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‫ﻣﺪﺍﺋﻦ ﺍﻷﻧﻮﺛﺔ ﻭﺍﻟﻠﻮﻥ‬ ‫ﳐﺘﺎﺭﺍﺕ ﻣﻦ ﻗﺼﺎﺋﺪﻱ‬ ‫א‬ ‫-٢-‬
‫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
‫‪‬‬ ‫ﻣﻦ ﺩﻳﻮﺍﻥ ﺟﺴــﺪﻱ ﻟﻚ ﺍﻟﺬﻱ ﻫﻨﺎﻙ‬ ‫ﻨﺸﻴﺩ ﺍﻹﻨﺸﺎﺩ ﺍﻟﺫﻱ ﻟﻲ ................................................................................................. - ٥ -‬ ‫ﻗﺴﻭﺘﻬﺎ ﻭﻭﺩﺍﻋﺔ ﻋﻴﻨﻴﻪ ................................................................................................. - ٨ -‬ ‫ﻣﻦ ﺩﻳﻮﺍﻥ ﻣﻦ ﺃﻭﺭﺍﻕ ﻟﻴﻠﻲ ﺃﻭ ﻣﺎ ﻗﺎﻟﺖ ﻟﻴﻠﻲ ﻟﻠﻤﺠﻨﻮﻥ‬ ‫ﺁﺨﺭ ﺍﻟﺩﺍﺌﺭﺓ ......................................................................................................... - ١١ -‬ ‫ﺘﻭﺍﻗﻑ: ﻗل ﻟﻡ ﺘﺅﻤﻨﻭﺍ ............................................................................................... - ٣١ -‬ ‫ﺘﻭﺍﻗﻑ: ﺃﺴﻠﻤﺕ ﻭﺠﻬﻲ .............................................................................................. - ٤١ -‬ ‫ﺘﻭﺍﻗﻑ: ﺤﻴﺙ ﺸﺎﺀﺕ ................................................................................................ - ٥١ -‬ ‫ﻣﻦ ﺩﻳﻮﺍﻥ ﻣﻦ ﻣﺪﻭﻧﺎﺕ ﺇﻧﺴﺎﻥ ﻧﻴﺎﻧﺪﺭﺗﺎﻝ‬ ‫ﺴﺄﻜﺘﺏ ﺘﺎﺭﻴﺦ ﺍﻟﻌﺎﻟﻡ ﺒﺩﻭﻨﻬﺎ.. ﺇﻨﻬﻡ ﻟﻡ ﻴﻨﺘﺒﻬﻭﺍ ﺃﺒﺩﺍ ﺇﻟﻲ ﺠﻼل ﺍﻻﺴﺘﻌﺎﺭﺓ ................................................. - ٧١ -‬ ‫ﺜﻘﺏ.. ﻭﻟﻤﺎﺫﺍ ﺃﺤﺯﻥ ﺤﻴﻥ ﺘﻁﻴﺭ ﺤﻭﻟﻲ؟ .............................................................................. - ٨١ -‬ ‫ﺍﻨﺘﻅــﺎﺭ.......................................................................................................... - ٩١ -‬ ‫ﻣﻦ ﺩﻳﻮﺍﻥ ﺍﻟﻘﺴﻮﺓ ﻭﺍﻟﺮﻋﺐ‬ ‫ﺒﻌـﺙ.............................................................................................................. - ١٢ -‬ ‫ﻤﺒﺘـﺩﺃ ............................................................................................................. - ٢٢ -‬ ‫ﻣﻦ ﺩﻳﻮﺍﻥ ﺣﺮﻭﻑ ﻣﻄﻤﻮﺳﺔ‬ ‫ﻭﻋﻼﻤﺎﺕ ........................................................................................................... - ٥٢ -‬ ‫ﻭﻫﺠﺔ ﺍﻟﻁﻤﻲ ....................................................................................................... - ٧٢ -‬ ‫ﻣﻦ ﺩﻳﻮﺍﻥ ﻫﻜﺬﺍ ﺗﻜﻠﻤﺖ ﻋﺎﺯﻓﺔ ﺍﻟﺒﻴﺎﻧﻮ‬ ‫ﺇﻴﺜـﺎﻜـﺎ ........................................................................................................... - ١٣ -‬ ‫ﺘﻤﻴﻤﺔ ﻷﺠل ﺍﻟﻨﺴﻴﺎﻥ ................................................................................................. - ٤٣ -‬ ‫ﻣﻦ ﺩﻳﻮﺍﻥ ﻗﺎﻟﺖ ﺍﻷﺷﻴﺎء ﱄ )ﺩﻳﻮﺍﻥ ﻟﻠﻔﺘﻴﺎﺕ ﻭﺍﻟﻔﺘﻴﺎﻥ(‬ ‫ﺘﻘﻭل ﺍﻟﻭﺭﺩﺓ ........................................................................................................ - ٩٣ -‬ ‫ﺍﺨﺘـﻼﻑ .......................................................................................................... - ٠٤ -‬ ‫ﺴﻠﺤ‪‬ﻔـﺎﺓ ........................................................................................................... - ١٤ -‬ ‫‪‬ﹶ‬ ‫-٣-‬
‫ﻣﻦ ﺩﻳﻮﺍﻥ‬ ‫א‬ ‫-٤-‬
‫ﻨﺸﻴﺩ ﺍﻹﻨﺸﺎﺩ ﺍﻟﺫﻱ ﻟﻲ‬ ‫ﻫﺎ ﺃﻨﺕ ﻟﻲ‬ ‫ﺸﻌﺭﻙ ﻴﻨﺴﺭﺏ ﻋﻠﻲ ﺠﺴﺩﻱ/ ﺠﺴ ِﻙ‬ ‫ﺩ‬ ‫ﻗﻁﻴﻊ ﻏﺯﻻﻥ ﻋﻠﻲ ﺠﺒل ﺍﻟﻤﺤﺒﺔ ﺍﻟﻔﺴﻴﺢ‬ ‫‪‬‬ ‫ﻫﺎ ﺃﻨﺕ‬ ‫ِ‬ ‫ﺍﻟﻌﺎﻟﻡ ﻜﻠﻪ ﻤﺸﻠﻭل ﻻ ﺃﺭﺍﻩ‬ ‫ﻭﺃﻨﺕ ﻭﺤﺩﻙ ﻤﻬﺭﺘﻲ ﺍﻟﺠﻤﻭﺡ‬ ‫ﻜﻴﻑ ﺃﻀﺒﻁ ﺇﻴﻘﺎﻉ ﺠﺴﺩﻱ ﻋﻠﻲ ﺍﻟﻭﺘﺭ ﺍﻟﻤﺸﺩﻭﺩ )ﺠﺴ ِﻙ(‬ ‫ﺩ‬ ‫ﺤﻴﻥ ﺘﻬﺘﺯ ﺍﻷﺭﺽ ﺒﻲ‬ ‫ﺩﻋﻴﻨﻲ ﺃﻤﺴﻙ ﻨﻬﺩﻴﻙ ﺒﺭﻓﻕ‬ ‫ِ‬ ‫ﻭﺃﻥ ﺃﻀﻐﻁ ﻫﻭﻨﺎ ﻋﻠﻲ ﺍﻟﺤﻠﻤﺘﻴﻥ‬ ‫ﻷﺴﺘﺄﺫﻥ ﺠﺴﺩﻙ ﻓﻲ ﺍﻟﺘﻠﺒﺙ‬ ‫ﻋﻠﻲ ﻨﺎﺼﻴﺔ ﻟﻬﺎﺜﻲ‬ ‫ﻟﻨﻘﻑ ﻋﻠﻲ ﺴﺎﻗﻲ ﻴﺎ ﺤﺒﻴﺒﺘﻲ‬ ‫ﹾ‬ ‫ﻋﻠﻲ ﺸﻔﺎ ﺍﻷﺸﻴﺎﺀ‬ ‫ﺤﺘﻲ ﺃﺭﻱ ﺒﺒﺼﻴﺭﺘﻙ‬ ‫ﻭﺃﺩﺨل ﺇﻟﻲ ﻤﻠﻜﻭﺕ ﺍﻟﻤﺤﺒﺔ ﻤﻥ ﺒﺎﺏ ﻋﻴﻨﻴﻙ‬ ‫ِ‬ ‫)ﻫﺎﺘﻴﻥ ﺍﻟﺤﻤﺎﻤﺘﻴﻥ ﺍﻟﻬﺎﺩﺌﺘﻴﻥ ﻋﻠﻲ ﻜﺘﻑ ﺍﻟﻤﺴﻴﺢ(‬ ‫ﻟﻨﻘﻑ ﻤﻌﺎ ﻤﻌﺎ‬ ‫ﻋﻠﻲ ﺸﻔﺎ ﺍﻟﻨﺸﻭﺓ ﻭﺍﻟﺠﻨﻭﻥ‬ ‫ﻋﻨﺩ ﺤﺎﻓﺔ ﺍﻟﻨﺩﺍﺀ ﻭﺍﻟﻤﻁﺭ‬ ‫ﻤﺎ ﺒﻴﻥ ﺍﻟﻤﻭﺕ ﻭﺍﻟﻨﺩﻡ‬ ‫ﻓﻲ ﺍﻟﻤﺴﺎﻓﺔ ﻤﺎ ﺒﻴﻥ ﺍﻟﻠﻭﻨﻴﻥ:‬ ‫ﻋﻴﻨﻴﻙ ﺤﻴﻥ ﺘﻨﻅﺭﺍﻥ ﺇﻟﻲ ﻭﻭﺠﻬﻲ ﺤﻴﻥ ﻴﺴﺘﻌﻴﻥ ﻋﻠﻲ ﺍﻟﺠﻤﺎل ﺒﺎﻟﺘﻔﺎﺘﺔ‬ ‫ِ‬ ‫-٥-‬
‫ﺃﻨﺕ ﺜﻤﻠﺔ ﻭﺃﻨﺎ ﻤﺠﻨﻭﻥ‬ ‫ﻓﻤﻥ ﻴﻘﻭﺩﻨﺎ ﺇﻟﻲ ﺍﻟﺤﺎﻥ ﻴﺎ ﺤﺒﻴﺒﺘﻲ؟‬ ‫ﺍﻟﻨﺩﺍﺀ ﺍﻟﻨﺩﺍﺀ‬ ‫‪‬‬ ‫ﻻ ﺘﺭﻋﺸﻭﺍ ﻴﺩﻱ‬ ‫ﻻ ﺘﻭﻗﻅﻭﺍ ﺤﺒﻴﺒﺘﻲ ﻓﻬﻲ ﺍﻵﻥ ﺘﺤﻠﻡ ﺒﻲ‬ ‫ﻭﺃﻨﺎ ﺘﺤﺕ ﻅﻠﻬﺎ ﺃﺒﻠل ﺤﻠﻘﻲ ﺒﺎﻟﺜﻤﺎﺭ‬ ‫ﻨﺎﻡ ﺍﻟﺭﻋﺎﺓ ﻭﻤﺎ ﻨﻤﺕ ﻭﻻ ﻨﺎﻡ ﻗﻁﻴﻌﻲ‬ ‫ﺃﻗﺒﻠﻲ ﻤﻥ ﺒﻴﻥ ﺍﻟﻤﺭﻭﺝ ﺃﻴﺘﻬﺎ ﺍﻟﺭﺍﻋﻴﺔ ﺍﻟﺠﺒﻠﻴﺔ ﺍﻟﻤﺫﻫﻠﺔ‬ ‫ﹸ‬ ‫ﻭﻴﺎ ﺃﻴﺘﻬﺎ ﺍﻟﻐﺯﺍﻻﺕ ﻤﻬﺩﻥ ﺍﻟﻁﺭﻴﻕ ﺘﺤﺕ ﺃﻗﺩﺍﻡ ﺤﺒﻴﺒﺘﻲ‬ ‫ﺍﻨﺜﺭﻥ ﺍﻟﻜﺭ‪‬ﻡ ﺒﻴﻥ ﻴﺩﻴﻬﺎ ﻭﻗﻠﻥ ﻟﻬﺎ:‬ ‫"ﺍﻟﺭﺍﻋﻲ ﻴﺒﻜﻲ ﻭﻟﻡ ﻴﻜﻥ ﻴﺒﻜﻲ ﺃﺒﺩﺍ‬ ‫ﹰ‬ ‫ﻓﺎﻤﺴﺤﻲ ﺒﻴﺩﻴﻙ ﻋﻠﻲ ﺠﺒﻴﻥ ﺍﻟﻜﻭﻥ ﺤﺘﻲ ﻴﻨﺎﻡ"‬ ‫ﺒﺭﺝ ﺒﺎﺒﻠﻲ ﻴﺎ ﻋﻨﻕ ﺤﺒﻴﺒﺘﻲ‬ ‫ﻭﺤﺘﻑ ﺍﻟﻌﺎﺸﻕ ﺃﻭﻟﻲ ﻫﺩﺍﻴﺎ ﻋﻴﻭﻨﻬﺎ‬ ‫ﺃﻨﺕ ﻨﺎﺌﻤﺔ ﻭﻗﻠﺒﻲ ﻤﺴﺘﻴﻘﻅ‬ ‫ﻓﺎﻓﺘﺤﻲ ﻟﻲ ﻴﺎ ﻜﺎﻤﻠﺘﻲ‬ ‫ﻟﻘﺩ ﺒﻠل ﺍﻟﻤﻁﺭ ﺸﻌﺭﻱ ﻭﻜﻼﻡ ﺍﻟﻌﺎﺫﻟﻴﻥ‬ ‫‪‬‬ ‫ﻗﺩ ﺨﻠﻌﺕ ﺜﻭﺒﻲ ﻓﻜﻴﻑ ﺃﻟﺒﺴﻪ ﻓﻲ ﻏﻴﺭ ﺤﻀﺭﺘﻬﺎ‬ ‫ﻁﻭﺒﻲ ﻟﻙ ﺃﻴﻬﺎ ﺍﻟﻔﺘﻲ ﺍﻟﺫﻱ ﺍﺨﺘﺎﺭ‬ ‫ﻴﻐﺒﻁﻙ ﺍﻟﻤﺤﺒﻭﻥ ﺇﺫ ﺘﺘﻨﺯل ﺍﻟﻤﺴﺭﺍﺕ ﻋﻠﻴﻙ‬ ‫ﺴ ‪‬ﺘﻬﺎ ﻜﺄﺱ ﻻ ﻴﻌﻭﺯﻫﺎ ﺍﻟﺨﻤﺭ‬ ‫‪‬ﺭ‬ ‫ﻭﺨﻤﺭﺓ ﺸﻔﺘﻴﻬﺎ ﻻ ﻴﻌﻭﺯﻫﺎ ﺍﻟﻤﺴﺎﺀ‬ ‫-٦-‬
‫ﻓﻠﻨﺒﻜﺭ ﻴﺎ ﺤﺒﻴﺒﺘﻲ ﻟﻌل ﺍﻟﻜﺭ‪‬ﻡ ﻴﺜﻤﺭ ﻓﻲ ﻏﻴﺭ ﺃﻭﺍﻨﻪ‬ ‫ﹶ‬ ‫ﻭﻫﻨﺎﻙ ﺃﻋﻁﻴﻙ ﺤﺒﻲ‬ ‫ِ‬ ‫ﻭﻴﺭﺘﻭﻱ ﺍﻟﻜل ﺒﺎﻟﻤﺤﺒﺔ ﺍﻟﺴﺎﻤﻘﺔ‬ ‫ﻭﻴﻔﺭﺤﻭﻥ ﺒﺈﻁﻼﻟﺔ ﺍﻟﻘﻼﺌﺩ ﻓﻲ ﺠﻴﺩﻙ ﺍﻟﺭﻁﺏ ﺍﻟﻜﺭﻴﻡ‬ ‫ِ‬ ‫ﻻ ﹸﺭﻋﺸﻭﺍ ﻴﺩﻱ‬ ‫ﺘ‬ ‫ﻻ ﺘﻨﺒﻬﻭﺍ ﺤﺒﻴﺒﺘﻲ ﻤﻥ ﺤﻠﻤﻬﺎ ﺤﺘﻲ ﺘﺸﺎﺀ‬ ‫‪‬‬ ‫ﻋﻠﻲ ﻜﻔﻲ ﺘﺅﺜﺭ ﺍﻟﺴﻼﻡ ﻭﺘﻨﺼﺕ ﻟﻠﻨﺩﺍﺀ‬ ‫‪‬‬ ‫ﱠ‬ ‫ﻫﺩﺌﻲ ﺨﻁﻭﻙ ﺃﻴﺘﻬﺎ ﺍﻟﻨﻅﺭﺓ ﺍﻟﻤﺘﺴﻠﻠﺔ ﺇﻟﻲ ﺍﻟﻤﺴﺎﻓﺔ ﻤﺎ ﺒﻴﻥ ﻨﻬﺩﻴﻬﺎ‬ ‫ِ‬ ‫ﺘﻠﺒﺜﻲ ﻗﻠﻴﻼ ﻋﻨﺩ ﺇﻏﻤﺎﻀﺔ ﺍﻟﺸﻔﺘﻴﻥ‬ ‫ﻓﺈﻨﻲ ﻤﻨﺫﻭﺭ ﻟﻠﻭﻋﺩ‬ ‫ِ‬ ‫ﺴُﺸﻬﺩ ﻤﻥ ﺒﺒﺎﺒﻲ ﻤﻥ ﺯﻴﺘﻭﻨﺎﺕ ﻭﻜﺭﻭﻡ ﻭﺃﻴﺎﺌل ﻭﻤﺤﺒﺎﺕ‬ ‫ٍ‬ ‫ﺄ‬ ‫ﺃﻨﻲ ﺴُﺩﺨل ﺤﺒﻴﺒﺘﻲ ﺇﻟﻲ ﺤﺠﺭﺓ ﺃﻤﻲ ﺍﻟﺘﻲ ﺃﺭﻀﻌﺘﻨﻲ‬ ‫ﹼ ﺄ‬ ‫ﺴﺄﺒﻴﺕ ﻤﺎ ﺒﻴﻥ ﺜﺩﻴﻴﻬﺎ ﺇﺫﺍ ﺃﻤﺭﺘﻨﻲ‬ ‫ﻭﺃﻤﻨﺤﻬﺎ ﺜﻤﺭﺓ ﺫﺍﺘﻲ‬ ‫ﻷﻭﻟﺩ ﺜﺎﻨﻴﺔ ﻤﻥ ﺭﺤﻤﻬﺎ‬ ‫ﻓﻴﻔﺭﺡ ﺍﻟﻜﻭﻥ ﺒﻲ‬ ‫ﻭﻴﻠﺒﺱ ﺘﺎﺝ ﺍﻷﺒﺩ‬ ‫‪‬‬ ‫-٧-‬
‫ﻗﺴﻭﺘﻬﺎ ﻭﻭﺩﺍﻋﺔ ﻋﻴﻨﻴﻪ‬ ‫ﺇﻟﻲ ﺍﻟﺸﺎﻋﺭ: ﻤﺤﻤﺩ ﻋﺒﺩ ﺍﻟﻭﻫﺎﺏ ﺍﻟﺴﻌﻴﺩ‬ ‫ﺃﺤﺎﺠﻴﻙ ﻴﺎ ﻭﺠﻌﺎ ﻭﺜﻨﻴﺎ‬ ‫ﹰ‬ ‫‪‬‬ ‫ﻴﺴﻴﺭ ﻋﻠﻲ ﻗﺩﻤﻴﻥ‬ ‫ِ‬ ‫ﻭﻴﺎ ﺃﻴﻬﺎ ﺍﻟﻔﺭﺡ ﺍﻟﻤﻭﺴﻤﻲ‬ ‫ﺃﺤﺎﺠﻴﻙ ﻴﺎ ﻤﻬ ‪‬ﻫﺎ ﺍﻟﻤﺎﺭﻕ ﺍﻟﻤﺘﻤﺯﻕ ﺒﻴﻥ ﺍﻟﺼﺤﺎﺌﻑ‬ ‫ِ‬ ‫ﺭ‬ ‫ﻻ ﻁﻤﻌﺎ ﻓﻲ ﺍﻨﺘﺼﺎﺭ ﻋﻠﻴﻙ‬ ‫‪‬‬ ‫ﻭﻻ ﺃﻤﻼ ﻓﻲ ﺘﻘﻁﺭ ﺃﺤﺯﺍﻨﻙ ﺍﻟﻤﺴﺘﺤﻴﻠﺔ ﻓﻲ‬ ‫ﺃﺤﺎﺠﻴﻙ ﻴﺎ ﺃﻴﻬﺎ ﺍﻟﻘﺭﻭﻱ ﺍﻟﺭﻫﻴﻑ‬ ‫ﹾ‬ ‫ﺇﻟﻲ ﺃﻥ ﻴﻘﺭ ﺒﺠﺴﻤﻲ ﺍﻟﻘﻠﻕ‬ ‫ﺃﺤﺎﺠﻴﻙ: ﻤﺎﺫﺍ ﻟﻭ ﺍﻨﻙ ﺃﺴﻤﻴﺘﻬﺎ ﻏﻴﺭ ﻤﻲ؟‬ ‫‪‬‬ ‫‪‬‬ ‫ﻭﺃﺴﻜﻨﺕ ﻗﻠﺒﻙ -ﻭﻫﻭ ﺍﻟﺒﻨﺎﺀ ﺍﻟﻀﻌﻴﻑ- ﺒﻼﺩﺍ ﺴﻭﺍﻫﺎ؟‬ ‫‪‬‬ ‫ﹶ‬ ‫ﺃﺤﺎﺠﻴﻙ: ﻜﺎﻥ ﻴﻐﻨﻲ ﻟﺒﻨﺕ‬ ‫ٍ‬ ‫ﺃﻋ ‪‬ﺕ ﻟﻪ ﻤﻐﺯﻻ‬ ‫ﺩ‬ ‫ﺼﻨﻌﺕ ﺸﺎل ﺼﻭﻑ‬ ‫ٍ‬ ‫ﻭﻏ ‪‬ﺕ ﺒﻌﻴﻨﻴﻪ ﻤﻐﺯﻟﻬﺎ‬ ‫ﺯ‬ ‫ﻤﻥ ﺘﺭﺍﻩ ﺍﺭﺘﺩﻱ ﺸﺎﻟﻬﺎ؟‬ ‫ﻤﻥ ﺘﺭﺍﻩ ﺍﻟﺼﺒﻲ؟‬ ‫ﺃﺤﺎﺠﻴﻙ ﺤﺘﻲ ﹶﺴﻴل ﻤﺩﺍﻤﻌﻨﺎ ﻭﻴﻁﻭل ﺍﻟﺒﻜﺎﺀ‬ ‫‪‬‬ ‫َ‬ ‫ﺘ‬ ‫ﺃﻨﺘﻤﻲ ﻟﻤﻭﺍﺠﻊ ﻗﻠﺒﻙ‬ ‫‪‬‬ ‫ﺃﻭ ﺘﻨﺘﻤﻲ ﻟﻲ ﻭﺘﻭﻟﺩ ﻓﻲ‬ ‫‪‬‬ ‫ﺃﺤﺎﺠﻴﻙ: ﻤﻘﺒﺭﺓ ﺘﺘﻤﺸﻲ ﻋﻠﻲ ﻗﺩﻤﻴﻬﺎ‬ ‫ﻭﺘﺴﺤﺏ ﻓﻲ ﺫﻴﻠﻬﺎ ﻗﺭﻭﻴﺎ ﺸﻔﻴﻔﺎ‬ ‫ﹰ‬ ‫-٨-‬
‫ﻭﻓﻲ ﺒﻁﻨﻬﺎ ﺒﻌﺽ ﺠﻤﺠﻤﺔ ﺫﺍﺕ ﻋﻴﻨﻴﻥ ﻭﺍﺩﻋﺘﻴﻥ‬ ‫ِ‬ ‫ِ‬ ‫ﻭﺒﺴﻤﺔ ﻁﻔل ﺭﻫﻴﻑﹾ؟‬ ‫ِ‬ ‫ﺃﺤﺎﺠﻴﻙ: ﺭﺏ ﻭﻗﺩ ﺼﻠﺒﺘﻪ ﺍﻟﺒﻼﺩ ﻋﻠﻲ ﺠﺫﻉ ﻨﺨل‬ ‫ٍ‬ ‫ﻭﻏﺎﺩﺭﻩ ﺍﻷﻫل‬ ‫ُ‬ ‫ﻫﺎﻥ ﻋﻠﻲ ﺍﻟﻨﺎﺱ‬ ‫ِ‬ ‫ﻓﺎﺴﺘﻠﺒﻭﺍ ﺭﻭﺤﻪ ﺩﻭﻥ ﺃﻥ ﺘﺘﻨﻔﺱ ﻓﻲ ﺠﺴﻤﻬﻡ ﻗﻁﺭﺓ ﻤﻥ ﺩﻡ‬ ‫ٍ‬ ‫ﻭﺍﻟﺼﺤﺎﺏ ﺃﻋﺩﻭﺍ ﺘﻘﺎﺭﻴﺭ ﻋﻥ ﻗﻠﺒﻪ ﻟﻠﻌﺴﺱ‬ ‫‪‬‬ ‫ﻓﺎﺴﺘﺒﺎﺤﻭﺍ ﺍﻟﺩﻡ ﺍﻟﻨﺒﻭﻱ؟‬ ‫ﺃﺤﺎﺠﻴﻙ ﺤﺘﻲ ﺃﺠﻨﺏ ﻨﻔﺴﻲ ﺍﻟﺒﻜﺎﺀ‬ ‫‪‬‬ ‫ﻭﺤﺘﻲ ﺘﺒﻭﺡ ﺒﺴﺭﻙ ﻟﻲ‬ ‫ﻓﺎﻷﺤﺎﺠﻲ ﺃﻴﺎ ﺃﻴﻬﺎ ﺍﻟﻨﺒل ﻭﺍﻟﻘﻠﻕ ﺍﻟﻭﺍﺤﺩﻱ‬ ‫ﺃﺠل ﻋﻁﺎﻴﺎ ﺍﻟﺴﻤﺎﺀ ﻟﻨﺎ‬ ‫ّ‬ ‫ﺤﻴﻥ ﻴﻤﻁﺭﻨﺎ ﺍﻟﻌﻤﺭ ﻋﺸﻘﺎ ﺨﻔﻴﺎ ﻭﺤﺯﻨﺎ ﺨﻔﻲ‬ ‫-٩-‬
‫ﻣﻦ ﺩﻳﻮﺍﻥ‬ ‫א‬ ‫- ٠١ -‬
‫ﺁﺨﺭ ﺍﻟﺩﺍﺌﺭﺓ‬ ‫ﺘﻭﺍ ﹶﻔﻨﺎ ﻓﻲ "ﺍﻟﺒﺩﺀ"،‬ ‫ﻗ‬ ‫ﻭﻗﺎﻟﺕ ﻟﻲ:‬ ‫ﺃﻭل ﺒﺎﺏ ﻤﻥ ﺃﺒﻭﺍﺏ ﺤﻀﺭﺘﻲ ﺘﻭﺍﻗﻑ "ﺍﻟﻨﺩﺍﺀ":‬ ‫ﹸ ﹸ‬ ‫ﺃﻨﺎﺩﻴﻙ ﺒﺎﺴﻤﻙ ﺍﻟﺫﻱ ﻗﺴﻤ ﹸﻪ ﻟﻙ،‬ ‫ﺘ‬ ‫‪‬‬ ‫ﻭﺁﺘﻴﻙ ﻤﻥ ﺤﻴﺙ ﻴﺅﺘﻲ ﺍﻟﻌﺎﺸ ﹸ،‬ ‫ﻕ‬ ‫ﻓﺘﺫﻫل ﻋﻥ ﻨﻔﺴﻙ،‬ ‫ﻭﺘﺘﺭﻙ ﻤﺎﻟﻙ ﻭﺠﻤﺎﻟﻙ ﻭﺃﻭﻁﺎﻨﻙ ﻭﺘﺘﻬﻴﺄ ﻟﻲ.‬ ‫ﻭﺃﺘﻭﻟﻲ ﻨﻌﻴﻤﻙ ﺒﻨﻔﺴﻲ ﻭﻋﺫﺍﺒﻙ ﺒﻨﻔﺴﻲ،‬ ‫ﻓﻼ ﺃﻭ ِل ﺃﺸﻴﺎﺀﻙ ﺇﻟﻲ ﺃﺸﻴﺎﻋﻲ،‬ ‫‪‬ﻜ‬ ‫ﻓﺈﻨﻲ ﻨﺎﺩﻴﺕ ﻋﻠﻴﻙ.‬ ‫ﺜﻡ ﺃﻭﻗ ﹶﺘﻨﻲ ﺒﻴﻥ ﻴﺩﻴﻬﺎ،‬ ‫ﻔ‬ ‫ﻭﻗﺎﻟﺕ:‬ ‫ﺘﻤﻭﺕ ﺒﻴﻥ ﻴﺩﻱ‬ ‫ﺸﻬﻴﺩﺍ‬ ‫ﻭ ﹸﺒﻌﺙ ﺸﻬﻴﺩﺍ ﺒﻴﻥ ﻴﺩﻱ،‬ ‫ﺘ‬ ‫ﻭﺃﻋﻁﺭﻙ ﺒﻜﻠﻤﺎﺘﻲ ﻓﻲ ﻜل ﻨﺸﺄﺓ‬ ‫ٍ‬ ‫ﺤﺘﻲ ﺘﻌﻭﺩ ﺇﻟﻲ ﺠﺴﺩﻱ ﻜﻤﺎ ﻜﻨﺕ ﺃﻭل ﻤﺭﺓ‬ ‫ﹶ‬ ‫ﻓﺘﻨﻁﻕ ﺒﺎﺴﻤﻲ‬ ‫ﹶ‬ ‫ﻭ ﹸﻌﻤﺩ ﺍﻟﻨﺎﺱ ﺒﺄﻨﻔﺎﺴﻲ‬ ‫ﺘ ‪‬‬ ‫ﻓﻴﻔﺭﺤﻭﻥ.‬ ‫ﻭﻗﺎﻟﺕ:‬ ‫ﻜل ﺒﻤﺎ ﻟﺩﻴﻬﻡ ﻓﺭﺤﻭﻥ.‬ ‫ﱞ‬ ‫ﺜﻡ ﺇﻨﻬﺎ ﺃﻭﻗﻔﺘﻨﻲ ﺒﺴﺎﺤل ﺇﺒﻁﻬﺎ، ﻓﺘﺩﻓﺄﺕ ﺒﻌﻁﺭﻫﺎ،‬ ‫ﹸ‬ ‫ﻭﻗﺎﻟﺕ:‬ ‫- ١١ -‬
‫ﺇﻥ ﺭﺃﻴﺕ ﺍﻟﻌﻁﺭ ﻋﺭﻓﺘﻨﻲ،‬ ‫ﹶ‬ ‫ﻭﺇﻥ ﺸﻤﻤ ﹶﻪ ﻓﻘﺩ ﹸﻐﻠﺕ ﻋﻨﻲ ﺒﺤﻭﺍﺴﻙ؛‬ ‫ﺸ ﹶ‬ ‫ﺘ‬ ‫ﻓﺘﺨﺭﺝ ﻤﻥ ﻤﻤﻠﻜﺘﻲ ﺇﻟﻲ ﻤﻤﻠﻜﺘﻙ.‬ ‫ﻭﻗﺎﻟﺕ:‬ ‫ﻷﻜﺸﻔﻥ ﻋﻥ ﻭﺠﻬﻲ، ﻓﻘﺩ ﺁﻥ ﺯﻤﺎﻨﻲ،‬ ‫‪‬‬ ‫ﻭﺴﺄﻟﻘﻲ ﺒﺎﻷﻗﻭﺍﺱ ﻓﻲ ﻗﻠﺏ ﺃﻋﺩﺍﺌﻲ‬ ‫ﻟﻴﻌﺭﻑ ﺍﻟﻌﺸﺎﻕ ﻤﻤﻠﻜﺘﻬﻡ.‬ ‫ﻭﺴﺄﺨﻠﻊ ﻋﻨﻲ ﺜﻴﺎﺏ ﺍﻟﻌﺎﻟﻡ‬ ‫ﺤﺘﻲ ﺃﺨﺭﺝ ﺇﻟﻴﻙ ﻓﺎﺩﺤﺔ ﺍﻟﺠﻼﺀ،‬ ‫ﻓﺘﺫﻫل ﻜل ﻋﻤﺎ ﺃﺭﻀﻌﺕ‬ ‫َ ﱞ‬ ‫ﻭﺘﺭﻱ ﺍﻟﻨﺎﺱ ﺴﻜﺎﺭﻱ،‬ ‫ﻭﻫﻡ ﻜﺫﻟﻙ ﺇﺫ ﻟﻡ ﻴﻌﺭﻓﻭﻨﻲ،‬ ‫ﻭﺃﻨﺕ ﻭﺤﺩﻙ ﺴﺘﻌﺭﻓﻨﻲ ﻤﻥ ﺘﻠﻙ ﺍﻟﺨﻤﺸﺔ ﺍﻟﺘﻲ ﺨﻤﺸ ﹶﻨﻲ،‬ ‫ﹶ ‪ ‬ﹾﺘ‬ ‫ﻭﻷﺩﻟﻨﻙ ﻋﻠﻲ.‬ ‫- ٢١ -‬
‫ﺘﻭﺍﻗﻑ: ﻗل ﻟﻡ ﺘﺅﻤﻨﻭﺍ‬ ‫ﺘﻭﺍﻗﻔﻨﺎ ﻓﻲ "ﻗل ﻟﻡ ﺘﺅﻤﻨﻭﺍ"،‬ ‫ﻭﻗﺎﻟﺕ ﻟﻲ:‬ ‫ﻀل ﺍﻟﻤﺤﺒﻭﻥ ﻋﻥ ﻁﺭﻴﻘﻲ‬ ‫ﻭﺠﻬﻠﺕ ﺍﻷﻗﺩﺍﻡ ﻋﻁﺭﻱ‬ ‫‪‬‬ ‫ﻓﺈﻥ ﻜﺎﺩ ﺃﻥ ﻴﺸﻡ ﻋﻁﺭﻱ ﻀﺎ ﱞ؛‬ ‫ل‬ ‫ﻓﺄﻨﺕ.‬ ‫ﹾ‬ ‫- ٣١ -‬
‫ﺘﻭﺍﻗﻑ: ﺃﺴﻠﻤﺕ ﻭﺠﻬﻲ‬ ‫ﺘﻭﺍﻗﻔﻨﺎ ﻓﻲ "ﺃﺴﻠﻤﺕ ﻭﺠﻬﻲ"،‬ ‫ﹸ‬ ‫ﻭﻗﺎﻟﺕ ﻟﻲ:‬ ‫ﺘﻤﻥ ﻋﻠﻲ؛‬ ‫‪‬‬ ‫ﻻ ﺘﻨل ﻤﺎ ﺘﺸﺘﻬﻲ‬ ‫ﻭﻻ ﺘﺘﻤﻥ ﻋﻠﻲ؛‬ ‫‪‬‬ ‫ﺘﻨل ﻤﺎ ﺃﺸﺘﻬﻲ ﻟﻙ.‬ ‫ﻭﻗﺎﻟﺕ:‬ ‫ﺴﺄﺩﱡﻙ ﻋﻠﻲ ﻤﻥ ﺴﻭﺍﻱ‬ ‫َ ‪‬ﻟ‬ ‫ﻟﺘﻌﻠﻡ ﺃﻥ ﻤﻜﺭﻱ ﻋﺯﻴﺯ.‬ ‫‪‬‬ ‫ﻭﻗﺎﻟﺕ:‬ ‫ﻤﻥ ﻴﺌﺱ ﻤﻥ ﻟﻘﺎﺌﻲ؛‬ ‫ﻋﺫﺒ ﹸﻪ ﺒﻐﻴﺒﺘﻲ.‬ ‫ﺘ‬ ‫ﻭﻤﻥ ﺁﻤﻥ ﺒﻠﻘﺎﺌﻲ؛‬ ‫ﻋﺫﺒﺘﻪ ﺒﻐﻴﺒﺘﻲ.‬ ‫- ٤١ -‬
‫ﺘﻭﺍﻗﻑ: ﺤﻴﺙ ﺸﺎﺀﺕ‬ ‫ﺘﻭﺍﻗﻔﻨﺎ ﻓﻲ "ﺤﻴﺙ ﺸﺎﺀﺕ"،‬ ‫ﻭﻗﺎﻟﺕ ﻟﻲ:‬ ‫ﺍﻤﺘ ِﻕ ﺤﺴﺎﻤﻙ ﻭﺘﺭﺒﺹ ﺒﻲ،‬ ‫ﺸ‬ ‫ﻭﺍﺌﺘﻨﻲ ﻤﻥ ﺤﻴﺙ ﺸﺌ ﹶ،‬ ‫ﺕ‬ ‫ﺃﻋﺩ ﺍﻟﺸﺭﺍﻙ ﻓﻲ ﻫﺩﻭ ٍ،‬ ‫ﺀ‬ ‫‪‬‬ ‫ِ‪‬‬ ‫ﻭﺴﺄﻤﻜﻨﻙ ﻤﻥ ﻜل ﺸﻲﺀ‬ ‫‪‬‬ ‫ﺇﻻ ﻤﻥ ﻤﻌﺭﻓﺘﻲ،‬ ‫ﻓﺘﺭﺠﻊ ﻤﻬﺯﻭﻤﺎ.‬ ‫‪‬‬ ‫ﻭﻗﺎﻟﺕ:‬ ‫ﻷﻤ ﹼﻨﻥ ﻟﻙ ﺍﻟﺫﻱ ﺃﺭﺘﻀﻲ،‬ ‫ُ ‪‬ﻜ ‪‬‬ ‫ﻭﻷﺒﺩﻟ ﱠﻙ ﺃﻤ‪‬ﻨﺎ ﻤﻥ ﻗﺒل ﻭﻤﻥ ﺒﻌﺩ.‬ ‫‪‬‬ ‫ُ‬ ‫ﻨ َ‬ ‫ﻭﻗﺎﻟﺕ:‬ ‫ﺘﻌﺎل ﺇﻟﻲ ﻓﺭﺩﺍ،‬ ‫َﻏﻤﺩ ﺴﻼﺤﻙ ﻭﺘﻬ ﱠﺩ ﻟﻲ،‬ ‫ﻨ‬ ‫ﺃ‬ ‫ﺃﻜﻥ ﻏﻤﺩﻙ‬ ‫ﻭﻻ ﺃﺩﻟﻙ ﺇﻻ ﻋﻠﻲ.‬ ‫- ٥١ -‬
‫ﻣﻦ ﺩﻳﻮﺍﻥ‬ ‫- ٦١ -‬
‫ﺴﺄﻜﺘﺏ ﺘﺎﺭﻴﺦ ﺍﻟﻌﺎﻟﻡ ﺒﺩﻭﻨﻬﺎ..‬ ‫ﺇﻨﻬﻡ ﻟﻡ ﻴﻨﺘﺒﻬﻭﺍ ﺃﺒﺩﺍ ﺇلي ﺠﻼل ﺍﻻﺴﺘﻌﺎﺭﺓ‬ ‫ﻤﺎﺫﺍ ﻟﻭ ﻟﻡ ﻴﺨﺘﺭﻋﻭﺍ ﺍﻟﻤﺭﺁﺓ‬ ‫ﻭﻜﺎﻥ ﺍﻟﻤﺎﺀ ﻜﺭﻴﻤﺎ ﻓﻠﻡ ﻴﻌﻜﺱ ﺍﻟﻤﻼﻤﺢ‬ ‫ﺁﻩ.. ﻟﻜﻨﺕ ﻗﻠﺕ ﺍﻟﻜﺜﻴﺭ ﻋﻥ ﻤﻔﺎﺘﻨﻲ‬ ‫ﹸ‬ ‫ٍ‬ ‫ﻭﻏﺎﺯﻟﺕ ﻜل ﺘﻔﺼﻴﻠﺔ ﻓﻲ ﺘﺄﻥ ﺭﻗﻴﻕ‬ ‫‪‬‬ ‫ﻭﺃﻟﻘﻴﺕ ﻟﻌﻨﺎﺕ ﺍﻟﻨﺎﺱ ﻓﻲ ﺠﺏ ﻋﻤﻴﻕ‬ ‫ﻭﺍﺨﺘﺭﺕ ﻨﻔﺴﻲ‬ ‫- ٧١ -‬
‫ﺜﻘﺏ.. ﻭﻟﻤﺎﺫﺍ ﺃﺤﺯﻥ ﺤﻴﻥ ﺘﻁﻴﺭ ﺤﻭﻟﻲ؟‬ ‫ﺃﻨﺎ ﺃﺠﻤل ﺍﻟﺤﺸﺭﺍﺕ‬ ‫ﺃﺭﻗﻬﺎ ﻋﻠﻲ ﺍﻹﻁﻼﻕ‬ ‫ﺍﺴﻤﺤﻭﺍ ﻟﻲ ﺇﺫﻥ‬ ‫ﺃﻥ ﺃﺴﻤﻲ ﻨﻔﺴﻲ ﻓﺭﺍﺸﺔ‬ ‫ﺃﺠﻤل ﺍﺴﻡ‬ ‫ُ‬ ‫ﻴﻤﻜﻥ ﺃﻥ ﺘﻁﻠﻘﻪ ﻋﻠﻲ ﻨﻔﺴﻬﺎ‬ ‫ﻓﺭﺍﺸﺔ ﻁﻴﺒﺔ‬ ‫ﹲ‬ ‫ﺘﺭﻱ ﺍﻟﻌﺎﻟﻡ ﻤﻥ ﺨﻼل ﺜﻘﺒﻴﻥ:‬ ‫ﻤﻭ ِﻬﺎ‬ ‫ﺘ‬ ‫ﻭﺭﻗﺔ ﺍﻷﺠﻨﺤﺔ‬ ‫ِﱠ ِ‬ ‫- ٨١ -‬
‫ﺍﻨﺘﻅــﺎﺭ‬ ‫ﺃﺭﻗﺩ ﺍﻵﻥ ﻓﻲ ﺤﺎﺌﻁ ﺍﻟﻜﻬﻑ‬ ‫ﺃﺭﻗﺏ ﻜل ﺍﻟﻜﻭﺍﺌﻥ ﻏﻴﺭﻱ‬ ‫ﺘﺘﺩﻫﺩﻱ ﺇﻟﻲ ﺍﻟﻐﺩﻴﺭ‬ ‫ﻜﺜﻴﺭﻭﻥ ﻤﺜﻠﻲ‬ ‫ﻴﺭﻗﺩﻭﻥ ﻓﻲ ﻓﺘﺤﺎﺕ ﺒﺤﺎﺌﻁ ﺍﻟﻜﻬﻑ‬ ‫ﺒﻌﺩ ﻗﻠﻴل‬ ‫ﺴﻴﻨﻘﻀﻭﻥ ﻭﻓﻲ ﻴﺩﻫﻡ ﺭﻤﺎﺤﻬﻡ ﺍﻟﻤﺴﻨﻭﻨﺔ‬ ‫ﹸ‬ ‫ﻓﻲ ﺒﻁﻥ ﺫﺍﻙ ﺍﻟﻤﻘﺩﺱ‬ ‫ﻜﻲ ﻴﺸﺭﺒﻭﺍ ﺩﻤﻪ ﻓﻴﺒﺎﺭﻜﻬﻡ‬ ‫ﻜل ﺸﺨﺹ ﻴﺨﺒﺊ ﻋﻭﺭﺘﻪ ﺒﻴﺩ ﺃﻭ ﺒﻘﻁﻌﺔ ﻓﺭﻭ‬ ‫ﻭﻴﻤﺴﻙ ﺒﺎﻟﺭﻤﺢ ﻓﻲ ﻴﺩﻩ ﺍﻷﺨﺭﻱ‬ ‫ﻜل ﺸﺨﺹ ﻴﻠﻤﻠﻡ ﺠﺴﻤﻪ ﺍﻟﻔﺘﻲ ﻟﻴﺨﻔﻲ ﻗﻠﺒﻪ ﻋﻥ ﻋﻴﻭﻥ ﺍﻟﺴﻬﺎﻡ‬ ‫ﻭﺃﻨﺎ -ﺫﺍ ﺍﻟﺠﺴﺩ ﺍﻟﻨﺤﻴل-‬ ‫ﺃﺘﺭﻗﺏ ﺫﺍﻙ ﺍﻟﻤﻘﺩﺱ.. ﺃﻨﺕ‬ ‫ِ‬ ‫ﻓﻲ ﻴﺩﻱ ﺯﻫﺭﺓ‬ ‫ﺴﻭﻑ ﺃﻟﻘﻴﻬﺎ ﻋﻠﻴﻙ‬ ‫ﻜﺎﺸﻔﺎ ﺠﺴﺩﻱ ﻋﺎﺭﻴﺎ ﻻ ﺃﺨﺎﻑ ﺴﻬﺎﻤﻙ‬ ‫ﻭﺇ ‪‬ﺎ ﻨﻅﺭﺕ ﺇﻟﻲ ﻭﺍﺭﺘﺒﻜﺕ ﺨﻁﻭﺍﺘﻙ‬ ‫ِ‬ ‫ِ‬ ‫ﻤ‬ ‫ﺴﻭﻑ ﺃﻫﺒﻁ ﻨﺤﻭﻙ‬ ‫ِ‬ ‫ﺜﻡ ﺃﻫﻤﺱ ﻓﻲ ﺃﺫﻨﻴﻙ:‬ ‫ِ‬ ‫)* (‬ ‫"ﻗﺒﻠﻴﻨﻲ ﻷﻨﻘل ﺴﺭﻱ ﺇﻟﻲ ﺸﻔﺘﻴﻙ"‬ ‫ِ‬ ‫* ﺃﻤل ﺩﻨﻘل: ﺴﻔﺭ ﺃﻟﻑ ﺩﺍل.‬ ‫- ٩١ -‬
‫ﻣﻦ ﺩﻳﻮﺍﻥ‬ ‫א‬ ‫א‬ ‫- ٠٢ -‬
‫ﺒﻌـﺙ‬ ‫ﺍﻟﺭﺍﺴﺨﺔ ﻜﺎﻟﻌﺸﻕ ﺍﻟﻤﻴﺕ‬ ‫ِ‬ ‫ﺍﻟﺴﺎﻤﻘﺔ ﻜﺎﻟﻨﺩﻡ‬ ‫ِ‬ ‫ﺘﺭﺒﻜﻬﺎ ﻟﻤﺴﺘﻲ‬ ‫ﺃﻀﻊ ﻋﻠﻲ ﺼﺩﺭﻫﺎ ﺒﻌﺽ ﺍﻟﻤﺸﻬﻴﺎﺕ‬ ‫ﻭﺘﻘﺘﺭﺏ ﺭﻭﺤﻲ ﺜﻘﻴﻠﺔ ﺜﻘﻴﻠﺔ‬ ‫ﺃﻀﻡ ﺃﺴﻨﺎﻨﻲ ﺒﻬﺩﻭﺀ ﻋﻠﻲ ﺤﻠﻤﺘﻬﺎ ﺍﻟﻴﺴﺭﻱ‬ ‫ﺘﻤﻴﺯ ﻗﻭﺍﻁﻌﻲ ﺩﺭﺠﺎﺕ ﺍﻟﻠﻭﻥ ﺍﻟﻔﺎﺼﻠﺔ ﺒﻴﻥ ﺍﻟﺒﻨﻲ ﻭﺍﻷﺒﻴﺽ ﺍﻟﻨﺎﺼﻊ‬ ‫ِ‬ ‫ﹶ‬ ‫ِ‬ ‫ﺃﻨﺘﺯﻉ ﺍﻟﺤﻠﻤﺔ ﻭﺃﺒﺘﻠﻌﻬﺎ‬ ‫)ﺭﺒﻤﺎ ﺘﻜﻭﻥ ﺨﺼﻴﺘﻲ(‬ ‫ﻴﺭﺴﻡ ﺍﻟﺩﻡ )ﺍﻟﺫﻱ ﻴﺠﻑ ﺒﺴﺭﻋﺔ( ﻟﻭﺤﺔ ﺭﻤﺎﺩﻴﺔ‬ ‫ﻭﺍﻟﺼﺭﺨﺔ ﺘﻔﺘﺢ ﻓﻲ ﻗﻠﺒﻲ ﻫﻭﺓ ﻤﻥ ﺍﻟﺭﻏﺒﺔ ﻓﻲ ﻓﺘﺢ ﺍﻟﻜﻨﺯ‬ ‫ِ‬ ‫ﺃﺸﻕ ﺍﻟﺠﺴﺩ ﺒﻤﺩﻴﺘﻲ ﻤﻥ ﺍﻟﻌﻨﻕ ﺤﺘﻲ ﺨﻁ ﺍﻟﺭﺤﻡ‬ ‫ِ‬ ‫ﻟﻴﺼﺒﺢ ﺨﻁ ﺍﻟﺠﺴﺩ ﻻ ﻨﻬﺎﺌﻴﺎ‬ ‫ﺃﻏﺭﺱ ﺠﺴﺩﻱ ﻜﻠﻪ ﻓﻲ ﺍﻟﺠﺴﺩ ﺍﻟﻤﻔﺘﻭﺡ‬ ‫ﻭﻨﺼﺭﺥ ﺼﺭﺨﺔ ﺍﻟﻔﺯﻉ ﻭﺍﻟﺭﻏﺒﺔ ﺍﻟﻘﺎﺘﻠﺔ‬ ‫ﻭﻨﻭﻟﺩ ﻤﻥ ﺭﺤﻡ ﺍﻟﻘﺴﻭﺓ‬ ‫ِ‬ ‫ﻤﺴﺨﺎ ﺁﺨﺭ‬ ‫- ١٢ -‬
‫ﻤﺒﺘـﺩﺃ‬ ‫ﺃﻥ ﺘﺄﻜل ﺍﻟﻁﻴﺭ ﻤﻥ ﺭﺃﺴﻙ‬ ‫‪‬‬ ‫ﻭﻋﻴﻨﺎﻙ ﻤﺜﺒﺘﺘﺎﻥ ﻓﻲ ﻋﻴﻨﻴﻬﺎ ﻻ ﺘﻁﻠﺒﺎﻥ ﻨﺠﺩﺓ ﻭﺤﻨﺎﻨﺎ‬ ‫‪‬‬ ‫ﺘﺴﻴﺭ ﻓﻲ ﻭﺩﻴﺎﻥ ﻤﻘﻔﺭﺓ ﺫﺍﺕ ﺒﻬﺠﺔ ﻗﻠﻴﻠﺔ‬ ‫ٍ‬ ‫ﻟﺘﻔﺎﺠﺌﻙ ﺍﻟﻤﻘﺎﺒﺭ ﺒﻴﻥ ﺍﻟﻭﻫﺩﺓ ﻭﺍﻟﻭﻫﺩﺓ‬ ‫ِ‬ ‫ﺒﻼ ﺸﻭﺍﻫﺩ ﺃﻭ ﻜﻠﻤﺎﺕ ﻤﻠﻘﺎﺓ ﺤﻭل ﺍﻟﻌﻅﺎﻡ ﻭﺍﻟﺠﻤﺎﺠﻡ ﺍﻟﺴﻭﺩﺍﺀ‬ ‫ﺃﻥ ﺘﻨﺒﺸﻙ ﺍﻟﻘﺒﻭﺭ ﻭﺘﺄﺨﺫ ﻤﻨﻙ ﺒﻬﺠﺘﻙ ﺍﻟﻘﻠﻴﻠﺔ‬ ‫ﹶ‬ ‫ﻭﺘﻐﺎﺩﺭﻙ ﺸﺎﻫﺩﺍ ﺒﻼ ﻗﺒﺭ ﻜﻨﺒﻲ ﻤﺭﺠﻭﻡ‬ ‫ٍ‬ ‫ﻭﺍﻟﻅﻤﺄ ﻤﻘﺎﻤﻙ‬ ‫‪‬‬ ‫ﺃﻥ ﺘﻘﺘﺎﺕ ﺒﺂﺨﺭ ﻗﻁﺭﺍﺕ ﻜﺄﺱ ﺍﻟﺨﻤﺭ ﺍﻟﻤﺴﻤﻭﻤﺔ‬ ‫ِ‬ ‫ﻭﻻ ﻴﻌﻴﺭﻙ ﺍﻟﻤﻭﺕ ﺍﻟﺘﻔﺎﺘﺔ ﻨﺒﻴﻠﺔ ﺘﻠﻴﻕ ﺒﻁﻭل ﺴﻔﺭﻙ ﺍﻟﻤﺤﻤﻭﻡ‬ ‫ِ‬ ‫ِ‬ ‫ﺃﻤﺎﻤﻙ ﻨﻬﺭ ﻤﻥ ﺩﻡ ﻜﺫﺏ ﺃﺴﻭﺩ‬ ‫ٍ‬ ‫ٍ‬ ‫ٍ‬ ‫ﻭﺨﻠﻔﻙ ﺴﻴل ﺯﻴﻑ ﻋﺭﻡ‬ ‫ٍ‬ ‫ﻭﺤﻭﻟﻙ ﺘﺼ ِﺭ ﺍﻟﺭﻴﺢ ﻭﺃﻨﺕ ﻭﺍﻗﻑ ﻭﺤﺩﻙ ﻨﺨﻠﺔ ﺒﻼ ﺜﻤﺭ‬ ‫ٍ‬ ‫ﹰ‬ ‫‪‬ﻔ‬ ‫ﻭﺍﻷﺭﺽ ﺘﻤﻴﺩ‬ ‫‪‬‬ ‫ﺍﻷﺒﻴﺽ ﻭﺍﻷﺴﻭﺩ ﻴﻘﺘﺎﺘﺎﻥ ‪‬ﻜﻴﻨﺘﻙ‬ ‫ﺴ‬ ‫ﻭﻴﺭﺠﻤﺎﻨﻙ ﺒﺎﻟﺭﻤﺎﺩ‬ ‫‪‬‬ ‫ﻻ ﺴﺒﻴل ﺃﻤﺎﻤﻙ ﻟﻠﻬﺭﺏ ﺇﻟﻲ ﻓﺘﻨﺔ ﺍﻷﻟﻭﺍﻥ ﻭﺍﻟﻌﻤﻲ‬ ‫ﺜﺩﻴﺎﻥ ‪‬ﻨﺒﺘﺎﻥ ﻓﻲ ﺍﻟ ‪‬ﻏل ‪‬ﺭﻀﻌﺎﻨﻙ ﻤﺎﺀ ﺍﻟﺼﺒﺎﺭ ﻭﻴ ‪‬ﻭﺭﺍﻥ ﺃﻓﺎﻋﻲ ﻭ ‪‬ﺩﻱ‬ ‫ﻤ‬ ‫ﺤ‬ ‫ﺩ ﻴ‬ ‫ﻴ‬ ‫ﺃﻥ ﺘﻬﺭﺏ ﺭﺃﺴﻙ ﺇﻟﻲ ﺃﺴﻔل ﺍﻟﺠﺒل ﻴﻨﺎﺩﻴﻬﺎ ﺍﻟﺩﻡ ﺍﻷﺴﻭﺩ ﺍﻟﻤﺴﻔﻭﺡ‬ ‫‪‬‬ ‫‪ ‬‬ ‫ﻭﺍﻟﺭﺃﺱ ﹸﺨﺭﺝ ﺍﻟﻠﺴﺎﻥ ﻭﻻ ﺘﺠﻴﺏ‬ ‫‪‬‬ ‫ﺘ‬ ‫ﺍﻟ ‪‬ﺩﻱ ﺍﻟﻨﺎﺒﺘﺔ ﻋﻠﻲ ﻤﺩﺍﺭﺝ ﺍﻟﺠﺒل ﻻ ﺘﻁﻔﺊ ﺴﻌﻴﺭ ﻋﻴﻨﻴﻙ ﺍﻟﻤﺸﺒﻭﺒﺘﻴﻥ‬ ‫ﻤ‬ ‫- ٢٢ -‬
‫ﺍﻷﺼﻭﺍﺕ ﺍﻟﺒﻴﻀﺎﺀ ﻭﺍﻟﺴﻭﺩﺍﺀ ﹸﻅل ﺠﺴﺩﻙ‬ ‫‪‬‬ ‫ﺘ ﱡ‬ ‫ﻭﺍﻟﺭﻭﺍﺌﺢ ﺍﻟﺴﻭﺩﺍﺀ ﻭﺍﻟﺒﻴﻀﺎﺀ ﹸﻘﻠﻙ‬ ‫ﺘ ‪‬‬ ‫ﻭﺠﻠﺩﻙ ﺒﺎﻟﻎ ﺍﻟﻘﺘﺎﻤﺔ‬ ‫ِ‬ ‫ﻟﺴﺎﻨﻙ ﺃﺒﻴﺽ ﻤﻘﻁﻭﻉ ﻜﺎﻟﺴﻴﻑ ﺍﻟﻤﻬﺯﻭﻡ‬ ‫ِ‬ ‫ﻭﻁﺭﻴﻕ ﺍﻷﻟﻭﺍﻥ ﹶﻀﹼﻪ ﺨﻁﻭﺍﺘﻙ ﺍﻟﻤﺘﻌﺒﺔ‬ ‫ﹾ‬ ‫ﺘ ﻠ‬ ‫ﻭﻓﻲ ﺁﺨﺭ ﺍﻟﻤﻔﺎﺯﺓ ﻭﺭﺩﺓ ﻭﺤﻴﺩﺓ ﹶﻘ ﹸﺭ ﺍﻟﻨﺩﻱ‬ ‫ﺘﻁ‬ ‫)ﺍﻟﻭﺭﺩﺓ ﺒﻴﻀﺎﺀ ﻭﻋﻁﺭﻫﺎ ﺒﻬﺠﺔ ﻟﻠﻨﺎﻅﺭﻴﻥ(‬ ‫ﻭﻋﻁﺭ ﺃﺴﻭﺩ‬ ‫‪‬‬ ‫‪‬‬ ‫- ٣٢ -‬
‫ﻣﻦ ﺩﻳﻮﺍﻥ‬ ‫- ٤٢ -‬
‫ﻭﻋﻼﻤﺎﺕ‬ ‫)ﺇﻥ ﺍﻟﻤﻌﺸﻭﻕ - ]ﻭﻋﻼﻤﺘﻪ ﺍﻷﻨﻭﺜﺔ[ - ﻫﻭ ﺍﻟﻜل، ﺃﻤﺎ ﺍﻟﻌﺎﺸﻕ - ]ﻭﻋﻼﻤﺘﻪ ﺍﻟﺫﻜﺭﺍﻨﻴﺔ[ - ﻓﺤﺠﺎﺏ(‬ ‫ﺠﻼل ﺍﻟﺩﻴﻥ ﺍﻟﺭﻭﻤﻲ‬ ‫ﻟ ﹶﺴﻊ ﺇﺫﻥ ﺃﻴﻬﺎ ﺍﻟﻭﺼﻑ ﻨﺤﻭ ﺼﻔ ‪‬ﻙ‬ ‫ﻴ‬ ‫ﺘ ‪‬‬ ‫ﻭ ﻴﺎ ﺃﻴﻬﺎ ﺍﻟﻠﻭﻥ ﺒﻠﻎ ﻤﺎ ﺃﻨﺯل ﺇﻟﻴﻙ‬ ‫ﻭﺍﺠﺘﻤﻌﻲ ﺒﻴﻥ ﻴﺩﻱ ﺃﻴﺎ ﺃﺴﻤﺎﺀ‬ ‫ﻤﺭﻱ ﺒﺤﻭﺍﻓﺭ ﻨﻬﺩﻴﻙ‬ ‫ﻭﺠﻼل ﻓﺭﺠﻙ ﻋﻠﻲ ﻤﻠﻜﻭﺕ ﺍﻟﻤﺴﻤﻴﺎﺕ‬ ‫ﺤﺘﻲ ﻴﺼﻴﺭ ﺍﻟﺒﺌﺭ ﺍﻟﻤﺎﺀ ﻋﻴ ﹶﻪ‬ ‫‪ ‬ﻨ‬ ‫ﻭﻴﻜﻭﻥ ﺍﻟﻤﻠﻙ ﷲ ﺍﻟﻭﺍﺤﺩ‬ ‫ﺘﻤﺭ ﺍﻷﻨﻭﺜﺔ ﻤﻥ ﺒﻴﻥ ﺸﻌﻴﺭﺍﺕ ﺍﻟﻜﻠﻤﺎﺕ ﺍﻟﻤﻐﺘﻤﻀﺔ‬ ‫ﺘﻘﺭﺃ ﺴﺭ ﺒﻬﺎﺌﻬﺎ ﻓﻲ ﺍﻟﺼﻤﺕ ﻭﺼﻠﺼﻠﺔ ﺍﻟﻔﺭﺍﻍ‬ ‫ﹸﺯﻑ ﺍﻟﺤﺭﻭﻑ ﺇﻟﻲ ﻨﻔﺴﻬﺎ ﻭ ﹶﻨﺴل ﺍﻟﺸﺠﺭ‬ ‫ﺘ‬ ‫ﺘ‬ ‫ﺃﻭ ﹸﺯﻑ ﺇﻟﻲ ِﺩﺭﻫﺎ ﻭﺘﻨﺴل ﺍﻷﺼﻔﺎﺩ‬ ‫ﺨ‬ ‫ﺘ‬ ‫ﺍﻹﻟﻬﺔ ﺍﻵﻥ ﺒﻴﻥ ﺍﻟﻤﺩﻱ ﻭﺍﻟﻜﻼﻡ ﻤﺜ ﱠﺒﺔ ﺍﻟﻘﺩﻡ‬ ‫ﻘ‬ ‫‪‬‬ ‫ﻭﺒﻴﻥ ﺍﻟﻜﻼﻡ ﻭﺍﻟﻜﻼﻡ ﻤﻭﺜﻭﻗﺔ ﺍﻟﻜﻔﻴﻥ‬ ‫ﻭﺍﻹﻟﻬﺔ‬ ‫ﻓﻲ ﺍﻟﻼﺒﻴﻥ ﺇﻟﻬﺔ‬ ‫ﹲ‬ ‫ﻻ ﻴﺴﻌﻬﺎ ﺃﺭﻀﻬﺎ ﻭ ﻻ ﺴﻤﺎﺅﻫﺎ ﻭﻻ ﻗﻠﺏ،‬ ‫ﻭﻟﻜﻥ ﻴﺴﻌﻬﺎ ﻟﺤﻅﺔ ﺍﺭﺘﻁﺎﺏ ﻜل ﻓﺭﻭﺝ ﺃﻨﺜﻴﺎﺕ ﻋﺒﺎﺩﻫﺎ ﻤﻥ ﺤﺠﺎﺭﺓ ﻭﻨﺴﺎﺀ‬ ‫ﻭﺸﺠﻴﺭﺍﺕ........ ﺒﺎﻟﺫﻜﻭﺭﺓ ﺍﻟﻭﺍﺴﻌ ِ،‬ ‫ﺔ‬ ‫ٍ‬ ‫ﺤﺘﻲ ﻴﺭﺙ ﺍﷲ ﺍﻷﺭﺽ ﻭﻤﻥ ﻋﻠﻴﻬﺎ‬ ‫ﺍﻷﻨﻭﺜﺔ ﻤﻔﺘﺎﺡ ﺍﻟﻌﻼﻤﺔ‬ ‫ﻭﺍﻟﻌﻼﻤﺔ ﺘﺎﺝ ﻜﺒﺭﻴﺎﺌﻲ‬ ‫ﻓﻲ ﺍﻟﺘﻔﺎﺘﺘﻬﺎ ﺍﻟﻔﺘﻨﺔ ﺍﻟﻤﻐﻭﻴﺔ‬ ‫ﹸ‬ ‫ﺘﻘﺭﺃ ﺍﻟﻨﺎﺭ ﻭ ﻻ ﺘﻨﻅﺭﻫﺎ، ﺘﺴﺭﻱ ﻓﻲ ﻓﻨﺠﺎﻥ ﺍﻟﻘﻬﻭﺓ ﺍﻟﻤﻘﻠﻭﺏ ﻤﺎ ﺒﻴﻥ ﺍﻟﻅل ﻭﺍﻟﻀﻭﺀ،‬ ‫- ٥٢ -‬
‫ﺘﻌﺭﺏ ﻋﻥ ﻨﻔﺴﻬﺎ ﻓﻲ ﺍﻟﻔﺭﺍﻍ ﺍﻷﺒﻴﺽ ﺍﻟﻌﻤﻴﻕ‬ ‫ﻭﺘﻤﺭ ﺴﻬﻭﺓ ﺇﻟﻲ ﻤﻭﺝ ﺍﻟﻜﻠﻤﺎﺕ ﻟﺘﺴﻜﻥ ﺍﻟﻔﺭﺍﻍ ﻭﺍﻟﺩﻭﺍﺌﺭ، ﻭﺤﻴﻨﺎ ﺘﻜﻭﻥ‬ ‫ﹰ‬ ‫ﺍﻟﻨﻘﻁﺔ ﻻ ﺴﻭﺍﻫﺎ..‬ ‫ﺘﻨﺩ ﺒﻨﻔﺴﻬﺎ ﻋﻥ ﺤﺭﻭﻑ ﺍﻟﺠﺭ، ﻭﻻ ﺘﺘﺠﻠﻲ ﺇﻻ ﺤﻴﻥ ﺘﻐﺘﻤﺽ ﺍﻟﻌﻴﻭﻥ ﻟﺘﻘﺭﺃ ﺍﻟﺒﺩﻥ‬ ‫ﺍﻷﺤﻼﻡ ﺘﺄﻭﻴﻠﻬﺎ ﺍﻟﺫﻜﺭﺍﻨﻴﺔ‬ ‫ﹸ‬ ‫ﻭﺍﻷﻨﻭﺜﺔ ﺠﺴﺩﻫﺎ ﺍﻟﺨﺎﻟﺹ‬ ‫‪‬‬ ‫ﻭﺸﺠﺭﺓ ﺃﺴﺭﺍﺭﻫﺎ‬ ‫ﻫﻼ ﺘﺠﻠﻴﺕ ﻟﻲ ﻴﺎ ﻗﺼﻴﺩﺓ‬ ‫ﹸ‬ ‫ﺃﻨﺕ ﻤﺩﻴﻨﺔ ﺍﻷﻨﻭﺜﺔ ﻭﺍﻟﻠﻭﻥ ﺩﻓﺌﻬﺎ‬ ‫ِ‬ ‫ﺃﻨﺎ ﺍﻟﻠﻭﻥ‬ ‫ﻭﺇﻥ ﻫﺎ ﻫﻨﺎ -ﻭﺃﺸﻴﺭ ﺇﻟﻲ ﺼﺩﺭﻱ-‬ ‫ﻟﻤﺎ ﺘﻨﻭﺀ ﺒﻪ ﺴﻴﺎﺭﺍﺕ ﺍﻟﺸﺭﻁﺔ ﺍﻟﻤﺼﻔﺤﺔ ﻭﻻ ﺘﺴﻌﻪ ﺍﻟﺯﻨﺎﺯﻴﻥ‬ ‫ﹸ‬ ‫ﻭﻟﻭ ﺒﺜﺜﺕ ﻟﻔﺎﺽ ﺍﻟﻠﻭﻥ ﻋﻠﻲ ﺍﻟﻠﻭﻥ ﻭﻻﻤﺘﺯﺝ ﺍﻟﻤﻠﺢ ﺍﻷﺠﺎﺝ ﻭﺍﻟﻌﺫﺏ ﺍﻟﻔﺭﺍﺕ‬ ‫ﺍﻷﻨﻭﺜﺔ ﻗﻠﺏ ﺍﻟﺒﺩﺍﻫﺔ‬ ‫ﺘﻘﺭﺅﻨﻲ ﺩﻭﻤﺎ ﻓﻲ ﺒﻴﺎﺽ ﺍﻟﻭﺭﻕ‬ ‫ﹰ‬ ‫ﻭﺍﻟﺼﻤﺕ ﺍﻟﻤﺘﻭﺍﺭﻱ ﺨﻠﻑ ﺠﺴﺩ ﺍﻟﻜﻠﻡ ﻻ ﺘﻘﺭﺅﻨﻲ ﻓﻲ ﺍﻹﻴﻘﺎﻉ.. ﺍﻹﻴﻘﺎﻉ.. ﻭﺘﻘﺭﺅﻨﻲ ﻓﻲ ﺍﻟﺭﻭﻱ ﺍﻟﺭﻭﻱ‬ ‫ﺘﻘﺭﺅﻨﻲ ﻓﻲ ﻨﻔﻲ ﺍﻟﻨﻔﻲ‬ ‫ﻭﺘﻘﺭﺅﻨﻲ ﻓﻲ ﺍﻟﻼ ﻜﻠﻤﺎﺕ‬ ‫ﻓﻲ ﺇﻴﻘﺎﻉ ﺍﻟﻔﻭﻀﻲ ﺍﻟﺭﺍﻗﺼﺔ‬ ‫ﻭﺴﺩﺭﺓ ﺍﻟﻼﺇﻴﻘﺎﻉ ﻭﺃﺒﺩﺍ ﻻ ﺃﻗﺭﺅﻫﺎ‬ ‫ﹰ‬ ‫ﺘﻌﺎﻟﺕ ﻋﻥ ﺍﻹﺜﺒﺎﺕ ﻋﻠﻭﺍ ﻜﺒﻴﺭﺍ‬ ‫ﹰ‬ ‫ﹰ‬ ‫- ٦٢ -‬
‫ﻭﻫﺠﺔ ﺍﻟﻁﻤﻲ‬ ‫ﺒﺎﺴﻡ ﻤﺒﺘﻌﺙ ﺍﻟﻬﺩﺍﻴﺔ ﻭﺍﻟﻐﻭﺍﻴﺔ ﻓﻲ ‪‬ﻤﻲ..‬ ‫ﺩ‬ ‫ﺍﻟﻤﺒﻴﺢ ﻤﻥ ﺍﻟﻤﺩﺍﻤﺔ ﻟﻸﻟﻲ ﻅﻤﺌﻭﺍ ﻭﺸ ﹼﻭﺍ ﻓﻲ ﺍﻟﻀﺤﻲ ﺭﻴﺤﺎ ﻭﺭﻱ..‬ ‫ِ‬ ‫ﻔ‬ ‫ﺃﺒﺘﺩﻱ ﻤﺩﺩﺍ ﺘﺴﻠل ﻓﻲ ﺩﻤﻲ ﻭﺍﻨﺴﺎﺏ ﻓﻲ:‬ ‫ﺘﺘﻭﺍﺸﺠﻴﻥ -ﺃﻴﺎ ﺤﺒﻴﺒﺔ- ﻭﺍﻨﻌﺘﺎﻕ ﻫﻭﻴﺘﻲ ﻤﻥ ﻭﻫﺩﺓ ﺍﻟﻭﻗﺕ ﺍﻟﻤﺭﻭﻉ ﻨﺤﻭ ﻭﺼل ﻻ ﻴﻭﺍﺘﻲ ﺍﻟﻘﻠـﺏ ﻓـﻲ ﺍﻟـﺯﻤﻥ‬ ‫ﺍﻟﻌﺼﻲ:‬ ‫...... ﻨﺎﻫﺩ ﻫﻲ ﻤﺜل ﻜل ‪‬ﻨ ‪‬ﺔ ﻨﻬﺩﺕ ﻭﺤﺎﻥ ﻗﻁﺎﻓﻬﺎ... ﻨﺩﻫﺕ ﻋﻠﻲ:‬ ‫ﹾ‬ ‫ﺒﻴ‬ ‫-‬ ‫........................‬ ‫-‬ ‫ﺇﻨﻲ ﺃﻫﺭﻭل ﺒﻴﻥ ﺤﺘﻔﻲ ﻭﺍﻟﻔﺠﻴﻌﺔ..‬ ‫-‬ ‫ﺒﻭﺍﺩ ﻏﻴﺭ ﺫﻱ ﺯﺭﻉ ﺃﻨﺎ ﻭﺼﺒﺎﻱ‬ ‫ﻓﺄﻁﻠﻘﻲ ﻟﻲ ﻁﺎﺌﺭﻴﻙ ﻴﺴﺎﻓﺭﺍﻥ ﺇﻟﻲ ﺭﺅﺍﻱ‬ ‫ﺃﻭ ﻓﺎﻓﺠﺭﻱ ﻓﻲ ﺍﻷﺭﺽ ﻴﻨﺒﻭﻋﺎ ﻓﺄﺴﺭﺝ ﻓﻴﻙ ﺨﻴﻠﻲ ﺃﻭ ﺃﺠﻴﺌﻙ ﻜل ﻋﺎﻡ ﻤﻔﺭﺩﺍ ﻓﺭﺩﺍ‬ ‫ﹰ ﹰ‬ ‫ﺃﺤﺞ ﺇﻟﻲ ﺍﻟﺩﻴﺎﺭ ﻭﻟﻴﺱ ﻓﻲ ﺭﺤﻠﻲ ﺴﻭﻱ ‪‬ﺭﺩﻱ ﻭ ِﺭﺩﻱ:‬ ‫ﻭ‬ ‫ﻭ‬ ‫ﻭﻟﻜﻥ ﻁﻴﺭ ﺴـﻜﺎﻥ ﺍﻟـﺩﻴﺎﺭ‬ ‫ﻭﻤﺎ ﺤﻁﺏ ﺍﻟﺩﻴﺎﺭ ﺃﺠﺠﻥ ﻨﺎﺭﻱ‬ ‫ﺃﻭﻟﻲ ﻭﺠﻬﺘﻲ ﺼﻭﺏ ﺍﻟﺒﺤﺎﺭ‬ ‫ﹼ‬ ‫ﻤﻨﺤﺕ ﺩﻴﺎﺭﻫﺎ ﺼـﺩﺍ ﻭﻜﹼـﻲ‬ ‫ﹰ ﹸﻠ‬ ‫ﹸ‬ ‫ﻓﻤﺎ ﺨﻤﺭ ﺍﻟﺘﻭﺤﺩ ﻜﺎﻟﺨﻤـﺎﺭ‬ ‫ﺃﻻ ﺼﺒﻲ ﺨﻤﻭﺭ ﺍﻟﻭﺠﺩ ﻓﻴﻨـﺎ‬ ‫ﺒﺎﻟﺘﺼﺎﻤﺕ -ﻤﻭﺤﺸﺎ- ﻓﺠﺄﺕ ﺩﻤﺎﻱ:‬ ‫ﹰ‬ ‫........................‬ ‫-‬ ‫ﺃﻱ ﺼﻤﺕ ﺼﻨﻭ ﻟﺤﻅﺔ ﺃﻓﻠﺘﺕ ﺭﻏﺒﺎﺕ ﺭﺏ ﻓﻲ ﺍﻨﻐﻤﺎﺭ ﻓﻀﺎﺌﻪ ﺒﺩﻡ/ ﺒﺸﺭ ﺒﺩﻡ/ ﻨﺩﻱ‬ ‫.. ﻜﻲ ﻴﻔﺴﻘﻭﺍ ﻓﻴﻬﺎ ﻭﺤﺘﻲ ﻴﻌﺸﻘﻭﺍ )ﻭﻟﻴﺱ ﺘﺴﻊ ﻗﻠﻭﺒﻬﻡ ﺭﺤﻤﺎﺕ ﺭﺏ ﻜﺎﻥ ﺼﻨﻌ ﹶﻨﺎ ﻭﺼﺒﻐﺘﻨﺎ ﺒﺩﺍﻴ ﹸﻪ(‬ ‫ﺘ‬ ‫ﺘ‬ ‫ﻭﻓﻲ ﺍﻟﻌﻴﻨﻴﻥ -ﻋﻴﻨﻴﻬﺎ- ﻗﺩﻴﻡ ﺍﻟﻨﻘﺵ:‬ ‫ﻨﺩﻫﺕ ﻋﻠﻲ ﻭﻟﻴﺘﻬﺎ ﻟﻤﺎ ﺘﻘﺎﻓﺯ ﻁﺎﺌﺭﺍﻫﺎ ﺨﱠﻘﺕ ﻋﺸﺎ ﻭﻤﺩﺕ ﺤﻠﻤﺘﻴﻬﺎ ﺘﻨﻘﺭﺍﻥ ﻁﻌﺎﻡ ﺸﻬﻭﺘﻬﺎ - ‪‬ﻌﻴﺩ ﺩﻤـﻲ- ﻭﻤـﺎ‬ ‫ﺒ‬ ‫ﻠ‬ ‫ﹾ‬ ‫ﻨﺩﻫﺕ ﻋﻠﻲ...‬ ‫ﻫﻭ ﺍﺒﻥ ﺍﻟﺒﺩﺍﺀﺓ ﻭﺍﻟﻁﻤﻲ ﻴﺤ ِﻡ ﻓﻲ ﺍﻨﻜﺴﺎﺭﻱ.. ﻫﻭ ﺍﻟﻁﻤﻴﻭﻱ ﺍﻟﻐﺭﻴﺏ ﻴﺠ ‪‬ﺭﻨـﻲ ﺒﻨـﺩﺍﻩ ﻭﺤ ‪‬ﻠﻨـﻲ ﺍﻟـﺫﻱ ﻻ‬ ‫ﻤ‬ ‫ﻤ‬ ‫‪ ‬ﻁ‬ ‫ﺃﺴﺘﻁﻴﻊ.. ﻫﻭ ﺍﻟﻁﻭﻁﻤﻲ:‬ ‫- ٧٢ -‬
‫ﻴﻤﺩ ﺍﻟﺠﺫﻭﺭ ﺍﻟـ‬ ‫ﺝ‬ ‫ﺫ‬ ‫ﻭ‬ ‫ﺭ ﺇﻟﻲ ﻟﺤﻅﺎﺕ ﺍﻟﻭﻻﺩﺓ ﻭﺍﻟﺭﺤﻡ ﺍﻟﻤﺸﺭﻗﻲ‬ ‫‪‬‬ ‫ﻭﻤﺎ ﺒﻙ ﻤﺩ ﺇﻟﻲ ﺠﻴﺸﺎﻥ ﺍﻟﺒﺤﺎﺭ ﻭﻤﺎ ﺒﻲ ﻤﺩ ﺇﻟﻲ ﺍﻟﻘﻤﺭ/ ﺍﻟﻁﻴﻥ..‬ ‫ِ‬ ‫ِ ‪‬‬ ‫ﻟﺴﺕ ﺍﻟﻁﻤﻴﺔ.. ﻟﺴﺕ ﺍﻟﻁﻤﻲ.‬ ‫ﹸ‬ ‫ِ ﱠ ِ‪ ‬ﹶ‬ ‫...... ﺃﻨﺎ ﻜﻨﺕ ﺨﺒﺭ ﹸﻪ:‬ ‫‪ ‬ﺘ‬ ‫ﻜل ﻤﺎ ﻓﻴﻬﺎ ﺒﻨﺒﺌﻨﻲ ﺒﺄﻨﻲ ﻤﻘﺩﻡ ﻨﺤﻭ ﺍﻟﻔﺠﻴﻌﺔ‬ ‫-‬ ‫ﻭﻋﻠﻲ ﺸﻔﺎ ﺤ ‪‬ﻥ ﺘﻭﺍﻗﻔﻨﺎ‬ ‫‪‬ﺯ‬ ‫ﺴﻴﺩﺍ ﻭﻀﻔﻴﺭﺓ‬ ‫ﹾ‬ ‫ﹰ‬ ‫ﻭ ‪‬ﻤﺎﻤﻬﺎ ﺼﺎﺭ ﺍﻟ ِﻤﺎﻡ ﻓﺼﺭﺕ ﺴﻴﻔﺎ ﺠﺎﻤﺤﺎ ﻭﺤﻔﻴﻑ ﺠﺭﺡ..‬ ‫ﹰ‬ ‫ﺤ‬ ‫ﺤ‬ ‫ﺤﻤﻨﺎ ﻓﻭﺍﻗﻌﻨﺎ ﺍﻟﺤﻤﻲ ﻭﺃ ﹶﻀﺕ ﻤﻥ ﺤﻴﺙ ﺍﻹﻓﺎﻀﺔ.. ِﻀﺕ ﺒﺎﻟﺯﻴﺘﻭﻥ ﻭﺍﻟﺼﺒﺎﺭ‬ ‫ﻓ‬ ‫ﻓ ﹸ‬ ‫ﻭﻟﻬﺎ ﺃﺒﺤﺕ ﺘﻔﺠﺭﻱ.. ﻓﻭﻀﺕ ﺃﻤﺭﻱ ﻜﻠﻪ ﻟﻠﻬﻴﺒﻬﺎ.. ﻭﺒﺼﺩﺭﻫﺎ ﺃﻓﻀﺕ ﺇﻟﻲ.. ﺩﻋﺴ ﹸﻬﺎ‬ ‫‪  ‬ﺘ‬ ‫ﹾ‬ ‫ﻭﺩﺤﺼﺘﻬﺎ ﻭﻋﺯﺩﺘﻬﺎ ﺒﻘﻭﺍﺩﻤﻲ...‬ ‫ﻭﻋﺭﻓﺕ ﺃﻴﻥ ﺍﻟﺩﺍﺭ ﺒﻌﺩ ﺘﻭﻫﻡ‬ ‫ِ‬ ‫ﹸ‬ ‫ﻓﺘﻁﺎﻤﻨﺕ ﻟﻐﺔ ﻴﺤﺎﺼﺭﻫﺎ ﺍﻟﻨﺩﻱ‬ ‫ﻓﺘﺢ ﺍﻟﻨﻭﺍﻓﺫ ﻓﻲ ﺴﻤﺎﻱ ﻭﻫﻴﻨﻤﺕ ﻭﻤﻀﺎﺘﻪ ﻓﻲ ﻤﺴﻤﻌﻲ:‬ ‫‪‬ﻁﻭﺒﻲ ﻟﻜﻡ ﻴﺎ ﻤﻘﺩﻤﻴﻥ ﻋﻠﻲ ﺩﻤﻲ.. ﻓﺄﻨﺎ ﺍﻟﺴﻼﻡ ﻋﻠﻲ ﻟﺤﻅﺔ ﺃﺴﺘﻌﻴﺩ ﺘﻭﻫﺠﻲ.. ﻤﻠﻜﻭﺘﻲ ﺍﻟﻤﻤـﺯﻭﺝ ﺒﺎﻟﻨﻌﻨـﺎﻉ‬ ‫ﻭﺍﻷﻭﺠﺎﻉ.. ﻭﺃﻨﺎ ﺤﻘﻴﻘﻲ ﺍﻟﻜﺭﻭﻡ.. ﺃﻨﺎ ﺃﺒﻲ ﺍﻟﻜﺭ‪‬ﺍﻡ ﻓﺎﻗﺒﺱ ﺒﻌﺽ ﻜﺭﻤﺘﻨﺎ ﻭﻨﻡ ﻓﻲ ﺴﺎﻋﺩﻱ‪‬‬ ‫ﻓﺴﺄﻟﺘﻪ:‬ ‫‪‬‬ ‫ﺃﻭ ﺃﻨﺕ ﻫﻭ؟!‬ ‫-‬ ‫"ﻁﺎ.. ﻤﻴﻡ.. ﻴﺎ‬ ‫ﺃﻨﺎ ﻤﺎ ﻁﺭﻗﺕ ﺩﻴﺎﺭﻜﻡ ﻷﻤﺠﺩ ﺍﻟﻭﻫﻡ ﺍﻟﻨﺩﻱ..‬ ‫ﻭﺇﻨﻤﺎ ﺃﻨﺎ ﻤﺜﻠﻜﻡ ﺒﺸﺭ ﻭﻤﺜﻠﻜﻡ -ﺇﺫ ﺸﺌﺘﻡ- ﻨﺒﻲ‬ ‫ﻭﺃﺒﺸﺭ ﺍﻹﻨﺴﺎﻥ ﺒﺎﻟﻁﻤﻲ ﺍﻟﻤﻁ ‪‬ﻲ ﻓﻴﻪ ﻻ ﻓﻲ ﺭﺍﺤﺘﻲ‬ ‫‪ ‬ﹶﻤ‬ ‫ﹼ‬ ‫ﻭﺍﺫﻜﺭ ﺒﺴﻔﺭ ﺍﻷﺭﺽ ﻭﺍﻟﻁﻤﻲ ﺍﻟﻁﻤﻴﺱ ﺍﺒﻥ ﺍﻟﻭﻜﻴل ﻓﺈﻨﻪ ﻴﻐﺩﻭ ﺨﻤﻴﺼﺎ ﻓﻲ ﺭﺤﺎﺒﺎﺕ ﺍﻟﻘﺼﻴﺩﺓ ﺜﻡ ﻴﺭﺠﻊ‬ ‫ﹰ‬ ‫ﻤﺨﹶﺼﺎ ﻭﻤﺘﻭﺠﺎ ﺒﺎﻟﺭﻴﺢ ﻭﺍﻟﻤﻁﺭ ﺍﻟﻤﻠﻭﻥ ﻓﻲ ﺍﻟﻌﺸﻲ‬ ‫ﹰ‬ ‫ﻠ ﹰ‬ ‫ﻭﺍﺫﻜﺭ ﺸﺭﻴﻥ ﺇﺫ ﺍﺴﺘﻌﺎﺭﺕ ﻤﻥ ﻤﺩﺍﺌﻨﻪ ﻤﺩﻴﻨﺔ ﻋﺸﻘﻪ ﻭﺃﺒﺎﺤﺕ ﺍﻷﻤﻁﺎﺭ ﻟﻠﺭﻴﺢ ﺍﻟﻌﺼﺎﻑ ﻓﻔﺎﺽ ﻓﻲ ﺩﻤﻬﺎ‬ ‫- ٨٢ -‬
‫ﺍﻟﻔﺘﻲ‬ ‫ﻭﺍﺫﻜﺭ ﻨﺩﻴﺘﻪ/ ﻨﺠﻴﺘﻪ ﺇﺫ ﺍﻨﺘﺒﺫﺕ ﻤﻜﺎﻨﺎ ﻭﺍﻫﺠﺎ ﻓﻲ ﻗﻠﺒﻪ.. ﻫﺯﺕ ﺒﺩﺍﻭﺘﻪ ﻓﺄﺴﻘﻁ ﻜل ﻤﺎ ﻓﻲ ﻨﺨﻠـﻪ ﻤـﻥ ﺸـﻬﻭﺓ/‬ ‫ﹰ‬ ‫ﺭﻁﺏ ﻟﻴﺒﻘﻲ ﻤﻔﻠﺘﺎ ﻤﻥ ﻨﻴل ﺭﻏﺒﺘﻪ ﻭﻴﻌﺭﻱ ﻤﻥ ﺴﻭﻱ ﺼﻔﺼﺎﻓﺔ ﺍﻟﺤﺏ ﺍﻟﺠﻨﻲ"‬ ‫ﺘﺠﻠﺕ:‬ ‫ﻭﻜﻨﺕ ﺃﺠﻴﺌﻙ ﻓﻲ ﺍﻟﻔﺠﺭ ﻭﺍﻟﻁﻴﺭ ﻓﻲ ﺍﻟﻭﻜﻨﺎﺕ ﻤﺒﺭﺍﺓ ﻤﻥ ِﺩﺍﻱ ﻤﻤﻭﺴﻘﺔ ﺍﻟﻭﺠﺩ ﺃﻭﻗﻅ ﻓﻴﻙ ﻤﺒـﺎﺩﺃﺘﻲ ﺒـﺎﻟﺤﺭﻴﻕ‬ ‫ﺭ‬ ‫ﹰ‬ ‫‪‬‬ ‫ﹸ‬ ‫ﻭﻜﻨﺕ ﺍﻷﺫﺍﻥ ﻴﺠﻠل ﻭﺠﻪ ﺍﻟﺒﺴﻴﻁﺔ ﺒﺎﻟﺼﻠﺼﻼﺕ ﻓﻼ ‪‬ﺴﻤﻊ ﺍﻟﺠﻠﺩ ﻏﻴﺭ ﻁﺭﺍﻭﺓ ﻗﻠﺒﻙ ﻏﻴﺭ ﺍﻨﺘﺤﺎﺭﻱ ﻓﻴﻙ ﻭﺇﺠﻔﺎﻟـﺔ‬ ‫‪‬‬ ‫ﻴ‬ ‫‪‬‬ ‫ﹸ‬ ‫ﺒﺯﻏﺕ ﺒﻴﻥ ﺠﻨﺒﻴﻙ ﻭﺍﻟﺼﺤﺏ )ﺼﺤﺒﻲ( ﻴﺨﺭﻭﻥ ﻟﻠﻘﻁﺭ )ﻗﻁﺭ ﺍﻟﺴﻤﺎﺀ( ﻭﻭﺤﺩﻱ ﺃﺠﻲﺀ ﻤﻊ ﺍﻟﺭﻴﺢ )ﺭﻴﺤﻙ( ﺸﻌﺭﻱ‬ ‫ﻤﺴﺘﺸﺯﺭﺍﺕ ﺠﺩﺍﺌﻠﻪ ﻟﻠﻌﻼ ﻓﻨﺨﺭ –ﻭﻨﻬﺩﻱ ﺇﻤﺎﻤﻲ- ﻟﻘﻁﺭ ﺍﻟﻬﻭﻱ ﺴ ‪‬ﺩﺍ ﻭ ‪‬ﻜﻲ‬ ‫ﺠ ﺒ‬ ‫‪‬‬ ‫ﺜﻡ ﻫﺎ ﺃﻨﺕ ﺃﺤﻨﻴﺕ ﻤﻨﻙ ﺍﻟﻔﺅﺍﺩ )ﻓﺅﺍﺩﻙ( ﻟﻸﻫل )ﺃﻫﻠﻙ( ﺨﻠﻴﺘﻨﻲ ﻤﻔﺭﺩﺍ ﻤﺜل ﺴﻴﻑ ﺘﺨﺎﻤﺸﻪ ﻜل ﻤﻥ ﺒﺎﻟﻘﺒﻴﻠﺔ‬ ‫‪‬‬ ‫ﹶ‬ ‫ﻭﻜﻨﺕ ﻁﻭﻴﺕ ﻤﻔﺎﺯﺍﺕ ﺃﻫﻠﻲ ﻭﺃﺤﺭﺍﺸﻬﻡ ﻨﺤﻭ ﺤ ‪‬ﻴﻙ ﻁﻲ‬ ‫ﺒ‬ ‫ﹸ‬ ‫...... ﻨﺩﻫﺕ ﻋﻠﻲ ﻭﻟﻴﺘﻬﺎ ﻟﻤﺎ ﺘﻘﺎﻓﺯ ﻁﺎﺌﺭﺍﻫﺎ ﺨﱠﻘﺕ ﻋﺸﺎ ﻭﻤﺩﺕ ﺤﻠﻤﺘﻴﻬﺎ ﺘﻨﻘﺭﺍﻥ ﻁﻌﺎﻡ ﺸﻬﻭﺘﻬﺎ - ‪‬ﻌﻴﺩ ﺩﻤـﻲ-‬ ‫ﺒ‬ ‫ﻠ‬ ‫ﻭﻤﺎ ﻨﺩﻫﺕ ﻋﻠﻲ.‬ ‫- ٩٢ -‬
‫ﻣﻦ ﺩﻳﻮﺍﻥ‬ ‫א‬ ‫א‬ ‫- ٠٣ -‬
‫١‬ ‫ﺇﻴﺜـﺎﻜـﺎ‬ ‫ﻫل ﺘﻜﺘﻔﻲ ﺤﺒﻴﺒﺘﻲ ﺒﺄﻥ ﺘﻤﻨﺤﻨﻲ ﺍﻟﺭﺤﻠﺔ‬ ‫ﻭﻓﻲ ﺁﺨﺭ ﺍﻟﻁﺭﻴﻕ‬ ‫ﺘﻬﺭﺏ ﺇﻟﻲ ﻤﻤﺭ ﺠﺎﻨﺒﻲ ﻴﻨﺘﻬﻲ ﺒﻨﺎﻓﻭﺭﺓ ﺘﻨﻔﺙ ﺍﻟﻨﺎﺭ ﻭﺍﻟﺩﺨﺎﻥ‬ ‫ﺍﻟﻘﻁﺎﺭ ﺍﻟﻁﻴﺏ ﻴﻌﺒﺭ ﺃﺯﻤﻨﺘﻲ ﻓﻲ ﺃﻨﺎﺓ ﺘﻠﻴﻕ ﺒﺎﻟﺭﺍﺤﻠﻴﻥ‬ ‫ﺃﻀﻊ ﺴﺒﺎﺒﺘﻲ ﺒﻴﻥ ﺩﻓﺘﻲ ﻗﺼﺎﺌﺩ "ﺭﻴﻠﻜﻪ"‬ ‫ﺠﺎﻟﺴﺎ‬ ‫ﺘﻐﻤﺭﻨﻲ ﺴﻜﻴﻨﺔ ﺍﻟﻘﺼﺎﺌﺩ‬ ‫ﻭﻋﻁﺭ ﺤﺒﻴﺒﺘﻲ ﻴﺤﻭﺭ ﻏﻁﺎﺀ ﻴﺤﺘﻭﻴﻨﻲ‬ ‫ﻓﺄﻏﻔﻭ ﻭﺃﺤﻠﻡ‬ ‫ﺍﻟﻔﺘﺎﺓ ﺍﻟﺠﺎﻟﺴﺔ ﻋﻠﻲ ﺍﻟﻜﺭﺴﻲ ﺍﻟﻘﺭﻴﺏ‬ ‫ﺃﺫﻨﺎﻫﺎ ﻓﺎﺘﻨﺘﺎﻥ‬ ‫ﻜﺄﻨﻬﻤﺎ ﺍﻟﻴﺎﻗﻭﺕ ﻭﺍﻟﻤﺭﺠﺎﻥ‬ ‫ﻴﺎ ﻟﻸﺴﻑ‬ ‫ﺤﻴﻥ ﻜﺎﻨﺕ ﺤﺒﻴﺒﺘﻲ ﻏﺎﻓﻴﺔ ﻓﻲ ﺤﻀﻨﻲ‬ ‫ﻟﻡ ﺃﻋﺭﻑ‬ ‫ﻫل ﻜﺎﻨﺘﺎ ﺃﺫﻨﺎﻫﺎ ﻤﺜﻘﻭﺒﺘﻴﻥ؟‬ ‫ﻜﻴﻑ ﺘﺜﺒﺕ ﺃﻗﺭﺍﻁﻬﺎ ﺇﺫﻥ ﺘﻠﻙ ﺍﻟﻤﺎﻜﺭﺓ؟‬ ‫ﺃﻴﻬﺎ ﺍﻟﻔﻨﺩﻕ ﺍﻟﻤﻬﻴﺏ ﺍﻟﻁﻠﻌﺔ‬ ‫ﻴﺎ ﺫﺍ ﺍﻟﺜﻨﻴﺎﺕ ﺍﻟﻤﺫﻫﻠﺔ ﻭﺍﻟﻤﻠﻤﺱ ﺍﻟﺭﻗﻴﻕ‬ ‫ﻤﺩﺨﻠﻙ ﺍﻟﺭﺍﺌﻊ ﻫﺫﺍ ﻴﺘﺴﺎﻤﻲ ﺇﻟﻲ ﻋﻠﻭ ﺴﺤﻴﻕ‬ ‫ﺃﻴﻜﻤﺎ ﻴﺫﻜﺭﻨﻲ ﺒﺴﻭﺍﻩ؟‬ ‫ﺭﺤﻡ ﺤﺒﻴﺒﺘﻲ ﺒﺎﻟﺘﺄﻜﻴﺩ‬ ‫٭ ﺇﻴﺜﺎﻜﺎ : ﺠﺯﻴﺭﺓ ﺃﻭﺩﻴﺴﻴﻭﺱ ﻭﻗﺼﻴﺩﺓ ﻜﻔﺎﻓﻴﺱ‬ ‫- ١٣ -‬
‫ﺤﺒﻴﺒﺘﻲ‬ ‫ﻴﺎ ﺫﺌﺒﺘﻲ ﺍﻟﺤﻨﻭﻥ‬ ‫ﺃﻴﻥ ﻨﻬﺩﺍﻙ ﺍﻟﻠﺫﺍﻥ ﺁﻨﺴﺎ ﻅﻠﻤﺔ ﺃﻴﺎﻤﻲ‬ ‫ﻜﺄﻨﻬﻤﺎ ﻗﺒﺴﺎﻥ ﻤﺸﺘﻌﻼﻥ ﺃﺒﺩﺍ‬ ‫ﻴﺭﺸﺩﺍﻥ ﺇﻟﻲ ﻁﺭﻴﻕ ﺍﻟﻐﻭﺍﻴﺔ ﺍﻟﻤﻤﺘﺩ ﺇﻟﻲ ﺃﺒﻌﺩ ﻤﻥ ﺒﺼﻴﺭﺘﻲ؟‬ ‫ﻫل ﻨﻬﺩﺍﻙ ﺴﻴﺨﺫﻻﻨﻨﻲ ﺃﻴﻀﺎ ﻓﻲ ﺁﺨﺭ ﺍﻟﺭﺤﻠﺔ‬ ‫ﻤﺜل ﻜل ﺍﻟﻔﻨﺎﺭﺍﺕ ﺍﻟﺘﻲ ﺃﻨﻬﻜﺘﻬﺎ ﺍﻟﻤﺴﺎﻓﺎﺕ ﻭﺍﻟﻔﻀﺎﺀﺍﺕ ﺍﻟﻐﺎﺩﺭﺓ ﻭﺍﻻﻨﺘﻅﺎﺭ ﺍﻟﻤﺭﻴﺭ؟‬ ‫ﻜﻴﻑ ﺃﻋﺒﺭ ﺇﻟﻴﻙ ﻴﺎ ﺤﺒﻴﺒﺘﻲ ﺩﻭﻥ ﺃﻥ ﺃﺸﻁﺭﻙ ﻨﺼﻔﻴﻥ‬ ‫ﻭﺃﻥ ﺃﺤﻭﺭ ﺇﻟﻬﺎ ﺼﻐﻴﺭﺍ ﻤﺠﺭﻭﺤﺎ ﺒﻐﻴﺭ ﺍﻟﻴﻘﻴﻥ؟‬ ‫ﺘﺴﻠﻤﻨﻲ ﺍﻟﻤﺩﻗﺎﺕ ﺍﻟﻐﺭﻴﺒﺔ ﻟﻠﻤﺩﻗﺎﺕ ﺍﻟﻐﺭﻴﺒﺔ‬ ‫ﻭﺍﻟﺫﻜﺭﻱ ﺇﻭﺯ ﺒﺭﻱ ﺫﺍﺒل‬ ‫ﻴﺨﺩﺵ ﺍﻟﻘﻠﺏ ﻭﻴﺩﻋﻭ ﺍﻷﻓﺎﻋﻲ ﺇﻟﻲ ﺤﻀﻨﻪ‬ ‫ﻭﺍﻟﻜﻠﻤﺎﺕ ﺍﻟﻤﺸﺘﻌﻠﺔ ﻫﺎﺭﺒﺔ‬ ‫ﻓﻜﻴﻑ ﺃﺼﻭﻍ ﻭﺠﻬﻙ ﺍﻟﺫﻱ ﻜل ﻟﺤﻅﺔ ﻫﻭ ﻓﻲ ﺸﺄﻥ؟‬ ‫ﻭﺠﻬﻙ ﺭﺤﻡ ﺃﺨﺭﻱ ﻴﻐﻤﺭﻨﻲ ﺒﺴﻜﻴﻨﺘﻪ ﻭﻨﺒﻴﺫﻩ ﻭﻤﻠﻤﺴﻪ ﺍﻟﻭﻀﻲﺀ‬ ‫ﻭﻴﻤﻨﺢ ﺍﻟﺭﺤﻠﺔ ﻁﻌﻡ ﺍﻟﻴﻘﻴﻥ‬ ‫ﺃﻴﻥ ﺃﺼﺎﺒﻊ ﻜﻔﻴﻙ ﻷﺭﻀﻌﻬﻥ ﻭﺍﺤﺩﺓ ﻭﺍﺤﺩﺓ ﻓﻴﻀﻲﺀ ﺩﺍﺨﻠﻲ ﺒﺫﺅﺍﺒﺎﺕ ﺸﻤﻭﻋﻬﻥ ﺍﻟﻤﺸﺘﻌﻠﺔ ﻓﻲ ﺃﺯﻤﻨـﺔ ﺍﻟﺤﻠﻜـﺔ‬ ‫ﺍﻟﻘﺎﺩﻤﺔ؟‬ ‫ﺃﺘﺸﻬﻲ ـ ﺃﻨﺎ ﺍﻟﺠﺴﺩ ﺍﻟﻤﻨﺫﻭﺭ ﻟﻠﻭﺤﺸﺔ ـ ﺃﻥ ﻴﺩﺨﻠﻨﻲ ﺠﺴﺩﻙ ﻜﻠﻪ ﺩﻓﻌﺔ ﻭﺍﺤﺩﺓ ﻜﺄﻥ ﺍﻟﻜـﻭﻥ ﺍﺴـﺘﻌﺎﺩ ﻓﺤﻭﻟﺘـﻪ‬ ‫ﺍﻟﺴﻠﻴﺒﺔ ﻭﺍﻟﺠﺴﺩ ﺍﻟﻤﺘﺸﻭﻑ ﺃﻨﺜﻲ ﺒﺎﺯﻏﺔ ﺍﻟﻜﻤﺎﻻﺕ ﻤﺤﺘﺩﻤﺔ ﺍﻟﺫﻜﻭﺭﺓ ﻤﻌﺎ‬ ‫ﺃﺫﻜﺭ‬ ‫ﺤﻴﻥ ﺍﺴﺘﻠﻘﻴﻨﺎ ﻋﺎﺭﻴﻴﻥ ﻋﻠﻲ ﺼﻔﺤﺔ ﺍﻟﺒﺤﻴﺭﺓ‬ ‫ﻟﻡ ﺃﻗﻀﻡ ﺃﺴﻨﺎﻨﻙ ﺍﻟﺸﻬﻴﺔ ﺤﺘﻲ ﺠﺫﻭﺭﻫﺎ‬ ‫ﻭﺍﻨﺸﻐﻠﺕ ﺒﻜل ﻁﺭﻱ ﻓﻲ ﺍﻟﺠﺴﺩ‬ ‫ﻴﺎ ﻟﻬﺎ ﻤﻥ ﻤﻔﺎﺭﻗﺎﺕ ﺘﺅﻟﻡ ﺍﻟﺫﻜﺭﻱ‬ ‫ﻭﺘﻠﻬﺏ ﺠﺴﺩ ﺍﻟﺭﺤﻠﺔ ﺒﺴﻴﺎﻁ ﺍﻟﺸﻭﻕ ﺍﻟﻤﺸﺘﻌﻠﺔ‬ ‫ﻫل ﺃﺘﻭﺤﺩ ﺒﺎﻟﺒﺤﺭ ﻓﺄﻀﺎﺠﻊ ﻓﻲ ﻁﺭﻴﻘﻲ ﺠﻨﻴﺎﺘﻪ )ﺠﺩﺍﺌﻠﻬﻥ ﺃﻓﺎﻉ ﻤﻠﺘﻔﺔ( ﻟﻌﻠﻲ ﺃﺨﻠﻕ ﻤﻥ ﺃﺭﺤﺎﻤﻬﻥ ﻗﺼﺎﺌﺩ ﻤﺭﻋﺒﺔ‬ ‫ﺘﻤﻬﻠﻨﻲ ﻓﻲ ﺭﺤﻠﺘﻲ ﻭﺘﺒﻁﺊ ﺍﻹﻴﻘﺎﻉ ﺇﻟﻲ ﻤﻠﻜﻭﺕ ﻭﺠﻬﻙ ﺍﻟﺭﺤﻴﻡ‬ ‫- ٢٣ -‬
‫ﻟﻨﻔﺘﺭﺽ ﺃﻨﻲ ﻭﺼﻠﺕ ﺇﻟﻴﻙ‬ ‫ﺃﺃﻜﻭﻥ ﻋﺠﻭﺯﺍ ﺘﻐﻤﺭﻩ ﺤﻜﻤﺔ ﻗﺎﺩﺭﺓ ﻋﻠﻲ ﺘﺄﻭﻴل ﻭﺠﻬﻙ؟‬ ‫ﺃﻡ ﺃﺼل ﻭﻗﺩ ﺴﻠﺒﺘﻨﻲ ﺍﻟﺭﺤﻠﺔ ﻜل ﻫﺩﺍﻴﺎﻱ ﺇﻟﻴﻙ:‬ ‫ﺍﻟﻁﻤﻲ ﻭﺍﻟﻨﺎﺭ ﻭﺍﻟﻭﻫﻥ؟‬ ‫ﻭﻫل ﺘﻜﺘﻔﻴﻥ ﺒﺄﻥ ﻤﻨﺤﺕ ﺍﻟﺭﺤﻠﺔ‬ ‫ﻭﺘﺘﺭﻜﻴﻥ ﻤﺴﺎﺤﺔ ﺸﺎﺴﻌﺔ ﻋﻠﻲ ﺼﻔﺤﺔ ﺠﺴﺩﻱ ﻭﺍﻟﻘﺼﻴﺩﺓ‬ ‫ﻭﺘﻬﺭﺒﻴﻥ‬ ‫- ٣٣ -‬
‫ﺘﻤﻴﻤﺔ ﻷﺠل ﺍﻟﻨﺴﻴﺎﻥ‬ ‫ﻟﻥ ﻴﺫﻜﺭﻨﻲ ﺒﻬﺎ ﺸﻲﺀ‬ ‫‪‬‬ ‫‪ ‬ﱠ‬ ‫ﻭﻟﻭ ﻁﻔﺭﺕ ﺍﻷﺸﻴﺎﺀ ﺃﻤﺎﻡ ﻋﻴﻨﻲ ﻤﺭﻴﺭﺓ ﻜﺎﻟﻤﺴﺎﻓﺔ ﺒﻴﻥ ﻋﺎﺸﻘﻴﻥ‬ ‫ﹶﹶ ‪‬‬ ‫ﻗﺭﺍﺭ ﺃﺨﻴﺭ‬ ‫ﺍﺴﺘﺩﺍﺭﺍﺕ ﺍﻟﻨﻬﺎﺭ ﻭﺍﻨﺤﻨﺎﺀﺍﺕ ﺠﺴﺩﻩ ﺍﻟﻤﺭﻫﻘﺔ‬ ‫ﹸ‬ ‫ﻟﻥ ﺘﺫﻜﺭﻨﻲ ﺒﻬﺎ‬ ‫ﺭﺸﻔﺔ ﺍﻟﻤﺎﺀ ﺍﻟﺘﻲ ﻜﺎﻨﺕ ﺘﺴﺎﻗﻴﻨﻲ ﺒﻔﻤﻬﺎ‬ ‫ﻫﺫﻩ ﺍﻟﺭﺸﻔﺔ‬ ‫ﻟﻥ ﺘﺫﻜﺭﻨﻲ ﺒﻬﺎ‬ ‫ﺴﺄﻜﻭﻥ ﺼﺭﻴﺤﺎ ﻤﻊ ﻨﻔﺴﻲ‬ ‫ﻭﻟﻥ ﺃﺩﻉ ﺸﻴﺌﺎ ﻴﺫﻜﺭﻨﻲ ﺒﻬﺎ‬ ‫ﻜل ﺍﻷﺸﻴﺎﺀ ﻭﻀﻌﺘﻬﺎ ﻓﻲ ﺨﺯﺍﻨﺔ ﻨﺴﻴﺎﻨﻲ )ﺍﻟﺘﻲ ﺘﺘﺴﻊ ﻟﻠﻜﺜﻴﺭ(‬ ‫ﻭﺃﻏﻠﻘﺕ ﻋﻠﻴﻬﺎ ﺒﻤﺯﺍﻟﻴﺞ )ﺼﻨﻌﺘﻬﺎ ﻋﻠﻲ ﻋﻴﻨﻲ(‬ ‫ﺍﻟﻌﺼﺎﻓﻴﺭ ﺍﻟﺘﻲ ﻜﺎﻨﺕ ﺘﺅﻨﺴﻨﻲ ﻓﻲ ﻏﻴﺎﺒﻬﺎ‬ ‫ﺴﻤﻴﻨﺎﻫﺎ ﻭﺨﻠﻘﻨﺎ ﺃﺴﺭﺍﺭﻫﺎ ﻤﻌﺎ‬ ‫ﻓﻠﻭﺭﻴﻨﺘﻴﻨﻭ )ﺍﻟﻘﻠﻕ ﺘﺠﺴﺩ ﻓﻲ ﻁﺎﺌﺭ ﻴﺘﺭﻗﺏ ﻏﻴﺒﺎ ﻟﻥ ﻴﺭﺍﻩ ﺴﻭﺍﻩ(‬ ‫ﻓﻴﺭﻤﻴﻨﺎ )ﺘﻁﻌﻡ ﻻ ﺤﻴﻥ ﺘﺠﻭﻉ ﺒل ﺤﻴﻥ ﺘﺸﺎﺀ(‬ ‫ﹶ ﹾ‬ ‫ﺃﻭﺭﺒﻴﻨﻭ ﻭ ﺴﺎﻥ ﺁﻤﻭﺭ‬ ‫ﻋﺼﺎﻓﻴﺭ "ﺍﻟﺤﺏ ﻓﻲ ﺯﻤﻥ ﺍﻟﻜﻭﻟﻴﺭﺍ"‬ ‫ﻜﻠﻬﻡ ﻋﻠﻲ ﺃﻴﺔ ﺤﺎل‬ ‫ﻴﺒﺩﻭﻥ ﻟﻲ ﻀﺤﺎﻴﺎ ﺤﺭﺏ ﺍﻨﺘﻬﺕ ﻤﻨﺫ ﺩﻗﺎﺌﻕ‬ ‫ﻭﻟﻥ ﻴﺫﻜﺭﻭﻨﻲ ﺒﻬﺎ‬ ‫ﺴﺄﻟﻘﻲ ﺇﻟﻴﻬﻡ ﺍﻟﺯﺍﺩ ﻜل ﺼﺒﺎﺡ ﻜﺄﻨﻬﻡ ﻤﻭﺘﻲ‬ ‫ﺃﻭ ﺃﺸﺒﺎﺡ ﻫﺎﺭﺒﻭﻥ ﻤﻥ ﺍﻟﻘﺒﻭﺭ‬ ‫- ٤٣ -‬
‫ﻋﻠﻲ ﺃﻴﺔ ﺤﺎل‬ ‫ﻫﻡ ﻋﺼﺎﻓﻴﺭ ﻻ ﺃﻜﺜﺭ‬ ‫ﻭﻟﻥ ﻴﺫﻜﺭﻭﻨﻲ ﺒﻬﺎ‬ ‫ﺍﻷﺘﺭﺒﺔ ﺍﻟﺘﻲ ﺘﺭﺍﻜﻤﺕ ﺤﻭﻟﻲ ﻤﻨﺫ ﻴﺌﺴﺕ ﻤﻥ ﻤﺠﻴﺌﻬﺎ‬ ‫ﹸ‬ ‫ﻟﺘﺭﺘﺏ ﺒﻨﻔﺴﻬﺎ ﺍﻷﺸﻴﺎﺀ‬ ‫ﺍﻟﻘﺼﺎﺌﺩ ﺍﻟﻤﺘﻨﺎﺜﺭﺓ ﻋﻠﻲ ﺍﻷﺭﺽ‬ ‫ِ‬ ‫‪‬‬ ‫ﻜﺄﻥ ﻟﻥ ﻴﻘﺭﺃﻫﺎ ﺃﺤﺩ‬ ‫ﺍﻟﺠﺭﻭﺡ ﺍﻟﺘﻲ ﺨﻠﻔﺘﻬﺎ ﻤﻌﺭﻜﺘﻲ ﺍﻷﺨﻴﺭﺓ‬ ‫ﱠﹾ‬ ‫‪‬‬ ‫ـ ﻤﻌﺭﻜﺘﻲ ﻷﻜﻭﻥ ﻟﻬﺎ ﻭﺤﺩﻫﺎ ـ‬ ‫ﻟﻥ ﺘﺫﻜﺭﻨﻲ ﺒﻬﺎ‬ ‫ﻻ ﺸﻌﺭ "ﻜﻔﺎﻓﻲ" ﻭ "ﺃﻤﺎﺭﻭ"‬ ‫ﻭﻻ ﺤﺘﻲ ﻓﺎﻟﺴﺎﺕ "ﺸﺘﺭﺍﻭﺱ"‬ ‫ﻭ ﺇﻟﻴﺯ "ﺒﺘﻬﻭﻓﻥ" )ﻭﻜﻠﻬﺎ ﺃﺸﻴﺎﺀ ﻋﺭﻓﺕ ﺒﻌﺽ ﺃﺴﺭﺍﺭ ﺒﺭﺍﺀﺘﻬﺎ ﻭﻭﻟﺩﺕ ﻓﻲ ﺤﻀﻨﻬﺎ(‬ ‫‪  ِ‬ﹾ‬ ‫ﹸ‬ ‫ﺒﻘﺎﺩﺭﺓ ﻋﻠﻲ ﺃﻥ ﺘﺫﻜﺭﻨﻲ ﺒﻬﺎ‬ ‫ﺍﻷﺭﻗﺎﻡ ﻟﻥ ﺘﺫﻜﺭﻨﻲ ﺒﻬﺎ‬ ‫ﻤﻥ ﻗﺎل ﺇﻥ ﺭﻗﻡ ٦١٨ ﻓﻲ ﻓﻨﺩﻕ ﻤﺜل "ﻫﻠﻨﺎﻥ" ﻟﻪ ﻤﻌﻨﻲ ﻤﺎ‬ ‫ﺴﻭﻱ ﺃﻥ ﺤﻔﻅﻪ ﻴﺴﻴﺭ ﻋﻠﻲ ﻤﺜﻘﻭﺏ ﺍﻟﺫﺍﻜﺭﺓ ﺇﺫ ﻴﻭﺍﻋﺩﻫﺎ‬ ‫ﻭﻴﺘﺴﻠل ﺇﻟﻲ ﻏﺭﻓﺘﻬﺎ ﺨﻠﺴﺔ‬ ‫)ﻨﺼﻑ ﻋﺎﺭﻴﺔ.. ﻨﺼﻑ ﺨﺎﺌﻔﺔ.. ﻭﻜﺎﻤﻠﺔ ﺍﻟﺘﺸﻬﻲ ﻭﺍﻟﺒﻬﺎﺀ(؟‬ ‫ﻭﻜﺫﻟﻙ ٥٠٢١ ﻓﻲ ﻓﻨﺩﻕ "ﺒﻼﺯﺍ" ﺍﻹﺴﻜﻨﺩﺭﻴﺔ ﺘﺤﺩﻴﺩﺍ‬ ‫ﻏﺭﻓﺔ ﺤﺎﺩﺓ ﺍﻟﻤﻼﻤﺢ‬ ‫ﺒﻬﺎ ﺸﻲﺀ ﻤﻥ ﺍﻟﻘﺴﻭﺓ ﺍﻟﺨﺎﻓﺘﺔ..‬ ‫ﻭﻗﺒﻠﺔ ﻗﻠﻘﺔ ﺘﻨﺘﻅﺭ ﺃﻭل ﺸﻔﺘﻴﻥ ﺘﻁﺭﻗﺎﻥ ﺍﻟﺒﺎﺏ‬ ‫ﻟﻜﻨﻬﺎ ﻟﻥ ﺘﺫﻜﺭﻨﻲ ﺒﻬﺎ‬ ‫ﻫﻲ ﺃﺭﻗﺎﻡ ﻋﻠﻲ ﺃﻴﺔ ﺤﺎل‬ ‫- ٥٣ -‬
‫ﺃﺭﻗﺎﻡ ﻻ ﺘﺜﻴﺭ ﺍﻟﺸﻬﻭﺓ ﻭﻻ ﺘﻔﺘﺕ ﺍﻟﻘﻠﺏ‬ ‫ﺃﺭﻗﺎﻡ‬ ‫ﻫﻲ ﺃﺭﻗﺎﻡ‬ ‫ﻟﻥ ﺘﺫﻜﺭﻨﻲ ﺒﻬﺎ‬ ‫ﺍﻟﻤﺴﺄﻟﺔ ﻤﺴﺄﻟﺔ ﻤﺒﺩﺃ‬ ‫ﻴﺠﺏ ﺃﻻ ﺘﺼﺒﺢ ﺍﻟﺫﺍﻜﺭﺓ‬ ‫ﺁﺨﺭ ﻤﺸﻨﻘﺔ ﻫﻴﺄﺘﻬﺎ ﻟﻲ‬ ‫ﻷﺼﺒﺢ ﻟﻬﺎ ﻭﺤﺩﻫﺎ ﺇﻟﻲ ﺍﻷﺒﺩ‬ ‫ﻟﻥ ﻴﺫﻜﺭﻨﻲ ﺒﻬﺎ ﻭﻻ ﺤﺘﻲ "ﻓﻴﺭﻭﺯ"‬ ‫ﺴﺄﻏﻴﺭ ﺘﺄﻭﻴﻼﺘﻲ ﻟﻤﺎ ﻏﻨﻴﻨﺎ ﻤﻌﺎ‬ ‫)ﻋﺎﺭﻴﻴﻥ ﺃﻭ ﻤﺘﺸﺤﻴﻥ ﺒﺸﻬﻭﺘﻨﺎ‬ ‫ﻤﺘﻼﺼﻘﻴﻥ ﺃﻭ ﻨﺘﻬﻴﺄ(:‬ ‫"ﻻ ﺇﻨﺕ ﺤﺒﻴﺒﻲ ﻭﻻ ﺭﺒﻴﻨﺎ ﺴﻭﺍ"‬ ‫"ﺴﺄﻟﺘﻙ ﺤﺒﻴﺒﻲ ﻟﻭﻴﻥ ﺭﺍﻴﺤﻴﻥ"‬ ‫"ﻭﻟﻘﺩ ﺫﻜﺭﺘﻙ ﻭﺍﻟﺭﻤﺎﺡ ﻨﻭﺍﻫل"‬ ‫ﻟﻥ ﻴﺫﻜﺭﻨﻲ ﺒﻬﺎ ﻭﻻ "ﻓﻴﺭﻭﺯ" ﺤﺘﻲ‬ ‫ﻤﻐﻨﻴﺔ ﻜﺎﻷﺨﺭﻴﺎﺕ‬ ‫ﻋﺩﺍ ﺃﻨﻬﺎ ﺘﺠﻌل ﺍﻟﺫﻜﺭﻱ ﺃﻜﺜﺭ ﺇﻴﻼﻤﺎ‬ ‫ﻭﻫﺫﺍ ﻴﺒﺩﻭ ﻏﻴﺭ ﻜﺎﻑ ﻟﻴﺫﻜﺭﻨﻲ ﺒﻬﺎ‬ ‫ﻭﺒﻜل ﺘﺄﻜﻴﺩ‬ ‫ﻟﻥ ﺘﺫﻜﺭﻨﻲ ﺒﻬﺎ ﺃﻴﺔ ﺯﻫﺭﺓ‬ ‫ﻭﺠﻭﺩ ﺯﻫﺭﺓ ﻨﺎﺒﺘﺔ ﻋﻠﻲ ﻓﺨﺫﻫﺎ )ﺘﻌﻠﻡ ﺍﻟﻌﺎﺸﻕ ﺃﻥ ﻴﻜﻭﻥ ﻨﺒﺎﺘﻴﺎ ﻭﺃﻥ ﻴﺘﺴﻠﻕ ﺍﻟﺠﺴﺩ ﻜﺎﻟﻌﻠﻴﻕ(‬ ‫‪‬ﱠ‬ ‫ﻟﻴﺱ ﺴﺒﺒﺎ ﻜﺎﻓﻴﺎ ﻟﺘﺨﻤﺵ ﻜل ﺯﻫﺭﺓ ﺫﺍﻜﺭﺘﻲ‬ ‫- ٦٣ -‬
‫ﺃﻤﺎ ﺍﻟﻌﻁﺭ ﺍﻟﺫﻱ ﺼﻨﻌﺘﻪ ﺒﻴﺩﻱ‬ ‫ﹸ‬ ‫ﻤﺴﺘﻠﻬﻤﺎ ﺭﺍﺌﺤﺔ ﺠﺴﺩﻫﺎ‬ ‫)ﻭﺃﻨﺎ ﻓﻲ ﺴﺭﻴﺭﻫﺎ ﺃﻫﺵ ﻋﻨﻬﺎ ﻤﺨﺎﻭﻓﻬﺎ ﻭﻫﻲ ﻨﺎﺌﻤﺔ(‬ ‫ﻫﺫﺍ ﺍﻟﻌﻁﺭ ﺒﺎﻟﺫﺍﺕ‬ ‫ﻟﻥ ﻴﺫﻜﺭﻨﻲ ﺒﻬﺎ‬ ‫ﺴﺄﺘﻌﻁﺭ ﺒﻪ )ﻻ ﺃﻟﺘﻔﺕ ﺇﻟﻲ ﺍﻟﻨﺸﻭﺓ ﺍﻟﺘﻲ ﺘﻌﺼﻑ ﺒﻲ(‬ ‫ﻭﻟﻥ ﻴﺫﻜﺭﻨﻲ‬ ‫ﻟﻡ ﺃﻋﺩ ﺃﺤﺘﻤل ﺘﻠﻙ ﺍﻷﺸﻴﺎﺀ ﺍﻟﻜﺜﻴﺭﺓ ﺍﻟﺘﻲ ﺘﻨﺒﺌﻨﻲ ﻜل ﻟﺤﻅﺔ‬ ‫ﺃﻨﻨﻲ ﻭﺤﺩﻱ‬ ‫ﻫﻨﺎ‬ ‫ﻭﺃﻨﻬﺎ ﻗﺼﻴﺔ ﻫﻨﺎﻙ..‬ ‫ﹶ ِ‪‬‬ ‫ﻫﻨﺎﻙ..‬ ‫ﻜﻠﻤﺔ "ﻫﻨﺎﻙ" ﻨﻔﺴﻬﺎ ﻟﻥ ﺘﺫﻜﺭﻨﻲ ﺒﻬﺎ‬ ‫ﺤﺘﻲ ﺤﻴﻥ ﺃﺸﻴﺭ ﺒﺴﺒﺎﺒﺘﻲ ﺇﻟﻲ ﻤﺎ ﺃﻓﻠﺘﺘﻪ ﺃﻋﻴﻥ ﻤﻥ ﺤﻭﻟﻲ‬ ‫ﻟﻥ ﻴﺫﻜﺭﻨﻲ ﺒﻬﺎ ﺸﻲﺀ )ﺘﻘﺭﻴﺒﺎ(‬ ‫ﻤﺎ ﻴﻔﻠﺕ ﺒﺒﺭﺍﻋﺔ ﺤﺘﻲ ﺍﻵﻥ‬ ‫ﺃﻨﻔﺎﺴﻲ‬ ‫)ﺘﻠﻙ ﺍﻟﺘﻲ ﺘﺫﻜﺭﻨﻲ ﺒﺄﻨﻨﻲ ﺃﺤﻴﺎ‬ ‫ﻷﻨﻬﺎ ﻗﺎﻟﺕ ﻴﻭﻤﺎ:‬ ‫"ﻀﺤﻜﺘﻙ ﻏﺯﺍﻟﺔ"‬ ‫ِ‪‬‬ ‫ﻻ ﺸﻲﺀ ﺴﻭﻑ ﻴﺫﻜﺭﻨﻲ ﺒﻬﺎ‬ ‫ﺴﻭﻱ..‬ ‫ﺃﻨﻔﺎﺴﻲ..‬ ‫ﺃﻨﻔﺎﺴﻲ..‬ ‫ﺃﻨﻔﺎﺴﻲ..‬ ‫ﻻ ﺸﻲﺀ ﺴﻭﺍﻫﺎ‬ ‫- ٧٣ -‬
‫ﻣﻦ ﺩﻳﻮﺍﻥ‬ ‫(‬ ‫א‬ ‫א‬ ‫)‬ ‫א‬ ‫- ٨٣ -‬
‫ﺘﻘﻭل ﺍﻟﻭﺭﺩﺓ‬ ‫ﻋﻨﺩﻤﺎ ﺘﻨﻅﺭ ﻟﻲ‬ ‫ﺃﻴﻬﺎ ﺍﻟﻭﻟﺩ ﺍﻟﻠﻁﻴﻑ‬ ‫ﹾ‬ ‫ﻜل ﺸﻲﺀ ﺤﻭﻟﻨﺎ‬ ‫ﻴﺼﺒﺢ ﺃﺠﻤل‬ ‫ْ‬ ‫ﻭُﺤﺱ ﺒﺎﻟﻨﺴﻴﻡ ﻫﺎﺩﺌﺎ‬ ‫ﹰ‬ ‫ﺃ‬ ‫‪‬ﻌﺒﺭ ﺼﺩﺭﻱ‬ ‫ﻴ‬ ‫***‬ ‫ﻋﻨﺩﻤﺎ ﺘﻠ ‪‬ﺴﻨﻲ‬ ‫ﹶ ﹾﻤ‬ ‫ﺃﻴﻬﺎ ﺍﻟﻭﻟﺩ ﺍﻟﻠﻁﻴﻑ‬ ‫ﻴﻤﻸ ﺍﻟﻘﻠﺏ ﺍﻟﺨﺠل‬ ‫‪‬‬ ‫ﻭﺃﺤﺏ ﻟﻤﺴﺘﻙ‬ ‫***‬ ‫ﻋﻨﺩﻤﺎ ﺘﻘ ِﻔﻨﻲ ﺃﻴﻬﺎ ﺍﻟﻭﻟﺩ ﺍﻟﻠﻁﻴﻑ‬ ‫ﹾ‬ ‫ﻁ‬ ‫ﻴﻅﻬﺭ ﺍﻟﻭﺠﻪ ﺍﻟﻤﺨﻴﻑ‬ ‫ﹾ‬ ‫ﻓﻲ ﻋﻴﻭﻨﻲ‬ ‫***‬ ‫ﻓﻠﻤﺎﺫﺍ ﺃﻴﻬﺎ ﺍﻟﻭﻟﺩ ﺍﻟﻠﻁﻴﻑ‬ ‫ﹾ‬ ‫ﻻ ﺘﺭﻴﺩ ﺃﻥ ﺘﺭﺍﻨﻲ ﻓﻲ ﻏﺩ‬ ‫ٍ‬ ‫ﻭﺃﻨﺎ ﺃﺤﺏ ﻨﻅﺭ ﹶﻙ؟‬ ‫ﺘ‬ ‫- ٩٣ -‬
‫ﺍﺨﺘـﻼﻑ‬ ‫ﺃﺤﺏ ﺍﻟﺯﻫﻭﺭ ﻜﺜﻴﺭﺍ ﻜﺜﻴﺭﺍ‬ ‫ﹰ‬ ‫ﻭﻟﻜﻨﻨﺎ ﺩﺍﺌﻤﺎ ﻨﺨﺘﻠﻑ‬ ‫ﺇﻨﻬﺎ ﺘﺘﻔﺘ ‪ ،‬ﻟﻜﻨﻨﻲ ﻟﺴﺕ ﺃﺩﺭﻱ ﻤﺘﻲ‬ ‫ﺢ‬ ‫ﻟﻤﺎﺫﺍ ﺘﻔ ﱢﺢ ﺘﻠﻙ ﺍﻟﺯﻫﻭﺭ ﺍﻟﺼﺩﻴﻘﺔ ﺃﻋﻴﻨﻬﺎ ﻓﻲ ﻏﻴﺎﺒﻲ؟‬ ‫ﹸ ﹶﺘ‬ ‫ﺭﺒﻤﺎ ﻫﺫﻩ ﻏﻠﻁﺘﻲ‬ ‫ﻓﺈﻨﻲ ﺃﻨﺎﻡ ﻜﺜﻴﺭﺍ‬ ‫ﹰ‬ ‫ﻓﻬل ﺘﺘﻔﺘﺢ ﻓﻲ ﺍﻟﻠﻴ ِ؟‬ ‫ل‬ ‫ﻭﺇﻨﻲ ﺃﻟﻌﺏ ﻭﻗﺘﺎ ﻁﻭﻴﻼ‬ ‫ﻓﻬل ﺘﺘﻔﺘﺢ ﻭﻗﺕ ﺍﻟﻠﻌﺏ‪‬؟‬ ‫ﺭﺒﻤﺎ ﺘﺘﻔﺘﺢ ﻭﻗﺕ ﺫﻫﺎﺒﻲ ﺇﻟﻲ ﺍﻟﻤﺩﺭﺴﺔ‬ ‫ﺇﻨﻨﺎ ﺃﺼﺩﻗﺎﺀ: ﺃﻨﺎ ﻭﺍﻟﺯﻫﻭﺭ‬ ‫‪‬‬ ‫ﻭﻟﻜﻨﻨﺎ ﺩﺍﺌﻤﺎ ﻨﺨﺘﻠﻑ‬ ‫ﹾ‬ ‫ﻭﺒﺎﻟﺭﻏﻡ ﻤﻥ ﺃﻨﻨﺎ ﻨﺨﺘﻠﻑ‬ ‫ﹾ‬ ‫ﺃﺤﺏ ﺍﻟﺯﻫﻭﺭ‬ ‫‪‬‬ ‫- ٠٤ -‬
‫ﺴﻠﺤ‪‬ﻔـﺎﺓ‬ ‫‪‬ﹶ‬ ‫ﻋﻴﺩ ﻤﻴﻼﺩﻱ ﻤﻀﻲ‬ ‫ﻭﺍﻟﺴﻠﺤ‪‬ﻔﺎﺓ ﺍﻟﺼﻐﻴﺭﺓ‬ ‫ﹾ‬ ‫‪‬ﹶ‬ ‫ﻻ ﺘﺯﺍل‬ ‫ْ‬ ‫ﻤﺜﻠﻤﺎ ﺭﺃﻴﺘﻬﺎ ﻤﻨﺫ ﺴﻨﻴﻥ‬ ‫‪‬‬ ‫ﺍﻟﺴﻠﺤﻔﺎﺓ ﺼﻐﻴﺭﺓ‬ ‫ﻜل ﻋﺎﻡ ﺼﻭﺭﺘﻲ ﺃﻜﺒﺭ ﻤﻥ ﻗﺒل ﻭﻟﻜﻥ‬ ‫‪‬‬ ‫ُ‬ ‫ّ‬ ‫ﺍﻟﺴﻠﺤﻔﺎﺓ ﺼﻐﻴﺭﺓ‬ ‫ﻜﻠﻬﻡ ﻗﺎﻟﻭﺍ ﺴﺘﻜﺒﺭ‬ ‫‪‬‬ ‫ﺍﻟﺴﻠﺤﻔﺎﺓ ﺍﻟﺼﻐﻴﺭﺓ‬ ‫ﹸ‬ ‫ﻫل ﺃﺼﺩﻕ‬ ‫ﹸ‬ ‫ﻤﺎ ﻴﻘﻭل ﺍﻟﻨﺎﺱ َﻡ..؟‬ ‫‪‬ﺃ‬ ‫َﻡ ﺃﺼﺩﻕ‬ ‫ﹸ‬ ‫ﺃ‬ ‫ﻤﺎ ﺘﺭﻱ ﻋﻴﻨﻲ؟‬ ‫ﺃﺼﺩﻕ ﻤﺎ ﺘﺭﻱ ﻋﻴﻨﻲ‬ ‫ﻭﺍﻟﺴﻠﺤﻔﺎﺓ ﺍﻟﺼﻐﻴﺭﺓ‬ ‫ﹶ‬ ‫- ١٤ -‬

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  • 1.
  • 2. ‫ﻣﺪﺍﺋﻦ ﺍﻷﻧﻮﺛﺔ ﻭﺍﻟﻠﻮﻥ‬ ‫ﳐﺘﺎﺭﺍﺕ ﻣﻦ ﻗﺼﺎﺋﺪﻱ‬ ‫א‬ ‫-٢-‬
  • 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. ‫‪‬‬ ‫ﻣﻦ ﺩﻳﻮﺍﻥ ﺟﺴــﺪﻱ ﻟﻚ ﺍﻟﺬﻱ ﻫﻨﺎﻙ‬ ‫ﻨﺸﻴﺩ ﺍﻹﻨﺸﺎﺩ ﺍﻟﺫﻱ ﻟﻲ ................................................................................................. - ٥ -‬ ‫ﻗﺴﻭﺘﻬﺎ ﻭﻭﺩﺍﻋﺔ ﻋﻴﻨﻴﻪ ................................................................................................. - ٨ -‬ ‫ﻣﻦ ﺩﻳﻮﺍﻥ ﻣﻦ ﺃﻭﺭﺍﻕ ﻟﻴﻠﻲ ﺃﻭ ﻣﺎ ﻗﺎﻟﺖ ﻟﻴﻠﻲ ﻟﻠﻤﺠﻨﻮﻥ‬ ‫ﺁﺨﺭ ﺍﻟﺩﺍﺌﺭﺓ ......................................................................................................... - ١١ -‬ ‫ﺘﻭﺍﻗﻑ: ﻗل ﻟﻡ ﺘﺅﻤﻨﻭﺍ ............................................................................................... - ٣١ -‬ ‫ﺘﻭﺍﻗﻑ: ﺃﺴﻠﻤﺕ ﻭﺠﻬﻲ .............................................................................................. - ٤١ -‬ ‫ﺘﻭﺍﻗﻑ: ﺤﻴﺙ ﺸﺎﺀﺕ ................................................................................................ - ٥١ -‬ ‫ﻣﻦ ﺩﻳﻮﺍﻥ ﻣﻦ ﻣﺪﻭﻧﺎﺕ ﺇﻧﺴﺎﻥ ﻧﻴﺎﻧﺪﺭﺗﺎﻝ‬ ‫ﺴﺄﻜﺘﺏ ﺘﺎﺭﻴﺦ ﺍﻟﻌﺎﻟﻡ ﺒﺩﻭﻨﻬﺎ.. ﺇﻨﻬﻡ ﻟﻡ ﻴﻨﺘﺒﻬﻭﺍ ﺃﺒﺩﺍ ﺇﻟﻲ ﺠﻼل ﺍﻻﺴﺘﻌﺎﺭﺓ ................................................. - ٧١ -‬ ‫ﺜﻘﺏ.. ﻭﻟﻤﺎﺫﺍ ﺃﺤﺯﻥ ﺤﻴﻥ ﺘﻁﻴﺭ ﺤﻭﻟﻲ؟ .............................................................................. - ٨١ -‬ ‫ﺍﻨﺘﻅــﺎﺭ.......................................................................................................... - ٩١ -‬ ‫ﻣﻦ ﺩﻳﻮﺍﻥ ﺍﻟﻘﺴﻮﺓ ﻭﺍﻟﺮﻋﺐ‬ ‫ﺒﻌـﺙ.............................................................................................................. - ١٢ -‬ ‫ﻤﺒﺘـﺩﺃ ............................................................................................................. - ٢٢ -‬ ‫ﻣﻦ ﺩﻳﻮﺍﻥ ﺣﺮﻭﻑ ﻣﻄﻤﻮﺳﺔ‬ ‫ﻭﻋﻼﻤﺎﺕ ........................................................................................................... - ٥٢ -‬ ‫ﻭﻫﺠﺔ ﺍﻟﻁﻤﻲ ....................................................................................................... - ٧٢ -‬ ‫ﻣﻦ ﺩﻳﻮﺍﻥ ﻫﻜﺬﺍ ﺗﻜﻠﻤﺖ ﻋﺎﺯﻓﺔ ﺍﻟﺒﻴﺎﻧﻮ‬ ‫ﺇﻴﺜـﺎﻜـﺎ ........................................................................................................... - ١٣ -‬ ‫ﺘﻤﻴﻤﺔ ﻷﺠل ﺍﻟﻨﺴﻴﺎﻥ ................................................................................................. - ٤٣ -‬ ‫ﻣﻦ ﺩﻳﻮﺍﻥ ﻗﺎﻟﺖ ﺍﻷﺷﻴﺎء ﱄ )ﺩﻳﻮﺍﻥ ﻟﻠﻔﺘﻴﺎﺕ ﻭﺍﻟﻔﺘﻴﺎﻥ(‬ ‫ﺘﻘﻭل ﺍﻟﻭﺭﺩﺓ ........................................................................................................ - ٩٣ -‬ ‫ﺍﺨﺘـﻼﻑ .......................................................................................................... - ٠٤ -‬ ‫ﺴﻠﺤ‪‬ﻔـﺎﺓ ........................................................................................................... - ١٤ -‬ ‫‪‬ﹶ‬ ‫-٣-‬
  • 5. ‫ﻣﻦ ﺩﻳﻮﺍﻥ‬ ‫א‬ ‫-٤-‬
  • 6. ‫ﻨﺸﻴﺩ ﺍﻹﻨﺸﺎﺩ ﺍﻟﺫﻱ ﻟﻲ‬ ‫ﻫﺎ ﺃﻨﺕ ﻟﻲ‬ ‫ﺸﻌﺭﻙ ﻴﻨﺴﺭﺏ ﻋﻠﻲ ﺠﺴﺩﻱ/ ﺠﺴ ِﻙ‬ ‫ﺩ‬ ‫ﻗﻁﻴﻊ ﻏﺯﻻﻥ ﻋﻠﻲ ﺠﺒل ﺍﻟﻤﺤﺒﺔ ﺍﻟﻔﺴﻴﺢ‬ ‫‪‬‬ ‫ﻫﺎ ﺃﻨﺕ‬ ‫ِ‬ ‫ﺍﻟﻌﺎﻟﻡ ﻜﻠﻪ ﻤﺸﻠﻭل ﻻ ﺃﺭﺍﻩ‬ ‫ﻭﺃﻨﺕ ﻭﺤﺩﻙ ﻤﻬﺭﺘﻲ ﺍﻟﺠﻤﻭﺡ‬ ‫ﻜﻴﻑ ﺃﻀﺒﻁ ﺇﻴﻘﺎﻉ ﺠﺴﺩﻱ ﻋﻠﻲ ﺍﻟﻭﺘﺭ ﺍﻟﻤﺸﺩﻭﺩ )ﺠﺴ ِﻙ(‬ ‫ﺩ‬ ‫ﺤﻴﻥ ﺘﻬﺘﺯ ﺍﻷﺭﺽ ﺒﻲ‬ ‫ﺩﻋﻴﻨﻲ ﺃﻤﺴﻙ ﻨﻬﺩﻴﻙ ﺒﺭﻓﻕ‬ ‫ِ‬ ‫ﻭﺃﻥ ﺃﻀﻐﻁ ﻫﻭﻨﺎ ﻋﻠﻲ ﺍﻟﺤﻠﻤﺘﻴﻥ‬ ‫ﻷﺴﺘﺄﺫﻥ ﺠﺴﺩﻙ ﻓﻲ ﺍﻟﺘﻠﺒﺙ‬ ‫ﻋﻠﻲ ﻨﺎﺼﻴﺔ ﻟﻬﺎﺜﻲ‬ ‫ﻟﻨﻘﻑ ﻋﻠﻲ ﺴﺎﻗﻲ ﻴﺎ ﺤﺒﻴﺒﺘﻲ‬ ‫ﹾ‬ ‫ﻋﻠﻲ ﺸﻔﺎ ﺍﻷﺸﻴﺎﺀ‬ ‫ﺤﺘﻲ ﺃﺭﻱ ﺒﺒﺼﻴﺭﺘﻙ‬ ‫ﻭﺃﺩﺨل ﺇﻟﻲ ﻤﻠﻜﻭﺕ ﺍﻟﻤﺤﺒﺔ ﻤﻥ ﺒﺎﺏ ﻋﻴﻨﻴﻙ‬ ‫ِ‬ ‫)ﻫﺎﺘﻴﻥ ﺍﻟﺤﻤﺎﻤﺘﻴﻥ ﺍﻟﻬﺎﺩﺌﺘﻴﻥ ﻋﻠﻲ ﻜﺘﻑ ﺍﻟﻤﺴﻴﺢ(‬ ‫ﻟﻨﻘﻑ ﻤﻌﺎ ﻤﻌﺎ‬ ‫ﻋﻠﻲ ﺸﻔﺎ ﺍﻟﻨﺸﻭﺓ ﻭﺍﻟﺠﻨﻭﻥ‬ ‫ﻋﻨﺩ ﺤﺎﻓﺔ ﺍﻟﻨﺩﺍﺀ ﻭﺍﻟﻤﻁﺭ‬ ‫ﻤﺎ ﺒﻴﻥ ﺍﻟﻤﻭﺕ ﻭﺍﻟﻨﺩﻡ‬ ‫ﻓﻲ ﺍﻟﻤﺴﺎﻓﺔ ﻤﺎ ﺒﻴﻥ ﺍﻟﻠﻭﻨﻴﻥ:‬ ‫ﻋﻴﻨﻴﻙ ﺤﻴﻥ ﺘﻨﻅﺭﺍﻥ ﺇﻟﻲ ﻭﻭﺠﻬﻲ ﺤﻴﻥ ﻴﺴﺘﻌﻴﻥ ﻋﻠﻲ ﺍﻟﺠﻤﺎل ﺒﺎﻟﺘﻔﺎﺘﺔ‬ ‫ِ‬ ‫-٥-‬
  • 7. ‫ﺃﻨﺕ ﺜﻤﻠﺔ ﻭﺃﻨﺎ ﻤﺠﻨﻭﻥ‬ ‫ﻓﻤﻥ ﻴﻘﻭﺩﻨﺎ ﺇﻟﻲ ﺍﻟﺤﺎﻥ ﻴﺎ ﺤﺒﻴﺒﺘﻲ؟‬ ‫ﺍﻟﻨﺩﺍﺀ ﺍﻟﻨﺩﺍﺀ‬ ‫‪‬‬ ‫ﻻ ﺘﺭﻋﺸﻭﺍ ﻴﺩﻱ‬ ‫ﻻ ﺘﻭﻗﻅﻭﺍ ﺤﺒﻴﺒﺘﻲ ﻓﻬﻲ ﺍﻵﻥ ﺘﺤﻠﻡ ﺒﻲ‬ ‫ﻭﺃﻨﺎ ﺘﺤﺕ ﻅﻠﻬﺎ ﺃﺒﻠل ﺤﻠﻘﻲ ﺒﺎﻟﺜﻤﺎﺭ‬ ‫ﻨﺎﻡ ﺍﻟﺭﻋﺎﺓ ﻭﻤﺎ ﻨﻤﺕ ﻭﻻ ﻨﺎﻡ ﻗﻁﻴﻌﻲ‬ ‫ﺃﻗﺒﻠﻲ ﻤﻥ ﺒﻴﻥ ﺍﻟﻤﺭﻭﺝ ﺃﻴﺘﻬﺎ ﺍﻟﺭﺍﻋﻴﺔ ﺍﻟﺠﺒﻠﻴﺔ ﺍﻟﻤﺫﻫﻠﺔ‬ ‫ﹸ‬ ‫ﻭﻴﺎ ﺃﻴﺘﻬﺎ ﺍﻟﻐﺯﺍﻻﺕ ﻤﻬﺩﻥ ﺍﻟﻁﺭﻴﻕ ﺘﺤﺕ ﺃﻗﺩﺍﻡ ﺤﺒﻴﺒﺘﻲ‬ ‫ﺍﻨﺜﺭﻥ ﺍﻟﻜﺭ‪‬ﻡ ﺒﻴﻥ ﻴﺩﻴﻬﺎ ﻭﻗﻠﻥ ﻟﻬﺎ:‬ ‫"ﺍﻟﺭﺍﻋﻲ ﻴﺒﻜﻲ ﻭﻟﻡ ﻴﻜﻥ ﻴﺒﻜﻲ ﺃﺒﺩﺍ‬ ‫ﹰ‬ ‫ﻓﺎﻤﺴﺤﻲ ﺒﻴﺩﻴﻙ ﻋﻠﻲ ﺠﺒﻴﻥ ﺍﻟﻜﻭﻥ ﺤﺘﻲ ﻴﻨﺎﻡ"‬ ‫ﺒﺭﺝ ﺒﺎﺒﻠﻲ ﻴﺎ ﻋﻨﻕ ﺤﺒﻴﺒﺘﻲ‬ ‫ﻭﺤﺘﻑ ﺍﻟﻌﺎﺸﻕ ﺃﻭﻟﻲ ﻫﺩﺍﻴﺎ ﻋﻴﻭﻨﻬﺎ‬ ‫ﺃﻨﺕ ﻨﺎﺌﻤﺔ ﻭﻗﻠﺒﻲ ﻤﺴﺘﻴﻘﻅ‬ ‫ﻓﺎﻓﺘﺤﻲ ﻟﻲ ﻴﺎ ﻜﺎﻤﻠﺘﻲ‬ ‫ﻟﻘﺩ ﺒﻠل ﺍﻟﻤﻁﺭ ﺸﻌﺭﻱ ﻭﻜﻼﻡ ﺍﻟﻌﺎﺫﻟﻴﻥ‬ ‫‪‬‬ ‫ﻗﺩ ﺨﻠﻌﺕ ﺜﻭﺒﻲ ﻓﻜﻴﻑ ﺃﻟﺒﺴﻪ ﻓﻲ ﻏﻴﺭ ﺤﻀﺭﺘﻬﺎ‬ ‫ﻁﻭﺒﻲ ﻟﻙ ﺃﻴﻬﺎ ﺍﻟﻔﺘﻲ ﺍﻟﺫﻱ ﺍﺨﺘﺎﺭ‬ ‫ﻴﻐﺒﻁﻙ ﺍﻟﻤﺤﺒﻭﻥ ﺇﺫ ﺘﺘﻨﺯل ﺍﻟﻤﺴﺭﺍﺕ ﻋﻠﻴﻙ‬ ‫ﺴ ‪‬ﺘﻬﺎ ﻜﺄﺱ ﻻ ﻴﻌﻭﺯﻫﺎ ﺍﻟﺨﻤﺭ‬ ‫‪‬ﺭ‬ ‫ﻭﺨﻤﺭﺓ ﺸﻔﺘﻴﻬﺎ ﻻ ﻴﻌﻭﺯﻫﺎ ﺍﻟﻤﺴﺎﺀ‬ ‫-٦-‬
  • 8. ‫ﻓﻠﻨﺒﻜﺭ ﻴﺎ ﺤﺒﻴﺒﺘﻲ ﻟﻌل ﺍﻟﻜﺭ‪‬ﻡ ﻴﺜﻤﺭ ﻓﻲ ﻏﻴﺭ ﺃﻭﺍﻨﻪ‬ ‫ﹶ‬ ‫ﻭﻫﻨﺎﻙ ﺃﻋﻁﻴﻙ ﺤﺒﻲ‬ ‫ِ‬ ‫ﻭﻴﺭﺘﻭﻱ ﺍﻟﻜل ﺒﺎﻟﻤﺤﺒﺔ ﺍﻟﺴﺎﻤﻘﺔ‬ ‫ﻭﻴﻔﺭﺤﻭﻥ ﺒﺈﻁﻼﻟﺔ ﺍﻟﻘﻼﺌﺩ ﻓﻲ ﺠﻴﺩﻙ ﺍﻟﺭﻁﺏ ﺍﻟﻜﺭﻴﻡ‬ ‫ِ‬ ‫ﻻ ﹸﺭﻋﺸﻭﺍ ﻴﺩﻱ‬ ‫ﺘ‬ ‫ﻻ ﺘﻨﺒﻬﻭﺍ ﺤﺒﻴﺒﺘﻲ ﻤﻥ ﺤﻠﻤﻬﺎ ﺤﺘﻲ ﺘﺸﺎﺀ‬ ‫‪‬‬ ‫ﻋﻠﻲ ﻜﻔﻲ ﺘﺅﺜﺭ ﺍﻟﺴﻼﻡ ﻭﺘﻨﺼﺕ ﻟﻠﻨﺩﺍﺀ‬ ‫‪‬‬ ‫ﱠ‬ ‫ﻫﺩﺌﻲ ﺨﻁﻭﻙ ﺃﻴﺘﻬﺎ ﺍﻟﻨﻅﺭﺓ ﺍﻟﻤﺘﺴﻠﻠﺔ ﺇﻟﻲ ﺍﻟﻤﺴﺎﻓﺔ ﻤﺎ ﺒﻴﻥ ﻨﻬﺩﻴﻬﺎ‬ ‫ِ‬ ‫ﺘﻠﺒﺜﻲ ﻗﻠﻴﻼ ﻋﻨﺩ ﺇﻏﻤﺎﻀﺔ ﺍﻟﺸﻔﺘﻴﻥ‬ ‫ﻓﺈﻨﻲ ﻤﻨﺫﻭﺭ ﻟﻠﻭﻋﺩ‬ ‫ِ‬ ‫ﺴُﺸﻬﺩ ﻤﻥ ﺒﺒﺎﺒﻲ ﻤﻥ ﺯﻴﺘﻭﻨﺎﺕ ﻭﻜﺭﻭﻡ ﻭﺃﻴﺎﺌل ﻭﻤﺤﺒﺎﺕ‬ ‫ٍ‬ ‫ﺄ‬ ‫ﺃﻨﻲ ﺴُﺩﺨل ﺤﺒﻴﺒﺘﻲ ﺇﻟﻲ ﺤﺠﺭﺓ ﺃﻤﻲ ﺍﻟﺘﻲ ﺃﺭﻀﻌﺘﻨﻲ‬ ‫ﹼ ﺄ‬ ‫ﺴﺄﺒﻴﺕ ﻤﺎ ﺒﻴﻥ ﺜﺩﻴﻴﻬﺎ ﺇﺫﺍ ﺃﻤﺭﺘﻨﻲ‬ ‫ﻭﺃﻤﻨﺤﻬﺎ ﺜﻤﺭﺓ ﺫﺍﺘﻲ‬ ‫ﻷﻭﻟﺩ ﺜﺎﻨﻴﺔ ﻤﻥ ﺭﺤﻤﻬﺎ‬ ‫ﻓﻴﻔﺭﺡ ﺍﻟﻜﻭﻥ ﺒﻲ‬ ‫ﻭﻴﻠﺒﺱ ﺘﺎﺝ ﺍﻷﺒﺩ‬ ‫‪‬‬ ‫-٧-‬
  • 9. ‫ﻗﺴﻭﺘﻬﺎ ﻭﻭﺩﺍﻋﺔ ﻋﻴﻨﻴﻪ‬ ‫ﺇﻟﻲ ﺍﻟﺸﺎﻋﺭ: ﻤﺤﻤﺩ ﻋﺒﺩ ﺍﻟﻭﻫﺎﺏ ﺍﻟﺴﻌﻴﺩ‬ ‫ﺃﺤﺎﺠﻴﻙ ﻴﺎ ﻭﺠﻌﺎ ﻭﺜﻨﻴﺎ‬ ‫ﹰ‬ ‫‪‬‬ ‫ﻴﺴﻴﺭ ﻋﻠﻲ ﻗﺩﻤﻴﻥ‬ ‫ِ‬ ‫ﻭﻴﺎ ﺃﻴﻬﺎ ﺍﻟﻔﺭﺡ ﺍﻟﻤﻭﺴﻤﻲ‬ ‫ﺃﺤﺎﺠﻴﻙ ﻴﺎ ﻤﻬ ‪‬ﻫﺎ ﺍﻟﻤﺎﺭﻕ ﺍﻟﻤﺘﻤﺯﻕ ﺒﻴﻥ ﺍﻟﺼﺤﺎﺌﻑ‬ ‫ِ‬ ‫ﺭ‬ ‫ﻻ ﻁﻤﻌﺎ ﻓﻲ ﺍﻨﺘﺼﺎﺭ ﻋﻠﻴﻙ‬ ‫‪‬‬ ‫ﻭﻻ ﺃﻤﻼ ﻓﻲ ﺘﻘﻁﺭ ﺃﺤﺯﺍﻨﻙ ﺍﻟﻤﺴﺘﺤﻴﻠﺔ ﻓﻲ‬ ‫ﺃﺤﺎﺠﻴﻙ ﻴﺎ ﺃﻴﻬﺎ ﺍﻟﻘﺭﻭﻱ ﺍﻟﺭﻫﻴﻑ‬ ‫ﹾ‬ ‫ﺇﻟﻲ ﺃﻥ ﻴﻘﺭ ﺒﺠﺴﻤﻲ ﺍﻟﻘﻠﻕ‬ ‫ﺃﺤﺎﺠﻴﻙ: ﻤﺎﺫﺍ ﻟﻭ ﺍﻨﻙ ﺃﺴﻤﻴﺘﻬﺎ ﻏﻴﺭ ﻤﻲ؟‬ ‫‪‬‬ ‫‪‬‬ ‫ﻭﺃﺴﻜﻨﺕ ﻗﻠﺒﻙ -ﻭﻫﻭ ﺍﻟﺒﻨﺎﺀ ﺍﻟﻀﻌﻴﻑ- ﺒﻼﺩﺍ ﺴﻭﺍﻫﺎ؟‬ ‫‪‬‬ ‫ﹶ‬ ‫ﺃﺤﺎﺠﻴﻙ: ﻜﺎﻥ ﻴﻐﻨﻲ ﻟﺒﻨﺕ‬ ‫ٍ‬ ‫ﺃﻋ ‪‬ﺕ ﻟﻪ ﻤﻐﺯﻻ‬ ‫ﺩ‬ ‫ﺼﻨﻌﺕ ﺸﺎل ﺼﻭﻑ‬ ‫ٍ‬ ‫ﻭﻏ ‪‬ﺕ ﺒﻌﻴﻨﻴﻪ ﻤﻐﺯﻟﻬﺎ‬ ‫ﺯ‬ ‫ﻤﻥ ﺘﺭﺍﻩ ﺍﺭﺘﺩﻱ ﺸﺎﻟﻬﺎ؟‬ ‫ﻤﻥ ﺘﺭﺍﻩ ﺍﻟﺼﺒﻲ؟‬ ‫ﺃﺤﺎﺠﻴﻙ ﺤﺘﻲ ﹶﺴﻴل ﻤﺩﺍﻤﻌﻨﺎ ﻭﻴﻁﻭل ﺍﻟﺒﻜﺎﺀ‬ ‫‪‬‬ ‫َ‬ ‫ﺘ‬ ‫ﺃﻨﺘﻤﻲ ﻟﻤﻭﺍﺠﻊ ﻗﻠﺒﻙ‬ ‫‪‬‬ ‫ﺃﻭ ﺘﻨﺘﻤﻲ ﻟﻲ ﻭﺘﻭﻟﺩ ﻓﻲ‬ ‫‪‬‬ ‫ﺃﺤﺎﺠﻴﻙ: ﻤﻘﺒﺭﺓ ﺘﺘﻤﺸﻲ ﻋﻠﻲ ﻗﺩﻤﻴﻬﺎ‬ ‫ﻭﺘﺴﺤﺏ ﻓﻲ ﺫﻴﻠﻬﺎ ﻗﺭﻭﻴﺎ ﺸﻔﻴﻔﺎ‬ ‫ﹰ‬ ‫-٨-‬
  • 10. ‫ﻭﻓﻲ ﺒﻁﻨﻬﺎ ﺒﻌﺽ ﺠﻤﺠﻤﺔ ﺫﺍﺕ ﻋﻴﻨﻴﻥ ﻭﺍﺩﻋﺘﻴﻥ‬ ‫ِ‬ ‫ِ‬ ‫ﻭﺒﺴﻤﺔ ﻁﻔل ﺭﻫﻴﻑﹾ؟‬ ‫ِ‬ ‫ﺃﺤﺎﺠﻴﻙ: ﺭﺏ ﻭﻗﺩ ﺼﻠﺒﺘﻪ ﺍﻟﺒﻼﺩ ﻋﻠﻲ ﺠﺫﻉ ﻨﺨل‬ ‫ٍ‬ ‫ﻭﻏﺎﺩﺭﻩ ﺍﻷﻫل‬ ‫ُ‬ ‫ﻫﺎﻥ ﻋﻠﻲ ﺍﻟﻨﺎﺱ‬ ‫ِ‬ ‫ﻓﺎﺴﺘﻠﺒﻭﺍ ﺭﻭﺤﻪ ﺩﻭﻥ ﺃﻥ ﺘﺘﻨﻔﺱ ﻓﻲ ﺠﺴﻤﻬﻡ ﻗﻁﺭﺓ ﻤﻥ ﺩﻡ‬ ‫ٍ‬ ‫ﻭﺍﻟﺼﺤﺎﺏ ﺃﻋﺩﻭﺍ ﺘﻘﺎﺭﻴﺭ ﻋﻥ ﻗﻠﺒﻪ ﻟﻠﻌﺴﺱ‬ ‫‪‬‬ ‫ﻓﺎﺴﺘﺒﺎﺤﻭﺍ ﺍﻟﺩﻡ ﺍﻟﻨﺒﻭﻱ؟‬ ‫ﺃﺤﺎﺠﻴﻙ ﺤﺘﻲ ﺃﺠﻨﺏ ﻨﻔﺴﻲ ﺍﻟﺒﻜﺎﺀ‬ ‫‪‬‬ ‫ﻭﺤﺘﻲ ﺘﺒﻭﺡ ﺒﺴﺭﻙ ﻟﻲ‬ ‫ﻓﺎﻷﺤﺎﺠﻲ ﺃﻴﺎ ﺃﻴﻬﺎ ﺍﻟﻨﺒل ﻭﺍﻟﻘﻠﻕ ﺍﻟﻭﺍﺤﺩﻱ‬ ‫ﺃﺠل ﻋﻁﺎﻴﺎ ﺍﻟﺴﻤﺎﺀ ﻟﻨﺎ‬ ‫ّ‬ ‫ﺤﻴﻥ ﻴﻤﻁﺭﻨﺎ ﺍﻟﻌﻤﺭ ﻋﺸﻘﺎ ﺨﻔﻴﺎ ﻭﺤﺯﻨﺎ ﺨﻔﻲ‬ ‫-٩-‬
  • 11. ‫ﻣﻦ ﺩﻳﻮﺍﻥ‬ ‫א‬ ‫- ٠١ -‬
  • 12. ‫ﺁﺨﺭ ﺍﻟﺩﺍﺌﺭﺓ‬ ‫ﺘﻭﺍ ﹶﻔﻨﺎ ﻓﻲ "ﺍﻟﺒﺩﺀ"،‬ ‫ﻗ‬ ‫ﻭﻗﺎﻟﺕ ﻟﻲ:‬ ‫ﺃﻭل ﺒﺎﺏ ﻤﻥ ﺃﺒﻭﺍﺏ ﺤﻀﺭﺘﻲ ﺘﻭﺍﻗﻑ "ﺍﻟﻨﺩﺍﺀ":‬ ‫ﹸ ﹸ‬ ‫ﺃﻨﺎﺩﻴﻙ ﺒﺎﺴﻤﻙ ﺍﻟﺫﻱ ﻗﺴﻤ ﹸﻪ ﻟﻙ،‬ ‫ﺘ‬ ‫‪‬‬ ‫ﻭﺁﺘﻴﻙ ﻤﻥ ﺤﻴﺙ ﻴﺅﺘﻲ ﺍﻟﻌﺎﺸ ﹸ،‬ ‫ﻕ‬ ‫ﻓﺘﺫﻫل ﻋﻥ ﻨﻔﺴﻙ،‬ ‫ﻭﺘﺘﺭﻙ ﻤﺎﻟﻙ ﻭﺠﻤﺎﻟﻙ ﻭﺃﻭﻁﺎﻨﻙ ﻭﺘﺘﻬﻴﺄ ﻟﻲ.‬ ‫ﻭﺃﺘﻭﻟﻲ ﻨﻌﻴﻤﻙ ﺒﻨﻔﺴﻲ ﻭﻋﺫﺍﺒﻙ ﺒﻨﻔﺴﻲ،‬ ‫ﻓﻼ ﺃﻭ ِل ﺃﺸﻴﺎﺀﻙ ﺇﻟﻲ ﺃﺸﻴﺎﻋﻲ،‬ ‫‪‬ﻜ‬ ‫ﻓﺈﻨﻲ ﻨﺎﺩﻴﺕ ﻋﻠﻴﻙ.‬ ‫ﺜﻡ ﺃﻭﻗ ﹶﺘﻨﻲ ﺒﻴﻥ ﻴﺩﻴﻬﺎ،‬ ‫ﻔ‬ ‫ﻭﻗﺎﻟﺕ:‬ ‫ﺘﻤﻭﺕ ﺒﻴﻥ ﻴﺩﻱ‬ ‫ﺸﻬﻴﺩﺍ‬ ‫ﻭ ﹸﺒﻌﺙ ﺸﻬﻴﺩﺍ ﺒﻴﻥ ﻴﺩﻱ،‬ ‫ﺘ‬ ‫ﻭﺃﻋﻁﺭﻙ ﺒﻜﻠﻤﺎﺘﻲ ﻓﻲ ﻜل ﻨﺸﺄﺓ‬ ‫ٍ‬ ‫ﺤﺘﻲ ﺘﻌﻭﺩ ﺇﻟﻲ ﺠﺴﺩﻱ ﻜﻤﺎ ﻜﻨﺕ ﺃﻭل ﻤﺭﺓ‬ ‫ﹶ‬ ‫ﻓﺘﻨﻁﻕ ﺒﺎﺴﻤﻲ‬ ‫ﹶ‬ ‫ﻭ ﹸﻌﻤﺩ ﺍﻟﻨﺎﺱ ﺒﺄﻨﻔﺎﺴﻲ‬ ‫ﺘ ‪‬‬ ‫ﻓﻴﻔﺭﺤﻭﻥ.‬ ‫ﻭﻗﺎﻟﺕ:‬ ‫ﻜل ﺒﻤﺎ ﻟﺩﻴﻬﻡ ﻓﺭﺤﻭﻥ.‬ ‫ﱞ‬ ‫ﺜﻡ ﺇﻨﻬﺎ ﺃﻭﻗﻔﺘﻨﻲ ﺒﺴﺎﺤل ﺇﺒﻁﻬﺎ، ﻓﺘﺩﻓﺄﺕ ﺒﻌﻁﺭﻫﺎ،‬ ‫ﹸ‬ ‫ﻭﻗﺎﻟﺕ:‬ ‫- ١١ -‬
  • 13. ‫ﺇﻥ ﺭﺃﻴﺕ ﺍﻟﻌﻁﺭ ﻋﺭﻓﺘﻨﻲ،‬ ‫ﹶ‬ ‫ﻭﺇﻥ ﺸﻤﻤ ﹶﻪ ﻓﻘﺩ ﹸﻐﻠﺕ ﻋﻨﻲ ﺒﺤﻭﺍﺴﻙ؛‬ ‫ﺸ ﹶ‬ ‫ﺘ‬ ‫ﻓﺘﺨﺭﺝ ﻤﻥ ﻤﻤﻠﻜﺘﻲ ﺇﻟﻲ ﻤﻤﻠﻜﺘﻙ.‬ ‫ﻭﻗﺎﻟﺕ:‬ ‫ﻷﻜﺸﻔﻥ ﻋﻥ ﻭﺠﻬﻲ، ﻓﻘﺩ ﺁﻥ ﺯﻤﺎﻨﻲ،‬ ‫‪‬‬ ‫ﻭﺴﺄﻟﻘﻲ ﺒﺎﻷﻗﻭﺍﺱ ﻓﻲ ﻗﻠﺏ ﺃﻋﺩﺍﺌﻲ‬ ‫ﻟﻴﻌﺭﻑ ﺍﻟﻌﺸﺎﻕ ﻤﻤﻠﻜﺘﻬﻡ.‬ ‫ﻭﺴﺄﺨﻠﻊ ﻋﻨﻲ ﺜﻴﺎﺏ ﺍﻟﻌﺎﻟﻡ‬ ‫ﺤﺘﻲ ﺃﺨﺭﺝ ﺇﻟﻴﻙ ﻓﺎﺩﺤﺔ ﺍﻟﺠﻼﺀ،‬ ‫ﻓﺘﺫﻫل ﻜل ﻋﻤﺎ ﺃﺭﻀﻌﺕ‬ ‫َ ﱞ‬ ‫ﻭﺘﺭﻱ ﺍﻟﻨﺎﺱ ﺴﻜﺎﺭﻱ،‬ ‫ﻭﻫﻡ ﻜﺫﻟﻙ ﺇﺫ ﻟﻡ ﻴﻌﺭﻓﻭﻨﻲ،‬ ‫ﻭﺃﻨﺕ ﻭﺤﺩﻙ ﺴﺘﻌﺭﻓﻨﻲ ﻤﻥ ﺘﻠﻙ ﺍﻟﺨﻤﺸﺔ ﺍﻟﺘﻲ ﺨﻤﺸ ﹶﻨﻲ،‬ ‫ﹶ ‪ ‬ﹾﺘ‬ ‫ﻭﻷﺩﻟﻨﻙ ﻋﻠﻲ.‬ ‫- ٢١ -‬
  • 14. ‫ﺘﻭﺍﻗﻑ: ﻗل ﻟﻡ ﺘﺅﻤﻨﻭﺍ‬ ‫ﺘﻭﺍﻗﻔﻨﺎ ﻓﻲ "ﻗل ﻟﻡ ﺘﺅﻤﻨﻭﺍ"،‬ ‫ﻭﻗﺎﻟﺕ ﻟﻲ:‬ ‫ﻀل ﺍﻟﻤﺤﺒﻭﻥ ﻋﻥ ﻁﺭﻴﻘﻲ‬ ‫ﻭﺠﻬﻠﺕ ﺍﻷﻗﺩﺍﻡ ﻋﻁﺭﻱ‬ ‫‪‬‬ ‫ﻓﺈﻥ ﻜﺎﺩ ﺃﻥ ﻴﺸﻡ ﻋﻁﺭﻱ ﻀﺎ ﱞ؛‬ ‫ل‬ ‫ﻓﺄﻨﺕ.‬ ‫ﹾ‬ ‫- ٣١ -‬
  • 15. ‫ﺘﻭﺍﻗﻑ: ﺃﺴﻠﻤﺕ ﻭﺠﻬﻲ‬ ‫ﺘﻭﺍﻗﻔﻨﺎ ﻓﻲ "ﺃﺴﻠﻤﺕ ﻭﺠﻬﻲ"،‬ ‫ﹸ‬ ‫ﻭﻗﺎﻟﺕ ﻟﻲ:‬ ‫ﺘﻤﻥ ﻋﻠﻲ؛‬ ‫‪‬‬ ‫ﻻ ﺘﻨل ﻤﺎ ﺘﺸﺘﻬﻲ‬ ‫ﻭﻻ ﺘﺘﻤﻥ ﻋﻠﻲ؛‬ ‫‪‬‬ ‫ﺘﻨل ﻤﺎ ﺃﺸﺘﻬﻲ ﻟﻙ.‬ ‫ﻭﻗﺎﻟﺕ:‬ ‫ﺴﺄﺩﱡﻙ ﻋﻠﻲ ﻤﻥ ﺴﻭﺍﻱ‬ ‫َ ‪‬ﻟ‬ ‫ﻟﺘﻌﻠﻡ ﺃﻥ ﻤﻜﺭﻱ ﻋﺯﻴﺯ.‬ ‫‪‬‬ ‫ﻭﻗﺎﻟﺕ:‬ ‫ﻤﻥ ﻴﺌﺱ ﻤﻥ ﻟﻘﺎﺌﻲ؛‬ ‫ﻋﺫﺒ ﹸﻪ ﺒﻐﻴﺒﺘﻲ.‬ ‫ﺘ‬ ‫ﻭﻤﻥ ﺁﻤﻥ ﺒﻠﻘﺎﺌﻲ؛‬ ‫ﻋﺫﺒﺘﻪ ﺒﻐﻴﺒﺘﻲ.‬ ‫- ٤١ -‬
  • 16. ‫ﺘﻭﺍﻗﻑ: ﺤﻴﺙ ﺸﺎﺀﺕ‬ ‫ﺘﻭﺍﻗﻔﻨﺎ ﻓﻲ "ﺤﻴﺙ ﺸﺎﺀﺕ"،‬ ‫ﻭﻗﺎﻟﺕ ﻟﻲ:‬ ‫ﺍﻤﺘ ِﻕ ﺤﺴﺎﻤﻙ ﻭﺘﺭﺒﺹ ﺒﻲ،‬ ‫ﺸ‬ ‫ﻭﺍﺌﺘﻨﻲ ﻤﻥ ﺤﻴﺙ ﺸﺌ ﹶ،‬ ‫ﺕ‬ ‫ﺃﻋﺩ ﺍﻟﺸﺭﺍﻙ ﻓﻲ ﻫﺩﻭ ٍ،‬ ‫ﺀ‬ ‫‪‬‬ ‫ِ‪‬‬ ‫ﻭﺴﺄﻤﻜﻨﻙ ﻤﻥ ﻜل ﺸﻲﺀ‬ ‫‪‬‬ ‫ﺇﻻ ﻤﻥ ﻤﻌﺭﻓﺘﻲ،‬ ‫ﻓﺘﺭﺠﻊ ﻤﻬﺯﻭﻤﺎ.‬ ‫‪‬‬ ‫ﻭﻗﺎﻟﺕ:‬ ‫ﻷﻤ ﹼﻨﻥ ﻟﻙ ﺍﻟﺫﻱ ﺃﺭﺘﻀﻲ،‬ ‫ُ ‪‬ﻜ ‪‬‬ ‫ﻭﻷﺒﺩﻟ ﱠﻙ ﺃﻤ‪‬ﻨﺎ ﻤﻥ ﻗﺒل ﻭﻤﻥ ﺒﻌﺩ.‬ ‫‪‬‬ ‫ُ‬ ‫ﻨ َ‬ ‫ﻭﻗﺎﻟﺕ:‬ ‫ﺘﻌﺎل ﺇﻟﻲ ﻓﺭﺩﺍ،‬ ‫َﻏﻤﺩ ﺴﻼﺤﻙ ﻭﺘﻬ ﱠﺩ ﻟﻲ،‬ ‫ﻨ‬ ‫ﺃ‬ ‫ﺃﻜﻥ ﻏﻤﺩﻙ‬ ‫ﻭﻻ ﺃﺩﻟﻙ ﺇﻻ ﻋﻠﻲ.‬ ‫- ٥١ -‬
  • 18. ‫ﺴﺄﻜﺘﺏ ﺘﺎﺭﻴﺦ ﺍﻟﻌﺎﻟﻡ ﺒﺩﻭﻨﻬﺎ..‬ ‫ﺇﻨﻬﻡ ﻟﻡ ﻴﻨﺘﺒﻬﻭﺍ ﺃﺒﺩﺍ ﺇلي ﺠﻼل ﺍﻻﺴﺘﻌﺎﺭﺓ‬ ‫ﻤﺎﺫﺍ ﻟﻭ ﻟﻡ ﻴﺨﺘﺭﻋﻭﺍ ﺍﻟﻤﺭﺁﺓ‬ ‫ﻭﻜﺎﻥ ﺍﻟﻤﺎﺀ ﻜﺭﻴﻤﺎ ﻓﻠﻡ ﻴﻌﻜﺱ ﺍﻟﻤﻼﻤﺢ‬ ‫ﺁﻩ.. ﻟﻜﻨﺕ ﻗﻠﺕ ﺍﻟﻜﺜﻴﺭ ﻋﻥ ﻤﻔﺎﺘﻨﻲ‬ ‫ﹸ‬ ‫ٍ‬ ‫ﻭﻏﺎﺯﻟﺕ ﻜل ﺘﻔﺼﻴﻠﺔ ﻓﻲ ﺘﺄﻥ ﺭﻗﻴﻕ‬ ‫‪‬‬ ‫ﻭﺃﻟﻘﻴﺕ ﻟﻌﻨﺎﺕ ﺍﻟﻨﺎﺱ ﻓﻲ ﺠﺏ ﻋﻤﻴﻕ‬ ‫ﻭﺍﺨﺘﺭﺕ ﻨﻔﺴﻲ‬ ‫- ٧١ -‬
  • 19. ‫ﺜﻘﺏ.. ﻭﻟﻤﺎﺫﺍ ﺃﺤﺯﻥ ﺤﻴﻥ ﺘﻁﻴﺭ ﺤﻭﻟﻲ؟‬ ‫ﺃﻨﺎ ﺃﺠﻤل ﺍﻟﺤﺸﺭﺍﺕ‬ ‫ﺃﺭﻗﻬﺎ ﻋﻠﻲ ﺍﻹﻁﻼﻕ‬ ‫ﺍﺴﻤﺤﻭﺍ ﻟﻲ ﺇﺫﻥ‬ ‫ﺃﻥ ﺃﺴﻤﻲ ﻨﻔﺴﻲ ﻓﺭﺍﺸﺔ‬ ‫ﺃﺠﻤل ﺍﺴﻡ‬ ‫ُ‬ ‫ﻴﻤﻜﻥ ﺃﻥ ﺘﻁﻠﻘﻪ ﻋﻠﻲ ﻨﻔﺴﻬﺎ‬ ‫ﻓﺭﺍﺸﺔ ﻁﻴﺒﺔ‬ ‫ﹲ‬ ‫ﺘﺭﻱ ﺍﻟﻌﺎﻟﻡ ﻤﻥ ﺨﻼل ﺜﻘﺒﻴﻥ:‬ ‫ﻤﻭ ِﻬﺎ‬ ‫ﺘ‬ ‫ﻭﺭﻗﺔ ﺍﻷﺠﻨﺤﺔ‬ ‫ِﱠ ِ‬ ‫- ٨١ -‬
  • 20. ‫ﺍﻨﺘﻅــﺎﺭ‬ ‫ﺃﺭﻗﺩ ﺍﻵﻥ ﻓﻲ ﺤﺎﺌﻁ ﺍﻟﻜﻬﻑ‬ ‫ﺃﺭﻗﺏ ﻜل ﺍﻟﻜﻭﺍﺌﻥ ﻏﻴﺭﻱ‬ ‫ﺘﺘﺩﻫﺩﻱ ﺇﻟﻲ ﺍﻟﻐﺩﻴﺭ‬ ‫ﻜﺜﻴﺭﻭﻥ ﻤﺜﻠﻲ‬ ‫ﻴﺭﻗﺩﻭﻥ ﻓﻲ ﻓﺘﺤﺎﺕ ﺒﺤﺎﺌﻁ ﺍﻟﻜﻬﻑ‬ ‫ﺒﻌﺩ ﻗﻠﻴل‬ ‫ﺴﻴﻨﻘﻀﻭﻥ ﻭﻓﻲ ﻴﺩﻫﻡ ﺭﻤﺎﺤﻬﻡ ﺍﻟﻤﺴﻨﻭﻨﺔ‬ ‫ﹸ‬ ‫ﻓﻲ ﺒﻁﻥ ﺫﺍﻙ ﺍﻟﻤﻘﺩﺱ‬ ‫ﻜﻲ ﻴﺸﺭﺒﻭﺍ ﺩﻤﻪ ﻓﻴﺒﺎﺭﻜﻬﻡ‬ ‫ﻜل ﺸﺨﺹ ﻴﺨﺒﺊ ﻋﻭﺭﺘﻪ ﺒﻴﺩ ﺃﻭ ﺒﻘﻁﻌﺔ ﻓﺭﻭ‬ ‫ﻭﻴﻤﺴﻙ ﺒﺎﻟﺭﻤﺢ ﻓﻲ ﻴﺩﻩ ﺍﻷﺨﺭﻱ‬ ‫ﻜل ﺸﺨﺹ ﻴﻠﻤﻠﻡ ﺠﺴﻤﻪ ﺍﻟﻔﺘﻲ ﻟﻴﺨﻔﻲ ﻗﻠﺒﻪ ﻋﻥ ﻋﻴﻭﻥ ﺍﻟﺴﻬﺎﻡ‬ ‫ﻭﺃﻨﺎ -ﺫﺍ ﺍﻟﺠﺴﺩ ﺍﻟﻨﺤﻴل-‬ ‫ﺃﺘﺭﻗﺏ ﺫﺍﻙ ﺍﻟﻤﻘﺩﺱ.. ﺃﻨﺕ‬ ‫ِ‬ ‫ﻓﻲ ﻴﺩﻱ ﺯﻫﺭﺓ‬ ‫ﺴﻭﻑ ﺃﻟﻘﻴﻬﺎ ﻋﻠﻴﻙ‬ ‫ﻜﺎﺸﻔﺎ ﺠﺴﺩﻱ ﻋﺎﺭﻴﺎ ﻻ ﺃﺨﺎﻑ ﺴﻬﺎﻤﻙ‬ ‫ﻭﺇ ‪‬ﺎ ﻨﻅﺭﺕ ﺇﻟﻲ ﻭﺍﺭﺘﺒﻜﺕ ﺨﻁﻭﺍﺘﻙ‬ ‫ِ‬ ‫ِ‬ ‫ﻤ‬ ‫ﺴﻭﻑ ﺃﻫﺒﻁ ﻨﺤﻭﻙ‬ ‫ِ‬ ‫ﺜﻡ ﺃﻫﻤﺱ ﻓﻲ ﺃﺫﻨﻴﻙ:‬ ‫ِ‬ ‫)* (‬ ‫"ﻗﺒﻠﻴﻨﻲ ﻷﻨﻘل ﺴﺭﻱ ﺇﻟﻲ ﺸﻔﺘﻴﻙ"‬ ‫ِ‬ ‫* ﺃﻤل ﺩﻨﻘل: ﺴﻔﺭ ﺃﻟﻑ ﺩﺍل.‬ ‫- ٩١ -‬
  • 21. ‫ﻣﻦ ﺩﻳﻮﺍﻥ‬ ‫א‬ ‫א‬ ‫- ٠٢ -‬
  • 22. ‫ﺒﻌـﺙ‬ ‫ﺍﻟﺭﺍﺴﺨﺔ ﻜﺎﻟﻌﺸﻕ ﺍﻟﻤﻴﺕ‬ ‫ِ‬ ‫ﺍﻟﺴﺎﻤﻘﺔ ﻜﺎﻟﻨﺩﻡ‬ ‫ِ‬ ‫ﺘﺭﺒﻜﻬﺎ ﻟﻤﺴﺘﻲ‬ ‫ﺃﻀﻊ ﻋﻠﻲ ﺼﺩﺭﻫﺎ ﺒﻌﺽ ﺍﻟﻤﺸﻬﻴﺎﺕ‬ ‫ﻭﺘﻘﺘﺭﺏ ﺭﻭﺤﻲ ﺜﻘﻴﻠﺔ ﺜﻘﻴﻠﺔ‬ ‫ﺃﻀﻡ ﺃﺴﻨﺎﻨﻲ ﺒﻬﺩﻭﺀ ﻋﻠﻲ ﺤﻠﻤﺘﻬﺎ ﺍﻟﻴﺴﺭﻱ‬ ‫ﺘﻤﻴﺯ ﻗﻭﺍﻁﻌﻲ ﺩﺭﺠﺎﺕ ﺍﻟﻠﻭﻥ ﺍﻟﻔﺎﺼﻠﺔ ﺒﻴﻥ ﺍﻟﺒﻨﻲ ﻭﺍﻷﺒﻴﺽ ﺍﻟﻨﺎﺼﻊ‬ ‫ِ‬ ‫ﹶ‬ ‫ِ‬ ‫ﺃﻨﺘﺯﻉ ﺍﻟﺤﻠﻤﺔ ﻭﺃﺒﺘﻠﻌﻬﺎ‬ ‫)ﺭﺒﻤﺎ ﺘﻜﻭﻥ ﺨﺼﻴﺘﻲ(‬ ‫ﻴﺭﺴﻡ ﺍﻟﺩﻡ )ﺍﻟﺫﻱ ﻴﺠﻑ ﺒﺴﺭﻋﺔ( ﻟﻭﺤﺔ ﺭﻤﺎﺩﻴﺔ‬ ‫ﻭﺍﻟﺼﺭﺨﺔ ﺘﻔﺘﺢ ﻓﻲ ﻗﻠﺒﻲ ﻫﻭﺓ ﻤﻥ ﺍﻟﺭﻏﺒﺔ ﻓﻲ ﻓﺘﺢ ﺍﻟﻜﻨﺯ‬ ‫ِ‬ ‫ﺃﺸﻕ ﺍﻟﺠﺴﺩ ﺒﻤﺩﻴﺘﻲ ﻤﻥ ﺍﻟﻌﻨﻕ ﺤﺘﻲ ﺨﻁ ﺍﻟﺭﺤﻡ‬ ‫ِ‬ ‫ﻟﻴﺼﺒﺢ ﺨﻁ ﺍﻟﺠﺴﺩ ﻻ ﻨﻬﺎﺌﻴﺎ‬ ‫ﺃﻏﺭﺱ ﺠﺴﺩﻱ ﻜﻠﻪ ﻓﻲ ﺍﻟﺠﺴﺩ ﺍﻟﻤﻔﺘﻭﺡ‬ ‫ﻭﻨﺼﺭﺥ ﺼﺭﺨﺔ ﺍﻟﻔﺯﻉ ﻭﺍﻟﺭﻏﺒﺔ ﺍﻟﻘﺎﺘﻠﺔ‬ ‫ﻭﻨﻭﻟﺩ ﻤﻥ ﺭﺤﻡ ﺍﻟﻘﺴﻭﺓ‬ ‫ِ‬ ‫ﻤﺴﺨﺎ ﺁﺨﺭ‬ ‫- ١٢ -‬
  • 23. ‫ﻤﺒﺘـﺩﺃ‬ ‫ﺃﻥ ﺘﺄﻜل ﺍﻟﻁﻴﺭ ﻤﻥ ﺭﺃﺴﻙ‬ ‫‪‬‬ ‫ﻭﻋﻴﻨﺎﻙ ﻤﺜﺒﺘﺘﺎﻥ ﻓﻲ ﻋﻴﻨﻴﻬﺎ ﻻ ﺘﻁﻠﺒﺎﻥ ﻨﺠﺩﺓ ﻭﺤﻨﺎﻨﺎ‬ ‫‪‬‬ ‫ﺘﺴﻴﺭ ﻓﻲ ﻭﺩﻴﺎﻥ ﻤﻘﻔﺭﺓ ﺫﺍﺕ ﺒﻬﺠﺔ ﻗﻠﻴﻠﺔ‬ ‫ٍ‬ ‫ﻟﺘﻔﺎﺠﺌﻙ ﺍﻟﻤﻘﺎﺒﺭ ﺒﻴﻥ ﺍﻟﻭﻫﺩﺓ ﻭﺍﻟﻭﻫﺩﺓ‬ ‫ِ‬ ‫ﺒﻼ ﺸﻭﺍﻫﺩ ﺃﻭ ﻜﻠﻤﺎﺕ ﻤﻠﻘﺎﺓ ﺤﻭل ﺍﻟﻌﻅﺎﻡ ﻭﺍﻟﺠﻤﺎﺠﻡ ﺍﻟﺴﻭﺩﺍﺀ‬ ‫ﺃﻥ ﺘﻨﺒﺸﻙ ﺍﻟﻘﺒﻭﺭ ﻭﺘﺄﺨﺫ ﻤﻨﻙ ﺒﻬﺠﺘﻙ ﺍﻟﻘﻠﻴﻠﺔ‬ ‫ﹶ‬ ‫ﻭﺘﻐﺎﺩﺭﻙ ﺸﺎﻫﺩﺍ ﺒﻼ ﻗﺒﺭ ﻜﻨﺒﻲ ﻤﺭﺠﻭﻡ‬ ‫ٍ‬ ‫ﻭﺍﻟﻅﻤﺄ ﻤﻘﺎﻤﻙ‬ ‫‪‬‬ ‫ﺃﻥ ﺘﻘﺘﺎﺕ ﺒﺂﺨﺭ ﻗﻁﺭﺍﺕ ﻜﺄﺱ ﺍﻟﺨﻤﺭ ﺍﻟﻤﺴﻤﻭﻤﺔ‬ ‫ِ‬ ‫ﻭﻻ ﻴﻌﻴﺭﻙ ﺍﻟﻤﻭﺕ ﺍﻟﺘﻔﺎﺘﺔ ﻨﺒﻴﻠﺔ ﺘﻠﻴﻕ ﺒﻁﻭل ﺴﻔﺭﻙ ﺍﻟﻤﺤﻤﻭﻡ‬ ‫ِ‬ ‫ِ‬ ‫ﺃﻤﺎﻤﻙ ﻨﻬﺭ ﻤﻥ ﺩﻡ ﻜﺫﺏ ﺃﺴﻭﺩ‬ ‫ٍ‬ ‫ٍ‬ ‫ٍ‬ ‫ﻭﺨﻠﻔﻙ ﺴﻴل ﺯﻴﻑ ﻋﺭﻡ‬ ‫ٍ‬ ‫ﻭﺤﻭﻟﻙ ﺘﺼ ِﺭ ﺍﻟﺭﻴﺢ ﻭﺃﻨﺕ ﻭﺍﻗﻑ ﻭﺤﺩﻙ ﻨﺨﻠﺔ ﺒﻼ ﺜﻤﺭ‬ ‫ٍ‬ ‫ﹰ‬ ‫‪‬ﻔ‬ ‫ﻭﺍﻷﺭﺽ ﺘﻤﻴﺩ‬ ‫‪‬‬ ‫ﺍﻷﺒﻴﺽ ﻭﺍﻷﺴﻭﺩ ﻴﻘﺘﺎﺘﺎﻥ ‪‬ﻜﻴﻨﺘﻙ‬ ‫ﺴ‬ ‫ﻭﻴﺭﺠﻤﺎﻨﻙ ﺒﺎﻟﺭﻤﺎﺩ‬ ‫‪‬‬ ‫ﻻ ﺴﺒﻴل ﺃﻤﺎﻤﻙ ﻟﻠﻬﺭﺏ ﺇﻟﻲ ﻓﺘﻨﺔ ﺍﻷﻟﻭﺍﻥ ﻭﺍﻟﻌﻤﻲ‬ ‫ﺜﺩﻴﺎﻥ ‪‬ﻨﺒﺘﺎﻥ ﻓﻲ ﺍﻟ ‪‬ﻏل ‪‬ﺭﻀﻌﺎﻨﻙ ﻤﺎﺀ ﺍﻟﺼﺒﺎﺭ ﻭﻴ ‪‬ﻭﺭﺍﻥ ﺃﻓﺎﻋﻲ ﻭ ‪‬ﺩﻱ‬ ‫ﻤ‬ ‫ﺤ‬ ‫ﺩ ﻴ‬ ‫ﻴ‬ ‫ﺃﻥ ﺘﻬﺭﺏ ﺭﺃﺴﻙ ﺇﻟﻲ ﺃﺴﻔل ﺍﻟﺠﺒل ﻴﻨﺎﺩﻴﻬﺎ ﺍﻟﺩﻡ ﺍﻷﺴﻭﺩ ﺍﻟﻤﺴﻔﻭﺡ‬ ‫‪‬‬ ‫‪ ‬‬ ‫ﻭﺍﻟﺭﺃﺱ ﹸﺨﺭﺝ ﺍﻟﻠﺴﺎﻥ ﻭﻻ ﺘﺠﻴﺏ‬ ‫‪‬‬ ‫ﺘ‬ ‫ﺍﻟ ‪‬ﺩﻱ ﺍﻟﻨﺎﺒﺘﺔ ﻋﻠﻲ ﻤﺩﺍﺭﺝ ﺍﻟﺠﺒل ﻻ ﺘﻁﻔﺊ ﺴﻌﻴﺭ ﻋﻴﻨﻴﻙ ﺍﻟﻤﺸﺒﻭﺒﺘﻴﻥ‬ ‫ﻤ‬ ‫- ٢٢ -‬
  • 24. ‫ﺍﻷﺼﻭﺍﺕ ﺍﻟﺒﻴﻀﺎﺀ ﻭﺍﻟﺴﻭﺩﺍﺀ ﹸﻅل ﺠﺴﺩﻙ‬ ‫‪‬‬ ‫ﺘ ﱡ‬ ‫ﻭﺍﻟﺭﻭﺍﺌﺢ ﺍﻟﺴﻭﺩﺍﺀ ﻭﺍﻟﺒﻴﻀﺎﺀ ﹸﻘﻠﻙ‬ ‫ﺘ ‪‬‬ ‫ﻭﺠﻠﺩﻙ ﺒﺎﻟﻎ ﺍﻟﻘﺘﺎﻤﺔ‬ ‫ِ‬ ‫ﻟﺴﺎﻨﻙ ﺃﺒﻴﺽ ﻤﻘﻁﻭﻉ ﻜﺎﻟﺴﻴﻑ ﺍﻟﻤﻬﺯﻭﻡ‬ ‫ِ‬ ‫ﻭﻁﺭﻴﻕ ﺍﻷﻟﻭﺍﻥ ﹶﻀﹼﻪ ﺨﻁﻭﺍﺘﻙ ﺍﻟﻤﺘﻌﺒﺔ‬ ‫ﹾ‬ ‫ﺘ ﻠ‬ ‫ﻭﻓﻲ ﺁﺨﺭ ﺍﻟﻤﻔﺎﺯﺓ ﻭﺭﺩﺓ ﻭﺤﻴﺩﺓ ﹶﻘ ﹸﺭ ﺍﻟﻨﺩﻱ‬ ‫ﺘﻁ‬ ‫)ﺍﻟﻭﺭﺩﺓ ﺒﻴﻀﺎﺀ ﻭﻋﻁﺭﻫﺎ ﺒﻬﺠﺔ ﻟﻠﻨﺎﻅﺭﻴﻥ(‬ ‫ﻭﻋﻁﺭ ﺃﺴﻭﺩ‬ ‫‪‬‬ ‫‪‬‬ ‫- ٣٢ -‬
  • 26. ‫ﻭﻋﻼﻤﺎﺕ‬ ‫)ﺇﻥ ﺍﻟﻤﻌﺸﻭﻕ - ]ﻭﻋﻼﻤﺘﻪ ﺍﻷﻨﻭﺜﺔ[ - ﻫﻭ ﺍﻟﻜل، ﺃﻤﺎ ﺍﻟﻌﺎﺸﻕ - ]ﻭﻋﻼﻤﺘﻪ ﺍﻟﺫﻜﺭﺍﻨﻴﺔ[ - ﻓﺤﺠﺎﺏ(‬ ‫ﺠﻼل ﺍﻟﺩﻴﻥ ﺍﻟﺭﻭﻤﻲ‬ ‫ﻟ ﹶﺴﻊ ﺇﺫﻥ ﺃﻴﻬﺎ ﺍﻟﻭﺼﻑ ﻨﺤﻭ ﺼﻔ ‪‬ﻙ‬ ‫ﻴ‬ ‫ﺘ ‪‬‬ ‫ﻭ ﻴﺎ ﺃﻴﻬﺎ ﺍﻟﻠﻭﻥ ﺒﻠﻎ ﻤﺎ ﺃﻨﺯل ﺇﻟﻴﻙ‬ ‫ﻭﺍﺠﺘﻤﻌﻲ ﺒﻴﻥ ﻴﺩﻱ ﺃﻴﺎ ﺃﺴﻤﺎﺀ‬ ‫ﻤﺭﻱ ﺒﺤﻭﺍﻓﺭ ﻨﻬﺩﻴﻙ‬ ‫ﻭﺠﻼل ﻓﺭﺠﻙ ﻋﻠﻲ ﻤﻠﻜﻭﺕ ﺍﻟﻤﺴﻤﻴﺎﺕ‬ ‫ﺤﺘﻲ ﻴﺼﻴﺭ ﺍﻟﺒﺌﺭ ﺍﻟﻤﺎﺀ ﻋﻴ ﹶﻪ‬ ‫‪ ‬ﻨ‬ ‫ﻭﻴﻜﻭﻥ ﺍﻟﻤﻠﻙ ﷲ ﺍﻟﻭﺍﺤﺩ‬ ‫ﺘﻤﺭ ﺍﻷﻨﻭﺜﺔ ﻤﻥ ﺒﻴﻥ ﺸﻌﻴﺭﺍﺕ ﺍﻟﻜﻠﻤﺎﺕ ﺍﻟﻤﻐﺘﻤﻀﺔ‬ ‫ﺘﻘﺭﺃ ﺴﺭ ﺒﻬﺎﺌﻬﺎ ﻓﻲ ﺍﻟﺼﻤﺕ ﻭﺼﻠﺼﻠﺔ ﺍﻟﻔﺭﺍﻍ‬ ‫ﹸﺯﻑ ﺍﻟﺤﺭﻭﻑ ﺇﻟﻲ ﻨﻔﺴﻬﺎ ﻭ ﹶﻨﺴل ﺍﻟﺸﺠﺭ‬ ‫ﺘ‬ ‫ﺘ‬ ‫ﺃﻭ ﹸﺯﻑ ﺇﻟﻲ ِﺩﺭﻫﺎ ﻭﺘﻨﺴل ﺍﻷﺼﻔﺎﺩ‬ ‫ﺨ‬ ‫ﺘ‬ ‫ﺍﻹﻟﻬﺔ ﺍﻵﻥ ﺒﻴﻥ ﺍﻟﻤﺩﻱ ﻭﺍﻟﻜﻼﻡ ﻤﺜ ﱠﺒﺔ ﺍﻟﻘﺩﻡ‬ ‫ﻘ‬ ‫‪‬‬ ‫ﻭﺒﻴﻥ ﺍﻟﻜﻼﻡ ﻭﺍﻟﻜﻼﻡ ﻤﻭﺜﻭﻗﺔ ﺍﻟﻜﻔﻴﻥ‬ ‫ﻭﺍﻹﻟﻬﺔ‬ ‫ﻓﻲ ﺍﻟﻼﺒﻴﻥ ﺇﻟﻬﺔ‬ ‫ﹲ‬ ‫ﻻ ﻴﺴﻌﻬﺎ ﺃﺭﻀﻬﺎ ﻭ ﻻ ﺴﻤﺎﺅﻫﺎ ﻭﻻ ﻗﻠﺏ،‬ ‫ﻭﻟﻜﻥ ﻴﺴﻌﻬﺎ ﻟﺤﻅﺔ ﺍﺭﺘﻁﺎﺏ ﻜل ﻓﺭﻭﺝ ﺃﻨﺜﻴﺎﺕ ﻋﺒﺎﺩﻫﺎ ﻤﻥ ﺤﺠﺎﺭﺓ ﻭﻨﺴﺎﺀ‬ ‫ﻭﺸﺠﻴﺭﺍﺕ........ ﺒﺎﻟﺫﻜﻭﺭﺓ ﺍﻟﻭﺍﺴﻌ ِ،‬ ‫ﺔ‬ ‫ٍ‬ ‫ﺤﺘﻲ ﻴﺭﺙ ﺍﷲ ﺍﻷﺭﺽ ﻭﻤﻥ ﻋﻠﻴﻬﺎ‬ ‫ﺍﻷﻨﻭﺜﺔ ﻤﻔﺘﺎﺡ ﺍﻟﻌﻼﻤﺔ‬ ‫ﻭﺍﻟﻌﻼﻤﺔ ﺘﺎﺝ ﻜﺒﺭﻴﺎﺌﻲ‬ ‫ﻓﻲ ﺍﻟﺘﻔﺎﺘﺘﻬﺎ ﺍﻟﻔﺘﻨﺔ ﺍﻟﻤﻐﻭﻴﺔ‬ ‫ﹸ‬ ‫ﺘﻘﺭﺃ ﺍﻟﻨﺎﺭ ﻭ ﻻ ﺘﻨﻅﺭﻫﺎ، ﺘﺴﺭﻱ ﻓﻲ ﻓﻨﺠﺎﻥ ﺍﻟﻘﻬﻭﺓ ﺍﻟﻤﻘﻠﻭﺏ ﻤﺎ ﺒﻴﻥ ﺍﻟﻅل ﻭﺍﻟﻀﻭﺀ،‬ ‫- ٥٢ -‬
  • 27. ‫ﺘﻌﺭﺏ ﻋﻥ ﻨﻔﺴﻬﺎ ﻓﻲ ﺍﻟﻔﺭﺍﻍ ﺍﻷﺒﻴﺽ ﺍﻟﻌﻤﻴﻕ‬ ‫ﻭﺘﻤﺭ ﺴﻬﻭﺓ ﺇﻟﻲ ﻤﻭﺝ ﺍﻟﻜﻠﻤﺎﺕ ﻟﺘﺴﻜﻥ ﺍﻟﻔﺭﺍﻍ ﻭﺍﻟﺩﻭﺍﺌﺭ، ﻭﺤﻴﻨﺎ ﺘﻜﻭﻥ‬ ‫ﹰ‬ ‫ﺍﻟﻨﻘﻁﺔ ﻻ ﺴﻭﺍﻫﺎ..‬ ‫ﺘﻨﺩ ﺒﻨﻔﺴﻬﺎ ﻋﻥ ﺤﺭﻭﻑ ﺍﻟﺠﺭ، ﻭﻻ ﺘﺘﺠﻠﻲ ﺇﻻ ﺤﻴﻥ ﺘﻐﺘﻤﺽ ﺍﻟﻌﻴﻭﻥ ﻟﺘﻘﺭﺃ ﺍﻟﺒﺩﻥ‬ ‫ﺍﻷﺤﻼﻡ ﺘﺄﻭﻴﻠﻬﺎ ﺍﻟﺫﻜﺭﺍﻨﻴﺔ‬ ‫ﹸ‬ ‫ﻭﺍﻷﻨﻭﺜﺔ ﺠﺴﺩﻫﺎ ﺍﻟﺨﺎﻟﺹ‬ ‫‪‬‬ ‫ﻭﺸﺠﺭﺓ ﺃﺴﺭﺍﺭﻫﺎ‬ ‫ﻫﻼ ﺘﺠﻠﻴﺕ ﻟﻲ ﻴﺎ ﻗﺼﻴﺩﺓ‬ ‫ﹸ‬ ‫ﺃﻨﺕ ﻤﺩﻴﻨﺔ ﺍﻷﻨﻭﺜﺔ ﻭﺍﻟﻠﻭﻥ ﺩﻓﺌﻬﺎ‬ ‫ِ‬ ‫ﺃﻨﺎ ﺍﻟﻠﻭﻥ‬ ‫ﻭﺇﻥ ﻫﺎ ﻫﻨﺎ -ﻭﺃﺸﻴﺭ ﺇﻟﻲ ﺼﺩﺭﻱ-‬ ‫ﻟﻤﺎ ﺘﻨﻭﺀ ﺒﻪ ﺴﻴﺎﺭﺍﺕ ﺍﻟﺸﺭﻁﺔ ﺍﻟﻤﺼﻔﺤﺔ ﻭﻻ ﺘﺴﻌﻪ ﺍﻟﺯﻨﺎﺯﻴﻥ‬ ‫ﹸ‬ ‫ﻭﻟﻭ ﺒﺜﺜﺕ ﻟﻔﺎﺽ ﺍﻟﻠﻭﻥ ﻋﻠﻲ ﺍﻟﻠﻭﻥ ﻭﻻﻤﺘﺯﺝ ﺍﻟﻤﻠﺢ ﺍﻷﺠﺎﺝ ﻭﺍﻟﻌﺫﺏ ﺍﻟﻔﺭﺍﺕ‬ ‫ﺍﻷﻨﻭﺜﺔ ﻗﻠﺏ ﺍﻟﺒﺩﺍﻫﺔ‬ ‫ﺘﻘﺭﺅﻨﻲ ﺩﻭﻤﺎ ﻓﻲ ﺒﻴﺎﺽ ﺍﻟﻭﺭﻕ‬ ‫ﹰ‬ ‫ﻭﺍﻟﺼﻤﺕ ﺍﻟﻤﺘﻭﺍﺭﻱ ﺨﻠﻑ ﺠﺴﺩ ﺍﻟﻜﻠﻡ ﻻ ﺘﻘﺭﺅﻨﻲ ﻓﻲ ﺍﻹﻴﻘﺎﻉ.. ﺍﻹﻴﻘﺎﻉ.. ﻭﺘﻘﺭﺅﻨﻲ ﻓﻲ ﺍﻟﺭﻭﻱ ﺍﻟﺭﻭﻱ‬ ‫ﺘﻘﺭﺅﻨﻲ ﻓﻲ ﻨﻔﻲ ﺍﻟﻨﻔﻲ‬ ‫ﻭﺘﻘﺭﺅﻨﻲ ﻓﻲ ﺍﻟﻼ ﻜﻠﻤﺎﺕ‬ ‫ﻓﻲ ﺇﻴﻘﺎﻉ ﺍﻟﻔﻭﻀﻲ ﺍﻟﺭﺍﻗﺼﺔ‬ ‫ﻭﺴﺩﺭﺓ ﺍﻟﻼﺇﻴﻘﺎﻉ ﻭﺃﺒﺩﺍ ﻻ ﺃﻗﺭﺅﻫﺎ‬ ‫ﹰ‬ ‫ﺘﻌﺎﻟﺕ ﻋﻥ ﺍﻹﺜﺒﺎﺕ ﻋﻠﻭﺍ ﻜﺒﻴﺭﺍ‬ ‫ﹰ‬ ‫ﹰ‬ ‫- ٦٢ -‬
  • 28. ‫ﻭﻫﺠﺔ ﺍﻟﻁﻤﻲ‬ ‫ﺒﺎﺴﻡ ﻤﺒﺘﻌﺙ ﺍﻟﻬﺩﺍﻴﺔ ﻭﺍﻟﻐﻭﺍﻴﺔ ﻓﻲ ‪‬ﻤﻲ..‬ ‫ﺩ‬ ‫ﺍﻟﻤﺒﻴﺢ ﻤﻥ ﺍﻟﻤﺩﺍﻤﺔ ﻟﻸﻟﻲ ﻅﻤﺌﻭﺍ ﻭﺸ ﹼﻭﺍ ﻓﻲ ﺍﻟﻀﺤﻲ ﺭﻴﺤﺎ ﻭﺭﻱ..‬ ‫ِ‬ ‫ﻔ‬ ‫ﺃﺒﺘﺩﻱ ﻤﺩﺩﺍ ﺘﺴﻠل ﻓﻲ ﺩﻤﻲ ﻭﺍﻨﺴﺎﺏ ﻓﻲ:‬ ‫ﺘﺘﻭﺍﺸﺠﻴﻥ -ﺃﻴﺎ ﺤﺒﻴﺒﺔ- ﻭﺍﻨﻌﺘﺎﻕ ﻫﻭﻴﺘﻲ ﻤﻥ ﻭﻫﺩﺓ ﺍﻟﻭﻗﺕ ﺍﻟﻤﺭﻭﻉ ﻨﺤﻭ ﻭﺼل ﻻ ﻴﻭﺍﺘﻲ ﺍﻟﻘﻠـﺏ ﻓـﻲ ﺍﻟـﺯﻤﻥ‬ ‫ﺍﻟﻌﺼﻲ:‬ ‫...... ﻨﺎﻫﺩ ﻫﻲ ﻤﺜل ﻜل ‪‬ﻨ ‪‬ﺔ ﻨﻬﺩﺕ ﻭﺤﺎﻥ ﻗﻁﺎﻓﻬﺎ... ﻨﺩﻫﺕ ﻋﻠﻲ:‬ ‫ﹾ‬ ‫ﺒﻴ‬ ‫-‬ ‫........................‬ ‫-‬ ‫ﺇﻨﻲ ﺃﻫﺭﻭل ﺒﻴﻥ ﺤﺘﻔﻲ ﻭﺍﻟﻔﺠﻴﻌﺔ..‬ ‫-‬ ‫ﺒﻭﺍﺩ ﻏﻴﺭ ﺫﻱ ﺯﺭﻉ ﺃﻨﺎ ﻭﺼﺒﺎﻱ‬ ‫ﻓﺄﻁﻠﻘﻲ ﻟﻲ ﻁﺎﺌﺭﻴﻙ ﻴﺴﺎﻓﺭﺍﻥ ﺇﻟﻲ ﺭﺅﺍﻱ‬ ‫ﺃﻭ ﻓﺎﻓﺠﺭﻱ ﻓﻲ ﺍﻷﺭﺽ ﻴﻨﺒﻭﻋﺎ ﻓﺄﺴﺭﺝ ﻓﻴﻙ ﺨﻴﻠﻲ ﺃﻭ ﺃﺠﻴﺌﻙ ﻜل ﻋﺎﻡ ﻤﻔﺭﺩﺍ ﻓﺭﺩﺍ‬ ‫ﹰ ﹰ‬ ‫ﺃﺤﺞ ﺇﻟﻲ ﺍﻟﺩﻴﺎﺭ ﻭﻟﻴﺱ ﻓﻲ ﺭﺤﻠﻲ ﺴﻭﻱ ‪‬ﺭﺩﻱ ﻭ ِﺭﺩﻱ:‬ ‫ﻭ‬ ‫ﻭ‬ ‫ﻭﻟﻜﻥ ﻁﻴﺭ ﺴـﻜﺎﻥ ﺍﻟـﺩﻴﺎﺭ‬ ‫ﻭﻤﺎ ﺤﻁﺏ ﺍﻟﺩﻴﺎﺭ ﺃﺠﺠﻥ ﻨﺎﺭﻱ‬ ‫ﺃﻭﻟﻲ ﻭﺠﻬﺘﻲ ﺼﻭﺏ ﺍﻟﺒﺤﺎﺭ‬ ‫ﹼ‬ ‫ﻤﻨﺤﺕ ﺩﻴﺎﺭﻫﺎ ﺼـﺩﺍ ﻭﻜﹼـﻲ‬ ‫ﹰ ﹸﻠ‬ ‫ﹸ‬ ‫ﻓﻤﺎ ﺨﻤﺭ ﺍﻟﺘﻭﺤﺩ ﻜﺎﻟﺨﻤـﺎﺭ‬ ‫ﺃﻻ ﺼﺒﻲ ﺨﻤﻭﺭ ﺍﻟﻭﺠﺩ ﻓﻴﻨـﺎ‬ ‫ﺒﺎﻟﺘﺼﺎﻤﺕ -ﻤﻭﺤﺸﺎ- ﻓﺠﺄﺕ ﺩﻤﺎﻱ:‬ ‫ﹰ‬ ‫........................‬ ‫-‬ ‫ﺃﻱ ﺼﻤﺕ ﺼﻨﻭ ﻟﺤﻅﺔ ﺃﻓﻠﺘﺕ ﺭﻏﺒﺎﺕ ﺭﺏ ﻓﻲ ﺍﻨﻐﻤﺎﺭ ﻓﻀﺎﺌﻪ ﺒﺩﻡ/ ﺒﺸﺭ ﺒﺩﻡ/ ﻨﺩﻱ‬ ‫.. ﻜﻲ ﻴﻔﺴﻘﻭﺍ ﻓﻴﻬﺎ ﻭﺤﺘﻲ ﻴﻌﺸﻘﻭﺍ )ﻭﻟﻴﺱ ﺘﺴﻊ ﻗﻠﻭﺒﻬﻡ ﺭﺤﻤﺎﺕ ﺭﺏ ﻜﺎﻥ ﺼﻨﻌ ﹶﻨﺎ ﻭﺼﺒﻐﺘﻨﺎ ﺒﺩﺍﻴ ﹸﻪ(‬ ‫ﺘ‬ ‫ﺘ‬ ‫ﻭﻓﻲ ﺍﻟﻌﻴﻨﻴﻥ -ﻋﻴﻨﻴﻬﺎ- ﻗﺩﻴﻡ ﺍﻟﻨﻘﺵ:‬ ‫ﻨﺩﻫﺕ ﻋﻠﻲ ﻭﻟﻴﺘﻬﺎ ﻟﻤﺎ ﺘﻘﺎﻓﺯ ﻁﺎﺌﺭﺍﻫﺎ ﺨﱠﻘﺕ ﻋﺸﺎ ﻭﻤﺩﺕ ﺤﻠﻤﺘﻴﻬﺎ ﺘﻨﻘﺭﺍﻥ ﻁﻌﺎﻡ ﺸﻬﻭﺘﻬﺎ - ‪‬ﻌﻴﺩ ﺩﻤـﻲ- ﻭﻤـﺎ‬ ‫ﺒ‬ ‫ﻠ‬ ‫ﹾ‬ ‫ﻨﺩﻫﺕ ﻋﻠﻲ...‬ ‫ﻫﻭ ﺍﺒﻥ ﺍﻟﺒﺩﺍﺀﺓ ﻭﺍﻟﻁﻤﻲ ﻴﺤ ِﻡ ﻓﻲ ﺍﻨﻜﺴﺎﺭﻱ.. ﻫﻭ ﺍﻟﻁﻤﻴﻭﻱ ﺍﻟﻐﺭﻴﺏ ﻴﺠ ‪‬ﺭﻨـﻲ ﺒﻨـﺩﺍﻩ ﻭﺤ ‪‬ﻠﻨـﻲ ﺍﻟـﺫﻱ ﻻ‬ ‫ﻤ‬ ‫ﻤ‬ ‫‪ ‬ﻁ‬ ‫ﺃﺴﺘﻁﻴﻊ.. ﻫﻭ ﺍﻟﻁﻭﻁﻤﻲ:‬ ‫- ٧٢ -‬
  • 29. ‫ﻴﻤﺩ ﺍﻟﺠﺫﻭﺭ ﺍﻟـ‬ ‫ﺝ‬ ‫ﺫ‬ ‫ﻭ‬ ‫ﺭ ﺇﻟﻲ ﻟﺤﻅﺎﺕ ﺍﻟﻭﻻﺩﺓ ﻭﺍﻟﺭﺤﻡ ﺍﻟﻤﺸﺭﻗﻲ‬ ‫‪‬‬ ‫ﻭﻤﺎ ﺒﻙ ﻤﺩ ﺇﻟﻲ ﺠﻴﺸﺎﻥ ﺍﻟﺒﺤﺎﺭ ﻭﻤﺎ ﺒﻲ ﻤﺩ ﺇﻟﻲ ﺍﻟﻘﻤﺭ/ ﺍﻟﻁﻴﻥ..‬ ‫ِ‬ ‫ِ ‪‬‬ ‫ﻟﺴﺕ ﺍﻟﻁﻤﻴﺔ.. ﻟﺴﺕ ﺍﻟﻁﻤﻲ.‬ ‫ﹸ‬ ‫ِ ﱠ ِ‪ ‬ﹶ‬ ‫...... ﺃﻨﺎ ﻜﻨﺕ ﺨﺒﺭ ﹸﻪ:‬ ‫‪ ‬ﺘ‬ ‫ﻜل ﻤﺎ ﻓﻴﻬﺎ ﺒﻨﺒﺌﻨﻲ ﺒﺄﻨﻲ ﻤﻘﺩﻡ ﻨﺤﻭ ﺍﻟﻔﺠﻴﻌﺔ‬ ‫-‬ ‫ﻭﻋﻠﻲ ﺸﻔﺎ ﺤ ‪‬ﻥ ﺘﻭﺍﻗﻔﻨﺎ‬ ‫‪‬ﺯ‬ ‫ﺴﻴﺩﺍ ﻭﻀﻔﻴﺭﺓ‬ ‫ﹾ‬ ‫ﹰ‬ ‫ﻭ ‪‬ﻤﺎﻤﻬﺎ ﺼﺎﺭ ﺍﻟ ِﻤﺎﻡ ﻓﺼﺭﺕ ﺴﻴﻔﺎ ﺠﺎﻤﺤﺎ ﻭﺤﻔﻴﻑ ﺠﺭﺡ..‬ ‫ﹰ‬ ‫ﺤ‬ ‫ﺤ‬ ‫ﺤﻤﻨﺎ ﻓﻭﺍﻗﻌﻨﺎ ﺍﻟﺤﻤﻲ ﻭﺃ ﹶﻀﺕ ﻤﻥ ﺤﻴﺙ ﺍﻹﻓﺎﻀﺔ.. ِﻀﺕ ﺒﺎﻟﺯﻴﺘﻭﻥ ﻭﺍﻟﺼﺒﺎﺭ‬ ‫ﻓ‬ ‫ﻓ ﹸ‬ ‫ﻭﻟﻬﺎ ﺃﺒﺤﺕ ﺘﻔﺠﺭﻱ.. ﻓﻭﻀﺕ ﺃﻤﺭﻱ ﻜﻠﻪ ﻟﻠﻬﻴﺒﻬﺎ.. ﻭﺒﺼﺩﺭﻫﺎ ﺃﻓﻀﺕ ﺇﻟﻲ.. ﺩﻋﺴ ﹸﻬﺎ‬ ‫‪  ‬ﺘ‬ ‫ﹾ‬ ‫ﻭﺩﺤﺼﺘﻬﺎ ﻭﻋﺯﺩﺘﻬﺎ ﺒﻘﻭﺍﺩﻤﻲ...‬ ‫ﻭﻋﺭﻓﺕ ﺃﻴﻥ ﺍﻟﺩﺍﺭ ﺒﻌﺩ ﺘﻭﻫﻡ‬ ‫ِ‬ ‫ﹸ‬ ‫ﻓﺘﻁﺎﻤﻨﺕ ﻟﻐﺔ ﻴﺤﺎﺼﺭﻫﺎ ﺍﻟﻨﺩﻱ‬ ‫ﻓﺘﺢ ﺍﻟﻨﻭﺍﻓﺫ ﻓﻲ ﺴﻤﺎﻱ ﻭﻫﻴﻨﻤﺕ ﻭﻤﻀﺎﺘﻪ ﻓﻲ ﻤﺴﻤﻌﻲ:‬ ‫‪‬ﻁﻭﺒﻲ ﻟﻜﻡ ﻴﺎ ﻤﻘﺩﻤﻴﻥ ﻋﻠﻲ ﺩﻤﻲ.. ﻓﺄﻨﺎ ﺍﻟﺴﻼﻡ ﻋﻠﻲ ﻟﺤﻅﺔ ﺃﺴﺘﻌﻴﺩ ﺘﻭﻫﺠﻲ.. ﻤﻠﻜﻭﺘﻲ ﺍﻟﻤﻤـﺯﻭﺝ ﺒﺎﻟﻨﻌﻨـﺎﻉ‬ ‫ﻭﺍﻷﻭﺠﺎﻉ.. ﻭﺃﻨﺎ ﺤﻘﻴﻘﻲ ﺍﻟﻜﺭﻭﻡ.. ﺃﻨﺎ ﺃﺒﻲ ﺍﻟﻜﺭ‪‬ﺍﻡ ﻓﺎﻗﺒﺱ ﺒﻌﺽ ﻜﺭﻤﺘﻨﺎ ﻭﻨﻡ ﻓﻲ ﺴﺎﻋﺩﻱ‪‬‬ ‫ﻓﺴﺄﻟﺘﻪ:‬ ‫‪‬‬ ‫ﺃﻭ ﺃﻨﺕ ﻫﻭ؟!‬ ‫-‬ ‫"ﻁﺎ.. ﻤﻴﻡ.. ﻴﺎ‬ ‫ﺃﻨﺎ ﻤﺎ ﻁﺭﻗﺕ ﺩﻴﺎﺭﻜﻡ ﻷﻤﺠﺩ ﺍﻟﻭﻫﻡ ﺍﻟﻨﺩﻱ..‬ ‫ﻭﺇﻨﻤﺎ ﺃﻨﺎ ﻤﺜﻠﻜﻡ ﺒﺸﺭ ﻭﻤﺜﻠﻜﻡ -ﺇﺫ ﺸﺌﺘﻡ- ﻨﺒﻲ‬ ‫ﻭﺃﺒﺸﺭ ﺍﻹﻨﺴﺎﻥ ﺒﺎﻟﻁﻤﻲ ﺍﻟﻤﻁ ‪‬ﻲ ﻓﻴﻪ ﻻ ﻓﻲ ﺭﺍﺤﺘﻲ‬ ‫‪ ‬ﹶﻤ‬ ‫ﹼ‬ ‫ﻭﺍﺫﻜﺭ ﺒﺴﻔﺭ ﺍﻷﺭﺽ ﻭﺍﻟﻁﻤﻲ ﺍﻟﻁﻤﻴﺱ ﺍﺒﻥ ﺍﻟﻭﻜﻴل ﻓﺈﻨﻪ ﻴﻐﺩﻭ ﺨﻤﻴﺼﺎ ﻓﻲ ﺭﺤﺎﺒﺎﺕ ﺍﻟﻘﺼﻴﺩﺓ ﺜﻡ ﻴﺭﺠﻊ‬ ‫ﹰ‬ ‫ﻤﺨﹶﺼﺎ ﻭﻤﺘﻭﺠﺎ ﺒﺎﻟﺭﻴﺢ ﻭﺍﻟﻤﻁﺭ ﺍﻟﻤﻠﻭﻥ ﻓﻲ ﺍﻟﻌﺸﻲ‬ ‫ﹰ‬ ‫ﻠ ﹰ‬ ‫ﻭﺍﺫﻜﺭ ﺸﺭﻴﻥ ﺇﺫ ﺍﺴﺘﻌﺎﺭﺕ ﻤﻥ ﻤﺩﺍﺌﻨﻪ ﻤﺩﻴﻨﺔ ﻋﺸﻘﻪ ﻭﺃﺒﺎﺤﺕ ﺍﻷﻤﻁﺎﺭ ﻟﻠﺭﻴﺢ ﺍﻟﻌﺼﺎﻑ ﻓﻔﺎﺽ ﻓﻲ ﺩﻤﻬﺎ‬ ‫- ٨٢ -‬
  • 30. ‫ﺍﻟﻔﺘﻲ‬ ‫ﻭﺍﺫﻜﺭ ﻨﺩﻴﺘﻪ/ ﻨﺠﻴﺘﻪ ﺇﺫ ﺍﻨﺘﺒﺫﺕ ﻤﻜﺎﻨﺎ ﻭﺍﻫﺠﺎ ﻓﻲ ﻗﻠﺒﻪ.. ﻫﺯﺕ ﺒﺩﺍﻭﺘﻪ ﻓﺄﺴﻘﻁ ﻜل ﻤﺎ ﻓﻲ ﻨﺨﻠـﻪ ﻤـﻥ ﺸـﻬﻭﺓ/‬ ‫ﹰ‬ ‫ﺭﻁﺏ ﻟﻴﺒﻘﻲ ﻤﻔﻠﺘﺎ ﻤﻥ ﻨﻴل ﺭﻏﺒﺘﻪ ﻭﻴﻌﺭﻱ ﻤﻥ ﺴﻭﻱ ﺼﻔﺼﺎﻓﺔ ﺍﻟﺤﺏ ﺍﻟﺠﻨﻲ"‬ ‫ﺘﺠﻠﺕ:‬ ‫ﻭﻜﻨﺕ ﺃﺠﻴﺌﻙ ﻓﻲ ﺍﻟﻔﺠﺭ ﻭﺍﻟﻁﻴﺭ ﻓﻲ ﺍﻟﻭﻜﻨﺎﺕ ﻤﺒﺭﺍﺓ ﻤﻥ ِﺩﺍﻱ ﻤﻤﻭﺴﻘﺔ ﺍﻟﻭﺠﺩ ﺃﻭﻗﻅ ﻓﻴﻙ ﻤﺒـﺎﺩﺃﺘﻲ ﺒـﺎﻟﺤﺭﻴﻕ‬ ‫ﺭ‬ ‫ﹰ‬ ‫‪‬‬ ‫ﹸ‬ ‫ﻭﻜﻨﺕ ﺍﻷﺫﺍﻥ ﻴﺠﻠل ﻭﺠﻪ ﺍﻟﺒﺴﻴﻁﺔ ﺒﺎﻟﺼﻠﺼﻼﺕ ﻓﻼ ‪‬ﺴﻤﻊ ﺍﻟﺠﻠﺩ ﻏﻴﺭ ﻁﺭﺍﻭﺓ ﻗﻠﺒﻙ ﻏﻴﺭ ﺍﻨﺘﺤﺎﺭﻱ ﻓﻴﻙ ﻭﺇﺠﻔﺎﻟـﺔ‬ ‫‪‬‬ ‫ﻴ‬ ‫‪‬‬ ‫ﹸ‬ ‫ﺒﺯﻏﺕ ﺒﻴﻥ ﺠﻨﺒﻴﻙ ﻭﺍﻟﺼﺤﺏ )ﺼﺤﺒﻲ( ﻴﺨﺭﻭﻥ ﻟﻠﻘﻁﺭ )ﻗﻁﺭ ﺍﻟﺴﻤﺎﺀ( ﻭﻭﺤﺩﻱ ﺃﺠﻲﺀ ﻤﻊ ﺍﻟﺭﻴﺢ )ﺭﻴﺤﻙ( ﺸﻌﺭﻱ‬ ‫ﻤﺴﺘﺸﺯﺭﺍﺕ ﺠﺩﺍﺌﻠﻪ ﻟﻠﻌﻼ ﻓﻨﺨﺭ –ﻭﻨﻬﺩﻱ ﺇﻤﺎﻤﻲ- ﻟﻘﻁﺭ ﺍﻟﻬﻭﻱ ﺴ ‪‬ﺩﺍ ﻭ ‪‬ﻜﻲ‬ ‫ﺠ ﺒ‬ ‫‪‬‬ ‫ﺜﻡ ﻫﺎ ﺃﻨﺕ ﺃﺤﻨﻴﺕ ﻤﻨﻙ ﺍﻟﻔﺅﺍﺩ )ﻓﺅﺍﺩﻙ( ﻟﻸﻫل )ﺃﻫﻠﻙ( ﺨﻠﻴﺘﻨﻲ ﻤﻔﺭﺩﺍ ﻤﺜل ﺴﻴﻑ ﺘﺨﺎﻤﺸﻪ ﻜل ﻤﻥ ﺒﺎﻟﻘﺒﻴﻠﺔ‬ ‫‪‬‬ ‫ﹶ‬ ‫ﻭﻜﻨﺕ ﻁﻭﻴﺕ ﻤﻔﺎﺯﺍﺕ ﺃﻫﻠﻲ ﻭﺃﺤﺭﺍﺸﻬﻡ ﻨﺤﻭ ﺤ ‪‬ﻴﻙ ﻁﻲ‬ ‫ﺒ‬ ‫ﹸ‬ ‫...... ﻨﺩﻫﺕ ﻋﻠﻲ ﻭﻟﻴﺘﻬﺎ ﻟﻤﺎ ﺘﻘﺎﻓﺯ ﻁﺎﺌﺭﺍﻫﺎ ﺨﱠﻘﺕ ﻋﺸﺎ ﻭﻤﺩﺕ ﺤﻠﻤﺘﻴﻬﺎ ﺘﻨﻘﺭﺍﻥ ﻁﻌﺎﻡ ﺸﻬﻭﺘﻬﺎ - ‪‬ﻌﻴﺩ ﺩﻤـﻲ-‬ ‫ﺒ‬ ‫ﻠ‬ ‫ﻭﻤﺎ ﻨﺩﻫﺕ ﻋﻠﻲ.‬ ‫- ٩٢ -‬
  • 31. ‫ﻣﻦ ﺩﻳﻮﺍﻥ‬ ‫א‬ ‫א‬ ‫- ٠٣ -‬
  • 32. ‫١‬ ‫ﺇﻴﺜـﺎﻜـﺎ‬ ‫ﻫل ﺘﻜﺘﻔﻲ ﺤﺒﻴﺒﺘﻲ ﺒﺄﻥ ﺘﻤﻨﺤﻨﻲ ﺍﻟﺭﺤﻠﺔ‬ ‫ﻭﻓﻲ ﺁﺨﺭ ﺍﻟﻁﺭﻴﻕ‬ ‫ﺘﻬﺭﺏ ﺇﻟﻲ ﻤﻤﺭ ﺠﺎﻨﺒﻲ ﻴﻨﺘﻬﻲ ﺒﻨﺎﻓﻭﺭﺓ ﺘﻨﻔﺙ ﺍﻟﻨﺎﺭ ﻭﺍﻟﺩﺨﺎﻥ‬ ‫ﺍﻟﻘﻁﺎﺭ ﺍﻟﻁﻴﺏ ﻴﻌﺒﺭ ﺃﺯﻤﻨﺘﻲ ﻓﻲ ﺃﻨﺎﺓ ﺘﻠﻴﻕ ﺒﺎﻟﺭﺍﺤﻠﻴﻥ‬ ‫ﺃﻀﻊ ﺴﺒﺎﺒﺘﻲ ﺒﻴﻥ ﺩﻓﺘﻲ ﻗﺼﺎﺌﺩ "ﺭﻴﻠﻜﻪ"‬ ‫ﺠﺎﻟﺴﺎ‬ ‫ﺘﻐﻤﺭﻨﻲ ﺴﻜﻴﻨﺔ ﺍﻟﻘﺼﺎﺌﺩ‬ ‫ﻭﻋﻁﺭ ﺤﺒﻴﺒﺘﻲ ﻴﺤﻭﺭ ﻏﻁﺎﺀ ﻴﺤﺘﻭﻴﻨﻲ‬ ‫ﻓﺄﻏﻔﻭ ﻭﺃﺤﻠﻡ‬ ‫ﺍﻟﻔﺘﺎﺓ ﺍﻟﺠﺎﻟﺴﺔ ﻋﻠﻲ ﺍﻟﻜﺭﺴﻲ ﺍﻟﻘﺭﻴﺏ‬ ‫ﺃﺫﻨﺎﻫﺎ ﻓﺎﺘﻨﺘﺎﻥ‬ ‫ﻜﺄﻨﻬﻤﺎ ﺍﻟﻴﺎﻗﻭﺕ ﻭﺍﻟﻤﺭﺠﺎﻥ‬ ‫ﻴﺎ ﻟﻸﺴﻑ‬ ‫ﺤﻴﻥ ﻜﺎﻨﺕ ﺤﺒﻴﺒﺘﻲ ﻏﺎﻓﻴﺔ ﻓﻲ ﺤﻀﻨﻲ‬ ‫ﻟﻡ ﺃﻋﺭﻑ‬ ‫ﻫل ﻜﺎﻨﺘﺎ ﺃﺫﻨﺎﻫﺎ ﻤﺜﻘﻭﺒﺘﻴﻥ؟‬ ‫ﻜﻴﻑ ﺘﺜﺒﺕ ﺃﻗﺭﺍﻁﻬﺎ ﺇﺫﻥ ﺘﻠﻙ ﺍﻟﻤﺎﻜﺭﺓ؟‬ ‫ﺃﻴﻬﺎ ﺍﻟﻔﻨﺩﻕ ﺍﻟﻤﻬﻴﺏ ﺍﻟﻁﻠﻌﺔ‬ ‫ﻴﺎ ﺫﺍ ﺍﻟﺜﻨﻴﺎﺕ ﺍﻟﻤﺫﻫﻠﺔ ﻭﺍﻟﻤﻠﻤﺱ ﺍﻟﺭﻗﻴﻕ‬ ‫ﻤﺩﺨﻠﻙ ﺍﻟﺭﺍﺌﻊ ﻫﺫﺍ ﻴﺘﺴﺎﻤﻲ ﺇﻟﻲ ﻋﻠﻭ ﺴﺤﻴﻕ‬ ‫ﺃﻴﻜﻤﺎ ﻴﺫﻜﺭﻨﻲ ﺒﺴﻭﺍﻩ؟‬ ‫ﺭﺤﻡ ﺤﺒﻴﺒﺘﻲ ﺒﺎﻟﺘﺄﻜﻴﺩ‬ ‫٭ ﺇﻴﺜﺎﻜﺎ : ﺠﺯﻴﺭﺓ ﺃﻭﺩﻴﺴﻴﻭﺱ ﻭﻗﺼﻴﺩﺓ ﻜﻔﺎﻓﻴﺱ‬ ‫- ١٣ -‬
  • 33. ‫ﺤﺒﻴﺒﺘﻲ‬ ‫ﻴﺎ ﺫﺌﺒﺘﻲ ﺍﻟﺤﻨﻭﻥ‬ ‫ﺃﻴﻥ ﻨﻬﺩﺍﻙ ﺍﻟﻠﺫﺍﻥ ﺁﻨﺴﺎ ﻅﻠﻤﺔ ﺃﻴﺎﻤﻲ‬ ‫ﻜﺄﻨﻬﻤﺎ ﻗﺒﺴﺎﻥ ﻤﺸﺘﻌﻼﻥ ﺃﺒﺩﺍ‬ ‫ﻴﺭﺸﺩﺍﻥ ﺇﻟﻲ ﻁﺭﻴﻕ ﺍﻟﻐﻭﺍﻴﺔ ﺍﻟﻤﻤﺘﺩ ﺇﻟﻲ ﺃﺒﻌﺩ ﻤﻥ ﺒﺼﻴﺭﺘﻲ؟‬ ‫ﻫل ﻨﻬﺩﺍﻙ ﺴﻴﺨﺫﻻﻨﻨﻲ ﺃﻴﻀﺎ ﻓﻲ ﺁﺨﺭ ﺍﻟﺭﺤﻠﺔ‬ ‫ﻤﺜل ﻜل ﺍﻟﻔﻨﺎﺭﺍﺕ ﺍﻟﺘﻲ ﺃﻨﻬﻜﺘﻬﺎ ﺍﻟﻤﺴﺎﻓﺎﺕ ﻭﺍﻟﻔﻀﺎﺀﺍﺕ ﺍﻟﻐﺎﺩﺭﺓ ﻭﺍﻻﻨﺘﻅﺎﺭ ﺍﻟﻤﺭﻴﺭ؟‬ ‫ﻜﻴﻑ ﺃﻋﺒﺭ ﺇﻟﻴﻙ ﻴﺎ ﺤﺒﻴﺒﺘﻲ ﺩﻭﻥ ﺃﻥ ﺃﺸﻁﺭﻙ ﻨﺼﻔﻴﻥ‬ ‫ﻭﺃﻥ ﺃﺤﻭﺭ ﺇﻟﻬﺎ ﺼﻐﻴﺭﺍ ﻤﺠﺭﻭﺤﺎ ﺒﻐﻴﺭ ﺍﻟﻴﻘﻴﻥ؟‬ ‫ﺘﺴﻠﻤﻨﻲ ﺍﻟﻤﺩﻗﺎﺕ ﺍﻟﻐﺭﻴﺒﺔ ﻟﻠﻤﺩﻗﺎﺕ ﺍﻟﻐﺭﻴﺒﺔ‬ ‫ﻭﺍﻟﺫﻜﺭﻱ ﺇﻭﺯ ﺒﺭﻱ ﺫﺍﺒل‬ ‫ﻴﺨﺩﺵ ﺍﻟﻘﻠﺏ ﻭﻴﺩﻋﻭ ﺍﻷﻓﺎﻋﻲ ﺇﻟﻲ ﺤﻀﻨﻪ‬ ‫ﻭﺍﻟﻜﻠﻤﺎﺕ ﺍﻟﻤﺸﺘﻌﻠﺔ ﻫﺎﺭﺒﺔ‬ ‫ﻓﻜﻴﻑ ﺃﺼﻭﻍ ﻭﺠﻬﻙ ﺍﻟﺫﻱ ﻜل ﻟﺤﻅﺔ ﻫﻭ ﻓﻲ ﺸﺄﻥ؟‬ ‫ﻭﺠﻬﻙ ﺭﺤﻡ ﺃﺨﺭﻱ ﻴﻐﻤﺭﻨﻲ ﺒﺴﻜﻴﻨﺘﻪ ﻭﻨﺒﻴﺫﻩ ﻭﻤﻠﻤﺴﻪ ﺍﻟﻭﻀﻲﺀ‬ ‫ﻭﻴﻤﻨﺢ ﺍﻟﺭﺤﻠﺔ ﻁﻌﻡ ﺍﻟﻴﻘﻴﻥ‬ ‫ﺃﻴﻥ ﺃﺼﺎﺒﻊ ﻜﻔﻴﻙ ﻷﺭﻀﻌﻬﻥ ﻭﺍﺤﺩﺓ ﻭﺍﺤﺩﺓ ﻓﻴﻀﻲﺀ ﺩﺍﺨﻠﻲ ﺒﺫﺅﺍﺒﺎﺕ ﺸﻤﻭﻋﻬﻥ ﺍﻟﻤﺸﺘﻌﻠﺔ ﻓﻲ ﺃﺯﻤﻨـﺔ ﺍﻟﺤﻠﻜـﺔ‬ ‫ﺍﻟﻘﺎﺩﻤﺔ؟‬ ‫ﺃﺘﺸﻬﻲ ـ ﺃﻨﺎ ﺍﻟﺠﺴﺩ ﺍﻟﻤﻨﺫﻭﺭ ﻟﻠﻭﺤﺸﺔ ـ ﺃﻥ ﻴﺩﺨﻠﻨﻲ ﺠﺴﺩﻙ ﻜﻠﻪ ﺩﻓﻌﺔ ﻭﺍﺤﺩﺓ ﻜﺄﻥ ﺍﻟﻜـﻭﻥ ﺍﺴـﺘﻌﺎﺩ ﻓﺤﻭﻟﺘـﻪ‬ ‫ﺍﻟﺴﻠﻴﺒﺔ ﻭﺍﻟﺠﺴﺩ ﺍﻟﻤﺘﺸﻭﻑ ﺃﻨﺜﻲ ﺒﺎﺯﻏﺔ ﺍﻟﻜﻤﺎﻻﺕ ﻤﺤﺘﺩﻤﺔ ﺍﻟﺫﻜﻭﺭﺓ ﻤﻌﺎ‬ ‫ﺃﺫﻜﺭ‬ ‫ﺤﻴﻥ ﺍﺴﺘﻠﻘﻴﻨﺎ ﻋﺎﺭﻴﻴﻥ ﻋﻠﻲ ﺼﻔﺤﺔ ﺍﻟﺒﺤﻴﺭﺓ‬ ‫ﻟﻡ ﺃﻗﻀﻡ ﺃﺴﻨﺎﻨﻙ ﺍﻟﺸﻬﻴﺔ ﺤﺘﻲ ﺠﺫﻭﺭﻫﺎ‬ ‫ﻭﺍﻨﺸﻐﻠﺕ ﺒﻜل ﻁﺭﻱ ﻓﻲ ﺍﻟﺠﺴﺩ‬ ‫ﻴﺎ ﻟﻬﺎ ﻤﻥ ﻤﻔﺎﺭﻗﺎﺕ ﺘﺅﻟﻡ ﺍﻟﺫﻜﺭﻱ‬ ‫ﻭﺘﻠﻬﺏ ﺠﺴﺩ ﺍﻟﺭﺤﻠﺔ ﺒﺴﻴﺎﻁ ﺍﻟﺸﻭﻕ ﺍﻟﻤﺸﺘﻌﻠﺔ‬ ‫ﻫل ﺃﺘﻭﺤﺩ ﺒﺎﻟﺒﺤﺭ ﻓﺄﻀﺎﺠﻊ ﻓﻲ ﻁﺭﻴﻘﻲ ﺠﻨﻴﺎﺘﻪ )ﺠﺩﺍﺌﻠﻬﻥ ﺃﻓﺎﻉ ﻤﻠﺘﻔﺔ( ﻟﻌﻠﻲ ﺃﺨﻠﻕ ﻤﻥ ﺃﺭﺤﺎﻤﻬﻥ ﻗﺼﺎﺌﺩ ﻤﺭﻋﺒﺔ‬ ‫ﺘﻤﻬﻠﻨﻲ ﻓﻲ ﺭﺤﻠﺘﻲ ﻭﺘﺒﻁﺊ ﺍﻹﻴﻘﺎﻉ ﺇﻟﻲ ﻤﻠﻜﻭﺕ ﻭﺠﻬﻙ ﺍﻟﺭﺤﻴﻡ‬ ‫- ٢٣ -‬
  • 34. ‫ﻟﻨﻔﺘﺭﺽ ﺃﻨﻲ ﻭﺼﻠﺕ ﺇﻟﻴﻙ‬ ‫ﺃﺃﻜﻭﻥ ﻋﺠﻭﺯﺍ ﺘﻐﻤﺭﻩ ﺤﻜﻤﺔ ﻗﺎﺩﺭﺓ ﻋﻠﻲ ﺘﺄﻭﻴل ﻭﺠﻬﻙ؟‬ ‫ﺃﻡ ﺃﺼل ﻭﻗﺩ ﺴﻠﺒﺘﻨﻲ ﺍﻟﺭﺤﻠﺔ ﻜل ﻫﺩﺍﻴﺎﻱ ﺇﻟﻴﻙ:‬ ‫ﺍﻟﻁﻤﻲ ﻭﺍﻟﻨﺎﺭ ﻭﺍﻟﻭﻫﻥ؟‬ ‫ﻭﻫل ﺘﻜﺘﻔﻴﻥ ﺒﺄﻥ ﻤﻨﺤﺕ ﺍﻟﺭﺤﻠﺔ‬ ‫ﻭﺘﺘﺭﻜﻴﻥ ﻤﺴﺎﺤﺔ ﺸﺎﺴﻌﺔ ﻋﻠﻲ ﺼﻔﺤﺔ ﺠﺴﺩﻱ ﻭﺍﻟﻘﺼﻴﺩﺓ‬ ‫ﻭﺘﻬﺭﺒﻴﻥ‬ ‫- ٣٣ -‬
  • 35. ‫ﺘﻤﻴﻤﺔ ﻷﺠل ﺍﻟﻨﺴﻴﺎﻥ‬ ‫ﻟﻥ ﻴﺫﻜﺭﻨﻲ ﺒﻬﺎ ﺸﻲﺀ‬ ‫‪‬‬ ‫‪ ‬ﱠ‬ ‫ﻭﻟﻭ ﻁﻔﺭﺕ ﺍﻷﺸﻴﺎﺀ ﺃﻤﺎﻡ ﻋﻴﻨﻲ ﻤﺭﻴﺭﺓ ﻜﺎﻟﻤﺴﺎﻓﺔ ﺒﻴﻥ ﻋﺎﺸﻘﻴﻥ‬ ‫ﹶﹶ ‪‬‬ ‫ﻗﺭﺍﺭ ﺃﺨﻴﺭ‬ ‫ﺍﺴﺘﺩﺍﺭﺍﺕ ﺍﻟﻨﻬﺎﺭ ﻭﺍﻨﺤﻨﺎﺀﺍﺕ ﺠﺴﺩﻩ ﺍﻟﻤﺭﻫﻘﺔ‬ ‫ﹸ‬ ‫ﻟﻥ ﺘﺫﻜﺭﻨﻲ ﺒﻬﺎ‬ ‫ﺭﺸﻔﺔ ﺍﻟﻤﺎﺀ ﺍﻟﺘﻲ ﻜﺎﻨﺕ ﺘﺴﺎﻗﻴﻨﻲ ﺒﻔﻤﻬﺎ‬ ‫ﻫﺫﻩ ﺍﻟﺭﺸﻔﺔ‬ ‫ﻟﻥ ﺘﺫﻜﺭﻨﻲ ﺒﻬﺎ‬ ‫ﺴﺄﻜﻭﻥ ﺼﺭﻴﺤﺎ ﻤﻊ ﻨﻔﺴﻲ‬ ‫ﻭﻟﻥ ﺃﺩﻉ ﺸﻴﺌﺎ ﻴﺫﻜﺭﻨﻲ ﺒﻬﺎ‬ ‫ﻜل ﺍﻷﺸﻴﺎﺀ ﻭﻀﻌﺘﻬﺎ ﻓﻲ ﺨﺯﺍﻨﺔ ﻨﺴﻴﺎﻨﻲ )ﺍﻟﺘﻲ ﺘﺘﺴﻊ ﻟﻠﻜﺜﻴﺭ(‬ ‫ﻭﺃﻏﻠﻘﺕ ﻋﻠﻴﻬﺎ ﺒﻤﺯﺍﻟﻴﺞ )ﺼﻨﻌﺘﻬﺎ ﻋﻠﻲ ﻋﻴﻨﻲ(‬ ‫ﺍﻟﻌﺼﺎﻓﻴﺭ ﺍﻟﺘﻲ ﻜﺎﻨﺕ ﺘﺅﻨﺴﻨﻲ ﻓﻲ ﻏﻴﺎﺒﻬﺎ‬ ‫ﺴﻤﻴﻨﺎﻫﺎ ﻭﺨﻠﻘﻨﺎ ﺃﺴﺭﺍﺭﻫﺎ ﻤﻌﺎ‬ ‫ﻓﻠﻭﺭﻴﻨﺘﻴﻨﻭ )ﺍﻟﻘﻠﻕ ﺘﺠﺴﺩ ﻓﻲ ﻁﺎﺌﺭ ﻴﺘﺭﻗﺏ ﻏﻴﺒﺎ ﻟﻥ ﻴﺭﺍﻩ ﺴﻭﺍﻩ(‬ ‫ﻓﻴﺭﻤﻴﻨﺎ )ﺘﻁﻌﻡ ﻻ ﺤﻴﻥ ﺘﺠﻭﻉ ﺒل ﺤﻴﻥ ﺘﺸﺎﺀ(‬ ‫ﹶ ﹾ‬ ‫ﺃﻭﺭﺒﻴﻨﻭ ﻭ ﺴﺎﻥ ﺁﻤﻭﺭ‬ ‫ﻋﺼﺎﻓﻴﺭ "ﺍﻟﺤﺏ ﻓﻲ ﺯﻤﻥ ﺍﻟﻜﻭﻟﻴﺭﺍ"‬ ‫ﻜﻠﻬﻡ ﻋﻠﻲ ﺃﻴﺔ ﺤﺎل‬ ‫ﻴﺒﺩﻭﻥ ﻟﻲ ﻀﺤﺎﻴﺎ ﺤﺭﺏ ﺍﻨﺘﻬﺕ ﻤﻨﺫ ﺩﻗﺎﺌﻕ‬ ‫ﻭﻟﻥ ﻴﺫﻜﺭﻭﻨﻲ ﺒﻬﺎ‬ ‫ﺴﺄﻟﻘﻲ ﺇﻟﻴﻬﻡ ﺍﻟﺯﺍﺩ ﻜل ﺼﺒﺎﺡ ﻜﺄﻨﻬﻡ ﻤﻭﺘﻲ‬ ‫ﺃﻭ ﺃﺸﺒﺎﺡ ﻫﺎﺭﺒﻭﻥ ﻤﻥ ﺍﻟﻘﺒﻭﺭ‬ ‫- ٤٣ -‬
  • 36. ‫ﻋﻠﻲ ﺃﻴﺔ ﺤﺎل‬ ‫ﻫﻡ ﻋﺼﺎﻓﻴﺭ ﻻ ﺃﻜﺜﺭ‬ ‫ﻭﻟﻥ ﻴﺫﻜﺭﻭﻨﻲ ﺒﻬﺎ‬ ‫ﺍﻷﺘﺭﺒﺔ ﺍﻟﺘﻲ ﺘﺭﺍﻜﻤﺕ ﺤﻭﻟﻲ ﻤﻨﺫ ﻴﺌﺴﺕ ﻤﻥ ﻤﺠﻴﺌﻬﺎ‬ ‫ﹸ‬ ‫ﻟﺘﺭﺘﺏ ﺒﻨﻔﺴﻬﺎ ﺍﻷﺸﻴﺎﺀ‬ ‫ﺍﻟﻘﺼﺎﺌﺩ ﺍﻟﻤﺘﻨﺎﺜﺭﺓ ﻋﻠﻲ ﺍﻷﺭﺽ‬ ‫ِ‬ ‫‪‬‬ ‫ﻜﺄﻥ ﻟﻥ ﻴﻘﺭﺃﻫﺎ ﺃﺤﺩ‬ ‫ﺍﻟﺠﺭﻭﺡ ﺍﻟﺘﻲ ﺨﻠﻔﺘﻬﺎ ﻤﻌﺭﻜﺘﻲ ﺍﻷﺨﻴﺭﺓ‬ ‫ﱠﹾ‬ ‫‪‬‬ ‫ـ ﻤﻌﺭﻜﺘﻲ ﻷﻜﻭﻥ ﻟﻬﺎ ﻭﺤﺩﻫﺎ ـ‬ ‫ﻟﻥ ﺘﺫﻜﺭﻨﻲ ﺒﻬﺎ‬ ‫ﻻ ﺸﻌﺭ "ﻜﻔﺎﻓﻲ" ﻭ "ﺃﻤﺎﺭﻭ"‬ ‫ﻭﻻ ﺤﺘﻲ ﻓﺎﻟﺴﺎﺕ "ﺸﺘﺭﺍﻭﺱ"‬ ‫ﻭ ﺇﻟﻴﺯ "ﺒﺘﻬﻭﻓﻥ" )ﻭﻜﻠﻬﺎ ﺃﺸﻴﺎﺀ ﻋﺭﻓﺕ ﺒﻌﺽ ﺃﺴﺭﺍﺭ ﺒﺭﺍﺀﺘﻬﺎ ﻭﻭﻟﺩﺕ ﻓﻲ ﺤﻀﻨﻬﺎ(‬ ‫‪  ِ‬ﹾ‬ ‫ﹸ‬ ‫ﺒﻘﺎﺩﺭﺓ ﻋﻠﻲ ﺃﻥ ﺘﺫﻜﺭﻨﻲ ﺒﻬﺎ‬ ‫ﺍﻷﺭﻗﺎﻡ ﻟﻥ ﺘﺫﻜﺭﻨﻲ ﺒﻬﺎ‬ ‫ﻤﻥ ﻗﺎل ﺇﻥ ﺭﻗﻡ ٦١٨ ﻓﻲ ﻓﻨﺩﻕ ﻤﺜل "ﻫﻠﻨﺎﻥ" ﻟﻪ ﻤﻌﻨﻲ ﻤﺎ‬ ‫ﺴﻭﻱ ﺃﻥ ﺤﻔﻅﻪ ﻴﺴﻴﺭ ﻋﻠﻲ ﻤﺜﻘﻭﺏ ﺍﻟﺫﺍﻜﺭﺓ ﺇﺫ ﻴﻭﺍﻋﺩﻫﺎ‬ ‫ﻭﻴﺘﺴﻠل ﺇﻟﻲ ﻏﺭﻓﺘﻬﺎ ﺨﻠﺴﺔ‬ ‫)ﻨﺼﻑ ﻋﺎﺭﻴﺔ.. ﻨﺼﻑ ﺨﺎﺌﻔﺔ.. ﻭﻜﺎﻤﻠﺔ ﺍﻟﺘﺸﻬﻲ ﻭﺍﻟﺒﻬﺎﺀ(؟‬ ‫ﻭﻜﺫﻟﻙ ٥٠٢١ ﻓﻲ ﻓﻨﺩﻕ "ﺒﻼﺯﺍ" ﺍﻹﺴﻜﻨﺩﺭﻴﺔ ﺘﺤﺩﻴﺩﺍ‬ ‫ﻏﺭﻓﺔ ﺤﺎﺩﺓ ﺍﻟﻤﻼﻤﺢ‬ ‫ﺒﻬﺎ ﺸﻲﺀ ﻤﻥ ﺍﻟﻘﺴﻭﺓ ﺍﻟﺨﺎﻓﺘﺔ..‬ ‫ﻭﻗﺒﻠﺔ ﻗﻠﻘﺔ ﺘﻨﺘﻅﺭ ﺃﻭل ﺸﻔﺘﻴﻥ ﺘﻁﺭﻗﺎﻥ ﺍﻟﺒﺎﺏ‬ ‫ﻟﻜﻨﻬﺎ ﻟﻥ ﺘﺫﻜﺭﻨﻲ ﺒﻬﺎ‬ ‫ﻫﻲ ﺃﺭﻗﺎﻡ ﻋﻠﻲ ﺃﻴﺔ ﺤﺎل‬ ‫- ٥٣ -‬
  • 37. ‫ﺃﺭﻗﺎﻡ ﻻ ﺘﺜﻴﺭ ﺍﻟﺸﻬﻭﺓ ﻭﻻ ﺘﻔﺘﺕ ﺍﻟﻘﻠﺏ‬ ‫ﺃﺭﻗﺎﻡ‬ ‫ﻫﻲ ﺃﺭﻗﺎﻡ‬ ‫ﻟﻥ ﺘﺫﻜﺭﻨﻲ ﺒﻬﺎ‬ ‫ﺍﻟﻤﺴﺄﻟﺔ ﻤﺴﺄﻟﺔ ﻤﺒﺩﺃ‬ ‫ﻴﺠﺏ ﺃﻻ ﺘﺼﺒﺢ ﺍﻟﺫﺍﻜﺭﺓ‬ ‫ﺁﺨﺭ ﻤﺸﻨﻘﺔ ﻫﻴﺄﺘﻬﺎ ﻟﻲ‬ ‫ﻷﺼﺒﺢ ﻟﻬﺎ ﻭﺤﺩﻫﺎ ﺇﻟﻲ ﺍﻷﺒﺩ‬ ‫ﻟﻥ ﻴﺫﻜﺭﻨﻲ ﺒﻬﺎ ﻭﻻ ﺤﺘﻲ "ﻓﻴﺭﻭﺯ"‬ ‫ﺴﺄﻏﻴﺭ ﺘﺄﻭﻴﻼﺘﻲ ﻟﻤﺎ ﻏﻨﻴﻨﺎ ﻤﻌﺎ‬ ‫)ﻋﺎﺭﻴﻴﻥ ﺃﻭ ﻤﺘﺸﺤﻴﻥ ﺒﺸﻬﻭﺘﻨﺎ‬ ‫ﻤﺘﻼﺼﻘﻴﻥ ﺃﻭ ﻨﺘﻬﻴﺄ(:‬ ‫"ﻻ ﺇﻨﺕ ﺤﺒﻴﺒﻲ ﻭﻻ ﺭﺒﻴﻨﺎ ﺴﻭﺍ"‬ ‫"ﺴﺄﻟﺘﻙ ﺤﺒﻴﺒﻲ ﻟﻭﻴﻥ ﺭﺍﻴﺤﻴﻥ"‬ ‫"ﻭﻟﻘﺩ ﺫﻜﺭﺘﻙ ﻭﺍﻟﺭﻤﺎﺡ ﻨﻭﺍﻫل"‬ ‫ﻟﻥ ﻴﺫﻜﺭﻨﻲ ﺒﻬﺎ ﻭﻻ "ﻓﻴﺭﻭﺯ" ﺤﺘﻲ‬ ‫ﻤﻐﻨﻴﺔ ﻜﺎﻷﺨﺭﻴﺎﺕ‬ ‫ﻋﺩﺍ ﺃﻨﻬﺎ ﺘﺠﻌل ﺍﻟﺫﻜﺭﻱ ﺃﻜﺜﺭ ﺇﻴﻼﻤﺎ‬ ‫ﻭﻫﺫﺍ ﻴﺒﺩﻭ ﻏﻴﺭ ﻜﺎﻑ ﻟﻴﺫﻜﺭﻨﻲ ﺒﻬﺎ‬ ‫ﻭﺒﻜل ﺘﺄﻜﻴﺩ‬ ‫ﻟﻥ ﺘﺫﻜﺭﻨﻲ ﺒﻬﺎ ﺃﻴﺔ ﺯﻫﺭﺓ‬ ‫ﻭﺠﻭﺩ ﺯﻫﺭﺓ ﻨﺎﺒﺘﺔ ﻋﻠﻲ ﻓﺨﺫﻫﺎ )ﺘﻌﻠﻡ ﺍﻟﻌﺎﺸﻕ ﺃﻥ ﻴﻜﻭﻥ ﻨﺒﺎﺘﻴﺎ ﻭﺃﻥ ﻴﺘﺴﻠﻕ ﺍﻟﺠﺴﺩ ﻜﺎﻟﻌﻠﻴﻕ(‬ ‫‪‬ﱠ‬ ‫ﻟﻴﺱ ﺴﺒﺒﺎ ﻜﺎﻓﻴﺎ ﻟﺘﺨﻤﺵ ﻜل ﺯﻫﺭﺓ ﺫﺍﻜﺭﺘﻲ‬ ‫- ٦٣ -‬
  • 38. ‫ﺃﻤﺎ ﺍﻟﻌﻁﺭ ﺍﻟﺫﻱ ﺼﻨﻌﺘﻪ ﺒﻴﺩﻱ‬ ‫ﹸ‬ ‫ﻤﺴﺘﻠﻬﻤﺎ ﺭﺍﺌﺤﺔ ﺠﺴﺩﻫﺎ‬ ‫)ﻭﺃﻨﺎ ﻓﻲ ﺴﺭﻴﺭﻫﺎ ﺃﻫﺵ ﻋﻨﻬﺎ ﻤﺨﺎﻭﻓﻬﺎ ﻭﻫﻲ ﻨﺎﺌﻤﺔ(‬ ‫ﻫﺫﺍ ﺍﻟﻌﻁﺭ ﺒﺎﻟﺫﺍﺕ‬ ‫ﻟﻥ ﻴﺫﻜﺭﻨﻲ ﺒﻬﺎ‬ ‫ﺴﺄﺘﻌﻁﺭ ﺒﻪ )ﻻ ﺃﻟﺘﻔﺕ ﺇﻟﻲ ﺍﻟﻨﺸﻭﺓ ﺍﻟﺘﻲ ﺘﻌﺼﻑ ﺒﻲ(‬ ‫ﻭﻟﻥ ﻴﺫﻜﺭﻨﻲ‬ ‫ﻟﻡ ﺃﻋﺩ ﺃﺤﺘﻤل ﺘﻠﻙ ﺍﻷﺸﻴﺎﺀ ﺍﻟﻜﺜﻴﺭﺓ ﺍﻟﺘﻲ ﺘﻨﺒﺌﻨﻲ ﻜل ﻟﺤﻅﺔ‬ ‫ﺃﻨﻨﻲ ﻭﺤﺩﻱ‬ ‫ﻫﻨﺎ‬ ‫ﻭﺃﻨﻬﺎ ﻗﺼﻴﺔ ﻫﻨﺎﻙ..‬ ‫ﹶ ِ‪‬‬ ‫ﻫﻨﺎﻙ..‬ ‫ﻜﻠﻤﺔ "ﻫﻨﺎﻙ" ﻨﻔﺴﻬﺎ ﻟﻥ ﺘﺫﻜﺭﻨﻲ ﺒﻬﺎ‬ ‫ﺤﺘﻲ ﺤﻴﻥ ﺃﺸﻴﺭ ﺒﺴﺒﺎﺒﺘﻲ ﺇﻟﻲ ﻤﺎ ﺃﻓﻠﺘﺘﻪ ﺃﻋﻴﻥ ﻤﻥ ﺤﻭﻟﻲ‬ ‫ﻟﻥ ﻴﺫﻜﺭﻨﻲ ﺒﻬﺎ ﺸﻲﺀ )ﺘﻘﺭﻴﺒﺎ(‬ ‫ﻤﺎ ﻴﻔﻠﺕ ﺒﺒﺭﺍﻋﺔ ﺤﺘﻲ ﺍﻵﻥ‬ ‫ﺃﻨﻔﺎﺴﻲ‬ ‫)ﺘﻠﻙ ﺍﻟﺘﻲ ﺘﺫﻜﺭﻨﻲ ﺒﺄﻨﻨﻲ ﺃﺤﻴﺎ‬ ‫ﻷﻨﻬﺎ ﻗﺎﻟﺕ ﻴﻭﻤﺎ:‬ ‫"ﻀﺤﻜﺘﻙ ﻏﺯﺍﻟﺔ"‬ ‫ِ‪‬‬ ‫ﻻ ﺸﻲﺀ ﺴﻭﻑ ﻴﺫﻜﺭﻨﻲ ﺒﻬﺎ‬ ‫ﺴﻭﻱ..‬ ‫ﺃﻨﻔﺎﺴﻲ..‬ ‫ﺃﻨﻔﺎﺴﻲ..‬ ‫ﺃﻨﻔﺎﺴﻲ..‬ ‫ﻻ ﺸﻲﺀ ﺴﻭﺍﻫﺎ‬ ‫- ٧٣ -‬
  • 39. ‫ﻣﻦ ﺩﻳﻮﺍﻥ‬ ‫(‬ ‫א‬ ‫א‬ ‫)‬ ‫א‬ ‫- ٨٣ -‬
  • 40. ‫ﺘﻘﻭل ﺍﻟﻭﺭﺩﺓ‬ ‫ﻋﻨﺩﻤﺎ ﺘﻨﻅﺭ ﻟﻲ‬ ‫ﺃﻴﻬﺎ ﺍﻟﻭﻟﺩ ﺍﻟﻠﻁﻴﻑ‬ ‫ﹾ‬ ‫ﻜل ﺸﻲﺀ ﺤﻭﻟﻨﺎ‬ ‫ﻴﺼﺒﺢ ﺃﺠﻤل‬ ‫ْ‬ ‫ﻭُﺤﺱ ﺒﺎﻟﻨﺴﻴﻡ ﻫﺎﺩﺌﺎ‬ ‫ﹰ‬ ‫ﺃ‬ ‫‪‬ﻌﺒﺭ ﺼﺩﺭﻱ‬ ‫ﻴ‬ ‫***‬ ‫ﻋﻨﺩﻤﺎ ﺘﻠ ‪‬ﺴﻨﻲ‬ ‫ﹶ ﹾﻤ‬ ‫ﺃﻴﻬﺎ ﺍﻟﻭﻟﺩ ﺍﻟﻠﻁﻴﻑ‬ ‫ﻴﻤﻸ ﺍﻟﻘﻠﺏ ﺍﻟﺨﺠل‬ ‫‪‬‬ ‫ﻭﺃﺤﺏ ﻟﻤﺴﺘﻙ‬ ‫***‬ ‫ﻋﻨﺩﻤﺎ ﺘﻘ ِﻔﻨﻲ ﺃﻴﻬﺎ ﺍﻟﻭﻟﺩ ﺍﻟﻠﻁﻴﻑ‬ ‫ﹾ‬ ‫ﻁ‬ ‫ﻴﻅﻬﺭ ﺍﻟﻭﺠﻪ ﺍﻟﻤﺨﻴﻑ‬ ‫ﹾ‬ ‫ﻓﻲ ﻋﻴﻭﻨﻲ‬ ‫***‬ ‫ﻓﻠﻤﺎﺫﺍ ﺃﻴﻬﺎ ﺍﻟﻭﻟﺩ ﺍﻟﻠﻁﻴﻑ‬ ‫ﹾ‬ ‫ﻻ ﺘﺭﻴﺩ ﺃﻥ ﺘﺭﺍﻨﻲ ﻓﻲ ﻏﺩ‬ ‫ٍ‬ ‫ﻭﺃﻨﺎ ﺃﺤﺏ ﻨﻅﺭ ﹶﻙ؟‬ ‫ﺘ‬ ‫- ٩٣ -‬
  • 41. ‫ﺍﺨﺘـﻼﻑ‬ ‫ﺃﺤﺏ ﺍﻟﺯﻫﻭﺭ ﻜﺜﻴﺭﺍ ﻜﺜﻴﺭﺍ‬ ‫ﹰ‬ ‫ﻭﻟﻜﻨﻨﺎ ﺩﺍﺌﻤﺎ ﻨﺨﺘﻠﻑ‬ ‫ﺇﻨﻬﺎ ﺘﺘﻔﺘ ‪ ،‬ﻟﻜﻨﻨﻲ ﻟﺴﺕ ﺃﺩﺭﻱ ﻤﺘﻲ‬ ‫ﺢ‬ ‫ﻟﻤﺎﺫﺍ ﺘﻔ ﱢﺢ ﺘﻠﻙ ﺍﻟﺯﻫﻭﺭ ﺍﻟﺼﺩﻴﻘﺔ ﺃﻋﻴﻨﻬﺎ ﻓﻲ ﻏﻴﺎﺒﻲ؟‬ ‫ﹸ ﹶﺘ‬ ‫ﺭﺒﻤﺎ ﻫﺫﻩ ﻏﻠﻁﺘﻲ‬ ‫ﻓﺈﻨﻲ ﺃﻨﺎﻡ ﻜﺜﻴﺭﺍ‬ ‫ﹰ‬ ‫ﻓﻬل ﺘﺘﻔﺘﺢ ﻓﻲ ﺍﻟﻠﻴ ِ؟‬ ‫ل‬ ‫ﻭﺇﻨﻲ ﺃﻟﻌﺏ ﻭﻗﺘﺎ ﻁﻭﻴﻼ‬ ‫ﻓﻬل ﺘﺘﻔﺘﺢ ﻭﻗﺕ ﺍﻟﻠﻌﺏ‪‬؟‬ ‫ﺭﺒﻤﺎ ﺘﺘﻔﺘﺢ ﻭﻗﺕ ﺫﻫﺎﺒﻲ ﺇﻟﻲ ﺍﻟﻤﺩﺭﺴﺔ‬ ‫ﺇﻨﻨﺎ ﺃﺼﺩﻗﺎﺀ: ﺃﻨﺎ ﻭﺍﻟﺯﻫﻭﺭ‬ ‫‪‬‬ ‫ﻭﻟﻜﻨﻨﺎ ﺩﺍﺌﻤﺎ ﻨﺨﺘﻠﻑ‬ ‫ﹾ‬ ‫ﻭﺒﺎﻟﺭﻏﻡ ﻤﻥ ﺃﻨﻨﺎ ﻨﺨﺘﻠﻑ‬ ‫ﹾ‬ ‫ﺃﺤﺏ ﺍﻟﺯﻫﻭﺭ‬ ‫‪‬‬ ‫- ٠٤ -‬
  • 42. ‫ﺴﻠﺤ‪‬ﻔـﺎﺓ‬ ‫‪‬ﹶ‬ ‫ﻋﻴﺩ ﻤﻴﻼﺩﻱ ﻤﻀﻲ‬ ‫ﻭﺍﻟﺴﻠﺤ‪‬ﻔﺎﺓ ﺍﻟﺼﻐﻴﺭﺓ‬ ‫ﹾ‬ ‫‪‬ﹶ‬ ‫ﻻ ﺘﺯﺍل‬ ‫ْ‬ ‫ﻤﺜﻠﻤﺎ ﺭﺃﻴﺘﻬﺎ ﻤﻨﺫ ﺴﻨﻴﻥ‬ ‫‪‬‬ ‫ﺍﻟﺴﻠﺤﻔﺎﺓ ﺼﻐﻴﺭﺓ‬ ‫ﻜل ﻋﺎﻡ ﺼﻭﺭﺘﻲ ﺃﻜﺒﺭ ﻤﻥ ﻗﺒل ﻭﻟﻜﻥ‬ ‫‪‬‬ ‫ُ‬ ‫ّ‬ ‫ﺍﻟﺴﻠﺤﻔﺎﺓ ﺼﻐﻴﺭﺓ‬ ‫ﻜﻠﻬﻡ ﻗﺎﻟﻭﺍ ﺴﺘﻜﺒﺭ‬ ‫‪‬‬ ‫ﺍﻟﺴﻠﺤﻔﺎﺓ ﺍﻟﺼﻐﻴﺭﺓ‬ ‫ﹸ‬ ‫ﻫل ﺃﺼﺩﻕ‬ ‫ﹸ‬ ‫ﻤﺎ ﻴﻘﻭل ﺍﻟﻨﺎﺱ َﻡ..؟‬ ‫‪‬ﺃ‬ ‫َﻡ ﺃﺼﺩﻕ‬ ‫ﹸ‬ ‫ﺃ‬ ‫ﻤﺎ ﺘﺭﻱ ﻋﻴﻨﻲ؟‬ ‫ﺃﺼﺩﻕ ﻤﺎ ﺘﺭﻱ ﻋﻴﻨﻲ‬ ‫ﻭﺍﻟﺴﻠﺤﻔﺎﺓ ﺍﻟﺼﻐﻴﺭﺓ‬ ‫ﹶ‬ ‫- ١٤ -‬