‫ﻳﺪﺍﻟﻪ ﺭﻭﻳﺎﺋﻰ‬

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‫»ﭘﺎﺭﻙ ﺟﻮﺍﻥ«‬ ‫ﺍﺷﺎﺭﻩﺍﻱ ﺑﺮ‬
‫‪LA JEUNE PARQUE‬‬

‫ﺍﺛﺮ‬
‫ﭘﻞ ﻭﺍﻟﺮﻱ‬
‫‪PAUL VALERY‬‬

‫‪ –1. Paul Valéry , La jeune parque‬ﺁﻧﭽﻪ ﺍﺯﺗﺮﺟﻤﻪﻱ "ﭘﺎﺭﻙ ﺟﻮﺍﻥ " ﺩﺭ ﺍﻳﻦ ﮔﻔﺘﺎﺭ ﺁﻣﺪﻩ ﺍﺳﺖ ﺑﺨﺸﻰ ﺍﺯ ﻛﺎﺭ ﻣﺸﺘﺮﻛﻰ ﺍﺳﺖ‬
‫ﻛﻪ ﺩﺭ ﺗﻘﺮﻳﺮﻣﻦ ﻭ ﺩﺭ ﺩﺳﺘﻜﺎﺭ ﺷﺎﻋﺮ ﻓﻘﻴﺪ ﺑﻴﮋﻥ ﺍﻟﻬﻰ ﺍﻧﺠﺎﻡ ﮔﺮﻓﺘﻪ ﺍﺳﺖ‪) .‬ﻯ‪ .‬ﺭ‪(.‬‬

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 ‫ﻛﻪ ﻣﻲﮔﺮﻳﺪ ﺁﻧﺠﺎ‪ ،‬ﺑﻪﺟﺰ ﺑﺎﺩ ﻣﺤﺾ‪ ،‬ﺩﺭ ﺍﻳﻦ ِ‬
‫ﻭﻗﺖ‬
‫ﺗﻨﻬﺎ ﺑﺎ ﺍﻟﻤﺎﺱﻫﺎﻱ ﺑﻲﺍﻧﺘﻬﺎ‪ ،‬؟‪...‬‬
‫ﻛﻪ ﻣﻲﮔﺮﻳﺪ ﺍﻣﺎ ؟‬
‫ﺍﻳﻦ ﻫﻤﻪ ﺩﺭ ﻣﻦ ﻭ ﻧﺰﺩﻳﻚ ﻣﻦ ﺑﻪ ﮔﺎﻩ ِ ﮔﺮﻳﺴﺘﻦ؟‬

‫ﺍﻳﻦ ﺩﺳﺖ‪ ،‬ﺑﺮ ﺭﺧﺎﻧﻢ ﻛﻪ ﺑﻪ ﺭﺅﻳﺎﺷﺎﻥ ﻟﻤﺲ ﻣﻲﻛﻨﺪ‬

‫ﮔﻴﺠﻮﺍﺭﻩ‪ ،‬ﺭﺍﻡِ ﭘﺎﻳﺎﻧﻰ ژﺭﻑ‪،‬‬
‫ﺿﻌﻒ ﻣﻦ ﺑﻪ ﺍﻧﺘﻈﺎﺭ ﺳﺮﺷﻜﻰ ﺍﺳﺖ ﺗﺎ ﺫﻭﺏ ﺷﻮﺩ‬ ‫ِ‬ ‫ﺍﺯ‬
‫ﻭ ﺍﺯ ﺑﺨﺖﻫﺎﻯ ﻣﻦ‪ ،‬ﭘﺎﻙﺗﺮﻳﻦﺷﺎﻥ ﻛﻪ ﺑﻪ ﺁﺭﺍﻣﻰ ﺟﺪﺍ ﺷﺪﻩ ﺍﺳﺖ‬
‫ﺩﺭ ﺳﻜﻮﺗﻲ‪ ،‬ﺩﻟﻰ ﺷﻜﺴﺘﻪ ﺭﺍ ﺑﺮﺍﻓﺮﻭﺯﺩ‪.‬‬

‫ﺗﻼﻃﻢ‪ ،‬ﺳﺎﻳﻪﻱ ﺳﺮﺯﻧﺸﻰ ﺭﺍ ﺑﺎ ﻣﻦ ﺯﻣﺰﻣﻪ ﻣﻰﻛﻨﺪ‬

‫ﻭ ﻳﺎ ﺑﺎﺯ ﻣﻰﻛﺸﺪ ﺍﻳﻨﺠﺎ‪ ،‬ﺩﺭ ﺍﻳﻦ ﻓﺮﻭ ﺟﺎﻯ‪ ،‬ﺩﺭ ﮔﻠﻮﮔﺎﻩﻫﺎﻯ ﺳﻨﮕﻰﺍﺵ‬
‫ﺑﻪ ﮔﻮﻧﻪِﻱ ﭼﻴﺰﻯ ﻧﻮ ﺍﻣﻴﺪ ﻭ ﺗﻠﺦ ﻧﻮﺵ‬
‫ﻫﻤﻬﻤﻪﺍﻱ ﺍﺯ ﻧﺎﻟﻪ ﻭ ﺍﺯ ﺗﻨﮕﻨﺎ ﺭﺍ ‪...‬‬

‫ﭼﻪ ﻣﻲﻛﻨﻲ‪ ،‬ﺑﺎ ﺍﻳﻦ ﺩﺳﺖ ﻳﺦﺑﺴﺘﻪ ﻭ ﭘﻴﻜﺮ ﺧﺸﻜﻴﺪﻩ‪،‬‬

‫ﻭ ﻛﺪﺍﻡ ﻟﺮﺯﺵ ﺑﺮﮔﻲ ﻣﺤﻮ‬
‫ﺩﺭ ﻣﻴﺎﻥ ﺷﻤﺎ‪ ،‬ﺟﺰﻳﺮﻩﻫﺎﻱ ﺁﻏﻮﺵ ﺑﺮﻫﻨﻪﺍﻡ‪ ،‬ﻣﻲﭘﺎﻳﺪ؟‬
‫ﻣﻦ‪ ،‬ﺑﺴﺘﻪﻱ ﺍﻳﻦ ﺁﺳﻤﺎﻥ ﻧﺎﺷﻨﺎﺱ‪ ،‬ﺭﺧﺸﺎﻧﻢ‪...‬‬
‫ﺧﻮﺷﻪﻱ ﺑﻲﻛﺮﺍﻥ‪ ،‬ﻣﻰﺩﺭﺧﺸﺪ ﺑﺮ ﻋﻄﺶ ﺑﺪ ﺍﺧﺘﺮﻯﻫﺎﻳﻢ‪.‬‬

‫ﺧﺪﺍﻳﺎﻥ ﻏﺮﻳﺐ! ﺍﺧﺘﺮﺍﻥ ﺑﻰﭘﺮﻫﻴﺰ‪،‬‬

‫ﻛﻪ ﺩﺭ ﺩﻭﺭﺩﺳﺖ ﮔﺬﺭﺍ ﻣﻰﺗﻮﺍﻧﻴﺪ ﺑﺘﺎﺑﺎﻧﻴﺪ‪،‬‬
‫ﻧﺪﺍﻧﻢ ﭼﻪ ﭼﻴﺰ ﻧﺎﺏ ﻭ ﻣﺎﻭﺭﺍﻳﻲ ﺭﺍ!‬
‫ﺷﻤﺎ ﻛﻪ ﺩﺭ ﻣﻴﺮﺍﻫﺎ‪ ،‬ﻏﻮﻃﻪ ﻣﻰﺩﻫﻴﺪ ﺩﺭ ﺍﺷﻚﻫﺎ‬
‫ﺍﻳﻦ ﺩﺭﺧﺶﻫﺎﻯ ﺑﺮﺗﺮ‪ ،‬ﺍﻳﻦ ﺳﻼﺡﻫﺎﻯ ﺷﻜﺴﺖﻧﺎﭘﺬﻳﺮ‬
‫ﻭ ﺧﻴﺰﻫﺎﻯ ﺍﺑﺪﻳﺖﺗﺎﻥ ﺭﺍ‬
‫ﺑﺎ ﺷﻤﺎ ﺗﻨﻬﺎﻳﻢ‪ ،‬ﻟﺮﺯﺍﻥ‪ ،‬ﺭﻫﺎ ﻛﺮﺩﻩ ﺑﺴﺘﺮ‬

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 ‫ﺑﺮ ﺻﺨﺮﻩﺍﻯ ﺳﻮﺩﻩ ﺍﺯ ﺷﮕﻔﺖ‪،‬‬
‫ﺑﺎﺯ ﻣﻰﭘﺮﺳﻢ ﺍﺯ ﻗﻠﺒﻢ ﻛﺪﺍﻣﻴﻦ ﺩﺭﺩ ﺑﻴﺪﺍﺭﺵ ﻣﻰﻛﻨﺪ‪،‬‬
‫ﻛﺪﺍﻡ ﮔﻨﺎﻩ ﻛﻪ ﺍﺯ ﻣﻦ ﻳﺎ ﺑﺮ ﻣﻦ ﺁﻣﺪﻩ ﺑﺎﺷﺪ؟ ‪...‬‬

‫‪ ...‬ﻳﺎ ﻛﻪ ﺍﺯ ﺧﻴﺎﻟﻰ ﻓﺮﻭﺑﺴﺘﻪ‪ ،‬ﺩﺭﺩ ﺩﻧﺒﺎﻟﻢ ﻣﻰﻛﻨﺪ‬

‫)ﻫﻨﮕﺎﻡ ﻛﻪ ﻃﻼﻱ ﭼﺮﺍﻍﻫﺎ ﺩﺭ ﻣﺨﻤﻞ ﻭﺯﺵ َﺩﻡِ ﺭﻫﺎ ﺷﺪﻩﺍﻡ ﺑﻮﺩﻧﺪ؟(‬
‫ﻛﻪ ﻣﻦ ﺑﻪ ﺑﺎﺯﻭﺍﻥ ﺿﺨﻴﻤﻢ‪ ،‬ﮔﻴﺠﮕﺎﻫﺎﻧﻢ ﺭﺍ ﺍﺣﺎﻃﻪ ﻛﺮﺩﻡ‬
‫ﻭ ﺯﻣﺎﻧﻰ ﺩﺭﺍﺯ ﺩﺭ ﺍﻧﺘﻈﺎﺭ ﺟﺮﻗﻪﻫﺎﻯ ﺟﺎﻧﻢ ﻣﺎﻧﺪﻡ‬

‫ﺗﻤﺎﻡ ﻣﻦ؟ ﺗﻤﺎﻡ ﻣﻦ ﺍﻣﺎ‪ ،‬ﻣﺮﺍ ﻛﻪ ﺳﻠﻄﻪ ﺑﺮ ﺗﻤﺎﻡ ﺗﻨﻢ ﺩﺍﺭﻡ‬

‫ﻛﻪ ﺑﺎ ﻟﺮﺯﺷﻰ ﮔﺴﺘﺮﻩِﻱ ﻏﺮﻳﺐﺷﺎﻥ ﺭﺍ ﺳﺨﺖ ﻣﻰﻛﻨﻢ‪،‬‬
‫ﻭ ﺩﺭ ﺑﻨﺪﻫﺎﻯ ﻟﻄﻴﻔﻢ‪ ،‬ﺁﻭﻳﺨﺘﻪ ﺑﺮ ﺧﻮﻥ ﺧﻮﻳﺶ‬
‫ﺧﻮﺩ ﺭﺍ ﻣﻰﺩﻳﺪﻡ ﻛﻪ ﺧﻮﻳﺸﺘﻨﻢ ﺭﺍ ﺷﻜﺴﺘﻪ ﻭ ﭘﻴﭽﺎﻥ ﻣﻰﺑﻴﻨﻢ‬
‫ﻭ ﺑﻴﺸﻪﻫﺎﻯ ﻋﻤﻴﻘﻢ ﺭﺍ‪ ،‬ﻧﮕﺎﻩ ﺑﻪ ﻧﮕﺎﻩ‪ ،‬ﻃﻼﻳﻰ ﻣﻰﻛﺮﺩﻡ‪.‬‬

‫ﻣﻦ ﺁﻧﺠﺎ‪ ،‬ﺩﺭ ﭘﻲ ﻣﺎﺭﻱ ﻣﻲﺭﻓﺘﻢ ﻛﻪ ﺗﺎﺯﻩ ﻣﺮﺍ ﮔﺰﻳﺪﻩ ﺑﻮﺩ‪.‬‬

‫ﭘــﻞ ﻭﺍﻟــﺮﻯ ﺑــﺎ ﺁﺯﺍﺩﻯ ﺣﻴــﺮﺕﺁﻭﺭﻯ ﺍﺳــﻄﻮﺭﻩﻱ ﻛﻔﺮﺁﻣﻴــﺰ ﺧﻮﺍﻫﺮﺍﻥ ﺭﻳﺴــﻨﺪﻩ‬

‫)‪ (Les Parques‬ﺭﺍ‪ ،‬ﻛﻪ ﺳﺮﻧﻮﺷﺖ ﻧﻮﻉ ﺑﺸﺮ ﺭﺍ ﺩﺭ ﭼﻨﮓ ﺧﻮﻳﺶ ﺩﺍﺭﻧﺪ ﺑﻪ ﺗﻌﺒﻴﺮﺍﺕ‬
‫ﺩﻭﺭ ﻣﻰﻛﺸﺎﻧﺪ‪ .‬ﭘﺎﺭﻙﻫﺎ ﻳﺎ ﺧﻮﺍﻫﺮﺍﻥ ﺭﻳﺴﻨﺪﻩ‬
‫)‪ (Les sœurs Filandières‬ﺑﻨﺎ ﺑﻪ ﺍﻓﺴﺎﻧﻪﺍﻯ ﺍﺯ ﻣﻴﺘﻮﻟﻮژﻯ ﻳﻮﻧﺎﻥ ﺳﻪ ﺧﻮﺍﻫﺮﻧﺪ‬
‫ﻛﻪ ﺗﻮﻟﺪ ﻭ ﺯﻧﺪﮔﻰ ﻭ ﻣﺮگ ﺑﺸﺮ ﺭﺍ ﻣﻰﺭﺷﺘﻨﺪ‪ ،‬ﺑﻪ ﺍﻳﻦ ﺷﺮﺡ ﻛﻪ‪:‬‬
‫‪ .1‬ﻛﻠﻮﺗــﻮ )‪ (Clotho‬ﻛﻪ ﺟﻮﺍﻥﺗﺮﻳﻦ ﭘﺎﺭﻙﻫﺎ ﺑﻮﺩ‪ ،‬ﺗﻮﻟﺪ ﺭﺍ ﺍﺩﺍﺭﻩ ﻣﻰﻛﺮﺩ‪ ،‬ﺩﻭﻙ‬
‫ﺭﺍ ﺑﻪ ﺩﺳﺖ ﻣﻰﮔﺮﻓﺖ ﻭ ﺳﺮﻧﻮﺷﺖ ﺍﻧﺴﺎﻥﻫﺎ ﻣﻰﺭﻳﺴﻴﺪ‪.‬‬
‫‪ .2‬ﻻﻛﻪ ﺯﻳﺲ )‪ (Lachésis‬ﻳﻜﻰ ﺩﻳﮕﺮ ﺍﺯ ﺳﻪ ﭘﺎﺭﻙ ﺍﺳﺖ ﻛﻪ ﺩﻭﻙ ﻣﻰﭼﺮﺧﺎﻧﺪ‬
‫ﻭ ﺯﻧﺪﮔﻰ ﺑﺸﺮ ﺭﺍ ﻣﻰﺳﺎﺧﺖ ﻭ ﺗﻘﺪﻳﺮ ﻫﺮﻛﺲ ﺭﺍ ﻣﻌﻠﻮﻡ ﻣﻰﻛﺮﺩ‪.‬‬
‫‪ .3‬ﺁﺗﺮﻭﭘﻮﺱ )‪ (Atropos‬ﺧﻮﺍﻫﺮ ﺳــﻮﻣﻰ ﺍﺳــﺖ ﻛﻪ ﺭﺷﺘﻪﻫﺎﻯ ﺁﻥ ﺩﻭ ﺭﺍ ﻗﻄﻊ‬
‫ﻣﻰﻛﺮﺩ ﻭ ﺑﻪ ﺯﻧﺪﮔﻰ ﭘﺎﻳﺎﻥ ﻣﻰﺩﺍﺩ‪.‬‬
‫ﺑﺎ ﺗﺼﻮﺭ ﭘﺎﺭﻙ ﺍﻭﻝ ﻛﻪ ﺟﻮﺍﻥﺗﺮﻳﻦ ﺁﻧﻬﺎﺳــﺖ‪ ،‬ﻭ ﺑﺎ ﺩﻳﺪ ﭘﺮﺷــﻮﺭ ﺟﻮﺍﻧﻰ‪ ،‬ﻣﻰﺗﻮﺍﻧﻴﻢ‬
‫ﻗﺒﻮﻝ ﻛﻨﻴﻢ ﻛﻪ ﺷــﺎﻫﻜﺎﺭ ﺷــﺎﻋﺮ ﻋﺮﻭﺝ ﺭﻭﺡ ﻭ ﺑﺎﻃﻦ ﺍﻧﺴﺎﻧﻰ ﺭﺍ ﺩﺭ ﺑﻬﺎﺭ ﺣﻴﺎﺕ ﺗﺸﺮﻳﺢ‬
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 ‫ﻣﻰﻛﻨﺪ‪ .‬ﺑﻪﻋﻼﻭﻩ ﺁﻧﭽﻨﺎﻥ ﻛﻪ ﺧﻮﺩ ﻭﺍﻟﺮﻯ ﺑﺎ ﻟﺒﺨﻨﺪﻯ ﻛﻨﺎﻳﻰ ﺍﺑﺮﺍﺯ ﺩﺍﺷــﺘﻪ ﺍﺳــﺖ‪ ،‬ﺑﺎ ﺭﺍﺯ‬
‫ﺷــﻜﺎﻓﻰﻫﺎﻳﻰ ﻛﻪ ﺩﺭ ﻣﻨﻈﻮﻣﻪﻱ »ﭘﺎﺭﻙ ﺟﻮﺍﻥ« ﺑﻪ ﻋﻤﻞ ﺁﻣﺪﻩ ﺍﺳــﺖ ﻭ ﻣﺮﺑﻮﻁ ﺑﻪ ﻣﺮﺩﻡ‬
‫ﺩﺍﻧﺎﺳﺖ‪ ،‬ﻣﻰﺗﻮﺍﻥ ﺁﻥ ﺭﺍ ﻳﻚ »ﺩﺭﺱ ﻓﻴﺰﻳﻮﻟﻮژﻯ« ﻭﺍﻗﻌﻰ ﺩﺍﻧﺴﺖ‪) .‬ﺍﺯ ﻣﺼﺎﺣﺒﻪ ﻓﺮﺩﺭﻳﻚ‬
‫ﻟﻮﻓﻮﺭ ﺑﺎ ﭘﻞ ﻭﺍﻟﺮﻯ(‬
‫»ﭘﺎﺭﻙ ﺟﻮﺍﻥ« ﻫﻴﭻ ﻣﻮﺿﻮﻉ ﻣﺸــﺨﺼﻰ ﺭﺍ ﺩﺭ ﺑﺮ ﻧﺪﺍﺭﺩ‪ .‬ﺑﺪﻳﻦ ﻣﻌﻨﻰ ﻛﻪ ﺍﻓﺴــﺎﻧﻪﺍﻯ‬
‫ﺭﺍ ﺑﻪ ﺧﺎﻃﺮ ﻫﺪﻓﻰ ﺗﺎ ﺑﻪ ﺁﺧﺮ ﺗﻌﻘﻴﺐ ﻧﻤﻰﻛﻨﺪ‪» .‬ﭘﺎﺭﻙ« ﺟﻮﺍﻥ ﺷــﺨﺼﻴﺖ ﺩﻭﮔﺎﻧﻪﺍﻳﺴﺖ‬
‫ﻛــﻪ ﺩﺭ ﺁﻥ ﻭﺟــﺪﺍﻥ ﺁﮔﺎﻩ ﺩﺭ ﺑﺮﺍﺑﺮ ﻭﺟﺪﺍﻥ ﻧــﺎﺁﮔﺎﻩ ﻗﺮﺍﺭ ﻣﻰﮔﻴﺮﺩ‪ ،‬ﺍﻭﻟــﻰ ﺧﺎﻃﺮﻩ ﺭﺍ ﺑﻪ‬
‫ﺳــﺨﺘﻰ ﻣﻰﻛﺎﻭﺩ ﺑﻪ ﺑﻪ ﻋﺒﺎﺭﺗﻰ ﺩﻳﮕﺮ ﮔﺬﺷــﺘﻪ ﺭﺍ ﻭ ﻳﺎﺩﺑﻮﺩﻫﺎ ﺭﺍ ﺑﻪ ﺳــﺘﻮﻩ ﻣﻰﺁﻭﺭﺩ‪ ،‬ﺩﺭ‬
‫ﻣﻴﺎﻥ ﺍﺣﺴــﺎﺱﻫﺎ ﻭ ﺗﺄﺛﺮﻫﺎ‪ ،‬ﻭ ﺧﻼﺻﻪ ﺩﺭ ﻣﻴﺎﻥ ﺁﻧﭽﻪ ﻏﺮﻳﺰﻩ ﺩﺭ ﺍﻭ ﺗﺪﺍﻋﻰ ﻛﺮﺩﻩ ﺍﺳــﺖ‪.‬‬
‫ﺍﻣﺎ ﺩﻭﻣﻰ ﻭﺟﺪﺍﻥ ﺍﻳﻦ ﻭﺟﺪﺍﻥ ﺍﺳــﺖ‪ ،‬ﻳﻌﻨﻰ ﺍﻧﺪﻳﺸــﻪﺍﻯ ﻛﻪ ﻣﺴــﺦﻫﺎ ﻭ ﺩﮔﺮﮔﻮﻧﻰﻫﺎﻯ‬
‫ﺷﺨﺼﻴﺘﻰ »ﺯﻧﺪﻩ« ﺭﺍ‪ ،‬ﺑﻰﺍﻳﻨﻜﻪ ﺩﺭ ﻋﻤﻞ ﺁﻥ ﺷﺮﻛﺖ ﻛﻨﺪ‪ ،‬ﻧﻈﺎﺭﺕ ﻣﻰﻛﻨﺪ‪ .‬ﺍﻳﻦ ﺩﻭ ﺯﻣﻴﻨﻪ‬
‫ﻳﺎ ﺑﻬﺘﺮ ﺑﮕﻮﻳﻴﻢ‪ ،‬ﺍﻳﻦ ﺩﻭ ﺻﺪﺍﻳﻰ ﻛﻪ ﺩﺭ ﺳﺮﺍﺳــﺮ ﺷــﻌﺮ ﺑﻪ ﺗﻨﺎﻭﺏ ﻭ ﺗﻮﺍﻟﻰ ﺑﻴﺎﻥ ﻣﻰﺷﻮﺩ‬
‫ﺍﺯ ﺩﺭﻭﻥ ﻭﺍﻟﺮﻯ ﺑﺮﻣﻰﺧﻴﺰﺩ ﻭ ﺍﺯ ﺍﻋﻤﺎﻕ ﻭﺟﻮﺩ ﺍﻭ ﺳﺮﭼﺸﻤﻪ ﻣﻰﮔﻴﺮﺩ‪ .‬ﺷﺎﻋﺮ ﺩﻭﮔﺎﻧﮕﻰ‬
‫ﺧﻮﺩ ﺭﺍ ﺑﻴﺎﻥ ﻣﻰﻛﻨﺪ‪.‬‬
‫ﺁﻏﺎﺯ ﻣﻨﻈﻮﻣﻪ ﻫﻤﭽﻮﻥ ﺿﺮﺑﻪﺳﻨﺞ ﻳﻚ ﺳﻤﻔﻮﻧﻰ ﺍﻧﻔﺠﺎﺭﻯ ﻧﺎﮔﻬﺎﻧﻰ ﺩﺍﺭﺩ‪ .‬ﺩﺭ ﺯﻳﺮ ﺑﺎﺩ‬
‫ﺁﺧﺮﻳﻦ ﺟﻠﻮﻩﻫﺎﻯ ﻣﺒﻬﻢ ﻳﻚ ﺷــﺐ ﺭﻭ ﺩﺭ ﺯﻭﺍﻝ ﺍﻋﻼﻡ ﻣﻰﺷــﻮﺩ‪ ،‬ﺷﺐ ﻣﻀﺎﻋﻒ‪ :‬ﺷﺒﻰ‬
‫ﮔﺴــﺘﺮﺩﻩ ﺩﺭ ﺑﻴﺮﻭﻥ‪ ،‬ﻭ ﺷــﺒﻰ ﮔﺴﺘﺮﺩﻩ ﺩﺭ ﺩﺭﻭﻥ ﻣﻮﺟﻮﺩﻯ ﻛﻪ ﺍﺯ ﺍﻭ ﺗﺼﻮﻳﺮﻫﺎﻳﻰ ﺗﻠﺦ ﻭ‬
‫ﺧﺸﻚ ﺳﺮ ﻣﻰﻛﺸﺪ ﻭ ﻣﻌﻠﻮﻡ ﻧﻴﺴﺖ ﺍﺯ ﻛﺪﺍﻡ ﺍﺑﺪﻳﺖ ﻇﻠﻤﺎﺕ ﻭ ﺍﺯ ﻇﻠﻤﺎﺕ ﻛﺪﺍﻡ ﺗﻨﻬﺎﻳﻰ‪،‬‬
‫ﺍﻳﻦ ﺷــﻮﺍﻫﺪ ﻏﺮﻳﺐ ﺧﻠﻘﺖ ﺑﻴﺮﻭﻥ ﻣﻰﺷــﻮﻧﺪ‪ :‬ﺁﻣﺪ ﺷ ِﺪ ﻣﻮﺝ‪ ،‬ﻭ ﺻﺨﺮﻩﻫﺎ ﻛﻪ ﻫﻤﻬﻤﻪﻱ‬
‫ﺁﺏ ﺭﺍ ﺩﺭ ﮔﻠﻮ ﻣﻰﮔﻴﺮﻧﺪ‪ ،‬ﮔﻮﺩﺍﻝﻫﺎﻯ ﺳــﺘﺎﺭﻩﺩﺍﺭ‪ ،‬ﻭ ﺳــﺘﺎﺭﻩﻫﺎﻯ ﻓﺮﺍﺭ ﻛﻪ ﻋﻼﻣﺖﻫﺎﻯ‬
‫ﺷــﺒﺎﻧﻪ ﺩﺭ ﺁﻧﻬﺎ ﺩﻓﻦ ﻣﻰﺷﻮﺩ‪ ،‬ﻭ ﺩﺭﺧﺶﻫﺎﻯ ﺑﻴﻜﺮﺍﻥ ﻭ ﻟﻐﺰﺍﻥ ﺩﺭ ﺳﻄﺢ ﻣﻮﺝ ﺻﺤﻨﻪﺍﻯ‬
‫ﺍﺯ ﻛﺎﺋﻨﺎﺕ ﺭﺍ ﺩﺭ ﭘﻴﺶ ﺭﻭﻯ ﻣﻰﮔﺴﺘﺮﺍﻧﺪ ﻛﻪ ﺩﺭ ﺁﻥ ﺩﺭﺍﻡ ﺭﻭﺣﻰ ﺍﻧﺴﺎﻧﻰ ﺯﻧﺪﻩ ﺑﺎﺯﻯ ﻣﻰ‬
‫ﺷﻮﺩ‪ ،‬ﻭ ﻧﻤﺎﻳﺶ ﺍﺯ ﻫﻤﻴﻦ ﺟﺎ ﺁﻏﺎﺯ ﻣﻰ ﮔﺮﺩﺩ‪.‬‬
‫ﺍﻧﺴــﺎﻥ ﻭ ﺍﺿﻄﺮﺍﺑﺶ ﺩﺭ ﺑﺮﺍﺑــﺮ ﺍﺑﺪﻳﺘﻰ ﻗﺎﺩﺭ ﻭ ﻣﺘﻌﺎﻝ ﺗﻨﻬﺎﺳــﺖ‪ .‬ﺩﺭ ﭼﻨﻴﻦ ﻧﻤﺎﻳﺶ‬
‫ﻋﻈﻴﻤــﻰ ﭘــﺎﺭﻙ ﺟﻮﺍﻥ ﺻﺤﻨﻪ ﺩﺭﻭﻧــﺶ ﺭﺍ‪ ،‬ﺑﺎ ﺣﻘﻴﻘﺘﻰ ﺑﻪ ﻫﻤﺎﻥ ﺍﻧــﺪﺍﺯﻩ ﻋﻈﻴﻢ‪ ،‬ﻣﻘﺎﺑﻞ‬
‫ﻣﻰﻛﻨﺪ‪ ،‬ﺑﻪ ﺩﺭﺧﺸــﺶﻫﺎﻯ ﺁﺳــﻤﺎﻧﻰ‪ ،‬ﺩﺭﺧﺶﻫﺎﻯ ﺭﻭﺡ ﺍﻭ ﭘﺎﺳﺦ ﻣﻰﺩﻫﻨﺪ‪ ،‬ﻭ ﺁﻧﭽﻪ ﺑﺎ‬
‫ﺍﺟﺮﺍﻡ ﺳﻤﺎﻭﻯ ﺑﺮﺍﺑﺮ ﻣﻰﻛﻨﺪ ﺟﻠﻮﻩﻫﺎﻯ ﺟﺎﻥ ﺍﻭ ﻭ ﺯﻳﻮﺭﻫﺎﻯ ﺫﻫﻦ ﺍﻭﺳﺖ‪:‬‬
‫ﻣﻦ‪ ،‬ﺑﺴﺘﻪﻱ ﺍﻳﻦ ﺁﺳﻤﺎﻥ ﻧﺎﺷﻨﺎﺱ‪ ،‬ﺭﺧﺸﺎﻧﻢ ‪...‬‬

‫ﻭ ﺍﺯ ﻫﻤﻴﻦ ﻣﺮﺣﻠﻪ ﺍﺳــﺖ ﻛﻪ ﻓﺎﺻﻠﻪﻯ ﻋﻈﻴﻢ‪ ،‬ﺍﺯ »ﺍﺧﺘﺮﺍﻥ ﺑﻰﭘﺮﻫﻴﺰ« ﺗﺎ ﻣﻨﺰﻭﻯﺗﺮﻳﻦ‬

‫ﮔﻮﺷﻪﻫﺎﻯ ﺭﻭﺡ »ﭘﺎﺭﻙ«‪ ،‬ﭘﺮ ﻣﻰﺷﻮﺩ‪ ،‬ﺍﺯ ﺣﺮﻑ‪ ،‬ﺍﺯ ﺳﺨﻦ‪ ،‬ﺍﺯ ﻣﻨﻈﻮﻣﻪﺍﻯ ﻛﻪ ﺳﻴﻼﺏﻭﺍﺭ‬
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‫ﺍﺩﺍﻣﻪ ﻣﻰﻳﺎﺑﺪ ﻭ ﺍﺯ ﻣﻌﺎﺑﺮ ﺗﺎﺭﻳﻚ ﻣﻰﮔﺬﺭﺩ‪ ،‬ﺍﺯ ﻣﻌﺒﺮ ﺍﺷﻚ‪ ،‬ﺧﺎﻃﺮﻩ‪ ،‬ﻣﺴﺦ‪ ،‬ﺍﺯ ﻣﻌﺒﺮ ﺩﺭﺩ‪،‬‬
‫ﺑﻬــﺎﺭ‪ ،‬ﻣﺮگ ﻣﻰﮔﺬﺭﺩ ﻭ ﺷــﺐ ﺩﻭﮔﺎﻧﻪﻯ »ﭘــﺎﺭﻙ« ﺩﺭ ﺩﺭﻭﻥ ﻭ ﺩﺭ ﺑﻴﺮﻭﻥ ﺍﺯ ﻋﺒﻮﺭ ﻧﮕﺎﻩ‬
‫ﺫﻫﻦ‪ ،‬ﺑﻪ ﺗﻜﺎﻥ ﻣﻰﺁﻳﺪ‪ .‬ﺩﺭ ﺗﻤﺎﻡ ﺍﻳﻦ ﺳﻴﺮ ﺍﻧﮕﺎﺭ ﺯﻣﺎﻥ ﺍﻳﺴﺘﺎﺩﻩ ﺍﺳﺖ‪ .‬ﻭ ﺁﺳﻤﺎﻥ ﺩﺭ ﺛﺒﺎﺕ‬
‫ﺁﺭﺍﻡ ﺧﻮﺩ‪ ،‬ﻭ ﺭﻭﺡ ﺩﺭ ﻫﻴﺠﺎﻥ ﺍﻧﺰﻭﺍﻯ ﺧﻮﻳﺶ ﺍﺳﺖ‪.‬‬
‫ﺗﺎ ﺳﺮﺍﻧﺠﺎﻡ ﺑﻪ ﻣﻌﺒﺮ ﺁﺧﺮﻳﻦ‪ ،‬ﻛﻪ ﻣﻌﺒﺮ ﻋﺸﻖ ﺍﺳﺖ‪ ،‬ﻣﻰﺭﺳﺪ‪ .‬ﻭ ﻋﺸﻖ ﻣﻨﻈﻮﻣﻪ ﺭﺍ ﺩﺭ‬
‫ﺧﻮﺩ ﻣﻰﮔﻴﺮﺩ‪ ،‬ﻭ ﻧﻴﺰ »ﭘﺎﺭﻙ« ﺭﺍ ﻛﻪ ﺧﺴــﺘﻪ ﺍﺳﺖ‪ ،‬ﻛﻪ ﺍﻧﮕﺎﺭ ﺍﺯ ﺩﻫﻠﻴﺰﻫﺎﻯ ﺗﻘﻼﻯ ﻏﺶ‬
‫ﻣﻰﺁﻳﺪ‪،‬‬

‫ﭘﺲ ﺍﻯ ﺧﻮﺭﺷﻴﺪ‪ ،‬ﻋﻠﻰﺭﻏﻢ ﺧﻮﺩ ﺑﺎﻳﺪ‬

‫ﻗﻠﺒﻢ ﺭﺍ ﭘﺮﺳﺘﺶ ﺁﻭﺭﻡ ﻛﻪ ﺩﺭ ﺁﻥ ﺗﻮ ﻣﻰﺁﻳﻰ ﺧﻮﺩ ﺭﺍ ﺑﺸﻨﺎﺳﻰ‬

‫ﻭ ﺍﻳﻦ ﺧﻄﺎﺏ ﺧﻮﺭﺷﻴﺪﻯ‪ ،‬ﻛﻪ ﻣﺎ ﺭﺍ ﺑﺎﺯ ﺩﺭ ﻫﻤﺎﻥ ﺻﺤﻨﻪﻱ ﺁﻏﺎﺯ ﻣﻰﮔﺬﺍﺭﺩ‪ ،‬ﺍﻣﺎ ﺩﺍﻳﺮﻩ‬
‫ﺑﺴﺘﻪ ﻧﻤﻰﺷﻮﺩ‪ ،‬ﻭ ﺣﺮﻛﺖ ﺩﻭﺭﺍﻧﻰ ﺁﻥﻫﻤﻪ ﺗﺄﻣﻞ ﻭ ﺭﻭﻳﺎ‪ ،‬ﻛﻪ ﺩﺭ ﻣﻴﺎﻥ ﺗﺼﺎﻭﻳﺮ ﭼﻨﺪﮔﺎﻧﻪﻱ‬
‫ﺩﺭﻳﺎ ﻭ ﻣﻮﺝ ﭘﺨﺶ ﺷﺪﻩ ﺍﺳﺖ ﻣﻌﻠﻖ ﻣﻰﻣﺎﻧﺪ ﻭ ﺭﺷﺘﻪﻫﺎﻯ »ﭘﺎﺭﻙ« ﺭﻳﺴﻨﺪﻩ‪ ،‬ﻛﻪ ﺍﺯ ﻣﻴﺎﻥ‬
‫ﭘﻴﭻ ﻭ ﺧﻢ ﺣﻠﻘﻪﻫﺎﻯ ﻣﺎﺭ‪ ،‬ﻭ ﺍﺯ ﻣﻴﺎﻥ ﻣﺎﺭﭘﻴﭻ ﺁﻥﻫﻤﻪ ﺩﻫﻠﻴﺰ‪ ،‬ﻭ ﺍﻧﺤﻨﺎﻯ ﺧﻮﺍﺏ ﻭ ﺧﻴﺎﻝ‪،‬‬
‫ﻭ ﻧﻈﻢ ﻓﺼﻞﻫﺎ ﻭ ﺭﻳﺘﻢ ﺷــﺐ ﻭ ﺭﻭﺯ ﻭ ﺍﻧﻘﻼﺏ ﺍﺧﺘﺮ ﻭ ﺧﻮﺭﺷــﻴﺪ‪ ،‬ﮔﺬﺭ ﻛﺮﺩﻩ ﺍﺳــﺖ‪،‬‬
‫ﺳــﺮﺍﻧﺠﺎﻡ ﺭﺟﻌﺖ ﺑﻪ ﻋﺸــﻖ ﻣﻰﻛﻨﺪ ﻭ ﺩﺭ ﻓﻀﺎﻯ ﻋﺸﻖ ﺭﻫﺎ ﻣﻰﺷــﻮﻧﺪ‪ .‬ﻭ ﺑﺪﻳﻦﮔﻮﻧﻪ‬
‫ﺣﻤﺎﺳﻪ ﭘﺎﻳﺎﻥ ﻣﻰﮔﻴﺮﺩ‪ .‬ﻭ »ﭘﺎﺭﻙ ﺟﻮﺍﻥ« ﺣﻤﺎﺳﻪ ﺍﺳﺖ! ﻭ ﺣﻤﺎﺳﻪ ﭼﻴﺴﺖ؟‬

‫ﺷــﺎﻋﺮ »ﮔﻮﺭﺳــﺘﺎﻥ ﺩﺭﻳﺎﻳﻲ«‪ ،‬ﺩﺭ ﺍﻛﺘﺒﺮ ﺳــﺎﻝ ‪ 1871‬ﺩﺭ ﺑﻨﺪﺭ » ِﺳــﺖ« ﻣﺘﻮﻟﺪ ﺷﺪ ﻭ‬
‫ﻛﻮﺩﻛﻲﺍﺵ ﺩﺭ ﻫﻤﺎﻥﺟﺎ‪ ،‬ﺩﺭ ﺷــﻜﻮﻩ ﻃﺒﻴﻌﺖ ﻣﺪﻳﺘﺮﺍﻧﻪ ﮔﺬﺷــﺖ‪ .‬ﻃﻔﻠﻲ ﺩﺭﻳﺎﻳﻲ ﺑﻮﺩ ﻛﻪ‬
‫ﻣﻴﺮﺍﺛﻲ ﻏﻨﻲ ﺍﺯ ﺁﺏ ﻭ ﺩﺭﺧﺖ ﻭ ﻫﻮﺍ ﺭﺍ ﺑﺎ ﺧﻮﺩ ﺑﻪ ﺩﻳﺎﺭ ﺷﻌﺮ ﻣﻲﺑﺮﺩ‪ .‬ﺗﻘﺮﻳﺒ ًﺎ ﺗﻤﺎﻡ ﺩﻗﻴﻘﻪﻫﺎ‬
‫ﻭ ﻇﺮﺍﻳﻒ ﺷﻌﺮﻱ ﻭﺍﻟﺮﻱ ﻣﻠﻬﻢ ﺍﺯ ﺫﺧﺎﻳﺮ ﺫﻫﻨﻲ ﺍﺳﺖ ﻛﻪ ﺍﺯ ﺍﻳﻦ ﺩﻭﺭﺍﻥ ﮔﺮﻓﺘﻪ ﺍﺳﺖ‪ .‬ﺍﺯ‬
‫ﺍﻳﻦ ﺭﻭ ﺍﻭ ﺭﺍ »ﺷﺎﻋﺮ ﺧﻮﺭﺷﻴﺪ ﻭ ﺩﺭﻳﺎ« ﺧﻮﺍﻧﺪﻩﺍﻧﺪ ﻭ ﺧﻮﺩ ﻧﻴﺰ ﺍﺯ ﻛﻮﺩﻛﻲﺍﺵ ﺑﺎ »ﺯﻧﺪﺍﻧﻲ‬
‫ﺑﺮگﻫﺎ ﻭ ﺯﻧﺠﻴﺮﻱ ﺩﺭﻳﺎ« ﻳﺎﺩ ﻣﻲﻛﻨﺪ‪.‬‬

‫ﻣﻦ ﺍﮔﺮ ﺯﻧﺪﻩ ﻣﺎﻧﺪﻩﺍﻡ‪ ،‬ﺍﻯ ﺑﺪﺭﻭﺩﻫﺎﻯ ﺑﺎﻃﻞ‪،‬‬

‫ﺁﻳﺎ ﺟﺰ ﺧﻴﺎﻝ ﭼﻴﺰﻯ ﻧﺴﺎﺧﺘﻪﺍﻡ؟‬
‫ﺑﻰﺍﺿﻄﺮﺍﺏ ﻭ ﺑﻰﻫﺮﺍﺱ ﺑﺮ ﺍﻳﻦ ﺳﺎﺣﻞ ﺑﺎﺯﻣﻰﺁﻳﻢ‬
‫ﻛﻒ ﻣﺘﻼﻃﻢ ﺭﺍ ﺣﺮﻳﺼﺎﻧﻪ ﺳﺮ ﻛﺸﻢ‬ ‫ﺗﺎ ِ‬
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‫ﻧﻬﺎﻳﺖ ﺧﻨﺪﺍﻥ ﺭﺍ‬ ‫ﻭ ﺑﺎ ﭼﺸﻢﻫﺎﻳﻢ ﺑﻨﻮﺷﻢ ﺁﻥ ﺑﻰ‬
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 ‫ﻭ ﺩﺭ ﻫﻴﺠﺎﻥ ﺁﺷﻔﺘﻪﻱ ﻫﻮﺍ‬
‫ﺑﺎﻧﮓ ﺩﺭﻳﺎ ﺭﺍ ﺑﺎ ﭼﻬﺮﻩ ﭘﺬﻳﺮﺍ ﺷﻮﻡ‬

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‫ﺧﻴﺰﺍﺏ ﺧﺸﻤﮕﻴﻦ ﺭﺍ‬ ‫ﺭﻭﺡ ﺍﮔﺮ ﺷﺪﻳﺪ ﻣﻲﻭﺯﺩ ﻭ‬
‫ﺧﻴﺰﺍﺏ ﺳﺮﻧﮕﻮﻥ ِﺩﻳﮕﺮ‪ ،‬ﻏﻀﺐﺁﻟﻮﺩﻩ ﺑﺮﻣﻲﺍﻓﺮﺍﺯﺩ‬
‫ِ‬ ‫ﺑﺮ‬
‫ﻭ ﻣﻮﺝ ﺩﺭ ﺩﻣﺎﻏﻪ ﺍﮔﺮ ﻣﻲﻏﺮﺩ‪ ،‬ﻭ ﺷﺒﺢ ﺳﭙﻴﺪﻫﺎ ﺭﺍ ﻛﺸﺘﺎﺭ ﻣﻲﻛﻨﺪ‬
‫ﺳﺮ ﻣﻲﺭﺳﺪ ﺗﺎ ﻋﻤﻖﻫﺎﻯ ﻣﺘﻼﻃﻢ ﺩﺭﻳﺎ ﺭﺍ ﺑﺮ ﺍﻳﻦ ﺻﺨﺮﻩ َﻏﺜﻴﺎﻥ ﻛﻨﺪ‪،‬‬
‫ﺻﺨﺮﻩﺍﻱ ﻛﻪ ﺍﺯ ﺁﻥ ﺑﺮ ﭘﻨﺪﺍﺭﻫﺎﻱ ﻣﻦ‬
‫ﺑﻴﺪﺍﺭﻱ ِﺗﻠﺨﺶ ﻣﻲﺟﻮﺩ‬
‫ِ‬ ‫ﻭ ﺑﺮ ﺗﻤﺎﻡ ﭘﻮﺳﺘﻢ ﻛﻪ‬
‫ﺑﺮﻕ ﺻﻴﻘﻞﻫﺎﻱ ﺧﻴﺮﻩ ﻣﻲﺟﻬﺪ‬

‫ﭘﺲ ﺍﻱ ﺧﻮﺭﺷﻴﺪ‪ ،‬ﻋﻠﻲﺭﻏﻢ ﺧﻮﺩ‬

‫ﺑﺎﻳﺪ ﻗﻠﺒﻢ ﺭﺍ ﭘﺮﺳﺘﺶ ﺁﻭﺭﻡ‪ ،‬ﻛﻪ ﺩﺭ ﺁﻥ ﺗﻮ ﻣﻲﺁﻳﻲ ﺧﻮﺩ ﺭﺍ ﺑﺸﻨﺎﺳﻲ‬
‫ﺍﻱ ﺗﻜﺮﺍﺭِ ﺗﻮﺍﻧﺎﻱ ﺗﻮﻟﺪ! ﻟﺬﺕ ﺗﻜﺮﺍﺭ‬
‫ﺍﻱ ﺁﺗﺸﻲ ﻛﻪ ﺳﻮﻱ ﺗﻮ ﺧﻮﻧﻲ ﭘﺎﻙ ﻃﻐﻴﺎﻥ ﻣﻲﻛﻨﺪ‬
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‫ﺩﺭ ﻃﻼﻳﻲﻫﺎﻱ ﺁﻏﻮﺷﻲ ﺧﻮﺍﻫﻨﺪﻩ!‬

‫ﺩﺭ ﻣﻮﻥﭘﻠﻴﻪ )‪ (Montpellier‬ﺗﺤﺼﻴﻞ ﻣﻲﻛﻨﺪ‪ ،‬ﺷﻬﺮ ﺩﺭﺧﺖﻫﺎﻱ ﻋﻈﻴﻢ‪ .‬ﺯﻧﺪﮔﻲ‬

‫ﻫﻨﺮﻱ ﺍﻭ ﻭ ﺣﻮﺍﺩﺙ ﺁﻥ‪ ،‬ﻣﻌﺎﺷﺮﺕﻫﺎ‪ ،‬ﺗﺄﺛﻴﺮﻫﺎ ﻭ ﺍﻟﻬﺎﻡﻫﺎ ﺍﺯ ﻫﻤﻴﻦﺟﺎ ﺁﻏﺎﺯ ﻣﻲﺷﻮﺩ‪ .‬ﺑﻴﺶ‬
‫ﺍﺯ ﻫﻤﻴﺸﻪ ﻣﺠﺬﻭﺏ ﻃﺒﻴﻌﺖ ﻣﻮﻥﭘﻠﻴﻪ ﺍﺳﺖ‪ ،‬ﺩﺭﺧﺖ ﺩﺭ ﺷﻌﺮ ﻭﺍﻟﺮﻱ ﻫﻤﭽﻮﻥ ﺧﻮﺭﺷﻴﺪ‬
‫ﻭ ﺩﺭﻳﺎ ﻣﻮﺿﻮﻉ ﺯﻧﺪﻩﺍﻱ ﻣﻲﺷﻮﺩ ﻛﻪ ﻫﻤﻴﺸﻪ ﺍﺯ ﮔﻮﺷﻪﺍﻱ ﺳﺮ ﻣﻲﻛﺸﺪ‪ .‬ﺑﺮﺍﻱ ﺍﻭ ﺩﺭﺧﺖ‬
‫ﻫﻴﺄﺕ ﺍﻧﺴﺎﻥ ﺯﻧﺪﻩ ﺭﺍ ﺩﺍﺭﺩ ﻭ ﺩﺭ ﺑﻴﺸﺘﺮ ﺍﺷﻌﺎﺭﺵ ﺍﺯ ﺁﻥ ﺣﺮﻑ ﻣﻲﺯﻧﺪ‪ .‬ﻣﺜﻞ ﺣﺮﻑﻫﺎﻳﻲ‬
‫ﻛﻪ ﺩﺭ ﺷﻌﺮ »ﺑﻪ ﭼﻨﺎﺭ ‪ «Au platane‬ﻣﻲﺯﻧﺪ‪:‬‬

‫ﺑﺮﺩﺍﺭ ﺑﺎﻧﮓ!‪ ...‬ﭘﻴﻜﺮ ﺧﺎﻣﻮﺵ ﺑﻴﺸﻪﺯﺍﺭ‬

‫ﺑﺎﻳﺪ ﺗﻮ ﺭﺍ ﺑﻪ ﻫﻤﻬﻤﻪ ﭘﻴﭽﻴﺪ ﻭ ﺗﺎﺏ ﺩﺍﺩ‬
‫ﺩﺭ ﺷﻜﻮﻩ ﺁﻱ ﺗﺎ ﻛﻪ ﺑﮕﻴﺮﺩ ﻗﺮﺍﺭ ﺑﺎﺯ ـ‬
‫ﺩﺭ ﺷﻴﻮﻥ ﺗﻮ‪ ،‬ﺧﺎﻃﺮ ﺁﺷﻔﺘﻪﻱ ﺟﻮﻱ ﺑﺎﺩ‪.‬‬

‫‪ . 2‬ﺍﺯ ﻣﻨﻈﻮﻣﻪﻱ »ﭘﺎﺭﻙ ﺟﻮﺍﻥ«‪.‬‬

‫‪ . 3‬ﺷﻌﺮﻱ ﺩﺭ ﻫﻔﺘﺎﺩ ﻭ ﺩﻭ ﻣﺼﺮﻉ ﺑﺎ ﺗﺮﺟﻤﻪﻱ ﻣﻨﻈﻮﻡ‪ ،‬ﺍﺯ ﻛﺘﺎﺏ ﺑﺮ ﺟﺎﺩﻩﻫﺎﻱ ﺗﻬﻲ‪.‬‬

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 ‫ِ‬
‫ﻣﺴﺖ ﺍﻫﺘﺰﺍﺯ! ﺗﻮ ﺭﺍ ﺑﺮﮔﺰﻳﺪﻩﺍﻡ‬ ‫ﺍﻱ‬
‫ﺍﻳﻦ ﭘﺮﻏﺮﻭﺭ ﻣﺮﺩِ ﺗﻮﺍﻧﺎﻱ ﺑﻴﺸﻪﺯﺍﺭ!‬
‫ﺩﺭ ﺑﺮ ﻓﺸﺮﺩﻩ ﺳﺨﺖ ﺗﻮ ﺭﺍ ﺁﺳﻤﺎﻥ ﻛﻪ ﺑﺎﺯ‬
‫ﺑﺎ ﺍﻭ ﺗﺮﺍﻧﻪ ﺳﺮ ﺩﻫﻲ‪ ،‬ﺍﻱ ﺑﺮﺝ ﺭﻭﺯﮔﺎﺭ!‬

‫ﺍﻱ ﻛﺎﺵ ﻋﺎﺷﻘﺎﻧﻪ ﺗﻮﺍﻧﺪ ﺗﻦ ﺗﻮ ﺭﺍ‬

‫ﺩﻭﺭ ﺍﺯ ﺭﻗﻴﺐ‪ ،‬ﺷﺎﻋ ِﺮ ﺗﻨﻬﺎ ﻧﻮﺍﺧﺘﻦ‬
‫ﭼﻮﻧﺎﻥ ﻛﻪ ﻋﺎﺟﮕﻮﻥ ﺑﺪﻥ ﻧﺮﻡ ﺍﺳﺐ ﺭﺍ‬
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‫ﺩﺭ ﺯﻳ ِﺮ ﺭﺍﻥ ﺧﻮﻳﺶ ﺣﺮﻳﺼﺎﻧﻪ ﺗﺎﺧﺘﻦ‪...‬‬

‫ﺩﺭ ﻣﻮﻥﭘﻠﻴــﻪ ﻭﻗﺘﻲ ﺭﻣﺎﻥ ﻭﺍﺭﻭﻧــﻪ ﺍﺛﺮ ژ‪ .‬ﻙ‪ .‬ﻫﻮﻳﺴــﻤﺎﻥ ‪ J. K. Huysmans‬ﺭﺍ‬

‫ﻣﻲﺧﻮﺍﻧﺪ ﻣﺸــﺘﺎﻕ ﺳﻤﺒﻮﻟﻴﺴﻢ ﻣﻲﺷﻮﺩ ﻭ ﺑﻪ ﺷﺎﻋﺮﺍﻥ ﻭ ﻧﻤﺎﻳﻨﺪﮔﺎﻥ ﺍﻳﻦ ﻣﻜﺘﺐ ﺍﺭﺍﺩﺕ ﻭ‬
‫ﻋﻼﻗﻪ ﭘﻴﺪﺍ ﻣﻲﻛﻨﺪ‪ .‬ﻣﺎﻻﺭﻣﻪ ﺭﺍ ﺑﺎ ﻫﻤﻴﻦ ﺭﻣﺎﻥ ﻛﺸﻒ ﻛﺮﺩ‪ .‬ﺩﺭ ﺍﻳﻦ ﺩﺍﺳﺘﺎﻥ ﭼﻨﺪ ﺑﻴﺖ ﺍﺯ‬
‫ﻫﺮﻭﺩﻳﺎﺩ ﻣﺎﻻﺭﻣﻪ ﻧﻘﻞ ﺷــﺪﻩ ﺑﻮﺩ ﻛﻪ ﺯﻳﺒﺎﻳﻲ ﻭ ﻗﺪﺭﺕ ﺷﺎﻋﺮﺍﻧﻪﻱ ﺁﻥ ﻭﺍﻟﺮﻱ ﺭﺍ ﺁﻥﭼﻨﺎﻥ‬
‫ﻣﺠﺬﻭﺏ ﻣﻲﻛﻨﺪ ﻛﻪ ﺑﻪ ﺟﺴــﺘﺠﻮﻱ ﻣﺎﻻﺭﻣﻪ ﻭ ﺍﺷــﻌﺎﺭ ﺩﻳﮕﺮﺵ ﺑــﻪﺭﺍﻩ ﻣﻲﺍﻓﺘﺪ‪ .‬ﻭﺍﻟﺮﻱ‬
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‫»ﻛﺸــﻒ ﻣﺎﻻﺭﻣﻪ ﺑﻪﻋﻨﻮﺍﻥ ﺗﺼﺎﺩﻓﻲ ﻣﻴﻤﻮﻥ ﻭ‬ ‫ﺩﺭ ﻛﺘﺎﺏ ﮔﻮﻧﺎﮔﻮﻥ ‪ Variété‬ﻣﻲﮔﻮﻳﺪ‪:‬‬
‫ﺣﺎﺩﺛﻪﻱ ﺑﺰﺭگ ﺯﻧﺪﮔﻲ ﻣﻦ ﺑﻮﺩ ﻭ ﺑﺎ ﺧﻮﺍﻧﺪﻥ ﻫﻤﺎﻥ ﭼﻨﺪ ﺳﻄﺮ ﺷﻌﺮ ﺑﻪﻳﻜﺒﺎﺭﻩ ﺍﺯ ﻫﻮﮔﻮ‬
‫ﻭ ﺑﻮﺩﻟﺮ ﺩﺭ ﻧﻮﺯﺩﻩ ﺳــﺎﻟﮕﻲ ﺟﺪﺍ ﺷــﺪﻡ‪ «.‬ﺗﺄﺛﻴﺮ ﻫﺮﻭﺩﻳﺎﺩ ﺩﺭ ﻭﺍﻟﺮﻱ ﭼﻨﺎﻥ ﺷﺪﻳﺪ ﺑﻮﺩ ﻛﻪ‬
‫ﺑﻼﻓﺎﺻﻠﻪ ﭘﺲ ﺍﺯ ﺧﻮﺍﻧﺪﻥ ﺁﻥ ﺩﺭ ﻧﺎﻣﻪﺍﻱ ﺑﻪ ﺁﻧﺪﺭﻩ ژﻳﺪ ﻧﻮﺷﺖ‪:‬‬
‫»ﺩﻭﺳــﺖ ﻋﺰﻳﺰ‪ ،‬ﻫﺮﻭﺩﻳﺎﺩ ﻣﺮﺍ ﺑﻪ ﻭﻫﻢ ﻭ ﺭﺅﻳﺎ ﻣﻲﻛﺸــﺎﻧﺪ‪ .‬ﻫﺮﻭﺩﻳﺎﺩِ ﺳﺒﺰﭼﺸــﻢ ﺑﺎ‬
‫ﻃﻼﻱ ﺷــﻮﻡ ﺷﻌﻠﻪﻫﺎﻱ ﮔﻴﺴﻮﺍﻧﺶ‪ .‬ﻫﺮﻭﺩﻳﺎﺩ‪ ،‬ﺑﺎ ﺷﻜﻮﻩ ِ ﻏﻤﻴﻦ ﻭ ﺳﻮﺯﻧﺪﻩﺍﺵ ﻛﻪ ﺁﻳﻨﻪﻫﺎ‬
‫ﺭﺍ ﺑﻪ ﻋﺸﻖ ﻭ ﺁﺗﺶ ﻣﻲﻛﺸﺎﻧﺪ ﻭ ﻣﻦ ﺭﻧﺞ ﻣﻲﺑﺮﻡ ﻭ ﺧﻮﻥ ﻣﻲﺧﻮﺭﻡ ﺍﺯ ﺍﻳﻨﻜﻪ ﺩﺭ ﻛﺸﻮﻱ‬
‫ﻣﻴﺰﻡ ﺍﻳﻦ ﺑﻴﺖﻫﺎﻱ ﺣﻘﻴﺮ ﻭ ﻧﺎﭼﻴﺰ ﻭ ﺍﻳﻦ »ﻧﺎﺭﺳــﻴﺲ« ‪ 4‬ﺍﺳــﻒﺍﻧﮕﻴﺰ ﺭﺍ ﺩﺍﺭﻡ‪ .‬ﺍﺷــﻌﺎﺭﻱ‬
‫ﺍﻳﻦﮔﻮﻧﻪ ﻧﺪﺍﺷﺘﻦ ﻭ ﺷﻌﺮ ﺳﺎﺧﺘﻦ! ﻭ ﻫﺮﻭﺩﻳﺎﺩِ ﻋﺎﻟﻲ ﻣﺮﺍ ﻣﺜﻞ ﻳﻚ ﭘﺸﻴﻤﺎﻧﻲ ﺭﻧﺞ ﻣﻲﺩﻫﺪ‬
‫ﻭ ﻣﻲﻓﺸﺮﺩ‪ .‬ﺑﻪﻫﺮﺣﺎﻝ ﺑﺮﺍﻱ ﺍﻳﻦ ﻫﻤﻪ ﺯﺣﻤﺘﻲ ﻛﻪ ﻛﺸﻴﺪﻳﺪ ﻭ ﺍﻳﻦ ﻫﻤﻪ ﻟﺬﺗﻲ ﻛﻪ ﺑﻪ ﻣﻦ‬
‫ﺩﺍﺩﻩﺍﻳﺪ ﺳﭙﺎﺳــﮕﺰﺍﺭﻡ‪ ...‬ﺳﻤﺒﻮﻟﻴﺴﻢ ﮔﺴﺘﺮﺵ ﻣﻲﻳﺎﺑﺪ‪ ،‬ﺁﺭﻱ ﮔﺴﺘﺮﺵ ﺩﺭ ﻫﻤﻴﻦﺟﺎﺳﺖ‪.‬‬

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‫ﻣﻌﺮﻭﻑ ﻭﺍﻟﺮﻱ ﺑﻪ ﻫﻤﻴﻦ ﻧﺎﻡ‪.‬‬ ‫‪ . 4‬ﺷﻌﺮ‬

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 ‫ﺍﺳﻢ ﻣﺎﻻﺭﻣﻪ ﭘﺮﺗﻮﺍﻓﺸﺎﻧﻲ ﻣﻲﻛﻨﺪ ﻭ ﻣﻦ ﺑﺮ ﺁﻥ ﺗﺄﺳﻒ ﻣﻲﺧﻮﺭﻡ‪«...‬‬
‫ﺗﺮﺟﻤﻪﻱ ﻗﺴﻤﺘﻲ ﺍﺯ ﺷﻌﺮ »ﻫﺮﻭﺩﻳﺎﺩ« ‪ 5‬ﭼﻨﻴﻦ ﺍﺳﺖ‪:‬‬
‫ﺻﺤﻨﻪ‪:‬‬
‫ﺩﺍﻳﻪ ـ ﻫﺮﻭﺩﻳﺎﺩ‬

‫ﺩﺍﻳﻪ‪:‬‬
‫ﺯﻧﺪﻩ ﻫﺴﺘﻲ! ﻳﺎ ﺩﺭ ﺍﻳﻨﺠﺎ ﺳﺎﻳﻪﻱ ﺷﻬﺪﺧﺘﻲ ﺭﺍ ﻣﻲﺑﻴﻨﻢ؟‬
‫ﺑﮕﺬﺍﺭ ﺑﺎ ﻟﺒﺎﻧﻢ ﺍﻧﮕﺸﺘﺎﻧﺖ ﺭﺍ ﺑﺎ ﺧﺎﺗﻢﻫﺎﺷﺎﻥ ﺑﺒﻮﺳﻢ‬
‫ﻭ ﺍﺯ ﮔﺎﻡ ﺯﺩﻥ ﺩﺭ ﺳﻨﻲ ﻧﺎﺁﮔﺎﻩ ﺑﺎﺯﺁﻱ‪...‬‬
‫ﺑﺮﮔﺮﺩ!‬
‫ﻫﺮﻭﺩﻳﺎﺩ‪:‬‬

‫ﺳﻴﻼﺏ ﺑﻮﺭِ ﮔﻴﺴﻮﺍﻥ ﻧﻴﺎﻟﻮﺩﻩﺍﻡ‬

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‫ﻫﻨﮕﺎﻣﻲ ﻛﻪ ﭘﻴﻜﺮ ﺗﻨﻬﺎﻱ ﻣﺮﺍ‪ ،‬ﺳﺮﺩﻱ ﻧﻔﺮﺕ ﺷﺴﺘﺸﻮ ﻣﻲﺩﻫﺪ‬
‫ﻭ ﺍﻧﺒﻮﻩ ﮔﻴﺴﻮﺍﻧﻲ ﻛﻪ ﻧﻮﺭﺷﺎﻥ ﺩﺭ ﻫﻢ ﻣﻲﭘﻴﭽﺎﻧﺪ‬
‫ﺗﺎ ﺩﻳﺮﮔﺎﻩ ﺩﺭ ﻣﻦ ﺩﻭﺍﻡ ﺩﺍﺭﻧﺪ‬
‫ﺁﻩ ﺍﻱ ﺯﻥ‪ ،‬ﺍﮔﺮ ﺯﻳﺒﺎﻳﻲ ﻣﺮگ ﻧﺒﻮﺩ‪ ،‬ﻳﻚ ﺑﻮﺳﻪ ﻣﺮﺍ ﻣﻲﻛﺸﺖ‬
‫ﻛﺪﺍﻡ ﺟﺬﺑﻪﺍﻡ ﻣﻲﺑﺮﺩ‬
‫ﻫﻴﭻ ﻣﻲﺩﺍﻧﻢ‬
‫ﻭ ﻳﺎ ﻛﺪﺍﻡ ﺻﺒﺢ ﻓﺮﺍﻣﻮﺵﺷﺪﻩﻱ ﭘﻴﺎﻣﺒﺮﺍﻥ‬
‫ﺑﺮ ﻣﺤﺘﻀﺮﺍﻥ ﺩﻭﺭﺩﺳﺖ‪ ،‬ﺳﺮﻭﺩﻫﺎﻱ ﻧﻤﻨﺎﻛﺶ ﺭﺍ ﺳﺮ ﻣﻲﺩﻫﺪ‬
‫ﺗﻮ ﻣﺮﺍ ﺩﻳﺪﻩﺍﻱ ﺍﻱ ﺩﺍﻳﻪﻱ ﺯﻣﺴﺘﺎﻧﻲ‪ ،‬ﻛﻪ ﺩﺭ ﺯﻧﺪﺍﻥ ﻣﺨﻮﻑ ﺳﻨﮓﻫﺎ ﻭ ﺁﻫﻦﻫﺎ‬
‫ﭘﺎ ﻧﻬﺎﺩﻩﺍﻡ‪ ،‬ﺁﻧﺠﺎ ﻛﻪ ﻗﺮﻥﻫﺎﻱ ﻭﺣﺸﻲ ﺍﺯ ﺷﻴﺮﻫﺎﻱ ﭘﻴﺮ ﻣﻦ ﻣﻲﮔﺬﺭﻧﺪ‬
‫ﻭ ﻧﺎﭼﺎﺭ ﻣﻦ‪ ،‬ﺑﺎ ﺩﺳﺖﻫﺎﻱ ﺑﻲﺳﻼﺡ‬
‫ﺩﺭ ﻣﻴﺎﻥ ﻋﻄﺮ ﻏﺮﻳﺐ ﺍﻳﻦ ﺷﺎﻫﺎﻥ ﺑﺎﺳﺘﺎﻧﻲ ﺭﺍﻩ ﻣﻲﺍﻓﺘﻢ‪:‬‬
‫ﺍﻣﺎ ﺁﻳﺎ ﻭﺣﺸﺖﻫﺎﻱ ﻣﺮﺍ ﻫﻢ ﺩﻳﺪﻩﺍﻱ ﻛﻪ ﭼﻪﺳﺎﻥ ﺑﻮﺩﻧﺪ؟‬

‫‪ :Herodiade . 5‬ﺩﺧﺘﺮ ﻫﺮﻭﺩﻳﺎﺩ‪ ،‬ﻛﻪ ﺑﻴﺸـﺘﺮ ﺑﻪ ﺍﺳـﻢ ﺳـﺎﻟﻮﻣﻪ ﻣﺸـﻬﻮﺭ ﺍﺳـﺖ‪ ،‬ﺑﺮ ﺍﺛﺮ ﺍﻏﻮﺍ ﻭ ﺗﺤﺮﻳﻚ‬
‫ﻣـﺎﺩﺭﺵ ﺑـﻪ ﭘـﺎﺩﺍﺵ ﺭﻗﺺﻫﺎﻱ ﺳـﺤﺮﺍﻧﮕﻴﺰﺵ‪ ،‬ﺑﻪ ﺟﺎﻱ ﭘﻮﻝ ﻭ ﺛﺮﻭﺕ ﺳـﺮ ﻳﺤﻴﺎﻱ ﻣﻘـﺪﺱ ﺭﺍ ﺍﺯ ﻋﻤﻮﻳﺶ‬
‫ﺁﻧﺘﻴﺒﺎﺱ ﺧﻮﺍﺳـﺖ‪ .‬ﺯﻳﺮﺍ ﺑﺮ ﻃﺒﻖ ﺍﻓﺴـﺎﻧﻪﻫﺎﻱ ﺍﻧﺠﻴﻠﻲ‪ ،‬ﻳﺤﻴﺎﻱ ﻣﻘﺪﺱ ﺍﺯﺩﻭﺍﺝ ﺁﻧﺘﻴﺒﺎﺱ ﻭ ﻣﺎﺩﺭﺵ ﺭﺍ ﺗﻘﺒﻴﺢ‬
‫ﻛﺮﺩﻩ ﺑﻮﺩ ﻭ ﺩﺭ ﺍﻳﻨﺠﺎ‪ ،‬ﻫﺮﻭﺩﻳﺎﺩ‪ ،‬ﺩﺧﺘﺮﻱ ﻛﻪ ﺍﺯ ﻗﻔﺲ ﺷـﻴﺮﺍﻥ ﺭﻫﺎﻳﻲ ﻳﺎﻓﺘﻪ ﻭ ﻣﻮﻫﺎﻳﺶ ﭼﻮﻥ ﻳﺎﻝ ﺷـﻴﺮﺍﻥ‬
‫ﺑﻪ ﻫﻢ ﺭﻳﺨﺘﻪ ﺍﺳﺖ‪ ،‬ﺍﻳﻨﻚ ﺑﺎ ﺩﺍﻳﻪﺍﺵ ﺭﻭﺑﻪﺭﻭ ﺍﺳﺖ‪.‬‬

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 ‫ﺩﺭ ﺭﺅﻳﺎﻱ ﺗﺒﻌﻴﺪﻫﺎ ﻣﻲﺍﻳﺴﺘﻢ ﻭ ﺧﺎﻃﺮﻩ ﻣﻲﭼﻴﻨﻢ‬
‫ﮔﻮﻳﻲ ﺑﺮ ﻟﺐ ﺍﺳﺘﺨﺮﻱﺍﻡ ﻛﻪ ﭘﺮﺵ ﺁﺑﻢ ﭘﺬﻳﺮﺍ ﻣﻲﺷﻮﺩ‪.‬‬
‫ﺯﻧﺒﻖﻫﺎﻱ ﺭﻧﮓﺑﺎﺧﺘﻪﺍﻱ ﻛﻪ ﺩﺭ ﻣﻨﻨﺪ‬
‫ﭼﻨﺪﺍﻥﻛﻪ ﺍﺯ ﺗﻌﻘﻴﺐ ﺧﺮﺩﻩﻫﺎﻱ ﺭﺧﻮﺕﮔﺮﻓﺘﻪﻱ ﻧﮕﺎﻫﻢ ﺷﻴﺪﺍﻳﻨﺪ‬
‫ﺍﺯ ﻣﻴﺎﻥ ﺭﺅﻳﺎﻫﺎﻱ ﻣﻦ‪ ،‬ﺁﺭﺍﻡ ﻭ ﺳﺎﻛﺖ ﻣﻲﮔﺬﺭﻧﺪ‬
‫ﺷﻴﺮﻫﺎ ﺳﻜﻮﻥ ﭘﻴﺮﺍﻫﻨﻢ ﺭﺍ ﻣﻲﺷﻜﻨﻨﺪ‬
‫ﺩﺍﻣﺎﻧﻢ ﺭﺍ ﭘﺲ ﻣﻲﺯﻧﻨﺪ ﻭ ﺑﻪ ﺳﺎﻕﻫﺎﻳﻢ ﻛﻪ ﺩﺭﻳﺎ ﺭﺍ ﺭﺍﻡ ﻣﻲﻛﻨﻨﺪ‪ ،‬ﻣﻲﻧﮕﺮﻧﺪ‬
‫ﻭ ﺗﻮ ﺍﻱ ﺩﺍﻳﻪ‪ ،‬ﺭﻋﺸﻪﻫﺎﻱ ﺍﻧﺪﺍﻡ ﭘﻴﺮﺍﻧﻪﺍﺕ ﺭﺍ ﺁﺭﺍﻡ ﻛﻦ‬
‫ﺑﻴﺎ ﻭ ﮔﻴﺴﻮﺍﻥ ﻣﺮﺍ ﻛﻪ ﻫﻨﺠﺎﺭﻱ ﻭﺣﺸﻴﺎﻧﻪ ﺩﺍﺭﻧﺪ‬
‫ﻭ ﺗﻮ ﺭﺍ ﭼﻮﻥ ﻳﺎﻝ ﺷﻴﺮﺍﻥ ﻣﻲﺗﺮﺳﺎﻧﻨﺪ‬
‫ﺩﺭ ﺁﻳﻨﻪﺍﻱ ﺑﻪﻧﺮﻣﻲ ﺷﺎﻧﻪ ﻛﻦ‪.‬‬
‫ﻣﺮﺍ ﻛﻤﻚ ﻛﻦ ﭼﺮﺍ ﻛﻪ ﺟﺮﺃﺕ ﺩﻳﺪﻥ ﻣﻦ‪ ،‬ﺍﻳﻦﮔﻮﻧﻪ ﻛﻪ ﻣﻨﻢ ﺩﻳﮕﺮ ﺩﺭ ﺗﻮ ﻧﻴﺴﺖ‪.‬‬
‫ﺩﺍﻳﻪ‪:‬‬
‫ﺑﻪﺟﺰ ﻋﻄﺮ ﻓﺮﺣﻨﺎﻙ »ﺻﺒﺮ«‪ ،‬ﺩﺭ ﺷﻴﺸﻪﻫﺎﻱ ﺳﺮﺑﺴﺘﻪ‪،‬‬
‫ﻧﺎﺏ ﭘﻴﺮﻱ ﮔﻞﻫﺎ ﺭﺍ ﻭ‬ ‫ﮔﻼﺏ ِ‬‫ِ‬ ‫ﻓﺮﺯﻧ ِﺪ ﻣﻦ! ﺁﻳﺎ‬
‫ﻋﻄﺮ ﻣﺮﺩﮔﺎﻥ ﺭﺍ ﻣﻲﺧﻮﺍﻫﻴﺪ؟‬
‫ﻫﺮﻭﺩﻳﺎﺩ‪:‬‬
‫ﻧﻪ ﺩﺍﻳﻪ! ﺭﻫﺎ ﻛﻦ ﺍﻳﻦ ﻋﻄﺮﻫﺎ ﺭﺍ‬
‫ﻧﻤﻲﺩﺍﻧﻲ ﻛﻪ ﺍﺯ ﺁﻥﻫﺎ ﻧﻔﺮﺕ ﺩﺍﺭﻡ؟ ﻭ ﻣﻲﺧﻮﺍﻫﻲ‬
‫ﻛﻪ ﻣﻐﺰ ﺧﺴﺘﻪﺍﻡ ﺭﺍ ﺩﺭ ﻣﺴﺘﻲﺷﺎﻥ ﻏﻮﻃﻪﻭﺭ ﺑﻴﻨﻢ؟‬
‫ﮔﻴﺴﻮﺍﻥ ﻣﻦ‪ ،‬ﮔﻞﻫﺎﻳﻲ ﻧﻴﺴﺘﻨﺪ‬
‫ﻛﻪ ﻓﺮﺍﻣﻮﺷﻲ ﺩﺭﺩﻫﺎﻱ ﺑﺸﺮﻱ ﺑﭙﺮﺍﻛﻨﻨﺪ‬
‫ﺑﻞ ﻃﻼ ﻣﻲﺍﻓﺸﺎﻧﻨﺪ ﻭ ﺩﺍﻳﻢ‬
‫ﻧﻴﺎﻟﻮﺩﻩ ﺑﺎ ﺭﺍﻳﺤﻪﻫﺎﻱ ﺩﻳﮕﺮ‪ ،‬ﭘﺎﻙ ﻣﻲﻣﺎﻧﻨﺪ‬
‫ﺁﺭﻱ ﻣﻲﺧﻮﺍﻫﻢ ﻛﻪ ﺩﺭ ﺑﺮﻕ ﺑﻲﺭﺣﻤﺎﻧﻪﺷﺎﻥ‬
‫ﻭ ﺩﺭ ﺑﻲﺭﻧﮕﻲ ﻣﺎﺗﺸﺎﻥ‪ ،‬ﺍﻧﻌﻜﺎﺱ ﺧﺸﻚ ﻭ ﺑﻲﺭﻭﺡ ﻓﻠﺰ ﺑﮕﻴﺮﻧﺪ‬
‫ﺗﺎ ﺯﻳﻨﺖﻫﺎﻱ ﺩﻳﻮﺍﺭ ﺯﺍﺩﮔﺎﻫﻲﺍﻡ ﺭﺍ ﺑﺘﺎﺑﺎﻧﻨﺪ‬
‫ﻭ ﺳﻼﺡﻫﺎ ﺭﺍ‪ ،‬ﻭ ﻇﺮﻑﻫﺎﻳﻲ ﺭﺍ ﻛﻪ ﺍﺯ ﻛﻮﺩﻛﻲ ﺗﻨﻬﺎ ﻭ ﻣﻨﺰﻭﻱﺍﻡ ﺑﻪﺟﺎ ﻣﺎﻧﺪﻩﺍﻧﺪ‬
‫ﺩﺍﻳﻪ‪:‬‬
‫ﻣﺮﺍ ﺑﺒﺨﺶ! ﺣﺎﺷﺎﻫﺎﻱ ﻣﺮﺍ ﻭ‪ ،‬ﻣﻨﻊﻫﺎﻱ ﺷﻤﺎ ﺭﺍ‬
‫ﭘﻴﺮﻱ ﺍﺯ ﺭﻭﺡ ﭘﮋﻣﺮﺩﻩﺍﻡ‪ ،‬ﭼﻮﻥ ﻛﺘﺎﺑﻲ ﻛﻬﻨﻪ ﻭ ﺳﻴﺎﻩ ﻣﻲﺳﺘﺮﺩ‬
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 ‫ﻫﺮﻭﺩﻳﺎﺩ‪:‬‬
‫ﺑﺲ ﺍﺳﺖ ﺩﺍﻳﻪ! ﺍﻳﻦ ﺁﻳﻨﻪ ﺭﺍ ﺑﺮﺍﺑﺮ ﻣﻦ ﺑﮕﻴﺮ‬
‫ﺍﻱ ﺁﻳﻨﻪ!‬
‫ﺍﻱ ﺯﻻﻝ ﺷﻔﺎﻑ ﻛﻪ ﺩﺭ ﺟﻠﺪ ﻣﻨﺠﻤﺪﺕ ﺍﺯ ﻣﻼﻝ ﺳﺮﺩ ﺷﺪﻩﺍﻱ‬
‫ﺑﺎﺭﻫﺎ ﻭ ﻟﺤﻈﻪﻫﺎﻱ ﺑﺴﻴﺎﺭ‬
‫ﺍﻧﺪﻭﻫﮕﻴﻦ ﺍﺯ ﻓﻜﺮﻫﺎ ﻭ ﺍﻭﻫﺎﻡ‪ ،‬ﺩﺭ ﺟﺴﺘﺠﻮﻱ ﺧﺎﻃﺮﻩﻫﺎﻳﻢ‬
‫ــ ﺧﺎﻃﺮﻩﻫﺎﻳﻲ ﻛﻪ ﺍﻛﻨﻮﻥ ﺩﺭ ﺣﻔﺮﻩﻱ ﻋﻤﻴﻖ ﭘﺸﺖ ﺷﻴﺸﻪﻱ ﺗﻮ‬
‫ﺑﺮگﻫﺎﻳﻲ ﻣﺤﻮ ﻫﺴﺘﻨﺪ‬
‫ﺧﻮﻳﺶ ﺭﺍ ﭼﻮﻥ ﺳﺎﻳﻪﺍﻱ ﺩﻭﺭ ﺩﺭ ﺗﻮ ﻇﺎﻫﺮ ﺳﺎﺧﺘﻢ‬
‫ﺍﻣﺎ‪ ،‬ﭼﻪ ﻧﻔﺮﺗﻲ! ﺷﺐﻫﺎ ﺩﺭ ﭼﺸﻤﻪﻱ ﻋﺒﻮﺱ ﺗﻮ‪،‬‬
‫ﻋﺮﻳﺎﻧﻲ ﺧﻴﺎ ِﻝ ﭘﺮﺍﻛﻨﺪﻩﺍﻡ ﺭﺍ ﺷﻨﺎﺧﺘﻢ!‬
‫ﺩﺍﻳﻪ! ﻣﺮﺍ ﺯﻳﺒﺎ ﻣﻲﺑﻴﻨﻲ؟‬
‫ﺩﺍﻳﻪ‪:‬‬
‫ــ ﻳﻚ ﺳﺘﺎﺭﻩ ﻭﺍﻗﻌ ًﺎ‪،‬‬
‫ﺍﻣﺎ ﺍﻳﻦ ﮔﻮﺭِ ﺑﺎﻓﺘﻪ‪...‬‬

‫ﭘﻞ ﻭﺍﻟﺮﻱ ﺩﺭ ﻣﻮﻥﭘﻠﻴﻪ ﺑﺎ ﭘﻴﺮ ﻟﻮﻳﻴﺲ ﻭ ﺑﻪﻭﺳــﻴﻠﻪﻱ ﺍﻭ ﺑﺎ ﻣﺎﻻﺭﻣﻪ ﻭ ﺁﻧﺪﺭﻩ ژﻳﺪ ﺁﺷﻨﺎ‬
‫ﺷﺪ‪ .‬ﺍﺯ ﺁﻥ ﭘﺲ ﺩﻭﺳﺘﻲ ﺑﺎ ﺁﻧﺪﺭﻩ ژﻳﺪ ﺑﺎﺍﺭﺯﺵﺗﺮﻳﻦ ﺩﻭﺭﺍﻥ ﺯﻧﺪﮔﻲ ﺍﻭ ﺭﺍ ﻣﻲﺳﺎﺯﺩ‪.‬‬
‫ﺯﻧﺪﮔﻲ ﺩﺭ ﭘﺎﺭﻳﺲ‪ ،‬ﻭ ﺣﺸــﺮ ﻭ ﻧﺸﺮﻫﺎﻱ ﺷﺎﻋﺮﺍﻧﻪ‪ ،‬ﺗﺎ ﺳــﺎﻝ ‪) 1900‬ﺳﺎﻝ ﺍﺯﺩﻭﺍﺝ(‬
‫ﺑﻪﮔﺮﻣــﻲ ﺩﻧﺒﺎﻝ ﻣﻲﺷــﻮﺩ ﻭ ﺍﺯ ﺁﻥ ﭘﺲ ﻋﺰﻟﺖﻫﺎﻱ ﻣﺪﻳﺪ ﺍﻭ ﺁﻏﺎﺯ ﻣﻲﺷــﻮﻧﺪ‪ .‬ﺍﺩﺑﻴﺎﺕ ﻭ‬
‫ﺷــﻌﺮ ﺭﺍ ﺭﻫﺎ ﻣﻲﻛﻨﺪ ﻭ ﺑﻪ ﺩﻧﻴﺎﻱ ﺍﻋﺪﺍﺩ ﭘﻨﺎﻩ ﻣﻲﺑﺮﺩ‪ .‬ﺍﻭ ﺳــﺮﺍﻧﺠﺎﻡ ﺍﺯ ﺍﻧﺰﻭﺍﻱ ﻓﻌﺎﻝ ﺧﻮﺩ‬
‫ﻭ ﺧﻮﻳﺸــﺘﻦﻛﺎﻭﻱﻫﺎﻱ ﭘﺮﺧﻄ ِﺮ ﺁﻥ ﺑﻪ ﺍﺻﺮﺍﺭ ﺁﻧﺪﺭﻩ ژﻳﺪ ﺑﻴﺮﻭﻥ ﻣﻲﺁﻳﺪ ﻭ ﻃﻌﻢ ﺷــﻌﺮ ﺭﺍ‬
‫ﺑﺎﺯ ﻣﻲﭼﺸﺪ‪.‬‬
‫ﺣﺎﺻﻞ ﭼﻬﺎﺭ ﺳــﺎﻝ ﻛﻮﺷﺶ ﺩﺷﻮﺍﺭ ﺍﻭ ﺩﺭ ﺍﻳﻦ ﺯﻣﺎﻥ ﻣﻨﻈﻮﻣﻪﺍﻱ ﺑﺰﺭگ ﺍﺳﺖ ﺑﻪ ﻧﺎﻡ‬
‫»ﭘﺎﺭﻙ ﺟﻮﺍﻥ ‪ «La jeune parque‬ﻛﻪ ﻭﻗﺘﻲ ﺩﺭ ﻓﺮﺍﻧﺴــﻪ ﺍﻭﻟﻴﻦ ﺑﺎﺭ ﺳــﺎﻝ ‪ 1917‬ﺩﺭ‬ ‫ِ‬
‫ﻣﺠﻠﻪﻱ »ﻧﻮﻭﻝ ﺭﻭﻭ« ﭼﺎپ ﻣﻲﺷﻮﺩ‪ .‬ﺑﺎ ﻭﺟﻮﺩ ﺗﻴﺮﺍژ ﺷﺶﺻﺪ ﻧﺴﺨﻪﺍﻱ ﻣﺠﻠﻪ‪ ،‬ﺁﻧﭽﻨﺎﻥ‬
‫ﺩﺭ ﻣﻴﺎﻥ ﺍﻫﻞ ﻓﻦ ﺭﻭﺍﺝ ﻣﻲﮔﻴﺮﺩ ﻛﻪ ﺩﺭ ﻣﺪﺕ ﻛﻤﻲ ﺑﺰﺭگﺗﺮﻳﻦ ﺑﺤﺚﻫﺎ ﻭ ﺗﻔﺴــﻴﺮﻫﺎ ﺭﺍ‬
‫ﺑﺮﻣﻲﺍﻧﮕﻴﺰﺩ‪.‬‬
‫ﺑﻌــﺪ ﺍﺯ ﭘﺎﺭﻙ ﺟــﻮﺍﻥ ﻣﺠﻤﻮﻋــﻪﻱ ﺩﻳﮕﺮ ﻭﺍﻟﺮﻱ ﺩﺭ ﺳــﺎﻝ ‪ 1922‬ﺑﻪ ﻧﺎﻡ ﺷــﻌﺮﻫﺎ‬
‫»‪ «Charmes‬ﻣﻨﺘﺸــﺮ ﻣﻲﺷــﻮﺩ‪ .‬ﺍﺯ ﻗﻄﻌﺎﺕ ﻣﺸــﻬﻮﺭ ﺍﻳﻦ ﻛﺘﺎﺏ »ﮔﻮﺭﺳــﺘﺎﻥ ﺩﺭﻳﺎﻳﻲ‬
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‫‪ «Cimetière Marin‬ﺍﺳــﺖ ﻛــﻪ ﺟﺎﻱ ﺧﺎﺻﻲ ﺭﺍ ﺩﺭ ﺷــﻌﺮ ﻭﺍﻟﺮﻱ ﺩﺍﺭﺍﺳــﺖ‪ 6.‬ﺗﺎ‬
‫ﺟﺎﻳﻲ ﻛﻪ ﺩﺭ ﻣﺘﻮﻥ ﺍﻧﺘﻘﺎﺩﻱ ﺍﻭ ﻏﺎﻟﺒ ًﺎ ﺑﺎ ﻋﻨﻮﺍﻥ ﺷــﺎﻋ ِﺮ »ﮔﻮﺭﺳــﺘﺎﻥ ﺩﺭﻳﺎﻳﻲ« ﻭ ﻳﺎ ﺷــﺎﻋ ِﺮ‬
‫»ﭘﺎﺭﻙ ﺟﻮﺍﻥ« ﻳﺎﺩ ﻣﻲﻛﻨﻨﺪ‪.‬‬
‫ﺷــﻌﺮ ﻭﺍﻟﺮﻱ‪ ،‬ﺷﻌﺮﻱ ﻧﻴﺴــﺖ ﻛﻪ ﺧﻮﺍﻧﻨﺪﻩ ﺑﺘﻮﺍﻧﺪ ﺑﻪﺁﺳــﺎﻧﻲ ﺁﻥ ﺭﺍ ﺩﺭﻳﺎﺑﺪ‪ .‬ﭼﻪ ﺍﻳﻦ‬
‫ﺷــﻌﺮﻫﺎ ﻓﺮﺍﺳــﺖ ﻭ ﺗﻤﻴﺰ ﺍﻭ ﺭﺍ ﻣﺴــﺤﻮﺭ ﻭ ﮔﻮﺵ ﺭﺍ ﺩﺭ ﻓﻀﺎﻱ ﺟﺎﺩﻭﻳﻲﺷﺎﻥ ﺍﻓﺴﻮﻥ‬
‫ﻣﻲﻛﻨﻨــﺪ‪ ،‬ﺑﻪﺟﺎﻱ ﻧﺎﺑﻮﺩ ﺳــﺎﺧﺘﻦ ﻧﻴﺮﻭﻱ ﺍﻧﺘﻘﺎﺩﻱ ﻋﻘﻞ‪ ،‬ﺷــﺎﻋﺮ ﺑﻴﺸــﺘﺮ ﺁﻥ ﺭﺍ ﺗﺤﺮﻳﻚ‬
‫ﻣﻲﻛﻨﺪ ﻭ ﭘﺮ ﻭ ﺑﺎﻟﺶ ﻣﻲﺩﻫﺪ‪ .‬ﺍﺯ ﺍﻳﻦ ﺭﻭﺳﺖ ﻛﻪ ﺩﺭ ﻃﻲ ﭼﻬﻞ ﺳﺎﻝ ﺩﺭ ﭘﻴﺮﺍﻣﻮﻥ ﺁﺛﺎﺭﺵ‬
‫ﺭﻭﺯﺍﻓﺰﻭﻥﺗﺮﻳﻦ ﻭ ﮔﻮﻧﺎﮔﻮﻥﺗﺮﻳﻦ ﺗﻔﺴﻴﺮﻫﺎ ﻭ ﻋﻴﺐﺟﻮﻳﻲﻫﺎ ﺭﺍ ﺩﻳﺪﻩ ﺍﺳﺖ ﺗﺎ ﺑﺪﺍﻥﺟﺎ ﻛﻪ‬
‫ﺧﻮﺩ ﻣﻲﮔﻮﻳﺪ‪» :‬ﺩﻳﮕﺮ ﺣﺘﻲ ﺧﻮﺩﻡ ﻫﻢ ﻧﻤﻲﺩﺍﻧﻢ ﻛﻪ ﭘﻞ ﻭﺍﻟﺮﻱ ﻛﻴﺴــﺖ ﻭ ﻣﺮﺩﻡ ﺍﺯ ﭼﻪ‬
‫ﻛﺴــﻲ ﺍﻳﻦ ﻫﻤﻪ ﺣﺮﻑ ﻣﻲﺯﻧﻨﺪ؟!« ﻭ ﺩﺭ ﻛﺘﺎﺏ »ﮔﻮﻧﺎﮔﻮﻥ« ﺟﻠﺪ ﺳﻮﻡ‪ ،‬ﻭﻗﺘﻲ ﺩﺭﺑﺎﺭﻩﻱ‬
‫ﻣﺠﻤﻮﻋﻪﻱ »ﺷــﻌﺮﻫﺎ« ﺣﺮﻑ ﻣﻲﺯﻧﺪ ﻣﻲﮔﻮﻳﺪ‪» :‬ﺍﺷــﻌﺎﺭ ﻣﻦ ﻫﻤــﺎﻥ ﻣﻌﻨﻲ ﺭﺍ ﺩﺍﺭﻧﺪ ﻛﻪ‬
‫ﺧﻮﺍﻧﻨﺪﻩ ﺍﺯ ﺁﻥ ﻣﻲﻓﻬﻤﺪ‪«.‬‬
‫ﺧﺼﻮﺻﻴﺖ ﺑﺎﺭﺯ ﻭﺍﻟﺮﻱ ﺩﺭ ﺑﻲﭘﺮﻭﺍﻳﻲﺍﻱ ﺍﺳﺖ ﻛﻪ ﺩﺭ ﻧﺤﻮ ﻭ ﺗﺮﻛﻴﺐ ﻛﻠﻤﺎﺕ ﺑﻪﻛﺎﺭ‬
‫ﻣﻲﺑﺮﺩ‪ ،‬ﻣﻌﻨﺎﻳﻲ ﻛﻪ ﺍﻭ ﺍﺯ ﻭﺍژﻩﻫﺎ ﻣﻲﻃﻠﺒﺪ ﻣﻌﻤﻮﻻً ﻧﻪ ﺁﻥ ﭼﻴﺰﻱ ﺍﺳﺖ ﻛﻪ ﺩﺭ ﻛﺘﺎﺏﻫﺎﻱ‬
‫ﻟﻐﺖ ﻭ ﺯﺑﺎﻥ ﻣﻌﻤﻮﻝ ﻭ ﻣﺤﺎﻭﺭﻩ ﺩﺍﺭﻧﺪ‪ .‬ﺍﻭ ﺑﺮﺍﻱ ﺁﻧﻜﻪ ﺑﻪ ﻟﻐﺘﻲ‪ ،‬ﻣﻌﻨﺎﻱ ﻣﻮﺭﺩ ﻧﻈﺮ ﻭ ﺗﺎﺯﻩ‬
‫ﻭ ﺩﻟﺨﻮﺍﻩ ﺧﻮﺩ ﺭﺍ ﺑﺪﻫﺪ‪ ،‬ﺩﺭ ﺧﺎﻧﻮﺍﺩﻩﻱ ﺍﻟﻔﺎﻅ ﻭ ﺭﻳﺸﻪﻫﺎﻱ ﻻﺗﻴﻦ ﻭ ﻳﻮﻧﺎﻧﻲ ﺑﻪ ﺟﺴﺘﺠﻮ‬
‫ﺑﺮﻣﻲﺧﻴﺰﺩ ﻭ ﺗﺎ ﺑﻄﻦ ﻛﻬﻦﺗﺮﻳﻦ ﺳﺒﻚﻫﺎﻱ ﺍﺩﺑﻲ ﻣﻲﺭﻭﺩ‪ .‬ﺍﻳﻦ ﺍﺳﺖ ﻛﻪ ﻣﻲﺑﻴﻨﻴﻢ ﻭﺍﻟﺮﻱ‬
‫ﺷــﺎﻋﺮ ﻫﻤﻴﺸﻪ ﺑﻪﻋﻨﻮﺍﻥ ﻳﻚ ﺯﺑﺎﻥﺷﻨﺎﺱ ﻧﻴﺰ ﻣﻮﺭﺩ ﺑﺤﺚ ﻭ ﮔﻔﺖﻭﮔﻮ ﺑﻮﺩﻩ ﻭ ﺗﺮﻛﻴﺒﺎﺕ‬
‫ﻭ ﻟﻐﺎﺕ ﺧﺎﺹ ﺍﻭ ﺗﺪﻭﻳﻦ ﻓﺮﻫﻨﮕﻲ ﺟﺪﺍﮔﺎﻧﻪ ﺭﺍ ﺍﻳﺠﺎﺏ ﻛﺮﺩﻩ ﺍﺳﺖ‪.‬‬
‫ﺍﻳﻦ ﺧﺼﻮﺻﻴﺖ ﻭﺍﻟﺮﻱ ﺑﻴﺶ ﺍﺯ ﻫﺮﺟﺎ ﺩﺭ »ﭘﺎﺭﻙ ﺟﻮﺍﻥ« ﺑﺮﻭﺯ ﻛﺮﺩﻩ ﺍﺳﺖ‪ .‬ﺩﺭ ﺑﻄﻦ‬
‫ﺷﻜﻞ ﺩﻗﻴﻖ ﻭ ﻧﺎﺯﻙﺑﻴﻨﺎﻧﻪﻱ ﺷــﻌﺮ‪ ،‬ﺛﻘﻞ ﻣﺘﺮﺍﻛﻢ ﺍﻧﺪﻳﺸﻪﻫﺎﻱ ﺍﻭ ﺭﺍ ﺩﺭﻳﺎﻓﺖ ﻣﻲﻛﻨﻴﻢ ﻛﻪ‬
‫ﺑﺎ ﺁﺯﺍﺩﻱ ﺣﻴﺮﺕﺁﻭﺭﻱ ﺍﻓﺴــﺎﻧﻪﻱ ﻛﻔﺮﺁﻣﻴﺰ ﺧﻮﺍﻫﺮﺍﻥ ﺭﻳﺴﻨﺪﻩ )‪ (Les parques‬ﺭﺍ ﻛﻪ‬
‫ﺳﺮﻧﻮﺷــﺖ ﻧﻮﻉ ﺑﺸﺮ ﺭﺍ ﺩﺭ ﭼﻨﮓ ﺧﻮﻳﺶ ﺩﺍﺭﻧﺪ‪ ،‬ﺑﻪ ﺗﻌﺒﻴﺮﺍﺕ ﺩﻭﺭ ﻣﻲﻛﺸﺎﻧﺪ‪ .‬ﺑﺎ ﺗﺼﻮﺭ‬
‫ﭘﺎﺭﻙ ﺍﻭﻝ ﻛﻪ ﺟﻮﺍﻥﺗﺮﻳﻦ ﺁﻥﻫﺎﺳــﺖ ﻭ ﺑﺎ ﺩﻳﺪ ﭘﺮﺷﻮﺭ ﺟﻮﺍﻧﻲ ﻣﻲﺗﻮﺍﻧﻴﻢ ﻗﺒﻮﻝ ﻛﻨﻴﻢ ﻛﻪ‬
‫ﺷﺎﻫﻜﺎﺭ ﻭﺍﻟﺮﻱ‪ ،‬ﻋﺮﻭﺝ ﺭﻭﺡ ﻭ ﺑﺎﻃﻦ ﺍﻧﺴﺎﻧﻲ ﺭﺍ ﺩﺭ ﺑﻬﺎﺭ ﺣﻴﺎﺕ ﺗﺸﺮﻳﺢ ﻣﻲﻛﻨﺪ‪.‬‬
‫ﺩﺭ »ﭘﺎﺭﻙ ﺟﻮﺍﻥ«‪ ،‬ﻭﺍﻟﺮﻱ ﻇﺮﻳﻒﺗﺮﻳﻦ ﻭ ﺩﺷــﻮﺍﺭﺗﺮﻳﻦ ﺟﻨﺒﻪﻫﺎﻱ ﻫﻨﺮ ﺷﺎﻋﺮﻱ ﺧﻮﺩ‬
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‫»ﺷﺒﺎﻫﺖ ﻛﻠﻤﺎﺕ«‪ ،‬ﺍﺳﺘﻔﺎﺩﻩ ﺍﺯ ﻧﺎﻣﻨﺎﺳﺒﻲﻫﺎﻱ‬ ‫ﺭﺍ ﺑﻪﻛﺎﺭ ﮔﺮﻓﺘﻪ ﺍﺳــﺖ‪ .‬ﺷــﻴﻔﺘﮕﻲ ﺑﻪ ﺍﺻﻞِ‬

‫‪» . 6‬ﮔﻮﺭﺳـﺘﺎﻥ ﺩﺭﻳﺎﻳﻲ« ﻳﻚﺑﺎﺭ ﺗﻮﺳـﻂ ﺷﺮﻑﺍﻟﺪﻳﻦ ﺧﺮﺍﺳﺎﻧﻲ )ﺷـﺮﻑ( ﺩﺭ »ﺍﻳﺮﺍﻥ ﻣﺎ«ﻱ ﺳﺎﺑﻖ ﻭ ﺑﺎﺭ‬
‫ﺩﻳﮕﺮ ﺑﻪﻭﺳـﻴﻠﻪﻱ ﺣﺴـﻦ ﻫﻨﺮﻣﻨﺪﻱ ﺩﺭ »ﺍﺯ ﺭﻣﺎﻧﺘﻴﺴﻢ ﺗﺎ ﺳﻮﺭﺭﺋﺎﻟﻴﺴـﻢ« ﺑﻪ ﻓﺎﺭﺳﻲ ﺗﺮﺟﻤﻪ ﺷﺪﻩ ﻛﻪ ﺍﺯ ﻫﺮ ﺩﻭ‬
‫ﺗﺮﺟﻤﻪ ﺍﺳﺘﻔﺎﺩﻩ ﻛﺮﺩﻩﺍﻳﻢ‪.‬‬

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 ‫ﻫﻤﺎﻫﻨــﮓ ﻭﺍژﻩﻫﺎ‪ ،‬ﺧﻮﺍﻧﻨﺪﻩ ﺭﺍ ﺑﻪ ﺭﺅﻳﺎ ﻭ ﺗﺄﻣﻞ ﻣﻲﺑﺮﺩ‪ ،‬ﺑﻪﻭﻳﮋﻩ ﻫﻨﮕﺎﻣﻲ ﻛﻪ ﺩﺭ ﺣﻴﻄﻪﻱ‬
‫ﺗﺄﺛﻴﺮ ﻭ ﺗﻮﻗﻊ ﻗﺎﻓﻴﻪ ﻗﺮﺍﺭ ﮔﺮﻓﺘﻪ ﺑﺎﺷــﻨﺪ‪ .‬ﺍﻳﻦ ﺧﻼﻗﻴﺖ ﺩﺭ ﻃﺮﺯ ﺳــﺨﻦ ﺍﺩﺍﻣﻪ ﻣﻲﻳﺎﺑﺪ ﺗﺎ‬
‫ﺁﻧﺠﺎ ﻛﻪ ﻗﺮﺍﺋﺖ ﺍﺷــﻌﺎﺭ ﻭﺍﻟﺮﻱ ﺭﺍ ﺩﺷــﻮﺍﺭ ﻣﻲﻛﻨﺪ‪ .‬ﺍﻣﺎ ﺑﺎ ﺧﻮﺍﻧﺪﻥ ﺍﻳﻦ ﺣﺮﻑ ﺭﻭﺍ ﻧﻴﺴﺖ‬
‫ﺍﮔﺮ ﺭﻭ ﺗﺮﺵ ﻛﻨﻴﻢ ﻭ ﭼﻴﻦ ﺑﻪ ﺍﺑﺮﻭ ﺍﻧﺪﺍﺯﻳﻢ‪ .‬ﭼﻨﻴﻦ ﻛﺎﺭﻱ ﺷــﺎﻳﺪ ﺑﻴﺸــﺘﺮ ﺑﻪ ﻳﻚ »ﺍﻇﻬﺎﺭ‬
‫ﻓﻀﻞ« ﻧﺎﺁﮔﺎﻫﺎﻧﻪ ﺷــﺒﻴﻪ ﺑﺎﺷــﺪ‪ .‬ﺁﻥﭼﻨﺎﻧﻲ ﻛﻪ ﻛﺎﻣﻴﻞ ﺳــﻮﻻ ‪ Camille Soula‬ﻣﺆﻟﻒ‬
‫ﻛﺘــﺎﺏ »ﺑﺤﺜﻲ ﺩﺭﺑﺎﺭﻩﻱ ﻣﺎﻻﺭﻣﻪ« ﮔﻔﺘﻪ ﺍﺳــﺖ‪» :‬ﺑﻲﺍﺣﺘﺮﺍﻣﻲ ﺑﻪ ﻧﺎﺑﻐــﻪ‪ ،‬ﺗﻈﺎﻫﺮ ﺑﻪ ﻓﻬﻢ‬
‫ﺍﺳــﺖ‪ «.‬ﻭ ﻫﻴﭻﮔﺎﻩ ﺑﻪ ﺁﻧﺎﻧﻲ ﻛﻪ ﺩﺭ ﺍﻳﻦ ﺑﺎﺏ ﺻﻼﺣﻴﺘﻲ ﻧﺪﺍﺷﺘﻪﺍﻧﺪ ﭘﺎﺳﺨﻲ ﮔﻔﺘﻪ ﻧﺸﺪﻩ‪،‬‬
‫ﺑﻠﻜﻪ ﻫﻤﻴﺸــﻪ ﺍﺯ ﺧﻼﻝ ﺳــﻄﻮﺭ‪ ،‬ﻟﺤﻨﻲ ﺗﺤﻘﻴﺮﺁﻣﻴﺰ ﺍﻋﻼﻡ ﻛﺮﺩﻩ ﻛﻪ ﺍﺩﻋﺎﻱ ﻓﻬﻤﻴﺪﻥ ﻳﻚ‬
‫ﺷــﺎﻋﺮ ﻧﻮﻋﻲ ﺑﻲﺫﻭﻗﻲ ﻭ ﻋﺎﻟِﻢﻧﻤﺎﻳﻲ ﻣﻀﺤﻚ ﺍﺳﺖ‪ ،‬ﺁﻥﺳــﺎﻥ ﻛﻪ ﻓﺮﺍﺷﺎﻥ ﻣﻜﺘﺐﻫﺎﻱ‬
‫ﻓﺮﺍﻣﻮﺵﺷﺪﻩ ﻣﻲﻛﻨﻨﺪ‪.‬ﺩﺭ ﭘﺎﻳﺎﻥ ﺍﻳﻦ ﻣﻘﺎﻟﻪ ﺑﺨﺶ ﺩﻳﮕﺮﻯ ﺍﺯ ﺍﻳﻦ ﺗﺮﺟﻤﻪ ﺭﺍ ﺩﺭ ﺗﻘﺮﻳﺮ ﻣﻦ‬
‫ﻭ ﺩﺭ ﺩﺳﺘﻜﺎﺭ ﺑﻴﮋﻥ ﺍﻟﻬﻰ ﻣﻰﺁﻭﺭﻳﻢ‪.‬‬

‫ﺭﺷﺘﻪﻱ ﺩﻧﺒﺎﻟﻪﺩﺍﺭﺵ ﺭﺍ ﭼﻪ ﭘﻴﭽﺶ ﺗﻤﻨﺎﻳﻲ ﺍﺳﺖ!‬

‫ﭼﻪ ﺁﺷﻔﺘﮕﻲ ﮔﻨﺞﻫﺎ ﻛﻪ ﺍﺯ ﻭﻟﻊ ﻣﻦ ﻣﻲﮔﺮﻳﺰﻧﺪ‬
‫ﭼﻪ ﻋﻄﺶ ﺗﺎﺭﻳﻜﻲ ﺩﺭ ﺍﻳﻦ ﺯﻻﻝ ﻣﺼﻔﺎ ﺍﺳﺖ!‬

‫ﺍﻱ ﻓﺮﻳﺐ!‪ ...‬ﺩﺭ ﭘﺮﺗﻮ ﻧﻮﺭ ﺩﺭﺩﻯ ﺭﻫﺎ ﺷﺪﻩ ﺩﺭ ﻣﻦ‬

‫ﺧﻮﻳﺶ ﺭﺍ ﭘﻴﺶ ﺍﺯ ﺁﻧﻜﻪ ﺯﺧﻤﻴﻦ ﺑﻴﺎﺑﻢ ﺭﻭﺷﻦﺗﺮ ﺷﻨﺎﺧﺘﻢ ‪...‬‬
‫ﺩﺭ ﺍﻋﻤﺎﻕ ﺭﻭﺡ ﻧﺎﺑﻜﺎﺭ ﻣﻦ‪ ،‬ﻧﻴﺸﻲ ﺁﺷﻜﺎﺭ ﺷﺪ!‬
‫ﺍﻳﻦ ﺯﻫﺮ‪ ،‬ﺯﻫﺮ ﺧﻮﻳﺸﻢ‪ ،‬ﻣﺮﺍ ﺟﻼ ﻣﻲﺩﻫﺪ ﻭ ﺑﻴﺪﺍﺭﻡ ﻣﻲﻛﻨﺪ‪:‬‬
‫ﺑﺎﻛﺮﻩﺍﻯ ﺭﺍ ﻣﻲﺷﻜﻔﺎﻧﺪ ﻛﻪ ﺑﺮ ﺧﻮﻳﺸﺘﻨﺶ ﭘﻴﭽﻴﺪﻩ ﺍﺳﺖ‬
‫ﺑﺎﻛﺮﻩﺍﻱ ﻋﺎﺷﻖ ‪ ...‬ﻋﺎﺷﻖ ﻛﻲ ﺍﻣﺎ‪ ،‬ﻋﺎﺷﻖ ﻭ ﻣﺮﻋﻮﺏ؟‬
‫ﻭ ﻛﺪﺍﻡ ﺳﻜﻮﺕ ﺑﺎ ﺗﻨﻬﺎ ﻣﺎﻟﻚ ﻣﻦ ﺣﺮﻑ ﻣﻲﺯﻧﺪ؟‬

‫ﺍﻱ ﺧﺪﺍﻳﺎﻥ! ﺑﺮ ﺟﺮﺍﺣﺖ ﺳﻨﮕﻴﻨﻢ‪ ،‬ﺧﻮﺍﻫﺮﻱ ﻧﻬﻔﺘﻪ‬

‫ﻣﻲﺳﻮﺯﺩ‪ ،‬ﻛﻪ ﺧﻮﻳﺶ ﺭﺍ ﺑﻪ ﻧﻬﺎﻳﺖ ﺩﻗﻴﻖ ﻣﻰﺧﻮﺍﻫﺪ‬

‫ﺑﺮﻭ! ﺑﻪ ﺗﺒﺎﺭ ﺳﺎﺩﺓ ﺗﻮ ﻣﺮﺍ ﺩﻳﮕﺮ ﻧﻴﺎﺯﻯ ﻧﻴﺴﺖ‬

‫ﻣﺎﺭ ﻋﺰﻳﺰ ‪ ...‬ﻣﻦ ﺑﺮ ﺧﻮﻳﺶ ﻣﻰﭘﻴﭽﻢ‪ ،‬ﻣﻮﺟﻮﺩ ﺳﺮﮔﻴﺠﻪ ﺩﻭﺍﺭ‬
‫ﺩﻳﮕﺮ ﺍﻳﻦ ﻣﺨﻠﻮﻁ ﮔﺮﻩﻫﺎ ﺭﺍ ﻭﺍﻡ ﻣﻦ ﻣﻜﻦ‬
‫ﻧﻪ ﻭﻓﺎﻳﺖ ﺭﺍ ﻛﻪ ﺍﺯ ﻣﻦ ﮔﺮﻳﺰ ﺩﺍﺭﺩ‪ ،‬ﻭ ﺩﺭﻣﻲﻳﺎﺑﺪ‬

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 ‫ﺟﺎﻥ ﻣﻦ ﺭﺍ ﺍﻳﻦﻫﻤﻪ ﻛﺎﻓﻲ ﺍﺳﺖ‪ ،‬ﺍﻯ ﺯﻳﻮﺭ ﻭﻳﺮﺍﻧﻪﻫﺎ!‬
‫ﻣﻰﺗﻮﺍﻧﺪ ﺑﺮ ﺳﺎﻳﻪﺍﻡ ﻛﻪ ﻋﺬﺍﺏﻫﺎﻳﺶ ﺭﺍ ﺳﺮﮔﺸﺘﻪ ﻣﻰﻛﻨﺪ‬
‫ﺷﺐﻫﺎ ﺻﺨﺮﻩﻫﺎﻯ ﺩﻝﻓﺮﻳﺐ ﺁﻏﻮﺷﻢ ﺭﺍ ﻧﻴﺶ ﺯﻧﺪ‬
‫ﻭ ﺍﺯ ﺁﻧﺠﺎ ﺍﺯ ﺭﺅﻳﺎﻫﺎﻱ ﺑﻴﺮﻧﮓ ﻣﻦ ﺩﻳﺮﺯﻣﺎﻧﻲ ﺷﻴﺮ ﻣﻲﻣﻜﺪ ‪...‬‬

‫ﭘﺲ ﺑﮕﺬﺍﺭ ﺍﻳﻦ ﺑﺎﺯﻭﻱ ﺟﻮﺍﻫﺮ ﺑﻲﺟﺎﻥ ﺷﻮﺩ‬

‫ﻛﻪ ﺳﺮﻧﻮﺷﺖ ﺭﻭﺡ ﻣﺮﺍ ﺍﺯ ﻋﺸﻖ ﻣﻲﺗﺮﺳﺎﻧﺪ ‪...‬‬
‫ﺗﻮ ﺑﺮ ﻣﻦ ﻧﺘﻮﺍﻧﻲ ﺧﺸﻤﻲ ﺧﻮﻧﺨﻮﺍﺭﺍﻧﻪﺗﺮ ﺑﺮﺍﻧﻲ‬
‫ﻭ ﺩﻟﺨﻮﺍﻩﺗﺮ‬
‫ﭘﺲ ﺁﺭﺍﻡ ﻛﻦ‪ ،‬ﺑﻨﺸﺎﻥ ﺍﻳﻦ ﺍﻟﺘﻬﺎﺏ ﺗﻤﻮﺝﻫﺎ ﺭﺍ‬
‫ﺍﻳﻦ ﮔﺮﺩﺍﺏﻫﺎ ﺭﺍ ﻓﺮﻭ ﻧﺸﺎﻥ‪ ،‬ﺍﻳﻦ ﻭﻋﺪﻩﻫﺎﻯ ﭘﻠﻴﺪ ﺭﺍ ‪...‬‬
‫ﺣﻴﺮﺗﻢ ﻣﻰﻧﺸﻴﻨﺪ‪ ،‬ﻭ ﭼﺸﻢﻫﺎﻳﻢ ﺑﺎﺯﻧﺪ‬

‫ﻣﻦ ﺍﺯ ﺑﻴﺎﺑﺎﻥﻫﺎﻯ ﺳﺮﺷﺎﺭﻡ‬

‫ﺍﻧﺘﻈﺎﺭﻯ ﺟﺰ ﺍﻳﻦ ﺯﺍﻳﺶ ﺧﺸﻢ ﻭ ﺭﻭﻳﺶ ﮔﻴﺴﻮ ﻧﺪﺍﺷﺘﻢ‬
‫ﻣﺘﻦﻫﺎﻯ ﻣﺸﺘﺎﻕﺷﺎﻥ ﺍﺯ ﺧﺸﻜﻰ ﺁﻥﭼﻨﺎﻥ ﺩﻭﺭ ﻣﻰﺩﺭﺧﺸﻨﺪ‬
‫ﺁﻥﭼﻨﺎﻥ ﺩﻭﺭ ﻛﻪ ﺍﺯ ﺷﻮﻕ ﺩﻳﺪﺍﺭ ﻣﺮﺯﻫﺎﻯ ﺑﻰﺍﻣﻴﺪ ﺩﻭﺯﺥﻫﺎﻯ ﺍﻧﺪﻳﺸﻤﻨﺪﻡ‬
‫ﭘﻴﺶ ﻣﻰﺭﻭﻡ ﻭ ﺧﺮﺍﺏ ﺑﻪ ﺧﺎﻙ ﻣﻰﺍﻓﺘﻢ ‪...‬‬
‫ﻣﻰﺩﺍﻧﻢ ‪ ...‬ﺧﺴﺘﮕﻰ ﻣﻦ ﮔﻪﮔﺎﻩ ﺻﺤﻨﻪﻱ ﺩﺭﺩ ﺍﺳﺖ‪.‬‬

‫ﺫﻫﻦ ﺁﻥﭼﻨﺎﻥ ﺯﻻﻝ ﻧﻴﺴﺖ ﻛﻪ ﭘﻴﻮﺳﺘﻪ ﺑﺖ ﭘﺮﺳﺖ‬

‫ﻛﻪ ﺧﻠﺠﺎﻥ ﻣﻨﺰﻭﻯﺍﺵ‪ ،‬ﺑﺎﺧﻴﺰﻫﺎﻯ ﺷﻌﻠﻪﻭﺍﺭ‬
‫ﺩﻳﻮﺍﺭ ﮔﻮﺭ ﺗﻴﺮﻩﺍﺵ ﺭﺍ ﻧﮕﺮﻳﺰﺍﻧﺪ‪.‬‬
‫ﺩﺭ ﺍﻳﻦ ﻓﺮﻭ ﺟﺎﻯ‪ ،‬ﻫﺮ ﭼﻴﺰ ﻣﻰﺗﻮﺍﻧﺪ ﺍﺯ ﺍﻧﺘﻈﺎﺭﻯ ﺑﻰﺍﻧﺘﻬﺎ ﺁﻏﺎﺭ ﮔﺮﺩﺩ‪.‬‬
‫ﺳﺎﻳﻪ ﺧﻮﺩ ﺑﻪ ﺍﺣﺘﻀﺎﺭﻯ ﻣﺤﺘﻮﻡ ﺗﺴﻠﻴﻤﺶ ﻣﻰﻛﻨﺪ‬
‫ﺭﻭﺡ ﺑﺨﻴﻞ ﺧﻮﺩ ﻣﻰﮔﺸﺎﻳﺪ ﻭ ﻣﻨﻘﻠﺐ ﺍﺯ ﺩﻳﻮ ﻣﻰﺷﻮﺩ‬
‫ﺷﺒﺤﻰ ﻛﻪ ﺩﺭ ﺁﺳﺘﺎﻧﻪﻱ ﺁﺗﺶ ﺑﻪ ﺧﻮﺩ ﻣﻰﭘﻴﭽﺪ ‪...‬‬
‫ﺍﻣﺎ‪ ،‬ﺗﺎ ﺗﻮ ﻫﻮﺱ ﺑﺎﺯ ﻭ ﺳﺮﻳﻊ ﺑﻨﻤﺎﻳﻰ‪،‬‬
‫ﺧﺰﻧﺪﻩ! ﺍﻯ ﭘﻴﭻ ﻭ ﺧﻢﻫﺎﻯ ﺯﻧﺪﻩ‪ ،‬ﭘﻴﻤﻮﺩﻩ ﺍﺯ ﻧﻮﺍﺯﺵ‬
‫ﺍﻯ ﻧﺎﺷﻜﻴﺒﺎﻳﻰ ﻧﺰﺩﻳﻚ‪ ،‬ﺧﺴﺘﮕﻰ ﺳﻨﮕﻴﻦ!‬
‫ﭼﻪ ﻫﺴﺘﻰ ﺗﻮ ﻛﻨﺎﺭ ﺍﻳﻦ ﺷﺐ ﻃﻮﻝ‪ ،‬ﻃﻮﻝ ﺍﺑﺪﻯﺍﻡ‬

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 ‫ﺗﻮ ﺧﻮﺍﺏ ﻏﻔﻠﺖ ﺯﻳﺒﺎﻯ ﻣﺮﺍ ﻣﻰﭘﺎﻳﻴﺪﻯ‬
‫ﺑﻪ ﻭﻗﺖ ﺧﻄﺮﻫﺎﻳﻢ ﺍﻣﺎ ﻫﻮﺷﻴﺎﺭﻡ‬
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‫ﺭﻧﮓ ﺑﺎﺯﺗﺮ ﺍﻯ ﺗﻴﺮﺱ ﺍﻯ ﻧﺎﺑﻜﺎﺭﺗﺮ ﺍﺯ ﺁﻧﻬﺎ‬
‫ﺍﺯ ﻣﻦ ﺑﮕﺮﻳﺰ! ﺯﻳﻦ ﺑﺎﺯﮔﺸﺖ ﺳﻴﺎﻩ ﺭﺷﺘﻪﻱ ﭼﺴﺒﻨﺪﻩ ﺭﺍ ﺍﺯ ﺳﺮ ﮔﻴﺮ!‬
‫ﺑﮕﺮﻳﺰ ﻭ ﺑﺮﺍﻯ ﺭﻗﺺﻫﺎﻯ ﺛﻘﻴﻠﺖ ﭼﺸﻢﻫﺎﻯ ﺑﺴﺘﻪ ﺑﺠﻮﻯ‪.‬‬
‫ﺟﺎﻣﻪﻫﺎﻯ ﭘﻴﺎﭘﻰﺍﺕ ﺭﺍ ﺑﺴﻮﻯ ﺑﺴﺘﺮﻫﺎﻳﻰ ﺩﻳﮕﺮ ﺭﻭﺍﻥ ﻛﻦ‬
‫ﻭ ﺟﺮﺛﻮﻣﻪﻫﺎﻯ ﺩﺭﺩﺷﺎﻥ ﺭﺍ ﺩﺭ ﻗﻠﺐﻫﺎﻯ ﺩﻳﮕﺮﻯ ﺑﻨﺸﺎﻥ‪.‬‬
‫ﺑﺎﺷﺪ ﺩﺭ ﭼﻨﺒﺮﻫﺎﻯ ﺭﻭﻳﺎﻯ ﺣﻴﻮﺍﻧﻰﺍﺕ‬
‫ﻋﺼﻤﺖ ﺁﺷﻔﺘﻪﺍﻯ ﺗﺎ ﺳﭙﻴﺪﻩ ﺩﻡ ﻟﻪﻟﻪ ﺯﻧﺪ! ‪...‬‬
‫ﻣﻦ ﺍﻣﺎ‪ ،‬ﺑﻴﺪﺍﺭ ﻣﻰﻣﺎﻧﻢ‪ ،‬ﻣﻌﺠﺰﻩﺁﺳﺎ ﻭ ﺭﻧﮓ ﺑﺎﺧﺘﻪ‬
‫ﺧﻴﺲ ﺍﺯ ﮔﺮﻳﻪﻫﺎﻳﻰ ﻛﻪ ﻫﺮﮔﺰ ﺭﻳﺨﺘﻪﺍﻡ‬
‫ﺍﺯ ﻏﻴﺒﺘﻰ ﺑﺎ ﺣﺼﺎﺭﻫﺎﻯ ﺯﻧﺎﻧﻪ ﺑﻴﺮﻭﻥ ﻣﻰﺷﻮﻡ‬
‫ﻛﻪ ﺑﻪ ﺩﺳﺖ ﺗﻨﻬﺎﻯ ﺍﻭ ﮔﻬﻮﺍﺭﻩﻭﺍﺭ ﺟﻨﺒﻴﺪﻩﺍﻧﺪ‪.‬‬
‫ﻭ ﮔﻮﺭ ﺁﺭﺍﻣﻰ ﺭﺍ ﺩﺭ ﻣﻰﺷﻜﻨﻢ‪،‬‬
‫ﺑﺮ ﺁﺭﻧﺞ ﺧﻮﻳﺶ‪ ،‬ﻣﻀﻄﺮﺏ ﻗﺎﺩﺭ ﻭ ﺣﺎﻛﻢ ﺍﻣﺎ‪ ،‬ﺗﻜﻴﻪ ﻣﻰﺯﻧﻢ‪،‬‬
‫ﭼﻪ ﺭﻭﻳﺖﻫﺎ ﺍﺯ ﻣﻦ ﻣﻴﺎﻥ ﺷﺐ ﻭ ﭼﺸﻢ‬
‫ﻛﻪ ﻛﻤﺘﺮﻳﻦ ﺟﻨﺒﺶﻫﺎ ﻏﺮﻭﺭ ﻣﺮﺍ ﺑﻪ ﻛﻨﻜﺎﺵ ﻣﻰﮔﻴﺮﺩ‪.‬‬

‫ﺍﻣﺎ ﻣﻦ ﺍﺯ ﮔﻢ ﻛﺮﺩﻥ ﺩﺭﺩﻯ ﻣﻠﻜﻮﺗﻰ ﻣﻰﻟﺮﺯﻳﺪﻡ!‬

‫ﺑﺮ ﺩﺳﺖ ﺧﻮﻳﺶ ﺍﻳﻦ ﮔﺰﺵ ﻇﺮﻳﻒ ﺭﺍ ﺑﻮﺳﻪ ﻣﻰﺯﺩﻡ‬
‫ﻭ ﺍﺯ ﭘﻴﻜﺮ ﻋﺘﻴﻖ ﻭ ﺑﻰﺣﺲ ﺧﻮﺩ ﺩﻳﮕﺮ‬
‫ﺟﺰ ﺁﺗﺸﻰ ﻛﻪ ﺑﺮ ﻛﻨﺎﺭﻫﺎﻯ ﻣﻦ ﻣﻰﺳﻮﺧﺖ‪ ،‬ﺣﺴﻰ ﻧﺪﺍﺷﺘﻢ‪.‬‬

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‫ﺍﻧﺪﻳﺸﻴﺪﻡ‪ :‬ﺧﺪﺍﺣﺎﻓﻆ ﺍﻯ ﻣﻦ‪ ،‬ﺍﻯ ﺧﻮﺍﻫﺮ ﻓﺎﻧﻰ‪ ،‬ﺩﺭﻭﻍ ‪...‬‬

‫‪ Thyrse . 7‬ﭼﻮﺑﻰ ﺍﺳﺖ ﺷﺒﻴﻪ ﮔﺮﺯ ﺑﺎ ﻣﻴﻮﺓ ﺩﺭﺧﺖ ﻛﺎﺝ ﺑﺮ ﺳﺮ ﺁﻥ‪.‬‬

‫‪ . 8‬ﺩﺭ ﺍﻳﻦ ﮔﻔﺘﺎﺭ ﻣﺠﺎﻝ ﺑﺤﺚ ﺑﻴﺸـﺘﺮ ﺩﺭﺑﺎﺭﻩﻱ »ﭘﺎﺭﻙ ﺟﻮﺍﻥ« ﻧﻴﺴـﺖ‪ .‬ﻧﮕﺎﺭﻧﺪﻩ ﺗﻤﺎﻡ ﺍﻳﻦ ﻣﻨﻈﻮﻣﻪﻱ‬
‫ﺑﺰﺭگ ﺭﺍ ﺑﺎ ﺗﻼﺷـﻲ ﻣﺪﻳﺪ ﺑﻪ ﻓﺎﺭﺳـﻲ ﺗﺮﺟﻤﻪ ﻛﺮﺩﻩ ﺍﺳـﺖ ﻭ ﺑﺎ ﺗﺤﺸـﻴﻪ ﻭ ﺗﻔﺴـﻴﺮﻱ ﻛﻪ ﺑﺮ ﺁﻥ ﻧﻮﺷﺘﻪ ﺍﺳﺖ‪،‬‬
‫ﺍﮔـﺮ ﻓﺮﺻـﺖ ﻭ ﺍﻣﻜﺎﻧﻲ ﺑـﻮﺩ ﺩﺭ ﻛﺘﺎﺑﻲ ﺟﺪﺍﮔﺎﻧﻪ ﻣﻨﺘﺸـﺮ ﻛﺮﺩﻩ ﻭ ﺩﺭ ﺩﺳـﺘﺮﺱ ﺧﻮﺍﻧﻨﺪﮔﺎﻥ ﻗـﺮﺍﺭ ﺧﻮﺍﻫﺪ‬
‫ﺩﺍﺩ‪ ،‬ﺑﺎ ﺑﺨﺶ ﺑﺰﺭﮔﻰ ﺍﺯ ﻛﺘﺎﺏ ﻛﻪ ﺩﺭ ﺁﻥ ﺑﻴﮋﻥ ﺍﻟﻬﻰ ﺑﺎ ﻣﻦ ﻫﻤﻜﺎﺭﻯ ﺩﺍﺷـﺘﻪ ﺍﺳـﺖ‪ .‬ﻭ ﻓﺮﺍﻣﻮﺵ ﻧﻜﻨﻴﻢ ﻛﻪ‬
‫ﺗﺮﺟﻤﻪﺍﻯ ﻛﻪ ﺩﺭ ﺍﻳﻨﺠﺎ ﺁﻣﺪﻩ ﺍﺳﺖ ﻣﺮﺑﻮﻁ ﺑﻪ ﺗﻘﺮﻳﺒ ًﺎ ﭘﻨﺠﺎﻩ ﺳﺎﻝ ﭘﻴﺶ ﻣﺎﺳﺖ ﻭ ﺳﻠﻴﻘﻪﻱ ﺍﻣﺮﻭﺯ ﻣﻦ )ﻭ ﺣﺘﻤ ًﺎ‬
‫ﺍﻭ( ﻣﺼﺮﻉﻫﺎﻳﻰ ﺍﺯ ﻣﻨﻈﻮﻣﻪ ﺭﺍ ﻻﺑﺪ ﺩﮔﺮﮔﻮﻧﻪ ﻣﻰﺧﻮﺍﻫﺪ‪ ،‬ﺁﻥﻫﻢ ﺑﺎ ﻭﺳﻮﺍﺳـﻰ ﻛﻪ ﺩﺭ ﺍﻳﻦ ﻫﺮﺩﻭ‪ ،‬ﺷـﺎﻋﺮ ﻭ‬
‫ﻣﺘﺮﺟﻢ‪ ،‬ﺩﻳﺪﻩﺍﻡ‪ .‬ﺑﺎ ﻧﻤﻮﻧﻪﻫﺎﻳﻰ ﺍﺯ ﻛﺎﺭﺷﺎﻥ ﻛﻪ ﺩﺭ ﺍﻳﻦﺟﺎ ﻣﻰﺑﻴﻨﻴﺪ‪.‬‬

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‫ﺍﻳﻦ ﺩﺳﺘﺨﻂﻫﺎ ﺑﺨﺶ ﻛﻮﭼﻜﻰ ﺍﺯ ﺑﺎﺯﻧﻮﻳﺴﻰﻫﺎ‪ ،‬ﻭﺳﻮﺍﺱﻫﺎ‪ ،‬ﻭ ﺩﺳﺘﻜﺎﺭﻯﻫﺎﺋﻰ ﺍﺳﺖ ﻛﻪ ﺍﺯﻛﺎﺭ ﻭ‬
‫ﺯﺣﻤﺖ ﺗﺮﺟﻤﻪ ﻭ ﻧﻴﺰ ﺗﺎﻟﻴﻒ ﺻﻔﺤﺔ ﺍﻭﻝ ﻛﺘﺎﺏ‪ ،‬ﻳﻌﻨﻰ ﺁﻏﺎﺯ ﻣﻨﻈﻮﻣﻪ‪ ،‬ﺍﻧﺘﺨﺎﺏ ﻛﺮﺩﻩﺍﻳﻢ‬

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