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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. ﺼﻔ ﺭ ﺍﻟ ﻔﺎﺯﺍﺕ .................................................. ٦ ﻋ ﻭ ﻤ ﺍﻟ ﻌﺎﺭﻙ ............................................................ ٩ ﻤ ﺍﻟﻤﺤﺎﻜﻤﺎﺕ ....................................................... ١٢ ﺍﻷﺒﻁـﺎل ............................................. ٢٢ ﺍﻟﻌــﺎﻟــﻡ ..................................................... ٤٢ ﺍﻟﺤﺏ ............................................................... ٦٢ ﺭﺍﺌﺤـــﺔ ...................................................... ٩٢ ﹶﺴــﺎﺌــﺭ ................................................... ٢٣ ﺨ ﺘﺤﺕ ﺍﻟﻐ ﺎﺭ ...................................................... ٣٣ ﹶ ﹶ ﹸﺒ ﹸﺒﺭ ﻟﻠﻴ ﹶﻰ .. ..................................................... ٦٣ ﻗ ﹶ ﻠ ﻤﻭﺴﻴ ﹶﻰ ﻨﺎﺌ ﻴﺔ ﻟﻲ ............................................. ٦٣ ﻘ ﺠ ﺯ ﻴﺎ ﺠﺩﺭﺍﻥ ﻤﺴﺎﻓﺭﺓ ............................................... ٧٣ ٍ ﻨﺎﺯ ﺼﺎﻤﺕ ﻟﻤﻭﺕ ﻟﻴ ﹶﻰ .............................. ٠٤ ِ ﻠ ﹲ ﺠ ﺸﻤﺱ ﺍﻟﻬ ﹶﻴﺎﻨﺎﺕ................................................. ٢٤ ﺫ ﺘﺎﺒﻭﺕ ﻠ ِﻲ ...................................................... ٧٤ ﻤ ﹶﻜ ّ
- 5. ﹶﻠــﻠل ......................................................... ١٥ ﻁ َﹲ ٌ ﻭ ﹸﻭﺒﻴﺎ .. ﺇﺭﺍ ﺓ .................................................. ٥٥ ﺩ ﻴ ﺘ ﺸﻴ ﹸﻭﺨﺔ ٣٢ .................................................... ٩٥ ﹶ ﺨ ﹶ ﹸ ﹶﻤﻼﻙ ﻐﻴﺭ ..................................................... ٣٦ ﻜ ﹶٍﺼ ٍ ﺍﻟﻤﻁ ـــﺦ ..................................................... ٩٦ ﹸ ﹾﺒ ﺴﻤﻙ ﻤﻠﻭﺙ ﺒﺎﻟ ﹶﻭﺍﺒﻴﺱ ........................................... ٧٧ ﹶ ّ ﹲ ﻜ ﻫ ﹶﻴﺎﻥ ﻻ ﻴﻠﻴﻕ ﺒﻤﺠﻨﻭﻥ .......................................... ١٨ ﹸ ﺫ ﻫﺠﺭﺓ ﺍﻟﺠ ـــــﺎﺕ .......................................... ٩٩ ﹸ ﻬ
- 6. ﺍﻟﻘﻴﻤﺔ ﻟ ﻱ ﺃﻤﺎﻥ، ﺒﺎﻟﺘﺄﻜﻴﺩ، ﺤﻴﺙ ﺍﻟﺤﻴﺎﺓ ﺤﻘﻴﻘﺔ، ﻓﻌﻼ. ﹰ ﹶﺩ ﻭﻟ ﻱ ﻴﻭﺴﻑ ﻤﺼﻁﻔﻰ ﻋﻠﻲ ﺍﻟﻌﺭﺒﻲ ﺍﻟﻨﻔﻴﻌﻲ، ﺸﻴﺦ ﺍﻟﻌﺭﺏ ﹶﺩ ﺍﻟﺤﻘﻴﻘﻲ، ﻭﺁﺨﺭﻫﻡ – ﺭﺤﻤﻪ ﺍﷲ – ﻤﺎ ﻫﻨﺎﻟﻙ ﻤﻥ ﺨﻴﺭ، ﻭﻤﺎ ﺴﻭﺍﻩ ﻓﺄﻨﺎ ﺃﺒﺭﺃ – ﻗﺒﻠﻪ – ﷲ ﻤﻨﻪ. ﻟ ﻱ ﺴﻤﻴﺭﺓ ﺇﺒﺭﺍﻫﻴﻡ ﻤﻨﺼﻭﺭ، ﺍﻟﺘﻲ ﺃﻋﻁﺎﻫﺎ ﺍﷲ ﻜل ﻫﺫﺍ ﻭ ﹶﺩ ﻓﺄﺤﺴﻨﺕ ﻓﻴﻪ. ﻭﻟ ﻱ ﺃ.ﺩ. ﻋﻠﻲ ﻋﺸﺭﻱ ﺯﺍﻴﺩ، ﺃ.ﺩ. ﺃﺤﻤﺩ ﺩﺭﻭﻴﺵ، ﹶﺩ ﺩ. ﺼﻼﺡ ﺍﻟﺴﺭﻭﺭﻱ، ﺃﺤﻤﺩ ﺯﺭﺯﻭﺭ، ﺠﻤﺎل ﺍﻟﻘﺼﺎﺹ، ﺍﻟﻘﻴﻤﺔ، ﺤﻴﺙ ﻻ ﺯﻭﺍل. ﻭﹶﺩﻱ ﻋﺭﺏ ﺜﺎﺒﺕ ﺒﺄﺒﻲ ﺤ ﺎﺩ: ﺍﻟﺤﺩﺍﺌﻕ ﻭﺍﻟﺭﻤﺎل ﻭﺍﻟﻨﺎﺱ ﻤ ﻟ ﻭﺍﻟﻤﻘﺎﺒﺭ، ﺍﻟﺠﻐﺭﺍﻓﻴﺎ ﺍﻟﺘﻲ ﺘﺘﺤﻭل ﻟﺘﺒﻘﻰ، ﻤﻬﻤﺎ ﺃﺭﺍﺩﻭﺍ. ﻟ ﻱ: ﺸﺠﺭﺓ ﺍﻟﺯﻨﺯﻟﺨﺕ ﻓﻲ ﺤﺩﻴﻘﺔ ﺍﻟﺒﻴﺕ ﺍﻟﻘﺩﻴﻡ، ﻭﺘﻜﻌﻴﺒﺔ ﻭ ﹶﺩ ﺍﻟﻌﻨﺏ ﺍﻟﺘﻲ ﺃﻅﻠﺕ ﻴﻭﺴﻑ. ﻟ ﻱ ﺃﺴﻤﺎﺀ ﻭﻫﺎﻟﺔ ﺃﺒﻨﺘﻲ ﻭﻭﺭﺩﺘﻲ ﺭﻭﺤﻲ. ﻭ ﹶﺩ ﺭﻀﺎ ﻴﻨﺎﻴﺭ ٥٩٩١
- 7.
- 8. ﻴﻘﻅﺔ ﻤﻥ ﻏﻔﹾﻭﺓ ﺍﻟﻴﻨﺎﺒﻴﻊ ِ ﹲ ]ﺒﻜل ﺘﻴ ﺴﻬﺎ ﻭﻤﻠﻭﺤﺘﻬﺎ[ ﺒ ﻓﺭﺍﺭ ﺇﻟﻰ ﺃﺒﺩﻴﺔ ﺍﻟﺩﻡ ﺍﻟﻤﺴﻔﻭﺡ ﻓﻲ ﺍﻟﻤﻨﺎﻓﻲ ِ ِ ِ ﻟﻡ ﺘﻜﻥ ﺩﻤﻌﺔ ﺘﺴﻴل ُ ﹲ ﺜﻡ ﺍﻨﻬﻴﺎﺭ ﻓﻲ ﻓﻨﺎﺭﺍﺕ ﺍﻟﺭﻭﺡ ﹶ ﻫﻲ ﻴﻘﻅﺔ ﹸ ﺘﺄﺨﺫ ﺤﻠﻡ ﺍﻟﻴﻨﺎﺒﻴﻊ ﺍﻟﺭﺍﺌﻕ ﹶ ﺘﻘﺫﻑ ﺠﺴﺎﺭﺓ ﺍﻟﻌﺯﻟﺔ ِ ﻭﺘﺫﺭﻑ ﻤﺩﺭﺍﺭﺍ ﻋﻠﻰ ﻨﺴﻴﺞ ﺍﻟﻐﻔﻭﺓ ﹾ ﹰ ]ﻏﻔﻭ ﹲ؟ ﺓ ﺃﻡ ﺇﺴﻔﻨﺞ ﺍﻟﺭﻓﺎﻫﻴﺔ ﺍﻟﺭﻭﺤﻴﺔ؟[ ﻟﻴﺱ ﺒﺎﻫﻅﺎ ﺍﻟﺤﻠﻡ ﺒﺎﻟﺒﻜﺎﺀ ِ ﹰ ﺒﻘﺩﺭ ﻤﺎ ﻫﻭ ﺒﺎﻫﻅ ﺇﺩﺭﺍﻙ ﻟﻭﻋﺔ ﻴﻨﺒﻭﻉ ﻴﻔﻴﻕ ٍ ﹸ ِ ﹲ
- 9. ﻓﻴﻠﻤﺱ ﻤﻭﺴﻴﻘﻰ ﹾ ﺤﻴﻥ ﻴﻔﺘﻘﺩ ﺸﺠﺭﺓ ﹰ ﺩﺭﻙ ﺘﺤﺠﺭ ﻋﺼﻔﻭﺭ ﺍﻟﻤﻔﺎﺯﺍﺕ ﹾ ِ ﻴ ﻋﻠﻰ ﺼﺨﻭﺭ ِ ﺍﻟﻤﻨﺎﻓﻲ ﺃﺒﻭ ﺤﻤـﺎﺩ ٠٩٩١
- 10. .. א א " .. .. .." ؟؟
- 11. -١- ﺴﻭﻑ ﺘﻐﻨﻲ ﺍﻟﻤﺠﺎﺩﻴﻑ ... ﺴ ﹸﻐﻨﻲ ﺘ ﹸ ﹶ ﻭﺘﻨﺼﺭﻑ ﺍﻟ ﻔﻴﻨﺔ ﺇﻟﻰ ﺸﺭﺍﻉ ﻴﻨﹾﻬﺽ ﹸ ﺴ ﻤﻥ ﺘﺎﺒﻭﺕ ﺍﻟﺭﺃﺱ ِ ْ ﺍﻟ ﻭﺡ ﺭ ﺍﻟﺘﻲ ﻗﺎﺀﺘﹾﻬﺎ ﻋﻨﹾﺩﻤﺎ ﻤ ﺕ ﺭ ﻋﻠﻰ ﺼﺭﺍﻁ ﺍﻟﺠﻭﻉ ِ ِ ﺍﻟ ﻨ ﺍﺕ ﺴﻭ ﹸ ﺇﻨﺎﺀ ﻴ ﹶﻁﺭ ﺍﻵﺘﻲ ﻘ ﻭﻜﺎﻥ ﺍﻟﻤﻭﺴﻴﻘﻲ ﻴﺭﺠﻭ ﺍﻟﻤﻭﺴﻴﻘﻰ ﺃﻥ ﺘﻘﹾﺘل ﻓﻲ ﻫﺩﻭﺀ َ ﺍﻟ ﻭﺭ ﺍﻟﻌﺘﻴﻘﺔ ﹶ ﺼ ﻋﻠﻰ ﺠﺩﺍﺭ ﺍﻟﻠﺤﻥ ﺍﻟ ﻨﺎ ِﺯﻱ ِ ﹼ ِﺠ ﺌ ﻤ ﻕ ﺍﻟﻘﺎﻨﻭﻥ ﻤﻥ ﻨﺎ ← ﻻ ﺃﻋﺭﻑ ﻫ ﺭﹶ ]ﺍﻟ ﹶﺎﻨﻭﻥ !![ ﻘ ﺴﻴﺩﺨﻨﻭﻥ ﻭﻴﻬﻴﻤﻭ ، ﻥ
- 12. ﺒﻴﻨﻤﺎ ﻫﺭﺓ ﻓﻲ ﺍﻟﻤﻌﻤل ﺍﻟﹼﻐﻭ ، ِ ﻠ ﻱ ﹲ ﹸﻨﺨﺭﺏ ﺍﻟﻐﺒﺎﺭ ﺘﹶ ﹾ ِ ﺴﻔﻴﻨﺔ ﺘﻨﻔﻲ ﻀﺠﻴﺞ ﺍﻟﻤﺠﺎﺩﻴﻑ ِ ﹲ ﺭﻭﻴﺩﺍ ﹰ ﻭﺇﻨﺎﺀ ﻴﻨﹾﺩﻟﻕ ﻤﻨﻪ ﺍﻟﻘﺎﻨﻭﻥ ﻤﺎﺫﺍ ﻴﺭﻴﺩ ﺍﷲ ﻤﻨﻲ ﺒﺎﻟﻀﺒﻁ ← ﺃﻋﺭﻑ ﹸ ﺍﻹﻨﺎﺀ ﺍﻹﻨﺎﺀ !! ﺜﻘﺏ ﻴﺩﺨل ﺍﻟﻐﺭﻕ ﻤﻨﻪ ﹸ ﹾ ُ ﻫﺫﻩ ﺍﻟﺸﻌﺭﺍﺕ ﻋﻠﻰ ﺍﻟﺤﺎﻓ ِ ﹶﺔ ﹸ ﻨﺎﻤﻭﺱ ﺍﻟﺨﺭﺍﺏ ﻜﻴﻑ ﺘﻠﺘﻘ ﹸﻬﺎ ﻫﺭﺓ ﺫﻴﹸﻬﺎ ﻴﻤﻸ ﺍﻟﻤﻌﻤل ﺍﻟﻠ ﹶﻭﻱ َ ﱡﻐ ُ ﹲ ﻠ ﹶ ﹾ ﻁ ﺒﺎﻟﺠ ﹶﺎﺯﺍﺕ ﻨ ﹾ
- 13. ]ﺍﻟﻤﺠﺎﺩﻴﻑ ﻋﻠﻰ ﺃﻋﻨﺎﻕ ِ ﹸ ﻴﻭﺵ ﺍﻟ ﹼﺎﺒﻌﻴﻥ !! ﺘ ﺠ ﻁﺭﺏ ﺠﻤﻴل ﺃﻴﻬﺎ ﺍﻟﺨﺭﺍﺏ ٌ ﹶِ ﺃﻴﻬﺎ ﺍﻟﺘﻴﻪ[ ﹼ ﻤﻠﻙ ِ ﻫﺫﻩ ﺍﻟ ﻤﻜﺔ ﺍﻟﺘﻲ ﻨ ِ ﺘﹾﻬﺎ ﹶ ﺴﻴ ﺴ ﹸ ﻤﻠﻭﺜﺔ ﺒﺎﻟﻜﻭﺍﺒﻴﺱ ↔ ﻓﻲ ﺍﻟﻤﻌ ل ﺍﻟﻠ ﹶﻭﻱ ﻤ ﻐ ﹲ ]ﻜﻡ ﺃﻨﺕ ﻤﻌ ﱢﺒﺔ ﺃﻴﺘﻬﺎ ﺍﻟﻐﻴﻤﺔ![ ﹸ ِ ﺫﹲ :ﺨﻠﻑ ﺍﻟﻌﻼﻤﺎﺕ ! ﹾ - ﺃﻴﻥ ﺍﻟﺒﻭﺼﻠ ﹸ؟ ﺔ ﺴﻴﺎﻕ ﻴﻨﻔﻲ ﺍﻟﻤﺎﻭﺭﺍﺀ ﹲ ﻭﻴﺘﻌﻘﺏ ﺍﻟﻘﺎﻨﻭﻥ ]ﻜﻡ ﺃﻨﺕ ﻤﻌ ِﺒﺔ ﺃﻴﺘﻬﺎ ﺍﻟﻐﻴﻤﺔ![ ﹸ ِ ﺫ ﻜﻡ ﹶ ﺍﻟﻘﺎﻫﺭﺓ – ﺃﺒﻭ ﺤﻤﺎﺩ* ﻴﻨﺎﻴﺭ – ﻓﺒﺭﺍﻴﺭ ١٩٩١
- 14. -٢- ﺇﻨﹾﻬﺎﺭ ﺍﻟﺠﺩﺍﺭ ﺍﺘﻀﺢ ﻜ ﱡ ﺸﻲﺀ ﹸل ﹶ ﻴﻘﻴﻥ ﻭﺍﺤﺩ ﻤﺎ ﺍﻟ ﹼﻱ ﻴﺤﺩﺙ! ﹸ ﺫ ﺃﺸﹾﺭﻗ ِ ﺍﻟ ﺅﻴﺎ ﻟﻠﺭﺍﺌﻲ ﹶﺕ ﺭ ﻴﻘﻑ ﺍﻟﺤﺩﺱ ﺃﻋ ل ﺃﺤ ﺍ ﹸ ﺯ َ ﺩ ﺤﺭﺍﺌﻕ ﻭﺍﻨﻬﻴﺎﺭﺍﺕ ﻻ ﹸﺩﺭﺓ ﻗ ﹶ ﻫﺭﺓ ﺘﻌﺠﺯ ﹲ ﻟﻴﺱ ﺴﻭﻯ ﺍﻟﺸ ﻭﺩ! ﻬ ِ ِ ﻭﺫﻴل ﻴﺨﹾﺸﻰ ﺍﻟﺤﺭﻴﻕ ﹾ ٍ
- 15. ﻁﺎﻡ ﻭﺭﻤﺎﺩ ﺤ ﺍﻟﻁﺭﻴﻕ ؟! ﹸ ﺤﺭﻭﻑ ﻻ ﹸﻁﻴﻕ ﹲ ﺘ ﹾ ﺍﻟ ﺍ ُﻭﻥ ﺭﺅ ﺘﺤﻤل ﻜل ﻫﺫﺍ !! ﻭﺍﻀﺢ ... ﻭﺍﻀﺢ ﻤﻘﺎﻋﺩ ﺘﻀﺤﻙ ﹶ ﺍﻟ ﻼﻫﺔ ﺭﺍﺌﺤﺔ ﹲ ﺒ ﹸ ﻤﻥ ﻜ ﱢ ﹶﻲﺀ ﺘﻘﻭل ُ ﹸل ﺸ ٍ ﺍﻨﹾﻬﺎﺭ ﺍﻟﺠﺩﺍﺭ ﺘﻨ ﹶﺼﺭ ﺍﻟﻤ ﹶﺎﻫﺩﺓ ﹾﺘ ﺸ ﹸ ﻭﺘﻘﻑ ﺍﻻﺸ ِﺒﺎﻫﺎﺕ ﹾ ﹶ ِ ﹸ ﹾﺘ ﺍﻟﻁﺎﺌﺭ ﻴﺼﻌﺩ ← ﺇﻟﻰ ﺃﻴﻥ ! ﹼ ﻭﺍﻟ ِﺩﺍﺭ ﻴﻨﺎﻡ ← ﻟﻤﺎﺫﺍ! ﺠ ﻜﻴﻑ ُﻨﻬﺽ ﺍﻟﺠﺩﺍﺭ ﻭﺃﻨﻔﺦ ﹸﹸ ﺃﹾ ِ
- 16. ﻓﻲ ﺍﻟ ﹼﺎﺌﺭ ! ﻁِ ]ﻫﻨﺎ ﻴﻌﻴﺸﻭﻥ ﺤﻴﺙ ﻴﺠﺭﻱ ﹸ ﺴ ﺱ ﺍﻟﺴﻨﻭﺍﺕ[ ﹾ ﻭ ﺭﺍﺌﻕ ﺘﺨﺘﺼﺭ ﺍﻟ ﱡﺭﻓﺎﺕ ﹾ ﺤ ِ ﹸ ﹾ ِ ﺸ ﺸﺭﻓﺘﻲ ﹸ )ﻜل ﹶﻲﺀ ﺸ ٍ ﻜﻴﻑ ﺃﻭﻗﻅ ﻤﻥ ﻏﻔﹾﻭﺓ ﺍﻟ ﹶﺭﺍﺏ ﹶ ِ ﺨ ﹸ ﹶ ﺘﻬﺎﻭﻯ ﻴ ﻴﺘﻬﺎﻭﻯ ﻜ ﱡ ﺸﻲﺀ( ﹸل ]ﺘﺭﻜﺽ ﺍﻟ ﺭﺨﺔ ﻫﻜﺫﺍ ﺼ ﹶﹸ ﻓﻲ ﺒﻁﻥ ﺠﻴل ﺍﻻﻨﹾﻬﻴﺎﺭﺍﺕ[ ﹾِ ﺸﺎ ِﺩ ﺜﻤل ﻭﻓﻌل ﺤﺘﻀﺭ ﻫ ﹶِ ٌ ِ ٌ ﻤ
- 17. ﻭﻀﻼﻻﺕ ﺘﻤﻸ ﺍﻟ ﻭﺍﺀ ﹲ ُ ﻬ ﻤﺎ ﺍﻟﺫﻱ ﻴﺤﺩ ﹸ ! ﺙ ﻤﻘﺎﻋﺩ ﻻ ﺘﻔﹾﻨﻰ ﹶ )ﺍﻟ ﻘﻴﻘﺔ( ﺤ ﹶﹸ ﺠﻴﺵ ﻴﺠﺭﻱ → ﻫﺭﺓ ... ﻭﻗ ﺍﺱ ﺤﺎﻓل ﺒﻌﺯﻟﺔ ً ِ ﹸﺩ ﹲ ﺍﻟﻜﺎ ِﻨﺎﺕ ﺌ ﹾ ﺠﻨﺎﺯﺓ ﺍﻟﻠﻭﻥ ... ﺯ ﺍﺝ ﺍﻟ ﹸﺭﺸﹾﺎﺓ ﻭ ﻔ ﹾ ِ ﹸ ]ﺍﻟﻘﺩﺭﺓ ﺘﻐﻠﻲ ﻭﺍﻟﻤﻨﺘ ِﺭﻭ ﹾ ﹶﻅ ﻥ ِ ﹸ ﺤﻭل ﺍﻟﺸﺭﻓﺔ ﺍﻟﺠﻭﻉ ﻜﺜ ﺭ [ ﹸﹸ ﺤ ﺔ ﻭﺍﺤﺩﺓ ﹲ ﻀ ﻴ ﻭﻗﺘﹾﻠﻰ ﻜﺜﻴﺭﻭﻥ ﹶ ﺃﺒﻭ ﺤﻤﺎﺩ * ﻓﺒﺭﺍﻴﺭ ١٩٩١
- 18. -٣- ﻭﻫل ﻜﺎﻥ ﺜﻡ ﺠﺒل! ﹶْ ﺍﻨﹾﻬﺎﺭ ﺍﻟﺠﺒل ُ ﻜﺎﻥ ﻻﺒﺩ ﻤﻥ ﺍﻟﻭﻫﻡ ِ ﺤﺘﻰ ﺘﺭﻯ ﺍﻟﺤﻭﺍﺌﻁ ← ﺍﻟﺭ ﺎﺡ ﻴ ﹸ ﺍﻷﺒ ﺓ ﺍﻟﺘﻲ ﺘﺴﻘﻁ ﻜل ﻴﻭﻡ ﹸ ﹸ ُ ﻭ ﺘﻔﻘﺩ ﹸﻔﻭﻟﺘ ﺎ ﻁ ﹶﻬ ﺒﻔﻘﹾﺩ ﺃﺒﻴﻬﺎ ﺍﻟﻐﺯﻟﺔ ﺘﻘﹾﺭﺃ ← ﺍﻟﺭﻴﺎﺡ ﹸ ﹸ ُ ﺤﻴﺙ ﻴﺒﺩﻭ ﹸ ﺍﻟ ِﻴﺎﺏ ﻐ ﻋﺼﻔﹾﻭﺭ ﺸﻭﻙ ٍ ﻭﻻﺒﺩ ﻤﻥ ﻭﺭﺩﺓ ﺒﻌﻴﺩﺓ ..... ﺒﻌﻴﺩﺓ ٍ ٍ ٍ ﻴ َ ﺔ ﺤﺘﻰ ﺴﻴل ﺩﻤ ﹸ
- 19. ﻓﺘﺤﻤﺭ ﻭﺭﺩﺓ ﺍﻟﻐﻴﺎﺏ ﹸ ﺍﻻﹾﻨﺘﻅﺎﺭ ﻨ ﹸﺭ ﺸ ﺎﻙ ﺍﻟﺨﺭﺍﺏ ﻴ ﻘ ﹸﺒ ﻭﺍﻟﺭﺤﻠﺔ ﹸ ﻫﺠﺭﺓ ﺍﻟ ﻀﻭﺭ ﹸ ﺤ ﺤﻴﻥ ﻴﺄْﺘﻭﻥ ﻜﺭﻴﺵ ﻤﻥ ﺍﻟ ﺒل ٍ ﺠ ِ ﻫﻨﺎﻙ ﻭﺍﻟ ﻴﺢ ﺭ ﻨﺎ ﻫ ﺍﻟ ﻴﺢ !! ﺭ ﺍﻟ ﹼﻼﻡ ﻅ ﻴﻁﻠﺴﻡ ﺍﻟﺤﺭﻭﻑ ﹶ ﹶﹾ ِ ﻓﻴﺸﺭ ﹸ ﺍﻟﻐﻴﺎﺏ ﹾ ِﻕ .... ﺎﺏ ﻴ
- 20. ﹸﻁل ﺍﻟﻭﺭﺩﺓ ﹸ ﺘ ﱡ ﻤﻥ ﺸ ﺎﻙ ﺘ ﹶﻭ ﻤﻪ ﺍﻟ ﻴﺢ ﹸﺒ ﺘ ﻫ ﺭ ﺘﻨﻜﺴﺭ ﺍﻟﺤﺭﻭ ﹸ، ﻑ ﺤﻴﻥ ﺘﻔﹾﺘﻥ ﹸ ﺍﻟ ﺭﺓ ﺒﻨ ﹶﻑ ﺍﻟﻭﻫﻡ ﻬ ﹸ ﹸﺘ ﻭﺍﻟﻅﻼﻡ ﻤﺭﺒﺽ ﺍﻟﺭﻴﺵ ﹾ ﺒﻼ ﺸﻲﺀ ﻭﺘﻁل ﺍﻟﺴﻔﻴﻨﺔ ﺒﻼ ﺸﻲﺀ ﹶ ﱡ ﹸ ﻭﻴﺸﹾﺭﻕ ﺍﻟﻐﻴﺎﺏ ﺒ ِﺸﻨﻘ ٍ ﻟﺤ ﹶﻤﻴﺔ ِﻤ ﹶ ﹶﺔ ﺘ ِ ﺍﻟ ﻭﺍﺀ ﻓﻲ ﺍﻟﺨﺭﺍﺏ ﻤ ِ ﻷﻥ ﻜل ﺸﻲﺀ ﻻ ﺸﻲﺀ ﱠ ٍ ﺒﻌﻴﺩﺍ ﻓﻲ ﺍﻟ ِﻨﺎﺀ ﻐ ﹰ ﻓﻬﻡ ﹶ ﻴ ﺎﻭﻟﻭﻥ ﻓﻲ ﹶﺭ ِﻕ ﺍﻟﻌﺩﻡ ﻁ ﻴ ﺤ
- 21. ﻤﺴﺭﺡ ﻤﻅﹾﻠﻡ ﻭﺸﺎﻫﺩ ﺩﺍﺭ ﻴ ﺤﻴﺙ ﻻ ﻤﻜﻥ ﹶﻔﺎﺩﻱ ﹸ ﻴ ﺘ ﺍﺼﻁﹾﺨﺎﺏ ﺍﻟ ﺭﻭﻑ ِ ِ ﺤ ﻭ ﹶﺸ ِﺞ ﺍﻟﺩ ﺎﻍ ﻤ ﹾ ﻨ ﻴ ﺃﺒﻭ ﺤﻤﺎﺩ * ٨٢/٢ – ٤/٣/١٩٩١
- 22.
- 23. ﺍﻷﺒﻁـﺎل - ﻤﻥ ﻫﻨﺎ – ﺘﻤﺘﺩ ﹶ ﹶ ﺍﻟ ﹼﻬﺎﻴﺎﺕ ﹸ ﻨ ﻭﻻ ﻴﺒﺩﺃ ﺍﻟ ﹼﺠﺭ ﺍﻟ ﹶﺩﻴﻡ. ﺸ ﻘ ﺴﻴﻤﺭ ﻜل ﺸﻲﺀ ﱡ ٍ ﻴﺤﺴ ﻪ ﺍﻟﻅﻤﺂﻥ ِﺩﺍ ﺍ ﺠ ﺭ ﺒ ﻭﻟﻭ ﻨﻅﺭ ﺘﺤﺕ ﻗﺩﻤﻴﻪ ِ ﹶ ﻟﺭﺃﻯ ﺭﻭﻋﺔ ﺍﻷﻨﻘﺎﺽ. ﹶ ﹸﺭﺍﺩﻯ ﻓ ﻋﺒﺭﻭﺍ ﻋﻨﺩ ُﻤﻭﻤﺔ ﺘﻨﹾﺘﺤﺏ ﺃ ٍ ﻤﻥ ﻟﻭﺜﺔ ﺘﻤﺱ ﺃْﻁﺭﺍ ﹶﻬﺎ ﺍﻟﻤﻨﺎﺤﺔ ﹶ ﹶ ﻓ ﹶ ﻭﻻ ﻤﻜﻥ ﺃﻥ ﻴﻨﹾﻬﺽ ﻤﻥ ﺍﻷﺸﻴﺎﺀ ِ ﻴ
- 24. ﺍﻟﻜﻼﻡ ﻫﻜﺫﺍ ﻏ ﻠﺕ ﺃﺩﺭﺍ ﹶﻬﻡ ﻨ ﺴ ﹾ ﻭ ﺭﻋﺕ ﺍﻟ ﹼﺒﻴﻌﺔ ﺯ ِ ﻁ ﹶ ﻭﺃﺠﻠﺴﺘﹾﻬﻡ ﹶ ﻋﻨﹾﺩﻤﺎ ﺍﻤﺘﺩ ﺠﺫﺭ ﺍﻟ ﻁﻭﻟ ِ، ِ ﹾ ﺒ ﺔ ِ ﻓﻲ ﺍﻟﻤﺴﺎﺀ – ﺍﻨﹾﻜﺴﺭ – ﺒ ﻅ ﺔ ﺍﻟﱠﻭﺜﺔ – ﻜل ﺸﻲﺀ ﱡ ﻌ ﻤ ﻠ ِ ﺍﻟﺠﺭﺜﻭﻤﺔ ﹸ ﺤﻴ ﹶﻤﺎ ﻨ ﺃﺸﺩ ﻁﺒ ِﻴﺔ ﻤﻥ ﺍﻟ ِﺫﺍﺀ ﻘ ﹰ ﺤ ﻘﻑ ﺤﺎﺌﻁ ﺍﻟﻠﻐ ِ ﹸ ﱡ ﹶﺔ ﻴ ﹸ ﺃﺸﺩ ﻤﻜﺎ ﻤﻥ ﺍﻟ ﹶﻤﻴﺹ ﹶ ﺴ ﹾﹰ ﻘ ﻤﻊ ﻫﺫﺍ ﻟﻴﺴﺕ ﺍﻟ ﹼﻔﻭﻟﺔ ﺒﺭﺍﺀﺓ ﹰ ِ ﻁ ﹸ ﺃﻴ ﹶﻬﺎ ﺍﻟﺠﺩﺭﺍﻥ ﺘ ﻭﻻ ﻴﻤﻜﻥ ﺃﻥ ﻴﻜﻭﻥ ﻫﺫﺍ ﻋﺩﻻ ﹰ
- 25. ﺍﻟﻌــﺎﻟــﻡ ﺍﻟﺩﻻﺌل ﻜﺜﻴﺭﺓ ﹲ ُ ﻭﻫﻜﺫﺍ ﻗﺭﺕ ﻋﻠﻰ ﺭﺍﺤ ِﻬﺎ ﺘ ﹾ ﻭﺍﻤﺘﺼﺕ ﺍﻹﺸﺎﺭﺍﺕ ﹾ ﹾ ِ ﻜﱠﻤﺎ ﻗ ﹶﺯﺕ ﻋﻠﻰ ﺍﻷﺸﹾﻴﺎﺀ ﺴ ﻴﺎﺕ ِﻤ ﻤ ﹸ ﹸﻠ ﻔ ﹾ ﻭﻋﻠﻰ ﺍﻟﺤﺩﻴﻘﺔ ﻓﻀﺎﺀ ﻴﻘﹾﺸﻌﺭ ﻋﻥ ﺃﻟﹾﻔﺔ ﺃﻥ ﻴﻨﺎﻡ ﺍﻟﻭﺩﻴﻊ ِ ﻭﺘﺭﻑ ﺍﻟ ﻘﻭل ﱠ ﺤ ْ ﻭﻜل ﺤﻴﻥ ﺘﻨﹾﺯﻑ ﺸ ﺭ ﺎ ﺍﻟﻘﺩﻴﻡ ﹸ ﺠ ﻫ ﱠ ٍ ﻭﻴﺨﹾﻤ ﹸﻬﺎ ﺸﺠﺭ ﺍﻟ ﻁﻭﻟﺔ ﺒ ِ ﺸ ﻓﺘﻬﺘﺯ ﺍﻟﻁ ﺄﻨﻴﻨﺔ ﹶﻤ ﹶ ﹾ ﹶ ﺍﻟﻐﺎﺒﺔ ﻭﺍﺩﻋﺔ ﹲ ﹸ ﺨﺎ ِﺝ ﺍﻟﻐﻔﹾﻭﺓ ﻫﻜ ﹶﺍ ﺭ ﹶ ِ ﺫ ﻭﺍﻟ ﺫﻭﺭ ﺘﻨﹾﻬﺎﺭ ﺠ
- 26. ﺘﺘﺸﺒﺙ ِﻬﺭﺓ ﺍﻟ ﻤﻴﺭ ﹶ ﹶ ﹸ ﺒ ِ ﻀ ِ ﻭﺍﻟﹼﻐﺎﺕ ﻠ ِ ﻭﺘﻁﺭﺩ ﺃ ﹼﺒﻴﺎﺀ ﺍﻟ ﻁﻭﻻﺕ ﹾ ﺒ ﻨ ﻫﻜﺫﺍ ﺘﺭﺘﺎﺡ ﺇﻟﻰ ﺘﻔﹾﺴﻴﺭﻙ ِ ﺃ ﻬﺎ ﺍﻟ ﺎﻟﻡ ﻴ ﻌ ﹶ ﻭﻟﻴﺱ ﺃﺭﻭﻉ ﻤﻨﻬﺎ ﻓﻲ ﺍﻟ ﺯﻟﺔ ﻌ ِ ﻭ ﻤﺎل ﺍﻟﻤﺸﺎﻫﺩﺓ ﹾ ﺠ ِ ﺴ ﺩﺓ ﺍﻟ ﻘﻴﻥ ﻴ ﹸ ﻴ ﻜﻤﺎ ﺒﺭ ﻜل ﺸﻲﺀ ﻋ ﱡ ﺘﻠﻘﻰ – ﻓﻘ ِ – ﺍﻟ ﹼﻬﺎﺩﺓ ﺸ ﹶ ﹶ ﹶﻁ ﻭﺘﻤﻀﻲ. ﹶ
- 27. ﺍﻟﺤﺏ ﻟﻴﺱ ﹶﺒﻴﺎ ﻨ ﹰ ﻏﻴ ﺃ ﹼﻪ ﻜﺫﺍ ﺩﺍ ِﻤﺎ ﺌ ﹰ ﹶ ﺭ ﻨ ﻫ ﻴﻘﹾﺘل ﹶﻠ ﻪ ﹶﻴﻤ ﺍﻟ ﻭﺍﺀ ُ ﻗ ﺒ ﻟ ﺭ ﻬ ﻴﺼﻤﺩ ﻋﻥ ﻓﺘﻕ ﺍﻟﺤﺠﺎﺏ ِ ﹾ ِ ﻭﻻ ﻴﺩﻋﻭ ﻴ ﻤل ﺒﻌﺫﺍﺏ ﺤﻀﺎﺭﺘﻪ ِِ ِ ﺯ ُ ﻭﻴﻨﺴﺤﻕ ﹾِﹸ ﺘﺤﺕ ﹶﻭﺍﺯﻨﺎﺕ ﻋﺎﻟﻤﻴﻥ ِ ﹶ ﹶﺘ ﻟﻴﺱ ﻫﺫﺍ ﻤﻭ ﺍ ﺃ ﻬﺎ ﺍﻟﺤﺏ ﺼ ﺩ ﻴ ﻟﻴﺤﻤل ﺍﻟ ﹼﺎﺒﻭﺕ ﻤﺒﺸ ﺍ َ ﺘ ﹶ ﹼﺭ ﻓﻲ ﺍﻟﺤﺎ ِﻼﺕ ﻓ ﹾ ﻓﻴﺨﹾﻨﻕ ﺍﻟﻜﻼ ، ﻡ ﹶ ﻭﻴﺫﺒﺢ ﺍﻟﻤﻴﺕ ﺍﻟﻭ ﻴﻊ ﹶ ﺩ
- 28. ﺤﺘﻰ ﺘﻨﺎﻡ ﺍﻟﺭﻏﹾﺒﺔ ﻓﻲ ﺍﻟﻐﻼﻑ ﹾ ﹸ ﻭﻴﻨﺴﺤﺏ ﻤﺘﻥ ﹾ ِ ﹾ ﺇﻟﻰ ﺴﻔﻴﻨﺔ ﺍﻟ ﺩﺍﻋﺔ ِ ﻭ ﹾ ﺍﻟﻬﺎﻤﺵ ﺤﻴﻡ ﺃﻴ ﹸﻬﺎ ﺍﻟﻭﺍ ِﻔﺔ ﻗ ﹾ ﹸﺠ ﺘ ﻭﺍﻟﺠﺩﺭﺍﻥ ﺘﻨﹾﻁﻭﻱ ﹶ ﻋﻠﻰ ﺘ ﻋﺎ ِﻬﺎ ﹶﺼﺩ ﺘ ﻓﺎﻨﺘﻅﺭﻱ ﺩﻋﻭ ﹶﻬﻡ ﺘ ﻟﻴﺱ ﻨﺒﻴﺎ ﹰ ﻏﻴﺭ ﺃﻨﻪ ﻫﻜﺫﺍ ﺩﺍﺌﻤﺎ ﹰ ﺩﻋﻭﺓ ﻤﺼﻤﺘﺔ ﹲ ﹶﹲ ﻋﻠﻰ ﺤﺩﻴﻘﺔ ﺘﺸ ﹶﻰ ﺒﻭﺭﺩﺓ ﺍﻟﺫ ﻭل ِ ﹶﺒ ْ ٍ ﹶ ﹾﻘ ﺍﻟﺨﻼﺹ ﺒﻌﻴﺩ ﺃﻴ ﹸﻬﺎ ﺍﻷﻤﻭﻤﺔ ﹸ ﺘ ﺃﻤﺎﻡ ﺍﻟﻁﺎ ِﺭ ﺌ ﻭﺭﺍﺀ ﺍﻟﻨﺎﻓﺫﺓ ﹾ ﻓﻠﹾﺘﺸﻕ ﺒﺎﻟﻌﺎﻟﻡ ﺃﻴﻬﺎ ﺍﻟﺴﻴﺩ ﹾﹶ
- 29. ﻓﹾﻠﺘﻔﺭﺤﻲ ﺒﺎﻷﻨ ِﻴﺎﺀ ﺃﻴ ﹼﻬﺎ ﺍﻟﻭﺍ ِﻔﺔ ﻗ ﹾ ﺒ ِ ﺘ ﺍﻟﻘﺎﻫـﺭﺓ * ٨١ – ١٢ ﻤﺎﺭﺱ ١٩٩١
- 30.
- 31. ﺴﻤﺎﻭﺍﺕ ﺼﻴﻔ ﺔ ﻐﹶﻘﺔ ﻴ ﻤﻠ ﹲ ﺍﻟﺸﺒﺎﺒﻴﻙ ﹶﺩل ﻋﻠﻰ ﺍﻟﺠﻭﻉ. ِ ﺘ ﱡ ﻭﺘﺠﻠﺏ ﺍﻟﺭﻭﺍﺌﺢ ِ ﺇﻟﻰ ﻤﻭﺕ ﻴﻁل ﱡ ﻤﻥ ﺃﺒﺭﺍﺝ ﺘﺭﻓﻌﻪ. ٍ ﱡِِ ﺤﻴﻥ ﻴﺼﺒﺢ ﺍﻟﻨﺎﺱ ﺘﺤﺕ ﺍﻟﺸﺭﻓ ِ ﱡ ﹶﺔ ﻗﺸ ﺔ ﹼﹰ ﻭﺤﻴﺩﺓ ﹰ ﺘﺼﺒﺢ ﺍﻟﺭﺍﺌﺤﺔ ﹸ ﺤ ﺭﺍ. ﺠ ﹰ ﺍﻟ ﻭﺕ ﺍﻟ ﺎﻋﺩ ﺼ ﹸ ﺼ ﻓﻲ ﹸﻔﻭﺕ ﺍﻟﻜﺎﺌﻨﺎﺕ ِ ﺨ ِ ﺭﻋﺸﺔ ﺍﻟ ﻻﻟﺔ ﹸ ﺩ ﹾ
- 32. ﺇ ﹼﻬﺎ ﺍﻟﻤﻭﺴﻴﻘﻰ! ﻨ ﺤﻴﺙ ﺍﻟﺭﺍﺌﺤﺔ ﺫﺍ ِﺭﺓ ﹸ ﻜ ﹲ ﹸ ﺭ ﻤﺎ – ﺒ ﺃﻭ ﺒﺎﺼﺭﺓ ِ ﹾ ﻭﺍﻟﺸﹾﺭﻓﺔ ﹸ ﻓﻲ ﺘﻤﺔ ﺍﻟﺤﻭﺍﺱ ﻋ ﺒﺎﺏ ﻏﻔﹾﻭﺓ ﹶ ﹾ ﺍﻟﻘﺎﻫﺭﺓ * ٥١/٩/١٩٩١
- 33.
- 34. ﺘﺤﺕ ﺍﻟﻐ ﺎﺭ ﹶ ﹶ ﹸﺒ ]ﺇﻨﻙ ﺘﺘﻐﻴﺭﻴﻥ ﹼِ ﻟﻘﺩ ﺘﻐ ﺭﺕ ﺒﺎﻟﻔﻌل ﻴ ِ ﺘﻐ ﺭﺕ ﺇﻟﻰ ﺩ ﺠﺔ ﺃ ﹼﻨﻲ ﺭ ِ ﻨ ﻴ ِ )١( ﻟﻡ ﺃﻋﺩ ﺃﻋﺭﻓﻙ[ ِ ﹸ ِ ﺜﻤﺔ ﺃﺼ ِﻗﺎﺀ ﺠﺩﻴﺭﻭﻥ ﹶ ﺩ ﺒﺎﻟﻨ ِﺎﻡ ﺍﻟﻌﺎﻟﻤﻲ ﺍﻟﺠﺩﻴﺩ ﹼﻅ ﺒﻴﻨﻤﺎ ﻤﺎﺯﻟﺕ ﹾ ﹸ ﺃﺤﺼﻰ ﻨﺒﻀﻲ ُ ﻜﻁﺎﺤﻭﻨﺔ ﺘﺴﺤﻕ ﺍﻟﻔﺭﺍﻍ ﹶ ﹸ ٍ ﻭ ﹸﺘﺒﻠﻪ ﺒﺎﻟﺭﺠﻊ ﺘ ﹸ ﺒﻌﻘﹾﻼ ﹼﻴﺔ ﻨﺎﺩﺭﺓ ٍ ﻨ ٍ )١( ﻤﻥ ﺭﻭﺍﻴﺔ )ﺍﻟﺠﺤﻴﻡ( ﻟﻬﻨﺭﻱ ﺃﺭﻴﻭﺱ.
- 35. ُﻗ ﺭ ﺘﺤﻭﻴل ﺍﻟﻨ ﺎﻴﺔ َ ﻬ ِ ﺃﺭ ﺇﻟﻰ ﺫﻜﹾﺭﻯ ِ ﻤﺅْﻟﻤﺔ ٍ ﻓﻲ ﺍﻟﺸﻴﺨﻭﺨﺔ ِ ﹼ ﻜﻤﻥ ﻻ ﻴﻬﺎﺏ ﺍﻟﻔﻘﺭ ﹾ ﹶ ﻭﻴﺨﹾﺸﻰ ﺍﻟﺠﻭﻉ ﺇ ﹼﻪ ﺍﻟﻴﻘﻴﻥ ﻨ ﺘﺤﺕ ﺸﻤﺱ ﺍﻟﹾﻴﻭﺘﻭﺒﻴﺎ ِ ﹸ ﻴﺭﺠﻊ ﺍﻟ ﹼﺎﺭﻴﺦ ﺘ ﹸ ﺃﻅﺎﻓﺭ ﺍﻟﻔﻘ ِ ﻨﻔ ﻬﺎ ِ ﹶ ﹾﺭ ﹾ ﺴ ﺍﻟﺤﺼﺎﺭ ﺫﺍ ﹸﻪ ﺘ ﻭﺍﻷﺼﺩﻗﺎﺀ ﺃﻋﻴ ﹸﻬﻡ ﻨ ﻴﻁ ُﻭﻥ ﺍﻟﺠﺜﺔ ﺍﻟ ﹶﺩﻴﻤﺔ ﹶﺅ ﹼ ﹶ ﻘ ﹶ
- 36. )١( ﺒﻴﻨﻤﺎ ﺘﺼﺭﺥ "ﻤﺎﺭﻱ ﻤﺎﺘﻴﻴﻪ" ﹸ ِﻤﺎ ﻻ ﺃﻓﻬﻡ ﹾ ﺒ ﻜﻨﹾﺕ ﺃﺸ ﺭﺍﺌﺤﺔ ﺍﻟ ِﻴﺎﻨﺎﺕ ﹶ ﺨ ِ ﹸ َ ﹸﻡ ﻭﺃﺴﻤﻊ ﺩﺒﻴﺏ ﺍﻟﻤﻭﺕ ِ ﺘﺤﺕ ﺍﻟ ﹸﺒﺎﺭ. ﹶ ﹶ ﻐ * ﺍﻟﻘﺎﻫـﺭﺓ * ٠٢/٦/٢٩٩١ )١( ﻤﻁﺭﺒﺔ ﻓﺭﻨﺴﻴﺔ ﺸﻬﻴﺭﺓ
- 37. ..
- 38. ﻴﺎ ﺠﺩﺭﺍﻥ ﻤﺴﺎﻓﺭﺓ ٍ ﺒﺭﺍﺌﺤﺔ ﻤﻥ ﺍﻟﻜﺘﺏ ِ ٍ ﻭﺍﻟﺤﺏ ﻴﺄﺘﻲ ﺍﻟﺜﻼﺜﺎﺀ ﻭﻴﻤﻀﻲ ﺇﻟﻰ ﺼﻴﻑ ﻤﺎﻟﺢ ٍ ٍ ﻭﺘﺼﺩﻉ ﻓﻲ ﺍﻟﺫﺍﻜﺭﺓ ِ ٍ ﺤﻴﺙ ﻻ ﻤﻁﺭ ﻭﻻ ﻤﻭﺍﻋﻴﺩ. *** ﻜﺠﻤﺭﺓ ﺯﺭﻗﺎﺀ ٍ ﻴﺼﺒﺢ ﺍﻟﻤﻘﻌﺩ ﺸﻬﻭ ﺍ ﺭ ﻤﻥ ﺍﻟﻤﻭﺕ ﻭﺍﻟﺫﻜﺭﻴﺎﺕ. ﹾ ِ *** ﻟﻠﺒﺤﺭ ِ
- 39. ﻟﻭﻥ ﺍﻟﺜﻼﺜﺎﺀ ﻭﻟﻠﻤﺴﺎﺀ ِ ﺩﻜﹾﻨﺔ ﻻ ﺘﺭﻴﻡ ﹲ ﺤﻴﻥ ﻴﺼﻴﺭ ﺍﻟﻬﺎﺘﻑ ﹸ ﺴﻤﺎﺀ ﻤﻐﻠﻘﺔ ﹰ ﻭﺇﻟ ﺎ ﻏﺎﺌ ﺎ ﺒ ﻬ ﻭﺍﻻﻨﺘﻅﺎﺭ ﻤﻭ ﹰﺎ ﻴﺘﻜﺭﺭ ﺘ ﻜﺎﻟ ﺤﻰ ﻋﻠﻰ ﺍﻟﺭﻭﺡ ﺭ *** ﻫﻜﺫﺍ ﺘﺴﺤﻕ ﺍﻟﻠﺤﻅﺔ ﹸ ﹸ ﻜل ﺸﻲﺀ ﻭﻟﻴﺱ ﻫﺫﺍ ﻋﺩﻻ ﹰ ﺃﻴ ﹸﻬﺎ ﺍﻟﺠﺩﺭﺍﻥ ﺘ ﻜﺄﻥ ﻟﻠﺸﻌ ِ، ﻭﺍﷲ ِ ﺏ
- 40. ِﻴﺎﺒﻴﻥ ﺤﺎﺩﺜﹾﻴﻥ ِ ﻏ ﻭﻟﻙ ﺤﻀﻭﺭ ﻗﺩﻴﻡ ِ
- 41. ﻨﺎﺯ ﺼﺎﻤﺕ ﻟﻤﻭﺕ ﻟﻴ ﹶﻰ ِ ﻠ ﹲ ﺠ ﺴﻔﻴﻨﺔ ﺘﻤ ِﻲ ﹲ ﻀ ﺇﻟﻰ ﻫﻭﺓ ٍ ﻤﻥ ﺍﻟﻤﻭﺕ ﻤﻌﹼﻘﺔ ِ ﻠ ﹲ ِ ﻭﺒﻼﺩ ﻋﻠﻰ ﺭ َﺘﻲ ِﺌ ِ *** ﺴﺄﺠﻠﺱ ﻓﻲ ﺸﺭﻓﺔ ﺒﻼ ﻗ ﻤﻴﻥ ﹶﺩ ﹸ ٍ ﻋﻠﻰ ﻏﻴﻤﺔ ﺴﺘﻬﻭﻯ ٍ ﺴﺭﻴﻌﺎ ﹰ ﺇﻟﻰ ﻗﺭﺍﺭ ﺴﺤﻴﻕ ﹾ ٍ *** ﻫﻜﺫﺍ ﺘﻠ ﱡ ﺭﺃﺴﻙ ﺒ ﺴﺎﺩﺓ ﹶﹸﻑ ِ ﻭ ٍ ﻤﻥ ﺍﻟﺠﻤﺭ ﻭﺍﻟ ﹼﻜﺭﻴﺎﺕ ﹾ ِﺫ
- 42. ﻭﺘﺒﻜﻲ ﺩﺍﺌﻤﺎ ﺩﻭﻥ ﺩﻤﻭﻉ ﹰ *** ﻴﻤﻜﻥ ﻟﻜل ﺍﻷﺸﻴﺎﺀ ﺃﻥ ﺘﺼﻴﺭ ِ ﱢ ﻻﺸﻲﺀ ﻭﻴﻤﻜﻥ ﻟﻠﻤﺭﺃﺓ ﺃﻥ ﺘﻜﻭﻥ ِ ﺸ ﻜﺎ ﺃﻭ ﹶﺩﻴﻌﺔ ﹶﺭ ﹰ ﺨ ﹾ ﻷﻥ ﺭﻜﻨﺎ ﺎ ﺘﺴﻜ ﹸﻪ ﻨ ﹾﹰ ﻤ ﻤﻭﺴﻴ ﹶﻰ ﺠﻨﺎﺌﺯﻴﺔ ﹲ ﻘ ﻻ ﻴﺄﺘﻲ ﻟﻴﺅﺍﺯﺭ ﺭﻭﺤﻙ ِ ﻟﻘﻠﺒﻙ ﻓﻲ ﺍﻨﻁ ِﺎ ِﻪ ﺍﻷﺨﻴﺭ ﻔﺌ ِ ﻴﻨﻤﻭ ﺸﺭﻙ ﺍﻟﻤﻭﺍﻋﻴﺩ ِ ﹶ ﻭﺍﻟﺫﻜﺭﻴﺎﺕ ﹾ *** ﺘﺤﺕ ﺸﺠﺭﺓ ﺍﻟﻭﺤﺩﺓ ِ ِ ﹶ ﺘﻤﻭﺕ ﺍﻤﺭﺃﺘﻲ ﹸ
- 43. ﺸﻤﺱ ﺍﻟﻬ ﹶﻴﺎﻨﺎﺕ ﺫ ﻓﻲ ﻫﺫﻩ ﺍﻟﻅﻠﹾﻤﺔ ﹼ ِ ﻋﻨﹾﺩﻙ ِ ﺴﺄﺘﺭﻙ ﻋﻴﻨﻲ ﻟﺘﺭﻋﻴﺎﻙ ِ ﻭﻭﺤﻴ ﺍ ﺃﺘﺨﺒﻁ ﹸ ﺩ ﺒﻜل ﺠﻼﻟﻲ ّ ﻷﺴﻘﻁ ﹸ ﹶ ﻓﻲ ﺃ ل ﻋﺜﹾﺭﺓ ٍ ﻭ ﻜﺸﺠﺭﺓ ﻨ ِﻴ ﺎ ﺍﷲ ٍ ﹶﺴ ﻬ ُ ﺒﺼﺒﺎﻱ ﻭﻫﻭﺍﻱ ﻭﻤﻨﹾﻔﺎﻱ ِ *** ﻤﻥ ﻨﻅﹾﺭﺓ ﹶ ٍ ﻤﺴﺭﻭﻗﺔ ﻋﻠﻰ ﺍﻟﺩﺭﺝ ِ ٍ ﻴﺒﺩﺃ ﺍﻻﺤﺘﺭﺍﻕ ﹸ ﻭﻴﺸﹾﺘﻌل ﺍﻟﻬﺫﻴﺎﻥ ُ ﻜﻬﺎﺭﺏ ﻻ ﻴﻌﻠﻡ ﻤﻁﺎﺭﺩﻴﻪ ٍ
- 44. ﺃﻨﺴﺎﻨﻲ ﻓﻲ ﻋﺭﺒﺎﺕ ﺍ ُﺠﺭﺓ ﺒﻼ ﻤﺤﻁﺔ ﹼٍ ِ ﻷ ِ *** ﻜﺄﻥ ﺍﻟﺸﻭﺍﺭﻉ ﻟﻡ ﺘﻜﻥ ﹸ ﺃﻭ ﻜﺄﻥ ﺍﻟ ﹸﻁﺎ ﺭﻤﺎﺩ ﺨ *** ﻜﻴﻑ ﻟﻡ ﻴﻭﻗﻅ ﹾ ﻁﺎﺌﺭ ﺍﻟﻤﺤﺒﺔ ﺃ ﻲ ِﻤ ﻤﻥ ﺸ ﺎﻙ ﺍﻟﻤﺴﺘﺸ ﹶﻰ ﹾﻔ ﹸﺒ ﻤﻥ ﺒ ﺍﺒﺔ ﻫﺫﺍ ﺍﻟﻌﺎﻟﻡ ﻭ ِ ﻷﺩﺨل ﺇﻟﻴﻙ ﹸَ ِ ﻤﻐﹾﻤﻭﺭﺍ ﺒﻤﻁﺭ ﺍﻟﺸﻔﺘﻴ ِ ؟! ِ ﹼ ﹶ ﹶ ﻥ ﹰ ﻨﺩﺍﺀ ﺍﷲ ﻓﻲ ﺭﻭﻋﻲ ِ ﻭﺍﻷﺭﺽ ﻟﻴﺴﺕ ﺍﻟﺠﻨﺔ ِ ﹼﹶ *** ﺼ ﻯ ﺼﻤﺘﻙ ِ ِ ﺩ ﻫﻜﺫﺍ ﺘﺄ ﹼﺭﺕ ﻋﻥ ﺨ ﹸ
- 45. *** ﺸﻲﺀ ﻜﻤﺭﺍﺭﺓ ﺍﻟﻔﻘﺩ ِ ﹾِ ﹶ ﺘﻁﻴﺭ ﻜﻭﺭﻗﺔ ٍ ﻟﺘﺩﻭ ﻬﺎ ﺍﻷﻗﺩﺍﻡ ﺴ *** ﻜﺄﻥ ﺒﻼ ﺍ ﺘﻘﻭﻡ ﻤﻥ ﺍﻟﻤﻭﺕ ِ ﹾ ﹾ ﺩ ﻜﺄﻥ ﺒﻼﺩﺍ ﺘﻤﻭﺕ ﹾ *** ﻟﻠﻭﺤﺸﺔ ِ ﺠﺤﻴﻡ ﺍﻟ ﹸﻁﺎ ﺨ ﻭﺍﻟﻔﻘﺩ ﹾِ ﻭﻟﻠﺸﻭﺍﺭﻉ ﺍﻟﺸﻌﺒﻴﺔ ِ ﹼ ِ ﻭﻟﺒﺤﻴﺭﺓ ﺍﻟﻨﺴﻴﺎﻥ ِ ﻭﻟﻠﻤﻨ ﹶﻰ ﹾﻔ ﻟﺸﺠﺭﺓ ﺘﻬﺠﺭ ﺃﺭ ﻬﺎ ﻀ ٍ ) ١( ﻟﺤﻭﺍﺭﻱ "ﺍﻟﺩﺭﺍﺴﺔ" ِ ﻟﺤﺎﺌﻜﺔ ﺍﻟﺒﻴﺕ ﺍﻟﻘﺩﻴﻡ ِ ِ
- 46. )١ ( ﻟﺒﺌﺭ ﺍﻟ ﻠﻡ ﺍﻟﻐﺭﻴﺏ ﻓﻲ "ﻤﺩﻴﻨﺔ ﻨﺼﺭ" ِ ِ ﺴِ ﻟﻠﻤﻴﻨﻲ ﺒﺎﺹ ِ ﺍﻟﺫﻱ ﻜﺎﻥ ﻴﺌﻥ ﺒﺎﻟﻜﻠﻤﺎﺕ ِ ﻓﺎﺘﺤﺎ ﻜﻭﺓ ﺍﻟﻤﻭﺕ ﹰ ﹸ ﹶ ِ ﺃﻤﺎﻡ ﻋﻴﻨﻴﻙ ِ ﻫﻜﺫﺍ ﻤﺎﺕ ﹶ ) ١( "ﺒﺎﺏ ﺍﻟ ﹼﻌﺭ ﺔ" ﺸ ﻴ ) ١( ﻭ"ﺍﻟﻤﻭﺴﻜﻲ" )١( ﻭ "ﻤﺴﺘﺸﻔﻰ ﺍﻟﺘﺄﻤﻴﻥ" ِ ﻭﻋﻴﻨﺎﻙ ِ ﻭ ﹶﺘﻔﻲ ﺍﻷﻴﺴﺭ ﻜ )٢( ﻟﺘﻘﻭﻟﻲ : " ﻟﻜﻨ ﹼﻲ ﻗﺩ ﻤﺕ ﻜﺘﹾﻤﺎ ﹰﺎ" ﻨ ﹶ ِ ﱡ ِ ﻨ )١( ﺸﻭﺍﺭﻉ ﻭﺃﺤﻴﺎﺀ ﻭﺃﻤﺎﻜﻥ ﺒﺎﻟﻘﺎﻫﺭﺓ. )٢( ﻤﻥ ﺸﻌﺭ ﻤﻨﺴﻭﺏ ﺇﻟﻰ ﻟﻴﻠﻰ ﺤﺒﻴﺒﺔ ﺍﻟﻤﺠﻨﻭﻥ
- 47. ﻭﻴﺒﻘﻰ ﻟﻲ ﻫﺫﻴﺎﻥ ﺍﻷﻤﺎﻜﻥ ِ ﺍﻟﺘﻲ ﻀﺎﻗﺕ ﺒﻤﺎ ﺭﺤﺒﺕ ﻴﻭ ﺎ ﹾ ﻤ ﹾ )١( ﻭ "ﻴﺎ ﺨﻠﻴﻠﻲ ﺴﺎﻋﺔ ﻻ ﺘﺭﻴﻤﺎ" ﹰ )١( ﻤﻥ ﺸﻌﺭ ﺘﻐﻨﻴﻪ ﻓﻴﺭﻭﺯ.
- 48. ﺘﺎﺒﻭﺕ ﻠ ِﻲ ﻤ ﹶﻜ ّ ﺍﻟﺒﺤﺭ ﻓﻲ "ﺍﺴﻜﻨﺩﺭ ﺔ" ﻭ " ﺭﺃﺱ ﺍﻟﺒﺭ" ْ ِ ﻴ ﺭﻤﺎﺩﻱ ﻫﺫﺍ ﺍﻟﺼﻴﻑ ﻭﺍﻟﻭﺤﺩﺓ ﺴﺎﻤﻘﺔ ﹲ ﹸ ﻓﻲ ﻀﺠﻴﺞ ﺍﻷﺠﺴﺎﺩ ِ ﻓﻬل ﺼﺤﻭﺕ ﻋﻠﻰ ﻓﺠﻴﻌﺔ ﺍﻟﺠﺩﺭﺍﻥ؟ ِ ِ ﻋﻠﻰ ﻀﻴﺎﻉ ﺍﻟ ﺭﻗﺔ ِ ﺯ ِ ﻭﻤﻠﻭﺤﺔ ﺍﻟﻌﺎﻟﻡ؟ ِ ﺸﻔﺘﺎﻙ ِ ﻤﻁ ﻘ ﹶﺎﻥ ﻋﻠﻰ ﻤﻭﺕ ٍ ﹾﺒ ﺘ ِ ﻅﹼل ﻫﺩ ﻰ ﻴ ﻠ ُ ﺒ ﻓﺄﻗﻴﻤﻲ ﻓﻨﺎﺭﺍ ﻟ ﻭﺤﻲ ﹰ ﺭ ﺤ ﹼﻰ ﺁﺨﺭ ﻨﻅﺭﺓ ﺘﺴﺭﻗﻴﻨﻬﺎ ٍﹶ ِ ﺘ ﻋﻠﻰ ﺍﻟﺩﺭﺝ
- 49. *** ﻴﻘﻅ ﻭﺍﻟﺤﺠﺭﺓ ﻨﺎﺌﻤﺔ ﹲ ﹸ ِ ﺃﻀ ِﺏ َ ﺭ ﺠﺩﺭﺍ ﹰﺎ ﻤﻥ ﺍﻟ ﹼﻜﺭﻴﺎﺕ ﹾ ﺫ ﻨ *** ﺴﺄﺒﺤﺙ ﻋﻥ ﺭﺃﺴﻲ ﹸ ﺍﻟﺘﻲ ﺩﺤﺭﺠ ﹸﻬﺎ ﺘ ﻓﻲ ﺃﻭل ﻁﺭﻴﻕ ﻀﻤﻨﹾﺎ ٍ ﻭﺃﺜﻘل ﺠﺴﻤﻲ ﻟﺘﺨﺒ ﹶ ﹾ ﻭ ﹾِ ُ ِ ﻭﺭﺩﺓ ﺍﻟ ﻭﺡ ﹸ ﺭ *** ﺴﺄﻋ ﺭ ﺩﻭﻥ ﻤﻭﻜﺏ ٍ ﺒ ﻜﻘ ﺭ ﻤﻴﺕ ﹶﻤ ٍ ﻓﻲ ﻟﻴﻠﺔ ﻏﻤﺎ ﻴﺔ ٍ ﻤ ٍ
- 50. ﻟﺤﻅﺘﻲ ﺃﻗﺼﺭ ﻤﻥ ﻟﻤﺤﺔ ﻋﻴﻨ ِﻙ ِ ﹾﻴ ﺘﺎﺭﻴﺦ ﻤﻥ ﺍﻟﻔﻘﹾﺩﺍﻥ ﹸ ﻭﻟﻜﻥ ﺍﻷﻟ ﹶﻡ *** ﻫﻜﺫﺍ ﻴﺨﹾﺘﻔﻲ ﺍﻟﻭﻤﻴﺽ: ﻤﻠﻜﺔ ﻤﻌﹼﻘﺔ ﻋﻠﻰ ﺠﺩﺍﺭ ٍ ﹲ ﻠ ﺘﺤ ﹶﻬﺎ ﺘ ﺘﺎﺭﻴﺦ ﻤﻴﺕ ﹲ ﻭﺭﻭﺡ ﺘﺫﻭﻱ ﺃﻤﺎﻡ "ﺍﻟﺒﻭﺘﻭﺠﺎﺯ" ﻫﻜﺫﺍ ُﻋﺩ ﺘﺎﺒﻭﺘﺎ ﹶﻜﻴ ﹰ ﹰ ﻤﻠ ﺎ ﺃ ﻟﻬﺫﺍ ﺍﻟﻤﻭﺕ ﺍﻟﺒﻬﻲ ﻭﺃﺤ ﹸﺭ ﻗﺒﺭﻴﻨﺎ ﻔ
- 51. ﻓﻲ ﻫﻭﺍﺀ ﺍﻟﻤﻭﺍﻋﻴﺩ ِ * ﺍﻟﻘﺎﻫﺭﺓ * ﻤﺎﻴﻭ – ﺃﻏﺴﻁﺱ ٢٩٩١
- 52.
- 53. ﻜﺄﻨﻙ ﺘ ﻲﺀ ﻤﻥ ﺍﻟﻨﺴﻴﺎﻥ ﹼ ﹼ ﺠ ِﺫﺍ ِﺭﺓ ﻜﻭﺥ ﻭ ﹶﺭﺍ ِ ﺃﺯﻤﻨﺔ ٍ ٍ ﺨ ﺏ ﺒ ﻜ ِ ﺨﺎﺭﺝ ﺍﻟ ﱠﺎﺭﻴﺦ ﺘ ﹾ ﻤﻜﻥ ﻟﻠﺠﺩﺍﺭ ﺃﻥ ﻴﻜﻭﻥ ﺸﺭﻴ ﹰﺎ ﻜ ِ ﻴ ﻭﺍﺤﺩﺍ ِ ﻓﻲ ﻓﻨﺎﺀ ﻤﺎ ٍ ﺤﻴﺙ ﺘﻜﹾﺒﺭ ﺍﻟﻠﺤﻅﺔ ﹸ ﱠ ﹸ ﺒﻼ ﺫﻭﺭ ﺠ ﻭﻴﻨﹾﺒﻌﺙ ﺍﻷﺠﺩﺍﺩ ﹸ ﺒﻼ ﺃ ﹸﻨﻴﻥ ﻭﻻ ﻓﻡ ٍ ُﺫ ِ )١( ﺘﺤﺕ ﺸﺠﺭﺓ "ﺍﻟﺒﺎﺭﺍﻨﻭﻴﺎ" ﻭﺜﻤﺎﺭ "ﺍﻟﻌﺼﺎﺏ" ِ ِ ﹶ )١( ﺩﺍﺀﺍﻥ ﻨﻔﺴﻴﺎﻥ ﻋﺎﺩﻴﺎﻥ ﺠﺩﺍ. ﹰ
- 54. ﻫﻨﺎﺍﻙ ﺤﻴﺙ ﻘﻌﻰ ﺍﻷﺼﺩﻗﺎﺀ ﹸﻴ ﺤﻭل ﻓﺭﺍﺌﻬﻡ ٍِ َ ﺒﻌﻴﻭﻥ ﻤﻥ ﹸﺤﺎﺱ ﺃﺤﻤﺭ ﻨ ٍ ٍ ﺘﻬﺭﺏ ﻫ ﺓ ﺍﻟﱡﻐﺎﺕ ﹶ ﺭﹸ ﻠ ﻭﻴﻘﻑ ﺍﻟﻴﻘﻴﻥ ﺃﻋ ل ﺯ َ ِ ﹸ ﺃﺤ ﺍ ﺩ ﻤﻥ ﺨﻼل ﺠﺩﺍﺭ ٍ ِ ﻓﻲ ﻤﺩﺭﺴﺔ ﻤﺎ ِ ﻴﺘﺴﻠل ﺍﻟﻘﺩﻤﺎﺀ ﹼُ ﺒﺸﻭﺍﺭﺏ ﻜﺜﺔ ﹶﹼ ٍ ﻭﻋﻴﻭﻥ ﺁِﻬﺔ ﻜﺎﻟ ﹼﻭﺍﻓﺫ ِ ﻟ ٍ ﻨ ِ ﺍﻟﺘﻲ ﺘﻐﻠﻕ ﻋﻠﻴﻙ ﺍﻟ ﻠﻡ ﹸ ﹾِ ﹸ ﺤ ﺤ ﺙ ﺘﻔﺭ ﻴ ﹸ ِ ﺒﺼﺭﺨﺔ ٍ
- 55. ﻤﻜﺘﻭﻤﺔ ٍ ﻭﺒﻤﻭﺴﻴﻘﻰ ﺘﻌﺼﻑ ﹶ ِ ﹸ ﻋﻠﻰ ﺍﻟ ﹶﺭﺍﺏ ﺨ * ﺍﻟﻘﺎﻫـﺭﺓ * ٩٢/٠١/٢٩٩١
- 56. ..
- 57. ﻴﻤﻜﻥ ﻟﻠﻤﺎﻀﻲ ﺃﻥ ﻴﻐ ﹸﻭ ﻗﻠﻴ ﹰ، ﻔ ﻼ ﻓﻲ ﻏﻴﺎﺏ ﻗﺎﻨﻭﻥ ﺍﻟﻁﻭﺍﺭﺉ ﺍﻟﺩﺍﺌﻡ ِ ِ ِ ﺤﻴ ﹶﻬﺎ ﺴﺄﻗﻭل: ُ ﻨ ﺃﺤ ﻙ.. ﺒ ﻟﻤﺎﺫﺍ ﺃﻏﻠﻘﺕ ﺍﻟﻤﺎﻀﻲ، ﹾ ﹸ ﻭﻋ ﻴﺕ ﺍﻟﻨﺎ ِﺫﺓ ؟! ﺭ ﹸ ﻓ ﹾ ﹶﺨﺎﻓﻴ ؟ ﺘ ﻥ ﺃﻀﻴﻕ ﻠﻲ ﹸﻋ ﺤﻴﺙ ﺍﻟﻘﻤﻊ ﺫﺍﻜﺭﺓ، ﹲ ﹸ ﺒﻼ ﺘﺎﺭﻴﺦ. ﹾ ﻭﻴﻤﻜﻥ ﻟﻠﺠﺴﺩ ﺃﻥ ﻴﻐﻔﻭ ﹾﹸ ِ ﻓﻲ ﺍﻟﻭﻤﻴﺽ
- 58. ﺃﺭﺩﺕ ﻜﺜﻴﺭﺍ ﻭﺃﺨ ﹶﻴﺕ ﹰ َ ﹾﻔ ﹸ ﹸ ﺭﻭﺕ ﺍﻟ ﻤﺎﻍ ﺠﺒ ﹶ ﺩ ﹾ ﻋﻠﻰ ﺘﺼﺩﻋﺎﺘﻲ ﻫﻜﺫﺍ ﻴﺤ ﹸﻡ ﺍﻟﻐﻴﺎﺏ. ﻜ ﻭﺘﺄﻜل ﺍﻟ ﺤﺩﺓ ﻤﻥ ﻁﺎ ِﻬﺎ، ﺤ ﻤ ُ ﻭ ﹸ ﻟﺘﻘﻭﻡ ﻋﻨﺩﻤﺎ ﺘﻐﻠﻕ ﻤﺯﺍﻟﻴﺞ ﺍﻹﺭﺍﺩ ِ، ﺓ ﹸ ﹾﹶ ﹸ ﺨ ِﻱ ﺍﻟ ﻤﻥ ﹸﺫ ﺯ ﻭﺍﻋ ﺭﻱ، ﺒ ﻫﻜﺫﺍ ﻴﻤﻜﻥ ﺃﻥ ﺃﻤﻀﻲ ﺒﻴﻭﺘﻭﺒﻴﺎﻱ ﺍﻟﻤ ﺘﺔ ﻴ ﹾ ﻭﻟﻥ ﺃﻋﺒﺭ ﺍﻟﺠﺴﺭ. ِ ﻟﺤﻅﺔ ﹰ ﻨﺠﻌل ﻤﻥ ﺴ ُ
- 59. ﻤﻭﺘﻨﺎ ﻋﺯﺍﺀ ﻟ ﺎ ِﺭﻴﻥ ﺁ ﹶﺭﻴﻥ ِ ﻌ ﺒ ﺨ * ﺍﻟﻘﺎﻫﺭﺓ * ﺃﻏﺴﻁﺱ ٢٩٩١
- 60. 23
- 61. ﻟﺤﻅﺔ ﻭﺤﻴﺩﺓ ﻟﻸﺸﻴﺎﺀ ﹲ ﹲ ﺘﻘﻑ ﺍﻟﻁﻔﻭﻟﺔ ﻭﺍﺩﻋﺔ ﹰ ﹸ ﹸ ﻓﻲ ﻀﺒﺎ ِﻬﺎ. ﺒ ﻋ ﺭﺕ ﺒ ﹾ ﻭﺃﻨﺎ ﺃﺤﺎﻭل ﺍﻹﻤﺴﺎﻙ ﺒﻬﺎ ُ ﻫﻜﺫﺍ ﺃﻓﻌل ﺩﺍﺌﻤﺎ ﹰ ُ ﺃ ﹶﻭﺍﻁﺄ ﻤﻊ ﺩﺭﺍﻥ ﺍﻟﻔﻘﺩ. ﺘ ُ ﺠ ﻭﺃﺯﺭﻉ ﺸ ﺭ ﺍﻟﻌﺯﻟ ِ ﻋﻠﻰ ﹶﺠ ﹶﺔ ﺭ ِﺭ ﺍﻟﻭﺤﺸﺔ. ﺴ ﻴ ﺃﺤﻴﺎﻨﺎ ﺃﻤﺴﻙ ﺭﺃﺴﻲ ﹰ ِﻜﻠﺘﺎ ﻴﺩﻱ ﺒ ﻜﻲ ﻻ ﻴﺘﺩﺤ ﺝ ﺭ
- 62. ]ﺭ ﻤﺎ ﻜﻨﺕ ﺃﻋﻠﻤﻪ[. ﺒ ﹾ ﹸ َ ﺇﻟﻰ ﻤﺩﻯ ﻋﺯﻟﺔ ﻓﺭﻴﺩﺓ ﹲ ﹲ )ﻟﻴﺴﺕ ﻤﻭﻁﻭﺀﺓ "ﺒﺎﻷﻨﺎ ﺍﻟ ﻠﻴﺎ"( ﻌ ﹰ ﺇ ﹼﻪ ﺍﻟﻬﺠﺱ ﺍﻟﺨﺎﻟ ﹸ، ﻕ ﻨ ﻭﺃﺒﺩ ﺔ ﺍﻟﺒﺼﻴﺭﺓ ِ ِ ﻴ ﻜﺄ ﹼﻪ ﻴﻘﻴﻥ ﻟﻔﻘﺩ ﺍﻤﺭﺃﺓ. ٍ ﹾِ ﻨ ﻫل ﺘﻜﺭﻫﻴﻥ ﺃ ﻲ ﺍﹼﺘﻲ ُ ﻤ ﻟ ﺯ ﻋﺕ ﺍﻟﻁﺒﻴﻌﺔ ﺒﺭﺒﻴﻊ ﺍﻟﻌﻨﺎﻗﻴﺩ ؟! ﹶ ﺭ ِ ﺴﻭﻑ ﺃﺒﻴﻌﻙ ﻗﻠﺒﻲ ِ ﻷ ﹼﻬﻡ ﻴﺤﺎﺭﺒﻭﻨ ِ، ﹶﻙ ﻨ ﺤﺘﻰ ﺁﺨﺭ ﻫﺯﻴﻤﺔ ﻤﺠﻴﺩ ٍ، ﺓ ٍ ِ ﺃﺩﻓ ﻬﻡ ﻨﺤﻭ ﺎ ﻌ ﹶ ﻫ
- 63. ﻫﻜﺫﺍ؛ ﺒﻼ ﺃﻱ ﺸﻲﺀ ﻭﻻ ﺃﻱ ﻤﺠﺩ ﻗﺩﻴﻡ ٍ ﻁﺭﻴﻕ ﻟﺒﺼﻴﺭﺓ ﺍﻟﺘﺄﻟﻪ. ِ ﱡِ ﹲ ﻟﻡ ﺃﺴﺘﻁﻊ ﺍﻤﺘﻼﻙ ﻤﺎﻀﻴﻙ، ِ ﹾﹶ ﻭﻻ ﺍﻓﺘﺭﺸﺕ ِﺴﺎﻁ ﺍﻟﻤ ﺒﺔ ﹾ ﹸﺒ ﹶ ﺤ ِ ﻤﻀﻁ ﺍ ﹼﺭ ﻜﺄ ﹼﻪ ﻴﻘﻴﻥ ﻟﻬﺠﺱ ﻤﺎ؛ ِ ﻨ ﺸﻴﺨﻭﺨﺔ ﺘﺩﺏ ﻓﻲ ﺍﻟﺭﻭﺡ ﹲ ﻭﻭﻫﻥ ﻴﺴﺤﻕ ﺍﻟﺴﺎ ﹶﻴﻥ ﹸ ﻗ ﻟﻠﺤﻅﺔ ﻟﻥ ﺘﺠﻲﺀ ﹶ ٍ ﻴﻜﺒﺭ ﺍﻟﻘﻠﺏ ﹾ ﺨﺎﺭﺝ ﺍﻟﺯ ﻥ ﻤ * ﺍﻟﻘﺎﻫﺭﺓ * ٢٢/١/١٩ – ٣٢/١/٣٩٩١
- 64.
- 65. ﺍﻟﺠﺴﺩ ﺴ ﺩ ﺍﻟﻭﻗﺕ ﻴ ﹾ ِ ﻭﺍﻟﻌﺎﻟﻡ ﻤﻤﻜﻥ ﻓﻤﺎ ﺃﺘﹾﻔﻪ ﺃﻥ ﺘﻌ ﻯ ﺍﻟﺴﻤﻙ َ ﺩ ﻓﻲ ﺸﻭﺍﺀ "ﺍﻟﻤﻴﻠﻭﺩﺭﺍﻤﺎ" ِ ﻜﻡ ﺍﺭﺘﺸﻔﹾﻨﺎ ﻫﺫﻩ ﺍﻟﻤﻴﺎﺩﻴﻥ ﻭ ﺎ ﺴ ﻴ ﻜﺎﻥ ﻁﻌﻡ ﺍﻟﺨﻁﻭﺓ ﻤﺨﺘﻠ ﹰﺎ ﻔ ِ ﻭﺍﻟﺒﺎﺌﻌﻭﻥ ﻴﺘﻼﺸﻭﻥ ﺍﻟﺠﺴﺩ ﻟﻴﺱ ﻏﺭﻴﺒﺎ ﻟﻜﻥ ﺃﻨﹾﻔﻲ ﺘﻐ ﺭ ﹶﻴ ﻴﻨﻬﺽ ﺍﻟﺒﺎﺌﻌﻭﻥ ﺒ ﺭﺍ ِﻬﻡ ﺼ ﺨ ﻭﺘﻨﺸﺭ ﺍﻟﻤﻴﺎﺩﻴﻥ ﻏﺒﺎﺭﻫﺎ
- 66. ﻜﻡ ﻫﻭ ﺠﻤﻴل ﺃﻥ ﻴﺼﻴﺭ ﺍﻟﻌﺎﻟﻡ ﻫﻜﺫﺍ ﻗﺒﺢ ﻀﺩ ﺍﻟﻨﺴﻴﺎﻥ ﻭ ﹸﻁﻰ ﻟﺫﻜﺭﻴﺎﺕ ﺘﻀﻴﻊ ٍ ﺨ ﻓﻲ "ﺍﻟﻌﺘﺒﺔ" ﺘﺜﹾﻘل ﺍﻟ ﹸﻁﻰ ُ ﺨ ِ ﻜﺄﻥ ﺍﻟﺫﻜﺭﻯ ﺘﺸ ﻨﻲ ﻟﻸﺭﺽ ﺩ ﺒﻤﺴﺎﻤﻴﺭ ﺍﻟ ﻨﻭﺍﺕ ِ ﺴ ِ ﻭﺍﻟﻤﻭﺕ ﹾ ﻫﻜﺫﺍ؛ ﺒﺭﻭﻤﺎﻨﺘﻴﻜ ﺔ ﻤﺒﺎﻟﻎ ﻓﻴﻬﺎ ٍ ﻴ ﺃ ﱠﺠﻪ ﺇﻟﻰ ﺍﻟﺴﻤﺎﺀ ﺘ ِ ﻜﻤﻼ ٍ ﺼﻐﻴﺭ ﹶﻙ
- 67. ﻫل ﺭﻨﻴﻥ ﺍﻟﺠﺴﺩ ِ ﻴﻭﻗﻅﻨﻲ؟ ﺃﻡ ﺍﻟ ﹼﻜﺭﻯ ﺫ ﺒﻜﺎﺘﻡ ﺍﻟﺼﻭﺕﹾ؟ ِِ ﻟﻤﺎﺫﺍ ﺃﺘﹾﻴﺕ ﺍﻟﺴﺎﻋ ﹶ؟ ﺔ ِ ﻫل ﺃﺩﺭﻜﺕ ﻏﻴﺎﺏ ﺍﻟﻤﻭﺴﻴﻘﻰ؟ ﹾ ِ ﺇ ﹼﻨﻲ ﺃﻨﹾﻔﺽ ﹸﺒﺎﺭ ﺍﻟ ﱢﺴﻴﺎﻨﺎﺕ ِ ﻏ ﻨ ﻨ ﻭﺃﺨﹾﺘﺭﻉ ﺍﻟﻨﺎﺱ ﻭﺍﻟﻤﻴﺎﺩﻴﻥ ﻭﺍﻟ ﺤﺎﻡ ﺯ ﻭﺍﻟﻤﺸﻬﺩ ﻟﺤﻅﺔ ﻭﺍﻗﻔﺔ ﹾ ﹲ ﻓﻜﻴﻑ ﺍﺠﺘﺯﺕ ﺍﻟﻔﺠﻴﻌ ﹶ؟! ﺔ ﹶ ِ ﺃﺨﻔﻲ ﻤﻌﺠﻭﻥ "ﺍﻟﻤﺎ ِﻴﺠﻭﺍﻨﺎ" ﺘﺤﺕ ﺍﻟﻤﺎﺌﺩﺓ ِ ﹶ ﺭ ﻓﻬل ﺃﺠﺩﺕ ﻁﺒﺦ ﺴﻤﻙ ﺍﻟﺫﻜﹾﺭﻯ ِ ﹼ ِ ﹶ ﹶ ﺤﺘﻰ ﺼﺒﺢ ﺍﻟ ﻭﺴﻜﻲ ﻴ ﻤ
- 68. ﺨﺎﻟﻴﺎ ﹰ ﻭﺃﺒﺩﻭ ﻏﺎﺭﻗﺎ ﺤ ﹼﻰ ﻜﻌﺒﻲ ﹰ ﺘ ﹶ ﺃﻤﺎﻡ ﺩﺭ ِﻙ ﺍﻟﺴﻬل ؟! ْ ﺠ ﺃﺤﺴﻨﺕ ﻓﺤﺹ ﺍﻟﺴ ﺩﺓ ﻜﻁﻔل ﹾٍ ﹾ ِ ﻴ ﺃﻤﺎﻡ ﻟﻌﺒﺔ ﺼﺩﻴﻘﻪ ِ ﹸ ِ ﻟﻜﻨﻙ ﻟﻡ ﺘ ﻯ ﺍﻟﻁﻔل ﺍﻟﻤﺨ ﺄ ﹼ ﹾ َ ﹶﺒ ﹼ ِ ﹶﺭ ﻓﻲ ﻤﻼ ِﺴﻬﺎ ﺍﻟ ﺍﺨﻠﻴﺔ ﺩ ِ ﺒ ﻭﺃﺴﻤﺎ ﹶﻙ ﺍﻟﺘﻲ ﺩﺍﻋﺒﺕ ﺴﺩ ﺎ ﹾ ﺠ ﻫ ﻜ ﻭﻨﺎﻗﻭﺱ َ ﻋﻴﻨﻴﻬﺎ ﺍﻟﺫﻱ ﻗﺭﻉ ﺃﺫﻨﹾﻴﻙ ُ ﹸ ِ ﻓﺄﺼﺒﺕ ﺒﺎﻟﺼﻤﻤﻡ ُ ِ ﻫﻜﺫﺍ، ﺒﻁﻔﻠﻴﺔ ﻋﻨﻴﺩﺓ ٍ ﹾِ ٍ ﻨﺴﻴﺕ ﻜل ﺸﻲﺀ ٍ َ ﻭﻟﻡ ﺃﻋﺩ ﻗﺎﺩ ﺍ ﺃﻥ ُﻜﺭﺭ ﺃ ﺭ
- 69. ﺠﺴﻤﻙ ﻋﺎﺠﺯ ِ ﻭُﻨﻭﺜﺘﻙ ﺘﺼﻔﺭ ﺃ ﹸِ ﻫﻜﺫﺍ: ﺃﺤ ﹸﻡ ﺍﻟ ِﻁﺎﺀ ﻜ ﻐ ﻋﻠﻰ ﹶﻠﺒﻲ ﻗ ﻭﺃﻨﺎﻡ ﺒﻼ ﻀﺠﻴﺞ * ﺍﻟﻘﺎﻫﺭﺓ * ٤/٢/٣٩٩١
- 70.
- 71. ﺠﺜﺔ ﻓﻲ ﺍﻟﻤﻁﺒ ِ، ﺦ ﱠ ﹲ ﻟﻴﺱ ِﻭﻯ ﺍﻟ ﻭﺕ ﻤ ﹾ ﺴ ﺤﻘﻴﻘﺔ ﻭﺤﻴﺩﺓ ﹰ ﹰ ﺘﻠﺒﺱ ﺍﻷﻤﺎﻜﻥ ﹾِ ﺤﻘﻴﻘﺔ ﻭﺍﺤﺩﺓ ﹰ ﹰ ﺘﻤﻠﻙ ﹶ ِ ﻗﻠﹾﺒﻲ *** ﺒﺄﻱ ﺴﻜﹾﻴﻥ ﻴﻘﻁﻊ ٍ ﹾ ﹶ ﺍﻟﻭﻗﺕ ؟ ﹾ ﹸ ﻤﺩﺭﺴﺔ. ﹲ ﺒ ﺍﺒﺔ ﻤﻐﹾﻠﻘ ﹲ، ﻭ ﹲ ﺔ ﻭﻋﻴﻨﺎﻱ ﺭﺼﺩ ﺍﻻﻨﹾﻬﻴﺎﺭﺍﺕ ﹸﺅ ﱢﺭ ﺍﻟﻌﺎﻟ ﹸ ﺘ ﻁ ﹶﻡ
- 72. ﻤﻥ ﺤﻭﻟﻲ ِ ﻓﻸ ﻏ ﻥ ﹶُﹶ ﺘﺤﺕ ﺃﺴﻨﺎﻥ ﺍﻻﻨ ِﻅﺎﺭ ِ ﹾﺘ ﹶ ﺘﻨﹾﻔﺘﺢ ﺍﻟﺒ ﺍﺒ ﹸ، ﹶ ﻭ ﺔ ﻭﻴﻘﻑ ﹸﻬﺎﺙ ِﹸ ﻟ ﹲ ﻤﺎ ﺍﹼﺫﻱ ﺘﺨ ﺌﻪ ﻟ ﹸ ﹶﺒ ُ ﺃ ﻬﺎ ﺍﻟﺴﻭﺭ ﻴ ﺃ ﻬﺎ ﺍﻟﻌﻘل ﺍﻟﺫﻱ ُ ﻴ ﻴﺘﻬﺎﻭﻯ؟ *** ﺨ ﱢﻔﻲ ﻤﻥ ﻭﻗﻊ ﹸﻁﺎ ِ، ﺨ ﻙ ﻔ ﻤﺨﺎﻓﺔ ﺃﻥ ﻴﺼﺤﻭ ﺍﻟ ﺩﻴﻊ ﻭ ﻴﻨﺎﻡ ﻟﻴﺴﺭﻕ ﺍﻟﺨ ﹶﻰ ِ ﹶ ﹸﻁ ﺘﺤﺕ ﺸﻤ ِ ﺃﺒﺭﻴل َ ﹶ ﺱ
- 73. ﻭﻻ ﺘﺅ ﱢﻤﻲ ﺍﻟﻤﺎ ِﻴﺠ ﺍﻨﺎ ﺭ ﻭ ﹸ َﺜ ﻓﻲ ﺸﺎﺭﻉ "ﻨﻭﺒﺎﺭ" ﻻ ﺘﻭﻗﻅﻴﻪ ِ ِِ ِ ﻤﻥ ﻏﻴﺒﻭﺒﺘﻪ ﺍﻟ ﺍ َﻌﺔ ِ ِﺭ ﺌ ﹾ *** ﺴﺄ ﹶﻀ ﺦ ﺒﺎﻟﻌﻁﺭ ِِ ﺘ ﻤﹸ ﻭﺃﺨﺭﺝ ﹾ ﺍﻷﺼﺩﻗﺎﺀ ﻐﻠﻘﻭﻥ ﺍﻟ ﹼﻭﺍ ِﺫ ﻨ ﻓ ﻴ ﻋﻠﻰ ﻓﺭﺍﺌﺴﻬﻡ ِ ِِ ﻓﻴﻤﺎ ﺃﺒﺩﻭ ﻤﺠﻨﻭﻨﺎ ﹰ ﺴﻴﺤﺩ ﹸ ﺃﻥ ﺃﺫﻫﺏ ﺙ ﹾ ﻟﻤﻘﹾﻬﻰ ﻤﺭﻴﺽ ٍ ﻓُﺴﻠﻡ ﻋﻠﻰ ﻤﻥ ﻟﻡ ُﺴﻠﻡ ﻋﻠﻴﻪ ﺃ ﹼِ ﺄ ﱢ ﻤﻨ ﹸ ﻋﺎﻤﻴﻥ ﻜﺎﻤﹶﻴﻥ ِﻠ ﹾﺫ
- 74. ﻭﺴﻴﻠﺯﻡ ﺍﻟﺘﺴ ﱡﻊ ﹾ ﱠ ﻜ ﻷﻥ ﺍﻟ ﹼﻭﺍﺭﻉ ﺃﻭﺴﻊ ﺸ ﻗﻠﻴﻼ ﻤﻥ ﹰ ﺠﺩﺭﺍﻥ ﺴﻜ ٍ ِ ﻤ ﹶﻥ ﻴﻀ ﻨﻲ ﻤ ﺒﻼ ﺸﺎﻫﺩ ٍِ ﻤﻊ ﺫﻟﻙ ﺃﻋﻭﺩ ﻟﻠﺒﻴﺕ ِ ﻤﺴﺎﺀ ﻤﺒﺘﻬ ﺎ ﺠ ﻤﻥ ﺸﺩﺓ ﺍﻟﺤﺯﻥ ِ ِ *** ﺴﻭﻑ ﺃﺒﺤﺙ ﻓﻲ ﺍﻟﻘﻠ ِ ﹶﻡ ﹸ - ﺍﻟﺸﻲﺀ ﺍﻟﻭﺤﻴﺩ ﺍﻟﺫﻱ ﺒﻘﻲ ﻤﻨﻙ – ِ ِ ﱠ ِ ﻋﻥ ﺃﺼﺎﺒﻌﻙ ﺍﻟ ﺤﻴﻤﺔ ِِ ِ ﺭ ِ ﺍﻟﺘﻲ ﻴﺄ ﹸﻠﻬﺎ ﺍﻟﻤﻁﹾﺒﺦ ﹸ ُﻜ ﺴﻭﻑ ﺃﺒﺤﺙ ﻓﻲ "ﺍﻟﻤﻭﺴﻜﻲ" ﹸ
- 75. ﻋﻥ ﹸﻁﻰ ﺘﺘﺼ ﻉ ﻋﻠﻴﻬﺎ ﺍﻟ ِﻨﺎﻴﺎﺕ ﺒ ﹸ ﺩ ﺨ ﻓﻲ ﻗﻠﺒﻲ ﻨﺎ ﺃﻴﻀﺎ : ﺍﻟﻜِﻤﺎﺕ ﹶﻠ ﹸ ﹰ ﻫ ﺤﻴﺙ ﹸﺼﺒﺢ ﻜل ﻴﻭﻡ ﺘ ِﱠ ٍ ﺒﻼ ﻤﻌﻨﻰ ﻭﺍﻷﻤﻭﻤﺔ ﺸ ﺭﺓ ﹸ ﹶﺠ ﹲ ﻨﺴﺘ ِﱡﻬﺎ ﹶ ﹶﻅﻠ ﻋﻨﺩ ﻤﻭ ﹼﻔﻲ ﺍﻟﺒﻨﻭﻙ ﻅ ﻫﺭ ﺎ ﻤﻥ ﻨﺎﻓﻭﺭﺓ ﺍﻟﺩﻡ ٍ ِ ﺒ ﺍﻟﺘﻲ ﺘﺘﻭ ﻁ ﺃﺒﺭﻴل َ ﺴ ﺘﻤﺎﻤﺎ ﹰ ﻨﺎﻙ – ﺃﻴﻀﺎ – ﺍﻷﻓﻕ ﺍﻟﺫﻱ ُﹾ ﹸ ﹰ ﻫ ﻨﺘ ِﺏ ﻴ ﹾ ﹶﺼ ِ َ ٍ ﺒ ﻌ ﺔ ﺒﺠﺩﺭﺍﻥ ﺃﺭ ٍ ﻤﻨﹾﺩﺍﺤﺔ ٍ ﻤﻥ ﻗﺒ ٍ ﻴﻼﺤ ﹸﻨﻲ ﻘ ﹶ ﺭ
- 76. ﻟﺤﻅﺔ ﺘﺤﺘﻤل ﺍﻟ ﹼﻔﻭﻟﺔ ﹲﹶ ُﻁ ﹶ ﻭﺍﻟ ﱠﻴﺨﹾﻭﺨﺔ ﻓﻲ ﺍﻷﺸﹾﻴﺎﺀ ﹶ ﺸ ﻭﺠﺜﺔ ﻓﻲ ﺍﻟ ﻁﺒﺦ ﻤ ِ ﹼ ﹲ ﻭﺤﻘﻴﻘﺔ ﻭﺍﺤﺩﺓ ﹲ ﹲ ﻭﺤﻴﺩﺓ ﹾ *** ﺴﻴ ﹸﻭﻥ ﻋﻠﻴﻨﺎ ﻜ ﹶ - ﺒ ﻁﻭﻟﺔ ﻟﻥ ﻨﺴﺘﻁﻴ ﻬﺎ – ﻌ ِﺒ ٍ ﺭﺴﻡ ﺨﻁﻭﻁ ﺍﻟﺤﺩﻭﺩ ﺒﻴ ﹶﻨﺎ ﻨ ﹸ ِ ﻭﻤﻊ ﺫﻟﻙ ﻟﻥ ﻴﻜﻭﻥ ﺍﻟﺒﺭﻭﺘﻭﻜﻭل ﺎ ﺍ ُ ﺤﺩ ﺙ ﺴﻴﺤﺩ ﹸ ﺃﻥ ﺘﺴ ﹶﻌﻴﺩﻱ ﺍﻟ ﻁ ﺦ ﻤ ﹾﺒ ﹶ ﺘ ﻭﺍﺴﺘﺭﺩ ﺼﻤﺕ ﻭﺍﺤﺔ ٍ ﹶ ِ ﹶ ﻓﻲ ﺠﺒل ﺒﻌﻴﺩ ٍ ٍ ﺒﻌﻴﺩ
- 77. ﺤﻴﺙ ﺘﻬﺫﻱ ﺒﺯﺍﺌﺭﻴﻥ ﹸ ﻭﺒ ﺤﺩﺓ ﻭ ٍ ﻻ ﹶﻠﻭﻙ ﺘﺎﺭﻴﺨﻬﺎ ﺘ ﻓﻘﻁ ﻤﺘﺤﻑ ﻟﻠ ﹶﺭﺍﺏ ﹾ ﹲ ﺨ ِ ﻭﺘﺸﺒﺙ ﺒﺎﻟ ﱠﻅﺭ ﹶ ﹶ ﹲ ﻨ ِ ﺤﻴﻨﻤﺎ ﺃﺠﻔﻑ ﺩﻤﻭﻋﻙ ِ ﹸ ﻤﻥ ﻭﺭﺍﺀ ﺍﻷﺴﻼﻙ ِ * ﺍﻟﻘﺎﻫﺭﺓ * ٣١ – ٠٢/٤/٣٩٩١
- 78. ٌ
- 79. ﻴﻠﹾﺯﻡ ﺃﻥ ﺘﺒ ﹶﻰ ﻗﺭﻴﺒﺎ ﻤ ﹼﻰ ﹰ ِﻨ ﹶ ﻘ ﻷ ﹼﻲ ﻻ ﺃﻗﺩﺭ ﻋﻠﻰ ﺍﻟ ﺤﻴل ﻋﻨ ِ، ﺭ ِ ﹾﻙ ﹾِ ﻨ ﻭﻻ ﺍﻟﺒﻘﺎﺀ ﻫﻜ ﹶﺍ؛ ﹶﺫ ﻤﻌﻠ ﹰﺎ ﺒﻴﻥ ﻤﻭﺘﻴﻥ ِ ﹼﻘ ﻭﺍﺤﺘﻤﺎﻟﻴﻥ ِ ﻴﻠﺯﻡ ﺃﻥ ﺍﻟﻤﺴﻙ ﹾِ ﹾ ﺍﻟﻠﻤ ﺔ ﺍﻷﺨﻴﺭﺓ ﹶ ﱠ ﺴ ﹶ ﻗﺒل ﻤﻭﺘﻰ َ ﺍﹼﺫﻱ ﻴﻘﹾﺘﺭﺏ ﻟ *** ﺍﻗ ِﻀﻲ ﻋﻠﻰ ﺩﻱ ﻴ ﹾﺒ ﺇﻨ ﻲ ِﹼ ﺃ ﹶﻬﺎ ﻯ ﺘ ﻭ
- 80. ﻋﻠﻰ ﻠﻴﺒﻙ ﺃ ﻬﺎ ﺍﻟ ﻠﻙ ﺼ ِ ﻴ ﻤ ﻜﺫﺍ؛ ﻫ ﻫﺯ ﺍ ﻓﻲ ﺍﻟﻤﻴﺎﺩﻴﻥ ﻭ ﺃﻤﺎﻡ ﺍﻟ ﻤﻙ ﺍﻟﻤﻠﻭﺙ ﺒﺎﻟﻜ ﺍﺒﻴﺱ ِ ﹶﻭ ﺴ ِ *** ﺍﺤﺘﺎﺝ ﻜﺜﻴ ﺍ ﻤﻥ ﺍﻟ ﹼﻭﻡ ﺭ ِ ﻨ ﺍﻟﺫﻱ ﻟﻡ ﻴﻌﺩ ﺼﺎﻟﺤﺎ ﻟﻘﺘﹾل ﺫﺍ ﺍﻟ ﻤﺎﻍ ﹶ ﻫ ﺩ ﹾ ﻭﻤﺤﻭ ﺫﺍ ﺍﻟ ِﻨﺎﺀ ﺍ َﻟﻴﻡ ِ ﻫ ﻐ ِ ﻷ ِ ﺇ ﹼﻪ ﺒﺴﺘﺎﻥ ﻅﻬﻴﺭ ِﻨﺎ ﺘ ِﻨ ﺴﺘﻨﹾﻔﻠﺘﻴﻥ ﺩﻭﻥ ﻅل ﱟ ﹶ ﺤﻴﺙ ﻻ ﻅل ﺇﻻ ﱠ ﹼ ﹸ ﺃﻥ ﻴﺴﺘﺩﺭ ﻨﻲ ﺍﻟﻤﺎﻀﻲ ِ ﺠ ﺒﺘ ﺯ ﻱ ِ ﹶﻌﺎ ِ