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‫ﻣﺸﺠﻮجٌ ﺑﻔﺄس‬

‫)ﻤﺨﺘﺎﺭﺍﺕ ﻤﻥ ﺍﻟﺸﻌﺭ ﺍﻹﻨﺠﻠﻴﺯﻱ ﻭﺍﻷﻤﺭﻴﻜﻲ(‬

‫ﺸﻌﺭﺍﺀ ﻤﻌﺎﺼﺭﻭﻥ‬

‫ﻓﺎﻁﻤﺔ ﻨﺎﻋﻭﺕ‬ ‫ﺘﺭﺠﻤﺔ‪:‬‬

‫ﺤﻠﻤﻲ ﺴﺎﻟﻡ‬ ‫ﺘﻘﺩﻴﻡ‪:‬‬

‫ﺍﻟﻬﻴﺌﺔ ﺍﻟﻌﺎﻤﺔ ﻟﻘﺼﻭﺭ ﺍﻟﺜﻘﺎﻓﺔ‬

‫ﺳﻠﺴﻠﺔ‪:‬ﺁﻓﺎق ﻋﺎﻟﻤﻴﺔ‬

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 ‫ﺍﻟﻬﻴﺌﺔ ﺍﻟﻌﺎﻤﺔ ﻟﻘﺼﻭﺭ ﺍﻟﺜﻘﺎﻓﺔ‬
‫ﺁﻓﺎﻕ ﻋﺎﻟﻤﻴﺔ‬
‫ﻤﺸﺠﻭﺝ ﺒﻔﺄﺱ‬
‫ﻤﺨﺘﺎﺭﺍﺕ ﻤﻥ ﺍﻟﺸﻌﺭ ﺍﻹﻨﺠﻠﻴﺯﻱ ﻭﺍﻷﻤﺭﻴﻜﻲ ﺍﻟﻤﻌﺎﺼﺭ‬
‫ﺘﺭﺠﻤﺔ‪ :‬ﻓﺎﻁﻤﺔ ﻨﺎﻋﻭﺕ‬

‫ﻟﻭﺤﺔ ﺍﻟﻐﻼﻑ ﻤﻥ ﺃﻋﻤﺎل ‪:‬ﺒﻴﻜﺎﺴﻭ‬

‫ﺍﻟﻁﺒﻌﺔ ﺍﻷﻭﻟﻰ ‪2004‬‬

‫ﺭﻗﻡ ﺍﻹﻴﺩﺍﻉ ‪2004/21362‬‬
‫ﺍﻟﺘﺭﻗﻴﻡ ﺍﻟﺩﻭﻟﻲ‪ISBN977-305-654-6 :‬‬

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 ‫ﺗﻘﺪﻳﻢ‬
‫ﻃﻮﺑﻰ ﻟﻠﻤﺸﺠﻮﺟﻴﻦ‬

‫ﺤﻠﻤﻲ ﺴﺎﻟﻡ‬

‫ﻱ‬
‫ﻫﺫﻩ ﻤﺠﻤﻭﻋﺔ ﻤﺨﺘﺎﺭ ﹲﺓ ﻤﻥ ﻗﺼﺎﺌﺩ ﺍﻟﺸﱢﻌﺭ ﺍﻹﻨﺠﻠﻴﺯ ‪‬‬
‫ﻲ ﺍﻟﻤﻌﺎﺼﺭ‪ ،‬ﺍﻨﺘﻘﺘﻬﺎ ﺍﻟﺸﺎﻋﺭ ﹸﺓ ﻭﺍﻟﻤﺘﺭﺠﻤـ ﹸﺔ ﺍﻟـﺸﺎﺒﺔ‬
‫ﻭ ﺍﻷﻤﺭﻴﻜ ‪‬‬
‫ﺢ–‬
‫ﻓﺎﻁﻤﺔ ﻨﺎﻋﻭﺕ‪ ،‬ﻟﻜﻲ ﺘﻘﺩ‪‬ﻤﻬﺎ – ﻜﺒﺎﻗﺔ ﻭﺭ ٍﺩ ﺃﻭ ﻜﺤﺯﻤ ِﺔ ﻗﻤـ ٍ‬
‫ﺕ ﻟﺒﺎﻗﺘِﻬـﺎ )ﺃﻗـﺼ ‪‬ﺩ‬
‫ﻱ ﻭﺍﻟﻌﺭﺒﻲ‪ ،‬ﻭﻗﺩ ﺍﺨﺘـﺎﺭ ﹾ‬
‫ﻟﻘﺎﺭﺌِﻬﺎ ﺍﻟﻤﺼﺭ ‪‬‬
‫ﺹ‬
‫ﻼ ﻤـﻥ ﺃﺤـ ِﺩ ﻨـﺼﻭ ِ‬
‫ﻟﺤﺯﻤﺘِﻬﺎ( ﻋﻨﻭﺍﻨﹰﺎ ﺠﻤﻴﻼ ﻤ‪‬ﻠﺘ ِﺒﺴ‪‬ﺎ‪ ،‬ﻤﺴﺘ ﹰ‬
‫ﺝ ﺒﻔﺄﺱ"‪.‬‬
‫ﺍﻟﻜﺘﺎﺏ ﻫﻭ " ﻤﺸﺠﻭ ‪‬‬
‫ﻭ ﻻ ﻏﺭﺍﺒ ﹶﺔ ﻓﻲ ﻤﺜـل ﻫـﺫﺍ ﺍﻻﺨﺘﻴـﺎﺭ ﺍﻟﻐﺭﻴـﺏ‪،‬‬
‫ﻓﺎﻟﻤﺘﺭﺠﻤ ﹸﺔ ﺸﺎﻋﺭ ﹲﺓ ﻤﻤﻴﺯ ﹲﺓ ﻤﻥ ﺸﺎﻋﺭﺍﺕ ﺍﻟﺠﻴل ﺍﻟـﺫﻱ ﻴـﺴﻤﻴﻪ‬
‫ﻫﻭﺍﺓ ﺍﻟﺘﺼﻨﻴﻔﺎﺕ ﺍﻟﻌﻘﺩﻴﺔ " ﺠﻴل ﺍﻟﺘـﺴﻌﻴﻨﺎﺕ"‪ .‬ﻭﻫـﻲ ﺘﻬـﻭﻯ‬
‫ﻱ ﺍﻟﺤﺎﺩ‪،‬ﺍﻟﻤﺒﺘﻌﺩ ﻋﻥ ﺭﻫﺭﻁﺔ‬
‫ﻲ ﺍﻟﻤﺎﺩ ‪‬‬
‫ﺍﻟﻌﻨﺎﻭﻴﻥ ﺫﺍﺕ ﺍﻟﻁﺎﺒ ِﻊ ﺍﻟﻌﻤﻠ ‪‬‬
‫ﺍﻟﻌﺎﻁﻔﺔ ﺍﻟﻤﻔﺭﻭﻁﺔ‪ ،‬ﻭﺍﻟﻨﺎﺌﻲ ﻋﻥ ﻟﻴﻭﻨﺔ ﺍﻟﺭﻭﻤﺎﻨﺴﻴﺔ ﺍﻟﻠﻴ‪‬ﻨﺔ‪ .‬ﻫـﺫﺍ‬

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‫ﻤﺎ ﻨﺠﺩﻩ ﻓﻲ ﻋﻨﺎﻭﻴﻥ ﺩﻭﺍﻭﻴﻨﻬﺎ ﺍﻟﺜﻼﺜﺔ ﺍﻟﺘﻲ ﺃﺼـﺩﺭﺘﹾﻬﺎ‪ ،‬ﺤﺘـﻰ‬
‫ﺍﻵﻥ‪ :‬ﻨﻘﺭﺓ ﺇﺼﺒﻊ‪ ،‬ﻋﻠﻰ ﺒ‪‬ﻌﺩ ﺴﻨﺘﻴﻤﺘﺭ ﻭﺍﺤـﺩ ﻤـﻥ ﺍﻷﺭﺽ‪،‬‬
‫ﻲ ﻓﻲ ﺍﻟﺫﺍﻜﺭﺓ"‪.‬‬
‫ﻗﻁﺎﻉ ﻁﻭﻟ ‪‬‬
‫ﻙ ﻓﻲ ﺃﻥ ﺍﻟﺸﺎﻋﺭﺓ‪/‬ﺍﻟﻤﺘﺭﺠﻤـﺔ ﻗـﺩ‬
‫ﻭﻟﻴﺱ ﻋﻨﺩﻱ ﺸ ﱞ‬
‫ﺕ ﻫﺫﺍ ﺍﻟﻌﻨﻭﺍﻥ ﺍﻟﻐﺭﻴﺏ ﻤﻥ ﺒﻴﻥ ﺍﻟﻌﺩﻴﺩ ﻤﻥ ﺍﻟﺠﻤل ﺍﻟﺠﻤﻴﻠـﺔ‬
‫ﺍﻨﺘﻘ ﹾ‬
‫ﺍﻟﺘﻲ ﺘﺤﻔل ﺒﻬﺎ ﻗﺼﺎﺌ ‪‬ﺩ ﺍﻟﺸﻌﺭﺍﺀ ﺍﻟﻭﺍﺭﺩﻴﻥ ﻓﻲ ﻫﺫﻩ ﺍﻟﻤﺨﺘﺎﺭﺍﺕ‪،‬‬
‫ﺏ ﺃﺴﺎﺴﻲ‪ ،‬ﻫﻭ ﺃﻥ ﺘﺩﻓﻊ ﺍﻟﻘﺭﺍ ‪‬ﺀ ﻤﻥ ﺃﻤﺜﺎﻟﻲ ﺇﻟﻰ ﺍﻟﺴﺅﺍل ‪:‬‬
‫ﻟﺴﺒ ٍ‬
‫ﻤﻥ ﻫﻭ ) ﺃﻭ ﻤﺎ ﻫﻭ ( ﺍﻟﻤﺸﺠﻭﺝ ﺒﻔﺄﺱ ؟‬
‫ﺹ ﺍﻟﻤﺘﺭﺠ‪‬ﻡ ؟ ﺤﻴﺙ‬
‫ﺏ ﺍﻟﻨ ‪‬‬
‫ﻫل ﻫﻭ ﺍﻟﺸﺎﻋ ‪‬ﺭ – ﺼﺎﺤ ‪‬‬
‫ﻫﻭ ﻤﻨﻘﺴ ‪‬ﻡ ﺒﻴﻥ ﻋﻘﻠِﻪ ﻭﻗﻠﺒِﻪ‪ ،‬ﻭﺒﻴﻥ ﻭﻋﻴـﻪ ﻭﻻ ﻭﻋﻴـﻪ‪ ،‬ﻭﺒـﻴﻥ‬
‫ﺼﻨﹾﻌﺔ ﻭﺍﻟﻔﻁﺭﺓ‪ ،‬ﻭﺒﻴﻥ ﺍﻟﻭﺍﻗ ِﻊ ﻭﺍﻟﺤ‪‬ﻠﻡ‪ ،‬ﻭﺒﻴﻥ ﺍﻟﺫﺍﺕ ﻭﺍﻟﺠﻤﺎﻋﺔ‪،‬‬
‫ﺍﻟ ‪‬‬
‫ﺽ ﺍﻟﻤﻘﻴ‪‬ﺩﺓ‪ ،‬ﻭﻏﻴـﺭ‬
‫ﻕ ﻭﻗﻴﻭ ِﺩ ﺍﻷﺭ ِ‬
‫ل ﺍﻟﻤﻨﻁﻠ ِ‬
‫ﻭﺒﻴﻥ ﺍﻨﻁﻼﻕ ﺍﻟﺨﻴﺎ ِ‬
‫ﺕ ﻤﺘﻌﺎﺭﻀ ٍﺔ ﺃﻭ ﻤﺘﺠﺎﺩﻟ ٍﺔ ﻴﻤﻜـﻥ ﺃﻥ ﻨـﺴﻤ‪‬ﻲ‬
‫ﺫﻟﻙ ﻤﻥ ﺍﻨﻘﺴﺎﻤﺎ ٍ‬
‫ﻤﻌﺭﻜﺘﹶﻬﺎ ‪ :‬ﻤﺄﺴﺎ ﹸﺓ ﺍﻟﺸﺎﻋﺭ ‪.‬‬
‫ﺹ )ﺍﻟﺸﻌﺭ( ﻨﻔﺴﻪ؟ ﺤﻴﺙ ﻫﻭ ﻤﻨﻘﺴ ‪‬ﻡ ﺒﻴﻥ‬
‫ﻫل ﻫﻭ ﺍﻟﻨ ‪‬‬
‫ﻥ "ﻭﺼﻔ ﹰﺔ ﻟﻠﺠﻨﻭﻥ" ﻭ ﺃﻥ ﻴﻜﻭﻥ "ﺴﺭﺒ‪‬ﺎ ﻤﻥ ﻋﻘﺎﺌﺩ"‪ ،‬ﻭﺒﻴﻥ‬
‫ﺃﻥ ﻴﻜﻭ ‪‬‬
‫ﺃﻥ ﻴﺼﺩ ‪‬ﺭ ﻤﻥ ﻤﺒﺩﺃ ﺍﻟﻭﻀﻭﺡ ﻭ ﺃﻥ ﻴﺼﺩﺭ ﻤﻥ " ﻤﺒﺩﺃ ﺍﻟﺘﺨ ﹼﻔﻲ"‪،‬‬
‫ﻭﺒﻴﻥ ﺃﻥ ﻴﻨﺤﺎﺯ ﺇﻟﻰ " ﺃﺠﻴ ٍﺭ ﻤﻁﺭﻭ ٍﺩ ﻟﺘﻭ‪‬ﻩ" ﻭ ﺃﻥ ﻴﻨﺤـﺎﺯ ﺇﻟـﻰ‬

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‫ﻲ ﻋﻨﺩ ﺍﻟﻘﺭﺍﺀ‪ ،‬ﻭﺒﻴﻥ ﺃﻥ ﻴﻜﻭﻥ "ﻤﺤـﺽ‬
‫ﺘﺭﻗﻴﺔ ﺍﻹﺩﺭﺍﻙ ﺍﻟﺠﻤﺎﻟ ‪‬‬
‫ﺤﻴل ﺒﺴﻴﻁ ٍﺔ" ﻭ ﺃﻥ ﻴﻜﻭﻥ ﺘﺭﻜﻴﺒ‪‬ﺎ ﻤﻌﻘﺩ‪‬ﺍ ﻋﻤﻴﻘﹰﺎ‪ ،‬ﻭﻏﻴﺭ ﺫﻟﻙ ﻤـﻥ‬
‫ﺕ ﻤﺘﻌﺎﺭﻀ ٍﺔ ﺃﻭ ﻤﺘﺠﺎﺩﻟ ٍِﺔ ﻤﻤﺎ ﻴﻤﻜﻥ ﺃﻥ ﻨﺴﻤ‪‬ﻲ ﻤﻌﺭﻜﺘﹶﻬﺎ‬
‫ﺍﻨﻘﺴﺎﻤﺎ ٍ‬
‫‪ :‬ﻤﺄﺴﺎ ﹸﺓ ﺍﻟﺸﻌﺭ‪.‬‬
‫ﻫل ﻫﻭ ﺍﻟﻤﺘﺭﺠﻡ)ﺴﻴﻤﺎ ﺇﺫﺍ ﻜﺎﻥ ﺸﺎﻋﺭ‪‬ﺍ(؟ ﺤﻴﺙ ﻫـﻭ‬
‫ﻤﻨﻘﺴ ‪‬ﻡ ﺒﻴﻥ ﺃﻤﺎﻨﺘِﻪ ﺘﺠﺎﻩ ﺍﻟﻠﻐﺔ ﺍﻟﻤﻨﻘﻭل ﻋﻨﻬﺎ ﻭﺍﻟﻠﻐـﺔ ﺍﻟﻤﻨﻘـﻭل‬
‫ﻱ ﻟﻠﻘـﺼﻴﺩﺓ‬
‫ﺹ ﺍﻷﻭل)ﺍﻟﻤﻨﺎﺥ ﺍﻟﺤـﻀﺎﺭ ‪‬‬
‫ﺇﻟﻴﻬﺎ‪ ،‬ﻭﺒﻴﻥ ﺜﻘﺎﻓ ِﺔ ﺍﻟﻨ ‪‬‬
‫ﻱ‬
‫ﺹ ﺍﻟﺜـﺎﻨﻲ )ﺍﻟﻤﻨـﺎﺥ ﺍﻟﺤـﻀﺎﺭ ‪‬‬
‫‪/‬ﺍﻷﺼل (‪ ،‬ﻭﺜﻘﺎﻓـﺔ ﺍﻟـﻨ ‪‬‬
‫ﺹ ﻭﺨﻴﺎﻨـﺔ "ﺭﻭﺡ"‬
‫ﻟﻠﻘﺼﻴﺩﺓ‪/‬ﺍﻟﺼﻭﺭﺓ(‪ ،‬ﻭﺒﻴﻥ ﺨﻴﺎﻨﺔ "ﺠﺴﺩ" ﺍﻟﻨ ‪‬‬
‫ﺹ )ﻤﻊ ﺍﻻﻋﺘﺫﺍﺭ ﻟﻠﻔﺼل ﺒﻴﻥ ﺍﻟﺠﺴﺩ ﻭﺍﻟﺭﻭﺡ‪ ،‬ﻭﻟﻠـﺼﻭﻓﻴﻴﻥ‬
‫ﺍﻟﻨ ‪‬‬
‫ﺍﻟﻌﺭﺏ ﺍﻟﺫﻴﻥ ﺍﻋﺘﺒﺭﻭﺍ "ﺍﻟﺠﺴﺩ ﻗﺒ‪‬ﺔ ﺍﻟﺭﻭﺡ"( ﻭﺒﻴﻥ ﺘﺒﻌﻴﺔ ﺍﻟﻤﺘﺭﺠِﻡ‬
‫ﺕ ﻤﺘﻌﺎﺭﻀـ ٍﺔ ﺃﻭ‬
‫ﺹ ﺃﻭﻨﺩﻴﺘﻪ ﻟﻪ‪ ،‬ﻭﻏﻴﺭ ﺫﻟﻙ ﻤﻥ ﺍﻨﻘـﺴﺎﻤﺎ ٍ‬
‫ﻟﻠﻨ ‪‬‬
‫ﻤﺘﺠﺎﺩﻟ ٍﺔ ﻤﻤﺎ ﻴﻤﻜﻥ ﺃﻥ ﻨﺴﻤ‪‬ﻲ ﻤﻌﺭﻜﺘﹶﻬﺎ ‪ :‬ﻤﺄﺴﺎ ﹸﺓ ﺍﻟﻤﺘﺭﺠﻡ‪.‬‬
‫ﻫل ﻫﻭ ﺍﻟﻘﺎﺭﺉ؟ ﺤﻴﺙ ﻫﻭ ﻤﻨﻘﺴ ‪‬ﻡ ﺒﻴﻥ ﺃﺴﺭﺍﺭ ﻟﻐﺘﻴﻥ‬
‫‪ :‬ﺍﻟﻤﻨﻘﻭﻟﺔ ﻭﺍﻟﻨﺎﻗﻠﺔ‪ ،‬ﻭﺒﻴﻥ ﻁﺒﻴﻌﺔ ﻤ‪‬ﺘﻌﺘﻴ‪‬ﻥ ‪ :‬ﻤﺘﻌﺔ ﺍﻟﺠﻤﺎل ﺍﻷﻭل‬
‫ﺒﺩﻭﻥ ﺘﺩﺨﹼل ﺍﻟﻤﺘﺭﺠﻡ ﻭﻤﺘﻌﺔ ﺍﻟﺠﻤﺎل ﺍﻟﺜﺎﻨﻲ ﺒﻌﺩ ﺘﺩﺨﹼل ﺍﻟﻤﺘﺭﺠﻡ‬
‫) ﻭﻗﺩ ﻴﻐﺩﻭ ﺘﺩﺨل ﺍﻟﻤﺘﺭﺠﻡ ﺠﻤﺎﻻ ﺃﻭ‪‬ل (‪ ،‬ﻭﺒﻴﻥ ﺍﻟﻤﻌﺭﻓﺔ ﺍﻟﺘـﻲ‬
‫ﺹ‬
‫ﺹ ﻓﻲ ﻟﻐﺘﻪ ﺍﻟﺴﺎﺒﻘﺔ ﻭﺍﻟﻤﻌﺭﻓﺔ ﺍﻟﺘﻲ ﻴﻜﺘﻨﺯﻫﺎ ﺍﻟﻨ ‪‬‬
‫ﻴﻜﺘﻨﺯﻫﺎ ﺍﻟﻨ ‪‬‬

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‫ﻓﻲ ﻟﻐﺘﻪ ﺍﻟﻼﺤﻘﺔ‪،‬ﻭﺒﻴﻥ "ﺍﻟﺠﺭﻴﻤﺔ" ﺍﻟﻤﻀﻤﺭﺓ ﻓﻲ ﺤﺭﻓﻴ‪‬ﺔ ﺍﻟﺘﺭﺠﻤﺔ‬
‫ﻭ" ﺍﻟﺠﺭﻴﻤﺔ" ﺍﻟﻤﻀﻤﺭﺓ ﻓﻲ ﺍﻻﻨﺤﺭﺍﻑ ﻋﻥ ﺤﺭﻓﻴـﺔ ﺍﻟﺘﺭﺠﻤـﺔ‪،‬‬
‫ﺉ ﻨﻔﺴ‪‬ﻪ ﺃﻤﺎﻡ ﺠﺭﻴﻤ ٍﺔ ﻓـﻲ ﺍﻟﺤـﺎﻟﺘﻴﻥ‪ ،‬ﺤـﺎﺌﺭ‪‬ﺍ ﻓـﻲ‬
‫ﻟﻴﺠﺩ ﺍﻟﻘﺎﺭ ُ‬
‫ﺍﻻﺨﺘﻴﺎﺭ ﺒﻴﻥ ﺍﻟﺠﺭﻴﻤﺘﻴﻥ‪ ،‬ﻭﻏﻴﺭ ﺫﻟﻙ ﻤﻥ ﺍﻨﻘﺴﺎﻤﺎﺕ ﻤﺘﻌﺎﺭﻀﺔ‬
‫ﺃﻭ ﻤﺘﺠﺎﺩﻟ ٍﺔ ﻤﻤﺎ ﻴﻤﻜﻥ ﺃﻥ ﻨﺴﻤ‪‬ﻲ ﻤﻌﺭﻜﺘﻬﺎ ‪ :‬ﻤﺄﺴﺎﺓ ﺍﻟﻘﺎﺭﺉ ‪.‬‬
‫ﻫﻜﺫﺍ ﺃﺭﺍﺩﺕ ﺍﻟﻤﺘﺭﺠﻤﺔ ﺍﻟـﺸﺎﻋﺭﺓ )ﺒﺎﺨﺘﻴـﺎﺭ ﻫـﺫﺍ‬
‫ﺝ"‬
‫ﺝ ﺒﻔﺄﺱ( ﺃﻥ ﺘﺸﻴ ‪‬ﺭ ﺇﻟﻰ ﺃﻥ " ﺍﻟﻤﺸﺠﻭ ‪‬‬
‫ﺍﻟﻌﻨﻭﺍﻥ ﺍﻟﻤﻠﻬ ‪‬ﻡ ﺍﻟﻤﺸﺠﻭ ‪‬‬
‫ﺹ ﻭ ﺍﻟﻤﺘﺭﺠِﻡ ﻭﺍﻟﻘﺎﺭﺉ‪ ،‬ﺠﻤﻴﻌ‪‬ـﺎ‪ ،‬ﻤﻭﻀـﺤ ﹰﺔ‬
‫ﻫﻭ ﺍﻟﺸﺎﻋﺭ ﻭﺍﻟﻨ ‪‬‬
‫ﻜﻤﻴ‪‬ﺔ ﺍﻟﻤﺂﺴﻲ ﺍﻟﻜﺎﻤﻨﺔ ﻓﻲ ﻋﻤﻠﻴ ٍﺔ ﺒﺴﻴﻁﺔ ﻭﻀـﺭﻭﺭﻴﺔ ﻫـﻲ ‪:‬‬
‫ﺘﺭﺠﻤﺔ ﺍﻟﺸﻌﺭ‪.‬‬
‫" ﺘﺭﺠﻤﺔ ﺍﻟﺸﻌﺭ" ﻜﺎﻥ ﻋﻨﻭﺍﻥ ﻗﻁﻌـﺔ ﻤـﻥ ﻗﻁـﻊ‬
‫ﻗﺼﻴﺩﺘﻲ "ﺭﻓﻊ ﺍﻟﻌﻴﻭﻥ ﻤﻥ ﺍﻟﺠﺜﺙ"‪ ،‬ﻓﻲ ﺩﻴـﻭﺍﻥ "ﻴﻭﺠـﺩ ﻫﻨـﺎ‬
‫ﻋﻤﻴﺎﻥ"‪ ،‬ﺤﺎﻭﻟﺕ ﻓﻴﻪ ﺃﻥ ﺃﺼﻭ‪‬ﺭ"ﻤﺄﺴﺎﺓ" ﻤﺘﺭﺠ ٍﻡ ﻜﺒﻴﺭ‪ ،‬ﻫﻭ ﺍﻟﻨﺎﻗﺩ‬
‫ﻱ ﺍﻟﻤﻌﺭﻭﻑ ﺩ‪.‬ﻓﺎﺭﻭﻕ ﻋﺒﺩ ﺍﻟﻭﻫﺎﺏ‪ ،‬ﺍﻷﺴﺘﺎﺫ ﺒﺠﺎﻤﻌـﺔ‬
‫ﺍﻟﻤﺼﺭ ‪‬‬
‫ﺸﻴﻜﺎﻏﻭ‪ ،‬ﺤﻴﻨﻤﺎ ﺯﺭﺘﻪ ﻓﻲ ﻤﻨﺯﻟﻪ ﺒﺸﻴﻜﺎﻏﻭ )ﺒﺼﺤﺒﺔ ﺍﻟـﺼﺩﻴﻕ‬
‫ﺍﻟﺸﺎﻋﺭ ﺃﺤﻤﺩ ﻁﻪ( ﻋﺎﻡ ‪ ،1995‬ﺤﻴﺙ ﺘﺘﺒﺩﻯ ﺤﻴﺭﺓ ﺍﻟﻤﺘـﺭﺠﻡ‬
‫ﺒﻴﻥ ﻫﻭﻴ‪‬ﺘﻪ ﻭﻫﻭﻴ‪‬ﺔ ﺍﻟﻨﺹ‪ ،‬ﻭﺒﻴﻥ ﻤﺼﺭﻴﺘﻪ ﻭﻋﺎﻟﻤﻴﺘـﻪ‪ ،‬ﻭﺒـﻴﻥ‬

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‫ﺴﺤ‪‬ﺭﻴ‪‬ﻥ ﻭﻫﻤﻴ‪‬ﻴﻥ ‪:‬‬
‫ﺤﺭﺍﺭﺓ ﺍﻟﻔﻴﺯﻴﻘﺎ ﻭ ﺭﻓﺭﻓﺔ ﺍﻟﻤﻴﺘﺎﻓﻴﺯﻴﻘﺎ‪ ،‬ﻭﺒﻴﻥ ِ‬
‫ﺭﻭﺤﺎﻨﻴﺔ ﺍﻟﺸﺭﻕ ﻭﻤﺎﺩﻴ‪‬ﺔ ﺍﻟﻐﺭﺏ ‪:‬‬
‫ﺕ ﺇﻟﻰ ﻨﺩ‪‬ﺍﻫﺔ ﺍﻟﻔﻴﻤﻴﻨﺯﻡ‪،‬‬
‫" ﺃﻋﺭﻑ ﺃﻥ ﺯﻭﺠﺘﻪ ﺍﻨﺠﺫﺒ ﹾ‬
‫ﺕ ﺍﻟﻠﻭﺍﺘﻲ ﻴـﺸﺩ‪‬ﻫﻥ ﺴـﺤ ‪‬ﺭ‬
‫ﺏ ﺍﻟﺘﻠﻤﻴﺫﺍ ِ‬
‫ﻭﺘﺭﻜﺘﻪ ﻴﺩﺍﻋ ‪‬‬
‫ﺍﻟﺸﺭﻕ‪،‬‬
‫ﺭﺒﻤﺎ ﺇﺤﺩﺍﻫﻥ ﻫﻲ ﺍﻟﺘﻲ ﺘﻌ ‪‬ﺩ ﻟﻨﺎ ﺍﻷﺭ ‪‬ﺯ ﺒﻴﻨﻤﺎ ﻓﺨـﺫﺍﻫﺎ‬
‫ﻴﻘﻁﺭﺍﻥ ﻤﻥ ﺤﺭﺍﺭﺓ ﺍﻟﻤﻁﺒﺦ‪.‬‬
‫ﻙ ﻤﻥ ﺴﺎﻗﻴﻪ‪،‬‬
‫ﺸ‪‬‬
‫ﻟﻡ ﻴ ﹾ‬
‫ﻟﻜﻨﻨﻲ ﺃﺤﺒﺒﺘﻪ ﻷﻨﻪ ﻜﺎﻥ ﻓﻅ‪‬ﺎ ‪:‬‬
‫ﻥ ﺃﻤﺎﺭﺱ ﻓﻴﻪ ﺸﻐﻠﺘﻲ ﺍﻟﻭﺤﻴـﺩﺓ‬
‫ﻟﻴﺱ ﻓﻲ ﻭﻁﻨﻲ ﻤﻜﺎ ‪‬‬
‫‪:‬ﺍﻟﺘﻌﻠﻴﻡ‪.‬‬
‫ﺕ ﺇﻟﻰ ﻤﺴﺎﺠﺩ‪،‬‬
‫ﻅ ﺘﺤﻭ‪‬ل ﺍﻟﻤﺩﺭﺠﺎ ِ‬
‫ﺃﻟﻡ ﺘﻼﺤ ﹾ‬
‫ﻑ ﻋﻤﻠﻴﺎﺕ ؟‬
‫ﻭﺘﺤﻭ‪‬ل ﺍﻟﻤﺴﺎﺠ ِﺩ ﺇﻟﻰ ﻏﺭ ِ‬
‫ﻜﻨﺕ ﺃﻭ ‪‬ﺩ ﺃﻥ ﺃﺤﺘﻀﻨﹶﻪ ﻋﻠﻰ ﺍﻟﻁﺭﻴﻘ ِﺔ ﺍﻟﻤﺼﺭﻴﺔ‪،‬‬
‫ﻟﻜﻨﻨﻲ ﺘﺭﻜﺘﻪ ﻋﻠﻰ ﻜﺭﺴﻴ‪‬ﻪ ﺍﻟﻤﻔﻀ‪‬ل‪،‬‬
‫ﻕ ﻟﻤﺼﻁﻠﺢ‪:‬‬
‫ﻑ ﺩﻗﻴ ٍ‬
‫ﻴﻔﻜﹼﺭ ﻓﻲ ﻤﺭﺍﺩ ٍ‬
‫ﺍﻗﺘﺼﺎﺩ ﺍﻟﻤﺭﺍﻴﺎ‪" .‬‬

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‫ﺕ ﺩﺍﺌ ‪‬ﻡ ﺍﻟﻨﻅﺭ ﺇﻟـﻰ ﺍﻟﻤﺘـﺭﺠﻡ‬
‫ﺢ ﺇﺫﻥ‪ ،‬ﺃﻨﻨﻲ ﻜﻨ ﹸ‬
‫ﻭﺍﻀ ‪‬‬
‫ل ﻁﺭﻓﹰﺎ ﻤﻥ ﺃﻁﺭﺍﻑ ﻤﺄﺯﻗﻪ‬
‫ﺒﺎﻋﺘﺒﺎﺭﻩ "ﺸﺨﺼ‪‬ﺎ ﻓﻲ ﻤﺄﺯﻕ"‪ ،‬ﻻ ﻴﺤ ﱡ‬
‫ﻑ ﺁﺨﺭ ﻤﻥ ﺃﻁﺭﺍﻑ ﺍﻟﻤﺄﺯﻕ‪ ،‬ﻓﻬﻭ ﺍﻟﺨﺎﺴ ‪‬ﺭ‬
‫ﺇﻻ ﻋﻠﻰ ﺤﺴﺎﺏ ﻁﺭ ٍ‬
‫ل ﻭﻀﻊ‪ .‬ﺫﻟﻙ ﺃﻥ ﺍﺨﺘﻴﺎﺭﺍﺘﻪ ﺠﻤﻴﻌ‪‬ـﺎ ﻤـﺸﻭﺒ ﹲﺔ‬
‫ﻻ ﻤﺤﺎﻟﺔ ﻓﻲ ﻜ ﱢ‬
‫ﺠﺭ‪‬ﻡ‪.‬ﻭﻫـﻭ ﻓـﻲ ﻜـل ﺍﺨﺘﻴـﺎ ٍﺭ ﻤـﺫﻨﺏ‪ ،‬ﻭﻜﺄﻨـﻪ"ﺍﻟﺒﻁـل‬
‫ﺒﺎﻟ ‪‬‬
‫ﻱ"ﺍﻟﺴﺎﺌﺭ ﺇﻟﻰ ﺤﺘﻔِﻪ‪ ،‬ﻭﻫﻭ ﻴﺒﺼ ‪‬ﺭ ﺍﻟﻬﺎﻭﻴ ﹶﺔ ﺍﻟﺴﺤﻴﻘﺔ‪.‬‬
‫ﺍﻟﺘﺭﺍﺠﻴﺩ ‪‬‬
‫ﺸﻌ‪‬ﺭ ﹸﺓ ﻤﻌﺎﻭﻴﺔ" ﺍﻟﺘﻲ ﺘـﺩﺭﻜﻬﺎ ﺍﻟـﺸﺎﻋﺭ ﹸﺓ‬
‫ﻫﺫﻩ ﻫﻲ " ﹶ‬
‫ل ﻟﻬﺎ ﺒﻌﻨـﻭﺍﻥ‬
‫ﺕ ﺫﻟﻙ ﻓﻲ ﻤﻘﺎ ٍ‬
‫ﺍﻟﻤﺘﺭﺠﻤﺔ ﻨﻔﺴ‪‬ﻬﺎ‪ ،‬ﺤﻴﻨﻤﺎ ﺃﻭﻀﺤ ﹾ‬
‫"ﺘﺭﺠﻤﺔ ﺍﻟﺸﻌﺭ ‪ :‬ﺇﺒﺩﺍﻉ"* ﻗﺎﺌﻠ ﹰﺔ‪:‬‬
‫ﻥ ﻭ ﻤﺒﺎﻏﺘﺔ ﺤـﺼﻭﻨِﻪ‬
‫*" ﺃﻥ ﺍﻻﻋﺘﺩﺍ ‪‬ﺀ ﻋﻠﻰ ﺤﺭ ِﻡ ﺍﻟﻔ ‪‬‬
‫ﺕ ﺍﻟﺸﺭﻴﺭﺓ‪.‬ﻟﻜﻨﻬﺎ‬
‫ﻤﺘﻌ ﹲﺔ‪.‬ﻓﻼ ﺒﺄﺱ ﺇﺫﻥ ﻤﻥ ﺒﻌﺽ ﺍﻟﻤﻜ ِﺭ ﻭﺍﻹﺠﺎﺯﺍ ِ‬
‫ﻲ‬
‫ﺍﻟﻠﻌﺒ ﹸﺔ ﺍﻟﺨﻁِﺭﺓ ﺍﻟﺘﻲ ﻴﺠﺏ ﺃﻥ ﺘﻨﻁﻭﻱ ﻋﻠﻰ ﻤﻬﺎﺭ ٍﺓ ﻓﺎﺌﻘﺔ ﻭﻭﻋ ٍ‬
‫ﺵ ﻟﺠـﻭﻫﺭ‬
‫ﺒﺎﻷﺩﻭﺍﺕ‪ ،‬ﺤﺘﻰ ﺘﺘﻡ "ﺍﻟﺠﺭﻴﻤﺔ ﺍﻟﻜﺎﻤﻠﺔ" ﺒﻐﻴﺭ ﺨـﺩ ٍ‬
‫ﺍﻟﻤﺎﺩ ِﺓ ﺍﻷﺼل‪ ،‬ﺃ‪1‬ﻭ ﺘﺸﻭﻴﻪ ﻟﻔﻜﺭ ﺍﻟﻤﺒﺩﻉ ﺍﻷﺼـﻠ ‪‬‬
‫ﻲ‪.‬ﺘﻠـﻙ ﻫـﻲ‬
‫ل ﻁﺭﻓﻴ‪‬ﻬﺎ ﺍﻟﻤﺘﺭﺠ ‪‬ﻡ ‪".‬‬
‫ﺍﻟﻤﻌﺎﺩﻟﺔ ﺍﻟﺼﻌﺒ ﹸﺔ ﺍﻟﺘﻲ ﻴﺤ ﱡ‬
‫ﻕ ﺍﻟﻌﻠﻡ ﺃﻥ ﺍﻟﺘﺭﺠﻤ ﹶﺔ‬
‫ﻨﺤﻥ ﺇﺫﻥ ﺃﻤﺎﻡ ﻤﺘﺭﺠﻤ ٍﺔ ﺘﻌﻠ ‪‬ﻡ ﺤ ﱠ‬
‫)ﺴﻴﻤﺎ ﺘﺭﺠﻤﺔ ﺍﻟﺸﻌﺭ( ﻫﻲ ﻤﺤﻨ ﹲﺔ ﻭﻤﻨﺤ ﹲﺔ ﻓﻲ ﺁﻥ‪.‬‬

‫*" ﺗﺮﲨﺔ ﺍﻟﺸﻌﺮ ﺇﺑﺪﺍﻉ" – ﻓﺎﻃﻤﺔ ﻧﺎﻋﻮﺕ ‪ -‬ﳎﻠﺔ "ﺍﶈﻴﻂ ﺍﻟﺜﻘﺎﰲ"‪ -‬ﺍﻟﻌﺪﺩ ‪ 16‬ﻓﱪﺍﻳﺮ ‪2003‬‬

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‫ﺝ ﺒﻔﺄﺱ" ﺴﻴﻠﺤﻅ ﺃﻥ ﻫﻨﺎﻙ‬
‫ﺉ ﻤﺨﺘﺎﺭﺍﺕ "ﻤﺸﺠﻭ ‪‬‬
‫ﻗﺎﺭ ُ‬
‫ﺜﻼﺜﺔ ﻤﻼﻤﺢ ﻓﻜﺭﻴﺔ ﻓﻨﻴﺔ ﺘﺭﺒﻁ ﺒﻴﻥ ﻨـﺼﻭﺼﻬﺎ ﻓـﻲ ﺠﺩﻴﻠـ ٍﺔ‬
‫ﻭﺍﺤﺩﺓ‪:‬‬
‫ﺴ ‪‬ﻡ‬
‫ﻲ ﺍﻟﺫﻱ ﻴ ِ‬
‫ﺍﻟﻤﻠﻤﺢ ﺍﻷﻭل ﻫﻭ ﺍﻟﻁﺎﺒﻊ ﺍﻟﻜﻭﺯﻤﻭﺒﻭﻟﻴﺘﺎﻨ ‪‬‬
‫ﺢ ﻋﻥ‬
‫ل ﻫﺫﺍ ﺍﻟﻤﻠﻤﺢ ﻴﻔﺼ ‪‬‬
‫ﻤﻌﻅ ‪‬ﻡ ﺍﻟﻘﺼﺎﺌﺩ ﻭﻤﻌﻅﻡ ﺍﻟﺸﻌﺭﺍﺀ‪ .‬ﻭﻟﻌ ّ‬
‫ﺕ ﻭﺍﻨﺤﻴﺎﺯﺍﺕ ﻟﺩﻯ ﺍﻟﻤﺘﺭﺠﻤﺔ ﺍﻟﺸﺎﻋﺭﺓ ﻨﻔـﺴِﻬﺎ‪ ،‬ﻤﻤـﺎ‬
‫ﺘﻔﻀﻴﻼ ٍ‬
‫ﺕ ﺍﻟﺸﻌﺭﻴ ِﺔ ﺍﻟﺘﻲ ﺘﺠﻌـل ﻤﻭﻀـﻭﻋ‪‬ﻬﺎ‬
‫ﻴﺸﻲ ﺒﻤﻴﻠِﻬﺎ ﺇﻟﻰ ﺍﻟﺘﻴﺎﺭﺍ ِ‬
‫"ﺍﻹﻨﺴﺎﻥ" ﺫﺍﺘﻪ‪ ،‬ﺒﻌﻴﺩ‪‬ﺍ ﻋﻥ "ﺯﻤﺎﻥ")ﻋﺼﺭ( ﺒﻌﻴﻨﻪ‪ ،‬ﻭﻋﻥ "ﻤﻜﺎﻥ"‬
‫ﻲ( ﺒﻌﻴﻨﻪ‪.‬‬
‫ﻲ " )ﻁﺒﻘ ‪‬‬
‫)ﻭﻁﻥ( ﺒﻌﻴﻨﻪ‪ ،‬ﻭﻋﻥ "ﻭﻀﻊ ﺍﺠﺘﻤﺎﻋ ‪‬‬
‫ﻲ ﻴﺒـﺭﺯ "ﺠـﻭﻫﺭ‬
‫ﻓﻲ ﻫﺫﺍ ﺍﻟﻤﻠﻤﺢ ﺍﻟﻜﻭﺯﻤﻭﺒﻭﻟﻴﺘـﺎﻨ ‪‬‬
‫ﺍﻹﻨﺴﺎﻥ" ﻻ "ﻋ‪‬ﺭﻀ‪‬ﻪ" ﻭﺘﺘﺠﻠﻰ ﻗﻀﺎﻴﺎﻩ ﻭﻫﻤﻭﻤ‪‬ﻪ ﻭﺃﺤﻼﻤ‪‬ﻪ ﻤـﻥ‬
‫ﺤﻴﺙ ﻜﻭﻨِﻪ "ﺇﻨﺴﺎﻨﹰﺎ ﻜﻭﻨﻴ‪‬ﺎ" ﻻ ﻤﻥ ﺤﻴﺙ ﻜﻭﻨﻪ "ﻤﻭﺍﻁﻨﹰﺎ ﺴﻴﺎﺴـﻴ‪‬ﺎ"‬
‫ﻲ ﻗﺎﻫﺭ ﺃﻭ ﻤﻘﻬﻭﺭ‪.‬ﻤﻨﺒﻊ‬ ‫ﺃﻭ "ﻋﻼﻤ ﹰﺔ ﺍﺠﺘﻤﺎﻋﻴ ﹰﺔ" ﻋﻠﻰ ﺘﺭﺍﺘ ٍ‬
‫ﺏ ﻁﺒﻘ ‪‬‬
‫ﺍﻟﺸﻌﺭ‪ -‬ﻓﻲ ﻫﺫﺍ ﺍﻟﻤﻠﻤﺢ‪ -‬ﻫﻭ "ﻗ ‪‬ﺩ ‪‬ﺭ ﺍﻹﻨـﺴﺎﻥ" ﻜﻠﱡـﻪ )ﺒﺘﻌﺒﻴـﺭ‬
‫ﺽ ﺍﻟﻨﻅﺭ ﻋﻥ ﺍﻟﺠﻐﺭﺍﻓﻴﺎ ﻭﺍﻟﺘﺎﺭﻴﺦ‪ ،‬ﻭﺒﻐـﺽ‬
‫ﺃﻨﺩﺭﻴﻪ ﻤﺎﻟﺭﻭ( ﺒﻐ ‪‬‬
‫ﺕ ﺍﻟﻘﻭﻤﻴ‪‬ﺔ ﺍﻟﻀﻴﻘﺔ‪.‬‬
‫ﺕ ﻭﺍﻟﻬﻭﻴ‪‬ﺎ ِ‬
‫ﻥ ﻭﺍﻟﻁﺒﻘﺎ ِ‬
‫ﺍﻟﻨﻅ ِﺭ ﻋﻥ ﺍﻟﻭﻁ ِ‬
‫ﻭﻋﻠﻰ ﺫﻟﻙ‪ ،‬ﻓﺈﻥ ﺍﻷﻟﻡ‪ ،‬ﻓﻲ ﻫﺫﺍ ﺍﻟﻤﻨﺤﻰ‪ ،‬ﻫـﻭ ﺃﻟـ ‪‬ﻡ‬
‫ﻱ ﻜﻠﻪ ﻤﻥ ﺍﻟﻤﻬ ِﺩ ﺇﻟﻰ ﺍﻟﻠﺤﺩ‪،‬‬
‫ل ﺒﻤﺄﺯﻕ ﺍﻟﻭﻀﻊ ﺍﻟﺒﺸﺭ ‪‬‬
‫ﻲ ﻤﺘﺼ ٌ‬
‫ﻜﻭﻨ ﱞ‬

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‫ل ﺇﻟﻰ ﺍﻷﺒﺩِ‪ ،‬ﻭﻟﻴﺱ ﺃﻟﻤ‪‬ﺎ ﺸﺨـﺼﻴ‪‬ﺎ ﺃﻭ ﺍﺠﺘﻤﺎﻋﻴ‪‬ـﺎ ﺃﻭ‬
‫ﻭﻤﻥ ﺍﻷﺯ ِ‬
‫ﻭﻁﻨﻴ‪‬ﺎ‪.‬ﻜﻤﺎ ﺃﻥ ﻫﺫﺍ ﺍﻟﻤﻨﺤﻰ ﻴﻨﻔﻲ ﻋﻥ ﻤﻨﻅﻭ ِﺭ ﺍﻟﺸﺎﻋ ِﺭ ﺍﻟﺭﺅﻴـ ﹶﺔ‬
‫ﻥ ﻫﻭ ﺍﻹﻨﺴﺎﻥ ﻤﻬﻤﺎ ﻜﺎﻥ‬
‫ﺍﻟﻌﻨﺼﺭﻴ ﹶﺔ ﺃﻭ ﺍﻟﺘﻤﻴﻴ ‪‬ﺯ ﺍﻟﻌِﺭﻗﻲ‪ ،‬ﻓﺎﻹﻨﺴﺎ ‪‬‬
‫ﻟﻭﻨﹸﻪ ﺃﻭ ﺠﻨﺴ‪‬ﻪ ﺃﻭ ﺩﻴﻨﹸﻪ ﺃﻭ ﻭﻁﻨﹸﻪ ﺃﻭ ﺩﻤ‪‬ﻪ ﺃﻭ ﻋﻘﻴﺩﺘﹸﻪ ﺍﻟﺴﻴﺎﺴﻴﺔ‪.‬‬
‫ﻲ ﻫـﻭ‬
‫ﺢ ﺍﻟﻜﻭﺯﻤﻭﺒﻭﻟﻴﺘـﺎﻨ ‪‬‬
‫ﻭﻤﻥ ﻫﻨﺎ‪ ،‬ﻓﺈﻥ ﻫﺫﺍ ﺍﻟﻤﻠﻤ ‪‬‬
‫ﺏ ﻨﻘﺎ ِﺀ ﺍﻟﺴ‪‬ﻼﻟﺔ ﺃﻭ ﺍﻟـﺩﻡ‪،‬‬
‫ﻲ ﻤﻀﺎ ‪‬ﺩ ﻟﻤﺫﻫ ِ‬
‫ﻲ ﻋِﻠﻤﺎﻨ ﱞ‬
‫ﺢ ﺩﻴﻤﻘﺭﺍﻁ ﱞ‬
‫ﻤﻠﻤ ‪‬‬
‫ﻲ ﺒـﻴﻥ‬
‫ﻲ ﺃﻭ ﺍﻟﻬﻴﺭﺍﺭﻜ ‪‬‬
‫ﻲ ﺃﻭ ﺍﻟﺜﻴﻭﻗﺭﺍﻁ ‪‬‬
‫ﺽ ﻟﻠﺘﻤﻴﻴﺯ ﺍﻟﻼﻫﻭﺘ ‪‬‬
‫ﻤﻨﺎﻫ ‪‬‬
‫ﺕ ﺤﺩﺍﺜـ ِﺔ‬
‫ﺍﻟﺒﺸﺭ‪ .‬ﻭﻓﻲ ﻫﺫﻩ ﺍﻟﻤﻨﺎﻫﻀﺔ ﺴﻤ ﹲﺔ ﺠﻭﻫﺭﻴﺔ ﻤﻥ ﺴﻤﺎ ِ‬
‫ﻲ‪.‬‬
‫ﻲ ﺍﻹﻨﺴﺎﻨ ‪‬‬
‫ﺫﻟﻙ ﺍﻟﺸﱢﻌﺭ ﺍﻟﻜﻭﻨ ‪‬‬
‫ﻲ ﻤﺴﺤ ﹲﺔ ﻤﻥ‬
‫ﻑ ﺒﻬﺫﺍ ﺍﻟﻤﻠﻤﺢ ﺍﻟﻜﻭﺯﻤﻭﺒﻭﻟﻴﺘﺎﻨ ‪‬‬
‫ﺤ ﱡ‬
‫ﺭﺒﻤﺎ ﺘ ِ‬
‫ﺍﻟﺭﻭﻤﺎﻨﺘﻴﻜﻴﺔ ﺍﻟﺘﻲ ﺘﺠﻌﻠﻪ ﻤﻬ ‪‬ﻭﻤ‪‬ﺎ ﻓـﻲ ﺍﻟـﺴﻤﺎﺀ ﻤﺘﻌﺎﻟﻴ‪‬ـﺎ ﻋـﻥ‬
‫ﺍﻷﺭﺽ ﺍﻟﻤﻠﻭﺜﹶﺔ ﺒﺎﻟﺨﻁﻴﺌﺔ ﻭﺍﻟﺼﻭﺍﺏ‪ ،‬ﻭ ﺭﺒﻤﺎ ﻨﺠ ‪‬ﻡ ﻋـﻥ ﻫـﺫﺍ‬
‫ﺕ‬
‫ل ﺃﻭ ﻜﺜﻴ ‪‬ﺭ ﻤـﻥ ﺍﻟﺘﻌﻤﻴـﺔ ﻋﻠـﻰ ﺍﻟـﺼﺭﺍﻋﺎ ِ‬
‫ﺍﻟﺘﻬﻭﻴﻡ ﻗﺩ ‪‬ﺭ ﻗﻠﻴ ٌ‬
‫ل‬
‫ﺍﻟﺴﻴﺎﺴﻴ ِﺔ ﻭ ﺍﻻﺠﺘﻤﺎﻋﻴ ِﺔ ﻭ ﺍﻟﻭﻁﻨﻴ ِﺔ ﻓﻲ ﻁﻴﻥ ﺍﻟﻭﺍﻗـ ِﻊ ﺍﻟﺤﺎﻓـ ِ‬
‫ﺒﺎﻟﻘﻬ ِﺭ ﻭﺍﻻﺴﺘﻌﻤﺎ ِﺭ ﻭﺍﻟﻨﻔﻲ ﻭﺍﻟﻘﺘل‪ .‬ﻟﻜﻥ ﺍﻟﻤﻴﺯ ﹶﺓ ﺍﻟﻜﺒﺭﻯ ﺍﻟﻤﻘﺎﺒﻠﺔ‬
‫ﻟﻬﺫﻩ ﺍﻟﻤﺜﻠﺒﺔ ﺍﻟﻜﺒﺭﻯ ﺘﺠﻌل ﺍﻟﺤﺼﻴﻠ ﹶﺔ ﻤﺘﻭﺍﺯﻨﺔﹰ‪ ،‬ﻭﻨﻌﻨﻲ ﺍﻟﺘﻭ‪‬ﺠـﻪ‬
‫ﻥ ﻭﺍﻹﻨـﺴﺎﻥ‬
‫ﺏ ﺇﻟﻰ " ﺍﻟﺠﻭﻫﺭ ﺍﻟﻤﺸﺘﺭﻙ ﺍﻟﺒﺎﻗﻲ" ﺒﻴﻥ ﺍﻹﻨﺴﺎ ِ‬
‫ﺍﻟﺜﺎﻗ ‪‬‬
‫ﻥ ﻓﻲ ﻋـﺩﻡ‬
‫ﻲ ﺍﻟﻜﺎﻤ ‪‬‬
‫ﻥ ﻭﻤﻜﺎﻥ‪ ،‬ﻭﺍﻟﻤﻌﻨﻰ ﺍﻟﺩﻴﻤﻘﺭﺍﻁ ‪‬‬
‫ل ﺯﻤﺎ ٍ‬
‫ﻓﻲ ﻜ ﱢ‬

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‫ﺱ ﺃﻭ ﺍﻟﻭﻁﻥ‪،‬‬
‫ﻥ ﺃﻭ ﺍﻟﺠﻨ ِ‬
‫ﻥ ﺃﻭ ﺍﻟﺩﻴ ِ‬
‫ﺍﻟﺘﻤﻴﻴﺯ ﺒﻴﻥ ﺍﻟﻨﺎﺱ ﺒﺴﺒﺏ ﺍﻟﻠﻭ ِ‬
‫ﻭﺍﻗﺘﻨﺎﺹ ﺍﻟﺒﻘﻌﺔ ﺍﻟﻭﺠﺩﺍﻨﻴﺔ ﺒﻴﻥ ﺍﻵﺩﻤﻴﻴﻥ‪ ،‬ﻭﻭﻀﻊ ﺍﻟﻴـﺩ ﻋﻠـﻰ‬
‫ﻤﺤﻨ ِﺔ ﺍﻟﻤﺭ ِﺀ ﻤﻥ ﺤﻴﺙ ﻜﻭﻨﻪ ﺍﻤﺭﺀ‪‬ﺍ ﻤ‪‬ﻤﺘﺤﻨﹰـﺎ ﺒﺎﻟﻭﺠﻭﺩ‪،‬ﻭﻟﻤـﺴ ﹶﺔ‬
‫ﺍﻟﻤﺴﺎﻭﺍﺓ ﺍﻟﺘﻲ ﻴﻀﻤﺭﻫﺎ ﺍﻟﺘﻭﺠﻪ ﺍﻟﻜﻭﻨﻲ‪ ،‬ﻭﺍﻟﺘﻌﻤﻴﻡ ﺍﻟﺫﻱ ﻴﻨﻘـﺫﻨﺎ‬
‫ﺢ‬
‫ل ﺫﻟﻙ ﻴﻤﻨﺢ ﻫﺫﺍ ﺍﻟﻤﻠﻤ ‪‬‬
‫ﻤﻥ ﻀﻼل ﺍﻟﺘﺨﺼﻴﺹ ﻭ ﺍﻟﺘﺠﺯﻱﺀ‪ ،‬ﻜ ﱡ‬
‫ﻲ ﺇﻨﺴﺎﻨﻴ ﹰﺔ ﺃﺭﺤﺏ ﻭﻨﻐﻤ ﹰﺔ ﻻ ﺘﺯﻭل‪.‬‬
‫ﺍﻟﻜﻭﺯﻤﻭﺒﻭﻟﻴﺘﺎﻨ ‪‬‬
‫ﻱ‬
‫ﺍﻟﻤﻠﻤﺢ ﺍﻟﺜﺎﻨﻲ ﻫﻭ ﺤﻀﻭﺭ ﺘﻴﺎﺭ"ﺍﻻﻟﺘـﺯﺍﻡ" ﺍﻟﻔﻜـﺭ ‪‬‬
‫ﻲ ﻭﺍﻻﺠﺘﻤﺎﻋﻲ‪ ،‬ﻟﻜﻨﻪ ﺍﻟﺤـﻀﻭ ‪‬ﺭ ﻏﻴـ ‪‬ﺭ ﺍﻟﺜﻘﻴـل‪.‬ﻤـﻥ‬
‫ﻭﺍﻟﺴﻴﺎﺴ ‪‬‬
‫ﺨﺼﺎﺌﺹ ﺫﻟﻙ ﺍﻻﻟﺘﺯﺍﻡ – ﻓﻲ ﻫـﺫﺍ ﺍﻟﻤﻠﻤـﺢ ‪0‬ﺍﺒﺘﻌـﺎﺩﻩ ﻋـﻥ‬
‫"ﺍﻹﻟﺯﺍﻡ" ﺍﻟﻤﻔﺭﻭﺽ ﻋﻨﻭ ﹰﺓ ﻤﻥ ﺍﻟﺨﺎﺭﺝ‪،‬ﻭﺍﻗﺘﺭﺍﺒﻪ ﻤﻥ "ﺍﻟﻨـﺯﻭﻉ‬
‫ﻱ ﺍﻟﺤ ‪‬ﺭ ﺍﻟﻤﻨﺎﻗﺽ ﻟﻠﻨﻬﺞ ﺍﻟﺯﺩﺍﻨﻭﻓﻲ )ﺍﻟﺫﻱ ﺴﻴﻁﺭ ﻋﻠـﻰ‬
‫"ﺍﻟﻔﻁﺭ ‪‬‬
‫ل‬
‫ﻲ ﻓﻲ ﻤﺭﺤﻠ ٍﺔ ﺴﻭﺩﺍ ‪‬ﺀ ﻤﻥ ﻤﺭﺍﺤ ِ‬
‫ﺍﻟﻤﺒﺩﻋﻴﻥ ﻓﻲ ﺍﻻﺘﺤﺎﺩ ﺍﻟﺴﻭﻓﻴﺘ ‪‬‬
‫ﺏ ﻓﻲ ﺍﻟﻌﺎﻟﻡ(‪.‬‬
‫ﺍﻷﺩ ِ‬
‫ﺏ ﻤـﻥ‬
‫ﻓﻲ ﻫﺫﺍ ﺍﻟﻤﻠﻤﺢ ﻻ ﺘﺘﺤﻭل ﺍﻵﺭﺍ ‪‬ﺀ ﺇﻟﻰ "ﺴـﺭ ٍ‬
‫ﺢ‬
‫ﻲ‪ .‬ﻭﻻ ﻴـﺼﺒ ‪‬‬
‫ﻲ ﺩﻓﻴﻥ ﻭ ﻏﻴﺭ ﻤﺭﺌـ ‪‬‬
‫ﻋﻘﺎﺌﺩ" ﺒل ﺇﻟﻰ ﻨﺴ ٍﻎ ﺩﺍﺨﻠ ‪‬‬
‫ﻉ ﻤﺸﺠﻭﺠ‪‬ﺎ ﺒﻔﺄﺱ ﺍﻷﻴﺩﻴﻭﻟﻭﺠﻴﺎ‪ ،‬ﺒل ﻤﻠﻤﻭﺴ‪‬ﺎ ﺒﻬ ‪‬ﻡ ﺍﻵﺨﺭﻴﻥ‬
‫ﺍﻟﻤﺒﺩ ‪‬‬
‫ﺒﻭﺼﻔﻬﻡ ﻭﺠﻬ‪‬ﺎ ﻤﻥ ﻭﺠﻭﻩ ﺫﺍﺘﻪ‪.‬‬

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‫ﻕ‬
‫ﺞ ﻭﻴﺘﻼﺸﻰ ﺍﻟﺯﻋﻴ ﹸ‬
‫ﺕ ﺍﻟﻀﺠﻴ ‪‬‬
‫ﻭ ﻓﻲ ﻫﺫﺍ ﺍﻟﻤﻠﻤﺢ ﻴﺨﻔ ﹸ‬
‫ﺹ ﻟﻤﺴ ﹰﺔ ﺭﻗﻴﻘـ ﹰﺔ ﻤـﻥ‬
‫ﺕ ﺍﻟﺴﺎﺨﻨﺔﹸ‪ ،‬ﻟﻴﺼﻴ ‪‬ﺭ ﺍﻟﻨ ‪‬‬
‫ﺏ ﺍﻟﺘﻘﺭﻴﺭﺍ ﹸ‬
‫ﻭﺘﺫﻭ ‪‬‬
‫ﺍﻟﺤﻨﻴﻥ ﻭﺍﻟﺤﻨﺎﻥ ‪ :‬ﺃﻱ ﻟﻤﺴ ﹰﺔ ﻤﻥ ﺍﻟﺸﱢﻌﺭ‪.‬‬
‫ﺍﻟﻤﻠﻤﺢ ﺍﻟﺜﺎﻟﺙ ﻫﻭ ﺍﺼﻁﻴﺎ ‪‬ﺩ ﺍﻟﺸﱢﻌﺭ ﻤﻤﺎ ﻻ ﺸﻌ ‪‬ﺭ ﻓﻴـﻪ‬
‫ﻱ ﺍﻟﻌﺘﻴﻕ‬
‫‪" .‬ﻭﺍﻟﺫﻱ ﻻ ﺸﻌﺭ ﻓﻴﻪ"ﻴﺘﺴﻊ ﻟﻴﻀ ‪‬ﻡ ﻫﺠ ‪‬ﺭ ﺍﻟﻭﺯﻥ ﺍﻟﺘﻘﻠﻴﺩ ‪‬‬
‫ﺇﻟﻰ ﺸﺴﺎﻋ ِﺔ ﺍﻟﻨﺜﺭ ﺫﻱ ﺍﻟﻤﻭﺴﻴﻘﻰ ﺍﻟﻀﺎﻤﺭﺓ ﻭﺍﻟﻤﻀﻤﺭﺓ‪ ،‬ﻭﻴﻀ ‪‬ﻡ‬
‫ﺢ ﺒﺸﻌﺭﻴﺔ ﺍﻟﻔﻜـﺭﺓ ﻭﻜﺜﺎﻓـ ِﺔ ﺍﻟﺤﻜﻤـﺔ‪،‬‬
‫ﻲ ﺍﻟﻨﺎﻀ ‪‬‬
‫ﺍﻟﻁﺎﺒﻊ ﺍﻷﻤﺜﻭﻟ ‪‬‬
‫ﻁ ﺍﻟﻘﻴﻡ ﺍﻟﻜﺒﺭﻯ ﻤﻥ ﺍﻟﻤﺩﺍﺨل ﺍﻟـﺼﻐﺭﻯ‪ ،‬ﻭﻴـﻀ ‪‬ﻡ"‬
‫ﻭﻴﻀ ‪‬ﻡ ﺍﻟﺘﻘﺎ ﹶ‬
‫ﺃﻨﺴﻨﺔ ﺍﻟﺤﻴﻭﺍﻥ " ﺒﺤﻴﺙ ﻴﻨﻁﻕ ﺒﻤﺎ ﻻ ﻴ‪‬ﻨﻁﹶﻕ‪ ،‬ﻭﻴـﻀ ‪‬ﻡ ﺍﻟﻭﺍﻗـﻊ‬
‫ﻲ ﺍﻟﻤﻌﻴﺵ‪ ،‬ﺤﻴﺙ ﻴﺘ ‪‬ﻡ ﺍﻟﺘﺄﻜﻴ ‪‬ﺩ ﻋﻠﻰ ﺃﻥ "ﺭﻴﺘﺸﺎﺭﺩ ﺠﻴﺭ ﻟـﻡ‬
‫ﺍﻟﻴﻭﻤ ‪‬‬
‫ﻴﻜﻥ ﺸﺎﺫ‪‬ﺍ "‪.‬‬
‫ﺕ‬
‫ﺕ ﺍﻟﺤﺩﺍﺜﻴ ﹸﺔ ﻭﺍﻟـﺴﻤﺎ ﹸ‬
‫ﻓﻲ ﻫﺫﺍ ﺍﻟﻤﻠﻤﺢ ﺘﺘﺠﺎﻭﺭ ﺍﻟﺴﻤﺎ ﹸ‬
‫ﻤﺎ ﺒﻌﺩ ﺍﻟﺤﺩﺍﺜﻴ ِﺔ ﻓﻲ ﺴﺒﻴﻜ ٍﺔ ﻏﻨ ‪‬ﻴ ٍﺔ ﻤﺘﺂﻟﻔـ ٍﺔ ﺯﺍﺨـﺭ ٍﺓ ﺒﺎﻟـﺩﺭﻭﺱ‬
‫ﺍﻟﺒﺎﻫﺭﺓ‪:‬‬
‫ﻤﻥ ﻫﺫﻩ ﺍﻟﺩﺭﻭﺱ‪ ،‬ﺃﻥ ﺍﻟﺤﺩﺍﺜ ﹶﺔ ﻭﻤـﺎ ﺒﻌـﺩ ﺍﻟﺤﺩﺍﺜـ ِﺔ‬
‫ل ﻓﻴﻪ ﺍﻟﺨﻁﻭﺍﺕﹸ‪ ،‬ﻭﻴ‪‬ﻔـﻀﻲ ﺒﻌـﻀ‪‬ﻬﺎ‬
‫ل ﺘﺘﻜﺎﻤ ُ‬
‫ﻕ ﻭﺍﺤ ‪‬ﺩ ﻁﻭﻴ ٌ‬
‫ﻁﺭﻴ ﹲ‬
‫ﺇﻟﻰ ﺒﻌﺽ‪.‬‬

‫‪12‬‬
‫ﺏ ﻭﺍﺤـ ‪‬ﺩ‬
‫ﻭﻤﻥ ﻫﺫﻩ ﺍﻟﺩﺭﻭﺱ‪ ،‬ﺃﻥ ﺍﻟﺸﱢﻌ ‪‬ﺭ ﻟﻴﺱ ﻟﻪ ﺒﺎ ‪‬‬
‫ﻭﺤﻴﺩ‪ ،‬ﻓﺎﻟﺸﻌﺭ ﻴﺄﺘﻲ ﻤﻥ ﺍﻟﻤﺠﺭ‪‬ﺩ ﻜﻤﺎ ﻴﺄﺘﻲ ﻤﻥ ﺍﻟﻌﻴ‪‬ﻨﻲ‪ ،‬ﻭﻴـﺄﺘﻲ‬
‫ﻤﻥ ﺍﻟﺤﻜﻤ ِﺔ ﻜﻤﺎ ﻴﺄﺘﻲ ﻤﻥ ﺍﻟﺠﻨﻭﻥ‪ ،‬ﻭﻴﺄﺘﻲ ﻤﻥ ﺍﻟﻭﻋﻲ ﻜﻤﺎ ﻴﺄﺘﻲ‬
‫ﻤﻥ ﺍﻟﻼﻭﻋﻲ‪ ،‬ﻭﻴﺄﺘﻲ ﻤﻥ ﺍﻟﺨﺎﻟ ِﺩ ﺍﻟﻤﻘﻴﻡ ﻜﻤﺎ ﻴﺄﺘﻲ ﻤـﻥ ﺍﻟﻌـﺎﺒﺭ‬
‫ﺍﻟﻤﺅﻗﺕ‪.‬‬
‫ﻤﺒﺩﺃ ﻫﺫﺍ ﺍﻟﻤﻠﻤﺢ ‪ :‬ﺍﻟﺸﱢﻌ ‪‬ﺭ ﻻ "ﻭﺼﻔ ﹶﺔ" ﺠﺎﻫﺯ ﹰﺓ ﻤﺴﺒﻘ ﹰﺔ ﻟﻪ‪.‬‬
‫ﻟﻤﺎﺫﺍ ﺍﺨﺘﺎﺭﺕ ﻓﺎﻁﻤﺔ ﻨﺎﻋﻭﺕ ﻫﺫﻩ ﺍﻟﻘﺼﺎﺌ ‪‬ﺩ ﺒﻌﻴﻨﻬـﺎ‬
‫ﻟﺘﺭﺠﻤﺘِﻬﺎ ﻭﺘﻘﺩﻴﻤﻬﺎ ﻟﻠﻘﺎﺭﺉ ؟‬
‫ﺕ ﻓـﻲ‬
‫ﻋﻨﺩﻱ ﺃﻥ ﻓﺎﻁﻤﺔ ﻨﺎﻋﻭﺕ )ﺍﻟﺸﺎﻋﺭﺓ( ﻗﺩ ﻭﺠﺩ ﹾ‬
‫ﻫﺫﻩ ﺍﻟﻘﺼﺎﺌﺩ ﺫﺍﺘﹶﻬﺎ ﻜﻤﺒﺩﻋﺔ‪ ،‬ﻭﻭﺠﺩﺕ ﻓﻲ ﺍﻟﻤﻼﻤـﺢ ﺍﻟﺭﺌﻴـﺴﻴﺔ‬
‫ﺍﻟﺘﻲ ﺘﺸﻜﹼل ﻫﺫﻩ ﺍﻟﻤﺨﺘﺎﺭﺍﺕ ﻤﺎ ﻴﺸﺎﺒﻪ ﺴﻌﻴ‪‬ﻬﺎ ﺍﻟﺸﱢﻌﺭﻱ‪ ،‬ﻓﻁﺎﺒﻘﺕ‬
‫ﺒﻴﻥ ﺫﺍﺘِﻬﺎ ﺍﻟﺸﺎﻋﺭﺓ ﻭﺫﺍﺘِﻬﺎ ﺍﻟﻤﺘﺭﺠِﻤﺔ‪.‬‬
‫ﺉ ﺩﻭﺍﻭﻴﻥ ﻓﺎﻁﻤـﺔ ﻨـﺎﻋﻭﺕ ﺍﻟﺜﻼﺜـﺔ‪،‬ﻴﻠﺤﻅ‬
‫ﺇﻥ ﻗﺎﺭ َ‬
‫ﺒﺠﻼﺀ ﺃﻥ ﺍﻟﻁﺎﺒ ‪‬ﻊ ﺍﻟﻜﻭﺯﻤﻭﺒﻭﻟﻴﺘﺎﻨﻲ‪ ،‬ﻭﺍﻻﻟﺘﺯﺍ ‪‬ﻡ ﻏﻴﺭ ﺍﻟـﺼﺎﺭﺥ‪،‬‬
‫ﺢ ﺍﻟﻌﺎﻤﺔ ﺍﻟﺘﻲ ﺘﺴ ‪‬ﻡ‬
‫ﺹ ﺍﻟﺸﻌ ‪‬ﺭ ﻤﻤﺎ ﻻ ﺸﻌﺭ ﻓﻴﻪ‪ ،‬ﻫﻲ ﺍﻟﻤﻼﻤ ‪‬‬
‫ﻭﻗﻨ ‪‬‬
‫ﺕ ﻤـﻥ ﺸـﻌﺭﺍﺀ ﻫـﺫﻩ‬
‫ﻲ‪.‬ﻓﻜﺄﻨﻬﺎ ﺍﺘﺨـﺫ ﹾ‬
‫ل ﺴﺒﻴﻠﻬﺎ ﺍﻹﺒﺩﺍﻋ ‪‬‬
‫ﻤﺠﻤ َ‬
‫ﺍﻟﻤﺨﺘﺎﺭﺍﺕ "ﺃﻗﻨﻌ ﹰﺔ" ﻟﻬﺎ‪ ،‬ﺘﺘﻜﻠﻡ ﺒﻠﺴﺎﻨﻬﻡ ﻋـﻥ ﺫﺍﺘِﻬـﺎ‪ ،‬ﺃﻭ ﺘـﺘﻜﻠﻡ‬
‫ﺒﻠﺴﺎﻨِﻬﺎ ﻋﻥ ﺫﻭﺍﺘﻬِﻡ‪ ،‬ﻋﺴﺎﻫﺎ ﺒﺫﻟﻙ ﺘﻨﻘل ﺭﺴﺎﻟ ﹰﺔ ﺇﻀﺎﻓﻴ ﹰﺔ ﻓﺤﻭﺍﻫﺎ‬

‫‪13‬‬
‫ﺃﻥ ﺍﻵﺨﺭﻴﻥ ﻫﻡ ﺍﻷﻨﺎ‪ ،‬ﻭ ﺃﻥ ﺍﻷﻨﺎ ﻫﻲ ﺍﻵﺨﺭﻭﻥ‪ ،‬ﻤﻨﺎﻗﻀ ﹰﺔ ﺒﺫﻟﻙ‬
‫ﻤﻘﻭﻟﺔ ﺴﺎﺭﺘﺭ ﺍﻟﺸﻬﻴﺭﺓ "ﺍﻵﺨﺭﻭﻥ ﻫﻡ ﺍﻟﺠﺤﻴﻡ"‪.‬‬
‫ﻲ ﻋﻨﺩﻱ ﺃﻨﻬـﺎ‬
‫ﺃﻤﺎ ﻓﺎﻁﻤﺔ ﻨﺎﻋﻭﺕ )ﺍﻟﻤﺘﺭﺠﻤﺔ(‪ ،‬ﻓﺠﻠ ﱞ‬
‫ﻕ‬
‫ﻲ ﺍﻟﺘﺼﺎ ﹶ‬
‫ﺹ ﺍﻷﺼﻠ ‪‬‬
‫ﺍﺨﺘﺎﺭﺕ ﺍﻟﺨﻴﺎﻨ ﹶﺔ ﺍﻷﻋﻤﻕ‪ ،‬ﻓﻠﻡ ﺘﻠﺘﺼﻕ ﺒﺎﻟﻨ ‪‬‬
‫ﺍﻟﻌﺒﻴ ِﺩ ﺃﻭ ﺍﻟﺘﺎﺒﻌﻴﻥ ﺃﻭ ﺍﻟﺤﻤ‪‬ﺎﻟﻴﻥ‪ ،‬ﺒل ﺠﺎﻭﺯﺘﻪ ﺇﻟﻰ ﺍﻟﺘﺤﺭ ِﺭ ﻤﻨـﻪ‬
‫ﻕ ﻨﺼ‪‬ﺎ ﺃﺼﻠﻴ‪‬ﺎ ﻤﻭﺍﺠﻬ‪‬ﺎ ﻟﻠﻨ ‪‬‬
‫ﺹ‬ ‫ﻭﺍﻟﺘﺤﺭ ِﺭ ﻓﻴﻪ ﻭ ﺍﻟﺘﺤﺭ ِﺭ ﺒﻪ‪ ،‬ﻟﺘﺨﻠ ﹶ‬
‫ﺕ ﺇﻟﻰ "ﺍﻟﺠﺭﻴﻤﺔ ﺍﻟﻜﺎﻤﻠـﺔ"‬
‫ﻲ ﻋﻨﺩﻱ ﺃﻨﻬﺎ ﺍﻨﺤﺎﺯ ﹾ‬
‫ﻭ ﻗﺭﻴﻨﹰﺎ ﻟﻪ‪ .‬ﻭﺠﻠ ﱞ‬
‫ﺕ ﺍﻟﻤﺅﻟﻑ‬
‫ﺞ ﺫﺍ ِ‬
‫ﺍﻟﺘﻲ ﺫﻜﺭﺘﻬﺎ ﻓﻲ ﻤﻘﺎﻟﺘﻬﺎ ﻋﻥ ﺍﻟﺘﺭﺠﻤﺔ‪ ،‬ﻭﻫﻲ ﺩﻤ ‪‬‬
‫ﺕ‬
‫ﺕ ﺠﺩﻴـﺩﺓ ﻫـﻲ ﺫﺍ ﹸ‬
‫ﻓﻲ ﺫﺍﺕ ﺍﻟﻤﺘﺭﺠﻡ‪ ،‬ﻟﻴﻨﺠ ‪‬ﻡ ﻋﻥ ﺍﻟﺫﺍﺘﻴﻥ ﺫﺍ ﹲ‬
‫ﺍﻟﻨﺹ ﺍﻟﺫﻱ ﻭﻗﻑ ﻋﻠﻰ ﻗﻨﻁﺭ ٍﺓ ﺨﻁﺭ ٍﺓ ﺒﻌﺩ ﺃﻥ ﻫﺩ ‪‬ﻡ ﺍﻟﺸﺎﻁﺌﻴﻥ‪.‬‬
‫ﻭﻫﻨﺎ ﻴﻤﻜﻥ ﺃﻥ ﻨﻔﻬ ‪‬ﻡ ﺍﻟﻤﻐﺎﻤﺭ ﹶﺓ ﺍﻟﺭﻫﻴﻔ ﹶﺔ ﺍﻟﺘـﻲ ﺘﺘﻭﻟـﺩ‬
‫ﻋﻥ ﺘﺼﺩﻱ ﺸﺎﻋ ‪‬ﺭ ﻤﻤﻴ ‪‬ﺯ ﻟﺘﺭﺠﻤ ِﺔ ﺸﻌﺭﺍﺀ ﻤﺘﻤﻴﺯﻴﻥ ﻤـﻥ ﻟﻐـ ٍﺔ‬
‫ﻥ‬
‫ﻤﻤﻴﺯ ٍﺓ )ﻜﺎﻹﻨﺠﻠﻴﺯﻴﺔ( ﺇﻟﻰ ﻟﻐ ٍﺔ ﻤﻤﻴﺯ ٍﺓ )ﻜﺎﻟﻌﺭﺒﻴﺔ(‪ .‬ﺤﻴﻨﺌ ٍﺫ ﺴﻴﻜﻭ ‪‬‬
‫ﻻ ﺒـﻴﻥ‬
‫ل ﺴـﺠﺎ ﹰ‬
‫ﻉ ﺼﺭﺍﻋ‪‬ﺎ ﺒﻴﻥ ﺃﻜﻔﺎﺀ‪ ،‬ﻭﺴﻴﻜﻭﻥ ﺍﻟﺴ‪‬ﺠﺎ ُ‬
‫ﺍﻟﺼﺭﺍ ‪‬‬
‫ﺃﻨﺩﺍﺩ‪.‬‬
‫ﺴﺎﻋﺘﹶﻬﺎ‪ ،‬ﺴﻨﻔﻬ ‪‬ﻡ ﻤﻌﻨﻰ "ﺍﻟﺒﻘﺎﺀ ﺒﻼ ﺃﻗﻨﻌﺔ"‪ ،‬ﻭﺴـﺘﺯﺩﺍﺩ‬
‫ﺹ ﻋﻠﻰ ﻨﻔﺴِﻪ‪.‬‬
‫ﺝ ﺸﺠ‪‬ﺎ ﺠﺩﻴﺩ‪‬ﺍ‪ ،‬ﻫﻭ ﺍﻨﻘﺴﺎ ‪‬ﻡ ﺍﻟﻨ ‪‬‬
‫ﺍﻟﺸﺠﻭ ‪‬‬

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‫ﺃﻤﺎ "ﺍﻟﻔﺄﺱ" ﻓﻬﻲ ﺍﻟﺤﻴﺎﺓ ‪ :‬ﺤﻴـﺎﺓ ﺍﻟـﺸﺎﻋﺭ ﻭ ﺤﻴـﺎﺓ‬
‫ﺍﻟﻨﺹ‪ ،‬ﻭﺤﻴﺎﺓ ﺍﻟﻤﺘﺭﺠﻡ‪ ،‬ﻭﺤﻴﺎﺓ ﺍﻟﻘﺎﺭﺉ‪ ،‬ﻋﻠﻰ ﺍﻟﺴﻭﺍﺀ‪.‬‬
‫ﺞ‪.‬‬
‫ﻓﻤﺎ ﺃﺠﻤل ﺍﻟﺸ ‪‬‬
‫ﻭﻤﺎ ﺃﺠﻤل ﺍﻟﻔﺄﺱ‪.‬‬
‫ﻳﻮﻟﻴﻮ ‪2003‬‬

‫‪15‬‬
 ‫ﺝ ﺒﻔﺄﺱ‬
‫ﻤﺸﺠﻭ ‪‬‬

‫ﻤﺨﺘﺎﺭﺍﺕ ﻤﻥ ﺍﻟﺸﻌﺭ ﺍﻹﻨﺠﻠﻴﺯﻱ‬

‫ﻭﺍﻷﻤﺭﻴﻜﻲ ﺍﻟﻤﻌﺎﺼﺭ‬

‫‪16‬‬
 ‫ﺩﻴﺭﻴﻙ ﻭﺍﻟﻜﻭﺕ‬
‫ﺁﻟﻴﺱ ﻭﻭﻜﺭ‬
‫ﺩﻴﻔﻴﺩ ﻭﺍﺠﻨﹸﺭ‬
‫ﺇﻟﻴﺯﺍﺒﻴﺙ ﺒﺎﺭﺘﻠﻴﺕ‬
‫ﺸﺎﺭل ﺴﻴﻤﻴﻙ‬
‫ﺠﻭ ﺸﺎﺒﻜﻭﺕ‬
‫ﺭﺍﻓﺎﺌﻴل ﻜﺎﻤﺒﻭ‬
‫ﺴﻭﺯﺍﻥ ﺴﺘﻴﻭﺍﺭﺕ‬
‫ﺠﺭﺍﻫﺎﻡ ﻤﻭﺭﺕ‬

‫‪17‬‬
18
‫ﺩﻴﺭﻴﻙ ﻭﺍﻟﻜﻭﺕ‬
‫‪19‬‬
‫ﻤﺩﻴﻨ ﹲﺔ ﺘﺤﺘﺭﻕ‬

‫ﺒﻌ ‪‬ﺩ ﺃﻥ ﻫ ‪‬ﺩ ‪‬ﻡ ﺍﻟﻤﺒﺸﱢ ‪‬ﺭ‬

‫ل ﺸﻲ ٍﺀ‬
‫ﻜ َُ‬
‫ﻻ ﺴﻤﺎ ‪‬ﺀ ﻤﻘﺩﺴ ﹰﺔ‪،‬‬
‫ﺇﱠ‬
‫ﺕ ﺍﻟﺤﻜﺎﻴ ﹶﺔ‬
‫ﻜﺘﺒ ﹸ‬
‫ﺕ ﻤﺩﻴﻨ ٍﺔ ﺘﺤﺘﺭﻕﹾ‪،‬‬
‫ﺒ ‪‬ﺭﻓﺎ ِ‬
‫ﻥ ﺸﻤﻌ ٍﺔ‬
‫ﺕ ﻋﻴ ِ‬
‫ﺘﺤ ﹶ‬
‫ﺩﺨﱠﺎﻨﹸﻬﺎ ﻴﺒﻜﻲ‪،‬‬
‫ﻤﺭﺜﻴﺘﻲ‪.‬‬

‫ﺕ ﺃﻥ ﺃﺤﻜﻲ‬
‫ﻭﺩﺩ ﹸ‬
‫ﻜﻤﺎ ﻟﻡ ﺘﻔﻌل ﺍﻟﺸﻤﻭﻉ‪،‬‬
‫ﻕ‪.‬‬
‫ﻑ ﻜﺒﺭ ٍ‬
‫ﻁ ﹶ‬
‫ﺨ ﹸﺘ ِ‬
‫ﻥ ﹸﺍ ﹾ‬
‫ﻋﻥ ﺇﻴﻤﺎ ٍ‬

‫‪20‬‬
 ‫ل ﻴﻭ ٍﻡ‬
‫ﻜﱠ‬
‫ل ﻋﺒﺭ ﺤﻁﺎ ِﻡ ﺍﻟﺤﻜﺎﻴﺎﺕ‬
‫ﺃﺘﺠﻭ ُ‬
‫ل ﺠﺩﺍ ٍﺭ‬
‫ﻤﺼﻌﻭﻗﹰﺎ ﻤﻥ ﻜ ﱢ‬
‫ﻑ ﻜﺄﻜﺫﻭﺒ ٍﺔ ﺸﺎﺨﺼﺔ‬
‫ﻴﻘ ﹸ‬
‫ﻓﻲ ﺍﻟﻁﺭﻴﻕ‪،‬‬
‫ﺼﺎﺭﺨﹰﺎ ﻜﺴﻤﺎ ٍﺀ‬
‫ﺃﺜﻘﻠﺘﻬﺎ ﻁﻴﻭ ‪‬ﺭ ﺫﺒﻴﺤﺔ‬
‫ﻥ‬
‫ﺏ ﺘﺌ ‪‬‬
‫ﻭﺴﺤ ‪‬‬
‫ﻓﻲ ﺼﻤﺕ‪،‬‬
‫ﻤﻤﺯ ﹰﻗ ﹰﺔ‬
‫ﺏ ﻭﺍﻟﺨﻭﺍﺀ‪،‬‬
‫ﺴﻠ ِ‬
‫ﺒﺎﻟ ‪‬‬
‫ﻥ ﻤﻥ ﺤﻭﻟﻲ‬
‫ﻻﻫﻴ‪‬ﺎ ﻋﻥ ﺍﻟﻨﻴﺭﺍ ِ‬
‫ﻙ‪..‬‬
‫ﻫﻨﺎ ‪‬‬
‫ﺢ‬
‫ﺨﻁﺎ ﺍﻟﻤﺴﻴ ‪‬‬
‫ﺙ ﹶ‬
‫ﺤﻴ ﹸ‬
‫ﺏ ﺒﺎﻟﺩﺨﺎﻥ‬
‫ﻓﻭﻕ ﺼﻔﺤ ِﺔ ﺒﺤ ٍﺭ ﻤﻀﺒ ٍ‬
‫ﺨﻁﻭ ﹰﺓ ﺃﻭﻟﻰ‬
‫ﺕ ‪..‬‬
‫ﺘﺴﺎﺀﻟ ﹸ‬
‫ﻥ‬
‫ﻉ ﺍﻹﻨﺴﺎ ِ‬
‫ﻑ ﺘﺘﺠ ‪‬ﻤﺩ ﺩﻤﻭ ‪‬‬
‫ﻜﻴ ﹶ‬

‫‪21‬‬
 ‫ﻜﺸﻤ ٍﻊ‬
‫ﻲ؟‬
‫ﻁ ﻋﺎﻟﻤ‪‬ﻪ ﺍﻟﺨﺸﺒ ‪ّ‬‬
‫ﺤﻴﻥ ﻴﺴﻘ ﹸ‬
‫ﻓﻲ ﺍﻟﻤﺩﻴﻨ ِﺔ ﺘﻠﻙ‬
‫ﻕ ﺍﻟﺸﺠ ِﺭ‬
‫ﺤﻴﺙ ﺘﺘﺤ ‪‬ﻭ ‪‬ﺭ ﺃﻭﺭﺍ ﹸ‬
‫ﻕ‬
‫ﺇﻟﻰ ﻭﺜﺎﺌ ﹶ‬
‫ﺏ ﻤﻥ ﻋﻘﺎﺌ ‪‬ﺩ‪،‬‬
‫ل ﺇﻟﻰ ﺴﺭ ٍ‬
‫ﻭﺍﻟﺘﻼ ُ‬
‫ﻲ ﺍﻟﺫﻱ‬
‫ﻴﺄﺘﻲ ﺍﻟﺼﺒ ‪‬‬
‫ل ﺴﺎﺌﺭ‪‬ﺍ ﻁﻴﻠ ﹶﺔ ﻴﻭﻤِﻪ‬
‫ﻅﱠ‬
‫ﺒﻌﺩﻤﺎ ﻭﻫﺒﺘﻪ ﺍﻷﺸﺠﺎ ‪‬ﺭ‬
‫ﺃﻨﻔﺎﺴ‪‬ﻬﺎ ﺍﻟﺨﻀﺭﺍﺀ‪.‬‬
‫ﻟﻴﺴﺘﻌﻴ ‪‬ﺩ ﻟﻠﺤﻴﺎﺓ ﻤﺤﺒ ﹰﺔ‬
‫ﻅﻨﻨﺘﹸﻬﺎ ﺨﺎﻤﺩ ﹰﺓ‬
‫ﻜﺄﻅﻔﺎ ٍﺭ ﺒﻼ ﺭﻭﺡ‪.‬‬

‫ﺕ‬
‫ﺍﻟﻤﺠ ‪‬ﺩ ﻟﻠﻤﻭ ِ‬
‫ﻭﺍﻟﺘﻌﻤﻴﺩ ﻟﻠﻨﺎﺭ‪.‬‬

‫‪22‬‬
‫ﻲ‬
‫ﺃﻏﻨﻴ ﹸﺔ ﺯﻨﺠ ‪‬‬
‫ﻜﺎﻨﻭﺍ ﺨﻤﺴ ﹰﺔ ﺃﻭ ﺴﺘ ﹰﺔ‬
‫ل ﻫﺅﻻﺀ‬
‫ﺍﻟﺭﺠﺎ ُ‬
‫ﻕ ﺍﻟﺒﻨﺎﻴ ِﺔ‬
‫ﻥ ﻋﺸﺎﺀﻫﻡ ﻓﻲ ﺭﻭﺍ ِ‬
‫ﻴﺘﻨﺎﻭﻟﻭ ‪‬‬
‫ﻑ ﻗﺎﺌﻅٍ‪،‬‬
‫ﻟﻴﻠ ﹶﺔ ﺼﻴ ٍ‬
‫ﻰ‬
‫ل ﺍﻟﺫﹼﻴﻥ ﺃﻭﻤﺌﻭﺍ ﺇﻟ ‪‬‬
‫ﺍﻟﺭﺠﺎ ُ‬
‫ﺏ‬
‫ﻋﻠﻰ ﻨﺤ ٍﻭ ﻁﻴ ٍ‬
‫ﻓﺄﺠﺒﺘﹸﻬﻡ‬
‫ﺽ ﻤﻥ ﺒﻌﻴﺩ‬
‫ﺕ ﺘﻭﻤ ‪‬‬
‫ﺒﻴﻨﻤﺎ ﺍﻟﻁﺭﻗﺎ ﹸ‬
‫ﻑ‬
‫ﻥ ﺼﻴ ٍ‬
‫ﻜﻤﻬﺭﺠﺎ ِ‬
‫ﺃﻭ‬
‫ﺱ‪.‬‬
‫ﻜﻌﻴ ِﺩ ﻗﺩﻴ ‪‬‬

‫ﻭﺃﻨﺎ‬
‫ﻲ ﺒﺴﻴﻁ‬
‫ﻜﺯﻨﺠ ‪‬‬
‫ﺕ ﺍﻟﺒﺸ ‪‬ﺭ ﺴﻭﺍﺀ‬
‫ﺨ ﹾﻠ ﹸ‬
‫ِ‬

‫‪23‬‬
 ‫ﺃﺒﻴﺽ‪،‬ﺃﺴﻭﺩ ﺃﻭ ﺃﺼﻔﺭ‪،‬‬
‫ﺨﻠﺘﻬﻡ ﺴﻭﺍﺴﻴ ﹰﺔ‬
‫ﺕ‬
‫ﺒﻼ ﻗﻭﻤﻴﺎ ٍ‬
‫ﺒﻼ ﻟﻭﻥ!‬
‫ﺏ‬
‫ﻟﻜﻥ ﺤﺩﺴﻲ ﺨﺎ ‪‬‬
‫ﻋﻨﺩﻤﺎ‬
‫ﺃﻭﺴﻌﻭﻨﻲ ﻀﺭﺒ‪‬ﺎ‬
‫ﻲ ﺍﻟﺘﻌﺱ‬
‫ﺃﻨﺎ ﺍﻟﺯﻨﺠ ‪‬‬
‫ﺃﺜﺨﻨﻭﻨﻲ ﺒﺎﻟﺠﺭﺍﺡ‪.‬‬

‫ﻭﻷﻨﻨﻲ‬
‫ﺕ ﺃﺨﺸﻰ ﺍﻟﺨﻨﺠ ‪‬ﺭ‬
‫ﻜﻨ ﹸ‬
‫ﺡ ﻭﺸﻴﻙ‬
‫ﻜﺎﻗﺘﺭﺍ ٍ‬
‫ﺕ ﻤﻌﻁﻔﻲ ﺍﻟﺠﺩﻴ ‪‬ﺩ‬
‫ﺨﻠﻌ ﹸ‬
‫ﻗﺫﻓﺘﻪ ﺒﻌﻴﺩ‪‬ﺍ‬
‫ﺕ ﻟﻤﺼﻴﺭﻱ‪.‬‬
‫ﻭﺍﺴﺘﺴﻠﻤ ﹸ‬

‫ل‬
‫ﺸ ‪‬ﻡ ﻭﺩﻤﻲ ﺴﺎ َ‬
‫ﻭﺠﻬﻲ ﺘﻬ ﱠ‬

‫‪24‬‬
 ‫ﻟﻜﻨﻨﻲ‬
‫ﻑ!‬
‫ﺕ ﺍﻟﻤﻌﻁ ﹶ‬
‫ﺃﻨﻘﺫ ﹸ‬

‫ﺕ ﻋﻠﻰ ﺃﺭﺒ ٍﻊ‬

‫ﺯﺤﻔ ﹸ‬
‫ﻑ‬
‫ﺕ ﻓﻲ ﻤﺼﺭ ٍ‬
‫ﻭﺍﺨﺘﺒﺄ ﹸ‬
‫ﺏ ﺃﻤ‪‬ﺎ ﺘﺠ ‪‬ﺭ ﻁﻔﻠﹶﻬﺎ‬
‫ﺃﺭﺍﻗ ‪‬‬
‫ﺙ ﺒﺎﻟﻤﺸﻬﺩ‪:‬‬
‫ل ﺍﻟﺫﻱ ﺘﺸﺒ ﹸ‬
‫ﺍﻟﻁﻔ َ‬
‫‪ " -‬ﻜﻔﻰ ﻴﺎ ﺠﺎﻙ ‪..‬‬
‫ﺏ ﺒﻤﺎ‬
‫ﻫﻡ ﻓﻘﻁ ﻟﻡ ﻴﺘﻌﻠﻤﻭﺍ ﺍﻟﺤ ‪‬‬
‫ﻴﻜﻔﻲ!"‬
‫ﻭﻫﻜﺫﺍ‬
‫ﻋﻠﻤﺘﻪ ﺍﻷ ‪‬ﻡ ﺩﺭﺴ‪‬ﻪ ﺍﻷﻭل‪.‬‬

‫ﻨﻌﻡ‬
‫ﻙ ﺒﺎﻟﺘﺄﻜﻴﺩ‬
‫ﻟﻥ ﻴﻘﺘﻠﻭ ‪‬‬
‫ﻓﻘﻁ‬
‫ﺠ ﹰﺔ‬
‫ﻜﺎﻨﺕ ﺩﻋﺎﺒ ﹰﺔ ﻓ ‪‬‬
‫ﻜﻌﺎﺩ ِﺓ ﺍﻷﻤﺭﻴﻜﻴﻴﻥ ﺩﻭﻤ‪‬ﺎ‬

‫‪25‬‬
 ‫ﺴﻭﻯ ﺃﻨﻨﻲ‬
‫ل ﺸﻲﺀ‬
‫ﻭﺒﺭﻏ ِﻡ ﻜ ﱢ‬
‫ﺏ‬
‫ﺕ ﺸﻴﺌًﺎ ﻋﻥ ﺍﻟﺤ ‪‬‬
‫ﻗﺩ ﺘﻌﻠﻤ ﹸ‬
‫ل‬
‫ﻤﻥ ﺨﻼ ِ‬
‫ﻤﺯﺤ ٍﺔ ﻗﺎﺴﻴﺔ‪.‬‬

‫‪26‬‬
‫ﻥ ﺁﺨ َﺭ‬
‫ﻓﻲ ﻤﻜﺎ ٍ‬
‫ﻥ ﻤﺎ‬
‫ﻓﻲ ﻤﻜﺎ ٍ‬
‫ﺽ‬
‫ﻥ ﺃﺒﻴ ‪‬‬
‫ﺢ ﺤﺼﺎ ‪‬‬
‫ﻴﺭﻤ ‪‬‬
‫ل‬
‫ﻴﺘﻁﺎﻴ ‪‬ﺭ ﺸﻌﺭ‪‬ﻩ ﻋﺒ ‪‬ﺭ ﺤﻘ ٍ‬
‫ﺞ ﺒﺎﻷﺸﻭﺍﻙ‪،‬‬
‫ﻤﺴ‪‬ﻴ ٍ‬
‫ﻫﻨﺎﻙ‬
‫ل‬
‫ﺙ ﺭﺠﺎ ٌ‬
‫ﺤﻴ ﹸ‬
‫ﻥ ﺍﻷﺤﺠﺎ ‪‬ﺭ‬
‫ﻴﻔﺘﺘﻭ ‪‬‬
‫ﺵ ﻓﻲ ﺃﻜﻭﺍ ‪‬ﻡ‪.‬‬
‫ﻥ ﺍﻟﻘ ﱠ‬
‫ﻴﺤﺯ‪‬ﻤﻭ ‪‬‬

‫ﻥ ﻤﺎ‬
‫ﻓﻲ ﻤﻜﺎ ٍ‬
‫ﻥ ﺍﻟﺒﺤ ‪‬ﺭ ﺍﻟﺫﻱ‬
‫ﺕ ﻴﺭﻗﺒ ‪‬‬
‫ﻨﺴﺎ ‪‬ﺀ ﻤﺠﻬﺩﺍ ﹲ‬
‫ﺏ ﺼﻴ ٍﺩ ﻏﺎﺌﺒ ﹰﺔ‪،‬‬
‫ﻴﺒﻜﻲ ﻤﺭﺍﻜ ‪‬‬
‫ﺯﺭﻗﺎ ‪‬ﺀ ﻜﺎﻟﺴﻼﻡ‬
‫ﻨﺴﺎ ‪‬ﺀ‬
‫ﻥ ﻤﻥ ﺤﻜﺎﻴﺎ ﺍﻟﻭﺠ ‪‬ﻊ‪.‬‬
‫ﺘﻌﺒ ‪‬‬

‫‪27‬‬
 ‫ﻥ‬
‫ﻙ ﺍﻟﻤﻜﺎ ِ‬
‫ﻓﻲ ﺫﻟ ‪‬‬
‫ﺽ ﺃﺴﺭﻯ‬
‫ﺒﻌ ‪‬‬
‫ﺤﺼﺎ ‪‬ﺩ ﺼﻐﻴ ‪‬ﺭ ﻷﺠﺴﺎ ٍﺩ ﺭﻫﻥ ﺍﻟﻤﻘﺎﻴﻀﺔ‬
‫ﺙ ﻴﺭﻗ ‪‬ﺩ ﺍﻟﺠﻨﻭ ‪‬ﺩ ﻓﻲ ﺍﻟﻁﺭﻗﺎﺕ‬
‫ﺤﻴ ﹸ‬
‫ﺃﻭ‬
‫ﻥ ﻓﻲ ﻏﺎﺒﺔ‪.‬‬
‫ﻴﺩﺨﻨﻭ ‪‬‬

‫ﻥ ﻤﺎ‬
‫ﻓﻲ ﻤﻜﺎ ٍ‬
‫ﻥ‬
‫ﻙ ﻗﻭﺍﻨﻴ ‪‬‬
‫ﺘﹸﻨﺘﻬ ‪‬‬
‫ﻕ ﻜﺜﻴﺭﺓ‬
‫ﻕ ﺃﻭﺭﺍ ﹲ‬
‫ﺘﹸﻤﺯ‪ ‬ﹸ‬
‫ﺕ ﺍﻟﺸﺠ ِﺭ‬
‫ﺜ ‪‬ﻡ ﺘﹶﺘﺤ ‪‬ﻭ ‪‬ﺭ ﻭﺭﻗﺎ ﹸ‬
‫ل ﺠﺩﻴﺩﺓ‪.‬‬
‫ﻷﺸﻜﺎ ٍ‬

‫ﻥ ﻤﺎ‬
‫ﻓﻲ ﻤﻜﺎ ٍ‬
‫ﺕ‬
‫ﺡ ﺍﻟﺤﺩﻗﺎ ِ‬
‫ﺏ ﻴﺭﻗ ‪‬ﺩ ﻤﻔﺘﻭ ‪‬‬
‫ﻜﺎﺘ ‪‬‬
‫ﺵ ﻤﻤﺘﺩ‬
‫ﻋﻠﻰ ﻓﺭﺍ ٍ‬
‫ﺏ ﺍﻟﺫﻱ ﻟﻥ ﻴﻘﺭَﺃ ﻫﺫﺍ‬
‫ﻫﻭ ﺍﻟﻜﺎﺘ ‪‬‬

‫‪28‬‬
 ‫ﺏ ﻫﺫﺍ‬
‫ﻭﻟﻡ ﻴﻜﺘ ‪‬‬
‫ل ﺇﻟﻰ ﻗﻠﻡ؟‬
‫ﺇﺫ ﻜﻴﻑ ﺍﻟﺴﺒﻴ ُ‬

‫ﻥ ﻫﻨﺎ‬
‫ﻭ ﻫﺎ ﻨﺤ ‪‬‬
‫ﺃﺤﺭﺍ ‪‬ﺭ ﻟﻭﻫﻠ ٍﺔ‬
‫ﺒﻴﻨﻤﺎ ﻫﻨﺎﻟﻙ‬
‫ﺙ ﺒﻌﻴ ٍﺩ ﻤﻥ ﻫﺫﺍ ﺍﻟﻜﻭﻜﺏ‬
‫ﻓﻲ ﺜﻠ ٍ‬
‫ﺜﻤ ﹸﺔ ﺒﺎﺭﻭﺩ ﹲﺓ ﺘﻔﺠ‪ ‬ﺭ ﺭﺃﺴ‪‬ﺎ‬
‫ﻜﺎﻥ ﻴﻔﻜ ‪‬ﺭ ﺒﺎﻟﻔﺭﺩﻭﺱ‪.‬‬

‫ﺙ ﻻﺸﻲﺀ ﺤ ‪‬ﺭ ﻫﻨﺎﻙ‬

‫ﺤﻴ ﹸ‬
‫ﻕ‬
‫ﻕ ﺍﻟﻬﻭﺍ ‪‬ﺀ ﻓﻲ ﺴﻠ ِﺔ ﺍﻷﻭﺭﺍ ِ‬
‫ﺴﻴﺨﺘﻨ ﹸ‬
‫ل ﻤﺎ ﻜﺘﺒﻨﺎﻩ‬
‫ﻭ ‪‬ﻴﻘﻤ ‪‬ﻊ ﻜ ﱡ‬
‫ﻕ‬
‫ﻑ ﺃﺯﺭ ﹸ‬
‫ﻓﻴﻤﺎ ﺤﺭ ﹲ‬
‫ﻕ ﺼﻭﺘﹶﻪ‬
‫ﻴﺸ ﱡ‬
‫ﻥ ﺍﻟﻭﺭﻕ‪.‬‬
‫ﺴﻜﻴ ‪‬‬

‫ل ﻤﻅﻠ ٍﻡ ﻜﻬﺫﺍ‬
‫ﻋﺒﺭ ﻤﻌﺘﻘ ٍ‬

‫‪29‬‬
 ‫ﺹ ﻭﺠﻭ ‪‬ﻩ ﻤﺠﻭﻓ ﹲﺔ‬
‫ﺘﺸﺨ ‪‬‬
‫ﻥ ﺍﻟﻘﺼﻴﺩﺓ‬
‫ﺙ ﺃﺼﺎﺒﻌ‪‬ﻬﺎ ﺒﻘﻀﺒﺎ ِ‬
‫ﺘﺘﺸﺒ ﹸ‬
‫ﻫﻨﺎ ‪ ....‬ﺃﻭ‬
‫ﻥ ﺁﺨ ‪‬ﺭ‪.‬‬
‫ﻓﻲ ﻤﻜﺎ ٍ‬

‫ﺴﻭﻑ ﺘﺨﺒﻭ ﻨﻅﺭﺍﺘﹸﻬﻡ ﺸﻴﺌًﺎ ﻓﺸﻴﺌﺎ‬

‫ﻜﺄﺭﻗﺎ ٍﻡ ﻤﻥ ﺩﻭﻥ ﻤﻼﻤﺢ‬
‫ل ﺍﻟﻬﺎﺘﻑ‬
‫ﻜﺎﻟﺘﻲ ﺘﺜﻴ ‪‬ﺭ ﺤ‪‬ﻴﺭ ﹶﺘﻙ‪ ‬ﻓﻲ ﺩﻟﻴ ِ‬
‫ﺃﻭ ‪...‬‬
‫ﻜﻤﺫﺒﺤ ِﺔ ﻨﻬﺎﻴ ِﺔ ﺍﻟﻌﺎ ‪‬ﻡ‪.‬‬

‫ﻻ ﺘﻠﻭﻤﻭﺍ ﺍﻟﻌﺎﻟ ‪‬ﻡ ﺇﺫﻥ‬

‫ﺕ ﺍﻟﻤﻅﻠﻤ ﹸﺔ‬
‫ﻓﺎﻟﺤﻤﺎﻗﺎ ﹸ‬
‫ﻟﻬﺎ ﺃﻥ ﺘﺤﺩ ‪‬ﺩ ﻤﺴﺎ ‪‬ﺭ ﺍﻟﻀﻤﺎﺌﺭ‬
‫ل ﺤﻭﺍﺴِﻨﺎ ﺍﻟﻤﺠﻬﺩﺓ‬
‫ﻟﻨﺸﻌ ‪‬ﺭ ﺨﻼ ِ‬
‫ﺒﺼﺭﺨﺎ ِ‬
‫ﺕ ﺍﻟﺸﺘﺎ ِﺀ ﺍﻟﺼﺎﻤﺘﺔ‪.‬‬

‫‪30‬‬
‫ﺘﻭﺒﺎﺠﻭ*‬

‫‪31‬‬
‫‪ ..‬ﻤﻨﺘﺼﻑ ﻟﻴﻠﺔ ﺼﻴﻑ‬
‫ﺊ ﻭﺍﺴﻌ ﹲﺔ‪،‬‬
‫ﺸﻭﺍﻁ ُ‬
‫ﻭﺼﺨﻭ ‪‬ﺭ‬
‫ﺱ‬
‫ﺤﻬﺎ ﺍﻟﺸﻤ ‪‬‬
‫ﺘﻠﻔ ‪‬‬
‫ﺒﺤﺭﺍﺭﺘﻬﺎ ﺍﻟﺒﻴﻀﺎﺀ‪،‬‬
‫ﻨﻬ ‪‬ﺭ ﺃﺨﻀ ‪‬ﺭ‪،‬‬
‫ﻴﺸﻘﱡﻪ ﺠﺴ ‪‬ﺭ ﻤﻥ ﺍﻟﺨﺸﺏ‪،‬‬
‫ﻭﻓﻲ ﺍﻟﺨﻠﻔﻴ ِﺔ‬
‫ﺕ ﺼﻔﺭﺍ ‪‬ﺀ‬
‫ﻨﺨﻼ ﹲ‬
‫ﺘﺤﺘﺭﻕ‪.‬‬

‫ﻓﻲ ﻤﻨﺯﻟﻲ ﺍﻟﺒﻌﻴﺩ‬

‫ﺍﻟﺫﻱ ﺍﻋﺘﺎﺩ ﺃﻥ ﻴﻨﺎﻡ ﻓﻲ ﺍﻟﺼﻴﻑ‬
‫ﺱ ﻓﻲ ﺸﺭﻓ ٍﺔ‬
‫ﺃﺠﻠ ‪‬‬
‫ﺢ‬
‫ﺘﺴﺒ ‪‬‬
‫ﺱ‪.‬‬
‫ل ﺃﻏﺴﻁ ‪‬‬
‫ﻓﻲ ﻜﺴ ِ‬
‫ﺃﺤﺼﻲ ﺍﻷﻴﺎ ‪‬ﻡ‪:‬‬

‫‪32‬‬
 ‫ﺃﻴﺎ ‪‬ﻡ‬
‫ﺠ ‪‬ﻤﺩﺘﹸﻬﺎ ﻓﻲ ﻗﺒﻀﺘﻲ‬
‫ﻭﺃﺨﺭﻯ‬
‫ﺘﺴ ‪‬ﺭﺒﺕ ﻤﻥ ﺒﻴﻥ ﺃﺼﺎﺒﻌﻲ‪.‬‬
‫ﺍﻷﻴﺎ ‪‬ﻡ‬
‫ﺍﻟﺘﻲ ﺘﻨﻤﻭ ﺴﺭﻴﻌ‪‬ﺎ‬
‫ﺏ ﺒﻐﺘ ﹰﺔ‬
‫ﻤﺜل ﻁﻔﻠ ٍﺔ ﺘﺸ ‪‬‬
‫ﺝ‬
‫ﻭﺘﺨﺭ ‪‬‬
‫ﻙ‪.‬‬
‫ﻋﻥ ﻁﻭﻕ ﻤﺭﻓﺄ ﺫﺭﺍﻋﻴ ‪‬‬
‫ــــــــــــــــــــــــــــــــــــــ‬
‫* ﺇﺤﺩﻯ ﺠﺯﺭ ﺍﻟﻬﻨﺩ ﺍﻟﻐﺭﺒﻴ‪‬ﺔ‬

‫‪33‬‬
‫ﻕ ﻭﺼﻴ‪‬ﺔ‬
‫ﻤﻠﺤ ﹸ‬
‫ﺏ ﺒﺎﻟﻔﹸﺼﺎﻡ‬
‫ﻤﺜل ﻤﺼﺎ ٍ‬
‫ﺝ ﺒﻔﺄﺱٍ‪،‬‬
‫ﺃﻭ ﻤﺸﺠﻭ ٍ‬
‫ﻤﺜل ﺃﺠﻴ ٍﺭ ﻤﻁﺭﻭ ٍﺩ ﻟﺘﻭ‪‬ﻩ‪،‬‬
‫ﺕ ﻨﻔﺴﻲ‬
‫ﻜﺎﻓﺄ ﹸ‬
‫ﺒﺎﻟﻤﻨﻔﻰ‪.‬‬

‫ﺏ ﺒﻔﻘ ِﺭ ﺍﻟﺩ ‪‬ﻡ‬

‫ﺊ ﻤﺼﺎ ٍ‬
‫ﻭﻋﻠﻰ ﺸﺎﻁ ٍ‬
‫ل‬
‫ﺕ ﻷﻤﻴﺎ ٍ‬
‫ﻤﺸﻴ ﹸ‬
‫ﻓﻲ ﻀﻭ ِﺀ ﺍﻟﻘﻤ ‪‬ﺭ‬
‫ﺒﺒﺸﺭ ٍﺓ‬
‫ﺴﻭﺩﺍ ‪‬ﺀ ﻤﺤﺘﺭِﻗ ٍﺔ‬
‫ﺦ ﻜﺜﻌﺒﺎﻥٍ‪،‬‬
‫ﺘﻭ ‪‬ﺩ ﻟﻭ ﺘﻨﺴﻠِ ﹶ‬
‫ﻭﺘﻬﺭﺏ ﻤﻥ ﻋﺎﻟ ٍﻡ‬
‫ﻱ ﺍﻟﻬﻭﻴ‪‬ﺔ‪.‬‬
‫ﺃﺤﺎﺩ ‪‬‬

‫ﻟﻜﻲ ﺘﻐ ‪‬ﻴ ‪‬ﺭ ﻟﺴﺎ ﹶﻨﻙ‪‬‬

‫‪34‬‬
 ‫ﻙ‪.‬‬
‫ﻙ ﺒﺘﻐﻴﻴﺭ ﻭﺠﻭ ِﺩ ‪‬‬
‫ﻋﻠﻴ ‪‬‬

‫ﻟﻴﺱ ﺒﻭﺴﻌﻨﺎ‬
‫ﺢ ﺍﻷﺨﻁﺎ ِﺀ ﺍﻟﻘﺩﻴﻤﺔ‪،‬‬
‫ﺘﺼﺤﻴ ‪‬‬
‫ﺝ‬
‫ﻷﻥ ﺍﻷﻤﻭﺍ ‪‬‬
‫ﻁ ﺍﻷﻓﻕ‬
‫ﺍﻟﺘﻲ ﺃﺠﻬﺩ‪‬ﻫﺎ ﺍﻟﺴﻔ ‪‬ﺭ ﺇﻟﻰ ﺨ ﱢ‬
‫ﺱِ‬
‫ﺕ ﻨﻭﺍﺭ َ‬
‫ﻉ ﻟﺼﻭ ٍ‬
‫ﺘﻔﺯ ‪‬‬
‫ﺥ ﺒﺄﻟﺴﻨ ٍﺔ ﻭﺍﻫﻨ ﹾﺔ‪.‬‬
‫ﺘﺼﺭ ﹸ‬

‫ﻲ‬
‫ﻕ ﺨﺸﺒ ‪‬‬
‫ﻓﻭﻕ ﺯﻭﺭ ٍ‬
‫ل ﺍﻟﺸﺎﻁﺊ‪،‬‬
‫ﺃﻓﺴﺩﺘﻪ ﺭﻤﺎ ُ‬
‫ﺕ "ﺸﺎﺭﻟﻭﺕ ﻓﻴل"‬
‫ﺘﺠﺜ ‪‬ﻡ ﻏﻴﻤﺎ ﹸ‬
‫ﺍﻟﺘﻲ ﻨﺨﺭﺘﻬﺎ ﺍﻟﻤﻨﺎﻗﻴ ‪‬ﺭ ﺍﻟﺴ‪‬ﺎﻤﺔ‪.‬‬

‫ﻗﺩﻴ ‪‬ﻤﺎ‬
‫ﺽ ﻴﻜﻔﻲ‪،‬‬
‫ﺏ ﺍﻷﺭ ِ‬
‫ﺏ ﺃﻥ ﺤ ‪‬‬
‫ﺕ ﺃﺤﺴ ‪‬‬
‫ﻜﻨ ﹸ‬
‫ﻭﺍﻵﻥ‬
‫ﺴﱠﻠ ِﺔ‪.‬‬ ‫ﻟﻡ ﻴﻌﺩ ﻤﻥ ﻤﻜﺎ ٍ‬
‫ﻥ ﻓﻲ ﺍﻟ ‪‬‬

‫‪35‬‬
‫ل ﺍﻟﻜﻼﺏ‬
‫ل ﺘﺒﻠﻰ ﻤﺜل ﻫﻴﺎﻜ ِ‬
‫ﺏ ﺍﻟﻌﻘﻭ َ‬
‫ﺃﺭﻗ ‪‬‬
‫ل ﻜﺴﺭﺍﺕ ﺍﻟﺨﺒﺯ‪،‬‬
‫ﺤﻭ َ‬
‫ﻭﻫﺎ ﺃﻨﺎ‬
‫ﻑ ﺍﻟﻌﻤ ِﺭ‬
‫ﺏ ﻤﻥ ﻤﻨﺘﺼ ِ‬
‫ﺃﻗﺘﺭ ‪‬‬
‫ﺒﺒﺸﺭ ٍﺓ ﻤﺤﺘﺭﻗ ﹾﺔ‬
‫ﻑ ﺒﺼﻠ ٍﺔ‬
‫ﻱ ﻤﺜل ﻏﻼ ِ‬
‫ﺘﺘﻘﺸﺭ ﻓﻲ ﻴﺩ ‪‬‬
‫ل ﺍﻷﺤﺠﻴ ﹸﺔ ﺍﻟﺘﻲ‬
‫ﻓﺘﻁ ﱡ‬
‫ل‬
‫ﺤّ‬‫ﻻ ﹸﺘ ‪‬‬
‫ﺃﺒﺩ‪‬ﺍ‪.‬‬

‫ﺏ…‬
‫ﻓﻲ ﺍﻟﻘﻠ ِ‬
‫ﻻ ﺸﻲ ‪‬ﺀ ﻤﻁﻠﻘﹰﺎ‬
‫ﻑ ﻤﻥ ﻤﻭﺕ‪،‬‬
‫ﻭﻻ ﺤﺘﻰ ﺨﻭ ﹲ‬
‫ﺕ ﻤﻭﺘﻰ ﻜﺜﻴﺭﻴﻥ‪،‬‬
‫ﻓﻘﺩ ﻋﺭﻓ ﹸ‬
‫ﻤﺘﺸﺎﺒﻬﻭﻥ ﺠﻤﻴﻌ‪‬ﻬﻡ‬
‫ﻴﺸﺒﻬﻭﻨﻨﻲ ﺠﻤﻴﻌ‪‬ﻬﻡ‪.‬‬
‫ﺕ‬
‫ﻭﺤﺩﻩ ﺍﻟﻤﻭ ﹸ‬

‫‪36‬‬
 ‫ل ﺒﻴﻥ ﺍﻟﻨﺎﺱ‪،‬‬
‫ﻴﻌﺩ ُ‬
‫ﻷﻨﻨﺎ‬
‫ﺹ ﻓﻲ ﺍﻟﻨﺎﺭ‬
‫ﺤﻴﻥ ﻨﻐﻭ ‪‬‬
‫ﻟﻥ ﺘﺭﺘﻌ ‪‬ﺩ ﺒﺸﺭ ﹸﺘﻨﺎ ﻤﺠﺩﺩ‪‬ﺍ‬
‫ﺨﻭﻓﹰﺎ ﻤﻥ ﻓﻭﻫ ِﺔ ﺍﻷﺭﺽ ﺍﻟﺴﺎﺨﻨﺔ‬
‫ﻱ‬
‫ﺱ ﺍﻟﺴﺎﺩ ‪‬‬
‫ﺃﻭ ﹶﺘﻨﹼﻭ ِﺭ ﺍﻟﺸﻤ ِ‬
‫ﻭﻻ ﺤﺘﻰ‬
‫ﻤﻥ ﻫﺫﺍ ﺍﻟﻘﻤ ِﺭ ﺍﻟﺘﻌِﺱ‬
‫ﻑ ﺍﻟﻐﻤﺎﻡ‬
‫ﺍﻟﺫﻱ ﻴﻅﻬﺭ ﻭﻴﺨﺘﻔﻲ ﺨﻠ ﹶ‬
‫ﺊ‬
‫ﻤﻤﻌﻨﹰﺎ ﻓﻲ ﺇﻓﺴﺎ ِﺩ ﺍﻟﺸﺎﻁ ِ‬
‫ﺤﺩ‪‬ﺍ‬
‫ﻟﻴﺘﺭ ﹶﻜﻪ ﺸﺎﺨﺼ‪‬ﺎ ﻤﺘﻭ ‪‬‬
‫ﻤﺜل ﺼﻔﺤ ٍﺔ ﺒﻴﻀﺎ ‪‬ﺀ‪.‬‬

‫ﺍﻨﺘﺒﻬﻭﺍ‪،‬‬
‫ﻓﺎﻟﻼﻤﺒﺎﻻﺓ ﺘﻠﻙ‪،‬‬
‫ل ﻗﺩﺭ‪‬ﺍ‬
‫ﺘﺤﻤ ُ‬
‫ﻤﻥ ﺍﻟﻐﻀﺏ!‬

‫‪37‬‬
‫ﺁﻟﻴﺱ ﻭﻭﻜﺭ‬
‫‪38‬‬
‫ﻜﻬﻭل ﻴﺠﺭ‪‬ﺒﻭﻥ ﺍﻟﻐﻨﺎﺀ‬

‫ل‬
‫ﺍﻟﻜﻬﻭ ُ‬
‫ﺍﻟﺫﻴﻥ ﺍﻋﺘﺎﺩﻭﺍ ﺃﻥ ﻴﻐﻨﱡﻭﺍ‪،‬‬
‫‪ -‬ﺒﺤﺫ ٍﺭ‪-‬‬
‫ﺭﻓﻌﻭﺍ ﺃﺨﹰﺎ ﻟﻬﻡ‬
‫ﺏ‪.‬‬
‫ﺝ ﺍﻟﺒﺎ ‪‬‬
‫ﺨﺎﺭ ‪‬‬

‫ﺃﻓﻜﱢ ‪‬ﺭ ‪:‬‬

‫ﻻﺒ ‪‬ﺩ ﺃﻨﻬﻡ ﻭ‪‬ﻟﺩﻭﺍ ﻫﻜﺫﺍ‬
‫ﻕ‬
‫ﻤﺩﺭ‪‬ﺒﻴﻥ ﻜﻴﻑ ﻴﺅﺭﺠﺤﻭﻥ ﺒﺭﻓ ٍ‬
‫ﺘﺎﺒﻭﺘﹰﺎ‪،‬‬
‫ﻴﺠﺭﺠﺭﻭﻥ ﺃﻗﺩﺍﻤ‪‬ﻬﻡ ﺒﺒﻁﺀٍ‪،‬‬

‫‪39‬‬
 ‫ﻥ‬
‫ﺜ ‪‬ﻡ ﻴﺸﺨﺼﻭ ‪‬‬
‫ﺕ ﺠﺎﻓﺔ‬
‫ﺒﺤﺩﻗﺎ ٍ‬
‫ﻨﺤﻭ ﺍﻟﺒﻌﻴﺩ‪.‬‬

‫ﻙ ﺨﻴﺎﻟﹶﻬﻡ‬
‫ﺍﻟﺯﻫﻭ ‪‬ﺭ ﺘﺭﺒ ‪‬‬
‫ل‬
‫ﺃﻜﺜ ‪‬ﺭ ﻤﻤﺎ ﻴﻔﻌ ُ‬
‫ل‬
‫ﺏ ﺍﻷﺭﺍﻤ ِ‬
‫ﻨﺤﻴ ‪‬‬
‫ﻭ ﺍﻟﺜﻜﻼﻭﺍﺕ ‪.‬‬

‫ﻫﺎ ﻫﻡ‬
‫ﺏ‬
‫ﺒﻌﺩﻤﺎ ﻴﻭﺍﺭﻭﻥ ﺍﻟﺠﺴ ‪‬ﺩ ﺍﻟﺘﺭﺍ ‪‬‬
‫ﺴﺘﺭﺍﻫﻡ ﻴﻘﻔﻭﻥ‬
‫ﻫﻨﺎﻙ‬
‫‪ -‬ﻓﻲ ﺜﻴﺎ ِﺒﻬﻡ ﺍﻟ ‪‬ﺒ ﹼﻨﻴ‪‬ﺔ ‪-‬‬
‫ﻓﻲ ﺍﻨﺘﻅﺎ ِﺭ‬
‫ﻤﻭﺘﻰ ﺠ‪‬ﺩﺩ‪.‬‬

‫‪40‬‬
‫ﺤﻭﺍ ‪‬ﺭ ﻤﻊ ﺍﻟﺸﱢﻌﺭ‬

‫ﺕ ﻟﻠﺸﱢﻌﺭ‪:‬‬
‫ﻗﻠ ﹸ‬
‫ﻙ ﻟﺘﻭ‪‬ﻱ‪".‬‬
‫ﺕ ﻤﻨ ‪‬‬
‫‪" -‬ﺍﻨﺘﻬﻴ ﹸ‬
‫ﺡ ﻴﺤﺘﻀ ‪‬ﺭ‬
‫ﻭﻓﻴﻤﺎ ﺭﺍ ‪‬‬
‫ﻑ ﻨﺤﻭﻱ‪،‬‬
‫ﺒﺩﺃ ﻴﺯﺤ ﹸ‬
‫ﺕ‪:‬‬
‫ﺃﻀﻔ ﹸ‬
‫ﻉ‬
‫‪" -‬ﺸﻜﺭ‪‬ﺍ ﺃﻴﻬﺎ ﺍﻹﺒﺩﺍ ِ‬
‫ﻟﻡ ﺃﻋ ‪‬ﺩ ﻜﺸﺎﻋﺭ ٍﺓ ﺒﺤﺎﺠ ٍﺔ ﺇﻟﻰ ﺍﻹﻟﻬﺎﻡ‪،‬‬
‫ﺴﺄﺫﻫﺏ ﺇﻟﻰ ﻫﻨﺎﻙ‬
‫ﺤﻴﺙ ﺸﻲ ٍﺀ ﻤﻥ ﺍﻟﻔﺭﺡ‪،‬‬
‫ﻑ ﺍﻷﻟ ‪‬ﻡ‬
‫ﺤﻴﺙ ﻋﻬﻭ ٍﺩ ﻻ ﺘﻌﺭ ﹸ‬
‫ﻋﻠﻰ ﺍﻷﻗل‪".‬‬

‫‪41‬‬
 ‫ﺭﻗ ‪‬ﺩ ﺍﻟﺸﱢﻌ ‪‬ﺭ ﻋﻠﻰ ﻅﻬﺭِﻩ‬
‫ﺕ ﺤﺘﻰ ﺍﻟﺼﺒﺎﺡ ‪.‬‬
‫ﻭﺍﺩ‪‬ﻋﻰ ﺍﻟﻤﻭ ﹶ‬

‫ﻟﻡ ﻴﻨﺘﺒﻨﻲ ﺤﺯﻥ‪،‬‬

‫ﺏ‪.‬‬
‫ﺭﺒﻤﺎ ﺸﻲ ‪‬ﺀ ﻤﻥ ﺍﻟﻀﺠ ِﺭ ﻭﺤﺴ ‪‬‬

‫ﻗﺎل ﺍﻟﺸﻌ ‪‬ﺭ ﻓﺠﺄ ﹰﺓ ‪:‬‬

‫ﻥ ﺍﻟﺼﺤﺭﺍ ‪‬ﺀ‪،‬‬
‫‪ " -‬ﺃﺘﺫﻜﺭﻴ ‪‬‬
‫ﻙ ﻋﻴﻨﻴﻥ ﺘﺭﻴﺎﻨﻬﺎ ؟‬
‫ﺕ ﺴﻌﻴﺩ ﹰﺓ ﺃﻥ ﻟ ِ‬
‫ﻭﻜﻡ ﻜﻨ ِ‬
‫ﺃﺘﺫﻜﺭﻴﻥ ﺫﻟﻙ ﻭﻟﻭ ﻟﹸﻤﺎﻤﺎﹰ؟‬
‫ﺕ‪:‬‬
‫ﺃﺠﺒ ﹸ‬
‫‪" -‬ﻟﻡ ﺃﻋ ‪‬ﺩ ﺃﺴﻤﻌ‪‬ﻙ ﺤﺘﻰ‪،‬‬
‫ﻼ ﻋﻥ ﻜﻭﻨِﻬﺎ ﺍﻟﺨﺎﻤﺴ ﹶﺔ ﻓﺠﺭ‪‬ﺍ‬
‫ﻓﻀ ﹰ‬
‫ﺢ ﻓﻲ ﺍﻟﻅﻼﻡ‬
‫ﻭﺒﺎﻟﺘﺄﻜﻴﺩ ﻟﻡ ﺃﺼ ‪‬‬
‫ﻜﻡ ﺃﺠل ﺃﻥ ﺃﺤﺎﺩﺜﻙ!"‬

‫ﻗﺎل ﺍﻟﺸﱠﻌ ‪‬ﺭ‪:‬‬

‫ﺕ ﻓﻴﻬﺎ ﺍﻟﻘﻤ ‪‬ﺭ‬
‫ﺕ ﺍﻟﺘﻲ ﺘﺄﻤﹼﻠ ِ‬
‫‪" -‬ﻓﻘﻁ ﻓﻜﺭ‪‬ﻱ ﻓﻲ ﺍﻷﻭﻗﺎ ِ‬

‫‪42‬‬
 ‫ﻙ ﺍﻟﻭﺍﺩﻱ ﺍﻟﻀ‪‬ﻴﻕ‬
‫ﻓﻭﻕ ﺫﺍ ‪‬‬
‫ﻜﻡ ﻋﺸﻘﺘِﻪ‬
‫ﻙ ﺃﺸﻌ ﹸﺔ ﺍﻟﻘﻤ ِﺭ ﺍﻟﺨﻀﺭﺍ ‪‬ﺀ‬
‫ﻭﻜﻡ ﺃﺩﻫﺸ ﹾﺘ ِ‬
‫ﻙ‬
‫ﻭﺃﻥ ﻋﻴﻨﹰﺎ ﻭﺍﺤﺩ ﹰﺓ ﻤﺎﺯﻟﺕ ﻟ ِ‬
‫ﺘﺭﺼﺩﻴﻥ ﺒﻬﺎ ﺍﻟﻤﺸﻬﺩ‪،‬‬
‫ﺘﺫﻜﱠﺭﻱ ﺫﻟﻙ ﻭﺤﺴﺏ‪".‬‬

‫ﻕ ﺒﺎﻟﻜﻨﻴﺴ ِﺔ‪".‬‬
‫‪" -‬ﺴﺄﻟﺘﺤ ﹸ‬
‫ﺐ‬
‫أﺟﺒﺘﻪ ﺑﻐﻀ ٍ‬
‫ﻂ‬
‫ب اﻟﺤﺎﺋ ِ‬‫ت وﺟﻬﻲ ﺻﻮ َ‬ ‫وأدر ُ‬
‫‪" -‬ﺴﺄﺘﻌﻠﻡ ﻜﻴﻑ ﺃﺼﻠﱢﻲ ﻤﻥ ﺠﺩﻴﺩ‪".‬‬

‫‪" -‬ﺩﻋﻴﻨﻲ ﺃﺴﺄﻟﹸﻙ ﺇﺫﻥ‪،‬‬

‫ﻙ‬
‫ﺤﺴﺏ ﻅ ﱢﻨ ِ‬
‫ﻤﺎﺫﺍ ﺴﺘﺭﻴﻥ ﻓﻲ ﺍﻟﺼﻼﺓِ؟"‬

‫ل‬
‫ﺑﺎﻏﺘﻨﻲ اﻟﺴﺆا ُ‬
‫ﺕ ﻭﻗﺩ ﺯﺍل ﻋﻨﻲ ﺍﻟﻬﺩﻭﺀ‪:‬‬
‫ﻓﻘﻠ ﹸ‬
‫ﻕ ﻫﻨﺎ ﻓﻲ ﺍﻟﻐﺭﻓﺔ‬
‫‪" -‬ﻻ ﺃﻭﺭﺍ ﹶ‬

‫‪43‬‬
 ‫ﹸﺜﻡ‪ ‬ﻫﺫﺍ ﺍﻟﻘﻠ ‪‬ﻡ‬
‫ﺱ‬
‫ﺍﻟﺫﹼﻱ ﺍﺸﺘﺭﻴﺘﻪ ﺒﺎﻷﻤ ِ‬
‫‪‬ﻴﺼﺩ ‪‬ﺭ ﺼﺭﻴﺭ‪‬ﺍ ﻤﺯﻋﺠ‪‬ﺎ‪".‬‬

‫‪ " -‬ﺍﻟﻠﻌﻨﺔ!" ﻗﺎل ﺍﻟﺸﻌ ‪‬ﺭ‬

‫" ﺍﻟﻠﻌﻨﺔ !" ﻗﻠﹸﺘﻬﺎ‬

‫‪44‬‬
‫ﻱ‬
‫ﺭﻤﺎﺩ ‪‬‬

‫ﺼﺩﻴﻘﺘﻲ‬
‫ﻱ ﻓﺠﺄ ﹰﺓ‬
‫ﺍﻟﺘﻲ ﺘﺤﻭﻟﱠﺕ ﻟﻠﺭﻤﺎﺩ ‪‬‬
‫ﻥ ﺸﹶﻌﺭِﻫﺎ ﻭﺤﺴﺏ‪،‬‬
‫ﻟﻴﺱ ﻟﻭ ِ‬
‫ﺭﺒﻤﺎ ﺭﻭﺤﻬﺎ ﺃﻴﻀ‪‬ﺎ!‬
‫ﻓﻲ ﺍﻟﺤﻘﻴﻘﺔ‬
‫ﻻ ﺃﻋﺭﻑ ﻟﺫﻟﻙ ﺴﺒﺒ‪‬ﺎ‪.‬‬

‫ﺹ ﻓﻲ ﻓﻴﺘﺎﻤﻴﻥ ﻫـ‬
‫ﻫل ﻨﻘ ‪‬‬
‫ﺃﻭ ﺤﺎﻤﺽ ﺍﻟﺒﺎﻨﺘﻭﺜﻴﻨﻴﻙ ﺃﻭ ﺏ ‪12‬‬
‫ﺃﻡ‬

‫‪45‬‬
 ‫ﺏ ﺍﻟﻭﺤﺩ ِﺓ ﻭﺍﻟﻌﺫﺍﺏ ؟‬
‫ﺒﺴﺒ ِ‬

‫ﺕ ﻜﻲ ﺘﺤﺒﻲ ؟"‬
‫‪ "-‬ﻜﻡ ﻴﻠﺯ ‪‬ﻡ ﻤﻥ ﺍﻟﻭﻗ ِ‬
‫ﺴﺄﻟﺘﹸﻬﺎ ﻤﺭ ﹰﺓ ‪:‬‬
‫‪ "-‬ﻓﻘﻁ … ﻟﺤﻅ ﹲﺔ ﺤﻤﻴﻤﺔ‪".‬‬
‫ﺕ‪.‬‬
‫ﺃﺠﺎﺒ ﹾ‬

‫ﺏ؟"‬
‫ﻱ ﻤﺩ ٍﺓ ﻴﺴﺘﻤ ‪‬ﺭ ﺍﻟﺤ ‪‬‬
‫‪ "-‬ﻭ ﻷ ‪‬‬
‫‪ "-‬ﺁ ٍﻩ !‬
‫ﺭﺒﻤﺎ ﺸﻬﻭﺭ ‪".‬‬
‫ﻙ ﻟﺘﺘﻐﻠﹼﺒﻲ ﻋﻠﻰ ﻫﺫﺍ ﺍﻟﺤﺏ‪‬؟"‬
‫‪"-‬ﻭﻜﻡ ﻴﻠﺯﻤ ِ‬
‫‪"-‬ﺃﺴﺎﺒﻴ ‪‬ﻊ ﺜﻼﺜﺔ‪".‬‬
‫ﻙ ﻤﻥ ﺍﻤﺭﺃ ٍﺓ ﻓﺭﻴﺩﺓ !‬
‫ﻴﺎ ﻟ ِ‬

‫ﻫل ﺃﺨﺒﺭﺘﻜﻡ‬

‫‪46‬‬
 ‫ل‬
‫ﺕ ﺍﻟﺘﺤ‪‬ﻭ َ‬
‫ﺃﻨﹼﻲ ﺒﺩﺃ ﹸ‬
‫ﻱ ﺃﻴﻀ‪‬ﺎ ؟‬
‫ﺇﻟﻰ ﺍﻟﺭﻤﺎﺩ ‪‬‬

‫ﻥ‬
‫ﻅِ‬‫ﺏ ﺍﻟ ﱠ‬
‫ﺃﻏﻠ ‪‬‬
‫ﺕ ﺘﻠﻙ ﺍﻟﻤﺭﺃ ﹶﺓ‬
‫ﻷﻨﻨﻲ ﻋﺸﻘ ﹸ‬
‫ﺍﻟﺘﻲ ﺒﻤﺜل ﻫﺫﻩ ﺍﻟﻁﺭﻴﻘ ِﺔ‬
‫ﺏ‪.‬‬
‫ﻕ ﺍﻟﺤ ‪‬‬
‫ﺘﻌﺘﻨ ﹸ‬

‫‪47‬‬
‫ﻗﺼﺎﺌ ‪‬ﺩ ﺃﺨﺭﻯ‬

‫)‪(1‬‬

‫ﺒﻭﺴﻌِﻨﺎ ﺠﻤﻴﻌ‪‬ﺎ‬
‫ﺏ‬
‫ﺃﻥ ﻨﻬﺯ ‪‬ﻡ ﺍﻟﺫﱠﻫ ‪‬‬
‫ﻁ ﻗﻴﻤﺘِﻪ‬
‫ﺇﺫﺍ ﻟﻡ ﻨﻌﺒﺄ ﺒﺼﻌﻭ ِﺩ ﺃﻭ ﻫﺒﻭ ِ‬
‫ﻕ ﺍﻟﻤﺎل‪.‬‬
‫ﻓﻲ ﺴﻭ ِ‬

‫ﺏ‬
‫ﻥ ﺍﻟﺫﱠﻫ ‪‬‬
‫ﺤﻴﺜﻤﺎ ﻜﺎ ‪‬‬
‫ﻜﺎﻨﺕ ﺍﻟﺴﻼﺴلُ‪،‬‬
‫ﺹ‬
‫ﺏ ﺍﻟﺨﺎﻟ ِ‬
‫ﻙ ﻤﻥ ﺍﻟﺫﱠﻫ ِ‬
‫ﻭﻜﻠﻤﺎ ﻜﺎﻨﺕ ﺴﻼﺴﹸﻠ ‪‬‬
‫ﺕ ﻓﻘﺭ‪‬ﺍ‪.‬‬
‫ﻜﻠﻤﺎ ﺍﺯﺩﺩ ﹶ‬

‫‪48‬‬
 ‫ﺭﻴﺸ ﹸﺔ ﺍﻟﻁﺎﺌﺭِ‪،‬‬
‫ﺍﻟﻤﺤﺎﺭﺓﹸ‪،‬‬
‫ﻑ ﺍﻟﺒﺤﺭﻴ ﹸﺔ‬
‫ﺍﻷﺼﺩﺍ ﹸ‬
‫ﺱ ﺍﻟﻨﱡﺩﺭ ﹾﺓ‪.‬‬
‫ﻜﻠﱡﻬﺎ ﻋﻠﻰ ﻨﻔ ِ‬

‫ﻥ ﺜﻭﺭﺘﹸﻨﺎ‬
‫ﻫﻜﺫﺍ ﺘﻜﻭ ‪‬‬
‫ﺏ ﻤﺎ ﻟﺩﻴﻨﺎ‬
‫ﺃﻥ ﻨﺤ ‪‬‬
‫ﻕ‬
‫ﻜﻤﺎ ﺘﻌﻭﺩﻨﺎ ﻋﺸ ﹶ‬
‫ﻤﺎ ﻻ ﻨﻤﻠﻙ‪.‬‬

‫)‪(2‬‬

‫ﺏ ﻻ ﻴﻌﻨﻴﻪ‬
‫ﺤ ‪‬‬
‫ﺍﻟ ‪‬‬
‫ﺕ ﺼﻼﺓ ﺍﻟﻤﺴﺎﺀ‬
‫ﻤﻊ ﻤﻥ ﺼﻠ ‪‬ﻴ ﹶ‬

‫‪49‬‬
 ‫ﺕ‬
‫ﺃﻭ ﺃﻴﻥ ﻨِﻤ ﹶ‬
‫ﺕ ﻤﻥ ﺒﻴﺘِﻙ‬
‫ﻟﻴﻠ ﹶﺔ ﻓﺭﺭ ﹶ‬
‫ﺏ ﻴﻌﻨﻴﻪ‬
‫ﺍﻟﺤ ‪‬‬
‫ﻙ‬
‫ﺕ ﻗﻠ ِﺒ ‪‬‬
‫ل ﺩﻗﺎ ﹸ‬
‫ﺃﻻ ﺘﻘﺘ َ‬
‫ﺇﻨﺴﺎﻨﹰﺎ‪.‬‬

‫)‪(3‬‬
‫ﺕ ﻤﻥ ﻗﻠﺒِﻙ‬
‫ﺕ ﺨﺭﺠ ﹸ‬
‫ﻭﻗ ﹶ‬
‫ﻟﻡ ﻴﻌ ‪‬ﺩ ﺠﺴ ‪‬ﺩﻙ‪،‬‬
‫ﺤﻀﻭ ‪‬ﺭﻙ‪،‬‬
‫ﻕ ﺤﺘﻰ‪،‬‬
‫ﺤﺩﻴﺜﹸﻙ ﺍﻟﺭﻗﻴ ﹸ‬
‫ﻴﻐﺭﻴﻨﻲ‪.‬‬

‫ﺴﺄﺫﻫﺏ ﺇﻟﻰ ﺒﻠ ٍﺩ ﺒﻌﻴﺩ‬

‫ﺙ ﺒﺤ ‪‬ﺭ ﺒﻴﻨﻨﺎ‬
‫ﺤﻴ ﹸ‬

‫‪50‬‬
 ‫ﻙ‬
‫ﻲ ﺇﻟﻴ ‪‬‬
‫ﻜﻴﻼ ﺃﻤﺸ ‪‬‬
‫ﺒل‬
‫ل ﺍﻟﺘﻲ‬
‫ﻕ ﺍﻟﺭﺴﺎﺌ َ‬
‫ﺴﺄﻤﺯ ﹸ‬
‫ﺘﺤﻜﻲ ﻋﻥ ﺃﻟﻤﻲ‪.‬‬

‫)‪(4‬‬
‫ﻟﺩﻴﻨﺎ ﺃ ‪‬ﻡ ﺭﺍﺌﻌﺔ‬
‫ﺠﺭ‪‬ﻫﺎ ﺍﻷﺨﻀﺭ‬
‫ﺤ‪‬‬
‫ﻭﺜﻴ ‪‬ﺭ ‪ِ ..‬‬
‫ﻱ ‪ ..‬ﺤﻀﻨﹸﻬﺎ ﺍﻟ ‪‬ﺒﻨﹼﻲ‪‬‬
‫ﺃﺒﺩ ﱞ‬
‫ﺯﺭﻗ ﹸﺔ ﺍﻟﺠﺴ ِﺩ‬
‫ﻑ‪.‬‬
‫ل ﻤﺎ ﻨﻌﺭ ﹾ‬
‫ﻫﻲ ﻜ ﱡ‬

‫‪51‬‬
‫ﺩﻴﻔﻴﺩ ﻭﺍﺠﻨﹸﺭ‬

‫‪52‬‬
‫ﻤﺒﺩُﺃ ﺍﻟﺘﱠﺨﻔﱢﻲ‬
‫ﻙ ﻓﻲ ﺍﻟﻌﹶﻠﻥِ‬
‫ﻙﺒ‪‬‬
‫ﺴ‪‬‬
‫ﻤﺎﺫﺍ ﻟﻭ ﺃُﻤ ِ‬
‫ﻭﺤﻴﺩ‪‬ﺍ‬
‫ﻑ‬
‫ﻥ ﻤﻜﺸﻭ ٍ‬
‫ﻓﻲ ﻤﻜﺎ ٍ‬
‫ل‬
‫ﺃﻋﺯ َ‬
‫ﻙ‬
‫ﻭ ﻤﻭﻗﻨﹰﺎ ﻤﻥ ﻜﻭ ِﻨ ‪‬‬
‫ل ﻟﺤﻅﺔ ؟‬
‫ﻤﺴﺘﻬﺩﻓﹰﺎ ﻓﻲ ﻜ ﱢ‬
‫ﻙ‬
‫ﺢ ﺒﻴﻥ ﻨﺯﺍﻋﺎ ِﺘ ‪‬‬
‫ﻫل ﺘﺼﺎﻟ ‪‬‬
‫ﺏ ﺍﻟﻜﺜﻴﺭ ِﺓ ﻤﻥ ﺤﻭﻟﻙ ؟‬
‫ﻭﺍﻷﻜﺎﺫﻴ ِ‬
‫ﺏ ﺫﺍ ﹶﺘﻙ‪ ‬ﺒﻴﻥ ﺍﻟﺼﺨﻭ ِﺭ ﻭﺍﻷﺸﺠﺎﺭ‬
‫ﺘﺭﺘﱢ ‪‬‬
‫ﺵ ﻭﺍﻟﺨﻴﻭل‬
‫ﺏ ﺍﻟﻤﺘﻭﺤ ِ‬
‫ﺒﻴﻥ ﺍﻟﻌﺸ ِ‬
‫ﺒﻴﻥ ﺍﻷﺒﻘﺎ ِﺭ ﻭﺍﻟﻐﻨ ِﻡ‬
‫ﺃﻭ ﺤﺘﻰ‬
‫ﺒﻴﻥ ﺍﻟﺭﻜﺎﻡ ﻭﺍﻟﻨﻔﺎﻴﺎﺕ‪،‬‬

‫‪53‬‬
 ‫ﻙ ﻫﻭﻴ ﹰﺔ ؟‬
‫ﺴ‪‬‬
‫ﻤﻥ ﺃﺠل ﺃﻥ ﺘﺠ ‪‬ﺩ ﻟﻨﻔ ِ‬

‫ﻟﻤﺎﺫﺍ ﻟﻡ ﺘﻌ ‪‬ﺩ ﺘﻭ ‪‬ﺩ ﺃﻥ ﺘﺭﻯ ﺫﺍ ﹶﺘﻙ‪‬‬

‫ﺕ ﺃﻥ ﺘﺭﺍﻫﺎ‬
‫ﻜﻤﺎ ﺍﻋﺘﺩ ﹶ‬
‫ﺘﺭﻴ ‪‬ﺩ ﺸﻴﺌًﺎ ﻤﺴﺎﻟﻤ‪‬ﺎ ﺠﺩ‪‬ﺍ‬
‫ﺤﻤﻴﻤ‪‬ﺎ‪،‬‬
‫ﺏ ﺍﻟﻁﺒﻴﻌ ﹸﺔ ﺍﻟﺨﻀﺭﺍ ‪‬ﺀ ﻨﻔﺴ‪‬ﻬﺎ‬
‫ﻤﺜﻠﻤﺎ ﺘﹶﻬ ‪‬‬
‫ﻟﺒﺭﻭﺩ ٍﺓ ﺒﺎﻫﺘ ٍﺔ‬
‫ﺏ ﻋ‪‬ﺸﺒ ﹰﺔ‬
‫ﺘﺩﺍﻋ ‪‬‬
‫ﺘﻨﻤﻭ ﻓﻲ ﺼﺨﺭ ﹾﺓ‪.‬‬

‫ﺍﻟﺒﻘﺎ ‪‬ﺀ ﺒﻼ ﺃﻗﻨﻌ ٍﺔ‬

‫ﺢ ﺇﻟﻴﻪ ﺍﻵﻥ‪،‬‬
‫ﺃﻜﺜ ‪‬ﺭ ﻤﻤﺎ ﺘﻁﻤ ‪‬‬
‫ﻕ ﻁﺎﻗﺎﺘِﻙ‬
‫ﺸﻲ ‪‬ﺀ ﻴﻔﻭ ﹸ‬
‫ﻕ ﺍﻟﺨﻀﺭﺍ ‪‬ﺀ ﺍﻟﺭﻫﻴﻔ ﹸﺔ‬
‫ﻋﺭﻓ ﹾﺘ ‪‬ﻪ ﺍﻷﻭﺭﺍ ﹸ‬

‫‪54‬‬
 ‫ﺕ ﺒﺠﻼ ٍﺀ ﻋﻥ ﺃﻟﻭﺍﻨِﻬﺎ‬
‫ﻓﺄﻋﻠﻨ ﹾ‬
‫ﻙ ﻭﺘﻌﺎﺴﺘِﻙ‪.‬‬
‫ﺴ‪‬‬
‫ﻟﺘﻅﻬ ‪‬ﺭ ﻜ ‪‬ﻡ ﺩﻨ ِ‬

‫ﺹ ﺇﺫﻥ !‬
‫ﻫﻭ ﺍﻟﻘﺼﺎ ‪‬‬
‫ﻙ ﻋﺩ ﱞﻭ‬
‫ﺃﻥ ﻴﻬﺯ ‪‬ﻤ ‪‬‬
‫ﺹ ﻋﻥ ﺒ‪‬ﻌﺩ‪.‬‬
‫ﺏ ﻋﻠﻰ ﺍﻟﻘﻨ ِ‬
‫ﺘﺩ ‪‬ﺭ ‪‬‬

‫ﻙ ﻴﺎ ﺼﺩﻴﻘﻲ‬
‫ﻙ ﺘﻜﻭﻴ ﹸﻨ ‪‬‬
‫ﺨﺎﺩﻋ ‪‬‬
‫ﻙ ﺃﻥ ﺘﺘﻌﱠﻠ ‪‬ﻡ ﻜﻴﻑ ﺘﻤﺯﻗﻪ‬
‫ﺃﺤﺭﻯ ﺒ ‪‬‬
‫ﻙ ﻤﺸﺘﺘﹰﺎ ‪:‬‬
‫ﻙ ﻋﺩ ‪‬ﻭ ‪‬‬
‫ﻟﻴﺭﺍ ‪‬‬
‫ﻉ‬
‫ﺭﺃﺴ‪‬ﺎ ﺒﻼ ﺠﺯ ٍ‬
‫ﺃﺫﺭﻋ‪‬ﺎ ﻭﺴﻴﻘﺎﻥ‪،‬‬
‫ﻋﻨﺩﺌ ٍﺫ‬
‫ﺵ ﻟﺤﻅﺘﹶﻙ‬
‫ﻙ ﻟﺘﻌﻴ ﹶ‬
‫ﻴﺘﺠﺎﻫﹸﻠ ‪‬‬
‫ﺱ‬
‫ﻜﻔﻜﺭ ٍﺓ ﻤﺠﺭﺩ ٍﺓ ﺘﺒﻌﺜﺭ‪‬ﻫﺎ ﺍﻟﺸﻤ ‪‬‬

‫‪55‬‬
 ‫ﺢ‬
‫ﻜﺴﻁ ٍ‬
‫ﻓﺘﺘﻪ ﺃﺸﻌ ﹸﺔ ﻨﻭ ٍﺭ ﻏﺎﻤﻀﺔ‬
‫ﺃﻭ‬
‫ل‬
‫ﻁٍ‬
‫ﻥ ﻤ‪‬ﻌ ﱠ‬
‫ﻜﺈﻨﺴﺎ ٍ‬
‫ل‪.‬‬
‫ﺵ ﻓﻲ ﺍﻟﻅ ﱢ‬
‫ﺘﻌﻠ ‪‬ﻡ ﺍﻟﻌﻴ ﹶ‬

‫ﻟﻜﻥ ﺘﺫ ﱠﻜ ‪‬ﺭ‬
‫ﺴﻭﻑ ﺘﺒﻭﺀ ﺠﻬﻭﺩ‪‬ﻙ ﺒﺎﻟﺨﻴﺒ ِﺔ ﺠﻤﻴﻌ‪‬ﻬﺎ‬
‫ﺕ ﺒﺈﻴﻤﺎﺀ ٍﺓ ﻭﺍﺤﺩ ٍﺓ‬
‫ﺇﺫﺍ ﺃﺘﻴ ﹶ‬
‫ﻥ‪.‬‬
‫ﻙ ﺍﻟﻌﻴﻭ ‪‬‬
‫ﺘﺸ ‪‬ﺩ ﺇﻟﻴ ‪‬‬

‫ﺕ‬
‫ﺇﺫﺍ ﻭﻗﻔ ﹶ‬
‫ﻕ ﺴﺎﻜﻨﹰﺎ‬
‫ﻓﺎﺒ ﹶ‬
‫ﺱ ﺒﻼ ﺤﺭﻜﺔ‬
‫ﺃﻭ ﺍﺠﻠ ‪‬‬
‫ﺃﻭ ﺍﺭﻗﺩ ﺼﺎﻤﺘﹰﺎ ﻜﻤﺎ ﺃﻨﺕ ﺍﻵﻥ‪،‬‬

‫‪56‬‬
 ‫ﻫﻜﺫﺍ‬
‫ل ﺒﺴﻴﻁ ٍﺔ‬
‫ﺽ ﺤﻴ ٍ‬
‫ﻤﺤ ‪‬‬
‫ﻕ ﺤﻴﺎ ٍﺓ ﺠﺎﻤﺩﺓﹾ‪،‬‬
‫ﻀﺩ ﺤﻘﺎﺌ ِ‬
‫ﻭ ﻜﺄﻨﻙ ﺒﻼ ﻋﺩ ٍﻭ ﻴﺘﺭﺒﺼ‪‬ﻙ‬
‫ﻙ ﺴﺘﻐﺩﻭ ﺒﻼ ﺴﺒﺏ‬
‫ل ﻤﺨﺎﻭ ِﻓ ‪‬‬
‫ﻜﱡ‬
‫ﻙ ﺍﻟﺘﻲ ﻜﺎﻥ ﺤﺭ ‪‬ﻴﺎ ﺒﻬﺎ‬
‫ﺠ ‪‬ﻤ ‪‬ﺩ ﻴﻘﻅ ﹶﺘ ‪‬‬
‫ﺃﻥ ﺘﻔﻭ ‪‬ﺯ ﺒﺎﻟﻐﻨﺎﺌﻡ‪.‬‬
‫ﺙ‬
‫ل ﻫﺫﺍ ﺍﻟﻌﺒ ِ‬
‫ﺇﺫﺍ ﺘﻴﻘﻨﺕ ﻤﻥ ﻜ ﱢ‬
‫ﻭﺃﺨﺫﺕ ﻤﻜﺎ ﹶﻨﻙ‪ ‬ﻓﻲ ﺍﻟﻤﺸﻬ ِﺩ‬
‫ﺒﻴﻥ ﺍﻷﻤﺎ ِﻡ ﻭﺍﻟﺨﻠﻔﻴﺔ‪،‬‬
‫ﻴﺠﺏ ﺃﻥ ﺘﺸﻌ ‪‬ﺭ‬
‫ﻙ ﺍﻷﻭﻟﻰ‬
‫‪ -‬ﻤﻨﺫ ﺨﻁﻭ ِﺘ ‪‬‬
‫ﺕ‪-‬‬
‫ﻕ ﺍﻟﺘﺎﺒﻭ ِ‬
‫ﺨﺎﺭﺝ ﺸ ﱢ‬
‫ﻙ ﺍﻟﻘﺎﺘﻠﺔ‬
‫ﺒﺎﺭﺘﻁﺎﻤ ِﺘ ‪‬‬
‫ﺡ ﺍﻟﺨﺴﺎﺭ ِﺓ‬
‫ﻙ ﺒﺭﻴﺎ ِ‬
‫ﺤ‪‬‬
‫ﺍﻟﺘﻲ ﺘﻠﻔ ‪‬‬

‫‪57‬‬
 ‫ﻙ ﻭﺤﻴﺩ‪‬ﺍ‬
‫ﻟﺘﺩﻋ ‪‬‬
‫ﺒﻼ ﻀﻭ ِﺀ ﻨﻬﺎﺭ‬
‫ﺃﻭ ﺴﻜﻨ ِﺔ ﻟﻴل‬
‫ﻥ ‪..‬‬
‫ﺒﻼ ﻭﻁ ٍ‬
‫ﻤﻨﺘﻤﻴ‪‬ﺎ‬
‫ﺇﻟﻰ ﺤﻀﺎﺭ ٍﺓ ﺃﺨﺭﻯ‬
‫ﺘﻨﺜ ‪‬ﺭ ﻋﺒ ﹶﻘﻬﺎ ﻓﻲ ﻫﻭﺍﺌﻙ‪،‬‬
‫ﻫﻲ ﺍﻟﺩﻨﻴﺎ‪.‬‬

‫‪58‬‬
‫ﺕ ﺍﻟﻐﺎﺭ‬
‫ﻑ ﻤﻥ ﺸﺠﻴﺭﺍ ِ‬
‫ﺼ ﱞ‬

‫ﻥ ﺴﻴﺎﺠ‪‬ﺎ‬
‫ﻟﻥ ﺘﻜﻭ ‪‬‬
‫ﻙ‬
‫ل ﺤﻴﺎﺘ ‪‬‬
‫ل ﻤ‪‬ﺼﺩ‪‬ﺍ ﺃﻭ ﺤﺎﺌﻁﹰﺎ ﺤﻭ َ‬
‫ﻟﻥ ﺘﺸ ﹼﻜ َ‬
‫ﺏ ﺍﻟﺠﻭﻋﻰ‪،‬‬
‫ﻴﺤﻤﻲ ﺃﻤﻼ ﹶﻜﻙ‪ ‬ﻤﻥ ﺘﺤﺩﻴﻘ ِﺔ ﺍﻟﻜﻼ ِ‬
‫ﻭﺍﻟﻐﺭﺒﺎﺀ‪،‬‬
‫ﻙ‬
‫ﻕ ﻤﻥ ﺃﺠﻠ ‪‬‬
‫ﺽ ﺃﻥ ﺘﺨﻠ ﹶ‬
‫ﺘﺭﻓ ‪‬‬
‫ﻥ‬
‫ﻤﻨﻁﻘ ﹶﺔ ﺃﻤﺎ ٍ‬
‫ﺘﺩﻓﻥ ﻓﻴﻬﺎ ﺨﻭﻓﹶﻙ‪،‬‬
‫ﻫﻲ ﺃﺸﺠﺎ ‪‬ﺭ ﺍﻟﻐﺎ ِﺭ ﺍﻟﺘﻲ‬
‫ﺘﺄﺒﻰ ﺃﻥ ﺘﺤﺴ ‪‬ﻡ ﻤﻌﺎﺭﻜﹶﻙ ﺍﻟﻘﺩﻴﻤ ﹶﺔ‬
‫ﺩﺍﺨل ﻭﺨﺎﺭﺝ ﺤﺩﻭ ِﺩ ﺴﺎﺤﺘِﻙ‪.‬‬

‫‪59‬‬
 ‫ﺍﻟﻨﺒﺘ ﹸﺔ ﺍﻟﺼﻐﻴﺭ ﹸﺓ‬
‫ﻲ‬
‫ﺕ ﺍﻟﺒﺭﻋ ِﻡ ﺍﻟﺜﻼﺜ ‪‬‬
‫ﺫﺍ ﹸ‬
‫ﺘﻌﻠﻭ ﺴﺎﻤﻘ ﹰﺔ ﻓﻲ ﺍﻟﻬﻭﺍﺀ‬
‫ﻋﻨﺩ ﺒﺩﺍﻴ ِﺔ ﻨﻴﺴﺎﻥ‬
‫ﻑ ﺍﻨﺤﻨﺎﺀ ٍﺓ‬
‫ﺃﻭ ﺘﻤﻴل ﺒﻨﺼ ِ‬
‫ﻱ‬
‫ﻋﻠﻰ ﻨﺤ ٍﻭ ﻓﻭﻀﻭ ‪‬‬
‫ﻑ ﺍﻟﻤﺩﻯ ﺍﻟﺒﺭﻱ‪،‬‬
‫ﻜﻲ ﺘﺴﺘﻜﺸ ﹶ‬
‫ل ﻓﻲ ﺍﻟﺘﻭﺤﺵ‪.‬‬
‫ﺍﻟﻤﻭﻏ َ‬

‫ﻲ ﺍﻟﻤﺅﻁﱠ ‪‬ﺭ‬
‫ل ﺍﻟﻬﻨﺩﺴ ‪‬‬
‫ﺍﻟﺸﻜ ُ‬
‫ﺕ‬
‫ل ﻤﻨﻬﺎ ﺃﺸﺒﺎ ‪‬ﻩ ﻤﺭﺒﻌﺎ ٍ‬
‫ﺍﻟﺫﻱ ﻴﺠﻌ ُ‬
‫ﻴﺒﺩﻭ ﻟﻬﺎ ﻋﺠﻴﺒ‪‬ﺎ‬
‫ﻤﻥ ﺃﺠل ﻫﺫﺍ‬
‫ﻲ‬
‫ﺹ ﺍﻟﺤﺩﺍﺌﻘ ‪‬‬
‫ﺘﺘﻤﺭ‪ ‬ﺩ ﻋﻠﻰ ﻤﻘ ‪‬‬

‫‪60‬‬
 ‫ﺏ ﺃﻁﺭﺍﻓﹶﻬﺎ ﺍﻟﻨﺎﺘﺌ ﹶﺔ‬
‫ﺍﻟﺫﻱ ﻴﺸ ﱢﺫ ‪‬‬
‫ﻭﺘﻘﺎﻭ ‪‬ﻡ ﺍﻟﻤﺎﻜﻴﻨ ﹶﺔ ﺫﺍﺕ ﺍﻷﺴﻨﺎﻥ ﺍﻟﻜﻬﺭﺒﺎﺌﻴﺔ‬
‫ﺘﻠﻙ ﺍﻟﺘﻲ ﺘﻘﺘﺭﺡ ﻟﻬﺎ ﺍﺼﻁﻔﺎﻓٍﺎ ﻤﻨﺘﻅﻤ‪‬ﺎ‬
‫ﻥ ﻭﺠﻭﺩِﻫﺎ‪.‬‬
‫ﻓﺘﺨﺴ ‪‬ﺭ ﺭِﻫﺎ ‪‬‬

‫ﻨﻌﻡ‬
‫ﺕ ﻟﻁﻴﻔ ﹰﺔ‬
‫ﻥ ﺸﺠﻴﺭﺍ ٍ‬
‫ﺘﺴﺨ ‪‬ﺭ ﻤﻥ ﻓﻜﺭ ِﺓ ﺃﻥ ﺘﻜﻭ ‪‬‬
‫ﻁﻴ‪‬ﺒ ﹶﺔ ﺍﻟﺠﻭﺍﺭ‪،‬‬
‫ﺭﻏﻡ ﻫﺫﺍ‬
‫ﺱ‬
‫ﺏ ﺍﻟﻤﺭﺍ ‪‬‬
‫ﻉ ﻋﺠﻭ ‪‬ﺯ ﺼﻌ ‪‬‬
‫ﺜﻤ ﹶﺔ ﻓﺭ ‪‬‬
‫ﻴﻘﺒ ‪‬ﻊ ﺒﺎﻷﺴﻔل‬
‫ﻥ ﺍﻟﻅﺎﻫﺭﺓ‬
‫ﻕ ﻭﺍﻟﺴﻴﻘﺎ ِ‬
‫ﺕ ﺍﻷﻭﺭﺍ ِ‬
‫ﺘﺤ ﹶ‬
‫ﻍ ﺭﺒﻴﻌ‪‬ﺎ ﺒﻌﺩ ﺭﺒﻴﻊ‬
‫ﻴﺭﺍﻭ ﹸ‬
‫ﻴﻘﻬ ‪‬ﺭ ﺼﻌﺎﺒ‪‬ﺎ ﻜﺜﻴﺭﺓ‬
‫ﻭﻴﻘﺎﻭ ‪‬ﻡ‬

‫‪61‬‬
‫ﻉ ﺍﻟﻭﻟﻴﺩ ﹸﺓ ﻤﺘﺴﻘ ﹰﺔ ﻓﻲ ﺍﻷﻋﺎﻟﻰ‪،‬‬
‫ﻜﻲ ﺘﻨﻤﻭ ﺍﻷﻓﺭ ‪‬‬
‫ﻭﻤﺘﺤﺩ ﹰﺓ ﺤﺘﻰ ﺍﻟﻨﻬﺎﻴﺔ‪.‬‬

‫ﺍﻟﻨﺒﺘ ﹸﺔ ﺍﻟﻘﺩﻴﻤ ﹸﺔ‬

‫ل ﺍﻟﺘﺸﺫﻴﺏ‬
‫ﻑ ﻨِﺼﺎ َ‬
‫ﺍﻟﺘﻲ ﻟﻡ ﺘﻌﺭ ﹾ‬
‫ﻥ ﺴﻴﺎﺠ‪‬ﺎ ﻭﻻ ﺤﻭﺍﺠ ‪‬ﺯ‬
‫ﻟﻥ ﺘﻜﻭ ‪‬‬
‫ﺕ ﺃﻭ ﺍﻨﺤﻨﺎﺀﺍﺕ‬
‫ﺏ ﻟﻸﻋﻠﻰ ﻤﻥ ﺩﻭﻥ ﻨﺘﻭﺀﺍ ٍ‬
‫ﺴﺘﺸ ‪‬‬
‫ﻟﻜﻥ ﺸﺠ ‪‬ﺭ ﺍﻟﻴﻭﻡ‬
‫ﺕ ﺍﻟﺤﺭ‪‬ﺙ‬
‫ﺍﻟﺫﻱ ﻋﺫﺒﺘﻪ ﺁﻻ ﹸ‬
‫ﺴﻴﻨﻤﻭ ﺤﺎﻤﻼ‬
‫ل ﺍﻟﺯﻭﺍﻴﺎ ﺍﻟﻤﻁﺭﻭﺤﺔ‬
‫ﻜﱠ‬
‫ﺕ ﺍﻟﻬﺎﻤ ِﺔ‪.‬‬
‫ﻭ ﺍﻨﺤﻨﺎﺀﺍ ِ‬

‫ﺍﻨﻅ ‪‬ﺭ ﺇﻟﻰ ﺍﻷﺭﺽ ﻫﻨﺎﻙ‪:‬‬

‫ﻕ ﺴﺎﻗﻁ ﹲﺔ‬
‫ﺃﻭﺭﺍ ﹲ‬

‫‪62‬‬
 ‫ﺠﻠﹾﺩ‬
‫ﺒ‪‬ﻨ ‪‬ﻴ ﹲﺔ ﻭﺴﻤﻴﻜ ﹲﺔ ﻜﺎﻟ ِ‬
‫ﻥ ﺍﻟﺭﺍﻓﻀﺔ‪،‬‬
‫ﺘﺸﺒﻪ ﺍﻷﻟﺴ ‪‬‬
‫ﺘﻨﻤﻭ ﺴﺎﻜﻨ ﹰﺔ‬
‫ل ﻓﻲ ﻤ‪‬ﻭﺍﺘِﻬﺎ‬
‫ﺒﻁﻴﺌ ﹶﺔ ﺍﻟﺘﺤﹼﻠ ِ‬
‫ﻟﺘﻐﺩ ‪‬ﻭ ﻁﻌﺎﻤ‪‬ﺎ ﻋﺼﻴ‪‬ﺎ ﻟﻠﺘﺭﺒ ِﺔ‬
‫ﺘﺤﺕ ﺃﻗﺩﺍﻡ ﺃﺒﻴﻬﺎ‬
‫ﺍﻟﺸﺠ ِﺭ ﺩﺍﺌ ِﻡ ﺍﻟﺨﻀﺭﺓ‪،‬‬
‫ﻱ‬
‫ﻭﻓﻲ ﺘﺤﻭﻟﱢﻬﺎ ﺍﻟﻭﺠﻭﺩ ‪‬‬
‫ﺘﺘﺫﻜ ‪‬ﺭ ﻤﺠﺩ‪‬ﻫﺎ ﺍﻟﻘﺩﻴ ‪‬ﻡ‬
‫ﺕ ﺯﺍﻫﻴ ﹰﺔ‬
‫ﺕ ﻜﺎﻨﺕ ﻭﺭﻗﺎ ٍ‬
‫ﻭﻗ ﹶ‬
‫ﻥ ﻏﺎ ٍﺭ‬
‫ﻓﻲ ﺘﻴﺠﺎ ِ‬
‫ﻥ ﺠﺒﺎ ‪‬ﻩ ﺍﻟﺸﻌﺭﺍﺀ‪.‬‬
‫ﺘﺯﻴ‪ ‬‬

‫‪63‬‬
‫ﺇﻟﻴﺯﺍﺒﻴﺙ ﺒﺎﺭﺘﻠﻴﺕ‬

‫‪64‬‬
‫ﻲ …ﻭ ﺃﺸﺠﺎ ‪‬ﺭ ﻟﻴﻤﻭﻥ‬
‫ﻙ ﺃﻟﻤﺎﻨ ‪‬‬
‫ﻤﺎﺭ ‪‬‬

‫ﻲ‬
‫ﻙ ﺃﻟﻤﺎﻨ ﱞ‬
‫ﻤﺎﺭ ‪‬‬
‫ﻻ‬
‫ﻴﺄﺘﻲ ﺃﻭ ﹰ‬
‫ﻥ‬
‫ﺜﻡ ﺸﺠﺭ ﹸﺓ ﻟﻴﻤﻭ ٍ‬
‫ﺃﻭﺭﺍﻗﹸﻬﺎ ﻤﺼﻘﻭﻟﺔﹲ‪ ،‬ﺜﻤﺎﺭ‪‬ﻫﺎ ﺼﻔﺭﺍﺀ‪.‬‬

‫ﻜﺄﻨ ‪‬ﻪ ﺍﻟﺤ‪‬ﻠ ‪‬ﻡ !‬

‫ﻑ ﺍﻟﺒﺎﺭﺩ ِﺓ‬
‫ﺕ ﺍﻟﺼ‪‬ﻴ ِ‬
‫ﻓﻲ ﺃُﻤﺴﻴﺎ ِ‬
‫ﻲ‬
‫ﻥ ﺍﻟﺩﺍﻨﻤﺭﻜ ‪‬‬
‫ﺃﻜﻠﻨﺎ ﺍﻟﺠﺒ ‪‬‬
‫ﻭﺸﺭﺒﻨﺎ ﺨﻤﻭﺭ‪‬ﺍ ﻓﺭﻨﺴﻴ ﹰﺔ‬
‫ﻓﻴﻤﺎ ﺍﻟ ِﻘﻁﱠ ﹸﺔ ﻓﻲ ﻗِﻼﺩ ٍﺓ ِﻓﻀ‪‬ﻴ ٍﺔ‬
‫ﻕ‬
‫ﺱ ﻭﺍﻟﻌﻘﻴ ِ‬
‫ﻤﻁﻌ‪‬ﻤ ٍﺔ ﺒﺎﻟﻤﺎ ِ‬

‫‪65‬‬
 ‫ل ﺍﻟﻜﺎﻓﻴﺎ ‪‬ﺭ ﻭﺍﻟﺴﻠﻤﻭﻥ‪.‬‬
‫ﺘﺄﻜ ُ‬

‫ﻻﺒ ‪‬ﺩ ﺃﻨﻨﺎ ﺃﻏﺭﻗﻨﺎ ﻓﻲ ﺍﻟﻨﻭﻡ‬

‫ﺤﺘﻰ ﺍﻟﺜﺎﻟﺜﺔ‬
‫ﺕ ﺤﺭﻴﺭﻴ ٍﺔ ﻨﺎﻋﻤ ٍﺔ‬
‫ﻋﻠﻰ ﻤﻼﺀﺍ ٍ‬
‫ﻥ ﻴﻨﺘﻅ ‪‬ﺭ‪.‬‬
‫ﺒﻴﻨﻤﺎ ﺍﻟﻠﻴﻤﻭﺯﻴ ‪‬‬

‫ﺍﻷﻭﺒﺭﺍ ﻟﻴﻼﹰ‪،‬‬
‫ﻭ ﺍﻟﻨﻬﺎ ‪‬ﺭ‬
‫ﺕ‪.‬‬
‫ل ﺍﻟﻨﺎﻓﻭﺭﺍ ِ‬
‫ﺤﻭ َ‬

‫ﻜﻡ ﻫﻲ ﺩﺍﻓﺌ ﹲﺔ ﺃﺼﻭﺍﻓﹸﻨﺎ ﺍﻟﻜﺸﻤﻴﺭﻴ ﹸﺔ !‬

‫ﺴﺘﺎﺌﺭ‪‬ﻨﺎ ﺍﻟﻤﺨﻤﻠﻴ ﹸﺔ ﺍﻟﺘﻲ‬
‫ﺏ ﺍﻟﻅﻼ ‪‬ﻡ ‪.‬‬
‫ﺘﺸﺎﻏ ‪‬‬

‫‪66‬‬
 ‫ﻜﺄﻨ ‪‬ﻪ ﺍﻟﺤ‪‬ﻠ ‪‬ﻡ !‬

‫ﻟﻡ ﻨﺼﺩ‪‬ﻕ ﺃﺴﻤﺎﻋ‪‬ﻨﺎ‬

‫ﺱ‬
‫ﺕ ﺍﻟﻁﺎﻭﻭ ِ‬
‫ﺤﻴﻥ ﺒﺎﻏﺘﺘﻨﺎ ﺼﺭﺨﺎ ﹸ‬
‫ﺍﻟﻘﺎﺩ ِﻡ ﻤﻥ ﺒﻼ ٍﺩ ﺒﻌﻴﺩ ٍﺓ‬
‫ﺼﺭﺨﺎﺘﹸﻪ ﺍﻟﺘﻲ‬
‫ﺥ ﺤﺎﻟﹶﻨﺎ‬
‫ﺘﺅ ‪‬ﺭ ﹸ‬
‫" ﻨﺤﻥ ﺍﻵﻥ ﻓﻲ ﻋﺎﻟ ٍﻡ ﺠﺩﻴ ٍﺩ‬
‫ﺽ ﺍﻟﺜﺭﻭ ِﺓ !"‬
‫ﻨﺤﻥ ﻓﻲ ﺃﺭ ِ‬

‫ﻋﺒﺭ ﺩﻤﻭﻋﻲ ﺴﻤﻌﺘﹸﻨﻲ‪:‬‬

‫ﺕ ﻴﺎ ﺸﺠ ‪‬ﺭ ﺍﻟﻠﻴﻤﻭﻥ؟"‬
‫ﺃﻴﻥ ﺃﻨ ﹶ‬
‫ﺤﺘﻤ‪‬ﺎ‬
‫ﻟﻡ ﺃﻜﻥ ﻋﻠﻰ ﻤﺎ ﻴﺭﺍﻡ‪،‬‬
‫ﺏ ﻗﺼﻴﺩ ﹰﺓ ﻭﺍﺤﺩ ﹰﺓ‪،‬‬
‫ﻭﻟﻡ ﺃﻜﺘ ‪‬‬

‫‪67‬‬
 ‫ﺕ ﺜﺭﻴ ﹰﺔ ؟‬
‫ﻫل ﺃﺼﺒﺤ ﹸ‬
‫ﻟﻜﻥ‬
‫ﻙ ﺍﻟﺫﻱ ﺒﺩﺍ ﺨﻔﻴﻔﹰﺎ ﻓﻲ ﺍﻟﺒﺩ ِﺀ‬
‫ﺍﻟﻤﺎﺭ ‪‬‬
‫ﻼ!‬
‫ﺼﺎ ‪‬ﺭ ﺜﻘﻴ ﹰ‬

‫ﺙ ﺍﻟﺸﺘﻭﻴﺔ‬
‫ﺕ ﺍﻟﺜﺎﻟﻭ ِ‬
‫ﻕ ﺇﻟﻰ ﺯﻫﺭﺍ ِ‬
‫ﻜﻡ ﺃﺘﻭ ﹸ‬
‫ﻭ ﺒ‪‬ﻨﻔﺴﺠﺎﺘﻲ ﺍﻟﺼﻐﻴﺭ ِﺓ ﺍﻟﺘﻲ‬
‫ﺘﺘﺤﺩﻯ ﺍﻟﻌﻭﺍﺼﻑﹶ‪،‬‬
‫ﻕ ﺇﻟﻰ ﺴﺘﺎﺌﺭﻱ ﺍﻟﺸﻔﺎﻓ ِﺔ‬
‫ﺃﺘﻭ ﹸ‬
‫ﻗﻁﻁﻲ ﺍﻟﺘﻲ ﺃﻋﺭﻓﹸﻬﺎ – ﺒﻼ ﻗﻼﺌﺩ‬
‫ﺃﻨﺎ…‬ ‫ﻫﻜﺫﺍ‬
‫ﻙ ﻤﻥ " ﺠﺎﺭﺘﻥ ﺴﺘﺭﺍﺱ "‪.‬‬
‫ل ﺭﺴﺎﻟ ِﺘ ‪‬‬
‫ﻗﺒل ﻭﺼﻭ ِ‬

‫ﻙ ﺍﻟﺘﻲ‬
‫ﺭﺴﺎﻟ ﹸﺘ ‪‬‬
‫ﺕ‪.‬‬
‫ﺃﻋﻘﺒ‪‬ﻬﺎ ﺍﻟﺼﻤ ﹸ‬

‫‪68‬‬
‫ﺘﺠﺭﻴﺩ‬

‫ل ﺍﻟﺤﻤﻘﻰ‬
‫ﻨﺸﺒ ‪‬ﻪ ﺍﻷﻁﻔﺎ َ‬
‫ﺙ ﻋﻥ ﺃﺴﻤﺎ ٍﺀ ﻷﺸﻴﺎﺌِﻨﺎ ‪.‬‬
‫ﻨﺒﺤ ﹸ‬

‫ﻉ‬
‫ﻫﺫﺍ ﻀﻔﺩ ‪‬‬
‫ﻓﻲ ﺒِﺭﻜ ٍﺔ ﻤﺎ ٍﺀ‬
‫ﻜﻤﺜﺭﻴ ِﺔ ﺍﻟﺸﻜل‪،‬‬
‫ﻭ ﻫﺫﻩ ﻗﻠﻌﺔﹲ‪،‬‬
‫ﻭ ﻫﺫﻩ ﻓﺭﺍﺸ ﹲﺔ ‪.‬‬

‫ﺠﻬ‪‬ﺭ‬
‫ﺙ ﻓﻲ ﺍﻟﻤ ‪‬‬
‫ﻫل ﻜﺎﻥ ﻴﺒﺤ ﹸ‬
‫ﺕ ﺒﻜﺘﻴﺭ ‪‬ﻴ ٍﺔ ؟‬
‫ﻋﻥ ﻋﺼﻭﺍ ٍ‬

‫‪69‬‬
 ‫ﺜﻡ ﺘﻠﻙ ﺍﻟﻨﻘﻁ ﹸﺔ ﺍﻟﺤﻤﺭﺍﺀ‬
‫ل ﻫﻨﺎﻙ‬
‫ﻤﺎﺫﺍ ﺘﻔﻌ ُ‬
‫ﻓﻭﻕ ﺤﺎ ﹼﻓ ِﺔ ﺍﻟﻌﺎﻟ ِﻡ ﺍﻟﺨﺎﺭﺠﻴ ﹾﺔ ؟‬

‫ﺃﺤﺩﻫﻡ‬
‫ل‪:‬‬
‫ﺴﻭﻑ ﻴﻘﻭ ُ‬
‫" ﺇﻨﻬﺎ ﻋﻅﹾﻤ ﹸﺔ ﺍﻟﺴﺎﻕ"‪.‬‬

‫ﻜﻥ ﺠﺎﺩ‪‬ﺍ ﻤﻥ ﻓﻀﻠﻙ‬

‫ﺇﻨﻪ ﺍﻟﻔﻥ‪،‬‬
‫ﻤﻬﻨ ﹸﺔ ﺤﻴﺎﺘﻪ ﺍﻷﻭﻟﻰ‪،‬‬
‫ﺜﻡ ﺇﻨﻨﺎ‬
‫ﻨﺒﺩﻭ ﺒﺎﻟﻔﻌل ﻋﺘﻴﻘﻲ ﺍﻟﻁﺭﺍﺯ‬
‫ﺤ ‪‬ﻡ‬
‫ل ﺃﻥ ﻨﺸﺎﻫ ‪‬ﺩ ﺍﻟ ‪‬ﺭ ِ‬
‫ﺤﻴﻥ ﻨﺤﺎﻭ ُ‬
‫ﺏ ﻓﻲ ﺍﻟﺠﺩﺍ ‪‬ﺭ‬
‫ل ﺜﻘ ٍ‬
‫ﻤﺜ َ‬

‫‪70‬‬
 ‫ﺃﻭ …‪..‬‬
‫ﻨﻌﻡ ؛‬
‫ﻤﺜل ﺒﻴﻀ ٍﺔ ﻤﺴﻠﻭﻗﺔ ﺭﺒﻤﺎ ‪.‬‬

‫ﻟﻭ ﻜﻨﹼﺎ ﺼﻐﺎﺭ‪‬ﺍ‬

‫ﺏ ﻋﻠﻰ ﺃﻴﺩﻴﻨﺎ‬
‫ﺭﺒﻤﺎ ﻀﺭ ‪‬‬
‫ﺕ‬
‫ﻷﻨﻨﺎ ﻨﺜﺭﺜ ‪‬ﺭ ﻁﻭﺍل ﺍﻟﻭﻗ ﹾ‬
‫ﻑ ﺍﻷﺨﻴﺭ‪،‬‬
‫ﻓﻲ ﺍﻟﺼ ﱢ‬
‫ﻟﻜﻨﹼﻪ ﺤﻴﻥ ﻴﻤﻀﻲ‬
‫ﺴﻴﺒﺩﻭ ﻟﻨﺎ‬
‫ﻥ ﻗﻠﻴﻼ‬
‫ﺸﺎﺭ ‪‬ﺩ ﺍﻟﺫﻫ ِ‬
‫ﻭ ﺤﺯﻴﻨﹰﺎ‪.‬‬

‫‪71‬‬
‫ﺸﺎﺭل ﺴﻴﻤﻴﻙ‬

‫‪72‬‬
‫ﺍﻟﺩ‪‬ﻤ ‪‬ﻴ ﹸﺔ ﺍﻟﺨﺸﺒﻴﺔ‬

‫ﻥ‬
‫ﺤِﺼﺎ ‪‬‬
‫ﺃﻟﻭﺍ ﹸﻨ ‪‬ﻪ ﻻﻤﻌﺔﹲ‪،‬‬
‫ل‬
‫ﻟﻪ ﻭﺠ ‪‬ﻪ ﻁﻔ ٍ‬
‫ﺕ ﺼﻐﻴﺭﺓ‬
‫ﻭﺃﺭﺒ ‪‬ﻊ ﻋﺠﻼ ٍ‬
‫ﺘﺤﺕ ﺃﻗﺩﺍﻤﻪ‬
‫ل‬
‫ل ﻁﻭﻴ ٍ‬
‫ﻋﺩﺍ ﺤﺒ ٍ‬
‫ﻟﻜﻲ ﺘﺠﺫﺒ‪‬ﻪ ﻫﻨﺎ ﺃﻭ ﻫﻨﺎﻙ‬
‫ﻋﻠﻰ ﺃﺭﻀﻴ ِﺔ ﺍﻟﻐﺭﻓﺔ‬
‫ﺕ‪.‬‬
‫ﺇﺫﺍ ﻤﺎ ﺃﺭﺩ ﹶ‬

‫ﻕ ﺍﻟﺤﺒل ﺒﻌﻴﺩ‪‬ﺍ‬
‫ﻴﻨﺯﻟ ﹸ‬
‫ﻍ‬
‫ﻭﻴﺭﺍﻭ ﹸ‬

‫‪73‬‬
 ‫ل ﻤﺤﺎﻭﻟ ٍﺔ ﻭﺃﺨﺭﻯ‪.‬‬
‫ﺒﻴﻥ ﻜ ﱢ‬

‫ﺏ ﻭﺴﻭﻑ ﻴﺠﻴﺒﻭﻥ!"‬
‫ﻕ ﺍﻟﺒﺎ ‪‬‬
‫"ﺍﻁﺭ ﹾ‬
‫ﻗﺎﻟﺕ ﺃﻤﻲ‬
‫ﺝ ﺍﻷﺭﺒ ‪‬ﻊ‬
‫ﺕ ﻗﻠﺒﺎﺕ ﺍﻟ ‪‬ﺩ ‪‬ﺭ ِ‬
‫ﻓﺎﺭﺘﻘﻴ ﹸ‬
‫ﺕ ﺨﻠﺴ ﹰﺔ‬
‫ﻭﺩﺨﻠ ﹸ‬
‫ﺕ ﻟﹸﻌﺒ ﹰﺔ ﺨﺸﺒﻴ ﹰﺔ ﺼﻐﻴﺭﺓ‬
‫ﻭﺠﺩ ﹸ‬
‫ﺃﺨﺫﺘﹸﻬﺎ‬
‫ﻍ‬
‫ﻓﻨﺸﺄ ﻤﻜﺎﻨﹶﻬﺎ ﻓﺭﺍ ﹲ‬
‫ﺕ‬
‫ﺏ ﻤﻊ ﻀﻭ ِﺀ ﺍﻟﻨﻬﺎ ِﺭ ﺍﻟﺨﺎﻓ ِ‬
‫ﺴ ‪‬ﺒ ‪‬‬
‫ﺭﺠﻔ ﹰﺔ ﻓﻲ ﺠﺴﺩﻱ‬
‫ﺕ ﺼﺎﻤﺘﹰﺎ‬
‫ﻤﻀﻴ ﹸ‬
‫ل ﻓﻲ ﻜﻔﻲ‬
‫ﻜﺄﻨﻨﻲ ﺃﺤﻤ ُ‬
‫ﺱ‪.‬‬
‫ﺱ ﺍﻷﻗﺩﺍ ‪‬‬
‫ﺡ ﻗﹶﺩ ِ‬
‫ﻤِﻔﺘﺎ ‪‬‬

‫‪74‬‬
‫ﺃﻴﻥ ﺃﻤﻜﻨﺘﻨﺎ ﺍﻟﻤﺴﻠﻭﺒ ﹸﺔ ﻭﺍﻟﻤﻤﻨﻭﺤﺔﹸ‪،‬‬
‫ﺤﺫِﺭ‬
‫ﺼﺼ‪‬ﻨﺎ ﺍﻟ ‪‬‬
‫ﺘﻠ ‪‬‬
‫ﺫﺍﻜﺭﺘﹸﻨﺎ ﺍﻟﻘﺩﻴﻤﺔ‬
‫ﺕ ﺼﺎﻓﻴﺔ‬
‫ﻭﻟﺤﻅﺎ ﹲ‬
‫ﻓﻲ ﺤﻴﺎﺘِﻨﺎ ﺍﻟﺭﻤﺎﺩﻴﺔ؟‬

‫ﺃﻴﻥ ﻗﻁﺭ ﹸﺓ ﺍﻟﺩ ِﻡ‬

‫ﻭﻤﺴﻤﺎ ‪‬ﺭ ﺼﻐﻴ ‪‬ﺭ‬
‫ﺏ ﺇﺼﺒﻌﻲ‬
‫ﺜﻘ ‪‬‬
‫ﺱ ﺍﻟﻠﹸﻌﺒ ﹶﺔ‬
‫ﻓﻴﻤﺎ ﺃﻨﺤﻨﻲ ﻷﻤ ‪‬‬
‫ﻉ ﻋﻴﻨﹶﻬﺎ؟‬
‫ﻭﺍﻨﺘﺯ ‪‬‬

‫ﻀﻭ ‪‬ﺀ ﺍﻟﻤﺴﺎ ِﺀ‬

‫ﻴﺴﺘﺩﻋﻲ ﺍﻵﺤﺎ ‪‬ﺩ ﺍﻟﻁﱠﻴﺒ ﹶﺔ‬
‫ل ﻟﹸﻌﺒﺘﻲ‪.‬‬
‫ﻤﻭﻋﺩﻱ ﻤﻊ ﻅﻼ ِ‬

‫‪75‬‬
 ‫ﺘﺫﻜﺎﺭﺍﺘﻲ ﺍﻟﺤﺒﻴﺒ ﹸﺔ‬
‫ﺝ ﺍﻟﻤﻨﺤﺩ ‪‬ﺭ‬
‫ﻭ ﺍﻟﺩ‪ ‬ﺭ ‪‬‬
‫ﻓﻲ ﺒﻨﺎﻴﺘﻨﺎ ﺍﻟﻘﺩﻴﻤﺔ‪،‬‬
‫ﻭﺃﺯﻗ ﹲﺔ ﻀﻴﻘ ﹸﺔ‬
‫ﺕ ﺃﻜﻠﱢ ‪‬ﻡ ﺠﺩﺭﺍﻨﹶﻬﺎ ﻭﺃﺒﻭﺍﺒ‪‬ﻬﺎ ﺍﻟﻤ‪‬ﻐﻠﱠﻘ ﹶﺔ‬
‫ﻜﻨ ﹸ‬
‫ﻭ ﺘﻜﻠﻤﻨﻲ‪.‬‬

‫ﺍﻟﺩ‪‬ﻤﻴﺔﹸ ﺍﻟﺨﺸﺒﻴ ﹸﺔ‬

‫ﺱ ﺼﺎﻤﺘﺔﹰ‪،‬‬
‫ﺘﺠﻠ ‪‬‬
‫ﻥ‬
‫ﺕ ﺍﺨﺘﻼﺠ ِﺔ ﻋﻴ ٍ‬
‫ﻜﺼﻭ ِ‬
‫ﺕ‬
‫ﻓﻲ ﻤﺸﻬ ٍﺩ ﺼﺎﻤ ٍ‬
‫" ﺒﺴﺴﺕ !"‬
‫ﻑ ﻅﻬﺭﻱ‪،‬‬
‫ﻗﺎﻟﻬﺎ ﺃﺤﺩ‪‬ﻫﻡ ﺨﻠ ﹶ‬
‫ﻭﻤﻀﻰ‪.‬‬

‫‪76‬‬
‫ﺍﻟﻘﹶﺘﻠﺔ‬
‫ﺤﺘﻰ ﻓﻲ ﺃﻴﺎﻡ ﺍﻵﺤﺎﺩ‬
‫ﻜﻨﱠﺎ ﻨﺘﺭ ﱠﻗﺒ‪‬ﻬﻡ‬
‫ﻱ ﺃﻭ ﺍﻷﺴﻭ ‪‬ﺩ‬
‫ﻥ ﺍﻟﺭﻤﺎﺩ ‪‬‬
‫ﻴﻠﺒﺴﻭ ‪‬‬
‫ﻭﺃﺤﺫﻴﺘﹸﻬﻡ‬
‫ﺩﻭﻤ‪‬ﺎ ﻻﻤﻌﺔ‪،‬‬
‫ﻥ ﺒﺎﻷﺴﻤﺎ ِﺀ‬
‫ﻻ ﻴﻌﺒﺄﻭ ‪‬‬
‫ﺏ‬
‫ﻥ ﺍﻷﺒﻭﺍ ‪‬‬
‫ﻴﻁﺭﻗﻭ ‪‬‬
‫ﺏ‪.‬‬
‫ﻭﺤﺴ ‪‬‬

‫ﻓﻲ ﺩﻓﺘ ِﺭ ﺍﻟﺼﻭ ِﺭ‬

‫ﺕ ﺃﺤﺩ‪‬ﻫﻡ‬
‫ﺭﺃﻴ ﹸ‬
‫ﺕ‬
‫ل ﺍﻟﺼﺎﻤ ِ‬
‫ﺱ ﺍﻟﻁﻔ ِ‬
‫ﺏ ﺭﺃ ِ‬
‫ﻤﺴﺩﺴ‪‬ﻪ ﺼ‪‬ﻭ ‪‬‬
‫ل ﺍﻟﻨﺎﺌ ِﻡ ﺠﻭﺍ ‪‬ﺭ ﺒﺭﻜ ِﺔ ﻤﺎ ٍﺀ‬
‫ﺍﻟﻁﻔ ِ‬
‫ﻥ ﻤﻔﺘﻭﺤ ٍﺔ‬
‫ﺒﻌﻴﻭ ٍ‬
‫ﻲ‪.‬‬
‫ﻜﻌﻴﻨ ‪‬‬

‫‪77‬‬
 ‫ﻓﻲ ﺍﻟﻨﻬﺎ ِﺭ‬
‫ﻥ ﺒﻘﺭ ٍﺓ‬
‫ﺕ ﻋﻴ ‪‬‬
‫ﺍﻟﺘﻘﻁ ﹸ‬
‫ﺢ ﺨﺸﺒﻴ ٍﺔ‬
‫ﻥ ﺸﺭﺍﺌ ‪‬‬
‫ﻤﻥ ﺒﻴ ِ‬
‫ﻟﻌﺭﺒ ِﺔ ﻤﺎﺸﻴﺔ‪،‬‬
‫ﻕ ﻤﺴﺭﻋ‪‬ﺎ‬
‫ﻓﻴﻤﺎ ﺃﻋﺒ ‪‬ﺭ ﺍﻟﻁﺭﻴ ﹶ‬
‫ﻓﻲ ﺸﻴﻜﺎﻏﻭ‬
‫ﺽ‬
‫ﻓﺠﺄ ﹰﺓ‪ ،‬ﻭﻋﻠﻰ ﻨﺤ ٍﻭ ﻏﺎﻤ ٍ‬
‫ﻑ ﺍﻟﻘﻁﺎ ‪‬ﺭ‬
‫ﻴﺘﻭﻗ ﱠ‬
‫ﻉ‬
‫ﺝ ﻤﻥ ﺍﻟﻨﺎﻓﺫ ِﺓ ﺫﺭﺍ ‪‬‬
‫ﻭﺘﺨﺭ ‪‬‬
‫ﺡ ﻏﺎﻀﺒ ﹰﺔ‪.‬‬
‫ﺘﻠﱠ ِﻭ ‪‬‬

‫ﺕ !"‬
‫ل ﻤﺎ ﻓﻌﻠ ﹸ‬
‫" ﻜﻴﻑ ﺃﻤﻜﻨﻨﻲ ﺃﻥ ﺃﻓﻌ َ‬
‫ﻗﻠﺘﹸﻬﺎ‪ ،‬ﻁﺎﻭﻴ‪‬ﺎ ﺩﻓﺘﺭ‪‬ﺍ ﺁﺨ ‪‬ﺭ‪،‬‬
‫ﻭﻓﻲ ﺁﺨ ِﺭ ﺍﻟﻠﻴل‬
‫ﻟﻡ ﺃﺠﺭﺅ ﻋﻠﻰ ﻓﺘ ِ‬
‫ﺢ ﺍﻟﻤﺯﻴ ‪‬ﺩ‪.‬‬
‫ﻜﻤﺎ ﺃﻨﻨﻲ‬
‫ﺕ ﺃُﺫﻨﻲ‬
‫ﻓﻘﻁ ﻟﻭ ﻤﺩﺩ ﹸ‬

‫‪78‬‬
‫ﺴﺄﺴﻤ ‪‬ﻊ ﻁﻠﻘ ﹶﺔ ﺒﻨﺩﻗﻴ ٍﺔ ﻫﻨﺎ ﺃﻭ ﻫﻨﺎﻙ‬
‫ﺏ‪:‬‬
‫ﻗﺎل ﺍﻟﺼﺤﺎ ‪‬‬
‫ﻙ ﺤﺎ ‪‬ﺩ‪".‬‬
‫"ﺴﻤ ‪‬ﻌ ‪‬‬
‫ﺏ "‪.‬‬
‫ﻙ ﺨﺼ ‪‬‬
‫ﻥ "ﺨﻴﺎﹸﻟ ‪‬‬
‫ﻭﻗﺎل ﺁﺨﺭﻭ ‪‬‬
‫ﻙ‬
‫ﻥ ﻫﻨﺎ ‪‬‬
‫ﺏ ﻴﺘﺠﻭﻻ ‪‬‬
‫ﺍﻟﻘﻁﱠ ﹸﺔ ﻭﺍﻟﻜﻠ ‪‬‬
‫ﺤﻭل ﺍﻟﻐﺭﻓ ِﺔ‬
‫ﻥ ﺸﻴﺌًﺎ‪.‬‬
‫ﻻﺒ ‪‬ﺩ ﻴﺴﻤﻌﺎ ِ‬

‫ﻙ‬
‫ﻜﺄﻥ ﺃﻤﻁﺎ ‪‬ﺭ ﺍﻟﺼﻘﻴ ِﻊ ﺴﺠﻨﺘ ‪‬‬
‫ﻋﺎﺭﻴ‪‬ﺎ ﺘﻤﺎﻤ‪‬ﺎ‬
‫ﻭ ﺒﻼ ﻤِﻅﱠﻠ ٍﺔ‬
‫ﻙ ﻴﺎ ﺼﺎﺤﺒﻲ‬
‫ﻟﻜ ﱠﻨ ‪‬‬
‫ﺴﻭﻑ ﺘﻌﺘﺎﺩ ﺍﻷﻤ ‪‬ﺭ ﺒﻌﺩ ﺒﺭﻫ ٍﺔ‬
‫ﺃﻤ‪‬ﺎ ﺃﻨﺎ‬
‫ﻓﻠﻡ ﺃﻋﺘ ‪‬ﺩ ‪‬ﻩ ﺃﺒﺩ‪‬ﺍ‬
‫ﻭﻟﺫﻟﻙ‬
‫ﺡ‪.‬‬
‫ﺃﻨﺎ ﺼﺎ ٍ‬

‫‪79‬‬
‫ﺠﻭ ﺸﺎﺒﻜﻭﺕ‬

‫‪80‬‬
‫ﻥ ﻴﺘﺄﻤﻠﹸﻨﻲ‬
‫ﻭﺠ ‪‬ﻪ ﻜﺎﻫ ٍ‬
‫ﻙ‪,‬‬
‫ﻟﻥ ﺃﺘﺤﺩﺙ ﺇﻟﻴ ‪‬‬
‫ﺸﻔﺎﻫﻲ ﻤﻨﺼﻬﺭ ﹲﺓ‬
‫ﻙ ﻗﺒ‪‬ﻠﻨﻲ ﻟﺘﻭ‪‬ﻩ‪,‬‬
‫ﺤﻴﺙ ﻤﻼ ‪‬‬
‫ﻻ ﺃﺒﺎﻟﻎ !‬
‫ﻓﻘﻁ ﺃﻋﻠ ‪‬ﻡ‬
‫ﺃﻥ ﺍﻟﻔﻀﺎ ‪‬ﺀ ﻤﺴ‪‬ﻨﻲ ﻤﺭ ﹰﺓ‬
‫ﺕ ﺍﻟﻤﺠﺭ‪‬ﺍﺕ ﺘﺘﺩﺍﻓ ‪‬ﻊ‬
‫ﻓﺭﺃﻴ ﹸ‬
‫ﻥ‪.‬‬
‫ﺥ ﺍﻟﻜﻭ ِ‬
‫ﻋﺒ ‪‬ﺭ ﺸﺭ ِ‬

‫ﺏ‬
‫ﻴﺎ ﺭ ‪‬‬
‫ﺴ ‪‬ﻴ ‪‬ﺭ ﺜﺎﻨﻴ ﹰﺔ‬
‫ﺴﻭﻑ ﺃﺘﻌﻠﱠﻡ ﺍﻟ ‪‬‬
‫ل‬
‫ﺒﻼ ﻜﻠ ٍ‬
‫ﻁ ﻓﻲ ﺍﻟﻅﻼﻡ‪.‬‬
‫ﺤﺘﻰ ﺃﺴﻘ ﹶ‬

‫ﺏ ﻭﺍﺤ ‪‬ﺩ‬
‫ﻟﻲ ﺤﺎﺠ ‪‬‬
‫ﻭﻋﺘﻴﻕ‪،‬‬

‫‪81‬‬
 ‫ﻥ ﺨﻠﻔﹶﻪ ﺤﻴﺎﺘﻲ‪،‬‬
‫ﺘﻜﻤ ‪‬‬
‫ل ﺸﻌﻴﺭ ٍﺓ‬
‫ﺠ ﹾﺫ ِﺭ ﻜ ﱢ‬
‫ﺤﻴﺙ ﻴﻘﺒ ‪‬ﻊ ﻋﻨﺩ ِ‬
‫ﻙ‬
‫ﻤﻼ ‪‬‬
‫ﻟﻴﺭﻓﻌ‪‬ﻬﺎ ‪.‬‬

‫ﺢ‬
‫ﻴﺎ ﻤﺴﻴ ‪‬‬
‫ﺏ‬
‫ﺃﺴﻤ ‪‬ﻊ ﺍﻟﺨﻁﺎﻴﺎ ﺘﻔﻭ ‪‬ﺭ ﻤﻥ ﻭﺭﺍ ِﺀ ﺍﻟﻌﺸ ِ‬
‫ﺃﺤﺩ‪‬ﻫ ‪‬ﻡ ﻴﻨﺘﻅﺭ ﻫﻨﺎﻙ‪.‬‬

‫ﻕ ﻫﺫﺍ ﺍﻟﺯﺠﺎﺝ‬
‫ﻟﻭ ﺃﻤﻜﻨﻨﻲ ﻟﻌ ﹸ‬
‫ﻋ ‪‬ﻪ ﻨﻅﻴﻔﹰﺎ‬
‫ﻷﺩ ‪‬‬
‫ﻭﺸﻔﺎﻓﹰﺎ‬
‫ﺭﺒﻤﺎ ﺭﺃﻴﺘﻬﺎ ﻤﻥ ﻫﺫﻩ ﺍﻟﻨﺎﺤﻴﺔ‬
‫ﻤﻊ ﺃﻨﻬﺎ‬
‫ل ﻨﻅﺭ ﹰﺓ‬
‫ﺘﺤﻤ ُ‬
‫ﺕ ﺭﻭﺤﻲ ﺃﻥ ﺘﺠ ‪‬ﺭﺒ‪‬ﻬﺎ‪.‬‬
‫ﻜﻡ ﻭﺩ ﹾ‬

‫‪82‬‬
 ‫ﻑ ﻫﻜﺫﺍ‬
‫ﺃﻗ ﹸ‬
‫ﻤﺘﻜﺌ ﹰﺔ ﻋﻠﻰ ﺴﻁﺢ ﻤﻜﺘﺒﻲ‬
‫ﻅ ﻋﻠﻴﻬﺎ‬
‫ﺕ ﻤﻥ ﺃﺠل ﺍﻟﺤﻔﺎ ِ‬
‫ﻓﻲ ﻭﻀﻌﻴ ٍﺔ ﺠﺎﻫﺩ ﹸ‬
‫ل ﺍﻟﺤﻴﺎ ﹶﺓ ﺍﻟﻁﱠﻴﺒ ﹶﺔ ‪.‬‬
‫ﻓﻘﻁ ﻷﺘﺄﻤ َ‬
‫ﻤﻥ ﺍﻟﻤﻬﻡ‬
‫ﺝ ﻤﻐﻠ ﹰﻘﺎ‬
‫ﺃﻥ ﻴﺒﻘﻰ ﻫﺫﺍ ﺍﻟﺩ‪‬ﺭ ‪‬‬
‫ﻕ ﻗﻠﺒﻲ‬
‫ﺤﺘﻰ ﻻ ﻴﻨﺯﻟ ﹶ‬
‫ﻭﻴﻁﻴﺭ ﺒﻌﻴﺩ‪‬ﺍ‪.‬‬

‫‪83‬‬
‫ﺏ ﻟﻘﻁﻴ ِﻊ ﺃﻏﻨﺎﻡ‬
‫ﺃﻏﻨﻴ ﹸﺔ ﺤ ‪‬‬

‫ﺢ ﻗﻁﻴ َﻊ ﺃﻏﻨﺎ ٍﻡ !"‬

‫" ِﺍﺭﺒ ‪‬‬
‫ﻥ‬
‫ﻫﻜﺫﺍ ﻗﺎل ﺍﻹﻋﻼ ‪‬‬
‫ﻲ "‪.‬‬
‫ﺸﻌﻴ ِﺭ ﺍﻟ ﱠﻨﻘ ‪‬‬
‫ل ﻗﻨﻴﻨ ٍﺔ ﻤﻥ ﺍﻟ ﱠ‬
‫" ﻓﺭﺼ ﹲﺔ ﻟﻠﻔﻭ ِﺯ ﻤﻊ ﻜ ﱢ‬

‫ل ﺍﻟﻤﺴﺎﺒﻘ ﹶﺔ ﺇﺫﻥ‬
‫ﺴﺄﺩﺨ ُ‬
‫ﺢ ﻗﻁﻴﻌ‪‬ﺎ‬
‫ﺃﺭﺒ ‪‬‬
‫ﻙ ﺇﻴﺎﻩ‪.‬‬
‫ﺜ ‪‬ﻡ ﺃﻫﺒ ‪‬‬

‫ﺕ‬
‫ﻕ ﺍﻟﻘﻁﻴ ‪‬ﻊ ﺒﺎﻟﺒﻴ ِ‬
‫ِﺍﺒ ِ‬
‫ﻋﻪ ﻴﺭﻋﻰ ﺒﺄﺭﺠﺎﺌِﻪ‪،‬‬
‫ﺩ‪‬‬
‫ﻤﻁﻤﺌﻨﹰﺎ‪.‬‬

‫ﻻ‬
‫ﺴﻴﺄﻜﻠﻭﻥ ﺍﻟﺴ‪‬ﺠﺎ ‪‬ﺩ ﺃﻭ ﹰ‬
‫ﻁ‬
‫ﻕ ﺍﻟﺤﺎﺌ ِ‬
‫ﻭﺭ ﹶ‬

‫‪84‬‬
 ‫ﻥ ﻓﻲ ﺍﻷﻤﺘﻌ ِﺔ ﺍﻟﺼﻠﺒ ِﺔ‪.‬‬
‫ﺜ ‪‬ﻡ ﻴﺸﺭﻋﻭ ‪‬‬

‫ﻥ ﻁﺭﻴﻘﹶﻬﻡ ﻋﺒ ‪‬ﺭ ﺍﻟﺴﺘﺎﺌ ِﺭ‬

‫ﺴﻴﺩﺒﺭﻭ ‪‬‬
‫ل ﺍﻷﺸﻴﺎ ِﺀ‬
‫ﻓﺘﺘﻁﺎﻴ ‪‬ﺭ ﻜ ﱡ‬
‫ﻙ ‪ ...‬ﻤﺨﻁﻭﻁﺎﺘﻙ‬
‫ﻜﺘ ‪‬ﺒ ‪‬‬
‫ل ﺃﻓﻭﺍ ِﻫﻬﻡ ﺍﻟﺭﻁﺒﺔ‪.‬‬
‫ﺩﺍﺨ َ‬

‫ﻙ ﺠﻴﺩ‪‬ﺍ‬
‫ﺃﻋﺭ ﹸﻓ ‪‬‬
‫ﺏ ﺃﻥ ﺘﺭﻯ ﺃﺜﺎ ﹶﺜﻙ‪ ‬ﻤﺠﺘﺭ‪‬ﺍ ﻫﻜﺫﺍ‪،‬‬
‫ﻻ ﺘﺤ ‪‬‬
‫ﻓﻲ ﺃﻓﻭﺍﻫﻬﻡ‪،‬‬
‫ل ﺍﻟﺤﻴﺎ ﹶﺓ ﺯﻏﺒﻴ ﹰﺔ‬
‫ﺘﻔﻀ‪ُ ‬‬
‫‪‬ﻤ ‪‬ﻤﺸﱠﻁ ﹰﺔ ﻭ ﻤﻐﺯﻭﻟ ﹰﺔ‪.‬‬

‫ﻑ ‪‬ﻤ ﹾﻜ ‪‬ﻤﻨﹶﻙ ‪:‬‬

‫ﻫﺎ ﻫﻭ ﺍﻟﻘﻁﻴ ‪‬ﻊ ﻗﺩ ﺍﻜﺘﺸ ﹶ‬
‫ﻙ‬
‫ﻑ ﺩﺍﺨل ﺃﺫﻨﻴ ‪‬‬
‫ﺴﻴﺒﺩﺃﻭﻥ ﺒﺎﻟﻌﺼ ِ‬
‫ﻙ‪،‬‬
‫ﺸﻌ ِﺭ ‪‬‬
‫ﻴﻤﺴﺤﻭﻥ ﺃﻨﻭﻓﹶﻬﻡ ﺒ ﹶ‬
‫ﻥ ﺍﻟﺒﺩﺍﻴ ﹸﺔ ﺒﺎﻟﻤﻁﺒﺦ‬
‫ﻏﺎﻟﺒ‪‬ﺎ ﺴﺘﻜﻭ ‪‬‬
‫ﻙ ﺒﻔﺭﺸﺎ ٍﺓ ﻨﺎﻋﻤ ٍﺔ‬
‫ﻥ ﺭﻜﺒﺘﻴ ‪‬‬
‫ﻴﺩﻏﺩﻏﻭ ‪‬‬

‫‪85‬‬
 ‫ل ﺍﻷﺭﻴﻜ ِﺔ‬
‫ﻴﺤﺎﺼﺭﻭﻨﻙ ﺤﻭ َ‬
‫ﻥ ﻤﺎ ‪‬ﺀ ﻤﻐﻁﺴِﻙ‬
‫ﺜ ‪‬ﻡ ﻴﺸﺭﺒﻭ ‪‬‬
‫ﺜﻡ‬
‫ﻙ ﺒﻴﻥ ﺍﻟﺒﻁﻭﻥ‪.‬‬
‫ﺴ‪‬‬
‫ﻕ ﻤﻼﺒ ‪‬‬
‫ﺘﺘﻔﺭ ﹸ‬

‫ﻓﻲ ﺍﻟﻅﻼﻡ‪...‬‬
‫ﻙ‬
‫ﻑ ﻁﺭﻴﻘﹶﻬﻡ ﻷﻅﺎﻓ ِﺭ ‪‬‬
‫ﻑ ﺍﻟﺨﺭﺍ ﹸ‬
‫ﺴﻴﻌﺭ ﹸ‬
‫ﻥ ﺃﺼﺎﺒ ‪‬ﻊ ﻗﺩﻤﻴِﻙ‬
‫ﻴﻤﺘﺼﻭ ‪‬‬
‫ﻙ‬
‫ﻕ ﺴﺎﻗﻴ ‪‬‬
‫ﻥ ﻓﻭ ﹶ‬
‫ﻴﺭﻋﻭ ‪‬‬
‫ﻥ ﺭﻗﻴﻘ ٍﺔ ﻭﺤﺎﻨﻴﺔ‬
‫ﻥ ﻜل ﺸﻌﻴﺭ ٍﺓ ﺒﺄﺴﻨﺎ ٍ‬
‫ﻴﻨﺯﻋﻭ ‪‬‬
‫ﺱ ﻭﺸﻔﺎﻩ‬
‫ﺭﺒﻤﺎ ﺘﺸﻌ ‪‬ﺭ ﺒﺭﺫﺍ ِﺫ ﺃﻨﻔﺎ ٍ‬
‫ل ﺼﺩﺭِﻙ‬
‫ﺝ ﻜﺴﺤﺎﺒ ٍﺔ ﺩﺍﺨ َ‬
‫ﺘﺘﻤﺎﻭ ‪‬‬
‫ﻙ ﺜﻡ ِﻟﺤﻴﺘﻙ‪،‬‬
‫ﻭﺠ ِﻬ ‪‬‬
‫ﺏ ﺍﻟﻨﺎﻋ ‪‬ﻡ ﻓﻭﻕ ﺼﺩﺭِﻙ‪،‬‬ ‫ﻥ ﺍﻟ ‪‬ﻌ ﹾ‬
‫ﺸ ‪‬‬ ‫ﻴﺤﺭﺜﻭ ‪‬‬
‫ﻋﻨﺩﺌ ٍﺫ‬
‫ل ﻋﺠﻭﺯ‬
‫ﺤ ‪‬ﻤ ٍ‬
‫ﻙ ﻤﺴﺘﺴﻠﻤ‪‬ﺎ ﻤﺜل ‪‬‬
‫ﺴ‪‬‬
‫ﺴﺘﺠ ‪‬ﺩ ﻨﻔ ‪‬‬
‫ﺴﻌﻴﺩ‪‬ﺍ ﻭﻤﺘﺂﻟﻔﹰﺎ ﻤﻊ ﺍﻟﻘﻁﻴﻊ ﺘﻤﺎﻤ‪‬ﺎ‬

‫‪86‬‬
 ‫ﻱ " ‪ *" Po-Beeb‬ﺭﺍﻋﻴ ِﺔ ﺍﻟﻐﻨﻡ‬
‫ﻙ ﻓﻲ ﺯ ‪‬‬
‫ل ﺇﻟﻴ ‪‬‬
‫ﻥ ﺃﺼ ُ‬
‫ﻭ ﺤﻴ ‪‬‬
‫ﻼ‬
‫ل ﺍﻟﻤﺸﻬ ‪‬ﺩ ﻁﻭﻴ ﹸ‬
‫ﺴﺄﺘﺄﻤ ُ‬
‫ﻙ‬
‫ﻟﻜ ﱠﻨ ‪‬‬
‫ﻑ‬
‫ل ﻤﻌﻘﻭ ٍ‬
‫ﺠٍ‬‫ﺒ ِﻤ ﹾﻨ ‪‬‬
‫ﻙ ﺍﻟﻘﻁﻴ ‪‬ﻊ ﻤﺠﺯﻭﺯ‪‬ﺍ‬
‫ﺴﺘﺘﺭ ‪‬‬
‫ﻭ ﺘﺘﺭﻜﻨﻲ‬
‫ﺏ‬
‫ﻤﺤﺭﻭﻤ ﹰﺔ ﻤﻥ ﺍﻟﺤ ‪‬‬
‫ﻭﺤﻴﺩﺓ‪.‬‬

‫______________________________________‬
‫*‪ Po-Beeb‬ﺸﺨﺼﻴﺔ ﻓﻲ ﺍﻟﺭﺴﻭﻡ ﺍﻟﻤﺘﺤﺭﻜﺔ ﺘﻌﻤل ﺭﺍﻋﻴﺔ ﻏﻨﻡ‬

‫‪87‬‬
‫ﺽ ﺜﻤﺭﺓٍ‬
‫ﻨﹶ ‪‬ﺒ ‪‬‬
‫ل‬
‫ﺕ ﺃﻥ ﺃﻗﻭ َ‬
‫ﻭﺩﺩ ﹸ‬
‫" ﺜﻼﺠ ﹲﺔ ﻨﻅﻴﻔ ﹲﺔ ! "‬
‫ﻑ‪،‬‬
‫ﻁ ﺍﻟﺼﺩِﺃ ﻓﻲ ﺍﻟﺨﻠ ِ‬
‫ﻟﻜﻥ ﺍﻨﻅ ‪‬ﺭ ﺨﻴﻭ ﹶ‬
‫ﻁ ِﺔ‪.‬‬
‫ﺴﹶﻠ ﹶ‬
‫ﻕ ﺍﻟ ‪‬‬
‫ل ﻁﺒ ِ‬
‫ﻭ ﺒﻘﻌ ﹶﺔ ﺍﻟ ﹸﻐﺒﺎ ِﺭ ﺍﻟ ‪‬ﺒ ﹾﻨ ‪‬ﻴ ِﺔ ﺃﺴﻔ َ‬

‫ﻫﺎ ﻫﻨﺎ ‪..‬‬

‫ﺙ ﺃﺤﻴﺎ ﻤﻨﺫ ﺃﺴﺒﻭﻋﻴﻥ‪،‬‬
‫ﺤﻴ ﹸ‬
‫ﺨﻀ‪‬ﺭ ﻫﻨﺎﻙ‪.‬‬
‫ﺕ ﻤﻥ ﻏﺎﺒ ِﺔ ﺍﻟ ﹸ‬
‫ﻤﻨﺫ ﺍِﻨ ﹸﺘﺯِﻋ ﹸ‬

‫ل‪،‬‬
‫ﺕ ﺠﺎﻤﺤ ﹰﺔ ﻓﻲ ﺍﻷﻤ ِ‬
‫ﻜﻨ ﹸ‬
‫ﺕ ﻓﻲ ﺒﻘﺎﺌﻲ ﻫﺸ ﹰﺔ ﺩﻭﻤ‪‬ﺎ‬
‫ﺤﻴﻥ ﻁﻤِﻌ ﹸ‬
‫ﻷﺴﺘﺜﻴ ‪‬ﺭ ﺤ ﹾﻠﻘﹶﻪ ﺍﻟﻘﺎﺴﻲ ﻭﻟﺴﺎﻨﹶﻪ‪،‬‬
‫ل ﺠﺯ ٍﺀ ﻤﻥ ﹶﻓﻤﻪ ‪.‬‬
‫ﻭﻜﱠ‬

‫ﻥ‬
‫ﺍﻵ ‪‬‬
‫ﺱ ﺒﺄﻭﺭﺍﻗﻲ ﺍﻟﺨﺎﺭﺠﻴ ِﺔ ﺘﻔﻘ ‪‬ﺩ ﻤﻘﺎﻭﻤﺘﹶﻬﺎ‪،‬‬
‫ﺃﺤ ‪‬‬

‫‪88‬‬
 ‫ﻋﻤﻘﻲ‪،‬‬
‫ل ﺇﻟﻰ ‪‬‬
‫ﻥ ﺍﻟﻘﺎﺘ ُ‬
‫ﺏ ﺍﻷﻭﻜﺴﺠﻴ ‪‬‬
‫ﻴﺘﺴﺭ ‪‬‬
‫ل ﺍﻟﻤﺎ ‪‬ﺀ ﺒﻌﻴﺩ‪‬ﺍ ‪.‬‬
‫ﺒﻴﻨﻤﺎ ﻴﺘﺴﻠ ُ‬
‫ﺨ ‪‬ﺩ ‪‬ﺭ‬
‫ﻭﺍﻟ ﹶ‬
‫ﻑ ﺸﻴﺌًﺎ ﻓﺸﻴﺌًﺎ‬
‫ﺨ ‪‬ﺩ ‪‬ﺭ ﻴﺯﺤ ﹸ‬
‫ﺍﻟ ﹶ‬
‫ﻨﺤﻭ ﻗﻠﺒﻲ‪.‬‬

‫ﻉ ﺍﻟﺜﻼﺠ ِﺔ‬
‫ﻫﻨﺎ‪ ،‬ﻓﻲ ﻗﺎ ِ‬
‫ﺕ‪.‬‬
‫ﺙ ﺍﻟﺼﻤ ﹾ‬
‫ﺤﻴ ﹸ‬

‫ﻓﻘﻁ ﺃﻨﺎ ‪..‬‬

‫ﺼﻠﺔٍ‪،‬‬
‫ﻑ ‪‬ﺒ ‪‬‬
‫ﺼ ِ‬
‫ﺴ ٍﺔ ‪‬ﻤ ﹶﺘ ‪‬ﻌ ‪‬ﺭﺠ ٍﺔ ﻭ ِﻨ ‪‬‬
‫ﺨ‪‬‬‫ﻤﻊ ﹶ‬
‫ﺕ ﻋﺩﻴﺩ ﹰﺓ ﺨﻼل ﺍﻟﻴﻭﻡ‬
‫ﺏ ﺍﻟﺜﻼﺠ ِﺔ ﻤﺭﺍ ٍ‬
‫ﺢ ﺒﺎ ‪‬‬
‫ﻴﻨﻔﺘ ‪‬‬
‫ﻟﻜﻨﱠﻪ ‪..‬‬
‫ﻀ ِﺭ ﻫﻨﺎ ‪..‬‬
‫ﺨ ‪‬‬
‫ﺝ ﺍﻟ ﹸ‬
‫ﺢ ‪‬ﺩ ‪‬ﺭ ‪‬‬
‫ﺃﺒﺩ‪‬ﺍ ﻻ ﻴ‪‬ﻔﺘ ‪‬‬
‫ﺤﻴﺙ ﺃﻗﺒ ‪‬ﻊ ﻓﻲ ﺭﻜﻨﻲ‬
‫ﻤﻨﻜﻤﺸ ﹰﺔ ﻋﻠﻰ ﻋﺯﻟﺘﻲ‪.‬‬

‫ﻓﻲ ﺍﻷﻋﻠﻰ‬

‫‪89‬‬
 ‫ﻗﻁ ‪‬ﻊ ﻏﺭﻴﺒ ﹲﺔ ﻤﻥ ﺍﻟﻠﺤﻭ ِﻡ ﺍﻟﺒﺸﻌﺔ ؛‬
‫ل ﺒﺸﻌﻴﺭﺍﺘِﻪ ﺍﻟﻘﺒﻴﺤﺔ ؛‬
‫ﻀﻠ ‪‬ﻊ ﻜﺎﻤ ٌ‬
‫ﺹ ﻁﺎﺌﺭ‪‬ﺍ ﻀﺨﻤ‪‬ﺎ ؛‬
‫ﺃﺠﻨﺤ ﹲﺔ ﻭﺃﺸﻴﺎ ‪‬ﺀ ﺘﺨ ‪‬‬
‫ﺤﻭﺍﻓ ‪‬ﺭ ﻭﻤﻨﺎﻗﻴ ‪‬ﺭ ؛‬
‫ﻭ ﻋﺼﺎﺭ ﹲﺓ ﻋﻁِﻨ ﹲﺔ‬
‫ﻑ ﺍﻟﺜﻼﺠ ِﺔ‬
‫ل ﻋﺒﺭ ﺃﺭﻓ ِ‬
‫ﺘﺴﻴ ُ‬
‫ﺜ ‪‬ﻡ ﺘﻘﻁ ‪‬ﺭ‬
‫ﺴﻨﺎ ﺍﻟﺨﺎﺒﻴ ِﺔ‪.‬‬
‫ﻓﻭﻕ ﺭﺅﻭ ِ‬

‫ﻤﻨﻅ ‪‬ﻡ ﺍﻟﺭﻁﻭﺒ ِﺔ ‪‬ﻴﺒﻘﻲ ﺍﻟﺒﺭﻭﺩ ﹶﺓ ﺜﺎﺒﺘ ﹰﺔ‬

‫ﺱ ﺍﻟﺤﺎﺭ‬
‫ﻁﻘ ِ‬
‫ﺤﺘﻰ ﻓﻲ ﺍﻟ ﹶ‬
‫ﻉ ﻓﻲ ﺍﻟﺘﺠﻤ ِﺩ‬
‫ﺕ ﺍﻟﺒﺎﺌﺴ ﹸﺔ ﺒﺎﻟﻘﺎ ِ‬
‫ﻓﺘﺒﺩُﺃ ﺍﻟﻜﺎﺌﻨﺎ ﹸ‬
‫ﻭ ﺍﻟﻌﺒﻭﺱ‪،‬‬
‫ﻋﻀ‪‬ﻨﺎ ﺍﻟﺼﻘﻴﻊ‪،‬‬
‫ﺕ ‪‬‬
‫ﺙ ﻤﺭﺍ ٍ‬
‫ﺜﻼ ﹸ‬
‫ﺕ ﺒﺂﻻ ٍﻡ ﻤﺭﻭﻋ‪‬ﺔ‬
‫ﻭﺸﻌﺭ ﹸ‬
‫ﺕ ﺍﻟﺠﻠﻴ ِﺩ‬
‫ﺕ ﺒﻠﻭﺭﺍ ﹸ‬
‫ﻋﻨﺩﻤﺎ ﺘﻜﺎﺜﻔ ﹾ‬
‫ﺤﻭل ﺃﻫﺩﺍﺒﻲ‪.‬‬

‫‪90‬‬
 ‫ﺱ ﻋﻥ ﺍﻟﻌﻤل‪،‬‬
‫ﻱ ﻤﺘﻘﺎﻋ ‪‬‬
‫ل ﺤﺭﺍﺭ ﱞ‬
‫ﻋﺎﺯ ٌ‬
‫ﺏ ﻤﻥ ﺍﻻﺴﺘﺭﺨﺎ ِﺀ ﻓﻲ ﺍﻟﺒﺭﻭﺩ ِﺓ ﺇﺫﻥ‬
‫ﻻ ﻤﻬﺭ ‪‬‬
‫ﻅ ﺍﻷﻁﻌﻤ ِﺔ‬
‫ﻕ ﻓﻜﺭ ﹶﺓ ﺤﻔ ِ‬
‫ﻷﻥ ﺫﻟﻙ ﻴﻭﺍﻓ ﹶ‬
‫ﻉ ﺍﻟﺼﻘﻴ ‪‬ﻊ‬
‫ﻓﻨﺩ ‪‬‬
‫ﻕ ﻤﺴﺎﻤ‪‬ﻨﺎ ‪.‬‬
‫ﻴﺨﺘﺭ ﹸ‬

‫ﻟﻜﻥ‬
‫ﺴﺭﻋﺎﻥ ﻤﺎ ﺃﺸﻌ ‪‬ﺭ ﺒﺎﻟ ‪‬ﺩﻑ ِﺀ ﻤﻥ ﺠﺩﻴﺩ‬
‫ﻥ ﺃﻓﻜ ‪‬ﺭ ﻓﻴﻪ‪،‬‬
‫ﺤﻴ ‪‬‬
‫ﺏ ﻓﻲ ﹸﻟﻌﺎﺒِﻪ‬
‫ﺃﺫﻭ ‪‬‬
‫ﺃﻤ ‪‬ﺭ ﻋﻠﻰ ﺤﻠﻘِﻪ‬
‫ﺜ ‪‬ﻡ‬
‫ﻀ ‪‬ﻤﻲ ﺨﻼﻴﺎﻩ ‪.‬‬
‫ﺘﻬ ِ‬

‫ﺤﻴﻨﺌ ٍﺫ‬
‫ل ﺫﻭﺒﺎﻨﻲ‬
‫ﺃﺘﻌﱠﻠ ‪‬ﻡ ﺨﻼ َ‬
‫ﺼﻴﻐ ﹰﺔ ﺠﺩﻴﺩ ﹰﺓ ﻟﻠﺤﻴﺎﺓ‪،‬‬

‫‪91‬‬
 ‫ﺕ‬
‫ل ﻭ ﺃﻤﻭ ﹸ‬
‫ﻥ …‪ .‬ﺃﺫﺒ ُ‬
‫ﻀ‪‬‬‫ﺃﺘﻐ ‪‬‬
‫ﺜ ‪‬ﻡ‬
‫ﺢ ﻤﻥ ﺠﺩﻴ ٍﺩ‬
‫ﺃﺘﻔﺘ ‪‬‬
‫ﺏ‪.‬‬
‫ﺤ ‪‬‬
‫ﻟﻠ ‪‬‬

‫‪92‬‬
‫ﻋ ﹾﻨ َﺯ ﹲﺓ‬
‫َ‬

‫ﻕ‬
‫ﺍﻟﻐﺴ ﹸ‬
‫ﻱ‪.‬‬
‫ﻕ ﺼﺤﺭﺍﻭ ﱞ‬
‫ﻭ ﻁﺭﻴ ﹲ‬

‫ﻓﺠﺄ ﹰﺓ‬
‫ﺕ ﻋ‪‬ﻨﺯ ﹰﺓ ‪.‬‬
‫ﻏﺩﻭ ﹸ‬

‫ﻕ ﺍﻷﻤ ‪‬ﺭ ﺩﻗﻴﻘﺘﻴﻥ‬

‫ﻟﻸﻤﺎﻨ ِﺔ ‪ ..‬ﺍﺴﺘﻐﺭ ﹶ‬
‫ﺠﻤ‪‬ﺘﻲ‪،‬‬
‫ﺠ ‪‬ﻤ ‪‬‬
‫ﻥ ﻤﻥ ‪‬‬
‫ﻕ ﺍﻟﻘﺭﻨﺎ ِ‬
‫ﻟﻴﻨﺒﺜ ﹶ‬
‫ﻱ‬
‫ﻱ ﺍﻟِﻔﻘﹶﺭ ‪‬‬
‫ﻴﺘﻤﺭ ‪‬ﺩ ﻋﻤﻭﺩ ‪‬‬
‫ﻭﻴﺴﺘﻘ ‪‬ﺭ‬
‫ﻋﻠﻰ ﻨﺤ ٍﻭ ﺃﻓﻘﻲ‪،‬‬
‫ﻕ ﺃﺼﺎﺒﻌﻲ ﻫﻜﺫﺍ‬
‫ﺜﻡ ﺘﻠﺘﺼ ﹶ‬
‫ﻭﺘﺘﺨ ﹶﺫ ﺃﻅﺎﻓﺭﻱ ﻁﺭﻴﻘﹶﻬﺎ ﻨﺤ ‪‬ﻭ ﺍﻟﺘﻁﱠﻭ ِﺭ‬
‫ﻓﺘﻐﺩﻭ ﺤﻭﺍﻓ ‪‬ﺭ‪.‬‬

‫‪93‬‬
 ‫ﻕ ﺼﺤﺭﺍﻭﻴ‪‬ﺎ ﺇﺫﻥ‬
‫ﻤﺎ ﻋﺎ ‪‬ﺩ ﺍﻟﻁﺭﻴ ﹸ‬
‫ﺸ ‪‬ﺩ ﻤﺎﻋ ٍﺯ‪.‬‬
‫ﺤﹾ‬‫ﺒل ﺼﺎ ‪‬ﺭ ‪‬‬

‫ﻜ ‪‬ﻡ ﻴﻌﺠ ‪‬ﺒﻨﻲ ﻫﺫﺍ ﺍﻟﻤﺸﻬﺩ !‬

‫ﻏﻴﺭ ﺃﻨﻲ‪،‬‬
‫ل ﺍﻟ ﹸﻨﻔﹸﻕ‪.‬‬
‫ﺃﻜﺭ ‪‬ﻩ ﺘﺼﺎﺩﻤ‪‬ﻨﺎ ﺩﺍﺨ َ‬

‫ﻭﺍﻵﻥ‬
‫ﺏ ﺍﻟﺜﹸﻐﺎ ‪‬ﺀ ﻓﻲ ﺁﺫﺍﻨِﻬﻡ‬
‫ﺃﺠ ‪‬ﺭ ‪‬‬
‫ﻕ ﺨﺎﺼﺭ ٍﺓ ﺃﻭ ﺍﺜﻨﺘﻴﻥ‪،‬‬
‫ﻟ ‪‬ﻌ ﹶ‬
‫ﻕ ﻫﻨﺎ‪ ،‬ﻭﻫﻨﺎ‪.‬‬
‫ﺃﺜﻐ ‪‬ﻭ ﻭﺃﻟﻌ ﹸ‬

‫ﺭﻭﺤﻲ‬
‫ﻥ‬
‫ﺘﺤ ‪‬ﺭﻜﹸﻬﺎ ﺍﻵ ‪‬‬
‫ﻋﻨﺯﺓ‪،‬‬
‫ﻋﻀﻠ ﹸﺔ ﻭﻋﻅﺎ ‪‬ﻡ ‪‬‬
‫ﺭﺍﺌﺤﺘﹸﻬﺎ ﻭﻓﺭﺍﺅﻫﺎ ‪.‬‬
‫ﻭﻜﺫﺍ‬

‫‪94‬‬
 ‫ﺤﺏ‪ ‬ﻋﻠﻰ ﻁﺭﻴﻘﺘِﻬﺎ‪.‬‬
‫ﺏ ﺍﻟ ‪‬‬
‫ﺴﺄﺭﺘﻜ ‪‬‬

‫ﻲ ﺍﻷﻤ ‪‬ﺭ‬
‫ﺍﻨﺘﻬﻰ ﺒ ‪‬‬
‫ﺱ ﺍﻟﻘﻁﻴﻊ‬
‫ﻋﻠﻰ ﺭﺃ ِ‬
‫ﺝ ﺍﻟﺸﱠﺠﺭ‪،‬‬
‫ﻕ ﻭ ﺴﻴﺎ ِ‬
‫ﻋﻨﺩ ﺍﻟﺘﻘﺎ ِﺀ ﺍﻟﻁﺭﻴ ِ‬
‫ﺽ‬
‫ﺭﺍﺌﺤ ﹸﺔ ﺍﻷﺭ ِ‬
‫ﺏ‬
‫ﺍﻟﻌﺸ ِ‬
‫ﺕ‬
‫ﻕ ﺍﻟﻨﺒﺎ ِ‬
‫ﺃﻭﺭﺍ ِ‬
‫ﺱ ﺍﻷﺯﻫﺎ ِﺭ‬
‫ﻭ ﺭﺅﻭ ِ‬
‫ﻁ‬
‫ﺕ ﻋﺼﺎﺭ ِﺓ ﺍﻟﻤﻁﺎ ِ‬
‫ﻁ ﻨﻜﻬﺎ ِ‬
‫ﻭﺍﺨﺘﻼ ِ‬
‫ﺒﺎﻟﺘﻭﺍﺒل‪.‬‬

‫ل ﺸﻲ ٍﺀ ﺇﺫﻥ‬
‫لﻜﱠ‬
‫ﺴﻭﻑ ﺁﻜ َ‬
‫ﺕ ﺍﻟﻌﺎﹶﻟ ‪‬ﻡ‬
‫ﺕ ﻋﻴﻨﻲ ﻭ ﺍﻟﺘﻬﻤ ﹸ‬
‫ﻏﻤِﻀ ﹸ‬
‫ﺭﺒﻤﺎ ﺃ ﹾ‬
‫ﻕ ﺍﻟﺸﻬ ‪‬ﻴ ﹶﺔ ﺘﺤﺕ ﺍﻷﺸﻌ ِﺔ ﺍﻟﺩﺍﻓﺌﺔ‪.‬‬
‫ﺃﻤﻀ ﹸﻎ ﺍﻷﻭﺭﺍ ﹶ‬
‫ﺜ ‪‬ﻡ‬
‫ﺱ ﺍﻵﻓﻠ ﹶﺔ ﺘﻠﻙ‬
‫ﻕ ﺍﻟﺸﻤ ‪‬‬
‫ﺃﺘﺫﻭ ﹸ‬
‫ﺏ ﺍﻟﺩﺍﻜﻨ ِﺔ ﺃﻴﻀ‪‬ﺎ‬
‫ﻼ ﻤﻥ ﺍﻟﺴﺤ ِ‬
‫ﻗﻠﻴ ﹰ‬

‫‪95‬‬
 ‫ﻭ ﺒﻌﺩﻫﺎ‬
‫ﺽ ﺍﻟﻤﺒﺎﻨﻲ ﺍﻟﺸﺎﻫﻘ ﹶﺔ ﻫﻨﺎﻙ‬
‫ﺒﻌ ‪‬‬
‫ﺒﻌﻴﺩ‪‬ﺍ ﻓﻲ ﺍﻟﻤﺩﻴﻨ ِﺔ ﺍﻟﻤﺠﺎﻭﺭﺓ‪.‬‬

‫ﺕ ﺘﻭ‪‬ﺍ‬
‫ﻻﺒ ‪‬ﺩ ﺃﻨﻲ ﺍﺒﺘﻠﻌ ﹸ‬
‫ﻲ‬
‫ﻤﺒﻨﻰ ﺍﻹﺩﺍﺭ ِﺓ ﺍﻟﺭﺌﻴﺴ ‪‬‬
‫ﻷﻥ ﻋﻤﻠﻴ ﹶﺔ ﺍﻟﻬﻀ ِﻡ ﺍﻟﻬﺎﺌﻠﺔ‬
‫ﺡ ﺍﻟﻨﻬﺎﻴﺎﺕ‪.‬‬
‫ل ﻤﻔﺘﻭ ِ‬
‫ﺕ ﻤﻤ ‪‬ﺭ ﻁﻭﻴ ٍ‬
‫ﺘﺸﻲ ﺒﺘﻔﺘ ِ‬

‫ﺭﺒﻤﺎ ﻜﺎﻥ ﻫﺫﺍ ﺍﻟﻤﻤ ‪‬ﺭ‬

‫ﺇﺼﺒﻌ‪‬ﺎ ﺼﻐﻴﺭ‪‬ﺍ‬
‫ل ﻤﺎ‪.‬‬
‫ﻟﺭﺠ ٍ‬

‫‪96‬‬
‫ﺭﺍﻓﺎﺌﻴل ﻜﺎﻤﺒﻭ‬

‫‪97‬‬
‫ﺍﻟﻘﻤﺭ ﺍﻟﺒﻌﻴﺩ‬
‫)‪(1‬‬

‫ﻓﻲ ﺍﻟﻤﺴﺘﺸﻔﻰ‬
‫ﻤ ‪‬ﺭ ﹰﺓ ﺃﺨﺭﻯ‪،‬‬
‫ﻨﻭﺒ ﹸﺔ ﺍﻟﺭﺌ ِﺔ ﺍﻟﺘﻲ ﻋﺎﻭﺩﺘﻪ ﻓﻲ ﻴﻨﺎﻴﺭ‬
‫ﻜﺎﺩﺕ ﺘﻘﺘﻠﻪ‪،‬‬
‫ﻭﻗﺘﻬﺎ‬
‫ﺕ ﻓﻲ ﺍﻟﺒﻴﺕ ‪.‬‬
‫ﺃﻗﺴ ‪‬ﻡ ﺃﻥ ﻴﻤﻭ ﹶ‬

‫ﺨﺒ ‪‬ﺯ ﻟﻨﺎ‬

‫‪ -‬ﻜﻌﺎﺩﺘِﻪ ‪-‬‬
‫ﻙ‬
‫ﻗﻁ ‪‬ﻊ ﺍﻟﻜﻌ ِ‬
‫‪ -‬ﺍﻟﺘﻲ ﻻ ﻴﺄﻜﻠﻬﺎ ﺍﻟﺼﻐﺎ ‪‬ﺭ ﺃﺒﺩ‪‬ﺍ ‪-‬‬
‫ﻭ ﻗﺒل ﺃﻥ ﻴﻤﻀﻲ ﻓﻲ ﺍﻟﺨﺎﻤﺴ ِﺔ ﺼﺒﺎﺤ‪‬ﺎ‬

‫‪98‬‬
 ‫ﺦ‬
‫ﻙ ﺍﻟﻤﻁﺒ ﹶ‬
‫ﺘﺭ ‪‬‬
‫– ﺍﻟﺫﻱ ﺒﺩﺍ ﺼﻐﻴﺭ‪‬ﺍ ﺠﺩ‪‬ﺍ ‪-‬‬
‫ﻨﻅﻴﻔﹰﺎ ﻭ ﻤﺭ ﹼﺘﺒ‪‬ﺎ ‪.‬‬

‫ﺭﺍﺡ ﻴﺤﻜﻲ‪:‬‬
‫" ﺭﻴﺘﺸﺎﺭﺩ ﺠﻴﺭ" ﻟﻡ ﻴﻜﻥ ﺸﺎﺫ‪‬ﺍ‬
‫ﺃﻤﺎ ﺍﻟﻜﻼ ‪‬ﻡ ﻋﻥ ﺍﻹﻴﺩﺯ‬
‫ﻭﺍﻟﻨﻭ ِﻡ ﻤﻊ ﺼﺩﻴﻕ‬
‫ﻓﻤﺅﺍﻤﺭ ﹲﺓ ﻤﺤﻜﻤ ﹲﺔ‬
‫ﺩﺒ‪‬ﺭﺘﻬﺎ ﺍﻟﺤﻜﻭﻤﺔ ‪.‬‬
‫ﺙ ﺸﻬﻭﺭ‪‬ﺍ ﺃﺭﺒﻌﺔ‬
‫ﻤﻜ ﹶ‬
‫ﺜﻡ ﻓﻘ ‪‬ﺩ ﺒﺼﺭ‪‬ﻩ‬
‫ﻋﻠﻰ ﻤﺭﺃﻯ ﻤﻥ ﺍﻷﻁﺒﺎﺀ‪.‬‬

‫)‪(2‬‬
‫ﻓﻲ ﺃﺤﺩ ﺍﻷﻴﺎﻡ‬

‫‪99‬‬
‫ﺏ ﻤﻥ ﺩﻤِﻪ ﺒﺎﻟﻤﺤﻘﹶﻥ‬
‫ﺒﻴﻨﻤﺎ ﻜﻨﺕ ﺃﺴﺤ ‪‬‬
‫ﻗﺎل ﻀﺎﺤﻜﹰﺎ ‪:‬‬
‫ﺕ ﺍﻵﻥ ﺼﺩﻴﻘﺘﻲ‬
‫ﺃﻨ ِ‬
‫ﺃﺨﺘﻲ ﻓﻲ ﺍﻟﺩﻡ ‪.‬‬

‫ﺡ‬
‫ﺜﻡ ﺼﺎ ‪‬‬
‫" ﻤﺼﺎﺼ ﹸﺔ ﺩﻤﺎﺀ !"‬
‫ﻫﻜﺫﺍ ﺼﺭﺥ‪.‬‬

‫ﺕ ﺘﺠﻌﻠﻨﻲ ﺃﺤﻴﺎ ﺇﻟﻰ ﺍﻷﺒﺩ "‬

‫"ﺃﻨ ﹶ‬
‫ﻜﺎﻥ ﻫﺫﺍ ﺭﺩ‪‬ﻱ ﺍﻟﻭﺤﻴﺩ‬
‫ﺕ ﺠﺒﻴﻨﻲ ‪.‬‬
‫ﺜﻡ ﻗﻁﱠﺒ ﹸ‬
‫ﻕ ﻓﻲ ﺩﻤﺎﺌِﻪ‪،‬‬
‫ﺃﻋﻠﻡ ﺃﻨﻲ ﺃﻏﺭ ﹸ‬
‫ﺩﻤﺎﺌِﻪ ﺍﻟﻘﺭﻤﺯﻴﺔ ‪.‬‬

‫‪100‬‬
 ‫ﺕ ﺃﻨﺎﺒﻴﺒﻲ ﺍﻟﺴﺒﻌ ﹶﺔ ؛‬
‫ﻤﻸ ﹸ‬
‫ﻜﺎﻥ ﺍﻟﺩﻑ ‪‬ﺀ ﺃﺒﻁَﺄ ﻤﻥ ﺃﻥ ﻴﻐﺎﺩﺭﻫﺎ‬
‫ﻲ ﻋﻠﻴﻬﺎ‪.‬‬
‫ﺕ ﺒﻜﻔ ‪‬‬
‫ﻓﻀﻐﻁ ﹸ‬

‫ﻜﻨﺕ ﺤﺯﻴﻨ ﹰﺔ ﻷﻨﻪ ﻻ ﻴﺭﻯ ﻭﺠﻬﻲ‬

‫ﻭ ﻷﻨﻨﻲ‬
‫ﻟﻡ ﺃﺴﺘﻁﻊ ﺃﻥ ﺃﺤﺘﻭﻴﻪ‪.‬‬

‫ﺃﻜﺭﻩ ﺤﻘﻴﻘﺔ ﻜﻭﻨﻪ ﻴﻤﻀﻲ‬

‫ﻭ ﻜﻭﻨﻪ ﻴﺘﻘﺎﻁﻊ ﻤﻊ ﺒﺸﺭﺘﻲ‪،‬‬
‫ﺃﺨﻲ ﻓﻲ ﺍﻟﺩ ِﻡ‬
‫ﺭﻓﻴﻘﻲ‪.‬‬

‫)‪(3‬‬
‫ﻗﺎل ﺇﻨﻲ ﺠﻤﻴﻠ ﹲﺔ ﺠﺩ‪‬ﺍ‬
‫ﻭﻤﻊ ﻫﺫﺍ‬

‫‪101‬‬
 ‫ﻟﻭ ﻜﺎﻨﺕ " ﺠﻭﺩﻱ ﻓﻭﺭﺴﺘﺭ" ﻤﺜﻠﻴﺔﹰ‪،‬‬
‫ﻟﻜﺎﻥ ﺍﻷﻁﺒﺎ ‪‬ﺀ ﺠﻤﻴﻌ‪‬ﺎ ﺸﻭﺍﺫ‪‬ﺍ ‪.‬‬
‫ﺒﻘﺎﻴﺎ ﺍﻟﺨﻁﺎﻴﺎ ﺘﻭﺨ ‪‬ﺯ‬
‫ﻱ‬
‫ﺘﺤﺕ ﻋﻤﻭﺩﻱ ﺍﻟﻔﻘﺭ ‪‬‬
‫" ﺤﺴﻨﹰﺎ‪ ،‬ﻗﺩ ﺍﻨﺘﻬﻴﺕ ‪".‬‬
‫ﺤﻘﹶﻥ ﻤﻥ ﻅﻬﺭﻩ‬
‫ﻗﻠﺘﻬﺎ ﻓﻴﻤﺎ ﺃﺴﺤﺏ ﺍﻟ ِﻤ ‪‬‬
‫ﻁ ﺒﺈﺼﺒﻌﻲ ﺘﻠﻙ ﺍﻟﺒﻘﻌﺔ‪.‬‬
‫ﻭ ﺃﻀﻐ ﹸ‬
‫"ﺍﻟﻌﻴﻨ ﹸﺔ ﺼﺎﻓﻴ ﹲﺔ !"‬
‫ﻟﻡ ﺃﺠﺏ‪،‬‬
‫ﺍﻟﺒﻘﻌ ﹸﺔ‬
‫ﻜﺎﻨﺕ ﻤﻌﻘﹼﻤ ﹰﺔ ﻭﻤﻐﻁﺎ ﹰﺓ ﺒﺎﻟﻘﻁﻥ ‪.‬‬
‫ﺏ ﻤﻥ ﺍﻟﻤﻭﺕ ﺒﺴﺭﻋﺔ‬
‫ﻜﺎﻥ ﻴﻘﺘﺭ ‪‬‬
‫ﻭ ﺇﺨﺒﺎﺭﻩ ﺒﺎﻷﻤ ِﺭ‬
‫ﻴﺒﺩﻭ ﻋﻘﻴﻤ‪‬ﺎ‪.‬‬
‫ﺕ‬
‫ﺜﻡ ﻤﺎ ﹶ‬

‫‪102‬‬
 ‫ﻤﺠﻬﻭﻻ ﻤﻥ ﺍﻟﺠﻤﻴﻊ‬
‫ﺴﻭﺍﻱ‪.‬‬

‫ﻤﻀﻰ‬
‫ﻕ ﻓﻲ ﻗﻠﺒﻪ ﺍﻟﻀﺎﺤﻙ‪.‬‬
‫ﺘﺎﺭﻜﹰﺎ ﺇﺒﺭﺘﻲ ﻤﻐﺭﻭﺴ ﹰﺔ ﺒﻌﻤ ٍ‬
‫ﻭ ﺘ ‪‬ﻡ ﺍﻟﺘﺸﺭﻴﺢ‪.‬‬

‫)‪(4‬‬

‫ﺕ ﺃﻗﺭﺃ ﻟﻪ ﻓﻲ ﺍﻟﻠﻴل‪.‬‬
‫ﻜﻨ ﹸ‬
‫" ﻨﻴﻭ ﻴﻭﺭﻙ ﺘﺎﻴﻤﺯ‪ ،،‬ﺍﻷﻓﻭﻜﻴﺕ "‪،‬‬
‫ﻗﺭﺍﺀ ﹸﺓ ﺍﻷﺒﺭﺍﺝ‪،‬‬
‫ﻭ ﺴﻁﻭ ٍﺭ ﻤﻥ ﺭﻴﺘﺸﺎﺭﺩ ﻫﻭﺍﺭﺩ‬
‫ﻜﺎﻨﺕ ﺘﺸﺤﻨﻨﺎ ﺒﺎﻷﻤل‪.‬‬

‫ﺍﻟﻤﺴﺘﺸﻔﻰ ﺍﻟﻬﺎﺩﺉ ﺸﺩﻴ ‪‬ﺩ ﺍﻻﺘﺴﺎﻉ‬

‫‪103‬‬
 ‫ﺽ ﺍﻟﻤﺼﻘﻭﻟ ﹸﺔ ﺜﻠﺠﻴ ﹸﺔ ﺍﻟﺒﻴﺎﺽ‪،‬‬
‫ﺍﻷﺭ ‪‬‬
‫ﺕ ﺍﻟﻘﺎﺘﻤﺔ‪،‬‬
‫ﺍﻟﻁﺭﻗﺎ ﹸ‬
‫ﺍﻟﺘﻲ ﺘﺅﺩﻱ ﺇﻟﻰ ﻜل ﺍﻷﻤﻜﻨ ِﺔ ﺘﻘﺭﻴﺒﺎ ‪:‬‬
‫ﻼ‬
‫ﺕ ﻤﺜ ﹰ‬
‫ﺇﻟﻰ ﺍﻟﻤﻭ ِ‬
‫ﺃﻭ‬
‫ﺕ ﺍﻟﻜﻭﻜﺎﻜﻭﻻ ﺍﻟﺘﻲ ﺘﻀﺊ‬
‫ﺇﻟﻰ ﻤﺎﻜﻴﻨﺎ ِ‬
‫ﺡ‪.‬‬
‫ﻜﺎﻷﺸﺒﺎ ‪‬‬

‫ﻲ‬
‫ﻸ ﺭﺌﺘ ‪‬‬
‫ﺕ ﺒﺄﻨﻔﺎﺴِﻪ ﺘﻤ ُ‬
‫ﺤﻠﻤ ﹸ‬
‫ﻲ‪.‬‬
‫ﻥ ﺸﻔﺘ ‪‬‬
‫ﺒﺸﻔﺘﻴﻪ ﺘﻼﻤﺴﺎ ِ‬
‫ﺱ ﺍﻟﻘﺒ ‪‬ﺭ‬
‫ﺕ ﻭﻜﺄﻨﻨﻲ ﺃﻟﻤ ‪‬‬
‫ﺸﻌﺭ ﹸ‬
‫ﻭ ﻓﻲ ﻟﺤﻅ ٍﺔ‬
‫ﺘﻌﻁﹼل ﺫﻫﻨﻲ‪.‬‬

‫ﻓﻲ ﺍﻟﻤﺭﺁﺓ‬

‫‪104‬‬
 ‫ﻜﺎﻥ ﻴﻠﻤ ‪‬ﻊ ﻫﻨﺎﻙ‬
‫‪ -‬ﻤﺜل ﻜل ﻴﻭﻡ ‪-‬‬
‫ﺍﻟﻘﻤ ‪‬ﺭ ﺍﻟﺒﻌﻴﺩ‪.‬‬

‫‪105‬‬
‫ﺴﻭﺯﺍﻥ ﺴﺘﻴﻭﺍﺭﺕ‬

‫‪106‬‬
‫ﺭﻤﺎﺩ‬

‫ﺝ ﺇﻟﻰ ﺍﻟﻨﺎ ِﺭ‬

‫ﻨﺤﺘﺎ ‪‬‬
‫ﻜﻲ ﻨﺼﻨ ‪‬ﻊ ﺍﻟﻤِﻠﻘﻁﹶ‪،‬‬
‫ﻁ‬
‫ﻭ ﺍﻟﻤِﻠﻘ ِ‬
‫ﺏ‪.‬‬
‫ﻜﻲ ﻴﺤﻤﻴﻨﺎ ﻤﻥ ﺍﻟﻠﻬ ‪‬‬

‫ﺝ ﺇﻟﻰ ﺍﻟﺭﻤﺎ ِﺩ‬

‫ﻨﺤﺘﺎ ‪‬‬
‫ﺞ‬
‫ﻑ ﺍﻟﻨﺴﻴ ‪‬‬
‫ﻜﻲ ﻨﻨﻅ ﹶ‬
‫ﺞ‬
‫ﻭﺍﻟﻨﺴﻴ ِ‬
‫ﻑ ﺒﻘﻌ ﹶﺔ ﺍﻟﺭﻤﺎ ‪‬ﺩ ‪.‬‬
‫ﻅ ﹶ‬
‫ﻜﻲ ﻨﻨ ﱢ‬

‫ﺝ ﺇﻟﻰ ﺍﻟﻨﺠﻭ ِﻡ‬

‫ﻨﺤﺘﺎ ‪‬‬
‫ﻜﻲ ﻨﺠ ‪‬ﺩ ﻁﺭﻴﻘﹶﻨﺎ‬
‫ﻭ ﻨﺼﻨ ‪‬ﻊ ﺍﻟﻨﻭ ‪‬ﺭ ﺍﻟﺫﻱ ﺃﻅﻠ ‪‬ﻡ ﺍﻟﻨﺠﻭ ‪‬ﻡ ‪.‬‬

‫‪107‬‬
 ‫ﺕ‬
‫ﺝ ﺇﻟﻰ ﺍﻟﻤﻭ ِ‬
‫ﻨﺤﺘﺎ ‪‬‬
‫ﻜﻲ ﻨﺤ ‪‬ﺩ ‪‬ﺩ ﺍﻟﻨﻬﺎﻴﺔﹶ‪،‬‬
‫ﻨﻬﺎﻴ ﹰﺔ‬
‫ﻥ‪.‬‬
‫ﺢ ﻓﺴﺎ ‪‬ﺩ ﺍﻟﺯﻤ ‪‬‬
‫ﻗﺩ ﺘﹸﺼﻠ ‪‬‬

‫ﺏ‬
‫ﻨﻭﻟ ‪‬ﺩ ﻓﻲ ﺍﻟﺤ ‪‬‬
‫ﺤﺏ‪‬‬
‫ﺝ ﺇﻟﻰ ﺍﻟﻤﻴﻼ ِﺩ ﻓﻲ ﺍﻟ ‪‬‬
‫ﻨﺤﺘﺎ ‪‬‬
‫ﺱ‬
‫ﺨ ‪‬ﺒﺭ‪‬ﻨﻲ ﺃﻴﻬﺎ ﺍﻟﻤﻐﻨﹼﻲ ﺍﻟ ﹶﺘ ِﻌ ‪‬‬
‫ل ﺍﻟﺭﻤﺎ ‪‬ﺩ ﺍﻟﻤﻁﻔُﺄ‬
‫ﻜﻴﻑ ﻴﺤﻤ ُ‬
‫ﺒﺫﺭ ﹰﺓ ﺤ ‪‬ﻴ ﹰﺔ ‪.‬؟‬

‫‪108‬‬
‫ﻤﻥ ﺩﺭﻭﺱ ﺍﻟﺘﻠﻔﺯﻴﻭﻥ‬

‫ﻙ‪.‬‬
‫ﺍﻀﺤ ‪‬‬

‫ﺍﻟﻤﻭﺴﻴﻘﻰ‬
‫ل ﺍﻟﻤﺸﺎﻋ ‪‬ﺭ ﺘﺘﻀﺨﻡ ؛‬
‫ﺘﺠﻌ ُ‬
‫ﺍﻟﻤﻭﺴﻴﻘﻰ‬
‫ﺕ ﻓﻘﻁ‬
‫‪‬ﻭﺠﺩ ﹾ‬
‫ل ﺘﻨﻅﻴ ِﻡ ﺍﻟﺭﺅﻴﺔ‪،‬‬
‫ﻤﻥ ﺃﺠ ِ‬
‫ﻭ ﻫﻜﺫﺍ ﺘﻐﺩﻭ ﺍﻟﻤﺸﺎﻋ ‪‬ﺭ‬
‫ﺕ ﺘﺭﻗﻴ ‪‬ﻡ‪.‬‬
‫ﻋﻼﻤﺎ ِ‬

‫ﻁ ﺍﻟﺤﺭ ‪‬ﻴ ِﺔ‬

‫ﺸﺭﻭ ﹸ‬
‫ﻥ ﻤﻥ ﺍﻹﺫﻻل‪،‬‬
‫ﻟﻭ ‪‬‬
‫ل‬
‫ﻭ ﺍﻹﺫﻻ ُ‬

‫‪109‬‬
 ‫ﻻ ﻤﺘﻨﺎ ٍﻩ ﻤﺜل ﺍﻟﺭﻏﺒ ﹾﺔ ‪.‬‬

‫ﻙ‬
‫ﺴ‪‬‬
‫ﻙ ﻤﻥ ﻨﻔ ِ‬
‫ﻴﺠﺏ ﺃﻥ ﺘﻀﺤ ‪‬‬
‫ﻙ‪.‬‬
‫ﻙ ﻭﺘﻀﺤ ‪‬‬
‫ﺘﻀﺤ ‪‬‬

‫ﺍﻟﻤﺴﺎﻟﻤﻭﻥ‬
‫ﻗﺩﻴﺴﻭﻥ ﻭﻻﺒ ‪‬ﺩ‪،‬‬
‫ﺕ‬
‫ﺃﻤ‪‬ﺎ ﺃﻨ ﹶ‬
‫ﺱ‬
‫ﻓﻼ ﻗﺩﻴ ‪‬‬
‫ﻭﻻ ﻤﺴﺎﻟﻡ‪.‬‬

‫ﺍﻟﻨﺴﺎ ‪‬ﺀ‬
‫ل ﻋﺎﺩ ﹰﺓ‬
‫ﺃﺼﻐ ‪‬ﺭ ﺤﺠﻤ‪‬ﺎ ﻤﻥ ﺍﻟﺭﺠﺎ ِ‬
‫ﻥ ﺍﻟﻭﺠﻭ ‪‬ﻩ‬
‫ﻟﻜ ‪‬‬
‫‪ -‬ﻓﻲ ﻟﻘﻁﺎﺕ ﺍﻟﺯﻭﻭﻡ ‪-‬‬

‫‪110‬‬
 ‫ﺘﺒﺩﻭ ﻤﺠﻬﺩ ﹰﺓ‪.‬‬

‫ﻥ‬
‫ﺍﻟﺸﱠﻌ ‪‬ﺭ ﻭﺍﻷﺴﻨﺎ ‪‬‬
‫ﻥ ﻋﻠﻰ ﺍﻟﻁﺒﻘﺔ ﺍﻻﺠﺘﻤﺎﻋﻴ‪‬ﺔ‪.‬‬
‫ﻴﻨﺒﺌﺎ ِ‬

‫ﻟﻬﺫﺍ‬
‫ﻙ ﻤﻥ ﻨﻔﺴﻙ‪،‬‬
‫ﺏ ﺃﻥ ﺘﻀﺤ ‪‬‬
‫ﻴﺠ ‪‬‬
‫ﻙ‬
‫ﺘﻀﺤ ‪‬‬
‫ﻙ‪.‬‬
‫ﺜﻡ ﺘﻀﺤ ‪‬‬

‫ل‪.‬‬
‫ﺍﻷﺴﺭ‪ ‬ﹸﺓ ﻤﻭﺍﻗ ‪‬ﻊ ﺍﻹﺫﻻ ْ‬

‫ﺍﻷﺨﺒﺎ ‪‬ﺭ‬
‫ﺘﺤﻜﻲ ﻋﻥ ﺍﻷﺨﺒﺎ ِﺭ ‪.‬‬

‫‪111‬‬
 ‫ﺍﻟﻨﺴﺎ ‪‬ﺀ‬
‫ﻴﻁﻠﺒﻥ ﺸﻴﺌًﺎ ﺩﺍﺌﻤ‪‬ﺎ‪.‬‬
‫ﺕ‬
‫ﻭ ﺃﻨ ﹶ‬
‫ﺇﻤ‪‬ﺎ ﻨﺎﺌ ‪‬ﻡ‬
‫ﺃﻭ ﺘﺴﺘﻌ ‪‬ﺩ ﻟﻠﻨﻭﻡ‪.‬‬

‫ﺍﻷﺯﻴﺎ ‪‬ﺀ‬
‫ل ﺍﻟﻭﻗﺕ‬
‫ل ﻁﻭﺍ َ‬
‫ﺘﺘﺒ ‪‬ﺩ ُ‬
‫ل ﻓﻲ ﺫﺍﺘِﻪ‬
‫ﻭ ﺍﻟﺘﺒﺩﻴ ُ‬
‫ﻨﻜﺘ ﹲﺔ ﻤﻀﺤﻜﺔ‪.‬‬

‫ﺏ‬
‫ﺍﻷﺴﺒﺎ ‪‬‬
‫ﻻ ﻴﻤﻜﻥ ﺘﺤﺩﻴﺩ‪‬ﻫﺎ‪،‬‬
‫ﺞ‬
‫ﻥ ﺍﻟﻨﺘﺎﺌ ‪‬‬
‫ﻟﻜ ‪‬‬
‫ﺘﺄﺘﻲ ﻓﻲ ﺍﻟﻤﻭﻋ ‪‬ﺩ‬

‫‪112‬‬
 ‫ﺩﺍﺌﻤ‪‬ﺎ‪.‬‬

‫ل‬
‫ﺍﻷﻁﻔﺎ ُ‬
‫ﺝ ﺃﻋﻤﺎ ِﺭﻫﻡ‬
‫ﻴﻌﻴﺸﻭﻥ ﺨﺎﺭ ‪‬‬
‫ﺇﺫﺍ ﻟﻡ ﻴﻐ ﹼﻨﻭﺍ ﻓﻲ ﺍﻟﻜﻭﺭﺍل ‪.‬‬

‫ﺕ‬
‫ﺍﻷﻤﻬﺎ ﹸ‬
‫ﻻ ﻴﺴﺘﻁﻌﻥ ﺸﻴﺌًﺎ‬
‫ﻤﻊ ﺇﻥ ﻫﻨﺎﻙ ﺩﺍﺌﻤ‪‬ﺎ‬
‫ﻤﻜﺎﻨﹰﺎ ﻟﻠﻔ ‪‬ﺭﺡ ‪.‬‬

‫ﺍﻟﻘﺩﻴﺴﻭﻥ‬
‫ﻴﻨﻘﻠﺒﻭﻥ ﺇﻟﻰ ﺍﻷﺴﻭﺃ‪،‬‬
‫ﺃﻤﺎ ﺍﻟﻤﺴﺎﻟﻤﻭﻥ ﻴﻤﻭﺘﻭﻥ‬
‫ﻭﺠﺩﻭﺍ‪.‬‬ ‫ﺇﻥ‬

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‫ﺠﺭﺍﻫﺎﻡ ﻤﻭﺭﺕ‬
‫‪114‬‬
‫ﺍﻟﻨﺴﻴﺎﻥ‬

‫ﺍﻟﻤﺭﺁ ﹸﺓ ﺘﻠﻙ‪,‬‬
‫ﺱ ﺨﺭﻴﻁ ﹶﺔ ﺒﺸﺭﺘﻲ‬
‫ﺍﻟﺘﻲ ﺘﻌﻜ ‪‬‬
‫ﺒﻐﻴﺭ ﺩﻻﻻﺕٍ‪،‬‬
‫ﺕ ﺒﺸﺭ‪‬ﺍ ﻜﺜﻴﺭﻴﻥ ﻗﺒﻠﻲ‪.‬‬
‫ﺒﺎﻟﺘﺄﻜﻴ ِﺩ ﺭﺃ ﹾ‬
‫ﺃﻤﺎ ﺍﻟﻨﺩﺒ ﹸﺔ ﺍﻟﺨﺎﺒﻴ ﹸﺔ ﻓﻲ ﺼ‪‬ﺩﻏﻲ‬
‫ﻓﻼ ﺘﻌﻨﻲ ﺸﻴﺌًﺎ !‬

‫ﻀﻭ ‪‬ﺀ ﻓﻲ ﺨﻠﻔﻴ ِﺔ ﺍﻟﻤﺸﻬ ِﺩ‬

‫ل‬
‫ﻲ ﻜﺎﻟﻤﺴﺘﻘﺒ ِ‬
‫ﻨﻘ ‪‬‬
‫ﻭﻏﺎﻤﺽ‪،‬‬
‫ﻓﻴﻤﺎ ﻴﺘﺸﻅﻰ ﺍﻟﻤﺎﻀﻲ ﻜﻤﺭﺁ ٍﺓ ﻤﻬﺸﱠﻤﺔ‪،‬‬
‫ﻼ ‪‬ﻭِﻟ ‪‬ﺩ ﻟﺘﻭ‪‬ﻩ‪،‬‬
‫ﻓﺄﺸﺒ ‪‬ﻪ ﻁﻔ ﹰ‬

‫‪115‬‬
 ‫ﺒﻐﻴ ِﺭ ﻫﻤﻭﻡٍ‪،‬‬
‫ﺒﻐﻴﺭ ﻋﺎ ٍﺭ ﻭﻻ ﻨﺩ ٍﻡ‬
‫ل ﻤﻥ ﺁﺜﺎﻡ‪.‬‬
‫ﻭ ﺒﻼ ﺨﺠ ٍ‬

‫ﻫﻜﺫﺍ ﻋﻠﻤﺘﻨﻲ ﻤﻥ ﺃﺤﺒﺒﺘﹸﻬﺎ‬

‫ﺃﻥ ﺃﺒﺩَﺃ ﻤﻥ ﺠﺩﻴﺩ‪،‬‬
‫ل ﻭﺴﺎﺩﺘﻲ‬
‫ﻋﻠﻤﺘﻨﻲ ﻜﻴﻑ ﻻ ﺃﺒﻠﱢ ُ‬
‫ل ﻤﺴﺎ ٍﺀ‬
‫ﻜﱠ‬
‫ﻉ ﻤﺭﻴﺭ ٍﺓ‪.‬‬
‫ﺒﺩﻤﻭ ٍ‬

‫ﺱ‬
‫ﺒﺎﻷﻤ ِ‬
‫ﺕ ﻓﻲ ﺃﻨﺤﺎ ِﺀ ﺠﺴﺩﻱ‬
‫ﻓﺘﺸ ﹸ‬
‫ﺕ ﻤﻴﻼﺩ‬
‫ﻟﻡ ﺃﺠﺩ ﻭﺸﻤ‪‬ﺎ ﺃﻭ ﻋﻼﻤﺎ ِ‬
‫ﻼ ﻴﻨﺎﻫ ‪‬ﺯ ﺍﻟﺨﻤﺴﻴﻥ‬
‫ﻓﻘﻁ ﺭﺠ ﹰ‬
‫ﺘﺸﻲ ﺭﺌﺘﺎﻩ ﺒﺄﻨﻪ ﻟﻡ ﻴﺩﺨﱢﻥ ﺃﺒﺩ‪‬ﺍ‬

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 ‫ﺕ ﻗﻠﺒِﻪ‬
‫ﻭﺩﻗﺎ ﹸ‬
‫ﻤﻨﺘﻅﻤ ﹲﺔ ﻜﺴﺎﻋ ﹾﺔ‪.‬‬

‫ﺕ ﻓﻲ ﻜﻔﻲ‪،‬‬
‫ﺤﺩﻗﱠ ﹸ‬
‫ﺱ ﺒﺎﻟﻤﺎﻀﻲ‬
‫ﻋﻠﹼﻪ ﻴﻨﺒ ُﺌﻨﻲ ﻋﻤ‪‬ﺎ ﻻﻤ ‪‬‬
‫ﻁ ‪‬ﻡ‬
‫ﺢ ﺃﻭ ﺤ ﱠ‬
‫ﻋﻤ‪‬ﺎ ﺃﺼﻠ ‪‬‬
‫ﻜ ‪‬ﻡ ﻭﺜﻴﻘ ٍﺔ ﹸﺫ ‪‬ﻴﻠﹶﺕ ﺒﺘﻭﻗﻴﻌﻲ‪،‬‬
‫ﻜﻡ ﻤﻥ ﻤﺫﻜﺭﺍﺕٍ‪،‬‬
‫ﺕ ﺒﻴﻥ ﺃﻤﻡ !‬
‫ﻤﻌﺎﻫﺩﺍ ٍ‬
‫ﻨﻌﻡ‬
‫ل ﻗﻠﻤﻲ ﺍﻵﻥ‬
‫ﻟﻲ ﺃﻥ ﺃﺤﻤ َ‬
‫ﻁ ﻋﻠﻰ ﻭﺭﻗ ٍﺔ ﺒﻴﻀﺎﺀ‬
‫ﺃﺨ ﱡ‬
‫ﺃﺴﻤﺎ ‪‬ﺀ ﻤﻥ ﺁﺫﻴﺘﻬﻡ ‪ ...‬ﻭﺍﺤﺩ‪‬ﺍ ﻓﻭﺍﺤﺩ‪‬ﺍ‪.‬‬

‫ﻴﺎ ﺃﺼﺩﻗﺎﺌﻲ‬

‫‪117‬‬
 ‫ﻲ‬
‫ﻥ ﻋﻨ ‪‬‬
‫ﺃﺭﺍﻜﻡ ﺘﺒﺤﺜﻭ ‪‬‬
‫ﺤﻴﺙ ﻻ ﻤﻜﺎﻥ‪،‬‬
‫ﺍﺒﺤﺜﻭﺍ‬
‫ﺭﺒﻤﺎ ﻭﺠﺩﻨﺎ ﻤﺎ ﻓﻘﺩﻨﺎﻩ ﻴﻭﻤ‪‬ﺎ‬
‫ﻟﻜﻨﻨﻲ‬
‫‪ -‬ﻓﻴﻤﺎ ﺃﺒﺼ ‪‬ﺭ‬
‫ﺹ ﺍﻻﺘﻬﺎﻡ‬
‫ل ﻓﻲ ﻗﻔ ِ‬
‫ﻫﺫﺍ ﺍﻟﺭﺠ َ‬
‫ﺽ ﻋﻠﻰ ﺍﺴﻤ ِﻪ ﺍﻟﻀﺎﺌﻊ‬
‫ل ﺃﻥ ﻴﻘﺒ ‪‬‬
‫ﻴﺤﺎﻭ ُ‬
‫ﺱ ﺠﻨﺎﺯﺘِﻪ‬
‫ل ﺃﻥ ﻴﺴﺘﺭﺠ ‪‬ﻊ ﻤﻭﺴﻴﻘﻰ ﻗﺩﺍ ِ‬
‫ﻴﺤﺎﻭ ُ‬
‫ﻑ ﺍﻟﻭﺠﻭ ‪‬ﻩ ﺍﻟﺸﺎﺤﺒ ﹸﺔ ﻓﻲ ﺍﻷﻏﻼل‬
‫ﻓﻴﻤﺎ ﺘﺭﺠ ﹸ‬
‫ﻭﺸﻬﻭ ‪‬ﺩ ﻴﺩﻴﻨﻭﻨﹶﻪ ﻋﺒﺭ ﺃﺭﺒﻌﻴﻥ ﻋﺎﻤ‪‬ﺎ‪-‬‬
‫ﺴﺄﻁﻭﻱ ﻭﺭﻗﺘﻲ‬
‫ﻑ ﺃﻨﻴﻕ‬
‫ﺃﻭﺩﻋ‪‬ﻬﺎ ﻓﻲ ﻤﻅﺭﻭ ٍ‬
‫ﺜ ‪‬ﻡ ﺃﺭﺴﻠﹸﻬﺎ‬
‫ﺒﻼ ﻋﻨﻭﺍﻥ‪.‬‬

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119
 ‫‪Dereck Walcott‬‬ ‫ﺩﻴﺭﻴﻙ ﻭﺍﻟﻜﻭﺕ‬

‫ﻱ‪ .‬ﻭﻟ ‪‬ﺩ ﻓﻲ ‪23‬‬

‫ﺏ‪-‬ﻫﻨﺩ ‪‬‬
‫ﻲ ﻏﺭ ‪‬‬
‫ﺏ ﻤﺴﺭﺤ ‪‬‬
‫ﺸﺎﻋ ‪‬ﺭ ﻭﻜﺎﺘ ‪‬‬
‫ﻴﻨﺎﻴﺭ ‪ ،1930‬ﻓﻲ ﻜﺎﺴﺘﺭﻴﺯ ‪-‬ﺴﺎﻨﺕ ﻟﻭﺸﺎ‪ .‬ﻜﺎﻥ ﻟﻨﺸﺄﺘﻪ ﻓﻲ‬
‫ﺇﺤﺩﻯ ﺍﻟﺠﺯﺭ ﺍﻟﺒﺭﻜﺎﻨﻴﺔ ﺍﻟﻤﻨﻌﺯﻟﺔ‪ ،‬ﺍﻟﺘﻲ ﻜﺎﻨﺕ ﻤﺴﺘﻌﻤﺭ ﹰﺓ‬
‫ﻲ‬
‫ﺒﺭﻴﻁﺎﻨﻴﺔ ﻓﻴﻤﺎ ﻤﻀﻰ‪،‬ﺃﺜ ‪‬ﺭ ﺒﺎﻟ ﹲﻎ ﻋﻠﻰ ﺤﻴﺎﺘﻪ ﻭ ﻤﺸﺭﻭﻋﻪ ﺍﻷﺩﺒ ‪‬‬
‫ﺒﻭﺠ ٍﻪ ﻋﺎﻡ‪ .‬ﺠﺩﺍﻩ ﻷﻤﻪ ﻤﻨﺤﺩﺭﺍﻥ ﻤﻥ ﺴﻠﻑ ﺍﻟﻌﺒﻴﺩ‪ .‬ﻤﺎﺕ ﺃﺒﻭﻩ‪،‬‬
‫ﺍﻟﺭﺴﺎﻡ ﺍﻟﺒﻭﻫﻴﻤﻲ‪ ،‬ﺤﻴﻥ ﻜﺎﻥ ﻭﺍﻟﻜﻭﺕ ﻭﺘﻭﺃﻤﻪ "ﺭﻭﺩﺭﻴﻙ" ﺒﻌﺩ‬
‫ل ﻤﺩﻴﺭ ﹰﺓ ﻟﻠﻤﺩﺭﺴﺔ ﺍﻟﺒﺭﻭﺘﺴﺘﺎﻨﻴﺔ‬
‫ﻁﻔﻠﻴ‪‬ﻥ ﺼﻐﻴﺭﻴﻥ‪.‬ﻜﺎﻨﺕ ﺃﻤ‪‬ﻪ ﺘﻌﻤ ُ‬
‫ﺒﺎﻟﻤﺩﻴﻨﺔ ‪.‬ﺒﻌﺩ ﺩﺭﺍﺴﺘﻪ ﺒﺠﺎﻤﻌﺔ "ﺴﺎﻨﺕ ﻤﺎﺭﻱ" ﺒﺠﺯﻴﺭﺘﻪ ﺍﻷﻡ‪ ،‬ﺜﻡ‬
‫ﻓﻲ ﺠﺎﻤﻌﺔ "ﺍﻟﻬﻨﺩ ﺍﻟﻐﺭﺒﻴﺔ " ﺒﺠﺎﻤﻴﻜﺎ‪ ،‬ﺍﻨﺘﻘل ﻭﺍﻟﻜﻭﺕ ﻋﺎﻡ ‪1935‬‬
‫ﺇﻟﻰ "ﺘﺭﻴﻨﻴﺩﺍﺩ" ﻟﻴﻌﻤل ﻨﺎﻗﺩ‪‬ﺍ ﻤﺴﺭﺤﻴ‪‬ﺎ ﻭﺃﺩﺒﻴ‪‬ﺎ‪ .‬ﺒﺩﺃ ﻜﺘﺎﺒﺔ ﺍﻟﺸﻌﺭ ﻓﻲ‬
‫ﻥ ﻤﺒﻜﺭﺓ‪،‬ﺤﻴﻥ ﻜﺎﻥ ﻋﻤﺭﻩ ‪ 18‬ﻋﺎﻤ‪‬ﺎ‪ ،‬ﻭﻨﺸﺭ ﺃﻭل ﺇﺼﺩﺍﺭﺍﺘﻪ‬
‫ﺴ‪‬‬
‫ﺦ ﺍﺴﻤﻪ ﻟﻡ ﻴﺘﺠﻠﹼﻰ ﺇﻻ‬
‫"‪ 25‬ﻗﺼﻴﺩﺓ" ﻋﺎﻡ ‪ . 1948‬ﻏﻴﺭ ﺃﻥ ﺘﺭﺴﻴ ﹶ‬
‫ﺒﻌﺩ ﻤﺠﻤﻭﻋﺘﻪ "ﻓﻲ ﻟﻴﻠ ٍﺔ ﺨﻀﺭﺍﺀ "ﻋﺎﻡ ‪ .1962‬ﻓﺎﺯ ﺒﺠﺎﺌﺯﺓ‬
‫ﻲ ﻴﻔﻭﺯ ﺒﻬﺎ)‪1.2‬‬
‫ﻨﻭﺒل ﻓﻲ ﺍﻵﺩﺍﺏ ﻋﺎﻡ ‪ 1992‬ﻟﻴﻐﺩﻭ ﺜﺎﻟﺙ ﺯﻨﺠ ‪‬‬
‫ﻤﻠﻴﻭﻥ ﺩﻭﻻﺭ ﺃﻤﺭﻴﻜﻲ(‪.‬ﻤﻥ ﺃﻋﻤﺎﻟﻪ " ﻤﻴﺜﺎﻕ ﺁﺭﻜﺎﻨﺴﺎ " ﻭ " ﻓﻲ‬
‫ﻟﻴﻠﺔ ﺨﻀﺭﺍﺀ"‪.‬‬

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 ‫‪Alice Walker‬‬ ‫ﺁﻟﻴﺱ ﻭﻭﻜﺭ‬

‫ﺕ ﺭﻭﺍﻴﺎﺘﹸﻬﺎ ﻭﻗﺼﺼ‪‬ﻬﺎ‬
‫ﻜﺎﺘﺒ ﹲﺔ ﺃﻤﺭﻴﻜﻴ ﹲﺔ ﺴﻭﺩﺍﺀ‪ ،‬ﺍﺸﺘﻬﺭ ﹾ‬
‫ﺏ ﺒﺎﻟﺤﻜﻤـﺔ‬
‫ﻲ ﺍﻟﻤﺘﺸ ‪‬ﺭ ِ‬
‫ﺍﻟﻘﺼﻴﺭﺓ ﻭﻜﺫﺍ ﻗﺼﺎﺌﺩ‪‬ﻫﺎ ﺒﺎﻟﻁﺎﺒﻊ ﺍﻟﻔﻠﺴﻔ ‪‬‬
‫ﺍﻟﺯﻨﺠﻴ‪‬ﺔ ‪.‬ﺘﹸﻌ ‪‬ﺩ ﺃﺤ ‪‬ﺩ ﺃﻫ ‪‬ﻡ ﺍﻷﺼـﻭﺍﺕ ﺍﻟﺭﺍﺌـﺩﺓ ﺒـﻴﻥ ﺍﻟﻜﺎﺘﺒـﺎﺕ‬
‫ﺕ ﺍﻟﺴﻭﺩﺍﻭﺍﺕ ‪ .‬ﻟﻬﺎ ﺍﻟﻌﺩﻴﺩ ﻤﻥ ﺍﻟﻤﺠﻤﻭﻋﺎﺕ ﺍﻟﺸﻌﺭ‪‬ﻴﺔ‪،‬‬
‫ﺍﻷﻤﺭﻴﻜﻴﺎ ِ‬
‫ﺍﻟﺭﻭﺍﻴﺎﺕ‪،‬ﺍﻟﻘﺼﺹ ﺍﻟﻘﺼﻴﺭﺓ‪ ،‬ﺍﻟﻤﻘﺎﻻﺕ ﻭﻜﺫﺍ ﺍﻟﻜﺘﺎﺒﺎﺕ ﺍﻟﻨﻘﺩﻴ‪‬ﺔ ‪.‬‬
‫ﻜﺘﺎﺒﺎﺘﻬﺎ ﺘﺼﻭ‪‬ﺭ ﺍﻟﻨﻀﺎل ﺍﻟﻤﺯﻤﻥ ﻟﻠﺯﻨﻭﺝ ﻋﺒﺭ ﺍﻟﺘـﺎﺭﻴﺦ‪ ،‬ﻭﻗـﺩ‬
‫ﺫﺍﻋﺕ ﺘﻠﻙ ﺍﻟﻤﻘﺎﻻﺕ ﻟﺤﺴ‪‬ﻬﺎ ﺍﻟﺭﻓﻴﻊ ﻓﻲ ﺘﺼﻭﻴﺭ ﺤﻴـﺎﺓ ﺍﻟـﺴﻭﺩ‬
‫ﻭﺜﻘﺎﻓﺎﺘِﻬﻡ‪ ،‬ﺨﺎﺼ ﹰﺔ ﺍﻟﻤﺭﺃﺓ ﺍﻟﺯﻨﺠﻴﺔ ﻭﻤﺸﺎﻜل ﺤﻴﺎﺘﻬﺎ ﺍﻟﻤﺯﺩﻭﺠـﺔ‬
‫‪:‬ﺍﻟﻨﻭﻋﻴﺔ ﻭﺍﻟﻌﻨﺼﺭﻴﺔ ‪ .‬ﻤﻥ ﺃﻫﻡ ﺃﻋﻤﺎﻟﻬﺎ ﻭﺍﻟﺘﻲ ﻨﺎﻟـﺕ ﻋﻨﻬـﺎ‬
‫ﺠﺎﺌﺯﺓ " ﺒﻭﻟﻴﺘﺯﺭ"‪ ،‬ﻭﻜﺫﺍ ﺍﻷﻜﺜﺭ ﻤﺒﻴﻌ‪‬ﺎ ﻓـﻲ ﺃﻤﺭﻴﻜـﺎ ﺭﻭﺍﻴﺘﻬـﺎ‬
‫ﻱ " ‪1982 -‬ﻭﺍﻟﺘﻲ ﺘﹸﻌ ‪‬ﺩ ﺴِـﻔﺭﺍ ﻴﺤﻜـﻲ‬
‫ﺍﻟﻼﻓﺘﺔ "ﺍﻟﻠﹼﻭﻥ ﺍﻟﻘﺭﻤﺯ ‪‬‬
‫ل ﺍﻤﺭﺃ ٍﺓ ﺴﻭﺩﺍ ‪‬ﺀ ﺠﻨﻭﺒﻴﺔ ﻓﻘﻴﺭﺓ ﻭﻤﻀﻁﻬﺩﺓ ﻋﻨﺼﺭﻴ‪‬ﺎ‪،‬ﻨﺠﺤﺕ‬
‫ﻨﻀﺎ َ‬
‫ﺃﺨﻴﺭ‪‬ﺍ ﻓﻲ ﻗﻬﺭ ﺍﻟﻘﻤ ِﻊ ﺍﻟﻭﺍﻗ ِﻊ ﻋﻠﻴﻬـﺎ ﻋـﻥ ﻁﺭﻴـﻕ ﺘﻨﻅﻴﻤﻬـﺎ‬
‫ﺕ ﻨﺴﺎﺌﻴﺔﹰ‪،‬ﺘﺴﺎﻨﺩ ﺍﻟﻤﺭﺃ ﹶﺓ ﺴﻴ‪‬ﻤﺎ ﺍﻟﻤﻠﻭ‪‬ﻨﺔ‪ .‬ﻭ ﺒـﺎﻟﺭﻏﻡ ﻤـﻥ‬
‫ﺠﻤﺎﻋﺎ ٍ‬
‫ﺍﺘﺴﺎﻉ ﻤﺴﺎﺤ ِﺔ ﻗﺎﺭﺌﻴﻬﺎ ﺇﻻ ﺃﻥ ﻤﻌﻅ ‪‬ﻡ ﻤﺅﻟﻔﺎﺘﻬﺎ ﻤﺤﻅـﻭﺭ ﹲﺓ ﻓـﻲ‬

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‫ﺕ ﻭﻭﻜﺭ ﻨﻔﺴﻬﺎ ﺒﺄﻨﻬـﺎ "‬
‫ﺙ ﻤﺘﻔﺭﻗ ٍﺔ ﻟﻬﺎ ﻭﺼﻔ ﹾ‬
‫ﺃﻤﺭﻴﻜﺎ‪ .‬ﻓﻲ ﺃﺤﺎﺩﻴ ﹶ‬
‫ﻜﺎﺘﺒﺔ ﺍﻟﻤﺭﺃﺓ "‪.‬‬
‫ﻭﻟﺩﺕ ﺁﻟﻴﺱ ﻭﻭﻜﺭ ﻓﻲ ﻭﻻﻴﺔ ﺇﻴﺘﻭﻥ ﺘـﺎﻭﻥ – ﺃﻤﺭﻴﻜـﺎ‪،‬ﺜﻡ‬
‫ﺍﻨﺘﻘﻠﺕ ﺇﻟﻰ ﺍﻟﻤﻴﺴﻴﺴﻴﺒﻲ ﺒﻌﺩ ﺍﻨﺘﻬﺎﺌﻬﺎ ﻤﻥ ﺍﻟﺩﺭﺍﺴـﺔ ﺒﺠـﺎﻤﻌﺘﻲ‬
‫ﺴﺒﻴﻠﻤﺎﻥ ﻭ ﺴﺎﺭﺓ ﻟﻭﺭﺍﻨﺱ ﻭ ﺒﻌﺩ ﻀﻠﻭﻋﻬﺎ ﺍﻹﻴﺠﺎﺒﻲ ﺍﻟﻼﻓﺕ ﻓﻲ‬
‫ﺍﻟﻌﻤل ﺒﻤﺠﺎﻻﺕ ﺤﺭﻜﺎﺕ ﺍﻟﺘﺤﺭﺭ‪.‬‬

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 ‫‪David Wagoner‬‬ ‫ﺩﺍﻴﻔﻴﺩ ﻭﺍﺠﻨﺭ‬

‫‪‬ﻭ ِﻟ َﺩ ﻓﻲ ﻤﺎﺴﻴﻠﻭﻥ‪ -‬ﺃﻭﻫﺎﻴﻭ ﻋـﺎﻡ ‪ .1926‬ﻟـﻪ ﻋـﺸﺭ‬

‫ﺭﻭﺍﻴﺎﺕ ﻭﺴﺕ ﻋﺸﺭﺓ ﻤﺠﻤﻭﻋﺔ ﺸﻌﺭﻴﺔ‪ .‬ﺤﺎﺯ ﺠﺎﺌﺯﺓ "ﺭﻭﺙ ﻟﻴﻠـﻲ"‬
‫ﺍﻟﺸﻌﺭﻴﺔ ﻋﺎﻡ ‪،1991‬ﻋﻤل ﺒﺘﺩﺭﻴﺱ ﺍﻟﻠﻐﺔ ﺍﻹﻨﺠﻠﻴﺯﻴﺔ ﻷﻋﻭﺍﻡ ﻁﻭﺍل‬
‫ﻓﻲ ﺠﺎﻤﻌﺔ ﻭﺍﺸﻨﻁﻥ‪.‬ﻤﻥ ﻤﺠﻤﻭﻋﺎﺘﻪ ﺍﻟﺸﻌﺭﻴﺔ"ﺍﻟﻀﻭﺀ ﺍﻟﻤﺴﺎﻓﺭ" ﻋﺎﻡ‬
‫‪ 1999‬ﻋــﻥ ﺩﺍﺭ ﻨــﺸﺭ ﺠﺎﻤﻌــﺔ ﺇﻟﻴﻨــﻭﻴﺯ‪ "،‬ﺴــﺒﺎﺤﺔ ﻭﺍﻟــﺕ‬
‫ﻭﺍﻴﺘﻤﺎﻥ"‪" ،1996‬ﻋﺒﺭ ﺍﻟﻐﺎﺒﺔ"‪"،1987‬ﻀـﻭ ‪‬ﺀ ﺃﻭل"‪" ،1983‬ﺒﻠـﻭﻍ‬
‫ﺍﻟﻴﺎﺒﺴﺔ" ‪" ،1981‬ﻓﻲ ﺍﻟﺒﻠﺩ ِﺓ ﺍﻟﻤﺘﻜـﺴﺭﺓ" ‪ "،1979‬ﻤـﻥ ﺴـﻴﻐﺩﻭ‬
‫ﺸﻤﺴ‪‬ﺎ؟" ‪ 1978‬ﻭﻫﻲ ﻤﺠﻤﻭﻋﺔ ﻗﺼﺎﺌﺩ ﻤـﺴﺘﻘﺎﺓ ﻤـﻥ ﺃﺴـﺎﻁﻴﺭ‬
‫ﺴﻭﺍﺤل ﺸﻤﺎل ﻏﺭﺏ ﺍﻟﻬﻨﺩ‪ " ،‬ﻤﺨﺘـﺎﺭﺍﺕ "‪ 1976-1956‬ﻭﺍﻟﺘـﻲ‬
‫ﺭ‪‬ﺸﺤﺕ ﻟﺠﺎﺌﺯﺓ ﺍﻟﻜﺘﺎﺏ ﺍﻟﻭﻁﻨﻲ‪ "،‬ﺍﻟﻨﻭﻡ ﻓـﻲ ﺍﻟﻐﺎﺒـﺎﺕ" ‪" ،1974‬‬
‫ﻤﺠﺭﻯ ﺍﻟﻨﻬﺭ" ‪" ،1972‬ﻤﺨﺘﺎﺭﺍﺕ ﺠﺩﻴـﺩﺓ" ‪ "،1969‬ﺍﻟﺒﻘـﺎﺀ ﺤﻴ‪‬ـﺎ‬
‫"‪ " ،1966‬ﺍﻷﺭﺽ ﺍﻟﻌﺵ "‪ "،1963‬ﻤﻭﻗـ ‪‬ﻊ ﻟﻠﻭﻗـﻭﻑ "‪ "1958‬ﻭ‬
‫ﺡ ﺠﺎﻓﺔ" ‪. 1953‬ﻜﻤﺎ ﻓﺎﺯ ﺒﺠـﺎﺌﺯﺓ ﺍﻷﻜﺎﺩﻴﻤﻴـﺔ‬
‫ﺱ ﺠﺎﻓﺔ‪ ،‬ﺭﻴﺎ ‪‬‬
‫ﺸﻤ ‪‬‬
‫ﺍﻷﻤﺭﻴﻜﻴﺔ ﻟﻠﻔﻨﻭﻥ ﻭﺍﻵﺩﺍﺏ ﻭﺠﺎﺌﺯﺓ ﺸﻴﺭﻭﻭﺩ ﺃﻨﺩﺭﺴـﻭﻥ ﻭﺠـﺎﺌﺯﺓ‬
‫ﻓﻠﻴﺯ ﻭﺍﻟﻌﺩﻴﺩ ﻤﻥ ﺍﻟﺠﻭﺍﺌﺯ ﺍﻷﺨـﺭﻯ‪.‬ﻴﻌـﻴﺵ ﺤﺎﻟﻴـﺎ ﻓـﻲ ﺒﻭﺜﻴـل‬
‫–ﻭﺍﺸﻨﻁﻥ‪.‬‬

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 ‫‪Elizabeth Bartlett‬‬ ‫ﺍﻟﻴﺯﺍﺒﻴﺙ ﺒﺎﺭﺘﻠﻴﺕ‬

‫ﺸﺎﻋﺭ ﹲﺓ ﺇﻨﺠﻠﻴﺯﻴ ﹲﺔ ﻤﻌﺎﺼـﺭﺓ ﻭﻟـﺩﺕ ﻋـﺎﻡ ‪1924‬‬

‫ﻭﻨﺸﺄﺕ ﻓﻲ " ﻜِﻨﺕ" ‪.‬ﻋﺎﺸﺕ ﺤﻴﺎﺘﻬﺎ ﻓﻲ "ﺒﻴﺭﺠﻴﺱ ﻫﻴل"‪،‬ﻏﺭﺏ‬
‫ﺴﺴﻴﻜﻲ ﺒﺎﻨﺠﻠﺘﺭﺍ‪.‬ﻨﺸﺭﺕ ﺃﻋﻤﺎﻟﻬﺎ ﺍﻟﻜﺎﻤﻠﺔ ﻓـﻲ ﻜﺘـﺎﺏ ﻀـﺨﻡ‬
‫ﺒﻌﻨﻭﺍﻥ ‪ " :‬ﺍﻤﺭﺃﺘﺎﻥ ﺘﺭﻗﺼﺎﻥ ‪ :‬ﻗﺼﺎﺌﺩ ﺠﺩﻴﺩﺓ ﻭﻗﺼﺎﺌﺩ ﻤﺨﺘﺎﺭﺓ‬
‫" ﻋﺎﻡ ‪ ،1995‬ﺤﻘﻘﺘﻪ ﺍﻟﻜﺎﺘﺒﺔ " ﻜﺎﺭﻭل ﺭﻭﻤﻨﺯ"‪ .‬ﻫﺫﺍ ﺍﻟﻜﺘﺎﺏ ﻫﻭ‬
‫ﺼ ‪‬ﺩ ‪‬ﺭ ﺒﺘﻭﺼﻴ ٍﺔ ﻤـﻥ‬
‫ﻨﺘﺎﺝ ﺃﻜﺜﺭ ﻤﻥ ﻨﺼﻑ ﻗﺭﻥ ﻤﻥ ﺍﻟﻜﺘﺎﺒﺔ‪ ،‬ﻭ ‪‬‬
‫ﻤﺅﺴﺴﺔ ﺍﻟﺸﻌﺭ ﺍﻹﻨﺠﻠﻴﺯﻴﺔ‪.‬ﺒﻌﺩﻫﺎ ﺃﺼﺩﺭﺕ ﻤﺠﻤﻭﻋـ ﹰﺔ ﺃﺨـﺭﻯ‬
‫ﺒﻌﻨﻭﺍﻥ "ﺍﻟﻨﺯﻭﻉ ﺇﻟﻰ ﺍﻟﺤﺏ" ﻋﺎﻡ ‪2001‬‬
‫ﺇﺤﺩﻯ ﺍﻟﻘﺼﻴﺩﺘﻴﻥ ﺍﻟﻤﺘﺭﺠﻤﺘﻴﻥ ﻟﻬﺎ ﺒﻬﺫﺍ ﺍﻟﻜﺘﺎﺏ ﺤﺎﺼﻠﺔ ﻋﻠـﻰ‬
‫ﺠﺎﺌﺯﺓ "ﺘﻭﻟﻤﺎﻥ ﻜﻭﻨﺎﺭﺩ ﻷﺠﻤل ﻗﺼﻴﺩﺓ " ﻋـﺎﻡ ‪ ،2002‬ﺒﻴﻨﻤـﺎ‬
‫ﺍﻷﺨﺭﻯ ﺤﺎﺯﺕ ﺠﺎﺌﺯﺓ "ﻓﻭﺭﻭﺍﺭﺩ" ﻋﺎﻡ ‪.2001‬‬

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 ‫‪Charles Simic‬‬ ‫ﺸﺎﺭل ﺴﻴﻤﻴﻙ‬

‫ﻭﻟﺩ ﻓﻲ ﺒﻠﺠﺭﺍﺩ ﻭﻴﻌﻴﺵ ﻓﻲ ﺃﻤﺭﻴﻜﺎ ﻟﻪ ﺃﻜﺜﺭ ﻤﻥ ‪60‬‬

‫ﻑ ﻓـﻲ ﺠﻬـﻨﻡ "ﻭ"‬
‫ﻤﺅﻟﻔﺎ‪ ،‬ﻤﻨﻬﺎ ‪":‬ﺘﺠﻭﺍل ﺍﻟﻘﻁﺔ ﺍﻟﺴﻭﺩﺍﺀ" ﻭ"ﺯﻓﺎ ﹲ‬
‫ﻓﻨﺩﻕ ﺍﻷﺭﻕ"‪ ،‬ﺠﻤﻴﻌﻬﺎ ﺼﺩﺭ ﻋﻥ ﺩﺍﺭ ﻨﺸﺭ "ﻫﺎﺭﺘﻜﻭﺭﺕ ﺒﺭﻴﺱ"‬
‫ﺩﻴﻭﺍﻨﻪ ﺍﻟﺫﻱ ﻴﻀﻡ ﻗﺼﺎﺌﺩ ﺍﻟﻨﺜﺭ"ﺍﻟﻌﺎﻟﻡ ﻻ ﻴﻨﺘﻬﻲ" ﻓـﺎﺯ ﺒﺠـﺎﺌﺯﺓ‬
‫ﺒﻭﻟﻴﺘﺯﺭ ﻋﺎﻡ ‪ .1990‬ﺒﺎﻹﻀﺎﻓﺔ ﻟﻜﻭﻥ ﻤﻘﻁﻭﻋﺎﺘﻪ ﻴﺘﻡ ﺍﻻﻗﺘﺒﺎﺱ‬
‫ﻤﻨﻬﺎ ﻭﺍﻟﺘﻨﺎﺹ ﻤﻌﻬﺎ ﻤﻥ ﻗﺒل ﺍﻟﻌﺩﻴﺩ ﻤﻥ ﺍﻷﺩﺒﺎﺀ‪ ،‬ﻓـﺈﻥ ﻤﻌﻅـﻡ‬
‫ﺃﻋﻤﺎﻟﻪ ﻗﺩ ﻨﺸﺭﺕ ﻓﻲ "ﻨﻴﻭﻴﻭﺭﻜﺭ ﻟﻠﺸﻌﺭ "ﻭﻜﺫﺍ ﻓﻲ ﻤﻭﺴـﻭﻋﺔ‬
‫"ﺃﺠﻤل ﺍﻟﺸﻌﺭ ﺍﻷﻤﺭﻴﻜﻲ"‪ ،‬ﺍﻟﺘﻲ ﺭﺃﺱ ﺘﺤﺭﻴﺭﻫﺎ ﺸـﺭﻓﻴ‪‬ﺎ ﻋـﺎﻡ‬
‫‪.1992‬‬
‫ﻴﻌﻴﺵ ﻓﻲ "ﻨﻴﻭﻫﺎﻤﺒﺸﻴﺭ" ﺒﻴﻥ ﺍﻟﻌﺩﻴﺩ ﻤﻥ ﺍﻷﺸﻴﺎﺀ ﺍﻟﻤﺤﻁﱠﻤﺔ‪ ،‬ﻤﻥ‬
‫ﺒﻴﻨﻬﺎ ﻗﺩ ‪‬ﻡ ﻤﻜﺴﻭﺭﺓ‪.‬‬

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 ‫‪Jo Shabcott‬‬ ‫ﺠﻭ ﺸﺎﺒﻜﻭﺕ‬

‫ﻓﻲ ﺩﻴﻭﺍﻨِﻬﺎ ﺍﻟﺜﺎﻨﻲ " ﻜﺘﺎﺏ ﺍﻟﻌﺒـﺎﺭﺓ" ﺤـﺸ ‪‬ﺩ ﻤـﻥ‬

‫ﺍﻟﺸﺨﺼﻴﺎﺕ ﺍﻟﻤﺨﺘﻠﻔﺔ ﻴﺤﻜﻭﻥ ﻋﻥ ﺃﻨﻔﺴﻬﻡ‪،‬ﻤﻭﺍﻗﻌِﻬﻡ ﺍﻟـﺴﻴﺎﺴﻴﺔ‪،‬‬
‫ﻤﻭﺍﺠﻬ ﹰﺔ ﻤﻊ ﺍﻟﻜﻭﻥ ﻓﻲ ﺍﻟﻌﺎﻟﻡ ﺍﻟﺠﺩﻴﺩ‪.‬‬
‫ﻭﻤﻥ ﺸﻭﺍﻁﺊ ﺍﻟﻠﻐﺔ ﺍﻟﻤﺘﻌﺩﺩﺓ ﺘﺨﻠﻕ ﺍﻟﺸﺎﻋﺭﺓ ﻋﺎﻟﻤ‪‬ـﺎ ﻓﻭﻀـﻭﻴ‪‬ﺎ‬
‫ﻴﺩﻓ ‪‬ﻊ ﻗﺎﺭﺌﻬﺎ ﻟﺭﺅﻴﺔ ﺍﻟﻌﺎﻟﻡ ﻋﻠﻰ ﻨﺤ ٍﻭ ﻤﺨﺘﻠﻑ‪.‬‬
‫ﻓﺎﺯ ﺩﻴﻭﺍﻨﻬﺎ ﺍﻟﺜﺎﻨﻲ – ﻜﺘﺎﺏ ﺍﻟﻌﺒﺎﺭﺓ‪-‬ﺒﺠﺎﺌﺯﺓ ﺍﻟﺸﻌﺭ ﺍﻟﺩﻭﻟﻴﺔ ﻋﺎﻡ‬
‫‪, 1991‬ﻜﻤﺎ ﻓﺎﺯﺕ ﺠﻭ ﺸﺎﺒﻜﻭﺕ ﺒﺠﺎﺌﺯﺓ ﺍﻟﻜﻭﻤﻭﻨﻭﻟﺙ ﺒﺩﻴﻭﺍﻨﻬﺎ‬
‫ﺍﻷﻭل " ﻁﻼ ‪‬ﺀ ﺭﻀﻴﻊ " ﻓﻲ ﻨﻔﺱ ﺍﻟﻌﺎﻡ‪.‬ﺸﺎﻋﺭﺓ ﺫﺍﺕ ﺼﻭﺕ ﻴﻨﻔ ﹸﺫ‬
‫ﺇﻟﻰ ﺍﻟﻘﺎﺭﺉ ﻭﻴﻨﺘﺯﻋﻪ ﻓﻬﻲ ﺘﺤﻭل ﻏﻴﺭ ﺍﻟﻤﻌﻘﻭل ﺇﻟﻰ ﻤﻔـﺭﺩﺍﺕ‬
‫ﺴﻬﻠﺔ ﺍﻹﺩﺭﺍﻙ ﻭﻤﻨﻁﻘﻴﺔ‪.‬ﻴﺒﻘﻰ ﻫﺩﻓﻬﺎ ﺇﻅﻬﺎﺭ ﺍﻟﺠﻭﺍﻨﺏ ﺍﻟﺒـﺸﺭﻴﺔ‬
‫ﻏﻴﺭ ﺍﻟﻤﻌﻠﻠﺔ ‪.‬‬

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 ‫‪Rafael Campo‬‬ ‫ﺭﺍﻓﺎﺌﻴل ﻜﺎﻤﺒﻭ‬

‫ﻭﻟﺩ ﻓﻲ ﺩﻭﻓﺭ –ﻨﻴﻭ ﺠﺭﺴﻲ ﻋﺎﻡ ‪. 1964‬ﻟﻪ ﺜـﻼﺙ‬

‫ﻤﺠﻤﻭﻋﺎﺕ ﺸﻌﺭﻴﺔ ‪" :‬ﻤﻐﻨﻴﺔ ﺍﻷﻭﺒـﺭﺍ " ‪ 1999‬ﻋـﻥ ﺠﺎﻤﻌـﺔ‬
‫ﺩﻭﻙ‪ ،‬ﻓﺎﺯ ﺒﺠﺎﺌﺯﺓ ﺩﺍﺌﺭﺓ ﺍﻟﻨﻘﺎﺩ‪" ،‬ﻤﺎﺫﺍ ﻗﺎل ﺍﻟﺠﺴﺩ "‪ ،1996‬ﻓﺎﺯ‬
‫ﺒﺠﺎﺌﺯﺓ ﻻﻤﺒﺎﺩﺍ ﺍﻷﺩﺒﻴﺔ‪ ،‬ﺜﻡ " ﺍﻟﺭﺠل ﺍﻵﺨﺭ ﻜﺎﻥ ﺃﻨﺎ ‪:‬ﺭﺤﻠﺔ ﺇﻟﻰ‬
‫ﺍﻟﻌﺎﻟﻡ ﺍﻟﺠﺩﻴﺩ "‪ ،1994‬ﻓﺎﺯ ﺒﺠﺎﺌﺯﺓ ﺴﻠﺴﻠﺔ ﺍﻟﺸﻌﺭ ﺍﻟﻭﻁﻨﻲ ﻋـﺎﻡ‬
‫‪ ".1993‬ﺸﻌﺭ ﻟﻼﺴﺘﺸﻔﺎﺀ "ﻤﺠﻤﻭﻋﺘﻪ ﺍﻟﻨﺜﺭﻴﺔ ﻋﻥ ﺩﺍﺒﻠﻴﻭ ﺩﺍﺒﻠﻴﻭ‬
‫ﻨﻭﺭﺘﻭﻥ ‪ 1996‬ﻓﺎﺯﺕ ﺃﻴﻀﺎ ﺒﺠﺎﺌﺯﺓ "ﻻﻤﺒﺎﺩﺍ" ﻟﻶﺩﺍﺏ ‪.‬‬
‫ﻴﻌﻤل ﻁﺒﻴﺏ ﻤﻤﺎﺭﺱ ﻋﺎﻡ ﻓﻲ ﻤﺩﺭﺴـﺔ ﻫﺎﺭﻓـﺎﺭﺩ‬
‫ﻭﻜﺫﺍ ﻓﻲ ﻤﺭﻜﺯ ﺩﻴﻜﻭﻨﻴﺱ ﺍﻹﺴﺭﺍﺌﻴﻠﻲ ﻓﻲ ﺒﻭﺴﻁﻭﻥ‪.‬‬

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 ‫ٍ‪Susan Stewart‬‬ ‫ﺴﻭﺯﺍﻥ ﺴﺘﻴﻭﺍﺭﺕ‬

‫ﺸﺎﻋﺭ ﹲﺓ ﻭﻨﺎﻗﺩﺓﹲ‪ ،‬ﻭﻟﺩﺕ ﻋﺎﻡ ‪ 1952‬ﻭﺃﺼﺩﺭﺕ ﺍﻟﻌﺩﻴﺩ‬

‫ﻤﻥ ﺍﻟﻤﺠﻤﻭﻋﺎﺕ ﺍﻟﺸﻌﺭﻴﺔ‪ ،‬ﻤﻨﻬﺎ ‪ " :‬ﺍﻟﻐﺎﺒﺔ" ﻋﻥ ﺠﺎﻤﻌﺔ ﺸﻴﻜﺎﻏﻭ‬
‫‪ "،1995‬ﻨﺠﻭ ‪‬ﻡ ﺼﻔﺭﺍﺀ ﻭﺜﻠﻭﺝ " ‪. 1981‬ﻭﻤﻥ ﻜﺘﺒﻬﺎ ﺍﻷﺨـﺭﻯ‬
‫‪":‬ﺤﻜﺎﻴﺎ ﺍﻟﺘﺤﻔﺔ ﺍﻟﺼﻐﻴﺭﺓ "‪ "،‬ﺍﻟﻌﻤﻼﻕ "‪ " ،‬ﺘﺫﻜﺎﺭ" ‪ .‬ﻤﻥ ﻜﺘﺒﻬـﺎ‬
‫ﻱ‬
‫ﺍﻟﻨﻘﺩﻴﺔ ‪ ":‬ﺠﺭﺍﺌﻡ ﺍﻟﻜﺘﺎﺒﺔ ‪ :‬ﺇﺸـﻜﺎﻟﻴﺔ ﺍﻟﺘـﻀﻤﻴﻥ ﺍﻟﺘـﺼﻭﻴﺭ ‪‬‬
‫"‪ "،1991‬ﻜﻼﻡ ﻓﺎﺭﻍ "‪ .1989‬ﺤﺎﺯﺕ ﺠـﺎﺌﺯﺓ "ﻟـﻴﻼ ﻭﺍﻻﺱ‬
‫"ﺍﻷﺩﺒﻴﺔ‪ ،‬ﻜﻤﺎ ﺤﺎﺯﺕ ﺠﺎﺌﺯﺘﻴﻥ ﺸﻌﺭﻴﺘﻴﻥ ﻤﻥ ﻤﺅﺴـﺴﺔ ﺍﻵﺩﺍﺏ‪،‬‬
‫ﺯﻤﺎﻟﺔ ﺠﻤﺎﻋﺔ ﺍﻷﺩﺒـﺎﺀ ‪ .‬ﻭﺘﻌﻤـل ﺴـﺘﻴﻭﺍﺭﺕ ﺃﺴـﺘﺎﺫﺍ ﻟﻠﻐـﺔ‬
‫ﺍﻹﻨﺠﻠﻴﺯﻴﺔ ﺒﺠﺎﻤﻌﺔ ﺒﻨﺴﻠﻔﺎﻨﻴﺎ ﻓﻲ ﻓﻴﻼﺩﻟﻔﻴﺎ‪.‬‬

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 ‫‪Graham Mort‬‬ ‫ﺠﺭﺍﻫﺎﻡ ﻤﻭﺭﺕ‬
‫ﻴﻌﻴﺵ ﺍﻟﺸﺎﻋﺭ ﻓﻲ ﻨﻭﺭﺙ ﻴﻭﺭﻜﺸﺎﻴﺭ ﻭﻴﻌﻤل ﻜﺎﺘﺒٍـﺎ‬
‫ﺤﺭ‪‬ﺍ ‪ .‬ﻟﻪ ﺃﺭﺒﻌﺔ ﻤﺠﻤﻭﻋﺎﺕ ﺸﻌﺭﻴﺔ ﻭﻓﺎﺯ ﺒﺠﺎﺌﺯﺓ "ﺇﻴﺭﻴـﻙ ﺠـﻭﺭﺠﻲ"‬
‫ﺍﻟﻜﺒﺭﻯ ﻤﻥ ﺭﺍﺒﻁﺔ ﺍﻟﻤﺅﻟﻔﻴﻥ ﻋﺎﻡ ‪ 1985‬ﻋﻥ ﻗﺼﺎﺌﺩ ﺩﻴﻭﺍﻨﻪ " ﺩﻭﻟ ﹲﺔ ﻓﻲ‬
‫ﺍﻟﻠﻬﺏ"‪.‬‬

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