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- 2. א
- 3. ﻃﺒﻘﺎ ﻟﻘﻮﺍﻧﲔ ﺍﳌﻠﻜﻴﺔ ﺍﻟﻔﻜﺮﻳﺔ א א א . אא א )ﻋـﱪ ﺍﻻﻧﱰﻧـﺖ ﺃﻭ א אא ﻟﻠﻤﻜﺘﺒــﺎﺕ ﺍﻻﻟﻜﱰﻭﻧﻴــﺔ ﺃﻭ ﺍﻷﻗــﺮﺍﺹ ﺍﳌﺪﳎــﺔ ﺃﻭ ﺍﻯ א ﻭﺳﻴﻠﺔ ﺃﺧﺮﻯ ( א א . . א א
- 4. ٣ ................................................................ ﻗﺭﺍﺀﺓ ﻓﻲ ﺩﻴﻭﺍﻥ ﺸﻤﺱ ِ ﹶﻤﻴ ٍ ﺃﺯ ﻕ .............................. ٦ ﹶ ﻟﻘ ﺹ َ ﺭ ﺃﺭﺍﺠﻴﺢ ﺍﻟﻐﺭ ﺔ.................................................... ٨١ ﹸ ﺒ ﺨﻴﻁ ﺩ ﹶﺎﻥ ....................................................... ٣٢ ﹶ ﺨ ﺩﻤﻭﻉ ﺍﻟﺸﻤﺱ .................................................... ٥٢ ﻤ ﺍﻴﺎ ﺍﻷﺯ ﻕ .................................................... ٨٢ َ ﺭ ﺭ ﹶﺍﻜﺭﺓ ﻤﺩﻨﺘﹶﺔ ..................................................... ٠٣ ﺫ ِ ﹲ ﹾ ﹶﻠ ﻗ ﺤﺎ ﺒﻘ ﺡ ........................................................ ٢٣ ﹶﺩ ﹰ ِ ﹶﺩ ﻜﻴﻑ ﺘﺘﻌ ﻯ ﺍﻷﺸ ﺎﺀ .............................................. ٣٣ َ ﹾﻴ ﹶ ﹶ ﹶ ﹶ ﺭ ﺒ ﹶﺎﺀ ﺍﻟﺜـﻠﹾﺞ ...................................................... ٥٣ ﻜ ﱠ ﹶﺎﻨ ِ ﺍﻟﻤ ﺍﺌﻥ ﺃﺠ ل ............................................... ٧٣ ﻜ ﹶﺕ ﺩ ِ َ ﻤ ﻨﺯﻴﻑ ﻓﻭﻕ ﻨﻬﺭ ﺒﺎﺭﻴﺱ ........................................... ٩٣ ﹲ ﹶ ِ ﺭ ﹶﺍﺫ ﺸﻤﺱ ....................................................... ٢٤ ﺫ ﹸ ﹶ ﻟﻭ ﻜﻨﹾﺕ ﻤﻌﻲ ﻓﻲ ﺒﺎﺭﻴﺱ .......................................... ٣٤ ﹸ ﺸﻲﺀ ﺎ ... ...................................................... ٥٤ ﹶ ﻤ
- 5. ﺇﻜﺴﺭ ﺯ ﺎ ِﻲ .................................................... ٧٤ ِ ﺠ ﺠ ﻭﺠ ﺎﻥ .. ........................................................ ٩٤ ﻬ ﻓﺘﺎ ِﻴﺕ ﻗ ﺭ ....................................................... ٠٥ ﻓ ﹸ ﹶﻤ ﻗﺩﺭ ﺍﻷﺤ ﺎﺀ ...................................................... ١٥ ﹶ ِ َ ﺒ ﻭﺤﺩﻩ ﻴﺸ ﺏ ..................................................... ٣٥ ﹾﺭ ﻜﻠ ﺎ ﹶﻼﻤﺴ ﹶﺎ...................................................... ٤٥ ﹸﱠﻤ ﺘ ﻨ ﻤﻥ ﺃﺨﺭﺠ ﹶﻲ ﻤﻥ ﺍﻟﺘ ﺍﺏ ؟ ........................................ ٥٥ َ ﹾ ﻨ ِ ﱡ ﺭ ﻋﺸﻕ ﺘ ِﻴﻕ .................................................... ٧٥ ِ ﹾ ﹲﻋـ ﻭﺠﻪ ............................................................. ٨٥ ﺸﻤﺴ ﹶﺎ ﺎ ﹶﺕ .. .................................................. ٩٥ ﹶ ﻨ ﻤ ﺘ ﺸﻤﺱ ﺤﻤﺭﺍﺀ..................................................... ٠٦ ﹶ ﺒﻌ ﻤﺎ ﺍ َﻤﻴﺭ ﺎﺕ ................................................ ٣٦ ﺩ ﻷ ﻤ ﻗﻔﺹ ﺃﺯﺭﻕ ﻟﻠﻌ ﺎﻓﻴﺭ ............................................ ٥٦ ﹶ ﹶ َ ﹸ ﺼ ﻤ ﹶﺎﺘﻴﺢ ........................................................... ٦٦ ﻔ ﻨﻬﺭ ﺍﻟﺠﺭﺡ ....................................................... ٧٦ ﹶ ﺒﻲ ﺍﻟﺤﻘل ﺍﻟﻔ ﺍ ﺔ .............................................. ٨٦ ﺼ ﹾ ِ ﹶﺯ ﻋ
- 6. ﻅﱡﻙ ﻫ ﹶﺍ ﺍﻟﺸﻘﻲ .................................................. ٠٧ ِﻠ ﺫ ﱠ ِ ّ ﻨ ِﻴﺕ ﻭﺠﻬﻲ ..................................................... ٢٧ ﹶﺴ ﹸ ﹶﺄﻥ ﻭﺤﺎ ﺘ ﹶﺎ ِﺭ ................................................. ٣٧ ﻜ ﺭ ﹰ ﹸﻐ ﺩ ﺤ ﺍﺌﻕ ﺍﻟﻀﻭﺀ .................................................... ٥٧ ﺩ ِ ﹸ ﹶﺭﺍ ِﻴل ﺍﻷ ﺩ ...................................................... ٧٧ ﺘ ﺘ ُ َﺒ ﺩﻭﻟﻔﻴﻥ ﺍﻟﹼﻴل ...................................................... ٨٧ ﻠ ﻗﻤﺭ ﺍﻟﺜـﻠﹾﺞ ...................................................... ٩٧ ﹶ ﱠ ﺍﻟﻁﻔل ﻭﺍﻟﺸﻤﺱ ................................................... ١٨ ِﹾ ُ ﱠ ﺃﺸ ﺎﺡ ﻋﻠﻰ ﻀ ﹶﺎﻑ ﺍﻟﺠﺭﺡ ........................................ ٢٨ ِﻔ ِ َ ﹾﺒ ﺍﻟﺤﻠﻡ ﺍﻟ ﹶﻔﻴﻑ ..................................................... ٤٨ ﹾ ﻜ ِﺜل ﻀﻭﺀ ﻴﻨ ﱢﻁ .................................................. ٦٨ ﻤ ُ ٍ ﹶﻘ ﻭﺤﺩﻩ ﹶﺎﻥ ........................................................ ٩٨ ﻜ ﺃﻻ ﺃﺤ ِ ﻭﺍﻫﺎ ................................................... ١٩ ﱠ ُ ِﺏ ﺴ
- 7. א א ﺘﺘﻌﺩﺩ ﺘﺠﺎﺭﺏ ﺍﻟﺸﻌﺭﺍﺀ ﻓﻲ ﺒﻴﺌﺎﺘﻬﻡ ﺍﻟﻤﺨﺘﻠﻔﺔ ﺤﺘﻰ ﻟﻡ ﻴﺒﻕ ﹶ ﻓﻲ ﺃﻴﺩﻴﻨﺎ ﻤﺎ ﻨﺴﺘﻁﻴﻊ ﺒﻪ ﺃﻥ ﻨﺘﺎﺒﻊ ﻫﺫﻩ ﺍﻟﺘﺠﺎﺭﺏ . ﻭﺒﺎﻟﺭﻏﻡ ﻤﻥ ﻜﺜﺭﺓ ﻫﺫﻩ ﺍﻟﺘﺠﺎﺭﺏ ، ﻓﻘﺩ ﻴﻠﻤﻊ ﻤﻥ ﺒﻴﻨﻬﺎ ﺒﺎﺭﻕ ﻴﺠﻌﻠﻨﺎ ﻨﻘﻑ ﻤﻌﻪ ﻭﻨﻨﺠﺫﺏ ﺇﻟﻴﻪ ﻭﻨﻘﺭﺅﻩ ﻗﺭﺃﺓ ﺍﻟﻭﻋﻲ ﻭﺍﻟﺘﺄﻨﻲ .. ﻤﺎﺩﺍﻡ ﻴﻀﻴﻑ ﺍﻟﺠﺩﻴﺩ ﺇﻟﻰ ﺴﺎﺤﺔ ﺍﻟﺸﻌﺭ . ﻭﺩﻴـﻭﺍﻥ ﺍﻟﻴـﻭﻡ : " ﺸﻤﺱ ﻟﻘﻤﻴﺹ ﺃﺯﺭﻕ " ﻟﻠﺸﺎﻋﺭ ﺍﻟﻠﺒﻨﺎﻨﻲ ﻤﺎﻫﺭ ﺍﻟﺨﻴﺭ ، ﻤﻥ ﺒﻴﻥ ﻫﺫﻩ ﺍﻟﻘﻠﺔ ﺍﻟﺘﻲ ﺘﺠﻌﻠﻨﺎ ﻨﺘﻭﻗﻑ ﻋﻨﺩﻫﺎ ﺒﻜل ﺍﻟﺘﺄﻨﻲ ﻭﺍﻟﺤﺏ . ﻭﺼﺎﺤﺏ ﻫﺫﺍ ﺍﻟﺩﻴﻭﺍﻥ ﻟﻪ ﻨﺸﺎﻁ ﺜﻘﺎﻓﻲ ﻭﺃﺩﺒﻲ ﻤﻌﺭﻭﻑ ﺴﻭﺍﺀ ﻓﻲ ﺒﻠﺩﻩ - ﻟﺒﻨﺎﻥ - ﺃﻭ ﺒﻠﺩ ﺍﻟﻐﺭﺒﺔ – ﻓﺭﻨﺴﺎ – ﻓﻬﻭ ﻤﻨﻅﻡ ﻟﻤﻬﺭﺠﺎﻥ ﺍﻟﺸﻌﺭﺍﺀ ﺍﻟﺸﺒﺎﺏ ، ﻭﻤﺸﺎﺭﻙ ﻓﻲ ﻤﻬﺭﺠﺎﻨﺎﺕ ﻋﺎﻟﻤﻴﺔ ﻟﻠﺸﻌﺭ ﺍﻟﻤﻌﺎﺼﺭ ﻭﻟﻪ ﻗﺼﺎﺌﺩ ﻤﺼﻭﺭﺓ .. ﺇﻟﻰ ﺠﺎﻨﺏ ﺩﻴﻭﺍﻥ ﺸﻌﺭﻩ ﺍﻷﻭل :
- 8. " ﻋﺎﺭﻴﺎ ﺘﺤﺕ ﺍﻟﺸﻤﺱ " ﹰ ﻭﻴﺘﻀﺢ ﻤﻥ ﺫﻟﻙ ﺃﻥ ﺍﻟﺸﺎﻋﺭ ﺠﻤﻊ ﺒﻴﻥ ﺍﻟﻐﺭﺒﺔ ﻭﺍﻟﺤﻨﻴﻥ ﺇﻟﻰ ﻭﻁﻨﻪ ﺒﻜل ﻤﺎ ﻴﺤﻤل ﻫﺫﺍ ﺍﻟﺠﻤﻊ ﻤﻥ ﺍﻟﺘﺂﻟﻑ ﻭﺍﻟﺘﻨﺎﻗﺽ ﻤﻌﺎ ﻤﻤﺎ ﻴﺠﻌﻠﻨﺎ ﻨﻀﻊ ﻴﺩﻨﺎ ﻋﻠﻰ ﻤﻔﺎﺘﻴﺢ ﻋﺎﻟﻤﻪ ﺍﻟﺸﻌﺭﻱ . ﻭﻫﻭ ﺸﺎﻋﺭ ﻴﻜﺘﺏ ﺸﻌﺭ ﺍﻟﺘﻔﻌﻴﻠﺔ ، ﻜﻤﺎ ﻴﻜﺘﺏ ﻤﺎ ﻴﺴﻤﻰ ﺒﻘﺼﻴﺩﺓ ﺍﻟﻨﺜﺭ .. ﻭﺒﻌﻴﺩﺍ ﻋﻥ ﺍﻟﺩﺨﻭل ﻓﻲ ﺍﻻﺼﻁﻼﺤﺎﺕ ﹰ ﻭﺍﻟﻤﻔﺎﻫﻴــﻡ .. ﻴﻤﻜﻨﻨﺎ ﺃﻥ ﻨﺘﻌﺎﻤل ﻤﻊ ﺸﺎﻋﺭﻴﺔ ﻫﺫﻩ ﺍﻟﻨﺼﻭﺹ .. ﺃﻱ ﻤﻊ ﻤﺎ ﺘﺤﻤﻠﻪ ﻤﻥ ﻗﺩﺭﺓ ﻋﻠﻰ ﻟﻤﺱ ﺍﻟﻭﺠﺩﺍﻥ ﻭﻤﺨﺎﻁﺒﺔ ﺍﻻﺤﺴﺎﺱ ﻭﺍﻟﺘﻌﺒﻴﺭ ﻋﻥ ﻫﺫﻴﻥ ﺍﻟﻤﺤﻭﺭﻴﻥ ﺍﻷﺴﺎﺴﻴﻴﻥ : ﺍﻟﻐﺭﺒﺔ ﻭﺍﻟﻭﻁﻥ . ﻴﻁﺎﻟﻌﻨﺎ ﺍﻟﺸﺎﻋﺭ ﻓﻲ ﺨﻁﻭﺘﻪ ﺍﻷﻭﻟﻰ ﺒﻬﺫﺍ ﺍﻹﺤﺴﺎﺱ ﺍﻟﻌﻤﻴﻕ ﺒﺎﻟﻐﺭﺒﺔ .. ﻭﻫﻭ ﺇﺤﺴﺎﺱ ﻴﻤﺘﺯﺝ ﺒﻪ ﺍﻟﺤﻨﻴﻥ ﺇﻟﻰ ﻭﻁﻨﻪ ﻤﻊ ﻤﺎ ﺘﺤﻤﻠﻪ ﺍﻟﻐﺭﺒﺔ ﻤﻥ ﺍﻟﻤﻌﺭﻓﺔ ﻭﺍﻻﻨﻁﻼﻕ .. ﻴﻘﻭل ﺍﻟﺸﺎﻋﺭ : ﻟﻐﺭﺒﺘﻨﺎ ﻤﺼﺎﺒﻴﺢ ِ ﹸ ِ ﺃﺸﻌﺸﻌﻬﺎ ﺒﺄﺸﺠﺎﻨﻲ ُ ﹶ َِ ﻭﺘﺴﺒﺢ ﺒﻲ ﺇﻟﻰ ﺯﻤﻥ ٍ ﺘﺸﻘﻕ ﻓﻲ ﻅﻼﻡ ﺍﻟﻔﺠﺭ ِ ﹼﹶ
- 9. ﻓﻴﺴﺭﻗﻨﻲ ﹶ ﹸ ﻭﻴﻁﻔﺌﻨﻲ ُ ﻭﻴﻜﺴﺭﻨﻲ ﻋﻠﻰ ﻫﺩﺒﻴﻙ ِ ﻟﻴﻐﺭﻕ ﻓﻲ ﺩﻤﻲ ﻜﻭﻨﻲ ﹶ ِ ﻤﺴﺎﺀ ﺍﻟﺨﻴﺭ ﻴﺎ ﻭﻁﻨﻲ ﻴﺤﺎﻭل ﺍﻟﺸﺎﻋﺭ ﻫﻨﺎ ﺃﻥ ﻴﺼل ﺒﻴﻥ ﻁﺭﻓﻲ ﺍﻟﻨﻘﻴﻀﻴﻥ : ﺍﻟﻐﺭﺒﺔ ﻭﺍﻟﻭﻁﻥ .. ﻟﻌﻠﻪ ﻴﺴﺘﻁﻴﻊ ﺃﻥ ﻴﻀﻲﺀ ﻟﻨﻔﺴﻪ ﺩﺭﻭﺏ ﺍﻟﻔﺠﺭ ، ﻭﻴﺤﺘﻭﻱ ﺍﻟﻜﻭﻥ ﻓﻲ ﺩﻤﻪ .. ﻟﻜﻥ ﻫل ﺍﺴﺘﻁﺎﻉ ﺍﻟﺸﺎﻋﺭ ﺃﻥ ﻴﻔﻠﺢ ﻓﻲ ﺫﻟﻙ ﺍﻟﻭﺼل ﺍﻟﻤﺴﺘﺤﻴل .. ﻟﻴﺱ ﻟﻨﺎ ﺃﻥ ﻨﻨﺘﻅﺭ ﺇﺠﺎﺒﺔ ﺸﺎﻓﻴﺔ ﻋﻠﻰ ﺫﻟﻙ ، ﻭﺇﻨﻤﺎ ﻴﻜﻔﻴﻨﺎ ﺃﻥ ﻨﺭﻯ ﺸﺎﻋﺭﻨﺎ ﻻ ﻴﻜﻑ ﻋﻥ ﺍﻟﺴﻌﻲ ﺇﻟﻰ ﻫﺫﺍ ﺍﻟﻤﺴﺘﺤﻴل .. ﻭﻻ ﻴﻤل ﻭﻻﻴﺘﻭﻗﻑ : ّ ﻤﺴﺎﺀ ﺍﻟﺨﻴﺭ ﻴﺎ ﻭﻁﻨﻲ ﻤﺴﺎ ﻋﻴﻨﻴﻙ ﺃﻏﻨﻴﻬﺎ ُ ﹼ ﺘﻐﻨﻴﻨﻲ ﹸ ﹼ
- 10. ﻭﺇﻥ ﻏﺎﺒﺕ ﺘﺜﻴﺭ ﺠﺭﺍﺡ ﻟﻌﻠﻬﺎ ﺠﺭﺍﺡ ﺍﻟﺸﻭﻕ ﻭﺍﻟﺤﻨﻴﻥ ، ﻭﺍﻟﺨﻭﻑ ﻤﻥ ﺍﻟﻤﺠﻬﻭل .. ﹼ ﻭﻗﺩ ﻨﺭﻯ ﺍﻟﺸﺎﻋﺭ ﻴﺘﻭﻫﻡ ﻫﺫﺍ ﺍﻟﻭﺼل ﺒﻤﺎ ﻴﻤﻠﻙ ﻤﻥ ﺨﻴﺎل ﻭﻗﺩﺭﺓ ﻋﻠﻰ ﺨﻠﻕ ﻭﺍﻗﻊ ﺨﺎﺹ ﺒﻪ ، ﻭﻫﺫﺍ ﺍﻟﻭﺍﻗﻊ ﻟﻴﺱ ﻭﺍﻗﻌﺎ ﻜﺎﻤﻼ ﻭﺇﻨﻤﺎ ﻴﻅل ﻤﻨﻘﻭﺼﺎ ﻟﻴﺤﺙ ﺍﻟﺸﺎﻋﺭ ﺩﺍﺌﻤﺎ ﻋﻠﻰ ﺍﺴﺘﻜﻤﺎﻟﻪ : ﺃﻭﻫﻤﻨﻲ ﺤﺒﺎ َ ّ ﹰ ﺍﺤﺫﻑ ﺠﺎﺫﺒﻴﺔ ﺍﻷﺭﺽ ّﹶ ﹾ ﻜﻠﻤﺎ ﺍﻓﺘﺭﻗﻨﺎ ﹼ ﺘﻌﻠﻘﺕ ﻁﻴﺭﺍ ﹰ ﹼ ﹸ ﺒﻴﻥ ﺍﻟﺠﻔﻭﻥ ﻭﺍﻷﻫﺩﺍﺏ ِ ... ... ﺍﻫﻤﺱ ﻓﻘﻁ ﺒﻌﻴﻨﻴﻙ ِ ﻴﺘﻭ ﹼﺢ ﺍﻟﻠﻴل ﺒﺎﻟﺒﻴﺎﺽ ﺸُ ﻭﻴﺒﺩﻭ ﺃﻥ ﺍﻻﺤﺴﺎﺱ ﺒﺎﻟﻐﺭﺒﺔ ﻗـﺩ ﹸﺭﺽ ﻓﺭﻀﺎ ﻋﻠﻰ ﹰ ﻓ ﺍﻟﺸﺎﻋﺭ .. ﻓﻬﻭ ﺒﻴﻥ ﻴﻭﻡ ﻭﻟﻴﻠﺔ ﻭﺠﺩ ﻨﻔﺴﻪ ﻤﻨـﺯﻭﻋﺎ ﻤﻥ ﹰ
- 11. ﺃﺤﻀﺎﻥ ﻭﻁﻨﻪ ، ﻭﻜﺎﻥ ﻋﻠﻴﻪ ﺃﻥ ﻴﺘﻭﺍﺀﻡ ﻤﻊ ﻫﺫﻩ ﺍﻟﻐﺭﺒﺔ ﺒﻜل ﻤﺎ ﻴﻤﻠﻙ ﻤﻥ ﻗﺩﺭﺓ ﻋﻠﻰ ﻫﺫﻩ ﺍﻟﻤﻭﺍﺀﻤﺔ ﺩﻭﻥ ﺃﻥ ﻴﺘﺨﻠﻰ ﻋﻥ ﺤﻨﻴﻨﻪ ﻭﺃﺸﻭﺍﻗﻪ ﺍﻟﻤﺨﺘﺯﻨﺔ : ﻜﺎﻥ ﻋﻠﻲ ﺃﻥ ﺃﻤﻀﻲ ّ ﺒﺎﺭﻴﺱ ﺘﻨﺘﻅﺭ ﺃﺭﻗﺕ ﺭﻭﺤﻲ َ ﹸ ﻭﺤﺩﻱ ﻜﻨﺕ ﺃﺤﺘﻀﺭ ﹸ ﻭﺍﻟﻜل ﻴﻀﺤﻙ ﱡ ﺍﻟﻜل ﻜﺎﻥ ﻴﻀﺤﻙ .. ﻭﻫﻭ ﻴﺤﺱ ﺒﺎﻟﻤﺭﺍﺭﺓ ﻭﺍﻻﺤﺒﺎﻁ .. ّ ﻭﺫﻟﻙ ﻓﻲ ﻅﻨﻲ ﻫﻭ ﺍﺤﺘﻀﺎﺭ ﺍﻟﺸﺎﻋﺭ .. ﻟﻜﻨﻪ ﻟﻡ ﻴﺴﺘﺴﻠﻡ ﻟﻬﺫﺍ ﺍﻻﺤﺴﺎﺱ ﺍﻟﻘﺎﺘل .. ﺼﺤﻴﺢ ﺃﺨﺫ ﺍﻟﺸﺎﻋﺭ ﻴﻌﺒﺭ ﻋﻥ ﻫﺫﻩ ﺍﻟﺤﺎﻟﺔ ﺍﻟﻤﻀﻨﻴﺔ ﻓﻲ ﻋﺩﺩ ﻤﻥ ﺍﻟﻨﺼﻭﺹ ﺍﻟﺘﻲ ﻜﺘﺒﺕ ﻓﻲ ﺘﻭﺍﺭﻴﺦ ﻤﺘﻘﺎﺭﺒﺔ ﺠﺩﺍ ، ﺤﺘﻰ ﺍﻨﻪ ﻜﺎﻥ ﻴﻜﺘﺏ ﻋﺩﺩﺍ ﻤﻨﻬﺎ ﻓﻲ ﺍﻟﻴﻭﻡ ﺍﻟﻭﺍﺤﺩ ﹰ ﹰ ؛ ﻟﻜﻨﻪ ﺒﺎﻟﺭﻏﻡ ﻤﻥ ﺫﻟﻙ ﺍﺴﺘﻁﺎﻉ ﺃﻥ ﻴﺘﺠﺎﻭﺯ ﻜل ﻫﺫﺍ ﻭﻫﻭ ﻴﻌﺒﺭ ﺒﺼﺩﻕ ﻋﻥ ﻤﻌﺎﻨﺎﺘﻪ : ﻭﺤﺩﻱ
- 12. ﺃﺩﻕ ﻗﺩﺤﺎ ﺒﻘﺩﺡ ﱡ ﹰ ِﹶ ﺫﺍﻜﺭﺘﻲ ﻭﻗﻠﺒﻲ ﻭﺃﺸﺭﺏ ﻭﺤﻴﻨﻤﺎ ﻜﺎﻥ ﻴﻌﺒﺭ ﻋﻥ ﺴﻬﺭﺓ ﺭﺃﺱ ﺍﻟﺴﻨﺔ ﺍﻜﺘﺸﻑ ﻫﺫﺍ ّ ﺍﻟﺯﻴﻑ ﺍﻟﺫﻱ ﻴﻠﻭﻥ ﻭﺠﻭﻩ ﺍﻟﺒﺸﺭ ﻭﺍﻟﺸﻭﺍﺭﻉ ﻭﺍﻟﻤﻘﺎﻫﻲ ، ﻭﺭﺃﻯ ﻨﻔﺴﻪ ﻴﺤﺱ ﺍﻟﻭﺤﺩﺓ ﻭﻴﺘﻤﻨﻰ ﻭﺠﻭﺩ ﺍﻵﺨﺭ : ﺒﺎﷲ ﻋﻠﻴﻙ ِ ﹶ ﻤﺩ ﻴﺩﻴﻙ ّ ﺭﺍﻗﺼﻨﻲ ﺒﻌﺩ ﺭﺍﻗﺼﻨﻲ ﺃﺒﺩﺍ ﹰ ﻻ ﺘﻬﺩﺃ ْ ﺒﺎﺭﻴﺱ ﺒﻜﺎﺀ ﺜﻠﺞ ... ... ﻜل ﺍﻟﻨﺠﻭﻡ ﱡ ُ ﻭﺍﻟﻐﻴﻭﻡ ﺩﻤﺎﺀ ﻓﻲ ﺍﻷﺭﺽ ﺘﺴﻔﻙ ِ ﹸ ﹶ
- 13. ﺍﻟﺩﻨﻴﺎ ﺒﺩﻭﻨﻙ ﻤﻭﺕ ﹲ ﻭﺒﻙ ﺍﻟﺘﻜﻭﻴﻥ ﻴﺒﺩﺃ ﹼ ﻭﻴﺼل ﺒﻪ ﺍﻟﺘﻭﻫﻡ ﺇﻟﻰ ﺃﻓﻕ ﻴﻜﺎﺩ ﻴﻜﻭﻥ ﻤﺴﺘﺤﻴﻼ .. ﻓﻘﺩ ﺘﻭﻫﻡ ﺃﻨﻪ ﻤﺘﻭﺤﺩ ﺒﻬﺫﻩ ﺍﻟﻐﺭﺒﺔ ﺍﻟﻁﺎﻏﻴﺔ .. ﻤﺘﻭﺤــﺩ ﺒﺒﺎﺭﻴﺱ ّ ّ .. ﻭﻨﻬﺭ ﺒﺎﺭﻴﺱ ، ﻭﻁﻴﺭ ﺒﺎﺭﻴﺱ ، ﻭﻟﻴﻠﻬﺎ ﻭﻨﻬﺎﺭﻫﺎ : ﺒﺎﺭﻴﺱ ﻟﻲ ﺒﺎﺭﻴﺱ ﻟﻲ ﻨﻭﺭﻫﺎ ﻓﻲ ﺩﻤﻌﻲ ﻴﺼﻠﻲ ﹼ ﻟﻴﻠﻬﺎ ﻴﻬﺒﻁ ﻤﻥ ﻅﻠﻲ ﹼ ِﹸ ﹸ ﻤﻥ ﻴﺴﺭﻕ ﺒﺎﺭﻴﺱ ﻤﻨﻲ ﹸ ﻫل ﺘﻭﺤﺩﺕ ﺒﺎﺭﻴﺱ ﺒﺒﻴﺭﻭﺕ ؟ ﻫل ﺼﺎﺭﺍ ﻓﻲ ﻗﻠﺏ ّ ﺍﻟﺸﺎﻋﺭ ﻭﻁﻨﺎ ﻭﺍﺤﺩﺍ ؟ ﺒﻌﺩ ﻤﺤﺎﻭﻻﺘﻪ ﻤﺩ ﺠﺴﺭ ﺍﻟﺤﺏ ﺒﻴﻨﻬﻤﺎ .. ﺭﺒﻤﺎ ﺃﻓﻠﺢ ﺍﻟﺸﺎﻋﺭ ﻓﻲ ﺫﻟﻙ ﺤﺘﻰ ﻻ ﻴﻔﻘﺩ ﺤﺴﻪ ﺍﻟﺼﺎﺩﻕ ﺒﺎﻟﺤﻴﺎﺓ: ﻟﻤﺩﻴﻨﺘﻨﺎ ﻭﺠﻬﺎﻥ ﹶِ ﺃﻨﺕ .. ﻭﺃﻨﺎ
- 14. ﺘﺭﺍﻨﺎ ﺍﻟﻨﺎﺱ ﹼ ﻓﻲ ﻜل ﺍﻷﺯﻤﻨﺔ ﱢ ﺃﻭ ﻴﻘﻭل : ﺨﻴﻭﻁ ﺍﻟﻘﺩﺭ ﺘﺭﺒﻁﻨﺎ ﹸ ﹸ ﹶ ِ ﹶ ِﹸ ﺘﻌﺎﻨﺩ ﺭﻴﺢ ﺍﻟﺯﻤﻥ ﹸ ّ ﻤﺎ ﺘﻘﻁﻌﺕ ﹼ ﻭﻻ ﺍﻨﺒﺭﺕ ﺇﻟﻰ ﺃﻥ ﻴﻌﺒﺭ ﺒﺼﺩﻕ ﻭﺒﻼ ﻤﻭﺍﺭﺒﺔ ﻋﻥ ﻫﺫﺍ ﺍﻟﺘﻭﺤﺩ ﻓﻴﻘﻭل: ّ ٍ ّ ﻋﻴﺸﺘﻨﻲ ﻓﻲ ﺒﻴﺭﻭﺕ ّ ﹶ ﺸﻤﺱ ﺒﺎﺭﻴﺱ ﺍﻟﺒﺎﺭﺩﺓ ... ... ﻭﻓﻲ ﻨﻬﺎﻴﺔ ﺍﻟﻘﺼﻴﺩﺓ ﻴﺼل ﺇﻟﻰ ﺫﺭﻭﺓ ﺍﻻﺤﺴﺎﺱ ﺒﻬﺫﺍ ﺍﻟﺘﻭﺤﺩ : ﺇﻟﻰ ﺒﺎﺭﻴﺱ ﺃﻋﻭﺩ ﻭﻤﺎ ﺯﻟﺕ ﺃﺭﻜﺽ ﹸ ﺨﻁﺎﻱ ﺴﺤﺎﺏ ﹸ
- 15. ﺼﺒﺎﺤﺎﺕ ﺘﻤﻭﺕ ﹲ ﺃﺭﻜﺽ ﺨﻠﻑ ﺸﻤﺱ ﺤﻤﺭﺍﺀ ﻓﻲ ﺒﻴﺭﻭﺕ ٍ ﹶ ﻭﺍﻟﺸﺎﻋﺭ ﺘﺘﻨﺎﺯﻋﻪ ﻤﺸﺎﻋﺭ ﺍﻟﺤﺯﻥ ﻭﺍﻟﻔﺭﺡ .. ﻭﺍﻟﺨﻭﻑ ﻭﺍﻷﻤﺎﻥ .. ﻭﺍﻟﻌﺘﻤﺔ ﻭﺍﻟﻀﻭﺀ .. ﻭﺍﻟﺼﻘﻴﻊ ﻭﺍﻟﺩﻑﺀ .. ﻭﻫﺫﺍ ﺍﻟﺘﺭﺍﻭﺡ ﺒﻴﻥ ﺍﻟﻘﻁﺒﻴﻥ ﻫﻭ ﺍﻟﺫﻱ ﻴﺸﻜل ﻭﺠﺩﺍﻥ ﺍﻟﺸﺎﻋﺭ ﻭﺘﺠﺭﺒﺘﻪ ﹼ ﻓﻲ ﻫﺫﻩ ﺍﻟﻐﺭﺒﺔ ﻓﻬﻭ ﺘﺎﺭﺓ ﻴﺤﺱ ﺍﻟﻤﻭﺕ ﺒﻤﺠﺭﺩ ﺃﻥ ﻴﻐﻠﻕ ﺒﺎﺏ ّ ﹰ ﺒﻴﺘﻪ ﻋﻠﻴﻪ ﻓﻲ ﺍﻟﻤﺴﺎﺀ : ﻜل ﻟﻴﻠﺔ ّ ﺃﻭﺩﻉ ﺠﺴﺩﻱ ﻓﻲ ﺴﺭﻴﺭ ﺍﻟﻤﻭﺕ ِ ِ ﻭﺘﺎﺭﺓ ﺃﺨﺭﻯ ﺤﻴﻥ ﻴﺴﻴﺭ ﻭﺤﻴﺩﺍ ﻓﻲ ﺍﻟﻌﺭﺍﺀ.. ﻴﻨﺘﺎﺒﻪ ﻨﻔﺱ ﺍﻟﺸﻌﻭﺭ : ﹰ ﺨﻁﻰ ﻓﻲ ﺍﻟﻌﺭﺍﺀ ﹸ ﻜﺄﻥ ﺭﻭﺤﺎ ﺘﻐﺎﺩﺭ ﹰ َّ ﺼﺩﻯ ﻟﺘﺎﺒﻭﺕ ﺨﻔﻲ ٍ ّ ﻴﻨـﺯﻟﻕ ﻤﻥ ﺍﻟﺤﺎﻓﺔ ﺇﻟﻰ ﺍﻟﻨﻬﺭ ﹼِ ﹸ
- 16. ﻭﻫﺎ ﻫﻭ ﻤﺠﺩﺩﺍ ﻴﻔﺘﻘﺩ ﺍﻵﺨﺭ ﻓﻲ ﺯﺤﻤﺔ ﺍﻟﺨﻁﻰ ﺒﺎﻟﺭﻏﻡ ﻤﻥ ﹰ ﻭﺠﻭﺩﻩ ﺒﻴﻥ ﺍﻟﺒﺸﺭ : ﻨﺴﻴﺕ ﻭﺠﻬﻲ ﻓﻲ ﻤﺭﺍﻴﺎﻙ ﹸ ﺃﻤﺸﻲ ﻻ ﺃﺭﻯ ﺃﺤﺩﺍ ﹰ ﻭﻻ ﺃﺤﺩ ﻴﺭﺍﻨﻲ ﻜﻔﺎﻨﻲ ﺤﻴﻥ ﺘﻨﻅﺭ ﻓﻴﻬﺎ ﺘﺭﺍﻨﻲ ﻭﻫﻭ ﺃﻴﻀﺎ ﻴﻌﻴﺵ ﺤﻠﻤﺎ ﺒﺎﻟﻨﻭﺭ ﻭﺍﻟﺤﺏ ﻭﺍﻟﺠﻤﺎل : ﹰ ﹰ ﻜﻡ ﻜﻨﺕ ﺃﺤﻠﻡ ﺒﺎﻟﺸﻤﺱ ﹸ ﹸ ﹼ ِ ﺃﺤﺒﺴﻬﺎ ﻓﻲ ﺠﻴﺏ ﺴﺭﻭﺍﻟﻲ ِ ِ ِ ﺃﻗﺘﻨﺹ ﺍﻟﻨﺠﻤﺔ ﹼ ﺃﻋﻠﻘﻬﺎ ﻋﻠﻰ ﺼﺩﺭ ﻤﺭﻴﻭﻟﻲ ِ ُ ﱢﹸ ... ... ﺃﺤﻼﻤﻲ ﺍﻟﺼﻐﻴﺭﺓ ﻟﻡ ﺘﻤﺕ ﹾ ّ ﻭﻻ ﺍﻟﻁﻔل ﻤﺎﺕ ُ
- 17. ﻭﺍﻟﺸﻌﻭﺭ ﺒﺎﻟﻁﻔﻭﻟﺔ ﻫﻭ ﺍﻟﺫﻱ ﺒﻘﻲ ﺍﻟﺸﺎﻋﺭ ﻓﻲ ﺤﻴﻭﻴﺔ ﻴ ﺩﺍﺌﻤﺔ ﻭﻁﻼﻗﺔ ﻓﻲ ﻤﻭﺍﺠﻬﺔ ﺍﻟﻌﺎﻟﻡ ﻭﻅﻼﻤﻪ ﻭﻋﻭﺍﻁﻔﻪ ﺍﻟﻌﺎﺘﻴﺔ . ﻫﻭ ﺇﺫﻥ ، ﻴﺤﻠﻡ ﺒﺎﻟﺤﻨﻴﻥ ﺇﻟﻰ ﺼﺩﺭ ﺩﺍﻓﻲﺀ ، ﺇﻟﻰ ﻅل ٍ ٍ ﻴﺅﻭﻴﻪ ، ﺤﺘﻰ ﻻ ﻴﺸﻌﺭ ﺒﺎﻟﻤﻠل ، ﺭﻏﻡ ﺍﻷﻟﻡ ، ﻤﻥ ﺍﻟﻭﺤﺩﺓ ﺍﻟﻘﺎﺴﻴﺔ : ﻜﺎﻥ ﺍﻟﻁﻔل ﻴﻤﻭﺕ ُ ﺜﻡ ﻫﺏ ﻤﻥ ﺴﺒﺎﺕ ﺒﻴﻥ ﺍﻟﺸﺠﺭ ﺍﻷﺸﻘﺭ ﻓﻲ ﺍﻟﻐﺎﺒﺎﺕ ِ ﹼِ ﻫﻜﺫﺍ ﻴﻭﺩ ﻟﻭ ﻴﺤﺎﻓﻅ ﺩﺍﺌﻤﺎ ﻋﻠﻰ ﻫﺫﻩ ﺍﻟﺒﺭﺍﺀﺓ ﺍﻟﺘﻲ ﺘﺠﻌﻠﻪ ﹰ ﺒﻌﻴﺩﺍ ﻋﻥ ﺍﻟﻴﺄﺱ .. ﻭﺍﻟﺩﻴﻭﺍﻥ ﺤﺎﻓل ﺒﻬﺫﻩ ﺍﻟﻨﻤﺎﺫﺝ ﺍﻟﺘﻲ ﺘﺩﺨل ﻤﺎ ﹰ ﺒﻴﻥ ﺍﻟﻘﻁﺒﻴﻥ: ﺍﻟﻐﺭﺒﺔ ﻭﺍﻟﺤﻨﻴﻥ ﺇﻟﻰ ﺍﻟﻭﻁﻥ .. ﻭﺘﺠﻌل ﺍﻟﻘﺎﺭﻱﺀ ﻤﺸﺩﻭﺩﺍ ﺇﻟﻰ ﻫﺫﻩ ﺍﻟﺘﻨﻭﻴﻌﺎﺕ ﻤﻥ ﺍﻟﺼﻭﺭ ﺍﻟﻤﻨﺤﻭﺘﺔ ﻤﻥ ﻋﻤﻕ ﹰ ﺍﻟﻭﺠﺩﺍﻥ ﻭﺍﻟﻁﺎﺯﺠﺔ ﻓﻲ ﻤﻼﻤﺤﻬﺎ .. ﻭﺃﻜﺎﺩ ﺃﺠﺯﻡ ﺃﻥ ﺃﻏﻠﺏ ﻫﺫﻩ ﺍﻟﺼﻭﺭ ﺘﺘﺴﻡ ﺒﺎﻟﺠ ّﺓ ﻭﺍﻟﺒﺴﺎﻁﺔ ﻤﻌﺎ .. ﻓﺘﺼﻴﺏ ﺍﻟﻘﺎﺭﻱﺀ ﹰ ﺩ ﺒﺎﻟﺩﻫﺸﺔ . ّ
- 18. ﻟﻘﺩ ﺴﻌﺩﺕ ﺒﻘﺭﺍﺀﺓ ﻫﺫﺍ ﺍﻟﺩﻴﻭﺍﻥ ﺍﻟﺫﻱ ﻴﺤﻤل ﻗﺩﺭﺍ ﻜﺒﻴﺭﺍ ﻤﻥ ﹰ ﹰ ﺍﻟﺸﺎﻋﺭﻴﺔ .. ﺍﺴﺘﻁﺎﻉ ﺍﻟﺸﺎﻋﺭ ﻓﻴﻬﺎ ﺃﻥ ﻴﻌﺒﺭ ﺒﺼﺩﻕ ﻭﻗﺩﺭﺓ ﻋﻥ ّ ﺘﺠﺭﺒﺘﻪ ﺍﻟﺘﻲ ﻋﺎﺸﻬﺎ .. ﻭﺤﺎﻭل ﻓﻴﻬﺎ ﺃﻥ ﻴﺘﺠﺎﻭﺯ ﻤﻌﺎﻨﺎﺘﻬﺎ ﺒﻤﺎ ﻴﻤﻠﻙ ﻤﻥ ﺤﺱ ﻤﺭﻫﻑ ﻭﺸﻔﺎﻑ ﻭﺘﻌﺒﻴﺭ ﻤﺘﻤﻴﺯ ﻭﻋﻤﻴﻕ ... ٍ ٍّ ﹼ ﺍﻟﺸﺎﻋﺭ / ﺃﺤﻤﺩ ﺴﻭﻴﻠﻡ ﺍﻟﻘﺎﻫﺭﺓ- ﻤﺎﺭﺱ ٥٠٠٢
- 19. ﺃﺭﺍﺠﻴﺢ ﺍﻟﻐﺭ ﺔ ﹸ ﺒ ِﻐﺭﺒ ِﻨﺎ ﻟ ﺘ ﺃﺭﺍﺠﻴﺢ ﺃﻫﺩﻫﺩ ﺎ ﺒﺄﺤ ﺍﻨﻲ ِ ُ ﻫ ِ َ ﺯ ﺘﺠ ﺢ ﺒﻲ ﺇﻟﻰ ﻭﻁﻥ ٍ ﻭ ﹶ ﻤ ﹶﻌﻠﻕ ﻓﻲ ﻏ ﺎﻡ ﺍﻟﻔﺠﺭ ﹶﻤ ِ ﺘﱠﹶ ﻓﺈﻥ ﺘﻭﹰ ﺘﻼﻤﺴﻨﺎ ﹶ ﺍ ﺘ ﺎﻗﻁ ﺯﺥ ﺃﻟﻭﺍﻥ ٍ ﹶﺴ ﹶ ﹶ ﱠ ﺃﻟﻤِ ﻬﺎ ﺒﺄﺠ ﹶﺎﻨﻲ َُﹶ ﻠﻤ َِ ﻔ ﻤ ﺎﺀ ﺍﻟﺨﻴﺭ ﻴﺎ ﻭﻁﻨﻲ ِ ﺴ *** ﻟ ﹸﺭﺒ ِﻨﺎ ﻐ ﺘ ﻤ ﺎﺒﻴﺢ ﺼ ﺃﺸﻌﺸ ﻬﺎ ﺒﺄﺸ ﺎﻨﻲ ُ ﹶ ِ ﻌ َِ ﹾﺠ ﺘﺴ ﺢ ﺒﻲ ﺇﻟﻰ ﺯﻤﻥ ٍ ﻭ ﹶ ﺒ
- 20. ﺘﺸﻘﻕ ﻓﻲ ﹶﻼﻡ ﺍﻟﻬﺠﺭ ﹶ ﹶﱠ ﹶ ﻅ ِ ﻓ ﺴ ِ ﹸﻨﻲ ﹶﻴ ﺭﻗ ﻭﻴﻁﻔ ُﻨﻲ ﹾ ِﺌ ﻭﻴﻜﺴ ﻨﻲ ﻋﻠﻰ ﺩﺒﻴﻙ ﻫ ﹾ ِﺭ ﻟ ﻐ ﻕ ﻓﻲ ﺩﻤﻲ ﻜﻭﻨﻲ ﻴﺭﹶ ﻤﺴﺎﺀ ﺍﻟﺨﻴ ِ ﻴﺎ ﻭﻁﻨﻲ ﹶ ﺭ *** ﻟ ﹸﺭﺒﺘﻨﺎ ﻐ ﻤ ﹶﺎﺘﻴﺢ ﺃﻋﱢ ﹸﻬﺎ ﺒﺸﺭ ﺎﻨﻲ ﻔ ُ ﻠﻘ ِ ِ ﻴ ﻓﺈﻥ ﺎﻋﺕ ﻨﺎﻭﻴﻨﻲ ﹶِ ﻀ ﹾ ﻋ ﻭﻀﻌﺕ ﺒﻅل ﺸﻴ ﹶﺎﻨﻲ ِ ﹸ ِ ﱢ ﹶ ﻁ ﻭﺇﻥ ﺒﺤﺕ ﺤ ﺎﺴﻴﻨﻲ ِ ﹾ ﺴ ﻭﻨﻤﺕ ِﻠﻴ ِ ﺠﺩ ﺍﻨﻲ ِ ﹸ ﺒ ﹶ ل ﺭ ﺃﻤﺭ ﻫﺎ ﺒﺄﻭ ﺎﻤﻲ ُ ﺭ ِ َ ﻫ ﻓﺘﻔﺘﺢ ﺼﺩﺭﻱ ﺍﻟﻤﻘﻔﻭل ﹶﹶ ﹾﹶ ِ ﺘﻌ ﺵ ﺃﻨﺕ ﻓﻲ ﺒﺎﻟﻲ ﹸ ﺭ ﹸ ﹶ
- 21. ﻟ ﹸﻭﻗ ﹶﻨﻲ ﺘ ِﻅ ﺘﺤ ِﹶﻨﻲ ﻭ ﹶ ﻤﻠ ﻭﺘﻬ ِﻴﻨﻲ ﻷﺤﻼﻤﻲ َ ﹶ ﺩ ﺃﺭﻓﺭﻑ ﻓﻲ ﺴ ﺎ ﻋﻴﻨﻴﻙ ﻤ ُ ﹾ ِ ﹸ ﺃﺤ ﱢﻡ ﻜ ﱠ ﺃﺼـ ﹶﺎﻤﻲ ُ ﻁ ﹸل َ ﻨ *** ﻟ ﹸﺭﺒ ِﻨﺎ ِ ﻐ ﺘ ﻨ ﺍﻓﻴﺭ ﹶﻭ ﺘﻌ ﻴﻨﻲ ﹸ ﺭ ﻭﺃﻟﺒﺴ ﺎ َ ﹾ ﻬ ﺃ ِﻴﺽ ﺇﻟﻴﻙ َﻓ ِ ﹶ *** ﻟ ﹸﺭﺒ ِﻨﺎ ِ ﻐ ﺘ ﻤ ﺍﻤﻴﺭ ﺯ ﺃ ﺍﻗ ﻬﺎ ُﺭ ِﺼ ﻭ ﹶﻨﻔ ﹸﻨﻲ ﺘ ﹸﺨ
- 22. ﺃﻫ ﺭﻴﺎﺡ َ ﺏ ﺃﻫ ﻋﻠﻴﻙ َ ﺏ ﹶ *** ﻤ ﺎﺀ ﺍﻟﺨﻴ ِ ﻴﺎ ﻭ ﹶﻨﻲ ﺴ ﹶ ﺭ ﻁ ﻤ ﺎ ﻋﻴﻨﻴﻙ ﺴ ﺃ ﹶـ ﱢﻴﻬﺎ ُﻏ ﻨ ﺘﻐ ﱢﻴﻨﻲ ﹸ ﹶﻨ ﻭﺇﻥ ﹶﺎﺒﺕ ِﻏ ﹾ ﹸﺜﻴﺭ ﺠ ﺍﺡ ﺘ ِ ﺭ ﺘﻤ ﹸﻨﻲ ﹸ ﻭﺘ ﻭﺘﺭ ِﻴﻨﻲ ﹶ ﻤ ﺇﻥ ﻻﺤﺕ ﻭ ﹾ ﹸﻨﻴﺭ ﺼ ﺎﺡ ﺘ ﺒ ﻴﻘ ﻠ ﹸﻲ ِ ﹶﺒ ﻨ
- 23. ﻭ ﺤﻴﻴﻨﻲ ﻴ ﺼ ﺎﺡ ﺍﻟﺨﻴ ِ ﻴﺎ ﻭﻁﻨﻲ ﺒ ﹶ ﺭ ﺼ ﺎ ﻋﻴﻨﻴﻙ ... ﺒ ﹶ ﺑﻴﺮوت ـ ﺷﺘﺎء ١٠٠٢
- 24. ﺨﻴﻁ ﺩ ﹶﺎﻥ ﹶ ﺨ ﺃﻋﺭﻑ ﺍﻵﻥ ﻤﺎ ﺒﻴﻨ ﹶﺎ َ ِ ﹸ ﹶﻨ ﺨﻴﻁ ﺩ ﹶﺎﻥ ﹶ ﹶ ﺨ ﺤﻴﻥ ﺃﻤ ﻴﺩﻱ ِ َ ﺩ ﻴﺴﺘ ِﻴل ﻨﺎﺭﺍ ﹶﺤ ُ ﹰ ﻭﺃﺤﺘ ِﻕ َ ﹶﺭ ﺃﻋﺭﻑ ﺍﻵﻥ ﻤﺎ ﺒﻴﻨﻨﺎ ﹸ ﺨﻴﻁ ﺎﺀ ﹶ ﹶ ﻤ ﺤﻴﻥ ﺘﻤ ﻴ ﻙ ﹶ ﺩ ﺩ ﻴﺴﺘﺤﻴل ﺒﺤﺭﺍ ُ ﹰ ﻭﺘﺨﺘ ِﻕ ﹶ ﹾ ﹶﻨ ﺃﻋﺭﻑ ﺍﻵﻥ ﻤﺎ ﺒﻴﻨﻨﺎ َ ِﹸ ﺨﻴﻁ ﻫ ﺍﺀ ﹶ ﹶ ﻭ
- 25. ﺤﻴﻥ ﻨﻤ ﻴﺩﻴﻨﺎ ﹶ ﺩ ﺴﺘ ِﻴل ِﻴﺤﺎ ﻴ ﹶﺤ ُ ﺭ ﹰ ﻭﻨﺘﻼﺸﻰ .. ﺑﻴﺮوت ـ رﺑﻴﻊ ١٠٠٢
- 26. ﺩﻤﻭﻉ ﺍﻟﺸﻤﺱ ﺃﻭﻫﻤﻨﻲ ﺤﺒﺎ .. ﹰ َِ ﺇﺠﻌل ﺴ ﺎﻱ ﻤﺭﺍﻴﺎ ﺍﻟﺴﺭﺍﺏ ْ ﻤ ﻜﱠﻤﺎ ﺍﻟﺘﻘﻴﻨﺎ ﻠ ﺃﻤﻁﺭ ﺍﻟﻘﻠﺏ ﺸﻅﺎﻴﺎ ﺍﻟﺴﺤﺎﺏ ﹶ ﺃﻭﻫﻤﻨﻲ ﺤ ﺎ .. ﺒ َِ ﺍﺤﺫﻑ ﺠﺎﺫﺒﻴﺔ ﺍﻷﺭﺽ ﹶ ﹾ ﻜﱠﻤﺎ ﺍﻓﺘﺭﻗﻨﺎ ﻠ ﺘﻌﱠﻘﺕ ﻁﻴ ﺍ ﹶ ﻠ ﹾ ﹸ ﺭ ﺒﻴﻥ ﺍﻟ ﻔﻭﻥ ﻭﺍﻷﻫﺩﺍﺏ ﺠ ِ ﺃﻭ ِﻤﻨﻲ ﺤﺒﺎ .. ﹰ َ ﻫ ﻻ ﺘﻘل ﺸﻴﺌﺎ ْ ﹰ
- 27. ﺍﻫﻤﺱ ﻓﻘﻁ ﺒﻌﻴﻨﻴﻙ ﻴﺘﻭ ﱠﺢ ﺍﻟﻠﻴل ﺒﺎﻟﺒﻴﺎﺽ ُ ﺸ ﺃﻭﻫﻤﻨﻲ ﺤﺒﺎ .. ﹰ َِ ﻤ ّ ﻴ ﻙ .. ﺩ ﺩ ﺃﺤﺠﺏ ﺍﻟﻭ ﻭﻩ ُ ِ ﺠ ِﻼل ﺍﻟﻀ ﺎﺏ ﻅ َ ﺒ ﺃﻭﻫﻤﻨﻲ ﺤﺒﺎ .. ﹰ َِ ﻤ ّ ﻴ ﻙ .. ﺩ ﺩ ﺃﻏ ﹸﻭ ﻋﻠﻴﻬﺎ ﻗﻠﻴﻼ ﹰ َ ﹾﻔ ﹶ ﺃﺒﻜﻲ ﻋﻠﻴﻬﺎ ﻗﻠﻴﻼ ﹰ ﺃﻏﺘ ِل ﻤﻥ ﺨ ﹶﺎﻴﺎﻱ ﹶﻁ َ ﹾ ﹶﺴ ُ ﻤ ّ ﻴ ﻙ .. ﺩ ﺩ ﻋﻁﺸﹾﻨﻲ .. ﱢ ﺍﻜﺴﺭﻨﻲ .. ﹾِ ﺍﻋﺼﺭﻨﻲ ..
- 28. ﺍﺩﻓﻕ ﺩ ﻭﻉ ﺍﻟﺸﻤﺱ ﻋﻠﻲ ﹾ ﻤ ﱠ ِ ﹶ ّ ْ ﻴﻤ ِﻲ ﻭﻤﺽ ﻋﻴﻨﻴﻬﺎ ﺴ ﹶ ﻋﻴﻨﻲ ﹶ ّ ْ ﺃﻭﻫﻤﻨﻲ ﺤﺒﺎ .. ﹰ َِ ﺑﻴﺮوت ﺻﻴﻒ ١٠٠٢
- 29. ﻤ ﺍﻴﺎ ﺍﻷﺯ ﻕ َ ﺭ ﺭ ﻤﺭ ﺍﻟﺼﻴﻑ ﻗ ِﻴ ﺍ ﹸ ﹶﺼ ﺭ ﻟﻡ ﺃ ﺒﺢ ﺒﻅﻠﻙ ﻫﺫﹾﺍ ﺍﻟﺼﻴﻑ ﹶ ْ ﺴ ِ ِ ﱢ ﻟﻡ ﺘﺯﺡ ِﺘﺎﺭ ﺍﻟﺭﻤل ﻋﻥ ﻭﺠ ِﻲ ﹶ ﹸ ِ ﺴ ِ ﻬ ﹶﺎﻥ ﻋﻠﻲ ﺃﻥ ﺃﻤ ِﻲ .. ﻜ َ َ ِ ﻀ ﺎﺭﻴﺱ ﺘﻨﺘ ِﺭ .. ﹶ ﹾ ﹶﻅ ﺒ ﺤ ﻠﺕ ﻗﻠﹾﺒﻲ ِ ﹶﺎ ﻭ ِ ﺍﻟﺴ ﹶﺭ ﻤ ﹾ ﹸ ﹶ ﺒﺘ ﺒ ﺕ ﻔ ﻟﻡ ﺃﺒ ِ ﻠﻴﻪ ﹶ َ ﻙ ﻋ ِ ﻭﻟﻡ ﻴﺒﻙ ﺃ ﺩ َ ِ ﺤ ﻤﺭ ﺍﻟﺼﻴﻑ ﻗﺼﻴ ﺍ ﺭ ﹸ ﻟﻡ ﺘﺠﺭﺡ ﺭﺍﻴﺎ ﺍﻷﺯ ﻕ َ ﺭ ﹶ ﹶ ﻤ ﻟﻡ ﺘﺴﻔﻙ ﺼ ِﻴﻠﻲ ﹶ ﹶ ِ ﻬ ﻓﻭﻕ ﺍﻟﺸ ﹶﻕ ﹶ ﹶ ﱠﻔ ﹶﺎﻥ ﻋﻠﻲ ﺃﻥ ﺃﻤ ِﻲ ﻜ َ َ ِ ﻀ
- 30. ﺎﺭﻴﺱ ﺘﻨﺘ ِﺭ ﹶ ﹾ ﹶﻅ ﺒ ﺃﺭﻗﺕ ﺭﻭﺤﻲ َ ﹾ ﹸ ﻭﺤﺩﻱ ﻜﻨﺕ ﺍﺤﺘ ِﺭ ﹸ ﹾ ﹸ ﹶ ﹶﻀ ﻭﺍﻟﻜل ﻴﻀ ﻙ ﹸ ﱡ ﺤ ﺑﻴﺮوت – أﻏﺴﻄﺲ ١٠٠٢
- 31. ﹶﺍﻜﺭﺓ ﻤﺩﻨﺘ ﹶﺔ ﺫ ِ ﹲ ﹾ ﹶﻠ ﻟﻡ ﺘﻌﺩ ﹶﺍﻜ ﺘﻲ ﻋﺫ ﺍﺀ ﹶ ﹶ ﺫ ِﺭ ﹾﺭ ﺃﻟﻑ ﻋ ِﻴﻕ ﻟﻬﺎ َ ﹾ ﹸ ﺸ ٍ ﻤﻁﻠﻘﺔ ﻤ ﺍﺕ ﹶﱠ ﹶ ﹲ ﺭ ﻭﺃﺭﻤﹶﺔ َ ﻠ ﻻ ﻁﻔل ﻴﺴﺄل ﻋﻨ ﺎ ِ ﹾ ٌ ُ َ ﹾﻬ ﻻ ﺎﺌﹶﺔ ﻋ ِﻠ ﺯ ﺍﺭ .. ﺯ ﺍﺭ ﻭ ﻭ ﺘﺴﺘﻘﺒﻠ ﻡ ِﻼ ﻭﹶﻪ ﹶ ﹶ ﹾ ِﹸﻬ ﺒ ﻟ ﺘﺴﺘﻘ ِﹸﻬﻡ ﻤﻌ ﺍﺓ ﹶ ﹶ ﹶﺒﻠ ﺭ ِﻻ ﻤﻥ ﺃﺤ ﺍﻥ ﺇ ِ َ ﺯ ٍ ﻤﺩﻨﺘﹶﺔ ﹾ ﹶﻠ ﺘﺼ ﺍﻟ ﹶﺎﻱ ِﻲ ﺍﻷﻜ ﺍﺏ ﹶ ﺏ ﺸ ﻓ َ ﹾﻭ ﺘﺼ ﺍﻟﻨﺎﺭ ِﻲ ﺍﻷﺜ ﺍﺏ ﹶ ﺏ ﻓ َ ﹾﻭ
- 32. ﺘﺴﺘل ﺴ ﻭﻑ ﺍﻟ ﱠﺎﻴﺎﺕ ﹶ ﹶ ﱡ ﻴ ﹶ ﻨ ﺘﺭ ﹸﺹ ﻗ ﺔ ﺍﻷﻤ ﺍﺕ ﹶ ﻗ ﺭ ﹾﺼ ﹶ َ ﻭ ﻭﺘﻨﻁ ِﻰﺀ ... ﹶ ﹾ ﹶﻔ ﺑﺎریﺲ – ﺱﺒﺘﻤﺒﺮ ١٠٠٢
- 33. ﻗ ﺤﺎ ﺒﻘ ﺡ ﹶﺩ ﹰ ِ ﹶﺩ ﺒﻨﻔﹾﺴﻲ َﻨﺎ ﺃ ﻯ ﺃ َﺭ ِﹶ ِﺌﺫﻨ ﹰ ﺘﺒ ِﻲ ﻤ ْ ﹶ ﹶﺔ ﹶ ﻜ ﻠﻰ ﺎﺏ ﺍﻟﻤ ﺎﺀ ﻋ ﺒ ِ ﺴ ﺒﻨﻔ ِﻲ ﺃﻥ ﺃﻫ ِﻱ ِ ﹶ ﹾﺴ َ َ ﻭ ﻓﻲ ﻴﺭﻭﺕ ﺤ ﱠﻰ ﹶ ﺘ ﺒ ﻓﻲ ﹶﻼﻡ ﺍﻟﻌ ﺎﺀ ﻅ ِ ﻴ ﻋﺎﻡ ﻴﻤ ِﻲ ﻀ ﻭﺤ ِﻱ ﺩ ﺃﺩ ﱡ ﻗﺩ ﺎ ﺒﻘ ﺡ َ ﻕ ﹶ ﺤ ِ ﹶﺩ ﹶﺍ ِﺭﺘﻲ ﻭﻗﻠﹾﺒﻲ ﹶ ﺫﻜ ﻭﺃﺸ ﺏ ... َﹾﺭ ﺑﺎریﺲ – ٢١دیﺴﻤﺒﺮ ١٠٠٢
- 34. ﻜﻴﻑ ﺘﺘﻌ ﻯ ﺍﻷﺸ ﺎﺀ ﹶ ﹶ ﹶ ﹶ ﺭ َ ﹾﻴ ﻫ ﹶﺍ ﺍﻟﺼ ﺎﺡ ﺒ ﺫ ﺭﺃﻴﺕ ﻭ ِﻲ َﹸ ﺭ ﺤ ﺘﻨﺯﻑ ﻓﻭﻕ ﺍﻟﻨﻬﺭ ﹶﹾ ِ ﹸ ﹶ ﹶ ﱠ ِ ﺤ ﱠﻰ ﺎﺭ ﺒ ﺎﻀﺎ ﺘ ﺼ ﻴ ﹰ ﻭﻋﻠﻤﺕ ِ ﹸ ﻜﻴﻑ ﺘﺘﻌ ﻯ ﺍﻷﺸ ﺎﺀ َ ﹾﻴ ﹶ ﹶ ﹶ ﹶ ﺭ ﻫ ﹶﺍ ﺍﻟﺼ ﺎﺡ ﺒ ﺫ ﺭﺃﻴﺕ ﺍﻟﻤ ِﻴﻨﺔ ﺘﺠ ِﻱ َ ﹸ ﺩ ﹶ ﹶ ﺭ ﻭﺍﻟﻨﻬﺭ ﻭ ﺍ ﻫﺎ ﻴﺠ ِﻱ ﱠ ﺭ ﺀ ﺭ ﻴﺒﻜﻲ .. ﻴﺤﺘ ِﻕ ﹶﺭ ﻟ ﻡ ﺘﺭ ﻩ ﹶ ﻭﻟﻡ ﺘﺴﻤﻊ ﺒ ﹶﺎﻩ ﹶ ﻜ
- 35. ﻭﻋﻠﻤﺕ ِ ﹸ ﻜﻴﻑ ﺤ ﱠﻰ ﺍﻷﺸ ﺎﺀ ﹶ ﹶ ﺘ َ ﹾ ﻴ ﺘﺤ ﻭﺘﻔﺘ ِﻕ ﹸ ِﺏ ﹶ ﹾ ﹶﺭ ﻫ ﹶﺍ ﺍﻟﺼ ﺎﺡ ﺒ ﺫ ﺭﺃﻴﺕ ﻴﺩ ﺍﻟﺴ ﺎﺀ َﹸ ﻤ ﺘﻤﺘﺩ ِﻟﻰ ﻴ ِﻱ ﹶ ﹶ ﺇ ﺩ ﻻ .. ﻟﺴ ِ ﺃﻨﺕ ﹶ ﺕ ِ ﻫ ﹶﺎﻟﻙ ﻤﻥ ﺃﻫ ﺍﻩ ﻨ ِ َ ﻭ ﺑﺎریﺲ – ٤١ یﻨﺎیﺮ ١٠٠٢
- 36. ﺒ ﹶﺎﺀ ﺍﻟﺜـﻠﹾﺞ ﻜ ﱠ ِﺎﷲ ﻋﻠﻴﻙ ﺒ ِ ﹶ ِﻓﺘﺢ ﻋﻴﻨ ﻙ ﺍﹶ ﻴ ﻻ ﺒﺤﺭ ﻓﻲ ﺍﻟﺩﻨﻴﺎ ﻭﻻ ﻤﺭ ﹶﺄ ﻓ ِﺎﷲ ﻋﻠﻴﻙ ﺒ ﹶ ﻤ ّ ﻴﺩﻴﻙ ﺩ ﺍﻗﺼﻨﻲ ﺒﻌﺩ ﺭِ ﺍﻗﺼﻨﻲ َﺒﺩﹰ .. ﺃ ﺍ ﺭِ ﻻ ﺘﻬﺩﺃ ﹶ ْ ﺎﺭﻴﺱ ﺒ ﹶﺎﺀ ﺜﻠﺞ ﻜ ٍ ﺒ ﻭﺍﻟﺜﻠﺞ ﻓﻲ ﺼﺩ ِﻙ ﺃﺩﻓﺄ ﺭ َ ﹶ ْ ﱠﹾ ﻜ ﱡ ﺍﻟﻤ ﹶﺎ ِﻲ .. ﹸل ﻘ ﻫ
- 37. ﻭﺍﻟ ﻼ ِﻲ .. ﻤ ﻫ ﺠ ﹶﺎﺯﺍﺕ ﻷ ﹶﺎﺱ ﺘﻔ ﹶﻙ ِ ﻨ ﹲ ُﻨ ٍ ﹸ ﹾ ﺘ ﻜ ﱡ ﺍﻟﻨ ﻭﻡ.. ﹸل ﱡﺠ ِ ﻭﺍﻟﻐ ﻭﻡ .. ﹸﻴ ِ ﺩ ﺎﺀ ﻓﻲ ﺍﻷﺭ ِ ﺘﺴ ﹶﻙ َ ﺽ ﹸ ﻔ ِﻤ ﺍﻟﺩﻨﹾﻴﺎ ﺒ ﻭ ِﻙ ﻤﻭﺕ ﹶ ِ ﺩ ﻨ ﹲ ِ ﻭﺒﻙ ﺍﻟﺘﻜ ِﻴﻥ ﻴﺒ ﺃ .. ِ ﱠ ﹾ ﻭ ﺩ ﺑﺎریﺲ – ١٣ دیﺴﻤﺒﺮ ١٠٠٢
- 38. ﹶﺎﻨ ِ ﺍﻟﻤ ﺍﺌﻥ ﺃﺠ ل ﻜ ﹶﺕ ﺩ ِ َ ﻤ ﹶﺎﻨ ِ ﺍﻟﻤ ﺍ ِﻥ ﻜ ﹶﺕ ﺩ ﺌ ﺃﻋ ﺍﺴ ﹰ َ ﺭ ﺎ ﺃﺠ ﺍﺴ ﹰ َ ﺭ ﺎ ﺸﻤﻌﺎ ﹶ ﹰ َ ﺩﻤﻌﺎ ﹰ ﻭ ﺂ ِﻥ ﻤ ﺫ ﹶﺎﻨ ِ ﺍﻟﻤ ﺍ ِﻥ ﻜ ﹶﺕ ﺩ ﺌ ﺃﻁﻔﺎﻻ ﺘﻠ ﺏ ﹰ ﹶ ﹾﻌ ﺸ ﻭﺴﺎ ﺘﺠ ِﻱ ﹸﻤ ﹰ ﹶ ﺭ ﻭﻻ ﺘﺘ ﺏ ﹶ ﹾﻌ ﻭﺒﺭ ﹸ ﹶﺎﻻ ﺘ ﻘ ﹰ ﻭ َ ﻫ ﺍ ﺃﺯ ﺎﺭﹰ ﹶﺎ ِﻥ ﻭﺠﻨ ﺌ
- 39. ﹶﺎﻨ ِ ﺍﻟﻤﺩﺍ ِﻥ ﺌ ﻜ ﹶﺕ ﺃﻗ ﺎﺭﹰ َ ﹾﻤ ﺍ ﺃﻁ ﺎﺭﹰ َ ﹾﻴ ﺍ ﻓ ﹶﺎﺕ ﺤ ﹸﺘ ﹶ ﺏ ﻭﺴ ﹶﺎﻜﺭ ﻜ ِ ﻜﺎﻨﺕ ﺍِﻤﺩﺍﺌﻥ ﺃﺠ ل ِ ﻟ ِ َ ﻤ ﻭﺍﻟ ﱠﺎﺱ ﻜﺎﻨﺕ ﺃﻁ ﺏ ﻨ ﹶ ﹾ َ ﹾﻴ ﻭﺍﻟﻁ ﻗﺎ ﹸ ﺃﺭ ﺏ ﱡﺭ ﺕ َ ﺤ ﻜﺎﻥ ﺍﻟ ﻭﺕ ﺃﺩ ﹶﺄ ﺼ ﹸ َ ﻓ ﻭﺍﻟﻘﻠﺏ ﻤﺭ ﹶﺄ ﹶ ﹾ ﻓ ﻟﻌﺸﻕ ﺜﺎ ِﺭ ِِ ﹾ ٍ ﺌ ﻜﻡ ﻜﺎﻨﺕ ﻤﻴﻠ ﹰ ﺘﻠﻙ ﺍﻟﻤﺩﺍﺌﻥ .. ِ ﹶ ﹶ ﹾ ﺠ ﹶﺔ ﺑﺎریﺲ – ١ یﻨﺎیﺮ ٢٠٠٢
- 40. ﻨﺯﻴﻑ ﻓﻭﻕ ﻨﻬﺭ ﺒﺎﺭﻴﺱ ﹲ ﹶ ِ ﻟﻡ ﺒﻕ ﺇﻻ ﻅﱢﻲ ِﻠ ﻴ ﹶ ﺃﻁ ﺎ ﹰﺎ ﻓﻭﻕ ﺍﻟﻨﻬﺭ َ ﹾﻴ ﻓ ﹶ ﹶ ﱠ ﺸﻌﺭﻱ ﻴﺘﺩﱠﻰ ﺼﻔ ﺎ ﹰﺎ ﹾﺼ ﻓ ﹶ ﻟ ﹶ ﻭﻴ ﺍﻱ ﺯﻫﺭ ﺩ ﻭﺍﻟﺠﺭﺡ ﻴﺠﺭﻱ ﺸ ﱠﺎﻓ ﹰ ﹶﻔ ﺎ ﺩ ﻭﻉ ﻓﺠﺭ ﻤ ﹶ ﻤﺭ ﺍﻟﻌﺎﺒﺭ ﹶﺎل : ِ ﻗ " ﺍﻟ ﱠﻬﺭ ﺴ ِﻴﺩ ﺫﺍ ﺍﻟﻨ ﺎﺭ " . ﻨ ﻌ ﻫ ﱠﻬ *** ﺘﻁﻔﻭ ﻋ ﻭﻨﻲ ﻓﻭﻕ ﺍﻟﻨﻬﺭ ﹶ ﹶ ﱠ ﹶ ﹾ ﹸ ﻴ ﺸ ﹶﺎﻴﺎ ﺭﻗ ﺍ ﹶﺔ ﹶﻅ ﹾﺭ ﻗ ِﻋﻠﻡ ﻜﻠ ﺎ ﹶﺎﺽ ﺍﻟﻨﻬﺭ ﺍ ﹶ ﹸﱠﻤ ﻓ ﱠ ﺃﻥ ﻭ ِﻲ ﻤﺸ ﹶﺎ ﹶﺔ ﺭ ﺤ ﹾﺘ ﻗ ***
- 41. ﻭﻴﺤﻤﺭ ﺍﻟﻨﻬﺭ ﱠ ﺘﺄﺘﻲ ﺍﻟ ﱠﻭﺍﺭﺱ ﻜ ﱠ ﺼ ﺎﺡ ﻨ ِ ﹸل ﺒ ﺃﻁﻌﻤ ﺎ ﺒ ﹶﻤﻲ .. ُ ﹾ ِ ﻬ ِﻔ ﻭﺤﺩ ﺎ ﺘﻌ ِﻑ ﻁﻌ ﺍﻟﺠ ﺍﺡ ﻫ ﹶ ﺭ ﹶ ﻡ ِﺭ ﻭﺤ ﻫﺎ ﺘﻌﺭﻑ ﻟﻭﻥ ﺩ ِﻲ ﺩ ﹶ ِ ﹸ ﹶ ﻤ *** ﺠﺭﺤﻲ ﻴﻨـﺯﻑ ﻓﻲ ﺒﺎﺭﻴﺱ ِ ﹸ ِ ﻨﻬﺭ ﺎﺭﻴﺱ ﻤ ﱢﻲ ِ ﻨ ﹶ ﺒ ﻟﻭ ﻟﻡ ﺃﻨﺯﻑ ﻓﻲ ﺒﺎﺭﻴﺱ َ ﹾ ِ ﹾ ﻟ ﺎ ﹶﺎﻥ ﺍﻟ ﱠﻬﺭ ﻐ ِﻲ ﻤ ﻜ ﻨ ﻴ ﻨ ﱢ ﻜ ﱡ ﻁﻴ ٍ ﻓﻲ ﺒﺎﺭﻴﺱ ﹸل ﹶ ﺭ ﻴﺤ ِﻲ ﻟﻠﺩﻨﹾﻴﺎ ﻨ ﱢﻲ ﻜ ﻋ ـ ﺎﺭﻴﺱ ﻟﻲ ﺒ ﺎﺭﻴﺱ ﻟﻲ ﺒ ﹸﻭ ﻫﺎ ﻓﻲ ﺩﻤ ِﻲ ﻴﺼﱢﻲ ﻌ ﻠ ﻨ ﺭ
- 42. ﻟﻴﹸﻬﺎ ﻴﻬﺒﻁ ﻤﻥ ﻅﱢﻲ ﹶ ﻠ ِ ﹸ ِ ِ ﻠ ﻤﻥ ﻴﺴﺭﻕ ﺒﺎﺭﻴﺱ ِﻨ ﱢﻲ ؟ ﻤـ ِﹸ ﺑﺎریﺲ – ٥ یﻨﺎیﺮ ٢٠٠٢
- 43. ﺭ ﹶﺍﺫ ﺸﻤﺱ ﺫ ﹸ ﹶ ﺘ ﺍﻤﺕ ﺃ ﺎ ِﻌﻲ ﹶﺭ ﹾ َﺼ ﺒ ﻓﻭﻕ ﺍﻟﺒﺤﺭ ﺍﻟﻤﻜ ﹸﻭﻑ ﹶ ﹶ ِ ﹾﺸ ﹶﺎﻥ ﺍﻟﻠﻴل ﹶﺯﻴ ﺍ ﻜ ُ ﻏ ﺭ ﻭﺍﻟﺒﺭﻕ ﺴ ﻭﻑ ﹸ ﻴ ﻜﺘ ِ ﺍﺴ ﻙ ﹶ ﹶﺒﺕ ﻤ ﺍﺸﺘ ﻠﺕ ﻤﻭ ﺔ ﹶﻌ ﹶ ﹾ ﺠ ﺘ ﹶﺎﻴﺭﺕ ﺤ ﻭﻑ ﹶﻁ ﹾ ﺭ ﺘ ﺎﻭﺕ ﻋﻠﻰ ﺍﻟ ﻨﻴﺎ ﺩ ﹶﻬ ﹾ ﺸ ﹶﺎﻴﺎ ﺜﻠ ٍ ﹶﻅ ﹶ ﹾﺞ ﺭ ﹶﺍﺫ ﺸﻤ ٍ ﺫ ﹶ ﹶ ﺱ ِﻘﻠ ٍ ﺃﺯ ﻕ ﻤﻠﹾﻬﻭﻑ ﻟ ﹶ ﹾﺏ َ ﺭ ﹶ ﺑﺎریﺲ – ٦ یﻨﺎیﺮ ٢٠٠٢
- 44. ﻟﻭ ﻜﻨﹾﺕ ﻤﻌﻲ ﻓﻲ ﺒﺎﺭﻴﺱ ﹸ ﻟﻭ ﻜﻨﹾﺕ ﻤﻌﻲ ﻓﻲ ﺎﺭﻴﺱ ﺒ ﹸ ﹶﺎﻨﺕ ﺎﺭﻴﺱ ﺃﺠ ل ﻤ ﻜﹶ ﹾﺒ ﺃﺤﺭﻗ ﹶﺎ ﻜ ﱠ ﺍﻟﻜﻭﺍﺒﻴﺱ َ ﹾﻨ ﹸل ﻤﺎ ﻋﺩﻨﺎ ﻋﻥ ﹶﻲﺀ ﻨﺴَل ﺸ ٍ ﹶ ﺄ ﺎﺭﻴﺱ ﺘﺠﺭﻱ ﻓﻭﻕ ﺍﻟﻨﻬﺭ ﹶ ﹶ ﱠ ﹶ ﺒ ﻓﻭﻕ ﺍﻟﺨﻤﺭ .. ِ ﹶ ﹶ ﻓﻭﻕ ﺍﻟﺯﻫﺭ .. ﹶ ﹶ ﻓﻭﻕ ﺠﺭﺡ ﺍﻟ ﱠﺎﺱ ﺘﺠﺭﻱ ﹶ ﹶ ِ ﻨ ِ ﹶ ﻓﻭﻕ ﺍﻟ ﱠﺎﺭ ﹶ ﹶ ﻨ ِ ﻓﻭﻕ ﺍﻟﺠﻤﺭ ﹶ ﹶ ﻓﻭﻕ ﻼﺓ ﺍﻟﻤﺤﺭﻭﻤﻴﻥ ﹶ ﹶﺼ ِ ﻓﻭﻕ ﺃﻏﺎﻨﻲ ﺍﻟﺸ ﺎﺫﻴﻥ ﹶﺤ ﹶ ﹶ ﻓﻭﻕ ﺃﻤﺎﻨﻲ ﺍﻟﻤﻅﻠﻭﻤﻴﻥ ِ ﹶ ﹶ
- 45. ﻓﻭﻕ ﺍﻟﻠﻴل ﹶ ﹶ ِ ﻓﻭﻕ ﺍﻟﻔﺠﺭ ﹶ ﹶ ﹶ ﺘﺠ ِﻱ .. ﹶ ﺭ ﺘﺠ ِﻱ .. ﹶ ﺭ ﻻ ﺘﺴَل ﹶ ﺄ ﻟﻭ ﻜﻨﹾﺕ ﻤ ِﻲ ﻓﻲ ﺒﺎﺭﻴﺱ ﹸ ﻌ ﻜﺎﻥ ﺍﷲ ﻓﻴﻨﺎ ﺃﺠ ل َ ﻤ ُ ﺃﻀﺄْﻨﺎ ﻜ ﱠ ﺍﻟﻨ ﺍ ِﻴﺱ َ ﹸل ﱠ ﻭ ﻗ ﻤﺎ ﻋﺩﻨﺎ ﻋﻥ ﺤﻠﻡ ﻨﺴَل ﹾ ٍ ﹶ ﺄ ﻜ ﱠﺎ ﺘﻬ ﹶﺎ ﻓﻲ ﺍﻟﻁ ﻗﺎﺕ ﹸﺭ ﹸﻨ ﹸ ﻨ ﺃﺸﻌﻠﹾﻨﺎ ﹸﻤﻭﻉ ﺍﻟ ﺎ ﺎﺕ ﺸ ﺴﺤ ﺇﻟﺘﻬﺒﻨﺎ ﻭﺍﺤﺘﺭﻗ ﹶﺎ ﹶ ﹾﻨ ﹾﹶ ﻭﺍﻟﻌ ﱠﺎﻕ ﺍﻟﻤ ﺎﻨﻴﻥ ﺸ ﹶ ﺠ ﻟﻭ ﻜﻨﹾﺕ ﻌﻲ ﻓﻲ ﺒﺎﺭﻴﺱ ... ﹸ ﻤ ﺑﺎریﺲ – ٧ یﻨﺎیﺮ ٢٠٠٢
- 46. ﺸﻲﺀ ﺎ ... ﹶ ﻤ ﺸﻲﺀ ﻤﺎ ... ﹶ ﻟﺴﺕ ﺃﺩﺭﻱ ﹶ ﹸَ ﻜﺄ ﱢﻲ ﺃﺤ َﻨ ُ ِﺏ ﺘ ﺍﻤﺕ ﺍﻟﻜ ﺍﻜﺏ ﻓﻲ ﺒﺤ ِﻱ ﺭ ﹶﺭ ِ ﹶ ﻭ ِ ِﺜل ﺍﻟﻌ ﺎﻓﻴﺭ ﻤ ﹾ َ ﺼ ﺍﺤﺕ ﺘﻠﺘ ِﺏ ﺭ ﹾ ﹶ ﹾ ﹶﻬ ﺤ ﱠﻰ ﺭﺃ ِﻲ .. ﺘ ْ ﺴ ﻟﻡ ﻴﻌﺩ ﻴﻘ ﻯ ﻋﻠﻰ ﺍﻟﺘﻔﻜﻴﺭ ... ﹾﻭ ﺍﻟﻀﻭﺀ ﻟ ﺏ ﹶﻬ ﺍﻟﻤﺎﺀ ﻟ ﺏ ﹶﻬ ﻭﺃ ﹶﺎ ﺍﻟﺯﺭﻗ ﹸ ﺍﻟﻭﺤﻴﺩﺓ ﺍﻟﻤﻤ ﱠﺩﺓ ﺘ ﹸ َﻨ ﹶﺔ ﻓﻲ ﻤ ﺍﺭ ﺍﻟﺫ ﺏ ﺩ ِ ﱠ ﻫ ﺸﻲﺀ ﻤﺎ .. ﹶ
- 47. ﻟﺴﺕ ﺃﺩ ِﻱ ﹶ ﹸ َ ﺭ ﻜﺄﻨ ﺃﺤ ... ﹶَ ﱢﻲ ُ ِﺏ ﻜﺄ ﱠﻤﺎ ﺍﻟﻘﻠﺏ ﺘ ﺍﻋﻰ ﹶ َﻨ ﹶ ﹾ ﹶ ﺩ ﻓﻲ ﺼﺩﺭﻱ ﺒﻌﺩ ﺃﺴ ﹶﺎﺭ ﺍﻟﺘ ﺏ ﻔ ِ ﱠﻌ ﺑﺎریﺲ ٤١ یﻨﺎیﺮ ٢٠٠٢
- 48. ﺇﻜﺴﺭ ﺯ ﺎ ِﻲ ِ ﺠ ﺠ ﺃﻋ ِﻑ ﻨﺯﻑ ﺍﻟ ﻨﻔ ِ ﻓﻲ ﺍﻟ ﻴﻭﻥ ﻌ َ ﺭ ﹸ ﹶ ﹶ ﺒ ﹶ ﹾ ﺴ ﺞ ﺃﻋ ِﻑ ﻨﺯﻑ ﺍﻟﻤ ﺍ ِﺏ َ ﺭ ﹸ ﹶ ﹶ ﺭ ﻜ ﻭﺍﻟﻜ ﺍ ِﺏ .. ﹶﻭ ﻜ ﻓﻲ ﻋﻤﻕ ﺍﻟﺒ ﻭﺭ ِ ﺤ ﺃﻋﺭﻑ ﻜﻴﻑ ﺃﺤ ﻙ َ ِ ﹸ ﹶ ﹶ ُ ِﺒ ِﺸﻬﻘ ِ ﺍﻟﻤﺠﻨﻭﻥ ﺒ ﹶ ﹶﺔ ﻟﻜﻥ .. ﹶِ ﺇﻜﺴﺭ ﺯ ﺎ ِﻲ ﹾ ِ ﺠ ﺠ ﻭﺍﻓﺘﺢ ﻟﻴﻠﻲ ﹾﹶ ﻟﺸﻁﹾﺂﻥ ﺍﻟﺯ ﺩ ِ ﹸ ِ ﺒ ﺘ ﻯ ﺩ ِﻲ ﹶﺭ ﻤ ﻴﺯﻫﻲ ﺘ ﺔ ﺍﻟﻌ ﻭﺭ ﻋ ﹾﺒ ﹶ ﺼ ﻠﻰ ﻤﻤﺭ ﺍﻷ ﺩ .. ﻋ َ ﺒ
- 49. ﺑﺎریﺲ – ٦١ یﻨﺎیﺮ ٢٠٠٢
- 50. ﻭﺠ ﺎﻥ .. ﻬ ﻟﻤﺩﻴﻨﺘﻨﺎ ﻭﺠ ﺎﻥ ﻬ ﺃﻨﹾﺕ .. ﻭَﻨﺎ ﺃ َ ﺘ ﺍﻨﺎ ﺍﻟ ﱠﺎﺱ ﹶﺭ ﻨ ﻓﻲ ﻜ ﱢ ﺍﻷﺯﻤ ﹶﺔ ﹸل َ ِ ﻨ ﺑﺎریﺲ – ٦١ یﻨﺎیﺮ ٢٠٠٢
- 51. ﻓﺘﺎ ِﻴﺕ ﻗ ﺭ ﻓ ﹸ ﹶﻤ ﹶﺎﻨﺕ ﹶﺍﻜ ﺘﻲ ﻭﺍﻫ ﹶﺔ ﻜ ﹶ ﹾ ﺫ ِﺭ ِ ﻨ ﺼﻔ ﺍﺀ ﺍﻟﻭﺠﻪ ﻤﺘﻌ ﺔ ﹾ ﺭ ِ ﹾ ﺒ ﺘ ﹶﺎﻡ ﻤﺒﺘﺴ ﺔ ﹶ ﻨ ﹶ ِﻤ ﻭﻟﻡ ﺘﻨﻡ ﹶﺍ ِﺭﺘﻲ ﻤﻨ ﹸ ﺍﻷ ل ﹾ ﺫ َﺯ ﹶﹶ ﺫ ﻜ ﺍ ﻫﺎ ﺍﻟﻠﻴل ﻓﻲ ﺴ ِﻴ ِﻫﺎ ﺭ ﺭ ُ ﺯﺭ ﺃﺸ ل ﻗﻨﹾﺩﻴﹶﻬﺎ َ ﹾﻌ َ ِ ﻠ ﺃﻓ ﻍ ﻤﻥ ﺠﻴﺒﻪ ِ َ ﹾﺭ ﹶ ﻫ ﺍﻴﺎ ﺍﻟﺴ ﹶﺭ ﻔ ﺩ ﻗﺭﺹ ﺸﻤ ٍ ﻁﻔَﺓ ﹸ ﹶ ﺱ ﻤ ﹶﺄ ﻓ ﹶﺎ ِﻴﺕ ﻗ ﺭ ﹶﺘ ﻓ ﹶ ﹶ ﻤ ﻨ ِ ﻓﻲ ﺍﻟﻤﺤ ﱠﺔ ﻁ ﻭ ﹶﺴﻲ ﺤ ﻭﺏ ﺍﻟﺤﻠﻡ ﺍﻟ ﻨﻭ ﺔ ﺒ ﹾ ِ ﻤ ﻤ ﺤ ﻭﺏ ﺍﻟﺤ ﻭﺍﻟﻘ ل ﺒ ﺏ ﹸﺒ ﺑﺎریﺲ ـ ٧١ یﻨﺎیﺮ ٢٠٠٢
- 52. ﻗﺩﺭ ﺍﻷﺤ ﺎﺀ ﹶ ِ َ ﺒ ﹸﻴﻭﻁ ﺍﻟﻘ ِ ﺘﺭ ِ ﹸﻨﺎ ﺨ ﹸ ﹶﺩﺭ ﹶ ﺒﻁ ﺘ ﺎﻨﺩ ﺭﻴﺢ ﺍﻟﺯ ﻥ .. ﹸﻌ ِ ﻤ ﺎ ﺘﻘﻁ ﺕ .. ﻤ ﹶ ﹶ ﱠﻌ ﹾ ﻭﻻ ﺍﻨﺒﺭﺕ .. ﹾ ﹾ َ ﺃﻋﺭﻑ ﺍﻵﻥ ﻤﺎ ﺒﻴﻨ ﹶﺎ َ ِ ﹸ ﹶﻨ ﺍﺤ ﻨﺎ ﻓ ﺍ ﹶﺔ ﻭ ِﺩ ﹶ ﺭ ﺸ ﺜﺎﻨﻴﻨﺎ ﻀﻭﺀ ﻻ ﺍﻨﻜ ﻤﺼ ﺎﺡ ﹶ ﺴﺭ ِ ﺒ ﻭﻻ ﺠ ﹶﺎﺡ ﺍﺤﺘ ﻕ ... ﻨ ﹶﺭ ﺃﻋﺭﻑ ﺍﻵﻥ ﻤﺎ ﺒﻴﻨ ﹶﺎ َ ِ ﹸ ﹶﻨ ﺍﺤ ﻨﺎ ﺼ ﺎﺡ ﻭ ِ ﺩ ﺒ ﺜﺎﻨﻴﻨﺎ ﻤ ﺎﺀ ﺴ ﺒﻴﻨ ﹶﺎ .. ﹶﻨ
- 53. ﺃﺴ ﹶﺎﺭ ﻤ ﺎ ﹶﺔ َ ﻔ ﺴ ﻓ ﺃﻁ ﺎﺭ ﺴ ﺎﺀ َ ﹾﻴ ﻤ ﺃﻋﺭﻑ ﺍﻵﻥ ﻤﺎ ﺒﻴﻨ ﹶﺎ َ ِ ﹸ ﹶﻨ ﺃﺤﻼﻡ َ ﹶ ﻁ ﹸﻭﹶﺔ ﹸﻔ ﻟ ﺃﺸ ﺎﺡ ﺘﺩ ﱡ ﻋﻠﻰ ﺃﺒﻭﺍ ِﻨﺎ ﺒ َ ﹾﺒ ﹶ ﻕ ﺒﻭ ﻭﻩ ﻤﺠ ﻭﹶﺔ ِ ِﺠ ٍ ﻬ ﻟ ﻭﻻ ﻨﻌﺭﻑ ﻜﻴﻑ ﻴﺄﺘﻲ ﻏ ﻨﺎ ﹶ ِ ﹸ ﹶ ﹶ ْ ﹶﺩ ﻭﻻ ﻜﻴﻑ ﻤﺎﻀﻴﻨﺎ ﺎﺀ ! ﺠ ﹶ ﹶ ﻜ ﱡ ﻤﺎ ﻨﻌﺭﻑ ﺃ ﱠﻨﺎ ﹸل ﹶ ِ ﹸ ﻨ ﻋﺯﻑ ﺍﺸﺘ ﺎل ﹸ ﹾ ِﻌ ٍ ﻨﺯﻑ ﺍﺸ ِـﻴﺎﻕ ﹶ ﹸ ﹾﺘ ﻤﺎ ﺤ ﻠﺘ ﹶﺎ ﻴﺎ ﺼﺩﻴﻘﻲ ِﻴ ﹸﻨ ﺫﺍ ﻫﻭ ﻗﺩﺭ ﺍﻷﺤ ﺎﺀ ... ﹶ ِ َ ﺒ ﺑﺎریﺲ – ٨١ یﻨﺎیﺮ ٢٠٠٢
- 54. ﻭﺤﺩﻩ ﻴﺸ ﺏ ﹾﺭ ﺭَﻯ ﻋﻨﻜ ﻭ ﹰﺎ ﺃ ﹾ ﹶ ﺒ ﺘ ﻴﺭﻜﺏ ﻗﺭﺹ ﺍﻟﺸﻤﺱ ﹶ ﹸ ﱠ ﺭَﻯ ﺃﺨﻁ ﻭﻁﺎ ﺃ ُ ﹾ ﹸ ﺒ ﹰ ﻴﻨﻬﺏ ِﻴﺱ ﺍﻟﺭﻤل ﹾ ﻜ ﺭَﻯ ﺃ ﹶﺎ ﺎ ﺃ ُ ﻨ ﺴ ﹸﻠﻬﺏ ﻓﻴﻪ ﺍﻟﺠﻤﺭ ﺘﹾ ِ ﻭﻭﺤﺩﻩ ﻴﺸﺭﺏ ﻤﻥ ﻅﱢﻪ ﹾ ِ ِ ﻠ ﺑﺎریﺲ ٩١ یﻨﺎیﺮ ٢٠٠٢
- 55. ﻜﻠ ﺎ ﹶﻼﻤﺴ ﹶﺎ ﹸﱠﻤ ﺘ ﻨ ﻜﺄ ﱠﻙ ﻭﺠ ِﻲ ﻓﻲ ﺍﻟ ِﺭﺁﺓ ﻤ ﹶَﻨ ﻬ ﻜﺄ ِﻲ ﺍﻨ ِﻜﺎ ﻙ ﻓﻭﻕ ﺍﻟﻤﺎﺀ ﹶَﻨ ﻌ ﺴ ﹶ ﹶ ﻜﻠ ﺎ ﺘﻼ ﺴﻨﺎ ﹸﱠﻤ ﹶ ﹶﻤ ﺘﻼ ﹶﻰ ﻭﺠ ﻙ ﹶ ﹶﺸ ﻬ ﻭﻭﺠ ِﻲ ﻴﻨﻜ ِﺭ ﻬ ﹾ ﹶﺴ ﺑﺎریﺲ – ٩١ یﻨﺎیﺮ ٢٠٠٢
- 56. ﻤﻥ ﺃﺨﺭﺠ ﹶﻲ ﻤﻥ ﺍﻟﺘ ﺍﺏ ؟ َ ﹾ ﻨ ِ ﱡﺭ ﻤﻥ ﺃﺨ ﻨﻲ ﻤﻥ ﺍﻟ ﱡﺭﺍﺏ ﺇﻟﻰ ﺍﻟﺒﺤﺭ ؟ َ ﹾﺭﺠ ِ ﺘ ِ ﻷﺼﺒﺢ ﺠﺭﺡ ﺍﻟﻤﺎﺀ ً ِ َﺭﺍ ِﻴﺢ ﺍﻟﻤﺩ ﻭﺍﻟﺠﺯﺭ ﺃ ﺠ ﺤ ﹸﻭﻟﻲ ﻤﺩﻯ ﻘ ِﻼﻟﻲ ﺯﺭ ﹶﺔ ﻗ ﻅ ﺴ ِﻴﺭﻱ ﺫﻫﺏ ﺍﻟﺭﻤل ﹶ ﺭ ﻗﻨ ِﻴﻠﻲ ﻗﺼﺏ ﺍﻟﺴ ﱠﺭ ِ ﹾﺩ ﹶ ﻜ ﻤﻥ ﺃﺨ ﻨﻲ ﻤﻥ ﺍﻟ ﱡﺭﺍﺏ ﺇﻟﻰ ﺍﻟﻔﺠﺭ ؟ ﹶ َ ﹾﺭﺠ ِ ﺘ ِ ُﻓﻴﻕ ﻓﻭﻕ ﺍﻷﻓﻕ ﺍﻟﻤﺘﺭﺍﻤﻲ ﺃ ﹸ ﹶ ﹶ ُﹸ ِ ُﺯﻴﺢ ﺴ ﹶﺎﺭ ﺍﻟﺴ ﺎﺏ ﺃ ِ ﺘ ﺤ ِ ﺃﻤ ِﻲ ﻋﻠﻰ ﺃ ﺎﺒ ِﻲ َﺼ ِﻌ َ ﺸ ﻓﻲ ﻤﻤﺭ ﺍﻟﻔ ﺎﺀ ﹶﻀ ﺃﺘﻌ ﻯ ﻋﻠﻰ ﺠﺴﺭ ﻜﻭ ﹶﺏ ِ ِ ﹶ ﻜ َ ﹶ ﺭ
- 57. ﺃ ِﻴﻕ ﻨﺠﻤﺎ ُﺭ ﹸ ﹶ ﹰ ﺃﺴﺘ ِﻡ ﻭﺃﺸ ﺏ َ ﹶﺤ َ ﹾﺭ ﺃﺘﻤ ﻯ ﻓﻲ ﻭﺠﻪ ﺍﻟﺸﻤﺱ ِ ﱠ َ ﹶ ﺭ ﺃﺘﻤ ﱠﻁ َ ﹶ ﺸ ﺃ ﹶﺎﺸﻴﺩﻱ ﺍﻨﻬ ﺎﺭ ﻀﻭﺀ ِﻤ َﻨ ﻭﻜﻠ ﺎ ﺃﻀ ﻙ ... ﹸﱠﻤ َ ﺤ ﻴﺴﻘﻁ ﻨﻴ ﻙ ﹸ ﹸ ﹶ ﺯ ﺃﺨ ﻨﻲ ﺍﻟﺤ ﻤﻥ ﺍﻟﺘ ﺍﺏ ﺏ ِ ﱡﺭ ِ َ ﹾﺭﺠ ﻭﺇﻟﻰ ﺍﻟ ﱡﺭﺍﺏ ﻟﻥ ﺃ ﻭﺩ ﺘ ِ ﹶ َ ﻋ ﺑﺎریﺲ – ٩١ یﻨﺎیﺮ ٢٠٠٢
- 58. ﻋﺸﻕ ﺘ ِﻴﻕ ِ ﹾ ﹲﻋـ ﺒﺎﺭﻴﺱ ﻋﺸﻕ ﻋ ِﻴﻕ ﻴﺘﺠ ﺩ ِ ﹾ ﹲ ﺘ ﹲ ﹶ ﺩ ﻓﻲ ﺍﻟﻨﻭﺭ ﺘ ﺎ ﻯ ﻴ ﹶﻤ ﺩ ِ ﻓﻲ ﺍﻟ ﱠﻬﺭ ﺘ ﺩﺩ ﻨ ﻴ ﹶﻤ ﺒﺎﺭﻴﺱ ﺤﻠﻡ ﺤ ِﻴﻡ ﻴ ﹶﻔﺘﺢ ﹾ ﻤ ﺘ ﱠ ﻓﻲ ﺍﻟﻭﻫﺞ ﺘ ﺎ ﻯ ﻴ ﹶﻬ ﺩ ﻓﻲ ﺍﻟ ﱠﻠﺞ ﺘ ﻨﹾﺩﺡ ﺜ ﹾ ﻴ ﹶﺭ ﺇﻥ ﺩﻋﺘﻙ ﻴﺎ ﺒﺎﺭﻴﺱ ِ ﻭ ﹸ ِ ﺒﻭﺠﻬﻲ ﻓﻴﻙ ﺃﺘ ـ ﺢ ِ َ ِ ِ ِ ﹶﺼ ﺒ ﺑﺎریﺲ ـ ٠٢ یﻨﺎیﺮ ٢٠٠٢
- 59. ﻭﺠﻪ ﺃﻟﻬﺙ ﻓﻲ ﺼﺤ ﺍﺀ ﺫﺍﻜ ﺘﻲ ﺭ ِ ﺭ َﹾ ﹸ ﹶ ﺅ ِﻁﻁﻲ ﺘﻤ ُ ﻗ ﻋ ﺎﻓ ِﺭﻱ ﺘﺨﹾـ ﹶـ ِﻕ ﺼ ﻴ ﹶ ﺘ ﻨ ﺃﺭﺴﻡ ﻭﺠﻬﺎ ﻓﻲ ﺍﻟﻜﺜ ﺎﻥ ﹸ ﹾﺒ َ ﹰ ﺍﻟ ﻴﺢ ﻋﻠﻰ ﻭﺸﻙ ﺍﻟﻬ ﻭﺏ ﹾ ِ ﹾ ﺒ ﺭ ﻫﻨﻴ ﺔ .. ﹶ ﻬ ﻴﺼﺒﺢ ﻟﻠﺼﺤﺭﺍﺀ ﻭ ﻭﻩ ِ ِ ﺠ ﺘ ﺎ ِﻴل ﹶﻤ ﺜ ُ ﻤ ﺍ ِﻴل ﻭ ﻭ ُ ﻗ ﹶﺎ ِﻴل ﺍﻟﻘﻠ ِ ﺘﻨﻜ ِﺭ ... ﻭ ﹶﻨ ﺩ ُ ﹶ ﹾ ﺏ ﹶ ﹾ ﹶ ﺴ ﺑﺎریﺲ – ٠٢ یﻨﺎیﺮ ٢٠٠٢
- 60. ﺸﻤﺴ ﹶﺎ ﺎ ﹶﺕ .. ﹶ ﻨ ﻤ ﺘ ﻋﹶﻰ ﺸ ﺎﻜﻲ ﻠ ﹸﺒ ﺘﻁﻔﻭ ﻓﻲ ﺍﻟﻨﻬﺭ ﻋﻴ ﹶﺎﻙ ﱠ ِ ﻨ ِ ﺘﻀ ﺌﺎﻥ ﻟﻴﻠﻲ ﺍﻷﺴ ﺩ ﻭ ﹸ ِﻴ ِ ﺘﺴَﻻﻨﻲ : ﹶ ﺄ ﺃﻤﻥ ﻓﺠﺭ ﻴﻁﻠﻊ ِ ٍ ﹾﹸ ﺃﻭ ﺼﺒﺢ ﻴ ﻭﺩ ؟ ٍ ﻌ - ﺸﻤ ﻨﺎ ﺎﺘﺕ ﹶ ﺴ ﻤ ﹶ ﹾ ﺩﻓ ﱠﺎﻫﺎ ﹶﺍﺕ ﻴﻭﻡ ﹶﻨ ﺫ ﹶ ٍ ﻓﻲ ﺒﺤﺭ ﺒﻴﺭﻭﺕ ِ ﺍﻟﺤﻠﻡ ﻴﺤﺸﺭﺝ .. ﹾ ﹾ ِ ﻭﺍﻟ ﻭﺀ ﹶﻴﻨﺎ ﻴ ﻭﺕ ﻀ ﻓ ﻤ ﻻ ﺘﺴَﻟﻴﻨﻲ ﺒﻌﺩ ﹶ ﺄ ﻜ ﱡ ﺸﻲﺀ ﻤ ﻰ ٍ ﻀ ﹸل ﺃ ﹰ ﻟﻥ ﻴ ﻭﺩ َﺒﺩﺍ ﻌ ﺑﺎریﺲ - ٠٢ یﻨﺎیﺮ ٢٠٠٢
- 61. ﺸﻤﺱ ﺤﻤﺭﺍﺀ ﹶ ﻋﻴﺸﺘ ِﻲ ﻓﻲ ﺒﻴﺭﻭﺕ ﹾ ﹶﻨ ﺸﻤ ﺒﺎﺭﻴﺱ ﺍﻟ ﺎﺭ ﺓ ﺒ ِﺩ ﹶ ﺱ ﻜﻨﺕ ﺃﻤ ِﻲ ﻋﻠﻰ ﺃﻫ ﺍﺒﻲ ﺩ ﹸ ﹾ ﹸ َ ﺸ ﻜﻲ ﻻ ﺘ ﻯ ﺃﻁ ﺎ ِﻱ ﺘﻨ ِﻑ ﹾﻴ ﺭ ﹶ ﹾ ﺯ ﹶﺭ ﻓﻲ ﺤ ﹸﻭﻟﻲ ﺍﻟ ﱠﺎﺌ ﺔ ﻨ ِﻤ ﻘ ﻟﻡ ﺘﺘ ﻠﻕ ﺃﺸ ﺎﺭﻱ ﹶ ﹶﺴﱠ ﹾ َ ﹾﺠ ﻟﺘﺭﻯ ﺸﻤ ِﻲ ﺍﻟﺫﺍ ِﺒﺔ ﺌ ﹶ ﺴ ﻭﻟﻡ ﺃﺭﻜﺽ ﻓﻲ ﻘﻭِﻙ َ ﹸ ﺤ ﻟ ﻜﺎﻨﺕ ﺘﺘ ﺍﺭﻯ ﺎﺭ ﺔ ﻫ ِﺒ ﹶ ﹾ ﹶ ﹶﻭ ﻫ ﹶﺫﺍ ﹶﺎﻥ ﻤﺸ ﺍ ِﻱ ﻜ ﻜ ِ ﹾ ﻭ ﺭ ﻋﻴﻨﺎ ﺇﻟﻰ ﺍﻷ ﺎﻡ ﻤ ﹰ ﻋﻴﻨﺎ ﺇﻟﻰ ﺍﻟﻭﺭﺍﺀ ﹰ ﺸﻤﺴﺎ ﺤﻤ ﺍﺀ ﹶ ﹰ ﺭ ﻨﺼ ﹸﻬﺎ ﻓﻲ ﺍﻟﺒﺤﺭ ِ ِ ﻔ
- 62. ﻨﺼ ﹸﻬﺎ ﻓﻲ ﺍﻟﻌ ﺍﺀ ﺭ ِ ﻔ ﻜ ﱠﺎ ﻜﺎﻷﻁ ﹶﺎل ﻨﻀ ﻙ َ ﹾﻔ ِ ﹶ ﺤ ﹸﻨ ﻗﻠ ِﻲ ﺘ ﱠﺎﺤﺔ ﺤ ﺤﻤ ﺍﺀ ﻭ ﺒ ﹸﻔ ﹸ ﺏ ﺭ ﺘﻨ ﱢﻁ ﺴ ﱠﺭ ﹸ ﹶﻘ ﹸ ﻜ ﹶﺎﻥ ﺍﻟﻤﺸﻬﺩ ﺸﻬ ﺎ ﻜ ﹾ ﻴ ﻭﺃﺴ ﹶﺎ ﹸﻙ ﺍﻟﺒﻴ ﺎﺀ َ ﻨ ﻨ ﻀ ﺘﻨﻬﺵ ﹸﻔﺎ ﺘﻲ ﺍﻟﺴﻜﺭ ﺔ ﹶ ِﻴ ﹶﹾ ﹸ ﺘ ﺤ ﻭ ﻨﺭ ﹸ ﺽ ﹶ ﻜ ﻭ ﻭ ﻨﺎ ﺘﻀﺤﻙ ﺠ ﻫ ﹶ ِﻼﹸﻨﺎ ﺘﻨﺯﻑ ﻅ ﻟ ﹶﹾ ِ ﹸ ﻭﺤﺩﻱ ﻜﻨﺕ ﺃﻋﺭﻑ ﹸﹾ ﹸ َ ِ ﹸ ﺃﻥ ﻓﻲ ﺁﺨﺭ ﺍﻟﻤ ﹶﺎﻑ ِ ﻁ َ ﺘﺘ ﺼ ﻨﺎ ﺍﻟ ﺎ ِﻴﺔ ﹶ ﹶﺭ ﺩ ﻬ ﻭ ﻋﻴﺸﺘ ِﻲ ﻓﻲ ﺒﻴﺭﻭﺕ ﹾ ﹶﻨ ﺸﻤ ﺒﺎﺭﻴﺱ ﺍﻟﺒﺎﺭﺩﺓ ﹶ ﺱ
- 63. ﺇﻟﻰ ﺒﺎﺭﻴﺱ ﺍﻟﻴﻭﻡ ﺃ ﻭﺩ َ ﻋ ﻭ ﺎﺯﻟﺕ ﺃﺭ ﹸﺽ ﻤ ﹸ َ ﻜ ﺨ ﹶﺎﻱ ﺴ ﺎﺏ ﹸﻁ ﺤ ﺼ ﺎ ﺎﺕ ﺘ ﻭﺕ ﺒ ﺤ ﹲ ﹶ ﻤ ﺃﺭ ﹸﺽ .. ﻜ ﺨﻠﻑ ﺸﻤ ٍ ﺤﻤ ﺍﺀ ﻓﻲ ﺒﻴﺭﻭﺕ ﹶ ﹾ ﹶ ﹶ ﺱ ﺭ ﺑﺎریﺲ – ١٢ یﻨﺎیﺮ ٢٠٠٢
- 64. ﺒﻌ ﻤﺎ ﺍ َﻤﻴﺭ ﺎﺕ ﺩ ﻷ ﻤ ﺃﺸ ﺎﺡ ﺘﹸﻭﺡ ﻠﻰ ﺍﻟﺸﺭ ﹶﺎﺕ ﱡ ﻓ َ ﹾﺒ ﻠ ﻋ ﺘﻬﻤﺱ ﺒﺎﺴﻡ ﺃﻤﻴﺭ ﺎﺕ ﹶ ٍ َ ِ ِﻤ ﺍﻟ ﺎﺭﻴﺔ ﺍﻟﺴﻭ ﺍﺀ ﺠ ﹸ ﺩ ﻘﻁ ﻤﻥ ﻜﻔﻴﻬﺎ ﺴﹶ ﹶ ِ ﹶﱠ ﺸﻤﻊ ﺍﻟﻤﺼ ﺎﺡ ﹶ ِ ﺒ ﻭﺍﺸﺘ ﻠﺕ ﹶﻌ ﹶ ﹾ ﻭﺍﻹﻟﻬﺔ ﺍﻟ ﺎﺸ ﹶﺔ ﹶ ﹸ ﻌ ِﻘ ﺃﺨﻁﺄﺕ ﺴﻬﻤ ﺎ َ ﹾ ﹶ َ ﹾ ﻬ ﻭ ﺎﻋﺕ .. ﻀ ﹾ ﻭﺍﻟﺤ ﺍﺱ ﺜﻤﹸﻭﺍ ﺭ ﹶ ِ ﻠ ﺤﺘﻰ ﹶﺎ ﻭﺍ ﱠ ﻨ ﻤ ﻓﻘﺄ ﺍﻟﻠﻴل ﺃﻋﻴ ﺍﻟ ﱠﺒﺎﺒﻴﻙ ﹶ ﹶ َ ُ َ ﻥ ﺸ ﻭﺍﻟﺠ ﺭﺍﻥ ﺒﻜﺕ ﹸ ﺩ ﹶ ﹾ
- 65. ﻓﺎ ﱠﻜﺄﺕ ﻋﻠﻰ ﻼﻟ ِﻬﺎ ﺴ ِﻤ ﺘ َ ﹾ ِﺜل ﻋ ﻭﺯ ﻋﻠﻰ ﻋ ﱡﺎﺯ ﻜ ﻤ ﹾ َ ﺠ ٍ ﻭﺍﻟﺩﻡ ﺭ ِـﺢ ﻴ ﺸ ﻤﻥ ﻓ ِ ﺍﻟﻤ ﺯﺍﻴﻴﻙ ِ ﹶﻡ ﻭ ﻓﻲ ﺤ ِﻴﻘﺔ ﺍﻟﻘﻠ ِ ﺍﻟﻜ ِﻴﺭ ﺩ ِ ﹶ ﹾﺏ ﹶﺒ ﻻ ﻁ ﹸﻭﺱ ﻤ ﺎ ِﻴﺔ ﺒﻌﺩ ﹸﻘ ﺴ ﺌ ﹰ ﻷﺴ ﺍﺏ ﺍﻟﻌ ﺎ ِﻴﺭ َ ﺭ ِ ﺼ ﻓ ﺒﻌﺩ ﻫﺫﺍ ﺍﻟﺨ ﺍﺏ ﹶﺭ ﻟﻥ ﻴ ﻭ ﻨﻲ ﺤ ّ ﹶ ﺯ ﺭ ﺏ ﺑﺎریﺲ – ١٢ یﻨﺎیﺮ ٢٠٠٢