﻟﺰ‪‬ﻣﺎﻥ‬ ‫ﻭﺍﳌﻜﺎﻥ‪ .‬ﺃﻃ ﹼﻞ ﻋﻠﻰ ﺍﻟﺮ‪‬ﻳﺢ ﰲ ﳊﻈﺔ ﺍﳋﻠﻖ‪ .‬ﺃﻃ ﹼﻞ ﻋﻠﻰ ﺍﻟ ﹼﻄﲔ ﻭﻫﻮ‬ ‫‪‬ﻳﺮﻣﻰ ﺑﻨﺒﻞ ﺍﻟﺘﻔﺴ‪‬ﺦ ﻭﺍﻟﻜﻮﻥ‪ .‬ﺃﻛﻮ‪‬ﻥ ﻭﺃﻋﻴﺪ ﺍﻟ‪‬ﺘﻜﻮﻳﻦ‪ ،‬ﺃﺭﻯ ﺍﻟ‪‬ﻨﻬﺮ ﰲ‬ ‫ﺻﻴﺤﺔ ﺍﻣﺮﺃﺓ ﲤ ‪‬ﺮ ﻣﻦ ﺍﻟ ‪‬ﺰﻗﺎﻕ‪ .‬ﺃﺭﻯ ﺍﳌﺎﺀ ﰲ ﺻﺨﺮﺓ ﻳﺎﺑﺴﺔ‪ .‬ﺍﺳﺘﻄﻴﻊ‬ ‫ﺍﺧﺘﺮﺍﻕ ﺍﻟﻀ‪‬ﻴﺎﺀ ﻷﳌﺲ ﻓﻀ‪‬ﺔ ﺍﻟ ﹼﻈﻠﻤﺎﺕ ﻭﺫﻫﺒﻬﺎ ﺍﻟﺼ‪‬ﺎﻣﺖ ﺍﻟﻌﻤﻴﻖ‪ .‬ﺃﺻﲑ‬ ‫ﲰﺎﺀ‪ ،‬ﻭﺃﻧﺎ ﺩﺍﺧﻞ ﺣﺠﺮﰐ‪ .‬ﺍﳊﺠﺮﺓ ﻧﻔﺴﻬﺎ ﺗﺼﲑ ﻗﺎﺭﺓ‪ .‬ﺃﻣ‪‬ﺎ ﺍﻟﺸ‪‬ﺎﺭﻉ‬ ‫ﺍﻟﺒﺎﺭﺩ ﺍﳊﺰﻳﻦ ﺍﳌﺒﻠﹼﻞ ﲟﻄﺮ ﺍﻟﻴﺄﺱ ﻭﺍﻟﻼﹼﻣﺒﺎﻻﺓ ﻭﺍﻟﻘﺴﻮﺓ ﻓﻴﺼﺒﺢ ﺭﻳﺸﺔ‬ ‫ﺃﺳﻘﻄﻬﺎ ﺍﻟﻄﹼﺎﺋﺮ ﻣﻦ ﺟﻨﺎﺣﻴﻪ ﻭﻫﻮ ﳜﺒﻄﻬﻤﺎ ﺑﻌﻨﻒ ﻟﻴﺼﻌﺪ ﺍﳉﺒﻞ‪.‬‬ ‫ﻟﻴﺴﺖ ﺍﻟﻜﺘﺎﺑﺔ ﺻﻌﺒﺔ‪ .‬ﺍﳍﺪﻡ ﻫﻮ ﺍﻟﺼ‪‬ﻌﺐ‪ .‬ﻟﻴﺲ ﺍﻟﻀ‪‬ﻮﺀ ﻫﻮ‬ ‫ﺍﻟﺼ‪‬ﻌﺐ‪ .‬ﺍﻟ ﹼﻈﻠﻤﺔ ﻫﻲ ﺍﻷﺻﻌﺐ‪ .‬ﻟﻴﺲ ﺍﻟﺼ‪‬ﺪﻕ ﺻﻌﺒﺎ‪ .‬ﺍﻟﻜﺬﺏ ﻫﻮ‬ ‫ﺍﻟﻔﻌﻞ ﺍﻷﻛﺜﺮ ﺻﻌﻮﺑﺔ ﰲ ﻫﺬﺍ ﺍﻟﻌﺎﱂ‪ .‬ﺃﻥ ﺗﻜﻮﻥ ﻣﻈﻠﻤﺎ ﻭﻗﺎﺩﺭﺍ ﻋﻠﻰ‬ ‫ﲢﻄﻴﻢ ﺃﺳﻄﻮﺭﺓ ﺍﻟ ﹼﻈﻼﻡ‪ .‬ﺃﻥ ﺗﻜﻮﻥ ﻟﻴﻠﻴ‪‬ﺎ ﻭﻗﺎﺩﺭﺍ ﻋﻠﻰ ﲢﻴﻴﺪ ﺍﻟﻠﹼﻴﻞ‬ ‫ﻭﺟﻌﻠﻪ ﻛﺎﺋﻨﺎ ﻫﺸ‪‬ﺎ ﻭﻧﺎﻋﻤﺎ ﻭﻗﺎﺑﻼ ﻟﻠﺰ‪‬ﻭﺍﻝ‪ .‬ﺃﻥ ﺗﻜﻮﻥ ﺻﻬﺎﺭﺓ ﺩﻛﻨﺎﺕ‬ ‫ﻭﺷﻔﺎﻓﺎ ﺇﱃ ﺣ ‪‬ﺪ ﺍﻟﺘﺤﻮ‪‬ﻝ ﺇﱃ ﺭﻭﺡ‪ .‬ﺃﻥ ﺗﻜﻮﻥ ﻏﺎﻣﻀﺎ ﻭﻳﺮﺍﻙ ﺍﳉﻤﻴﻊ‬ ‫ﻭﺃﻧﺖ ﺗﻐﺮﺑﻞ ﺿﻮﺀ ﻫﺬﺍ ﺍﻟﻌﺎﱂ ﺍﻟﺴ‪‬ﻜﺮﺍﻥ‪ .‬ﺃﻥ ﺗﻜﻮﻥ ﻛﺬﻟﻚ ﻓﻬﺬﺍ ﻟﻴﺲ‬ ‫ﺻﻌﺒﺎ‪ .‬ﺍﻷﺻﻌﺐ ﻫﻮ ﺃﻥ ‪‬ﺪﻡ ﺑﺎﺳﺘﻤﺮﺍﺭ‪ ،‬ﺃﻥ ﺗﻌﺼﻒ ﺑﺎﺳﺘﻤﺮﺍﺭ‪ ،‬ﺃﻥ‬

‫‪10‬‬


‫ﲡﻌﻞ ﺍﻟﺮ‪‬ﻳﺢ ﻏﺎﻳﺔ ﻻ ﻭﺳﻴﻠﺔ‪ ،‬ﻭﺍﻹﻣﻄﺎﺭ ﻏﺎﻳﺔ ﻻ ﻓﺼﻼ‪ ،‬ﻭﺍﻟﺸ‪‬ﻌﺮ ﺇﻧﻘﺎﺫﺍ‬ ‫ﺃﻭ ﺇﻏﺮﺍﻗﺎ ﺃﺑﺪﻳ‪‬ﺎ‪ ،‬ﻭﻟﻴﺲ ﻗﺎﺭﺏ ﻧﻮﺡ‪ .‬ﺃﻥ ﺗﻜﻮﻥ ﲰ‪‬ﺎ‪ ،‬ﻻ ﺃﻓﻌﻰ‪ .‬ﺇﺣﻴﺎﺀ ﺃﻭ‬ ‫ﺇﻣﺎﺗﺔ‪ ،‬ﻻ ﻣﺎﺀ ﺃﻭ ﺛﻠﺠﺎ ﺃﻭ ﻧﺪﻯ‪.‬‬ ‫ﺍﻷﺑﺪﻳ‪‬ﺔ ﺗﺘﺜﺎﺀﺏ ﻋﻠﻰ ﺍﻟﺮ‪‬ﻣﺎﻝ‪ .‬ﺗﺴﺮ‪‬ﺡ ﺷﻌﺮﻫﺎ ﺑﻴﺪﻫﺎ ﺍﻹﻟﻜﺘﺮﻭﻧﻴﺔ‪،‬‬ ‫ﻭﺗﻀﻐﻂ ﻋﻠﻰ ﺍﻟ ‪‬ﺮﳝﻮﺕ ﻛﻨﺘﺮﻭﻝ ﻟﺘﺴﻤﻊ ﺍﻷﺧﺒﺎﺭ‪ .‬ﺷﻌﺮﻫﺎ ﳐﺘﻠﻒ‬ ‫ﱄ‪ .‬ﻭﻳﺪﺍﻫﺎ ﳐﺘﻠﻔﺘﺎﻥ ﻭﻟﻜﻨ‪‬ﻬﻤﺎ ﻓﻴﻮﺽ ﳏﺒ‪‬ﺔ ﺩﺍﻓﻘﺔ‬ ‫ﻭﻟﻜﻨ‪‬ﻪ ﻓﺎﺗﻦ ﻭﺭﺳﻮ ﹼ‬ ‫ﻭﻳﻨﺎﺑﻴﻊ ﺃﻟﻔﺎﺕ ﻏﻀ‪‬ﺔ‪ .‬ﺗﺘﺜﺎﺀﺏ ﻭﻫﻲ ﺗﱰﻉ ﻃﺎﻗﻢ ﺃﺳﻨﺎ‪‬ﺎ‪ .‬ﺗﻌﻴﺪ ﺗﺮﻛﻴﺒﻪ‬ ‫ﺛﺎﻧﻴﺔ‪ .‬ﺗﺘﺬﻛﹼﺮ ﺃﻧ‪‬ﻪ ﻛﺎﻥ ﳍﺎ ﻣﻨﺬ ﻗﺮﻭﻥ ﺑﻌﻴﺪﺓ ﺃﺳﻨﺎﻥ ﻃﺒﻴﻌﻴ‪‬ﺔ‪ .‬ﻄﻞ ﻏﻴﻤﺔ‬ ‫ﺍﳊﺰﻥ ﻋﻠﻰ ﻭﺟﻬﻬﺎ‪ .‬ﺗﺘﺬﻛﹼﺮ ﺗﻠﻚ ﺍﻟﻐﻴﻤﺔ ﺍﻟﺘ‪‬ﻲ ﻛﺎﻧﺖ ‪‬ﻄﻞ ﻋﻠﻰ‬ ‫ﻭﺟﻬﻬﺎ ﻋﻨﺪﻣﺎ ﻛﺎﻧﺖ ﻃﻔﻠﺔ‪ .‬ﺗﺘﻜﺜﹼﻒ ﺍﻟﻐﻴﻤﺔ ﺃﻣﺎﻡ ﻭﺟﻬﻬﺎ‪ .‬ﻭﺗﺒﺪﺃ ﰲ‬ ‫ﺍﻟﺘﺒﺨ‪‬ﺮ ﺣﺎﻣﻠﺔ ﻣﻌﻬﺎ ﺍﳌﺎﺿﻲ ﺑﺸﺠﲑﺍﺗﻪ ﺍﻟﺼ‪‬ﻐﲑﺓ ﻭﻣﺮﺍﻛﺐ ﺍﻟﻮﺭﻕ ﺍﳌﺒﻠﹼﻠﺔ‬ ‫ﲟﻴﺎﻩ ﺍﻟﺸ‪‬ﻮﻕ ﻭﺃﻗﻮﺍﺱ ﻗﺰﺡ ﻭﺃﺻﺎﺑﻊ ﺍﻟﺸ‪‬ﻮﻛﻮﻻ ﺍﻟﺬﹼﺍﺋﺒﺔ‪ .‬ﻫﺬﻩ ﺍﳌﺮﺃﺓ‬ ‫ﲜﻤﺎﳍﺎ ﻭﻣﻴﺎﻫﻬﺎ ﺍﳌﻴ‪‬ﺘﺔ ﺍﳌﻌﻠﹼﻘﺔ ﻋﺎﻟﻴﺎ ﻓﻮﻕ ﺍﻷﺑﺮﺍﺝ‪ ،‬ﻫﺬﻩ ﺍﳌﺮﺃﺓ ﺍﻟﱵ ﻻ‬ ‫ﺗﺰﺍﻝ ﻣﻨﺬ ﺁﻻﻑ ﺍﻟﺴ‪‬ﻨﻮﺍﺕ ﺗﻔﺮ‪‬ﻕ ﺍﻷﻧﻮﺍﺭ ﻭﺗﻔﺮ‪‬ﻕ ﺍﳊﻈﻮﻅ‪ ،‬ﻫﺬﻩ ﺍﳌﺮﺃﺓ‬ ‫ﺍﻟﺴ‪‬ﺎﻛﻨﺔ ﻛﺄﻓﻌﻰ ﰲ ﻣﻨﺒﻊ ﺍﳊﻴﺎﺓ‪ ،‬ﻻ ﺃﺳﺘﻄﻴﻊ ﺍﻹﻗﺮﺍﺭ ﲝﺒ‪‬ﻬﺎ ﻭﻻ‬ ‫ﺑﻜﺮﻫﻬﺎ‪ ،‬ﺃﺑﺪﻭ ﻣﺬﻫﻮﻻ ﺃﻣﺎﻡ ﻗﺪﺭ‪‬ﺎ ﻋﻠﻰ ﺍﻟﺘ‪‬ﻈﺎﻫﺮ ﺑﺎﳉﺪ‪‬ﺓ ﻭﻋﻠﻰ‬ ‫ﺍﻟﻮﻗﻮﻑ ﺃﻣﺎﻡ ﺍﻟﻀ‪‬ﻮﺀ ﻭﺍﻟﻈﻼﻡ ﺑﻘﺎﻣﺔ ﺍﻟﺸ‪‬ﺠﺮ ﺍﻟﻌﺎﱄ‪.‬‬

‫‪11‬‬


‫ﺃﲤﺴ‪‬ﻚ ﺑﺎﻟﺸ‪‬ﻌﺮ ﺍﻵﻥ‪ .‬ﺃﲤﺴ‪‬ﻚ ﺑﻪ ﻛﺨﻴﺎﺭ ﺣﻴﺎﺓ‪ ،‬ﻛﻌﺸﺒﺔ ﺧﻠﻮﺩ‪.‬‬ ‫ﺃﻗﻮﻝ ﺍﻵﻥ ﻭﻻ ﺃﻋﺮﻑ ﻛﻴﻒ ﻳﻜﻮﻥ ﺍﻷﻣﺮ ﰲ ﺍﻟﻐﺪ‪ .‬ﺃﻛﺘﺐ ﺑﺎﻟﻄﹼﺮﻳﻘﺔ‬ ‫ﻧﻔﺴﻬﺎ ﺍﻟﱵ ﺗﻮﻟﹼﺪ ‪‬ﺎ ﺍﻟﺸ‪‬ﺠﺮﺓ ﺗﻔﹼﺎﺣﻬﺎ ﺃﻭ ﺯﻳﺘﻮ‪‬ﺎ‪ .‬ﺑﺎﻟﻄﺮﻳﻘﺔ ﻧﻔﺴﻬﺎ ﺍﻟﺘ‪‬ﻲ‬ ‫ﺗﺴﺘﻘﻄﺮ ‪‬ﺎ ﺍﻷﻋﺎﱄ ﺿﻮﺀﻫﺎ ﻭﻇﻼﻣﻬﺎ‪ .‬ﻭﻟﻴﺲ ﻣﻬﻤ‪‬ﺎ ﻣﺼﲑ ﺍﻟﺜﹼﻤﺮ ﻭﻻ‬ ‫ﻣﺼﲑ ﺍﻟﻀ‪‬ﻮﺀ‪ ،‬ﻭﻫﻮ ﻏﺎﻟﺒﺎ ﺍﳍﺒﺎﺀ‪ ،‬ﺍﳌﻬ ‪‬ﻢ ﺃ ﹼﻥ ﻓﺎﻋﻠﻴ‪‬ﱵ ﺗﺘﻄﻮﺭ ﺑﺎﺳﺘﻤﺮﺍﺭ‪،‬‬ ‫ﻓﺘﻜﺴﺮ ﻭﺗﻐﻴ‪‬ﺮ ﻭﺗﺸﲑ ﻭﲣﺘﻠﻒ‪ .‬ﻭﺗﺆﺳ‪‬ﺲ ﻓﻴﻤﺎ ﻫﻲ ﺗﻨﻘﺎﻝ ﺧﺼﺎﺋﺼﻬﺎ‪:‬‬ ‫‪ (1‬ﺍﻟﺴ‪‬ﺮﺩﻳﺔ‪ ،‬ﻭﻟﻴﺲ ﺍﳊﺒﻜﺔ‪ ،‬ﻫﻲ ﺇﺣﺪﻯ ﺍﳋﺼﺎﺋﺺ ﺍﻟﻜﱪﻯ‬ ‫ﺺ ﺍﻟﺬﹼﻱ ﺃﻛﺘﺒﻪ‪.‬‬ ‫ﳍﺬﺍ ﺍﻟﻨ ‪‬‬ ‫ﺺ ﺳﺠﲔ ﺣﺪﺙ ﺩﺭﺍﻣ ‪‬ﻲ ﻣﺘﻄﻮ‪‬ﺭ ﺩﺍﺧﻞ‬ ‫‪ (2‬ﻟﻴﺲ ﻗﺎﺭﺉ ﻫﺬﺍ ﺍﻟﻨ ‪‬‬ ‫ﻋﻤﺎﺭﺓ ﺍﻟﺴ‪‬ﺮﺩ ﺍﻟﻌﺎﻟﻴﺔ‪ .‬ﺇﻧ‪‬ﻪ ﺑﺎﻟﻜﺎﺩ ﻛﺎﺋﻦ ﻳﺮﻯ ﻭﻳﺮﺍﻗﺐ ﻣﺎ ﳛﺪﺙ‪.‬‬ ‫ﺑﺈﻣﻜﺎﻧﻪ ﺍﻟﺘﻮﻗﹼﻒ ﻭﺍﻟﻌﻮﺩﺓ ﻣﱴ ﺷﺎﺀ‪ .‬ﻓﻠﻴﺲ ﻫﻨﺎﻙ ﻓﻴﻤﺎ ﻳﻘﺎﻝ ﻣﺎ ﻳﻨﺴﻴﻪ‬ ‫ﺭﻭﺣﻪ‪ .‬ﻻ ﻳﻮﺗ‪‬ﺮ ﻫﺬﺍ ﺍﻟﻨﺺ‪ ،‬ﻭﻻ ﻳﺮﻳﺢ‪ .‬ﻻ ﻳﻀﺤﻚ‪ ،‬ﻭﻻ ﻳﺒﻜﻲ‪ .‬ﻻ‬ ‫ﻳﺪﻓﻌﻚ ﺇﱃ ﺷﻲﺀ ﳏﺪ‪‬ﺩ‪ .‬ﻻﻳﺴﺘﻬﻠﻚ ﻗﺪﺭﺗﻚ ﻋﻠﻰ ﺍﻟﻔﻌﻞ ﻭﻻ ﻳﺴﺘﺠﺪﻱ‬ ‫ﺃﺣﺎﺳﻴﺴﻚ‪ .‬ﻳﺘﻘﺪ‪‬ﻡ ﻛﺈﻣﻜﺎﻥ‪ ،‬ﻛﱪﻕ ﺿﺎ ﹼﻝ ﺑﺒﺴﺎﻃﺔ ﻭﻋﻤﻖ‪.‬‬ ‫‪ (3‬ﺇﺛﺎﺭﺓ ﺍﻟﻘﺪﺭﺓ ﻋﻠﻰ ﺍﻟﻔﻌﻞ ﰲ ﺍﻟﻘﺎﺭﺉ‪ ،‬ﺗﻠﻚ ﻏﺎﻳﺘﻪ‪.‬‬ ‫‪ (4‬ﺩﻓﻊ ﺍﻟﻘﺎﺭﺉ ﺇﱃ ﺍﺗ‪‬ﺨﺎﺫ ﻗﺮﺍﺭﺍﺕ‪ ،‬ﻏﺎﻳﺔ ﺃﺧﺮﻯ‪.‬‬ ‫‪ (5‬ﺗﺼﻮﻳﺮ ﺍﻟﻌﺎﱂ ﻋﻘﻠﻴ‪‬ﺎ ﻻ ﻋﺎﻃﻔﻴ‪‬ﺎ‪ ،‬ﻏﺎﻳﺔ ﺃﺧﺮﻯ‪.‬‬

‫‪12‬‬


‫‪ (6‬ﺍﻻﻧﻄﻼﻕ ﻣﻦ ﺩﺭﺟﺔ ﻣﻦ ﺍﻟﻐﻤﻮﺽ ﻟﻠﻮﺻﻮﻝ ﺇﱃ ﺩﺭﺟﺔ ﻣﻦ‬ ‫ﺍﻟﻐﻤﻮﺽ ﺃﻋﻠﻰ ﻓﺄﻛﺜﺮ ﻋﻠﻮ‪‬ﺍ‪ .‬ﻓﺎﻟﻮﺿﻮﺡ ﱂ ﻳﻨﻔﻊ ﺍﻟﻌﺎﱂ‪ .‬ﻭﺍﻟﺘﻔﻜﲑ‬ ‫ﺑﻄﺮﻳﻘﺔ ﲡﻌﻞ ﺍﻟﺸ‪‬ﻌﺮ ﻣﻌﻠﹼﻤﺎ ﻟﻺﻧﺴﺎﻧﻴﺔ ﻣﺜﻠﻤﺎ ﻛﺎﻥ‪ .‬ﻓﺎﻟﺸ‪‬ﺎﻋﺮ ﻛﺎﻟﻌﺎﱂ‬ ‫ﲏ ﺃﻳﻀﺎ ﺑﺘﺤﺴﲔ ﻣﺼﲑ ﺍﻹﻧﺴﺎﻥ ﻋﻠﻰ ﻭﺟﻪ ﺍﻷﺭﺽ‪.‬‬ ‫ﻣﻌ ‪‬‬ ‫ﺺ ﻧﻘﺎﺷﺎ ﻭﺟﺪﻻ ﻭﺣﺠﺎﺟﺎ ﻓﻬﺬﻩ ﻏﺎﻳﺔ‬ ‫‪ (7‬ﺇﺫﺍ ﻛﺎﻧﺖ ﻧﺘﻴﺠﺔ ﺍﻟﻨ ‪‬‬ ‫ﻻ ﺑﺄﺱ ‪‬ﺎ ﺃﻳﻀﺎ‪.‬‬ ‫‪ (8‬ﺩﻓﻊ ﺍﻟﻮﻋﻲ ﺇﱃ ﺃﻗﺼﻰ ﺣﺎﻻﺕ ﺍﻟﻴﺘﻘﹼﻆ ﻭﺗﻔﺎﺩﻱ ﺇﺛﺎﺭﺓ‬ ‫ﺍﻟﻐﺮﺍﺋﺰ ﺑﻄﺮﻳﻘﺔ ﻣﺒﺎﺷﺮﺓ‪.‬‬ ‫ﻒ ﻋﻦ ﺇﻳﻬﺎﻡ ﺍﻟﻘﺎﺭﺉ ﺑﺄﻧ‪‬ﻪ ﻃﺮﻑ ﰲ ﻣﺄﺳﺎﺓ ﻣﺎ‪ ،‬ﻭﺟﻌﻠﻪ‬ ‫‪ (9‬ﺍﻟﻜ ‪‬‬ ‫ﺧﺎﺭﺝ ﺍﳊﺎﻟﺔ‪ ،‬ﺑﻌﻴﺪﺍ ﻋﻦ ﺍﳊﺪﺙ‪ ،‬ﻭﺩﺍﺭﺳﺎ ﺇﺫﺍ ﺷﺎﺀ‪.‬‬ ‫‪ (10‬ﻟﻴﺲ ﺍﻹﻧﺴﺎﻥ ﺷﻴﺌﺎ ﺛﺎﺑﺘﺎ‪ ،‬ﻟﻴﺲ ﻣﻮﺿﻮﻋﺎ ﳏﺪﻭﺩﺍ‪،‬‬ ‫ﺺ ﻛﺎﺋﻦ ﺧﺎﺿﻊ ﻟﻠﺘﻔﺴﲑ ﻭﺍﳌﻨﺎﻗﺸﺔ ﻭﺍﻟﺒﺤﺚ‪ .‬ﻃﲔ‬ ‫ﺍﻹﻧﺴﺎﻥ ﰲ ﻫﺬﺍ ﺍﻟﻨ ‪‬‬ ‫ﻗﺎﺑﻞ ﻟﻠﺘﻐﻴﲑ ﻭﺍﻟﺘ‪‬ﺤﻮﻳﻞ‪ .‬ﻭﻟﻴﺲ ﻃﲑ ﺧﺮﺍﻓﺔ‪ ،‬ﻭﻻ ﻓﻜﺮﺓ ﻣﻄﻠﻘﺔ‪ ،‬ﺃﻭ‬ ‫ﺺ ﻳﻜﺘﺸﻒ ﻫﺬﻩ ﺍﻟﻘﺪﺭﺓ ﻋﻠﻰ ﺍﻟﺘﺠﺪ‪‬ﺩ‪.‬ﺇﺫﺍ‬ ‫ﻣﻔﻬﻮﻣﺎ ﻣﺘﻌﺎﻟﻴﺎ‪ .‬ﺩﺍﺧﻞ ﺍﻟﻨ ‪‬‬ ‫ﺺ ﻫﺬﺍ ﺍﻟﺸ‪‬ﻌﻮﺭ ﻓﻌﻠﻴﻪ ﺃﻥ ﻳﻘﻠﻖ ﲜﺪ‪‬ﻳﺔ‪ ،‬ﻭﺃﻥ ﻳﺘﺴﺎﺀﻝ‪ ،‬ﻭﺃﻥ‬ ‫ﱂ ﻳﻌﻄﻪ ﺍﻟﻨ ‪‬‬ ‫ﻳﻔﻜﹼﺮ ﺑﻌﻤﻖ‪.‬‬ ‫ﺺ ﻣﻌﻨﻴ‪‬ﺎ ﺑﺎﻟﻨ‪‬ﻬﺎﻳﺎﺕ‪ .‬ﺍﳌﻬ ‪‬ﻢ ﻫﻮ ﺍﳌﺴﺎﺭ‪.‬‬ ‫‪ (11‬ﻻ ﻳﺒﺪﻭ ﻫﺬﺍ ﺍﻟﻨ ‪‬‬ ‫ﺐ ﻫﻮ ﺍﳍﺪﻑ‪ .‬ﺍﳍﺪﻑ ﻫﻮ ﺍﻟﻄﹼﺮﻳﻖ‪.‬‬ ‫ﺍﳌﻬ ‪‬ﻢ ﻫﻮ ﺍﳊﺪﺙ ﻧﻔﺴﻪ‪ .‬ﻟﻴﺲ ﺍﳌﺼ ‪‬‬

‫‪13‬‬


‫ﺺ ﻟﻘﻴﻄﺎ‪ ،‬ﻣﻠﻴﺌﺎ ﺑﺎﻟﻌﺎﺭ ﺩﻭﻥ‬ ‫‪ (12‬ﻳﻨﻬﺾ ﻛ ﹼﻞ ﻣﻘﻄﻊ ﻣﻦ ﺍﻟﻨ ‪‬‬ ‫ﺗﺮﺍﺑﻂ‪ .‬ﺍﻟﺮﺍﺑﻄﺔ ﺍﻟﻌﺎﺋﻠﻴﺔ ﻻ ﻗﻴﻤﺔ ﳍﺎ‪ .‬ﻟﻴﺴﺖ ﺍﳌﻘﺎﻃﻊ ﺇﺧﻮﺓ ﻣﻦ ﺃﺏ‬ ‫ﺺ‪ .‬ﺑﻞ‬ ‫ﻭﺍﺣﺪ‪ .‬ﺗﺴﺘﺤ ‪‬ﻖ ﺍﻟ ‪‬ﺮﺟﻢ ﺗﻠﻚ ﻫﻲ ﺍﳊﻘﻴﻘﺔ‪ .‬ﻻ ﺗﻮﺍﻟﺪ ﰲ ﻫﺬﺍ ﺍﻟﻨ ‪‬‬ ‫ﺍﻻﻧﺒﺜﺎﻕ ﺩﻭﻥ ﺃﺻﻞ‪ ،‬ﺍﻹﺷﺮﺍﻕ ﺩﻭﻥ ﺯﻳﺖ‪ ،‬ﺍﻹﺳﺮﺍﺀ ﺩﻭﻥ ﺑﺮﺍﻕ‪.‬‬ ‫ﺺ ﺑﻨﺎﺀ ﻏﺮﻳﺐ‪ .‬ﳕﻮ‪‬ﻩ ﻻ ﻳﻌﺮﻑ‬ ‫‪ (13‬ﻟﻠﺤﺪﺙ ﰲ ﻫﺬﺍ ﺍﻟﻨ ‪‬‬ ‫ﺍﳋﻄﻮﻁ ﺍﳌﺘﺼﺎﻋﺪﺓ‪ .‬ﻭﻻ ﻳﺆﻣﻦ ﺑﺎﻟﺘﺮﺍﺑﻂ‪ .‬ﺃﺣﻴﺎﻧﺎ ﻳﻌﺘﻤﺪ ﺍﻟﻘﻄﻊ‪،‬‬ ‫ﻭﺃﺣﻴﺎﻧﺎ ﺍﳌﻮﻧﺘﺎﺝ‪ ،‬ﻭﺃﺣﻴﺎﻧﺎ ﺍﻟﺒﲎ ﺍﳍﻨﺪﺳﻴ‪‬ﺔ‪ .‬ﻫﻞ ﻻ ﻳﻜﻮﻥ ﺍﳊﺪﺙ ﺣﺪﺛﺎ‬ ‫ﺺ ﻭﻻ‬ ‫ﻂ ﺗﺼﺎﻋﺪﻱ؟ ﻻ ﻳﺆﻣﻦ ﺑﺎﳊﺘﻤﻴﺔ ﻫﺬﺍ ﺍﻟﻨ ‪‬‬ ‫ﺇﻻﹼ ﺇﺫﺍ ﻛﺎﻥ ﰲ ﺧ ﹼ‬ ‫ﻣﻨﻄﻖ ﻟﻪ‪ .‬ﺍﻟﻘﻔﺰ ﺃﻭ ﺍﻟﺮ‪‬ﻛﺾ ﺃﻭ ﺍﻟﻠﹼﻌﺐ ﻫﻮ ﺃﺣﺪ ﺃﻫﺪﺍﻓﻪ‪.‬‬ ‫‪ (14‬ﺍﻟﺴ‪‬ﲑﻭﺭﺓ ﰲ ﻛ ﹼﻞ ﺷﻲﺀ‪ ،‬ﻭﻟﻴﺲ ﺍﻟﺜﹼﺒﺎﺕ‪ ،‬ﺟﻮﻫﺮ ﺭﺅﻳﺔ ﻫﺬﺍ‬ ‫ﺺ ﻟﻺﻧﺴﺎﻥ‪.‬‬ ‫ﺍﻟﻨ ‪‬‬ ‫ﺺ‪ .‬ﻓﺎﻷﺷﻴﺎﺀ ﻻ‬ ‫‪ (15‬ﻟﻴﺲ ﺍﻟﺸ‪‬ﺎﻋﺮ ﺍﳌﻔﻜﹼﺮ ﺷﻴﺌﺎ ﰲ ﺣﺴﺎﺏ ﺍﻟﻨ ‪‬‬ ‫ﺗﺘﺤﺪ‪‬ﺩ ﻋﱪ ﺍﻟﻔﻜﺮ‪ .‬ﺍﻟﻮﺟﻮﺩ ﺍﻟﻔﻜﺮﻱ ﺍﻟﺮ‪‬ﺍﻫﻦ‪ ،‬ﻭﺍﻟﻮﺟﻮﺩ ﺍﻻﺟﺘﻤﺎﻋﻲ‪،‬‬ ‫ﻭﺍﻟﻮﺟﻮﺩ ﺍﻻﻗﺘﺼﺎﺩﻱ‪ ...‬ﻛ ﹼﻞ ﻫﺬﺍ ﳛﺪ‪‬ﺩ ﺑﻌﺾ ﻃﺒﺎﺋﻊ ﻫﺬﺍ ﺍﻟﻨﺺ‪،‬‬ ‫ﻭﻳﻘﺮ‪‬ﺭ ﺑﻌﺾ ﺗﻮﺟ‪‬ﻬﺎﺗﻪ‪.‬‬ ‫ﺺ ﺃﻥ ﻳﺪ‪‬ﻋﻲ ﺷﻴﺌﺎ‪ .‬ﺑﺈﻣﻜﺎﻧﻪ ﻓﻘﻂ ﺃﻥ ﻳﺴﺨﺮ‬ ‫‪ (16‬ﻟﻴﺲ ﳍﺬﺍ ﺍﻟﻨ ‪‬‬ ‫ﻣﻦ ﻗﺎﺭ‪‬ﺓ ﺍﻷﺣﺎﺳﻴﺲ ﻭﻣﻦ ﴰﻮﻉ ﺍﻟﻠﹼﻬﻔﺔ ﻭﺍﻟﺸ‪‬ﻮﻕ ﻭﻣﻦ ﻭﺭﻭﺩ ﺳﺎﻥ‬

‫‪14‬‬


‫ﻓﺎﻟﻨﺘﺎﻥ ﻭﻗﺼﺎﺋﺪ ﻧﺰﺍﺭ ﻗﺒ‪‬ﺎﱐ ﻭﺃﻥ ﳜﺎﻃﺐ ﺍﻟﻮﻋﻲ ﻭﺍﻟﻌﻘﻞ ﺩﻭﻥ ﺗﻘﺪﻳﺮ‬ ‫ﻛﺒﲑ ﳍﺬﻳﻦ ﺍﻟﺘ‪‬ﺎﻓﻬﲔ ﺍﳊﻘﲑﻳﻦ‪.‬‬ ‫ﺺ ﻣﻦ ﺍﻟﻘﺎﺭﺉ ﺃﻥ ﻻ ﻳﺼﺪ‪‬ﻕ ﺣﺮﻓﺎ ﻭﺍﺣﺪﺍ‬ ‫‪ (17‬ﻳﺮﻳﺪ ﻫﺬﺍ ﺍﻟﻨ ‪‬‬ ‫ﻚ ﻭﺍﳊﲑﺓ ﻭﺍﻻﺭﺗﻴﺎﺏ‪ ،‬ﻭﺃﻥ ﻻ ﻳﻨﺪﻣﺞ‪،‬‬ ‫ﳑ‪‬ﺎ ﻳﻘﺎﻝ‪ ،‬ﺃﻥ ﳛﺎﻓﻆ ﻋﻠﻰ ﺍﻟﺸ ‪‬‬ ‫ﻒ ﻋﻦ ﳑﺎﺭﺳﺔ ﺩﻭﺭ ﺍﳊﺒﻴﺒﺔ ﺍﳌﻐﻔﹼﻠﺔ ﻭﺍﻟﺰﻭﺟﺔ ﺍﳌﺨﺪﻭﻋﺔ‪ .‬ﻳﺮﻳﺪﻩ‬ ‫ﻭﺃﻥ ﻳﻜ ‪‬‬ ‫ﺃﻥ ﻳﻘﺮﺃ ﺑﺴﺨﺮﻳﺔ ﻭﺍﺳﺘﻬﺰﺍﺀ‪ ،‬ﻭﺃﻥ ﳛﺎﻓﻆ ﻋﻠﻰ ﻣﺴﺎﻓﺔ‪ .‬ﺇﺫﺍ ﻛﺎﻥ‬ ‫ﺍﻻﺣﺘﺮﺍﻕ ﺣﻘﻴﻘﻴ‪‬ﺎ ﻓﻠﻴﻜﻦ ﺑﻠﻄﻒ‪ .‬ﺇﺫﺍ ﺍﺳﺘﻄﺎﻉ ﻫﺬﺍ ﺍﻟﻘﺎﺭﺉ ﺃﻥ ﻳﻜﻮﻥ‬ ‫ﳑﺜﹼﻼ ﻓﻠﻴﻤﺜﹼﻠﻪ‪ ،‬ﺃﻭ ﺭﺍﻗﺼﺎ ﻓﻠﲑﻗﺼﻪ‪ ،‬ﺃﻭ ﻣﻮﺳﻴﻘﻴ‪‬ﺎ ﻓﻠﻴﻐﻨ‪‬ﻪ‪ ...‬ﺇﻥ ﱂ ﻳﺘﻤﻜﹼﻦ‬ ‫ﻣﻦ ﻓﻌﻞ ﺷﻲﺀ ﻛﻬﺬﺍ ﻓﻬﻮ "ﻋﻠﻴﻞ ﺍﳌﺰﺍﺝ ﻟﻴﺲ ﻟﻪ ﻋﻼﺝ"‪ .‬ﻭﺇﺫﺍ‬ ‫ﺺ ﻛﺘﺐ‬ ‫ﺍﺳﺘﻄﺎﻉ ﻓﻼ ﳚﺐ ﺃﻥ ﻳﻐﻔﻞ ﻋﻠﻰ ﺍﳊﻘﻴﻘﺔ ﺍﻟﺘ‪‬ﺎﻟﻴﺔ‪ :‬ﻫﺬﺍ ﺍﻟﻨ ‪‬‬ ‫ﺺ ﻛﺘﺐ ﺩﻭﻥ ﺍﻧﺪﻣﺎﺝ‪،‬‬ ‫ﺩﻭﻥ ﻏﺎﻳﺔ‪ ،‬ﻓﻜﻴﻒ ﺗﻄﻠﺐ ﻟﻪ ﻏﺎﻳﺔ؟ ﻫﺬﺍ ﺍﻟﻨ ‪‬‬ ‫ﺺ ﻛﺘﺐ ﰲ ﺍﻟﻈﻼﻡ‪ ،‬ﻓﻜﻴﻒ ﻳﻄﻠﺐ‬ ‫ﻓﻜﻴﻒ ﻳﻄﻠﺐ ﻟﻪ ﺍﻧﺪﻣﺎﺝ؟ ﻫﺬﺍ ﺍﻟﻨ ‪‬‬ ‫ﺺ ﺩﻭﻥ ﺗﺄﺛﹼﺮ ﻣﺒﺎﻟﻎ ﻓﻴﻪ ﻫﻲ ﻏﺎﻳﺔ ﺃﺧﺮﻯ‪.‬‬ ‫ﻟﻪ ﺍﻟﻨ‪‬ﻮﺭ؟ ﺭﻭﺍﻳﺔ ﻫﺬﺍ ﺍﻟﻨ ‪‬‬ ‫ﺺ ﻧﺼ‪‬ﺎ ﻭﺍﻗﻌﻴ‪‬ﺎ ﻭﺇﻥ ﺷﻌﺮ ﺍﻟﻘﺎﺭﺉ ﺑﻠﺰﻭﺟﺔ‬ ‫‪ (18‬ﻟﻴﺲ ﻫﺬﺍ ﺍﻟﻨ ‪‬‬ ‫ﺍﻟﺪ ‪‬ﻡ ﻭﻫﻮ ﻳﻠﻤﺲ ﺍﳉﻤﻞ‪ .‬ﻟﻴﺲ ﻭﺍﻗﻌﻴ‪‬ﺎ ﻭﺇﻥ ﺑﺪﺍ ﺍﳌﻜﺎﻥ ﻣﺄﻟﻮﻓﺎ‪ .‬ﻟﻴﺲ‬ ‫ﻭﺍﻗﻌﻴ‪‬ﺎ ﻭﺇﻥ ﻭﺟﺪﰎ ﻃﺎﻭﻟﺔ ﻟﻠﺠﻠﻮﺱ ﻭﻣﺪﺭ‪‬ﺟﺎ ﻟﻠﺼ‪‬ﻌﻮﺩ ﻭﺳﺮﻳﺮﺍ ﻟﻠﻨ‪‬ﻮﻡ‪.‬‬ ‫ﺺ ﻳﺘﱰﹼﻝ ﰲ ﺃﻓﻖ ﻣﻮﺳﻴﻘﻲ ﻋﺬﺏ‪ ،‬ﻣﺘﺠﺎﻧﺲ‪،‬‬ ‫‪ (19‬ﻫﺬﺍ ﺍﻟﻨ ‪‬‬ ‫ﻭﺧﺎﺿﻊ ﻟﻠﺘﻜﺜﻴﻒ‪ ،‬ﻟﻜﻨ‪‬ﻪ ﻻ ﻳﻌﻤ‪‬ﻖ ﺣﺎﻟﺔ ﺍﻟﻘﺎﺭﺉ ﺍﻟﺸ‪‬ﻌﻮﺭﻳﺔ ﻭﻻ ﻳﺴﻌﻰ‬

‫‪15‬‬


‫ﺇﱃ ﺟﻌﻠﻪ ﻗﺎﺭﺋﺎ ﻣﻄﻴﻌﺎ ﻟﻴ‪‬ﻨﺎ‪ .‬ﺍﻟﻜﺴﺮ ﻭﺍﻟﻔﺰﻉ ﻭﺍﻟﺴ‪‬ﺨﺮﻳﺔ ﻭﺗﻌﻄﻴﻞ ﺍﻷﻟﻔﺔ‬ ‫ﻭﻣﻨﻊ ﺍﻻﻧﺪﻣﺎﺝ ﻭﺍﳌﺴﺎﻋﺪﺓ ﻋﻠﻰ ﺍﻟﺘﺤﻔﹼﺰ ﻭﺍﻟﺘﻴﻘﹼﻆ‪ ...‬ﻫﻲ ﺑﻌﺾ‬ ‫ﺺ‪.‬‬ ‫ﺍﻟﻐﺎﻳﺎﺕ ﺍﻟﱵ ﻳﺮﻳﺪﻫﺎ ﻫﺬﺍ ﺍﻟﻨ ‪‬‬ ‫‪" (20‬ﺍﻟﺸ‪‬ﻌﺮ ﻫﻮ ﺃﻥ ﲢﻠﻢ ﺍﻟﻨ‪‬ﻔﺲ ﺑﻜﻞﹼ ﺷﻲﺀ"‪ .‬ﻳﺒﺪﻭ ﻫﺬﺍ‬ ‫ﺍﻟﻜﻼﻡ ﻫﺪﻓﺎ ﺗﺎﻓﻬﺎ ﺣﻘﹼﺎ‪ .‬ﻛﻴﻒ ﻣﺮ‪‬ﺕ ﻋﻠﻴﻨﺎ ﻋﻘﻮﺩ ﻃﻮﻳﻠﺔ ﻭﳓﻦ ﻧﺼﺪ‪‬ﻕ‬ ‫ﻣﺜﻞ ﻫﺬﺍ ﺍﻟﺘ‪‬ﻌﺮﻳﻔﺎﺕ ﺍﳊﻘﲑﺓ ﻟﻠﺸ‪‬ﻌﺮ؟ ﻛﻴﻒ ﻗﺒﻠﻨﺎ ﺑﺘﺴﻠﻴﻢ ﳐﺰ ﻫﺬﺍ‬ ‫ﻱ ﺍﻟﻨ‪‬ﺎﻋﻢ؟ ﻛﻴﻒ ﺍﻋﺘﺪﻧﺎ ﻫﺬﺍ ﺍﻟﻔﺼﻞ ﺍﻟﻐﺮﻳﺐ ﺑﲔ‬ ‫ﺍﻹﺭﻫﺎﺏ ﺍﻟﻔﻜﺮ ‪‬‬ ‫ﺃﺟﺴﺎﺩﻧﺎ ﻭﻋﻘﻮﻟﻨﺎ؟ ﻧﺴﺨﺮ ﻣﻦ ﻫﺬﻩ ﺍﻟﺘ‪‬ﻌﺮﻳﻔﺎﺕ‪ .‬ﻭﻧﺘﻤﺴ‪‬ﻚ ﺑﺎﳊﻠﻢ‬ ‫ﻛﻔﺎﻋﻠﻴ‪‬ﺔ ﻣﺘﺤﺮ‪‬ﻛﺔ ﻫﺪﻓﻬﺎ ﺗﺜﻮﻳﺮ ﺍﻟﻮﺍﻗﻊ ﻭﺗﻐﻴﲑﻩ‪ .‬ﺃﻟﻴﺲ ﺍﳊﻠﻢ ﻧﻔﺴﻪ‬ ‫ﻣﻨﺘﺠﺎ ﻭﺍﻗﻌﻴ‪‬ﺎ؟‬ ‫ﺺ ﻣﻦ ﺍﳌﻮﺿﻮﻉ ﺇﱃ ﺍﳊﺎﻟﺔ‪ .‬ﻣﻦ ﺍﻹﻧﺴﺎﻥ‬ ‫‪‬ﺬﻩ ﺍﻟﻨ‪‬ﻘﺎﻁ ﺃﻧﺘﻘﻞ ﺑﺎﻟﻨ ‪‬‬ ‫ﺇﱃ ﺍﻟﻄﹼﻴﻨﺔ ﺍﳌﺒﻠﹼﻠﺔ ﲝﻠﻴﺐ ﺍﻟﻠﹼﻴﻞ ﻭﺳﺤﺎﺏ ﺍﻷﻟﻔﺔ‪ .‬ﻣﻦ ﺍﻟﺘ‪‬ﺴﻤﻴﺔ ﺇﱃ ﺧﻠﻊ‬ ‫ﺍﻻﺳﻢ ﻭﺍﻟﻄﹼﻮﺍﻑ ﰲ ﺍﻟﺸ‪‬ﺒﻴﻪ ﻭﺍﳌﻤﺎﺛﻞ ﻭﺍﻟﺴ‪‬ﻤ ‪‬ﻲ‪.‬‬ ‫ﻻ ﺃﻓﻜﹼﺮ ﰲ ﻓﻜﺮﺓ ﳏﺪ‪‬ﺩﺓ‪ .‬ﺍﳌﺸﺮﻭﻉ ﻫﻮ ﺍﻟﺘ‪‬ﺴﻤﻴﺔ ﺍﻟﺼﺤﻴﺤﺔ ﳌﺎ‬ ‫ﺃﺣﺎﻭﻝ ﺃﻥ ﺃﺷﲑ ﺇﻟﻴﻪ‪ .‬ﻭﻫﺬﻩ ﺍﻟﻌﺘﺒﺎﺕ ﻟﻴﺴﺖ ﺇ ﹼﻻ ﳏﺎﻭﻟﺔ ﻟﻔﺘﺢ ﻧﻘﺪ‬ ‫ﺺ ﺍﻟﺸ‪‬ﻌﺮﻱ‬ ‫ﺺ ﺍﻟﺜﹼﻘﺎﰲ ﺑﺸﻜﻞ ﻋﺎﻡ‪ .‬ﻟﻴﺲ ﺍﻟﻨ ‪‬‬ ‫ﺺ ﺍﻟﺸ‪‬ﻌﺮﻱ ﻋﻠﻰ ﺍﻟﻨ ‪‬‬ ‫ﺍﻟﻨ ‪‬‬ ‫ﻛﺎﺋﻨﺎ ﻣﻌﺰﻭﻻ ﰲ ﺃﺩﺑ‪‬ﻴﺘﻪ‪ ،‬ﻭﺇﻥ ﻛﺎﻧﺖ ﺷﺮﻃﺎ ﻟﻮﺟﻮﺩﻩ‪ .‬ﻟﻴﺲ ﺃﺑﺪﺍ ﺟﺰﻳﺮﺓ‬

‫‪16‬‬


‫ﻱ ﻫﻮ ﻫﺬﺍ ﺍﻟﻜﺎﺋﻦ‬ ‫ﺺ ﺍﻟﺸ‪‬ﻌﺮ ‪‬‬ ‫ﻣﻌﺰﻭﻟﺔ ﰲ ﻗﺎﺭﺓ ﺷﻌﺮ‪‬ﻳﺘﻪ ﺍﳋﺎﺻ‪‬ﺔ‪ .‬ﺍﻟﻨ ‪‬‬ ‫ﺍﳌﺘﻌﺪ‪‬ﺩ ﺍﳌﻨﻔﺘﺢ ﻋﻠﻰ ﺍﻟﻔﻨﻮﻥ ﻛﻠﹼﻬﺎ ﻭﺍﳋﺎﺭﺝ ﻣﻦ ﺭﻣﺎﺩﻩ ﺑﺎﺳﺘﻤﺮﺍﺭ‪.‬‬ ‫ﺗﺘﺘﺎﺑﻊ ﻧﺼﻮﺹ ﻫﺬﺍ ﺍﻟﻜﺘﺎﺏ ﺯﻣﻨﻴ‪‬ﺎ ﻟﺘﻨﺸﺊ ﺣﺎﻟﺔ ﺍﻟﻌﺎﺷﻖ ﺍﳌﺨﻠﺺ‬ ‫ﻟﻠﻔ ‪‬ﻦ ﺍﻟﺘ‪‬ﻲ ﻛﻨﺘﻬﺎ ﺩﺍﺋﻤﺎ‪ .‬ﺗﻠﻚ ﺍﳊﺎﻟﺔ ﺍﻟﺘ‪‬ﻲ ﻫﻲ ﺍﳋﻴﻂ ﺍﻟﻌﻤﻴﻖ ﺍﻟﺬﹼﻱ‬ ‫ﻳﺮﺑﻂ ﺃﻋﻤﺎﱄ ﻛﻠﹼﻬﺎ‪ .‬ﻣﺎ ﻣﻦ ﺃﺣﺪ ﻣﻬﻢ‪ ،‬ﻣﺎ ﻣﻦ ﻣﻜﺎﻥ‪ ،‬ﻣﺎ ﻣﻦ ﺷﻜﻞ‪.‬‬ ‫ﺍﻹﺧﻼﺹ ﻟﻠﻔ ‪‬ﻦ ﻭﺍﻹﳝﺎﻥ ﺍﻟ‪‬ﺘﺎﻡ ﺑﺄﻧ‪‬ﲏ ﹸﺃﺷ ﹼﻜﻞ ﻣﻦ ﺟﺪﻳﺪ ﰲ ﻛ ﹼﻞ ﻛﺘﺎﺏ‪.‬‬ ‫ﻭﹸﺃﺧﻠﻖ ﻣﻦ ﺟﺪﻳﺪ ﰲ ﻛ ﹼﻞ ﺻﻮﺭﺓ‪ .‬ﻭﺃﲣﻠﹼﻰ ﺑﺸﻜﻞ ﺗﺪﺭﳚﻲ ﻋﻦ ﻋﺎﳌﻲ‬ ‫ﺍﻟﻘﺪﱘ‪.‬‬ ‫ﺐ ﺃﻥ ﺗﻼﺯﻡ ﺍﻟﻘﺎﺭﺉ‪ .‬ﻟﻴﺲ ﻣﺎ‬ ‫ﻫﺬﻩ ﻫﻲ ﺑﻌﺾ ﺍﳊﺎﻻﺕ ﺍﻟﺘ‪‬ﻲ ﺃﺣ ‪‬‬ ‫ﺃﺭﻳﺪﻩ ﺗﺼﺪﻳﻘﺎ‪ ،‬ﻻ‪ ..‬ﺃﺭﻳﺪ ﻓﺎﻋﻠﻴ‪‬ﺔ‪ ،‬ﺃﺭﻳﺪ ﺗﺸﻮ‪‬ﻓﺎ ﻭﺳﺆﺍﻻ ﻭﲝﺜﺎ ﻭﳏﺎﻭﻟﺔ‬ ‫ﺇﻛﻤﺎﻝ‪.‬‬ ‫ﺺ ﺗﺘﻄﻠﹼﺐ ﺍﻟﻌﻮﺩﺓ ﺇﱃ ﻛﺘﺐ ﺍﳌﺆﻟﹼﻒ ﺍﻷﺧﺮﻯ‬ ‫ﻗﺮﺍﺀﺓ ﻫﺬﺍ ﺍﻟﻨ ‪‬‬ ‫ﺑﺎﻟﻘﺮﺍﺀﺓ ﻭﺍﻟ‪‬ﻨﻘﺪ ﻭﺍﳌﺮﺍﺟﻌﺔ‪ ،‬ﻭﺇﱃ ﺃﻋﻤﺎﻝ ﺟﻴﻠﻪ ﻣﻦ ﺍﻟﺸ‪‬ﻌﺮﺍﺀ ﺍﻟﺬﹼﻳﻦ‬ ‫ﲤﻴ‪‬ﺰﺕ ﺇﺻﺪﺍﺭﺍ‪‬ﻢ ﻭﺗﻮﺍﺗﺮﺕ‪.‬‬ ‫ﺍﻟﻘﺮﺍﺀﺓ ﻣﻊ )‪ (...‬ﻭﺑـ )‪ (...‬ﻭﰲ )‪ (...‬ﲤﻜﹼﻦ ﺍﻟﻘﺎﺭﺉ ﻣﻦ‬ ‫ﺍﻟﺘﻘﺎﻁ ﻓﻀ‪‬ﺔ ﺍﻟﺼ‪‬ﺪﻯ ﻭﺫﻫﺐ ﺍﻻﻟﺘﻤﺎﻋﺎﺕ ﺍﻟﱪﻗ‪‬ﻴﺔ ﺍﳋﺎﻃﻔﺔ‪ .‬ﻭﺗﻮﺿ‪‬ﺢ‬ ‫ﺍﻟﻌﻤﻖ ﺍﻟﺬﹼﻱ ﺗﺘﺤﺮ‪‬ﻙ ﻓﻴﻪ ﻫﺬﻩ ﺍﻟﺘ‪‬ﺠﺎﺭﺏ‪ .‬ﻭﺗﱪﺯ ﺍﻻﺧﺘﻼﻑ‪ .‬ﻭﺗﻠﺘﻘﻂ‬

‫‪17‬‬


‫ﺺ ﺍﳌﺼﻬﻮﺩ ﺑﻨﺎﺭ‬ ‫ﻣﻈﺎﻫﺮ ﺍﳊﺴﺎﺳﻴﺔ ﺍﳌﻔﺎﺭﻗﺔ ﻟﻠﺴ‪‬ﺎﺋﺪ ﰲ ﻟﻴﻞ ﻫﺬﺍ ﺍﻟﻨ ‪‬‬ ‫ﺍﳋﻠﻖ‪.‬‬ ‫"ﻋﻮﺩﺓ ﺃﻭﺭﰲ" ﻟﻴﺲ ﻏﲑ ﺑﺪﺍﻳﺔ‪ .‬ﻟﻴﺲ ﻗﻤﺮﺍ‪ ،‬ﺑﻞ ﺿﻮﺀ‪.‬‬ ‫ﺳﻮﺳﺔ‪ /‬ﺃﻓﺮﻳﻞ‪ /‬ﻣﺎﺭﺱ ‪2007‬‬

‫‪18‬‬


‫ﻣﺪﺧﻞ‬ ‫ﲤﺎﻡ ﺍﻹﻗﺎﻣﺔ ﰲ ﺍﻟﻌﺸﻖ ﺃﻥ ﲢﻤﻞ ﺍﻹﻟﻒ ﻓﻴﻚ ﻭﺃﻥ ‪‬ﺠﺮ ﺍﻷﺭﺽ‬ ‫ﻭﻣﻀﺎ‪ .‬ﺗﻀﻴﻒ ﺇﱃ ﺍﻷﺭﺽ ﺿﻮﺀﺍ‪ .‬ﻭﲢﺬﻑ ﺃﻋﻤﺪﺓ ﺍﳌﻠﻜﻮﺕ‪ .‬ﺗﻘﻄﹼﺮ‬ ‫ﺿﻮﺀﻙ ﰲ ﻇﻠﻤﺎﺕ ﺍﻟﺪ‪‬ﱏ‪ .‬ﺭﺍﻓﻀﺎ ﺗﻜﺸﻒ ﺍﻟﺴ ‪‬ﺮ‪ .‬ﺗﺒﺪﻭ ﺑﺮﻳﺌﺎ‪ .‬ﻭﰲ‬ ‫ﺍﻟﻌﻤﻖ ﲢﺮﻕ‪ ،‬ﺗﻐﺘﺎﻝ‪ ،‬ﺗﻜﺴﺮ‪ .‬ﺗﺒﺪﻭ ﺑﺮﻳﺌﺎ‪ .‬ﻭﰲ ﺍﻟﻌﻤﻖ ﺗﻔﺘﺢ ﰲ ﻛﻮ‪‬ﺓ‬ ‫ﺍﻟﺴ ‪‬ﺮ ﺻﻮﺗﺎ ﻏﺮﻳﺒﺎ‪ .‬ﻭﺗﺪﱄ ﻏﺼﻮﻧﻚ ﻟﻠﺸ‪‬ﻤﺲ‪ .‬ﻭﺗﺘﺮﻙ ﻟﻶﺧﺮﻳﻦ‬ ‫ﺍﻟﻘﻄﺎﻑ‪ .‬ﻟﻠﱪﻕ ﺗﻌﻄﻲ ﻳﺪﻳﻚ‪ .‬ﻭﺗﺘﺮﻙ ﻟﻶﺧﺮﻳﻦ ﺍﻟﻄﹼﻮﺍﻑ‪.‬‬

‫‪19‬‬


‫ﺍﻷﻋﺘﺎﺏ‬ ‫ ﳐﺪﻉ ﻣﻬﻤﻞ ﻟﻠﻮﻗﻮﻑ ﻋﻠﻰ ﺷﺠﺮ ﺍﻟﹼﻠّﻴﻞ‪.‬‬‫ ﺷﺘﺎﺀ ﺍﻷﺑﺪ‪.‬‬‫ ﺍﻷﻭﺩﻳﺴﺔ‪.‬‬‫ ﻃﻮﺍﻑ ﺍﻟﺴﻴ‪‬ﺪﺍﺕ‪.‬‬‫ ﺍﻟﻨ‪‬ﻬﺎﻳﺎﺕ‪.‬‬‫‪ -‬ﻋﻮﺩﺓ ﺃﻭﺭﰲ‪.‬‬

‫‪20‬‬


‫ﳐﺪﻉ ﻣﻬﻤﻞ ﻟﻠﻮﻗﻮﻑ ﻋﻠﻰ ﺷﺠﺮ ﺍﻟﻠﹼﻴﻞ‬ ‫ﺇﱃ ﻳﻮﺳﻒ ﺍﳋﺎﻝ‬ ‫ﻻ ﻳﺴﺄﻝ ﺍﻟﺬﹼﺍﻫﺒﻮﻥ ﺇﱃ ﺍﻟﻌﻤﺮ ﻋﻦ ﻋﻤﺮﻫﻢ‪.‬‬ ‫ﻳﺴﺄﻟﻮﻥ ﻋﻦ ﺍﻷﺭﺽ‪" :‬ﻫﻞ ‪‬ﻀﺖ؟"‪.‬‬ ‫ﳏﻤﻮﺩ ﺩﺭﻭﻳﺶ‬

‫‪21‬‬


‫ﺃﺑﺪﺃ ﻣﻦ ﺃﻭ‪‬ﻝ‬ ‫ﺍﻟﻠﹼﻴﻞ‪ ،‬ﺃﺑﺪﺃ ﻣﻦ ﺃ ‪‬ﻭ ﹺﻝ‪.‬‬ ‫ﺃﲤﻨ‪‬ﻰ ﻟﻘﺎﺀ ﺃﺧﲑﺍ ﻧﺮﺍﻗﺐ ﻓﻴﻪ ﺍﳌﺴﺎﺀ ﻭﻧﺮﺣﻞ‬ ‫ﰲ ﺍﻟﻘﺎﺭﺏ ﺍﻟﺮ‪‬ﺍﺋﻊ ﺍﳌﺨﻤﻠ ‪‬ﻲ‪.‬‬ ‫ﻟﻘﺎﺀ ﺃﺧﲑﺍ ﻓﻘﻂ‪،‬‬ ‫‪1‬‬ ‫ﹼﰒ ﻓﻠﺘﺮﺣﻠﻲ‪.‬‬

‫‪1‬‬

‫ﺣﻘﻮﻝ ﻣﻦ ﺍﻟﻀ‪‬ﻮﺀ ﺗﺼﺤﻮ ﻋﻠﻰ ﻫﺰ‪‬ﺓ ﺍﻟﺮ‪‬ﻣﺶ‪ .‬ﺑﻴﺖ ﻣﻦ ﺍﻟﻨ‪‬ﻮﺭ ﻳﻨﺪﺍﺡ ﰲ ﻛﺮﻛﺮﺍﺕ‬

‫ﺍﳌﻜﺎﺣﻞ‪ .‬ﺩﻳﻨﺎ ﺻﺒﺎ ﺗﺴﺘﻔﻴﻖ ﻋﻠﻰ ﺭﺟﻔﺔ ﺍﻟﺼ‪‬ﻮﺕ‪ .‬ﳒﻮﻡ ﻭﺃﺷﻴﺎﺀ ﺗﻨﺒﺖ ﺑﲔ ﺍﻟﻔﺮﺍﻏﺎﺕ‪ .‬ﺭﻳﺢ‬ ‫ﴰﺎﻟﻴ‪‬ﺔ ﺗﺴﺘﻔﻴﻖ‪.‬‬ ‫‪22‬‬


‫ﻻ ﺗﺴﺄﻟﻴﲏ‬ ‫ﺇﺫﺍ ﻛﻨﺖ ﺃﻫﻮﺍﻙ ﺣﻘﹼﺎ‪.‬‬ ‫ﻭﺃﻋﺒﺪ ﺻﻮﺗﻚ ﺣﻘﹼﺎ‪.‬‬ ‫ﻭﺭﻭﺣﻚ ﺣﻘﹼﺎ‪.‬‬ ‫ﻭﻋﻦ ﻏﲑ ﻫﺬﺍ ﻧﻌﻢ‪ ،‬ﻓﺎﺳﺄﱄ‪.‬‬ ‫ﺃﲤﹼﻲ ﻣﻌﻲ ﺍﳌﻠﻚ‪،‬‬ ‫ﺇﻧ‪‬ﻲ ﻣﻠﻴﻚ ﻭﻻ ﻣﻠﻚ ﱄ‪.‬‬ ‫‪‬ﺧ‪‬ﻠﻌﺖ ﻣﻦ ﺍﻷﺭﺽ‪،‬‬ ‫ﻭﻣﻦ ﳑﻠﻜﺎﺕ ﺍﻟﺴ‪‬ﻤﺎﺀ‪،‬‬ ‫‪2‬‬ ‫ﻭﻣﻦ ﺃﻣﻠﻲ‪.‬‬

‫‪2‬‬

‫ﺕ ﻭﺃﻣﻮ ‪‬ﺭ‬ ‫ﺕ ﺗﻄﻠﻖ ﰲ ﳊﻈﺎﺕ ﺍﻟﺼ‪‬ﻤﺖ‪ .‬ﺻﺒﺎﺣﺎ ‪‬‬ ‫ﻗﺪ ‪‬ﺭ ﻳﻨﻬﺾ ﻣﻦ ﺃﻓﺌﺪﺓ ﺍﻟﻐﻴﻢ‪ ،‬ﺷﺮﺍﻋﺎ ‪‬‬

‫ﺗﻌﻘﺪ ﰲ ﻟﻴﻞ ﺍﳊﻜﻲ ﻣﺴﺎﺋﻠﺔ ﻃﻠﻞ ﺍﻟﺘ‪‬ﺎﺭﻳﺦ‪ ،‬ﻭﺣﺎﻣﻠﺔ ﺁﻱ ﺍﻵﺑﺎﺀ‪ ،‬ﻭﺃﺣﻜﺎﻡ ﺍﻟﺒﺪﻭ‪ .‬ﻭﻭﺍﻫﺒﺔ‬ ‫ﻟﻠﻨﺺ‪ ‬ﺑﺮﻭﺩ ﺍﻟﻘﺺ‪ ‬ﻭﺃﺳﺮﺍﺭ ﺍﳍﺠﺮﺍﺕ‪.‬‬ ‫‪23‬‬


‫ﺐ‪.‬‬ ‫ﱂ ﺃﻋﺮﻑ ﺍﳊ ‪‬‬ ‫ﺇ ﹼﻻ ﻛﻼﻣﺎ ﺃﺭﺍﻗﺒﻪ ﰲ ﺍﻟﻨ‪‬ﺠﻮﻡ‪.‬‬ ‫ﻭﺇﻥ ﺣﺎﺻﺮﺗﲏ ﺍﻟﻐﻴﻮﻡ‪،‬‬ ‫ﺃﻓﺮ‪ ،‬ﻭﺃﺩﺧﻞ ﰲ ﳐﺪﻋﻲ ﺍﳌﻬﻤﻞ‪.‬‬

‫‪3‬‬

‫‪3‬‬

‫ﻛﻦ ﺃﻟﻔﺎ ﻳﺎ ‪‬ﺮ ﺍﻟﺼ‪‬ﺤﺮﺍﺀ‪ .‬ﻭﻛﻦ ﺷﻔﺔ ﳊﻨﲔ ﺍﻟﻌﺸﺐ ﻭﺁﻻﻡ ﺍﻟﻨ‪‬ﻮﺡ‪ .‬ﻭﻛﻮﱐ ﻳﺎ ﻫﺎﺀ‬

‫ﺍﳊﻜﻤﺔ ﺇﺩﺭﺍﻛﺎﺕ ﺣﺒﻠﻰ ﺑﺎﻷﻣﻄﺎﺭ‪ ،‬ﻭﺻﺒ‪‬ﻲ ﰲ ﻫﺬﺍ ﺍﻟﺸ‪‬ﻬﺮ ﺍﻟﺒﺎﺭﺩ ﻧﺎﺭ ﺍﻟﺒﻮﺡ‪ .‬ﻭﻳﺎ ﻗﺎﻑ‬ ‫ﺍﻟﻔﻴﺾ ﺃﻓﻴﻘﻲ ﻣﻦ ﻇﻠﻤﺎﺕ ﺍﻟﺮ‪‬ﻣﺰ‪ ،‬ﻭﻛﻮﱐ ﻟﻠﺸ‪‬ﺠﺮ ﺍﻟﻄﹼﺎﻟﻊ ﻣﻦ ﺃﻋﻤﺎﻕ ﺍﻷﺭﺽ ﺑﺪﺍﻳﺔ‪ .‬ﻛﻮﱐ‬ ‫ﺃﺭﺿﺎ ﻟﻠﻐﺎﺑﺎﺕ‪ ،‬ﻭﻛﻮﱐ ﻏﺎﻳﺔ‪ .‬ﻛﻮﱐ ﺑﺮﻗﺎ ﻟﻠﺸ‪‬ﻌﺮﺍﺀ ﻳﺆﺍﻟﻒ ﻫﺬﺍ ﺍﻟﻐﻴﻢ ﺍﳍﺎﻃﻞ ﻣﻦ ﺷﺮﻓﺎﺕ‬ ‫ﺍﻟﺼ‪‬ﻤﺖ ﺑﺮﻭﻕ ﻟﻐﺎﺕ‪ .‬ﺃﺿﻴﺌﻲ ﻟﻴﻞ ﺍﳊﻜﻲ ﻟﻴﺨﺮﺝ ﻣﻦ ﺧﻠﻞ ﺍﻷﺣﺮﺍﺵ ﺭﻣﺎﺩ ﺍﳌﻮﺕ‪.‬‬ ‫ﻭﻛﻮﱐ ﺗﻄﻮﺍﻑ ﺍﻟﻼﹼﺀﺍﺕ‪ .‬ﻭﻇﻠﹼﻲ ﻗﺎﻧﻌﺔ ﺑﺎﻟﺰ‪‬ﻫﺮ ﺍﻟﻄﹼﺎﻟﻊ ﻛﺎﻟﻴﺎﻗﻮﺕ‪ .‬ﻇﻠﹼﻲ ﺃﻧﺜﻰ ﺃﲨﻞ ﻣﻦ‬ ‫ﻛﻠﻤﺎﺕ ﺍﳊﺐ‪ ،‬ﻭﺃﺣﻠﻰ ﻣﻦ ﺭﻗﺼﺎﺕ ﺍﻟﺼ‪‬ﻠﺐ‪ ،‬ﻭﺃﺿﻮﺃ ﻣﻦ ﻧﻮﺭ ﺍﻟﻼﹼﻫﻮﺕ‪ .‬ﻇﻠﹼﻲ ﻧﺎﺭﺍ‬ ‫ﺗﻌﺼﻒ ﻓﻴﻬﺎ ﺭﻭﺡ ﺍﻟﺒﺪﻭ‪.‬‬ ‫‪24‬‬


‫ﺃﻗﻮﻝ ﻭﺩﺍﻋﺎ‬ ‫ﻟﺘﻠﻚ ﺍﻟﺘ‪‬ﻲ ﺳﻮﻑ ﺗﺄﰐ ﻭﺗﺴﻜﻦ ﰲ ﻛﻮﻛﱯ ﺍﳌﻘﺒﻞ‪.‬‬ ‫ﺃﻗﻮﻝ ﻭﺩﺍﻋﺎ‪.‬‬ ‫‪4‬‬

‫ﻭﻻ ﺷﻲﺀ ﻛﺎﻥ ﻣﻌﻲ ﻏﲑ ﻇ ﹼﻞ ﺍﻟﺘ‪‬ﻲ ﺭﺣﻠﺖ‪.‬‬ ‫ﺃﺣﺪ‪‬ﺛﻬﺎ ﻋﻦ ﻗﺼﺎﺋﺪﻧﺎ‪ ،‬ﻋﻦ ﻋﺬﺍﺏ ﺍﻟﻌﺼﺎﻓﲑ ﰲ ﻏﺮﻓﺔ ﻣﻐﻠﻘﺔ‪،‬‬ ‫ﻋﻦ ﺿﺒﺎﺏ ﺍﳌﺼﺎﺑﻴﺢ‪ ،‬ﻋﻦ ﻗﻬﻮﺓ ﺃﻫﺮﻗﺘﻬﺎ ﺍﻟﺮ‪‬ﻳﺎﺡ‪ .‬ﻭﻻ ﺷﻲﺀ‪ .‬ﲤﻀﻲ‪،‬‬ ‫ﻭﺃﺑﻘﻰ ﺃﻭﺍﻋﺪﻫﺎ‪ .‬ﺃﻏﺴ‪‬ﻞ ﺑﺎﻟﻌﻄﺮ ﻇ ﹼﻞ ﻣﺴﺎﺣﺒﻬﺎ‪.‬‬ ‫ﻭﺃﻫﻴ‪‬ﺊ ﻗﻠﱯ ﳍﺎ‪،‬‬ ‫ﻒ ﺑﺼﻤﱵ ﺃﺻﺎﺑﻌﻬﺎ‪.‬‬ ‫ﹼﰒ ﺃﺩ ‪‬ﺧﻠﻬﺎ‪ ،‬ﻭﻗﺒﻞ ﺍﻧﺴﺪﺍﻝ ﺍﻟﺬﹼﺭﻯ ﺍﳌﺬﻫﻞ‪ ،‬ﺃﻟ ‪‬‬ ‫ﻭﺃﻗﻮﻝ ﳍﺎ‪" .‬ﺍﺩﺧﻠﻲ‪ ..‬ﺍﺩﺧﻠﻲ"‪.‬‬

‫‪5‬‬

‫‪4‬ﻭﺣﺎﻭﻟﺖ ﺃﺻﻌﺪ ﻣﻦ ﺷﻬﻮﰐ ﻟﻠﻨ‪‬ﻬﺎﺭ‪ .‬ﻭﺧﻠﻒ ﺍﻟﺸ‪‬ﺒﺎﺑﻴﻚ ﺣﻴﺚ ﺍﻟﻨ‪‬ﺴﺎﺀ ﳑﺎﻟﻚ ﻧﻮﺭ ﻭﺃﺷﺠﺎﺭ‬ ‫ﺳﺤﺮ ﺧﻠﻌﺖ ﺍﻟﻄﹼﻔﻮﻟﺔ‪ .‬ﺃﻟﺒﺴﺖ ﺃﺑﻴﻀﻬﺎ ﺃﺯﺭﻕ ﺍﻟﻐﺎﻣﻀﲔ‪ ،‬ﻭﻫﻴ‪‬ﺄﺕ ﻣﻦ ﺻﺒﻮﺍﺕ ﺍﻷﻧﺎﺷﻴﺪ‬ ‫ﺟﺴﺮﺍ‪ .‬ﻭﻗﻠﺖ ﺃﻛﻮﻥ ﳍﺎ ﻣﺎ ﺃﺭﺍﺩﺕ‪ ،‬ﻟﺘﺄﰐ‪ .‬ﻭﲤﻸ ﺻﺤﺮﺍﺀ ﻋﻤﺮﻱ ﺿﻴﺎﺀ ﻭﺳﺤﺮﺍ‪.‬‬ ‫ﻭﺃﺧﺮﺟﻬﺎ ﻣﻦ ﺿﻠﻮﻋﻲ ﲨﻴﻌﺎ ﻭﺃﺳﺮﻱ ﺇﱃ ﻗﺪﺳﻬﺎ ﺍﻟﻄﹼﻴﻒ ﺑﻜﺮﺍ‪ .‬ﻭﺃﻧﺴﻰ ﺍﻟﻠﹼﻮﺍﰐ ﻋﺮﻓﺖ‪.‬‬ ‫ﺃﺻﺎﺑﻌﻬﻦ‪ ‬ﺍﻟﺘ‪‬ﻲ ﺗﺴﺘﺮﻳﺢ ﻋﻠﻰ ﻇﻠﹼﻬﺎ ﻋﻠﻰ ﻇﻠﹼﻬﺎ ﻫﻴﻨﻤﺎﺕ ﺍﳌﻄﺮ‪ .‬ﻗﻮﺍﺋﻤﻬﻦ‪ ‬ﺍﻟﺘ‪‬ﻲ ﺗﺴﺘﺤﻢ‪‬‬ ‫ﺍﻟﻌﻮﺍﱂ ﰲ ﻣﺎﺋﻬﻦ‪ ،‬ﻭﻳﺴﺮﻱ ﺇﱃ ﻇﻠﹼﻬﻦ‪ ‬ﺍﻟﺸ‪‬ﺠﺮ‪ .‬ﻭﺍﻟﻨ‪‬ﻬﻮﺩ ﺍﻟﺘ‪‬ﻲ ﻛﻠﹼﻬﺎ ﻻ ﻳﻘﺎﻝ ﻭﺃﺑﻌﺎﺿﻬﺎ‬ ‫ﺗﺴﺘﻔﺰ‪ ‬ﺍﻟﻘﺪﺭ‪ .‬ﻭﺍﻷﻧﺎﻣﻞ ﺗﻠﻚ ﺍﻟﺘ‪‬ﻲ ﺇﻥ ﺃﺷﺎﺭﺕ ﳕﺎ ﻣﻠﻜﻮﺕ‪ ،‬ﻭﺇﻥ ﱂ ﺗﺸﺮ ﺃﻣﻨﺖ‪ ،‬ﻓﻨﻤﺖ‪،‬‬ ‫ﻭﰲ ﺍﻟﻨ‪‬ﻮﻡ ﺯﺭﺕ ﺍﻟﺒﻼﺩ ﺍﻟﺘ‪‬ﻲ ﱂ ﺗﺰﺭ‪.‬‬ ‫‪25‬‬


‫ﻭﰲ ﺁﺧﺮ ﺍﻟﻠﹼﻴﻞ ﺃﳊﻈﻬﺎ ﺗﺪﺧﻞ‪ .‬ﺃﺗﺮﻙ ﺍﻟﺒﺎﺏ ﻣﻨﻔﺘﺤﺎ‪ .‬ﺃﲤﻠﹼﻰ‬ ‫ﺍﳌﺸﺎﻫﺪ‪ .‬ﺍﻟﺴ‪‬ﺮﻭ ﻣﺎﺯﺍﻝ ﺭﺧﻮﺍ ﻛﻌﺎﺩﺗﻪ‪ .‬ﻭﺍﻟﻌﺼﺎﻓﲑ ﳌﹼﺎ ﺗﺰﻝ ﺗﺘﻠﻘﹼﻰ‬ ‫ﺭﺳﺎﺋﻠﻬﺎ ﻭﺍﻟﺸ‪‬ﺠﲑﺍﺕ ﺗﻨﺒﺖ ﺃﻭﺭﺍﻗﻬﺎ‪ .‬ﻭﺍﻟﺴ‪‬ﺤﺎﺋﺐ ﺗﻨﻬ ﹼﻞ ﻣﻦ ﺑﲔ‬ ‫‪6‬‬

‫ﺃﻋﻄﺎﻓﻬﺎ ﺍﻷ‪‬ﺮ‪ .‬ﻭﺃﺑﺼﺮﻫﺎ ﺗﺮﺣﻞ‪.‬‬ ‫ﺗﻔﺘﺢ ﺍﻟﺒﺎﺏ ﰲ ﳊﻈﺔ‪ .‬ﺗﺘﻤﻠﹼﻰ ﺍﳌﺸﺎﻫﺪ‪ .‬ﺍﻟﺴ‪‬ﺮﻭ ﻣﺎﺯﺍﻝ ﺻﻠﺒﺎ‬ ‫ﻛﻤﺎ ﻛﺎﻥ ﰲ ﺍﻷﺻﻞ‪ .‬ﻭﺍﻟﻌﺼﺎﻓﲑ ﳌﹼﺎ ﺗﺰﻝ ﺗﺘﻠﻘﹼﻰ ﺍﻟﺮ‪‬ﺳﺎﺋﻞ‪ ،‬ﻭﺗﻘﺮﺃ ﺑﲔ‬ ‫ﺍﻟﺴ‪‬ﻄﻮﺭ ﻣﻮﺍﺟﻌﻬﺎ‪ .‬ﻭﺍﻟﺸ‪‬ﺠﲑﺍﺕ ﺗﺴﻘﻂ ﰲ ﺍﻟ ﹼﻈ ﹼﻞ ﺃﻭﺭﺍﻗﻬﺎ‪ .‬ﻭﺍﻟﺴ‪‬ﺤﺎﺋﺐ‬ ‫‪7‬‬ ‫ﺗﻨﻬﻞﹼ ﻣﻦ ﺑﲔ ﺃﻋﻄﺎﻓﻬﺎ ﺍﻷ‪‬ﺮ ﺍﳌﺘﺮﻋﺎﺕ ﺑﺮﺍﺋﺤﺔ ﺍﻟﺸ‪‬ﻴﺢ ﻭﺍﻟﺼ‪‬ﻨﺪﻝ‪.‬‬

‫‪ 5‬ﺧﺎﻟﻘﺔ ﺃﻧﺖ‪ .‬ﻭﻫﺬﺍ ﺍﻟﻌﺎﱂ ﳐﻠﻮﻕ ﻣﻦ ﻃﲔ ﺃﻧﺖ ﺃﺿﺄﺕ ﺍﻟﺮ‪‬ﻣﻞ ﺍﻟﻜﺎﺋﻦ ﻓﻴﻪ‪ .‬ﻭﺃﻧﺖ‬ ‫ﺻﺒﺒﺖ ﺍﳌﺎﺀ‪ .‬ﻻ ﺃﻭ‪‬ﻝ ﺇﻻﹼ ﻣﺎ ﺃﻭ‪‬ﻟﺖ ﻭﺃﻧﺰﻟﺖ‪ ،‬ﻋﻠﻰ ﺭﺳﻞ ﺍﻷﺭﺽ‪ .‬ﻭﻻ ﺁﺧﺮ ﺇﻻﹼ ﺁﺧﺮ ﻣﺎ‬ ‫ﺃﻧﺰﻟﺖ ﻣﻦ ﺍﻷﲰﺎﺀ‪ .‬ﺧﺎﻟﻘﺔ ﺃﻧﺖ‪ .‬ﻭﻫﺬﺍ ﺍﻟﻌﺎﱂ ﳏﺾ ﻋﻄﺎﺀ‪.‬‬ ‫‪ ..6‬ﻭﻛﻤﺎ ‪‬ﻳﻔﻌﻞ ﺍﻟﺴﺮ‪ ‬ﲨﻌﺖ ﺍﻟﻌﻮﺍﻃﻒ ﻣﻦ ﻛﻞﹼ ﺻﺪﺭ‪ ،‬ﻭﻣﻦ ﻛﻞﹼ ﺭﻣﺶ‪ ،‬ﻭﻣﻦ ﻛﻞﹼ ﺛﻐﺮ‪،‬‬ ‫ﻭﻣﻦ ﻛﻞﹼ ﺃﳕﻠﺔ‪ .‬ﻭﻛﻮ‪‬ﻧﺖ ﺃﻧﺜﻰ ﺍﻟﺮ‪‬ﺳﻮﻝ‪ .‬ﺗﻠﻚ ﺍﻟﺘﻨﺎﻡ ﺍﻟﻐﻴﻮﻡ ﻟﺪﻳﻬﺎ‪ ،‬ﻭﺗﺼﻌﺪ ﻣﻦ ﻏﻴﻢ‬ ‫ﺃﺻﻮﺍ‪‬ﺎ ﺑﺎﺭﻗﺎﺕ ﺍﳋﻴﻮﻝ‪ .‬ﻭﺗﺄﰐ ﺇﱃ ﺑﻴﺘﻬﺎ ﺍﻟﻜﺎﺋﻨﺎﺕ‪ ،‬ﻭﺗﻴﻨﻊ ﰲ ﺭﺍﺣﺘﻴﻬﺎ ﺍﻟﻔﺼﻮﻝ‪ .‬ﻭﺗﻠﻚ‬ ‫ﺍﻟﺘ‪‬ﻲ ﺗﺴﺘﻔﺰ‪ ‬ﺍﻟﺼ‪‬ﺒﺎﺣﺎﺕ ﺩﻭﻣﺎ ﻓﺘﺸﺮﻕ ﻗﺒﻞ ﺍﻓﺘﻀﺎﺡ ﺍﳊﻘﻮﻝ‪ .‬ﻭﺗﻮﺭﻕ ﻗﺒﻞ ﺍﻟﺸ‪‬ﺠﲑﺍﺕ‪،‬‬ ‫ﺗﻮﺭﻕ ﻗﺒﻞ ﺍﺧﻀﺮﺍﺭ ﺍﻟﺮﺅﻯ ﻭﺍﻟﺴ‪‬ﻬﻮﻝ‪ .‬ﻭﺗﻄﻠﻊ ﻗﺒﻞ ﺍﻟﺮ‪‬ﺳﺎﻻﺕ‪ ،‬ﻗﺒﻞ ﺍﳊﻀﺎﺭﺍﺕ‪ ،‬ﻗﺒﻞ‬ ‫ﺍﻛﺘﻤﺎﻝ ﺍﻷﺻﻮﻝ‪ .‬ﺗﻠﻚ ﺍﻟﺘ‪‬ﻲ ﺛﻐﺮﻫﺎ ﺍﻟﺒﺪﺀ ﻭﺍﳌﻨﺘﻬﻰ‪ ،‬ﻭﺭﺍﺣﺘﻬﺎ ﳑﻠﻜﺎﺕ ﺍﻟﻮﺻﻮﻝ‪.‬‬ ‫‪7‬‬

‫ﻟﻜﻞﹼ ﻋﺼﺮ ﻭﺍﺣﺪ ﻳﺴﻤﻮ ﺑﻪ‪ ،‬ﻭﺃﻧﺎ ﳍﺬﺍ ﺍﻟﻌﺼﺮ ﺫﺍﻙ ﺍﻟﻮﺍﺣﺪ‪ .‬ﻗﻠﱯ ﻣﻨﺎﺭﺍﺕ ﺍﻟﺪ‪‬ﱏ‪،‬‬

‫ﻭﺃﺻﺎﺑﻌﻲ ﻗﻠﻖ ﺍﻟﺪ‪‬ﻫﻮﺭ ﺍﻟﺼ‪‬ﺎﻋﺪ‪ .‬ﺃﻧ‪‬ﻰ ﻭﺿﻌﺖ ﻗﺼﺎﺋﺪﻱ ﺍﻧﻘﺼﻔﺖ ﺩﱏ‪ ،‬ﻭﺃﺿﻲﺀ ﺃﻓﻖ ﺭﺍﻋﺪ‪.‬‬ ‫ﺃﲰﻮ ﻭﺃﻧﺼﺮ ﻣﺎ ﺃﺭﻯ‪ .‬ﻓﺠﻤﻴﻊ ﻣﻦ ﺣﻮﱄ ﻫﻨﺎ ﻟﻀﻼﻝ ﺃﺳﺌﻠﱵ ﺃﻧﺎ ﻳﺴ‪‬ﺎﺟﺪ‪.‬‬ ‫‪26‬‬


‫ﻭﺃﺻﺮﺥ ﰲ ﺃﻭ‪‬ﻝ‬ ‫ﺖ ﺃﻭ‪‬ﻝ ﻣﻦ ﺭﺣﻠﺖ‪.‬‬ ‫ﺍﻟﻠﹼﻴﻞ‪ .‬ﻟﺴ ‪‬‬ ‫‪8‬‬ ‫ﺖ ﺁﺧﺮ ﻣﻦ ﻳﺮﺣﻞ ﺍﻵﻥ ﻣﻦ ﻣﻠﻜﻮﺕ ﺍﻷﻧﺎ ﺍ ﹸﳌ ﹶﱰﻝ‪.‬‬ ‫ﻭﻟﺴ ‪‬‬

‫‪ 8‬ﺃﳏﻮ ﻭﳝﺤﻮﱐ ﺍﻟﺴ‪‬ﺆﺍﻝ‪ .‬ﻭﻻ ﺃﺭﻯ ﰲ ﻫﺬﻩ ﺍﻟﺴ‪‬ﺎﻋﺎﺕ ﺇﻻﹼ ﺻﺮﺧﱵ ﺗﻌﻠﻮ‪ ،‬ﻭﺃﺳﺌﻠﱵ ﲤﻮﺕ‪.‬‬ ‫ﺷﻔ ﹲﺔ ﻣﻦ ﺍﻟﻴﺎﻗﻮﺕ ﺃﻋﻼﻫﺎ‪ ،‬ﻭﺃﺳﻔﻠﻬﺎ ﻣﺮﺍﻳﺎ ﺗﻌﻜﺲ ﺍﳌﻠﻜﻮﺕ‪ .‬ﺃﻧ‪‬ﻰ ﳌﺴﺖ ﺗﺴﺎﻗﻄﺖ ﻧﺬ ‪‬ﺭ‬ ‫ﺍﻟﻀﻼﻝ‪ ،‬ﻭﺃﻭﺭﻗﺖ ﺳﺘﺮ ﺍﻟﺒﻴﻮﺕ‪ .‬ﻭﻫﺰ‪ ‬ﺃﺭﻛﺎﻥ ﺍﻟﺪ‪‬ﱏ ﻣﻄﺮ ﺍﻟﺮ‪‬ﺅﻯ‪ ،‬ﻭﺍﺷ‪‬ﺮﺩﺕ ﺳﻮﺭ‪،‬‬ ‫ﻭﺣﻄﹼﺖ ﺳﺎﻋﺔ ﺍﻟﺘ‪‬ﺮﺣﺎﻝ ﺃﻧﺜﻰ ﺍﻟﻄﹼﲑ‪ ،‬ﻭﺍﻧﺪﺍﺣﺖ ﻓﺤﻮﻝ ﺍﳋﻴﻞ‪ ،‬ﻭﺍﻧﺒﺠﺴﺖ ﻋﻴﻮﻥ ﺍﳌﺎﺀ‪،‬‬ ‫ﻭﺍﺳ‪‬ﺎﺟﺪﺕ ﺯﻣﺮ ﺍﳌﻼﺋﻚ‪ ،‬ﻭﺍﺻﻄﺎﻑ ﰲ ﺃﻋﻄﺎﻓﻬﺎ ﺍﻟﻼﹼﻫﻮﺕ‪.‬‬ ‫‪27‬‬


‫ﺻﺮﺧﺖ ‪‬ﺎ‪" :‬ﻻ ﺗﻐﻴﱯ"‪.‬‬ ‫ﻓﻐﺎﺑﺖ‪.‬‬ ‫ﲤﻨ‪‬ﻴﺖ ﺃﻥ ﻻ ﺗﻔﻜﹼﺮ ﺃﻛﺜﺮ‪.‬‬ ‫ﻟﻜﻨ‪‬ﻬﺎ ﻓﻜﹼﺮﺕ‪.‬‬ ‫ﺷﺮ‪‬ﺩﺕ ﴰﺴﻬﺎ ﰲ ﺍﻟﺼ‪‬ﺤﺎﺭﻱ‪.‬‬ ‫ﻓﻼ ﺿﺎﺀ ﺑﻴﺖ ﺗﻨﺎﻫﺖ ﺇﻟﻴﻪ‪.‬‬ ‫ﻭﻻ ﺿﺎﺀ ﻣﺎ ﺗﺮﻛﺖ‪.‬‬

‫‪9‬‬

‫‪ .. 9‬ﻭﻳﺪﺍﻙ ﰲ ﻏﻮﺭﻳﻬﻤﺎ ﺃﺑﺪ ﻣﻦ ﺍﻟﺘ‪‬ﺤﻨﺎﻥ ﻣﻨﺜﻮﺭ ﻭﺁﺑﺎﺩ ﻣﻦ ﺍﳌﻌﲎ ﺗﺼﺎﻍ ﻭﺃﻭﻃﺎﻥ ﻭﺃﺩﻳﺮﺓ‬ ‫ﺗﻀﺎﺀ‪ .‬ﺃﻧ‪‬ﻰ ﺃﺣﻂﹼ ﺃﺻﺎﺑﻌﻲ ﻳﻨﺄﻯ ﺍﻟﻈﹼﻼﻡ ﻭﻳﻘﺘﻔﻲ ﺧﻄﻮﻱ ﺍﻟﻀ‪‬ﻴﺎﺀ‪ .‬ﻭﺃﺭﻯ ﺍﻟﺪ‪‬ﱏ ﲢﺒﻮ ﻋﻠﻰ‬ ‫ﺁﺛﺎﺭﻫﺎ ﺍﻷﺳﺮﺍﺭ‪ .‬ﺃ‪‬ﺎﺭ ﻟﺬﹼﺍﺕ ﺇﺫﺍ ﺳﺎﺭﺕ ﻭﺇﻥ ﻭﻗﻔﺖ ‪‬ﺎﺭ‪ .‬ﻭﺃﺷﺠﺎ ‪‬ﺭ ﺇﺫﺍ ﳌﺴﺖ ﺗﻔﻴﺾ‬ ‫ﺃﺯﺍﻫﺮﺍ ﻭﺗﻔﻴﺾ ﰲ ﻋﻴﺪﺍ‪‬ﺎ ﺍﻷﲦﺎﺭ‪ .‬ﻭﺍﻷﺭﺽ‪ ،‬ﺣﺘ‪‬ﻰ ﺍﻷﺭﺽ‪ ،‬ﺇﻥ ﺭﺿﻴﺖ ﺗﻔﺮ‪ ‬ﺟﺒﺎﳍﺎ ﻭﺗﻠﻔﹼﻬﺎ‬ ‫ﺍﻷﻣﻄﺎﺭ‪ .‬ﻭﺍﻟﻨ‪‬ﻮﺭ ﻳﺮﻗﺪ ﰲ ﺟﻨﺎﻥ ﺣﻀﻮﺭﻫﺎ ﲦﻼ‪ ،‬ﻭﺗﻌﻠﻮ ﺑﺎﲰﻬﺎ ﺍﻷ‪‬ﺎﺭ‪ .‬ﻭﺍﻟﻐﻴﺐ ﻳﻨﻬﺾ ﻣﻦ‬ ‫ﺟﺤﻴﻢ ﺭﻗﺎﺩﻩ ﺧﻀﻼ‪ ،‬ﻭﲢﻴﺎ ﺑﺎﲰﻬﺎ ﺍﻷﻃﻴﺎﺭ‪ .‬ﻭﻛﻞﹼ ﺷﻲﺀ ﺇﻥ ﺗﺸﺎﺀ‪ ،‬ﻻ ﺇﻥ ﺗﺸﺘﻬﻲ ﺍﻷﻗﺪﺍﺭ‪.‬‬ ‫‪28‬‬


‫ﻭﻗﻠﺖ ﳍﺎ‪ " :‬ﻧﻀﺠﺖ ﲦﺮﺍﰐ‪ ،‬ﻭﻣﺎ ﻗﻄﻔﺖ ﻳﺪﻙ"‪.‬‬ ‫"ﺃﺳﺪﱄ ﺳﺘﺮﻙ‪ ،‬ﻭﺍﺳﺘﻌﻴﺪﻱ ﺍﻟﺼ‪‬ﺒﺎﺡ‪ .‬ﻭﻛﻮﱐ ﻣﻌﻲ‪.‬‬ ‫ﺖ ﻣﻦ ﺍﻷﺭﺽ‪،‬‬ ‫ﺇﻧ‪‬ﲏ ﻗﺪ ‪‬ﺧ ‪‬ﻠﻌ ‪‬‬ ‫ﻭﻣﻦ ﳑﻠﻜﺎﺕ ﺍﻟﺴ‪‬ﻤﺎﺀ‪،‬‬ ‫ﻭﻣﻦ ﺃﻣﻠﻲ"‪.‬‬

‫‪10‬‬

‫‪10‬ﻭﻟﺪﺕ ﻣﻊ ﺍﻟﺸ‪‬ﻮﻕ‪ .‬ﻇﻤﺌﺖ ﻛﻤﺎ ﻇﻤﺄ ﺍﻟﻐﲑ‪ .‬ﻗﻠﺖ ﺃﻭﺩ‪‬ﻉ ﻫﺬﺍ ﺍﻟﺴ‪‬ﺆﺍﻝ ﺍﻷﺧﲑ‪،‬‬ ‫ﻭﺃﺫﻫﺐ‪ ،‬ﻟﻜﻦ‪ ‬ﺧﻄﻮﻱ ﺗﻘﺎﻓﺰ ﻣﻦ ﺣﻮﻟﻪ ﺍﻟﻄﹼﲑ‪ ،‬ﻭﺍﻟﻐﻴﻢ ﺃﺳﺮﻯ ﺇﱃ ﺿﺤﻜﱵ‪ ،‬ﻭﺍﻟﺴ‪‬ﻤﺎﻭﺍﺕ‬ ‫ﺃﻟﻘﺖ ﺑﺮﻳﻖ ﺍﻟﻨ‪‬ﻬﺎﺭ ﻋﻠﻰ ﺳﺎﻋﺪﻱ‪.‬ﻭﺍﺳﺘﻄﺎﻉ ﺍﻟﺼ‪‬ﺒﺎ ﺃﻥ ﻳﺆﻟﹼﻒ ﺑﻴﺘﺎ ﻣﻦ ﺍﻟﺴ‪‬ﺤﺮ ﻳﻜﻔﻲ ﻹﻳﻼﻑ‬ ‫ﻣﺎ ﻓﺮ‪‬ﻕ ﺍﻟﺒﺪﻭ‪ .‬ﺗﻌﻠﹼﻤﺖ ﺃﺷﻴﺎﺀ ﻻ ﺃﻋﺮﻑ ﺍﻵﻥ ﻛﻴﻒ ﺃﺭﺗ‪‬ﺒﻬﺎ‪ .‬ﺃﻥ ﻻ ﺃﻛﻮﻥ ﺍﻟﺘ‪‬ﺮﺍﺗﻴﻞ ﰲ ﻟﻴﻞ‬ ‫ﺃﻋﺮﺍﺳﻬﻢ‪ ،‬ﻭﺍﳌﻨﺎﺣﺎﺕ ﰲ ﻟﻴﻞ ﺃﺣﺰﺍ‪‬ﻢ‪ ،‬ﻭﺍﻟﻮﺣﻴﺪ ﺍﻟﻮﺣﻴﺪ ﺍﻟﻮﺣﻴﺪ‪ .‬ﺗﻌﻠﹼﻤﺖ ﺃﻥ ﺃﺣﺘﻔﻲ‬ ‫ﺑﺎﻟﻐﻤﻮﺽ ﺍﳉﻠﻴﻞ‪ ،‬ﻭﺃﻥ ﺃﺣﺘﻤﻲ ﺑﺎﻟﺮ‪‬ﻣﻮﺯ‪ ،‬ﻭﺑﺎﻟﻌﺘﻤﺎﺕ ﺍﻟﺘ‪‬ﻲ ﺗﺮﺑﻚ ﺍﻟﻐﻴﻢ‪ ،‬ﻭﺃﻥ ﺃﺣﺘﻤﻲ‬ ‫ﺑﺎﳉﻠﻴﺪ‪ .‬ﻭﻫﻴ‪‬ﺄﺕ ﻧﻔﺴﻲ ﻟﻌﺸﻖ ﺍﻟﺘ‪‬ﻲ ﻭﺟﻬﻬﺎ ﺍﻟﻨ‪‬ﻮﺭ ﺗﺮﻓﻞ ﻓﻴﻪ ﺍﻟﻨ‪‬ﺠﻴﻤﺎﺕ‪ ،‬ﻭﺃﻃﺮﺍﻓﻬﺎ ﺍﻟﻨ‪‬ﻮﺭ‬ ‫ﺗﺮﻗﺺ ﻓﻴﻪ ﺍﻟﺴ‪‬ﻤﺎﻭﺍﺕ‪ ،‬ﻭﺁﺛﺎﺭﻫﺎ ﺍﻟﻐﻴﻢ ﻭﺍﳍﻴﻠﻼﺕ‪ ،‬ﻭﻗﻠﺖ ﳍﺎ ﻭﺣﺪﻫﺎ ﻣﺎ ﺃﻗﻮﻝ‪.‬‬ ‫‪29‬‬


‫ﻭﻟﻜﻨ‪‬ﻬﺎ ﺭﺣﻠﺖ‪ .‬ﺗﺮﻛﺘﲏ ﺃﺭﺗ‪‬ﺐ ﻣﺎ ﻛﺎﻥ ﻣﻦ ﻋﺎﳌﻲ‪ .‬ﺃﻣ ‪‬ﺪ‬ ‫ﻟﺘﻔﹼﺎﺣﺔ ﺳﺎﻋﺪﻱ‪ ،‬ﻭﻟﻨﻬﺮ ﺻﻐﲑ ﺷﻔﺎﻫﻲ‪ ،‬ﻭﺃﻋﻄﻲ ﺍﻟﻐﺮﺍﺑﻴﺐ ﺃﺳﻮﺩ ﻗﻠﱯ‬ ‫ﻭﺃﺑﻴﻀﻪ‪ .‬ﻭﺃﺭﺳﻞ ﻇﹼﻠﻲ‬ ‫ﺍﻟﻈﹼﻠﻴﻞ ﳍﺎ‪.‬‬ ‫ﺴﻞ ﺑﺎﻟﻌﻄﺮ ﻇ ﹼﻞ ﻣﺴﺎﺣﺒﻬﺎ‪.‬‬ ‫ﻭﺃﻏ ‪‬‬ ‫ﻭﺃﻫﻴ‪‬ﺊ ﻗﻠﱯ ﳍﺎ‪.‬‬ ‫ﹼﰒ ﺃﻓﺠﺆﻫﺎ‪ ،‬ﻭﺃﻗﻮﻝ ﳍﺎ‪" :‬ﺍﺩﺧﻠﻲ ﺟﻨ‪‬ﱵ‪ ،‬ﻭﺍﺩﺧﻠﻲ ﰲ ﻋﺒﺎﺩﻱ‪ .‬ﻭﻛﻮﱐ‬ ‫ﻣﻌﻲ‪ .‬ﺇﻧ‪‬ﲏ ﺩﻭﻥ ﻋﻴﻨﻴﻚ ﻻ ﺃﺭﺽ ﱄ‪ .‬ﻭﻻ ﻧﻮﺭ ﻳﻮﺭﻕ ﰲ ﺃﻭ‪‬ﻝ ﺍﻟﻠﹼﻴﻞ‬ ‫ﰲ ﻣﱰﱄ‪ .‬ﻭﻻ ﺃﻣ ﹲﻞ ﻳﺘﻘﺎﻓﺰ ﻣﺜﻞ ﺍﻟﻌﺼﺎﻓﲑ ﻓﻮﻕ ﺍﻟﻌﺘﻴﺒﺎﺕ ﻭﺍﻟﺸ‪‬ﺠﺮﺍﺕ‬ ‫ﺍﻟﺼ‪‬ﻐﲑﺓ ﻭﺍﳌﺨﺪﻉ ﺍﳌﻬﻤﻞ‪ .‬ﻛﻮﱐ ﻣﻌﻲ ﺩﺍﺋﻤﺎ ﺩﺍﺋﻤﺎ‪ .‬ﺇﻧ‪‬ﲏ ﺩﻭﻥ‬ ‫ﻋﻴﻨﻴﻚ ﻻ ﺃﺭﺽ ﱄ‪ .‬ﻭﻻ ﺿﻮﺀ ﻳﻨﺒﺾ ﰲ ﺩﺍﺧﻠﻲ"‪.‬‬

‫‪11‬‬

‫‪11‬ﱂ ﺃﻋﺪ ﻭﺍﺣﺪﺍ‪ .‬ﺃﻟﻒ ﲝﺮ ﺗﺼﺎﻋﺪ ﺃﻣﻮﺍﺟﻪ‪ ،‬ﻭﺁﻻﻑ ﺃﻏﻨﻴﺔ ﻛﺎﻓﺮﺓ‪ .‬ﺳﺎﻛﻦ ﰲ ﺑﺮﻳﻖ‬ ‫ﺍﻟﺰ‪‬ﻏﺎﺭﻳﺪ‪ .‬ﻻ ﺃﺑﻴﺾ ﺍﻵﻥ ﺃﻣﻨﺤﻪ ﺧﻄﺮﺍﰐ ﻭﻻ ﺫﺍﻛﺮﺓ‪ .‬ﻟﺴﺖ ﻭﺣﺪﻱ‪ ،‬ﻭﻟﺴﺖ ﺇﱃ ﺃﺣﺪ‬ ‫ﻭﺍﺿﺢ‪ ،‬ﻭﺃﻋﻠﻢ ﺃﻥﹼ ﺍﻟﻌﺼﺎﻓﲑ ﺟﺎﺀﺕ ﻭﺃﻋﻄﺖ ﻟﻘﻠﱯ ﺃﻏﺎﺭﻳﺪﻫﺎ ﺍﳊﺎﺋﺮﺓ‪ .‬ﻛﻞﹼ ﻧﻮﺭ ﻳﻀﺎﺀ ﺃﻧﺎ‬ ‫ﻣﻦ ﺃﺿﺎﺀ ﻟﻪ ﺍﻟﺒﻴﺖ ﻭﺍﻟﻈﻞﹼ ﻭﺍﻟﻘﺎﻣﺔ ﺍﻟﺜﹼﺎﺋﺮﺓ‪ .‬ﻭﻛﻠﹼﻤﺎ ﺃﻭﻏﻠﺖ ﰊ ﺍﻟﺮ‪‬ﺅﻯ ﰲ ﻏﻴﻮﺏ ﺍﻟﻐﻴﻮﺏ‬ ‫ﻭﺟﺪﺗﻚ ﰲ ﺳﻮﺭﰐ ﺍﻟﻐﺎﺋﺒﺔ‪ .‬ﻭﺃﻋﻄﻴﺖ ﺃﲰﺎﺀ ﻛﻞﹼ ﺍﻟﻔﺼﻮﻝ ﻭﻛﻞﹼ ﺍﻟﻄﹼﻴﻮﺭ ﻭﻛﻞﹼ ﺍﻟﻔﺮﺍﺵ‪،‬‬ ‫ﻭﺁﻟﻔﺖ ﺑﲔ ﺍﻟﻨﻘﺎﺋﺾ ﻟﻠﻤﺮ‪‬ﺓ ﺍﻟﻌﺎﺷﺮﺓ‪..‬‬ ‫‪30‬‬


‫ﺷﺘﺎﺀ ﺍﻷﺑﺪ‬ ‫ﱂ ﺃﻋﺮﻑ ﺍﻻ‪‬ﻴﺎﺭ ﺑﻌﺪ‪ ،‬ﺃﻣﻠﻚ ﺟﻨﺎﺣﲔ‪ .‬ﻭﱂ ﺍﺳﺘﻨﻔﺪ ﺑﻌﺪ ﻛ ﹼﻞ‬ ‫ﺃﻓﺮﺍﺣﻲ‪.‬‬ ‫ﺃﻣﲔ ﻣﻌﻠﻮﻑ‬ ‫ﻟﻘﺪ ﻭﻟﹼﻰ ﺍﻟﺮ‪‬ﻋﺐ‪ ،‬ﻭﺗﺪﺟ‪‬ﻦ ﺍﻟﻘﻠﻖ‪ ،‬ﻭﱂ ﺗﺒﻖ ﺳﻮﻯ ﻧﺸﻮﺓ‬ ‫ﺍﳊ ‪‬ﺮﻳ‪‬ﺔ‪.‬‬ ‫ﺃﻣﲔ ﻣﻌﻠﻮﻑ‬

‫‪31‬‬


‫ﱂ ﻳﺒﺪﺃ ﻣﻦ ﺍﳌﺎﺿﻲ ﻛﻌﺎﺩﺗﻪ‪،‬‬ ‫ﻭﱂ ﻳﺒﺪﺃ ﻣﻦ ﺍﻟﻌﺘﺒﺎﺕ‪.‬‬ ‫ﲰ‪‬ﻰ ﺻﻤﺘﻬﺎ ﻭﻃﻨﺎ‪،‬‬ ‫ﻭﻋﻴﻨﻴﻬﺎ ﲰﺎﺀ‪،‬‬ ‫ﻭﺑﺴﻤﺘﻬﺎ ﺃﺭﺍﺿﻲ ﺍﳌﻄﻠﻘﺎﺕ‪.‬‬ ‫ﻭﻭﺍﻋﺪﻫﺎ‪..‬‬ ‫)ﳍﺎ ﺇﻥ ﻗﺎﺩﺕ ﺍﻟﺮ‪‬ﺅﻳﺎ ﺇﱃ ﺑﻴﱵ ﻭﺇﻥ ﻧﺜﺮﺕ ﳒﻴﻤﺎﺕ ﺍﻟﺴ‪‬ﻤﺎﺀ‬ ‫ﻋﻠﻰ ﺣﻘﻮﻝ ﺍﻟﻈﹼﻠﻤﺔ ﺍﻟﺴ‪‬ﻮﺩﺍﺀ ﻗﻠﱯ ﻭﺍﻟﻘﺼﺎﺋﺪ ﻭﺍﻟﻴﻨﺎﺑﻴﻊ ﺍﻟﺼ‪‬ﻐﲑﺓ‬ ‫ﻭﺍﳌﲎ‪ .‬ﻭﳍﺎ ﻗﻨﺎﺩﻳﻞ ﺍﻟﺼ‪‬ﺒﺎﺡ(‪.‬‬ ‫ﻭﺃﺭﺩﻑ‪:‬‬ ‫)ﺇﻥ ﺃﺗﺖ‪،‬‬ ‫ﺳﺄﻛﻮﻥ ﺻﺎﺭﻳﻬﺎ ﻟﺘﻨﻜﺴﺮ ﺍﻟﺮ‪‬ﻳﺎﺡ(‪.‬‬ ‫ﻭﻏﻤﻐﻢ‪:‬‬ ‫)ﻟﻠﺨﻴﻮﻝ ﻋﺬﺍﺑﺎ‪‬ﺎ‪ .‬ﻭﺍﳌﺮﺍﺭﺍﺕ ﻟﻠﺤﺠﺮﺍﺕ ﻭﻟﻠﻄﹼﲑ ﺇﻥ‬ ‫ﻃﺎﺭﺩﺗﻪ ﺍﳌﻮﺍﺟﻴﺪ‪ .‬ﻭﱄ ﻋﺎﺩﺓ ﻣﺎ ﺃﺟﻴﺪ‪ ،‬ﻭﻣﺎ ﻻ ﺃﺟﻴﺪ(‪.‬‬ ‫***‬ ‫ﺃﻏﻔﻞ ﺫﻛﺮ ﺍﳌﺎﺿﻲ‪.‬‬

‫‪32‬‬


‫ﻭﺃﻃﻠﻖ ﺧﻴﻞ ﺍﻟﻨ‪‬ﺴﻴﺎﻥ ﻭﺃﻓﺮﺍﺱ ﺍﳌﻮﺕ‪.‬‬ ‫ﲰ‪‬ﺎﻫﺎ ﻗﺪﺭﺍ‪،‬‬ ‫ﻭﺟﻨﺎﻧﺎ‪،‬‬ ‫ﻭﺃﺣﺎﻁ ﻳﺪﻳﻬﺎ ﲟﺤﺎﺭ ﺍﻟﺼ‪‬ﻤﺖ‪.‬‬ ‫ﻭﻓﻜﹼﺮ ﰲ ﻛﺴﺮ ﺍﻟﻈﹼﻠﻤﺔ‪.‬‬ ‫ﻓﺎﻧﺪﺍﺣﺖ ﺃﺿﻮﺍﺀ ﺍﻟﻌﺎﱂ ﻣﻦ ﺑﲔ ﺃﺻﺎﺑﻌﻬﺎ‪،‬‬ ‫ﻭﺍﺋﺘﻠﻘﺖ ﺃﺭﻛﺎﻥ ﺍﻟﺒﻴﺖ‪.‬‬ ‫)ﻭﺃﺧﲑﺍ ﺟﺎﺀﺕ(‪.‬‬ ‫ﲤﺘﻢ ﻣﻔﺘﻮﻧﺎ‪:‬‬ ‫)ﻭﺃﺿﺎﺀﺕ ﻋﻤﺮﻱ‪.‬‬ ‫ﻭﻫﺒﺘﲏ ﰲ ﻫﺬﻱ ﺍﻟﻠﹼﺤﻈﺔ ﺃﻛﻮﺍﻧﺎ ﺃﺧﺮﻯ‪،‬‬ ‫ﻭﺑﺪﺍﺋﻞ ﺃﺧﺮﻯ‪،‬‬ ‫ﻭﺣﻀﺎﺭﺍﺕ ﺃﺧﺮﻯ‪.‬‬ ‫ﻭﺃﲤﹼﺖ ﺇﻳﺮﺍﻕ ﺍﻟﺸ‪‬ﺠﺮ‪.‬‬ ‫ﻭﺃﲤﹼﺖ ﺧﻠﻖ ﺍﻟﻄﹼﲑ‪،‬‬ ‫ﻭﺧﻠﻖ ﳑﺎﻟﻴﻚ ﺍﻟﻄﹼﲑ‪،‬‬ ‫ﻭﻗﺎﻟﺖ ﻟﻠﻀ‪‬ﻮﺀ‪" :‬ﲤﻬ‪‬ﻞ ﻳﺎ ﺿﻮﺀ ﺍﳊﻴﻄﺎﻥ ﺍﻟﺒﻴﺾ‪ ،‬ﲤﻬ‪‬ﻞ‪ ،‬ﻓﻮﺭﺍﺀ‬ ‫ﺧﻄﺎﻙ ﻣﻮﺍﻋﻴﺪ ﺣﺒﻴﱯ"(‪.‬‬

‫‪33‬‬


‫***‬ ‫ﻭﺗﱰﹼﻟﺖ ﺍﻟﺴ‪‬ﻮﺭ‪.‬‬ ‫ﺁﻓﺎﻕ ‪‬ﻀﺖ ﻭﺑﺮﻭﻕ ﻭﻓﺘﻮﺡ ﻛﺴﺮﺕ ﻫﺪﺃ‪‬ﺎ ﻭﻏﻴﻮﻡ ﻣﻮﺍﺟﻌﻬﺎ‪.‬‬ ‫ﻭﺍﻧﺪﺍﺣﺖ ﰲ ﺍﻟﻠﹼﻴﻞ ﺧﻄﺎﻃﻴﻒ ﻭﺃﻳﺎﺋﻞ ﻣﻦ ﺧﻠﻒ ﺳﻴﺎﺝ ﺣﺪﺍﺋﻘﻬﺎ‪.‬‬ ‫ﻭﺍﺭﺗﻌﺪﺕ ﰲ ﺍﳊﺠﺮﺓ ﻣﻦ ﺧﻠﻒ ﻣﻘﺎﻋﺪﻫﺎ ﺍﻟﺴ‪‬ﺘﺮ‪ .‬ﻭﺗﱰﹼﻟﺖ ﺍﻟﺴ‪‬ﻮﺭ‪.‬‬ ‫ﻗﺎﻟﺖ‪:‬‬ ‫)ﱂ ﻳﻄﻠﻊ ﻣﻨﺬ ﺗﻐﻴ‪‬ﺒﺖ ﺍﻟﻘﻤﺮ‪.‬‬ ‫ﱂ ﺃﳊﻆ ﻗﻤﺮﺍ ﻳﻌﻮﻱ ﰲ ﺍﻟﺼ‪‬ﺤﺮﺍﺀ‪ ،‬ﻭﻻ ﺷﺠﺮﺍ ﻳﻨﻀﺞ ﻓﻴﻪ ﺍﻟﺜﹼﻤﺮ‪.‬‬ ‫ﻣﻨﺬ ﺫﻫﺒﺖ ‪‬ﺎﻭﺕ ﻣﻦ ﺧﻠﻒ ﺍﻟﺸ‪‬ﺮﻓﺎﺕ ﺻﺒﺎﺣﺎﺕ ﺍﻹﻳﻼﻑ‪،‬‬ ‫ﻭﻟﻴﻼﰐ ﻃﻮ‪‬ﳍﺎ ﺍﻟﺴ‪‬ﻔﺮ‪.‬‬ ‫ﻣﺬ ﻏﺒﺖ ﺗﺬﻛﹼﺮﱐ ﻟﻴﻞ ﺍﻟﻨ‪‬ﺴﻴﺎﻥ‪،‬‬ ‫ﻭﺃﻭﺭﻕ ﰲ ﻛﻔﹼﻲ ﺍﳊﺠﺮ(‪.‬‬ ‫ﻭﺃﻟﻘﺖ ﻣﺎ ﰲ ﻳﺪﻫﺎ ﻟﻮﻋﻮﻝ ﻋﺎﺑﺮﺓ ﻭﺃﻳﺎﺋﻞ ﻟﻦ ﺗﺘﻌﻮ‪‬ﺩ ﻋﻄﻒ‬ ‫ﻧﺴﺎﺀ ﺍﳊ ‪‬ﻲ‪ ..‬ﻭﻣﻦ ﺧﻠﻒ ﺍﳌﻘﻌﺪ‪ ،‬ﺫﺍﻙ ﺍﻟﺴ‪‬ﺎﻛﻦ ﰲ ﺍﻟﺮ‪‬ﻛﻦ ﺍﻷﳝﻦ ﻣﻦ‬ ‫ﺷﺮﻓﺘﻬﺎ ﺍﻟﻘﻤﺮﻳ‪‬ﺔ‪ ،‬ﺗﺮﻛﺖ ﻳﺪﻫﺎ ﻟﻠﺴﺎﻥ ﺍﻟﻘﻄﹼﺔ‪ ،‬ﻭﺷﺮﺍﺷﻔﻬﺎ ﳋﺪﻭﺩ ﺍﻟﻠﹼﻴﻞ‪،‬‬ ‫ﻱ ﻓﺎﺟﺄﻩ ﺍﻹﻣﻄﺎﺭ‪،‬‬ ‫ﻭﺗﻔﹼﺎﺡ ﺃﺻﺎﺑﻌﻬﺎ ﻟﻠﱪﻕ ﺍﻟﺼ‪‬ﺎﻫﻞ ﻣﺜﻞ ﺟﻮﺍﺩ ﺻﺤﺮﺍﻭ ‪‬‬ ‫ﻭﺃﻏﻮﺍﻩ ﺍﻟﻮﻗﺖ‪.‬‬ ‫ﻭﲤﻨ‪‬ﺖ‬

‫‪34‬‬


‫ﺃﻥ ﻳﻌﻮﻱ ﺍﻟﺸ‪‬ﺠﺮ‪.‬‬ ‫ﻭﲤﻨ‪‬ﺖ‬ ‫ﺃﻥ ﻳﻨﻀﺞ ﰲ ﺷﺠﺮ ﺍﻟﻠﹼﻴﻼﺕ ﺍﻟﺜﹼﻤﺮ‪.‬‬ ‫ﻭﲤﻨ‪‬ﺖ‬ ‫ﺃﻥ ﺗﺘﱰﹼﻝ‪،‬‬ ‫ﰲ ﻫﺬﻱ ﺍﻟﻠﹼﺤﻈﺎﺕ ﺍﳌﺨﻄﻮﻓﺔ ﻣﻦ ﺃﻋﻤﺎﻕ ﺍﳌﻮﺕ‪،‬‬ ‫ﺑﺮﻭﻕ ﺃﺻﺎﺑﻌﻪ‪.‬‬ ‫ﻭﺃﻥ ﺗﺼﻬﻞ ﺧﻴﻞ ﻣﻔﺎﺗﻨﻪ‪.‬‬ ‫ﻭﲤﻨ‪‬ﺖ‬ ‫ﺃﻥ ﺗﺴﻤﻌﻪ ﻟﺘﻄﲑ‪.‬‬ ‫ﻭﲤﻨ‪‬ﺖ‬ ‫ﺃﻥ ﺗﻠﻤﺴﻪ‬ ‫ﻂ ﺍﻟﻄﹼﲑ ﻋﻠﻰ ﺃﻃﺮﺍﻑ ﻣﻘﺎﻋﺪﻫﺎ ﺭﻳﺸﺎ ﻭﺟﻨﺎﺣﺎﺕ‬ ‫ﻟﻴﺤ ﹼ‬ ‫ﻟﺘﻄﲑ‪.‬‬ ‫ﻭﲤﻨ‪‬ﺖ‬ ‫ﺃﻥ ﺗﺒﺼﺮﻩ‬ ‫ﻟﻴﺠﻲﺀ ﺍﻟﻐﻴﻢ ‪‬ﻴﺂﺕ ﺍﻟﻄﲑ‪،‬‬ ‫ﻭﻳﻌﻄﻴﻬﺎ ﻗﺪﺭﺍﺕ ﺍﻟ ﹼﻄﲑ‪،‬‬

‫‪35‬‬


‫ﻭﺃﻭﻫﺎﻡ ﺻﻐﺎﺭ ﺍﻟﻄﹼﲑ‪.‬‬ ‫ﻭﲤﻨ‪‬ﺖ‬ ‫ﺃﻥ ﺗﺒﻘﻰ ﻟﺘﺸ ‪‬ﻢ ﺭﻭﺍﺋﺤﻪ‪،‬‬ ‫ﺺ ﺃﺻﺎﺑﻌﻪ ﺍﳌﻐﻤﻮﺳﺔ ﰲ ﺃﻃﻴﺎﻥ ﺍﳋﻠﻖ‪.‬‬ ‫ﻭﲤ ‪‬‬ ‫ﻭﲤﻨ‪‬ﺖ‬ ‫ﺃﻥ ﻳﻠﻤﺴﻬﺎ‬ ‫ﻓﺘﻀﺎﺀ ﺑﻴﻮﺕ ﺍﻟﺮ‪‬ﻏﺒﺎﺕ‪،‬‬ ‫ﻭﺗﻨﺪﺍﺡ ﲦﺎﺭ ﺍﻟﱪﻕ‪.‬‬

‫‪36‬‬


‫ﺍﻷﻭﺩﻳﺴﺔ‬

‫ﻗﺎﻟﺖ ﺃﺣﺒ‪‬ﻚ‪،‬‬ ‫ﻭﺍﻧﺘﻔﻀﺖ‪ .‬ﺗﺮﻛﺖ ﻗﻠﺒﻬﺎ ﻭﺍﻟﻮﺩﺍﻉ ﻭﺃﻣﻨﻴﺔ‪:‬‬ ‫ﺃﻥ ﻧﻜﻮﻥ ﻣﻌﺎ ﺩﺍﺋﻤﺎ‪.‬‬ ‫ﻭﻏﺎﺑﺖ‪.‬‬ ‫ﺳﻘﻮﻑ ﺃﺿﻴﺌﺖ ﻋﻠﻰ ﺻﻮ‪‬ﺎ‪،‬‬ ‫ﻭﺑﻴﻮﺕ ﻣﻦ ﺍﻟﻮﻫﻢ ﺃﻧﺰﻟﺖ ﺍﻵﻥ ﺑﲔ ﺍﻟﻐﺮﻑ‪.‬‬ ‫ﺑﺮﻭﺭ ﻣﻦ ﺍﻟﻨ‪‬ﻮﺭ ﺿﺎﺀﺕ ﻭﺿﺎﺀ ﺍﻟﺰ‪‬ﻣﺎﻥ ﻭﺣﻘﹼﻘﺖ ﺍﻵﻥ ﻛ ﹼﻞ ﺍﻟﺼ‪‬ﺪﻑ‪.‬‬ ‫)ﺳﻨﻜﻮﻥ ﻣﻌﺎ ﺩﺍﺋﻤﺎ‪ ،‬ﻻ ﲣﻒ(‪.‬‬

‫‪37‬‬


‫ﻱ ﺷﻲﺀ‪ .‬ﺗﺮﻛﺖ ﺍﳋﻴﻮﻝ ﺍﻟﺸ‪‬ﺘﺎﺋﻴ‪‬ﺔ ﺍﳋﻄﻮ ﺗﻌﺪﻭ ﺇﱃ‬ ‫ﱂ ﺃﻗﻞ ﺃ ‪‬‬ ‫ﺁﺧﺮ ﺍﳌﻨﺤﺪﺭ‪ .‬ﻭﻓﻜﹼﺮﺕ‪" :‬ﺃﻱ‪ ‬ﺍﳊﻀﺎﺭﺍﺕ ﳝﻜﻨﻬﺎ ﺃﻥ ﺗﻜﻮﻥ ﺍﳌﻜﺎﻥ‬ ‫ﺍﻟﺬﹼﻱ ﻣﻨﻪ ﻳﺒﺪﺃ ﻋﺮﺽ ﺍﻟﺼ‪‬ﻮﺭ‪ ،‬ﻭﻳﺒﺪﺃ ﻋﺼﺮ ﺍﻟﻄﹼﻮﺍﻑ؟"‪" .‬ﺃﻱ‪‬‬ ‫ﺍﳊﻀﺎﺭﺍﺕ ﳝﻜﻨﻬﺎ ﺃﻥ ﺗﻜﻮﻥ ﺍﻟﺰ‪‬ﻣﺎﻥ ﺍﻟﺬﹼﻱ ﻣﻨﻪ ﺗﺒﺪﺃ ﺫﺍﻛﺮﺓ‬ ‫ﺍﻻﳔﻄﺎﻑ؟"‪ .‬ﻭﻓﺎﺟﺄﱐ ﺍﻟﺼ‪‬ﻮﺕ‪" :‬ﻃﺒﻌﺎ‪ ...‬ﻋﻔﺎﻑ"‪.‬‬ ‫ﻭﺳﺮﻧﺎ ﻣﻌﺎ ﰲ ﺍﻟﻄﹼﺮﻳﻖ ﺇﱃ ﺁﺧﺮ ﺍﻷﺭﺽ‪ .‬ﺣﺪ‪‬ﺛﺘﻬﺎ ﻋﻦ ﻋﺬﺍﰊ‪،‬‬ ‫ﻭﻋﻦ ﻛﻠﻤﺎﺕ ﻛﺘﺒﺖ ﳍﺎ ﰲ ﺃﻭﺍﺧﺮ ﻧﻮﻓﻤﱪ‪ .‬ﻭﺻﻔﺖ ﳍﺎ ﺍﻟﹼﻠﻴﻞ‪ .‬ﺁﳌﺘﻬﺎ‪.‬‬ ‫ﻓﺄﻟﻘﺖ ﺑﺮﺍﺣﺘﻬﺎ ﻓﻮﻕ ﺷﻌﺮﻱ‪ .‬ﻭﻗﺎﻟﺖ‪" :‬ﺃﺗﺪﺭﻱ ﳌﺎﺫﺍ ﺃﺣﺒ‪‬ﻚ؟"‪ .‬ﻗﻠﺖ‪:‬‬ ‫"ﳌﺎﺫﺍ؟"‪" .‬ﻷﻧ‪‬ﻚ ﱂ ﺗﻌﺮﻑ ﺍﳊﺐ‪ ‬ﻣﺜﻠﻲ‪ .‬ﻷﻥﹼ ﺍﻟﻠﹼﻮﺍﰐ ﲢﺪ‪‬ﺛﺖ ﻋﻦ‬ ‫ﺣﺒ‪‬ﻬﻦ‪ ‬ﺍﳌﻮﺍﺭﻯ ﻭﻋﻦ ﺻﻤﺘﻬﻦ‪ ‬ﺍﻟﻌﻤﻴﻖ ﺳﺮﺍﺏ"‪ .‬ﻭﻗﻠﺖ‪" :‬ﳌﺎﺫﺍ؟"‪.‬‬ ‫"ﻷﻧ‪‬ﻚ ﻣﺜﻠﻲ ﲢﺐ‪ ‬ﺍﻟﻌﺼﺎﻓﲑ ﻭﺍﻟﺸ‪‬ﻌﺮ ﻭﺍﻟﺼ‪‬ﻤﺖ ﲢﺒﻠﻪ ﻭﺍﻟﻔﺮﺍﻏﺎﺕ‬ ‫ﲤﻠﺆﻫﺎ ﺑﺎﻟﻘﺼﺎﺋﺪ"‪.‬‬ ‫ﻭﺳﺮﻧﺎ‪.‬‬ ‫ﺗﺮﻛﻨﺎ ﻭﺭﻭﺩﺍ ﻷﻳ‪‬ﺎﻣﻨﺎ ﰲ ﺍﻟﺼ‪‬ﺒﺎﺡ‪،‬‬ ‫ﻭﻋﻄﺮﺍ ﻟﻨﺎ ﰲ ﻏﻴﻮﺏ ﺍﳌﺴﺎﺀ‪.‬‬ ‫ﺷﺒﻜﻨﺎ ﺍﻷﺻﺎﺑﻊ‪.‬‬ ‫ﺐ‪.‬‬ ‫ﱂ ﻧﺘﻜﻠﹼﻢ ﻋﻦ ﺍﳊ ‪‬‬ ‫ﱂ ﻧﻘﺮﺃ ﺍﻟﺸ‪‬ﻌﺮ ﻟﻸﺻﺪﻗﺎﺀ‪.‬‬

‫‪38‬‬


‫ﻭﱂ ﻧﺘﺬﻛﹼﺮ ﺣﺮﺍﺋﻘﻨﺎ‪.‬‬ ‫ﺯﻫﻮ ‪‬ﺭ ﻣﻦ ﺍﻟﻔﻀ‪‬ﺔ ﺍﳌﻨﺘﻘﺎﺓ ﺗﺒﺎﺳﻘﺖ ﺍﻵﻥ ﺃﺷﺠﺎﺭﻫﺎ‪ ،‬ﺑﺮﻭ ‪‬ﺭ ﻣﻦ‬ ‫ﺍﻟﻨ‪‬ﻮﺭ ﻫﺰ‪‬ﺕ ﻓﺴﺎﺗﻴﻨﻬﺎ‪ ،‬ﻭﻇ ﹼﻞ ﺍﻟﻌﺘﻴﺒﺎﺕ ﺃﻭﺭﻕ ﻓﻴﻪ ﺍﻟﺘ‪‬ﺮﺍﺏ‪ .‬ﺗﻜﻠﹼﻤﺖ‪،‬‬ ‫ﻟﻜﻨ‪‬ﻬﺎ ﺣﺪ‪‬ﻗﺖ ﰲ ﺍﻟﻔﺮﺍﻍ‪ ،‬ﻭﻣﺎ ﻧﻄﻘﺖ‪ .‬ﻭﰲ ﺻﻤﺘﻬﺎ ﻛﺎﻧﺖ ﺧﻴﻮ ﹲﻝ‬ ‫ﺐ ﺇﱃ ﺁﺧﺮ ﺍﳌﻨﺤﺪﺭ‪ .‬ﻭﻛﺎﻥ ﺍﻟﺴ‪‬ﺤﺎﺏ ﻳﻬﻴ‪‬ﺊ ﻭﻋﺪ ﺍﳌﻄﺮ‪.‬‬ ‫ﲣ ‪‬‬ ‫ﺗﺮﻛﺖ ﳍﺎ ﺷﻔﱵ‪) .‬ﻋﺮﺑﺎﺕ ﺍﻟﺘ‪‬ﻮﺍﺭﻳﺦ ﺃﻟﻘﺖ ﻋﻠﻰ ﺷﻔﱵ‬ ‫ﺛﻘﻠﻬﺎ(‪ .‬ﱂ ﺃﻣﺖ‪ .‬ﺇﻧ‪‬ﲏ ﻣﻦ ﺟﺪﻳﺪ ﺃﻋﺎ ‪‬ﺩ‪ .‬ﺑﺮﻭ ‪‬ﺭ ﻣﻦ ﺍﻟﻨ‪‬ﻮﺭ ﺩﺍﺧﻞ ﺃﺳﻮﺍﺭ‬ ‫ﻗﻠﱯ‪ ،‬ﻭ‪‬ﺮ ﺍﻟﺮ‪‬ﻣﺎﺩ ‪‬ﻳﻌﺎ ‪‬ﺩ ﺇﱃ ﺑﻴﺘﻪ‪ ،‬ﻭﻳﻮﺭﻕ ﰲ ﺿﻔﹼﺘﻴﻪ ﺍﻟﺮ‪‬ﻣﺎ ‪‬ﺩ‪ .‬ﻭﺍﻟﻌﺬﺍﺑﺎﺕ‬ ‫ﲣﻀ ‪‬ﺮ‪ .‬ﻳﻮﺭﻕ ﻓﻮﻕ ﻏﺼﻴﻨﺎ‪‬ﺎ ﺍﻟﺬﹼﺍﺑﻼﺕ ﺍﻟﻔﺆﺍﺩ‪.‬‬ ‫ﻭﳔﺮﺝ ﻣﻦ ﻇﻠﻤﺔ ﺍﻟﻠﹼﻴﻞ‪ .‬ﺃﺳﺄﳍﺎ ﺑﺎﻷﺻﺎﺑﻊ ﻋﻦ ﺣﺒ‪‬ﻨﺎ‪ ،‬ﻋﻦ‬ ‫ﺑﺮﻭﻕ ﺳﺘﻔﺠﺆﻧﺎ ﰲ ﺍﻟﻈﹼﻼﻡ‪ ،‬ﻭﻋﻦ ﻗﻤﺮ ﰲ ﻣﻜﺎﻥ ﺑﻌﻴﺪ‪ .‬ﺗﺴﺎﺀﻟﺖ ﻟﻜﻨ‪‬ﻬﺎ‬ ‫ﱂ ﲡﺐ‪ .‬ﱂ ﺗﻔﺴ‪‬ﺮ ﺗﺒﻠﹼﻠﻬﺎ ﺑﺎﳌﻄﺮ‪ .‬ﱂ ﺗﻘﻞ ﱄ ﻭﺩﺍﻋﺎ ﻷﺧﺮﺝ ﻣﻦ‬ ‫ﻱ ﺷﻲﺀ‪ ،‬ﻭﺷﺪ‪‬ﺕ ﺑﺄﻃﺮﺍﻓﻬﺎ ﺳﺎﻋﺪﻱ‪.‬‬ ‫ﻣﻠﻜﻮﺕ ﺍﻟﺴ‪‬ﻔﺮ‪ .‬ﱂ ﺗﻘﻞ ﺃ ‪‬‬ ‫ﻭﻣﺪ‪‬ﺕ ﻗﻤﻮﺭ ﺍﳌﺴﺎﺀ ﻟﻨﺎ ﻭﺟﻬﻬﺎ‪ .‬ﻭﺍﺳﺘﻄﺎﻋﺖ ﺧﻴﻮﻝ ﺍﻷﺳﺎﻃﲑ ﺃﻥ ﲤﻸ‬ ‫ﺍﻟﺼ‪‬ﻤﺖ ﻣﻦ ﺣﻮﻟﻨﺎ‪ .‬ﻭﺍﺳﺘﻄﺎﻉ ﺍﻟﺼ‪‬ﺒﺎ ﺃﻥ ﻳﺆﻟﹼﻒ ﳊﻨﺎ ﲨﻴﻼ ﻵﻣﺎﻟﻨﺎ‪.‬‬ ‫ﻭﳘﺴﺖ ﳍﺎ‪:‬‬ ‫"ﺳﻴﻜﻮﻥ ﱄ ﻣﻦ ﺑﻌﺪﻙ ﺍﻟﻄﹼﻮﻓﺎﻥ‪،‬‬ ‫ﻳﺎ ﺃﲨﻞ ﺍﳌﻠﻜﺎﺕ‪،‬‬

‫‪39‬‬


‫ﻳﺎ ﻋﻤﺮﻱ‪،‬‬ ‫ﻭﻳﺎ ﻗﻤﺮﻱ ﺍﳉﻤﻴﻞ‪.‬‬ ‫ﺐ‬ ‫ﻭﻳﻜﻮﻥ ﱄ ﻗﻤﺮ ﻏﺮﻳ ‪‬‬ ‫ﻑ‬ ‫ﻧﺎﺯ ‪‬‬ ‫ﰲ ﺷﺮﻓﺔ ﺍﻟﻘﻠﺐ ﺍﻟﻘﺘﻴﻞ‪.‬‬ ‫ﲑ‬ ‫ﻗﻤ ‪‬ﺮ ﺻﻐ ‪‬‬ ‫ﺣﺎﺋ ‪‬ﺮ‬ ‫ﺍﻹﻳﺮﺍﻕ‪ ،‬ﳏﺘﺮﻕ ﺍﻟﻔﺼﻮﻝ‪.‬‬ ‫ﺃﻧ‪‬ﻰ ﺗﻨﺎﺀﻯ ﺃﺿﺎﺀ ﺃﻛﻮﺍﻧﺎ ﳍﻢ‪،‬‬ ‫ﻭﺃﺿﺎﺀ ﺃﻭﻃﺎﻧﺎ‪،‬‬ ‫ﻭﺃﺭﺳﻞ ﺍﻷﻣﻄﺎﺭ ﰲ ﺟﺴﺪ ﺍﳊﻘﻮﻝ‪.‬‬ ‫ﻳﺎ ﺃﲨﻞ ﺍﳌﻠﻜﺎﺕ‪،‬‬ ‫ﻳﺎﻋﻤﺮﻱ‪،‬‬ ‫ﻭﻳﺎ ﻗﻤﺮﻱ ﺍﳉﻤﻴﻞ"‪.‬‬ ‫ﻭﺍﻧﺪﺍﺣﺖ ﻣﻦ ﺍﻷﺭﺟﺎﺀ ﻧﺎﻓﻮﺭﺍﺕ ﻣﺎﺀ‪ .‬ﻭﺭﺃﻳﺖ ﺁﻻﻑ ﺍﻟﺮ‪‬ﺅﻯ‬ ‫ﲤﻀﻲ ﺇﱃ ﻭﻃﻦ ﻭﺭﺍﺀ ﺍﻟﻐﻴﻢ‪ .‬ﻭﺭﺃﻳﺖ ﻗﻠﱯ ﻭﺍﻟﺴ‪‬ﺤﺎﺋﺐ ﻭﺍﻟﻌﺼﺎﻓﲑ‬ ‫ﺍﻟﺼ‪‬ﻐﲑﺓ ﻭﺍﳌﲎ ﻇﻤﺄﻯ ﺗﺴﺎﻗﻂ ﰲ ﺍﻟﻌﺮﻭﻕ ﻭﰲ ﺍﻟﻴﺪﻳﻦ‪ .‬ﻭﺭﺃﻳﺖ ﺑﺎﺏ‬ ‫ﺍﻟﻨ‪‬ﺠﻢ ﻣﻔﺘﻮﺣﺎ ﻋﻠﻰ ﺍﻵﻓﺎﻕ‪ ،‬ﻭﺍﻟﺮ‪‬ﺅﻳﺎ ﻣﺒﻠﹼﻠﺔ‪ ،‬ﻭﺁﻛﺎﻡ ﺍﳌﲎ ﻇﻤﺄﻯ‪.‬‬ ‫‪40‬‬


‫ﱂ ﺗﺘﺮﺩ‪‬ﺩ ﻃﻮﻳﻼ ﻛﻌﺎﺩ‪‬ﺎ‪.‬‬ ‫ﱂ ﺗﻘﻞ ﻟﻠﺼ‪‬ﺪﻳﻘﺔ ﺃ ﹼﻥ ﻋﺼﺎﻓﲑﻫﺎ ﻫﺎﺟﺮﺕ ﻟﻠﺠﻨﻮﺏ‪.‬‬ ‫ﱄ‪.‬‬ ‫ﻭﱂ ﺗﻔﺘﺢ ﺍﻟﻘﻠﺐ ﺇ ﹼﻻ ﺇ ﹼ‬ ‫ﺃﺿﻴﺌﺖ ﻛﻤﺎ ﺍﻟﻨ‪‬ﺠﻤﺔ ﺍﻟﺘ‪‬ﺎﺋﻬﺔ‪،‬‬ ‫ﻭﺣﻄﹼﺖ ﺑﺮﻭﻕ ﺍﻟﺸ‪‬ﻤﺎﻝ ﻋﻠ ‪‬ﻲ‪.‬‬ ‫ﻭﺣﻄﹼﺖ ﻋﻠﻰ ﺷﻔﱵ ﻛﻔﹼﻬﺎ‪.‬‬ ‫ﻭﺃﻟﻘﺖ ﺭﺳﺎﻟﺘﻬﺎ ﲢﺖ ﺑﺎﰊ‪:‬‬ ‫"ﻏﺪﺍ ﻧﻠﺘﻘﻲ ﻳﺎ ﺃﻣﲑﻱ ﻭﻳﺎ ﺣﺎﺿﺮﻱ ﻭﺳﺮﺍﰊ"‪.‬‬ ‫"ﻏﺪﺍ ﻧﻠﺘﻘﻲ ﻭﻧﻔﺘﺢ ﺑﺎﺑﺎ ﻟﻨﺎ ﰲ ﺍﻟﺴ‪‬ﺤﺎﺏ"‪.‬‬

‫‪41‬‬


‫ﻃﻮﺍﻑ ﺍﻟﺴﻴ‪‬ﺪﺍﺕ‬

‫ﺗﻨﻀﺞ ﺍﻟﺜﹼﻤﺮﺍﺕ ﺑﺸﻤﺲ ﰲ ﺃﺻﺎﺑﻌﻨﺎ ﻭﰲ ﺃﻃﺮﺍﻓﻨﺎ‪ .‬ﻧﺄﰐ ﺇﱃ‬ ‫ﺳﻮﺭ ﺍﻟﻐﻮﺍﻳﺎﺕ ﺍﻟﻘﺪﱘ‪ .‬ﻛﺄ ﹼﻥ ﰲ ﺃﻃﻮﺍﻗﻨﺎ ﻗﻤﺮﺍ ﻟﻨﻬﺪﻣﻪ‪ .‬ﻭﻧﺪﺧﻞ‪ .‬ﺟ‪‬ﻨ ﹲﺔ‬ ‫ﲢﺖ ﺍﻟﺴ‪‬ﻘﻮﻑ ﺍﳌﻄﻔﺌﺎﺕ ﺳﺘﺮﲤﻲ ﻓﻮﻕ ﺍﻟﺴ‪‬ﺮﻳﺮ‪ .‬ﺑﺪﺍﺋ ‪‬ﻪ ﺣﲑﻯ‬ ‫ﺳﻴﻔﺠﺆﻫﺎ ﺍﻟﻄﹼﻮﺍﻑ‪ .‬ﻭﻣﻘﺎﻃ ‪‬ﻊ ﺍﻹﻧﺸﺎ ‪‬ﺩ ﺿﻴ‪‬ﻘ ﹲﺔ‪.‬‬

‫‪42‬‬


‫"ﺃﺗﺪﺭﻱ؟"‪ .‬ﻗﺎﻝ ﱄ ﻗﻠﱯ‪" :‬ﺣﺒﻴﺒ ﹲﺔ ﺃﺧﺮﻯ ﺳﺘﺮﺣﻞ ﻣﺜﻠﻤﺎ‬ ‫ﺭﺣﻞ ﺍﳉﻤﻴﻊ‪ .‬ﻭﺗﻨﺘﻬﻲ ﰲ ﺁﺧﺮ ﺍﳌﻠﻬﺎﺓ ﻭﺣﺪﻙ ﺻﺎﻣﺘﺎ‪ .‬ﻻ ﻃﲑ ﰲ‬ ‫ﺍﻟﻐﺎﺑﺎﺕ ﻳﻠﺒﺲ ﻣﺎ ﻋﻘﺪﺕ ﻣﻦ ﺍﻟﻨ‪‬ﺠﻮﻡ‪ .‬ﺳﺘﻜﻮﻥ ﻭﺣﺪﻙ‪ .‬ﺍﻟﻠﹼﻴﻞ ﻟﻦ‬ ‫ﻳﺄﰐ ﺇﱃ ﻃﺮﻑ ﺍﻟﺴ‪‬ﺮﻳﺮ‪ .‬ﻟﻦ ﻳﺸﺪ‪ ‬ﻭﺳﺎﺋﺪ ﺍﻵﻻﻡ‪ .‬ﻟﻦ ﻳﺒﻜﻲ ﻋﻠﻰ ﻗﻤﺮ‬ ‫‪‬ﺎﻭﻯ ﰲ ﻣﺴﺎﺀﺍﺕ ﺍﻟﻀ‪‬ﻼﻝ‪ .‬ﻭﻻ ﺣﺮﻭﻑ ﻟﺘﺰﺭﻉ ﺍﻷﲰﺎﺀ ﰲ ﺟﻨ‪‬ﺎﺗﻚ‬ ‫ﺍﻷﻭﱃ"‪.‬‬ ‫"ﺃﺗﺪﺭﻱ؟"‪ .‬ﻗﺎﻝ ﱄ‪ .‬ﻭﺃﺿﺎﻉ ﺑﺮﻕ ﺻﻮﺗﻪ‪ .‬ﻭﺗﺸﺮ‪‬ﺩﺕ ﻓﻠﻚ‪.‬‬ ‫ﻭﺃﻭﺩﻯ ﺑﺎﻟﻌﺼﺎﻓﲑ ﺍﻟﺼ‪‬ﻐﲑﺓ ﻋﺎﺻﻒ‪ .‬ﻭﺍ‪ ‬ﺪ ﺑﺎﺏ ﻋﻦ ﺻﺒﺎﺣﺎﺕ‬ ‫ﺍﻟﻐﻴﺎﺏ‪ .‬ﺮ ﺃﺿﺎﺀ ﻗﺼﺎﺋﺪﻱ‪ .‬ﻭﳒﻤﺎﺕ ﺳﻘﻄﻦ ﻋﻠﻰ ﺍﻟﻌﺮﻭﺽ ﻣﺘﻴ‪‬ﻤﺎﺕ‬ ‫ﺕ‪ .‬ﻭﻣﻦ ﺑﺮﻭﺯ ‪‬ﻮﺩﻫ ‪‬ﻦ‬ ‫ﻋﺎﺭﻳﺎﺕ ﺍﻟﺼ‪‬ﺪﺭ‪ .‬ﻣﻦ ﺃﻃﺮﺍﻓﻬ ‪‬ﻦ ﺗﻄ ﹼﻞ ﺃﻧﻮﺍ ‪‬ﺭ ﻭﻟﺬﹼﺍ ‪‬‬ ‫ﺗﻄ ﹼﻞ ﺫﺍﻛﺮ ﹸﺓ ﺍﻟﺴ‪‬ﺮﺍﺏ‪.‬‬ ‫ﺗﺜﻘﻞ ﺍﻟﻜﻠﻤﺎﺕ ﺣﺘ‪‬ﻰ ﻻ ﺟﺬﻭﻉ ﺗﺸﺪ‪‬ﻫﺎ ﻟﻠﻀ‪‬ﻮﺀ‪ .‬ﻳﻐﻮﻳﻬﺎ‬ ‫ﺍﻟﺴ‪‬ﻘﻮﻁ‪ .‬ﻓﻼ ﻧﺮﻯ ﰲ ﺍﻟﻀ‪‬ﻮﺀ ﺇ ﹼﻻ ﺍﳉﺬﻉ ﻣﻜﺴﻮﺭﺍ‪ .‬ﳓﺪ‪‬ﺛﻪ‪ .‬ﻧﺸ ‪‬ﺪ ﻋﻠﻰ‬ ‫ﺍﻟﻮﺭﻳﻘﺎﺕ ﺍﻟﻘﻠﻴﻠﺔ‪ .‬ﺬﻱ ﺑﺄﲰﺎﺀ ﻭﺃﻓﻜﺎﺭ ﻭﻗﺪ‪‬ﺍﺳﺎﺕ ﺃﻧﻮﺍﺭ‪ .‬ﻭﻧﻠﻘﻰ‬ ‫ﺍﻟﺪ‪‬ﻭﺩ ﻣﻘﺬﻭﻓﺎ ﺑﺒﻄﻦ ﺍﻟﺜﹼﻤﺮﺓ ﺍﳊﻤﺮﺍﺀ‪ ،‬ﻳﺄﻛﻠﻬﺎ‪.‬‬ ‫ﻧﺄﰐ ﺇﱃ ﻗﻤﺮ ﺑﺄﺳﺌﻠﺔ ﺍﻟﻈﹼﻼﻡ‪ .‬ﻧﻮﺍﻋﺪﻩ ﻋﻠﻰ ﺷﺎﻱ ﺍﻟﻔﺠﺎﺋﻊ‪.‬‬ ‫ﻧﻨﺄﻯ ﻟﻴﻌﺮﻑ ﺃﻧ‪‬ﻨﺎ ﻻ ﻧﻠﺘﻘﻲ ﺇ ﹼﻻ ﻋﻠﻰ ﺃﺭﺽ ﺗﺂﻛﻞ ﻧﺒﺘﻬﺎ ﻟﻨﻌﻴﺪﻩ‪ .‬ﻧﻨﺄﻯ‬ ‫ﻟﻴﻨﻘﺬﻧﺎ ﺍﻟﺴ‪‬ﺆﺍﻝ‪" .‬ﺃﻛﻨﺖ ﲢﺒ‪‬ﻬﺎ؟"‪ .‬ﺃﺟﺪ ﺍﻟﺴ‪‬ﺆﺍﻝ ﻣﻔﺎﺟﺌﺎ‪ .‬ﻭﺃﺟﻴﺐ ﰲ‬

‫‪43‬‬


‫ﻋﺠﻞ‪" .‬ﻧﻌﻢ"‪ .‬ﻭﺃﺿﻴﻒ ﻣﻔﺘﻮﻧﺎ‪" :‬ﻫﻨﺎ ﰲ ﺍﳋﻠﻒ‪ ،‬ﲢﺖ ﺣﺠﺎ‪‬ﺎ‬ ‫ﺍﻟﻮﺍﻗﻲ ﻣﻦ ﺍﻟﻨ‪‬ﺴﻴﺎﻥ‪ ،‬ﺃﻋﻠﻢ ﺃﻧ‪‬ﻬﺎ ﻗﺪﺭﻱ‪ ،‬ﻭﺃﻥﹼ ﻻ ﻣﺮﺋﻴ‪‬ﻬﺎ ﻗﺪﺭﻱ ﳚﻮﻝ‬ ‫ﻭﻳﺼﻨﻊ ﺍﻟﻐﺎﺑﺎﺕ"‪ .‬ﻭﻓﻜﹼﺮ‪ .‬ﹼﰒ ﻓﺎﺟﺄﱐ‪" :‬ﺳﺮﻗﺖ ﺭﻭﻋﺘﻬﺎ ﻟﺘﺼﻨﻊ‬ ‫ﻗﺎﺭﺏ ﺍﻟﺮ‪‬ﺅﻳﺎ‪ ،‬ﻭﺧﺎﲤﻬﺎ ﻟﺘﻤﺘﻠﻚ ﺍﳌﻜﺎﻥ‪ ،‬ﻭﻓﺘﻨﺘﻬﺎ ﻟﺘﺠﻌﻞ ﺍﻷﻛﻮﺍﻥ‬ ‫ﺷﺒ‪‬ﺎﻛﺎ ﺻﻐﲑﺍ ﻻ ‪‬ﻳﺮﻯ ﻟﻜﻨ‪‬ﻪ ﻳﺆﻭﻱ ﻋﺼﺎﻓﲑ ﺍﻟﺪ‪‬ﱏ"‪" .‬ﻧﻌﻢ‪ .‬ﻭﺗﺮﻛﺖ‬ ‫ﻗﻠﱯ ﻋﻨﺪﻫﺎ‪ .‬ﻗﻠﱯ ﺍﻟﺬﹼﻱ ﺍﻣﺘﻠﻚ ﺍﻟﺪ‪‬ﱏ ﻣﺎﺯﺍﻝ ﻳﺮﻗﺪ ﰲ ﻣﺴﺎﺣﺐ‬ ‫ﺻﻮ‪‬ﺎ"‪ .‬ﻭﺃﺿﺎﻑ ﰲ ﻗﻠﻖ‪" :‬ﻟﻜﻨ‪‬ﻬﺎ ﺭﺣﻠﺖ"‪ .‬ﻭﺃﺟﺒﺘﻪ‪" :‬ﺳﺘﻌﻮﺩ ﻣﻦ‬ ‫ﺃﺳﻔﺎﺭﻫﺎ‪ .‬ﻭﺗﻀﻤ‪‬ﲏ‪ .‬ﻭﺗﻨﺎﻡ ﺑﲔ ﻗﺼﺎﺋﺪﻱ"‪" .‬ﺳﺘﻈﻞﹼ ﺗﺮﺣﻞ"‪ .‬ﻗﺎﻝ ﱄ‪.‬‬ ‫ﻭﺃﺟﺒﺘﻪ‪" :‬ﺳﺄﻇﻞﹼ ﺃﺭﺣﻞ ﺧﻠﻔﻬﺎ"‪.‬‬ ‫ﻓﻜﹼﺮﺕ ﺑﻜﻮﻥ ﻏﺎﺋﻢ ﻭﻓﺮﺍﺕ ﺷﻌﺮﻳﺎﺗﻪ ﻳﻨﺄﻯ ﺑﻪ‪ .‬ﻓﻴﻀﻮﻉ ﻭﻫﺞ‬ ‫ﰲ ﺍﻟﻌﺮﻭﻕ ﻭﰲ ﺍﻟﻴﺪﻳﻦ‪ .‬ﻭﺃﺿﺄﺕ ﺩﻓﻖ ﺍﻟ ‪‬ﺮﻏﺒﺔ ﺍﻷﻭﱃ‪ .‬ﻗﻤﺮﻳﻦ ﺿﻌﻨﺎ ﰲ‬ ‫ﺲ ﰲ ﺍﻟﺘ‪‬ﻴﻪ‪ .‬ﱂ ﻧﻌﻠﻢ ﳌﻦ ﻛﺎﻧﺖ ﺗﻀﺎﺀ‬ ‫ﺏ ﺟﺎﻟ ‪‬‬ ‫ﺩﺭﻭﺏ ﺍﻟﺒﲔ‪ .‬ﻇﻠﹼﻠﻨﺎ ﺳﺮﺍ ‪‬‬ ‫ﺍﻷﻏﻨﻴﺎﺕ؟‬ ‫ﺍﻟﺴﻴ‪‬ﺪﺍﺕ ﺍﻟﺴ‪‬ﻮﻣﺮﻳﺎﺕ ﺃﺿﺄﻥ ﺍﻵﻥ ﺷﺮﻓﺘﻬ ‪‬ﻦ ﱄ‪ .12‬ﻭﺟﻠﺴﻦ‬ ‫ﰲ ﻇ ﹼﻞ ﺍﻟﻘﻤﺮ‪ .‬ﻫﺬﻱ ‪‬ﻴ‪‬ﺊ ﺻﺪﺭﻫﺎ ﻟﻠﺤﺐ‪ ،‬ﻭﺗﻨﺴﻰ ﺃ ﹼﻥ ﻭﳘﺎ ﺳﻮﻑ‬ ‫ﺃﳊﻈﻪ ﻋﻠﻰ ﺃﻃﺮﺍﻓﻬﺎ ﻳﻜﻔﻲ ﻟﺘﻀﻠﻴﻠﻲ‪ .‬ﻭﻫﺬﻱ ﺗﻔﺘ‪‬ﺶ ﻋﻦ ﺷﺠﺮ ﻳﻜﻔﻲ‬ ‫ﻟﻴﺨﻔﻴﻨﺎ ﻋﻦ ﺍﻷﻧﻈﺎﺭ‪ .‬ﻭﺗﻠﻚ ﺗﻨﺘﻈﺮ ﺍﻟﻨ‪‬ﻬﺎﺭ ﻟﻜﻲ ﲣﻴﻂ ﺑﻨﻮﺭﻩ ﺳﺠ‪‬ﺎﺩﺓ‬ ‫‪)12‬ﳌﺎﺫﺍ ﺍﻟﺴ‪‬ﻮﻣﺮﻳﺎﺕ ﻳﺎ ﻧﺼﺮ ﺳﺎﻣﻲ؟(‪.‬‬ ‫‪44‬‬


‫ﺧﻀﺮﺍﺀ ﻧﺮﻗﺪ ﻓﻮﻗﻬﺎ‪ .‬ﻭﺍﻷﺧﺮﻳﺎﺕ ﺃﺿﺄﻥ ﱄ ﺷﺮﻓﺎ‪ ‬ﻦ‪ .‬ﻭﺗﺮﻛﻦ ﺑﻮ‪‬ﺍﺑﺎ‪‬ﺎ‬ ‫ﻣﻔﺘﻮﺣﺔ ﺍﻷﻋﻄﺎﻑ‪...‬‬

‫‪45‬‬


‫ﺍﻟﻨ‪‬ﻬﺎﻳﺎﺕ‬

‫ﺃﻗﻤﺎ ‪‬ﺭ ﺗﻨﻬﺾ ﻻﺳﺘﻘﺒﺎﻝ ﺃﺻﺎﺑﻌﻬﺎ‪ .‬ﺃ‪‬ﺎ ‪‬ﺭ ﺗﻄﺮﻕ ﺃﺭﺽ ﺍﻟﺮ‪‬ﻭﺡ‪،‬‬ ‫ﺕ ﺗﻔﺠﺆﻫﺎ ﺍﻟﻮﺣﺪﺓ‪ .‬ﻭﺍﻟﻠﹼﺤﻈﺎﺕ‬ ‫ﻭﺗﺬﻫﺐ ﺃﺑﻌﺪ ﻣﻦ ﺿﺤﻜﺘﻬﺎ‪ .‬ﻭ‪‬ﺎﺭﺍ ‪‬‬ ‫ﺗ ﹼﱰ ﻓﺮﺍﺷﺎﺕ‪ .‬ﻭﻋﻔﺎﻑ‬

‫‪46‬‬


‫ﺗﺼﻠﹼﻲ‪ .‬ﺗﻘﺮﺃ ﺃﻭﺭﺍﺩ ﺍﳌﻄﻠﻖ‪ .‬ﺗﺮﺳﻢ ﺑﻴﺘﺎ ﻟﻠﻌﻨﻘﺎﺀ ﻭﺗﻄﺮﻕ ﻓﺠﺮ‬ ‫ﺍﻷﻣﻄﺎﺭ ﻟﺘﻨﻬﺾ ﰲ ﺍﻟﺼ‪‬ﺤﺮﺍﺀ ﺃﻳﺎﺋﻞ ﻗﺎﻣﺘﻬﺎ‪ .‬ﻓﺘﺄﰐ ﺍﻷﻃﻴﺎﺭ ﻭﺗﺮﻗﺪ ﰲ‬ ‫ﻇ ﹼﻞ ﺿﻼﻝ ﻣﻔﺎﺗﻨﻬﺎ‪ .‬ﻭﺗﺄﰐ ﺍﻟﺸ‪‬ﺠﺮﺍﺕ ﺍﳌﺴﻜﻮﻧﺔ ﺑﺎﻟﺘ‪‬ﻄﻮﺍﻑ‬ ‫ﻭﺑﺎﻟﺴ‪‬ﻔﺮﺍﺕ‪ .‬ﻭﺗﻮﻟﺪ ﰲ ﺁﺧﺮﺓ ﺍﻟﻠﹼﻴﻞ ﺯﻫﻮﺭ ﻓﻮﻕ ﺃﻇﺎﻓﺮﻫﺎ‪ .‬ﻭﻋﻔﺎﻑ‬ ‫ﺗﻘﻮﻝ‪" :‬ﺃﺣﺐ‪ ‬ﺍﻟﺸ‪‬ﻌﺮ"‪" .‬ﻭﺃﻓﻜﹼﺮ ﰲ ﺃﻭﺭﺍﺩ ﺗﻘﺮﺅﻫﺎ ﺁﺧ ‪‬ﺮ ﻛﻞﹼ‬ ‫ﻣﺴﺎﺀ ﺷﻔ ﹲﺔ ﺗﺘﻔﺘ‪‬ﺢ ﻓﻴﻬﺎ ﺃﺣﺰﺍﻥ ﺍﻷﺭﺽ‪ .‬ﻭﺗﻮﺭﻕ ﻓﻴﻬﺎ ﺷﺠﺮﺍﺕ‬ ‫ﺍﻟﺮ‪‬ﻓﺾ‪ .‬ﻭﺍﻷﻋﺸﺎﺏ ‪‬ﺗﺮﺍﻗﺺ ﲢﺖ ﺳﻴﺎﻁ ﺍﻟﻀ‪‬ﻮﺀ ﺃﺯﺍﻫﲑ ﺍﻟﺼ‪‬ﻤﺖ‪.‬‬ ‫ﻭﺍﳌﻮﺕ ﻳﻀﻴﻖ ﲟﻮﺗﺎﻩ ﻭﻳﻮﺭﻕ"‪ .‬ﻭﻋﻔﺎﻑ‬ ‫ﺗﻘﻮﻝ‪" :‬ﺗﻌﺎﱄ ﻳﺎ ﺷﺠﺮﺍﺕ ﺍﻷﺭﺽ‪ ،‬ﻭﻛﻮﱐ ﲢﺖ ﻧﻘﺎﻁ‬ ‫ﺍﻟﺸ‪‬ﻮﻕ ﺷﻮﺍﻃﺊ ﻧﻮﺭ‪ .‬ﻛﻮﱐ ﺑﺮﻗﺎ ﻳﻮﻣﺾ‪ .‬ﻛﻮﱐ ﰲ ﻧﻮﻓﻤﱪ ﺗﻴﻬﺎ‬ ‫ﺁﺧﺮ‪ .‬ﻛﻮﱐ ﺭﳛﺎ ﺛﻜﻠﻰ ﻓﻮﻕ ﻗﺒﺎﺏ ﺍﻟﱪﻕ‪ .‬ﻭﻛﻮﱐ ﺃﺛﻮﺍﺑﺎ ﻟﻠﻌﺘﻤﺔ ﺇﺫ‬ ‫ﲣﺮﺝ ﻣﻦ ﲢﺖ ﻧﻮﺍﻓﺬﻫﺎ ﺍﻷﻋﻄﺎﻑ"‪ .‬ﻭﻋﻔﺎﻑ‬ ‫ﺗﻌﺮﻑ ﻛﻢ ﺗﻌﺒﺖ‬ ‫ﻣﻦ ﺍﳍﻮﻯ‪ ،‬ﻭﻛﻢ ﺍﻧﻜﺴﺮﺕ‬ ‫ﻣﻦ ﺍﳌﲎ‪ ،‬ﻭﻛﻢ ﺍﻧﺘﺼﺮﺕ‪.‬‬ ‫ﺃﻋﻄﻴﺖ ﻣﺎ ﺃﻋﻄﻴﺖ‪،‬‬ ‫ﱂ ﺁﺧﺬ‪،‬‬ ‫ﻭﱂ ﺃﻓﺘﺢ ﺷﺒﺎﺑﻴﻚ ﺃﺣﺪ‪.‬‬

‫‪47‬‬


‫ﻭﺣﺪﻫﺎ ﺍﻟﺸ‪‬ﻤﺲ ﺃﺿﺎﺀﺕ ﻋﺎﳌﻲ‬ ‫ﻭﺃﺿﺎﻋﺘﲏ ﰲ ﻣﻔﺎﺯﺍﺕ ﺍﳉﺴﺪ‪ .‬ﻭﻋﻔﺎﻑ‬ ‫ﺗﻌﺮﻑ ﺃﻧ‪‬ﻬﺎ ﻛﺎﻧﺖ ﻭﻣﺎﺯﺍﻟﺘﻤﺮﺍﺳﻲ ﺍﻟﻨ‪‬ﻮﺭ ﰲ ﻟﻴﻞ ﺍﻟﺒﻠﺪ‪.‬‬ ‫ﻭﻋﻔﺎﻑ‬ ‫ﺗﻌﺮﻑ ﺃﻧ‪‬ﻬﺎ ﺃﻣﻠﻲ‪ .‬ﻭﺗﺮﺳﻢ ﰲ ﺃﻭﺭﺍﺩ ﺍﳌﻄﻠﻖ ﺑﻴﺘﺎ ﻟﻠﻌﻨﻘﺎﺀ‪.‬‬ ‫ﻭﺗﻨﻔﺦ ﰲ ﺃﺟﺴﺎﺩ ﺍﻟﻌﺎﱂ‪ ،‬ﰲ ﻛﻮﻡ ﻫﺒﺎﺀﺍﺕ ﺍﻟﻄﹼﻮﺏ‪ ،‬ﻣﺮﻣ‪‬ﻤﺔ ﺳﻘﻒ‬ ‫ﺍﻟﻠﹼﻐﺔ ﺍﻟﺒﻜﺮ‪ ،‬ﻭﺻﺎﺭﺧﺔ ﰲ ﺍﻟﺼ‪‬ﺤﺮﺍﺀ‪ ،‬ﻭﺧﺎﺭﺟﺔ ﻣﻨﻬﺎ ﺍﻷﻃﻴﺎﻑ‪.‬‬ ‫ﻭﻋﻔﺎﻑ‬ ‫ﲣﺎﻑ ﻣﻦ ﺍﻷﻣﻄﺎﺭ‪ ،‬ﻭﲤﻄﺮ‪ .‬ﻭﲣﺎﻑ ﻣﻦ ﺍﻟﺼﺤﺮﺍﺀ ﻭﳜﺮﺝ ﻣﻦ‬ ‫ﺑﲔ ﻣﻔﺎﺻﻠﻬﺎ ﺍﳌﺎﺀ‪ .‬ﻭﻋﻔﺎﻑ‬ ‫ﲣﺎﻑ ﻣﻦ ﺍﻟﺘ‪‬ﺮﺣﺎﻝ‪ ،‬ﻭﺗﺮﺣﻞ‪ .‬ﻭﲣﺎﻑ ﻣﻦ ﺍﻟﺘ‪‬ﻄﻮﺍﻑ‪ ،‬ﻭ‪‬ﺠﺮ‬ ‫ﺑﻴﺖ ﺍﻷﻫﻞ ﻭﻗﺪ‪‬ﺍﺳﺎﺕ ﺍﻷﻫﻞ ﲨﻴﻌﺎ ﻛ ﹼﻞ ﺷﺘﺎﺀ‪ .‬ﻭﻋﻔﺎﻑ‬ ‫ﲣﺎﻑ ﺍﳊﺐ‪ ،‬ﻭﺗﻜﺘﺐ ﻗﺮﺁﻧﺎ ﻟﻠﻌﺸ‪‬ﺎﻕ ﻭﻟﻠﺸ‪‬ﻌﺮﺍﺀ‪ .‬ﻭﺗﻌﻴﺪ ﺑﻨﺎﺀ‬ ‫ﺍﻟﺪ‪‬ﻫﺮ ﻟﻴﻮﻟﺪ ﰲ ﻫﺬﺍ ﺍﻟﺼ‪‬ﻤﺖ ﺍﳌﻴ‪‬ﺖ ﻭﺍﳌﻮﺅﻭﺩ ﺍﻹﺷﺮﺍﻗﺎﺕ ﺍﳌﺎﺀ‪.‬‬ ‫ﻭﻋﻔﺎﻑ‬ ‫ﲣﺎﻑ ﺍﻟﻜﻠﻤﺎﺕ‪ ،‬ﻭﲢﻀﻦ ﰲ ﺍﻟﺴ ‪‬ﺮ ﺣﺮﻭﻓﺎ ﺃﻋﺮﻑ ﻣﻨﻬﺎ ﺍﳊﺎﺀ‪،‬‬ ‫ﻭﺃﻋﺮﻑ ﻣﻨﻬﺎ ﺍﻟﺒﺎﺀ‪.‬‬

‫‪48‬‬


‫ﻋﻮﺩﺓ ﺃﻭﺭﰲ‬

‫ﺃﺯﺭﻉ ﺍﻷﲰﺎﺀ‪ .‬ﺃﻛﺘﺐ ﻋﻦ ﺻﺒﺎﺡ ﱂ ﺃﺷﺎﻫﺪ ﺿﻮﺀﻩ ﺍﳌﻨﺴﺎﺏ‬ ‫ﻣﻦ ﺧﻠﻞ ﺍﳌﺮﺍﻗﺪ‪.‬‬

‫‪49‬‬


‫ﺃﺻﻠﺐ ﺍﻟﻜﻠﻤﺎﺕ‪ .‬ﺃﺧﺮﺟﻬﺎ ﻣﻦ ﺍﻟﻈﹼﻠﻤﺎﺀ‪ .‬ﺃﻟﺒﺴﻬﺎ ﺍﻟﻌﻘﻮﺩ‪.‬‬ ‫ﺃﻣﺪ‪‬ﻫﺎ ﻓﻮﻕ ﺍﻟﺴ‪‬ﺮﻳﺮ‪ .‬ﺃﺷﺪ‪‬ﻫﺎ‪ .‬ﻭﺃﺣﻴﻄﻬﺎ ﺑﺄﺻﺎﺑﻌﻲ‪ .‬ﻭﺃﺩﻋﻚ ﺻﺪﺭﻫﺎ‬ ‫ﺑﺄﻧﺎﻣﻠﻲ‪ .‬ﻭﺃﺿﻲﺀ ﻟﻴﻞ ﻗﺼﺎﺋﺪﻱ ﺑﱪﻳﻘﻬﺎ ﺍﳌﺮﺗﺎﺩ ﺃﺻﻘﺎﻉ ﺍﻟﻔﺮﺍﻗﺪ‪.‬‬ ‫)ﺃﺑﺪﻭ ﺻﺪﻳﻘﺎ ﻟﻠﻔﺮﺍﺵ ﻭﻟﻠﻘﻮﻳﺼﺔ ﺇﺫ ‪‬ﺰﻫﺰﻫﺎ ﺍﻟﺮ‪‬ﻳﺎﺡ‪،‬‬ ‫ﻭﻟﻠﻨ‪‬ﺪﻯ ﺍﻟﻐﺎﰲ ﻋﻠﻰ ﺍﳊﺼﺒﺎﺀ ﰲ ﺍﻟﺪ‪‬ﺭﺏ ﺍﻟﺒﻌﻴﺪ ﻋﻦ ﺍﻟﺪ‪‬ﻳﺎﺭ ﻭﻋﻦ‬ ‫ﺣﻮﺍﻧﻴﺖ ﺍﻟﻘﺮﻯ‪ ...‬ﺃﺑﺪﻭ ﺻﺪﻳﻘﺎ ﻟﻠﻌﺮﻭﻕ‪ ،‬ﺃﻃﻴﻠﻬﺎ ﺣﺘ‪‬ﻰ ﲤﻮﺕ‪ .‬ﻭﰲ‬ ‫ﺃﻗﺮﺍﻃﻬﺎ ﺃﺭﻣﻲ ﻳﻮﺍﻗﻴﺖ ﺍﻟﻄﹼﺮﺍﺋﺪ(‪.‬‬ ‫ﻭﺃﻗﻮﻝ ﻟﻮ ﺃﻗﺪ ‪‬ﺭ‬ ‫ﻚ‪ .‬ﻭﳝﻄﺮ ﻏﻴﻤﻚ‪ .‬ﻭ‪ ‬ﺰ ﻧﺎﻓﻮﺭﺍﺕ‬ ‫ﺃﻓﺘ‪‬ﺢ ﺍﻵﺑﺎﺩ ﺑﻴﺘﺎ ﻛﻲ ﺗﻈﻠﹼﻠﻨﺎ ﻋﺮﺍﺋﺸ ‪‬‬ ‫ﻣﺎﺀ ﺭﺩﻓﻬﺎ‪ .‬ﻭ‪‬ﻴﻞ ﻓﻮﻕ ﻏﺼﻮﻧﻨﺎ ﲦﺮ ﺍﻟﺼ‪‬ﱮ ﺍﻟﻌﺎﺋﺪ‪.‬‬ ‫ﻭﺃﻗﻮﻝ ﻟﻮ ﺃﻗﺪ ‪‬ﺭ‬ ‫ﺃﺻﻴ‪‬ﺮ ﺍﻷﻛﻮﺍﻥ ﻻ ﻣﺮﺋﻴ‪‬ﺔ‪ .‬ﻭﺃﺻﻨﻊ ﰲ ﺍﳍﻴﻮﱃ ﻣﺜﻞ ﺃﺟﻨﺤﺔ ﺍﻟﻄﹼﻴﻮﺭ‪ .‬ﻭﺃﻋ ‪‬ﺪ‬ ‫ﻟﻠﻐﻴﻤﺎﺕ ﺫﺍﻛﺮﺓ‪ .‬ﻭﺃﻗﻮﺩ ﺧﻴﻞ ﺍﻟﻔﺘﻨﺔ ﺍﻟﺴ‪‬ﻤﺮﺍﺀ‪ ...‬ﺃﻟﺒﺲ ﺍﻹﻳﻘﺎﻉ‬ ‫ﻧﺎﻓﻮﺭﺍﺗﻪ ﺍﻟﻀ‪‬ﻮﺋﻴ‪‬ﺔ ﺍﻷﻃﺮﺍﻑ‪ .‬ﺃﻟﻐﺰ ﻣﺎ ﺃﺭﺩﺕ ﻣﻦ ﺍﻟﺘ‪‬ﺮﺍﻛﻴﺐ ﺍﻟﻘﺪﳝﺔ‪.‬‬ ‫ﺃ‪‬ﺐ ﺍﻹﺭﺙ ﺍﳌﻘﺪ‪‬ﺱ‪ .‬ﺃﺗﺮﻙ ﺍﻟﺼ‪‬ﺤﺮﺍﺀ ﻋﺎﺭﻳ‪‬ﺔ‪ .‬ﻭﰲ ﺍﻟﻈﹼﻠﻤﺎﺀ ﺃﲝﺚ ﻋﻦ‬ ‫ﺩﱏ ﻋﻴﻨﻴﻚ ﻳﺎ ﺃ‪‬ﻰ ﻣﻠﻴﻜﺎﺕ ﺍﻟﻘﺼﺎﺋﺪ‪.‬‬

‫‪50‬‬


‫ﺃﺯﺭﻉ ﺍﻷﲰﺎﺀ‪ .‬ﺃﻣ ‪‬ﺪ ﻋﺮﻗﻚ ﻟﻠﺮ‪‬ﻳﺢ‪ .‬ﺃﻓﺘﺤﻚ ﻋﻠﻰ ﺍﻷﺻﻘﺎﻉ‪.‬‬ ‫ﺃﻧﺜﺮﻙ ﻋﻠﻰ ﺍﻵﻓﺎﻕ‪ .‬ﻭﺃﺭﻓﻞ ﰲ ﳑﺎﻟﻜﻚ‪ .‬ﻭﺃﺷﻬﺪ ﺿﻮﺀﻙ ﺍﳌﻨﺴﺎﺏ ﻣﻦ‬ ‫ﺧﻠﻞ ﺍﳌﺸﺎﻫﺪ‪.‬‬ ‫ﺃﺭﻯ ﺟﺒﻼ ﺃﺣﺪ‪‬ﺛﻪ ﻋﻦ ﺛﻘﻠﻬﺎ‪ ،‬ﻭﺃﺷﺠﺎﺭﺍ ﺃﺣﺪ‪‬ﺛﻬﺎ ﻋﻦ ﺍﻟﺜﹼﻤﺮ‬ ‫ﺍﻟﺒﻌﻴﺪ ﺍﻟﻴﺪﻳﻦ‪ ،‬ﻭﻳﻨﺎﺑﻴﻊ ﺃﺻﺮﺥ ﰲ ﺟﺪﺍﻭﳍﺎ‪ ،‬ﻭﺃﺭﺳﻢ ﻇﻠﹼﻬﺎ ﺍﳌﺴﻔﻮﺡ‬ ‫ﺑﺎﻟﺼ‪‬ﺤﺮﺍﺀ‪ ،‬ﻭﺃﺳﺮﺍﺑﺎ ﺃﺣﺪ‪‬ﺛﻬﺎ ﻋﻦ ﺍﻹﺳﺮﺍﺀ ﻭﺍﳌﻌﺮﺍﺝ ﺑﻴﺖ ﻗﺒﺎ‪‬ﺎ‪ ،‬ﻭﺑﺮﻭﻗﺎ‬ ‫ﺃﲰﻊ ﰲ ﺩﻭﺍﺧﻠﻬﺎ ﺻﺮﺍﺥ ﺍﻷﻭﺭﺩﺓ ﻭﺣﻨﲔ ﺑﺎﺭﻗﺔ ﻟﻨﺠﻢ ﺁﻓﻞ ﰲ ﺍﻟﺒﻴﺪ‪،‬‬ ‫ﺃﶈﻪ ﻭﺃﻗﺮﺅﻩ ﺍﻟﺴ‪‬ﻼﻡ ﻭﻣﻮﻋﺪﺍ‪ :‬ﺃﻥ ﻻ ﻳﻌﻮﺩ ﺇﱃ ﺃﺭﺍﺽ ﻻ ﺗﻜﻮﻥ ﻳﺪﺍﻙ‬ ‫ﻓﻴﻬﺎ‪ ،‬ﻭﻻﻳﻜﻮﻥ ﻟﻨﺎ ﻣﻮﺍﻃﺊ ﰲ ﻣﻬﺎﻭﻳﻬﺎ‪.‬‬ ‫ﻭﺃ‪‬ﺾ ﻻ ﻣﺮﺋﻴ‪‬ﺎ ﻭﺃﺟﻨﺤﱵ ﺳﺪﺍﺳﻴ‪‬ﺔ‪ .‬ﺃﺫﻫﺐ ﺃﺑﻌﺪ ﻛﻠﻤﺎﺕ‬ ‫ﺐ‪ ،‬ﻭﺃﺑﻌﺪ ﻣﻦ ﺃﻣﻄﺎﺭ ﺍﻟﺸ‪‬ﻮﻕ ﺍﳌﻨﺴﻴ‪‬ﺔ‪ .‬ﻭﻓﻮﻕ ﲝﺎﺭ ﺍﻟﻜﻮﻥ ﺃﻓﺘ‪‬ﺶ‬ ‫ﺍﳊ ‪‬‬ ‫ﻋﻨﻚ‪ ،‬ﻭﻓﻮﻕ ﺻﺤﺎﺭﻱ ﺍﻷﺭﺽ‪ ،‬ﻭﺑﲔ ﺍﻟﺘ‪‬ﺼﻮﻳﺘﺎﺕ‪ ،‬ﻭﻓﻮﻕ ﺳﺘﺎﺭﺍﺕ‬ ‫ﺍﻟﻠﹼﻐﺔ ﺍﻟﻘﺪﺳﻴ‪‬ﺔ‪.‬‬ ‫ﺏ ﳒﻴﻤﺎﺕ‬ ‫ﺃﻟﻘﻰ ﺑﺪﺭﺍ ﻳﻨﻬﺾ ﻣﻦ ﻣﺮﻗﺪﻙ‪ .‬ﻭﹸﺃﻓﺎ ﹺﺟﺊ ﺃﺳﺮﺍ ‪‬‬ ‫ﺯﺭﻕ ﺗﻨﻬﺾ ﻣﻦ ﺑﲔ ﻣﻼﺣﻔﻚ‪ .‬ﻭﺃﺭﻯ ﺷﺒ‪‬ﺎﻛﺎ ﻳﻄﻠﻊ ﻣﻨﻪ ﺍﻟﻨ‪‬ﻮﺭ‬ ‫ﺍﳌﺴﻜﻮﻥ ﺑﺮﺍﺋﺤﺔ ﺍﻟﻨ‪‬ﻴﻠﻮﻓﺮ‪ ،‬ﻭﺑﺮﻭﻗﺎ ﺗﺸﺤﺬ ﺳﻴﻒ ﺍﻟﻀ‪‬ﻮﺀ ﻭﺗﻮﻏﻞ ﰲ‬ ‫ﺍﻹﻳﺮﺍﻕ‪ ،‬ﻭ‪‬ﺮﺍ ﻋﻠﻮﻳ‪‬ﺎ ﻳﻮﺭﻕ ﰲ ﺍﻟﻈﹼﻠﻤﺔ ﺑﲔ ‪‬ﻮﺩ ﺍﻟﻐﻴﻢ‪ ،‬ﻭﻳﺪﻓﻊ ﰲ‬ ‫ﺲ ﺑﻨﺎﻓﻮﺭﺍﺕ ﺍﻟﻀ‪‬ﻮﺀ ﺗﺒﻠﹼﻠﲏ‪ ،‬ﻭﺑﺎﻷﻗﺪﺍﺱ ‪‬ﺎﻃﻞ‬ ‫ﺍﻷﺿﻮﺍﺀ ﻣﺰﺍﻫﺮﻩ‪ .‬ﻭﺃﺣ ‪‬‬

‫‪51‬‬


‫ﻣﻦ ﺍﻟﺸ‪‬ﺮﻓﺎﺕ ﺍﻟﻘﻤﺮﻳ‪‬ﺎﺕ ﻋﻠﻰ ﻛﺘﻔﻲ‪ .‬ﻭﺃﺷﺎﻫﺪ ﻗﺪ‪‬ﺍﺳﺎﺕ ﺍﻟﺼ‪‬ﺤﻮ ﺗﺸ ‪‬ﻢ‬ ‫ﻋﺮﻭﻗﻲ ﻭﺗﺴﻠﹼﻂ ﺁﻻﻑ ﺍﻷﺻﻮﺍﺕ ﻟﺘﻄﺮﺩ ﻣﻦ ﺷﻔﱵ ﺍﻵﻻﻡ‪ .‬ﻭﻟﻜﻨ‪‬ﻲ ﻣﻦ‬ ‫ﺑﲔ ﺍﻷﻗﺪﺍﺱ ﻭﻧﺎﻓﻮﺭﺍﺕ ﺍﻟﻀ‪‬ﻮﺀ ﺃﻃ ﹼﻞ ﺇﻻﻫﻴ‪‬ﺎ‪ .‬ﺍﻟﺼ‪‬ﻤﺖ ﻳﺰﻗﹼﻖ ﻛ ﹼﻞ‬ ‫ﻚ ﻭﻳﻘﻄﻊ ﻛ ﹼﻞ ﺃﺟﻨﺤﱵ ﺍﻟﻀ‪‬ﻮﺋﻴ‪‬ﺎﺕ ﺍﻟﺮ‪‬ﻳﺶ ﻭﻃﺎﻗﺎﰐ‪.‬‬ ‫ﻋﺼﺎﻓﲑ ﺍﻟﺸ ‪‬‬ ‫ﻭﺍﳌﻮﺕ ﻳﺴﲑ ﻋﻠﻰ ﺟﺴﺪﻱ ﻭﺃﻭﺭﺩﰐ ﺍﳌﺎﺋﻴﺔ‪.‬‬ ‫ﺃﺟﺮﺩ ﻣﻦ ﺩﺍﻟﻴﺎﺕ ﻏﻴﻮﻡ ﺍﻟﺼ‪‬ﻴﻒ ﻭﻣﻦ ﺇﺭﻫﺎﺻﺎﺕ ﳏﺎﺭﻗﻪ‬ ‫ﺃﺩﺧﻞ ﻫﺬﺍ ﺍﻟﻄﹼﻘﺲ ﺍﳉﻨ‪‬ﺎﺯﻱ ﺍﻟﻨ‪‬ﺎﺑﺖ ﰲ ﺃﺻﻘﺎﻉ ﺍﳊﻜﻲ ﻭﺣﻴﺪﺍ‪ .‬ﻻ‬ ‫ﺃﻗﺪﺍﺱ ﺗﺒﺎﺩﻟﲏ ﺍﻟﺼ‪‬ﺪﻑ ﺍﻟﺒﺤﺮﻱ‪ ،‬ﻭﻻ ﺃﺻﻘﺎﻉ ﺗﺒﺎﺩﻟﲏ ﺍﻟﺪ‪‬ﻑﺀ ﻭﺗﻄﺮﺡ‬ ‫ﰲ ﺣﻘﻠﻲ ﲦﺮ ﺍﻹﻏﻮﺀ ﺍﻟﻔﺎﺗﻦ‪ .‬ﺣﺘ‪‬ﻰ ﺣﺮﻳ ‪‬ﺮ ﳑﺎﻟﻜﻚ ﺍﳌﺪﻋﻮﻙ ﺑﺮﺍﺋﺤﺔ‬ ‫ﺍﻟﺼ‪‬ﻨﺪﻝ ﻭﺍﳊﻨ‪‬ﺎﺀ ﻭﻋﺒ‪‬ﺎﺩ ﺍﻟﺸ‪‬ﻤﺲ ﱂ ﺃﳊﻈﻪ ﳝ ‪‬ﺮ ﺑﺄﺑﻮﺍﰊ ﻭﻳﺸﺤﺬ ﺳﻴﻒ‬ ‫ﺍﻟﻀ‪‬ﻮﺀ ﻭﻳﻮﻏﻞ ﰲ ﺍﻹﻳﺮﺍﻕ ﻭﻳﺪﻓﻊ ﰲ ﺍﻷﺿﻮﺍﺀ ﻣﺒﺎﲰﻪ‪.‬‬ ‫ﻭﺃﻓﻜﹼﺮ ﻓﻴﻚ‪ .‬ﺃﻋ ‪‬ﺪ ﻛ ﹼﻞ ﻋﻘﻮﺩ ﺍﻟﻮﺭﺩ ﻭﺗﻴﺠﺎﻥ ﺍﻟﻀ‪‬ﻮﺀ‪ .‬ﻭﺃﻓﺘﺢ‬ ‫‪‬ﺮﺍ ﻋﻠﻮﻳ‪‬ﺎ ﰲ ﺍﻟﻈﹼﻠﻤﺔ ﺑﲔ ﻋﺮﻭﻕ ﺍﻟﻔﺠﺮ ﺍﳌﻔﺘﻮﺡ ﻋﻠﻰ ﺍﻟﻼﹼﻣﺮﺋ ‪‬ﻲ ﺍﻟﻔﺎﺗﻦ‪.‬‬ ‫ﻭﺃﻋﻄﹼﺮ ﺑﺎﻷﻗﺪﺍﺱ ﺍﻷﺭﺽ‪ .‬ﻭﺃﻫﺠﺲ‪:‬‬ ‫"ﻟﻴﺴﺎﻓﺮ ﻧﺒﺾ ﺍﻷﺭﺽ ﻭﺻﻮﺕ ﺍﻷﺑﺪﻳ‪‬ﺎﺕ‪.‬‬ ‫ﻟﺘﺘﺮﻛﲏ ﺟﻨ‪‬ﺎﺕ ﺍﻟﻌﺎﱂ‪.‬‬ ‫ﻟﺘﻬﺠﺮ ﺑﻴﱵ ﻧﺎﻓﻮﺭﺍﺕ ﺍﻟﻀ‪‬ﻮﺀ"‪.‬‬ ‫ﻭﺃﻓﻜﹼﺮ ﻓﻴﻚ‪ .‬ﻭﺃﻫﺠﺲ‪:‬‬

‫‪52‬‬


‫"ﻋﻮﺩﻱ ﻣﻦ ﺃﺟﻞ ﺗﻮﳚﺎﺕ ﺍﻟﺰ‪‬ﻫﺮ‪ ،‬ﻣﻦ ﺃﺟﻞ ﺍﻟﻨ‪‬ﻬﺮ ﺍﻟﻌﻠﻮﻱ‪‬‬ ‫ﺍﳌﺘﻔﺠ‪‬ﺮ ﰲ ﺳﺎﻋﺎﺕ ﺍﻟﻮﺣﺪﺓ‪ .‬ﻋﻮﺩﻱ ﻣﻦ ﺃﺟﻞ ﻋﺮﻭﻕ ﺍﻟﻔﺠﺮ‪ ،‬ﻭﻣﻦ‬ ‫ﺃﺟﻠﻲ‪ .‬ﻳﺎ ﻭﺍﻫﺒﺔ ﺍﻟﻘﺪ‪‬ﺍﺳﺎﺕ‪ ،‬ﻭﻳﺎ ﻭﺍﻫﺒﺔ ﺍﻷﻣﻄﺎﺭ‪ ،‬ﻭﻳﺎ ﻭﺍﻫﺒﺔ‬ ‫ﺍﻟﺼ‪‬ﺤﻮ‪ .‬ﻋﻮﺩﻱ ﻣﻦ ﺃﺟﻞ ﺍﻟﻀ‪‬ﻮﺀ‪ ،‬ﻭﻣﻦ ﺃﺟﻠﻲ‪ .‬ﻓﺄﻧﺎ ﱂ ﺃﺭﻓﻞ ﺃﺑﺪﺍ ﰲ‬ ‫ﻏﲑ ﺳﻮﺍﺩ ﺍﻟﻮﺣﺪﺓ"‪.‬‬

‫‪53‬‬


‫ﺍﳌﻨﺎﺯﻝ‬ ‫ ﺑﻴﺖ ﻟﺘﺤﺮﻳﺮ ﺍﻟﻜﺎﺋﻦ‪.‬‬‫ ﺷﺮﻓﺔ ﻭﺍﻃﺌﺔ ﻟﻨﺤﺎﺗﺎﺕ ﺍﻟﱪﻕ‪.‬‬‫ ﻋﺮﺑﺔ ﳋﻴﻞ ﺍﻷﺳﺎﻃﲑ‪.‬‬‫ ﻓﺠﺮ ﻟﻘﺪﺍﺳﺎﺕ ﺩﺍﺱ ﻋﻠﻴﻬﺎ ﺍﻟﹼﻠﻴﻞ ﺑﺂﺛﺎﺭ ﺧﻄﺎﻳﺎﻩ‪.‬‬‫ ﻣﺪﻳﺢ ﳋﺒﻂ ﺃﺟﻨﺤﺔ ﺍﻟﻄﹼﺎﺋﺮ ﺍﳉﺒﻠ ‪‬ﻲ ﺍﻟﺼ‪‬ﺎﻋﺪ ﺍﳉﺒﻞ‪.‬‬‫ ﻭﻗﻔﺔ ﺃﺧﲑﺓ ﻹﺿﺎﺀﺓ ﺍﻟﺪ‪‬ﻭﺍﺧﻞ‪.‬‬‫ ﺩﻛﻨﺔ ﺑﺎﺭﺩﺓ ﳌﻨﺎﺯﻝ ﺍﻟﺼ‪‬ﺒﺎﺡ‪.‬‬‫ ﻗﺪ‪‬ﺍﺱ ﺃﺧﲑ ﻟﺴﺎﺩﻧﺔ ﺍﳌﻌﺒﺪ‪.‬‬‫‪ -‬ﺳﻠﻤﻰ ﻛﻌﺎﺩ‪‬ﺎ ﺗﻐﻨ‪‬ﻲ‪.‬‬

‫‪54‬‬


‫ﲑ ﻟﺘﺤﺮﻳﺮ ﺍﻟﻜﺎﺋﻦ‬ ‫ﺿﻮ ٌﺀ ﺃﺧ ‪‬‬ ‫ﺇﱃ ﳏﻤ‪‬ﺪ ﻟﻄﻔﻲ ﺍﻟﻴﻮﺳﻔﻲ‬

‫‪ ..‬ﻨﺎ ﰲ ﺍﻟﺼ‪‬ﺤﺮﺍﺀ‪ .‬ﻭﺃﺿﻌﻨﺎ ﰲ ﺍﻟﺼ‪‬ﻤﺖ ﻣﺰﺍﻣﲑ ﺍﻟﻌﺸ‪‬ﺎﻕ‪.‬‬ ‫ﻭﺃﻋﻄﻴﻨﺎ ﻟﻠﺼ‪‬ﺤﻮ ﻋﻜﺎﻛﻴﺰ ﻭﻟﻠﻈﹼﻠﻤﺔ ﺃﺿﻮﺍﺀ‪ .‬ﻭﺗﺮﻛﻨﺎ ‪‬ﻟ ‪‬ﻌﺸﻴﺒﺎﺕ ﺍﳊﻘﻞ‬ ‫ﻧﺜﺎ ‪‬ﺭ ﺍﻟﻔﺘﻨﺔ‪.‬‬

‫‪55‬‬


‫ﻣﻐﺴﻮﻟﲔ ﺑﺮﺍﺋﺤﺔ ﺍﻟﺼ‪‬ﻨﺪﻝ ﻭﺍﻷﻋﺸﺎﺏ ﻭﺻﻠﻨﺎ‪) .‬ﺗﻠﻚ ﺍﳌﺮﺃﺓ‬ ‫ﻛﺎﻧﺖ ﰲ ﺍﻷﺻﻞ ‪‬ﺎﺭﺍ‪ .‬ﻭﺗﻠﻚ ﺍﻷﻓﺮﺍﺱ ﺍﳌﺬﻋﻮﺭﺓ‪ ،‬ﺗﻠﻚ ﺍﳌﻔﺠﻮﺀﺓ‬ ‫ﺑﺎﻟﺘ‪‬ﻄﻮﺍﻑ ﻭﺑﺎﻟﻐﺰﻭﺍﺕ ﻛﺎﻧﺖ ﰲ ﺍﻷﺻﻞ ﺛﻴﺎﺏ ﺍﻟﻈﹼﻠﻤﺔ‪ .‬ﻭﺫﺍﻙ‬ ‫ﺍﻟﺒﻴﺖ ﺍﻟﻘﻤﺮﻱ‪ ‬ﺍﳌﺴﻘﻮﻑ ﺑﺬﺍﻛﺮﺓ ﺍﻷﻣﻮﺍﺕ‪ ،‬ﺫﺍﻙ ﺍﳌﺘﻬﺪ‪‬ﻡ ﺣﺘ‪‬ﻰ‬ ‫ﺍﻟﻌﺘﺒﺔ ﻛﺎﻥ ﺧﻼﺳﻴ‪‬ﺎ ﺃﺳﻮﺩ ﻣﻄﺮﻭﺩﺍ(‪.‬‬ ‫ﺗﺮﻛﻨﺎ ﺍﳉﻠﺪ ﺍﻟﺼ‪‬ﻮﰲ ﻷﻏﺮﺍﺏ ﺟﺎﺅﻭﺍ ﰲ ﺁﺧﺮﺓ ﺍﻟﻠﹼﻴﻞ‪ .‬ﺗﺮﻛﻮﺍ‬ ‫ﰲ ﺭﺍﻓﻌﺔ ﺍﻷﺩﺑﺎﺵ ﺑﺮﺍﻧﻴﺲ ﺍﳌﻮﺕ‪ .‬ﺗﺮﻛﻮﺍ ﺃﻗﻤﺎﺭﺍ ﱂ ﺗﻌﺮﻑ ﺃﺑﺪﺍ ﻏﲑ‬ ‫ﺍﻟﻌﺘﻤﺔ‪ ،‬ﻭﻏﲑ ﻏﻴﺎﺑﺎﺕ ﺍﻟﺼ‪‬ﻮﺕ‪ .‬ﺗﺮﻛﻮﺍ ﻟﻐﺔ ﻳﻨﺒﻊ ﻣﻨﻬﺎ ﺍﳌﺎﺀ‪ ،‬ﻭﺗﻮﺭﻕ ﰲ‬ ‫ﻳﺪﻫﺎ ﺍﻟﺼ‪‬ﺤﺮﺍﺀ‪ .‬ﻭﺣﻄﹼﻮﺍ ﰲ ﻇ ﹼﻞ ﺍﻟﻌﺘﺒﺔ ﻧﺎﻓﻮﺭﺍﺕ ﺍﻟﻨ‪‬ﻮﺭ‪ .‬ﻭﻋﻠﻰ ﺃﻃﺮﺍﻑ‬ ‫ﱯ ﺍﻟﻘﺎﺋﻢ‬ ‫ﻑ ﺍﳋﺸ ‪‬‬ ‫ﺍﻟﺒﺎﺏ ﺭﺫﺍﺫﺍ ‪‬ﺮﻳ‪‬ﺎ ﳐﻠﻮﻃﺎ ﺑﻌﻄﻮﺭ ﻭﺃﻓﺎﻭﻳﻪ‪ .‬ﻭﻓﻮﻕ ﺍﻟﺮ ‪‬‬ ‫ﰲ ﺃﻋﻠﻰ ﺍﻟﺮ‪‬ﻛﻦ ﺍﻷﳝﻦ ﺗﺮﻛﻮﺍ ﻟﻠﻈﹼﻠﻤﺔ ﺃﺭﻭﺍﺣﺎ‪ ،‬ﻭﻟﻠﹼﻴﻞ ﺃﺻﺎﺑ ‪‬ﻊ ﱂ ﺗﻌﺮﻑ‬ ‫ﻏﲑ ﺣﻨﺎﻥ ﺍﻷﻫﻞ‪ ،‬ﻭﻟﻠﺼ‪‬ﻤﺖ ﺑﺮﻭﻗﺎ‪.‬‬ ‫ﱂ ﻧﺘﺤﺪ‪‬ﺙ‪ .‬ﱂ ﻧﻔﺘﺢ ﻟﻠﻜﻠﻤﺎﺕ ﺍﻷﻗﻔﺎﺹ‪ .‬ﻭﱂ ﻧﺸﻌﺮ ﺑﻌﺮﻭﻕ‬ ‫ﺍﻟﻨ‪‬ﻮﺭ ﺍﳌﻘﻄﻮﻋﺔ ﺣﺘ‪‬ﻰ ﺁﺧﺮ ﻋﺮﻕ ﻓﻴﻬﺎ‪ .‬ﻭﺣﺪﻱ ﺃﺑﺼﺮﺕ ﻳﺪﻳﻪ ﻋﻠﻰ‬ ‫ﺃﻃﺮﺍﻑ ﺍﳌﻘﻌﺪ ﻭﻓﻮﻕ ﺍﳊﺠﺮﺍﺕ ﺍﳌﻠﻘﺎﺓ ﻫﻨﺎ ﻭﻫﻨﺎﻙ ﲡﺴ‪‬ﺎﻥ ﺍﻟﻈﹼﻠﻤﺔ‪.‬‬ ‫ﺃﺑﺼﺮﺕ ﲰﺎﺀ ﺗﱰﻝ ﰲ ﺣﻀﺮﺗﻨﺎ‪ ،‬ﻭﳒﻮﻣﺎ ﺗﻄﺮﻕ ﻟﻮﺡ ﺍﳌﻘﻌﺪ‪ ،‬ﻭﻃﻴﻮﺭﺍ‬ ‫ﺗﺮﺗﻖ ﻣﺎ ﻣﺰ‪‬ﻗﻪ ﺍﻟﺼ‪‬ﻤﺖ ﻭﻣﺎ ﻓﺮ‪‬ﻗﻪ ﺍﻟﺼ‪‬ﺒﺢ‪.‬‬

‫‪56‬‬


‫ﻭﰲ ﺁﺧﺮﺓ ﺍﻟﻠﹼﻴﻞ ﺍﻵﺧﺮ‪ ،‬ﺍﻟﻠﹼﻴﻞ ﺍﳌﻤﺘ ‪‬ﺪ ﺑﻼ ﺁﺧﺮ ﺃﺑﺼﺮﺕ‬ ‫ﺻﺪﻳﻘﻲ ﻣﺮﺁﺓ ﺍﳊﺠﺮﺓ ﻳﺴﺄﻟﲏ‪" :‬ﻛﻦ ‪‬ﺮﺍ ﻳﺎ ﺃﻟﻒ ﺍﻟﺼ‪‬ﺤﺮﺍﺀ‪ .‬ﻛﻦ‬ ‫ﺑﺮﻗﺎ ﻳﺎ ﻗﺎﻑ ﺍﻟﻔﻴﺾ‪ .‬ﻭﻛﻮﱐ ﻳﺎ ﻫﺎﺀ ﺍﻟﻔﺘﻨﺔ ﺃﻭ‪‬ﻝ ﺑﻴﺖ ﺗﻮﺭﻕ ﻓﻴﻪ‬ ‫ﺍﻟﻜﻠﻤﺎﺕ ﻭﺗﻮﺭﻕ ﻓﻴﻪ ﺍﻷﺷﻴﺎﺀ"‪.‬‬

‫‪57‬‬


‫ﺷﺮﻓﺔ ﻭﺍﻃﺌﺔ ﻟﻨﺤﺎﺗﺎﺕ ﺍﻟﱪﻕ‬ ‫ﺇﱃ ﺳﻌﺪﻱ ﻳﻮﺳﻒ‬

‫ ‪ ...‬ﺃﺩﻧﻮ ﻣﻦ ﺳﻮﺭ ﻣﻨﺎﺯﻝ ﺳﻌﺪﻱ‪.‬‬‫ ﺳﻌﺪﻱ ﻣﻦ؟ ﺳﻌﺪﻱ ﺍﻟﺸ‪‬ﲑﺍﺯﻱ؟‬‫ ﻻ‪ ،‬ﺑﻞ ﺳﻌﺪﻱ ﺍﻵﺧﺮ‪ ،‬ﺳﻌﺪﻱ ﻳﻮﺳﻒ‪.‬‬‫ﺃﺩﻧﻮ ﻣﻦ ﺷﺮﻓﺘﻪ ﺗﻠﻚ‪،‬‬ ‫ﺗﻠﻚ ﺍﳌﻐﺮﻭﺳﺔ ﰲ ﻃﲔ ﺍﳋﻠﻖ‪،‬‬ ‫ﺗﻠﻚ ﺍﻟﻮﺍﻃﺌﺔ ﺍﳌﻌﺮﻭﻗﺔ‪ ،‬ﺗﻠﻚ‪.‬‬ ‫ﺃﺩﻧﻮ ﻣﻨﻬﺎ‪.‬‬ ‫‪58‬‬


‫ﺏ ﳒﻮﻡ‬ ‫ﺃﺑﺪﻭ ﻗﻠﻘﺎ‪ ،‬ﻭﺃﻧﺎ ﺃﺗﻘﺪ‪‬ﻡ ﺃﺳﺮﺍ ‪‬‬ ‫ﻛﺎﻧﺖ ﲡﻠﺲ ﺧﻠﻒ ﺍﻟﻜﺮﺳ ‪‬ﻲ ﺍﳌﺘﺮﻭﻙ ﻫﻨﺎﻙ‪.‬‬ ‫ﺃﺩﻧﻮ ﺃﻛﺜﺮ‪..‬‬ ‫ﺃﺑﺪﻭ ﻣﻔﺠﻮﺀﺍ ﻭﺍﻟﻌﺘﻤﺔ ﺗﺄﻛﻞ ﻇ ﹼﻞ ﺑﺮﺍﻧﻴﺲ ﺍﻷﻫﻞ‪.‬‬ ‫ﻭﺍﻟﻨ‪‬ﻮﺭ ﳚﻠﹼﻞ ﺃﺛﺪﺍﺀ ﻧﺴﺎﺀ ﺍﻟﻠﹼﻴﻞ‪.‬‬ ‫ﻭﻳﻔﺘﺢ ﻧﺎﻓﻮﺭﺍﺕ ﺍﻟﻀ‪‬ﻮﺀ‪،‬‬ ‫ﻭﺃﻛﻮﺍﻥ ﺍﻟﻀ‪‬ﻮﺀ‪.‬‬ ‫ﺃﺩﻧﻮ ﻣﻦ ﺳﻮﺭ ﻣﻨﺎﺯﻟﻪ‪.‬‬ ‫ﻃﻠﻘﺎ ﻛﺘﻮﳚﺎﺕ ﺍﻟﺰ‪‬ﻫﺮ ﺃﺭﺍﻩ‪.‬‬ ‫ﻭﻣﻔﺘﻮﻧﺎ ﺑﺼﺒﺎﺣﺎﺕ ﺍﳌﻮﺕ‪.‬‬ ‫ﺃﺭﺍﻩ ﻭﺣﻴﺪﺍ‪.‬‬ ‫ﻭﰲ ﺍﻟﻌﺘﻤﺔ ﺃﳌﺢ ﺃﺳﺮﺍﺏ ﻋﺼﺎﻓﲑ‬ ‫ﺗﻨﻬﺾ ﻣﻦ ﺑﲔ ﻳﺪﻳﻪ‪ ،‬ﻭﺗﺆﺛﹼﺚ ﺃﺭﻛﺎﻥ ﺍﻟﺒﻴﺖ‪.‬‬ ‫ﺃﺩﻧﻮ ﺃﻛﺜﺮ ﻣﻦ ﺷﺮﻓﺘﻪ ﺍﻟﻘﻤﺮﻳ‪‬ﺔ ﰲ ﺃﻧﺼﺎﻑ ﺍﻟﻠﹼﻴﻞ‪ .‬ﻛﻮﺏ‬ ‫ﺍﻟﺸ‪‬ﺎﻱ ﻫﻨﺎﻙ ﻛﻌﺎﺩﺗﻪ‪ ،‬ﺍﻟﺴ‪‬ﻴﺠﺎﺭ ﺍﻟﻘﺎﺩﻡ ﻣﻦ ﺃﺳﻮﺍﻕ ﺍﳌﻐﺮﺏ‪ ،‬ﺭﺍﺋﺤﺔ‬ ‫ﱐ ﻭﻃﻌﻢ ﺍﳌﺎﻧﻘﺎ‪ .‬ﻣﺬﺍﺏ ﺍﳌﻴﺜﻮﻟﻮﺟﻴﺎ‪.‬‬ ‫ﺍﻷﻗﺮﺍﻁ ﺍﳌﺪﻋﻮﻛﺔ ﺑﺎﻟﻌﺮﻕ ﺍﻹﺳﺒﺎ ﹼ‬ ‫ﱄ‪ .‬ﺑﻴﺖ ﻳﺎﻧﻴﺲ ﺭﻳﺘﺴﻮﺱ‪.‬‬ ‫ﻭﺻﻬﻴﻞ ﺍﻷﻓﺮﺍﺱ ﺍﳌﻔﺠﻮﻋﺔ ﺑﺎﻟﺘ‪‬ﻄﻮﺍﻑ ﺍﻷﺯ ﹼ‬

‫‪59‬‬


‫ﺃﺻﺎﺑﻊ ﻣﺮﱘ ﻭﺍﳊﻨ‪‬ﺎﺀ ﺗﻀﻲﺀ ﻋﻮﺍﳌﻬﺎ ﺍﳌﺨﻔﻴ‪‬ﺔ‪ .‬ﺃﺣﺠﺎﺭ ﺍﻟﺒﺎﺯﻟﺖ ﻋﻠﻰ‬ ‫ﺃﻋﺘﺎﺏ ﺍﻟﻨ‪‬ﻬﺮ‪.‬‬ ‫ﺃﺩﻧﻮ ﻣﻦ ﺳﻮﺭ ﻣﻨﺎﺯﻟﻪ‪ ،‬ﻣﻦ ﺫﺍﻙ ﺍﻟﺴ‪‬ﻮﺭ‪ .‬ﺃﳌﺢ ﻃﻔﻼ ﻳﱰﻉ‬ ‫ﺃﺛﻮﺍﺏ ﺍﻟﻠﹼﻴﻞ‪ ،‬ﻭﳜﻠﻊ ﺃﺛﻮﺍﺏ ﺍﻟﻨ‪‬ﻮﺭ‪ .‬ﻭﺃﺭﺍﻩ ﻭﺣﻴﺪﺍ‪ .‬ﻻ ﺃﻭﻫﺎﻡ ﺗﺆﺍﻟﻒ ﻏﻴﻢ‬ ‫ﻳﺪﻳﻪ ﻷﺭﺽ ﺍﻟﺮ‪‬ﺍﺣﻠﺔ ﺍﻷﻭﱃ‪ ،‬ﺗﻠﻚ ﺍﻟﻔﺎﺗﻨﺔ‪ ،‬ﺍﻟﻐﺎﺋﻤﺔ ﺍﻟﻮﺟﻪ‪ ،‬ﺍﳌﻨﺴﻴ‪‬ﺔ ﰲ‬ ‫ﺃﻗﺒﻴ‪‬ﺔ ﺍﻷﻣﺲ‪.‬‬ ‫ﺃﶈﻬﺎ ﺗﱰﻉ ﺣﺼ‪‬ﺎﺭﺍﺕ ﺍﻟﺼ‪‬ﺪﺭ‪ ،‬ﻭﺗﺘﺮﻙ ‪‬ﺮ ﺍﻟﺸ‪‬ﻬﻮﺍﺕ ﻳﻔﻴﺾ‪،‬‬ ‫ﻭﻳﻮﺭﻕ ﰲ ﻫﺬﺍ ﺍﻟﺼ‪‬ﻤﺖ ﺍﳌﻄﺒﻖ‪ .‬ﺃﶈﻬﺎ ﺗﺘﺮﻙ ﻗﻮﻗﻌﺔ ﺍﳋﻮﻑ‪ ،‬ﻭﺗﺮﻛﺾ‬ ‫ﻱ ﺃﺭﻋﻦ ﰲ ﺃﺭﺽ ﺍﻟﻐﺮﻓﺔ‪ .‬ﺃﶈﻬﺎ ﺗﺘﺴﻠﹼﻰ ﺑﱪﺍﻧﻴﺲ‬ ‫ﻛﺤﺼﺎﻥ ﺻﺤﺮﺍﻭ ‪‬‬ ‫ﺍﻷﺧﻀﺮ ﺑﻦ ﻳﻮﺳﻒ‪ ،‬ﻭﺑﺸﺎﻱ ﻗﺼﺎﺋﺪﻩ‪ ..‬ﻭﺃﺭﺍﻫﺎ ﰲ ﺍﻟﺮ‪‬ﻛﻦ ﺍﻷﻳﺴﺮ ﻣﻦ‬ ‫ﻏﺮﻓﺘﻬﺎ ﺗﺘﺴﻠﹼﻰ ﺑﻮﻋﻮﺩ ﺍﳌﻬﺪﻱ ﺑﻦ ﺑﺮﻛﺔ‪ ،‬ﻭﺳﺆﺍﻝ ﺍﻟﻮﻫﺮﺍﻧﻴ‪‬ﺎﺕ‬ ‫ﺍﳌﺨﺒﻮﺀﺍﺕ ﻛﺤﺒ‪‬ﺎﺕ ﺍﳊﻨﻄﺔ‪.‬‬ ‫ﻭﰲ ﺍﻟﻌﺘﻤﺔ ﻭﺍﻷﻣﻄﺎﺭ ﲤ ‪‬ﺪ ﺃﺻﺎﺑﻌﻬﺎ ﺍﻟﻄﹼﻴﻨﻴ‪‬ﺔ ﳓﻮ ﻣﺴﺎ ‪‬ﻡ ﺍﻷﺭﺽ‬ ‫ﱐ ﺍﳌﺨﻠﻮﻁ ﺑﺮﺍﺋﺤﺔ ﺍﳉﻨ‪‬ﺎﺕ‬ ‫ﶈﺖ ﻇﻼﻻ ﲣﺮﺝ‪ .‬ﻭﲰﻌﺖ ﺍﻟﻠﹼﻐﻂ ﺍﻹﻧﺴﺎ ﹼ‬ ‫ﻭﺃ‪‬ﺎﺭ ﺍﳌﻌﲎ‪ .‬ﻗﺪﻣﺎﻥ ﻛﺒﲑﺍﻥ‪ ،‬ﶈﺖ ﻭﺭﺍﺀﳘﺎ ﺍﻷﻛﻮﺍﻥ ﺗﻀﺎﺀ ﻭﻛ ﹼﻞ‬ ‫ﻋﺼﺎﻓﲑ ﺍﻟﻜﻮﻥ ﺗﻄﻮﻑ ﻭﺗﺮﺳﻞ ﺃﺻﻮﺍﺕ ﺍﻟﻀ‪‬ﻮﺀ‪ .‬ﻭﺃﺻﺎﺑﻊ ﻣﻌﺮﻭﻗﺔ‪،‬‬ ‫ﺗﺴﻤﻊ ﻓﻴﻬﺎ ﻧﺒﺾ ﺍﻷﺭﺽ‪ .‬ﻭﻭﺟﻪ ﻳﺸﺒﻪ ﺃﻭﺭﺍﻕ ﺍﻟﱪﺩﻱ ﺗﻠﻤﺢ ﻓﻴﻪ‬ ‫ﺍﳌﻄﻠﻖ‪ ،‬ﻭﺧﻴﻮﻝ ﺍﻵﺑﺎﺩ‪ ،‬ﻭﳓﺎﺗﺎﺕ ﺍﻟﱪﻕ‪ ،‬ﻭﺃﻃﻴﺎﻥ ﺍﻟﺒﺪﺀ‪.‬‬

‫‪60‬‬


‫ﺗﺄﻣ‪‬ﻠﺘﻪ‪.‬‬ ‫ﻛﺎﻥ ﺍﻟﻨ‪‬ﻬﺎﺭ ﻳﻄ ﹼﻞ ﻣﻦ ﺍﻟﺸ‪‬ﺮﻓﺔ ﺍﻟﻮﺍﻃﺌﺔ‪.‬‬ ‫ﻭﻛﺎﻧﺖ ﻃﻴﻮﺭ ﺍﻟﺰ‪‬ﻏﺎﺭﻳﺪ ‪‬ﻤﻲ‪.‬‬ ‫ﻑ ﺍﻟﻜﺘﺐ‪.‬‬ ‫ﻭﻛﺎﻧﺖ ﻧﺴﺎﺀ ﺍﻷﺳﺎﻃﲑ ﺗﺴﻜ ‪‬ﻦ ﺭ ‪‬‬ ‫ﺗﺄﻣ‪‬ﻠﺘﻪ‪.‬‬ ‫ﻛﺎﻥ ﺟﺰﺀﺍ ﺑﺴﻴﻄﺎ ﻣﻦ ﺍﻟﺸ‪‬ﺮﻓﺔ ﺍﻟﻮﺍﻃﺌﺔ‪.‬‬ ‫ﻭﺟﺰﺀﺍ ﻣﻦ ﺍﻟﻄﹼﲑ‪.‬‬ ‫ﻑ ﺍﻟﻜﺘﺐ‪.‬‬ ‫ﻭﺟﺰﺀﺍ ﻣﻦ ﺍﻟﻨ‪‬ﻮﺭ ﻳﻄﻠﻊ ﻣﻦ ﺑﲔ ﺭ ‪‬‬ ‫"ﻏﺮﻳﺒﺎ ﻋﻦ ﻛﻞﹼ ﻣﻘﺎﻫﻲ ﺍﳊﻲ‪ ‬ﺍﻟﻐﺎﺭﻕ ﰲ ﺍﳌﻄﺮ ﺍﻟﺸ‪‬ﺘﻮﻱ‪.‬‬ ‫ﻭﻏﺮﻳﺒﺎ ﻋﻦ ﺧﻄﻮﺍﺕ ﺍﻟﻨ‪‬ﺎﺱ ﻭﻋﻦ ﺭﻏﺒﺘﻬﻢ"‪ .‬ﺣﺪ‪‬ﺛﲏ‪ .‬ﻭﺃﺿﺎﻑ‪:‬‬ ‫"ﻭﺃﺷﻌﺮ ﺃﻧ‪‬ﻲ ﰲ ﺩﺍﺧﻠﻬﻢ ﺃﳕﻮ ﻛﺤﺒﻮﺏ ﺍﳊﻨﻄﺔ‪ .‬ﻟﻜﻨ‪‬ﻲ‪ ،‬ﻭﺍﻟﻐﺮﺑﺔ‬ ‫ﲤﺘﺺ‪ ‬ﻋﺮﻭﻕ ﺍﻟﺮ‪‬ﻭﺡ‪ ،‬ﺃﺣﺎﻭﻝ ﻛﺴﺮ ﺍﻟﻈﹼﻠﻤﺎﺕ ﻷﺑﺼﺮ ﺿﻮﺀ ﺍﻷﻫﻞ‬ ‫ﻫﻨﺎﻙ‪ ،‬ﻭﻧﺒﺾ ﺍﻷﺭﺽ ﻫﻨﺎﻙ‪ ،‬ﻭﻷﻛﱪ ﺃﻛﺜﺮ ﰲ ﺃﻋﻴﻨﻬﻢ‪ ،‬ﻭﺃﻧﺎﻡ"‪.‬‬ ‫ﺃﻋﻄﻴﺘﻪ ﺭﺍﺣﱵ ﻭﺍﻟﻘﺼﻴﺪﺓ‪ .‬ﻓﺤﺪ‪‬ﺛﲏ ﻋﻦ ﻭﻫﺮﺍﻥ‪ ،‬ﻭﻋﻦ‬ ‫ﻣﻮﺳﻜﻮ‪ ،‬ﻭﻋﻦ ﺑﺎﻋﺔ ﺃﺭﺻﻔﺔ ﺍﻟﻘﲑﻭﺍﻥ‪ .‬ﻗﺎﻃﻌﺘﻪ ﻗﺎﺋﻼ‪" :‬ﺃﻳ‪‬ﻬﺎ ﺗﺸﺘﻬﻲ ﻳﺎ‬ ‫ﺻﺪﻳﻘﻲ؟"‪ .‬ﻓﻘﺎﻝ‪" :‬ﻛﻞﹼ ﺗﻠﻚ ﺍﳌﺪﻥ‪ ،‬ﻛﻞﹼ ﺗﻠﻚ ﺍﳌﺒﺎﱐ‪ ،‬ﺗﻌﻠﹼﻤﺖ ﻓﻴﻬﺎ‬ ‫ﻛﺘﺎﺑﺔ ﻫﺬﻱ ﺍﻷﻏﺎﱐ"‪.‬‬

‫‪61‬‬


‫ﻭﻗﻔﺔ ﺃﺧﲑﺓ ﻹﺿﺎﺀﺓ ﺍﻟﺪ‪‬ﻭﺍﺧﻞ‬ ‫ﺇﱃ ﺃﻧﺴﻲ ﺍﳊﺎﺝ‬

‫ﺗﺮﻛﻨﺎ ﻣﺎ ﺗﺮﻛﻨﺎﻩ‪،‬‬ ‫ﻋﻠﻰ ﺃﻋﺘﺎﺑﻨﺎ‪.‬‬ ‫ﻭﺁﳌﻨﺎ ﺍﻟﻐﻴﺎﻫﺐ ﻛﻠﹼﻬﺎ‪.‬‬

‫‪62‬‬


‫ﻗﻠﻨﺎ ﳍﺎ ﺃﻥ ﺗﺒﺪﺃ ﺍﻟﺼ‪‬ﺤﺮﺍﺀ ﻣﻦ ﻋﻄﺶ ﺍﻟﱪﻭﻕ‪ ،‬ﻭﻣﻦ ﺛﻴﺎﺏ‬ ‫ﺍﻟﻠﹼﻴﻞ‪ .‬ﳍﺎ ﺃﻥ ﺗﻔﺘﺢ ﺍﻟﺪ‪‬ﻧﻴﺎ ﻟﺘﺮﻗﺪ ﻓﻮﻕ ﺟﻨ‪‬ﺎﺯﺍ‪‬ﺎ ﺍﳌﺴﻘﻮﻓﺔ ﺍﻷﻋﺘﺎﺏ‬ ‫ﺑﺎﳌﻌﲎ‪ .‬ﻭﺃﻋﻄﻴﻨﺎ ﻳﺪﻳﻬﺎ ﺍﳌﺎﺀ ﺗﺮﻓﻮ ﺛﻮﺑﻪ‪ ،‬ﻭﻫﻴ‪‬ﺄﻧﺎ ﺍﻟﱪﻭﻕ ﻟﺘﺴﺘﻈ ﹼﻞ ﺑﻘﺎﻣﺔ‬ ‫ﺍﻟﺼ‪‬ﺤﺮﺍﺀ ﻫﺎﻣﺎﺕ ﺍﻟﻨ‪‬ﺠﻮﻡ‪ .‬ﻭﺷﻜﹼﻠﻨﺎ ﺍﻟﺪ‪‬ﻳﺎﺭ‪ ،‬ﺳﻘﻮﻓﻬﺎ ﺍﻟﺒﻴﻀﺎﺀ ﺗﻠﻚ‪،‬‬ ‫ﻭﻇﻞﹼ ﻗﺒﺎ‪‬ﺎ ﺍﻟﻌﺎﱄ‪ ،‬ﻭﲞﻮﺭ ﺃﻭ‪‬ﻝ ﻟﻴﻠﺔ ﲪﻠﺖ ﺑﻮﺍﺭﻳﺪ ﺍﻟﺘ‪‬ﺨﻮﻡ ﺇﱃ‬ ‫ﺣﺪﺍﺋﻘﻬﺎ‪ ،‬ﻭﲰ‪‬ﻴﻨﺎ ﺍﻟﻘﺮﻯ‪.‬‬ ‫ﻫﺬﻱ ﻹﻳﻼﻑ ﺍﻷﺳﺎﻃﲑ ﺍﻟﺘ‪‬ﻲ ﻓﺮ‪‬ﺕ ﻣﻦ ﺍﻷﺿﻼﻉ ﻗﺪ‪‬ﺍﺳﺎ‪‬ﺎ‪،‬‬ ‫ﻭﺗﻮﺯ‪‬ﻋﺖ ﰲ ﺁﺧﺮﺍﺕ ﺍﻟﺮ‪‬ﻭﺡ‪ .‬ﻭﺗﻠﻚ ﻟﻠﻘﺘﻠﻰ ﻣﻦ ﺍﻟﺸ‪‬ﻌﺮﺍﺀ ﲡﻤﻊ‬ ‫ﻃﲑﻫﻢ‪ .‬ﻭﺍﻷﺧﺮﻳﺎﺕ ﳌﺎ ﳜﺒ‪‬ﺆﻩ ﺍﻟﻈﹼﻼﻡ ﻷﻭ‪‬ﻝ ﳒﻤﺔ ﺑﺰﻏﺖ ﻛﺄﺳﺮﺍﺏ‬ ‫ﺍﳊﻤﺎﻡ ﻣﻦ ﺍﻟﺬﹼﺭﻯ‪.‬‬ ‫ﺗﺮﻛﻨﺎ ﻣﺎ ﺗﺮﻛﻨﺎﻩ‪،‬‬ ‫ﻋﻠﻰ ﺃﻋﺘﺎﺑﻨﺎ‪،‬‬ ‫ﻟﻴﻼ ﻟﻨﺎ‪،‬‬ ‫ﻭﻵﺧﺮ ﺍﻟﻘﺘﻠﻰ‪.‬‬ ‫ﻭﻫﻴ‪‬ﺄﻧﺎ ﺍﳌﻮﺍﻛﺐ‪.‬‬ ‫‪ ...‬ﲝﺎﺭﺓ ﻏﺮﺑﺎﺀ ﺟﺎﺅﻭﺍ‪ .‬ﲪ‪‬ﻠﻮﻧﺎ ﺧﺒﺰﻫﻢ ﻭﻧﺒﻴﺬﻫﻢ ﻭﺃﻭﺟﺎﻉ ﺍﻟﺼ‪‬ﻠﻴﺐ‬ ‫ﻋﻠﻰ ﻣﺪﺍﺧﻞ ﻣﺎ ﺗﺴﺎﻗﻂ ﰲ ﺍﻟﻨﺸﻴﺪ ﻣﻦ ﺍﻟﺮ‪‬ﺫﺍﺫ ﻭﻣﻦ ﳓﺎﺕ ﺍﻷﺯﻣﻨﺔ‪.‬‬ ‫ﻭﺗﺴﺎﺀﻟﻮﺍ‪.‬‬

‫‪63‬‬


‫ "ﺃﻧﻈﻞﹼ ﻧﺮﺣﻞ ﺩﺍﺋﻤﺎ؟"‬‫ﻗﻠﻨﺎ ﳍﻢ‪:‬‬ ‫ "ﻭﻧﻈﻞﹼ ﻧﺮﺣﻞ ﺧﻠﻔﻜﻢ"‪.‬‬‫ "ﻃﻮﰉ ﻟﻜﻢ"‪.‬‬‫ﻗﺎﻟﻮﺍ‪ ،‬ﻭﻣﺎ ﺗﺮﻛﻮﺍ ﻋﻠﻰ ﺣﺼﺒﺎﺀ ﺷﺎﻃﺌﻨﺎ ﺳﻮﻯ ﺃﻭﻃﺎ‪‬ﻢ ﳝﻀﻲ ‪‬ﺎ ﻗﻠﻖ‬ ‫ﺍﳌﺮﺍﻛﺐ‪.‬‬ ‫‪ ...‬ﻛﺎﻧﻮﺍ ﺧﻼﺳﻴ‪‬ﲔ‪ .‬ﺃﻛﱪﻫﻢ ﲨﻴﻼ ﻛﺎﻥ‪ .‬ﻭﺃﻭ‪‬ﳍﻢ ﻟﻪ ﺷﻜﻞ‬ ‫ﺍﻟﻐﻴﺎﺏ‪ .‬ﺟﻠﺴﻮﺍ ﻃﻮﻳﻼ ﻗﺒﻞ ﺃﻥ ﳝﻀﻮﺍ‪ .‬ﻭﺃﻋﻄﻮﺍ ﻗﺎﻣﺔ ﻟﻠﻨ‪‬ﺨﻞ ]ﻛﺎﻥ‬ ‫ﺍﻟﻨ‪‬ﺨﻞ ﺃﻗﺼﺮ ﻗﺒﻞ ﺃﻥ ﻳﺼﻠﻮﺍ[‪ .‬ﻭﺃﻭﺩﻭﺍ ﺑﺎﻟﻌﺼﺎﻓﲑ ﺍﻟﺼ‪‬ﻐﲑﺓ ]ﻣﺜﻞ‬ ‫ﻋﺎﺻﻔﺔ ﲝﻘﻞ ﻗﺎﺋﻆ[‪ .‬ﻭﺗﻠﺒ‪‬ﺴﻮﺍ ﺑﻈﻼﻡ ﺃﻭ‪‬ﻝ ﳒﻤﺔ ﻃﻠﻌﺖ ﻭﺃﻧﺒﺘﻬﺎ ﺍﻟﻐﺮﺍﻡ‬ ‫ﺑﻮﺍﺩ ﻏﲑ ﺫﻱ ﺯﺭﻉ ﻭﺃﻧﺒﺘﻬﺎ ﺍﻟﻈﹼﻼﻡ ﻋﻠﻰ ﺍﻟﺜﹼﺮﻯ‪.‬‬ ‫ﻛﻨ‪‬ﺎ ﻛﺄﻭ‪‬ﻝ ﻋﻬﺪﻧﺎ ﲝ‪‬ﺎﺭﺓ ﰲ ﺍﻟ ‪‬ﱪ‪ .‬ﻻ ﺷﺎﻃﺊ ﰲ ﺍﳋﻄﻮ ﺃﻭ ﰲ‬ ‫ﺍﳊﺪﻭ ﻧﻠﻘﻲ ﻓﻴﻪ ﺻﻨ‪‬ﺎﺭﺍﺗﻨﺎ ﻭﻧﺮﻳﻖ ﻓﻴﻪ ﺑﺮﻭﻗﻨﺎ ﺍﻟﻀ‪‬ﻮﺋﻴ‪‬ﺔ ﺍﻷﻃﺮﺍﻑ‪ .‬ﱂ‬ ‫ﻧﻌﺮﻑ ﺑﺮﻭﻗﺎ ﻏﲑ ﻣﺎ ﺃﻟﻘﺘﻪ ﺫﺍﻛﺮﺓ ﺍﻟﻀ‪‬ﻼﻝ ﻋﻠﻰ ﺃﺻﺎﺑﻌﻨﺎ‪ ،‬ﻭﻏﲑ ﺧﺮﺍﺋﻂ‬ ‫ﺍﻟﻈﹼﻠﻤﺎﺀ‪ .‬ﳕﻨﺎ ﻏﲑ ﻣﻜﺘﺮﺛﲔ ﺑﺎﻷﻣﻮﺍﺕ‪ .‬ﱂ ﻧﻨﻄﻖ ﺻﺒﺎﺡ ﺍﳋﲑ‪ .‬ﱂ ﻧﺘﺮﻙ‬ ‫ﻋﻠﻰ ﺍﻟﻌﺘﺒﺎﺕ ﺃﺣﺬﻳﺔ ﻛﻌﺎﺩﺗﻨﺎ‪ .‬ﻭﻣﺎ ﲪﻠﺖ ﺃﻳﺎﺩﻳﻨﺎ ﺯﻫﻮﺭ ﺍﳌﻮﺕ‪ .‬ﻛﺄﻭ‪‬ﻝ‬ ‫ﻋﻬﺪﻧﺎ ﻛﻨ‪‬ﺎ ﻏﺰﺍﺓ ﺩﻭﳕﺎ ﻭﻃﻦ‪ .‬ﻭﻧﻌﺮﻑ ﺃ ﹼﻥ ﰲ ﺃﺑﻴﺎﺗﻨﺎ ﺃﻭﻃﺎﻧﻨﺎ‪ ،‬ﻭﺃ ﹼﻥ ﰲ‬ ‫ﻱ‪.‬‬ ‫ﻟﻐﺔ ﺍﻟﻘﺼﺎﺋﺪ ﺑﻴﺘﻨﺎ ﺍﻟﻘﻤﺮ ‪‬‬

‫‪64‬‬


‫ﺗﺮﻛﻨﺎ ﻣﺎ ﺗﺮﻛﻨﺎﻩ‪،‬‬ ‫ﻋﻠﻰ ﺃﻋﺘﺎﺑﻨﺎ‪،‬‬ ‫ﻭﺑﻴﻮﺗﻨﺎ ﺍﳌﻸﻯ ﺑﺄﺣﺠﺎﺭ ﺍﻟﺰﻣﺮ‪‬ﺩ‪.‬‬ ‫ﻭﺃﻭﺟﺪﻧﺎ ﺍﻟﻨ‪‬ﺠﻮﻡ ﻷﻫﻠﻨﺎ ﰲ ﺁﺧﺮ ﺍﻟﺼ‪‬ﺤﺮﺍﺀ ﻟﻨﻨﲑ ﻟﻴﻞ ﻭﺟﻮﺩﻫﻢ‪ ،‬ﻭﳒﻤ‪‬ﻊ‬ ‫ﺍﻟﺒﻌﺪﺍﺀ ﺇﻥ ﻫﺠﺮﻭﺍ‪ ،‬ﻭﻧﺮﺛﻲ ﺁﺧﺮ ﺍﻷﲰﺎﺀ‪ .‬ﻭﺁﻟﻔﻨﺎ ﺍﻟﻔﺼﻮﻝ ﻛﺄﻧ‪‬ﻨﺎ ﰲ‬ ‫ﳊﻈﺔ ﳓﻴﺎ ﺍﻟﻔﺼﻮﻝ ﲨﻴﻌﻬﺎ‪ ،‬ﻭﻧﺴﺎﻛﻦ ﺍﻟﻈﹼﻠﻤﺎﺀ‪.‬‬

‫‪65‬‬


‫ﻓﺠﺮ ﻟﻘﺪﺍﺳﺎﺕ ﺩﺍﺱ ﻋﻠﻴﻬﺎ ﺍﻟﻠﹼﻴﻞ ﺑﺂﺛﺎﺭ ﺧﻄﺎﻳﺎﻩ‬ ‫ﺇﱃ ﺣﺴﺐ ﺍﻟﺸ‪‬ﻴﺦ ﺟﻌﻔﺮ‬

‫)ﱂ ﻧﺬﻫﺐ ﺃﺑﻌﺪ‪.‬‬ ‫ﱂ ﻧﺘﺠﺎﻭﺯ ﺣﺘ‪‬ﻰ ﰲ ﺍﻟﻮﻫﻢ ﺟﺪﺍﺭ ﺍﳌﻌﺒﺪ(‪.‬‬

‫‪66‬‬


‫ﻭﺃﻋﻄﻰ ﻟﻠﻤﺮﺃﺓ ﲦﻦ ﺍﻟﻠﹼﻴﻞ‪ ،‬ﻭﺳﻮﺍﺭ ﺧﻄﻴﺒﺘﻪ ﺍﻷﻭﱃ‪ ،‬ﻭﻣﺮﺍﻭﺩﻫﺎ‬ ‫ﺍﳌﻸﻯ ﺑﻔﺘﺎﺕ ﺍﳌﺴﻚ‪ .‬ﺃﻋﻄﺎﻫﺎ ﻟﻐﺔ ﺍﻟﺼ‪‬ﻤﺖ‪ .‬ﻭﺣﺎﻭﻝ ﻗﻄﻒ ﲦﺎﺭ‬ ‫ﺍﻟﻮﻫﻢ ﻭﺃﲦﺎﺭ ﺍﳌﻮﺕ‪ .‬ﻟﻜ ‪‬ﻦ ﺍﳌﺮﺃﺓ ﻏﺎﺑﺖ‪ .‬ﺃﻃﺒﻘﺖ ﺍﻟﺒﺎﺏ ﻭﻏﺎﺑﺖ‪ .‬ﻭﻣﺎ‬ ‫ﺗﺮﻛﺖ ﻏﲑ ﺍﻟﺼ‪‬ﻤﺖ ﺍﳌﻜﺴﻮﺭ ﺷﻈﺎﻳﺎ ﰲ ﺍﻷﺭﺟﺎﺀ ﻭﻏﲑ ﲦﺎﺭ ﺍﻟﻮﻫﻢ‬ ‫ﻭﺃﲦﺎﺭ ﺍﳌﻮﺕ‪.‬‬ ‫ "ﻟﻐﺔ ﻟﻔﺴﺎﺩ ﺍﻟﻜﺎﺋﻦ‪ .‬ﻓﺠﺮ ﻟﻘﺪﺍﺳﺎﺕ ﺩﺍﺱ ﻋﻠﻴﻬﺎ ﺍﻟﻠﹼﻴﻞ‬‫ﺑﺂﺛﺎﺭ ﺧﻄﺎﻳﺎﻩ‪ .‬ﺃﺳﺮﺍﺏ ﻋﺼﺎﻓﲑ ﻟﻘﺒﻮﺭ ﺍﻟﻜﻬﻨﺔ‪ .‬ﻭﻓﺮﺍﺩﻳﺲ‬ ‫ﻣﻐﻠﹼﻘﺔ‪ .‬ﺗﻠﻚ ﺑﻘﺎﻳﺎﻙ"‪.‬‬ ‫ﻗﺎﻝ ﳍﺎ‪ .‬ﻭﺃﻃﺒﻖ ﺑﺎﺏ ﺍﻟﻐﺮﻓﺔ‪.‬‬ ‫ﻓﺄﺟﺎﺑﺘﻪ‪:‬‬ ‫ "ﺇﻧ‪‬ﻲ ﻻ ﺃﻓﻬﻢ ﻫﺬﺍ ﺍﻟﺴ‪‬ﺤﺮ ﻭﻻ ﺃﻋﺮﻓﻪ"‪.‬‬‫‪ ...‬ﻭﲤﻨ‪‬ﺖ ﺃﻥ ﻳﺄﺧﺬﻫﺎ ﺑﲔ ﺫﺭﺍﻋﻴﻪ‪ ،‬ﻭﺃﻥ ﻻ ﻳﺘﺮﻛﻬﺎ ﺃﺑﺪﺍ ﺗﺮﺣﻞ ﰲ‬ ‫ﻧﺼﻒ ﺍﻟﻠﹼﻴﻞ ﺇﱃ ﺃﺣﻀﺎﻥ ﺍﻟﺮ‪‬ﺟﻞ ﺍﻵﺧﺮ‪ .‬ﻭﲤﻨ‪‬ﺖ ﺃﻥ ﻻ ﻳﺒﻘﻰ ﻣﺜﻞ ﺻﻐﺎﺭ‬ ‫ﺍﻟﻄﹼﲑ ﻭﺣﻴﺪﺍ ﻫﺬﺍ ﺍﻟﻄﹼﲑ ﺍﻟﺴ‪‬ﺎﺣﺮ‪ .‬ﻭﻃﻮ‪‬ﻗﻬﺎ‪.‬‬ ‫ "ﺃﻧﺖ ﺇﻻﻫﺔ ﻫﺬﺍ ﺍﻟﻜﻮﻥ ﻭﺻﺎﺣﺒﺔ ﺍﻷﻣﺮ"‪.‬‬‫ "ﻭﺑﻌﺪ ﻗﻠﻴﻞ"‪ .‬ﻗﺎﻟﺖ‪" :‬ﺃﺃﻛﻮﻥ ﺃﻧﺎ ﺻﺎﺣﺒﺔ ﺍﻟﺒﻴﺖ‪ ،‬ﻭﻓﺎﺗﻨﺔ‬‫ﺍﳌﻨﺤﺪﺭﺍﺕ؟ ﺃﺃﻛﻮﻥ ﺻﺒﺎﺣﻚ‪ ،‬ﺃﻡ ﺻﺒﺢ ﺍﻟﺮ‪‬ﺟﻞ ﺍﻵﺧﺮ؟‬ ‫ﻗﻠﹼﻲ ﻳﺎ ﺃﲨﻞ ﺃﻃﻴﺎﺭ ﺍﻷﺭﺽ‪ ،‬ﻳﺎ ﻃﲑﻱ ﺍﻟﺴ‪‬ﺎﺣﺮ"‪.‬‬

‫‪67‬‬


‫ﱐ ﺍﳌﻠﻤﺲ‬ ‫‪ ...‬ﻭﺗﺴﺎﻗﻄﺖ ﺍﻷﺛﻮﺍﺏ‪ .‬ﻭﺍﻧﻜﺸﻔﺖ ﺃﺳﺮﺍﺭ ﺍﳉﺴﺪ ﺍﻟﻨ‪‬ﻮﺭﺍ ﹼ‬ ‫ﰲ ﺑﻴﺖ ﺍﻟﻄﹼﲑ‪ .‬ﻭﻃﺎﺭﺕ ﰲ ﺍﻟﺸ‪‬ﺮﻓﺎﺕ ﻃﻴﻮﺭ‪ .‬ﻭﳕﺖ ﲢﺖ ﻣﺰﺍﺭﻳﺐ‬ ‫ﺍﻟﺴ‪‬ﻘﻒ ﻧﺒﺎﺗﺎﺕ ﻭﺣﺸﺎﺋﺶ‪ .‬ﻭﺍﻧﺪﺍﺣﺖ ﺃﻃﻮﺍﻕ ﻭﺑﻮﺍﺭﻳﺪ ﺭﺧﺎﻡ‪.‬‬ ‫ﻭﺍﳓﻠﹼﺖ ﻟﻴﻼﺕ ﺳﻮﺩ ﰲ ﻳﻮﻡ ﻣﺸﻤﺲ‪ .‬ﻭﺗﻐﻠﻐﻞ ﰲ ﺍﻟﺼ‪‬ﻤﺖ ﺍﻟﺼ‪‬ﻮﺕ‬ ‫ﺍﳌﻨﻘﻮﻉ ﲟﺎﺀ ﺍﳉﻨﺲ ﻭﺃﲞﺮﺓ ﺍﻷﺟﺴﺎﺩ‪.‬‬ ‫ "ﺃﺗﺪﺭﻱ؟"‪ .‬ﻗﺎﻟﺖ‪" :‬ﺳﻮﻑ ﺗﻜﻮﻥ ﺃﺑﺎﻩ‪ ،‬ﻭﺳﻮﻑ ﺃﺳﺠ‪‬ﻠﻪ‬‫ﺑﺎﺳﻢ ﺍﻟﺮ‪‬ﺟﻞ ﺍﻵﺧﺮ‪ .‬ﻓﻘﻠﹼﻲ ﻣﺎﺫﺍ ﺃﲰ‪‬ﻴﻪ ﺇﺫﺍ ﺟﺎﺀ ﺍﻟﻄﹼﻠﻖ؟‬ ‫ﻭﻗﻠﹼﻲ ﻛﻴﻒ ﺃﻧﺎﺩﻳﻪ؟"‪.‬‬ ‫ﻭﱂ ﳛﺪﺙ ﺷﻲﺀ‪ .‬ﺍﳌﺮﺃﺓ ﻣﺎﺯﺍﻟﺖ ﰲ ﺃﻋﻘﺎﺏ ﺍﻟﻠﹼﻴﻞ ﺗﻐﻴﺐ ﻛﻌﺎﺩ‪‬ﺎ‪.‬‬ ‫ﻭﺍﻟﻄﹼﲑ ﻳﻈ ﹼﻞ ﻳﻔﻜﹼﺮ ﰲ ﻗﻄﻒ ﲦﺎﺭ ﺍﳌﻮﺕ ﻭﺃﲤﺎﺭ ﺍﻟﻮﻫﻢ‪ .‬ﻳﻈ ﹼﻞ ﻳﻠ ‪‬ﻢ ﺷﻈﺎﻳﺎ‬ ‫ﺚ ﺧﻴﻮﻝ ﺍﻟﻐﻴﻢ‪.‬‬ ‫ﺍﻟﺒﻠﹼﻮﺭ ﺍﳌﻜﺴﻮﺭ‪ ،‬ﻭﳛ ﹼ‬ ‫ﺁﺛﺎﺭ ﺧﻄﺎﻳﺎﻩ ﻛﺎﻧﺖ ﲢﻔﺮ ﺻﺨﺮ ﺍﻟﻮﺍﺩﻱ ﺍﻟﺮ‪‬ﺍﻛﺪ ﺃﺳﻔﻞ ﻫﺬﻱ‬ ‫ﺍﻟﺒﻠﺪﺓ‪ .‬ﻭ‪‬ﺪﻫﺪ ﺃﺟﺴﺎﺩ ﺍﻟﻄﹼﲔ‪ .‬ﺃﻧ‪‬ﻰ ﻛﺎﻥ ﻳﺴﲑ ﻛﺎﻧﺖ ﺩﺍﻟﻴ‪‬ﺎﺕ ﺗﻄﺮﺡ‬ ‫ﺃﻋﻨﺎﺑﺎ‪ ،‬ﻭﻛﺎﻧﺖ ﺃﻛﻮﺍﻥ ﲣﺮﺝ ﻣﻦ ﻫﻴﺂﺕ ﺍﻟﻄﹼﲔ‪ .‬ﻭﻛﺎﻧﺖ ﻋﺮﺑﺎﺕ‬ ‫ﺍﻟﺘ‪‬ﻜﻮﻳﻦ ﺗﺴﲑ ﻓﺘﺄﺗﻠﻖ ﺍﻷﺣﺠﺎﺭ ﻭﻳﺄﺗﻠﻖ ﺍﻟﻄﹼﲔ‪.‬‬

‫‪68‬‬


‫ﻣﺪﻳﺢ ﳋﺒﻂ ﺃﺟﻨﺤﺔ ﺍﻟﻄﹼﺎﺋﺮ ﺍﻟﺮ‪‬ﻣﺎﺩﻱ ﺍﻟﺼ‪‬ﺎﻋﺪ ﺍﳉﺒﻞ‬ ‫ﺇﱃ ﺃﳎﺪ ﻧﺎﺻﺮ‬

‫ﺺ ﺳﺮﻳﺮ ﺍﻟﻨ‪‬ﺠﻤﺔ‪.‬‬ ‫ﺩﺧﻞ ﺍﻟﺒﻴﺖ‪ .‬ﻭﺃﻟﻘﻰ ﻓﻮﻕ ﻣﺴﻼﹼﺕ ﺍﳉ ‪‬‬ ‫ﻭﺃﺿﺎﺀ ﳍﺎ ﺍﳌﻠﻜﻮﺕ‪ .‬ﻭﻗﺮ‪‬ﺎ‪.‬‬

‫‪69‬‬


‫)ﺃﻧﺖ ﺍﻵﻥ ﺍﻟﻨ‪‬ﺠﻤﺔ‪ .‬ﺃﻧﺖ ﺍﳋﺎﻟﻘﺔ ﺍﻵﻥ‪ ،‬ﻭﺃﻧﺖ ﺍﻟﻐﻴﻤﺔ‪ ،‬ﺃﻧ‪‬ﻰ‬ ‫ﻳﺘﻌﺒ‪‬ﺪ ﺃﻭ‪‬ﻝ ﻟﻴﻼﺕ ﺍﻷﻋﻴﺎﺩ ﺭﻋﺎﺓ ﺍﳌﺎﻋﺰ‪ ،‬ﺃﻭ ﻳﻨﺘﻈﺮﻭﻥ ﺇﻳﺎﺏ ﺍﳋﻴﻞ‪.‬‬ ‫ﻭﺃﻧﺖ ﺍﻟﻠﹼﻴﻞ ﺇﺫﺍ ﻣﺎ ﻋﺎﺩ ﺍﻟﻔﺮﺳﺎﻥ ﻣﻦ ﺍﻷﺩﻏﺎﻝ ﳚﺮ‪‬ﻭﻥ ﻧﻮﺍﻗﻴﺲ‬ ‫ﺍﻟﺬﹼﻛﺮ ﻭﺃﺩﻋﻴ‪‬ﺔ ﺍﻷﻃﻼﻝ‪ .‬ﻭﺃﻧﺖ ﺑﻮ‪‬ﺍﺑﺎﺕ ﺍﳌﻄﻠﻖ ﺑﻌﺾ ﳓﺎﺗﺎﺕ ﺍﻟﻨ‪‬ﻮﺭ‬ ‫ﺍﻟﺴ‪‬ﺎﻗﻂ ﺁﻥ ﺍﳋﻠﻖ ﻣﻦ ﺍﻟﻄﹼﲔ ﺍﻟﻌﺎﻟﻖ ﰲ ﺇﺻﺒﻌﻚ ﺍﻷﻳﺴﺮ‪ .‬ﻭﺫﺍﻙ‬ ‫ﺍﻟﻀ‪‬ﻮﺀ ﺍﳌﺘﺪﻓﹼﻖ ﻣﻦ ﻗﺎﻣﺎﺕ ﺍﻟﺸ‪‬ﺠﺮ ﺍﻟﻌﺎﱄ‪ ،‬ﺫﺍﻙ ﺍﻟﻀ‪‬ﻮﺀ ﺍﻟﻌﺎﱄ‪ ،‬ﻛﺎﻥ‬ ‫ﺧﻴﺎﻻ ﺃﻧﺖ ﻣﻦ ﻫﻴ‪‬ﺄﺕ ﻟﻪ ﺍﻷﲰﺎﺀ ﻭﻏﻤﻐﻤﺔ ﺍﻷﻋﺮﺍﻕ‪ .‬ﻭﺃﻧﺖ ﻣﻦ‬ ‫ﻭﻓﹼﺮﺕ ﻟﻪ ﺍﻟﻘﺪ‪‬ﺍﺱ ﺍﳍﺎﺋﻢ ﰲ ﺃﺟﻨﺤﺔ ﺍﻟﺮ‪‬ﻳﺢ‪ ،‬ﻭﻛﻮ‪‬ﻧﺖ ﻣﻔﺎﺗﻴﺢ‬ ‫ﺍﻹﺷﺮﺍﻕ(‪.‬‬ ‫ﻭﺃﺣﺎﻁ ﻣﻌﺎﺻﻤﻬﺎ ﺑﻴﺪﻳﻪ‪.‬‬ ‫ﻭﻏﻄﹼﻰ ﻭﺟﻪ ﺍﻟﻨ‪‬ﺠﻤﺔ‬ ‫ﺑﺎﻟﻜﻠﻤﺎﺕ‪.‬‬ ‫ﻫﻨﺎ ﰲ ﺍﻟﺸ‪‬ﺮﻓﺔ ﰲ ﻣﻨﺘﺼﻒ ﺍﻟﻠﹼﻴﻞ ﺃﺗﺴﺎﻣﻰ ﻭﺁﺧﺮ ﺻﻮﺕ‬ ‫ﻣﻔﺘﻮﻥ ﲝﺮﻳﺮ ﺍﻟﻄﹼﻠﻖ ﳚﻲﺀ ﻣﻊ ﺍﻟﻈﹼﻠﻤﺎﺀ‪ ،‬ﻳﻀﻲﺀ ﺃﺳﺎﻃﲑ ﺍﳉﺴﺪ‬ ‫ﺍﳌﺘﻮﺣ‪‬ﺪ‪ ،‬ﻭﻳﻀﻲﺀ ﺑﻴﻮﺗﺎﺕ ﺍﳋﻠﻖ‪ .‬ﺃﺟﻠﺲ ﻭﺣﺪﻱ‪ .‬ﺃﲤﻠﹼﻰ ﻛﺎﻟﺮ‪‬ﺍﻫﺐ‬ ‫ﺃﻳﻘﻮﻧﺎﺕ ﺍﳋﻠﻖ‪ .‬ﺃﺗﻐﻠﻐﻞ ﺑﲔ ﻣﺴﺎﻡ ﺍﳊﺠﺮ ﺍﳌﺮﺻﻮﻑ ﻋﻠﻰ ﺍﻷﺳﻮﺍﺭ‪.‬‬ ‫ﺃﺗﺄﻣ‪‬ﻞ ‪‬ﺪﺍ ﻳﱪﺯ ﻣﻦ ﺧﻠﻞ ﺍﻟﺜﹼﻮﺏ ﻭﻳﻀﺎﺀ ﺑﺪﻓﻖ ﺍﻟﺮ‪‬ﻏﺒﺔ‪ .‬ﺃﺭﺻﺪ ﺷﺒ‪‬ﺎﻙ‬ ‫ﺍﳉﺎﺭﺍﺕ‪ .‬ﺃﺗﺴﻤ‪‬ﻊ ﺧﻄﻮ ﺍﳌﺮﺃﺓ ﻳﺄﰐ ﰲ ﺃﻋﻘﺎﺏ ﺍﻟﻠﹼﻴﻞ ﻭﺣﻴﺪﺍ ﻣﺜﻠﻲ‪.‬‬

‫‪70‬‬


‫ﺃﺳﺄﻝ‪:‬‬ ‫ "ﻳﺎ ﺻﺎﺣﺒﺔ ﺍﻟﺒﻴﺖ ﺍﻵﺧﺮ‪.‬‬‫ﻳﺎ ﻣﺎﻟﻜﱵ‪.‬‬ ‫ﺇﻧ‪‬ﻲ ﺃﲤﺰ‪‬ﻕ ﰲ ﺍﻟﻈﹼﻠﻤﺎﺀ ﻭﺣﻴﺪﺍ‪.‬‬ ‫ﺇﻧ‪‬ﻲ ﺃﻋﻮﻱ"‪.‬‬ ‫ﻭﳚﻲﺀ ﺍﻟﺼ‪‬ﻮﺕ‪:‬‬ ‫ "ﻣﺎﺫﺍ ﺗﻄﻠﺐ ﻣﻨﻚ ﺍﻣﺮﺃﺓ ﰲ ﻧﺼﻒ ﺍﻟﻠﹼﻴﻞ؟"‪.‬‬‫ﻭﺃﲰﻊ ﻃﺮﻗﺎ ﻓﻮﻕ ﺍﻟﺒﺎﺏ ﺧﻔﻴﻔﺎ ﻳﺸﺒﻪ ﻃﺮﻕ ﺍﻣﺮﺃﰐ‪.‬‬ ‫ﺃﺗﺴﺎﺀﻝ‪:‬‬ ‫ "ﻫﻞ ﺃﻓﺘﺢ؟"‪.‬‬‫ﻭﺃﺩﻳﺮ ﺍﻟﺒﺎﺏ‪ .‬ﻭﺗﺪﺧﻞ ﺻﺎﺣﺒﺔ ﺍﻟﺒﻴﺖ ﺍﻟﻌﺎﱄ‪ .‬ﺗﺴﺄﻟﲏ ﻋﻦ ﻛﻠﻤﺎﺕ ﻗﻠﺖ‬ ‫ﻟﻮﺻﻒ ﺍﻟﻨ‪‬ﺠﻤﺔ‪ ،‬ﻋﻦ ﺃﻭ‪‬ﻝ ﺃﻳ‪‬ﺎﻡ ﺍﻟﺼ‪‬ﻴﻒ‪ ،‬ﻋﻦ ﺷﺠﺮ ﻣﻜﺴﻮﺭ ﻗﺮﺏ‬ ‫ﺑﺮﻭﻕ ﺍﻷﻣﺲ‪ ،‬ﻋﻦ ﺭﺣﻢ ﻛﺎﻥ ﻭﻟﻮﺩﺍ‪ ،‬ﻭﺗﺴﺄﻝ ﺃﻳﻀﺎ ﻋﻨ‪‬ﻲ‪ .‬ﻭﲤﻀﻲ‬ ‫ﻛﺎﻟﻄﹼﻴﻒ ﺍﻟﻀ‪‬ﺎﺋﻊ ﰲ ﺻﺒﻮﺍﺕ ﺍﻟﻠﹼﻴﻞ‪ .‬ﺃﺗﺄﻣ‪‬ﻞ ﰲ ﺍﻟﺼ‪‬ﻤﺖ ﺧﻄﺎﻫﺎ‪.‬‬ ‫ﻭﺃﻗﻮﻝ‪:‬‬ ‫ "ﻛﻼﻧﺎ ﻳﺮﻓﻞ ﰲ ﻣﺎﺀ ﺍﳌﻮﺕ ﻭﺣﻴﺪﺍ‪ ،‬ﻳﺎ ﺳﻴ‪‬ﺪﰐ‪.‬‬‫ﻭﻛﻼﻧﺎ ﻻ ﻳﻌﺮﻑ ﻏﲑ ﺣﺮﻳﺮ ﺍﻟﻮﺣﺪﺓ ﻭﺍﻷﺳﻔﺎﺭ"‪.‬‬

‫‪71‬‬


‫ﻛﺎﻥ ﺳﺮﻳﺮ ﺍﻟﻨ‪‬ﺠﻤﺔ ﻣﺼﻨﻮﻋﺎ ﻣﻦ ﻋﻮﺩ ﺍﻟﺴ‪‬ﺮﻭ ﺍﻟﻴﺎﺑﺲ‪ ،‬ﻭﻣﺸﺪﻭﺩﺍ‬ ‫ﻱ ﺍﳌﺎﺋﻞ ﳓﻮ ﺍﻟﺼ‪‬ﻔﺮﺓ ﰲ ﻫﺬﺍ‬ ‫ﺑﺎﻷﻭﺗﺎﺩ ﺇﱃ ﻋﻤﺪﺍﻥ ﺍﻟﺴ‪‬ﻘﻒ ﺍﳊﺠﺮ ‪‬‬ ‫ﺍﻟﺼ‪‬ﻴﻒ ﺍﻟﻘﺎﺋﻆ‪ .‬ﻛﺎﻥ ﺻﻐﲑﺍ ﻓﻮﻕ ﻣﺴﻼﹼﺕ ﺍﳉﺺ‪ ،‬ﻭﳏﺎﻃﺎ ﺑﺮﺫﺍﺫ‬ ‫ﺍﻟﻌﺎﺝ‪ .‬ﻭﻛﺎﻥ ﺍﻟﺒﻴﺖ ﺍﳌﺴﻘﻮﻑ ﺑﺄﺭﻭﺍﺡ ﺍﳌﻮﺗﻰ ﻳﺘﻬﺎﺩﻯ ﻓﻮﻕ ﺍﻷﻣﻮﺍﺝ‪.‬‬ ‫ﻛﺎﻥ ﺻﻐﲑﺍ‪ ،‬ﻟﻜﻨ‪‬ﻲ ﻣﻦ ﺷﺮﻓﺘﻪ ﻛﻨﺖ ﶈﺖ ﺍﳌﻄﻠﻖ ﻳﻌﱪ ﻣﻴﻨﺎﺀ ﺍﳌﻮﺕ‪.‬‬ ‫ﻭﻳﻬﻮﻱ‪ .‬ﻭﶈﺖ ﺷﺮﺍﻋﺎﺕ ﻳﻠﻔﺤﻬﺎ ﺍﻟﺮ‪‬ﻳﺢ‪ ،‬ﻭﻗﺪﻭﺩ ﻧﺴﺎﺀ ﺗﺮﻓﻞ ﰲ‬ ‫ﺍﻟﻈﹼﻠﻤﺎﺀ‪.‬‬

‫‪72‬‬


‫ﺩﻛﻨﺔ ﺑﺎﺭﺩﺓ ﳌﻨﺎﺯﻝ ﺍﻟﺼ‪‬ﺒﺎﺡ‬ ‫ﺇﱃ ﳏﻤ‪‬ﺪ ﺑﻨ‪‬ﻴﺲ‬

‫ﻛﻨ‪‬ﺎ ﲢﺖ ﻗﺒﺎﺏ ﺻﻔﺮ ﰲ ﺁﺧﺮ ﺩﺭﺏ ﻣﺴﻘﻮﻑ ﺑﺎﻵﺟ ‪‬ﺮ‬ ‫ﻭﺃﻋﺬﺍﻕ ﺍﻟﻨ‪‬ﺨﻞ‪ .‬ﻛﻨ‪‬ﺎ ﻻ ﻧﻌﺮﻑ ﰲ ﺃﺣﻴﺎﺀ ﺍﻟﺒﻠﺪﺓ ﻏﲑ ﻓﻨﺎﺀ ﺍﳉﺎﻣﻊ‪ ،‬ﻗﺮﺏ‬ ‫ﺣﻮﺍﻧﻴﺖ ﺍﻟﺘ‪‬ﻤﺮ‪،‬‬ ‫ﻭﺭﺍﺀ ﺍﻟﺪ‪‬ﻛﻨﺔ‬ ‫ﺣﻴﺚ ﺍﻟﻨ‪‬ﻮﺭ‬ ‫ﻭﺣﻴﺚ ﺍﳌﺮﺁﺏ ﺍﳌﻜﺴﻮﺭ‬ ‫ﻭﺣﻴﺚ ﺍﻟﻨ‪‬ﻬﺮ ﺍﳌﻨﺜﻮﺭ ﻋﻠﻰ ﺍﻷﺣﺠﺎﺭ‪.‬‬

‫‪73‬‬


‫ﻗﻠﺖ ﻭﻛﻨ‪‬ﺎ ﻧﻮﻗﺪ ﻧﺎﺭ ﺍﻟﺒﺪﺀ‪" :‬ﺃﺣﺐ‪ ‬ﺍﻟﻄﹼﲔ‪ ،‬ﺭﻭﺍﺋﺤﻪ‪ ،‬ﳕﺶ‬ ‫ﺍﻟﺮ‪‬ﻏﺒﺔ ﺇﺫ ‪‬ﻄﻞ ﻧﻮﻕ ﺧﺮﺍﻓﺎﺕ‪ ،‬ﻛﺜﺒﺎﻥ ﺭﻣﺎﻝ ﻭﺃﻓﺎﻭﻳﻪ"‪ .‬ﻭﻗﻠﺖ‪:‬‬ ‫"ﺃﺣﺐ‪ ‬ﺑﺮﻳﺪ ﺍﻟﻨ‪‬ﺴﻮﺓ‪ ،‬ﺭﺍﺋﺤﺔ ﺍﻟﻌﻄﺮ ﺍﳋﺎﺭﺝ ﻣﻦ ﺑﲔ ﺍﻷﺳﻄﺮ‪ ،‬ﺣﻨﻮ‪‬‬ ‫ﺍﻟﺪ‪‬ﻋﻮﺍﺕ ﺍﳌﺪﻋﻮﻙ ﲟﺴﻚ ﺍﻟﺼ‪‬ﺪﺭ‪ ،‬ﺗﻼﻝ ﺍﻟﺮ‪‬ﻏﻮﺓ ﺇﺫ ﺗﺪﺧﻞ ﻗﺪ‪‬ﺍﺱ‬ ‫ﺍﳉﺴﺪ ﺍﳌﺮﻣﻲ‪ ‬ﻋﻠﻰ ﺍﻟﻘﻴﻌﺎﻥ ﺍﻟﺼ‪‬ﻔﺮ ﻫﻨﺎﻙ ﰲ ﺁﺧﺮ ﺩﺭﺏ ﻣﺴﻘﻮﻑ‬ ‫ﺑﺎﻵﺟﺮ‪ ‬ﻭﺃﻋﺬﺍﻕ ﺍﻟﻨ‪‬ﺨﻞ"‪.‬‬ ‫ﻭﻭﺻﻠﻨﺎ ﻗﺮﺏ ﺍﻟﺴ‪‬ﻮﺭ ﺍﻹﺳﺒﺎﱐ‪ .‬ﻭﶈﻨﺎ ﺃﺛﺮ ﺍﳌﺎﻋﺰ ﻳﻨﺤ ﹼﻞ ﻋﻦ‬ ‫ﺍﳊﺠﺮ ﺍﳌﺮﺻﻮﻑ‪ ،‬ﻭﺁﺛﺎﺭ ﺳﻨﺎﺑﻚ ﻓﺮﺳﺎﻥ ﺗﺘﺮﻯ ﰲ ﺍﻟﻈﹼﻠﻤﺔ‪ ،‬ﻭﻋﻴﻮﻥ‬ ‫ﺍﻷﺭﺽ‪ .‬ﻗﻠﺖ‪" :‬ﺳﻨﺠﺘﺎﺯ ﺍﻟﺴ‪‬ﻮﺭ ﺍﻹﺳﺒﺎﱐ‪ .‬ﻭﺳﻴﻄﻌﻤﻨﺎ ﺍﻷﻫﻞ ﺟﺪﺍﺀ‬ ‫ﺧﺮﺟﺖ ﻟﻠﺘﻮ‪ ‬ﻣﻦ ﺍﳊﺠﺮ ﺍﳌﺮﻣﻲ‪ ‬ﻋﻠﻰ ﺍﻷﺳﻮﺍﺭ‪ .‬ﻭﺳﻴﺄﺧﺬﻧﺎ ﺍﻟﻔﺮﺳﺎﻥ‬ ‫ﺇﱃ ﺃﻗﺼﻰ ﺍﻷﺭﺽ"‪ .‬ﻭﻗﻠﺖ‪" :‬ﺳﻨﺒﲏ ﺑﻴﺖ ﺍﻟﻮﻫﻢ ﻫﻨﺎﻙ ﻭﺑﻴﺖ‬ ‫ﺍﻟﻈﹼﻠﻤﺎﺀ‪ .‬ﺳﻨﻜﻮﻥ ﺃﻟﻴﻔﲔ ﻛﺄﳎﺎﺩ ﺍﻟﻀ‪‬ﻮﺀ ﻭﺫﺍﻛﺮﺓ ﺍﻟﺼ‪‬ﺤﺮﺍﺀ‪ .‬ﻭﻧﻜﻮﻥ‬ ‫ﻷﺟﺴﺎﺩ ﺍﻟﻠﹼﻴﻞ ﻟﺒﺎﺳﺎ"‪.‬‬ ‫ﺖ ﺍﻷ ‪‬ﻭ ﹶﻝ ]ﺍﻟﻌﺸﺐ ﺍﻟﻄﹼﺎﻟﻊ ﻣﻦ ﲢﺖ ﺍﻟﻘﻴﻌﺎﻥ‬ ‫‪ ...‬ﺩﺧﻠﻨﺎ‪ .‬ﻛﻨ ‪‬‬ ‫ﺗﻜﺴ‪‬ﺮ ﲢﺖ ﺍﻟﻘﺪﻡ ﺍﻟﻴﻤﲎ[ ﻛﻨﺖ ﺍﻷﻭ‪‬ﻝ‪ .‬ﺃﻋﻄﻴﺖ ﲰﺎﺀﻙ ﻟﻠﻈﹼﻠﻤﺔ‪،‬‬ ‫ﻭﻳﺪﻳﻚ ﻟﻨﺎﻓﺬﺓ ﺍﻟﺒﻴﺖ‪ .‬ﻭﺷﺮ‪‬ﺩﺕ ﻃﻴﻮﺭ ﺍﳌﻮﺕ‪ .‬ﻭﻛﻨﺖ ﻏﺮﻳﺒﺎ ﰲ ﺗﻠﻚ‬ ‫ﺍﻟﻠﹼﻴﻠﺔ‪ .‬ﺗﺮﻛﺖ ﻭﺭﻭﺩﺍ ﻓﻮﻕ ﺷﺒﺎﺑﻴﻚ ﺍﻟﺪ‪‬ﻭﺭ‪ .‬ﻭﻛﻨﺖ ﻛﻤﺎ ﺍﻋﺘﺪﺕ‬ ‫ﻫﻮﺍﺋﻴ‪‬ﺎ ﻗﻠﻘﺎ‪ .‬ﻻ ﺗﻌﺮﻑ ﺇ ﹼﻻ ﺍﺍﻷﲰﺎﺀ‪ .‬ﺗﻜﺘﺐ ﻋﻦ ﺳﺒﺘﻤﱪ ﺫﺍﻙ ﺍﻟﺸ‪‬ﻬﺮ‬ ‫‪74‬‬


‫ﺍﻟﻨ‪‬ﻬﺮﻱ‪ ،‬ﻭﻋﻦ ﻗﺪﻣﻴﻪ ﺍﻟﻌﺎﺭﻳﺘﲔ ﺍﳋﺎﺭﺟﺘﲔ ﻣﻦ ﺍﻟﺼ‪‬ﺤﺮﺍﺀ‪ .‬ﺗﻜﺘﺐ ﻋﻦ‬ ‫ﺳﺒﺘﻤﱪ‪ ،‬ﻋﻦ ﻗﻄﺮﺍﺕ ﺍﳌﺎﺀ ﻭﻧﺪﻓﺎﺕ ﺍﻟﺜﹼﻠﺞ‪ .‬ﻭ‪‬ﺮﺏ ﻣﻦ ﺗﻠﻚ ﺍﻷﺻﻮﺍﺕ‬ ‫ﱯ ﻭﺃﻗﺮﺍﻁ ﺍﻟﻈﹼﻠﻤﺔ‪ .‬ﺮﺏ ﻣﻦ ﺭﺍﺋﺤﺔ ﺍﳊﺮﺙ‪،‬‬ ‫ﺍﳌﺸﺪﻭﺩﺓ ﻟﻠﺒﺎﺏ ﺍﳋﺸ ‪‬‬ ‫ﻭﻣﻦ ﺃﻟﻮﺍﺡ ﺍﻟﺴ‪‬ﺎﺗﺮ ﺫﺍﻙ ﺍﳌﺸﺪﻭﺩ ﺇﱃ ﺍﻟﻌﺮﺻﺎﺕ ﺍﳌﺴﺮﻭﻗﺔ ﻣﻦ ﺣﺠﺮ‬ ‫ﺍﻷﺳﻮﺍﺭ‪ .‬ﺮﺏ ﻣﻦ ﺻﻮﺕ ﺍﻟﻨ‪‬ﺴﻮﺓ‪ ،‬ﺫﺍﻙ ﺍﳌﻨﻘﻮﻉ ﺑﺪﻑﺀ ﺍﻟﺼ‪‬ﻠﻮﺍﺕ‬ ‫ﻭﻗﺪ‪‬ﺍﺳﺎﺕ ﺍﻟﻔﺘﻨﺔ‪ .‬ﺮﺏ ﻣﻦ ﺃﺳﺘﺎﺭ ﺍﻟﻐﻴﺐ ﻭﻣﻦ ﺑﺮﻛﺎﺕ ﺍﳊﻨﻄﺔ‪ .‬ﺮﺏ‬ ‫ﻣﻦ ﺷﺠﺮ ﺍﻟﺘﻔﹼﺎﺡ ﻭﻣﻦ ﲦﺮﺍﺕ ﺍﻟﻌﺘﻤﺔ‪ .‬ﻭﺗﻈ ﹼﻞ ﲣﺎﻑ ﻣﻦ ﺍﻟﺴ‪‬ﻴﻒ‬ ‫ﻑ ﺍﻷﳝﻦ‪ .‬ﻭﺗﻈ ﹼﻞ ﺗﺴﺎﺋﻠﲏ‬ ‫ﱐ ﺍﳌﺘﺮﻭﻙ ﻫﻨﺎﻙ ﻋﻠﻰ ﺃﺧﺸﺎﺏ ﺍﻟﺮ ‪‬‬ ‫ﺍﻹﺳﺒﺎ ﹼ‬ ‫ﻋﻨﻪ‪ .‬ﻭﺗﺼﺮﺥ‪ .‬ﻭﺃﻇ ﹼﻞ ﺃﻗﻮﻝ‪" :‬ﲤﻬ‪‬ﻞ‪ .‬ﻓﺘﺤﺖ ﻗﺒﺎﺏ ﺍﻵﺟﺮ‪ ‬ﺳﻨﻠﻘﻰ‬ ‫ﺗﻠﻚ ﺍﳌﺮﺃﺓ ﺧﺎﺭﺟﺔ ﻣﻦ ﺧﻠﻒ ﺍﻟﺴ‪‬ﻮﺭ‪ .‬ﺳﻨﺮﺍﻫﺎ ﰲ ﺍﻟﻄﹼﲔ‪ ،‬ﻭﰲ ﳕﺶ‬ ‫ﺍﻟﺮ‪‬ﻏﺒﺔ ﺇﺫ ﺗﺘﺠﻠﹼﻰ‪ .‬ﻭﻧﺮﺍﻫﺎ ﻛﺎﻣﻠﺔ ﺍﻟﻔﺘﻨﺔ ﻭﺍﻷﻭﺻﺎﻑ‪ .‬ﲤﻬ‪‬ﻞ‪ .‬ﻓﺨﻠﻒ‬ ‫ﺍﻷﺣﺠﺎﺭ ﺍﳌﺪﻻﺓ ﻣﻦ ﺍﻵﻓﺎﻕ ﺳﻨﻠﻘﻰ ﺗﻠﻚ ﺍﳌﺮﺃﺓ ﺣﺎﻣﻠﺔ ﺳﺮ‪ ‬ﺍﳌﻠﻜﻮﺕ‬ ‫ﻭﻗﺎﺩﻣﺔ ﲢﺖ ﺍﻷﻣﻄﺎﺭ‪ .‬ﲤﻬ‪‬ﻞ‪ .‬ﻓﻬﻨﺎﻙ ]ﻭﺳﺮﻧﺎ ﺃﺑﻌﺪ ﻣﻦ ﻋﺘﺒﺎﺕ ﺍﻟﺒﻴﺖ‬ ‫ﻭﻣﻦ ﺧﺸﺒﺎﺕ ﺍﻟﺮﻑ‪ ‬ﺍﻷﳝﻦ ﺣﻴﺚ ﺍﻟﺴ‪‬ﻴﻒ[ ﻫﻨﺎﻙ ]ﻭﻛﻨ‪‬ﺎ ﻗﺮﺏ‬ ‫ﺍﳌﻘﻌﺪ ﻣﻦ ﺟﻬﺔ ﺍﻟﺒﺎﺏ[ ﻫﻨﺎﻙ ]ﻋﻠﻰ ﻃﺮﻑ ﺍﳌﺮﺁﺓ ﺍﻷﻳﺴﺮﺣﻴﺚ‬ ‫ﺍﻟﺼ‪‬ﻮﺭﺓ ﺻﻮﺭ‪‬ﺎ ﺍﳌﺨﺒﻮﺀﺓ ﰲ ﺃﻃﺮ ﺍﳉﺺ‪ ‬ﻭﺣﻴﺚ ﺍﻟﺸ‪‬ﻤﻌﺔ[ ﻫﻨﺎﻙ‬ ‫]ﻭﺍﻟﻔﺘﻨﺔ ﺗﻨﺸﺐ ﺃﻇﻔﺎﺭ ﺍﻹﻏﻮﺍﺀ[ ﺟﻠﺴﻨﺎ‪ .‬ﺃﻧﺎ ﻓﻮﻕ ﻣﻼﺀﺍﺕ‬

‫‪75‬‬


‫ﻭﺷﺮﺍﺷﻒ ﻭﻏﻄﺎﺀﺍﺕ ﺻﻮﻓﻴ‪‬ﺔ ﻭﺃﻧﺖ ﻋﻠﻰ ﺫﺍﻙ ﺍﳌﻘﻌﺪ‪ ،‬ﺫﺍﻙ‬ ‫ﺍﳌﻜﺴﻮﺭ ﻣﻦ ﺍﻟﻄﹼﺮﻑ ﺍﳌﺴﻨﻮﺩ ﺇﱃ ﺍﳊﺎﺋﻂ"‪.‬‬ ‫ﻭﻫﻨﺎﻙ ﲰﻌﻨﺎ ﺍﻟﺼ‪‬ﻮﺕ‪) .‬ﻛﻨ‪‬ﺎ ﻻ ﻧﺪﺭﻱ ﻭﺍﻟﺸ‪‬ﻬﻮﺓ ﺗﺮﻛﺾ ﰲ‬ ‫ﺃﺳﺪﻳﺔ ﺍﻟﺮﻭﺡ ﻣﻌﺎﻧﻴﻪ‪ .‬ﻭﻛﻨ‪‬ﺎ ﻻ ﻧﻔﻬﻤﻪ‪ .‬ﺃﻋﻄﻴﻨﺎﻩ ﺃﺻﺎﺑﻌﻨﺎ ﻭﺑﺮﻭﻕ‬ ‫ﻋﻨﺎﺻﺮﻧﺎ ﻭﻭﻫﺒﻨﺎﻩ ﺍﻷﺣﺮﻑ ﻭﺍﳊﺮﻛﺎﺕ‪ .‬ﻭﻛﻨ‪‬ﺎ ﻻ ﻧﻌﺮﻓﻪ(‪.‬‬ ‫ﻱ ﺍﻟﺴ‪‬ﺎﻛﻦ ﻓﻴﻨﺎ ﻟﻮﻻ‬ ‫ﻛﺎﻥ ﺍﻟﺼ‪‬ﻮﺕ ﺷﺒﻴﻬﺎ ﺑﺎﻟﺼ‪‬ﻮﺕ ﺍﻟﻨ‪‬ﺴﻮ ‪‬‬ ‫ﻟﺜﻐﺘﻪ ﰲ ﻧﻄﻖ ﺍﻟﺮ‪‬ﺍﺀ ﻭﺍﳍﻤﺲ ﺍﻟﺮ‪‬ﺍﺋﻊ ﰲ ﻧﻄﻖ ﺣﺮﻭﻑ ﺍﻟﻠﹼﻐﺔ ﺍ‪‬ﻬﻮﺭﺓ‪.‬‬ ‫ﻭﺭﺃﻳﻨﺎ ﺻﺎﺣﺒﺔ ﺍﻟﺼ‪‬ﻮﺕ ﺃﺧﲑﺍ‪ .‬ﺭﺃﻳﻨﺎﻫﺎ ﲢﻤﻞ ﺃﻛﻮﺍﺏ ﺍﻟﺸ‪‬ﺎﻱ‬ ‫ﻭﲢﻤﻞ ﺻﻮﺭﺓ ﺑﻨﺖ ﻣﻴ‪‬ﺘﺔ ﻛﺎﻧﺖ ﻣﻦ ﻗﺒﻞ ﺗﻨﺎﻡ ﻭﺭﺍﺀ ﺍﻟﺴ‪‬ﻮﺭ ﺍﻹﺳﺒﺎﱐ‬ ‫ﻭﺗﻔﺘﺢ ﻟﻠﺴ ‪‬ﺮ ﻧﻮﺍﻓﺬﻫﺎ ﺍﳌﺴﻘﻮﻓﺔ ﺑﺎﻟﻌﻄﺮ ﻭﺃﺧﻼﻁ ﺍﻷﻋﺸﺎﺏ ﻭﺻﻨﺪﻝ‬ ‫ﻏﺎﺑﺎﺕ ﺍﻟﻮﺍﺩﻱ ﺍﻟﺮ‪‬ﺍﻛﺪ ﰲ ﺃﺳﻔﻞ ﺗﻠﻚ ﺍﻟﺒﻠﺪﺓ‪ .‬ﺭﺃﻳﻨﺎﻫﺎ ﻭﻧﺴﺎﺀ ﻟﻴﻠﻴ‪‬ﺎﺕ‬ ‫ﺗﻌﱪ ﺃﻛﻮﺍﻥ ﺍﻟﻠﹼﻴﻞ ﻭﺗﻌﻄﻲ ﻟﻠﻐﻴﻢ ﺃﺻﺎﺑﻌﻬﺎ ﻭﻟﻠﻈﹼﻠﻤﺎﺕ ﺃﻇﺎﻓﺮﻫﺎ‪) .‬ﻛﺎﻧﺖ‬ ‫‪‬ﺮﺍ ﺿﻮﺋﻴ‪‬ﺎ ﻳﻌﱪ ﺃﻋﻤﺎﻕ ﺍﻟﻜﺎﺋﻦ(‪) .‬ﻛﺎﻧﺖ ﺃﺭﺿﺎ ﻟﺬﻫﻮﻝ ﺍﻟﺮ‪‬ﻭﺡ‬ ‫ﻭﺇﻧﺎﺀ ﻳﻌﺼﺮ ﲬﺮ ﺍﳌﻄﻠﻖ ﻓﻴﻪ ﻭﺃﻋﻨﺎﺏ ﺍﻷﲰﺎﺀ(‪.‬‬ ‫ﺭﺃﻳﻨﺎ ﺃﻗﻤﺎﺭﺍ ﲣﺮﺝ ﻣﻦ ﺑﲔ ﻣﻌﺎﻃﻔﻬﺎ ﺍﳌﻠﻘﺎﺓ ﻋﻠﻰ‬ ‫ﺍﻟﻜﻨﺒﺎﺕ ﺍﶈﻔﻮﺭﺓ ﻭﳒﻮﻣﺎ ﺗﺮﻓﻞ ﰲ ﺃﻃﻴﺎﻑ ﺯﺭﻕ ﻭﺑﺪﺍﺋﻪ ﺧﺎﺭﻗﺔ‪ .‬ﻭﶈﻨﺎ‬ ‫ﰲ ﺍﻟﻈﹼﻠﻤﺔ ‪‬ﺪﺍ ﻳﱪﺯ ﰲ ﺃﻋﻄﺎﻑ ﺍﻟﺼ‪‬ﻮﺭﺓ ﻭﺟﺪﺍﺋﻞ ﺗﻨﺤ ﹼﻞ ﻭﺗﺴﻘﻂ ﻓﻮﻕ‬ ‫ﺍﻟﻠﹼﻮﺡ ﺍﳌﺼﻘﻮﻝ ﻭﺗﺄﺧﺬﻫﺎ ﺍﻟﺮ‪‬ﻳﺢ‪ .‬ﻭﺷﻔﺎﻫﺎ ﺗﻮﺭﻕ ﻭﻋﻴﻮﻧﺎ ﻣﺎﺋﻴ‪‬ﺎﺕ ﺗﻨﺤ ﹼﻞ‬

‫‪76‬‬


‫ﺼﻮﺭﺓ‪ .‬ﻭﺭﺃﻳﻨﺎ ﺍﻟﺼ‪‬ﺪﺭ ﻳﺪﺍﺭ ﻭﺍﻟﻨ‪‬ﻤﺶ ﺍﻷﲰﺮ ﻳﻨﺜﺮ‬ ‫ﻭﺗﻨﻬﺾ ﰲ ﻣﻠﻜﻮﺕ ﺍﻟ ‪‬‬ ‫ﺺ‪ .‬ﻭﻗﻠﻨﺎ‪" :‬ﻫﺬﺍ‬ ‫ﻣﻦ ﺷﺮﻓﺎﺕ ﺍﻟﻐﻴﺐ ﻋﻠﻰ ﺍﳉﺴﺪ ﺍﻟﺼ‪‬ﺎﻋﺪ ﻣﻦ ﺃﻃﺮ ﺍﳉ ‪‬‬ ‫ﺍﳌﺎﺀ ﺍﻟﻜﺎﺫﺏ ﻻ ﻳﻄﻔﺊ ﻧﺎﺭ ﺍﻟﺮ‪‬ﻭﺡ‪] .‬ﻭﻛﻨ‪‬ﺎ ﻧﻌﺮﻑ ﺃﻥﹼ ﺍﳌﺎﺀ ﺍﻟﻜﺎﺫﺏ‬ ‫ﻳﻄﻔﺊ ﻧﺎﺭ ﺍﻟﺮ‪‬ﻭﺡ["‪ .‬ﻭﺃﺿﻔﺖ ﻭﺣﻴﺪﺍ‪" :‬ﺳﻨﻌﱪ ﻫﺬﺍ ﺍﳌﻮﺕ ﺇﱃ ﻣﻮﺕ‬ ‫ﺁﺧﺮ ﺃﲨﻞ‪ .‬ﻭﺑﻌﺪ ﻣﻼﻳﲔ ﺍﻷﻋﻮﺍﻡ ﺳﻨﺨﺮﺝ ﻣﻦ ﺣﺠﺮ ﺍﻟﺴ‪‬ﻮﺭ‪.‬‬ ‫ﻭﻳﺄﺧﺬﻧﺎ ﺍﻟﻔﺮﺳﺎﻥ ﺇﱃ ﺃﺭﺽ ﻋﺬﺭﺍﺀ ﲤﺎﻣﺎ"‪.‬‬ ‫ﻛﺎﻥ ﺻﺪﻳﻘﻲ ﻗﻠﻘﺎ‪) .‬ﻭﳓﻦ ﻧﻐﺎﺩﺭ ﺑﻴﺖ ﺍﳌﺮﺃﺓ ﰲ ﺃﻋﻘﺎﺏ‬ ‫ﺍﻟﻠﹼﻴﻞ(‪ .‬ﻛﺎﻥ ﻣﻠﻴﺌﺎ ﺑﻈﻼﻝ ﺍﳌﻮﺕ ﻭﺁﺛﺎﺭ ﺍﳌﺮﺃﺓ‪) .‬ﺫﺍﻙ ﺍﻟﻀ‪‬ﻮﺀ ﺍﻟﺴ‪‬ﺎﻃﻊ‬ ‫ﰲ ﺃﻗﺼﻰ ﺍﳊﻲ‪ ‬ﺭﻣﺎﻩ ﺍﻟﺼ‪‬ﺒﻴﺔ ﺑﺎﳊﺠﺮ(‪) .‬ﻭﻣﺮﺭﻧﺎ(‪ .‬ﻣﻮﺗﻮﺭﺍ ﻛﺎﻥ‬ ‫ﻭﻣﺴﻜﻮﻧﺎ ﺑﺎﻟﺘ‪‬ﻄﻮﺍﻑ ﻭﺭﺍﺋﺤﺔ ﺍﻟﻘﺘﻠﻰ‪.‬‬ ‫ﺃﺷﻌﻠﺖ ﻟﻪ ﺍﻟﺴ‪‬ﻴﺠﺎﺭ‪ .‬ﻭﻣﺪﺩﺕ ﺍﳌﻄﻠﻖ ﲢﺖ ﻳﺪﻳﻪ ﻟﲑﺳﻞ‬ ‫ﺃﻃﻴﺎﺭ ﺍﳊﺰﻥ ﻭﻳﻄﻠﻖ ﺗﻠﻚ ﺍﻟﻌﻨﻘﺎﺀ ﺍﳌﻮﺗﻮﺭﺓ ﻣﻦ ﻗﻤﻘﻤﻬﺎ‪ .‬ﻗﻠﺖ‪:‬‬ ‫"ﻫﻼﻟﻴ‪‬ﺎﺕ ﺍﻷﺭﺽ ﻟﻚ ﺍﳋﺪﻡ ﺍﳌﻨﺬﻭﺭ ﻭﺍﻟﻨ‪‬ﻮﺭ ﺳﺘﺎﺭ ﻳﺮﻓﻞ ﲢﺖ‬ ‫ﻳﺪﻳﻚ‪ .‬ﻭﺍﻟﺼ‪‬ﻤﺖ ﺗﻘﺪ‪‬ﺱ ﻭﺍﻧﺪﺍﺣﺖ ﺧﻠﻒ ﻋﻮﺍﺭﺿﻪ ﺍﻷﲰﺎﺀ"‪.‬‬ ‫ﱐ ﻭﺧﻴﻮﻝ ﺍﻷﺳﺎﻃﲑ ﺗﺒﺪﻭ ﳎﺮ‪‬ﺍ‪‬ﺎ‬ ‫ﻭﻣﺮﺭﻧﺎ ﳓﻮ ﺍﻟﺴ‪‬ﻮﺭ ﺍﻹﺳﺒﺎ ﹼ‬ ‫ﻣﻦ ﻭﺭﺍﺀ ﺍﻟﻐﻴﻮﻡ‪ .‬ﻭﻫﻨﺎﻙ ﺟﻠﺴﻨﺎ ﻓﻮﻕ ﻗﺒﺎﺏ ﺻﻔﺮ ﰲ ﺫﺍﻙ ﺍﻟﺪ‪‬ﺭﺏ‬ ‫ﺍﳌﺴﻘﻮﻑ ﺑﺂﺟ ‪‬ﺮ ﺍﳊﺰﻥ ﻭﺃﻋﺬﺍﻕ ﺍﻟﻨﺨﻞ‪ .‬ﻫﻨﺎﻙ ﻭﺭﺍﺀ ﻓﻨﺎﺀ ﺍﳉﺎﻣﻊ‪ ،‬ﻗﺮﺏ‬

‫‪77‬‬


‫ﺣﻮﺍﻧﻴﺖ ﺍﻟﺘ‪‬ﻤﺮ‪ ،‬ﻭﺭﺍﺀ ﺍﻟﺪ‪‬ﻛﻨﺔ‪ ،‬ﺣﻴﺚ ﺍﻟﻨ‪‬ﻮﺭ‪ ،‬ﻭﺣﻴﺚ ﺍﳌﺮﺁﺏ ﺍﳌﻜﺴﻮﺭ‪،‬‬ ‫ﻭﺣﻴﺚ ﺍﻟﻨ‪‬ﻬﺮ ﺍﳌﻨﺜﻮﺭ ﻋﻠﻰ ﺍﻷﺣﺠﺎﺭ‪.‬‬ ‫ﻭﺟﻠﺴﻨﺎ‪ ،‬ﺃﻧﺎ ﰲ ﺃﺳﻔﻞ ﺗﻠﻚ ﺍﻟﺪ‪‬ﺭﺟﺎﺕ ﺍﳌﻜﺴﻮﺭﺓ‪ ،‬ﺣﻴﺚ‬ ‫ﺗﻨﺎﺳﻠﺖ ﺍﻷﻋﺸﺎﺏ‪ ،‬ﻭﺃﻧﺖ ﻋﻠﻰ ﺫﺍﻙ ﺍﳌﻘﻌﺪ‪ ،‬ﺫﺍﻙ ﺍﳌﺴﻘﻮﻑ ﺑﺸﺮﻓﺔ‬ ‫ﺖ ﺍﻟﻈﻠﻤﺔ‬ ‫ﺑﺎﺋﻌﺔ ﺍﻷﻟﺒﺎﻥ‪ ،‬ﺻﺎﺣﺒﺔ ﺍﳊﺒﻞ ﺍﻟﺮ‪‬ﺍﺑﻂ ﺑﲔ ﺍﻟﺒﻴﺘﲔ‪ .‬ﺳﺄﻟ ‪‬‬ ‫ﺳﺎﻋﺘﻬﺎ‪" :‬ﻣﻦ ﺳﻮﻑ ﲡﻲﺀ ﺍﻵﻥ ﻭﺃﻛﺘﻮﺑﺮ ﺃﺳﺮﺝ ﺧﻴﻞ ﺃﺳﺎﻃﲑ‬ ‫ﺍﳌﻮﺕ؟‪ .‬ﻣﻦ ﺳﻮﻑ ﲡﻲﺀ ﺍﻵﻥ‪ ،‬ﻭﻗﺪ ﺫﺑﻠﺖ ﻋﺘﺒﺎﺕ ﺍﻟﺒﻴﺖ‬ ‫ﻭﺿﺎﻋﺖ‪ ،‬ﻭﺗﺪﻟﹼﻰ ﰲ ﻫﺬﻱ ﺍﻟﻈﹼﻠﻤﺔ ﺳﺮﺏ ﳒﻮﻡ ﻣﻦ ﺷﺮﻓﺎﺕ ﺍﻟﻐﻴﺐ‬ ‫ﻭﺩﻣ‪‬ﺮﺕ ﺍﻷﻋﺘﺎﺏ؟ ﻣﻦ ﺳﻮﻑ ﲡﻲﺀ ﺍﻵﻥ ﻭﻗﺪ ﻏﺎﺏ ﺍﻷﻫﻞ ﻭﻏﺎﺏ‬ ‫ﺍﻷﺻﺤﺎﺏ؟"‪.‬‬ ‫ﻭﺳﺮﺕ ﻭﺣﻴﺪﺍ‪ .‬ﻃﺮﻗﺖ ﺍﻟﺒﺎﺏ ﺑﻴﻤﻨﺎﻙ‪) .‬ﻭﻃﺮﻗﺖ ﺃﻧﺎ ﺃﻳﻀﺎ‬ ‫ﺣﺘ‪‬ﻰ ﻛﻠﹼﺖ ﻣﻦ ﻃﺮﻕ ﺍﻟﺒﺎﺏ ﻳﺪﺍﻱ(‪ .‬ﻭﺻﺮﺧﺖ ﻃﻮﻳﻼ‪) .‬ﻭﺷﻌﺮﺕ‬ ‫ﺖ‬ ‫ﺖ ﺃﻧﺎﺩﻳﻪ ﺻﺪﻳﻘﻲ‪) .‬ﻓﺠﺌ ‪‬‬ ‫ﺑﺄﻥﹼ ﺻﺮﺍﺧﻲ ﻣﺰ‪‬ﻕ ﺃﺳﺘﺎﺭ ﺍﻟﻐﻴﺐ(‪ .‬ﻭﻗﻠ ‪‬‬ ‫ﺑﺄﺳﺮﻉ ﻣﻦ ﻧﺒﻀﺎﺕ ﺍﻟﺼ‪‬ﻮﺕ(‪ .‬ﻭﻗﻠﺖ‪" :‬ﺍﺧﺮﺝ"‪) .‬ﻓﺨﺮﺟﺖ‪ ،‬ﻭﺻﺎﺭ‬ ‫ﺍﻟﱪﻕ ﻃﻠﻴﻘﺎ(‪ .‬ﻭﺻﺮﺧﺖ‪" :‬ﺗﻌﺎﻝ"‪) .‬ﻓﺠﺌﺖ(‪ .‬ﻭﻗﻠﺖ‪" :‬ﺗﻮﺣ‪‬ﺪ ﰊ‪،‬‬ ‫ﻭﺃﺩﺧﻠﲏ"‪) .‬ﻓﺪﺧﻠﺖ(‪] .‬ﻭﺟﺪﺕ ﺍﻟﺸ‪‬ﻔﺔ ﺍﻟﺴ‪‬ﻔﻠﻰ ﺭﺍﺋﻌﺔ ﰲ ﺿﻮﺀ‬ ‫ﺍﻟﻠﹼﻴﻞ‪ .‬ﻓﻤﻸﺕ ﺑﺄﻃﺮﺍﰲ ﺍﻟﻀ‪‬ﻮﺋﻴ‪‬ﺔ ﺟﺴﺪ ﺍﻟﺸ‪‬ﻔﺔ ﺍﻟﺴ‪‬ﻔﻠﻰ‪ .‬ﻭﻭﺟﺪﺕ‬ ‫ﺍﻟﺼ‪‬ﺪﺭ ﻣﺜﲑﺍ ﰲ ﺍﻟﻌﺘﻤﺔ‪ .‬ﻓﺘﻤﺪ‪‬ﺩﺕ‪ .‬ﻭﻛﻨﺖ ﺍﻟﺼ‪‬ﺪﺭ‪ .‬ﻭﺻﺮﺕ ﺩﻣﺎﺀ‬

‫‪78‬‬


‫ﺍﻷﻋﻄﺎﻑ ﻭﺃﻧﺴﺠﺔ ﺍﻟﺮ‪‬ﻭﺡ‪ .‬ﻭﺗﺴﺮ‪‬ﺑﺖ ﺇﱃ ﺍﻷﻗﺪﺍﻡ ﻭﺃﻇﻔﺎﺭ ﺍﻷﻳﺪﻱ‪.‬‬ ‫ﻭﺃﺻﺒﺢ ﻟﻠﱪﻕ ﺍﳌﻄﻠﻖ ﰲ ﻫﺬﻱ ﺍﻟﺒﻠﺪﺓ ﻣﻦ ﺟﻬﺔ ﺍﻟﺼ‪‬ﺤﺮﺍﺀ ﺟﺴﻮﻣﺎ‬ ‫ﰲ ﺍﻟﻠﹼﻴﻞ ﻭﺃﺭﻭﺍﺣﺎ ﺗﺴﻜﻦ‪ .‬ﻭﲰﻌﺖ ﺧﻴﻮﻝ ﺍﻷﺳﺎﻃﲑ ﺗﻨﺤﻞﹼ ﻗﺮﺏ‬ ‫ﺍﻟﺸﺒﺎﺑﻴﻚ‪ ،‬ﺣﻴﺚ ﺇﻃﺎﺭﺍﺕ ﺍﳉﺺ‪ ‬ﺍﳌﻜﺴﻮﺭ ﺗﻀﺎﺀ‪ ،‬ﻭﺣﻴﺚ ﺍﻟﺪ‪‬ﻛﻨﺔ‬ ‫ﺗﻐﺰﻝ ﺻﻮﻑ ﺍﻟﻠﹼﻴﻞ‪ ،‬ﻭﺣﻴﺚ ﺍﻟﺴ‪‬ﻮﺭ ﺍﻹﺳﺒﺎﱐﹼ ﺍﳋﺎﻟﺪ ﻳﺘﺄﻟﹼﻖ ﲢﺖ‬ ‫ﻋﻴﻮﻥ ﺍﻟﺸ‪‬ﻤﺲ[‪.‬‬

‫‪79‬‬


‫ﻗﺪ‪‬ﺍﺱ ﺃﺧﲑ ﻟﺴﺎﺩﻧﺔ ﺍﳌﻌﺒﺪ‬ ‫ﺇﱃ ﺃﺩﻭﻧﻴﺲ‬

‫ﱂ ﺃﳊﻆ ﺁﻛﺎﻡ ﺍﻟﺰ‪‬ﻫﺮ ﺍﻟﻄﹼﺎﻟﻊ ﻣﻦ ﺳﺎﻟﻔﻬﺎ ﺍﳌﺮﺳﻞ ﳓﻮ ﺃﻗﺎﺻﻲ‬ ‫ﺍﻷﺭﺽ‪ .‬ﱂ ﺃﳊﻆ ﺁﺛﺎﺭ ﺍﻟﱪﻕ ﺍﳌﺘﺴﺎﻗﻂ ﺣﻮﻝ ﺃﺻﺎﺑﻌﻬﺎ ﻭﻧﺜﺎﺭﺍﺕ ﺍﻟﻔﺘﻨﺔ‬ ‫ﺗﻐﺮﻗﲏ ﻭﳓﺎﺗﺎﺕ ﺍﻟﻨ‪‬ﻮﺭ‪.‬ﱂ ﺃﳊﻆ ﺃﺑﺪﺍ ﻏﲑ ﺍﳉﻨ‪‬ﺔ ﺗﺴﻜﺐ ﰲ ﺇﻏﻔﺎﺀﺓ ﻋﲔ‬ ‫ﺣﺒﻴﱯ ﻭﺗﺪﺍﺭ ﻋﻠﻰ ﻫﻴﺄﺗﻪ ﺍﳌﺴﻜﻮﻧﺔ ﺑﺎﻟﻌﻄﺮ ﻭﺃﺧﻼﻁ ﺍﻷﻋﺸﺎﺏ‪ .‬ﱂ‬ ‫ﺃﳊﻆ ﻏﲑ ﺑﺮﻭﻕ ﺗﺼﻬﻞ ﰲ ﺻﺤﺮﺍﺀ ﻧﺰﻋﺖ ﻋﻨﻬﺎ ﺍﻟﺮ‪‬ﻣﻞ ﻭﻧﺎﻣﺖ ﰲ‬ ‫ﺃﺣﻀﺎﻥ ﺍﻟﻐﺎﺏ‪.‬‬

‫‪80‬‬


‫ﻛﺎﻧﺖ ﺗﻠﻚ ﺍﳌﺮﺃﺓ ﺣﺒ‪‬ﺎ ﺁﺧﺮ‪،‬ﱂ ﻳﻌﻬﺪﻩ‪ ،‬ﻭﱂ ﺗﻌﺮﻓﻪ ﻳﺪﺍﻩ‪.‬‬ ‫ﻛﺎﻧﺖ ﺗﺒﺪﻭ ﻭﺍﻟﻈﹼﻠﻤﺔ ﺗﺮﻗﺪ ﰲ ﺷﻔﺘﻴﻬﺎ ﺃﺳﺮﺍﺏ ﻃﻴﻮﺭ ﻧﺎﺯﺣﺔ ﻭﺳﻴﻮﻝ‬ ‫ﻣﻴﺎﻩ‪ .‬ﻛﺎﻧﺖ ﺯﻭﺭﻕ ﺃﻧﻮﺍﺭ ﳐﻄﻮﻑ‪ ،‬ﻭﲰﺎﻭﺍﺕ ﺍﳌﻄﻠﻖ ﺗﺼﻬﻞ ﻓﻴﻬﺎ ﻛ ﹼﻞ‬ ‫ﺟﻴﺎﺩ ﺍﻟﱪﻕ‪ ،‬ﻭﻛ ﹼﻞ ﺷﺮﺍﻋﺎﺕ ﺍﻟﺴ‪‬ﻔﻦ ﺍﳌﻠﻔﻮﺣﺔ ﺑﺎﻟﺸ‪‬ﻤﺲ‪ .‬ﻛﺎﻧﺖ ﺗﻠﻚ‬ ‫ﺍﳌﺮﺃﺓ ﺑﻴﺘﺎ ﳊﻀﺎﺭﺍﺕ ﺍﻷﺭﺽ‪ ،‬ﻭﻛﺎﻧﺖ ‪‬ﺮﺍ ﳐﺒﻮﺀﺍ ﲢﺖ ﺑﺮﻭﻕ‬ ‫ﺍﻟﺸ‪‬ﻬﻮﺓ‪.‬‬ ‫ﻓﺘﺤﺖ ﳍﺎ ﺍﻷﺑﻮﺍﺏ‪) .‬ﻛﺘﻔﺎﻫﺎ ﺍﺻﻄﺪﻣﺎ ﲟﺴﺎﻣﲑ ﺩﻗﹼﺖ ﰲ‬ ‫ﺍﻷﻟﻮﺍﺡ ﻭﰲ ﺃﻗﺮﺍﻁ ﺍﻟﻌﺘﻤﺔ(‪ .‬ﻭﺃﺷﺮﺕ ﺇﱃ ﺍﻟﺼ‪‬ﻮﺭﺓ‪ ،‬ﺗﻠﻚ ﺍﳌﺸﺪﻭﺩﺓ‬ ‫ﲞﻴﻮﻁ ﺍﻟﺼ‪‬ﻮﻑ ﻭﺭﺍﺋﺤﺔ ﺍﻷﺭﻭﺍﺡ‪ .‬ﻭﺗﺒﺎﺩﻟﻨﺎ ﰲ ﺍﻟﺼ‪‬ﻤﺖ ﺍﻟﻨ‪‬ﻈﺮﺓ‪ .‬ﻗﺎﻟﺖ‪:‬‬ ‫"ﺃﻛﺎﻧﺖ ﺗﻠﻚ ﺍﳌﺮﺃﺓ ﺃﻭ‪‬ﻝ ﻣﻦ ﺃﺣﺒﺒﺖ‪ ،‬ﻭﺃﻭ‪‬ﻝ ﻣﻦ ﺃﺷﻌﻠﺖ ﳍﺎ ﺍﻟﻘﺪ‪‬ﺍﺱ‬ ‫ﻭﻫﻴ‪‬ﺄﺕ ﺍﳌﻌﺒﺪ؟" ﻭﺃﺿﺎﻓﺖ‪" :‬ﺃﻛﺎﻧﺖ ﺗﻠﻚ ﺍﻣﺮﺃﺓ ﺗﻌﺒﺪ؟"‪.‬‬ ‫ﻭﺟﻠﺴﻨﺎ ﰲ ﺍﻟﺮ‪‬ﻛﻦ ﻗﺮﺏ ﺇﻧﺎﺀ ﺃﺻﻔﺮ ﻛﺎﻧﺖ ﺃﻣ‪‬ﻲ ﺗﻠﻘﻲ ﻓﻴﻪ‬ ‫ﺑﻘﺎﻳﺎ ﺍﳋﻀﺮﺍﻭﺍﺕ ﻭﺃﺟﺰﺍﺀ ﺍﳋﺒﺰ ﺍﻟﻴﺎﺑﺲ‪ .‬ﻭﻫﻨﺎﻙ ﻋﻠﻰ ﻃﺮﻑ ﺍﻟﺸ‪‬ﺮﻓﺔ‪،‬‬ ‫ﻭﺣﻴﺚ ﺍﻟﻌﺸﺐ‪ ،‬ﶈﻨﺎ ﻇ ﹼﻞ ﺟﺴﻴﻤﺎﺕ ﻭﺑﻘﺎﻳﺎ ﺗﺼﻮﻳﺖ ﻧﺎﺀ ﻳﺄﰐ ﻣﻦ ﺑﲔ‬ ‫ﺍﻟﺸ‪‬ﺠﺮﺍﺕ‪ .‬ﻭﲰﻌﻨﺎ ﻭﻗﻊ ﻏﻴﻮﻡ ﻓﻮﻕ ﻧﺜﺎﺭ ﺍﻟﻔﺘﻨﺔ‪ ،‬ﻭﺳﺤﺎﺑﺎ ﻳﻬﻄﻞ ﻓﻮﻕ‬ ‫ﻋﺮﻭﻕ ﺍﻟﻌﺸﺐ‪ ،‬ﻭﻣﺎﺀ ﻳﻨﻬ ﹼﻞ ﻋﻠﻰ ﻛﺮﻛﺮﺓ ﺍﻷﻗﺪﺍﻡ‪ ،‬ﻭﺃﺳﺮﺍﺏ ﳒﻮﻡ‬ ‫ﻂ ﻋﻠﻰ ﻃﺮﻑ ﺍﻟﺼ‪‬ﻮﺭﺓ‪.‬‬ ‫ﺗﻨﻬﺾ ﻣﻦ ﻣﺮﻗﺪﻫﺎ ﻭﲢ ﹼ‬

‫‪81‬‬


‫ﱂ ﺃﺗﻜﻠﹼﻢ‪.‬‬ ‫ﱂ ﺃﻓﺘﺢ ﺃﻗﻔﺎﺹ ﺍﻟﺼ‪‬ﻤﺖ‪.‬‬ ‫ﻭﻣﺎ ﻓﻜﹼﺮﺕ ﻛﻤﺎ ﻛﻨﺖ ﺃﻓﻜﹼﺮ ﻗﺒﻞ ﺍﻵﻥ‪.‬‬ ‫"ﻛﺎﻧﺖ ﺗﻠﻚ ﺍﳌﺮﺃﺓ ﺑﻴﱵ"‪ .‬ﻛﺪﺕ ﺃﻗﻮﻝ‪ ،‬ﻭﻟﻜﻨ‪‬ﻲ ﻓﺘ‪‬ﺤﺖ‬ ‫ﺷﺒﺎﺑﻴﻚ ﺍﻟﺸ‪‬ﺮﻓﺔ ﻋﻦ ﺁﻛﺎﻡ ﺍﻟﻠﹼﻴﻞ‪ .‬ﻭﳘﻬﻤﺖ‪" :‬ﻟﻘﺪ ﻛﺎﻧﺖ ﺃﻭ‪‬ﻝ ﻧﻮﺭ‬ ‫ﻳﺄﺧﺬﱐ ﻭﻳﻄﲑ"‪ ...‬ﻭﶈﺖ ﻋﻠﻰ ﺷﻔﺘﻴﻬﺎ ﰲ ﺍﻟﻈﹼﻠﻤﺔ ﺃﻣﻮﺍﺟﺎ ﺗﻜﺴﺮ‪،‬‬ ‫ﻭﻋﻮﺍﺻﻒ ﺃﻧﻮﺍﺀ ﺗﺘﺮﻯ‪ ،‬ﻭﺭﻣﺎﻻ ﻳﺬﺭﻭﻫﺎ ﺍﻟﺮ‪‬ﻳﺢ‪ .‬ﻭﶈﺖ ﻫﻼﻻ ﻳﻌﱪ‬ ‫ﻓﻮﻕ ﺍﻟﺸ‪‬ﺮﻓﺔ ﻣﻜﺘﺌﺒﺎ‪ ،‬ﻭﳒﻮﻣﺎ ﺗﺒﻜﻲ‪ ،‬ﻭﺇﻻﻫﺎ ﳛﻤﻞ ﰲ ﺍﻟﻌﺮﺑﺎﺕ ﺑﻘﺎﻳﺎ‬ ‫ﺍﻷﺣﺮﻑ‪ ،‬ﻭﻏﻴﻮﻣﺎ ﺗﻠﺒﺲ ﺑﺮﻧﻮﺱ ﺍﻟﺼ‪‬ﻮﻑ‪ ،‬ﻭﺗﺮﻗﺪ ﺭﺍﺿﻴﺔ‪ ،‬ﻭﲰﻌﺖ‬ ‫ﺻﺮﻳﺮ ﺍﻷﻣﻮﺍﺕ ﺍﳌﻘﺮﻑ‪.‬‬ ‫ﻛﺎﻥ ﺍﻟﺒﻴﺖ ﺑﻌﻴﺪﺍ‪) .‬ﻟﻦ ﻧﺬﻫﺐ ﻫﺬﺍ ﺍﻟﻴﻮﻡ(‪) .‬ﻭﻟﻦ ﻧﺬﻫﺐ‬ ‫ﺑﻌﺪ ﺍﻟﻴﻮﻡ ﺍﻟﺜﹼﺎﱐ(‪) .‬ﺳﺘﺒﻘﲔ ﻣﻌﻲ(‪) .‬ﺳﻴﻜﻮﻥ ﻟﻨﺎ ﰲ ﺍﻟﻴﻮﻡ ﺍﻷﻭ‪‬ﻝ ﺃﻥ‬ ‫ﻧﺘﻌﺎﺭﻑ‪ ،‬ﻭﺃﻥ ﻧﺼﺮﺥ ﻳﺎ ﺃ‪‬ﺎﺭ ﻛﻮﱐ ﺍﻟﻴﻮﻡ ﺳﺮﻳﺮ ﺍﻟﺮ‪‬ﻏﺒﺔ ﻭﺍﳓﺪﺭﻱ‪،‬‬ ‫ﻛﻮﱐ ﻗﺮﺏ ﺍﻟﻨ‪‬ﻬﺮ ﺑﻴﻮﺕ ﺍﻟﻔﺘﻨﺔ ﻭﺍﻟﺸ‪‬ﺠﺮ‪ ،‬ﻭﻛﻮﱐ ﺿﻮﺀ ﺍﻟﻐﺮﺑﺔ(‪.‬‬ ‫)ﻭﰲ ﺍﻟﻴﻮﻡ ﺍﻟﺜﹼﺎﱐ ﺳﻮﻑ ﻧﺰﻭﺭ ﺑﻴﻮﺕ ﺍﻟﺒﺎﻳﺎﺕ‪ ،‬ﻭﻧﻘﺮﺃ ﺁﺛﺎﺭ ﺍﻟﺒﺪﻭ‬ ‫ﺍﻟﺮﺣ‪‬ﻞ‪ ،‬ﻭﻧﺒﺪﺃ ﻣﻦ ﻓﻮﻕ ﺍﻟﻌﺘﺒﺎﺕ ﺍﳌﻜﺴﻮﺭﺓ ﺳﺮﺩ ‪‬ﺎﻳﺎﺕ ﺍﻟﻘﺼ‪‬ﺔ(‪.‬‬

‫‪82‬‬


‫ﻛﺎﻧﺖ ﺗﻌﺮﻑ ﻛﻢ ﺷﺮ‪‬ﺩ ﺃﻃﻴﺎﺭ ﺍﳌﻮﺕ ﻟﻴﺨﺮﺝ ﻣﻦ ﻣﻌﺒﺪﻫﺎ‪،‬‬ ‫ﻭﳝﻴﺖ ﻋﻨﺎﺻﺮﻫﺎ ﺍﳌﺰﺭﻭﻋﺔ ﰲ ﺃﺭﻛﺎﻥ ﺍﻟﺒﻴﺖ ﻭﰲ ﺃﻃﺮﺍﻑ ﺍﳉﺴﺪ‬ ‫ﺍﻟﺒﺎﺭﺩ‪ .‬ﻭﻛﺎﻧﺖ ﺗﻌﺮﻑ ﰲ ﺍﻟﺼ‪‬ﻤﺖ ﺣﺪﻳﺚ ﻳﺪﻳﻪ ﻭﲣﻄﻴﻄﺎﺕ ﺃﺻﺎﺑﻌﻪ‪.‬‬ ‫ﻛﺎﻧﺖ ﺃﺑﺪﺍ‪ ،‬ﻭﻳﻨﺎﺑﻴﻊ ﺭﺅﻯ‪ ،‬ﻭﻣﺰﺍﺭﻉ ﺇﺷﺮﺍﻗﺎﺕ‪ ،‬ﻭﺑﺬﻭﺭ ﺿﻴﺎﺀ ﻳﻌﻠﻮ‪.‬‬ ‫ﻗﺎﻟﺖ‪" :‬ﺳﻮﻑ ﺃﻛﻮﻥ ﻛﻤﺎ ﻛﺎﻧﺖ ﺗﻠﻚ ﺍﳌﺮﺃﺓ ﺃﺭﺿﺎ ﰲ‬ ‫ﺃﻋﻤﺎﻕ ﺍﻟﻜﺎﺋﻦ‪ ،‬ﺑﺌﺮ ﻣﺼﺎﺑﻴﺢ ﳐﺒﻮﺀﺍ ﰲ ﻗﻠﺐ ﺍﻷﺭﺽ‪ ،‬ﻭﺫﺍﻛﺮﺓ‬ ‫ﺍﻟﺼ‪‬ﺤﺮﺍﺀ‪ .‬ﻭﺳﺘﺘﺮﻛﲏ ﻋﻨﺪ ‪‬ﺎﻳﺔ ﻫﺬﺍ ﺍﻟﺴ‪‬ﻄﺮ‪ ،‬ﻭﻗﺒﻞ ﺑﺪﺍﻳﺔ ﺳﻄﺮ‬ ‫ﺁﺧﺮ"‪.‬‬ ‫"ﺳﻮﻑ ﺗﻜﻮﻥ ﻭﺣﻴﺪﺍ"‪.‬‬ ‫‪" ..‬ﺍﻣﺮﺃﺓ ﻏﲑﻱ ﺳﺘﺄﺧﺬ ﻋﻤﺮﺍ ﱂ ﻳﻨﻀﺞ ﺑﻌﺪ‪ ،‬ﻭﺻﺪﺭﺍ ﻓﻴﻪ‬ ‫ﺑﻘﺎﻳﺎﻱ‪ ،‬ﻭﺃﻋﻄﺎﻓﺎ ﻓﻴﻬﺎ ﺭﺍﺋﺤﱵ‪ ،‬ﻭﻗﺼﺎﺋﺪ ﱂ ﺃﻋﻠﻢ ﺃﺑﺪﺍ ﻛﻴﻒ ﲡﻲﺀ‬ ‫ﻣﻦ ﺍﻟﻈﹼﻠﻤﺎﺀ‪ ،‬ﻭﺗﺬﻫﺐ ﳓﻮ ﺍﻟﻠﹼﻴﻞ"‪ .‬ﻭﺃﺿﺎﻓﺖ‪" :‬ﻧﺎﺭ ﺧﻄﺎﻳﺎﻙ‬ ‫ﺕ ﺍﻷﻣﻮﺍﺕ‬ ‫ﺍﻛﺘﻤﻠﺖ‪ .‬ﻭﺟﻠﹼﺖ ﺃﻗﻤﺎﺭﻙ ﰲ ﻫﺬﺍ ﺍﻟﺒﻴﺖ‪ .‬ﻓﺨﺬﱐ ﻭﻳﺎﻗﻮ ‪‬‬ ‫ﻭﺃﻛﻮﺍﻥ ﺍﻟﻠﺬﹼﺍﺕ ﺇﻟﻴﻚ‪ .‬ﻭﻋﺪﱐ ﻛﺼﻐﺎﺭ ﺍﻟﻄﹼﲑ ﺑﺒﻘﺎﻳﺎ ﻣﺎ ﺗﺮﻛﺖ ﺃﻣ‪‬ﻚ‬ ‫ﰲ ﺗﻠﻚ ﺍﻵﻧﻴﺔ ﺍﻟﺼ‪‬ﻔﺮﺍﺀ‪ .‬ﻭﻋﺪﱐ ﺑﻠﻘﺎﺀ ﻳﺪﻳﻚ ﻭﺃﻧﺖ ﺗﺴﺎﻓﺮ ﻭﺣﺪﻙ‬ ‫ﳐﻔﻮﺭﺍ ﺑﺎﻷﻳﻚ ﻭﺃﺟﻨﺤﺔ ﺍﻟﻐﻴﻢ"‪.‬‬

‫‪83‬‬


‫ﺳﻠﻤﻰ ﻛﻌﺎﺩ‪‬ﺎ ﺗﻐﻨ‪‬ﻲ‬ ‫ﺐ ﻭﺟﻮﺩ ﺃﻋﻤﻰ‬ ‫ﴰﺲ ﺣﺒﻠﻰ ﻏﺎﺑﺖ‪ .‬ﻻ ﻳﺪﺭﻱ ﺃﺣﺪ‪ .‬ﺍﳊ ‪‬‬ ‫ﻭﻭﺣﻴﺪ‪ .‬ﻣﺎ ﻣﻦ ﺃﺣﺪ ﻳﻌﺮﻑ ﰲ ﻫﺬﺍ ﺍﳌﻨﻔﻰ ﺃﺣﺪﺍ‪ .‬ﺍﻟﻜ ﹼﻞ ﻭﺣﻴﺪ‪ .‬ﻗﻠﺐ‬ ‫ﺍﻟﻌﺎﱂ ﻣﻦ ﺣﺠﺮ ﰲ ﻫﺬﺍ ﺍﳌﻨﻔﻰ‪ -‬ﺍﳌﻠﻜﻮﺕ‪.‬‬ ‫ﻋﺒﺪ ﺍﻟﻮﻫ‪‬ﺎﺏ ﺍﻟﺒﻴ‪‬ﺎﰐ‬

‫‪84‬‬


‫)ﺳﻴﻨﺸﺄ ﺣﺐ‪ ‬ﻣﺜﻞ ﻫﺬﺍ ﺍﳊﺐ‪ ‬ﺃﻭ ﺃﻛﺜﺮ‪ .‬ﺳﺘﺠﺮﻱ ﻣﻨﻪ‬ ‫ﺃﻣﻄﺎﺭ‪ ،‬ﻭﺃﺷﺠﺎﺭ ﻋﻠﻰ ﺍﳊﺎﻓﺎﺕ ﻗﺪ ﺗﺰﻫﺮ‪ .‬ﻭﳒﻤﺎﺕ ﺻﻐﲑﺍﺕ‬ ‫ﺳﻴﻤﻸﻥ ﺍﻟﺴ‪‬ﻤﺎﺀ ﺑﺄﻧﺪﺍﺀ ﺍﳌﺪﻯ ﺍﻷﺧﻀﺮ‪ .‬ﻭﺿﻮﺀ ﻣﺜﻞ ﻫﺬﺍ ﺍﻟﻀ‪‬ﻮﺀ ﻟﻦ‬ ‫ﻳﺮﻣﻰ ﺑﺴﻬﻢ ﺍﳌﻮﺕ‪ ،‬ﺃﻭ ﻳﺼﻔﺮ‪ ،‬ﺃﻭ ﻳﻜﱪ(‪.‬‬ ‫ﻗﺎﻟﺖ ﻟﻪ‪.‬‬ ‫ﻭﺭﻣﺖ ﻋﻠﻰ ﺷﺠﺮ ﺍﻟﻄﹼﺮﻳﻖ ﺳﺆﺍﳍﺎ‪.‬‬ ‫ﻓﺄﺟﺎ‪‬ﺎ‪.‬‬ ‫)ﻻ ﺑﺪ‪ ‬ﻣﻦ ﺃﺳﻄﻮﺭﺓ ﺃﺧﺮﻯ ﻷﺑﺪﺃ ﻣﻦ ﺟﺪﻳﺪ‪ .‬ﻻ ﺑﺪ‪ ‬ﻣﻦ ‪‬ﺮ‬ ‫ﻋﻤﻴﻖ ﺃﻋﻤ‪‬ﺪ ﻓﻴﻪ ﺣﺘ‪‬ﻰ ﺍﻟﻜﻌﺐ ﺃﻏﻨﻴﱵ ﻟﺘﻜﱪ ﰲ ﺳﻼﻡ ﻣﺜﻞ ﻧﻌﻨﺎﻉ‬ ‫ﺍﳊﺪﻳﻘﺔ‪ .‬ﻻ ﺑﺪ‪ ‬ﻣﻦ ﺿﻮﺀ ﺑﻼ ﻧﺒﻊ ﻭﻻ ﻣﺮﺳﻰ‪ ،‬ﳚﻲﺀ ﻣﻦ ﺍﻟﻔﺮﺍﻍ‬ ‫ﻟﻴﺤﻀﻦ ﺍﻟﺪ‪‬ﻧﻴﺎ‪ .‬ﻻ ﺑﺪ‪ ‬ﻣﻦ ﺣﺮﻑ ﻭﻟﻴﺪ ﻓﻴﻪ ﺃﻭﻟﺪ ﻣﻦ ﺟﺪﻳﺪ‪ .‬ﺃﻭﻟﺪ‬ ‫ﰒﹼ ﺃﻓﲎ ﻛﺎﳊﻘﻴﻘﺔ‪ ،‬ﻟﻴﺲ ﻳﻌﻨﻴﲏ ﺑﺮﻭﺩ ﺍﻟﻠﹼﻮﺡ ﰲ ﻇﻞﹼ ﺍﻟﺴ‪‬ﻘﻴﻔﺔ ﺃﻭ‬ ‫ﺑﺮﻭﺩ ﺍﻟﺮ‪‬ﺍﺣﻠﲔ‪.‬‬ ‫ﱄ ﻫﺎﻫﻨﺎ ﺿﻮﺋﻲ ﺃﺣﻮ‪‬ﻟﻪ ﺟﺴﻮﺭﺍ ﻛﻲ ﺃﻣﺮ‪ ‬ﺇﱃ ﺩﻳﺎﺭ ﺍﻷﻫﻞ‪،‬‬ ‫ﺇﱃ ﻗﺮﺁ‪‬ﻢ‪ ،‬ﺇﳒﻴﻠﻬﻢ‪ ،‬ﺗﻮﺭﺍ‪‬ﻢ‪ ،‬ﺛﻮﺭﺍ‪‬ﻢ ﻭﺇﱃ ﺍﻟﺴ‪‬ﻤﺎﺀ ﻟﻜﻲ ﺗﺼﲑ ﺃﻗﻞﹼ‬ ‫ﺑﻌﺪﺍ‪ ،‬ﻭﺇﱃ ﺍﻟﻐﻴﺎﺏ ﻟﻜﻲ ﻳﻜﻮﻥ ﺃﻗﻞﹼ ﺇﻳﻼﻣﺎ‪ ،‬ﻭﺇﱃ ﻳﺪﻱ‪ ‬ﻟﻜﻲ ﺗﻄﲑ‬ ‫ﺍﳋﻴﻞ ﺃﺑﻌﺪ ﺣﲔ ﺃﳌﺲ ﲨﻠﱵ ﻣﻦ ﺻﺪﺭﻫﺎ(‪.‬‬ ‫ﻭﻓﺎﺭﻗﻬﺎ ﺑﺼﻤﺖ ﺩﻭﻥ ﻳﺴﺘﻮﻗﻒ ﺍﻟﻠﹼﺤﻈﺎﺕ‪.‬‬ ‫‪85‬‬


‫ﱂ ﻳﺘﻘﺎﺑﻼ ﻣﻦ ﺃﺷﻬﺮ‪.‬‬ ‫ﱂ ﻳﺘﻜﻠﹼﻤﺎ‪.‬‬ ‫ﱂ ﻳﺴﺘﻄﻴﻌﺎ ﺑﻌﺪ ﺃﻥ ﻳﺘﺠﺎﻭﺯﺍ ﺍﻟﻌﺎﺩﺍﺕ‪.‬‬ ‫ﺍﻷﻓﻖ ﻛﺎﻥ ﻣﺴﻘﹼﻔﺎ ﺑﺎﳋﻮﻑ‪،‬‬ ‫ﻭﺍﻟﻀ‪‬ﻮﺀ ﻣﺴﻜﻮﻧﺎ ﲟﺎﺀ ﺍﻟﺬﹼﻛﺮﻳﺎﺕ‪.‬‬ ‫ﺳﻠﻤﻰ ﻛﻌﺎﺩ‪‬ﺎ ﺗﻘﻮﻝ‪ ،‬ﻭﻻ ﺗﻘﻮﻝ‪.‬‬ ‫ﺑﺮﺩﻯ ﻳﻄﻮ‪‬ﻑ ﰲ ﺩﻭﺍﺧﻠﻬﺎ ﺧﻔﻴﻔﺎ‪ ،‬ﻻ ﺭﻳﺎﺡ‪ ،‬ﻭﻻ ﻃﻠﻮﻝ‪.‬‬ ‫ﺴﻘﻴﻔﺔ‬ ‫ﻭﻫﻲ ﺗﺪﺭﻙ ﻛ ﹼﻞ ﺷﻲﺀ‪ :‬ﺍﻟﻠﹼﻴﻞ ﺍﻟﺬﹼﻱ ﻻ ﺗﻨﺘﻬﻲ ﺃﺣﺰﺍﻧﻪ‪ ،‬ﺍﻟ ‪‬‬ ‫ﺶ ﺍﻟﺴ‪‬ﻤﺎﻧﺎﺕ ﺍﳌﻨﺪ‪‬ﻯ‪،‬‬ ‫ﺺ ﻓﻮﻕ ﺃﺳﺮ‪‬ﺓ ﺍﻷﺧﻮﺍﺕ‪ ،‬ﻋ ‪‬‬ ‫ﲟﻜﻌ‪‬ﺒﺎﺕ ﺍﳉ ‪‬‬ ‫ﺿﺮﻳﺢ ﺳﻴﺪﻱ ﺗﻠﻴﻞ‪ ،‬ﲪﺎﻡ ﺳﺎﺣﺎﺕ ﺍﳌﺴﺎﺟﺪ‪ ،‬ﺩﻋﺎﺀ ﺍﻷ ‪‬ﻡ ﻋﻨﺪ ﺍﻟﻨ‪‬ﻮﻡ‬ ‫ﻭﻫﻲ ﺗﺮﻓﻞ ﰲ ﺛﻴﺎﺏ ﺍﻟﺼ‪‬ﻮﻑ‪،‬‬ ‫ﺳﻠﻤﻰ ﻛﻌﺎﺩ‪‬ﺎ ﺗﻄﻮﻑ‪ ،‬ﻭﻻ ﺗﻄﻮﻑ‪.‬‬ ‫ﺑﺮﺩﻯ ﻳﻄﻮ‪‬ﻑ ﰲ ﺩﻭﺍﺧﻠﻬﺎ‪ ،‬ﻭﻳﺸﻬﻖ ﺑﺎﳊﺮﻭﻑ‪.‬‬ ‫ﻟﻜﻨ‪‬ﻬﺎ ﻋﻤﻴﺎﺀ‪ ،‬ﺃﻭ ﺻﻤ‪‬ﺎﺀ‪ ،‬ﺃﻭ ﺑﻜﻤﺎﺀ‪ ،‬ﻻ ﺗﺘﺬ ﹼﻛﺮ ﺍﻟﻜﻠﻤﺎﺕ‪ .‬ﺗﻐﻨ‪‬ﻲ ﻛﻲ‬ ‫ﻳﻘﻮﻝ ﺍﻷﻫﻞ‪" :‬ﺷﻜﺮﺍ ﻟﻠﺴ‪‬ﻤﺎﺀ"‪ .‬ﻭﺗﻨﺴﻰ ﺻﻮ‪‬ﺎ ﰲ ﺍﻟﻠﹼﻴﻞ ﲢﺖ ﺷﺠﲑﺓ‬ ‫ﺍﻹﺟ‪‬ﺎﺹ‪.‬‬

‫‪86‬‬


‫ﻗﺎﻟﺖ‪" :‬ﳌﺎﺫﺍ ﻻ ﺗﺮﺍﱐ ﻃﻔﻠﺔ ﻛﺎﻵﺧﺮﻳﻦ؟"‪.‬‬ ‫ﻗﻠﺖ‪" :‬ﻟﺴﺖ ﻣﺜﻞ ﺍﻵﺧﺮﻳﻦ‪ .‬ﻟﺴﺖ ﺷﻴﺌﺎ ﻭﺍﺿﺤﺎ ﺃﻭ ﻏﺎﻣﻀﺎ‬ ‫ﻛﺎﻵﺧﺮﻳﻦ‪ .‬ﻟﺴﺖ ‪‬ﺮﺍ ﺟﺎﺭﻳﺎ ﺃﻭ ﺭﺍﻛﺪﺍ ﻛﺎﻵﺧﺮﻳﻦ‪ .‬ﻟﺴﺖ ﺿﻮﺀﺍ‬ ‫ﻣﻴ‪‬ﺘﺎ ﺃﻭ ﻛﺎﻣﻨﺎ ﻛﺎﻵﺧﺮﻳﻦ‪ .‬ﺃﻧﺖ ﺷﻲﺀ ﻟﻴﺲ ﺃﻭ‪‬ﻟﻪ ﺍﳉﻨﻮﻥ ﻭﻟﻴﺲ‬ ‫ﺁﺧﺮﻩ ﺍﳉﻨﻮﻥ‪ .‬ﺁﺑﺎﺩ ﻟﺬﹼﺍﺕ ﰲ ﻛﺆﻭﺱ ﻣﻦ ﺣﻨﲔ‪ .‬ﺩﻧﻴﺎ ﺗﻔﺘ‪‬ﻖ ﻋﻮﺩﻫﺎ‬ ‫ﻋﻦ ﺑﺮﺍﺀﺍﺕ ﺗﻌﺘ‪‬ﻘﻬﺎ ﺍﻟﺴ‪‬ﻨﲔ"‪.‬‬ ‫"ﻟﻜﻨ‪‬ﲏ ﻛﺎﻵﺧﺮﻳﻦ"‪ .‬ﻗﺎﻟﺖ‪" .‬ﻣﻴﺪﻋﱵ ﺯﺭﻗﺎﺀ‪ ،‬ﺃﻭ ﻭﺭﺩﻳ‪‬ﺔ‪ .‬ﻭﳏﻔﻈﱵ‬ ‫ﺑﻼ ﻟﻮﻥ‪ .‬ﻭﻟﺴﺖ ﺃﻣﻠﻚ ﻫﺎﺗﻔﺎ‪ .‬ﻭﻣﻌﺪ‪‬ﻻﰐ ﰲ ﺍﻟﻌﻠﻮﻡ ﺑﺴﻴﻄﺔ‪ .‬ﻋﺎﺩﻳ‪‬ﺔ‬ ‫ﻛﺎﻵﺧﺮﻳﻦ"‪.‬‬ ‫"ﻋﺎﺩﻳ‪‬ﺔ‪ ،‬ﻋﺎﺩﻳ‪‬ﺔ‪ ،‬ﻛﺎﻟﻐﻴﻢ ﳝﻜﻦ‪ ،‬ﻛﺎﻟﻨ‪‬ﺪﻯ‪ ،‬ﻛﺎﻟﻴﺎﲰﲔ‪ .‬ﻛﺄﺻﺎﺑﻊ‬ ‫ﺍﻷﻣﻄﺎﺭ‪ ،‬ﻛﺎﻷ‪‬ﺎﺭ‪ ،‬ﻛﺎﻷﻓﺠﺎﺭ‪ ،‬ﻛﺎﻟﺸﻚ‪ ‬ﺍﳌﺆﺩ‪‬ﻱ ﻟﻠﻴﻘﲔ"‪.‬‬ ‫ﱂ ﺗﺪﺭ ﺳﻠﻤﻰ ﻣﺎ ﺃﻗﻮﻝ‪ .‬ﻓﻠﻢ ﺃﻭﺍﺻﻞ‪ .‬ﱂ ﺃﻫﻴﺊ ﻭﺭﺩﺓ ﻟﺘﻘﻮﻝ‬ ‫ﻋﻨ‪‬ﻲ ﻓﻘﺮﺓ ﺃﻭ ﻓﻘﺮﺗﲔ‪ ،‬ﻭﻻ ﺳﺤﺎﺑﺎ ﻟﻠﺒﻜﺎﺀ‪ ،‬ﻭﻻ ﲰﺎﺀ ﻛﻲ ﺃﻋ ‪‬ﺪ ﻭﺳﺎﺩﺓ‬ ‫ﻟﻠﻨ‪‬ﻮﻡ‪.‬‬ ‫ﺳ ‪‬ﺮ ﺳﻠﻤﻰ ﺻﻮ‪‬ﺎ‪.‬‬ ‫ﺐ ﺍﻟﺼ‪‬ﻮﺕ‪،‬‬ ‫ﻭﺃﻧﺎ ﺃﺣ ‪‬‬ ‫ﺐ ﺍﻟﺼ‪‬ﻮﺕ ﻻ ﺃﻛﺜﺮ‪.‬‬ ‫ﺃﺣ ‪‬‬ ‫ﺐ ﺍﳌﺸﻲ ﰲ ﺇﺷﺮﺍﻗﺔ ﺍﻟﻜﻮﺛﺮ‪.‬‬ ‫ﺃﺣ ‪‬‬ ‫‪87‬‬


‫ﺐ ﺍﻟﺮ‪‬ﻳﺢ ﻭﻫﻲ ﺗﺰﺭ‪‬ﺭ ﺍﻷﻛﻮﺍﻥ ﺑﺎﻷﲪﺮ‪.‬‬ ‫ﺃﺣ ‪‬‬ ‫ﺐ ﺍﻟﻴﺎﲰﻴﻨﺔ ﻭﻫﻲ ﺗﺬﺑﻞ ﲢﺖ ﻣﻌﻄﻔﻬﺎ‪ ،‬ﻭﺗﻨﺜﺮ ﻋﻄﺮﻫﺎ ﺍﻷﺻﻔﺮ‪.‬‬ ‫ﺃﺣ ‪‬‬ ‫ﺐ ﺳﻘﻴﻔﺔ ﺍﻟﺰﻭ‪‬ﺍﺭ‪ ،‬ﻭﻣﺮﺑ‪‬ﻌﺎﺕ ﺍﳉﺒﺲ ﻓﻴﻬﺎ ﻭﻫﻲ ﺗﺄﰐ ﰲ ﺍﻟﺼ‪‬ﺒﺎﺡ‬ ‫ﺃﺣ ‪‬‬ ‫ﻭﺣﻴﺪﺓ ﻛﺎﻵﺧﺮﻳﻦ‪.‬‬ ‫ "ﺻﻮﺗﻚ ﺑﺮﺩﻯ"‪.‬‬‫ "ﻭﻣﺎ ﺑﺮﺩﻯ؟"‪.‬‬‫ "ﺑﺮﺩﻯ ‪‬ﺮ ﺗﻮﻗﹼﻒ ﰲ ﺍﳊﻘﻴﻘﺔ‪ ،‬ﻟﻜﻨ‪‬ﻪ ﻣﺎ ﺯﺍﻝ ﳚﺮﻱ ﰲ ﺩﻣﻲ"‪.‬‬‫ "ﺃﻓﻬﻢ ﻣﺎ ﺗﺪﺭ‪‬ﺳﲏ‪ ،‬ﻟﻜﻨ‪‬ﲏ ﻻ ﺃﻓﻬﻢ ﺍﳌﻌﲎ ﻫﻨﺎ!"‪.‬‬‫ "ﺑﻞ ﺗﻔﻬﻤﲔ"‪.‬‬‫ "ﻟﺴﺖ ﺃﻓﻬﻢ ﻣﺎ ﺗﻘﻮﻝ‪ .‬ﺻﻮﰐ ﺩﻣﺎﺅﻙ‪ ،‬ﺳﻴ‪‬ﺪﻱ؟ ﺃﻭﺿﺢ ﻗﻠﻴﻼ‪،‬‬‫ﺭﺑ‪‬ﻤﺎ ﻓﻬﻢ ﺍﻟﺘ‪‬ﺮﺍﺏ ﺑﺪﻫﺸﺔ ﻣﻨﺴﻴ‪‬ﺔ ﺣﻜﻢ ﺍﻟﺴ‪‬ﻤﺎﺀ!"‪.‬‬ ‫ "ﻟﻐﱵ ﻣﻜﺒ‪‬ﻠﺔ‪ ،‬ﺣﻄﺎﻡ‪ ،‬ﺃﺣﺮﻑ ﻣﻨﺴﻴ‪‬ﺔ‪ ،‬ﻣﻬﺠﻮﺭﺓ‪ ،‬ﻣﺴﻘﻮﻓﺔ‬‫ﺑﺎﻟﻮﻫﻢ‪ ،‬ﻧﻴ‪‬ﺌﺔ‪ ،‬ﻣﻼﺫ ﻟﻠﺴ‪‬ﺮﺍﺏ ﻭﻟﻠﻌﻮﺍﺀ‪ .‬ﻟﻐﱵ ﻣﺮﺍﻳﺎ ﻟﻠﺪ‪‬ﻡ ﺍﳌﺮﻣﻲ‪‬‬ ‫ﺑﺎﻟﺴ‪‬ﻴﺪﺍ ﻭﺑﺎﻷﻭﺳﺎﺥ‪ .‬ﻟﻐﱵ ﺍﻣﺘﻼﺀ ﺑﺎﳋﻮﺍﺀ‪ ،‬ﻭﺭﺟ‪‬ﺔ ﰲ ﺍﳍﻮ‪ ،‬ﻭﺑﻴﺖ‬ ‫ﻟﻠﺒﻜﺎﺀ‪ .‬ﻓﻜﻴﻒ ﺃﺷﺮﺡ ﺿﻮﺀﻙ ﺍﳌﻨﺴﺎﺏ ﻣﻦ ﺧﻠﻞ ﺍﻟﺮ‪‬ﺅﻯ ﺑﺎﻟﻄﹼﲔ؟‬ ‫ﻭﻛﻴﻒ ﺃﻗﺘﺮﺡ ﺍﳊﻴﺎﺓ ﻟﻨﺠﻤﺔ ﺑﺮ‪‬ﻳ‪‬ﺔ ﻭﲨﻴﻊ ﺁﻻﰐ ﺍﳊﻨﲔ؟ ﻭﻛﻴﻒ‬ ‫ﺃﻛﺘﺐ ﻫﻜﺬﺍ ﺑﺴﻬﻮﻟﺔ ﺷﻌﺮﺍ ﻷﺷﺮﺡ ﻣﺎ ﺃﺭﻯ؟ ﺭﺅﻳﺎﻱ ﻭﺍﺿﺤﺔ‪،‬‬ ‫‪88‬‬


‫ﻧﻌﻢ‪ .‬ﻟﻜﻨ‪‬ﲏ ﺃﻋﻤﻰ‪ ،‬ﺃﺻﻢ‪ ،‬ﻭﺃﺑﻜﻢ ﻣﻦ ﲰﺎﺀ ﺩﻭﻥ ﻣﺎﺀ‪ .‬ﻟﻴﺲ ﰲ ﻗﻠﻤﻲ‬ ‫ﺣﻴﺎﺓ ﻟﻠﺤﻴﺎﺓ‪ .‬ﻭﻟﻴﺲ ﰲ ﻟﻐﱵ ﲰﺎﺀ ﻟﻠﺴ‪‬ﻤﺎﺀ"‪.‬‬ ‫ "ﺑﺪﺃﺕ ﺃﻓﻬﻢ"‪.‬‬‫ "ﻭﺃﻧﺎ ﻓﻬﻤﺖ‪ .‬ﺻﺮﺕ ﺃﻛﱪ‪ .‬ﺻﺎﺭ ﻋﻨﺪﻱ ﺳﺒﻊ ﺃﺷﺠﺎﺭ ﺃﻣﺎﻡ ﺍﻟﺪ‪‬ﺍﺭ‪،‬‬‫ﳍﺎ ﻇﻞﹼ ﻭﺃﲦﺎﺭ‪ ،‬ﻭﺑﺌﺮ ﰲ ﺍﻟﺴ‪‬ﻘﻴﻔﺔ‪ ،‬ﻭﻋﺶ‪ ‬ﻓﻮﻕ ﺳﻄﺢ ﺍﻟﺒﻴﺖ ﻟﻠﺪ‪‬ﺟﺎﺝ‬ ‫ﻭﻟﻠﺤﻤﺎﻡ ﺇﺫﺍ ﺃﺣﺐ‪ ‬ﻭﻟﻠﺴ‪‬ﻤﺎﱏ‪ .‬ﺻﺮﺕ ﺃﻛﱪ‪ .‬ﻭﺻﺎﺭ ﳝﻜﻨﲏ ﺇﺩ‪‬ﻋﺎﺀ‬ ‫ﺍﻟﺼ‪‬ﱪ‪ ،‬ﻭﺗﻮﻫ‪‬ﻢ ﺍﳊﻜﻤﺔ‪ .‬ﻭﻫﺎ ﻋﻤﺮﻱ ﺗﻮﺯ‪‬ﻋﻪ ﺍﻟﺮ‪‬ﻳﺎﺡ ﻋﻠﻰ ﺍﻟﺮ‪‬ﻳﺎﺡ‪.‬‬ ‫ﻛﻞﹼ ﻟﻴﻞ ﺳﻮﻑ ﻳﺼﺒﺢ ﻭﺭﺩﺓ‪ ،‬ﺇﻻﹼ ﺃﻧﺎ‪ ،‬ﻓﺠﻤﻴﻊ ﻟﻴﻠﻲ ﻟﻴﺲ ﻳﺪﺭﻛﻪ‬ ‫ﺍﻟﺼ‪‬ﺒﺎﺡ‪ .‬ﺯﺑﺪ ﲤﺨ‪‬ﻀﻪ ﺍﻟﺴ‪‬ﻮﺍﺣﻞ ﻛﻠﹼﻬﺎ‪ ،‬ﻻ ﺍﻟﺒﺤﺮ ﳛﻤﻠﻪ‪ ،‬ﻭﻻ ﻟﻮﺡ‬ ‫ﺍﻟﻘﻠﻮﻉ‪ ،‬ﻭﻻ ﺻﺎﺭﻱ ﺍﻟﻨ‪‬ﻮﺍﺡ"‪.‬‬ ‫ﺳﻠﻤﻰ ﺑﻌﺪ ﻋﺎﻡ ﺳﻮﻑ ﺗﺪﺭﺱ ﻋﻨﺪ ﻏﲑﻱ‪ .‬ﺃﻟﻒ ﺳﻠﻤﻰ‬ ‫ﻏﲑﻫﺎ ﺳﻴﻜ ‪‬ﻦ ﻋﻨﺪﻱ ﺩﻭﻥ ﺃﻥ ﻳﻌﺮﻓﻦ ﻣﺎ ﺑﺮﺩﻯ‪ .‬ﺳﺘﻘﻮﻝ ﱄ‪" :‬ﺃﻫﻼ"‪.‬‬ ‫ﻭﻳﺄﺧﺬﻫﺎ ﻭﻳﺄﺧﺬﱐ ﺍﳌﺪﻯ‪ .‬ﺳﻮﻑ ﺃﲰﻊ ﺃﻟﻒ ﺻﻮﺕ ﻏﲑﻫﺎ‪ ،‬ﻟﻴﻌﻴﺪ ﱄ‬ ‫ﻣﻨﻬﺎ ﺍﻟﺼ‪‬ﺪﻯ‪ ،‬ﺫﺍﻙ ﺍﻟﺼ‪‬ﺪﻯ‪ ،‬ﻟﻴﺲ ﺃﻛﺜﺮ ﻣﻦ ﺻﺪﻯ‪.‬‬

‫‪89‬‬


‫ﺍﳌﻠﺤﻖ‬

‫‪13‬‬

‫ﻗﺎﻡ ﺑﺈﻋﺪﺍﺩﻩ‪:‬‬ ‫ﻛﺎﺭﻡ ﺍﻟﺸ‪‬ﺮﻳﻒ‬

‫‪ 13‬ﺣﻮﺍﺭ ﻣﻊ ﺍﻟﺸ‪‬ﺎﻋﺮ ﰎﹼ ﺇﻋﺪﺍﺩﻩ ﰲ ﺻﻴﻒ ‪ 2005‬ﻭﰎﹼ ﺗﻌﻤﻴﻘﻪ ﰲ ﺷﺘﺎﺀ ‪ 2006‬ﻭﺻﺪﺭﺕ‬ ‫ﺑﻌﺾ ﺃﺟﺰﺍﺋﻪ ﰲ ﺻﺤﻒ ﻋﺮﺑﻴ‪‬ﺔ ﻭﻳﻨﺸﺮ ﻫﻨﺎ ﻛﺎﻣﻼ ﻷﻭ‪‬ﻝ ﻣﺮ‪‬ﺓ‪.‬‬ ‫‪90‬‬


‫ﺃﻳﻦ ﺗﻀﻊ ﲡﺮﺑﺘﻚ ﰲ ﺍﳌﺸﻬﺪ ﺍﻟﺸ‪‬ﻌﺮﻱ ﺍﻟﺘ‪‬ﻮﻧﺴﻲ؟‬ ‫ﺷﺎﻋﺮ ﻣﻦ ﺗﻮﻧﺲ ﺫﻟﻚ ﻫﻮ ﺍﻟ‪‬ﺘﻌﺮﻳﻒ ﺍﻟ ﹼﺬﻱ ﺍﺧﺘﺮﺗﻪ ﻋﻨﺪ ﻧﺸﺮ‬ ‫ﺑﻌﺾ ﺍﻟﻘﺼﺎﺋﺪ ﰲ ﺍﳉﺮﺍﺋﺪ ﻭﺍ‪‬ﻼﹼﺕ ﺍﻟﻌﺮﺑﻴ‪‬ﺔ‪ .‬ﻭﻫﺬﺍ ﺍﻟ‪‬ﺘﻌﺮﻳﻒ ﻫﻮ‬ ‫ﺺ ﺍﻟﺘ‪‬ﻮﻧﺴﻲ ﺍﳌﻮﺳ‪‬ﻮﻡ ﺑﺎﶈﻠﻴ‪‬ﺔ ﺑﺄﻧﻮﺍﻋﻪ‬ ‫ﻗﺪﺭﻱ‪ .‬ﺃﲢﺮ‪‬ﻙ ﺿﻤﻦ ﺣﺪﻭﺩ ﺍﻟﻨ ‪‬‬ ‫)ﺷﻌﺮ ﺍﳊﻘﺒﺔ ﺍﻻﺳﺘﻌﻤﺎﺭﻳ‪‬ﺔ‪ ،‬ﺷﻌﺮ ﺍﻻﺳﺘﻘﻼﻝ‪ ،‬ﻏﲑ ﺍﻟﻌﻤﻮﺩﻱ ﻭﺍﳊﺮ‪،‬‬ ‫ﻗﺼﻴﺪﺓ ﺍﻟﺜﹼﻤﺎﻧﻴﻨﺎﺕ‪ ،‬ﻗﺼﻴﺪﺓ ﺍﻟﺘ‪‬ﺴﻌﻴﻨﺎﺕ‪ (...‬ﺃﲢﺮ‪‬ﻙ ﰲ ﲝ‪‬ﺮ ﻣﻦ‬ ‫ﺸﺎﻋﺮﺓ ﲝ ‪‬ﻖ ﻭﺍﳌﺪ‪‬ﻋﻴﺔ‪،‬‬ ‫ﺍﻟﻨ‪‬ﺼﻮﺹ ﺍﳌﺨﺘﻠﻔﺔ ﺍﳌﺘﻨﺎﻗﻀﺔ‪ ،‬ﺍﻟﻘﺪﳝﺔ ﻭﺍﳊﺪﻳﺜﺔ‪ ،‬ﺍﻟ ‪‬‬ ‫ﺍﳌﺘﺮﺩ‪‬ﺩﺓ ﻭﺍﻟﺮ‪‬ﺍﻏﺒﺔ ﰲ ﺍﻟ‪‬ﺘﺠﺎﻭﺯ ﻭﺍﻻﺧﺘﻼﻑ‪ ...‬ﻭﰲ ﻫﺬﺍ ﺍﳋﻀ ‪‬ﻢ‬ ‫ﺕ‪ ...‬ﻭﻣﻨﺬ ﺍﻟﺒﺪﺍﻳﺔ ﺃﻗﻠﻘﲏ ﺍﻟﻮﻋﻲ ﺑﺄ ﹼﻥ ﻣﺎ ﻫﻮ ﻣﻮﺟﻮﺩ ﻻ ﻳﻌﺒ‪‬ﺮ ﻋﻦ‬ ‫ﻭﻟﺪ ‪‬‬ ‫ﺣﻴﺎﰐ‪ ،‬ﻭﻻ ﻋﻦ ﺇﻗﺎﻣﱵ ﰲ ﺍﻟﻌﺎﱂ‪ ...‬ﱂ ﺃﻓﺮﺡ ﺑﻨﻬ ﹴﺮ ﻏﲑ ﻣﺎ ﺃﹼﻟﻔﹾﺖ ﻣﻦ‬ ‫ﺯﻫ ﹴﺮ ﰲ ﺗﻠﻚ ﺍﻷﻳ‪‬ﺎﻡ ﺍﻟﺴﻮﺩﺍﺀ‪ ،‬ﻭﱂ ﺃﻧﻌﻢ ﺑﺒ‪‬ﺤﲑﺍﺕ ﻏﲑ ﺗﻠﻚ ﺍﻟﱵ ﺃﻧﺒﺘﻬﺎ‬ ‫ﺍﻟﻮﻫﻢ ﰲ ﺧﺎﻃﺮﻱ ﻭﺣﻴﺎﰐ‪ .‬ﻣﺎ ﻭﺟﺪﺗﻪ ﻛﺎﻥ ﻏﺮﻳﺒ‪‬ﺎ ﻭﻣﻘﻠﻘﹰﺎ ﻭﻣ‪‬ﺴﺘﻔﺰ‪‬ﺍ‪،‬‬ ‫ﺐ ﺃﺣﺪ‪‬ﺍ ﺑﺎﺳﺘﺜﻨﺎﺀ‬ ‫ﻭﱂ ﺃﻛﻦ ﺃﺷﻌﺮ ﺑﺄ ﹼﻥ ﻫﺬﻩ ﺍﻟﻜﺘﺎﺑﺎﺕ ‪‬ﺗﻌﺒ‪‬ﺮ ﻋﻨ‪‬ﻲ‪ .‬ﱂ ﺃﺣ ‪‬‬ ‫ﺑﻌﺾ ﺍﻟﻨ‪‬ﺼﻮﺹ‪ ،‬ﻭ ﹾﱂ ﺃﲤﻜﹼﻦ ﻣ ‪‬ﻦ ﺟﻌﻞ ﻧﻔﺴﻲ ﻗﺎﺭﺋﺎ ﳏﺎﻳﺪ‪‬ﺍ‪ .‬ﻭﳍﺬﺍ‬ ‫ﺁﻣﻨﺖ ﺑﻀﺮﻭﺭﺓ ﺍﻟﺒﺤﺚ ﻋﻦ ﻣﺼﺎﺩﺭ ﺃﺧﺮﻯ ﻟﻠﻜﺘﺎﺑﺔ ﻭﻋﻦ ﲨﺎﻟﻴ‪‬ﺎﺕ‬ ‫ﺃﺧﺮﻯ ﻟﻠﻨ‪‬ﺼﻮﺹ‪ ...‬ﻭﺑﺪﺃﺕ ﺃﺑﺼﺮ ﺣﻘﹾﻞ ﻋ‪‬ﻤﺮﻱ ﳛﺘﺮﻕ ﲢﺖ ﺑﺮﻭﻕ‬ ‫ﺸﺘﺎﺀ‪ ...‬ﺻﺮﺕ ﻗﺎﺩﺭ‪‬ﺍ ﻓﺠﺄﺓ ﻋﻠﻰ ﺍﻹﻳﺮﺍﻕ ﻭﻋﻠﻰ‬ ‫ﺍﻟﺼ‪‬ﻴﻒ ﻭﺃﻣﻄﺎﺭ ﺍﻟ ‪‬‬ ‫ﺍﻟﺘﺤﻮ‪‬ﻝ ﺇﱃ ﲦﺮﺓ ﺃﻭ ﺇﱃ ﻃﺎﺋﺮ‪ ...‬ﹼﰎ ﻫﺬﺍ ﻛﻠﹼﻪ ﰲ ﻣﺎ ﻳﺸﺒﻪ ﺍﳋﻄﻔﹶﺔ‪...‬‬ ‫‪91‬‬


‫ﺖ ﺇﱃ ﺃﻓ ﹴﻖ ﺁﺧﺮ‪ ...‬ﺑﺪﺃﺕ ﺃﻭﺭﻕ ﻣﺜﻞ ﺷﺠﲑﺓ ﺍﻟ ‪‬ﺰﻳﺘﻮﻥ‪،‬‬ ‫ﻭﻫﻜﺬﺍ ﺍﻧﺪﻓﻌ ‪‬‬ ‫ﱄ‬ ‫ﻭﺃﻛﱪ‪ ،‬ﻭﺑﺪﺃﺕ ﺣﺒ‪‬ﺎﺕ ﺍﻟ ‪‬ﺰﻳﺘﻮﻥ ﺗﺴ‪‬ﺘﺪﻳﺮ‪ ،‬ﻭﲤﺘﻠﺊ‪ ...‬ﻭﺻﺎﺭ ﻳﺄﰐ ﺇ ﱠ‬ ‫ﺟﺎﻣﻌﻮ ﺍﻟﺰ‪‬ﻳﺘﻮﻥ ﻛ ﹼﻞ ﻣﻮﺳ ﹴﻢ ﻭﻳﻔﺮﺷﻮﻥ ﺍﻷﻏﻄﻴﺔ ﻭﻳﻘﻀ‪‬ﻮﻥ ﺍﻟﻴﻮﻡ ﰲ‬ ‫ﺕ‪ ...‬ﻭﺻﺎﺭ ﺍﳌﺎﺭ‪‬ﻭﻥ‬ ‫ﺍﻟﻌﻤﻞ ﻭﺍﻻﺣﺘﻔﺎﻝ‪ .‬ﰲ ﻋﻤﻠﻴ‪‬ﺎﺕ ﺍﳉﻤﻊ ﺗﻠﻚ ﻭﻟﺪ ‪‬‬ ‫ﺸﻌﺮﻱ ﺍﻟ‪‬ﺘﻮﻧﺴﻲ‬ ‫ﻳﻌﺮﻓﻮﻧﲏ‪ ...‬ﻣﻌﺮﻓﱵ ﺍﳌﺒ ﹼﻜﺮﺓ ﺗﻠﻚ ﺗﻌﲏ ﺃﻥ ﺍﳌﺸﻬﺪ ﺍﻟ ‪‬‬ ‫ﻣ‪‬ﺘﻬﻴ‪‬ﺊ ﻻﺳﺘﻘﺒﺎﻝ ﺿﻮﺀ ﺁﺧﺮ‪.‬‬ ‫ﻼ‪ .‬ﺗﻘﺪ‪‬ﻣﺖ‬ ‫‪‬ﻀﺖ ﰲ ﺃﺣﺪ ﺍﻷﻳ‪‬ﺎﻡ ﻓﻮﺟﺪ‪‬ﺕ ﻧﻔﺴﻲ ﻛﺎﻣ ﹰ‬ ‫ﻼ‪ .‬ﻓﻤﺎﺭﺳﺖ ﻓﺎﻋﻠﻴ‪‬ﱵ‪:‬‬ ‫ﻛﻀﻮﺀ ﳓﻮ ﺍﻟﻠﹼﻴﻞ‪ .‬ﺗﺄﻛﹼﺪﺕ ﺃﻧ‪‬ﲏ ﺿﻮ ٌﺀ ﻓﻌ ﹰ‬ ‫ﺍﻻﻧﻐﺮﺍﺱ ﰲ ﺍﻟﺘﺮﺑﺔ ﻭﺍﻟﺘﺸ ‪‬ﻮﻑ ﻭﺍﻻﻧﺪﻓﺎﻉ ﳓﻮ ﺁﻓﺎﻕ ﺃﺧﺮﻯ ﻟﻠﻜﺘﺎﺑﺔ‪.‬‬ ‫ﻭﺍﻟ ﹼﺬﻱ ﺣﺼﻞ ﺑﺒﺴﺎﻃﺔ ﺃﻥ ﻧﺼ‪‬ﺎ ﺟﺪﻳﺪﺍ ﳐﺘﻠﻔﺎ ﺗﻮﻓﹼﺮﺕ ﻓﻴﻪ ﺷﺮﻭﻁ‬ ‫ﺸﻌﺮﻱ‬ ‫ﺸﻌﺮ ﺃﺻﺒﺢ ﻣﻠﺤﻮﻇﹰﺎ ﻭﻣﻘﺮﻭ ًﺀﺍ‪ .‬ﺃﻧﺎ ﺃﺣﺪ ﺇﻧﺘﺎﺟﺎﺕ ﺍﳌﺸﻬﺪ ﺍﻟ ‪‬‬ ‫ﺍﻟ ‪‬‬ ‫ﺍﻟ‪‬ﺘﻮﻧﺴﻲ‪ ،‬ﻭﺃﺣﺪ ﺍﳌﺴﺎﳘﲔ ﻓﻴﻪ ﲜﺪ‪‬ﻳﺔ ﻭﻧﺸﺎﻁ ﻭﺩﺃﺏ‪ .‬ﺃﺣﺎﻭﻝ ﺃ ﹾﻥ‬ ‫ﺃﲤﻜﹼﻦ ﻣﻦ ﺟﻌﻞ ﻧﻔﺴﻲ ﻓﺎﻋﻠ‪‬ﻴﺔ ﺗﻄﻮﻳﺮ ﻭﺍﻧﺪﻓﺎﻉ ﻭﺍﻧﻔﺘﺎﺡ‪ ...‬ﻭﺍﻫﺘﻤﺎﻣﻲ‬ ‫ﺸﻌﺮﻱ ﺍﻟﻌﺮﰊ ﻭﺍﻟﻌﺎﳌﻲ‪.‬‬ ‫ﺐ ﻋﻠﻰ ﺍﳌﺸﻬﺪ ﺍﻟ ‪‬‬ ‫ﻣﻨﺼ ‪‬‬ ‫ﺗﺆﻛﹼﺪ ﰲ ﺍﻟﺒﻴﺎﻧﺎﺕ ﺍﻟﺘ‪‬ﻲ ﺻﺪ‪‬ﺭﺕ ‪‬ﺎ ﺩﻭﺍﻭﻳﻨﻚ ﻋﻠﻰ‬ ‫ﺍﻟﺘ‪‬ﺠﺎﻭﺯ‪ ،‬ﻓﻜﻴﻒ ﻳﺘﻢ‪ ‬ﻫﺬﺍ ﰲ ﺷﻌﺮﻙ؟‬

‫‪92‬‬


‫ﺃﻛﺘﺐ ﺑﺎﺳﺘﻤﺮﺍﺭ ﺗﻠﻚ ﺣﻜﺎﻳﱵ‪ ...‬ﺃﻛﺘﺒﻬﺎ ﻭﺃﻋﻴﺪ ﻛﺘﺎﺑﺘﻬﺎ‪.‬‬ ‫ﺃﹸﺧﻄ ﹸﺊ ﻛﺜﲑ‪‬ﺍ ﺇﱃ ﺩﺭﺟﺔ ﺗﺼﺒﺢ ﻓﻴﻬﺎ ﺃﺧﻄﺎﺋﻲ ﺗﻠﻚ ﳏ ‪‬ﺮﻛﺎﺕ ﻻ ﻣﺮﺋﻴ‪‬ﺔ‬ ‫ﳍﺎﺟﺲ ﺍﻟ‪‬ﺘﻄﻮﻳﺮ‪ ...‬ﻭﻋﻨﺪﻣﺎ ﺗﻜﻮﻥ ﺑﺼﺪﺩ ﻛﺘﺎﺑﺔ ﺣﻜﺎﻳﺘﻚ ﺗﻨ‪‬ﺴﻰ‪...‬‬ ‫ﻱ‪ .‬ﺗﻨﺴﻰ ﺃﻧ‪‬ﻚ ‪‬ﻇ ﹼﻞ‬ ‫ﺍﻟﻨ‪‬ﺴﻴﺎﻥ ﺃﺣﺪ ﳏﺮ‪‬ﻛﺎﺕ ﺍﻹﺑﺪﺍﻉ ﺍﻷﺳﺎﺳﻴ‪‬ﺔ ﻟﺪ ‪‬‬ ‫ﻟﺸﺠﺮﺓ ﺇﲰﻬﺎ ﻓﻼﻥ‪ .‬ﺗﻨ‪‬ﺴﻰ ﺃﻧ‪‬ﻚ ﻋﺒﺪ‪ ،‬ﺗﻨ‪‬ﺴﻰ ﺃﻧ‪‬ﻚ ﳏﺪﻭﺩ ﰲ ﺍﻟ ‪‬ﺰﻣﺎﻥ‬ ‫ﻱ ﺗﺎﻓﻪ‪ ،‬ﻣﺴ‪‬ﻜﻮﻥ ‪‬ﺎﺟﺲ ﺍﳋﹸﻠﻮﺩ‪،‬‬ ‫ﻭﺍﳌﻜﺎﻥ‪ ،‬ﺗﻨﺴﻰ ﺃﻧ‪‬ﻚ ﻛﺎﺋﻦ ﺑﺸﺮ ‪‬‬ ‫ﻭﺣﻘﻴﻘﺘﻚ ﺇ‪‬ﻧﻚ ﻭﻟﻴﻤﺔ ﻟﻠﺪ‪‬ﻭﺩ‪ .‬ﳊﻈﺔ ﺍﻻﻛﺘﻤﺎﻝ ﺍﻟﻘﺼﻮﻯ ﺟﺴﺪﻳ‪‬ﺎ‬ ‫ﻭﻋﻘﹾﻠﻴ‪‬ﺎ ﻭﺭﻭﺣﻴ‪‬ﺎ ﻫﻲ ﳊﻈﺔ ﺍﻹﻣ‪‬ﺤﺎﺀ ﻭﺍﻟﻐﻴﺎﺏ‪ .‬ﺍﻹﳝﺎﻥ ﺑﺎﻟﻼﹼﺟﺪﻭﻯ ﻫﻮ‬ ‫ﳏﺮ‪‬ﻙ ﺁﺧﺮ ﻣﻦ ﳏﺮ‪‬ﻛﺎﺕ ﺍﻹﺑﺪﺍﻉ‪ ...‬ﻓﺬﺍﻛﺮﺓ ﺍﻟ‪‬ﻨﺎﺱ ﻗﺼﲑﺓ‪ .‬ﻭﻣﺎﻫ‪‬ﻮ‬ ‫ﻼﺟﺪﻭﻯ‬ ‫ﻫﺎ ‪‬ﻡ ﺍﻟﻴﻮﻡ ﻫﻮ ﰲ ﺍﻟﻐﺪ ﻗﺪﱘ ﻭﻧﺎﻗﺺ ﻭﳏﺪﻭﺩ‪ .‬ﺍﻹﳝﺎﻥ ﺑﺎﻟ ﹼ‬ ‫ﳚﻌﻠﻚ ﻻ ﺗﻨﺘﻈﺮ ﺃﺟ ‪‬ﺮﺍ‪ ،‬ﻻ ﺗﻨﺘﻈﺮ ﺭﺩ‪‬ﺓ ﻓﻌﻞ‪ ،‬ﻻ ﺗﻨﺘﻈﺮ ﺗﻜﺮﳝﺎ‪ ،‬ﻻ ﲢﺘﺞ‪،‬‬ ‫ﺑﻞ ﺗﻨﻬﺾ ﻻﺳﺘﻘﺒﺎﻝ ﺍﻟﻀ‪‬ﻮﺀ ﺧﻔﻴﻔﹰﺎ‪ ،‬ﻭﻭﺣﻴﺪ‪‬ﺍ‪ ،‬ﻭﳎﻬﻮ ﹰﻻ ﺁﻟﺘﻚ ﻣﻌﻚ‪،‬‬ ‫ﻭﻣﺴﺘﻘﺒﻠﻚ ﺗﻔﹼﺎﺣﺔ ﻧﺎﺿﺠﺔ !‬ ‫ﻫﺬﺍ ﺍﻟﻮﻋﻲ ﺟﻌﻠﲏ ﺃﻓﻜﹼﺮ ﰲ ﺍﻟﻜﺘﺎﺑﺔ‪ .‬ﻭﺃﻛﺘﺐ ﺣﻮﻝ ﺍﻟﻜﺘﺎﺑﺔ‬ ‫ﻧﺼﻮﺻﺎ ﲰ‪‬ﻴﺘﻬﺎ ﺑﻴﺎﻧﺎﺕ‪ ،‬ﻫﻲ ﻭﻟﻴﺪﺓ ﺍﻟﻘﺮﺍﺀﺓ ﻭﺍﻟﻜﺘﺎﺑﺔ ﰲ ﺁﻥ ﻭﺍﺣﺪ‪.‬‬ ‫ﻭﺃﺳﺒﺎ‪‬ﺎ ﺍﳌﻼﺣﻈﺎﺕ ﺍﻟ‪‬ﺘﺎﻟﻴﺔ‪:‬‬

‫‪93‬‬


‫ ﻏﻴﺎﺏ ﺍﳌﺸﺎﺭﻳﻊ ﺍﻟﺸ‪‬ﻌﺮﻳ‪‬ﺔ ﰲ ﺗﻮﻧﺲ‪ ،‬ﻓﺎﻟﻘﺼﺎﺋﺪ ﺍﳉﻤﻴﻠﺔ ﻻ‬‫ﺗﺼﻨﻊ ﻣﺸﺎﺭﻳﻊ ﻣﻜﺘﻤﻠﺔ‪ .‬ﺍﻟﻘﺼﺎﺋﺪ ﻓﻮﺍﺗﺢ‪ ،‬ﻋﻼﻣﺎﺕ‪ ،‬ﺭﺅ‪‬ﻯ ﲢﺘﺎﺝ ﺇﱃ‬ ‫ﻱ ﳜﺘﺮﻕ‪ ،‬ﻭﻳﺘﻮﻗﹼﻊ‪ ،‬ﻭﻳﻬﺠﺲ‪ ،‬ﻭﻳﻨﺪﻓﻊ‪ .‬ﻭﻫﺬﺍ ﺍﳋﻄﺎﺏ ﺣﻮﻝ‬ ‫ﻭﻋﻲ ﻧﻈﺮ ‪‬‬ ‫ﺸﻌﺮ ﻇ ﹼﻞ ﻟﻸﺳﻒ ﻏﺎﺋﺒﺎ ﲤﺎﻣ‪‬ﺎ ﻋﻦ ﺍﻟﺴ‪‬ﺎﺣﺔ ﺍﻟﺜﻘﺎﻓﻴ‪‬ﺔ ﺍﻟ‪‬ﺘﻮﻧﺴﻴ‪‬ﺔ‪.‬‬ ‫ﺍﻟ ‪‬‬ ‫ ﺍﻻﺧﺘﻼﻑ ﻋﻦ ﺍﻟﺴ‪‬ﺎﺋﺪ‪ ،‬ﺗﺼﺪﺭ ﻛﹸﺘﺐ ﻛﺜﲑﺓ ﻻ ﻗﻴﻤﺔ ﳍﺎ‪.‬‬‫ﻳﻘﺪ‪‬ﻣﻬﺎ ﺃﺷﺨﺎﺹ ﻻ ﻗﻴﻤﺔ ﳍﹸﻢ‪ .‬ﺗﻘﺮﺅ‪‬ﻫﺎ ﻓﺘﺠﺪ ﺃﻧ‪‬ﻬﺎ ﻛﺘﺐ ﻳﺘﻴﻤﺔ‪،‬‬ ‫ﻣﻘﻄﻮﻋﺔ ﻋﻦ ﺍﳉﺬﻭﺭ‪ ،‬ﻭﻋﻦ ﺍﻟﻐ‪‬ﺪ‪ .‬ﻻ ﺗ‪‬ﺸﺒﻪ ﺍﻟﻘﺪﱘ‪ ،‬ﻭﻻ ﺗﺘﻄﻠﹼﻊ ﺇﱃ‬ ‫ﺍﻷُﻓﻖ‪ .‬ﻭﻫﻲ ﻣﻊ ﺫﻟﻚ ﺫﺍﺑﻠﺔ ﺍﻟﺼ‪‬ﻠﺔ ﲝﺎﺿﺮ ﺍﻟﺜﻘﺎﻓﺔ ﺍﻟﻌﺮﺑﻴ‪‬ﺔ‪ ...‬ﻛ‪‬ﺘﺎﺑ‪‬ﻬﺎ ﻻ‬ ‫ﲢﻜﻤﻬﻢ ﺭ‪‬ﺅﻳﺔ ﻭﻟﻴﺲ ﳍﻢ ﳕﺎﺫﺝ‪ ...‬ﺇﻥ ﻫﻲ ﺇ ﹼﻻ ﻗﺼﺎﺋﺪ ﻛﹸﺘﺒﺖ ﻭﻛﻮ‪‬ﻧﺖ‬ ‫ﻼﻣﺮﺋ ‪‬ﻲ ﺍﻟﺬﻱ ﳜﺘﺮﻕ ﺍﻟ ﹼﺬﺍﻛﺮﺍﺕ‬ ‫ﻛ‪‬ﺘﺎﺑ‪‬ﺎ‪ .‬ﺃﻣ‪‬ﺎ ﺍﻟﻮﻋﻲ ﺑﺎﻟﻜﺘﺎﺑﺔ‪ ،‬ﺃﻣ‪‬ﺎ ﺍﻟ‪‬ﻨﻬﺮ ﺍﻟ ﹼ‬ ‫ﻭﺍﻟﹼﺜﻘﺎﻓﺎﺕ ﻭﺍﻟ‪‬ﺘﻮﺍﺭﻳﺦ‪ ...‬ﻓﻼ ﺃﳘﻴ‪‬ﺔ ﻟﻪ‪...‬‬ ‫ ﺗﺴﻠﻴﻂ ﺍﻷﺿﻮﺍﺀ ﻋﻠﻰ ﺣﺴﺎﺳﻴ‪‬ﺔ ﺟﺪﻳﺪﺓ‪ ،‬ﺗﻨﻬﺾ ﺍﻟﺒﻴﺎﻧﺎﺕ‬‫ﺍﻟ‪‬ﺘﻲ ﻛﺘﺒﺘﻬﺎ ﰲ ﻛﺘﱯ )‪ 4‬ﺑﻴﺎﻧﺎﺕ ﳐﺘﻠﻔﺔ ﺍﻷﺣﺠﺎﻡ( ﺑﻮﻇﺎﺋﻒ ﻣﺘﻌﺪ‪‬ﺩﺓ‪:‬‬ ‫ﺺ ﻭﺍﻟﻌﺮﰊ ﰲ ﳕﺎﺫﺟﻪ‬ ‫ﺺ ﺍﻟ‪‬ﺘﻮﻧﺴﻲ ﻭﺍﻟﻨ ‪‬‬ ‫ ﺭﺑﻂ ﺍﻟﺼ‪‬ﻠﺔ ﺑﲔ ﺍﻟﻨ ‪‬‬‫ﺍﳉﻤﺎﻟﻴ‪‬ﺔ ﺍﻟﻜﹸﱪﻯ ﻭﺍﻹﻗﻼﻉ ﻋﻦ ﺳﻴﺎﺳﺔ ﺇﻏﺮﺍﻕ ﺍﳉﺴﻮﺭ ﻣﻊ ﺍﻵﺧﺮ‪.‬‬

‫‪94‬‬


‫ ﺍﻹﺷﺎﺭﺓ ﺇﱃ ﺣﺴﺎﺳﻴ‪‬ﺔ ﺷﻌﺮﻳ‪‬ﺔ ﺟﺪﻳﺪﺓ ﺷﺪﻳﺪﺓ ﺍﻻﺧﺘﻼﻑ‬‫ﻭﺍﻟﺪ‪‬ﻓﻊ ﺇﱃ ﺗﺒﻴ‪‬ﻦ ﳑﻴ‪‬ﺰﺍ‪‬ﺎ ﻭﺍﻟ ‪‬ﺪﻋﻮﺓ ﺇﱃ ﻧﻘﺪﻫﺎ ﻭﺇﺛﺮﺍﺋﻬﺎ‪.‬‬ ‫ ﺍﻟ‪‬ﺘﻨﺒﻴﻪ ﺇﱃ ﺃﻥ ﻣﺎ ﻧﺸﺮﺗﻪ ﻣﻦ ﳎﻤﻮﻋﺎﺕ ﻟﻴﺲ ﻏﲑ ﻋﺘﺒﺎﺕ‬‫ﻱ ﳛﺘﺎﺝ ﺇﱃ ﺍﳌﺘﺎﺑﻌﺔ ﻭﺍﶈﺒ‪‬ﺔ‪ ،‬ﻭﺃ ﹼﻥ ﻓﻴﻬﺎ ﺃﺿﻮﺍﺀ ﻭﻋﻼﻣﺎﺕ‬ ‫ﳌﺸﺮﻭﻉ ﻓﻜﺮ ‪‬‬ ‫ﻟﻄﺮﻳ ﹴﻖ ﳐﺼﻮﺹ ﻳﻨﻔﺘﺢ ﻋﻠﻰ ﺫﺍﺕ ﻣﺆﻣﻨﺔ ﺑﺎﻟﻘﺪﺭﺓ ﻋﻠﻰ ﺍﻹﺑﺪﺍﻉ‬ ‫ﻭﻣﻨﺨﺮﻃﺔ ﰲ ﻣﺴﺎﺀﻟﺔ ﻣﺴﻠﹼﻤﺎﺗﻪ ﻭﺑﺪﻳﻬﻴ‪‬ﺎﺗﻪ‪.‬‬ ‫ﻫﺬﻩ ﺍﻟﻮﻇﺎﺋﻒ ﻭﻏﲑﻫﺎ ﺗﻌﲏ ﺃ‪‬ﻧﲏ ﻋﻠﻰ ﻭﻋﻲ ﲞﻄﻮﺭﺓ ﺍﻟﻜﺘﺎﺑﺔ‬ ‫ﻛﺤﺪﺙ ﺇﻧ‪‬ﻮﺟﺎﺩ ﻭﺧﻠﻖ‪ ،‬ﻛﻔﺎﻋﻠﻴ‪‬ﺔ ﺗﺜﻮﻳﺮ ﻭﺑﻨﺎﺀ‪ ،‬ﻛﺮﻳﺢ ﻛﺎﺳﺮﺓ ﳉﺪﺭﺍﻥ‬ ‫ﺍﻟﻮﻫﻢ ﻭﺣﺎﻣﻠﺔ ﻟﺒﺬﻭﺭ ﳎﻬﻮﻟﺔ ﻭﻟﻘﺎﺣﺎﺕ ﳐﺘﻠﻔﺔ‪ .‬ﻭﻫﺬﺍ ﺍﻹﳝﺎﻥ ﻻ ﺃﲪﻠﻪ‬ ‫ﻛﻮﻫ‪‬ﻢ ﻣﻌ ﹼﻄ ﹴﻞ ﳌﻮﻫﺒﱵ‪ ،‬ﺑﻞ ﻛﺪﻳﻨﺎﻣ‪‬ﻴﺔ ﲢﻔﻴﺰ‪ .‬ﻭﻫﺬﻩ ﺍﻟﺒﻴﺎﻧﺎﺕ ﺍﻟﱵ‬ ‫ﺃﺻﺪﺭﻫﺎ ﰲ ﻛﺘﱯ ﺑﺈﺻﺮﺍﺭ‪ ،‬ﺭﻏﻢ ﺍﻻﺳﺘﻐﺮﺍﺏ‪ ،‬ﺗﻌﲏ ﺃﻳﻀﺎ ﺃ ﹼﻥ ﺷﻌﺮﻱ‬ ‫ﻛﺎﻥ ﺩﺍﺋﻤﺎ ﻣﺴﻜﻮﻧﺎ ‪‬ﺎﺟﺲ ﺍﻹﺿﺎﻓﺔ ﻭﺍﻟ‪‬ﺘﺠﺎﻭﺯ ﻭﺍﳌﻐﺎﻣﺮﺓ ﻭﺍﻟ ‪‬ﺮﻏﺒﺔ‪ .‬ﺃﻣﺎ‬ ‫ﺺ‬ ‫ﻫﻞ ﺣ ﹼﻘﻘﺖ ﲡﺎﻭﺯ‪‬ﺍ؟ ﻓﻼ ﺃﺩﺭﻱ‪ ...‬ﻣﺎ ﺃﻧﺎ ﻣﺘﺄ ﹼﻛﺪ ﻣﻨﻪ ﺃ ﹼﻥ ﻫﺬﺍ ﺍﻟﻨ ‪‬‬ ‫ﻚ ﻳﺘﻄﻮ‪‬ﺭ‬ ‫ﺍﻟ ﹼﺬﻱ ﺃﻛﺘﺒﻪ ﺑﺪﺃ ﻣﻨﺬ ﺳﻨﻮﺍﺕ ﺣﻴﺎﺗﻪ ﺍﳋﺎﺻ‪‬ﺔ‪ .‬ﻭﻫﻮ ﻻ ﻳﻨﻔ ‪‬‬ ‫ﻭﻳﺘﻔﺮ‪‬ﻉ‪.‬‬ ‫ﳌﺎﺫﺍ ﺗﺘﻌﺎﱃ ﰲ ﺑﻴﺎﻧﺎﺗﻚ ﻋﻠﻰ ﺍﻟﺸﻌﺮ ﻭﺍﻟﺸﻌﺮﺍﺀ ؟‬

‫‪95‬‬


‫ﺸﻌﺮ ﺍﻟ‪‬ﺘﻮﻧﺴﻲ ﻟﻴﺲ ﻭﻟﻴﺪ ﺍﻟﻴﻮﻡ‪ .‬ﻭﺃﻧﺎ ﻟﺴﺖ ﺻﺎﺣﺐ ﺫﺍﻛﺮﺓ‬ ‫ﺍﻟ ‪‬‬ ‫ﺸﻌﺮ ﻋﻠﻰ ﺍﻷﻗ ﹼﻞ! ﺃﻋﺮﻑ ﺍﻟﻔﺮﻭﻉ ﹸﻛﻠﹼﻬﺎ ﻭﺍﻷﻏﺼﺎﻥ‬ ‫ﻗﺼﲑﺓ ﰲ ﺍﻟ ‪‬‬ ‫ﻑ ﺍﻷﻭﺭﺍﻕ ﺍﳋﻀﺮﺍﺀ ﻭﺍﻟﺼ‪‬ﻔﺮﺍﺀ ﻭﺃﻋﺮﻑ ﺍﻟﻌﺮﻭﻕ ﻋﺮﻗﹰﺎ ﻋﺮﻗﹰﺎ‪.‬‬ ‫ﻭﺃﻋﺮ ‪‬‬ ‫ﻱ ﺍﻟ‪‬ﺘﻮﻧﺴﻲ‪ .‬ﻭﻫﺬﻩ‬ ‫ﺺ ﺍﻟﺸﻌﺮ ‪‬‬ ‫ﺟﺰﺀ ﻛﺒ ‪‬ﲑ ﻣ ‪‬ﻦ ﻋﻤﻠﻲ ﻫﻮ ﻣﻌﺮﻓﺔ ﺍﻟﻨ ‪‬‬ ‫ﺍﳌﻌﺮﻓﺔ ﻫﻲ ﺍﻟ‪‬ﺘﻲ ﺟﻌﻠﺘﲏ ﺃﺻﺮ‪‬ﺡ ﺑﺮﺃﻳﻲ ﻓﻴﻪ‪ ...‬ﻣﺎ ﻗﹸﻠﺘﻪ ﻟﻴﺲ ﺗﻌﺎﻟﻴﺎ ﺑﻞ‬ ‫ﻫﻮ ﳎ ‪‬ﺮﺩ ﻭﺻ‪‬ﻒ ﻭﻫ‪‬ﻨﺎ ﺧﻄﹸﻮﺭﺗﻪ‪ ...‬ﻋﻨﺪﻣﺎ ﺗﻘﹸﻮﻝ ﺇ ﹼﻥ ﺍﳌﻴﺪﺍﱐ ﺑﻦ ﺻﺎﱀ‬ ‫ﻫﻮ ﺷﺎﻋﺮ ﻣﺪﺭﺳﻲ‪ .‬ﻭﺃ ﹼﻥ ﻗﺼﺎﺋﺪﻩ ﻟﻴﺴﺖ ﻏﲑ ﺭﺍﻓﺪ ﻣﻦ ﺭﻭﺍﻓﺪ ﺗﺎﺭﻳﺦ‬ ‫ﺍﻷﺩﺏ‪ ...‬ﻫﺬﺍ ﻟﻴﺲ ﺣﻜﻤ‪‬ﺎ‪ .‬ﻫﺬﺍ ﻭﺻﻒ ﻭﺍﻗﻌ ‪‬ﻲ ﻟﻨﺼﻮﺹ ﻗﺮﺋﺖ‬ ‫ﻭﻧ‪‬ﺸﺮﺕ‪ .‬ﻋﻨﺪﻣﺎ ﺗﻘﻮﻝ ﺇ ﹼﻥ ﻗﺼﺎﺋﺪ ﺍﻟﻄﹼﺎﻫﺮ ﺍﳍﻤ‪‬ﺎﻣﻲ‪ ،‬ﺍﻟﻔﻜﺮﺓ ﻭﺍﻟﻄﹼﻤﻮﺡ‬ ‫ﻱ ﻭﻣﺴﺘﻬﻠﻚ‬ ‫ﻓﻴﻬﺎ ﺃﻓﻀﻞ ﻣﻦ ﺍﳌﺘﺤﻘﹼﻖ‪ .‬ﻣﺪﺭﻛﻬﺎ ﻛﺒﲑ ﻭﻣﻨﺠﺰﻫﺎ ﻋﺎﺩ ‪‬‬ ‫ﺑﺪﻟﻴﻞ ﺃﻧ‪‬ﻬﺎ ﱂ ﺗﻔﺘﺢ ﻃﺮﻳﻘﺎ ﻷﺣﺪ‪ ...‬ﻫﺬﺍ ﻟﻴﺲ ﺣﻜﻤﺎ‪ ،‬ﺑﻞ ﳎﺮ‪‬ﺩ‬ ‫‪‬ﻭﺻ‪‬ﻒ ﳜﻠﹸﻮ ﻣﻦ ﺃﺣﻜﺎﻡ ﺍﻟﻘﻴﻤﺔ‪ .‬ﻭﻗﺲ ﻋﻠﻰ ﺫﻟﻚ‪ ،‬ﻋﻨﺪﻣﺎ ﺗﺮﻏﺐ ﰲ‬ ‫ﺸﻴﺦ ﺟﻌﻔﺮ‪ ،‬ﻷﺩﻭﻧﻴﺲ‪،‬‬ ‫ﺍﻟﻠﹼﻌﺐ‪ ،‬ﻭﺗﺮﻳﺪ ﺃﻥ ﲡﺪ ﺷﺒﻴﻬﺎ ﳊﺴﺐ ﺍﻟ ‪‬‬ ‫ﻟﻠﺒ‪‬ﻴﺎﰐ‪ ،‬ﻟﺴﻌﺪﻱ‪ ،‬ﻟﺼﺎﺣﺐ ﺍﻟﺮ‪‬ﺳﻮﻟﺔ ﺑﺸﻌﺮﻫﺎ ﺍﻟﻄﹼﻮﻳﻞ ﺣﺘ‪‬ﻰ ﺍﻟﻴﻨﺎﺑﻴﻊ‪...‬‬ ‫ﻟﺼﺎﺣﺐ ﻭﺭﺩ ﺃﻗ ﹼﻞ‪ ...‬ﶈﻤ‪‬ﺪ ﺑ‪‬ﻨﻴﺲ ﺣﺘ‪‬ﻰ‪ ...‬ﻻ ﺗﺘﻌﺎﱃ ﻋﻨﺪﻣﺎ ﺗﺴﺄﻝ‬ ‫ﻒ‪ .‬ﺗﻀﻊ ﺍﳊﺒ‪‬ﺔ ﺃﻣﺎﻡ ﺍﳌﻨﻘﺎﺭ‪ ،‬ﻛﻤﺎ ﻳﻘﹸﻮﻝ ﺍﳌﺜ ﹸﻞ‪.‬‬ ‫ﻫﺬﻩ ﺍﻷﺳﺌﻠﺔ‪ ...‬ﺑﻞ ﺗ‪‬ﺼ ‪‬‬ ‫ﱂ ﳕ ‪‬ﺮ ﰲ ﺗﻮﻧﺲ ﲟﺪﺍﺭﺱ ﺃﺩﺑﻴ‪‬ﺔ ﺭﻏﻢ ﻣﺮﻭﺭ ﻛ ﹼﻞ ﺍﻟﺘ‪‬ﻴﺎﺭﺍﺕ ﻣﻦ‬ ‫ﺣﻮﻟﻨﺎ‪ .‬ﹾﱂ ﻧﺘﻤﻜﹼﻦ ﻣﻦ ﺧﻠﻖ ﺷﺎﻋﺮ ﻭﺍﺣﺪ ﻳﻌﻤﻞ ﻋﻠﻰ ﻣﺸﺮﻭﻉ ﻟﻪ‬ ‫‪96‬‬


‫ﻣﻼﳏﻪ ﺍﳋﺎﺻ‪‬ﺔ ﺍﻟﱵ ﲤﺘ ‪‬ﺪ ﻋﻠﻰ ﺃﺭﺑﻌﲔ ﻋﺎﻣ‪‬ﺎ ﻣﺜﻼ ﻭﺗﺘﻄﻮ‪‬ﺭ ﻣﻦ ﺍﻟﺪ‪‬ﺍﺧﻞ‪.‬‬ ‫ﻓﺘﺠﺮﺑﺔ ﺍﻟﻄﹼﻠﻴﻌﺔ ﻛﺎﻧﺖ ﻃﻔﻠﺔ ﻣﺎﺗﺖ ﰲ ﺳ ‪‬ﻦ ﺍﻟﺜﺎﻟﺜﺔ ﻭﱂ ﺗﺴﺘﻄﻊ ﺃﺻﺎﺑﻌﻨﺎ‬ ‫ﺸﺮﺳﺔ ﺍﺣﺘﻀﺎ‪‬ﺎ ﻟﺘﻜﺒ‪‬ﺮ ﰲ ﺳﻼﻡ‪ .‬ﲡﺮﺑﺔ ﺍﻟ‪‬ﺘﺼﻮ‪‬ﻑ ﺍﻟﻠﹼﻐﻮﻱ ﻟﻴﺴﺖ ﻏﲑ‬ ‫ﺍﻟ ‪‬‬ ‫ﺸﺒﺎﺏ ﻟﻴﻌﻠﻨﻮﺍ ﺍﻟ‪‬ﺘﻐﺎﻳﺮ‪ ،‬ﻭﻟﻜﻨ‪‬ﻬﺎ‬ ‫"ﻧﻔﹾﺤﺔ" ﺍﻧﻔﻌﺎﻟﻴ‪‬ﺔ ﺍﻋﺘﻤﺪﻫﺎ ﳎﻤﻮﻋﺔ ﻣﻦ ﺍﻟ ‪‬‬ ‫ﻛﺎﻧﺖ ﳏﻜﻮﻣﺔ ﻣﻨﺬ ﺍﻟﺒﺪﺀ ﺑﻈﺮﻭﻑ ﺇﻧﺘﺎﺟﻬﺎ ﻭﺑﻄﺒﻴﻌﺔ ﺧﻄﺎ‪‬ﺎ ﺍﻻﻧﻌﺰﺍﱄ‬ ‫ﺍﻟﺒﻌﻴﺪ ﻋﻦ ﺍ‪‬ﺘﻤﻊ‪ ،‬ﻓﻠﻢ ﺗﺘﻄﻮ‪‬ﺭ ﻣﻦ ﺍﻟﺪ‪‬ﺍﺧﻞ ﻭﺗﺮﻛﻬﺎ ﺃﺻﺤﺎ‪‬ﺎ ﺇﱃ‬ ‫ﲡﺎﺭﺏ ﺃﺧﺮﻯ ﻣ‪‬ﺨﺘﻠﻔﺔ‪ .‬ﺍﻻﺗ‪‬ﺠﺎﻩ ﺇﱃ ﻗﺼﻴﺪﺓ ﺍﻟﻨ‪‬ﺜﺮ ﻣﺜﹼﻞ ﻭﺣﺪ ‪‬ﻩ ﳕﻄﺎ ﰲ‬ ‫ﺍﻟﻜﺘﺎﺑﺔ ﻭﺍﺿﺤ‪‬ﺎ ﻭﻟﻜ ‪‬ﻦ ﺷﻌﺮﺍﺀﻩ ﺍﳉﻴ‪‬ﺪﻳﻦ ﻗﻠﹼﺔ ﻭﺇﻧﺘﺎﺟﺎ‪‬ﻢ ﱂ ﲤﺜﹼﻞ ﺃﺑﺪﺍ‬ ‫ﺗﻴﺎﺭ‪‬ﺍ‪ ،‬ﺑ ﹾﻞ ﳏﺎﻭﻻﺕ ﻓﺮﺩﻳ‪‬ﺔ‪ ...‬ﺃﻣﺎ ﻣﺎ ﳛﺪﺙ ﺍﻟﻴﻮﻡ ﻓﻬﻮ ﻏﺮﻳﺐ‪ ...‬ﻣﺎ ﺃﻧﺎ‬ ‫ﺸﻌﺮ‬ ‫ﻣﻌﲏ‪ ‬ﺑﻪ ﰲ ﻫﺬﺍ ﻛﻠﹼﻪ ﻫﻮ ﻛﻴﻒ ﺃﺳﺘﻄﻴﻊ ﺍﳊﻔﹾﺮ ﰲ ﻭﺟﺪﺍﻥ ﻫﺬﺍ ﺍﻟ ‪‬‬ ‫ﻭﺗﺎﺭﳜﻪ ﻭﺛﻘﺎﻓﺘﻪ ﻭﺟﻌ‪‬ﻞ ﺍﻟ‪‬ﻨﺎﺗﺞ ﻓﺎﻋﻠﻴ‪‬ﺔ ﺗﺜﻮﻳﺮ ﰲ ﻛﺘﺎﺑﱵ‪ ،‬ﻭﻛﻴﻒ ﺃﲝﺚ‬ ‫ﰲ ﺍﳌﺸﺘﺮﻙ ﺍﻟﻌﺎﺩﻱ ﺍﻟﻴﻮﻣﻲ ﻋﻦ ﺑﺬﻭﺭ ﺍﻟﻘﻠﻖ ﻭﺍﻟﻼﹼﻗﺮﺍﺭ ﻭﺍﻟﻐﺮﺑﺔ ﻭﺟﻌﻞ‬ ‫ﺍﻟﻨ‪‬ﺎﺗﺞ ﻓﺎﻋﻠﻴ‪‬ﺔ ﺗﻄﻮﻳﺮ‪ .‬ﻛﻴﻒ ﺃﺧﺘﺮﻉ ﺃﺩﻭﺍﰐ ﻭﲨﺎﻟﻴﺎﰐ ﻭﻟﻐﱵ؟ ﺑﻞ ﻛﻴﻒ‬ ‫ﺃﻓﻴﺪ ﻣﻦ ﻛ ﹼﻞ ﺃﺭﺽ ﻭﻣﻦ ﻛ ﹼﻞ ﲰﺎﺀ؟ ﻫﺬﻩ ﺍﻷﺳﺌﻠﺔ ﺩﻓﻌﺘﲏ ﺇﱃ ﺍﻟﻮﻋﻲ‬ ‫ﺑﺄ ﹼﻥ ﺍﻟﺴ‪‬ﺎﺣﺔ ﻻ ﲢﺘﺎﺝ ﺷﺎﻋﺮ‪‬ﺍ ﺷﺒﻴﻬﺎ ﺑﻞ ﻧﻘﻴﻀﺎ؟ ﻻ ﲢﺘﺎﺝ ﻣ‪‬ﻘﻠﹼﺪﺍ‪ ،‬ﺑﻞ‬ ‫ﺧﻄﹼﺎﺀ‪ .‬ﻻ ﲢﺘﺎﺝ ﻣﻌﹼﻠﻤﺎ‪ ،‬ﺑﻞ ﺿﻮﺀﺍ ﻣﻨﺒﺜﻘﺎ ﺩﻭﻥ ﺃﺻﻞ‪ .‬ﻻ ﲢﺘﺎﺝ‬ ‫ﻼ ﻣﺜﻠﻲ‪ ،‬ﻭﲨﻴﻞ ﺍﻟﺼ‪‬ﻮﺕ‪ ،‬ﻭﻗﺎﺩﻣﺎ ﻣﻦ ﺑﻌﻴﺪ‪.‬‬ ‫ﺣﻜﻴﻤ‪‬ﺎ‪ ،‬ﺑﻞ ﺷﺨﺼﺎ ﻃﻮﻳ ﹰ‬

‫‪97‬‬


‫ﺸﻌﺮ‬ ‫ﻭﻏﲏ‪ ‬ﻋﻦ ﺍﻟﻘﻮ‪‬ﻝ ﺃﻧ‪‬ﻚ ﻻ ﲡﺪ ﰲ ﺷﻌﺮﻱ ﺍﳌﻮﺿﻮﻋﺎﺕ ﺍﳌﺄﻟﻮﻓﺔ ﰲ ﺍﻟ ‪‬‬ ‫ﺍﻟ‪‬ﺘﻮﻧﺴﻲ‪.‬‬ ‫ﻣﺎﺫﺍ ﻳﻮﺟﺪ ؟‬ ‫ﲢﺖ ﺃﺷﺠﺎﺭ ﺍﳊ ‪‬ﻲ ﺍﳉﺎﻣﻌﻲ ﻟﻠﻄﹼﻠﺒﺔ ﰲ ﺑﺪﺍﻳﺔ ﺍﻟﺘ‪‬ﺴﻌﻴﻨﺎﺕ ﻭﻟﺪ‬ ‫ﺍﳊﹸﻠﻢ‪ ،‬ﻭ‪‬ﻟﺪ ﻛﺒﲑ‪‬ﺍ‪ ،‬ﻭﻛﺎﻧﺖ ﺍﻵﻟﺔ ﺻﻐﲑﺓ‪ .‬ﻭﰲ ﺑﻌﺾ ﺍﻟﺴ‪‬ﻨﻮﺍﺕ ﻛﱪ‬ ‫ﺍﳊﻠﻢ ﺃﻛﺜﺮ‪ ،‬ﻭﺍﻵﻟﺔ ﺻﺎﺭﺕ ‪‬ﺮ‪‬ﺍ ﺟﻮﻓﻴ‪‬ﺎ ﺩﺍﻓﻘﹰﺎ ﻭﻳﻨﺎﺑﻴﻊ ﺭﺅﻯ‬ ‫ﻭﺃﺳﺎﻃﲑ‪ ...‬ﻭﻫﻜﺬﺍ ﺑﺪﺃﻧﺎ ﻧﻜﺘ‪‬ﺐ‪ ،‬ﻭﱂ ‪‬ﺘ ‪‬ﺰ ﺃﺑﺪ‪‬ﺍ ﺛﻘﺘﻨﺎ ﺑﺎﻟﻜﺘﺎﺑﺔ‪...‬‬ ‫ﻭﲢﻮ‪‬ﻝ ﺍﳊﹸﻠﻢ ﺇﱃ ﻭﺍﻗﻊ‪ ...‬ﺃﻓﺮﺍﺩ ﻣﻨ‪‬ﺎ ﻣﺎﺗ‪‬ﻮﺍ‪ ،‬ﻭﺁﺧﺮﻭﻥ ﻭﺍﺻﻠﻮﺍ ﰲ‬ ‫ﺺ ﻣﺆﺗﻠﻖ ﻛﺎﻟﱪﻕ‪ ،‬ﻭﺍﻟﺒﻌﺾ ﺍﺳﺘﻄﺎﻋﻮﺍ ﺇﺻﺪﺍﺭ‬ ‫ﻋﺰﻻ‪‬ﻢ ﻛﺘﺎﺑﺔ ﻧ ‪‬‬ ‫ﳎﻤﻮﻋﺔ ﺷﻌﺮﻳ‪‬ﺔ‪ ،‬ﻭﺍﻟﻘﻠﹼﺔ ﺍﺳﺘﻄﺎﻋﺖ ﺃﻥ ‪‬ﺗﺼﺪﺭ ﺑﻌﺾ ﺍﻟﻜﺘﺐ ﺑﺘﻮﺍﺗﺮ‪...‬‬ ‫ﻭﻫﺆﻻﺀ ﻋﻨﺪﻣﺎ ﺃﺗﺬﻛﹼﺮﻫﻢ ﺍﻵﻥ ﺃﻓﺘﻘﺪﻫﻢ ﻭﺃﻓﺘﻘﺪ ﺣﺮ‪‬ﺍﺭ‪‬ﻢ‬ ‫ﻭﺇﳝﺎ‪‬ﹸﻢ ﺑﺎﻟﻜﻠﻤﺎﺕ‪ .‬ﺃﺗﺬﻛﹼﺮ ﺧﺼ‪‬ﻮﺻﺎ ﳎﺎﻳﻠﻴﻨﺎ ﻣﻦ ﺍﻟﻄﹼﻠﺒﺔ ﻭﺍﻟﻄﹼﺎﻟﺒﺎﺕ‬ ‫ﻋﻨﺪﻣﺎ ﺗﻘﺮﺃ ﳍﻢ‪ .‬ﻭﺃﺣ ‪‬ﻦ ﺇﱃ ﺫﻟﻚ ﺍﻟﺮ‪‬ﻣﺎﺩ ﺍﻟﻘﺪﱘ ﺍﻟﺬﹼﻱ ﻛﺎﻥ ﻳﺴﻜﻦ ﰲ‬ ‫ﺩﻓﺌﻪ ﻃﺎﺋﺮ ﺍﳌﻴﻨﲑﻓﺎ ﺍﻷﺯﺭﻕ!‬ ‫ﻫﺬﻩ ﺍﳊﻴﺎﺓ ﺍﳌﺎﺿﻴﺔ ﻭﺍﳊﺎﺿﺮﺓ ﻭﺧﺼ‪‬ﻮﺻﺎ ﺍﳌﺴﺘﻘﺒﻞ ﻫﻮ ﻣﺎ‬ ‫ﻳ‪‬ﻮﺟﺪ ﰲ ﺷﻌﺮﻱ‪ .‬ﱂ ﺃﻟﺘﺰﻡ ﻳﻮﻣﺎ ﺑﻔﻜﺮﺓ‪ ،‬ﱂ ﺃﺧ ﹼﻄﻂ ﻟﻜﺘﺎﺑﺔ ﻗﺼﻴﺪﺓ ﰲ‬

‫‪98‬‬


‫ﺐ ﺃﻭ ﰲ ﺍﻟﻮﻃﻦ‪ ،‬ﱂ ﺃﻓﻜﹼﺮ ﺃﺑﺪ‪‬ﺍ ﰲ ﺗﻮ‪‬ﻧﺴﺔ ﻗﺼﻴﺪﰐ‪ .‬ﱂ ﺃﻗﻠﹼﺪ ﺃﺣﺪﺍ‪،‬‬ ‫ﺍﳊ ‪‬‬ ‫ﻭ ﹾﱂ ﺃﻭﻗﻒ ﺷﻌﺮﻱ ﻋﻠﻰ ﺃﻣﺮ ﺃﻭ ﺣﺪﺙ ﺃﻭ ﺷﺨﺺ‪ ...‬ﻓﻜﹼﺮﺕ ﰲ‬ ‫ﺸﻜﻞ‪ ،‬ﻧﻌﻢ‪ .‬ﻓﻜﹼﺮﺕ ﰲ ﺍﳉﻤﻠﺔ‪ ،‬ﻧﻌﻢ‪ .‬ﻓﻜﹼﺮﺕ ﰲ ﺍﻟﺼ‪‬ﻮﺭ‪ ،‬ﻧﻌﻢ‪.‬‬ ‫ﺍﻟ ‪‬‬ ‫ﻓﻜﹼﺮﺕ ﰲ ﺍﻹﻳﻘﺎﻉ‪ ،‬ﻧﻌﻢ‪ ...‬ﺃﻣ‪‬ﺎ ﺫﺋﺐ ﺍﳌﻌﲎ ﻓﻠﻢ ﺃﲤﻜﹼﻦ ﻳﻮﻣ‪‬ﺎ ﻣﻦ‬ ‫ﻣﺆﺍﻟﻔﺘﻪ‪ ...‬ﻻ ﺃﺭﻳﺪ ﺃﻥ ﺃﺧﺪﻉ ﺃﺣﺪ‪‬ﺍ‪ ...‬ﻭﻟﻜ‪‬ﻨﲏ ﺃﺭﻯ ﺃ ﹼﻥ ﻧﺼ‪‬ﻮﺻﻲ ﻫﻲ‬ ‫ﻼ‪ .‬ﻭﻫﺎ ﳓﻦ ﺑﻌ ‪‬ﺪ‬ ‫ﺳﻠﺴﻠﺔ ﺃﺧﻄﺎﺀ ﻭﳒﺎﺣﺎﺕ‪ .‬ﺃﺧﻄﺄﻧﺎ ﻛﺜﲑ‪‬ﺍ ﻭﺃﺻﺒ‪‬ﻨﺎ ﻗﻠﻴ ﹰ‬ ‫ﻧ‪‬ﻤﻌﻦ ﰲ ﺑﺬﺭ ﺟﻮﺍﻫﺮﻧﺎ ﻭﺣﺼﺎﻧﺎ ﰲ ﺃﻋﻤﺎﻕ ﺍﻟﺘ‪‬ﺮﺑﺔ‪.‬‬ ‫ﻟﻜﻦ ﻻ ﻧﻨﺴﻰ ﺃﻥ ﺍﻟﺸﻌﺮ ﺍﻟﺘﻮﻧﺴﻲ ﻳﺴﺘﻤﺪ‪ ‬ﺣﻀﻮﺭﻩ ﺍﻟﻘﻮﻱ‪‬‬ ‫ﻣﻦ ﲡﺮﺑﺔ ﺍﻟﺸ‪‬ﺎﰊ ﺍﻟﱵ ﺃﺳﺄﻟﻚ ﻋﻦ ﺭﺅﻳﺘﻚ ﳍﺎ ؟‬ ‫ﻗﻠﺖ ﻋﻦ ﺍﻟﺸ‪‬ﺎﰊ ﰲ ﳎﻤﻮﻋﺔ ﻣﻘﺎﻻﺕ ﻧﺸﺮ‪‬ﺎ ﰲ ﺟﺮﻳﺪﺓ‬ ‫ﺗﻮﻧﺴﻴ‪‬ﺔ ﺇﻧ‪‬ﻪ ﺷﺎﻋﺮ ﻛﺒﲑ ﺫﻫﺐ ﻣﻊ ﺍﻟﺮ‪‬ﻳﺢ‪ .‬ﻭﻭﻗﻊ ﻟﻮﻣﻲ ﻛﺜﲑ‪‬ﺍ ﻋﻠﻰ ﻫﺬﺍ‬ ‫ﺍﻟ‪‬ﺘﻌﺒﲑ ﺧﺎﺻﺔ ﻣﻦ ﺍﻟ ﹼﺬﻳﻦ ﻳﻌﺮﻓﻮﻥ ﻣﻌﺮﻓﱵ ﻟﻪ‪ ،‬ﻷﻧﻪ ﰲ ﺭﺃﻳﻲ ﺷﺎﻋﺮ ﻣﻬﻢ‪،‬‬ ‫ﺸﺎﰊ‬ ‫ﺸﺎﻋﺮ ﺍﳌﺜﺎﻝ ﻭﻻ ﳚﺐ ﺃﻥ ﻳﺒﻘﻰ ﻛﺬﻟﻚ‪ .‬ﻟﻠ ‪‬‬ ‫ﻭﻟﻜﻦ ﻟﻴﺲ ﻫﻮ ﺍﻟ ‪‬‬ ‫ﺸﻌﺮ‬ ‫ﺃﺧﻄﺎﺅﻩ ﻭﻣﺸﺎﻛﻠﻪ ﻭﻣﺂﺯﻗﻪ ﺍﻟﻜﱪﻯ‪ ،‬ﻭﻟﻜ‪‬ﻨﻪ ﳊﻈﺔ ﻗﻮﻳ‪‬ﺔ ﰲ ﺍﻟ ‪‬‬ ‫ﺍﻟ‪‬ﺘﻮﻧﺴﻲ ﻭﺍﳌﻐﺮﰊ ﻭﺍﻟﻌﺮﰊ‪ .‬ﻭﻣﻨﺠﺰﺍﺗﻪ ﻭﺇﻥ ﻛﺎﻧﺖ ﻗﻠﻴﻠﺔ‪ ،‬ﻓﺈﻧ‪‬ﻬﺎ ﻣﺆﺛﹼﺮﺓ‪.‬‬ ‫ﻭﺗﻌﻈﻴﻢ ﻣﺎ ﺃﳒﺰﻩ ﺍﻟﺸ‪‬ﺎﰊ ﰲ ﺭﺃﻳﻲ ﻣﻦ ﺍﻷﺧﻄﺎﺀ ﺍﻟﻜﱪﻯ ﺍﻟﺘ‪‬ﻲ ﻣﺎﺭﺳﻬﺎ‬ ‫ﺍﻟﻨ‪‬ﻘﺪ‪ .‬ﻫﻨﺎﻙ ﺷﻌﺮﺍﺀ ﺁﺧﺮﻭﻥ ﺍﺳﺘﻄﺎﻋﻮﺍ ﺃﻥ ﻳﻀﻌﻮﺍ ﺟﺴﺮﺍ ﺑﲔ ﺍﻟﺜﻘﺎﻓﺔ‬

‫‪99‬‬


‫ﺍﻟﺘﻮﻧﺴﻴ‪‬ﺔ ﻭﻣﺜﻴﻠﺘﻬﺎ ﺍﻟﻌﺮﺑﻴ‪‬ﺔ ﻷﻥ ﺍﳌﺘﻨﻔﹼﺲ ﺍﳊﻘﻴﻘﻲ ﻟﻠﺸ‪‬ﻌﺮ ﺍﻟﻌﺮﰊ ﻭﺍﻟﺮﺋﺔ‬ ‫ﺍﻟﱵ ﺗﻨﻔﹼﺲ ‪‬ﺎ ﺍﻟﺸ‪‬ﺎﰊ ﻭﻏﲑﻩ ﻫﻲ ﺗﻮﺍﺻﻠﻪ ﻣﻊ ﻫﺬﻩ ﺍﻟﻠﹼﻐﺔ‪ ،‬ﻭﻣﻊ ﺍﻟﻮﺟﺪﺍﻥ‬ ‫ﺍﳊﻘﻴﻘﻲ ﳍﺎ‪ ،‬ﻭﻣﻊ ﺗﺎﺭﳜﻬﺎ ﻭﺑﻼﻏﺘﻬﺎ ﺑﺂﻟﺘﻪ ﻭﺃﳌﻪ ﺍﳋﺎﺻﲔ ﺑﻪ‪.‬‬ ‫ﻫﺬﺍ ﻛﹼﻠﻪ ﺑﺎﻟﻄﹼﺒﻊ ﻣﺘﻮﻓﹼﺮ‪ ،‬ﻭﻟﻜ‪‬ﻨﲏ ﺃﻗﹸﻮﻝ ﺇﻥ ﺿﻌﺎﻑ ﺍﳌﻮﻫﺒﺔ ﻫﻢ‬ ‫ﺸﺎﰊ ﻫﻮ ﺍﻟﻜﺒﲑ ﻭﺍﻟﻌﻈﻴﻢ ﻭﺍﻟﻮﺣﻴﺪ‪ .‬ﻭﺍﳊﻘﻴﻘﺔ ﺃ ﹼﻥ‬ ‫ﺍﻟ ﹼﺬﻳﻦ ﻳﻔﻬﻤﻮﻥ ﺃﻥ ﺍﻟ ‪‬‬ ‫ﺍﻟﹼﺜﻘﺎﻓﺔ ﺍﳊﻘﻴﻘﻴ‪‬ﺔ‪ ،‬ﺍﳊﻴ‪‬ﺔ‪ ،‬ﻻ ﻭﺟﻮﺩ ﻓﻴﻬﺎ ﻟﻠﻮﺣﻴﺪ‪ ،‬ﻷﻧ‪‬ﻬﺎ ﺗﻨﺒﲏ ﻋﻠﻰ‬ ‫ﺍﻟﺘﻌﺪ‪‬ﺩ ﻭﺍﻻﺧﺘﻼﻑ‪.‬‬ ‫ﻟﻴﺲ ﺍﻟﺸ‪‬ﺎﰊ ‪‬ﺬﺍ ﺍﳌﻌﲎ ﻣﻬﻤ‪‬ﺎ ﺇ ﹼﻻ ﺑﺎﻋﺘﺒﺎﺭ ﺍﻷﺳﺌﻠﺔ ﺍﻟ‪‬ﺘﻲ‬ ‫ﺍﺳﺘﻄﺎﻉ ﺃ ﹾﻥ ﻳﻐﺮﺳﻬﺎ ﰲ ﺯﻣﻨﻪ‪ .‬ﻭﻫﻮ ﻟﻴﺲ ﺇ ﹼﻻ ﺷﺎﻋﺮﺍ ﺷﺎﺑ‪‬ﺎ ﺍﺳﺘﻄﺎﻉ ﰲ‬ ‫ﻇﺮﻭﻑ ﺗﻮﻧﺴﻴ‪‬ﺔ ﻣﻌﺮﻭﻓﺔ ﺃ ﹾﻥ ﻳﺼﻨﻊ ﺃﺳﻄﻮﺭﺗﻪ ﺍﳋﺎﺻ‪‬ﺔ ﺍﶈﺪﻭﺩﺓ ﰲ‬ ‫ﺍﻟﺰ‪‬ﻣﺎﻥ ﻭﺍﳌﻜﺎﻥ‪ .‬ﻫﺬﺍ ﺩﻭﻥ ﺃﻥ ﺃﲢﺪ‪‬ﺙ ﻋﻦ ﻗﺼﺎﺋﺪﻩ ﺍﻟﻜﺜﲑﺓ ﺍﻟ‪‬ﺘﻲ ﻫﻲ‬ ‫ﲤﺎﺭﻳﻦ ﻣﺪﺭﺳﻴ‪‬ﺔ ﻣ‪‬ﺮﺍﻫﻘﺔ‪ ،‬ﻭﺧﻴﺎﺭﺍﺗﻪ ﺍﳉﻤﺎﻟﻴ‪‬ﺔ ﺍﻟ‪‬ﺘﻲ ﳛﻜﻤﻬﺎ ﺍﻟ‪‬ﺘﻘﻠﻴﺪ‪.‬‬ ‫ﻭﺍﻟﺸﻌﺮ ﺍﻟﺘ‪‬ﻮﻧﺴﻲ ﻻ ﻳﺴﺘﻤ ‪‬ﺪ ﺇ ﹼﻻ ﻏﻴﺎﺑﻪ ﻣﻦ ﺣﻀﻮﺭ ﺍﻟﺸ‪‬ﺎﰊ‬ ‫ﻱ ﺑﻔﻀﻞ ﺁﻟﺔ ﺇﻋﻼﻣﻴ‪‬ﺔ ﺟﺎﻫﻠﺔ ﺣﺮﻳﺼﺔ ﻋﻠﻰ ﺗﻌﻈﻴﻢ ﺍﳌﻮﺗﻰ ﻭﺗﻘﺰﱘ‬ ‫ﺍﻟﻘﻮ ‪‬‬ ‫ﺍﻷﺣﻴﺎﺀ‪ ،‬ﻭﺍﻋﺘﺒﺎﺭ ﻫﺬﺍ ﺍﻟﻮﻟﺪ ﺍﻟﻘﺎﻓﺰ ﰲ ﺍﻟ ﹼﺬﺍﻛﺮﺓ ﻛﻐﺰﺍﻝ ﺍﻟﻀ‪‬ﻮﺀ ﺷﺠﺮ ﹰﺓ‬ ‫ﻗﺎﺩﺭﺓ ﻋﻠﻰ ﺇﺧﻔﺎﺀ ﺍﻟﻐﺎﺑﺔ‪.‬‬

‫‪100‬‬


‫ﺐ ﺃﺟﻮﺍﺀﻩ ﺍﻟﻨ‪‬ﺎﻋﻤﺔ ﻭﻧﺎﻳﻪ ﺍﳊﺰﻳﻦ‬ ‫ﻭﻻ ﺃﺧﻔﻴﻚ ﺃﻧ‪‬ﲏ ﱂ ﺃﻋﺪ ﺃﺣ ‪‬‬ ‫ﻭﺍﻟﺼ‪‬ﻮﺭﺓ ﺍﻟﻨ‪‬ﻤﻄﻴ‪‬ﺔ ﺍﻟ‪‬ﺘﻲ ﺃﺗﻘﻦ ﺇﻧﺘﺎﺟﻬﺎ ﻭﺇﻋﺎﺩﺓ ﺇﻧﺘﺎﺟﻬﺎ ﻋﻦ ﺗ‪‬ﻮﻧﺲ‪.‬‬ ‫ﻧﻼﺣﻆ ﻓﻴﻤﺎ ﻗﻠﺘﻪ ﺗﺮﻛﻴﺰﺍ ﻛﺒﲑﺍ ﻋﻠﻰ ﺿﻌﻒ ﺍﻟﺸ‪‬ﻌﺮ‬ ‫ﺍﻟﺘ‪‬ﻮﻧﺴﻲ ﻛﻤﺎ ﻟﻮ ﺃﻧﻪ ﲟﻨﺄﻯ ﻋﻤﺎ ﻳﻌﻴﺸﻪ ﺍﻟﺸ‪‬ﻌﺮ ﺍﻟﻌﺮﰊ ﻣﻦ ﻫﺒﻮﻁ‬ ‫ﻭﺗﺮﺩ‪ ‬ﻭﺍﳓﺪﺍﺭ ﻭﺍ‪‬ﻴﺎﺭ ﻭﺿﻌﻒ؟‬ ‫)ﻳﻘﻮﻡ ﺑﻌﻘﺪ ﻣﻘﺎﺭﻧﺎﺕ ﺑﲔ ﺃﲰﺎﺀ ﺗﻮﻧﺴﻴ‪‬ﺔ ﻭﺃﲰﺎﺀ ﻋﺮﺑﻴ‪‬ﺔ‪ ،‬ﰒﹼ‬ ‫ﻳﻌﺪﻝ ﻋﻦ ﺭﺃﻳﻪ‪ ،‬ﻭﳚﻴﺐ ‪‬ﺪﻭﺀ ﺑﻌﺪ ﻣﻘﺎﻃﻌﱵ ﻟﻪ(‬ ‫ﳌﺎﺫﺍ ﺍﳌﻘﺎﺭﻧﺔ‪ ،‬ﺇﻧ‪‬ﻬﺎ ﻻ ﲡﻮﺯ ﰲ ﻣﺜﻞ ﻫﺬﻩ ﺍﳊﺎﻟﺔ؟‬ ‫ﺸﻌﺮ ﺗﺮ ‪‬ﺩﻯ ﻭﺍﳓﺪﺭ‬ ‫ﺍﻟ ﹼﺬﻳﻦ ﻻ ﻳﺆﻣﻨﻮﻥ ﺑﺎﻟﺘ‪‬ﻐﻴ‪‬ﺮ ﻳﻘﻮﻟﻮﻥ ﺍﻟ ‪‬‬ ‫ﻭﺿﻌﻒ‪ ،‬ﻭﺍﻟﺮ‪‬ﻭﺍﻳﺔ ﻣﺎﺗﺖ‪ ،‬ﻭﺍﻟﻔ ‪‬ﻦ ﺃﺻﺒﺢ ﺗﺎﻓﻬﺎ‪ ...‬ﻭﺍﳊﻘﻴﻘﺔ ﺃ ﹼﻥ ﺍﻷﺭﺽ‬ ‫ﺸﻌﺮ ﺍﻟ‪‬ﺘﻮﻧﺴﻲ ﻛﻐﲑﻩ‬ ‫ﺍﻫﺘﺰ‪‬ﺕ ﻓﻴﻢ ﺑﻘﻲ ﺍﻟﺒﻌﺾ ﰲ ﺃﻣﺎﻛﻨﻬﻢ‪ ...‬ﻭﺍﻟ ‪‬‬ ‫ﻳﺘﻨﺎﻣﻰ ﺑﺎﻃﹼﺮﺍﺩ ﻭﻳﺘﺤﻮ‪‬ﻝ ﻭﻳﺘﻐﻴ‪‬ﺮ‪ .‬ﰲ ﲢﻮ‪‬ﻟﻪ ﺫﺍﻙ ﻳﺸﻮﺑﻪ ﺍﻟﻜﺜﲑ ﻣﻦ‬ ‫ﺍﻟﻀﻌﻒ ﻭﺍﳍﺸﺎﺷﺔ ﺃﺣﻴﺎﻧﺎ‪ ،‬ﻭﻟﻜﻨ‪‬ﻪ ﻳﺴﺘﻤ ‪‬ﺮ ﻭﻳﺼﻨﻊ ﻛ ﹼﻞ ﻳﻮﻡ ﳕﺎﺫﺟﻪ‬ ‫ﺸﻌﺮ ﺍﻟﻌﺮﰊ ﻫﻮ ﺍﻟﺒﻮ‪‬ﺍﺑﺔ ﺍﻷﻭﱃ ﻭﺍﻷﺧﲑﺓ ﺍﻟ‪‬ﺘﻲ ﻻ ﺗ‪‬ﻌﺎﱐ ﻣﻦ‬ ‫ﺍﳉﻤﻴﻠﺔ‪ .‬ﻭﺍﻟ ‪‬‬ ‫ﺍﻟﻜﺒﺖ ﻭﺍﳋﻮﻑ ﻭﺍﳊﺮﻣﺎﻥ ﻭﺍﻟ‪‬ﺘﻲ ﺗﻌﻜﺲ ﺍﻟ ‪‬ﺮﻭﺡ ﺍﻟﻮﹼﺛﺎﺑﺔ ﻟﺪﻭﻝ ﻣﺎ ﺑﻌﺪ‬ ‫ﺍﻻﺳﺘﻘﻼﻝ‪ .‬ﻭ ﻟﻘﺪ ﻛﺎﻥ ﺩﺍﺋﻤﺎ ﺳﺒ‪‬ﺎﻗﺎ ﰲ ﺍﻷﺧﺬ ﻋﻦ ﺍﻵﺧﺮ‪ .‬ﻭﻛﺎﻥ‬

‫‪101‬‬


‫ﺳﺒ‪‬ﺎﻗﺎ ﰲ ﻃﺮﺡ ﺃﺳﺌﻠﺔ ﺍﳊﺪﺍﺛﺔ ﻛﻠﹼﻬﺎ‪ .‬ﻭﻫﻮ ﺍﻟﻮﺣﻴ ‪‬ﺪ ﺍﻟ ﹼﺬﻱ ﻣﺎﺭﺱ ﺗﻐﺎﻳﺮ‪‬ﺍ‬ ‫ﺕ ﻓﻴﻪ ﺍﻟﻔﻠﺴﻔﺎﺕ ﺍﻟﺘ‪‬ﻮﻓﻴﻘ‪‬ﻴﺔ ﻋﻦ ﻃﺮﺡ‬ ‫ﻛﹸﻠﻴ‪‬ﺎ ﻣﻊ ﺇﺭﺛﻪ ﰲ ﻭﻗﺖ ﻋﺠﺰ ‪‬‬ ‫ﺃﺳﺌﻠﺔ ﻣ‪‬ﻤﺎﺛﻠﺔ ﰲ ﺣﻴﺎﺗﻨﺎ ﺍﻟﺴ‪‬ﻴﺎﺳﻴ‪‬ﺔ ﻭﺍﻟﻔﻜﺮﻳ‪‬ﺔ ﻭﺍﻟﺪ‪‬ﻳﻨﻴ‪‬ﺔ‪ .‬ﻭﻟﻜ ‪‬ﻦ ﺫﻟﻚ‬ ‫ﺸﻌﺮ ﺍﻟ‪‬ﺘﻮﻧﺴﻲ ﻷﻧ‪‬ﻪ ﻇ ﹼﻞ ﻣﺘﺨﻠﹼﻔﺎ ﻋ ‪‬ﻦ‬ ‫ﺸﻌﺮ ﻻ ﳝﻨﻌﲏ ﻣﻦ ﻧﻘﹾﺪ ﺍﻟ ‪‬‬ ‫ﺍﻹﳝﺎﻥ ﺑﺎﻟ ‪‬‬ ‫ﺸﻌﺮ ﺍﻟﻌﺮﰊ‪ ،‬ﺑﻞ ﻟﻘﺪ ﺍﺟﺘﻬﺪ ﺷﻌﺮﺍﺅﻩ ﺃﺣﻴﺎﻧﺎ ﰲ ﻗﻄﹾﻊ ﺻﻠﺘﻪ ﺑﻴﻨﺎﺑﻴﻌﻪ‬ ‫ﺍﻟ ‪‬‬ ‫ﻭﻣﺼﺎﺩﺭ ‪‬ﻩ ﻭ ﳕﺎﺫﺟﻪ ﺍﳉﻤﺎﻟﻴ‪‬ﺔ‪.‬‬ ‫ﻣﺎ ﳛﺪﺙ ﻳﺎ ﺻﺪﻳﻘﻲ ﻫﻮ ﺃ ﹼﻥ ﻫﻨﺎﻙ ﺿﻮﺀًﺍ ﻋﻤﻴﻘﺎ ﰲ ﻫﺬﻩ‬ ‫ﺍﻷﺭﺽ‪ ،‬ﺑ ﹾﻞ ﺭﻳﺢ ﺃﺿﻮﺍﺀ‪ ،‬ﻻ ﺗﺘﻮﻗﹼﻒ‪ ،‬ﺗﺘﻨﺎﻣﻰ ﻭﺗﻄﺮﺡ ‪‬ﻋﻄﻮﺭﻫﺎ‬ ‫ﺸﺠﺮ ﺍﻟﻴﺎﺑﺲ ﻭﺍﻟﺘﺤﻠﹼﻞ ﰲ‬ ‫ﻭﻟﻘﺎﺣﺎ‪‬ﺎ ﻭﲤﺎﺭﺱ ﺩﻭﺭﻫﺎ ﻭﻫﻮ ﺗﻔﻜﻴﻚ ﺍﻟ ‪‬‬ ‫ﺍﳌﺎﺀ!‬ ‫ﻭﻭﻓﻖ ﻫﺬﺍ ﺍﳌﻨﻄﻖ ﺃﻧﺖ ﲟﻦ ﺗﻘﺎﺭﻥ ﻧﻔﺴﻚ ﻣﻦ ﺍﻟﺸ‪‬ﻌﺮﺍﺀ‬ ‫ﺍﻟﻌﺮﺏ ؟‬ ‫ﺃﻗﺎﺭﻥ ﻧﻔﺴﻲ ﲟﻦ؟ ﻻ ﺃﺩﺭﻱ‪ .‬ﻻ ﺃﺣﺪ ﻳﺸﹺﺒﻬ‪‬ﲏ ﺑﺎﻟﺘ‪‬ﺄﻛﻴﺪ‪ .‬ﻛﻨﺖ‬ ‫ﺃﺷﺒﻪ ﺷﻌﺮﺍﺀ ﻟﻜﻨ‪‬ﲏ ﻧﺴﻴﺘﻬﻢ‪ .‬ﺃﺻﺒﺢ ﻣﺎ ﺃﺗﺬﻛﹼﺮﻩ ﻣﻨﻬﻢ ﻣ‪‬ﻠﻜﻲ‪ .‬ﻣﺎ ﺭﺳﺐ‬ ‫ﰲ ﻓﻜﺮﻱ ﻭﰲ ﻗﻠﻤﻲ ﻣﻨﻬﻢ ﻫ‪‬ﻮ ﺃﻧﺎ‪ ،‬ﻟﺴﺖ ﻭﺣﻴﺪ‪‬ﺍ ﺇ ﹼﻻ ﺣﲔ ﺍﻧﻘﻄ ‪‬ﻊ ﻋﻦ‬ ‫ﺍﻟﻘﺮﺍﺀﺓ ﻭﺍﻟﻜﺘﺎﺑﺔ‪ .‬ﺃﻣ‪‬ﺎ ﺣﲔ ﺃﻗﺮﺃ ﻭﺧﺼﻮﺻﺎ ﺣﲔ ﺃﻛﺘﺐ ﻓﺈ ﹼﻥ ﺗﺎﺭﳜﹰﺎ ﻣﻦ‬ ‫ﺍﻷﺭﻭﺍﺡ ﻳﺴ‪‬ﻜﻨﲏ‪ .‬ﻣﺎ ﻳﺒﺪ‪‬ﻭ ﻟﺒﻌﺾ ﺍﻟﻜ‪‬ﺘﺎﺏ ﺛﺎﻧﻮﻳ‪‬ﺎ‪ ،‬ﺍﻟﺘﻘﻄﻪ ﻭﺃﺟﻌﻠﻪ‬ ‫‪102‬‬


‫ﻣﺮﻛﺰﻳ‪‬ﺎ‪ .‬ﻣﺎ ﻻ ﻳﺒﺪﻭ ﻫﺎﻣ‪‬ﺎ‪ ،‬ﺃ ‪‬ﻣ ‪‬ﺪ ﻳﺪﻱ ﺇﻟﻴﻪ ﻭﺃﺟﻌﻠﻪ ﺩﻣﺎ ﻭﻫﻮﺍﺀ‪ .‬ﺃﻣ‪‬ﺎ‬ ‫ﻱ ﺍﳌﺸﻬﻮﺭ ﻓﻬﻮ ﻋﻤﻮﻣﺎ ﻣﺴﺘﻬﻠﻚ ﻭﺑﻐﻴﺾ ﻭﻋﻨﻴﻒ ﻭ ‪‬ﻣﺘﺒﺠ‪‬ﺢ‬ ‫ﺍﳌﺮﻛﺰ ‪‬‬ ‫ﻉ‪.‬‬ ‫ﻭ ‪‬ﻣ ‪‬ﺪ ﹴ‬ ‫ﺖ ﺷﻌﺮﺍﺀ ﻛﺜﲑﻳﻦ‪ .‬ﻣﻨﻬﻢ ﻣﻦ ﻭﺍﺻﻞ ﻣﻌﻲ ﺍﻟﺮ‪‬ﺣﻠﺔ‪،‬‬ ‫ﺃﺣﺒﺒ ‪‬‬ ‫ﺕ ﻋﻨﻪ‪ ،‬ﻭﻣﻨﻬﻢ ﻣﻦ‬ ‫ﻭﻣﻨﻬﻢ ﻣ ‪‬ﻦ ﺗﺮﻛﲏ ﻣﻨﺬ ﺍﻟﻄﹼﻔﻮﻟﺔ‪ .‬ﻭﻣﻨﻬﻢ ﻣﻦ ﺃﺧﺬ ‪‬‬ ‫ﹾﱂ ﺁﺧ ﹾﺬ ﻋﻨ‪‬ﻪ ﺷﻴﺌﺎ‪ .‬ﻭﻫﺎ ﺇﻧ‪‬ﲏ ﺍﻵﻥ ﺃﲢﻮ‪‬ﻝ ﺇﱃ ﺁﻟ ‪‬ﺔ ﻟﻠﻘﺮﺍﺀﺓ‪ .‬ﺫﺍﺋﻘﱵ‬ ‫ﺕ ﻣ‪‬ﺪ ‪‬ﺭﺑﺔ‪ .‬ﳍﺬﺍ ﻓﺎﻷﻋﻠﻖ ﺑﺬﻫﲏ ‪‬ﻫ ‪‬ﻢ ﺍﻟﺸ‪‬ﻌﺮﺍﺀ ﺍﻟﺬﹼﻳﻦ ﺟﺪ‪‬ﺩﻭﺍ‬ ‫ﺻﺎﺭ ‪‬‬ ‫ﻼﺋﻘﺔ ﺑﻪ ﻛﻤﻌﹼﻠ ﹴﻢ ﻟﻺﻧﺴﺎﻧﻴ‪‬ﺔ‪.‬‬ ‫ﺸﻌﺮ ﺇﱃ ﻣﺮﺗﺒﺘﻪ ﺍﻟ ﹼ‬ ‫ﻭﻏ‪‬ﻴﺮ‪‬ﻭﺍ ﻭﺩﻓﻌﻮﺍ ﺍﻟ ‪‬‬ ‫ﺗﻌﻠﹼﻤﺖ ﻣﻦ ﻫﺆﻻﺀ ﺃﻥ ﻻ ﺃﺣ ﹼﻞ ﺃﺯﻣﱵ ﺑﺎﻻﻧﻘﺬﺍﻑ ﰲ ﺍﻟﺘ‪‬ﺮﺍﺙ‪.‬‬ ‫ﺗﻌﻠﹼﻤﺖ ﺃ ﹾﻥ ﺃﻓﺮ‪‬ﻕ ﺃ ﹼﻥ ﻣﺎ ﻣﻦ ﺟﺪﻳﺪ ﺧﺎﺭﺝ ﺍﻟﺸﻜﻞ‪ .‬ﻭﺍﺳﺘﺒ ‪‬ﺪ ﰊ ﻫﺎﺟﺲ‬ ‫ﺍﻟﻨ‪‬ﻮﻉ‪ .‬ﻭﱂ ﲢ ﹼﻞ ﺃﺯﻣﱵ ﺑﺄﺧﺬ ﺍﳌﺘﺤ ‪‬ﻮﻝ ﻭﺗﺮﻙ ﺍﻟﺜﹼﺎﺑﺖ‪ .‬ﺇﺫ ﻻ ﺛﺎﺑﺖ‬ ‫ﻣﻄﻠﻘﹰﺎ ﰲ ﺍﳌﻌﺮﻓﺔ ﻭﻻ ﻣﺘﺤﻮ‪‬ﻝ ﺃﺑﺪﻳ‪‬ﺎ ﰲ ﺍﻟﻔﻜﺮ‪ ...‬ﺃﻟﻴﺲ ﺍﻟﻜﻔﺮ ﻭﺍﻹﳝﺎﻥ‬ ‫ﺿﺪ‪‬ﻳﻦ ﻣﻔﺘﺮﻗﲔ ﻣﻦ ﺟﻬﺔ ﺍﻻﺳﻢ‪ ،‬ﲰ‪‬ﻴﲔ ﻣﻦ ﺟﻬﺔ ﺍﳊﻘﻴﻘﺔ! ﺗﻌﻠﹼﻤﺖ ﺃ ﹾﻥ‬ ‫ﺃﻟﹾﻌﺐ ﻭﺃ ﹾﻥ ﺃﺟ ‪‬ﺮﺏ‪ ،‬ﻣﻊ ﺇﳝﺎﱐ ﺑﺄ ﹼﻥ ﺍﻟﺘ‪‬ﺠﺮﻳﺐ ﺇﺫﺍ ﺳﺎﺩ ﺃﺻﺒﺢ ﺗﻘﻠﻴﺪﺍ‪.‬‬ ‫ﻭﺗﻌﻠﹼﻤﺖ ﺃﻥ ﺍﻟﻔﺮﺩﻳ‪‬ﺔ‪ ،‬ﺗﻠﻚ ﺍﻟﺸﺠﺮﺓ ﺍﻟ‪‬ﺘﻲ ﺗﻨﺒﺖ ﰲ ‪‬ﺣﻘﻮﻝ ﺍﻵﺧﺮﻳﻦ‬ ‫ﻭﺗﺸﺮﺏ‪ ‬ﻣﻦ ﻣﻴﺎﻫﻬﻢ ﻭﺗﺘﻨﻔﹼﺲ ﻣﻦ ﻫﻮﺍﺋﻬﻢ ﻭﺗﻌﻠﻮ ﰲ ﲰﺎﺋﻬﻢ‪ ،‬ﻫﻲ ﺍﻟ‪‬ﺘﻲ‬ ‫ﺸﺨﺼﻴ‪‬ﺔ‪.‬‬ ‫ﺗﺼﻨﻊ ﺍﻷﺳﻄﻮﺭﺓ ﺍﻟ ‪‬‬

‫‪103‬‬


‫ﺍﻟﻘﺼﻴﺪﺓ ﺍﻟﺘ‪‬ﻲ ﺗﻜﺘﺒﻬﺎ ﻓﻴﻬﺎ ﺧﺮﻭﺝ ﻣﻦ ﺍﻷﳕﺎﻁ ﺍﻟﺸ‪‬ﻌﺮﻳﺔ‬ ‫ﺍﳌﺘﻌﺎﺭﻑ ﻋﻠﻴﻬﺎ ﻭﺗﺘﻀﻤ‪‬ﻦ ﳏﺎﻭﻟﺔ ﺧﻠﻖ ﻭﺍﺑﺘﻜﺎﺭ ﻭﺗﺄﺳﻴﺲ ﻟﻘﺼﻴﺪﺓ‬ ‫ﺟﺪﻳﺪﺓ ﻟﻜﻦ ﺧﺎﺭﺝ ﺍﻷﳕﺎﻁ ﺍﳌﺘﻌﺎﺭﻑ ﻋﻠﻴﻬﺎ ﻟﻠﹼﻐﺔ ﺍﻟﺘ‪‬ﻲ ﲤﺜﹼﻞ ﺟﻮﻫﺮ‬ ‫ﻗﺼﻴﺪﺗﻚ ؟ ﳌﺎﺫﺍ ﻫﺬﺍ ﺍﻻﺧﺘﻴﺎﺭ؟‬ ‫ﱂ ﻳﻜﻦ ﺃﺳﺘﺎﺫ ﺍﻟﻔﻠﺴﻔﺔ ﳐﻄﺌﺎ ﺣﲔ ﻛﺘﺐ ﻋﻠﻰ ﻭﺭﻗﺔ‬ ‫ﺍﻻﻣﺘﺤﺎﻥ "ﺍﺳﺘﻄﻌﺖ ﺍﻟﺘﻄﺮ‪‬ﻕ ﺇﱃ ﺍﳌﻄﻠﻮﺏ ﺭﻏﻢ ﻟﻐﺘﻚ ﺍﻟﺸ‪‬ﻌﺮﻳ‪‬ﺔ"‪ .‬ﱂ‬ ‫ﻳﺴﺎﻭﺭﱐ ﺍﻟﺸﻚ ﳊﻈﺔ ﰲ ﺟ‪‬ﻤﻠﱵ‪ .‬ﻭﺍﳊ ‪‬ﻖ ﺃ ﹼﻥ ﻣﺎ ﻣﻦ ﺃﺣ ‪‬ﺪ ﻧﺼﺤﲏ‬ ‫ﺑﺘﺮﻛﻬﺎ ﺃﻭ ﺇﺑﺪﺍﳍﺎ ﺃﻭ ﲢﺴﻴﻨﻬﺎ‪ ...‬ﻭﺃﻧﺎ ﻧﻔﺴﻲ ﱂ ﺃﻃﺮﺡ ﻫﺬﺍ ﺍﻟﺮ‪‬ﻫﺎﻥ‪...‬‬ ‫ﻛﺎﻥ ﻣﻦ ﺍﻟﻮﺍﺿﺢ ﺃﻧ‪‬ﲏ ﺷﻐ‪‬ﻮﻑ ﺑﺎﻟﻠﹼﻐﺔ‪ ،‬ﳓﻮﻫﺎ ﻭﺻﺮﻓﻬﺎ ﻭﺑﻼﻏﺘﻬﺎ‪،‬‬ ‫ﺐ ﻟﺘﺤﻠﻴﻞ ﳕﺎﺫﺟﻬﺎ ﰲ ﻛﺘﺐ ﺍﻟﻠﻐﻮﻳﲔ ﻭﺍﻟﺒﻼﻏﻴﲔ‪ ،‬ﻭﺗﻠﻚ ﺭﻳﺎﺿﺔ‬ ‫ﻭ ‪‬ﻣﺤ‪ ‬‬ ‫ﺫﻫﻨﻴ‪‬ﺔ ﺗﺪﺭ‪‬ﺑﻨﺎ ﻋﻠﻴﻬﺎ ﰲ ﺍﳉﺎﻣﻌﺔ‪ .‬ﻭﳍﺬﺍ ﺃﺻﺒﺤﺖ ﻟﻐﱵ ﻫﻲ ﻣﻮﺿﻮﻋﻲ‬ ‫ﻼ ﻣﺎ ﲣﻠﻮ ﻧ‪‬ﺼﻮﺻﻲ ﻣﻦ‬ ‫ﺍﳌﻔﻀ‪‬ﻞ ﻭﺟﻮﻫﺮ ﻗﺼﻴﺪﰐ ﻛﻤﺎ ﺗﻘﻮﻝ‪ .‬ﻭﻗﻠﻴ ﹰ‬ ‫ﺱ‬ ‫ﻣﻘﻄﻊ ﻳﺘﻠ ‪‬ﻌﺐ ﺑﺎﻷﻓﻌﺎﻝ ﻭﺍﻷﲰﺎﺀ‪ ...‬ﻭﺃﻧﺘﻘﻞ ﺍﳍﺎﺟﺲ ﺇﱃ ﻫ‪‬ﻮ ﹴ‬ ‫ﺑﺎﻟﺘ‪‬ﺮﻛﻴﺐ ﻭﺍﻟﺘ‪‬ﻌﺪﻳ‪‬ﺔ ﻭﺇﻃﺎﻟﺔ ﺍﳉﻤﻠﺔ‪ .‬ﻭﺍﻫﺘﻤﻤﺖ ﺑﺎﳌﹸﺘﻤ‪‬ﻤﺎﺕ ﺑﺄﻧﻮﺍﻋﻬﺎ‬ ‫ﻭﻛﹼﺜﻔﺖ ﻣﻦ ﺍﺳﺘﻌﻤﺎﳍﺎ‪.‬‬ ‫ﻭﻛﻨﺖ ﰲ ﻛ ﹼﻞ ﺫﻟﻚ ﺣﺮﻳﺼﺎ ﻋﻠﻰ ﺗﻮﺳﻴﻊ ‪‬ﻣﻌ‪‬ﺠﻤﻲ‪ ...‬ﻛﻤﺎ‬ ‫ﺖ ﻣﺒ ﹼﻜﺮ‪‬ﺍ ﺃ ﹼﻥ ﺍﻹﻳﻘﺎﻉ ﺃﻭﺳﻊ ﻣﻦ ﺍﻟﻌﺮﻭﺽ‪ ،‬ﻭﺃ ﹼﻥ ﻋﻤﻮﺩ ﺍﻟﺸ‪‬ﻌﺮ‬ ‫ﺃﻧ‪‬ﲏ ﻓﻬﻤ ‪‬‬

‫‪104‬‬


‫ﺖ ﰲ ﺍﻟﺒﺪﺍﻳﺔ‬ ‫ﻟﻴﺲ ﺇ ﹼﻻ ﺇﻣﻜﺎﻧﻴ‪‬ﺔ ﻣﻦ ﺇﻣﻜﺎﻧﻴ‪‬ﺎﺕ ﺍﻹﻳﻘﺎﻉ ﺍﻟﻼﹼﳏﺪﻭﺩﺓ‪ .‬ﻓﻜﺘﺒ ‪‬‬ ‫ﳊ ‪‬ﺮ ﻭﺍﻟﻨ‪‬ﺜﺮ ﻣﻌ‪‬ﺎ ﻣ‪‬ﺘﺠﺎﻭﺭﻳﻦ‪ ،‬ﹼﰒ ﺑﺪﺃﺕ ﲨﻠﱵ ﺗﺘﻐﻴ‪‬ﺮ ﻭﲤﻴﻞ ﺇﱃ‬ ‫ﺸﻌﺮ ﺍ ﹸ‬ ‫ﺍﻟ ‪‬‬ ‫ﺸﻌﺮ ﺍﳊ ‪‬ﺮ‪ .‬ﻟﻜﻨ‪‬ﲏ ﻛﻨﺖ ﺃﺗﺪﺧ‪‬ﻞ ﻷﻛﺴﺮ ﺍﻟﻐﻨﺎﺋﻴ‪‬ﺔ ﺃﺣﻴﺎﻧﺎ ﺃﻭ ﻷﻭﺗ‪‬ﺮ‬ ‫ﺍﻟ ‪‬‬ ‫ﻗﺎﺭﺋﺎ ﻫﺎﺩﺋﹰﺎ ﺃﺣﻴﺎﻧﺎ ﺃﺧﺮﻯ‪ .‬ﻭﺃﻫ ‪‬ﻢ ﻣﺎ ﺣﺎﻭﻟ‪‬ﺘﻪ ﻫﻮ ﻛﺘﺎﺑﺔ ﻗﺼﻴﺪﺓ ﺷﻌﺮﻳ‪‬ﺔ‬ ‫ﺳﺮﺩﻳ‪‬ﺔ ﻳﻘﹸﻮﳍﺎ ﺭﺍﻭ ﺃﻭ ﺭﻭﺍﺓ‪ ،‬ﻭﻳﺘﻜﻠﹼﻢ ﻓﻴﻬﺎ ﺍﻟﺒﻄ ﹸﻞ ﻓﻴﻤﺎ ﻳﺸﺒﻪ ﺍﳊﻮﺍﺭ‬ ‫ﻼ ﺍﻷﻗﻮﺍﺱ‬ ‫ﲏ‪ .‬ﻭﻣﻴ‪‬ﺰﺕ ﰲ ﺍﻟ ﹼﻄﺒﺎﻋﺔ ﺑﲔ ﺍﳋﻄﺎﺑﲔ ﻣﺴﺘﻌﻤ ﹰ‬ ‫ﺍﻟﺒﺎﻃ ‪‬‬ ‫ﺺ ﻭﺟﺪ ﻣﻨﺬ ﺍﻟﺒﺪﺍﻳﺔ ﻣﻦ ﺃﺣﺒ‪‬ﻪ ﻭﻣﻦ ﳌﺢ ﻓﻴﻪ ﺿﻮﺀًﺍ‬ ‫ﻭﺍﳌﻌﻘﹼﻔﺎﺕ‪ .‬ﻫﺬﺍ ﺍﻟﻨ ‪‬‬ ‫ﺖ‬ ‫ﻭﻣﻦ ﺳﺎﻫﻢ ﰲ ﺟﻌﻠﻪ ﻳﻜﱪ ﻭﻳ‪‬ﻮﺭﻕ ﻭﻳﻄﺮﺡ ﺃﲦﺎﺭ ‪‬ﻩ‪ .‬ﻭﻫﻜﺬﺍ ﻗﻄﻌ ‪‬‬ ‫ﲤﺎﻣ‪‬ﺎ ﻣﻊ ﺍﻷﻏﺮﺍﺽ ﻭﻣﻊ ﺍﻟﻜﺘﺎﺑﺎﺕ ﺍﻟﺴ‪‬ﺎﺋﺪﺓ‪ .‬ﻭﺑﺪﺍ ﻧﺼ‪‬ﻲ ﻛﺎﺋﻨﺎ ﻟﻐﻮﻳ‪‬ﺎ‬ ‫ﺸﻜﻞ‪ .‬ﺍﳌﻬ ‪‬ﻢ‬ ‫ﺫﺍﺗﻴ‪‬ﺎ ﻣ‪‬ﻨﻐﻠﻘﹰﺎ ﻻ ﻳﻬﺘ ‪‬ﻢ ﺇ ﹼﻻ ﺑﺈﺗﻘﺎﻥ ﻭﺳﺎﺋﻠﻪ ﻭﺃﳘﹼﻬﺎ ﺍﻟﺼ‪‬ﻮﺭﺓ ﻭﺍﻟ ‪‬‬ ‫ﰲ ﻫﺬﻩ ﺍﳌﺮﺣﻠﺔ ﻟﻴﺲ ﺍﳌﻨﺠﺰ ﺑﻞ ﺍﻟﻮﻋﻲ‪.‬‬ ‫ﻧﺼ‪‬ﻚ ﺗﺘﻌﺎﻳﺶ ﻓﻴﻪ ﺍﻟﻔﻨﻮﻥ ﺍﻷﺧﺮﻯ‪ ،‬ﻫﻞ ﺍﳌﻘﺼﻮﺩ ﻫﻮ‬ ‫ﺍﻻﻧﻔﺘﺎﺡ ﻭﺍﻟﺘﻮﺍﺻﻞ ﺃﻡ ﻏﺎﻳﺎﺕ ﺃﺧﺮﻯ؟‬ ‫ﺐ ﺃﻥ ﺃﺗﻮﺍﺻﻞ ﻣﻊ ﺍﻟﻔﻨﻮﻥ ﻛﻠﹼﻬﺎ‪ .‬ﺍﳌﻮﺳﻴﻘﻰ ﻭﺍﻟﺮ‪‬ﻗﺺ‬ ‫ﺃﺣ ‪‬‬ ‫ﺸﻌﺮﺍﺀ ﺍﻧﻔﺘﺤﻮﺍ ﻋﻠﻰ‬ ‫ﻭﺍﻟﺮ‪‬ﺳﻢ ﻭﺍﻟﻨ‪‬ﺤﺖ‪ .‬ﻭﻫﺬﺍ ﻟﻴﺲ ﺑﻐﺮﻳﺐ‪ ،‬ﻓﻌﺪﻳﺪ ﺍﻟ ‪‬‬ ‫ﺍﳌﺴﺮﺡ ﻭﺟﻌﻠﻮﻩ ﻣﻜ ‪‬ﻮﻧﺎ ﻣﻦ ﻣﻜﻮ‪‬ﻧﺎﺕ ﺍﻟﻘﺼﻴﺪﺓ‪ ،‬ﻭﻏﲑﻫﻢ ﺍﻧﻔﺘﺤﻮﺍ ﻋﻠﻰ‬ ‫ﺍﻟﺴ‪‬ﻴﻨﻤﺎ ﻭﺟﻌﻠﹸﻮﻫﺎ ﻣﻜﻮ‪‬ﻧﺎ ﻣﻦ ﻣﻜﻮ‪‬ﻧﺎﺕ ﺍﻟﻘﺼﻴﺪﺓ‪ .‬ﻭﻏﲑﻫﻢ‪ ،‬ﻣﻨﺬ‬

‫‪105‬‬


‫ﺍﳋﻠﻴﻞ‪ ،‬ﺍﻧﻔﺘﺤﻮﺍ ﻋﻠﻰ ﺍﳌﻮﺳﻴﻘﻰ ﻭﺟﻌﻠﹸﻮﻫﺎ ﻣﻜﻮ‪‬ﻧﺎ ﻣﻦ ﻣﻜﻮ‪‬ﻧﺎﺕ‬ ‫ﺸﻌﺮ ﺇ ﹼﻻ ﺍﻧﻔﺘﺎﺣ‪‬ﺎ ﻋﻠﻰ ﳐﺘﻠﻒ ﺍﻟﻔﻨﻮﻥ ﻷﻧﻪ ﺃﻛﺜﺮﻫﺎ‬ ‫ﺍﻟﻘﺼﻴﺪﺓ‪ .‬ﻟﻴﺲ ﺍﻟ ‪‬‬ ‫ﺸﻌﺮ‪،‬‬ ‫ﻗﺪﺭﺓ ﻋﻠﻰ ﺍﻟ‪‬ﺘﺠﺮﻳﺪ‪ ،‬ﻭﺃﻛﺜﺮﻫﺎ ﻗﹸﺪﺭﺓ ﻋﻠﻰ ﺍﻟﺘ‪‬ﺤﺪﻳﺚ ﻭﺍﻟ‪‬ﺘﻐﻴﲑ‪ .‬ﺍﻟ ‪‬‬ ‫ﻭﻟﻴﺲ ﺍﳌﺴﺮﺡ‪ ،‬ﻫﻮ ﺍﻟ ﹼﺬﻱ ﻗﺎﺩ ﺍﻹﻧﺴﺎﻥ ﻣﻦ ﺍﻟﻈﹼﻠﻤﺎﺕ ﺇﱃ ﺍﻟﻨ‪‬ﻮﺭ‪،‬‬ ‫ﺍﻟﺸ‪‬ﻌﺮ‪ ،‬ﻭﻟﻴﺲ ﺍﻟﻔﻠﺴﻔﺔ‪ ،‬ﻫﻮ ﻣﻦ ﻗﺎﺩ ﺍﻹﻧﺴﺎﻥ ﺇﱃ ﺍﳉﻤﺎﻝ ﻭﺍﳊ ‪‬ﻖ‬ ‫ﻀﻮﺀ‪ ،‬ﻫﻮ ﺍﻟ ﹼﺬﻱ ﺟﻌﻞ ﺍﻷﺭﺽ ﻣ‪‬ﺸﺮﻗﺔ‬ ‫ﺸﻌﺮ‪ ،‬ﻭﻟﻴﺲ ﺍﻟ ‪‬‬ ‫ﻭﺍﻟﻌﺪ‪‬ﻝ‪ ...‬ﺍﻟ ‪‬‬ ‫ﺐ ﺍﻟﺘ‪‬ﺠﺮﻳﺪ ﺍﻟ ﹼﺬﻱ ﻳﺆﻣ‪‬ﻦ ﺍﳉﻮﺍﻫﺮ‪ ،‬ﻭﺍﻟﻐﻤﻮﺽ ﺍﻟ ﹼﺬﻱ‬ ‫ﻫﻜﺬﺍ‪ .‬ﳍﺬﺍ ﺃﺣ ‪‬‬ ‫ﻳ‪‬ﺤﺎﻓﻆ ﻋﻠﻰ ﺍﻟﻜﻤﺎﻝ‪ ،‬ﻭﺍﻟﻐﺎﺋﺐ ﺍﻟﺬﹼﻱ ﻳﻠ ‪‬ﻐﺰ ﺍﳊﺎﺿﺮ‪ ،‬ﻭﻳﺴﻤ‪‬ﻴﻪ‪ ...‬ﻭﰲ‬ ‫ﺕ ﻟﻼﻧﻔﺘﺎﺡ ﻋﻠﻰ ﻣﺎ ﻟﻴﺲ ﺷ ‪‬ﻌﺮ‪‬ﺍ‪...‬‬ ‫ﻣﺎ ﻛﺘﺒﺘ‪‬ﻪ ﻭﱂ ‪‬ﻳﻨ‪‬ﺸ ‪‬ﺮ ﺑﻌﺪ‪ ،‬ﳏﺎﻭﻻ ‪‬‬ ‫ﻛﺎﻧﺖ ﻟﻚ ﲡﺮﺑﺔ ﻣﺴﺮﺣﻴ‪‬ﺔ ﺃﺛﻨﺎﺀ ﺩﺭﺍﺳﺘﻚ ﺍﻟﺜﺎﻧﻮﻳ‪‬ﺔ ؟‬ ‫ﹸﻛﻨ‪‬ﺎ ﺳﺒﻌﺔ ﺃﻭ ﲦﺎﻧﻴﺔ‪ .‬ﻻ ﺃﺫﻛﺮ‪ ...‬ﱂ ﻳﻜﻦ ﻣﻌﻨﺎ ﻛﻠﺐ ﻭﻻ‬ ‫ﻱ ﺗﺄﻃﲑ ﻭﻻ ﺇﺷﺮﺍﻑ‪ .‬ﻭﺣﺪﻫﺎ ﺍﻟﺮ‪‬ﻏﺒﺔ ﻗﺎﺩﺗ‪‬ﻨﺎ ﺇﱃ‬ ‫ﻛﻬﻒ! ﱂ ﳔﻀﻊ ﻷ ‪‬‬ ‫ﻱ ﻏﻨﺎﺋ ‪‬ﻲ ﻳﺘﺮﻛﹼﺰ ﻋﻠﻰ ﻗﺼﻴﺪﺓ ﳌﻌﲔ ﺑﺴﻴﺴﻮ‬ ‫ﺇﻧﺘﺎﺝ ﻋﻤﻞ ﻣﺴﺮﺣ ‪‬ﻲ ﺷﻌﺮ ‪‬‬ ‫ﻭﺑﻌﺾ ﺍﻟﻔﻘﺮﺍﺕ ﶈﻤﻮﺩ ﺍﳌﺴﻌﺪﻱ‪ ،‬ﻭﻇﹼﻔﻨﺎ ﻓﻴﻪ ﻋﺪﻳﺪ ﺍﻷﻏﺎﱐ ﺍﳌﻌﺮﻭﻓﺔ‬ ‫ﰲ ﺗﻠﻚ ﺍﻟﻔﺘﺮﺓ‪.‬‬ ‫ﻭﻋﺮﺽ ﻫﺬﺍ ﺍﻟﻌﻤﻞ ﰲ ﻋﺪﻳﺪ ﺍﻷﻣﺎﻛﻦ ﻭﺗﻮ‪‬ﺝ ﲜﺎﺋﺰﺓ ﰲ ‪‬ﺎﺋﻲ‬ ‫ﺍﳌﺴﺮﺡ ﺍﳌﺪﺭﺳﻲ ﻭﻛﺎﻥ ﻋﻨﻮﺍﻧﻪ ﻧﺸﻴﺪ ﺍﳊﺐ ﻭ ﺍﻟﺜﹼﻮﺭﺓ‪.‬‬ ‫‪106‬‬


‫ﺃﺗﺬﻛﹼﺮ ﺟﻴ‪‬ﺪﺍ ﺍﳌﺸﻬﺪ ﺍﻷﺧﲑ ﻣﻦ ﻫﺬﺍ ﺍﻟﻌﻤﻞ ﺍﻟﺴ‪‬ﺎﻛﻦ ﰲ‬ ‫ﱯ ﻣﺮﻣ ‪‬ﻲ ﻋﻠﻰ ﺃﻭ‪‬ﻝ ﺍﻟ ‪‬ﺮﻛﺢ ﻣﻀﺮ‪‬ﺟﺎ ﺑﺪﻣﺎﺋﻪ‪ ،‬ﻭﺣﻮﻟﻪ ﺃﻣ‪‬ﻪ‬ ‫ﺍﻟﺬﹼﺍﻛﺮﺓ‪ .‬ﺍﻟﺼ ‪‬‬ ‫ﻭﺃﺻﺪﻗﺎﺅﻩ ﻳﻨﺜﺮﻭﻥ ﺯﻫﻮﺭ ﺍﻟﹼﻠﻮﺯ ﺍﻟﺒﻴﻀﺎﺀ ﻋﻠﻴﻪ ﰲ ﺍﻟﺒﺪﺍﻳﺔ‪ ،‬ﹼﰒ ﻋﻠﻰ‬ ‫ﺍﳉﻤﻬﻮﺭ ﰲ ﺍﻟﻘﺎﻋﺔ‪ ،‬ﻓﻴﻢ ﻳ‪‬ﺴﻤﻊ ﺻﻮﺕ ﺃﻏﻨﻴﺔ ﺣﺰﻳﻨﺔ‪ ،‬ﻧﺴﻴﺖ ﻛﻼﻣﻬﺎ‪،‬‬ ‫ﻳﺆﺩ‪‬ﻳﻬﺎ ﻓﻮﺯﻱ ﻭﻋﺒﺪ ﺍﳊﻤﻴﺪ ﻭﻋﺒ‪‬ﺎﺱ ﳏﻤﻮﺩ ﻭﺁﺧﺮﻭﻥ‪.‬‬ ‫ﰲ ﺗﻠﻚ ﺍﻷﻳ‪‬ﺎﻡ‪ ،‬ﻛﻨ‪‬ﺎ ﻗﺪ ﺍﻟﺘﻘﻴ‪‬ﻨﺎ ﺃﻧﺎ ﻭﺃﻧﺖ‪ ،‬ﻳﺎ ﻛﺎﺭﻡ‪ ،‬ﰲ‬ ‫ﻗﻠﻴﺒﻴﺔ‪ ...‬ﺃﻻ ﺗﺘﺬﻛﹼﺮ!‪...‬‬ ‫ﻃﺒﻌﺎ ﺃﺗﺬﻛﹼﺮ‪ ...‬ﻟﻜﻦ ﺩﻋﻨﺎ ﻧﺘﻘﺪ‪‬ﻡ‪ .‬ﻫﻨﺎﻙ ﺍﺷﺘﻐﺎﻝ ﻫﺎﻡ ﻋﻠﻰ‬ ‫ﺍﻟﺼ‪‬ﻮﺭﺓ ﺍﻟﺸ‪‬ﻌﺮﻳ‪‬ﺔ ؟‬ ‫ﺸﻌﺮﻳ‪‬ﺔ‪ ،‬ﻫﻨﺎﻙ ﻣﻦ ﲢ ‪‬ﺪﺙ‬ ‫ﺼﻮﺭﺓ ﺍﻟ ‪‬‬ ‫ﻓﻌﻼ ﹼﲦﺔ ﻋﻤﻞ ﺧﺎﺹ ﻋﻠﻰ ﺍﻟ ‪‬‬ ‫ﺸﻌﺮﻳ‪‬ﺔ ﳍﺎ ﺭﻭﺍﻓﺪ ﻣﺘﻌ ‪‬ﺪﺩﺓ‪ ،‬ﻓﻬﻲ ﺗﺄﺧﺬ ﻣﻦ ﻣﻌﺎﺟﻢ‬ ‫ﺼﻮﺭﺓ ﺍﻟ ‪‬‬ ‫ﻋﻦ ﺫﻟﻚ‪ .‬ﺍﻟ ‪‬‬ ‫ﳐﺘﻠﻔﺔ‪ .‬ﹼﰒ ﺗﺘﺠﺎﻭﺯ ﺍﻟﻴﻮﻣﻲ ﻭﺍﻟﻌﺎﺩﻱ ﺇﱃ ﺍﻟ‪‬ﺘﺨﻴﻴﻞ‪ .‬ﻳﻘﻮﻝ ﺍﻟﺒﻌﺾ ﺃﻧﻪ‬ ‫ﻣﺒﺎﻟﻎ ﻓﻴﻪ ﺃﻭ ﺑﻼ ﻗﺼﺪ ﺃﻭ ﻣﺴﺘﻐﻠﻖ ﺃﻭ ﻏﲑ ﻣﻔﻬﻮﻡ‪ ،‬ﻟﻜﻦ ﻫﻮ ﰲ ﺍﳊﻘﻴﻘﺔ‬ ‫ﻧﺎﺑﻊ ﻣﻦ ﲡﺮﺑﺔ ﻟﻐﻮﻳ‪‬ﺔ ﻭﻳﻌﱪ ﰲ ﺭﺃﻳﻲ ﻋﻦ ﳎﻤﻮﻋﺔ ﻣﻦ ﺍﻷﻓﻜﺎﺭ ﻻ ﳝﻜﻦ‬ ‫ﺍﻟ‪‬ﺘﻌﺒﲑ ﻋﻨﻬﺎ ﺑﻠﻐﺔ ﺳﻬﻠﺔ ﻭﲜﻤﻠﺔ ﻳﻨﻌﺪﻡ ﻓﻴﻬﺎ ﺍﻻﺷﺘﻐﺎﻝ ﻭﺍﻟﺘﻜﺜﻴﻒ‪.‬‬

‫‪107‬‬


‫ﻳﺘﺰﺍﻭﺝ ﺍﻟﻨ‪‬ﺜﺮ ﻣﻊ ﺍﳌﻮﺯﻭﻥ ﰲ ﺷﻌﺮﻙ‪ .‬ﻫﻞ ﻧﻔﻬﻢ ﻣﻦ ﻫﺬﺍ‬ ‫ﺃﻧﻚ ﻣﺎﺯﻟﺖ ﺗﻌﻴﺶ ﻗﻠﻖ ﺍﻟﺒﺤﺚ ﻋﻦ ﳕﻂ ﺷﻌﺮﻱ‪ ‬ﻣﻌﲔ ﻳﻘﻨﻌﻚ ﺳﻮﺍﺀ‬ ‫ﺃﻛﺎﻥ ﺍﻟﻨ‪‬ﺜﺮ ﺃﻡ ﺍﻟﺘ‪‬ﻔﻌﻴﻠﺔ؟‬ ‫ﺃﻧﺎ ﱂ ﺃﻓ ﹼﻜﺮ ﻣﻄﻠﻘﺎ ﰲ ﺍﻟﻮﺯﻥ‪ .‬ﻭﺍﳊﻘﻴﻘﺔ ﺍﻷﻋﻤﻖ ﻫﻲ ﺃ‪‬ﻧﲏ ﻻ‬ ‫ﺃﻓ ﹼﻜﺮ ﰲ ﺷﻲﺀ ﻭﺃﻧﺎ ﺃﻛﺘﺐ‪ .‬ﻣﺎ ﺃﻓ ﹼﻜﺮ ﺑﻪ ﺑﺒﺴﺎﻃﺔ ﻫﻮ ﺃﻥ ﺃﻻﻣﺲ ﺍﳊﺪﺙ‬ ‫ﺍﻟﻌﻤﻴﻖ ﺍﻟ ﹼﺬﻱ ﻫﻮ ﰲ ﺃﻋﻤﺎﻗﻲ ﻭﰲ ﺩﻭﺍﺧﻠﻲ‪ ،‬ﺃ ‪‬ﻣﺎ ﻛﻴﻒ ﺃﻋ‪‬ﺒﺮ ﻋﻦ ﻫﺬﺍ‬ ‫ﺍﳊﺪﺙ‪ ،‬ﻓﺄﺟﺪ ﺃ‪‬ﻧﲏ ﺃﻗﺮﺏ ﺇﱃ ﻟﻐﺔ ﺷﻌﺮﻳ‪‬ﺔ ﲡﺮﻱ ﻓﻴﻬﺎ ﺩﻣﺎﺀ ﺍﳌﻮﺳﻴﻘﻰ!‬ ‫ﺃﻱ ﳍﺎ ﺇﻳﻘﺎﻉ؟‬ ‫ﻧﻌﻢ ﺇﻳﻘﺎﻋﻴ‪‬ﺔ ﺇﺫﺍ ﺃﺭﺩﺕ‪ .‬ﰲ ﳊﻈﺎﺕ ﻳﺘﻜﹼﺜﻒ ﺍﻹﻳﻘﺎﻉ ﻋﻠﻰ‬ ‫ﺃﺣﺪ ﺍﻟﺒﺤﻮﺭ ﺍﳋﻠﻴﻠﻴﺔ ﺃﻭ ﺇﺣﺪﻯ ﺍﻟ‪‬ﺘﻔﻌﻴﻼﺕ ‪ ،‬ﻭﻋﻨﺪﻣﺎ ﺃﺷﻌﺮ ﺑﺮﺗﺎﺑﺔ‬ ‫ﺍﻷﻣﺮ ﰲ ﺗﻔﻌﻴﻠﺔ ﻣﻌ‪‬ﻴﻨﺔ ﺃﻧﺘﻘﻞ ﺇﱃ ﺗﻔﻌﻴﻠﺔ ﺃﺧﺮﻯ ﺃﻫﺪﺃ‪ .‬ﻭﻫﺬﺍ ﻛﹼﻠﻪ‬ ‫ﳑﻜﻨﺎﺕ ﺇﻳﻘﺎﻋﻴ‪‬ﺔ ﻳﻔﻬﻤﻬﺎ ﺍﻟﻌﺮﻭﺿﻴ‪‬ﻮﻥ ﺑﻄﺒﻴﻌﺔ ﺍﳊﺎﻝ‪ ،‬ﻓﺄﻧﺎ ﺃﺧﺮﺝ ﻣﻦ‬ ‫ﺗﻔﻌﻴﻠﺔ ﻓﻴﻈ ‪‬ﻦ ﺍﻟﻘﺎﺭﺉ ﺃﻧﲏ ﺭﺑ‪‬ﻤﺎ ﺧﺮﺟﺖ ﺇﱃ ﺍﻟ‪‬ﻨﺜﺮ‪ ،‬ﻭﰲ ﻣ ‪‬ﺮﺍﺕ ﺃﺧﺮﻯ‬ ‫ﺃﺷﻌﺮ ﺃ‪‬ﻧﲏ ﲝﺎﺟﺔ ﺇﱃ ﻛﻠﻤﺔ ﳐﺼﻮﺻﺔ ﺗﻜﺴﺮ ﺍﻹﻳﻘﺎﻉ ﻭﺍﻟ‪‬ﺘﻔﻌﻴﻠﺔ ﻭﻟﻜ‪‬ﻨﲏ‬ ‫ﺃﺷﻌﺮ ﺃ‪‬ﻧﻬﺎ ﻫﻲ ﺍﻟ‪‬ﺘﻲ ﺃﺭﻳﺪ ﻓﺄﻛﺘﺒﻬﺎ ﺩﻭﻥ ﺃﻱ ﺣﺮﺝ ﺃﻭ ﺧﻮﻑ‪ .‬ﻛﻤﺎ ﺃ‪‬ﻧﲏ‬ ‫ﰲ ﻗﺼﺎﺋﺪﻱ ﺃﺭﻳﺪ ﺃﻥ ﺃﻛﺴﺮ ﺗﻠﻚ ﺍﻟ ﹼﺬﺍﺕ ﺍﻟ ﹼﻄﺎﻏﻴﺔ ﻓﺄﻧﺴﺐ ﺍﻟﻔﻌﻞ ﺇﱃ‬ ‫ﺿﻤﲑ ﺍﻟﻐﺎﺋﺐ ﻫﻮ ﻷﺣ ‪‬ﺪ ﻣﻦ ﻃﻐﻴﺎﻥ ﺍﻟﺬﹼﺍﺕ‪ .‬ﻭﺃﺣﻴﺎﻧﺎ ﺃﺭﻳﺪ ﺃﻥ ﺃﻋ‪‬ﺒﺮ ﻋﻦ‬ ‫‪108‬‬


‫ﻓﻜﺮﺓ ﺫﺍﺗ‪‬ﻴﺔ ﻗﻮﻳ‪‬ﺔ ﹼﰒ ﺃﺭﻏﺐ ﰲ ﺍﳊ ‪‬ﺪ ﻣﻦ ﻫﺬﻩ ﺍﻷﻧﺎ ﺍﻟ ‪‬ﺮﻭﻣﺎﻧﺴﻴ‪‬ﺔ ﺍﻟ ﹼﻄﺎﻏﻴﺔ‬ ‫ﻓﺄﻗﻮﻡ ﺑﻜﺴﺮ ﺍﻹﻳﻘﺎﻉ‪ ،‬ﻭﺍﻟﻜﺴﺮ ﻳﺘ ‪‬ﻢ ﺑﻄﺮﻳﻘﺘﲔ‪ ،‬ﺍﻟﻄﺮﻳﻘﺔ ﺍﻷﻭﱃ ﺃﺣﺎﻓﻆ‬ ‫ﻓﻴﻬﺎ ﻋﻠﻰ ﺍﻟﻌﺮﻭﺽ ﻭﺍﻹﻳﻘﺎﻉ ﺍﳋﻠﻴﻠﻲ ﺍﻟﻌﺎﺩﻱ ﺍﳌﺘﻌﺎﺭﻑ ﻋﻠﻴﻪ‪ ،‬ﻭﺍﻟ ﹼﻄﺮﻳﻘﺔ‬ ‫ﺍﻟﹼﺜﺎﻧﻴﺔ ﻫﻲ ﻛﺴﺮ ﻫﺬﺍ ﺍﻹﻳﻘﺎﻉ ﻫﻜﺬﺍ ﺑﺒﺴﺎﻃﺔ ﻭﺑﻌﻨﻒ ﻭﺑﻘﺴﻮﺓ ﻭﺃﺗﺮﻙ‬ ‫ﺼﻔﺤﺔ‪ .‬ﻫﻜﺬﺍ ﺃﻛﺘ‪‬ﺐ ‪ ...‬ﻭﻫﻜﺬﺍ ﺃﻧﺜﺮ ﺍﳉﻮﺍﻫﺮ ﺍﻟ‪‬ﺘﻲ ﰲ‬ ‫ﻓﺮﺍﻏﺎ ﰲ ﺍﻟ ‪‬‬ ‫ﺍﻟ ‪‬ﺪﻭﺍﺧﻞ!‬ ‫ﻭﺃﺟﺪ ﺃ‪‬ﻧﲏ ﻣ‪‬ﺘﺠﻪ ﺑﻘﻮ‪‬ﺓ ﻭﺑﻜﺜﺎﻓﺔ ﺇﱃ ﺍﻹﻳﻘﺎﻉ ﺍﳌﺘﻤﺜﹼﻞ ﰲ‬ ‫ﺍﻷﻭﺯﺍﻥ ﻭﻟﻜﻦ ﻟﻴﺲ ﺑﺸﻜﻞ ﻋﺮﻭﺿﻲ ﻭﺧﻠﻴﻠﻲ )ﺻﺪﺭ ﻭﻋﺠﺰ(‪ .‬ﻭﻟﻜﻦ‬ ‫ﺍﳉﻤﻠﺔ ﺍﳊﺮ‪‬ﺓ ﺍﻟﱵ ﺗﺘﺤﺮ‪‬ﻙ ﰲ ﺍﻷﻓﻖ ﺍﻟﻌﺮﻭﺿﻲ ﺍﻟﻮﺍﺳﻊ‪ .‬ﻭﺍﻵﻥ ﺃﻛﺘﺐ‬ ‫ﻋﻠﻰ ﺷﻜﻞ ﻓﻘﺮﺍﺕ ﻣﻨﺘﻈﻤﺔ ﻛﻤﺎ ﻳﻮﺟﺪ ﰲ ﺍﻟ ‪‬ﺮﻭﺍﻳﺎﺕ‪ ،‬ﻭﲨﻠﱵ ﱂ ﺗﻌﺪ‬ ‫ﺗﻠﻚ ﺍﳉﻤﻠﺔ ﺍﻟﺒﺴﻴﻄﺔ‪ ،‬ﺑﻞ ﺗﻐﻴ‪‬ﺮﺕ ﲤﺎﻣ‪‬ﺎ‪ ،‬ﻭﺇﻳﻘﺎﻋﻲ ﺗﻐﻴ‪‬ﺮ‪ ،‬ﺇﱃ ﻣﺎ ﻳﺸﺒ ‪‬ﻪ‬ ‫ﺍﻹﻳﻘﺎﻉ ﺍﻟ ‪‬ﺪﺍﺧﻠ ‪‬ﻲ ﺍﻟﺬﹼﺍﰐﹼ‪ ،‬ﺃﺳﺘﻌﻤﻞ ﻛ ﹼﻞ ﺍﳌﻤﻜﻨﺎﺕ ﺍﻹﻳﻘﺎﻋﻴ‪‬ﺔ‪ .‬ﻓﺎﻹﻳﻘﺎﻉ‬ ‫ﻛﻤﺎ ﺃﻓﻬﻤﻪ ﱂ ﻳﻜﻦ ﺃﺑﺪ‪‬ﺍ ﻣﻌﻄﹼﻼ ﻟﺒﻨﺎﺀ ﺍﻟﻨﺺ‪ ،‬ﺑﻞ ﻛﺎﻥ ﺩﺍﺋﻤﺎ ﺧﺎﺩﻣﺎ‬ ‫ﺃﻣﻴﻨﺎ ﻟﻠﻔﻜﺮﺓ ﺍﻟ‪‬ﺘﻲ ﻳﺮﻳﺪ ﺍﻟﺸ‪‬ﺎﻋﺮ ﺍﻟ‪‬ﺘﻌﺒﲑ ﻋﻨﻬﺎ‪ .‬ﻭﺃﻧﺎ ﺃﻗﻮﻝ ﻟﻚ ﺇﻧﲏ ﺃﻣﻴﻞ‬ ‫ﺸﻌﺮ ﺍﳌﻮﺯﻭﻥ ﺃﻛﺜﺮ ﻣﻦ ﻗﺼﻴﺪﺓ ﺍﻟ‪‬ﻨﺜﺮ‪.‬‬ ‫ﻟﻠ ‪‬‬ ‫ﻫﻞ ﻫﺬﺍ ﺇﻗﺮﺍﺭ ﻣﻨﻚ ﺑﺄﻧ‪‬ﻚ ﻻ ﺗﺆﻣﻦ ﺑﻘﺼﻴﺪﺓ ﺍﻟﻨ‪‬ﺜﺮ؟‬

‫‪109‬‬


‫)ﻳﻘﻮﻝ ﺿﺎﺣﻜﺎ( ﺇﻥ ﻗﺼﻴﺪﺓ ﺍﻟ‪‬ﻨﺜﺮ ﻣﻦ ﺍﻟ‪‬ﺘﺠﺎﺭﺏ ﺍﳉﻤﻴﻠﺔ‬ ‫ﻭﺍﻟﻘﻮﻳ‪‬ﺔ‪ ،‬ﻭﻟﻜﻦ ﺍﻟﻘﺼﺎﺋﺪ ﺍﻟ‪‬ﺘﻲ ﺍﺳﺘﻄﺎﻋﺖ ﺃﻥ ﺗﻘﻨﻊ ﻗﻠﻴﻠﺔ‪ .‬ﻭﻟﻌ ﹼﻞ ﺃﲨﻞ‬ ‫ﺸﻌﺮ ﺍﻟﻌﺎﳌﻲ ﺍﳌﺘﺮﺟﻢ ﺇﱃ ﺍﻟﹼﻠﻐﺔ ﺍﻟﻌﺮﺑﻴ‪‬ﺔ‪.‬‬ ‫ﻗﺼﺎﺋﺪ ﺍﻟ‪‬ﻨﺜﺮ ﺍﻟﺘ‪‬ﻲ ﺗﻌﺠﺒﲏ ﻫﻲ ﺍﻟ ‪‬‬ ‫ﻧﺴﺘﻨﺘﺞ ﻣﻦ ﻛﻼﻣﻚ ﺃﻧﻚ ﺗﺼﺮ‪‬ﺡ ﺑﺄﻥﹼ ﺍﻟﻌﺮﺏ ﱂ ﻳﺒﺪﻋﻮﺍ ﰲ‬ ‫ﻗﺼﻴﺪﺓ ﺍﻟﻨ‪‬ﺜﺮ؟‬ ‫ﻻ ﺃﺩﺭﻱ‪ .‬ﻟﺴﺖ ﻣﺆﻫ‪‬ﻼ ﻟﻺﺟﺎﺑﺔ‪ ،‬ﻳﻌﺠﺒﲏ ﺷﻌﺮ ﺍﻟ‪‬ﻨﺜﺮ ﺍﻟ ﹼﺬﻱ‬ ‫ﺖ ﺑﻌﺾ‬ ‫ﺸﻌﺮﺍﺀ ﺍﻟﻌﺮﺏ ﺣﺘ‪‬ﻰ ﻣﻦ ﺍ‪‬ﺎﻳﻠﲔ ﱄ‪ .‬ﻭﺃﻧﺎ ﻛﺘﺒ ‪‬‬ ‫ﻳﻜﺘﺒﻪ ﺑﻌﺾ ﺍﻟ ‪‬‬ ‫ﻱ ﻋﻠﻰ‬ ‫ﺍﳌﻘﺎﻃﻊ ﻣﻨﻬﺎ ﻭﺟﺮ‪‬ﺑﺘﻬﺎ‪ .‬ﻭﻻ ﺃﻇ ‪‬ﻦ ﺃ ﹼﻥ ﻫﻨﺎﻙ ﺃﻓﻀﻠﻴ‪‬ﺔ ﳉﻨﺲ ﺷﻌﺮ ‪‬‬ ‫ﺟﻨﺲ ﺁﺧﺮ‪.‬‬ ‫ﻟﻜﻦ ﻋﻨﺪﻙ ﻣﻴﻞ ﻟﻠﻤﻮﺯﻭﻥ ﻭﻟﻴﺲ ﻟﻠﻨ‪‬ﺜﺮ؟‬ ‫ﳝﻜﻦ ﻗﻮﻝ ﺫﻟﻚ‪...‬‬ ‫ﺍﻟﻠﹼﺤﻈﺔ ﺍﻟﻌﺮﺑﻴ‪‬ﺔ ﺍﻟﺮ‪‬ﺍﻫﻨﺔ ﻫﻲ ﺧﻠﻴﻂ ﻣﻦ ﺍﻷﱂ ﻭﺍﳍﻢ‪ ‬ﻭﺍﻟﻮﺟﻊ‪،‬‬ ‫ﻛﻴﻒ ﺗﺘﻔﺎﻋﻞ ﻣﻌﻬﺎ ﺷﻌﺮﻳ‪‬ﺎ ﺿﻤﻦ ﺭﺅﻳﺘﻚ ﺍﳌﺒﻨﻴ‪‬ﺔ ﻋﻠﻰ ﺍﻟﺘ‪‬ﺠﺎﻭﺯ ﺍﻟﻜﻠﹼﻲ‬ ‫ﺍﻟﺮ‪‬ﺍﻓﺾ ﳌﺎ ﻳﺴﻤ‪‬ﻰ ﺑﺎﻻﻟﺘﺰﺍﻡ؟‬

‫‪110‬‬


‫ﺑﻌﺾ ﺍﻟﺮﺳ‪‬ﺎﻣﲔ ﺍﻟﻌﺎﳌﻴﲔ ﻣﺜﻞ ﺑﻴﻜﺎﺳﻮ ﻋﻨﺪﻣﺎ ﻋﺒ‪‬ﺮ ﻋﻦ‬ ‫ﳊﻈﺎﺕ ﺯﻣﻨﻪ ﺑﺎﻟ ‪‬ﺮﺳﻢ ﱂ ﻳﺼﺮﺥ ﻭﱂ ﻳﻠﺘﺠﺊ ﺇﱃ ﺍﻷﺳﺎﻟﻴﺐ ﺍﳊﻤﺎﺳﻴ‪‬ﺔ‪،‬‬ ‫ﺑﻞ ﺍﺳﺘﻌﻤﻞ ﺃﺳﻠﻮﺑﻪ ﺍﳌﻌﺮﻭﻑ ﻣﻌﺘﻤﺪﺍ ﻋﻠﻰ ﺍﳋﻄﻮﻁ ﻭﺍﻷﻟﻮﺍﻥ ﻭﺭﺳﻢ‬ ‫ﻟﻨﺎ ﺭﻭﺍﺋﻊ ﺍﺳﺘﻄﺎﻋﺖ ﺃﻥ ﺗﻨﻔﺬ ﻭﺗﺼﻞ ﺇﱃ ﺷﻌﻮﺏ ﺍﻟﻌﺎﱂ ﻛﻠﻬﺎ ﻭﺃﻥ‬ ‫ﺻﻞ ﺗﻠﻚ ﺍﻟﻠﺤﻈﺔ ﺍﳋﺎﻟﺪﺓ ﺍﻟ‪‬ﺘﻲ ﳝﻜﻦ ﻣﻦ ﺧﻼﳍﺎ ﻟﻺﻧﺴﺎﻥ ﺃﻥ ﻳﻨﻄﻠﻖ‬ ‫ﺗﻮ ‪‬‬ ‫ﻭﻳﻌﺒ‪‬ﺮ ﻭﻳﺘﺤﺮ‪‬ﺭ‪ .‬ﲢﻀﺮﱐ ﰲ ﺍﻹﺟﺎﺑﺔ ﻋﻠﻰ ﻫﺬﺍ ﺍﻟﺴﺆﺍﻝ ﲡﺎﺭﺏ ﻫﺎﻣ‪‬ﺔ‬ ‫ﻟﻠﻜﺜﲑ ﻣﻦ ﺍﻟﺮ ‪‬ﺳﺎﻣﲔ ﰲ ﺍﻟﻌﺎﱂ ﻣﺜﻞ ﻛﺎﻧﺪﻧﺴﻜﻲ‪ ،‬ﻭﲢﻀﺮﱐ ﳎﻤﻮﻋﺔ‬ ‫ﺸﻌﺮ ﺍﳌﺘﻨﺎﺛﺮﺓ ﻭﺍﻟﻘﻄﻊ ﺍﻟﺼ‪‬ﻐﲑﺓ ﰲ ﺍﻟﺘ‪‬ﺮﺍﺙ ﺍﻟﻌﺮﰊ‪،‬‬ ‫ﻛﱪﻯ ﻣﻦ ﺃﺑﻴﺎﺕ ﺍﻟ ‪‬‬ ‫ﺍﻟﺘ‪‬ﻲ ﺗﺴﻴ‪‬ﺮ ﺍﻟﻜﻠﻤﺎﺕ ﺑﺮﻳﺎﺡ ﺍﻹﻏﻮﺍﺀ ﺍﻟﻔﺎﺗﻨﺔ ﻟﺘﻘﻮﻝ ‪‬ﺎ ﳊﻈﺘﻬﺎ ﺍﳋﺎﻟﺪﺓ‬ ‫ﺩﻭﻥ ﻣﺎ ﺣﺎﺟﺔ ﺇﱃ ﺍﻟﺼ‪‬ﺮﺍﺥ ﻭﺍﻷﺳﺎﻟﻴﺐ ﺍﳊﻤﺎﺳﻴ‪‬ﺔ‪ .‬ﻭﻣﺎ ﺃﻓﻜﹼﺮ ﺑﻪ‬ ‫ﺸﻌﺮ ﻣﺮﺳﻞ ﻟﻠﺠﻮﺍﻫﺮ‪ ،‬ﻻ ﻟﻸﻋﺮﺍﺽ‪ ،‬ﻭﺍﳉﻮﺍﻫﺮ ﻻ‬ ‫ﺑﺒﺴﺎﻃﺔ ﻫﻮ ﺃﻥ ﺍﻟ ‪‬‬ ‫ﺼﺮﺍﺥ ﻟﺘﻘﻮﻝ ﺇ‪‬ﻧﲏ ﲨﻴﻠﺔ ﻭﻣﻮﺟﻮﺩﺓ‪ .‬ﻭﺍﻟﺸﺎﻋﺮ‬ ‫ﲢﺘﺎﺝ ﺇﱃ ﻛﺜﲑ ﻣﻦ ﺍﻟ ‪‬‬ ‫ﺼﻤﻴﻤﺔ ﺍﻟ‪‬ﺘﻲ ﺗﺴﻜﻦ ﻛﻞ‬ ‫ﻣﻄﺎﻟﺐ ﰲ ﺭﺃﻳﻲ ﺑﺎﻟ‪‬ﻨﻔﺎﺫ ﺇﱃ ﻫﺬﻩ ﺍﻟﹼﻠﺤﻈﺔ ﺍﻟ ‪‬‬ ‫ﺸﻌﺮ ﺍﳌﻠﺘﺰﻡ ﺃﻭ ﻏﲑﻩ‪ ،‬ﻓﻼ‬ ‫ﺍﻟﻨ‪‬ﺎﺱ ﻭﺗﻮﺣ‪‬ﺪ ﺑﻴﻨﻬﻢ‪ .‬ﺃ ‪‬ﻣﺎ ﺳﺆﺍﻝ ﺍﻟﻜﻴﻔﻴ‪‬ﺔ‪ ،‬ﺍﻟ ‪‬‬ ‫ﺸﻌﺮ ﺍﻟﻌﺮﰊ ﲡﺪ‬ ‫ﺃﻇ ‪‬ﻦ ﺃ‪‬ﻧﻪ ﺍﻟ ﹼﻄﺮﻳﻖ ﺇﱃ ﻫﺬﻩ ﺍﻟﹼﻠﺤﻈﺔ‪ .‬ﻭﰲ ﻛﺜﲑ ﻣﻦ ﺍﻟ ‪‬‬ ‫ﻫﺬﺍ ﺍﻻﻟﺘﺰﺍﻡ ﺍﻟﺘ‪‬ﺎﻓﻪ ﺍﻻﻧﻔﻌﺎﱄ ﺍﻟﻌﺎﺭﺽ ﺍﻟﺰ‪‬ﺍﺋﻞ‪ ...‬ﻭﺃﻏﻠﺐ ﻫﺬﺍ ﺍﻟﺸ‪‬ﻌﺮ‬ ‫ﺸﺎﻋﺮ ﺃﻥ ﻳﺼﻨﻌﻬﺎ‬ ‫ﺗﻐﻴﺐ ﻋﻨﻪ ﻫﺬﻩ ﺍﻟﹼﻠﺤﻈﺔ ﺍﳋﺎﻟﺪﺓ ﺍﳌﻘﺪ‪‬ﺳﺔ ﺍﻟ‪‬ﺘﻲ ﻋﻠﻰ ﺍﻟ ‪‬‬ ‫ﻭﺃﻥ ﻳﻠﻤﺴﻬﺎ ﺑﺎﻟﹼﻠﻐﺔ‪.‬‬

‫‪111‬‬


‫ﺃﺧﺮ ﺩﻳﻮﺍﻥ ﻟﻚ ﺻﺪﺭ ﺳﻨﺔ ‪ ،2001‬ﻣﺎ ﻫﻲ ﺃﺳﺒﺎﺏ ﻫﺬﺍ‬ ‫ﺍﻟﺘﺄﺧﲑ ﺍﻟﻮﺍﺿﺢ ﰲ ﺍﻟﻨ‪‬ﺸﺮ؟‬ ‫ﺸﺨﺼﻴ‪‬ﺔ‪ ،‬ﻓﻠﻢ‬ ‫ﺑﻌﺪ ﻧﺸﺮﻱ ﻟﺪﻳﻮﺍﻥ ﺍﻟﺴ‪‬ﲑﺓ ﺍﻫﺘﻤﻤﺖ ﲝﻴﺎﰐ ﺍﻟ ‪‬‬ ‫ﻱ‬ ‫ﺃﲤ ﹼﻜﻦ ﻣﻦ ﺇﺻﺪﺍﺭ ﻛﹸﺘﺐ‪ ...‬ﻭﻟﻜ‪‬ﻨﲏ ﺃﻛﺘﺐ ﻛﺜﲑﺍ ﻭﺑﻐﺰﺍﺭﺓ ﻭﻟﺪ ‪‬‬ ‫ﳎﻤﻮﻋﺔ ﻃﻴ‪‬ﺒﺔ ﻣﻦ ﺍﳌﺆﻟﹼﻔﺎﺕ ﺑﲔ ﻧﺜﺮ ﻭﺷﻌﺮ‪ .‬ﻭﺇﱃ ﺍﻵﻥ ﻻ ﺃﺟﺪ ﻧﺎﺷﺮﺍ ﰲ‬ ‫ﻣﺴﺘﻮﻯ ﺍﳊﻠﻢ ﺍﻟ ﹼﺬﻱ ﺃﲪﻠﻪ‪ .‬ﻣﺎ ﻫﻮ ﻣﻮﺟﻮﺩ ﻏﺮﻳﺐ ﻭﻏﲑ ﻋﺎﺩﻝ ﻭﻏﲑ‬ ‫ﲨﻴﻞ ﺃﻳﻀﺎ‪ .‬ﺍﳊﻜﻤﺔ ﺍﻵﻥ ﰲ ﺭﺃﻳﻲ ﻫﻲ ﺍﻻﻧﺘﻈﺎﺭ‪ ،‬ﺍﻧﺘﻈﺎﺭ ﻣﺎ‬ ‫ﻱ ﻭﺍﻹﳝﺎﻥ ﺑﻘﺪﺭﺓ‬ ‫ﺴﺆﺍﻝ ﺍﻟﻌﺎﰐ ﺍﻟﻘﻮ ‪‬‬ ‫ﺳﻴﺤﺪﺙ‪ ...‬ﻭﺍﻟﻜﺘﺎﺑﺔ ﻭﻣﻮﺍﺻﻠﺔ ﺍﻟ ‪‬‬ ‫ﻀﻮﺀ ﻋﻠﻰ ﺍﻹﻳﺮﺍﻕ ﻭﺍﻟﻨﻤ ‪‬ﻮ‪.‬‬ ‫ﺍﻟ ‪‬‬ ‫ﰲ ﺑﺪﺍﻳﺔ ﺍﻟﺘ‪‬ﺴﻌﻴﻨﺎﺕ ﻗﺪ ﻳﻜﻮﻥ ﺍﳊﻆﹼ ﻟﻌﺐ ﺩﻭﺭﻩ ﲟﺎ ﺃﻥ‬ ‫ﺃﲰﺎﺀ ﻫﺎﻣ‪‬ﺔ ﰲ ﺗﻮﻧﺲ ﺗﺒﻨ‪‬ﺘﻚ ﺇﺑﺪﺍﻋﻴ‪‬ﺎ ﻭﺳﺎﻧﺪﺗﻚ ﻭﺩﻋﻤﺘﻚ ﻣﻦ ﺑﻴﻨﻬﺎ‬ ‫ﳏﻤ‪‬ﺪ ﻟﻄﻔﻲ ﺍﻟﻴﻮﺳﻔﻲ ﺍﻟﺬﹼﻱ ﻛﻨﺖ ﺃﻧﺎ ﺃﻭ‪‬ﻝ ﻣﻦ ﻗﺪ‪‬ﻡ ﻧﺼﻮﺻﻚ ﺇﻟﻴﻪ‬ ‫ﻭﺣﺴﻦ ﺑﻦ ﻋﺜﻤﺎﻥ ﻭﳏﻤﺪ ﺍﻟﻌﻮﱐ ﻭﺁﺧﺮﻭﻥ‪ ،‬ﻫﺬﺍ ﺍﻟﺪ‪‬ﻋﻢ ﻛﻴﻒ‬ ‫ﺗﻌﺎﻣﻠﺖ ﻣﻌﻪ؟ ﻭﻣﺎﻫﻲ ﻧﻈﺮﺗﻚ ﺇﻟﻴﻪ ﺍﻵﻥ؟‬ ‫ﻛ‪‬ﻨﺎ ﰲ ﺑﺪﺍﻳﺔ ﺍﻟ‪‬ﺘﺴﻌﻴﻨﺎﺕ ﻣﺸﻐﻮﻟﲔ ﺑﺎﳊﻴﺎﺓ ﻋﻠﻰ ﻧﺴﻖ ﻣﻐﺎﻳﺮ‪،‬‬ ‫ﻛ‪‬ﻨﺎ ﳓﻠﻢ ﺑﺄﺷﻴﺎﺀ ﻛﺜﲑﺓ‪ ،‬ﻭﻛﻨﺖ ﺷﺨﺼﻴ‪‬ﺎ ﻣﺴﻨﻮﺩﺍ ﺑﻮﻫﻢ ﻛﺒﲑ ﻭﻫﻮ‬ ‫ﺃ‪‬ﻧﲏ ﻛﺘﺒﺖ ﻗﺼﻴﺪﺓ ﻣﻬﻤ‪‬ﺔ‪ ،‬ﻭﻟﻜﻦ ﻋﻨﺪﻣﺎ ﺫﻫﺒﺖ ﺇﱃ ﺍﳉﺎﻣﻌﺔ ﺍﻛﺘﺸﻔﺖ‬ ‫‪112‬‬


‫ﺯﻳﻒ ﻣﺎ ﻛﻨﺖ ﺃﻋﺘﻘﺪ‪ ،‬ﻭﻓﺠﺄﺓ ﻭﺟﺪﺕ ﺃﻣﺎﻣﻲ ﺑﺪﺍﺋﻞ ﺃﺧﺮﻯ ﳑﻜﻨﺔ‪،‬‬ ‫ﺷﻌﺮﺍﺀ ﺁﺧﺮﻳﻦ‪ ،‬ﻗﺮﺍﺀﺍﺕ ﺃﺧﺮﻯ‪ ،‬ﺃﺷﺨﺎﺻ‪‬ﺎ ﺁﺧﺮﻳﻦ‪ ،‬ﻭﺍﻗﺘﻨﻌﺖ ﺑﻀﺮﻭﺭﺓ‬ ‫ﺃﻥ ﺃﻋﻮﺩ ﺇﱃ ﺭﻣﺎﺩﻱ ﺍﻟﻘﺪﱘ ﻭﺃﻥ ﺃﺧﻠﻖ ﻣﻨﻪ ﺃﺟﻨﺤﺔ ﺟﺪﻳﺪﺓ ﺃﺣﹼﻠﻖ ‪‬ﺎ‪،‬‬ ‫ﺸﺎﻋﺮ ﺑﺪﺭ ﺑﻦ‬ ‫ﻭﺳﺎﻋﺪﱐ ﰲ ﺫﻟﻚ ﺍﻟﻜﺜﲑﻭﻥ ﺃﺫﻛﺮ ﻣﻨﻬﻢ ﺻﺪﻳﻘﻲ ﺍﻟ ‪‬‬ ‫ﲪﻴﺪﺓ‪ ،‬ﻭﳎﻤﻮﻋﺔ ﺃﺧﺮﻯ ﺃﺫﻛﺮ ﻣﻨﻬﺎ ﺑﺎﻟﺬﹼﺍﺕ ﳏ ‪‬ﻤﺪ ﻟﻄﻔﻲ ﺍﻟﻴﻮﺳﻔﻲ‬ ‫ﺍﻟ ﹼﺬﻱ ﺻﻨﻊ ﺣﻜﺎﻳﱵ ﺃﻭ ﺃﺳﻄﻮﺭﰐ‪ ،‬ﰲ ﺫﻟﻚ ﺍﻟﻮﻗﺖ ﺑﻜﻠﻴ‪‬ﺔ ﺍﻵﺩﺍﺏ‬ ‫ﲟ‪‬ﻨﻮﺑﺔ ﻭﺟﻌﻞ ﻣﻨ‪‬ﻲ ﻋﻦ ﺣ ‪‬ﻖ ﺃﻭ ﻋﻦ ﻏﲑ ﺣ ‪‬ﻖ ﺍﲰﺎ ﻣﻌ‪‬ﺮﻭﻓﺎ‪ .‬ﱂ ﺃﻋﺮﻑ‬ ‫ﺐ ﺍﻟﺸ‪‬ﻌﺮ ﻛﻞ ﺫﻟﻚ ﺍﳊﺐ‪ ،‬ﻭﳜﻠﺺ ﻟﻠﻜﺘﺎﺑﺔ ﻛ ﹼﻞ ﺫﻟﻚ‬ ‫ﺃﺣﺪﺍ ﻗﺒﻠﻪ ﳛ ‪‬‬ ‫ﺍﻹﺧﻼﺹ‪ .‬ﺗﻌﻠﹼﻤﺖ ﻣﻨﻪ ﺍﻟﻜﺜﲑ‪ .‬ﻭﺃﲪﻞ ﻟﻪ ﺍﻟ‪‬ﺘﻘﺪﻳﺮ ﺍﻟﻜﺒﲑ‪ .‬ﻭﺃﻇﻦ ﺃ‪‬ﻧﲏ‬ ‫ﻟﻮ ﱂ ﺃﺻﺎﺩﻓﻪ ﻟﻜﺎﻧﺖ ﲡﺮﺑﱵ ﺷﺒﻴﻬﺔ ﺑﻐﲑﻱ ﻣﻦ ﺍﻟﺸ‪‬ﻌﺮﺍﺀ‪ ،‬ﻧﺎﻗﺸﲏ‬ ‫ﻛﺜﲑﺍ‪ .‬ﺃﺭﺍﺩ ﻣ‪‬ﻨﻲ ﺃﻥ ﺃﻓﻌﻞ ﺃﺷﻴﺎﺀ‪ ،‬ﱂ ﺃﻭﺍﻓﻖ‪ .‬ﺃﺭﺩﺕ ﻣﻨﻪ ﺃﺷﻴﺎﺀ‪ ،‬ﻟﻌﹼﻠﻪ ﻫﻮ‬ ‫ﺃﻳﻀﺎ ﱂ ﻳﻮﺍﻓﻖ‪ .‬ﻛﻨﺖ ﻣﺴﻜﻮﻧﺎ ﺑﺄﺣﻼﻡ ﺧﺎﺻ‪‬ﺔ ﻭﱂ ﺃﻛﻦ ﻣﺴﺘﻌﺪ‪‬ﺍ‬ ‫ﻟﻠ‪‬ﺘﻀﺤﻴﺔ ‪‬ﺎ‪ .‬ﻛﻨﺖ ﺃﺭﻳﺪ ﺃﻥ ﺃﻓﻌﻞ ﻣﺎ ﺃﺭﻳﺪ ﺃﻥ ﺃﻓﻌﻠﻪ‪ ،‬ﻭﱂ ﺃﻧﺪﻡ ﳊﻈﺔ‬ ‫ﻭﺍﺣﺪﺓ‪ .‬ﻭﺍﳊﻘﻴﻘﺔ ﺃﻧ‪‬ﻚ ﻛﻨﺖ ﻗﺮﻳﺒﺎ ﻣ‪‬ﻨﻲ ﺟﺪ‪‬ﺍ ﰲ ﺗﻠﻚ ﺍﻟﻔﺘﺮﺓ‪،‬‬ ‫ﻭﺗﺴﺘﻄﻴﻊ ﺃﻥ ﺗﺘﺤﺪ‪‬ﺙ ﻋﻨﻬﺎ ﺃﻓﻀﻞ ﻣﻨ‪‬ﻲ‪ .‬ﺃﻣ‪‬ﺎ ﺣﺴﻦ ﺑﻦ ﻋﺜﻤﺎﻥ ﻓﻠﻘﺪ‬ ‫ﻛﺎﻥ ﺩﺍﺋﻤﺎ ﻣﻊ ﻗﺼﻴﺪﰐ ﰲ ﺍﻟﻮﺭﻗﺎﺕ ﺍﻟﺜﻘﺎﻓﻴ‪‬ﺔ ﻭﰲ ﳎﻠﹼﺔ ﺍﳊﻴﺎﺓ ﺍﻟﺜﻘﺎﻓﻴ‪‬ﺔ‪.‬‬ ‫ﺐ ﻛﺘﺎﺑﺎﺗﻪ‪ ،‬ﻭﺃﺷﻌﺮ ﺑﺘﻘﺪﻳﺮﻩ ﳌﺎ ﺃﻛﺘﺐ‪ .‬ﻭﻛﺬﻟﻚ ﳏﻤ‪‬ﺪ ﺍﻟﻌﻮﱐ ﻭﻋﺒﺪ‬ ‫ﺃﺣ ‪‬‬ ‫ﺍﷲ ﻣﺎﻟﻚ ﺍﻟﻘﺎﲰﻲ ﻭﻏﲑﻫﻢ‪...‬‬

‫‪113‬‬


‫ﺍﻟﻘﺎﻣﻮﺱ ﺍﻟﻠﹼﻐﻮﻱ ﻟﺸﻌﺮﻙ ﻣﻨﺒﻌﻪ ﺍﻟﻘﺎﻣﻮﺱ ﺍﻟﺮ‪‬ﻭﻣﺎﻧﺴﻲ‪،‬‬ ‫ﻟﻜﻦ ﺑﺈﻋﺎﺩﺓ ﺻﻴﺎﻏﺔ ﲡﻌﻠﻪ ﻣﺘﻔﺮ‪‬ﺩﺍ ﻻ ﻋﻼﻗﺔ ﻟﻪ ﺑﺎﻟﺮ‪‬ﻭﻣﻨﺴﻴ‪‬ﺔ ﺃﻭ‬ ‫ﺍﻻﻧﻄﺒﺎﻋﻴ‪‬ﺔ‪ .‬ﻭﻗﺪ ﻧﺴﻤ‪‬ﻴﻪ ﲟﺎ ﺗﻌﺒ‪‬ﺮ ﻋﻨﻪ ﺃﻧﺖ ﺑﺎﳊﺴﺎﺳﻴ‪‬ﺔ ﺍﳉﺪﻳﺪﺓ‪ ،‬ﻭﻗﺪ‬ ‫ﺃﺛﺮﻯ ﺍﺗ‪‬ﺠﺎﻫﻚ ﳓﻮ ﺍﻟﺘ‪‬ﺠﺎﻭﺯ‪ .‬ﻛﻴﻒ ﺣﻘﹼﻘﺖ ﻫﺬﺍ ﺍﳌﻨﺠﺰ ﺍﻟﻠﹼﻐﻮﻱ؟‬ ‫ﺸﻌﺮ ﺍﻟ ﹼﺬﻱ ﺃﻛﺘﺒﻪ ﺗﻨﻄﺒﻖ ﻋﻠﻴﻪ ﻫﺬﻩ ﺍﳌﻼﺣﻈﺔ ﻭﺍﻟﻘﺎﺭﺉ‬ ‫ﺇ ﹼﻥ ﺍﻟ ‪‬‬ ‫ﻳﻌﺮﻓﻬﺎ‪ ،‬ﻭﻟﻌﹼﻠﲏ ﺻﺮﺕ ﺃﻳﻀﺎ ﻣﺘﻤﺴ‪‬ﻜﺎ ‪‬ﺎ‪ .‬ﺗﻘﻮﻝ ﱄ‪ .‬ﳌﺎﺫﺍ ؟ ﺃﻗﻮﻝ ﻟﻚ‬ ‫ﺴﻤﺎﻭﻳ‪‬ﺔ‬ ‫ﺸﻌﺮﺍﺀ ﻭﺣ‪‬ﺘﻰ ﰲ ﺍﻟﻜﺘﺐ ﺍﻟ ‪‬‬ ‫ﺇ ﹼﻥ ﺍﻟ ﹼﻄﺒﻴﻌﺔ ﻇﹼﻠﺖ ﺩﺍﺋﻤﺎ ﻭﻋﻨﺪ ﻛ ﹼﻞ ﺍﻟ ‪‬‬ ‫ﻣﻮ‪‬ﺋﻞ ﺍﻹﻧﺴﺎﻥ‪ .‬ﻣﻨﻬﺎ ﺑﺪﺍﻳﺎﺗﻪ‪ ،‬ﻭﻣﻨﻬﺎ ﻣﻮﺗﻪ‪ .‬ﻭﻟﻜﻦ ﻓﻴﻤﺎ ﺃﻛﺘﺒﻪ ﺍﻵﻥ ﱂ‬ ‫ﳛﻀﺮ ﺫﻟﻚ ﺍﳌﻌﺠﻢ ﻓﻘﻂ‪ ...‬ﳛﻀﺮ ﻣﻌﻪ ﻣﻌﺠﻢ ﻧﻔﺴﻲ ﺫﺍﰐ ﺣﺰﻳﻦ ﻓﻴﻪ‬ ‫ﺃﺳﻒ ﻭﻣﺮﺍﺭﺓ‪ .‬ﰲ ﻣﺮﺍﺣﻞ ﺳﺎﺑﻘﺔ ﻛﺎﻥ ﻫﻨﺎﻙ ﺃﻧﺎ ﻗﻮﻳ‪‬ﺔ ﺻﺎﺭﺧﺔ ﻣﺴﺘﻌﺪ‪‬ﺓ‬ ‫ﻟﻠﺘﻤﺮ‪‬ﺩ ﻭﺍﻟﹼﺜﻮﺭﺓ‪ .‬ﺍﻵﻥ ﺻﺮﺕ ﺃﻛﺜﺮ ﺭﺻﺎﻧﺔ ﻭﺍﺷﺘﻐﺎﻻ ﻋﻠﻰ ﺍﻟ‪‬ﻨﺼﻮﺹ‪،‬‬ ‫ﻭﺻﺮﺕ ﺃﻛﺜﺮ ﺑﻌﺪﺍ‪ ،‬ﻭﻋﻤﻘﺎ‪.‬‬ ‫ﻣﺎ ﺗﺴ ‪‬ﻤﻴﻪ ﺣﺴﺎﺳﻴ‪‬ﺔ ﺷﻌﺮﻳ‪‬ﺔ ﺟﺪﻳﺪﺓ ﻫﻮ ﻣﺼﻄﻠﺢ ﺍﺳﺘﻌﻤﻠﺘﻪ ﰲ‬ ‫ﻣﻘ ‪‬ﺪﻣﺔ ﻛﺘﺎﰊ ﺍﻟﺴ‪‬ﲑﺓ ﻭﻋﻨﻴﺖ ﺑﻪ ﺃ‪‬ﻧﻨﺎ ﻛﺠﻴﻞ ﻣﻄﺎﻟﺒﲔ ﺑﺼﻨﻊ ﻗﺼﻴﺪﺓ‬ ‫ﻗﺎﺩﺭﺓ ﻋﻠﻰ ﺍﺧﺘﺮﺍﻕ ﻓﻀﺎﺀﺍﺕ ﱂ ﺗﻜﻦ ﺃﺑﺪﺍ ﻟﻨﺎ‪ .‬ﻭﺑﻌﺚ ﻣﻨﺎﺑﺮ ﺟﺪﻳﺪﺓ‬ ‫ﺗﻠﻴﻖ ﺑﺄﺣﻼﻣﻨﺎ‪ ،‬ﻷ ﹼﻥ ﺍﳌﻨﺎﺑﺮ ﺍﳌﻮﺟﻮﺩﺓ ﻏﲑ ﻣﺴﺘﻌﺪ‪‬ﺓ ﻟﻠ‪‬ﺘﻀﺤﻴﺔ ﲟﺮﺍﻛﺰﻫﺎ‪،‬‬ ‫ﻭﺧﻠﻖ ﻧ ﹼﻘﺎﺩ ﺟﺪﺩ ﺻﻐﺎﺭ ﻣﺘﻤ ‪‬ﺮﺩﻳﻦ ﻣﺜﻠﻨﺎ‪ ...‬ﻭﺃﺣﻼﻡ ﺃﺧﺮﻯ ﻛﺜﲑﺓ‬

‫‪114‬‬


‫ﻋﺒ‪‬ﺮﺕ ﻋﻨﻬﺎ ﺑﺎﻟ‪‬ﺘﻔﺼﻴﻞ ﰲ ﺗﻠﻚ ﺍﳌﻘﺪ‪‬ﻣﺔ ﻭﺃﻇ ‪‬ﻦ ﺃﻥ ﺟﺰﺀﺍ ﻛﺒﲑﺍ ﻣﻨﻬﺎ ﻗﺪ‬ ‫ﲢ ﹼﻘﻖ‪.‬‬ ‫ﺗﺘﻤﻴ‪‬ﺰ ﺑﻴﺎﻧﺎﺗﻚ ﺑﻨﻘﺪ ﺣﺎﺩ‪ ‬ﻟﻠﻨ‪‬ﻘﺪ ﺍﻟﺬﹼﻱ ﻧﺮﻯ ﺃﻧ‪‬ﻪ ﻏﲑ ﻣﻮﺍﻛﺐ‬ ‫ﻟﻠﺸ‪‬ﻌﺮ؟‬ ‫ﻟﺪﻳﻨﺎ ﰲ ﺗﻮﻧﺲ ﻣﺘﺎﺑﻌﺎﺕ ﻭﺗﻌﺎﻟﻴﻖ ﻭﺍﻧﻄﺒﺎﻋﻴﺎﺕ ﻭﺇﺧﻮﺍﻧﻴ‪‬ﺎﺕ‬ ‫ﻭﻟﹸﻮﺑﻴﺎﺕ‪ ،‬ﻟﺪﻳﻨﺎ ﻛ ﹼﻞ ﻫﺬﺍ‪ ،‬ﻭﺗﺴﺘﻄﻴﻊ ﺃﻥ ﲢﺼﻲ ﻣﻌﻲ ﺃﲰﺎﺀ ﻛﺜﲑﺓ ﻣﻦ‬ ‫ﻫﺬﺍ ﺍﻟ‪‬ﺘﺼﻨﻴﻒ‪ ،‬ﻭﻟﻜﻦ ﻫﻞ ﻟﻚ ﺃﻥ ﺗﺴ ‪‬ﻤﻲ ﱄ ﻧﺎﻗﺪﺍ ﺃﻭ ﳎﻤﻮﻋﺔ ﻣﻦ‬ ‫ﺸﻌﺮ ﺍﻟ‪‬ﺘﻮﻧﺴﻲ ﺑﻌﺪ ﺍﻟ‪‬ﺘﺴﻌﻴﻨﺎﺕ؟ ﺃﻇ ‪‬ﻦ ﺃﻥ ﻫﺬﺍ ﺇﻥ ﱂ‬ ‫ﺍﻟﻨ ﹼﻘﺎﺩ ﻛﺘﺒﻮﺍ ﻋﻦ ﺍﻟ ‪‬‬ ‫ﺸﻌﺮﺍﺀ‬ ‫ﻳﻜﻦ ﻣﻔﻘﻮﺩﺍ ﻓﻬﻮ ﱂ ﻳﺘﺮﺳ‪‬ﺦ ﺑﻌﺪ‪ .‬ﺍﳉﻤﻴﻊ ﻣﺸﻐﻮﻟﻮﻥ ﺑﺘﻨﺎﻭﻝ ﺍﻟ ‪‬‬ ‫ﺍﻟ ﹼﺬﻳﻦ ﻫﻢ ﻣﻘ ‪‬ﺮﺭﻭﻥ ﰲ ﻛﺘﺐ ﺍﻟ‪‬ﺘﺪﺭﻳﺲ‪ ،‬ﻭ ﻫﺬﺍ ﻷ‪‬ﺎ ﲡﺎﺭﺏ ﻗﺪ‬ ‫ﺍﻛﺘﻤﻠﺖ! ﻭﻫﻨﺎﻙ ﺍﻟﺒﻌﺾ ﺍﻟ ﹼﺬﻱ ﻻ ﻳﺮﻳﺪ ﺃﻥ ﻳﺪﺭﺱ ﻣﻦ ﱂ ﻳﻜﺘﻤﻞ ﺑﻌﺪ‪،‬‬ ‫ﺸﻌﺮ ﺍﻟﻌﺮﰊ ﻭﺟﺪﻧﺎ ﻧ ﹼﻘﺎﺩﺍ‬ ‫ﻻ ﻳﺮﻳﺪ ﺃﻥ ﻳﺒﺸ‪‬ﺮ‪ ،‬ﺭﻏﻢ ﺃﻧ‪‬ﻨﺎ ﰲ ﺑﺪﺍﻳﺎﺕ ﺍﻟ ‪‬‬ ‫ﻛﺒﺎﺭﺍ ﺑﺸ‪‬ﺮﻭﺍ ﲟﺤﻤﻮﺩ ﺩﺭﻭﻳﺶ ﻭﺃﺩﻭﻧﻴﺲ ﻭﻳﻮﺳﻒ ﺍﳋﺎﻝ ﻭﻏﲑﻫﻢ‪ ،‬ﻭﻻ‬ ‫ﻧﺪﺭﻱ ﳌﺎﺫﺍ ﺻﺎﺭ ﺍﻟ‪‬ﻨﻘﺪ ﻋﺎﺟﺰﺍ ﻋﻦ ﻫﺬﺍ ﺍﻵﻥ‪ .‬ﻭﻣﻊ ﺫﻟﻚ ﻓﻨﺤﻦ ﺍﻵﻥ‬ ‫ﺸﻌﺮﺍﺀ ﻟﺪﻳﻬﻢ ﳎﻤﻮﻋﺔ ﻣﻦ ﺍﻟﻘﻮﺍﺳﻢ ﺍﳌﺸﺘﺮﻛﺔ ﳝﻜﻦ ﺃﻥ‬ ‫ﳎﻤﻮﻋﺔ ﻣﻦ ﺍﻟ ‪‬‬ ‫ﻼﺕ‪ .‬ﻭﺣ‪‬ﺘﻰ ﺍﻵﻥ ﻭﻛﻲ ﻻ ﺃﻛﻮﻥ‬ ‫ﺗﺪﺭﺱ ﻭﺃﻥ ﲢﺘﻀﻦ ﺿﻤﻦ ﳎ ﹼ‬ ‫ﻣﺘﺸﺎﺋﻤﺎ ﺃﻗﻮﻝ ﺇ‪‬ﻧﲏ ﺣﻈﻴﺖ ﻧﺴﺒﻴ‪‬ﺎ ﺑﺒﻌﺾ ﺍﻟ‪‬ﺘﻨﺎﻭﻻﺕ‪ .‬ﻣﺎ ﺃﺣﺒ‪‬ﻪ ﻭﻣﺎ‬

‫‪115‬‬


‫ﺃﺭﻳﺪﻩ ﻭﻣﺎ ﺃﻇ ‪‬ﻦ ﺃﻧ‪‬ﻪ ﻗﺪ ﳛﺪﺙ ﺗﻐﻴﲑﺍ ﻫﻮ ﺃﻥ ﻳﺘﻨﺎﻭﻝ ﻫﺬﺍ ﺍﳉﻴﻞ ﺑﻨﻔﺴﻪ‬ ‫ﻛﺘﺎﺑﺘﻪ ﺑﺎﻟ‪‬ﻨﻘﺪ‪ ،‬ﺃﻭ ﺑﺮﻭﺍﻓﺪ ﻧﻘﺪﻳ‪‬ﺔ ﻣﺜﻞ ﻫﺬﻩ ﺍﻟﺒﻴﺎﻧﺎﺕ ﺍﻟ‪‬ﺘﻲ ﺃﻛﺘﺒﻬﺎ ﻭﺍﻟﱵ‬ ‫ﺑﺪﺃ ﺑﻌﺾ ﺍﻷﺻﺪﻗﺎﺀ ﻳﻜﺘﺒﻮﻥ ﻣﺜﻠﻬﺎ‪.‬‬ ‫ﻭﻣﺎ ﺟﺪﻭﻯ ﻫﺬﻩ ﺍﻟﺒﻴﺎﻧﺎﺕ؟‬ ‫ﺍﳉﺪﻭﻯ ﻻ ﺗﻌﻨﻴﲏ‪ ...‬ﻭﺳﺆﺍﻝ ﺍﳉﺪﻭﻯ ﻫﻮ ﺁﺧﺮ ﺳﺆﺍﻝ‬ ‫ﻳﺸﻐﻠﲏ‪ .‬ﻟﻜﻨ‪‬ﲏ ﺃﻛﺘﺐ ﺑﻴﺎﻧﺎﺕ ﻷﻧ‪‬ﲏ ﺃﻓﻜﹼﺮ ﰲ ﺍﻟﺴ‪‬ﻔﺮ ﻋﻠﻰ ﺃﺟﻨﺤﺔ‬ ‫ﺍﻟﺸ‪‬ﻌﺮ ﺍﶈﺮﻭﻗﺔ‪ ،‬ﻭﺃﺣﺒ‪‬ﻪ ﻭﻻ ﺃﺟﺪ ﱄ ﻣﻌﲎ ﺧﺎﺭﺝ ﺍﻟﺸ‪‬ﻌﺮ ﻭﻣﺎ ﺟﺎﻭﺭﻩ‬ ‫ﻭﺍﻟﺒﻴﺎﻥ ﺗﻌﺒﲑ ﻋﻦ ﺍﺧﺘﻼﻑ‪ ،‬ﻋﻦ ﻭﻋﻲ‪ ،‬ﻭﻫﻮ ﻋﻨﺪﻱ ﻋﻼﻣﺔ ﻓﺎﺭﻗﺔ‬ ‫ﺸﻌﺮ ﺍﻟﻌﺮﰊ ﻋﱪ‬ ‫ﻭﻣ‪‬ﻤﻴ‪‬ﺰﺓ‪ .‬ﻭﺃﻧﺎ ﰲ ﺑﻴﺎﻧﺎﰐ ﺃﺳﺘﻔﻴﺪ ﻣﻦ ﻛﻞ ﻣﺎ ﻭﺟﺪ ﰲ ﺍﻟ ‪‬‬ ‫ﺍﳌﺴﺎﺀﻟﺔ ﻭﺍﻻﺧﺘﺒﺎﺭ‪ .‬ﺃﻗﻮﻝ ﻟﻠﻨﺎﺱ ﻋﻠﻰ ﺍﻷﻗ ﹼﻞ ﺃﻧﲏ ﻗﺮﺃﺕ ﻭﺃﻧﲏ‬ ‫ﺍﺳﺘﻮﻋﺒﺖ ﻭﺃ‪‬ﻧﲏ ﻫﻀﻤﺖ ﻭﺃ‪‬ﻧﲏ ﺍﻵﻥ ﺃﺣﺎﻭﻝ ﺃﻥ ﺃﺿﻴﻒ ﺷﻴﺌﺎ ﺣﺘ‪‬ﻰ‬ ‫ﺸﺎﻋﺮ ﺍﻟ‪‬ﻨﺎﻗﺪ ﺇﻥ ﺟﺎﺯ ﻟﻨﺎ‬ ‫ﻭﺇﻥ ﻛﺎﻥ ﺑﺴﻴﻄﺎ‪ ،‬ﻫﺬﻩ ﰲ ﺭﺃﻳﻲ ﻣﻬﻤ‪‬ﺔ ﺍﻟ ‪‬‬ ‫ﺍﻟﻘﻮﻝ‪.‬‬ ‫ﺗﻜﺘﺐ ﻧﺼﺎ ﺷﻌﺮﻳ‪‬ﺎ ﻣﺘﻤﻴ‪‬ﺰﺍ ﻋﻦ ﻛﻞﹼ ﺍﻟﺸ‪‬ﻌﺮ ﺍﻟﺘ‪‬ﻮﻧﺴﻲ ﺣﻘﹼﻘﺖ‬ ‫ﻓﻴﻪ ﺍﺧﺘﺮﺍﻗﺎ ﺣﻘﻴﻘﻴﺎ ﻭﺇﺿﺎﻓﺎﺕ ﻫﺎﻣ‪‬ﺔ ﻓﻴﻬﺎ ﺍﻟﻜﺜﲑ ﻣﻦ ﺍﳋﻠﻖ‬ ‫ﻭﺍﻹﺑﺪﺍﻉ‪ ،‬ﻟﻜﻨ‪‬ﻪ ﻋﻠﻰ ﺃﳘﹼﻴﺘﻪ ﱂ ﻳﺼﻞ ﺧﺎﺭﺝ ﺗﻮﻧﺲ؟‬

‫‪116‬‬


‫ﺸﻜﻞ ﺍﳉ‪‬ﻴﺪ‬ ‫ﻟﻌ ﹼﻞ ﻋﺰﺍﺋﻲ ﰲ ﺫﻟﻚ ﺃ‪‬ﻧﲏ ﱂ ﺃﺻﺪﺭ ﻛﺘﱯ ﺑﻌﺪ ﺑﺎﻟ ‪‬‬ ‫ﺼﺮ ﻗﻠﻴﻼ‬ ‫ﻭﻣﺸﺎﻛﻞ ﺃﺧﺮﻯ ﻛﹼﻠﻬﺎ ﺧﺎﺭﺝ ﺇﻃﺎﺭ ﺍﻟﻜﺘﺎﺑﺔ‪ ،‬ﻭﻟﻌﹼﻠﲏ ﺃﻳﻀﺎ ﻣﻘ ‪‬‬ ‫ﺼﻲ ﺇﻥ ﻛﺎﻥ ﻛﻤﺎ ﺗﻘﻮﻝ ﻓﺈﻧﻪ ﺳﻴﺤﻘﹼﻖ‬ ‫ﰲ ﺍﻻ‪‬ﺗﺼﺎﻻﺕ‪ .‬ﺃﻇ ‪‬ﻦ ﺃﻥ ﻧ ‪‬‬ ‫ﺍﻧﺘﺸﺎﺭﻩ ﻭﺳﻴﺴﺎﻓﺮ ﰲ ﺍﳌﻜﺎﻥ ﻭﺍﻟﺰﻣﺎﻥ‪ .‬ﻭﻻﺑ ‪‬ﺪ ﺃﻥ ﺃﺫﻛﺮ ﺃ ﹼﻥ ﻛ ﹼﻞ‬ ‫ﺼﺤﻒ ﺍﻟﻌﺮﺑﻴ‪‬ﺔ ﻧﺸﺮﺕ ﻭ ﹼﰎ ﺍﻻﺣﺘﻔﺎﺀ ‪‬ﺎ‬ ‫ﺍﻟﻘﺼﺎﺋﺪ ﺍﻟ‪‬ﺘﻲ ﺃﺭﺳﻠﺘﻬﺎ ﺇﱃ ﺍﻟ ‪‬‬ ‫ﻗﻠﻴﻼ ﻭﻟﻜﻦ ﻻ ﺃﻇ ‪‬ﻦ ﺃ‪‬ﻧﻬﺎ ﻗﺎﺩﺭﺓ ﻋﻠﻰ ﺍﻟ‪‬ﺘﻌﺮﻳﻒ ﰊ ﻣﺜﻞ ﺩﻭﺍﻭﻳﲏ‪.‬‬ ‫ﻧﻼﺣﻆ ﺃﻧ‪‬ﻚ ﰲ ﺍﻟﺴ‪‬ﻨﻮﺍﺕ ﺍﻷﺧﲑﺓ ﻏﺎﺋﺐ ﻋﻦ ﺍﻟﺴ‪‬ﺎﺣﺔ‬ ‫ﺍﻟﺜﹼﻘﺎﻓﻴ‪‬ﺔ ﺍﻟﺘ‪‬ﻮﻧﺴﻴ‪‬ﺔ‪ .‬ﺃﻱ ﺃﻧ‪‬ﻚ ﺁﺛﺮﺕ ﺍﻟﻌﺰﻟﺔ‪ ،‬ﻫﻞ ﻫﺬﺍ ﺍﺧﺘﻴﺎﺭ ﺑﻌﺪ ﺃﻥ‬ ‫ﻋﺮﻓﺖ ﻛﻞﹼ ﺍﻟﺘ‪‬ﻔﺎﺻﻴﻞ ﺃﻡ ﻫﻨﺎﻙ ﺃﺳﺒﺎﺏ ﺃﺧﺮﻯ؟‬ ‫ﺴﺎﺣﺔ ﺍﻟﹼﺜﻘﺎﻓﻴ‪‬ﺔ ﻭﺷﺎﻫﺪﺕ ﺃﺷﻴﺎﺀ ﻛﺜﲑﺓ‬ ‫ﺼﻠﺔ ﺑﺎﻟ ‪‬‬ ‫ﻛﻨﺖ ﻭﺛﻴﻖ ﺍﻟ ‪‬‬ ‫ﻭﻟﻜﻦ ﺇﻥ ﺳﺄﻟﺘﲏ ﲟﺎﺫﺍ ﺃﻓﺎﺩﺗﻚ ﺃﻗﻮﻝ ﻟﻚ ﱂ ﺗﻔﺪﱐ ﺑﺸﻲﺀ ﰲ ﻛ ﹼﻞ‬ ‫ﺍﳉﻮﺍﻧﺐ‪ .‬ﻫﻨﺎﻙ ﻛ‪‬ﺘﺎﺏ ﻗﺮﺃﺕ ﳍﻢ‪ ،‬ﻭﻋﻨﺪﻣﺎ ﻗﺎﺑﻠﺘﻬﻢ ﺷﻌﺮﺕ ﺑﺎﳋﺰﻱ‪.‬‬ ‫ﻟﺬﻟﻚ ﺍﻧﺼﺮﻓﺖ ﺑﻄﺮﻳﻘﺔ ﻻ ﺷﻌﻮﺭﻳ‪‬ﺔ ﺇﱃ ﺍﻟ ﹼﺬﺍﺕ ﻭﺇﱃ ﺍﻟﺒﻴﺖ ﻭﺇﱃ‬ ‫ﺍﻟﻘﺮﺍﺀﺓ ﻭﺇﱃ ﻋﻮﺍﳌﻲ ﺍﳋﺎﺻ‪‬ﺔ‪ ،‬ﻭﰲ ﻫﺬﻩ ﺍﻟﻔﻀﺎﺀﺍﺕ ﺍﺳﺘﻄﻌﺖ ﺃﻥ ﺃﻋﻤﻞ‬ ‫ﻭﺃﻥ ﺃﻋﻴﺪ ﺍﻟ‪‬ﺘﻔﻜﲑ ﻣﻦ ﺟﺪﻳﺪ ﰲ ﺍﻟﻜﺜﲑ ﻣﻦ ﺍﳌﺴﺎﺋﻞ‪ .‬ﻫﻞ ﻫﻮ ﺍﺧﺘﻴﺎﺭ ﺃﻡ‬ ‫ﺇﺟﺒﺎﺭ ﻻ ﺃﺩﺭﻱ‪ ،‬ﻟﻜﻦ ﻣﺎ ﺃﻧﺎ ﻣﺘﻴ ﹼﻘﻦ ﻣﻨﻪ ﻫﻮ ﺃ‪‬ﻧﲏ ﺍﻵﻥ ﺃﻓﻀﻞ ﰲ ﻛ ﹼﻞ‬ ‫ﺍﻷﺣﻮﺍﻝ‪.‬‬

‫‪117‬‬


‫ﺗﻘﻮﻝ ﰲ ﺑﻴﺎﻧﺎﺗﻚ ﺃﻧ‪‬ﻪ ﱂ ﻳﻌﺪ ﳝﻜﻦ ﺍﳊﺪﻳﺚ ﻋﻦ ﺍﻟﺸ‪‬ﻌﺮ‬ ‫ﻛﺼﻨﺎﻋﺔ ﰲ ﺣﲔ ﺃﻥ ﺍﻟﻘﺼﻴﺪﺓ ﺍﻟﻜﻼﺳﻴﻜﻴ‪‬ﺔ ﺍﺳﺘﻤﺪ‪‬ﺕ ﻋﻈﻤﺘﻬﺎ ﻣﻦ‬ ‫ﺍﻟﺼ‪‬ﻨﻌﺔ ﻛﻤﺎ ﻳﻘﻮﻝ ﺑﻦ ﺭﺷﻴﻖ؟‬ ‫ﺸﻌﺮ‬ ‫ﺃﳊﺤﺖ ﰲ ﺑﻴﺎﻧﺎﰐ ﻋﻠﻰ ﺟﺎﻧﺐ ﻣﻬ ‪‬ﻢ ﺟﺪ‪‬ﺍ ﻫﻮ ﺇﻋﺎﺩﺓ ﺍﻟ ‪‬‬ ‫ﺇﱃ ﺗﻠﻚ ﺍﳌﺮﺗﺒﺔ ﺍﳌﺘﻘﺪ‪‬ﻣﺔ‪ ...‬ﻣﺮﺗﺒﺔ ﺍﳋﺎﻟﻖ ﻟﻠﺠﻤﺎﻝ ﻭﺍﳊﺮﻳﺔ ﻭﺍﻟﻘﻴﻢ‬ ‫ﻭﺍﳊﺎﺿﻦ ﻟﻜ ﹼﻞ ﻣﺎ ﻳﻜﻮﻥ ﺑﻪ ﺍﻹﻧﺴﺎﻥ ﲨﻴﻼ ﻭﻧﺎﻓﺬﺍ ﰲ ﺻﻤﻴﻢ ﺍﻟﻮﺟﻮﺩ‪.‬‬ ‫ﺸﻌﺮ ﺑﺎﻋﺘﺒﺎﺭﻩ ﺻﻨﺎﻋﺔ ﺃﻭ ﻃﺒﻌﺎ‪ ..‬ﻟﻴﺲ ﺿﺮﻭﺭﻳ‪‬ﺎ‪،‬‬ ‫ﻟﺬﺍ ﻓﺈ ﹼﻥ ﺍﳊﺪﻳﺚ ﻋﻦ ﺍﻟ ‪‬‬ ‫ﻱ ﻫﻮ ﺍﻻﻟﺘﻔﺎﺕ ﺇﱃ ﺃﻧﻔﺴﻨﺎ ﺑﺼﺪﻕ‪ ،‬ﻭﻣﺴﺢ ﺗﻠﻚ ﺍﳌﺮﺁﺓ ﺍﻟ‪‬ﺘﻲ‬ ‫ﺍﻟﻀﺮﻭﺭ ‪‬‬ ‫ﰲ ﺫﻭﺍﺗﻨﺎ ﳌﺸﺎﻫﺪﺓ ﻛ ﹼﻞ ﻣﺎ ﳛﻴﻂ ﺑﻨﺎ ﰲ ﺍﻟﻌﺎﱂ ﻭﺇﻛﺴﺎﺋﻪ ﺑﺜﻮﺏ ﻣﻦ ﺍﻟﹼﻠﻐﺔ‬ ‫ﻳﻨﻘﻠﻪ ﺇﱃ ﺍﻟ‪‬ﻨﺎﺱ ﻓﻴﻌ‪‬ﺒﺮ ﻋﻦ ﺍﻷﺣﻮﺍﻝ ﺍﻟ‪‬ﺘﻲ ﻳﻌﻜﺴﻬﺎ ﻭﻳﻄﺮﺡ ﺃﺳﺌﻠﺔ‪ ،‬ﻫﺬﺍ‬ ‫ﺸﻌﺮ‪ .‬ﺃﻥ ﺗﺼﻨﻊ ﺃﻭ ﺃﻥ ﺗﺮﲡﻞ ﻟﻴﺲ ﻫﺬﺍ ﻫﻮ ﺍﳌﺸﻜﻞ‪،‬‬ ‫ﻫﻮ ﰲ ﺭﺃﻳﻲ ﺍﻟ ‪‬‬ ‫ﺍﳌﺸﻜﻞ ﻫﻮ ﺃﻥ ﺗﻨﻔﺬ ﺇﱃ ﳊﻈﺔ ﻣﺎ ﻭﺃﻥ ﺗﻘﻮﻝ ﺑﺼﺪﻕ ﺩﻭﻥ ﺇﺳﻔﺎﻑ‬ ‫ﻭﺩﻭﻥ ﺧﻮﻑ ﺑﻄﺮﻳﻘﺔ ‪‬ﺪﻑ ﺇﱃ ﺃﻥ ﺗﺒﻘﻰ ﻛﺘﺎﺑﺘﻚ ﺧﺎﻟﺪﺓ ﻟﻴﻮﻡ ﻣﺎ‪،‬‬ ‫ﺸﻌﺮﻳ‪‬ﺔ‪ .‬ﻭﺍﻧﻌﺪﺍﻡ ﻫﺬﺍ ﺍﳊﻠﻢ ﻳﻌﲏ ﺯﻭﺍﻝ ﺍﻟ‪‬ﻨﻮﺭ‬ ‫ﻫﺬﺍ ﺟﻮﻫﺮ ﺍﻟﻜﺘﺎﺑﺔ ﺍﻟ ‪‬‬ ‫)ﺍﻟﻘﻴﻢ( ﻭﻣﻮﺕ ﺍﻟ‪‬ﻨﻤﺮﺓ )ﺍﻟﻜﺘﺎﺑﺔ(‪.‬‬ ‫ﻳﻌﲏ ﺃﻧﻚ ﺗﺮﻯ ﺃﻥ ﺍﻟﺼ‪‬ﺪﻕ ﻭﺍﻟﺘﻠﻘﺎﺋﻴ‪‬ﺔ ﻭﺍﳊﺮﻳﺔ ﻭﺑﺮﺍﺀﺓ ﺍﻟﻠﹼﻐﺔ‬ ‫ﲟﻘﺪﻭﺭﻫﺎ ﺗﻌﻮﻳﺾ ﻗﻮ‪‬ﺓ ﺍﻟﺼ‪‬ﻨﺎﻋﺔ؟‬

‫‪118‬‬


‫ﺇﺗﻘﺎﻥ ﺍﻟﻮﺳﺎﺋﻞ ﺷﺮﻁ ﻣﻦ ﺷﺮﻭﻁ ﳑﺎﺭﺳﺘﻪ ﺻﻨﻌﺔ ﺍﻟﻜﺘﺎﺑﺔ‪،‬‬ ‫ﱀ ﻋﻠﻴﻪ ‪‬ﻫ ‪‬ﻮ ﺃ ﹼﻥ ﺍﻟﻜﺘﺎﺑﺔ ﻛﺎﺋﻨﺎ ﻣﺎ‬ ‫ﺸﺮﻁ ﺇﺫﺍ ﹼﰎ ﺃﺻﺒﺢ ﻃﺒﻌﺎ‪ .‬ﻣﺎ ﹸﺃ ﹼ‬ ‫ﻭﻫﺬﺍ ﺍﻟ ‪‬‬ ‫ﻛﺎﻧﺖ ﻃﺒﻌﺎ ﺃﻭ ﺻﻨﺎﻋﺔ‪ ،‬ﻫﻲ ﺍﻟﻜﺎﺋﻦ ﺍﻟﻮﺣﻴﺪ ﺍﻟ ﹼﺬﻱ ﺃﻛﺴﺒﲏ ﻣ ‪‬ﻌﻨ‪‬ﻰ‬ ‫ﻭﺍﲰ‪‬ﺎ‪.‬‬ ‫ﻭ ﻫﺬﺍ ﻣﺎ ﻳﺴﻤ‪‬ﻴﻪ ﻧﻘﹼﺎﺩ ﺍﻷﺩﺏ ﻗﺪﳝﻪ ﻭﺣﺪﻳﺜﻪ ﺑﺎﻟﺼ‪‬ﻨﺎﻋﺔ ﺃﻭ‬ ‫ﺍﻟﺼ‪‬ﻨﻌﺔ؟‬ ‫ﺸﺎﻋﺮ ﻳﺴﺘﻌﻤﻞ ﺍﳌﻜﺘﺴﺐ ﻭﻻ ﻳﺼﻨﻊ‪.‬‬ ‫ﰲ ﻫﺬﻩ ﺍﳊﺎﻟﺔ ﺍﻟ ‪‬‬ ‫ﻳﺴﺘﻌﻤﻞ ﻣﺎ ﺻﺎﺭ ﰲ ﻃﺒﻌﻪ‪ .‬ﻳﺴﺘﻐ ﹼﻞ ﻣﺎ ﺃﺻﺒﺢ ﰲ ﺃﻋﻤﺎﻗ ‪‬ﻪ‪ .‬ﻓﻌﻨﺪﻣﺎ ﺃﻗﺮﺃ‬ ‫ﻛﺘﺎﺑ‪‬ﺎ ﻭﺃﺳﺘﻔﻴﺪ ﻣﻨﻪ ﻻ ﺃﺳﺘﻌﻤﻠﻪ ﻷ‪‬ﻧﲏ ﺻﺎﻧﻊ‪ ،‬ﺑﻞ ﻷ‪‬ﻧﻪ ﺻﺎﺭ ﰲ ﻃﺒﻌﻲ‬ ‫ﻭﰲ ﺩﻣﻲ‪ ،‬ﻭﺃﻇ ‪‬ﻦ ﺃ ﹼﻥ ﺍﳊﺪﻳﺚ ﻋﻦ ﺍﻟﻌﻤﻞ ﺍﻟﻔ‪‬ﻨﻲ ﺑﺎﻋﺘﺒﺎﺭﻩ ﺻﻨﺎﻋﺔ ﻟﻴﺲ‬ ‫ﻱ ﺍﻟ‪‬ﻨﻔﺎﺫ ﺇﱃ ﺍﻷﺻﺪﻕ ﻭﺍﻷﻋﻤﻖ‬ ‫ﻫﻮ ﺍﳉﻮﻫﺮ‪ .‬ﻟﺬﺍ ﻣﻦ ﺍﻟﻀﺮﻭﺭ ‪‬‬ ‫ﻭﺍﻷﲨﻞ‪ ،‬ﺇﱃ ﺍﻟﺸﻲﺀ ﺍﻟ ﹼﺬﻱ ﱂ ﻧﻌﺘﺪﻩ‪ .‬ﺇﱃ ﺍﻟﻜﺘﺎﺑﺔ ﻛﻔﺎﻋﻠﻴ‪‬ﺔ ﺣﻴﺎﺓ‪.‬‬ ‫ﻗﺼﻴﺪﺗﻚ ﳍﺎ ﻋﺪ‪‬ﺓ ﻣﺴﺘﻮﻳﺎﺕ ﻭﺃﺑﻌﺎﺩ‪ ،‬ﻓﺎﻟﻘﺼﻴﺪﺓ ﺍﻟﻮﺍﺣﺪﺓ ﳌﹼﺎ‬ ‫ﻧﻘﺮﺃﻫﺎ ﳒﺪﻫﺎ ﻋﺪ‪‬ﺓ ﻗﺼﺎﺋﺪ‪ ،‬ﺧﺎﺻ‪‬ﺔ ﻭﺃﻧ‪‬ﻚ ﺗﺴﺘﺨﺪﻡ ﻋﺪ‪‬ﺓ ﺗﻘﻨﻴﺎﺕ‬ ‫ﻣﻨﻬﺎ ﺗﻌﺪ‪‬ﺩ ﺣﺠﻢ ﺍﳋﻄﻮﻁ ﻭ‪‬ﺍﻷﻗﻮﺍﺱ ﻭ‪‬ﺍﻷﺷﻜﺎﻝ ﺍﳍﻨﺪﺳﻴ‪‬ﺔ‪ ،‬ﺇﻧ‪‬ﻪ ﻧﺺ‪‬‬ ‫ﻣﻨﻔﺘﺢ ﻋﻠﻰ ﺃﺑﻌﺎﺩ ﻣﺘﻌﺪ‪‬ﺩﺓ ﻭﻫﺬﺍ ﺍﻷﻣﺮ ﱂ ﻧﻌﺘﺪﻩ ﻛﺜﲑﺍ ﰲ ﺍﻟﺸ‪‬ﻌﺮ‬ ‫ﺍﻟﻌﺮﰊ‪‬؟‬ ‫‪119‬‬


‫ﺸﻌﺮ‬ ‫ﺸﻌﺮ ﺍﻟ‪‬ﺘﻮﻧﺴﻲ ﺑﺎﳌﺮ‪‬ﺓ‪ ،‬ﻭﰲ ﺍﻟ ‪‬‬ ‫ﻣﺎ ﺫﻛﺮﺗﻪ ﻏﲑ ﻣﻮﺟﻮﺩ ﰲ ﺍﻟ ‪‬‬ ‫ﺸﻜﻞ‪ ،‬ﻫﺬﻩ‬ ‫ﺍﻟﻌﺮﰊ ﹼﲦﺔ ﲡﺎﺭﺏ ﻗﻮﻳ‪‬ﺔ ﺍﺳﺘﻄﺎﻋﺖ ﺍﻟ‪‬ﻨﻔﺎﺫ ﺇﱃ ﻫﺬﺍ ﺍﻟ ‪‬‬ ‫ﺸﻜﻞ ﺍﳌﺘﻌﺎﺭﻑ ﻋﻠﻴﻪ ﺑﺎﻟﻘﺼﻴﺪﺓ ﺍﳊﺮ‪‬ﺓ‪،‬‬ ‫ﺍﻟﻘﺼﻴﺪﺓ ﺗﻘﻄﻊ ﻛﹼﻠﻴﺎ ﻣﻊ ﺍﻟ ‪‬‬ ‫ﺗﺼﺒﺢ ﺍﻟﻘﺼﻴﺪﺓ ﺍﳌﻄﺒﻮﻋﺔ ﺷﺒﻴﻬﺔ ﺑﺎﻷﻗﺼ‪‬ﻮﺻﺔ‪ ،‬ﻻ ﺣﺪﻳﺚ ﻋﻦ ﺃﺑﻴﺎﺕ‬ ‫ﻭﻻ ﻋﻦ ﺃﺳﻄﺮ‪ ،‬ﺑﻞ ﻫﻲ ﻓﻘﺮﺍﺕ ﻣﺘﻨﺎﺳﺒﺔ ﺍﻷﺣﺠﺎﻡ‪ .‬ﻓﻘﺮﺍﺕ ﻣ‪‬ﺘﻮﺍﻟﻴﺔ‪،‬‬ ‫ﳏﻜﻮﻣﺔ ﲝﺒﻜﺔ ﻭﺑﻨﺴ ﹴﻖ ﺩﺭﺍﻣ ‪‬ﻲ ﻣﺘﻄﻮ‪‬ﺭ‪ ،‬ﻭﺗﺘﻌﺪ‪‬ﺩ ﻓﻴﻬﺎ ﺍﻷﺻﻮﺍﺕ ﻭﺗﺘﻨﻮ‪‬ﻉ‬ ‫ﺍﳋﻄﻮﻁ ﻭﺗﻜﺜﺮ ﺍﻷﻗﻮﺍﺱ ﻭﺍﳌﻌﻘﹼﻔﺎﺕ ﻭﺍﻟ‪‬ﺘﻀﻤﻴﻨﺎﺕ‪ ...‬ﻭﻟﻜﻦ ﺍﳌﺜﲑ ﻫﻨﺎ‬ ‫ﻫﻮ ﻛﻴﻒ ﺃﺳﺘﻄﻴﻊ ﻛﺸﺎﻋﺮ ﺃﻥ ﺃﺟﻌﻞ ﻛﻞ ﻫﺬﺍ ﻣﺘﺠﺎﻧﺴﺎ ﰲ ﺧﻄﺎﺏ‬ ‫ﻭﺍﺣﺪ‪ .‬ﻋﻨﺪﻣﺎ ﺗﻘﺮﺅﻩ ﺗﺸﻌﺮ ﺃﻧﻪ ﺧﻄﺎﺏ ﻏﲑ ﻣﺘﻌﺪ‪‬ﺩ ﺑﻞ ﺧﻄﺎﺏ ﻭﺍﺣﺪ‬ ‫ﻭﺇﻥ ﻛﺎﻥ ﻳﺴﺘﻌﻤﻞ ﻃﺮﻗﺎ ﻛﺜﲑﺓ‪ .‬ﻭﰲ ﲡﺎﺭﰊ ﺍﻟ‪‬ﺘﻲ ﺗﻨﺸﺮ ﺑﻌﺪ ﻳﻮﺟﺪ‬ ‫ﻱ‪ .‬ﻭﰲ ﺭﺃﻳﻲ ﻫﺬﺍ ﻫﻮ ﺃﻓﻖ ﺍﻟﻘﺼﻴﺪﺓ ﺍﻟﻌﺮﺑﻴﺔ‬ ‫ﳍﺬﻩ ﺍﻟﻔﻜﺮﺓ ﲡﺴﻴﻢ ﻗﻮ ‪‬‬ ‫ﺸﺎﻋﺮ ﺃﻥ ﻳﺴﺘﻌﻤﻞ ﻛ ﹼﻞ ﺷﻲﺀ‪ ،‬ﻛ ﹼﻞ ﺍﻷﺷﻜﺎﻝ ﻭﻛ ﹼﻞ ﻣﺎ ﻳﺮﺍﻩ‬ ‫ﺍﳉﺪﻳﺪﺓ‪ .‬ﻟﻠ ‪‬‬ ‫ﺻﺎﳊﺎ‪ ،‬ﺧﺎﺻ‪‬ﺔ ﰲ ﻇ ﹼﻞ ﺍﻟﺜﻮﺭﺓ ﺍﻟﻄﺒﺎﻋﻴ‪‬ﺔ ﺍﳊﺪﻳﺜﺔ‪ .‬ﻭﺑﺎﻟ‪‬ﺘﺎﱄ ﺇﻟﻐﺎﺀ ﻫﺬﻩ‬ ‫ﺍﳌﺴﻤ‪‬ﻴﺎﺕ ﻣﺜﻞ ﺷﻌﺮ ﻧﺜﺮ ﺃﻭ ﺷﻌﺮ ﺣ ‪‬ﺮ ﺃﻭ ﻏﲑﻩ ﻭﲡﺎﻭﺯ ﻛ ﹼﻞ ﺷﻲﺀ ﻣﻦ‬ ‫ﺼ ‪‬ﻪ ﻭﺃﻥ ﳛﻘﹼﻖ ﺇﺿﺎﻓﺘﻪ‪.‬‬ ‫ﺃﺟﻞ ﺃﻥ ﻳﻨﺘﺞ ﺍﻟﺸﺎﻋﺮ ﻧ ‪‬‬ ‫ﺃﻭ ﻳﺒﺘﻜﺮ ﳕﻄﹰﺎ ﺷﻌﺮﻳ‪‬ﺎ ﺁﺧﺮ؟‬ ‫ﻟﻌﻠﹼﻪ ﻳﻜﻮﻥ ﳕﻄﺎ ﺷﻌﺮﻳ‪‬ﺎ ﺁﺧﺮ ﺭﺑ‪‬ﻤﺎ‪ ...‬ﺭﺑ‪‬ﻤﺎ‪.‬‬

‫‪120‬‬


‫ﳌﺎﺫﺍ ﺗﻌﺘﻤﺪ ﰲ ﻛﻞ ﻗﺼﺎﺋﺪﻙ ﻋﻠﻰ ﺍﻟﺘ‪‬ﺼﺪﻳﺮ ﲟﻘﻮﻻﺕ‬ ‫ﻵﺧﺮﻳﻦ‪ .‬ﻭﻫﻲ ﲰﺔ ﺧﺎﺻ‪‬ﺔ ﺑﻚ؟‬ ‫)ﻳﻀﺤﻚ ﰒ ﻳﻘﻮﻝ( ﰲ ﻣﺎ ﺃﺻﺪﺭﺗﻪ‪ ،‬ﻭﻣﺎ ﺳﻴﺼﺪﺭ‪ ،‬ﺣﺎﻓﻈﺖ‬ ‫ﻋﻠﻰ ﺍﳌﻘﺪ‪‬ﻣﺎﺕ ﺃﻭ ﺍﻟ‪‬ﺘﺼﺪﻳﺮﺍﺕ‪ ،‬ﺣﺎﻓﻈﺖ ﻋﻠﻰ ﺗﻘﺪﱘ ﻛ ﹼﻞ ﻗﺼﻴﺪﺓ ﺃﻭ‬ ‫ﻛ ﹼﻞ ﳎﻤﻮﻋﺔ ﻗﺼﺎﺋﺪ ﲟﺪﺍﺧﻞ‪ ،‬ﻣﺪﺍﺧﻞ ﺣﺮﺻﺖ ﻋﻠﻰ ﺃﻥ ﺗﻜﻮﻥ ﻣﺘﻨ ‪‬ﻮﻋﺔ‬ ‫ﻭﺃﻥ ﺗﻜﻮﻥ ﳍﺎ ﻋﻼﻗﺎﺕ ﻣﻊ ﺟﻮﻫﺮ ﺍﻟ‪‬ﻨﺼﻮﺹ ﺍﻟ‪‬ﺘﻲ ﺃﻛﺘﺒﻬﺎ‪ .‬ﻭﻛﺬﻟﻚ‬ ‫ﺣﺮﺻﺖ ﻋﻠﻰ ﳎﻤﻮﻋﺔ ﻣﻦ ﺍﳌﻼﺣﻈﺎﺕ ﺍﻟﱵ ﺃﻛﺘﺒﻬﺎ‪ .‬ﺗﻘﻮﻝ ﱄ‪ .‬ﳌﺎﺫﺍ ؟‬ ‫ﻓﺄﺟﻴﺐ‪ .‬ﺍﻷﻣﺮ ﺑﺴﻴﻂ‪ .‬ﺃﺭﻳﺪ ﺃﻥ ﺃﻗﻮﻝ ﺇ‪‬ﻧﲏ ﺃﻗﺮﺃ‪ ،‬ﻭﺇ ﹼﻥ ﺍﻟﻜﺘﺎﺑﺔ ﻻ ﺗﺄﰐ‬ ‫ﻣﻦ ﺍﻟﻔﺮﺍﻍ‪ ،‬ﻭﺃﺭﻳﺪ ﺃﻥ ﺃﺗﻮﺍﺻﻞ ﻣﻊ ﳊﻈﺎﺕ ﻗﻮﻳﺔ ﻭﻣﺸ ‪‬ﻌﺔ ﰲ ﺍﻟ‪‬ﺘﺮﺍﺙ‬ ‫ﺍﻹﻧﺴﺎﱐ ﻫﺬﻩ ﺣﻘﻴﻘﺔ‪ ،‬ﺑﻌﺾ ﺍﻟ‪‬ﺘﻀﻤﻴﻨﺎﺕ ﻣﺜﻼ ﰲ ﻛﺘﺎﺏ ﺍﻟﺴ‪‬ﲑﺓ ﺃﺷﻌﺮ‬ ‫ﺺ ﺍﻟﻘﺼﲑ‬ ‫ﻣﻌﻬﺎ ﺑﺴﻌﺎﺩﺓ ﻛﺒﲑﺓ ﺟﺪ‪‬ﺍ‪ ،‬ﻛﺄ‪‬ﻧﲏ ﺃﻧﺎ ﺍﻟ ﹼﺬﻱ ﺃﹼﻟﻔﺖ ﺫﻟﻚ ﺍﻟﻨ ‪‬‬ ‫ﺍﻟ ﹼﺬﻱ ﺍﺧﺘﺮﺗﻪ ﻣﻦ ﻗﺼﻴﺪﺓ ﺭﻳﺘﺴﻮﺱ‪ ،‬ﻭﻫﻮ ﻣﻘﻄﻊ ﻣﻦ ﺃﻋﻤﻖ ﻣﺎ ﻗﺮﺃﺕ‬ ‫ﻣﻦ ﺍﻟﺸ‪‬ﻌﺮ‪ .‬ﺃﺣﺴﺴﺖ ﻋﻨﺪﻣﺎ ﺍﻛﺘﺸﻔﺘﻪ ﻛﺄ‪‬ﻧﲏ ﺍﻛﺘﺸﻔﺖ ﻛﱰﺍ‪ ،‬ﺃﻭ‬ ‫ﻱ ﻟﻠﻘﺼﺎﺋﺪ‪ ،‬ﻫﻮ ﺍﺧﺘﻴﺎﺭ ﰲ ﺍﻟﺒﺪﺍﻳﺔ‪،‬‬ ‫ﺭﺃﻳﺖ ﺭﺅﻳﺎ‪ .‬ﺍﻟﺘ‪‬ﺼﺪﻳﺮ ﺟﺰﺀ ﺿﺮﻭﺭ ‪‬‬ ‫ﻭﻟﻜﻦ‪ ،‬ﺍﻵﻥ ﻫﻮ ﺃﻛﺜﺮ ﻣﻦ ﳎﺮ‪‬ﺩ ﺍﺧﺘﻴﺎﺭ‪ .‬ﺇﻧ‪‬ﻪ ﻗﺪﺭ‪.‬‬ ‫ﻭﻋﻨﺪﻣﺎ ﻭﺟﺪﺗ‪‬ﻪ ﺷﻌﺮﺕ ﺃﻥ ﺍﻟﻘﺼﻴﺪﺓ ﻗﺪ ﺍﻛﺘﻤﻠﺖ ﲤﺎﻣ‪‬ﺎ‪،‬‬ ‫ﺻﺪ‪‬ﺭﺕ ﺑﻪ ﺍﻟﻘﺼﻴﺪﺓ ﺩ‪‬ﻭ ﹶﻥ ﺃ ﹾﻥ ﺃﻋﺮﻑ ﺍﻟﺴ‪‬ﺒﺐ ﻭﻗﺘﻬﺎ‪ ،‬ﻭﺇﻧ‪‬ﲏ ﺇﱃ ﺍﻵﻥ‬

‫‪121‬‬


‫ﺃﺟﻬﻞ ﺍﻟﺴ‪‬ﺒﺐ‪ ..‬ﻟﻜﻨ‪‬ﲏ ﺃﻋﻠﻢ ﺃ ﹼﻥ ﻗﺼﻴﺪﰐ ﻧﺎﻗﺼﺔ ﺩﻭﻥ ﻫﺬﺍ ﺍﳌﺪﺧﻞ‪...‬‬ ‫ﺺ ﺃﻭ ﺗ‪‬ﻈﹼﻠ ‪‬ﻪ‪.‬‬ ‫ﻫﻮ ﻟﻴﺲ ﺯﻳﻨﺔ‪ ،‬ﺑﻞ ﻋﺮ‪‬ﻭﻕ ﺃﻭ ﻭ‪‬ﺭﻳ‪‬ﻘﺎﺕ ﺗ‪‬ﻐﺬﹼﻱ ﺍﻟﻨ ‪‬‬ ‫ﺃﻣ‪‬ﺎ ﺍﻵﻥ ﻓﺎﺧﺘﻴﺎﺭ ﺍﳌﺪﺍﺧﻞ ﻭﻭﺿﻌﻬﺎ ﰲ ﺑﺪﺍﻳﺔ ﺍﻟﻨ‪‬ﺼﻮﺹ ﻓﻬﻮ‬ ‫ﺟﺰﺀ ﻣﻦ ﺷﺨﺼﻴ‪‬ﱵ ﻛﻜﺎﺗﺐ‪.‬‬ ‫ﺍﳌﺮﺃﺓ ﲢﻀﺮ ﰲ ﻗﺼﺎﺋﺪﻙ ﻛﻜﺎﺋﻦ ﻧﻮﺭﺍﱐ ﺭﻭﺣﺎﱐ ﺑﺈﺣﺴﺎﺱ‬ ‫ﻭﺟﺪﺍﱐﹼ ﻋﻤﻴﻖ ﺟﺪ‪‬ﺍ؟‬ ‫ﻫﺬﻩ ﻣﻼﺣﻈﺔ ﻫﺎﻣ‪‬ﺔ ﺟﺪ‪‬ﺍ‪ ،‬ﺇﻥ ﺍﳌﺮﺃﺓ ﲢﻀﺮ ﰲ ﺷﻌﺮﻱ ﺣﻀﻮﺭﺍ‬ ‫ﺴﺆﺍﻝ ﺍﳍﺎﻡ؟ ﻫﻲ ﲢﻀﺮ‬ ‫ﺟﻠ‪‬ﻴﺎ ﻭﻃﺎﻏﻴﺎ‪ ،‬ﻟﻜﻦ ﻛﻴﻒ ﲢﻀﺮ؟ ﺫﻟﻚ ﻫﻮ ﺍﻟ ‪‬‬ ‫ﻭﻓﻖ ﺇﺣﺴﺎﺳﻲ ﺑﺎﻟﻌﺎﱂ‪ .‬ﻓﺄﺣﻴﺎﻧﺎ ﻳﺒﺪﻭ ﱄ ﺃﻥ ﺍﻟﻌﺎﱂ ﻧﻔﺴﻪ ﻳﺼﺒﺢ ﺃﻧﺜﻰ ﻭ‬ ‫ﺃﺧﺎﻃﺒﻪ ﻛﺄﻧﻪ ﺍﻣﺮﺃﺓ‪...‬‬ ‫)ﺃﻗﺎﻃﻌﻪ( ﺑﻞ ﺣﱴ ﺍﻟﺸ‪‬ﻌﺮ ﻳﺘﺤﻮ‪‬ﻝ ﺇﱃ ﺃﻧﺜﻰ ﻭﺃﻧﺖ ﺗﻜﺘﺐ‬ ‫ﻋﻦ ﺍﳌﺮﺃﺓ‪...‬‬ ‫ﺸﻌﺮ ﺃﻧﺎﺟﻴﻪ ﻛﺄﻧﺜﻰ‪ ،‬ﻭﻳﺒﺪﻭ ﱄ ﺃ ﹼﻥ ﻛ ﹼﻞ ﻣﺎ ﻫﻮ‬ ‫ﻓﻌﻼ ﺣ‪‬ﺘﻰ ﺍﻟ ‪‬‬ ‫ﻣﻬ ‪‬ﻢ ﰲ ﺣﻴﺎﰐ ﻫﻮ ﺃﻧﺜﻰ‪ ،‬ﻭﻣﻦ ﻫﺬﺍ ﺍﳌﻨﻄﻠﻖ ﻓﺈ‪‬ﻧﲏ ﻻ ﺃﻓ ‪‬ﺮﻕ ﺑﲔ ﻟﻮﺣﺔ‬ ‫ﻭﺷﺠﺮﺓ ﻭﺻﺨﺮﺓ ﻭﻏﻴﻤﺔ ﻭﺿﻮﺀ ﻭﻟﻐﺔ ﻭﺍﻣﺮﺃﺓ‪ ،‬ﻓﻜ ﹼﻞ ﻫﺬﻩ ﺍﳌﺴ ‪‬ﻤﻴﺎﺕ‬ ‫ﺗﺆﺩ‪‬ﻱ ﰲ ﺍﻟ‪‬ﻨﻬﺎﻳﺔ ﺇﱃ ﺭﺳﻢ ﺍﻣﺮﺃﺓ ﻫﻲ ﺃﻗﺼﻰ ﻃﻤﻮﺣﻨﺎ‪ ،‬ﻟﻌﹼﻠﻬﺎ ﰲ ﺍﻟ‪‬ﻨﻬﺎﻳﺔ‬ ‫‪122‬‬


‫ﻣﺎ ﻧﺴﻤ‪‬ﻴﻪ ﺍﳊﺮﻳ‪‬ﺔ ‪ ،‬ﺃﻭ ﺍﻟﻮﻃﻦ‪ .‬ﺍﳌﺮﺃﺓ ﲣﺘﺰﻝ ﻛ ﹼﻞ ﻫﺬﻩ ﺍﻷﺷﻴﺎﺀ‪ .‬ﻭﻫﺬﺍ ﻻ‬ ‫ﺐ ﻳﻘﺪ‪‬ﻡ ﱄ ﲰﺎﻭﺍﺕ‬ ‫ﻳﻠﻐﻲ ﺃﻥ ﰲ ﺣﻴﺎﰐ ﺣﺒ‪‬ﺎ ﺣﻘﻴﻘﻴ‪‬ﺎ ﻛﺒﲑﺍ ﻭﺃ ﹼﻥ ﻫﺬﺍ ﺍﳊ ‪‬‬ ‫ﻭﺃﺭﺍﺽ ﺃﺳﺘﻤﺪ ﻣﻨﻬﺎ ﻣﺎ ﺃﻛﺘﺒﻪ‪.‬‬ ‫ﳌﺎ ﺗﺘﺤﺪ‪‬ﺙ ﻋﻦ ﺍﳊﺐ‪ ‬ﻳﺘﻢ‪ ‬ﺫﻟﻚ ﰲ ﻣﻘﺎﻃﻊ ﻗﺼﲑﺓ ﺟﺪ‪‬ﺍ‬ ‫ﻟﻜﻨ‪‬ﻬﺎ ﻣﻜﺜﹼﻔﺔ ﺑﻼ ﺣﺪ‪ ،‬ﻛﻤﺎ ﻟﻮ ﺃﻥ ﺍﳊﺐ‪ ‬ﻻ ﳛﺐ‪ ‬ﺍﻟﻜﻼﻡ ﺍﻟﻜﺜﲑ؟‬ ‫ﺐ ﺑﺸﻜﻞ ﻛﺎﻑ‪ ،‬ﺃﺷﻌﺮ ﺃﻧﲏ‬ ‫ﺸﻌﺮ ﻻ ﺃﺣ ‪‬‬ ‫ﺃﺷﻌﺮ ﺃﻧ‪‬ﲏ ﰲ ﺍﻟ ‪‬‬ ‫ﺐ‪ ،‬ﻭﻟﻴﺲ ﺃﻳﻀﺎ ﻷ‪‬ﻧﲏ ﺃﻛﺮﻩ‪ .‬ﺃﻛﺘﺐ ﻷ‪‬ﻧﲏ ﺃﻓ ﹼﻜﺮ‪.‬‬ ‫ﺃﻛﺘﺐ ﻟﻴﺲ ﻷ‪‬ﻧﲏ ﺃﺣ ‪‬‬ ‫ﻭﻫﺬﻩ ﺍﻵﻟﺔ ﺍﻟﱵ ﺍﲰﻬﺎ ﺍﻟ‪‬ﺘﻔﻜﲑ ﻫﻲ ﺁﻟﺔ ﻣﻘﻠﻘﺔ ﻭﻗﺎﺗﻠﺔ‪ .‬ﺃﺛﻮﺭ ﻋﻠﻴﻬﺎ ﺃﺣﻴﺎﻧﺎ‬ ‫ﰲ ﻧﺼﻮﺻﻲ ﻭﺃﻛﺘﺐ ﺃﺷﻴﺎﺀ ﺗﻌﺠﺐ ﺍﻟﻌﺸﺎﻕ ﻣﺜﻠﻚ‪) ...‬ﻭ ﻳﻐﺮﻕ ﰲ‬ ‫ﺿﺤﻚ ﻋﻤﻴﻖ(‪.‬‬ ‫ﺇﺿﺎﻓﺔ ﺇﱃ ﺍﻟﺸ‪‬ﻌﺮ ﺗﻜﺘﺐ ﺍﻟﺮ‪‬ﻭﺍﻳﺔ‪ ،‬ﻣﻊ ﺿﺮﻭﺭﺓ ﺍﻹﺷﺎﺭﺓ ﺇﱃ‬ ‫ﲤﻴ‪‬ﺰﻙ ﰲ ﻛﺘﺎﺑﺔ ﺍﻟﺸ‪‬ﻌﺮ ﺍﻟﺴ‪‬ﺮﺩﻱ‪ ،‬ﳌﺎﺫﺍ ﻫﺬﺍ ﺍﻟﺘﻮﺟ‪‬ﻪ ﺇﱃ ﺍﻟﺮ‪‬ﻭﺍﻳﺔ؟ ﻫﻞ‬ ‫ﺃﻥﹼ ﺍﻟﺸ‪‬ﻌﺮ ﺍﻟﺬﹼﻱ ﺗﻨﻔﺬ ﺇﻟﻴﻪ ﻣﻦ ﺑﻮ‪‬ﺍﺑﺎﺕ ﻣﺘﻌﺪ‪‬ﺩﺓ ﻋﺠﺰ ﻋﻠﻰ ﺃﻥ ﻳﺪﺧﻞ‬ ‫ﻣﻌﻚ ﻭﺑﻚ ﺇﱃ ﺍﻟﻌﻮﺍﱂ ﺍﻟﺘ‪‬ﻲ ﺗﺆﺳ‪‬ﺴﻬﺎ ﺑﺎﻟﺮ‪‬ﻭﺍﻳﺔ؟‬ ‫ﻱ ﻣﻨﺬ ﺍﻟﺒﺪﺍﻳﺔ ﺃﺣﻼﻡ ﻛﺜﲑﺓ‪ ،‬ﻛﻨﺖ ﺃﻓ ﹼﻜﺮ ﺑﺎﻟ‪‬ﺘﻤﺜﻴﻞ‬ ‫ﻛﺎﻧﺖ ﻟﺪ ‪‬‬ ‫ﻭﺟ ‪‬ﺮﺑﺘﻪ ﻟﻜ‪‬ﻨﲏ ﱂ ﺃﻭﺍﺻﻞ ﻷ‪‬ﻧﲏ ﺍﻛﺘﺸﻔﺖ ﺃ‪‬ﻧﲏ ﻻ ﺃﺳﺘﻄﻴﻊ ﺃﻥ ﺃﻛﻮﻥ‬

‫‪123‬‬


‫ﳐﺮﺟﺎ ﺃﻭ ﳑﹼﺜﻼ ﻛﺒﲑﺍ‪ ،‬ﺃﻳﻀﺎ ﻛﻨﺖ ﻃﻮﺍﻝ ﺍﻟﻮﻗﺖ ﻭﺇﱃ ﺃﻳ‪‬ﺎﻡ ﻗﺮﻳﺒﺔ‬ ‫ﺃﻣﺎﺭﺱ ﺍﻟ ‪‬ﺮﺳﻢ ﻭﺃﺭﺳﻢ ﺃﺷﻴﺎﺀ ﲨﻴﻠﺔ ﻛﻤﺎ ﻳﻘﻮﻝ ﺍﻟﺒﻌﺾ ﻭﻟﻜ‪‬ﻨﲏ ﺑﻴﲏ‬ ‫ﻭﺑﲔ ﻧﻔﺴﻲ ﻣﺘﺄﻛﹼﺪ ﻭﻣﺘﻴﻘﹼﻦ ﺑﺄ‪‬ﻧﲏ ﻻ ﳝﻜﻦ ﰲ ﻳﻮﻡ ﻣﺎ ﺃﻥ ﺃﺻﺒﺢ ﻋﻼﻣﺔ‬ ‫ﰲ ﺍﻟ ‪‬ﺮﺳﻢ‪ ،‬ﻗﺪ ﺃﺻﺒﺢ ﺭ ‪‬ﺳﺎﻣﺎ‪ ،‬ﻫﺬﺍ ﺳﻬﻞ‪ ،‬ﻭﻟﻜﻦ ﺃﻥ ﺃﻛﻮﻥ ﺭ ‪‬ﺳﺎﻣﺎ‬ ‫ﻫﺎ ‪‬ﻣﺎ‪ ،‬ﻓﻬﺬﺍ ﺻﻌﺐ‪.‬‬ ‫ﺸﻌﺮ‪ ،‬ﻭﻣﻊ‬ ‫ﻭﻣﻨﺬ ﺍﻟﺒﺪﺍﻳﺔ ﻣﻊ ﺍﻟ‪‬ﺘﻤﺜﻴﻞ ﻭﺍﻟ ‪‬ﺮﺳﻢ ﻛﺎﻥ ﻫﻨﺎﻙ ﺍﻟ ‪‬‬ ‫ﺸﻌﺮ‪ ،‬ﺍﳊﻘﻴﻘﺔ ﻫﻲ ﺃﻧ‪‬ﲏ ﻋﻨﺪﻣﺎ‬ ‫ﻛﺘﺎﺑﺔ ﺍﳌﺬﻛﹼﺮﺍﺕ ﻭﺍﳌﻘﺎﻻﺕ ﻛﺎﻥ ﻫﻨﺎﻙ ﺍﻟ ‪‬‬ ‫ﺸﻲﺀ ﺍﻟﻮﺣﻴﺪ ﺍﳌﻤ‪‬ﻴﺰ ﻟﻠﻮﺟﻮﺩ ﰲ ﺣﻴﺎﰐ ﻭﺍﻟ ﹼﺬﻱ‬ ‫ﻓ ﹼﻜﺮﺕ ﻭﺟﺪﺕ ﺃ ﹼﻥ ﺍﻟ ‪‬‬ ‫ﺟﻌﻞ ﻣ‪‬ﻨﻲ ﺷﻴﺌﺎ ﺳﻮﺍﺀ ﰲ ﺩﺭﺍﺳﱵ ﺃﻭ ﰲ ﻋﻼﻗﺎﰐ ﺃﻭ ﰲ ﻭﺟﻮﺩﻱ ﺃﺻﻼ‬ ‫ﻚ ﻭﻻ ﺍﺧﺘﻼﻑ ﺃ ﹼﻥ ﻗﺪﺭﺍ ﻣﺎ ﺃﻭ ﻟﻌﻨﺔ ﻣﺎ ﺟﻌﻠﺖ‬ ‫ﺸﻌﺮ‪ .‬ﺇﺫﻥ‪ ،‬ﻻ ﺷ ‪‬‬ ‫ﻫﻮ ﺍﻟ ‪‬‬ ‫ﻣ‪‬ﻨﻲ ﺷﺎﻋﺮﺍ‪ .‬ﻭﻛﺎﻥ ﻋﻠ ‪‬ﻲ ﺃﻥ ﺃﻭﺍﺻﻞ ﻭﺃﻥ ﺃﺻﻘﻞ ﻫﺬﻩ ﺍﻟﻠﹼﻌﻨﺔ ﻭﺃﺟﻌﻞ‬ ‫ﻣﻨﻬﺎ ﻳﺎﲰﻴﻨﺔ ﺃﻭ ﺯﻫﺮﺍﺕ ﻟﻮﺯ ﺑﻴﻀﺎﺀ‪ .‬ﻭﻫﺬﺍ ﻣﺎﻛﺎﻥ‪.‬‬ ‫ﺸﺎﻋﺮ ﺍﻟ ﹼﺬﻱ ﰲ ﺩﺍﺧﻠﻲ ﻛﺎﻥ‬ ‫ﺃﻣ‪‬ﺎ ﺍﻟ ‪‬ﺮﻭﺍﻳﺔ ﻓﻠﻘﺪ ﺟﺎﺀﺕ ﻷ ﹼﻥ ﺍﻟ ‪‬‬ ‫ﰲ ﺣﺎﺟﺔ ﺇﱃ ﺍﻟ‪‬ﺘﻔﺠﲑ ﻭﺇﱃ ﻓﺘﺢ ﳊﻈﺎﺕ ﻭﺇﱃ ﺷﺮﺡ ﻭﺗﻔﺼﻴﻞ‪ ،‬ﻛﺎﻧﺖ‬ ‫ﺸﺮﺡ ﻭﻫﺬﺍ ﺍﻟﹼﺜﺮﺍﺀ ﺍﳌﺒﺎﻟﻎ‬ ‫ﺸﻌﺮﻳﺔ ﺗﺮﻓﺾ ﻫﺬﺍ ﺍﻟ‪‬ﺘﻔﺼﻴﻞ ﻭﻫﺬﺍ ﺍﻟ ‪‬‬ ‫ﻋﺒﺎﺭﰐ ﺍﻟ ‪‬‬ ‫ﺸﻌﺮﻳ‪‬ﺔ ﺑﻘﺪﺭ ﺍﺳﺘﺮﺳﺎﱄ ﰲ‬ ‫ﻓﻴﻪ‪ .‬ﻭﻛﻨﺖ ﺑﻘﺪﺭ ﺻﺮﺍﻣﱵ ﰲ ﻛﺘﺎﺑﱵ ﺍﻟ ‪‬‬ ‫ﺻﺔ ﰲ ﺍﻷﻭﺳﺎﻁ‬ ‫ﻱ ﺇﻧﺴﺎﻥ ﺧﺎ ‪‬‬ ‫ﺴﺮﺩ‪ ،‬ﻭﱂ ﺃﻛﻦ ﺇﱃ ﺍﻟﻴﻮﻡ ﺃﻗﻮﻝ ﻷ ‪‬‬ ‫ﺍﻟ ‪‬‬

‫‪124‬‬


‫ﺍﻟﹼﺜﻘﺎﻓﻴ‪‬ﺔ ﺃ‪‬ﻧﲏ ﺃﻛﺘﺐ ﺳﺮﺩﺍ ﻣﻬﻤﺎ ﻛﺎﻥ ﻧﻮﻋﻪ‪ .‬ﺍﳌﺮ‪‬ﺓ ﺍﻟﻮﺣﻴﺪﺓ ﺍﻟ‪‬ﺘﻲ ﻧﺸﺮﺕ‬ ‫ﺴﻮﺭﻳ‪‬ﺔ ﻣﻊ ﺳﻌﺪﻱ ﻳﻮﺳﻒ‪.‬‬ ‫ﺼﺎ ﺳﺮﺩﻳ‪‬ﺎ ﻛﺎﻥ ﰲ ﳎﻠﹼﺔ ﺍﳌﺪﻯ ﺍﻟ ‪‬‬ ‫ﻓﻴﻬﺎ ﻧ ‪‬‬ ‫ﺍﻵﻥ ﺃﺳﺘﻄﻴﻊ ﺃﻥ ﺃﻗﻮﻝ ﺇ‪‬ﻧﲏ ﻻ ﺃﻛﺘﺐ ﺷﻴﺌﺎ ﳐﺘﻠﻔﺎ ﰲ ﺍﻟ ‪‬ﺮﻭﺍﻳﺔ ﺑﺎﳌﺮ‪‬ﺓ‪.‬‬ ‫ﺸﻌﺮ ﻭﻋﻠﻰ ﺍﻟﹼﺜﺮﺍﺀ‬ ‫ﻓﻔﻲ ﺭﻭﺍﻳﺎﰐ ﺃﺣﺎﻓﻆ ﻋﻠﻰ ﻫﺬﺍ ﺍﻟﻜ ‪‬ﻢ ﺍﳍﺎﺋﻞ ﻣﻦ ﺍﻟ ‪‬‬ ‫ﺍﻟﹼﻠﻐﻮﻱ ﺍﻟ ﹼﺬﻱ ﳝﻴ‪‬ﺰﱐ ﻭﺧﺎﺻ‪‬ﺔ ﰲ ﺍﻷﻋﻤﺎﻝ ﺍﻟﺴ‪‬ﺮﺩﻳ‪‬ﺔ ﺍﻟﻘﺼﲑﺓ ﺍﻟﺘ‪‬ﻲ ﺃﳒﺰ‪‬ﺎ‬ ‫ﺸﻌﺮ ﺑﻜﻞ ﺍﳌﻘﺎﻳﻴﺲ‪.‬‬ ‫ﻭﺍﻟ‪‬ﺘﻲ ﺃﻇ ‪‬ﻦ ﺃ ﹼﻥ ﻓﻴﻬﺎ ﺷﻴﺌﺎ ﻣﻬ ‪‬ﻤﺎ ﻟﻴﺲ ﺑﻌﻴﺪﺍ ﻋﻦ ﺍﻟ ‪‬‬ ‫ﻣﻦ ﺧﻼﻝ ﺍﻃﹼﻼﻋﻨﺎ ﻋﻠﻰ ﺗﺎﺭﻳﺦ ﺣﻴﺎﺓ ﺃﻫﻢ‪ ‬ﺍﻟﺸﻌﺮﺍﺀ ﳒﺪ ﺃﻧ‪‬ﻬﻢ‬ ‫ﻳﻨﺘﺠﻮﻥ ﺇﺑﺪﺍﻋﺎ‪‬ﻢ ﰲ ﻓﺘﺮﺓ ﺷﺒﺎ‪‬ﻢ ﰒ ﻳﻌﺘﺰﻟﻮﻥ ﺍﻟﺸ‪‬ﻌﺮ ﺃﻭ ﻳﻨﺘﺤﺮﻭﻥ‪،‬‬ ‫ﻛﻴﻒ ﺗﻌﻴﺶ ﻫﺬﻩ ﺍﻟﻠﹼﺤﻈﺔ ﺃﻻ ﲣﺎﻑ ﻣﻨﻬﺎ؟‬ ‫ﻗﺪ ﺃﺯﻋﺠﻚ ﺑﺈﺟﺎﺑﱵ ﻫﺬﻩ )ﻭﻳﻐﺮﻕ ﰲ ﺍﻟﻀ‪‬ﺤﻚ( ﺃﻧﺎ ﱂ ﺃﻓ ﹼﻜﺮ‬ ‫ﻣﻄﻠﻘﺎ ﰲ ﻫﺬﻩ ﺍﻟﹼﻠﺤﻈﺔ‪ ،‬ﻓ ﹼﻜﺮﺕ ﺭ‪‬ﺑﻤﺎ ﰲ‪...‬‬ ‫)ﺃﻗﺎﻃﻌﻪ( ﻭﺃﻧﺎ ﺃﺯﻋﺠﻚ ﻷﻧ‪‬ﲏ ﺃﺫﻛﹼﺮﻙ ‪‬ﺎ ﺍﻵﻥ؟‬ ‫ﺃﻥ ﺃﻛﺘﺐ ﺑﻌﻤﻖ ﺑﻘﺪﺭ ﻣﺎ ﺃﺳﺘﻄﻴﻊ ﻭﺃﻥ ﺃﻧﺸﺮ ﺃﻋﻤﺎﱄ‪ ،‬ﻫﺬﺍ ﻣﺎ‬ ‫ﻱ ﺷﺨﺺ ﺃﻥ ﻳﻘﻮﻡ‬ ‫ﺃﻓﻜﹼﺮ ﻓﻴﻪ‪ .‬ﻭﻫﻮ ﻟﻴﺲ ﺣﻠﻤﺎ‪ ،‬ﻫﻮ ﺷﻲﺀ ﺑﺈﻣﻜﺎﻥ ﺃ ‪‬‬ ‫ﺑﻪ‪ .‬ﻭ ﻣﻨﺘﻬﻰ ﺃﺣﻼﻣﻲ ﺍﻵﻥ ﻫﻮ ﺇﺻﺪﺍﺭ ﺍﻟﻜﺘﺐ ﺑﺸﻜﻞ ﻻﺋﻖ‪.‬‬

‫‪125‬‬


‫ﻫﺬﺍ ﻣﺎ ﺃﻓﻜﹼﺮ ﺑﻪ ﺍﻵﻥ‪ ،‬ﺃﻣ‪‬ﺎ ﻣﺎ ﺳﻴﺤﺪﺙ ﻓﻴﻤﺎ ﺑﻌﺪ ﻓﻼ‬ ‫ﻯ ﺃﻳﻀﺎ ﺍﻫﺘﻤﺎﻣﺎﺕ ﻭﺃﺣﻼﻡ ﺃﺧﺮﻯ ﻭﻟﻜﻦ ﺃﻥ ﺃﻧﻘﻄﻊ ‪‬ﺎﺋﻴ‪‬ﺎ‬ ‫ﻳﻌﻨﻴﲏ‪ ...‬ﻟﺪ ‪‬‬ ‫ﺸﻌﺮ ﻓﻼ ﺃﻇ ‪‬ﻦ ﺃ ﹼﻥ ﻫﺬﺍ ﺳﻴﺤﺪﺙ )ﻳﻘﻮﳍﺎ ﺑﺎﺭﺗﺒﺎﻙ( ﻣﺎ‬ ‫ﻋﻦ ﻛﺘﺎﺑﺔ ﺍﻟ ‪‬‬ ‫ﺸﻌﺮ‪،‬‬ ‫ﺟﺌﺖ ﺇﱃ ﺍﳊﻴﺎﺓ ﻣﻦ ﺃﺟﻞ ﺇﻋﻄﺎﺋﻪ ﳍﺎ ﱂ ﺃﻋﻄﻪ ﺑﻌﺪ ﺣ‪‬ﺘﻰ ﺃﻋﺘﺰﻝ ﺍﻟ ‪‬‬ ‫ﻋﻨﺪﻣﺎ ﺃﻋﻄﻲ ﻫﺬﺍ ﺍﻟﺸﻲﺀ‪) ...‬ﻳﺼﻤﺖ ﻗﻠﻴﻼ ﻭﻳﻮﺍﺻﻞ ﺍﳊﺪﻳﺚ(‪...‬‬ ‫ﺸﻌﺮ ﺃﻋﻄﻰ ﻟﻺﻧﺴﺎﻧﻴ‪‬ﺔ ﺷﻴﺌﺎ‪ .‬ﻭﺍﻟﺴﻴ‪‬ﺎﺏ ﻋﻨﺪﻣﺎ‬ ‫ﺭﺍﻣﺒﻮ ﻣﺜﻼ ﳌﺎ ﺍﻋﺘﺰﻝ ﺍﻟ ‪‬‬ ‫ﻣﺎﺕ ﺃﻋﻄﻰ ﺷﻴﺌﺎ‪ .‬ﻭﺍﻟﺸ‪‬ﺎﰊ ﺃﻳﻀﺎ‪ .‬ﻭﺍﻟﻌﻈﻤﺎﺀ ﺍﻟ ﹼﺬﻳﻦ ﻣﺎﺗﻮﺍ ﺃﻋﻄﻮﺍ ﺷﻴﺌﺎ‪،‬‬ ‫ﻭﺍﻟ ﹼﺬﻳﻦ ﻇﹼﻠﻮﺍ ﺃﺣﻴﺎﺀ ﺇﱃ ﺍﻟﹼﺜﻤﺎﻧﲔ ﻣﺎﺯﺍﻟﻮﺍ ﱂ ﻳﻌﻄﻮﺍ‪ ،‬ﺃﻋﻄﻮﺍ ﰲ ﺍﻟﹼﺜﻤﺎﻧﲔ‬ ‫ﻀﺒﻂ‪ ،‬ﻭﳊﻈﺔ ﻣﺎﺗﻮﺍ ﺃﻋﻄﻮﺍ ﺷﻴﺌﺎ‪ .‬ﻭﺃﻧﺎ ﺃﻋﺘﻘﺪ ﺃ ﹼﻥ ﺑﺪﺍﻳﱵ ﳚﺐ ﺃﻥ‬ ‫ﺑﺎﻟ ‪‬‬ ‫ﺠﻌﺔ ﻭﻗﻮﻳﺔ ﻭﻏﲑ ﻋﺎﺩﻳ‪‬ﺔ ﻛﻤﺎ ﻓﻬﻤﺖ ﻣﻦ ﻛ ﹼﻞ ﺍﻟﻨﺎﺱ‬ ‫ﺗﻔﻬﻢ ﻋﻠﻰ ﺃ‪‬ﺎ ﻣﺸ ‪‬‬ ‫ﺍﻟﺬﻳﻦ ﺃﺣﺒ‪‬ﻮﱐ ﻭﺃﺣﺒ‪‬ﻮﺍ ﺷﻌﺮﻱ‪ ،‬ﻭﻟﻜﻦ ﺇﺫﺍ ﹼﰎ ﺍﻋﺘﺒﺎﺭﻱ ‪‬ﺬﺍ ﻓﻘﻂ ﺷﺎﻋﺮ‪‬ﺍ‬ ‫ﻫﺎﻣ‪‬ﺎ ﻓﻬﺬﺍ ﻏﻠ ‪‬ﻮ‪ .‬ﺃﻇ ‪‬ﻦ ﺃ ﹼﻥ ﻣﺎ ﺃﺧﻔﻴﻪ ﻭﻣﺎ ﹶﺃ ‪‬ﻋ ‪‬ﺪ ﺑﻪ ﻫﻮ ﺍﻷﻫﻢ‪ ،‬ﻭﺃﻋﺬﺭﱐ‬ ‫ﺑﺈﺯﻋﺎﺟﻚ ﺑﻌﺪﻡ ﺇﻋﻼﻥ ﺍﻋﺘﺰﺍﱄ‪.‬‬ ‫ﻭﺍﳌﻮﺕ ﻛﻴﻒ ﺗﺘﻌﺎﻣﻞ ﻣﻌﻪ؟‬ ‫ﺍﳌﻮﺕ ﻟﻴﺲ ﺳﻬﻼ‪ ،‬ﻗﺪ ﳝﻀﻲ ﺍﻹﻧﺴﺎﻥ ﻋﻤﺮﻩ ﻛﺎﻣﻼ ﻳﻄﻠﺐ‬ ‫ﺸﻲﺀ ﺍﻟ ﹼﺬﻱ‬ ‫ﺍﳌﻮﺕ ﻓﻼ ﻳﺄﺗﻴﻪ‪ ،‬ﻳﺄﺗﻴﻪ ﰲ ﳊﻈﺔ ﻭﺍﺣﺪﺓ ﻋﻨﺪﻣﺎ ﳛ ﹼﻘﻖ ﺍﻟ ‪‬‬ ‫ﺸﻲﺀ ﺳﺄﻣﻀﻲ‪ .‬ﺃ ‪‬ﻣﺎ ﺍﻵﻥ ﻓﺄﻧﺎ‬ ‫ﺃﺭﺳﻞ ﻣﻦ ﺃﺟﻠﻪ‪ ،‬ﻭﻋﻨﺪﻣﺎ ﺃﺣ ﹼﻘﻖ ﺫﻟﻚ ﺍﻟ ‪‬‬

‫‪126‬‬


‫ﺸﻲﺀ ﺍﳍﺎﻡ‬ ‫ﺃﺷﻌﺮ ﺑﱪﺩ ﺍﻻﻃﻤﺌﻨﺎﻥ ﺣﻘﻴﻘﺔ ﻭﻋﻨﺪﻣﺎ ﺳﺄﻗﻮﻡ ﺑﺈﳒﺎﺯ ﺫﻟﻚ ﺍﻟ ‪‬‬ ‫ﺍﻟ ﹼﺬﻱ ﺃﻧﺎ ﻣﺮﺳﻞ ﻣﻦ ﺃﺟﻠﻪ‪ ،‬ﺳﻴﻜﻮﻥ ﺍﳌﻮﺕ ﺃﻣﺮﺍ ﺛﺎﻧﻮﻳ‪‬ﺎ ﻭﺑﺴﻴﻄﺎ ﳊﻈﺔ‬ ‫ﳎﻴﺌﻪ‪...‬‬

‫‪127‬‬


‫ﻓﻬﺮﺱ ﺍﻟﻜﺘﺎﺏ‬ ‫۩‬ ‫ﺍﻻﻧﺒﺜﺎﻕ ﺩﻭﻥ ﺃﺻﻞ‬ ‫۩۩‬ ‫ﺍﻷﻋﺘﺎﺏ ﻭﺍﳌﻨﺎﺯﻝ‪:‬‬ ‫ﺃ‪ -‬ﺍﻷﻋﺘﺎﺏ‪:‬‬ ‫ ﳐﺪﻉ ﻣﻬﻤﻞ ﻟﻠﻮﻗﻮﻑ ﻋﻠﻰ ﺷﺠﺮ ﺍﻟﹼﻠّﻴﻞ‪.‬‬‫ ﺷﺘﺎﺀ ﺍﻷﺑﺪ‪.‬‬‫ ﺍﻷﻭﺩﻳﺴﺔ‪.‬‬‫ ﻃﻮﺍﻑ ﺍﻟﺴﻴ‪‬ﺪﺍﺕ‪.‬‬‫ ﺍﻟﻨ‪‬ﻬﺎﻳﺎﺕ‪.‬‬‫ ﻋﻮﺩﺓ ﺃﻭﺭﰲ‪.‬‬‫ﺏ‪ -‬ﺍﳌﻨﺎﺯﻝ‪:‬‬ ‫ ﺑﻴﺖ ﻟﺘﺤﺮﻳﺮ ﺍﻟﻜﺎﺋﻦ‪.‬‬‫ ﺷﺮﻓﺔ ﻭﺍﻃﺌﺔ ﻟﻨﺤﺎﺗﺎﺕ ﺍﻟﱪﻕ‪.‬‬‫ ﻋﺮﺑﺔ ﳋﻴﻞ ﺍﻷﺳﺎﻃﲑ‪.‬‬‫ ﻓﺠﺮ ﻟﻘﺪﺍﺳﺎﺕ ﺩﺍﺱ ﻋﻠﻴﻬﺎ ﺍﻟﻠﹼﻴﻞ ﺑﺂﺛﺎﺭ ﺧﻄﺎﻳﺎﻩ‪.‬‬‫ ﻣﺪﻳﺢ ﳋﺒﻂ ﺃﺟﻨﺤﺔ ﺍﻟﻄﹼﺎﺋﺮ ﺍﳉﺒﻠ ‪‬ﻲ ﺍﻟﺼ‪‬ﺎﻋﺪ ﺍﳉﺒﻞ‪.‬‬‫‪128‬‬


‫ ﻭﻗﻔﺔ ﺃﺧﲑﺓ ﻹﺿﺎﺀﺓ ﺍﻟﺪ‪‬ﻭﺍﺧﻞ‪.‬‬‫ ﺩﻛﻨﺔ ﺑﺎﺭﺩﺓ ﳌﻨﺎﺯﻝ ﺍﻟﺼ‪‬ﺒﺎﺡ‪.‬‬‫ ﻗﺪ‪‬ﺍﺱ ﺃﺧﲑ ﻟﺴﺎﺩﻧﺔ ﺍﳌﻌﺒﺪ‪.‬‬‫ ﺳﻠﻤﻰ ﻛﻌﺎﺩ‪‬ﺎ ﺗﻐﻨ‪‬ﻲ‪.‬‬‫۩۩۩‬ ‫ﺍﳌﻠﺤﻖ‪:‬‬ ‫‪ -‬ﺣﻮﺍﺭ ﻣﻊ ﺍﻟﺸ‪‬ﺎﻋﺮ ﻗﺎﻡ ﺑﻪ ﺍﻟﺼ‪‬ﺤﻔﻲ ﻛﺎﺭﻡ ﺍﻟﺸ‪‬ﺮﻳﻒ‪.‬‬

‫‪129‬‬

عودة أورفي  

poesie

Advertisement