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1.
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 ِ
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