‫ﻫﻨﺮ ﻣﻘﺎﻭﻣﺖ‬

‫ﻣﺼﺎﺣﺒﻪ ﺑﺎ‬
‫ﺭﻓﻴﻖ ﺳﻌﻴﺪ ﺳﻠﻄﺎﻧﭙﻮﺭ‬

‫ﻃﺎﻟﺒﻲ ﺑﺎ ﺗﻮﺟﻪ ﺑﻪ ﺍﻳﻨﻜﻪ ﻫﻨﺮ ﻣﻘﺎﻭﻣﺖ ﺗﻮﺍﻧﺴﺘﻪ ﺗﺎ ﺣﺪﻱ ﻭﻇﻴﻔﻪﻱ ﺗﺎﺭﻳﺨﻲ ﺧﻮﺩ ﺭﺍ ﺩﺭ ﺩﻭﺭﻩﻱ‬
‫ﺳﺘﻤﺸﺎﻫﻲ ﺍﻧﺠﺎﻡ ﺑﺪﻫﺪ‪ ،‬ﺩﻭ ﺳﻮﺁﻝ ﻣﺸﺨﺺ ﺩﺍﺭﻡ‪ :‬ﺍﻭﻝ ﺍﻳﻨﻜﻪ ﻫﻨﺮ ﻣﻘﺎﻭﻣﺖ ﺍﺯ ﻧﻈﺮ ﺷﻤﺎ ﺑﻪ‬
‫ﭼﻪ ﻣﻌﻨﻲ ﺍﺳﺖ ﻭ ﺩﻳﮕﺮ ﺍﻳﻨﻜﻪ‪ ،‬ﺑﺎ ﺗﻮﺟﻪ ﺑﻪ ﻣﻌﻨﻲ ﻭ ﻫﺪﻑ ﻫﻨﺮ ﻣﻘﺎﻭﻣﺖ‪ ،‬ﺍﻳﻦ ﺣﺮﻛﺖ ﺗﺎ ﭼﻪ‬
‫ﺣﺪ ﺗﻮﺍﻧﺴﺘﻪ ﺑﻪ ﻫﺪﻓﺶ ﺑﺮﺳﺪ‪.‬‬
‫ﺳﻠﻄﺎﻧﭙﻮﺭ ﻃﺒﻴﻌﻲ ﺳﺖ ﻛﻪ ﻭﻗﺘﻲ ﺍﺯ ﻫﻨﺮ ﻣﻘﺎﻭﻣﺖ ﺣﺮﻑ ﻣﻴﺰﻧﻴﻢ‪ ،‬ﺑﺎﻳﺪ ﺑﺪﺍﻧﻴﻢ ﭼﻴﺰﻱ ﺩﺭ ﺑﺮﺍﺑﺮﺵ ﻫﺴﺖ‬
‫ﻛﻪ ﺑﺎﻳﺪ ﻣﻘﺎﻭﻣﺖ ﺻﻮﺭﺕ ﺑﭙﺬﻳﺮﺩ‪ .‬ﻭ ﻣﺎ ﺑﺮﺍﻱ ﺍﻳﻨﻜﻪ ﻣﻘﺎﻭﻣﺖﻛﻨﻴﻢ‪ ،‬ﺑﺎﻳﺪ ﺁﻥ ﭼﻴﺰ ﺭﺍ‬
‫ﺑﺸﻨﺎﺳﻴﻢ‪ .‬ﻳﻌﻨﻲ ﺑﺎﻳﺪ ﺍﺯ ﻧﻤﻮﺩﻫﺎﻳﺶ ﺑﻪ ﻣﺎﻫﻴﺘﺶ ﭘﻲﺑﺒﺮﻳﻢ ﻭ ﺑﺎﺯ ﺍﺯ ﻃﺮﻳﻖ ﺷﻨﺎﺧﺖ ﺣﺪﻱ ﺍﺯ‬
‫ﻣﺎﻫﻴﺖ ﻣﺠﺪﺩﺍ ﺑﻪ ﻧﻤﻮﺩ ﻣﺮﺍﺟﻌﻪ ﻛﻨﻴﻢ ﻭ ﻣﺠﺪﺩﺍ ﻫﻤﻴﻨﻄﻮﺭ ﺑﺮﮔﺮﺩﻳﻢ ﺗﺎ ﺷﻨﺎﺧﺘﻤﺎﻥ ﻛﺎﻣﻞ‬
‫ﺑﺸﻮﺩ‪ .‬ﺩﺭ ﺍﻳﻦ ﺍﺭﺗﺒﺎﻁ ﻣﻔﻬﻮﻡ ﻫﻨ ِﺮ ﻣﻘﺎﻭﻣﺖ ﺩﺭ ﭘﻮﻳﺶ ﺧﻮﺩ ﻋﻤﻴﻖﺗﺮ ﻭ ﮔﺴﺘﺮﺩﻩﺗﺮ ﻣﻲﺷﻮﺩ‪.‬‬
‫ﺑﻨﺎﺑﺮﺍﻳﻦ ﻫﻨﺮ ﻣﻘﺎﻭﻣﺖ ﺍﺯ ﻳﻚ ﺳﻄﺢ ﻧﺎﺯﻝ ﺍﻧﻌﻜﺎﺳﺎﺕ ﺍﻋﺘﺮﺍﺿﻲ ﺗﺎ ﻋﻤﻴﻖﺗﺮﻳﻦ ﺍﺷﻜﺎﻝ‬
‫ﺳﻴﺎﺳﻲ ـ ﺍﺟﺘﻤﺎﻋﻲ ﺧﻮﺩ‪ ،‬ﭘﻴﺶﻣﻲﺭﻭﺩ‪ .‬ﻭﻗﺘﻲ ﺩﺭ ﺑﺮﺍﺑﺮ ﭼﻴﺰﻱ ﻣﻘﺎﻭﻣﺖ ﻣﻲﺷﻮﺩ‪ ،‬ﺑﻪ ﻧﺴﺒﺖ‬
‫ﺍﻳﻨﻜﻪ ﺁﻥ ﭼﻴﺰ ﺩﺭ ﻣﻴﺎﻥ ﺗﻮﺩﻩﻫﺎ ﭼﻘﺪﺭ ﺷﻨﺎﺧﺘﻪ ﺷﺪﻩ ﺑﺎﺷﺪ‪ ،‬ﻫﻨﺮ ﻣﻘﺎﻭﻣﺖ ﻫﻢ ﻣﻲﺗﻮﺍﻧﺪ ﺑﻪ‬
‫ﻫﻤﺎﻥ ﻧﺴﺒﺖ ﮔﺴﺘﺮﺵ ﺗﻮﺩﻩﻳﻲ ﭘﻴﺪﺍ ﻛﻨﺪ‪ .‬ﻳﻌﻨﻲ ﻫﻨﺮ ﻣﻘﺎﻭﻣﺖ ﺑﻪ ﻧﺴﺒﺖ ﺍﺩﺭﺍﻙ ﺳﻴﺎﺳﻲ ‪-‬‬
‫ﺍﺟﺘﻤﺎﻋﻲ ﺟﺎﻣﻌﻪ‪ ،‬ﻭ ﺍﮔﺮ ﻋﻤﻴﻖﺗﺮ ﺑﮕﻮﻳﻢ‪ ،‬ﺍﺩﺭﺍﻙ ﻃﺒﻘﺎﺗﻲ ﮔﺴﺘﺮﺵ ﻣﻴﻴﺎﺑﺪ‪ .‬ﺍﮔﺮ ﻫﻨﺮ‬
‫ﻣﻘﺎﻭﻣﺖ ﺭﺍ ﺗﻨﻬﺎ ﺩﺭ ﺩﺭﻭﻥ ﺧﺮﺩﻩﺑﻮﺭﮊﻭﺍﺯﻱ ﻭ ﺭﻭﺷﻨﻔﻜﺮﺍﻥ ﺍﻧﻘﻼﺑﻲ ﻭ ﺣﺘﻲ ﻣﺎﺭﻛﺴﻴﺴﺖ‬
‫ﺍﻧﻘﻼﺑﻲ ﻛﻪ ﺑﻪ ﺩﻟﻴﻞ ﺷﺮﺍﻳﻂ ﻛﻞ ﺍﺟﺘﻤﺎﻉ ﻫﻨﻮﺯ ﭘﺎﻳﮕﺎﻩ ﺗﻮﺩﻩﻳﻲ ﻛﺴﺐ ﻧﻜﺮﺩﻩ ﺍﻧﺪ‪ ،‬ﺑﺒﻴﻨﻴﻢ‪،‬‬
‫ﺍﻳﻦ ﻫﻨﺮ ﻣﻘﺎﻭﻣﺖ ﺗﻨﻬﺎ ﺩﺭ ﻋﺼﺮ ﺧﻮﺩﺵ ﺩﺍﺭﺍﻱ ﻣﻔﻬﻮﻡ ﺧﻮﺍﻫﺪ ﺑﻮﺩ‪ .‬ﭼﻨﻴﻦ ﻫﻨﺮ ﻣﻘﺎﻭﻣﺘﻲ ﺭﺍ‬
‫ﺑﻌﺪ ﺍﺯ ﺑﺤﺮﺍﻥﻫﺎﻱ ﻋﻈﻴﻢ ﺍﺟﺘﻤﺎﻋﻲ ـ ﭼﻪ ﭘﻴﺮﻭﺯ ﺑﺸﻮﻧﺪ ﻭ ﭼﻪ ﻧﺸﻮﻧﺪ ـ ﺩﻳﮕﺮ ﻧﻤﻲﺗﻮﺍﻥ‬
‫ﻣﻄﺮﺣﺶ ﻛﺮﺩ‪ .‬ﻫﻨﺮ ﻣﻘﺎﻭﻣﺖ‪ ،‬ﺍﺯ ﺩﻳﺪﮔﺎﻩ ﭘﺮﻭﻟﺘﺮﻱ‪ ،‬ﻫﻨﺮ ﻣﻘﺎﻭﻣﺘﻲ ﻋﻘﺐﻣﺎﻧﺪﻩ ﻭ ﺍﺯ ﺩﻳﺪﮔﺎﻩ‬
‫ﺧﺮﺩﻩ ﺑﻮﺭﮊﻭﺍﺯﻱ ﺍﻧﻘﻼﺑﻲ‪ ،‬ﭘﺮﺑﺎﺭ ﻭ ﺍﺭﺯﻧﺪﻩ ﺍﺳﺖ‪ .‬ﺍﺯ ﺍﻳﻦ ﻧﻈﺮ ﺍﺑﻌﺎﺩ ﻋﻠﻤﻲ‪ -‬ﻫﻨﺮﻱ ﺍﻳﻦ ﻫﻨﺮ‬
‫ﻧﻤﻲﺗﻮﺍﻧﺪ ﺁﻥ ﭼﻴﺰﻱ ﺑﺎﺷﺪ ﻛﻪ ﻣﺎﺭﻛﺴﻴﺴﺖﻫﺎﻱ ﺍﻧﻘﻼﺑﻲ‪ ،‬ﺣﺘﻲ ﺩﺭ ﺁﻥ ﺩﻭﺭﻩ‪ ،‬ﺍﻧﺘﻈﺎﺭﺵ ﺭﺍ‬
‫ﺩﺍﺷﺘﻨﺪ‪ .‬ﻳﻌﻨﻲ ﻫﻨﺮ ﻣﻘﺎﻭﻣﺖ ﺍﺯ ﺍﻳﻦ ﺩﻳﺪﮔﺎﻩ ﻫﻨﻮﺯ ﺳﺎﻣﺎﻧﻲ ﻧﭙﺬﻳﺮﻓﺘﻪ‪ .‬ﺑﺎ ﺍﻳﻦ ﺩﻳﺪﮔﺎﻩ ﺗﻨﻬﺎ‬
‫ﺟﺮﻗﻪﻫﺎﻳﻲ ﻭ ﺳﻨﮓﭘﺎﻳﻪﻫﺎﻳﻲ ﻣﻲﺗﻮﺍﻧﻴﻢ ﺩﺭ ﻫﻨﺮ ﻭ ﺍﺩﺑﻴﺎﺕ ﺟﺴﺘﺠﻮﻛﻨﻴﻢ‪ .‬ﻭﻗﺘﻲ ﻣﻲﮔﻮﻳﻢ‬
‫ﻫﻨﺮ ﻣﻘﺎﻭﻣﺖ ﺩﺭ ﺩﻭﺭﻩﻱ ﺳﺘﻤﺸﺎﻫﻲ ﻫﻨﺮ ﻣﻘﺎﻭﻣﺖ ﺧﺮﺩﻩ ﺑﻮﺭﮊﻭﺍﻳﻲ ﺑﻮﺩﻩ‪ ،‬ﻫﺮﮔﺰ ﺑﻪ ﺍﻳﻦ‬
‫ﻣﻔﻬﻮﻡ ﻧﻴﺴﺖ ﻛﻪ ﻋﻨﺎﺻﺮﻱ ﺍﺯ ﺳﻮﺳﻴﺎﻟﻴﺰﻡ ﺭﺍ ﺩﺭ ﺧﻮﺩ ﻧﺪﺍﺷﺘﻪ‪ ،‬ﺍﻣﺎ ﺣﺘﻲ ﺍﮔﺮ ﻋﻨﺼﺮ‬
‫ﺳﻮﺳﻴﺎﻟﻴﺴﺘﻲ ﺩﺭ ﺩﺭﻭﻥ ﺍﻳﻦ ﻫﻨﺮ ﻣﻘﺎﻭﻣﺖ ﺩﻳﺪﻩﻣﻲﺷﺪ‪ ،‬ﺩﺭ ﺭﺍﺑﻄﻪ ﺑﺎ ﻣﺴﺎﻳﻞ ﻣﺒﺎﺭﺯﻩﻱ ﻃﺒﻘﺎﺗﻲ‬
‫ﻧﺒﻮﺩﻩ ﺑﻠﻜﻪ ﻣﺠﺮﺩ ﻋﻤﻞ ﻣﻲﻛﺮﺩ ﻭ ﺑﻪ ﺩﻟﻴﻞ ﺍﻳﻨﻜﻪ ﻣﻲﺧﻮﺍﻫﺪ ﺑﺎ ﻋﻨﺎﺻﺮ ﺧﺮﺩﻩﺑﻮﺭﮊﻭﺍﻳﻲ‬
‫ﺯﻳﺴﺘﻲ ﺗﺮﻛﻴﺐ ﺑﺸﻮﺩ‪ ،‬ﺑُﻌﺪ ﻭﺍﻗﻌﻲ ﻭ ﻋﻤﻠﻜﺮﺩ ﻭﺍﻗﻌﻲ ﺧﻮﺩ ﺭﺍ ﺍﺯﺩﺳﺖﻣﻲﺩﻫﺪ ﻭ ﺗﻀﻌﻴﻒ‬
‫ﻣﻲﺷﻮﺩ‪ .‬ﻭ ﺑﺪﻳﻦ ﺗﺮﺗﻴﺐ ﺷﺎﻳﺪ ﺑﻴﺸﺘﺮ ﻣﻮﺭﺩ ﭘﺬﻳﺮﺵ ﺧﺮﺩﻩ ﺑﻮﺭﮊﻭﺍﺯﻱ ﻗﺮﺍﺭﻣﻲﮔﻴﺮﺩ‪ ،‬ﭼﻮﻥ‬
‫ﺧﺮﺩﻩ ﺑﻮﺭﮊﻭﺍﺯﻱ ﺍﻳﻦ ﻋﻨﺼﺮ ﺳﻮﺳﻴﺎﻟﻴﺴﻢ ﺭﺍ ﺩﺭ ﺭﺍﺑﻄﻪ ﺑﺎ ﻣﺴﺎﻳﻞ ﻃﺒﻘﺎﺗﻲ ﺩﺭﻳﺎﻓﺖﻧﻤﻲﻛﻨﺪ‪.‬‬
‫ﺍﮔﺮ ﺍﻳﻨﻄﻮﺭ ﺁﻧﺮﺍ ﺩﺭﻳﺎﻓﺖﻣﻲﻛﺮﺩ‪ ،‬ﻃﺒﻴﻌﺘﺎ ﺩﺭ ﭼﺸﻢﺍﻧﺪﺍﺯ ﺧﻮﺩﺵ ﺁﻧﺮﺍ ﺑﻪ ﻧﻔﻊ ﺧﻮﺩ‬
‫ﻧﻤﻲﺩﺍﻧﺴﺖ‪ .‬ﺑﺎ ﺍﻳﻦ ﺣﺎﻝ ﺩﺍﺷﺘﻴﻢ ﻫﻨﺮﻣﻨﺪﺍﻧﻲ ﺭﺍ ﻛﻪ ﺳﺮﺍﭘﺎ ﻣﺪﺍﻓﻊ ﺗﻔﻜﺮ ﺧﺮﺩﻩ ﺑﻮﺭﮊﻭﺍﺯﻱ‬
‫ﺑﻮﺩﻧﺪ‪ ،‬ﺍﻣﺎ ﺍﺯ ﻫﻨﺮﻱ ﻫﻢ ﻛﻪ ﻋﻨﺼﺮ ﺳﻮﺳﻴﺎﻟﻴﺴﺘﻲ ﺩﺍﺷﺖ‪ ،‬ﺩﻓﺎﻉﻣﻲﻛﺮﺩﻧﺪ‪ .‬ﺍﻳﻦ ﺑﻪ ﺁﻥ ﻣﻌﻨﻲ‬
‫ﻧﻴﺴﺖ ﻛﻪ ﺍﺯ ﺍﻳﻦ ﻋﻨﺎﺻﺮ ﺩﻓﺎﻉﻣﻲﻛﺮﺩﻧﺪ‪ ،‬ﺩﺍﺭﺍﻱ ﺍﺩﺭﺍﻙ ﺳﻮﺳﻴﺎﻟﻴﺴﺘﻲ ﺑﻮﺩﻧﺪ ﺑﻠﻜﻪ ﺁﻧﻬﺎ‬
‫ﺳﻮﺳﻴﺎﻟﻴﺰﻡ ﺭﺍ ﺩﺭ ﺣﺪ ﺩﺭﻳﺎﻓﺖ ﻃﺒﻘﺎﺗﻲ ﻭ ﺯﻳﺒﺎﻳﻲ ﺷﻨﺎﺳﺎﻧﻪﻱ ﺧﻮﺩﺷﺎﻥ ﻣﻲﻓﻬﻤﻴﺪﻧﺪ‪ .‬ﻣﺎ‬
‫ﻧﺎﮔﺰﻳﺮﻳﻢ ﺑﺮﺍﻱ ﺍﻳﻨﻜﻪ ﺑﺘﻮﺍﻧﻴﻢ ﺍﺭﺗﺒﺎﻁ ﺍﻳﻦ ﻣﻔﺎﻫﻴﻢ ﺭﺍ ﺑﺎ ﺧﻮﺍﻧﻨﺪﮔﺎﻥ ﺗﻮﺩﻩﻳﻲﺗﺮ ﻣﻄﺮﺡﻛﻨﻴﻢ‪،‬‬
‫ﺖ ﺍﻧﻘﻼﺏ ﻣﺸﺮﻭﻃﻴﺖ ﻣﻲﺗﻮﺍﻧﺪ ﺑﺮﺍﻱ‬ ‫ﺑﻴﺎﻥ ﺧﻮﺩ ﺭﺍ ﺳﺎﺩﻩﺗﺮ ﻛﻨﻴﻢ‪ .‬ﻣﺎ ﻣﻲﺩﺍﻧﻴﻢ ﻛﻪ ﻫﻨﺮ ﻣﻘﺎﻭﻣ ِ‬
‫ﺟﺎﻣﻌﻪﻱ ﻣﺎ‪ ،‬ﺑﺎ ﻭﻳﮋﮔﻲﻫﺎﻱ ﺍﻳﻦ ﻋﺼﺮ‪ ،‬ﻣﻄﺮﺡ ﺑﺎﺷﺪ‪ .‬ﻫﻨﺮ ﻣﻘﺎﻭﻣﺖ ﻣﺸﺮﻭﻃﻪ ﺭﺍ ﺍﮔﺮ ﺍﺯ‬
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‫ﻃﺮﻳﻖ ﺷﻌﺮ ﺁﻥ ﻭ ﺷﻴﻮﻩﻱ ﻧﻮﺷﺘﺎﺭﻱ ﺁﻥ ) ﺍﺯ ﺟﻤﻠﻪ ﺩﻫﺨﺪﺍ ﺍﺭﺯﻧﺪﻩﺗﺮﻳﻦ ﭼﻬﺮﻩﻱ ﻣﻘﺎﻭﻣ ِ‬
‫ﺁﻥ ﺩﻭﺭﺍﻥ ( ﻭ ﭘﻮﺳﺘﺮﻫﺎ‪ ،‬ﻳﺎ ﻛﺎﺭﻳﻜﺎﺗﻮﺭﻫﺎﻳﻲ ﻛﻪ ﺍﺯ ﺁﻥﺯﻣﺎﻥ ﺩﺭ ﺩﺳﺖ ﻫﺴﺖ ﺍﺭﺯﻳﺎﺑﻲ‬
‫ﻛﻨﻴﻢ‪ ،‬ﻣﻲﺑﻴﻨﻴﻢ ﻫﻨﺮ ﻣﻘﺎﻭﻣﺖ ﺳﺨﺖ ﺗﻮﺩﻩﻳﻲ ﻭ ﺩﺭﻋﻴﻦﺣﺎﻝ ﺩﻭﺭ ﺍﺯ ﻣﻌﻴﺎﺭﻫﺎﻱ ﺗﺎﺭﻳﺨﻲ ﻫﻨﺮ‬
‫ﻭ ﺍﺩﺑﻴﺎﺕ ﺗﻮﺩﻩﻫﺎ ﺑﻮﺩ‪ .‬ﺍﻳﻦ ﺑﺤﺮﺍﻥ ﻭ ﺍﻳﻦ ﮔﺴﺴﺖ ﺍﺯ ﺍﺭﺯﺵﻫﺎﻱ ﻛﻼﺳﻴﻚ ﻫﻨﺮ ﻭ ﺍﺩﺑﻴﺎﺕ‬
‫ﻃﺒﻴﻌﺘﺎ ﺩﺭ ﺭﺍﺑﻄﻪﻱ ﺭﻭﺍﺑﻂ ﻓﺌﻮﺩﺍﻟﻲ ﻭ ﺷﻜﻞﮔﻴﺮﻱ ﺟﺎﻣﻌﻪﻱ ﺑﻮﺭﮊﻭﺍﺯﻱ ﺗﺠﺎﺭﻱ ﺗﺮﻛﻴﺒﻲ ﺑﺎ‬
‫ﺭﻭﺍﺑﻂ ﻓﺌﻮﺩﺍﻟﻲ‪ ،‬ﻣﻴﺘﻮﺍﻧﺪ ﺗﺒﻴﻴﻦ ﺷﻮﺩ‪ .‬ﻋﻨﺎﺻﺮ ﺗﻨﺪﺭﻭﻳﻲ ﻫﻢ ﺩﺭ ﺁﻥ ﺯﻣﻴﻨﻪ ﺩﺍﺷﺘﻴﻢ ﻛﻪ ﺗﺠﻠﻲ‬
‫ﺁﺭﻣﺎﻧﺨﻮﺍﻫﻲ ﻳﻚ ﻗﺸﺮ ﻣﻌﻴﻨﻲ ﺑﻮﺩﻧﺪ ﻣﺜﻞ ﻛﺴﺮﻭﻱ‪ .‬ﺑﺎ ﺗﻤﺎﻣﻲ ﻋﻈﻤﺘﻲ ﻛﻪ ﻛﺎﺭﻫﺎﻳﺶ ﺩﺍﺭﺩ‪،‬‬
‫ﺩﺭ ﺍﻳﻦ ﺯﻣﻴﻨﻪ ﺑﺮﺿﺪ ﺍﺭﺯﺵﻫﺎﻱ ﺗﺎﺭﻳﺨﻲ ﻫﻨﺮ ﻫﻢ ﻗﻴﺎﻡﻣﻲﻛﻨﺪ‪ ،‬ﺻﺮﻓﺎ ﺑﻪ ﺩﻻﻳﻞ ﺷﻴﻔﺘﮕﻲﺍﺵ‬
‫ﺑﻪ ﻣﺴﺎﻳﻞ ﺭﻭﺯ ﻭ ﻣﺴﺎﻳﻞ ﺣﺎﺩ ﺳﻴﺎﺳﻲ ﻭ ﺍﺭﺯﺵﻫﺎﻱ ﻭﻳﮋﻩﻱ ﻫﻨﺮ ﻭ ﺍﺩﺑﻴﺎﺗﻲ ﻛﻪ ﺑﺘﻮﺍﻧﺪ ﺩﺭ‬
‫ﺗﻮﺩﻩﻫﺎ ﻧﻔﻮﺫ ﺩﺍﺷﺘﻪ ﺑﺎﺷﺪ‪.‬‬
‫ﻃﺎﻟﺒﻲ ﺍﻳﻦ ﺍﺭﺯﺵﻫﺎ ﺭﺍ ﺷﻤﺎ ﭼﮕﻮﻧﻪ ﺗﻌﺒﻴﺮﻣﻲﻛﻨﻴﺪ؟‬
‫ﺳﻠﻄﺎﻧﭙﻮﺭ ﺍﻳﻨﻄﻮﺭ ﺟﻤﻌﺒﻨﺪﻱﻣﻲﻛﻨﻴﻢ ﻛﻪ ﻫﻨﺮ ﻣﻘﺎﻭﻣﺖ ﻣﺸﺮﻭﻃﻪ ﺍﺯ ﺩﻳﺪﮔﺎﻩ ﺍﺭﺯﺵﻫﺎﻱ ﺗﺎﺭﻳﺨﻲـﻫﻨﺮﻱ‬
‫ﺗﻮﺩﻩﻫﺎﻱ ﻣﺮﺩﻡ‪ ،‬ﻻﺯﻡ‪ ،‬ﺿﺮﻭﺭﻱ‪ ،‬ﺗﺎﺭﻳﺨﻲ‪ ،‬ﺍﻣﺎ ﻛﻢﺑُﻌﺪ ﻭ ﺳﺨﺖ ﻧﺎﺯﻝ ﺍﺳﺖ‪ .‬ﺩﺭ ﺗﺒﻴﻴﻦ ﺍﻳﻦ‬
‫ﻣﻮﺿﻮﻉ ﺑﺎﻳﺪ ﮔﻔﺖ ﺗﻤﺎﻡ ﻫﻨﺮﻫﺎ ﺍﺭﺯﺵﻫﺎﻱ ﺧﻮﺩ ﺭﺍ ﺩﺭ ﻃﻲ ﺗﺎﺭﻳﺦ ﺍﺯ ﺩﺭﻭﻥ ﻫﻨﺮ ﺗﻮﺩﻩﻳﻲ‬
‫ﻛﺴﺐﻣﻲﻛﻨﻨﺪ‪ .‬ﭼﻮﻥ ﺗﻮﺩﻩﻫﺎﻱ ﻣﺮﺩﻡ ﻣﻨﺒﻊ ﺗﺠﺮﺑﻴﺎﺕ ﻋﻈﻴﻢ ﻭ ﺍﺭﺯﺵﻫﺎﻱ ﻫﻨﺮﻱ ﻫﺴﺘﻨﺪ‪،‬‬
‫ﭼﻮﻥ ﺗﻮﺩﻩﻫﺎﻱ ﻣﺮﺩﻡ ﺣﺘﻲ ﺷﻌﺮﻣﻲﮔﻮﻳﻨﺪ‪ ،‬ﻧﻘﺎﺷﻲﻣﻲﻛﻨﻨﺪ‪ ،‬ﺗﺂﺗﺮ ﺑﺎﺯﻱﻣﻲﻛﻨﻨﺪ‪ .‬ﭼﻮﻥ‬
‫ﺗﻮﺩﻩﻫﺎﻱ ﻣﺮﺩﻡ ﺳﺎﻳﻪﺑﺎﺯﻱﻣﻲﻛﻨﻨﺪ‪ .‬ﻳﻌﻨﻲ ﺳﻴﻨﻤﺎ ﺑﻪ ﺷﻜﻞ ﻛﺎﻣﻼ ﺧﺎﻡ ﻭ ﺍﺑﺘﺪﺍﻳﻴﺶ ﺭﺍ ﺗﺪﺍﻋﻲ‬
‫ﻣﻲﻛﻨﻨﺪ‪ .‬ﻣﺎ ﻣﻨﺒﻊ ﻋﻈﻴﻢ ﻫﻨﺮ ﺗﻮﺩﻩﻳﻲ ﺭﺍ ﺧﻮﺩ ﺗﻮﺩﻩﻫﺎﻱ ﻣﺮﺩﻡ ﻣﻲﺩﺍﻧﻴﻢ‪ .‬ﺍﮔﺮ ﭼﻪ ﺟﻤﻌﺒﻨﺪﻱ‬
‫ﺍﻛﺘﺴﺎﺏ ﺍﻳﻦ ﻫﻨﺮ ﺑﻪ ﺩﻻﻳﻞ ﻭﻳﮋﻩﻱ ﭘﺎﻳﮕﺎﻩ ﺍﻗﺘﺼﺎﺩﻱ ﺑﻪ ﻧﻴﺮﻭﻫﺎﻳﻲ ﻛﻪ ﺍﺯ ﺩﺭﻭﻥ ﺧﺮﺩﻩ‬
‫ﺑﻮﺭﮊﻭﺍﺯﻱ ﺑﻠﻨﺪ ﻣﻴﺸﻮﻧﺪ‪ ،‬ﺑﺎﺯﮔﺸﺖﻣﻲﻛﻨﺪ‪ .‬ﺣﺘﻲ ﻫﻨﺮ ﺑﻮﺭﮊﻭﺍﻳﻲ ﻋﻨﺎﺻﺮ ﺍﻭﻟﻴﻪﻱ ﺧﻮﺩﺵ ﺭﺍ‬
‫ﺍﺯ ﻫﻨﺮ ﺗﻮﺩﻩﻫﺎ ﻏﺎﺭﺕﻣﻲﻛﻨﺪ‪ .‬ﻣﺎ ﺑﺎﻳﺪ ﺑﺎ ﺗﺤﻠﻴﻞ ﻋﻠﻤﻲ ـ ﻫﻨﺮﻱ‪ ،‬ﺗﻤﺎﻡ ﻋﻨﺎﺻﺮ ﺗﺎﺭﻳﺨﻲ ﻫﻨﺮ‬
‫ﺗﻮﺩﻩﻫﺎ ﺭﺍ ﻟﻮﺙﺷﺪﻩ‪ ،‬ﺩﺯﺩﻱﺷﺪﻩ‪ ،‬ﺁﺭﺍﻳﺶﺷﺪﻩ‪ ،‬ﺗﻤﺎﻡ ﺍﻳﻦ ﻟﻌﺎﺏﻫﺎ‪ ،‬ﻭ ﺯﺷﺘﻲﻫﺎﻱ ﺑﻮﺭﮊﻭﺍﺯﻱ‬
‫ﺭﺍ ﺍﺯ ﺁﻥ ﺳﻠﺐﻛﻨﻴﻢ ﻭ ﻋﻨﺎﺻﺮ ﺧﺎﻟﺺ ﺁﻧﺮﺍ ﻛﻪ ﺩﺳﺖﺁﻭﻳﺰ ﺭﻭﺍﺑﻂ ﺳﺮﻣﺎﻳﻪﺩﺍﺭﺍﻧﻪ ﺷﺪﻩ‪،‬‬
‫ﻧﺠﺎﺕ ﺑﺪﻫﻴﻢ‪ .‬ﻭ ﻫﻢ ﺩﻭﺑﺎﺭﻩ ﺁﻧﺮﺍ ﺑﺮﮔﺮﺩﺍﻧﻴﻢ ﺑﻪ ﺩﺭﻭﻥ ﺗﻮﺩﻩﻫﺎ‪.‬‬
‫ﺷﻤﺎ ﻣﺸﺨﺼﺎ ﺍﺯ ﺩﻫﺨﺪﺍ ﻧﺎﻡﺑﺮﺩﻳﺪ‪ .‬ﺩﻫﺨﺪﺍ ﺭﺍ ﺩﺭ ﺑﺮﺧﻮﺭﺩ ﺑﺎ ﻫﻨﺮ ﺗﻮﺩﻩ ﭼﮕﻮﻧﻪ ﺍﺭﺯﻳﺎﺑﻲ‬ ‫ﻃﺎﻟﺒﻲ‬
‫ﻣﻲﻛﻨﻴﺪ؟‬
‫ﺩﻫﺨﺪﺍ ﺗﻤﺎﻡ ﺍﺭﺯﺵﻫﺎﻱ ﺑﻴﺎﻧﻲ ﺗﻮﺩﻩﻫﺎ ﺭﺍ ﺍﺯ ﺗﺎﺭﻳﺦ ﮔﺮﻓﺘﻪ ﻭ ﺍﺯ ﺯﺑﺎﻥ ﮔﺮﻓﺘﻪ ﻭ ﺑﻪ ﺗﻮﺩﻩﻫﺎ‬ ‫ﺳﻠﻄﺎﻧﭙﻮﺭ‬
‫ﺑﺮﮔﺮﺩﺍﻧﺪﻩ ﺍﺳﺖ‪.‬‬
‫ﺍﮔﺮ ﻣﺎ ﺑﺨﻮﺍﻫﻴﻢ ﺑﻪ ﺷﻜﻞ ﻣﺸﺨﺺﺗﺮ ﻭ ﺩﻗﻴﻖﺗﺮ ﺍﻳﻦ ﺑﺤﺚ ﺭﺍ ﺍﺩﺍﻣﻪ ﺑﺪﻫﻴﻢ‪ ،‬ﻟﻄﻔﺎ ﺑﮕﻮﻳﻴﺪ‬ ‫ﻃﺎﻟﺒﻲ‬
‫ﺍﺩﺍﻣﻪ ﺍﻳﻦ ﺣﺮﻛﺖ ﺭﺍ ﺑﻪ ﭼﻪ ﺷﻜﻠﻲ ﺗﺎﺑﻪﺣﺎﻝ ﺩﻳﺪﻩ ﺍﻳﺪ؟‬
‫ﺍﮔﺮ ﺑﺨﻮﺍﻫﻴﻢ ﻓﺮﻭﺩ ﺑﻴﺎﻳﻴﻢ ﺭﻭﻱ ﭼﻬﺮﻩﻫﺎ‪...‬‬ ‫ﺳﻠﻄﺎﻧﭙﻮﺭ‬
‫ﺭﻭﻱ ﻛﺎﺭﻫﺎ ﺣﺘﻲ ‪...‬‬ ‫ﻃﺎﻟﺒﻲ‬
‫ﺭﻭﻱ ﻛﺎﺭﻫﺎ ﺣﺘﻲ‪ ،‬ﺑﺤﺚ ﺑﻪ ﺩﺭﺍﺯﺍ ﻣﻲﻛﺸﺪ‪ .‬ﻣﻦ ﭼﻨﺪ ﻧﻤﻮﻧﻪ ﻣﻲﺩﻫﻢ ﺑﺮﺍﻱ ﺗﺒﻴﻴﻦ ﻓﻜﺮﻱ‬ ‫ﺳﻠﻄﺎﻧﭙﻮﺭ‬
‫ﺧﻮﺩﻡ‪ .‬ﻭ ﺍﮔﺮ ﻣﺎ ﺑﺨﻮﺍﻫﻴﻢ ﻣﻘﻮﻟﻪﻱ ﺯﺑﺎﻥ ﺩﻫﺨﺪﺍ ﺭﺍ ﺩﻧﺒﺎﻝﻛﻨﻴﻢ ﺑﺎﻳﺪ ﺑﺒﻴﻨﻴﻢ ﺩﺭ ﺍﺩﺑﻴﺎﺕ ﻣﻌﺎﺻﺮ‬
‫ﭼﻪ ﻛﺴﻲ ﺍﻳﻦ ﻧﻘﺶ ﺭﺍ ﺍﻳﻔﺎﻛﺮﺩﻩ ﻭ ﺩﺭ ﭼﻪ ﺍﺑﻌﺎﺩﻱ ﻭ ﺑﺎ ﭼﻪ ﺍﺭﺗﺒﺎﻁ ﺗﻮﺩﻩﻳﻲ‪ ،‬ﺧﻮﺍﻩ ﻧﺎﺧﻮﺍﻩ‬
‫ﺑﺮﻣﻲﮔﺮﺩﻳﻢ ﺑﻪ ﻳﻚ ﻫﻨﺮ ﺧﺎﺹ‪ ،‬ﻣﺜﻞ ﮔﺰﺍﺭﺵ ﻧﻮﻳﺴﻲ ﻣﺜﻼ ‪...‬‬
‫ﻣﻨﻈﻮﺭ ﻣﻦ ﻛﻼ ﻭ ﻋﻤﺪﺗﺎ ﺗﺠﺮﺑﻪﻳﻴﺴﺖ ﻛﻪ ﺩﺭ ﺍﻳﻦ ﻣﺪﺕ ﺑﻪ ﺩﺳﺖ ﺁﻣﺪﻩ‪.‬‬ ‫ﻃﺎﻟﺒﻲ‬
‫ﻣﻲﺧﻮﺍﻫﻴﺪ ﺑﺒﻴﻨﻴﺪ ﭼﻪ ﻛﺴﺎﻧﻲ ﺣﺎﺻﻞ ﺍﻳﻦ ﺗﺠﺮﺑﻪﻫﺎ ﻫﺴﺘﻨﺪ؟‬ ‫ﺳﻠﻄﺎﻧﭙﻮﺭ‬
‫ﻭ ﻳﺎ ﺍﻳﻨﻜﻪ ﺍﻳﻦ ﺗﺠﺮﺑﻪﻫﺎ ﺩﺭ ﺍﺭﺗﺒﺎﻁ ﺍﺭﮔﺎﻧﻴﻚ ﺑﺎ ﺟﺎﻣﻌﻪ ﺑﻪ ﻛﺠﺎ ﺭﺳﻴﺪﻩ‪.‬‬ ‫ﻃﺎﻟﺒﻲ‬
‫ﺑﺒﻴﻨﻴﺪ ﻣﻦ ﺍﻳﻦ ﺗﺠﺮﺑﻪ ﺭﺍ ﺍﺯ ﺯﺑﺎﻥ ﺷﺮﻭﻉ ﻧﻜﺮﺩﻡ ﺗﺎ ﺑﺨﻮﺍﻫﻢ ﺭﻭﻱ ﺻﺮﻑ ﺯﺑﺎﻥ ﻣﺘﻤﺮﻛﺰ ﺷﻮﻡ‪.‬‬ ‫ﺳﻠﻄﺎﻧﭙﻮﺭ‬
‫ﻃﺒﻴﻌﻲ ﺍﺳﺖ ﺍﮔﺮ ﺑﺨﻮﺍﻫﻴﻢ ﺭﻭﻱ ﺍﻳﻦ ﻣﺴﺎﻳﻞ ﻣﺘﻤﺮﻛﺰ ﺑﺸﻮﻳﻢ ﺑﺤﺚ ﺑﻪ ﺩﺭﺍﺯﺍ ﻣﻲﻛﺸﺪ‪ .‬ﻣﺎ‬
‫ﺑﻼﻓﺎﺻﻠﻪ ﻫﺪﺍﻳﺖ‪ ،‬ﺟﻤﺎﻟﺰﺍﺩﻩ ﻭ ﺑﺰﺭﮒ ﻋﻠﻮﻱ ﺭﺍ ﺩﺍﺭﻳﻢ‪ .‬ﻭ ﻃﺒﻴﻌﺘﺎ ﺍﻳﻨﻬﺎ ﺍﺩﺍﻣﻪﺩﻫﻨﺪﮔﺎﻥ ﻫﻤﺎﻥ‬
‫ﺯﺑﺎﻥﻫﺎ‪ ،‬ﻫﻤﺎﻥ ﺍﺭﺯﺵﻫﺎ ﻭ ﺗﺮﻛﻴﺒﺎﺕ ﻫﺴﺘﻨﺪ‪ .‬ﻭ ﺣﺎﻝ ﺍﻳﻦ ﺍﺭﺯﺵﻫﺎ ﺗﺎ ﭼﻪ ﭘﺎﻳﻪ ﺑﻪ ﻭﻳﮋﮔﻲ‬
‫ﻫﻨﺮﻱ ﺗﻮﺩﻩﻫﺎ ﻭﻓﺎﺩﺍﺭ ﺍﺳﺖ‪ ،‬ﺑﻴﻚ ﻧﻘﺪ ﻋﻠﻤﻲ ـ ﻫﻨﺮﻱ ﺍﺣﺘﻴﺎﺝ ﺩﺍﺭﺩ‪.‬‬
‫ﺁﻳﺎ ﻣﺎ ﭼﻨﻴﻦ ﻣﻨﺘﻘﺪﻳﻨﻲ ﻧﺪﺍﺭﻳﻢ؟‬ ‫ﻃﺎﻟﺒﻲ‬
‫ﻣﺎ ﻧﺎﻗﺪﺍﻥ ﺟﺎﻣﻊ ﺑﺴﻴﺎﺭ ﻛﻢ ﺩﺍﺭﻳﻢ‪ .‬ﻧﺎﻗﺪﺍﻥ ﻣﺎ ﺑﺎﻳﺪ ﺟﺎﻣﻊ ﻫﻨﺮﻫﺎ ﺑﺎﺷﻨﺪ‪ .‬ﻧﺎﻗﺪﺍﻥ ﻣﺎ ﺑﺎﻳﺪ‬ ‫ﺳﻠﻄﺎﻧﭙﻮﺭ‬
‫ﺭﻭﺍﻧﺸﻨﺎﺳﻲ ﺗﻮﺩﻩﻫﺎ ﺭﺍ‪ ،‬ﺭﻭﺍﻧﺸﻨﺎﺳﻲ ﻫﻨﺮ ﺭﺍ‪ ،‬ﺗﺎﺭﻳﺦ ﻫﻨﺮ ﺗﻮﺩﻩﻫﺎ ﺭﺍ‪ ،‬ﺩﻗﻴﻘﺎ ﻣﻄﺎﻟﻌﻪ ﻛﺮﺩﻩ ﺑﺎﺷﻨﺪ‬
‫ﻭ ﺩﺭ ﻭﺍﻗﻊ ﺑﺎﻳﺪ ﺭﺍﻫﻨﻤﺎﻱ ﻫﻨﺮﻣﻨﺪ ﺩﺭ ﺟﻬﺖ ﺣﺮﻛﺖ ﺑﻪ ﺳﻮﻱ ﺳﻮﺳﻴﺎﻟﻴﺰﻡ‪ ،‬ﺑﻪ ﺳﻮﻱ ﻫﻨﺮ‬
‫ﺍﻧﻘﻼﺑﻲ ﻭ ﻫﻨﺮ ﺗﻮﺩﻩﻫﺎ ﺑﺎﺷﻨﺪ‪ .‬ﻭ ﭼﻮﻥ ﻣﺎ ﻧﻤﻮﻧﻪﻱ ﺍﺭﺯﺷﻤﻨﺪﻱ ﻧﺪﺍﺭﻳﻢ‪ ،‬ﻣﻲﺗﻮﺍﻧﻴﻢ ﺍﺯ ﻣﻨﺘﻘﺪﻳﻦ‬
‫ﺑﺰﺭﮒ ﻭ ﺷﻜﻮﻫﻤﻨﺪﻱ ﭼﻮﻥ ﺑﻠﻴﻨﺴﻜﻲ ﺑﻬﺮﻩ ﺑﮕﻴﺮﻳﻢ‪ .‬ﻭ ﺍﻟﺒﺘﻪ ﺑﺎ ﺣﻔﻆ ﺗﻤﺎﻡ ﻣﻮﺍﺿﻊ‬
 ‫ﺍﻧﻘﻼﺑﻴﻤﺎﻥ ﺍﺯ ﻟﻮﻛﺎﭺ‪ ،‬ﭘﻠﺨﺎﻧﻒ‪ ،‬ﺍﺳﺘﻔﺎﺩﻩﻛﻨﻴﻢ‪ .‬ﻧﻈﺮﻳﺎﺕ ﻟﻨﻴﻦ ﻫﻢ ﺩﺭﺑﺎﺭﻩﻱ ﻫﻨﺮ ﻭ ﺍﺩﺑﻴﺎﺕ‬
‫ﻗﺎﺑﻞ ﺗﻮﺟﻪ ﺍﺳﺖ‪ .‬ﻭ ﻫﻤﻴﻨﻄﻮﺭ ﻧﻈﺮﻳﺎﺕ ﻣﺎﺋﻮ ﺩﺭ ﺯﻣﻴﻨﻪﻱ ﻫﻨﺮ ﻭ ﺍﺩﺑﻴﺎﺕ ﻭ ﺍﻧﻘﻼﺏ ﻓﺮﻫﻨﮕﻲ‪.‬‬
‫ﺍﮔﺮ ﭼﻪ ﻣﺴﺎﻳﻞ ﺍﻧﻘﻼﺏ ﻓﺮﻫﻨﮕﻲ ﻋﻼﻣﺖ ﺳﻮﺁﻟﻲ ﺩﺭ ﺟﺮﻳﺎﻥ ﺍﻧﻘﻼﺏ ﭼﻴﻦ ﻭ ﺗﺪﺍﻭﻡ ﺁﻥ ﺑﻪ‬
‫ﺟﺎﻱ ﮔﺬﺍﺷﺖ ﻭﻟﻲ ﺩﺭﻫﺮﺻﻮﺭﺕ ﺑﻴﺎﻥ ﻭ ﺑﺮﺭﺳﻲ ﺁﻥ ﺟﺎﻱ ﻣﺴﺎﻟﻪﻱ ﻭﻳﮋﻩﻳﻲ ﺩﺍﺭﺩ ﻭ‬
‫ﻣﺨﺼﻮﺻﺎ ﻣﻲﺗﻮﺍﻧﺪ ﻣﻮﺭﺩ ﺭﺍﻫﻨﻤﺎﻱ ﻫﻨﺮﻣﻨﺪﺍﻥ ﻭ ﻧﺎﻗﺪﻳﻦ ﻣﺎ ﺩﺭ ﺍﻳﻦ ﺭﺍﻩ ﺑﺎﺷﺪ‪.‬‬
‫ﺁﻗﺎﻱ ﺳﻠﻄﺎﻧﭙﻮﺭ‪ ،‬ﻫﻨﺮ ﻣﻘﺎﻭﻣﺖ ﻣﺸﺮﻭﻃﻴﺖ ﺭﺍ‪ ،‬ﻭ ﺣﺘﻲ ﺑﻪ ﺍﺷﺎﺭﻩ ﭼﮕﻮﻧﮕﻲ ﺍﺩﺍﻣﻪﻱ ﺁﻥﺭﺍ‪،‬‬ ‫ﻋﺸﻘﻲ‬
‫ﺑﻴﺸﺘﺮ ﺑﻪ ﺻﻮﺭﺕ ﻋﺎﻡ ﻣﻄﺮﺡﻣﻲﻛﻨﻴﺪ‪ .‬ﻭ ﻛﻤﺘﺮ ﺑﻪ ﻣﻮﺍﺭﺩ ﻣﺸﺨﺺ ﺁﻥ ﺍﺷﺎﺭﻩﻣﻲﻛﻨﻴﺪ‪ .‬ﻣﺮﺩﻡ‬
‫ﺍﻣﺎ ﺑﺎ ﺍﻳﻦ ﻫﻨﺮﻫﺎ ﺍﺯ ﻃﺮﻳﻖ ﺁﺛﺎﺭ ﺧﺎﺻﻲ ﺑﺮﺧﻮﺭﺩﻣﻲﻛﻨﻨﺪ‪ .‬ﺑﺮﺍﻱ ﺁﻧﻜﻪ ﻣﺎﻫﻴﺖ ﻋﺎﻡ ﻫﻨﺮ‬
‫ﻣﻘﺎﻭﻣﺖ ﺑﺮﺍﻱ ﻣﺮﺩﻡ ﺑﻬﺘﺮ ﺭﻭﺷﻦ ﺷﻮﺩ‪ ،‬ﺍﮔﺮ ﺍﺯ ﻃﺮﻳﻖ ﻫﻨﺮﻫﺎﻱ ﺧﺎﺹ ) ﺷﻌﺮ‪ ،‬ﺗﺂﺗﺮ‪ ،‬ﻗﺼﻪ ﻭ‬
‫‪ (...‬ﻭ ﻫﻨﺮﻣﻨﺪﺍﻥ ﺧﺎﺹ‪ ،‬ﺍﻳﻦ ﻣﺴﺎﻳﻞ ﺭﺍ ﺑﺮﺭﺳﻲﻛﻨﻴﺪ‪ ،‬ﻣﻄﻠﺐ ﮔﻮﻳﺎﺗﺮ ﻣﻲﺷﻮﺩ‪ .‬ﻭ ﻛﺎﺳﺘﻲﻫﺎ ﻭ‬
‫ﺗﻮﺍﻧﺎﻳﻲ ﻫﻨﺮ ﻣﻘﺎﻭﻣﺖ ﺩﺭ ﭘﻴﺸﮕﺎﻩ ﻣﺮﺩﻡ ﻣﻌﺮﻓﻲ ﻣﻲﺷﻮﺩ‪.‬‬
‫ﺳﻠﻄﺎﻧﭙﻮﺭ ﻣﻦ ﻣﺸﻜﻮﻛﻢ ﻛﻪ ﺗﻮﺩﻩﻫﺎ ﻫﻨﺮ ﻣﻘﺎﻭﻣﺖ ﺭﺍ ﺑﺸﻨﺎﺳﻨﺪ‪ .‬ﺯﻳﺮﺍ ﺳﻴﺴﺘﻢ ﺳﺘﻤﺸﺎﻫﻲ ﻧﻤﻲﮔﺬﺍﺷﺖ‬
‫ﻫﻨﺮﻣﻨﺪﺍﻥ ﻭﻇﺎﻳﻒ ﺗﺎﺭﻳﺨﻲ ﺧﻮﺩ ﺭﺍ ﺍﻧﺠﺎﻡ ﺩﻫﻨﺪ‪ .‬ﺑﺎﻳﺪ ﻳﻜﺒﺎﺭ ﺩﻳﮕﺮ ﺩﺭ ﺩﺭﻭﻥ ﺍﻧﻘﻼﺏ ﻫﻨﺮ‬
‫ﻣﻘﺎﻭﻣﺖ ﻣﺸﺮﻭﻃﻪ ﻣﻌﺮﻓﻲ ﺑﺸﻮﺩ‪ .‬ﻭ ﺍﺭﺗﺒﺎﻃﺶ ﺑﺎ ﻫﻨﺮ ﺧﻔﻘﺎﻥ ﭘﻬﻠﻮﻱ ﺗﺒﻴﻴﻦ ﺷﻮﺩ ﻭ ﺑﺎﺯ ﺍﺭﺗﺒﺎﻁ‬
‫ﻫﻨﺮ ﻣﻘﺎﻭﻣﺖ ﺁﻥ ﺩﻭﺭﻩ ﺑﺎ ﻫﻨﺮ ﻣﻘﺎﻭﻣﺖ ﺩﻭﺭﺍﻥ ﭘﺲ ﺍﺯ ﻗﻴﺎﻡ ﻣﻌﻠﻮﻡ ﺷﻮﺩ‪ .‬ﺑﻨﺎﺑﺮﺍﻳﻦ ﺍﮔﺮ ﺍﻣﺮﻭﺯ‬
‫ﺑﺨﻮﺍﻫﻴﻢ ﺍﺯ ﻫﻨﺮ ﺗﻮﺩﻩﻫﺎ ﺻﺤﺒﺖﻛﻨﻴﻢ‪ ،‬ﺍﺑﺘﺪﺍ ﺑﺎﻳﺪ ﺗﻮﺩﻩﻫﺎ ﺭﺍ ﺑﺎ ﮔﺬﺷﺘﻪ ﺁﺷﻨﺎ ﻛﻨﻴﻢ‪ .‬ﺍﺑﺘﺪﺍ ﺑﺎﻳﺪ‬
‫ﺑﺎ ﺗﺠﺪﻳﺪ ﻧﻈﺮ ﻋﻈﻴﻤﻲ ﺩﺭ ﺭﻭﺍﺑﻂ ﻫﻨﺮﻱ ﻭ ﺍﺭﺯﺵﻫﺎﻱ ﻫﻨﺮﻱ ﺍﻧﺠﺎﻡ ﺑﺪﻫﻴﻢ‪ .‬ﺍﺑﺘﺪﺍ ﺑﺎﻳﺪ ﺯﺑﺎﻥ‬
‫ﻫﻨﺮ ﺭﺍ ﺑﺎ ﺗﻮﺩﻩﻫﺎ ﻣﻮﺭﺩ ﺑﺎﺯﺑﻴﻨﻲ ﻗﺮﺍﺭﺩﻫﻴﻢ‪ .‬ﻭ ﺑﻴﺎﻳﻴﻢ ﻋﻨﺎﺻﺮ ﺑﻮﺭﮊﻭﺍﻳﻲ ﻭ ﺧﺮﺩﻩﺑﻮﺭﮊﻭﺍﻳﻲ ﻫﻨﺮ‬
‫ﺭﺍ ـ ﺍﻟﺒﺘﻪ ﺁﻥ ﻗﺴﻤﺖ ﺍﺯ ﻋﻨﺎﺻﺮ ﺧﺮﺩﻩ ﺑﻮﺭﮊﻭﺍﻳﻲ ﻫﻨﺮ ﻛﻪ ﺍﻳﺴﺘﺎ ﺷﺪﻩ ـ ﺍﺯ ﺁﺛﺎﺭ ﻫﻨﺮﻱ‬
‫ﮔﺬﺷﺘﻪﻱ ﺟﺎﻣﻌﻪ ﺗﻔﻜﻴﻚﻛﻨﻴﻢ‪ ،‬ﺗﺎ ﺁﻥ ﺍﺭﺯﺵﻫﺎ ﺑﻪ ﺁﻳﻨﺪﻩ ﺟﺎﺭﻱ ﺑﺸﻮﺩ‪ .‬ﺩﺭ ﺍﻳﻦ ﺻﻮﺭﺕ‬
‫ﺍﺳﺖ ﻛﻪ ﻣﻴﺘﻮﺍﻧﻴﻢ ﺭﺍﺑﻄﻪ ﺑﺎ ﺗﻮﺩﻩﻫﺎ ﺑﺮﻗﺮﺍﺭﻛﻨﻴﻢ‪ .‬ﺑﻨﺎﺑﺮﺍﻳﻦ ﺍﮔﺮ ﻣﺎ ﺑﻴﺎﻳﻴﻢ ﺭﻭﻱ ﻧﺴﻴﻢ ﺷﻤﺎﻝ‬
‫ﺗﻮﻗﻒﻛﻨﻴﻢ ﻭ ﻳﺎ ﺭﻭﻱ ﺁﺛﺎﺭ ﺁﺧﻮﻧﺪﺯﺍﺩﻩ‪ ،‬ﻣﻲﺑﻴﻨﻴﻢ ﻛﻪ ﺍﻳﻦ ﺁﺛﺎﺭ ﺩﺭ ﺩﺳﺘﺮﺱ ﺗﻮﺩﻩﻫﺎ ﻧﺒﻮﺩﻩ ﻭ‬
‫ﻓﺮﺍﻣﻮﺵ ﺷﺪﻩ‪ .‬ﺷﺎﻳﺪ ﺑﻌﻀﻲ ﺍﺯ ﺍﺑﻴﺎﺕ‪ ،‬ﺑﻌﻀﻲ ﺍﺯ ﺷﻜﻞﻫﺎﻱ ﻛﺎﺭﻳﻜﺎﺗﻮﺭﻱ‪ ،‬ﺑﻪ ﺻﻮﺭﺕ‬
‫ﺯﺑﺎﻧﻲ ﻧﻘﻞ ﺷﺪﻩ ﺑﺎﺷﺪ‪ .‬ﻭﻟﻲ ﺍﻳﻦ ﺟﺮﻳﺎﻥ ﻫﺮﮔﺰ ﺁﮔﺎﻫﺎﻧﻪ ﻧﺒﻮﺩﻩ ﻭ ﺍﺯ ﻃﺮﻑ ﻫﻨﺮﻣﻨﺪﺍﻥ ﻛﻤﻜﻲ‬
‫ﺩﺭ ﺷﻨﺎﺳﺎﻧﺪﻥ ﺁﻥ ﻧﺸﺪﻩ ﻭ ﺍﻣﺮﻭﺯ ﺟﺎﺩﺍﺭﺩ ﻛﻪ ﺍﻳﻦ ﺣﺮﻛﺖ ﺻﻮﺭﺕﺑﮕﻴﺮﺩ ﺗﺎ ﺗﻮﺩﻩﻫﺎﻱ ﻣﺮﺩﻡ‬
‫ﺑﺪﺍﻧﻨﺪ ﻛﻪ ﻣﺎ ﺭﺍﺟﻊ ﺑﻪ ﭼﻪﭼﻴﺰ ﺻﺤﺒﺖﻣﻲﻛﻨﻴﻢ‪ .‬ﺍﻳﻦ ﺣﺮﻛﺖ ﺑﺎﻳﺪ ﺑﺸﻮﺩ ﺗﺎ ﺗﻮﺩﻩﻫﺎﻱ ﻣﺮﺩ ِﻡ‬
‫ﻣﺎ ﭼﺸﻢﺍﻧﺪﺍﺯﻱ ﺍﺯ ﮔﺬﺷﺘﻪ‪ ،‬ﺣﺎﻝ ﻭ ﺁﻳﻨﺪﻩ ﺩﺭ ﺍﻳﻦ ﺯﻣﻴﻨﻪ ﺩﺍﺷﺘﻪ ﺑﺎﺷﻨﺪ‪.‬‬
‫ﺖ ﻣﺎ ﺑﺎ ﺗﻮﺩﻩﻫﺎ ﺍﺭﺗﺒﺎﻃﻲ ﺩﺍﺷﺘﻪ‬ ‫ﺑﺎ ﻋﻘﻴﺪﻩﻱ ﺷﻤﺎ ﻣﻮﺍﻓﻘﻢ‪ .‬ﮔﻔﺘﻴﺪ ﻣﺸﻜﻮﻛﻢ ﻛﻪ ﻫﻨﺮ ﻣﻘﺎﻭﻣ ِ‬ ‫ﻋﺸﻘﻲ‬
‫ﺑﺎﺷﺪ‪ .‬ﺑﻠﻪ‪ .‬ﻭ ﺍﺻﻼ ﺩﺭﺳﺖﺗﺮ ﺍﺳﺖ ﻛﻪ ﺻﺮﺍﺣﺘﺎ ﺑﮕﻮﻳﻴﻢ ﻫﻴﭻ ﺍﺭﺗﺒﺎﻃﻲ ﻧﺪﺍﺷﺘﻪ‪ .‬ﺟﺰ ﺍﻟﺒﺘﻪ ﺩﺭ‬
‫ﺑﻌﻀﻲ ﺯﻣﻴﻨﻪﻫﺎ‪ .‬ﻫﻨﺮ ﻣﻘﺎﻭﻣﺖ ﺩﺭ ﺑﺨﺶ ﺳﻴﻨﻤﺎ‪ ،‬ﻋﻠﻴﺮﻏﻢ ﺗﻤﺎﻡ ﺍﻧﺤﺮﺍﻓﺎﺕ ﺧﺮﺩﻩ ﺑﻮﺭﮊﻭﺍﻳﻲ‪،‬‬
‫ﺑﺎ ﻣﺮﺩﻡ ﺗﻤﺎﺱ ﻧﺰﺩﻳﻚ ﺩﺍﺷﺘﻪ ﺍﺳﺖ‪ .‬ﮔﻔﺘﻴﺪ ﻛﻪ ﻫﻨﺮ ﻣﻘﺎﻭﻣﺖ ﭘﺎﻳﮕﺎﻩ ﺧﺮﺩﻩ ﺑﻮﺭﮊﻭﺍﻳﻲ‬
‫ﺩﺍﺷﺘﻪ‪...‬‬
‫ﺳﻠﻄﺎﻧﭙﻮﺭ ﺩﺭﺳﺖ ﺍﺳﺖ‪ .‬ﭘﺎﻳﮕﺎﻩ ﺍﻣﺎ ﻧﻪ ﺧﻮﺍﺳﺘﮕﺎﻩ‪ ،‬ﭼﻮﻥ ﺧﺎﺳﺘﮕﺎﻫﺶ ﻣﻲﺗﻮﺍﻧﺴﺖ ﺳﻮﺳﻴﺎﻟﻴﺴﺘﻲ ﻫﻢ‬
‫ﺑﺎﺷﺪ‪ .‬ﻭﻟﻲ ﺍﺯ ﭘﺎﻳﮕﺎﻩ ﺧﺮﺩﻩ ﺑﻮﺭﮊﻭﺍﻳﻲ ﺑﻴﺎﻥ ﺷﺪﻩ‪.‬‬
‫ﺩﺭ ﺍﻳﻦ ﺑﻴﺴﺖﻭﭘﻨﺞ ﺳﺎﻝ ﺍﺧﻴﺮ ﺑﻪ ﺩﻟﻴﻞ ﺷﺮﺍﻳﻂ ﺍﺧﺘﻨﺎﻕ ﻭ ﺳﺎﻧﺴﻮﺭ‪ ،‬ﺍﻣﻜﺎﻥ ﺍﺭﺗﺒﺎﻁ ﻫﻨﺮ‬ ‫ﻋﺸﻘﻲ‬
‫ﻣﻘﺎﻭﻣﺖ ﺑﺎ ﻣﺮﺩﻡ ﻧﺒﻮﺩ ﻭ ﺍﻣﻜﺎﻥ ﺗﻐﺬﻳﻪﻱ ﻫﻨﺮ ﺍﺯ ﻣﺴﺎﻳﻞ ﻭﺍﻗﻌﻲ ﻣﺮﺩﻡ ﻭﺟﻮﺩﻧﺪﺍﺷﺘﻪ‪ .‬ﻫﻨﺮ‬
‫ﻣﻘﺎﻭﻣﺖ ﭼﻪ ﺩﺭ ﺷﻜﻞ ﻭ ﭼﻪ ﺩﺭ ﻣﺤﺘﻮﺍ‪ ،‬ﺑﻪ ﻫﻨﺮ ﺧﻠﻘﻲ ﺩﺭ ﻣﻔﻬﻮﻡ ﺣﻘﻴﻘﻲ ﺧﻮﺩ ﻧﺰﺩﻳﻚ‬
‫ﻧﺸﺪ‪ .‬ﺩﺭ ﺍﻳﻦ ﻧﺰﻭﻝ ﻫﻨﺮﻱ ﻫﻨﺮﻣﻨﺪﺍﻥ ﻣﺎﺭﻛﺴﻴﺴﺖ ﻭ ﺩﻣﻮﻛﺮﺍﺕ ﺑﻪ ﻳﻚ ﺍﻧﺪﺍﺯﻩ ﺳﻬﻴﻢ ﺑﻮﺩﻧﺪ‪.‬‬
‫ﻧﻤﻲﮔﻮﻳﻢ ﺭﻭﻱ ﭼﻬﺮﻩﻫﺎ ﻭ ﻫﻨﺮﻫﺎﻱ ﺧﺎﺹ ﻣﻜﺚ ﻛﻨﻴﻢ‪ ،‬ﺗﺎ ﺗﻮﺩﻩﻫﺎﻱ ﻛﺜﻴﺮ ﺁﻧﻬﺎ ﺭﺍ ﺑﺸﻨﺎﺳﻨﺪ‬
‫ﻭﻟﻲ ﺑﺮﺍﻱ ﻫﻨﺮﻣﻨﺪﺍﻥ ﻣﺎ‪ ،‬ﭼﻪ ﻫﻨﺮﻣﻨﺪﺍﻥ ﮔﺬﺷﺘﻪ‪ ،‬ﻭ ﭼﻪ ﻫﻨﺮﻣﻨﺪﺍﻧﻲ ﻛﻪ ﭘﺲ ﺍﺯ ﻗﻴﺎﻡ ﺭﺷﺪ‬
‫ﻣﻲﻛﻨﻨﺪ‪ ،‬ﺑﺎﻳﺪ ﺑﺎﺯﺩﻳﺪ ﺩﻗﻴﻘﻲ ﺍﺯ ﻫﻨﺮ ﻣﻘﺎﻭﻣﺖ ﮔﺬﺷﺘﻪ ﺩﺍﺷﺘﻪ ﺑﺎﺷﻴﻢ‪ .‬ﻳﻌﻨﻲ ﻣﺎ ﺑﺎﻳﺪ ﺑﺒﻴﻨﻴﻢ ﻛﻪ‬
‫ﺍﺳﺎﺳﺎ ﺍﻳﻦ ﻫﻨﺮﻫﺎ ﺭﺍ ﺑﺎﻳﺪ ﺩﻭﺭ ﺭﻳﺨﺖ ﻳﺎ ﻋﻨﺎﺻﺮﻱ ﺍﺯ ﺁﻧﻬﺎ ﺭﺍ ﺣﻔﻆﻛﺮﺩ‪ .‬ﻣﺎ ﺩﺭ ﺗﺎﺭﻳﺦ ﻫﻨﺮ‬
‫ﺩﻭﺭﻩﻫﺎﻳﻲ ﺭﺍ ﺩﺍﺭﻳﻢ ﻛﻪ ﻛﻞ ﺁﻥ ﺩﻭﺭﻩﻫﺎ ﺍﺯ ﻟﺤﺎﻅ ﺗﺎﺭﻳﺨﻲ ﻣﺘﺮﻭﻙ ﻣﻲﺷﻮﻧﺪ‪ .‬ﻣﺜﻼ ﺷﻌﺮ ﺩﺭ‬
‫ﺯﻣﺎﻥ ﻗﺎﺟﺎﺭﻳﻪ‪ .‬ﻫﻨﺮ ﻣﻘﺎﻭﻣﺖ ‪ ۲۵‬ﺳﺎﻝ ﺍﺧﻴﺮ ﺭﺍ ﻣﺸﺨﺺﺗﺮ ﻣﻌﺮﻓﻲﻛﻨﻴﺪ‪ .‬ﭼﻪ ﻗﺴﻤﺖﻫﺎﻳﻲ ﺍﺯ‬
‫ﺁﻥ ﺭﺍ ﺑﺎﻳﺪ ﻧﮕﻪﺩﺍﺷﺖ ﻭ ﭼﻪ ﻗﺴﻤﺖﻫﺎﻳﻲ ﺭﺍ ﺑﺎﻳﺪ ﺩﻭﺭ ﺭﻳﺨﺖ ﻭ ﻳﺎ ﺷﺎﻳﺪ ﺍﺳﺎﺳﺎ ﻫﻤﻪ ﺭﺍ ﺑﺎﻳﺪ‬
‫ﺩﻭﺭ ﺭﻳﺨﺖ؟‬
‫ﺳﻠﻄﺎﻧﭙﻮﺭ ﻣﻦ ﺍﺯ ﻣﺸﺮﻭﻃﻴﺖ ﻭ ﻫﻨﺮ ﻣﻘﺎﻭﻣﺖ ﻣﺸﺮﻭﻃﻴﺖ ﺣﺮﻑﺯﺩﻡ‪ .‬ﺩﻗﻴﻘﺎ ﺑﻪﺍﻳﻦﺩﻟﻴﻞﻛﻪ ﺑﻪﺍﻳﻨﺠﺎ ﺑﺮﺳﻢ‪.‬‬
‫ﺳﻌﻲﻣﻴﻜﻨﻢ ﺳﺮﻳﻊﺗﺮ ﺑﻪ ﺍﻳﻦ ﺳﻮﺁﻝ ﺑﺮﺳﻢ‪ .‬ﺩﺳﺘﺎﻭﺭﺩﻫﺎﻱ ﺍﻧﻘﻼﺏ ﻣﺸﺮﻭﻃﻴﺖ ﺩﺳﺘﺨﻮﺵ‬
‫ﻣﻄﺎﻣﻊ ﺑﻮﺭﮊﻭﺍﺯﻱ ﺗﺠﺎﺭﻱ ﻭ ﻫﻤﭽﻨﻴﻦ ﻓﺌﻮﺩﺍﻟﻴﺰﻡ ﺑﺎﺯﻣﺎﻧﺪﻩ ﺩﺭ ﺗﺮﻛﻴﺐ ﻣﺤﻤﺪﺭﺿﺎﺷﺎﻫﻲ‬
‫ﻗﺮﺍﺭﻣﻲﮔﻴﺮﺩ‪ .‬ﺑﺎ ﺗﻐﻴﻴﺮﺍﺗﻲ ﻛﻪ ﺣﺘﻲ ﺩﺭ ﻫﻤﺎﻥ ﻗﺎﻧﻮﻥ ﺍﺳﺎﺳﻲ ﻧﻴﻢﺑﻨﺪ ﻣﻲﺩﻫﻨﺪ‪ ،‬ﻣﻲﺑﻴﻨﻴﻢ ﻛﻪ‬
‫ﻣﺸﺮﻭﻃﻪﻱ ﻣﺸﺮﻭﻋﻪ ﺑﺎﻻﺧﺮﻩ ﻣُﻬﺮ ﺧﻮﺩﺵ ﺭﺍ ﺑﺮ ﻗﺎﻧﻮﻥ ﺍﺳﺎﺳﻲ ﻫﻤﺎﻥ ﻣﻮﻗﻊ ﺯﺩﻩ ﺑﻮﺩ‪ .‬ﻫﻨﺮ ﻭ‬
‫ﺍﺩﺑﻴﺎﺕ ﻫﻢ ﺩﺭ ﺍﻳﻦ ﺭﻫﮕﺬﺭ ﻣﻨﺰﻭﻱ ﻣﻲﺷﻮﺩ ﻭ ﺧﻔﻘﺎﻥ ﺩﺭ ﺁﻥ ﺣﺎﻛﻢﻣﻲﮔﺮﺩﺩ‪ .‬ﻃﺒﻴﻌﺘﺎ ﺭﻭﻧﺪ‬
‫ﻣﺒﺎﺭﺯﻩﻱ ﻃﺒﻘﺎﺗﻲ ﺍﺩﺍﻣﻪ ﺩﺍﺷﺘﻪ ﻭ ﺍﮔﺮ ﺗﻀﺎﺩﻫﺎ ﺩﺭ ﺑﺮﻫﻪﻫﺎﻳﻲ ﺍﺯ ﺯﻣﺎﻥ ﻛﻤﺘﺮ ﻋﻤﻞﻣﻲﻛﺮﺩﻧﺪ‪،‬‬
‫ﻣﺎ ﻧﻤﻲﺗﻮﺍﻧﻴﻢ ﺍﻳﻦ ﺭﺍ ﺩﻟﻴﻞ ﺑﺮ ﺍﻳﻦ ﺑﺪﺍﻧﻴﻢ ﻛﻪ ﺩﺭ ﻫﻨﺮ ﻭ ﺍﺩﺑﻴﺎﺕ ﻫﻢ ﺍﻳﻦ ﻣﺒﺎﺭﺯﻩ ﺗﺎﺑﻊ ﺻﺮﻓﺎ‬
‫ﻧﻤﻮﺩ ﺗﻀﺎﺩﻫﺎﻱ ﻃﺒﻘﺎﺗﻲ ﺑﻮﺩﻩ ﺑﻠﻜﻪ ﻗﻮﻳﺘﺮ ﺍﺯ ﺍﻳﻦ ﻧﻤﻮﺩﻫﺎ ﻋﻤﻞ ﻣﻲﻛﺮﺩﻩ ﻳﺎ ﺑﻬﺘﺮ ﺑﮕﻮﻳﻢ ﺑﻪ‬
‫ﻋﻨﻮﺍﻥ ﻗﻮﻳﺘﺮﻳﻦ ﻧﻤﻮﺩ‪ ،‬ﺧﻮﺩﺵ ﺭﺍ ﻧﺸﺎﻥﻣﻲﺩﺍﺩ‪ .‬ﺑﺮﺍﻱ ﻣﺜﺎﻝ ﻣﺎ ﺗﺤﻮﻝ ﺍﺩﺑﻴﺎﺕ ﺳﻮﺳﻴﺎﻟﻴﺴﺘﻲ ﺭﺍ‬
‫ﺩﺍﺭﻳﻢ‪ ،‬ﺍﮔﺮ ﭼﻪ ﺍﺯ ﻧﻈﺮ ﺍﺭﺯﺵﻫﺎﻱ ﺯﻳﺒﺎﻳﻲﺷﻨﺎﺳﺎﻧﻪﻱ ﻫﻨﺮ ﺩﺭ ﻛﺎﺩﺭ ﺍﺩﺑﻴﺎﺕ ﺑﻮﺭﮊﻭﺍﺯﻱ ﻭ ﻳﺎ‬
‫ﺧﺮﺩﻩﺑﻮﺭﮊﻭﺍﺯﻱ ﻗﺮﺍﺭﻣﻲﮔﻴﺮﺩ ﻭﻟﻲ ﺑﺎ ﺗﻤﺎﻡ ﻗﺪﺭﺕ ﺍﻳﻦ ﭘﻮﺳﺘﻪﻫﺎ ﺭﺍ ﻣﻲﺷﻜﻨﺪ‪ ،‬ﺍﺯ ﺁﻥ ﻋﺒﻮﺭ‬
‫ﻣﻲﻛﻨﺪ ﻭ ﺍﮔﺮ ﭼﻪ ﺩﺭ ﺩﺭﻭﻥ ﻳﻚ ﺳﻴﺴﺘﻢ ﻣﺸﺨﺺ ﺗﻮﺩﻩﻳﻲ ﻭ ﻋﺎﻡ ﻧﻤﻲﺗﻮﺍﻧﺪ ﻗﺮﺍﺭ ﺑﮕﻴﺮﺩ‬
‫ﻭﻟﻲ ﺩﺭ ﻫﺮ ﺻﻮﺭﺕ ﺁﻥ ﭘﻮﺳﺘﻪﻫﺎ ﺭﺍ ﺷﻜﺴﺘﻪ ﻭ ﺑﺨﺸﻲ ﺍﺯ ﺍﺭﺯﺵﻫﺎﻱ ﺁﻥ ﻫﻨﺮ ﺭﺍ ﺣﻔﻆ‬
‫ﻣﻲﻛﻨﺪ‪ .‬ﻧﻴﻤﺎ ﺭﺍ ﺍﺯ ﺟﺎﻣﻌﻪﻱ ﺧﻮﺩﻣﺎﻥ ﻣﺜﺎﻝ ﺑﺰﻧﻴﻢ‪ .‬ﻣﻲﺩﺍﻧﻴﻢ ﻛﻪ ﺧﻔﻘﺎﻥ ﻭ ﺩﻳﻜﺘﺎﺗﻮﺭﻱ‬
‫ﺭﺿﺎﺷﺎﻩ ﺑﻪ ﺩﻟﻴﻞ ﺟﻨﮓ ﺟﻬﺎﻧﻲ ﻛﻪ ﭘﻴﺶﺁﻣﺪ‪ ،‬ﺑﻪ ﺩﻟﻴﻞ ﻣﺒﺎﺭﺯﻩﻱ ﺧﻠﻘﻬﺎ‪ ،‬ﺑﻪ ﻭﻳﮋﻩ ﻣﺒﺎﺭﺯﻩﻱ‬
‫ﺍﺭﺩﻭﮔﺎﻩ ﺳﻮﺳﻴﺎﻟﻴﺴﻢ ﺑﺎ ﻓﺎﺷﻴﺰﻡ‪ ،‬ﺷﺮﺍﻳﻄﻲ ﺩﺭ ﺟﻬﺎﻥ ﭘﻴﺶﺁﻭﺭﺩ ﻛﻪ ﺩﻳﻜﺘﺎﺗﻮﺭﻱﻫﺎ ﻭ‬
‫ﺣﺎﻛﻤﻴﺖﻫﺎﻱ ﺳﻴﺎﺳﻲ ﻃﺒﻴﻌﺘﺎ ﺩﺭ ﺁﻥ ﻣﻘﺎﻃﻊ ﻧﻤﻲﺗﻮﺍﻧﺴﺘﻨﺪ ﺗﻤﺎﻡ ﺣﺎﻛﻤﻴﺖ ﻭﻳﮋﻩ ﻭ ﻣﻄﻠﻖ‬
‫ﺧﻮﺩ ﺭﺍ ﺭﻭﻱ ﺟﺎﻣﻌﻪ ﺑﮕﺴﺘﺮﺍﻧﻨﺪ‪ .‬ﺩﺭ ﻳﻚ ﭼﻨﻴﻦ ﻓﻀﺎﻳﻲ ﻣﺎ ﻣﻲﺑﻴﻨﻴﻢ ﻛﻪ ﻧﻴﺮﻭﻫﺎﻱ ﻣﺘﺮﻗﻲ ﻭ‬
‫ﺍﻧﻘﻼﺑﻲ ﻭ ﺣﺘﻲ ﻋﻨﺎﺻﺮ ﺳﻮﺳﻴﺎﻟﻴﺰﻡ ﺩﺭ ﺩﺭﻭﻥ ﺟﺎﻣﻌﻪ ﺑﻪ ﺭﺷﺪ ﻭ ﭘﻮﻳﺎﻳﻲ ﺧﻮﺩ ﺍﺩﺍﻣﻪ ﻣﻲﺩﻫﻨﺪ‪.‬‬
‫ﺟﺎﻣﻌﻪﻱ ﻣﺎ ﺍﺯ ﺳﺎﻝ ‪ ۱۳۲۰‬ﺩﺭ ﻭﺍﻗﻊ ﻭﺍﺭﺩ ﻳﻚ ﭼﻨﻴﻦ ﻣﺮﺣﻠﻪﻳﻲ ﺷﺪ ﻭ ﻣﺎ ﻣﻲﺩﺍﻧﻴﻢ ﻛﻪ‬
‫ﻓﻲﺍﻟﻤﺜﻞ ﻧﻤﻮﺩ ﺳﻴﺎﺳﻲ ﺧﻮﺩ ﺭﺍ ﺩﺭ ﺣﺰﺏ ﺗﻮﺩﻩ ﭘﻴﺪﺍﻛﺮﺩ‪ .‬ﺣﺰﺏ ﺗﻮﺩﻩ ﺑﻪ ﻋﻨﻮﺍﻥ ﻳﻚ ﺣﺰﺏ‬
‫ﺿﺪ ﻓﺎﺷﻴﺴﺘﻲ ﺑﻮﺩ‪ ،‬ﻧﻪ ﻳﻚ ﺣﺰﺏ ﺳﻮﺳﻴﺎﻟﻴﺴﺘﻲ‪ ،‬ﻭ ﺩﻗﻴﻘﺎ ﻣﻲﺩﺍﻧﻴﻢ ﻛﻪ ﺩﺭ ﺁﻥ ﻣﻘﻄﻊ ﺍﺳﺘﺎﻟﻴﻦ‬
‫ﻣﺤﻮﺭ ﻣﺒﺎﺭﺯﺍﺕ ﻛﻤﻮﻧﻴﺴﺘﻲ ﺟﻬﺎﻥ ﺭﺍ ﺑﺮ ﺿﺪ ﻓﺎﺷﻴﺴﻢ ﺳﺎﺯﻣﺎﻧﺪﻫﻲﻣﻲﻛﺮﺩ‪ .‬ﻭ ﺩﺭ ﻫﻤﻴﻦ‬
‫ﺍﺭﺗﺒﺎﻁ ﺑﻮﺩ ﻛﻪ ﺣﺰﺏ ﺗﻮﺩﻩ ﺩﺭ ﺟﺎﻣﻌﻪ ﻣﺎ ﭘﺎ ﺑﻪ ﻣﻴﺪﺍﻥ ﮔﺬﺍﺷﺖ‪ .‬ﺩﺭ ﺁﻥ ﺷﺮﺍﻳﻂ ﺍﮔﺮ ﭼﻪ ﻣﺎ‬
‫ﺟﺰﻭ ﻛﺸﻮﺭﻫﺎﻱ ـ ﻇﺎﻫﺮﺍ ـ ﺑﻲﻃﺮﻑ ﺑﻮﺩﻳﻢ ﻭﻟﻲ ﻣﺠﻤﻮﻋﻪﻱ ﻋﻮﺍﻣﻞ ﺍﺟﺘﻤﺎﻋﻲ ﻛﻤﻚﻛﺮﺩ‬
‫ﻛﻪ ﺟﺎﻣﻌﻪ ﻣﺎ ﻣﺘﻤﺎﻳﻞ ﺑﻪ ﻣﺘﻔﻘﻴﻦ ﻋﻤﻞ ﻛﻨﺪ‪ .‬ﺩﺭ ﺍﻳﻦ ﺍﺭﺗﺒﺎﻁ ﺑﻮﺩ ﻛﻪ ﻃﺒﻴﻌﺘﺎ ﻋﻨﺎﺻﺮ ﺍﻧﻘﻼﺑﻲ ﻭ‬
‫ﺳﻮﺳﻴﺎﻟﻴﺴﺘﻲ ﻫﻨﺮ ﻭ ﺍﺩﺑﻴﺎﺕ ﻫﻢ ﺷﻜﻮﻓﺎ ﺷﺪ‪ .‬ﻭ ﺩﺭ ﺍﻳﻦ ﻣﻘﻄﻊ ﻣﺎ ﻧﻴﻤﺎ ﺭﺍ ﺩﺍﺷﺘﻴﻢ ﻭ ﺑﺎﺯ ﻫﺪﺍﻳﺖ‬
‫ﺭﺍ ﺩﺍﺷﺘﻴﻢ‪ ،‬ﻭ ﺑﺰﺭﮒ ﻋﻠﻮﻱ ﺭﺍ ﻛﻪ ﺍﻳﻨﻬﺎ ﺩﺭ ﻭﺍﻗﻊ ﭼﻬﺮﻩﻫﺎﻱ ﺩﺭﺧﺸﺎﻥ ﺍﻧﻘﻼﺑﻲ ﺍﺩﺑﻴﺎﺕ‬
‫ﻣﻘﺎﻭﻣﺖ ﺁﻥ ﺩﻭﺭﺍﻥ ﺑﻮﺩﻧﺪ‪ .‬ﺍﻟﺒﺘﻪ ﻫﺪﺍﻳﺖ ﺁﺛﺎﺭﺵ ﺑﺎ ﻋﻨﺎﺻﺮ ﻭﻳﮋﻩﻳﻲ ﺍﺯ ﺯﻳﺒﺎﻳﻲ ﺷﻨﺎﺧﺘﻲ‬
‫ﺧﺮﺩﻩ ﺑﻮﺭﮊﻭﺍﺯﻱ ﺑﺎﻓﺘﻪ ﺷﺪﻩ ﺑﻮﺩ‪ .‬ﻭﻟﻲ ﺩﺭ ﻣﺠﻤﻮﻉ ﻓﺮﻫﻨﮕﻲ ﻛﻪ ﺍﺯ ﺧﻮﺩ ﺑﻪ ﺟﺎ ﮔﺬﺍﺷﺖ‬
‫ﻳﻚ ﻓﺮﻫﻨﮓ ﻣﻘﺎﻭﻣﺖ ﺑﻪ ﻧﻔﻊ ﺗﻮﺩﻩﻫﺎﻱ ﻣﺮﺩﻡ ﺑﻮﺩ‪ .‬ﻣﺎ ﻧﻤﻲﺗﻮﺍﻧﻴﻢ ﻫﺪﺍﻳﺖ ﺭﺍ ﺑﻪ ﺻﺮﻑ‬
‫ﺩﺍﺷﺘﻦ ﻛﺘﺎﺑﻲ ﻣﺜﻞ ﺑﻮﻑ ﻛﻮﺭ ﻛﻪ ﺟﺎﻣﻌﻪﻱ ﺑﻮﺭﮊﻭﺍﺯﻱ ﺁﻥﺭﺍ ﻋﹶﻠﻤَﺶ ﻛﺮﺩ ﻭ ﺑﻪ ﻋﻨﻮﺍﻥ ﻗﻠﻪ‬
‫ﺍﺩﺭﺍﻛﺎﺕ ﻫﻨﺮﻱ ﻣﻄﺮﺡ ﻛﺮﺩ ﺑﻪ ﺁﻥ ﺗﻜﻴﻪ ﻛﻨﻴﻢ ﻭ ﺯﻳﺮ ﺳﻮﺁﻝ ﻗﺮﺍﺭ ﺑﺪﻫﻴﻢ‪ .‬ﻣﺎ ﻧﻤﻲﺗﻮﺍﻧﻴﻢ‬
‫ﻫﺪﺍﻳﺖ ﺭﺍ ﺑﻪ ﻋﻨﻮﺍﻥ ﻫﻨﺮﻣﻨﺪﻱ ﻛﻪ ﺑﺎ ﻣﻌﻴﺎﺭﻫﺎﻱ ﻫﻨﺮ ﺧﺮﺩﻩ ﺑﻮﺭﮊﻭﺍﺯﻱ ﺩﺭ ﻳﻚ ﺳﻴﺴﺘﻢ‬
‫ﻣﺠﺮﺩ ﻭ ﺍﻧﺘﺰﺍﻋﻲ ﻣﺴﺎﻳﻞ ﺧﻮﺩﺵ ﺭﺍ ﻣﻄﺮﺡ ﻛﺮﺩﻩ‪ ،‬ﻣﻬﺮ ﺑﺎﻃﻞ ﺑﺰﻧﻴﻢ‪ .‬ﻫﻤﺎﻧﻄﻮﺭ ﻛﻪ ﮔﻔﺘﻴﻢ‬
‫ﻣﺠﻤﻮﻋﻪﻱ ﺁﺛﺎﺭ ﻫﺪﺍﻳﺖ ﺑﻪ ﻧﻔﻊ ﺗﻮﺩﻩﻫﺎﻱ ﻣﺮﺩﻡ ﺍﺳﺖ‪ .‬ﺣﺘﻲ ﺁﺛﺎﺭﻱ ﻣﺜﻞ ﺣﺎﺟﻲﺁﻗﺎ ﻛﻪ‬
‫ﺣﺎﻛﻤﻴﺖ ﻭ ﺍﺭﺗﺒﺎﻃﺎﺕ ﺣﺎﻛﻤﻴﺖ ﻭ ﻧﻬﺎﺩﻫﺎﻱ ﺍﺟﺘﻤﺎﻋﻲ ﺭﺍ ﻣﻄﺮﺡ ﻣﻲﻛﻨﺪ ﺩﺭ ﺷﺮﺍﻳﻂ ﺍﻣﺮﻭﺯ‬
‫ﻫﻢ ﺍﺯ ﻛﺘﺎﺏﻫﺎﻱ ﻣﻤﻨﻮﻋﻪ ﺑﻮﺩ‪ .‬ﺍﻟﺒﺘﻪ ﺩﺭ ﭘﺎﺭﻩﻳﻲ ﺍﺯ ﺁﺛﺎﺭ ﺩﻳﮕﺮﺵ ﺑﺎ ﻭﺟﻮﺩ ﺍﻳﻨﻜﻪ ﺍﺭﺯﺵﻫﺎﻱ‬
‫ﺍﺳﺘﺎﺗﻴﻜﻲ ﺧﻮﺩﺵ ﺭﺍ ﺍﺯ ﻳﻚ ﻧﻮﻉ ﺑﻴﻨﺶ ﻣﺘﺎﻓﻴﺰﻳﻜﻲ ﻭ ﻣﺠﺮﺩ ﺍﺯ ﻣﺎﺩﻩ ﻛﺴﺐ ﻣﻲﻛﻨﺪ ﻭﻟﻲ‬
‫ﺩﺭ ﻋﻴﻦ ﺣﺎﻝ ﺑﺮ ﺿﺪ ﺑﻴﻨﺶ ﻣﺘﺎﻓﻴﺰﻳﻜﻲ ﻫﻢ ﺑﺮ ﻣﻲﺧﻴﺰﺩ‪ .‬ﻣﺜﻞ ﺍﻓﺴﺎﻧﻪﻱ ﺁﻓﺮﻳﻨﺶ‪ .‬ﺑﺎ ﺍﻳﻦ ﺣﺎﻝ‬
‫ﻫﺪﺍﻳﺖ ﺟﺰﺀ ﭼﻬﺮﻩﻫﺎﻱ ﺍﺩﺑﻴﺎﺕ ﻣﻘﺎﻭﻣﺖ ﻣﺎﺳﺖ ﺩﺭ ﭘﺎﻳﮕﺎﻩ ﺧﺮﺩﻩ ﺑﻮﺭﮊﻭﺍﺯﻱ‪ .‬ﻭ ﺑﺎﻳﺪ ﮔﻔﺖ‬
‫ﻛﻪ ﺩﺭ ﺁﺛﺎﺭ ﺍﻭ ﻋﻨﺎﺻﺮ ﺳﻮﺳﻴﺎﻟﻴﺰﻡ ﺿﻌﻴﻒ ﺍﺳﺖ‪.‬‬
‫ﮔﻔﺘﻴﺪ ﻛﻪ ﺗﻨﺎﻗﻀﻲ ﺩﺭ ﻛﺎﺭﻫﺎﻱ ﻫﺪﺍﻳﺖ ﻭﺟﻮﺩ ﺩﺍﺷﺘﻪ‪ .‬ﺍﺯ ﺳﻮﻳﻲ ﺍﺯ ﻧﻈﺮ ﺷﻜﻞ ﺑﻴﺎﻥ ﻣﺘﺄﺛﺮ ﺍﺯ‬ ‫ﻋﺸﻘﻲ‬
‫ﺯﻳﺒﺎﻳﻲ ﺷﻨﺎﺳﻲ ﺑﻮﺭﮊﻭﺍﻳﻲ ﻏﺮﺑﻲ ﺑﻮﺩﻩ ﻭ ﺩﺭ ﻋﻴﻦ ﺣﺎﻝ ﺭﻭﻳﻜﺮﺩ ﺑﻪ ﻣﺴﺎﻳﻞ ﺯﺣﻤﺘﻜﺸﺎﻥ‬
‫ﺩﺍﺷﺘﻪ‪ .‬ﺍﻳﻦ ﺗﻀﺎﺩ ﺩﺭ ﺁﺛﺎﺭ ﻫﺪﺍﻳﺖ ﺑﻪ ﺳﻨﺘﺰﻱ ﺧﺘﻢ ﻣﻲﺷﻮﺩ ﻛﻪ ﺩﺭ ﻣﺠﻤﻮﻉ ﺑﻪ ﻧﻔﻊ ﺗﻮﺩﻩﻫﺎ‬
‫ﺑﻮﺩﻩ ﺍﻳﻦ ﻋﻘﻴﺪﻩ ﺷﻤﺎﺳﺖ‪ .‬ﻣﻦ ﺍﻣﺎ ﻫﺪﺍﻳﺖ ﺭﺍ ﺑﻪ ﺷﻜﻠﻲ ﺩﻳﮕﺮ ﻣﻲﺑﻴﻨﻢ‪ .‬ﻫﺪﺍﻳﺖ ﺑﻪ ﻃﺒﻘﻪﻱ‬
‫ﻲ ﺑﻮﺭﮊﻭﺍﻳﻲ‪ ،‬ﺗﻤﺎﺱ‬ ‫ﻣﺮﻓﻪ ﺟﺎﻣﻌﻪﻱ ﺍﻳﺮﺍﻥ ﺗﻌﻠﻖ ﺩﺍﺷﺘﻪ ﺩﺭ ﻧﺘﻴﺠﻪ ﺑﺎ ﻏﺮﺏ‪ ،‬ﻭ ﺑﺎﻓﺮﻫﻨﮓ ﻏﺮﺑ ِ‬
‫ﻱ ﺧﻮﺩ ﺭﺍ ﺍﺯ ﻏﺮﺏ ﻣﻲﮔﺮﻓﺘﻪ‪ .‬ﻫﺪﺍﻳﺖ ﺑﺸﻜﻞ‬ ‫ﻧﺰﺩﻳﻚ ﺩﺍﺷﺘﻪ‪ .‬ﻳﻌﻨﻲ ﻣﻮﺍﺩ ﺍﻭﻟﻴﻪﻱ ﺗﻔﻜﺮ ﻫﻨﺮ ِ‬
‫ﻏﺎﻟﺐ ﻣﻌﺘﻘﺪ ﺑﻪ ﻧﻮﻋﻲ ﻣﺎﺩﻱﮔﺮﺍﻳﻲ ﻧﻴﻬﻠﻴﺴﺘﻲ ﺳﺖ‪ .‬ﺑﻪ ﺍﻳﻦ ﺧﺎﻃﺮ ﺩﺭ ﭼﺸﻤﺪﻳﺪ ﻫﺪﺍﻳﺖ‬
‫ﻫﻨﺮﻣﻨﺪﺍﻧﻲ ﺍﺭﺝ ﻣﻲﻳﺎﻓﺘﻨﺪ‪ ،‬ﻛﻪ ﺑﻴﺎﻧﮕﺮ ﻫﻨﺮﻱ ﺍﻧﺤﻄﺎﻁ ﻓﺮﻫﻨﮕﻲ ﺑﻮﺭﮊﻭﺍﻳﻲ‪ ،‬ﭼﻪ ﺁﮔﺎﻩ ﻭ ﭼﻪ‬
‫ﻧﺎﺁﮔﺎﻩ ﺑﻮﺩﻩ ﺍﻧﺪ‪ .‬ﻫﺪﺍﻳﺖ ﺩﺭ ﺁﺛﺎﺭﺵ ﺑﻪ ﻧﻔﻲ ﻣﺘﺎﻓﻴﺰﻳﻚ ﻣﻲﺭﺳﺪ‪ .‬ﺍﻣﺎ ﺑﺎ ﻧﻔﻲ ﻣﺘﺎﻓﻴﺰﻳﻚ ﺑﻪ‬
‫ﺍﺧﻼﻕ ﺍﺟﺘﻤﺎﻋﻲ ﺍﻣﻴﺪﺑﺨﺸﻲ ﻧﻤﻲﺭﺳﻴﺪﻩ‪ .‬ﻭ ﻳﺎ ﺍﻳﻨﻜﻪ ﺑﻪ ﻣﺎﺩﻱﮔﺮﺍﻳﻲ ﺗﺎﺭﻳﺨﻲ ﺩﺭ ﻣﻔﻬﻮﻡ‬
‫ﻋﻤﻠﻲﺍﺵ ﻧﺰﺩﻳﻚ ﻧﻤﻲﺷﺪﻩ‪ .‬ﻫﺪﺍﻳﺖ ﺣﺘﻲ ﻫﻨﺮﻣﻨﺪﺍﻧﻲ ﺭﺍ ﺩﺭ ﺍﻳﺮﺍﻥ ﭘﺎﺱ ﻣﻲﺩﺍﺷﺘﻪ‪ ،‬ﻭ ﺍﺯ‬
‫ﺁﻧﺎﻥ ﻣﺘﺄﺛﺮ ﻣﻲﺷﺪﻩ‪ ،‬ﻛﻪ ﺍﺯ ﺟﺎﻧﺐ ﺑﻮﺭﮊﻭﺍﺯﻱ ﻏﺮﺑﻲ‪ ،‬ﻣﻬﺮ ﺗﺎﻳﻴﺪ ﺧﻮﺭﺩﻩ ﺑﻮﺩﻧﺪ‪ .‬ﺍﻟﺒﺘﻪ‬
‫ﺑﻮﺭﮊﻭﺍﺯﻱ ﻏﺮﺑﻲ ﻭﺟﻮﻫﻲ ﺍﺯ ﺍﻧﺪﻳﺸﻪﻱ ﺁﻧﺎﻥ ﺭﺍ ﺗﺎﻳﻴﺪ ﻣﻲﻛﺮﺩﻧﺪ ﻛﻪ ﺍﺯ ﺟﻨﺒﻪﻫﺎﻱ ﺑﺎﻟﻨﺪﻩﻳﻲ‬
‫ﺑﺮﺧﻮﺭﺩﺍﺭ ﻧﺒﻮﺩﻩ ﺍﻧﺪ‪ .‬ﻣﺜﻞ ﺧﻴﺎﻡ‪ .‬ﻋﺼﻴﺎﻥ ﺧﻴﺎﻡ ﺑﺮ ﻋﻠﻴﻪ ﺧﺎﻡﺍﻧﺪﻳﺸﻲ ﻗﺸﺮﻱ ﺯﻣﺎﻧﻪ‪ ،‬ﻛﻪ‬
‫ﺑﻮﺳﻴﻠﻪﻱ ﻗﺪﺭﺗﻤﻨﺪﺍﻥ‪ ،‬ﺍﻧﺴﺎﻥ ﺭﺍ ﺑﺮﺍﻱ ﺩﺳﺖﻳﺎﺑﻲ ﺑﻪ ﺳﻌﺎﺩﺕ‪ ،‬ﺑﻪ ﺟﻬﺎﻥ ﺑﺎﻗﻲ ﺣﻮﺍﻟﺖ‬
‫ﻣﻲﺩﺍﺩﻧﺪ ﻭ ﺍﺯ ﻟﺬﺕﻫﺎﻱ ﻣﺎﺩﻱ ﺍﻳﻦ ﺟﻬﺎﻧﻲ ﺑﺮ ﺣﺬﺭﺷﺎﻥ ﻣﻲﺩﺍﺷﺘﻨﺪ‪ .‬ﺍﻳﻦ ﻋﺼﻴﺎﻥ ﻛﻪ ﺩﺭ‬
‫ﺯﻣﺎﻥ ﺧﻮﺩ ﺑﺴﻴﺎﺭ ﻣﺘﺮﻗﻲ ﺑﻮﺩ‪ ،‬ﺩﺭ ﭼﺸﻤﺪﻳﺪ ﻣﻨﺘﻘﺪﻳﻦ ﺑﻮﺭﮊﻭﺍﻳﻲ ﺧﻴﺎﻡ ﻳﺎ ﺍﺻﻼ ﻣﻮﺭﺩ ﺍﻋﺘﻨﺎ‬
‫ﻗﺮﺍﺭ ﻧﻤﻲﮔﺮﻓﺘﻪ‪ ،‬ﻳﺎ ﺍﻳﻨﻜﻪ ﻛﻤﺘﺮ ﻣﻮﺭﺩ ﺍﻋﺘﻨﺎ ﻗﺮﺍﺭ ﻣﻲﮔﺮﻓﺘﻪ‪ .‬ﺑﻴﺸﺘﺮ ﻧﺎﺍﻣﻴﺪﻱ ﻭﻳﺄﺱ ﻭ ﺯﻧﺪﮔﻲ‬
‫ﺍﭘﻴﻜﻮﺭﻱ ﻭ ﻟﺬﺕ ﻃﻠﺒﺎﻧﻪ ﺍﺷﻌﺎﺭ ﺧﻴﺎﻡ‪ ،‬ﻛﻪ ﺩﺭ ﭘﻮﺳﺘﻪﻱ ﻇﺎﻫﺮﻱ ﺍﺷﻌﺎﺭﺵ ﺟﺮﻳﺎﻥ ﺩﺍﺷﺘﻪ‪،‬‬
‫ﻣﻮﺭﺩ ﺑﺮﺭﺳﻲ ﻣﻨﺘﻘﺪﻳﻦ ﺑﻮﺭﮊﻭﺍ ﻗﺮﺍﺭ ﻣﻲﮔﺮﻓﺘﻪ‪ .‬ﻫﺪﺍﻳﺖ ﻫﻢ ﺑﺼﻮﺭﺕ ﻏﺎﻟﺐ‪ ،‬ﺍﻳﻦ ﺑﺨﺶ ﺍﺯ‬
‫ﺷﺨﺼﻴﺖ ﺧﻴﺎﻡ ﺭﺍ ﻣﻮﺭﺩ ﺗﻮﺟﻪ ﻗﺮﺍﺭ ﻣﻲﺩﺍﺩ‪ .‬ﻣﺠﻤﻮﻋﻪﻱ ﺁﺛﺎﺭ ﻫﺪﺍﻳﺖ ﺭﺍ ﺑﻪ ﺩﻭ ﺑﺨﺶ‬
‫ﻣﻲﺗﻮﺍﻥ ﻛﺮﺩ‪ .‬ﺁﺛﺎﺭﻱ ﻛﻪ ﻧﮕﺮﺵ ﻓﺮﺩﻱ ﻫﺪﺍﻳﺖ‪ ،‬ﻭ ﺍﺻﻮﻻ ”ﻣﻦ“ ﻧﻮﻳﺴﻨﺪﻩ ﺭﺍ ﮔﺰﺍﺭﺵ‬
‫ﻣﻲﺩﺍﺩﻩ ﻣﺜﻞ ﺑﻮﻑ ﻛﻮﺭ ﻭ ﻳﺎ ﺳﻪ ﻗﻄﺮﻩ ﺧﻮﻥ ﻭ ﻳﺎ ﺑﻦ ﺑﺴﺖ ﻭ ‪ ...‬ﺍﻳﻦ ﺁﺛﺎﺭ ﺩﺭ ﻋﻴﻦ ﺣﺎﻝ‬
‫ﺑﻮﺭﮊﻭﺍﻳﻲﺗﺮﻳﻦ ﺍﺳﻠﻮﺏ ﺭﺍ ﺩﺭ ﺳﺮﻱ ﻛﺎﺭﻫﺎﻱ ﻫﺪﺍﻳﺖ ﺩﺍﺷﺘﻪ‪ ،‬ﻭ ﻧﻴﺰ ﭼﻮﻥ ﻧﮕﺮﺵ ﻓﺮﺩﻱ‬
‫ﻧﻮﻳﺴﻨﺪﻩ ﺭﺍ ﺑﻴﺎﻥ ﻣﻲﻛﺮﺩﻩ‪ ،‬ﺍﺯ ﻣﻠﻤﻮﺱﺗﺮﻳﻦ ﻭ ﺟﺎﻧﺪﺍﺭﺗﺮﻳﻦ ﺁﺛﺎﺭ ﺍﻭ ﻣﺤﺴﻮﺏ ﻣﻲﺷﻮﺩ‪ .‬ﺍﺯ‬
‫ﺳﻮﻳﻲ ﺩﻳﮕﺮ ﻫﺪﺍﻳﺖ ﺁﺛﺎﺭﻱ ﺩﺍﺭﺩ ﻛﻪ ﺍﺯ ﻧﻈﺮ ﻣﻀﻤﻮﻥ ﺑﻪ ﻣﺴﺎﻳﻞ ﺯﺣﻤﺘﻜﺸﺎﻥ ﻭ ﻣﺮﺩﻡ‬
‫ﻛﻮﭼﻪ ﺑﺎﺯﺍﺭ ﻧﻈﺮ ﺩﺍﺷﺘﻪ‪ .‬ﺩﺭ ﺍﻳﻦ ﻗﺒﻴﻞ ﺁﺛﺎﺭ ﮔﺮﭼﻪ ﻫﺪﺍﻳﺖ ﺩﺭ ﺗﻮﺻﻴﻒ ﺟﺰﻳﻴﺎﺕ ﺯﻧﺪﮔﻲ‪ ،‬ﺍﺯ‬
‫ﺟﻤﻠﻪ ﺭﻓﺘﺎﺭﻫﺎ ﻭ ﮔﻮﻳﺶﻫﺎ‪ ،‬ﺑﻈﺎﻫﺮ ﺯﻧﺪﮔﻲ ﺭﺍ ﭼﻨﺎﻧﻜﻪ ﺑﻮﺩﻩ ﻧﺸﺎﻥ ﻣﻲﺩﺍﺩ‪ ،‬ﺍﻣﺎ ﺩﻳﺪﮔﺎﻩ‬
‫ﻧﻴﻬﻠﻴﺴﺘﻲ ﻭ ﻭﺍﺯﺩﻩﻱ ﺧﻮﺩ ﺭﺍ ﺑﻪ ﺯﻧﺪﮔﻲ ﻛﺎﺭﺍﻛﺘﺮﻫﺎﻳﺶ ﻛﻪ ﺩﺭ ﺯﻧﺪﮔﻲ ﻭﺍﻗﻌﻲ ﻧﻤﻲﺗﻮﺍﻧﺴﺘﻪ‬
‫ﺍﻧﺪ ﭼﻨﻴﻦ ﺑﺎﺷﻨﺪ ﺗﺤﻤﻴﻞ ﻣﻲﻛﺮﺩﻩ‪ .‬ﻓﺮﺟﺎﻡ ﺯﻧﺪﮔﻲ ﺯﺣﻤﺘﻜﺸﺎﻥ ﺁﺛﺎﺭ ﻫﺪﺍﻳﺖ ﺟﺰ ﺑﻌﻀﻲ ﺍﺯ‬
‫ﺍﺳﺘﺜﻨﺎﻫﺎ‪ ،‬ﻣﺜﻼ ﺣﺎﺟﻲ ﺁﻗﺎ ﻛﻪ ﺍﺷﺎﺭﻩ ﻛﺮﺩﻳﺪ‪ ،‬ﻳﺎ ﺑﻪ ﻣﺮﮒ ﺧﺘﻢ ﻣﻲﺷﺪﻩ ﻳﺎ ﺑﻪ ﺧﻮﺩﻛﺸﻲ ﻭ ﻳﺎ‬
‫ﺑﻪ ﭼﺸﻢ ﺍﻧﺪﺍﺯﻱ ﺧﺎﻛﺴﺘﺮﻱ ﺍﺯ ﻫﺴﺘﻲ‪ .‬ﺑﻪ ﺍﻋﺘﻘﺎﺩ ﻣﻦ ﺳﻤﺖ ﻭ ﺳﻮﻳﻲ ﻛﻪ ﺯﺣﻤﺘﻜﺸﺎﻥ ﺩﺭ‬
‫ﺁﺛﺎﺭ ﻫﺪﺍﻳﺖ ﺩﺍﺭﻧﺪ‪ ،‬ﻧﻤﺎﻳﺎﻧﮕﺮ ﺷﺨﺼﻴﺖ ﻭﺍﻗﻌﻲ ﺁﻧﻬﺎ ﻧﻴﺴﺖ‪ ،‬ﺑﻠﻜﻪ ﺍﻳﻦ ﺭﻭﺡ ﻣﻨﺰﻭﻱ ﻫﺪﺍﻳﺖ‬
‫ﺍﺳﺖ ﻛﻪ ﺩﺭ ﻛﺎﻟﺒﺪ ﺯﺣﻤﺘﻜﺸﺎﻥ‪ ،‬ﻫﺮ ﭼﻨﺪ ﻛﻪ ﺍﻳﻦ ﻛﺎﻟﺒﺪ ﺑﻈﺎﻫﺮ ﻭﺍﻗﻌﻲ ﺑﻨﻈﺮ ﻣﻲﺭﺳﺪ‪،‬‬
‫ﺟﺎﺭﻱ ﻣﻲﺷﻮﺩ‪ .‬ﺧﻼﺻﻪ ﻛﻨﻢ‪ ،‬ﺑﻪ ﺍﻋﺘﻘﺎﺩ ﻣﻦ‪ ،‬ﺩﺭ ﺁﺛﺎﺭ ﻫﺪﺍﻳﺖ ﻫﻨﺮ ﻣﻘﺎﻭﻡ ﺗﻮﺩﻩﻳﻲ ﺑﺴﻴﺎﺭ‬
‫ﺭﻧﮓ ﺑﺎﺧﺘﻪ ﻭ ﻧﺎﻣﺸﺨﺺ ﺍﺳﺖ‪.‬‬
‫ﺳﻠﻄﺎﻧﭙﻮﺭ ﺑﺨﺸﻲ ﺍﺯ ﺻﺤﺒﺖﻫﺎﻱ ﺷﻤﺎ ﻣﻮﺭﺩ ﻧﻈﺮ ﻣﻦ ﻫﻢ ﻫﺴﺖ‪ .‬ﻋﻨﺼﺮ ﺳﻮﺳﻴﺎﻟﻴﺴﺘﻲ ﺑﻪ ﺷﻜﻞ‬
‫ﻣﺸﺨﺼﻲ ﺩﺭ ﺁﺛﺎﺭ ﻫﺪﺍﻳﺖ ﻭﺟﻮﺩ ﻧﺪﺍﺭﺩ‪ .‬ﻋﻨﺎﺻﺮ ﺗﻮﺩﻩﻳﻲ ﺑﻪ ﻧﻔﻊ ﺯﺣﻤﺘﻜﺸﺎﻥ ﺍﻣﺎ ﻫﺴﺖ‪.‬‬
‫ﭼﻮﻥ ﻭﻗﺘﻲ ﺑﻪ ﻋﻨﺼﺮ ﺳﻮﺳﻴﺎﻟﻴﺴﺘﻲ ﺍﺷﺎﺭﻩ ﻣﻲﻛﻨﻴﻢ ﺩﻗﻴﻘﺎ ﺑﻪ ﺁﺭﻣﺎﻥ ﻃﺒﻘﻪﻱ ﻛﺎﺭﮔﺮ‬
‫ﻣﻲﺍﻧﺪﻳﺸﻴﻢ ﻭ ﺍﻳﻦ ﺩﺭ ﺁﺛﺎﺭ ﻧﻴﻤﺎ ﺩﺳﺘﻜﻢ ﻣﺜﻼ ﺩﺭ ﻭﺟﻪ ﻋﺎﻣﺶ ﺩﺭ ﻧﺎﻗﻮﺱ ﺣﻀﻮﺭ ﭘﻴﺪﺍ‬
‫ﻣﻲﻛﻨﺪ‪ ،‬ﻫﺪﺍﻳﺖ ﻧﻪ‪ .‬ﺍﻣﺎ ﺍﻳﻨﻜﻪ ﺑﮕﻮﻳﻴﻢ ﻫﺪﺍﻳﺖ ﺯﺣﻤﺘﻜﺸﺎﻥ ﺭﺍ ﺍﺯ ﺩﻳﺪﮔﺎﻩ ﺧﻮﺩﺵ ﻧﮕﺎﻩ‬
‫ﻣﻲﻛﺮﺩ ﻧﻤﻴﺘﻮﺍﻧﺪ ﺩﺭﺳﺖ ﺑﺎﺷﺪ‪ .‬ﻛﻢ ﻧﻴﺴﺘﻨﺪ ﺁﺛﺎﺭ ﻫﺪﺍﻳﺖ ﻛﻪ ﺯﻧﺪﮔﻲ ﻃﺒﻴﻌﻲ ﺯﺣﻤﺘﻜﺸﺎﻥ ﺭﺍ‬
‫ﺗﺼﻮﻳﺮ ﻣﻲﻛﺮﺩﻧﺪ‪ .‬ﮔﻮﻳﺶ ﺯﺣﻤﺘﻜﺸﺎﻥ‪ ،‬ﻛﺎﺭﺍﻛﺘﺮﺷﺎﻥ‪ ،‬ﺍﺷﻴﺎ ﻣﺎﺩﻱ ﭘﻴﺮﺍﻣﻮﻧﺸﺎﻥ ﺩﺭ ﺁﺛﺎﺭ‬
‫ﺯﻳﺎﺩﻱ ﺍﺯ ﻫﺪﺍﻳﺖ ﺑﺪﺭﺳﺘﻲ ﻣﺘﺠﻠﻲ ﻭ ﻣﺘﺒﻠﻮﺭ ﺍﺳﺖ‪ .‬ﺍﻣﺎ ﭘﺎﻳﺎﻥﺑﻨﺪﻱ ﺍﻳﻦ ﺁﺛﺎﺭ ﺍﺯ ﻫﻤﺎﻥ‬
‫ﺩﻳﺪﮔﺎﻩ ﺧﺮﺩﻩ ﺑﻮﺭﮊﻭﺍﺯﻱ ﻭﺍﺯﺩﻩ ﻭ ﻣﻨﺰﻭﻱ ﺑﺮﺧﻮﺭﺩﺍﺭﻧﺪ‪ .‬ﺍﻟﺒﺘﻪ ﺍﻳﻦ ﭘﺎﻳﺎﻥﺑﻨﺪﻱ ﺩﺭ ﻫﻤﻪ ﺟﺎ‬
‫ﻣﻄﻠﻖ ﻧﻴﺴﺘﻨﺪ‪ .‬ﺑﻪ ﺍﻳﻦ ﺩﻟﻴﻞ ﻫﺪﺍﻳﺖ ﻫﻢ ﺑﻪ ﺍﺟﺘﻤﺎﻉ ﻣﻲﭘﺮﺩﺍﺧﺖ‪ ،‬ﻫﻢ ﺑﻪ ﻣﺠﻤﻮﻉ ﻓﺮﻫﻨﮓ‬
‫ﺩﺭﻭﻧﺶ ﺍﺯ ﻛﻮﺩﻛﻲ‪ .‬ﺗﺎﺗﻤﺎﻣﻲ ﺗﺠﻠﻴﺎﺕ ﺍﻳﻦ ﻓﺮﻫﻨﮓ ﺩﺭ ﺭﺷﺪ ﻓﺮﺩﻱ ﺧﻮﺩﺵ ﻭ ﺍﻳﻨﻜﻪ‬
‫ﭼﻄﻮﺭ ﺑﺎﻳﺪ ﺑﺎ ﺍﻳﻦ ﺯﻧﺪﮔﻲ ﻛﻨﺎﺭ ﺑﻴﺎﻳﺪ‪ .‬ﻫﺪﺍﻳﺖ ﺍﺯ ﺗﻨﺎﻗﺾ ﺳﺮﺷﺎﺭ ﺍﺳﺖ‪ .‬ﻫﺪﺍﻳﺖ ﺑﺎ‬
‫ﺧﻮﺩﻛﺸﻲ ﺧﻮﺩ ﺩﺭ ﻭﺍﻗﻊ ﻧﻬﺎﻳﺖ ﺣﺮﻛﺖ ﺻﺎﺩﻗﺎﻧﻪ ﺧﻮﺩﺵ ﺭﺍ ﻧﺴﺒﺖ ﺑﻪ ﻛﻞ ﺯﻳﺴﺖ‬
‫ﺍﺟﺘﻤﺎﻋﻲ ﻓﺮﺩﻱ ﺧﻮﺩﺵ ﻣﺎﺩﻳﺖ ﺑﺨﺸﻴﺪ‪ .‬ﺍﻳﻦ ﺳﺨﻦ ﺑﺪﻳﻦ ﻣﻌﻨﺎ ﻧﻴﺴﺖ ﻛﻪ ﻫﺮ ﻫﻨﺮﻣﻨﺪﻱ‬
‫ﺧﻮﺩﻛﺸﻲ ﻛﻨﺪ ﺻﺎﺩﻕ ﺍﺳﺖ‪ ،‬ﻫﺮﮔﺰ‪ .‬ﻭﻟﻲ ﻣﺠﻤﻮﻋﻪﻱ ﻣﺤﺼﻮﻟﻲ ﻛﻪ ﺍﻭ ﺍﺯ ﺯﻳﺴﺖ ﺧﻮﺩﺵ‬
‫ﺑﻪ ﻧﻔﻊ ﺗﻮﺩﻩﻫﺎ ﺑﺎﻗﻲ ﮔﺬﺍﺷﺖ‪ ،‬ﺩﻗﻴﻘﺎ ﺑﺪﻳﻦ ﻣﻌﻨﺎﺳﺖ ﻛﻪ ﺍﻭ ﺩﻳﮕﺮ ﻧﻤﻲﺗﻮﺍﻧﺴﺘﻪ ﺑﺮﺍﻱ‬
‫ﺯﺣﻤﺘﻜﺸﺎﻥ ﻭ ﺑﺮﺍﻱ ﺯﻧﺪﮔﻲ ﺍﺟﺘﻤﺎﻋﻲ ﻣﻔﻴﺪ ﺑﺎﺷﺪ‪ .‬ﺳﺮﺍﻧﺠﺎﻡ ﺑﻮﺭﮊﻭﺍﺯﻱ‪ ،‬ﻭ ﻓﺮﻫﻨﮓ‬
‫ﺑﻮﺭﮊﻭﺍﺯﻱ‪ ،‬ﺩﺭ ﺩﺭﻭﻥ ﻫﺪﺍﻳﺖ‪ ،‬ﻫﺪﺍﻳﺖ ﺭﺍ ﻛﺸﺖ‪ ،‬ﻫﺪﺍﻳﺖ ﻭﺟﻪ ﺍﺟﺘﻤﺎﻋﻲ ﺧﻮﺩ ﺭﺍ ﻧﻜﺸﺖ‪،‬‬
‫ﻭﺟﻪ ﺍﺟﺘﻤﺎﻋﻲ ﺻﺎﺩﻕ ﻫﺪﺍﻳﺖ ﺣﻀﻮﺭ ﺩﺍﺭﺩ‪ .‬ﺩﺭ ﻭﺍﻗﻊ ﻭﺟﻪ ﻏﻴﺮ ﺍﺟﺘﻤﺎﻋﻲ‪ ،‬ﺭﻭﺍﻧﭙﻮﻳﺶ ﻭ‬
‫ﺟﻨﻮﻥ ﺁﻣﻴﺰ ﻫﺪﺍﻳﺖ ﺍﻭ ﺭﺍ ﺑﻪ ﻧﻔﻊ ﻭﺟﻪ ﺍﺟﺘﻤﺎﻋﻲ ﺷﺨﺼﻴﺖ ﻫﻨﺮﻳﺶ‪ ،‬ﻧﺎﺑﻮﺩ ﻛﺮﺩ‪.‬‬
‫ﻃﺎﻟﺒﻲ ﻋﻨﺼﺮ ﺳﻮﺳﻴﺎﻟﻴﺰﻡ ﺭﺍ ﺩﺭ ﺁﺛﺎﺭ ﻧﻴﻤﺎ ﭼﮕﻮﻧﻪ ﻣﻲﺑﻴﻨﻴﺪ؟‬
‫ﺳﻠﻄﺎﻧﭙﻮﺭ ﺩﺭ ﺁﺛﺎﺭ ﻧﻴﻤﺎ‪ ،‬ﻋﻨﺼﺮ ﺳﻮﺳﻴﺎﻟﻴﺰﻡ ﻣﻮﺝ ﻣﻲﺯﻧﺪ‪ .‬ﻧﻴﻤﺎ ﺍﻭﻟﻴﻦ ﻫﻨﺮﻣﻨﺪ ﻣﺎﺭﻛﺴﻴﺴﺖ ـ ﻟﻨﻴﻨﻴﺴﺖ‬
‫ﺍﻳﺮﺍﻥ ﺍﺳﺖ‪ .‬ﺩﺭ ﺍﺷﻌﺎﺭ ﺩﻭﺭﺍﻥ ﺍﻭﻟﻴﻪ ﺯﻧﺪﮔﻲ ﻫﻨﺮﻱ ﻧﻴﻤﺎ ﻛﻪ ﺟﻮﺍﻧﻲ ﭘﺮﺷﻮﺭ ﻭ ﭘﺮﺍﺳﺘﻌﺪﺍﺩ ﺑﻮﺩ‪،‬‬
‫ﻋﻨﺎﺻﺮ ﻣﺘﺎﻓﻴﺰﻳﻜﻲ ﻭﺟﻮﺩ ﺩﺍﺭﺩ‪ .‬ﺑﻌﺪ ﺍﺯ ﻃﺮﻳﻖ ﺑﺮﺍﺩﺭﺵ ﻻﺭﺑﻦ }ﻻﺩﺑﻦ{ ـ ﻛﻪ ﻣﻲﺩﺍﻧﻴﻢ ﺍﺯ‬
‫ﺍﻋﻀﺎﻱ ﻓﻌﺎﻝ ﺣﺰﺏ ﻋﺪﺍﻟﺖ ﺑﻮﺩ ـ ﺑﺎ ﻣﺎﺭﻛﺴﻴﺴﻢ ـ ﻟﻨﻴﻨﻴﺴﻢ ﺁﺷﻨﺎ ﻣﻲﺷﻮﺩ‪ .‬ﺑﻌﺪ ﺍﺯ ﺍﻳﻦ ﺑﻪ‬
‫ﺷﺪﺕ ﻋﻨﺎﺻﺮ ﻣﺘﺎﻓﻴﺰﻳﻜﻲ ﺩﺭ ﺁﺛﺎﺭﺵ ﺭﻧﮓ ﻣﻲﺑﺎﺯﺩ‪ .‬ﻧﻴﻤﺎ ﻓﻘﻂ ﺩﺭ ﻓﻜﺮ ﺷﻜﻞ ﻧﺒﻮﺩ‪ ،‬ﺑﻠﻜﻪ‬
‫ﺑﺮﺍﻱ ﻣﺠﻤﻮﻋﻪﻱ ﻣﻔﺎﻫﻴﻢ ﻭ ﺍﺩﺭﺍﻛﺎﺕ ﻫﻨﺮﻱ ـ ﺍﺟﺘﻤﺎﻋﻲ‪ ،‬ﻧﺎﮔﺰﻳﺮ ﺑﻪ ﺳﻮﻱ ﭼﻨﻴﻦ ﺷﻜﻠﻲ‬
‫ﺭﺍﻧﺪﻩ ﺷﺪ‪ .‬ﻣﺎ ﺍﻓﺮﺍﺷﺘﻪ ﺭﺍ ﻫﻢ ﺑﺎﻳﺪ ﺑﻪ ﻋﻨﻮﺍﻥ ﻫﻨﺮﻣﻨﺪﻱ ﺧﻠﻘﻲ ﻧﺎﻡ ﺑﺒﺮﻳﻢ‪ .‬ﺑﻪ ﻭﻳﮋﻩ ﺩﺭ ﺍﺷﻌﺎﺭ‬
‫ﮔﻴﻠﻜﻴﺶ ﻛﻪ ﺑﻪ ﻫﻴﭻ ﻭﺟﻪ ﻗﺎﺑﻞ ﻗﻴﺎﺱ ﺑﺎ ﻫﻨﺮﻣﻨﺪﺍﻥ ﻣﺮﺩﻡﮔﺮﺍﻱ ﺩﻳﮕﺮ ﻣﺜﻞ ﻧﺴﻴﻢ ﺷﻤﺎﻝ‬
‫ﻧﻴﺴﺖ‪ .‬ﭼﻮﻥ ﺍﻭ ﺍﺭﺯﺵﻫﺎﻱ ﻫﻨﺮﻱ ﺭﺍ ﺩﺭ ﺩﺭﻭﻥ ﺍﺭﺯﺷﻬﺎﻱ ﺍﺟﺘﻤﺎﻋﻲ ﻭ ﺯﺑﺎﻧﻲ ﻳﺎﻓﺘﻪ ﻭ ﺑﻪ‬
‫ﻧﻮﻋﻲ ﺩﺍﺭﺍﻱ ﺳﺎﺧﺘﻤﺎﻥ ﻫﻨﺮﻱ ﺍﺳﺖ‪ .‬ﻣﺎ ﻣﻲﺑﻴﻨﻴﻢ ﻛﻪ ﻳﻚ ﻋﻜﺲﺍﻟﻌﻤﻞﻃﺒﻴﻌﻲ ﺩﺭ ﻫﻨﺮ‬
‫ﻣﻘﺎﻭﻣﺖ ﺩﻭﺭﻩﻱ ﺧﻔﻘﺎﻥ ﭘﻬﻠﻮﻱ ﻧﺴﺒﺖ ﺑﻪ ﻫﻨﺮ ﻣﻘﺎﻭﻣﺖ ﻣﺸﺮﻭﻃﻴﺖ ﭘﻴﺶ ﻣﻲﺁﻳﺪ‪ .‬ﺩﺭ ﺍﻳﻦ‬
‫ﺯﻣﺎﻥ ﺩﻭ ﻋﻨﺼﺮ ﻣﺸﺨﺼﺎ ﻋﻤﻞ ﻣﻲﻛﻨﺪ‪ :‬ﺍﻭﻝ ﻋﻨﺼﺮ ﺩﻳﻜﺘﺎﺗﻮﺭﻱ ﺍﺳﺖ‪ .‬ﺑﻮﻳﮋﻩ ﺑﻌﺪ ﺍﺯ‬
‫ﺳﺎﻝﻫﺎﻱ ‪ ،۳۲‬ﺍﻳﻦ ﻋﻨﺼﺮ ﺩﺭ ﺭﺍﻧﺪﻥ ﻣﺤﺘﻮﺍﻫﺎﻱ ﻣﺘﺮﻗﻲ ﺑﻪ ﺳﻤﺖ ﻗﺎﻟﺐﻫﺎﻱ ﻣﺒﻬﻢ ﻧﻘﺶ ﺍﻳﻔﺎ‬
‫ﻣﻲﻛﻨﺪ‪ .‬ﻋﻨﺼﺮ ﺩﻭﻡ ﺗﻤﺎﻳﻞ ﻫﻨﺮﻣﻨﺪ ﺩﺭ ﻓﺎﺻﻠﻪﮔﻴﺮﻱ ﺍﺯ ﺳﻄﺢ ﻧﺎﺯﻝ ﻫﻨﺮ ﺷﻌﺎﺭ ﺩﻭﺭﺍﻥ‬
‫ﻣﺸﺮﻭﻃﻴﺖ ﺍﺳﺖ‪ .‬ﺍﻳﻦ ﺩﻭ ﻋﻨﺼﺮ ﻫﻨﺮ ﻭ ﺍﺩﺑﻴﺎﺕ ﺭﺍ ﺑﻪ ﺟﻬﺘﻲ ﻣﻲﺑﺮﻧﺪ ﻛﻪ ﻓﺮﻡ ﺑﺎ ﻣﺤﺘﻮﺍ ﺩﺭ‬
‫ﻋﻴﻦ ﺁﻧﻜﻪ ﺍﺯ ﻳﻚ ﺩﻳﺪﮔﺎﻩ ﻫﻤﺨﻮﺍﻧﻲ ﺩﺍﺭﺩ ﺍﺯ ﻳﻚ ﺩﻳﺪﮔﺎﻩ ﻧﺎﻫﻤﺨﻮﺍﻥ ﺍﺳﺖ‪ .‬ﻋﻨﺼﺮ‬
‫ﺳﻮﺳﻴﺎﻟﻴﺴﻢ ﺑﺎﻳﺪ ﺑﻪ ﺩﺭﻭﻥ ﺍﺷﻜﺎﻝ ﻫﻨﺮﻱ ﺗﻮﺩﻩﻫﺎ ﻭﺍﺭﻳﺰ ﺑﺸﻮﺩ‪ .‬ﺑﺎﻳﺪ ﺍﺯ ﺯﻳﺒﺎﻳﻲ ﺷﻨﺎﺧﺘﻲ‬
‫ﻭﻳﮋﻩﻳﻲﻣﻮﺭﺩ ﺗﺠﺮﺑﻪﻱ ﻫﻨﺮﻣﻨﺪ ﻗﺮﺍﺭ ﺑﮕﻴﺮﺩ‪ .‬ﺩﺭ ﺍﻳﻦ ﺻﻮﺭﺕ ﺍﺳﺖ ﻛﻪ ﻣﺎ ﻳﻚ ﺭﺍﺑﻄﻪ ﻭﺍﻗﻌﻲ‬
‫ﺑﻴﻦ ﻫﻨﺮ ﻭ ﺗﻮﺩﻩ ﺧﻮﺍﻫﻴﻢ ﺩﻳﺪ‪ .‬ﺩﺭ ﻏﻴﺮ ﺍﻳﻨﺼﻮﺭﺕ ﻫﻨﺮ ﻫﻤﺎﻥ ﺳﺮﻧﻮﺷﺘﻲ ﺭﺍ ﭘﻴﺪﺍ ﻣﻲﻛﻨﺪ ﻛﻪ‬
‫ﺷﻌﺮ ﻧﻴﻤﺎ ﭘﻴﺪﺍ ﻛﺮﺩﻩ ﺑﻮﺩ‪ .‬ﺍﻳﻦ ﺑﻪ ﺁﻥ ﻣﻌﻨﻲ ﻧﻴﺴﺖ ﻛﻪ ﺩﺭ ﺍﺭﺯﺵﻫﺎﻱ ﺗﺎﺭﻳﺨﻲ ﻫﻨﺮ ﻧﻴﻤﺎ ﺷﻚ‬
‫ﻛﻨﻴﻢ‪ .‬ﺑﻠﻜﻪ ﺍﺷﻌﺎﺭ ﻧﻴﻤﺎ ﺭﺍ ﻧﺎﻗﺪﻳﻦ ﻣﺎﺭﻛﺴﻴﺴﺖ ﺟﺎﻣﻌﻪ ﻣﻲﺑﺎﻳﺪ ﻣﻮﺭﺩ ﺍﺭﺯﻳﺎﺑﻲ ﻗﺮﺍﺭ ﺩﻫﻨﺪ‪ ،‬ﺗﺎ‬
‫ﻋﻨﺎﺻﺮ ﺳﻮﺳﻴﺎﻟﻴﺴﺘﻲ ﺷﻌﺮﺵ ﺑﻪ ﺁﻳﻨﺪﻩ ﻭﺍﺭﻳﺰ ﺷﻮﺩ‪ .‬ﻭ ﻫﻨﺮ ﻭ ﺍﺩﺑﻴﺎﺕ ﺧﻠﻘﻲ ﺍﻳﺮﺍﻥ ﺭﺍ ﺁﺑﻴﺎﺭﻱ‬
‫ﻛﻨﺪ‪ .‬ﺩﺭ ﺍﻳﻨﺠﺎ ﻓﻘﻂ ﻳﻚ ﺍﻧﺘﻘﺎﻝ ﺳﺎﺩﻩﻱ ﺷﻜﻞ ﻭ ﻣﺤﺘﻮﺍﻱ ﺁﺛﺎﺭ ﻧﻴﻤﺎ ﻣﻨﻈﻮﺭ ﻧﻈﺮ ﻧﻴﺴﺖ‪ .‬ﺑﻠﻜﻪ‬
‫ﺭﻫﻨﻤﻮﺩﻱﺳﺖ ﺑﺮﺍﻱ ﺷﻨﺎﺧﺖ ﺗﺠﻠﻲ ﺁﺭﻣﺎﻧﻲ ﻫﻨﺮ ﺗﻮﺩﻩﻳﻲ‪ .‬ﻧﻴﻤﺎ ﻫﻨﺮﻣﻨﺪﻳﺴﺖ ﺑﺎ ﺧﺎﺳﺘﮕﺎﻩ‬
‫ﺳﻮﺳﻴﺎﻟﻴﺴﺘﻲ‪ .‬ﺑﺮﺭﺳﻲ ﺍﺷﻌﺎﺭ ﻧﻴﻤﺎ ﻣﻲﺗﻮﺍﻧﺪ ﺑﺮ ﻧﻈﺮﻳﺎﺕ ﺑﻮﺭﮊﻭﺍﻳﻲ‪ ،‬ﻛﻪ ﻣﻨﻜﺮ ﺗﺒﻴﻴﻦ ﻣﺴﺎﻳﻞ‬
‫ﺍﺟﺘﻤﺎﻋﻲ ﺍﺯ ﻃﺮﻳﻖ ﻫﻨﺮﻣﻨﺪﺍﻥ ﺳﻴﺎﺳﻲ ﺳﺖ‪ ،‬ﻣﻬﺮ ﺑﺎﻃﻞ ﺑﺰﻧﺪ‪.‬‬
‫ﻣﺎ ﺩﺭ ﺍﻳﺮﺍﻥ ﻫﻨﺮﻣﻨﺪﻱ ﺑﺎ ﭼﺸﻢ ﺍﻧﺪﺍﺯﻫﺎﻱ ﮔﺴﺘﺮﺩﻩﻱ ﻧﻴﻤﺎ ﻧﺪﺍﺭﻳﻢ‪ .‬ﻭ ﻳﺎ ﻛﻤﺘﺮ ﺩﺍﺭﻳﻢ‪ .‬ﻧﻴﻤﺎ‬
‫ﻧﻤﺎﻳﻨﺪﻩﻱ ﻫﻨﺮﻱ ﺍﺟﺘﻤﺎﻋﻲ ﻭ ﻣﺒﺎﺭﺯ ﺍﺳﺖ‪ .‬ﺍﻣﺎ ﺑﺪﻟﻴﻞ ﺩﺭﮔﻴﺮﻱ ﺑﺎ ﺩﻭ ﻋﺎﺭﺿﻪﻱ ﺗﺤﻤﻴﻠﻲ ﻫﻨﺮ‬
‫ﻭ ﺍﺩﺑﻴﺎﺕ )ﺩﻳﻜﺘﺎﺗﻮﺭﻱ ﺍﺯ ﺳﻮﻳﻲ‪ ،‬ﻣﻘﺎﻭﻣﺖ ﺩﺭ ﻣﻘﺎﺑﻞ ﻫﻨﺮ ﺷﻌﺎﺭﻱ ﺍﺯ ﺳﻮﻳﻲ ﺩﻳﮕﺮ(‬
‫ﻧﺎﺭﺳﺎﻳﻲﻫﺎﻳﻲ ﺩﺍﺭﺩ‪ .‬ﻣﻨﻈﻮﺭ ﺍﻟﺒﺘﻪ ﺯﺑﺎﻥ ﻧﻴﻤﺎ ﻧﻴﺴﺖ‪ .‬ﺍﻣﺎ ﻓﻀﺎ ﺳﺎﺯﻱ‪ ،‬ﻧﻤﻮﺩﻫﺎﻱ ﻫﻨﺮﻱ‪،‬‬
‫ﺷﻴﻔﺘﮕﻲ ﺑﻴﺶ ﺍﺯ ﺣﺪ ﺑﻪ ﺗﺼﺎﻭﻳﺮ ﭘﻴﭽﻴﺪﻩ‪ ،‬ﺑﺎﻋﺚ ﺷﺪ ﻧﻴﻤﺎ ﺭﺍﺑﻄﻪﻱ ﺗﻮﺩﻩﻳﻲ ﺑﺮﻗﺮﺍﺭ ﻧﻜﻨﺪ‪ .‬ﺍﻣﺎ‬
‫ﻧﻴﻤﺎ ﺗﻮﺍﻧﺴﺖ ﺗﻮﺳﻂ ﻫﻨﺮﻣﻨﺪﺍﻥ ﺩﻳﮕﺮ ﺑﺪﺭﻭﻥ ﺟﺎﻣﻌﻪ ﺭﺍﻩ ﺑﺒﺮﺩ‪ .‬ﺷﺎﻋﺮﺍﻥ ﻣﺒﺎﺭﺯ ﺍﺟﺘﻤﺎﻋﻲ ﺑﻪ‬
‫ﻧﻴﻤﺎ ﺭﺟﻌﺖ ﻣﻲﻛﺮﺩﻧﺪ‪ .‬ﺷﻌﺮ ﺁﻧﻬﺎ ﺑﺎ ﻧﻴﻤﺎ ﺷﺮﻭﻉ ﻧﻤﻲﺷﺪ‪ ،‬ﻭﻟﻲ ﺑﻪ ﻧﻴﻤﺎ ﺧﺘﻢ ﻣﻲﮔﺮﺩﻳﺪ‪ .‬ﻭ‬
‫ﺍﻳﻦ ﻧﺸﺎﻧﻪﻱ ﺷﻜﻮﻩ ﻧﻴﻤﺎ ﺩﺭ ﺯﻣﻴﻨﻪﻱ ﻫﻨﺮ ﻣﻘﺎﻭﻣﺖ ﺍﺳﺖ‪ .‬ﺍﻟﺒﺘﻪ ﺑﺎ ﺫﻛﺮ ﺍﻳﻦ ﻧﻜﺘﻪ ﻛﻪ ﺩﻳﺪﮔﺎﻩ‬
‫ﺍﻧﺘﻘﺎﺩﻱ ﻧﺴﺒﺖ ﺑﻪ ﻧﻴﻤﺎ ﻣﻲﺑﺎﻳﺪ ﻫﻤﻮﺍﺭﻩ ﺣﻔﻆ ﺷﻮﺩ‪.‬‬
‫ﺷﻤﺎ ﺑﺮﺍﻱ ﻫﻨﺮ ﺁﻓﺮﻳﻨﻲ ﺧﺮﺩﻩ ﺑﻮﺭﮊﻭﺍﺯﻱ‪ ،‬ﻭ ﻳﺎ ﻫﻨﺮ ﻣﻘﺎﻭﻣﺘﻲ ﻛﻪ ﮔﺮﻓﺘﺎﺭ ﭘﻮﺳﺘﻪﻱ ﺗﻨﮓ‬ ‫ﻋﺸﻘﻲ‬
‫ﺧﺮﺩﻩ ﺑﻮﺭﮊﻭﺍﻳﻲ ﺑﻮﺩﻩ‪ ،‬ﺗﺎ ﭼﻪ ﭘﺎﻳﻪ ﺍﻫﻤﻴﺖ ﺗﺎﺭﻳﺨﻲ ﻗﺎﻳﻞ ﻫﺴﺘﻴﺪ؟‬
‫ﺳﻠﻄﺎﻧﭙﻮﺭ ﻫﻨﺮ ﻣﻘﺎﻭﻣﺖ ﺩﺭ ﻫﺎﻟﻪﻳﻲ ﺍﺯ ﺍﺷﺎﺭﺍﺕ ﻭ ﺗﺼﺎﻭﻳﺮ ﻭﻳﮋﻩ‪ ،‬ﺻﺮﻓﺎ ﺑﺮﺍﻱ ﻳﻚ ﻗﻠﻤﺮﻭ ﺭﻭﺷﻨﻔﻜﺮﻱ‬
‫ﻗﺎﺑﻞ ﺩﺭﻙ ﺑﻮﺩﻩ‪ .‬ﻭ ﺍﺯ ﺍﻳﻦ ﻃﺮﻳﻖ ﺩﺭ ﺩﺭﻭﻥ ﺭﻭﺷﻨﻔﻜﺮﺍﻥ‪ ،‬ﺑﻪ ﻋﻨﻮﺍﻥ ﭘﻴﺸﮕﺎﻣﺎﻥ ﻣﻘﺎﻭﻣﺖ‬
‫ﺗﻮﺩﻩﻳﻲ‪ ،‬ﺗﺠﻠﻲ ﭘﻴﺪﺍ ﻣﻲﻛﻨﺪ‪ .‬ﻣﺒﺎﺭﺯﺍﺕ ﺩﺍﻧﺸﺠﻮﻳﺎﻥ ﺍﻳﺮﺍﻥ ﺍﺯ ﺗﺮﻛﻴﺐ ﻫﻨﺮ ﻭ ﺍﺩﺑﻴﺎﺕ ﺗﻔﻜﻴﻚ‬
‫ﻧﺎﭘﺬﻳﺮ ﺑﻮﺩ‪ .‬ﻋﻨﺼﺮ ﺍﻧﻘﻼﺑﻲﮔﺮﻱ ﺧﺮﺩﻩ ﺑﻮﺭﮊﻭﺍﻳﻲ‪ ،‬ﺍﺯ ﻃﺮﻳﻖ ﺍﺩﺑﻴﺎﺕ ﻋﻤﻞ ﻛﺮﺩﻩ‪ ،‬ﻭ ﺩﺭ‬
‫ﺟﻨﺒﺶ ﺩﺍﻧﺸﺠﻮﻳﻲ ﻧﻤﻮﺩ ﻣﺎﺩﻱ ﭘﻴﺪﺍ ﻣﻲﻧﻤﻮﺩ‪ .‬ﻧﻴﺮﻭﻫﺎﻱ ﻣﺒﺎﺭﺯ ﻣﺎ ﻋﻤﺪﺗﺎ ﺍﺯ ﻫﻨﺮ ﻭ ﺍﺩﺑﻴﺎﺕ‬
‫ﺷﺮﻭﻉ ﻛﺮﺩﻧﺪ ﺯﻳﺮﺍ ﻛﻪ ﺩﺭ ﭼﻬﺎﺭﭼﻮﺏ ﺳﻴﺴﺘﻢ ﭘﻠﻴﺴﻲ ﺁﺛﺎﺭ ﻛﻼﺳﻴﻚ ﻣﺎﺭﻛﺴﻴﺴﺖ ـ‬
‫ﻟﻨﻴﻨﻴﺴﺖ ﻭﺟﻮﺩ ﻧﺪﺍﺷﺖ‪ .‬ﺩﺭ ﻧﺘﻴﺠﻪ ﻧﻴﺮﻭﻫﺎﻱ ﺁﮔﺎﻩ ﺧﺮﺩﻩ ﺑﻮﺭﮊﻭﺍﺯﻱ ﺍﻭﻟﻴﻦ ﮔﺎﻡﻫﺎﻱ ﺧﻮﺩ ﺭﺍ‬
‫ﺩﺭ ﻋﺮﺻﻪﻱ ﻫﻨﺮ ﻭ ﺍﺩﺑﻴﺎﺕ ﺑﺮﻣﻲﺩﺍﺷﺘﻨﺪ‪ .‬ﺍﺯ ﺍﻳﻦ ﺭﻭ ﻫﻨﺮ ﻣﻘﺎﻭﻣﺖ ﻧﻘﺶ ﻣﻬﻤﻲ ﺩﺭ ﺗﺎﺭﻳﺦ ﺍﻳﻔﺎ‬
‫ﻛﺮﺩﻩ ﺍﺳﺖ‪ .‬ﺍﺯ ﺳﺎﻝ ‪ ۱۳۲۰‬ﺑﻪ ﺑﻌﺪ‪ ،‬ﺩﺭ ﻳﻚ ﺩﻫﻪ‪ ،‬ﺁﺛﺎﺭ ﭘﺎﻳﻪﻳﻲ ﻣﺎﺭﻛﺴﻴﺴﺖ ـ ﻟﻨﻴﻨﻴﺴﺘﻲ ﺩﺭ‬
‫ﺟﺎﻣﻌﻪ ﻭﺟﻮﺩ ﺩﺍﺷﺖ‪ .‬ﺍﺩﺑﻴﺎﺕ ﺍﻧﻘﻼﺑﻲ ﺟﻬﺎﻥ ﻫﻢ ﺩﺭ ﻋﺮﺻﻪﻱ ﻓﺮﻫﻨﮓ ﻣﺎ ﺣﻀﻮﺭ ﭘﻴﺪﺍ‬
‫ﻛﺮﺩﻧﺪ‪ .‬ﺍﻳﻦ ﺁﺛﺎﺭ‪ ،‬ﭘﺎﻳﻪﻳﻲ ﺑﺮﺍﻱ ﻫﻨﺮ ﻣﻘﺎﻭﻣﺖ ﻣﺎ ﺑﻮﺟﻮﺩ ﺁﻭﺭﺩﻧﺪ‪ .‬ﻭ ﺁﻧﺮﺍ ﺑﻪ ﺁﻳﻨﺪﻩ ﻣﻨﺘﻘﻞ‬
‫ﻛﺮﺩﻧﺪ‪ ،‬ﺑﺪﻭﻥ ﺍﻳﻨﻜﻪ ﺧﻮﺩ ﺍﻳﻦ ﺁﺛﺎﺭ ﭘﺎﻳﻪﻳﻲ )ﻳﻌﻨﻲ ﺍﺩﺑﻴﺎﺕ ﻣﺎﺭﻛﺴﻴﺴﺘﻲ( ﺑﻪ ﻫﻤﺮﺍﻩ ﺁﻥ‬
‫ﺣﺮﻛﺖ ﻛﻨﺪ‪ .‬ﺩﺭ ﺗﺎﺭﻳﺦ ﻫﻨﺮ ﻣﻘﺎﻭﻣﺖ‪ ،‬ﻣﺎ ﺁﺛﺎﺭﻱ ﺩﺍﺷﺘﻴﻢ ﻛﻪ ﻋﻠﻴﺮﻏﻢ ﺁﻧﻜﻪ ﺍﺯ ﺻﺮﺍﺣﺖ‬
‫ﻛﺎﻓﻲ ﺑﺮﺧﻮﺭﺩﺍﺭ ﻧﺒﻮﺩﻧﺪ‪ ،‬ﻛﻪ ﻫﻤﻴﻦ ﻋﺪﻡ ﺻﺮﺍﺣﺖ ﺩﺭ ﻣﻮﺍﺭﺩﻱ ﺑﺎﻋﺚ ﺍﻧﺤﺮﺍﻑ ﻣﻲﺷﺪ‬
‫ﺗﻮﺍﻧﺴﺘﻨﺪ ﻧﻘﺶ ﺍﺷﺎﻋﻪﻱ ﻓﺮﻫﻨﮓ ﺍﻧﻘﻼﺑﻲ ﻭ ﻋﻠﻤﻲ ﺭﺍ‪ ،‬ﺑﺪﺭﺳﺘﻲ ﺍﻳﻔﺎ ﻛﻨﻨﺪ‪ .‬ﻭ ﺗﺒﻠﻮﺭ ﻣﺎﺩﻱ‬
‫ﺧﻮﺩ ﺭﺍ ﺩﺭ ﺟﻨﺒﺶ ﺩﺍﻧﺸﺠﻮﻳﻲ ﺑﺪﺳﺖ ﺑﻴﺎﻭﺭﻧﺪ‪ .‬ﺑﻨﺎﺑﺮﺍﻳﻦ ﻣﻲﺑﻴﻨﻴﻢ ﻛﻪ ﻫﻨﺮ ﻣﻘﺎﻭﻣﺖ‪ ،‬ﺑﺎ‬
‫ﻫﻤﻪﻱ ﻣﺤﺪﻭﺩﻳﺖﻫﺎﻳﻲ ﻛﻪ ﺩﺍﺷﺘﻪ ﻧﻘﺶ ﻭﻳﮋﻩﻱ ﺗﺎﺭﻳﺨﻲ ﺧﻮﺩ ﺭﺍ ﺍﻳﻔﺎ ﻛﺮﺩﻩ ﺍﺳﺖ‪.‬‬
‫ﭼﻪ ﻣﺤﺪﻭﺩﻳﺖﻫﺎﻳﻲ؟‬ ‫ﻋﺸﻘﻲ‬
‫ﺳﻠﻄﺎﻧﭙﻮﺭ ﻛﻤﺒﻮﺩ ﻋﻨﺎﺻﺮ ﺯﻳﺴﺘﻲ‪ .‬ﻳﻌﻨﻲ ﻓﻘﺪﺍﻥ ﺗﺮﻛﻴﺐ ﻣﺎﺩﻩﻱ ﺣﺎﺿﺮ ﺩﺭ ﺯﻳﺴﺖ ﺍﺟﺘﻤﺎﻋ ِ‬
‫ﻲ‬
‫ﺯﺣﻤﺘﻜﺸﺎﻥ‪ ،‬ﺑﻪ ﻭﻳﮋﻩ ﻛﺎﺭﮔﺮﺍﻥ‪ ،‬ﺑﺎ ﻋﻨﺎﺻﺮ ﺫﻫﻨﻲ ﻫﻨﺮ ﺗﻮﺩﻩﻳﻲ ﺗﺎﺭﻳﺨﻲ‪ ،‬ﺧﻮﺭﺷﻴﺪ‪ ،‬ﺳﺘﺎﺭﻩ‪،‬‬
‫ﺭﻭﺩﺧﺎﻧﻪ‪ ،‬ﻭ ﺑﻄﻮﺭ ﻛﻠﻲ‪ ،‬ﻋﻨﺎﺻﺮ ﻃﺒﻴﻌﺖ ﺟﺎﻳﮕﺰﻳﻦ ﺗﻤﺎﻡ ﺍﺷﻴﺎﺀ ﻭ ﻣﻮﺍﺩ ﺣﺎﺿﺮ ﺩﺭ ﺯﻳﺴﺖ‬
‫ﺍﺟﺘﻤﺎﻋﻲ ﺯﺣﻤﺘﻜﺸﺎﻥ ﻣﻲﺷﻮﺩ‪ .‬ﻣﺜﻼ ﺍﺯ ﺷﺨﻢ‪ ،‬ﺍﺯ ﻣﺰﺭﻋﻪ‪ ،‬ﺍﺯ ﻧﻮﻉ ﻛﺸﺖ‪ ،‬ﺍﺯ ﺣﻀﻮﺭ‬
‫ﺭﻭﺳﺘﺎﻳﻴﺎﻥ‪ ،‬ﺩﺭ ﻛﻞ ﺍﺯ ﻋﻨﺎﺻﺮ ﻭﺍﻗﻌﻲ ﺩﺭ ﺷﻌﺮ ﺍﺛﺮﻱ ﻧﻴﺴﺖ‪ .‬ﻣﺎ ﺳﺎﺧﺘﻤﺎﻥ ﻭﻳﮋﻩﻱ ﺣﺘﻲ ﻳﻚ‬
‫ﺧﻴﺶ ﺭﺍ ﻧﻤﻲﺷﻨﺎﺧﺘﻴﻢ‪ .‬ﻧﻤﻲﺩﺍﻧﺴﺘﻴﻢ ﻛﻪ ﭼﻄﻮﺭ ﺑﺬﺭ ﻣﻲﭘﺎﺷﻨﺪ‪ .‬ﻧﻤﻲﺩﺍﻧﺴﺘﻴﻢ ﻛﻪ ﻛﺎﺭﮔﺮ‬
‫ﻛﺪﺍﻡ ﭘﻴﭻ ﺭﺍ ﻣﻴﭽﺮﺧﺎﻧﺪ‪ .‬ﻛﺪﺍﻡ ﺭﻭﻏﻦ ﺭﺍ ﺑﺮﻣﻲﺩﺍﺭﺩ‪ .‬ﻣﺎ ﺑﻲﺍﻃﻼﻉ ﺑﻮﺩﻳﻢ‪ .‬ﻭ ﻫﻨﻮﺯ ﻫﻢ‬
‫ﺑﻲﺍﻃﻼﻉ ﻫﺴﺘﻴﻢ‪ .‬ﺩﺭ ﺁﻥ ﺩﻭﺭﻩ ﺍﻋﺘﻘﺎﺩ ﻫﻨﺮﻣﻨﺪﺍﻥ ﻣﺎ ﺑﻪ ﺯﺣﻤﺘﻜﺸﺎﻥ‪ ،‬ﻳﻚ ﺍﻋﺘﻘﺎﺩ ﺁﺭﻣﺎﻧﻲ ﻭ‬
‫ﻣﺠﺮﺩ ﻭ ﺗﺠﺮﺑﻪ ﻧﺸﺪﻩ ﺩﺭ ﻋﺮﺻﻪﻱ ﻋﻤﻞ ﺑﻮﺩ‪ .‬ﺑﻨﺎﺑﺮﺍﻳﻦ ﻗﺎﺩﺭ ﻧﺒﻮﺩﻧﺪ ﺩﺭ ﺩﺭﻭﻥ ﺯﻧﺪﮔﻲ‬
‫ﺗﻮﺩﻩﻫﺎ ﺣﻀﻮﺭ ﭘﻴﺪﺍ ﻛﻨﻨﺪ‪ .‬ﻫﻴﭻ ﭼﻴﺰ ﺑﻴﺸﺘﺮ ﺍﺯ ﻭﺍﻗﻌﻴﺖ ﺯﻧﺪﮔﻲ ﺗﻮﺩﻩﻫﺎ‪ ،‬ﻧﻤﻲﺗﻮﺍﻧﺪ ﺑﻪ ﺭﺷﺪ‬
‫ﻫﻨﺮ ﻭ ﺍﺩﺑﻴﺎﺕ ﺍﻧﻘﻼﺑﻲ ﻭ ﺳﻮﺳﻴﺎﻟﻴﺴﺘﻲ‪ ،‬ﻛﻤﻚ ﻛﻨﺪ‪ .‬ﺍﺯ ﺍﻳﻦ ﺟﻬﺖ ﻫﻨﺮﻣﻨﺪﺍﻥ ﻣﺎ ﻛﻪ ﺩﭼﺎﺭ‬
‫ﺧﻼﺀ ﺑﻮﺩﻧﺪ‪ ،‬ﺑﻌﺪ ﺍﺯ ﺟﻨﺒﺶ ﺍﻧﻘﻼﺑﻲ ﺍﺧﻴﺮ‪ ،‬ﺩﭼﺎﺭ ﺑﺤﺮﺍﻥ ﺷﺪﻧﺪ‪ .‬ﺑﺤﺮﺍﻥ ﺍﺧﻴﺮ ﺟﺎﻣﻌﻪﻱ‬
‫ﻫﻨﺮﻱ‪ ،‬ﺭﻳﺸﻪ ﺩﺭ ﻣﺠﺮﺩ ﺍﻧﺪﻳﺸﻲ ﻫﻨﺮﻣﻨﺪﺍﻥ ﺩﺭ ﮔﺬﺷﺘﻪ ﺩﺍﺭﺩ‪ .‬ﺣﺎﻻ ﻛﻪ ﺗﺎ ﺣﺪﻭﺩﻱ ﺍﻧﺮﮊﻱﻫﺎ‬
‫ﺁﺯﺍﺩ ﺷﺪﻩ‪ ،‬ﺣﺎﻻ ﻛﻪ ﺍﻳﻦ ﺍﻧﺮﮊﻱﻫﺎﻱ ﺭﻫﺎ ﺷﺪﻩ‪ ،‬ﻣﻲﺑﺎﻳﺪ ﻫﻨﺮ ﻭ ﺍﺩﺑﻴﺎﺕ ﺗﻮﺩﻩﻳﻲ ﻣﺎ ﺭﺍ‬
‫ﭘﺎﻳﻪﺭﻳﺰﻱ ﻛﻨﺪ‪ ،‬ﻣﻲﺑﻴﻨﻴﻢ ﻛﻪ ﻫﻴﭻ ﺷﻨﺎﺧﺘﻲ ﺍﺯ ﺯﻧﺪﮔﻲ ﺗﻮﺩﻩﻫﺎ ﻧﺪﺍﺭﻳﻢ‪ .‬ﻭ ﺗﺎ ﻭﻗﺘﻲ ﻛﻪ ﺍﺯ ﺍﻳﻦ‬
‫ﺯﻧﺪﮔﻲ‪ ،‬ﻫﻤﮕﺎﻡ ﻭ ﻫﻤﺪﻭﺵ ﺑﺎ ﺗﻮﺩﻩﻫﺎ ﻣﻄﻠﻊ ﻧﺸﻮﻳﻢ‪ ،‬ﺍﺯ ﻓﺮﻫﻨﮓ ﻭ ﻫﻨﺮ ﺍﻧﻘﻼﺑﻲ ﻭ ﻣﺮﺗﺒﻂ ﺑﺎ‬
‫ﺯﻧﺪﮔﻲ ﺗﻮﺩﻩﻫﺎ‪ ،‬ﺩﺭ ﺟﺎﻣﻌﻪ ﻣﺎ ﺧﺒﺮ ﻭ ﻧﺸﺎﻧﻲ ﻧﺨﻮﺍﻫﺪ ﺑﻮﺩ‪ .‬ﻫﻨﻮﺯ ﻛﻪ ﻫﻨﻮﺯ ﺍﺳﺖ‪ ،‬ﺣﺘﻲ ﭘﺲ‬
‫ﺍﺯ ﻗﻴﺎﻡ ﺗﻮﺩﻩﻫﺎ‪ ،‬ﻣﺎ ﻣﻲﺧﻮﺍﻫﻴﻢ ﺁﺭﻣﺎﻥ ﺗﻮﺩﻩﻫﺎ ﺭﺍ ﺩﺭ ﻟﻔﺎﻓﻪﻱ ﺗﺼﺎﻭﻳﺮ ﻭ ﺳﻴﺴﺘﻢﺑﻨﺪﻱﻫﺎﻱ‬
‫ﻫﻨﺮﻱ ﺧﺮﺩﻩ ﺑﻮﺭﮊﻭﺍﻳﻲ ﺩﻭﺭﺍﻥ ﻭﻳﮋﻩﻱ ﺳﺘﻤﺸﺎﻫﻲ ﺑﭙﻴﭽﺎﻧﻴﻢ‪ .‬ﻭ ﺍﻳﻦ ﺩﺭ ﺣﻘﻴﻘﺖ‪ ،‬ﻛﻪ ﺣﺮﻛﺘﻲ‬
‫ﺑﺮ ﺿﺪ ﻫﻨﺮ ﻫﺴﺖ‪ ،‬ﻫﻨﺮ ﺭﺍ ﺩﺭ ﺧﻮﺩﺵ ﺧﻮﺍﻫﺪ ﻛﺸﺖ‪ .‬ﺧﺎﻣﻮﺷﻲ ﺷﻮﺭ ﺩﺭﻭﻥ ﻫﻨﺮﻣﻨﺪﺍﻥ‪،‬‬
‫ﺣﺎﻟﺖ ﭘﺎﺳﻴﻮ ﺑﻮﺩﻥ ﻧﺴﺒﺖ ﺑﻪ ﺟﻨﺒﺶ ﺍﻧﻘﻼﺑﻲ ﻭ ﺗﺪﺍﻭﻡ ﺁﻥ‪ ،‬ﻭﺍﻛﻨﺶﻫﺎﻱ ﺧﻮﺩ ﺑﺨﻮﺩﻱ‬
‫ﺑﻲﺭﻣﻖ‪ ،‬ﺍﺷﺘﻴﺎﻕ ﻛﺴﺐ ﺩﺍﻧﺶ ﻃﺒﻘﺎﺗﻲ ﺍﻣﺎ ﻋﺪﻡ ﺣﻀﻮﺭ ﻣﺎﺩﻱ ﺩﺭ ﻋﺮﺻﻪﻱ ﻛﺸﺎﻛﺸﻬﺎﻱ‬
‫ﻃﺒﻘﺎﺗﻲ ـ ﺑﺎﻋﺚ ﺷﺪﻩ ﻛﻪ ﺍﮔﺮ ﭼﻪ ﻫﻨﺮﻣﻨﺪ ﺩﺭ ﺩﺭﻭﻥ ﺟﺎﻣﻌﻪ ﻗﺪﻡ ﺑﺮﻣﻲﺩﺍﺭﺩ‪ ،‬ﺍﻣﺎ ﺍﺯ ﺩﺭﻭﻥ ﺑﺎ‬
‫ﺟﺎﻣﻌﻪ ﭘﻴﻮﻧﺪﻱ ﻧﺪﺍﺷﺘﻪ ﺑﺎﺷﺪ‪ .‬ﺗﺎ ﻫﻨﺮﻣﻨﺪﺍﻥ ﺑﺼﻮﺭﺕ ﻳﻚ ﻣﻮﺝ ﻋﻈﻴﻢ ﺍﻧﻘﻼﺑﻲ ﺩﺭ ﺍﻳﻦ ﺟﻬﺖ‬
‫ﻋﻤﻞ ﻧﻜﻨﻨﺪ‪ ،‬ﻛﻮﺷﺶﻫﺎﻱ ﻓﺮﺩﻱ ﺑﻪ ﭘﻴﺮﻭﺯﻱ ﻫﻤﺴﻨﮓ ﭘﻴﺮﻭﺯﻱ ﺗﻮﺩﻩﻫﺎ ﻧﺨﻮﺍﻫﺪ ﺭﺳﻴﺪ‪ .‬ﺍﻳﻦ‬
‫ﻣﺸﻜﻞ ﺭﺍ ﻫﻨﺮﻣﻨﺪﺍﻥ ﺑﺎﻳﺪ ﻣﻮﺭﺩ ﺑﺮﺭﺳﻲ ﻗﺮﺍﺭ ﺑﺪﻫﻨﺪ‪ .‬ﻋﻮﺽ ﺍﻳﻨﻜﻪ ﺑﻪ ﺑﻲﺷﻌﻮﺭﻱ ﺩﺭﻭﻥ ﺗﻦ‬
‫ﺩﺭ ﺩﻫﻨﺪ‪ ،‬ﺑﻪ ﺿﺪ ﺍﻳﻦ ﺑﻲﺷﻌﻮﺭﻱ‪ ،‬ﺑﺎ ﺗﻜﻴﻪ ﺑﻪ ﺗﻮﺩﻩﻫﺎ ﻋﺼﻴﺎﻥ ﻛﻨﻨﺪ‪ .‬ﺑﺮ ﻋﻠﻴﻪ ﺧﺎﻣﻮﺷﻲ ﺷﻮﺭ‬
‫ﺩﺭﻭﻥ ﺑﺸﻮﺭﻧﺪ‪ .‬ﭼﻮﻥ ﺍﻳﻦ ﺧﺎﻣﻮﺷﻲ ﺑﻪ ﻣﻌﻨﺎﻱ ﺍﻋﺪﺍﻡ ﻫﻨﺮﻣﻨﺪ ﺩﺭ ﺧﻮﺩﺵ ﺍﺳﺖ‪ .‬ﻭ ﺍﻳﻦ ﺧﻄﺮ‬
‫ﺑﺼﻮﺭﺕ ﺟﺪﻱ ﺟﺎﻣﻌﻪﻱ ﻫﻨﺮﻱ ﻣﺎ ﺭﺍ ﻓﺮﺍﮔﺮﻓﺘﻪ ﺍﺳﺖ‪ .‬ﺍﻟﺒﺘﻪ ﺍﺯ ﻃﺮﻑ ﺩﻳﮕﺮ ﺍﻣﻴﺪ ﻋﻈﻴﻤﻲ ﺩﺭ‬
‫ﻣﻘﺎﺑﻞ ﻣﺎ ﻇﺎﻫﺮ ﺷﺪﻩ‪ .‬ﻫﻨﺮ ﻧﻴﺮﻭﻫﺎﻱ ﺟﻮﺍﻥ ﺭﻫﺎ ﺷﺪﻩ ﭘﺲ ﺍﺯ ﻗﻴﺎﻡ‪ .‬ﻣﺎ ﺍﻣﺮﻭﺯ ﺑﻪ ﺁﺛﺎﺭ ﺍﻳﻦ‬
‫ﻫﻨﺮﻣﻨﺪﺍﻥ ﺗﻮﺟﻪ ﻧﻤﻲﻛﻨﻴﻢ‪ .‬ﺑﻪ ﺍﻧﺒﻮﻩ ﺁﺛﺎﺭﻱ ﻛﻪ ﺩﺭ ﺩﺭﻭﻥ ﻏﻠﻴﺎﻥ ﺳﻴﺎﺳﻲ ﺟﻨﺒﺶ ﺑﻮﺟﻮﺩ‬
‫ﺁﻣﺪﻩ‪ ،‬ﻭ ﭘﺮﺗﺎﺏ ﺷﺪﻩ ﺑﻪ ﺩﺭﻭﻥ ﺟﻨﺒﺶ ﺳﻴﺎﺳﻲ ﺟﺎﻣﻌﻪ‪ ،‬ﺑﻲﺗﻮﺟﻬﻴﻢ‪ .‬ﻫﻨﺮﻣﻨﺪﺍﻥ ﺭﺳﻤﻴﺖ‬
‫ﻳﺎﻓﺘﻪﻱ ﺟﺎﻣﻌﻪ‪ ،‬ﺑﻪ ﺩﻟﻴﻞ ﺷﻜﺴﺖ ﺷﻮﺭ ﺩﺭﻭﻥ‪ ،‬ﺑﻪ ﺍﻳﻦ ﺁﺛﺎﺭ ﺗﻮﺟﻪ ﻧﻤﻲﻛﻨﻨﺪ‪ .‬ﻭ ﺍﻳﻦ ﺩﺭ‬
‫ﺣﻘﻴﻘﺖ ﻳﻚ ﺧﻴﺎﻧﺖ ﺗﺎﺭﻳﺨﻲ ﺍﺯ ﺳﻮﻱ ﻫﻨﺮﻣﻨﺪﺍﻥ ﺭﺳﻤﻴﺖ ﻳﺎﻓﺘﻪ ﺟﺎﻣﻌﻪﻱ ﻣﺎﺳﺖ‪ .‬ﻭﻗﺘﻲ‬
‫ﺁﺛﺎﺭ ﻫﻨﺮﻣﻨﺪﺍﻥ ﺟﻮﺍﻥ ﺑﺪﺳﺖ ﻣﺴﺌﻮﻻﻥ ﻫﻨﺮﻱ ﻣﻲﺍﻓﺘﺪ‪ ،‬ﻧﻬﺎﻳﺘﺎ ﻓﻘﻂ ﭼﺎﭖ ﻣﻲﺷﻮﺩ‪ .‬ﺍﻳﻦ‬
‫ﻣﺴﺌﻮﻻﻥ ﺻﺮﻓﺎ ﺍﺯ ﻣﻮﺿﻌﻲ ﻓﺮﺻﺖ ﻃﻠﺒﺎﻧﻪ‪ ،‬ﺑﺎ ﭼﺎﭖ ﺁﺛﺎﺭ ﻫﻨﺮﻣﻨﺪﺍﻥ ﺟﻮﺍﻥ ﻣﻲﺧﻮﺍﻫﻨﺪ‬
‫ﻛﻤﺒﻮﺩﻱ ﺭﺍ ﻛﻪ ﺧﻮﺩ ﻧﻤﻲﺗﻮﺍﻧﻨﺪ ﭘﺎﺳﺦ ﺑﺪﻫﻨﺪ‪ ،‬ﭘﺮ ﻛﻨﻨﺪ‪ .‬ﺍﻳﻦ ﺁﺛﺎﺭ ﺍﮔﺮ ﭼﻪ ﺩﺍﺭﺍﻱ‬
‫ﺍﺭﺯﺵﻫﺎﻱ ﻫﻨﺮﻱ ﻧﻴﺴﺖ‪ ،‬ﺍﮔﺮ ﭼﻪ ﺍﺯ ﺩﻳﺪﮔﺎﻩ ﺗﺎﺭﻳﺨﻲ ﻫﻨﺮ ﺗﻮﺩﻩﻫﺎ ﻗﺎﺑﻞ ﺍﺳﺘﻔﺎﺩﻩ ﻧﻴﺴﺖ‪،‬‬
‫ﺑﺪﻭﻥ ﻧﻈﺮ ﺍﻧﺘﻘﺎﺩﻱ ﻓﻘﻂ ﭼﺎﭖ ﻣﻲﺷﻮﺩ‪ .‬ﻭ ﺍﺯ ﺍﻳﻨﻄﺮﻳﻖ ﻧﻪ ﺗﻨﻬﺎ ﻫﻨﺮ ﺗﻮﺩﻩﻫﺎ ﺭﺍ ﺍﻋﺘﻼ ﻧﻤﻲﺩﻫﺪ‪،‬‬
‫ﺑﻠﻜﻪ ﻫﻨﺮﻱ ﺭﺍ ﺑﻪ ﻋﻨﻮﺍﻥ ﻫﻨﺮ ﺗﻮﺩﻩﻫﺎ ﻣﻌﺮﻓﻲ ﻣﻲﻛﻨﺪ‪ ،‬ﻛﻪ ﺍﺯ ﺍﺭﺯﺵﻫﺎﻱ ﺗﺎﺭﻳﺨﻲ ﻫﻨﺮ‬
‫ﺗﻮﺩﻩﻳﻲ‪ ،‬ﺍﺯ ﺁﺭﻣﺎﻥﮔﺮﺍﻳﻲ ﺁﻳﻨﺪﻩ ﻭ ﺗﺮﻛﻴﺒﺶ ﺑﺎ ﻋﻨﺎﺻﺮ ﺗﺎﺭﻳﺨﻲ ﻫﻨﺮ ﺑﺪﻭﺭ ﺍﻓﺘﺎﺩﻩ ﺍﺳﺖ‪ .‬ﻭ‬
‫ﺑﻌﺪ ﺍﻳﻨﻄﻮﺭ ﻭﺍﻧﻤﻮﺩ ﻣﻲﺷﻮﺩ ﻛﻪ ﮔﻮﻳﺎ ﻫﻨﺮ ﺳﻴﺎﺳﻲ ﻭ ﺍﺟﺘﻤﺎﻋﻲ ﻫﻤﻴﻦﻫﺎﺳﺖ ﻭ ﻣﺠﺪﺩﺍ‬
‫ﺑﺤﺮﺍﻥ ﻫﻨﺮ ﻭ ﺍﻧﻘﻼﺏ ﻣﺸﺮﻭﻃﻴﺖ‪ ،‬ﺍﻟﺒﺘﻪ ﻧﻪ ﺩﺭ ﺁﻥ ﺣﺪ ﺍﺯ ﻧﺎﺯﻝ ﺑﻮﺩﻥ‪ ،‬ﺩﺍﻣﻨﮕﻴﺮ ﻫﻨﺮ ﻭ ﺍﺩﺑﻴﺎﺕ‬
‫ﺍﻣﺮﻭﺯ ﺍﻳﺮﺍﻥ ﺧﻮﺍﻫﺪ ﺷﺪ‪ .‬ﺑﺮﺍﻱ ﺟﻠﻮﮔﻴﺮﻱ ﺍﺯ ﺑﺤﺮﺍﻥ‪ ،‬ﻫﻨﺮﻣﻨﺪﺍﻥ ﻣﺎ ﺑﺎﻳﺪ ﺧﻮﺩ ﺭﺍ ﺗﺠﻬﻴﺰ‬
‫ﻛﻨﻨﺪ‪ .‬ﺍﻳﻦ ﻣﺴﺌﻠﻪ ﺩﺭ ﻛﺎﻧﻮﻥ ﻧﻮﻳﺴﻨﺪﮔﺎﻥ ﻣﻄﺮﺡ ﺷﺪ‪ ،‬ﻭ ﺑﻌﺪ ﺑﻪ ﻓﺮﺍﻣﻮﺷﻲ ﺳﭙﺮﺩﻩ ﺷﺪ‪.‬‬
‫ﺭﺳﻮﻻﻥ ﻫﻨﺮﻱ ﻣﻲﺑﺎﻳﺪ ﺍﻳﻦ ﻣﻔﻬﻮﻡ ﺭﺍ ﻛﻪ ﻋﺎﻡ ﻫﻢ ﻫﺴﺖ ﺗﻮﺿﻴﺢ ﺑﺪﻫﻨﺪ‪ .‬ﺑﺎﻳﺪ ﺍﻳﻦ ﺑﺤﺮﺍﻥ ﺭﺍ‬
‫ﺍﺯ ﺩﻳﺪﮔﺎﻩﻫﺎﻱ ﻣﺘﻔﺎﻭﺕ ﻣﻮﺭﺩ ﺑﺮﺭﺳﻲ ﻗﺮﺍﺭ ﺑﺪﻫﻨﺪ‪ .‬ﺗﺎ ﻫﻨﺮ ﻭ ﺍﺩﺑﻴﺎﺕ ﻛﻪ ﻣﻲﺧﻮﺍﻫﺪ‬
‫ﭘﻴﺸﺂﻫﻨﮓ ﺧﻮﺍﺳﺘﻬﺎﻱ ﻫﻨﺮﻱ ﻭ ﺳﻴﺎﺳﻲ ﺗﻮﺩﻩﻫﺎ ﺑﺸﻮﺩ‪ ،‬ﺍﺭﺯﺵﻫﺎﻱ ﻭﺍﻗﻌﻲ ﺧﻮﺩﺵ ﺭﺍ‬
‫ﭘﻴﺪﺍﻛﻨﺪ‪.‬‬
‫ﻃﺎﻟﺒﻲ ﺷﻤﺎ ﺩﺭ ﻫﻨﺮ ﻣﻘﺎﻭﻣﺖ ﺑﻪ ﻋﻨﺼﺮ ﺳﻮﺳﻴﺎﻟﻴﺴﺘﻲ ﺍﺷﺎﺭﻩ ﻛﺮﺩﻳﺪ‪ .‬ﺁﻳﺎ ﺑﻪ ﺍﻋﺘﻘﺎﺩ ﺷﻤﺎ ﺣﻀﻮﺭ‬
‫ﻋﻨﺼﺮ ﺳﻮﺳﻴﺎﻟﻴﺴﺘﻲ ﺩﺭ ﻫﻨﺮ ﻣﻘﺎﻭﻣﺖ ﺑﻪ ﻣﻌﻨﺎﻱ ﺳﻤﺖﮔﻴﺮﻱ ﺳﻮﺳﻴﺎﻟﻴﺴﺘﻲ ﻫﻢ ﻫﺴﺖ ﻳﺎ ﻧﻪ؟‬
‫ﻳﻌﻨﻲ ﺗﻮﺟﻪ ﺑﻪ ﻣﻔﺎﻫﻴﻢ ﻃﺒﻘﺎﺗﻲ ﻫﻢ ﻭﺟﻮﺩ ﺩﺍﺭﺩ ﻳﺎ ﻧﻪ؟ ﻭ ﺩﺭ ﻫﻤﻴﻦ ﺟﺎ ﺑﮕﻮﻳﻢ ﻛﻪ ﻭﻗﺘﻲ ﺷﻤﺎ‬
‫ﺑﻪ ﻋﻨﺼﺮ ﺳﻮﺳﻴﺎﻟﻴﺴﺘﻲ ﺩﺭ ﺁﺛﺎﺭ ﻧﻴﻤﺎ ﻭ ﺍﻓﺮﺍﺷﺘﻪ ﺍﺷﺎﺭﻩ ﻣﻲﻛﻨﻴﺪ‪ ،‬ﺗﻮﺿﻴﺢ ﺑﺪﻫﻴﺪ ﻛﻪ ﻋﻨﺼﺮ‬
‫ﺳﻮﺳﻴﺎﻟﻴﺴﺘﻲ ﺩﺭ ﺁﺛﺎﺭ ﺍﻳﻦ ﺩﻭ ﺷﺎﻋﺮ ﭼﻪ ﺗﻔﺎﻭﺗﻬﺎﻳﻲ ﺑﺎ ﻫﻢ ﺩﺍﺭﻧﺪ؟‬
‫ﺳﻠﻄﺎﻧﭙﻮﺭ ﻋﻨﺼﺮ ﺳﻮﺳﻴﺎﻟﻴﺴﺘﻲ ﺑﺪﻭﻥ ﭼﺸﻢ ﺍﻧﺪﺍﺯ ﺑﺮ ﻋﺮﺻﻪﻱ ﻣﺒﺎﺭﺯﻩ ﻃﺒﻘﺎﺗﻲ ﻣﻔﻬﻮﻣﻲ ﻧﺪﺍﺭﺩ‪ .‬ﺑﺎﻳﺪ ﺩﻳﺪ‬
‫ﻛﻪ ﻫﻨﺮ ﺗﺎ ﭼﻪ ﺣﺪﻱ ﺑﺎ ﺯﻧﺪﮔﻲ ﺯﺣﻤﺘﻜﺸﺎﻥ ﺩﺭ ﺍﺭﺗﺒﺎﻃﻲ ﺍﺭﮔﺎﻧﻴﻚ ﻣﺮﺑﻮﻁ ﻣﻲﺷﻮﺩ‪ .‬ﻋﻨﺼﺮ‬
‫ﺳﻮﺳﻴﺎﻟﻴﺴﻢ ﺣﺘﻲ ﺩﺭ ﺁﺛﺎﺭ ﻧﻴﻤﺎ‪ ،‬ﻛﻪ ﺩﺭ ﻭﺍﻗﻊ ﺩﺭﻳﺎﻱ ﻋﻨﺎﺻﺮ ﺳﻮﺳﻴﺎﻟﻴﺴﺘﻲ ﻫﺴﺖ‪ .‬ﺑﺼﻮﺭﺕ‬
‫ﻣﺠﺮﺩ ﻭ ﻋﺎﻡ ﻋﻤﻞ ﻣﻲﻛﻨﺪ‪ .‬ﭘﺎﻳﮕﺎﻩ ﺧﺎﺹ ﺧﻮﺩ ﺭﺍ ﭘﻴﺪﺍ ﻧﻤﻲﻛﻨﺪ‪ .‬ﻳﻌﻨﻲ ﺍﺯ ﻋﺎﻡ ﺑﻪ ﺧﺎﺹ ﻭ‬
‫ﺍﺯ ﺧﺎﺹ ﺑﻪ ﻋﺎﻡ ﺑﺮﻧﻤﻲﮔﺮﺩﺩ‪ .‬ﻋﻨﺼﺮ ﺳﻮﺳﻴﺎﻟﻴﺴﺘﻲ ﻭﻗﺘﻲ ﻛﻪ ﺩﺭ ﻭﺟﻪ ﻣﺠﺮﺩ ﺧﻮﺩ ﺑﺎﻗﻲ‬
‫ﺑﻤﺎﻧﺪ‪ ،‬ﺑﺎ ﺳﻮﺳﻴﺎﻟﻴﺴﻢ ﺗﺨﻴﻠﻲ ﭘﻬﻠﻮ ﻣﻲﺯﻧﺪ‪ .‬ﺍﮔﺮ ﭼﻪ ﺑﻌﺪ ﺍﺯ ﺍﻧﻘﻼﺏ ﺍﻛﺘﺒﺮ ‪ ،۱۹۱۷‬ﻭﻗﺘﻲ‬
‫ﻓﺮﻫﻨﮓ ﺳﻮﺳﻴﺎﻟﻴﺴﺘﻲ ﺑﻪ ﻫﻨﺮ ﻭ ﺍﺩﺑﻴﺎﺕ ﺟﻬﺎﻥ ﺭﺍﻩ ﭘﻴﺪﺍ ﻣﻲﻛﻨﺪ‪ ،‬ﻭ ﺩﺭ ﻧﺘﻴﺠﻪ ﻫﻨﺮ ﻭ ﺍﺩﺑﻴﺎﺕ ﻣﺎ‬
‫ﻫﻢ ﺍﺯ ﺁﻥ ﺗﻐﺬﻳﻪ ﻣﻲﻛﻨﺪ‪ .‬ﻧﻤﻲﺗﻮﺍﻧﺪ ﻋﻨﺼﺮ ﺳﻮﺳﻴﺎﻟﻴﺴﺘﻲ ﺍﺩﺑﻴﺎﺕ ﻣﺎ ﺑﺎ ﺳﻮﺳﻴﺎﻟﻴﺴﻢ ﺗﺨﻴﻠﻲ‬
‫ﻫﻤﺴﻨﮓ ﺑﺎﺷﺪ‪ .‬ﻭﻟﻲ ﺑﻪ ﻫﺮ ﺣﺎﻝ ﻭﺟﻮﻫﻲ ﺍﺯ ﺁﻧﺮﺍ ﺣﻔﻆ ﻣﻲﻛﻨﺪ‪ .‬ﺑﻪ ﺩﻟﻴﻞ ﺍﻳﻨﻜﻪ ﺭﻭﻱ ﺧﺎﺹ‬
‫ﭘﻴﺎﺩﻩ ﻧﻤﻲﺷﻮﺩ‪ .‬ﺍﻟﺒﺘﻪ ﺍﻳﻦ ﺣﺮﻑ ﺭﺍ ﺑﺼﻮﺭﺕ ﻏﺎﻟﺐ ﻣﻲﮔﻮﻳﻢ‪ .‬ﺩﺭ ﻣﻮﺍﺭﺩﻱ ﻫﻢ ﻧﻤﻮﻧﻪﻫﺎﻳﻲ‬
‫ﺩﺍﺭﻳﻢ ﻛﻪ ﺩﺭ ﻭﺟﻮﻩ ﺧﺎﺹ ﭘﻴﺎﺩﻩ ﺷﺪﻩ ﺍﺳﺖ‪ .‬ﻣﺜﻞ ﺷﺐ ﭘﺎﻱ ﻧﻴﻤﺎ‪.‬‬
‫ﻃﺎﻟﺒﻲ ﭼﻪ ﺗﻔﺎﻭﺗﻲ ﻣﻴﺎﻥ ﻋﻨﺎﺻﺮ ﺳﻮﺳﻴﺎﻟﻴﺴﺘﻲ ﺍﺷﻌﺎﺭ ﻧﻴﻤﺎ ﻭ ﺍﻓﺮﺍﺷﺘﻪ ﻣﻲﺑﻴﻨﻴﺪ؟‬
‫ﺳﻠﻄﺎﻧﭙﻮﺭ ﻣﻦ ﺭﻭﻱ ﺍﺷﻌﺎﺭ ﺍﻓﺮﺍﺷﺘﻪ ﻣﻄﺎﻟﻌﺎﺕ ﮔﺴﺘﺮﺩﻩ ﺍﻱ ﻧﺪﺍﺭﻡ‪ .‬ﭘﺎﺭﻩﻳﻲ ﺍﺯ ﺁﺛﺎﺭﺵ ﺭﺍ ﺧﻮﺍﻧﺪﻡ‪ .‬ﻭ‬
‫ﺗﺮﺟﻤﻪ ﭘﺎﺭﻩﻳﻲ ﺍﺯ ﺁﺛﺎﺭ ﮔﻴﻠﻜﻴﺶ ﺭﺍ ﺍﺯ ﻃﺮﻳﻖ ﺭﻓﻘﺎﻱ ﮔﻴﻼﻧﻲ ﺷﻨﻴﺪﻡ‪ .‬ﺑﻨﺎﺑﺮﺍﻳﻦ ﻧﻤﻲﺗﻮﺍﻧﻢ‬
‫ﺍﻳﻨﻄﻮﺭ ﻛﻪ ﺍﺯ ﻧﻴﻤﺎ ﺣﺮﻑ ﻣﻲﺯﻧﻢ‪ ،‬ﺭﺍﺟﻊ ﺑﻪ ﺍﻓﺮﺍﺷﺘﻪ ﺳﺨﻦ ﺑﮕﻮﻳﻢ‪ .‬ﻭ ﭼﮕﻮﻧﮕﻲ ﺣﻀﻮﺭ‬
‫ﻋﻨﺎﺻﺮ ﺳﻮﺳﻴﺎﻟﻴﺴﺘﻲ ﺭﺍ ﺩﺭ ﺁﺛﺎﺭ ﺍﻳﻦ ﺷﺎﻋﺮ ﺍﺭﺯﻳﺎﺑﻲ ﻛﻨﻢ ﻓﻘﻂ ﺑﮕﻮﻳﻢ ﻛﻪ ﺷﻌﺮ ﺍﻓﺮﺍﺷﺘﻪ ﺑﺎ‬
‫ﺯﻧﺪﮔﻲ ﺗﻮﺩﻩﻫﺎ ﺗﻤﺎﺱ ﺑﻴﺸﺘﺮﻱ ﺩﺍﺭﺩ ﺍﻣﺎ ﺍﺯ ﺍﺭﺯﺵﻫﺎﻱ ﻭﻳﮋﻩﻱ ﻫﻨﺮﻱ ﺑﻲﻧﺼﻴﺐ ﺍﺳﺖ‪ .‬ﻳﺎ‬
‫ﻛﻤﺘﺮ ﺍﺯ ﺍﺭﺯﺵﻫﺎﻱ ﻫﻨﺮﻱ ﺑﺮﺧﻮﺭﺩﺍﺭ ﺍﺳﺖ‪ .‬ﺣﺘﻤﺎ ﺍﻳﻦ ﺳﻮﺁﻝ ﭘﻴﺶ ﻣﻲﺁﻳﺪ ﻛﻪ ﺁﻳﺎ‬
‫ﺍﺭﺯﺷﻬﺎﻱ ﺯﻳﺒﺎﻳﻲ ﺷﻨﺎﺧﺘﻲ ﺑﻮﺭﮊﻭﺍﻳﻲ ﻳﺎ ﺧﺮﺩﻩ ﺑﻮﺭﮊﻭﺍﻳﻲ ﻣﻮﺭﺩ ﻧﻈﺮ ﻣﻦ ﺍﺳﺖ؟ ﻣﺴﻠﻤﺎ ﻧﻪ‪.‬‬
‫ﻣﻦ ﺑﻪ ﻋﻨﺼﺮ ﺗﻮﺩﻩﻳﻲ ﺷﻌﺮ ﻧﻴﻤﺎ ﻣﻲﺍﻧﺪﻳﺸﻢ‪ .‬ﺑﺎﺯ ﻫﻢ ﺍﺷﺎﺭﻩ ﻣﻲﻛﻨﻢ ﺑﻪ ﺷﻌﺮ ﺷﺐ ﭘﺎﻱ ﻧﻴﻤﺎ‪.‬‬
‫ﻃﺎﻟﺒﻲ ﺿﻤﻦ ﺻﺤﺒﺖﻫﺎﻳﺘﺎﻥ ﮔﻔﺘﻴﺪ ﻛﻪ ﻫﻨﺮ ﻣﻘﺎﻭﻣﺖ ﻣﺎ ﺑﻪ ﺁﻥ ﺩﺳﺘﺎﻭﺭﺩﻫﺎﻱ ﭘﻮﻳﺎﻳﻲ ﻛﻪ ﻣﻲﺑﺎﻳﺪ‬
‫ﺑﺮﺳﺪ‪ ،‬ﻧﺮﺳﻴﺪﻩ ﻭ ﮔﻔﺘﻴﺪ ﺍﻳﻦ ﻛﻤﺒﻮﺩ ﻧﺎﺷﻲ ﺍﺯ ﻋﺪﻡ ﺗﺠﺮﺑﻪ ﺑﻮﺩﻩ‪ .‬ﺩﺭ ﺻﻮﺭﺗﻲ ﻛﻪ‪ ،‬ﻫﻤﺎﻧﻄﻮﺭ‬
‫ﻛﻪ ﺧﻮﺩﺗﺎﻥ ﻫﻢ ﺍﺷﺎﺭﻩ ﻛﺮﺩﻳﺪ‪ ،‬ﻣﺎ ﺍﻳﻦ ﺗﺠﺮﺑﻪ ﺭﺍ ﺍﺯ ﺁﻏﺎﺯ ﻣﺸﺮﻭﻃﻴﺖ ﺷﺮﻭﻉ ﻛﺮﺩﻳﻢ‪ .‬ﺍﻳﻦ ﺩﻭ‬
‫ﻣﺴﺌﻠﻪ ﺭﺍ ﭼﮕﻮﻧﻪ ﺍﺯ ﻫﻢ ﺟﺪﺍ ﻣﻲﻛﻨﻴﺪ؟ ﺩﺭ ﻳﻚ ﺩﻭﺭﻩ ﻣﺸﺨﺺ ﺗﺎﺭﻳﺨﻲ ﺧﻼﺀ ﻣﻲﺑﻴﻨﻴﺪ‪ ،‬ﻳﺎ‬
‫ﻋﺪﻡ ﺗﺠﺮﺑﻪ‪ ،‬ﻛﺪﺍﻣﻴﻚ؟‬
‫ﺳﻠﻄﺎﻧﭙﻮﺭ ﻫﺮ ﺩﻭ‪ .‬ﺗﺠﺮﺑﻪ ﺩﻭﺭﺍﻥ ﻣﺸﺮﻭﻃﻴﺖ‪ ،‬ﺗﺠﺮﺑﻪ ﻣﺎﻗﺒﻞ ﺧﻮﺩ ﺭﺍ ﻧﺪﺍﺷﺘﻪ‪ .‬ﻣﮕﺮ ﺑﺼﻮﺭﺕ ﺑﺴﻴﺎﺭ‬
‫ﻛﻼﺳﻴﻚ‪ .‬ﺍﺯ ﺗﺠﺮﺑﻪﻱ ﺍﻧﺘﻘﺎﻝ ﻓﺮﻫﻨﮓ ﺍﺯ ﻃﺮﻳﻖ ﻧﺴﻞ ﭘﻴﺶ ﺍﺯ ﺧﻮﺩ ﻣﺤﺮﻭﻡ ﺑﻮﺩﻩ‪ .‬ﺑﻨﺎﺑﺮﺍﻳﻦ‬
‫ﻫﻨﺮ ﻭ ﺍﺩﺑﻴﺎﺕ ﻣﺸﺮﻭﻃﻴﺖ ﻧﻤﻲﺗﻮﺍﻧﺪ ﺑﻪ ﺗﺠﺮﺑﻴﺎﺕ ﻣﻠﻤﻮﺱ ﻭ ﻫﻤﻪ ﺟﺎﻧﺒﻪﻳﻲ ﺩﺭ ﺩﺭﻭﻥ‬
‫ﺯﻧﺪﮔﻲ ﺗﻮﺩﻩﻫﺎ ﺩﺳﺖ ﺑﺰﻧﺪ‪ .‬ﻭﻗﺘﻲ ﻫﻢ ﻛﻪ ﻣﻲﺁﻳﺪ ﺯﻧﺪﮔﻲ ﺗﻮﺩﻩﻫﺎ ﺭﺍ ﻣﻨﻌﻜﺲ ﻛﻨﺪ‪ ،‬ﻣﺜﻞ‬
‫ﺩﻭﺭﺑﻴﻦ ﻋﻜﺎﺳﻲ‪ ،‬ﻧﻤﻲﺗﻮﺍﻧﺪ ﻳﻚ ﺳﺎﺯﻣﺎﻥ ﻫﻨﺮﻱ ﻣﻨﺴﺠﻢ ﺑﺮﺍﻱ ﺍﻳﻦ ﻣﺠﻤﻮﻋﻪﻱ ﻣﺎﺩﻱ ﺩﺭ‬
‫ﻧﻈﺮ ﺑﮕﻴﺮﺩ‪ .‬ﻳﻌﻨﻲ ﻏﻮﺭ ﺩﺭ ﺍﺭﺯﺷﻬﺎﻱ ﺗﺎﺭﻳﺨﻲ ﻫﻨﺮ ﺗﻮﺩﻩﻫﺎ ﻧﻤﻲﻛﻨﺪ‪ .‬ﺟﻤﻊ ﺑﻨﺪﻱ ﺍﺯ ﺁﻥ‬
‫ﻧﺪﺍﺭﺩ‪ .‬ﺧﻄﻮﻁ ﻭﻳﮋﻩ ﺁﻧﺮﺍ ﻧﻤﻲﺷﻨﺎﺳﺪ‪ .‬ﻫﻤﻴﻦ ﻣﻘﺪﺍﺭ ﺗﺠﺮﺑﻪ ﻫﻢ ﻛﻪ ﺩﺭ ﻫﻨﺮ ﻭ ﺍﺩﺑﻴﺎﺕ ﺩﻭﺭﻩ‬
‫ﻣﺸﺮﻭﻃﻴﺖ ﺷﺪﻩ‪ ،‬ﺳﻴﺴﺘﻢ ﺩﻳﻜﺘﺎﺗﻮﺭﻱ‪ ،‬ﺑﻮﻳﮋﻩ ﺩﻳﻜﺘﺎﺗﻮﺭﻱ ﻣﺤﻤﺪﺭﺿﺎﺷﺎﻫﻲ‪ ،‬ﺍﺯ ﺍﻧﺘﻘﺎﻝ ﺁﻥ ﺑﻪ‬
‫ﺩﻭﺭﻩﻫﺎﻱ ﺑﻌﺪ ﺟﻠﻮﮔﻴﺮﻱ ﻛﺮﺩﻩ‪ ،‬ﻭ ﺍﻳﻦ ﺑﺎﻋﺚ ﺷﺪﻩ ﻛﻪ ﻫﻨﺮ ﻭ ﺍﺩﺑﻴﺎﺕ ﺩﻭﺭﻩ ﺧﻔﻘﺎﻥ‪ ،‬ﺍﺯ‬
‫ﮔﺬﺷﺘﻪ ﺧﻮﺩ ﺑﺒﺮﺩ‪ .‬ﺩﺭ ﻧﺘﻴﺠﻪ ﻧﺘﻮﺍﻧﺪ ﺍﺯ ﻫﻨﺮ ﺯﺣﻤﺘﻜﺸﺎﻥ ﻃﻲ ﺗﺎﺭﻳﺦ ﺩﺭﻙ ﺩﺭﺳﺘﻲ ﺩﺍﺷﺘﻪ‬
‫ﺑﺎﺷﺪ‪ .‬ﺭﻭﻱ ﺍﻳﻦ ﺍﺻﻞ ﻣﻲﺑﻴﻨﻴﻢ ﻛﻪ ﺩﺭ ﺍﻳﻨﺠﺎ ﻫﻢ ﺧﻼﺀ ﺟﺪﻳﺪﻱ ﺍﻳﺠﺎﺩ ﺷﺪﻩ‪ .‬ﺍﻟﺒﺘﻪ ﺍﺯ ﻧﻈﺮ‬
‫ﺩﺭﻙ ﻋﻨﺎﺻﺮ ﺍﻧﻘﻼﺑﻲ ﻭ ﺳﻮﺳﻴﺎﻟﻴﺴﺘﻲ ﻗﻮﻱﺗﺮ ﺷﺪﻩ‪ ،‬ﺭﻭﻱ ﭘﺎﻳﮕﺎﻩ ﻃﺒﻘﺎﺗﻲ ﻓﺮﻭﺩ ﺁﻣﺪﻩ‪ .‬ﺍﻣﺎ‬
‫ﺍﻟﺘﻘﺎﻃﻲ ﺍﺳﺖ‪ .‬ﺑﺨﺸﻲ ﺍﺯ ﺯﻳﺒﺎﻳﻲﺷﻨﺎﺳﻲ ﺗﻮﺩﻩﻳﻲ ﺭﺍ‪ ،‬ﺑﺎ ﺍﺭﺯﺵﻫﺎﻱ ﻫﻨﺮﻱ ﺑﻮﺭﮊﻭﺍﻳﻲ ﻭ‬
‫ﺧﺮﺩﻩﺑﻮﺭﮊﻭﺍﻳﻲ ﺗﺮﻛﻴﺐ ﻛﺮﺩﻩ‪ .‬ﻭ ﺍﻳﻦ ﺁﺷﻔﺘﮕﻲ ﺍﻳﺠﺎﺩ ﻛﺮﺩﻩ‪ .‬ﺧﻮﺩﺵ ﻣﺎﻧﻊ ﺧﻮﺩﺵ ﺷﺪﻩ‬
‫ﺑﺮﺍﻱ ﻋﺒﻮﺭ ﺑﺪﺭﻭﻥﺗﻮﺩﻩﻫﺎﻱ ﻣﺮﺩﻡ‪ .‬ﺍﻟﺒﺘﻪ ﻳﻚ ﭼﻴﺰ ﻳﺎﺩﻣﺎﻥ ﻧﺮﻭﺩ‪ ،‬ﻭ ﺁﻧﻬﻢ ﺩﺭ ﺻﺪ ﺑﻴﺴﻮﺍﺩﺍﻥ‬
‫ﺩﺭ ﺍﻳﺮﺍﻥ ﺍﺳﺖ‪ .‬ﺍﻳﻦ ﻣﺴﺌﻠﻪ ﺍﺯ ﺩﻳﺪﮔﺎﻩ ﺩﻳﮕﺮﻱ ﻣﻲﺑﺎﻳﺪ ﻣﻮﺭﺩ ﺑﺮﺭﺳﻲ ﻗﺮﺍﺭ ﺑﮕﻴﺮﺩ‪.‬‬
‫ﺑﻲﺳﻮﺍﺩﻱ ﻳﻚ ﺩﻳﻮﺍﺭ ﺁﻫﻨﻴﻦ ﺑﺮﺍﻱ ﻋﺪﻡ ﺍﺭﺗﺒﺎﻁ ﺑﺎ ﺗﻮﺩﻩﻫﺎﻱ ﻣﺮﺩﻡ ﻣﻲﺳﺎﺯﺩ‪.‬‬
‫ﮔﻔﺘﻴﺪ ﻛﻪ ﺩﺭ ﺩﻭﺭﺍﻥ ﻣﺸﺮﻭﻃﻴﺖ ﻫﻨﺮﻫﺎﻳﻲ ﺑﻮﺩﻩ ﻛﻪ ﺟﻨﺒﻪﻱ ﺳﻴﺎﺳﻲ ﺩﺍﺷﺘﻪ ﺍﻣﺎ ﻓﺎﻗﺪ‬ ‫ﻋﺸﻘﻲ‬
‫ﺍﺭﺯﺵﻫﺎﻱ ﻫﻨﺮﻱ ﺑﻮﺩﻩ‪ .‬ﺍﻳﻦ ﻣﻘﻮﻟﻪ ﺭﺍ ﺑﻴﺸﺘﺮ ﺑﺎﺯ ﻛﻨﻴﺪ‪ .‬ﭼﻪ ﻧﻮﻉ ﺍﺷﻜﺎﻝ ﻫﻨﺮﻱ ﺑﻪ ﺍﻋﺘﻘﺎﺩ ﺷﻤﺎ‬
‫ﻣﻲﺗﻮﺍﻧﺪ ﻣﻔﺎﻫﻴﻢ ﺳﻴﺎﺳﻲ ﺭﺍ ﺑﺪﺭﺳﺘﻲ ﻣﻨﺘﻘﻞ ﻛﻨﺪ‪ .‬ﺍﺭﺯﺵ ﻭﻳﮋﻩ ﺍﻳﻦ ﺍﺷﻜﺎﻝ ﻫﻨﺮﻱ ﻛﺪﺍﻡ‬
‫ﺍﺳﺖ؟ ﭼﻮﻥ ﻛﻪ ﮔﻔﺘﻴﺪ ﻣﻨﻈﻮﺭﺗﺎﻥ ﺍﺯ ﺍﺭﺯﺵﻫﺎﻱ ﻫﻨﺮﻱ‪ ،‬ﺯﻳﺒﺎﻳﻲﻫﺎﻱ ﺑﻮﺭﮊﻭﺍﻳﻲ ﻭ ﻳﺎ ﺧﺮﺩﻩ‬
‫ﺑﻮﺭﮊﻭﺍﻳﻲ ﻧﻴﺴﺖ‪ .‬ﺑﺨﺼﻮﺹ ﺍﻳﻦ ﻣﻮﺿﻮﻉ ﺭﺍ ﺩﺭ ﺍﺭﺗﺒﺎﻁ ﺑﺎ ﺷﻌﺮ ﻧﻴﻤﺎ ﻭ ﺍﻓﺮﺍﺷﺘﻪ ﺑﻴﺸﺘﺮ‬
‫ﺗﻮﺿﻴﺢ ﺑﺪﻫﻴﺪ‪ .‬ﭼﺮﺍ ﻧﻴﻤﺎ ﺑﻪ ﻧﺴﺒﺖ ﺍﻓﺮﺍﺷﺘﻪ ﺍﺯ ﺗﻮﺍﻥ ﻫﻨﺮﻱ ﺑﻴﺸﺘﺮﻱ ﺑﺮﺧﻮﺭﺩﺍﺭ ﺍﺳﺖ؟‬
‫ﺳﻠﻄﺎﻧﭙﻮﺭ ﮔﻔﺘﻴﻢ ﻋﻨﺼﺮ ﺳﻮﺳﻴﺎﻟﻴﺴﻢ ﻭ ﺁﺭﻣﺎﻥ ﺧﻮﺍﻫﻲ ﺳﻮﺳﻴﺎﻟﻴﺴﻢ ﺩﺭ ﺗﺮﻛﻴﺐ ﺑﺎ ﺍﻧﻘﻼﺑﻲﮔﺮﻱ ﺧﺮﺩﻩ‬
‫ﺑﻮﺭﮊﻭﺍﻳﻲ ﺩﺭ ﺍﺷﻌﺎﺭ ﻧﻴﻤﺎ ﻣﻮﺝ ﻣﻲﺯﻧﺪ‪ .‬ﻭ ﮔﻔﺘﻴﻢ ﻣﺠﻤﻮﻋﻪﻱ ﺑﻴﻨﺶ ﻧﻴﻤﺎ ﻳﻚ ﻣﺠﻤﻮﻋﻪ‬
‫ﺗﺮﻛﻴﺒﻲ ﺳﺖ‪ .‬ﺩﺭ ﺁﺛﺎﺭ ﻧﻴﻤﺎ ﺯﻳﺒﺎﻳﻲ ﺷﻨﺎﺳﻲ ﻫﻨﺮ ﺗﺎﺭﻳﺨﻲ ﻓﺌﻮﺩﺍﻟﻴﺴﻢ‪ ،‬ﺑﻮﺭﮊﻭﺍﻳﻲ‪ ،‬ﺧﺮﺩﻩ‬
‫ﺑﻮﺭﮊﻭﺍﻳﻲ‪ ،‬ﻭ ﺁﺭﻣﺎﻥ ﺧﻮﺍﻫﻲ ﺳﻮﺳﻴﺎﻟﻴﺴﻢ ﺗﻠﻔﻴﻖ ﺷﺪﻩ ﺍﻧﺪ‪ .‬ﺍﻳﻦ ﭼﻨﺪﮔﺎﻧﮕﻲ ﻣﺎﻧﻊ ﮔﺴﺘﺮﺵ‬
‫ﻣﺤﺘﻮﺍﻱ ﺁﺛﺎﺭ ﻧﻴﻤﺎ ﺑﻪ ﺩﺭﻭﻥ ﺗﻮﺩﻩﻫﺎ ﻣﻲﺷﻮﺩ‪ .‬ﺩﺭ ﺍﻓﺮﺍﺷﺘﻪ ﺍﻣﺎ ﺍﻳﻦ ﻣﺠﻤﻮﻉ ﺑﻴﻨﺶ ﺑﻪ ﻧﻔﻊ‬
‫ﺍﻧﻘﻼﺑﻲﮔﺮﻱ ﺑﺮﺍﻱ ﺁﺭﻣﺎﻥ ﺗﻮﺩﻩ ﻛﻨﺎﺭ ﻣﻲﺁﻳﺪ‪ .‬ﻭﻟﻲ ﺑﻪ ﺍﻧﺪﺍﺯﻩﻱ ﻧﻴﻤﺎ ﺍﺯ ﺳﻄﺢ ﻧﻤﻲﮔﺬﺭﺩ ﻭ‬
‫ﺑﻪ ﺳﻄﻮﺡ ﻋﺎﻟﻲ ﻫﻨﺮﻱ ﺩﺳﺖ ﻧﻤﻲﻳﺎﺑﺪ‪ .‬ﭼﻮﻥ ﻋﻨﺼﺮ ﺳﻮﺳﻴﺎﻟﻴﺴﻢ ﺩﺭ ﺍﺷﻌﺎﺭﺵ ﻧﺎﮔﺰﻳﺮ ﺍﺳﺖ‬
‫ﻫﻤﺎﻫﻨﮕﻲ ﭘﻴﺪﺍ ﻛﻨﺪ ﺑﺎ ﻋﻨﺎﺻﺮ ﺗﺠﺮﺑﻪ ﺷﺪﻩﻱ ﻫﻨﺮﻱ ﺑﻮﺭﮊﻭﺍﻳﻲ ﻭ ﺧﺮﺩﻩﺑﻮﺭﮊﻭﺍﻳﻲ‪ .‬ﻛﻪ ﺍﻳﻦ‬
‫ﻋﻨﺎﺻﺮ ﻫﻨﺮﻱ ﺭﻳﺸﻪﻫﺎﻳﺶ ﺭﺍ ﺍﺯ ﻫﻨﺮ ﻋﻮﺍﻡ ﮔﺮﻓﺘﻪ‪ .‬ﻭ ﻫﺰﺍﺭ ﺯﺭﻕ ﻭ ﺑﺮﻕ ﻭ ﺁﺭﺍﻳﺶ ﺑﻪ ﺁﻥ‬
‫ﺩﺍﺩﻩ‪ .‬ﺍﻳﻦ ﺍﻟﺒﺘﻪ ﻣﺒﺤﺚ ﺩﻳﮕﺮﻳﺴﺖ‪ .‬ﻣﺎ ﺑﺎﻳﺪ ﻋﻨﺎﺻﺮ ﻫﻨﺮﻱ ﺗﻮﺩﻩﻫﺎ ﺭﺍ ﻛﻪ ﺩﺳﺘﺨﻮﺵ ﺗﻔﻨﻦ‬
‫ﺑﻮﺭﮊﻭﺍﻳﻲ ﻭ ﺧﺮﺩﻩ ﺑﻮﺭﮊﻭﺍﻳﻲ ﺷﺪﻩ ﺍﺯ ﺩﺭﻭﻥ ﻫﻨﺮ ﺑﻮﺭﮊﻭﺍﻳﻲ ﻧﺠﺎﺕ ﺑﺪﻫﻴﻢ‪ .‬ﻓﺮﻫﻨﮓ ﻣﺜﻞ‬
‫ﺍﻗﺘﺼﺎﺩ ﻋﻤﻞ ﻧﻤﻲﻛﻨﺪ‪ .‬ﺍﻗﺘﺼﺎﺩ ﺭﺍ ﺍﻧﻘﻼﺏ ﺑﻪ ﺗﻤﺎﻣﻲ ﻛﻨﺎﺭ ﻣﻲﺯﻧﺪ‪ ،‬ﻭﻟﻲ ﻓﺮﻫﻨﮓ ﺭﺍ ﻧﻪ‪ .‬ﻭ ﻳﺎ‬
‫ﺩﺭ ﺁﺳﺘﺎﻧﻪﻱ ﺍﻧﻘﻼﺏ‪ ،‬ﻭ ﺑﻪ ﺁﺳﺎﻧﻲ ﻧﻪ‪ .‬ﺩﺭ ﺩﺭﻭﻥ ﻓﺮﻫﻨﮓ ﻋﻨﺎﺻﺮ ﻫﻨﺮ ﻭ ﺍﺩﺑﻴﺎﺕ ﺗﻮﺩﻩﻫﺎ‬
‫ﺟﺎﺭﻳﺴﺖ‪ .‬ﺍﻣﺎ ﺳﺮﻣﺎﻳﻪ ﺩﺍﺭﻱ ﺍﺯ ﺁﻥ ﺑﻪ ﻧﻔﻊ ﺧﻮﺩ ﺑﻬﺮﻩ ﺑﺮﺩﺍﺭﻱ ﻣﻲﻛﻨﺪ‪ .‬ﺩﺭ ﺍﻳﻨﺠﺎ ﻣﺎ ﺑﻪ‬
‫ﻣﻨﺘﻘﺪﻳﻦ ﻣﺎﺭﻛﺴﻴﺴﺖ ﻣﺘﺮﻗﻲ ﺍﺣﺘﻴﺎﺝ ﺩﺍﺭﻳﻢ‪ ،‬ﺗﺎ ﻓﺮﻫﻨﮓ ﻭ ﻫﻨﺮ ﺗﻮﺩﻩﻫﺎ ﺭﺍ ﺍﺯ ﭼﻨﮕﺎﻝ‬
‫ﺑﻮﺭﮊﻭﺍﺯﻱ ﺳﺘﻤﮕﺮ ﻧﺠﺎﺕ ﺑﺪﻫﻨﺪ‪ .‬ﻧﻴﻤﺎ ﺍﺯ ﻋﻨﺎﺻﺮ ﺗﺎﺭﻳﺨﻲ ﻫﻨﺮ ﺗﻮﺩﻩﻫﺎ ﺑﺴﻴﺎﺭ ﺑﻴﺸﺘﺮ ﺍﺯ‬
‫ﺍﻓﺮﺍﺷﺘﻪ ﺑﺮﺧﻮﺭﺩﺍﺭ ﺑﻮﺩﻩ‪ .‬ﺍﻣﺎ ﭘﻴﭽﻴﺪﮔﻲﻫﺎﻱ ﺻﻮﺭﻱ ﻣﺎﻧﻊ ﺍﻧﺘﻘﺎﻝ ﺍﻳﻦ ﻋﻨﺎﺻﺮ ﺑﻪ ﺁﻳﻨﺪﻩ‬
‫ﻣﻲﺷﻮﻧﺪ‪ .‬ﺍﻣﺎ ﺳﺮﺍﻧﺠﺎﻡ ﻣﻨﺘﻘﺪﻳﻦ ﻣﺎﺭﻛﺴﻴﺴﺖ ﻧﻴﻤﺎ ﺭﺍ ﺑﻪ ﺁﻳﻨﺪﻩ ﺟﺎﺭﻱ ﺧﻮﺍﻫﻨﺪ ﻛﺮﺩ‪ ،‬ﺍﻻﻥ‪،‬‬
‫ﻫﻨﻮﺯ ﻛﻪ ﻫﻨﻮﺯ ﺍﺳﺖ‪ .‬ﺳﺪ ﻋﻈﻴﻤﻲ ﻣﻘﺎﺑﻞ ﻋﻨﺎﺻﺮ ﺳﻮﺳﻴﺎﻟﻴﺴﺘﻲ ﻫﻨﺮ ﻧﻴﻤﺎ‪ ،‬ﻭ ﺍﺻﻮﻻ ﻫﻨﺮ‬
‫ﻣﻘﺎﻭﻣﺖ ﺍﻳﺮﺍﻥ‪ ،‬ﻭﺟﻮﺩ ﺩﺍﺭﺩ‪ .‬ﺍﻳﻦ ﺳﺪ ﺭﺍ ﻣﻨﺘﻘﺪﻳﻦ ﺑﺎﻳﺪ ﺑﺸﻜﻨﻨﺪ‪ .‬ﻭ ﺑﺎﻳﺪ ﻣﺎ ﺭﺍ ﺑﺎ ﺍﻳﻦ ﺍﺭﺯﺵﻫﺎ‬
‫ﭘﻴﻮﻧﺪ ﺑﺪﻫﻨﺪ‪ .‬ﺍﻳﻦ ﺑﻪ ﻣﻌﻨﺎﻱ ﻳﻚ ﺍﻧﺘﻘﺎﻝ ﻣﻜﺎﻧﻴﻜﻲ ﻧﻴﺴﺖ‪ .‬ﺍﻧﺘﻘﺎﻝ ﺑﺮﺍﻱ ﺗﺮﻛﻴﺐ ﺍﺳﺖ‪ .‬ﺍﻧﺘﻘﺎﻝ‬
‫ﺑﺮﺍﻱ ﺩﺭﻙ ﺳﻴﺴﺘﻢﺑﻨﺪﻱ ﻫﻨﺮﻱ‪ ،‬ﻭ ﺁﺭﻣﺎﻥ ﻭ ﺧﻮﺍﺳﺖ ﺯﻧﺪﮔﻲ ﺯﺣﻤﺘﻜﺸﺎﻥ ﺍﺳﺖ‪.‬‬
‫ﻣﻴﮕﻮﻳﻴﺪ ﺑﺮﺍﻱ ﺁﻧﻜﻪ ﻫﻨﺮ ﺩﺍﺭﺍﻱ ﺍﺭﺯﺵﻫﺎﻱ ﺗﺎﺭﻳﺨﻲ ﻫﻨﺮ ﺗﻮﺩﻩﻳﻲ ﺑﺸﻮﺩ‪ ،‬ﻫﻨﺮﻣﻨﺪ ﻣﻲﺑﺎﻳﺪ ﺑﺎ‬ ‫ﻋﺸﻘﻲ‬
‫ﻣﺴﺎﻳﻞ ﺯﻧﺪﮔﻲ ﺯﺣﻤﺘﻜﺸﺎﻥ ﺁﺷﻨﺎ ﺷﻮﺩ‪ .‬ﺍﺷﻜﺎﻝ ﻫﻨﺮﻱ ﺁﻧﻬﺎ ﺭﺍ ﺑﺮﺩﺍﺭﺩ ﻭ ﺍﺯ ﺁﺭﺍﻳﺶﻫﺎﻱ‬
‫ﺑﻮﺭﮊﻭﺍﻳﻲ ﻳﺎﻓﺘﻪ ﻧﺠﺎﺕ ﺑﺪﻫﺪ‪ .‬ﺑﺮﺍﻱ ﺁﻧﻜﻪ ﭼﮕﻮﻧﮕﻲ ﺁﺭﺍﻳﺶ ﺍﺷﻜﺎﻝ ﻫﻨﺮﻱ ﻣﺮﺩﻡ ﺑﻮﺳﻴﻠﻪ‬
‫ﺑﻮﺭﮊﻭﺍﺯﻱ ﺭﻭﺷﻦ ﺷﻮﺩ‪ ،‬ﺩﺭ ﺍﻳﻦ ﺯﻣﻴﻨﻪ ﻣﺜﺎﻟﻲ ﻣﻲﺯﻧﻢ ـ ﺳﻨﺖ ﺳﻴﺎﻩ ﺑﺎﺯﻱ ﺩﺭ ﻫﻨﺮ ﻧﻤﺎﻳﺶ‪،‬‬
‫ﻳﻜﻲ ﺍﺯ ﺍﺷﻜﺎﻝ ﻫﻨﺮ ﻣﺮﺩﻣﻲ ﺳﺖ‪ .‬ﻫﻨﺮ ﺧﻮﺍﺹ ﻭ ﻳﺎ ﻫﻨﺮ ﺑﻮﺭﮊﻭﺍﻳﻲ ﻣﻲﺁﻳﺪ ﺍﻳﻦ ﺷﻜﻞ ﺭﺍ‬
‫ﻣﻲﮔﻴﺮﺩ‪ ،‬ﺩﮔﺮﮔﻮﻥ ﻣﻲﻛﻨﺪ‪ ،‬ﺑﻪ ﺿﺪ ﺧﻮﺩ ﺗﺒﺪﻳﻞ ﻣﻲﻛﻨﺪ‪ ،‬ﺑﺎ ﻣﻔﺎﻫﻴﻢ ﺑﻮﺭﮊﻭﺍﻳﻲ ﺗﻠﻔﻴﻖ‬
‫ﻣﻲﻛﻨﺪ‪ ،‬ﻭ ﺑﻌﺪ ﺑﻪ ﻣﻴﺎﻥ ﺗﻮﺩﻩﻫﺎ ﻣﻲﺑﺮﺩ‪ .‬ﻭ ﺍﺯ ﺍﻳﻦ ﻃﺮﻳﻖ ﻣﺮﺩﻡ ﺭﺍ ﻓﺮﻳﺐ ﻣﻲﺩﻫﺪ‪ .‬ﭘﺲ ﻳﻜﻲ‬
‫ﺍﺯ ﺍﻧﮕﺎﺭﻩﻫﺎﻳﻲ ﻛﻪ ﺩﺭ ﻫﻨﺮ ﻣﺮﺩﻣﻲ ﻣﻲﺑﺎﻳﺪ ﺭﻭﻱ ﺁﻥ ﺍﻧﮕﺸﺖ ﺑﮕﺬﺍﺭﻳﻢ‪ ،‬ﮔﺮﻓﺘﻦ ﺷﻜﻞﻫﺎﻱ‬
‫ﻫﻨﺮﻱ ﻣﺮﺩﻣﻲ‪ ،‬ﺍﻣﺘﺰﺍﺝ ﺁﻥ ﺑﺎ ﻣﻔﺎﻫﻴﻢ ﻭﺍﻗﻌﻲ ﺧﻠﻘﻲ‪ ،‬ﻭ ﺑﺮﺩﻥ ﺁﻥ ﻣﻴﺎﻥ ﺗﻮﺩﻩﻫﺎﺳﺖ‪ .‬ﺩﺭ ﺍﻳﻦ‬
‫ﺻﻮﺭﺕ ﺍﺭﺗﺒﺎﻁ ﻫﻨﺮ ﻭ ﺗﻮﺩﻩ ﺑﻬﺘﺮ ﺍﻣﻜﺎﻥ ﻣﻲﭘﺬﻳﺮﺩ‪ .‬ﺑﺎ ﺗﻮﺟﻪ ﺑﻪ ﺍﻳﻦ ﺍﻧﮕﺎﺭﻩ‪ ،‬ﻣﻦ ﻓﻜﺮ ﻣﻲﻛﻨﻢ‬
‫ﻛﻪ ﺍﻓﺮﺍﺷﺘﻪ ﺑﻪ ﻫﻨﺮ ﺗﻮﺩﻩ ﺍﻱ ﻧﺰﺩﻳﻜﺘﺮ ﺍﺳﺖ ﺗﺎ ﻧﻴﻤﺎ‪ .‬ﺩﺭ ﺣﺎﻟﻴﻜﻪ ﻧﻴﻤﺎ ﺑﻴﻚ ﺍﻋﺘﺒﺎﺭ ﺑﻴﺸﺘﺮ ﺷﺎﻋﺮ‬
‫ﺷﺎﻋﺮﺍﻥ ﺳﻴﺎﺳﻲ ﺳﺖ ﺗﺎ ﺷﺎﻋﺮ ﻣﺮﺩﻡ‪.‬‬
‫ﺳﻠﻄﺎﻧﭙﻮﺭ ﺍﻳﻦ ﺣﺮﻑ ﺩﺭﺳﺘﻪ‪ .‬ﻭﻟﻲ ﺑﻪ ﻣﻌﻨﺎﻱ ﺣﻀﻮﺭ ﺍﺭﺯﺵﻫﺎﻱ ﻫﻨﺮ ﺗﻮﺩﻩﻳﻲ ﺩﺭ ﺷﻌﺮ ﺍﻓﺮﺍﺷﺘﻪ ﻧﻴﺴﺖ‪.‬‬
‫ﺩﺭ ﺷﻌﺮ ﺍﻓﺮﺍﺷﺘﻪ ﺑﺸﻜﻠﻲ ﺧﻼﻳﻲ ﻫﺴﺖ‪ .‬ﺍﺷﺎﺭﻩ ﻛﻨﻢ ﺑﻪ ﺷﻌﺮ‪:‬‬
‫ﺩﻳﺪﻱ ﺍﻓﺘﺎﺩ ﺩﻣﺖ ﻻﻱ ﺗﻠﻪ‬ ‫ﺍﻱ ﺷﻐﺎﻝ ﺗﻦ ﮔﻨﺪﻩ ﺧﭙﻠﻪ‬
‫ﺍﻳﻦ ﺷﻌﺮ ﺍﻟﺒﺘﻪ ﺑﺮﺍﻱ ﺑﻴﺎﻥ ﻣﻔﺎﻫﻴﻢ ﺳﻴﺎﺳﻲ ﺑُﺮﺩ ﺩﺍﺭﺩ‪ .‬ﻳﻚ ﺳﻠﺴﻠﻪ ﺗﺼﻮﻳﺮﻫﺎﻱ ﻃﻨﺰﺁﻣﻴﺰ ﺩﺭ ﺍﻳﻦ‬
‫ﺷﻌﺮ ﺟﺮﻳﺎﻥ ﭘﻴﺪﺍ ﻣﻲﻛﻨﺪ‪ .‬ﺍﻣﺎ ﺩﺭ ﻫﺮ ﺻﻮﺭﺕ ﺍﻳﻦ ﺷﻌﺮ ﺑﺎ ﺷﻌﺮ ﭘﺮﻭﻟﺘﺎﺭﻳﺎﻳﻲ‪ ،‬ﺑﺎ ﺷﻌﺮ‬
‫ﺯﺣﻤﺘﻜﺸﺎﻥ ﻣﺘﻔﺎﻭﺕ ﺍﺳﺖ‪ .‬ﺍﻳﻦ ﺷﻌﺮ ﺭﺍ ﻣﻘﺎﻳﺴﻪ ﻛﻨﻴﻢ ﺑﺎ ﺷﻌﺮﻱ ﺍﺯ ﻧﻴﻤﺎ‪ .‬ﻣﺜﻼ ﻣﺎﻧﻠﻲ‪ .‬ﺩﺭ ﺍﻳﻦ‬
‫ﺷﻌﺮ ﺑﺮﺧﻮﺭﺩﻱ ﻫﺴﺖ ﻣﻴﺎﻥ ﺻﻴﺎﺩ‪ ،‬ﻛﻪ ﺗﺠﻠﻲ ﺯﺣﻤﺘﻜﺸﺎﻥ ﺍﺳﺖ‪ ،‬ﺑﺎ ﭘﺮﻱ ﺩﺭﻳﺎﻳﻲ ﻛﻪ ﺗﺠﺴﻢ‬
‫ﺳﻮﺳﻴﺎﻟﻴﺴﻢ ﺁﺭﻣﺎﻧﻲ ﻧﻴﻤﺎﺳﺖ‪ .‬ﺻﻴﺎﺩ ﺑﻪ ﭘﺮﻱ ﺩﺭﻳﺎﻳﻲ ﻣﻲﮔﻮﻳﺪ‪ :‬ﻣﻦ ﺍﺻﻼ ﻫﻤﻴﺸﻪ ﺑﺪﺑﺨﺘﻢ‪.‬‬
‫ﻫﻤﻴﺸﻪ ﻛﺎﺭ ﻣﻲﻛﻨﻢ‪ .‬ﻫﻴﭻ ﭼﻴﺰ ﺑﺮﺍﻱ ﺧﻮﺭﺩﻥ ﻧﺪﺍﺭﻡ‪ .‬ﺗﻮ ﺍﺯ ﻣﻦ ﻣﻲﭘﺮﺳﻲ ﺗﻦ ﻣﻦ ﺳﻔﻴﺪﺗﺮ‬
‫ﺍﺳﺖ ﻳﺎ ﺗﻦ ﺯﻥ ﻣﻦ؟ ﻣﻦ ﭼﻄﻮﺭ ﻣﻲﺗﻮﺍﻧﻢ ﺑﺮﺍﻳﺖ ﺗﻮﺿﻴﺢ ﺑﺪﻫﻢ‪ ،‬ﻭﻗﺘﻲ ﻫﻴﭻ ﭼﻴﺰ ﺑﺮﺍﻱ‬
‫ﻣﻘﺎﻳﺴﻪ ﻧﺪﺍﺭﻡ؟ ﺑﻌﺪ ﭘﺮﻱ ﺩﺭﻳﺎﻳﻲ ﺑﻪ ﺍﻭ ﻣﻴﮕﻮﻳﺪ‪:‬‬
‫ﭼﺮﺍ ﺩﺭﻭﻍ ﻣﻲﮔﻮﻳﻲ‪ .‬ﭘﺲ ﭼﺮﺍ ﻭﻗﺘﻲ ﺑﺎ ﺗﻤﺎﻡ ﻋﺸﻘﺖ ﺯﻧﺖ ﺭﺍ ﺩﺭ ﺁﻏﻮﺵ ﻣﻲﮔﻴﺮﻱ‪،‬‬
‫ﻣﻴﮕﻮﻳﻲ ﺗﻨﺖ ﻣﺜﻞ ﻣﺎﺭﻣﺎﻫﻲ ﻣﻲﻣﺎﻧﺪ؟ ﭘﺲ ﭼﺮﺍ ﺩﻳﻮﺍﺭﺕ ﺭﺍ ﺑﺎ ﮔﻞ ﺳﻔﻴﺪ ﻛﻮﻫﻲ ﺭﻧﮓ‬
‫ﻣﻲﻛﻨﻲ؟ ﭘﺲ ﭼﺮﺍ ﻣﻲﮔﻮﻳﻲ ﺍﻳﻦ ﻳﺎﺳﻤﻨﻲ ﻛﻪ ﺯﻧﻢ ﻛﻨﺎﺭ ﺑﺎﻏﭽﻪ ﺩﻳﻮﺍﺭﺕ ﻛﺎﺷﺘﻪ‪ ،‬ﻗﺸﻨﮕﻪ‪.‬‬
‫ﭘﺮﻱ ﺩﺭﻳﺎﻳﻲ‪ ،‬ﺑﺎ ﺍﻳﻦ ﺳﻮﺳﻴﺎﻟﻴﺴﻢ ﺁﺭﻣﺎﻧﻲ‪ ،‬ﻋﻨﺼﺮ ﺍﻣﻴﺪ ﺭﺍ ﺍﺯ ﺯﻧﺪﮔﻲ ﺗﻮﺩﻩﻫﺎ ﻛﺸﻒ ﻛﺮﺩﻩ‪،‬‬
‫ﺑﻌﺪ ﺑﻪ ﺗﻮﺩﻩﻫﺎ ﻳﺎﺩﺁﻭﺭﻱ ﻣﻲﻛﻨﺪ‪ .‬ﺍﻳﻦ ﻣﻮﺿﻮﻉ ﺩﺭ ﺳﺮﺗﺎﺳﺮ ﺍﺷﻌﺎﺭ ﻧﻴﻤﺎ ﻣﻮﺝ ﻣﻲﺯﻧﺪ‪ .‬ﺍﻣﺎ ﺩﺭ‬
‫ﺟﺎﻫﺎﻳﻲ‪ ،‬ﺑﻪ ﺩﻟﻴﻞ ﺗﺮﻛﻴﺐ ﺑﺎ ﻋﻨﺎﺻﺮ ﺯﻳﺒﺎﻳﻲ ﺷﻨﺎﺳﻲ ﺑﻮﺭﮊﻭﺍﻳﻲ ﻭ ﺧﺮﺩﻩ ﺑﻮﺭﮊﻭﺍﻳﻲ‪ ،‬ﻣﺠﻤﻮﻋﻪ‬
‫ﻏﻴﺮ ﻗﺎﺑﻞ ﻋﺒﻮﺭﻱ ﺑﺪﺳﺖ ﻣﻲﺩﻫﻨﺪ‪ .‬ﺍﺷﺎﺭﻩ ﻣﺎ ﺑﻪ ﺩﻗﺖ ﺩﺭ ﺯﻧﺪﮔﻲ ﺗﻮﺩﻩ‪ ،‬ﺩﺭ ﺑﺴﻴﺎﺭﻱ ﺍﺯ‬
‫ﺍﺷﻌﺎﺭ ﻧﻴﻤﺎﺳﺖ‪ .‬ﻣﻲﺩﺍﻧﻴﻢ ﻛﻪ ﻧﻴﻤﺎ ﻣﺎﻝ ﺷﻤﺎﻝ ﺍﺳﺖ‪ .‬ﺯﻧﺪﮔﻲ ﺻﻴﺎﺩﺍﻥ ﺭﺍ ﻣﻲﺷﻨﺎﺳﺪ‪ .‬ﺩﺭ‬
‫ﻛﻠﺒﻪﻱ ﺻﻴﺎﺩﺍﻥ ﻧﺸﺴﺘﻪ‪ .‬ﭘﻨﺠﺮﻩ ﺻﻴﺎﺩﺍﻥ ﺭﺍ ﺩﻳﺪﻩ‪ .‬ﮔﻞ ﺭﺍ ﻛﻨﺎﺭ ﭘﻨﺠﺮﻩ ﺩﻳﺪﻩ‪ .‬ﻣﺤﺎﻝ ﺍﺳﺖ ﻣﺎ‬
‫ﺩﺭ ﺯﻧﺪﮔﻲ ﺷﻬﺮﻱ ﺧﻮﺩ ﺑﺪﻭﻥ ﺍﺭﺗﺒﺎﻁ ﺑﺎ ﺗﻮﺩﻩﻫﺎ‪ ،‬ﺑﺘﻮﺍﻧﻴﻢ ﺍﻳﻦ ﻋﻨﺎﺻﺮ ﺧﻠﻘﻲ ﺭﺍ ﺩﺭ ﺷﻌﺮ‬
‫ﻣﻨﻌﻜﺲ ﻛﻨﻴﻢ‪ .‬ﻣﺎ ﻣﻲﮔﻮﻳﻴﻢ ﺧﻮﺭﺷﻴﺪ ﺯﻳﺒﺎﺗﺮﺍﺳﺖ ﻳﺎ ﻧﻤﻲﺩﺍﻧﻢ ﺳﺘﺎﺭﻩﻫﺎ‪ .‬ﻫﻤﻴﺸﻪ ﺩﺭ ﻭﺟﻪ‬
‫ﻣﺠﺮﺩ ﻣﺴﺌﻠﻪ ﺭﺍ ﺑﻴﺎﻥ ﻣﻲﻛﻨﻴﻢ‪ .‬ﻫﻤﻴﺸﻪ ﺍﺯ ﻃﺒﻴﻌﺖ ﺍﻟﻬﺎﻡ ﻣﻲﮔﻴﺮﻳﻢ‪ .‬ﻃﺒﻴﻌﺘﻲ ﻛﻪ ﻳﺎ ﻣﻄﻠﻘﺎ‬
‫ﺯﻳﺒﺎﺳﺖ ﻳﺎ ﺯﺷﺖ‪ .‬ﺧﻮﺭﺷﻴﺪ ﻫﻤﻴﺸﻪ ﺩﺭ ﺷﻌﺮ ﻣﺎ ﺑﻪ ﻋﻨﻮﺍﻥ ﻭﺟﻬﻲ ﺍﺯ ﺁﺭﻣﺎﻥﺧﻮﺍﻫﻲ ﻣﻄﺮﺡ‬
‫ﺍﺳﺖ‪ .‬ﻳﻌﻨﻲ ﻣﺎ ﻧﻤﻲﺗﻮﺍﻧﻴﻢ ﻋﻨﺼﺮ ﺳﻮﺳﻴﺎﻟﻴﺴﻢ ﺭﺍ ﺩﺭ ﺧﻮﺭﺷﻴﺪ‪ ،‬ﺧﻮﺭﺷﻴﺪﻱ ﻛﻪ ﺧﻮﺩﺵ‬
‫ﻫﺴﺖ‪ ،‬ﺑﺒﻴﻨﻴﻢ‪ .‬ﻳﻚ ﻣﻔﻬﻮﻡ ﺑﺠﺎﻱ ﺧﻮﺭﺷﻴﺪ ﻣﻲﻧﺸﺎﻧﻴﻢ‪ .‬ﺍﻳﻦ ﺧﻮﺭﺷﻴﺪ ﺩﻳﮕﺮ ﺧﻮﺭﺷﻴﺪ ﻣﺮﺩﻡ‬
‫ﻧﻴﺴﺖ‪ .‬ﺧﻮﺭﺷﻴﺪ ﻣﺎﺳﺖ‪ .‬ﺧﻮﺭﺷﻴﺪ ﺧﻔﻘﺎﻧﻪ‪ .‬ﺧﻮﺭﺷﻴﺪ ﺗﻮﺩﻩﻫﺎ ﺧﻮﺭﺷﻴﺪﻱ ﺳﺖ ﻛﻪ ﺩﺭ‬
‫ﻛﻮﻳﺮ ﻣﻲﺗﺎﺑﺪ‪ .‬ﺧﻮﺭﺷﻴﺪ ﺁﻧﺠﺎ ﻳﻚ ﺳﻠﺴﻠﻪ ﻋﻤﻠﻜﺮﺩ ﺩﺍﺭﺩ‪ .‬ﺑﺎﻳﺪ ﻋﻤﻠﻜﺮﺩ ﺧﻮﺭﺷﻴﺪ ﺭﺍ ﺩﺭ‬
‫ﺯﻧﺪﮔﻲ ﻳﻚ ﺑﻠﻮﭺ ﺗﺼﻮﻳﺮ ﻛﺮﺩ‪ .‬ﻣﺎ ﻗﺎﺩﺭ ﻧﻴﺴﺘﻴﻢ‪ .‬ﭼﻮﻥ ﺑﻠﻮﭼﺴﺘﺎﻥ ﺭﺍ ﺍﺯ ﺩﺭﻭﻥ ﻧﻤﻲﺷﻨﺎﺳﻴﻢ‪.‬‬
‫ﺯﻳﺮﺍ ﺳﻴﺴﺘﻢ ﺩﻳﻜﺘﺎﺗﻮﺭﻱ ﻣﺎﻧﻊ ﻣﻲﺷﺪ‪ .‬ﺩﺭﺧﺖ ﺑﺎﻳﺪ ﺧﻮﺩﺵ ﺑﺎﺷﺪ ﺩﺭ ﻫﻨﺮ ﻭ ﺍﺩﺑﻴﺎﺕ‪.‬‬
‫ﺭﻭﺩﺧﺎﻧﻪ‪ ،‬ﭘﺮﻧﺪﮔﺎﻥ ﺑﺎﻳﺪ ﺧﻮﺩﺷﺎﻥ ﺑﺎﺷﻨﺪ‪ .‬ﻣﺎ ﺩﺭ ﺍﺩﺑﻴﺎﺕ ﭘﺮﻧﺪﮔﺎﻥ ﻭﻳﮋﻩﻳﻲ ﺩﺍﺭﻳﻢ‪ .‬ﭘﺮﻧﺪﮔﺎﻧﻲ‬
‫ﻛﻪ ﺍﺯ ﻃﺒﻴﻌﺖ ﺧﻮﺩ ﻋﺎﺭﻱ ﻣﻲﺷﻮﻧﺪ‪ .‬ﻫﻨﺮ ﻭ ﺍﺩﺑﻴﺎﺕ ﻣﻲﺑﺎﻳﺪ ﺑﺎ ﻋﻨﺎﺻﺮ ﺯﻳﺴﺘﻲ ﺗﻮﺩﻩﻫﺎ‪ ،‬ﺑﺎ‬
‫ﻳﻚ ﺍﺩﺭﺍﻙ ﻫﻨﺮﻱ ـ ﺗﺎﺭﻳﺨﻲ ﭘﻴﻮﻧﺪ ﺑﺨﻮﺭﺩ‪ .‬ﺍﮔﺮ ﺍﻳﻦ ﻣﺴﺌﻠﻪ ﺍﻳﺠﺎﺩ ﻧﺸﻮﺩ‪ ،‬ﻛﻪ ﺑﺎﻳﺪ ﺑﺸﻮﺩ‪،‬‬
‫ﺩﺭ ﻫﻨﺮ ﻭ ﺍﺩﺑﻴﺎﺕ ﺗﺤﻮﻟﻲ ﻫﻤﺴﻨﮓ ﺍﻧﻘﻼﺏ ﺻﻮﺭﺕ ﻧﻤﻲﭘﺬﻳﺮﺩ‪ .‬ﺑﻪ ﺍﺷﻌﺎﺭ ﺷﺎﻋﺮﺍﻥ ﺭﺳﻤﻴﺖ‬
‫ﻳﺎﻓﺘﻪ ﻣﺎ ﺑﻌﺪ ﺍﺯ ﺍﻧﻘﻼﺏ ﻧﮕﺎﻩ ﺑﻜﻨﻴﺪ‪ ،‬ﻣﻲﺑﻴﻨﻴﻢ ﻋﻨﺎﺻﺮ ﻫﻤﺎﻥ ﻋﻨﺎﺻﺮ ﻫﺴﺘﻨﺪ‪ .‬ﻣﺎ ﺑﺎﻳﺪ‬
‫ﻣﺠﻤﻮﻋﻪﻱ ﺟﺪﻳﺪﻱ ﺍﺯ ﺯﻧﺪﮔﻲ ﺗﻮﺩﻩﻫﺎ ﺩﺭ ﺍﺩﺑﻴﺎﺕ ﻭﺍﺭﺩ ﻛﻨﻴﻢ‪.‬‬
‫ﺍﺯ ﺳﺨﻨﺎﻥ ﺷﻤﺎ ﺑﺮﻣﻲﺁﻳﺪ ﻛﻪ ﺷﻤﺎ ﺍﺳﺘﻌﺎﺭﻩﮔﺮﺍﻳﻲ ﺭﺍ ﺑﻪ ﻋﻨﻮﺍﻥ ﻳﻚ ﻭﺟﻪ ﺍﺯ ﺯﻳﺒﺎﻳﻲ ﺷﻨﺎﺳﻲ‬ ‫ﻋﺸﻘﻲ‬
‫ﺭﺩ ﻣﻲﻛﻨﻴﺪ ﻭﻗﺘﻲ ﻣﻲﮔﻮﻳﻴﺪ ﺩﺭﺧﺖ ﺑﺎﻳﺪ ﺩﺭﺧﺖ ﺑﺎﺷﺪ‪ .‬ﺍﻣﺎ‪...‬‬
‫ﺳﻠﻄﺎﻧﭙﻮﺭ ﺍﻟﺒﺘﻪ ﺍﻳﻦ ﺣﺮﻑ ﺑﻪ ﻣﻌﻨﺎﻱ ﻧﻔﻲ ﺍﺳﺘﻌﺎﺭﻩﮔﺮﺍﻳﻲ ﺩﺭ ﻫﻨﺮ ﻧﻴﺴﺖ‪ .‬ﺗﻮﺩﻩﻫﺎ ﻫﻢ ﺩﺭ ﺯﻧﺪﮔﻲ‬
‫ﺍﺳﺘﻌﺎﺭﻩ ﺑﻜﺎﺭ ﻣﻲﮔﻴﺮﻧﺪ‪ .‬ﺍﻣﺎ ﺍﺳﺘﻌﺎﺭﻩﮔﺮﺍﻳﻲ ﺩﺭ ﺍﺩﺑﻴﺎﺕ ﻣﺎ ﺩﺭ ﻛﺎﺩﺭ ﺗﻨﮓ ﺍﻧﻌﻜﺎﺳﺎﺕ ﺧﺮﺩﻩ‬
‫ﺑﻮﺭﮊﻭﺍﻳﻲ‪ ،‬ﺩﺭ ﻛﻢ ﺩﺍﻧﺸﻲ ﻭ ﻋﺪﻡ ﺷﻨﺎﺧﺖ ﻓﺮﻫﻨﮓ ﺗﺎﺭﻳﺨﻲ‪ ،‬ﻣﺤﺼﻮﺭ ﺑﻮﺩ‪ .‬ﻧﻴﻤﺎ ﻫﻢ‬
‫ﺍﺳﺘﻌﺎﺭﻩ ﺑﻜﺎﺭ ﻣﻲﺑﺮﺩ‪ .‬ﻭﻗﺘﻲ ﻛﻪ ﻣﺜﻼ ﺻﻴﺎﺩ ﺑﻪ ﺯﻧﺶ ﻣﻲﮔﻮﻳﺪ‪ ،‬ﺗﻨﺖ ﺑﻪ ﻣﺎﺭ ﻣﺎﻫﻲ ﻣﻲﻣﺎﻧﺪ‪.‬‬
‫ﺍﻳﻦ ﻳﻚ ﻧﻮﻉ ﺭﺟﻌﺖ ﺍﺳﺘﻌﺎﺭﻱ ﺳﺖ‪ .‬ﺻﻴﺎﺩ ﺩﺭ ﻣﺎﺭﻣﺎﻫﻲ ﻧﻮﻋﻲ ﺍﺳﺘﻌﺎﺭﻩﻱ ﭘﺎﻙ ﻋﺎﺷﻘﺎﻧﻪ‬
‫ﻣﻲﺑﻴﻨﺪ‪ .‬ﭼﻮﻥ ﺗﻮﺭﺵ ﺧﺸﻦ ﺍﺳﺖ‪ ،‬ﺳﺎﺣﻞ ﺧﺸﻦ ﺍﺳﺖ‪ ،‬ﻗﺎﻳﻘﺶ ﺧﺸﻦ ﺍﺳﺖ‪ ،‬ﺩﺭﻳﺎ ﺧﺸﻦ‬
‫ﺍﺳﺖ‪ ،‬ﻃﻮﻓﺎﻥ ﺧﺸﻦ ﺍﺳﺖ‪ ،‬ﺩﺭ ﺑﺮﺍﺑﺮ ﺗﻤﺎﻡ ﺍﻳﻦ ﺧﺸﻮﻧﺖﻫﺎ ﻳﻚ ﻣﺎﺭﻣﺎﻫﻲ ﻭﺟﻮﺩ ﺩﺍﺭﺩ ﻛﻪ‬
‫ﻧﺮﻣﻲ ﺧﻮﺩﺵ ﺭﺍ ﺑﻪ ﺻﻴﺎﺩ ﻣﻨﺘﻘﻞ ﻣﻲﻛﻨﺪ‪ .‬ﺑﻨﺎ ﺑﺮ ﺍﻳﻦ ﺍﺳﺘﻌﺎﺭﻩﻫﺎ ﺩﺭ ﺩﺭﻭﻥ ﺗﻮﺩﻩﻫﺎ ﻭﺳﻴﻌﺎ‬
‫ﻋﻤﻞ ﻣﻲﻛﻨﻨﺪ‪ .‬ﺑﺪﻭﻥ ﺍﺳﺘﻌﺎﺭﻩ ﺍﺻﻼ ﻣﺎﺩﻩ ﺩﺭ ﺫﻫﻦ ﻣﻨﻌﻜﺲ ﻧﻤﻲﺷﻮﺩ‪.‬‬
‫ﺩﺭ ﺩﺍﺳﺘﺎﻥﻫﺎﻱ ﻣﺤﻤﻮﺩ ﺩﻭﻟﺖ ﺁﺑﺎﺩﻱ‪ ،‬ﺍﺳﺘﻌﺎﺭﻩﮔﺮﺍﻳﻲ ﺩﺭ ﺷﻜﻞ ﻣﺮﺩﻣﻲ ﺁﻥ‪ ،‬ﻓﺮﺍﻭﺍﻥ ﺩﻳﺪﻩ‬ ‫ﻋﺸﻘﻲ‬
‫ﻣﻲ ﺷﻮﺩ‪...‬‬
‫ﺳﻠﻄﺎﻧﭙﻮﺭ ﺑﻴﺸﺘﺮ ﺍﻳﻦ ﺭﻭﺍﺑﻂ ﺩﺭ ﻛﺎﺭ ﺩﻭﻟﺖ ﺁﺑﺎﺩﻱ ﺣﻔﻆ ﻣﻲﺷﻮﺩ‪ .‬ﭘﺲ ﻣﻨﻈﻮﺭ ﻣﺎ ﺣﺬﻑ ﺍﺳﺘﻌﺎﺭﻩ‬
‫ﻧﻴﺴﺖ‪ .‬ﺑﻠﻜﻪ ﺩﺭﻙ ﺍﺳﺘﻌﺎﺭﻩ ﺯﻳﺴﺖ ﺗﻮﺩﻩﻫﺎﺳﺖ‪ .‬ﻧﺰﺩﻳﻚ ﺷﺪﻥ ﺑﻪ ﺑﻴﻨﺶ ﺗﻮﺩﻩﻫﺎﺳﺖ‪ ،‬ﺑﺪﻭﻥ‬
‫ﺁﻧﻜﻪ ﺗﺴﻠﻴﻢ ﺻﺮﻑ ﺁﻥ ﺑﺸﻮﻳﻢ‪ .‬ﺑﺪﻟﻴﻞ ﺍﻳﻨﻜﻪ ﺍﻳﻦ ﺑﻴﻨﺶ ﺍﺯ ﺍﺩﺭﺍﻙ ﺗﺎﺭﻳﺨﻲ ﻣﺠﻤﻮﻋﻪ ﺗﺠﺮﺑﻪ‬
‫ﺗﻮﺩﻩﻫﺎ ﺑﺮﺧﻮﺭﺩﺍﺭ ﻧﻴﺴﺖ‪ .‬ﺍﺳﺘﻌﺎﺭﻩﮔﺮﺍﻳﻲ ﺭﺍ ﺩﺭ ﻭﺟﻪ ﻣﺮﺩﻣﻲ‪ ،‬ﻣﻲﺑﺎﻳﺪ ﺑﺎ ﻣﺜﺎﻝﻫﺎﻱ ﻓﺮﺍﻭﺍﻥ‬
‫ﻫﻤﺮﺍﻩ ﻛﺮﺩ‪ ،‬ﺗﺎ ﺑﺮﺍﻱ ﻣﺎ ﻣﺸﺨﺺﺗﺮ ﺷﻮﺩ‪ .‬ﻣﺜﻼ ﭼﺮﺍ ﻣﺮﺩﻡ ﭼﺎﻱ ﺭﺍ ﺩﺭ ﺍﺳﺘﻜﺎﻥ ﺷﻴﺸﻪﻳﻲ‬
‫ﻣﻲﻧﻮﺷﻨﺪ؟ ﺩﺭﺳﺖ ﺍﺳﺖ ﻛﻪ ﺳﺮﻣﺎﻳﻪﺩﺍﺭﻱ ﺍﻳﻦ ﺷﻴﻲ ﺭﺍ ﻣﻲﺳﺎﺯﺩ‪ ،‬ﻭﻟﻲ ﺗﻘﺎﺿﺎ‪،‬‬
‫ﺯﻳﺒﺎﻳﻲﺷﻨﺎﺳﻲ ﺗﻮﺩﻩﻫﺎ‪ ،‬ﺗﺎﺭﻳﺦ ﺗﺤﻮﻝ ﺍﺷﻴﺎﺀ ﻧﻘﺶ ﭘﻴﺪﺍ ﻣﻲﻛﻨﺪ‪ .‬ﺍﻳﻨﻬﺎ ﺭﺍ ﺑﺎﻳﺪ ﺍﺯ ﻫﻨﺮ ﻭ ﺍﺩﺑﻴﺎﺕ‬
‫ﺑﻴﺮﻭﻥ ﻛﺸﻴﺪ‪ ،‬ﻫﻤﭽﻨﺎﻧﻜﻪ ﺍﺯ ﺍﻗﺘﺼﺎﺩ ﺑﺎﻳﺪ ﺑﻴﺮﻭﻥ ﻛﺸﻴﺪ‪ .‬ﻣﺮﺩﻡ ﺗﻮﻱ ﺍﺳﺘﻜﺎﻥ ﺷﻴﺸﻪﻳﻲ ﭼﺎﻱ‬
‫ﻣﻲﻧﻮﺷﻨﺪ‪ ،‬ﺑﺮﺍﻱ ﺁﻧﻜﻪ ﺷﻴﺸﻪ ﺭﻧﮓ ﭼﺎﻱ ﺭﺍ ﻧﺸﺎﻥ ﻣﻲﺩﻫﺪ‪ .‬ﺑﺮﺍﻱ ﺁﻧﻜﻪ ﺭﻧﮓ ﭼﺎﻱ ﻫﻤﺎﻧﻨﺪ‬
‫ﺭﻧﮓ ﺧﻮﺭﺷﻴﺪ ﺍﺳﺖ‪ .‬ﺑﺮﺍﻱ ﺁﻧﻜﻪ ﻧﻮﺭ ﺩﺭ ﺯﻧﺪﮔﻲ ﻣﺮﺩﻡ ﻋﻤﻞ ﻣﻲﻛﻨﺪ‪ .‬ﭼﺮﺍ ﻣﺮﺩﻡ‬
‫ﻣﻲﮔﻮﻳﻨﺪ ﭘﻨﺠﺮﻩﻱ ﺭﻭ ﺑﻪ ﺁﻓﺘﺎﺏ؟ ﭼﺮﺍ ﺯﺣﻤﺘﻜﺸﺎﻥ ﻣﺎ‪ ،‬ﺑﺮﺧﻼﻑ ﺍﺩﻋﺎﻱ ﺑﻮﺭﮊﻭﺍﺯﻱ‬
‫ﻛﺜﻴﻒ‪ ،‬ﻛﻪ ﺁﻧﻬﺎ ﺭﺍ ﺁﻟﻮﺩﻩ ﻭ ﻛﺜﻴﻒ ﻣﻲﭘﻨﺪﺍﺭﺩ‪ ،‬ﺗﻤﻴﺰﺗﺮﻳﻦ ﺁﺩﻡﻫﺎ ﻫﺴﺘﻨﺪ‪ .‬ﻳﻚ ﻣﻼﻓﻪ ﺳﻔﻴﺪ‬
‫ﺭﺍ ﺯﻥ ﻛﺎﺭﮔﺮ ﻣﻲﺷﻮﻳﺪ‪ ،‬ﻭ ﺑﻌﺪ ﺗﻤﻴﺰ ﺭﻭﻱ ﻣﺠﻤﻮﻋﻪﻱ ﺭﺧﺘﺨﻮﺍﺏﻫﺎﻳﺶ ﻣﻲﻛﺸﺪ‪ .‬ﺍﮔﺮ ﭼﻪ‬
‫ﺁﻥ ﻣﻼﻓﻪ ﭼﻨﺪ ﻭﺻﻠﻪ ﺩﺍﺭﺩ‪ .‬ﺍﻣﻜﺎﻥ ﻳﻚ ﺯﻳﺴﺖ ﺯﻳﺒﺎ ﻭ ﻋﺎﺩﻱ ﺭﺍ ﺍﺯ ﺗﻮﺩﻩﻫﺎ ﮔﺮﻓﺘﻪ ﺍﻧﺪ‪ ،‬ﺑﻌﺪ‬
‫ﻣﺘﻬﻤﺸﺎﻥ ﻣﻲﻛﻨﻨﺪ ﻛﻪ ﺯﻳﺒﺎﻳﻲ ﺭﺍ ﺩﺭﻙ ﻧﻤﻲﻛﻨﻨﺪ‪ .‬ﺍﮔﺮ ﺑﮕﺬﺍﺭﻧﺪ‪ ،‬ﺯﺣﻤﺘﻜﺸﺎﻥ ﻣﺎ‪ ،‬ﺯﻳﺒﺎﺗﺮﻳﻦ‬
‫ﺯﻧﺪﮔﻲ ﺭﺍ ﻣﻲﺳﺎﺯﻧﺪ‪ .‬ﺭﻧﮓ ﻭ ﻟﻌﺎﺏ ﺑﻮﺭﮊﻭﺍﺯﻱ ﺗﻤﺎﻡ ﺍﺭﺯﺷﻬﺎﻱ ﻃﺒﻴﻌﻲ ﺍﺭﺗﺒﺎﻁ ﺑﺎ ﻃﺒﻴﻌﺖ ﺭﺍ‬
‫ﺍﺯ ﺯﻳﺒﺎﺷﻨﺎﺳﻲ ﺗﻮﺩﻩﻫﺎ ﺳﻠﺐ ﻛﺮﺩﻩ ﺍﺳﺖ‪.‬‬
‫ﺯﻳﺒﺎﻳﻲﺷﻨﺎﺳﻲ ﺗﻮﺩﻩ ﻣﺮﺩﻡ‪ ،‬ﺟﻨﺒﻪ ﺗﺰﻳﻴﻨﻲ ﻧﺪﺍﺭﺩ‪ .‬ﺑﻠﻜﻪ ﺩﺭ ﺯﻧﺪﮔﻲ ﺗﻮﻟﻴﺪﻱ ﺁﻧﻬﺎ ﻧﻘﺶ ﺍﻳﻔﺎ‬ ‫ﻋﺸﻘﻲ‬
‫ﻣﻲﻛﻨﺪ‪ .‬ﻳﻜﻲ ﺍﺯ ﺧﻮﺍﻧﻨﺪﮔﺎﻥ ﮔﻴﻠﻜﻲ‪ ،‬ﻋﺎﺷﻮﺭﭘﻮﺭ‪ ،‬ﺗﺮﺍﻧﻪﻳﻲ ﻣﻲﺧﻮﺍﻧﺪ ﺑﻨﺎﻡ ﭘﺎﭺ ﻟﻴﻠﻲ‪ .‬ﺍﻳﻦ‬
‫ﺧﻮﺍﻧﻨﺪﻩ ﺍﺯ ﻃﺮﻳﻖ ﻧﮕﺮﺵ ﻳﻚ ﺭﻭﺳﺘﺎﻳﻲ‪ ،‬ﺯﻥ ﺯﻳﺒﺎ ﺭﺍ ﺩﺭ ﭘﺎﭺ ﻟﻴﻠﻲ ﺳﺮﺍﻍ ﻣﻲﮔﻴﺮﺩ‪ .‬ﭘﺎﭺ ﺭﺍ‬
‫ﮔﻴﻼﻧﻲﻫﺎ ﺑﻪ ﺯﻧﻲ ﻣﻲﮔﻮﻳﻨﺪ ﻛﻪ ﭼﺎﻕ ﻭ ﭘﺮ ﺯﻭﺭ ﺑﺎﺷﺪ‪ .‬ﻳﻌﻨﻲ ﺭﻭﺳﺘﺎﻳﻲ ﺯﻧﻲ ﺭﺍ ﺯﻳﺒﺎ ﻣﻲﺑﻴﻨﺪ‬
‫ﻛﻪ ﻛﺎﺭﺁﻳﻲ ﺩﺍﺷﺘﻪ ﺑﺎﺷﺪ‪ .‬ﺩﺭ ﺩﺍﺳﺘﺎﻥﻫﺎﻱ ﻣﺤﻤﻮﺩ ﺩﻭﻟﺖ ﺁﺑﺎﺩﻱ ﻫﻢ ﺍﺳﺘﻌﺎﺭﻩﻫﺎ ﺑﺪﻳﻦ ﮔﻮﻧﻪ‬
‫ﺑﻜﺎﺭ ﮔﺮﻓﺘﻪ ﻣﻲﺷﻮﻧﺪ‪.‬‬
‫ﺳﻠﻄﺎﻧﭙﻮﺭ ﻛﺎﻣﻼ ﺩﺭﺳﺖ ﺍﺳﺖ‪ .‬ﻭ ﺩﺭ ﻋﻴﻦ ﺣﺎﻝ ﺍﻳﻦ ﺻﺮﻓﺎ ﺑﻪ ﻣﻌﻨﺎﻱ ﺯﻳﺒﺎﻳﻲ ﺑﺮﺍﻱ ﺍﺳﺘﻔﺎﺩﻩ ﻧﻴﺴﺖ‪ .‬ﺍﺻﻼ‬
‫ﭘﺎﻱ ﭼﺎﻕ ﺩﺭ ﻧﻈﺮﺵ ﺯﻳﺒﺎﺳﺖ‪ .‬ﭘﺎﻱ ﻻﻏﺮ ﻣﺮﺩﻧﻲ ﺑﺮﺍﻳﺶ ﺯﻳﺒﺎﻳﻲ ﻧﺪﺍﺭﺩ ﻣﮕﺮ ﺁﻧﻜﻪ ﺍﺯ ﺩﺭﻭﻥ‬
‫ﻣﺤﺮﻭﻣﻴﺖﻫﺎ ﺑﻪ ﭼﻨﻴﻦ ﻭﺿﻌﻲ ﺗﻦ ﺑﺪﻫﺪ‪ .‬ﺍﻣﺎ ﺍﮔﺮ ﺣﻖ ﺍﻧﺘﺨﺎﺏ ﺩﺍﺷﺘﻪ ﺑﺎﺷﺪ‪ ،‬ﺁﻥ ﻧﻮﻉ ﺯﻳﺒﺎﻳﻲ‬
‫ﺭﺍ ﺍﻧﺘﺨﺎﺏ ﻣﻲﻛﻨﺪ‪ ،‬ﻛﻪ ﺩﺭ ﺭﺍﺑﻄﻪ ﺑﺎ ﺯﻳﺴﺖ ﺍﺟﺘﻤﺎﻋﻲ ﻭ ﺗﻮﻟﻴﺪ ﻣﺎﺩﻳﺶ‪ ،‬ﺩﺭ ﻧﻈﺮﺵ ﺯﻳﺒﺎﺳﺖ‪.‬‬
‫ﺍﻳﻦ ﺯﻳﺒﺎﻳﻲﻫﺎ ﺑﺎﻳﺪ ﻣﻮﺭﺩ ﺗﻮﺟﻪ ﻫﻨﺮ ﻭ ﺍﺩﺑﻴﺎﺕ ﻗﺮﺍﺭ ﺑﮕﻴﺮﺩ‪ .‬ﻣﺜﻼ ﺩﺭ ﻧﻈﺮ ﺯﺣﻤﺘﻜﺸﺎﻥ‬
‫ﮔﻠﮕﻮﻧﮕﻲﻱ ﭼﻬﺮﻩ‪ ،‬ﻧﺸﺎﻧﻪ ﻛﺎﺭ ﻭ ﺣﺮﻛﺖ ﺍﺳﺖ‪ .‬ﺻﻮﺭﺕ ﻣﻬﺘﺎﺑﻲ ﺯﺭﺩﻧﺒﻮ‪ ،‬ﻛﻪ ﺩﺧﺘﺮﺍﻥ‬
‫ﺑﻮﺭﮊﻭﺍﺯﻱ ﻭ ﺧﺮﺩﻩ ﺑﻮﺭﮊﻭﺍﺯﻱ ﺧﻮﺩ ﺭﺍ ﺑﻪ ﺍﻳﻦ ﺷﻜﻞ ﻣﻲﺁﺭﺍﻳﻨﺪ‪ ،‬ﻭ ﻣﺎﻧﻨﺪ ﺑﻪ ﻣﺮﺩﻩﻫﺎ‬
‫ﻣﻲﺷﻮﻧﺪ‪ ،‬ﮔﺮﭼﻪ ﻳﻚ ﺳﻠﺴﻠﻪ ﺟﺎﺫﺑﻪﻱ ﻛﺎﺫﺏ ﺍﻳﺠﺎﺩ ﻣﻲﻛﻨﺪ ﺍﻣﺎ ﺍﻧﺤﻄﺎﻁ ﺯﻳﺒﺎﻳﻲ ﺭﺍ ﺑﻮﺳﻴﻠﻪ‬
‫ﺧﺮﺩﻩ ﺑﻮﺭﮊﻭﺍﺯﻱ ﺍﻋﻼﻡ ﻣﻲﻛﻨﺪ‪ .‬ﻭ ﺑﻴﻨﺶ ﺯﻳﺒﺎﻳﻲﺷﻨﺎﺳﻲ ﺗﻮﺩﻩﻫﺎ ﺭﺍ ﺍﺯ ﻃﺮﻳﻖ ﻭﺳﺎﻳﻞ ﺍﺭﺗﺒﺎﻁ‬
‫ﺟﻤﻌﻲ‪ ،‬ﺑﻪ ﺳﻤﺖ ﭼﻨﻴﻦ ﺯﻳﺒﺎﻳﻲﻫﺎﻱ ﻛﺎﺫﺑﻲ ﺳﻮﻕ ﻣﻲﺩﻫﺪ‪ .‬ﻭ ﻣﺮﺩﻡ ﺭﺍ ﻣﺴﺦ ﻣﻲﻛﻨﺪ‪ .‬ﺍﻣﺎ ﺑﻪ‬
‫ﻫﺮ ﺣﺎﻝ ﺍﻳﻦ ﺍﻧﺤﻄﺎﻁ ﺯﻳﺒﺎﻳﻲ ﺑﺮﺍﻱ ﻣﺪﺕ ﻣﺤﺪﻭﺩﻱ ﻗﺪﺭﺕ ﺩﺍﺭﺩ‪ .‬ﻭ ﺗﺎ ﻧﻬﺎﻳﺖ ﻧﻤﻲﺗﻮﺍﻧﺪ‬
‫ﺩﻳﺪ ﺯﻳﺒﺎﻳﻲﺷﻨﺎﺳﺎﻧﻪﻱ ﻣﺮﺩﻡ ﺭﺍ ﺑﻪ ﺍﻧﺤﺮﺍﻑ ﺑﻜﺸﺎﻧﺪ‪ .‬ﺩﺧﺘﺮﺍﻥ ﺯﺣﻤﺘﻜﺶ ﻣﺎ ﮔﻠﺪﻭﺯﻱ‬
‫ﻣﻲﻛﻨﻨﺪ‪ .‬ﭘﺎﺭﭼﻪ ﺭﺍ ﺑﺮﻣﻲﺩﺍﺭﻧﺪ ﻭ ﺑﺎ ﮔﻞﻫﺎﻳﻲ ﻛﻪ ﺩﺭ ﻣﻨﻄﻘﻪ ﻣﻲﺷﻨﺎﺳﻨﺪ ﺯﻳﻨﺖ ﻣﻲﺩﻫﻨﺪ‪ .‬ﺁﻳﺎ‬
‫ﺍﻳﻦ ﺍﺩﺭﺍﻙ ﻋﻤﻴﻖ ﺍﺯ ﺯﻳﺒﺎﻳﻲﺷﻨﺎﺳﻲ ﺩﺭ ﻭﺟﻪ ﺧﺎﻣﺶ ﻧﻴﺴﺖ‪ .‬ﻗﺎﺑﻞ ﺗﻮﺟﻪ ﺍﺳﺖ‪ .‬ﺍﮔﺮ ﺍﻳﻦ‬
‫ﻣﺴﺌﻠﻪ ﺭﺍ ﺑﺮﺭﺳﻲ ﻛﻨﻴﻢ‪ ،‬ﻛﻪ ﺁﻳﺎ ﺣﻴﺎﻁ ﺧﺎﻧﻪﻱ ﺁﻥ ﺩﺧﺘﺮ ﮔﻠﺪﻭﺯ ﮔﻞ ﻧﺪﺍﺭﺩ‪ .‬ﺗﻤﺎﻡ ﺍﺷﻴﺎﺀ ﻭ‬
‫ﺭﻭﺍﺑﻂ ﺭﻭﺳﺘﺎ ﺑﻪ ﺿﺪ ﺯﻳﺒﺎﻳﻲ ﻃﺒﻴﻌﻲ ﻋﻤﻞ ﻛﺮﺩﻧﺪ‪ ،‬ﺗﺎ ﺍﻭ ﺭﺍ ﺑﻄﺮﻑ ﻳﻚ ﺯﻳﺒﺎﻳﻲ ﻣﺼﻨﻮﻋﻲ‪،‬‬
‫ﻛﻪ ﺧﺎﻃﺮﻩﻱ ﺯﻳﺒﺎﻳﻲ ﻃﺒﻴﻌﻲ ﺭﺍ ﺩﺭ ﺍﻭ ﺯﻧﺪﻩ ﻣﻲﻛﻨﺪ‪ ،‬ﺑﺒﺮﻧﺪ‪ .‬ﺍﻣﺎ ﺍﮔﺮ ﺯﻧﺪﮔﻲ ﻃﺒﻘﺎﺗﻲ ﭘﺎﻳﺎﻥ‬
‫ﺑﭙﺬﻳﺮﺩ‪ ،‬ﻭ ﺟﺎﻣﻌﻪ ﺳﻮﺳﻴﺎﻟﻴﺴﺘﻲ ﻓﺮﺍ ﺑﺮﺳﺪ‪ ،‬ﻭ ﺑﻌﺪ ﺟﺎﻣﻌﻪ ﺳﻮﺳﻴﺎﻟﻴﺴﺘﻲ ﺑﻪ ﺟﺎﻣﻌﻪ ﻛﻤﻮﻧﻴﺴﺘﻲ‬
‫ﺗﺒﺪﻳﻞ ﺷﻮﺩ‪ ،‬ﺗﻤﺎﻡ ﺍﺭﺯﺵﻫﺎﻱ ﻃﺒﻴﻌﻲ ﺑﻪ ﺧﻮﺩﺷﺎﻥ ﺭﺟﻌﺖ ﺧﻮﺍﻫﻨﺪ ﻛﺮﺩ‪ .‬ﺩﻳﮕﺮ ﻧﮕﻬﺪﺍﺷﺘﻦ‬
‫ﮔﻠﺪﺍﻥ ﺗﻮﻱ ﺍﺗﺎﻕ ﻟﺰﻭﻣﻲ ﻧﺨﻮﺍﻫﺪ ﺩﺍﺷﺖ‪ .‬ﻧﮕﻬﺪﺍﺷﺘﻦ ﮔﻠﺪﺍﻥ ﺗﻮﻱ ﺍﺗﺎﻕ ﺑﻪ ﻣﻌﻨﺎﻱ ﻧﺪﺍﺷﺘﻦ‬
‫ﺣﻴﺎﻁ ﻭ ﺑﺎﻏﭽﻪ ﺍﺳﺖ‪ .‬ﺧﺮﺩﻩ ﺑﻮﺭﮊﻭﺍﺯﻱ ﺍﻟﺒﺘﻪ ﺑﺸﻜﻞ ﺗﺤﻤﻴﻠﻲ ﮔﻞﻫﺎﻱ ﺑﺎﻏﭽﻪ ﺭﺍ ﺗﻮﻱ ﺍﺗﺎﻕ‬
‫ﻧﮕﻪﻣﻲﺩﺍﺭﺩ‪ .‬ﺑﺮﺍﻱ ﺁﻧﻜﻪ ﻟﻴﺎﻗﺖ ﻧﺪﺍﺭﺩ ﻛﻪ ﺩﺭ ﻓﻀﺎﻱ ﺁﺯﺍﺩ ﺣﺮﻛﺖ ﻛﻨﺪ‪ .‬ﻭﻟﻲ ﺗﻮﺩﻩﻱ ﻣﺮﺩﻡ‬
‫ﻣﻲﺗﻮﺍﻧﻨﺪ ﺩﺭ ﻣﺤﻴﻄﻲ ﻛﻪ ﺗﻤﺎﻡ ﻃﺒﻴﻌﺖ ﺭﺍ ﺣﺎﺿﺮ ﻛﺮﺩﻩ ﺣﻀﻮﺭ ﺩﺍﺷﺘﻪ ﺑﺎﺷﻨﺪ‪ .‬ﺩﺭ ﺟﺎﻣﻌﻪ‬
‫ﻛﻤﻮﻧﻴﺴﺘﻲ ﻫﻤﻪ ﭼﻴﺰ ﺑﺼﻮﺭﺕ ﺳﺎﻟﻢ ﺑﻪ ﻃﺒﻴﻌﺖ ﺧﻮﺩﺵ ﺭﺟﻌﺖ ﻣﻲﻛﻨﺪ‪ .‬ﺭﻓﺘﻦ ﺑﻄﺮﻑ ﻳﻚ‬
‫ﺷﺎﺧﻪ ﮔﻞ ﺍﻟﺒﺘﻪ ﻧﺸﺎﻧﻪ ﺗﺠﺪﻳﺪ ﺑﻬﺎﺭ ﻫﺴﺖ‪ .‬ﺍﻣﺎ ﻭﻗﺘﻲ ﺩﺭ ﺧﺎﻧﻪ ﻭ ﺩﺭ ﺍﻃﺮﺍﻑ‪ ،‬ﻛﻼ ﺩﺭ ﻫﻤﻪ‬
‫ﺟﺎ‪ ،‬ﺑﻬﺎﺭ ﺣﻀﻮﺭ ﭘﻴﺪﺍ ﻛﻨﺪ‪ ،‬ﺟﺴﺘﺠﻮﻱ ﮔﻞ ﺑﻲ ﻣﻌﻨﻲ ﺳﺖ‪ .‬ﺩﺭ ﺍﻳﻨﺠﺎ ﺟﺴﺘﺠﻮﻱ ﻳﻚ ﺷﺎﺧﻪ‬
‫ﮔﻞ ﺗﻮﺳﻂ ﺯﺣﻤﺘﻜﺶ‪ ،‬ﺑﺪﻳﻦ ﻣﻌﻨﺎﺳﺖ ﻛﻪ ﮔﻞ ﺑﻪ ﻫﻨﮕﺎﻡ ﺑﻬﺎﺭ ﺩﺭ ﺟﺎﻱ ﺩﻳﮕﺮﻱ ﻣﻲﺷﻜﻔﺪ‪،‬‬
‫ﻧﻪ ﺩﺭ ﺧﺎﻧﻪ ﺯﺣﻤﺘﻜﺶ‪ .‬ﻣﻲﺑﻴﻨﻴﻢ ﻛﻪ ﺩﺭ ﻫﻤﻪ ﺟﺎ ﻭ ﻫﻤﻪ ﭼﻴﺰ‪ ،‬ﺣﺘﻲ ﺩﺭ ﺳﻨﺖﻫﺎ ﻭ‬
‫ﺍﺳﻄﻮﺭﻩﻫﺎ‪ ،‬ﻣﻬﺮ ﻃﺒﻘﺎﺗﻲ ﻋﻤﻞ ﻣﻲﻛﻨﺪ‪.‬‬
‫ﺩﺭ ﺟﻮ ﺍﺧﺘﻨﺎﻕ ﺭﮊﻳﻢ ﺳﺎﺑﻖ‪ ،‬ﺍﺳﺘﻌﺎﺭﻩ ﺩﺭ ﻫﻨﺮ ﻭ ﺍﺩﺑﻴﺎﺕ ﻣﻌﻤﻮﻻ ﺩﺭ ﻭﺟﻪ ﺗﺠﺮﻳﺪﻳﺶ ﺑﻜﺎﺭ‬ ‫ﻋﺸﻘﻲ‬
‫ﮔﺮﻓﺘﻪ ﻣﻲﺷﺪ‪ .‬ﺍﻣﺎ ﺩﺭ ﻋﻴﻦ ﺣﺎﻝ ﻫﻨﺮﻣﻨﺪﺍﻧﻲ ﺩﺍﺷﺘﻴﻢ ﭼﻮﻥ ﻣﺤﻤﻮﺩ ﺩﻭﻟﺖ ﺁﺑﺎﺩﻱ‪ ،‬ﻛﻪ ﺍﺯ‬
‫ﺍﺳﺘﻌﺎﺭﻩ ﺑﺪﻳﻦ ﺻﻮﺭﺕ ﺍﺳﺘﻔﺎﺩﻩ ﻧﻤﻲﻛﺮﺩﻧﺪ‪ .‬ﭼﻪ ﺷﺮﺍﻳﻄﻲ ﭼﻬﺮﻩﻫﺎﻳﻲ ﺍﺳﺘﺜﻨﺎﻳﻲ ﭼﻮﻥ‬
‫ﻣﺤﻤﻮﺩ ﺩﻭﻟﺖﺁﺑﺎﺩﻱ ﺭﺍ ﺑﻮﺟﻮﺩ ﺁﻭﺭﺩ‪ .‬ﺍﮔﺮ ﭼﺸﻢ ﺍﻧﺪﺍﺯ ﺳﻴﺎﺳﻲ ﻭ ﺍﺟﺘﻤﺎﻋﻲ ﮔﺬﺷﺘﻪ ﺍﻳﺮﺍﻥ‪،‬‬
‫ﻫﻨﺮ ﺭﺍ ﺩﭼﺎﺭ ﺗﺠﺮﻳﺪﺍﻧﺪﻳﺸﻲ ﻛﺮﺩﻩ ﺑﻮﺩ‪ ،‬ﭼﻪ ﺯﻣﻴﻨﻪﻫﺎﻳﻲ ﺍﻣﻜﺎﻥ ﺭﺷﺪ ﻫﻨﺮﻣﻨﺪﺍﻧﻲ ﭼﻮﻥ‬
‫ﻣﺤﻤﻮﺩ ﺩﻭﻟﺖ ﺁﺑﺎﺩﻱ ﺭﺍ ﻓﺮﺍﻫﻢ ﺁﻭﺭﺩ؟‬
‫ﺳﻠﻄﺎﻧﭙﻮﺭ ﺟﺎﺯﻩ ﺑﺪﻫﻴﺪ ﺍﻳﻦ ﻣﺴﺌﻠﻪ ﺭﺍ ﺩﺭ ﺑﺮﺭﺳﻲ ﻫﻨﺮﻣﻘﺎﻭﻣﺖ ﺩﻫﻪﻱ ﭘﻨﺠﺎﻩ ـ ﺩﺭ ﻧﺸﺴﺘﻲ ﺩﻳﮕﺮ ﭘﺎﺳﺦ‬
‫ﺑﺪﻫﻴﻢ‪.‬‬

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