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‫ﻜﺎﻓــﺭﺓ!!‬ ‫ﺸﻌــﺭ‬ ‫ﻫﺎﻟـﺔ ﻓﻬﻤـﻰ‬
‫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
‫ﺇﻻﻫﺩﺍﺀ‬ ‫ﺇﻟﻰ ﺃﺠﻤل ﻗﺼﻴﺩﺓ ﺼﺎﻏﻬﺎ ﺍﻟﺭﺤﻤﻥ‬ ‫...ﻓﻌﺠﺯﺕ ﻜﻠﻤﺎﺘﻰ ﻋﻥ ﻭﺼﻔﻬﺎ‬ ‫ﺇﻟﻴﻙ... ﻴﺎ ﻤﻥ ﻨﺒﺸﺕ ﺒﺭﻗﺘﻙ ﺭﺤﻤﻰ‬ ‫...ﻓﺎﻨﻔﺘﺢ ﻟﻙ ﺍﻟﻘﻠﺏ ﻓﺎﺴﺘﻜﺎﻥ ﺇﻟﻴﻙ ﻭﺴﻜﻨﺘﻪ‬ ‫...ﺇﻟﻰ ﻤﻰ‬ ‫٢‬
‫ﺍﻟﻔﻬﺭﺱ‬ ‫ﺍﻹﻫﺩﺍﺀ................................................... ٢‬ ‫ﻫﺫﻩ ﺍﻟﺴﻁﻭﺭ............................................. ٤‬ ‫١ –ﻭﺠﻪ................................................. ٦‬ ‫٢ – ﻟـﻭ................................................ ٩‬ ‫٣ – ﻁﻔل ﻴﻠﻬﻭ.......................................... ٢١‬ ‫٤ – ﻤﻭﻜﺏ ﺍﻟﺭﺍﺤﻠﻴﻥ.................................... ٥١‬ ‫٥ – ﺍﻟﻬﻭﻯ ﺍﻟﻀﺎﺌﻊ..................................... ٨١‬ ‫٦ – ﻜﺎﻓـﺭﺓ............................................ ١٢‬ ‫٧ – ﺍﻟﻨـﺨـل.......................................... ٤٢‬ ‫٨ – ﺭﻫﻴﻥ ﺍﻟﻌﻴـﻭﻥ.................................... ٦٢‬ ‫٩ – ﺇﺨــﻼﺹ....................................... ٠٣‬ ‫٠١- ﺇﻻ ﺇﻟﻴـﻙ....................................... ٢٣‬ ‫١١- ﺤﻨـﺎﻥ.......................................... ٥٣‬ ‫٢١- ﺨـﻴﻭﻁ......................................... ٨٣‬ ‫٣١- ﺍﻟﺤﺼـﺎﻥ ﺍﻷﺴﻭﺩ.............................. ٠٤‬ ‫٤١- ﺒﺼﺒـﺎﺹ...................................... ٤٤‬ ‫٥١- ﻋﺘـﺎﺏ......................................... ٧٤‬ ‫٦١- ﺃﻤـــﺔ............................. ٠٥‬ ‫٣‬
‫ﻫﺫﻩ ﺍﻟﺴﻁﻭﺭ‬ ‫ﻗﺭﺃﺕ ﻭﺃﻨﺎ ﻁﻔﻠﺔ ﺼﻐﻴﺭﺓ، ﺍﻟﻤﻘﺎل ﺍﻻﻓﺘﺘـﺎﺤﻰ ﻟﻠﺭﺍﺤـل‬ ‫ﻴﻭﺴﻑ ﺍﻟﺴﺒﺎﻋﻲ ﻓﻰ ﺍﻟﻌﺩﺩ ﺍﻷﻭل ﻤﻥ ﻤﺠﻠﺔ ﺍﻟﺸﻌﺭ، ﺍﻟﺼﺎﺩﺭ ﻓﻰ‬ ‫ﻴﻨﺎﻴﺭ ٦٧٩١، ﻭﻜﺎﻥ ﺃﺒﻰ ﺭﺤﻤﺔ ﺍﷲ ﻋﻠﻴﻪ ﻗﺩ ﺩﺃﺏ ﻋﻠﻰ ﺸـﺭﺍﺀ‬ ‫ﺍﻟﻤﺠﻼﺕ ﺍﻟﺸﻌﺭﻴﺔ.. ﻭﻭﺍﻅﺒﺕ ﻋﻠﻰ ﺍﻟﺘﻬﺎﻡ ﺴـﻁﻭﺭﻫﺎ ﺒﺸـﻐﻑ‬ ‫ﻭﺤﺏ، ﻭﺇﻥ ﻟﻡ ﺃﻓﻬﻡ ﻏﺎﻟﺒﻴﺔ ﻤﺎ ﻴﻜﺘﺏ ﺤﻴﻨﻬﺎ.‬ ‫ﻴﻘﻭل ﺍﻟﺴﺒﺎﻋﻰ: ﻻ ﺃﺨﻔﻰ ﺇﻋﺯﺍﺯﻯ ﻟﻠﺸﻌﺭ، ﻓﻘـﺩ ﻜﺘﺒﺘـﻪ‬ ‫ﻤﺒﻜﺭﺍ ﺤﻴﻥ ﻜﻨﺕ ﻋﻀﻭ ﺍﻟﺠﻤﻌﻴـﺔ ﺍﻷﺩﺒﻴـﺔ ﺒﻤﺩﺭﺴـﺔ ﺸـﺒﺭﺍ‬ ‫ﹰ‬ ‫ﺍﻟﺜﺎﻨﻭﻴﺔ.. ﻭﻜﺘﺒﺘﻪ ﺒﻌﺩ ﺫﻟﻙ ﺒﺴﻨﻭﺍﺕ ﺃﻴﻀﺎ، ﺜﻡ ﻁﻭﻴﺘـﻪ ﻭﺤـﻴﻥ‬ ‫ﻭﺠﺩﺕ ﻨﻔﺴﻰ ﻤﻊ ﺍﻟﻘﺼﺔ.. ﺇﻟﺦ.‬ ‫ﺍﺨﺘﺒﺄﺕ ﺍﻟﻤﻘﺎﻟﺔ ﻓﻰ ﻁﻴﺎﺕ ﺫﺍﻜﺭﺘﻰ ﻭﻤﺭﺕ ﺍﻟﺴﻨﻭﺍﺕ ﺇﻟﻰ‬ ‫ﺃﻥ ﺴﻤﻌﺘﻪ ﺫﺍﺕ ﻴﻭﻡ ﻓﻰ ﺤﺩﻴﺙ ﺘﻠﻔﺯﻴﻭﻨﻲ، ﻴﻘﻭل ﺇﻨﻪ ﻨﺎﺩﻡ ﻋﻠـﻰ‬ ‫ﻋﺩﻡ ﻨﺸﺭ ﺘﺠﺭﺒﺘﻪ ﺘﻠﻙ.. ﻭﻟﻡ ﻴﻜﻥ ﻫﺫﺍ ﺍﻟﺘﺼﺭﻴﺢ ﻓﺭﻴـﺩﺍ ﻤـﻥ‬ ‫ﹰ‬ ‫ﻨﻭﻋﻪ ﺨﺎﺼﺔ ﺒﻌﺩ ﺃﻥ ﻭﻋﻴﺕ ﻭﺃﺩﺭﻜﺕ ﺘﺠﺎﺭﺏ ﻋﺩﻴﺩﺓ ﻷﺩﺒـﺎﺀ‬ ‫ﺒﺩﺃﻭﺍ ﺸﻌﺭﺍﺀ ﺜﻡ ﺍﺴﺘﺭﺍﺤﻭﺍ ﺇﻟـﻰ ﺃﺸـﻜﺎل ﺃﺨـﺭﻯ ﻜﺎﻟﻘﺼـﺔ‬ ‫ﻭﺍﻟﻤﺴﺭﺤﻴﺔ ﺃﻭ ﺍﻟﺭﻭﺍﻴﺔ:‬ ‫ﻭﻷﻨﻨﻰ ﺒﺩﺃﺕ ﻤﺜل ﺍﻟﻜﺜﻴﺭﻴﻥ.. ﺃﻜﺘﺏ ﺍﻟﺸﻌﺭ ﻭﺃﻤﻴل ﺇﻟﻴﻪ،‬ ‫ﺜﻡ ﺍﺴﺘﻜﺎﻨﺕ ﻨﻔﺴﻰ ﻟﻠﻘﺼﺔ ﻭﺍﻟﺭﻭﺍﻴﺔ – ﻓﻘﺩ ﺠـﺎﺀﺕ ﺍﻟﻨﺼـﻴﺤﺔ‬ ‫٤‬
‫ﺍﻟﻐﺎﻟﻴﺔ ﻤﻥ ﺃﺼﺩﻗﺎﺀ ﻗﺩ ﺘﺤﻘﻘﻭﺍ ﺸﻌﺭﺍﺀ ﻭﻨﻘﺎﺩﺍ: ﻻ ﺘﺨﺠﻠﻰ ﻤـﻥ‬ ‫ﹰ‬ ‫ﺘﺠﺭﺒﺘﻙ ﻓﻬﻰ ﺠﺩﻴﺭﺓ ﺒﺎﻻﺤﺘﺭﺍﻡ ﻭﻋﻠﻴﻙ ﺒﻨﺸﺭﻫﺎ.‬ ‫ﻭﻫﻨﺎ ﻗﻔﺯﺕ ﻤﻘﻭﻟﺔ ﺍﻟﺴﺒﺎﻋﻰ ﻤﻥ ﺜﻨﺎﻴﺎ ﺫﺍﻜﺭﺘـﻰ.. ﺇﻟـﻰ‬ ‫ﻋﻘﻠﻰ ﻭﻗﻠﺒﻰ.. ﺍﻟﻘﺼﺎﺌﺩ ﺍﻟﻤﻁﻭﻴﺔ.. ﻭﻫﺎ ﺃﻨﺫﺍ ﺃﻁﺭﺤﻬﺎ ﺒﻴﻥ ﻴﺩﻯ‬ ‫ﺍﻟﻘﺎﺭﺉ ﻭﺃﻥ ﻜﻨﺕ ﻗﺩ ﺘﺠﺎﻭﺯﺘﻬﺎ ﻓﻨﻴﺎ، ﻓﻬﻰ ﻭﺍﺤـﺩ ﻤـﻥ ﺃﻭﻻﺩﻯ‬ ‫ﻜﻤﺎ ﻴﻘﻭﻟﻭﻥ.. ﻭﻷﻨﻬﺎ ﻭﻟﻴﺩ ﺸﺭﻋﻰ: ﻓﺄﻨﺎ ﺃﻋﺘـﺭﻑ ﺒﻬـﺎ ﻭﺃﻗـﺭ‬ ‫ﺒﺫﻨﺒﻰ ﺇﻥ ﺃﺨﻁﺎﺕ.. ﻓﻬﺎ ﻜﻡ ﺴﻁﻭﺭﻯ.. ﺃﻫـﺩﻴﻬﺎ ﺇﻟـﻴﻜﻡ ﺒﻜـل‬ ‫ﺒﻜﺎﺭﺘﻬﺎ ﻭﺒﺭﺍﺀﺘﻬﺎ.‬ ‫ﻫﺎﻟﺔ ﻓﻬﻤﻰ‬ ‫ﻤﺎﻴﻭ ٤٠٠٢‬ ‫٥‬
‫ﻭﺠﻪ‬ ‫ﻟﻭ ﺸﺎﺀﺕ ﺍﻟﻌﻴﻨﺎﻥ ﺃﻥ ﺘﻬﻤﺱ‬ ‫ِ‬ ‫ِ‬ ‫ﻭﺃﻥ ﺘﻬﻔﻭ‬ ‫ﻭﺃﻥ ﺘﺴﺒﺢ‬ ‫‪‬‬ ‫ﻓﺄﻯ ﻤﻼﻤﺢ ﺍﻟﻔﺭﺩﻭﺱ‬ ‫ِ‬ ‫‪‬‬ ‫ﺃﻯ ﻤﻼﻤﺢ ﺍﻟﻔﺭﺩﻭﺱ ﺘﻐﻔﻭ ﻓﻭ ﹶﻬﺎ ﻋﻴﻨﻰ؟‬ ‫ﻗ‬ ‫ِ‬ ‫ِ‬ ‫‪‬‬ ‫ﻓﺈﻴﺔ ﻟﻔ ٍﺔ ﻤﻨﻙ‬ ‫‪‬‬ ‫ﹸ ﺘ‬ ‫ﹸﻌﻠﻤﻨﻰ ﻟﻐﺎﺕ ﺍﻟﻨﻁﻕ ﻭﺍﻟﻤﻨﻁﻕ‬ ‫ﹾ‬ ‫ِ‬ ‫ِ‬ ‫ﺘ‬ ‫ﹸﻌﻠﻤﻨﻰ ﺭﻓﻴﻑ ﺍﻟﻁﻴﺭ ﻭﺍﻟﺘﻐﺭﻴﺩ ﻭﺍﻟ ﱠﺩﻭ‬ ‫ِ ﺸ‬ ‫ِ‬ ‫ﹶ‬ ‫ﺘ‬ ‫ﹸﻌﻠﻤﻨﻰ.. ﺼﺩﻯ ﻭﻁﻨﻰ‬ ‫ﺘ‬ ‫***‬ ‫ﻫﻭ ﺍﻟﻭﺠﻪ ﺍﻟﺫﻯ ﻴﻬﻭﺍﻩ ﺍﻟﻘﻠﺏ ﻋﺭﺒﻴﺩﺍ‬ ‫ﹰ‬ ‫‪‬‬ ‫‪‬‬ ‫‪‬‬ ‫ﻭﻨﻴﺭﺍﻨﺎ ﻀﺒﺎﺒﻴﻪ‬ ‫‪‬‬ ‫ﹰ‬ ‫ﻭﺃﻏﻨﻴﺔ ﺴﻤﺎﻭﻴﻪ‬ ‫‪‬‬ ‫ﻭﺒﺤﺭﺍ ﻓﻴﻪ ﺃﻏﺭﻗﻨﻰ‬ ‫ﹰ ِ‬ ‫***‬ ‫ﻫﻭ ﻭﺠﻪ‬ ‫‪‬‬ ‫ﺃﺨﺎﻁﺒﻪ ﺼﻭﺘﺎ‬ ‫ﹰ‬ ‫‪‬‬ ‫٦‬
‫ﻴﺩﺭﻙ.. ﺍﻟﺼﻤﺕ‬ ‫ﹶ‬ ‫‪‬‬ ‫ﻀﺤﻭﻜﺎ.. ﻴﻨﺜﺭ ﺍﻟﺒﺴﻡ‬ ‫‪‬‬ ‫ﹰ‬ ‫ﻋﺒﻭﺴﺎ.. ﻴﺤﺘﻭﻯ ﺤﺯﻨﻰ‬ ‫ﹶ‬ ‫ﻭ ‪‬ﻠﻬﻤﻨﻰ.. ﻁﺭﻴﻕ ﺍﻟﻴﻭﻡ‬ ‫ِ‬ ‫ﹶ‬ ‫ﻴ‬ ‫ﻴﻠﻬﻤﻨﻰ ﻁﺭﻴﻕ ﺍﻟﻘﺎﺩﻡ ﺍﻷﺒﺩﻯ‬ ‫‪‬‬ ‫ِ‬ ‫ﹶ‬ ‫ﻫﻭ ﻭﺠﻪ ﺒﻼ ﺤﺭﻑ ﻭﻻ ﻜﻠﻡ‬ ‫ٍ‬ ‫ٍ‬ ‫‪‬‬ ‫ﻭﺃﺒﻠﻎ ﻤﻥ ﺠﻤﻴﻊ ﻟﻐﺎ ِﻨﺎ ﺍﻟﺤﻴﻪ‬ ‫‪‬‬ ‫ِ ﺘ‬ ‫ﹸ‬ ‫‪‬ﻭ.. ﻭ ‪‬ﻬﻙ‬ ‫ﺠ‬ ‫ﻫ‬ ‫ﺃﻏﺴﻁﺱ ٩٩٩١‬ ‫٧‬
‫ﻟــــﻭ‬ ‫ﻗﺎل ﻟﻰ: ﻟﻭ ﺘﺫﻜﺭﻴﻥ‬ ‫ﻟﻭ ﺘﺫﻜﺭﻴﻥ ﺤﺒﻴﺒﺘﻰ‬ ‫ﻜﻴﻑ ﻗﺩ ﻤﺭ ﺍﻟﻠﻘﺎﺀ‬ ‫‪‬‬ ‫ﻫﻤﺱ ﻭﺼﻤﺕ ﻭﺼﻼﺓ‬ ‫ﹲ‬ ‫ﹸ‬ ‫‪‬‬ ‫ﻓﻰ ﻤﻌﺒﺩ ﻭﺒﺩﻭﻥ ﹶﺒﺭ‬ ‫ِﺨ ٍ‬ ‫ٍ‬ ‫ﺃﻭ ﺭﻴﺎﺀ..‬ ‫‪‬‬ ‫ﻋﻴﻨﺎﻙ ﺘﺴﺒﺢ ﻓﻰ ﻏﻤﺎﻡ‬ ‫ٍ‬ ‫‪‬‬ ‫ِ‬ ‫ﻏﺎﺭﻕ ﻓﻰ ﺒﺤﺭ ﺩﻤﻊ‬ ‫ٍ‬ ‫ٍ‬ ‫ﺨﺎﺌﻑ ﺴﺠﻥ ﺍﻟﻔﺭﺍﻕ‬ ‫ﹾ‬ ‫‪‬‬ ‫ٍ‬ ‫ﻟﻭ ﺘﺫﻜﺭﻴﻥ ﺤﺒﻴﺒﺘﻰ‬ ‫ﺃﻥ ﺍﻟﻠﻘﺎﺀ‬ ‫ﻗﺩ ﻜﺎﻥ ﻤﻥ ﻗﺒل ﺍﻟﻠﻘﺎﺀ‬ ‫ِ‬ ‫ﻫل ﺘﺫﻜﺭﻴﻥ‬ ‫ﻜﻡ ﻨﻤﺕ ﻋﻤﺭﺍ ﻓﻭﻕ ﺜﻐﺭﻯ‬ ‫ﹰ‬ ‫ِ‬ ‫ﻜﻡ ﺭﻑ ﻭﻫﺠﻙ ﻓﻭﻕ ﺸﻌﺭﻯ‬ ‫ﹶ ‪ ِ‬ﹶ‬ ‫ﺇﻨﻰ ﺭﺴﻤﺘﻙ ﺯﻫﺭﺓ ﺍﻟﻁﻔﻭﻟﺔ‬ ‫ِ‬ ‫ﹶ‬ ‫ِ‬ ‫ﻓﻭﻕ ﺼﺩﺭﻯ‬ ‫ﹶ‬ ‫٨‬
‫ﺃﺤﺭﻓﺎ ﻻﺴﻡ ﻴﻁﻭﻑ ﺒﻨﺒﺽ ﻓﻜﺭﻯ‬ ‫ِ‬ ‫ﹸ‬ ‫ٍ‬ ‫ﺴﻤﻴﺘﻙ – ﻗﺒل ﺍﹸﻤﺴﻤﻰ – ﺃﻤﻨﻴﻪ‬ ‫‪‬‬ ‫َ ﻟ‬ ‫ﻭﺍﻵﻥ ﺒﺕ ﺘﺤﻤﻠﻴﻥ‬ ‫ِ‬ ‫ﺃﺴﻤﺎﺀ ﻜل ﺍﻟﻨﺴﻭﺓ‬ ‫ِ‬ ‫‪ ‬ﱠ‬ ‫ﻨﺠﻭﻯ.. ﺜﻨﺎﺀ.. ﻭﻋﺯﺓ‬ ‫ﹰ‬ ‫‪‬‬ ‫ﻟﻜﻨﻬﻥ ﺠﻤﻴ ‪‬ﻬﻥ ﺒﺼﻴﺹ ﻭﺠﺩ ﻤﻥ ﺴﻨﺎﻙ‬ ‫‪ٍ ‬‬ ‫ﻌ‬ ‫ﻫل ﺘﻌﻠﻤﻴﻥ.. ﺤﺒﻴﺒﺘﻰ‬ ‫ﻜﻡ ﺫﺍ ﻴﺅﺭﻗﻨﻰ ﻫﻭﺍﻙ؟‬ ‫ﻟﻭ ﺘﻌﻠﻤﻴﻥ!!‬ ‫٩‬
‫ﻁﻔل ﻴﻠﻬﻭ‬ ‫ﺃﻨﺯﻉ ﺜﻭﺏ ﺍﻟﺨﻭﻑ ﺍﻟﻤﻬﺘﺭﺉ‬ ‫َ‬ ‫ِ‬ ‫‪‬‬ ‫‪‬‬ ‫ﺃﺩﺍﺭﻯ ﻋﻭﺭﺍﺘﻰ ﺒﻴﺩﻯ.. ﻓﻼ ﺘﺨﺘﺒﺊ‬ ‫‪‬‬ ‫ﻭﻅﻥ ﻴﺘﺩﻟﻰ ﻤﻥ ﺸﻔﺘﻰ.. ﻻ ﻟﻥ ﻴﻠﺩ‬ ‫‪‬‬ ‫‪‬‬ ‫‪‬‬ ‫ﺠﻨﻴﻨﺎ ﻤﺤﺘﻀﺭﺍ ﺠﺎﺀ..‬ ‫‪ ‬‬ ‫ﹰ‬ ‫ﻭﻫﺫﺍ ﺍﻟ ‪‬ﻠﻡ ﺘﻜﺴﺭ ﺸﺫﺭﺍﺕ‬ ‫ٍ‬ ‫ﺤ‪ ‬‬ ‫ﺘﺫﺭﻭﻫﺎ ﺍﻟﺭﻴﺢ ﻫﻨﺎﻙ‬ ‫‪‬‬ ‫ﻭﺭﻴﻘﺎﺕ ﺍﻟﻭﺠﺩ ﺍﻷﺨﻀﺭ ﻟﻥ ﺘﺼﻨﻊ ﺇﻻ ﻁﺎﺌﺭﺓ ﻭﺭﻗﻴﻪ‬ ‫‪‬‬ ‫ﹰ‬ ‫‪‬‬ ‫ِ‬ ‫ِ‬ ‫ﻨ ‪‬ﻘ ‪‬ﺎ ﺒﺤﺒﻴﺒﺎﺕ ﺍﻷﺸﻭﺍﻕ‬ ‫ِ‬ ‫ِ‬ ‫ﻤﻬ‬ ‫ﺃﻗﺎﻡ ﺠﻨﺎﺤﻴﻬﺎ ﻤﻥ ﺘﺎﺭﻴﺦ ﺍﻟﻠﻬﻔﺔ ﻓﻰ ﺠﻨﺒﻴﻪ‬ ‫ِ‬ ‫ِ‬ ‫‪‬‬ ‫ﻭﻏﻤﻐﻡ ﻓﻴﻬﺎ ﻤﻜﻨﻭﻥ ﺍﻟﻨﻔ ِ، ﻭﻤﻜﻨﻭﻥ ﺍﻷﻴﺎﻡ ﺍﻟﺤ ‪‬ﻠﻰ‬ ‫ِ ﺒ‬ ‫‪‬‬ ‫‪ ‬ﺱ‬ ‫‪‬‬ ‫ﻓﺎﻨﻁﻠﻘﺕ..‬ ‫ﻓﻭﻕ ﺍﻟﺭﻴﺢ ﺒﺭﻴﺢ‬ ‫ٍ‬ ‫ِ‬ ‫ﹶ‬ ‫ﻓﻭﻕ ﺍﻟﻨﺠﻤﺎﺕ ﺒﻨﺠﻤﺎﺕ‬ ‫ٍ‬ ‫ِ‬ ‫ﹶ‬ ‫ﻓﻭﻕ ﺍﻷﻓﻼﻙ ﺠﻤﻴﻌﺎ‬ ‫ﹰ‬ ‫ﹶ‬ ‫ﺤﺘﻰ ﻟﻜﺄﻥ ﺍﻷﻓﻼﻙ‬ ‫‪‬‬ ‫‪‬‬ ‫ﺫﻴﻭل ﻤﻨﻬﺎ‬ ‫ٌ‬ ‫ﻭﻜﺄﻥ ﺍﻟﹼﻪ ﺍﺼﻁﻨﻊ ﺴﻤﻭﺍﺕ ﺍﻟﻜﻭﻥ ﻟﺘﺤﻭﻴﻬﺎ‬ ‫ِ‬ ‫ِ‬ ‫‪‬‬ ‫‪ ‬ﻠ‬ ‫٠١‬
‫ﻭﺘﻁﻴﺭ ﺍﻟﻁﺎﺌﺭﺓ‬ ‫ﹸ‬ ‫‪‬‬ ‫ﺤﺘﻰ ﻟﻡ ﻴﺒﻕ ﻫﻨﺎﻟﻙ ﻓﻭﻕ ﺘﻌﺩﻭ ﻓﻭﻗﻪ‬ ‫ﹶ‪‬‬ ‫‪ ‬ﹲ‬ ‫ﹶ‬ ‫ﺃﻭ ﻓﻠﻙ ﺘﺠﺘﺎﺯﻩ‬ ‫‪‬‬ ‫ﹶﹶ ‪‬‬ ‫ﺃﻭ ﻜﺄﻨﻰ ﻗﺩ ﺼ ‪‬ﻗﺕ ﺍﻷﺼﺩﺍﺀ‬ ‫‪‬‬ ‫ﺩ ﹸ‬ ‫ﻓﻰ ﺒﺭﻫﺔ ﻭﻋﻰ – ﻴﺎ ﻟﻴﺕ ﺍﻟﻭﻋﻰ ﺘﻤﺎﻭﺕ –‬ ‫ﹶ‬ ‫ٍ‬ ‫ِ‬ ‫ﺘﺘﻬﺎﻭﻯ ﻜل ﺍﻷﻭﺭﺍﻕ، ﺍﻷﻟﻭﺍﻥ‬ ‫ِ‬ ‫ِ‬ ‫ﱡ‬ ‫ﻭﺃﺼﺩﺍﺀ ﺍﻟﺭﺅﻴﺎ‬ ‫ِ‬ ‫ﺘﺘﻬﺎﻭﻯ ﺍﻟﻁﺎﺌﺭﺓ: ﺃﻨﺎ‬ ‫ﹸ‬ ‫ﻤﺎ ﻜﺎﻥ ﺍﻟﻁﻴﺎﺭ ﺴﻭﻯ ﻁﻔل ﻴﻠﻬﻭ‬ ‫ٍ‬ ‫‪‬‬ ‫ﻴﻠﻬﻭ ﻓﻰ ﺘﻴﻪ ﺃﺒﺩﻯ‬ ‫ٍ‬ ‫ﻴﻠﻬﻭ..‬ ‫ﺍﻟﻘﺼﻴﺩﺓ ﻤﻬﺩﺍﻩ ﺇﻟﻰ ﺍﻟﺼﺩﻴﻘﺔ.. ﺍﻟﺼﺤﻔﻴﺔ / ﻋﺯﺓ ﻴﺤﻴﻰ‬ ‫ﺃﻏﺴﻁﺱ ٩٩٩١‬ ‫١١‬
‫ﻤﻭﻜﺏ ﺍﻟﺭﺍﺤﻠﻴﻥ‬ ‫ﻜﻨﺕ ﺍﻟﺒﺭﻴﺌﺔ ﻴﺎ ﺃﺒﻰ‬ ‫ﹶ‬ ‫ﹸ‬ ‫ﻜﺎﻟﻔﺠﺭ ﻴﺭﺠﻭﻩ ﺍﻟﺼﺒﺎﺡ‬ ‫‪‬‬ ‫ِ‬ ‫ﻭﺘﺠﻤﻌﻭﺍ: ﺃﺸﺭﺍ ‪‬ﻫﻡ‬ ‫ﺭ‬ ‫ﻜﻴﻤﺎ ﻴﺤﻴﻠﻭﺍ ﺒﺴﻤﺘﻰ.. ﺼﺭﻋﻰ.. ‪‬ﺭﺍﺥ‬ ‫ﺼ‬ ‫ﻫﺫﻯ ﺩﻤﻭﻋﻰ ﻟﻡ ﺘﻌﺩ..‬ ‫ﻗﻁﺭﺍ.. ﻨﺩﻯ ﻓﻰ ﺨﺩ ﻫﺎﺘﻴﻙ ﺍﻟﺯﻫﻭﺭ‬ ‫ِ‬ ‫ﹰ‬ ‫ﺃﻀﺤﺕ ﻟﻬﻴﺒﺎ ﻴﺤﺭﻕ ﺍﻟﻭﺠﻨﺎﺕ ﻓﻰ ﻭﺠﻪ ﺍﻟﻨﻬﺎﺭ‬ ‫ِ‬ ‫ِ‬ ‫ﹸ‬ ‫ﹰ‬ ‫ﻭﻟﻘﺩ ﺼﺒﺄﺕ ﻜﻨﺴﻤﺔ ﻓﻰ ﻅﻬﺭ ﻴﻭﻡ ﻗﺎﺌﻅ‬ ‫ِ ٍ‬ ‫ٍ‬ ‫ﹸ‬ ‫ﻜﺎﻟﺭﺍﺡ ﻋﺭﺒﺩ ﻓﻰ ﻋﻘﻭل ﺘﺎﺌﻬﺎﺕ‬ ‫ٍ‬ ‫‪‬‬ ‫ِ‬ ‫ﻨﻬﺒﻭﺍ ﺍﻟﻜﺭﺍﻤﺔ ﻴﺎ ﺃﺒﻰ‬ ‫ﹶ‬ ‫ﻭﺍﻷﺭﺽ ﻭﺍﻟ ِﺭﺽ ﺍﻟﻤﺼﺎﻥ‬ ‫‪ ‬ﻌ ‪‬‬ ‫ﻭﺃ ‪‬ﻭﺍ ﺠﻤﻴﻊ ﺭﺠﺎﻟﻨﺎ‬ ‫‪‬‬ ‫ﺩ‬ ‫ﻭﺍﺴﺘﻌﺒﺩﻭﺍ ﺤﺘﻰ ﺍﻟﻨﺴﺎﺀ‬ ‫ﺴﺭﻗﻭﺍ ﺍﻟﺒﺭﺍﺀﺓ ﻭﺍﻟﻁﻔﻭﻟﺔ.. ﻴﺴﺭﻗﻭﻥ ﺍﻷﻤﻨﻴﺎﺕ‬ ‫ﹶ‬ ‫‪‬ﹶ‬ ‫ﺃﻨﺎ ﻤﺎ ﺭﺜﻴ ﹸﻙ ﻴﺎ ﺃﺒﻰ ﺇﺫﺍ ﺃﻨﺕ ِﺕ‬ ‫ﹶﻤ ﹶ‬ ‫ﺘ‬ ‫ﺃﺭﺜﻰ ﺍﻟﻨﻔﻭﺱ ﺍﻟﻀﺎﺌﻌﺎﺕ ﻤﻊ ﺍﻟﺴﻨﻴﻥ‬ ‫ِ‬ ‫‪‬‬ ‫ﺒﺎﻋﻭﺍ ﺍﻟﺤﻘﻴﻘﺔ ﺒﺎﻟﺭﺨﻴﺹ‬ ‫ﹶ‬ ‫٢١‬
‫ﺫﺒﺤﻭﺍ ﺍﻷﺭﺍﻤل ﻭﺍﻟﻌﺠﺎﺌﺯ ﻭﺍﻟﻐﻨﺎﺀ‬ ‫‪‬‬ ‫َ‬ ‫ﻋﻬﺩ ﻴﺠﺊ ﺒﻼ ﺃﻤﺎﻥ‬ ‫‪ُ ‬‬ ‫ﺒﻠﺩ ﻏﺭﻴﺏ ﻻ ﻴﺼﺎﻥ‬ ‫‪‬‬ ‫‪‬‬ ‫ﻗﺩ ﺃﺭﻀﻌﻭﻨﺎ ﺍﻟﺫل ﻓﻴﻪ ﻭﺍﻟﻬﻭﺍﻥ‬ ‫َ ِ‬ ‫ﺤﺘﻰ ﺸﺒﻌﻨﺎ.. ﻭﺍﻟﺭﺤﻴل ﻫﻭ ﺍﻟ ِﻁﺎﻡ‬ ‫ﻔ‬ ‫ُ‬ ‫ﺃﻨﺎ ﻴﺎ ﺃﺒﺎﻨﺎ ﺭﺍﺤﻠﺔ...‬ ‫ﺍﻟﻌﻤﺭ ﻓﻴﻨﺎ.. ﻻ ﺜﻤﻥ‬ ‫‪‬‬ ‫ﻤﺎ ‪‬ﺩﺕ ﺃﺩﺭﻯ ﻤﺎ ﺍﻷﻤل‬ ‫ﻋ‬ ‫ﻀﺎﻋﺕ ﺃﻤﺎﻨﻴﻨﺎ ﻭﻀﻌﻨﺎ ﻓﻰ ﺯﻤﺎﻥ ﻜﻠﻪ ﺭﻫﻥ ﺍﻟﻜﺫﺏ‬ ‫‪‬‬ ‫ٍ ﹸ‪‬‬ ‫ً‬ ‫ﻓﻠﺘﺤﻤﺩﻥ ﻫﺫﺍ ﺍﻟﺭﺤﻴل.. ﺴﺒ ﹶﺘﻨﺎ‬ ‫ﻘ‬ ‫َ‬ ‫‪‬‬ ‫ﻓﺎﻟﻤﻭﺕ ﺃﻤﻨﻴﺔ ﺇﺫﺍ ﻋﺯ ﺍﻟﺒﻘﺎﺀ‬ ‫ﹲ‬ ‫ﻤﺎﺭﺱ ٧٩٩١‬ ‫٣١‬
‫ﺍﻟﻬﻭﻯ ﺍﻟﻀﺎﺌﻊ‬ ‫ﻤﺎ ﺠﺌﺕ ﺩﺭﺒﻙ ﺸﺎﻜﻴﺎ‬ ‫ﹰ‬ ‫ﹸ ‪ ‬‬ ‫ﺃﻭ ﺜﺎﺌﺭﺍ ﺃﻭ ﺒﺎﻜﻴﺎ‬ ‫ﹰ‬ ‫ﻓﻠﺭﺏ ﻗﻴﺩ ﻓﻰ ﺍﻟﺨﻔﺎﺀ ﻜﺴﺭﺘﻪ‬ ‫‪‬‬ ‫ِ‬ ‫‪ٍ ‬‬ ‫ﻭﻏﺩﻭﺕ ﺤﺭﺍ ﻻ ﺘﻜﺒﻠﻨﻰ ﻴﺩﺍﻙ‬ ‫ﺃﺴﺘﻨﺸﻕ ﺍﻟﺸﻤﺱ ﺍﻟﺤﻨﻭﻥ.. ﺃﺒﺜﻬﺎ ﻭﻫﺞ ﺍﻟﺠﻭﻯ‬ ‫‪‬‬ ‫ﹸ‬ ‫ﺃﺴﺘﺯﺭﻉ ﺍﻟﺤﺏ ﺍﻟﺠﻤﻭﺡ ﺤﺩﺍﺌﻘﺎ ﻓﻰ ﺭﺒﺎ ﻟﻴﺴﺕ ﺭﺒﺎﻙ‬ ‫‪‬‬ ‫ﹰ‬ ‫‪‬‬ ‫‪‬‬ ‫‪‬‬ ‫ﻻ ﺘﺫﻜﺭ ﺍﻟﻤﺎﻀﻰ ﺍﻟﻌﻤﻴﻕ.. ﻨﺴﻴ ﹸﻪ‬ ‫ﺘ‬ ‫ﹶ‬ ‫ﻭﺍﻟﻠﻴل ﺃﻁﻭﻯ ﻓﻰ ﺼﺤﺎﺌﻔﻪ ﺠﻔﺎﻙ‬ ‫َ‬ ‫ﺃﻨﺎ ﺇﻥ ﺫﻜﺭﺘﻙ ﻟﺴﺕ ﺃﺫﻜﺭ ﻏﻴﺭ ﻫﺠﺭﻙ ﻓﻰ ﻟﻴﺎﻟﻰ ﻏﺭﺒﺘﻰ‬ ‫ﻋﻤﺭﺍ ﺨﻭﺍﺀ.. ﻤﺎ ﺍﺭﺘﻭﻯ ﺇﻻ ﺒﻨﺎﺭ ﻤﻥ ﻫﻭﺍﻙ‬ ‫‪‬‬ ‫ﹰ‬ ‫ﻓﻰ ﺯﺤﻤﺔ ﺍﻟﺸﻭﻕ ﺍﻨﻁﻠﻘﺕ.. ﺘﺭﻜﺘﻨﻰ‬ ‫ﺃﺸﺒﺎﺡ ﻭﺠﺩ ﺘﺎﺌﻪ ﻓﻰ ﻅل ﻟﻴل ﻤﻥ ﺴﻤﺎﻙ‬ ‫‪ٍ ‬‬ ‫ﻭﻗﻠﺒﻰ – ﻴﺎ ﻟﻘﻠﺒﻰ - ﻜﻡ ﻟﻬﻭﺕ ﺒﻨﺒﻀﻪ ﻭﺭﻤﻴﺘﻪ‬ ‫ﻓﻰ ﺃﻟﻑ ﺩﺭﺏ.. ﻤﺎ ﺭﻤﺎﻙ‬ ‫ٍ‬ ‫ِ‬ ‫ﻜﻡ ﻤﻥ ﺭﺅﻯ ﺯﻴﻔﺘﻬﺎ ﻭﻁﻤﺴﺘﻬﺎ‬ ‫ﻭﺘﻐﺎﻓﻠﺕ ﻋﻥ ﺩﻤﻌﺘﻰ ﻋﻴﻨﺎﻙ‬ ‫٤١‬
‫ﻓﻠﻴﻤﺽ ﻋﻨﻰ ﻜل ﻤﺎ ﺼﺎﻏﺕ ﻴﺩﺍﻯ ﻤﻥ ﺠﻭﻯ ﻭﻴﺩﺍﻙ‬ ‫ﺇﻨﻰ ﻜﺭﻫﺘﻙ.. ﻗﺩ ﻨﺴﻴ ﹸﻙ..‬ ‫ﺘ‬ ‫ﻤﺜﻠﻤﺎ ﻨﺴﻰ ﺍﻟﻔﺅﺍﺩ ﻋﺫﺍ ‪‬ﻪ ﺒﻬﻭﺍﻙ‬ ‫‪ ‬ﺒ‬ ‫‪‬‬ ‫ﻴﻭﻨﻴﻭ ٧٩٩١‬ ‫٥١‬
‫ﻜﺎﻓﺭﺓ‬ ‫ﻁﺎﺭﺤﻨﻰ ﺍﻟﺸﻌﺭ ﻴﺫﻴﺏ ﺠﻠﻴﺩ ﺍﻟﻘﻠﺏ‬ ‫ِ‬ ‫‪ ‬‬ ‫‪‬‬ ‫ﻴﺼﻭﻍ ﺍﻟﻨﺒﺽ ﺤﺭﻭﻑ ﻗﺼﻴﺩ‬ ‫ٍ‬ ‫ﹶ‬ ‫‪‬‬ ‫ﹸ‬ ‫ﻤﻥ ﻟﻐﺔ ﺍﻟﻭﺠﺩ ﻭﻓﻴﺽ ﺍﻟﻠﻭﻋﺔ‬ ‫ِ‬ ‫ِ‬ ‫ِ‬ ‫ِ‬ ‫ﻴﺴﻁﺭ ﺃﻨﻰ ﻓﻴﺽ ﻤﻥ ﺘﻬﻭﻴﻡ ﺍﻟﻌﺸﻕ‬ ‫ِ‬ ‫‪‬‬ ‫‪‬‬ ‫ﻭﺃﻟﻬﻡ ﻟﻴل ﺍﻟﻬﺎﺌﻡ ﺴﺭ ﺍﻷﺴﺭﺍﺭ ﺒﻌﻴﻨﻰ‬ ‫‪‬‬ ‫ٍ‬ ‫ِ ‪‬‬ ‫‪َ ‬‬ ‫ﺃﺸﺘﻌل ﻤﻌﺭﺒﺩﺓ ﻓﻰ ﺍﻷﺴﺤﺎﺭ‬ ‫ِ‬ ‫ﹰ‬ ‫ﻭﺃﻭﻗﺩ ﺠﻤﺭ ﺼﺒﺎﺒﺎﺕ ﺍﻟﻌﺸﺎﻕ ﺒﻨﻔﺜﺔ ﺼﺩﺭﻯ‬ ‫ِ ِ‬ ‫ِ‬ ‫‪‬‬ ‫‪‬‬ ‫ﻟﻜﻨﻰ ﻜﺫﺒﺘﻙ ﻴﺎ ﺸﺎﻋﺭ‬ ‫‪‬‬ ‫ﹸ‪‬‬ ‫ﻓﻰ ﻋ ِﻘﻙ.. ﻓﻰ ﺘﺭﻨﻴ ِﺔ ﻗﻠﺒﻙ‬ ‫‪‬‬ ‫ﻤ‬ ‫ﺸ ‪‬‬ ‫ﺤﺘﻰ ﻓﻰ ﻅﻨﻙ ﻭﺃﻤﺎﻨﻴﻙ‬ ‫‪‬‬ ‫‪‬‬ ‫ﻓﺄﻨﺕ ﺘﺤﻴﻙ ﺨﻴﺎﻨﺎﺕ ﻜﺒﺭﻯ‬ ‫ٍ‬ ‫‪‬‬ ‫ﹶ‬ ‫ﻜل ﺼﺒﺎﺡ‬ ‫ٍ‬ ‫ﱠ‬ ‫ﻭﺃﺭﺍﻙ ﺒﺄﻟﻔﻰ ﻗﻠﺏ‬ ‫ٍ‬ ‫ﻭﺒﺄﻟﻑ ﻗﺼﻴﺩﻩ‬ ‫‪‬‬ ‫ِ‬ ‫ﻤﺸﻬﺭﺓ ﻓﻰ ﻋﻴﻨﻰ ﺃﻯ ﺍﻤﺭﺃﺓ‬ ‫ٍ‬ ‫‪‬‬ ‫ِ‬ ‫ﻓﻰ ﺜﻐﺭ ﺠﻤﻴﻊ ﺍﻟﺤﺴﻨﺎﻭﺍﺕ‬ ‫ِ‬ ‫ِ‬ ‫٦١‬
‫ﺇﻨﻰ ﻜﺎﻓﺭﺓ ﺒﻬﻭﺍﻙ ﻭﺸﻌﺭﻙ‬ ‫ِ ‪‬‬ ‫‪‬‬ ‫ﹲ‬ ‫ﻟﻥ ﺃﻭﻤﻥ ﻟﻙ!!‬ ‫‪ ‬‬ ‫ﻟﻥ ﺃﺅﻤﻥ ﺒﻙ..‬ ‫‪ ‬‬ ‫ﻤﺎﻴﻭ ٠٠٠٢‬ ‫٧١‬
‫ﺍﻟﻨﺨل‬ ‫ﺍﻷﺭﺽ ﺘﺼﺭﺥ.. ﺘﻐﺘﺼﺏ‬ ‫‪‬‬ ‫ﹸ‬ ‫‪‬‬ ‫ﺍﻷﺭﺽ ﺘﺒﺘﻠﻊ ﺍﻟﻐﻀﺏ‬ ‫‪‬‬ ‫‪ ‬‬ ‫ﻭﺘﻠﻤﻠﻡ ﺍﻷﻁﺭﺍﻑ ﻨﹲﺭﺕ ﻓﻰ ﺍﻟﻤﺩﻯ‬ ‫ﹶ ﺜ ﹾ‬ ‫‪‬‬ ‫ﻭ ِﻜ ‪ ‬ﺒﻠﻰ ﺒﺎﻟﺠﻤﺎﺠﻡ ﻭﺍﻟﻌﻔﻥ‬ ‫‪‬‬ ‫ِ‬ ‫ﺘﻥﺤ‬ ‫ﹸ‬ ‫ﻟﻭﺯﺍﺕ ﻗﻁﻥ ﺸﺎﻫﺩﺓ‬ ‫ﹸ ٍ‬ ‫ﻋﻠﻰ ﺍﻟﻭﻁﻥ‬ ‫ﺍﻟﻨﻴل.. ﺩﺠﻠﺔ.. ﻭﺍﻟﻔﺭﺍﺕ.. ﺫﻟﻴﻠﺔ‬ ‫ﹲ‬ ‫ﹸ‬ ‫ﹸ‬ ‫ُ‬ ‫ﺒﻴﺩ ﺍﻟﻴﻬﻭﺩ ﺘﻨﺠﺴﺕ:‬ ‫ﻫﻤﺱ.. ﻭﺼﻤﺕ‬ ‫ﺨﻤﺭ ﻭﻋﺭﻯ..‬ ‫‪‬‬ ‫‪‬‬ ‫ﻓﻰ ﻤﻭﺍﺌﺩ ِﺎ ﺍﻟﻤﻘﺩﺴﺔ ﺍﻟﻤﻌﺘﻘﺔ ﺍﻷﻟﻡ‬ ‫ِ‬ ‫ِ‬ ‫ﻨ‬ ‫ﻨﻭﻡ ﻭﻤﻭﺕ.. ﻭﺍﻟﻀﺤﺎﻴﺎ.. ﻻ ﺜﻤﻥ‬ ‫‪‬‬ ‫ﹲ‬ ‫‪‬‬ ‫ﺍﻟﻀﻔﺘﺎﻥ ﻤﻥ ﺍﻟﺠﻤﺎﺠﻡ.. ﻻ ﺒﺸﺭ‬ ‫‪‬‬ ‫ﺴﻴﻑ ﺍﻟﻌﺭﻭﺒﺔ ﺒﺎﻟﺒﺭﻭﺩﺓ.. ﻴﺘﻨﺤﺏ‬ ‫ﺍﻟﻨﺨل ﻴﺤﻨﻰ ﻫﺎ ‪‬ﺘﻪ‬ ‫ﻤﹶ‬ ‫ُ‬ ‫ﺍﻟﻨﺨل ﻴﻬﻭﻯ ﻟﻠﺘﺭﺍﺏ ﻭﻴﻨﺘﺤﺭ‬ ‫‪‬‬ ‫ِ‬ ‫ُ‬ ‫ﻤﺎﺭﺱ ١٠٠٢‬ ‫٨١‬
‫ﺭﻫﻴﻥ ﺍﻟﻌﻴﻭﻥ‬ ‫ﺤﺒﻴﺒﻰ.. ﻴﺭﻭﻗﻙ ﺼﻭﺕ ﺩﻤﻭﻋﻰ‬ ‫ﹸ‬ ‫ﹸ‪‬‬ ‫‪‬ﻤﻴﺩ ﺍﻟﺭﻭﺍﺴﻰ.. ﻴﻬ ‪ ‬ﺍﻟﻔﻀﺎﺀ‬ ‫‪‬‬ ‫‪ ‬ﺯ‬ ‫ﻴ ‪‬‬ ‫ﻭﻴﺒﻘﻰ ﻓﺅﺍﺩﻯ ﻴﻨﺎﺩﻯ ﻋﻠﻴﻙ‬ ‫‪‬‬ ‫ﻨﺩﺍﺀ ﻴﻌ ‪‬ﻕ ﻤﻌﻨﻰ ﺍﻟﻭﻻﺀ‬ ‫‪ ‬ﻤ‬ ‫ﻨﺩﺍﺀ ﻴﻔﻭﻕ ﻨﺩﺍﺀ ﺍﻹﺨﺎﺀ‬ ‫‪‬‬ ‫ﹸ ‪‬‬ ‫‪‬‬ ‫ﻭﺒﻴﻥ ﻀﻠﻭﻋﻰ ﻗﻠﺏ ﻴﺌﻥ‬ ‫‪  ‬‬ ‫ﻴﺒﻌﺜﺭ ﺸﻭﻗﻰ ﺩﻭﻥ ﺍﻨﺘﻬﺎﺀ‬ ‫‪‬‬ ‫‪ ‬‬ ‫‪‬‬ ‫ﻭﻴﻬﺘﻑ ﺃﻨﻙ ﺭﻏﻡ ﺍﻟﺘﻨﺎﺌﻰ‬ ‫‪ ‬‬ ‫ﺘﺤﻥ ﺇﻟﻰ ﺤﻨﻴﻥ ﺍﻟﺒﻘﺎﺀ‬ ‫‪‬‬ ‫‪‬‬ ‫‪ ‬‬ ‫ﺴﺄﻤﻀﻰ ﺇﻟﻴﻙ ﺒﺩﻭﻥ ﺍﻨﺘﻅﺎﺭ‬ ‫ٍ‬ ‫ِ‬ ‫‪‬‬ ‫ﺃﺤﻁﻡ ﺩﻭﻨﻙ ﻗﻴﺩ ﺍﻟﺠﻔﺎﺀ‬ ‫‪‬‬ ‫‪ ‬‬ ‫‪‬‬ ‫ﺒﺭﻏﻤﻰ ﺴﺄﺒﻘﻰ ﺴﺠﻴﻥ ﻗﻴﻭﺩﻯ‬ ‫٩١‬
‫ﺒﺭﻏﻤﻰ ﺴﺄﺒﻘﻰ ﺴﺠﻴﻥ ﻗﻴﻭﺩﻯ‬ ‫ﺭﻫﻴﻥ ﺍﻟﻌﻴﻭﻥ ﺒﺩﻭﻥ ﺍﻫﺘﺩﺍﺀ‬ ‫‪‬‬ ‫ِ‬ ‫ِ‬ ‫‪‬‬ ‫ﻜﺄﻨﻰ ﻤﺤﻭﺕ ﺼﻜﻭﻙ ﻋﻬﻭﺩﻯ‬ ‫‪‬‬ ‫ﹸ‬ ‫ﻜﺄﻨﻰ ﻜﺴﺭﺕ ﺠﺩﺍﺭ ﺍﻟﺼﻔﺎﺀ‬ ‫‪‬‬ ‫‪‬‬ ‫ﹸ‬ ‫ﻜﺄﻨﻰ ﺴﺤﺒﺕ ﺍﻋﺘﺭﺍﻑ ِﺠﻭﺩﻯ‬ ‫ﹶﻭ‬ ‫ﹸ‬ ‫ﻜﺄﻨﻰ ﺴﺄﺨﻁﻭ ﻨﺤﻭ ﺍﻟﻔﻨﺎﺀ‬ ‫‪‬‬ ‫‪‬‬ ‫ﻤﺎﻴﻭ ٨٩٩١‬ ‫٠٢‬
‫ﺇﺨﻼﺹ‬ ‫ﻓﻌﻼ..‬ ‫ﹰ‬ ‫ﺃﻨﺕ ﺘﺤﺏ ﻜﺜﻴﺭﺍ ﺠﺩﺍ‬ ‫ﹰ ﹰ‬ ‫ﺘﺨﻠﺹ ﻟﻰ‬ ‫ﺇﺨﻼﺼﻙ ﻟﻠﺴﻴﻘﺎﻥ ﺇﺫﺍ ﺍﻨﺩﻟﻘﺕ ﻓﻰ ﺍﻟﻁﺭﻗﺎﺕ‬ ‫ِ‬ ‫‪‬‬ ‫ﺘﺘﻸﻷ ﻜﺎﻟﻀﻭﺀ ﻋﻠﻰ ﺼﻔﺤﺔ ﻤﺎﺀ‬ ‫ِ‬ ‫ِ‬ ‫ﺘﺨﻠﺹ ﻟﻰ..‬ ‫‪‬‬ ‫ﺇﺨﻼ ‪‬ﻙ ﻟﻸﺭﺩﺍﻑ ﺍﻟﻤﻬﺘ ِﺓ‬ ‫ﺯ‬ ‫ِ‬ ‫ﺼ‬ ‫ﺯﻟﺯﻟﺔ ﻓﻭﻕ ﺍﻷﺭﺽ‬ ‫ِ‬ ‫ﹰ‬ ‫ﻭﺯﻟﺯﻟﺔ ﻓﻰ ﻋﻴﻨﻴﻙ‬ ‫‪‬‬ ‫ﹰ‬ ‫ﻭﺯﻟﺯﻟﺔ ﻓﻰ ﻗﻠ ِﻙ‬ ‫ﺒ‬ ‫ﹰ‬ ‫ﺘﺨﻠﺹ ﻟﻰ..‬ ‫‪‬‬ ‫ﻭﺨﺼﻭﺼﺎ ﺤﻴﻥ ﺘﻁل ﺇﻟﻴﻙ‬ ‫ُ‬ ‫ﹰ‬ ‫ﻨﻬﻭﺩ ﺍﻟﺤﺴﻨﺎﻭﺍﺕ‬ ‫‪‬‬ ‫ﺘﻔﺭ ﺇﻟﻴﻙ ﺒﻼ ِﻘ ‪‬ﺩ‬ ‫ﻤﻭ‬ ‫‪‬‬ ‫ﺘﺨﻠﺹ ﻟﻰ...‬ ‫‪‬‬ ‫ﻭﻜﺫﻟﻙ ﺃﺨﻠﺹ ﻤﺜﻠﻙ!!‬ ‫‪‬‬ ‫‪‬‬ ‫١٢‬
‫ﺇﻻ ﺇﻟﻴﻙ‬ ‫ﻴﻘﻭﻟﻭﻥ ﻋﻨﻙ ﺍﻟﺤﻜﺎﻴﺎ ﺍﻷﺴﺎﻁﻴﺭ‬ ‫ﻭﺃﻨﺕ ﺒﻘﻴﺔ ﻋﻤﺭ ﺤﺯﻴﻥ‬ ‫ٍ‬ ‫ﺘﺭﻜﺘﻙ ﺘﻠﻬﻭ ﺒﻰ ﺩﻤﻴﺔ، ﻗﺭﻨﻔﻠﺔ، ﻴﺎﺴﻤﻴﻨﺔ‬ ‫ﺸﻬﺭﺍ، ﺸﻬﻭﺭﺍ. ﺴﻨﻴﻥ‬ ‫ﹰ‬ ‫ﹰ‬ ‫ﻓﻠﻴﻘل ﻤﻥ ﻴﺸﺎﺀ، ﻭﺘﻐﺭﺱ ﺃﻟﺴﻨﺔ ﺍﻟﻘﺎﺌﻠﻴﻥ‬ ‫ﺍﻟ ِﺩﺍﺩ.. ﺒﻅﻬﺭﻯ.. ﺒﻘﻠﺒﻰ‬ ‫ﺤ ‪‬‬ ‫ﻓﻠﻥ ﻴﻨﺯﻑ ﺍﻟﻘﻠﺏ ﻏﻴﺭﻙ‬ ‫ﻟﻥ ﻴﻔﺘﺢ ﺍﻟﺩﻤﻊ ﻤﺠﺭﺍﻩ ﺇﻻ ﺇﻟﻴﻙ‬ ‫ﻭﻟﻥ ﺘﺸﻬﻕ ﺍﻵﻫﺔ ﻏﺼﻥ ﺸﺠﺎﻫﺎ‬ ‫ﺇﻻﻋﻠﻰ ﻅﻠﻙ ﺍﻟﻤﻨﺘﻤﻰ ﻟﺸﻁﺂﻨﻨﺎ؟‬ ‫ﺤﺘﻰ ﻭﻟﻭ ﻜﺎﻥ ﻅﻠﻙ‬ ‫ﻟﺒﻼﺒﺔ ﺘﺘﺴﻠﻕ‬ ‫ﻜل ﺍﻟﺤﺩﻭﺩ‬ ‫ﻭﻜل ﺍﻟﺒﻼﺩ‬ ‫ﻭﺘﻐﺭﺏ ﻋﻨﻰ‬ ‫ﻓﻠﻥ ﻴﻨﺯﻑ ﺍﻟﻘﻠﺏ ﻏﻴﺭﻙ‬ ‫٢٢‬
‫ﻭﻟﻥ ﻴﺸﻬﻕ ﺍﻵﻩ ﻏﻴﺭﻙ‬ ‫ﻭﻟﻥ ﻴﻔﺘﺢ ﺍﻟﺩﻤﻊ ﻤﺠﺭﺍﻩ ﻴﻭﻤﺎ‬ ‫ﹰ‬ ‫ﺇﻻ ﺇﻟﻴﻙ‬ ‫٣٢‬
‫ﺤﻨﺎﻥ‬ ‫ﻴﺎ ﺤﺒﻴﺒﻰ.. ﻟﻥ ﺃﻏﻨﻰ‬ ‫ﻀﺎﻋﺕ ﺍﻷﻨﻐﺎﻡ ﻤﻥ ﻗﻠﺒﻰ ﺍﻟﻤﻌ ﱠﻰ‬ ‫ﻨ‬ ‫ﻭﺍﻟﻤﻌﺎﻨﻰ ﻓﻰ ﺍﻟﺩﺠﻰ ﺘﻬﺭﺏ ﻤﻨﻰ‬ ‫‪‬‬ ‫ﺴﺄﺤﺒﻙ ﻫﻜﺫﺍ.. ﻭﺤﺩﻯ‬ ‫ﻭﻴﺒﻘﻰ ﺤﺒﻰ ﻓﻰ ﻟﻴﺎﻟﻰ ﺭﻫﻴﻨﺎ‬ ‫‪ ‬‬ ‫ﻓﻰ ﺩﺭﻭﺏ ﺍﻟﻴﺄﺱ ﻻ ﻴﺸﺩﻭ.. ﻭﻻ ﻴﻭﻤﺎ ﻴﻐﻨﻰ‬ ‫ﹰ‬ ‫ﻤﺜﻠﻤﺎ ﻜﺎﻥ.. ﻗﺩﻴﻤﺎ‬ ‫ﹰ‬ ‫ﻗﺒل ﺃﻥ ﻴﻨﺩﺍﺡ ﻓﺠﺭﻯ ﻤﻥ ﻏﻴﺎﺒﺎﺕ ﺍﻟﺩﺠﻰ‬ ‫ﻗﺒل ﺃﻥ ﻴﻤﻸ ﺍﻟﺸﻭﻕ ﺸﺭﺍﻋﻰ ﺒﺎﻟﺘﻤﻨﻰ‬ ‫ﹸ‬ ‫ﻭﻗﺼﻴﺩﻯ‬ ‫ﻴﻔﻀﺢ ﻭﺠﺩﻯ.. ﻭﺃﺤﻼﻤﻰ ﺍﻟﺤﻴﺭﻯ‬ ‫‪‬‬ ‫ﺘﺅﻜﺩ ﻅﻨﻰ..‬ ‫‪‬‬ ‫ﻭﺃﻨﺎ ﺃﻤﻀﻰ ﻜﻅل ﻟﻠﺴﺭﺍﺏ‬ ‫ﻓﻰ ﺒﺤﺎﺭ ﺍﻟﺤﺏ ﺃﻁﻠﻘﺕ ﺍﻟﺸﺭﺍﻉ‬ ‫ﻏﻴﺭ ﺃﻥ ﺍﻟﺭﻴﺢ ﻋﺎﺩﺕ ﻋﺎﺼﻔﺔ‬ ‫٤٢‬
‫ﺘﻬﻭﻯ ﺒﺎﻟﺫﻯ ﺸﺎﺩ ﺍﻟﻬﻭﻯ‬ ‫ﻏﻴﺭ ﺃﻨﻰ ﺴﻭﻑ ﺃﺸﺩﻭ ﻟﻭﻟﻴﺩ ﻗﺎﺩﻡ‬ ‫ٍ‬ ‫ﺒﺎﺴﻡ ﺍﻟﺜﻐﺭ ﻜﻁﻴﺭ ﺃﺯﻏﺏ‬ ‫ٍ‬ ‫ﺴﻭﻑ ﺃﺸﺩﻭ ﻭﺃﻏﻨﻰ‬ ‫٥٢‬
‫ﺨﻴﻭﻁ‬ ‫ﻴﺎ ﺃﻨﺕ.. ﻤﻥ ﻏ ‪‬ﺭ ﻗﻠﺒﻙ‬ ‫‪‬‬ ‫ﹶﻴ‬ ‫ﹶ‬ ‫ﻨﻴﺭﺍﻥ ﻴﻭﻗﻅﻬﺎ ﺼﻤﺘﻙ‬ ‫ﹸ ‪‬‬ ‫‪‬‬ ‫ﺘﺄﻤﺭ ﻓﻴﻠﺒﻰ ﻫﻤﺴﺎ‬ ‫ﹰ‬ ‫ﻻ ﻋﺸﻕ ﺴﻭﻯ ﻋﺸﻕ ﻫﻭﺍﻙ‬ ‫ﹶ‬ ‫ﻻ ﺩﻨﻴﺎ ﺇﻻ ﻓﻰ ﻗﺭﺒﻙ‬ ‫‪‬‬ ‫ﺃﺘﺤﻴﺭ.. ﺃﺴﻘﻁ ﻤﻥ ﻨﻔﺴﻰ‬ ‫‪‬‬ ‫ﻭﺃﺫﻭﺏ ﻜﻴﺎﻨﺎ ﻗﺩ ﻜﺎﻥ‬ ‫ﹰ‬ ‫ﻭﺴﺘﺒﺤﺙ ﻴﻭﻤﺎ ﻋﻥ ﻗﻠﺒﻰ‬ ‫ﹰ‬ ‫ﻓﻰ ﺫﻜﺭﻯ ﺤﺏ ﻗﺩ ﻫﺎﻥ‬ ‫ٍ‬ ‫ﻓﻠﺘﻨﺱ ﺇﺫﺍ ﺸﺌﺕ ﺍﻟﻨﺴﻴﺎﻥ‬ ‫‪‬‬ ‫ﻓﺤﺩﻭﺩﻙ ﻴﺭﺴﻤﻬﺎ ﻭﺠﺩﻯ‬ ‫ﻭﺨﻴﻭﻁﻙ ﺘﻤﺘﺩ ﺒﻘﻠﺒﻰ‬ ‫٦٢‬
‫ﺍﻟﺤﺼﺎﻥ ﺍﻷﺴﻭﺩ‬ ‫ﻭﻴﺩﻕ ﺒﺤﺎﻓﺭﻩ: ﺤﺼﺎﻥ ﺃﺴﻭﺩ‬ ‫‪‬‬ ‫ﻟﻭﺡ ﺯﺠﺎﺝ ﺃﺨﻀﺭ‬ ‫‪‬‬ ‫ٍ‬ ‫‪‬‬ ‫ﻴﻨﺸﻁﺭ ﺍﻟﻠﻭﺡ ﺍﻟﺸﻔﺎﻑ ﺸﻅﺎﻴﺎ..‬ ‫ﹸ‬ ‫‪‬‬ ‫‪‬‬ ‫ﻓﻰ ﺼﻔ ِﺓ ﻟﻭﻥ ﻤﻴﺕ‬ ‫ﺭ‬ ‫ﻭﺠﻤﺎﺠﻡ ﺘﺯﺭﻉ ﻓﻰ ﺍﻟﺭ ِل ﺍﻷﺼﻔﺭ‬ ‫ﻤ‬ ‫‪‬‬ ‫ﻨﺒﺕ ﺃﺸﺒﺎﺤﺎ ﻟﻴﻠﻴﺔ‬ ‫ﺘﺘﻠﻬﻰ ﺒﺎﻟﺫﺍﻜ ِﺓ ﺍﻟﺼﻤﺎﺀ‬ ‫ﺭ‬ ‫ﻭﺘﻌﺒﺙ ﺒﺨﻼﻴﺎ ﺍﻟﺭﻭﺡ‬ ‫ِ‬ ‫ﻭﺃﺸﺘﺎﺕ ﺍﻟﺒﺅﺱ ﻭﺃﺸﻼﺀ ﺍﻟﻬﻤﺱ‬ ‫ِ‬ ‫ِ‬ ‫ِ‬ ‫ﻭﺼﻐﻴﺭ ﻴﺒﻜﻰ‬ ‫‪‬‬ ‫ﻭﻋﺠﻭﺯ ﻴﻌﻭﻯ‬ ‫ﻭﺩﻤﺎﺀ ﺍﻷﺤﻼﻡ ﺒﺴﺎﻁ ﺃﺤﻤﺭ‬ ‫ﹲ‬ ‫ِ‬ ‫‪‬‬ ‫ﻴﺭﻭﻯ ﻅﻤﺄ ﺍﻷﺭﺽ ﺍﻟﻌﻁﺸﻰ‬ ‫ِ‬ ‫ﺒﺎﻟﺤﻘﺩ ﺍﻟﻤﻅﻠﻡ‬ ‫ِ‬ ‫ﺘﻨﻤﻭ ﺠﻤﺠﻤﺔ ﺼﺭﻋﻰ ﻋﻥ ﻫﻡ ﺃﺴﻭﺩ‬ ‫ﹲ‬ ‫٧٢‬
‫ﻭﺍﻟﺭﻴﺢ ﺘﺯﻤﺠﺭ‬ ‫‪‬‬ ‫ﻴﺒﺘﻠﻊ ﺭﺫﺍﺫ ﺍﻟﻭﻤﻀﺎﺕ ﺍﻟﻤﺫﻋﻭﺭﺓ‬ ‫ﻭﺫﺌﺎﺏ ﺍﻟﻠﻴل ﺍﻟﻤﺤﻤﻭﻤﺔ‬ ‫ﻭﻴﺩﻭﻯ ﺍﻟﺭﻋﺩ ﻭﺃﻨﺎﺕ ﺍﻟﻤﻭﺕ‬ ‫ِ‬ ‫ﹸ‬ ‫‪‬‬ ‫ﻴﻨﺘﺯﻉ ﺍﻟﺸﻤﺱ ﺍﻟﻤﻘﺘﻭﻟﺔ ﻤﻥ ﺤﻀﻥ ﺍﻟﻠﻴل‬ ‫ﹶ‬ ‫‪‬‬ ‫‪‬‬ ‫ﺘﺨ ‪‬ﺭ ﺍﻷﺭﺽ.. ﻭﺘﺯﻫﺭ‬ ‫‪‬‬ ‫ﻀ‬ ‫ﻭﻤﺴﻴﺢ ﻴﺤﻤل ﻗﺭﺁﻨﺎ ﻭﻤﺼﻠﻲ..‬ ‫ﻭﺤﺠﻴﺞ ﻤﻥ ﻜل ﺍﻟﻌﺎﻟﻡ ﻴﺄﺘﻭﻥ‬ ‫ِ‬ ‫‪‬‬ ‫ﻭﺍﻟﻘﺩﺱ ﻋﺭﻭﺱ ﻨﺸﻭﻯ‬ ‫‪‬‬ ‫‪‬‬ ‫ﻭﺍﻤﺭﺃﺓ ﻓﻰ ﺤﻀﻥ ﺍﻟﺤﺎﺌﻁ ﺘﺒﻜﻰ‬ ‫ِ‬ ‫ﹲ‬ ‫ﻻ ﻜﺒﻜﺎﺀ ﺍﻟﺜﻜﻠﻰ‬ ‫ﻭﺼﻐﺎﺭ ﻓﻰ ﻋﻤﺭ ﺍﻟﺯﻫﺭ ﺘﻐﻨﻰ‬ ‫‪‬‬ ‫ﺃﻏﻨﻴﺔ ﺍﻟﻨﺼﺭ‬ ‫ﻭﺭﻤﺎل ﺍﻷﺭﺽ ﺍﻨﺘﻌﺸﺕ.. ﻫﺒﺕ‬ ‫ِ‬ ‫ُ‬ ‫ﻭﺠﻤﺎﺠﻡ ﻫﺫﻯ ﺍﻷﺭﺽ ﻗﻨﺎﺒل‬ ‫ُ‬ ‫ِ‬ ‫‪‬‬ ‫ﻭﺍﻟﻠﻭﺡ ﺍﻟﻤﺸﻁﻭﺭ ﻴﻌﻭﺩ‬ ‫‪‬‬ ‫‪‬‬ ‫ﺒﺴﺎﻁﺎ ﻤﻤﺘﺩﺍ.. ﻴﺜﻤﺭ‬ ‫‪‬‬ ‫ﹰ‬ ‫ﺯﻴﺘﻭﻨﺎ ﺃﺨﻀﺭ‬ ‫٨٢‬
‫ﺍﻟﻨﺼﺭ ﻤﻭﺍﻜﺏ ﺘﺘﺩﺍﻓﻊ‬ ‫‪‬‬ ‫‪‬‬ ‫ﻭﺼﻠﻴﺏ ﻭﺃﺫﺍﻥ ﻴﺭﻓﻊ‬ ‫‪‬‬ ‫‪‬‬ ‫ﻤﻥ ﻓﻭﻕ ﺍﻟﻘﻤﻡ ﺍﻟﺨﻀﺭﺍﺀ‬ ‫ِ‬ ‫ﻭﺤﻤﺎﺌﻡ ﺒﻴﻀﺎﺀ ﺘﻐﺭﺩ‬ ‫‪‬‬ ‫ﻟﻌﺭﻭﺱ ﻨﺸﻭﻯ‬ ‫ٍ‬ ‫ﻭﺍﻟﻘﺩﺱ ﻤﺴﺎﺠﺩ..ﻭﻜﻨﺎﺌﺱ.‬ ‫ﺃﻜﺘﻭﺒﺭ ٨٨٩١‬ ‫٩٢‬
‫ﺒﺼﺒﺎﺹ‬ ‫ﻟﻥ َﺘﻘﺭﺒﻬﺎ..‬ ‫ﻟﻥ ﺘﺘﻤﺴﺢ ﻓﻰ ﻅل ﻴﺩﻴﻬﺎ‬ ‫ِ‬ ‫‪‬‬ ‫ﻓﻰ ﺃﻀﻭﺍﺀ ﺍﻟﺸﻔﺘﻴﻥ ﺍﻟﺴﺎﻁﻌﺔ‬ ‫ِ‬ ‫ِ‬ ‫ِ‬ ‫ﺒﻼ ﺤﺩ‬ ‫ٍ‬ ‫ﻓﻰ ﺃﺒﻌﺎﺩ ﺍﻟﻨﻬﺩﻴﻥ‬ ‫ِ‬ ‫ﺍﻟﻁﻴﺎﺭﻴﻥ‬ ‫ِ‬ ‫ﺍﻟﻤﻨﻁﻠﻘﻴﻥ ﺒﻼ ﻗﻴﺩ‬ ‫ٍ‬ ‫ِ‬ ‫ﻟﻥ ﺘﻘﺭﺒﻬﺎ: ﻗﻭﻻ ﺃﻭ ﻓﻌﻼ‬ ‫ﹰ‬ ‫ﹶ‬ ‫ﺃﻭ ﻫﻤﺴﺎ ﺃﻭ ﺤﺭﻓﺎ‬ ‫ﹰ‬ ‫ﹰ‬ ‫***‬ ‫ﺫﺍﻙ ﻷﻨﻙ ﺘﻌﺸﹲﻨﻰ‬ ‫ﻘ‬ ‫‪‬‬ ‫ﻭﺘﻘﺩﺱ ﺃﺤﻼﻤﻰ ﻓﻴﻙ‬ ‫‪‬‬ ‫‪‬‬ ‫‪‬ﻴﺎﻤﻰ )ﺒﺸﻘﺎﻭﺓ( ﻋﻴﻨﻴﻙ‬ ‫‪‬‬ ‫ِ‬ ‫ﻫ‬ ‫ﻭﻟﻤﺱ ﺸﻔﺎﻫﻙ ﻓﻭﻕ ﻴﺩﻯ‬ ‫ِ‪ ‬ﹶ ‪‬‬ ‫ِ‬ ‫ﻟﻥ ﺘ ﹶﺭﺒﻬﺎ: ﻗﻭﻻ ﺃﻭ ﻓﻌﻼ‬ ‫ﹰ‬ ‫ﹰ‬ ‫ﻘ‬ ‫٠٣‬
‫ﺃﻭ ﻫﻤﺴﺎ ﺃﻭ ﺤﺭﻓﺎ‬ ‫ﹰ‬ ‫ﹰ‬ ‫ﺒل ﺘ ﹸﺭﺒﻬﺎ ﻓﻰ ﺍﻟ ﱡﻠ ِﺔ ﻭ ‪‬ﺩﻙ‬ ‫ﻅﻤ ﺤ ‪‬‬ ‫ﻘ‬ ‫ﺫﺌﺒﺎ ﻴﻔﺘﺭﺱ ﺒﺭﻏﺒﺘﻪ ﻤﻥ ﻴﻔﺘﺭﺴﻪ‬ ‫‪‬‬ ‫‪‬‬ ‫ﹰ‬ ‫ﻴﺎ ﺒﺼﺒﺎﺹ.. ﺍﻟﻜﺫﺏ ﺼﻨﺎ ‪‬ﺘﻙ ﺍﻟﻜﺒﺭﻯ..‬ ‫ﻋ ‪‬‬ ‫‪‬‬ ‫‪‬‬ ‫ﻴﺎ ﺒﺼﺒﺎﺹ!!‬ ‫‪‬‬ ‫ﻓﺒﺭﺍﻴﺭ ٢٠٠٢‬ ‫١٣‬
‫ﻋﺘﺎﺏ‬ ‫ﻻ ﺘﻌﺎﺘﺒﻨﻰ‬ ‫ﺃﻨﺎ ﻤﺎ ﺍﺨﺘﺭﺕ ﻓﻰ ﺍﻟﺒﺩﺀ..‬ ‫ﹸ‬ ‫ﻭﻟﻭ ﹸﻴﺭﺕ ‪‬ﻨﺒﺕ ﺍﻟﺨﻁﺎﻴﺎ‬ ‫ﺨ ﹸﺠ ﹸ‬ ‫ﺃﻨﺎ ﺒﺎﻟﺨﻁﻭﺓ ﺍﻷﻭﻟﻰ ﺒﺩﺭﺒﻰ‬ ‫ﻗﺩ ﻁﻭﺍﻨﻰ ﺍﻟﻐﻴﺏ ﻓﻰ ﺒﺌﺭ ﺍﻟﺤﻴﺎﺓ‬ ‫ﻜﻤﺎ ﺍﻹﻋﺼﺎﺭ ﻴﺒﺘﻠﻊ ﺍﻟﺸﻅﺎﻴﺎ‬ ‫ﻻ ﺘﻌﺎﺘﺏ!!‬ ‫ﺭﺒﻤﺎ ﻀﻠﺕ ﹸﻁﺎﻴﺎ ﻓﻰ ﺜﻨﻴﺎﺕ ﺍﻟﺸﻌﺎﺏ‬ ‫ﱠ ﹾﺨ‬ ‫ﺭﺒﻤﺎ ﺤﱠﻘﺕ ﻴﻭﻤﺎ ﺜﻡ ﻨﺎﺩﺍﻨﻰ ﺍﻟﺘﺭﺍﺏ‬ ‫ﻠ‬ ‫ﻓﺘﻬﺎﻭﻴﺕ ﻭﻓﻰ ﻗﻠﺒﻰ ﺨﻔﻭﻕ ﻭﺍﻀﻁﺭﺍﺏ‬ ‫ﺭﺒﻤﺎ ﺃﺨﻁﺄﺕ ﻟﺤﻅﺔ ﻀﻌﻑ ﻭﺘﺨﻁﺎﻨﻰ ﺍﻟﺼﻭﺍﺏ‬ ‫ﺭﺒﻤﺎ ﻟﻡ ﺃﺤﺴﻥ ﺍﻹﺒﺤﺎﺭ ﻓﻰ ﻴﻡ ﺍﻟﻀﺒﺎﺏ‬ ‫‪‬‬ ‫ﻏﻴﺭ ﺃﻨﻰ ﻗﺩ ﺘﺼﻭﻨﺕ ﻋﻥ ﺍﻟﺯﻴﻑ‬ ‫ﻭﻟﻡ ﺃﺠﻨﺢ ﺇﻟﻰ ﺃﺭﺽ ﺍﻟﺨﺩﺍﻉ‬ ‫ﻭﺃﻀﺄﺕ ﺍﻟﻨﻭﺭ ﻟﻠﺴﺎﺭﻯ‬ ‫ﻭﺘﻐﻨﻴﺕ ﻟﻤﻥ ﺭﺍﺡ ﻴﺼﻠﻴﻨﻰ ﺍﻟﻌﺫﺍﺏ‬ ‫٢٣‬
‫ﻻ ﺘﻌﺎﺘﺏ!!‬ ‫ﻨﻔﺴﻰ ﻤﻥ ﻫﺠﻴﺭ ﺍﻟﻌﺘﺏ ﻴﻐﺸﺎﻫﺎ ﺍﻟﻌﺫﺍﺏ‬ ‫ﻻ ﺘﻌﺎﺘﺏ!!‬ ‫ﺃﻨﺕ ﺃﻴﻀﺎ ﻓﻴﻙ ﻤﺎ ﻓﻴﻙ ﻭﻟﻜﻥ ﻟﻥ ﺃﻋﺎﺘﺒﻙ‬ ‫ﺃﻨﺕ ﻤﺜﻠﻰ ﻟﻡ ﺘﺨﻴﺭ‬ ‫ﹸ ﹶ‪ ‬‬ ‫ﺃﻨﺕ ﻤﺜﻠﻰ ﺸﺎﺭﺩ ﻓﻰ ﺍﻟﺘﻴﻪ ﻤﺸﺩﻭﺩ ﻤ ‪‬ﻴﺭ‬ ‫‪ ‬ﺤ ‪‬‬ ‫ﻓﻠﻤﺎﺫﺍ ﻻ ﺘﺴﺎﻤﺢ؟!‬ ‫ﻭﻟﻤﺎﺫﺍ ﺃﻨﺕ ﻋﺎﺘﺏ؟!‬ ‫ﻴﻭﻨﻴﻭ ٧٨٩١‬ ‫٣٣‬
‫ﺃﻤﺔ‬ ‫ﻋﻭﺭﺍﺕ ﺃﻨﺘﻥ ﻋﻠﻰ ﺍﻟﻘﺩﻤﻴﻥ ﺘﺴﻴﺭ‬ ‫ﻭﺨﻼﻋﺎﺕ ﺘﻐﺭﻯ ﺃﺤﺠﺎﺭ ﺍﻷﺭﺽ..‬ ‫ﻭﺘﻐﺭﻯ ﺃﻏﺼﺎﻥ ﺍﻟﺸﺠﺭ ﺘﻤﻴل..‬ ‫ﺃﺘﺒﻴﻊ ﺍﻟﺤﺭﺓ ﺒﺽ ﺍﻟﺠﺴﺩ ﻫﺒﺎﺀ؟!‬ ‫ﻤﺎ ﺃﻨﺘﻥ ﺴﻭﻯ ﺃﻤﺔ ﻭﺍﻫﻤﺔ‬ ‫ٍ‬ ‫ﺘﺤﻠﻡ ﺒﻅﻼل ﺍﻟﺤﺭﻴﺔ‬ ‫ﻭﺍﻫﻤﺔ ﺘﺤﻠﻡ ﺒﺄﻨﻭﺜﺘﻬﺎ ﺍﻟﺸﺎﺌﻌﺔ‬ ‫ﻭﻻ ﺘﺩﺭﻯ ﺃﻥ ﺒﺩﺍﺨﻠﻬﺎ ﺸﻴﻁﺎﻥ ﺭﻴﺎﺀ‬ ‫ﻴﺎ ﺸﻴﻁﺎﻨﺔ.. ﺘﺼﺭﺥ:‬ ‫ﹸ‬ ‫ﻗﻬﺭ.. ﻓﻰ ﻗﻬﺭ.. ﻓﻰ ﻗﻬﺭ‬ ‫ٍ‬ ‫‪‬‬ ‫ﻭﺼﻼﺓ ﻟﻠﻅﻠﻡ ﺘﻘﺎﻡ‬ ‫ﹲ‬ ‫ﺍﻜﺸﻔﻥ ﺍﻟﻭﺠﻪ‬ ‫‪‬‬ ‫ﻋﺭﻴﻥ ﺍﻟﺼﺩﺭ‬ ‫ﻭﺘﻌﻠﻤﻥ ﻓﻥ ﺍﻟﺘﺩﻟﻴل‬ ‫ﻓﻥ ﻤﻐﺎﺯﻟﺔ ﺍﻵﺨﺭ ﻭﺍﻟﺘﻘﺒﻴل‬ ‫٤٣‬
‫ﻓﺠﺭ ﺍﻟﻨﻅﺭﺍﺕ ﻭﻗﺒﺢ ﺍﻟﺭﻏﺒﺔ‬ ‫ﹸ‪‬‬ ‫ﻭﻤﺭﺍﺴﻴﻡ ﺍﻟﻤﺘﻊ ﺍﻟﻤﻜﺸﻭﻓﺔ‬ ‫ﻓﻤﺎ ﺃﻨﺘﻥ ﺴﻭﻯ ﻋﻭﺭﺍﺕ ﻓﻭﻕ ﺍﻟﻘﺩﻤﻴﻥ ﺘﺴﻴﺭ‬ ‫.............ﺘﻐﺭﻯ ﺃﺤﺠﺎﺭ ﺍﻷﺭﺽ‬ ‫............. ﺃﻏﺼﺎﻥ ﺍﻟﺸﺠﺭ ﺘﻤﻴل‬ ‫............................‬ ‫٥٣‬
‫ﺼﺩﺭ ﻟﻠﻜﺎﺘﺒﺔ‬ ‫*ﺃﺠﻨﺤﺔ ﺍﻟﺒﻭﺡ )ﻤﺠﻤﻭﻋﺔ ﻤﺸﺘﺭﻜﺔ( ﺴﻠﺴﻠﺔ ﻜﺘﺎﺏ ﺍﻟﺠﻴل‬ ‫ﺍﻟﺠﺩﻴﺩ ٠٠٠٢.‬ ‫* ﻟﻠﻨﺴﺎﺀ ﺤﻜﺎﻴﺎﺕ )ﻤﺠﻤﻭﻋﺔ ﻗﺼﺼﻴﺔ( ﺇﺸﺭﺍﻗﺎﺕ ﺠﺩﻴﺩﺓ‬ ‫– ﺍﻟﻬﻴﺌﺔ ﺍﻟﻤﺼﺭﻴﺔ ﺍﻟﻌﺎﻤﺔ ﻟﻠﻜﺘﺎﺏ ١٠٠٢.‬ ‫* ﺭﺒﻊ ﺭ ‪‬ل )ﻤﺠﻤﻭﻋﺔ ﻗﺼﺼﻴﺔ( ﺍﻟﻬﻴﺌـﺔ ﺍﻟﻤﺼـﺭﻴﺔ‬ ‫ﺠ‬ ‫ﺍﻟﻌﺎﻤﺔ ﻟﻠﻜﺘﺎﺏ ١٠٠٢‬ ‫ﺘﺤﺕ ﺍﻟﻁﺒﻊ‬ ‫* ﺍﻹﻨﺴﺎﻥ ﺃﺼﻠﻪ ﺸﺠﺭﺓ )ﻤﺠﻤﻭﻋﺔ ﻗﺼﺼﻴﺔ(.‬ ‫* ﺭﺠﺎل ﻏﺎﻟﻴﺔ )ﺭﻭﺍﻴﺔ(.‬ ‫* ﻓﻰ ﻫﺠﺎﺀ ﺍﻟﺯﻭﺠﺎﺕ )ﺩﺭﺍﺴﺔ(‬ ‫* ﺍﻟﺤﺼﺎﻥ ﺍﻷﺴﻭﺩ )ﻤﺴﺭﺤﻴﺔ(‬ ‫* ﻭﺠﻊ ﺩﺍﻓﺊ )ﻨﺜﺭ ﻓﻨﻰ(‬ ‫٦٣‬
‫ﺍﻟﺠﻴل ﺍﻟﺠﺩﻴﺩ‬ ‫ﺠﻤﺎﻋﺔ ﻓﻜﺭﻴﺔ ﺇﻨﺴﺎﻨﻴﺔ‬ ‫ﺘﺘﺭﻜﺯ ﻓﻠﺴﻔﺘﻬﺎ ﻓﻰ ﻫﺫﻩ ﺍﻟﻌﻨﺎﺼﺭ:‬ ‫١- ﻟﻠﻌﻘل ﻤﻁﻠﻕ ﺍﻟﺤﺭﻴﺔ ﻓﻰ ﺍﻟﺘﻔﻜﻴـﺭ ﻭﺍﻟﺘﻌﺒﻴـﺭ ﺒـﺩﺍﻓﻊ‬ ‫ﺍﻻﻗﺘﻨﺎﻉ ﻓﻘﻁ.‬ ‫٢- ﺘﺄﻴﻴﺩ ﺍﻹﻨﺴﺎﻥ، ﻭﺍﻟﺘﻌﺒﻴﺭ ﻋﻨﻪ، ﻭﻨﺘﺨﺫ ﺍﻟﺒﻴﺌﺔ ﺍﻟﺒﺴـﻴﻁﺔ‬ ‫ﻤﻨﻁﻠﻘﺎ ﻟﻤﻌﺎﻴﺸﺔ ﻫﻤﻭﻡ ﺍﻟﻨﺎﺱ.‬ ‫ﹰ‬ ‫٣- ﺍﻻﺘﺠﺎﻩ ﺍﻟﻘﻭﻤﻰ ﻋﻠﻰ ﺍﻟﻤﺴﺘﻭﻯ ﺍﻟﻌﺭﺒـﻲ، ﻭﻻ ﻨـﺅﻤﻥ‬ ‫ﺒﺎﻟﺘﻘﺴﻴﻤﺎﺕ ﻭﺍﻟﺘﺤﺯﺒﺎﺕ ﻭﺍﻹﻗﻠﻴﻤﻴـﺎﺕ ﻓـﻰ ﺍﻟﺴﻴﺎﺴـﺔ‬ ‫ﻭﺍﻟﻔﻥ.‬ ‫٤- ﺍﻻﻨﻁﻼﻕ ﻤﻥ ﺍﻷﺼﺎﻟﺔ ﺇﻟﻰ ﺨﻠﻕ ﻓﻨﻰ ﻤﻌﺎﺼﺭ.‬ ‫٥- ﺍﻟﻔﻥ ﻜل ﻤﺘﻜﺎﻤل ﻴﻔﻴﺩ ﺒﻌﻀﻪ ﻤﻥ ﺒﻌﺽ ﻓﻰ ﺍﻟﺤـﺩﻭﺩ‬ ‫ﺍﻟﺘﻰ ﻻ ﺘﻤﺤﻭ ﺸﺨﺼﻴﺔ ﻜل ﺠﻨﺱ ﻤﻥ ﺃﺠﻨﺎﺴﻪ.‬ ‫٦- ﺩﻭﺭ ﺍﻷﺩﺏ ﻭﺍﻟﻔﻥ ﻋﺎﻤﺔ ﻫﻭ ﻗﻴﺎﺩﺓ ﺍﻟﻤﺠﻤـﻊ، ﻭﺇﻋـﺎﺩﺓ‬ ‫ﺼﻴﺎﻏﺔ ﺍﻟﺤﻴﺎﺓ ﺼﻴﺎﻏﺔ ﻤﺴﺘﻘﻠﻴﺔ‬ ‫٧- ﺨﻠﻕ ﺍﻟﻤﺒﺩﻉ ﻭﺍﻟﻨﺎﻗﺩ ﻤﻌﺎ.. ﻭﻋﺩﻡ ﺍﻟﺴـﻴﺭ ﻓـﻰ ﺩﺭﻭﺏ‬ ‫ﹰ‬ ‫ﺍﻟﻤﺠﺎﻤﻼﺕ.‬ ‫٧٣‬
‫٨- ﺍﻟﻌﻤل ﺍﻟﻔﻨﻰ ﺘﻜﻭﻴﻥ ﻭﺠﺩﺍﻨﻰ ﻋﻘﻠﻰ ﻴﺴﺘﻀﺊ ﺒﺘﺠـﺎﺭﺏ‬ ‫ﺍﻹﻨﺴﺎﻥ ﻭﻴﺴﺘﻤﺩ ﻤﻨﻪ، ﻭﻴﻌﻭﺩ ﺇﻟﻴﻪ.. ﻭﻟـﺫﺍ ﻴﺠـﺏ ﺃﻥ‬ ‫ﻴﺅﺜﺭ ﻓﻴﻪ ﻭﻴﻘﻨﻌﻪ ﺃﻭ ﻴﺠﻌﻠﻪ ﻴﺄﺨﺫ ﻤﻭﻗﻔﺎ ﻤﺎ ﻤﻥ ﺍﻟﻌﻤل..‬ ‫ﹰ‬ ‫ﻭﻫﺫﺍ ﻻ ﻴﺘﺴﻨﻰ ﺃﺒﺩﺍ ﺒﻌﺩﻡ ﻭﻀﻭﺡ ﺍﻟﺭﺅﻴﺔ ﺍﻟﺫﻯ ﻴـﺩل‬ ‫ﹰ‬ ‫ﻋﻠﻰ ﺍﻟﺠﻬل ﻭﻋﺩﻡ ﺍﻜﺘﻤﺎل ﺍﻟﺸﺨﺼﻴﺔ ﺍﻟﻔﻜﺭﻴﺔ.‬ ‫٩- ﺍﻟﻘﺼﻴﺩﺓ ﺘﻌﺒﺭ ﻋﻥ ﻓﻜﺭﺓ ﻤﺎ ﻨﺎﺒﻌﺔ ﻤﻥ ﺍﻻﻗﺘﻨﺎﻉ ﺍﻟﺫﺍﺘﻰ‬ ‫ﺒﻘﻀﺎﻴﺎ ﺍﻟﻤﺠﺘﻤﻊ ﻭﻻ ﻭﺠﻭﺩ ﻟﻤـﺎ ﻴﺴـﻤﻰ ﺒﺎﻟﻘﺼـﻴﺩﺓ‬ ‫ﺍﻟﻨﺜﺭﻴﺔ.‬ ‫٠١ – ﺍﻟﻤﺴﺘﻭﻯ ﺍﻟﻔﻨﻰ ﺍﻟﺭﺍﻗﻰ ﻭﺤﺩﻩ ﻻ ﻴﻜﻔﻰ، ﺒل ﻻﺒﺩ ﻤـﻥ‬ ‫ﻭﺠﻭﺩ ﺍﻻﻟﺘﻘﺎﺀ ﺍﻹﻨﺴﺎﻨﻰ ﻭﺤﺴﻥ ﺍﻟﻁﻭﻴﺔ ﺘﺠﺎﻩ ﺍﻵﺨﺭﻴﻥ‬ ‫ﺍﻟﻤﻤﺘﺎﺯﻴﻥ، ﻟﺨﻠـﻕ ﺃﺠﻴـﺎل ﺘﺴـﻤﻭ ﻋـﻥ ﺍﻷﺤﻘـﺎﺩ‬ ‫ﻭﺍﻷﻏﺭﺍﺽ ﺍﻟﺫﺍﺘﻴﺔ ﺍﻟﺒﺤﺘﺔ.‬ ‫١١- ﺍﻷﺠﻴﺎل ﺍﻟﺠﺩﻴﺩﺓ ﺩﺍﺌﻤﺎ ﻗﺎﺩﺭﺓ ﻋﻠﻰ ﺍﻟﻌﻁﺎﺀ ﻓـﻰ ﻜـل‬ ‫ﻤﺠﺎﻻﺕ ﺍﻟﺤﻴﺎﺓ ﻭﺍﻟﻔﻥ، ﻤﻊ ﺘﻭﺍﻓﺭ ﺍﻟﺘﺜﻘﻴﻑ، ﻭﺍﻟﺜﻘﺔ ﻓـﻰ‬ ‫ﺍﻟﻨﻔﺱ، ﻭﺍﻟﻔﺭﺹ ﺍﻟﻤﻼﺌﻤﺔ.‬ ‫٢١- ﺇﻋﺎﺩﺓ ﺭﺴﻡ ﺍﻟﺨﺭﻴﻁﺔ ﺍﻟﺜﻘﺎﻓﻴﺔ ﺍﻟﻌﺭﺒﻴﺔ ﺒﻅﻬﻭﺭ ﺃﺠﻴـﺎل‬ ‫ﺠﺩﻴﺩﺓ، ﻭﺇﺒﺩﺍﻋﺎﺕ ﺠﺩﻴﺩﺓ، ﻭﻨﻘـﺎﺩ ﺠـﺩﺩ، ﻭﺇﻨﺼـﺎﻑ‬ ‫ﺍﻟﻤﺠﻴﺩﻴﻥ ﻤﻥ ﻜل ﺍﻷﺠﻴﺎل ﺍﻟﺴﺎﺒﻘﺔ.‬ ‫٨٣‬

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1467

  • 1.
  • 2. ‫ﻜﺎﻓــﺭﺓ!!‬ ‫ﺸﻌــﺭ‬ ‫ﻫﺎﻟـﺔ ﻓﻬﻤـﻰ‬
  • 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. ‫ﺇﻻﻫﺩﺍﺀ‬ ‫ﺇﻟﻰ ﺃﺠﻤل ﻗﺼﻴﺩﺓ ﺼﺎﻏﻬﺎ ﺍﻟﺭﺤﻤﻥ‬ ‫...ﻓﻌﺠﺯﺕ ﻜﻠﻤﺎﺘﻰ ﻋﻥ ﻭﺼﻔﻬﺎ‬ ‫ﺇﻟﻴﻙ... ﻴﺎ ﻤﻥ ﻨﺒﺸﺕ ﺒﺭﻗﺘﻙ ﺭﺤﻤﻰ‬ ‫...ﻓﺎﻨﻔﺘﺢ ﻟﻙ ﺍﻟﻘﻠﺏ ﻓﺎﺴﺘﻜﺎﻥ ﺇﻟﻴﻙ ﻭﺴﻜﻨﺘﻪ‬ ‫...ﺇﻟﻰ ﻤﻰ‬ ‫٢‬
  • 5. ‫ﺍﻟﻔﻬﺭﺱ‬ ‫ﺍﻹﻫﺩﺍﺀ................................................... ٢‬ ‫ﻫﺫﻩ ﺍﻟﺴﻁﻭﺭ............................................. ٤‬ ‫١ –ﻭﺠﻪ................................................. ٦‬ ‫٢ – ﻟـﻭ................................................ ٩‬ ‫٣ – ﻁﻔل ﻴﻠﻬﻭ.......................................... ٢١‬ ‫٤ – ﻤﻭﻜﺏ ﺍﻟﺭﺍﺤﻠﻴﻥ.................................... ٥١‬ ‫٥ – ﺍﻟﻬﻭﻯ ﺍﻟﻀﺎﺌﻊ..................................... ٨١‬ ‫٦ – ﻜﺎﻓـﺭﺓ............................................ ١٢‬ ‫٧ – ﺍﻟﻨـﺨـل.......................................... ٤٢‬ ‫٨ – ﺭﻫﻴﻥ ﺍﻟﻌﻴـﻭﻥ.................................... ٦٢‬ ‫٩ – ﺇﺨــﻼﺹ....................................... ٠٣‬ ‫٠١- ﺇﻻ ﺇﻟﻴـﻙ....................................... ٢٣‬ ‫١١- ﺤﻨـﺎﻥ.......................................... ٥٣‬ ‫٢١- ﺨـﻴﻭﻁ......................................... ٨٣‬ ‫٣١- ﺍﻟﺤﺼـﺎﻥ ﺍﻷﺴﻭﺩ.............................. ٠٤‬ ‫٤١- ﺒﺼﺒـﺎﺹ...................................... ٤٤‬ ‫٥١- ﻋﺘـﺎﺏ......................................... ٧٤‬ ‫٦١- ﺃﻤـــﺔ............................. ٠٥‬ ‫٣‬
  • 6. ‫ﻫﺫﻩ ﺍﻟﺴﻁﻭﺭ‬ ‫ﻗﺭﺃﺕ ﻭﺃﻨﺎ ﻁﻔﻠﺔ ﺼﻐﻴﺭﺓ، ﺍﻟﻤﻘﺎل ﺍﻻﻓﺘﺘـﺎﺤﻰ ﻟﻠﺭﺍﺤـل‬ ‫ﻴﻭﺴﻑ ﺍﻟﺴﺒﺎﻋﻲ ﻓﻰ ﺍﻟﻌﺩﺩ ﺍﻷﻭل ﻤﻥ ﻤﺠﻠﺔ ﺍﻟﺸﻌﺭ، ﺍﻟﺼﺎﺩﺭ ﻓﻰ‬ ‫ﻴﻨﺎﻴﺭ ٦٧٩١، ﻭﻜﺎﻥ ﺃﺒﻰ ﺭﺤﻤﺔ ﺍﷲ ﻋﻠﻴﻪ ﻗﺩ ﺩﺃﺏ ﻋﻠﻰ ﺸـﺭﺍﺀ‬ ‫ﺍﻟﻤﺠﻼﺕ ﺍﻟﺸﻌﺭﻴﺔ.. ﻭﻭﺍﻅﺒﺕ ﻋﻠﻰ ﺍﻟﺘﻬﺎﻡ ﺴـﻁﻭﺭﻫﺎ ﺒﺸـﻐﻑ‬ ‫ﻭﺤﺏ، ﻭﺇﻥ ﻟﻡ ﺃﻓﻬﻡ ﻏﺎﻟﺒﻴﺔ ﻤﺎ ﻴﻜﺘﺏ ﺤﻴﻨﻬﺎ.‬ ‫ﻴﻘﻭل ﺍﻟﺴﺒﺎﻋﻰ: ﻻ ﺃﺨﻔﻰ ﺇﻋﺯﺍﺯﻯ ﻟﻠﺸﻌﺭ، ﻓﻘـﺩ ﻜﺘﺒﺘـﻪ‬ ‫ﻤﺒﻜﺭﺍ ﺤﻴﻥ ﻜﻨﺕ ﻋﻀﻭ ﺍﻟﺠﻤﻌﻴـﺔ ﺍﻷﺩﺒﻴـﺔ ﺒﻤﺩﺭﺴـﺔ ﺸـﺒﺭﺍ‬ ‫ﹰ‬ ‫ﺍﻟﺜﺎﻨﻭﻴﺔ.. ﻭﻜﺘﺒﺘﻪ ﺒﻌﺩ ﺫﻟﻙ ﺒﺴﻨﻭﺍﺕ ﺃﻴﻀﺎ، ﺜﻡ ﻁﻭﻴﺘـﻪ ﻭﺤـﻴﻥ‬ ‫ﻭﺠﺩﺕ ﻨﻔﺴﻰ ﻤﻊ ﺍﻟﻘﺼﺔ.. ﺇﻟﺦ.‬ ‫ﺍﺨﺘﺒﺄﺕ ﺍﻟﻤﻘﺎﻟﺔ ﻓﻰ ﻁﻴﺎﺕ ﺫﺍﻜﺭﺘﻰ ﻭﻤﺭﺕ ﺍﻟﺴﻨﻭﺍﺕ ﺇﻟﻰ‬ ‫ﺃﻥ ﺴﻤﻌﺘﻪ ﺫﺍﺕ ﻴﻭﻡ ﻓﻰ ﺤﺩﻴﺙ ﺘﻠﻔﺯﻴﻭﻨﻲ، ﻴﻘﻭل ﺇﻨﻪ ﻨﺎﺩﻡ ﻋﻠـﻰ‬ ‫ﻋﺩﻡ ﻨﺸﺭ ﺘﺠﺭﺒﺘﻪ ﺘﻠﻙ.. ﻭﻟﻡ ﻴﻜﻥ ﻫﺫﺍ ﺍﻟﺘﺼﺭﻴﺢ ﻓﺭﻴـﺩﺍ ﻤـﻥ‬ ‫ﹰ‬ ‫ﻨﻭﻋﻪ ﺨﺎﺼﺔ ﺒﻌﺩ ﺃﻥ ﻭﻋﻴﺕ ﻭﺃﺩﺭﻜﺕ ﺘﺠﺎﺭﺏ ﻋﺩﻴﺩﺓ ﻷﺩﺒـﺎﺀ‬ ‫ﺒﺩﺃﻭﺍ ﺸﻌﺭﺍﺀ ﺜﻡ ﺍﺴﺘﺭﺍﺤﻭﺍ ﺇﻟـﻰ ﺃﺸـﻜﺎل ﺃﺨـﺭﻯ ﻜﺎﻟﻘﺼـﺔ‬ ‫ﻭﺍﻟﻤﺴﺭﺤﻴﺔ ﺃﻭ ﺍﻟﺭﻭﺍﻴﺔ:‬ ‫ﻭﻷﻨﻨﻰ ﺒﺩﺃﺕ ﻤﺜل ﺍﻟﻜﺜﻴﺭﻴﻥ.. ﺃﻜﺘﺏ ﺍﻟﺸﻌﺭ ﻭﺃﻤﻴل ﺇﻟﻴﻪ،‬ ‫ﺜﻡ ﺍﺴﺘﻜﺎﻨﺕ ﻨﻔﺴﻰ ﻟﻠﻘﺼﺔ ﻭﺍﻟﺭﻭﺍﻴﺔ – ﻓﻘﺩ ﺠـﺎﺀﺕ ﺍﻟﻨﺼـﻴﺤﺔ‬ ‫٤‬
  • 7. ‫ﺍﻟﻐﺎﻟﻴﺔ ﻤﻥ ﺃﺼﺩﻗﺎﺀ ﻗﺩ ﺘﺤﻘﻘﻭﺍ ﺸﻌﺭﺍﺀ ﻭﻨﻘﺎﺩﺍ: ﻻ ﺘﺨﺠﻠﻰ ﻤـﻥ‬ ‫ﹰ‬ ‫ﺘﺠﺭﺒﺘﻙ ﻓﻬﻰ ﺠﺩﻴﺭﺓ ﺒﺎﻻﺤﺘﺭﺍﻡ ﻭﻋﻠﻴﻙ ﺒﻨﺸﺭﻫﺎ.‬ ‫ﻭﻫﻨﺎ ﻗﻔﺯﺕ ﻤﻘﻭﻟﺔ ﺍﻟﺴﺒﺎﻋﻰ ﻤﻥ ﺜﻨﺎﻴﺎ ﺫﺍﻜﺭﺘـﻰ.. ﺇﻟـﻰ‬ ‫ﻋﻘﻠﻰ ﻭﻗﻠﺒﻰ.. ﺍﻟﻘﺼﺎﺌﺩ ﺍﻟﻤﻁﻭﻴﺔ.. ﻭﻫﺎ ﺃﻨﺫﺍ ﺃﻁﺭﺤﻬﺎ ﺒﻴﻥ ﻴﺩﻯ‬ ‫ﺍﻟﻘﺎﺭﺉ ﻭﺃﻥ ﻜﻨﺕ ﻗﺩ ﺘﺠﺎﻭﺯﺘﻬﺎ ﻓﻨﻴﺎ، ﻓﻬﻰ ﻭﺍﺤـﺩ ﻤـﻥ ﺃﻭﻻﺩﻯ‬ ‫ﻜﻤﺎ ﻴﻘﻭﻟﻭﻥ.. ﻭﻷﻨﻬﺎ ﻭﻟﻴﺩ ﺸﺭﻋﻰ: ﻓﺄﻨﺎ ﺃﻋﺘـﺭﻑ ﺒﻬـﺎ ﻭﺃﻗـﺭ‬ ‫ﺒﺫﻨﺒﻰ ﺇﻥ ﺃﺨﻁﺎﺕ.. ﻓﻬﺎ ﻜﻡ ﺴﻁﻭﺭﻯ.. ﺃﻫـﺩﻴﻬﺎ ﺇﻟـﻴﻜﻡ ﺒﻜـل‬ ‫ﺒﻜﺎﺭﺘﻬﺎ ﻭﺒﺭﺍﺀﺘﻬﺎ.‬ ‫ﻫﺎﻟﺔ ﻓﻬﻤﻰ‬ ‫ﻤﺎﻴﻭ ٤٠٠٢‬ ‫٥‬
  • 8. ‫ﻭﺠﻪ‬ ‫ﻟﻭ ﺸﺎﺀﺕ ﺍﻟﻌﻴﻨﺎﻥ ﺃﻥ ﺘﻬﻤﺱ‬ ‫ِ‬ ‫ِ‬ ‫ﻭﺃﻥ ﺘﻬﻔﻭ‬ ‫ﻭﺃﻥ ﺘﺴﺒﺢ‬ ‫‪‬‬ ‫ﻓﺄﻯ ﻤﻼﻤﺢ ﺍﻟﻔﺭﺩﻭﺱ‬ ‫ِ‬ ‫‪‬‬ ‫ﺃﻯ ﻤﻼﻤﺢ ﺍﻟﻔﺭﺩﻭﺱ ﺘﻐﻔﻭ ﻓﻭ ﹶﻬﺎ ﻋﻴﻨﻰ؟‬ ‫ﻗ‬ ‫ِ‬ ‫ِ‬ ‫‪‬‬ ‫ﻓﺈﻴﺔ ﻟﻔ ٍﺔ ﻤﻨﻙ‬ ‫‪‬‬ ‫ﹸ ﺘ‬ ‫ﹸﻌﻠﻤﻨﻰ ﻟﻐﺎﺕ ﺍﻟﻨﻁﻕ ﻭﺍﻟﻤﻨﻁﻕ‬ ‫ﹾ‬ ‫ِ‬ ‫ِ‬ ‫ﺘ‬ ‫ﹸﻌﻠﻤﻨﻰ ﺭﻓﻴﻑ ﺍﻟﻁﻴﺭ ﻭﺍﻟﺘﻐﺭﻴﺩ ﻭﺍﻟ ﱠﺩﻭ‬ ‫ِ ﺸ‬ ‫ِ‬ ‫ﹶ‬ ‫ﺘ‬ ‫ﹸﻌﻠﻤﻨﻰ.. ﺼﺩﻯ ﻭﻁﻨﻰ‬ ‫ﺘ‬ ‫***‬ ‫ﻫﻭ ﺍﻟﻭﺠﻪ ﺍﻟﺫﻯ ﻴﻬﻭﺍﻩ ﺍﻟﻘﻠﺏ ﻋﺭﺒﻴﺩﺍ‬ ‫ﹰ‬ ‫‪‬‬ ‫‪‬‬ ‫‪‬‬ ‫ﻭﻨﻴﺭﺍﻨﺎ ﻀﺒﺎﺒﻴﻪ‬ ‫‪‬‬ ‫ﹰ‬ ‫ﻭﺃﻏﻨﻴﺔ ﺴﻤﺎﻭﻴﻪ‬ ‫‪‬‬ ‫ﻭﺒﺤﺭﺍ ﻓﻴﻪ ﺃﻏﺭﻗﻨﻰ‬ ‫ﹰ ِ‬ ‫***‬ ‫ﻫﻭ ﻭﺠﻪ‬ ‫‪‬‬ ‫ﺃﺨﺎﻁﺒﻪ ﺼﻭﺘﺎ‬ ‫ﹰ‬ ‫‪‬‬ ‫٦‬
  • 9. ‫ﻴﺩﺭﻙ.. ﺍﻟﺼﻤﺕ‬ ‫ﹶ‬ ‫‪‬‬ ‫ﻀﺤﻭﻜﺎ.. ﻴﻨﺜﺭ ﺍﻟﺒﺴﻡ‬ ‫‪‬‬ ‫ﹰ‬ ‫ﻋﺒﻭﺴﺎ.. ﻴﺤﺘﻭﻯ ﺤﺯﻨﻰ‬ ‫ﹶ‬ ‫ﻭ ‪‬ﻠﻬﻤﻨﻰ.. ﻁﺭﻴﻕ ﺍﻟﻴﻭﻡ‬ ‫ِ‬ ‫ﹶ‬ ‫ﻴ‬ ‫ﻴﻠﻬﻤﻨﻰ ﻁﺭﻴﻕ ﺍﻟﻘﺎﺩﻡ ﺍﻷﺒﺩﻯ‬ ‫‪‬‬ ‫ِ‬ ‫ﹶ‬ ‫ﻫﻭ ﻭﺠﻪ ﺒﻼ ﺤﺭﻑ ﻭﻻ ﻜﻠﻡ‬ ‫ٍ‬ ‫ٍ‬ ‫‪‬‬ ‫ﻭﺃﺒﻠﻎ ﻤﻥ ﺠﻤﻴﻊ ﻟﻐﺎ ِﻨﺎ ﺍﻟﺤﻴﻪ‬ ‫‪‬‬ ‫ِ ﺘ‬ ‫ﹸ‬ ‫‪‬ﻭ.. ﻭ ‪‬ﻬﻙ‬ ‫ﺠ‬ ‫ﻫ‬ ‫ﺃﻏﺴﻁﺱ ٩٩٩١‬ ‫٧‬
  • 10. ‫ﻟــــﻭ‬ ‫ﻗﺎل ﻟﻰ: ﻟﻭ ﺘﺫﻜﺭﻴﻥ‬ ‫ﻟﻭ ﺘﺫﻜﺭﻴﻥ ﺤﺒﻴﺒﺘﻰ‬ ‫ﻜﻴﻑ ﻗﺩ ﻤﺭ ﺍﻟﻠﻘﺎﺀ‬ ‫‪‬‬ ‫ﻫﻤﺱ ﻭﺼﻤﺕ ﻭﺼﻼﺓ‬ ‫ﹲ‬ ‫ﹸ‬ ‫‪‬‬ ‫ﻓﻰ ﻤﻌﺒﺩ ﻭﺒﺩﻭﻥ ﹶﺒﺭ‬ ‫ِﺨ ٍ‬ ‫ٍ‬ ‫ﺃﻭ ﺭﻴﺎﺀ..‬ ‫‪‬‬ ‫ﻋﻴﻨﺎﻙ ﺘﺴﺒﺢ ﻓﻰ ﻏﻤﺎﻡ‬ ‫ٍ‬ ‫‪‬‬ ‫ِ‬ ‫ﻏﺎﺭﻕ ﻓﻰ ﺒﺤﺭ ﺩﻤﻊ‬ ‫ٍ‬ ‫ٍ‬ ‫ﺨﺎﺌﻑ ﺴﺠﻥ ﺍﻟﻔﺭﺍﻕ‬ ‫ﹾ‬ ‫‪‬‬ ‫ٍ‬ ‫ﻟﻭ ﺘﺫﻜﺭﻴﻥ ﺤﺒﻴﺒﺘﻰ‬ ‫ﺃﻥ ﺍﻟﻠﻘﺎﺀ‬ ‫ﻗﺩ ﻜﺎﻥ ﻤﻥ ﻗﺒل ﺍﻟﻠﻘﺎﺀ‬ ‫ِ‬ ‫ﻫل ﺘﺫﻜﺭﻴﻥ‬ ‫ﻜﻡ ﻨﻤﺕ ﻋﻤﺭﺍ ﻓﻭﻕ ﺜﻐﺭﻯ‬ ‫ﹰ‬ ‫ِ‬ ‫ﻜﻡ ﺭﻑ ﻭﻫﺠﻙ ﻓﻭﻕ ﺸﻌﺭﻯ‬ ‫ﹶ ‪ ِ‬ﹶ‬ ‫ﺇﻨﻰ ﺭﺴﻤﺘﻙ ﺯﻫﺭﺓ ﺍﻟﻁﻔﻭﻟﺔ‬ ‫ِ‬ ‫ﹶ‬ ‫ِ‬ ‫ﻓﻭﻕ ﺼﺩﺭﻯ‬ ‫ﹶ‬ ‫٨‬
  • 11. ‫ﺃﺤﺭﻓﺎ ﻻﺴﻡ ﻴﻁﻭﻑ ﺒﻨﺒﺽ ﻓﻜﺭﻯ‬ ‫ِ‬ ‫ﹸ‬ ‫ٍ‬ ‫ﺴﻤﻴﺘﻙ – ﻗﺒل ﺍﹸﻤﺴﻤﻰ – ﺃﻤﻨﻴﻪ‬ ‫‪‬‬ ‫َ ﻟ‬ ‫ﻭﺍﻵﻥ ﺒﺕ ﺘﺤﻤﻠﻴﻥ‬ ‫ِ‬ ‫ﺃﺴﻤﺎﺀ ﻜل ﺍﻟﻨﺴﻭﺓ‬ ‫ِ‬ ‫‪ ‬ﱠ‬ ‫ﻨﺠﻭﻯ.. ﺜﻨﺎﺀ.. ﻭﻋﺯﺓ‬ ‫ﹰ‬ ‫‪‬‬ ‫ﻟﻜﻨﻬﻥ ﺠﻤﻴ ‪‬ﻬﻥ ﺒﺼﻴﺹ ﻭﺠﺩ ﻤﻥ ﺴﻨﺎﻙ‬ ‫‪ٍ ‬‬ ‫ﻌ‬ ‫ﻫل ﺘﻌﻠﻤﻴﻥ.. ﺤﺒﻴﺒﺘﻰ‬ ‫ﻜﻡ ﺫﺍ ﻴﺅﺭﻗﻨﻰ ﻫﻭﺍﻙ؟‬ ‫ﻟﻭ ﺘﻌﻠﻤﻴﻥ!!‬ ‫٩‬
  • 12. ‫ﻁﻔل ﻴﻠﻬﻭ‬ ‫ﺃﻨﺯﻉ ﺜﻭﺏ ﺍﻟﺨﻭﻑ ﺍﻟﻤﻬﺘﺭﺉ‬ ‫َ‬ ‫ِ‬ ‫‪‬‬ ‫‪‬‬ ‫ﺃﺩﺍﺭﻯ ﻋﻭﺭﺍﺘﻰ ﺒﻴﺩﻯ.. ﻓﻼ ﺘﺨﺘﺒﺊ‬ ‫‪‬‬ ‫ﻭﻅﻥ ﻴﺘﺩﻟﻰ ﻤﻥ ﺸﻔﺘﻰ.. ﻻ ﻟﻥ ﻴﻠﺩ‬ ‫‪‬‬ ‫‪‬‬ ‫‪‬‬ ‫ﺠﻨﻴﻨﺎ ﻤﺤﺘﻀﺭﺍ ﺠﺎﺀ..‬ ‫‪ ‬‬ ‫ﹰ‬ ‫ﻭﻫﺫﺍ ﺍﻟ ‪‬ﻠﻡ ﺘﻜﺴﺭ ﺸﺫﺭﺍﺕ‬ ‫ٍ‬ ‫ﺤ‪ ‬‬ ‫ﺘﺫﺭﻭﻫﺎ ﺍﻟﺭﻴﺢ ﻫﻨﺎﻙ‬ ‫‪‬‬ ‫ﻭﺭﻴﻘﺎﺕ ﺍﻟﻭﺠﺩ ﺍﻷﺨﻀﺭ ﻟﻥ ﺘﺼﻨﻊ ﺇﻻ ﻁﺎﺌﺭﺓ ﻭﺭﻗﻴﻪ‬ ‫‪‬‬ ‫ﹰ‬ ‫‪‬‬ ‫ِ‬ ‫ِ‬ ‫ﻨ ‪‬ﻘ ‪‬ﺎ ﺒﺤﺒﻴﺒﺎﺕ ﺍﻷﺸﻭﺍﻕ‬ ‫ِ‬ ‫ِ‬ ‫ﻤﻬ‬ ‫ﺃﻗﺎﻡ ﺠﻨﺎﺤﻴﻬﺎ ﻤﻥ ﺘﺎﺭﻴﺦ ﺍﻟﻠﻬﻔﺔ ﻓﻰ ﺠﻨﺒﻴﻪ‬ ‫ِ‬ ‫ِ‬ ‫‪‬‬ ‫ﻭﻏﻤﻐﻡ ﻓﻴﻬﺎ ﻤﻜﻨﻭﻥ ﺍﻟﻨﻔ ِ، ﻭﻤﻜﻨﻭﻥ ﺍﻷﻴﺎﻡ ﺍﻟﺤ ‪‬ﻠﻰ‬ ‫ِ ﺒ‬ ‫‪‬‬ ‫‪ ‬ﺱ‬ ‫‪‬‬ ‫ﻓﺎﻨﻁﻠﻘﺕ..‬ ‫ﻓﻭﻕ ﺍﻟﺭﻴﺢ ﺒﺭﻴﺢ‬ ‫ٍ‬ ‫ِ‬ ‫ﹶ‬ ‫ﻓﻭﻕ ﺍﻟﻨﺠﻤﺎﺕ ﺒﻨﺠﻤﺎﺕ‬ ‫ٍ‬ ‫ِ‬ ‫ﹶ‬ ‫ﻓﻭﻕ ﺍﻷﻓﻼﻙ ﺠﻤﻴﻌﺎ‬ ‫ﹰ‬ ‫ﹶ‬ ‫ﺤﺘﻰ ﻟﻜﺄﻥ ﺍﻷﻓﻼﻙ‬ ‫‪‬‬ ‫‪‬‬ ‫ﺫﻴﻭل ﻤﻨﻬﺎ‬ ‫ٌ‬ ‫ﻭﻜﺄﻥ ﺍﻟﹼﻪ ﺍﺼﻁﻨﻊ ﺴﻤﻭﺍﺕ ﺍﻟﻜﻭﻥ ﻟﺘﺤﻭﻴﻬﺎ‬ ‫ِ‬ ‫ِ‬ ‫‪‬‬ ‫‪ ‬ﻠ‬ ‫٠١‬
  • 13. ‫ﻭﺘﻁﻴﺭ ﺍﻟﻁﺎﺌﺭﺓ‬ ‫ﹸ‬ ‫‪‬‬ ‫ﺤﺘﻰ ﻟﻡ ﻴﺒﻕ ﻫﻨﺎﻟﻙ ﻓﻭﻕ ﺘﻌﺩﻭ ﻓﻭﻗﻪ‬ ‫ﹶ‪‬‬ ‫‪ ‬ﹲ‬ ‫ﹶ‬ ‫ﺃﻭ ﻓﻠﻙ ﺘﺠﺘﺎﺯﻩ‬ ‫‪‬‬ ‫ﹶﹶ ‪‬‬ ‫ﺃﻭ ﻜﺄﻨﻰ ﻗﺩ ﺼ ‪‬ﻗﺕ ﺍﻷﺼﺩﺍﺀ‬ ‫‪‬‬ ‫ﺩ ﹸ‬ ‫ﻓﻰ ﺒﺭﻫﺔ ﻭﻋﻰ – ﻴﺎ ﻟﻴﺕ ﺍﻟﻭﻋﻰ ﺘﻤﺎﻭﺕ –‬ ‫ﹶ‬ ‫ٍ‬ ‫ِ‬ ‫ﺘﺘﻬﺎﻭﻯ ﻜل ﺍﻷﻭﺭﺍﻕ، ﺍﻷﻟﻭﺍﻥ‬ ‫ِ‬ ‫ِ‬ ‫ﱡ‬ ‫ﻭﺃﺼﺩﺍﺀ ﺍﻟﺭﺅﻴﺎ‬ ‫ِ‬ ‫ﺘﺘﻬﺎﻭﻯ ﺍﻟﻁﺎﺌﺭﺓ: ﺃﻨﺎ‬ ‫ﹸ‬ ‫ﻤﺎ ﻜﺎﻥ ﺍﻟﻁﻴﺎﺭ ﺴﻭﻯ ﻁﻔل ﻴﻠﻬﻭ‬ ‫ٍ‬ ‫‪‬‬ ‫ﻴﻠﻬﻭ ﻓﻰ ﺘﻴﻪ ﺃﺒﺩﻯ‬ ‫ٍ‬ ‫ﻴﻠﻬﻭ..‬ ‫ﺍﻟﻘﺼﻴﺩﺓ ﻤﻬﺩﺍﻩ ﺇﻟﻰ ﺍﻟﺼﺩﻴﻘﺔ.. ﺍﻟﺼﺤﻔﻴﺔ / ﻋﺯﺓ ﻴﺤﻴﻰ‬ ‫ﺃﻏﺴﻁﺱ ٩٩٩١‬ ‫١١‬
  • 14. ‫ﻤﻭﻜﺏ ﺍﻟﺭﺍﺤﻠﻴﻥ‬ ‫ﻜﻨﺕ ﺍﻟﺒﺭﻴﺌﺔ ﻴﺎ ﺃﺒﻰ‬ ‫ﹶ‬ ‫ﹸ‬ ‫ﻜﺎﻟﻔﺠﺭ ﻴﺭﺠﻭﻩ ﺍﻟﺼﺒﺎﺡ‬ ‫‪‬‬ ‫ِ‬ ‫ﻭﺘﺠﻤﻌﻭﺍ: ﺃﺸﺭﺍ ‪‬ﻫﻡ‬ ‫ﺭ‬ ‫ﻜﻴﻤﺎ ﻴﺤﻴﻠﻭﺍ ﺒﺴﻤﺘﻰ.. ﺼﺭﻋﻰ.. ‪‬ﺭﺍﺥ‬ ‫ﺼ‬ ‫ﻫﺫﻯ ﺩﻤﻭﻋﻰ ﻟﻡ ﺘﻌﺩ..‬ ‫ﻗﻁﺭﺍ.. ﻨﺩﻯ ﻓﻰ ﺨﺩ ﻫﺎﺘﻴﻙ ﺍﻟﺯﻫﻭﺭ‬ ‫ِ‬ ‫ﹰ‬ ‫ﺃﻀﺤﺕ ﻟﻬﻴﺒﺎ ﻴﺤﺭﻕ ﺍﻟﻭﺠﻨﺎﺕ ﻓﻰ ﻭﺠﻪ ﺍﻟﻨﻬﺎﺭ‬ ‫ِ‬ ‫ِ‬ ‫ﹸ‬ ‫ﹰ‬ ‫ﻭﻟﻘﺩ ﺼﺒﺄﺕ ﻜﻨﺴﻤﺔ ﻓﻰ ﻅﻬﺭ ﻴﻭﻡ ﻗﺎﺌﻅ‬ ‫ِ ٍ‬ ‫ٍ‬ ‫ﹸ‬ ‫ﻜﺎﻟﺭﺍﺡ ﻋﺭﺒﺩ ﻓﻰ ﻋﻘﻭل ﺘﺎﺌﻬﺎﺕ‬ ‫ٍ‬ ‫‪‬‬ ‫ِ‬ ‫ﻨﻬﺒﻭﺍ ﺍﻟﻜﺭﺍﻤﺔ ﻴﺎ ﺃﺒﻰ‬ ‫ﹶ‬ ‫ﻭﺍﻷﺭﺽ ﻭﺍﻟ ِﺭﺽ ﺍﻟﻤﺼﺎﻥ‬ ‫‪ ‬ﻌ ‪‬‬ ‫ﻭﺃ ‪‬ﻭﺍ ﺠﻤﻴﻊ ﺭﺠﺎﻟﻨﺎ‬ ‫‪‬‬ ‫ﺩ‬ ‫ﻭﺍﺴﺘﻌﺒﺩﻭﺍ ﺤﺘﻰ ﺍﻟﻨﺴﺎﺀ‬ ‫ﺴﺭﻗﻭﺍ ﺍﻟﺒﺭﺍﺀﺓ ﻭﺍﻟﻁﻔﻭﻟﺔ.. ﻴﺴﺭﻗﻭﻥ ﺍﻷﻤﻨﻴﺎﺕ‬ ‫ﹶ‬ ‫‪‬ﹶ‬ ‫ﺃﻨﺎ ﻤﺎ ﺭﺜﻴ ﹸﻙ ﻴﺎ ﺃﺒﻰ ﺇﺫﺍ ﺃﻨﺕ ِﺕ‬ ‫ﹶﻤ ﹶ‬ ‫ﺘ‬ ‫ﺃﺭﺜﻰ ﺍﻟﻨﻔﻭﺱ ﺍﻟﻀﺎﺌﻌﺎﺕ ﻤﻊ ﺍﻟﺴﻨﻴﻥ‬ ‫ِ‬ ‫‪‬‬ ‫ﺒﺎﻋﻭﺍ ﺍﻟﺤﻘﻴﻘﺔ ﺒﺎﻟﺭﺨﻴﺹ‬ ‫ﹶ‬ ‫٢١‬
  • 15. ‫ﺫﺒﺤﻭﺍ ﺍﻷﺭﺍﻤل ﻭﺍﻟﻌﺠﺎﺌﺯ ﻭﺍﻟﻐﻨﺎﺀ‬ ‫‪‬‬ ‫َ‬ ‫ﻋﻬﺩ ﻴﺠﺊ ﺒﻼ ﺃﻤﺎﻥ‬ ‫‪ُ ‬‬ ‫ﺒﻠﺩ ﻏﺭﻴﺏ ﻻ ﻴﺼﺎﻥ‬ ‫‪‬‬ ‫‪‬‬ ‫ﻗﺩ ﺃﺭﻀﻌﻭﻨﺎ ﺍﻟﺫل ﻓﻴﻪ ﻭﺍﻟﻬﻭﺍﻥ‬ ‫َ ِ‬ ‫ﺤﺘﻰ ﺸﺒﻌﻨﺎ.. ﻭﺍﻟﺭﺤﻴل ﻫﻭ ﺍﻟ ِﻁﺎﻡ‬ ‫ﻔ‬ ‫ُ‬ ‫ﺃﻨﺎ ﻴﺎ ﺃﺒﺎﻨﺎ ﺭﺍﺤﻠﺔ...‬ ‫ﺍﻟﻌﻤﺭ ﻓﻴﻨﺎ.. ﻻ ﺜﻤﻥ‬ ‫‪‬‬ ‫ﻤﺎ ‪‬ﺩﺕ ﺃﺩﺭﻯ ﻤﺎ ﺍﻷﻤل‬ ‫ﻋ‬ ‫ﻀﺎﻋﺕ ﺃﻤﺎﻨﻴﻨﺎ ﻭﻀﻌﻨﺎ ﻓﻰ ﺯﻤﺎﻥ ﻜﻠﻪ ﺭﻫﻥ ﺍﻟﻜﺫﺏ‬ ‫‪‬‬ ‫ٍ ﹸ‪‬‬ ‫ً‬ ‫ﻓﻠﺘﺤﻤﺩﻥ ﻫﺫﺍ ﺍﻟﺭﺤﻴل.. ﺴﺒ ﹶﺘﻨﺎ‬ ‫ﻘ‬ ‫َ‬ ‫‪‬‬ ‫ﻓﺎﻟﻤﻭﺕ ﺃﻤﻨﻴﺔ ﺇﺫﺍ ﻋﺯ ﺍﻟﺒﻘﺎﺀ‬ ‫ﹲ‬ ‫ﻤﺎﺭﺱ ٧٩٩١‬ ‫٣١‬
  • 16. ‫ﺍﻟﻬﻭﻯ ﺍﻟﻀﺎﺌﻊ‬ ‫ﻤﺎ ﺠﺌﺕ ﺩﺭﺒﻙ ﺸﺎﻜﻴﺎ‬ ‫ﹰ‬ ‫ﹸ ‪ ‬‬ ‫ﺃﻭ ﺜﺎﺌﺭﺍ ﺃﻭ ﺒﺎﻜﻴﺎ‬ ‫ﹰ‬ ‫ﻓﻠﺭﺏ ﻗﻴﺩ ﻓﻰ ﺍﻟﺨﻔﺎﺀ ﻜﺴﺭﺘﻪ‬ ‫‪‬‬ ‫ِ‬ ‫‪ٍ ‬‬ ‫ﻭﻏﺩﻭﺕ ﺤﺭﺍ ﻻ ﺘﻜﺒﻠﻨﻰ ﻴﺩﺍﻙ‬ ‫ﺃﺴﺘﻨﺸﻕ ﺍﻟﺸﻤﺱ ﺍﻟﺤﻨﻭﻥ.. ﺃﺒﺜﻬﺎ ﻭﻫﺞ ﺍﻟﺠﻭﻯ‬ ‫‪‬‬ ‫ﹸ‬ ‫ﺃﺴﺘﺯﺭﻉ ﺍﻟﺤﺏ ﺍﻟﺠﻤﻭﺡ ﺤﺩﺍﺌﻘﺎ ﻓﻰ ﺭﺒﺎ ﻟﻴﺴﺕ ﺭﺒﺎﻙ‬ ‫‪‬‬ ‫ﹰ‬ ‫‪‬‬ ‫‪‬‬ ‫‪‬‬ ‫ﻻ ﺘﺫﻜﺭ ﺍﻟﻤﺎﻀﻰ ﺍﻟﻌﻤﻴﻕ.. ﻨﺴﻴ ﹸﻪ‬ ‫ﺘ‬ ‫ﹶ‬ ‫ﻭﺍﻟﻠﻴل ﺃﻁﻭﻯ ﻓﻰ ﺼﺤﺎﺌﻔﻪ ﺠﻔﺎﻙ‬ ‫َ‬ ‫ﺃﻨﺎ ﺇﻥ ﺫﻜﺭﺘﻙ ﻟﺴﺕ ﺃﺫﻜﺭ ﻏﻴﺭ ﻫﺠﺭﻙ ﻓﻰ ﻟﻴﺎﻟﻰ ﻏﺭﺒﺘﻰ‬ ‫ﻋﻤﺭﺍ ﺨﻭﺍﺀ.. ﻤﺎ ﺍﺭﺘﻭﻯ ﺇﻻ ﺒﻨﺎﺭ ﻤﻥ ﻫﻭﺍﻙ‬ ‫‪‬‬ ‫ﹰ‬ ‫ﻓﻰ ﺯﺤﻤﺔ ﺍﻟﺸﻭﻕ ﺍﻨﻁﻠﻘﺕ.. ﺘﺭﻜﺘﻨﻰ‬ ‫ﺃﺸﺒﺎﺡ ﻭﺠﺩ ﺘﺎﺌﻪ ﻓﻰ ﻅل ﻟﻴل ﻤﻥ ﺴﻤﺎﻙ‬ ‫‪ٍ ‬‬ ‫ﻭﻗﻠﺒﻰ – ﻴﺎ ﻟﻘﻠﺒﻰ - ﻜﻡ ﻟﻬﻭﺕ ﺒﻨﺒﻀﻪ ﻭﺭﻤﻴﺘﻪ‬ ‫ﻓﻰ ﺃﻟﻑ ﺩﺭﺏ.. ﻤﺎ ﺭﻤﺎﻙ‬ ‫ٍ‬ ‫ِ‬ ‫ﻜﻡ ﻤﻥ ﺭﺅﻯ ﺯﻴﻔﺘﻬﺎ ﻭﻁﻤﺴﺘﻬﺎ‬ ‫ﻭﺘﻐﺎﻓﻠﺕ ﻋﻥ ﺩﻤﻌﺘﻰ ﻋﻴﻨﺎﻙ‬ ‫٤١‬
  • 17. ‫ﻓﻠﻴﻤﺽ ﻋﻨﻰ ﻜل ﻤﺎ ﺼﺎﻏﺕ ﻴﺩﺍﻯ ﻤﻥ ﺠﻭﻯ ﻭﻴﺩﺍﻙ‬ ‫ﺇﻨﻰ ﻜﺭﻫﺘﻙ.. ﻗﺩ ﻨﺴﻴ ﹸﻙ..‬ ‫ﺘ‬ ‫ﻤﺜﻠﻤﺎ ﻨﺴﻰ ﺍﻟﻔﺅﺍﺩ ﻋﺫﺍ ‪‬ﻪ ﺒﻬﻭﺍﻙ‬ ‫‪ ‬ﺒ‬ ‫‪‬‬ ‫ﻴﻭﻨﻴﻭ ٧٩٩١‬ ‫٥١‬
  • 18. ‫ﻜﺎﻓﺭﺓ‬ ‫ﻁﺎﺭﺤﻨﻰ ﺍﻟﺸﻌﺭ ﻴﺫﻴﺏ ﺠﻠﻴﺩ ﺍﻟﻘﻠﺏ‬ ‫ِ‬ ‫‪ ‬‬ ‫‪‬‬ ‫ﻴﺼﻭﻍ ﺍﻟﻨﺒﺽ ﺤﺭﻭﻑ ﻗﺼﻴﺩ‬ ‫ٍ‬ ‫ﹶ‬ ‫‪‬‬ ‫ﹸ‬ ‫ﻤﻥ ﻟﻐﺔ ﺍﻟﻭﺠﺩ ﻭﻓﻴﺽ ﺍﻟﻠﻭﻋﺔ‬ ‫ِ‬ ‫ِ‬ ‫ِ‬ ‫ِ‬ ‫ﻴﺴﻁﺭ ﺃﻨﻰ ﻓﻴﺽ ﻤﻥ ﺘﻬﻭﻴﻡ ﺍﻟﻌﺸﻕ‬ ‫ِ‬ ‫‪‬‬ ‫‪‬‬ ‫ﻭﺃﻟﻬﻡ ﻟﻴل ﺍﻟﻬﺎﺌﻡ ﺴﺭ ﺍﻷﺴﺭﺍﺭ ﺒﻌﻴﻨﻰ‬ ‫‪‬‬ ‫ٍ‬ ‫ِ ‪‬‬ ‫‪َ ‬‬ ‫ﺃﺸﺘﻌل ﻤﻌﺭﺒﺩﺓ ﻓﻰ ﺍﻷﺴﺤﺎﺭ‬ ‫ِ‬ ‫ﹰ‬ ‫ﻭﺃﻭﻗﺩ ﺠﻤﺭ ﺼﺒﺎﺒﺎﺕ ﺍﻟﻌﺸﺎﻕ ﺒﻨﻔﺜﺔ ﺼﺩﺭﻯ‬ ‫ِ ِ‬ ‫ِ‬ ‫‪‬‬ ‫‪‬‬ ‫ﻟﻜﻨﻰ ﻜﺫﺒﺘﻙ ﻴﺎ ﺸﺎﻋﺭ‬ ‫‪‬‬ ‫ﹸ‪‬‬ ‫ﻓﻰ ﻋ ِﻘﻙ.. ﻓﻰ ﺘﺭﻨﻴ ِﺔ ﻗﻠﺒﻙ‬ ‫‪‬‬ ‫ﻤ‬ ‫ﺸ ‪‬‬ ‫ﺤﺘﻰ ﻓﻰ ﻅﻨﻙ ﻭﺃﻤﺎﻨﻴﻙ‬ ‫‪‬‬ ‫‪‬‬ ‫ﻓﺄﻨﺕ ﺘﺤﻴﻙ ﺨﻴﺎﻨﺎﺕ ﻜﺒﺭﻯ‬ ‫ٍ‬ ‫‪‬‬ ‫ﹶ‬ ‫ﻜل ﺼﺒﺎﺡ‬ ‫ٍ‬ ‫ﱠ‬ ‫ﻭﺃﺭﺍﻙ ﺒﺄﻟﻔﻰ ﻗﻠﺏ‬ ‫ٍ‬ ‫ﻭﺒﺄﻟﻑ ﻗﺼﻴﺩﻩ‬ ‫‪‬‬ ‫ِ‬ ‫ﻤﺸﻬﺭﺓ ﻓﻰ ﻋﻴﻨﻰ ﺃﻯ ﺍﻤﺭﺃﺓ‬ ‫ٍ‬ ‫‪‬‬ ‫ِ‬ ‫ﻓﻰ ﺜﻐﺭ ﺠﻤﻴﻊ ﺍﻟﺤﺴﻨﺎﻭﺍﺕ‬ ‫ِ‬ ‫ِ‬ ‫٦١‬
  • 19. ‫ﺇﻨﻰ ﻜﺎﻓﺭﺓ ﺒﻬﻭﺍﻙ ﻭﺸﻌﺭﻙ‬ ‫ِ ‪‬‬ ‫‪‬‬ ‫ﹲ‬ ‫ﻟﻥ ﺃﻭﻤﻥ ﻟﻙ!!‬ ‫‪ ‬‬ ‫ﻟﻥ ﺃﺅﻤﻥ ﺒﻙ..‬ ‫‪ ‬‬ ‫ﻤﺎﻴﻭ ٠٠٠٢‬ ‫٧١‬
  • 20. ‫ﺍﻟﻨﺨل‬ ‫ﺍﻷﺭﺽ ﺘﺼﺭﺥ.. ﺘﻐﺘﺼﺏ‬ ‫‪‬‬ ‫ﹸ‬ ‫‪‬‬ ‫ﺍﻷﺭﺽ ﺘﺒﺘﻠﻊ ﺍﻟﻐﻀﺏ‬ ‫‪‬‬ ‫‪ ‬‬ ‫ﻭﺘﻠﻤﻠﻡ ﺍﻷﻁﺭﺍﻑ ﻨﹲﺭﺕ ﻓﻰ ﺍﻟﻤﺩﻯ‬ ‫ﹶ ﺜ ﹾ‬ ‫‪‬‬ ‫ﻭ ِﻜ ‪ ‬ﺒﻠﻰ ﺒﺎﻟﺠﻤﺎﺠﻡ ﻭﺍﻟﻌﻔﻥ‬ ‫‪‬‬ ‫ِ‬ ‫ﺘﻥﺤ‬ ‫ﹸ‬ ‫ﻟﻭﺯﺍﺕ ﻗﻁﻥ ﺸﺎﻫﺩﺓ‬ ‫ﹸ ٍ‬ ‫ﻋﻠﻰ ﺍﻟﻭﻁﻥ‬ ‫ﺍﻟﻨﻴل.. ﺩﺠﻠﺔ.. ﻭﺍﻟﻔﺭﺍﺕ.. ﺫﻟﻴﻠﺔ‬ ‫ﹲ‬ ‫ﹸ‬ ‫ﹸ‬ ‫ُ‬ ‫ﺒﻴﺩ ﺍﻟﻴﻬﻭﺩ ﺘﻨﺠﺴﺕ:‬ ‫ﻫﻤﺱ.. ﻭﺼﻤﺕ‬ ‫ﺨﻤﺭ ﻭﻋﺭﻯ..‬ ‫‪‬‬ ‫‪‬‬ ‫ﻓﻰ ﻤﻭﺍﺌﺩ ِﺎ ﺍﻟﻤﻘﺩﺴﺔ ﺍﻟﻤﻌﺘﻘﺔ ﺍﻷﻟﻡ‬ ‫ِ‬ ‫ِ‬ ‫ﻨ‬ ‫ﻨﻭﻡ ﻭﻤﻭﺕ.. ﻭﺍﻟﻀﺤﺎﻴﺎ.. ﻻ ﺜﻤﻥ‬ ‫‪‬‬ ‫ﹲ‬ ‫‪‬‬ ‫ﺍﻟﻀﻔﺘﺎﻥ ﻤﻥ ﺍﻟﺠﻤﺎﺠﻡ.. ﻻ ﺒﺸﺭ‬ ‫‪‬‬ ‫ﺴﻴﻑ ﺍﻟﻌﺭﻭﺒﺔ ﺒﺎﻟﺒﺭﻭﺩﺓ.. ﻴﺘﻨﺤﺏ‬ ‫ﺍﻟﻨﺨل ﻴﺤﻨﻰ ﻫﺎ ‪‬ﺘﻪ‬ ‫ﻤﹶ‬ ‫ُ‬ ‫ﺍﻟﻨﺨل ﻴﻬﻭﻯ ﻟﻠﺘﺭﺍﺏ ﻭﻴﻨﺘﺤﺭ‬ ‫‪‬‬ ‫ِ‬ ‫ُ‬ ‫ﻤﺎﺭﺱ ١٠٠٢‬ ‫٨١‬
  • 21. ‫ﺭﻫﻴﻥ ﺍﻟﻌﻴﻭﻥ‬ ‫ﺤﺒﻴﺒﻰ.. ﻴﺭﻭﻗﻙ ﺼﻭﺕ ﺩﻤﻭﻋﻰ‬ ‫ﹸ‬ ‫ﹸ‪‬‬ ‫‪‬ﻤﻴﺩ ﺍﻟﺭﻭﺍﺴﻰ.. ﻴﻬ ‪ ‬ﺍﻟﻔﻀﺎﺀ‬ ‫‪‬‬ ‫‪ ‬ﺯ‬ ‫ﻴ ‪‬‬ ‫ﻭﻴﺒﻘﻰ ﻓﺅﺍﺩﻯ ﻴﻨﺎﺩﻯ ﻋﻠﻴﻙ‬ ‫‪‬‬ ‫ﻨﺩﺍﺀ ﻴﻌ ‪‬ﻕ ﻤﻌﻨﻰ ﺍﻟﻭﻻﺀ‬ ‫‪ ‬ﻤ‬ ‫ﻨﺩﺍﺀ ﻴﻔﻭﻕ ﻨﺩﺍﺀ ﺍﻹﺨﺎﺀ‬ ‫‪‬‬ ‫ﹸ ‪‬‬ ‫‪‬‬ ‫ﻭﺒﻴﻥ ﻀﻠﻭﻋﻰ ﻗﻠﺏ ﻴﺌﻥ‬ ‫‪  ‬‬ ‫ﻴﺒﻌﺜﺭ ﺸﻭﻗﻰ ﺩﻭﻥ ﺍﻨﺘﻬﺎﺀ‬ ‫‪‬‬ ‫‪ ‬‬ ‫‪‬‬ ‫ﻭﻴﻬﺘﻑ ﺃﻨﻙ ﺭﻏﻡ ﺍﻟﺘﻨﺎﺌﻰ‬ ‫‪ ‬‬ ‫ﺘﺤﻥ ﺇﻟﻰ ﺤﻨﻴﻥ ﺍﻟﺒﻘﺎﺀ‬ ‫‪‬‬ ‫‪‬‬ ‫‪ ‬‬ ‫ﺴﺄﻤﻀﻰ ﺇﻟﻴﻙ ﺒﺩﻭﻥ ﺍﻨﺘﻅﺎﺭ‬ ‫ٍ‬ ‫ِ‬ ‫‪‬‬ ‫ﺃﺤﻁﻡ ﺩﻭﻨﻙ ﻗﻴﺩ ﺍﻟﺠﻔﺎﺀ‬ ‫‪‬‬ ‫‪ ‬‬ ‫‪‬‬ ‫ﺒﺭﻏﻤﻰ ﺴﺄﺒﻘﻰ ﺴﺠﻴﻥ ﻗﻴﻭﺩﻯ‬ ‫٩١‬
  • 22. ‫ﺒﺭﻏﻤﻰ ﺴﺄﺒﻘﻰ ﺴﺠﻴﻥ ﻗﻴﻭﺩﻯ‬ ‫ﺭﻫﻴﻥ ﺍﻟﻌﻴﻭﻥ ﺒﺩﻭﻥ ﺍﻫﺘﺩﺍﺀ‬ ‫‪‬‬ ‫ِ‬ ‫ِ‬ ‫‪‬‬ ‫ﻜﺄﻨﻰ ﻤﺤﻭﺕ ﺼﻜﻭﻙ ﻋﻬﻭﺩﻯ‬ ‫‪‬‬ ‫ﹸ‬ ‫ﻜﺄﻨﻰ ﻜﺴﺭﺕ ﺠﺩﺍﺭ ﺍﻟﺼﻔﺎﺀ‬ ‫‪‬‬ ‫‪‬‬ ‫ﹸ‬ ‫ﻜﺄﻨﻰ ﺴﺤﺒﺕ ﺍﻋﺘﺭﺍﻑ ِﺠﻭﺩﻯ‬ ‫ﹶﻭ‬ ‫ﹸ‬ ‫ﻜﺄﻨﻰ ﺴﺄﺨﻁﻭ ﻨﺤﻭ ﺍﻟﻔﻨﺎﺀ‬ ‫‪‬‬ ‫‪‬‬ ‫ﻤﺎﻴﻭ ٨٩٩١‬ ‫٠٢‬
  • 23. ‫ﺇﺨﻼﺹ‬ ‫ﻓﻌﻼ..‬ ‫ﹰ‬ ‫ﺃﻨﺕ ﺘﺤﺏ ﻜﺜﻴﺭﺍ ﺠﺩﺍ‬ ‫ﹰ ﹰ‬ ‫ﺘﺨﻠﺹ ﻟﻰ‬ ‫ﺇﺨﻼﺼﻙ ﻟﻠﺴﻴﻘﺎﻥ ﺇﺫﺍ ﺍﻨﺩﻟﻘﺕ ﻓﻰ ﺍﻟﻁﺭﻗﺎﺕ‬ ‫ِ‬ ‫‪‬‬ ‫ﺘﺘﻸﻷ ﻜﺎﻟﻀﻭﺀ ﻋﻠﻰ ﺼﻔﺤﺔ ﻤﺎﺀ‬ ‫ِ‬ ‫ِ‬ ‫ﺘﺨﻠﺹ ﻟﻰ..‬ ‫‪‬‬ ‫ﺇﺨﻼ ‪‬ﻙ ﻟﻸﺭﺩﺍﻑ ﺍﻟﻤﻬﺘ ِﺓ‬ ‫ﺯ‬ ‫ِ‬ ‫ﺼ‬ ‫ﺯﻟﺯﻟﺔ ﻓﻭﻕ ﺍﻷﺭﺽ‬ ‫ِ‬ ‫ﹰ‬ ‫ﻭﺯﻟﺯﻟﺔ ﻓﻰ ﻋﻴﻨﻴﻙ‬ ‫‪‬‬ ‫ﹰ‬ ‫ﻭﺯﻟﺯﻟﺔ ﻓﻰ ﻗﻠ ِﻙ‬ ‫ﺒ‬ ‫ﹰ‬ ‫ﺘﺨﻠﺹ ﻟﻰ..‬ ‫‪‬‬ ‫ﻭﺨﺼﻭﺼﺎ ﺤﻴﻥ ﺘﻁل ﺇﻟﻴﻙ‬ ‫ُ‬ ‫ﹰ‬ ‫ﻨﻬﻭﺩ ﺍﻟﺤﺴﻨﺎﻭﺍﺕ‬ ‫‪‬‬ ‫ﺘﻔﺭ ﺇﻟﻴﻙ ﺒﻼ ِﻘ ‪‬ﺩ‬ ‫ﻤﻭ‬ ‫‪‬‬ ‫ﺘﺨﻠﺹ ﻟﻰ...‬ ‫‪‬‬ ‫ﻭﻜﺫﻟﻙ ﺃﺨﻠﺹ ﻤﺜﻠﻙ!!‬ ‫‪‬‬ ‫‪‬‬ ‫١٢‬
  • 24. ‫ﺇﻻ ﺇﻟﻴﻙ‬ ‫ﻴﻘﻭﻟﻭﻥ ﻋﻨﻙ ﺍﻟﺤﻜﺎﻴﺎ ﺍﻷﺴﺎﻁﻴﺭ‬ ‫ﻭﺃﻨﺕ ﺒﻘﻴﺔ ﻋﻤﺭ ﺤﺯﻴﻥ‬ ‫ٍ‬ ‫ﺘﺭﻜﺘﻙ ﺘﻠﻬﻭ ﺒﻰ ﺩﻤﻴﺔ، ﻗﺭﻨﻔﻠﺔ، ﻴﺎﺴﻤﻴﻨﺔ‬ ‫ﺸﻬﺭﺍ، ﺸﻬﻭﺭﺍ. ﺴﻨﻴﻥ‬ ‫ﹰ‬ ‫ﹰ‬ ‫ﻓﻠﻴﻘل ﻤﻥ ﻴﺸﺎﺀ، ﻭﺘﻐﺭﺱ ﺃﻟﺴﻨﺔ ﺍﻟﻘﺎﺌﻠﻴﻥ‬ ‫ﺍﻟ ِﺩﺍﺩ.. ﺒﻅﻬﺭﻯ.. ﺒﻘﻠﺒﻰ‬ ‫ﺤ ‪‬‬ ‫ﻓﻠﻥ ﻴﻨﺯﻑ ﺍﻟﻘﻠﺏ ﻏﻴﺭﻙ‬ ‫ﻟﻥ ﻴﻔﺘﺢ ﺍﻟﺩﻤﻊ ﻤﺠﺭﺍﻩ ﺇﻻ ﺇﻟﻴﻙ‬ ‫ﻭﻟﻥ ﺘﺸﻬﻕ ﺍﻵﻫﺔ ﻏﺼﻥ ﺸﺠﺎﻫﺎ‬ ‫ﺇﻻﻋﻠﻰ ﻅﻠﻙ ﺍﻟﻤﻨﺘﻤﻰ ﻟﺸﻁﺂﻨﻨﺎ؟‬ ‫ﺤﺘﻰ ﻭﻟﻭ ﻜﺎﻥ ﻅﻠﻙ‬ ‫ﻟﺒﻼﺒﺔ ﺘﺘﺴﻠﻕ‬ ‫ﻜل ﺍﻟﺤﺩﻭﺩ‬ ‫ﻭﻜل ﺍﻟﺒﻼﺩ‬ ‫ﻭﺘﻐﺭﺏ ﻋﻨﻰ‬ ‫ﻓﻠﻥ ﻴﻨﺯﻑ ﺍﻟﻘﻠﺏ ﻏﻴﺭﻙ‬ ‫٢٢‬
  • 25. ‫ﻭﻟﻥ ﻴﺸﻬﻕ ﺍﻵﻩ ﻏﻴﺭﻙ‬ ‫ﻭﻟﻥ ﻴﻔﺘﺢ ﺍﻟﺩﻤﻊ ﻤﺠﺭﺍﻩ ﻴﻭﻤﺎ‬ ‫ﹰ‬ ‫ﺇﻻ ﺇﻟﻴﻙ‬ ‫٣٢‬
  • 26. ‫ﺤﻨﺎﻥ‬ ‫ﻴﺎ ﺤﺒﻴﺒﻰ.. ﻟﻥ ﺃﻏﻨﻰ‬ ‫ﻀﺎﻋﺕ ﺍﻷﻨﻐﺎﻡ ﻤﻥ ﻗﻠﺒﻰ ﺍﻟﻤﻌ ﱠﻰ‬ ‫ﻨ‬ ‫ﻭﺍﻟﻤﻌﺎﻨﻰ ﻓﻰ ﺍﻟﺩﺠﻰ ﺘﻬﺭﺏ ﻤﻨﻰ‬ ‫‪‬‬ ‫ﺴﺄﺤﺒﻙ ﻫﻜﺫﺍ.. ﻭﺤﺩﻯ‬ ‫ﻭﻴﺒﻘﻰ ﺤﺒﻰ ﻓﻰ ﻟﻴﺎﻟﻰ ﺭﻫﻴﻨﺎ‬ ‫‪ ‬‬ ‫ﻓﻰ ﺩﺭﻭﺏ ﺍﻟﻴﺄﺱ ﻻ ﻴﺸﺩﻭ.. ﻭﻻ ﻴﻭﻤﺎ ﻴﻐﻨﻰ‬ ‫ﹰ‬ ‫ﻤﺜﻠﻤﺎ ﻜﺎﻥ.. ﻗﺩﻴﻤﺎ‬ ‫ﹰ‬ ‫ﻗﺒل ﺃﻥ ﻴﻨﺩﺍﺡ ﻓﺠﺭﻯ ﻤﻥ ﻏﻴﺎﺒﺎﺕ ﺍﻟﺩﺠﻰ‬ ‫ﻗﺒل ﺃﻥ ﻴﻤﻸ ﺍﻟﺸﻭﻕ ﺸﺭﺍﻋﻰ ﺒﺎﻟﺘﻤﻨﻰ‬ ‫ﹸ‬ ‫ﻭﻗﺼﻴﺩﻯ‬ ‫ﻴﻔﻀﺢ ﻭﺠﺩﻯ.. ﻭﺃﺤﻼﻤﻰ ﺍﻟﺤﻴﺭﻯ‬ ‫‪‬‬ ‫ﺘﺅﻜﺩ ﻅﻨﻰ..‬ ‫‪‬‬ ‫ﻭﺃﻨﺎ ﺃﻤﻀﻰ ﻜﻅل ﻟﻠﺴﺭﺍﺏ‬ ‫ﻓﻰ ﺒﺤﺎﺭ ﺍﻟﺤﺏ ﺃﻁﻠﻘﺕ ﺍﻟﺸﺭﺍﻉ‬ ‫ﻏﻴﺭ ﺃﻥ ﺍﻟﺭﻴﺢ ﻋﺎﺩﺕ ﻋﺎﺼﻔﺔ‬ ‫٤٢‬
  • 27. ‫ﺘﻬﻭﻯ ﺒﺎﻟﺫﻯ ﺸﺎﺩ ﺍﻟﻬﻭﻯ‬ ‫ﻏﻴﺭ ﺃﻨﻰ ﺴﻭﻑ ﺃﺸﺩﻭ ﻟﻭﻟﻴﺩ ﻗﺎﺩﻡ‬ ‫ٍ‬ ‫ﺒﺎﺴﻡ ﺍﻟﺜﻐﺭ ﻜﻁﻴﺭ ﺃﺯﻏﺏ‬ ‫ٍ‬ ‫ﺴﻭﻑ ﺃﺸﺩﻭ ﻭﺃﻏﻨﻰ‬ ‫٥٢‬
  • 28. ‫ﺨﻴﻭﻁ‬ ‫ﻴﺎ ﺃﻨﺕ.. ﻤﻥ ﻏ ‪‬ﺭ ﻗﻠﺒﻙ‬ ‫‪‬‬ ‫ﹶﻴ‬ ‫ﹶ‬ ‫ﻨﻴﺭﺍﻥ ﻴﻭﻗﻅﻬﺎ ﺼﻤﺘﻙ‬ ‫ﹸ ‪‬‬ ‫‪‬‬ ‫ﺘﺄﻤﺭ ﻓﻴﻠﺒﻰ ﻫﻤﺴﺎ‬ ‫ﹰ‬ ‫ﻻ ﻋﺸﻕ ﺴﻭﻯ ﻋﺸﻕ ﻫﻭﺍﻙ‬ ‫ﹶ‬ ‫ﻻ ﺩﻨﻴﺎ ﺇﻻ ﻓﻰ ﻗﺭﺒﻙ‬ ‫‪‬‬ ‫ﺃﺘﺤﻴﺭ.. ﺃﺴﻘﻁ ﻤﻥ ﻨﻔﺴﻰ‬ ‫‪‬‬ ‫ﻭﺃﺫﻭﺏ ﻜﻴﺎﻨﺎ ﻗﺩ ﻜﺎﻥ‬ ‫ﹰ‬ ‫ﻭﺴﺘﺒﺤﺙ ﻴﻭﻤﺎ ﻋﻥ ﻗﻠﺒﻰ‬ ‫ﹰ‬ ‫ﻓﻰ ﺫﻜﺭﻯ ﺤﺏ ﻗﺩ ﻫﺎﻥ‬ ‫ٍ‬ ‫ﻓﻠﺘﻨﺱ ﺇﺫﺍ ﺸﺌﺕ ﺍﻟﻨﺴﻴﺎﻥ‬ ‫‪‬‬ ‫ﻓﺤﺩﻭﺩﻙ ﻴﺭﺴﻤﻬﺎ ﻭﺠﺩﻯ‬ ‫ﻭﺨﻴﻭﻁﻙ ﺘﻤﺘﺩ ﺒﻘﻠﺒﻰ‬ ‫٦٢‬
  • 29. ‫ﺍﻟﺤﺼﺎﻥ ﺍﻷﺴﻭﺩ‬ ‫ﻭﻴﺩﻕ ﺒﺤﺎﻓﺭﻩ: ﺤﺼﺎﻥ ﺃﺴﻭﺩ‬ ‫‪‬‬ ‫ﻟﻭﺡ ﺯﺠﺎﺝ ﺃﺨﻀﺭ‬ ‫‪‬‬ ‫ٍ‬ ‫‪‬‬ ‫ﻴﻨﺸﻁﺭ ﺍﻟﻠﻭﺡ ﺍﻟﺸﻔﺎﻑ ﺸﻅﺎﻴﺎ..‬ ‫ﹸ‬ ‫‪‬‬ ‫‪‬‬ ‫ﻓﻰ ﺼﻔ ِﺓ ﻟﻭﻥ ﻤﻴﺕ‬ ‫ﺭ‬ ‫ﻭﺠﻤﺎﺠﻡ ﺘﺯﺭﻉ ﻓﻰ ﺍﻟﺭ ِل ﺍﻷﺼﻔﺭ‬ ‫ﻤ‬ ‫‪‬‬ ‫ﻨﺒﺕ ﺃﺸﺒﺎﺤﺎ ﻟﻴﻠﻴﺔ‬ ‫ﺘﺘﻠﻬﻰ ﺒﺎﻟﺫﺍﻜ ِﺓ ﺍﻟﺼﻤﺎﺀ‬ ‫ﺭ‬ ‫ﻭﺘﻌﺒﺙ ﺒﺨﻼﻴﺎ ﺍﻟﺭﻭﺡ‬ ‫ِ‬ ‫ﻭﺃﺸﺘﺎﺕ ﺍﻟﺒﺅﺱ ﻭﺃﺸﻼﺀ ﺍﻟﻬﻤﺱ‬ ‫ِ‬ ‫ِ‬ ‫ِ‬ ‫ﻭﺼﻐﻴﺭ ﻴﺒﻜﻰ‬ ‫‪‬‬ ‫ﻭﻋﺠﻭﺯ ﻴﻌﻭﻯ‬ ‫ﻭﺩﻤﺎﺀ ﺍﻷﺤﻼﻡ ﺒﺴﺎﻁ ﺃﺤﻤﺭ‬ ‫ﹲ‬ ‫ِ‬ ‫‪‬‬ ‫ﻴﺭﻭﻯ ﻅﻤﺄ ﺍﻷﺭﺽ ﺍﻟﻌﻁﺸﻰ‬ ‫ِ‬ ‫ﺒﺎﻟﺤﻘﺩ ﺍﻟﻤﻅﻠﻡ‬ ‫ِ‬ ‫ﺘﻨﻤﻭ ﺠﻤﺠﻤﺔ ﺼﺭﻋﻰ ﻋﻥ ﻫﻡ ﺃﺴﻭﺩ‬ ‫ﹲ‬ ‫٧٢‬
  • 30. ‫ﻭﺍﻟﺭﻴﺢ ﺘﺯﻤﺠﺭ‬ ‫‪‬‬ ‫ﻴﺒﺘﻠﻊ ﺭﺫﺍﺫ ﺍﻟﻭﻤﻀﺎﺕ ﺍﻟﻤﺫﻋﻭﺭﺓ‬ ‫ﻭﺫﺌﺎﺏ ﺍﻟﻠﻴل ﺍﻟﻤﺤﻤﻭﻤﺔ‬ ‫ﻭﻴﺩﻭﻯ ﺍﻟﺭﻋﺩ ﻭﺃﻨﺎﺕ ﺍﻟﻤﻭﺕ‬ ‫ِ‬ ‫ﹸ‬ ‫‪‬‬ ‫ﻴﻨﺘﺯﻉ ﺍﻟﺸﻤﺱ ﺍﻟﻤﻘﺘﻭﻟﺔ ﻤﻥ ﺤﻀﻥ ﺍﻟﻠﻴل‬ ‫ﹶ‬ ‫‪‬‬ ‫‪‬‬ ‫ﺘﺨ ‪‬ﺭ ﺍﻷﺭﺽ.. ﻭﺘﺯﻫﺭ‬ ‫‪‬‬ ‫ﻀ‬ ‫ﻭﻤﺴﻴﺢ ﻴﺤﻤل ﻗﺭﺁﻨﺎ ﻭﻤﺼﻠﻲ..‬ ‫ﻭﺤﺠﻴﺞ ﻤﻥ ﻜل ﺍﻟﻌﺎﻟﻡ ﻴﺄﺘﻭﻥ‬ ‫ِ‬ ‫‪‬‬ ‫ﻭﺍﻟﻘﺩﺱ ﻋﺭﻭﺱ ﻨﺸﻭﻯ‬ ‫‪‬‬ ‫‪‬‬ ‫ﻭﺍﻤﺭﺃﺓ ﻓﻰ ﺤﻀﻥ ﺍﻟﺤﺎﺌﻁ ﺘﺒﻜﻰ‬ ‫ِ‬ ‫ﹲ‬ ‫ﻻ ﻜﺒﻜﺎﺀ ﺍﻟﺜﻜﻠﻰ‬ ‫ﻭﺼﻐﺎﺭ ﻓﻰ ﻋﻤﺭ ﺍﻟﺯﻫﺭ ﺘﻐﻨﻰ‬ ‫‪‬‬ ‫ﺃﻏﻨﻴﺔ ﺍﻟﻨﺼﺭ‬ ‫ﻭﺭﻤﺎل ﺍﻷﺭﺽ ﺍﻨﺘﻌﺸﺕ.. ﻫﺒﺕ‬ ‫ِ‬ ‫ُ‬ ‫ﻭﺠﻤﺎﺠﻡ ﻫﺫﻯ ﺍﻷﺭﺽ ﻗﻨﺎﺒل‬ ‫ُ‬ ‫ِ‬ ‫‪‬‬ ‫ﻭﺍﻟﻠﻭﺡ ﺍﻟﻤﺸﻁﻭﺭ ﻴﻌﻭﺩ‬ ‫‪‬‬ ‫‪‬‬ ‫ﺒﺴﺎﻁﺎ ﻤﻤﺘﺩﺍ.. ﻴﺜﻤﺭ‬ ‫‪‬‬ ‫ﹰ‬ ‫ﺯﻴﺘﻭﻨﺎ ﺃﺨﻀﺭ‬ ‫٨٢‬
  • 31. ‫ﺍﻟﻨﺼﺭ ﻤﻭﺍﻜﺏ ﺘﺘﺩﺍﻓﻊ‬ ‫‪‬‬ ‫‪‬‬ ‫ﻭﺼﻠﻴﺏ ﻭﺃﺫﺍﻥ ﻴﺭﻓﻊ‬ ‫‪‬‬ ‫‪‬‬ ‫ﻤﻥ ﻓﻭﻕ ﺍﻟﻘﻤﻡ ﺍﻟﺨﻀﺭﺍﺀ‬ ‫ِ‬ ‫ﻭﺤﻤﺎﺌﻡ ﺒﻴﻀﺎﺀ ﺘﻐﺭﺩ‬ ‫‪‬‬ ‫ﻟﻌﺭﻭﺱ ﻨﺸﻭﻯ‬ ‫ٍ‬ ‫ﻭﺍﻟﻘﺩﺱ ﻤﺴﺎﺠﺩ..ﻭﻜﻨﺎﺌﺱ.‬ ‫ﺃﻜﺘﻭﺒﺭ ٨٨٩١‬ ‫٩٢‬
  • 32. ‫ﺒﺼﺒﺎﺹ‬ ‫ﻟﻥ َﺘﻘﺭﺒﻬﺎ..‬ ‫ﻟﻥ ﺘﺘﻤﺴﺢ ﻓﻰ ﻅل ﻴﺩﻴﻬﺎ‬ ‫ِ‬ ‫‪‬‬ ‫ﻓﻰ ﺃﻀﻭﺍﺀ ﺍﻟﺸﻔﺘﻴﻥ ﺍﻟﺴﺎﻁﻌﺔ‬ ‫ِ‬ ‫ِ‬ ‫ِ‬ ‫ﺒﻼ ﺤﺩ‬ ‫ٍ‬ ‫ﻓﻰ ﺃﺒﻌﺎﺩ ﺍﻟﻨﻬﺩﻴﻥ‬ ‫ِ‬ ‫ﺍﻟﻁﻴﺎﺭﻴﻥ‬ ‫ِ‬ ‫ﺍﻟﻤﻨﻁﻠﻘﻴﻥ ﺒﻼ ﻗﻴﺩ‬ ‫ٍ‬ ‫ِ‬ ‫ﻟﻥ ﺘﻘﺭﺒﻬﺎ: ﻗﻭﻻ ﺃﻭ ﻓﻌﻼ‬ ‫ﹰ‬ ‫ﹶ‬ ‫ﺃﻭ ﻫﻤﺴﺎ ﺃﻭ ﺤﺭﻓﺎ‬ ‫ﹰ‬ ‫ﹰ‬ ‫***‬ ‫ﺫﺍﻙ ﻷﻨﻙ ﺘﻌﺸﹲﻨﻰ‬ ‫ﻘ‬ ‫‪‬‬ ‫ﻭﺘﻘﺩﺱ ﺃﺤﻼﻤﻰ ﻓﻴﻙ‬ ‫‪‬‬ ‫‪‬‬ ‫‪‬ﻴﺎﻤﻰ )ﺒﺸﻘﺎﻭﺓ( ﻋﻴﻨﻴﻙ‬ ‫‪‬‬ ‫ِ‬ ‫ﻫ‬ ‫ﻭﻟﻤﺱ ﺸﻔﺎﻫﻙ ﻓﻭﻕ ﻴﺩﻯ‬ ‫ِ‪ ‬ﹶ ‪‬‬ ‫ِ‬ ‫ﻟﻥ ﺘ ﹶﺭﺒﻬﺎ: ﻗﻭﻻ ﺃﻭ ﻓﻌﻼ‬ ‫ﹰ‬ ‫ﹰ‬ ‫ﻘ‬ ‫٠٣‬
  • 33. ‫ﺃﻭ ﻫﻤﺴﺎ ﺃﻭ ﺤﺭﻓﺎ‬ ‫ﹰ‬ ‫ﹰ‬ ‫ﺒل ﺘ ﹸﺭﺒﻬﺎ ﻓﻰ ﺍﻟ ﱡﻠ ِﺔ ﻭ ‪‬ﺩﻙ‬ ‫ﻅﻤ ﺤ ‪‬‬ ‫ﻘ‬ ‫ﺫﺌﺒﺎ ﻴﻔﺘﺭﺱ ﺒﺭﻏﺒﺘﻪ ﻤﻥ ﻴﻔﺘﺭﺴﻪ‬ ‫‪‬‬ ‫‪‬‬ ‫ﹰ‬ ‫ﻴﺎ ﺒﺼﺒﺎﺹ.. ﺍﻟﻜﺫﺏ ﺼﻨﺎ ‪‬ﺘﻙ ﺍﻟﻜﺒﺭﻯ..‬ ‫ﻋ ‪‬‬ ‫‪‬‬ ‫‪‬‬ ‫ﻴﺎ ﺒﺼﺒﺎﺹ!!‬ ‫‪‬‬ ‫ﻓﺒﺭﺍﻴﺭ ٢٠٠٢‬ ‫١٣‬
  • 34. ‫ﻋﺘﺎﺏ‬ ‫ﻻ ﺘﻌﺎﺘﺒﻨﻰ‬ ‫ﺃﻨﺎ ﻤﺎ ﺍﺨﺘﺭﺕ ﻓﻰ ﺍﻟﺒﺩﺀ..‬ ‫ﹸ‬ ‫ﻭﻟﻭ ﹸﻴﺭﺕ ‪‬ﻨﺒﺕ ﺍﻟﺨﻁﺎﻴﺎ‬ ‫ﺨ ﹸﺠ ﹸ‬ ‫ﺃﻨﺎ ﺒﺎﻟﺨﻁﻭﺓ ﺍﻷﻭﻟﻰ ﺒﺩﺭﺒﻰ‬ ‫ﻗﺩ ﻁﻭﺍﻨﻰ ﺍﻟﻐﻴﺏ ﻓﻰ ﺒﺌﺭ ﺍﻟﺤﻴﺎﺓ‬ ‫ﻜﻤﺎ ﺍﻹﻋﺼﺎﺭ ﻴﺒﺘﻠﻊ ﺍﻟﺸﻅﺎﻴﺎ‬ ‫ﻻ ﺘﻌﺎﺘﺏ!!‬ ‫ﺭﺒﻤﺎ ﻀﻠﺕ ﹸﻁﺎﻴﺎ ﻓﻰ ﺜﻨﻴﺎﺕ ﺍﻟﺸﻌﺎﺏ‬ ‫ﱠ ﹾﺨ‬ ‫ﺭﺒﻤﺎ ﺤﱠﻘﺕ ﻴﻭﻤﺎ ﺜﻡ ﻨﺎﺩﺍﻨﻰ ﺍﻟﺘﺭﺍﺏ‬ ‫ﻠ‬ ‫ﻓﺘﻬﺎﻭﻴﺕ ﻭﻓﻰ ﻗﻠﺒﻰ ﺨﻔﻭﻕ ﻭﺍﻀﻁﺭﺍﺏ‬ ‫ﺭﺒﻤﺎ ﺃﺨﻁﺄﺕ ﻟﺤﻅﺔ ﻀﻌﻑ ﻭﺘﺨﻁﺎﻨﻰ ﺍﻟﺼﻭﺍﺏ‬ ‫ﺭﺒﻤﺎ ﻟﻡ ﺃﺤﺴﻥ ﺍﻹﺒﺤﺎﺭ ﻓﻰ ﻴﻡ ﺍﻟﻀﺒﺎﺏ‬ ‫‪‬‬ ‫ﻏﻴﺭ ﺃﻨﻰ ﻗﺩ ﺘﺼﻭﻨﺕ ﻋﻥ ﺍﻟﺯﻴﻑ‬ ‫ﻭﻟﻡ ﺃﺠﻨﺢ ﺇﻟﻰ ﺃﺭﺽ ﺍﻟﺨﺩﺍﻉ‬ ‫ﻭﺃﻀﺄﺕ ﺍﻟﻨﻭﺭ ﻟﻠﺴﺎﺭﻯ‬ ‫ﻭﺘﻐﻨﻴﺕ ﻟﻤﻥ ﺭﺍﺡ ﻴﺼﻠﻴﻨﻰ ﺍﻟﻌﺫﺍﺏ‬ ‫٢٣‬
  • 35. ‫ﻻ ﺘﻌﺎﺘﺏ!!‬ ‫ﻨﻔﺴﻰ ﻤﻥ ﻫﺠﻴﺭ ﺍﻟﻌﺘﺏ ﻴﻐﺸﺎﻫﺎ ﺍﻟﻌﺫﺍﺏ‬ ‫ﻻ ﺘﻌﺎﺘﺏ!!‬ ‫ﺃﻨﺕ ﺃﻴﻀﺎ ﻓﻴﻙ ﻤﺎ ﻓﻴﻙ ﻭﻟﻜﻥ ﻟﻥ ﺃﻋﺎﺘﺒﻙ‬ ‫ﺃﻨﺕ ﻤﺜﻠﻰ ﻟﻡ ﺘﺨﻴﺭ‬ ‫ﹸ ﹶ‪ ‬‬ ‫ﺃﻨﺕ ﻤﺜﻠﻰ ﺸﺎﺭﺩ ﻓﻰ ﺍﻟﺘﻴﻪ ﻤﺸﺩﻭﺩ ﻤ ‪‬ﻴﺭ‬ ‫‪ ‬ﺤ ‪‬‬ ‫ﻓﻠﻤﺎﺫﺍ ﻻ ﺘﺴﺎﻤﺢ؟!‬ ‫ﻭﻟﻤﺎﺫﺍ ﺃﻨﺕ ﻋﺎﺘﺏ؟!‬ ‫ﻴﻭﻨﻴﻭ ٧٨٩١‬ ‫٣٣‬
  • 36. ‫ﺃﻤﺔ‬ ‫ﻋﻭﺭﺍﺕ ﺃﻨﺘﻥ ﻋﻠﻰ ﺍﻟﻘﺩﻤﻴﻥ ﺘﺴﻴﺭ‬ ‫ﻭﺨﻼﻋﺎﺕ ﺘﻐﺭﻯ ﺃﺤﺠﺎﺭ ﺍﻷﺭﺽ..‬ ‫ﻭﺘﻐﺭﻯ ﺃﻏﺼﺎﻥ ﺍﻟﺸﺠﺭ ﺘﻤﻴل..‬ ‫ﺃﺘﺒﻴﻊ ﺍﻟﺤﺭﺓ ﺒﺽ ﺍﻟﺠﺴﺩ ﻫﺒﺎﺀ؟!‬ ‫ﻤﺎ ﺃﻨﺘﻥ ﺴﻭﻯ ﺃﻤﺔ ﻭﺍﻫﻤﺔ‬ ‫ٍ‬ ‫ﺘﺤﻠﻡ ﺒﻅﻼل ﺍﻟﺤﺭﻴﺔ‬ ‫ﻭﺍﻫﻤﺔ ﺘﺤﻠﻡ ﺒﺄﻨﻭﺜﺘﻬﺎ ﺍﻟﺸﺎﺌﻌﺔ‬ ‫ﻭﻻ ﺘﺩﺭﻯ ﺃﻥ ﺒﺩﺍﺨﻠﻬﺎ ﺸﻴﻁﺎﻥ ﺭﻴﺎﺀ‬ ‫ﻴﺎ ﺸﻴﻁﺎﻨﺔ.. ﺘﺼﺭﺥ:‬ ‫ﹸ‬ ‫ﻗﻬﺭ.. ﻓﻰ ﻗﻬﺭ.. ﻓﻰ ﻗﻬﺭ‬ ‫ٍ‬ ‫‪‬‬ ‫ﻭﺼﻼﺓ ﻟﻠﻅﻠﻡ ﺘﻘﺎﻡ‬ ‫ﹲ‬ ‫ﺍﻜﺸﻔﻥ ﺍﻟﻭﺠﻪ‬ ‫‪‬‬ ‫ﻋﺭﻴﻥ ﺍﻟﺼﺩﺭ‬ ‫ﻭﺘﻌﻠﻤﻥ ﻓﻥ ﺍﻟﺘﺩﻟﻴل‬ ‫ﻓﻥ ﻤﻐﺎﺯﻟﺔ ﺍﻵﺨﺭ ﻭﺍﻟﺘﻘﺒﻴل‬ ‫٤٣‬
  • 37. ‫ﻓﺠﺭ ﺍﻟﻨﻅﺭﺍﺕ ﻭﻗﺒﺢ ﺍﻟﺭﻏﺒﺔ‬ ‫ﹸ‪‬‬ ‫ﻭﻤﺭﺍﺴﻴﻡ ﺍﻟﻤﺘﻊ ﺍﻟﻤﻜﺸﻭﻓﺔ‬ ‫ﻓﻤﺎ ﺃﻨﺘﻥ ﺴﻭﻯ ﻋﻭﺭﺍﺕ ﻓﻭﻕ ﺍﻟﻘﺩﻤﻴﻥ ﺘﺴﻴﺭ‬ ‫.............ﺘﻐﺭﻯ ﺃﺤﺠﺎﺭ ﺍﻷﺭﺽ‬ ‫............. ﺃﻏﺼﺎﻥ ﺍﻟﺸﺠﺭ ﺘﻤﻴل‬ ‫............................‬ ‫٥٣‬
  • 38. ‫ﺼﺩﺭ ﻟﻠﻜﺎﺘﺒﺔ‬ ‫*ﺃﺠﻨﺤﺔ ﺍﻟﺒﻭﺡ )ﻤﺠﻤﻭﻋﺔ ﻤﺸﺘﺭﻜﺔ( ﺴﻠﺴﻠﺔ ﻜﺘﺎﺏ ﺍﻟﺠﻴل‬ ‫ﺍﻟﺠﺩﻴﺩ ٠٠٠٢.‬ ‫* ﻟﻠﻨﺴﺎﺀ ﺤﻜﺎﻴﺎﺕ )ﻤﺠﻤﻭﻋﺔ ﻗﺼﺼﻴﺔ( ﺇﺸﺭﺍﻗﺎﺕ ﺠﺩﻴﺩﺓ‬ ‫– ﺍﻟﻬﻴﺌﺔ ﺍﻟﻤﺼﺭﻴﺔ ﺍﻟﻌﺎﻤﺔ ﻟﻠﻜﺘﺎﺏ ١٠٠٢.‬ ‫* ﺭﺒﻊ ﺭ ‪‬ل )ﻤﺠﻤﻭﻋﺔ ﻗﺼﺼﻴﺔ( ﺍﻟﻬﻴﺌـﺔ ﺍﻟﻤﺼـﺭﻴﺔ‬ ‫ﺠ‬ ‫ﺍﻟﻌﺎﻤﺔ ﻟﻠﻜﺘﺎﺏ ١٠٠٢‬ ‫ﺘﺤﺕ ﺍﻟﻁﺒﻊ‬ ‫* ﺍﻹﻨﺴﺎﻥ ﺃﺼﻠﻪ ﺸﺠﺭﺓ )ﻤﺠﻤﻭﻋﺔ ﻗﺼﺼﻴﺔ(.‬ ‫* ﺭﺠﺎل ﻏﺎﻟﻴﺔ )ﺭﻭﺍﻴﺔ(.‬ ‫* ﻓﻰ ﻫﺠﺎﺀ ﺍﻟﺯﻭﺠﺎﺕ )ﺩﺭﺍﺴﺔ(‬ ‫* ﺍﻟﺤﺼﺎﻥ ﺍﻷﺴﻭﺩ )ﻤﺴﺭﺤﻴﺔ(‬ ‫* ﻭﺠﻊ ﺩﺍﻓﺊ )ﻨﺜﺭ ﻓﻨﻰ(‬ ‫٦٣‬
  • 39. ‫ﺍﻟﺠﻴل ﺍﻟﺠﺩﻴﺩ‬ ‫ﺠﻤﺎﻋﺔ ﻓﻜﺭﻴﺔ ﺇﻨﺴﺎﻨﻴﺔ‬ ‫ﺘﺘﺭﻜﺯ ﻓﻠﺴﻔﺘﻬﺎ ﻓﻰ ﻫﺫﻩ ﺍﻟﻌﻨﺎﺼﺭ:‬ ‫١- ﻟﻠﻌﻘل ﻤﻁﻠﻕ ﺍﻟﺤﺭﻴﺔ ﻓﻰ ﺍﻟﺘﻔﻜﻴـﺭ ﻭﺍﻟﺘﻌﺒﻴـﺭ ﺒـﺩﺍﻓﻊ‬ ‫ﺍﻻﻗﺘﻨﺎﻉ ﻓﻘﻁ.‬ ‫٢- ﺘﺄﻴﻴﺩ ﺍﻹﻨﺴﺎﻥ، ﻭﺍﻟﺘﻌﺒﻴﺭ ﻋﻨﻪ، ﻭﻨﺘﺨﺫ ﺍﻟﺒﻴﺌﺔ ﺍﻟﺒﺴـﻴﻁﺔ‬ ‫ﻤﻨﻁﻠﻘﺎ ﻟﻤﻌﺎﻴﺸﺔ ﻫﻤﻭﻡ ﺍﻟﻨﺎﺱ.‬ ‫ﹰ‬ ‫٣- ﺍﻻﺘﺠﺎﻩ ﺍﻟﻘﻭﻤﻰ ﻋﻠﻰ ﺍﻟﻤﺴﺘﻭﻯ ﺍﻟﻌﺭﺒـﻲ، ﻭﻻ ﻨـﺅﻤﻥ‬ ‫ﺒﺎﻟﺘﻘﺴﻴﻤﺎﺕ ﻭﺍﻟﺘﺤﺯﺒﺎﺕ ﻭﺍﻹﻗﻠﻴﻤﻴـﺎﺕ ﻓـﻰ ﺍﻟﺴﻴﺎﺴـﺔ‬ ‫ﻭﺍﻟﻔﻥ.‬ ‫٤- ﺍﻻﻨﻁﻼﻕ ﻤﻥ ﺍﻷﺼﺎﻟﺔ ﺇﻟﻰ ﺨﻠﻕ ﻓﻨﻰ ﻤﻌﺎﺼﺭ.‬ ‫٥- ﺍﻟﻔﻥ ﻜل ﻤﺘﻜﺎﻤل ﻴﻔﻴﺩ ﺒﻌﻀﻪ ﻤﻥ ﺒﻌﺽ ﻓﻰ ﺍﻟﺤـﺩﻭﺩ‬ ‫ﺍﻟﺘﻰ ﻻ ﺘﻤﺤﻭ ﺸﺨﺼﻴﺔ ﻜل ﺠﻨﺱ ﻤﻥ ﺃﺠﻨﺎﺴﻪ.‬ ‫٦- ﺩﻭﺭ ﺍﻷﺩﺏ ﻭﺍﻟﻔﻥ ﻋﺎﻤﺔ ﻫﻭ ﻗﻴﺎﺩﺓ ﺍﻟﻤﺠﻤـﻊ، ﻭﺇﻋـﺎﺩﺓ‬ ‫ﺼﻴﺎﻏﺔ ﺍﻟﺤﻴﺎﺓ ﺼﻴﺎﻏﺔ ﻤﺴﺘﻘﻠﻴﺔ‬ ‫٧- ﺨﻠﻕ ﺍﻟﻤﺒﺩﻉ ﻭﺍﻟﻨﺎﻗﺩ ﻤﻌﺎ.. ﻭﻋﺩﻡ ﺍﻟﺴـﻴﺭ ﻓـﻰ ﺩﺭﻭﺏ‬ ‫ﹰ‬ ‫ﺍﻟﻤﺠﺎﻤﻼﺕ.‬ ‫٧٣‬
  • 40. ‫٨- ﺍﻟﻌﻤل ﺍﻟﻔﻨﻰ ﺘﻜﻭﻴﻥ ﻭﺠﺩﺍﻨﻰ ﻋﻘﻠﻰ ﻴﺴﺘﻀﺊ ﺒﺘﺠـﺎﺭﺏ‬ ‫ﺍﻹﻨﺴﺎﻥ ﻭﻴﺴﺘﻤﺩ ﻤﻨﻪ، ﻭﻴﻌﻭﺩ ﺇﻟﻴﻪ.. ﻭﻟـﺫﺍ ﻴﺠـﺏ ﺃﻥ‬ ‫ﻴﺅﺜﺭ ﻓﻴﻪ ﻭﻴﻘﻨﻌﻪ ﺃﻭ ﻴﺠﻌﻠﻪ ﻴﺄﺨﺫ ﻤﻭﻗﻔﺎ ﻤﺎ ﻤﻥ ﺍﻟﻌﻤل..‬ ‫ﹰ‬ ‫ﻭﻫﺫﺍ ﻻ ﻴﺘﺴﻨﻰ ﺃﺒﺩﺍ ﺒﻌﺩﻡ ﻭﻀﻭﺡ ﺍﻟﺭﺅﻴﺔ ﺍﻟﺫﻯ ﻴـﺩل‬ ‫ﹰ‬ ‫ﻋﻠﻰ ﺍﻟﺠﻬل ﻭﻋﺩﻡ ﺍﻜﺘﻤﺎل ﺍﻟﺸﺨﺼﻴﺔ ﺍﻟﻔﻜﺭﻴﺔ.‬ ‫٩- ﺍﻟﻘﺼﻴﺩﺓ ﺘﻌﺒﺭ ﻋﻥ ﻓﻜﺭﺓ ﻤﺎ ﻨﺎﺒﻌﺔ ﻤﻥ ﺍﻻﻗﺘﻨﺎﻉ ﺍﻟﺫﺍﺘﻰ‬ ‫ﺒﻘﻀﺎﻴﺎ ﺍﻟﻤﺠﺘﻤﻊ ﻭﻻ ﻭﺠﻭﺩ ﻟﻤـﺎ ﻴﺴـﻤﻰ ﺒﺎﻟﻘﺼـﻴﺩﺓ‬ ‫ﺍﻟﻨﺜﺭﻴﺔ.‬ ‫٠١ – ﺍﻟﻤﺴﺘﻭﻯ ﺍﻟﻔﻨﻰ ﺍﻟﺭﺍﻗﻰ ﻭﺤﺩﻩ ﻻ ﻴﻜﻔﻰ، ﺒل ﻻﺒﺩ ﻤـﻥ‬ ‫ﻭﺠﻭﺩ ﺍﻻﻟﺘﻘﺎﺀ ﺍﻹﻨﺴﺎﻨﻰ ﻭﺤﺴﻥ ﺍﻟﻁﻭﻴﺔ ﺘﺠﺎﻩ ﺍﻵﺨﺭﻴﻥ‬ ‫ﺍﻟﻤﻤﺘﺎﺯﻴﻥ، ﻟﺨﻠـﻕ ﺃﺠﻴـﺎل ﺘﺴـﻤﻭ ﻋـﻥ ﺍﻷﺤﻘـﺎﺩ‬ ‫ﻭﺍﻷﻏﺭﺍﺽ ﺍﻟﺫﺍﺘﻴﺔ ﺍﻟﺒﺤﺘﺔ.‬ ‫١١- ﺍﻷﺠﻴﺎل ﺍﻟﺠﺩﻴﺩﺓ ﺩﺍﺌﻤﺎ ﻗﺎﺩﺭﺓ ﻋﻠﻰ ﺍﻟﻌﻁﺎﺀ ﻓـﻰ ﻜـل‬ ‫ﻤﺠﺎﻻﺕ ﺍﻟﺤﻴﺎﺓ ﻭﺍﻟﻔﻥ، ﻤﻊ ﺘﻭﺍﻓﺭ ﺍﻟﺘﺜﻘﻴﻑ، ﻭﺍﻟﺜﻘﺔ ﻓـﻰ‬ ‫ﺍﻟﻨﻔﺱ، ﻭﺍﻟﻔﺭﺹ ﺍﻟﻤﻼﺌﻤﺔ.‬ ‫٢١- ﺇﻋﺎﺩﺓ ﺭﺴﻡ ﺍﻟﺨﺭﻴﻁﺔ ﺍﻟﺜﻘﺎﻓﻴﺔ ﺍﻟﻌﺭﺒﻴﺔ ﺒﻅﻬﻭﺭ ﺃﺠﻴـﺎل‬ ‫ﺠﺩﻴﺩﺓ، ﻭﺇﺒﺩﺍﻋﺎﺕ ﺠﺩﻴﺩﺓ، ﻭﻨﻘـﺎﺩ ﺠـﺩﺩ، ﻭﺇﻨﺼـﺎﻑ‬ ‫ﺍﻟﻤﺠﻴﺩﻴﻥ ﻤﻥ ﻜل ﺍﻷﺠﻴﺎل ﺍﻟﺴﺎﺒﻘﺔ.‬ ‫٨٣‬