9-10

‫ﻧﮕﺎﻩ‬

‫ﺩﺍﺳﺘﺎﻥ‬

‫ﮔﻔﺘﮕﻮ‬

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‫ﻧﻮﺭﻭﺯ ‪ / 1388‬ﺳﺎﻝ ﺳﻮﻡ ‪ /‬ﺩﻭﺭﻩ ﺟﺪﻳﺪ ﺷﻤﺎﺭﻩ ‪ 9‬ﻭ ‪ / 10‬ﭘﻴﺎﭘﻲ‪39‬‬

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‫‪910‬‬

‫‪M A G A Z I N E‬‬

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‫‪R O U D A K I‬‬

‫ﻫﻔﺘﻪ ﻧﺎﻣﻪ ﻓﺮﻫﻨﮕﻰ ‪ /‬ﺍﺟﺘﻤﺎﻋﻰ ‪ /‬ﺍﺩﺑﻰ )ﺧﺒﺮﻯ‪/‬ﺗﺤﻠﻴﻠﻰ‪/‬ﭘﮋﻭﻫﺸﻰ(‬ ‫ﺩﻭﺭﻩ ﺟﺪﻳﺪ‪/‬ﺷﻤﺎﺭﻩ ‪ 9‬ﻭ ‪)10‬ﭘﻴﺎﭘﻲ‪39‬ﻭ‪ /(40‬ﺳﺎﻝ ﺳﻮﻡ‪/‬ﻧﻮﺭﻭﺯ‪500/88‬ﺗﻮﻣﺎﻥ‬

‫ﺍﺩﺑﻴﺎﺕ ﺍﻳﺮﺍﻥ‬

‫ﺍﺩﺑﻴﺎﺕ ﻭ ﺯﻧﺎﻧﻪﻧﻮﻳﺴﻲ‬ ‫ﺍﺩﺑﻴﺎﺕ ﺟﻬﺎﻥ‬

‫ﭼﺮﺍ ﺑﺎﻳﺪ ﻧﺎﻣﻪﻫﺎﻯ ﭼﺨﻮﻑ ﺭﺍ ﺧﻮﺍﻧﺪ؟‬ ‫ﺑﺎﺯﺍﺭﭼﻪ ﻛﺘﺎﺏ‬

‫ﻣﻬﻤﺎﻥ ﻣﻬﺘﺎﺏ‪/‬ﺑﺎﻣﺪﺍﺩﻯ ﺩﻳﮕﺮ‪/‬ﺳﻜﻮﺕ‬ ‫ﺩﺍﺳﺘﺎﻥ‬

‫ﺑﺎﻍ ﻭﺣﺶ‪/‬ﺑﻬﻤﻦ‪/‬ﺧﺎﻧﻪ ﺍﺭﻭﺍﺡ‪/‬ﺁﻓﺖ‬ ‫ﻧﻤﺎﻳﺸﻨﺎﻣﻪ‬

‫ﺟﻌﺒﻪ ﺷﻦ‪/‬ﺍﺩﻭﺍﺭﺩ ﺁﻟﺒﻰ‬ ‫ﻧﻘﺪ‬

‫ﻣﺮﺩﻯ ﻛﻪ ﮔﻮﺭﺵ ﮔﻢ ﺷﺪ‬ ‫ﺷﻌﺮ‬ ‫ﻧﻐﻤﻪﻫﺎﻯ ﭘﺎﺭﺳﻰ ﻭ‪...‬‬

‫ﻳﻚ ﻧﻮﻳﺴﻨﺪﻩ ﻳﻚ ﻛﺘﺎﺏ‬

‫ﻗﺼﻪﻫﺎﻯ ﺭﻭﺳﺘﺎﻳﻰ ﻛﻪ ﺩﻳﮕﺮ ﻭﺟﻮﺩ ﻧﺪﺍﺭﺩ‬

‫ﻛﺎﺭﺳﺨﺘﻴﻪ ﺑﺎﺯﻳﮕﺮﻯ!‬

‫ﮔﻔﺘﮕﻮ ﺑﺎ ﺳﻴﺎﻣﻚ ﺻﻔﺮﻯ‬

‫ﮔﻔﺘﮕﻮ ﺑﺎ ﺳﻴﺎﻣﻚ ﺻﻔﺮﻯ‪،‬ﺑﻪ ﺑﻬﺎﻧﻪ ﻧﻤﺎﻳﺶ ﺷﻜﺎﺭ ﺭﻭﺑﺎﻩ‬

‫ﻧﮕﺎﻩ‬

‫ﺁﻭﺍ ﻛﻴﺎﻳﻰ‬ ‫ﺳﻴﺎﻣﻚ ﺻﻔﺮﻯ ﺳﺎﻝﻫﺎﺳﺖ ﺑﺎ ﻗﺪﺭﺕ‬ ‫ﺑﺎﺯﻯ ﻣﻰﻛﻨﺪ‪.‬ﺍﻛﻨﻮﻥ ﻧﻴﺰ ﺩﺭ "ﺷﻜﺎﺭ‬ ‫ﺭﻭﺑﺎﻩ" ﺑﻪ ﻛﺎﺭﮔﺮﺩﺍﻧﻰ ﺩﻛﺘﺮ ﻋﻠﻰ ﺭﻓﻴﻌﻰ‬ ‫ﻭ ﺩﺭ ﻧﻘﺶ ﺁﻏﺎ ﻣﺤﻤﺪ ﺧﺎﻥ ﻗﺎﺟﺎﺭ‬ ‫ﺩﺭﺧﺸﺶ ﭼﺸﻤﮕﻴﺮﻯ ﺩﺍﺷﺘﻪ ﺍﺳﺖ‪.‬‬ ‫ﺑﻪ ﻫﻤﻴﻦ ﺑﻬﺎﻧﻪ ﻣﺠﻠﻪ ﺭﻭﺩﻛﻰ ﺑﺎ ﻭﻯ‬ ‫ﮔﻔﺘﮕﻮ ﻧﺸﺴﺘﻪ ﺍﺳﺖ‪.‬‬ ‫ﭼﻪ ﻣﺴﻴﺮﻯ ﻃﻰ ﺷﺪ ﻛﻪ ﺳﻴﺎﻣﻚ‬ ‫ﺻﻔﺮﻯ ﺑﻪ ﻋﻨﻮﺍﻥ ﻳﻚ ﺑﺎﺯﻳﮕﺮ‬ ‫ﺷﻨﺎﺧﺘﻪ ﺷﺪ؟‬

‫ﻛﺎﺭ ﺳﺨﺘﻴﻪ ﺗﺌﺎﺗﺮ‪،‬ﺍﻳﺴﺘﺎﺩﻥ ﭘﺎﺵ ﻭ‬ ‫ﻣﺎﻧﺪﻥ ﻣﻬﻤﺘﺮﻳﻦ ﭼﻴﺰﻩ‪،‬ﻣﻦ ﺳﻌﻰ‬ ‫ﻛﺮﺩﻡ ﺗﺌﺎﺗﺮ ﺭﺍ ﻓﻌﺎﻟﻴﺖ ﺍﺻﻠﻰ ﺧﻮﺩﻡ‬ ‫ﺑﺪﺍﻧﻢ‪.‬‬ ‫ﺳﻴﺎﻣﻚ ﺻﻔﺮﻯ ﺑﺮﺍﻯ ﺭﺳﻴﺪﻧﺶ‬ ‫ﺍﻟﮕﻮ ﻫﻢ ﺩﺍﺷﺖ؟‬

‫ﻳﻚ ﺁﺩﻡ ﻣﺘﺎﺛﺮ ﺍﺯ ﻫﻤﻪ ﭼﻴﺰﻩﻳﻌﻨﻰ ﺍﻳﻦ‬ ‫ﺟﻮﺭﻯ ﻧﻴﺴﺖ ﻛﻪ ﻋﻼﻣﺖ ﺑﮕﺬﺍﺭﺩ ﻭ‬ ‫ﻧﺸﺎﻥ ﺩﻫﺪ ﺑﻪ ﻫﺮ ﺣﺎﻝ ﻫﻴﭻ ﭼﻴﺰﻯ‬ ‫ﻧﻴﺴﺖ ﻛﻪ ﺗﺎﺛﻴﺮ ﻧﮕﺬﺍﺭﺩ ﻭ ﻧﺪﺍﺷﺘﻪ‬ ‫ﺑﺎﺷﺪ ﺩﺭ ﻣﻮﺭﺩ ﺑﺎﺯﻳﮕﺮﻯ ﻫﻢ ﺳﻌﻰ‬ ‫ﻧﻜﺮﺩﻡ ﺍﻟﮕﻮ ﺑﻪ ﺍﻳﻦ ﻣﻌﻨﺎ ﭘﻴﺪﺍ ﻛﻨﻢ‬ ‫ﻛﻪ ﺗﺎﺑﻊ ﻭ ﭘﻴﺮﻭ ﻓﺮﺩﻯ ﺧﺎﺹ ﺑﺎﺷﻢ‬ ‫ﻳﻚ ﺟﻮﺭ ﺩﻭﺳﺖ ﺩﺍﺷﺘﻪﺍﻡ ﺑﻮﺩﻧﺪ‬

‫ﺗﺌﺎﺗﺮ‬

‫ﻣﺜﻼ ﻳﻚ ﺑﺎﺯﻯ ﺭﺍ ﻣﻰﺩﻳﺪﻡ ﻭ ﺍﺯ ﺁﻥ ﻟﺬﺕ‬ ‫ﻣﻰﺑﺮﺩﻡ‪،‬ﺩﻭﺳﺘﺶ ﺩﺍﺷﺘﻢ ﻧﻪ ﺑﻪ ﺁﻥ ﺷﻜﻠﻰ‬ ‫ﻛﻪ ﻣﺮﺳﻮﻡ ﺍﺳﺖ ﻛﻪ ﺍﻧﺴﺎﻥﻳﻚ ﺍﻟﮕﻮ ﺭﺍ‬ ‫ﺍﻧﺘﺨﺎﺏ ﻛﻨﺪ ﻭ ﻫﻤﻪ ﭼﻴﺰ ﺭﺍ ﺩﺭ ﺍﻭ ﺑﺒﻴﻨﺪ ﺑﻪ‬ ‫ﻧﻈﺮﻡ ﺍﻳﻦ ﺩﻧﻴﺎﻯ ﺁﺩﻡ ﺭﺍ ﻛﻮﭼﻚ ﻣﻰﻛﻨﺪ‬ ‫ﺧﻮﺩ ﻣﺒﺤﺚ ﺑﺎﺯﻳﮕﺮﻯ ﺑﻪ ﻗﺪﺭﻯ ﮔﺴﺘﺮﺩﻩ ﻭ‬ ‫ﺑﺰﺭگ ﺍﺳﺖ ﻭ ﻛﺎﺭ ﺯﻳﺎﺩ ﻣﻰﺧﻮﺍﻫﺪ ﻛﻪ ﺍﻳﻦ‬ ‫ﺷﻜﻞ ﺩﻳﺪﻥ ﻧﮕﺎﻩ ﺁﺩﻡ ﺭﺍ ﻣﺤﺪﻭﺩ ﻣﻰﻛﻨﺪ‬ ‫ﻣﻤﻜﻦ ﺍﺳﺖ ﻳﻚ ﺑﺎﺯﻯ ﺭﺍ ﺩﻭﺳﺖ ﺩﺍﺷﺘﻪ‬ ‫ﺑﺎﺷﻰ ﻭﻟﻰ ﺍﻳﻨﻜﻪ ﺭﺍﻭﻯ ﺁﻥ ﺑﺎﺯﻯ ﭼﻨﺎﻥ‬ ‫ﺳﺎﻳﻪﺍﻯ ﺑﺮ ﺭﻭﻳﺖ ﺑﻴﺎﻧﺪﺍﺯﺩ ﻛﻪ ﭼﻴﺰﺩﻳﮕﺮﻯ‬ ‫ﺭﺍ ﻧﺒﻴﻨﻰ ﻏﻠﻂ ﺍﺳﺖ‪.‬ﻳﻚ ﺑﺎﺯﻳﮕﺮﻯ ﺭﺍ ﺁﺩﻡ‬ ‫ﺩﻭﺳﺖ ﺩﺍﺭﺩ ﻳﺎ ﻣﻮﺭﺩ ﻋﻼﻗﻪ ﺍﺵ ﺍﺳﺖ‬ ‫ﻧﻪ ﺍﻳﻨﻜﻪ ﺗﻼﺵ ﻛﻨﺪ ﺍﻭ ﺭﺍ ﺩﺭ ﺧﻮﺩﺵ‬ ‫ﺑﺎﺯﺳﺎﺯﻯ ﻛﻨﺪ ﻭ ﺳﻌﻰ ﻛﻨﺪ ﺩﺭ ﻣﺴﻴﺮﻯ ﻗﺮﺍﺭ‬ ‫ﮔﻴﺮﺩ ﻛﻪ ﺍﻭ ﻗﺮﺍﺭ ﮔﺮﻓﺘﻪ ﺍﺳﺖ‪ .‬ﻓﺮﺍﻣﻮﺵ‬ ‫ﻧﻜﻨﻴﻢ ﻛﻪ ﺍﻳﻦ ﺍﻣﻜﺎﻥ ﻧﺪﺍﺭﺩ‪.‬ﻫﺮ ﺁﺩﻣﻰ‬ ‫ﺭﻳﺘﻢ‪،‬ﻓﺮﻫﻨﮓ‪،‬ﺍﺗﻔﺎﻗﺎﺕ ﻭ ﺷﺮﺍﻳﻂ ﺧﻮﺩﺵ ﺭﺍ‬ ‫ﺩﺍﺭﺩ ﻭ ﺍﻳﻦ ﺑﻪ ﻧﻈﺮﻡ ﭼﻴﺰﻳﺴﺖ ﻛﻪ ﺧﻴﻠﻰ‬ ‫ﺑﺮﺍﻯﻳﻚ ﺑﺎﺯﻳﮕﺮ ﺍﺭﺯﺵ ﺩﺍﺭﺩ ﻛﻪ ﺍﻳﻦﻫﺎ ﺭﺍ‬ ‫ﺩﺭ ﺧﻮﺩﺵ ﭘﻴﺪﺍ ﻛﻨﺪ ﻭ ﺩﺭ ﻭﺍﻗﻊﻳﻚ ﻫﻮﻳﺖ‬ ‫ﻣﺴﺘﻘﻞ ﺑﻪ ﺧﺼﻠﺖﻫﺎﻯ ﺧﻮﺩﺵ ﺑﺪﻫﺪ‪.‬‬ ‫ﺗﻮﺍﻧﺎﻳﻰﻫﺎ ﻭ ﻗﺪﺭﺕﻳﻚ ﺑﺎﺯﻳﮕﺮ ﺑﻪ ﭼﻪ‬ ‫ﻣﻌﻨﺎﺳﺖ؟‬

‫ﺍﻭﻝ ﺍﺯ ﻫﻤﻪ ﺷﻨﺎﺧﺘﻦ ﺍﺑﺰﺍﺭﻫﺎﻳﺶ‪.‬ﺑﺎﺯﻳﮕﺮ‬ ‫ﺑﺎﻳﺪ ﻗﺎﺩﺭ ﺑﻪ ﺷﻨﺎﺳﺎﻳﻰ ﺧﺼﻠﺖﻫﺎ ﻭ ﻧﻮﻉ‬ ‫ﺑﺎﺯﻯﺍﺵ ﺑﺎﺷﺪ ﻭ ﺩﺭ ﺍﻳﻦ ﺷﻨﺎﺧﺖ ﻛﻢﻛﻢ‬ ‫ﻇﺮﻓﻴﺖﻫﺎﻳﺶ ﺭﺍ ﭘﺮ ﻛﻨﺪ‪.‬ﺣﺎﻻ ﺩﺭ ﺷﺮﺍﻳﻂ‬ ‫ﺍﺟﺮﺍﻯ ﻳﻚ ﻧﻤﺎﻳﺶ ﺑﺎ ﺗﻮﺟﻪ ﺑﻪ ﻓﺮﻡ ﻭ‬ ‫ﺷﻴﻮﻩﻯ ﺍﺟﺮﺍﻳﺶ ﺍﻳﻦ ﻇﺮﻓﻴﺖﻫﺎ ﺭﺍ ﭼﮕﻮﻧﻪ‬ ‫ﻣﻰﺗﻮﺍﻧﺪ ﺑﻪ ﻛﺎﺭ ﮔﻴﺮﺩ ﻭ ﺣﻀﻮﺭﻯ ﻛﻪ‬ ‫ﻻﺯﻣﻪﻯ ﻣﻮﻓﻘﻴﺖﻳﻚ ﺑﺎﺯﻳﮕﺮ ﺍﺳﺖ ﺭﺍ ﭘﻴﺪﺍ‬ ‫ﻛﻨﺪ‪ .‬ﺑﺨﺸﻰ ﺍﺯ ﺗﻮﺍﻧﺎﻳﻰﻫﺎﻯ ﺑﺎﺯﻳﮕﺮ ﺑﺎﻳﺪ‬ ‫ﺩﺭ ﺷﺮﺍﻳﻂ ﺁﻣﻮﺯﺷﻰ ﻣﺜﻞ ﻛﻼﺱ ﺭﻓﺘﻦ‪،‬‬ ‫ﻭ ﻣﻌﻠﻢ ﺩﺍﺷﺘﻦ ﻭ ﺩﺭ ﺟﺮﻳﺎﻥ ﻛﺎﺭ ﻗﺮﺍﺭ‬ ‫ﮔﺮﻓﺘﻦ ﺻﻮﺭﺕ ﮔﻴﺮﺩ‪ .‬ﺑﺎﻳﺪ ﺟﺴﺘﺠﻮ ﻛﺮﺩ‪،‬‬ ‫ﻋﻼﻗﻪ ﺩﺍﺷﺖ ﻭ ﺑﺎﺯﻳﮕﺮﻯ ﺭﺍ ﺳﺎﺩﻩ ﻧﺪﻳﺪ‪.‬‬ ‫ﻛﺎﺭ ﺳﺨﺘﻴﻪ ﺑﺎﺯﻳﮕﺮﻯ‪.‬ﺑﻪ ﻫﺮ ﺣﺎﻝ ﺑﺎﻳﺪ ﺍﺯ‬ ‫ﺗﻌﺮﻳﻒ ﻋﻮﺍﻣﺎﻧﻪﻯ ﺑﺎﺯﻳﮕﺮﻯ ﻓﺎﺻﻠﻪ ﮔﺮﻓﺖ‪.‬‬ ‫ﭼﻮﻥ ﺑﺎﺯﻳﮕﺮﻯ ﻳﻚ ﻛﺎﺭ ﻃﺎﻗﺖ ﻓﺮﺳﺎﻯ‬ ‫ﻃﻮﻻﻧﻰ ﺍﺳﺖ ﻭ ﺑﻰﭘﺎﻳﺎﻥ‪.‬ﻳﻌﻨﻰ ﻧﻤﻰﺗﻮﺍﻥ‬ ‫ﮔﻔﺖ ﺗﻤﺎﻡ ﺷﺪ‪،‬ﻳﻚ ﭘﺮﻭﺳﻪ ﻭ ﺟﺮﻳﺎﻥ ﻭ‬ ‫ﺯﻧﺪﮔﻰﺍﻯ ﺍﺳﺖ ﻛﻪ ﺣﺮﻛﺖ ﻣﻰﻛﻨﺪ ﻭ‬ ‫ﺟﻠﻮ ﻣﻰﺭﻭﺩ ﺣﺘﻤﺎ ﺷﻨﻴﺪﻳﺪ ﻛﻪ ﺁﺩﻡﻫﺎﻯ‬ ‫ﺑﺰﺭگ ﻣﻰﮔﻮﻳﻨﺪ ﻫﺮ ﻭﻗﺖ ﺗﺌﺎﺗﺮﻯ ﺭﺍ‬ ‫ﺷﺮﻭﻉ ﻣﻰﻛﻨﻴﻢ‪،‬ﮔﻮﻳﻰ ﺩﺭ ﻧﻘﻄﻪ ﺻﻔﺮﻳﻢ‬ ‫ﻭ ﺩﺭ ﺗﺎﺭﻳﻜﻰ ﮔﺎﻡ ﺑﺮﻣﻰﺩﺍﺭﻳﻢ ﻭ ﺗﺎﺯﻩ‬ ‫ﺷﺮﻭﻉ ﺑﻪ ﻛﺸﻒ ﻛﺮﺩﻥ ﻣﻰﻛﻨﻴﻢ‪.‬ﻣﺘﺎﺳﻔﺎﻧﻪ‬ ‫ﺩﺭﺟﺎﻣﻌﻪﻣﺎﻥ ﻣﺪﺭﺳﻪﻫﺎﻯ ﺑﺎﺯﻳﮕﺮﻯ‬

‫ﺷﻴﺦ ﺑﻬﺎﻳﻰ‪/‬ﺩﺷﻤﻦ ﻋﺰﻳﺰﻡ ﺳﻼﻡ‬

‫ﺑﻪ ﻣﻌﻨﺎﻯ ﻛﺎﻣﻞ ﺁﻥ ﻛﻪ ﺗﺮﺑﻴﺖ ﻭ ﺗﻮﻟﻴﺪ‬ ‫ﻫﻨﺮﭘﻴﺸﻪ ﺍﺳﺖ ﻧﺪﺍﺭﻳﻢ ﺑﻨﺎﺑﺮﺍﻳﻦ ﺑﺎﺯﻳﮕﺮ‬ ‫ﻣﺴﺌﻮﻟﻴﺘﺶ ﺳﻨﮕﻴﻦﺗﺮ ﻣﻰﺷﻮﺩ‪.‬ﺯﻳﺮﺍ ﺑﺎﻳﺪ‬ ‫ﺑﻴﺶ ﺍﺯ ﺁﻧﻜﻪ ﺍﻣﻜﺎﻧﺎﺕ ﺟﺎﻣﻌﻪﺍﺵ ﺍﺳﺖ‬ ‫ﻭﻗﺖ ﺑﮕﺬﺍﺭﺩ ﻭ ﺗﻼﺵ ﻛﻨﺪ ﻭ ﺳﺨﺖﺗﺮ‬ ‫ﺁﻧﻜﻪ ﺑﺘﻮﺍﻧﺪ ﺩﻭﺍﻡ ﻫﻢ ﺑﻴﺎﻭﺭﺩ ﺑﻪ ﻗﻮﻝ‬ ‫ﻣﻌﺮﻭﻑ ﺁﻧﻜﻪ ﺯﻳﺎﺩ ﻣﻰﺩﻭﺩ ﺑﻪ ﺍﻧﺪﺍﺯﻩﻯ‬ ‫ﺁﻧﻜﻪ ﻧﺸﺴﺘﻪ ﺍﺳﺖ ﺩﺭ ﺷﺮﺍﻳﻂ ﺍﺟﺘﻤﺎﻋﻰ ﻣﺎ‬ ‫ﺩﻳﺪﻩ ﻧﻤﻰﺷﻮﺩ‪.‬‬ ‫ﺁﻏﺎ ﻣﺤﻤﺪ ﺧﺎﻥ ﻛﺎﺭﺍﻛﺘﺮﻯ ﭼﻨﺪ‬ ‫ﺷﺨﺼﻴﺘﻰ ﺍﺳﺖ ﻭ ﭼﻮﻥ ﻣﺎ ﺑﻪ ﺍﺯﺍﻯ‬ ‫ﺑﻴﺮﻭﻧﻰ ﻧﺪﺍﺭﺩ ﭘﻴﭽﻴﺪﮔﻰﻫﺎﻳﻰ ﺭﺍ ﺑﻪ‬ ‫ﻫﻤﺮﺍﻩ ﻣﻰﺁﻭﺭﺩ‪.‬ﺍﺳﺎﺳﺎ ﻓﺮﺍﻳﻨﺪ ﺭﺳﻴﺪﻥ‬ ‫ﺑﻪ ﺁﻏﺎ ﻣﺤﻤﺪ ﺧﺎﻥ ﻗﺎﺟﺎﺭ ﭼﮕﻮﻧﻪ ﻃﻰ‬ ‫ﺷﺪ؟‬

‫ﺍﺗﻔﺎﻕ ﺍﻭﻝ ﺍﻳﻨﻜﻪ ﻛﺎﺭﮔﺮﺩﺍﻥ ﻧﻤﺎﻳﺶ ﺩﻛﺘﺮ‬ ‫ﻋﻠﻰ ﺭﻓﻴﻌﻰ ﺍﺳﺖ‪.‬ﻳﻌﻨﻰﻳﻚ ﻛﺎﺭﮔﺮﺩﺍﻥ‬ ‫ﺻﺎﺣﺐ ﺳﺒﻚ ﻭ ﺻﺎﺣﺐ ﺍﺳﺘﻴﻞ‪.‬ﺍﻳﻦ‬ ‫ﻣﺠﻤﻮﻋﻪ ﺑﺴﺘﺮ ﻧﻮﻉ ﺭﻓﺘﺎﺭ ﺑﺎﺯﻳﮕﺮ ﺑﺮ ﺭﻭﻯ‬ ‫ﺻﺤﻨﻪ ﺍﺳﺖ ﻭ ﺑﻌﺪ ﺭﺍﻫﻰ ﻛﻪ ﺩﺭ ﺍﺑﺘﺪﺍ‬ ‫ﺩﻳﺪﻡ ﺑﺮﺍﻯ ﺍﻳﻨﻜﻪ ﺑﻪ ﺳﻤﺖ ﺧﻠﻖ ﺍﻳﻦ‬ ‫ﭘﺮﺳﻮﻧﺎژ ﺑﺮﻭﻡ ﺍﻳﻦ ﺑﻮﺩ ﻛﻪ ﺑﺎﺯﻯ ﺭﺍ ﺩﺭ‬ ‫ﺷﻜﻞ ﺳﻜﻮﻥ ﭘﻴﺪﺍ ﻛﻨﻢ‪ .‬ﺳﻜﻮﻥ ﺑﻪ ﻣﻌﻨﺎﻯ‬ ‫ﺍﻳﻨﻜﻪ ﺍﻭﻝ ﺭﻓﺘﺎﺭ ﺍﻳﻦ ﭘﺮﺳﻮﻧﺎژ ﺭﺍ ﻣﺘﻤﺮﻛﺰ‬

‫ﻛﻨﻢ ﻭ ﺁﻥ ﺭﺍ ﺩﺭﻳﻚ ﺩﺍﻳﺮﻩ ﺑﺎﺯﻯ‬ ‫ﻣﺘﻤﺮﻛﺰ ﻛﻨﻢ ﺑﻌﺪ ﻛﻪ ﺧﺼﻠﺖﻫﺎﻳﻰ‬ ‫ﺍﺯﺵ ﭘﻴﺪﺍ ﺷﺪ ﺍﺟﺎﺯﻩ ﺩﻫﻢ ﺭﺍﻩ ﺑﺮﻭﺩ‪،‬‬ ‫ﺣﺮﻛﺖ ﻛﻨﺪ ﺑﺮ ﺭﻭﻯ ﺻﺤﻨﻪ‪ .‬ﺩﺭ‬ ‫ﺍﻳﻦ ﺟﺮﻳﺎﻥ ﺣﻀﻮﺭ ﺩﻛﺘﺮ ﺭﻓﻴﻌﻰ ﺑﻪ‬ ‫ﻋﻨﻮﺍﻥ ﺷﺨﺼﻰ ﻛﻪ ﻧﮕﺎﻩ ﻭ ﻧﻘﻄﻪ‬ ‫ﻧﻈﺮﺍﺕ ﺧﺎﺹ ﺧﻮﺩﺵ ﺭﺍ ﺩﺍﺭﺩ‬ ‫ﻭ ﻃﺮﺍﺣﻰﺍﻯ ﻛﻪ ﺑﺮﺍﻯ ﻧﻤﺎﻳﺶ‬ ‫ﺩﺍﺷﺖ ﺧﻴﻠﻰ ﺑﺮﺍﻳﻢ ﺭﺍﻫﮕﺸﺎ ﺑﻮﺩ‬ ‫ﺑﻨﺎﺑﺮﺍﻳﻦ ﻣﻦ ﺗﻤﺎﻡ ﺗﻼﺷﻢ ﺭﺍ‬ ‫ﻣﻰﻛﺮﺩﻡ ﻛﻪ ﮔﻮﺵ ﺩﻫﻢ ‪،‬ﻣﺘﻮﺟﻪ‬ ‫ﺷﻮﻡ ﻭ ﻋﻤﻞ ﻛﻨﻢ‪.‬‬ ‫ﺑﺎ ﺗﻮﺟﻪ ﺑﻪ ﺍﻳﻨﻜﻪ ﺍﺯ ﺍﻭﻟﻴﻦ ﻛﺎﺭ‬ ‫ﺩﻛﺘﺮ ﺭﻓﻴﻌﻰ ﺑﻌﺪ ﺍﺯ ﺍﻧﻘﻼﺏ ﺑﺎ‬ ‫ﺍﻳﺸﺎﻥ ﻫﻤﻜﺎﺭﻯ ﺩﺍﺷﺘﻴﺪ ﻭ‬ ‫ﺍﻳﻨﻜﻪ ﺍﻭ ﺩﺭ ﺗﺎﺭﻳﺦ ﺗﺌﺎﺗﺮ ﺍﻳﺮﺍﻥ‬ ‫ﻣﺎﻧﺪﮔﺎﺭ ﺍﺳﺖ ﺑﻪ ﻧﻈﺮ ﺷﻤﺎ ﭼﻪ‬ ‫ﭼﻴﺰﻯ ﺩﻟﻴﻞ ﺍﻳﻦ ﻣﺎﻧﺪﮔﺎﺭﻳﻰ‬ ‫ﺷﻮﺩ ؟‬

‫ﻳﻚ ﻣﺸﺨﺼﻪﻯ ﺧﻴﻠﻰ ﺑﺎﺭﺯ ﺍﻳﺸﺎﻥ‬ ‫ﺭﺍ ﺍﻫﻞ ﺯﻳﺒﺎﻳﻰ ﺑﻮﺩﻧﺸﺎﻥ ﻣﻰﺩﺍﻧﻢ‬ ‫ﻭ ﺍﺳﺎﺳﺎ ﺩﺍﺷﺘﻦ ﺩﺭﻙ ﺩﺭﺳﺘﻰ ﺍﺯ‬ ‫ﺯﻳﺒﺎﻳﻰ‪،‬ﺍﻭ ﺑﻠﺪ ﺍﺳﺖ ﻭ ﻣﻰﺗﻮﺍﻧﺪ‬ ‫ﺍﺩﺍﻣﻪ ﺩﺭ ﺻﻔﺤﻪ ‪23‬‬

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‫ﺩﻭﺭﻩ ﺟﺪﻳﺪ‪/‬ﺷﻤﺎﺭﻩ ‪ 9‬ﻭ ‪)10‬ﭘﻴﺎﭘﻲ‪39‬ﻭ‪ /(40‬ﺳﺎﻝ ﺳﻮﻡ‪/‬ﻧﻮﺭﻭﺯ‪88‬‬

‫ﺩﺭ ﺍﻳﻦ ﻋﺮﺻﻪ ﻓﻌﺎﻟﻴﺖ ﺩﺍﺷﺘﻨﺪ ﺳﻌﻰ‬ ‫ﻛﺮﺩﻧﺪ ﺗﺎ ﺩﺭ ﻛﻨﺎﺭ ﻣﺮﺩﺍﻥ ﺟﺎﻣﻌﻪ‬ ‫ﻋﻨﺼﺮﻯ ﺧﻼﻕ ﻭ ﭘﻮﻳﺎ ﻭ ﻣﻮﺛﺮ‬ ‫ﺑﺎﺷﻨﺪ‪ .‬ﻭ ﺷﺎﻳﺪ ﺑﺮﺟﺴﺘﻪﺗﺮﻳﻦ ﻓﻌﺎﻟﻴﺖ‬ ‫ﺩﺭ ﺍﻳﻦ ﻣﻮﺭﺩ ﺳﻬﻢ ﺯﻧﺎﻧﻰ ﺑﻮﺩ ﻛﻪ‬ ‫ﻣﻰﻧﻮﺷﺘﻨﺪ؛ ﻭﻳﺎ ﺩﺭ ﻋﺮﺻﻪﻫﺎﻯ ﺩﻳﮕﺮ‬ ‫» ﻓﺮﻫﻨﮕﻰ« ﻓﻌﺎﻟﻴﺖ ﻣﻰﻧﻤﻮﺩﻧﺪ‪.‬‬ ‫ﺳﻴﻤﻴﻦ ﺩﺍﻧﺸﻮﺭ ﻳﻜﻲ ﺍﺯ‬ ‫ﺗﺮﻳﻦ ﺍﻳﻦ ﺯﻧﺎﻥ ﺑﻮﺩ؛ ﺍﻭﻟﻴﻦ‬ ‫ﺑﺮﺟﺴﺘﻪ ِ‬ ‫ﺍﺛﺮﺵ ﻣﺠﻤﻮﻋﻪﻱ ﺁﺗﺶ ﺧﺎﻣﻮﺵ‬ ‫ﺩﺭ ﺳﺎﻝ ‪ 1327‬ﻣﻨﺘﺸﺮ ﺷﺪ‪ ،‬ﺍﻭ‬ ‫ﺭﺍ ﻣﻲﺗﻮﺍﻥ ﺟﺰء ﭘﻴﺸﮕﺎﻣﺎﻥ ﺯﻧﺎﻥ‬ ‫ﺍﻫﻞ ﻗﻠﻢ ﺩﺍﻧﺴﺖ‪ .‬ﺩﺍﻧﺸﻮﺭ ﺩﺭ ﻛﻨﺎﺭ‬ ‫ﺟﻼﻝ ﺁﻝ ﺍﺣﻤﺪ ﺑﻪ ﻓﻌﺎﻟﻴﺖﻫﺎﻱ‬ ‫ﺳﻴﺎﺳﻲ ﻭ ﺍﺩﺑﻲ ﭘﺮﺩﺍﺧﺖ ﻭ ﺟﺰء‬ ‫ﮔﺮﻭﻫﻲ ﺍﺯ ﺭﻭﺷﻨﻔﻜﺮﺍﻥ ﺍﻳﺮﺍﻥ ﺑﻮﺩ‬ ‫ﻛﻪ ﺩﺭ ﺩﻫﻪﻫﺎﻱ ﺑﻴﺴﺖ ﻭ ﺳﻲ‬ ‫ﻇﻬﻮﺭ ﻧﻤﻮﺩﻧﺪ‪ .‬ﺳﻴﻤﻴﻦ ﺍﻧﺪﻛﻲ ﭘﻴﺶ‬ ‫ﺍﺯ ﻣﺮگ ﺟﻼﻝ ﺭﻣﺎﻥ »ﺳﻮﻭﺷﻮﻥ«‬ ‫ﺭﺍ ﻣﻨﺘﺸﺮ ﻛﺮﺩ‪ .‬ﺭﮔﻪﻫﺎﻱ ﺑﺴﻴﺎﺭ‬ ‫ﺑﺮﺟﺴﺘﻪﺍﻱ ﺍﺯ ﺗﻔﻜﺮﺍﺕ ﻓﻤﻴﻨﻴﺴﺘﻲ‬ ‫ﻟﻴﺒﺮﺍﻟﻲ ﻭ ﻋﺪﺍﻟﺖﺧﻮﺍﻫﻲ ﺑﺮﺍﻱ ﺯﻧﺎﻥ‪،‬‬ ‫ﺩﺭ ﺁﺛﺎﺭ ﺩﺍﻧﺸﻮﺭ ﺩﻳﺪﻩ ﻣﻲﺷﻮﺩ‪.‬‬ ‫ﺩﺭ ﻫﻤﺎﻥ ﺩﻭﺭﺍﻥ‪ ،‬ﻓﺮﻭﻍ ﻓﺮﺧﺰﺍﺩ ﻧﻴﺰ‬ ‫ﺩﺭ ﻧﺎﻣﻪﺍﻯ ﻛﻪ ﺩﺭ ﺳﺎﻝ ‪ 1343‬ﺩﺭ‬ ‫ﻣﺠﻠﺔ ﻓﺮﺩﻭﺳﻰ ﺑﻪ ﭼﺎپ ﺭﺳﺎﻧﺪ‪،‬‬ ‫ﺧﻄﺎﺏ ﺑﻪ ﻛﺴﺎﻧﻰ ﻛﻪ ﻧﻮﺷﺘﻪﻫﺎ‬ ‫ﻭ ﻓﻌﺎﻟﻴﺖﻫﺎﻱ ﺍﻭ ﺭﺍ ﺷﺪﻳﺪﺍ ﻣﻮﺭﺩ‬ ‫ﺍﻧﺘﻘﺎﺩ ﻗﺮﺍﺭ ﻣﻲﺩﺍﺩﻧﺪ‪ ،‬ﻣﻰﻧﻮﻳﺴﺪ‪:‬‬

‫»‪...‬ﺁﺭﺯﻭﻯ ﻣﻦ ﺁﺯﺍﺩﻯ ﺯﻧﺎﻥ ﺍﻳﺮﺍﻥ ﻭ‬ ‫ﺗﺴﺎﻭﻯ ﺣﻘﻮﻕ ﺁﻧﻬﺎ ﺑﺎ ﻣﺮﺩﺍﻥ ﺍﺳﺖ‪ ،‬ﻣﻦ‬ ‫ﺑﻪ ﺭﻧﺞﻫﺎﻳﻰ ﻛﻪ ﺧﻮﺍﻫﺮﺍﻧﻢ ﺩﺭ ﺍﻳﻦ ﻣﻤﻠﻜﺖ‬ ‫ﺩﺭ ﺍﺛﺮ ﺑﻰﻋﺪﺍﻟﺘﻰﻫﺎﻯ ﻣﺮﺩﺍﻥ ﻣﻰﺑﺮﻧﺪ‪،‬‬ ‫ﻛﺎﻣ ً‬ ‫ﻼ ﻭﺍﻗﻔﻢ ﻭ ﻧﻴﻤﻰﺍﺯ ﻫﻨﺮﻡ ﺭﺍ ﺑﺮﺍﻯ‬ ‫ﺗﺠﺴﻢ ﺩﺭﺩﻫﺎ ﻭ ﺁﻻﻡ ﺁﻧﻬﺎ ﺑﻜﺎﺭ ﻣﻰﺑﺮﻡ‪....‬‬ ‫ﺁﺭﺯﻭﻯ ﻣﻦ ﺍﻳﻨﺴﺖ ﻛﻪ ﻣﺮﺩﺍﻥ ﺍﻳﺮﺍﻧﻰ ﺍﺯ‬ ‫ﺧﻮﺩﭘﺮﺳﺘﻰ ﺩﺳﺖ ﺑﻜﺸﻨﺪ ﻭ ﺑﻪ ﺯﻥﻫﺎ‬ ‫ﺍﺟﺎﺯﻩ ﺑﺪﻫﻨﺪ ﻛﻪ ﺍﺳﺘﻌﺪﺍﺩ ﻭ ﺫﻭﻕ ﺧﻮﺩﺷﺎﻥ‬ ‫ﺭﺍ ﻇﺎﻫﺮ ﺳﺎﺯﻧﺪ‪ «.‬ﻫﺮﭼﻨﺪ ﻛﻪ ﺑﻬﺎﻱ ﺍﻳﻦ‬ ‫ﺗﻮﺍﻥ‬ ‫ﺁﺭﺯﻭ ﺑﺮﺍﻱ ﻓﺮﻭﻍ ﮔﺎﻩ ﺑﺴﻴﺎﺭ ﺑﻴﺸﺘﺮ ﺍﺯ ِ‬ ‫ﺑﻴﺎﻥ ﺣﺮﻑﻫﺎﻳﺶ‬ ‫ﺍﻭ ﺑﻮﺩ‪ ،‬ﺍﻣﺎ‬ ‫ِ‬ ‫ﺟﺴﺎﺭﺕ ﺍﻭ ﺩﺭ ِ‬ ‫ﺩﺭﻳﭽﻪﻫﺎﻱ ﺭﻭﺷﻨﻲ ﺭﺍ ﺑﺮ ﻧﺴﻠﻲ ﻛﻪ ﺍﺯ ﭘﻲ‬ ‫ﺍﻭ ﺁﻣﺪﻧﺪ ﻭ ﻫﻨﻮﺯ ﻫﻢ ﻣﻰﺁﻳﻨﺪ‪ ،‬ﮔﺸﻮﺩ‪.‬‬ ‫ﺯﻧﺎﻧﻪ ﻧﻮﻳﺴﻰ‪ :‬ﺁﺭﻯ – ﻧﻪ‬ ‫ﺣﺘﻲ ﺍﮔﺮ ﺑﺎ ﺍﻳﻦ ﻧﻈﺮ ﻛﻪ ﺑﺴﻴﺎﺭﻱ ﺍﺯ‬ ‫ﺻﺎﺣﺐﻧﻈﺮﺍﻥ ﺑﻪ ﺗﻘﺴﻴﻢ ﻛﺮﺩﻥ ﺍﺩﺑﻴﺎﺕ ﺑﻪ‬ ‫ﺯﻧﺎﻧﻪ ﻭ ﻣﺮﺩﺍﻧﻪ ﻭ ﻣﺮﺯ ﮔﺬﺍﺷﺘﻦ ﻣﻴﺎﻥ ﺯﻥ ﻭ‬ ‫ﻣﺮﺩ ﺩﺭ ﺍﺩﺑﻴﺎﺕ ﻋﻼﻗﻪﺍﻱ ﻧﺪﺍﺭﻧﺪ‪ ،‬ﻣﻮﺍﻓﻖ‬ ‫ﺑﺎﺷﻴﻢ؛ ﺑﺎﺯ ﻫﻢ ﻧﻤﻲﺗﻮﺍﻧﻴﻢ ﺫﺍﺕ ﺯﻥﻳﺎ ﻣﺮﺩ‬ ‫ﺭﺍ ﺩﺭ ﺧﻠﻖﻳﻚ ﺍﺛﺮ ﺑﻲﺍﻫﻤﻴﺖ ﺑﺪﺍﻧﻴﻢ‪.‬‬ ‫ﺑﺮ ﻫﻤﻴﻦ ﺍﺳﺎﺱ ﺑﺎﻳﺪ ﺑﭙﺬﻳﺮﻳﻢ ﻛﻪ ﻫﺮ ﺍﺛﺮﻱ‬ ‫ﺩﺍﺭﺍﻯ ﻫﺴﺘﻰ ﻭ ﺫﺍﺗﻰﺳﺖ ﻛﻪ ﻣﻨﺴﻮﺏ ﺑﻪ‬ ‫ﺧﺎﻟﻖ ﺁﻧﺴﺖ ﻭ ﺑﻪ ﻫﻤﻴﻦ ﺩﻟﻴﻞ ﺳﺮﺷﺖ‬ ‫ﺯﻧﺎﻧﻪﮔﻰ ﻭ ﻣﺮﺩﺍﻧﮕﻲ ﺑﺮ ﻫﺮ ﺍﺛﺮﻱ ﺗﺎﺛﻴﺮﮔﺬﺍﺭ‬ ‫ﺍﺳﺖ‪ .‬ﻣﺎ ﺑﺮ ﺍﻳﻦ ﺑﺎﻭﺭﻳﻢ ﻛﻪ ﺧﻠﻘﺖ ﺯﻥ‬ ‫ﻫﻤﻮﺍﺭﻩ ﺑﺎ ﺍﺿﻄﺮﺍﺏ ﺁﻓﺮﻳﻨﺶ ﻭ ﺗﻮﻟﺪ ﻫﻤﺮﺍﻩ‬

‫ﺑﻮﺩﻩ ﺍﺳﺖ ﻭ ﺗﻔﺎﻭﺕ ﺯﻧﺎﻧﻰ ﻛﻪ ﻧﻮﻳﺴﻨﺪﮔﺎﻥ‬ ‫ﻣﺮﺩ ﺧﻠﻖ ﻣﻰﻛﻨﻨﺪ ﺑﺎ ﺯﻧﺎﻧﻰ ﻛﻪ ﻳﻚ‬ ‫ﻧﻮﻳﺴﻨﺪﻩ ﺯﻥ ﺧﻠﻖ ﻣﻰﻛﻨﺪ ﺩﺭ ﻫﻤﺬﺍﺕ‬ ‫ﭘﻨﺪﺍﺭﻯ ﺁﻥ ﻧﻬﻔﺘﻪ ﺍﺳﺖ‪ .‬ﻭ ﻧﻤﻰﺗﻮﺍﻥ‬ ‫ﺍﻳﻦ ﺫﺍﺕ ﻣﺸﺘﺮﻙ ﺭﺍ ﻛﻪ ﻣﺨﻠﻮﻕ ﺗﻤﺎﻡ‬ ‫ﻋﻮﺍﻃﻒ ﻭ ﺍﺣﺴﺎﺳﺎﺕ ﻣﺸﺘﺮﻛﻰ ﺍﺳﺖ ﻛﻪ‬ ‫ﺑﻴﻦ ﻣﻮﺟﻮﺩﺍﺗﻰ ﺑﻪ ﻧﺎﻡ ﺯﻥ‪ ،‬ﻭﺟﻮﺩ ﺩﺍﺭﺩ ﻭ‬ ‫ﻓﻘﻂ ﺯﻧﺎﻥ ﻗﺎﺩﺭ ﺑﻪ ﺩﺭﻙ ﻋﻤﻴﻖ ﺁﻥ ﻫﺴﺘﻨﺪ‬ ‫ﺭﺍ ﻧﺎﺩﻳﺪﻩ ﺍﻧﮕﺎﺷﺖ‪.‬‬ ‫ﺩﺭ ﺍﻳﻦ ﻣﺠﺎﻝ ﺍﻧﺪﻙ ﺑﺮﺁﻥ ﻧﻴﺴﺘﻴﻢ ﺗﺎ ﺑﻪ‬ ‫ﺑﺮﺭﺳﻲ ﺗﺎﺛﻴﺮ ﺩﻳﺪﮔﺎﻩ ﺯﻧﺎﻧﻪ ﺑﺮ ﺁﺛﺎﺭ ﻫﻤﻪﻱ‬ ‫ﺯﻧﺎﻥ ﺭﻭﺷﻨﻔﻜﺮ ﺍﻳﺮﺍﻥ ﺑﭙﺮﺩﺍﺯﻳﻢ‪ ،‬ﺑﻠﻜﻪ‬ ‫ﺗﻼﺵ ﻣﻲﻛﻨﻴﻢ ﺗﺎ ﺩﺭ ﺍﻳﻦ ﺟﺴﺘﺎﺭ ﻧﻴﻢ‬ ‫ﻧﮕﺎﻫﻲ ﺑﻪ ﺩﻏﺪﻏﻪﻫﺎﻱ ﺍﻳﻦ ﺁﺛﺎﺭ ﺑﻴﺎﻓﻜﻨﻴﻢ‬ ‫ﺗﺎ ﺑﻪ ﻧﮕﺮﺷﻲ ﺩﺭ ﺍﻳﻦ ﺯﻣﻴﻨﻪ ﻧﺎﺋﻞ ﺁﻳﻴﻢ‪.‬‬ ‫ﻧﮕﺮﺷﻲ ﻛﻪ ﺑﺮﺧﺎﺳﺘﻪ ﺍﺯ ﺩﻳﺪﮔﺎﻫﻲ ﺯﻧﺎﻧﻪ ﺑﺮ‬ ‫ﺁﺛﺎﺭ ﺯﻧﺎﻥ ﺩﺍﺳﺘﺎﻥﻧﻮﻳﺲ ﺍﺳﺖ‪ .‬ﺍﻣﺎ ﻧﺎﮔﻔﺘﻪ‬ ‫ﭘﻴﺪﺍﺳﺖ ﻛﻪ ﺍﻳﻦ ﻧﮕﺮﺵ‪ .‬ﻛﻪ ﺑﺮﺧﺎﺳﺘﻪ‬ ‫ﺍﺯ ﻓﺮﻫﻨﮓ ﻭ ﺳﻨﺖ ﻧﻴﺰ ﻣﻲﺑﺎﺷﺪ – ﺩﺭ‬ ‫ﺁﺛﺎﺭ ﻧﻮﻳﺴﻨﺪﮔﺎﻧﻰ ﭼﻮﻥ ﺳﻴﻤﻴﻦ ﺩﺍﻧﺸﻮﺭ‪،‬‬ ‫ﻓﺮﻭﻍ ﻓﺮﺧﺰﺍﺩ‪ ،‬ﻣﻬﺸﻴﺪ ﺍﻣﻴﺮﺷﺎﻫﻲ‪ ،‬ﺳﻴﻤﻴﻦ‬ ‫ﺑﻬﺒﻬﺎﻧﻰ‪ ،‬ﭘﻮﺭﺍﻥ ﻓﺮﺧﺰﺍﺩ‪ ،‬ﺯﻭﻳﺎ ﭘﻴﺮﺯﺍﺩ‪،‬‬ ‫ﺷﻬﺮﻧﻮﺵ ﭘﺎﺭﺳﻰﭘﻮﺭ‪ ،‬ﮔﻠﻰ ﺗﺮﻗﻰ‪ ،‬ﻏﺰﺍﻟﻪ‬ ‫ﻋﻠﻴﺰﺍﺩﻩ ﻭ‪...‬ﻭ ﻧﻴﺰ ﻧﻮﻳﺴﻨﺪﮔﺎﻥ ﻧﺴﻞ ﺑﻌﺪ‬ ‫ﺍﺯ ﺁﻧﻬﺎ‪ ،‬ﭼﻮﻥ ﻣﻨﻴﺮﻭ ﺭﻭﺍﻧﻰ ﭘﻮﺭ‪ ،‬ﻓﺮﺧﻨﺪﻩ‬ ‫ﺁﻗﺎﻳﻰ‪ ،‬ﺷﻴﻮﺍ ﺍﺭﺳﻄﻮﻳﻰ‪ ،‬ﻣﻴﺘﺮﺍ ﺍﻟﻴﺎﺗﻲ‪ ،‬ﻣﻴﺘﺮﺍ‬ ‫ﺩﺍﻭﺭ‪ ،‬ﻧﺎﻫﻴﺪ ﻃﺒﺎﻃﺒﺎﻳﻰ‪ ،‬ﻓﺮﺯﻧﻪ ﻛﺮﻡﭘﻮﺭ‪،‬‬ ‫ﻓﺮﻳﺒﺎ ﻭﻓﻲ‪ ،‬ﻧﺎﺗﺎﺷﺎ ﺍﻣﻴﺮﻱ ﻭ ﻭ ﻭ‪ ...‬ﻫﻤﺮﺍﻩ‬ ‫ﻣﺸﻜﻼﺕ ﺍﺟﺘﻤﺎﻋﻰ‬ ‫ﺑﺎ ﻃﺮﺡ ﻣﺴﺎﺋﻞ ﻭ‬ ‫ِ‬ ‫ﺯﻧﺎﻥ ﺑﺎ ﺟﻬﺖ ﮔﻴﺮﻯ ﻋﺪﺍﻟﺖﺧﻮﺍﻫﻰ‪ ،‬ﺩﻳﺪﻩ‬ ‫ﻣﻰﺷﻮﺩ‪.‬‬ ‫ﺳﻴﻤﻴﻦ ﺩﺍﻧﺸﻮﺭ )‪ (1300‬ﺩﺭ ﻛﺎﺭﻧﺎﻣﻪﻱ‬ ‫ﺧﻮﺩ ﺁﺛﺎﺭﻱ ﭼﻮﻥ ﺁﺗﺶ ﺧﺎﻣﻮﺵ)‪،(1327‬‬ ‫ﺷﻬﺮﻱ ﭼﻮﻥ ﺑﻬﺸﺖ )‪ ،(1340‬ﺳﻮﻭﺷﻮﻥ‬ ‫)‪ (1348‬ﻭ‪...‬ﺩﺍﺭﺩ‪ ،‬ﺍﻭ ﺩﺭ ﺭﻣﺎﻥ ﺑﻲﻧﻈﻴﺮ‬ ‫»ﺳﻮﻭﺷﻮﻥ« ﺷﺨﺼﻴﺖ ﺯﻧﻰ ﺭﺍ ﺑﻪ ﻧﺎﻡ‬ ‫ﺯﺭﻯ ﺗﺮﺳﻴﻢ ﻛﺮﺩﻩ ﺍﺳﺖ ﻛﻪ ﺩﺭ ﻃﻰ‬ ‫ﺩﺍﺳﺘﺎﻥ ﺩﭼﺎﺭ ﺩﮔﺮﮔﻮﻧﻰ ﻋﻤﻴﻘﻰ ﻣﻰﺷﻮﺩ‬ ‫ﻭ ﺩﺭ ﺣﻘﻴﻘﺖ ﺍﺯ ﺧﺎﻧﻪ ﺑﻪ ﺍﺟﺘﻤﺎﻉ ﻛﺸﻴﺪﻩ‬ ‫ﻣﻰﺷﻮﺩ؛ ﺩﺭ ﻭﺍﻗﻊ ﺩﮔﺮﮔﻮﻧﻲ ﻭ ﺗﺤﻮﻝ‬ ‫ﻫﺴﺘﻪﻱ ﺍﻳﻦ ﺭﻣﺎﻥ ﺍﺳﺖ ﻭ ﺍﻳﻦ ﺗﺤﻮﻝ‬ ‫ﺯﺍﻳﻴﺪﻩﻯ ﺗﺠﺎﻭﺯﻯﺳﺖ ﻛﻪ ﻧﻄﻔﻪﻱ ﺁﻥ ﺩﺭ‬ ‫ﻋﺎﺭﻳﻪ ﮔﺮﻓﺘﻦ ﮔﻮﺷﻮﺍﺭﻩﻫﺎﻯ ﺯﺭﻱ ﻭ ﺍﺳﺐ‬ ‫ﭘﺴﺮﺵ ﺑﺮﺍﻯ ﺩﺧﺘﺮ ﺣﺎﻛﻢ‪ ،‬ﺗﺎ ﻛﺸﺘﻪ ﺷﺪﻥ‬ ‫ﺷﻮﻫﺮﺵﻳﻮﺳﻒ‪ ،‬ﻧﻬﻔﺘﻪﺍﺳﺖ‪ .‬ﺗﺠﺎﻭﺯﻱ ﻛﻪ‬ ‫ﻣﻨﺠﺮ ﺑﻪ ﺗﺤﻮﻝ ﻭ ﺑﻴﺪﺍﺭﻱ ﺩﺭ ﺯﻥ ﻣﻲﺷﻮﺩ‪.‬‬ ‫»‪...‬ﺯﻥ ﻛﻤﻰﻓﻜﺮ ﻛﻦ‪ .‬ﻭﻗﺘﻲ ﺧﻴﻠﻲ ﻧﺮﻡ‬ ‫ﺷﺪﻱ‪ ،‬ﻫﻤﻪ ﺗﺮﺍ ﺧﻢ ﻣﻲﻛﻨﻨﺪ‪«...‬‬ ‫»‪...‬ﺍﮔﺮ ﺑﺨﻮﺍﻫﻢ ﺍﻳﺴﺘﺎﺩﮔﻲ ﻛﻨﻢ‪ ،‬ﺍﻭﻝ ﺍﺯ‬ ‫ﻫﻤﻪ ﺑﺎﻳﺪ ﺟﻠﻮ ﺗﻮ ﺑﺎﻳﺴﺘﻢ ﻭ ﺁﻥﻭﻗﺖ‪...‬ﭘﺲ‬ ‫ﺑﺸﻨﻮ‪ ،‬ﺗﻮ ﺷﺠﺎﻋﺖ ﻣﺮﺍ ﺍﺯ ﻣﻦ ﮔﺮﻓﺘﻪﺍﻱ‪...‬‬ ‫ﺁﻧﻘﺪﺭ ﺑﺎ ﺗﻮ ﻣﺪﺍﺭﺍ ﻛﺮﺩﻩﺍﻡ ﻛﻪ ﺩﻳﮕﺮ ﻣﺪﺍﺭﺍ‬ ‫ﻋﺎﺩﺗﻢ ﺷﺪﻩ‪«.‬‬ ‫ﺣﺴﻦ ﻣﻴﺮﻋﺎﺑﺪﻧﻲ ﺩﺭ ﺻﺪ ﺳﺎﻝ‬ ‫ﺩﺍﺳﺘﺎﻥﻧﻮﻳﺴﻲ ﺍﻳﺮﺍﻥ ﻣﻲﺁﻭﺭﺩ ﻛﻪ‪» :‬ﻫﻤﻪﻯ‬ ‫ﺯﻧﺎﻥ ﺳﻮﻭﺷﻮﻥ‪ ،‬ﺣﺘﻰ ﭼﻬﺮﻩﻫﺎﻳﻰ ﻣﻨﻔﻰ‬ ‫ﭼﻮﻥ ﻋﺰﺕ ﺍﻟﺪﻭﻟﻪ‪ ،‬ﻫﺮﻳﻚ ﺑﻪ ﻧﻮﻋﻰ ﻭﺟﻮﻩ‬ ‫ﮔﻮﻧﺎﮔﻮﻥ ﺳﺘﻤﺪﻳﺪﮔﻰ‪ ،‬ﺑﻰﭘﻨﺎﻫﻰ‪ ،‬ﻧﺎﻛﺎﻣﻰ‪،‬‬

‫ﻓﺪﺍﻛﺎﺭﻯ ﻭ ﺗﺤﻤﻞ ﺯﻥ ﺍﻳﺮﺍﻧﻰ ﺭﺍ ﺑﻪ ﻧﻤﺎﻳﺶ‬ ‫ﻣﻰﮔﺬﺍﺭﻧﺪ«‪ .‬ﺑﺎﻳﺪ ﭘﺬﻳﺮﻓﺖ ﻛﻪ ﻧﻤﺎﻳﺶ ﺍﻳﻦ‬ ‫ﻭﺟﻮﻩ ﻧﻤﻲﺗﻮﺍﻧﺪ ﺑﺮﺧﺎﺳﺘﻪ ﺍﺯ ﺩﻳﺪﮔﺎﻫﻲ ﻣﺮﺩ‬ ‫ﺳﺘﻴﺰ ﺑﺎﺷﺪ‪ ،‬ﺑﻠﻜﻪ ﻣﻲﺗﻮﺍﻥ ﺍﻳﻦ ﻧﻮﻉ ﻧﮕﺎﻩ ﺭﺍ‬ ‫ﺑﺮﺧﺎﺳﺘﻪ ﺍﺯ ﻧﮕﺮﺷﻲ ﻭﺍﻗﻊﺑﻴﻨﺎﻧﻪ ﺑﻪ ﻣﻮﻗﻌﻴﺖ‬ ‫ﺯﻥ ﺩﺭ ﻓﺮﻫﻨﮓ ﻭ ﺳﻨﺖ ﺍﻳﺮﺍﻧﻲ ﺩﺍﻧﺴﺖ‪.‬‬ ‫ﺩﺭ ﺁﺛﺎﺭ ﻣﻬﺸﻴﺪ ﺍﻣﻴﺮﺷﺎﻫﻲ )‪،(1319‬‬ ‫ﺯﻧﺎﻧﻲ ﺳﺮﺧﻮﺭﺩﻩ‪ ،‬ﺗﻨﻬﺎ ﻭ ﺣﺴﺎﺱ ﺗﺼﻮﻳﺮ‬ ‫ﻣﻲﺷﻮﻧﺪ ﻭ ﺍﻣﻴﺮﺷﺎﻫﻲ ﺩﺭ ﺩﺍﺳﺘﺎﻥﻫﺎﻳﺶ‬ ‫ﺑﻪ ﺑﻴﺎﻥ ﺧﺎﻃﺮﺍﺕ ﺗﻠﺦ ﻭ ﺁﺯﺍﺩﺩﻫﻨﺪﻩﻱ ﺍﻳﻦ‬ ‫ﺯﻥﻫﺎ‪ ،‬ﻣﻲﭘﺮﺩﺍﺯﺩ‪.‬‬ ‫»ﺩﺍﺳﺘﺎﻥﻫﺎﻱ ﺍﻣﻴﺮﺷﺎﻫﻲ ﺣﺪﻳﺚ ﻧﻔﺲ‬ ‫ﮔﻮﻧﻪﺍﻧﺪ‪ ،‬ﻭ ﺍﻭ ﺍﺯ ﻫﻤﺎﻥ ﻧﺨﺴﺘﻴﻦ ﺍﺛﺮ ﺧﻮﺩ‬ ‫]ﻣﺠﻤﻮﻋﻪﻱ ﻛﻮﭼﻪ ﺑﻦ ﺑﺴﺖ ‪ ،[1345‬ﺑﻪ‬ ‫ﺍﻋﺘﺮﺍﺽ ﺑﺮ ﺿﺪ ﺗﺼﻮﺭﺍﺕ ﻣﺮﺩﺍﻧﻪ ﺍﺯ ﺯﻧﺎﻥ‬ ‫ﺩﻭﺭﻳﺲ ﻟﺴﻴﻨﮓ ﻧﻴﺰ ﻛﻪ ﺗﻮﺍﻧﺴﺖ‬ ‫ﺩﺭ ﺳﺎﻝ ‪2007‬ﺟﺎﻳﺰﻩ ﻧﻮﺑﻞ ﺍﺩﺑﻰ‬ ‫ﺭﺍ ﺑﺎﻻﺧﺮﻩ ﺍﺯ ﺁﻥ ﺧﻮﺩ ﻛﻨﺪ‪،‬ﻳﻜﻰ‬ ‫ﺍﺯ ﻓﻌﺎﻻﻥ ﻋﺮﺻﻪﻯ ﺳﻴﺎﺳﻰ ﻭ ﺍﺯ‬ ‫ﺟﻤﻠﻪ ﻧﻮﻳﺴﻨﺪﮔﺎﻧﻰ ﺑﻮﺩ ﻛﻪ ﻫﻤﻮﺍﺭﻩ‬ ‫ﻣﺘﻬﻢ ﺑﻪ ﮔﺮﺍﻳﺸﺎﺕ ﻓﻤﻴﻨﻴﺴﺘﻰ ﺑﻮﺩ؛‬ ‫ﻣﺸﻬﻮﺭﺗﺮﻳﻦ ﻛﺘﺎﺏ ﺍﻭ‪» ،‬ﺩﻓﺘﺮﭼﻪ‬ ‫ﺧﺎﻃﺮﺍﺕ ﻃﻼﻳﻰ« ﺍﺳﺖ ﻛﻪ ﺩﺭ‬ ‫ﺍﻭﺍﺧﺮ ﺩﻫﺔ ﭘﻨﺠﺎ ِﻩ ﻗﺮﻥ ﺑﻴﺴﺘﻢ‬ ‫ﻧﻮﺷﺘﻪ ﺷﺪ ﻭ ﺍﻭ ﺭﺍ ﺑﻪ ﻋﻨﻮﺍﻥ ﺯﻧﻰ‬ ‫ﻓﻤﻴﻨﻴﺴﺖ ﻣﻄﺮﺡ ﻛﺮﺩ‪.‬‬ ‫ﭘﺮﺩﺍﺧﺘﻪ ﻭ ﺩﺍﺳﺘﺎﻥﻫﺎﻳﺶ ﺭﺍ ﺑﺮﺍﺳﺎﺱ‬ ‫ﺍﺻﺎﻟﺖ ﺯﻥ ﻧﻮﺷﺘﻪﺍﺳﺖ‪«.‬‬ ‫ﺑﻴﻨﺸﻲ ﻣﺒﺘﻨﻲ ﺑﺮ‬ ‫ِ‬ ‫ﺍﻣﺎ ﺩﻏﺪﻏﻪﻫﺎﻱ ﺷﻬﺮﻧﻮﺵ ﭘﺎﺭﺳﻲﭘﻮﺭ‬ ‫)‪ ،(1324‬ﺁﺯﺍﺩﻱ ﺯﻥ ﻭ ﭘﻴﻮﻧﺪ ﺍﻭ ﺑﺎ ﻣﻈﺎﻫﺮ‬ ‫ﻃﺒﻴﻌﺖ ﺍﺳﺖ‪،‬ﻳﻌﻨﻲ ﻫﻤﺎﻥ ﻭﺻﻞ ﺍﻭ ﺑﻪ‬ ‫ﻣﻮﻫﺒﺖﻫﺎﻳﻲ ﻛﻪ ﻃﺒﻴﻌﺖ ﺑﻪ ﺍﻭ ﺍﺭﺯﺍﻧﻲ‬ ‫ﺩﺍﺷﺘﻪ ﺍﺳﺖ ﻭ ﻧﻪ ﺍﺳﺎﺭﺕ ﺩﺭ ﺑﻨﺪ ﺁﻥﻫﺎ‪.‬‬ ‫ﺍﻭ ﺯﻥ ﺑﻴﻘﺮﺍﺭ ﻭ ﮔﺮﻓﺘﺎﺭ ﺍﻭﻫﺎﻣﻰﺭﺍ ﺑﻪ ﺗﺼﻮﻳﺮ‬ ‫ﻣﻲﻛﺸﺪ ﻛﻪ ﺩﺭ ﭘﻲ ﺍﻳﻦ ﺁﺯﺍﺩﻱﺳﺖ؛‬ ‫ﺍﻳﻦ ﺍﻭﻫﺎﻡ ﻭ ﺑﻲ ﻗﺮﺍﺭﻱ ﻧﻤﺎﻳﻨﺪﻩﻱ‬ ‫ﺳﺮﮔﺸﺘﮕﻲﻫﺎ ﻭ ﻣﺤﺮﻭﻣﻴﺖﻫﺎﻱ ﺁﻥ ﺯﻥ‬ ‫ﺍﺳﺖ‪ .‬ﺍﻭﻟﻴﻦ ﺭﻣﺎﻥ ﭘﺎﺭﺳﻲﭘﻮﺭ‪ ،‬ﺳﮓ ﻭ‬ ‫ﺯﻣﺴﺘﺎﻥ ﺑﻠﻨﺪ )‪ (1355‬ﺍﺳﺖ‪] ،‬ﺣﻮﺭﻱ[‬ ‫ﺭﺍﻭﻱ ﺍﻳﻦ ﺭﻣﺎﻥ ﺩﺧﺘﺮﻱ ﺳﺖ ﻛﻪ ﺩﺭ ﮔﺬﺭ‬ ‫ﺍﺯ ﻣﺮﺍﺣﻞ ﻧﻮﺟﻮﺍﻧﻲ ﻭ ﺟﻮﺍﻧﻲ ﺩﺭ ﺟﺴﺘﺠﻮﻱ‬ ‫ﺧﻮﻳﺶ ﺍﺳﺖ‪ ،‬ﺍﻭ ﺩﺭ ﺗﻘﺎﺑﻞ ﺑﺎ ﺳﻨﺖ ﻗﺮﺍﺭ‬ ‫ﻣﻲﮔﻴﺮﺩ ﻭ ﺩﺭ ﺍﻳﻦ ﺗﻘﺎﺑﻞ ﺑﻪﺩﻧﺒﺎﻝﻳﺎﻓﺘﻦ‬ ‫ﺁﺯﺍﺩﻱ ﺍﺳﺖ ﻛﻪ ﺍﺯ ﺁﻥ ﻣﺤﺮﻭﻡ ﮔﺸﺘﻪ؛‬ ‫ﭘﺎﺭﺳﻲﭘﻮﺭ ﺩﺭ ﺍﺛﺮ ﺑﻌﺪﻱﺍﺵ ﺁﻭﻳﺰﻩﻫﺎﻱ ﺑﻠﻮﺭ‬ ‫)‪ (1356‬ﻫﻢ ﺑﻪ ﻫﻤﻴﻦ ﺩﻏﺪﻏﻪ ﻣﻲﭘﺮﺩﺍﺯﺩ؛‬ ‫ﺍﻣﺎ ﺩﺭ ﺁﺛﺎﺭ ﺩﻳﮕﺮﻱ ﻛﻪ ﺑﻌﺪ ﺍﺯ ﺍﻳﻦ ﺳﺎﻝﻫﺎ‬ ‫ﻣﻲﻧﻮﻳﺴﺪ ﻣﺜﻞ »ﻃﻮﺑﺎ ﻭ ﻣﻌﻨﺎﻱ ﺷﺐ« ﻭﻳﺎ‬ ‫»ﺯﻧﺎﻥ ﺑﺪﻭﻥ ﻣﺮﺩﺍﻥ« ﺑﻪ ﺍﻳﻦ ﻣﻔﻬﻮﻡ – ﻭ‬ ‫ﺁﺭﺯﻭ – ﺍﺯ ﻃﺮﻳﻖ ﻧﮕﺎﻫﻲ ﻛﻪ ﺑﻪ ﻣﻔﺎﻫﻴﻢ‬ ‫ﺍﺳﺎﻃﻴﺮﻱ ﻭ ﻋﺮﻓﺎﻧﻲ ﻭ ﺩﺭ ﻗﺎﻟﺐ ﺭﺋﺎﻟﻴﺴﻢ‬ ‫ﺟﺎﺩﻭﻳﻲ ﺩﺍﺭﺩ‪ ،‬ﻣﻲﭘﺮﺩﺍﺯﺩ‪.‬‬ ‫ﺩﺭ ﻫﻤﻴﻦ ﺭﺍﺳﺘﺎ ﻏﺰﺍﻟﻪ ﻋﻠﻴﺰﺍﺩﻩ ﻧﻴﺰ‪،‬‬ ‫ﻧﻮﻳﺴﻨﺪﻩﺍﻯ ﺍﺳﺖ ﻛﻪ ﻫﺮﮔﺰ ﺑﺎ ﺯﻥ ﺑﻮﺩﻥ‬ ‫ﺧﻮﺩ ﺗﻌﺎﺭﺿﻰ ﻧﺪﺍﺷﺖ ﻭ ﺩﺭ ﺁﺛﺎﺭﺵ ﻧﺸﺎﻥ‬ ‫ﺩﺍﺩ ﻛﻪ ﺧﻮﺍﻫﺎﻥﻳﻚ ﺟﺮﻳﺎﻥ ﺭﻭﺷﻨﻔﻜﺮﻯ‪ .‬ﻭ‬

‫ﻧﻪ ﻓﻘﻂ ﻓﻤﻴﻨﻴﺴﺘﻰ‪ .‬ﺍﺳﺖ ﻛﻪ ﺩﺭ‬ ‫ﺁﻥ ﺑﺎ ﺁﮔﺎﻫﻰ ﺍﺯ ﺗﻔﺎﻭﺕﻫﺎﻯ ﻃﺒﻴﻌﻰ‬ ‫ﺯﻥ ﻭ ﻣﺮﺩ‪ ،‬ﺗﺤﻘﻖ ﺑﺮﺍﺑﺮﻱ ﺣﻘﻮﻕ‬ ‫ﺍﺟﺘﻤﺎﻋﻰ ﻭ ﻃﺒﻴﻌﻰ ﺯﻧﺎﻥ ﻣﻴﺴﺮ ﻭ‬ ‫ﻣﻤﻜﻦ ﺑﺎﺷﺪ )ﻓﻤﻴﻨﻴﺴﻢ ﻟﻴﺒﺮﺍﻟﻲ(‪.‬‬ ‫ﺍﻭ ﻧﻮﻳﺴﻨﺪﻩﺍﻯ ﺁﺭﻣﺎﻥ ﮔﺮﺍ ﻭ‬ ‫ﺍﻳﺪﻩﺁﻟﻴﺴﺖ ﺑﻮﺩ ﻭ ﺑﻰﺁﻧﻜﻪ ﺿﺪﻳﺘﻰ‬ ‫ﺑﺎ ﻣﺮﺩﺍﻥ ﺩﺍﺷﺘﻪ ﺑﺎﺷﺪ ﺍﺯ ﻭﺟﻮﺩﻳﻚ‬ ‫ﺟﺎﻣﻌﻪ ﻣﺮﺩ ﻣﺤﻮﺭﻳﺎ ﺑﻪ ﻋﺒﺎﺭﺗﻰ‬ ‫ﻣﺮﺩ‪/‬ﭘﺪﺭ ﺳﺎﻻﺭ‪ ،‬ﺩﺭ ﺭﻧﺞ ﺑﻮﺩ ﻭ ﺍﻳﻦ‬ ‫ﺭﺍ ﺩﺭ ﺁﺛﺎﺭﺵ ﺑﺎ ﺧﻠﻖ ﺷﺨﺼﻴﺖ‬ ‫ﺯﻧﺎﻧﻰ ﻛﻪ ﺩﺭ ﺑﺮﺍﺑﺮ ﺳﻨﺖ ﺳﺮ ﺑﺮ‬ ‫ﺷﻮﺭﺵ ﻭ ﻋﺼﻴﺎﻥ ﻣﻰﮔﺬﺍﺭﻧﺪ‪،‬‬ ‫ﻧﺸﺎﻥ ﺩﺍﺩ‪ .‬ﺩﺭ ﺣﻘﻴﻘﺖ ﺍﻭ ﺑﻰﺁﻧﻜﻪ‬ ‫ﺩﺭ ﭘﺸﺖ ﺁﺛﺎﺭﺵ ﭘﻨﻬﺎﻥ ﺷﻮﺩ ﻭﻳﺎ‬ ‫ﺑﺎ ﺯﻥ ﺑﻮﺩﻥ ﺧﻮﺩ ﺩﺭ ﺳﺘﻴﺰ ﺑﺎﺷﺪ‬ ‫ﺧﻮﺍﻫﺎﻥ ﺳﻬﻢ ﺯﻧﺎﻧﻪﺍﺵ ﺍﺯ ﻃﺒﻴﻌﺖ‬ ‫ﺑﻮﺩ‪ .‬ﺷﺎﻳﺪ ﻫﻤﺎﻥ ﺁﺭﺯﻭﻳﻲ ﻛﻪ ﺩﺭ‬ ‫ﺭﻣﺎﻥﻫﺎﻱ ﭘﺎﺭﺳﻲﭘﻮﺭ ﻧﻬﻔﺘﻪ ﺍﺳﺖ؛‬ ‫ﭼﺮﺍ ﻛﻪ ﺩﺭ ﻧﻮﺷﺘﻪﻫﺎﻱ ﻋﻠﻴﺰﺍﺩﻩ‬ ‫ﻧﻴﺰ ﺑﻪ ﻫﻤﻪ ﭼﻴﺰ ﺍﺯ ﻭﺭﺍﻱ ﺗﺨﻴﻠﻲ‬ ‫ﻣﻪﺁﻟﻮﺩ ﻧﮕﺎﻩ ﻣﻲﺷﻮﺩ‪ ،‬ﺗﺨﻴﻠﻲ ﻛﻪ ﺑﺎ‬ ‫ﻧﻮﻉ ﻧﺜﺮ ﺯﻳﺒﺎﺷﻨﺎﺳﺎﻧﻪ ﻭ ﻣﺨﺼﻮﺹ‬ ‫ﺍﻭ ﻛﻪ ﺭﻧﮕﻲ ﺍﺯ ﺭﻣﺎﻧﺲ ﻭ ﺷﻌﺮ ﺩﺍﺭﺩ‬ ‫ﺑﻴﺎﻥ ﻣﻲﺷﻮﺩ‪.‬‬ ‫ﺷﺎﻳﺪ ﺑﺘﻮﺍﻥ ﺑﺮﺟﺴﺘﻪﺗﺮﻳﻦ ﺍﺛﺮ‬ ‫ﻋﻠﻴﺰﺍﺩﻩ ﺭﺍ ﺩﺭ ﺍﻳﻦ ﺑﺎﺏ‪ ،‬ﺭﻣﺎﻥ‬ ‫ﺧﺎﻧﻪﻱ ﺍﺩﺭﻳﺴﻲﻫﺎ ﺩﺍﻧﺴﺖ‪.‬‬ ‫ﺯﻥﻫﺎﻱ ﺧﺎﻧﻪﻱ ﺍﺩﺭﻳﺴﻲﻫﺎ‬ ‫ﻧﻤﺎﺩﻫﺎﻳﻲ ﺍﺯ ﺗﺮﺱ‪ ،‬ﺗﻨﻬﺎﻳﻲ‪،‬‬ ‫ﺣﺴﺮﺕ ﻭ ﻧﺎﻛﺎﻣﻰﻫﺴﺘﻨﺪ‪ .‬ﺍﻳﻦ‬ ‫ﻧﻤﺎﺩﻫﺎ ﺣﺘﻲ ﺩﺭ ﺯﻧﻲ ﻣﺜﻞ ﺭﻛﺴﺎﻧﺎ‬ ‫ﻛﻪ ﺁﺷﻮﺑﮕﺮﺍﻧﻪ ﺑﻪ ﺳﻨﺖﺷﻜﻨﻲ‬ ‫ﻣﻲﭘﺮﺩﺍﺯﺩ ﻭ ﺩﺭ ﻧﻬﺎﻳﺖ ﺑﺎ ﻧﺎﻛﺎﻣﻰﻭ‬ ‫ﺷﻜﺴﺖ ﻣﻮﺍﺟﻪ ﻣﻲﺷﻮﺩ ﻫﻢ ﺩﻳﺪﻩ‬ ‫ﻣﻲﺷﻮﺩ‪ .‬ﻟﻘﺎ ﭘﻴﺮﺩﺧﺘﺮﻱ ﺗﻨﻬﺎﺳﺖ‬ ‫ﻛﻪ ﺗﻤﺎﻡ ﺗﻮﺍﻧﺎﻳﻲﻫﺎ ﻭ ﻧﻴﺮﻭﻫﺎﻱ‬ ‫ﺯﻧﺎﻧﻪﺍﺵ ﺩﺭ ﺍﻭ‪ ،‬ﺗﺒﺪﻳﻞ ﺑﻪ ﻧﻔﺮﺗﻲ‬ ‫ﺑﻲﺑﺪﻳﻞ ﺍﺯ ﻣﺮﺩﺍﻥ ﺷﺪﻩﺍﺳﺖ؛‬ ‫ﻧﻔﺮﺗﻲ ﻛﻪ ﺷﺎﻳﺪ ﺯﺍﺋﻴﺪﻩ ﻣﻄﻠﻮﺏ‬ ‫ﻭﺍﻗﻊ ﻧﺸﺪﻥ ﺑﺎﺷﺪ‪ .‬ﺍﻳﻦ ﺳﺮﺧﻮﺭﺩﮔﻲ‬ ‫ﺩﺭ ﻧﻬﺎﻳﺖ ﺩﺭ ﺑﺎﻧﻮﻱ ﻛﻬﻨﺴﺎﻝ‬ ‫ﺧﺎﻧﻪ‪ ،‬ﺧﺎﻧﻢ ﺍﺩﺭﻳﺴﻲ ﺑﻪ ﻧﻤﺎﺩﻫﺎﻳﻲ‬ ‫ﻓﺮﻫﻨﮕﻲ ﻭ ﺳﻨﺘﻲ ﺗﺒﺪﻳﻞ ﻣﻲﺷﻮﺩ؛‬ ‫ﺯﻥ‬ ‫ﺳﻨﺖﻫﺎﻳﻲ ﻛﻪ ﺑﻪ ﻧﻮﻋﻲ ﻣﻴﺮﺍﺙ ِ‬ ‫ﺷﺮﻗﻲ ﺳﺖ‪.‬‬ ‫ﺟﺴﺘﺠﻮﻯ ﺍﻳﻦ ﺳﻬﻢ ﺯﻧﺎﻧﻪ ﺍﺯ‬ ‫ﺯﻧﺪﮔﻰ ﺩﺭ ﺁﺛﺎﺭ ﮔﻠﻰ ﺗﺮﻗﻰ ﺑﺎ ﺧﻠﻖ‬ ‫ﺩﺍﺳﺘﺎﻥ »ﺧﺎﻧﻪﺍﻯ ﺩﺭ ﺁﺳﻤﺎﻥ«‬ ‫ﺑﻪ ﺍﻭﺝ ﻣﻰﺭﺳﺪ‪ .‬ﺍﻳﻦ ﺩﺍﺳﺘﺎﻥ ﺍﺯ‬ ‫ﻣﻨﻈﺮ ﺩﺍﻧﺎﻱ ﻛﻞ ﻣﺤﺪﻭﺩ ﺭﻭﺍﻳﺖ‬ ‫ﻣﻲﺷﻮﺩ ﻭ ﻫﻤﻴﻦ ﺑﺎﻋﺚ ﻣﻲﺷﻮﺩ‬ ‫ﺗﺎ ﺧﻮﺍﻧﻨﺪﻩ ﺩﺭ ﺟﺮﻳﺎﻥ ﺍﺣﺴﺎﺳﺎﺕ‬ ‫ﻭ ﺩﺭﻭﻧﻴﺎﺕ ﻣﻬﻴﻦ ﺑﺎﻧﻮ ﻗﺮﺍﺭ ﮔﻴﺮﺩ‬ ‫ﻣﻬﻴﻦ ﺑﺎﻧﻮ ﺯﻧﻲ ﺍﺳﺖ ﺑﻲﻫﻴﭻ‬ ‫ﺁﺭﺯﻭ ﻛﻪ ﻓﻘﻂ ﺳﻬﻢ ﺧﻮﺩ ﺭﺍ ﺍﺯ‬ ‫ﺁﺭﺍﻣﺶ ﻭ ﻋﺸﻖ ﻣﻲﺧﻮﺍﻫﺪ؛ ﺭﺍﺿﻲ‬ ‫ﻣﻲﺷﻮﺩ ﺧﺎﻧﻪﺍﺵ ﺭﺍ ﺑﻔﺮﻭﺷﻨﺪ‬ ‫ﻭ ﺍﺯﻳﺎﺩﮔﺎﺭﻫﺎﻱ ﺍﺟﺪﺍﺩﻱ ﻭ ﺗﻪ‬

‫ﺍﺩﺑﻴﺎﺕ ﺍﻳﺮﺍﻥ‬

‫ﺩﻭﺭﻩ ﺟﺪﻳﺪ‪/‬ﺷﻤﺎﺭﻩ ‪ 9‬ﻭ ‪)10‬ﭘﻴﺎﭘﻲ‪39‬ﻭ‪ /(40‬ﺳﺎﻝ ﺳﻮﻡ‪/‬ﻧﻮﺭﻭﺯ‪88‬‬

‫ﺣﺮﻑ ﺍﻭﻝ‬

‫ﺍﺩﺑﻴﺎﺕ ﻭ ﺯﻧﺎﻧﻪﻧﻮﻳﺴﻲ‬

‫ﺑﻬـﺎﺭ ﺁﻣﺪ! ﺩﻝ ﺍﺯ ﻏﻢ ﺩﻭﺭ ﺑﺎﺩﺍ‬ ‫ﺳﺮﺕ ﺷﺎﺩ ﻭ ﻟﺒﺖ ﭘﺮ ﻧﻮﺭ ﺑﺎﺩﺍ‬ ‫ﺑﻬﺎﺭ ﻣﻰﺁﻳﺪ ! ﻣﺜﻞ ﻫﻤﻴﺸﻪ ‪،‬ﺁﺭﺍﻡ ﻭ ﺑﻲ ﺷﺘﺎﺏ‪،‬ﻣﻬﺮﺑﺎﻥ‬ ‫ﻭ ﻟﻄﻴﻒ‪،‬ﺧﻼﻕ ﻭ ﻧﻮﺍﺯﺷﮕﺮ‪ ،‬ﺯﺍﻳﻨﺪﻩ ﻭ ﭘﺮ ﺑﺎﺭ‪،‬ﺑﻬﺎﺭ‬ ‫ﻣﻲﺁﻳﺪ ﻭ ﻫﺎﻟﻪﺍﻱ ﺍﺯ ﻧﻮﺭ‪،‬ﺍﺯ ﺍﻣﻴﺪ ﺍﺯ ﺷﺎﺩﻣﺎﻧﻲ‪،‬ﻭ ﺳﺮﻭﺭ‬ ‫ﺩﺭ ﻫﻤﻪ ﺩﻟﻬﺎ ‪،‬ﺩﺭ ﻫﻤﻪ ﻋﺎﻟﻢ ﻣﻰﭘﺮﺍﻛﻨﺪ‪ .‬ﻫﻤﻪ ﺭﺍ ﺍﺯ‬ ‫ﺧﻮﺍﺏ ﻏﻔﻠﺖ ﺯﻣﺴﺘﺎﻧﻲ ﺑﻴﺪﺍﺭ ﻣﻰﻛﻨﺪ ﺍﺯ ﺳﻜﻮﺕ‪ ،‬ﺍﺯ‬ ‫ﺗﺎﺭﻳﻜﻲ ‪،‬ﺍﺯ ﺗﻨﻬﺎﻳﻲ‪ ،‬ﺍﺯ ﺭﺧﻮﺕ ﻭ ﺳﺴﺘﻲ ﺩﻭﺭ ﻣﻰﻛﻨﺪ‬ ‫ﻭ ﺑﻪ ﻫﻢ ﺷﻮﺭ ﻭ ﺍﻣﻴﺪ ﻭ ﻧﺸﺎﻁ ﻣﻰﺑﺨﺸﺪ‪.‬‬ ‫ﺑﻬﺎﺭ ﻛﻪ ﺑﻪ ﺗﻌﺒﻴﺮ ﻣﻮﻻﻧﺎ » ﺭﺳﺘﺨﻴﺰ ﻧﺎﮔﻬﺎﻥ « ﻭ‬ ‫ﭘﻴﻤﺒﺮ ﺷﺎﺩﻣﺎﻧﻲﻫﺎﺳﺖ‪،‬ﻫﺮ ﺳﺎﻝ – ﮔﺮﭼﻪ ﺑﺎ ﻫﻴﺌﺘﻲ‬ ‫ﻳﻜﺴﺎﻥ _ ﺯﻳﺒﺎﺗﺮ ﻭ ﺗﺎﺛﻴﺮ ﮔﺬﺍﺭﺗﺮ ﺍﺯ ﺳﺎﻝ ﮔﺬﺷﺘﻪ‬ ‫ﻣﻰﺁﻳﺪ‪ .‬ﺑﻪ ﺗﻐﻴﻴﺮ ﺑﻪ ﺑﻬﺘﺮ ﺩﻳﺪﻥ ﻭ ﺑﻬﺘﺮ ﺷﺪﻥ‪،‬ﺑﻪ‬ ‫» ﺍﺣﺴﻦ ﺍﻟﺤﺎﻝ«ﻓﺮﺍ ﻣﻰﺧﻮﺍﻧﺪ ﺑﻪ ﺳﻤﺖ ﻣﺴﺘﻲ ﻭ‬ ‫ﺷﻮﺭﻳﺪﮔﻲ ﺩﺍﺋﻢ ﻛﻪ ﻧﺎﺷﻲ ﺍﺯ ﺩﻳﺪﻥ ﻳﺎﺭ ﻭ ﻓﺮﺻﺖ‬ ‫ﻗﻴﻞ ﻭ ﻗﺎﻝ ﺩﺭﻭﻧﻲ ﺑﺎ ﺍﻭﺳﺖ‪:‬‬ ‫» ﭼﻨﺎﻥ ﻣﺴﺘﻢ‪ ،‬ﭼﻨﺎﻥ ﻣﺴﺘﻢ‪،‬ﻣﻦ ﺍﻣﺮﻭﺯ‬ ‫ﻛﻪ ﺍﺯ ﭼﻨﺒﺮ ﺑﺮﻭﻥ ﺟﺴﺘﻢ ﻣﻦ ﺍﻣﺮﻭﺯ‬ ‫ﭼﻨﺎﻥ ﭼﻴﺰﻱ ﻛﻪ ﺩﺭ ﺧﺎﻃﺮ ﻧﻴﺎﻳﺪ‬ ‫ﭼﻨﺎﻥ ﻣﺴﺘﻢ‪ ،‬ﭼﻨﺎﻥ ﻣﺴﺘﻢ‪،‬ﻣﻦ ﺍﻣﺮﻭﺯ‬ ‫ﺑﻪ ﺟﺎﻥ ﺑﺎ ﺁﺳﻤﺎﻥ ﻋﺸﻖ ﺭﻓﺘﻢ‬ ‫ﺑﻪ ﺻﻮﺭﺕ ﮔﺮ ﺩﺭ ﺍﻳﻦ ﭘﺴﺘﻢ ﻣﻦ ﺍﻣﺮﻭﺯ‬ ‫ﮔﺮﻓﺘﻢ ﮔﻮﺵ ﻋﻘﻞ ﻭ ﮔﻔﺘﻢ ﺍﻱ ﻋﻘﻞ‬ ‫ﺑﺮﻭﻥ ﺭﻭ ﻛﺰ ﺗﻮ ﻭﺍﺭﺳﺘﻢ ﻣﻦ ﺍﻣﺮﻭﺯ«‬ ‫ﻏﺰﻟﻴﺎﺕ ﺷﻤﺲ‬ ‫ﺍﻣﻴﺪ ﻛﻪ ﺩﺭ ﻫﺮ ﺑﻬﺎﺭ‪،‬ﺑﺘﻮﺍﻧﻴﻢ ﺍﺯ ﻏﻔﻠﺖ ﺯﻣﺴﺘﺎﻧﻲ‬ ‫ﺩﻟﻬﺎﻱ ﺧﻮﻳﺶ ﺩﻭﺭ ﺑﺸﻮﻳﻢ ﻭ ﺧﺮﻗﻪﻱ ﺗﻐﻴﻴﺮ ﻭ‬ ‫ﺗﺒﺪﻳﻞ ﺑﺮ ﻗﺎﻣﺖ ﺭﻭﺡ ﺍﻓﻜﻨﻴﻢ ﻭ ﺳﺎﻝ ﻧﻮ ﺭﺍ ﺑﺎ ﺍﻧﺪﻳﺸﻪ‬ ‫ﻧﻮ ﺩﻧﻴﺎﻱ ﻧﻮﺗﺮﻱ ﺁﻏﺎﺯ ﻛﻨﻴﻢ‪ .‬ﭼﻨﻴﻦ ﺑﺎﺩ‪.‬‬ ‫ﻭ ﻣﺎ ﺑﻌﺪ‬ ‫ﺑﺎﺯ ﻫﻢ ﻣﺎﻳﻴﻢ ﻭ ﺷﻤﺎ !ﻭ ﺑﺎﺯ ﻫﻢ ﻫﻔﺘﻪ ﻧﺎﻣﻪ‬ ‫ﺭﻭﺩﻛﻲ‪،‬ﺑﺎ ﻫﻤﺎﻥ ﺁﺭﺯﻭ ﻭ ﺷﻮﻕ ﻭ ﺷﻮﺭ ﺩﻳﮕﺮﻱ ﻛﻪ‬ ‫ﺍﺯ ﺍﺑﺘﺪﺍ ﺩﺍﺷﺖ‪،‬ﺗﺎ ﭘﺎﻳﺎﻥ ﺷﻤﺎﺭﻩ ‪،30‬ﻭ ﺍﺯ ﭼﻨﺪ ﮔﺎﻡ‬ ‫ﻭ ﭼﻨﺪ ﻟﻐﺰﺵ ﻛﻮﺗﺎﻩ ﻣﺪﺕ ﺁﻥ ﭘﺲ ﺍﺯ ﺷﻤﺎﺭﻩ ‪30‬‬ ‫ﭼﺸﻢ ﻣﻰﭘﻮﺷﻴﻢ ﻭ ﻣﻰﮔﺬﺭﻳﻢ ﻛﻪ ﺩﺭ ﺭﺍﻩ ﻫﻤﻴﺸﻪ‬ ‫ﭼﺎﻟﻪ ﻭ ﭼﺎﻩ ﻫﻢ ﻫﺴﺖ!ﮔﺮﭼﻪ ﻫﺮﮔﺰ ﭼﺎﻫﻲ ﺑﺮ ﺳﺮ‬ ‫ﺭﻭﺩﻛﻲ ﻧﺒﻮﺩﻩ ﺍﺳﺖ ﻭ ﺭﻭﺩﻛﻲ‪،‬ﺧﻮﺩ ﭼﻨﺪ ﮔﺎﻣﻰﺭﺍ‬ ‫ﺧﻮﺍﺳﺖ ﺩﺭ ﭼﺎﻟﻪ ﺑﻤﺎﻧﺪ ﻭ ﺑﺮﺁﻳﺪ ﻛﻪ ﻧﻤﺎﻧﺪ ﻭ ﺑﺮ‬ ‫ﺁﻣﺪ ﻭ ﺍﻛﻨﻮﻥ ﻣﻰﺑﻴﻨﻴﺪ ﻛﻪ ﺩﻭﺑﺎﺭﻩ ﻫﻤﺖ ﻭ ﻻﺑﺪ‬ ‫ﺧﻮﺍﻫﺪ ﻧﻤﻮﺩ ﺗﺎ ﺯﻣﺎﻧﻲ ﻛﻪ ﺑﺎﺩﻫﺎﻱ ﻣﻮﺳﻤﻰﺁﻥ ﺭﺍ‬ ‫ﺍﺯ ﺳﺎﻳﻪ ﺍﻓﻜﻨﺪﻥ ﺑﺮ ﺳﺮ ﺁﻓﺘﺎﺏ ﺯﺩﮔﺎﻥ ﻣﺎﻧﺪﻩ ﺩﺭ‬ ‫ﻛﻮﻳﺮ‪،‬ﻣﺤﺮﻭﻡ ﻧﻜﻨﻨﺪ‪....‬‬ ‫ﻫﻔﺘﻪ ﻧﺎﻣﻪ ﺭﻭﺩﻛﻲ ﺍﺯ ﺍﻳﻦ ﭘﺲ ﺗﻼﺵ ﺧﻮﺍﻫﺪ ﻛﺮﺩ‬ ‫ﻛﻪ ﺑﻬﺘﺮ ﻭ ﺑﻴﺸﺘﺮ ﺍﺯ ﮔﺬﺷﺘﻪ ﺑﻪ ﺍﺩﺑﻴﺎﺕ – ﺑﻪ ﻭﻳﮋﻩ‬ ‫ﺍﺩﺑﻴﺎﺕ ﻣﻌﺎﺻﺮ ﺍﻳﺮﺍﻥ ﻭ ﺟﻬﺎﻥ ﻭ ﺩﺭ ﻛﻨﺎﺭ ﺁﻥ ﺑﻪ‬ ‫ﻓﺮﻫﻨﮓ ﻭ ﺍﺩﺏ ﻭ ﻫﻨﺮ ﻭ ﺍﺟﺘﻤﺎﻉ‪،‬ﺑﭙﺮﺩﺍﺯﺩ‪ .‬ﺑﻪ ﻫﻤﻴﻦ‬ ‫ﺩﻟﻴﻞ ﻣﻨﺘﻈﺮ ﺁﺛﺎﺭ ﺧﻮﺏ ﻭ ﻣﻨﺘﻘﺪﺍﻧﻪ ﺧﻮﺍﻧﻨﺪﮔﺎﻥ‬ ‫ﻓﺮﻫﻴﺨﺘﻪ ﺍﻳﻦ ﻣﺠﻠﻪ ﺧﻮﺍﻫﺪ ﻣﺎﻧﺪ‪.‬‬ ‫ﺭﻭﺩﻛﻲ ﺁﺛﺎﺭ ﺷﻤﺎ ﺭﺍ ﺩﺭ ﺣﻮﺯﻩﻫﺎﻱ‬ ‫ﺩﺍﺳﺘﺎﻥ‪،‬ﺷﻌﺮ‪،‬ﻣﻘﺎﻟﻪ‪،‬ﮔﻔﺘﮕﻮ‪،‬ﺗﺎﺭﻳﺦ ﻣﻌﺎﺻﺮ ﻭ‪ ...‬ﭘﺬﻳﺮ‬ ‫ﺍﺳﺖ ﺍﻣﺎ ﺑﻴﺸﺘﺮ ﻣﺎﻳﻞ ﺍﺳﺖ ﻛﻪ ﺍﻳﻦ ﺁﺛﺎﺭ ﺑﻪ ﺻﻮﺭﺕ‬ ‫ﻧﻬﺎﻳﻲ ﺷﺪﻩ ﺑﻪ ﺁﺩﺭﺱ ﺍﻳﻨﺘﺮﻧﺘﻲ ﻣﺠﻠﻪ ﺍﺭﺳﺎﻝ ﺷﻮﺩ‪.‬‬ ‫ﺍﻣﻴﺪ ﻛﻪ ﻫﻤﺖ ﺷﻤﺎ ﺩﺭ ﻣﻌﺮﺽ ﺟﺪﻱ ﻣﺠﻠﻪ ﺑﻪ‬ ‫ﺍﻧﺠﻤﻦﻫﺎﻱ ﺍﺩﺏ‪،‬ﻛﺘﺎﺑﺨﺎﻧﻪﻫﺎ‪ ،‬ﻛﺘﺎﺏ ﻓﺮﻭﺷﻲﻫﺎ‪،‬ﻭ‬ ‫ﻋﻼﻗﻤﻨﺪﺍﻥ ﺑﻪ ﻓﺮﻧﮓ ﻭ ﺍﺩﺏ‪،‬ﺑﺎﻋﺚ ﭘﺎﻳﺪﺍﺭﻱ ﻭ‬ ‫ﺍﺩﺍﻣﻪ ﺍﻧﺘﺸﺎﺭ ﺁﻥ ﻣﻰﺑﺎﺷﺪ‪.‬‬ ‫» ﻣﺎ ﺑﺪﻳﻦ ﺩﺭ ﻧﻪ ﭘﻲ ﺣﺸﻤﺖ ﻭ ﺟﺎﻩ ﺁﻣﺪﻩ ﺍﻳﻢ‬ ‫ﺍﺯ ﺑﺪ ﺣﺎﺩﺛﻪ ﺍﻳﻦ ﺟﺎ ﺑﻪ ﭘﻨﺎﻩ ﺁﻣﺪﻩ ﺍﻳﻢ«‬ ‫ﻧﻮﺭﻭﺯ ﻣﺒﺎﺭﻙ‬ ‫ﻣﺤﻤﺪ ﻋﺰﻳﺰﻱ‬

‫ﺗﺤﻠﻴﻠﻲ ﻣﻮﺭﺩﻱ ﺑﺮ ﺁﺛﺎﺭ ﻧﻮﻳﺴﻨﺪﮔﺎﻥ ﺯﻥ‬ ‫ﻓﺮﺷﺘﻪ ﻧﻮﺑﺨﺖ‬

‫ﺑﺎ ﻧﮕﺎﻫﻲ ﺑﻪ ﺗﺎﺭﻳﺦ ﻭ ﻛﻨﻜﺎﺵ ﺩﺭ ﺍﺳﺎﻃﻴﺮ ﺩﺭﻣﻲﻳﺎﺑﻴﻢ‬ ‫ﻛﻪ ﻫﻤﻮﺍﺭﻩ ﻧﮕﺎﻩ ﺍﻧﺴﺎﻥﻫﺎ ﺑﻪ ﺯﻥ ﺑﻪﻣﺎﻧﻨ ِﺪ ﻛﺎﻻﻳﻰ ﺑﻮﺩﻩ‬ ‫ﻛﻪ ﺩﺭ ﺗﻤﻠﻚ ﻣﺮﺩ ﻗﺮﺍﺭﺩﺍﺷﺘﻪ ﺍﺳﺖ؛ ﺍﻳﻦ ﻧﮕﺮﺵ ﺩﺭ‬ ‫ﺭﻡ ﺑﺎﺳﺘﺎﻥ ﻭ ﻓﺮﻫﻨﮓ ﻳﻮﻧﺎﻧﻰ ﺑﻪ ﺧﻮﺑﻰ ﻗﺎﺑﻞ ﺭﻭﻳﺖ‬ ‫ﺍﺳﺖ‪ .‬ﺍﺯ ﺩﻳﺪﮔﺎﻩ ﺍﻧﺴﺎﻥ ﺁﻥ ﺩﻭﺭﻩ‪ ،‬ﺯﻥ ﻗﺎﺑﻞ ﺧﺮﻳﺪ ﻭ‬ ‫ﻓﺮﻭﺵ ﻭ ﻣﻌﺎﻣﻠﻪ ﺑﻮﺩﻩ ﻭ ﺍﺭﺯﺵﻳﻜﺴﺎﻧﻲ ﺑﺎ ﺑﺮﺩﻩ ﺩﺍﺷﺘﻪ‬ ‫ﻭ ﺑﻪ ﺷﻜﻞ ﻛﺎﻻﻳﻰ‪ ،‬ﺍﻣﻜﺎﻥ ﺩﺳﺖ ﺑﻪ ﺩﺳﺖ ﻛﺮﺩﻥ‬ ‫ﻭ ﺗﺒﺎﺩﻝ ﺩﺍﺷﺘﻪ ﺍﺳﺖ؛ ﻭ ﺗﺎ ﻇﻬﻮﺭ ﻣﺴﻴﺤﻴﺖ ﻛﻪ ﺑﻪ‬ ‫ﺩﻟﻴﻞ ﺣﻀﻮﺭ ﺣﻀﺮﺕ ﻣﺮﻳﻢ )ﺱ( ﺑﻪ ﻋﻨﻮﺍﻥ ﺍﺳﺎﺱ ﻭ‬ ‫ﭘﺎﻳﻪﻱ ﺷﻜﻞ ﮔﻴﺮﻯ ﭼﻨﻴﻦ ﺷﺮﻳﻌﺘﻰ‪ ،‬ﻧﻈﺎﻡ ﺍﺭﺯﺷﻤﻨﺪﻯ‬ ‫ﺯﻥ ﺗﺒﻴﻴﻦ ﺷﺪﻩ‪ ،‬ﺍﻳﻦ ﻧﮕﺮﺵ ﺍﺩﺍﻣﻪ ﺩﺍﺷﺘﻪ ﺍﺳﺖ‪ .‬ﺑﺎ‬ ‫ﺍﻳﻦﻫﻤﻪ‪ ،‬ﭘﺲ ﺍﺯ ﺭﻧﺴﺎﻧﺲ ﻳﻌﻨﻲ ﺩﺭﻗﺮﻭﻥ ﭼﻬﺎﺭﺩﻫﻢ‬ ‫ﺗﺎ ﻫﺠﺪﻫﻢ ﺑﻪ ﺩﻟﻴﻞ ﭘﻴﺪﺍﻳﺶ ﺳﻜﻮﻻﺭﻳﺴﻢ ﺩﺭﺍﺧﻼﻕ‪،‬‬ ‫ﺳﻨﺖ ﻭ ﻓﺮﻫﻨﮓ‪ ،‬ﺯﻧﺎﻥ ﺑﻴﺸﺘﺮﻳﻦ ﺁﺳﻴﺐ ﺭﺍ ﺩﻳﺪﻩﺍﻧﺪ‪.‬‬ ‫ﺩﺭ ﺍﻳﻦ ﺩﻭﺭﻩ ﺷﺮﺍﻳﻂ ﺑﻪ ﻧﺤﻮﻱ ﺑﻮﺩﻩ ﻛﻪ ﻫﻨﺮﻣﻨﺪﺍﻥ‬ ‫ﻭ ﺍﻧﺪﻳﺸﻤﻨﺪﺍﻥ ﺯﻥ ﺑﺎ ﺍﺳﺎﻣﻰﻣﺴﺘﻌﺎﺭ ﻣﺮﺩﺍﻧﻪ ﻓﻌﺎﻟﻴﺖ‬ ‫ﻣﻰﻛﺮﺩﻩﺍﻧﺪ ﻛﻪ ﻧﻤﻮﻧﻪﻫﺎﻱ ﺗﺎﺭﻳﺨﻲ ﺁﻥ ﺑﺴﻴﺎﺭ ﺍﺳﺖ؛‬ ‫ﻭ ﺷﺎﻳﺪ ﻫﻤﻴﻦ ﻫﻢ ﺳﺮﺁﻏﺎﺯﻯ ﺑﻮﺩﻩ ﺑﺮﺍﻯ ﺷﻜﻞﮔﻴﺮﻱ‬ ‫ﻧﻄﻔﻪﻱ ﺗﻔﻜﺮﺍﺕ ﻓﻤﻴﻨﻴﺴﺘﻰ‪ ،‬ﺩﺭ ﺍﻭﺍﺧﺮ ﻗﺮﻥ ﻧﻮﺯﺩﻩ‬ ‫ﻣﻴﻼﺩﻯ‪.‬‬ ‫ﻓﻤﻴﻨﻴﺴﻢ ﭼﻴﺴﺖ؟‬ ‫ﮔﻔﺘﻪ ﺷﺪﻩ ﻛﻪ‪ ،‬ﻭﺍژﺓ ﻓﻤﻴﻨﻴﺴﻢ‪ ،‬ﺍﻭﻟﻴﻦ ﺑﺎﺭ ﺩﺭﻣﻘﺎﻟﻪﺍﻯ‬ ‫ﺍﺯ ﺍﻟﻜﺴﺎﻧﺪﺭ ﺩﻭﻣﺎ‪ ،‬ﺑﻪ ﺯﻧﺎﻧﻰ ﺍﻃﻼﻕ ﮔﺮﺩﻳﺪ ﻛﻪ ﺭﻓﺘﺎﺭﻯ‬ ‫ﻣﺮﺩﺍﻧﻪ ﺩﺍﺷﺘﻨﺪ‪ ،‬ﻭ ﺩﺭ ﺳﺎﻝ ‪ 1873‬ﺍﻳﻦ ﻭﺍژﻩ ﺭﺳﻤﺎ ﺑﻪ‬ ‫ﻋﻨﻮﺍﻥ ﻭﺍژﻩﺍﻯ ﺳﻴﺎﺳﻰ‪ ،‬ﻭﺍﺭﺩ ﻓﺮﻫﻨﮓ ﻓﺮﺍﻧﺴﻪ ﺷﺪ ﻭ‬ ‫ﺟﻨﺒﺶﻫﺎﻯ ﺁﻥ ﺩﺭ ﺍﻋﺘﺮﺍﺽ ﺑﻪ ﻧﺎﺑﺮﺍﺑﺮﻯ ﺣﻘﻮﻕ ﺯﻧﺎﻥ‬ ‫ﻭ ﻣﺮﺩﺍﻥ‪ ،‬ﺑﻪ ﺁﺭﺍﻣﻰﺷﻜﻞ ﮔﺮﻓﺖ‪ ،‬ﻭ ﺩﺭﺍﺛﺮ ﮔﺬﺷﺖ ﺯﻣﺎﻥ‬ ‫ﺣﺮﻛﺖ ﻓﺮﻫﻨﮕﻰ ﺩﺭﺁﻣﺪ ﻛﻪ ﺑﻪ ﻓﺮﺍﺧﻮﺭ‬ ‫ﺑﻪ ﺷﻜﻞ ﻳﻚ‬ ‫ِ‬ ‫ﺩﻳﺪﮔﺎﻩ‪ ،‬ﺑﻪ ﺷﺎﺧﻪﻫﺎﻯ ﻣﺘﻌﺪﺩﻯ ﺍﺯﺟﻤﻠﻪ ﻓﻤﻴﻨﻴﺴﻢ‬ ‫ﻣﺎﺭﻛﺴﻴﺴﺘﻲ‪ ،‬ﻓﻤﻴﻨﻴﺴﻢ ﺳﻮﺳﻴﺎﻟﻴﺴﺘﻰ‪ ،‬ﻓﻤﻴﻨﻴﺴﻢ‬ ‫ﺭﺍﺩﻳﻜﺎﻟﻰ‪ ،‬ﻓﻤﻴﻨﻴﺴﻢ ﻟﻴﺒﺮﺍﻟﻲ‪ ،‬ﻓﻤﻴﻨﻴﺴﻢ ﺑﺎ ﺭﻭﻳﻜﺮﺩ‬ ‫ﻓﺮﺍﻣﺪﺭﻥ ﻭ ﻧﻴﺰﻓﻤﻴﻨﻴﺴﻢ ﺍﺳﻼﻣﻰﺗﻘﺴﻴﻢ ﮔﺮﺩﻳﺪ‪.‬‬ ‫ﺗﺎﺛﻴﺮ ﻧﮕﺮﺵ ﻓﻤﻴﻨﻴﺴﺘﻲ ﺑﺮ ﺍﺩﺑﻴﺎﺕ ﺟﻬﺎﻥ‬ ‫ﺗﺠﻠﻲ ﺍﻓﻜﺎﺭ ﻓﻤﻴﻨﻴﺴﺘﻲ )ﺑﻪ ﻫﺮ ﺷﻜﻞ ﺁﻥ ﻭ ﺑﺎ ﻫﺮ‬ ‫ﺯﻧﺎﻥ ﻧﻮﻳﺴﻨﺪﻩ ﻣﺸﻬﻮﺩ ﺍﺳﺖ‪.‬‬ ‫ﮔﺮﺍﻳﺸﻲ ﺍﺯ ﺁﻥ( ﺩﺭ ﺁﺛﺎﺭ ِ‬ ‫ﺍﻳﻦ ﺗﺠﻠﻲ ﮔﺎﻩ ﺑﻪ ﺻﻮﺭﺕ ﺁﺛﺎﺭﻱ ﻣﻌﺘﺮﺿﺎﻧﻪ ﺑﺮ ﺟﺎﻳﮕﺎﻩ‬ ‫ﺯﻥ ﺩﺭ ﺟﻮﺍﻣﻊ ﻧﻤﻮﺩ ﻛﺮﺩﻩﺍﺳﺖ ﻭ ﮔﺎﻩ ﺑﻪ ﺻﻮﺭﺕ ﺁﺛﺎﺭﻱ‬ ‫ﺁﺭﺍﻣﺎﻥﮔﺮﺍﻳﺎﻧﻪ‪.‬‬ ‫ﻭﻳﺮﺟﻴﻨﻴﺎ ﻭﻭﻟﻒ ﻣﻨﺘﻘﺪ ﻭ ﻧﻮﻳﺴﻨﺪﺓ ﺍﻧﮕﻠﻴﺴﻲ‬ ‫)‪ (1882.1941‬ﺩﺭ ﺣﺎﻟﻲ ﺑﻪ ﺩﻟﻴﻞ ﺟﻨﺴﻴﺘﺶ ﺍﺯ ﺗﺤﺼﻴﻞ‬ ‫ﺩﺭ ﻛﺎﻟﺞ ﻣﺤﺮﻭﻡ ﺷﺪ ﻛﻪ ﺩﺭ ﺧﺎﻧﻮﺍﺩﻩﺍﻯ ﺍﺷﺮﺍﻓﻰ ﻭ‬ ‫ﻓﺮﻫﻴﺨﺘﻪ ﻣﻲﺯﻳﺴﺖ‪ ،‬ﭘﺪﺭﺵ ﻭﻳﺮﺍﺳﺘﺎﺭ ﺍﺩﺑﻲ ﺑﻮﺩ ﻭ‬ ‫ﻛﺘﺎﺑﺨﺎﻧﻪﻱ ﺑﺰﺭگ ﻭ ﭘﺮ ﻭ ﭘﻴﻤﺎﻧﻲ ﺩﺍﺷﺖ ﻛﻪ ﭘﻨﺎﻩﮔﺎﻩ‬ ‫ﺧﻮﺑﻲ ﺑﺮﺍﻱ ﻭﻭﻟﻒ ﺑﻮﺩ؛ ﺍﻭ ﺑﻌﺪﻫﺎ ﺑﺎ ﻧﻮﺷﺘﻦ ﺁﺛﺎﺭﻯ ﻧﻈﻴﺮ‬

‫»ﺍﮔﺮ ﺷﻜﺴﭙﻴﺮ ﺧﻮﺍﻫﺮﻯ ﺩﺍﺷﺖ« ﻭ ﻧﻴﺰ »ﺍﺗﺎﻗﻰ ﺑﺮﺍﻯ‬ ‫ﺧﻮﺩﺕ«‪ ،‬ﺁﺭﺯﻭ ﻭ ﺗﻼﺵ ﺧﻮﺩ ﺭﺍ ﺑﺮﺍﻯ ﺭﺳﻴﺪﻥ ﺯﻧﺎﻥ‬ ‫ﺑﻪ ﺣﻘﻮﻗﻰ ﻋﺎﺩﻻﻧﻪ ﺁﺷﻜﺎﺭ ﻣﻲﻛﻨﺪ ﻭ ﺩﺭ ﻣﻘﺎﻟﻪﺍﻱ ﺑﻪ‬ ‫ﻧﺎﻡ »ﺯﻧﺎﻥ ﻭ ﺍﺩﺑﻴﺎﺕ« ﻣﻲﺁﻭﺭﺩ‪» :‬ﺁﻧﺎﻥ)ﺯﻧﺎﻥ ﻧﻮﻳﺴﻨﺪﻩ(‬ ‫ﺑﻪ ﻭﺭﺍﻱ ﺭﻭﺍﺑﻂ ﺳﻴﺎﺳﻲ ﻭ ﺷﺨﺼﻲ ﻧﻈﺮ ﺩﺍﺭﻧﺪ ﻭ ﺑﻪ‬ ‫ﭘﺮﺳﺸﻲ ﮔﺴﺘﺮﺩﻩﺗﺮ ﻛﻪ ﺷﺎﻋﺮﺍﻥ ﻣﻲﻛﻮﺷﻨﺪ ﭘﺎﺳﺦ‬ ‫ﺩﻫﻨﺪﻳﻌﻨﻲ ﻣﺴﺌﻠﻪﻱ ﺳﺮﻧﻮﺷﺖ ﻣﺎ ﻭ ﻣﻌﻨﺎﻱ ﺯﻧﺪﮔﻲ‬ ‫ﻣﻲﺍﻧﺪﻳﺸﻨﺪ‪ «.‬ﺑﺎ ﺍﻳﻨﻬﻤﻪ ﺍﻭ ﺩﺭ ﻛﻨﺎﺭ ﺧﻮﺩ ﻟﺌﻮﻧﺎﺭﺩﻭ ﺭﺍ‬ ‫ﺩﺍﺷﺖ؛ ﻣﺮﺩﻱ ﻛﻪ ﺛﻤﺮﻩﻱ ﮔﺮﻭﻩ »ﺑﻠﻮﻣﺰﺑﺮﻱ«ﺑﺮﺍﻱ‬ ‫ﺍﻭ ﺑﻮﺩ ﻭ ﺩﺭ ﺷﻜﻮﻓﺎﻳﻲ ﺍﺳﺘﻌﺪﺍﺩﻫﺎﻳﺶ ﻧﻘﺶ ﺑﺴﻴﺎﺭﻱ‬ ‫ﺩﺍﺷﺖ‪ .‬ﺩﺭ ﺣﺎﻟﻲﻛﻪ ﺧﻮ ِﺩ ﻟﺌﻮﻧﺎﺭﺩﻭ ﺍﺯﻫﺎﻟﻪﻱ ﻫﻤﺴﺮ‬ ‫ﺧﻮﺵ ﻗﺮﻳﺤﻪﻱ ﻣﻨﺘﻘﺪ ﻭ ﻧﻮﻳﺴﻨﺪﻩﺍﺵ ﺩﺭ ﺣﺎﺷﻴﻪ‬ ‫ﻓﺮﻭ ﺭﻓﺘﻪﺑﻮﺩ‪ .‬ﻭﻭﻟﻒ ﺩﺭ ﻧﺎﻣﻪﺍﻱ ﻛﻪ ﻗﺒﻞ ﺍﺯ ﺧﻮﺩﻛﺸﻲ‬ ‫ﺑﺮﺍﻱ ﻟﺌﻮﻧﺎﺭﺩﻭ ﻧﻮﺷﺘﻪ‪ ،‬ﺍﻋﺘﺮﺍﻑ ﻣﻲﻛﻨﺪ ﻛﻪ‪ » :‬ﻣﻦ ﺗﻤﺎﻡ‬ ‫ﺧﻮﺷﺒﺨﺘﻲﺍﻡ ﺭﺍ ﻣﺪﻳﻮﻥ ﺗﻮ ﺑﻮﺩﻡ‪ ،‬ﺗﻮ ﺑﺎ ﻣﻦ ﺑﻲﺍﻧﺪﺍﺯﻩ‬ ‫ﺻﺒﻮﺭ ﻭ ﻣﻬﺮﺑﺎﻥ ﺑﻮﺩﻱ‪...‬ﮔﻤﺎﻥ ﻧﻤﻲﻛﻨﻢ ﻛﻪ ﻛﺴﻲ‬ ‫ﺁﻧﻘﺪﺭ ﻛﻪ ﻣﺎ ﺧﻮﺷﺒﺨﺖ ﺑﻮﺩﻳﻢ‪ ،‬ﺧﻮﺷﺒﺨﺖ ﺑﺎﺷﺪ‪«...‬‬ ‫ﺑﻌﺪ ﺍﺯ ﺧﻮﺩﻛﺸﻲ ﻭﻭﻟﻒ‪ ،‬ﻟﺌﻮﻧﺎﺭﺩﻭ ﺩﺳﺖﻧﻮﺷﺘﻪﻫﺎﻱ‬ ‫ﭘﺮﺍﻛﻨﺪﻩ‪ ،‬ﺩﺍﺳﺘﺎﻥﻫﺎﻱ ﻛﻮﺗﺎﻩ ﺭﻫﺎ ﺷﺪﻩ ﺩﺭﻭﻥ ﻣﻴﺰ ﻛﺎﺭ‬ ‫ﻭ ﺧﺎﻃﺮﺍﺕ ﻭﻳﺮﺟﻴﻨﻴﺎ ﺭﺍ ﺟﻤﻊﺁﻭﺭﻱ ﻭ ﻣﻨﺘﺸﺮ ﻣﻲﻛﻨﺪ‬ ‫ﻭ ﺩﺭ ﻣﻘﺪﻣﻪﺍﻱ ﺑﺮ ﺧﺎﻃﺮﺍﺕ ﺍﻭ ﻣﻲﺁﻭﺭﺩ‪» :‬ﺑﻪ ﻧﻈﺮ‬ ‫ﻣﻦ ﺍﻭ )ﻭﻳﺮﺟﻴﻨﻴﺎ(ﻳﻚ ﻫﻨﺮﻣﻨﺪ ﻭﺍﻗﻌﻲ ﺑﻮﺩ ﻭ ﻫﻤﻪﻱ‬ ‫ﻛﺘﺎﺏﻫﺎﻱ ﺍﻭ ﺁﺛﺎﺭ ﻫﻨﺮﻱ ﺑﻪﺷﻤﺎﺭ ﻣﻲﺭﻭﻧﺪ‪«...‬‬ ‫ﺳﻴﻠﻮﻳﺎ ﭘﻼﺕ )‪ ،(1932.1963‬ﺷﺎﻋﺮ‪ ،‬ﻣﻨﺘﻘﺪ ﻭ‬ ‫ﺩﺍﺳﺘﺎﻥﻧﻮﻳﺲ ﺁﻣﺮﻳﻜﺎﻳﻲﺳﺖ ﻛﻪ ﺁﺛﺎﺭﺵ ﻫﻢﺯﻣﺎﻥ ﺑﺎ‬ ‫ﻣﻮﺝ ﺟﻨﺒﺶﻫﺎﻱ ﻓﻤﻴﻨﻴﺴﺘﻲ ﺩﻫﻪﻫﺎﻱ ‪ 50‬ﻭ ‪ 60‬ﺩﺭ‬ ‫ﺍﻣﺮﻳﻜﺎ ﺑﻴﺎﻧﮕﺮ ﺯﻧﺪﮔﻲ ﻭ ﺷﺮﺍﻳﻂ ﺯﻧﺎﻥ ﺯﻣﺎﻥ ﺧﻮﺩﺵ‬ ‫ﺑﻮﺩ‪ .‬ﭘﻼﺕ ﺍﮔﺮ ﭼﻪ ﻛﻪ ﺍﺯ ﻣﺎﺩﺭ ﺧﻮﺩ ﺑﻪ ﻋﻨﻮﺍﻥ ﺯﻧﻲ‬ ‫ﺯﻳﺎﺩﻩﺧﻮﺍﻩ ﻭ ﺩﻗﻴﻖ‪ ،‬ﻣﺘﻨﻔﺮ ﺑﻮﺩ ﺍﻣﺎ ﺧﻮﺩ ﻧﻴﺰ ﺑﻪ ﻧﻮﻋﻲ‬ ‫ﺷﻜﻞ ﺗﺤﻘﻖﻳﺎﻓﺘﻪﻱ ﺷﺨﺼﻴﺖ ﻣﺎﺩﺭ ﺑﻮﺩ‪ :‬ﺯﻧﻲ ﺩﻗﻴﻖ‪،‬‬ ‫ﺍﻳﺪﻩﺍﻟﻴﺴﺖ ﻭ ﺳﺨﺖﻛﻮﺵ ﺩﺭ ﻛﺎ ِﺭ ﻧﻮﺷﺘﻦ ﻛﻪ ﺩﺭ‬ ‫ﺁﺛﺎﺭﺵ ﻧﺸﺎﻥ ﻣﻲﺩﻫﺪ ﻛﻪ ﺟﻬﺎﻥ ﺑﻪﮔﻮﻧﻪﺍﻱ ﻣﺮﺩ ﺳﺎﻻﺭ‬ ‫ﺍﺳﺖ‪ .‬ﺍﻭ ﻣﺎﻧﻨﺪ ﻭﻭﻟﻒ ﺍﺯ ﺷﺎﻧﺲ ﺩﺍﺷﺘﻦ ﻫﻤﺴﺮﻱ ﻫﻤﺮﺍﻩ‬ ‫ﻭ ﺩﻭﺳﺖ‪ ،‬ﺑﺮﺧﻮﺭﺩﺍﺭ ﻧﺒﻮﺩ ﻭ ﺳﺮﺍﻧﺠﺎﻡ ﺑﻌﺪ ﺍﺯ ﺟﺪﺍﻳﻲ ﺍﺯ‬ ‫ﻫﻤﺴﺮﺵ »ﺗﺪﻫﻴﻮﺯ« ﺷﺎﻋﺮ ﺑﻠﻨﺪﻣﺮﺗﺒﻪﻱ ﺍﻧﮕﻠﻴﺴﻲ‪ ،‬ﺩﺭ‬ ‫ﺁﺷﭙﺰﺧﺎﻧﻪﻱ ﻣﻨﺰﻟﺶ ﺑﺎ ﮔﺎﺯ ﺧﻮﺩﻛﺸﻲ ﻛﺮﺩ‪.‬‬ ‫ﺑﻪ ﻫﺮﺣﺎﻝ ﺩﻫﻪﻱ ﭼﻬﻞ ﻭ ﭘﻨﺠﺎﻩ ﻭ ﺷﺼﺖ ﺭﺍ ﺷﺎﻳﺪ‬ ‫ﺑﺘﻮﺍﻥ ﺍﻭﺝ ﺷﻜﻮﻓﺎﻳﻲ ﻓﻌﺎﻻﻥ ﺍﻳﻦ ﻧﻬﻀﺖ ﻧﺎﻣﻴﺪ؛‬ ‫ﻭﻳﻜﻲ ﺩﻳﮕﺮ ﺍﺯ ﺷﺨﺼﻴﺖﻫﺎﻱ ﻓﻌﺎﻝ ﺁﻥ ﻋﺼﺮ‪،‬‬ ‫»ﺳﻴﻤﻮﻥ ﺩﻭﺑﻮﺍﺭ« ﻫﻤﺴﺮ ژﺍﻥ ﭘﻞ ﺳﺎﺭﺗﺮ‪ ،‬ﻛﻪ ﺗﺤﺖ‬ ‫ﮔﺮﺍﻳﺸﺎﺕ ﺷﺪﻳﺪ ﺭﺍﺩﻳﻜﺎﻟﻰ ﻭ ﺍﺯ ﭘﻴﺮﻭﺍﻥ ﻣﻜﺘﺐ ﻓﻠﺴﻔﻰ‬ ‫ِ‬ ‫ﺍﮔﺰﻳﺴﺘﺎﻧﺴﻴﺎﻟﻴﺴﻢ )ﻫﺴﺘﻲﮔﺮﺍﻳﻲ( ﺑﻮﺩ‪ .‬ﺩﻭﺑﻮﻭﺍﺭ ﺑﺎ‬ ‫ﻛﺘﺎﺏ »ﺟﻨﺲ ﺩﻭﻡ« )‪ ،(1948‬ﺗﺎﺛﻴﺮ ﻓﺮﺍﻭﺍﻧﻰ‬ ‫ﻧﻮﺷﺘﻦ‬ ‫ِ‬ ‫ﺑﺮ ﺍﻳﻦ ﻧﻬﻀﺖ ﺩﺍﺷﺖ‪ ،‬ﺍﻭ ﻣﻌﺘﻘﺪ ﺑﻮﺩ ﻛﻪ ﺯﻥ‪ ،‬ﺯﻥ ﺑﻪ‬ ‫ﺩﻧﻴﺎ ﻧﻤﻰﺁﻳﺪ ﺑﻠﻜﻪ ﺍﻭ ﺭﺍ ﺯﻥ ﻣﻰﻛﻨﻨﺪ؛ﻳﻌﻨﻰ ﻃﺮﺡ ﻭ‬ ‫ﺷﻜﻠﻰ ﻛﻪ ﺯﻧﺪﮔﻰ ﺩﺭ ﭘﻴﺶ ﭘﺎﻯ ﺍﻭ ﻗﺮﺍﺭ ﻣﻰﺩﻫﺪ ﺍﻭ ﺭﺍ‬

‫ﻣﻮﺟﻮﺩﻯ ﺿﻌﻴﻒﺗﺮ ﻭ ﺩﺭ ﺣﻘﻴﻘﺖ ﺟﻨﺲ ﺩﻭﻡ‬ ‫ﻣﻰﻛﻨﺪ‪ .‬ﺭﻭﻳﺎﻯ ﺩﻭﺑﻮﻭﺍﺭ ﺩﺭ ﻛﺘﺎﺏ ﺟﻨﺲ ﺩﻭﻡ‪،‬‬ ‫ﺭﺳﻴﺪﻥ ﺑﻪ ﺁﮔﺎﻫﻰ ﻭ ﺁﺯﺍﺩﻯﺍﻯ ﺍﺳﺖ ﻛﻪ ﺩﺭ ﺁﻥ‬ ‫ﺯﻧﺎﻥ ﺑﺘﻮﺍﻧﻨﺪ ﺑﺮﺍﻱ ﺧﻮﻳﺶ ﻫﻮﻳﺘﻲ ﺑﻴﺎﺑﻨﺪ‪.‬‬ ‫ﺩﻭﺭﻳﺲ ﻟﺴﻴﻨﮓ ﻧﻴﺰ ﻛﻪ ﺗﻮﺍﻧﺴﺖ ﺩﺭ ﺳﺎﻝ‬ ‫‪2007‬ﺟﺎﻳﺰﻩ ﻧﻮﺑﻞ ﺍﺩﺑﻰ ﺭﺍ ﺑﺎﻻﺧﺮﻩ ﺍﺯ ﺁﻥ ﺧﻮﺩ‬ ‫ﻛﻨﺪ‪،‬ﻳﻜﻰ ﺍﺯ ﻓﻌﺎﻻﻥ ﻋﺮﺻﻪﻯ ﺳﻴﺎﺳﻰ ﻭ ﺍﺯ‬ ‫ﺟﻤﻠﻪ ﻧﻮﻳﺴﻨﺪﮔﺎﻧﻰ ﺑﻮﺩ ﻛﻪ ﻫﻤﻮﺍﺭﻩ ﻣﺘﻬﻢ ﺑﻪ‬ ‫ﮔﺮﺍﻳﺸﺎﺕ ﻓﻤﻴﻨﻴﺴﺘﻰ ﺑﻮﺩ؛ﻣﺸﻬﻮﺭﺗﺮﻳﻦ ﻛﺘﺎﺏ‬ ‫ﺍﻭ‪» ،‬ﺩﻓﺘﺮﭼﻪ ﺧﺎﻃﺮﺍﺕ ﻃﻼﻳﻰ« ﺍﺳﺖ ﻛﻪ ﺩﺭ‬ ‫ﺍﻭﺍﺧﺮ ﺩﻫﺔ ﭘﻨﺠﺎ ِﻩ ﻗﺮﻥ ﺑﻴﺴﺘﻢ ﻧﻮﺷﺘﻪ ﺷﺪ ﻭ ﺍﻭ‬ ‫ﺭﺍ ﺑﻪ ﻋﻨﻮﺍﻥ ﺯﻧﻰ ﻓﻤﻴﻨﻴﺴﺖ ﻣﻄﺮﺡ ﻛﺮﺩ‪ .‬ﺧﻮﺩ‬ ‫ﻟﺴﻴﻨﮓ ﺩﺭﺍﻳﻦﺑﺎﺭﻩ ﻣﻰﮔﻮﻳﺪ‪ » :‬ﺯﻧﺎﻥ ﺯﻣﺎﻥ‬ ‫ﺯﻳﺎﺩﻯ ﻣﻮﺭﺩ ﺗﺤﻘﻴﺮﻣﺮﺩﺍﻥ ﻭﺍﻗﻊ ﺷﺪﻩﺍﻧﺪ ﻭ ﺣﺎﻻ‬ ‫ﺟﺎﻳﮕﺎ ِﻩﺷﺎﻥ ﺑﻪ ﮔﻮﻧﻪﺍﻳﺴﺖ ﻛﻪ ﻣﻰﺗﻮﺍﻧﻨﺪ ﺍﻧﺘﻘﺎﻡ‬ ‫ﺑﮕﻴﺮﻧﺪ ﻭ ﺍﻳﻦ ﺍﻧﺘﻘﺎﻣﻰﺑﺪﻳﻬﻰ ﺍﺳﺖ‪ «.‬ﺑﺎ ﻭﺟﻮﺩ‬ ‫ﺍﻳﻦ ﻟﺴﻴﻨﮓ ﺑﻌﺪﻫﺎ ﺩﺍﺷﺘﻦ ﻫﺮﮔﻮﻧﻪ ﮔﺮﺍﻳﺸﺎﺕ‬ ‫ﻓﻤﻴﻨﻴﺴﺘﻰ ﺭﺍ ﻣﺮﺩﻭﺩ ﻭ ﺗﻨﻬﺎ ﺍﻋﺘﺮﺍﻑ ﺑﻪ ﺩﺍﺷﺘﻦ‬ ‫ﺁﺭﺯﻭﻯ ﺣﻘﻮﻕ ﺑﺮﺍﺑﺮ ﻭ ﻋﺪﺍﻟﺖ ﺑﻴﻦ ﺯﻧﺎﻥ ﻭ‬ ‫ﻣﺮﺩﺍﻥ‪ ،‬ﻧﻤﻮﺩ‪.‬‬ ‫ﭘﻴﺪﺍﻳﺶ ﮔﺮﺍﻳﺸﺎﺕ ﻓﻤﻴﻨﻴﺴﺘﻲ ﻭ ﺁﻏﺎﺯ‬ ‫ﻓﻌﺎﻟﻴﺖﻫﺎﻱ ﺍﺩﺑﻲ ﺯﻧﺎﻥ ﺩﺭ ﺍﻳﺮﺍﻥ‬ ‫ﺩﺭ ﺍﻳﺮﺍﻥ‪ ،‬ﭘﻴﺪﺍﻳﺶ ﺍﻳﻦ ﻧﻬﻀﺖ ﺑﺎ ﺭﻭﻳﻜﺮﺩ‬ ‫ﺍﺳﻼﻣﻰﺁﻥ‪ ،‬ﺍﺯ ﺩﻭﺭﺓ ﻣﺸﺮﻭﻃﻴﺖ ﺁﻏﺎﺯ ﺷﺪ ﻭ‬ ‫ﻫﻢ ﺯﻣﺎﻥ ﺑﺎ ﺁﻥ ﻧﻮﻳﺴﻨﺪﮔﺎﻥ ﻣﺮﺩ ﻭ ﺯﻥ ﺯﻳﺎﺩﻯ‬ ‫ﺩﺭﺑﺎﺭﻩ ﺁﻥ ﻧﻮﺷﺘﻨﺪ‪ .‬ﺩﺭ ﺣﻘﻴﻘﺖ ﻣﺸﺮﻭﻃﻴﺖ‬ ‫ﺁﻏﺎﺯﻱ ﺑﺮﺍﻱ ﻭﺭﻭﺩ ﺯﻧﺎﻥ ﺑﻪ ﻋﺮﺻﻪﻱ ﺍﺟﺘﻤﺎﻉ‬ ‫ﻭ ﻣﺨﺼﻮﺻﺎ ﺍﺩﺑﻴﺎﺕ ﺑﻮﺩ‪ ،‬ﭼﺮﺍ ﻛﻪ ﺑﺎ ﭘﻴﺪﺍﻳﺶ‬ ‫ﺁﻥ ﺯﻭﺍﻳﺎﻱ ﺩﻳﮕﺮﻱ ﺩﺭ ﺍﻓﻜﺎﺭ ﺍﻧﺴﺎﻥﻫﺎ ﺷﻜﻞ‬ ‫ﮔﺮﻓﺖ ﻭ ﻧﻴﺎﺯﻫﺎﻱ ﺟﺪﻳﺪﻱ ﺩﺭ ﺍﺟﺘﻤﺎﻉ ﭘﺪﻳﺪ‬ ‫ﺁﻣﺪ‪.‬ﻳﻜﻲ ﺍﺯ ﺍﻳﻦ ﻧﻴﺎﺯﻫﺎ ﻛﻪ ﺩﺭ ﺗﻘﺎﺑﻞ ﻭ‬ ‫ﺗﻀﺎﺩ ﺑﺎ ﺍﺭﺯﺵﻫﺎﻱ ﮔﺬﺷﺘﻪ ﺑﻮﺩ ﺣﻀﻮﺭ‬ ‫ﺯﻧﺎﻥ ﺩﺭ ﻋﺮﺻﻪﻫﺎﻱ ﻣﺨﺘﻠﻒ ﺍﺟﺘﻤﺎﻋﻲ ﻭ ﺍﺯ‬ ‫ﺟﻤﻠﻪ ﺍﺩﺑﻴﺎﺕ ﺑﻮﺩ‪ .‬ﺯﻧﺎﻧﻰ ﻛﻪ ﺧﻮﺍﻫﺎﻥ ﺩﺍﺷﺘﻦ‬ ‫ﻓﺮﺻﺖﻫﺎﻯ ﺑﺮﺍﺑﺮ ﺍﺟﺘﻤﺎﻋﻰ ﺑﺎ ﻣﺮﺩﺍﻥ ﻭ‬ ‫ﺍﺣﺴﺎﺱ ﺣﺲ ﺍﺭﺯﺷﻤﻨﺪﻯ ﻭ ﭘﺬﻳﺮﻓﺘﻪ ﺷﺪﻥ‬ ‫ﺍﺯ ﺳﻮﻯ ﺟﺎﻣﻌﺔ ﻣﺮﺩ‪/‬ﭘﺪﺭ ﺳﺎﻻﺭ ﺑﻮﺩﻧﺪ‪ .‬ﺍﮔﺮﭼﻪ‬ ‫ﻛﻪ ﺍﻳﻦ ﻓﻌﺎﻟﻴﺖﻫﺎ ﻧﻬﺎﺩﻳﻨﻪ ﻭﻳﻚﺳﻮ ﻧﮕﺮ ﻧﺒﻮﺩ‪،‬‬ ‫ﺍﻣﺎ ﻧﻤﻰﺗﻮﺍﻥ ﺗﻼﺵ ﺑﺮﺧﻰ ﺍﻧﺪﻳﺸﻤﻨﺪﺍﻥ ﻭ‬ ‫ﺭﻭﺷﻨﻔﻜﺮﺍﻥ ﺩﺭ ﺍﻳﻦ ﺯﻣﻴﻨﻪ ﻛﻪ ﻣﻮﺟﺐ ﺍﻳﺠﺎﺩ‬ ‫ﻧﮕﺮﺵ ﻧﻘﺎﺩﺍﻧﻪﻱ ﻓﺮﻫﻨﮕﻲ ﺑﺮ ﺩﻳﺪﮔﺎﻩ ﺟﺎﻣﻌﻪﻱ‬ ‫ﻣﺮﺩ ﺳﺎﻻﺭ ﺑﻪ ﻓﻌﺎﻟﻴﺖ ﻭ ﺣﻘﻮﻕ ﺯﻧﺎﻥ ﺑﻮﺩ ﺭﺍ‬ ‫ﻧﺎﺩﻳﺪﻩ ﮔﺮﻓﺖ‪.‬‬ ‫ﺑﻌﺪﻫﺎ ﺍﻳﻦ ﻃﺮﺯ ﻧﮕﺎﻩ ﺑﻪ ﺟﻨﺒﺶﻫﺎﻯ ﺯﻧﺎﻧﻪ‪.‬‬ ‫ﻓﻤﻴﻨﻴﺴﻢ – ﺷﻜﻠﻰ ﻣﻼﻳﻢﺗﺮ‪ ،‬ﻓﻠﺴﻔﻲ ﻭ‬ ‫ﺭﻭﺷﻨﻔﻜﺮﺍﻧﻪﺗﺮ ﺑﻪ ﺧﻮﺩ ﮔﺮﻓﺖ‪ ،‬ﻭ ﺯﻧﺎﻧﻰ ﻛﻪ‬

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‫ﺍﺩﺑﻴﺎﺕ ﺟﻬﺎﻥ‬

‫ﺩﻭﺭﻩ ﺟﺪﻳﺪ‪/‬ﺷﻤﺎﺭﻩ ‪ 9‬ﻭ ‪)10‬ﭘﻴﺎﭘﻲ‪39‬ﻭ‪ /(40‬ﺳﺎﻝ ﺳﻮﻡ‪/‬ﻧﻮﺭﻭﺯ‪88‬‬

‫ﭼﺮﺍ ﺑﺎﻳﺪ ﻧﺎﻣﻪﻫﺎﻯ ﭼﺨﻮﻑ ﺭﺍ ﺧﻮﺍﻧﺪ؟‬ ‫ﻓﺮﻳﺒﺎ ﺣﺎﺟﺪﺍﻳﻰ‬ ‫ﻧﺎﻣﻪﻫﺎﻯ ﻧﻮﻳﺴﻨﺪﮔﺎﻥ ﺧﻮﺍﻧﻨﺪﻩ ﺭﺍ ﺑﺎ‬ ‫ﺷﺨﺼﻰﺗﺮﻳﻦ ﻭﺍژﮔﺎﻥ ﻧﻮﻳﺴﻨﺪﮔﺎﻧﻰ‬ ‫ﻛﻪ ﺧﺎﻟﻖ ﺁﺛﺎﺭ ﻣﺎﻧﺪﮔﺎﺭ ﻫﺴﺘﻨﺪ‬ ‫ﺭﻭﺑﻪﺭﻭ ﻣﻰﻛﻨﺪ‪.‬‬ ‫ﺍﻳﻦ ﺁﺷﻨﺎﻳﻰ ﺑﺎ ﻭﺍژﮔﺎﻥ ﺷﺨﺼﻰ‬ ‫ﺑﺮﺍﻯ ﻣﺎ ﺧﻮﺍﻧﻨﺪﮔﺎﻥ ﺩﺭﻳﭽﻪﺍﻯ‬ ‫ﻣﻰﮔﺸﺎﻳﺪ ﺗﺎ ﺑﺘﻮﺍﻧﻴﻢ ﺑﺎ ﺍﻧﺪﻛﻰ‬ ‫ﺗﺨﻴﻞ ﺷﻴﻮﺓ ﺧﻠﻖ ﺁﺛﺎﺭ ﻭ ﺗﻼﻃﻤﺎﺕ‬ ‫ﻋﺎﻃﻔﻰ ﻣﻨﺘﻬﻰ ﺑﻪ ﺍﻳﻦ ﺁﺛﺎﺭ ﺭﺍ‬ ‫ﻣﺸﺎﻫﺪﻩ ﻛﻨﻴﻢ‪ .‬ﺗﻮﺻﻴﻒ ﺩﻗﻴﻖ‪ ،‬ﺫﻛﺮ‬ ‫ﺟﺰﻳﻴﺎﺕ‪ ،‬ﺗﺼﻮﻳﺮ ﭘﺎﺭﻩﺍﻯ ﻭﺍﻗﻌﻴﺖﻫﺎ‬ ‫ﻭ ﻣﺎﺟﺮﺍﻫﺎ ﻧﺎﻣﻪﻫﺎﻯ ﭼﺨﻮﻑ ﺭﺍ ﺑﻪ‬ ‫ﺳﻨﺪﻯ ﺑﻰﻣﺎﻧﻨﺪ ﺑﺪﻝ ﻛﺮﺩﻩ ﺍﺳﺖ‪.‬‬ ‫ﺑﺎ ﺧﻮﺍﻧﺪﻥ ﻧﺎﻣﻪﻫﺎ ﻣﺜ ً‬ ‫ﻼ ﻣﺘﻮﺟﻪ‬ ‫ﻣﻰﺷﻮﻳﻢ ﻛﻪ ﭼﺨﻮﻑ ﺑﺮﺍﻯ ﺍﻧﺘﺨﺎﺏ‬ ‫ﺑﺎﺯﻯﮔﺮﺍﻧﻰ ﻛﻪ ﻗﺮﺍﺭ ﺍﺳﺖ ﺍﻳﻔﺎﮔﺮ‬ ‫ﻧﻘﺶﻫﺎﻯ »ﺑﺎﻍ ﺁﻟﺒﺎﻟﻮ« ﺑﺎﺷﻨﺪ ﺑﻪ‬ ‫ﭼﻪ ﻣﻔﺎﻫﻴﻤﻰ ﻣﻰﺍﻧﺪﻳﺸﻴﺪﻩ ﻭ ﭼﻪ‬ ‫ﻣﻌﻴﺎﺭﻫﺎﻳﻰ ﺩﺍﺷﺘﻪ ﺍﺳﺖ‪ .‬ﺩﺭ ﻧﺎﻣﻪ‬ ‫‪ 30‬ﺍﻛﺘﺒﺮ ‪ 1903‬ﭼﺨﻮﻑ ﺧﻄﺎﺏ ﺑﻪ‬ ‫ﺍﻭﻟﮕﺎ ﻛﻨﻴﭙﺮ‪،‬ﻫﻤﺴﺮﺵ‪ ،‬ﻣﻰﺧﻮﺍﻧﻴﻢ‪:‬‬ ‫»ﺍﺳﺘﺎﻧﻴﺴﻼﻭﺳﻜﻰ‪ ،‬ﮔﺎﻳﻒ ﺑﺴﻴﺎﺭ‬ ‫ﺧﻮﺏ ﻭ ﺍﺻﻴﻠﻰ ﺧﻮﺍﻫﺪ ﺷﺪ‪ .‬ﻭﻟﻰ‬ ‫ﺁﻥﻭﻗﺖ ﭼﻪ ﻛﺴﻰ ﻧﻘﺶ ﻟﻮﭘﺎﺧﻴﻦ‬ ‫ﺭﺍ ﺑﺎﺯﻯ ﻛﻨﺪ؟ ﺁﺧﺮ ﻧﻘﺶ ﻟﻮﭘﺎﺧﻴﻦ‬ ‫ﻣﻬﻤﺘﺮﻳﻦ ﻧﻘﺶ ﺍﺳﺖ‪ .‬ﺍﮔﺮ ﺍﻳﻦ‬ ‫ﺷﺨﺼﻴﺖ ﻣﻮﻓﻖ ﻧﺒﺎﺷﺪ‪ ،‬ﻣﺜﻞ ﺍﻳﻦ‬ ‫ﺍﺳﺖ ﻛﻪ ﻛﻞ ﻧﻤﺎﻳﺶﻧﺎﻣﻪ ﺷﻜﺴﺖ‬ ‫ﺧﻮﺭﺩﻩ ﺍﺳﺖ‪ .‬ﻧﻘﺶ ﻟﻮﭘﺎﺧﻴﻦ ﺭﺍ ﻧﺒﺎﻳﺪ‬ ‫ﺁﺩﻣﻰﺟﻴﻎ ﺟﻴﻐﻮ ﻭ ﻫﻮﭼﻰ ﺑﺎﺯﻯ ﻛﻨﺪ‪.‬‬ ‫ﺍﻳﻦ ﺷﺨﺺ ﻧﺒﺎﻳﺪ ﺣﺘﻤ ًﺎﻳﻚ ﺗﺎﺟﺮ‬ ‫ﺑﺎﺷﺪ‪ .‬ﺍﻭ ﻣﺮﺩ ﺁﺭﺍﻡ ﻭ ﻣﻼﻳﻤﻰﺍﺳﺖ‪«.‬‬ ‫ﻭ ﺩﺭ ﺑﺎﺭﺓ ﺑﺎﺯﻳﮕﺮ ﻫﻤﻴﻦ ﻧﻘﺶ‬ ‫ﺧﻄﺎﺏ ﺑﻪ ﺍﺳﺘﺎﻧﻴﺴﻼﻭﺳﻜﻰ‪،‬ﻳﻜﻰ‬ ‫ﺍﺯ ﭘﺎﻳﻪﮔﺬﺍﺭﺍﻥ ﺗﺌﺎﺗﺮ ﻫﻨﺮﻯ‬ ‫ﻣﺴﻜﻮ‪ ،‬ﻣﻰﻧﻮﻳﺴﺪ‪» :‬ﻣﻮﻗﻌﻰ ﻛﻪ‬ ‫ﻧﻘﺶ ﻟﻮﭘﺎﺧﻴﻦ ﺭﺍ ﻣﻰﻧﻮﺷﺘﻢ ﺩﺭ‬ ‫ﺍﻳﻦ ﻓﻜﺮ ﺑﻮﺩﻡ ﻛﻪ ﺍﻳﻦ ﻧﻘﺶ‬ ‫ﻣﺨﺼﻮﺹ ﺷﻤﺎﺳﺖ‪ ...‬ﺩﺭﺳﺖ‬ ‫ﺍﺳﺖ ﻛﻪ ﻟﻮﭘﺎﺧﻴﻦ ﺗﺎﺟﺮ ﺍﺳﺖ ﻭﻟﻰ‬ ‫ﺍﻭ ﺍﺯ ﻫﺮ ﻧﻈﺮ ﺷﺨﺺ ﺑﺎﻭﺟﺪﺍﻥ ﻭ‬ ‫ﺷﺮﺍﻓﺘﻤﻨﺪﻯ ﺍﺳﺖ‪ .‬ﺍﻭ ﺑﺎﻳﺪ ﺭﻓﺘﺎﺭﻯ‬ ‫ﻛﺎﻣ ً‬ ‫ﻼ ﺷﺎﻳﺴﺘﻪ ﺩﺍﺷﺘﻪ ﺑﺎﺷﺪ‪ «.‬ﻭﻳﺎ‬ ‫ﺭﺍﺟﻊ ﺑﻪ ﺭﻳﺰﻩﻛﺎﺭﻯﻫﺎﻯ ﺻﺤﻨﻪ‬ ‫ﻧﻤﺎﻳﺸﻨﺎﻣﻪ ﺑﺎﻍ ﺁﻟﺒﺎﻟﻮ ﺧﻄﺎﺏ ﺑﻪ‬ ‫ﺍﺳﺘﺎﻧﻴﺴﻼﻭﺳﻜﻰ ﻣﻰﻧﻮﻳﺴﺪ‪» :‬ﺧﺎﻧﻪ‬ ‫ﺑﺎﻳﺪ ﺑﺰﺭگ ﻭ ﻭﺳﻴﻊ ﺑﺎﺷﺪ‪ .‬ﭼﻮﺑﻰﻳﺎ‬ ‫ﺳﻨﮕﻰ ﻓﺮﻗﻰ ﻧﻤﻰﻛﻨﺪ‪ .‬ﺑﺎﻳﺪ ﺑﺴﻴﺎﺭ‬ ‫ﻛﻬﻨﻪ ﻭ ﺑﺰﺭگ ﺑﺎﺷﺪ‪.‬ﻳﻴﻼﻕﻧﺸﻴﻦﻫﺎ‬ ‫ﺍﻳﻦ ﭼﻨﻴﻦ ﺧﺎﻧﻪﺍﻯ ﺭﺍ ﺑﺮﺍﻯ ﺍﺟﺎﺭﻩ‬ ‫ﻧﻤﻰﭘﺴﻨﺪﺩ‪« .‬‬ ‫ﺍﻳﻦ ﺩﻗﺖ ﻭ ﺟﺰﻳﻰﻧﮕﺮﻯ ﺩﺭ‬

‫ﺑﺎﺯﮔﻮﻳﻰ ﻣﺴﺎﺋﻞ ﻣﺮﺗﺒﻂ ﺑﺎ ﺯﻧﺪﮔﻰ‬ ‫ﺧﺼﻮﺻﻰ ﻧﻮﻳﺴﻨﺪﻩ ﻧﻴﺰ ﺩﻳﺪﻩ ﻣﻰﺷﻮﺩ‪ .‬ﺍﻭ‬ ‫ﺩﺭ ﻧﺎﻣﻪﻫﺎﻳﺶ ﺑﺪﻭﻥ ﺑﻪ ﻛﺎﺭ ﺑﺮﺩﻥ ﺭﻗﺖ‬ ‫ﻗﻠﺐ ﻭ ﺑﻴﺎﻥ ﻛﻠﻤﺎﺕ ﺗﻤﻠﻖﺁﻣﻴﺰ ﻭ ﻣﺒﺘﺬﻝ‬ ‫ﺑﻪ ﻃﺮﺯ ﺷﮕﻔﺖﺁﻭﺭﻯ ﻣﻬﺮﺑﺎﻥ ﺍﺳﺖ ﻭ‬ ‫ﺩﺭ ﻧﺎﻣﻪﻫﺎﻳﻰ ﻛﻪ ﺧﻄﺎﺏ ﺑﻪ ﻫﻤﺴﺮﺵ‬ ‫ﻧﻮﺷﺘﻪ ﺍﺳﺘﻌﺪﺍﺩ ﺧﻮﺩ ﺭﺍ ﺩﺭ ﻧﻮﺷﺘﻦ ﻣﺴﺎﺋﻞ‬ ‫ﻣﻬﻢ ﻭ ﺑﻰﺷﻤﺎﺭ ﺑﻪ ﺻﻮﺭﺕ ﻃﻨﺰ ﺑﺪﻭﻥ‬ ‫ﺗﻮﺿﻴﺤﺎﺕ ﺍﺿﺎﻓﻪ ﻓﻰﺍﻟﺒﺪﺍﻫﻪ ﻣﻄﺮﺡ‬ ‫ﻣﻰﺳﺎﺯﺩ‪ .‬ﺁﻥﺟﺎ ﻛﻪ ﭼﺨﻮﻑ ﺩﺭ ﻧﺎﻣﻪ ‪27‬‬ ‫ﺍﻭﺕ ‪ 1902‬ﺑﻪ ﻫﻤﺴﺮﺵ ﺍﻭ ﺭﺍ »ﻣﺎﻫﻰ‬ ‫ﺧﺎﺭﺩﺍﺭ ﻣﻦ« ﻣﻰﻧﺎﻣﺪ ﻭ ﻣﻰﻧﻮﻳﺴﺪ‪» :‬ﻧﺎﻣﻪ‬ ‫ﺗﻮ ﺑﺴﻴﺎﺭ ﺧﺸﻦ ﻭ ﻏﻴﺮﻣﻨﺼﻔﺎﻧﻪ ﺑﻮﺩ‪ «.‬ﻭ ﺍﺯ‬ ‫ﺍﻭ ﻣﻰﺧﻮﺍﻫﺪ ﺗﺎ ﺩﺭ ﺭﻭﺍﺑﻂ ﺑﺎ ﺍﻓﺮﺍﺩ ﺧﺎﻧﻮﺍﺩﻩ‬ ‫ﺍﻧﺼﺎﻑ ﺭﺍ ﻓﺮﺍﻣﻮﺵ ﻧﻜﻨﺪ ﻭ ﻣﻰﺍﻓﺰﺍﻳﺪ‪» :‬ﺍﺯ‬ ‫ﻧﺎﻣﻪ ﺗﻮ ﺑﻮﻯ ﺳﺮﺩﻯ ﻣﻰﺁﻳﺪ‪ .‬ﺍﻣﺎ ﺑﺎ ﻫﻤﻪ‬ ‫ﺍﻳﻦﻫﺎ ﻣﻦ ﺗﻮ ﺭﺍ ﺩﻭﺳﺖ ﺩﺍﺭﻡ ﻭ ﻫﻤﻴﺸﻪ‬ ‫ﺑﻪ ﺗﻮ ﻓﻜﺮ ﻣﻰﻛﻨﻢ‪ «.‬ﻭ ﻳﺎ ﻭﻗﺘﻰ ﻣﺪﺗﻰ‬ ‫ﻣﻰﮔﺬﺭﺩ ﻭ ﺍﺯ ﺍﺣﻮﺍﻻﺕ ﺍﻟﮕﺎ ﺑﻰﺧﺒﺮ ﺍﺳﺖ ﺩﺭ‬ ‫ﻧﺎﻣﻪ ‪ 10‬ﺁﻭﺭﻳﻞ ‪ 1904‬ﺑﻪ ﻃﻨﺰ ﻣﻰﻧﻮﻳﺴﺪ‪:‬‬ ‫»ﮔﺎﻫﻰ ﺑﻪ ﻣﺮﺩﻯ ﻛﻪ ﺭﻭﺯﻯ ﺑﺎ ﺍﻭ ﺍﺯﺩﻭﺍﺝ‬ ‫ﻛﺮﺩﻩ ﺑﻮﺩﻯ ﻓﻜﺮ ﻛﻦ‪ «.‬ﻭﻳﺎ ﺩﺭ ‪ 7‬ﻣﺎﺭﺱ‬ ‫‪ 1901‬ﺳﺮﺑﻪﺳﺮ ﺍﻟﮕﺎ ﻣﻰﮔﺬﺍﺭﺩ ﻛﻪ‪» :‬ﻣﻦ‬ ‫ﻧﺎﻣﻪﺍﻯ ﺍﺯ ﻧﻮﻳﺴﻨﺪﻩﺍﻯ ﻧﺎﻣﻌﻠﻮﻡ ﺩﺭﻳﺎﻓﺖ‬ ‫ﻛﺮﺩﻩﺍﻡ ﻛﻪ ﺧﺒﺮ ﻣﻰﺩﻫﺪ ﺗﻮ ﺩﺭ ﭘﺘﺮﺯﺑﻮﺭگ‬ ‫ﺑﻪ ﺷﺨﺼﻰ ﺩﻝ ﺑﺴﺘﻪﺍﻯ‪ .‬ﻋﺎﺷﻖ ﺩﻝﺧﺴﺘﺔ‬ ‫ﺍﻭ ﺷﺪﻩﺍﻯ‪ .‬ﺍﻟﺒﺘﻪ ﺧﻮﺩﻡ ﻣﺪﺕﻫﺎﺳﺖ ﻛﻪ‬ ‫ﻇﻦ ﺑﺮﺩﻩ ﺑﻮﺩﻡ‪ «.‬ﻭ ﺩﺭ ﺟﺎﻯ ﺩﻳﮕﺮﻯ‬ ‫ﻛﻪ ﺩﻟﺘﻨﮕﻰ ﻃﻨﺎﺯ ﺍﻭ ﺍﺯ ﺩﻭﺭﻯ ﻫﻤﺴﺮﺵ‬ ‫ﺭﺍ ﻣﻰﺧﻮﺍﻧﻴﻢ‪» :‬ﭼﻘﺪﺭ ﻧﺎﺧﻦ ﺩﺳﺖ ﺭﺍﺳﺖ‬ ‫ﺭﺍ ﮔﺮﻓﺘﻦ ﺁﺯﺍﺭﺩﻫﻨﺪﻩ ﺍﺳﺖ‪ .‬ﺑﺪﻭﻥ ﻫﻤﺴﺮﻡ‬ ‫ﺧﻴﻠﻰ ﺑﻪ ﻣﻦ ﺳﺨﺖ ﻣﻰﮔﺬﺭﺩ‪ «.‬ﻭ ﻳﺎ ﺑﻪ‬ ‫ﺍﻭ ﻣﻰﮔﻮﻳﺪ‪» :‬ﺧﻮﺏ ﺩﺧﺘﺮﻛﻢ‪ ،‬ﻫﻤﻴﺸﻪ‬ ‫ﺳﺎﻟﻢ ﻭ ﺑﺎﻧﺸﺎﻁ ﻭ ﺧﻮﺵﺑﺨﺖ ﺑﺎﺵ‪ .‬ﻣﻦ‬ ‫ﻣﺘﻌﻠﻖ ﺑﻪ ﺗﻮﺍﻡ‪ .‬ﻣﺮﺍ ﺑﺮﺩﺍﺭ ﻭ ﺑﺎ ﺳﺮﻛﻪ ﻭ‬ ‫ﺭﻭﻏﻦﺯﻳﺘﻮﻥ ﻧﻮﺵ ﺟﺎﻥ ﻛﻦ‪«.‬‬ ‫ﭼﺨﻮﻑ ﺑﺎ ﺷﻮﺧﻰ ﻋﻼﻗﺔ ﺧﻮﺩ ﺭﺍ ﺑﻪ‬ ‫ﺧﻮﺭﺩﻥ ﻏﺬﺍﻫﺎﻯ ﻣﻄﺒﻮﻉ ﺍﻳﻦﻃﻮﺭ ﺗﻮﺻﻴﻒ‬ ‫ﻣﻰﻛﻨﺪ‪» :‬ﻣﻦ ﺩﻳﮕﺮﻳﻚ ﺍﺩﻳﺐ ﻧﻴﺴﺘﻢ‪،‬‬ ‫ﺑﻠﻜﻪﻳﻚ ﺁﺩﻡ ﺷﻜﻢﭘﺮﺳﺘﻢ‪ «.‬ﺍﻭ ﺣﺘﻰ‬ ‫ﺑﺎ ﻭﺿﻌﻴﺖ ﺟﺴﻤﺎﻧﻰ ﺧﻮﺩ ﻧﺴﺒﺖ ﺑﻪ‬ ‫ﺑﻴﻤﺎﺭﻯﺍﺵ ﻭ ﻧﺪﺍﺷﺘﻦ ﺗﻮﺍﻥ ﺣﻤﺎﻡ ﺭﻓﺘﻦ‪،‬‬ ‫ﺑﻪ ﺟﺎﻯ ﻧﻖ ﺯﺩﻥ ﻭ ﺷﻜﻮﻩ ﻛﺮﺩﻥ‪ ،‬ﻭﺍﻛﻨﺸﻰ‬ ‫ﻃﻨﺰﺁﻣﻴﺰ ﻧﺸﺎﻥ ﻣﻰﺩﻫﺪ ﻭ ﺩﺭ ﻧﺎﻣﻪﺍﻯ ﺑﻪ‬ ‫ﺑﺮﺍﺩﺭﺵ ﻣﻰﻧﻮﻳﺴﺪ‪» :‬ﻣﻮﺿﻮﻉ ﺍﻳﻦ ﺍﺳﺖ‪:‬‬ ‫ﺍﺯ ﺷﺮﻭﻉ ﺳﺎﻝ ‪ 1884‬ﺗﻘﺮﻳﺒ ًﺎ ﻫﺮﺳﺎﻝ‬ ‫ﺩﺭ ﺑﻬﺎﺭ ﺭﻳﻪﻫﺎﻯ ﻣﻦ ﺩﭼﺎﺭ ﺧﻮﻥﺭﻳﺰﻯ‬ ‫ﻣﻰﺷﻮﻧﺪ‪ .‬ﺍﻣﺴﺎﻝ ﻭﻗﺘﻰ ﺗﻮ ﻣﺮﺍ ﺑﻪﺧﺎﻃﺮ‬ ‫)ﺗﺒﺮﻙ ﻫﻴﺄﺕ ﺭﻭﺣﺎﻧﻴﻮﻥ ﻣﻘﺪﺱ( ﺳﺮﺯﻧﺶ‬ ‫ﻛﺮﺩﻯ‪ ،‬ﺑﻰﺍﻋﺘﻘﺎﺩﻯ ﺗﻮ ﺍﻭﻗﺎﺕ ﻣﺮﺍ ﭼﻨﺎﻥ‬ ‫ﺗﻠﺦ ﻛﺮﺩ ﻛﻪ ﺑﺎﻋﺚ ﺷﺪ ﺗﺎ ﺩﺭ ﺣﻀﻮﺭ‬ ‫ﺳﻮﻭﺭﻳﻦ ﺧﻮﻥ ﺑﺎﻻ ﺑﻴﺎﻭﺭﻡ‪ ،‬ﻭ ﺳﺮﻭﻛﺎﺭﻡ ﺑﻪ‬

‫ﻛﻠﻴﻨﻴﻚ ﺑﻴﻔﺘﺪ‪ «.‬ﻭ ﺑﺎ ﺷﻮﺥﻃﺒﻌﻰ ﺍﺿﺎﻓﻪ‬ ‫ﻣﻰﻛﻨﺪ‪» :‬ﺍﮔﺮﭼﻪ ﺳﻴﺮ ﺑﻴﻤﺎﺭﻯ ﻫﻨﻮﺯ ﻭﺧﻴﻢ‬ ‫ﻧﻴﺴﺖ‪ ،‬ﺍﻣﺎ ﺑﻪﻫﺮﺣﺎﻝ ﺿﺮﻭﺭﺕ ﺩﺍﺭﺩ ﻛﻪ‬ ‫ﻧﻮﺷﺘﻦ ﻭﺻﻴﺖﻧﺎﻣﻪ ﺑﻪ ﺗﻌﻮﻳﻖ ﻧﻴﻔﺘﺪ‪ ،‬ﻣﺒﺎﺩﺍ‬ ‫ﺗﻮ ﺛﺮﻭﺕ ﻭ ﺩﺍﺭﺍﻳﻰ ﻣﺮﺍ ﺑﺎﻻ ﺑﻜﺸﻰ‪ «.‬ﻭ ﺩﺭ‬ ‫ﻧﺎﻣﻪ ﺑﻌﺪﻯ ﺑﺎ ﺳﺒﻚﺭﻭﺣﻰ ﺍﺿﺎﻓﻪ ﻣﻰﻛﻨﺪ‪:‬‬ ‫»ﺳﻼﻣﺘﻰ ﻣﻦ ﺑﻪ ﮔﻮﻧﻪﺍﻯ ﺍﺳﺖ ﻛﻪ ﻓﻘﻂ‬ ‫ﺷﻤﺎ ﻭﺍﺭﺛﻴﻦ ﻣﻰﺗﻮﺍﻧﻴﺪ ﺧﻮﺷﺤﺎﻝ ﺑﺎﺷﻴﺪ‪«.‬‬ ‫ﺩﺭ ﻧﺎﻣﻪ ‪ 8‬ﻧﻮﺍﻣﺒﺮ ‪ 1903‬ﺑﻪ ﺍﻟﮕﺎ ﻭﺿﻌﻴﺖ‬ ‫ﻭﺧﻴﻢ ﺧﻮﺩ ﺭﺍ ﺍﻳﻦ ﮔﻮﻧﻪ ﺷﺮﺡ ﻣﻰﺩﻫﺪ‪:‬‬ ‫»ﺷﻮﻫﺮ ﻣﺎﻓﻮﻕ ﺑﺸﺮ ﺗﻮ ﻛﻪ ﻣﺮﺗﺐ ﺑﻪ ﻃﺮﻑ‬ ‫ﺗﻮﺍﻟﺖ ﺩﻭﺍﻥ ﺍﺳﺖ‪ «.‬ﻭ ﺩﺭ ﻫﻤﺎﻥﺟﺎ ﺍﺿﺎﻓﻪ‬ ‫ﻣﻰﻛﻨﺪ‪» :‬ﺁﻩ ﺣﻤﺎﻡ‪ ،‬ﻧﻴﻤﻰ ﺍﺯ ﺳﻠﻄﻨﺘﻢ ﺭﺍ‬ ‫ﺑﺮﺍﻯﻳﻚ ﺣﻤﺎﻡ ﺭﻓﺘﻦ ﻣﻰﺩﻫﻢ‪«.‬‬ ‫ﭼﺨﻮﻑ ﺷﻮﺥ ﻭ ﺷﻨﮓ ﺍﻧﺪﻭﻩ ﻭ ﺩﻟﺘﻨﮕﻰ‬ ‫ِ‬ ‫ﺧﻮﺩ ﺭﺍ ﻫﻢ ﺑﻪ ﺳﺨﺮﻩ ﻣﻰﮔﻴﺮﺩ ﻭ ﺩﺭ ﺗﺎﺭﻳﺦ‬ ‫‪ 15‬ﻓﻮﺭﻳﻪ ‪ 1900‬ﺍﺯﻳﺎﻟﺘﺎ ﺧﻄﺎﺏ ﺑﻪ ﻣﺎﻛﺴﻴﻢ‬ ‫ﮔﻮﺭﻛﻰ‪ ،‬ﻧﻮﻳﺴﻨﺪﺓ ﺭﻭﺱ‪ ،‬ﻣﻰﻧﻮﻳﺴﺪ‪:‬‬ ‫»ﺍﻧﺪﻭﻩ ﻣﻦ ﻧﻪ ﺑﻪ ﺧﺎﻃﺮﻳﻚ ﻣﺴﺄﻟﻪ ﺟﻬﺎﻧﻰ‬

‫ﻭ ﻧﻪ ﺑﻪ ﺧﺎﻁﻳﺄﺱ ﻭ ﺑﺪﺑﻴﻨﻰ ﻭ ﻧﻪ ﺑﻪﺧﺎﻃﺮ‬ ‫ﻏﻢ ﻣﻌﻴﺸﺖ ﺍﺳﺖ‪ ،‬ﺑﻠﻜﻪ ﺑﻪ ﺧﺎﻃﺮ ﻧﺒﻮﺩﻥ‬ ‫ﺁﺩﻡﻫﺎﻯ ﺗﺤﺼﻴﻞﻛﺮﺩﻩ‪ ،‬ﻧﺒﻮﺩﻥ ﻣﻮﺳﻴﻘﻰ‬ ‫ﻛﻪ ﺁﻥ ﺭﺍ ﺩﻭﺳﺖ ﺩﺍﺭﻡ ﻭ ﺑﻪ ﺧﺎﻃﺮ ﻋﺪﻡ‬ ‫ﺣﻀﻮﺭ ﺧﺎﻧﻢﻫﺎ ﺩﺭﻳﺎﻟﺘﺎﺳﺖ‪ .‬ﻣﻦ ﺑﻪ ﺧﺎﻃﺮ‬ ‫ﻧﺒﻮﺩﻥ ﺧﺎﻭﻳﺎﺭ ﻭ ﻛﻠﻢ ﺗﺮﺷﻰ ﺍﻳﻦﺟﺎ‬ ‫ﻏﺼﻪﺩﺍﺭﻡ‪ «.‬ﻭ ﺍﻳﻨﮕﻮﻧﻪ ﺷﺎﻳﺪ ﺑﻪ ﻃﺮﺯﻯ‬ ‫ﻋﺎﻟﻰ ﻭ ﺍﺳﺘﺎﺩﺍﻧﻪ ﺑﻪ ﮔﻮﺭﻛﻰﻳﺎﺩﺁﻭﺭ ﻣﻰﺷﻮﺩ‬ ‫ﻛﻪ ﻏﻢ ﺍﻧﺴﺎﻥﻫﺎ‪ ،‬ﺑﻪ ﺭﻏﻢ ﺁﻥ ﻛﻪ ﺷﺎﻳﺪ‬ ‫ﻣﺴﺎﺋﻞ ﺟﻬﺎﻧﻰ ﺭﺍ ﺑﻬﺎﻧﻪ ﻗﺮﺍﺭ ﻣﻰﺩﻫﻨﺪ‪،‬‬ ‫ﺩﺭ ﻭﺍﻗﻊ ﺍﺯ ﻣﺴﺎﺋﻞ ﺧﻮﺩﺷﺎﻥ ﺳﺮﭼﺸﻤﻪ‬ ‫ﻣﻰﮔﻴﺮﺩ‪.‬‬ ‫ﺩﺭ ﻧﺎﻣﻪﻫﺎ ﻣﻰﺧﻮﺍﻧﻴﻢ ﻛﻪ ﺑﻪ ﻋﻜﺲ ﺗﺼﻮﺭ‬ ‫ﻣﺎ ﻧﻮﻳﺴﻨﺪﮔﺎﻥ ﺷﺐ ﻭﺭﻭﺯ ﺩﺭﺣﺎﻝ ﻧﻮﺷﺘﻦ‬ ‫ﻭ ﻧﻮﺷﺘﻦ ﻧﻴﺴﺘﻨﺪ‪» :‬ﺩﻟﻢ ﻧﻤﻰﺧﻮﺍﻫﺪ‬ ‫ﻛﺎﺭ ﻛﻨﻢ‪ ،‬ﺑﻴﺸﺘﺮ ﻭﻗﺘﻢ ﺑﻪ ﻭﻳﺮﺍﺳﺘﺎﺭﻯ‬ ‫ﻛﺘﺎﺏﻫﺎﻳﻢ ﻣﻰﮔﺬﺭﺩ‪ «.‬ﻭ ﺩﺭ ‪ 27‬ﻣﺎﺭﺱ‬ ‫‪ ،1894‬ﮔﺮﭼﻪ ﺑﻪ ﻃﻨﺰ‪ ،‬ﺑﻪ ﻟﻴﺪﻳﺎ ﻣﻴﺰﻳﻨﻮﻭﺍ‪،‬‬ ‫ﺩﺧﺘﺮ ﺑﺴﻴﺎﺭ ﺯﻳﺒﺎﻳﻰ ﻛﻪ ﭼﻨﺪﻯ ﺟﺎﻳﮕﺎﻩ‬

‫ﻭﻳﮋﻩﺍﻯ ﺩﺭ ﺯﻧﺪﮔﻰ ﭼﺨﻮﻑ ﺩﺍﺷﺖ‬ ‫ﻭ ﮔﻔﺘﻪ ﻣﻰﺷﻮﺩ ﻧﻴﻨﺎﻯ ﻧﻤﺎﻳﺸﻨﺎﻣﻪ‬ ‫ﻣﺮﻍ ﺩﺭﻳﺎﻳﻰ ﺩﺭ ﻭﺍﻗﻊ ﮔﺮﺗﻪﺑﺮﺩﺍﺭﻯ‬ ‫ﺍﺯ ﺯﻧﺪﮔﻰ ﺍﻭﺳﺖ‪ ،‬ﻣﻰﻧﻮﻳﺴﺪ‪:‬‬ ‫ﻣﻦ ﻧﻮﻳﺴﻨﺪﻩ ﺑﺎﻳﺪ‬ ‫»ﻓﻜﺮ ﺍﻳﻦﻛﻪ ِ‬ ‫ﻭ ﻣﻮﻇﻔﻢ ﻛﻪ ﻣﺮﺗﺐ ﺑﻨﻮﻳﺴﻢ‪ ،‬ﻣﺮﺍ‬ ‫ﺗﺮﻙ ﻧﻤﻰﻛﻨﺪ‪ .‬ﻧﻮﺷﺘﻦ‪ ،‬ﻧﻮﺷﺘﻦ ﻭ‬ ‫ﻧﻮﺷﺘﻦ‪ .‬ﺑﻪ ﻧﻈﺮ ﻣﻦ ﺧﻮﺷﺒﺨﺘﻰ‬ ‫ﻭﺍﻗﻌﻰ ﺑﺪﻭﻥ ﻭﻟﮕﺮﺩﻯ ﻏﻴﺮﻣﻤﻜﻦ‬ ‫ﺍﺳﺖ‪ .‬ﺍﻳﺪﻩﺁﻝ ﻣﻦ ﺍﻳﻦ ﺍﺳﺖ ﻛﻪ‬ ‫ﻳﻚ ﻭﻟﮕﺮﺩ ﺑﺎﺷﻢ ﻭ ﺩﺧﺘﺮ ﺗﭙﻞ‬ ‫ﻣﭙﻠﻰ ﺭﺍ ﺩﻭﺳﺖ ﺩﺍﺷﺘﻪ ﺑﺎﺷﻢ‪.‬‬ ‫ﺑﺎﻻﺗﺮﻳﻦ ﻟﺬﺕ ﺑﺮﺍﻳﻢ ﺍﻳﻦ ﺍﺳﺖ ﻛﻪ‬ ‫ﺑﻴﻜﺎﺭ ﺑﻨﺸﻴﻨﻢ ﻭ ﻳﺎ ﺑﻰﺧﻮﺩﻯ ﺭﺍﻩ‬ ‫ﺑﺮﻭﻡ‪ ...‬ﺩﺭ ﺣﺎﻟﻰ ﻛﻪ ﻣﻦﻳﻚ ﺍﺩﻳﺐ‬ ‫ﻫﺴﺘﻢ ﻭ ﺣﺘﻰ ﺍﻳﻦﺟﺎ ﺩﺭﻳﺎﻟﺘﺎ ﻫﻢ‬ ‫ﺑﺎﻳﺪ ﺑﻨﻮﻳﺴﻢ‪«.‬‬ ‫ﺑﻰ ﭘﻮﻟﻰ ﻣﺰﻣﻦ ﮔﺎﻩ ﭼﻨﺎﻥ ﺍﻭ ﺭﺍ‬ ‫ﺩﻟﺘﻨﮓ ﻣﻰﻛﻨﺪ ﻛﻪ ﻏﻴﺮﻗﺎﺑﻞ ﺗﺼﻮﺭ‬

‫ﺩﻭﺭﻩ ﺟﺪﻳﺪ‪/‬ﺷﻤﺎﺭﻩ ‪ 9‬ﻭ ‪)10‬ﭘﻴﺎﭘﻲ‪39‬ﻭ‪ /(40‬ﺳﺎﻝ ﺳﻮﻡ‪/‬ﻧﻮﺭﻭﺯ‪88‬‬

‫ﻣﺎﻧﺪﻩﻱ ﺭﻭﺯﻫﺎﻱ ﭘﻴﺸﻴﻨﺶ ﺑﮕﺬﺭﺩ‬ ‫ﻭ ﺑﻌﺪ ﺍﺣﺴﺎﺱ ﺧﺎﻟﻲ ﺑﻮﺩﻥ ﻭ ﻣﻌﻠﻖ‬ ‫ﺑﻮﺩﻥ ﻣﻲﻛﻨﺪ‪ .‬ﻭ ﺍﻳﻦ ﺗﻌﻠﻴﻖ ﺩﺭ‬ ‫ﻫﻤﻪﻱ ﺩﺍﺳﺘﺎﻥ ﺑﺎ ﺧﻮﺍﻧﻨﺪﻩ ﻫﺴﺖ‬ ‫ﭼﻨﺎﻧﻜﻪ ﺑﺎ ﻣﻬﻴﻦ ﺑﺎﻧﻮ‪ .‬ﺩﺭ ﻭﺍﻗﻊ ﺍﻳﻦ‬ ‫ﺗﻨﻬﺎﻳﻲ ﻭ ﺑﻲﻫﻤﺪﻣﻰﻣﻬﻴﻦ ﺑﺎﻧﻮ ﺍﺯ‬ ‫ﺍﻭ ﻣﻮﺟﻮﺩﻱ ﻣﻌﻠﻖ ﻣﻲﺳﺎﺯﺩ‪ ،‬ﻛﻪ ﺩﺭ‬ ‫ﻧﻬﺎﻳﺖ ﺑﺎ ﻣﺮگ ﺍﻭ ﺩﺭ ﺣﺎﻝ ﺳﻔﺮ ﻭ‬ ‫ﺩﺭﻫﻮﺍﭘﻴﻤﺎ ﻭ ﺁﺳﻤﺎﻥ ﺑﻪ ﺍﻳﻦ ﺗﻌﻠﻴﻖ‬ ‫ﻣﻌﻨﺎ ﺑﺨﺸﻴﺪﻩ ﻣﻲﺷﻮﺩ‪.‬‬ ‫ﺯﻧﺎﻥ ﺩﺍﺳﺘﺎﻥﻫﺎﻯ ﮔﻠﻰ ﺗﺮﻗﻰ‪ ،‬ﺁﺭﺯﻭ‬ ‫ﺩﺍﺭﻧﺪ ﺗﺎ ﺩﺭ ﺟﺎﻳﮕﺎﻩﻫﺎﻯ ﻭﺍﻗﻌﻰ ﺧﻮﺩ‬ ‫– ﻣﺎﺩﺭ‪ ،‬ﻫﻤﺴﺮ‪ ،‬ﺩﺧﺘﺮ‪ .‬ﻗﺮﺍﺭ ﺑﮕﻴﺮﻧﺪ‪،‬‬ ‫ﮔﻠﻰ ﺗﺮﻗﻰ ﺑﺎ ﻃﺮﺍﺣﻰ ﻓﻀﺎﻫﺎﻳﻰ‬ ‫ﺷﻴﺮﻳﻦ ﻭ ﻏﺮﻳﺐ ﺳﻌﻰ ﺩﺭ ﻧﻤﺎﻳﺶ‬ ‫ﺣﺴﺮﺗﻲ ﺯﻧﺎﻧﻪ ﺩﺭ ﺑﺮﺁﻭﺭﺩﻥ ﺍﻳﻦ‬ ‫ﺁﺭﺯﻭﻫﺎ ﺩﺍﺭﺩ‪ .‬ﻣﺮﺩﺍﻥ ﺩﺍﺳﺘﺎﻥﻫﺎﻯ‬ ‫ﺗﺮﻗﻰ ﺳﺎﻻﺭﻧﺪ ﻭ ﻧﻤﺎﻳﻨﺪﻩ ﻫﻤﺎﻥ ﻧﻈﺎﻡ‬ ‫ﺳﻨﺘﻰ ﻛﻪ ﺣﺎﻛﻢ ﺑﺮ ﺩﺍﺳﺘﺎﻥﻫﺎﻯ ﺍﻭ‬ ‫ﺍﺳﺖ‪ ،‬ﺍﮔﺮﭼﻪ ﻛﻪ ﺩﺭ ﺗﻌﺎﺭﺽ ﻭ‬ ‫ﻛﺸﻤﻜﺶ ﺑﺎ ﺩﻧﻴﺎﻯ ﻣﺪﺭﻥ ﻭ ﺍﻳﺪﻩﺁﻝ‬ ‫ﻗﺮﺍﺭ ﺩﺍﺭﻧﺪ‪ .‬ﺩﺭ ﺩﺍﺳﺘﺎﻥ »ﭘﺪﺭ« ﺍﺯ‬ ‫ﻣﺠﻤﻮﻋﻪﻱ ﺧﺎﻃﺮﺍﺕ ﭘﺮﺍﻛﻨﺪﻩ‪ ،‬ﭘﺪﺭ‬ ‫ﻧﻤﺎﻳﻨﺪﻩ ﺑﺎﻻﺗﺮﻳﻦ ﻗﺪﺭﺕ ﺍﺳﺖ‪.‬‬ ‫ﻣﺮﺩﻱ ﻛﻪ ﺧﻮﺩ ﺭﺍ ﻓﻮﻻﺩ ﻣﻲﺩﺍﻧﺪ ﻛﻪ‬ ‫ﻫﻴﭻﮔﺎﻩ ﺯﻧﮓ ﻧﻤﻲﺯﻧﺪ ﻭ ﻫﻴﭻﮔﺎﻩ‬ ‫ﺧﻠﻠﻲ ﺑﺮ ﻗﺪﺭﺗﻲ ﻛﻪ ﺍﻭ ﺩﺭ ﻗﻠﻤﺮﻭ‬ ‫ﺧﻮﺩﺳﺎﺧﺘﻪﻱ ﺧﻮﺩ – ﺧﺎﻧﻪ ﻭ ﺳﺮ‬ ‫ﻭ ﻫﻤﺴﺮ ﻛﻪ ﺩﺭ ﺩﺍﺳﺘﺎﻥ ﺑﻪ ﻗﺒﻴﻠﻪ‬ ‫ﺗﻌﺒﻴﺮ ﺷﺪﻩﺍﺳﺖ – ﻓﺮﺍﻫﻢ ﺁﻭﺭﺩﻩ‪،‬‬ ‫ﻭﺍﺭﺩ ﻧﻤﻲﺁﻳﺪ؛ ﺑﻬﺘﺮﻳﻦ ﻗﺴﻤﺖ ﻏﺬﺍ‬ ‫ﻭ ﻧﻴﻤﻰﺍﺯ ﻫﻨﺪﻭﺍﻧﻪ ﺳﻬﻢ ﺍﻭﺳﺖ ﻭ‬ ‫ﺑﺎﻗﻲ ﺁﻥ ﺳﻬﻢ ﻗﺒﻴﻠﻪ؛ ﺍﻭ ﺩﺭ ﺑﻬﺘﺮﻳﻦ‬ ‫ﻗﺴﻤﺖ ﺧﺎﻧﻪ ﻣﻲﺧﻮﺍﺑﺪ؛ ﺑﻌﺪ ﺍﺯ‬ ‫ﻇﻬﺮﻫﺎﻱ ﺗﺎﺑﺴﺘﺎﻥ ﺭﺍ ﺯﻳﺮ ﭘﺸﻪﺑﻨﺪ‬ ‫ﺍﺳﺘﺮﺍﺣﺖ ﻣﻲﻛﻨﺪ ﻭ ﻣﺎﺩﺭ ﻣﺮﺍﻗﺐ‬ ‫ﺧﻮﺍﺏ ﺍﻭﺳﺖ؛ ﺍﺯ ﻫﻴﭻ ﻛﺲ ﺻﺪﺍﻳﻲ‬ ‫ﺩﺭﻧﻤﻲﺁﻳﺪ ﺗﺎ ﭘﺪﺭ ﺍﺯ ﺧﻮﺍﺏ ﺑﻴﺪﺍﺭ ﺷﻮﺩ‬ ‫ﻭ ﺁﻥﻭﻗﺖ ﺳﺎﻋﺖ ﺧﻮﺵ ﺁﺯﺍﺩﻱ‬ ‫ﻓﺮﺍ ﻣﻲﺭﺳﺪ‪...‬ﺩﺭ ﺍﻧﺘﻬﺎﻱ ﺩﺍﺳﺘﺎﻥ‬ ‫ﺍﻳﻦ ﻓﻮﻻﺩ ﺿﺪ ﺯﻧﮓ ﻛﻪ ﺍﺣﺴﺎﺱ‬ ‫ﺗﺮﺱ ﻭ ﻣﻬﺮ ﺭﺍ ﺗﻮﺍﻣﺎﻥ ﺑﺮﻣﻲﺍﻧﮕﻴﺰﺩ‪،‬‬ ‫ﺑﻴﻤﺎﺭ ﻭ ﺭﻧﺠﻮﺭ ﻣﻲﺷﻮﺩ ﻭ ﺩﺭ ﻧﻬﺎﻳﺖ‬ ‫ﺑﺎ ﻣﺮگ ﺍﻭ ﺣﺴﻲ ﻧﺎﺷﻨﺎﺧﺘﻪ ﺑﺮ ﻭﺟﻮﺩ‬ ‫ﺭﺍﻭﻱ ﭼﻴﺮﻩ ﻣﻲﺷﻮﺩ‪ ،‬ﺣﺴﻲ ﻛﻪ ﺍﻭ‬ ‫ﺁﻥﺭﺍ ﻧﻤﻲﺷﻨﺎﺳﺪ؛ ﺍﻣﺎ ﺷﺎﻳﺪ ﺷﺮﻭﻋﻲ‬ ‫ﺑﺮﺍﻱ ﺗﺤﻮﻝ ﻭ ﺗﻮﻟﺪﻱ ﺩﻳﮕﺮ ﺑﺎﺷﺪ‪.‬‬ ‫ﺍﻳﻦ ﺭﻭﻳﻜﺮﺩ ﺩﺭ ﺁﺛﺎﺭ ﺯﻭﻳﺎ ﭘﻴﺮﺯﺍﺩ ﺑﻪ‬ ‫ﺷﻜﻞ ﺩﻳﮕﺮﻱ ﻧﻤﻮﺩ ﻣﻲﻛﻨﺪ‪ ،‬ﺯﻭﻳﺎ‬ ‫ﭘﻴﺮﺯﺍﺩ ﺩﺭ ﻛﻨﺎﺭ ﻣﺮﺩﺍﻧﻲ ﻣﻨﻔﻌﻞ ﻭ‬ ‫ﻛﻢﺭﻧﮓ‪ ،‬ﺳﻌﻲ ﺩﺍﺭﺩ ﺯﻧﺎﻧﻲ ﺳﺮ ﺑﻪ‬ ‫ﻋﺼﻴﺎﻥ ﺑﺮﺩﺍﺷﺘﻪ ﺍﺯ ﭘﻮﺳﺘﻪﻱ ﺳﺨﺘﻲ‬ ‫ﻛﻪ ﺍﺟﺘﻤﺎﻉ ﻭ ﺯﻧﺪﮔﻲ ﺑﻪ ﺣﻜﻢ ﺯﻥ‬ ‫ﺑﻮﺩﻥ ﺑﻪ ﺩﻭﺭ ﺁﻧﻬﺎ ﺗﻨﻴﺪﻩ‪ ،‬ﺭﺍ ﺗﺮﺳﻴﻢ‬ ‫ﻧﻤﺎﻳﺪ‪ .‬ﺍﻣﺎ ﺯﻧﺎﻥ ﺩﺍﺳﺘﺎﻥﻫﺎﻱ ﺍﻭ‬ ‫ﺍﮔﺮﭼﻪ ﻭﺟﻮﺩ ﺩﺍﺭﻧﺪ ﻭ ﺑﺮﺧﺎﺳﺘﻪ ﺍﺯﻳﻚ‬ ‫ﻧﮕﺮﺵ ﺭﺋﺎﻟﻴﺴﻤﻰﺗﻠﺦ ﻭ ﮔﺰﻧﺪﻩ‬ ‫ﻫﺴﺘﻨﺪ ﺍﻣﺎ ﻣﺎﻧﻨﺪ ﻣﺮﺩﺍﻥ ﻣﻨﻔﻌﻞﻳﺎ‬ ‫ﺧﺴﺘﻪﻳﺎ ﺧﻨﺜﻲ ﻭ ﺗﺴﻠﻴﻢ ﺷﺪﻩﺍﻧﺪ‪ .‬ﺩﺭ‬

‫ﺩﺍﺳﺘﺎﻥ »ﻟﻜﻪ« ﻛﻪ ﺍﺯ ﺍﻭﻟﻴﻦ ﻣﺠﻤﻮﻋﻪﻱ‬ ‫ﺯﻭﻳﺎ ﭘﻴﺮﺯﺍﺩ ﺑﺎ ﻧﺎﻡ »ﻫﻤﻪﻱ ﻋﺼﺮﻫﺎﺳﺖ«‪،‬‬ ‫ﺯﻧﻲ ﺗﻮﺻﻴﻒ ﻣﻲﺷﻮﺩ ﻛﻪ ﺳﻲ ﺳﺎﻝ ﺩﺭﻳﻚ‬ ‫ﺧﺎﻧﻪﻱ ﻛﻮﭼﻚ ﺩﺭ ﺗﻪﻳﻚ ﻛﻮﭼﻪﻱ ﺧﻠﻮﺕ‬ ‫ﺗﻤﺎﻡ ﺯﻧﺪﮔﻴﺶ ﺭﺍ ﺑﻪ ﺍﻳﻦ ﺍﻣﻴﺪ ﮔﺬﺭﺍﻧﺪﻩ ﻛﻪ‬ ‫ﻏﺮﻭﺏ ﻟﻜﻪﺍﻱ ﺍﺯ ﻟﻜﻪﻫﺎﻱ ﺧﻮﻓﻨﺎﻛﻲ ﻛﻪ ﺍﺯ‬ ‫ﺩﺳﺖ ﺷﻬﺮ ﻭ ﺍﺯ ﻗﺎﺏ ﭘﻨﺠﺮﻩﻱ ﺍﺗﺎﻗﺶ‪،‬‬ ‫ﺩﻭﺭ ِ‬ ‫ﻣﻲﺑﻴﻨﺪ‪ ،‬ﺟﺪﺍ ﺷﻮﺩ ﻭ ﺑﻪ ﺳﻤﺖ ﺧﺎﻧﻪ ﺑﻴﺎﻳﺪ‪.‬‬ ‫ﺯﻥ ﺩﺭ ﺍﺳﺘﺤﺎﻟﻪﻱ ﺍﻳﻦ ﺗﻠﺨﻲ ﻭ ﭘﻮﭼﻲ‬ ‫ﺗﻤﺎﻡ ﺩﺍﺳﺘﺎﻥ ﻣﺎ ﺭﺍ ﻫﻤﺮﺍﻩ ﻣﻲﻛﻨﺪ ﻭ ﺩﺭ ﺁﺧﺮ‬ ‫ﻫﻢ ﺩﺭ ﺳﻜﻮﻧﻲ ﻛﻪ ﻣﻨﺸﺎ ﺁﻥ ﺩﺭ ﺧﻮﺩ ﺯﻥ‬ ‫ﻧﻬﻔﺘﻪ ﺍﺳﺖ ﺗﺴﻠﻴﻢ ﻫﻤﺎﻥ ﻟﻜﻪ ﻣﻲﺷﻮﺩ‪.‬‬ ‫ﺍﻳﻦ ﺯﻥ ﺩﺭ ﺩﺍﺳﺘﺎﻥ ﺑﻠﻨﺪ ﻫﺴﺘﻪﻫﺎﻱ‬ ‫ﺁﻟﺒﺎﻟﻮ ﺩﺭ ﻫﻴﺒﺖ ﻣﺎﺩﺭ ﻭ ﻫﻤﺴﺮﻱ ﻛﻪ ﺍﺯ‬ ‫ﻓﻘﺪﺍﻥ ﺳﻌﺎﺩﺕ ﺭﻧﺞ ﻣﻲﺑﺮﺩ‪ ،‬ﺑﻪ ﺳﺘﻴﺰ ﺑﺎ‬ ‫ﻫﻢﺟﻨﺲ ﺧﻮﺩ ﺑﺮﻣﻲﺁﻳﺪ‪...» :‬ﻓﺮﻳﺎﺩ ﻣﺎﺩﺭﻡ‬ ‫ﺭﺍ ﺷﻨﻴﺪﻡ‪ .:‬ﺗﻤﺎﻣﺶ ﺗﻘﺼﻴﺮ ﺍﻳﻦ َﺯﻧَﻜﻪ!‪.‬‬ ‫ﺑﻌﺪ ﺻﺪﺍﻱ ﺳﻴﻠﻲ‪ ،‬ﮔﺮﻳﻪﻱ ﻣﺎﺩﺭ ﻃﺎﻫﺮﻩ‪،‬‬ ‫ﺣﺮﻑ ﺯﺩﻥﻫﺎﻱ ﭘﺪﺭ ﻭ ﻣﺎﺩﺭﻡ ﻭ ﺻﺪﺍﻱ ﺯﻳﺮ‬ ‫ﺧﺎﻟﻪﺍﻡ ﻛﻪ ﭘﺸﺖ ﺳﺮ ﻫﻢ ﺗﻜﺮﺍﺭ ﻣﻲﻛﺮﺩ‪:‬‬ ‫»ﭘﻨﺎﻩ ﺑﺮ ﺧﺪﺍ‪«...‬‬ ‫ﺯﻥ ﻣﻨﻔﻌﻞ‪ ،‬ﺧﺴﺘﻪ ﻭ ﺩﺭ ﮔﺮﻳﺰ ﺍﺳﺖ ﺍﻭ ﻫﻴﭻ‬ ‫ﺗﻼﺷﻲ ﺑﺮﺍﻱ ﺷﻜﺴﺘﻦ ﭘﻮﺳﺘﻪ ﻭ ﺭﻫﺎ ﺷﺪﻥ‬ ‫ﻧﻤﻲﻛﻨﺪ ﻭ ﻣﺪﺍﻡ ﺩﺭ ﺧﻮﺩ ﺗﻜﺮﺍﺭ ﻣﻲﺷﻮﺩ؛‬ ‫ﭼﻨﺎﻧﻜﻪ ﻛﻼﺭﻳﺲ ﺩﺭ »ﭼﺮﺍﻍﻫﺎ ﺭﺍ ﻣﻦ‬ ‫ﺧﺎﻣﻮﺵ ﻣﻲﻛﻨﻢ« ﻧﻤﻲﻛﻨﺪ‪ .‬ﻛﻼﺭﻳﺲ‬ ‫ﺑﻪ ﺟﺴﺘﺠﻮﻱ ﭼﻴﺴﺘﻲﻫﺎ ﻭ ﭼﺮﺍﻳﻲﻫﺎﻱ‬ ‫ﺯﻧﺪﮔﻴﺶ ﺑﺮﻣﻲﺁﻳﺪ ﺍﻭ ﺍﺯ ﺧﻮﺩ ﻣﻲﭘﺮﺳﺪ ﺩﺭ‬ ‫ﻛﺠﺎﻱ ﺩﻧﻴﺎ ﺍﻳﺴﺘﺎﺩﻩﺍﻡ؟ ﻣﻲﺧﻮﺍﻫﺪ ﺑﺪﺍﻧﺪ‬ ‫ﭼﻪ ﻣﻲﺧﻮﺍﻫﺪ؟ﻳﻚﻧﻮﺍﺧﺘﻲ ﻭ ﺭﻭﺯﻣﺮﮔﻲ ﺍﻭ‬ ‫ﺭﺍ ﺍﻧﺪﻛﻲ ﺍﺯ ﺧﻮﺩ ﺑﻴﺮﻭﻥ ﻣﻲﺁﻭﺭﺩ‪ ،‬ﻋﺸﻖ‬ ‫ﺭﻧﮓ ﻭ ﻟﻌﺎﺑﻲ ﺑﻪ ﺯﻧﺪﮔﻲ ﺍﻭ ﻣﻲﺑﺨﺸﺪ ﻭ‬ ‫ﺍﻣﻴﺎﻝ ﺳﺮﺧﻮﺭﺩﻩ ﻭ ﭘﻨﻬﺎﻧﺶ ﺭﺍ ﺑﻴﺪﺍﺭ ﻣﻲﻛﻨﺪ‬ ‫ﺍﻣﺎ ﺩﺭ ﻧﻬﺎﻳﺖ‪ ،‬ﺑﻲﺁﻧﻜﻪ ﭘﺎﺳﺨﻲﻳﺎﻓﺘﻪ ﺑﺎﺷﺪ‪،‬‬ ‫ﺑﺎﺯ ﺩﺭ ﻻﻙ ﺧﻮﺩ ﻓﺮﻭ ﻣﻲﺭﻭﺩ ﻭ ﺗﺴﻠﻴﻢ ﺁﻥ‬ ‫ﺁﺭﺍﻣﺶ ﻇﺎﻫﺮﻱ ﻭ ﺯﻧﺪﮔﻲ ﺩﺭ ﻓﻘﺪﺍﻥ ﻋﺸﻖ‬ ‫ﻭ ﺷﻮﺭ ﻣﻲﺷﻮﺩ‪.‬‬ ‫ﺩﺭ ﺁﺛﺎﺭ ﻧﻮﻳﺴﻨﺪﮔﺎﻥ ﻧﺴﻞ ﺑﻌﺪﺗﺮ‪ ،‬ﺍﻳﻦ‬ ‫ﻧﮕﺮﺵ ﻫﻢﭼﻨﺎﻥ ﺑﺎ ﺭﻧﮓ ﻭ ﺑﻮﻳﻲ ﺩﻳﮕﺮ‬ ‫ﺗﻜﺮﺍﺭ ﻣﻲﺷﻮﺩ‪ .‬ﺑﻪ ﻋﻨﻮﺍﻥ ﻣﺜﺎﻝ‪ ،‬ﺷﻴﻮﺍ‬ ‫ﺍﺭﺳﻄﻮﻳﻰ ﺑﺎ ﺷﺨﺼﻴﺖ ﺗﻜﺮﺍﺭ ﺷﻮﻧﺪﻩﺍﻯ‬ ‫ﺑﻪ ﻧﺎﻡ ﺷﻬﺮﺯﺍﺩ ﻛﻪ ﻧﻤﺎﺩﻱ ﺍﺯﻫﻤﻪﻯ ﺯﻧﺎﻥ‬ ‫ﺍﺳﺖ ﺑﺎ ﺗﻤﺎﻡ ﺯﻧﺎﻧﻪﮔﻰﻫﺎﻳﻰ ﻛﻪ ﻣﺴﺘﻘﻞ ﺍﺯ‬ ‫ﻣﺮﺩ ﻋﻤﻞ ﻣﻰﻛﻨﺪ‪ .‬ﺷﻬﺮﺯﺍﺩ ﻗﺼﻪ ﻣﻲﮔﻔﺖ‬ ‫ﺗﺎ ﺯﻧﺪﻩ ﺑﻤﺎﻧﺪ ﺍﻭ ﻫﺮ ﺷﺐ ﺗﺎ ﻭﻗﺖ ﻃﻠﻮﻉ‬ ‫ﺁﻓﺘﺎﺏﻳﻌﻨﻲ ﺍﺯ ﺁﻏﺎﺯ ﺳﻴﺎﻫﻲ ﺗﺎ ﻟﺤﻈﻪﻱ‬ ‫ﺭﻭﺷﻨﺎﻳﻲ ﻗﺼﻪ ﻣﻲﮔﻔﺖ » ﻭ ﭼﻮﻥ ﺁﻓﺘﺎﺏ‬ ‫ﺑﺮ ﺁﻣﺪ ﺷﻬﺮﺯﺍﺩ ﻟﺐ ﺍﺯ ﻗﺼﻪ ﻓﺮﻭ ﺑﺴﺖ‪«...‬‬ ‫ﻭ ﺑﻌﺪ ﻗﺼﻪﻫﺎﻳﺶ ﺭﺍ ﻃﻮﺭﻱ ﺗﻤﺎﻡ ﻣﻲﻛﺮﺩ‬ ‫ﺗﺎ ﺷﻬﺮﻳﺎﺭ ﺟﻮﺍﻥﻳﻚ ﺭﻭﺯ ﺩﻳﮕﺮ ﻛﺸﺘﻦ ﺍﻭ‬ ‫ﺭﺍ ﺑﻪ ﺗﻌﻮﻳﻖ ﺑﻴﺎﻧﺪﺍﺯﺩ ﻭ ﺑﻪ ﺍﻳﻦ ﺻﻮﺭﺕ‬ ‫ﺷﻬﺮﺯﺍﺩ ﺑﺎ ﺟﻨﮓ ﻋﻠﻴﻪ ﺳﻴﺎﻫﻲ ﺑﻪ ﺳﭙﻴﺪﻱ‬ ‫ﻭ ﺯﻧﺪﮔﻲ ﺩﺳﺖ ﻣﻲﻳﺎﻓﺖ‪ .‬ﺑﻬﺮﻩ ﺟﺴﺘﻦ ﺍﺯ‬ ‫ﺍﻳﻦ ﺗﻤﺜﻴﻞ ﻭ ﻧﻴﺰ ﺍﺯ ﻧﺎﻡ ﺷﻬﺮﺯﺍﺩ‪،‬ﻫﺎﻟﻪﺍﻱ ﺍﺯ‬ ‫ﻧﻤﺎﺩ ﻭ ﺍﺳﺘﻌﺎﺭﻩ ﺑﻪ ﺁﺛﺎﺭ ﺍﺭﺳﻄﻮﻳﻲ ﺑﺨﺸﻴﺪﻩ‬ ‫ﺍﺳﺖ‪ .‬ﺑﻪ ﻋﻨﻮﺍﻥ ﻣﺜﺎﻝ‪ ،‬ﺯﻧﺎﻧﻲ ﻛﻪ ﺩﺭ ﺭﻣﺎﻥ‬ ‫»ﺑﻰ ﺑﻰ ﺷﻬﺮﺯﺍﺩ« ﺗﻮﺻﻴﻒ ﺷﺪﻩﺍﻧﺪ ﺑﻪ‬ ‫ﻫﻤﻴﻦ ﺳﻴﺎﻕ ﻧﻤﺎﺩﻫﺎﻳﻲ ﺍﺯ‪ ،‬ﺯﻥ – ﻣﺎﺩﺭ‪،‬‬ ‫ﺯﻥ – ﻣﻌﺸﻮﻗﻪ‪ ،‬ﺯﻥ – ﻣﺮﺩ‪ ،‬ﺯﻥ – ﺯﻥ‬

‫ﻣﻲﺑﺎﺷﻨﺪ ﻭ ﻧﻮﻳﺴﻨﺪﻩ ﺑﺎ ﺗﻐﻴﻴﺮ ﺯﺍﻭﻳﻪﻯ‬ ‫ﺩﻳﺪﻯ ﻛﻪ ﺩﺭ ﺩﺍﺳﺘﺎﻥﻫﺎﻳﺶ ﻣﻰﺩﻫﺪ ﻭ‬ ‫ﺑﺎ ﺗﻐﻴﻴﺮ ﺭﺍﻭﻱﻫﺎﻳﺎ ﺷﻬﺮﺯﺍﺩﻫﺎﻯ ﻗﺼﻪﺍﺵ‬ ‫ﺳﻌﻰ ﺩﺭ ﻧﺸﺎﻥ ﺩﺍﺩﻥ ﺭﻧﺞ ﺗﻨﻬﺎﻳﻰ ﻭ‬ ‫ﻣﺤﺮﻭﻣﻴﺖ ﺯﻧﺎﻥ ﻗﺼﻪﺍﺵ ﺩﺍﺭﺩ‪ .‬ﺯﻥ –‬ ‫ﻣﺎﺩﺭ‪ ،‬ﺩﺭ ﺭﻣﺎﻥ »ﺑﻰ ﺑﻰ ﺷﻬﺮﺯﺍﺩ« ﻧﻤﺎﺩﻯ‬ ‫ﺍﺯ ﺭﻧﺞ ﻭ ﻣﺤﻜﻮﻣﻴﺖ ﺍﺳﺖ ﻣﺤﻜﻮﻣﻴﺘﻰ ﻛﻪ‬ ‫ﺷﺎﻳﺪ ﺍﺯ ﻋﺸﻖ ﺑﻪ ﻓﺮﺯﻧﺪﺍﻥ ﻧﺎﺷﻰ ﻣﻰﺷﻮﺩ‬ ‫ﻭﻳﺎ ﺯﻥ – ﺯﻥ‪ ،‬ﻛﻪ ﻣﺤﻜﻮﻡ ﺑﻪ ﻣﺤﺮﻭﻣﻴﺖ‬ ‫ﺍﺳﺖ ﻣﺤﺮﻭﻣﻴﺘﻰ ﻛﻪ ﺩﺭ ﺗﻨﻬﺎﻳﻰﺍﺵ ﺗﺠﻠﻰ‬ ‫ﻣﻰﻳﺎﺑﺪ‪.‬‬ ‫ﺩﺭ ﺩﺍﺳﺘﺎﻥ ﺑﻠﻨ ِﺪ »ﺧﻨﻜﺎﻯ ﺳﭙﻴﺪﻩ ﺩﻡ ﺳﻔﺮ«‬ ‫ﺍﺛﺮ ﻧﺎﻫﻴﺪ ﻃﺒﺎﻃﺒﺎﻳﻰ ﺯﻧﺎﻧﻰ ﺭﺍ ﺍﺯ ﻗﺸﺮ ﭘﺎﻳﻴﻦ‬ ‫ﺟﺎﻣﻌﻪ ﻣﻰﺑﻴﻨﻴﻢ ﺑﺎ ﻭﻳﮋﮔﻰﻫﺎﻳﻰ ﺍﺑﮋﻩ ﻭ‬ ‫ﻗﺎﺑﻞ ﻟﻤﺲ ﻭ ﺷﺎﻳﺪ ﺍﺯ ﭘﺸﺖ ﻋﻴﻨﻜﻰ ﺍﺯ‬ ‫ﻭﺳﻮﺍﺱﻫﺎﻯ ﺣﺴﻰ؛ ﺯﻧﺎﻧﻰ ﻣﺎﻧﻨﺪ »ﺣﻤﻴﺮﺍ«‬ ‫ﻛﻪ ﺩﺭ ﺭﻭﻳﺎ ﻭ ﻭﻫﻢ ﻭ ﺧﻴﺎﻻﺕ ﺩﻧﻴﺎﻯﺍﺷﺎﻥ‬ ‫ﺭﺍ ﺳﺎﺧﺘﻪﺍﻧﺪ ﻭ ﺯﻧﺪﮔﻰﺍﺷﺎﻥ ﺩﺭ ﺳﻴﺎﻫﻰ ﻭ‬ ‫ﺗﺎﺭﻳﻜﻰ ﺭﻧﺞ ﺁﻭﺭﻯ ﻓﺮﻭ ﺭﻓﺘﻪ ﺍﺳﺖ‪ .‬ﺯﻧﺎﻧﻰ‬ ‫ﻣﺎﻧﻨﺪ ﺷﻴﺪﺍ ﻛﻪ ﺣﺘﻰ ﺍﺯ ﺭﻭﻳﺎﻳﻰ ﺑﺮﺍﻯ‬ ‫ﺧﻮﺵ ﺑﻮﺩﻥ ﻫﻢ ﻣﺤﺮﻭﻣﻨﺪ‪،‬ﻭ ﻣﺤﻜﻮﻡ ﺑﻪ‬ ‫ﺗﺤﻤﻞ ﻧﺎﻛﺎﻣﻰﻭ ﺗﻠﺨﻰﺍﻱ ﻫﺴﺘﻨﺪ ﻛﻪ ﺷﺎﻳﺪ‬ ‫ﭘﺎﻳﺎﻧﻰ ﻧﺪﺍﺷﺘﻪ ﺑﺎﺷﺪ ﻣﺜﻞ ﺭﺍﻫﻰ ﻛﻪ ﺍﺯ ﺍﺑﺘﺪﺍ‬ ‫ﺑﻦ ﺑﺴﺖ ﺍﺳﺖ‪.‬‬ ‫ﻫﻤﻴﻦ ﺍﻧﮕﺎﺭﻩﻫﺎ ﺩﺭ ﺩﺍﺳﺘﺎﻥ ﻛﻮﺗﺎﻩ »ﻛﻠﻴﺪ«‬ ‫ﺍﺛﺮ ﻣﻴﺘﺮﺍ ﺩﺍﻭﺭ ﺑﻪ ﻧﻮﻋﻲ ﺑﺴﻴﺎﺭ ﺩﺭﺧﺸﺎﻥ‬ ‫ﺑﻪ ﺗﺼﻮﻳﺮ ﺩﺭﺁﻣﺪﻩ ﺍﺳﺖ‪ .‬ﺩﺍﺳﺘﺎﻥ ﻛﻪ‬ ‫ﺍﺿﻄﺮﺍﺏ‬ ‫ﺩﺭﻭﻧﻤﺎﻳﻪﺍﻱ ﺍﺳﺘﻮﺍﺭ ﺑﺮ ﺗﺮﺱ ﻭ‬ ‫ِ‬ ‫ﺗﺠﺎﻭﺯ ﻭ ﺗﻌﺪﻯ ﺩﺍﺭﺩ‪ ،‬ﺯﻧﻰ ﺭﺍ ﺭﻭﺍﻳﺖ‬ ‫ﻣﻲﻛﻨﺪ ﻛﻪ ﻫﻤﻪﻯ ﻣﺎﻟﻜﻴﺖﻫﺎﻯ ﺩﻧﻴﺎﻳﺶ‬ ‫ﺩﺭﻳﻚ ﻛﻠﻴﺪ ﻧﻤﺎﺩﻳﻨﻪ ﺷﺪﻩ ﺍﺳﺖ‪ .‬ﺩﺭ ﺍﻳﻦ ﺍﺛﺮ‬ ‫ﺯﻳﺒﺎ ﻛﻠﻴﺪ ﻧﻤﺎﺩﻯ ﺍﺳﺖ ﺍﺯ ﺗﻤﺎﻡ ﺗﻮﺍﻥﻳﻚ‬ ‫ﺯﻥ ﺑﺮﺍﻯ ﺣﻔﻆ ﻣﺎﻟﻜﻴﺖ ﺍﺭﺯﺵﻫﺎﻳﻰ‬ ‫ﻛﻪﻳﻚ ﻗﺎﻟﻰ ﻛﻬﻨﻪ ﻭ ﻧﺦ ﻧﻤﺎ ﺗﺠﻠﻲ ﺁﻥ‬ ‫ﺍﺳﺖ‪ .‬ﺍﺭﺯﺵﻫﺎﻳﻰ ﻛﻪ ﺯﻥ ﺑﺮﺍﻯ ﺣﻔﻆ ﺁﻥ‬ ‫ﻣﻀﻄﺮﺏ ﻭ ﻧﮕﺮﺍﻥ ﺍﺳﺖ ﻭ ﺣﺘﻰ ﺑﻪ ﻛﻠﻴﺪﻯ‬ ‫ﻛﻪ ﺩﺭ ﺍﻧﺘﻬﺎ ﻣﺠﺪﺩﺍ ﺑﻪ ﺩﺳﺖ ﻣﻰﺁﻭﺭﺩ ﻧﻴﺰ‬ ‫ﻧﻤﻰﺗﻮﺍﻧﺪ ﺍﻣﻴﺪﻯ ﺩﺍﺷﺘﻪ ﺑﺎﺷﺪ‪ .‬ﺳﭙﺲ‬ ‫ﺩﺭ »ﺩﺍﺳﺘﺎﻥ ﻫﻤﻪﻱ ﻗﺴﻤﺖﻫﺎﻱ ﻣﻦ«‬ ‫ﮔﻮﻳﺎ ﻭﺟﻪ ﺩﻳﮕﺮﻱ ﺍﺯ ﺩﺭﻭﻧﻴﺎﺕ ﻫﻤﻴﻦ‬ ‫ﺩﺍﺳﺘﺎﻥ ﻛﻠﻴﺪ ﺍﺳﺖ ﻛﻪ‬ ‫ﺯﻥ ﭘﺮ ﺭﻣﺰ ﻭ ﺭﺍﺯ‬ ‫ِ‬ ‫ﺩﺭ ﺟﺎﻳﻲ ﺍﺯ ﺍﻧﺘﻬﺎﻱ ﻣﺘﻦ ﻣﻲﮔﻮﻳﺪ‪....» :‬‬ ‫ﻫﻤﻪﻯ ﺍﻳﻦﻫﺎ ﻫﺴﺘﻨﺪ ﻭ ﺯﻥﻫﺎﻯ ﺩﻳﮕﺮﻯ‬ ‫ﻛﻪ ﺭﺳﻮﺏ ﺷﺪﻩﺍﻧﺪ ﺩﺭ ﻣﻦ‪ ...‬ﺯﻥﻫﺎﻯ‬ ‫ﺷﺎﺩﻯ ﻛﻪ ﺑﻮﺩﻧﺪ ﺍﻣﺎ ﺑﻰﺩﻟﻴﻞ ﺩﺭﺑﺎﺭﻩﺷﺎﻥ‬ ‫ﻧﻤﻰﻧﻮﻳﺴﻢ‪ ...‬ﮔﻤﺎﻧﻢ ﺩﺭﺑﺎﺭﻩﻯ ﺑﻮﻯ ﻋﻄﺮﻫﺎ‬ ‫ﻫﻢ ﻧﺨﻮﺍﻫﻢ ﻧﻮﺷﺖ‪ .‬ﺩﺭﺑﺎﺭﻩﻱ ﻋﻄﺮﻫﺎﻳﻰ‬ ‫ﻛﻪ ﺭﻭﻯ ﻣﻴﺰ ﺁﺭﺍﻳﺸﻢ ﻫﺴﺘﻨﺪ ﻭ ﺍﺯ ﺍﻳﻦﻛﻪ‪...‬‬ ‫ﺍﻳﻦﻫﺎ ﻭﺟﻮﺩ ﭘﺎﺭﻩ ﭘﺎﺭﻩﻱ ﻣﻨﻨﺪ ﻛﻪ ﺩﺭ ﺷﻬﺮ‬ ‫ﺳﺮﮔﺮﺩﺍﻧﻨﺪ‪.«....‬‬ ‫ﺍﻳﻦ ﻧﮕﺎﻩ ﺩﺭ ﺭﻣﺎﻥ »ﺍﺯ ﺷﻴﻄﺎﻥ ﺁﻣﻮﺧﺖ ﻭ‬ ‫ﺳﻮﺯﺍﻧﺪ« ﻭﻳﺎ ﺩﺭ »ﺟﻨﺴﻴﺖ ﮔﻤﺸﺪﻩ«‪ ،‬ﺍﺛﺮ‬ ‫ﻓﺮﺧﻨﺪﻩ ﺁﻗﺎﻳﻰ ﻫﻢ ﺑﺎ ﻧﻮﻉ ﻧﮕﺎﻩ ﺧﺎﺹ ﺍﻭ‬ ‫ﺑﻪ ﻣﺴﺎﺋﻞ ﺯﻥ ﻭ ﺍﺟﺘﻤﺎﻉ ﺩﻳﺪﻩ ﻣﻰﺷﻮﺩ‪.‬‬ ‫ﻓﺮﺧﻨﺪﻩ ﺁﻗﺎﻳﻰ ﺑﺎ ﻣﻄﺮﺡ ﻛﺮﺩﻥ ﻣﺸﻜﻼﺕ‬ ‫ﺯﻧﺎﻥ ﺍﺯ ﺟﻤﻠﻪ ﺯﻧﺎﻥ ﺑﻰﺳﺮﭘﺮﺳﺖ‪ ،‬ﺯﻧﺎﻥ‬ ‫ﺁﻭﺍﺭﻩ‪ ،‬ﺯﻥ ﺧﻮﺩﻓﺮﻭﺵ ﻭ‪ ...‬ﺩﺭ ﻗﺎﻟﺐ‬ ‫ﺭﺋﺎﻟﻴﺴﻤﻰﺍﺟﺘﻤﺎﻋﻲ‪ ،‬ﺳﻌﻰ ﺩﺭ ﭘﺮﺩﺍﺧﺘﻦ‬

‫ﺑﻪ ﺩﻏﺪﻏﻪﻫﺎﻱ ﺧﺎﺹ ﺧﻮﺩﺵ ﺑﻪ ﺍﻳﻦ‬ ‫ﮔﺮﻭﻩ ﺍﺯ ﺯﻧﺎﻥ ﺩﺍﺭﺩ ﻭ ﺗﻼﺵ ﻣﻲﻛﻨﺪ ﺑﺎ‬ ‫ﺩﻳﺪﻯ ﺯﻧﺎﻧﻪ ﻭ ﻣﻮﺷﻜﺎﻑ‪ ،‬ﺗﻮﺟﻪ ﺟﺎﻣﻌﻪ‬ ‫–ﻳﺎ ﺣﺪﺍﻗﻞ ﺧﻮﺍﻧﻨﺪﻩ‪ .‬ﺭﺍ ﺑﻪ ﺳﻮﻱ ﺍﻳﻦ‬ ‫ﻣﺸﻜﻼﺕ ﻣﻌﻄﻮﻑ ﻧﻤﺎﻳﺪ؛ ﺩﺭ ﺣﻘﻴﻘﺖ ﺑﻪ‬ ‫ﻧﻈﺮ ﻣﻰﺭﺳﺪ ﺁﻗﺎﻳﻰ ﺩﺭ ﺁﺛﺎﺭﻯ ﻛﻪ ﺍﺯ ﺍﻳﻦ‬ ‫ﺍﻧﮕﺸﺖ ﺍﺗﻬﺎﻣﺶ ﺭﺍ ﺑﻪ‬ ‫ﺩﺳﺖ ﻧﻮﺷﺘﻪ ﺍﺳﺖ‪،‬‬ ‫ِ‬ ‫ﺳﻤﺖ ﺟﺎﻣﻌﻪ ﻧﺸﺎﻧﻪ ﺭﻓﺘﻪ ﺍﺳﺖ ﺟﺎﻣﻌﻪﺍﻱ‬ ‫ﻛﻪ ﺑﻲﺭﺣﻢ ﺍﺳﺖ ﻭ ﺑﻪ ﻛﺴﻲ ﻛﻪ ﺿﻌﻴﻒﺗﺮ‬ ‫ﺍﺳﺖ ﺭﺣﻢ ﻧﺪﺍﺭﺩ ﻭ ﺩﺭ ﺍﻳﻦﻣﻮﺭﺩ ﺍﺣﺘﻤﺎﻻ ﺯﻥ‬ ‫ﺑﻮﺩﻥﻳﺎ ﻣﺮﺩ ﺑﻮﺩﻥ ﺗﻔﺎﻭﺗﻲ ﻧﺪﺍﺭﺩ‪ .‬ﭼﻨﺎﻥﻛﻪ‬ ‫ﻣﻲﮔﻮﻳﺪ‪ » :‬ﺩﺭ ﻫﻴﭻﻳﻚ ﺍﺯ ﺩﺍﺳﺘﺎﻥﻫﺎﻱ‬ ‫ﻣﻦ ﺯﻥ ﻣﻮﺟﻮﺩ ﺳﺘﻤﮕﺮﻳﺎ ﺳﺘﻤﺪﻳﺪﻩ ﻧﻴﺴﺖ‪،‬‬ ‫ﺍﻧﺴﺎﻧﻲﺳﺖ ﻛﻪ ﻣﻦ ﺭﻭﺍﻳﺘﺶ ﻣﻲﻛﻨﻢ‪«....‬‬ ‫ﺩﺭ ﺩﺍﺳﺘﺎﻥﻫﺎﻱ ﻣﻴﺘﺮﺍ ﺍﻟﻴﺎﺗﻲ )‪،(1329‬‬ ‫ﻣﻮﺿﻮﻉ ﻃﻼﻕ‪ ،‬ﺧﻴﺎﻧﺖ ﺑﺎ ﺗﻠﻔﻴﻖ ﭘﺮ‬ ‫ﺭﻧﮕﻲ ﺍﺯ ﺍﻳﻤﺎژﻫﺎﻱ ﺫﻫﻨﻲ ﻭ ﻭﺍﻗﻴﻌﺖﻫﺎﻱ‬ ‫ﺍﺟﺘﻤﺎﻋﻲ ﺑﻪﭼﺸﻢ ﻣﻲﺧﻮﺭﺩ‪ .‬ﺯﻧﺎﻥ‬ ‫ﺩﺍﺳﺘﺎﻥﻫﺎﻱ ﺍﻟﻴﺎﺗﻲ ﺑﺴﻴﺎﺭ ﺷﺠﺎﻋﺎﻧﻪ ﺗﻦ‬ ‫ﺑﻪ ﻭﺍﻗﻌﻴﺖ ِ ﺗﻘﺪﻳﺮ ﻭ ﺳﺮﻧﻮﺷﺖﻫﺎﻱ ﻣﺤﺘﻮﻡ‬ ‫ﺍﺟﺘﻤﺎﻋﻲ ﺧﻮﺩ ﻣﻲﺩﻫﻨﺪ‪ .‬ﺑﻪ ﻋﻨﻮﺍﻥ ﻣﺜﺎﻝ‬ ‫ﺩﺭ ﺩﺍﺳﺘﺎﻥ »ﺯﻳﺮ ﺑﺎﺭﺍﻥ« ﺍﺯ ﻣﺠﻤﻮﻋﺔ‬ ‫ﻛﺎﻓﻪ ﭘﺮﻱ ﺩﺭﻳﺎﻳﻲ )‪ (1387‬ﻛﻪ ﻗﺴﻤﺖ‬ ‫ﺯﻳﺎﺩﻱ ﺍﺯ ﺁﻥ ﺑﺮ ﺍﺳﺎﺱ ﺩﻳﺎﻟﻮگﻫﺎﻱ‬ ‫ﻣﻮﺟﺰ ﻭ ﺗﺮﺍﺷﻴﺪﻩ ﻧﻮﺷﺘﻪ ﺷﺪﻩ ﺍﺳﺖ؛ ﺯﻧﻲ ﺭﺍ‬ ‫ﻣﻲﺑﻴﻨﻴﻢ ﻛﻪ ﺩﺭﮔﻴﺮ ﻭ ﻛﻠﻨﺠﺎﺭ ﺑﺎ ﻛﻮﺩﻛﺶ‬ ‫ﭘﺲ ﺍﺯ ﻣﻼﻗﺎﺕ ﺑﺎ ﭘﺪﺭﺵ – ﻫﻤﺴﺮ ﺳﺎﺑﻖ‬ ‫ﺯﻥ‪ .‬ﺍﺳﺖ‪ .‬ﺯﻥ ﺗﻼﺵ ﻣﻲﻛﻨﺪ ﺗﺎ ﻛﻮﺩﻙ‬ ‫ﺭﺍ ﺑﻪ ﺣﺎﻟﺖ ﻃﺒﻴﻌﻲ ﻗﺒﻞ ﺍﺯ ﻣﻼﻗﺎﺕ ﺑﺎ ﭘﺪﺭ‬ ‫ﺑﺎﺯ ﮔﺮﺩﺍﻧﺪ ﻛﻮﺩﻙ ﻣﻘﺎﻭﻣﺖ ﻣﻲﻛﻨﺪ‪ ،‬ﭘﺎﺳﺦ‬ ‫ﺳﻮﺍﻝﻫﺎﻱ ﺯﻥ ﺭﺍ ﺩﺭﺑﺎﺭﻩﻱ ﻣﺮﺩ ﻧﻤﻲﺩﻫﺪ‬ ‫ﻭﻳﺎ ﺟﻤﻼﺗﻲ ﺭﺍ ﻣﻲﮔﻮﻳﺪ ﻛﻪ ﺑﻪﻧﻈﺮ ﻣﻲﺭﺳﺪ‬ ‫ﺁﻣﻮﺧﺘﻪﻫﺎﻱ ﭘﺪﺭ ﺍﺳﺖ‪ .‬ﺩﺭ ﺍﻳﻦ ﺩﺍﺳﺘﺎﻥ ﻛﻪ‬ ‫ﺑﻪ ﺻﻮﺭﺕ ﺩﻳﺎﻟﻮﮔﻲ ﻃﻮﻻﻧﻲ ﻧﻮﺷﺘﻪﺷﺪﻩ‬ ‫ﺍﺳﺖ ﺩﺭ ﻧﻬﺎﻳﺖ ﺍﻳﻦ ﻣﺮﺩ ﻭ ﺯﻥ ﻫﺴﺘﻨﺪ‬ ‫ﻛﻪ ﺑﺎﻫﻢ ﺑﻪ ﮔﻔﺘﮕﻮ ﭘﺮﺩﺍﺧﺘﻪﺍﻧﺪ؛ ﻭ ﻛﻮﺩﻙ‬ ‫ﺑﻪ ﻣﺎﻧﻨﺪ ﭘﻠﻲ ﺩﺭ ﺍﻳﻦ ﺍﺭﺗﺒﺎﻁ ﻋﻤﻞ ﻣﻲﻛﻨﺪ‪.‬‬ ‫ﺗﻼﺵﻫﺎﻱ ﺯﻥ ﺑﺮﺍﻱ ﺑﺮﮔﺮﺩﺍﻧﺪﻥ ﻛﻮﺩﻙ‬ ‫ﺑﻪ ﺣﺎﻟﻲ ﻋﺎﺩﻱ ﻧﻈﻴﺮ ﺁﻧﭽﻪ ﻗﺒﻞ ﺍﺯ ﻣﻼﻗﺎﺕ‬ ‫ﺑﺎ ﭘﺪﺭ ﺩﺍﺷﺖ‪ ،‬ﺑﻲﻧﺘﻴﺠﻪ ﻣﻲﻣﺎﻧﺪ‪ ] :‬ﭘﺴﺮﻙ‬ ‫ﮔﻔﺖ‪» :‬ﻣﻦ ﺑﺎ ﺯﻧﺎ ﻣﺴﺎﺑﻘﻪ ﻧﻤﻲﺩﻡ !« ﻭ‬ ‫ﻣﺸﺖ ﺩﻳﮕﺮﻱ ﺳﻨﮓﺭﻳﺰﻩ ﻃﺮﻑ ﻣﺮﻏﺎﺑﻲ‬ ‫ﺍﻧﺪﺍﺧﺖ‪».‬ﺍﻭﻫﻮ! ﺍﻳﻦ ﺣﺮﻓﻮ ﻛﻲ ﺗﻮﻱ‬ ‫ﺩﻫﻨﺖ ﮔﺬﺍﺷﺘﻪ؟«‪» .‬ﺯﻧﺎ ﻫﻤﻪ ﺷﻮﻥ ﺟﺮ‬ ‫ﺯﻧﻨﺪ‪» .«.‬ﺍﻳﻨﻮ ﺑﺎﺑﺎﺕ ﮔﻔﺘﻪ؟«‪ .‬ﮔﻮﻧﻪﻫﺎﻱ‬ ‫ﭘﺴﺮﻙ ﺍﺯ ﺳﺮﻣﺎ ﮔﻞ ﺍﻧﺪﺍﺧﺘﻪ ﺑﻮﺩ‪» :‬ﮔﻔﺖ‬ ‫ﺩﺭﻭﻏﮕﻮﺍﻡ ﻫﺴﺘﻨﺪ‪ «.‬ﺍﺑﺮﻭﻫﺎﻱ ﻛﻤﺎﻧﻲ ﺯﻥ‬ ‫ﺑﺎﻻ ﺭﻓﺖ‪» :‬ﺩﻳﮕﻪ ﭼﻰ ﮔﻔﺖ؟«‪ [...‬ﺍﺯ ﺍﻳﻨﺠﺎ‬ ‫ﺑﻪ ﺑﻌﺪ ﻛﻮﺩﻙ ﻣﺴﺘﻘﻴﻢ ﺍﺯ ﭘﺪﺭ ﻧﻘﻞ ﻗﻮﻝ‬ ‫ﻣﻲﺁﻭﺭﺩ ﻭ ﺍﺯ ﻭﺍژﺓ ﮔﻔﺖ ﺩﺭ ﺍﺑﺘﺪﺍﻱ ﺟﻤﻼﺕ‬ ‫ﺧﺒﺮﻱ ﺍﺳﺘﻔﺎﺩﻩ ﻣﻲﻛﻨﺪ‪.‬‬ ‫ﻛﻨﺪ ﻭ ﻛﺎﻭ ﻭ ﺗﻔﺤﺺ ﺩﺭ ﺁﺛﺎﺭ ﺯﻧﺎﻥ‬ ‫ﺩﺍﺳﺘﺎﻥﻧﻮﻳﺲ ﺍﻳﻦ ﺍﻣﻜﺎﻥ ﺭﺍ ﻣﻲﺩﻫﺪ‬ ‫ﺗﺎ ﻣﻌﺎﻧﻲ ﺗﻠﻮﻳﺤﻲ ﻭ ﭘﻨﻬﺎﻧﻲ ﺩﺭ ﺍﻳﻦ ﺁﺛﺎﺭ‬ ‫– ﻛﻪ ﻧﻤﺎﻳﻨﺪﻩ ﻧﻮﻉ ﺗﻔﻜﺮ ﻭ ﺍﻧﺪﻳﺸﻪ ﺯﻧﺎﻥ‬ ‫ﺍﺳﺖ‪ .‬ﺍﺳﺘﺨﺮﺍﺝ ﻭ ﻣﻘﺎﻳﺴﻪ ﮔﺮﺩﺩ ﻭ ﺩﺭ ﭘﻲ‬ ‫ﺍﻳﻦ ﻛﺸﻒ ﻭ ﻗﻴﺎﺱ‪ ،‬ﻣﺘﻌﺎﻗﺒ ًﺎ ﺍﻳﻦ ﻣﻌﻨﻲ‬ ‫ﻧﻴﺰ ﺍﺳﺘﻨﺒﺎﻁ ﻣﻲﺷﻮﺩ ﻛﻪ ﺯﻧﺎﻥ ﺩﺭ ﻃﻮﻝ‬ ‫ﺯﻣﺎﻥ ﻭ ﺗﺎﺭﻳﺦ ﺣﺮﻛﺘﻲ ﺭﻭ ﺑﻪ ﺟﻠﻮ ﺩﺍﺷﺘﻪﺍﻧﺪ؛‬

‫ﺍﻣﺮﻭﺯ ﺯﻧﺎﻥ ﺑﻪ ﺭﺍﺑﻄﺔ ﺧﻮﺩ ﺑﺎ ﺟﻬﺎﻥ‬ ‫ﺑﺰﺭﮔﺘﺮﻱ ﻛﻪ ﺷﺎﻣﻞ ﺍﺟﺘﻤﺎﻉ ﻭ ﺑﻌﺪ‬ ‫ﺟﻬﺎﻥ ﻫﺴﺘﻲ ﻫﺴﺖ ﻣﻰﺍﻧﺪﻳﺸﻨﺪ‬ ‫ﺷﺎﻳﺪ ﺍﻳﻦ ﻳﻜﻲ ﺍﺯ ﻣﺤﺼﻮﻻﺕ‬ ‫ﻣﺪﺭﻧﻴﺘﻪ ﻭ ﺍﻧﺴﺎﻥ ﻣﺪﺭﻥ ﺑﺎﺷﺪ ﻛﻪ‬ ‫ﺩﺭ ﻧﻬﺎﻳﺖ ﺯﻧﺎﻥ ﺭﺍ ﻧﻴﺰ ﺷﺎﻣﻞ ﺷﺪﻩ‬ ‫ﺍﺳﺖ ﺍﻣﺎ ﻣﻔﻬﻮﻡ ﺑﺎﻻﺗﺮﻱ ﻧﻴﺰ ﺩﺍﺭﺩ‬ ‫ﻭ ﻣﺒﻴﻦ ﺁﻥ ﺍﺳﺖ ﻛﻪ ﺍﺟﺘﻤﺎﻉ ﻗﺎﻳﻞ‬ ‫ﺑﻪ ﺍﺭﺯﺷﻤﻨﺪﻱ ﺯﻥ ﮔﺮﺩﻳﺪﻩ ﻭ ﺯﻥ ﺍﺯ‬ ‫ﺧﺎﻧﻪ ﺑﻪ ﺍﺟﺘﻤﺎﻉ ﻛﺸﻴﺪﻩ ﺷﺪﻩﺍﺳﺖ؛‬ ‫ﭼﻨﺎﻧﻜﻪ ﺩﺭ ﺑﺴﻴﺎﺭﻱ ﺍﺯ ﺁﺛﺎﺭ ﺩﻫﻪﻱ‬ ‫‪ 40‬ﺑﻪ ﺑﻌﺪ ﭼﻨﻴﻦ ﻣﻌﻨﺎﻳﻲ ﺍﺳﺘﺨﺮﺍﺝ‬ ‫ﻣﻲﺷﻮﺩ‪.‬‬ ‫ﺷﺎﻳﺪ ﺑﻬﺘﺮ ﺑﻮﺩ ﺗﺎ ﺩﺭ ﻣﺠﺎﻟﻲ ﺑﻴﺸﺘﺮ‪،‬‬ ‫ﺑﻪ ﺁﺛﺎﺭ ﻧﻮﻳﺴﻨﺪﮔﺎﻥ ﺑﻴﺸﺘﺮﻱ‬ ‫ﭘﺮﺩﺍﺧﺘﻪ ﻣﻲﺷﺪ ﻛﻪ ﻧﺘﻴﺠﻪﻱ ﺑﻬﺘﺮ‬ ‫ﻭ ﺩﻳﺪﮔﺎﻫﻲ ﺭﻭﺷﻦﺗﺮ ﺑﻪﺩﺳﺖ‬ ‫ﻣﻲﺁﻣﺪ‪ ،‬ﺍﻣﺎ ﭼﻨﻴﻦ ﻣﺠﺎﻟﻲ ﺩﺭ ﺍﻳﻦ‬ ‫ﻣﻘﺎﻟﻪﻱ ﻣﺨﺘﺼﺮ ﻧﻤﻲﮔﻨﺠﺪ ﻭ ﻧﻴﺰ‬ ‫ﺧﻮﺏ ﺍﺳﺖ ﺩﺭ ﺍﻳﻨﺠﺎ ﺍﻳﻦ ﻧﻜﺘﻪ‬ ‫ﺭﺍﻳﺎﺩﺁﻭﺭ ﺷﻮﻳﻢ ﻛﻪ ﻣﻘﺼﻮﺩ ﻣﺎ ﺍﺯ‬ ‫ﻛﺎﺭﺑﺮﺩ ﻭﺍژﻩﻱ »ﻓﻤﻴﻨﻴﺴﻢ« ﺩﺭ‬ ‫ﺍﻳﻦ ﻣﻘﺎﻟﻪ‪ ،‬ﺑﻪ ﻫﻴﭻﺭﻭﻱ‪ ،‬ﺍﺳﺘﺨﺮﺍﺝ‬ ‫ﻣﻌﻨﺎﻱ ﺯﻥ ﺳﺎﻻﺭﻱ ﻧﻴﺴﺖ؛ ﺑﻠﻜﻪ‬ ‫ﺗﻼﺵ ﺑﺮﺍﻱ ﺍﻳﺠﺎﺩ ﻓﻀﺎﻳﻲ ﺑﺮﺍﺑﺮ‬ ‫ﺑﺮﺍﻱ ﺭﺷﺪ ﻭ ﺑﺎﻟﻨﺪﻩﮔﻲ‪ ،‬ﺩﺭ ﻭﺭﺍﻱ‬ ‫ﺩﻳﺪﮔﺎﻫﻲ ﺭﻭﺷﻦﻓﻜﺮﺍﻧﻪ ﺍﺳﺖ؛‬ ‫ﭼﺮﺍ ﻛﻪ ﻣﻌﺘﻘﺪﻳﻢ ﺯﻥ ﺳﺎﻻﺭﻱ ﻧﻴﺰ‬ ‫ﺑﻪﻣﺎﻧﻨﺪ ﻣﺮﺩ ﺳﺎﻻﺭﻱ ﺩﻳﺪﮔﺎﻫﻲ‬ ‫ﺧﺸﻚ ﻭ ﺑﻪﺩﻭﺭ ﺍﺯ ﻋﺪﺍﻟﺖ ﺍﺳﺖ؛‬ ‫ﻭ ﻧﻴﺰ ﺍﺷﺎﺭﻩ ﺑﻪ ﺯﻧﺎﻧﻪ ﻧﻮﻳﺴﻰ‪ ،‬ﺑﻪ‬ ‫ﻣﻌﻨﺎﻱ ﺍﺯ ﺯﻥ ﻧﻮﻳﺴﻰ ﻧﻴﺴﺖ ﭼﺮﺍ‬ ‫ﻛﻪ ﺩﺭ ﺍﻳﻦ ﻣﻘﻮﻟﻪ ﻧﻮﻳﺴﻨﺪﮔﺎﻥ‬ ‫ﺗﻮﺍﻧﺎﻯ ﺯﻳﺎﺩﻯ ﺍﺯ ﺟﻤﻠﻪ ﻣﺤﻤﻮﺩ‬ ‫ﺩﻭﻟﺖﺁﺑﺎﺩﻯ ﺑﺎ ﺭﻣﺎﻥ »ﻛﻠﻴﺪﺭ«‬ ‫ﻭ ﺷﺨﺼﻴﺖﻫﺎﻳﻲ ﻧﻈﻴﺮ ﻣﺎﺭﺍﻝ‪،‬‬ ‫ﺷﻴﺮﻭ‪ ،‬ﺯﻳﻮﺭ ﻭﻳﺎ ﻣﺮﮔﺎﻥ ﺩﺭ »ﺟﺎﻱ‬ ‫ﺧﺎﻟﻲ ﺳﻠﻮچ« ﻛﻪ ﭼﻬﺮﻩﻯ ﻭﺍﻗﻌﻰ‬ ‫ﻭ ﭼﻨﺪ ﻭﺟﻬﻰ ﺯﻥ ﺭﺍ ﺑﻪ ﺭﻭﺷﻨﻲ‬ ‫ﻭ ﺭﻳﺰﺑﻴﻨﻲ ﻧﻤﺎﻳﺎﻧﺪﻩﺍﺳﺖ‪ ،‬ﻗﻠﻢ‬ ‫ﻓﺮﺳﺎﻳﻰ ﻧﻤﻮﺩﻩﺍﻧﺪ؛ﻳﺎ ﺯﻧﺎﻧﻰ ﻛﻪ‬ ‫ﻣﻴﺨﺎﻳﻴﻞ ﺷﻮﻟﻮﺧﻮﻑ ﺩﺭ ﺭﻣﺎﻥ »ﺩﻥ‬ ‫ﺁﺭﺍﻡ« ﺁﻓﺮﻳﺪﻩﺍﺳﺖ ﻛﻪ ﻏﻠﻴﺮﻏﻢ‬ ‫ﺗﻚ ﺑﻌﺪﻯ ﻭ ﺍﻏﺮﺍﻕ ﺁﻣﻴﺰ ﺑﻮﺩﻧﺸﺎﻥ‬ ‫ﺑﻪ ﺭﺍﺳﺘﻰ ﻛﻪ ﺷﺎﻫﻜﺎﺭﻯ ﻫﺴﺘﻨﺪ؛‬ ‫ﻭ ﻧﻴﺰ ﺯﻧﺎﻥ »ﺟﻨﮓ ﻭ ﺻﻠﺢ« ﻭ‬ ‫»ﺁﻧﺎﻛﺎﺭﻩﻧﻴﻨﺎ«ﻱ ﺗﻮﻟﺴﺘﻮﻱ ﺑﺰﺭگ‪،‬‬ ‫ﻭﻳﺎ ﺣﺘﻰ ﺯﻧﺎﻧﻰ ﻛﻪ ﻓﺮﺩﻭﺳﻰ ﻋﺰﻳﺰ‬ ‫ﺩﺭ ﺷﺎﻫﻜﺎﺭ »ﺷﺎﻫﻨﺎﻣﻪ« ﺧﻠﻖ‬ ‫ﻧﻤﻮﺩﻩﺍﺳﺖ‪ .‬ﺍﻣﺎ ﺁﻧﺠﺎ ﻛﻪﻳﻚ ﺯﻥ ﺑﻪ‬ ‫ﺧﻠﻖ ﺷﺨﺼﻴﺘﻰ ﺯﻧﺎﻧﻪ ﻣﻰﭘﺮﺩﺍﺯﺩ‪،‬‬ ‫ﺫﺍﺕ ﻫﻤﺬﺍﺕ ﭘﻨﺪﺍﺭﻯ ﻭ ﺗﺸﺮﻳﺢ‬ ‫ِ‬ ‫ﺍﺣﻮﺍﻻﺕ ﺩﺭﻭﻧﻲﻳﻚ ﺯﻥ ﺍﺳﺖ ﻛﻪ‬ ‫ﺩﺭ ﺷﺨﺼﻴﺖﻫﺎ ﺗﺠﻠﻰ ﻣﻰﻳﺎﺑﺪ؛ ﻭ‬ ‫ﺍﻳﻦ ﺷﺎﻳﺪ ﻫﻤﺎﻥﭼﻴﺰﻯﺳﺖ ﻛﻪ‬ ‫ﺑﻪ ﺯﻧﺎﻧﻪ ﻧﻮﻳﺴﻰ ﺗﻌﺒﻴﺮ ﻣﻰﮔﺮﺩﺩ‪،‬‬ ‫ﺑﻪ ﺷﺮﻃﻰ ﻛﻪ ﺑﭙﺬﻳﺮﻳﻢ ﻛﻪ ﺍﺻﻮﻻ‬ ‫ﺍﺩﺑﻴﺎﺗﻰ ﺑﻪ ﻧﺎﻡ »ﺍﺩﺑﻴﺎﺕ ﺯﻧﺎﻧﻪ«‪،‬‬ ‫ﺣﻴﺎﺕ ﺫﺍﺗﻰ ﺩﺍﺭﺩ‪.‬‬ ‫ِ‬

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‫ﺑﺎﺯﺍﺭﭼﻪ ﻛﺘﺎﺏ‬

‫ﺩﻭﺭﻩ ﺟﺪﻳﺪ‪/‬ﺷﻤﺎﺭﻩ ‪ 9‬ﻭ ‪)10‬ﭘﻴﺎﭘﻲ‪39‬ﻭ‪ /(40‬ﺳﺎﻝ ﺳﻮﻡ‪/‬ﻧﻮﺭﻭﺯ‪88‬‬

‫ﻣﻬﻤﺎﻥ ﻣﻬﺘﺎﺏ‬

‫ﺯﻧﻰ ﭘﻨﻬﺎﻥ ﺩﺭﻣﻴﺎﻥ ﻭﺍژﻩﻫﺎ‬

‫ﻓﺮﻫﺎﺩ ﺣﺴﻦ ﺯﺍﺩﻩ‪/‬ﻧﺸﺮ ﻗﻄﺮﻩ‬

‫ﻣﻮﻟﻒ‪ :‬ﺷﻬﺮﻳﺎﺭ ﻋﺒﺎﺳﻰ‪/‬ﻧﺎﺷﺮ‪ :‬ﺍﻓﺮﺍﺯ‬

‫ﻣﻬﻤﺎﻥ ﻣﻬﺘﺎﺏ ﻛﺘﺎﺏ ﻗﻄﻮﺭ ﻭ ﺧﻮﺵ ﺩﺳﺘﻲ‬ ‫ﺷﺪﻩ ﻭ ﺑﻨﺎ ﺑﻪ ﮔﻔﺘﻪ ﻭ ﻧﻈﺮ ﺑﻌﻀﻲ ﺍﺯ ﺩﻭﺳﺘﺎﻥ‬ ‫ﺧﻮﺵﺧﻮﺍﻥ ﻫﻢ ﻫﺴﺖ‪ .‬ﻓﻜﺮ ﻣﻲﻛﻨﻢ‬ ‫ﺧﻮﺯﺳﺘﺎﻧﻲﻫﺎ‪ ،‬ﺑﻪ ﺧﺼﻮﺹ ﺁﺑﺎﺩﺍﻧﻲﻫﺎ‪ ،‬ﺑﻪ‬ ‫ﺧﺼﻮﺹ ﻣﻬﺎﺟﺮﻳﻦ ﺟﻨﮓ ﺍﺯ ﺍﻳﻦ ﺭﻣﺎﻥ‬ ‫ﺧﻮﺷﺸﺎﻥ ﺑﻴﺎﻳﺪ‪ .‬ﺑﻪ ﺧﺎﻃﺮ ﻣﻮﺿﻮﻉ ﺭﻣﺎﻥ ﻛﻪ‬ ‫ﺑﺮﻣﻲﮔﺮﺩﺩ ﺑﻪ ﺭﻭﺯﻫﺎﻱ ﺳﺨﺖ ﻣﻬﺎﺟﺮﺕ ﺩﺭ‬ ‫ﺷﻬﺮﻫﺎﻳﻲ ﻛﻪ ﻧﻤﻲﺧﻮﺍﺳﺘﻨﺪ ﺟﻨﮓ ﻭ ﺗﺒﻌﺎﺕ ﺁﻥ‬ ‫ﺭﺍ ﺩﺭﻳﺎﺑﻨﺪ‪ .‬ﻭ ﺭﻭﺯﻫﺎﻱ ﺷﺮﻭﻉ ﺟﻨﮓ ﺩﺭ ﺁﺑﺎﺩﺍﻥ ﻭ‬ ‫ﺧﺮﻣﺸﻬﺮ‪.‬‬

‫ﺟﺎﻟﺐ ﺳﺮﮔﺬﺷﺖ ﺍﺯ ﻫﻤﻴﻦ ﺟﺎ ﺷﺮﻭﻉ‬ ‫ﻗﺴﻤﺖ‬ ‫‬‫ِ‬ ‫ِ‬ ‫ﺩﺍﺳﺘﺎﻥ ﺟﺎﻟﺒﺶ ﺑﺎﻳﺪ ﺑﺎﻳﻚ‬ ‫ﺑﻮﺩ‪.‬‬ ‫ﺍﻭ‬ ‫ﺑﺎ‬ ‫ﺣﻖ‬ ‫ﺷﻪ‪.‬‬ ‫ﻣﻰ‬ ‫ِ‬ ‫ﺍﺳﻢ ﻛﺘﺎﺏ‬ ‫ﺍﺗﻔﺎﻕ ﺟﺎﻟﺐ ﺷﺮﻭﻉ ﻣﻰﺷﺪ‪ - .‬ﮔﻔﺘﻴﺪ ِ‬ ‫ِ‬ ‫ﺷﻨﻴﺪﻥ ﺍﻳﻦ ﺣﺮﻑ‪ ،‬ﺩﺍﻧﻪﻫﺎﻯ ﻋﺮﻕ ﺭﻭﻯ‬ ‫ﭼﻰ ﺑﻮﺩ؟ ﺑﺎ‬ ‫ِ‬ ‫ﭘﻴﺸﺎﻧﻰﺍﺵ ﻧﺸﺴﺖ ﻭ ﺭﻧﮓ ﺍﺯ ﺻﻮﺭﺗﺶ ﭘﺮﻳﺪ‪.‬ﻳﻚ ﺁﻥ‪،‬‬ ‫ﺑﺤﺚ ﺩﻳﮕﺮﻯ‬ ‫ﺍﺯ ﭘﺮﺳﺸﻢ ﭘﺸﻴﻤﺎﻥ ﺷﺪﻡ‪ .‬ﺧﻮﺍﺳﺘﻢ‬ ‫ِ‬ ‫ﭘﻴﺶ ﺑﻜﺸﻢ ﻛﻪ ﺑﻪ ﻗﻔﺴﻪﻯ ﻛﺘﺎﺏﻫﺎ ﺗﻜﻴﻪ ﺩﺍﺩ ﻭ ﺑﺎ‬ ‫ﻣﻴﺎﻥ ﻭﺍژﻩﻫﺎ«‬ ‫ﺻﺪﺍﻯ ﺿﻌﻴﻔﻰ ﮔﻔﺖ »ﺯﻧﻰ ﭘﻨﻬﺎﻥ ﺩﺭ ِ‬

‫ﺑﺎﻣﺪﺍﺩﻯ ﺩﻳﮕﺮ‪ :‬ﻧﮕﺎﻫﻰ ﺗﺎﺯﻩ‬ ‫ﺑﻪ ﺷﻌﺮ ﺍﺣﻤﺪ ﺷﺎﻣﻠﻮ‬ ‫ﻣﻮﻟﻒ‪ :‬ﺿﻴﺎءﺍﻟﺪﻳﻦ ﺗﺮﺍﺑﻰ‪/‬ﻧﺎﺷﺮ‪ :‬ﺍﻓﺮﺍﺯ‬

‫ﺳﻜﻮﺕ ﺁﻳﻨﺪﻩ ﻣﻦ ﺍﺳﺖ‬

‫ﻋﺎﺷﻘﺎﻧﻪﻫﺎﻯ ﺍﺭﻳﺶ ﻓﺮﻳﺪ ﻭ ﺍﺷﻌﺎﺭ ﺩﻳﮕﺮ‬ ‫ﺍﻧﺘﺨﺎﺏ‪ ،‬ﺗﺮﺟﻤﻪ ﻭ ﻣﻘﺪﻣﻪ‪:‬ﻋﻠﻰ ﻋﺒﺪﺍﻟﻠﻬﻰ‬ ‫ﻓﺎﺭﺳﻰ ـ ﺁﻟﻤﺎﻧﻰ‪/‬ﺍﻧﺘﺸﺎﺭﺍﺕ ﻛﺎﺭﻭﺍﻥ‬

‫ﺍﻧﺠﻴﺮﻫﺎﻱ ﺳﺮﺥ ﻣﺰﺍﺭ‬ ‫ﻧﻮﻳﺴﻨﺪﻩ‪ :‬ﻣﺤﻤﺪ ﺣﺴﻴﻦ ﻣﺤﻤﺪﻱ‬ ‫ﺍﻧﺘﺸﺎﺭﺍﺕ‪ :‬ﻧﺸﺮ ﭼﺸﻤﻪ‬

‫ﺍﻳﻦ ﺍﺛﺮ ﺩﺭ ﺩﻭ ﺑﺨﺶ ﺗﻬﻴﻪ ﺷﺪﻩ ﺍﺳﺖ‪ ،‬ﺑﺨﺶ ﺍﻭﻝ‪:‬‬ ‫ﻣﺠﻤﻮﻋﻪ ﺩﺍﺳﺘﺎﻧﻲ ﺍﺳﺖ ﺍﺯ ﺍﺩﺑﻴﺎﺕ ﻣﻌﺎﺻﺮ‬ ‫" ﻋﺎﺷﻘﺎﻧﻪﻫﺎ " ﻛﻪ ﺷﺎﻣﻞ ‪ 62‬ﺷﻌﺮ ﻭ ﺑﺨﺶ ﺩﻭﻡ‪:‬‬ ‫ﺍﻓﻐﺎﻧﺴﺘﺎﻥ ﺑﺎ ﭼﻬﺎﺭﺩﻩ ﺩﺍﺳﺘﺎﻥ ﻛﻮﺗﺎﻩ ﺩﺭ ‪135‬‬ ‫" ﺍﺷﻌﺎﺭ ﺩﻳﮕﺮ" ﺣﺎﻭﻯ ‪ 59‬ﺷﻌﺮ ﺍﺳﺖ‪ .‬ﺍﻳﻦ ﻛﺘﺎﺏ‬ ‫ﺻﻔﺤﻪ ﻛﻪ ﺗﻮﺳﻂ ﺷﻴﻮﺍ ﺣﺮﻳﺮﻱ ﻭﻳﺮﺍﻳﺶ ﺷﺪﻩ‬ ‫ﻣﻘﺪﻣﻪﺍﻯ ‪ 30‬ﺻﻔﺤﻪ ﺍﻯ ﺩﺍﺭﺩ‪.‬ﺩﺭ ﻣﻘﺪﻣﻪ‪،‬ﻧﮕﺎﺭﻧﺪﻩ‬ ‫ﺍﺳﺖ‪ .‬ﺩﺭ ﭘﺎﻳﺎﻥ ﻛﺘﺎﺏ ﺑﻪ ﻣﻨﻈﻮﺭ ﻓﻬﻢ ﺁﺳﺎﻥﺗﺮ‬ ‫ﺩﺭﺑﺎﺭﻩ ﺯﻧﺪﮔﻰ ﺍﺭﻳﺶ ﻓﺮﻳﺪ ﻭ ﺁﺛﺎﺭﺵ ﺳﺨﻦ ﺑﻪ ﻣﻴﺎﻥ‬ ‫ﺑﺮﺧﻲ ﻟﻐﺎﺕ ﻭ ﺍﺻﻼﺣﺎﺕ ﺍﻓﻐﺎﻧﻲ ﻭﺍژﻩﻧﺎﻣﻪﺍﻱ‬ ‫ﺁﻭﺭﺩﻩ‪.‬ﺍﺭﻳﺶ ﻓﺮﻳﺪ‪،‬ﺷﺎﻋﺮ ﺁﻟﻤﺎﻧﻰ ﺯﺑﺎﻥ ﺍﺳﺖ‪ .‬ﺍﻭ ﺩﺭ‬ ‫ﻧﻴﺰ ﺁﻭﺭﺩﻩﺷﺪﻩﺍﺳﺖ‪.‬‬ ‫ﺍﺗﺮﻳﺶ ﺩﺭ ﺷﻬﺮ ﻭﻳﻦ‪ ،‬ﺩﺭ ﺳﺎﻝ ‪ 1921‬ﺯﺍﺩﻩ ﺷﺪ‪ .‬ﺩﻭﺭﺍﻥ‬ ‫ﻛﻮﺩﻛﻰ ﻭ ﻧﻮﺟﻮﺍﻧﻰ ﺍﺵ ﻣﺼﺎﺩﻑ ﺍﺳﺖ ﺑﺎ ﺭﻭﻳﺪﺍﺩﻫﺎﻯ‬ ‫ﻧﮕﻮﺍﺭﻯ ﻛﻪ ﺑﻌﺪﻫﺎ ﺑﻪ ﺟﻨﮓ ﺟﻬﺎﻧﻰ ﺩﻭﻡ ﺍﻧﺠﺎﻣﻴﺪ‪.‬‬ ‫ﺷﻌﺮﻫﺎ‪،‬ﻧﻮﺷﺘﻪ ﻫﺎ ﻭ ﻣﺼﺎﺣﺒﻪ ﻫﺎﻯ ﻓﺮﻳﺪ‪ ،‬ﮔﻮﺍﻫﻰ ﺯﻧﺪﻩ‬ ‫ﺑﺮ ﺍﻧﺒﻮﻩ ﺭﻧﺞ ﻭ ﺍﻧﺪﻭﻫﻰ ﺍﺳﺖ ﻛﻪ ﺑﺮ ﺍﻭ ﻭ ﻫﻢ ﻧﺴﻼﻧﺶ‬ ‫ﺁﻭﺍﺭ ﻣﻰ ﺷﻮﺩ‪...‬‬

‫ﺩﻫﻜﺪﻩﻱ ﭘﺮ ﻣﻼﻝ‬ ‫)ﺩﺍﺳﺘﺎﻥﻫﺎﻳﻲ ﺍﺯ ﺭﻭﺳﺘﺎ(‬

‫ﻫﻔﺖ ﺷﻬﺮ ﻋﺸﻖ‬

‫ﻧﻮﻳﺴﻨﺪﻩ‪ :‬ﺍﻣﻴﻦ ﻓﻘﻴﺮﻱ‬ ‫ﺍﻧﺘﺸﺎﺭﺍﺕ‪ :‬ﻧﺸﺮ ﻗﺼﻪ ـ ﻧﺸﺮ ﭼﺸﻤﻪ‬

‫ﻣﻬﺮﻯ ﺷﺎﻩ ﺣﺴﻴﻨﻰ‬ ‫ﭘﺲ ﺍﺯ ﺳﺎﻝﻫﺎ ﺗﻼﺵ‪،‬ﻛﺘﺎﺏ » ﺯﻧﺎﻥ ﺷﺎﻋﺮ‬ ‫ﭘﺎﺭﺳﻲ ﮔﻮﻱ ﻫﻔﺖ ﺷﻬﺮ ﻋﺸﻖ« ﺩﺭ ﺑﺮﮔﻴﺮﻧﺪﻩ‬ ‫ﮔﻮﻱ ﻫﻔﺖ ﻛﺸﻮﺭ‬ ‫‪272‬ﺷﺎﻋﺮ ﺯﻥ ﭘﺎﺭﺳﻲ‬ ‫ِ‬ ‫ﺍﻓﻐﺎﻧﺴﺘﺎﻥ‪ ،‬ﺍﺯﺑﻜﺴﺘﺎﻥ‪ ،‬ﭘﺎﻛﺴﺘﺎﻥ‪ ،‬ﺗﺎﺟﻴﻜﺴﺘﺎﻥ‪،‬‬ ‫ﻋﺜﻤﺎﻧﻲ‪،‬ﻗﻔﻘﺎﺯ ﻭ ﻫﻨﺪﻭﺳﺘﺎﻥ ‪،‬ﻫﻤﺮﺍﻩ ﺑﺎ ﺯﻧﺪﮔﻲ‬ ‫ﻭ ﻧﻤﻮﻧﻪ ﺁﺛﺎﺭ‪،‬ﺩﺭ ﺳﺎﻝ ‪ 1384‬ﺧﻮﺭﺷﻴﺪﻱ ﻣﻨﺘﺸﺮ‬ ‫ﺷﺪ ‪ .‬ﭘﻴﺶ ﺍﺯ ﺍﻳﻦ ﺍﺛﺮ‪،‬ﻛﺘﺎﺏ "ﺯﻧﺎﻥ ﺷﺎﻋﺮ ﺍﻳﺮﺍﻥ"‬ ‫ﺭﺍ ﺩﺭ ﺳﺎﻝ ‪ 1374‬ﺗﻮﺳﻂ ﺍﻧﺘﺸﺎﺭﺍﺕ "ﻣﺪﺑﺮ"‬ ‫ﻣﻨﺘﺸﺮ ﻛﺮﺩﻩ ﺑﻮﺩﻡ ﻛﻪ ﺑﻪ ﺷﻜﻠﻲ ﻣﻲ ﺗﻮﺍﻥ‬ ‫ﮔﻔﺖ ﺍﻳﻦ ﻛﺘﺎﺏ ‪،‬ﻛﺎﻣﻞ ﻛﻨﻨﺪﻩ ﻛﺘﺎﺏ ﻗﺒﻠﻲ ﺍﻳﻦ‬ ‫ﻧﻮﻳﺴﻨﺪﻩ ﺍﺳﺖ‪ ،‬ﻛﻪ ﺩﺭ ﺁﻥ ﺑﻪ ﻣﻌﺮﻓﻲ ﺑﺴﻴﺎﺭﻱ ﺍﺯ‬ ‫ﺯﻧﺎﻥ ﺷﺎﻋﺮ ﺍﻳﺮﺍﻥ ﭘﺮﺩﺍﺧﺘﻪ ﺑﻮﺩ‪.‬‬

‫ﮔﻠﻮﻟﻪ‬ ‫ﻣﺠﻤﻮﻋﻪ ﺩﺍﺳﺘﺎﻥ ﻫﺎﻱ ﻣﻴﻨﻲ ﻣﺎﻝ‬ ‫ﺑﺮﮔﺮﺩﺍﻥ‪ :‬ﺍﺳﺪﺍﷲ ﺍﻣﺮﺍﻳﻲ‪/‬ﻧﺸﺮ ﻣﺸﻜﻰ‬

‫ﺑﺎ ﺗﻮﺟﻪ ﺑﻪ ﮔﻮﻧﻪﮔﻮﻧﻰ ﺷﻌﺮﻫﺎﻯ ﺍﺣﻤﺪ ﺷﺎﻣﻠﻮ ﻣﻰﺗﻮﺍﻥ‬ ‫ﺁﻥﻫﺎ ﺭﺍ ﺑﺪﻭﻥ ﺩﺭ ﻧﻈﺮ ﮔﺮﻓﺘﻦ ﺷﻌﺮﻫﺎﻯ ﺳﻨﺘﻰ ﺍﺯ‬ ‫ﻗﺒﻴﻞ ﻏﺰﻝ‪ ،‬ﻗﺼﻴﺪﻩﻳﺎ ﻣﺜﻨﻮﻯ‪ ،‬ﺑﻪ ﺳﻪ ﮔﺮﻭﻩ ﻋﻤﺪﻩ‬ ‫ﻧﺌﻮﻛﻼﺳﻴﻚ‪ ،‬ﻧﻴﻤﺎﻳﻰ ﻭ ﺳﭙﻴﺪ ﻗﺴﻤﺖ ﻛﺮﺩ ﻭ ﻧﻴﺰ ﺑﺎ‬ ‫ﺗﻮﺟﻪ ﺑﻪ ﺍﻧﻮﺍﻉ ﺷﻌﺮﻫﺎﻯ ﺳﭙﻴﺪ ﺩﺭ ﺑﻴﻦ ﺁﺛﺎﺭ ﺷﺎﻋﺮ‪ ،‬ﮔﺮﻭﻩ‬ ‫ﺍﺧﻴﺮ ﺭﺍ ﻣﺠﺪﺩﺍً ﺑﻪ ﺍﻧﻮﺍﻋﻰ ﻣﺜﻞ‪ :‬ﺧﻄﺎﺑﻪ‪ -‬ﺷﻌﺮ ﻣﻨﺜﻮﺭ‪-‬‬ ‫ﻧﺜﺮ ﺷﺎﻋﺮﺍﻧﻪ ﻭ ﺷﻌﺮ ﺳﭙﻴﺪ ﺗﻘﺴﻴﻢ ﻭ ﻃﺒﻘﻪﺑﻨﺪﻯ ﻛﺮﺩ‪.‬‬

‫ﺑﺎﻏﺒﺎﻥ ﺟﻮﺍﻧﻲ ﺑﻪ ﺷﺎﻫﺰﺍﺩﻩﺍﺵ ﮔﻔﺖ‪":‬ﺑﻪ ﺩﺍﺩﻡ ﺑﺮﺳﻴﺪ‬ ‫ﺣﻀﺮﺕ ﻭﺍﻻ! ﺍﻣﺮﻭﺯ ﺻﺒﺢ ﻋﺰﺭﺍﻳﻴﻞ ﺭﺍ ﺗﻮﻱ ﺑﺎﻍ ﺩﻳﺪﻡ‬ ‫ﻛﻪ ﻧﮕﺎﻩ ﺗﻬﺪﻳﺪﺁﻣﻴﺰﻱ ﺑﻪ ﻣﻦ ﺍﻧﺪﺍﺧﺖ‪.‬ﺩﻟﻢ ﻣﻲﺧﻮﺍﻫﺪ‬ ‫ﺍﻣﺸﺐ ﻣﻌﺠﺰﻩﺍﻱ ﺑﺸﻮﺩ ﻭ ﺑﺘﻮﺍﻧﻢ ﺍﺯ ﺍﻳﻦﺟﺎ ﺩﻭﺭ ﺷﻮﻡ‬ ‫ﻭ ﺑﻪ ﺍﺻﻔﻬﺎﻥ ﺑﺮﻭﻡ‪".‬ﺷﺎﻫﺰﺍﺩﻩ ﺭﺍﻫﻮﺍﺭﺗﺮﻳﻦ ﺍﺳﺐ ﺧﻮﺩ‬ ‫ﺭﺍ ﺩﺭ ﺍﺧﺘﻴﺎﺭ ﺍﻭ ﮔﺬﺍﺷﺖ‪.‬ﻋﺼﺮ ﺁﻥ ﺭﻭﺯ ﺷﺎﻫﺰﺍﺩﻩ ﺩﺭ ﺑﺎﻍ‬ ‫ﻗﺪﻡ ﻣﻲﺯﺩ ﻛﻪ ﺑﺎ ﻣﺮگ ﺭﻭﺑﻪﺭﻭ ﺷﺪ ﻭ ﺍﺯ ﺍﻭ ﭘﺮﺳﻴﺪ‪ ،‬ﭼﺮﺍ‬ ‫ﺍﻣﺮﻭﺯ ﺻﺒﺢ ﺑﻪ ﺑﺎﻏﺒﺎﻥ ﻣﻦ ﭼﭗﭼﭗ ﻧﮕﺎﻩﻛﺮﺩﻱ ﻭ ﺍﻭ ﺭﺍ‬ ‫ﺗﺮﺳﺎﻧﺪﻱ؟ﻣﺮگ ﺟﻮﺍﺏ ﺩﺍﺩ ‪...‬‬

‫ﺩﺍﺳﺘﺎﻥﻫﺎﻱ ﺩﻫﻜﺪﻩﻱ ﭘﺮ ﻣﻼﻝ ﺍﮔﺮ ﭼﻪ ﺍﺯ ﻧﻈﺮ‬ ‫ﻣﻮﺿﻮﻉ ﺑﺎ ﻳﻜﺪﻳﮕﺮ ﻣﺘﻔﺎﻭﺗﻨﺪ ﺍﻣﺎ ﺧﻮﺍﻧﻨﺪﻩ ﭘﺲ ﺍﺯ‬ ‫ﻣﻄﺎﻟﻌﻪ ﻛﺘﺎﺏ ﻣﻲﺗﻮﺍﻧﺪ ﺳﻴﻤﺎﻱ ﻛﻠﻲ ﺭﻭﺳﺘﺎﻫﺎﻱ‬ ‫ﺍﻳﺮﺍﻥ ﺭﺍ ﺍﺯ ﻧﻈﺮ ﺟﺎﻣﻌﻪﺷﻨﺎﺳﻲ ﺩﺭ ﺩﻫﻦ ﺗﺼﻮﻳﺮ‬ ‫ﻛﻨﺪ‪.‬ﺭﺍﺑﻄﻪﻱ ﻣﺎﻟﻚ ﻭ ﺭﻋﻴﺖ ﻭ ﻃﺮﺯ ﻫﺮ ﻛﺪﺍﻡ‬ ‫ﺍﺯ ﻣﺴﺎﻟﻪ ﺯﻣﻴﻦ ﻭ ﺁﺏ ﻭ ﺑﺮﺩﺍﺷﺖ ﻣﺤﺼﻮﻝ‪،‬‬ ‫ﺧﺮ ﺍ ﻓﺎ ﺕ ‪ ،‬ﻓﺮ ﻫﻨﮓ ‪ ،‬ﺩ ﻳﻦ ﺑﺎ ﻭ ﺭ ﻱ ‪ ،‬ﻣﻬﺎ ﺟﺮ ﺕ ‪،‬‬ ‫ﺍﺳﺘﺜﻤﺎﺭ‪ ،‬ﺳﻠﻒ ﺧﺮﻫﺎ ﻭ ﺑﺎﻧﻚﻫﺎ ﻭﺁﺩﺍﺏ ﻭ‬ ‫ﺭﺳﻮﻡ‪ ،‬ﺯﻳﺮ ﺑﻨﺎﻱ ﺗﻤﺎﻡ ﺩﺍﺳﺘﺎﻥﻫﺎﺳﺖ‪.‬‬ ‫ﺍﻛﺜﺮ ﺩﺍﺳﺘﺎﻥﻫﺎﻱ ﺍﻳﻦ ﻛﺘﺎﺏ ﺑﻪ ﺯﺑﺎﻥﻫﺎﻱ‬ ‫ﻣﺨﺘﻠﻒ ﺗﺮﺟﻤﻪ ﺷﺪﻩﺍﺳﺖ‪.‬‬

‫ﻣﻨﺘﺸﺮ ﻛﺮﺩ‬

‫ﻧﺸﺮ ﺭﻭﺯﮔﺎﺭ‬

‫ﺩﻭﺭﻩ ﺟﺪﻳﺪ‪/‬ﺷﻤﺎﺭﻩ ‪ 9‬ﻭ ‪)10‬ﭘﻴﺎﭘﻲ‪39‬ﻭ‪ /(40‬ﺳﺎﻝ ﺳﻮﻡ‪/‬ﻧﻮﺭﻭﺯ‪88‬‬

‫ﺍﺳﺖ‪» :‬ﺑﻰﭘﻮﻟﻢ‪ .‬ﻣﺮﺗﺐ ﻣﻴﻬﻤﺎﻥ‬ ‫ﻣﻰﺁﻳﺪ‪ .‬ﺑﻴﺸﺘﺮ ﺍﻭﻗﺎﺕ ﺩﻟﻢ ﺗﻨﮓ‬ ‫ﺍﺳﺖ‪ 3) «.‬ﺳﭙﺘﺎﻣﺒﺮ ‪ (1899‬ﻭ ﭼﻨﺪ‬ ‫ﺭﻭﺯ ﺑﻌﺪ ﺑﻪ ﺗﺎﺭﻳﺦ ‪ 29‬ﺳﭙﺘﺎﻣﺒﺮ ‪1899‬‬ ‫ﻣﻰﻧﻮﻳﺴﺪ‪» :‬ﭘﻮﻝ ﻧﺪﺍﺭﻡ‪ ،‬ﺍﺻ ً‬ ‫ﻼ ﻧﺪﺍﺭﻡ‪.‬‬ ‫ﺗﻨﻬﺎ ﻛﺎﺭﻯ ﻛﻪ ﻣﻰﻛﻨﻢ ﺧﻮﺩﻡ ﺭﺍ ﺍﺯ‬ ‫ﺩﻳﺪ ﻃﻠﺐﻛﺎﺭﻫﺎ ﻣﺨﻔﻰ ﻣﻰﻛﻨﻢ‪«.‬‬ ‫ﻭ ﻣﻰﺑﻴﻨﻴﻢ ﻛﻪ ﺩﺭ ‪ 18‬ﺍﻭﺕ‬ ‫‪1900‬ﻣﺎﺟﺮﺍﻯ ﺑﻰﭘﻮﻟﻰ ﻫﻤﭽﻨﺎﻥ‬ ‫ﻣﻌﻀﻠﻰ ﺍﺳﺖ‪» :‬ﻣﻦ ﺩﻟﺘﻨﮓ ﻭ‬ ‫ﻋﺼﺒﻰ ﻫﺴﺘﻢ‪ .‬ﭘﻮﻝﻫﺎ ﺑﻪ ﻃﻮﺭ‬ ‫ﺳﺮﺳﺎﻡﺁﻭﺭﻯ ﺧﺮﺝ ﻣﻰﺷﻮﻧﺪ‪ «.‬ﻭ ﺩﺭ‬ ‫ﺟﺎﻯ ﺩﻳﮕﺮﻯ ﺁﺭﺯﻭ ﻣﻰﻛﻨﺪ ﻛﻪ‪»:‬ﺁﻩ!‬ ‫ﺍﮔﺮ ﭘﻮﻝﺩﺍﺭ ﺷﻮﻡ‪ «.‬ﻭ ﺩﺭ ﻫﻤﺎﻥ ﺣﺎﻝ‪،‬‬ ‫ﻫﻤﺎﻥﻃﻮﺭ ﻛﻪ ﺩﺭ ﺟﻠﺪ ﻧﻬﻢ ﻣﺠﻤﻮﻋﻪ‬ ‫ﺁﺛﺎﺭ ﭼﺨﻮﻑ ﺻﻔﺤﺔ ‪ 275‬ﺁﻣﺪﻩ‬ ‫ﺍﺳﺖ‪ » :‬ﺍﺯ ﻧﺎﻣﻪﻫﺎﻳﻰ ﻛﻪ ﭘﻴﭙﺎﻧﻒ‬ ‫ﻃﻰ ﺳﺎﻝ ‪1899 – 1898‬ﺧﻄﺎﺏ‬ ‫ﺑﻪ ﭼﺨﻮﻑ ﻧﻮﺷﺘﻪ‪ ،‬ﭼﻨﻴﻦ ﺑﺮﻣﻰﺁﻳﺪ‬ ‫ﻛﻪ ﭼﺨﻮﻑ ﺑﻪ ﺭﻏﻢ ﺑﻰﭘﻮﻟﻰ ﺧﻮﺩﺵ‬ ‫ﻫﺮﻣﺎﻫﻪ ﺑﺮﺍﻯ ﺍﻭ ﭘﻮﻝ ﻣﻰﻓﺮﺳﺘﺎﺩﻩ ﻭ‬ ‫ﺩﺭ ﺍﻛﺘﺒﺮ ‪ 1899‬ﻛﻤﻚ ﻣﻰﻛﻨﺪ ﺗﺎ ﺍﻭ‬ ‫ﺑﻪﻳﺎﻟﺘﺎ ﺑﻴﺎﻳﺪ‪«.‬‬ ‫ﻧﺎﻣﻪﻫﺎ ﻣﺎ ﺭﺍﻳﺎﺭﻯ ﻣﻰﻛﻨﻨﺪ ﺗﺎ ﺩﺭﻳﺎﺑﻴﻢ‬ ‫ﻛﻪ ﺑﻔﻬﻤﻴﻢ ﻓﺎﺻﻠﺔ ﺍﺟﺘﻤﺎﻋﻰ ﻭ ﻧﻪ‬ ‫ﺗﺎﺭﻳﺨﻰ ﻧﻮﻳﺴﻨﺪﮔﺎﻥ ﺑﺎ ﺟﺎﻣﻌﻪﺍﻯ ﻛﻪ‬ ‫ﺩﺭ ﺁﻥ ﻣﻰﻛﻨﻨﺪ ﭼﻪﻗﺪﺭ ﺍﺳﺖ؛ ﺁﻥﺟﺎ‬ ‫ﻛﻪ ﭼﺨﻮﻑ ﺑﺎ ﺧﻨﺪﻩﺍﻯ ﺯﻳﺮﺟﻠﻰ‬ ‫ﺑﺎﺭﻫﺎ ﻭ ﺑﺎﺭﻫﺎ ﺩﺭ ﻧﺎﻣﻪﻫﺎ ﺑﻪ ﻫﻤﺴﺮ‬ ‫ﺧﻮﺩﻳﺎﺩﺁﻭﺭﻯ ﻣﻰﻛﻨﺪ ﻛﻪ ﻣﻦ ﺷﻮﻫﺮ‬ ‫ﺗﻮ ﻫﺴﺘﻢ ﻭ ﻣﻰﺗﻮﺍﻧﻢ ﺗﻮ ﺭﺍ ﻛﺘﻚ‬ ‫ﺑﺰﻧﻢ؛ ﻭ ﺍﺯ ﺍﻳﻦ ﻃﺮﻳﻖ ﺣﻘﻰ ﺭﺍ ﻛﻪ‬ ‫ﺟﺎﻣﻌﻪ ﺁﻥﺯﻣﺎﻥ ﺭﻭﺳﻴﻪ‪ ،‬ﮔﻮﻳﺎ ﻋﺮﻓ ًﺎ‬ ‫ﻭ ﻗﺎﻧﻮﻧ ًﺎ‪ ،‬ﺑﺮﺍﻯ ﺷﻮﻫﺮ ﻗﺎﺋﻞ ﺑﻮﺩﻩ‬ ‫ﺑﻪ ﺳﺨﺮﻩ ﻣﻰﮔﻴﺮﺩ‪ .‬ﻭ ﺩﺭ ﻋﻴﻦ ﺣﺎﻝ‬ ‫ﻣﺘﻮﺟﻪ ﻃﻨﺰ ﻧﻘﺎﺩ ﻭ ﺍﻓﺸﺎﮔﺮ ﭼﺨﻮﻑ‬ ‫ﻫﻢ ﻣﻰﺷﻮﻳﻢ ﻭ ﺩﺭ ﻣﻰﻳﺎﺑﻴﻢ ﭼﺨﻮﻑ‬ ‫ﻧﻮﻳﺴﻨﺪﻩﺍﻯ ﺍﺳﺖ ﻛﻪ ﮔﺮﭼﻪ ﺍﺯ ﺩﻳﺪ‬ ‫ﺗﺎﺭﻳﺨﻰ ﺩﺭ ﺳﺪﺓ ‪ 19‬ﻣﻰﺯﻳﺴﺘﻪ ﺍﻣﺎ‬ ‫ﺯﻧﺪﮔﻰ ﺷﺨﺼﻰ ﺍﻭ ﺩﺭ ﻗﺮﻧﻰ ﺟﻠﻮﺗﺮ‬ ‫ﺟﺎﺭﻯ ﺍﺳﺖ‪.‬‬ ‫ﺩﺭ ﺑﺎﺭﺓ ﻧﺤﻮﺓ ﻧﮕﺎﻩ ﺍﻭ ﺑﻪ ﻧﻮﺷﺘﻦ‬ ‫ﺩﺭ ﻧﺎﻣﻪ ‪ 11‬ﺁﻭﺭﻳﻞ ‪ 1889‬ﺧﻄﺎﺏ‬ ‫ﺑﻪ ﺑﺮﺍﺩﺭﺵ ﻣﻰﺧﻮﺍﻧﻴﻢ‪» :‬ﺑﺎﻳﺪ‬ ‫ﺁﺯﺍﺩﺍﻧﺪﻳﺶ ﺑﻮﺩ‪ ،‬ﺁﻥﭼﻨﺎﻥ ﻛﻪ ﺍﺯ‬ ‫ﻧﻮﺷﺘﻦ ﺣﻤﺎﻗﺖﻫﺎ ﻫﺮﺍﺳﻰ ﻧﺪﺍﺷﺘﻪ‬ ‫ﺑﺎﺷﻰ‪ .‬ﻧﻮﺷﺘﻪﺍﺕ ﺭﺍ ﺯﻳﺎﺩ ﻭﻳﺮﺍﻳﺶ‬ ‫ﻧﻜﻦ ﻭ ﺟﻼ ﻭ ﺻﻴﻘﻞ ﻧﺪﻩ‪ ،‬ﺑﻠﻜﻪ‬ ‫ﺟﺴﻮﺭ ﻭ ﻧﺘﺮﺱ ﺑﺎﺵ‪ .‬ﺍﺧﺘﺼﺎﺭ=‬ ‫ﺧﻮﺍﻫﺮ ﺍﺳﺘﻌﺪﺍﺩ‪ .‬ﺩﺭ ﺿﻤﻦ ﺑﻪﻳﺎﺩ‬ ‫ﺩﺍﺷﺘﻪ ﺑﺎﺵ ﻛﻪ ﺗﻮﺿﻴﺤﺎﺕ‬ ‫ﻋﺎﺷﻘﺎﻧﻪ‪ ،‬ﺧﻴﺎﻧﺖ ﺯﻥ ﻭﺷﻮﻫﺮﻫﺎ‪،‬‬ ‫ﺍﺷﻚ ﺑﻴﻮﻩﺯﻧﺎﻥ ﻭﻳﺘﻴﻤﺎﻥ ﻭ ﻫﺮ‬ ‫ﻧﻮﻉ ﺍﺷﻚ ﻭ ﺯﺍﺭﻯ ﺭﺍ ﻣﺪﺕﻫﺎ ﻗﺒﻞ‬ ‫ﺩﻳﮕﺮﺍﻥ ﺗﻮﺻﻴﻒ ﻛﺮﺩﻩﺍﻧﺪ‪ .‬ﻣﻮﺿﻮﻉ‬ ‫ﻣﻰﺗﻮﺍﻧﺪ ﻭﺟﻮﺩ ﻧﺪﺍﺷﺘﻪ ﺑﺎﺷﺪ ﻭﻟﻰ‬ ‫ﺳﻮژﻩ ﺑﺎﻳﺴﺘﻰ ﻧﻮ ﺑﺎﺷﺪ‪ «.‬ﻭ ﺩﺭﺑﺎﺭﺓ‬ ‫ﻧﺜﺮ ﺩﺍﺳﺘﺎﻥ ﻭ ﻧﻤﺎﻳﺶﻧﺎﻣﻪ ﻣﻰﮔﻮﻳﺪ‪:‬‬ ‫»ﺧﺪﻣﺖﻛﺎﺭﺍﻥ ﺑﺎﻳﺪ ﺑﺎ ﺯﺑﺎﻥ ﺳﺎﺩﺓ‬

‫ﺧﻮﺩﺷﺎﻥ ﺑﺪﻭﻥ ﻟﻔﻆ ﻗﻠﻢ ﺳﺨﻦ ﺑﮕﻮﻳﻨﺪ‪«.‬‬ ‫ﺩﺭ ‪ 3‬ﺳﭙﺘﺎﻣﺒﺮ ‪ 1899‬ﺑﻪ ﮔﻮﺭﻛﻰ ﻣﻰﻧﻮﻳﺴﺪ‪:‬‬ ‫»ﻫﻨﮕﺎﻡ ﺧﻮﺍﻧﺪﻥ ﻧﻤﻮﻧﻪ ﻏﻠﻂﮔﻴﺮﻯ ﺗﺎ ﺁﻧﺠﺎ‬ ‫ﻛﻪ ﻣﻤﻜﻦ ﺍﺳﺖ ﻛﻠﻤﺎﺕ ﻭﺻﻔﻰ ﺭﺍ ﻛﻪ‬ ‫ﺑﺮﺍﻯ ﺗﻮﺻﻴﻒ ﺍﺳﺎﻣﻰﻭ ﺍﻓﻌﺎﻝ ﺁﻭﺭﺩﻩﺍﻳﺪ‬ ‫ﺣﺬﻑ ﻛﻨﻴﺪ‪ «.‬ﻭ ﺩﺭ ﻫﻤﺎﻥ ﻧﺎﻣﻪ ﺗﺄﻛﻴﺪ‬ ‫ﻣﻰﻛﻨﺪ ﻛﻪ ﺩﺍﺳﺘﺎﻥﻧﻮﻳﺲ ﺑﺎﻳﺪ ﻃﻮﺭﻯ‬ ‫ﺑﻨﻮﻳﺴﺪ ﻛﻪ ﺑﻰﺩﺭﻧﮓ ﺩﺭ ﻳﻚ ﺛﺎﻧﻴﻪ ﻗﺎﺑﻞ‬ ‫ﺩﺭﻙ ﺑﺎﺷﺪ‪ .‬ﻫﻢﭼﻨﻴﻦ ﺩﺭ ﺑﺎﺭﺓ ﺷﻴﻮﻩ ﺑﻴﺎﻥ‬ ‫ﺩﺭ ﺗﺌﺎﺗﺮ ﺩﺭ ‪ 2‬ژﺍﻧﻮﻳﻪ ‪ 1900‬ﺧﻄﺎﺏ ﺑﻪ ﺍﻟﮕﺎ‬ ‫ﻣﻰﻧﻮﻳﺴﺪ‪» :‬ﺭﻧﺞ ﺭﺍ ﺑﺎﻳﺪ ﻫﻤﺎﻥﻃﻮﺭ ﻛﻪ ﺩﺭ‬ ‫ﺯﻧﺪﮔﻰ ﺑﻴﺎﻥ ﻣﻰﺷﻮﺩ ﺑﻴﺎﻥ ﻛﺮﺩ‪.‬ﻳﻌﻨﻰ ﻧﻪ ﺑﺎ‬ ‫ﺣﺮﻛﺎﺕ ﺩﺳﺖ ﻭﭘﺎ ﺑﻠﻜﻪ ﺑﺎ ﺁﻫﻨﮓ ﺻﺪﺍ ﻭ‬ ‫ﻧﮕﺎﻩ‪ ،‬ﻧﻪ ﺑﺎ ﺍﻳﻤﺎء ﻭ ﺍﺷﺎﺭﻩ ﺑﻠﻜﻪ ﺑﺎ ﻇﺮﺍﻓﺖ‪«.‬‬ ‫ﻧﺎﻣﻪﻫﺎ ﮔﺎﻩ ﺩﻝ ﻣﺎ ﺭﺍ ﺑﻪ ﺩﺭﺩ ﻣﻰﺁﻭﺭﺩ ﻭ‬ ‫ﻧﺸﺎﻥ ﻣﻰﺩﻫﺪ ﻛﻪ ﻧﻮﻳﺴﻨﺪﻩﺍﻯ ﭼﻮﻥ‬ ‫ﭼﺨﻮﻑ ﻫﻢ ﻣﻰﺗﻮﺍﻧﺴﺘﻪ ﭼﻪ ﻗﻀﺎﻭﺕ‬ ‫ﻧﺎﺩﺭﺳﺘﻰ ﺍﺯ ﺧﻮﺩ ﻭ ﺁﺛﺎﺭﺵ ﺩﺍﺷﺘﻪ ﺑﺎﺷﺪ‪.‬‬ ‫ﺩﺭ ‪ 20‬ﺳﭙﺘﺎﻣﺒﺮ ‪،1903‬ﻳﻌﻨﻰ ﺩﺭ ﻭﺍﭘﺴﻴﻦ‬ ‫ﺳﺎﻝ ﺣﻴﺎﺕ ﺧﻮﺩ ﺑﻪ ﻫﻤﺴﺮﺵ ﻣﻰﻧﻮﻳﺴﺪ‪:‬‬ ‫»ﺩﻳﮕﺮ ﻧﻮﻳﺴﻨﺪﻩﺍﻯ ﺍﺯ ﺭﺩﻩ ﺧﺎﺭﺝ ﺷﺪﻩ‬ ‫ﭼﺨﻮﻑ ﺩﺭ ‪ 20‬ﺳﭙﺘﺎﻣﺒﺮ‬ ‫ﻭﺍﭘﺴﻴﻦ‬ ‫ﺩﺭ‬ ‫‪،1903‬ﻳﻌﻨﻰ‬ ‫ﺳﺎﻝ ﺣﻴﺎﺕ ﺧﻮﺩ ﺑﻪ ﻫﻤﺴﺮﺵ‬ ‫ﻣﻰﻧﻮﻳﺴﺪ‪» :‬ﺩﻳﮕﺮ ﻧﻮﻳﺴﻨﺪﻩﺍﻯ ﺍﺯ‬ ‫ﺭﺩﻩ ﺧﺎﺭﺝ ﺷﺪﻩ ﻫﺴﺘﻢ ﻭ ﺟﻤﻼﺗﻰ‬ ‫ﻛﻪ ﻣﻰﻧﻮﻳﺴﻢ ﺑﻰﺍﺭﺯﺵ ﻭ ﻧﺎﻣﺮﺑﻮﻁ‬ ‫ﺍﻧﺪ ﻭ ﺑﻪ ﻫﻴﭻ ﺩﺭﺩﻯ ﻧﻤﻰﺧﻮﺭﻧﺪ‪«.‬‬ ‫ﻭ ﺩﺭ ﻧﺎﻣﻪﺍﻯ ﺑﻪ ﺩﺍﻧﭽﻨﻜﻮ‪،‬‬ ‫ﺩﺍﺳﺘﺎﻥﭘﺮﺩﺍﺯ‪،‬‬ ‫ﺩﺭﺍﻡﻧﻮﻳﺲ‪،‬‬ ‫ﺭﻭﺍﻧﺸﻨﺎﺱ ﻭ ﻣﻨﺘﻘﺪ ﺗﺌﺎﺗﺮ‪،‬‬ ‫ﻣﻰﻧﻮﻳﺴﺪ‪» :‬ﻣﻘﺼﺮ ﺗﻮ ﻭ ﺳﻮﻣﺒﺎﺗﻒ‬ ‫ﻫﺴﺘﻴﺪ ﻛﻪ ﻣﺮﺗﺐ ﻣﺮﺍ ﺑﻪ ﻧﻮﺷﺘﻦ‬ ‫ﻧﻤﺎﻳﺸﻨﺎﻣﻪ ﺗﺸﻮﻳﻖ ﻣﻰﻛﺮﺩﻳﺪ‪«.‬‬

‫ﻫﺴﺘﻢ ﻭ ﺟﻤﻼﺗﻰ ﻛﻪ ﻣﻰﻧﻮﻳﺴﻢ ﺑﻰﺍﺭﺯﺵ‬ ‫ﻭ ﻧﺎﻣﺮﺑﻮﻃﻨﺪ ﻭ ﺑﻪ ﻫﻴﭻ ﺩﺭﺩﻯ ﻧﻤﻰﺧﻮﺭﻧﺪ‪«.‬‬ ‫ﻭ ﺩﺭ ﻧﺎﻣﻪﺍﻯ ﺑﻪ ﺩﺍﻧﭽﻨﻜﻮ‪ ،‬ﺩﺭﺍﻡﻧﻮﻳﺲ‪،‬‬ ‫ﺩﺍﺳﺘﺎﻥﭘﺮﺩﺍﺯ‪ ،‬ﺭﻭﺍﻧﺸﻨﺎﺱ ﻭ ﻣﻨﺘﻘﺪ ﺗﺌﺎﺗﺮ‪،‬‬ ‫ﻣﻰﻧﻮﻳﺴﺪ‪» :‬ﻣﻘﺼﺮ ﺗﻮ ﻭ ﺳﻮﻣﺒﺎﺗﻒ ﻫﺴﺘﻴﺪ‬ ‫ﻛﻪ ﻣﺮﺗﺐ ﻣﺮﺍ ﺑﻪ ﻧﻮﺷﺘﻦ ﻧﻤﺎﻳﺸﻨﺎﻣﻪ ﺗﺸﻮﻳﻖ‬ ‫ﻣﻰﻛﺮﺩﻳﺪ‪ «.‬ﻭ ﺟﺎﻯ ﺩﻳﮕﺮﻯ ﺑﻪ ﻫﻤﺎﻥ‬ ‫ﺷﺨﺺ ﺩﻟﺴﺮﺩﻯﺍﺵ ﻧﺴﺒﺖ ﺑﻪ ﺍﺩﺑﻴﺎﺕ ﺭﺍ‬ ‫ﺍﻳﻨﮕﻮﻧﻪ ﺑﻴﺎﻥ ﻣﻰﻛﻨﺪ‪» :‬ﺍﺩﺑﻴﺎﺕ ﻣﺎ ﺭﺍ ﺑﻪ‬ ‫ﺗﺪﺭﻳﺞ ﺍﺯ ﺩﻧﻴﺎﻯ ﺧﺎﺭﺝ ﺟﺪﺍ ﺳﺎﺧﺘﻪ ﻭ ﺩﺭ‬ ‫ﻧﺘﻴﺠﻪ ﻭﻗﺖ ﺁﺯﺍﺩﻯ ﺑﺮﺍﻳﻤﺎﻥ ﻧﻤﺎﻧﺪﻩ ﺍﺳﺖ‪.‬‬ ‫ﭘﻮﻝ ﻧﺪﺍﺭﻳﻢ‪ ،‬ﻛﺘﺎﺑﻤﺎﻥ ﻛﻢ ﺍﺳﺖ‪ .‬ﺧﻴﻠﻰ ﻛﻢ‬ ‫ﻭ ﺑﺎ ﺑﻰﻣﻴﻠﻰ ﻣﻄﺎﻟﻌﻪ ﻣﻰﻛﻨﻴﻢ‪ .‬ﺑﻪ ﻧﺪﺭﺕ ﺑﻪ‬ ‫ﺣﺮﻑ ﺩﻳﮕﺮﺍﻥ ﮔﻮﺵ ﻣﻰﺩﻫﻴﻢ‪ .‬ﺧﻴﻠﻰ ﻛﻢ‬ ‫ﺗﻼﺵ ﻣﻰﻛﻨﻴﻢ ﻭ ﺑﻰﺗﺤﺮﻙ ﻫﺴﺘﻴﻢ‪«.‬‬ ‫ﺧﻮﺍﻧﺪﻥ ﺟﻮﺍﺏ ﺩﺍﻧﭽﻨﻜﻮ ﺑﻪ ﭼﺨﻮﻑ ﻫﻢ‬ ‫ﺧﺎﻟﻰ ﺍﺯ ﻟﻄﻒ ﻧﻴﺴﺖ‪» :‬ﺗﻮ ﺁﺩﻡ ﺧﻮﺵ‬ ‫ﻣﺸﺮﺑﻰ ﻧﻴﺴﺘﻰ‪ .‬ﺷﺎﻳﺪ ﻫﻢ ﻣﻦ ﺧﻮﺩ ﺭﺍ ﺩﺭ‬ ‫ﻣﻘﺎﺑﻞ ﺗﻮ ﻛﻤﻰﻛﻮﭼﻚ ﻣﻰﺑﻴﻨﻢ‪.‬ﻳﺎ ﺍﻳﻦﻛﻪ‬ ‫ﺗﻮ ﺑﺎ ﺍﺳﺘﻌﺪﺍﺩﺕ ﺑﺮ ﻣﻦ ﭼﻴﺮﻩ ﻣﻰﺷﻮﻯ‬ ‫ﻭ ﺑﺎﻷﺧﺮﻩ ﺍﻳﻦﻛﻪ ﺁﻳﺎ ﻋﻠﺘﺶ ﺍﻳﻦ ﻧﻴﺴﺖ‬ ‫ﻛﻪ ﻫﻤﻪ ﻣﺎ ﺣﺘﻰ ﺗﻮ ﺁﺩﻡﻫﺎﻳﻰ ﻧﺎﻣﺘﻌﺎﺩﻝ‬

‫ﻫﺴﺘﻴﻢ ﻭ ﺑﻪ ﻫﺪﻑ ﻧﻮﻳﺴﻨﺪﮔﻰ ﺍﻳﻤﺎﻥ‬ ‫ﻧﺪﺍﺭﻳﻢ؟ «‬ ‫ﺍﻣﺎ ﭼﺨﻮﻑ ﺩﺭ ﻫﻤﺎﻥ ﺣﺎﻝ ﻛﻪ ﺧﻮﺩ‬ ‫ﺭﺍ ﻧﻤﻰﺩﻳﺪﻩ ﻣﻰﺗﻮﺍﻧﺴﺘﻪ ﻧﻮﻳﺴﻨﺪﺓ ﻫﻢ‬ ‫ﻋﺼﺮ ﺧﻮﺩﺵ ﺭﺍ ﺑﻪ ﺧﻮﺑﻰ ﻭ ﺑﺎ ﻇﺮﺍﻓﺖ‬ ‫ﻧﻘﺪ ﻛﻨﺪ‪ .‬ﺩﺭ ‪ 20‬ژﺍﻧﻮﻳﻪ ‪ 1902‬ﺧﻄﺎﺏ ﺑﻪ‬ ‫ﺍﻭﻟﮕﺎ ﻣﻰﻧﻮﻳﺴﺪ‪» :‬ﺭﺍﺳﺘﻰ ﺑﮕﻮﻳﻢ‪ ،‬ﮔﻮﺭﻛﻰ‬ ‫ﻣﺸﻐﻮﻝ ﻧﻮﺷﺘﻦ ﻧﻤﺎﻳﺸﻨﺎﻣﺔ ﺗﺎﺯﻩﺍﻯ ﺍﺳﺖ ﺍﺯ‬ ‫ﺯﻧﺪﮔﻰ ﻣﺴﺘﻤﻨﺪﺍﻥ ﺑﻰﺧﺎﻧﻤﺎﻥ‪ .‬ﻫﺮﭼﻨﺪ ﻛﻪ‬ ‫ﺑﻪ ﺍﻭ ﺗﻮﺻﻴﻪ ﻛﺮﺩﻩﺍﻡ ﻛﻪﻳﻚ ﺳﺎﻝ ﺩﻳﮕﺮ‬ ‫ﺻﺒﺮ ﻛﻨﺪ ﻭ ﻋﺠﻠﻪ ﺑﻪ ﺧﺮﺝ ﻧﺪﻫﺪ‪ .‬ﻧﻮﻳﺴﻨﺪﻩ‬ ‫ﺑﺎﻳﺪ ﺯﻳﺎﺩ ﺑﻨﻮﻳﺴﺪ ﻭﻟﻰ ﺷﺘﺎﺏ ﺑﻪ ﺧﺮﺝ‬ ‫ﻧﺪﻫﺪ‪ .‬ﺍﻳﻦﻃﻮﺭ ﻧﻴﺴﺖ ﻫﻤﺴﺮ ﺧﻮﺑﻢ؟« ﻭ‬ ‫ﺑﺎﺯ ﻫﻢ ﺭﺍﺟﻊ ﺑﻪ ﮔﻮﺭﻛﻰ ﺧﻄﺎﺏ ﺑﻪﻳﻮژﻳﻦ‪،‬‬ ‫ﻫﻨﺮﭘﻴﺸﻪ ﻭ ﺩﺭﺍﻡﻧﻮﻳﺲ‪ ،‬ﻣﻰﻧﻮﻳﺴﺪ‪:‬‬ ‫»ﻓﻮﻣﺎﮔﺎﺭﺩﻳﻒ ﻭ ﺳﻪ ﺭﻓﻴﻖ ﮔﻮﺭﻛﻰ ﺭﺍ ﻧﺒﺎﻳﺪ‬ ‫ﺧﻮﺍﻧﺪ‪ .‬ﺁﺛﺎﺭ ﺧﻮﺑﻰ ﻧﻴﺴﺘﻨﺪ ﻭ ﺧﺮﺩﻩ ﺑﻮﺭژﻭﺍ‬ ‫ﻛﺎﺭﻯ ﺩﺭ ﺣﺪﻳﻚ ﺷﺎﮔﺮﺩ ﺩﺑﻴﺮﺳﺘﺎﻥ ﺍﺳﺖ‪«.‬‬ ‫ﻭ ﺑﻌﺪ ﺩﺭ ﻫﻤﺎﻥ ﻧﺎﻣﻪ ﺑﻪ ﻧﺤﻮ ﭘﻴﺎﻣﺒﺮﮔﻮﻧﻪﺍﻯ‬ ‫ﭘﻴﺶﺑﻴﻨﻰ ﻣﻰﻛﻨﺪ‪» :‬ﺑﻪ ﻧﻈﺮ ﻣﻦ ﺯﻣﺎﻧﻰ‬ ‫ﺧﻮﺍﻫﺪ ﺭﺳﻴﺪ ﻛﻪ ﺁﺛﺎﺭ ﮔﻮﺭﻛﻰ ﻓﺮﺍﻣﻮﺵ‬ ‫ﺧﻮﺍﻫﺪ ﺷﺪ ﻭﻟﻰ ﺧﻮﺩ ﺍﻭ ﭘﺲ ﺍﺯ ﮔﺬﺷﺖ‬ ‫ﻫﺰﺍﺭﺍﻥ ﺳﺎﻝ ﺑﺎﺯﻫﻢ ﺩﺭﻳﺎﺩﻫﺎ ﺧﻮﺍﻫﺪ ﻣﺎﻧﺪ‪«.‬‬ ‫ﻭ ﺩﺭ ﻫﻤﺎﻥ ﺣﺎﻝ ﺩﺭ ژﻭﺋﻦ ‪ 1899‬ﺑﻰ ﻫﻴﭻ‬ ‫ﺗﻌﺎﺭﻑ ﻭ ﭘﺮﺩﻩﭘﻮﺷﻰ ﺑﻪ ﮔﻮﺭﻛﻰ ﻣﻰﻧﻮﻳﺴﺪ‬ ‫ﻛﻪ ﺷﻤﺎ ﺑﺎ ﻣﻮﻓﻘﻴﺖ ﻭ ﺳﺮﻭﺻﺪﺍ ﺷﺮﻭﻉ‬ ‫ﻛﺮﺩﻳﺪ‪ ،‬ﺑﻪ ﻫﻤﻴﻦ ﺟﻬﺖ ﺣﺎﻻ ﻫﻤﻪ ﭼﻴﺰ‬ ‫ﺩﺭ ﻧﻈﺮﺗﺎﻥ ﭘﻴﺶ ﭘﺎﺍﻓﺘﺎﺩﻩ ﻭ ﻣﺒﺘﺬﻝ ﺍﺳﺖ ﻭ‬ ‫ﺩﺭ ﻧﺎﻣﺔ ﺩﻳﮕﺮﻯ ﺍﺯ ﺍﻭ ﻣﻰﺧﻮﺍﻫﺪ ﻛﻪ ﺑﺎ ﻧﮕﺎﻩ‬ ‫ﺩﻗﻴﻖﺗﺮﻯ ﺑﻪ ﺧﻮﺍﻧﻨﺪﮔﺎﻥ ﻛﺘﺎﺏﻫﺎﻳﺶ ﻧﻈﺮ‬ ‫ﺑﻴﻨﺪﺍﺯﺩ ﻭﻳﺎ ﻭ ﺩﺭ ‪ 3‬ژﺍﻧﻮﻳﻪ ‪ 1899‬ﺧﻄﺎﺏ‬ ‫ﺑﻪ ﮔﻮﺭﻛﻰ ﻣﻰﻧﻮﻳﺴﺪ‪ » :‬ﺷﻤﺎ ﻃﺒﻴﻌﺖ ﺭﺍ‬ ‫ﻫﻨﺮﻣﻨﺪﺍﻧﻪ ﺗﻮﺻﻴﻒ ﻣﻰﻛﻨﻴﺪ‪ .‬ﺷﻤﺎﻳﻚ‬ ‫ﻧﻘﺎﺵ ﻣﻨﻈﺮﻩﭘﺮﺩﺍﺯ ﻭﺍﻗﻌﻰ ﻫﺴﺘﻴﺪ‪ .‬ﺍﻣﺎ‬ ‫ﺍﻛﺜﺮ ﺗﺸﺒﻴﻬﺎﺕ ﺍﻧﺴﺎﻥ ﻣﺎﻧﻨﺪ‪ :‬ﺩﺭﻳﺎ ﻧﻔﺲ‬ ‫ﻣﻰﻛﺸﺪ‪ ،‬ﺍﺳﺘﭗ ﺍﺳﺘﺮﺍﺣﺖ ﻣﻰﻛﻨﺪ‪،‬‬ ‫ﻃﺒﻴﻌﺖ ﻧﺠﻮﺍ ﻣﻰﻛﻨﺪﻳﺎ ﺳﺨﻦ ﻣﻰﮔﻮﻳﺪ‬ ‫ﻭﻳﺎ ﺍﻧﺪﻭﻫﮕﻴﻦ ﻣﻰﺷﻮﺩ ﻭ ﻏﻴﺮﻩ‪ .‬ﭼﻨﻴﻦ‬ ‫ﺗﺸﺒﻴﻬﺎﺗﻰ ﻣﻮﺻﻮﻑ ﺭﺍ ﻣﻘﺪﺍﺭﻯﻳﻜﻨﻮﺍﺧﺖ ﻭ‬ ‫ﮔﺎﻫﻰ ﺳﺎﺧﺘﮕﻰ ﻭﻳﺎ ﻏﻴﺮﻣﻔﻬﻮﻡ ﻣﻰﻧﻤﺎﻳﺎﻧﺪ‪.‬‬ ‫ﺑﻼﻏﺖ ﻭ ﻓﺼﺎﺣﺖ ﺩﺭ ﺗﻮﺻﻴﻒ ﻃﺒﻴﻌﺖ‬ ‫ﺑﺎ ﺣﻔﻆ ﺳﺎﺩﻩﻧﻮﻳﺴﻰ ﻛﺴﺐ ﻣﻰﺷﻮﺩ‪«.‬‬ ‫ﺧﻮﺍﻧﺪﻥ ﺟﻮﺍﺏ ﮔﻮﺭﻛﻰ ﺑﻪ ﭼﺨﻮﻑ ﻫﻢ‬ ‫ﺩﻝﺍﻧﮕﻴﺰ ﺍﺳﺖ ﻛﻪ ﻣﻰﻧﻮﻳﺴﺪ‪ » :‬ﻫﺮ‬ ‫ﻛﻼﻡ ﺷﻤﺎ ﺑﺮﺍﻳﻢ ﺑﺎﺍﺭﺯﺵ ﺍﺳﺖ ﻭ ﺑﻪ‬ ‫ﺩﻭﺳﺘﻰﻣﺎﻥ ﺍﻓﺘﺨﺎﺭ ﻣﻰﻛﻨﻢ‪ «.‬ﻭﻳﺎ ﺟﺎﻯ‬ ‫ﺩﻳﮕﺮﻯ ﺑﻪ ﭼﺨﻮﻑ ﻣﻰﻧﻮﻳﺴﺪ‪ » :‬ﭼﻬﺮﻩ‬ ‫ﺷﻤﺎ ﺭﺍ ﻣﺎﻧﻨﺪﻳﻚ ﻗﺎﺿﻰ ﻛﺎﻣ ً‬ ‫ﻼ ﺧﻮﻧﺴﺮﺩ‬ ‫ﻣﺠﺴﻢ ﻣﻰﻛﻨﻢ‪ «.‬ﮔﺮﭼﻪ ﺷﻤﺎﻯ ﻛﻠﻰ‬ ‫ﻧﺎﻣﻪﻫﺎﻯ ﮔﻮﺭﻛﻰ ﺣﺎﻛﻰ ﺍﺯ ﺍﻳﻦ ﺍﺳﺖ ﻛﻪ‬ ‫ﺍﻭ ﻧﻴﺰ ﺑﻪ ﻣﺎﻧﻨﺪ ﺑﻴﺸﺘﺮ ﻧﻮﻳﺴﻨﺪﮔﺎﻥ ﺯﻳﺮﺑﺎﺭ‬ ‫ﺑﺮﻭ ﻧﻴﺴﺖ ﻭ ﺗﻨﻬﺎ ﺍﺩﺍﻯ ﻧﺼﻴﺤﺖﭘﺬﻳﺮﻯ‬ ‫ﺭﺍ ﺩﺭ ﻣﻰﺁﻭﺭﺩ‪ .‬ﺧﻮﺍﻧﺪﻥ ﻧﻈﺮ ﮔﻮﺭﻛﻰ ﻧﻴﺰ‬ ‫ﻧﺴﺒﺖ ﺑﻪ ﺧﻮﺩﺵ ﺧﺎﻟﻰ ﺍﺯ ﻟﻄﻒ ﻧﻴﺴﺖ؛‬ ‫ﺍﻭ ﻣﻰﻧﻮﻳﺴﺪ‪» :‬ﻣﻦ ﺁﺩﻣﻰﻫﺴﺘﻢ ﺍﺣﻤﻖ‬ ‫ﻣﺎﻧﻨﺪﻳﻚ ﻟﻮﻛﻮﻣﻮﺗﻴﻮ‪ .‬ﺍﺯ ﺩﻩ ﺳﺎﻟﮕﻰ ﺭﻭﻯ‬ ‫ﭘﺎﻫﺎﻯ ﺧﻮﺩ ﺍﻳﺴﺘﺎﺩﻩﺍﻡ‪ .‬ﻭﻗﺘﻰ ﺑﺮﺍﻯ ﺩﺭﺱ‬ ‫ﺧﻮﺍﻧﺪﻥ ﻧﺪﺍﺷﺘﻪﺍﻡ‪ .‬ﻫﻤﻴﺸﻪ ﺩﻧﺒﺎﻝ ﻟﻘﻤﻪﺍﻯ‬ ‫ﻧﺎﻥ ﻭ ﻣﺸﻐﻮﻝ ﻛﺎﺭ ﺑﻮﺩﻩﺍﻡ‪ «.‬ﻭ ﺑﻌﺪ ﺍﺿﺎﻓﻪ‬

‫ﻣﻰﻛﻨﺪ‪» :‬ﺍﺯ ﻫﻴﭻ ﭼﻴﺰ ﻧﻤﻰﺗﺮﺳﻢ ﻭ ﺑﺮﺍﻯ‬ ‫ﭼﻴﺰﻯ ﺍﻓﺴﻮﺱ ﻧﺨﻮﺍﻫﻢ ﺧﻮﺭﺩ‪ .‬ﻭﻟﻰ‬ ‫ﺩﻗﺎﻳﻘﻰ ﭘﻴﺶ ﻣﻰﺁﻳﻨﺪ ﻛﻪ ﺑﺮﺍﻯ ﺧﻮﺩﻡ‬ ‫ﺩﻝﺳﻮﺯﻯ ﻣﻰﻛﻨﻢ‪ .‬ﻣﺜﻞ ﻫﻤﻴﻦ ﺍﻻﻥ ﻛﻪ‬ ‫ﺩﺭ ﺑﺎﺭﺓ ﺧﻮﺩ ﺑﺎ ﻛﺴﻰ ﻛﻪ ﺩﻭﺳﺘﺶ ﺩﺍﺭﻡ‬ ‫ﺻﺤﺒﺖ ﻣﻰﻛﻨﻢ‪«.‬‬ ‫ﭼﺨﻮﻑ ﺑﺎ ﻧﻜﺘﻪﺑﻴﻨﻰ ﻓﻀﺎﻯ‬ ‫ﺭﻭﺯﻧﺎﻣﻪﻧﮕﺎﺭﻯ ﻋﺼﺮ ﺧﻮﺩ ﺭﺍ ﺑﻪ ﭼﺎﻟﺶ‬ ‫ﻣﻰﻛﺸﺪ ﻭ ﺩﺭ ﻧﺎﻣﻪ ﺑﻪ ﺑﺮﺍﺩﺭﺵ ﻣﻰﻧﻮﻳﺴﺪ‪:‬‬ ‫»ﺭﻭﺯﻧﺎﻣﻪﻧﻮﻳﺲﻫﺎﻯ ﻣﺎ ﺑﻪ ﻧﻮﻋﻰ ﺑﻴﻤﺎﺭﻯ‬ ‫ﻣﺒﺘﻼ ﻫﺴﺘﻨﺪ ﻛﻪ ﺣﺴﺎﺩﺕ ﻭ ﺗﻨﮓﻧﻈﺮﻯ‬ ‫ﺍﺳﺖ‪ .‬ﺑﻪ ﺟﺎﻯ ﺍﻳﻦﻛﻪ ﺍﺯ ﻣﻮﻓﻘﻴﺖ ﺗﻮ‬ ‫ﺧﻮﺵﺣﺎﻝ ﺷﻮﻧﺪ ﺑﻪ ﺗﻮ ﺣﺴﺎﺩﺕ ﻣﻰﻭﺭﺯﻧﺪ‬ ‫ﻭ ﺑﺮﺯﺧﻢ ﺁﺩﻡ ﻧﻤﻚ ﻣﻰﭘﺎﺷﻨﺪ‪ ...‬ﻋﺠﺐ‬ ‫ﻛﻮﺗﻪﻧﻈﺮﻳﻰ! ﻭ ﭼﻪﻗﺪﺭ ﺑﻰﻧﺰﺍﻛﺘﻰ‪ ...‬ﻭ ﻫﻤﺔ‬ ‫ﺍﻳﻦﻫﺎ ﺯﻧﺪﮔﻰ ﺭﺍ ﭼﻪﻗﺪﺭ ﺗﻠﺦ ﻭ ﻣﺴﻤﻮﻡ‬ ‫ﻣﻰﻛﻨﺪ‪«.‬‬ ‫ﭼﺨﻮﻑ ﺑﻪ ﻣﺎﻧﻨﺪ ﻫﺮ ﺁﺩﻡ ﺩﻳﮕﺮﻯ ﺧﺎﻟﻰ‬ ‫ﺍﺯ ﺗﻨﺎﻗﻀﺎﺕ ﻧﻴﺴﺖ ﻭ ﺩﺭ ﻫﻤﺎﻥ ﺣﺎﻝ ﻛﻪ‬ ‫ﺩﺭ ﻳﻜﻰ ﺍﺯ ﻧﺎﻣﻪﻫﺎﻳﺶ ﺑﻪ ﺍﻟﮕﺎ ﻣﻰﻧﺎﻟﺪ ﻛﻪ‬ ‫ﺭﻭﺱﻫﺎ ﺑﺎ ﺑﻰﻓﻜﺮﻯ ﺗﻤﺎﻡ ﺭﻭﺑﻞﻫﺎﻯ‬ ‫ﺯﻳﺎﺩﻯ ﺭﺍ ﺩﺭ ﻣﻮﻧﺖﻛﺎﺭﻟﻮ ﻣﻰﺑﺎﺯﻧﺪ ﺩﺭ ﻧﺎﻣﺔ‬ ‫ﺩﻳﮕﺮﻯ ﺑﻪ ﺍﻭ ﺩﺭ ﺑﺎﺭﺓ ﻫﻤﺎﻥ ﻣﻮﻧﺖﻛﺎﺭﻟﻮ‬ ‫ﻣﻰﻧﻮﻳﺴﺪ‪» :‬ﺩﺭ ﻗﻤﺎﺭ ﭘﺎﻧﺼﺪ ﻓﺮﺍﻧﻚ ﺑﺮﻧﺪﻩ‬ ‫ﺷﺪﻡ‪ .‬ﻋﺰﻳﺰﻡ ﺁﻳﺎ ﺍﺟﺎﺯﻩ ﻣﻰﺩﻫﻰ ﻗﻤﺎﺭﺑﺎﺯﻯ‬ ‫ﻛﻨﻢ؟«‬ ‫ﻭ ﺩﺭ ﻧﻬﺎﻳﺖ ﻧﺎﻣﻪﻫﺎ ﺑﻪ ﻣﺎ ﻣﻰﮔﻮﻳﺪ ﻛﻪ‬ ‫ﻣﺎ ﻋﻮﺍﻡ ﺟﺎﻣﻌﻪ ﭼﻪ ﺯﻳﺎﻧﻰ ﺑﻪ ﻧﺴﻞﻫﺎﻯ‬ ‫ﺑﻌﺪ ﻣﻰﺭﺳﺎﻧﻴﻢ ﻭ ﭼﻪﮔﻮﻧﻪ ﺑﺎ ﻣﺰﺍﺣﻤﺘﻰ‬ ‫ﻛﻪ ﺑﺮﺍﻯ ﻧﻮﻳﺴﻨﺪﻩ ﻓﺮﺍﻫﻢ ﻣﻰﻛﻨﻴﻢ )ﻭ‬ ‫ﺑﻪ ﻇﺎﻫﺮ ﺟﻬﺖ ﺳﺘﺎﻳﺶ( ﺑﻪ ﺍﺗﻼﻑ‬ ‫ﻭﻗﺖ ﻧﻮﻳﺴﻨﺪﻩﺍﻯ ﻣﻰﭘﺮﺩﺍﺯﻳﻢ ﻛﻪ ﺍﮔﺮ‬ ‫ﻣﻰﺗﻮﺍﻧﺴﺖ ﺑﻴﺸﺘﺮ ﺑﻨﻮﻳﺴﺪ ﺍﻣﺮﻭﺯ ﭼﻪ ﺑﺴﺎ‬ ‫ﺁﺛﺎﺭ ﺑﻴﺸﺘﺮ ﻭﻳﺎ ﺷﺎﻳﺪ ﭘﺮﺑﺎﺭﺗﺮﻯ ﺍﺯ ﭼﺨﻮﻑ ﺭﺍ‬ ‫ﺩﺍﺷﺘﻴﻢ‪ .‬ﺩﺭ ‪ 17‬ﺍﻛﺘﺒﺮ ‪ 1903‬ﺑﻪ ﻫﻤﺴﺮﺵ‬ ‫ﻣﻰﻧﻮﻳﺴﺪ‪» :‬ﻭﻗﺘﻰ ﺍﻳﻦ ﺧﺎﻧﻢ ﺭﻓﺖ‪ ،‬ﺩﻳﮕﺮ‬ ‫ﻧﺘﻮﺍﻧﺴﺘﻢ ﻛﺎﺭ ﻛﻨﻢ‪ .‬ﺗﻤﺎﻡ ﺑﺪﻧﻢ ﺑﻪ ﻟﺮﺯﻩ‬ ‫ﺍﻓﺘﺎﺩﻩ ﺑﻮﺩ‪ «.‬ﻭ ﺩﺭ ﺟﺎﻳﻰ ﺩﻳﮕﺮ‪» :‬ﻣﻦ ﺍﻳﻦﺟﺎ‬ ‫ﭘﻴﺶ ﻣﻬﻤﺎﻧﺎﻥ ﻣﻰﻧﺸﻴﻨﻢ‪ .‬ﺣﺮﻑﻫﺎﻯﺷﺎﻥ‬ ‫ﺭﺍ ﮔﻮﺵ ﻣﻰﺩﻫﻢ‪ .‬ﺭﻧﺞ ﻣﻰﺑﺮﻡ ﻭ ﺗﻤﺎﻡ‬ ‫ﻣﺪﺕ ﺗﻮ ﺭﺍ ﻓﺤﺶ ﻣﻰﺩﻫﻢ‪«.‬‬ ‫ﻭ ﺣﺘﻰ ﻭﺟﻮﺩ ﺗﻠﻔﻦ ﻫﻢ ﻣﺰﻳﺪ ﺑﺮ ﻋﻠﺖ‬ ‫ﺷﺪﻩ ﺑﻮﺩ ﻭ ﺩﻭﺳﺘﺎﻥ ﭼﺨﻮﻑ ﺍﺯ ﺍﻳﻦ ﻭﺳﻴﻠﺔ‬ ‫ﺍﺭﺗﺒﺎﻃﻰ ﺑﺮﺍﻯ ﺷﻜﻨﺠﺔ ﺍﻭ ﻧﺎﺧﻮﺍﺳﺘﺔ ﺳﻮﺩ‬ ‫ﻣﻰﺑﺮﺩﻧﺪ‪ .‬ﺩﺭ ﻧﺎﻣﺔ ‪ 30‬ﺍﻛﺘﺒﺮ ‪ 1899‬ﺧﻄﺎﺏ‬ ‫ﺑﻪ ﺍﻟﮕﺎ ﺁﻣﺪﻩ ﺍﺳﺖ‪» :‬ﻫﺮﺑﺎﺭ ﺍﺯ ﺧﻮﺍﺏ‬ ‫ﻣﻰﭘﺮﻳﺪﻡ ﻏﺮﻕ ﺩﺭ ﻋﺮﻕ‪ ،‬ﺑﺎﭘﺎﻯ ﺑﺮﻫﻨﻪ ﻭ‬ ‫ﻟﺮﺯﺍﻥ ﺑﻪ ﻃﺮﻑ ﺗﻠﻔﻦ ﻣﻰﺩﻭﻳﺪﻡ؛ ﻭ ﺑﻌﺪ‬ ‫ﺗﺎ ﻣﻰﺧﻮﺍﺳﺘﻢ ﺑﺨﻮﺍﺑﻢ ﺩﻭﺑﺎﺭﻩ ﻭ ﺩﻭﺑﺎﺭﻩ‬ ‫ﺻﺪﺍﻯ ﺯﻧﮓ ﺗﻠﻔﻦ ﺑﻠﻨﺪ ﻣﻰﺷﺪ‪«.‬‬ ‫ﻧﺎﻣﻪﻫﺎﻯ ﭼﺨﻮﻑ ﺍﻭﻟﻴﻦ ﺑﺎﺭ ﺩﺭ ﺳﺎﻝ ‪1924‬‬ ‫ﺩﺭ ﺧﺎﺭﺝ ﺍﺯ ﺭﻭﺳﻴﻪ ﻣﻨﺘﺸﺮ ﺷﺪ ﻭ ﺍﺧﻴﺮﺍً ﺩﺭ‬ ‫ﺍﻳﺮﺍﻥ ﻧﺎﻫﻴﺪ ﻛﺎﺷﻰﭼﻰ ﺩﺳﺖ ﺑﻪ ﺗﺮﺟﻤﺔ‬ ‫ﻣﻨﺘﺨﺒﻰ ﺍﺯ ﺍﻳﻦ ﻧﺎﻣﻪﻫﺎ ﺯﺩﻩ ﻭ ﺁﻥﻫﺎ ﺭﺍ ﺩﺭ‬ ‫ﺟﻠﺪ ﻫﺸﺘﻢ ﻭ ﻧﻬﻢ ﻣﺠﻤﻮﻋﻪ ﺁﺛﺎﺭ ﭼﺨﻮﻑ ﻭ‬ ‫ﺑﻪ ﻫﻤﺖ ﻧﺸﺮ ﺗﻮﺱ ﺩﺭ ﺩﺳﺘﺮﺱ ﻫﻤﮕﺎﻥ‬ ‫ﻗﺮﺍﺭ ﺩﺍﺩﻩ ﺍﺳﺖ‪ .‬ﻛﺎﺷﻰﭼﻰ ﺩﺭ ﻣﺠﻤﻮﻉ‬ ‫ﺗﺮﺟﻤﻪ ﺭﻭﺷﻦ ﻭ ﺭﻭﺍﻧﻰ ﺍﺯ ﻧﺎﻣﻪﻫﺎ ﺑﻪ ﺩﺳﺖ‬ ‫ﺩﺍﺩﻩ ﺍﺳﺖ‪ .‬ﺟﻠﺪ ﻫﺸﺘﻢ ﺣﺎﻭﻯ ﻧﺎﻣﻪﻫﺎﻯ‬

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‫ﮔﻞﭼﻴﻦ ﺷﺪﻩﺍﻯ ﺍﺳﺖ ﺍﺯ ﻧﺎﻣﻪﻫﺎﻯ‬ ‫ﺭﺩﻭﺑﺪﻝ ﺷﺪﻩ ﺑﻴﻦ ﭼﺨﻮﻑ‪ ،‬ﺑﺮﺍﺩﺭ‬ ‫ﻭ ﻫﻤﺴﺮﺵ‪ ،‬ﻛﻪ ﭼﻮﻥ ﻣﻨﺘﺨﺒﻰ‬ ‫ﺍﺳﺖ ﺍﺯ ﻛﻞ ﻧﺎﻣﻪﻫﺎ ﮔﺎﻩ ﺧﻮﺍﻧﻨﺪﻩ‬ ‫ﺭﺍﺳﺮﺩﺭﮔﻢ ﻣﻰﻛﻨﺪ؛ ﭼﻮﻥ ﮔﻪﮔﺎﻩ‬ ‫ﺩﺭ ﻧﺎﻣﻪﻫﺎ ﺍﺷﺎﺭﺍﺗﻰ ﻣﻰﻳﺎﺑﻴﻢ ﻛﻪ‬ ‫ﻧﻤﻰﺩﺍﻧﻴﻢ ﺭﺍﺟﻊ ﺑﻪ ﭼﻴﺴﺖ‪ .‬ﻭ‬ ‫ﺍﮔﺮﭼﻪ ﻣﺘﺮﺟﻢ ﺳﻌﻰ ﻛﺮﺩﻩ ﺍﻳﻦ‬ ‫ﺍﻳﺮﺍﺩﺍﺕ ﺭﺍ ﺑﺎ ﺁﻭﺭﺩﻥ ﺯﻳﺮﻧﻮﻳﺲ‬ ‫ﺑﺮﻃﺮﻑ ﻛﻨﺪ ﺍﻣﺎ ﺩﺭ ﻣﺠﻤﻮﻉ ﺍﻳﻦ‬ ‫ﺗﺮﺟﻤﺔ ﮔﺰﻳﻨﺸﻰ ﺑﺎﻋﺚ ﻣﻰﺷﻮﺩ‬ ‫ﻛﻪ ﺧﻮﺍﻧﻨﺪﻩ ﻧﺘﻮﺍﻧﺪ ﺑﻪ ﺗﺼﻮﻳﺮﻯ‬ ‫ﺩﺭﺳﺖ ﻭ ﺩﺭﻣﺎﻥ ﺍﺯ ﭼﺨﻮﻑ‪،‬‬ ‫ﻫﻤﺴﺮ ﻭﻳﺎ ﺑﺮﺍﺩﺭﺵ ﺑﺮﺳﺪ‪ .‬ﭼﻨﺪ‬ ‫ﻣﻮﺭﺩ ﺳﻬﻮ ﻫﻢ ﺩﺭ ﻋﻨﻮﺍﻥ ﻧﺎﻣﻪﻫﺎ‬ ‫ﺩﻳﺪﻩ ﻣﻰﺷﻮﺩ‪ .‬ﺑﺮﺍﻯ ﻣﺜﺎﻝ ﻧﺎﻣﻪ‬ ‫ﭼﺎپ ﺷﺪﻩ ﺩﺭ ﺻﻔﺤﺔ ‪ 167‬ﺟﻠﺪ‬ ‫ﻫﺸﺘﻢ ﺍﺯ ﭼﺨﻮﻑ ﺑﻪ ﻛﻨﻴﭙﺮ ﺍﺳﺖ‬ ‫ﻭ ﻧﻪ ﺁﻥﻃﻮﺭ ﻛﻪ ﺩﺭ ﻛﺘﺎﺏ ﺁﻣﺪﻩ‬ ‫ﺍﺯ ﻛﻨﻴﭙﺮ ﺑﻪ ﭼﺨﻮﻑ ﻭ ﺷﺒﻴﻪ‬ ‫ﻫﻤﻴﻦ ﺍﺷﺘﺒﺎﻩ ﻫﻢ ﺩﺭ ﺻﻔﺤﺔ ‪429‬‬ ‫ﻫﻤﺎﻥ ﺟﻠﺪ ﺭﺥ ﺩﺍﺩﻩ ﺍﺳﺖ‪ .‬ﻣﺘﺮﺟﻢ‬ ‫ﺩﺭ ﺑﺮﮔﺮﺩﺍﻥ ﺑﺮﺧﻰ ﺍﺯ ﻛﻠﻤﺎﺕ ﺑﻪ‬ ‫ﻓﺎﺭﺳﻰ ﻫﻢ ﺩﭼﺎﺭ ﻟﻐﺰﺵﻫﺎﻳﻰ‬ ‫ﺷﺪﻩ‪ ،‬ﺍﺯ ﺟﻤﻠﻪ»ﻻﻧﺔ ﻣﺮﻍﻫﺎ« ﺭﺍ‬ ‫ﺑﻪ»ﺁﻏﻞ ﻣﺮﻍﻫﺎ« ﺗﺮﺟﻤﻪ ﻛﺮﺩﻩ‬ ‫ﺍﺳﺖ ﻛﻪ ﻧﺎﻣﺮﺑﻮﻁ ﺍﺳﺖ‪ .‬ﺩﺭ ﺟﻠﺪ‬ ‫ﻧﻬﻢ‪ ،‬ﻛﻪ ﺷﺎﻣﻞ ﻧﺎﻣﻪﻫﺎﻯ ﺭﺩﻭﺑﺪﻝ‬ ‫ﺷﺪﻩ ﺑﻴﻦ ﭼﺨﻮﻑ‪ ،‬ﺩﺍﻧﭽﻨﻜﻮ‪،‬‬ ‫ﺍﺳﺘﺎﻧﻴﺴﻼﻭﺳﻜﻰ‪ ،‬ﮔﻮﺭﻛﻰ ﻭ ﭼﻨﺪ‬ ‫ﻧﻔﺮ ﺩﻳﮕﺮ ﺍﺳﺖ‪ ،‬ﻛﻢ ﻭ ﺑﻴﺶ ﻫﻨﻮﺯ‬ ‫ﺍﻳﻦ ﺳﻬﻮﻫﺎ ﺑﻪ ﭼﺸﻢ ﻣﻰﺧﻮﺭﺩ‪.‬‬ ‫ﺩﺭ ﺻﻔﺤﻪ‪ 12‬ﺟﻠﺪ ﻧﻬﻢ ﻣﺠﻤﻮﻋﻪ‬ ‫ﺁﺛﺎﺭ ﺁﻣﺪﻩ‪» :‬ﺗﺼﻤﻴﻢ ﺑﻪ ﻧﻮﺷﺘﻦ ﺍﺛﺮ‬ ‫ﺧﻼﻗﺔ ﺩﻳﮕﺮﻯ ﻛﺮﺩ‪ «.‬ﺗﺼﻤﻴﻢ ﺭﺍ‬ ‫ﻣﻰﮔﻴﺮﻧﺪ‪ ،‬ﻧﻤﻰﻛﻨﻨﺪ! ﺩﺭ ﻫﻤﺎﻥ‬ ‫ﺻﻔﺤﻪ ﺁﻣﺪﻩ‪ » :‬ﺗﺤﺖﺍﻟﺸﻌﺎﻉ‬ ‫ﻗﺮﺍﺭ ﺩﺍﺩﻥ ﺭﻭﺍﻧﺸﻨﺎﺧﺘﻰ ﺍﺻﻠﻰ‬ ‫ﺑﺎﺯﻳﮕﺮﺍﻥ« ﻛﻪ ﻣﻄﻤﺌﻨ ًﺎ ﻣﻨﻈﻮﺭ‬ ‫ﺭﻭﺍﻧﺸﻨﺎﺳﻰ ﺑﻮﺩﻩ ﻭ ﺍﺣﺘﻤﺎ ًﻻ ﻏﻠﻂ‬ ‫ﻣﻄﺒﻌﻰ ﺍﺳﺖ‪ .‬ﻭ ﻫﻤﺎﻥﺟﺎ ﺩﺭ ﺑﻨﺪ‬ ‫ﺳﻮﻡ ﺧﻂ ﺩﻭ »ﺍﻣﺘﻴﺎﺯﺍﺟﺮﺍﻯ« ﺟﺎ‬ ‫ﺍﻓﺘﺎﺩﻩ ﺍﺳﺖ‪ .‬ﺩﺭ ﺻﻔﺤﺔ ‪ 269‬ﺟﻠﺪ‬ ‫ﻧﻬﻢ ﺁﻣﺪﻩ‪ » :‬ﭼﻪ ﺳﻮءﺗﻔﺎﻫﻢﻫﺎﻳﻰ‬ ‫ﻣﻰﺍﻓﺘﺪ؟« ﺳﻮءﺗﻔﺎﻫﻢ ﭘﻴﺶ‬ ‫ﻣﻰﺁﻳﺪ ﻭ ﻧﻤﻰﺍﻓﺘﺪ ﻭ ﺳﻬﻮﻫﺎﻳﻰ ﺍﺯ‬ ‫ﺍﻳﻦ ﺩﺳﺖ ﻛﻪ ﮔﻤﺎﻥ ﻣﻰﻛﻨﻢ ﺑﻬﺘﺮ‬ ‫ﺍﺳﺖ ﺑﺮ ﺩﻳﮕﺮ ﺳﻬﻮﻳﺎﺕ ﺍﻳﻨﮕﻮﻧﻪﺍﻯ‬ ‫ﻛﺘﺎﺏ ﭘﺮﺩﺓ ﺭﺣﻤﻰ ﺑﻜﺸﻴﻢ‪.‬‬ ‫ﺑﻰﺗﻮﺟﻬﻰ ﺑﻪ ﻋﻼﺋﻢ ﺳﺠﺎﻭﻧﺪﻯ‬ ‫ﻧﻴﺰ ﺩﺭ ﻫﺮﺩﻭ ﺟﻠﺪ ﻣﺤﺴﻮﺱ‬ ‫ﺍﺳﺖ‪ .‬ﻭﻟﻰ ﺑﻪ ﺭﻏﻢ ﺍﻳﻦﻫﺎ ﻭ ﺩﺭ‬ ‫ﻣﺠﻤﻮﻉ‪ ،‬ﻧﺎﻣﻪﻫﺎﻯ ﭼﺨﻮﻑ ﻛﺘﺎﺑﻰ‬ ‫ﺍﺳﺖ ﺑﺎ ﺗﺮﺟﻤﻪﺍﻯ ﻗﺎﺑﻞ ﻗﺒﻮﻝ ﻭ‬ ‫ﺧﻮﺵﺧﻮﺍﻥ ﻛﻪ ﻣﻰﺷﻮﺩ ﺧﻮﺍﻧﺪﻥ‬ ‫ﺁﻥ ﺭﺍ ﺑﻪ ﺩﻭﺳﺘﺎﻥ ﺗﻮﺻﻴﻪ ﻛﺮﺩ‪.‬‬

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‫ﺩﻭﺭﻩ ﺟﺪﻳﺪ‪/‬ﺷﻤﺎﺭﻩ ‪ 9‬ﻭ ‪)10‬ﭘﻴﺎﭘﻲ‪39‬ﻭ‪ /(40‬ﺳﺎﻝ ﺳﻮﻡ‪/‬ﻧﻮﺭﻭﺯ‪88‬‬

‫ﺑﻬﻤﻦ‬ ‫ﺍﻣﻴﺪ ﺻﺪﻳﻖ ﻓﺮ‬ ‫»ﺷﺐﺑﻪﺧﻴﺮ ﻟﻮﺭﺍﺯﭘﺎﻡ«‪ .‬ﺍﻳﻦﺟﻮﺭﻯ ﺭﺍﺣﺖﺗﺮ ﺣﻔﻆ ﻣﻰﻛﻨﻢ‪.‬‬ ‫ﺍﺳﻢﻫﺎﻯ ﺯﻳﺎﺩﻯ ﺍﺳﺖ ﻛﻪ ﺑﺎ »ﭘﺎﻡ« ﺗﻤﺎﻡ ﻣﻰﺷﻮﺩ‪ .‬ﻭﺣﻴﺪ ﮔﻔﺘﻪ‬ ‫ﺍﻳﻦﻳﻜﻰ ﺑﻬﺘﺮ ﺍﺳﺖ‪ .‬ﻣﻦ ﻳﺎ ِﺩ ﺁﻥ ﺟﻮﻙ ﺍﻓﺘﺎﺩﻡ ﻭ ﻫﻤﻴﻦﺟﻮﺭﻯ‬ ‫ﺣﻔﻆ ﻛﺮﺩﻡ‪ .‬ﺍﺯ ﺍﻳﻦ ﻣﻰﺗﺮﺳﻢ ﻛﻪ ﺍﺳﻤﺶ ﻳﺎﺩﻡ ﺑﺮﻭﺩ ﺟﻠﻮﻯ‬ ‫ﺩﺍﺭﻭﺧﺎﻧﻪ ﺩﺳﺖﭘﺎﭼﻪ ﺑﺸﻮﻡ‪ .‬ﻭﺣﻴﺪ ﮔﻔﺘﻪ ﺑﺪﻭﻥ ﻧﺴﺨﻪ ﺳﺨﺖ‬ ‫ﻣﻰﺩﻫﻨﺪ‪.‬‬ ‫ﺍﻳﻦ ﭼﻨﺪ ﺷﺐ ﺑﻬﺘﺮ ﺍﺳﺖ ﺭﺍﺣﺖ ﺑﺨﻮﺍﺑﻢ ﻭ ﺯﻳﺎﺩ‪ .‬ﺍﮔﺮ ﺑﺘﻮﺍﻧﻢ ﺭﻭﺯ‬ ‫ﺑﺨﻮﺍﺑﻢ ﻭ ﺷﺐ ﻫﻢ ﺑﺨﻮﺍﺑﻢ ﺧﻴﻠﻰ ﺧﻮﺏ ﺍﺳﺖ‪ .‬ﺧﻮﺍﺏ ﻭ ﺧﻮﺏ‬ ‫ﻓﻘﻂ ﻳﻚ ﺍﻟﻒ ﺑﺎ ﻫﻢ ﻓﺮﻕ ﻣﻰﻛﻨﻨﺪ ﻭﻗﺘﻰ ﻣﻰﻧﻮﻳﺴﻰ‪ .‬ﺑﺒﻴﻦ‬ ‫ﺍﻻﻥ ﭼﻬﺎﺭﺷﻨﺒﻪ ﺍﺳﺖ ﻭ ﺧﻮﺏ ﺍﺳﺖ ﺗﺎ ﺻﺒﺢ ﺷﻨﺒﻪ ﻫﻤﻴﻦﺟﻮﺭ‬ ‫ﺑﺨﻮﺍﺑﻢ‪ .‬ﺍﻣﺮﻭﺯ ﻋﺼﺮ ﻳﻜﻰ ﺑﺨﻮﺭﻡ ﺗﺎ ﻧﻴﻤﻪﻫﺎﻯ ﺷﺐ‪ .‬ﺑﻌﺪ ﻳﻜﻰ‬ ‫ﺩﻳﮕﺮ ﺗﺎ ﻇﻬ ِﺮ ﻓﺮﺩﺍ‪ .‬ﻫﻤﻴﻦ ﺟﻮﺭﻯ ﺑﺨﻮﺍﺑﻢ ﺗﺎ ﺻﺒﺢ ﺷﻨﺒﻪ‪ .‬ﺑﺎﻳﺪ‬ ‫ﺻﺒﺢ ﺷﻨﺒﻪ ﺯﻧﮓ ﺑﺰﻧﺪ ﺑﻴﺪﺍﺭﻡ ﻛﻨﺪ‪ .‬ﺁﻗﺎﻯ ﻳﺰﺩﺍﻧﻰ‬ ‫ﺑﮕﻮﻳﻢ ﻳﻜﻰ ِ‬ ‫ﺧﻮﺏ ﺍﺳﺖ‪ .‬ﺑﺎﻳﺪ ﺑﮕﻮﻳﻢ ﺻﺒﺢ ﺷﻨﺒﻪ ﻛﻪ ﻣﻰﺭﻭﻯ ﻧﺎﻥ ﺑﺨﺮﻯ‬ ‫ﺣﺘﻤﺎ ﻣﻦ ﺭﺍ ﺑﻴﺪﺍﺭ ﻛﻦ‪.‬ﺑﻬﺶ ﻣﻰﮔﻮﻳﻢ ﺁﻗﺎﻯ ﻳﺰﺩﺍﻧﻰ‪...‬ﻳﻚ‬ ‫ﻳﺎﺩﺩﺍﺷﺖ ﺍﮔﺮ ﻣﻰﺷﻮﺩ ﺭﻭﻯ ﺟﺎﻛﻔﺸﻰﺗﺎﻥ ﺑﮕﺬﺍﺭﻳﺪ ﻛﻪ ﺻﺒﺢ‬ ‫ﺷﻨﺒﻪ ﺣﺘﻤﺎ ﺑﻴﺪﺍﺭﻡ ﻛﻨﻴﺪ‪ .‬ﺁﻥﻗﺪﺭ ﺩﺭ ﺑﺰﻧﻴﺪ ﺯﻧﮓ ﺑﺰﻧﻴﺪ ﺗﺎ ﻣﻦ‬ ‫ﺑﻴﺎﻳﻢ ﺩﺭ ﺭﺍ ﺑﺎﺯ ﻛﻨﻢ‪ .‬ﭼﻨﺪ ﻛﻠﻤﻪ ﻫﻢ ﺑﺎﻫﺎﻡ ﺣﺮﻑ ﺑﺰﻧﻴﺪ ﻛﻪ‬ ‫ﺧﻮﺍﺏ ﺍﺯ ﺳﺮﻡ ﺑﭙﺮﺩ‪ . .‬ﺑﺎﻳﺪ ﺑﻪ ﻳﺰﺩﺍﻧﻰ ﺑﮕﻮﻳﻢ ﺣﺘﻤﺎ ﺯﻭﺩ ﻣﻦ ﺭﺍ‬ ‫ﺑﻴﺪﺍﺭ ﻛﻨﺪ‪ .‬ﻣﻰﺧﻮﺍﻫﻢ ﺳﻪ ﺭﻭﺯ ﺑﺨﻮﺍﺑﻢ ﻭ ﺣﺘﻤﺎ ﻛﺜﻴﻒ ﻭ ﺗﻪﺭﻳﺸﻮ‬ ‫ﻣﻰﺷﻮﻡ‪ .‬ﺑﺎﻳﺪ ﺍﻭﻝ ﺻﺒﺢ ﺣﻤﺎﻡ ﺑﺮﻭﻡ ﺻﻮﺭﺗﻢ ﺭﺍ ﺍﺻﻼﺡ ﻛﻨﻢ‪.‬‬ ‫ﻛﺮﺩﻥ ﺻﺒﺢ ﺭﻭﺯ ﺷﻨﺒﻪ‬ ‫ﺍﮔﺮ ﻓﺮﺻﺖ ﺷﺪ ﺑﺎﻳﺪ ﺷﻴﻮ ﻫﻢ ﺑﻜﻨﻢ‪ .‬ﺷﻴﻮ‬ ‫ِ‬ ‫ﺩﻝ ﺧﻮﺩﻡ‪ .‬ﻛﻪ ﺧﻴﺎﻝ ﺑﺮﻡ ﻧﺪﺍﺭﺩ‬ ‫ﻳﻚ ﺣﺮﻛﺖ ﻧﻤﺎﺩﻳﻦ ﺍﺳﺖ‪ .‬ﺑﺮﺍﻯ ِ‬ ‫ﺍﺯ ﺍﻳﻦ ﺑﻪ ﺑﻌﺪ ﺗﻨﻬﺎﻳﻰ ﺍﺳﺖ‪.‬‬ ‫ﻛﺎﺵ ﻫﻤﻴﻦ ﺍﻣﺮﻭﺯ ﺭﺍﻩ ﻣﻰﺍﻓﺘﺎﺩﻡ ﺷﻤﺎﻝ‪ [...] .‬ﺧﻮﺵﺣﺎﻟﻰ ﻭ‬ ‫ﺯﻥ ﻓﺮﻯ‬ ‫ﺧﻨﻜﻰ ﻭ ﺻﺪﺍﻯ ﺷﻤﺎﻝ‪ .‬ﺍﻳﻦ ﺭﻭﻳﺎ ﺗﻌﺒﻴﺮ ﻧﻤﻰﺷﻮﺩ‪ِ .‬‬ ‫ﺍﻳﻦ ﻫﻔﺘﻪﻫﺎﻯ ﺁﺧﺮ ﻣﻰﺗﺮﺳﺪ ﺍﺯ ﺧﺎﻧﻪ ﺑﻴﺮﻭﻥ ﺑﻴﺎﻳﺪ‪ .‬ﻫﻤﻪﺵ‬

‫ﻫﻢ ﻣﻦ ﺭﺍ ﻧﮕﺎﻩ ﻣﻰﻛﻨﺪ ﻭ ﭼﺸﻢﻫﺎﺵ ﻓﺮﻳﺎﺩ ﻣﻰﺯﻧﺪ‬ ‫»ﻃﻔﻠﻜﻰ‪...‬ﺣﻴﻮﻭﻧﻜﻰ‪...‬ﺁﺧﻰ«‪ .‬ﺩﻭﺳﺖ ﻧﺪﺍﺭﻡ‪ .‬ﺩﻟﻢ‬ ‫ﻧﻤﻰﺧﻮﺍﻫﺪ ﻛﺴﻰ ﺩﻟﺶ ﺑﻪ ﺣﺎﻟﻢ ﺑﺴﻮﺯﺩ‪ .‬ﺍﻳﻦ ﺭﺍ‬ ‫ﻧﻤﻰﻓﻬﻤﻨﺪ‪ .‬ﭼﺮﺕ ﻭ ﭘﺮﺕ ﻣﻰﮔﻮﻳﻢ ﻭ ﻗﻬﻘﻬﻪ ﻣﻰﺯﻧﻢ‪.‬‬ ‫ﻣﻰﺩﺍﻧﻢ ﮔﻮﻝ ﻧﻤﻰﺧﻮﺭﻧﺪ‪ .‬ﻭﻟﻰ ﺗﻮﻗﻊ ﺩﺍﺭﻡ ﻭﻗﺘﻰ ﻣﻰﺧﻨﺪﻡ‬ ‫ﺑﻔﻬﻤﻨﺪ ﻧﻤﻰﺧﻮﺍﻫﻢ ﻛﺴﻰ ﻧﺎﺭﺍﺣﺘﻰﺍﻡ ﺭﺍ ﺑﺪﺍﻧﺪ‪ .‬ﻣﻌﻠﻮﻡ‬ ‫ﺑﻼﺗﻜﻠﻴﻔﻰ ﺗﺎ ﺷﻨﺒﻪ‪.‬‬ ‫ﻧﺎﺭﺍﺣﺖ ﺍﻳﻦ‬ ‫ﺍﺳﺖ ﻛﻪ ﻧﺎﺭﺍﺣﺘﻢ‪.‬‬ ‫ِ‬ ‫ِ‬ ‫ﺑﻌﺪﺵ ﺩﺭﺳﺖ ﻣﻰﺷﻮﺩ‪ .‬ﭘﺎﻯ ﻫﻤﻪﻯ ﺁﻥ ﻭﺭﻗﻪﻫﺎﻯ ﺍﺯ‬ ‫ﭘﻴﺶ ﻧﻮﺷﺘﻪ ﺭﺍ ﻳﻚ ﺍﻣﻀﺎ ﻣﻰﻛﻨﻢ ﻭ ﻫﻤﻪﭼﻰ ﺩﺭﺳﺖ‬ ‫ﻣﻰﺷﻮﺩ‪ .‬ﺑﻪﺷﺮﻃﻰ ﻛﻪ ﺩﺍﺭﻭﺧﺎﻧﻪ ﺷﺐﺑﻪﺧﻴﺮ ﻟﻮﺭﺍﺯﭘﺎﻡ‬ ‫ﺑﻬﻢ ﺑﺪﻫﺪ‪ .‬ﻓﻜﺮ ﻣﻰﻛﻨﻨﺪ ﻣﻰﺧﻮﺍﻫﻢ ﺧﻮﺩﻡ ﺭﺍ ﺑﻜﺸﻢ‪ .‬ﻳﺎ‬ ‫ﻣﻌﺘﺎﺩﻡ‪ .‬ﻧﺒﺎﻳﺪ ﻣﻦﻭﻣﻦ ﻛﻨﻢ‪ .‬ﺑﺎﻳﺪ ﻓﻜﺮ ﻛﻨﻨﺪ ﺳﺎﻝﻫﺎﺳﺖ‬ ‫ﺷﺐﺑﻪﺧﻴﺮ ﻟﻮﺭﺍﺯﭘﺎﻡ ﻣﻰﺧﻮﺭﻡ‪ .‬ﺑﺎﻳﺪ ﻫﻤﺎﻥ ﺍﻭﻝ ﻣﺤﻜﻢ‬ ‫ﺑﺮﻭﻡ ﺟﻠﻮ‪ .‬ﺻﺪﺍﻡ ﻧﺒﺎﻳﺪ ﻳﻮﺍﺵ ﺑﺎﺷﺪ‪ .‬ﻣﻰﮔﻮﻳﻢ» ﺳﻼﻡ‪.‬‬ ‫ﻣﻰﺷﻪ ﻳﻪ ﺑﺴﺘﻪ ﻟﻮﺭﺍﺯﭘﺎﻡ ﺑﺪﻳﻦ؟« ﺍﻳﻦ ﺧﻮﺏ ﻧﻴﺴﺖ‪.‬‬ ‫ﺧﻴﻠﻰ ﺧﻼﺻﻪ ﺑﺎﺷﺪ ﻭ ﺩﺳﺘﻮﺭ ﺑﺪﻫﻢ‪ .‬ﺳﻼﻡ ﻫﻢ ﻧﻤﻰﻛﻨﻢ‪.‬‬ ‫»ﻳﻪ ﺑﺴﺘﻪ ﻟﻮﺭﺍﺯﭘﺎﻡ« ﻳﺎ ﺍﻳﻦﺟﻮﺭﻯ‪» :‬ﻟﻮﺭﺍﺯﭘﺎﻡ‪...‬ﻳﻪ ﺑﺴﺘﻪ«‪.‬‬ ‫ﺑﻬﺘﺮ ﺍﺳﺖ‪ .‬ﻓﻜﺮ ﻣﻰﻛﻨﺪ ﺍﻳﻦ ﻋﺠﺐ ﻟﻮﺭﺍﺯﭘﺎﻡ ﺧﻮ ِﺭ ﻗﻬﺎﺭﻯ‬ ‫ﺳﺖ‪ .‬ﺩﻗﻴﻘﺎ ﻣﻰﺩﺍﻧﺪ ﭼﻰ ﻣﻰﺧﻮﺍﻫﺪ‪ .‬ﻓﻜﺮ ﻣﻰﻛﻨﺪ ﺍﻳﻦ‬ ‫ﻗﺪﺭ ﺣﺮﻓﻪﺍﻯ ﻫﺴﺘﻢ ﻛﻪ ﻭﻗﺘﻰ ﻣﻰﮔﻮﻳﻢ ﻟﻮﺭﺍﺯﭘﺎﻡ ﻧﺸﺌﻪ‬ ‫ﻣﻰﺷﻮﻡ‪ .‬ﺑﻌﺪﺵ ﺣﺘﻤﺎ ﻣﻰﮔﻮﻳﺪ »ﺑﺪﻭﻥ ﻧﺴﺨﻪ ﻧﻤﻰﺷﻪ‪...‬‬ ‫ﻣﻰﺗﻮﻧﻢ ﻳﻪ ﻭﺭﻕ ﺑﻬﺘﻮﻥ ﺑﺪﻡ« ﻣﻦ ﺑﺎﻳﺪ ﺑﮕﻮﻳﻢ »ﺧﻴﻠﻪ‬ ‫ﺧﺐ‪...‬ﺍﺷﻜﺎﻝ ﻧﺪﺍﺭﻩ« ﺑﺎﻳﺪ ﻭﻗﺘﻰ ﻣﻰﮔﻮﻳﺪ ﺑﺪﻭﻥ ﻧﺴﺨﻪ‬ ‫ﺑﻴﺶﺗﺮ ﺍﺯ ﻳﻚ ﻭﺭﻕ ﻧﻤﻰﺩﻫﻨﺪ‪ ،‬ﺍﺧﻢ ﻛﻨﻢ‪ .‬ﻃﻠﺐﻛﺎﺭﺵ‬ ‫ﺑﺎﺷﻢ ﻭ ﻭﻗﺘﻰ ﻣﻰﮔﻮﻳﻢ ﺍﺷﻜﺎﻝ ﻧﺪﺍﺭﻩ ﻣﻨﺖ ﻣﻰﮔﺬﺍﺭﻡ‬ ‫ﺳ ِﺮ ﻛﻮﺗﺎﻫﻰﺍﺵ‪ .‬ﺑﺪﻭﻥ ﻧﺴﺨﻪ ﺣﺘﻤﺎ ﺿﻌﻴﻒﺗﺮﻳﻦ ﺩﻭﺯ‬ ‫ﻟﻮﺭﺍﺯﭘﺎﻡ ﺭﺍ ﺑﻬﻢ ﻣﻰﺩﻫﺪ‪ .‬ﻻﺑﺪ ﺻﺪ ﻣﻴﻠﻰ‪ .‬ﺷﺎﻳﺪ ﻫﻢ‬ ‫ﺍﺯﻡ ﺑﭙﺮﺳﺪ‪ .‬ﻳﺎﺩﻡ ﺭﻓﺖ ﺍﺯ ﻭﺣﻴﺪ ﺑﭙﺮﺳﻢ ﺩﻭﺯﻫﺎﻯ ﺍﻳﻦ‬ ‫ﭼﻪﺟﻮﺭﻯ ﺍﺳﺖ‪ .‬ﺑﺎﻳﺪ ﺟﻮﺭﻯ ﺗﻮﻯ ﭼﺸﻢﻫﺎﻳﺶ ﻧﮕﺎﻩ ﻛﻨﻢ‬ ‫ﻛﻪ ﺧﻮﺩﺵ ﺑﻔﻬﻤﺪ ﻗﻮﻯﺗﺮﻳﻦ ﺩﻭﺯ ﺑﻪ ﻛﺎﺭﻡ ﻣﻰﺁﻳﺪ‪ .‬ﭘﺎﻧﺼﺪ‬ ‫ﻣﻴﻠﻰ‪ .‬ﺑﺎﻳﺪ ﺩﺳﺖ ﻫﺎﻳﻢ ﺭﺍ ﺗﻮﻯ ﺟﻴﺐ ﻧﮕﻪ ﺩﺍﺭﻡ ﻭﮔﺮﻧﻪ‬ ‫ﻣﻮﻗﻊ ﺣﺮﻑﺯﺩﻥ ﺗﻜﺎﻥﺷﺎﻥ ﻣﻰﺩﻫﻢ ﻭ ﻣﻰﻓﻬﻤﺪ ﻧﺎﺷﻰﺍﻡ‪.‬‬ ‫ﻧﺒﺎﻳﺪ ﻗﻮﺯ ﻛﻨﻢ‪ .‬ﺗﺎ ﺷﻨﺒﻪ ﺟﺰ ﺧﻮﺍﺑﻴﺪﻥ ﻧﺒﺎﻳﺪ ﻛﺎﺭﻯ ﺑﻜﻨﻢ‪.‬‬

‫ﺩﺍﺳﺘﺎﻧﻚ‬ ‫ﻣﻬﺮﻩﻫﺎﻱ ﺷﻄﺮﻧﺞ‬ ‫ﺁﺑﺘﻴﻦ ﻟﻨﮕﺮﺍﻥ ﺩﺳﺘﺠﺮﺩﻱ‬

‫ﺷﺐ ﺑﻮﺩ ﻭ ﺍﺯ ﺳﺎﺧﺘﻤﺎﻥ ِ ﺑﺰﺭگ ‪،‬ﺗﻚ ﻭ ﺗﻮﻙ ﭼﺮﺍ ِﻍ‬ ‫ﺧﻮﻧﻪﻫﺎ ﺭﻭﺷﻦ‪.‬ﻣﺎﻩ ﻫﻢ ﺗﻮ ﺁﺳﻤﺎﻥ ﺭﻭﺷﻨﺎﻳﻲ ِﻛﻮﭼﻜﻲ‬ ‫ﺩﺭ ﻣﻴﺎﻥ ِ ﻭﺳﻌﺖ ﺗﺎﺭﻳﻜﻲ ﺑﻮﺩ‪.‬‬ ‫ﭘﻨﺞ ﺷﻨﺒﻪ ‪،‬ﺁﺧﺮﺍﻱ ﺷﺐ ﺗﻮﻱﻫﺎﻝ ﺯﻧﻲ ﺩﺭ ﺣﺎﻝ ِ‬ ‫ﺗﻤﺎﺷﺎﻱ ﺗﻠﻮﻳﺰﻳﻮﻥ ﺑﻮﺩ ﻭ ﺷﻮﻫﺮﺵ ﺑﺎ ﭘﺴﺮ ﻫﻔﺖ ﻫﺸﺖ‬ ‫ﺳﺎﻟﻪ ﺷﻮﻥ ﺩﺭ ﺣﺎﻝ ﺷﻄﺮﻧﺞ ﺑﺎﺯﻱ ﻛﺮﺩﻥ ﺑﻮﺩﻧﺪ‪.‬ﭘﺴﺮﻙ‬ ‫ﺍﺻﺮﺍﺭ ﺩﺍﺷﺖ ﺷﻄﺮﻧﺞﻳﺎﺩ ﺑﮕﻴﺮﻩ‪.‬‬ ‫"ﺩﻳﺮ ﻭﻗﺘﻪ ﺑﺮﻭ ﺑﮕﻴﺮ ﺑﺨﻮﺍﺏ ﻓﺮﺩﺍﻳﺎﺩﺕ ﻣﻴﺪﻡ"‬ ‫"ﺍﻗﺎﺍﺍﺍﺍﺍ ‪......‬ﺁﺧﻪ ﻓﺮﺩﺍ ﺟﻤﻌﺲ‪....‬ﺑﻌﺪﺷﻢ ﺗﺎﺯﻩ ﺧﻮﺍﺑﻢ‬ ‫ﻧﻤﻴﺎﺩ‪"...‬‬ ‫ﻣﺮﺩ ﻛﻪ ﺍﺯ ﻗﺒﻞ ﺧﻮﺷﺤﺎﻝ ﺑﻮﺩ ﻓﺮﺩﺍ ﺟﻤﻌﻪ ﺳﺖ ﺑﺎ‬ ‫ﺷﻨﻴﺪﻥ ﺣﺮﻑﻫﺎﻱ ﭘﺴﺮﺵ ﻣﺎﺗﻢ ﮔﺮﻓﺖ ﭼﻮﻥ ﭘﺴﺮﻙ‬ ‫ِ‬ ‫ﻭﻝ ﻛﻦ ﻧﺒﻮﺩ‪.‬‬ ‫ﺯﻥ ﺧﻤﻴﺎﺯﻩ ﺍﻱ ﻛﺸﻴﺪ ﻭ ﺩﻭ ﺩﺳﺘﻲ ﺳﺮﺷﻮ ﺧﺎﺭﻭﻧﺪﻭ‬ ‫ﻛﻼﻓﻪ ﺍﺯ ﺍﻳﻦ ﻛﻪ ﺗﻠﻮﻳﺰﻳﻮﻥ ﺑﺮﻧﺎﻣﻪ ﺍﻱ ﻧﺪﺍﺷﺖ ﺍﻭﻧﻮ‬

‫ﺧﺎﻣﻮﺵ ﻛﺮﺩ ﻭ ﺑﺎ ﺑﻲ ﻣﻴﻠﻲ ﺭﻓﺖ ﺩﺳﺘﺸﻮﻳﻲ‪،‬ﻣﺴﻮﺍﻙ‬ ‫ﻧﺰﺩ ﭼﻮﻥ ﺧﻮﺍﺏ ﺍﺯ ﺳﺮﺵ ﻣﻲ ﭘﺮﻳﺪ ‪،‬ﺩﺳﺘﺸﻮﻳﻲ ﻫﻢ ﺍﮔﻪ‬ ‫ﻣﺠﺒﻮﺭ ﻧﺒﻮﺩ ﻧﻤﻲ ﺭﻓﺖ‪.‬‬ ‫"ﻣﻦ ﺭﻓﺘﻢ ﺑﺨﻮﺍﺑﻢ"‬ ‫"ﺧﻮﺵ ﺑﻪ ﺣﺎﻟﺖ ‪...‬ﺍﻳﻦ ﻛﻪ ﻣﺎ ﺭﻭ ﻭﻝ ﻧﻤﻲ ﻛﻨﻪ‪...‬ﻳﺎﺩ‬ ‫ﮔﺮﻓﺘﻲ؟؟؟"‬ ‫"ﺁﺭﻩ ﺣﺎﻻ ﺑﻴﺎ ﺍﺯ ﺍﻭﻝﻳﻪ ﺩﺳﺖ ﺑﺎﺯﻱ ﻛﻨﻴﻢ‪"...‬‬ ‫"ﺍﻱ ﺑﺎﺑﺎ‪"...‬‬ ‫ﭼﺮﺍﻍﻫﺎﻱ ﺧﺎﻣﻮﺵ ﺑﻴﺸﺘﺮ ﺍﺯ ﭼﺮﺍﻍﻫﺎﻱ ﺭﻭﺷﻦ ﺑﻮﺩﻧﺪ‪.‬‬ ‫ﻛﻢ ﻛﻢ ﺩﺍﺷﺖ ﺷﺐ ﺗﻤﻮﻡ ﻣﻲ ﺷﺪ‬ ‫"ﺯﻭﺩ ﺑﺎﺵ ﺧﻮﺍﺑﻢ ﺑﺮﺩ"‬ ‫"ﺑﺎﺑﺎ‪..‬ﻧﻤﻲ ﺷﻪ ﺳﺮﺑﺎﺯﺭﻭ ﻧﺼﻔﻪ ﺧﻮﻧﻪ ﺣﺮﻛﺖ ﺑﺪﻡ ﺁﺧﻪ‬ ‫ﻧﻤﻲﺧﻮﺍﻡ ﻛﻴﺶ ﺑﺸﻢ‪...‬ﺑﺒﻴﻦ ﻭﺳﻂ ﺧﻮﻧﻪﻱ ﺳﻔﻴﺪ ﻭ‬ ‫ﺳﻴﺎﻩ‪"....‬‬ ‫ﻣﺮﺩ ﻛﻪ ﻛﻼﻓﻪ ﺷﺪ ﺩﺍﺩ ﺯﺩ "ﻧﻪ‪!!....‬ﻧﻤﻴﺸﻪ‪"....‬‬ ‫ﻋﺼﺒﺎﻧﻲ ﺷﺪﻩ ﺑﻮﺩ ﻧﮕﺎﻫﻲ ﺑﻪ ﺳﺎﻋﺖ ﻣﭽﻲ ﺍﺵ ﺍﻧﺪﺍﺧﺖ‪،‬‬ ‫ﻭ ﺩﻭﺑﺎﺭﻩ ﺑﻪ ﺻﻔﺤﻪﻯ ﺷﻄﺮﻧﺞ ﻧﮕﺎﻩ ﻛﺮﺩ ﻭ ﺑﺎ ﺁﺭﺍﻣﻲ‬ ‫ﮔﻔﺖ"ﻣﻲ ﺷﻪ"‬ ‫ﺍﻭﻥ ﺷﺐ ﺑﻌﺪ ﺍﺯ ﺑﺎﺯﻱ ﻫﻤﻪ ﺧﻮﺍﺑﻴﺪﻧﺪ ﻭ ﭼﺮﺍﻍﻫﺎ ﻫﻤﭽﻨﺎﻥ‬ ‫ﺗﻚ ﻭ ﺗﻮﻙ ﺭﻭﺷﻦ ﺑﻮﺩﻧﺪ ﻭ ﻣﺮﺩ ﺗﻮﻱ ﺧﻮﺍﺏ ﻣﻲﺩﻳﺪ ﺷﺪﻩ‬ ‫ﻳﻪ ﺳﺮﺑﺎﺯ ﺩﺭ ﻣﻴﻮﻥ ﺧﻮﻧﻪﻫﺎﻱ ﺳﻔﻴﺪ ﻭ ﺳﻴﺎﻩ‪.‬‬

‫ﻋﻠﻲ ﺑﺎﺑﺎ‬ ‫ﻭ ﭼﻬﻞ ﺩﺯﺩ ﭘﺴﺖ ﻣﺪﺭﻥ ﺑﻐﺪﺍﺩ‬ ‫ﻧﻮﺷﺘﻪ‪:‬ﺳﻤﻦ ﻧﺎﺯ ﺍژﺩﺭﻱ‬ ‫ﭼﻬﺎﺭﺩﻩ ﺳﺎﻟﻪ‬

‫ﻫﻮﺍ ﺩﺭ ﮔﺮگ ﻭ ﻣﻴﺸﻲ ﻏﺮﻳﺐ ﺗﻤﺎﻡ‬ ‫ﺻﺪﺍﻫﺎ ﺭﺍ ﻣﻲﺑﻠﻌﻴﺪ ﻭ ﺗﻨﻬﺎ ﺻﺪﺍﻱ‬ ‫ﻣﻮﺗﻮﺭﻫﺎﻱ ﻣﺎﺷﻴﻦ ﺑﻮﺩ ﻛﻪ ﺷﻨﻴﺪﻩ‬ ‫ﻣﻲﺷﺪ‪ .‬ﺟﻴﭗ ﺟﻨﮕﻲ ﻣﺎ ﺩﺭ ﺁﻥ ﻫﻮﺍﻱ‬ ‫ﻣﻪﺁﻟﻮﺩ ﻭ ﺳﺮﺩ ﺑﺮ ﺧﺎﻙ ﻋﺮﺍﻕ ﭘﻴﺶ‬ ‫ﻣﻲﺭﻓﺖ ﻭ ﻫﺮ ﻟﺤﻈﻪ ﺳﻜﻮﺕ ﻣﻴﺎﻥ ﻣﺎ‬ ‫ﺳﻨﮕﻴﻦﺗﺮ ﻣﻲﺷﺪ‪ .‬ﺍﺳﻠﺤﻪﺍﻡ ﺍﺯ ﮔﻠﻮﻟﻪ ﭘﺮ‬ ‫ﺑﻮﺩ‪ .‬ﺑﺎ ﻫﺮﻳﻚ ﺍﺯ ﺁﻧﺎﻥ ﭼﻪ ﻗﻠﺐﻫﺎﻳﻲ‬ ‫ﻛﻪ ﺍﺯ ﺣﺮﻛﺖ ﻧﻤﻲﺍﻳﺴﺘﺎﺩ ﻭ ﺟﺎﻥ ﭼﻪ‬ ‫ﺍﻧﺴﺎﻥﻫﺎﻳﻲ ﻛﻪ ﮔﺮﻓﺘﻪ ﻧﻤﻲﺷﺪ‪ .‬ﺻﺪﺍﻱ‬ ‫ﺩﻧﻴﻞ ﺧﻠﻮﺗﻢ ﺭﺍ ﺑﻪ ﻫﻢ ﺯﺩ‪.‬‬ ‫ﻫﻲ! ﻭﻳﻠﺒﺮ ﺍﺯ ﺭﺍﺑﺮﺕ ﺑﭙﺮﺱ ﻛﻲ‬‫ﻣﻲﺭﺳﻴﻢ ﭘﺎﻳﮕﺎﻩ‪ ،‬ﻫﻮﺍ ﺳﺮﺩﻩ‪.‬‬ ‫ﭼﺮﺍ ﺧﻮﺩﺕ ﻧﻤﻲﭘﺮﺳﻲ؟‬‫ﺗﻮ ﻛﻪ ﻣﻲﺩﻭﻧﻲ ﻣﻦ ﺍﺯ ﺍﻭﻥ ﺧﻮﺷﻢ‬‫ﻧﻤﻲﻳﺎﺩ‪ .‬ﺩﻳﺸﺐ ﺳ ِﺮ ﻗﻤﺎﺭ ﺩﺳﺘﻢ ﺭﻭ ﺑﻪ‬ ‫ﺍﻳﻦ ﺭﻭﺯ ﺩﺭ ﺁﻭﺭﺩ ﺗﻮ ﺑﭙﺮﺱ‪.‬‬ ‫ﺭﺍﻩ ﺯﻳﺎﺩﻱ ﺗﺎ ﭘﺎﻳﮕﺎﻩ ﻧﻤﺎﻧﺪﻩ ﺑﻮﺩ‪ .‬ﻣﻦ‬ ‫ﻭ ﺳﺮﺑﺎﺯﻫﺎﻱ ﺩﻳﮕﺮ ﺣﺴﺎﺑﻲ ﻧﺰﺩﻳﻚ‬ ‫ﺑﻪ ﻫﻢ ﻧﺸﺴﺘﻪ ﺑﻮﺩﻳﻢ ﺗﺎ ﻫﻮﺍﻱ ﺳﺮﺩ‬ ‫ﺭﺍ ﺍﺣﺴﺎﺱ ﻧﻜﻨﻴﻢ‪ .‬ﮔﺮﭼﻪ ﺑﺎ ﺁﻥ ﺳﻮﺯ‬ ‫ﻭ ﺳﺮﻣﺎﻱ ﺻﺒﺢ ﺗﺄﺛﻴﺮ ﭼﻨﺪﺍﻧﻲ ﺑﺮ ﮔﺮﻡ‬ ‫ﻣﺎﻧﺪﻥ ﻣﺎ ﻧﺪﺍﺷﺖ‪ .‬ﺍﻣﺮﻭﺯ ﻧﺨﺴﺘﻴﻦ‬ ‫ﺭﻭﺯﻳﺴﺖ ﻛﻪ ﺣﻤﻠﻪ ﺭﺍ ﺑﻪ ﺧﺎﻙ ﻋﺮﺍﻕ‬ ‫ﺁﻏﺎﺯ ﻣﻲﻛﺮﺩﻩﺍﻳﻢ‪ .‬ﺩﺭ ﻣﻴﺎﻥ ﺍﺟﺴﺎﺩ ﻣﺮﺩﻡ‬ ‫ﻗﺪﻡ ﺑﺮﻣﻲﺩﺍﺭﻡ‪ .‬ﭘﺎﻱ ﺑﺮ ﺧﺎﻙ ﺳﺮﺯﻣﻴﻨﻲ‬ ‫ﻣﻲﻧﻬﻢ ﻛﻪ ﺍﺯ ﻛﻮﺩﻛﻲ ﺁﺭﺯﻭﻱ ﺩﻳﺪﺍﺭﺵ‬ ‫ﺭﺍ ﺩﺭ ﺭﺅﻳﺎﻫﺎﻳﻢ ﻣﻲﭘﺮﻭﺭﺍﻧﺪﻡ‪ .‬ﺳﺮﺯﻣﻴﻦ‬ ‫ﻗﺼﻪﻫﺎﻱ ﻫﺰﺍﺭ ﻭﻳﻚ ﺷﺐ‪ ،‬ﺣﺎﻝ ﻫﺰﺍﺭ‬ ‫ﻭ ﻳﻚ ﺷﺐ ﻏﻢﺑﺎﺭ ﺭﺍ ﭘﻴﺸﻪﻱ ﺷﻬﺮﺯﺍﺩ‬ ‫ﻛﺮﺩﻩ ﺍﺳﺖ‪ .‬ﺑﻐﺪﺍﺩ ﻣﺎﻧﺪﻩ ﺍﺳﺖ ﺑﺎ‬ ‫ﺷﻬﺮﺯﺍﺩﻱ ﻛﻪ ﺑﺎ ﺭﺧﺖ ﺳﻴﺎﻩ ﻫﺰﺍﺭ ﻭﻳﻚ‬ ‫ﺷﺐ ﺍﺯ ﺷﻴﻮﻥ ﻣﺎﺩﺭﺍﻥ ﻭ ﻗﻠﺐﻫﺎﻱ‬ ‫ﭘﺮﻳﺸﺎﻥ ﻭ ﺑﻲﻗﺮﺍﺭ ﻛﻮﺩﻛﺎﻥ‪ ،‬ﺑﺮﺍﻱ ﺩﻧﻴﺎ‬ ‫ﺯﺍﺩ ﺧﻮﺍﻫﺪ ﮔﻔﺖ‪ .‬ﺍﺛﺮﻱ ﺍﺯ ﻗﺎﻟﻴﭽﻪﻱ‬ ‫ﭘﺮﻧﺪﻩﻱ ﻋﻼءﺍﻟﺪﻳﻦ ﻧﻴﺴﺖ‪ .‬ﺗﻨﻬﺎ‬ ‫ﺗﺼﻮﺭﻱ ﻛﻪ ﻣﻲﺗﻮﺍﻥ ﻛﺮﺩ ﮔﺮﻳﻪﻫﺎﻱ ﺑﺎ‬ ‫ﺳﻮﺯ ﻭ ﮔﺪﺍﺯ ﭘﺮﻧﺴﺲ ﺯﻳﺒﺎﻱ ﻋﻼءﺍﻟﺪﻳﻦ‬ ‫ﺍﺳﺖ ﻛﻪ ﺑﺎ ﭼﺸﻤﻬﺎﻱ ﮔﺮﻳﺎﻥ ﺑﺮ ﺑﺎﻟﻴﻨﺶ‬ ‫ﺯﺍﻧﻮ ﺯﺩﻩ ﺍﺳﺖ‪ .‬ﭘﺲ ﻛﺠﺎﺳﺖ ﻛﺸﺘﻲ‬ ‫ﺑﺰﺭگ ﺳﻨﺪﺑﺎﺩ ﻛﻪ ﻛﻨﺎﺭ ﺩﺟﻠﻪ ﭘﻬﻠﻮ‬ ‫ﮔﺮﻓﺘﻪ ﺍﺳﺖ ؟ ﻣﻦ ﻛﺪﺍﻣﻴﻦ ﺭ ِﺅﻳﺎﻳﻢ ﺭﺍ‬ ‫ﺩﺭ ﻣﻴﺎﻥ ﺑﻤﺐﻫﺎ ‪ .‬ﺯﺍﺭﻱﻫﺎ ﻭ ﺧﺮﺍﺑﻪﻫﺎ‬ ‫ﺧﻮﺍﻫﻢﻳﺎﻓﺖ‪.‬ﺑﻪﻳﺎﺩ ﺩﺍﺭﻡ ﻗﺼﻪﺍﻱ ﺭﺍ ﻛﻪ‬ ‫ﻣﺎﺩﺭ ﺍﺯ ﻋﻠﻲ ﺑﺎﺑﺎ ﻭ ﭼﻬﻞ ﺩﺯﺩ ﺑﻐﺪﺍﺩ‬ ‫ﺑﺮﺍﻳﻢ ﻣﻲ ﮔﻔﺖ‪.‬ﺣﺎﻝ ﻧﻴﺰ ﺁﻥ ﭼﻬﻞ‬ ‫ﺩﺯﺩ‪،‬ﺑﺎﺭ ﺩﻳﮕﺮ ﺑﻪ ﺑﻐﺪﺍﺩ ﻗﺪﻡ ﮔﺬﺍﺷﺘﻪﺍﻧﺪ‪.‬‬ ‫ﺍﻣﺎ ﻧﻪ ﺑﻪ ﺩﻧﺒﺎﻝ ﻃﻼ ﻭ ﺟﻮﺍﻫﺮ‪ ،‬ﺁﻧﺎﻥ‬ ‫ﺑﻪ ﻏﺎﺭﺕ ﻧﻔﺘﻲ ﺁﻣﺪﻩﺍﻧﺪ ﻛﻪ ﺍﺯ ﻃﻼ ﺑﺎ‬ ‫ﺍﺭﺯﺵﺗﺮ ﺍﺳﺖ ﻭ ﺍﻳﻦ ﺩﻳﮕﺮ ﻗﺼﻪﻯ ﻣﺎﺩﺭ‬ ‫ﻧﻴﺴﺖ‪.‬‬

‫ﻣﻦ ﻭ ﺗﻤﺎﻡ ﺳﺮﺑﺎﺯﺍﻥ ﻣﺜﻞ ﺑﺒﺮﻫﺎﻱ‬ ‫ﺩﺭﻧﺪﻩﺍﻱ ﺷﺪﻩ ﺑﻮﺩﻳﻢ ﻛﻪ ﮔﻮﺯﻥﻫﺎ ﺭﺍ‬ ‫ﺑﻪ ﺧﺎﻙ ﻣﻲﻣﺎﻟﻨﺪ ﻭ ﺁﻧﺎﻥ ﺭﺍ ﺍﺯ ﭘﺎﻱ‬ ‫ﺩﺭ ﻣﻲﺁﻭﺭﻧﺪ‪.‬‬ ‫ﭼﺮﺍ ﻣﻦ ﮔﺮﻓﺘﺎﺭ ﭼﻨﻴﻦ ﺗﻘﺪﻳﺮ ﺷﻮﻣﻲ‬ ‫ﺷﺪﻩﺍﻡ ؟!‬ ‫ﭼﻨﺪ ﺭﻭﺯﻱ ﺍﺯ ﺑﻮﺩﻥ ﻣﻦ ﺩﺭ ﺍﻳﻦ‬ ‫ﻛﺸﻮﺭ ﻣﻲﮔﺬﺭﺩ‪ .‬ﺍﻣﺸﺐ ﻓﺮﻣﺎﻧﺪﻩ ﺑﻪ‬ ‫ﭘﺎﻳﮕﺎﻩ ﺁﻣﺪ‪ .‬ﺁﻭﺍﺯ ﺣﻤﻠﻪﻫﺎﻱ ﺣﺴﺎﺱ‬ ‫ﻭ ﻣﻬﻢ ﺑﻪ ﺑﻐﺪﺍﺩ ﺳﺨﻦ ﻣﻲ ﮔﻔﺖ‪.‬‬ ‫ﺍﻳﻦ ﻛﻪ ﻣﺎ ﺑﺎﻳﺪ ﺩﺷﻤﻦ ﺭﺍ ﻏﺎﻓﻠﮕﻴﺮ‬ ‫ﻣﻲﻛﺮﺩﻳﻢ‪ .‬ﺁﻥ ﻭﻗﺖ ﻛﻪ ﻓﺮﻳﺎﺩ ﺯﺩﻡ‬ ‫ﻭ ﻧﺰﺩﻳﻚ ﺑﻮﺩ ﺩﺳﺖ ﺭﻭﻱ ﻓﺮﻣﺎﻧﺪﻩﺍﻡ‬ ‫ﺑﻠﻨﺪ ﻛﻨﻢ‪ .‬ﺍﻧﮕﺎﺭ ﭘﺎﻙ ﻋﻘﻠﻢ ﺭﺍ‬ ‫ﺍﺯ ﺩﺳﺖ ﺩﺍﺩﻩ ﺑﻮﺩﻡ ﻓﺮﻳﺎﺩ ﺯﺩﻡ‪:‬‬ ‫ﺩﺷﻤﻦ؟! ﺩﺷﻤﻦ ﺷﻤﺎ ﺯﻧﺎﻥ ﻭﻛﻮﺩﻛﺎﻥ‬ ‫ﺑﻲﺩﻓﺎﻋﻨﺪ؟ ﭘﺎﺳﺦ ﺣﺮﻑ ﮔﺴﺘﺎﺧﺎﻧﻪﻯ‬ ‫ﻣﻦ ﺳﻴﻠﻲ ﻣﺤﻜﻤﻲ ﺑﻮﺩ ﻛﻪ ﺑﻪ ﻣﻦ‬ ‫ﻓﻬﻤﺎﻧﺪ ﭼﻪ ﻛﺮﺩﻩﺍﻡ‪ .‬ﺑﻌﺪ ﺍﺯ ﺭﻓﺘﻦ‬ ‫ﻓﺮﻣﺎﻧﺪﻩ ﺩﻧﻴﻞ ﻛﻨﺎﺭﻡ ﻧﺸﺴﺖ‪.‬‬ ‫ﺗﻮ ﺩﻳﻮﺍﻧﻪﺍﻱ‪ .‬ﻣﻲﺩﻭﻧﺴﺘﻲ ﺍﮔﺮ‬‫ﺩﺳﺖ ﻟﻌﻨﺘﻴﺖ ﺭﻭ ﻧﮕﺮﻓﺘﻪ ﺑﻮﺩﻡ ﺍﻵﻥ‬ ‫ﺗﻮ ﻗﺒﺮ ﺑﻮﺩﻱ! ﺭﺳﻴﺪﻳﻢ ﻧﻴﻮﻳﻮﺭﻙ‬ ‫ﺣﺘﻤ ًﺎ ﺑﺎﻳﺪ ﺑﺒﺮﻧﺖ ﺩﻛﺘﺮ‪.‬‬ ‫ﺧﻨﺪﻩﻱ ﺗﻤﺴﺨﺮﺁﻣﻴﺰﻱ ﻛﺮﺩﻡ‪.‬‬ ‫ﺭﺳﻴﺪﻳﻢ ﻧﻴﻮﻳﻮﺭﻙ؟ ﻋﻜﺲ ﻣﺎﺩﺭ ﻭ‬‫ﭘﺪﺭ ﺭﺍ ﻧﮕﺎﻩ ﻛﺮﺩﻡ‪ .‬ﻭﻟﻲ ﻓﻜﺮ ﻧﻤﻲﻛﻨﻢ‬ ‫ﺑﺘﻮﻧﻴﻢ ﺑﺮﺳﻴﻢ‪ .‬ﺍﻳﻦ ﺩﺭ ﺣﺪ ﻳﻪ ﺭﺅﻳﺎ‬ ‫ﺑﺎﻗﻲ ﻣﻲﻣﻮﻧﻪ ﺩﻭﺳﺖ ﻣﻦ‪.‬‬ ‫ﺩﺭ ﺣﻤﻠﻪﻱ ﺍﻣﺮﻭﺯ ﺗﻌﺪﺍﺩ ﻛﺸﺘﻪﻫﺎ ﺩﻭ‬ ‫ﺑﺮﺍﺑﺮ ﻫﻤﻴﺸﻪ ﺑﻮﺩ‪ .‬ﺗﻨﻬﺎ ﭼﻴﺰﻱ ﻛﻪ‬ ‫ﺑﻪ ﻣﺸﺎﻡ ﻣﻲﺭﺳﻴﺪ ﺑﻮﻱ ﺧﻮﻥ ﺑﻮﺩ‪.‬‬ ‫ﺑﻪ ﺍﻧﺴﺎﻥﻫﺎﻳﻲ ﻧﮕﺎﻩ ﻣﻲ ﻛﺮﺩﻡ ﻛﻪ‬ ‫ﺟﻠﻮﻱ ﭼﺸﻤﺎﻧﻢ ﺑﺮ ﺯﻣﻴﻦ ﻣﻲﺍﻓﺘﺎﺩﻧﺪ‬ ‫ﻭ ﺟﺎﻥ ﻣﻲ ﺳﭙﺮﺩﻧﺪ‪.‬‬ ‫ﺻﺪﺍﻱ ﻓﺮﻣﺎﻧﺪﻩ ﺩﺭ ﮔﻮﺷﻢ ﺗﻜﺮﺍﺭ‬ ‫ﻣﻲﺷﺪ‪ :‬ﺑﺰﻧﺶ‪ .‬ﺑﺰﻧﺶ‪.‬‬ ‫ﻛﻮﺩﻙ ﺩﺭ ﻣﻘﺎﺑﻞ ﭼﺸﻤﺎﻧﻢ ﭘﺪﻳﺪﺍﺭ‬ ‫ﺷﺪ ﻛﻪ ﺩﺭ ﺁﻥ ﮔﻴﺮ ﻭ ﺩﺍﺭ ﺟﻨﮓ‬ ‫ﺑﻠﻨﺪ‪ ،‬ﻣﺎﺩﺭﺵ ﺭﺍ ﺻﺪﺍ ﻣﻲﺯﺩ ﻭ ﺍﺷﻚ‬ ‫ﻣﻲﺭﻳﺨﺖ‪ .‬ﻛﻮﺩﻛﻲ ﻛﻪ ﺗﺎ ﻣﺮﺍ ﺩﻳﺪ‬ ‫ﭼﺸﻤﺎﻧﺶ ﺭﺍ ﮔﺮﻓﺖ ﻭ ﺭﻭﻱ ﺯﻣﻴﻦ‬ ‫ﻧﺸﺴﺖ‪ .‬ﺩﺳﺘﺎﻧﻢ ﺑﻲﺣﺲ ﺷﺪﻩ‬ ‫ﺑﻮﺩ‪ .‬ﺑﻐﺾ ﮔﻠﻮﻳﻢ ﺭﺍ ﻣﻲﻓﺸﺮﺩ ﻭ‬ ‫ﺗﻤﺎﺷﺎﻳﺶ ﻣﻲﻛﺮﺩﻡ‪ .‬ﺍﻳﻦ ﻛﻪ ﺑﻲﺩﻓﺎﻉ‬ ‫ﻣﻘﺎﺑﻠﻢ ﺯﺍﻧﻮ ﺯﺩﻩ ﺑﻮﺩ ﻭ ﭼﺸﻤﺎﻧﺶ ﺭﺍ‬ ‫ﮔﺮﻓﺘﻪ ﺑﻮﺩ ﺍﺳﻠﺤﻪ ﺭﺍ ﺭﻫﺎ ﻛﺮﺩﻡ‪ .‬ﺑﻪ‬ ‫ﻃﺮﻓﺶ ﺭﻓﺘﻢ ﻭ ﺩﺭ ﺁﻏﻮﺵ ﻓﺸﺮﺩﻣﺶ‬ ‫ﺍﺷﻜﻬﺎﻳﻢ ﺑﺮ ﭘﻴﺮﺍﻫﻨﺶ ﻣﻲﻏﻠﺘﻴﺪ‬ ‫ﺻﺪﺍﻱ ﺁﺭﺍﻡ ﻭ ﻟﺮﺯﺍﻧﺶ ﺩﺭ ﮔﻮﺵ ﻣﻦ‬ ‫ﻣﻲ ﭘﻴﭽﻴﺪ‪ :‬ﻣﺎﺩﺭ ‪..‬ﻣﺎﺩﺭ‪...‬‬

‫ﺩﺍﺳﺘﺎﻥ ﺍﻳﺮﺍﻧﻰ‬

‫ﺑﺎﻍ ﻭﺣﺶ‬ ‫ﻣﺤﺴﻦ ﻣﻮﺣﺪﻱ ﺯﺍﺩ‬ ‫ﺩﺭ ﺗﺎﺭﻳﻜﻲ ﺷﺒﻲ ﺍﺯ ﺷﺐﻫﺎﻱ‬ ‫ﺯﻣﺴﺘﺎﻥ ﻛﻪ ﻛﻢﻛﻢ ﻗﺪﺭﺗﺶ ﺗﺤﻠﻴﻞ‬ ‫ﻣﻲﺭﻓﺖ ﺭﻭﻱ ﺯﻣﻴﻦ ﺍﻓﺘﺎﺩﻩ ﺑﻮﺩ‪.‬‬ ‫ﺑﺎﺭﺍﻥ ﺗﻨﺪﻱ ﻣﻲﺑﺎﺭﻳﺪ‪ .‬ﺗﺎﺭﻳﻜﻲ ﻫﻤﻪ‬ ‫ﺟﺎ ﺭﺳﻮﺥ ﻛﺮﺩﻩ ﺑﻮﺩ‪ .‬ﻟﺒﺎﺱﻫﺎﻱ‬ ‫ﻣﻨﺪﺭﺱ ﻭ ﭘﺎﺭﻩﭘﺎﺭﻩﺍﻱ ﺑﻪ ﺗﻦ ﺩﺍﺷﺖ‬ ‫ﻛﻪ ﺗﺎ ﺣﺪﻱ ﻫﻢ ﺑﺮﺍﻳﺶ ﮔﺸﺎﺩ ﺷﺪﻩ‬ ‫ﺑﻮﺩﻧﺪ ﻭ ﺑﺪﻧﺶ ﺭﺍ ﺩﺭﺳﺖ ﻧﭙﻮﺷﺎﻧﺪﻩ‬ ‫ﺑﻮﺩﻧﺪ‪ .‬ﺩﺳﺖﻫﺎﻱ ﻣﺨﻤﻠﻲﺍﺵ‬ ‫ﻃﻮﺭﻱ ﺯﻳﺮ ﺑﺎﺭﺍﻥ ﺧﻴﺲ ﺷﺪﻩ ﺑﻮﺩﻧﺪ‬ ‫ﻛﻪ ﺍﮔﺮ ﻳﻚ ﺭﻭﺯ ﻛﺎﻣﻞ ﻫﻢ ﺩﺭ ﺁﻓﺘﺎﺏ‬ ‫ﺩﺭﺍﺯ ﻣﻲﻛﺸﻴﺪ ﺧﺸﻚ ﻧﻤﻲﺷﺪﻧﺪ‪.‬‬ ‫ﻛﻮﻓﺘﮕﻲ‪،‬ﺗﻤﺎﻡ ﻋﻀﻼﺕ ﺑﺪﻧﺶ ﺭﺍ‬ ‫ﻣﺜﻞ ﻳﻚ ﺗﻜﻪ ﭼﻮﺏ ﺧﺸﻚ ﻛﺮﺩﻩ‬ ‫ﺑﻮﺩ ﻭ ﺍﮔﺮ ﺗﻜﺎﻧﻲ ﺑﻪ ﺁﻥﻫﺎ ﻣﻲﺩﺍﺩ‬ ‫ﺩﺭﺩ ﺳﻮﺯﻧﺎﻛﻲ ﺗﻤﺎﻡ ﺑﺪﻧﺶ ﺭﺍ ﻓﺮﺍ‬ ‫ﻣﻲﮔﺮﻓﺖ‪ .‬ﻭﻗﺘﻲ ﻛﻪ ﺑﺎﻻﺧﺮﻩ ﺑﻪ‬ ‫ﺳﺨﺘﻲ ﺗﻮﺍﻧﺴﺖ ﺗﻜﻴﻪﮔﺎﻫﻲ ﻣﻨﺎﺳﺐ‬ ‫ﭘﻴﺪﺍ ﻛﻨﺪ‪ ،‬ﻣﺘﻮﺟﻪ ﺳﺮ ﻭ ﺻﺪﺍﻳﻲ ﺷﺪ‬ ‫ﻛﻪ ﺍﺯ ﺳﻮﻱ ﺷﻬﺮ ﻣﻲﺁﻣﺪ‪ .‬ﻭﻗﺘﻲ‬ ‫ﻧﮕﺎﻩ ﻛﺮﺩ ﺑﺎﺯﻱ ﻧﻮﺭ ﭼﺮﺍﻍﻫﺎﻱ‬ ‫ﺷﻬﺮ‪ ،‬ﺍﻣﻴﺪﻱ ﺭﺍ ﺩﺭ ﺩﻟﺶ ﺯﻧﺪﻩ‬ ‫ﻛﺮﺩ‪ .‬ﻣﻲﺩﺍﻧﺴﺖ ﻛﻪ ﻣﺮﺩﻡ ﺭﻭﺯﻫﺎﻱ‬ ‫ﭘﺎﻳﺎﻧﻲ ﺳﺎﻝ ﺭﺍ ﻣﻲﮔﺬﺭﺍﻧﻨﺪ ﻭ ﺷﻬﺮ‬ ‫ﺩﺭ ﺗﻜﺎﭘﻮ ﺑﺮﺍﻱ ﺗﺪﺍﺭﻙ ﺟﺸﻦﻫﺎﻱ‬ ‫ﺁﻏﺎﺯ ﺳﺎﻝ ﻧﻮﺳﺖ‪ .‬ﺩﺭ ﺍﻳﻦ ﺭﻭﺯﻫﺎ‬ ‫ﻛﻪ ﻣﺮﺩﻡ ﻣﺸﻐﻮﻝ ﺧﺎﻧﻪﺗﻜﺎﻧﻲ‬ ‫ﺑﻮﺩﻧﺪ‪ ،‬ﺯﺑﺎﻟﻪﻫﺎﻳﺸﺎﻥ ﺑﻴﺸﺘﺮ ﺷﺪﻩ‬ ‫ﺑﻮﺩ ﻭ ﺑﻮﻱ ﺯﻧﻨﺪﻩﺗﺮﻱ ﻣﺘﺼﺎﻋﺪ‬ ‫ﻣﻲﻛﺮﺩ ﻛﻪ ﺍﻣﺎﻧﺶ ﺭﺍ ﺑﺮﻳﺪﻩ ﺑﻮﺩ‪.‬‬ ‫ﺩﻳﮕﺮ ﻧﻤﻲﺗﻮﺍﻧﺴﺖ ﺣﺘﻲ ﺑﺮﺍﻱﻳﻚ‬ ‫ﺩﻗﻴﻘﻪﻱ ﺩﻳﮕﺮ ﻫﻢ ﺍﻳﻦ ﻣﺤﻴﻂ‬ ‫ﭼﻨﺪﺵﺁﻭﺭ ﺭﺍ ﺗﺤﻤﻞ ﻛﻨﺪ‪ .‬ﺑﻪ ﻫﻤﻴﻦ‬ ‫ﺧﺎﻃﺮ ﺗﺼﻤﻴﻢ ﮔﺮﻓﺖ ﻛﻪ ﺑﻪ ﺷﻬﺮ‬ ‫ﺑﺮﻭﺩ‪.‬‬ ‫ﻭﻗﺘﻲ ﺳﻌﻲ ﻣﻲﻛﺮﺩ ﺧﻮﺩﺵ ﺭﺍ ﺍﺯ‬ ‫ﺑﻴﻦ ﺗﻮﺭﻫﺎﻱ ﺑﻠﻨﺪ ﺣﺼﺎﺭ ﺑﻴﺮﻭﻥ‬ ‫ﺑﻜﺸﺪ ﻟﺒﺎﺳﺶ ﺑﻪﻳﻜﻲ ﺍﺯ ﺳﻴﻢﻫﺎ ﮔﻴﺮ‬ ‫ﻛﺮﺩ ﻭ ﭘﺎﺭﻩﺗﺮ ﺷﺪ ﻭ ﻛﻤﺮﺵ ﺧﺮﺍﺵ‬ ‫ﺑﺮﺩﺍﺷﺖ‪ .‬ﭼﺎﺭﻩﺍﻱ ﻧﺪﺍﺷﺖ‪ .‬ﺍﻳﻦ ﺗﻨﻬﺎ‬ ‫ﻗﺴﻤﺖ ﺣﺼﺎﺭ ﺑﻮﺩ ﻛﻪﻳﻚ ﺣﻔﺮﻩﻱ‬ ‫ﻛﻮﭼﻚ ﺩﺍﺷﺖ ﻭ ﺍﻭ ﻣﻲﺗﻮﺍﻧﺴﺖ ﺍﺯ‬ ‫ﺁﻥ ﺧﺎﺭﺝ ﺷﻮﺩ‪ .‬ﻭﻗﺘﻲ ﻛﻪ ﺍﺯ ﺣﺼﺎﺭ ﺭﺩ‬ ‫ﺷﺪ ﻭ ﺣﺪﻭﺩ ﻧﻴﻢ ﺳﺎﻋﺖ ﺍﺯ ﺗﭙﻪﻫﺎﻳﻲ‬ ‫ﻛﻪ ﺑﻪ ﺑﻴﺎﺑﺎﻥﻫﺎﻱ ﺷﻬﺮ ﺧﺘﻢ ﻣﻲﺷﺪ‬ ‫ﭘﺎﻳﻴﻦ ﺁﻣﺪ‪ ،‬ﺑﺎﻻﺧﺮﻩ ﺑﻪ ﺍﻭﻟﻴﻦ ﺭﺩﻳﻒ‬ ‫ﺧﺎﻧﻪﻫﺎﻱ ﺣﺎﺷﻴﻪﺍﻱ ﺷﻬﺮ ﺭﺳﻴﺪ‬ ‫ﻛﻪ ﺑﻴﺸﺘﺮ ﺑﻪ ﺧﺮﺍﺑﻪﻫﺎﻱﻳﻚ ﺷﻬﺮ‬ ‫ﻗﺪﻳﻤﻲ ﻣﻲﻣﺎﻧﺴﺖ‪ .‬ﺯﻣﺎﻧﻲ ﻛﻪ‬ ‫ﺑﻪﻳﻜﻲ ﺍﺯ ﺧﻴﺎﺑﺎﻥﻫﺎﻱ ﺍﺻﻠﻲ ﺷﻬﺮ‬ ‫ﻛﻪ ﺍﺳﻤﺶ ﺭﺍ ﺑﻠﺪ ﻧﺒﻮﺩ ﺭﺳﻴﺪ‪ ،‬ﺩﻭ‬ ‫ﺳﺎﻋﺘﻲ ﺑﻴﺸﺘﺮ ﺍﺯ ﺗﺎﺭﻳﻚ ﺷﺪﻥ ﻫﻮﺍ‬ ‫ﻧﮕﺬﺷﺘﻪ ﺑﻮﺩ‪ .‬ﭘﻴﺎﺩﻩﺭﻭﻫﺎ ﻭ ﺧﻴﺎﺑﺎﻥﻫﺎ‬

‫ﭘﺮ ﺑﻮﺩ ﺍﺯ ﺁﺩﻡﻫﺎﻱ ﭘﻴﺎﺩﻩ ﻭ ﺳﻮﺍﺭﻩﺍﻱ ﻛﻪ‬ ‫ﺑﻴﻦﻳﻜﺪﻳﮕﺮ ﻭﻭﻝ ﻣﻲﺧﻮﺭﺩﻧﺪ‪ .‬ﭼﺴﺒﻴﺪﻩ ﺑﻪ‬ ‫ﺩﻳﻮﺍﺭ ﻛﻨﺎﺭ ﭘﻴﺎﺩﻩﺭﻭ ﺑﻪ ﭘﻴﺶ ﺭﻓﺖ ﺗﺎ ﺍﻳﻨﻜﻪ‬ ‫ﺑﻪ ﺗﺪﺭﻳﺞ ﺷﻬﺮ‪ ،‬ﺭﻧﮓ ﻭ ﺑﻮﻱ ﺍﺻﻠﻲ ﺧﻮﺩ‬ ‫ﺭﺍ ﻧﺸﺎﻥ ﺩﺍﺩ‪ .‬ﻣﻐﺎﺯﻩﻫﺎﻱ ﺑﻪ ﻃﻮﺭ ﻣﻨﻈﻤﻲ‬ ‫ﺩﺭ ﻛﻨﺎﺭﻳﻜﺪﻳﮕﺮ ﻗﺮﺍﺭ ﮔﺮﻓﺘﻪ ﺑﻮﺩﻧﺪ ﻭ ﺗﻘﺮﻳﺒﺂ‬ ‫ﻫﻤﻪﻱ ﺁﻥﻫﺎ ﭘﺮ ﺑﻮﺩ ﺍﺯ ﺁﺩﻡﻫﺎﻳﻲ ﻛﻪ ﻫﻤﻪ‬ ‫ﺧﻮﺷﺤﺎﻝ ﺑﻪ ﻧﻈﺮ ﻣﻲﺭﺳﻴﺪﻧﺪ‪ .‬ﺩﻳﮕﺮ ﺑﻪ‬ ‫ﻫﺴﺘﻪﻱ ﺍﺻﻠﻲ ﺷﻬﺮ ﻧﺰﺩﻳﻚ ﻣﻲﺷﺪ‬ ‫ﻛﻪ ﺑﻮﻱ ﻏﺬﺍ ﺑﻪ ﻣﺸﺎﻣﺶ ﺧﻮﺭﺩ‪.‬ﻳﺎﺩﺵ‬ ‫ﺁﻣﺪ ﻭﻗﺘﻲ ﻛﻪ ﻛﻨﺎﺭ ﺗﭙﻪ ﺑﻮﺩ ﻏﺎﺭ ﻭ ﻏﻮﺭ‬ ‫ﺷﻜﻤﺶ ﺭﺍﻩ ﺍﻓﺘﺎﺩﻩ ﺑﻮﺩ ﺍﻣﺎ ﻣﺪﺗﻲ ﻓﺮﺍﻣﻮﺵ‬ ‫ﻛﺮﺩﻩ ﺑﻮﺩ‪ .‬ﮔﺮﺳﻨﻪ ﺑﻮﺩ ﺍﻣﺎ ﺟﺮﺍﺕ ﺍﻳﻦ ﺭﺍ‬ ‫ﭘﻴﺪﺍ ﻧﻜﺮﺩ ﻛﻪ ﺩﺍﺧﻞ ﻓﺴﺖﻓﻮﺩﻱ ﺷﻮﺩ ﻛﻪ‬ ‫ﺣﺎﻻ ﺭﻭﺑﻪﺭﻭﻳﺶ ﺍﻳﺴﺘﺎﺩﻩ ﺑﻮﺩ‪ .‬ﭘﺲ ﻫﺮ ﭼﻪ‬ ‫ﺗﻮﺍﻥ ﺩﺍﺷﺖ ﺩﺭ ﭘﺎﻫﺎﻱ ﺧﻮﺩ ﺫﺧﻴﺮﻩ ﻛﺮﺩ ﻭ‬ ‫ﺍﺯ ﺁﻧﺠﺎ ﺩﻭﺭ ﺷﺪ‬ ‫ﺧﻴﺎﺑﺎﻥ ﺭﺍ ﻛﻪ ﺑﻪ ﭘﺎﻳﺎﻥ ﺭﺳﺎﻧﺪ ﺑﻪ ﭼﻬﺎﺭﺭﺍﻫﻲ‬ ‫ﺭﺳﻴﺪ‪ .‬ﻧﻤﻲﺩﺍﻧﺴﺖ ﺍﺯ ﻛﺪﺍﻡ ﻃﺮﻑ ﺑﺎﻳﺪ‬ ‫ﺑﺮﻭﺩ‪ .‬ﻛﻤﻲ ﻣﻜﺚ ﻛﺮﺩ‪ .‬ﺩﺭ ﺧﻴﺎﺑﺎﻥ‬ ‫ﺭﻭﺑﻪﺭﻭﻳﻲ‪ ،‬ﺩﺭﺏ ﺷﻴﺸﻪﺍﻱ ﺑﺰﺭﮔﻲ ﺑﺎ‬ ‫ﭼﺮﺍﻍﻫﺎﻱ ﺭﻧﮕﺎﺭﻧﮓ ﺩﻳﺪ‪ .‬ﻭﻗﺘﻲ ﺳﻌﻲ ﻛﺮﺩ‬ ‫ﺗﺎﺑﻠﻮﻱ ﺳﺮ ﺩﺭ ﺁﻥ ﺭﺍ ﺑﺨﻮﺍﻧﺪ ﭼﻴﺰﻱ ﻧﺪﻳﺪ‬ ‫ﺟﺰﻳﻚ ﺧﻂ ﻗﺮﻣﺰ ﺑﻪ ﻫﻢ ﭼﺴﺒﻴﺪﻩ ﻛﻪ ﻣﺪﺍﻡ‬ ‫ﭼﺸﻤﻚ ﻣﻲﺯﺩ‪ .‬ﻧﻮﺷﺘﻪ ﺗﺎﺭ ﺑﻮﺩ ﻭ ﻧﺘﻮﺍﻧﺴﺖ‬ ‫ﺁﻥ ﺭﺍ ﺑﺨﻮﺍﻧﺪ‪ .‬ﺗﺎﺯﻩ ﻣﺘﻮﺟﻪ ﺷﺪ ﻛﻪ ﻋﻴﻨﻜﺶ‬ ‫ﺭﺍ ﮔﻢ ﻛﺮﺩﻩ ﺑﻮﺩ‪ .‬ﺍﻣﺎ ﻓﻜﺮ ﻛﺮﺩ ﺷﺎﻳﺪ ﺑﺘﻮﺍﻧﺪ‬ ‫ﺁﻧﺠﺎ ﭘﻴﺪﺍﻳﺶ ﻛﻨﺪ‪ .‬ﭘﺲ ﺑﻪ ﻃﺮﻓﺶ ﺭﺍﻩ‬ ‫ﺍﻓﺘﺎﺩ‪ .‬ﻭﻗﺘﻲ ﺑﻪ ﺩﺭ ﺭﺳﻴﺪ ﺻﺒﺮ ﻛﺮﺩ ﺗﺎ ﺩﺭ ﺑﺎﺯ‬ ‫ﺷﺪ ﻭ ﺧﻮﺩ ﺭﺍ ﺍﺯ ﮔﻮﺷﻪﺍﻱ ﺑﻪ ﺩﺍﺧﻞ ﻛﺸﺎﻧﺪ‪.‬‬ ‫ﺟﻤﻌﻴﺖ ﺯﻳﺎﺩﻱ ﺁﻧﺠﺎ ﺑﻮﺩ ﻛﻪ ﻣﺎﻧﻊ ﻣﻲﺷﺪ‬ ‫ﺍﻭ ﺑﺎ ﺁﻥ ﻗﺪ ﻭ ﻗﺎﻣﺖ ﻛﻮﭼﻜﺶ ﺑﺘﻮﺍﻧﺪ ﺧﻮﺏ‬ ‫ﻫﻤﻪ ﺟﺎ ﺭﺍ ﺑﺒﻴﻨﺪ‪ .‬ﺑﺎ ﺗﻼﺵ ﺯﻳﺎﺩ ﺍﺯ ﺑﻴﻦ‬ ‫ﺟﻤﻌﻴﺖ ﮔﺬﺷﺖ ﻭ ﺩﺭ ﮔﻮﺷﻪﻱ ﺧﻠﻮﺗﻲ ﻗﺮﺍﺭ‬ ‫ﮔﺮﻓﺖ‪ .‬ﻭﻗﺘﻲ ﻣﺴﺘﻘﺮ ﺷﺪ ﻫﻤﻪ ﺟﺎ ﺭﺍ ﻧﮕﺎﻩ‬ ‫ﻛﺮﺩ‪.‬ﻳﺎﺩﺵ ﺁﻣﺪ ﻛﻪ ﻗﺒﻶﻳﻚ ﺑﺎﺭ ﺑﻪ ﺍﻳﻨﺠﺎ‬ ‫ﺁﻣﺪﻩ ﺑﻮﺩ‪ .‬ﺍﻳﻨﺠﺎ ﺑﺎﻍ ﻭﺣﺶ ﺷﻬﺮ ﺑﻮﺩ‪ .‬ﺣﺎﻻ‬ ‫ﻣﻲﺗﻮﺍﻧﺴﺖ ﺣﻴﻮﺍﻧﺎﺕ ﻋﺠﻴﺐ ﻭ ﻏﺮﻳﺒﻲ‬ ‫ﺭﺍ ﺑﺒﻴﻨﺪ ﻛﻪ ﺑﺴﻴﺎﺭﻱ ﺍﺯ ﺁﻥﻫﺎ ﺭﺍ ﺩﻓﻌﻪﻱ‬ ‫ﭘﻴﺶ ﻧﺪﻳﺪﻩ ﺑﻮﺩ‪ .‬ﺁﻥﻫﺎ ﺭﺍ ﺩﺭ ﻗﻔﺲﻫﺎﻱ‬ ‫ﺷﻴﺸﻪﺍﻱ‪ ،‬ﺑﻪ ﻃﻮﺭ ﻣﻨﻈﻢ‪ ،‬ﺩﺭ ﻛﻨﺎﺭﻳﻜﺪﻳﮕﺮ‬ ‫ﻗﺮﺍﺭ ﺩﺍﺩﻩ ﺑﻮﺩﻧﺪ‪ .‬ﺑﺎﻻﻱ ﺳﺮﺷﺎﻥﻳﻚ ﺭﺩﻳﻒ‬ ‫ﺩﻳﮕﺮ ﻭ ﺑﺎﻻﻱ ﺁﻥ ﺭﺩﻳﻒ ﻫﻢ‪ ،‬ﺭﺩﻳﻔﻲ ﺩﻳﮕﺮ‬ ‫ﻗﺮﺍﺭ ﺩﺍﺩﻩ ﺑﻮﺩﻧﺪ‪ .‬ﻗﻔﺲﻫﺎ ﺁﻧﻘﺪﺭ ﻛﻮﭼﻚ‬ ‫ﺑﻮﺩﻧﺪ ﻛﻪ ﺑﻌﻀﻲ ﺍﺯ ﺁﻥ ﺣﻴﻮﺍﻧﺎﺕ ﺑﻪ ﺯﻭﺭ‬ ‫ﺧﻮﺩ ﺭﺍ ﺩﺭ ﺁﻥ ﺟﺎﻱ ﺩﺍﺩﻩ ﺑﻮﺩﻧﺪ ﻭ ﻣﺴﺘﻘﻴﻢ‬ ‫ﺑﻪ ﻣﺮﺩﻣﻲ ﻛﻪ ﺗﻤﺎﺷﺎﻳﺸﺎﻥ ﻣﻲﻛﺮﺩﻧﺪ‬ ‫ﺧﻴﺮﻩ ﺷﺪﻩ ﺑﻮﺩﻧﺪ‪ .‬ﻣﺮﺩﻡ ﭼﻨﺪﺗﺎ ﭼﻨﺪﺗﺎ ﺑﺎ‬ ‫ﻫﻢ ﺻﺤﺒﺖ ﻣﻲﻛﺮﺩﻧﺪ ﻭ ﺭﺩ ﻣﻲﺷﺪﻧﺪ‪ .‬ﺑﺎ‬ ‫ﺩﺳﺖ ﺁﻥﻫﺎ ﺭﺍ ﻧﺸﺎﻥ ﻣﻲﺩﺍﺩﻧﺪ‪ .‬ﮔﺎﻫﻲ ﺑﻪ‬ ‫ﺗﻤﺴﺨﺮ ﺑﻪ ﺁﻥﻫﺎ ﻣﻲﺧﻨﺪﻳﺪﻧﺪ ﻭ ﮔﺎﻫﻲ ﺑﺎ‬ ‫ﻧﻔﺮﺕ ﻧﮕﺎﻫﺸﺎﻥ ﻣﻲﻛﺮﺩﻧﺪ ﻭ ﺭﺩ ﻣﻲﺷﺪﻧﺪ‪.‬‬ ‫ﺑﻌﻀﻲﻫﺎ ﻫﻢ ﺑﭽﻪﻫﺎﻱ ﺧﻮﺩ ﺭﺍ ﺑﻠﻨﺪ‬ ‫ﻣﻲﻛﺮﺩﻧﺪ ﺗﺎ ﺑﺘﻮﺍﻧﻨﺪ ﺣﻴﻮﺍﻧﺎﺕ ﻧﺎﺗﻮﺍﻥ ﺭﺍ‬ ‫ﺑﺒﻴﻨﻨﺪ‪ .‬ﭼﻴﺰﻱ ﺑﻪ ﮔﻮﺵ ﺁﻥﻫﺎ ﻣﻲﮔﻔﺘﻨﺪ‬ ‫ﻭ ﺑﻌﺪ ﻣﻨﺘﻈﺮ ﻭﺍﻛﻨﺶ ﺑﭽﻪﻫﺎ ﻣﻲﺷﺪﻧﺪ‪.‬‬ ‫ﺑﭽﻪﻫﺎ ﺑﺎ ﺩﺳﺖ ﻳﻜﻲ ﺍﺯ ﺣﻴﻮﺍﻧﺎﺕ ﺭﺍ ﻧﺸﺎﻥ‬ ‫ﻣﻲﺩﺍﺩﻧﺪ‪ .‬ﺟﻌﺒﻪﻱ ﺭﻧﮕﺎﺭﻧﮕﻲ ﻣﻲﺁﻭﺭﺩﻧﺪ ﻭ‬ ‫ﺣﻴﻮﺍﻥ ﺍﻧﺘﺨﺎﺏﺷﺪﻩ ﺭﺍ ﺩﺭ ﺁﻥ ﻣﻲﮔﺬﺍﺷﺘﻨﺪ‪.‬‬

‫ﺩﻭﺭﻩ ﺟﺪﻳﺪ‪/‬ﺷﻤﺎﺭﻩ ‪ 9‬ﻭ ‪)10‬ﭘﻴﺎﭘﻲ‪39‬ﻭ‪ /(40‬ﺳﺎﻝ ﺳﻮﻡ‪/‬ﻧﻮﺭﻭﺯ‪88‬‬

‫ﺍﻭ ﻫﻢ ﻗﺒﻶ ﺑﺎﺭﻫﺎ ﺍﻳﻦ ﺭﺍ ﺗﺠﺮﺑﻪ ﻛﺮﺩﻩ ﺑﻮﺩ‪.‬‬ ‫ﺍﻭ ﺭﺍ ﺑﻠﻨﺪ ﻣﻲﻛﺮﺩ‪ ،‬ﺳﺮﺵ ﺭﺍ ﺗﻜﺎﻥ ﻣﻲﺩﺍﺩ‬ ‫ﻭ ﺳﻌﻲ ﻣﻲﻛﺮﺩ ﺑﻪ ﺟﺎﻱ ﺍﻭ ﺣﺮﻑ ﺑﺰﻧﺪ ﺗﺎ‬ ‫ﺍﻳﻨﻜﻪ ﺍﻭ ﺣﺮﻑ ﺯﺩﻥ ﺭﺍﻳﺎﺩ ﺑﮕﻴﺮﺩ‪ .‬ﺩﻭﺑﺎﺭﻩ‬ ‫ﺗﻼﺵ ﻛﺮﺩ ﺑﻴﻦ ﺟﻤﻌﻴﺖ ﺭﺍ ﺑﺒﻴﻨﺪ ﺷﺎﻳﺪ‬ ‫ﺑﺘﻮﺍﻧﺪ ﭘﻴﺪﺍﻳﺶ ﻛﻨﺪ ﺍﻣﺎ ﺑﺪﻭﻥ ﻋﻴﻨﻜﺶ‬ ‫ﺧﻴﻠﻲ ﺳﺨﺖ ﻣﻲﺗﻮﺍﻧﺴﺖ ﭼﻬﺮﻩﻫﺎﻱ ﺁﻥﻫﺎ‬ ‫ﺭﺍ ﺗﺸﺨﻴﺺ ﺑﺪﻫﺪ‪ .‬ﭘﺲ ﺻﺮﻑ ﻧﻈﺮ ﻛﺮﺩ ﻭ‬ ‫ﺍﺯ ﺁﻧﺠﺎ ﺧﺎﺭﺝ ﺷﺪ‪.‬‬ ‫ﺍﺯ ﻳﻜﻲ ﺍﺯ ﭘﻴﺎﺩﻩﺭﻭﻫﺎﻱ ﺷﻬﺮ ﺭﺍ ﮔﺮﻓﺘﻪ ﺑﻮﺩ‬ ‫ﻭ ﺳﺮﮔﺮﺩﺍﻥ ﭘﻴﺶ ﻣﻲﺭﻓﺖ‪ .‬ﺩﺭ ﻻﺑﻪﻻﻱ‬ ‫ﺟﻤﻌﻴﺖ ﺑﻪ ﺳﺨﺘﻲ ﻣﻲﺗﻮﺍﻧﺴﺖ ﺭﺩ ﺷﻮﺩ‪.‬‬ ‫ﮔﺎﻫﻲ ﻫﻢ ﺑﻪ ﺍﻭ ﺗﻨﻪ ﻣﻲﺯﺩﻧﺪ ﻛﻪ ﺑﻪ ﺳﺨﺘﻲ‬ ‫ﻣﻲﺗﻮﺍﻧﺴﺖ ﺩﻭﺑﺎﺭﻩ ﺗﻌﺎﺩﻟﺶ ﺭﺍ ﺣﻔﻆ ﻛﻨﺪ‪.‬‬ ‫ﺟﻠﻮﺗﺮ ﻛﻪ ﻛﻤﻲ ﺧﻠﻮﺕﺗﺮ ﺑﻮﺩ ﺭﻭﺑﻪﺭﻭﻱﻳﻚ‬ ‫ﺑﺎﺷﮕﺎﻩ ﺑﻴﻠﻴﺎﺭﺩ ﭼﻨﺪ ﭘﺴﺮ ﺑﭽﻪﻱ ﻧﻮﺟﻮﺍﻥ‬ ‫ﺍﻳﺴﺘﺎﺩﻩ ﺑﻮﺩﻧﺪ‪ .‬ﻭﻗﺘﻲ ﻛﻪ ﺍﻭ ﺭﺍ ﺩﻳﺪﻧﺪ‬ ‫ﺩﻭﺭﺵ ﺣﻠﻘﻪ ﺯﺩﻧﺪ‪ .‬ﻫﺮ ﻛﺪﺍﻡﻳﻚ ﻃﻮﺭﻱ‬ ‫ﺍﻭ ﺭﺍ ﺍﺫﻳﺖ ﻛﺮﺩ‪.‬ﻳﻜﻲ ﺳﻘﻠﻤﻪﺍﻱ ﺑﻪ ﺍﻭ‬ ‫ﻣﻲﺯﺩ‪،‬ﻳﻜﻲ ﻣﻮﻫﺎﻳﺶ ﺭﺍ ﻣﻲﻛﺸﻴﺪ ﻭﻳﻜﻲ‬ ‫‪ ...‬ﺍﻭ ﺩﺭ ﻟﺤﻈﻪﺍﻱ ﻓﺮﺻﺖ ﺭﺍ ﻏﻨﻴﻤﺖ‬ ‫ﺷﻤﺮﺩ ﻭ ﺍﺯ ﺑﻴﻦ ﺁﻥﻫﺎ ﭘﺎ ﺑﻪ ﻓﺮﺍﺭ ﮔﺬﺍﺷﺖ‪.‬‬ ‫ﻭﻗﺘﻲ ﻣﻲﺩﻭﻳﺪ ﻭ ﺁﻥﻫﺎ ﻧﻴﺰ ﺍﻭ ﺭﺍ ﺩﻧﺒﺎﻝ‬ ‫ﻣﻲﻛﺮﺩﻧﺪ‪ .‬ﭘﺎ ﺭﻭﻱ ﺑﻨﺪ ﻛﻔﺸﺶ ﮔﺬﺍﺷﺖ‬ ‫ﻭ ﻣﺤﻜﻢ ﺑﻪ ﺯﻣﻴﻦ ﺧﻮﺭﺩ ﻛﻪ ﺁﻥﻫﺎ ﺭﺍ ﺑﻪ‬ ‫ﺧﻨﺪﻩ ﺍﻧﺪﺍﺧﺖ‪ .‬ﺟﻤﻌﻴﺘﻲ ﺩﻭﺭ ﺍﻭ ﺭﺍ ﮔﺮﻓﺘﻨﺪ‬ ‫ﻭ ﺑﻌﺪ‪ ،‬ﺍﺯ ﺑﻴﻦ ﺟﻤﻌﻴﺖ‪ ،‬ﻛﺴﻲ ﺍﻭ ﺭﺍ ﻛﻪ ﺑﺎ‬ ‫ﺻﻮﺭﺕ ﺑﻪ ﺯﻣﻴﻦ ﺧﻮﺭﺩﻩ ﺑﻮﺩ ﺑﻠﻨﺪ ﻛﺮﺩ‪ .‬ﺩﺭ‬ ‫ﺍﺑﺘﺪﺍ ﺳﻌﻲ ﻛﺮﺩ ﭼﻬﺮﻩﻱ ﺍﻭ ﺭﺍ ﺑﺒﻴﻨﺪ ﺍﻣﺎ ﺍﺯ‬ ‫ﺁﻧﺠﺎﻳﻲ ﻛﻪ ﻧﻤﻲﺗﻮﺍﻧﺴﺖ ﮔﺮﺩﻧﺶ ﺭﺍ ﺍﺯﻳﻚ‬ ‫ﺣﺪ ﺑﻴﺸﺘﺮ ﺑﭽﺮﺧﺎﻧﺪ ﻣﻮﻓﻖ ﻧﺸﺪ ﺍﻣﺎ ﻭﻗﺘﻲ‬ ‫ﭘﻴﺮﻣﺮﺩ ﺍﻭ ﺭﺍ ﺭﻭﻱ ﻧﻴﻤﻜﺖ ﻛﻨﺎﺭ ﭘﻴﺎﺩﻩﺭﻭ‬ ‫ﮔﺬﺍﺷﺖ ﺗﻮﺍﻧﺴﺖ ﺍﻭ ﺭﺍ ﺑﺒﻴﻨﺪ‪ .‬ﺧﻮﺍﺳﺖ ﺍﺯ‬ ‫ﺍﻭ ﺗﺸﻜﺮ ﻛﻨﺪ ﺍﻣﺎ ﺑﺎﺯ ﺯﺑﺎﻥ ﺩﺭ ﺩﻫﺎﻧﺶ‬ ‫ﻧﭽﺮﺧﻴﺪ‪ .‬ﻭﻗﺘﻲ ﻛﻪ ﭘﻴﺮﻣﺮﺩ ﺩﻭﺭ ﻣﻲﺷﺪ‬ ‫ﺟﻤﻌﻴﺘﻲ ﺭﺍ ﻫﻢ ﻛﻪ ﺩﻭﺭ ﺍﻭ ﺭﺍ ﮔﺮﻓﺘﻪ‬ ‫ﺑﻮﺩﻧﺪ ﺑﺎ ﺧﻮﺩ ﭘﺮﺍﻛﻨﺪﻩ ﻛﺮﺩ ﻭ ﻧﮕﺎﻫﻲ ﺑﻪ‬ ‫ﻛﻔﺶ ﺧﻮﺩ ﻛﺮﺩ‪ .‬ﻛﻔﺶ ﺍﺻﻶ ﺑﻨﺪ ﻧﺪﺍﺷﺖ‬ ‫ﺍﻣﺎ ﻧﺦ ﺑﺎﺭﻳﻜﻲ ﺑﻪ ﻧﻮﻙ ﻛﻔﺸﺶ ﺩﻭﺧﺘﻪ‬ ‫ﺷﺪﻩ ﺑﻮﺩ‪ .‬ﻧﺦ ﺭﺍ ﺩﺍﺧﻞ ﻛﻔﺸﺶ ﻓﺸﺎﺭ‬ ‫ﺩﺍﺩ‪ .‬ﻫﻤﭽﻨﺎﻥ ﺑﻲﺣﺮﻛﺖ ﺭﻭﻱ ﻧﻴﻤﻜﺖ‬ ‫ﻧﺸﺴﺖ‪ .‬ﻣﺮﺩﻣﻲ ﻛﻪ ﺍﺯ ﻛﻨﺎﺭﺵ ﺭﺩ‬ ‫ﻣﻲﺷﺪﻧﺪ‪ ،‬ﮔﺮﻭﻫﻲ ﺑﺎ ﺗﻌﺠﺐ ﺑﻪ ﺍﻭ ﻧﮕﺎﻩ‬ ‫ﻣﻲﻛﺮﺩﻧﺪ‪ ،‬ﮔﺮﻭﻫﻲ ﺑﻪ ﺍﻭ ﻣﻲﺧﻨﺪﻳﺪﻧﺪ‬ ‫ﻭ ﮔﺮﻭﻫﻲ ﻫﻢ ﺑﻲﺗﻔﺎﻭﺕ ﺍﺯ ﻛﻨﺎﺭﺵ ﺭﺩ‬ ‫ﻣﻲﺷﺪﻧﺪ‪ .‬ﺑﻌﺪ ﺍﺯ ﺍﻳﻨﻜﻪ ﺣﺪﻭﺩﻳﻚ ﺳﺎﻋﺖ‬ ‫ﮔﺬﺷﺖ ﻭ ﺍﻭ ﻛﻤﻲ ﺍﺳﺘﺮﺍﺣﺖ ﻛﺮﺩﻩ ﺑﻮﺩ‪،‬‬ ‫ﻛﺴﻲ ﻛﻨﺎﺭﺵ ﻧﺸﺴﺖ‪ .‬ﺯﻣﺎﻧﻲ ﻛﻪ ﺍﻭ ﺭﺍ‬ ‫ﺩﻳﺪ ﻛﻤﻲ ﺷﻮﻛﻪ ﺷﺪ‪ .‬ﻧﮕﺎﻫﻲ ﻣﻬﺮﺑﺎﻧﺎﻧﻪ‬ ‫ﺑﻪ ﺍﻭ ﻛﺪ ﻭ ﺑﻌﺪ ﭼﺸﻢ ﺍﺯ ﺍﻭ ﺑﺮﺩﺍﺷﺖ‪ .‬ﺍﻭ‬ ‫ﻛﻪ ﻣﺘﻮﺟﻪ ﻧﮕﺎﻫﺶ ﺷﺪﻩ ﺑﻮﺩ ﺑﻪ ﺳﺨﺘﻲ‬ ‫ﻛﻤﻲ ﺳﺮﺵ ﺭﺍ ﭼﺮﺧﺎﻧﺪ ﻭ ﻣﺴﻴﺮ ﺍﻭ ﺭﺍ ﻧﮕﺎﻩ‬ ‫ﻛﺮﺩ‪ .‬ﺯﻳﺒﺎﻳﻲ ﻋﺮﻭﺳﻚﻭﺍﺭﻱ ﺩﺭ ﭼﻬﺮﻩﺍﺵ‬ ‫ﻭﺟﻮﺩ ﺩﺍﺷﺖ‪ .‬ﺩﺧﺘﺮ ﺳﻌﻲ ﻛﺮﺩ ﺳﺮ ﺣﺮﻑ‬ ‫ﺭﺍ ﺑﺎﺯ ﻛﻨﺪ‪ .‬ﺍﺳﻢ ﺍﻭ ﺭﺍ ﭘﺮﺳﻴﺪ ﺍﻣﺎ ﺍﻭ ﺗﻨﻬﺎ ﺑﺎ‬ ‫ﺗﻜﺎﻥ ﺩﺍﺩﻥ ﺳﺮﺵ‪ ،‬ﻛﻪ ﺑﻴﺸﺘﺮ ﺍﺯ ﭼﻨﺪ ﺛﺎﻧﻴﻪ‬ ‫ﻧﻤﻲﺗﻮﺍﻧﺴﺖ ﺁﻥ ﺭﺍ ﺑﺎﻻ ﺑﮕﻴﺮﺩ‪ ،‬ﺟﻮﺍﺑﺶ ﺭﺍ‬ ‫ﺩﺍﺩ ﻭ ﺑﻌﺪ ﺍﺯ ﭼﻨﺪ ﺩﻗﻴﻘﻪ ﺩﺧﺘﺮ ﺩﺳﺖ ﺍﻭ ﺭﺍ‬ ‫ﮔﺮﻓﺖ ﻭ ﻫﻤﺮﺍﻩ ﺧﻮﺩ ﺑﺮﺩ‪ .‬ﺑﻪ ﺧﺎﻧﻪﺍﺵ ﻛﻪ‬

‫ﺭﺳﻴﺪﻧﺪ ﺩﺧﺘﺮ ﻛﻤﻜﺶ ﻛﺮﺩ ﺗﺎ ﺧﻮﺩﺵ ﺭﺍ‬ ‫ﺗﻤﻴﺰ ﻛﻨﺪ ﻭ ﺑﻌﺪ ﻟﺒﺎﺱ ﮔﺮﻡ ﻭ ﺭﺍﺣﺘﻲ ﺑﻪ ﺍﻭ‬ ‫ﺩﺍﺩ‪ .‬ﻣﺪﺗﻲ ﺭﺍ ﺭﻭﻱ ﻣﺒﻞ‪ ،‬ﺗﻨﻬﺎ ﻧﺸﺴﺘﻪ ﺑﻮﺩ ﻭ‬ ‫ﺩﺧﺘﺮ ﺩﺭ ﺁﺷﭙﺰﺧﺎﻧﻪ ﺩﺭ ﺣﺎﻝ ﻣﻬﻴﺎ ﻛﺮﺩﻥ ﻏﺬﺍ‬ ‫ﺑﻮﺩ‪ .‬ﭘﺲ ﺍﺯ ﭼﻨﺪ ﺩﻗﻴﻘﻪ ﺩﺧﺘﺮ ﺩﺭ ﻛﻨﺎﺭ ﺍﻭ‬ ‫ﺭﻭﻱ ﻣﺒﻞ ﻧﺸﺴﺖ ﻛﻪ ﻧﺎﮔﻬﺎﻥ ﻣﺘﻮﺟﻪ ﺷﺪ‬ ‫ﭼﺸﻢ ﺍﻭ ﻏﺮﻕ ﺍﺷﻚ ﺍﺳﺖ‪ .‬ﺑﻪ ﺗﻠﻮﻳﺰﻳﻮﻥ‬ ‫ﻛﻪ ﺩﻗﻴﻖ ﺷﺪ ﻣﺘﻮﺟﻪ ﺍﻳﻦ ﺷﺪ ﻛﻪ ﺑﺮﻧﺎﻣﻪﻱ‬ ‫ﻋﺮﻭﺳﻚﻫﺎﻱ ﺧﻴﻤﻪﺷﺐﺑﺎﺯﻱ ﺩﺍﺭﺩ ﺍﺯ ﺁﻥ‬ ‫ﭘﺨﺶ ﻣﻲﺷﻮﺩ‪ .‬ﺍﺯ ﺍﻭ ﭘﺮﺳﻴﺪ ﻛﻪ ﭼﺮﺍ ﮔﺮﻳﻪ‬ ‫ﻣﻲﻛﻨﺪ ﺍﻣﺎ ﺍﻭ ﻫﻤﺎﻧﻄﻮﺭ ﻛﻪ ﺑﻪ ﺗﻠﻮﻳﺰﻳﻮﻥ‬ ‫ﻧﮕﺎﻩ ﻣﻲﻛﺮﺩ ﺑﺎ ﺣﺮﻛﺖ ﺳﺮ ﺍﺷﺎﺭﻩ ﻛﺮﺩ ﻛﻪ‬ ‫ﻧﻤﻲﺩﺍﻧﺪ‪ .‬ﺩﺧﺘﺮ‪ ،‬ﺯﺩ ﺗﻠﻮﻳﺰﻳﻮﻥ ﺭﺍ ﺧﺎﻣﻮﺵ‬ ‫ﻛﺮﺩ ﻭ ﺍﻭ ﺭﺍ ﺩﺭ ﺁﻏﻮﺵ ﮔﺮﻓﺖ‪ .‬ﺩﺳﺘﻲ ﺩﺭ‬ ‫ﻣﻮﻫﺎﻳﺶ ﻛﺸﻴﺪ ﻭ ﺑﻌﺪ ﺩﺳﺖ ﺍﻭ ﺭﺍ ﮔﺮﻓﺖ‬ ‫ﻭ ﺑﻪ ﺁﺷﭙﺰﺧﺎﻧﻪ ﺑﺮﺩ ﺍﻣﺎ ﺍﻭ ﻫﻴﭻ ﻣﻴﻠﻲ ﺑﻪ‬ ‫ﻏﺬﺍ ﻧﺪﺍﺷﺖ ﻭ ﺣﺘﻲﻳﻚ ﻟﻘﻤﻪ ﻫﻢ ﻧﺨﻮﺭﺩ‪.‬‬ ‫ﺑﻌﺪ ﺍﺯ ﺍﻳﻨﻜﻪ ﺗﻼﺵﻫﺎﻱ ﺩﺧﺘﺮ ﺑﻲﺛﻤﺮ‬ ‫ﺑﻮﺩ ﺍﻭ ﺭﺍ ﺁﺭﺍﻡ ﺑﻪ ﺭﻭﻱ ﺗﺨﺖ ﺑﺮﺩ ﻭ ﻛﻨﺎﺭ‬ ‫ﺧﻮﺩ ﺧﻮﺍﺑﺎﻧﺪ‪ .‬ﺩﺳﺖﻫﺎﻱ ﻟﻄﻴﻒ ﺩﺧﺘﺮ‪،‬‬ ‫ﺩﺳﺖﻫﺎﻱ ﺍﻭ ﺭﺍ ﻧﻮﺍﺯﺵ ﻛﺮﺩ ﻭ ﻟﺐﻫﺎﻱ‬ ‫ﮔﺮﻡ ﺍﻭ ﮔﻮﻧﻪﻫﺎﻳﺶ ﺭﺍ ﺑﻮﺳﻴﺪ ﻭ ﺑﻌﺪ ﺍﻭ ﺭﺍ‬ ‫ﻣﺤﻜﻢ ﺩﺭ ﺁﻏﻮﺵ ﺧﻮﺩ ﻛﺸﻴﺪ‪ .‬ﺍﺣﺴﺎﺱ‬ ‫ﺷﻴﺮﻳﻨﻲ ﺑﻌﺪ ﺍﺯ ﻣﺪﺕﻫﺎ ﺑﻪ ﺳﺮﺍﻍ ﺍﻭ ﺁﻣﺪﻩ‬ ‫ﺑﻮﺩ ﻛﻪ ﺩﻭﺳﺖ ﻧﺪﺍﺷﺖ ﺁﻥ ﺭﺍ ﺍﺯ ﺩﺳﺖ‬ ‫ﺑﺪﻫﺪ ﺍﻣﺎ ﺁﻧﻘﺪﺭ ﺧﺴﺘﻪ ﺑﻮﺩ ﻛﻪ ﻧﺘﻮﺍﻧﺴﺖ‬ ‫ﺯﻳﺎﺩ ﺑﻴﺪﺍﺭ ﺑﻤﺎﻧﺪ‪.‬‬ ‫ﺻﺒﺢ ﺯﻭﺩ ﻛﻪ ﺑﻴﺪﺍﺭ ﺷﺪ‪ ،‬ﺩﺧﺘﺮ ﻫﻨﻮﺯ‬ ‫ﺧﻮﺍﺏ ﺑﻮﺩ‪ .‬ﺁﻧﻘﺪﺭ ﻣﻌﺼﻮﻣﺎﻧﻪ ﺧﻮﺍﺑﻴﺪﻩ ﺑﻮﺩ‬ ‫ﻛﻪ ﻧﮕﺎﻩﻫﺎﻱ ﺍﺩﺍﻣﻪﺩﺍﺭ ﺍﻭ ﺭﺍ ﻣﺪﺗﻲ ﺑﻪ ﺧﻮﺩ‬ ‫ﺟﻠﺐ ﻛﺮﺩ‪ .‬ﺍﺣﺴﺎﺱ ﻛﺮﺩ ﻛﻪ ﺧﻴﻠﻲ ﺍﻭ ﺭﺍ‬ ‫ﺩﻭﺳﺖ ﺩﺍﺭﺩ ﻭ ﺍﺻﻶ ﺩﻭﺳﺖ ﻧﺪﺍﺷﺖ ﺍﺯ ﺍﻭ‬ ‫ﺟﺪﺍ ﺷﻮﺩ ﺍﻣﺎ ﻣﺠﺒﻮﺭ ﺑﻮﺩ ﺑﺮﻭﺩ‪ .‬ﭘﺲ ﺁﺭﺍﻡ‬ ‫ﭼﺸﻢﻫﺎﻱ ﺍﻭ ﺭﺍ ﺑﻮﺳﻴﺪ‪ .‬ﺍﺯ ﺯﻳﺮ ﭘﺘﻮ ﺑﻴﺮﻭﻥ‬ ‫ﺁﻣﺪ ﻭ ﺍﺯ ﺁﻧﺠﺎ ﺩﻭﺭ ﺷﺪ‪ .‬ﺑﻪ ﭘﺎﺭﻙ ﺭﻓﺖ‬ ‫ﻭ ﺩﻭﺑﺎﺭﻩ ﺭﻭﻱ ﻫﻤﺎﻥ ﻧﻴﻤﻜﺘﻲ ﺳﻔﺖ ﻭ‬ ‫ﺳﻨﮕﻴﻨﻲ ﻧﺸﺴﺖ ﻛﻪ ﻓﻜﺮ ﻣﻲﻛﺮﺩ ﻣﻤﻜﻦ‬ ‫ﺍﺳﺖ ﺍﻭ ﺭﺍ ﺁﻧﺠﺎ ﺑﺒﻴﻨﺪ‪ .‬ﻫﻮﺍ ﻛﻤﻲ ﺳﺮﺩﺗﺮ‬ ‫ﺷﺪﻩ ﺑﻮﺩ ﺍﻣﺎ ﺑﺎ ﻭﺟﻮﺩ ﻟﺒﺎﺱﻫﺎﻱ ﮔﺮﻣﻲ‬ ‫ﻛﻪ ﺩﺧﺘﺮ ﺑﻪ ﺍﻭ ﺩﺍﺩﻩ ﺑﻮﺩ ﺍﺣﺴﺎﺱ ﺳﺮﻣﺎ‬ ‫ﻧﻤﻲﻛﺮﺩ‪ .‬ﺩﺭ ﮔﻮﺷﻪﻱ ﻧﻴﻤﻜﺖ ﺑﻲﺣﺮﻛﺖ‬ ‫ﻧﺸﺴﺘﻪ ﺑﻮﺩ ﻛﻪ ﺧﻮﺍﺑﺶ ﺑﺮﺩ‪ .‬ﺩﺭ ﺧﻮﺍﺏ‬ ‫ﺗﻮﻳﺮ ﺍﻭ ﺭﺍ ﺩﻳﺪ ﺍﻣﺎ ﺗﺼﻮﻳﺮ ﺁﻧﻘﺪﺭ ﮔﻨﮓ‬ ‫ﺑﻮﺩ ﻛﻪ ﺣﺘﻲ ﻗﺎﺩﺭ ﻧﺒﻮﺩ ﭼﻬﺮﻩﺍﺵ ﺭﺍ ﺑﻪ‬ ‫ﺧﻮﺑﻲ ﺑﺒﻴﻨﺪ ﻭ ﺩﻭﺑﺎﺭﻩ ﺍﻭ ﺭﺍ ﺑﻪﻳﺎﺩ ﺑﻴﺎﻭﺭﺩ‪.‬‬ ‫ﺗﺼﻮﻳﺮ ﺑﻪ ﺍﻭ ﻧﺰﺩﻳﻜﺘﺮ ﻣﻲﺷﺪ ﻭ ﺧﻮﺷﺤﺎﻝ‬ ‫ﺑﻮﺩ ﺍﺯ ﺍﻳﻨﻜﻪ ﺑﻪ ﺯﻭﺩﻱ ﺍﻭ ﺭﺍ ﺧﻮﺍﻫﺪ ﺩﻳﺪ‬ ‫ﺍﻣﺎ ﻧﺎﮔﻬﺎﻥ ﺑﺎ ﺻﺪﺍﻳﻲ ﺍﺯ ﺧﻮﺍﺏ ﭘﺮﻳﺪ‪.‬‬ ‫ﻭﻗﺘﻲ ﻫﻮﺷﻴﺎﺭﺗﺮ ﺷﺪ ﺩﻳﺪ ﻛﺴﻲ ﺭﻭﻱ‬ ‫ﻧﻴﻤﻜﺖ ﺩﺭ ﻛﻨﺎﺭﺵ ﻧﺸﺴﺘﻪ ﻭ ﺑﺪﻭﻥ ﺍﻳﻨﻜﻪ‬ ‫ﻣﺘﻮﺟﻪﺍﺵ ﺑﺎﺷﺪ ﭼﻴﺰﻱ ﺑﺎ ﺧﻮﺩﺵ ﺯﻣﺰﻣﻪ‬ ‫ﻣﻲﻛﻨﺪ‪ .‬ﻣﺮﺩﻱ ﺟﻮﺍﻥ ﺑﻮﺩ‪ .‬ﺧﻮﺏ ﻛﻪ ﺑﻪ‬ ‫ﭼﻬﺮﻩﺍﺵ ﺩﻗﺖ ﻛﺮﺩ ﭼﻴﺰﻱ ﺩﺭ ﮔﻮﺷﺶ‬ ‫ﺩﻳﺪ ﻛﻪ ﺩﺭ ﺍﻣﺘﺪﺍﺩ ﮔﻮﻧﻪﺍﺵ ﻣﻘﺪﺍﺭﻱ ﺑﻪ‬ ‫ﭘﺎﻳﻴﻦ ﺁﻣﺪﻩ ﺑﻮﺩ‪ .‬ﻣﺘﻮﺟﻪ ﺷﺪ ﭼﻴﺴﺖ ﺍﻣﺎ‬ ‫ﺍﻭ ﺭﺍ ﺑﻪﻳﺎﺩ ﺷﺎﺧﻚﻫﺎﻱ ﺳﻮﺳﻚ ﺍﻧﺪﺍﺧﺖ‪.‬‬ ‫ﺑﺎ ﺧﻮﺩﺵ ﺩﺭ ﻣﻮﺭﺩ ﻛﻴﻔﻲ ﻛﻪ ﻇﺎﻫﺮﺍ ﮔﻢ‬ ‫ﺷﺪﻩ ﺑﻮﺩ ﺻﺤﺒﺖ ﻣﻲﻛﺮﺩ‪ .‬ﻣﻲﮔﻔﺖ ﻛﻪ‬ ‫ﺑﺎﻳﺪ ﺑﺮﺍﻱ ﭘﻴﺪﺍ ﻛﺮﺩﻥ ﺁﻥ ﭘﻴﺶ ﭘﻠﻴﺲ‬

‫ﺑﺮﻭﺩ‪ ،‬ﻧﺸﺎﻧﻪﻫﺎﻱ ﺁﻥ ﺭﺍ ﺑﻪ ﺁﻥﻫﺎ‬ ‫ﺑﺪﻫﺪ ﺗﺎ ﺑﺮﺍﻳﺶ ﭘﻴﺪﺍﻳﺶ ﻛﻨﻨﺪ‪ .‬ﺑﺎ‬ ‫ﺷﻨﻴﺪﻥ ﺍﻳﻦ ﺣﺮﻑ ﺑﺮﻗﻲ ﺍﺯ ﺍﻣﻴﺪ ﺩﺭ‬ ‫ﭼﺸﻢﻫﺎﻱ ﺍﻭ ﺩﺭﺧﺸﻴﺪ ﻭ ﺗﺼﻤﻴﻢ‬ ‫ﮔﺮﻓﺖ ﺑﻪ ﺳﺮﻋﺖ ﭘﻴﺶ ﭘﻠﻴﺲ‬ ‫ﺑﺮﻭﺩ‪.‬‬ ‫ﻭﻗﺘﻲ ﺑﻪ ﺍﻳﺴﺘﮕﺎﻩ ﺭﺳﻴﺪ ﺩﺍﺧﻞ ﺷﺪ‬ ‫ﺍﻣﺎ ﻫﻤﻴﻦ ﻛﻪ ﺍﻭﻟﻴﻦ ﻗﺪﻡ ﺭﺍ ﺩﺭ‬ ‫ﺭﺍﻫﺮﻭ ﺑﺮﺩﺍﺷﺖ ﻳﺎﺩﺵ ﺁﻣﺪ ﻛﻪ ﻫﻴﭻ‬ ‫ﻧﺸﺎﻧﻲ ﺍﺯ ﺍﻭ ﻧﺪﺍﺭﺩ ﻭ ﺍﮔﺮ ﻫﻢ ﺩﺍﺷﺖ‬ ‫ﺍﺻﻼ ﻧﻤﻲﺗﻮﺍﻧﺴﺖ ﺣﺮﻑ ﺑﺰﻧﺪ‪ .‬ﺑﺎ‬ ‫ﻧﺎﺍﻣﻴﺪﻱ ﻫﻤﺎﻥ ﺟﺎ ﺑﻪ ﺩﻳﻮﺍﺭ ﺗﻜﻴﻪ‬ ‫ﺯﺩ ﻭ ﺑﻲﺣﺮﻛﺖ ﻣﺎﻧﺪ ﻛﻪﻳﻜﻲ ﺍﺯ‬ ‫ﻣﺂﻣﻮﺭﺍﻥ ﭘﻠﻴﺲ ﺑﻪ ﺍﻭ ﻧﺰﺩﻳﻚ ﺷﺪ‬ ‫ﻣﺂﻣﻮﺭ ﭘﻠﻴﺲ ﺭﻭﺑﻪﺭﻭﻱ ﺍﻭ ﻧﺸﺴﺖ‬ ‫ﻭ ﭘﺮﺳﻴﺪ ﻛﻪ ﭼﻪ ﻛﺎﺭ ﺩﺍﺭﺩ ﺍﻣﺎ ﺍﻭ‬ ‫ﺣﺮﻓﻲ ﻧﺰﺩ‪ .‬ﺩﺭ ﻋﻮﺽ ﺳﺮﺵ ﺭﺍ‬ ‫ﺗﻜﺎﻧﻲ ﺩﺍﺩ ﻭ ﺍﺯ ﺍﻳﺴﺘﮕﺎﻩ ﺧﺎﺭﺝ‬ ‫ﺷﺪ‪ .‬ﺩﻭﺑﺎﺭﻩ ﺩﺭ ﭘﻴﺎﺩﻩﺭﻭﻫﺎﻱ ﺷﻬﺮ‬ ‫ﺑﻲﻫﺪﻑ ﭘﺮﺳﻪ ﻣﻲﺯﺩ ﻛﻪ ﺍﺯ ﺩﻭﺭ‬ ‫ﻣﺘﻮﺟﻪ ﺗﭙﻪﻫﺎﻱ ﻛﻨﺎﺭ ﺟﺎﺩﻩ ﺷﺪ‬ ‫ﻭ ﺗﺼﻤﻴﻢ ﮔﺮﻓﺖ ﺑﻪ ﻫﻤﺎﻥ ﺟﺎ‬ ‫ﺑﺮﮔﺮﺩﺩ‪ .‬ﭘﺲ ﺑﻪ ﻃﺮﻑ ﺧﺎﺭﺝ ﺷﻬﺮ‬ ‫ﺭﻭﺍﻧﻪ ﺷﺪ‪.‬‬ ‫ﻭﻗﺘﻲ ﻛﻪ ﺍﺯ ﺣﺼﺎﺭ ﺳﻴﻤﻲ ﺭﺩ‬ ‫ﺷﺪ ﻭ ﺑﻪ ﻧﺰﺩﻳﻜﻲ ﻣﺤﻞ ﺯﺑﺎﻟﻪﻫﺎ‬ ‫ﺭﺳﻴﺪ ﺍﺣﺴﺎﺱ ﻛﺮﺩ ﭘﺎﻳﺶ ﺭﺍ‬ ‫ﺭﻭﻱ ﭼﻴﺰﻱ ﮔﺬﺍﺷﺘﻪ ﻛﻪ ﺧﻴﻠﻲ ﻟﻴﺰ‬ ‫ﺍﺳﺖ‪ .‬ﻧﺰﺩﻳﻚ ﺑﻮﺩ ﺗﻌﺎﺩﻝ ﺧﻮﺩ ﺭﺍ‬ ‫ﺍﺯ ﺩﺳﺖ ﺑﺪﻫﺪ ﻭ ﺑﻪ ﺯﻣﻴﻦ ﺑﺨﻮﺭﺩ‬ ‫ﺍﻣﺎ ﻫﺮ ﺟﻮﺭﻱ ﻛﻪ ﺷﺪﻩ ﺗﻌﺎﺩﻝ‬ ‫ﺧﻮﺩﺵ ﺭﺍ ﺣﻔﻆ ﻛﺮﺩ‪.‬ﻳﻚ ﺗﻜﻪ‬ ‫ﻓﻠﺰ ﺑﺮﺍﻕ ﺑﻮﺩ ﻛﻪ ﻣﻲﺗﻮﺍﻧﺴﺖ ﺧﻮﺩ‬ ‫ﺭﺍ ﺩﺭ ﺁﻥ ﺑﺒﻴﻨﺪ‪ .‬ﺭﻭﻱ ﺁﻥ ﺍﻳﺴﺘﺎﺩ‬ ‫ﻭ ﺑﺮﺍﻱ ﻣﺪﺗﻲ ﺧﻮﺩﺵ ﺭﺍ ﺩﺭ ﺁﻥ‬ ‫ﻧﮕﺎﻩ ﻛﺮﺩ‪ .‬ﺑﻌﺪ ﺩﺭ ﺯﺑﺎﻟﻪﻫﺎﻳﻚ ﺗﻜﻪ‬ ‫ﺁﻳﻴﻨﻪﻱ ﺷﻜﺴﺘﻪ ﭘﻴﺪﺍ ﻛﺮﺩ ﺗﺎ ﺍﻳﻨﻜﻪ‬ ‫ﺑﺘﻮﺍﻧﺪ ﭘﺸﺖ ﺳﺮ ﺧﻮﺩ ﺭﺍ ﺑﺒﻴﻨﺪ‪.‬‬ ‫ﻭﻗﺘﻲ ﻛﻪ ﻧﮕﺎﻩ ﺧﻮﺩ ﺭﺍ ﺩﺭ ﺁﻳﻴﻨﻪ ﺑﻪ‬ ‫ﭘﺸﺖ ﺳﺮﺵ ﺍﻧﺪﺍﺧﺖ ﻣﺘﻮﺟﻪ ﺷﺪ‬ ‫ﻛﻪ ﻧﺨﻲ ﺍﺯ ﭘﺸﺖ ﮔﺮﺩﻧﺶ ﺁﻭﻳﺰﺍﻥ‬ ‫ﺍﺳﺖ‪.‬‬

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‫ﺩﻭﺭﻩ ﺟﺪﻳﺪ‪/‬ﺷﻤﺎﺭﻩ ‪ 9‬ﻭ ‪)10‬ﭘﻴﺎﭘﻲ‪39‬ﻭ‪ /(40‬ﺳﺎﻝ ﺳﻮﻡ‪/‬ﻧﻮﺭﻭﺯ‪88‬‬

‫ﭘﺎﻳﺎﻥ‬ ‫ﺟﻮﻳﺲ ﻛﺮﻯ‬ ‫ﺍﻣﻴﺮ ﺣﺴﻴﻦ ﺭﺿﺎﺋﻰ‬

‫ﺩﺭﺑﺎﺭﻩ ﻧﻮﻳﺴﻨﺪﻩ‬ ‫ﺁﺭﺗﻮﺭ ﺟﻮﻳﺲ ﻟﻮﻧﻞ ﻛﺮﻯ )‪(1888-1957‬‬ ‫ﺩﺭ ﻻﻧﺪﻧﺪﺭﻯ ﻣﺘﻮﻟﺪ ﺷﺪ‪ .‬ﻭ ﺩﺭ ﺩﺍﻧﺸﮕﺎﻩﻫﺎﻯ‬ ‫ﻛﻠﻴﻔﺘﻦ ﻭ ﺁﻛﺴﻔﻮﺭﺩ ﺩﺍﻧﺶ ﺁﻣﻮﺧﺖ‪ .‬ﺍﻭ‬ ‫ﻫﻤﭽﻨﻴﻦ ﺩﺭ ﺍﺩﻳﻨﺒﻮﺭگ ﻭ ﭘﺎﺭﻳﺲ ﺑﻪ‬ ‫ﺗﺤﺼﻴﻞ ﻫﻨﺮ ﭘﺮﺩﺍﺧﺖ‪ .‬ﺩﺭ ﺳﺎﻝ ‪1913‬‬ ‫ﺑﻪ ﮔﺮﻭﻩﻫﺎﻯ ﺳﻴﺎﺳﻰ ﻧﻴﺠﺮﻳﻪ ﭘﻴﻮﺳﺖ‪ .‬ﺩﺭ‬ ‫ﺧﻼﻝ ﺳﺎﻝﻫﺎﻯ ‪1915‬ﻭ ‪ 1916‬ﺩﺭ ﻫﻨﮓ‬ ‫ﻧﻴﺠﺮﻳﻪ ﻣﺴﺘﻘﺮ ﺩﺭ ﻛﺎﻣﺮﻭﻥ ﺧﺪﻣﺖ ﻛﺮﺩ ﻭ‬ ‫ﺑﻌﺪ ﺑﻪ ﺩﻟﻴﻞ ﻣﺸﻜﻼﺕ ﺟﺴﻤﻰﺍﺯ ﻛﺎﺭ ﻛﻨﺎﺭﻩ‬ ‫ﮔﻴﺮﻯ ﻛﺮﺩ‪ .‬ﺩﺭ ﺁﻛﺴﻔﻮﺭﺩ ﻣﺴﺘﻘﺮ ﺷﺪ ﻭ ﭘﺲ‬ ‫ﺍﺯ ﻳﻚ ﺩﻭﺭﻩ ﻃﻮﻻﻧﻰ ﺷﺎﮔﺮﺩﻯ ﻧﻮﻳﺴﻨﺪﻩﻫﺎ‪،‬‬ ‫ﺩﺍﺳﺘﺎﻥ ﻧﻮﻳﺲ ﻣﻮﻓﻘﻰ ﺷﺪ‪.‬‬ ‫ﻧﺨﺴﺘﻴﻦ ﻛﺘﺎﺑﺶ ﺑﺎ ﻋﻨﻮﺍﻥ "ﺁﻳﺴﺎ ﻧﺠﺎﺕ‬ ‫ﻳﺎﻓﺖ" ﺩﺭ ‪ 1932‬ﺑﺎ ﺍﺳﺘﻘﺒﺎﻝ ﺭﻭﺑﻪ ﺭﻭ ﺷﺪ‪.‬‬ ‫ﺑﺰﺭﮔﺘﺮﻳﻦ ﻣﻮﻓﻘﻴﺘﺶ "ﺧﺎﻧﻪ ﻛﻮﺩﻛﺎﻥ" ﺩﺭ‬ ‫‪ 1941‬ﺑﻪ ﭼﺎپ ﺭﺳﻴﺪ ﻛﻪ ﺟﺎﻳﺰﻩ ﺗﻴﺖ‬ ‫ﺑﻠﻚ ﻣﻤﺮﻳﺎﻝ ﺭﺍ ﺍﺯ ﺁﻥ ﺍﻭ ﻛﺮﺩ‪ .‬ﺑﺮﺧﻰ‬ ‫ﺩﻳﮕﺮ ﺍﺯ ﻛﺎﺭﻫﺎﻯ ﺍﻭ ﻋﺒﺎﺭﺗﻨﺪ ﺍﺯ" ﺟﻬﺎﻧﮕﺮﺩ‬ ‫ﺁﻣﺮﻳﻜﺎﺋﻰ")‪" (1933‬ﺁﻗﺎﻯ ﺟﺎﻧﺴﻮﻥ")‬ ‫‪" (1936‬ﻋﺠﻮﺯﻩ ﺁﻓﺮﻳﻘﺎﻳﻰ") ‪(1936‬‬ ‫"ﭼﺎﺭﻟﻰ ﻋﺰﻳﺰ ﻣﻦ") ‪" ،(1938‬ﺯﻳﺮ ﻧﻮﺭ‬ ‫ﻣﻬﺘﺎﺏ")‪ (1946‬ﻭ "ﻣﻠﻮﺍﻥ ﻣﺴﺖ")‬ ‫‪ (.1947‬ﺍﺯ ﺍﻭ ﻫﻤﭽﻨﻴﻦ ﻧﻮﺷﺘﻪﻫﺎﻯ‬ ‫ﺳﻴﺎﺳﻰ ﺑﺠﺎ ﻣﺎﻧﺪﻩ ﺍﺳﺖ ﻣﺎﻧﻨﺪ‪ :‬ﻧﺰﺍﻉ ﺑﺮﺍﻯ‬ ‫ﺁﺯﺍﺩﻯ ﺁﻓﺮﻳﻘﺎ ﻭ ﻓﺮﺍﻳﻨﺪ ﺁﺯﺍﺩﻯ ﺣﻘﻴﻘﻰ‪.‬‬

‫ﺧﻴﺎﺑﺎﻧﻰ ﺗﺠﺎﺭﻯ ﺑﻮﺩ ﺑﺎ ﭼﺮﺍﻍ ﺭﺍﻫﻨﻤﺎﻫﺎﻳﻰ ﻛﻪ ﺩﺭ‬ ‫ﻓﻮﺍﺻﻞ ﻣﻌﻴﻦ ﻧﺼﺐ ﺷﺪﻩ ﺑﻮﺩ‪ .‬ﺑﺎ ﺗﻐﻴﻴﺮ ﭼﺮﺍﻍﻫﺎ‬ ‫ﺗﺮﺍﻓﻴﻚ ﺧﻴﺎﺑﺎﻥ ﻛﻢ ﻭ ﺯﻳﺎﺩ ﻣﻰﺷﺪ ﺩﺭﺳﺖ ﻣﺜﻞ‬ ‫ﺑﺎﺯ ﻭ ﺑﺴﺘﻪ ﺷﺪﻥ ﻳﻚ ﺷﻴﺮ ﺁﺏ‪ .‬ﺩﺭ ﻳﻚ ﻣﺮﺣﻠﻪ‬ ‫ﻓﻀﺎﻯ ﺑﻴﻦ ﺩﻭ ﭘﻴﺎﺩﻩ ﺭﻭ ﻛﺎﻣ ً‬ ‫ﻼ ﺧﺎﻟﻰ ﻣﻰﺷﺪ‬ ‫ﻭ ﺑﻌﺪ ﺑﺎ ﻫﺠﻮﻡ ﻭﺳﺎﻳﻞ ﻧﻘﻠﻴﻪ ﺍﺯ ﺩﻭ ﻃﺮﻑ‬ ‫ﺳﺘﻮﻥﻫﺎﻯ ﻓﺸﺮﺩﻩ ﺗﺮﺍﻓﻴﻚ ﺷﻜﻞ ﻣﻰﮔﺮﻓﺖ‪.‬‬ ‫ﻫﻤﭽﻮﻥ ﺳﺘﻮﻥﻫﺎﻯ ﺗﺎﻧﻚ ﺩﺭ ﺣﺎﻝ ﺣﻤﻠﻪ ﻛﻪ‬ ‫ﭘﺸﺖ ﺳﺮﻫﻢ ﺍﺯ ﺧﻂ ﻋﺒﻮﺭ ﻣﻰﻛﻨﻨﺪ‪ .‬ﺩﺭ ﺍﻳﻦ ﻭﻗﺖ‬ ‫ﺍﺯ ﺻﺒﺢ ﻣﺮﺩﻫﺎ ﻭ ﺯﻥﻫﺎﻯ ﺟﻮﺍﻥ ﺳﺮﻛﺎﺭ ﺑﻮﺩﻧﺪ ﻭ‬ ‫ﭘﻴﺎﺩﻩ ﺭﻭﻫﺎ ﭘﺮ ﺑﻮﺩ ﺍﺯ ﭘﺪﺭ ﻭ ﻣﺎﺩﺭﻫﺎ ﻭ ﭘﺪﺭﺑﺰﺭگ ﻭ‬ ‫ﻣﺎﺩﺭﺑﺰﺭگﻫﺎ ﻛﻪ ﻣﺸﻐﻮﻝ ﺧﺮﻳﺪ ﻣﺎﻳﺤﺘﺎﺝ ﺭﻭﺯﺍﻧﻪ‬ ‫ﺑﻮﺩﻧﺪ‪ .‬ﻣﺮﺩﻣﻰﺑﺎ ﺟﺪﻳﺖ ﻭ ﺍﺷﺘﻴﺎﻕ ﻭ ﻟﺒﺎﺳﻬﺎﻯ‬ ‫ﺭﺳﻤﻰ‪ .‬ﺁﻥﻫﺎ ﻓﻘﻂ ﺩﺭ ﻟﺤﻈﺎﺕ ﻛﻮﺗﺎﻫﻰ ﻭ ﺑﺮﺍﻯ‬ ‫ﺻﺤﺒﺖ ﺩﺭ ﻣﻮﺭﺩ ﺑﭽﻪﻫﺎ‪ ،‬ﻗﻴﻤﺖﻫﺎ ﻭ ﻣﻮﺿﻮﻋﺎﺕ‬ ‫ﻣﻬﻢ ﻫﻤﻜﻼﻡ ﻣﻰﺷﺪﻧﺪ‪ .‬ﺑﭽﻪﻫﺎ ﻫﻤﻪ ﺯﻳﺮ‬ ‫ﺳﻦ ﻣﺪﺭﺳﻪ ﺑﻮﺩﻧﺪ ﻭ ﺑﺎ ﺣﺮﻛﺎﺕ ﻣﺎﺭﭘﻴﭽﻰ ﺍﺯ‬ ‫ﻣﻴﺎﻥ ﻣﻮﺝ ﺭﻭﺍﻥ ﻭ ﺁﻫﺴﺘﻪ ﺧﺮﻳﺪﺍﺭﺍﻥ ﺣﺮﻛﺖ‬ ‫ﻣﻰﻛﺮﺩﻧﺪ‪ .‬ﺁﻥﻫﺎ ﺩﺭ ﺍﺭﺗﻔﺎﻋﻰ ﺑﻪ ﺍﻧﺪﺍﺯﻩ ﻗﺪﺷﺎﻥ‬ ‫ﺩﺭ ﺑﻴﻦ ﺳﺘﻮﻥﻫﺎﻯ ﺟﻤﻌﻴﺖ ﺩﻭﺳﺘﺎﻧﺸﺎﻥ ﺭﺍ‬ ‫ﻣﻰﺩﻳﺪﻧﺪ ﻭ ﺣﺮﻛﺖﻫﺎﻳﻰ ﺍﺯ ﻗﺒـﻴﻞ ﺩﻧﺒـﺎﻝ ﻛﺮﺩﻥ‬ ‫ﻳﻜﺪﻳــﮕﺮ‪ ،‬ﻟﻰ ﻟﻰ ﻛﺮﺩﻥ‪ ،‬ﺗﺎﺏ ﺧﻮﺭﺩﻥ ﺑﻪ ﺩﻭﺭ‬ ‫ﺗﻴﺮﻫﺎﻯ ﭼﺮﺍﻍ ﺑﺮﻕ‪ ،‬ﮔﺎﻡ ﺑﺮﺩﺍﺷﺘﻦ ﺑﺎ ﺩﻗﺖ ﻭ‬ ‫ﺍﺣﺘﻴﺎﻁ ﺑﺮ ﺭﻭﻯ ﺑﻠﻮﻙﻫﺎﻯ ﺳﻨﮕﻰ ﻛﻨﺎﺭ ﺧﻴﺎﺑﺎﻥ‬ ‫ﻭ ﻋﻘﺐ ﻋﻘﺐ ﺭﻓﺘﻦ ﺭﺍ ﺍﻧﺠﺎﻡ ﻣﻰﺩﺍﺩﻧﺪ‪.‬‬

‫ﺩﺭ ﭘﺎﺋﻴﻦﺗﺮﻳﻦ ﻃﺒﻘﻪ ﺳﮓﻫﺎ ﻗﺮﺍﺭ ﺩﺍﺷﺘﻨﺪ ﻛﻪ ﺁﻥﻫﺎ‬ ‫ﻫﻢ ﻫﻤﻪ ﺗﻮﺟﻪ ﻭ ﺣﻮﺍﺳﺸﺎﻥ ﻓﻘﻂ ﻣﻌﻄﻮﻑ ﻫﻤﻨﻮﻋﺎﻥ‬ ‫ﺧﻮﺩﺷﺎﻥ ﺑﻮﺩ‪ .‬ﭘﻮﺯﻩﺷﺎﻥ ﺑﺎ ﺩﻗﺖ ﻭ ﺍﺣﺘﻴﺎﻁ ﺧﺎﺻﻰ‬ ‫ﺟﺴﺘﺠﻮ ﻭ ﻭﺍﺭﺳﻰ ﻣﻰﻛﺮﺩ ﻭ ﺑﻪ ﺣﺎﻓﻈﻪ ﻣﻰﺳﭙﺮﺩ‪.‬‬ ‫ﺁﻥﻫﺎ ﺍﺯ ﻻﻯ ﺩﺭﻫﺎﻯ ﻧﻴﻤﻪ ﺑﺎﺯ ﻣﻰ ُﺳﺮﻳﺪﻧﺪ ﻭ ﺑﻴﺮﻭﻥ‬ ‫ﻣﻰﺁﻣﺪﻧﺪ‪ .‬ﮔﻮﻳﻰ ﺍﺯ ﻛﻤﻴﻨﮕﺎﻩ ﺧﺎﺭﺝ ﺷﺪﻩ ﺑﺎﺷﻨﺪ‪.‬‬ ‫ﺧﻮﺩﺷﺎﻥ ﺭﺍ ﺑﻪ ﺗﻴﺮ ﺑﺮﻕﻫﺎ ﻣﻰﭼﺴﺒﺎﻧﺪﻧﺪ ﻭ ﻓﻘﻂ ﺑﻪ‬ ‫ﺩﻧﺒﺎﻝ ﭘﻴﺪﺍ ﻛﺮﺩﻥ ﻛﺴﻰ ﺍﺯ ﺟﻨﺲ ﺧﻮﺩﺷﺎﻥ ﺑﻮﺩﻧﺪ‪.‬‬ ‫ﺣﺘﻰ ﺣﻮﺍﺳﺸﺎﻥ ﺑﻪ ﭘﺎﻫﺎﻯ ﻣﺮﺩﻡ ﻧﺒﻮﺩ ﻭ ﺩﺭ ﺁﺧﺮﻳﻦ‬ ‫ﻟﺤﻈﻪ ﺑﻪ ﺳﺮﻋﺖ ﺩﺭ ﻣﻰﺭﻓﺘﻨﺪ‪ .‬ﻳﻜﺪﻓﻌﻪ ﭘﻮﺯﻩ ﻏﺮﻳﺒﻪﺍﻯ‬ ‫ﺭﺍ ﻣﻰﺩﻳﺪﻧﺪ ﻛﻪ ﻧﺎﮔﻬﺎﻥ ﺧﻮﺩ ﺭﺍ ﺩﺭ ﻛﻨﺎﺭ ﻳﻚ ﺳﺒﺪ ﭘﺮ‬ ‫ﺍﺯ ﺳﻴﺐ ﺯﻣﻴﻨﻰ ﺁﺏ ﭘﺰ ﻣﻰﻳﺎﻓﺖ ﻭ ﺑﺎ ﺩﻡ ﻛﺸﻴﺪﻩ ﻭ‬ ‫ﻋﻀﻼﺕ ﻣﻨﻘﺒﺾ ﺷﺪﻩ ﺧﻮﺩ ﺭﺍ ﺑﻪ ﺭﺥ ﻣﻰﻛﺸﻴﺪ‪ .‬ﺧﻮﺍﻩ‬ ‫ﻃﺮﻑ ﻣﻘﺎﺑﻠﺶ ﺩﻭﺳﺖ ﺑﺎﺷﺪ ﻳﺎ ﺩﺷﻤﻦ‪ .‬ﺁﻥﻫﺎ ﻭﺣﺸﻴﺎﻧﻪ‬ ‫ﺧﻮﺩ ﺭﺍ ﺑﻪ ﭘﺎﺋﻴﻦ ﺩﺳﺖ ﺧﻴﺎﺑﺎﻥ ﻣﻰﺭﺳﺎﻧﺪﻧﺪ‪ ،‬ﺟﺎﻳﻰ ﻛﻪ‬ ‫ﻳﺎﺩﺁﻭﺭ ﺧﺎﻃﺮﺍﺕ ﻣﻬﻢ ﻭ ﺷﺨﺼﻰ ﺁﻧﺎﻥ ﺑﻮﺩ‪.‬‬ ‫ﭘﻴﻮﻧﺪ ﺑﻴﻦ ﺍﻳﻦ ﺳﻪ ﻃﺒﻘﻪ ﺍﺯ ﺑﺎﻻ ﺑﻪ ﭘﺎﺋﻴﻦ ﺑﺮﺍﺳﺎﺱ‬ ‫ﻳﻚ ﺍﻗﺘﺪﺍﺭ ﺁﻣﻴﺨﺘﻪ ﺑﺎ ﺭﺃﻓﺖ ﺑﻮﺩ‪ .‬ﻭﺍﻟﺪﻳﻦ ﺩﺳﺖ‬ ‫ﻓﺮﺯﻧﺪﺍﻧﺸﺎﻥ ﺭﺍ ﻣﻰﻗﺎﭘﻴﺪﻧﺪ ﻭ ﺁﻥﻫﺎ ﺭﺍ ﺑﻪ ﻣﺴﻴﺮﻫﺎﻯ‬ ‫ﺩﺭﺳﺖ ﻣﻰﻛﺸﻴﺪﻧﺪ‪ .‬ﺭﻓﺘﺎﺭﺷﺎﻥ ﺑﻪ ﺳﺎﺩﮔﻰ ﺑﻴﺎﻧﮕﺮ ﺁﻥ‬ ‫ﺑﻮﺩ ﻛﻪ ﺍﻳﻦ ﺟﺎ‪ ،‬ﺟﺎﻯ ﺩﺭﻧﮓ ﻧﻴﺴﺖ‪ .‬ﺑﭽﻪﻫﺎ ﻧﻴﺰ ﺁﻣﺮﺍﻧﻪ‬ ‫ﻭ ﺑﺎ ﺗﺤﻜﻢ ﺑﺮ ﺳﺮ ﺳﮓﻫﺎ ﻓﺮﻳﺎﺩ ﻣﻰﺯﺩﻧﺪ ﻳﺎ ﮔﺮﺩﻥ‬ ‫ﺁﻥﻫﺎ ﺭﺍ ﮔﺮﻓﺘﻪ ﻭ ﺍﺯ ﺧﻄﺮ ﺩﻭﺭ ﻣﻰﻛﺮﺩﻧﺪ‪ .‬ﭘﺴﺮ ﺑﭽﻪ ﺍﻯ‬ ‫ﺣﺪﻭﺩﺍً ‪ 4‬ﺳﺎﻟﻪ ﻛﻪ ﺯﻳﺮﭘﻮﺵ ﺭﺍﻩ ﺭﺍﻩ ﻗﺮﻣﺰ ﻭ ﺳﻔﻴﺪﻯ ﺑﻪ‬ ‫ﺗﻦ ﺩﺍﺷﺖ ﺩﺭ ﺣﺎﻟﻰ ﻛﻪ ﺗﻮﻟﻪ ﺳﮓ ﺳﻴﺎﻩ ﺩﻭﺭﮔﻪ ﺭﺍ ﺑﺎ‬ ‫ﺑﻨﺪﻯ ﻛﻪ ﺑﻪ ﮔﺮﺩﻧﺶ ﺑﺴﺘﻪ ﺑﻮﺩ ﻧﮕﻪ ﻣﻰﺩﺍﺷﺖ‪ ،‬ﻛﻨﺎﺭ‬ ‫ﭘﻴﺎﺩﻩ ﺭﻭ ﺍﻳﺴﺘﺎﺩﻩ ﺑﻮﺩ‪.‬‬ ‫ﺗﻮﻟﻪ ﺳﮓ ﺳﺮ ﻓﻮﻕ ﺍﻟﻌﺎﺩﻩ ﺑﺰﺭﮔﻰ ﺩﺍﺷﺖ ﻭ ﭘﺎﻫﺎﻯ‬ ‫ﺑﺴﻴﺎﺭ ﺑﺰﺭﮔﻰ ﻛﻪ ﺑﺮﺍﻯ ﺟﺜﻪ ﺭﻳﺰﺵ ﺧﻴﻠﻰ ﺳﻨﮕﻴﻦ ﺑﻪ‬ ‫ﻧﻈﺮ ﻣﻰﺭﺳﻴﺪ‪.‬‬ ‫ﻫﺮ ﻭﻗﺖ ﺳﺮﺵ ﺭﺍ ﭘﺎﺋﻴﻦ ﻣﻰﺍﻧﺪﺍﺧﺖ ﺗﺎ ﻃﻨﺎﺑﺶ ﺭﺍ‬ ‫ﮔﺎﺯ ﺑﮕﻴﺮﺩ ﺩﻭ ﺑﭽﻪ‪ -‬ﻳﻚ ﭘﺴﺮ ﻭﺩﺧﺘﺮ ﻛﻪ ﻛﻮﭼﻜﺘﺮ‬ ‫ﺍﺯ ﺻﺎﺣﺒﺶ ﺑﻮﺩﻧﺪ‪ -‬ﻛﺎﻟﺴﻜﻪ ﺑﭽﻪ ﺭﺍ ﺭﻫﺎ ﻣﻰﻛﺮﺩﻧﺪ‬ ‫ﺗﺎ ﺑﺎ ﺁﻥ ﺑﺎﺯﻯ ﻛﻨﻨﺪ‪ .‬ﺗﻮﻟﻪ ﺳﮓ ﭼﺎﭘﻠﻮﺳﺎﻧﻪ ﮔﺮﺩﻧﺶ ﺭﺍ‬ ‫ﻛﺞ ﻣﻰﻛﺮﺩ ﻭ ﭼﺸﻢﻫﺎﻳﺶ ﺭﺍ ﺑﻪ ﺷﻜﻞ ﺗﺮﺣﻢ ﺍﻧﮕﻴﺰﻯ‬ ‫ﺑﻪ ﻃﺮﻑ ﺑﺎﻻ ﻧﮕﻪ ﻣﻰﺩﺍﺷﺖ ﻭ ﺑﻌﺪ ﻳﻜﻰ ﺍﺯ ﭘﺎﻫﺎﻯ‬ ‫ﺟﻠﻮﻳﻰ ﺍﺵ ﺭﺍ ﺑﻪ ﻃﺮﻑ ﻣﻘﺎﺑﻞ ﭘﺮﺗﺎﺏ ﻣﻰﻛﺮﺩ‪ .‬ﻣﺎﻧﻨﺪ‬ ‫ﻧﻘﺶ ﺷﻴﺮ ﺳﻠﻄﻨﺘﻰ‪ .‬ﺑﭽﻪﻫﺎ ﺍﻭ ﺭﺍ ﻗﻠﻘﻠﻚ ﻣﻰﺩﺍﺩﻧﺪ ﻭ ﺍﻭ‬ ‫ﻭﺍ ﻧﻤﻮﺩ ﻣﻰﻛﺮﺩ ﻣﻰﺧﻮﺍﻫﺪ ﮔﺎﺯﺷﺎﻥ ﺑﮕﻴﺮﺩ ﺁﻥﻫﺎ ﻫﻢ‬ ‫ﺟﻴﻎ ﻣﻰﺯﺩﻧﺪ‪.‬‬ ‫ﭘﺴﺮﻯ ﻛﻪ ﻟﺒﺎﺱ ﻗﺮﻣﺰ ﻭ ﺳﻔﻴﺪ ﺑﻪ ﺗﻦ ﺩﺍﺷﺖ ﺑﺎ‬ ‫ﻣﻼﻳﻤﺖ ﻭ ﻣﺪﺍﺭﺍ ﻣﺮﺍﻗﺒﺖ ﻣﻰﻛﺮﺩ‪ .‬ﺗﻮﻟﻪ ﺳﮓ ﺩﺭ ﺣﺎﻟﻰ‬ ‫ﻛﻪ ﻫﻴﺠﺎﻥ ﺯﺩﻩ ﺷﺪﻩ ﺑﻮﺩ ﻭ ﻣﺎﻳﻞ ﺑﻮﺩ ﺣﺮﻛﺎﺗﺶ ﻣﻮﺭﺩ‬ ‫ﭘﺴﻨﺪ ﻭﺍﻗﻊ ﺷﻮﺩ‪ ،‬ﺳﻌﻰ ﻣﻰﻛﺮﺩ ﻛﺎﺭﻫﺎﻯ ﺳﺮﮔﺮﻡ ﻛﻨﻨﺪﻩ‬ ‫ﻭ ﺯﻳﺒﺎ ﺗﺮﻯ ﻧﻤﺎﻳﺶ ﺩﻫﺪ‪ .‬ﺩﺭ ﺣﺎﻝ ﭘﺮﻳﺪﻥ ﺭﻭﻯ ﺩﻣﺶ‬ ‫ﺍﻓﺘﺎﺩ ﻭ ﻃﻨﺎﺏ ﭘﺎﺭﻩ ﺷﺪ‪ .‬ﺩﻭﺑﺎﺭﻩ ﻳﻚ ﺟﺴﺖ ﻋﻤﻮﺩﻯ ﺯﺩ‬ ‫ﻭ ﺑﻪ ﻃﺮﻑ ﻋﻘﺐ ﺑﻪ ﺳﻤﺖ ﺧﻴﺎﺑﺎﻥ ﺩﻭﻳﺪ‪.‬‬ ‫ﺧﻮﺷﺒﺨﺘﺎﻧﻪ ﺩﺭ ﺧﻴﺎﺑﺎﻥ ﻣﺎﺷﻴﻨﻰ ﻧﺒﻮﺩ‪ .‬ﺻﺎﺣﺒﺶ‬ ‫ﺷﻴﺮﺟﻪ ﺭﻓﺖ ﺗﺎ ﺳﺮ ﺁﺯﺍﺩ ﻃﻨﺎﺏ ﺭﺍ ﺑﮕﻴﺮﺩ ﻭﻟﻰ ﺗﻮﻟﻪ‬ ‫ﺳﮓ ﻳﻚ ﺟﺴﺖ ﺩﻳﮕﺮ ﺑﻪ ﺟﻠﻮ ﺯﺩ‪ ،‬ﺩﺭ ﻫﻤﻴﻦ ﻟﺤﻈﻪ‬ ‫ﭼﺮﺍﻍ ﺳﺒﺰ ﺷﺪ ﻭ ﻣﺎﺷﻴﻦﻫﺎ ﺑﺎ ﺷﺘﺎﺏ ﺣﺮﻛﺖ ﻛﺮﺩﻧﺪ‪.‬‬ ‫ﻳﻚ ﻛﺎﻣﻴﻮﻥ ﻭ ﻳﻚ ﺧﻮﺩﺭﻭ ﺳﻮﺍﺭﻯ ﺑﺎ ﻫﻢ ﺑﺮﺧﻮﺭﺩ‬

‫ﻛﺮﺩﻧﺪ‪ .‬ﭘﺴﺮ ﺗﻼﺵ ﻛﺮﺩ ﺗﻮﻟﻪ ﺳﮓ ﺭﺍ ﺑﻪ ﭘﻴﺎﺩﻩ ﺭﻭ‬ ‫ﻣﻘﺎﺑﻞ ﻫﺪﺍﻳﺖ ﻛﻨﺪ ﺍﻣﺎ ﺍﻭ ﺩﻭﺑﺎﺭﻩ ﺑﻪ ﺳﻤﺖ ﺟﺎﺩﻩ ﭘﺮﻳﺪ‪.‬‬ ‫ﻛﻮﺩﻙ ﺑﺎ ﻳﻚ ﺣﺮﻛﺖ ﺳﺮﻳﻊ ﺑﺮﮔﺸﺖ ﺗﺎ ﻣﺎﻧﻌﺶ ﺷﻮﺩ‬ ‫ﻭ ﻫﻤﻴﻦ ﺑﺎﻋﺚ ﺷﺪ ﺩﺭﺳﺖ ﻣﻘﺎﺑﻞ ﺩﺳﺘﻪ ﻣﺎﺷﻴﻦﻫﺎ ﻛﻨﺎﺭ‬ ‫ﻧﺰﺩﻳﻜﺘﺮﻳﻦ ﭼﺮﺍﻍ ﻗﺮﺍﺭ ﺑﮕﻴﺮﺩ‪.‬‬ ‫ﺁﺩﻣﻚ ﻳﻚ ﻭﺭﺯﺷﻜﺎﺭ ﻣﻌﺮﻭﻑ ﻛﻪ ﻛﻨﺎﺭ ﺧﻴﺎﺑﺎﻥ ﻗﺮﺍﺭ‬ ‫ﺩﺍﺷﺖ ﺑﺮﺍﺛﺮ ﻓﺸﺎﺭ ﺳﺎﻧﺤﻪ ﺩﻭ ﺍﺗﻮﻣﺒﻴﻞ ﺍﺯ ﺟﺎ ﻛﻨﺪﻩ ﺷﺪ‬ ‫ﻭ ﺑﻪ ﭘﺸﺖ ﭘﺴﺮﻙ ﺍﺻﺎﺑﺖ ﻛﺮﺩ ﻭ ﺍﻭ ﺭﺍ ﺑﺮﺭﻭﻯ ﮔﻠﮕﻴﺮ‬ ‫ﻛﺎﻣﻴﻮﻥ ﭘﺮﺕ ﻛﺮﺩ‪ .‬ﺍﺯ ﺑﭽﻪ ﻫﻴﭻ ﺻﺪﺍﻳﻰ ﺩﺭ ﻧﻴﺎﻣﺪ‪ ،‬ﻣﺜﻞ‬ ‫ﻳﻚ ﺑﻘﭽﻪ ﻟﺒﺎﺱ ﺭﻧﮕﻰ ﺭﻭﻯ ﻛﺎﭘﻮﺕ ﺳﻮﺍﺭﻯ ﺍﻓﺘﺎﺩ‪.‬‬ ‫ﺧﻮﺩﺭﻭ ﺳﻮﺍﺭﻯ ﺩﺭ ﻫﻢ ﺷﻜﺴﺘﻪ ﻭ ﻭﺍﺭﻓﺘﻪ ﺑﻪ ﺑﻠﻮﻙﻫﺎﻯ‬ ‫ﭘﻴﺎﺩﻩ ﺭﻭ ﺑﺮﺧﻮﺭﺩ ﻛﺮﺩ ﻭ ﭘﺲ ﺍﺯ ﻟﺮﺯﺵ ﻭ ﺗﻜﺎﻥ ﺷﺪﻳﺪ‬ ‫ﻣﺘﻮﻗﻒ ﺷﺪ‪ .‬ﺑﻘﭽﻪ ﺭﻧﮕﻰ ُﺳﺮﺧﻮﺭﺩ ﻭ ﺑﻪ ﺳﻤﺖ ﭘﺎﺋﻴﻦ‬ ‫ﺁﻣﺪ‪ ،‬ﺍﺯ ﻫﻢ ﺑﺎﺯ ﺷﺪ ﻭ ﺭﻭﻯ ﺯﻣﻴﻦ ﺍﻓﺘﺎﺩ‪ ،‬ﺩﺭﺳﺖ ﻣﺎﻧﻨﺪ‬ ‫ﻳﻚ ﻟﺒﺎﺱ ﺧﺎﻟﻰ‪ُ ،‬ﺳﺴﺖ ﻭ ﺑﻰ ﺣﺮﻛﺖ‪.‬‬ ‫ﺩﺭ ﻣﺪﺕ ﺑﺴﻴﺎﺭ ﻛﻮﺗﺎﻫﻰ ﺟﻤﻌﻴﺖ ﺯﻳﺎﺩﻯ ﺟﻤﻊ ﺷﺪﻧﺪ‪.‬‬ ‫ﻳﻚ ﭘﻠﻴﺲ ﻭ ﻳﻚ ﺩﻛﺘﺮ ﺟﻮﺍﻥ ﻳﺎ ﺷﺎﻳﺪ ﺩﺍﻧﺸﺠﻮﻯ‬ ‫ﭘﺰﺷﻜﻰ ﺯﺍﻧﻮ ﺯﺩ ﺗﺎ ﺑﭽﻪ ﺭﺍ ﻣﻌﺎﻳﻨﻪ ﻛﻨﺪ‪ .‬ﻛﺎﻣ ً‬ ‫ﻼ ﺑﻰ ﺭﻣﻖ‬ ‫ﺷﺪﻩ ﻭ ﻣﺮﺩﻩ ﺑﻮﺩ‪.‬‬ ‫ﻣﺤﻠﻪﺍﻯ ﻓﻘﻴﺮﻧﺸﻴﻦ‪ ،‬ﺧﻮﺩﺭﻭﻳﻰ ﮔﺮﺍﻥ ﻗﻴﻤﺖ ﻭ ﺟﻤﻌﻴﺘﻰ‬ ‫ﻣﺘﺨﺎﺻﻢ‪ .‬ﺯﻥﻫﺎ ﺧﺼﻮﺻ ًﺎ ﺧﻴﻠﻰ ﻋﺼﺒﺎﻧﻰ ﺑﻮﺩﻧﺪ‪ .‬ﻳﻚ‬ ‫ﺯﻥ ﺳﺮﺍﻳﺪﺍﺭ ﺗﻨﻮﻣﻨﺪ ﺑﺎ ﺑﺎﺯﻭﻫﺎﻯ ﺑﺮﻫﻨﻪ ﺁﻓﺘﺎﺏ ﺳﻮﺧﺘﻪ‬ ‫ﻭ ﻛﺎﺭ ﻛﺮﺩﻩ ﻭ ﻣﺮﺩﻯ ﻛﻪ ﭘﺸﺖ ﺳﺮ ﺍﻭ ﻛﻼﻩ ﺭﺍ ﺑﺮﺭﻭﻯ‬ ‫ﻣﻮﻫﺎﻯ ﺧﺸﻦ ﻭ ﺧﺎﻛﺴﺘﺮﻯ ﺍﺵ ﻣﺮﺗﺐ ﻣﻰﻛﺮﺩ ﺗﺎ‬ ‫ﻧﺸﺎﻥ ﺍﻗﺘﺪﺍﺭ ﺯﻥ ﺩﺭ ﻣﻨﺰﻝ ﺑﺎﺷﺪ‪ ،‬ﭼﻴﺰﻫﺎﻳﻰ ﺩﺭ ﺑﺎﺭﻩ‬ ‫ﻗﺎﺗﻼﻥ ﺧﻮﻥ ﺭﻳﺰ ﻓﺮﻳﺎﺩ ﻣﻰﺯﺩ‪ :‬ﻧﮕﺬﺍﺭﻳﺪ ﻓﺮﺍﺭ ﻛﻨﺪ‪.‬‬ ‫ﺭﺍﻧﻨﺪﻩ ﺧﻴﻠﻰ ﺧﻮﺏ ﺍﺯ ﺧﻄﺮﻯ ﻛﻪ ﺗﻬﺪﻳﺪﺵ ﻣﻰﻛﺮﺩ‬ ‫ﺁﮔﺎﻩ ﺑﻮﺩ‪ .‬ﺍﻭ ﺑﺎ ﻫﺮ ﻓﺮﻳﺎﺩﻯ ﺳﺮﺵ ﺭﺍ ﺑﺎ ﻧﺎﺭﺍﺣﺘﻰ ﻭ‬ ‫ﻧﮕﺮﺍﻧﻰ ﺑﻪ ﻃﺮﻓﻰ ﻣﻰﭼﺮﺧﺎﻧﺪ‪ .‬ﻗﻄﺮﻩﻫﺎﻯ ﻋﺮﻕ ﺑﺮﺭﻭﻯ‬ ‫ﺻﻮﺭﺕ ﮔﺮﺩ ﻭ ﮔﻮﺷﺘﺎﻟﻮﻳﺶ ﻣﻰﺩﺭﺧﺸﻴﺪ‪ .‬ﺩﺳﺖﻫﺎﻳﺶ‬ ‫ﺑﺎ ﺑﻰﻗﺮﺍﺭﻯ ﺑﺎ ﻛﺖ ﻭ ﻛﻼﻫﺶ ﻭﺭ ﻣﻰﺭﻓﺖ‪ .‬ﺍﻭﻝ‬ ‫ﻛﻼﻫﺶ ﺭﺍ ﺑﻪ ﺍﺣﺘﺮﺍﻡ ﻣﺮﺩﻩ ﺍﺯ ﺳﺮ ﺩﺭﺁﻭﺭﺩ ﻭ ﺑﻌﺪ ﻭﻗﺘﻰ‬ ‫ﭘﻠﻴﺲ ﭘﺮﺳﺶﻫﺎﻳﺶ ﺭﺍ ﺷﺮﻭﻉ ﻛﺮﺩ ﺩﻭﺑﺎﺭﻩ ﺳﺮﺵ‬ ‫ﮔﺬﺍﺷﺖ ﺗﺎ ﻧﺸﺎﻥ ﺩﻫﺪ ﺩﻟﻴﻠﻰ ﻧﺪﺍﺭﺩ ﻗﺒﻞ ﺍﺯ ﻗﺎ ﻧﻮﻥ ﺑﻪ‬ ‫ﻛﺴﻰ ﺗﻌﻈﻴﻢ ﻛﻨﺪ‪.‬‬ ‫ﭘﻠﻴﺲ ﻣﺮﺩ ﺑﺴﻴﺎﺭ ﺟﻮﺍﻧﻰ ﺑﻮﺩ ﺑﺎ ﻗﺪﺑﻠﻨﺪ ﻭ ﺷﺎﻧﻪﻫﺎﻯ‬ ‫ﮔﺮﺩ ﻭ ﺻﻮﺭﺗﻰ ﻓﻮﻕ ﺍﻟﻌﺎﺩﻩ ﺳﻔﻴﺪ‪ ،‬ﺻﻮﺭﺕ ﻳﻚ ﻣﻘﺎﻡ‬ ‫ﺫﻳﺼﻼﺡ ﻛﻪ ﻣﺘﺄﺛﺮ ﺍﺯ ﻭﺍﻗﻌﻪ ﺑﻮﺩ‪ .‬ﺑﺎ ﺩﻗﺖ ﻭ ﺁﺭﺍﻡ ﺩﺭ‬ ‫ﺩﻓﺘﺮﭼﻪ ﺍﺵ ﭼﻴﺰﻫﺎﻳﻰ ﻳﺎﺩﺩﺍﺷﺖ ﻣﻰﻛﺮﺩ‪ ،‬ﺣﺴﻰ ﺷﺒﻴﻪ‬ ‫ﻣﺄﻣﻮﺭ ﺳﺮﺷﻤﺎﺭﻯ ﺩﺍﺷﺖ‪ .‬ﺳﺮﺍﻧﺠﺎﻡ ﺑﻪ ﻃﺮﻑ ﺟﻤﻌﻴﺖ‬ ‫ﺑﺮﮔﺸﺖ ﻭ ﭘﺮﺳﻴﺪ‪ :‬ﺷﺎﻫﺪﻯ ﻫﺴﺖ؟ ﻣﺴﻠﻢ ﺑﻮﺩ ﻛﻪ‬ ‫ﻫﻴﭽﻜﺲ ﻫﻨﮕﺎﻡ ﻭﻗﻮﻉ ﺣﺎﺩﺛﻪ ﺩﺭ ﺻﺤﻨﻪ ﺣﺎﺿﺮ ﻧﺒﻮﺩﻩ‬ ‫ﺍﺳﺖ ﻭ ﺳﺆﺍﻝ ﺍﻭ ﺗﻨﻬﺎ ﺑﺎﻋﺚ ﻋﺼﺒﺎﻧﻴﺖ ﺑﻴﺸﺘﺮ ﺯﻥﻫﺎ‬ ‫ﻣﻰﺷﺪ‪ .‬ﺁﻥﻫﺎ ﺍﺯ ﺍﻳﻦ ﻣﻘﺪﻣﺎﺕ ﺑﻴﻬﻮﺩﻩ ﻭ ﺩﻳﺮﮔﺬﺭ ﺧﺴﺘﻪ‬ ‫ﺷﺪﻩ ﺑﻮﺩﻧﺪ ﻭ ﺧﻮﺍﺳﺘﺎﺭ ﻣﺤﺎﻛﻤﻪ ﻓﻮﺭﻯ ﻭ ﺍﻧﺘﻘﺎﻡ ﺑﻮﺩﻧﺪ‪.‬‬ ‫ﺭﺍﻧﻨﺪﻩ ﺟﻮﺍﻥ ﺧﻴﻠﻰ ﻭﺣﺸﺖ ﺯﺩﻩ ﺑﻮﺩ‪ ،‬ﺩﺳﺖﻫﺎﻯ‬ ‫ﻟﺮﺯﺍﻧﺶ ﺩﻛﻤﻪﻫﺎﻯ ﻛﺘﺶ ﺭﺍ ﻣﺪﺍﻡ ﺑﺎﺯ ﻭ ﺑﺴﺘﻪ ﻣﻰﻛﺮﺩ‪.‬‬ ‫ﻓﻜﺮ ﻣﺒﻬﻢ ﻛﻪ ﺧﻴﻠﻰ ﻭﺍﺿﺢ ﻭ ﻛﺎﺭﺳﺎﺯ ﺑﻮﺩ ﻫﻤﺮﺍﻩ ﺑﺎ‬ ‫ﻫﺮﺍﺱ ﻭ ﺩﻟﻬﺮﻩ ﺑﻪ ﺫﻫﻨﺶ ﺭﺳﻴﺪ ﻛﻪ ﻭﺍﻧﻤﻮﺩ ﻛﻨﺪ ﭘﺮﻭﺍﺯ‬ ‫ﺩﺍﺭﺩ‪.‬‬ ‫ﻧﮕﺎﻫﻰ ﺑﻪ ﺣﻠﻘﻪ ﺯﻥﻫﺎﻯ ﻣﻌﺘﺮﺽ ﺍﻧﺪﺍﺧﺖ ﻛﻪ ﻣﺪﺍﻡ‬ ‫ﻓﺮﻳﺎﺩ ﻣﻰﺯﺩﻧﺪ‪ ،‬ﺳﻌﻰ ﻛﺮﺩ ﺑﻪ ﺁﻥﻫﺎ ﺑﻔﻬﻤﺎﻧﺪ ﻛﻪ‬

‫ﻧﻤﻰﺗﻮﺍﻧﺴﺘﻪ ﻣﺎﻧﻊ ﺣﺎﺩﺛﻪ ﺷﻮﺩ ﻭﻟﻰ ﺁﻥﻫﺎ‬ ‫ﻫﻴﭻ ﺣﺮﻓﻰ ﺭﺍ ﻧﻤﻰﺷﻨﻴـﺪﻧﺪ‪ .‬ﻭﺣﺸـﺖ ﺍﻭ‪،‬‬ ‫ﺍﺩﺍﻫﺎﻯ ﻣﻠﺘـﻤﺴﺎﻧﻪ ﻭ ﭘــﻮﺯﺵ ﻃﻠﺒﺎﻧﻪ ﺍﺵ‬ ‫ﻭ ﺩﺳﺖﻫﺎﻯ ﻟﺮﺯﺍﻥ ﻭ ﺑﻰ ﺍﺧﺘﻴﺎﺭﺵ‪ ،‬ﺑﻴﺸﺘﺮ‬ ‫ﻋﺼﺒﺎﻧﻴﺸﺎﻥ ﻣﻰﻛﺮﺩ‪.‬‬ ‫ﺑﺮﺍﺛﺮ ﻓﺸﺎﺭ ﻣﻮﺟﻰ ﻛﻪ ﺍﺯ ﻋﻘﺐ ﺍﻳﺠﺎﺩ ﺷﺪ ﻭ ﺑﺎ‬ ‫ﺍﻭ ﺑﺮﺧﻮﺭﺩ ﻛﺮﺩ ﺑﻪ ﺩﺭﻭﻥ ﺩﺳﺖﻫﺎﻯ ﭘﻠﻴﺲ ﻛﻪ‬ ‫ﺑﻪ ﺣﺎﻟﺘﻰ ﺁﻣﺮﺍﻧﻪ ﻭ ﻣﺤﺎﻓﻆ ﺑﺎﺯ ﺷﺪﻩ ﺑﻮﺩ ﻟﻮﻟﻪ‬ ‫ﺷﻮﺩ‪ .‬ﺑﻼﻓﺎﺻﻠﻪ ﭘﺲ ﺍﺯ ﺍﻳﻦ ﻛﺎﺭ ﭘﻠﻴﺲ ﻣﻮﺝ‬ ‫ﻗﻮﻳﺘﺮﻯ ﺩﺭﺳﺖ ﺷﺪ ﻛﻪ ﻧﺰﺩﻳﻚ ﺑﻮﺩ ﻛﻼﻩ ﺍﺯ‬ ‫ﺳﺮﺵ ﺑﻴﻔﺘﺪ‪ .‬ﻣﻮﺝ ﺩﻳﮕﺮﻯ ﺍﺯ ﻣﻴﺎﻥ ﺟﻤﻌﻴﺖ‬ ‫ﺑﺮﺧﺎﺳﺖ ﻭ ﺍﻳﻦ ﺑﺎﺭ ﻛﺴﻰ ﺩﺭ ﭘﺸﺖ ﺣﻠﻘﻪ ﻓﺮﻳﺎﺩ‬ ‫ﻣﻰﺯﺩ‪ :‬ﺭﺍﻩ ﺭﺍ ﺑﺎﺯ ﻛﻨﻴﺪ‪.‬‬ ‫ﺣﻠﻘﻪ ﺟﻤﻌﻴﺖ ﺑﺎﺯ ﺷﺪ ﻭ ﻳﻚ ﺯﻥ ﺭﻳﺰ ﺍﻧﺪﺍﻡ‬ ‫ﭼﻬﻞ ﻳﺎ ﭘﻨﺠﺎﻩ ﺳﺎﻟﻪ ﺭﺍ ﺯﻥ ﺗﻨﻮﻣﻨﺪﻯ ﻛﻪ ﻛﻼﻩ‬ ‫ﺑﻪ ﺳﺮﺩﺍﺷﺖ ﺑﻪ ﺟﻠﻮ ُﻫﻞ ﺩﺍﺩ‪.‬‬ ‫ﺣﺎﻟﺖ ﻭ ﺭﻓﺘﺎﺭ ﺯﻥ ﺑﻪ ﺳﺎﺩﮔﻰ ﮔﻮﻳﺎﻯ ﺍﻳﻦ‬ ‫ﺑﻮﺩ ﻛﻪ‪ :‬ﻟﻄﻔ ًﺎ ﺑﻔﺮﻣﺎﺋﻴﺪ‪ ،‬ﺟﺮﻭﺑﺤﺚ ﺭﺍ ﺗﻤﺎﻡ‬ ‫ﻛﻨﻴﺪ‪ .‬ﺯﻥ ﺩﺭ ﺣﺎﻟﻰ ﻛﻪ ﺑﺎ ﺩﺍﺩ ﻭ ﻓﺮﻳﺎﺩ ﺣﺮﻑ‬ ‫ﻣﻰﺯﺩ ﻳﻚ ﺁﻥ ﺩﭼﺎﺭ ﻟﻜﻨﺖ ﺷﺪ ﻭ ﻣﺮﺩ ﺟﻮﺍﻥ‬ ‫ﺑﺎ ﺻﺤﺒﺖﻫﺎﻯ ﺗﻨﺪ ﻭ ﺳﺮﻳﻊ ﺣﺮﻑ ﺍﻭ ﺭﺍ ﻗﻄﻊ‬ ‫ﻛﺮﺩ‪ :‬ﺍﻣﺎ ﻣﻦ ﻧﻤﻰﺗﻮﻧﺴﺘﻢ ﻛﻤﻜﺶ ﻛﻨﻢ‪ ،‬ﻣﻦ‬ ‫ﻓﻘﻂ ‪.....‬‬ ‫ﺯﻥ ﺭﻳﺰﺍﻧﺪﺍﻡ ﺭﻧﮓ ﭘﺮﻳﺪﻩ ﻛﻪ ﺣﺎﻻ ﭘﻴﺸﺎﭘﻴﺶ‬ ‫ﺟﻤﻌﻴﺖ ﺍﻳﺴﺘﺎﺩﻩ ﺑﻮﺩ ﮔﻔﺖ‪ :‬ﺧﻴﻠﻰ ﺧﻮﺏ‪ .‬ﺍﻳﻦ‬ ‫ﺑﺎﻋﺚ ﺷﺪ ﺟﻤﻌﻴﺖ ﺩﺭ ﺳﻜﻮﺗﻰ ﻛﺎﻣﻞ ﻓﺮﻭﺭﻭﺩ‪.‬‬ ‫ﭘﻠﻴﺲ ﻛﻼﻩ ﺭﺍ ﺭﻭﻯ ﺳﺮﺵ ﺟﺎﺑﺠﺎ ﻛﺮﺩ ﻭ ﺟﻠﻮﻩ‬ ‫ﺍﻯ ﺑﻪ ﺧﻮﺩ ﮔﺮﻓﺖ ﻛﻪ ﻧﺸﺎﻥ ﺩﻫﺪ ﺗﻨﻬﺎ ﻣﻘﺎﻡ ﺁﻥ‬ ‫ﺟﺎﺳﺖ‪ .‬ﺑﺎ ﺩﻓﺘﺮﭼﻪ ﺍﺵ ﺑﻪ ﻃﺮﻑ ﺯﻥ ﺑﺮﮔﺸﺖ‬ ‫ﻭ ﺁﻣﺎﺩﻩ ﻳﺎﺩﺩﺍﺷﺖ ﺷﺪ‪ :‬ﺑﻠﻪ ﻣﺎﺩﺭ؟‬ ‫ﺯﻥ ﺭﻳﺰﺍﻧﺪﺍﻡ ﺑﺎ ﺻﺪﺍﻯ ﺯﻳﺮ ﮔﻔﺖ‪ :‬ﺍﻭ ﻣﻘﺼﺮ‬ ‫ﻧﻴﺴﺖ‪ ،‬ﻫﻴﭻ ﻛﺲ ﻣﻘﺼﺮ ﻧﻴﺴﺖ‪.‬‬ ‫ﺷﻤﺎ ﺻﺤﻨﻪ ﺭﺍ ﺩﻳﺪﻳﺪ؟ ﺍﻳﻨﻄﻮﺭ ﻧﻴﺴﺖ؟‬‫ﺯﻥ ﺳﺮﺵ ﺭﺍ ﺗﻜﺎﻥ ﺩﺍﺩ ﻭ ﮔﻔﺖ‪ :‬ﻧﻪ ﻣﻦ ﺩﺍﺧﻞ‬ ‫ﻣﻐﺎﺯﻩ ﺑﻮﺩﻡ ﻭ ﻫﻴﭻ ﭼﻴﺰ ﺭﺍ ﻧﺪﻳﺪﻡ‪.‬‬ ‫ﭘﺲ ﭼﻄﻮﺭ ﻣﻄﻤﺌﻦ ﻫﺴﺘﻴﺪ ﻛﻪ ﻫﻴﭻ ﻛﺲ‬‫ﻣﻘﺼﺮ ﻧﺒﻮﺩ؟‬ ‫ﺍﻭ ﭘﺴﺮ ﻣﻦ ﺑﻮﺩﻩ‪ .‬ﺟﻤﻌﻴﺖ ﺣﻴﺮﺕ ﺯﺩﻩ ﻭ‬‫ﺳﺮﺩﺭﮔﻢ ﺑﻪ ﺯﻥ ﺧﻴﺮﻩ ﺷﺪﻩ ﺑﻮﺩﻧﺪ‪ .‬ﮔﻮﻳﻰ ﺑﻪ‬ ‫ﺯﺑﺎﻥ ﭼﻴﻨﻰ ﺣﺮﻑ ﺯﺩﻩ ﺑﻮﺩ‪.‬‬ ‫ﺯﻥ ﺑﻪ ﻫﻴﭻ ﻭﺟﻪ ﺁﺷﻔﺘﻪ ﻭ ﺁﺯﺭﺩﻩ ﻧﺒﻮﺩ‪ .‬ﺑﺮﺍﻯ‬ ‫ﺍﻭﻟﻴﻦ ﺑﺎﺭ ﺑﻪ ﺟﺴﺪ ﻏﺮﻕ ﺩﺭ ﺧﺎﻙ ﻭ ﺧﻮﻥ‬ ‫ﻛﻮﺩﻙ ﻧﮕﺎﻫﻰ ﻛﺮﺩ ﻭ ﺑﺎ ﺻﺪﺍﻯ ﺑﻠﻨﺪﺗﺮ ﺍﺯ ﻗﺒﻞ‬ ‫ﮔﻔﺖ‪ :‬ﻧﻪ ﻫﻴﭻ ﻛﺲ ﻣﻘﺼﺮ ﻧﺒﻮﺩﻩ‪.‬‬ ‫ﭘﻠﻴﺲ ﻭ ﺭﺍﻧﻨﺪﻩ ﻃﻮﺭﻯ ﺑﻪ ﺍﻭ ﻧﮕﺎﻩ ﻣﻰﻛﺮﺩﻧﺪ ﻛﻪ‬ ‫ﮔﻮﺋﻰ ﺩﻳﻮﺍﻧﻪ ﻭ ﻣﺠﻨﻮﻥ ﺍﺳﺖ‪ .‬ﺍﻣﺎ ﺯﻥﻫﺎ ﺁﺭﺍﻡ‬ ‫ﺁﺭﺍﻡ ﺁﻥ ﺟﺎ ﺭﺍ ﺗﺮﻙ ﻛﺮﺩﻧﺪ ﺁﻥﻫﺎ ﻣﻰﺩﺍﻧﺴﺘﻨﺪ‬ ‫ﻛﻪ ﭼﺮﺍ ﺯﻥ ﻫﻴﭻ ﻛﺲ ﺭﺍ ﻣﻘﺼﺮ ﻧﻤﻰﺩﺍﻧﺪ ﻭ‬ ‫ﺳﺮﺯﻧﺶ ﻧﻤﻰﻛﻨﺪ‪ .‬ﺍﻭ ﺩﻳﮕﺮ ﻗﺎﺩﺭ ﻧﺒﻮﺩ ﻃﻌﻨﻪﻫﺎ‬ ‫ﺭﺍ ﺗﺤﻤﻞ ﻛﻨﺪ‪.‬‬

‫ﺩﺍﺳﺘﺎﻥ ﺧﺎﺭﺟﻰ‬

‫ﺩﻭﺭﻩ ﺟﺪﻳﺪ‪/‬ﺷﻤﺎﺭﻩ ‪ 9‬ﻭ ‪)10‬ﭘﻴﺎﭘﻲ‪39‬ﻭ‪ /(40‬ﺳﺎﻝ ﺳﻮﻡ‪/‬ﻧﻮﺭﻭﺯ‪88‬‬

‫ﺧﺎﻧﻪ ﺍﺭﻭﺍﺡ‬ ‫ﻭﻳﺮﺟﻴﻨﻴﺎﻭﻭﻟﻒ‬ ‫ﻣﻌﻠﻮﻡ ﻧﺒﻮﺩ ﺳﺎﻋﺖ ﭼﻨﺪ ﺍﺳﺖ ﻭﻟﻲ ﻫﺮ ﭼﻪ ﺑﻮﺩ ﺍﺯ ﺧﻮﺍﺏ ﻛﻪ ﺑﻴﺪﺍﺭ ﺷﺪﻳﺪ ﺻﺪﺍﻱ ﺑﺴﺘﻪﺷﺪﻥ ﺩﺭﻱ ﺭﺍ ﺷﻨﻴﺪﻳﺪ‪.‬‬ ‫ﺁﻧﺎﻥ ﺩﺳﺖ ﺩﺭ ﺩﺳﺖﻳﻜﺪﻳﮕﺮ ﺍﺯ ﺍﺗﺎﻗﻲ ﺑﻪ ﺍﺗﺎﻗﻲ ﺩﻳﮕﺮ ﻣﻲﺭﻓﺘﻨﺪ ﺍﺯ ﺟﺎﻳﻲ ﺑﺎﻻ ﻣﻲﺭﻓﺘﻨﺪ‪ ،‬ﺩﺭ ﺟﺎﻳﻲ ﺩﻳﮕﺮ ﺩﺭﻱ‬ ‫ﺭﺍ ﺑﺎﺯ ﻣﻲﻛﺮﺩﻧﺪ ﻭ ﺷﻤﺎ ﻣﻄﻤﺌﻦ ﺷﺪﻳﺪ ﻛﻪ ﺑﺎ ﺍﺭﻭﺍﺡ ﺯﻥ ﻭ ﺷﻮﻫﺮﻱ ﺳﺮﻭﻛﺎﺭ ﺩﺍﺭﻳﺪ‪.‬‬ ‫ﺯﻥ ﮔﻔﺖ‪ :‬ﺁﻥ ﺭﺍ ﺍﻳﻨﺠﺎ ﮔﺬﺍﺷﺘﻴﻢ ﻭ ﻣﺮﺩ ﺩﺭ ﺗﻜﻤﻴﻞ ﺻﺤﺒﺖ ﺍﻭ ﮔﻔﺖ‪ :‬ﺍﻭﻩ ﻭﻟﻲ ﺍﻳﻨﺠﺎ ﻫﻢ ﺑﻮﺩ‬ ‫ﺯﻥ ﺯﻳﺮ ﻟﺐ ﮔﻔﺖ‪» :‬ﺩﺭﻃﺒﻘﻪ ﺑﺎﻻﺳﺖ« »ﻭ ﺩﺭ ﺑﺎﻍ« ﻣﺮﺩ ﺑﻪ ﻧﺠﻮﺍ ﮔﻔﺖ‪» :‬ﻳﻮﺍﺵ« ﻭ ﺑﺎ ﻫﻢ ﮔﻔﺘﻨﺪ‪:‬‬ ‫»ﻣﻤﻜﻨﺴﺖ ﺑﻴﺪﺍﺭﺷﺎﻥ ﻛﻨﻴﻢ«‬ ‫ﻭﻟﻲ ﺍﻳﻦ ﺷﻤﺎ ﻧﺒﻮﺩﻳﺪ ﻛﻪ ﻣﺎ ﺭﺍ ﺑﻴﺪﺍﺭ ﻛﺮﺩﻳﺪ‪ ،‬ﻧﻪ‪ .‬ﺷﺎﻳﺪ ﻛﺴﻲ ﮔﻔﺖ‪ :‬ﺁﻧﻬﺎ ﺑﺪﻧﺒﺎﻟﺶ ﻣﻲﮔﺮﺩﻧﺪ‪ ،‬ﺩﺍﺭﻧﺪ ﭘﺮﺩﻩﻫﺎ‬ ‫ﺭﺍ ﻣﻲﻛﺸﻨﺪ ﻭ ﻫﻤﻴﻦ ﺭﺍ ﺍﺯ ﺭﻭﻱﻳﻜﻲ ﺩﻭ ﺻﻔﺤﻪ ﻛﺎﻏﺬ ﻣﻲﺧﻮﺍﻧﺪ‪ .‬ﻭ ﺁﻥ ﻛﺲ ﻣﻄﻤﺌﻦ ﻛﻪ ﺷﺪ ﮔﻔﺖ‪» :‬ﺣﺎﻻ‬ ‫ﭘﻴﺪﺍﻳﺶ ﻛﺮﺩﻩﺍﻧﺪ« ﻭ ﻗﻠﻢ ﺭﺍ ﺭﻭﻱ ﺣﺎﺷﻴﻪ ﻛﺎﻏﺬ ﻣﺘﻮﻗﻒ ﻛﺮﺩ‪ .‬ﻭ ﺳﭙﺲ ﺁﻥ ﻛﺲ ﻛﻪ ﺍﺯ ﺧﻮﺍﻧﺪﻥ ﺧﺴﺘﻪ ﺷﺪﻩ‬ ‫ﺑﻮﺩ ﺷﺎﻳﺪ ﺍﺯ ﺟﺎ ﺑﺮﺧﺎﺳﺖ ﺗﺎ ﺧﻮﺩ ﻧﮕﺎﻫﻲ ﺑﻪ ﺧﺎﻧﻪ ﺑﻴﺎﻧﺪﺍﺯﺩ‪ .‬ﺍﻭ ﺩﻳﺪ ﻛﻪ ﺧﺎﻧﻪ ﺳﺮﺍﺳﺮ ﺧﺎﻟﻲ ﺍﺳﺖ ﺩﺭﻫﺎ ﺑﺎﺯﻧﺪ ﻭ‬ ‫ﺗﻨﻬﺎ ﺻﺪﺍﻱ ﻛﺒﻮﺗﺮﻫﺎﻱ ﺑﻴﺸﻪ ﻛﻪ ﻣﺎﻧﻨﺪ ﺁﺏ ﺟﻮﺵ ﻗﻠﻘﻞ ﻣﻲﻛﻨﻨﺪ ﻭ ﺻﺪﺍﻱ ﻭﺯ ﻭﺯ ﻣﺎﺷﻴﻦ ﺧﺮﻣﻦ ﻛﻮﺏ ﺍﺯ‬ ‫ﻣﺰﺭﻋﻪ ﺑﮕﻮﺵ ﻣﻲﺭﺳﺪ ﺩﺳﺘﻬﺎﻳﻢ ﺧﺎﻟﻲ ﺑﻮﺩﻧﺪ ﻭ ﮔﻔﺘﻢ‪» :‬ﭼﺮﺍ ﺑﻪ ﺍﻳﻨﺠﺎ ﺁﻣﺪﻡ؟ ﺑﺪﻧﺒﺎﻝ ﭼﻪ ﺑﻮﺩﻡ؟ ﭘﺲ ﺷﺎﻳﺪ‬ ‫ﭼﻴﺰﻱ ﺭﺍ ﻛﻪ ﺩﻧﺒﺎﻟﺶ ﻣﻲﮔﺮﺩﻡ ﻃﺒﻘﻪ ﺑﺎﻻ ﺑﺎﺷﺪ؟«‬ ‫ﺳﻴﺒﻬﺎ ﺩﺭ ﺍﺗﺎﻕ ﺯﻳﺮ ﺷﻴﺮﻭﺍﻧﻲ ﺑﻮﺩﻧﺪ ﻭ ﺁﻥ ﭘﺎﻳﻴﻦ ﻫﻢ ﺑﺎﻍ ﻫﻨﻮﺯ ﻣﺜﻞ ﻫﻤﻴﺸﻪ ﺑﻮﺩ‪ ،‬ﻓﻘﻂ ﻛﺘﺎﺏ ُﺳﺮ ﺧﻮﺭﺩﻩ ﻭ‬ ‫ﺩﺭ ﭼﻤﻨﻬﺎ ﺍﻓﺘﺎﺩﻩ ﺑﻮﺩ‪.‬‬ ‫ﻭﻟﻲ ﺁﻧﻬﺎ ﺁﻧﺮﺍ ﺩﺭ ﺍﺗﺎﻕ ﭘﺬﻳﺮﺍﻳﻲ ﭘﻴﺪﺍ ﻛﺮﺩﻧﺪ‪ .‬ﺁﻥ ﻛﺲ ﻫﺮﮔﺰ ﻧﺘﻮﺍﻧﺴﺖ ﺁﻧﻬﺎ ﺭﺍ ﺑﺒﻴﻨﺪ‪ .‬ﺗﺼﻮﻳﺮ ﺳﻴﺒﻬﺎ ﻭ ﮔﻠﻬﺎﻱ‬ ‫ﺭﺯ ﺩﺭ ﺷﻴﺸﻪ ﭘﻨﺠﺮﻩ ﭘﻴﺪﺍ ﺑﻮﺩ ﻭ ﻣﻲﺷﺪ ﻫﻤﻪ ﺑﺮﮔﻬﺎ ﺭﺍ ﺑﺮﻧﮓ ﺳﺒﺰ ﺩﺭ ﺁﻥ ﺩﻳﺪ‪ .‬ﺍﮔﺮ ﺁﻧﻬﺎ ﻭﺍﺭﺩ ﺍﺗﺎﻕ ﭘﺬﻳﺮﺍﻳﻲ‬ ‫ﻣﻲﺷﺪﻧﺪ‪ .‬ﻓﻘﻂ ﺳﻤﺖ ﺯﺭﺩ ﺭﻧﮓ ﺳﻴﺒﻬﺎ ﺭﺍ ﻣﻲﺩﻳﺪﻧﺪ‪ .‬ﺑﺎ ﺍﻳﻨﺤﺎﻝ ﻟﺤﻈﻪﺍﻱ ﺑﻌﺪ ﺩﺭ ﺑﺎﺯ ﺷﺪ‪ ،‬ﻛﻒ ﺯﻣﻴﻦ ﺭﺍ ﻃﻲ‬ ‫ﻛﺮﺩ ﺑﻪ ﺩﻳﻮﺍﺭ ﺧﻮﺭﺩ ﻭ ﺑﻪ ﺳﻘﻒ ﮔﻴﺮ ﻛﺮﺩ‪ .‬ﭼﻲ؟ ﺩﺳﺘﻬﺎﻳﻢ ﺧﺎﻟﻲ ﺑﻮﺩﻧﺪ‪.‬‬ ‫ﺳﺎﻳﻪ ﻳﻚ ﺗﻮﻛﺎ ﺍﺯ ﺭﻭﻱ ﻗﺎﻟﻲ ﺭﺩ ﺷﺪ‪ .‬ﺍﺯ ﻋﻤﻴﻘﺘﺮﻳﻦ ﭼﺎﻫﻬﺎﻱ ﺳﻜﻮﺕ‪ ،‬ﻛﺒﻮﺗﺮ ﺟﻨﮕﻠﻲ ﻗﻠﻘﻠﺶ ﺭﺍ ﺳﺮﺩ ﺩﺍﺩ‪.‬‬ ‫ﺿﺮﺑﺎﻥ ﻧﺒﺾ ﺧﺎﻧﻪ ﻣﺜﻞ ﺍﻳﻨﻜﻪ ﻣﻲﮔﻔﺖ‪ :‬ﺟﺎﻳﺶ ﺍﻣﻨﺴﺖ‪ ،‬ﮔﻨﻴﺠﻴﻨﻪ ﻣﺪﻓﻮﻥ ﺷﺪﻩ‪ ،‬ﺍﺗﺎﻕ‪...‬‬ ‫ﻟﺤﻈﻪﺍﻱ ﺑﻌﺪ ﻧﻮﺭ ﺭﻧﮓ ﺑﺎﺧﺖ‪ ،‬ﭘﺲ ﺑﻴﺮﻭﻥ ﺩﺭ ﺑﺎﻍ ﺧﺒﺮﻱ ﻫﺴﺖ؟ ﻭﻟﻲ ﺩﺭﺧﺘﺎﻥ ﺩﺭ ﺑﺮﺍﺑﺮ ﭘﺮﺗﻮﻳﻲ ﺳﺮﮔﺮﺩﺍﻥ‬ ‫ﺍﺯ ﻧﻮﺭ ﺁﻓﺘﺎﺏ ﺳﺎﻳﻪ ﻣﻰﺍﻧﺪﺍﺧﺘﻨﺪ ﻭ ﺁﻥ ﺭﺍ ﺩﺭ ﺗﺎﺭﻳﻜﻲ ﻓﺮﻭ ﻣﻰﺑﺮﺩﻧﺪ‪.‬‬ ‫ﺯﻳﺒﺎ ﻭ ﺑﻲﻧﻈﻴﺮ ﺳﺮﺩ ﻭ ﺑﻲﺷﻮﻕ ﻓﺮﻭ ﺭﻓﺘﻪ ﺩﺭ ﺯﻳﺮ ﺁﺏ‪ ،‬ﺯﻳﺮ ﻧﻮﺭ ﻫﻤﻮﺍﺭﻩ ﺩﺭ ﭘﺸﺖ ﺷﻴﺸﻪ ﺑﺮ ﺍﻓﺮﻭﺧﺘﻦ ﺭﺍ‬ ‫ﺟﺴﺘﺠﻮ ﻣﻰﻛﺮﺩﻡ‪ .‬ﺷﻴﺸﻪ ﻫﻤﺎﻥ ﻣﺮگ ﺑﻮﺩ‪ .‬ﻣﺮگ ﺑﻴﻦ ﻣﺎ ﻓﺎﺻﻠﻪ ﺍﻧﺪﺍﺧﺖ‪ ،‬ﭼﻮﻥ ﺍﻭﻝ ﺑﻪ ﺳﺮﺍﻍ ﺯﻥ ﺭﻓﺖ‬ ‫ﺍﻭ ﻛﻪ ﺻﺪﻫﺎ ﺳﺎﻝ ﻗﺒﻞ ﺧﺎﻧﻪ ﺭﺍ ﺗﺮﻙ ﻛﺮﺩ‪ ،‬ﻫﻤﻪ ﭘﻨﺠﺮﻩﻫﺎ ﺭﺍ ﻣﻬﺮ ﻭ ﻣﻮﻡ ﻛﺮﺩ‪ ،‬ﺍﺗﺎﻗﻬﺎ ﻫﻤﻪ ﺩﺭ ﺗﺎﺭﻳﻜﻲ ﻓﺮﻭ‬ ‫ﺭﻓﺘﻨﺪ‪ .‬ﻣﺮﺩ ﺍﺯ ﺁﻧﺠﺎ ﺭﻓﺖ‪ .‬ﺯﻥ ﺭﺍ ﺭﻫﺎ ﻛﺮﺩ‪ .‬ﺑﻪ ﺷﻤﺎﻝ ﺭﻓﺖ‪ ،‬ﺑﻪ ﺷﺮﻕ‪ ،‬ﺳﺘﺎﺭﻩﻫﺎ ﺭﺍ ﺩﻳﺪ ﻛﻪ ﺩﺭ ﺁﺳﻤﺎﻥ ﺟﻨﻮﺑﻲ‬ ‫ﺩﺭ ﮔﺮﺩﺷﻨﺪ ﺑﺪﻧﺒﺎﻝ ﺧﺎﻧﻪ ﮔﺸﺖ ﻭ ﺁﻥ ﺭﺍ ﻓﺮﻭ ﺍﻓﺘﺎﺩﻩ ﺩﺭ ﺯﻳﺮ ﻣﻨﻄﻘﻪﺍﻱ ﺍﺯ ﺗﭙﻪﻫﺎﻱ ﭘﺴﺖﻳﺎﻓﺖ‪ .‬ﻧﺒﺾ ﺧﺎﻧﻪ‬ ‫ﺷﺎﺩﻣﺎﻧﻪ ﻣﻰﺗﭙﻴﺪ‪ ،‬ﺍﻧﮕﺎﺭ ﻛﻪ ﻣﻲﮔﻔﺖ‪ :‬ﺟﺎﻳﺶ ﺍﻣﻨﺴﺖ‪ ،‬ﺟﺎﻳﺶ ﺍﻣﻨﺴﺖ‪ ،‬ﮔﻨﺞ‪ ،‬ﻣﺎﻝ ﺗﻮﺳﺖ‪.‬‬ ‫ﺑﺎﺩ ﺑﺮ ﻓﺮﺍﺯ ﺧﻴﺎﺑﺎﻥ ﻣﻲﻏﺮﺩ ﺩﺭﺧﺘﺎﻥ ﺑﻪ ﺍﻳﻦ ﺳﻮ ﻭ ﺁﻥ ﺳﻮ ﺧﻢ ﻣﻲﺷﻮﻧﺪ ﭘﺮﺗﻮﻫﺎﻱ ﻣﻬﺘﺎﺏ ﻧﺎﻣﻨﻈﻢ ﻭ ﺳﺮﮔﺮﺩﺍﻥ‬

‫ﺁﻓﺖ‬ ‫ﻓﺮﻧﺎﻧﺪﻭ ُﺳ ِﺮﻥ ﺗﻴﻨﻮ ﺉ‬ ‫ﺣﻨﺎ ﺷﻴﺨﻰ‬

‫ﻫﺸﺘﻢ ﻧﻮﺍﻣﺒﺮ ﺗﻮﻟﺪﻡ ﺑﻮﺩ‪ .‬ﺑﺎ ﺧﻮﺩﻡ ﺗﺠﺴﻢ ﻛﺮﺩﻡ‬ ‫ﻛﻪ ﺑﻬﺘﺮﻳﻦ ﺭﺍﻩ ﺟﺸﻦ ﮔﺮﻓﺘﻦ ﺗﻮﻟﺪﻡ ﺻﺤﺒﺖ‬ ‫ﻛﺮﺩﻥ ﺑﺎ ﻓﺮﺩﻯﻳﻪ ﻛﻪ ﻧﻤﻰﺷﻨﺎﺳﻤﺶ‪.‬ﻓﻜﺮ‬ ‫ﻣﻰﻛﻨﻢ ﺣﺪﻭﺩ ‪ 10‬ﺻﺒﺢ ﺑﻮﺩ‪.‬‬ ‫ﺩﺭ ﮔﻮﺷﻪﻯ ﺧﻴﺎﺑﻮﻥ ﻓﻠﻮﺭﻳﺪﺍ ﻭ ﻛﻮﺭﺑﻮﺩﺍ ﺟﻠﻮﻯ‬ ‫ﻣﺮﺩ ﺷﺼﺖ ﺳﺎﻟﻪﻯ ﺧﻮﺵ ﻟﺒﺎﺳﻰ ﻛﻪ ﺩﺭ ﺩﺳﺖ‬ ‫ﺭﺍﺳﺘﺶ ﻛﻴﻔﻰ ﻛﻪ ﻣﻄﻤﺌﻨﺎ ﺷﺎﻣﻞ ﺍﺳﻨﺎﺩ ﻭ‬ ‫ﻣﺪﺍﺭﻙ ﻭﻛﺎﻟﺖ ﺑﻮﺩ ﺭﻭ ﮔﺮﻓﺘﻢ‪.‬‬ ‫ﮔﻔﺘﻢ‪ :‬ﺑﺒﺨﺸﻴﺪ ﺁﻗﺎ! ﻣﻰﺷﻪ ﻟﻄﻔﺎ ﺑﮕﻴﺪ ﭼﻄﻮﺭ‬ ‫ﻣﻰﺗﻮﻧﻢ ﺑﻪ " ﭘﻼﺯﺍ ﻣﺎﻳﻮ " ﺑﺮﺳﻢ؟‬ ‫ﻣﺮﺩ ﺍﻳﺴﺘﺎﺩ‪ .‬ﻧﮕﺎﻫﻰ ﺍﺟﻤﺎﻟﻰ ﺑﻪ ﻣﻦ ﻛﺮﺩ ﻭ ﺳﻮﺍﻝ‬ ‫ﻧﺎﺑﻪ ﺟﺎﻳﻰ ﭘﺮﺳﻴﺪ‪ :‬ﻣﻰﺧﻮﺍﻯ ﺑﻪ ﭘﻼﺯﺍ ﻣﺎﻳﻮ ﺑﺮﻯ‬ ‫ﻭﻳﺎ ﺍﻭﻧﻴﺪﺍ ﻣﺎﻳﻮ؟‬ ‫‪-‬ﺭﺍﺳﺘﺶ ﻣﻰﺧﻮﺍﻡ ﺑﻪ ﭘﻼﺯﺍ ﻣﺎﻳﻮ ﺑﺮﻡ‪،‬ﻭﻟﻰ ﺍﮔﻪ‬

‫ﺍﻣﻜﺎﻧﺶ ﻧﻴﺴﺖ‪،‬ﻫﺮ ﺟﺎﻯ ﺩﻳﮕﻪﺍﻯ ﻫﻢ ﻛﻪ ﺑﺎﺷﻪ ﺑﺮﺍﻯ‬ ‫ﻣﻦ ﻣﺴﺌﻠﻪ ﺍﻯ ﻧﻴﺴﺖ‪.‬‬ ‫_ ﺧﻴﻠﻰ ﺧﺐ‬ ‫ﻣﺸﺘﺎﻕ ﺻﺤﺒﺖ ﺑﺎ ﺍﻭ ﺑﻮﺩﻡ‪،‬ﻭﻟﻰ ﺍﻭﻥ ﺍﺻﻼ ﻫﻴﭻ‬ ‫ﺗﻮﺟﻬﻰ ﺑﻪ ﻣﻦ ﻧﻤﻰﻛﺮﺩ‪.‬‬ ‫ﺍﻭﻥ ﺭﺍﻩ ﺭﻭ ﭘﺸﺖ ﺳﺮ ﮔﺬﺍﺷﺘﻴﻢ ﻭ ﺑﻪ ﺳﻤﺖ ﺟﻨﻮﺏ‬ ‫ﺍﺷﺎﺭﻩ ﻛﺮﺩ‪:‬ﻭﻳﺎﻣﻮﻧﺘﻪ‪،‬ﺗﻮﺳﻴﻮﻣﻦ ﻭ ﻻﻭﺍﻟﻪ ﺭﻭ ﭘﺸﺖ ﺳﺮ‬ ‫ﮔﺬﺍﺷﺘﻴﻢ‪.‬‬ ‫ﻣﺘﻮﺟﻪ ﺷﺪﻡ ﺩﺭ ﻣﻮﺭﺩ ﺍﻭﻥ ﻫﺸﺖ ﺧﻴﺎﺑﻮﻧﻰ ﺩﺍﺭﻩ ﺣﺮﻑ‬ ‫ﻣﻰﺯﻧﻪ ﻛﻪ ﻣﻦ ﻣﺠﺒﻮﺭ ﺑﻮﺩﻡ ﺍﻭﻧﺎ ﺭﻭ ﻃﻰ ﻛﻨﻢ‪،‬ﻣﺠﺒﻮﺭ‬ ‫ﺷﺪﻡ ﺣﺮﻓﺸﻮ ﻗﻄﻊ ﻛﻨﻢ‪:‬‬ ‫_ ﺩﺭ ﻣﻮﺭﺩ ﭼﻴﺰﺍﻳﻰ ﻛﻪ ﺩﺍﺭﻳﻦ ﻣﻰﮔﻴﻦ ﻣﻄﻤﺌﻨﻴﻦ؟‬ ‫_ ﻛﺎﻣﻼ‬ ‫ﺑﺮﺍﻯ ﺗﻮﺿﻴﺢ ﮔﻔﺘﻢ‪ :‬ﺑﺒﺨﺸﻴﺪ ﻛﻪ ﺑﻪ ﺣﺮﻓﺎﺗﻮﻥ ﺷﻚ‬ ‫ﻛﺮﺩﻡ ﻭﻟﻰ ﺩﺭﺳﺖ ﭼﻨﺪ ﺩﻗﻴﻘﻪﻯ ﭘﻴﺶ ﻣﺮﺩﻯ ﺑﺎ‬ ‫ﭼﻬﺮﻩﺍﻯ ﺑﺎﻫﻮﺵ ﺑﻪ ﻣﻦ ﮔﻔﺖ ﻛﻪ ﭘﻼﺯﺍ ﻣﺎﻳﻮ ﺍﻭﻧﻄﺮﻑ‬ ‫ﺑﻮﺩ‪ ،‬ﻭ ﺑﻪ ﻃﺮﻑ ﭘﻼﺯﺍ ﺳﻦ ﻣﺎﺭﺗﻴﻦ ﺍﺷﺎﺭﻩ ﻛﺮﺩﻡ‪.‬‬ ‫ﺍﻭﻥ ﺷﺨﺺ ﺩﺭ ﺟﻮﺍﺏ ﻓﻘﻂ ﺍﻳﻨﻮ ﮔﻔﺖ‪ :‬ﻣﻤﻜﻨﻪ ﻛﺴﻰ‬ ‫ﺑﻮﺩﻩ ﻛﻪ ﺑﺎ ﺷﻬﺮ ﺁﺷﻨﺎﻳﻰ ﻧﺪﺍﺷﺘﻪ‪.‬‬ ‫ﺑﺎ ﺍﻳﻦ ﻭﺟﻮﺩ ﻫﻤﻮﻧﻄﻮﺭ ﻛﻪ ﮔﻔﺘﻢ ﺍﻭﻥ ﭼﻬﺮﻩﻯ‬ ‫ﺑﺎﻫﻮﺷﻰ ﺩﺍﺷﺖ ﻭ ﻃﺒﻴﻌﻴﻪ ﻛﻪ ﺗﺮﺟﻴﺢ ﻣﻰﺩﻡ ﺣﺮﻑ‬ ‫ﺍﻭﻧﻮ ﺑﺎﻭﺭ ﻛﻨﻢ‪،‬ﻧﻪ ﺷﻤﺎ!‬

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‫ﺑﻴﻦ ﺑﺎﺭﺍﻥ ﭘﺨﺶ ﻣﻲﺷﻮﻧﺪ ﻭﻟﻲ‬ ‫ﻻﻣﭗ ﺑﻲﻭﻗﻔﻪ ﺍﺯ ﭘﻨﺠﺮﻩ ﺑﻪ ﺑﻴﺮﻭﻥ‬ ‫ﻧﻮﺭ ﻣﻲﺍﻓﺸﺎﻧﺪ ﺷﻤﻊ ﺳﺮﺳﺨﺖ ﻭ‬ ‫ﺑﻲ ﺗﻼﻃﻢ ﻣﻲﺳﻮﺯﺩ‪ .‬ﺍﺭﻭﺍﺡ ﺯﻥ‬ ‫ﻭ ﺷﻮﻫﺮ ﺩﺭ ﺧﺎﻧﻪ ﭘﺮﺳﻪ ﻣﻲﺯﻧﻨﺪ‪،‬‬ ‫ﭘﻨﺠﺮﻩﻫﺎ ﺭﺍ ﺑﺎﺯ ﻣﻲﻛﻨﻨﺪ‪ ،‬ﺩﺭ ﮔﻮﺷﻲ‬ ‫ﺣﺮﻑ ﻣﻲﺯﻧﻨﺪ‪ ،‬ﻣﺒﺎﺩﺍ ﻛﻪ ﻣﺎ ﺑﻴﺪﺍﺭ‬ ‫ﺷﻮﻳﻢ‪ ،‬ﺁﻧﺎﻥ ﻣﺴﺮﺕ ﻭ ﺷﺎﺩﻱ ﺧﻮﺩ‬ ‫ﺭﺍ ﻣﻲﺧﻮﺍﻫﻨﺪ‪.‬‬ ‫ﺯﻥ ﻣﻲﮔﻮﻳﺪ‪ :‬ﺍﻳﻨﺠﺎ ﻣﻲﺧﻮﺍﺑﻴﺪﻳﻢ‬ ‫ﻭ ﻣﺮﺩ ﺩﺭ ﺍﺩﺍﻣﻪ ﻣﻲﮔﻮﻳﺪ‪ :‬ﻭ ﺁﻧﻘﺪﺭ‬ ‫ﻫﻤﺪﻳﮕﺮ ﺭﺍ ﻣﻲﺑﻮﺳﻴﺪﻳﻢ ﻛﻪ ﺑﻪ‬ ‫ﺷﻤﺎﺭﻩ ﻧﻤﻲﺁﻳﺪ »ﺻﺒﺢ ﺑﻴﺪﺍﺭ ﺷﺪﻥ«‬ ‫»ﺳﻜﻪﻫﺎﻱ ﻧﻘﺮﻩ ﺩﺭ ﺑﻴﻦ ﺩﺭﺧﺘﺎﻥ«‬ ‫»ﻃﺒﻘﻪ ﺑﺎﻻ‪» «...‬ﺩﺭ ﺑﺎﻍ« »ﻭﻗﺘﻲ‬ ‫ﺗﺎﺑﻴﺴﺘﺎﻥ ﺑﻴﺎﻳﺪ« »ﻭﻗﺘﻲ ﺩﺭ ﺯﻣﺴﺘﺎﻥ‬ ‫ﺑﺮﻑ ﺑﺒﺎﺭﺩ« ﭘﺮﺍﻛﻨﺪﻩ ﻣﻲﮔﻮﻳﻨﺪ‬ ‫ﺩﺭ ﺩﻭﺭ ﺩﺳﺖ ﺩﺭﻱ ﺑﺴﺘﻪ ﻣﻲﺷﻮﺩ‬ ‫ﺑﺎﺻﺪﺍﻳﻲ ﺁﻫﺴﺘﻪ ﻣﺜﻞ ﺗﭙﺶﻳﻚ ﻗﻠﺐ‪.‬‬ ‫ﻧﺰﺩﻳﻜﺘﺮ ﻣﻲﺁﻳﻨﺪ‪ ،‬ﺩﺭ ﺳﺮﺍﺳﺮ ﺗﻮﻗﻒ‬ ‫ﻣﻲﻛﻨﻨﺪ‪ .‬ﺑﺎﺩ ﺍﺯ ﻧﻔﺲ ﻣﻲﺍﻓﺘﺪ ﺑﺎﺭﺍﻥ‪ ،‬ﻧﻘﺮﻩﻫﺎ ﺭﺍ ﺑﻪ ﭘﺎﻳﻴﻦ ﺷﻴﺸﻪ ﻣﻰ ُﺳﺮﺍﻧﺪ‪ .‬ﭼﺸﻤﺎﻧﻤﺎﻥ ﺗﺎﺭﻳﻚ ﻣﻲﺷﻮﻧﺪ‪،‬‬ ‫ﺻﺪﺍﻱ ﻫﻴﭻ ﻗﺪﻣﻲ ﺭﺍ ﺩﺭ ﻛﻨﺎﺭﻣﺎﻥ ﻧﻤﻲﺷﻨﻮﻳﻢ‪ ،‬ﻫﻴﭻ ﺑﺎﻧﻮﻳﻲ ﺭﺍ ﻧﻤﻲﺑﻴﻨﻴﻢ ﻛﻪ ﺭﺩﺍﻱ ﺷﺒﺢ ﮔﻮﻧﺶ ﺭﺍ‬ ‫ﺑﮕﺴﺘﺮﺩ‪ .‬ﻣﺮﺩ ﻓﺎﻧﻮﺱ ﺭﺍﻧﮕﻪ ﺩﺍﺷﺘﻪ ﻧﻔﺴﻲ ﻣﻲﻛﺸﺪ ﻭ ﻣﻲﮔﻮﻳﺪ‪» :‬ﻣﺜﻞ ﺍﻳﻨﻜﻪ ﺧﻮﺍﺑﻨﺪ‪ ،‬ﻋﺸﻖ ﺑﺮ ﻟﺒﺎﻧﺸﺎﻥ‪،‬‬ ‫ﻧﻘﺶ ﺑﺴﺘﻪ« ﺧﻢ ﻣﻲﺷﻮﻧﺪ ﭼﺮﺍﻍ ﻗﻮﻩﺷﺎﻥ ﺭﺍ ﺑﺎﻻﻱ ﺳﺮﻣﺎ ﻣﻲﮔﻴﺮﻧﺪ ﻭ ﻃﻮﻻﻧﻲ ﻭ ﻋﻤﻴﻖ ﺑﻪ ﻣﺎ ﺧﻴﺮﻩ‬ ‫ﻣﻲﺷﻮﻧﺪ‪ ،‬ﻣﺪﺗﻲ ﺑﻪ ﻫﻤﻴﻦ ﺣﺎﻝ ﺑﺎﻗﻲ ﻣﻲﻣﺎﻧﻨﺪ‪ .‬ﺑﺎﺩ ﺑﻲ ﺍﻣﺎﻥ ﻣﻲﻭﺯﺩ‪.‬‬ ‫ﺷﺮﺍﺭﻩ ﺁﺗﺶ ﺍﻧﺪﻛﻲ ﻓﺮﻭ ﻣﻲﺍﻓﺘﺪ‪ .‬ﭘﺮﺗﻮﻫﺎﻱ ﻧﺎﻣﻨﻈﻢ ﻣﺎﻩ ﺑﺮﻛﻒ ﻭ ﺩﻳﻮﺍﺭ ﺍﺗﺎﻕﻳﻜﺪﻳﮕﺮ ﺭﺍ ﻗﻄﻊ ﻣﻲﻛﻨﻨﺪ ﻭ‬ ‫ﺩﺭ ﺗﻼﻗﻲ ﺑﺎﻫﻢ ﺑﺮ ﭼﻬﺮﻩﻫﺎﻱ ﺧﻢ ﺷﺪﻩ ﺑﺮ ﺭﻭﻱ ﻣﺎ ﺳﺎﻳﻪ ﻣﻲﺍﻧﺪﺍﺯﻧﺪ‪ .‬ﭼﻬﺮﻩﻫﺎﻳﻲ ﻛﻪ ﻋﻤﻴﻖ ﻣﻲﺷﻮﻧﺪ‬ ‫ﭼﻬﺮﻩﻫﺎﻳﻲ ﻛﻪ ﺑﺨﻮﺍﺏ ﺭﻓﺘﮕﺎﻥ ﺭﺍ ﻣﻲﻛﺎﻭﻧﺪ ﻭ ﺷﺎﺩﻱ ﭘﻨﻬﺎﻥ ﺩﺭ ﺁﻧﻬﺎ ﺭﺍ ﻣﻲﺟﻮﻳﻨﺪ‪.‬‬ ‫ﻗﻠﺐ ﺧﺎﻧﻪ ﻣﻐﺮﻭﺭ ﻣﻲﺗﭙﺪ ﻭ ﻣﻲﮔﻮﻳﺪ ﻫﻤﻪ ﭼﻴﺰ ﺩﺭ ﺍﻣﺎﻥ ﺍﺳﺖ ﻫﻤﻪ ﭼﻴﺰ ﺩﺭ ﺍﻣﺎﻥ ﺍﺳﺖ‪ ،‬ﻫﻤﻪ ﭼﻴﺰ ﺩﺭ‬ ‫ﺍﻣﺎﻥ ﺍﺳﺖ‪.‬‬ ‫ﻣﺮﺩ ﺁﻫﻲ ﻛﺸﻴﺪﻩ ﻭ ﻣﻲﮔﻮﻳﺪ‪» :‬ﺍﻳﻨﻬﻤﻪ ﺳﺎﻝ ﺑﺎﺯ ﻫﻢ ﭘﻴﺪﺍﻳﻢ ﻛﺮﺩﻱ« ﺯﻥ ﺯﻣﺰﻣﻪ ﻣﻰﻛﻨﺪ‪» :‬ﺍﻳﻨﺠﺎ‬ ‫ﻣﻰﺧﻮﺍﺑﻴﺪﻳﻢ‪ ،‬ﺩﺭ ﺑﺎﻍ ﻣﻰﺧﻮﺍﻧﺪﻳﻢ‪ ،‬ﻣﻰﺧﻨﺪﻳﺪﻳﻢ‪ ،‬ﺳﻴﺒﻬﺎ ﺭﺍ ﺩﺭ ﺍﺗﺎﻕ ﺯﻳﺮ ﺷﻴﺮﻭﺍﻧﻲ ﻣﻲﻏﻠﺘﺎﻧﺪﻳﻢ ﺍﻳﻨﺠﺎ‬ ‫ﺟﺎﻳﻲ ﺑﻮﺩ ﻛﻪ ﮔﻨﺠﻤﺎﻥ ﺭﺍ ﮔﺬﺍﺷﺘﻴﻢ‪ «.‬ﺧﻢ ﻣﻰﺷﻮﻧﺪ ﻧﻮﺭ ﭼﺮﺍﻍ ﺁﻧﺎﻥ ﭘﻠﻜﻬﺎﻳﻢ ﺭﺍ ﺑﺎﻻ ﻣﻰﺑﺮﺩ‪ .‬ﻧﺒﺾ ﺧﺎﻧﻪ‬ ‫ﺳﺮﺍﺳﻴﻤﻪ ﻣﻲﺯﻧﺪ ﻭ ﻣﻲﮔﻮﻳﺪ‪:‬‬ ‫»ﺍﻣﻦ ﺍﺳﺖ! ﺍﻣﻦ ﺍﺳﺖ! ﺍﻣﻦ ﺍﺳﺖ!« ﺑﻴﺪﺍﺭ ﻣﻲﺷﻮﻡ ﻭ ﻓﺮﻳﺎﺩ ﻣﻲﺯﻧﻢ‪» :‬ﺍﻳﻨﺴﺖ ﮔﻨﭻ ﺩﻓﻦ ﺷﺪﻩ ﺷﻤﺎ‪ ،‬ﻧﻮﺭﻱ‬ ‫ﻛﻪ ﺩﺭ ﻗﻠﺒﺘﺎﻥ ﺍﺳﺖ‪«.‬‬ ‫ﺑﺎ ﻧﮕﺎﻫﻰ ﻏﻀﺒﻨﺎﻙ ﺍﺯﻡ ﭘﺮﺳﻴﺪ" ﺧﻴﻠﻰ ﺧﺐ! ﺑﮕﻮ ﺑﺒﻴﻨﻢ‬ ‫ﭼﺮﺍ ﺗﺮﺟﻴﺢ ﻣﻰﺩﻯ ﺑﻪ ﺟﺎﻯ ﻣﻦ ﺣﺮﻓﻬﺎﻯ ﺍﻭﻧﻮ ﻗﺒﻮﻝ‬ ‫ﻛﻨﻰ؟‬ ‫ﻣﺴﺌﻠﻪ ﺍﻳﻦ ﻧﻴﺴﺖ ﻛﻪ ﻣﻦ ﺗﺮﺟﻴﺢ ﻣﻰﺩﻡ ﺣﺮﻑﻫﺎﻯ‬ ‫ﺍﻭﻧﻮ ﺑﺠﺎﻯ ﺣﺮﻓﻬﺎﻯ ﺷﻤﺎ ﻗﺒﻮﻝ ﻛﻨﻢ‪ .‬ﻫﻤﻮﻧﻄﻮﺭ ﻛﻪ‬ ‫ﮔﻔﺘﻢ ﺍﻭﻥ ﭼﻬﺮﻩﻯ ﺑﺎﻫﻮﺷﻰ ﺩﺍﺷﺖ!‬ ‫_ ﺗﻮ ﻧﻤﻰﮔﻰ‪،‬ﻭﻟﻰ ﻣﻦ ﻓﻜﺮ ﻣﻰﻛﻨﻢ ﻛﻪ ﻣﻦ ﺷﺒﻴﻪ‬ ‫ﺍﺣﻤﻖﻫﺎ ﻫﺴﺘﻢ!‬ ‫ﺷﻮﻛﻪ ﺷﺪﻩ ﺑﻮﺩﻡ‪ :‬ﻧﻪ‪،‬ﻧﻪ‪،‬ﻛﻰ ﺍﻳﻨﻮ ﮔﻔﺘﻪ؟‬ ‫_ﺍﺯ ﺍﻭﻧﺠﺎ ﻛﻪ ﺗﻮ ﮔﻔﺘﻰ ﺍﻭﻥ ﻣﺮﺩ ﭼﻬﺮﻩﻯ ﺑﺎﻫﻮﺷﻰ‬ ‫ﺩﺍﺷﺖ‪.‬‬ ‫ﺧﺐ " ﺣﻘﻴﻘﺘﺎ ﻫﻢ ﺍﻭﻥ ﻣﺮﺩ ﭼﻬﺮﻩﻯ ﺑﺎﻫﻮﺵﺗﺮﻯ‬ ‫ﻧﺴﺒﺖ ﺑﻪ ﺍﻳﻦ ﺩﺍﺷﺖ‪.‬‬ ‫ﻫﻤﺮﺍﻩ ﻣﻨﺎﺯﻋﻪ ﺍﻯ ﻣﻦ ﺩﺍﺷﺖ ﺑﻰ ﺗﺎﺏ ﻣﻰﺷﺪ!‬ ‫ﮔﻔﺖ‪ :‬ﺧﻴﻠﻰ ﺧﺐ ﺁﻗﺎ! ﻣﻦ ﺗﺮﺟﻴﺢ ﻣﻰﺩﻡ ﺍﺯ ﻭﻗﺘﻢ‬ ‫ﺑﻴﺸﺘﺮ ﺍﺳﺘﻔﺎﺩﻩ ﻛﻨﻢ‪،‬ﺑﻨﺎﺑﺮﺍﻳﻦ ﺧﺪﺍﺣﺎﻓﻈﻰ ﻣﻰﻛﻨﻢ ﻭ ﺭﺍﻩ‬ ‫ﺧﻮﺩﻡ ﺭﻭ ﻣﻰﺭﻡ‪.‬‬ ‫_ﻣﺴﺌﻠﻪﺍﻯ ﻧﻴﺴﺖ‪،‬ﻭﻟﻰ ﻣﻦ ﭼﻄﻮﺭ ﺑﻪ ﭘﻼﺯﺍ ﺳﻦ‬ ‫ﻣﺎﺭﺗﻴﻦ ﺑﺮﻡ؟‬ ‫ﺭﻭﻯ ﭼﻬﺮﻩ ﺵ ﺣﺎﻻﺗﻰ ﺍﺯ ﺧﺸﻢ ﻇﺎﻫﺮ ﺷﺪ‪.‬‬ ‫_ﻭﻟﻰ ﻣﮕﻪ ﺗﻮ ﻧﮕﻔﺘﻰ ﻣﻰﺧﻮﺍﻯ ﺑﻪ ﭘﻼﺯﺍ ﻣﺎﻳﻮ ﺑﺮﻯ؟‬ ‫_ﻧﻪ‪،‬ﭘﻼﺯﺍ ﻣﺎﻳﻮ ﻧﻪ‪،‬ﻣﻰﺧﻮﺍﻡ ﺑﻪ ﭘﻼﺯﺍ ﺳﻦ ﻣﺎﺭﺗﻴﻦ‬

‫ﺑﺮﻡ‪،‬ﻣﻦ ﺍﺻﻼ ﺩﺭ ﻣﻮﺭﺩ ﭘﻼﺯﺍ ﻣﺎﻳﻮ ﭼﻴﺰﻯ‬ ‫ﻧﮕﻔﺘﻢ!‬ ‫_ ﺩﺭ ﻫﺮ ﺻﻮﺭﺕ!‬ ‫ﻭ ﺩﺭ ﺣﺎﻟﻰ ﻛﻪ ﺑﻪ ﺳﻤﺖ ﺷﻤﺎﻝ ﺍﺷﺎﺭﻩ ﻣﻰﻛﺮﺩ‬ ‫ﮔﻔﺖ‪ :‬ﺍﻧﺘﻬﺎﻯ ﺟﺎﺩﻩﻯ ﻛﻠﻰ ﻓﻠﻮﺭﻳﺪﺍ ﺭﻭ ﺑﮕﻴﺮ ﻭ‬ ‫ﺑﺮﻭ ﺑﻪ ﭘﺎﺭﺍﮔﻮﻳﻰ‪.‬‬ ‫ﺍﻋﺘﺮﺍﺽ ﻛﺮﺩﻡ‪ :‬ﺩﺍﺭﻯ ﺩﻳﻮﻭﻧﻪ ﻡ ﻣﻰﻛﻨﻰ!‪،‬ﻣﮕﻪ‬ ‫ﺗﻮ ﻗﺒﻼ ﻧﮕﻔﺘﻰ ﻛﻪ ﺑﻪ ﺟﻬﺖ ﻣﺨﺎﻟﻒ ﺑﺮﻡ؟‬ ‫_ ﭼﻮﻥ ﺗﻮ ﮔﻔﺘﻪ ﺑﻮﺩﻯ ﻣﻰﺧﻮﺍﻯ ﺑﻪ ﭘﻼﺯﺍ‬ ‫ﻣﺎﻳﻮ ﺑﺮﻯ!‬ ‫_ﻣﻦ ﺍﺻﻼ ﺩﺭ ﻣﻮﺭﺩ ﭘﻼﺯﺍ ﻣﺎﻳﻮ ﭼﻴﺰﻯ ﻧﮕﻔﺘﻢ!‬ ‫ﭼﻄﻮﺭ ﻣﻤﻜﻨﻪ ﺩﺭ ﺍﻳﻦ ﻣﻮﺭﺩ ﭼﻴﺰﻯ ﮔﻔﺘﻪ‬ ‫ﺑﺎﺷﻢ؟!‬ ‫ﻭﻟﻰ ﺗﻮ ﺯﺑﻮﻥ ﻣﻨﻮ ﻧﻤﻰﻓﻬﻤﻰ ﻭ ﻳﺎ ﺍﻳﻨﻜﻪ ﻧﻴﻤﻪ‬ ‫ﺧﻮﺍﺏ ﻭ ﺑﻴﺪﺍﺭﻯ‪.‬‬ ‫ﺍﻭﻥ ﺷﺨﺺ ﺳﺮﺥ ) ﺧﺸﻤﮕﻴﻦ ( ﺷﺪ‪.‬‬ ‫ﺩﻳﺪﻡ ﻛﻪ ﺑﺎ ﺩﺳﺖ ﺭﺍﺳﺘﺶ ﺩﺳﺘﻪﻯ ﻛﻴﻔﺶ‬ ‫ﺭﻭ ﻓﺸﺎﺭ ﺩﺍﺩ‪.‬‬ ‫ﭼﻴﺰﻯ ﮔﻔﺖ ﻛﻪ ﺑﻬﺘﺮﻩ ﺩﻳﮕﻪ ﺗﻜﺮﺍﺭ ﻧﺸﻪ ﻭ‬ ‫ﺑﺎ ﺣﺮﻛﺘﻰ ﺗﻬﺎﺟﻤﻰ ﻭ ﭼﺎﺑﻚ ﺑﻪ ﺳﻤﺖ ﭘﺎﻳﻴﻦ‬ ‫ﺭﺍﻩ ﺍﻓﺘﺎﺩ‪.‬‬ ‫ﺍﺣﺴﺎﺱ ﻛﺮﺩﻡ ﻛﻤﻰﺁﺷﻔﺘﻪ ﺑﻮﺩ!‬

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‫ﺩﻭﺭﻩ ﺟﺪﻳﺪ‪/‬ﺷﻤﺎﺭﻩ ‪ 9‬ﻭ ‪)10‬ﭘﻴﺎﭘﻲ‪39‬ﻭ‪ /(40‬ﺳﺎﻝ ﺳﻮﻡ‪/‬ﻧﻮﺭﻭﺯ‪88‬‬

‫ﻣﻨﺘﻈﺮ ﺑﻤﻮﻥ‪.‬‬ ‫ﻣﺎﻣﺎﻥ ﺑﺰﺭگ‪) :‬ﺑﻪ ﺗﻤﺎﺷﺎﭼﻴﺎﻥ( ﺯﺭﻧﮓ ﻫﻢ ﻫﺴﺖ!‬ ‫)ﻣﺎﻣﺎﻥﺑﺰﺭگ ﺑﻪ ﺍﻧﺪﺍﺯﺓﻳﻚ ﺧﺎﻙﺍﻧﺪﺍﺯ‪ ،‬ﺷﻦ ﺑﻪ ﻣﺮﺩ ﺟﻮﺍﻥ‪ :‬ﻣﻨﻈﻮﺭﻡ ﺍﻳﻨﻪ ﻛﻪ‪ ...‬ﻣﻨﻈﻮﺭﻡ ﺍﻳﻨﻪ ﻛﻪ‪،‬‬ ‫ﺳﻮﻱ ﺍﻭ ﭘﺮﺗﺎﺏ ﻣﻲﻛﻨﺪ‪(.‬‬ ‫ﺍﻭﻧﺎ ﻫﻨﻮﺯ ﺍﺳﻤﻲ ﺭﻭﻱ ﻣﻦ ﻧﺬﺍﺷﺘﻦ‪ ...‬ﺍﺳﺘﻮﺩﻳﻮ ﺭﻭ‬ ‫ﻣﺎﻣﺎﻥ ﺟﻮﻥ‪) :‬ﻫﻤﭽﻨﺎﻥ ﺭﻭ ﺑﻪ ﺗﻤﺎﺷﺎﭼﻴﺎﻥ( ﻣﻲﮔﻢ‪...‬‬ ‫ﺍﻭﻥ ﺩﺍﺭﻩ ﺷﻦ ﺑﻪ ﻃﺮﻑ ﻣﻦ ﭘﺮﺕ ﻣﻲﻛﻨﻪ! ﺑﺲ ﻣﺎﻣﺎﻥﺑﺰﺭگ‪) :‬ﺑﺎ ﻧﮕﺎﻫﻲ ﮔﺬﺭﺍ( ﻧﮕﻮ‪ ...‬ﻧﮕﻮ‪ .‬ﺧﺐ‪ ...‬ﺁﻩ‪،‬‬ ‫ﻛﻦ‪ ،‬ﻣﺎﻣﺎﻥﺑﺰﺭگ؛ ﺷﻦ ﺑﻪ ﻃﺮﻑ ﻣﺎﻣﺎﻥ ﺟﻮﻥ ﺑﺎﻳﺪﻳﻪ ﻛﻤﻲ ﺩﻳﮕﻪ ﺻﺤﺒﺖ ﻛﻨﻢ‪ ...‬ﺟﺎﻳﻲ ﻧﺮﻱﻫﺎﻥ‪...‬‬ ‫ﭘﺮﺕ ﻧﻜﻦ! ) ﺑﻪ ﺑﺎﺑﺎ ﺟﻮﻥ( ﺍﻭﻥ ﺩﺍﺭﻩ ﺑﻪ ﻣﻦ ﻣﺮﺩ ﺟﻮﺍﻥ‪ :‬ﻧﻪ ﻧﻤﻲﺭﻡ‪.‬‬ ‫ﻣﺎﻣﺎﻥﺑﺰﺭگ‪) :‬ﺗﻮﺟﻬﺶ ﺭﺍ ﺑﻪ ﺗﻤﺎﺷﺎﭼﻴﺎﻥ ﻣﻌﻄﻮﻑ‬ ‫ﺷﻦ ﭘﺮﺕ ﻣﻲﻛﻨﻪ!‬ ‫)ﺑﺎﺑﺎ ﺟﻮﻥ ﺑﻪ ﻣﺎﻣﺎﻥﺑﺰﺭگ ﻧﮕﺎﻫﻲ ﻣﻲﺍﻧﺪﺍﺯﺩ ﻭ ﻣﻲﻛﻨﺪ‪ (.‬ﺧﻮﺏ؛ ﺧﻮﺏ‪) .‬ﺳﭙﺲ‪،‬ﻳﻚ ﺑﺎﺭ ﺩﻳﮕﺮ‪ ،‬ﺭﻭ ﺑﻪ‬ ‫ﻣﺮﺩ ﺟﻮﺍﻥ( ﺗﻮ‪ ...‬ﺗﻮ ﺑﺎﺯﻳﮕﺮﻱ‪،‬ﻫﺎﻥ؟‬ ‫ﻣﺎﻣﺎﻥ ﺑﺰﺭگ ﺩﺭ ﺟﻮﺍﺏ‪ ،‬ﺟﻴﻎ ﻣﻲﻛﺸﺪ‪(.‬‬ ‫ﻣﺮﺩ ﺟﻮﺍﻥ‪) :‬ﺑﺎ ﺧﻮﺵﺭﻭﻳﻲ( ﺑﻠﻪ‪ ،‬ﺑﺎﺯﻳﮕﺮﻡ‪.‬‬ ‫ﻣﺎﻣﺎﻥﺑﺰﺭگ‪ :‬ﮔﺮﺍﺍﺍﺍﺍ !‬ ‫ﻣﺎﻣﺎﻥ ﺟﻮﻥ‪ :‬ﺑﻬﺶ ﻧﮕﺎﻩ ﻧﻜﻦ‪ .‬ﻓﻘﻂ‪ ...‬ﺑﺸﻴﻦ ﻣﺎﻣﺎﻥﺑﺰﺭگ‪) :‬ﻣﺠﺪﺩﺍ ً ﺭﻭ ﺑﻪ ﺗﻤﺎﺷﺎﭼﻴﺎﻥ؛ ﺷﺎﻧﻪﻫﺎﻳﺶ‬ ‫ﺍﻳﻨﺠﺎ‪ ...‬ﺁﺭﻭﻡ ﺁﺭﻭﻡ ﺑﺎﺵ‪ ...‬ﻭ ﻣﻨﺘﻈﺮ ﺑﻤﻮﻥ‪ .‬ﺭﺍ ﺑﺎﻻ ﻣﻲﺍﻧﺪﺍﺯﺩ‪ (.‬ﺗﻮﻱ ﺍﻳﻦ ﻣﻮﺍﺭﺩ ﺗﻴﺰﻡ‪ .‬ﺑﻪ ﻫﺮ ﺣﺎﻝ‪،‬‬ ‫)ﺑﻪ ﻧﻮﺍﺯﻧﺪﻩ( ﺗﻮ‪ ...‬ﺁﻩ‪ ...‬ﺗﻮ ﻫﻢ ﺍﺩﺍﻣﻪ ﺑﺪﻩ ﻭﻳﻪ ﺑﺎﻳﺪ ﺑﻪ ﺗﻨﻬﺎﻳﻲ ﺍﻭﻧﻮ ﺑﺰﺭگ ﻣﻲﻛﺮﺩﻡ؛ ﻭ ﺍﻭﻥ ﭼﻴﻪ‬ ‫ﻛﺎﺭﻱ ﺑﻜﻦ‪) .‬ﻧﻮﺍﺯﻧﺪﻩ ﻣﻲﻧﻮﺍﺯﺩ‪ .‬ﻣﺎﻣﺎﻥ ﺟﻮﻥ ﻭ ﻛﻨﺎﺭﺵ‪ ...‬ﺍﻭﻥ ﺑﺎﻳﻪ ﻫﻤﭽﻮ ﻣﻮﺟﻮﺩﻱ ﺍﺯﺩﻭﺍﺝ ﻛﺮﺩ‪.‬‬ ‫ﺑﺎﺑﺎ ﺟﻮﻥ‪ ،‬ﺑﻲﺣﺮﻛﺖ ﺑﻪ ﺁﻥ ﺳﻮﻱ ﺗﻤﺎﺷﺎﭼﻴﺎﻥ ﭘﻮﻟﺪﺍﺭ؟ ﺩﻟﻢ ﻭﺍﺳﻪﺗﻮﻥ ﺑﮕﻪ‪ ..‬ﭘﻮﻝ‪ ،‬ﭘﻮﻝ‪ ،‬ﭘﻮﻝ‪ .‬ﺍﻭﻧﺎ‬ ‫ﭼﺸﻢ ﺩﻭﺧﺘﻪﺍﻧﺪ‪ .‬ﻣﺎﻣﺎﻥﺑﺰﺭگ ﺑﻪ ﺁﻧﻬﺎ ﻧﮕﺎﻫﻲ ﻣﻨﻮ ﺍﺯ ﻣﺰﺭﻋﻪ ﺟﺪﺍ ﻛﺮﺩﻥ‪ ...‬ﻛﻪ ﭼﻪ ﻛﺎﺭ ﺷﺎﻳﺴﺘﻪﺍﻱ‬ ‫ﻣﻲﺍﻧﺪﺍﺯﺩ‪ .‬ﻧﮕﺎﻫﻲ ﺑﻪ ﻧﻮﺍﺯﻧﺪﻩ ﻭ ﻧﮕﺎﻫﻲ ﺑﻪ ﻫﻢ ﻛﺮﺩﻥ‪ ...‬ﻭ ﺍﻭﻧﻬﺎ ﻣﻨﻮ ﺑﺎ ﺧﻮﺩﺷﻮﻥ ﺑﻪﻳﻪ ﺧﻮﻧﺔ‬ ‫ﺑﺰﺭگ ﺷﻬﺮﻱ ﺑﺮﺩﻥ‪...‬ﻳﻪ ﺟﺎﻱ ﺑﺎﺻﻔﺎ ﺯﻳﺮ ﺍﺟﺎﻕ‬ ‫ﺟﻌﺒﺔ ﺷﻦ ﻭ ﺧﺎﻙﺍﻧﺪﺍﺯ ﺭﺍ ﭘﺮﺕ ﻣﻲﻛﻨﺪ‪(.‬‬ ‫ﻣﺎﻣﺎﻥﺑﺰﺭگ‪ :‬ﺁﻩ ـﻫﺎ ﺍﺍﺍﺍﺍ ! )ﻣﻨﺘﻈﺮ ﻭﺍﻛﻨﺶ ﺑﺮﺍﻡ ﺗﻌﻴﻴﻦ ﻛﺮﺩﻥ‪...‬ﻳﻪ ﭘﺘﻮﻱ ﺍﺭﺗﺸﻲ ﺑﻬﻢ ﺩﺍﺩﻥ‪...‬‬ ‫ﺍﺳﺖ؛ ﺟﻮﺍﺑﻲ ﻧﻤﻲﮔﻴﺮﺩ‪ .‬ﺣﺎﻻ‪ ...‬ﻣﺴﺘﻘﻴﻤﺎ ً ﺭﻭ ﻭ ﻇﺮﻑ ﺧﻮﺩﻡ‪ ...‬ﻇﺮﻑ ﺧﻮﺩ ﺧﻮﺩﻡ! ﺧﺐ‪ ،‬ﻭﺍﺳﻪ ﭼﻲ‬ ‫ﺑﻪ ﺗﻤﺎﺷﺎﭼﻲ( ﺭﺍﺳﺘﺸﻮ ﺑﮕﻴﻦ! ﺍﻳﻦ ﭼﻪ ﻭﺿﻊ ﺑﺎﻳﺪ ﺷﺎﻛﻲ ﺑﺎﺷﻢ؟ ﺍﻟﺒﺘﻪ‪ ،‬ﻫﻴﭽﻲ‪ .‬ﺷﺎﻛﻲ ﻧﻴﺴﺘﻢ‪) .‬ﺑﻪ‬ ‫ﺑﺮﺧﻮﺭﺩ ﺑﺎﻳﻪ ﭘﻴﺮﺯﻧﻪ! ﺍﻭﻧﻮ ﺍﺯ ﺧﻮﻧﻪ ﺑﻜﺸﻲ ﺁﺳﻤﺎﻥ ﻣﻲﻧﮕﺮﺩ ﻭ ﺑﻪ ﺷﺨﺼﻲ ﺩﺭ ﺑﻴﺮﻭﻥ ﺻﺤﻨﻪ‬ ‫ﺑﻴﺮﻭﻥ‪ ..‬ﺑﺘﭙﻮﻧﻴﺶ ﺗﻮﻳﻪ ﻣﺎﺷﻴﻦ‪ ...‬ﺍﺯ ﺗﻮﻱ ﻓﺮﻳﺎﺩ ﻣﻲﺯﻧﺪ‪ (.‬ﻓﻜﺮ ﻧﻤﻲﻛﻨﻲ ﻭﻗﺘﺶ ﺭﺳﻴﺪﻩ ﻛﻪ ﻫﻮﺍ‬ ‫ﺷﻬﺮ ﺑﻴﺎﺭﻳﺶ ﺍﻳﻨﺠﺎ‪ ...‬ﻣﺜﻪﻳﻪ ﺗﻴﻜﻪ ﺁﺷﻐﺎﻝ ﺗﺎﺭﻳﻚ ﺑﺸﻪ‪ ،‬ﺟﻮﻧﻢ؟‬ ‫ﻫﻠﺶ ﺑﺪﻱ ﺗﻮﻳﻪ ﻣﺸﺖ ﺷﻦ ﻭ ﺑﺬﺍﺭﻳﺶ ﺑﻪ )ﻧﻮﺭﻫﺎ ﺧﺎﻣﻮﺵ ﻣﻲﺷﻮﻧﺪ؛ ﺷﺐ ﻣﻲﺁﻳﺪ‪ .‬ﻧﻮﺍﺯﻧﺪﻩ‬ ‫ﺣﺎﻝ ﺧﻮﺩﺵ‪ ...‬ﻣﻦ ﻫﺸﺘﺎﺩ ﻭ ﺩﻭ ﺳﺎﻟﻤﻪ! ﻭﻗﺘﻲ ﺷﺮﻭﻉ ﺑﻪ ﻧﻮﺍﺧﺘﻦ ﻣﻲﻛﻨﺪ؛ ﺷﺐ ﺗﺎﺭﻳﻚ ﻓﺮﺍ ﻣﻲﺭﺳﺪ‪.‬‬ ‫ﻫﻔﺪﻩ ﺳﺎﻟﻢ ﺑﻮﺩ‪ ،‬ﺍﺯﺩﻭﺍﺝ ﻛﺮﺩﻡ‪ .‬ﺑﺎﻳﻪ ﻛﺸﺎﻭﺭﺯ‪ .‬ﺗﻚﻧﻮﺭﻫﺎﻳﻲ ﺑﺮ ﻫﺮ ﻛﺪﺍﻡ ﺍﺯ ﺑﺎﺯﻳﮕﺮﺍﻥ ﺗﺎﺑﻴﺪﻩ ﺍﺳﺖ؛‬ ‫ﺳﻲ ﺳﺎﻟﻢ ﺑﻮﺩ ﻛﻪ ﻣﺮﺩ‪) .‬ﺑﻪ ﻧﻮﺍﺯﻧﺪﻩ( ﻣﻲﺷﻪ ﺣﺘﻲ ﺭﻭﻱ ﻣﺮﺩ ﺟﻮﺍﻥ ﻛﻪ ﺍﻟﺒﺘﻪ‪ ،‬ﺑﻪ ﻧﺮﻣﺶ ﺍﺩﺍﻣﻪ‬ ‫ﺑﺲ ﻛﻨﻲ‪ ،‬ﻟﻄﻔ ًﺎ!؟ )ﻧﻮﺍﺯﻧﺪﻩ ﺩﺳﺖ ﺍﺯ ﻧﻮﺍﺧﺘﻦ ﻣﻲﺩﻫﺪ‪(.‬‬ ‫ﻣﻲﻛﺸﺪ‪ (.‬ﻣﻦﻳﻪ ﭘﻴﺮﺯﻥ ﻋﺎﺟﺰﻡ‪ ...‬ﭼﻪ ﺟﻮﺭﻱ ﺑﺎﺑﺎ ﺟﻮﻥ‪) :‬ﺑﺮﺍﻓﺮﻭﺧﺘﻪ( ﺷﺐ ﺷﺪﻩ‪...‬‬ ‫ﺍﻧﺘﻈﺎﺭ ﺩﺍﺭﻳﻦ ﻛﻪ ﺑﺎ ﻭﺟﻮﺩ ﺍﻳﻦ ﻏﮋﻏﮋ ﻛﺴﻲ ﻣﺎﻣﺎﻥ ﺟﻮﻥ‪ :‬ﻫﻴﺲ‪ .‬ﺳﺎﻛﺖ ﺑﺎﺵ‪ ...‬ﺻﺒﺮ ﻛﻦ‪.‬‬ ‫ﺑﺘﻮﻧﻪ ﺻﺪﺍﻱ ﻣﻨﻮ ﺑﺸﻨﻮﻩ! ﻏﮋﻏﮋ! ﻏﮋﻏﮋ! )ﺑﺎ ﺑﺎﺑﺎﺟﻮﻥ‪) :‬ﻧﺎﻟﻪﻛﻨﺎﻥ( ﺧﻴﻠﻲ ﮔﺮﻣﻪ‪...‬‬ ‫ﺧﻮﺩ( ﺍﻳﻨﺠﺎ ﺍﺯ ﺍﺣﺘﺮﺍﻡ ﺧﺒﺮﻱ ﻧﻴﺴﺖ‪) .‬ﺑﻪ ﻣﺮﺩ ﻣﺎﻣﺎﻥ ﺟﻮﻥ‪ :‬ﻫﻴﺲ‪ ،‬ﺳﺎﻛﺖ ﺑﺎﺵ‪ ...‬ﺻﺒﺮ ﻛﻦ‪.‬‬ ‫ﻣﺎﻣﺎﻥﺑﺰﺭگ‪) :‬ﺑﺎ ﺧﻮﺩ( ﺣﺎﻻ ﺑﻬﺘﺮ ﺷﺪ‪ .‬ﺷﺐ‪) .‬ﺑﻪ‬ ‫ﺟﻮﺍﻥ( ﺍﻳﻨﺠﺎ ﺍﺯ ﺍﺣﺘﺮﺍﻡ ﺧﺒﺮﻱ ﻧﻴﺴﺖ!‬ ‫ﻧﻮﺍﺯﻧﺪﻩ( ﺗﺎ ﺁﺧﺮ ﺍﻳﻦ ﺻﺤﻨﻪ ﺍﺩﺍﻣﻪ ﻣﻲﺩﻱ؟ )ﻧﻮﺍﺯﻧﺪﻩ‬ ‫ﻣﺮﺩ ﺟﻮﺍﻥ‪) :‬ﻫﻤﺎﻥ ﻟﺒﺨﻨﺪ( ﺳﻼﻡ!‬ ‫ﺑﻮﺩﻥ ﺟﻮﺍﺏ‪ ،‬ﺗﻜﺎﻥ‬ ‫ﻣﺜﺒﺖ‬ ‫ﻧﺸﺎﻧﺔ‬ ‫ﺑﻪ‬ ‫ﺭﺍ‬ ‫ﺳﺮﺵ‬ ‫ﻣﺠﺪﺩﺍ‬ ‫ﻛﻮﺗﺎﻩ‪،‬‬ ‫ﻣﺎﻣﺎﻥﺑﺰﺭگ‪) :‬ﭘﺲ ﺍﺯ ﻣﻜﺜﻲ‬ ‫ِ‬ ‫ً‬ ‫ﻧﮕﺎﻫﻲ ﻣﻼﻳﻢ ﺑﻪ ﺍﻭ ﻣﻲﺍﻧﺪﺍﺯﺩ‪ ،‬ﻭ ﺭﻭ ﺑﻪ ﻣﻲﺩﻫﺪ‪ (.‬ﭘﺲ ﻟﻄﻴﻒ ﻭ ﻣﻼﻳﻤﺶ ﻛﻦ؛ ﺁﻓﺮﻳﻦ ﭘﺴﺮ‬ ‫ﺗﻤﺎﺷﺎﭼﻴﺎﻥ ﺍﺩﺍﻣﻪ ﻣﻲﺩﻫﺪ‪ (.‬ﺳﻲ ﺳﺎﻟﻢ ﺑﻮﺩ ﻛﻪ ﺧﻮﺏ‪) .‬ﻧﻮﺍﺯﻧﺪﻩ ﺳﺮﺵ ﺭﺍ ﺑﻪ ﻧﺸﺎﻧﺔ ﺭﺿﺎﻳﺖ ﺗﻜﺎﻥ‬ ‫ﺷﻮﻫﺮﻡ ﻣﺮﺩ )ﺍﺷﺎﺭﻩ ﺑﻪ ﻣﺎﻣﺎﻥ ﺟﻮﻥ(‪ ،‬ﻭ ﻣﻦ ﺑﻪ ﻣﻲﺩﻫﺪ ﻭ ﺑﻪ ﻧﺮﻣﻲ ﻣﻲﻧﻮﺍﺯﺩ‪ (.‬ﺍﻳﻦ ﺧﻮﺑﻪ‪.‬‬ ‫ﺗﻨﻬﺎﻳﻲ ﺑﺎﻳﺪ ﺍﻭﻥ ﮔﺎﻭ ﮔﻨﺪﻩ ﺭﻭ ﺑﺰﺭگ ﻣﻲﻛﺮﺩﻡ‪) .‬ﺻﺪﺍﻱ ﻏﺮﺷﻲ ﺍﺯ ﺑﻴﺮﻭﻥ ﺻﺤﻨﻪ ﺷﻨﻴﺪﻩ ﻣﻲﺷﻮﺩ‪(.‬‬ ‫ﻓﻜﺮﺷﻮ ﺑﻜﻨﻴﻦ‪ .‬ﺧﺪﺍ ﺟﻮﻥ! )ﺑﻪ ﻣﺮﺩ ﺟﻮﺍﻥ( ﺗﻮ ﺑﺎﺑﺎ ﺟﻮﻥ‪) :‬ﺍﺯ ﺟﺎ ﻣﻲﭘﺮﺩ‪ (.‬ﭼﻲ ﺑﻮﺩ؟‬ ‫ﻣﺎﻣﺎﻥ ﺟﻮﻥ‪) :‬ﺷﺮﻭﻉ ﺑﻪ ﮔﺮﻳﺴﺘﻦ ﻣﻲﻛﻨﺪ‪ (.‬ﭼﻴﺰﻱ‬ ‫ﺭﻭ ﺍﺯ ﻛﺠﺎ ﮔﻴﺮ ﺁﻭﺭﺩﻥ؟‬ ‫ﻣﺮﺩ ﺟﻮﺍﻥ‪ :‬ﺍﻭﻩ‪ ...‬ﻣﻦﻳﻪ ﻣﺪﺕ ﻛﻮﺗﺎﻫﻴﻪ ﻛﻪ ﺍﻳﻦ ﻧﺒﻮﺩ‪.‬‬ ‫ﺑﺎﺑﺎ ﺟﻮﻥ‪ :‬ﭼﺮﺍ‪ ...‬ﭼﺮﺍ‪ ...‬ﺻﺪﺍﻱ ﺭﻋﺪ ﺑﻮﺩ‪...‬ﻳﺎ ﺻﺪﺍﻱ‬ ‫ﺍﻃﺮﺍﻓﻢ‪.‬‬ ‫ﻣﺎﻣﺎﻥﺑﺰﺭگ‪ :‬ﺑﺮ ﻣﻨﻜﺮﺵ ﻟﻌﻨﺖ! ﻫﻪ‪ ،‬ﻫﻪ‪ ،‬ﺷﻜﺴﺘﻦ ﻣﻮﺝ‪...‬ﻳﺎﻳﻪ ﻫﻤﭽﻮ ﭼﻴﺰﻱ‪.‬‬ ‫ﻣﺎﻣﺎﻥ ﺟﻮﻥ‪) :‬ﺩﺭ ﻣﻴﺎﻥ ﺍﺷﻚ ﺭﻳﺨﺘﻦ‪ ،‬ﻧﺠﻮﺍ‬ ‫ﻫﻪ‪.‬ﻳﻪ ﻧﮕﺎﻫﻲ ﺑﻪ ﺧﻮﺩﺕ ﺑﻨﺪﺍﺯ!‬ ‫ﻣﺮﺩ ﺟﻮﺍﻥ‪) :‬ﺩﺭ ﺣﺎﻟﻲ ﻛﻪ ﻋﻀﻼﺗﺶ ﺭﺍ ﻧﺮﻣﺶ ﻣﻲﻛﻨﺪ‪ (.‬ﺍﻳﻦ ﺻﺪﺍﻱﻳﻪ ﻏﺮﺵ ﺍﺯ ﺑﻴﺮﻭﻥ ﺻﺤﻨﻪ‬ ‫ﻣﻲﺩﻫﺪ‪ (.‬ﺍﻳﻨﻢ ﻭﺍﺳﻪ ﺧﻮﺩﺵﻳﻪ ﻛﺎﺭﻳﻪ‪ ،‬ﻧﻴﺴﺖ؟ ﺑﻮﺩ‪ ...‬ﻭ ﺗﻮ ﻣﻲﺩﻭﻧﻲ ﻛﻪ ﻣﻌﻨﻲﺍﺵ ﭼﻴﻪ‪...‬؟‬ ‫ﺑﺎﺑﺎﺟﻮﻥ‪:‬ﻳﺎﺩﻡ ﺭﻓﺖ‪...‬‬ ‫)ﺑﻪ ﻧﺮﻣﺶ ﺍﺩﺍﻣﻪ ﻣﻲﺩﻫﺪ‪(.‬‬ ‫ﻣﺎﻣﺎﻥ ﺟﻮﻥ‪) :‬ﺑﻪ ﺳﺨﺘﻲ ﺣﺮﻑ ﻣﻲﺯﻧﺪ‪ (.‬ﻣﻌﻨﻲﺍﺵ‬ ‫ﻣﺎﻣﺎﻥﺑﺰﺭگ‪ :‬ﻧﻪ ﺑﺎﺑﺎ؛ ﻭﺍﻗﻌﺎ ً ﻛﻪ ﺧﻴﻠﻲ ﺧﻮﺑﻪ‪.‬‬ ‫ﺍﻳﻨﻪ ﻛﻪ ﺍﺟﻞ ﻣﺎﻣﺎﻥﺑﺰﺭگ ﺑﻴﭽﺎﺭﻩ ﺭﺳﻴﺪﻩ ﻭ ﻣﻦ‬ ‫ﻣﺮﺩ ﺟﻮﺍﻥ‪) :‬ﺑﺎ ﻣﻬﺮﺑﺎﻧﻲ( ﻭﺍﻗﻌﺎ ً‪.‬‬ ‫ﻧﻤﻲﺗﻮﻧﻢ ﺗﺤﻤﻞ ﻛﻨﻢ‪.‬‬ ‫ﻣﺎﻣﺎﻥ ﺑﺰﺭگ‪ :‬ﻣﺎﻝ ﻛﺠﺎﻳﻲ؟‬ ‫ﺑﺎﺑﺎﺟﻮﻥ‪) :‬ﺑﻲﺍﺣﺴﺎﺱ( ﺑﻪ ﻧﻈﺮﻡ‪ ...‬ﺑﻪ ﻧﻈﺮﻡ ﺑﺎﻳﺪ‬ ‫ﻣﺮﺩ ﺟﻮﺍﻥ‪ :‬ﻛﺎﻟﻴﻔﺮﻧﻴﺎﻱ ﺟﻨﻮﺑﻲ‪.‬‬ ‫ﻣﺎﻣﺎﻥﺑﺰﺭگ‪) :‬ﺳﺮﻱ ﺗﻜﺎﻥ ﻣﻲﺩﻫﺪ‪ (.‬ﺑﻪﺑﻪ! ﺷﺠﺎﻉ ﺑﺎﺷﻲ‪.‬‬ ‫ﻣﺎﻣﺎﻥﺑﺰﺭگ‪) :‬ﺍﺩﺍ ﺩﺭ ﻣﻲﺁﻭﺭﺩ‪ (.‬ﺩﺭﺳﺘﻪ‪ ،‬ﺑﭽﻪ ﺟﻮﻥ؛‬ ‫ﺍﺳﻤﺖ ﭼﻴﻪ‪ ،‬ﻋﺰﻳﺰﻡ؟‬ ‫ﺷﺠﺎﻉ ﺑﺎﺵ‪ .‬ﺗﺤﻤﻞ ﻛﻦ؛ ﺗﻮ ﻣﻲﺗﻮﻧﻲ‪.‬‬ ‫ﻣﺮﺩ ﺟﻮﺍﻥ‪ :‬ﻧﻤﻲﺩﻭﻧﻢ‪...‬‬

‫)ﺻﺪﺍﻱ ﻏﺮﺷﻲ ﺩﻳﮕﺮ ﺍﺯ ﺑﻴﺮﻭﻥ ﺻﺤﻨﻪ‪ ...‬ﺑﻠﻨﺪﺗﺮ‪(.‬‬ ‫ﻣﺎﻣﺎﻥ ﺟﻮﻥ‪ :‬ﺍﻭﻭﻭﻭﻭﻭﻭﻭﻭﻭﻩ‪ ...‬ﻣﺎﻣﺎﻥﺑﺰﺭگ ﺑﻴﭽﺎﺭﻩ‪...‬‬ ‫ﻣﺎﻣﺎﻥﺑﺰﺭگ ﺑﻴﭽﺎﺭﻩ‪...‬‬ ‫ﻣﺎﻣﺎﻥﺑﺰﺭگ‪) :‬ﺑﻪ ﻣﺎﻣﺎﻥ ﺟﻮﻥ( ﻣﻦ ﺣﺎﻟﻢ ﺧﻮﺑﻪ!‬ ‫ﭼﻴﺰﻳﻢ ﻧﻴﺴﺖ! ﻫﻨﻮﺯ ﺍﺗﻔﺎﻗﻲ ﻧﻴﻔﺘﺎﺩﻩ!‬ ‫)ﺻﺪﺍﻱ ﺷﺪﻳﺪﻳﻚ ﻏﺮﺵ ﺧﺎﺭﺝ ﺍﺯ ﺻﺤﻨﻪ‪ .‬ﻫﻤﺔ‬ ‫ﻧﻮﺭﻫﺎ ﺧﺎﻣﻮﺵ ﻣﻲﺷﻮﻧﺪ‪ ،‬ﺑﻪ ﺟﺰ ﺗﻚﻧﻮﺭ ﺭﻭﻱ ﻣﺮﺩ‬ ‫ﺟﻮﺍﻥ؛ ﻧﻮﺍﺯﻧﺪﻩ ﺩﺳﺖ ﺍﺯ ﻧﻮﺍﺧﺘﻦ ﻣﻲﻛﺸﺪ‪(.‬‬ ‫ﻣﺎﻣﺎﻥ ﺟﻮﻥ‪ :‬ﺍﻭﻭﻭﻭﻭﻭﻭﻭﻭﻩ‪ ...‬ﺍﻭﻭﻭﻭﻭﻭﻭﻭﻭﻩ‪....‬‬ ‫)ﺳﻜﻮﺕ(‬ ‫ﻣﺎﻣﺎﻥﺑﺰﺭگ‪ :‬ﻓﻌﻼ ً ﻧﻮﺭ ﻧﺪﻳﻦ‪ ...‬ﻣﻦ ﺁﻣﺎﺩﻩ ﻧﻴﺴﺘﻢ؛‬ ‫ﻛﺎﻣﻼ ً ﺁﻣﺎﺩﻩ ﻧﺸﺪﻩﺍﻡ‪) .‬ﺳﻜﻮﺕ( ﺧﻴﻠﻲ ﺧﻮﺏ‪،‬‬ ‫ﻋﺰﻳﺰﻡ‪ ...‬ﺗﻘﺮﻳﺒﺎ ً ﺣﺎﺿﺮﻡ‪.‬‬ ‫)ﭼﺮﺍﻏﻬﺎﻱ ﺻﺤﻨﻪ ﺩﻭﺑﺎﺭﻩ ﻣﺜﻞ ﺭﻭﺯ‪ ،‬ﺭﻭﺷﻦ ﻣﻲﺷﻮﻧﺪ؛‬ ‫ﻧﻮﺍﺯﻧﺪﻩ ﺷﺮﻭﻉ ﺑﻪ ﻧﻮﺍﺧﺘﻦ ﻣﻲﻛﻨﺪ‪ .‬ﻣﺎﻣﺎﻥﺑﺰﺭگ ﺩﺭ‬ ‫ﺣﺎﻟﻲ ﻛﻪ ﻫﻨﻮﺯ ﺩﺭ ﺟﻌﺒﺔ ﺷﻦ‪ ،‬ﺑﻪ ﭘﻬﻠﻮ ﺩﺭﺍﺯ ﻛﺸﻴﺪﻩ‪،‬‬ ‫ﺑﻪ ﺁﺭﻧﺞ ﺧﻮﺩ ﺗﻜﻴﻪ ﺩﺍﺩﻩ ﻭ ﻧﻴﻤﻪ ﭘﻮﺷﻴﺪﻩ ﺍﺳﺖ‪ ،‬ﺑﺎ‬ ‫ﺧﺎﻙﺍﻧﺪﺍﺯ ﻫﻤﭽﻨﺎﻥ ﺭﻭﻱ ﺧﻮﺩ ﺷﻦ ﻣﻲﺭﻳﺰﺩ‪(.‬‬ ‫ﻣﺎﻣﺎﻥﺑﺰﺭگ‪) :‬ﻏﺮﻏﺮﻛﻨﺎﻥ( ﻣﻦ ﻧﻤﻲﺩﻭﻧﻢ ﭼﻪ ﺟﻮﺭﻱ‬ ‫ﺑﺎﻳﺪ ﺑﺎ ﺍﻳﻦ ﺧﺎﻙﺍﻧﺪﺍﺯ ﺍﺳﺒﺎﺏﺑﺎﺯﻱ ﻟﻌﻨﺘﻲ ﺳﺮ ﻛﻨﻢ‪...‬‬ ‫ﺑﺎﺑﺎ ﺟﻮﻥ‪ :‬ﻣﺎﻣﺎﻥ ﺟﻮﻥ! ﺻﺒﺢ ﺷﺪﻩ!‬ ‫ﻣﺎﻣﺎﻥ ﺟﻮﻥ‪) :‬ﺑﺎ ﺯﻳﺮﻛﻲ( ﺭﺍﺳﺘﻲ! ﺧﺐ! ﺷﺐ ﺩﺭﺍﺯ‬ ‫ﻣﺎ ﺳﺮ ﺍﻭﻣﺪﻩ‪ .‬ﺑﺎﻳﺪ ﺍﺷﻜﻬﺎﻣﻮﻧﻮ ﺩﻭﺭ ﺑﺮﻳﺰﻳﻢ‪ ،‬ﺭﺧﺖ‬ ‫ﻋﺰﺍ ﺭﻭ ﺩﺭ ﺑﻴﺎﺭﻳﻢ‪ ...‬ﻭ ﺑﻪ ﺁﻳﻨﺪﻩ ﭼﺸﻢ ﺑﺪﻭﺯﻳﻢ‪ .‬ﺍﻳﻦ‬ ‫ﻭﻇﻴﻔﺔ ﻣﺎﺳﺖ‪.‬‬ ‫ﻣﺎﻣﺎﻥﺑﺰﺭگ‪) :‬ﻫﻨﻮﺯ ﺑﺎ ﺧﺎﻙﺍﻧﺪﺍﺯ‪ ،‬ﺷﻦ ﺑﻪ ﺭﻭﻱ‬ ‫ﺧﻮﺩ ﻣﻲﺭﻳﺰﺩ؛ ﻣﺴﺨﺮﻩ ﻣﻲﻛﻨﺪ‪ ...(.‬ﺭﺧﺖ ﻋﺰﺍ ﺭﻭ ﺩﺭ‬ ‫ﺑﻴﺎﺭﻳﻢ‪ ...‬ﺑﻪ ﺁﻳﻨﺪﻩ ﭼﺸﻢ ﺑﺪﻭﺯﻳﻢ‪ ...‬ﺧﺪﺍ ﺟﻮﻥ!‬ ‫)ﻣﺎﻣﺎﻥ ﺟﻮﻥ ﻭ ﺑﺎﺑﺎ ﺟﻮﻥ ﺳﻴﺦ ﻣﻲﺍﻳﺴﺘﻨﺪ‪ .‬ﻣﺎﻣﺎﻥ‬ ‫ﺟﻮﻥ ﺑﺮﺍﻱ ﻣﺮﺩ ﺟﻮﺍﻥ ﺩﺳﺖ ﺗﻜﺎﻥ ﻣﻲﺩﻫﺪ‪(.‬‬ ‫ﻣﺮﺩ ﺟﻮﺍﻥ‪) :‬ﺑﺎ ﻫﻤﺎﻥ ﻟﺒﺨﻨﺪ( ﺳﻼﻡ!‬ ‫)ﻣﺎﻣﺎﻥﺑﺰﺭگ ﺧﻮﺩ ﺭﺍ ﺑﻪ ﻣﺮﺩﻥ ﻣﻲﺯﻧﺪ)!( ﻣﺎﻣﺎﻥ‬ ‫ﺟﻮﻥ ﻭ ﺑﺎﺑﺎ ﺟﻮﻥ ﺑﻪ ﺳﻮﻳﺶ ﻣﻲﺭﻭﻧﺪ ﺗﺎ ﻧﮕﺎﻫﻲ ﺑﻪ‬ ‫ﺍﻭ ﺑﻴﻨﺪﺍﺯﻧﺪ؛ ﺑﺨﺶ ﻋﻤﺪﻩﺍﻱ ﺍﺯ ﺑﺪﻧﺶ ﺩﺭ ﺷﻦ ﻓﺮﻭ‬ ‫ﺭﻓﺘﻪ ﺍﺳﺖ؛ ﺩﺳﺘﺎﻧﺶ ﺭﻭﻱ ﺳﻴﻨﻪ ﺻﻠﻴﺐ ﺷﺪﻩﺍﻧﺪ ﻭ‬ ‫ﺧﺎﻙﺍﻧﺪﺍﺯ ﺩﺭ ﻣﻴﺎﻥ ﺩﺳﺘﺎﻧﺶ ﺩﻳﺪﻩ ﻣﻲﺷﻮﺩ‪(.‬‬ ‫ﻣﺎﻣﺎﻥ ﺟﻮﻥ‪) :‬ﺟﻠﻮﻱ ﺟﻌﺒﺔ ﺷﻦ؛ ﺳﺮﺵ ﺭﺍ ﺗﻜﺎﻥ‬ ‫ﻣﻲﺩﻫﺪ‪ (.‬ﭼﻪ ﻧﺎﺯﻩ! ﻧﻤﻲﺷﻪ‪ ...‬ﻧﻤﻲﺷﻪ ﻏﻤﮕﻴﻦ ﺑﻮﺩ‪...‬‬ ‫ﺑﻪ ﻧﻈﺮ‪ ...‬ﺧﻴﻠﻲ ﺧﻮﺷﺤﺎﻝ ﻣﻲﺁﺩ‪) .‬ﻣﻐﺮﻭﺭ ﻭ ﺍﺳﺘﻮﺍﺭ(‬ ‫ﻫﻤﻪ ﭼﻴﺰ ﺭﻭ ﺑﻪ ﺭﺍﻫﻪ‪) ...‬ﺑﻪ ﻧﻮﺍﺯﻧﺪﻩ( ﺧﻴﻠﻲ ﺧﺐ‪،‬‬ ‫ﺍﮔﻪ ﺑﺨﻮﺍﻱ ﻣﻲﺗﻮﻧﻲ ﺗﻤﻮﻣﺶ ﻛﻨﻲ‪ .‬ﻣﻨﻈﻮﺭﻡ ﺍﻳﻨﻪ‬ ‫ﻛﻪ ﺑﺮﺍﻱ ﺷﻨﺎﻳﻲ‪ ،‬ﭼﻴﺰﻱ ﺍﻳﻦ ﺍﻃﺮﺍﻑ ﺑﻤﻮﻥ؛ ﺍﺯ ﻧﻈﺮ‬ ‫ﻣﺎ ﺍﺷﻜﺎﻟﻲ ﻧﺪﺍﺭﻩ‪) .‬ﺁﻩ ﻋﻤﻴﻘﻲ ﻣﻲﻛﺸﺪ‪ (.‬ﺧﺐ‪ ،‬ﺑﺎﺑﺎ‬ ‫ﺟﻮﻥ‪ ...‬ﺑﺮﻭ ﺑﺮﻳﻢ‪.‬‬ ‫ﺑﺎﺑﺎ ﺟﻮﻥ‪ :‬ﺩﺭﻭﺩ ﺑﺮ ﺗﻮ ﻣﺎﻣﺎﻥ ﺟﻮﻥ!‬ ‫ﻣﺎﻣﺎﻥ ﺟﻮﻥ‪ :‬ﺩﺭﻭﺩ ﺑﺮ ﺗﻮ ﺑﺎﺑﺎ ﺟﻮﻥ!‬ ‫)ﺍﺯ ﺳﻤﺖ ﭼﭗ ﺻﺤﻨﻪ ﺧﺎﺭﺝ ﻣﻲﺷﻮﻧﺪ‪(.‬‬ ‫ﻣﺎﻣﺎﻥﺑﺰﺭگ‪) :‬ﭘﺲ ﺍﺯ ﺭﻓﺘﻦ ﺁﻧﻬﺎ؛ ﻛﺎﻣﻼ ً ﺑﻲﺣﺮﻛﺖ‬ ‫ﺩﺭﺍﺯ ﻣﻲﻛﺸﺪ‪ (.‬ﻫﻤﻪ ﭼﻴﺰ ﺭﻭ ﺑﻪ ﺭﺍﻫﻪ‪ ...‬ﻧﻪ ﺑﺎﺑﺎ‪) .‬ﺳﻌﻲ‬ ‫ﻣﻲﻛﻨﺪ ﻛﻪ ﺑﻨﺸﻴﻨﺪ‪ ...(.‬ﺧﺐ‪ ،‬ﺑﭽﻪﻫﺎ‪) ...‬ﻣﺘﻮﺟﻪ‬ ‫ﻣﻲﺷﻮﺩ ﻛﻪ ﻧﻤﻲﺗﻮﺍﻧﺪ‪ ...(.‬ﻣﻦ‪ ...‬ﻣﻦ ﻧﻤﻲﺗﻮﻧﻢ ﺑﻠﻨﺪ‬ ‫ﺷﻢ‪ .‬ﻣﻦ‪ ...‬ﻣﻦ ﻧﻤﻲﺗﻮﻧﻢ ﺗﻜﻮﻥ ﺑﺨﻮﺭﻡ‪...‬‬ ‫)ﻣﺮﺩ ﺟﻮﺍﻥ ﺩﺳﺖ ﺍﺯ ﻭﺭﺯﺵ ﻛﺸﻴﺪﻩ‪ ،‬ﺑﺮﺍﻱ ﻧﻮﺍﺯﻧﺪﻩ‬ ‫ﺳﺮﻱ ﺍﺯ ﺭﻭﻱ ﺭﺿﺎﻳﺖ ﺗﻜﺎﻥ ﺩﺍﺩﻩ‪ ،‬ﺑﻪ ﺳﻤﺖ‬ ‫ﻣﺎﻣﺎﻥﺑﺰﺭگ ﺁﻣﺪﻩ ﻭ ﻧﺰﺩﻳﻚ ﺟﻌﺒﺔ ﺷﻦ ﺯﺍﻧﻮ ﻣﻲﺯﻧﺪ‪(.‬‬ ‫ﻣﺎﻣﺎﻥﺑﺰﺭگ‪ :‬ﻣﻦ‪ ...‬ﻧﻤﻲﺗﻮﻧﻢ ﺗﻜﻮﻥ ﺑﺨﻮﺭﻡ‪...‬‬ ‫ﻣﺮﺩ ﺟﻮﺍﻥ‪ :‬ﻫﻴﺲ‪ ...‬ﺁﺭﻭﻡ ﺑﺎﺵ‪...‬‬

‫ﻣﺎﻣﺎﻥﺑﺰﺭگ‪ :‬ﻣﻦ‪ ...‬ﻧﻤﻲﺗﻮﻧﻢ ﺗﻜﻮﻥ ﺑﺨﻮﺭﻡ‪...‬‬ ‫ﻣﺮﺩ ﺟﻮﺍﻥ‪ :‬ﺁ‪ ...‬ﺧﺎﻧﻢ؛ ﻣﻦ‪ ...‬ﻣﻦ ﺍﻳﻨﺠﺎﻳﻪ‬ ‫ﺟﻤﻠﻪ ﺩﺍﺭﻡ‪.‬‬ ‫ﻣﺎﻣﺎﻥﺑﺰﺭگ‪ :‬ﺍﻭﻩ‪ ،‬ﻣﺘﺄﺳﻔﻢ‪ ،‬ﻋﺰﻳﺰﻡ؛ ﺍﺩﺍﻣﻪ‬ ‫ﺑﺪﻩ‪.‬‬ ‫ﻣﺮﺩ ﺟﻮﺍﻥ‪ :‬ﻣﻦ‪ ...‬ﺁ‪...‬‬ ‫ﻣﺎﺩﺭﺑﺰﺭگ‪ :‬ﻋﺠﻠﻪ ﻧﻜﻦ‪ ،‬ﻋﺰﻳﺰﻡ‪.‬‬ ‫ﻣﺮﺩ ﺟﻮﺍﻥ‪) :‬ﺧﻮﺩ ﺭﺍ ﺁﻣﺎﺩﻩ ﻣﻲﻛﻨﺪ؛ ﻣﺜﻞﻳﻚ‬ ‫ﺁﻣﺎﺗﻮﺭ ﻭﺍﻗﻌﻲ ﺟﻤﻠﻪ ﺭﺍ ﺍﻳﺮﺍﺩ ﻣﻲﻛﻨﺪ‪ (.‬ﻣﻦ‬ ‫ﻓﺮﺷﺘﺔ ﻣﺮگ ﻫﺴﺘﻢ‪ .‬ﻣﻦ‪ ...‬ﺁ‪ ...‬ﺍﻭﻣﺪﻡ ﺑﺮﺍﻱ‬ ‫ﺟﻮﻧﺖ‪.‬‬ ‫ﻣﺎﻣﺎﻥﺑﺰﺭگ‪ :‬ﭼﻲ‪...‬ﻫﺎ‪) ...‬ﺳﭙﺲ‪ ،‬ﺗﺴﻠﻴﻢ‬ ‫ﺷﺪﻩ(‪ ...‬ﺍﻭﻭﻭﻭﻩ‪ ...‬ﺍﻭﻭﻭﻭﻩ‪ ،‬ﺻﺤﻴﺢ‪.‬‬ ‫)ﻣﺮﺩ ﺟﻮﺍﻥ‪ ،‬ﺧﻢ ﻣﻲﺷﻮﺩ ﻭ ﺑﻮﺳﻪﺍﻱ ﺑﺮ‬ ‫ﭘﻴﺸﺎﻧﻲ ﻣﺎﻣﺎﻥﺑﺰﺭگ ﻣﻲﺯﻧﺪ‪(.‬‬ ‫ﻣﺎﻣﺎﻥﺑﺰﺭگ‪) :‬ﺑﺎ ﭼﺸﻤﺎﻥ ﺑﺴﺘﻪ‪ ،‬ﺩﻭﺑﺎﺭﻩ ﺩﺳﺖ‬ ‫ﺑﻪ ﺳﻴﻨﻪ‪ ،‬ﺧﺎﻙﺍﻧﺪﺍﺯ ﻣﻴﺎﻥ ﺩﺳﺘﺎﻧﺶ‪ ،‬ﻟﺒﺨﻨﺪﻱ‬ ‫ﺷﻴﺮﻳﻦ ﺑﺮ ﻟﺐ( ﺧﺐ‪ ...‬ﻟﻄﻒ ﻛﺮﺩﻱ ﺟﻮﻧﻢ‪...‬‬ ‫ﻣﺮﺩ ﺟﻮﺍﻥ‪) :‬ﻫﻤﭽﻨﺎﻥ ﺯﺍﻧﻮ ﺯﺩﻩ( ﻫﻴﺲ‪...‬‬ ‫ﺁﺭﻭﻡ ﺑﺎﺵ‪...‬‬ ‫ﻣﺎﻣﺎﻥﺑﺰﺭگ‪ :‬ﻣﻨﻈﻮﺭﻡ ﺍﻳﻦ ﺑﻮﺩ ﻛﻪ‪ ...‬ﻛﺎﺭﺗﻮ‬ ‫ﺧﻴﻠﻲ ﺧﻮﺏ ﺍﻧﺠﺎﻡ ﺩﺍﺩﻱ‪ ،‬ﺟﻮﻧﻢ‪...‬‬ ‫ﻣﺮﺩ ﺟﻮﺍﻥ‪) :‬ﺍﺯ ﺧﺠﺎﻟﺖ ﺳﺮﺥ ﺷﺪﻩ(‪ ...‬ﺍﻭﻩ‪...‬‬ ‫ﻣﺎﻣﺎﻥﺑﺰﺭگ‪ :‬ﻧﻪ؛ ﺟﺪﻱ ﻣﻲﮔﻢ‪ ،‬ﺗﻮ‪ ...‬ﺗﻮ‬ ‫ﺷﺎﻳﺴﺘﮕﻲﺷﻮ ﺩﺍﺭﻱ‪.‬‬ ‫ﻣﺮﺩ ﺟﻮﺍﻥ‪) :‬ﺑﺎ ﺧﻨﺪﺓ ﻣﺤﺒﺖﺁﻣﻴﺰ ﺧﻮﺩ( ﺍﻭﻩ‪...‬‬ ‫ﻣﺘﺸﻜﺮﻡ؛ ﺑﺴﻴﺎﺭ ﻣﺘﺸﻜﺮﻡ‪ ...‬ﺧﺎﻧﻢ‪.‬‬ ‫ﻣﺎﻣﺎﻥﺑﺰﺭگ‪) :‬ﺑﻪ ﺁﺭﺍﻣﻲ ﻭ ﺑﻪ ﻧﺮﻣﻲ‪ ،‬ﺩﺭ ﺣﺎﻟﻲ‬ ‫ﻛﻪ ﻣﺮﺩ ﺟﻮﺍﻥ ﺩﺳﺘﺎﻧﺶ ﺭﺍ ﺑﺎﻻﻱ ﺩﺳﺘﺎﻥ ﺍﻭ‬ ‫ﻣﻲﮔﺬﺍﺭﺩ‪(.‬‬ ‫ﻗﺎﺑﻠﻲ‪ ...‬ﻗﺎﺑﻠﻲ ﻧﺪﺍﺷﺖ‪ ...‬ﺟﻮﻧﻢ‪.‬‬ ‫)ﻓﻴﻜﺲ‪ .‬ﺩﺭ ﺣﺎﻟﻲ ﻛﻪ ﻧﻮﺍﺯﻧﺪﻩ ﺑﻪ ﻧﻮﺍﺧﺘﻦ‬ ‫ﺍﺩﺍﻣﻪ ﻣﻲﺩﻫﺪ‪ ،‬ﭘﺮﺩﻩ ﺁﺭﺍﻡﺁﺭﺍﻡ ﭘﺎﻳﻴﻦ ﻣﻲﺁﻳﺪ‪(.‬‬ ‫ﭘﻲﻧﻮﺷﺖ‪:‬‬ ‫‪ :regionalism .1‬ﺳﻴﺎﺳﺖ ﻋﺪﻡ ﺗﻤﺮﻛﺰ‬ ‫ﻭ ﺗﻘﺴﻴﻢ ﻣﻨﺎﻃﻖ ﻛﺸﻮﺭ ﺑﻪ ﻧﻮﺍﺣﻲ ﺳﻴﺎﺳﻲ ﻭ‬ ‫ﺍﻗﺘﺼﺎﺩﻱ ﻣﺘﻌﺪﺩ‪) .‬ﻓﺮﻫﻨﮓ ﻛﺎﻣﻞ ﺍﻧﮕﻠﻴﺴﻲ ﻓﺎﺭﺳﻲ‪،‬‬ ‫ﺗﺄﻟﻴﻒ ﺩﻛﺘﺮ ﻋﺒﺎﺱ ﺁﺭﻳﺎﻥﭘﻮﺭ ﻛﺎﺷﺎﻧﻲ‪ ،‬ﺟﻠﺪ ﭼﻬﺎﺭﻡ(‪.‬‬ ‫‪Calisthenics .2‬‬

‫ﻧﻤﺎﻳﺸﻨﺎﻣﻪ‬

‫ﺩﻭﺭﻩ ﺟﺪﻳﺪ‪/‬ﺷﻤﺎﺭﻩ ‪ 9‬ﻭ ‪)10‬ﭘﻴﺎﭘﻲ‪39‬ﻭ‪ /(40‬ﺳﺎﻝ ﺳﻮﻡ‪/‬ﻧﻮﺭﻭﺯ‪88‬‬

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‫ﺟﻌﺒﻪ ﺷﻦ‬ ‫ﺍﺩﻭﺍﺭﺩ ﺁﻟﺒﻰ‬ ‫ﻣﺤﻤﺪ ﺣﻴﺎﺗﻰ‬

‫ﺁﺩﻣﻬﺎ‬ ‫ﻣﺮﺩ ﺟﻮﺍﻥ ـ ‪ 25‬ﺳﺎﻟﻪ‪ ،‬ﭘﺴﺮﻱ ﺧﻮﺵﺗﻴﭗ ﻭ‬ ‫ﺧﻮﺵﺍﻧﺪﺍﻡ ﻛﻪ ﻟﺒﺎﺱ ﺷﻨﺎ ﺑﻪ ﺗﻦ ﺩﺍﺭﺩ‪.‬‬

‫ﻭ ﺑﺮﺍﻱ ﺍﺷﺎﺭﻩ ﺑﻪ ﺳﺎﻟﺨﻮﺭﺩﮔﻲ ﻭ ﺗﻬﻲ ﺑﻮﺩﻥ‬ ‫ﺷﺨﺼﻴﺘﻬﺎﻳﺸﺎﻥ ﺍﺳﺖ‪.‬‬ ‫ﺻﺤﻨﻪ‬ ‫ـ ﺻﺤﻨﻪﺍﻱ ﺳﺎﺩﻩ‪ ،‬ﻛﻪ ﻓﻘﻂ ﺷﺎﻣﻞ ﻭﺳﺎﻳﻞ ﺯﻳﺮ‬ ‫ﺍﺳﺖ‪ :‬ﻧﺰﺩﻳﻚ ﺭﺩﻳﻒ ﭼﺮﺍﻏﻬﺎ‪ ،‬ﺩﺭ ﻋﻤﻖ ﺭﺍﺳﺖ‬ ‫ﺻﺤﻨﻪ‪ ،‬ﺩﻭ ﺻﻨﺪﻟﻲ ﺳﺎﺩﻩ ﭘﻬﻠﻮ ﺑﻪ ﭘﻬﻠﻮ‪ ،‬ﺭﻭ ﺑﻪ‬ ‫ﺗﻤﺎﺷﺎﭼﻴﺎﻥ ﻗﺮﺍﺭ ﺩﺍﺭﺩ؛ ﻧﺰﺩﻳﻚ ﺭﺩﻳﻒ ﭼﺮﺍﻏﻬﺎﻱ‬ ‫ﻋﻤﻖ ﻣﺘﻤﺎﻳﻞ ﺑﻪ ﭼﭗ‪ ،‬ﺻﻨﺪﻟﻲﺍﻱ ﺭﻭ ﺑﻪ ﺳﻤﺖ‬ ‫ﺭﺍﺳﺖ ﺻﺤﻨﻪ ﺩﻳﺪﻩ ﻣﻲﺷﻮﺩ ﻛﻪ ﺟﺎﻳﮕﺎﻩ ﺁﻻﺕ‬ ‫ﻣﻮﺳﻴﻘﻲ ﭘﺸﺖ ﺁﻥ ﻗﺮﺍﺭ ﺩﺍﺭﺩ؛ ﻋﻘﺐﺗﺮ‪ ،‬ﺩﺭ ﻋﻤﻖ‬ ‫ﻣﻴﺎﻧﻲ‪،‬ﻳﻚ ﺟﻌﺒﺔ ﺷﻦ ﺑﭽﻪﮔﺎﻧﺔ ﺑﺰﺭگ ﻛﻪ ﺍﻧﺪﻛﻲ‬ ‫ﺑﺎﻻ ﺁﻣﺪﻩ ﻭ ﻛﺞ ﺷﺪﻩ ﺍﺳﺖ‪ ،‬ﻫﻤﺮﺍﻩ ﺑﺎﻳﻚ ﺳﻄﻞ ﻭ‬ ‫ﺧﺎﻙﺍﻧﺪﺍﺯ ﺍﺳﺒﺎﺏﺑﺎﺯﻱ ﺩﻳﺪﻩ ﻣﻲﺷﻮﺩ؛ ﭘﺲ ﺯﻣﻴﻨﻪ‪،‬‬ ‫ﺁﺳﻤﺎﻥ ﺍﺳﺖ ﻛﻪ ﺍﺯ ﺭﻭﺷﻨﺎﻳﻲ ﺭﻭﺯ ﺑﻪ ﻋﻤﻖ ﺷﺐ‬ ‫ﺗﻐﻴﻴﺮ ﻣﻲﻳﺎﺑﺪ‪.‬‬

‫ﻳﺎﺩﺩﺍﺷﺖ‬ ‫ـ ﻭﻗﺘﻲ ﺩﺭ ﺭﻭﻧﺪ ﻧﻤﺎﻳﺸﻨﺎﻣﻪ‪ ،‬ﻣﺎﻣﺎﻥ ﺟﻮﻥ‬ ‫ﻭ ﺑﺎﺑﺎ ﺟﻮﻥﻳﻜﺪﻳﮕﺮ ﺭﺍ ﺑﻪ ﺍﻳﻦ ﻧﺎﻣﻬﺎ ﺻﺪﺍ‬ ‫ﻣﻲﺯﻧﻨﺪ‪ ،‬ﻧﺒﺎﻳﺪ ﺑﺮﺍﻱ ﺍﻟﻘﺎﻱ ﺭژﻭﻧﺎﻟﻴﺰﻡ‪1‬‬ ‫ﺑﺎﺷﺪ‪ .‬ﺍﻳﻦ ﻧﺎﻣﻬﺎ ﺍﺯ ﺗﺄﺛﻴﺮﻱ ﭘﻮچ ﺑﺮﺧﻮﺭﺩﺍﺭﻧﺪ‬

‫ﺩﺭ ﺁﻏﺎﺯ‪ ،‬ﺭﻭﺷﻨﺎﻳﻲ ﺭﻭﺯ ﺍﺳﺖ؛ ﻣﺮﺩ ﺟﻮﺍﻥ‪ ،‬ﺗﻨﻬﺎ ﺩﺭ‬ ‫ﺻﺤﻨﻪ‪ ،‬ﭘﺸﺖ ﺟﻌﺒﺔ ﺷﻦ‪ ،‬ﺑﻪﻳﻚ ﺳﻤﺖ ﺍﻳﺴﺘﺎﺩﻩ ﻭ‬ ‫ﺩﺭ ﺣﺎﻝ ﺍﻧﺠﺎﻡ ﺩﺍﺩﻥ ﻭﺭﺯﺷﻬﺎﻱ ﺳﺒﻚ‪ 2‬ﺍﺳﺖ‪ .‬ﺍﻭ‬ ‫ﺍﻳﻦ ﻭﺭﺯﺷﻬﺎ ﺭﺍ ﺗﺎ ﺁﺧﺮ ﻧﻤﺎﻳﺶ ﺍﺟﺮﺍ ﻣﻲﻛﻨﺪ‪ .‬ﺍﻳﻦ‬ ‫ﺣﺮﻛﺎﺕ‪ ،‬ﻛﻪ ﻓﻘﻂ ﺑﺎ ﺩﺳﺘﻬﺎ ﺻﻮﺭﺕ ﻣﻲﮔﻴﺮﻧﺪ‪ ،‬ﺑﺎﻳﺪ‬ ‫ﻧﻤﺎﻳﺎﻧﮕﺮ ﺑﻪ ﻫﻢ ﺧﻮﺭﺩﻥ ﺑﺎﻝﻫﺎ ﺑﺎﺷﻨﺪ‪ .‬ﻫﺮ ﭼﻪ ﺑﺎﺷﺪ‪،‬‬

‫ﻣﺎﻣﺎﻥ ﺟﻮﻥ ـ ‪ 55‬ﺳﺎﻟﻪ‪ ،‬ﺯﻧﻲ ﺧﻮﺵﻟﺒﺎﺱ‬ ‫ﻭ ﺑﺎﻫﻴﺒﺖ‬ ‫ﺑﺎﺑﺎ ﺟﻮﻥ ـ ‪ 60‬ﺳﺎﻟﻪ‪ ،‬ﻣﺮﺩﻱ ﻛﻮﺗﺎﻩﻗﺪ‪ ،‬ﺗﻴﺮﻩ‬ ‫ﻭ ﻻﻏﺮ‬ ‫ﻣﺎﻣﺎﻥ ﺑﺰﺭگ ـ ‪ 86‬ﺳﺎﻟﻪ‪ ،‬ﺯﻧﻲ ﺭﻳﺰﻩ‪ ،‬ﺑﺎ‬ ‫ﺻﻮﺭﺗﻲ ﭼﺮﻭﻛﻴﺪﻩ ﻭ ﭼﺸﻤﺎﻧﻲ ﺩﺭﺧﺸﺎﻥ‬ ‫ﻧﻮﺍﺯﻧﺪﻩ ـ ﺳﻦ ﺧﺎﺻﻲ ﻧﺪﺍﺭﺩ‪ ،‬ﻭﻟﻲ ﺟﻮﺍﻥ‬ ‫ﺑﺎﺷﺪ ﺧﻮﺏ ﺍﺳﺖ‪.‬‬

‫ﻣﺮﺩ ﺟﻮﺍﻥ‪ ،‬ﻓﺮﺷﺘﺔ ﻣﺮگ ﺍﺳﺖ‪.‬‬ ‫ﺍﻭﻝ ﻣﺎﻣﺎﻥ ﺟﻮﻥ ﻭ ﺑﻌﺪ ﺑﺎﺑﺎ ﺟﻮﻥ ﺍﺯ ﺳﻤﺖ ﭼﭗ‬ ‫ﺻﺤﻨﻪ ﻭﺍﺭﺩ ﻣﻲﺷﻮﻧﺪ‪.‬‬ ‫ﻣﺎﻣﺎﻥ ﺟﻮﻥ‪) :‬ﺑﺎ ﺍﺷﺎﺭﻩ ﺑﻪ ﺑﺎﺑﺎﺟﻮﻥ( ﺧﺐ ﺭﺳﻴﺪﻳﻢ؛‬ ‫ﺍﻳﻨﻢ ﺍﺯ ﺳﺎﺣﻞ‪.‬‬ ‫ﺑﺎﺑﺎ ﺟﻮﻥ‪) :‬ﻧﺎﻟﻪ ﻛﻨﺎﻥ( ﺳﺮﺩﻣﻪ‪.‬‬ ‫ﻣﺎﻣﺎﻥ ﺟﻮﻥ‪) :‬ﺑﺎ ﺧﻨﺪﻩﺍﻱ ﻛﻮﺗﺎﻩ ﺣﺮﻑ ﺍﻭ ﺭﺍ ﺭﺩ‬ ‫ﻣﻲﻛﻨﺪ‪ (.‬ﺍﺣﻤﻖ ﻧﺒﺎﺵ؛ ﻫﻮﺍ ﻣﺜﻞ ﻧﻮﻥ ﺳﻮﺧﺎﺭﻱ‬ ‫ﮔﺮﻣﻪ‪ ...‬ﺍﻭﻥ ﻣﺮﺩ ﻧﺎﺯﻧﻴﻨﻲ ﺭﻭ ﻛﻪ ﺍﻭﻧﺠﺎ ﻭﺍﻳﺴﺎﺩﻩ‪،‬‬ ‫ﻧﮕﺎﻩ ﻛﻦ؛ ﭼﻄﻮﺭ ﺍﻭﻥ ﺑﻪ ﻓﻜﺮ ﺳﺮﻣﺎ ﻧﻴﺴﺖ؟ )ﺑﺮﺍﻱ‬ ‫ﻣﺮﺩ ﺟﻮﺍﻥ ﺩﺳﺖ ﺗﻜﺎﻥ ﻣﻲﺩﻫﺪ‪ (.‬ﺳﻼﻡ‪.‬‬ ‫ﻣﺮﺩ ﺟﻮﺍﻥ‪) :‬ﺑﺎ ﺧﻨﺪﻩﺍﻱ ﻣﺤﺒﺖﺁﻣﻴﺰ( ﺳﻼﻡ!‬ ‫ﻣﺎﻣﺎﻥ ﺟﻮﻥ‪) :‬ﺑﻪ ﺍﻃﺮﺍﻑ ﻧﮕﺎﻩ ﻣﻲﻛﻨﺪ‪ (.‬ﻫﻤﻪ ﭼﻲ‬ ‫ﺭﻭﺑﻪﺭﺍﻫﻪ‪ ...‬ﺍﻳﻦ ﻃﻮﺭ ﻧﻴﺴﺖ‪ .‬ﺑﺎﺑﺎ ﺟﻮﻥ؟ ﺍﻭﻧﺠﺎ ﺷﻦ‬ ‫ﻫﺴﺖ‪ ...‬ﺍﻭﻧﻮﺭﺗﺮﺵ ﻫﻢ ﺁﺏ‪ ...‬ﻧﻈﺮﺕ ﭼﻴﻪ‪ ،‬ﺑﺎﺑﺎ‬ ‫ﺟﻮﻥ؟‬ ‫ﺑﺎﺑﺎ ﺟﻮﻥ‪) :‬ﺑﺎ ﺑﻲﺗﻮﺟﻬﻲ( ﻫﺮ ﭼﻲ ﺗﻮ ﺑﮕﻲ‪ ،‬ﻣﺎﻣﺎﻥ‬ ‫ﺟﻮﻥ‪.‬‬ ‫ﻣﺎﻣﺎﻥ ﺟﻮﻥ‪) :‬ﺑﺎ ﻫﻤﺎﻥ ﺧﻨﺪﺓ ﻛﻮﺗﺎﻩ( ﺧﺐ‪ ،‬ﺍﻟﺒﺘﻪ‪...‬‬ ‫ﻫﺮ ﭼﻲ ﻛﻪ ﻣﻦ ﺑﮕﻢ‪ .‬ﭘﺲ ﻗﺒﻮﻟﻪ‪ .‬ﺑﺎﺷﻪ؟‬ ‫ﺑﺎﺑﺎ ﺟﻮﻥ‪) :‬ﺷﺎﻧﻪﻫﺎﻳﺶ ﺭﺍ ﺑﺎﻻ ﻣﻲﺍﻧﺪﺍﺯﺩ‪ (.‬ﺍﻭﻥ ﻣﺎﺩﺭ‬ ‫ﺗﻮﺋﻪ ﻧﻪ ﻣﻦ‪.‬‬ ‫ﻣﺎﻣﺎﻥ ﺟﻮﻥ‪ :‬ﻣﻲﺩﻭﻧﻢ ﻛﻪ ﻣﺎﺩﺭ ﻣﻨﻪ‪ .‬ﺧﺐ ﻛﻪ ﭼﻲ؟‬ ‫)ﻣﻜﺚ( ﺧﻴﻠﻲ ﺧﺐ ﺩﻳﮕﻪ؛ ﺑﻬﺘﺮﻩ ﻛﻪ ﺍﺩﺍﻣﻪ ﺑﺪﻳﻢ‪.‬‬ ‫)ﺑﻪ ﺳﻤﺖ ﭼﭗ ﺻﺤﻨﻪ ﻓﺮﻳﺎﺩ ﻣﻲﺯﻧﺪ( ﺗﻮ ﻛﻪ ﺍﻭﻥ‬ ‫ﺑﻴﺮﻭﻧﻲ! ﺣﺎﻻ ﻣﻲﺗﻮﻧﻲ ﺑﻴﺎﻱ ﺗﻮ‪.‬‬ ‫)ﻧﻮﺍﺯﻧﺪﻩ ﻭﺍﺭﺩ ﺷﺪﻩ‪ ،‬ﺭﻭﻱ ﺻﻨﺪﻟﻲ ﺳﻤﺖ ﭼﭗ‬ ‫ﻣﻲﻧﺸﻴﻨﺪ‪ .‬ﻭﺳﺎﻳﻞ ﺭﺍ ﺩﺭ ﺟﺎﻳﮕﺎﻩ ﻣﻮﺳﻴﻘﻲ ﻗﺮﺍﺭ‬ ‫ﻣﻲﺩﻫﺪ‪ .‬ﺁﻣﺎﺩﺓ ﻧﻮﺍﺧﺘﻦ ﺍﺳﺖ‪ .‬ﻣﺎﻣﺎﻥ ﺟﻮﻥ ﺳﺮﺵ‬ ‫ﺭﺍ ﺑﻪ ﻧﺸﺎﻧﺔ ﺭﺿﺎﻳﺖ ﺗﻜﺎﻥ ﻣﻲﺩﻫﺪ‪(.‬‬ ‫ﻣﺎﻣﺎﻥ ﺟﻮﻥ‪ :‬ﺑﺴﻴﺎﺭ ﺯﻳﺒﺎ؛ ﺑﺴﻴﺎﺭ ﺯﻳﺒﺎ؛ ﺁﻣﺎﺩﻩﺍﻱ ﺑﺎﺑﺎ‬ ‫ﺟﻮﻥ؟ ﺑﺪﻭ ﺑﺮﻳﻢ ﻣﺎﻣﺎﻥ ﺑﺰﺭگ ﺭﻭ ﺑﻴﺎﺭﻳﻢ‪.‬‬ ‫ﺑﺎﺑﺎ ﺟﻮﻥ‪ :‬ﻫﺮ ﭼﻲ ﺗﻮ ﺑﮕﻲ‪ ،‬ﻣﺎﻣﺎﻥ ﺟﻮﻥ‪.‬‬ ‫ﻣﺎﻣﺎﻥ ﺟﻮﻥ‪) :‬ﺩﺭ ﺣﺎﻟﻲ ﻛﻪ ﺟﻠﻮﺗﺮ ﺍﺯ ﺑﺎﺑﺎ ﺟﻮﻥ‬ ‫ﻣﻲﺭﻭﺩ ﻛﻪ ﺍﺯ ﺳﻤﺖ ﭼﭗ ﺻﺤﻨﻪ ﺧﺎﺭﺝ ﺷﻮﺩ‪ (.‬ﺍﻟﺒﺘﻪ‪،‬‬ ‫ﻫﺮ ﭼﻲ ﻛﻪ ﻣﻦ ﺑﮕﻢ‪) .‬ﺑﻪ ﻧﻮﺍﺯﻧﺪﻩ( ﺣﺎﻻ ﻣﻲﺗﻮﻧﻲ‬ ‫ﺷﺮﻭﻉ ﻛﻨﻲ‪.‬‬ ‫)ﻧﻮﺍﺯﻧﺪﻩ ﺷﺮﻭﻉ ﺑﻪ ﻧﻮﺍﺧﺘﻦ ﻣﻲﻛﻨﺪ؛ ﻣﺎﻣﺎﻥ ﺟﻮﻥ ﻭ‬ ‫ﺑﺎﺑﺎ ﺟﻮﻥ ﺧﺎﺭﺝ ﻣﻲﺷﻮﻧﺪ؛ ﻧﻮﺍﺯﻧﺪﻩ‪ ،‬ﺩﺭ ﺣﺎﻝ ﻧﻮﺍﺧﺘﻦ‪،‬‬ ‫ﺭﻭ ﺑﻪ ﻣﺮﺩ ﺟﻮﺍﻥ ﺳﺮﻱ ﺗﻜﺎﻥ ﻣﻲﺩﻫﺪ‪(.‬‬ ‫ﻣﺮﺩ ﺟﻮﺍﻥ‪) :‬ﺑﺎ ﻫﻤﺎﻥ ﻟﺒﺨﻨﺪ ﻣﺤﺒﺖﺁﻣﻴﺰ( ﺳﻼﻡ!‬ ‫)ﻟﺤﻈﻪﺍﻱ ﺑﻌﺪ‪ ،‬ﻣﺎﻣﺎﻥ ﺟﻮﻥ ﻭ ﺑﺎﺑﺎ ﺟﻮﻥ‪ ،‬ﺩﺭ ﺣﺎﻟﻲ ﻛﻪ‬ ‫ﺯﻳﺮ ﺑﻐﻞ ﻣﺎﻣﺎﻥ ﺑﺰﺭگ ﺭﺍ ﮔﺮﻓﺘﻪﺍﻧﺪ‪ ،‬ﻭﺍﺭﺩ ﻣﻲﺷﻮﻧﺪ؛‬ ‫ﺑﺴﻴﺎﺭ ﺳﻨﮕﻴﻦ ﺍﺳﺖ؛ ﻣﺎﺩﺭﺑﺰﺭگ ﭘﺎﻫﺎ ﺭﺍ ﺑﺎﻻ ﺑﺮﺩﻩ ﺁﻥ‬ ‫ﻗﺪﺭ ﻛﻪ ﺑﻪ ﺯﻣﻴﻦ ﻧﻤﻲﺭﺳﻨﺪ؛ ﭼﻬﺮﺓ ﺳﺎﻟﺨﻮﺭﺩﻩﺍﺵ‬ ‫ﻧﻤﺎﻳﺎﻧﮕﺮ ﺗﺮﺱ ﻭ ﺣﻴﺮﺕ ﺍﺳﺖ‪(.‬‬ ‫ﺑﺎﺑﺎ ﺟﻮﻥ‪ :‬ﻛﺠﺎ ﺑﺬﺍﺭﻳﻤﺶ؟‬

‫ﻣﺎﻣﺎﻥ ﺟﻮﻥ‪) :‬ﺑﺎ ﻫﻤﺎﻥ ﺧﻨﺪﺓ ﻛﻮﺗﺎﻩ( ﻫﺮ ﺟﺎ‬ ‫ﻛﻪ ﻣﻦ ﺑﮕﻢ‪ ،‬ﺍﻟﺒﺘﻪ ﺑﺬﺍﺭ ﺑﺒﻴﻨﻢ‪ ...‬ﺧﺐ‪ ...‬ﺁﻫﺎﻥ‪،‬‬ ‫ﺍﻭﻧﺠﺎ‪ ...‬ﺗﻮﻱ ﺟﻌﺒﺔ ﺷﻦ‪) ...‬ﻣﻜﺚ( ﺧﺐ‪،‬‬ ‫ﻣﻨﺘﻈﺮ ﭼﻲ ﻫﺴﺘﻲ‪ ،‬ﺑﺎﺑﺎ ﺟﻮﻥ؟‪ ...‬ﺟﻌﺒﺔ ﺷﻦ!‬ ‫)ﺑﺎ ﻫﻢ ﻣﺎﻣﺎﻥﺑﺰﺭگ ﺭﺍ ﺑﻪ ﺳﻤﺖ ﺟﻌﺒﺔ ﺷﻦ‬ ‫ﺣﻤﻞ ﻣﻲﻛﻨﻨﺪ ﻭ ﺗﺎ ﺣﺪﻭﺩﻱ ﺍﻭ ﺭﺍ ﺑﻪ ﺩﺍﺧﻞ‬ ‫ﺟﻌﺒﻪ ﻫﻞ ﻣﻲﺩﻫﻨﺪ‪(.‬‬ ‫ﻣﺎﻣﺎﻥﺑﺰﺭگ‪) :‬ﺩﺭ ﺣﺎﻟﻲ ﻛﻪ ﺳﻌﻲ ﺩﺭ ﻧﺸﺴﺘﻦ‬ ‫ﺩﺍﺭﺩ؛ ﺻﺪﺍﻳﺶ ﺣﺪ ﻭﺳﻂ ﺧﻨﺪﻩ ﻭ ﮔﺮﻳﺔﻳﻚ‬ ‫ﻛﻮﺩﻙ ﺍﺳﺖ‪(.‬‬ ‫ﺁﺁﺁﺁﺁﺁ ﻩ !ﮔﺮ ﺍﺍﺍﺍﺍﺍ !‬ ‫ﺑﺎﺑﺎ ﺟﻮﻥ‪) :‬ﺧﻮﺩ ﺭﺍ ﻣﻲﺗﻜﺎﻧﺪ‪ (.‬ﺣﺎﻻ ﭼﻪ ﻛﺎﺭ‬ ‫ﻛﻨﻴﻢ؟‬ ‫ﻣﺎﻣﺎﻥ ﺟﻮﻥ‪) :‬ﺑﻪ ﻧﻮﺍﺯﻧﺪﻩ( ﻣﻲﺗﻮﻧﻲ ﺗﻤﻮﻣﺶ‬ ‫ﻛﻨﻲ‪) .‬ﻧﻮﺍﺯﻧﺪﻩ ﺩﺳﺖ ﺍﺯ ﻧﻮﺍﺧﺘﻦ ﻣﻲﻛﺸﺪ‪(.‬‬ ‫)ﺭﻭ ﺑﻪ ﺑﺎﺑﺎ ﺟﻮﻥ( ﻣﻨﻈﻮﺭﺕ ﭼﻴﻪ‪ ،‬ﺣﺎﻻ ﭼﻪ‬ ‫ﻛﺎﺭ ﻛﻨﻴﻢ؟ ﻣﻲﺭﻳﻢ ﺍﻭﻧﺠﺎ ﻭ ﻣﻲﺷﻴﻨﻴﻢ‪ ،‬ﺍﻟﺒﺘﻪ‪.‬‬ ‫)ﺭﻭ ﺑﻪ ﻣﺮﺩ ﺟﻮﺍﻥ( ﺳﻼﻡ‪.‬‬ ‫ﻣﺮﺩ ﺟﻮﺍﻥ‪) :‬ﺩﻭﺑﺎﺭﻩ ﻟﺒﺨﻨﺪﺯﻧﺎﻥ( ﺳﻼﻡ!‬ ‫)ﻣﺎﻣﺎﻥ ﺟﻮﻥ ﻭ ﺑﺎﺑﺎ ﺟﻮﻥ ﺑﻪ ﻃﺮﻑ‬ ‫ﺻﻨﺪﻟﻴﻬﺎﻱ ﺳﻤﺖ ﺭﺍﺳﺖ ﺻﺤﻨﻪ ﺣﺮﻛﺖ‬ ‫ﻣﻲﻛﻨﻨﺪ ﻭ ﻣﻲﻧﺸﻴﻨﻨﺪ‪ .‬ﻣﻜﺚ(‬ ‫ﻣﺎﻣﺎﻥ ﺑﺰﺭگ‪) :‬ﻣﺜﻞ ﻗﺒﻞ( ﺁﺁﺁﺁﺁﺁﺁﻩ ! ﺁﻩ‬ ‫ـﻫﺎﺁﺁﺁﺁﺁﺁﺁ! ﮔﺮ ﺍﺍﺍﺍﺍﺍ !‬ ‫ﺑﺎﺑﺎ ﺟﻮﻥ‪ :‬ﻓﻜﺮ ﻣﻲﻛﻨﻲ‪ ...‬ﻓﻜﺮ ﻣﻲﻛﻨﻲ‬ ‫ﺍﻭﻥ‪ ...‬ﺭﺍﺣﺘﻪ؟‬ ‫ﻣﺎﻣﺎﻥ ﺟﻮﻥ‪) :‬ﺑﺎ ﺑﻲﻗﺮﺍﺭﻱ( ﻣﻦ ﺍﺯ ﻛﺠﺎ‬ ‫ﺑﺪﻭﻧﻢ؟‬ ‫ﺑﺎﺑﺎ ﺟﻮﻥ‪) :‬ﻣﻜﺚ( ﺣﺎﻻ ﭼﻪ ﻛﺎﺭ ﻛﻨﻴﻢ؟‬ ‫ﻣﺎﻣﺎﻥ ﺟﻮﻥ‪) :‬ﮔﻮﻳﻲ ﺑﻪﻳﺎﺩ ﻣﻲﺁﻭﺭﺩ‪ (.‬ﻣﺎ‪...‬‬ ‫ﻣﻨﺘﻈﺮ ﻣﻲﻣﻮﻧﻴﻢ‪ ...‬ﻣﺎ‪ ...‬ﻣﻲﺷﻴﻨﻴﻢ ﺍﻭﻧﺠﺎ‪...‬‬ ‫ﻭ ﻣﻨﺘﻈﺮ ﻣﻲﻣﻮﻧﻴﻢ‪ ...‬ﻫﻤﻴﻦ ﻛﺎﺭ ﺭﻭ ﻣﻲﻛﻨﻴﻢ‪.‬‬ ‫ﺑﺎﺑﺎ ﺟﻮﻥ‪) :‬ﭘﺲ ﺍﺯ ﻣﺪﺗﻲ ﻣﻜﺚ( ﻣﻲﺷﻪ ﺑﺎ‬ ‫ﻫﻢ ﺻﺤﺒﺖ ﻛﻨﻴﻢ؟‬ ‫ﻣﺎﻣﺎﻥ ﺟﻮﻥ‪) :‬ﺑﺎ ﻫﻤﺎﻥ ﺧﻨﺪﺓ ﻛﻮﺗﺎﻩ؛ ﭼﻴﺰﻱ‬ ‫ﺭﺍ ﺍﺯ ﻟﺒﺎﺳﺶ ﻣﻲﭼﻴﻨﺪ‪ (.‬ﺧﺐ‪ ،‬ﺗﻮ ﺻﺤﺒﺖ‬ ‫ﻛﻦ‪ ،‬ﺍﮔﻪ ﻣﻲﺧﻮﺍﻱ‪ ...‬ﺍﮔﻪ ﭼﻴﺰﻱ ﺑﺮﺍﻱ ﮔﻔﺘﻦ‬ ‫ﺑﻪ ﺫﻫﻨﺖ ﻣﻲﺭﺳﻪ‪ ...‬ﺍﮔﻪ ﻣﻲﺗﻮﻧﻲ ﺑﻪ ﭼﻴﺰ‬ ‫ﺗﺎﺯﻩﺍﻱ ﻓﻜﺮ ﻛﻨﻲ‪.‬‬ ‫ﺑﺎﺑﺎ ﺟﻮﻥ‪) :‬ﻓﻜﺮ ﻣﻲﻛﻨﺪ‪ (.‬ﻧﻪ‪ ...‬ﻓﻜﺮ‬ ‫ﻧﻤﻲﻛﻨﻢ‪...‬‬ ‫ﻣﺎﻣﺎﻥ ﺟﻮﻥ‪) :‬ﺑﺎ ﺧﻨﺪﻩﺍﻱ ﻓﺎﺗﺤﺎﻧﻪ( ﺍﻟﺒﺘﻪ ﻛﻪ‬ ‫ﻧﻪ!‬ ‫ﻣﺎﻣﺎﻥﺑﺰﺭگ‪) :‬ﺩﺭ ﺣﺎﻟﻲ ﻛﻪ ﺧﺎﻙﺍﻧﺪﺍﺯ‬ ‫ﺍﺳﺒﺎﺏﺑﺎﺯﻱ ﺭﺍ ﺑﻪ ﺳﻄﻞ ﻣﻲﻛﻮﺑﺪ‪(.‬ﻫﺎﺍﺍﺍﺍﺍ !‬ ‫ﺁﻩ ـﻫﺎﺍﺍﺍﺍ !‬ ‫ﻣﺎﻣﺎﻥ ﺟﻮﻥ‪) :‬ﺭﻭ ﺑﻪ ﺗﻤﺎﺷﺎﭼﻴﺎﻥ( ﺳﺎﻛﺖ‬ ‫ﺑﺎﺵ‪ ،‬ﻣﺎﻣﺎﻥﺑﺰﺭگ‪ ...‬ﻓﻘﻂ ﺳﺎﻛﺖ ﺑﺎﺵ ﻭ‬

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‫ﺷﻌﺮ ﺟﻬﺎﻥ‬

‫ﺩﻭﺭﻩ ﺟﺪﻳﺪ‪/‬ﺷﻤﺎﺭﻩ ‪ 9‬ﻭ ‪)10‬ﭘﻴﺎﭘﻲ‪39‬ﻭ‪ /(40‬ﺳﺎﻝ ﺳﻮﻡ‪/‬ﻧﻮﺭﻭﺯ‪88‬‬

‫ﻧﻐﻤﻪﻫﺎﻱ ﭘﺎﺭﺳﻲ‬

‫ﺍﺭﻳﺶ ﻓﺮﻳﺪ ﺷﺎﻋﺮ ﺍﺗﺮﻳﺸﻰ‬ ‫)ﺍﻳﻦ ﺍﺳﺖ ( ﻫﺮ ﭼﻪ ﻫﺴﺖ‬

‫ﺩﻛﺘﺮ ﻣﻬﺪﻱ ﺩﻭﺳﺘﻜﺎﻡ‬

‫ﺳﺮﮔﺌﻲ ﺍﻟﻜﺴﺎﻧﺪﺭﻭﻭﻳﭻ ﻳﺴﻪ ﻧﻴﻦ)‪1895-) ،(1‬‬ ‫‪(1925‬ﻳﻜﻲ ﺍﺯ ﻧﻮﺍﺑﻎ ﺍﺩﺑﻴﺎﺕ ﺭﻭﺱ ﺍﺳﺖ‪.‬‬ ‫ﺍﻭ ﺳﻲ ﺳﺎﻝ ﺑﻴﺸﺘﺮ ﻋﻤﺮ ﻧﻜﺮﺩ‪ ،‬ﺍﻣﺎ ﺁﺛﺎﺭ ﺑﺴﻴﺎﺭﻱ ﺍﺯ ﺍﻭ‬ ‫ﺑﺎﻗﻲ ﻣﺎﻧﺪﻩ ﻛﻪ ﺩﺭﺍﺩﺑﻴﺎﺕ ﺭﻭﺳﻴﻪ ﺟﺎﻳﻰ ﺍﺭﺟﻤﻨﺪ ﺩﺍﺭﺩ‪.‬‬ ‫ﻣﺎﻳﺎﻛﻮﻓﺴﻜﻲ‪ -‬ﺩﻳﮕﺮ ﺷﺎﻋﺮ ﻧﺎﻣﺪﺍﺭ ﺭﻭﺱ‪ -‬ﺍﻭ ﺭﺍ ﺍﺳﺘﺎﺩ‬ ‫ﻣﺴﻠﻢ ﺷﻌﺮ ﻣﻰﺩﺍﻧﺪ‪.‬‬ ‫ﻳﺴﻪ ﻧﻴﻦ ﺩﺭ ﺳﺎﻝ ‪ 1895‬ﺩﺭ ﺧﺎﻧﻮﺍﺩﻩ ﺍﻱ ﺭﻭﺳﺘﺎﻳﻲ ﺩﺭ‬ ‫ﻧﺎﺣﻴﻪﻯ ﺭﻳﺎﺯﺍﻥ )‪ (2‬ﻣﺘﻮﻟﺪ ﺷﺪ‪ .‬ﺩﺭ ‪ 19‬ﺳﺎﻟﮕﻲ ﻧﺨﺴﺘﻴﻦ‬ ‫ﺷﻌﺮ ﺧﻮﺩ ﺭﺍ ﺳﺮﻭﺩ‪ .‬ﺩﺭ ‪ 1922‬ﺑﺎ ﻫﻨﺮﻣﻨﺪ ﺷﻬﻴﺮ ﺷﻮﺭﻭﻱ‬ ‫ ﺍﻳﺰﺍﺩﺭ ﺭﺍﺩﻭﻧﻜﺎﻥ‪ (3)-‬ﺍﺯﺩﻭﺍﺝ ﻛﺮﺩ ﻭ ﻫﻤﺮﺍﻩ ﺍﻭ ﺑﻪ‬‫ﺁﻣﺮﻳﻜﺎ ﺭﻓﺖ‪.‬‬ ‫ﺩﺭ ﺑﺎﺯﮔﺸﺖ ﺑﻪ ﻣﻴﻬﻦ ﺧﻮﺩ‪ ،‬ﻧﺨﺴﺖ ﺩﺭ ﻭﺻﻒ ﺍﻧﻘﻼﺏ‬ ‫ﺷﻮﺭﻭﻱ ﻗﻄﻌﺎﺕ ﭘﺮ ﺷﻮﺭﻱ ﺳﺮﻭﺩ ﻭﻟﻲ ﺑﻌﺪ‪ ،‬ﻃﺒﻊ ﺁﺯﺍﺩ‬ ‫ﻣﻨﺶ ﻭ ﻋﻼﻗﻪ ﻯ ﻭﺍﻓﺮﺵ ﺑﻪ ﺁﺯﺍﺩﻱ ﻭﻱ ﺭﺍ ﺩﺭ ﺻﻒ‬ ‫ﻣﻄﺮﻭﺩﺍﻥ ﺩﺭﺁﻭﺭﺩ ﻭ ﻛﺘﺎﺏ ﺍﺷﻌﺎﺭ ﺍﻭ ﻣﻤﻨﻮﻉ ﺍﻻﻧﺘﺸﺎﺭ ﺷﺪ‪.‬‬ ‫ﻳﺴﻪ ﻧﻴﻦ ﻛﻪ ﻣﻲﺩﻳﺪ ﺍﻧﻘﻼﺏ ﻧﻴﺰ ﺍﻳﺪﻩ ﺁﻝ ﺑﺰﺭگ ﺍﻭ ﺭﺍ‬ ‫ﺩﺭﺑﺎﺭﻩﻯ ﺁﺯﺍﺩﻱ ﻭ ﺳﻌﺎﺩﺕ ﺑﺸﺮ ﺗﺎﻣﻴﻦ ﻧﻜﺮﺩﻩ ﺍﺳﺖ ﺩﭼﺎﺭ‬ ‫ﺑﺤﺮﺍﻥ ﺭﻭﺣﻲ ﺷﺪ ﻭ ﺩﺭ ﺳﺎﻝ ‪ 1925‬ﺧﻮﺩﻛﺸﻲ ﻛﺮﺩ‪.‬‬ ‫ﻣﺎﻳﺎﻛﻮﻓﺴﻜﻲ ﺷﺎﻋﺮ ﻧﺎﻣﺪﺍﺭ ﻣﻌﺎﺻﺮ ﺍﻭ ﻗﻄﻌﺎﺕ ﺍﺳﺘﺎﺩﺍﻧﻪ‬ ‫ﭘﺮﺷﻮﺭﻱ ﺩﺭﺑﺎﺭﻩ ﻯ ﻭﻱ ﻭ ﻣﺮگ ﻏﻢ ﺍﻧﮕﻴﺰﺵ ﺳﺮﻭﺩﻩ‬ ‫ﺍﺳﺖ‪ .‬ﺍﻣﺎ ﺧﻮﺩ ﻣﺎﻳﺎﻛﻮﻓﺴﻜﻲ ﻧﻴﺰ ﻛﻤﻰﺑﻌﺪ ﺍﺯ ﺁﻥ ﺗﺎﺭﻳﺦ‬ ‫ﺧﻮﺩ ﺭﺍ ﻛﺸﺖ‪.‬‬ ‫ﻳﺴﻪ ﻧﻴﻦ ﻫﺮﮔﺰ ﻧﺘﻮﺍﻧﺴﺖ ﺑﻪ ﭘﺎﺭﺱ ) ﺍﻳﺮﺍﻥ( ﺳﻔﺮ ﻛﻨﺪ‪.‬‬ ‫ﻗﻄﻌﺎﺕ ﺯﻳﺒﺎﻱ "ﻧﻐﻤﻪﻫﺎﻱ ﭘﺎﺭﺳﻲ" ﺍﺯ ﻛﺘﺎﺏ ﺍﺷﻌﺎﺭ ﺍﻭ ﺍﺯ‬ ‫ﺭﻭﺳﻰ ﺑﻪ ﻓﺎﺭﺳﻲ ﺗﺮﺟﻤﻪ ﺷﺪﻩ ﺍﺳﺖ‪.‬‬

‫ﻧﻐﻤﻪﻫﺎﻱ ﭘﺎﺭﺳﻲ‬ ‫‪ ...‬ﺯﺧﻤﻰﻛﻪ ﺍﺯ ﺩﻳﺮﺑﺎﺯ ﺑﺮ ﺩﻟﻢ ﻧﺸﺴﺘﻪ ﺑﻮﺩ ﺍﻟﺘﻴﺎﻡﻳﺎﻓﺖ‪.‬‬ ‫ﺩﻳﮕﺮ ﺗﻠﺨﻲ ِﺧﺎﻃﺮﺍﺕ ﮔﺬﺷﺘﻪ ﺩﻟﻢ ﺭﺍ ﻧﻤﻰﺁﺯﺍﺭﺩ‪،‬‬ ‫ﺍﻛﻨﻮﻥ ﮔﻞﻫﺎﻱ ﺁﺑﻲ ﺭﻧﮓ ﺗﻬﺮﺍﻥ ﻣﺮﺣﻢ ﺯﺧﻢ ﺩﻝ ﻣﻨﻨﺪ‬ ‫ﻗﻬﻮﻩ ﭼﻲ‪ ،‬ﺍﻳﻨﻘﺪﺭ ﭼﺎﻱ ﻏﻠﻴﻆ ﺑﺮﺍﻱ ﻣﻦ ﻣﺮﻳﺰ‪ ،‬ﺑﮕﺬﺍﺭ‬ ‫ﻟﺤﻈﻪﺍﻱ ﺑﺎ ﺁﺭﺍﻣﺶ ﺧﻴﺎﻝ‪ ،‬ﺑﻪ ﺑﺎﻏﭽﻪ ﻯ ﺯﻳﺒﺎﻱ ﻗﻬﻮﻩ‬ ‫ﺧﺎﻧﻪ ﺑﻨﮕﺮﻡ‪.‬‬ ‫ﺑﻪ ﮔﻞﻫﺎﻱ ﺳﺮﺥ ﺑﺎﻏﭽﻪﻯ ﺗﻮ ﻧﮕﺎﻩ ﻛﻨﻢ‪...‬‬ ‫ﺳﺮﺧﻲ ِ ﻣﻄﺒﻮﻉ ﻭ ﮔﺮﻡ ﺷﺎﻣﮕﺎﻫﺎﻥ ﺑﺮ ﻫﻤﻪ ﺟﺎ ﺩﺍﻣﻦ‬ ‫ﮔﺴﺘﺮﺩﻩ ﺍﺳﺖ‬

‫ﮔﻞﻫﺎ ﺁﺭﺍﻡ ﺁﺭﺍﻡ ﺩﺭ ﭼﻤﻦ ﺯﺍﺭﻫﺎ ﻭ ﺑﻮﺳﺘﺎﻥﻫﺎ ﺳﺮ ﺩﺭ ﺩﻧﺒﺎﻝ ﻫﻢ ﻧﻬﺎﺩﻩﺍﻧﺪ‪.‬‬ ‫ﺑﺮﺍﻱ ﻣﻦ ﺗﺮﺍﻧﻪﻫﺎﻳﻲ ﺩﻟﻜﺶ ﻭ ﺷﻴﺮﻳﻦ ﺑﺨﻮﺍﻥ‪ ،‬ﺗﺮﺍﻧﻪﺍﻱ ﻛﻪ ﭘﻴﺶ ﺍﺯ‬ ‫ﺍﻳﻦ ﺧﻴﺎﻡ‬ ‫ﺩﺭ ﺳﺮﺧﻲ ِ ﻣﻄﺒﻮﻉ ﻭ ﮔﺮﻡ ﺷﺎﻣﮕﺎﻫﺎﻥ ﺧﻮﺍﻧﺪﻩ ﺑﻮﺩ‪.‬‬ ‫ﺑﺒﻴﻦ‪،‬ﻣﻬﺘﺎﺑﻰ ﺧﻴﺎﻝ ﺍﻧﮕﻴﺰ ﺷﻴﺮﺍﺯ ﺭﺍ ﺩﺭ ﺑﺮ ﮔﺮﻓﺘﻪ ﺍﺳﺖ ﻭ ﺍﺧﺘﺮﺍﻥ ﭼﻮﻧﺎﻥ‬ ‫ﭘﺮﻭﺍﻧﮕﺎﻧﻰ ﺳﭙﻴﺪ ﺑﺎﻝ‬ ‫ﺑﻪ ﮔﺮﺩﺵ ﺩﺭﺁﻣﺪﻩ ﺍﻧﺪ‬ ‫ﺷﻴﺮﺍﺯ ﻏﺮﻕ ﺩﺭ ﻣﻬﺘﺎﺏ ﺍﺳﺖ‪...‬‬ ‫ﮔﻞﻫﺎ ﺁﺭﺍﻡ ﺁﺭﺍﻡ ﺩﺭ ﺑﻮﺳﺘﺎﻥﻫﺎ ﺳﺮ ﺑﻪ ﺩﻧﺒﺎﻝ ﻫﻢ ﻧﻬﺎﺩﻩ ﺍﻧﺪ ﻭ ﺩﻝ ﻣﺮﺍ ﺑﻪ‬ ‫ﻳﺎﺩ ﺳﺮﺯﻣﻴﻨﻰ ﺩﻭﺭ ﺩﺳﺖ ﻣﻰﻟﺮﺯﺍﻧﺪ‬ ‫ﺩﻟﺪﺍﺭ ﻣﻦ ﺑﻴﺎ ﺗﺎ ﺑﺮﺍﻳﺖ ﺗﺮﺍﻧﻪﺍﻱ ﭘﺮ ﺷﻮﺭ ﺳﺎﺯ ﻛﻨﻢ‪.‬‬ ‫ﺗﺮﺍﻧﻪ ﺍﻱ ﺳﺎﺯﻛﻨﻢ ﻛﻪ ﺷﺎﻳﺪ ﺧﻴﺎﻡ‪ ،‬ﻧﻈﻴﺮ ﺁﻥ ﺭﺍ‪ ،‬ﻫﻨﮕﺎﻣﻰﻛﻪ ﮔﻞﻫﺎ ﺩﺭ‬ ‫ﺑﻮﺳﺘﺎﻥﻫﺎ ﺳﺮ ﺑﻪ ﺩﻧﺒﺎﻝ ﻫﻢ ﻧﻬﺎﺩﻩ ﺑﻮﺩﻧﺪ‪ ،‬ﻧﺴﺮﻭﺩﻩ ﺍﺳﺖ‪.‬‬ ‫ﻫﻮﺍ ﻟﻄﻴﻒ ﻭ ﺁﺳﻤﺎﻥ ﻓﻴﺮﻭﺯﻩ ﮔﻮﻥ ﺍﺳﺖ‪ .‬ﺍﺯ ﻛﺸﺘﺰﺍﺭﺍﻥ ﻏﺮﻕ ﮔﻞ‬ ‫ﻣﻰﮔﺬﺭﻡ ﻭﮔﻞﻫﺎﻱ ﻭﺣﺸﻲ ﺭﺍ ﻣﻰﺑﻴﻨﻢ ﻛﻪ ﺍﺯ ﻫﺮ ﺳﻮ ﺑﻪ ﻣﻦ ﻣﻲﻧﮕﺮﻧﺪ‪.‬‬ ‫ﺑﺎ ﺣﺮﺹ ﻭ ﺍﺷﺘﻴﺎﻕ ﺑﻪ ﮔﻞﻫﺎﻱ ﻣﻴﺨﻚ ﺻﺤﺮﺍﻳﻲ ﻣﻰﻧﮕﺮﻡ ﻭ ﭼﻨﻴﻦ‬ ‫ﻣﻲﭘﻨﺪﺍﺭﻡ ﻛﻪ ﺍﺯ ﺑﺮﺍﺑﺮ ﺑﻮﺳﺘﺎﻥ ﻣﻰﮔﺬﺭﻡ‪.‬‬ ‫ﺍﺯ ﺳﺮﺍﺳﺮ ﺍﻳﻦ ﺳﺮﺯﻣﻴﻦ ﺑﻮﻱ ﻋﺸﻖ ﺑﺮ ﻣﻰﺧﻴﺰﺩ‪ ،‬ﮔﻮﻳﻲ ﻫﻤﻪﻯ ﺁﻥ ﺭﺍ‬ ‫ﺍﺯ ﺍﺟﺰﺍﻯ ﻏﺰﻝ ﺳﻌﺪﻱ ﺳﺎﺧﺘﻪ ﺍﻧﺪ‪.‬‬ ‫ﺍﻧﺪﻙ ﺍﻧﺪﻙ ﻣﺎﻩ ﻧﻴﺰ ﺳﺮ ﺑﺮﻣﻰﺯﻧﺪ ﻭ ﺑﺪﻳﻦ ﻣﻨﻈﺮﻩ ﻣﻰﻧﮕﺮﺩ‪ ،‬ﺯﻳﺒﺎﻳﻲ ﺁﻥ‬ ‫ﺑﺎﺭ ﺩﻳﮕﺮ ﻟﻄﻒ ﻏﺰﻝ‬ ‫ﺳﻌﺪﻱ ﺭﺍ ﺑﻪﻳﺎﺩ ﻣﻰﺁﻭﺭﺩ‬ ‫ﺍﻳﻦ ﮔﻮﺷﻪﻯ ﺁﺭﺍﻡ ﺑﺮﺍﻱ ﻛﺴﺎﻧﻲ ﻛﻪ ﺍﺯ ﺭﻧﺞ ﺭﺍﻩ ﺯﻧﺪﮔﻲ ﻓﺮﺳﻮﺩﻩﺍﻧﺪ‬ ‫ﭘﻨﺎﻫﮕﺎﻫﻲ ﺑﺲ ﺩﻟﭙﺬﻳﺮ ﺍﺳﺖ‪.‬‬ ‫ﭘﻨﺎﻫﮕﺎﻫﻲ ﺍﺳﺖ ﻛﻪ ﻣﺮﺍ ﺑﻪ ﺳﻮﻱ ﺧﻮﺩ ﻣﻰﺧﻮﺍﻧﺪ ﺗﺎ ﺟﺎﻡ ﺍﻳﻦ ﺑﺎﺩﻩﻯ‬ ‫ﻋﻄﺮﺁﮔﻴﻦ ﺷﺎﻣﮕﺎﻫﺎﻥ ﺭﺍ ﺑﺮ ﻟﺒﺎﻥ ﺧﺸﻚ ﻣﻦ ﻧﻬﺪ‪.‬‬ ‫ﺍﻱ ﺳﺮﺯﻣﻴﻦ ﺁﺳﻤﺎﻧﻲ ﻓﺮﺩﻭﺳﻲ‪ ،‬ﺁﻳﺎ ﺍﻳﻦ ﺭﻭﺱ ﺧﻴﺎﻝ ﭘﺮﺩﺍﺯ ﺭﺍ ﻛﻪ‬ ‫ﺩﻳﺪﮔﺎﻧﻲ ﺳﺎﺩﻩ ﻭ ﭘﺮ ﺭﻭﻳﺎ ﺩﺍﺷﺖ‪ ،‬ﻓﺮﺍﻣﻮﺵ ﺧﻮﺍﻫﻲ ﻛﺮﺩ؟‬ ‫ﺍﻳﺮﺍﻥ‪،‬ﺗﻮ ﺑﺴﻴﺎﺭ ﺯﻳﺒﺎﻳﻲ‪.‬‬ ‫ﮔﻞﻫﺎﻱ ﺳﺮﺥ ﺗﻮ ﭼﻮﻧﺎﻥ ﺷﻌﻠﻪﻫﺎﻱ ﺁﺗﺶ ﻣﻰﺩﺭﺧﺸﻨﺪ ﻭ ﻣﺮﺍ ﺑﻪ ﻳﺎﺩ‬ ‫ﺳﺮﺯﻣﻴﻨﻲ ﺩﻭﺭ ﻣﻰﺍﻧﺪﺍﺯﻧﺪ‪.‬‬ ‫ﮔﻞﻫﺎﻱ ﺗﻮ ﺑﺎ ﻣﻦ ﺍﺯ ﺻﻔﺎ ﻭ ﻣﻬﺮ ﺳﺨﻦ ﻣﻰﮔﻮﻳﻨﺪ ﻭ ﻫﺮ ﺑﺎﺭ ﻣﺮﺍ ﻭﺍ‬ ‫ﻣﻲﺩﺍﺭﻧﺪ ﻛﻪ ﺑﮕﻮﻳﻢ‬ ‫ﺗﻮ ﺑﺴﻴﺎﺭ ﺯﻳﺒﺎﻳﻰ‪.‬‬ ‫ﺍﻛﻨﻮﻥ ﺑﺮﺍﻱ ﻭﺍﭘﺴﻴﻦ ﺑﺎﺭ‪ ،‬ﻋﻄﺮ ﮔﻞﻫﺎﻱ ﺳﺮﺥ ﺗﻮ ﺭﺍ ﻛﻪ ﭼﻮﻧﺎﻥ ﺷﺮﺍﺑﻰ‬ ‫ﻛﻬﻨﻪ ﻣﺴﺘﻲ ﻣﻰﺁﻭﺭﻧﺪ‬ ‫ﻣﻰﺑﻮﻳﻢ ﻭ ﺻﺪﺍﻱ ﮔﺮﻡ ﺗﻮ ﺭﺍ ﺍﻱ ﻣﺤﺒﻮﺏ ﻣﻦ‪ ،‬ﺑﺮﺍﻱ ﺁﺧﺮﻳﻦ ﺑﺎﺭ‬ ‫ﻣﻰﺷﻨﻮﻡ ﻛﻪ ﺑﺎ ﻣﻦ ﻭﺩﺍﻉ ﻣﻰﮔﻮﻳﺪ‪.‬‬ ‫ﺍﻣﺎ ﺗﻮ ﺭﺍ ﻭ ﺍﻳﺮﺍﻥ‪ ،‬ﺗﻮ ﺭﺍ ﻫﺮﮔﺰ ﺍﺯﻳﺎﺩ ﻧﺨﻮﺍﻫﻢ ﺑﺮﺩ‬ ‫ﺑﻪ ﺑﺴﻴﺎﺭ ﺷﻬﺮﻫﺎ ﻭ ﺩﻳﺎﺭﻫﺎ ﺧﻮﺍﻫﻢ ﺭﻓﺖ‪ ،‬ﻭﻟﻲ ﺩﺭ ﻫﻤﻪ ﺟﺎ ﻫﻨﮕﺎﻡ ﮔﻔﺖ‬ ‫ﻭ ﮔﻮ ﺑﺎ ﻣﺮﺩﻣﺎﻥ‪ ،‬ﺍﻭﻟﻴﻦ ﺳﺨﻦ ﻣﻦ ﺗﻮﺻﻴﻒ ﺗﻮ ﺧﻮﺍﻫﺪ ﺑﻮﺩ‪.‬‬ ‫ﺯﻳﺒﺎﻱ ﻣﻦ‪ ،‬ﻫﺮ ﻭﻗﺖ ﺁﻭﺍﺯﻱ ﻣﻰﺧﻮﺍﻧﻲ ﺍﺯ ﻣﻦﻳﺎﺩ ﻛﻦ‪ ،‬ﺯﻳﺮﺍ ﻣﻦ ﻧﻴﺰ ﻫﻤﻪ‬ ‫ﺟﺎ ﺗﺮﺍﻧﻪﻫﺎﻱ ﺧﻮﺩ ﺭﺍ ﺑﺎﻳﺎﺩ ﺗﻮ ﺩﺭ ﺧﻮﺍﻫﻢ ﺁﻣﻴﺨﺖ ‪...‬‬

‫ﻳﺎﻭﻩ ﺍﺳﺖ‬ ‫ﻋﻘﻞ ﻣﻲﮔﻮﻳﺪ‬ ‫ﻋﺸﻖ ﻣﻲﮔﻮﻳﺪ‬ ‫ﺍﻳﻦ ﺍﺳﺖ ﻫﺮ ﭼﻪ ﻫﺴﺖ‪.‬‬ ‫ﺣﺴﺎﺑﮕﺮﻱ ﻣﻲﮔﻮﻳﺪ‬ ‫ﺑﺪﺍﻗﺒﺎﻟﻲ ﺍﺳﺖ‬ ‫ﺗﺮﺱ ﻣﻲﮔﻮﻳﺪ‬ ‫ﺟﺰ ﺩﺭﺩ ﻫﻴﭻ ﻧﻴﺴﺖ‬ ‫ﺑﺼﻴﺮﺕ ﻣﻲﮔﻮﻳﺪ‬ ‫ﻧﻮﻣﻴﺪﻛﻨﻨﺪﻩ ﺍﺳﺖ‬ ‫ﻋﺸﻖ ﻣﻲﮔﻮﻳﺪ‬ ‫ﺍﻳﻦ ﺍﺳﺖ ﻫﺮ ﭼﻪ ﻫﺴﺖ‬ ‫ﻏﺮﻭﺭ ﻣﻲﮔﻮﻳﺪ‬ ‫ﻣﺴﺨﺮﻩ ﺍﺳﺖ‬ ‫ﺍﺣﺘﻴﺎﻁ ﻣﻲﮔﻮﻳﺪ‬ ‫ﺳﺒﻜﺴﺮﺍﻧﻪ ﺍﺳﺖ‬ ‫ﺗﺠﺮﺑﻪ ﻣﻲﮔﻮﻳﺪ‬ ‫ﻣﺤﺎﻝ ﺍﺳﺖ‬ ‫ﺍﻳﻦ ﺍﺳﺖ ﻫﺮ ﭼﻪ ﻫﺴﺖ‬ ‫ﻋﺸﻖ ﻣﻲﮔﻮﻳﺪ‬

‫ﺍﻭﺭﺷﻮﻟﻴﺎ ﻛﺎﻻﺯ‬ ‫ﺷﺎﻋﺮﻩﻯ ﻣﺠﺎﺭﻱ ‪-‬ﺁﻟﻤﺎﻧﻲ‬

‫ﺑﺎﻍ‬

‫ﺑﺮﺍﻱ ﺩﺗﻠﻮﻑ‬ ‫ﺣﻘﻴﻘﺖ ﻧﺪﺍﺭﺩ‬ ‫ﻛﻪ ﻣﺎ ﺭﺍ ﺩﺭ ﻏﺮﻭﺏ ﻣﻲﺑﻴﻨﻲ‬ ‫ﻧﺸﺴﺘﻪ‬ ‫ﺩﺭﻳﻜﻲ ﺍﺯ ﺑﺎﻍﻫﺎﻱ ﺯﻳﺒﺎﺗﺮﻱ‬ ‫ﺑﺎ ﭘﻮﺳﺖﻫﺎﻱ ﺩﻭﮔﺎﻧﻪ ﭘﻮﺳﺖ ﻛﻨﺪﻩﻯ‬ ‫ﺭﺍﺯﻫﺎﻳﻤﺎﻥ‬ ‫ﺭﻭﻱ ﻣﻴﺰ‬ ‫ﻫﻨﻮﺯ ﺟﻮﺯ ﺳﺒﺰ ﻭ ﺷﺮﺍﺏ ﺳﻔﻴﺪ‬ ‫ﺣﻘﻴﻘﺖ ﻧﺪﺍﺭﺩ‬ ‫ﻛﻪ ﻣﺎ ﺯﻳﺒﺎ ﻭ ﻟﻄﻴﻒ ﺍﻳﻢ‬ ‫ﺑﻪ ﻗﺪﺭ ﻛﺎﻓﻲ‬

‫‪(Sergei Alexanderovich Yesenin (Esenin) .1‬‬ ‫‪Ryazan .2‬‬ ‫‪Ana Izrydnova .3‬‬

‫ﺑﺮﺍﻱ ﻧﻮﺍﺧﺘﻦ‬ ‫ﺗﺮﺍﻧﻪﻯ ﭘﻴﻨﻜﻲﺍﺕ‪.‬‬

‫ﺗﺮﺟﻤﻪﻱ ﻋﻠﻲ ﻋﺒﺪﺍﻟﻠﻬﻲ‬

‫ﺷﻌﺮ‬

‫ﺩﻭﺭﻩ ﺟﺪﻳﺪ‪/‬ﺷﻤﺎﺭﻩ ‪ 9‬ﻭ ‪)10‬ﭘﻴﺎﭘﻲ‪39‬ﻭ‪ /(40‬ﺳﺎﻝ ﺳﻮﻡ‪/‬ﻧﻮﺭﻭﺯ‪88‬‬

‫ﻋﻠﻲ ﺑﺎﺑﺎﭼﺎﻫﻲ‬

‫ﻣﺤﻤﺪ ﻋﻠﻰ ﺑﻬﻤﻨﻰ‬

‫ﻋﻠﻴﺮﺿﺎ ﻃﺒﺎﻳﻰ‬

‫ﻡ‪ .‬ﺡ‪ .‬ﻋﺒﺎﺳﭙﻮﺭ‬

‫ﺍﺯ ﻧﻤﺮﺩﻥ‬

‫ﺍﺯ ﻫﺮﻃﺮﻑ ﻧﺮﻓﺘﻪ‬ ‫ﺑﻪ ﺑﻦﺑﺴﺖ ﻣﻰﺭﺳﻴﻢ‬

‫ﺗﻮ‪،‬ﺍﻯ ﻓﺮﺻﺖ ﻧﺎﮔﻬﺎﻥ !‬ ‫ﻓﺮﺍﺳﻮﻯ ﺍﻧﺪﻳﺸﻪ‪،‬ﺣﺲ ﻏﺮﻳﺒﻰ ﺳﺖ !‬ ‫ـ ﺑﻴﮕﺎﻧﻪ ﺑﺎ ﻭﺍژﻩﻫﺎ‪،‬ﻓﺮﺻﺘﻰ ﻧﺎﮔﻬﺎﻧﻰ !‬ ‫ﻛﻪ ﻟﺐ ﭘﺮﺯﻧﺎﻥ‪،‬ﻧﺎﮔﻬﺎﻥ‪،‬‬ ‫ﺷﻌﻠﻪﻭﺭ ﻣﻰﻛﻨﺪ ﻟﺤﻈﻪﺍﻯ‬ ‫ـ ﻇﻠﻤﺖ ﺭﻭﺡ ﺭﺍ‪،‬ﻗﺎﻣﺖ ﺧﻮﺍﺳﺘﻦ ﺭﺍ‬ ‫ﻭ ﻣﻰﭼﻴﻨﺪ ﺍﺯ ﻏﻔﻠﺖ ﺑﺎﻏﺒﺎﻥ‪،‬ﺧﻮﺷﻪ ﺍﻯ ﺗﺮﺩ‬ ‫ﻭ ﺩﺭ ﻧﻮﺭﺑﺎﺭﺍﻥ ﺧﻮﺩ‪،‬ﺑﺎ ﻓﺮﻭﺩﻯ ﺩﮔﺮﮔﻮﻧﻪ‪،‬ﻣﻰﭘﺎﺷﺪ‬ ‫ﺍﺯ ﻫﻢ ﺣﺼﺎﺭ ﺯﻣﺎﻥ ﺭﺍ‪،‬ﻧﻬﺎﻧﻰ !‬ ‫*‬ ‫ﺗﻮ‪،‬ﺍﻯ ﻓﺮﺻﺖ ﻧﺎﮔﻬﺎﻥ !‬ ‫ﺍﻯ ﻫﺒﻮﻁ ﻧﺨﺴﺘﻴﻦ ﻋﻄﺶ‬ ‫ﺩﺭ ﮔﻠﻮﮔﺎﻩ ﺍﺩﺭﺍﻙ ﺁﺩﻡ !‬ ‫ﺗﻮ‪،‬ﺍﻯ ﻓﺮﺻﺖ ﻣﻮﺝ ﮔﻮﻧﻰ‬ ‫ﻛﻪ ﺍﺯ ﺳﻤﺖ ﺁﻓﺎﻕ ﻧﻴﻠﻮﻓﺮﻯ‬ ‫ـ ﻣﻰﻭﺯﻯ ﺑﺮ ﺳﺮﺍﭘﺮﺩﻩ ﻯ ﺭﻭﺡ !‬ ‫ﻣﺮﺍ‪،‬ﺩﺳﺘﺒﺮﺩﻯ ﺑﺮ ﺍﻗﻠﻴﻢ ﺟﺎﻥ ﺯﻥ !‬ ‫ﺗﻮ‪،‬ﺍﻯ ﺩﻋﻮﺕ ﺧﻮﺷﻪ‪،‬ﻟﺒﺨﻨﺪ ﭘﻨﻬﺎﻥ ﮔﻨﺪﻡ‬ ‫ﻣﺮﺍ‪،‬ﺷﻴﻮﻩ ﺍﻯ ﺩﺳﺘﺒﺮﺩﺍﻧﻪ ﺁﻣﻮﺯ‬ ‫ﺷﺒﻴﺨﻮﻧﻰ ﺁﻥ ﮔﻮﻧﻪ ﺭﻧﺪﺍﻧﻪ‬ ‫ﺑﺮ ﻇﻠﻤﺖ ﺳﺎﻛﺖ ﺭﻭﺡ‬ ‫ﻣﺮﺍ ﺳﻬﻤﻰﺍﺯ ﺯﻳﺴﺘﻦ ﺑﺨﺶ !‬ ‫ﺗﻮ‪،‬ﺍﻯ ﺧﻮﺍﻫﺶ ﺷﻌﻠﻪ ﻭﺭ‬ ‫ـ ﺍﻧﻌﻜﺎﺱ ﻫﻤﺎﻭﺍﻳﻰ ﺑﺎﻝ ﻧﻴﻠﻮﻓﺮﻳﻨﻪ‬ ‫ﻧﺸﺎﻥ ﻣﺮﺍ‪،‬ﺍﺯ ﺳﻜﻮﺕ ﺳﺤﺮﮔﺎﻫﻰ ﺩﺭﻩﻫﺎ‬ ‫ﭘﺮﺱ ﻭ ﺟﻮ ﻛﻦ !‬

‫ﺭﻫﺎﻳﻲ‬

‫ﺁﻥ ﻃﻮﺭﻫﺎ ﻛﻪ ﺑﻮﺩ‬ ‫ﺑﺪ ﻫﻢ ﻧﺒﻮﺩ‬ ‫ﺍﻳﻨﻄﻮﺭﻫﺎ ﻛﻪ ﻫﺴﺖ‬ ‫ﺑﺪ ﻧﻴﺴﺖ‬ ‫ﻫﺮ ﺧﻮﺷﻪ ﮔﻨﺪﻣﻰﻛﻪ ﻣﻰﻛﻨﻢ‬ ‫ﺍﺯ ﺳﺎﻗﻪ ﭼﻨﺪ ﻗﻄﺮﻩ ﺧﻮﻥ ﻧﻤﻰﭼﻜﺪ ﺍﺯ ﺁﻥ‬ ‫ﻫﺮ ﻣﺎﺷﻪ ﺍﻯ ﻛﻪ ﻣﻰﭼﻜﺎﻧﻢ‬ ‫ﺩﻧﺪﺍﻥ ﮔﺮگ ﺩﺭ ﻋﻀﻼﺗﻢ ﮔﻴﺮ ﻧﻤﻰﻛﻨﺪ‬ ‫ﻓﺎﺳﺪ ﻧﻤﻰﺷﻮﺩ ﺳﺒﺪ ﺳﺒﺪ‬ ‫ﺳﺒﺪ ﺍﻧﮕﻮﺭﻡ‬ ‫ﻭ ﺷﺮﺍﺏ ﻫﻤﺎﻥ ﺁﺏ ﻭﻟﺮﻣﻰﻧﻴﺴﺖ‬ ‫ﻛﻪ ﺍﺯ ﺷﻴﺮ ﺳﺮ ﻛﻮﭼﻪ ﻣﻰﻣﻜﻴﺪﻡ‬ ‫ﻗﻄﺎﺭ ‪ /‬ﻗﻄﺎﺭ ﻣﻰﺭﺳﺪ ﺍﺯ ﺭﺍﻩ‬ ‫ﻭ ﻣﺎ ﺻﺒﺢ ﺑﻪ ﺯﻭﺩﻯ ﻣﻰﺭﻭﻳﻢ ﺑﻪ ﺳﻤﺖ ﺑﻬﺸﺘﻰ‬ ‫ﻛﻪ ﺳﺎﺭﺍ ﺍﻧﺎﺭ ﻧﺪﺍﺭﺩ‬ ‫ﻛﻢ ﻛﻢ ‪ /‬ﻭﻗﺖ ﺑﺮﺍﻯ ﺧﻨﺪﻳﺪﻥ ﻛﻢ ﻣﻰﺁﻭﺭﻳﻢ‬ ‫ﺑﺲ ﻛﻪ ﺟﻨﺎﺯﻩﻫﺎﻯ ﺗﺎﺯﻩ ﺗﺎﺯﻩ‬ ‫ﻳﻜﻰ ﻳﻜﻰ ﺍﺯ ﺩﺭ ﺩﺭ ﻣﻰﺭﻭﻧﺪ‬ ‫ﺑﻪ ﺑﺎﻳﺰﻳﺪ ﺯﻧﮕﻰ ﺑﺰﻥ َﻭ ﺑﮕﻮ‬ ‫ﭘﻴﺎﺩﻩ ﺷﻮﻡ ﻳﺎ ﻧﺸﻮﻡ ﺩﺭ ﺑﻨﺪﺭﻯ ﻛﻪ ﺑﺎ ﺳﺮ ِ ﺁﺳﺘﻴﻦ‬ ‫ﮔﻮﻫﺮ ﺑﻴﺮﻭﻥ ﺁﻭﺭﺩﻧﺪﻯ ﺍﺯ ﺗﻪ ﺩﺭﻳﺎ ؟‬ ‫ﺩﺭﺧﺘﻰ ﻛﻪ ﻧﻤﻰﺧﻮﺍﻫﺪ ﺳﺮ ﺑﻪ ﻫﻮﺍ ﺑﺎﺷﺪ‬ ‫ﺍﺯ ﺗﺮﺱ ﺍﺭﻩ ﺑﺪﻧﺶ ﺗﺎﻭﻝ ﻧﻤﻰﺯﻧﺪ‬ ‫ﺍﺯ ﻧﻤﺮﺩﻥ ﻛﻪ ﻧﺘﺮﺳﻰ‬ ‫ﻣﻮﺵ ﻛﻮﺭ ﻫﻢ ﻋﺎﺷﻖ ﻣﻰﺷﻮﺩ‬ ‫ﻛﺴﻰ ﻛﻪ ﺍﺯ ﺩﻳﻮﺍﺭ ﻛﻮﺗﺎﻩ ﺑﺎﻻ ﻣﻰﺭﻭﺩ‬ ‫ﻏﺒﻄﻪ ﻧﻤﻰﺧﻮﺭﺩ ﺑﻪ ﭘﺮﻧﺪﻩ ﻯ ﻓﺮﺿﺎ ﻋﺎﺷﻘﻰ‬ ‫ﻛﻪ ﺯﻳﺮ ﭼﺮﺥ ﻣﺎﺷﻴﻨﻰ ﺩﺭﺍﺯ ﻛﺸﻴﺪﻩ‬ ‫ﻋﺎﺷﻘﻰ ﻛﻪ ﺩﺭﺍﺯ ﻧﻜﺸﺪ؟ ‪ /‬ﻧﻘﺸﺶ ﺭﺍ ﺧﻮﺏ ﺑﺎﺯﻯ‬ ‫ﻧﻤﻰﻛﻨﺪ !‬ ‫ﺑﻮﺩﻩ ﺩﺭ ﻛﺘﺎﺏ ﻋﺎﺷﻖ ﻓﻰ ﺍﻟﺪﻧﻴﺎ ﻓﺮﻣﻮﺩﻩ ‪:‬‬ ‫ﻣﻌﺸﻮﻗﻪﺍﻯ ﻛﻪ ﻗﻬﺮ ﻧﻜﻨﺪ ﻋﺎﺷﻖ ﺍﺳﺖ ‪.‬‬

‫ﻫﺮﻣﺰ ﻋﻠﻴﭙﻮﺭ‬

‫ﺑﺎﺩ‬ ‫ﺍﻳﻦ ﻫﻴﻤﻪﻫﺎ ﻛﻪ ﺧﻔﺘﻪﺍﻧﺪ‬ ‫ﺑﺮ ﺍﻳﻦ ﻏﺮﻭﺏ ﺑﻰ ﺁﻭﺍ‬ ‫ﭘﺲ ﭼﻪ ﺗﺎﺯﻩ ﺍﺳﺖ ﺍﻳﻦ ﺟﺎ؟‬ ‫ﺟﺰ ﺭﻧﮓﻫﺎ ﻛﻪ ﺑﺮ ﺁﺏ ﺍﺳﺖ‬ ‫ﻭ ﺍﻳﻦ ﭘﺮﻧﺪﮔﺎﻥ‬ ‫ﺍﺯ ﺑﺮﺝ ﻛﻬﻨﻪ ﭼﻪ ﻣﻰﺩﺍﻧﻨﺪ؟‬ ‫ﻣﮕﺮ ﺑﻬﺎﺭ ﻫﻤﻴﻦ ﻏﺮﻭﺏ ﻛﻮﭼﻚ ﺭﻭﺩ ﺍﺳﺖ؟‬ ‫ﭘﺮﻧﺪﮔﺎﻥ ﻛﻪ ﺑﺎﺩ ﻣﻰﭼﻴﻨﻨﺪ‬ ‫ﻭﻳﻦ ﻫﻴﻤﻪﻫﺎ ﻛﻪ ﺧﻔﺘﻪﺍﻧﺪ‪.‬‬ ‫ﭘﺲ ﭼﻪ ﺗﺎﺯﻩ ﺍﺳﺖ‬ ‫ﺟﺰ ﭘﻮﺳﺖ ﺁﺏ؟‬

‫ﺑﺎ ﭘﺎﻯ ﺩﻝ ﻗﺪﻡ ﺯﺩﻥ ﺁﻥ ﻫﻢ ﻛﻨﺎﺭ ﺗﻮ‬ ‫ﺑﺎﺷﺪ ﻛﻪ ﺧﺴﺘﮕﻰ ﺑﺸﻮﺩ ﺷﺮﻡﺳﺎﺭ ﺗﻮ‬ ‫ﺩﺭ ﺩﻓﺘﺮ ﻫﻤﻴﺸﻪﻯ ﻣﻦ ﺛﺒﺖ ﻣﻰﺷﻮﺩ‬ ‫ﺍﻳﻦ ﻟﺤﻈﻪﻫﺎ ﻋﺰﻳﺰﺗﺮﻳﻦﻳﺎﺩﮔﺎﺭ ﺗﻮ‬ ‫ﺗﺎ ﺩﺳﺖ ﻫﻴﭻﻛﺲ ﻧﺮﺳﺪ ﺗﺎ ﺍﺑﺪ ﺑﻪ ﻣﻦ‬ ‫ﻣﻰﺧﻮﺍﺳﺘﻢ ﻛﻪ ﮔﻢ ﺑﺸﻮﻡ ﺩﺭ ﺣﺼﺎﺭ ﺗﻮ‬ ‫ﺍﺣﺴﺎﺱ ﻣﻰﻛﻨﻢ ﻛﻪ ﺟﺪﺍﻳﻢ ﻧﻤﻮﺩﻩﺍﻧﺪ‬ ‫ﻫﻤﭽﻮﻥ ﺷﻬﺎﺏ ﺳﻮﺧﺘﻪﺍﻯ ﺍﺯ ﻣﺪﺍﺭ ﺗﻮ‬ ‫ﺁﻥ ﻛﻮﭘﻪﻯ ﺗﻬﻰ ﻣﻨﻢ ﺁﺭﻯ ﻛﻪ ﻣﺎﻧﺪﻩﺍﻡ‬ ‫ﺧﺎﻟﻰﺗﺮ ﺍﺯ ﻫﻤﻴﺸﻪ ﻭ ﺩﺭ ﺍﻧﺘﻈﺎﺭ ﺗﻮ‬ ‫ﺍﻳﻦ ﺳﻮﺕ ﺁﺧﺮ ﺍﺳﺖ ﻭ ﻏﺮﻳﺒﺎﻧﻪ ﻣﻰﺭﻭﺩ‬ ‫ﺗﻨﻬﺎﺗﺮﻳﻦ ﻣﺴﺎﻓﺮ ﺗﻮ ﺍﺯ ﺩﻳﺎﺭ ﺗﻮ‬ ‫ﻫﺮ ﭼﻨﺪ ﻣﺜﻞ ﺁﻳﻨﻪ ﻫﺮ ﻟﺤﻈﻪ ﻓﺎﺵ ﺗﻮ‬ ‫ﻫﺸﺪﺍﺭ ﻣﻰﺩﻫﺪ ﺑﻪ ﺧﺰﺍﻧﻢ ﺑﻬﺎﺭ ﺗﻮ‬ ‫ﺍﻣﺎ ﺩﺭ ﺍﻳﻦ ﺯﻣﺎﻧﻪﻯ ﻋﺴﺮﺕ ﻣﺲ ﻣﺮﺍ‬ ‫ﺗﺮﺳﻢ ﻛﻪ ﺍﺷﺘﺒﺎﻩ ﺑﺴﻨﺠﺪ ﻋﻴﺎﺭ ﺗﻮ‬

‫ﻣﺤﻤﻮﺩ ﻣﻌﺘﻘﺪﻯ‬ ‫ﺑﺮ ﻣﻰﮔﺸﺖ‬ ‫ﺍﺯ ﺑﺎﻍﻫﺎﻯ ﺑﺴﻴﺎﺭ ﺩﺭﺧﺖ‬ ‫ﻛﺴﻰ ﻫﻨﻮﺯ‬ ‫ﺍﺯ ﻭﻃﻦ ﭘﻠﻚﻫﺎﻯ ﺗﻮ ﻣﻰﻧﻮﺷﺪ‬ ‫ﻣﻰﺭﻭﺩ ﻭ‬ ‫ﻣﻰﺁ ﻣﺪ‬ ‫ﺷﺒﻴﻪ ﺯﻧﻰ ﺍﺯﻛﻮﭼﻪﻫﺎﻯ ﺗﻮ ﻭ‬ ‫ﻣﮕﺮﻫﺰﺍﺭﻩﺍﻯ ﺑﻪ ﺷﺎﺩﻯﻫﺎﻯ ﺗﻠﺦ ﺍﺕ‬ ‫ﻣﻰﺭﻭﺩ ﻭ‬ ‫ﻣﻰﺁﻳﺪ‬ ‫ﻣﺜﻞ ﻭﺍژﻩﻫﺎﻯ ﺗﻮ ﻭ‬ ‫ﺁﺷﻮﺏ ﻓﺼﻠﻰ ﺑﻪ ﻧﺎﺗﻤﺎﻡ‬ ‫ﺳﻮﮔﻮﺍﺭﺗﺮ‬ ‫ﻋﺒﻮﺭﺳﺒﺰ ﭘﺮﻧﺪﻩﺍﻯ‬ ‫ﻣﻴﺮﺍﺙ ﺷﺐ ﺩﺭﺧﺖ ﻭ‬ ‫ﭘﺎﻳﻴﺰﻯ ﺩﺭ ﺁﻳﻨﻪﻫﺎﻯ ﻣﺮﮔﺶ‬ ‫ﺍﻧﮕﺎﺭ‬ ‫ﻛﺴﻰ ﻫﻨﻮﺯ‬ ‫ﺍﺯ ﻭﻃﻦ ﭘﻠﻚﻫﺎﻯ ﺗﻮ ﻣﻰﻧﻮﺷﺪ‬ ‫ﻣﺜﻞ ﻇﻬﺮﻫﺎﻯ ﺍﺑﺮﻯ ﺗﻬﺮﺍﻥ‬ ‫ﻳﺎ ﺟﻨﮕﻠﻰ ﻛﻪ‬ ‫ﺍﺯﺻﻒ ﻛﻮﺩﻛﻰﻫﺎﻯ ﺗﻮ ﺑﺮﻣﻰﮔﺸﺖ‬ ‫ﺩﺭﺧﺘﺎ ﻥ ﻛﻮﭼﻚ ﺍﻳﻦ ﺳﺎﻝ‬ ‫ﺩﺭ ﺑﺎ ﻍ ﺗﻮ ﭼﻪ ﻣﻰﻛﻨﻨﺪ !‬ ‫ﭼﺸﻢﻫﺎﻯ ﺗﻮ ﻭ‬ ‫ﻏﺮﺑﺖ ﻣﺘﻨﻰ ﺍﺯ ﻣﺎﺩﺭ ﻣﻤﻨﻮﻉ ﺍﺕ‬ ‫ﺍﺯ ﺧﺎﻃﺮﻩ ﺧﺎﻛﺴﺘﺮ ﻭ‬ ‫ﺑﺮگ‬ ‫ﻫﺰﺍﺭ ﺗﻴﻐﻪ ﺑﻪ ﺩﺭﻳﺎﺳﺖ‬ ‫ﺭﻓﻴﻖ ﺩﺭﻳﭽﻪ ﭘﺎﻳﻴﺰﻯﺍﻡ‬ ‫ﭼﻴﺰﻯ ﺑﮕﻮ !‬

‫ﺗﻼﻭﺕ ﻛﻦ ﺁﻳﺎﺕ ﻧﻴﻠﻮﻓﺮﻯ ﺭﺍ‬ ‫ﻣﺮﺍ‪،‬ﺷﻌﻠﻪ ﺍﻯ ﺍﺯ ﻋﻄﺶ‬ ‫ﺑﺮ ﺷﻜﻴﺒﺎﻳﻰ ﺩﻭﺩﻣﺎﻥ ﺯﻥ‬ ‫ﻣﺮﺍ ﺯﻳﺮ ﻭ ﺭﻭ ﻛﻦ !‬ ‫ﺭﺩﺍﻳﻰ ﻛﻪ ﺑﺮ ﺩﻭﺵ ﺩﺍﺭﻯ‬ ‫ـ ﺑﻪ ﻣﻦ ﺑﺨﺶ !‬ ‫*‬ ‫ﭼﻪ ﺳﺮﻣﺎﻯ ﺑﻰ ﺭﺣﻤﻰﺍﺯ ﺩﻭﺭ ﻭ ﻧﺰﺩﻳﻚﻫﺎ ‪،‬‬ ‫ﻣﻰﺗﺮﺍﻭﺩ‪...‬‬

‫ﻛﺮﻭﺏ ﺭﺿﺎﻳﻰ‬

‫ﺗﺮﺍﺵ‬ ‫ﺍﻣﻴﺮ ﺑﺎ ﻣﺪﺍﺩ ﺭﻧﮕﻰﻫﺎﻳﺶ‬ ‫ﻣﺮﺍ ﻣﻰﻛﺸﺪ‬ ‫ﺟﻨﮕﻞﻫﺎﻯ ﺷﻤﺎﻝ ﺭﺍ ﺩﺭﻭﻥ ﺑﺎﻏﭽﻪ ﻛﺎﺷﺘﻪ‬ ‫ﺷﻌﺮﻫﺎﻯ ﻣﺮﺍ ﺑﻪ ﺷﺎﺥ ﮔﺎﻭﻯ‬ ‫ﭘﻴﻮﻧﺪ ﺯﺩﻩ‬ ‫ﺧﺰﺭ ﺣﻮﺿﭽﻪ ﻛﻮﭼﻜﻰﺳﺖ‬ ‫ﭘﺸﺖ ﺣﻴﺎﻁ ﺧﺎﻧﻪ‬ ‫ﻣﻰﮔﻮﻳﻢ ﺑﺎﺑﺎ!‬ ‫ﺗﺘﻴﺲ ﺑﺰﺭگ ﺑﻮﺩ‬ ‫ﻭ ﺍﻭ ﻫﻤﭽﻨﺎﻥ ﻣﺪﺍﺩ ﺭﻧﮕﻰﻫﺎﻳﺶ‬ ‫ﺭﺍ ﻣﻰﺗﺮﺍﺷﺪ‬

‫ﺗﻮ ﻣﻰﺁﻳﻲ ﻭ ﻣﻦ ﻧﻴﺴﺘﻢ‬ ‫ﺑﻪ ﺍﻧﺘﻈﺎﺭ ﻣﻰﻧﺸﻴﻨﻲ‬ ‫ﺑﻪ ﺍﻣﻴﺪ ﺁﻧﻜﻪ ﺩﻭﺑﺎﺭﻩ ﺯﺍﺩﻩ ﺷﻮﻡ‬ ‫ﻻﻱ ﺩﻓﺘﺮﭼﻪ ﺧﺎﻃﺮﺍﺗﺖ ﺭﺍ ﺑﺎﺯ ﻣﻰﻛﻨﻲ‬ ‫ﻭﺭﻕ ﻣﻰﺯﻧﻲ‬ ‫ﺧﺴﺘﻪ ﻧﻤﻰﺷﻮﻱ‬ ‫ﺑﺎﺯ ﻫﻢ ﻭﺭﻕ ﻣﻰﺯﻧﻲ‬ ‫ﻣﺮﺍ ﺯﻳﺮ ﺁﻭﺍﺭ ﭼﻨﺪﻳﻦ ﻭﺍژﻩ ﻣﺘﺮﻭﻙ‬ ‫ﭘﻴﺪﺍ ﻣﻰﻛﻨﻲ‬ ‫ﺩﺳﺘﻢ ﺭﺍ ﻣﻰﮔﻴﺮﻱ‬ ‫ﺑﻠﻨﺪ ﻣﻰﻛﻨﻲ‬ ‫ﻭ ﻣﻰﺗﻜﺎﻧﻴﻢ‬ ‫ﺍﺯ ﻣﻦ ﻗﻮﻝ ﻣﻰﮔﻴﺮﻱ‬ ‫ﻛﻪ ﺩﻳﮕﺮ ﺩﺳﺘﺖ ﺭﺍ ﺭﻫﺎ ﻧﻜﻨﻢ‬ ‫ﻛﻪ ﺩﻳﮕﺮ ﮔﻢ ﻧﺸﻮﻡ‬ ‫ﺍﺯ ﻣﻦ ﻗﻮﻝ ﻣﻰﮔﻴﺮﻱ‬ ‫ﻛﻪ ﺩﻳﮕﺮ ﻫﻴﭻ ﻭﻗﺖ ﻧﻤﻴﺮﻡ‬ ‫ﻭ ﻣﻦ ﺗﻨﻬﺎ ﻣﻰﺧﻨﺪﻡ‬ ‫ﻧﻤﻰﺩﺍﻧﻢ ﺑﻪ ﭼﻪ ؟‬ ‫…‪..‬‬ ‫ﻛﻤﻰﺑﻌﺪ ﺗﺮ‬ ‫ﺑﺎﺩ ﺍﻭﺭﺍﻕ ﻛﻬﻨﻪ ﺧﺎﻃﺮﺍﺗﺖ ﺭﺍ ﻣﻰﭘﺮﺍﻛﻨﺪ‬ ‫ﻣﻦ ﺭﻫﺎ ﻣﻰﺷﻮﻡ‬ ‫ﺗﻮ‬ ‫…‪.‬ﻣﻰﺧﻨﺪﻱ‬

‫ﻣﺤﻤﺪ ﻋﺰﻳﺰﻯ‬

‫ﺁﻳﻴﻨﻪﻫﺎ ﺑﻪ ﺧﺎﻙ ﺑﻤﺎﻟﻴﺪ‬ ‫ﺟﻤﻌﻢ ﻛﻨﻴﺪ ﻭ ﺧﺎﻙ ﻛﻨﻴﺪ ﻭ ﺻﺪﺍ ﻛﻨﻴﺪ‬ ‫ﺑﺎ ﻣﻦ ﻏﺮﻳﺒﻪﻫﺎﻯ ﺗﻨﻢ ﺁﺷﻨﺎ ﻛﻨﻴﺪ‬ ‫ﺍﻓﺘﺎﺩﻩ ﺩﺳﺖ ﺟﺎﻳﻰ ﻭ ﺳﺮ ﺟﺎﻯ ﺩﻳﮕﺮﻯ‬ ‫ﻫﻢ ﺯﺧﻢ ﺭﻭﻯ ﺳﻴﻨﻪ ﻭ ﻫﻢ ﺳﺮ ﺷﻔﺎ ﻛﻨﻴﺪ‬ ‫ﺳﺮﺩﺍﺑﻪﻫﺎﻯ ﺁﺗﺶ ﺣﺮﻣﺎﻥ ﺩﻟﻢ ﻓﺴﺮﺩ‬ ‫ﺑﺎ ﺷﺐ ﺩﻭﺑﺎﺭﻩ ﺯﻣﺰﻣﻪﻫﺎ ﺑﻰﺻﺪﺍ ﻛﻨﻴﺪ‬ ‫ﺩﺳﺖ ﺯﻣﻴﻦ ﻭ ﺗﻴﻎ ﺯﻣﺎﻧﻢ ﺍﻣﺎﻥ ﻧﺪﺍﺩ‬ ‫ﺑﻨﺪ ﺟﻬﺎﻥ ﺯ ﻧﺎﻑ ﺩﻝ ﺧﻠﻖ ﻭﺍ ﻛﻨﻴﺪ‬ ‫ﺭﻧﮓ ﺍﺯ ﺭﺥ ﺷﻘﺎﻳﻖ ﻭ ﻣﺮﻳﻢ ﮔﺮﻳﺨﺘﻪ ﺍﺳﺖ‬ ‫ﺩﻳﮕﺮ ﺻﺪﺍ ﺑﻪ ﺳﻤﺖ ﺩﻝ ﺧﻮﺩ ﻛﻪ ﺭﺍ ﻛﻨﻴﺪ؟‬ ‫ﭼﺸﻢ ﺟﻬﺎﻥ ﺑﻪ ﻣﻴﻞ ﺟﻨﻮﻥ ﻛﻮﺭ ﻛﺮﺩﻩ ﺍﻧﺪ‬ ‫ﺁﻳﻴﻨﻪﻫﺎ ﺑﻪ ﺧﺎﻙ ﺑﻤﺎﻟﻴﺪ ﻭ "ﻫﺎ" ﻛﻨﻴﺪ‬ ‫ﻛﺸﺘﻰ ﺧﻠﻖ ﺩﺭ ﺩﻝ ﺗﻮﻓﺎﻥ ﺷﻜﺴﺘﻪ ﺍﻧﺪ‬ ‫ﻓﻜﺮﻯ ﺑﻪ ﺣﺎﻝ ﻫﻖ ﻫﻖ ﺍﻳﻦ ﻧﺎﺧﺪﺍ ﻛﻨﻴﺪ‬ ‫ﺗﺎﻙ ﺍﺯ ﮔﻠﻮﻯ ﺑﺎﻍ ﺧﻮﺭﺩ ﺧﻮﻥ ﻋﺎﺷﻘﺎﻥ‬ ‫ﭼﺸﻢﺍﺵ ﺑﻪ ﺯﻫﺮ ﻏﺮﺑﺖ ﻭ ﻏﻢ ﻣﺒﺘﻼ ﻛﻨﻴﺪ‬ ‫ﭘﺎﻳﺎﻥ ﻧﻴﺎﻓﺖ ﺁﺗﺶ ﺍﻧﺪﻭﻩ ﻭ ﺳﻮﺧﺖ ﺟﺎﻥ‬ ‫ﺑﺎ ﻣﻦ ﺩﻭﺑﺎﺭﻩ ﺁﻩ ﺩﻟﻢ ﺍﺑﺘﺪﺍ ﻛﻨﻴﺪ‪:‬‬ ‫ﺟﻤﻌﻢ ﻛﻨﻴﺪ ﻭ ﺧﺎﻙ ﻛﻨﻴﺪ ﻭ ﺻﺪﺍ ﻛﻨﻴﺪ‬ ‫‪...‬‬

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‫ﺩﻭﺭﻩ ﺟﺪﻳﺪ‪/‬ﺷﻤﺎﺭﻩ ‪ 9‬ﻭ ‪)10‬ﭘﻴﺎﭘﻲ‪39‬ﻭ‪ /(40‬ﺳﺎﻝ ﺳﻮﻡ‪/‬ﻧﻮﺭﻭﺯ‪88‬‬

‫ﺯﻧﺖ ﺭﺍ ﮔﻢ ﻣﻰﻛﻨﻲ‬ ‫ﻭ ﺍﻭﺭﺍ ﭘﺎﺭﻩ ﭘﺎﺭﻩ ﭘﺸﺖ ﺳﺮ ﻣﻰﮔﺬﺍﺭﻱ‬ ‫ﺑﺮ ﺩﺭﻭﺍﺯﻩ ﺑﻴﻤﺎﺭﺳﺘﺎﻧﻲ ﻛﻪ ﺑﺎﺭﺍﻥ ﺁﺗﺶ‬ ‫ﺁﻥ ﺭﺍ ﻭﻳﺮﺍﻥ ﻣﻰﻛﻨﺪ‪.‬‬ ‫ﺷﻌﺮ ﺍﻣﺮﻭﺯ ﻋﺮﺏ ﺷﻌﺮ ﺟﻼﻱ ﻭﻃﻦ‪،‬ﺗﻨﻬﺎﻳﻲ‪،‬ﻏﺮﺑﺖ‬ ‫ﻭ ﺑﻐﺾ ﺍﺳﺖ‪.‬ﺍﻳﻦ ﺷﻌﺮ ﻛﻪ ﺑﺨﺶ ﻋﻤﺪﻩ ﺍﻱ ﺍﺯ‬ ‫ﺭﻧﺠﻨﺎﻣﻪ ﺍﻧﺴﺎﻥ ﻋﺼﺮ ﺟﺪﻳﺪ ﺭﺍ ﺑﺎﺧﻮﺩ ﺩﺍﺭﺩ ﺑﻪ‬ ‫ﺑﻮﻱ ﻧﻔﺖ ﻭ ﺧﻮﻥ ﺁﻏﺸﺘﻪ ﺍﺳﺖ‪ .‬ﺷﺎﻋﺮ ﺍﻣﺮﻭﺯ‬ ‫ﻋﺮﺏ ﺩﺭ ﺩﺭﻳﺎﻳﻲ ﺍﺯ ﺍﺷﻚ ﻭ ﺧﻮﻧﺎﺏ ﺑﺎﺩﺑﺎﻥ‬ ‫ﻣﺤﺰﻭﻥ ﺧﻮﻳﺶ ﺭﺍ ﺑﺮﻣﻰﺍﻓﺮﺍﺯﺩ ﺗﺎ ﺑﺎ ﻣﺮگ‬ ‫ﺧﻮﻳﺶ‪ ،‬ﻭﻋﺸﻖ ﺧﻮﻳﺶ‪ ،‬ﺯﻧﺪﮔﻲ ﺭﺍ ﻧﺠﺎﺕ ﺩﻫﺪ‪.‬‬ ‫ﺁﺩﻭﻧﻴﺲ‪:‬‬ ‫ﺑﻴﮕﺎﻧﻪ ﺑﺎ ﻛﻼﻣﻰﭼﻨﻴﻦ‬ ‫ﺑﻴﮕﺎﻧﻪ ﺑﺎ ﺁﻭﺍﻱ ﻭﺣﺶ‬ ‫ﻛﺎﻫﻨﻲ ﺍﺳﺖ ﺧﻮﺍﺑﺶ ﺍﺯ ﺳﻨﮓ‬ ‫ﮔﺮﺍﻧﺒﺎﺭ ﺍﺯ ﺯﺑﺎﻥﻫﺎﻱ ﺩﻭﺭ‬ ‫ﺁﻧَﻚ ﺍﺯ ﺯﻳﺮ ﺁﻭﺍﺭ ﭘﻴﺶ ﻣﻰﺁﻳﺪ‬ ‫ﺩﺭ ﻫﻮﺍﻱ ﻭﺍژﻩﻫﺎﻱ ﺗﺎﺯﻩ‬ ‫ﺷﻌﺮ ﺧﻮﻳﺶ ﺭﺍ ﺑﻪ ﺑﺎﺩﺑﺎﻥﻫﺎﻱ ﻣﺤﺰﻭﻥ ﻣﻰﺳﭙﺎﺭﺩ‬ ‫ﺧﺸﻦ ﻭ ﺍﻓﺴﻮﻧﻜﺎﺭ ﺑﻪ ﺳﺎﻥ ﻣﺲ‬ ‫ﺯﺑﺎﻧﻲ ﻣﻮﺝ ﺯﻥ ﺩﺭ ﻣﻴﺎﻥ ﺩﻛﻞﻫﺎﺳﺖ‬ ‫ﺷﻬﺴﻮﺍﺭ ﻛﻠﻤﺎﺕ ﺷﮕﻔﺖ ﺍﺳﺖ‪.‬‬ ‫ﺑﺮﺍﻱ ﺟﻬﺎﻥ ﺍﺩﺑﻴﺎﺕ‪،‬ﺑﻪ ﻭﻳﮋﻩ ﺍﺩﺑﻴﺎﺕ ﻣﻌﺎﺻﺮ‬ ‫ﻋﺮﺏ‪،‬ﺷﺎﻳﺪ ﺑﺘﻮﺍﻥ ﮔﻔﺖ ﻛﻪ ﻣﻬﻢ ﺗﺮﻳﻦ ﺣﺎﺩﺛﻪ‬ ‫ﺩﺭﺳﺎﻟﻲ ﻛﻪ ﮔﺬﺷﺖ‪ ،‬ﺩﺭﮔﺬﺷﺖ ﻣﺤﻤﻮﺩ ﺩﺭﻭﻳﺶ‬ ‫ﺷﺎﻋﺮ ﻣﻘﺎﻭﻣﺖ ﻓﻠﺴﻄﻴﻦ ﺑﻮﺩ‪ .‬ﺩﺭﺣﻘﻴﻘﺖ ﻣﺤﻤﻮﺩ‬ ‫ﺩﺭﻭﻳﺶ ﺷﺎﻋﺮ ﻣﻠّﻲ ﻓﻠﺴﻄﻴﻦ ﺑﻮﺩ ﻛﻪ ﺷﻌﺮﺵ‬ ‫ﺭﺍ ﺟﻬﺎﻧﻲ ﻛﺮﺩ‪ .‬ﻣﻦ ﻣﺤﻤﻮﺩ ﺩﺭﻭﻳﺶ ﺭﺍ ﻣﺎﻧﻨﺪ‬ ‫ﺷﺎﻣﻠﻮ ﻭ ﺁﺩﻭﻧﻴﺲ ﻭ ﻟﻮﺭﻛﺎ ﻭ ﭘﺎﺯ ﻭ ﺍﻟﻴﻮﺕ‪..‬ﺷﺎﻋﺮ‬ ‫ﺟﻬﺎﻥ ﻣﻰﺩﺍﻧﻢ ﺯﻳﺮﺍ ﺗﻌﺮﻳﻔﻲ ﻛﻪ ﺍﺯ ﺍﻧﺴﺎﻥ ﺩﺭ‬ ‫ﺷﻌﺮ ﻣﺤﻤﻮﺩ ﺩﺭﻭﻳﺶ ﺁﻣﺪﻩ ﺍﺳﺖ‪،‬ﻫﻤﺎﻥ‬ ‫ﺗﻌﺮﻳﻒ ﺍﻭﻣﺎﻧﻴﺴﺘﻲ ﺷﺎﻋﺮﺍﻥ ﺟﻬﺎﻥ ﺍﺳﺖ‪.‬‬ ‫ﺍﻧﺴﺎﻥ ﻣﺤﻤﻮﺩ ﺩﺭﻭﻳﺶ‪،‬ﻓﻘﻂ ﺍﻧﺴﺎﻥ ﻓﻠﺴﻄﻴﻨﻲ‬ ‫ﻧﻴﺴﺖ‪،‬ﺑﻠﻜﻪ ﺟﻮﻫﺮ ﺍﻧﺴﺎﻥ ﺍﺳﺖ‪،‬ﺍﺯﺍﻳﻦ ﺭﻭﺳﺖ‬ ‫ﻛﻪ ﺗﻤﺎﻣﻰﻣﺨﺎﻃﺒﺎﻥ ﻣﺤﻤﻮﺩ ﺩﺭﻭﻳﺶ‪،‬ﺩﺭﺩ ﺍﻧﺴﺎﻥ‬ ‫ﻓﻠﺴﻄﻴﻨﻲ ﺭﺍ‪،‬ﺭﻧﺞ ﻭ ﺩﺭﺩ ﺷﺨﺼﻲ ﺧﻮﺩ ﺑﻪ ﺣﺴﺎﺏ‬ ‫ﻣﻰﺁﻭﺭﻧﺪ‪.‬‬ ‫ﻣﺤﻤﻮﺩ ﺩﺭﻭﻳﺶ ﺁﻧﭽﻨﺎﻥ ﺧﺮﺩﻣﻨﺪﺍﻧﻪ ﻭ ﺩﺭﻋﻴﻦ‬ ‫ﺣﺎﻝ ﻛﻮﺑﻨﺪﻩ ﺑﺎ ﺩﺷﻤﻦ ﺍﺳﺮﺍﻳﻴﻠﻲﺍﺵ ﺳﺨﻦ‬ ‫ﻣﻲﮔﻔﺖ ﻛﻪ ﺁﻧﻬﺎ ﺭﺍ ﺑﻪ ﻓﻜﺮ ﻓﺮﻭ ﻣﻲﺑﺮﺩ‪.‬ﻣﺜﻼ‬ ‫ﻭﻗﺘﻲ ﺧﻮﺍﻧﻨﺪﻩ ﻣﺸﻬﻮﺭ ﺳﻮﺭﻳﻪ‪ ،‬ﺧﺎﻧﻢ ﺃﺻﺎﻟﻪ‬ ‫ﻧﺼﺮﻱ‪ ،‬ﺷﻌﺮ ﻣﺤﻤﻮﺩ ﺩﺭﻭﻳﺶ ﺭﺍ ﺑﺎﻋﻨﻮﺍﻥ‬ ‫»ﺭﻫﮕﺬﺭﺍﻥ ﺩﺭ ﻛﻼﻣﻰ ﺭﻫﮕﺬﺭ« ﺍﺟﺮﺍ ﻛﺮﺩ‪ ،‬ﺩﺭ‬ ‫ﺧﻮﺩ ﺍﺳﺮﺍﻳﻴﻞ ﺁﻧﭽﻨﺎﻥ ﺁﺷﻮﺑﻲ ﺑﻪ ﭘﺎ ﺷﺪ ﻛﻪ ﻛﺎﺭ‬ ‫ﺑﻪ ﻣﺠﻠﺲ ﺍﺳﺮﺍﻳﻴﻞ ﻛﺸﻴﺪﻩ ﺷﺪ ﻭ ﺑﺴﻴﺎﺭﻱ ﺍﺯ‬ ‫ﻣﺮﺩﻡ ﺍﺳﺮﺍﻳﻴﻞ ﺭﺍ ﺑﺎ ﻭﺟﺪﺍﻧﺸﺎﻥ ﺩﺭﮔﻴﺮ ﻛﺮﺩ‪.‬‬ ‫ﻣﺤﻤﻮﺩ ﺩﺭﻭﻳﺶ ﻫﺮﮔﺰ ﺩﺷﻤﻨﺶ ﺭﺍ ﺍﺑﻠﻪ ﻭ ﻧﺎﺩﺍﻥ‬ ‫ﺗﺼﻮﺭ ﻧﻜﺮﺩ ﻭ ﺍﻭﺭﺍ ﺑﻪ ﺑﺎﺩ ﺗﻮﻫﻴﻦ ﻭﻧﺎﺳﺰﺍ ﻧﮕﺮﻓﺖ‬ ‫ﺑﻠﻜﻪ ﺑﺴﻴﺎﺭ ﺭﻭﺷﻨﻔﻜﺮﺍﻧﻪ ﻭ ﺍﻧﺴﺎﻧﻲ ﺍﻭﺭﺍ ﺑﻪ ﮔﻔﺘﮕﻮ‬ ‫ﺩﻋﻮﺕ ﻛﺮﺩ‪.‬‬ ‫ﺍﺷﻌﺎﺭ ﺩﺭﻭﻳﺶ ﺁﻧﭽﻨﺎﻥ ﺍﻧﺴﺎﻧﻲ‪،‬ﻣﻈﻠﻮﻣﺎﻧﻪ ﻭ‬ ‫ﺩﻭﺳﺘﺎﻧﻪ ﺍﺳﺖ ﻛﻪ ﺣﺘﻲ ﺳﺮﺍﻥ ﺍﺳﺮﺍﻳﻴﻞ ﺭﺍ ﺗﺤﺖ‬ ‫ﺗﺄﺛﻴﺮﻗﺮﺍﺭ ﻣﻰﺩﺍﺩ‪ .‬ﺩﺭ ﺳﺎﻝ ‪ 2000‬ﻭﺯﻳﺮ ﺁﻣﻮﺯﺵ‬ ‫ﻭ ﭘﺮﻭﺭﺵ‪،‬ﺍﺳﺮﺍﻳﻴﻞ‪،‬ﻳﻮﺳﻲ ﺳﺎﺭﻳﺪ‪ ،‬ﭘﻴﺸﻨﻬﺎﺩ ﻛﺮﺩ‬ ‫ﻛﻪ ﺑﺮﺧﻲ ﺍﺯ ﺍﺷﻌﺎﺭ ﻣﺤﻤﻮﺩ ﺩﺭﻭﻳﺶ ﺩﺭ ﻛﺘﺐ‬ ‫ﺩﺭﺳﻲ ﻣﺪﺍﺭﺱ ﺍﺳﺮﺍﻳﻴﻞ ﺩﺭﺝ ﺷﻮﺩ‪ ،‬ﺍﻣﺎ ﺍﻳﻬﻮﺩ‬ ‫ﺑﺎﺭﺍﻙ ﺻﻬﻴﻮﻧﻴﺴﺖ‪،‬ﺑﺎ ﺁﻥ ﻣﺨﺎﻟﻔﺖ ﻛﺮﺩ‪.‬‬ ‫ﺷﻌﺮ ﺯﻳﺮ ﻛﻪ ﻇﺎﻫﺮﺍ ﺁﺧﺮﻳﻦ ﺷﻌﺮ ﻣﺤﻤﻮﺩ ﺩﺭﻭﻳﺶ‬ ‫ﺍﺳﺖ‪،‬ﻧﺸﺎﻥ ﻣﻰﺩﻫﺪ ﻛﻪ ﺷﺎﻋﺮ ﺑﻪ ﻋﻨﻮﺍﻥ ﻧﻤﺎﺩ‬

‫ﻓﻠﺴﻄﻴﻦ ﺑﺎ ﺩﺷﻤﻨﺶ ﺑﻪ ﺻﺪﺍﻗﺖ ﺩﺳﺖﻳﺎﻓﺘﻪ ﺍﺳﺖ ﻭ‬ ‫ﺍﺯﺍﻭ ﻣﻰﺧﻮﺍﻫﺪ ﻛﻪ ﺑﻴﺎﻳﻴﻢ ﺑﺮﺍﻱ ﻧﺠﺎﺕﻳﻜﺪﻳﮕﺮ ﺭﺍﻫﻲ‬ ‫ﺑﻴﻨﺪﻳﺸﻴﻢ ﺯﻳﺮﺍ ﺁﻧﺎﻥ ﻛﻪ ﻣﺎﺭﺍ ﺩﺭﺍﻳﻦ ﭼﺎﻩ ﺍﻧﺪﺍﺧﺘﻪ‬ ‫ﺍﻧﺪ‪،‬ﺩﻭﺳﺘﺎﻥ ﻣﺎ ﻧﻴﺴﺘﻨﺪ‪ .‬ﺑﻪ ﺑﻴﺎﻥ ﺩﻳﮕﺮ ﺟﻨﺎﺡ ﺭﻭﺷﻨﻔﻜﺮﻱ‬ ‫ﻓﻠﺴﻄﻴﻦ ﻛﻪ ﻣﺤﻤﻮﺩ ﺩﺭﻭﻳﺶ ﺩﺭﺭﺩﻳﻒ ﺍﻭﻝ ﻗﺮﺍﺭ ﺩﺍﺷﺖ‬ ‫ﻣﻰﻛﻮﺷﺪ ﺗﺎ ﺑﺎ ﮔﻔﺘﻤﺎﻥ ﺍﻧﺴﺎﻧﻲ ﻭ ﺧﺮﺩﻣﻨﺪﺍﻧﻪ ﻓﻠﺴﻄﻴﻦ‬ ‫ﺭﺍ ﺍﺯ ﺯﻳﺮ ﺳﺘﻢ ﻭ ﺳﺮﮔﺮﺩﺍﻧﻲ ﻧﺠﺎﺕ ﺩﻫﺪ‪.‬ﻣﻦ ﻫﻢ ﺑﺮﺍﻳﻦ‬ ‫ﻋﻘﻴﺪﻩ ﺍﻡ ﻛﻪ ﺗﻤﺎﻣﻰﻣﻌﻀﻼﺕ ﺍﻧﺴﺎﻧﻲ ﺭﺍ ﻣﻰﺗﻮﺍﻥ ﺑﺎ‬ ‫ﮔﻔﺘﻤﺎﻥ ﺧﺮﺩﻣﻨﺪﺍﻧﻪ‪،‬ﺣﻞ ﻭ ﻓﺼﻞ ﻛﺮﺩ‪ .‬ﻫﻤﺎﻧﻄﻮﺭ ﻛﻪ‬ ‫ﺩﻳﺪﻳﻢ ﺍﺭﻭﭘﺎ ﻣﺮﺯﻫﺎﻱ ﻓﻴﺰﻳﻜﻲ ﺧﻮﺩﺭﺍ ﺑﺮﺩﺍﺷﺖ ﻭ ﻭﺍﺣﺪ‬ ‫ﭘﻮﻟﺶ ﺭﺍﻳﻜﻲ ﻛﺮﺩ ﻭ ﺑﻪﻳﻚ ﻣﻠﺖ ﺗﺒﺪﻳﻞ ﺷﺪ‪ .‬ﻣﺘﺄﺳﻔﺎﻧﻪ‬ ‫ﺩﺭ ﻛﺸﻮﺭ ﻣﻦ ﺍﻳﻦ ﺣﺎﺩﺛﻪ ﺭﺍ ﺑﺴﻴﺎﺭ ﻛﻤﺮﻧﮓ ﻧﺸﺎﻥ ﺩﺍﺩﻧﺪ‬

‫ﻣﺤﻤﻮﺩ ﺩﺭﻭﻳﺶ ﺁﻧﭽﻨﺎﻥ ﺧﺮﺩﻣﻨﺪﺍﻧﻪ ﻭ‬ ‫ﺩﺭﻋﻴﻦ ﺣﺎﻝ ﻛﻮﺑﻨﺪﻩ ﺑﺎ ﺩﺷﻤﻦ ﺍﺳﺮﺍﻳﻴﻠﻲﺍﺵ‬ ‫ﺳﺨﻦ ﻣﻲﮔﻔﺖ ﻛﻪ ﺁﻧﻬﺎ ﺭﺍ ﺑﻪ ﻓﻜﺮ ﻓﺮﻭ‬ ‫ﻣﻲﺑﺮﺩ‪.‬ﻣﺜﻼ ﻭﻗﺘﻲ ﺧﻮﺍﻧﻨﺪﻩ ﻣﺸﻬﻮﺭ ﺳﻮﺭﻳﻪ‪،‬‬ ‫ﺧﺎﻧﻢ ﺃﺻﺎﻟﻪ ﻧﺼﺮﻱ‪ ،‬ﺷﻌﺮ ﻣﺤﻤﻮﺩ ﺩﺭﻭﻳﺶ ﺭﺍ‬ ‫ﺑﺎﻋﻨﻮﺍﻥ » ﺭﻫﮕﺬﺭﺍﻥ ﺩﺭ ﻛﻼﻣﻰﺭﻫﮕﺬﺭ« ﺍﺟﺮﺍ‬ ‫ﻛﺮﺩ‪ ،‬ﺩﺭ ﺧﻮﺩ ﺍﺳﺮﺍﻳﻴﻞ ﺁﻧﭽﻨﺎﻥ ﺁﺷﻮﺑﻲ ﺑﻪ ﭘﺎ‬ ‫ﺷﺪ ﻛﻪ ﻛﺎﺭ ﺑﻪ ﻣﺠﻠﺲ ﺍﺳﺮﺍﻳﻴﻞ ﻛﺸﻴﺪﻩ ﺷﺪ‬ ‫ﻭ ﺑﺴﻴﺎﺭﻱ ﺍﺯ ﻣﺮﺩﻡ ﺍﺳﺮﺍﻳﻴﻞ ﺭﺍ ﺑﺎ ﻭﺟﺪﺍﻧﺸﺎﻥ‬ ‫ﺩﺭﮔﻴﺮ ﻛﺮﺩ‪.‬‬ ‫ﻣﺤﻤﻮﺩ ﺩﺭﻭﻳﺶ ﻫﺮﮔﺰ ﺩﺷﻤﻨﺶ ﺭﺍ ﺍﺑﻠﻪ‬ ‫ﻭ ﻧﺎﺩﺍﻥ ﺗﺼﻮﺭ ﻧﻜﺮﺩ ﻭ ﺍﻭﺭﺍ ﺑﻪ ﺑﺎﺩ ﺗﻮﻫﻴﻦ‬ ‫ﻭﻧﺎﺳﺰﺍ ﻧﮕﺮﻓﺖ ﺑﻠﻜﻪ ﺑﺴﻴﺎﺭ ﺭﻭﺷﻨﻔﻜﺮﺍﻧﻪ ﻭ‬ ‫ﺍﻧﺴﺎﻧﻲ ﺍﻭﺭﺍ ﺑﻪ ﮔﻔﺘﮕﻮ ﺩﻋﻮﺕ ﻛﺮﺩ‪.‬‬

‫ﺁﺧﺮﻳﻦ ﺷﻌﺮ ﻣﺤﻤﻮﺩ ﺩﺭﻭﻳﺶ‪:‬‬ ‫ﺳﻨﺎﺭﻳﻮﻱ ﺁﻣﺎﺩﻩ‬ ‫ﭼﻨﻴﻦ ﻓﺮﺽ ﻛﻨﻴﻢ ﻛﻪ ﺍﻛﻨﻮﻥ ﻣﺎ ﻓﺮﻭ ﺍﻓﺘﺎﺩﻩﺍﻳﻢ‬ ‫ﻣﻦ ﻭ ﺩﺷﻤﻦ‬ ‫ﺍﺯ ﻫﻮﺍ ﻓﺮﻭ ﺍﻓﺘﺎﺩﻩﺍﻳﻢ‬ ‫ﺩﺭ ﮔﻮﺩﺍﻟﻲ‪...‬‬ ‫ﺩﺭ ﺍﻳﻦ ﺻﻮﺭﺕ ﭼﻪ ﺭﺥ ﺧﻮﺍﻫﺪ ﺩﺍﺩ؟‬ ‫ﺳﻨﺎﺭﻳﻮﻱ ﺁﻣﺎﺩﻩ‪ ..‬ﺩﺭ ﺁﻏﺎﺯ ﻣﻨﺘﻈﺮ ﺷﺎﻧﺲ ﻣﻲﻣﺎﻧﻴﻢ‪...‬‬ ‫ﻧﺠﺎﺕﺩﻫﻨﺪﮔﺎﻥ ﻣﺎ ﺭﺍ ﺧﻮﺍﻫﻨﺪﻳﺎﻓﺖ‬ ‫ﻭ ﻃﻨﺎﺏ ﻧﺠﺎﺕ ﺭﺍ ﺩﺭﻭﻥ ﮔﻮﺩﺍﻝ ﻓﺮﻭ ﺧﻮﺍﻫﻨﺪ ﺁﻭﻳﺨﺖ‬ ‫ﭘﺲ ﻣﻦ ﻣﻲﮔﻮﻳﻢ‪ :‬ﺍﻭﻝ ﻣﻦ‬ ‫ﻭ ﺍﻭ ﻣﻲﮔﻮﻳﺪ‪ :‬ﺍﻭﻝ ﻣﻦ‬ ‫ﺍﻭ ﺩﺷﻨﺎﻣﻢ ﻣﻲﺩﻫﺪ ﻣﻦ ﻧﻴﺰ ﺩﺷﻨﺎﻣﺶ ﻣﻲﺩﻫﻢ‬ ‫ﺑﻲﻫﻴﭻ ﻓﺎﻳﺪﻩﺍﻱ‬ ‫ﺑﻨﺎﺑﺮﺍﻳﻦ ﻃﻨﺎﺏ ﺩﻳﮕﺮ ﺁﻭﻳﺨﺘﻪ ﻧﺨﻮﺍﻫﺪ ﺷﺪ‪...‬‬ ‫ﺳﻨﺎﺭﻳﻮ ﻣﻲﮔﻮﻳﺪ‪:‬‬ ‫ﻣﻦ ﭘﻨﻬﺎﻧﻲ ﺑﺎ ﺧﻮﺩﻡ ﻧﺠﻮﺍ ﻣﻲﻛﻨﻢ‪..‬‬ ‫ﺍﻳﻦ ﻫﻤﺎﻥ ﺧﻮﺷﺒﻴﻨﻲ ﺁﺩﻡ ﺧﻮﺩﺧﻮﺍﻩ ﺍﺳﺖ‪.‬‬ ‫ﺑﻲﺁﻧﻜﻪ ﺍﺯ ﺩﺷﻤﻨﻢ ﭼﻴﺰﻱ ﺑﭙﺮﺳﻢ‬ ‫ﻣﻦ ﻭ ﺍﻭ‬ ‫ﺩﻭ ﺷﺮﻳﻚ ﺩﺭﻳﻚ ﺩﺍﻡ‬ ‫ﺩﻭ ﺷﺮﻳﻚ ﺩﺭ ﺑﺎﺯﻱ ﺍﺣﺘﻤﺎﻻﺕ‬ ‫ﻣﻨﺘﻈﺮ ﻃﻨﺎﺑﻲ‪ ...‬ﻃﻨﺎﺏ ﻧﺠﺎﺕ‬ ‫ﺑﺎﻳﺪ ﻫﺮﻳﻚ ﺑﻪ ﺗﻨﻬﺎﻳﻲ ﺑﺮﻭﻳﻢ‬ ‫ﺩﺭ ﺣﺎﻟﻲ ﻛﻪ ﺑﺮ ﻟﺒﻪﻱ ﮔﻮﺩﺍﻝ‬ ‫ﺟﻬﻨﻢ ﺍﺳﺖ ﺗﺎ ﺁﻧﮕﺎﻩ ﻛﻪ ﺑﺮﺍﻱ ﻣﺎ ﭼﻴﺰﻱ ﺍﺯ ﺯﻧﺪﮔﻲ‬ ‫ﺑﺎﻗﻲ ﺍﺳﺖ‬

‫ﻭ ﭼﻴﺰﻱ ﺑﺮﺍﻱ ﺟﻨﮓ‪...‬‬ ‫ﻣﺎ ﻛﻲ ﻧﺠﺎﺕ ﭘﻴﺪﺍ ﺧﻮﺍﻫﻴﻢ ﻛﺮﺩ‬ ‫ﻣﻦ ﻭ ﺍﻭ‬ ‫ﺩﻭ ﺗﺮﺳﻮ ﺑﺎ ﻫﻢ‬ ‫ﺩﺭ ﺣﺎﻟﻲ ﻛﻪ ﻫﻴﭻ ﺳﺨﻨﻲ ﺭﺩ ﻭ ﺑﺪﻝ ﻧﻤﻲﻛﻨﻴﻢ‬ ‫ﺍﺯ ﺗﺮﺱ‪...‬ﻳﺎ ﭼﻴﺰﻫﺎﻳﻲ ﺩﻳﮕﺮ‬ ‫ﺯﻳﺮﺍ ﻣﺎ ﺩﻭ ﺩﺷﻤﻨﻴﻢ‪...‬‬ ‫ﭼﻪ ﺭﺥ ﺧﻮﺍﻫﺪ ﺩﺍﺩ ﺍﮔﺮ ﻣﺎﺭﻱ ﻫﻮﻟﻨﺎﻙ‬ ‫ﺑﺎﻻﻱ ﺳﺮﻣﺎﻥ ﺑﺎﺷﺪ‬ ‫ﺍﺯ ﺻﺤﻨﻪﻫﺎﻱ ﺍﻳﻦ ﺳﻨﺎﺭﻳﻮ ﺍﺳﺖ‪.‬‬ ‫ﻭ ﺑﺮﺍﻱ ﺑﻠﻌﻴﺪﻥ ﺍﻳﻦ ﻫﺮ ﺩﻭ ﺗﺮﺳﻮ‪،‬ﻓﺶ ﻭ ﻓﺶ ﻛﻨﺪ‬ ‫ﻣﻦ ﻭ ﺍﻭ؟‬ ‫ﺳﻨﺎﺭﻳﻮ ﻣﻲﮔﻮﻳﺪ‪ ..‬ﻣﻦ ﻭ ﺍﻭ ﺩﺭ ﻗﺘﻞ ﻣﺎﺭ ﺷﺮﻳﻚ‬ ‫ﺧﻮﺍﻫﻴﻢ ﺷﺪ‬ ‫ﺗﺎ ﺑﺎ ﻫﻢ ﻧﺠﺎﺕﻳﺎﺑﻴﻢ‬ ‫ﻳﺎ ﻫﺮﻳﻚ ﺑﻪ ﺗﻨﻬﺎﻳﻲ‪...‬‬ ‫ﺍﻣﺎ ﻣﺎ ﻫﺮﮔﺰ ﺍﺯ ﺳﭙﺎﺱ ﻭ ﺗﺒﺮﻳﻚ ﭼﻴﺰﻱ ﻧﺨﻮﺍﻫﻴﻢ‬ ‫ﮔﻔﺖ‬ ‫ﺑﺮ ﺁﻥ ﻛﺎﺭﻱ ﻛﻪ ﺑﺎ ﻫﻢ ﺍﻧﺠﺎﻡ ﺩﺍﺩﻩ ﺍﻳﻢ‬ ‫ﺯﻳﺮﺍ ﻏﺮﻳﺰﻩ ﻭ ﻧﻪ ﻣﺎ‬ ‫ﺑﻪ ﺗﻨﻬﺎﻳﻲ ﺍﺯ ﺧﻮﺩﺵ ﺩﻓﺎﻉ ﻛﺮﺩﻩ ﺍﺳﺖ‬ ‫ﻭ ﻏﺮﻳﺰﻩ ﻫﻴﭻ ﺍﻳﺪﺋﻮﻟﻮژﻱ ﻧﺪﺍﺭﺩ‬ ‫ﻣﺎ ﺑﺎ ﻫﻢ ﮔﻔﺘﮕﻮ ﻧﻜﺮﺩﻳﻢ‬ ‫ﻣﻦ ﺍﺻﻮﻝ ﻓﻘﺎﻫﺖ ﮔﻔﺘﮕﻮﻫﺎ ﺭﺍ ﺑﻪﻳﺎﺩ ﻣﻲﺁﻭﺭﻡ‬ ‫ﺩﺭ ﺁﻥ ﻣﺴﺌﻠﻪﻱ ﺑﻴﻬﻮﺩﻩﻱ ﻣﺸﺘﺮﻙ‬ ‫ﺁﻧﮕﺎﻩ ﻛﻪ ﺩﺭ ﮔﺬﺷﺘﻪ ﺑﻪ ﻣﻦ ﮔﻔﺖ‪:‬‬ ‫ﺁﻥ ﻣﻦ ﺍﺳﺖ‬ ‫ﺁﻥ ﻣﻦ ﮔﺮﺩﻳﺪ ﺍﺯ ِ‬ ‫»ﻫﺮ ﭼﻪ ﺍﺯ ِ‬ ‫ﺁﻥ ﺗﻮﺳﺖ ﻫﻢ ﻣﺎﻝ ﻣﻦ ﺍﺳﺖ‬ ‫ﻭ ﺁﻧﭽﻪ ﺍﺯ ِ‬ ‫ﻭﻫﻢ ﻣﺎﻝ ﺗﻮ! «‬ ‫ﻭ ﺑﺎ ﮔﺬﺭ ﺯﻣﺎﻥ‪،‬‬ ‫ﺯﻣﺎﻥ ﻛﻪ ﭼﻮﻥ ﺭﻳﮓ ﺭﻭﺍﻥ ﻭ ﻛﻒ ﺻﺎﺑﻮﻥ ﺑﺮ ﮔﺬﺭ‬ ‫ﺍﺳﺖ‪.‬‬ ‫ﺳﻜﻮﺕ ﻭ ﺧﺴﺘﮕﻲ ﻣﻴﺎﻥ ﺷﻜﺴﺘﻪ ﺷﺪ‬ ‫ﺍﻭ ﺑﻪ ﻣﻦ ﮔﻔﺖ‪ :‬ﭼﻪ ﻛﻨﻴﻢ؟‬ ‫ﻣﻦ ﺑﻪ ﺍﻭ ﮔﻔﺘﻢ‪ :‬ﻫﻴﭻ ﻛﺎﺭ‪ ...‬ﻫﻤﻪﻱ ﺍﺣﺘﻤﺎﻻﺕ ﺭﺍ‬ ‫ﺩﺭ ﻧﻈﺮ ﺧﻮﺍﻫﻴﻢ ﮔﺮﻓﺖ‬ ‫ﺍﻭ ﮔﻔﺖ‪ :‬ﺍﺯ ﻛﺠﺎ ﺍﻳﻦ ﺍﻣﻴﺪ ﻣﺤ ﱠﻘﻖ ﺧﻮﺍﻫﺪ ﺁﻣﺪ؟‬ ‫ﻣﻦ ﮔﻔﺘﻢ‪ :‬ﺍﺯ ﻫﻮﺍ‪.‬‬ ‫ﺍﻭ ﮔﻔﺖ‪ :‬ﺁﻳﺎ ﻓﺮﺍﻣﻮﺵ ﻛﺮﺩﻩﺍﻱ ﻛﻪ ﻣﻦ ﺗﻮ ﺭﺍ ﺩﺭ‬ ‫ﭼﻨﻴﻦ ﮔﻮﺩﺍﻟﻲ‬ ‫ﺩﻓﻦ ﻛﺮﺩﻩﺍﻡ؟‬ ‫ﻣﻦ ﺑﻪ ﺍﻭ ﮔﻔﺘﻢ‪ :‬ﻧﺰﺩﻳﻚ ﺑﻮﺩ ﻓﺮﺍﻣﻮﺵ ﻛﻨﻢ ﻛﻪ‬ ‫ﻓﺮﺩﺍ ﻣﺄﻣﻮﺭﺍﻥ ﻣﺨﻔﻲ‬ ‫ﺩﺳﺘﺎﻥ ﻣﺮﺍ ﺧﻮﺍﻫﻨﺪ ﺑﺴﺖ‪ ...‬ﻭ ﻣﺮﺍ ﺩﺭﺩﻣﻨﺪ ﺧﻮﺍﻫﻨﺪ‬ ‫ﺑﺮﺩ‬ ‫ﺍﻭ ﮔﻔﺖ‪ :‬ﺍﻛﻨﻮﻥ ﺑﺎ ﻣﻦ ﮔﻔﺘﮕﻮ ﻣﻲﻛﻨﻲ؟‬ ‫ﻣﻦ ﺑﻪ ﺍﻭ ﮔﻔﺘﻢ‪ :‬ﺑﺮ ﺳﺮ ﭼﻪ ﺍﻛﻨﻮﻥ ﺑﺎ ﺗﻮ ﮔﻔﺘﮕﻮ ﻛﻨﻢ‬ ‫ﺩﺭ ﺍﻳﻦ ﮔﻮﺩﺍﻝ ﻗﺒﺮ؟‬ ‫ﮔﻔﺖ‪ :‬ﺑﺮ ﺳﺮ ﺳﻬﻢ ﺧﻮﺩﺕ ﻭ ﺳﻬﻢ ﻣﻦ‬ ‫ﺍﺯ ﺯﻧﺪﮔﺎﻧﻲ ﻣﺎﻥ ﻭ ﺍﺯ ﻗﺒﺮ ﻣﺸﺘﺮﻛﻤﺎﻥ‬ ‫ﻣﻦ ﮔﻔﺘﻢ‪ :‬ﭼﻪ ﻓﺎﻳﺪﻩ‬ ‫ﻭﻗﺖ ﻣﺎ ﮔﺬﺷﺘﻪ ﺍﺳﺖ ﻭ ﺳﺮﻧﻮﺷﺖ ﺍﺯ ﻗﺎﻋﺪﻩﻱ‬ ‫ﺍﺻﻠﻲ ﻣﻨﺤﺮﻑ ﺷﺪﻩ ﺍﺳﺖ‬ ‫ﺩﺭ ﺍﻳﻦ ﺟﺎ ﻗﺎﺗﻠﻲ ﻭ ﻣﻘﺘﻮﻟﻲ ﻫﺮ ﺩﻭ ﺩﺭﻳﻚ ﮔﻮﺩﺍﻝ‬ ‫ﻣﻲﺁﺭﺍﻣﻨﺪ‬ ‫‪ ..‬ﻭ ﺑﺮ ﻋﻬﺪﻩﻱ ﺷﺎﻋﺮﻱ ﺩﻳﮕﺮ ﺍﺳﺖ ﻛﻪ ﺍﻳﻦ‬ ‫ﺳﻨﺎﺭﻳﻮ ﺭﺍ ﺩﻧﺒﺎﻝ ﻛﻨﺪ‬ ‫ﺗﺎ ﭘﺎﻳﺎﻧﺶ؟‬

‫ﻧﻮﻳﺴﺶ ﻳﻌﻨﻰ ﺩﺳﺖ‬ ‫ﭘﺎﺳﺦ ﺳﻬﺮﺍﺏ ﻣﺎﺭﻧﺪﺭﺍﻧﻰ‬ ‫)ﺩﺭ‬ ‫ِ‬ ‫ﺷﺎﻋﺮ‪ ،‬ﺳﻮﺋﺪ ‪(1370‬‬ ‫ﻳﺪﺍﷲ ﺭﻭﻳﺎﻳﻰ‬

‫‪ ...‬ﺩﺳﺖ ﺍﺳﺖ ﻛﻪ ﻣﻰﻧﻮﻳﺴﺪ‪ .‬ﻧﻮﻳﺴﺶ‬ ‫ﺩﺳﺖ ﻣﺮﺍ ﺩﺭ ﻧﺜﺮﻫﻢ‪ ،‬ﺷﻌﺮﺣﺠﻢ‬ ‫ﻳﻌﻨﻰ ﺩﺳﺖ‪ِ .‬‬ ‫ﻣﻰﮔﻴﺮﺩ‪ .‬ﻳﻌﻨﻰ ﺑﻠﺪﻯ ﺍﺳﺖ ﺑﺮﺍﻯ ﺩﺳﺖ ﻣﻦ‪،‬‬ ‫ﻛﻪ ﻣﻰﮔﻴﺮﺩ ﻭ ﺩﺭ ﻣﻴﺎﻥ ﻛﻠﻤﻪ ﻫﺎ ﻭ ﺭﺍﻩ ﻭ‬ ‫ﺭﺍﺑﻄﻪﻫﺎﺷﺎﻥ ﻣﻰﺑﺮﺩ‪.‬‬ ‫ﺍﻳﻦ ﺑﻠﺪ ﺑﻪ ﻣﺮﺑﻰ ﻳﺎ ﻛﺎﭘﻴﺘﺎﻥ ِ ﺑﺎﺯﻯ ﻣﻰﻣﺎﻧﺪ‪.‬‬ ‫ﺟﺎﻩ ﻃﻠﺒﻰ ﺍﺳﺖ ﻛﻪ ﻧﻪ ﺑﺎ ﺁﺭﻣﺎﻥ ﻛﺎﺭﻯ ﺩﺍﺭﺩ ﻭ‬ ‫ﺍﺩﺏ ﺩﺍﻧﺸﮕﺎﻫﻰ‪ .‬ﻣﻨﺘﻘﺪﺍﻥ‬ ‫ﻧﻪ ﺑﺎ ﺗﻔﻜﺮ‪ ،‬ﻭ ﻧﻪ ﺑﺎ ِ‬ ‫ﻭ ﻧﻮﻳﺴﻨﺪﮔﺎﻥ ﺭﻣﺎﻥ ﻫﺎﻯ ﺗﺎﺭﻳﺨﻰ ﻭ ﺍﺟﺘﻤﺎﻋﻰ‬ ‫ﺁﻥ ﺭﺍ ﻧﻤﻰﺷﻨﺎﺳﻨﺪ‪ .‬ﻭ ﻫﻤﺔ ﺁﻧﻬﺎﺋﻰ ﻛﻪ ﺑﻪ‬ ‫ﺟﺎﻣﻌﻪ ﻭ ﺍﻧﺴﺎﻧﻴﺖ ﻣﻰﺍﻧﺪﻳﺸﻨﺪ‪.‬ﻭ ﻳﺎ ﺩﺭﺭﺍﺑﻄﺔ‬ ‫ﺩﻳﻦ ﻭﻫﻨﺮ‪،‬ﻭ ﺍﺧﻼﻕ ﺩﺭ ﺷﻌﺮ ﻣﻰﻧﻮﻳﺴﻨﺪ ﺁﻧﺮﺍ‬ ‫ﻧﻤﻰﺷﻨﺎﺳﻨﺪ‪ .‬ﺁﻧﻬﺎ ﺳﺎﺧﺘﻤﺎﻥ ﺫﻫﻨﻰ ﺣﺠﻢ ﺭﺍ‬ ‫ﻧﻤﻰﺧﻮﺍﻫﻨﺪ‪ ،‬ﻭﻟﺬﺍ ﺩﺭ ﻧﻤﻰﻳﺎﺑﻨﺪ‪.‬‬ ‫ﻋﺎﺩﺕ ﻛﻠﻤﻪ ﻫﺎ‬ ‫ﻣﺎ ﺩﺭ ﻛﺎﺭ ﺧﻮﺩ‪ ،‬ﻛﺎﺭﻯ ﺑﻪ‬ ‫ِ‬ ‫ﻧﺪﺍﺭﻳﻢ‪ .‬ﻣﺎ ﺩﺭ ﻣﻴﺎﻥ ﺯﻧﺪﮔﻰ ﻛﻠﻤﻪ ﻫﺎ ﺯﻧﺪﮔﻰ‬ ‫ﻫﺎﻯ ﺗﺎﺯﻩ ﺍﻯ ﺑﺮﺍﻳﺸﺎﻥ ﻣﻰﺳﺎﺯﻳﻢ‪ .‬ﺍﺯ ﺁﻧﻬﺎ‬ ‫ﻧﺸﺎﻧﻪ ﺑﺮﺩﺍﺭﻯ ﻣﻰﻛﻨﻴﻢ‪ ،‬ﻭ ﺑﻌﺪ ﺑﺮﺍﻯ ﺁﻥ‬ ‫ﻧﺸﺎﻧﻪ ﻫﺎ ﺭﺍﺑﻄﻪ ﺳﺎﺯﻯ ﻣﻰﻛﻨﻴﻢ‪ .‬ﻛﻠﻤﻪ ﺩﺭ‬ ‫ﺍﻳﻦ ﻣﻘﺎﻡ‪ ،‬ﺧﻮﺩ ﺑﺼﻮﺭﺕ ﻳﻚ ﺗﺼﻮﻳﺮ‪ ،‬ﺩﻳﺪﻧﻰ‬ ‫ﻣﻰﻣﺎﻧﺪ‪ .‬ﻭ ﺍﻳﻦ "ﺩﻳﺪﻧﻰ" ﺍﺯ ﻣﻮﻗﻌﻰ "ﮔﻔﺘﻨﻰ"‬ ‫ﻣﻰﺷﻮﺩ ﻛﻪ ﺭﺍﻩ ﺑﻪ ﺍﻋﻤﺎﻕ ﻣﺎ ﭘﻴﺪﺍ ﻣﻰﻛﻨﺪ‬ ‫ﻭ ﺁﻧﺠﺎ ﺍﺯ ﻳﻚ ﻓﻀﺎﻯ ﺫﻫﻨﻰ )ﺍﺳﭙﺎﺳﻤﺎﻥ(‬ ‫ﻣﻰﮔﺬﺭﺩ‪ .‬ﻣﻦ‪ ،‬ﻭﻗﺘﻰ ﻛﻪ ﻣﻰﻧﻮﻳﺴﻢ‪ ،‬ﺩﺳﺘﻢ ﺭﺍ‬ ‫ﺍﺯ ﺍﺧﺘﻴﺎﺭ ﺍﻳﻦ ﺑﻠﺪ ﺑﻴﺮﻭﻥ ﻧﻤﻰﻛﺸﻢ ‪.‬‬ ‫ﻛﺎﺭ ﻧﺜﺮ ﺩﺭ ﻣﻜﺎﻧﻴﺴﻢ ﺣﺠﻢ ﺷﺒﻴﻪ ﻧﻘﺸﻰ ﺍﺳﺖ‬ ‫ﻛﻪ ﻳﻚ ﺑﺎﺯﻳﻜﻦ ﺷﻄﺮﻧﺞ ﺩﺍﺭﺩ‪ .‬ﺷﻄﺮﻧﺞ ﺑﺎﺯﻯ‬ ‫ﻣﺎﻫﺮ ﻭ ﻧﺘﺮﺱ ﻛﻪ ﺧﻄﺮﻣﻰﻛﻨﺪ‪ ،‬ﺣﺮﻛﺖﻫﺎ‬ ‫ﺭﺍ ﺑﻪ ﺳﺮﻋﺖ ﺟﺎﺑﺠﺎ ﻣﻰﻛﻨﺪ ﻭ ﺍﺷﺎﺭﻩ ﻫﺎ‬ ‫ﻭ ﺍﺛﺮﻫﺎﺷﺎﻥ ﺭﺍ ﺑﺮﻳﻜﺪﻳﮕﺮ ﺗﻜﺜﻴﺮﻣﻰﻛﻨﺪ‪.‬‬ ‫ﺑﺎﺯﻯ ﻣﻤﻜﻦ‬ ‫ﻭﺩﺭﺍﻳﻦ ﺗﻜﺜﻴﺮ ﺍﺯﻣﻴﺎﻥ ﻣﻴﻠﻴﻮﻧﻬﺎ ِ‬ ‫ﻳﺎﺩﻣﻰﮔﻴﺮﺩ ﻛﺪﺍﻡ ﺭﺍ ﺍﻧﺘﺨﺎﺏ ﻛﻨﺪ ﻛﻪ ﮔﻢ‬ ‫ﺷﺪﻥ ﺍﻭ ﺩﺭﺍﻳﻦ ﺗﻜﺜﻴ ِﺮ ﻭﺟﻮﻩ‪،‬‬ ‫ﻧﺸﻮﺩ‪ .‬ﮔﻢ‬ ‫ِ‬ ‫ﻭﺟﻬﻪﺍﻯ ﺍﺯ ﺟﻨﻮﻥ ﺍﻭﺳﺖ‪....‬‬ ‫ﻛﺘﺎﺏ "ﻋﺒﺎﺭﺕ ﺍﺯﭼﻴﺴﺖ"‬ ‫ﺩﺭ‬ ‫ِ‬

‫ﻧﮕﺎﻩ‬

‫ﺩﻭﺭﻩ ﺟﺪﻳﺪ‪/‬ﺷﻤﺎﺭﻩ ‪ 9‬ﻭ ‪)10‬ﭘﻴﺎﭘﻲ‪39‬ﻭ‪ /(40‬ﺳﺎﻝ ﺳﻮﻡ‪/‬ﻧﻮﺭﻭﺯ‪88‬‬

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‫ﺩﺷﻤﻦ ﻋﺰﻳﺰﻡ‪،‬ﺳﻼﻡ‬ ‫ﺩﻛﺘﺮ ﻋﺒﺪﺍﻟﺤﺴﻴﻦ ﻓﺮﺯﺍﺩ‬ ‫ﻣﺤﻤﺪ ﺍﺳﻌﺎﻑ ﻧﺸﺎﺷﻴﺒﻰ ﺷﺎﻋﺮﻋﺮﺏ ﻧﺨﺴﺘﻴﻦ‬ ‫ﺷﺎﻋﺮﻯ ﺑﻮﺩ ﻛﻪ ﻓﺎﺟﻌﻪ ﻓﻠﺴﻄﻴﻦ ﺭﺍ ﺩﺭ ﺷﻌﺮﺵ‬ ‫ﭘﻴﺶ ﺑﻴﻨﻰ ﻛﺮﺩ ﻭ ﺑﻪ ﺟﺎﻣﻌﻪ ﻋﺮﺏ ﻫﺸﺪﺍﺭ ﺩﺍﺩ‪.‬‬ ‫ﻧﺸﺎﺷﻴﺒﻰ ﺷﻌﺮﻯ ﺑﺎ ﻋﻨﻮﺍﻥ»ﻓﻠﺴﻄﻴﻦ ﻭ ﺍﺳﺘﻌﻤﺎﺭ‬ ‫ﻧﻮ«ﺩﺭ ﺳﺎﻝ ‪ 1910‬ﺩﺭ ﺭﻭﺯﻧﺎﻣﻪ »ﺍﻟﻨﻔﺎﺋﺲ‬ ‫ﺍﻟﻌﺼﺮﻳﻪ« ﺑﻪ ﭼﺎپ ﺭﺳﺎﻧﻴﺪ‪ .‬ﺍﻭ ﺑﺎ ﺩﺭﻙ ﺩﺭﺳﺖ‬ ‫ﺯﻣﺎﻧﻪ ﺧﻮﻳﺶ ﺁﻳﻨﺪﻩ ﺍﻱ ﺭﺍ ﻛﻪ ﺍﻣﭙﺮﻳﺎﻟﻴﺴﺖﻫﺎ‬ ‫ﺑﺮﺍﻱ ﺍﻋﺮﺍﺏ ﻭ ﻓﻠﺴﻄﻴﻦ ﻣﻘ ّﺪﺭ ﻛﺮﺩﻩ ﺑﻮﺩﻧﺪ‪،‬ﺩﻳﺪ ﻭ‬ ‫ﺑﻪ ﺟﺎﻣﻌﻪ ﺧﻮﻳﺶ ﻫﺸﺪﺍﺭ ﺩﺍﺩ‪:‬‬ ‫ﺍﻯ ﺩﺧﺘﺮ ﻗﺒﻴﻠﻪ ﻣﻦ!‬ ‫ﭼﻮﻥ ﺑﻪ ﮔﺮﻳﻪ ﺩﺭﺁﻳﻰ ﺳﻴﻼﺏ ﺧﻮﻥ ﺍﺯ ﻣﮋﻩ‬ ‫ﺑﮕﺸﺎﻯ!‬ ‫ﺍﻯ ﺧﻮﺍﻫﺮ ﺧﻮﺑﻢ!‬ ‫ﻓﻠﺴﻄﻴﻦ ﺭﻓﺖ ﻭ ﺩﻳﮕﺮﭼﻴﺰﻯ ﺟﺰ ﺧﻮﻥ ﺑﺮﺟﺎﻯ‬ ‫ﻧﻤﺎﻧﺪﻩ ﺍﺳﺖ‬ ‫ﺗﻮ ﮔﺮﻳﻪ ﻭ ﺷﻜﻮﻩ ﺳﺎﺯ ﺧﻮﺍﻫﻰ ﻛﺮﺩ‬ ‫ﺩﺭ ﺭﻭﺯﻯ ﻛﻪ ﺩﻳﮕﺮ ﮔﺮﻳﻪ ﻭ ﺷﻴﻮﻥ ﻛﺎﺭﺳﺎﺯ‬ ‫ﻧﻴﺴﺖ‪.‬‬ ‫ﻫﺎﻥ! ﺍﺳﺘﻌﻤﺎﺭ ﺭﺍ ﺑﻨﮕﺮﻳﺪ ﻛﻪ ﭼﻪ ﺗﻜﺘﺎﺯ ﺍﺳﺖ‬ ‫ﺑﻰ ﺁﻧﻜﻪ ﻛﺴﻰ ﺑﺘﻮﺍﻧﺪ ﻏﺒﺎﺭﺵ ﺭﺍ ﺩﺭﻳﺎﺑﺪ‬ ‫ﺍﻳﻦ ﺩﺭﺩ ﺍﺯ ﺩﺭﻣﺎﻥ ﮔﺬﺷﺘﻪ ﺍﺳﺖ‪.‬‬ ‫ﺑﺮﺧﻴﺰﻳﺪ ﻭ ﺑﺎﺷﺘﺎﺏ ﺁﻥ ﺭﺍ ﭼﺎﺭﻩ ﻛﻨﻴﺪ!‬ ‫ﻫﺎﻥ! ﺍﺯ ﺧﻮﺍﺏ ﻏﻔﻠﺖ ﺑﻪ ﺩﺭﺁﻳﻴﺪ!‬ ‫ﺍﻳﻨﺠﺎﻭﻃﻦ ﺷﻤﺎﺳﺖ‪ ،‬ﺁﻥ ﺭﺍ ﺑﻪ ﺑﻴﮕﺎﻧﮕﺎﻥ‬ ‫ﻣﻔﺮﻭﺷﻴﺪ!‬ ‫ﺍﻣﺎ ﻋﺮﺏﻫﺎ ﺍﺯ ﺧﻮﺍﺏ ﻏﻔﻠﺖ ﺑﻴﺪﺍﺭ ﻧﺸﺪﻧﺪ ﻭﻫﻴﭻ‬ ‫ﺍﻧﻘﻼﺑﻲ ﺩﺭ ﺭﻭﻳـﻜﺮﺩ ﺧﻮﺍﺏ ﺁﻟﻮﺩﻩ ﻭ ﺭﺧـﻮﺗﻨﺎﻙ‬ ‫ﺁﻧــﺎﻥ‪،‬ﺭﺥ ﻧﻨﻤﻮﺩ‪.‬‬ ‫ﺑﻴﺶ ﺍﺯ ﻧﻴﻢ ﻗﺮﻥ ﺑﻌﺪ ﺍﺯ ﻧﺸﺎﺷﻴﺒﻰ‪،‬ﻣﺤﻤﺪ‬ ‫ﺍﻟﻤﺎﻏﻮﻁ ﺷﺎﻋﺮ ﺑﺰﺭگ ﺳﻮﺭﻳﻪ‪،‬ﻛﻪ ﺩﺭ ﺍﻧﺘﻈﺎﺭ‬ ‫ﺍﻧﻘﻼﺏ ﻋﺮﺏﻫﺎ ﺩﺭ ﺑﺮﺍﺑﺮ ﺩﺷﻤﻦ ﺑﻮﺩ‪ ،‬ﺩﺭ‬ ‫ﺷﻌﺮ»ﻣﺴﺎﻓﺮﻯ ﻋﺮﺏ ﺩﺭ ﺍﻳﺴﺘﮕﺎﻩ ﻓﻀﺎﻳﻰ« ﺍﻳﻦ‬ ‫ﮔﻮﻧﻪ ﺩﺭ ﻛﻤﺎﻝ ﺍﺳﺘﻴﺼﺎﻝ ﺳﺮﻭﺩ‪:‬‬ ‫ﺍﻯ ﺩﺍﻧﺸﻤﻨﺪﺍﻥ‬ ‫ﺍﻯ ﺗﻜﻨﻴﺴﻴﻦﻫﺎ‬ ‫ﻣﻦ ﺍﺯ ﺳﻮﻯ ﻛﺸﻮﺭ ﻏﻤﮕﻴﻨﻢ‬ ‫ﻭ ﺑﻪ ﻧﺎﻡ ﺑﻴﻮﻩ ﺯﻧﺎﻥ ﻭﭘﻴﺮﻣﺮﺩﺍﻥ ﻭﻛﻮﺩﻛﺎﻧﺶ‬ ‫ﺁﻣﺪﻩ ﺍﻡ‬ ‫ﻛﻪ ﺑﻠﻴﻄﻰ ﻣﺠﺎﻧﻰ‬ ‫ﺑﺮﺍﻯ ﺳﻔﺮ ﺑﻪ ﺁﺳﻤﺎﻧﻢ ﺑﺪﻫﻴﺪ‬ ‫ﻣﻦ ﺑﻪ ﺟﺎﻯ ﭘﻮﻝ‬ ‫ﺍﺷﻚ‪ ،‬ﺩﺭ ﺩﺳﺖ ﺩﺍﺭﻡ‬ ‫ﺑﺮﺍﻯ ﻣﻦ ﺟﺎ ﻧﻴﺴﺖ؟‬ ‫ﻣﺮﺍ ﻋﻘﺐ ﺳﻔﻴﻨﻪ ﺳﻮﺍﺭ ﻛﻨﻴﺪ‬ ‫ﺭﻭﻯ ﺑﺎﺭﺑﻨﺪ‬ ‫ﻛﻪ ﻣﻦ ﺭﻭﺳﺘﺎﻳﻰ ﺍﻡ‬ ‫ﻭ ﺑﻪ ﺍﻳﻦ ﻛﺎﺭﻫﺎ ﺧﻮ ﻛﺮﺩﻩ ﺍﻡ‬ ‫ﺁﺯﺍﺭﻡ ﺑﻪ ﺳﺘﺎﺭﻩ ﻧﺨﻮﺍﻫﺪ ﺭﺳﻴﺪ‬ ‫ﺑﻪ ﻛﻬﻜﺸﺎﻧﻰ ﺑﺪ ﻧﺨﻮﺍﻫﻢ ﻛﺮﺩ‬ ‫ﻣﻦ ﺗﻨﻬﺎ ﻣﻰﺧﻮﺍﻫﻢ‬ ‫ﺑﺎ ﺷﺘﺎﺏ ﺑﻪ ﺁﺳﻤﺎﻥ ﺑﺮﺳﻢ‬ ‫ﻛﻪ ﺗﺎﺯﻳﺎﻧﻪ ﺭﺍ‬

‫ﺩﺭ ﺩﺳﺖ ﺧﺪﺍ ﺑﮕﺬﺍﺭﻡ‬ ‫ﺷﺎﻳﺪ ﻣﺎﺭﺍ‬ ‫ﺑﻪ ﺍﻧﻘﻼﺏ ﺑﺮﺍﻧﮕﻴﺰﺩ‪.‬‬ ‫ﺍﻛﻨﻮﻥ ﻛﻪ ﺍﻳﻦ ﺳﻄﻮﺭ ﺭﺍ ﻣﻰﻧﻮﻳﺴﻢ‪ ،‬ﻣﺎﻩ ژﺍﻧﻮﻳﻪ ‪2009‬‬ ‫ﻣﻴﻼﺩﻯ ﺍﺳﺖ ﻭ ﻫﺪﻳﻪ ﺳﺎﻝ ﻧﻮ ﺑﺮﺍﻯ ﻛﻮﺩﻛﺎﻥ ﻏﺰﻩ‬ ‫ﻣﺮگ ﻭ ﺭﻧﺞ ﻭ ﺍﻧﺪﻭﻩ ﺍﺳﺖ‪ .‬ﺩﺭﺣﺎﻟﻰ ﻛﻪ ﺑﺴﻴﺎﺭﻯ ﺍﺯ‬ ‫ﻛﺸﻮﺭﻫﺎﻯ ﻋﺮﺑﻰ ﺍﺯﺍﺩﺑﻴﺎﺕ ﺳﻴﺎﺳﺖﻫﺎﻯ ﺧﻮﺩ‪،‬ﻓﻠﺴﻄﻴﻦ‬ ‫ﺭﺍ ﺣــﺬﻑ ﻛﺮﺩﻩ ﺍﻧﺪ‪.‬‬ ‫ﺑﺮﺧﻰ ﺭﺍ ﻋﻘﻴﺪﻩ ﺑﺮﺍﻳﻦ ﺍﺳﺖ ﻛﻪ ﺗﺮﺍژﺩﻯ ﻓﻠﺴﻄﻴﻦ‪،‬ﺳﺒﺐ‬ ‫ﺷﺪﻩ ﺍﺳﺖ ﻛﻪ ﺷﺎﻋﺮﺍﻥ ﻣﻌﺎﺻﺮ ﻋﺮﺏ ﻧﺘﻮﺍﻧﻨﺪ ﺩﺭ‬ ‫ﺣﻮﺯﻩﻫﺎﻯ ﺩﻳﮕﺮ ﺍﻧﺪﻳﺸﻪ ﺭﺷﺪ ﻛﻨﻨﺪ‪ .‬ﺁﻧﺎﻥ ﺑﺮﺍﻳﻦ ﺑﺎﻭﺭ‬ ‫ﺍﻧﺪ ﻛﻪ ﻓﻠﺴﻄﻴﻦ ﺷﻌﺮ ﻋﺮﺏ ﺭﺍ ﺳﺨﺖ ﺗﺤﺖ ﺍﻟﺸﻌﺎﻉ‬ ‫ﺧﻮﺩ ﻗﺮﺍﺭ ﺩﺍﺩﻩ ﺍﺳﺖ‪ .‬ﻣﻦ ﺑﺎ ﭼﻨﻴﻦ ﺭﻭﻳﻜﺮﺩﻯ ﺳﺨﺖ‬ ‫ﻣﺨﺎﻟﻔﻢ ﺯﻳﺮﺍ ﺑﺮﺍﻳﻦ ﺑﺎﻭﺭﻡ ﻛﻪ ﺁﺯﺍﺩﻯ ﺍﺯ ﻧﺨﺴﺘﻴﻦ‬ ‫ﻋﻨﺎﺻﺮﻯ ﺍﺳﺖ ﻛﻪ ﺍﺩﺑﻴﺎﺕ ﺁﻥ ﺭﺍ ﺑﻪ ﺍﻧﺴﺎﻥ ﺍﺭﺯﺍﻧﻰ‬ ‫ﻣﻰﻛﻨﺪ‪ .‬ﺷﺎﻳﺪ ﺑﺘﻮﺍﻥ ﮔﻔﺖ ﺁﻧﭽﻪ ﺗﺎﻛﻨﻮﻥ ﺩﺭ ﺟﻮﺍﻣﻊ‬ ‫ﺑﺸﺮﻯ‪،‬ﺍﻳﺠﺎﺩ ﻓﻀﺎﻯ ﺩﻣﻜﺮﺍﺗﻴﻚ ﺭﺍ ﺩﺷﻮﺍﺭ ﻭ ﺩﺭﺑﺮﺧﻰ‬ ‫ﻣﻮﺍﺭﺩ ﻏﻴﺮ ﻣﻤﻜﻦ ﻣﻰﺳﺎﺯﺩ‪ ،‬ﺩﺭﻙ ﻧﺎﺩﺭﺳﺖ ﺍﻛﺜﺮ ﻣﺮﺩﻡ‬ ‫ﻭ ﺣﺘﻲ ﺑﺮﺧﻲ ﻓﺮﻫﻴﺨﺘﮕﺎﻥ ﺍﺯ ﻣﻔﻬﻮﻡ ﻭﺍﻗﻌﻲ ﺁﺯﺍﺩﻱ‬ ‫ﺍﺳﺖ‪.‬‬ ‫ﺑﻪ ﮔﻤﺎﻥ ﻣﻦ ﺁﺯﺍﺩﻱ ﺩﺭ ﻣﻌﻨﺎﻱ ﺳﻴﺎﺳﻲ ﺑﻮﺩﻥ ﺍﺳﺖ‪.‬‬ ‫ﺑﻪ ﺑﻴﺎﻥ ﺩﻳﮕﺮﭼﻨﺎﻧﭽﻪ ﻛﺴﻲ ﺩﺭ ﺍﻣﻮﺭ ﺳﻴﺎﺳﻲ ﺩﺧﺎﻟﺖ‬ ‫ﻧﻜﻨﺪ‪ ،‬ﻓﺎﻗﺪ ﺁﺯﺍﺩﻱ ﺍﺳﺖ‪ .‬ﺗﻔﺎﻭﺕ ﺍﻧﺴﺎﻥ ﻭ ﺟﺎﻧﻮﺭ ﺩﺭﺍﻳﻦ‬ ‫ﺍﺳﺖ ﻛﻪ ﻏﺮﺍﺋﺰ‪ ،‬ﻣﺸﻴﺖ ﻭﺳﺮﻧﻮﺷﺖ ﺟﺎﻧﻮﺭ ﺭﺍ ﻣﻰﺳﺎﺯﺩ‬ ‫ﺍﻣﺎ ﺗﻨﻬﺎ ﺍﻧﺴﺎﻥ ﺍﺳﺖ ﻛﻪ ﺧﻮﺩ ﻣﻰﺗﻮﺍﻧﺪ ﺩﺭ ﺳﺮﻧﻮﺷﺖ‬ ‫ﺧﻮﻳﺶ ﺁﮔﺎﻫﺎﻧﻪ ﺩﺧﺎﻟﺖ ﻛﻨﺪ‪.‬‬ ‫ﻳﻜﻲ ﺍﺯ ﻣﺸﻜﻼﺕ ﻋﻤﺪﻩ ﺍﻳﻨﺴﺖ ﻛﻪ ﻣﺮﺩﻡ ﻣﻰﭘﻨﺪﺍﺭﻧﺪ‬ ‫ﺳﻴﺎﺳﺖ ﭼﻴﺰﻱ ﺩﻳﮕﺮ ﻭ ﺯﻧﺪﮔﻲ ﭼﻴﺰﻱ ﺩﻳﮕﺮ ﺍﺳﺖ‪.‬‬ ‫ﺩﺭﺣﺎﻟﻲ ﻛﻪ ﺳﻴﺎﺳﺖ ﺩﺭﺳﺖ ﺍﺯﻫﻤﺎﻥ ﻟﺤﻈﻪ ﺍﻱ ﺁﻏﺎﺯ‬ ‫ﻣﻰﺷﻮﺩ ﻛﻪ ﺍﻧﺴﺎﻥ ﻣﻰﺧﻮﺍﻫﺪ ﺑﺎ ﺩﻳﮕﺮﻱ ﺍﺭﺗﺒﺎﻁ‬ ‫ﺑﺮﻗﺮﺍﺭﻛﻨﺪ‪ .‬ﺍﻳﻦ ﺩﻳﮕﺮﻱ ﺩﺭﺳﺖ ﻫﻤﺎﻥ ﻛﺴﻲ ﺍﺳﺖ‬ ‫ﻛﻪ ﺑﺮﺍﻱ ﻫﻮﻳﺖ ﻣﻦ‪،‬ﻭﺟﻮﺩﺵ ﺿﺮﻭﺭﺕ ﺩﺍﺭﺩ‪ .‬ﺗﺎ‬ ‫ﺩﻳﮕﺮﻱ ﻧﺒﺎﺷﺪ ﻣﻦ ﻣﻌﻨﺎﻳﻲ ﻧﺨﻮﺍﻫﻢ ﺩﺍﺷﺖ‪ .‬ﺯﻧﺪﮔﻲ‬ ‫ﺍﺟﺘﻤﺎﻋﻲ ﺍﻧﺴﺎﻥ ﻫﻨﮕﺎﻣﻰﻣﻔﻬﻮﻡ ﻣﻰﻳﺎﺑﺪ ﻛﻪ ﺩﻳﮕﺮﻱ‬ ‫ﺣﻀﻮﺭﺩﺍﺷﺘﻪ ﺑﺎﺷﺪ‪ .‬ﻣﻦ ﺑﺮﺍﻳﻦ ﺑﺎﻭﺭﻡ ﻛﻪ ﺳﻴﺎﺳﺖ‬ ‫ﺩﺭﻣﻌﻨﺎﻱ ﻫﺮﮔﻮﻧﻪ ﺍﺭﺗﺒﺎﻃﻲ ﺑﺎﺩﻳﮕﺮﻱ ﺍﺳﺖ‪ .‬ﺍﻳﻦ ﺍﺭﺗﺒﺎﻁ‬ ‫ﺁﻥ ﭼﻨﺎﻥ ﭘﻴﭽﻴﺪﻩ ﺍﺳﺖ ﻛﻪ ﻣﺎ ﺑﺮﺍﻱ ﺗﻌﺎﻣﻞ ﺑﺎ ﻫﺮﻳﻚ‬ ‫ﺍﺯ ﺍﻃﺮﺍﻓﻴﺎﻥ ﺧﻮﺩ‪ ،‬ﺳﻴﺎﺳﺘﻲ ﻭﻳﮋﻩ ﺑﻪ ﻛﺎﺭ ﻣﻰﮔﻴﺮﻳﻢ‪.‬‬ ‫ﺑﻪ ﺑﻴﺎﻥ ﺩﻳﮕﺮﻱ ﺑﺮﻧﺎﻣﻪﺍﻱ ﻭﻳﮋﻩ ﺭﺍ ﭘﻴﺶ ﺑﻴﻨﻲ ﻭ ﺍﺟﺮﺍ‬ ‫ﻣﻰﻛﻨﻴﻢ‪.‬‬ ‫ﺑﻪ ﮔﻤﺎﻥ ﻣﻦ ﺷﻌﺮ ﭘﺪﻳﺪﻩ ﺍﻱ ﺳﻴﺎﺳﻲ ﺍﺳﺖ ﺯﻳﺮﺍ‬ ‫ﻫﺮ ﺷﻌﺮﻱ ﺍﺯ ﻣﻨﻈﺮﻱ ﺧﺎﺹ ﺑﻪ ﺟﻬﺎﻥ ﻭ ﺩﻳﮕﺮﻱ‬ ‫ﻣﻰﻧﮕﺮﺩ‪ .‬ﻭ ﺩﺭﺣﻘﻴﻘﺖ ﺍﺯ ﺍﺑﻌﺎﺩ ﺳﻴﺎﺳﻲ ﻭﻳﮋﻩ ﺍﻱ‬ ‫ﺑﺮﺧﻮﺭﺩﺍﺭﺍﺳﺖ‪ .‬ﺑﻨﺎﺑﺮﺍﻳﻦ ﻫﻨﺮﻣﻨﺪﺍﻧﻲ ﻛﻪ ﻣﺎ ﺭﺍ ﺑﻪ‬ ‫ﺍﻧﺰﻭﺍﻱ ﺩﺭﻭﻧﻲ ﻭﻳﺄﺱ ﻣﻰﻛﺸﺎﻧﻨﺪ‪،‬ﻣﻰﺧﻮﺍﻫﻨﺪ ﺑﻪ ﻣﺎ‬ ‫ﭼﻨﻴﻦ ﺍﻟﻘﺎ ﻛﻨﻨﺪ ﻛﻪ ﺍﻣﻴﺪﻱ ﺑﻪ ﺑﻬﺮﻭﺯﻱ ﺍﻧﺴﺎﻥ ﻧﻴﺴﺖ‬ ‫ﻭ ﺣﻜﻮﻣﺖﻫﺎﻱ ﺍﺳﺘﻌﻤﺎﺭﮔﺮ ﻣﺎﻧﻨﺪ ﺁﻣﺮﻳﻜﺎ ﻭ ﺍﻣﺜﺎﻝ ﺁﻥ‬ ‫ﻫﻤﻮﺍﺭﻩ ﺩﺭ ﺣﻮﺯﻩ ﺳﻠﻄﻪ ﻭ ﻫﮋﻣﻮﻧﻲ ﺧﻮﺩ ﻗﺮﺍﺭﺧﻮﺍﻫﻨﺪ‬ ‫ﺩﺍﺷﺖ‪ .‬ﺁﻳﺎ ﺍﻳﻦ ﻫﻨﺮﻣﻨﺪﺍﻥ ﻏﻴﺮﺳﻴﺎﺳﻲ ﻫﺴﺘﻨﺪ؟ ﺑﻪ‬ ‫ﮔﻤﺎﻥ ﻣﻦ‪ :‬ﻧﻪ‪ .‬ﺯﻳﺮﺍ ﻛﺴﺎﻧﻲ ﻣﺎﻧﻨﺪ ﺳﺎﻣﻮﺋﻞ ﺑﻜﺖ ﻭ‬ ‫ﺍﻭژﻥﻳﻮﻧﺴﻜﻮ ﻛﻪ ﺩﺭﺁﺛﺎﺭﺷﺎﻥ ﺍﻧﺪﻳﺸﻪ ﭘﻮﭼﮕﺮﺍﻳﻲ ﺭﺍ ﺑﻪ‬

‫ﻣﺨﺎﻃﺐ ﺧﻮﺩ ﺍﻟﻘﺎ ﻣﻰﻛﻨﻨﺪ ﻃﺮﻓﺪﺍﺭﺍﻥ ﺳﻴﺎﺳﺖﻫﺎﻱ‬ ‫ﺍﺳﺘﻌﻤﺎﺭﻱ ﻫﺴﺘﻨﺪ‪ .‬ﺁﻧﻬﺎ ﺁﮔﺎﻫﺎﻧﻪ ﻭ ﺷﺎﻳﺪ ﺩﺭﻣﻮﺍﺭﺩﻱ‬ ‫ﻧﺎﺁﮔﺎﻩ‪ ،‬ﺑﺎ ﺭﻫﺎ ﻛﺮﺩﻥ ﺗﻮﺍﻥ ﮔﺴﺘﺮﺩﻩ ﺗﻮﺩﻫﺎ ﺑﻪ ﻫﻮﺍ‪ ،‬ﺩﺭ‬ ‫ﺗﺤﻜﻴﻢ ﭘﺎﻳﻪﻫﺎﻱ ﺩﻭﻟﺖﻫﺎﻱ ﺿﺪ ﺑﺸﺮﻱ ﻣﻰﻛﻮﺷﻨﺪ‪.‬‬ ‫ﺷﺎﻳﺪ ﺑﺘﻮﺍﻥ ﭼﻨﻴﻦ ﺗﺼﻮﺭ ﻛﺮﺩ ﻛﻪ ﺍﺩﺑﻴﺎﺕ ﻣﺘﻌﻬﺪ ﻭ‬ ‫ﺍﺩﺑﻴﺎﺕ ﻏﻴﺮ ﻣﺘﻌﻬﺪ‪ ،‬ﻧﻴﺮﻧﮕﻲ ﺳﻴﺎﺳﻲ ﺑﻴﺶ ﻧﺒﺎﺷﺪ‪.‬‬ ‫ﺁﻳـﺎ ﺑﺎ ﻋﻨﻮﺍﻥ ﻛﺮﺩﻥ ﺍﺩﺑﻴﺎﺕ ﻣﺘﻌﻬﺪ‪،‬ﻣﺎ ﺍﺩﺑﻴﺎﺕ ﻏﻴﺮ‬ ‫ﻣﺘﻌﻬﺪ ﺭﺍ ﻛﻪ ﭘﻨﺪﺍﺭﻱ ﻣﻮﻫﻮﻡ ﺑﻴﺶ ﻧﻴﺴﺖ‪ ،‬ﺑﻪ ﺭﺳﻤﻴﺖ‬ ‫ﻧﺸﻨﺎﺧﺘﻪﺍﻳﻢ؟ﺍﺩﺑﻴﺎﺕ ﺑﻪ ﺧﻮﺩﻱ ﺧﻮﺩ‪ ،‬ﻣﺘﻌﻬﺪ ﺍﺳﺖ ﻭ‬ ‫ﻣﺎ ﺑﺎ ﻋﻨﻮﺍﻥ ﻛﺮﺩﻥ ﺍﺩﺑﻴﺎﺕ ﻏﻴﺮ ﻣﺘﻌﻬﺪ ﻣﺨﺎﻃﺒﺎﻥ ﻛﻢ‬ ‫ﺗﺠﺮﺑﻪ ﺭﺍ ﺩﭼﺎﺭ ﺳﺮ ﺩﺭﮔﻤﻰ ﻣﻰﻛﻨﻴﻢ‪.‬ﺧﻄﺮ ﺍﻳﻦ ﺳﺮ‬ ‫ﺩﺭﮔﻤﻰﺗﺎ ﺁﻧﺠﺎ ﭘﻴﺶ ﻣﻰﺭﻭﺩ ﻛﻪ ﺩﺭ ﺑﺴﻴﺎﺭﻱ ﻣـﻮﺍﺭﺩ‬ ‫ّ‬ ‫ﻛﻞ ﺍﺩﺑﻴﺎﺕ ﺑﻪ ﺣﺎﺷﻴﻪ ﻣﻰﺭﻭﺩ ﻭ ﺟﺪﻱ ﮔﺮﻓﺘﻪ ﻧﻤﻰﺷﻮﺩ‪.‬‬ ‫ﺁﻳﺎ ﻗﺼﺎﺋﺪ ﻣﺪﺣﻴﻪ ﺑﺴﻴﺎﺭﻱ ﺍﺯ ﺷﺎﻋﺮﺍﻥ ﻣﺎ ﻣﺎﻧﻨﺪ ﻇﻬﻴﺮ‬ ‫ﻓﺎﺭﻳﺎﺑﻲ ﻭ ﻏﻀﺎﺋﺮﻱ ﺭﺍﺯﻱ ﻭ ﺩﻳﮕﺮﺍﻥ ﺩﺭ ﺗﺄﻳﻴﺪ ﺷﺎﻫﺎﻥ‪،‬‬ ‫ﺳﻴﺎﺳﻲ ﻧﻴﺴﺖ؟‬ ‫ﻣﻦ ﺩﺭﺍﻳﻨﺠﺎ ﺑﻪ ﻣﺴﺄﻟﻪ ﺗﻌﻬﺪ‪،‬ﻓﺮﺍﺗﺮ ﺍﺯ ﺩﻳﺪﮔﺎﻩ ژﺍﻥ‬ ‫ﭘﻞ ﺳﺎﺭﺗﺮ ﻧﻈﺮ ﺩﺍﺭﻡ‪ .‬ﻣﺤﻤﺪ ﺍﺳﻌﺎﻑ ﻧﺸﺎﺷﻴﺒﻲ ﻛﻪ‬ ‫ﺷﻌﺮﺵ ﺭﺍ ﺩﺭﺁﻏﺎﺯ ﺍﻳﻦ ﻣﻘﺎﻟﻪ ﺩﻳﺪﻳﻢ‪،‬ﺷﺎﻋﺮﻱ ﺍﺳﺖ ﻛﻪ‬ ‫ﺑﺎ ﺩﺭﻙ ﺩﺭﺳﺘﻲ ﺍﺯ ﺯﻣﺎﻧﻪ ﺍﺵ‪ ،‬ﺗﻌﻬﺪﺵ ﺭﺍ ﻧﺴﺒﺖ ﺑﻪ‬ ‫ﺍﻧﺴﺎﻥ ﻫﻤﻮﻃﻨﺶ‪،‬ﺑﺎ ﻛﻤﺎﻝ ﺍﻳﻤﺎﻥ ﺑﻪ ﻋﻬﺪﻩ ﻣﻰﮔﻴﺮﺩ‪.‬‬ ‫ﺍﻭ ﻣﻰﺩﺍﻧﺪ ﻛﻪ ﺩﻳﮕﺮ ﺩﻭﺭﺍﻥ ﺧﻮﺵ ﺑﺎﻭﺭﻱﻫﺎﻱ ﻋﺮﺏ‬ ‫ﺑﻪ ﭘﺎﻳﺎﻥ ﺭﺳﻴﺪﻩ ﺍﺳﺖ ﻭ ﺣﺎﻻ ﻛﺴﻲ ﻧﻤﻰﺗﻮﺍﻧﺪ ﻣﺎﻧﻨﺪ‬ ‫ﻋﻤﺮﻭﺑﻦ ﻛﻠﺜﻮﻡ َﺗـﻐﻠِﺒﻲ‪ ،‬ﺍﻳﻦ ﮔﻮﻧﻪ ﺑﻪ ﻗﺒﻴﻠﻪ ﺍﺵ ﺗﻔﺎﺧﺮ‬ ‫ﻛﻨﺪ‪:‬‬ ‫ﺿﺎﻕ ﻋ ّﻨﺎ‬ ‫ﻣﻸﻧﺎ‬ ‫ﺍﻟﺒﺮ ﺣﺘﻲ َ‬ ‫ّ‬ ‫ﻭﻣـﺎء ﺍﻟﺒﺤﺮ ﻧﻤﻠﺆﻩ ﺳﻔﻴﻨﺎ‬ ‫ﺍﺫﺍ ﺑَﻠَﻎ ﺍﻟﻔﻄﺎﻡ ﻟﻨﺎ ﺻﺒﻲ‬ ‫ﺗﺨﺮ ﻟﻪ ﺍﻟﺠﺒﺎﺑﺮ ﺳﺎﺟﺪﻳﻨﺎ‬ ‫ّ‬ ‫) ﻣﺎ ﺧﺸﻜﻲ ﻭ ﺩﺭﻳﺎ ﺭﺍ ﺍﺯﺧﻮﺩ ﺁﮔﻨﺪﻳﻢ ﻭ ﻫﻨﮕﺎﻣﻰﻛﻪ‬ ‫ﻛﻮﺩﻛﻲ ﺍﺯ ﻗﺒﻴﻠﻪ ﻣﺎ ﺍﺯ ﺷﻴﺮ ﮔﺮﻓﺘﻪ ﻣﻰﺷﻮﺩ‪ ،‬ﺟﺒﺎﺭﺍﻥ ﺩﺭ‬ ‫ﺑﺮﺍﺑﺮ ﺍﻭ ﺑﻪ ﺳﺠﺪﻩ ﻣﻰﺍﻓﺘﻨﺪ‪(.‬‬

‫ﺑﺴﻴﺎﺭﻱ ﺍﺯ ﺷﺎﻋﺮﺍﻥ ﻣﻌﺎﺻﺮ ﻋﺮﺏ ﻋﺮﺍﺋﺲ‬ ‫ﺍﻟﺸﻌﺮ ﺧﻮﺩ ﻟﻴﻠﻲ ﻭ ﺳﻠﻤﻰﻭ ﻋ ّﺰﻩ‪ ..‬ﺭﺍ ﺭﻫﺎﻛﺮﺩﻩﺍﻧﺪ‬ ‫ﺁﻧﺎﻥ ﺍﻛﻨﻮﻥ ﺑﻪ ﺯﺧﻤﻰﺯﻧﺪﻩ ﻭ ﺟﻮﺷﺎﻥ ﻋﺸﻖ‬ ‫ﻣﻰﻭﺭﺯﻧﺪ ﺑﻪ ﻓﻠﺴﻄﻴﻦ ﻛﻪ ﺍﻛﻨﻮﻥ ﻧﻤﺎﺩ ﺭﻧﺞ‬ ‫ﺍﻧﺴﺎﻥ ﺩﺭ ﻋﺼﺮ ﻓﻀﺎ ﺍﺳﺖ‪.‬‬ ‫ﻣﻌﺸﻮﻕ ﻧﺰﺍﺭ ﻗﺒﺎﻧﻲ ﻛﻪ ﺭﻭﺯﮔﺎﺭﻱ ﺑﺎ ﺣﻨﺎ‬ ‫ﻭ ﺧﻠﺨﺎﻝ ﺧﻮﺩﺭﺍ ﻣﻰﺁﺭﺍﺳﺖ ﺍﻛﻨﻮﻥ ﻃﺮﻩ‬ ‫ﮔﻴﺴﻮﻳﺶ ﺭﺍ ﺑﺎ ﻧﺎﺭﻧﺠﻚ ﻭ ﺑﻤﺐ ﺯﻳﻨﺖ ﻣﻰﺩﻫﺪ‬ ‫ﻭ ﺑﺮﺍﻱ ﺩﺷﻤﻦ ﻣﺮگ ﺁﻓﺮﻳﻦ ﺍﺳﺖ‪:‬‬ ‫ﻣﻮﺍﻇﺐ ﺑﺎﺷﻴﺪ‬ ‫ﻣﻮﺍﻇﺐ ﺑﺎﺷﻴﺪ‬ ‫ﺩﺭ ﺷﺎﻧﻪ ﺳﺮ ﻫﺮ ﺯﻥ‬ ‫ﻭ ﺩﺭ ﻃﺮﻩ ﮔﻴﺴﻮﻱ ﺍﻭ ﻣﺮگ ﻧﻬﻔﺘﻪ ﺍﺳﺖ‪.‬‬ ‫ﺍﻛﻨﻮﻥ ﺷﺎﻋﺮﺍﻥ ﻋﺮﺏ ﺍﺯﺩﺭﻭﻥ ﺭﻧﺞ ﻭ ﺩﺭﺩ‬ ‫ﻣﻰﮔﺬﺭﻧﺪ ﻭ ﺯﻧﺪﮔﻲ ﺁﻧﺎﻥ ﻫﻤﺰﺍﺩ ﻣﺮگ‬ ‫ﺍﺳﺖ‪ .‬ﺁﻧــﺎﻥ ﺑﻪ ﻃﻮﺭ ﺩﻗﻴﻖ ﻣﻰﺩﺍﻧﻨﺪ ﻛﻪ‬ ‫ﭼﺮﺍ ﺳﺮﺯﻣﻴﻦﻫﺎﻱ ﺁﻧﺎﻥ ﻏﺼﺐ ﻣﻰﮔﺮﺩﺩ ﻭ‬ ‫ﺷﻬﺮﻭﻧﺪﺍﻥ ﺁﻧﺎﻥ ﻧﺴﻞ ﻛﺸﻲ ﻣﻰﺷﻮﻧﺪ‪ .‬ﺑﻨﺎﺑﺮﺍﻳﻦ‬ ‫ﺩﺭ ﺷﻌﺮ ﺁﻧﺎﻥ ﺩﻳﮕﺮ ﻣﺠﺎﻟﻲ ﺑﺮﺍﻱ ﺟﺴﺘﺠﻮﻱ‬ ‫ﺍﻧﺴﺎﻥ ﺑﻲ ﺩﺭﺩ ﺑﺎ ﺗﻌﺮﻳﻒ ﺍﻣﭙﺮﻳﺎﻟﻴﺴﺖﻫﺎ ﻭﺟﻮﺩ‬ ‫ﻧﺪﺍﺭﺩ‪ .‬ﺩﺭ ﺳﺮﺯﻣﻴﻦ ﺁﻧﺎﻥ ﺑﺮﺍﻱ ﺑﻪ ﺩﺳﺖ ﺁﻭﺭﺩﻥ‬ ‫ﺳﺎﺩﻩ ﺗﺮﻳﻦ ﭼﻴﺰﻫﺎﻱ ﺯﻧﺪﮔﻲ ﺑﺎﻳﺪ ﺑﺨﺸﻲ ﻭ‬ ‫ﮔﺎﻫﻲ ﺗﻤﺎﻣﻰﺯﻧﺪﮔﻲ ﺭﺍ ﺍﺯﺩﺳﺖ ﺩﺍﺩ‪ .‬ﻏﺎﺩﻩ‬ ‫ﺳ ّﻤﺎﻥ‪:‬‬ ‫ﻣﻰﺭﻭﻱ ﻧﺎﻥ ﺑﺨﺮﻱ‬ ‫ﭼﻮﻥ ﺑﺎﺯﻣﻰﮔﺮﺩﻱ‬ ‫ﺩﻧﺪﺍﻥﻫﺎﻳﺖ ﺭﺍ ﮔﻢ ﻛﺮﺩﻩ ﺍﻱ‬ ‫ﻣﻰﺭﻭﻱ ﺁﺏ ﺑﻴﺎﻭﺭﻱ‬ ‫ﭼﻮﻥ ﺑﺎﺯﻣﻰﮔﺮﺩﻱ‬ ‫ﺗﺮﺍ ﺑﺎ ﺍﻣﻌﺎﺋﺖ ﺩﺍﺭ ﺯﺩﻩ ﺍﻧﺪ‬ ‫ﻣﻰﺭﻭﻱ ﺳﻴﺐ ﺑﺨﺮﻱ‬ ‫ﭼﻮﻥ ﺑﺎ ﺳﻴﺐ ﺑﺎﺯﻣﻰﮔﺮﺩﻱ‬

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‫ﺩﻭﺭﻩ ﺟﺪﻳﺪ‪/‬ﺷﻤﺎﺭﻩ ‪ 9‬ﻭ ‪)10‬ﭘﻴﺎﭘﻲ‪39‬ﻭ‪ /(40‬ﺳﺎﻝ ﺳﻮﻡ‪/‬ﻧﻮﺭﻭﺯ‪88‬‬

‫ﻣﻨﺎﺻﺐ ﺭﺳﻤﻰﺭﻭﺣﺎﻧﻲ ﺩﺭ ﻋﺼﺮ ﺧﻮﺩﻳﻌﻨﻲ‬ ‫ﺷﻴﺦﺍﻻﺳﻼﻣﻰﺍﺻﻔﻬﺎﻥ ﺑﻮﺩﻩ ﻭ ﻣﻮﺭﺩ ﺗﻮﺟﻪ‬ ‫ﻣﺨﺼﻮﺹ ﺷﺎﻩ ﻋﺒﺎﺱ ﻗﺮﺍﺭ ﺩﺍﺷﺘﻪ ﺍﺳﺖ‪ ،‬ﺑﻪ‬ ‫ﻋﺰﻟﺖ ﻭ ﺍﻧﺰﻭﺍ ﮔﺮﺍﻳﺶ ﺩﺍﺷﺘﻪ ﻭ ﻗﺮﺏ ﭘﺎﺩﺷﺎﻫﺎﻥ‬ ‫ﺭﺍ ﺧﻮﺵ ﻧﻤﻲﺩﺍﺷﺘﻪ ﺍﺳﺖ‪ :‬ﭼﻨﺎﻥ ﻛﻪ ﺩﺭ ﻧﺎﻥ ﻭ‬ ‫ﺣﻠﻮﺍ ﮔﻔﺘﻪ ﺍﺳﺖ‪:‬‬ ‫ﻧﺎﻥ ﻭ ﺣﻠﻮﺍ ﭼﻴﺴﺖ؟ ﺩﺍﻧﻲ ﺍﻱ ﭘﺴﺮ؟‬ ‫ﻗﺮﺏ ﺷﺎﻫﺎﻥ‪ ،‬ﺯﻳﻦ ﻗﺮﺏ ﺍﻟﺤﺬﺭ‬ ‫ﻣﻲﺑﺮﺩ ﻫﻮﺵ ﺍﺯ ﺳﺮ ﻭ ﺍﺯ ﺩﻝ ﻗﺮﺍﺭ‬ ‫ﺍﻟﻔﺮﺍﺭ ﺍﺯ ﻗﺮﺏ ﺷﺎﻫﺎﻥ‪ ،‬ﺍﻟﻔﺮﺍﺭ‬ ‫ﺷﻴﺦ ﺑﻬﺎﻳﻲ ﺑﻪ ﻧﻴﻜﻮﻛﺎﺭﻱ ﺍﻫﺘﻤﺎﻡ ﺗﺎﻡ ﺩﺍﺷﺖ‪،‬‬ ‫ﺍﺯ ﺟﻤﻠﻪ ﺧﺎﻧﻪﻱ ﺷﺨﺼﻲ ﻣﺴﻜﻮﻧﻲ ﺧﻮﺩ ﺭﺍ ﺑﻪ‬ ‫ﭘﺮﻭﺭﺷﮕﺎﻫﻲ ﺑﺮﺍﻱ ﺳﻜﻮﻧﺖﻳﺘﻴﻤﺎﻥ ﻭ ﻓﻘﻴﺮﺍﻥ ﻭ‬ ‫ﺑﻴﻮﻩﺯﻧﺎﻥ ﺍﺧﺘﺼﺎﺹ ﺩﺍﺩ‪.‬‬

‫ﺏ – ﻋﻠﻮﻡ ﻏﺮﻳﺒﻪ‪:‬‬ ‫ﺷﺎﻳﺪ ﺩﺭ ﻣﻴﺎﻥ ﺣﻜﻴﻤﺎﻥ ﻭ ﻋﺎﺭﻓﺎﻥ ﻣﺴﻠﻤﺎﻥ‪ ،‬ﻫﻴﭻﻛﺲ‬ ‫ﺗﺒﺤﺮ ﻭ ﻣﻬﺎﺭﺕ ﺩﺭ ﺯﻣﻴﻨﻪﻱ‬ ‫ﺑﻪ ﺍﻧﺪﺍﺯﻩ ﺷﻴﺦ ﺑﻬﺎﻳﻲ ﺑﻪ ّ‬ ‫ﻋﻠﻮﻡ ﻏﺮﻳﺒﻪ ﻣﺸﻬﻮﺭ ﻧﺒﺎﺷﺪ‪ .‬ﻭﻱ ﺩﺭ ﻛﺸﻜﻮﻝ‪ ،‬ﻋﻠﻮﻡ ﺭﺍ‬ ‫ﺑﻪ ﺩﻭ ﺑﺨﺶ ﻋﻤﺪﻩ ﺗﻘﺴﻴﻢ ﻣﻲﻛﻨﺪ‪ :‬ﺍﻭﻝ‪،‬ﻋﻠﻮﻡ ﺟﻠﻴﻪ‬ ‫ﻛﻪ ﻫﻤﺎﻥ ﺩﺍﻧﺶﻫﺎﻱ ﻣﺘﺪﺍﻭﻝ ﻋﻘﻠﻲ ﻭ ﻧﻘﻠﻲ ﺍﺳﺖ‬ ‫ﻭ ﺩﻭﻡ‪ ،‬ﻋﻠﻮﻡ ﺧﻔﻴﻪ ﻛﻪ ﻋﺒﺎﺭﺗﻨﺪ ﺍﺯ ﭘﻨﺞ ﻋﻠﻢ ﻛﻴﻤﻴﺎ‪،‬‬ ‫ﻟﻴﻤﻴﺎ‪ ،‬ﻫﻴﻤﻴﺎ‪ ،‬ﺳﻴﻤﻴﺎ‪ ،‬ﺭﻳﻤﻴﺎ ﻛﻪ ﺑﻪ ﺻﻴﻐﻪﻱ ﺗﺨﻔﻴﻒ‬ ‫)ﺑﺎ ﺍﺳﺘﻔﺎﺩﻩ ﺍﺯ ﺣﺮﻑ ﺍﻭﻝ ﻫﺮﻳﻚ ﺍﺯ ﺍﻳﻦ ﭘﻨﺞ ﺭﺷﺘﻪ(‬ ‫»ﻛﻠّﻪ ﺳﺮ« ﺧﻮﺍﻧﺪﻩ ﻣﻲﺷﻮﺩ‪ ،‬ﻭ ﻛﺘﺎﺑﻲ ﻫﻢ ﺑﺎ ﺍﻳﻦ‬ ‫ﻋﻨﻮﺍﻥ ﻣﻮﺭﺩ ﺍﺳﺘﻔﺎﺩﻩﻱ ﺍﻭ ﺑﻮﺩﻩ ﺍﺳﺖ‪ .‬ﺍﻓﺰﻭﻥ ﺑﺮ ﺍﻳﻦ‪،‬‬ ‫ﻓﺎﻟﻨﺎﻣﻪﻳﻲ ﺑﻪ ﺷﻴﺦ ﺑﻬﺎﻳﻲ ﻣﻨﺴﻮﺏ ﺍﺳﺖ ﻛﻪ ﺍﺳﺘﺎﺩ‬ ‫ﺳﻴﺪﻋﻠﻴﻨﻘﻲ ﺍﻣﻴﻦ‪ ،‬ﺁﻥ ﺭﺍ ﺍﺳﺘﻨﺴﺎﺥ ﻭ ﺳﭙﺲ ﺗﺤﺮﻳﺮ ﻭ‬ ‫ﺗﻬﺬﻳﺐ ﻛﺮﺩﻩﺍﻧﺪ ﻭ ﺁﻥ ﻓﺎﻟﻨﺎﻣﻪ ﺑﻌﺪﻫﺎ ﺍﺯ ﺳﻮﻱ ﻣﺮﺣﻮﻡ‬

‫ﺍﻫﻤﻴﺖ ﻋﻠﻤﻲ‪:‬‬

‫ﺍﺯ ﻧﺸﺎﻧﻪﻫﺎﻱ ﺗﻌﻠﻖ ﺧﺎﻃﺮ ﺷﻴﺦ ﺑﻬﺎﻳﻲ ﺑﻪ ﺳﻠﺴﻠﻪﻱ ﻧﻮﺭﺑﺨﺸﻴﻪﻳﺎ ﻧﻌﻤﻪﺍﻟﻠﻬﻴﻪﻳﻜﻲ ﺍﻳﻦ ﺍﺳﺖ‬ ‫ﻛﻪ ﭼﻮﻥ ﺍﻳﻦ ﻫﺮ ﺩﻭ ﺳﻠﺴﻠﻪ ﺑﻨﺎ ﺑﻪ ﻗﻮﻝ ﻣﺸﻬﻮﺭ ﺍﺯ ﻃﺮﻳﻖ ﺑﺎﻳﺰﻳﺪ ﺑﺴﻄﺎﻣﻰﺑﻪ ﺍﻣﺎﻡ ﺻﺎﺩﻕ )ﻉ(‬ ‫ﻣﺘﺼﻞ ﻣﻲﺷﻮﺩﻭ ﺍﺯ ﺟﻬﺖ ﺗﺎﺭﻳﺨﻲ ﺑﻪ ﻋﻠﺖ ﺍﻳﻦ ﻛﻪ ﻭﻻﺩﺕ ﺑﺎﻳﺰﻳﺪ ﭘﺲ ﺍﺯ ﻭﻓﺎﺕ ﺍﻣﺎﻡ ﺻﺎﺩﻕ‬ ‫)ﻉ( ﺑﻮﺩﻩ ﺍﺳﺖ‪ ،‬ﭼﻨﻴﻦ ﺍﺗﺼﺎﻟﻲ ﻣﻤﻜﻦ ﻧﻴﺴﺖ‪ ،‬ﺷﻴﺦ ﺑﻬﺎﻳﻲ ﺩﺳﺖ ﺑﻪ ﺗﺸﺒﺜﺎﺗﻲ ﺑﺮﺍﻱ ﺍﺛﺒﺎﺕ‬ ‫ﺍﻳﻦ ﻣﻌﻨﻲ ﺯﺩﻩ ﻭ ﻣﺪﻋﻲ ﺷﺪﻩ ﺍﺳﺖ ﻛﻪ ﺩﺭ ﺗﺎﺭﻳﺦ ﺍﺳﻼﻡ ﺩﻭ ﺑﺎﻳﺰﻳﺪ ﺩﺍﺷﺘﻪﺍﻳﻢ‪،‬ﻳﻜﻲ ﺑﺎﻳﺰﻳﺪﺍﻭﻝ‬ ‫ﻛﻪ ﺳ ّﻘﺎﻱ ﺍﻣﺎﻡ ﺻﺎﺩﻕ ﺑﻮﺩﻩ ﻭ ﺩﻳﮕﺮﻱ ﺑﺎﻳﺰﻳﺪ ﺩﻭﻡ ﻣﺸﻬﻮﺭ ﻛﻪ ﺍﺯ ﻣﺸﺎﻳﺦ ﺻﻮﻓﻴﻪ ﺩﺭ ﻗﺮﻥ‬ ‫ﺳﻮﻡ ﺑﻮﺩﻩ ﺍﺳﺖ‪.‬‬ ‫ﺷﻴﺦ ﺑﻬﺎﻳﻲ ﺑﻪ ﻫﻤﻴﻦ ﺩﻟﻴﻞ ﺍﺯ ﺳﻮﻱ ﻣﻼﻣﺤﻤﺪﺑﺎﻗﺮ ﻣﺠﻠﺲ ﻭ ﻣﺤﻤﺪ ﺑﻦ ﺳﻠﻴﻤﺎﻥ ﺗﻨﻜﺎﺑﻨﻲ‬ ‫ﻣﻮﺭﺩ ﺍﻧﺘﻘﺎﺩ ﻭﺍﻗﻊ ﺷﺪﻩ ﺍﺳﺖ‪.‬‬ ‫ﺍﻛﺜﺮ ﻣﻨﺎﺑﻊ ﺍﻭ ﺭﺍ ﺧﻠﻴﻔﻪﻱ ﺷﻴﺦ ﻣﺤﻤﺪ ﻣﻮﺫﻥ ﺳﺒﺰﻭﺍﺭﻱ ﻗﻄﺐ ﻧﻮﺭﺑﺨﺸﻲ ﺩﺍﻧﺴﺘﻪﺍﻧﺪ‪ .‬ﺑﺎﺭﻱ‬ ‫ﺷﻴﺦ ﺑﻬﺎﻳﻲ ﺩﺭ ﺍﺭﺑﻌﻴﻦ ﺍﺯ ﺍﺑﻦ ﻋﺮﺑﻲ ﺑﻪ »ﺷﻴﺦﺍﻟﻌﺎﺭﻓﻴﻦ« ﻭ ﺩﺭ ﻛﺸﻜﻮﻝ ﺑﻪ »ﺟﻤﺎﻝﺍﻟﻌﺎﺭﻓﻴﻦ«‬ ‫ﺗﻌﺒﻴﺮ ﻛﺮﺩﻩ ﺍﺳﺖ‪.‬‬

‫ﺍﻫﻤﻴﺖ ﻋﻠﻤﻰ ﺷﻴﺦ ﺑﻬﺎﻳﻲ ﺩﺭ ﺟﺎﻣﻌﻴﺖ ﻭ‬ ‫ﺫﻭﻓﻨﻮﻧﻲ ﺍﻭﺳﺖ‪ ،‬ﻭﻟﻲ ﺷﻬﺮﺕ ﻋﻤﺪﻱ ﺍﻭ ﻋﻼﻭﻩ‬ ‫ﺑﺮ ﻓﻘﻪ ﻭ ﺍﺻﻮﻝ ﻛﻪ ﻓﻦ ﺍﺻﻠﻲ ﺍﻭ ﻭ ﻣﻮﺟﺐ‬ ‫ﺷﻬﺮﺕ ﺍﻭ ﺑﻪ »ﺷﻴﺦ« ﻭ ﺍﻧﺘﺼﺎﺏ ﺍﻭ ﺑﻪ ﻣﻨﺼﺐ‬ ‫ﺗﺒﺤﺮ ﺍﻭ ﺩﺭ‬ ‫»ﺷﻴﺦ ﺍﻻﺳﻼﻣﻲ« ﺍﺳﺖ‪ ،‬ﺑﻪ ﺩﻟﻴﻞ ّ‬ ‫ﺩﻭ ﺯﻣﻴﻨﻪﻱ ﻣﻬﻢ ﻋﻠﻮﻡ ﻏﺮﻳﺒﻪ ﺍﺯ ﻳﻚ ﺳﻮﻱ ﻭ‬ ‫ﻣﻬﻨﺪﺱ ﻭ ﻣﻌﻤﺎﺭﻱ ﺍﺯ ﺳﻮﻱ ﺩﻳﮕﺮ ﺍﺳﺖ‪:‬‬ ‫ﺍﻟﻒ‪ :‬ﻓﻘﻪ ﻭ ﺍﺻﻮﻝ‬ ‫‪.1‬ﻣﻬﻢﺗﺮﻳﻦ ﻛﺘﺎﺏ ﻓﻘﻬﻲ ﺷﻴﺦ ﺑﻬﺎﻳﻲ‬ ‫ﻣﺸﺮﻕﺍﻟﺸﻤﺴﻴﻦ ﻭ ﺍﻛﺴﻴﺮ ﺍﻟﺴﻌﺎﺩﺗﻴﻦ )ﺳﺎﺧﺘﻪﻱ‬ ‫‪1015‬ﻕ( ﺩﺭ ﻓﻘﻪ ﺍﺳﺘﺪﻻﻟﻲ ﺍﻣﺎﻣﻴﻪ ﺑﺮ ﺍﺳﺎﺱ‬ ‫ﻛﺘﺎﺏ ﻭ ﺳﻨﺖ ﺍﺳﺖ ﻛﻪ ﺷﻴﺦ ﺑﻬﺎﻳﻲ ﺗﻨﻬﺎ ﺑﻪ‬ ‫ﻧﮕﺎﺭﺵ ﺑﺎﺏ ﻃﻬﺎﺭﺕ ﺁﻥ ﺗﻮﻓﻴﻖﻳﺎﻓﺘﻪ ﺍﺳﺖ‪.‬‬ ‫ﻣﻘﺪﻣﻪﻱ ﻣﺸﺮﻭﺡ ﻭ ﺗﻔﺼﻴﻠﻲ ﺍﻳﻦ ﻛﺘﺎﺏ‬ ‫ﺩﺭﺑﺎﺭﻩﻱ ﺗﻘﺴﻴﻢ ﺍﺣﺎﺩﻳﺚ ﻭ ﻣﻌﺎﻧﻲ ﺍﺻﻄﻼﺣﺎﺕ‬ ‫ﻋﻠﻢﺍﻟﺤﺪﻳﺚ ﻭ ﺍﺭﺍﺋﻪﻱ ﺩﻻﻳﻞ ﻭ ﻭﺟﻮﻩ ﺟﻌﻞ‬ ‫ﺍﻳﻦ ﺍﺻﻄﻼﺣﺎﺕ‪ ،‬ﺑﻪ ﺍﺳﺘﻘﻼﻝ‪ ،‬ﺍﺯ ﺍﺭﺯﺵ ﺧﺎﺹ‬ ‫ﺑﺮﺧﻮﺭﺩﺍﺭ ﺍﺳﺖ‪.‬‬ ‫‪.2‬ﺟﺎﻣﻊ ﻋﺒﺎﺳﻲ ﻛﻪ ﺍﺯ ﺍﻭﻟﻴﻦ ﻭ ﻣﻌﺮﻭﻑﺗﺮﻳﻦ‬ ‫ﺭﺳﺎﻟﻪﻫﺎﻱ ﻋﻠﻤﻴﻪ ﺑﻪ ﺯﺑﺎﻥ ﻓﺎﺭﺳﻲ ﺍﺳﺖ ﻭ ﻣﻜﺮﺭ‬ ‫ﺑﻪ ﭼﺎپ ﺭﺳﻴﺪﻩ ﻭ ﺑﺰﺭﮔﺎﻥ ﺷﻴﻌﻪ ﺑﺮ ﺁﻥ ﺣﺎﺷﻴﻪ‬ ‫ﺯﺩﻩﺍﻧﺪ‪.‬‬ ‫‪.3‬ﺣﺒﻞﺍﻟﻤﺘﻴﻦ ﻓﻲ ﺍ ِﺣﻜﺎﻡ ﺍَﺣﻜﺎﻡ ﺍﻟﺪﻳﻦ‬ ‫)ﺳﺎﺧﺘﻪﻱ ‪1007‬ﻕ( ﺩﺭ ﻓﻘﻪ ﻛﻪ ﺗﺎ ﭘﺎﻳﺎﻥ ﺑﺎﺏ‬ ‫ﺻﻠﻮﺓ ﻧﻮﺷﺘﻪ ﻭ ﻃﻲ ﺁﻥ ﺑﺎﻟﻎ ﺑﺮﻳﻚ ﻫﺰﺍﺭ ﺭﻭﺍﻳﺖ‬ ‫ﺭﺍ ﺑﻪ ﻋﻨﻮﺍﻥ ﻣﺴﺘﻨﺪﺍﺕ ﺍﺣﻜﺎﻡ ﻓﻘﻪ ﺗﺠﺰﻳﻪ ﻭ‬ ‫ﺗﺤﻠﻴﻞ ﻛﺮﺩﻩ ﺍﺳﺖ ﻭ ﻣﻘﺪﻣﻪﻳﻲ ﺩﺭ ﺩﺭﺍﻳﻪﺍﻟﺤﺪﻳﺚ‬ ‫ﺑﺎ ﻧﺎﻡ ﺍﻟﻮﺟﻴﺰﻩ ﺑﺮ ﺁﻥ ﻧﻮﺷﺘﻪ ﺍﺳﺖ ﻛﻪ ﺑﻌﺪﻫﺎ ﺑﻪ‬ ‫ﺻﻮﺭﺕ ﺗﺎﻟﻴﻔﻲ ﻣﺴﺘﻘﻞ ﻣﻌﺮﻭﻑ ﺷﺪﻩ ﺍﺳﺖ‪.‬‬ ‫‪.4‬ﺍﻻﺛﻨﺎ ﻋﺸﺮﻳﺎﺕ ﺩﺭ ﻓﻘﻪ ﻛﻪ ﻧﺎﻡ ﭘﻨﺞ ﺭﺳﺎﻟﻪﻱ‬ ‫ﻓﻘﻬﻲ ﺍﺳﺖ ﻛﻪ ﻫﺮ ﻛﺪﺍﻡ ﺍﺯ ﺁﻧﻬﺎ ﺑﺎ ﻋﻨﻮﺍﻥ‬ ‫ﺍﻻﺛﻨﺎ ﻋﺸﺮﻳﻪ ﻣﺸﺘﻤﻞ ﺑﺮ ﭼﻨﺪﻳﻦ ﺑﺎﺏ ﻭ ﻫﺮ‬ ‫ﺑﺎﺏ ﻣﻨﻘﺴﻢ ﺑﺮ ﺩﻭﺍﺯﺩﻩ ﺣﻜﻢ ﺍﺳﺖ ﻭ ﺷﻴﺦ‬ ‫ﺑﻬﺎﻳﻲ ﺁﻧﻬﺎ ﺭﺍ ﺑﻪ ﺗﻔﺎﺭﻳﻖ ﻃﻲ ﻣﺪﺕ ﺳﻴﺰﺩﻩ‬ ‫ﺳﺎﻝ )‪1012.1025‬ﻕ( ﺗﺎﻟﻴﻒ ﻛﺮﺩﻩ ﺍﺳﺖ ﻭ‬ ‫ﻣﺠﻤﻮﻋﻪﻱ ﺁﻧﻬﺎ ﺑﻪ ﺍﻻﺛﻨﺎ ﻋﺸﺮﻳﺎﺕ ﺍﻟﺨﻤﺲ‬ ‫ﻣﺸﻬﻮﺭ ﺍﺳﺖ‪.‬‬ ‫‪.5‬ﺯﺑﺪﺓﺍﻻﺻﻮﻝ ﺩﺭ ﺍﺻﻮﻝ ﻓﻘﻪ ﻛﻪ ﺗﺎ ﻗﺒﻞ ﺍﺯ‬ ‫ﺭﻭﺍﺝ ﻛﺘﺎﺏﻫﺎﻱ ﻗﻮﺍﻧﻴﻦ ﻣﻴﺮﺯﺍﻱ ﻗﻤﻰﻭ ﻛﻔﺎﻳﻪ‬ ‫ﺁﺧﻮﻧﺪ ﺧﺮﺍﺳﺎﻧﻲ‪ ،‬ﺍﺯ ﻛﺘﺎﺏﻫﺎﻱ ﺩﺭﺳﻲ ﺣﻮﺯﻩﻫﺎﻱ‬ ‫ﻋﻠﻤﻴﻪ ﺑﻮﺩ‪.‬‬

‫ﻣﺤﻤﺪ ﻭﺟﺪﺍﻧﻲ )ﺳﺮﺩﻓﺘﺮ ﺍﺳﻨﺎﺩﺭﺳﻤﻲ ﺗﻬﺮﺍﻥ( ﭼﺎپ‬ ‫ﺷﺪ‪ .‬ﺁﻥ ﻓﺎﻟﻨﺎﻣﻪﻱ ﺷﻴﺦ ﺑﻬﺎﻳﻲ ﺑﺎ ﻓﺎﻝﮔﺮﻓﺘﻦﻫﻲ‬ ‫ﻣﻌﻤﻮﻝ ﺍﺯ ﺩﻳﻮﺍﻥ ﺣﺎﻓﻆ ﻭﻳﺎ ﻣﺜﻨﻮﻱ ﻣﻮﻻﻧﺎ ﻣﺘﻔﺎﻭﺕ‬ ‫ﺍﺳﺖ‪،‬ﻳﻌﻨﻲ ﺩﺭ ﻓﺎﻟﻨﺎﻣﻪﻱ ﺷﻴﺦ ﺑﻬﺎﻳﻲ‪ ،‬ﺑﻪ ﻋﻮﺽ‬ ‫ﺍﻳﻦﻛﻪ »ﺳﺮﻛﺘﺎﺏ ﺑﮕﺸﺎﻳﻨﺪ« ﺟﻮﻳﻨﺪﻩﻱ ﻓﺎﻝ ﺑﺎﻳﺪ‬ ‫ﺍﻧﮕﺸﺖ ﺧﻮﺩ ﺭﺍ ﺑﺮ ﺭﻭﻱ ﺣﺮﻓﻲ ﺍﺯ ﺣﺮﻭﻑ ﺁﻥ ﺻﻔﺤﻪ‬ ‫ﺑﮕﺬﺍﺭﺩ‪ ،‬ﺗﺎ ﺟﻮﺍﺏ ﺧﻮﺩ ﺭﺍ ﺑﺎ ﻣﺤﺎﺳﺒﻪﻱ ﺣﺮﻭﻑ ﺑﻌﺪﻱ‪،‬‬ ‫ﺑﻴﺎﺑﺪ‪ .‬ﺍﻳﻦ ﺍﻣﺮ ﺩﺭ ﻣﻮﺭﺩ ﺍﺷﻌﺎﺭ ﺣﺎﻓﻆ ﻧﻴﺰ ﻋﻴﻨ ًﺎ ﺑﻪ ﺍﻧﺠﺎﻡ‬ ‫ﺭﺳﻴﺪﻩ ﺍﺳﺖ‪.‬ﻳﻌﻨﻲ ﻏﺰﻟﻴﺎﺕ ﺣﺎﻓﻆ‪ ،‬ﺑﻪ ﺻﻮﺭﺕ ﺣﺮﻭﻑ‬ ‫ﻧﺎﭘﻴﻮﺳﺘﻪ ﺩﺭ ﺻﻔﺤﻪﻫﺎﻱ ﺷﻄﺮﻧﺠﻲ ﺷﻜﻞ ﻧﻮﺷﺘﻪﺍﻧﺪ‬ ‫ﻭ ﺟﻮﻳﻨﺪﻩﻱ ﻓﺎﻝ ﺑﺎﻳﺪ‪ ،‬ﭼﺸﻢ ﺧﻮﺩ ﺭﺍ ﺑﺒﻨﺪﺩ ﻭ ﺍﻧﮕﺸﺖ‬ ‫ﺧﻮﺩ ﺭﺍ ﺭﻭﻱ ﺁﻥ ﺻﻔﺤﻪ ﺑﮕﺬﺍﺭﺩ‪ .‬ﺑﺮ ﺣﺮﻓﻲ ﻛﻪ ﺩﺭ ﺁﻥ‬ ‫ﺧﺎﻧﻪ ﺩﺳﺖ ﻧﻬﺎﺩﻩ ﺩﺭ ﻧﻈﺮ ﺑﮕﻴﺮﺩ ﻭ ﻧُﻪ ﻧُﻪ ﺁﻥﻫﺎ ﺭﺍ ﺑﻪ‬ ‫ﺭﺩﻳﻒ ﺑﻨﻮﻳﺴﺪ ﺗﺎ ﺑﻴﺘﻲ ﺍﺯ ﻏﺰﻝ ﺣﺎﻓﻆ ﺑﻪﺩﺳﺖ ﺁﻳﺪ‪.‬‬ ‫ﺷﻴﺦ ﺑﻬﺎﻳﻲ ﻋﻠﻲﺍﻟﺘﺤﻘﻴﻖ ﺩﺭ ﻋﻠﻢ ﺍﻋﺪﺍﺩ ﻭ ﺣﺮﻭﻑ‬ ‫ﻭ ﺍﻭﻓﺎﻕ ﻧﻴﺰ ﺗﺨﺼﺺ ﺩﺍﺷﺘﻪ ﺍﺳﺖ‪ ،‬ﭼﻨﺎﻥﻛﻪ ﺩﺭ‬ ‫ﭼﻨﺪﻳﻦ ﻣﻮﺭﺩ ﺑﺮﺍﻱ ﺛﺒﺖ ﺗﺎﺭﻳﺦ ﺣﻮﺍﺩﺙ ﻣﺨﺘﻠﻒ ﻣﺎﺩﻩ‬ ‫ﺗﺎﺭﻳﺦﻫﺎﻱ ﻣﻨﺎﺳﺐ ﺳﺎﺧﺘﻪ ﻭ ﺍﺯ ﺟﻤﻠﻪ ﺩﺭ ﻛﺘﺎﺏ ﺟﺎﻣﻊ‬ ‫ﻋﺒﺎﺳﻲ ﻛﻪ ﺑﻪ ﺣﻘﻴﻘﺖ ﺑﻪ ﻋﻨﻮﺍﻥ »ﺭﺳﺎﻟﻪﻱ ﻋﻠﻤﻴﻪ«‬ ‫ﺑﺮﺍﻱ ﺷﻴﻌﻴﺎﻥ ﻋﺼﺮ ﺻﻔﻮﻱ ﺗﺎﻟﻴﻒ ﺷﺪﻩ ﺍﺳﺖ‪ ،‬ﺑﺎ‬ ‫ﺍﺳﺘﻔﺎﺩﻩ ﺍﺯ ﺗﻌﻤﻴﻪﻱ ﺯﺑﺮ ﻭ ّﺑﻴﻨﺎﺕ ﺑﻪ ﺣﺴﺎﺏ ﺍﺑﺠﺪ ﺑﺮﺍﻱ‬ ‫ﻧﺎﻡ ﺷﺎﻩﻋﺒﺎﺱ ﺻﻔﻮﻱ ﻣﻌﻤﺎﻳﻲ ﺩﺭ ﺗﻌﺒﻴﺮ )ﺧﻠّﺪ ﺍﷲ‬ ‫ﻣﻠﻜﻪ(ﻳﺎﻓﺘﻪ ﻭ ﮔﻔﺘﻪ ﺍﺳﺖ‪:‬‬ ‫ﺷﺎﻩ ﻋﺒﺎﺱ ﺧﺴﺮﻭ ﺍﻳﺮﺍﻥ‬ ‫ﺗﺎﺝﺑﺨﺶ ﺷﻬﺎﻥ ﻭ ﺷﺎﻩﺟﻬﺎﻥ‬ ‫ﻛﻪ ﭼﻮ ﺍﻳﻦ ﻧﺎﻡ ﺑﺮ ﺯﺑﺎﻥ ﺭﺍﻧﻨﺪ‬ ‫)ﺧﻠّﺪ ّ‬ ‫ﺍﷲ ﻣﻠﻜﻪ( ﺧﻮﺍﻧﻨﺪ‬ ‫ّﺑﻴﻨﺎﺕ ﻭ ﺯﺑﺮ ﺍﮔﺮ ﺩﺍﻧﻲ‬ ‫ﻳﺎﺑﻲ ﺍﻳﻦ ﻧﻜﺘﻪ ﺭﺍ ﺑﻪ ﺁﺳﺎﻧﻲ‬ ‫ﭼﻨﺎﻥﻛﻪ ﺑﺎﺯ ﺗﺎﺭﻳﺦ ﻓﺘﺢ ﺍﻳﺮﻭﺍﻥ ﺑﻪﺩﺳﺖ ﻋﺒﺎﺱﻳﻜﻢ‬ ‫ﺭﺍ ﻣﻄﺎﺑﻖ ﻟﻔﻆ )ﺷﻴﺦ ﺑﻬﺎءﺍﻟﺪﻳﻦ( = ‪1013‬ﻕ ﻭ ﺗﺎﺭﻳﺦ‬

‫ﺟﺸﻦ ﻧﻮﺭﻭﺯ ‪1018‬ﻕ ﺭﺍ ﺩﺭ ﺩﻭﺍﺯﺩﻫﻢ ﻣﺤﺮﻡ ﺁﻥ‬ ‫ﺳﺎﻝ‪ ،‬ﻣﻄﺎﺑﻖ )ﻋﻠﻲ ﺑﺒﺨﺸﺪ(ﻳﺎﻓﺘﻪ ﺍﺳﺖ‪ .‬ﺑﺎﺯ ﺩﺭ ﻣﻨﺒﻴﻊ‬ ‫ﻛﺸﻜﻮﻝ ﻛﻴﻤﻴﺎ( ﺍﺯ ﺷﻴﺦ ﺑﻬﺎﻳﻲ ﻧﻘﻞ‬ ‫ﺩﻳﮕﺮ )ﺍﺯ ﺟﻤﻠﻪ‬ ‫ِ‬ ‫ﻛﺮﺩﻩﻧﺪ ﻛﻪ ﺩﺭ ﺁﻥ ﺭﻭﺯﮔﺎﺭﺍﻥ ﮔﺬﺷﺘﻪ ﻛﻪ ﺭﺍﻩﻫﺎ ﻭ ﻃﺮﻕ‬ ‫ﺍﺭﺗﺒﺎﻃﺎﺕ ﺍﻣﺮﻭﺯﻳﻦ ﻫﻤﭽﻮﻥ ﭘﺴﺖ ﻭ ﺗﻠﮕﺮﺍﻑ‪ ،‬ﺗﻠﻔﻦ‬ ‫ﻭ ﻓﺎﻛﺲ ﻭ ﺍﻱﻣﻴﻞ ﻭﺟﻮﺩ ﻧﺪﺍﺷﺖ ﺑﺎ ﺍﺳﺘﻔﺎﻫﺪ ﺍﺯ ﺍﻳﻦ‬ ‫ﺩﺳﺘﻮﺭﺍﻟﻌﻤﻞ ﺳﺎﺩﻩ‪ ،‬ﻣﻲﺗﻮﺍﻥ ﺑﺮ ﺍﺣﻮﺍﻝ ﺷﺨﺺ ﻏﺎﺋﺐ‬ ‫ﻣﻄﻠﻊ ﺷﺪ ﻭ ﺁﻥ ﺍﻳﻦ ﺍﺳﺖ ﻛﻪ ﺑﺮﺍﺑﺮ ﺍﺭﺯﺵ ﻋﺪﺩﻱ‬ ‫ﺣﺮﻭﻑ ﺍﺑﺠﺪ‪ ،‬ﻧﺎﻡ ﺷﺨﺺ ﻏﺎﺋﺐ ﻭ ﻧﺎﻡ ﻣﺎﺩﺭ ﺍﻭ ﺭﺍ‪،‬‬ ‫ﺑﺎ ﺍﺳﻢ ﺭﻭﺯ ﻫﻔﺘﻪﺍﻱ ﻛﻪ ﻣﺤﺎﺳﺒﻪ ﺩﺭ ﺁﻥ ﺭﻭﺯ ﺍﻧﺠﺎﻡ‬ ‫ﻣﻲﺷﻮﺩ‪ ،‬ﺟﻤﻊ ﻛﻨﻨﺪ ﻭ ﺣﺎﺻﻞ ﺟﻤﻊ ﺍﺭﺯﺵ ﻋﺪﺩﻱ ﺁﻥ‬ ‫ﺳﻪ ﺍﺳﻢ ﺭﺍ‪ ،‬ﭼﻬﺎﺭ – ﭼﻬﺎﺭ ﻃﺮﺡ ﻛﻨﻨﺪ‪ .‬ﺍﮔﺮ ﻋﺪﺩ ﺑﺎﻗﻲ‬ ‫ﻣﺎﻧﺪﻩ‪) 4 ،‬ﭼﻬﺎﺭ( ﺑﻮﺩ‪ ،‬ﺍﻳﻦ ﺩﻻﻟﺖ ﺑﺮ ﺻﺤﺖ ﻭ ﺳﻼﻣﺖ‬ ‫ﺷﺨﺺ ﻏﺎﺋﺐ ﺩﺍﺭﺩ‪ .‬ﺍﮔﺮ ﻋﺪﺩ ﺑﺎﻗﻲ ﻣﺎﻧﺪﻩ‪) 3 ،‬ﺳﻪ(‬

‫ﺑﻮﺩ‪ ،‬ﺍﻳﻦ ﺩﻻﻟﺖ ﺑﺮ ﺑﻴﻤﺎﺭﻱ ﻭ ﺭﻧﺠﻮﺭﻱ ﺁﻥ ﺷﺨﺺ‬ ‫ﺩﺍﺭﺩ‪ .‬ﺍﮔﺮ ﻋﺪﺩ ﺑﺎﻗﻲ ﻣﺎﻧﺪﻩ‪) 2 ،‬ﺩﻭ( ﺑﻮﺩ‪ ،‬ﺍﻳﻦ ﺩﻻﻟﺖ ﺑﺮ‬ ‫ﻣﺴﺎﻓﺮﺕ ﺁﻥ ﺷﺨﺺ ﺑﻪ ﺳﻔﺮﻱ ﺩﻭﺭ ﻭ ﺩﺭﺍﺯ ﺩﺍﺭﺩ‪ .‬ﺍﮔﺮ‬ ‫ﻋﺪﺩ ﺑﺎﻗﻲ ﻣﺎﻧﺪﻩ‪) 1 ،‬ﻳﻚ( ﺑﻮﺩ‪ ،‬ﺩﻻﻟﺖ ﺑﺮ ﺯﻧﺪﺍﻧﻲﺑﻮﺩﻥ‬ ‫ﻭ ﺗﻨﻬﺎ ﺑﻮﺩﻥ ﺍﻭ ﺩﺍﺭﺩ‪.‬‬ ‫ﺩ‪ .‬ﻣﻌﻤﺎﺭﻱ ﻭ ﻣﻬﻨﺪﺳﻲ‪:‬‬ ‫ﻣﺴﺎﺣﻲ ﻭ ﻣﻌﻤﺎﺭﻱ ﻣﺘﻌﺪﺩﻱ ﺑﻪ ﺷﻴﺦ‬ ‫ﺁﺛﺎﺭ ﻣﻬﻨﺪﺳﻲ‪ّ ،‬‬ ‫ﺑﻬﺎﻳﻲ ﻣﻨﺘﺴﺐ ﺍﺳﺖ‪،‬ﺍﻣﺎ ﻃﺮﺡ ﺍﻏﻠﺐ ﺁﻧﻬﺎ ﺭﺍ ﻧﻤﻲﺗﻮﺍﻥ‬ ‫ﺑﺎ ﻗﺎﻃﻌﻴﺖ ﺑﻪ ﺍﻭ ﻧﺴﺒﺖ ﺩﺍﺩ‪ .‬ﻣﻬﻢﺗﺮﻳﻦ ﻭ ﻣﺸﻬﻮﺭﺗﺮﻳﻦ‬ ‫ﺁﻧﻬﺎ ﻛﻪ ﺑﻪ »ﻃﻮﻣﺎﺭ ﺷﻴﺦ ﺑﻬﺎﻳﻲ« ﺭﺍﺟﻊ ﺑﻪ ﺗﻘﺴﻴﻢ‬ ‫ﺁﺏ ﺯﺍﻳﻨﺪﻩﺭﻭﺩ ﺑﻪ ﻫﻔﺖ ﻗﺴﻤﺖ ﺑﺮﺍﻱ ﻣﺤﻼﺕ ﻣﺨﺘﻠﻒ‬ ‫ﺍﺻﻔﻬﺎﻥ ﻭ ﺭﻭﺳﺘﺎﻫﺎﻱ ﻣﺠﺎﻭﺭ ﻣﺸﻬﻮﺭ ﺍﺳﺖ‪ ،‬ﺑﻪ‬ ‫ﮔﺰﺍﺭﺵ ﻣﺤﻤﺪﺑﺎﻗﺮ ﺍﻟﻔﺖ ﻛﻪ ﺍﺻﻞ ﻃﻮﻣﺎﺭ ﺭﺍ ﺩﻳﺪﻩ ﺍﺯ‬ ‫ﺁﺛﺎﺭ ﺷﻴﺦ ﺑﻬﺎﻳﻲ ﻧﻴﺴﺖ‪ ،‬ﺯﻳﺮﺍ ﻛﻪ ﺩﺭ ﺻﺪﺭ ﺗﻮﻣﺎﺭ ﻣﺬﻛﻮﺭ‬ ‫ﺗﺎﺭﻳﺦ ﺗﺤﺮﻳﺮ ﺁﻥ ﺳﺎﻝ ‪923‬ﻕ‪،‬ﻳﻌﻨﻲ ﺳﻲ ﺳﺎﻝ ﭘﻴﺶ ﺍﺯ‬ ‫ﺗﻮﻟﺪ ﺷﻴﺦ ﺑﻬﺎﻳﻲ‪ ،‬ﺿﺒﻂ ﺷﺪﻩ ﺍﺳﺖ‪ 13.‬ﺁﺛﺎﺭ ﻣﻌﻤﺎﺭﻱ ﻭ‬ ‫ﺻﺤﺖ ﺍﻧﺘﺴﺎﺏ‬ ‫ﻣﻬﻨﺪﺳﻲ ﻣﻨﺘﺴﺐ ﺑﻪ ﺷﻴﺦ ﺑﻬﺎﻳﻲ ﻛﻪ ّ‬ ‫ﺁﻧﻬﺎ ﻧﻴﺰ ﻣﺤﻞ ﺗﺮﺩﻳﺪ ﻧﻴﺴﺖ‪ ،‬ﻋﺒﺎﺭﺗﻨﺪ ﺍﺯ‪:‬‬ ‫ﺗﻌﻴﻴﻦ ﺳﻤﺖ ﻗﺒﻠﻪﻱ ﻣﺴﺠﺪ ﺷﺎﻩﺍﺻﻔﻬﺎﻥ ﺑﻪ ﻣﻘﻴﺎﺱ‬ ‫ﭼﻬﻞ ﺩﺭﺟﻪ ﺍﻧﺤﺮﺍﻑ ﻏﺮﺑﻲ ﺍﺯ ﻧﻘﻄﻪﻱ ﺟﻨﻮﺏ‪.2 ،‬‬ ‫ﻃﺮﺍﺣﻲ ﻧﻘﺸﻪﻱ ﺣﺼﺎﺭ ﻧﺠﻒ‪ .3 ،‬ﻃﺮﺍﺣﻲ ﻭ ﺳﺎﺧﺖ‬ ‫ﺷﺎﺧﺺ ﻇﻬﺮ ﺷﺮﻋﻲ ﺩﺭ ﻣﻐﺮﺏ ﻣﺴﺠﺪ ﺷﺎﻩ ﺍﺻﻔﻬﺎﻥ‪،‬‬ ‫‪ .4‬ﻃﺮﺍﺣﻲ ﺩﻳﻮﺍﺭﻱ ﺩﺭ ﺻﺤﻦ ﺣﺮﻡ ﺍﻣﺎﻡ ﻋﻠﻲ )ﻉ( ﺩﺭ‬ ‫ﻧﺠﻒ ﺑﻪ ﻃﻮﺭﻱ ﻛﻪ ﺯﻭﺍﻝ ﺷﻤﺲ ﺭﺍ ﺩﺭ ﺗﻤﺎﻡ ﺍﻳﺎﻡ ﺳﺎﻝ‬ ‫ﻣﺸﺨﺺ ﻛﻨﺪ‪ .‬ﺍﻣﺎ ﺁﺛﺎﺭ ﻣﻌﻤﺎﺭﻱ ﻭ ﻣﻬﻨﺪﺳﻲ ﻛﻪ ﺑﻪ ﻧﺎﻡ‬ ‫ﺷﻴﺦ ﺑﻬﺎﻳﻲ ﻣﻌﺮﻭﻑ ﺍﺳﺖ ﻭ ﺍﻧﺘﺴﺎﺏ ﺁﻧﻬﺎ ﻣﺤﻞ ﺗﺮﺩﻳﺪ‬ ‫ﻭﺍﻗﻊ ﺷﺪﻩ ﺍﺳﺖ‪ ،‬ﻋﺒﺎﺭﺗﻨﺪ ﺍﺯ‪:‬‬ ‫‪.1‬ﻃﺮﺡ ﺭﻳﺰﻱ ﻛﺎﺭﻳﺰ ﻧﺠﻒﺁﺑﺎﺩ ﺍﺻﻔﻬﺎﻥ ﻣﺸﻬﻮﺭ ﺑﻪ‬ ‫ﻗﻨﺎﺕ ﺯﺭﻳﻦ ﻛﻤﺮ ﺑﻪ ﻃﻮﻝ ﻧﻪ ﻓﺮﻫﻨﮓ‪ .2 ،‬ﺳﺎﺧﺘﻦ‬ ‫ﻣﻨﺎﺭﺟﻨﺒﺎﻥ ﺍﺻﻔﻬﺎﻥ‪ .3 ،‬ﻃﺮﺍﺣﻲ ﮔﻠﺨﻦ ﺣﻤﺎﻣﻲ ﻭﺍﻗﻊ‬

‫ﺩﺭ ﻣﻴﺎﻥ ﻣﺴﺠﺪ ﺟﺎﻣﻊ ﻭﻫﺎﺭﻭﻧﻴﻪ ﺩﺭ ﺑﺎﺯﺍﺭ ﻛﻬﻨﻪ‬ ‫ﻧﺰﺩﻳﻚ ﺑﻘﻌﻪﻱ ﻣﻌﺮﻭﻑ ﺑﻪ ﺩﺭﺏ ﺍﻣﺎﻡ ﺩﺭ‬ ‫ﺍﺻﻔﻬﺎﻥ ﻛﻪ ﺧﺰﻳﻨﻪﻱ ﺁﻥ ﺑﺎ ﺣﺮﺍﺭﺕﻳﻚ ﺷﻤﻊ‬ ‫ﮔﺮﻡ ﻣﻲﺷﺪﻩ ﺍﺳﺖ‪.‬‬ ‫‪ .4‬ﺍﺧﺘﺮﺍﻉ ﺳﻔﻴﺪﺁﺏ ﻣﻌﺮﻭﻑ ﺑﻪ ﺳﻔﻴﺪ ﺁﺏ ﺷﻴﺦ‪.‬‬

‫ﻩ‪ .‬ﺗﺎﻟﻴﻔﺎﺕ ﻣﺘﻔﺮﻗﻪ‪:‬‬ ‫‪ .1‬ﻛﺸﻜﻮﻝ‪ :‬ﻛﻪ ﺁﻥ ﺭﺍ ﭘﺲ ﺍﺯ ﻣﺨﻼﺕ ﺩﺭ‬ ‫ﻣﺼﺮ ﺗﺎﻟﻴﻒ ﻛﺮﺩﻩ ﺍﺳﺖ ﻭ ﻣﻄﺎﻟﺐ ﻋﺮﻓﺎﻧﻲ‬ ‫ﻭ ﺗﺎﺭﻳﺨﻲ ﻭ ﺍﺩﺑﻲ ﻭ ﺣﺘﻲ ﻋﻠﻤﻲ ﻭ ﺭﻳﺎﺿﻲ‬ ‫ﺑﻲﺷﻤﺎﺭﻱ ﺍﻏﻠﺐ ﺍﺯ ﻋﻠﻤﺎﻱ ﺍﻫﻞ ﺳﻨﺖ ﺩﺭ ﺁﻥ‬ ‫ﮔﻨﺠﺎﻧﻴﺪﻩ ﺍﺳﺖ‪ .‬ﭼﻨﺎﻧﻜﻪ ﻧﺨﺴﺘﻴﻦ ﻣﻄﺎﻟﺒﻲ‬ ‫ﻛﻪ ﺩﺭ ﺍﻳﻦ ﻛﺘﺎﺏ ﺑﺪﺍﻥﻫﺎ ﺁﻏﺎﺯ ﻛﺮﺩﻩ ﺍﺳﺖ‪،‬‬ ‫ﻧﺨﺴﺖ ﻧﻘﻞ ﻗﻮﻟﻲ ﺍﺯ ﺍﻟﺘﻔﺴﻴﺮ ﺍﻟﻜﺒﻴﺮ ﺍﻣﺎﻡ ﻓﺨﺮ‬ ‫ﺭﺍﺯﻱ ﻭ ﺩﻳﮕﺮﻱ ﻣﻄﻠﺒﻲ ﺑﻪ ﻧﻘﻞ ﺍﺯ ﺍﺣﻴﺎءﺍﻟﻌﻠﻮﻡ‬ ‫ﺍﺑﻮﺣﺎﻣﺪ ﻏﺰﺍﻟﻲ ﺍﺳﺖ‪.‬‬ ‫‪ .2‬ﻣﺨﻼﺕ‪ :‬ﻛﻪ ﺁﻥ ﺭﺍ ﺩﺭ ﺟﻮﺍﻧﻲ ﺗﺎﻟﻴﻒ ﻛﺮﺩﻩ‬ ‫ﻭ ﺑﻪ ﺷﺮﺡ ﺁﻧﭽﻪ ﺩﺭ ﺳﺮﺁﻏﺎﺯ ﻛﺸﻜﻮﻝ ﻧﻮﺷﺘﻪ‬ ‫ﺍﺳﺖ‪ ،‬ﭼﻴﺰﻫﺎﻳﻲ ﻛﻪ ﺩﻝ ﺧﻮﺍﻫﺪ ﻭ ﺩﻳﺪﻩ ﺭﺍ‬ ‫ﻟﺬﺕ ﺩﻫﺪ‪ ،‬ﺑﻮﻳﮋﻩ ﺍﺯ ﺗﻔﺴﻴﺮ ﻭ ﺗﺄﻭﻳﻞ ﻭ ﺍﺧﺒﺎﺭ‬ ‫ﻭ ﺁﺛﺎﺭ ﻭ ﻣﻮﺍﻋﻆ ﺑﻬﺘﺮﻳﻦ ﺍﻗﻮﺍﻝ ﺭﺍ ﺑﺮﮔﺰﻳﺪﻩ ﻭ‬ ‫ﺩﺭ ﺁﻥ ﮔﻨﺠﺎﻧﻴﺪﻩ ﺍﺳﺖ‪ 15.‬ﺍﻣﺎ ﺁﻧﭽﻪ ﺑﻪ ﻋﻨﻮﺍﻥ‬ ‫ﻣﺨﻼﺕ ﺩﺭ ‪1317‬ﻕ ﺩﺭ ﻣﺼﺮ ﻣﻨﺘﺸﺮ ﺷﺪﻩ ﻭ‬ ‫ﻧﺸﺎﻧﻪﻱ ﺗﺴﻨﻦ ﻣﻮﻟﻒ ﺍﺳﺖ‪ ،‬ﺑﻪ ﺍﺣﺘﻤﺎﻝ ﻗﻮﻱ‬ ‫ﻣﻨﺤﻮﻝ ﺍﺳﺖ‪.‬‬ ‫‪ .3‬ﺍﻟﻔﻮﺍﺋﺪ ﺍﻟﺼﻤﺪﻳﻪ‪ :‬ﻣﻌﺮﻭﻑ ﺑﻪ ﺻﻤﺪﻳﻪ ﺩﺭ‬ ‫ﺩﺳﺘﻮﺭ ﺯﺑﺎﻥ ﻋﺮﺑﻲ ﻛﻪ ﺷﻴﺦ ﺑﻬﺎﻳﻲ ﺁﻥ ﺭﺍ ﺑﺮﺍﻱ‬ ‫ﺑﺮﺍﺩﺭﺵ ﻋﺒﺪﺍﻟﺼﻤﺪ ﺗﺎﻟﻴﻒ ﻛﺮﺩﻩ ﻭ ﺍﺯ ﻛﺘﺐ‬ ‫ﺩﺭﺳﻲ ﺩﺭ ﺷﻤﺎﺭ ﺟﺎﻣﻊﺍﻟﻤﻘﺪﻣﺎﺕ ﺍﺳﺖ ﻭ ﺑﺮ‬ ‫ﺭﻏﻢ ﺍﺧﺘﺼﺎﺭ ﻣﺸﺘﻤﻞ ﺑﺮ ﺁﺭﺍء ﻣﺨﺘﻠﻒ ﻧُﺠﺎﺕ‬ ‫ﻭ ﻣﺸﺘﻤﻞ ﺑﺮ ﺷﻮﺍﻫﺪ ﻣﺘﻌﺪﺩ ﺍﺯ ﻗﺮﺁﻥ ﻭ ﺣﺪﻳﺚ‬ ‫ﺍﺳﺖ ﻭ ﺷﺮﻭﺡ ﻣﺘﻌﺪﺩﻱ ﺑﺮ ﺁﻥ ﻧﻮﺷﺘﻪ ﺷﺪﻩ‬ ‫ﺍﺳﺖ ﻛﻪ ﻣﻬﻢﺗﺮ ﺍﺯ ﻫﻤﻪ ﺷﺮﺡ ﺳﻴﺪ ﻋﻠﻲﺧﺎﻥ‬ ‫ﻣﺪﻧﻲ ﺑﻪ ﻧﺎﻡ ﺍﻟﺤﺪﺍﺋﻖ ﺍﻟﻨﺪﻳﻪ ﺍﺳﺖ‪.‬‬ ‫ﻭ – ﺁﺛﺎﺭ ﻣﻨﺜﻮﺭ ﺍﺩﺑﻲ ﻓﺎﺭﺳﻲ‪:‬‬ ‫ﻣﻬﻢﺗﺮﻳﻦ ﺍﺛﺮ ﻣﻨﺜﻮﺭ ﺍﺩﺑﻲ ﺷﻴﺦ ﺑﻬﺎﻳﻲ ﺑﻪ‬ ‫ﻓﺎﺭﺳﻲ ﭘﻨﺪ ﺍﻫﻞ ﺩﺍﻧﺶ ﻭ ﻫﻮﺵ ﺑﻪ ﺯﺑﺎﻥ‬ ‫ﮔﺮﺑﻪ ﻭ ﻣﻮﺵ ﺍﺳﺖ‪ .‬ﺍﻳﻦ ﺭﺳﺎﻟﻪ ﻛﻪ ﺍﺯﻳﻚ ﺳﻮ‬ ‫ﻣﺘﺎﺛﺮ ﺍﺯ ﻣﻮﺵ ﻭ ﮔﺮﺑﻪ ﻣﻨﻈﻮﻡ ﻋﺒﻴﺪ ﺯﺍﻛﺎﻧﻲ ﻭ‬ ‫ﺍﺯ ﺳﻮﻱ ﺩﻳﮕﺮ ﺗﺎﺛﻴﺮﮔﺬﺍﺭ ﺩﺭ ﺭﺳﺎﻟﻪﻱ ﻣﻨﺜﻮﺭ‬ ‫ﺟﻮﺍﻫﺮ ﺍﻟﻌﻘﻮﻝ ﻣﻨﺴﻮﺏ ﻣﻼﻣﺤﻤﺪﺑﺎﻗﺮ ﻣﺠﻠﺴﻲ‬ ‫)ﭼﺎپ ‪1324‬ﻕ( ﺍﺳﺖ‪ ،‬ﭼﻨﻴﻦ ﺷﺮﻭﻉ ﻣﻲﺷﻮﺩ‪:‬‬ ‫ﻣﻮﺵ ُﭘﺮ ﻫﻮﺷﻲ ﺳﻔﻴﺪ ﺩﺭ‬ ‫»ﺁﻭﺭﺩﻩﺍﻧﺪ ﻛﻪ‬ ‫ِ‬ ‫ﮔﻮﺷﻪﻳﻲ ﻗﺮﺍﺭ ﮔﺮﻓﺘﻪ ﻭ ﺍﺯ ﮔﻮﺷﻪﻳﻲ ﺗﻮﺷﻪ‬ ‫ﺗﻤ ّﺘﻊ ﻛﺮﺩﻩ؛ ﻧﺎﮔﺎﻩ ﮔﺮﺑﻪﻳﻲ ﺩﺭ ﻛﻠﺒﻪﻱ ﺍﻭ‬ ‫ﺩﺭﺁﻣﺪ‪ .‬ﻣﻮﺵ‪ ...‬ﺁﻫﻲ ﻣﻲﻛﺸﻴﺪ‪ .‬ﮔﺮﺑﻪ ﺑﺮﺁﺷﻔﺖ‬ ‫ﻭ ﮔﻔﺖ‪ ...:‬ﺍﺯ ﺑﺮﺍﻱ ﭼﻪ‪ ...‬ﺳﻼﻡ ﻧﻜﺮﺩﻱ؟‬ ‫ﻣﻮﺵ‪ ...‬ﮔﻔﺖ‪ :‬ﺍﻱ ﺷﻬﺮﻳﺎﺭ ﻋﺎﻟﻲﻣﻘﺪﺍﺭ‪ ....‬ﺍﺯ‬ ‫ﺟﻮﺍﺏ ﻋﺎﺟﺰﻡ‪ ...‬ﮔﺮﺑﻪ‪ ...‬ﮔﻔﺖ‪ :‬ﺍﻱ ﻧﺎﺑﻜﺎﺭ! ﺍﺯ‬ ‫ﻣﻦ ﺳﺘﻤﻰﺑﻪ ﺗﻮ ﺭﺳﻴﺪﻩ‪ ...‬ﺳﻼﻡ ﻛﺮﺩﻥ ﺩﺭ‬ ‫ﻛﺘﺎﺏﻫﺎ ﻧﻮﺷﺘﻪ ﺷﺪﻩ ﺳﻨﺖ ﺍﺳﺖ ﻭ ﺟﻮﺍﺏ‬ ‫ﺳﻼﻡ ﻭﺍﺟﺐ‪ .‬ﭘﺲ ﺍﮔﺮ ﺗﻮ ﺳﻼﻡ ﻛﻨﻲ‪ ،‬ﺍﻣﺮ‬ ‫ﺳﻨﺘﻲ ﺑﻪﺟﺎ ﺁﻭﺭﺩﻩ ﺑﺎﺷﻲ ﻭ ﻣﺮﺍ ﻣﺘﻌﻬﺪ ﺍﻣﺮ‬ ‫ﻭﺍﺟﺒﻲ ﻛﺮﺩﻩﻳﻲ ﺯﻳﺮﺍ ﻛﻪ ﺩﻳﮕﺮ ﻛﺴﻲ ﺩﺭ ﻣﻴﺎﻥ‬ ‫ﻣﺎ ﻭ ﺗﻮ ﻧﻴﺴﺖ ﻛﻪ ﺟﻮﺍﺏ ﺳﻼﻡ ﮔﻮﻳﺪ ﺗﺎ ﻓﺮﺽ‬ ‫ﻛﻔﺎﻳﻪ ﺑﻪﺟﺎ ﺁﻳﺪ‪ .‬ﭘﺲ ﺍﻱ ﻣﻮﺵ! ﺩﺭ ﺳﻼﻡ‬ ‫ﺻﺮﻓﻪ ﺗﻮ ﺭﺍ ﻣﻲﺷﺪ‪ .‬ﺩﻳﮕﺮ ﺁﻥﻛﻪ ﺳﺒﻘﺖ ﺩﺭ‬ ‫ﺳﻼﻡ‪ ،‬ﺛﻮﺍﺏ ﻋﻈﻴﻢ ﺩﺍﺭﺩ ﻭ ﺧﻮﺍﺳﺘﻢ ﻛﻪ ﺛﻮﺍﺏ‬

‫ﺩﻭﺭﻩ ﺟﺪﻳﺪ‪/‬ﺷﻤﺎﺭﻩ ‪ 9‬ﻭ ‪)10‬ﭘﻴﺎﭘﻲ‪39‬ﻭ‪ /(40‬ﺳﺎﻝ ﺳﻮﻡ‪/‬ﻧﻮﺭﻭﺯ‪88‬‬

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‫ﺷﻴﺦ ﺑﻬﺎﻳﻲ‪ :‬ﻋﺎﻟﻢ ﺑﺰﺭگ ﺫﻭﻓﻨﻮﻥ‬ ‫ﭘﺮﻭﻓﺴﻮﺭ ﺳﻴﺪﺣﺴﻦ ﺍﻣﻴﻦ‬ ‫ﻣﺴﻴﺮ ﺯﻧﺪﮔﻲ‪:‬‬ ‫ﺷﻴﺦ ﺑﻬﺎﻳﻲ‪ ،‬ﺑﻬﺎءﺍﻟﺪﻳﻦ ﻣﺤﻤﺪ ﻋﺎﻣﻠﻲ‪ ،‬ﻣﺘﺨﻠﺺ‬ ‫ﺑﻪ ﺑﻬﺎﻳﻲ ﻭ ﻣﻌﺮﻭﻑ ﺑﻪ ﺷﻴﺦ ﺑﻬﺎﻳﻲ ﻓﺮﺯﻧﺪ ﺷﻴﺦ‬ ‫ﻋ ّﺰﺍﻟ ّﺪﻳﻦ ﺣﺴﻴﻦ ﺑﻦ ﻋﺒﺪﺍﻟﺼﻤﺪ ﺷﻤﺲﺍﻟﺪﻳﻦ‬ ‫ﻣﺤﻤﺪ ﺣﺎﺭﺛﻲ ﺟﺒﻞ ﻋﺎﻣﻠﻲ ﻫﻤﺪﺍﻧﻲ ﺟﺒﻌﻲ‬ ‫)ﺑﻌﻠﺒﻚ ‪ 27‬ﺫﻱ ﺣﺠﻪﻱ ‪ – 953‬ﺍﺻﻔﻬﺎﻥ ‪12‬‬ ‫ﺷﻮﺍﻝ ‪ 1031‬ﻕ( ﺩﺍﻧﺸﻤﻨﺪ ﺫﻭﻓﻨﻮﻥ ﺷﻴﻌﻲ ﻭ‬ ‫ﺷﻴﺦﺍﻻﺳﻼﻡ ﻋﺼﺮ ﺻﻔﻮﻱ‪ ،‬ﻧﺴﺐ ﺍﻭ ﺑﻪ ﺣﺎﺭﺙ‬ ‫ﺑﻦ ﻋﺒﺪﺍﷲ ﺍﻋﻮﺭ ﻫﻤﺪﺍﻧﻲ )ﻡ ‪65‬ﻕ( ﺍﺯ ﺧﻮﺍﺹ‬ ‫ﺍﺻﺤﺎﺏ ﺍﻣﺎﻡ ﻋﻠﻲ )ﻉ( ﻣﻲﺭﺳﺪ‪ .‬ﺷﻴﺦ ﺑﻬﺎﻳﻲ‬ ‫ﺩﺭﻳﻚ ﺳﺎﻟﮕﻲ ﺑﻪ ﻫﻤﺮﺍﻩ ﭘﺪﺭﺵ ﺷﻴﺦ ﻋ ّﺰﺍﻟ ّﺪﻳﻦ‬ ‫)‪918.984‬ﻕ( ﺍﺯ ﺑﻌﻠﺒﻚ ﺑﻪ ﺟﺒﻞ ﻋﺎﻣﻞ – ﺍﺯ‬ ‫ﻣﺮﺍﻛﺰ ﻣﻌﺮﻭﻑ ﺷﻴﻌﻪ ﺩﺭ ﺷﻤﺎﻝ ﺷﻬﺮ ﺻﻴﺪﺍ –‬ ‫ﻫﺠﺮﺕ ﻛﺮﺩ‪ .‬ﭘﺪﺭﺵ ﻛﻪ ﺩﺭ ﺯﻣﺮﻩﻱ ﺷﺎﮔﺮﺩﺍﻥ ﻭ‬ ‫ﺍﺻﺤﺎﺏ ﻧﺰﺩﻳﻚ ﺷﻴﺦ ﺯﻳﻦﺍﻟﺪﻳﻦ ﻋﻠﻲ ﺑﻦ ﺍﺣﻤﺪ‬ ‫ﻋﺎﻣﻠﻲ ﻣﻌﺮﻭﻑ ﺑﻪ ﺷﻬﻴﺪ ﺛﺎﻧﻲ )ﺷﻬﺎﺩﺕ ‪966‬ﻕ(‬ ‫ﺩﺭ ﺁﻣﺪﻩ ﺑﻮﺩ‪ ،‬ﭘﺲ ﺍﺯ ﺷﻬﺎﺩﺕ ﺍﺳﺘﺎﺩ ﺧﻮﻳﺶ‬ ‫ﺻﺤﻨﻪ ﺭﺍ ﺩﺭ ﺟﺒﻞ ﻋﺎﻣﻞ ﺑﺮ ﺧﻮﺩ ﺗﻨﮓ ﺩﻳﺪ ﻭ‬ ‫ﺑﺎ ﺷﻨﻴﺪﻥ ﺧﺒﺮ ﺍﺳﺘﻘﺮﺍﺭ ﺩﻭﻟﺖ ﺷﻴﻌﻲ ﺻﻔﻮﻱ‬ ‫ﺩﺭ ﺍﻳﺮﺍﻥ ﺑﻪ ﺩﻋﻮﺕ ﺷﻴﺦ ﻋﻠﻲ ﻣﻨﺸﺎﺭ ﻛﺮﻛﻲ‬ ‫– ﺷﻴﺦ ﺍﻻﺳﻼﻡ ﺷﻬﺮ ﺍﺻﻔﻬﺎﻥ – ﺑﻪ ﺧﻴﻞ‬ ‫ﻋﻠﻤﺎﻱ ﻣﻬﺎﺟﺮ ﺟﺒﻞ ﻋﺎﻣﻞ ﺑﻪ ﺍﻳﺮﺍﻥ ﭘﻴﻮﺳﺖ ﻭ‬ ‫ﻧﺰﺩ ﺷﻴﺦ ﻋﻠﻲ ﻣﻨﺸﺎﺭ ﺑﻪ ﺍﺻﻔﻬﺎﻥ ﺁﻣﺪ ﻭ ﭘﺲ ﺍﺯ‬ ‫ﺳﻪ ﺳﺎﻝ ﺍﻗﺎﻣﺖ ﺩﺭ ﺍﺻﻔﻬﺎﻥ‪ ،‬ﺑﻪ ﺗﻮﺻﻴﻪﻱ ﺷﻴﺦ‬ ‫ﻣﻨﺸﺎﺭ ﻛﺮﻛﻲ ﺍﺯ ﺳﻮﻱ ﺗﻬﻤﺎﺳﺐﻳﻜﻢ ﻧﺨﺴﺖ ﺑﻪ‬ ‫ﻣﻘﺎﻡ ﺷﻴﺦﺍﻻﺳﻼﻣﻲ ﺳﭙﺲ ﺗﺼ ّﺪﻱ ﺷﺮﻋﻴﺎﺕ‬ ‫ﻣﻤﺎﻟﻚ ﺧﺮﺍﺳﺎﻥ ﻋﻤﻮﻣ ًﺎ ﻭ ﺷﻴﺦﺍﻻﺳﻼﻣﻲ‬ ‫ﻣﺸﻬﺪ ﻭ ﺩﺍﺭﺍﻟﺴﻠﻄﻨﻪﻱ ﻫﺮﺍﺕ ﺧﺼﻮﺻ ًﺎ ﻣﻨﺼﻮﺏ‬ ‫ﺷﺪ ﻭ ﮔﻮﻳﺎ ﺩﺭ ﻫﻤﺎﻥ ﺍﻳﺎﻡ ﺭﺳﺎﻟﻪﻳﻲ ﺩﺭ ﺑﺎﺏ‬ ‫ﻭﺳﻮﺍﺱ ﻛﻪ ﺗﻬﻤﺎﺳﺐﻳﻜﻢ ﺑﺪﺍﻥ ﻣﺒﺘﻼ ﺑﻮﺩ‪ ،‬ﺑﺎ‬ ‫ﻋﻨﻮﺍﻥ ﺍﻟﻌﻘﺪ ﻓﻲ ﺍﻟﻮﺳﻮﺳﺔ ﻭﺍﻟﻄﻬﺎﺭﺓ ﻧﻮﺷﺖ‪ .‬ﺩﺭ‬ ‫ﻓﺎﺻﻠﻪﻱ ﻫﺸﺖ ﺳﺎﻝ ﻛﻪ ﭘﺪﺭ ﺷﻴﺦ ﺑﻬﺎﻳﻲ‪ ،‬ﺩﺭ‬ ‫ﺧﺮﺍﺳﺎﻥ ﺑﻮﺩ‪ ،‬ﺷﻴﺦ ﺑﻬﺎﻳﻲ ﺩﺭ ﻗﺰﻭﻳﻦ ﻣﺎﻧﺪ ﻭ ﺑﻪ‬ ‫ﺗﻜﻤﻴﻞ ﻣﻌﻠﻮﻣﺎﺕ ﺧﻮﺩ ﭘﺮﺩﺍﺧﺖ‪ .‬ﻋﺎﻗﺒﺖ ﭘﺪﺭﺵ‬ ‫ﺍﺯ ﻫﺮﺍﺕ ﺑﻪ ﻗﺰﻭﻳﻦ ﺁﻣﺪ ﻭ ﺍﺯ ﺷﺎﻩﺍﺳﻤﺎﻋﻴﻞ ﺩﻭﻡ‬ ‫ﺍﺟﺎﺯﻩﻱ ﺧﺮﻭﺝ ﺍﺯ ﺍﻳﺮﺍﻥ ﺭﺍ ﺑﻪ ﻗﺼﺪ ﺳﻔﺮ ﺣﺞ‬ ‫ﮔﺮﻓﺖ ﻭ ﭼﻮﻥ ﺩﺭ ﺑﺎﺯﮔﺸﺖ ﺍﺯ ﺍﻳﻦ ﺳﻔﺮ ﺩﺭ‬ ‫ﺑﺤﺮﻳﻦ ﻓﻮﺕ ﻛﺮﺩ‪ ،‬ﺷﻴﺦ ﺑﻬﺎﻳﻲ ﺑﻪﺟﺎﻱ ﺍﻭ ﺑﻪ‬ ‫ﻣﻨﺼﺐ ﺷﻴﺦﺍﻻﺳﻼﻡ ﻫﺮﺍﺕ ﻣﻨﺼﻮﺏ ﺷﺪ‪ ،‬ﻭﻟﻲ‬ ‫ﺑﻪ ﻓﺎﺻﻠﻪﻱ ﭼﻨﺪ ﻣﺎﻩ ﭘﺲ ﺍﺯ ﻓﻮﺕ ﺍﺳﺘﺎﺩ ﻭ ﭘﺪﺭ‬ ‫ﻫﻤﺴﺮﺵ )ﺷﻴﺦ ﺯﻳﻦﺍﻟﺪﻳﻦ ﻋﻠﻲ ﻣﻨﺸﺎﺭ ﻋﺎﻣﻠﻲ(‪،‬‬ ‫ﺑﻪﺟﺎﻱ ﺍﻭ ﺑﻪ ﻣﻨﺼﺐ »ﺷﻴﺦﺍﻻﺳﻼﻡ ﺍﺻﻔﻬﺎﻥ«‬ ‫ﺭﺳﻴﺪ‪.‬‬ ‫ﺷﻴﺦ ﺑﻬﺎﻳﻲ ﻛﻪ ﻧﺨﺴﺖ ﺩﺭ ﺳﻠﻄﻨﺖ ﺷﺎﻩ‬ ‫ﺍﺳﻤﺎﻋﻴﻞ ﺩﻭﻡ )ﺣﻜﻮﻣﺖ ‪984.985‬ﻕ(ﻳﺎ ﺳﻠﻄﺎﻥ‬ ‫ﻣﺤﻤﺪ ﺧﺪﺍﺑﻨﺪﻩ )ﺣﻜﻮﻣﺖ ‪985.995‬ﻕ( ﺑﻪ‬ ‫ﺷﻴﺦﺍﻻﺳﻼﻣﻲ ﺍﺻﻔﻬﺎﻥ ﺭﺳﻴﺪﻩ ﺑﻮﺩ‪ ،‬ﺩﺭ ﺳﻠﻄﻨﺖ‬ ‫ﺷﺎﻩ ﻋﺒﺎﺱﻳﻜﻢ )ﺣﻜﻮﻣﺖ ‪996.1038‬ﻕ( ﺍﺯ‬ ‫ﺳﻤﺖ ﺷﻴﺦﺍﻻﺳﻼﻣﻲ ﺍﺻﻔﻬﺎﻥ ﺍﺳﺘﻌﻔﺎ ﻛﺮﺩ ﻭ‬ ‫ﺑﻪ ﺳﻴﺮ ﻭ ﺳﻔﺮ ﭘﺮﺩﺍﺧﺖ‪ .‬ﻣﻘﺼﺪ ﻧﺨﺴﺘﻴﻦ ﺍﻭ ﻣﻜﻪ‬ ‫ﻭ ﻣﺪﻳﻨﻪ ﺑﻮﺩ ﻭ ﺍﺯ ﺁﻧﺠﺎ ﺑﻪ ﻋﺮﺍﻕ‪ ،‬ﺣﺠﺎﺯ‪ ،‬ﻣﺼﺮ‪،‬‬

‫ﺩﻣﺸﻖ‪ ،‬ﺣﻠﺐ ﻭ ﺑﻴﺖﺍﻟﻤﻘﺪﺱ ﺭﻓﺖ ﻭ ﺳﭙﺲ ﺍﺯ ﺭﺍﻩ‬ ‫ﺗﺒﺮﻳﺰ‪ ،‬ﻗﺰﻭﻳﻦ ﺑﻪ ﺍﻳﺮﺍﻥ ﺑﺎﺯﮔﺸﺖ ﻭ ﺑﻪ ﺍﺻﻔﻬﺎﻥ ﺭﻓﺖ ﻭ‬ ‫ﺍﺯ ﺁﻥﺟﺎ ﺑﺎ ﭘﺎﻱ ﭘﻴﺎﺩﻩ ﺑﻪ ﻫﻤﺮﺍﻩ ﺷﺎﻩﻋﺒﺎﺱ ﺩﺭ ‪1008‬ﻕ‬ ‫ﺑﻪ ﺯﻳﺎﺭﺕ ﻣﺸﻬﺪ ﻣﺸﺮﻑ ﺷﺪ ﻭ ﺁﻧﮕﺎﻩ ﺑﻪ ﺍﺻﻔﻬﺎﻥ‬ ‫ﺑﺎﺯﺁﻣﺪ ﻭ ﻋﺎﻗﺒﺖ ﺩﺭ ﺁﻧﺠﺎ ﺩﺭ ‪ 12‬ﺷﻮﺍﻝ ‪1030‬ﻕ ﺑﺪﺭﻭﺩ‬ ‫ﺯﻧﺪﮔﻲ ﮔﻔﺖ ﻭ ﺟﻨﺎﺯﻩﺍﺵ ﺭﺍ ﭘﺲ ﺍﺯ ﺗﺸﻴﻴﻌﻲ ﺑﻲﻧﻈﻴﺮ ﺍﺯ‬ ‫ﺁﻧﺠﺎ ﺑﻪ ﻣﺸﻬﺪ ﻣﻨﺘﻘﻞ ﻛﺮﺩﻧﺪ ﻭ ﺩﺭ ﺟﻮﺍﺭ ﺣﺮﻡ ﺣﻀﺮﺕ‬ ‫ﺭﺿﺎ )ﻉ( ﺩﻓﻦ ﻛﺮﺩﻧﺪ‪ .‬ﺍﻋﺘﻤﺎﺩﺍﻟﺪﻭﻟﻪ ﻣﻴﺮﺯﺍ ﺍﺑﻮﻃﺎﻟﺐ ﻣﺎ ّﺩﻩ‬ ‫ﺗﺎﺭﻳﺦ ﻓﻮﺕ ﺍﻭ ﺭﺍ ﭼﻨﻴﻦ ﺳﺮﻭﺩﻩ ﺍﺳﺖ‪:‬‬ ‫ﺭﻓﺖ ﭼﻮﻥ »ﺷﻴﺦ« ﺯ ﺩﺍﺭ ﻓﺎﻧﻲ‬ ‫ﮔﺸﺖ ﺍﻳﻮﺍﻥ ﺟﻨﺎﻧﺶ ﻣﺄﻭﺍﻱ‬ ‫ﺩﻭﺳﺘﻲ ﺟﺴﺖ ﺯ ﻣﻦ ﺗﺎﺭﻳﺨﺶ‬ ‫ﮔﻔﺘﻤﺶ‪) :‬ﺷﻴﺦ ﺑﻬﺎءﺍﻟﺪﻳﻦ ﻭﺍﻱ(‬ ‫ﺩﻳﮕﺮﻱ ﺩﺭ ﻓﻮﺕ ﺍﻭ ﮔﻔﺘﻪ ﺍﺳﺖ‪ :‬ﺍﻓﺴﺮ )ﻓﻀﻞ( ﺍﻭﻓﺘﺎﺩ‪،‬‬ ‫ﺑﻲﺳﺮ ﻭ ﭘﺎ ﮔﺸﺖ )ﺷﺮﻉ( ﻛﻪ ﺑﺮﺍﺑﺮ ﺁﻥ ﺑﺎﻳﺪ ﺣﺮﻑ ﺍﻭﻝ‬ ‫ﻛﻠﻤﻪﻱ )ﻓﻀﻞ( ﻭ ﺣﺮﻑ ﺍﻭﻝ ﻭ ﺁﺧﺮ ﻛﻠﻤﻪﻱ )ﺷﺮﻉ(‬ ‫ﺳﺎﻗﻂ ﺷﻮﺩ‪ ،‬ﺗﺎ ﺍﺭﺯﺵ ﻋﺪﺩﻱ ﺣﺮﻭﻑ ﺑﺎﻗﻲﻣﺎﻧﺪﻩﻱ ﺍﻳﻦ‬ ‫ﺩﻭ ﻛﻠﻤﻪ‪،‬ﻳﻌﻨﻲ ﺣﺮﻭﻑ )ﺽ‪.‬ﻝ‪.‬ﺭ( ﻣﺎﺩﻩ ﺗﺎﺭﻳﺦ ﻭﻓﺎﺕ‬ ‫ﺷﻴﺦ ﺑﻬﺎﻳﻲ )‪ (1030‬ﺭﺍ ﻧﺸﺎﻥ ﻣﻲﺩﻫﺪ‪.‬‬ ‫ﺍﺳﺘﺎﺩﺍﻥ‪:‬‬ ‫‪.1‬ﭘﺪﺭﺵ ﻋﺰﺍﻟﺪﻳﻦ ﺣﺴﻴﻦ ﻋﺎﻣﻠﻲ )ﻋﻠﻮﻡ ﺍﺩﺑﻲ ﻭ‬ ‫ﺑﻼﻏﻲ‪ ،‬ﺗﻔﺴﻴﺮ‪ ،‬ﺣﺪﻳﺚ(‬ ‫‪.2‬ﭘﺪﺭ ﻫﻤﺴﺮﺵ ﺯﻳﻦﺍﻟﺪﻳﻦ ﻋﻠﻲ ﻣﻨﺸﺎﺭ ﻋﺎﻣﻠﻲ‬ ‫‪.3‬ﺷﻴﺦ ﻋﺒﺪﺍﻟﻌﺎﻟﻲ ﻛﺮﻛﻲ‬ ‫‪.5‬ﻣﻼ ﻋﻠﻲ ﻣﺬ ّﻫﺐ )ﻋﻠﻮﻡ ﺭﻳﺎﺿﻲ‪ ،‬ﻫﻴﺌﺖ ﻭ ﻧﺠﻮﻡ(‬ ‫‪.6‬ﻣﻼ ﻋﻠﻲ ﻗﺎﺋﻨﻲ‬ ‫‪.7‬ﻣﻼ ﺍﻓﻀﻞ ﻗﺎﺿﻲ )ﻋﻠﻮﻡ ﺭﻳﺎﺿﻲ(‬ ‫ﻣﺸﺎﻳﺦ ﺭﻭﺍﻳﺖ‪:‬‬ ‫ﻣﺸﺎﻳﺦ ﺣﺪﻳﺚ ﺷﻴﺦ ﺑﻬﺎﻳﻲ ﺩﺭ ﻣﺬﻫﺐ ﺍﻣﺎﻣﻴﻪ ﭘﺪﺭﺵ‬ ‫ﺷﻴﺦ ﻋﺰﺍﻟﺪﻳﻦ ﺣﺴﻴﻦ ﻋﺎﻣﻠﻲ ﻭ ﻣﻴﺮﺩﺍﻣﺎﺩ ﻭ ﺩﺭ ﻣﺬﻫﺐ‬ ‫ﺍﻫﻞ ﺳﻨﺖ ﻣﺤﻤﺪ ﺑﻦ ﻣﺤﻤﺪ ﺑﻦ ﻣﺤﻤﺪ ﻣﻘﺪﺳﻲ‬ ‫ﺑﻮﺩﻩﺍﻧﺪ‪ .‬ﻫﻢﭼﻨﻴﻦ ﺑﺴﻴﺎﺭﻱ ﺍﺯ ﺑﺰﺭﮔﺎﻥ ﺍﻣﺎﻣﻴﻪ ﺍﺯ ﺟﻤﻠﻪ‬ ‫ﻣﻼﺻﺪﺭﺍ ﺷﻴﺮﺍﺯﻱ ﺍﺯ ﺍﻭ ﺍﺟﺎﺯﻩﻱ ﺣﺪﻳﺚ ﺍﺧﺬ ﻛﺮﺩﻧﺪ ﻛﻪ‬ ‫ﺑﻌﻀﻲ ﺍﺯ ﺁﻧﻬﺎ ﺑﻪ ﺧﻂ ﺧﻮﺩ ﺷﻴﺦ ﺑﻬﺎﻳﻲ ﻣﻮﺟﻮﺩ ﺍﺳﺖ ﻭ‬ ‫ﻧﻤﻮﻧﻪﻱ ﺁﻥ ﺭﺍﺟﻊ ﺑﻪ ﻣﺤﻤﺪ ﺍﻣﻴﻦ ﻧﺎﻣﻰﻣﻮﺭﺥ ‪1014‬ﻕ‪.‬‬ ‫ﺩﺭ ﺫﻳﻞ ﺍﺣﻮﺍﻝ ﺷﻴﺦ ﺑﻬﺎﻳﻲ ﺑﻪ ﭼﺎپ ﺭﺳﻴﺪﻩ ﺍﺳﺖ‪.‬‬ ‫ﻣﺬﻫﺐ ﻭ ﻣﺸﺮﺏ‪:‬‬ ‫ﺷﻴﺦ ﺑﻬﺎﻳﻲ ﺑﺎ ﻭﺟﻮﺩ ﺟﺎﻣﻌﻴﺖ ﺩﺭ ﻋﻠﻮﻡ ﻭ ﻣﻌﺎﺭﻑ‬ ‫ﺍﺳﻼﻣﻲ‪ ،‬ﺩﺭ ﻫﻴﭻﻳﻚ ﺍﺯ ﺷﺎﺧﻪﻫﺎﻱ ﻋﻠﻤﻰ»ﻣﻮﺳﺲ«‬ ‫ﻧﻈﺮﻳﻪﻱ ﺗﺎﺯﻩﻳﻲ ﻧﺒﻮﺩ ﻭ ﻧﻮﺁﻭﺭﻱﻫﺎﻱ ﺍﻭ ﺑﻪ ﺣ ّﺪ ﻣﺸﺎﺑﻪ‬ ‫ﻭ ﻫﻢﻋﺼﺮﺵ ﻣﺎﻧﻨﺪ ﻣﻴﺮﺩﺍﻣﺎﺩ ﻭ ﻣﻼﺻﺪﺭﺍ ﻧﻤﻲﺭﺳﺪ‪ .‬ﺍﻭ‬ ‫ﺩﺭ ﻋﻴﻦ ﻋﻼﻗﻪﻣﻨﺪﻱ ﺑﻪ ﺗﺼﻮﻑ ﻭ ﻋﺮﻓﺎﻥ‪ ،‬ﺩﺭ ﺳﺮﺗﺎﺳﺮ‬ ‫ﻋﻤﺮ ﺑﻪﻃﻮﺭ ﺗﻤﺎﻡ ﻭﻗﺖ ﺑﻪ ﺗﺪﺭﻳﺲ ﻓﻘﻪ ﺍﺷﺘﻐﺎﻝ ﺩﺍﺷﺘﻪ‬ ‫ﻭ ﻣﻌﺮﻭﻑ ﺍﺳﺖ ﻛﻪ ﻭﻗﺘﻲ ﻣﻼﺻﺪﺭﺍ ﺍﺯ ﻣﻴﺮﺩﺍﻣﺎﺩ ﺑﺮﺍﻱ‬ ‫ﺍﻧﺘﺨﺎﺏ ﺍﺳﺘﺎﺩ‪ ،‬ﺭﺍﻫﻨﻤﺎﻳﻲ ﺧﻮﺍﺳﺖ‪ ،‬ﻣﻴﺮﺩﺍﻣﺎﺩ ﺑﻪ ﺍﻭ‬ ‫ﮔﻔﺖ ﺍﮔﺮ ﻃﺎﻟﺐ ﻣﻨﻘﻮﻟﻲ ﻧﺰﺩ ﺷﻴﺦ ﺑﻬﺎﻳﻲ ﺭﻭ ﻭ ﺍﮔﺮ‬

‫ﻃﺎﻟﺐ ﻣﻌﻘﻮﻟﻲ ﻧﺰﺩ ﻣﻴﺮﻓﻨﺪﺭﺳﻜﻲ ﺭﻭ ﻭ ﺍﮔﺮ ﺧﻮﺍﻫﺎﻥ‬ ‫ﻫﺮ ﺩﻭﻳﻲ ﻧﺰﺩ ﻣﻦ ﺁﻱ‪ .‬ﺑﺎ ﻭﺟﻮﺩ ﺍﻳﻦ‪ ،‬ﺷﻴﺦ ﺑﻬﺎﻳﻲ ﺍﮔﺮ‬ ‫ﭼﻪ ﺩﺭ ﺣﻮﺯﻩﻱ ﻋﻠﻤﻴﻪﻱ ﺍﺻﻔﻬﺎﻥ ﺑﻪ ﺗﺪﺭﻳﺲ ﻓﻘﻪ‬ ‫ﺍﺧﺘﺼﺎﺹ ﺩﺍﺷﺘﻪ‪ ،‬ﺍﻣﺎ ﺩﺭ ﺯﻣﻴﻨﻪﻫﺎﻱ ﻣﺨﺘﻠﻒ ﻋﻠﻤﻰﺑﻪ‬ ‫ﻣﺒﺎﺣﺜﻪ ﻭ ﺗﺎﻟﻴﻒ ﻭ ﺗﺼﻨﻴﻒ ﺍﺷﺘﻐﺎﻝ ﺩﺍﺷﺘﻪ ﻭ ﻣﺸﺮﺏ ﺍﻭ‬ ‫ﺗﻘﺮﻳﺐ ﺑﻴﻦ ﺷﺮﻳﻌﺖ ﻭ ﻃﺮﻳﻘﺖﻳﺎ ﻓﻘﻪ ﻭ ﻋﺮﻓﺎﻥ ﺑﻮﺩﻩ‬ ‫ﺍﺳﺖ‪ ،‬ﭼﻨﺎﻥﻛﻪ ﻣﻨﻈﻮﻣﻪﻱ ﻧﺎﻥ ﻭ ﭘﻨﻴﺮ ﻓﺎﺭﺳﻲ ﺭﺍ ﺑﺎ‬ ‫ﻃﻲ ﺁﻥ ﻓﻘﻴﻬﺎﻧﻲ‬ ‫ﻋﺒﺎﺭﺗﻲ ﺑﻪ ﻧﺸﺮ ﻋﺮﺑﻲ ﺁﻏﺎﺯ ﻛﺮﺩﻩ ﻭ ّ‬ ‫ﺭﺍ ﻛﻪ ﺗﺼﻮﻑ ﻧﺪﺍﻧﻨﺪ ﻭ ﺻﻮﻓﻴﺎﻧﻲ ﺭﺍ ﻛﻪ ﻓﻘﻪ ﻧﺸﻨﺎﺳﻨﺪ‪،‬‬ ‫ﺯﻧﺪﻳﻖ ﺧﻮﺍﻧﺪﻩ ﻭ ﻛﺴﻲ ﺭﺍ ﻛﻪ ﺑﻴﻦ ﻓﻘﻪ ﻭ ﺗﺼﻮﻑ ﺟﻤﻊ‬ ‫ﻛﻨﺪ‪ ،‬ﻣﺤﻘﻖ ﻭ ﺑﺮ ﺣﻖ ﺷﻨﺎﺳﺎﻧﺪﻩ ﻭ ﮔﻔﺘﻪ ﺍﺳﺖ‪:‬‬ ‫ﺗﻤﺎﻡ ﻋﻤﺮ ﺑﺎ ﺍﺳﻼﻡ ﺩﺭ ﺩﺍﺩ ﻭ ﺳﺘﺪ ﺑﻮﺩﻡ‬ ‫ﻛﻨﻮﻥ ﻣﻲﻣﻴﺮﻡ ﻭﺍﺯ ﻣﻦ ﺑﺖ ﻭ ﺯﻧﺎﺭ ﻣﻲﻣﺎﻧﺪ‬ ‫ﺑﻠﻜﻪ ﺩﺭ ﻣﻨﻈﻮﻣﻪﻱ ﺷﻴﺮ ﻭ ﺷﻜﺮ‪ ،‬ﻫﻤﻪﻱ ﻋﻠﻮﻡ‬ ‫ﺭﺳﻤﻰﻭ ﻣﺘﺪﺍﻭﻝ ﺭﺍ ﻋﻠﻢ ﻣﺠﺎﺯﻱ ﺧﻮﺍﻧﺪﻩ ﻭ ﻛﺘﺎﺏﻫﺎﻱ‬ ‫ﻋﻠﻮﻡ ﻋﻘﻠﻲ ﺭﺍﻳﻜﺎﻥﻳﻜﺎﻥ ﻣﻮﺭﺩ ﻗﺪﺡ ﻗﺮﺍﺭ ﺩﺍﺩﻩ ﺍﺳﺖ‪.‬‬ ‫ﺗﺸﻴﻊ ﺷﻴﺦ ﺑﻬﺎﻳﻲ ﺑﺎ ﺗﻮﺟﻪ ﺑﻪ ﺗﻌﻠﻖ ﺍﻭ ﻭ‬ ‫ﺍﮔﺮﭼﻪ ﺩﺭ ّ‬ ‫ﺧﺎﻧﻮﺍﺩﻩﺍﺵ ﺑﻪ ﺷﻴﻌﻴﺎﻥ ﺟﺒﻞ ﻋﺎﻣﻞ ﻭ ﻧﻴﺰ ﺗﺎﻟﻴﻔﺎﺕ‬ ‫ﺑﺴﻴﺎﺭﺵ ﺩﺭ ﻓﻘﻪ ﻭ ﻣﻌﺎﺭﻑ ﺷﻴﻌﻲ ﻭ ﺑﻪ ﺧﺼﻮﺹ‬ ‫ﻗﺼﻴﺪﻩﻱ ﻣﻌﺮﻭﻑ »ﻭﺳﻴﻠﻪ ﺍﻟﻔﻮﺯ ﻭ ﺍﻻﻣﺎﻥ« ﺍﻭ ﺩﺭ‬ ‫ﻣﺪﺡ ﺍﻣﺎﻡ ﺯﻣﺎﻥ )ﻋﺞ( ﺟﺎﻱ ﻫﻴﭻﮔﻮﻧﻪ ﺗﺮﺩﻳﺪﻱ‬ ‫ﻧﻴﺴﺖ‪ ،‬ﺑﻌﻀﻲ ﺍﺯ ﻋﻠﻤﺎﻱ ﺍﻫﻞ ﺳﻨﺖ‪ ،‬ﺷﻴﺦ ﺑﻬﺎﻳﻲ‬ ‫ﺭﺍ ﻛﻪ ﺻﺤﻴﺢ ﺑﺨﺎﺭﻱ ﻭ ﻣﺴﻠﻢ ﺭﺍ ﻧﺰﺩ ﻣﺤﻤﺪ ﺑﻦ‬ ‫ﻣﺤﻤﺪ ﻟﻄﻴﻒ ﻣﻘﺪﺳﻲ ﺷﺎﻓﻌﻲ ﺧﻮﺍﻧﺪﻩ ﻭ ﺍﺯ ﺍﻭ ﺍﺟﺎﺯﻩﻱ‬ ‫ﺣﺪﻳﺚ ﺍﺧﺬ ﻛﺮﺩﻩ ﻭ ﻫﻢ ﺑﺮ ﺗﻔﺴﻴﺮ ﺯﻣﺨﺸﺮﻱ ﻭ‬ ‫ﺗﻔﺴﻴﺮ ﺑﻴﻀﺎﻭﻱ‪ ،‬ﺣﺎﺷﻴﻪ ﻧﻮﺷﺘﻪ ﻭ ﺑﻪ ﺧﺼﻮﺹ ﺩﺭ‬ ‫ﻣﺴﺎﻓﺮﺕﻫﺎﻱ ﺧﻮﺩ ﺑﻪ ﻗﻠﻤﺮﻭ ﻋﺜﻤﺎﻧﻲ ﻇﺎﻫﺮﺍً ﺑﺮ ﺍﺛﺮ‬ ‫ﺗﻘﻴﻪ ﺑﺎ ﺍﻫﻞ ﺳﻨﺖ ﻣﻤﺎﺷﺎﺕ ﻣﻲﻛﺮﺩﻩ ﺍﺳﺖ‪ ،‬ﺳ ّﻨﻲ‬ ‫ﻣﺬﻫﺐ ﺗﻮﻫﻢ ﻛﺮﺩﻩﺍﻧﺪ‪ .‬ﺑﻪ ﺧﺼﻮﺹ ﻛﻪ ﻭﻱ ﺩﻳﺒﺎﭼﻪﻱ‬ ‫ﺗﻔﺴﻴﺮﻱ ﺭﺍ ﻛﻪ ﺍﺻ ً‬ ‫ﻼ ﺑﻪ ﻧﺎﻡ ﺷﺎﻩﻋﺒﺎﺱ ﺍﺗﺤﺎﻑ ﻛﺮﺩﻩ‬ ‫ﺑﻮﺩ‪ ،‬ﭘﺲ ﺍﺯ ﺁﻣﺪﻥ ﺑﻪ ﺳﻮﺭﻳﻪ‪ ،‬ﺑﻪﻧﺎﻡ ﺳﻠﻄﺎﻥ ﻣﺮﺍﺩ ﺳﻮﻡ‪،‬‬ ‫ﺍﻣﭙﺮﺍﻃﻮﺭ ﻋﺜﻤﺎﻧﻲ )ﺣﻜﻮﻣﺖ ‪982.1003‬ﻕ( ﺗﻐﻴﻴﺮ ﺩﺍﺩ‬ ‫ﻭ ﺑﻪ ﻫﻨﮕﺎﻡ ﺍﻗﺎﻣﺖ ﺩﺭ ﺣﻠﺐ ﺑﻪ ﻣﺬﻫﺐ ﺍﻣﺎﻡ ﺷﺎﻓﻌﻲ‬ ‫ﻋﻤﻞ ﻣﻲﻛﺮﺩ ﻭ ﺑﻪ ﺻﺤﺎﺑﻪ ﺣﺮﻣﺖ ﻣﻲﻧﻬﺎﺩ ﻭ ﻣﻲﮔﻔﺖ‬ ‫ﻛﻪ ﺩﺭ ﺍﻳﺮﺍﻥ ﺑﺮ ﺍﺛﺮ ﻓﺸﺎﺭ ﭘﺎﺩﺷﺎﻫﺎﻥ ﺻﻔﻮﻱ ﺑﻪ ﺗﺸﻴﻊ‬ ‫ﺗﻮﺳﻞ ﺍﻭ‬ ‫ﻣﺠﺒﻮﺭ ﺷﺪﻩ ﺍﺳﺖ‪ 5.‬ﺍﻣﺎ ﺗﺸﻴﻊ ﺍﻭ ﻣﺤﺮﺯ ﻭ ّ‬ ‫ﺑﻪ ﻣﻌﺼﻮﻣﺎﻥ ﺷﻴﻌﻪ ﺩﺭ ﺁﺛﺎﺭ ﻣﻨﻈﻮﻡ ﻭ ﻣﻨﺜﻮﺭ ﺍﻭ ﺑﺎﺭﺯ‬ ‫ﺍﺳﺖ‪ .‬ﺍﺯ ﺟﻤﻠﻪﻱ ﺁﺛﺎﺭ ﺍﻭ ﺻﻠﻮﺍﺕ ﻣﺸﻬﻮﺭﻱ ﺍﺳﺖ ﻛﻪ‬ ‫ﺑﺮﺍﻱ ﭼﻬﺎﺭﺩﻩ ﻣﻌﺼﻮﻡ ﺳﺎﺧﺖ ﻭ ﺑﺎ ﻋﺒﺎﺭﺕ »ﺍﻟﻠﻬﻢ ﺻﻞ‬ ‫ﻭ ﺳﻠّﻢ ﻭ ﺯﺩ ﻭ ﺑﺎﺭﻙ ﻋﻠﻲ ﺻﺎﺣﺐ ﺍﻟﺪﻋﻮﺓ ﺍﻟﻨﺒﻮﻳﻪ«‬ ‫ﺷﺮﻭﻉ ﻣﻲﺷﻮﺩ ﻭ ﺁﻥ ﺭﺍ ﺧ ّﺪﺍﻡ ﺑﻘﺎﻉ ﻣﺘﺒﺮﻛﻪ ﺩﺭ ﻣﺮﺍﺳﻢ‬ ‫ﺍﻋﻴﺎﺩ ﺩﺭ ﺁﺳﺘﺎﻥ ﻗﺪﺱ ﺭﺿﻮﻱ ﻭ ﺣﻀﺮﺕ ﻣﻌﺼﻮﻣﻪ ﻭ‬ ‫ﻣﺬ ّﻛﺮﺍﻥ ﺷﻴﻌﻪ ﺩﺭ ﺩﻳﮕﺮ ﻣﺠﺎﻟﺲ ﻣﺬﻫﺒﻲ ﻣﻲﺧﻮﺍﻧﻨﺪ‪.‬‬ ‫ﻭﻱ ﻫﻢﭼﻨﻴﻦ ﺩﺭ ﻣﻘﻢ ﺗﻮﺳﻞ ﺑﻪ ﻣﻌﺼﻮﻣﺎﻥ ﺷﻴﻌﻪ ﺩﺭ‬ ‫ﻣﻨﻈﻮﻣﻪﻱ ﺷﻴﺮ ﻭ ﺷﻜﺮ ﺍﺷﻌﺎﺭﻱ ﺩﺍﺭﺩ ﻛﻪ ﺍﺑﻴﺎﺗﻲ ﺍﺯ ﺁﻥ‬ ‫ﭼﻨﻴﻦ ﺁﻏﺎﺯ ﻣﻰﺷﻮﺩ‪:‬‬ ‫ﻳﺎﺭﺏ! ﺑﻪ ﻧﺒﻲ ﻭ ﻭﺻﻲ ﻭ ﺑﺘﻮﻝ‬ ‫ﻳﺎﺭﺏ! ﺑﻪ ﺗﻘﺮﺏ ﺳﺒﻄﻴﻦ ﺭﺳﻮﻝ‬ ‫ﻳﺎﺭﺏ! ﺑﻪ ﻋﺒﺎﺩﺕ ﺯﻳﻦ ﻋﺒﺎﺩ‬ ‫ﺑﻪ ﺯﻫﺎﺩﺕ ﺑﺎﻗﺮ ﻋﻠﻢ ﻭ ﺭﺷﺎﺩ‬ ‫ﻳﺎﺭﺏ!ﻳﺎﺭﺏ! ﺑﻪ ﺣﻖ ﺻﺎﺩﻕ‬ ‫ﺑﻪ ﺣﻖ ﻣﻮﺳﻲ ﺑﻪ ﺣﻖ ﻧﺎﻃﻖ‬

‫ﻳﺎﺭﺏ!ﻳﺎﺭﺏ! ﺑﻪ ﺭﺿﺎ ﺷﻪ ﺩﻳﻦ‬ ‫ﺁﻥ ﺛﺎﻣﻦ ﺿﺎﻣﻦ ﺍﻫﻞﻳﻘﻴﻦ‪6...‬‬ ‫ﺷﻴﺦ ﺑﻬﺎﻳﻲ ﻫﻢﭼﻨﻴﻦ ﺩﺭ ﺑﺴﻴﺎﺭﻱ ﺩﻳﮕﺮ ﺍﺯ ﺁﺛﺎﺭ‬ ‫ﺧﻮﺩ ﺑﻪ ﺻﺮﺍﺣﺖ ﺑﻪ ﻣﻌﺼﻮﻣﺎﻥ ﺷﻴﻌﻪ ﻣﺘﻮﺳﻞ‬ ‫ﺷﺪﻩ ﺍﺳﺖ ﻭ ﺍﺯ ﺟﻤﻠﻪ ﺩﺭ ﻏﺰﻝ ﺯﻳﺮ ﭘﺲ ﺍﺯ‬ ‫ﭘﻴﺎﻣﺒﺮ ﺍﻛﺮﻡ ﺍﺯ ﻣﻴﺎﻥ ﺍﺯﻭﺍﺝ ﭘﻴﺎﻣﺒﺮ ﺗﻨﻬﺎ ﺍﺯ‬ ‫ﺣﻀﺮﺕ ﺧﺪﻳﺠﻪ ﺑﻪﻋﻨﻮﺍﻥ ﻫﻤﺴﺮ ﺁﻥ ﺣﻀﺮﺕ‬ ‫ﻭ ﺳﭙﺲ ﺍﺯ ﺣﻀﺮﺕ ﻓﺎﻃﻤﻪ )ﺱ( ﻭ ﺩﻭﺍﺯﺩﻩ ﺍﻣﺎﻡ‬ ‫ﺷﻴﻌﻪ ﭼﻨﻴﻦﻳﺎﺩ ﻛﺮﺩﻩ ﺍﺳﺖ‪:‬‬ ‫ﺍﻟﻬﻲ‪ ،‬ﺍﻟﻬﻲ‪ ،‬ﺑﻪ ﺣﻖ ﭘﻴﻤﺒﺮ‬ ‫ﺍﻟﻬﻲ‪ ،‬ﺍﻟﻬﻲ‪ ،‬ﺑﻪ ﺳﺎﻗﻲ ﻛﻮﺛﺮ‬ ‫ﺍﻟﻬﻲ‪ ،‬ﺍﻟﻬﻲ‪ ،‬ﺑﻪ ﺻﺪﻕ ﺧﺪﻳﺠﻪ‬ ‫ﺍﻟﻬﻲ‪ ،‬ﺍﻟﻬﻲ‪ ،‬ﺑﻪ ﺯﻫﺮﺍﻱ ﺍﻃﻬﺮ‪...‬‬ ‫ﻛﻪ ﺑﺮ ﺣﺎﻝ ﺯﺍﺭ ﺑﻬﺎﻳﻲ ﻧﻈﺮ ﻛﻦ‬ ‫ﺑﻪ ﺣﻖ ﺍﻣﺎﻣﺎﻥ ﻣﻌﺼﻮﻡﻳﻚ ﺳﺮ‬ ‫ﺷﻴﺦ ﺑﻬﺎﻳﻲ ﻋﻼﻗﻪﻱ ﺧﺎﺻﻲ ﺑﻪ ﺗﺼﻮﻑ ﻭ‬ ‫ﻋﺮﻓﺎﻥ ﺩﺍﺷﺘﻪ ﻭ ﻣﻄﺎﻟﺒﻲ ﺑﺴﻴﺎﺭ ﺩﺭ ﻛﺸﻜﻮﻝ‬ ‫ﻭ ﺷﺮﺡ ﺍﺭﺑﻌﻴﻦ ﻭ ﺩﻳﮕﺮ ﺁﺛﺎﺭ ﺧﻮﺩ ﺍﺯ ﺍﺑﻦﻋﺮﺑﻲ‪،‬‬ ‫ﺳﻬﺮﻭﺭﺩﻱ‪ ،‬ﺍﺑﻦﻓﺎﺭﺽ‪ ،‬ﻣﻮﻟﻮﻱ‪ ،‬ﻋﻄﺎﺭ‪ ،‬ﺣﺎﻓﻆ‬ ‫ﻭ ﺩﻳﮕﺮ ﺑﺰﺭﮔﺎﻥ ﻭ ﻣﺸﺎﻳﺦ ﻃﺮﻳﻘﺖ ﻧﻘﻞ ﻛﺮﺩﻩ‬ ‫ﻭ ﺑﻪ ﻋﻠﻤﺎﻱ ﻇﺎﻫﺮ ﺑﻪ ﻧﻈﻢ ﻭ ﻧﺜﺮ ﺍﺯ ﺟﻤﻠﻪ ﺩﺭ‬ ‫ﻣﻮﺵ ﻭ ﮔﺮﺑﻪﻱ ﺧﻮﺩ ﺗﺎﺧﺘﻪ ﺍﺳﺖ‪ .‬ﺍﻣﺎ ﺍﻧﺘﺴﺎﺏ‬ ‫ﺭﺳﺎﻟﻪﻱ ﻣﺴﺘﻘﻠﻲ ﺑﻪﻋﻨﻮﺍﻥ ﻭﺣﺪﺕ ﻭﺟﻮﺩ ﻛﻪ‬ ‫ﺩﺭ ‪1328‬ﻕ ﺩﺭ ﻗﺎﻫﺮﻩ ﭼﺎپ ﺷﺪﻩ ﻭ ﻃﻲ ﺁﻥ‬ ‫ﻣﻮﻟﻒ ﺍﺯ ﺻﻮﻓﻴﻪ ﺗﺠﻠﻴﻞ ﻛﺮﺩﻩ ﻭ ﺍﺯ ﺗﺠﺎﺭﺏ‬ ‫ﻋﺮﻓﺎﻧﻲ ﻭ ﺭﻭﺣﺎﻧﻲ ﺧﻮﺩ ﺳﺨﻦ ﮔﻔﺘﻪ ﺍﺳﺖ‪ ،‬ﺑﻪ‬ ‫ﺍﻭ ﺟﺪﺍً ﻣﺤﻞ ﺗﺮﺩﻳﺪ ﺍﺳﺖ‪ .‬ﺷﻴﺦ ﺑﻬﺎﻳﻲ ﻇﺎﻫﺮﺍً‬ ‫ﺩﺭ ﻃﻮﻝ ﻣﺴﺎﻓﺮﺕﻫﺎ ﺩﺭ ﻛﺴﻮﺕ ﺩﺭﻭﻳﺸﻲ ﻭ‬ ‫ﻧﻪ ﺩﺭ ﺯﻱ ﻋﻠﻤﺎ ﺣﺮﻛﺖ ﻣﻲﻛﺮﺩﻩ ﺍﺳﺖ‪ .‬ﻭﻱ‬ ‫ﺍﺣﺘﻤﺎ ًﻻ ﺑﻪ ﺳﻠﺴﻠﻪﻱ ﺻﻮﻓﻴﺎﻥ ﻧﻮﺭ ﺑﺨﺸﻴﻪﻳﺎ‬ ‫ﻧﻌﻤﻪﺍﻟﻠﻴﻪ ﻣﺘﻌﻠﻖ ﺑﻮﺩﻩ ﺍﺳﺖ‪.‬‬ ‫ﺍﺯ ﻧﺸﺎﻧﻪﻫﺎﻱ ﺗﻌﻠﻖ ﺧﺎﻃﺮ ﺷﻴﺦ ﺑﻬﺎﻳﻲ ﺑﻪ‬ ‫ﺳﻠﺴﻠﻪﻱ ﻧﻮﺭﺑﺨﺸﻴﻪﻳﺎ ﻧﻌﻤﻪﺍﻟﻠﻬﻴﻪﻳﻜﻲ ﺍﻳﻦ‬ ‫ﺍﺳﺖ ﻛﻪ ﭼﻮﻥ ﺍﻳﻦ ﻫﺮ ﺩﻭ ﺳﻠﺴﻠﻪ ﺑﻨﺎ ﺑﻪ‬ ‫ﻗﻮﻝ ﻣﺸﻬﻮﺭ ﺍﺯ ﻃﺮﻳﻖ ﺑﺎﻳﺰﻳﺪ ﺑﺴﻄﺎﻣﻰﺑﻪ ﺍﻣﺎﻡ‬ ‫ﺻﺎﺩﻕ )ﻉ( ﻣﺘﺼﻞ ﻣﻲﺷﻮﺩﻭ ﺍﺯ ﺟﻬﺖ ﺗﺎﺭﻳﺨﻲ‬ ‫ﺑﻪ ﻋﻠﺖ ﺍﻳﻦ ﻛﻪ ﻭﻻﺩﺕ ﺑﺎﻳﺰﻳﺪ ﭘﺲ ﺍﺯ ﻭﻓﺎﺕ‬ ‫ﺍﻣﺎﻡ ﺻﺎﺩﻕ )ﻉ( ﺑﻮﺩﻩ ﺍﺳﺖ‪ ،‬ﭼﻨﻴﻦ ﺍﺗﺼﺎﻟﻲ‬ ‫ﻣﻤﻜﻦ ﻧﻴﺴﺖ‪ ،‬ﺷﻴﺦ ﺑﻬﺎﻳﻲ ﺩﺳﺖ ﺑﻪ ﺗﺸﺒﺜﺎﺗﻲ‬ ‫ﺑﺮﺍﻱ ﺍﺛﺒﺎﺕ ﺍﻳﻦ ﻣﻌﻨﻲ ﺯﺩﻩ ﻭ ﻣﺪﻋﻲ ﺷﺪﻩ ﺍﺳﺖ‬ ‫ﻛﻪ ﺩﺭ ﺗﺎﺭﻳﺦ ﺍﺳﻼﻡ ﺩﻭ ﺑﺎﻳﺰﻳﺪ ﺩﺍﺷﺘﻪﺍﻳﻢ‪،‬ﻳﻜﻲ‬ ‫ﺑﺎﻳﺰﻳﺪﺍﻭﻝ ﻛﻪ ﺳﻘّﺎﻱ ﺍﻣﺎﻡ ﺻﺎﺩﻕ ﺑﻮﺩﻩ ﻭ‬ ‫ﺩﻳﮕﺮﻱ ﺑﺎﻳﺰﻳﺪ ﺩﻭﻡ ﻣﺸﻬﻮﺭ ﻛﻪ ﺍﺯ ﻣﺸﺎﻳﺦ‬ ‫ﺻﻮﻓﻴﻪ ﺩﺭ ﻗﺮﻥ ﺳﻮﻡ ﺑﻮﺩﻩ ﺍﺳﺖ‪ 9.‬ﺷﻴﺦ ﺑﻬﺎﻳﻲ‬ ‫ﺑﻪ ﻫﻤﻴﻦ ﺩﻟﻴﻞ ﺍﺯ ﺳﻮﻱ ﻣﻼﻣﺤﻤﺪﺑﺎﻗﺮ ﻣﺠﻠﺲ‬ ‫ﻭ ﻣﺤﻤﺪ ﺑﻦ ﺳﻠﻴﻤﺎﻥ ﺗﻨﻜﺎﺑﻨﻲ ﻣﻮﺭﺩ ﺍﻧﺘﻘﺎﺩ ﻭﺍﻗﻊ‬ ‫ﺷﺪﻩ ﺍﺳﺖ‪ .‬ﺍﻛﺜﺮ ﻣﻨﺎﺑﻊ ﺍﻭ ﺭﺍ ﺧﻠﻴﻔﻪﻱ ﺷﻴﺦ‬ ‫ﻣﺤﻤﺪ ﻣﻮﺫﻥ ﺳﺒﺰﻭﺍﺭﻱ ﻗﻄﺐ ﻧﻮﺭﺑﺨﺸﻲ‬ ‫ﺩﺍﻧﺴﺘﻪﺍﻧﺪ‪ .‬ﺑﺎﺭﻱ ﺷﻴﺦ ﺑﻬﺎﻳﻲ ﺩﺭ ﺍﺭﺑﻌﻴﻦ ﺍﺯ ﺍﺑﻦ‬ ‫ﻋﺮﺑﻲ ﺑﻪ »ﺷﻴﺦﺍﻟﻌﺎﺭﻓﻴﻦ« ﻭ ﺩﺭ ﻛﺸﻜﻮﻝ ﺑﻪ‬ ‫»ﺟﻤﺎﻝﺍﻟﻌﺎﺭﻓﻴﻦ« ﺗﻌﺒﻴﺮ ﻛﺮﺩﻩ ﺍﺳﺖ‪.‬‬ ‫ﺷﻴﺦ ﺑﻬﺎﻳﻲ ﺑﺎ ﺁﻥﻛﻪ ﺣﺎﺋﺰ ﻋﺎﻟﻲﺗﺮﻳﻦ‬

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‫ﻳﻚ ﻧﻮﻳﺴﻨﺪﻩ‪/‬ﻳﻚ ﻛﺘﺎﺏ‬

‫ﺩﻭﺭﻩ ﺟﺪﻳﺪ‪/‬ﺷﻤﺎﺭﻩ ‪ 9‬ﻭ ‪)10‬ﭘﻴﺎﭘﻲ‪39‬ﻭ‪ /(40‬ﺳﺎﻝ ﺳﻮﻡ‪/‬ﻧﻮﺭﻭﺯ‪88‬‬

‫ﻗﺼﻪﻫﺎﻯ ﺭﻭﺳﺘﺎﻳﻰ ﻛﻪ ﺩﻳﮕﺮ ﻭﺟﻮﺩ ﻧﺪﺍﺭﺩ‬ ‫ﺳﻌﻴﺪ ﺷﻜﻴﺒﺎ‬

‫ﺷﻤﺎ ﺩﺭ ﺩﺍﺳﺘﺎﻥﻫﺎﻯﺗﺎﻥ ﺍﺯ ﺯﺑﺎﻥ ﺍﻟﻤﻮﺗﻰ ﻫﻢ‬ ‫ﺍﺳﺘﻔﺎﺩﻩ ﻣﻰﻛﻨﻴﺪ‪ .‬ﺍﻳﻦ ﺯﺑﺎﻥ ﺑﺎﻋﺚ ﻧﻤﻰﺷﻮﺩ‬ ‫ﻣﺸﻜﻼﺗﻰ ﺑﺮﺍﻯ ﺧﻮﺍﻧﺪﻥ ﺩﺍﺳﺘﺎﻥﻫﺎﻯﺗﺎﻥ ﭘﻴﺶ‬ ‫ﺑﻴﺎﻳﺪ؟‬ ‫ﻳﻮﺳﻒ ﻋﻠﻴﺨﺎﻧﻰ ﺑﻪ ﺩﻟﻴﻞ ﻧﻮﺷﺘﻦ ﻣﺠﻤﻮﻋﻪ‬ ‫ﺩﺍﺳﺘﺎﻥ »ﺍژﺩﻫﺎﻛﺸﺎﻥ« ﻣﺪﺗﻰ ﻗﺒﻞ ﺷﺎﻳﺴﺘﻪ‬ ‫ﺗﻘﺪﻳﺮ ﺩﺭ ﺍﻭﻟﻴﻦ ﺩﻭﺭﻩ ﺟﺎﻳﺰﻩ ﺍﺩﺑﻰ ﺟﻼﻝ ﺁﻝ‬ ‫ﺍﺣﻤﺪ ﻭ ﻧﺎﻣﺰﺩ ﻧﻬﺎﻳﻰ ﻫﺸﺘﻤﻴﻦ ﺩﻭﺭﻩ ﺟﺎﻳﺰﻩ‬ ‫ﻫﻮﺷﻨﮓ ﮔﻠﺸﻴﺮﻯ ﺷﻨﺎﺧﺘﻪ ﺷﺪ‪.‬‬ ‫ﺑﺎﻳﻮﺳﻒ ﻋﻠﻴﺨﺎﻧﻰ ﺑﻪ ﺑﻬﺎﻧﻪ ﭼﺎپ‬ ‫ﺳﻮﻡ ﻣﺠﻤﻮﻋﻪ »ﺍژﺩﻫﺎﻛﺸﺎﻥ« ﺩﺭﺑﺎﺭﻩ‬ ‫ﺩﺍﺳﺘﺎﻥﻫﺎﻳﺶ ﺑﻪ ﮔﻔﺖ ﻭ ﮔﻮ ﻧﺸﺴﺘﻴﻢ‪.‬‬

‫ﺩﺍﺳﺘﺎﻥﻫﺎﻯ ﻣﺠﻤﻮﻋﻪ »ﺍژﺩﻫﺎﻛﺸﺎﻥ« ﺩﺭ‬ ‫ﻫﻤﺎﻥ ﺣﺎﻝ ﻭ ﻫﻮﺍﻯ ﻣﺠﻤﻮﻋﻪ ﺩﺍﺳﺘﺎﻥ ﺍﻭﻝ‬ ‫ﺷﻤﺎ »ﻗﺪﻡﺑﺨﻴﺮ ﻣﺎﺩﺭﺑﺰﺭگ ﻣﻦ ﺑﻮﺩ« ﺭﻭﺍﻳﺖ‬ ‫ﻣﻰﺷﻮﻧﺪ‪ .‬ﭼﻄﻮﺭ ﺷﺪﻳﻚ ﺭﻭﺳﺘﺎ ﺭﺍ ﻣﺤﻞ‬ ‫ﺭﻭﺍﻳﺖ ﺩﺍﺳﺘﺎﻥﻫﺎﻳﺘﺎﻥ ﻗﺮﺍﺭ ﺩﺍﺩﻳﺪ؟‬

‫ﺑﻪ ﮔﻤﺎﻥ ﻣﻦ‪ ،‬ﻫﺮ ﻧﻮﻳﺴﻨﺪﻩﺍﻯ ﺍﺯ ﺗﺠﺮﺑﻴﺎﺕ‬ ‫ﺧﻮﺩﺵ ﻣﻰﻧﻮﻳﺴﺪ ﻭ ﻫﻤﻪ ﻣﺎ ﻛﻪ ﺩﺍﺭﻳﻢ‬ ‫ﻣﻰﻧﻮﻳﺴﻴﻢ ﺩﺭﮔﻴﺮ ﺑﺨﺸﻰ ﻫﺴﺘﻴﻢ ﻛﻪ ﺑﺎﻫﺎﺵ‬ ‫ﺩﺭﮔﻴﺮ ﺑﻮﺩﻳﻢ‪.‬ﻳﺎ ﺗﺠﺮﺑﻪ ﺍﺵ ﻛﺮﺩﻳﻢﻳﺎ ﺷﻨﻴﺪﻳﻢﻳﺎ‬ ‫ﺩﺭﺑﺎﺭﻩﺍﺵ ﺧﻮﺍﻧﺪﻩﺍﻳﻢ‪ .‬ﺁﻥ ﺑﺨﺶ ﺍﺯ ﻭﺟﻮﺩ ﻣﻦ‬ ‫ﻛﻪ ﺑﻴﺸﺘﺮ ﺩﺭﮔﻴﺮﻡ ﻣﻰﻛﻨﺪ ﺑﺨﺸﻰ ﺍﺳﺖ ﻛﻪ ﺑﻪ‬ ‫ﻗﺒﻞ ﺍﺯ ﺩﻭﺭﺍﻥ ﺍﺑﺘﺪﺍﻳﻰ ﺍﻡ ﺑﺮﻣﻰﮔﺮﺩﺩ‪.‬‬ ‫ﺍﻻﻥ ﺩﻳﮕﺮ ﺍﺯ ﺁﻥ ﺭﻭﺳﺘﺎ ﺍﺛﺮ ﻭ ﺧﺒﺮﻯ ﻧﻴﺴﺖ‬ ‫ﭼﻮﻥ ﺭﻭﺳﺘﺎﻫﺎ ﺧﺎﻟﻰ ﺷﺪﻧﺪ ﻭ ﻗﺪﻳﻤﻰﻫﺎ ﻓﻮﺕ‬ ‫ﻛﺮﺩﻧﺪ ﻭ ﺟﺪﻳﺪﻯﻫﺎ ﻫﻢ ﻛﻪ ﻫﻤﻪ ﺑﻪ ﺷﻬﺮﻫﺎ‬ ‫ﻣﻬﺎﺟﺮﺕ ﻛﺮﺩﻧﺪ‪ .‬ﻣﺴﺎﻟﻪﺍﻯ ﻛﻪ ﺩﺭ ﺁﻥ ﺭﻭﺳﺘﺎ‬ ‫ﺩﺭﮔﻴﺮﻡ ﻣﻰﻛﺮﺩ‪ ،‬ﻧﻮﻉ ﺑﺮﺧﻮﺭﺩ ﺁﺩﻡﻫﺎ ﺑﻮﺩ ﺑﺎ‬ ‫ﻭﻗﺎﻳﻊ؛ ﻭﻗﺎﻳﻊ ﺳﺎﺩﻩ ﻛﻪ ﺑﺎ ﺧﻴﺎﻻﺕ ﺁﻥﻫﺎ ﺑﻪ‬ ‫ﻭﻗﺎﻳﻊ ﻋﺠﻴﺐ ﻭ ﻏﺮﻳﺐ ﺗﺒﺪﻳﻞ ﻣﻰﺷﺪ‪.‬‬ ‫ﺍﮔﺮﻳﻜﻰ ﺑﺎ ﻣﺎﺷﻴﻦ ﺍﺯ ﺟﺎﺩﻩﻫﺎﻯ ﭘﻴﭻ ﺩﺭ ﭘﻴﭻ ﺍﻟﺒﺮﺯ‬ ‫ﺑﻪ ﺗﻪ ﺩﺭﻩ ﭘﺮﺗﺎﺏ ﻣﻰﺷﺪ‪ ،‬ﻣﺮﺩﻡ ﺩﻧﺒﺎﻝ ﺩﻻﻳﻞ‬ ‫ﺩﻳﮕﺮﻯ ﻣﻰﮔﺸﺘﻨﺪ‪ .‬ﺍﮔﺮ ﺑﺰ ﻛﺴﻰ ﻣﻰ ُﻣﺮﺩ‪ ،‬ﻗﺒﻮﻝ‬ ‫ﻧﻤﻰﻛﺮﺩﻧﺪ ﻛﻪ ﺑﺰ ﻣﺮﻳﺾ ﺷﺪﻩ ﻭ ﻣﺮﺩﻩ ﺍﺳﺖ‪،‬‬ ‫ﺑﻠﻜﻪ ﺩﻟﻴﻞ ﻣﺎﻭﺭﺍﻳﻰ ﺑﺮﺍﻳﺶ ﻣﻰﺗﺮﺍﺷﻴﺪﻧﺪ‪ .‬ﺍﮔﺮ‬ ‫ﺷﻬﺎﺏ ﺳﻨﮕﻰ ﺩﺭ ﺁﺳﻤﺎﻥ ﺭﻭﺳﺘﺎ ﺩﻳﺪﻩ ﻣﻰﺷﺪ‪،‬‬ ‫ﻓﻜﺮ ﻣﻰﻛﺮﺩﻧﺪ ﻧﻮﺭﻯ ﺍﺳﺖ ﺁﺳﻤﺎﻧﻰ ﻭ ﺁﻥ ﺭﺍ ﺑﻪ‬ ‫ﺷﺨﺼﻴﺖﻫﺎﻳﻰ ﻛﻪ ﺑﻪ ﺁﻥ ﺑﺎﻭﺭ ﺩﺍﺷﺘﻨﺪ‪ ،‬ﻧﺴﺒﺖ‬ ‫ﻣﻰﺩﺍﺩﻧﺪ‪ .‬ﺑﺮﺍﻯ ﻫﺮ ﭼﻴﺰﻯ ﻗﺼﻪ ﻣﻰﺳﺎﺧﺘﻨﺪ ﻭ‬ ‫ﺩﺭ ﻭﺍﻗﻊ ﺍﻳﻦ ﻗﺼﻪﭘﺮﺩﺍﺯﻯ ﻭ ﻗﺼﻪﮔﻮﻳﻰﺷﺎﻥ ﺑﻪ‬ ‫ﻣﻨﺘﻘﻞ ﺷﺪﻩ ﮔﻮﻳﺎ‪.‬‬ ‫ﺍﺯ ‪ 8‬ﺳﺎﻟﮕﻰ ﺑﻪ ﺑﻌﺪ ﺩﺭ ﺷﻬﺮ ﺯﻧﺪﮔﻰ ﻛﺮﺩﻡ‪ ،‬ﺍﻣﺎ‬ ‫ﺣﺎﻻ ﻛﻪ ﻧﮕﺎﻩ ﻣﻰﻛﻨﻢ ﻣﻰﺑﻴﻨﻢ ﺁﻥ ﺑﺨﺶ ﭘﻴﺶ‬ ‫ﺍﺯ ‪ 8‬ﺳﺎﻟﮕﻰ ﺗﺎﺛﻴﺮ ﻏﻴﺮﻗﺎﺑﻞ ﺍﻧﻜﺎﺭﻯ ﺭﻭﻯ ﻣﻦ‬ ‫ﮔﺬﺍﺷﺘﻪ ﺍﺳﺖ‪.‬‬

‫ﺑﻪ ﻫﺮﺣﺎﻝ ﻫﺮ ﺩﺍﺳﺘﺎﻧﻰ ﺩﺭﻳﻚ ﻣﻮﻗﻌﻴﺘﻰ ﺍﺗﻔﺎﻕ ﻣﻰﺍﻓﺘﺪ‬ ‫ﻭﺍﻳﻦ ﻣﻮﻗﻌﻴﺖ ﻣﻜﺎﻧﻰ ﻣﻰﺗﻮﺍﻧﺪ ﺩﺭ ﺷﻬﺮ ﺑﺎﺷﺪﻳﺎ ﺭﻭﺳﺘﺎ‪.‬‬ ‫ﺩﺭ ﻫﺮﺟﺎ ﻫﻢ ﻛﻪ ﺑﺎﺷﺪ ﻣﻴﺎﻥ ﺁﺩﻡﻫﺎﻳﻰ ﺍﺗﻔﺎﻕ ﻣﻰﺍﻓﺘﺪ‬ ‫ﻛﻪ ﻫﺮ ﻛﺪﺍﻡ ﻟﺤﻦ ﻭ ﺯﺑﺎﻥ ﺧﺎﺹ ﺧﻮﺩ ﺭﺍ ﺩﺍﺭﻧﺪ‪.‬‬ ‫ﺷﻤﺎ ﻧﻤﻰﺗﻮﺍﻧﻴﺪﻳﻚ ﺭﺍﻧﻨﺪﻩ ﺍﺗﻮﺑﻮﺱ ﺭﺍ ﺑﺎﻳﻚ ﻣﻌﻠﻢ‬ ‫ﺩﺍﺭﺍﻯﻳﻚ ﻟﺤﻦ ﺑﺪﺍﻧﻴﺪ‪ .‬ﺍﻳﻦﻫﺎ ﺩﻭ ﺍﻟﮕﻮﻯ ﺯﺑﺎﻧﻰ ﺩﺍﺭﻧﺪ‪.‬‬ ‫ﻭﻗﺘﻰ ﺩﺍﺳﺘﺎﻥ ﻣﻦ ﺩﺭﻳﻚ ﺭﻭﺳﺘﺎ ﺍﺗﻔﺎﻕ ﻣﻰﺍﻓﺘﺪ‪ ،‬ﺍﻳﻦ‬ ‫ﺭﻭﺳﺘﺎ ﻫﻢ ﺍﺯﻳﻚ ﺳﺮﻯ ﻣﺮﺩﻡ ﺷﻜﻞ ﻣﻰﮔﻴﺮﺩ ﻛﻪ ﺁﺩﺍﺏ‬ ‫ﻭ ﺭﺳﻮﻡ ﺧﺎﺻﻰ ﺩﺍﺭﻧﺪ‪ ،‬ﺯﺑﺎﻥ ﻭﻳﮋﻩﺍﻯ ﺩﺍﺭﻧﺪ ﻭ ﺣﺘﻰ‬ ‫ﺷﻜﻞ ﻭ ﻗﻴﺎﻓﻪ ﺧﺎﺻﻰ ﺩﺍﺭﻧﺪ‪ .‬ﻧﻮﻉ ﻧﮕﺎﻩﺷﺎﻥ ﺑﻪ ﺟﻬﺎﻥ‪،‬‬ ‫ﺧﺎﺹ ﺍﺳﺖ‪ ،‬ﺑﺎﻟﻄﺒﻊ ﺍﻳﻦ ﺯﺑﺎﻥ ﺍﻟﻤﻮﺗﻰﻳﺎ ﺩﺭﺳﺖ ﺗﺮ‬ ‫ﺑﮕﻮﻳﻴﻢ‪ ،‬ﺯﺑﺎﻥ ﺩﻳﻠﻤﻰ‪ ،‬ﺯﺑﺎﻥ ﻣﺮﺩﻡ ﺍﻳﻦ ﺭﻭﺳﺘﺎﺳﺖ‪.‬‬ ‫ﻣﻦ ﺍﺯ ﺯﺑﺎﻥ ﻣﺮﺩﻡ ﻣﻨﻄﻘﻪ ﺍﺳﺘﻔﺎﺩﻩ ﻛﺮﺩﻡ ﻭ ﻫﻴﭻ ﻭﻗﺖ‬ ‫ﻫﻢ ﻓﻜﺮ ﻧﻜﺮﺩﻡ ﻣﺨﺎﻃﺐ ﻣﺸﻜﻞ ﭘﻴﺪﺍ ﻣﻰﻛﻨﺪ‪ .‬ﭼﻮﻥ‬ ‫ﺍﺣﺴﺎﺱ ﻛﺮﺩﻡ ﻭﻗﺘﻰ ﻣﻦ ﺑﻪ ﺁﺫﺭﺑﺎﻳﺠﺎﻥ ﻣﻰﺭﻭﻡ ﺍﻳﻦ‬ ‫ﭘﻴﺶ ﻓﺮﺽ ﺭﺍ ﭘﺬﻳﺮﻓﺘﻪ ﺍﻡ ﻛﻪ ﺯﺑﺎﻥ ﻣﺮﺩﻡ ﺁﻧﺠﺎ ﺁﺫﺭﻯ‬ ‫ﺍﺳﺖ ﻭ ﻣﻦ ﺑﺎ ﺍﻳﻦ ﺩﺍﻧﺴﺘﻪ ﺑﻪ ﻣﻴﺎﻥ ﺁﻥﻫﺎ ﺭﻓﺘﻪ ﺍﻡ‪.‬‬ ‫ﭘﺲ ﺑﺎﻳﺪ ﺍﻭﻝ ﺑﺎ ﺯﺑﺎﻥ ﺷﺎﻥ ﺍﺭﺗﺒﺎﻁ ﺑﮕﻴﺮﻡ ﺗﺎ ﺑﺘﻮﺍﻧﻢ‬ ‫ﺑﺎ ﻣﺮﺩﻣﺶ ﺍﻧﺲ ﺑﮕﻴﺮﻡ‪ .‬ﻭﻗﺘﻰ ﺑﻪ ﮔﻴﻼﻥ ﻣﻰﺭﻭﻳﺪ‪،‬‬ ‫ﺁﻳﺎ ﺍﻧﺘﻈﺎﺭ ﺩﺍﺭﻳﺪ ﻓﻼﻥ ﮔﻴﻠﻪﻣﺮﺩﻳﺎ ﻓﻼﻥ ﮔﻴﻠﻪﺯﻥ‪ ،‬ﺑﺎ‬ ‫ﺷﻤﺎ ﻓﺎﺭﺳﻰ ﺗﻬﺮﺍﻧﻰ ﺣﺮﻑ ﺑﺰﻧﻨﺪ؟ ﻧﻪ‪ .‬ﺁﻥﻫﺎ ﺯﺑﺎﻥ ﺷﺎﻥ‬ ‫ﮔﻴﻠﻜﻰ ﺍﺳﺖ‪ .‬ﻣﻰﺗﻮﺍﻧﻴﻢ ﻣﻴﺎﻥﺷﺎﻥ ﻧﺮﻭﻳﻢ ﺍﻣﺎ ﻣﻦ‬ ‫ﺩﻭﺳﺖ ﺩﺍﺷﺘﻢ ﺑﻪ ﻣﻴﺎﻥ ﻣﺮﺩﻡ ﺩﻳﻠﻤﺴﺘﺎﻥ ﺑﺮﻭﻡ ﻭ ﺑﺎ‬ ‫ﺯﺑﺎﻥﺷﺎﻥ ﺍﺭﺗﺒﺎﻁ ﮔﺮﻓﺘﻢ ﻭ ﺁﻥ ﻭﻗﺖ ﻧﻮﺷﺘﻢﺷﺎﻥ‪.‬‬ ‫ﺑﺴﻴﺎﺭﻯ ﺍﺯ ﺷﺨﺼﻴﺖﻫﺎﻯ ﺩﺍﺳﺘﺎﻥﻫﺎﻯ ﺷﻤﺎ‬ ‫ﺍﺳﻄﻮﺭﻩﺍﻯ ﻭ ﺍﻓﺴﺎﻧﻪﺍﻯ ﻫﺴﺘﻨﺪ ﻭ ﺑﻪ ﻫﻤﻴﻦ‬ ‫ﺩﻟﻴﻞ ﻛﻤﺘﺮ ﺩﭼﺎﺭ ﺗﺤﻮﻝ ﻣﻰﺷﻮﻧﺪ‪ .‬ﺍﻳﻦ ﮔﻮﻧﻪ‬ ‫ﺷﺨﺼﻴﺖﻫﺎ‪ ،‬ﺩﺳﺖ ﻭ ﭘﺎﻯﺗﺎﻥ ﺭﺍ ﻫﻨﮕﺎﻡ‬ ‫ﺷﺨﺼﻴﺖﭘﺮﺩﺍﺯﻯ ﻧﻤﻰﺑﻨﺪﻧﺪ؟‬

‫ﺍﻳﻦ ﺷﺨﺼﻴﺖﻫﺎ ﺑﺮﺍﻯ ﺧﻮﺩﻳﻚ ﺗﺸﺨّ ﺺ ﻭ ﺗﻜﺎﻣﻠﻰ‬ ‫ﭘﻴﺪﺍ ﻛﺮﺩﻩﺍﻧﺪ ﻭ ﺑﻪ ﻗﻮﻝ ﺷﻤﺎ ﺍﺳﻄﻮﺭﻩﺍﻯ ﻭ ﺍﻓﺴﺎﻧﻪﺍﻯ‬ ‫ﺷﺪﻩﺍﻧﺪ‪ .‬ﺍﻳﻦﻫﺎ ﺩﺭ ﻃﻮﻝ ﺯﻣﺎﻥ ﺷﺨﺼﻴﺖ ﭘﻴﺪﺍ‬ ‫ﻛﺮﺩﻩﺍﻧﺪ ﻭ ﺑﻪ ﻫﻤﻴﻦ ﺩﻟﻴﻞ ﻫﻢ ﻫﺴﺖ ﻛﻪ ﻣﻰﮔﻮﻳﻨﺪ‬ ‫ﺷﺨﺼﻴﺖﻫﺎﻯ ﺍﺳﻄﻮﺭﻩﺍﻯ ﻧﻴﺎﺯ ﺑﻪ ﺷﺨﺼﻴﺖﭘﺮﺩﺍﺯﻯ‬ ‫ﺑﻪ ﺷﻜﻞ ﻣﻌﻤﻮﻝ ﺩﺍﺳﺘﺎﻥﻧﻮﻳﺴﻰ ﺍﻣﺮﻭﺯ ﻧﺪﺍﺭﻧﺪ‪ .‬ﺍﻳﻦﺟﺎ‬ ‫ﺑﺎ ﺍﻳﻦ ﺷﺨﺼﻴﺖﻫﺎ ﻧﻪ ﺑﻪ ﺧﺎﻃﺮ ﺷﺨﺼﻴﺖﺷﺎﻥ ﺑﻠﻜﻪ‬ ‫ﺑﻪ ﺩﻟﻴﻞ ﺗﺎﺛﻴﺮﮔﺬﺍﺭﻯﺷﺎﻥ ﺭﻭﻯﻳﻚ ﻭﺍﻗﻌﻪ ﺧﺎﺹ‪ ،‬ﺭﻭﺑﻪ‬ ‫ﺭﻭ ﻣﻰﺷﻮﻳﻢ‪.‬‬ ‫ﺍﮔﺮﭼﻪ ﺁﺩﻡﻫﺎﻯ ﻣﻌﻤﻮﻟﻰ ﻫﻢ ﺩﺭ ﺩﺍﺳﺘﺎﻥﻫﺎﻳﻢ ﻫﺴﺘﻨﺪ‬ ‫ﻛﻪ ﺩﺭ ﺣﺎﺷﻴﻪ ﺩﺍﺭﻧﺪ ﺯﻧﺪﮔﻰ ﻣﻰﻛﻨﻨﺪ‪ .‬ﺑﻪ ﻃﻮﺭ ﻣﺜﺎﻝ‬ ‫ﺩﺭ ﺩﺍﺳﺘﺎﻥ ﺍژﺩﻫﺎﻛﺸﺎﻥ‪» ،‬ﺣﻀﺮﺗﻘﻠﻰ« ﺷﺨﺼﻴﺘﻰ‬ ‫ﺍﺳﻄﻮﺭﻩﺍﻯ ﺍﺳﺖ ﻛﻪ ﺁﻣﺪﻩ ﺑﺎ ﺍژﺩﻫﺎ ﺑﺠﻨﮕﺪ‪ ،‬ﭼﻮﻥ‬ ‫ﺷﻨﻴﺪﻩ ﺍژﺩﻫﺎﻳﻰ ﻗﺮﺍﺭ ﺍﺳﺖ ﻣﻴﻠﻚ ﺭﺍ ﺑﺎ ﺧﺎﻙﻳﻜﺴﺎﻥ‬ ‫ﻛﻨﺪ ﻭ ﭼﻮﻥ ﻣﻰﺩﺍﻧﺪ ﻗﺮﺍﺭ ﺍﺳﺖ ﺳﺎﻝﻫﺎﻯ ﺳﺎﻝ‬ ‫ﺑﻌﺪ‪،‬ﻳﻜﻰ ﺍﺯ ﻧﻮﺍﺩﮔﺎﻧﺶ ﺑﻴﺎﻳﺪ ﻭ ﺩﺭ »ﻣﻴﻠﻚ« ﺑﻤﻴﺮﺩ ﻭ‬ ‫ﺁﻥﺟﺎ ﺑﺮﺍﻳﺶ ﺑﻘﻌﻪﺍﻯ ﺑﺴﺎﺯﻧﺪ‪ ،‬ﺑﺎ ﻋﻠﻢ ﺑﻪ ﺍﻳﻦ ﻣﻮﺿﻮﻉ‬

‫ﺑﺮﺍﻯ ﺍﻳﻦ ﻛﻪ ﻣﺎﻧﻊ ﺗﺨﺮﻳﺐ ﻣﻴﻠﻚ ﺑﺸﻮﺩ‪ ،‬ﺑﻪ ﺟﻨﮓ ﺑﺎ‬ ‫ﺍژﺩﻫﺎ ﻣﻰﺁﻳﺪ‪.‬‬ ‫ﺩﺍﺳﺘﺎﻥﻫﺎ ﺍﻏﻠﺐ ﺑﺮ ﻣﺒﻨﺎﻯﻳﻚ ﺭﺧﺪﺍﺩ ﻭ ﻭﺍﻗﻌﻪ‬ ‫ﺷﻜﻞ ﻣﻰﮔﻴﺮﻧﺪ ﻭ ﺑﻴﺸﺘﺮ ﻭﻗﺎﻳﻊ ﻫﻢ ﺭﻭﻳﻜﺮﺩﻯ‬ ‫ﺟﺎﺩﻭﻳﻰ ﻭ ﻏﻴﺮﻭﺍﻗﻌﻰ ﺩﺍﺭﻧﺪ‪ .‬ﺍﻳﻦ ﻣﺎﺟﺮﺍﻫﺎ ﺁﻳﺎ‬ ‫ﻓﻘﻂ ﻣﺘﻌﻠﻖ ﺑﻪ ﻣﻨﻄﻘﻪ ﺍﻟﻤﻮﺕ ﻫﺴﺘﻨﺪ؟‬

‫ﺍﻭﺍﻳﻞ ﺷﺎﻳﺪ‪ .‬ﻣﺨﺼﻮﺻ ًﺎ ﺩﺭ »ﻗﺪﻡﺑﺨﻴﺮ ﻣﺎﺩﺭﺑﺰﺭگ ﻣﻦ‬ ‫ﺑﻮﺩ« ﺧﻴﻠﻰ ﻏﺮﻳﺰﻯ ﻣﻰﻧﻮﺷﺘﻢ‪.‬ﻳﻌﻨﻰ ﺩﺭﺑﺎﺭﻩ ﻭﻗﺎﻳﻌﻰ‬ ‫ﻣﻰﻧﻮﺷﺘﻢ ﻛﻪ ﺑﻪ ﻃﻮﺭ ﻣﺸﺨﺺ ﺩﺭ ﺩﻭﺭﺍﻥ ﻛﻮﺩﻛﻰ‬ ‫ﺷﻨﻴﺪﻩﻳﺎ ﺩﻳﺪﻩ ﺑﻮﺩﻡ‪ .‬ﺍﻟﺒﺘﻪ ﺩﺍﺳﺘﺎﻥ ِﺩﺍﺳﺘﺎﻧﻰ ﻣﺜﻞ‬ ‫»ﺧﻴﺮﺍﷲ ﺧﻴﺮﺍﷲ« ﺩﺭ ﻫﻤﺎﻥ ﻣﺠﻤﻮﻋﻪ ﺭﺍ ﻧﻤﻰﺩﺍﻧﻢ ﺍﺯ‬

‫ﺳﺎﻝ ‪ 80‬ﺁﻣﺪﻡ ﻭ ﻣﺼﻤﻢ ﺷﺪﻡ ﺍﻭﻟﻴﻦ ﻣﺠﻤﻮﻋﻪ‬ ‫ﺩﺍﺳﺘﺎﻧﻢ ﺭﺍ ﻣﻨﺘﺸﺮ ﻛﻨﻢ‪ ،‬ﺍﺣﺴﺎﺱ ﻛﺮﺩﻡ ﺍﻳﻦ‬ ‫ﻗﺼﻪﻫﺎﻯ ﺑﻪ ﻗﻮﻝ ﺷﻤﺎ ﺷﻬﺮﻯ‪ ،‬ﻣﺎﻝ ﻣﻦ‬ ‫ﻧﻴﺴﺘﻨﺪ‪ .‬ﺩﺍﺳﺘﺎﻥﻫﺎﻯ ﺯﻳﺎﺩﻯ ﺩﺍﺷﺘﻢ ﺍﻣﺎ ﺍﺯ ﻣﻴﺎﻥ‬ ‫ﺷﺎﻥ ﻓﻘﻂ ﻫﻤﺎﻥ ‪ 12‬ﺩﺍﺳﺘﺎﻧﻰ ﺭﺍ ﺍﻧﺘﺨﺎﺏ ﻛﺮﺩﻡ‬ ‫ﻛﻪ ﺩﻭﺳﺖ ﺷﺎﻥ ﺩﺍﺷﺘﻢ ﻭ ﺷﺪﻧﺪ ﻣﺠﻤﻮﻋﻪ‬ ‫»ﻗﺪﻡﺑﺨﻴﺮ ﻣﺎﺩﺭﺑﺰﺭگ ﻣﻦ ﺑﻮﺩ‪«.‬ﻳﺎ ﺑﻌﺪﺍً ‪15‬‬ ‫ﺩﺍﺳﺘﺎﻥ ﺩﻳﮕﺮ ﻛﻪ ﺷﺪﻧﺪ »ﺍژﺩﻫﺎﻛﺸﺎﻥ‪«.‬‬ ‫ﺑﺎ ﺍﻳﻦ ﺗﺮﺗﻴﺐ ﺑﺎﻳﺪ ﻣﻨﺘﻈﺮ ﺑﺎﺷﻴﻢ ﻣﺠﻤﻮﻋﻪ‬ ‫ﺩﺍﺳﺘﺎﻥ ﺑﻌﺪﻯ ﺷﻤﺎ ﻫﻢ ﺑﺎﺯ ﺩﺭ ﻫﻤﺎﻥ ﺣﺎﻝ‬ ‫ﻭ ﻫﻮﺍﻯ ﺩﻭ ﻣﺠﻤﻮﻋﻪ ﺩﺍﺳﺘﺎﻥ ﻗﺒﻠﻰﺗﺎﻥ‬ ‫ﺑﺎﺷﺪ؟‬

‫ﺩﻗﻴﻘ ًﺎ‪.‬‬ ‫ﻭﻗﺘﻰﻳﻚ ﺧﻮﺍﻧﻨﺪﻩ ﺩﺭﻳﻚ ﻛﺘﺎﺑﻔﺮﻭﺷﻰ‬ ‫»ﺍژﺩﻫﺎﻛﺸﺎﻥ« ﺭﺍ ﻣﻰﺑﻴﻨﺪ ﻭ ﭼﻴﺰﻯ ﻫﻢ‬ ‫ﺩﺭﺑﺎﺭﻩ ﺍﺵ ﻧﻤﻰﺩﺍﻧﺪ‪ ،‬ﭼﻄﻮﺭ ﺍﻋﺘﻤﺎﺩ‬ ‫ﻛﻨﺪ ﻭﻛﺘﺎﺏ ﺭﺍ ﺑﺨﺮﺩ؟ ﻭﻟﻰ ﺑﺎ ﺩﻳﺪﻥ ﻧﻈﺮ‬ ‫ﺁﺩﻡﻫﺎﻳﻰ ﻛﻪ ﺩﺭﺑﺎﺭﻩ ﻛﺘﺎﺏ ﻧﻈﺮ ﺩﺍﺩﻩ ﺍﻧﺪ‪،‬‬ ‫ﺑﻴﺸﺘﺮ ﺭﺍﻏﺐ ﺧﻮﺍﻫﺪ ﺷﺪ‪.‬‬

‫ﭘﺸﺖ ﺟﻠﺪ ﭼﺎپ ﺩﻭﻡ ﻭ ﺳﻮﻡ‬ ‫»ﺍژﺩﻫﺎﻛﺸﺎﻥ« ﻧﻈﺮﺍﺕ ‪ 10‬ﻧﻔﺮ ﺍﺯ ﻣﻨﺘﻘﺪﺍﻥ‬ ‫ﻣﻌﺮﻭﻑ ﻣﺜﻞ ﺁﻗﺎﻯ ﺳﭙﺎﻧﻠﻮ‪ ،‬ﺧﺎﻧﻢ ﺷﻬﺮﻧﻮﺵ‬ ‫ﭘﺎﺭﺳﻰﭘﻮﺭ‪ ،‬ﺁﻗﺎﻯ ﻓﺘﺢ ﺍﷲ ﺑﻰﻧﻴﺎﺯ ﻭ ﺁﻗﺎﻯ‬ ‫ﺩﺳﺘﻐﻴﺐ ﻭ ﺑﻘﻴﻪ ﻣﻨﺘﺸﺮ ﺷﺪﻩ ﺍﺳﺖ‪ .‬ﺍﻳﻦ‬ ‫ﻓﺮﻡ ﺗﺒﻠﻴﻎ ﻛﺘﺎﺏ ﺩﺭ ﺍﻳﺮﺍﻥ ﺗﺎ ﺑﻪ ﺣﺎﻝ‬ ‫ﺍﻧﺠﺎﻡ ﻧﺸﺪﻩ‪ .‬ﺍﻳﻦ ﭘﻴﺸﻨﻬﺎﺩ ﺷﻤﺎ ﺑﻮﺩﻩﻳﺎ‬ ‫ﻧﺎﺷﺮ؟‬

‫ﻛﺠﺎ ﺷﻨﻴﺪﻩ ﺑﻮﺩﻡ ﻭ ﭼﻮﻥ ﻣﺎﺟﺮﺍﻳﺶ ﺑﺮﺍﻳﻢ ﺟﺎﻟﺐ ﺑﻮﺩ‬ ‫ﺑﻪ ﻓﻀﺎﻯ ﻣﻴﻠﻚ ﺑﺮﺩﻡ ﻭ ﺑﺎﺯﺵ ﻛﺮﺩﻡ‪ .‬ﺩﺭ ﻣﺠﻤﻮﻋﻪ‬ ‫»ﺍژﺩﻫﺎﻛﺸﺎﻥ« ﺍﻣﺎ ﺍﻳﻦ ﻣﻮﺿﻮﻉ ﺁﮔﺎﻫﺎﻧﻪﺗﺮ ﺷﺪ ﻭ ﺍﺯ ﺁﻥ‬ ‫ﺷﻜﻞ ﻏﺮﻳﺰﻯ ﺑﻴﺮﻭﻥ ﺁﻣﺪ‪.‬‬ ‫ﭼﻨﺪ ﺗﺎ ﺍﺯ ﺩﺍﺳﺘﺎﻥﻫﺎﻳﻰ ﻛﻪ ﻧﻮﺷﺘﻢ ﻭ ﺁﺩﺍﺏ ﻭ ﺭﺳﻮﻣﻰ‬ ‫ﻛﻪ ﻭﺍﺭﺩ ﻣﻨﻄﻘﻪ ﺩﺍﺳﺘﺎﻧﻰﺍﻡ ﻛﺮﺩﻡ‪ ،‬ﺩﺭ ﻭﺍﻗﻊ ﻫﻴﭻ ﺭﺑﻄﻰ‬ ‫ﺑﻪ ﺁﻥ ﻣﻨﻄﻘﻪ ﻧﺪﺍﺭﻧﺪ‪.‬ﻳﺎ ﺯﺍﺩﻩ ﺗﺨﻴﻞ ﻣﻦ ﻫﺴﺘﻨﺪﻳﺎ‬ ‫ﺍﺯ ﺍﻳﻦﺟﺎ ﻭ ﺁﻥﺟﺎ ﺷﻨﻴﺪﻡ؛ ﺩﺭ ﻛﺮﺩﺳﺘﺎﻥ ﻭ ﺧﺮﺍﺳﺎﻥ‬ ‫ﻭ ﺳﻴﺴﺘﺎﻥ ﻭ ﺑﻠﻮﭼﺴﺘﺎﻥ ﻭ ﻟﺮﺳﺘﺎﻥ ﻣﺜ ً‬ ‫ﻼ‪ .‬ﻧﻤﻮﻧﻪﺍﺵ‬ ‫ﻫﻤﺎﻥ ﺩﺍﺳﺘﺎﻥ »ﻧﺴﺘﺮﻧﻪ« ﻭ ﺭﺩ ﺷﺪﻥ ﺁﺩﻡﻫﺎ ﺍﺯ ﺯﻳﺮ‬ ‫ﺭﻧﮕﻴﻦ ﻛﻤﺎﻥ )ﺁﻟﻪ ﻣﻨﮓ(‪ .‬ﺑﺎﻭﺭ ﻛﻨﻴﺪﻳﺎﺩﻡ ﻧﻤﻰﺁﻳﺪ ﺍﻳﻦ‬ ‫ﺑﺎﻭﺭ ﺭﺍ ﺍﺯ ﻛﺠﺎ ﺷﻨﻴﺪﻡﻳﺎ ﭼﻪ ﻃﻮﺭﻯ ﺑﻮﺩﻩ ﻛﻪ ﺣﺎﻻ ﺩﺭ‬ ‫ﺩﺍﺳﺘﺎﻥ ﻣﻦ ﺍﻳﻦﻃﻮﺭﻯ ﺷﺪﻩ ﺍﺳﺖ‪.‬‬

‫ﻣﻦ ﺳﺎﻝﻫﺎ ﺍﺯ ﻃﺮﻳﻖ ﻣﺘﺮﺟﻤﻰﺯﺑﺎﻥ ﻋﺮﺑﻰ‬ ‫ﺯﻧﺪﮔﻰ ﻣﻰﻛﺮﺩﻡ ﻭ ﺑﻪ ﻫﻤﻴﻦ ﺩﻟﻴﻞ ﻛﺘﺎﺏﻫﺎﻯ‬ ‫ﺯﻳﺎﺩﻯ ﻫﻢ ﺑﻪ ﺍﻳﻦ ﺯﺑﺎﻥ ﺩﺍﺭﻡ ﻛﻪ ﭘﺸﺖ ﺟﻠﺪ‬ ‫ﺍﻏﻠﺐﺷﺎﻥ‪ ،‬ﻧﻈﺮﺍﺕ ﻣﻨﺘﻘﺪﺍﻥ ﻣﻌﺮﻭﻑ ﺩﺭﺑﺎﺭﻩ‬ ‫ﺁﻥ ﻛﺘﺎﺏ ﻣﻨﺘﺸﺮ ﺷﺪﻩ ﺍﺳﺖ‪ .‬ﺑﻪ ﻃﻮﺭ ﻣﺸﺨﺺ‬ ‫ﻛﺘﺎﺏ »ﺻﺪ ﺳﺎﻝ ﺗﻨﻬﺎﻳﻰ« ﻣﺎﺭﻛﺰ ﻛﻪ ﺩﺭ ﻣﺼﺮ‬ ‫ﭼﺎپ ﺷﺪﻩ ﺍﺳﺖ‪.‬‬ ‫ﺑﺮﺍﻳﻢ ﺧﻴﻠﻰ ﺟﺎﻟﺐ ﺑﻮﺩ ﻛﻪ ﭼﺮﺍ ﺍﻳﻦ ﻛﺎﺭ ﺩﺭ‬ ‫ﺍﻳﺮﺍﻥ ﺍﻧﺠﺎﻡ ﻧﻤﻰﺷﻮﺩ‪ .‬ﻭﻗﺘﻰﻳﻚ ﺧﻮﺍﻧﻨﺪﻩ‬ ‫ﺩﺭﻳﻚ ﻛﺘﺎﺑﻔﺮﻭﺷﻰ »ﺍژﺩﻫﺎﻛﺸﺎﻥ« ﺭﺍ ﻣﻰﺑﻴﻨﺪ‬ ‫ﻭ ﭼﻴﺰﻯ ﻫﻢ ﺩﺭﺑﺎﺭﻩ ﺍﺵ ﻧﻤﻰﺩﺍﻧﺪ‪ ،‬ﭼﻄﻮﺭ‬ ‫ﺍﻋﺘﻤﺎﺩ ﻛﻨﺪ ﻭﻛﺘﺎﺏ ﺭﺍ ﺑﺨﺮﺩ؟ ﻭﻟﻰ ﺑﺎ ﺩﻳﺪﻥ ﻧﻈﺮ‬ ‫ﺁﺩﻡﻫﺎﻳﻰ ﻛﻪ ﺩﺭﺑﺎﺭﻩ ﻛﺘﺎﺏ ﻧﻈﺮ ﺩﺍﺩﻩ ﺍﻧﺪ‪ ،‬ﺑﻴﺸﺘﺮ‬ ‫ﺭﺍﻏﺐ ﺧﻮﺍﻫﺪ ﺷﺪ‪ .‬ﺩﺭ ﭼﺎپ ﺩﻭﻡ »ﻗﺪﻡﺑﺨﻴﺮ‪«...‬‬ ‫ﻫﻢ ﻧﻈﺮ ﭼﻨﺪ ﻣﻨﺘﻘﺪ ﻣﻨﺘﺸﺮ ﺷﺪﻩ ﺍﺳﺖ‪.‬‬

‫ﺩﺭ ﺷﺮﺍﻳﻄﻰ ﻛﻪ ﻫﻤﻪ ﻧﻮﻳﺴﻨﺪﮔﺎﻥ‪ ،‬ﺩﺍﺳﺘﺎﻥﻫﺎﻯ‬ ‫ﺷﻬﺮﻯ ﻭ ﺍﺻﻄﻼﺣﺎً ﺁﭘﺎﺭﺗﻤﺎﻧﻰ ﻭ ﻛﺎﻓﻪﺍﻯ‬ ‫ﻣﻰﻧﻮﻳﺴﻨﺪ‪ ،‬ﺷﻤﺎ ﺩﺍﺳﺘﺎﻥﻫﺎﻯ ﺑﻮﻣﻰ ﻧﻮﺷﺘﻴﺪ‪.‬‬ ‫ﺍﻳﻦ ﻣﻮﺿﻮﻉ ﺑﺎﻋﺚ ﻧﻤﻰﺷﻮﺩ ﻣﺨﺎﻃﺐﻫﺎﻯﺗﺎﻥ ﺗﺎ‬ ‫ﺣﺪﻭﺩﻯ ﻣﺤﺪﻭﺩ ﺷﻮﻧﺪ؟‬

‫ﻣﻦ ﻫﻢ ﻗﺒﻞ ﺍﺯ ﺍﻳﻦ ﺩﺍﺳﺘﺎﻥﻫﺎ‪ ،‬ﺩﺍﺳﺘﺎﻥﻫﺎﻯ‬ ‫ﺷﻬﺮﻯ ﻣﻰﻧﻮﺷﺘﻢ‪ .‬ﺗﻌﺪﺍﺩ ﺯﻳﺎﺩﻯ ﺩﺍﺳﺘﺎﻥ ﺩﺭ ﻓﻀﺎﻯ‬ ‫ﻛﻮﻯ ﺩﺍﻧﺸﮕﺎﻩ ﺗﻬﺮﺍﻥ ﺩﺍﺭﻡ؛ ﺩﺍﻧﺸﺠﻮﻳﺎﻥ ﻋﺎﺷﻖ‪.‬‬ ‫ﺩﺍﻧﺸﺠﻮﻳﺎﻧﻰ ﻛﻪ ﺩﻧﺒﺎﻝ ﺳﻴﺎﺳﺖ ﻫﺴﺘﻨﺪ‪ .‬ﺩﺍﻧﺸﺠﻮﻳﺎﻧﻰ‬ ‫ﻛﻪ ﺩﻧﺒﺎﻝ ﺍﺩﺑﻴﺎﺕ ﻫﺴﺘﻨﺪ‪ .‬ﺩﺍﻧﺸﺠﻮﻳﺎﻧﻰ ﻛﻪ ﺩﺭﺳﺨﻮﺍﻥ‬ ‫ﻫﺴﺘﻨﺪ‪.‬ﻳﺎﻳﻚ ﺳﺮﻯ ﺩﺍﺳﺘﺎﻥ ﺩﺍﺭﻡ ﺩﺭ ﻓﻀﺎﻯ ﭘﺎﺩﮔﺎﻥ‬ ‫ﺍﺭﺗﺶ‪.‬ﻳﺎ ﺩﺍﺳﺘﺎﻥﻫﺎﻳﻰ ﺩﺭ ﻓﻀﺎﻯ ﻛﺎﺭﮔﺮﺍﻥ ﺑﺎﺯﺍﺭ‬ ‫ﻗﺰﻭﻳﻦ‪.‬ﻳﺎﻳﻚ ﻛﺎﺭ ﺑﻠﻨﺪ ﺩﺍﺭﻡ ﺩﺭﺑﺎﺭﻩ ﺟﻨﮓ‪ ،‬ﺍﻣﺎ ﻫﻴﭻ‬ ‫ﻛﺪﺍﻡﺷﺎﻥ ﺭﺍ ﭼﺎپ ﻧﻜﺮﺩﻡ‪.‬‬ ‫ﻣﻦ ﻫﻢ ﺗﺠﺮﺑﻪ ﻧﻮﺷﺘﻦ ﺍﺯ ﻓﻀﺎﻯ ﺷﻬﺮﻯ ﺭﺍ ﺩﺍﺷﺘﻢ‬ ‫ﻭ ﺩﺍﺭﻡ ﻭﻟﻰ ﺍﻳﻦﻫﺎ ﻣﺎﻝ ﻣﻦ ﻧﺒﻮﺩﻧﺪ ﻭ ﻧﻴﺴﺘﻨﺪ‪ .‬ﻭﻗﺘﻰ‬

‫ﺍژﺩﻫﺎﻛﺸﺎﻥ‪ ،‬ﺑﺮﻧﺪﻩ ﻧﺨﺴﺘﻴﻦ ﺟﺎﻳﺰﻩ ﺍﺩﺑﻰ‬ ‫ﺟﻼﻝ ﺁﻝ ﺍﺣﻤﺪ ﻭ ﻧﺎﻣﺰﺩ ﻧﻬﺎﻳﻰ ﻫﺸﺘﻤﻴﻦ‬ ‫ﺩﻭﺭﻩ ﺟﺎﻳﺰﻩ ﻫﻮﺷﻨﮓ ﮔﻠﺸﻴﺮﻯ ﺷﺪ‪ .‬ﺁﻳﺎ‬ ‫ﺍﻳﻦ ﺟﻮﺍﻳﺰ ﺑﺮ ﺩﻳﺪﻩ ﺷﺪﻥ ﻛﺘﺎﺏ ﻧﻘﺸﻰ‬ ‫ﺩﺍﺷﺘﻨﺪ؟‬

‫ﺗﺮﺩﻳﺪ ﻧﺒﺎﻳﺪ ﻛﺮﺩ ﻛﻪ ﻧﻘﺶ ﺩﺍﺭﻧﺪ ﻭ ﻧﻘﺶﺷﺎﻥ ﻫﻢ‬ ‫ﺍﺗﻔﺎﻗ ًﺎ ﺧﻴﻠﻰ ﺯﻳﺎﺩ ﺍﺳﺖ‪» .‬ﻗﺪﻡﺑﺨﻴﺮ ﻣﺎﺩﺭﺑﺰﺭگ‬ ‫ﻣﻦ ﺑﻮﺩ« ﺍﮔﺮ ﻧﺎﻣﺰﺩ ﺟﺎﻳﺰﻩ ﻛﺘﺎﺏ ﺳﺎﻝ ﻭ ﺑﺮﻧﺪﻩ‬ ‫ﺟﺸﻨﻮﺍﺭﻩ ﺭﻭﺳﺘﺎ ﻧﻤﻰﺷﺪ‪ ،‬ﺷﺎﻳﺪ ﻫﺮﮔﺰ ﺗﺠﺪﻳﺪ‬ ‫ﭼﺎپ ﻧﻤﻰﺷﺪ‪ .‬ﺩﺭﺑﺎﺭﻩ »ﺍژﺩﻫﺎﻛﺸﺎﻥ« ﻫﻢ‪.‬ﻳﻚ‬ ‫ﺳﺎﻝ ﺍﺯ ﭼﺎپ ﺍژﺩﻫﺎﻛﺸﺎﻥ ﻣﻰﮔﺬﺷﺖ ﻭﻳﻚ‬ ‫ﭼﺎپ ﺧﻮﺭﺩﻩ ﺑﻮﺩ ﻭﻟﻰ ﺩﺭ ﻣﺪﺕ ﻛﻮﺗﺎﻩ ﺳﻪ ﻣﺎﻩ‬ ‫ﮔﺬﺷﺘﻪ‪ ،‬ﺍﻳﻦ ﻛﺘﺎﺏ ﺩﻭ ﭼﺎپ ﺟﺪﻳﺪ ﺧﻮﺭﺩﻩ ﺍﺳﺖ‬ ‫ﻛﻪ ﺣﺎﻻ ﭼﺎپ ﺳﻮﻡ ﭘﻴﺶ ﺭﻭﻯ ﻣﺎﺳﺖ‪.‬‬

‫ﺩﻭﺭﻩ ﺟﺪﻳﺪ‪/‬ﺷﻤﺎﺭﻩ ‪ 9‬ﻭ ‪)10‬ﭘﻴﺎﭘﻲ‪39‬ﻭ‪ /(40‬ﺳﺎﻝ ﺳﻮﻡ‪/‬ﻧﻮﺭﻭﺯ‪88‬‬

‫ﺟﻬﺖ ﺗﻮ ﺣﺎﺻﻞ ﺷﻮﺩ‪«...‬‬ ‫ﺯ‪ .‬ﺁﺛﺎﺭ ﻣﻨﻈﻮﻡ ﻓﺎﺭﺳﻲ‪:‬‬ ‫ﺷﻴﺦ ﺑﻬﺎﻳﻲ ﺑﻪ ﭘﺎﺭﺳﻲ ﺍﺷﻌﺎﺭ ﺑﺴﻴﺎﺭﻱ ﺳﺮﻭﺩﻩ‬ ‫ﺍﺳﺖ ﻛﻪ ﺍﻏﻠﺐ ﺁﻧﻬﺎ ﺭﺍ ﺩﺭ ﻛﺸﻜﻮﻝ ﻧﻘﻞ ﻛﺮﺩﻩ‬ ‫ﺍﺳﺖ‪ .‬ﻛﻠﻴﺎﺕ ﺍﺷﻌﺎﺭ ﻓﺎﺭﺳﻲ ﺍﻭ ﺷﺎﻣﻞ ﻏﺰﻟﻴﺎﺕ‪،‬‬ ‫ﻣﺜﻨﻮﻳﺎﺕ )ﻧﺎﻥ ﻭ ﺣﻠﻮﺍ‪ ،‬ﺷﻴﺮ ﻭ ﺷﻜﺮ‪ ،‬ﻧﺎﻥ ﻭ ﭘﻨﻴﺮ(‪،‬‬ ‫ﻗﻄﻌﺎﺕ‪ ،‬ﺭﺑﺎﻋﻴﺎﺕ‪ ،‬ﻣﺴﺘﺰﺍﺩ ﻭ ﻣﺨﻤﺲ ﺑﻪ ﻫﻤﺖ‬ ‫ﺍﺳﺘﺎﺩ ﺳﻌﻴﺪ ﻧﻔﻴﺴﻲ ﺑﺎ ﻣﻘﺪﻣﻪﻳﻲ ﺳﻮﺩﻣﻨﺪ ﻭ‬ ‫ﺗﻔﺼﻴﻠﻲ ﺩﺭ ﺷﺮﺡ ﺣﺎﻝ ﺷﻴﺦ ﺑﻬﺎﻳﻲ ﺩﺭ ‪103‬‬ ‫ﺻﻔﺤﻪ‪ ،‬ﻧﺨﺴﺖ ﺩﺭ ‪ 1316‬ﺵ ﻭ ﺑﻌﺪ ﺍﺯ ﺁﻥ‬ ‫ﻣﻜﺮﺭ ﺑﻪ ﭼﺎپ ﺭﺳﻴﺪﻩ ﺍﺳﺖ‪ .‬ﺍﺷﻌﺎﺭ ﻓﺎﺭﺳﻲ‬ ‫ﺷﻴﺦ ﺑﻬﺎﻳﻲ ﺑﻪ ﺟﻬﺖ ﺍﻳﻦﻛﻪ ﺯﺑﺎﻥ ﻓﺎﺭﺳﻲ‪،‬‬ ‫ﺯﺑﺎﻥ ﻣﺎﺩﺭﻱ ﺍﻭ ﻧﺒﻮﺩﻩ ﺍﺳﺖ‪ ،‬ﺍﺯ ﻣﻨﻈﺮ ﻓﺼﺎﺣﺖ‬ ‫ﻭ ﺑﻼﻏﺖ ﺑﻪ ﭘﺎﻱ ﺁﺛﺎﺭ ﺍﺳﺘﺎﺩﺍﻥ ﺑﺰﺭگ ﻧﻈﻢ‬ ‫ﻓﺎﺭﺳﻲ ﻧﻤﻲﺭﺳﺪ‪ ،‬ﻭﻟﻲ ﻫﻢ ﺍﺯ ﺟﻬﺖ ﺍﺭﺯﺵ‬ ‫ﭘﻴﺎﻡ ﻭ ﻣﺤﺘﻮﺍ ﻭ ﻫﻢ ﺍﺯ ﺟﻬﺖ ﻟﺤﻦ ﺻﺎﺩﻗﺎﻧﻪ ﻭ‬ ‫ﺧﺎﻟﻲ ﺍﺯ ﺭﻳﺎ‪ ،‬ﺩﺭ ﺑﻴﻦ ﻓﺎﺭﺳﻲﺯﺑﺎﻧﺎﻥ ﺑﺴﻴﺎﺭ ﻣﻄﻠﻮﺏ‬ ‫ﻭﺍﻗﻊ ﺷﺪﻩ ﺍﺳﺖ‪.‬ﺩﺭ ﺍﺷﻌﺎﺭ ﻓﺎﺭﺳﻲ ﺷﻴﺦ ﺑﻬﺎﻳﻲ‪،‬‬ ‫ﻧﻮﺁﻭﺭﻱﻫﺎﻳﻲ ﺩﺭ ﺳﺒﻚ ﺩﻳﺪﻩ ﻣﻲﺷﻮﺩ‪ .‬ﺍﺯ ﺟﻤﻠﻪ‪،‬‬ ‫ﻣﺜﻨﻮﻱ ﺷﻴﺮ ﻭ ﺷﻜﺮ ﺍﻭﻟﻴﻦ ﻣﻨﻈﻮﻣﻪﻳﻲ ﺍﺳﺖ ﻛﻪ‬ ‫ﺩﺭ ﺑﺤﺮ ﻣﺘﺪﺍﺭﻙ )ﺧَ ﺒﺐ( ﺑﻪ ﻓﺎﺭﺳﻲ ﺳﺮﻭﺩﻩ ﺷﺪﻩ‬ ‫ﺍﺳﺖ‪.‬‬ ‫ﺡ‪ .‬ﺁﺛﺎﺭ ﻣﻨﻈﻮﻡ ﻋﺮﺑﻲ‪:‬‬ ‫ﺍﺷﻌﺎﺭ ﻋﺮﺑﻲ ﺷﻴﺦ ﺑﻬﺎﻳﻲ ﺭﺍ ﻧﺨﺴﺖﺑﺎﺭ ﺷﻴﺦ‬ ‫ﻣﺤﻤﺪﺭﺿﺎ ﻓﺮﺯﻧﺪ ﺷﻴﺦ ﻋﺎﻣﻠﻲ )ﻡ ‪(1110‬‬ ‫ﺑﻴﻦﺍﻟﺪﻓﺘﻴﻦ ﺟﻤﻊ ﻛﺮﺩﻩ ﺍﺳﺖ ﻭ ﺑﻌﺪﻫﺎ ﺑﻪ‬ ‫ﺻﻮﺭﺕ ﻛﺎﻣﻞ ﭼﺎپ ﺷﺪﻩ ﺍﺳﺖ‪ .‬ﺍﺯ ﻣﻴﺎﻥ ﺍﺷﻌﺎﺭ‬ ‫ﻋﺮﺑﻲ ﺷﻴﺦ ﺑﻬﺎﻳﻲ‪ ،‬ﻣﺸﻬﻮﺭﺗﺮﻳﻦ ﺁﻧﻬﺎ ﻗﺼﻴﺪﻩﻳﻲ‬ ‫ﺑﺎ ﻋﻨﻮﺍﻥ »ﻭﺳﻴﻠﻪ ﺍﻟﻔﻮﺯ ﻭ ﺍﻻﻣﺎﻥ ﻓﻲ ﻣﺪﺡ‬ ‫ﺻﺎﺏﺍﻟﺰﻣﺎﻥ« ﺩﺭ ‪ 63‬ﺑﻴﺖ ﺍﺳﺖ‪.‬‬ ‫ﻁ‪ .‬ﺩﻳﮕﺮ ﺗﺎﻟﻴﻔﺎﺕ ﺷﻴﺦ ﺑﻬﺎﻳﻲ‪:‬‬ ‫ﺩﻳﮕﺮ ﺗﺎﻟﻴﻔﺎﺕ ﺷﻴﺦ ﺑﻬﺎﻳﻲ ﺩﺭ ﻋﻠﻮﻡ ﻣﺨﺘﻠﻒ‬ ‫ﻓﺮﺍﻭﺍﻧﻨﺪ ﻛﻪ ﺗﻌﺪﺍﺩﻯ ﺍﺯ ﺁﻥﻫﺎ ﻋﺒﺎﺭﺗﻨﺪ ﺍﺯ‪ :‬ﺍﺛﺒﺎﺕ‬ ‫ﺍﻻﻧﻮﺍﺭ ﺍﻻﻟﻬﻴﻪ‪ ،‬ﺍﺳﺮﺍﺭ ﺍﻟﺒﻼﻏﻪ‪،‬ﺑﺤﺮﺍﻟﺤﺴﺎﺏ‪،‬‬ ‫ﺗﻀﺎﺭﻳﺲ ﺍﻻﺭﺽ‪ ،‬ﺗﻨﺒﻴﻪﺍﻟﻐﺎﻓﻠﻴﻦ‪ ،‬ﺗﻮﺿﻴﺢ‬ ‫ﺍﻟﻤﻘﺎﺻﺪ‪ ،‬ﺗﻬﺬﻳﺐ ﺍﻟﺒﻴﺎﻥ‪ ،‬ﺟﺒﺮ ﻭ ﻣﻘﺎﺑﻠﻪ ﻭ‪...‬‬

‫ﺷﺨﺼﻴﺖﻫﺎﻱ ﺍﻓﺴﺎﻧﻪﺍﻱ ﻭ ﻏﺮﺍﺋﺐ‬ ‫ﺍﺣﻮﺍﻝ‪:‬‬ ‫ﭘﻴﺮﺍﻣﻮﻥ ﺍﺣﻮﺍﻝ ﻭ ﻛﺮﺍﻣﺎﺕ ﻭ ﺧﻮﺍﺭﻕ ﻋﺎﺩﺍﺕ‬ ‫ﺷﻴﺦ ﺑﻬﺎﻳﻲ ﻗﺼﻪﻫﺎ ﻭ ﺩﺍﺳﺘﺎﻥﻫﺎﻱ ﺑﺴﻴﺎﺭﻱ ﺍﺯ‬ ‫ﺩﻳﺮﺑﺎﺯ ﺑﺮ ﺳﺮ ﺯﺑﺎﻥﻫﺎ ﺑﻮﺩﻩ ﺍﺳﺖ ﻛﻪ ﺑﻌﻀﻲ ﺍﺯ‬ ‫ﺁﻧﻬﺎ ﺑﻪ ﻛﺘﺎﺏﻫﺎ ﻭ ﻣﻨﺎﺑﻊ ﻣﻜﺘﻮﺏ ﻧﻴﺰ ﺭﺍﻩﻳﺎﻓﺘﻪ‬ ‫ﺍﺳﺖ ﻛﻪ ﺑﺎﻭﺭ ﻧﻜﺮﺩﻧﻲﺗﺮﻳﻦ ﺁﻧﻬﺎ ﻗﺼﻪﻱ ﺍژﺩﻫﺎ‬ ‫ﺷﺪﻥ ﭘﺎﻱﺍﻓﺰﺍﺭ ﺷﻴﺦ ﺑﻬﺎﻳﻲ ﺩﺭ ﺣﻀﻮﺭ ﺳﻔﻴﺮ‬ ‫ﻋﺜﻤﺎﻧﻲ ﺩﺭ ﺍﺻﻔﻬﺎﻥﻳﺎ ﻣﺼﻮﻥ ﻣﺎﻧﺪﻥ ﻛﺸﻮﺭ ﺍﺯ‬ ‫ﻭﺑﺎ ﺑﺮ ﺍﺛﺮ ﺩﻓﻦ ﺳﻨﮕﻲ ﺑﻪ ﺩﺳﺖ ﺷﻴﺦ ﺑﻬﺎﻳﻲ‬ ‫ﺩﺭ ﺧﺎﻙ ﺍﻳﺮﺍﻥ ﺍﺳﺖ‪ .‬ﺑﺎ ﺁﻥﻛﻪ ﻛﺘﺎﺏﻫﺎﻱ‬

‫ﻫﻨﺮ ﺩﺍﺳﺘﺎﻥﻧﻮﻳﺴﻲ ﻭ ﻛﺘﺎﺏ ﮔﺮﺑﻪ ﻭ ﻣﻮﺵ‪:‬‬ ‫ﺩﺭ ﺍﺩﺏ ﻛﻬﻦ ﻓﺎﺭﺳﻲ‪ ،‬ﺩﺍﺳﺘﺎﻥﭘﺮﺩﺍﺯﻱ ﺗﻤﺜﻴﻠﻲ ﻭ ﻧﻘﻞ‬ ‫ﺣﻜﺎﻳﺎﺕ ﺍﺯ ﺯﺑﺎﻥ ﺣﻴﻮﺍﻧﺎﺕ ﺑﺮﺍﻱ ﺍﺧﺬ ﻧﺘﻴﺠﻪﻱ ﺍﺧﻼﻗﻲ‬ ‫ﭘﻴﺸﻴﻨﻪﻳﻲ ﺩﻳﺮﻳﻨﻪ ﺩﺍﺭﺩ‪ .‬ﺷﻴﺦ ﺑﻬﺎﻳﻲ ﻧﻴﺰ ﺑﻪ ﻧﻈﻢ ﻭ ﻧﺜﺮ‪،‬‬ ‫ﺣﻜﺎﻳﺎﺗﻲ ﺑﺎ ﻧﻴﺮﻭﻱ ﺗﺨﻴﻞ ﺧﻮﺩ ﺳﺎﺧﺘﻪ ﻛﻪ ﻣﻬﻢﺗﺮﻳﻦ‬ ‫ﺁﻥﻫﺎ ﺩﺍﺳﺘﺎﻥ ﮔﺮﺑﻪ ﻭ ﻣﻮﺵ )ﻳﺎ ﻣﻮﺵ ﻭ ﮔﺮﺑﻪ( ﺍﺳﺖ‬ ‫ﻛﻪ ﻧﺎﻡ ﻛﺎﻣﻞ ﺁﻥ )ﭘﻨﺪ ﺍﻫﻞ ﺩﺍﻧﺶ ﻭ ﻫﻮﺵ ﺑﻪ ﺯﺑﺎﻥ‬ ‫ﮔﺮﺑﻪ ﻭ ﻣﻮﺵ( ﺍﺳﺖ‪.‬‬ ‫ﺷﻴﺦ ﺑﻬﺎﻳﻲ ﺩﺭ ﮔﺮﺑﻪ ﻭ ﻣﻮﺵ ﻣﻨﺜﻮﺭ ﺧﻮﺩ – ﻫﻢﭼﻮﻥ‬ ‫ﻣﻮﺵ ﻭ ﮔﺮﺑﻪﻱ ﻣﻨﻈﻮﻡ ﻋﺒﻴﺪ ﺯﺍﻛﺎﻧﻲ – ﻃﻨﺰﮔﻮﻧﻪ‬ ‫ﺑﻪ ﺍﻧﺘﻘﺎﺩﺍﺕ ﺗﻨﺪ ﻭ ﺗﻠﺦ ﺍﺟﺘﻤﺎﻋﻲ ﻭ ﻧﻈﺮﻳﻪﭘﺮﺩﺍﺯﻱ‬ ‫ﺍﺟﺘﻤﺎﻋﻲ ﻭ ﭘﻨﺪﺁﻣﻮﺯﻱ ﺍﺧﻼﻗﻲ ﭘﺮﺩﺍﺧﺘﻪ ﺍﺳﺖ‪ .‬ﻭﻱ‬ ‫ﺩﺭﻳﻚ ﻓﺼﻞ ﻣﻮﺵ ﺭﺍ ﻧﻤﺎﺩ »ﻧﻔﺲ ﺍﻣﺎﺭﻩ« ﺍﻧﺴﺎﻥ ﻭ‬ ‫»ﮔﺮﺑﻪ« ﺭﺍ ﻧﻤﺎﺩ »ﻧﻴﺮﻭﻱ ﺗﺨﻴﻞ« ﻭ ﺩﺭ ﻓﺼﻠﻲ ﺩﻳﮕﺮ‬ ‫ﺩﺭ ﻏﻮﻏﺎﻱ ﺻﻮﻓﻲﺳﺘﻴﺰﻱ ﻓﻘﻴﻬﺎﻥ ﻋﺼﺮ ﺻﻔﻮﻱ‪،‬‬ ‫ﻣﻮﺵ ﺭﺍ ﺷﺒﻴﻪ »ﺻﻮﻓﻲ« ﻭ ﮔﺮﺑﻪ ﺭﺍ ﺷﺒﻴﻪ »ﻓﻘﻴﻪ«‬ ‫ﺗﺼﻮﻳﺮ ﻛﺮﺩﻩ ﺍﺳﺖ‪.‬‬ ‫ﺩﺍﺳﺘﺎﻥ ﮔﺮﺑﻪ ﻭ ﻣﻮﺵ ﺷﻴﺦ ﺑﻬﺎﻳﻲ ﻣﻜﺮﺭ ﻫﻤﺮﺍﻩ‬ ‫ﻣﺠﻤﻮﻋﻪﻱ ﺁﺛﺎﺭ ﺍﻭ )ﻫﻤﭽﻮﻥ ﭼﺎپ ﻛﻠﻴﺎﺕ ﺷﻴﺦ ﺑﻬﺎﻳﻲ‬ ‫ﺑﻪ ﺩﺳﺖ ﺳﻌﻴﺪ ﻧﻔﻴﺴﻲ( ﻭ ﮔﺎﻫﻲ ﺑﻪ ﺻﻮﺭﺕ ﻣﺴﺘﻘﻞ ﻭ‬ ‫ﺟﺪﺍﮔﺎﻧﻪ ﺑﻪ ﭼﺎپ ﺭﺳﻴﺪﻩ ﺍﺳﺖ‪.‬‬

‫ﻧﺸﺮ ﺭﻭﺯﮔﺎﺭ ﻣﻨﺘﺸﺮ ﻛﺮﺩ‬

‫ﺷﺎﮔﺮﺩﺍﻥ‪:‬‬ ‫ﻣﻌﺘﺒﺮﺗﺮﻳﻦ ﺷﺎﮔﺮﺩﺍﻥ ﺷﻴﺦ ﺑﻬﺎﻳﻲ ﻋﺒﺎﺭﺗﻨﺪ ﺍﺯ‪:‬‬ ‫‪.1‬ﺻﺪﺭﺍﻟﺪﻳﻦ ﻣﺤﻤﺪ ﺷﻴﺮﺍﺯﻱ ﻣﻌﺮﻭﻑ ﺑﻪ‬ ‫ﻣﻼﺻﺪﺭﺍ )ﻡ ‪1050 – 979‬ﻕ(‬ ‫‪.2‬ﻣﻼﻣﺤﺴﻦ ﻓﻴﺾ ﻛﺎﺷﺎﻧﻲ )ﻡ ‪1091‬ﻕ(‬ ‫‪.3‬ﻣﺤﻤﺪﺗﻘﻲ ﻣﺠﻠﺴﻲ )ﻡ ‪1070‬ﻕ( ﻣﻌﺮﻭﻑ ﺑﻪ‬ ‫ﻣﺠﻠﺴﻲ ﺍﻭﻝ‪ .‬ﻭ‪...‬‬

‫ﺩﻳﻨﻲ ﻭ ﻋﺮﻓﺎﻧﻲ ﺩﺭ ﺷﺮﺡ ﺍﺣﻮﺍﻝ ﺍﻧﺒﻴﺎ ﻭ ﺍﻭﻟﻴﺎ ﻭ ﻋﺮﻓﺎ‬ ‫ﻭ ﻣﺨﺼﻮﺻ ًﺎ ﻛﺘﺎﺏﻫﺎﻳﻲ ﻛﻪ ﺑﺎ ﻋﻨﻮﺍﻥﻫﺎﻱ ﻋﺎﻡ‪،‬‬ ‫ﺩﻻﻳﻞ ﺍﻟﻨﺒﻮﻩ‪ ،‬ﺷﻮﺍﻫﺪ ﺍﻟﻨﺒﻮﻩ‪ ،‬ﺩﻻﺋﻞ ﺍﻻﻣﺎﻣﻪ ﺩﺭ ﺣﻖ‬ ‫ﻣﻌﺼﻮﻣﺎﻥﻳﺎ ﺑﺎ ﻋﻨﻮﺍﻥ ﻓﻀﺎﺋﻞ‪ ،‬ﻣﻨﺎﻗﺐ ﻭ ﻣﻘﺎﻣﺎﺕ ﺩﺭ‬ ‫ﺣﻖ ﻣﺸﺎﻳﺦ ﻃﺮﻳﻘﺖ ﻧﻮﺷﺘﻪ ﺷﺪﻩ ﺍﺳﺖ‪ .‬ﻣﺸﺤﻮﻥ ﺍﺯ‬ ‫ﺍﻳﻦ ﻧﻮﻉ ﺧﻮﺍﺭﻕ ﻋﺎﺩﺍﺕ ﺍﺳﺖ‪ ،‬ﺍﻣﺎ ﺩﺭ ﺧﺼﻮﺹ ﻇﻬﻮﺭ‬ ‫ﺍﻳﻦ ﻛﺮﺍﻣﺎﺕ ﺑﺎ ﺍﻳﻦ ﺍﻭﺻﺎﻑ ﺍﺯ ﺷﺨﺺ ﺷﻴﺦ ﺑﻬﺎﻳﻲ‪،‬‬ ‫ﺑﺎﻳﺪ ﺑﺴﻴﺎﺭ ﺗﺮﺩﻳﺪ ﻛﺮﺩ‪ .‬ﺑﺎﺯ ﺍﻳﻦﻛﻪ ﺩﺭ ﺍﻏﻠﺐ ﻣﻨﺎﺑﻊ‪،‬ﻃﻮﻝ‬ ‫ﺍﺳﻔﺎﺭ ﺷﻴﺦ ﺑﻬﺎﻳﻲ ﺭﺍ ﻣﺪﺕ ﺳﻲ ﺳﺎﻝ ﻧﻮﺷﺘﻪﺍﻧﺪ‪ ،‬ﺍﻏﺮﺍﻕ‬ ‫ﻣﺤﺾ ﺍﺳﺖ ﻭ ﻫﻢﭼﻨﻴﻦ ﺳﻔﺮ ﺍﻭ ﺑﻪ ﺳﺮﺍﻧﺪﻳﺐ ﻛﻪ ﺩﺭ‬ ‫ﺑﺴﻴﺎﺭﻱ ﺍﺯ ﻣﻨﺎﺑﻊ‪ 19‬ﺁﻣﺪﻩ ﺍﺳﺖ‪ ،‬ﺑﻪ ﺍﻓﺴﺎﻧﻪ ﺷﺒﻴﻪ ﺍﺳﺖ‬ ‫ﻭ ﺩﻟﻴﻞ ﺗﺎﺭﻳﺨﻲ ﺑﺮ ﺁﻥ ﺩﺭﺳﺖ ﻧﻴﺴﺖ‪.‬‬

‫ﺷﺼﺖ ﻭ ﻫﻔﺘﻤﻴﻦ ﺷﻤﺎﺭﻩ ﻣﺠﻠﻪ "ﺑﺨﺎﺭﺍ"‬ ‫ﻣﻨﺘﺸﺮ ﺷﺪ‬

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‫ﻧﻤﺎﻳﺶ‬

‫ﺩﻭﺭﻩ ﺟﺪﻳﺪ‪/‬ﺷﻤﺎﺭﻩ ‪ 9‬ﻭ ‪)10‬ﭘﻴﺎﭘﻲ‪39‬ﻭ‪ /(40‬ﺳﺎﻝ ﺳﻮﻡ‪/‬ﻧﻮﺭﻭﺯ‪88‬‬

‫ﺍﺩﺍﻣﻪ ﺍﺯ ﺻﻔﺤﻪ‪1‬‬

‫ﺯﻳﺒﺎﻳﻰ ﺭﺍ ﺑﺮ ﺭﻭﻯ ﺻﺤﻨﻪ ﺗﺠﺴﻢ ﺑﺒﺨﺸﺪ‪.‬ﺍﻳﻦ‬ ‫ﻣﻮﺿﻮﻉ ﻣﻬﻤﻰﺑﺮﺍﻯ ﻣﺎﻧﺪﮔﺎﺭﻯ ﻳﻚ ﻛﺎﺭﮔﺮﺩﺍﻥ‬ ‫ﺍﺳﺖ‪.‬‬ ‫ﺑﺎ ﺷﻨﻴﺪﻥ ﻧﺎﻡ ﺳﻴﺎﻣﻚ ﺻﻔﺮﻯ ﺩﺭ ﻳﻚ‬ ‫ﻧﻤﺎﻳﺶ ﺑﻪ ﻳﺎﺩ ﺑﺎﺯﻳﮕﺮﻯ ﻣﻰﺍﻓﺘﻴﻢ ﻛﻪ‬ ‫ﺳﻨﮕﻴﻨﻰ ﺣﻀﻮﺭﺵ ﺑﺮ ﺭﻭﻯ ﺻﺤﻨﻪ‬ ‫ﺍﺣﺴﺎﺱ ﻣﻰﺷﻮﺩ ﭼﻘﺪﺭ ﺍﻳﻦ ﻣﻮﺿﻮﻉ‬ ‫ﺁﻣﻮﺧﺘﻨﻰ ﺍﺳﺖ؟‬

‫ﮔﻔﺘﻨﺶ ﺳﺨﺖ ﺍﺳﺖ ﻧﻪ ﺗﻨﻬﺎ ﺩﺭ ﻣﻮﺭﺩ ﺑﺎﺯﻯ‬ ‫ﻣﻦ‪ ،‬ﺍﺳﺎﺳﺎ ﺑﺎﺯﻯ ﻳﻚ ﺑﺎﺯﻳﮕﺮ ﺭﺍ ﻳﻚ ﺁﺩﻡ ﺁﮔﺎﻩ‬ ‫ﻭ ﺑﻪ ﻧﻮﻋﻰ ﺍﻫﻞ ﻧﻘﺪ ﻭ ﻧﮕﺎﻩ ﺑﻪ ﺑﺎﺯﻯ ﺍﺳﺖ ﻛﻪ‬

‫ﺭﻓﺘﺎﺭﻯ ﺭﺍ ﻣﻰﺳﺎﺯﻡﻳﺎ ﺑﺎﺯﻯ ﺭﺍ ﭘﻴﺪﺍ ﻣﻰﻛﻨﻢ ﻛﻪ ﻟﺤﻈﻪﻯ‬ ‫ﻛﻤﻴﻚ ﭘﻴﺪﺍ ﻣﻰﻛﻨﺪ ﻛﻪ ﺳﺒﺐ ﻣﻰﺷﻮﺩ ﺗﻤﺎﺷﺎﮔﺮ‬ ‫ﻟﺤﻈﻪﺍﻯ ﺑﻪ ﺁﻥ ﺍﺗﻔﺎﻕ ﺑﺨﻨﺪﺩ ﺍﻣﺎ ﺗﻜﻠﻴﻒ ﻳﻚ ﭼﻴﺰ‬ ‫ﺭﺍ ﺩﺭ ﻛﻤﺪﻯ ﻣﻰﺩﺍﻧﻢ ﻭ ﻫﻤﻴﺸﻪ ﺍﺯﺵ ﭘﺮﻫﻴﺰ ﻣﻰﻛﻨﻢ‬ ‫ﺍﻳﻦ ﺍﺳﺖ ﻛﻪ ﺑﺎﺯﻳﮕﺮ ﻧﻤﻰﺗﻮﺍﻧﺪ ﻣﺪﻋﻰ ﺷﻮﺩ ﻛﻪ ﺩﺍﺭﺩ‬ ‫ﻛﻤﺪﻯ ﺑﺎﺯﻯ ﻣﻰﻛﻨﺪ ﺍﻳﻦ ﺩﺭ ﻭﺍﻗﻊ ﻧﺎﺑﻮﺩ ﻛﺮﺩﻥ ﺑﺎﺯﻳﺶ‬ ‫ﺍﺳﺖ ﺩﺭ ﻧﺘﻴﺠﻪ ﺑﺎﻳﺪ ﺗﺸﺨﻴﺺ ﺩﻫﺪ ﺩﺭ ﭼﻪ ﻣﻮﻗﻌﻴﺘﻰ‬ ‫ﺩﺍﺭﺩ ﺑﺎﺯﻯ ﻣﻰﻛﻨﺪ ﺍﮔﺮ ﺩﺭﺳﺖ ﺗﺸﺨﻴﺺ ﺩﺍﺩﻩ ﺷﻮﺩ ﻭ‬ ‫ﺁﻥ ﻣﻮﻗﻌﻴﺖ ﺑﺎﺯﻯ ﺷﻮﺩ ﺁﻥ ﺍﺗﻔﺎﻕ ﻛﻤﻴﻚ ﭘﻴﺶ ﻣﻰﺁﻳﺪ‬ ‫ﺑﻪ ﺍﺿﺎﻓﻪﻯ ﺍﻳﻨﻜﻪ ﺩﺭ ﻛﻨﺎﺭﺵ ﺧﺼﻠﺖ ﺑﺎﺯﻯ ﺁﻥ ﺑﺎﺯﻳﮕﺮ‬ ‫ﻳﻌﻨﻰ ﻟﺤﻦ ﻭ ﻧﻮﻉ ﺑﺎﺯﻳﺶ ﻫﻢ ﺗﺎﺛﻴﺮ ﮔﺬﺍﺭ ﺍﺳﺖ‪.‬‬

‫ﺩﻳﮕﺮﺍﻥ ﻫﻢ ﻣﻰﺷﻨﻮﻧﺪ‪،‬ﻳﻚ ﻧﻮﻉ ﺟﻨﻮﻥ ﺯﺩﮔﻰ ﺩﺭ‬ ‫ﺻﺪﺍﻳﺶ ﻛﻪ ﺧﺐ ﻓﻜﺮ ﻣﻰﻛﻨﻢ ﭘﻴﺪﺍ ﻛﺮﺩ‪.‬ﺍﻳﻨﺠﺎ ﻫﻢ‬ ‫ﻫﻤﻴﻨﻄﻮﺭ ﺁﻏﺎ ﻣﺤﻤﺪ ﺧﺎﻥ ﺿﻤﻦ ﺍﻳﻨﻜﻪ ﺧﻴﻠﻰ ﭘﺮﺳﻮﻧﺎژ‬ ‫ﻗﺪﺭﺗﻤﻨﺪﻯ ﺍﺳﺖ ﻭ ﺍﺑﻌﺎﺩ ﻋﺠﻴﺐ ﻏﺮﻳﺒﻰ ﺩﺍﺭﺩ ﺩﺭ ﺿﻤﻦ‬ ‫ﺍﺧﺘﻪ ﻫﻢ ﻫﺴﺖ ﺑﻪ ﻫﻤﻴﻦ ﺩﻟﻴﻞ ﺍﻳﻦ ﻭﺿﻌﻴﺖ ﺑﺎﻳﺪ ﺑﺮ‬ ‫ﺭﻭﻯ ﺻﺪﺍﻳﺶ ﺗﺎﺛﻴﺮ ﺑﮕﺬﺍﺭﺩ ﺧﺐ ﺣﺮﻑ ﺯﺩﻧﺶ ﺭﺍ ﺑﺎﻳﺪ‬ ‫ﺑﻪ ﺟﺎﻳﻰ ﻣﻰﺑﺮﺩﻡ ﻛﻪ ﺑﺎ ﺍﻧﺘﻈﺎﺭﻯ ﻛﻪ ﺍﺯ ﺍﻳﻦ ﭘﺮﺳﻮﻧﺎژ‬ ‫ﻛﻪ ﭼﻪ ﺻﺪﺍﻳﻰ ﻣﻤﻜﻦ ﺍﺳﺖ ﺍﺯ ﺍﻭ ﺑﻴﺮﻭﻥ ﺑﻴﺎﻳﺪ ﺑﻪ‬ ‫ﺁﻥ ﺑﺮﺳﻢ ﻭﻟﻰ ﺻﺪﺍﺳﺎﺯﻯﻳﻌﻨﻰ ﻛﺎﻣﻼ ﺭﻓﺘﻦ ﺑﻪ ﺳﻤﺖ‬ ‫ﺻﺪﺍﻳﻰ ﻋﺠﻴﺐ ﻏﺮﻳﺐ ﻛﻪ ﺍﮔﺮ ﻣﻦﻳﻚ ﻭﻗﺘﻰ ﺍﻳﻦ ﻛﺎﺭ‬ ‫ﺭﺍ ﻛﺮﺩﻩﺍﻡ ﻓﻜﺮ ﻣﻰﻛﻨﻢ ﺍﺷﺘﺒﺎﻩ ﺑﻮﺩﻩ ﺍﺳﺖ‪.‬ﻳﻌﻨﻰ ﺑﺎﻳﺪ‬ ‫ﺑﺮ ﺭﻭﻯ ﺧﻮﺩ ﺻﺪﺍ ﻛﺎﺭ ﻛﺮﺩ‪ ،‬ﺍﻣﻜﺎﻧﺎﺕ ﺻﺪﺍﻳﻰ ﺧﻮﺩﺕ‬ ‫ﺭﺍ ﺩﺭ ﻭﺿﻌﻴﺖﻫﺎﻯ ﺩﻳﮕﺮ ﻗﺮﺍﺭ ﺩﻫﻰ‪.‬ﮔﺎﻫﻰ ﺍﻳﻦ ﺻﺪﺍ‬

‫ﺑﻪ ﭘﻴﺮﺍﻣﻮﻥ ﺧﻮﺩﺵ‪.‬ﻳﻌﻨﻰ ﺩﺭ ﺩﺭﻭﻥ ﺧﻮﺩﺕ‬ ‫ﭼﻴﺰﻫﺎﻳﻰ ﺭﺍ ﺗﺠﺮﺑﻪ ﻣﻰﻛﻨﻰ ﻛﻪ ﻣﺎﻝ ﺧﻮﺩﺕ‬ ‫ﺍﺳﺖ ﺩﺭﻳﭽﻪﻫﺎﻳﻰ ﺭﺍ ﺑﺮﺍﻳﺖ ﺑﺎﺯ ﻣﻰﻛﻨﺪ ﻛﻪ ﺗﻮ‬ ‫ﺭﺍ ﻧﺴﺒﺖ ﺑﻪ ﺧﻮﺩﺕ ﻭ ﻣﺤﻴﻂ ﺍﻃﺮﺍﻓﺖ ﺁﮔﺎﻩ‬ ‫ﻣﻰﺳﺎﺯﺩ‪.‬ﻳﻚ ﺟﻮﺭ ﺧﻮﺭﺍﻙ ﻭ ﺍﻧﺮژﻯ ﻭ ﻧﮕﺎﻩ ﺑﻪ‬ ‫ﺗﻮ ﻣﻰﺩﻫﺪ‪.‬ﺍﻳﻦ ﺗﺼﻮﻳﺮﻯ ﻛﻪ ﺑﺮﺧﻰ ﺑﺎﺯﻳﮕﺮﺍﻥ‬ ‫ﻣﻰﺳﺎﺯﻧﺪ ﻭ ﻣﻰﮔﻮﻳﻨﺪ ﺗﺒﺪﻳﻞ ﺑﻪ ﺁﻥ ﻛﺎﺭﺍﻛﺘﺮ‬ ‫ﺷﺪﻧﺪ ﻏﻠﻂ ﺍﺳﺖ ﻭ ﺑﺎ ﺑﺎﺯﻯ ﻭ ﺑﺎﺯﻳﮕﺮﻯ ﻣﻨﺎﻓﺎﺕ‬ ‫ﺩﺍﺭﺩ ﭼﻮﻥ ﺍﺻﻼ ﺍﻣﻜﺎﻥ ﻧﺪﺍﺭﺩ ﻣﻦ ﺍﻭ ﺷﺪﻩ ﺑﺎﺷﻢ‬ ‫ﺍﻣﺎ ﺑﺎ ﺍﻭ ﻗﺪﻡ ﺯﺩﻥ ﻭ ﺩﺭ ﺭﺍﺑﻄﻪ ﺑﺎ ﺍﻭ ﺭﻭﺍﻳﺖﻫﺎﻯ‬ ‫ﺧﻮﺩﻡ ﺭﺍ ﻭﻗﺘﻰ ﺑﺮ ﺭﻭﻯ ﺻﺤﻨﻪ ﭘﻴﺶ ﻣﻰﺑﺮﻡ‬ ‫ﺑﻴﺸﺘﺮ ﺁﺩﻡ ﺭﺍ ﺩﺭ ﻛﻮﺭﻩ ﺍﻯ ﻣﻰﺍﻧﺪﺍﺯﺩ ﻛﻪ ﺑﺎﺯ ﺑﺎﻳﺪ‬ ‫ﺑﻴﺸﺘﺮ ﺗﺠﺮﺑﻪ ﻛﻨﺪ ﻭ ﺑﻴﺸﺘﺮ ﺭﻭﺣﺶ ﺭﺍ ﭘﻴﭽﻴﺪﻩ‬

‫ﻣﺘﻦ ﺑﺴﺘﺮ ﻛﺎﺭ ﺑﺎﺯﻳﮕﺮ ﺍﺳﺖ ﻭ ﺑﺴﻴﺎﺭ ﺍﻫﻤﻴﺖ ﺩﺍﺭﺩ ﺯﻳﺮﺍ‬ ‫ﻳﻚ ﮔﺮﻭﻩ ﺗﺌﺎﺗﺮﻯ ﺗﺼﻤﻴﻢ ﻣﻰﮔﻴﺮﺩ ﺑﺮ ﺭﻭﻯ ﻣﺘﻨﻰ ﻛﺎﺭ‬ ‫ﻛﻨﺪ ﻭ ﻛﻴﻔﻴﺖ ﺩﻳﮕﺮﻯ ﺍﺯ ﻣﺘﻦ ﺍﺭﺍﺋﻪ ﺩﻫﺪﻳﻌﻨﻰ ﻣﺎﺑﻪﺍﺯﺍﻯ‬ ‫ﺗﺼﻮﻳﺮﻯ ﻭ ﻧﻤﺎﻳﺸﻰ ﺁﻥ ﺭﺍ ﺑﺮ ﺭﻭﻯ ﺻﺤﻨﻪ ﺧﻠﻖ ﻛﻨﺪ‪.‬‬ ‫ﻣﻬﻢ ﺍﺳﺖ ﺯﻳﺮﺍ ﺑﺎﺯﻳﮕﺮ ﺑﺎﻳﺪ ﺑﺘﻮﺍﻧﺪ ﻇﺮﻓﻴﺖﻫﺎﻯ ﺧﻮﺑﻰ‬ ‫ﺍﺯ ﺧﻮﺩﺵ ﺑﺮ ﺍﺳﺎﺱ ﺁﻥ ﺍﺭﺍﺋﻪ ﺩﻫﺪ‪.‬‬

‫ﺑﺎﻳﺪ ﻛﻨﺪ ﺷﻮﺩ‪ ،‬ﺗﺮﻙ ﺑﺨﻮﺭﺩ‪ ،‬ﻏﺒﺎﺭﻯ ﺑﺮ ﺭﻭﻯ ﺻﺪﺍ‬ ‫ﻗﺮﺍﺭ ﮔﻴﺮﺩ ﻭ ﮔﺮﻓﺘﮕﻰ ﺩﺍﺷﺘﻪ ﺑﺎﺷﺪ ﻛﻪ ﺷﺎﻳﺪ ﺍﻳﻦ ﺗﺼﻮﺭ‬ ‫ﭘﻴﺶ ﺑﻴﺎﻳﺪ ﻛﻪ ﺻﺪﺍﺳﺎﺯﻯ ﻛﺮﺩﻯ ﺩﺭ ﺻﻮﺭﺗﻰ ﻛﻪ ﻛﻨﺎﺭ‬ ‫ﺁﻣﺪﻥ ﺑﺎ ﺻﺪﺍﺳﺎﺯﻯ ﺳﺨﺖ ﺍﺳﺖ ﺯﻳﺮﺍ ﺩﺭ ﺁﻥ ﺩﻭﺯ ﺧﻴﻠﻰ‬ ‫ﺣﺲﻫﺎ ﻣﺜﻞ ﻋﻮﺍﻃﻒ ﭘﺎﻳﻴﻦ ﻣﻰﺁﻳﺪ ﻭ ﺩﺍﻣﻨﻪﻯ ﺭﻓﺘﺎﺭﻯ‬ ‫ﺻﺪﺍ ﻏﻴﺮ ﻗﺎﺑﻞ ﻛﻨﺘﺮﻝ ﻣﻰﺷﻮﺩ ﻭ ﺻﺪﺍ ﺑﺮ ﺗﻮ ﺳﻮﺍﺭ‬ ‫ﻣﻰﺷﻮﺩ‪ ،‬ﺑﻪ ﻧﻮﻋﻰ ﺑﻪﻳﻜﻰ ﺍﺯ ﻓﺎﻛﺘﻮﺭﻫﺎﻯ ﻋﺪﻡ ﺍﺭﺗﺒﺎﻁ‬ ‫ﺗﺒﺪﻳﻞ ﻣﻰﺷﻮﺩ‪.‬‬

‫ﻛﻨﺪ ﻭﺳﻌﺖ ﺑﺒﺨﺸﺪ‪.‬‬

‫ﭼﻘﺪﺭ ﺍﺯ ﻣﻮﻓﻘﻴﺖ ﺑﺎﺯﻳﮕﺮ ﻣﺪﻳﻮﻥ ﻣﺘﻦ ﺍﺳﺖ؟‬

‫ﻋﻜﺲ‪ :‬ﻋﻠﻰ ﺣﺪﺍﺩﻯ ﺍﺻﻞ‬ ‫ﻣﻰﺗﻮﺍﻧﺪ ﺁﻧﺎﻟﻴﺰ ﻛﻨﺪ ﻭ ﻛﻴﻔﻴﺖﻫﺎ ﻭ ﺿﻌﻒﻫﺎﻳﺶ‬ ‫ﺭﺍ ﺑﻴﺎﻥ ﻛﻨﺪ ﺍﻣﺎ ﺧﺐ ﺧﻮﺷﺤﺎﻟﻢ ﺍﮔﺮ ﺍﻳﻨﺠﻮﺭﻳﺴﺖ‪.‬‬ ‫ﮔﺎﻫﻰ ﻫﺴﺖ ﻛﻪ ﺷﻨﻴﺪﻡ ﻳﻚ ﺑﺎﺯﻳﮕﺮ ﺣﺘﻰ ﻭﻗﺘﻰ‬ ‫ﺑﺮ ﺭﻭﻯ ﺻﺤﻨﻪ ﻣﻰﺍﻳﺴﺘﺪ ﺣﻀﻮﺭﺵ ﺭﺍ ﺍﻋﻼﻡ‬ ‫ﻣﻰﻛﻨﺪ ﻧﻪ ﺑﻪ ﺍﻳﻦ ﻋﻨﻮﺍﻥ ﻛﻪ ﺍﻭ ﺗﻼﺵ ﻣﻰﻛﻨﺪ‬ ‫ﺑﺮﺍﻯ ﺍﻳﻨﻜﻪ ﺩﻳﺪﻩ ﺷﻮﺩ ﺍﺳﺎﺳﺎ ﻧﻮﻉ ﺍﻧﺮژﻯﺍﺵ ﺍﻳﻦ‬ ‫ﮔﻮﻧﻪ ﺍﺳﺖ‪،‬ﻳﻌﻨﻰ ﻣﺨﺎﻃﺐ ﺭﺍ ﺟﺬﺏ ﻣﻰﻛﻨﺪ‪.‬‬ ‫ﺩﺭ ﻛﺎﺭﺍﻛﺘﺮﻫﺎﻯ ﺷﻤﺎ ﻫﻤﻴﺸﻪ ﻳﻚ ﻻﻳﻪﺍﻯ ﺍﺯ‬ ‫ﻛﻤﺪﻯ ﻭﺟﻮﺩ ﺩﺍﺭﺩ ﻛﻪ ﺟﺬﺍﺑﻴﺖ ﻣﻰﺑﺨﺸﺪ‪.‬‬ ‫ﺍﻳﻦ ﻛﻤﺪﻯ ﺍﺯ ﻛﺠﺎ ﻣﻰﺁﻳﺪ ﻭ ﺍﺳﺎﺳﺎ ﭼﺮﺍ‬ ‫ﺧﻠﻖ ﻣﻰﺷﻮﺩ؟‬

‫ﺍﻳﻨﻜﻪ ﺍﺯ ﻛﺠﺎ ﻧﺸﺎﺕ ﻣﻰﮔﻴﺮﺩ ﻳﻚ ﺑﺨﺸﺶ‬ ‫ﺁﮔﺎﻫﺎﻧﻪ ﻧﻴﺴﺖ‪.‬ﺑﺨﺸﻰ ﺍﺯ ﺁﻥ ﺑﻪ ﺧﺼﻠﺖ ﺑﺎﺯﻯ‬ ‫ﻳﻚ ﺑﺎﺯﻳﮕﺮ ﻣﺮﺑﻮﻁ ﻣﻰﺷﻮﺩ‪،‬ﺍﻣﺎ ﻣﻦ ﺑﻪ ﻭﺍﺳﻄﻪ‬ ‫ﺍﻳﻨﻜﻪ ﺗﺠﺮﺑﻪ ﻳﻚ ﻣﺪﺕ ﻛﺎﺭ ﺩﺭ ﻛﺎﺭﻫﺎﻳﻰ‪،‬ﻛﻪ‬ ‫ﻣﻮﻗﻌﻴﺖﻫﺎﻯ ﻛﻤﻴﻚ ﺩﺍﺷﺘﻪ ﺭﺍ ﺩﺍﺷﺘﻪﺍﻡ ﻛﻤﻰ‬ ‫ﻣﺘﻮﺟﻪ ﺷﺪﻡ ﻛﻤﺪﻯ ﭼﻪ ﺭﻭﺣﻴﻪﺍﻯ ﺩﺍﺭﺩ‪.‬ﻳﻚ‬ ‫ﺑﺨﺸﻰ ﺍﺯ ﺁﻥ ﻫﻢ ﺧﺼﻠﺖ ﺑﺎﺯﻯ ﺍﺳﺖ ﻳﺎ ﺍﺯ‬ ‫ﺁﻥ ﻣﺘﺮﻳﺎﻟﻰ ﻛﻪ ﺑﺮﺍﻯ ﺑﺎﺯﻯ ﺩﺍﺭﻡ ﺧﻮﺩ ﺑﻪ ﺧﻮﺩ‬

‫ﻛﻤﻰ ﺩﺭ ﻣﻮﺭﺩ ﺻﺪﺍ ﺳﺎﺯﻯﻫﺎﻳﺘﺎﻥ ﺻﺤﺒﺖ‬ ‫ﻣﻰﻛﻨﻴﺪ؟‬

‫ﻣﺜﻼ ﺩﻭ ﺑﺎﺭ ﺑﻪ ﺻﻮﺭﺕ ﻣﺸﺨﺺ ﺍﻳﻦ ﻛﺎﺭ ﺭﺍ ﻛﺮﺩﻩ‬ ‫ﺍﻡ‪.‬ﻳﻜﻰ ﺩﺭ ﻫﻤﻴﻦ ﺷﻜﺎﺭ ﺭﻭﺑﺎﻩ ﻭ ﻳﻜﻰ ﺩﺭ ﻧﻤﺎﻳﺶ‬ ‫ﺁﻧﺘﻴﮕﻮﻧﻪ ﺩﺭ ﻧﻴﻮﻳﻮﺭﻙ ﻛﻪ ﺩﺭ ﺁﻥ ﻧﻘﺶ ﭘﺮﺳﻮﻧﺎژﻯ‬ ‫ﺍﻟﻜﻠﻰ ﻭ ﻛﺎﺭﺗﻮﻥ ﺧﻮﺍﺏ ﺭﺍ ﺑﺎﺯﻯ ﻣﻰﻛﺮﺩﻡ ‪،‬ﻳﻚ ﺁﺩﻡ‬ ‫ﻛﺎﻣﻼ ﺍﺯ ﺟﺎﻣﻌﻪ ﻃﺮﺩ ﺷﺪﻩﻯ ﻣﻌﺘﺎﺩ ﻛﺎﺭﺗﻦ ﺧﻮﺍﺏ ﺩﺭ‬ ‫ﻧﻴﻮﻳﻮﺭﻙ ﺑﺒﻴﻦ ﺣﺮﻑ ﺯﺩﻥ ﺍﻭﻥ ﻗﻄﻌﺎ ﺣﺮﻑ ﺯﺩﻥ‬ ‫ﻣﻌﻤﻮﻟﻰ ﻭ ﺍﻳﻦ ﺷﻜﻠﻰ ﻛﻪ ﻣﺎ ﺣﺮﻑ ﻣﻰﺯﻧﻴﻢ ﻧﻴﺴﺖ‪.‬‬ ‫ﻣﻦ ﻧﻤﻰﮔﻮﻳﻢ ﺻﺪﺍ ﺳﺎﺯﻯ ﻣﻦ ﻣﻰﮔﻮﻳﻢ ﻧﻮﻉ ﺣﺮﻑ‬ ‫ﺯﺩﻧﺶ ﻭ ﺑﺎﻓﺘﻰ ﻛﻪ ﺍﻳﻦ ﺣﺮﻑ ﺯﺩﻥ ﭘﻴﺪﺍ ﻣﻰﻛﻨﺪ‪،‬ﺩﺭ‬ ‫ﺁﻧﺠﺎ ﺩﻳﺪﻡ ﺍﻳﻦ ﺻﺪﺍ ﺑﺎﻳﺪ ﺑﺮﻳﺪﻩ ﺑﺮﻳﺪﻩ‪ ،‬ﭘﺮﺗﺮﻙ ﻭ‬ ‫ﻧﺎﻣﻔﻬﻮﻡ ﻭ ﮔﺎﻫﻰ ﺍﻧﮕﺎﺭﺣﺮﻓﻰ ﺑﺎ ﺧﻮﺩﺵ ﻣﻴﺰﻧﺪ ﺍﻣﺎ‬

‫ﺩﺭ ﺗﺌﺎﺗﺮ ﻫﺮ ﺷﺐﻳﻚ ﻛﺎﺭﺍﻛﺘﺮ ﺑﺎﻳﺪ ﺑﻮﺟﻮﺩ ﺑﻴﺎﻳﺪ‪،‬‬ ‫ﺩﺭﮔﻴﺮ ﺷﻮﺩ‪ ،‬ﺭﻫﺎ ﺷﻮﺩ‪ ،‬ﺑﻪ ﺍﻭﺝ ﻭ ﺩﺭ ﺍﻧﺘﻬﺎ ﺑﻪ ﻓﺮﻭﺩ‬ ‫ﺑﺮﺳﺪ‪.‬ﻣﺜﻼ ﻫﺮ ﺷﺐ ﺑﺎﻳﺪ ﺁﻏﺎ ﻣﺤﻤﺪ ﺧﺎﻥ ﺩﺭ ﺷﻤﺎ‬ ‫ﺑﻮﺟﻮﺩ ﺑﻴﺎﻳﺪ ﻭ ﺗﻤﺎﻡ ﺷﻮﺩ‪.‬ﮔﺎﻫﻰ ﺍﺯ ﺑﺎﺯﻳﮕﺮﺍﻥ‬ ‫ﺗﺎﺛﻴﺮ ﻧﻘﺸﻰ ﺭﺍ ﻛﻪ ﺑﺎﺯﻯ ﻛﺮﺩﻩ ﺍﻧﺪ ﺩﺭ ﺯﻧﺪﮔﻴﺸﺎﻥ‬ ‫ﺷﻨﻴﺪﻳﻢ‪.‬ﺍﻳﻦ ﺗﺎﺛﻴﺮ ﮔﺬﺍﺭﻯ ﺣﻘﻴﻘﺖ ﺩﺍﺭﺩ؟‬

‫ﻣﻦ ﻧﻤﻰﭘﺬﻳﺮﻡ ﺑﺎﺯﻳﮕﺮ ﻭﻗﺘﻰﻳﻚ ﻧﻘﺶ ﺭﺍ ﺑﺎﺯﻯ‬ ‫ﻣﻰﻛﻨﺪ ﺑﺮ ﺭﻭﻯ ﺭﻭﺍﻥ ﺁﻥ ﺑﺎﺯﻳﮕﺮ ﺗﺎﺛﻴﺮ ﻣﻰﮔﺬﺍﺭﺩ ﻳﺎ‬ ‫ﺧﻠﻖ ﻭ ﺧﻮﻯﺍﺵ‪ .‬ﺑﻪ ﻧﻈﺮﻣﻦ ﻭﻗﺘﻰ ﺑﺎﺯﻳﮕﺮ ﻗﺎﻋﺪﻩ‬ ‫ﺭﺍ ﺑﺸﻨﺎﺳﺪ ﻭ ﺑﮕﻮﻳﺪ ﻣﻦ ﻳﻚ ﺑﺎﺯﻳﮕﺮﻡ ﻭ ﺍﻳﻦ ﻧﻘﺸﻰ‬ ‫ﺍﺳﺖ ﻛﻪ ﺍﻳﻔﺎ ﻣﻰﻛﻨﻢ ﺩﻳﮕﺮ ﺍﻳﻦ ﻣﻮﺿﻮﻉﻫﺎ ﭘﻴﺶ‬ ‫ﻧﻤﻰﺁﻳﺪ ﺁﻧﭽﻪ ﻣﻬﻢ ﺍﺳﺖ ﻋﻤﻴﻖﺗﺮ ﻛﺮﺩﻥ ﺁﺩﻡ ﻧﺴﺒﺖ‬

‫ﺑﺮﺍﻯ ﻛﺎﺭﺍﻛﺘﺮﻫﺎﻳﻰ ﻛﻪ ﺭﻭﺯﻯ ﻧﻘﺸﺸﺎﻥ ﺭﺍ‬ ‫ﺍﻳﻔﺎ ﻛﺮﺩﻳﺪ ﺩﻟﺘﻨﮓ ﻣﻰﺷﻮﻳﺪ؟‬

‫ﻣﻦ ﺁﺩﻡ ﻭﺍﻗﻊ ﺑﻴﻨﻰﺍﻡ‪ ،‬ﻣﻰﭘﺬﻳﺮﻡ ﻭ ﻣﻰﺩﺍﻧﻢ‬ ‫ﻧﻤﺎﻳﺶﻳﻚ ﺭﻭﺯ ﺷﺮﻭﻉ ﻭ ﺭﻭﺯ ﺩﻳﮕﺮ ﭘﺎﻳﺎﻥ‬ ‫ﻣﻰﭘﺬﻳﺮﺩ ﻭ ﺁﻧﭽﻪ ﻣﻬﻢ ﺍﺳﺖ ﺍﻳﻦ ﻓﺎﺻﻠﻪﻯ ﺑﻴﻦ‬ ‫ﺍﺳﺖ‪،‬ﺍﮔﺮ ﺍﺗﻔﺎﻗﻰ ﺑﻮﺩﻩ ﺑﺎﺷﺪ ﺍﻳﻦ ﺗﻤﺎﻡ ﺷﺪﻥ‬ ‫ﺟﺎﻯ ﺍﻧﻌﻄﺎﻑ ﺩﺍﺭﺩﻳﻌﻨﻰ ﺗﻤﺎﻡ ﺷﺪﻧﻰ ﺩﺭ ﻛﺎﺭ‬ ‫ﻧﻴﺴﺖ ﻭ ﺩﺭ ﻓﻀﺎﻯ ﺫﻫﻨﻰ ﻣﺨﺎﻃﺒﺎﻧﺶ ﺣﻀﻮﺭ‬ ‫ﺩﺍﺭﺩ‪،‬ﻧﻤﻰﻣﻴﺮﺩ‪،‬ﻣﻰﻣﺎﻧﺪ ﻭﻣﺎﻧﺪﮔﺎﺭﻣﻰﺷﻮﺩ‪ .‬ﺑﺮﺍﻯ‬ ‫ﻣﻦ ﻫﻢ‪ ...‬ﺁﺭﻩ‪ ...‬ﺷﺎﻳﺪ ﺁﺩﻡ ﻣﻰﮔﻪ ﺗﻤﺎﻡ ﺷﺪ؛‬ ‫ﺯﺣﻤﺖ ﺗﻤﺮﻳﻦﻫﺎ ﻭ ﺑﺎﻻﭘﺮﻳﺪﻥﻫﺎ ﺗﻤﺎﻡ ﺷﺪ!‬ ‫ﺍﻣﺎ ﺧﻮﺷﺒﻴﻨﺎﻧﻪ ﺑﺎﻳﺪ ﺩﻳﺪ ﻧﻤﺎﻳﺶ ﺑﻪ ﺭﻏﻢ ﺍﻳﻨﻜﻪ‬ ‫ﻣﻰﮔﻮﻳﻨﺪ ﻣﺎﻧﺪﮔﺎﺭﻯ ﺗﺼﻮﻳﺮ ﺭﺍ ﻧﺪﺍﺭﺩ ﺑﻪ ﻧﻈﺮﻡ‬ ‫ﺩﺍﺭﺩ ﻭ ﺍﻧﺪﻙ ﻣﺨﺎﻃﺒﻰ ﺭﺍ ﻛﻪ ﺑﺎ ﺧﻮﺩﺵ ﻫﻤﺮﺍﻩ‬ ‫ﺩﺍﺭﺩ ﺭﺍ ﺑﺴﻴﺎﺭ ﮔﺮﻓﺘﺎﺭ ﻣﻰﻛﻨﺪ‪ .‬ﺑﺎﻻﺧﺮﻩ ﺗﺎﺭ ﻭ‬ ‫ﭘﻮﺩﻯ ﺍﺯ ﺭﻭﺣﺶ ﺩﺭ ﺍﻧﺴﺎﻥ ﺟﺎ ﻣﻰﮔﺬﺍﺭﺩ‪ .‬ﺍﺯ‬ ‫ﻭﺟﻮﺩ ﺧﻮﺩﺵ ﻛﻪ ﺁﻥ ﺧﻴﻠﻰ ﻧﺎﭘﻴﺪﺍ ﻭ ﻧﺎﻣﺮﺋﻰ‬ ‫ﺍﺳﺖ‪.‬ﻛﺎﺭ ﺳﺨﺘﻴﻪ ﺑﺎﺯﻳﮕﺮﻯ!‬

‫ﻧﻘﺪ‬ ‫"ﻳﻚ ﻓﺮﻫﻨﮓ ﻫﻤﺎﻥ ﻗﺪﺭ ﺩﺭ ﺁﻥ ﭼﻪ ﻣﻰﺧﻮﺍﻧﺪ‪،‬‬ ‫ﻣﺘﺠﻠﻲ ﺳﺖ‪ ،‬ﻛﻪ ﺩﺭ ﺁﻥ ﭼﻪ ﻣﻰﻧﻮﻳﺴﺪ" ژﺍﺭ ژﻧﺖ ‪1‬‬

‫ﻣﺮﺩﻱ ﻛﻪ ﮔﻮﺭﺵ ﮔﻢ ﺷﺪ ‪،‬ﻛﺎﺭ ﺣﺎﻓﻆ ﺧﻴﺎﻭﻱ ؛ﻣﺠﻤﻮﻋﻪﺍﻱ ﺍﺳﺖ‬ ‫ﺑﺎ ﻫﻔﺖ ﺩﺍﺳﺘﺎﻥ ﻛﻪ ﺗﻮﺳﻂ ﻧﺸﺮ ﭼﺸﻤﻪ ﺩﺭ ﺯﻣﺴﺘﺎﻥ ‪ 86‬ﺑﻪ ﭼﺎپ‬ ‫ﺭﺳﻴﺪ‪ ،‬ﺑﺮﻧﺪﻩ ﺗﻨﺪﻳﺲ ﺑﻬﺘﺮﻳﻦ ﻣﺠﻤﻮﻋﻪ ﺍﺯﺩﻭﻣﻴﻦ ﺩﻭﺭﻩﻯ ﺟﺎﻳﺰﻩﻯ‬ ‫ﺍﺩﺑﻲ ﺭﻭﺯﻱ ﺭﻭﺯﮔﺎﺭﻱ ﺷﺪ؛ﻭﺩﺭﺑﻬﺎﺭ ‪ 87‬ﺑﻪ ﭼﺎپ ﻣﺠﺪﺩ ﺩﺳﺖﻳﺎﻓﺖ‪.‬‬ ‫ﺩﻳﺪﮔﺎﻩ ﺷﺶ ﺩﺍﺳﺘﺎﻥ ﻣﻦ ﺭﺍﻭﻱ)ﻛﻮﺩﻙ‪.‬ﺟﻮﺍﻥ( ﺍﺳﺖ ﻭ ﺩﺍﺳﺘﺎﻥ ﺁﺧﺮ‬ ‫ﺑﺎ ﺯﺍﻭﻳﻪ ﺩﻳﺪ ﺩﺍﻧﺎﻱ ﻛﻞ ﺭﻭﺍﻳﺖ ﺷﺪﻩ‪.‬‬ ‫ﺳﻨﺖ ﺭﻭﺍﻳﺖ ﺑﺮ ﺍﺻﻞ ﮔﻔﺘﺎﺭ ﻣﺤﻮﺭﻱ ﻭ ﺭﻋﺎﻳﺖ ﺧﻂ ﺗﻮﺍﻟﻲ ﺯﻣﺎﻥ‬ ‫ﺍﺳﺘﻮﺍﺭ ﺍﺳﺖ ﻭ ﻛﺎﻧﻮﻥ ﺭﻭﺍﻳﺖ ﺩﺍﺳﺘﺎﻧﻬﺎ ﺩﺭﻭﻧﻲ ﺳﺖ‪.‬ﺭﺍﻭﻳﺎﻥ ﻛﻮﺩﻙﻳﺎ‬ ‫ﺟﻮﺍﻧﻲ ﻛﻪ ﺍﺯ ﺟﻬﺎﻥ ﺍﻃﺮﺍﻑ ﺧﻮﺩ‪،‬ﺳﻨﺖﻫﺎﻭﺭﺍﺯﻫﺎﻱ ﻋﺎﺷﻘﺎﻧﻪ ﺷﺎﻥ‬ ‫ﭘﺮﺩﻩ ﺑﺮﻣﻰﺩﺍﺭﻧﺪ‪.‬‬ ‫ﺍﺛﺮ ﺍﺯ ﺟﻨﺒﻪﻯ ﻣﻄﺎﻟﻌﺎﺕ ﻓﺮﻫﻨﮕﻲ ﻧﻴﺰ ﻗﺎﺑﻞ ﺍﺭﺯﺵ ﺍﺳﺖ‪ .‬ﻫﻤﺎﻧﮕﻮﻧﻪ‬ ‫ﻛﻪ ژﻧﺖ ﻧﻴﺰ ﺍﻋﺘﻘﺎﺩ ﺩﺍﺭﺩ"ﻫﺮ ﻣﺘﻦ ﺍﺩﺑﻲ ﻳﻚ ﺩﻻﻟﺖ ﻓﺮﻫﻨﮕﻲ‬ ‫ﻣﺤﺴﻮﺏ ﻣﻰﺷﻮﺩ" ﻣﻰﺗﻮﺍﻥ ﮔﻔﺖ ﺧﻴﺎﻭﻱ ﺑﺎﺑﻴﺎﻥ ﺳﻨﺖﻫﺎ‪،‬ﺁﺩﺍﺏ‬ ‫ﻭ ﺭﺳﻮﻡ‪،‬ﺧﺮﺍﻓﺎﺕ ﻭ ﺍﻋﺘﻘﺎﺩﺍﺕ ﻗﻮﻣﻲ‪،‬ﻣﺎ ﺭﺍ ﺑﻪ ﺷﻨﺎﺧﺖ ﻓﺮﻫﻨﮓ‬ ‫ﺁﻥ ﻗﻮﻡ ﻣﻰﺭﺳﺎﻧﺪ‪.‬ﺍﺯ ﻋﻨﺎﺻﺮ ﺗﻜﺮﺍﺭ ﺷﻮﻧﺪﻩ ﻭ ﺍﻗﻠﻴﻤﻰﻣﻰﺗﻮﺍﻥ ﺑﻪ‬ ‫ﺑﺎﻍ ﺳﻴﺪﻱ ﺍﺷﺎﺭﻩ ﻛﺮﺩ ﻛﻪ ﺩﺭ ﺳﻪ ﺩﺍﺳﺘﺎﻥ ﻧﻤﻮﺩ ﻣﻰﻳﺎﺑﺪ)ﺑﺎﻏﻲ ﻛﻪ‬ ‫ﻣﺤﻞ ﻻﺕ ﻭ ﻟﻮﺕﻫﺎ ﻭﺗﺠﺎﻭﺯ ﺑﻪ ﭘﺴﺮﺍﻥ ﻭ ﻛﻮﺩﻛﺎﻥ ﺍﺳﺖ‪(.‬ﻭﻳﺎ ﻭﺟﻮﺩ‬ ‫ﺍﻓﺮﺍﺩﻱ ﭼﻮﻥ ﻧﺰﺍﻛﺖ )ﺯﻥ ﺑﺪﻛﺎﺭﻩ(ﻛﻪ ﺩﺭ ﺩﻭ ﺩﺍﺳﺘﺎﻥ ﺗﻜﺮﺍﺭ ﻣﻰﺷﻮﺩ‪.‬‬ ‫ﻫﻤﭽﻨﻴﻦ ﻣﻰﺗﻮﺍﻥ ﺑﻪ ﺍﺳﺎﻣﻰﺧﺎﺹ ﻭ ﺑﻮﻣﻰﻭ ﺍﻗﻠﻴﻤﻰﺍﺷﺎﺭﻩ ﻛﺮﺩ ﺑﻪ‬ ‫ﻣﻼ ﺟﻴﺮﺍﻥ‪ ،‬ﻣﻼ ﺣﺴﻦ‪،‬ﻣﺸﻬﺪﻱ ﺻﺮﺍﺣﻲ‪،‬ﻳﻮﺳﻒ ﺗﻌﺰﻳﻪ ﺧﻮﺍﻥ ﻭ‬ ‫ﺭﻋﻨﺎﻳﻲ ﻛﻪ ﺧﻮﺍﻫﺮ ﺭﺍﻭﻱﺳﺖ ﻭ ﺩﺭ ﺳﻪ ﺩﺍﺳﺘﺎﻥ ﺣﻀﻮﺭ ﺩﺍﺭﺩ‪ .‬ﺧﺎﺹ‬ ‫ﺷﺪﻥ ﺍﻓﺮﺍﺩ ﻭ ﺭﻧﮓ ﻭ ﺑﻮﻱ ﺑﻮﻣﻰﺩﺍﺳﺘﺎﻥﻫﺎ ﻛﻪ ﻣﺨﺘﺼﺎﺕ ﺧﺎﺹ‬ ‫ﺧﻮﺩ ﺭﺍ ﺩﺍﺭﺩ‪،‬ﻧﺸﺎﻧﮕﺮ ﺑﻌﺪ ﻓﺮﻫﻨﮕﻲ ﺧﺎﺹ ﺍﺛﺮ ﺍﺳﺖ‪.‬ﻫﻤﺎﻥ ﮔﻔﺘﻪ ﺍﻱ‬ ‫ﻛﻪ ژﻧﺖ ﻧﻴﺰ ﺑﻪ ﺍﻥ ﺍﺷﺎﺭﻩ ﺩﺍﺭﺩ"ﺍﺯ ﻧﺤﻮﻩ ﺧﻮﺍﻧﺪﻥﻳﻚ ﻣﺘﻦ ﺧﺎﺹ‬ ‫ﺗﻮﺳﻂﻳﻚ ﻓﺮﻫﻨﮓ ﺧﺎﺹ ‪،‬ﻣﻰﺗﻮﺍﻥﻳﻪ ﭼﻴﺰﻱ ﺑﻴﺶ ﺍﺯ ﺍﺩﺑﻴﺎﺕ ﺍﻥ‬ ‫ﻓﺮﻫﻨﮓ ﺍﺳﺘﻨﺒﺎﻁ ﻛﺮﺩ"‪2‬‬ ‫ﺍﺯ ﺑﻦ ﻣﺎﻳﻪﻫﺎﻱ ﺗﻜﺮﺍﺭ ﺷﻮﻧﺪﻩ ﻭ ﻣﻬﻢ ﺩﺍﺳﺘﺎﻧﻬﺎ ﻣﻰﺗﻮﺍﻥ ﺑﻪ ﺟﻠﻮﻩ‬ ‫ﻣﺮگ ﺩﺭ ﭼﻬﺎﺭ ﺩﺍﺳﺘﺎﻥ ﺁﺧﺮ ﺍﺷﺎﺭﻩ ﺩﺍﺷﺖ‪ .‬ﻣﺮﮔﻲ ﻛﻪ ﺩﺭ ﺳﻪ ﺩﺍﺳﺘﺎﻥ‬ ‫ﭘﺎﻳﺎﻥ ﺁﻥ ﺭﺍ ﺷﻜﻞ ﻣﻰﺩﻫﺪ)ﻣﺮﺩﻱ ﻛﻪ ﮔﻮﺭﺵ ﮔﻢ ﺷﺪ‪ ،‬ﻣﺎﻩ ﺑﺮ‬ ‫ﮔﻮﺭﻣﻰﺗﺎﺑﺪ‪،‬ﻣﺮﺩﻫﺎﻛﻲ ﺍﺯﮔﻮﺭﺳﺘﺎﻥ ﻣﻰﺍﻳﻨﺪ؟(ﻭ ﺩﺭﺩﺍﺳﺘﺎﻥ ﺩﻳﮕﺮ‬ ‫ﻓﺎﺻﻠﻪﻯ ﻣﺮگ ﻭ ﺯﻧﺪﮔﻲ ﺁﻧﭽﻨﺎﻥ ﻛﻮﺗﺎﻩ ﺳﺖ ﻛﻪ ﺧﻮﺍﻧﻨﺪﻩ ﺭﺍ ﺑﻪ ﺷﻚ‬ ‫ﻭﺷﻮﻙ ﻭﺍﻣﻰﺩﺍﺭﺩﻛﻪ ﺑﺮﺍﺳﺘﻲ ﺭﺍﻭﻱ ﭼﮕﻮﻧﻪ ﻣﺮﺩﻩ ﺍﺳﺖ‪،‬ﺑﺎﺧﻤﭙﺎﺭﻩﻳﺎ‬ ‫ﺗﻚ ﺗﻴﺮﺍﻧﺪﺍﺯ؟ﻭﭼﮕﻮﻧﻪ ﺭﺍﻭﻱ ﻣﺮﺩﻩ ﺑﻌﺪ ﺍﺯ ﻣﺮگ ﺭﻭﺍﻳﺘﮕﺮ ﺩﺍﺳﺘﺎﻥ‬ ‫ﺭﺋﺎﻝ ﺧﻮﺩ ﺍﺳﺖ‪.‬؟ )ﻣﺴﺌﻠﻪ ﺍﻱ ﻛﻪ ﺑﺎ ﺗﺠﺮﺑﻪﻱ ﺯﻳﺴﺘﻲ ﻣﺎ ﻫﻤﺨﻮﺍﻧﻲ‬ ‫ﻧﺪﺍﺭﺩ ﻭ ﺑﺎﻳﺪ ﺩﺭ ژﺍﻧﺮ ﺷﮕﻔﺖ ﻗﺮﺍﺭ ﮔﻴﺮﺩﺗﺎﺗﻮﺟﻴﻪ ﭘﺬﻳﺮ ﺷﻮﺩ ﺩﺭﺣﺎﻟﻲ ﻛﻪ‬ ‫ﺣﺠﻢ ﺑﻴﺸﺘﺮ ﺩﺍﺳﺘﺎﻥ ﺭﺋﺎ ﻝ ﺍﺳﺖ ﻭﺗﻨﻬﺎ ﺩﺭ ﺍﻧﺘﻬﺎ ﺑﻪ ﺷﮕﻔﺘﻲ ﻣﻰﺭﺳﺪ‬ ‫ﻛﻪ ﺍﻳﻦ ﺍﺯ ﻣﻌﺎﻳﺐ ﻛﺎﺭ ﻣﺤﺴﻮﺏ ﻣﻰﺷﻮﺩ(‬ ‫ﺩﺭ ﺩﺍﺳﺘﺎﻥ "ﺁﻥﻫﺎ ﭼﻪ ﺟﻮﺭﻱ ﻣﻰﮔﺮﻳﻨﺪ؟"ﺍﺯ ﻧﻈﺮ ﮔﺎﻩ ﭘﺴﺮﻱ‬ ‫ﻛﻪ ﺑﺮﺍﻱ ﺗﻌﺰﻳﻪ ﺧﻮﺍﻧﻲ ﺑﺎﻻﻱ ﺷﺘﺮﻱ ﺩﺭﺧﻴﺎﺑﺎﻥ ﺩﺭﺣﺮﻛﺖ‬ ‫ﺍﺳﺖ‪،‬ﺭﻭﺍﻳﺖ ﻣﻰﺷﻮﺩ‪.‬ﻛﻮﺩﻛﻲ ﻛﻪ ﺭﺍﻭﻳﻲ ﺳﻨﺖﻫﺎﻭ ﻛﻨﺶﻫﺎﻱ‬ ‫ﻣﺮﺩﻡ ﺍﺳﺖ‪.‬ﺍﻭ ﺍﺯﻣﺮﺩﻱ ﻛﻼﻩ ﺑﻪ ﺳﺮ ﻛﻪ ﻫﺮ ﺳﺎﻝ ﮔﻮﺳﻔﻨﺪ ﻧﺬﺭ‬ ‫ﻣﻰﻛﻨﺪ‪،‬ﻣﻰﮔﻮﻳﺪ‪،‬ﺍﺯﺯﻧﺎﻧﻲ ﻛﻪ ﺑﻪ ﻋﻠﻢﻳﺎ ﺳﺮﺷﺎﻧﻪﻫﺎﻱ ﺭﺍﻭﻱ ﻭﻳﻮﺳﻒ‬ ‫ﺗﻌﺰﻳﻪ ﺧﻮﺍﻥ ﭘﻮﻝ ﻣﻰﺑﻨﺪﻧﺪ‪.‬ﺍﺯﺯﻧﻲ ﻛﻪ ﺷﺎﻝ ﻛﻒ ﺧﻴﺎﺑﺎﻥ ﭘﻬﻦ‬ ‫ﻣﻰﻛﻨﺪ ﺗﺎ ﺷﺘﺮﻫﺎ ﺍﺯ ﺭﻭﻳﺶ ﺑﮕﺬﺭﻧﺪ؛ﻋﻠﻴﻘﻠﻲ ﻛﻪ ﻧﺬﺭ ﺩﺍﺭﺩ ﭘﺎﻱ‬ ‫ﺑﺮﻫﻨﻪ ﺗﭙﺎﻟﻪﻫﺎﻱ ﺍﺳﺐﻫﺎ ﺭﺍ ﺍﺯ ﻣﻴﺪﺍﻥ ﺟﻤﻊ ﻛﻨﺪ‪.‬ﺭﺍﻭﻱ ﻛﻮﺩﻙ ﺗﻌﺰﻳﻪ‬ ‫ﺧﻮﺍﻧﻲ ﺳﺖ ﻛﻪ ﻋﺎﺷﻮﺭﺍ ﺭﺍ ﺑﺪﻳﻦ ﮔﻮﻧﻪ ﻣﻰﺑﻴﻨﺪ)ﺍﺣﺪ ﻣﻰﮔﻮﻳﺪ‪" :‬‬ ‫ﻣﺤﻜﻢ ﺑﺰﻥ‪".‬ﻣﻰﺯﻧﻢ؛ﻭﻟﻲ ﺧﺴﺘﻪﺍﻡ‪،‬ﻣﺤﻜﻢ ﻣﻰﺯﻧﻢ ﻭ ﺍﻭ ﻓﺮﻳﺎﺩ‬ ‫ﻣﻰﺯﻧﺪ"ﺍﻟﺤﺬﺭ‪،‬ﺍﻟﺤﺬﺭ"ﻳﻘﻪﻯ ﺭﻭﭘﻮﺷﻢ ﺭﺍ ﻣﻰﮔﻴﺮﺩ ﻭ ﻣﻰﻛﺸﺪ‪.‬ﻋﻠﻲ‬ ‫ﺩﻧﺪﺍﻥ ﺗﺨﻢ ﻣﺮﻏﻲ ﺭﺍ ﻛﻪ ﺑﺎ ﺁﺏ ﻗﺮﻣﺰ ﭘﺮﺷﺪﻩ ﺑﻪ ﭘﺸﺘﻢ ﻣﻰﺯﻧﺪ‪.‬‬ ‫ﺍﺳﺪ ﻫﻞ ﻣﻰﺩﻩ ﻭ ﻣﻰﮔﻮﻳﺪ‪":‬ﺧﻮﺩﺕ ﺭﺍ ﺑﻨﺪﺍﺯ‪(.‬ﻭ ﺟﺎﻟﺐ ﺯﻣﺎﻧﻲ ﺳﺖ ﻛﻪ‬ ‫ﺯﻧﺎﻥ ﺑﺮ ﺳﺮ ﭘﺴﺮ ﻣﻰﺭﻳﺰﻧﺪ ﺗﺎ ﮔﻮﺷﻪ ﺍﻱ ﺍﺯ ﺭﻭﺳﺮﻱ ﺭﻋﻨﺎ ﺭﺍ ﺑﺎﺧﻮﺩ‬ ‫ﺑﺒﺮﻧﺪ ﻭ ﺁﻧﭽﻪ ﻛﻪ ﺩﺭ ﺍﻧﺘﻬﺎ ﻣﻰﻣﺎﻧﺪ‪،‬ﺗﻨﻬﺎﻳﻲ‪،‬ﺧﺴﺘﮕﻲ ﻭ ﺑﻲﺗﻮﺟﻬﻲ‬ ‫ﻣﺮﺩﻡ ﺑﻪ ﺍﻭﺳﺖ ﻭ ﺗﻨﻬﺎ ﺷﻤﺮ ﺍﺳﺖ ﻛﻪ ﺯﻳﺮ ﺑﻐﻞ ﺍﻭ ﺭﺍ ﻣﻰﮔﻴﺮﺩ‪.‬ﺭﺍﻭﻱ‬ ‫ﺑﺎ ﺑﻴﺎﻥ ﺳﻨﺖﻫﺎ ﻭ ﺧﺮﺍﻓﺎﺕ ﻣﺎ ﺭﺍ ﺑﻪ ﺷﻨﺎﺧﺖ ﻭ ﺗﻔﻜﺮ ﻣﻰﺭﺳﺎﻧﺪ‪.‬ﺍﻭ‬ ‫ﺍﺯﻛﺮﺍﻣﺘﻲ ﻣﻰﮔﻮﻳﺪ ﻛﻪ ﻧﻔﺮﻳﻦ ﻋﺎﺷﻮﺭﺍ ﺩﺍﻣﻦ ﮔﻴﺮﺵ ﺷﺪﻩ ﻭ ﺑﺎﻋﺚ‬

‫ﺩﻭﺭﻩ ﺟﺪﻳﺪ‪/‬ﺷﻤﺎﺭﻩ ‪ 9‬ﻭ ‪)10‬ﭘﻴﺎﭘﻲ‪39‬ﻭ‪ /(40‬ﺳﺎﻝ ﺳﻮﻡ‪/‬ﻧﻮﺭﻭﺯ‪88‬‬

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‫ﺁﻳﺮﻭﻧﻲ ﻣﻦ ﻛﻮﺩﻙ‬ ‫ﻓﺮﺣﻨﺎﺯﻋﻠﻴﺰﺍﺩﻩ‬ ‫ﻣﺮگ ﺍﺳﺐ ﺍﺵ ﮔﺸﺘﻪ‪.‬ﺑﺎﻭﺭﻫﺎ ﻭ ﺧﺮﺍﻓﺎﺗﻲ ﻛﻪ ﻧﻪ ﺗﻨﻬﺎ ﺩﺭ ﺍﻳﻦ ﺩﺍﺳﺘﺎﻥ ﺑﻠﻜﻪ‬ ‫ﺩﺭ ﻛﻞ ﺍﺛﺮ ﺑﺎﺭﺯ ﻭ ﭼﺸﻢ ﮔﻴﺮ ﺍﺳﺖ ﻣﺎﻧﻨﺪ ﺷﻮﺭﺑﻮﺩﻥ ﭼﺸﻢﻫﺎﻱ ﺯﻳﻨﺘﻲ ﻛﻪ‬ ‫ﺑﺎﻋﺚ ﺑﻲ ﺑﺎﺭﻱ ﺩﺭﺧﺖ ﮔﻴﻼﺱ ﻭﻳﺎ ﺗﺐ ﻛﺮﺩﻥ ﺷﺪﻳﺪ ﻭ ﺑﻲ ﺩﻟﻴﻞ ﺳﻮﻣﺎﻥ‬ ‫ﺩﺭ ﺩﺍﺳﺘﺎﻥ "ﺭﻭﺯﻩ ﺍﺕ ﺭﺍ ﺑﺎ ﮔﻴﻼﺱ ﺑﺎﺯ ﻛﻦ" ﻣﻰﺷﻮﺩ‬ ‫ﺧﻴﺎﻭﻱ ﺩﺭ ﺍﻳﻦ ﺍﺛﺮ ﻧﻪ ﺗﻨﻬﺎ ﺑﻪ ﺑﻴﺎﻥ ﺑﺎﻭﺭﻫﺎ ﻣﻰﭘﺮﺩﺍﺯﺩ‪،‬ﺑﻠﻜﻪ ﺍﺯﻓﻦ ﺁﻳﺮﻭﻧﻲ‬ ‫ﻛﻮﺩﻙ ﺑﺮﺍﻱ ﺑﻴﺎﻥ ﺍﻳﻦ ﺳﻨﺖﻫﺎ ﻭ ﺑﺎﻭﺭﻫﺎ ﺳﻮﺩ ﻣﻰﺟﻮﻳﺪ‪.‬ﺩﺭﻓﻦ ﺁﻳﺮﻭﻧﻲ‬ ‫ﻣﺸﻜﻼﺕ ﻭ ﻣﻌﻀﻼﺕ ﺟﺎﻣﻌﻪ ﺍﺯﺯﺑﺎﻥ ﻛﻮﺩﻛﻲ ﺑﻴﺎﻥ ﻣﻰﺷﻮﺩ ﻛﻪ ﺧﻮﺩ‬ ‫ﺁﮔﺎﻫﻲ ﭼﻨﺪﺍﻧﻲ ﻧﺴﺒﺖ ﺑﻪ ﻣﺴﺎﺋﻞ ﻧﺪﺍﺭﺩ‪،‬ﺍﻣﺎ ﺑﻴﺎﻥ ﺁﻥ ﺗﻮﺳﻂ ﻛﻮﺩﻙ‬ ‫ﺑﻪ ﺷﻨﺎﺧﺖ ﻭ ﺁﮔﺎﻫﻲ ﺧﻮﺍﻧﻨﺪﻩﻯ ﺑﺰﺭﮔﺴﺎﻝ ﻣﻨﺠﺮ ﻣﻰﮔﺮﺩﺩ‪.‬ﺩﺭﺍﻳﻦ ﻓﻦ‬ ‫ﺑﻪ ﺩﻟﻴﻞ ﺁﻧﻜﻪ ﻣﺴﺎﺋﻞ ﺑﻪ ﺻﻮﺭﺕ ﻏﻴﺮ ﻣﺴﺘﻘﻴﻢ ﺩﺭﺍﺧﺘﻴﺎﺭ ﺧﻮﺍﻧﻨﺪﻩ ﻗﺮﺍﺭ‬ ‫ﻣﻰﮔﻴﺮﺩﻛﺎﺭﺟﺬﺍﺑﺘﺮ ﻭ ﺩﺍﺭﺍﻱ ﺗﻌﻤﻖ ﺑﻴﺸﺘﺮ ﻣﻰﮔﺮﺩﺩ‪.‬ﺑﺮﺍﻱ ﻣﺜﺎﻝ ﻣﻰﺗﻮﺍﻥ‬ ‫ﺑﻪ ﻣﺎﺟﺮﺍﻱ ﺑﺎﻍ ﺳﻴﺪ ﺍﺷﺎﺭﻩ ﻛﺮﺩ ﻛﻪ ﻛﻮﺩﻙ ﻋﻠﺖ ﻣﻨﻊ ﺷﺪﻥ ﺍﺯ ﺭﻓﺘﻦ ﺑﻪ‬ ‫ﺑﺎﻍ ﺭﺍ ﻧﻤﻰﺩﺍﻧﺪ ﻭﻟﻲ ﺧﻮﺍﻧﻨﺪﻩ ﻣﺘﻮﺟﻪ ﻣﻄﻠﺐ ﻣﻰﺷﻮﺩ‪.‬ﺍﻳﻦ ﻓﻦ ﺩﺭ ﺩﺍﺳﺘﺎﻥ‬ ‫"ﭼﺸﻢﻫﺎﻱ ﻋﻤﻮ ﺍﺳﺪ "ﻧﻴﺰ ﺩﻳﺪﻩ ﻣﻰﺷﻮﺩ ﺁﻧﺠﺎ ﻛﻪ ﻣﺎﺩﺭ ﺑﻪ ﭘﺪﺭ ﻭ ﭘﺪﺭﺑﺰﺭگ‬ ‫ﭘﺪﺭﻱ ﻓﺤﺶ ﻣﻰﺩﻫﺪ ﻭ ﺭﺍﻭﻱ ﻣﻰﮔﻮﻳﺪ" ﻫﻤﻴﺸﻪ ﻫﻢ ﻣﻰﺭﻳﺪ ﺗﻮﻱ‬ ‫ﻗﺒﺮﺷﺎﻥ" ﻭ ﻋﻠﻴﺮﺿﺎ ﻣﻰﭘﺮﺳﺪ" ﻣﺎﻣﺎﻧﺖ ﭼﺮﺍ ﺍﺯ ﺍﻳﻦ ﺟﺎ ﻣﻰﻛﻮﺑﺪﻣﻰﺭﻭﺩ‬ ‫ﻗﺒﺮﺳﺘﺎﻥ‪،‬ﭼﺮﺍ ﻣﺴﺘﺮﺍﺡ ﻧﻤﻰﺭﻭﺩ؟"ﻋﻠﻴﺮﺿﺎﻳﻲ ﻛﻪ ﻧﻤﻰﺩﺍﻧﺪ "ﺭﻓﻊ ﻗﻀﺎﻳﻌﻨﻲ‬ ‫ﭼﻪ"ﺩﺭ ﺣﺎﻟﻲ ﻛﻪ ﺧﻮﺍﻧﻨﺪﻩ ﺑﺰﺭﮔﺴﺎﻝ ﻣﺘﻮﺟﻪﻯ ﺳﺨﻦ ﻧﻮﻳﺴﻨﺪﻩ ﻣﻰﺷﻮﺩ‪.‬‬ ‫ﺍﺯﺍﻳﻦ ﻧﻤﻮﻧﻪ ﻣﻰﺗﻮﺍﻥ ﺑﻪ ﺩﻏﺪﻏﻪﻯ ﺭﺍﻭﻱ ﻛﻪ ﺗﻨﻬﺎ ﺑﻪ ﻓﻜﺮ ﺧﻮﺭﺩﻥ "ﻳﻚ‬ ‫ﻗﺎچ ﺯﻳﺘﻮﻥ " ﺍﺳﺖ‪.‬ﺹ‪48‬ﺍﺷﺎﺭﻩ ﻛﺮﺩ؛ ﺧﻮﺍﻧﻨﺪﻩ ﺍﺯ ﺑﻲ ﺧﺒﺮﻱ ﺭﺍﻭﻱ ﮔﺎﻩ ﺑﻪ‬ ‫ﺧﻨﺪﻩ ﻣﻰﺍﻓﺘﺪ ﻛﻪ ﺍﻳﻦ ﺧﻮﺩ ﻧﺸﺎﻥ ﺩﻫﻨﺪﻩﻯ ﻫﻤﺎﻫﻨﮕﻲ ﺫﻫﻦ ﻭ ﺯﺑﺎﻥ ﺭﺍﻭﻱ‬ ‫ﻛﻮﺩﻙ ﺍﺳﺖ ﻛﻪ ﺧﻴﺎﻭﻱ ﺑﻪ ﺧﻮﺑﻲ ﺍﺯ ﻋﻬﺪﻩﻯ ﺁﻥ ﺑﺮﺁﻣﺪﻩ ﺍﺳﺖ‪.‬‬ ‫ﺩﺭﺩﺍﺳﺘﺎﻥ" ﺻﻒ ﺩﺭﺍﺯﻣﻮﺭﭼﮕﺎﻥ "ﺑﺎﻣﻦ ﺭﺍﻭﻱ ﺭﺯﻣﻨﺪﻩ ﺍﻱ ﺭﻭﺑﻪ ﺭﻭﺍﻳﻢ ﻛﻪ‬ ‫ﺩﺭﺁﻥ ﺁﺷﻨﺎﻳﻲ ﺯﺩﺍﻳﻲ ﺻﻮﺭﺕ ﮔﺮﻓﺘﻪ ﺍﺳﺖ‪.‬‬ ‫ﺍﺷﻜﻠﻮﻓﺴﻜﻲ ﻓﺮﻣﺎﻟﻴﺴﻢ ﺭﻭﺳﻲ ﻣﻌﺘﻘﺪ ﺍﺳﺖ ﻧﻮﻉ ﺩﻳﮕﺮ ﺗﻤﻬﻴﺪﺍﺕ ﻫﻨﺮﻱ‬ ‫ﺳﻮﺍﻱ ﻛﻨﺪ ﻛﺮﺩﻥ ﺯﻣﺎﻥ ﺍﺳﺘﻔﺎﺩﻩ ﺍﺯ ﺭﺍﻭﻱﻫﺎﻱ ﻧﺎﻣﺘﻌﺎﺭﻑ ﺍﺳﺖ‪.3‬‬ ‫ﺩﺭ ﺍﻳﻦ ﺩﺍﺳﺘﺎﻥ ﻧﻴﺰﻣﺎﺑﺎ ﺭﺍﻭﻱ ﺯﺭﻣﻨﺪﻩ ﺍﻱ ﺑﻪ ﻏﻴﺮ ﺍﺯ ﺁﻧﭽﻪ ﻛﻪ ﺩﺭ ﺗﺼﻮﺭﻫﺎ‬ ‫ﮔﻨﺠﺎﻧﺪﻩ ﺷﺪﻩ ﺭﻭﺑﻪ ﺭﻭﺍﻳﻢ‪.‬ﺍﻭ ﺑﻪ ﻋﻠﺖ ﺁﻧﻜﻪ ﺩﺧﺘﺮ ﻣﻮﺭﺩ ﻋﻼﻗﻪ ﺍﺵ ﺑﻪ‬ ‫ﺍﻭﺟﻮﺍﺏ ﺭﺩ ﺩﺍﺩﻩ ﺳﺮﺍﺯﺟﺒﻬﻪ ﻭ ﺧﻂ ﻣﻘﺪﻡ ﺩﺭﺁﻭﺭﺩﻩ!ﺭﺍﻭﻱ ﭘﺴﺮﻱ ﺳﺖ ﻛﻪ‬ ‫ﺩﺭ ﻛﻮﺩﻛﻲ ﮔﻨﺠﺸﻚﻫﺎﺭﺍ ﺷﻜﺎﺭﻛﺮﺩﻩ ﺗﺎ ﻛﻮﻓﺘﻪﻯ ﮔﻨﺠﺸﻚ ﺑﭙﺰﺩ؛ﮔﺮﺑﻪ‬ ‫ﺻﻤﺪ ﺁﻗﺎﺭﺍﺑﺎ ﺧﻮﻧﺴﺮﺩﻱ ﺩﺍﺧﻞ ﺩﻳﮓ ﺁﺏ ﺟﻮﺵ ﺍﻧﺪﺍﺧﺘﻪ ﻭ ﺑﻪ ﺩﺧﺘﺮﻫﺎﻱ‬ ‫ﻣﺤﻞ ﻣﺎﻧﻨﺪ ﺭﻗﻴﻪ ﻭ ﺯﻟﻴﺨﺎ ﺗﺠﺎﻭﺯﻛﺮﺩﻩ ﺍﺳﺖ‪.‬ﺭﺯﻣﻨﺪﻩ ﺍﻱ ﻛﻪ ﺑﺮﺍﻱ ﮔﻢ ﻭ‬ ‫ﮔﻮﺭ ﺷﺪﻥ ﺑﻪ ﺟﺒﻬﻪ ﺁﻣﺪﻩ ﻭ ﻣﺘﻌﺠﺐ ﺍﺳﺖ ﻛﻪ ﭼﺮﺍ "ﺍﻳﻦ ﺟﻮﺭ ﺍﺩﻡﻫﺎﻱ ﻧﺎﺯ‬ ‫ﻧﺎﺯﻱ ﺑﻪ ﺍﻳﻦ ﺟﺎ ﻣﻰﺁﻳﻨﺪ"‪.‬ﺭﺍﻭﻱ ﻧﺎﻣﺘﻌﺎﺭﻗﻲ ﻛﻪ ﺭﻭﺍﻳﺖ ﻛﻨﻨﺪﻩ ﻟﺤﻈﻪﻫﺎﻱ‬ ‫ﺟﺒﻬﻪ ﻭ ﺟﻨﮓ ﺍﺳﺖ‪.‬ﻟﺤﻈﻪﻯ ﺭﻭﺍﻳﺖ ﺯﻣﺎﻧﻲ ﺳﺖ ﻛﻪ ﺍﻭ ﺩﺭ ﺧﻂ ﻣﻘﺪﻡ‬ ‫‪،‬ﻧﻮﻙ ﺗﻔﻨﮕﺶ ﺭﺍ ﺭﻭﻱ ﻣﻐﺰﺳﺮﺑﺎﺯ ﺟﻮﺍﻥ ﻋﺮﺍﻗﻲ ﺍﻱ ﻧﺸﺎﻧﻪ ﮔﺮﻓﺘﻪ ﻛﻪ ﺩﺭ‬ ‫ﺣﺎﻝ ﺑﺎﺯﻱ ﭘﺎﺳﻮﺭ ﺍﺳﺖ‪.‬‬ ‫ﺍﻭ ﺩﺭ ﺣﻴﻦ ﻛﻠﻨﺠﺎﺭ ﺭﻓﺘﻦ ﺑﺎ ﺧﻮﺩ ﺑﺮ ﺳﺮ ﺍﻳﻨﻜﻪ ﺍﻳﻦ ﭘﺴﺮ ﺟﻮﺍﻥ ﻭ ﺯﻳﺒﺎ ﺭﺍ‬ ‫ﺑﻜﺸﺪﻳﺎ ﻧﻪ؛ ﺑﻪ ﮔﺬﺷﺘﻪﻫﺎ ﺭﺟﻌﺖ ﻣﻰﻛﻨﺪ‪.‬ﺩﺭ ﺍﻧﺘﻬﺎ ﺑﺎ ﻓﺸﺎﺭﺩﺍﺩﻥ ﻣﺎﺷﻪ ﻭ ﺑﻌﺪ‬ ‫ﺍﻧﻜﻪ ﺧﻮﻥ ﻫﻤﻪﻯ ﺻﻮﺭﺕ ﺳﺮﺑﺎﺯ ﺭﺍ ﻣﻰﮔﻴﺮﺩ ﺩﻭﻻ ﺩﻭﻻ ﺑﻪ ﻗﺮﺍﺭ ﮔﺎﻩ ﺑﺎﺯ‬ ‫ﻣﻰﮔﺮﺩﺩ‪.‬‬ ‫ﻋﺼﺮ ﻭﻗﺘﻲ ﻛﻪ ﺑﻴﺮﻭﻥ ﺍﺯ ﺳﻨﮕﺮ ﺭﻭﻱ ﺗﺨﺘﻪ ﺳﻨﮕﻲ ﻣﻰﻧﺸﻴﻨﺪ ﺑﻪ ﺍﻳﻦ‬ ‫ﻓﻜﺮ ﻣﻰﻛﻨﺪ ﻛﻪ ﻣﺮگ ﺑﺎ ﺗﻚ ﺗﻴﺮ ﺍﻧﺪﺍﺯ ﺑﻬﺘﺮ ﺍﺯ ﺧﻤﭙﺎﺭﻩ ﺍﺳﺖ‪.‬ﻭ ﺍﻳﻨﺠﺎﺳﺖ‬ ‫ﻛﻪ ﺭﺍﻭﻱ ﻣﺮﺩﻩ ﺑﻪ ﺭﻭﺍﻳﺖ ﺗﺠﺰﻳﻪ ﺷﺪﻥ ﺍﺵ ﻣﻰﭘﺮﺩﺍﺯﺩ‪.‬ﻓﺎﺻﻠﻪﻯ ﻫﺴﺘﻲ‬ ‫ﻭ ﻧﻴﺴﺘﻲ ﻛﻪ ﻣﻰﺗﻮﺍﻧﺪ ﺩﺭ ﻟﺤﻈﻪ ﺍﻱ ﻛﻮﺗﺎﻩ ﺭﺥ ﺩﻫﺪ‪،‬ﺗﻨﻬﺎ ﺩﺭ ﺷﺶ ﺧﻂ‪.‬ﻭ‬ ‫ﭼﻜﺎﻧﺪﻥﻳﻚ ﻣﺎﺷﻪ‪.‬ﺗﻘﺎﺑﻞ ﻣﺮگ –ﺯﻧﺪﮔﻲ ﺭﺍ ﻣﻴﺴﺮ ﻣﻰﮔﺮﺩﺍﻧﺪ‪.‬‬ ‫ﻫﻨﺮﻱ ﺟﻴﻤﺰ ﺍﻋﺘﻘﺎﺩ ﺩﺍﺭﺩ " ﻫﻤﺎﻫﻨﮕﻲ ﻫﺮ ﺫﻫﻦ ﺭﺍ ﺑﺎﻳﺪ ﺑﻪ ﺫﺍﺕ ﺁﻥ ﺣﻔﻆ‬ ‫ﻛﺮﺩ"‪4‬‬ ‫ﺍﻳﻦ ﻫﻤﺎﻫﻨﮕﻲ ﺫﻫﻦ ﺑﺎ ﻟﺤﻈﻪﻯ ﺭﻭﺍﻳﺖ ﻧﻴﺰ ﺑﺎﻳﺪﻫﻤﺴﻮ ﺑﺎﺷﺪ‪.‬‬ ‫ﺩﺭ ﺩﺍﺳﺘﺎﻥ "ﻣﺮﺩﻱ ﻛﻪ ﮔﻮﺭﺵ ﮔﻢ ﺷﺪ" ﻛﻪ ﺍﺳﻢ ﻣﺠﻤﻮﻋﻪ ﺭﺍ ﻧﻴﺰ ﺑﻪ‬ ‫ﺧﻮﺩ ﺍﺧﺘﺼﺎﺹ ﺩﺍﺩﻩ‪ .‬ﺍﻳﻦ ﻫﻤﺴﻮﻳﻲ ﺑﻪ ﺍﻋﺘﻘﺎﺩ ﻧﮕﺎﺭﻧﺪﻩ ﺩﺭ ﻧﻴﺎﻣﺪﻩ ﺍﺳﺖ‪.‬‬ ‫ﻛﺪﺍﻡ ﻓﺮﺩﻱ ﻫﻨﮕﺎﻡ ﻣﺮگ ﺩﻏﺪﻏﻪﻯ ﺫﻫﻨﻲ ﺍﺵ ﻣﻰﺗﻮﺍﻧﺪ ﺍﻳﻦ ﺑﺎﺷﺪ ﻛﻪ‬ ‫"ﻛﺎﺵ ﺍﻗﻼﻳﻚ ﻛﻔﺶ ﺧﻮﺏ ﻣﻰﺩﺍﺩﻧﺪ ﻣﻰﭘﻮﺷﻴﺪﻡ"؟ ﻣﺮﺩﻱ ﻛﻪ ﺩﺭ ﺧﻮﺩ‬ ‫ﻣﻰﺷﺎﺷﺪ‪ ،‬ﻣﻮﺑﺮ ﭘﻮﺳﺘﺶ ﺭﺍﺳﺖ ﻣﻰﺷﻮﺩ ﻭ ﻣﻰﻟﺮﺯﺩ؛ﺁﻳﺎ ﺑﻪ ﻓﻜﺮ ﺍﻳﻦ ﺍﺳﺖ‬

‫ﻛﻪ ﻧﻮﻉ ﺩﺭﺧﺖ ﺑﻴﺪ ﺑﺎﺷﺪ‪،‬ﺁﻧﻬﻢ ﺑﻴﺪ ﻣﺠﻨﻮﻥ؟! ﻭﻳﺎ ﺯﻣﺎﻧﻲ ﻛﻪ ﺑﺮﺍﻱ‬ ‫ﻟﺤﻈﻪﺍﻱ ﻛﻮﺗﺎﻩ ﭘﻴﺎﺩﻩ ﻣﻰﺷﻮﺩ ﺑﻪ ﺟﺎﻱ ﺍﻳﻨﻜﻪ ﺑﻪ ﻓﻜﺮﻓﺮﺍﺭ ﺑﺎﺷﺪ ﺑﻪ‬ ‫ﻓﻜﺮ ﺯﺧﻢ ﭘﻴﺸﺎﻧﻲ ﺩﺧﺘﺮ ﺍﺳﺖ ﻭ ﺍﻳﻨﻜﻪ ﺧﺪﺍ ﻛﻨﺪﺩﺧﺘﺮ ﺑﻪ ﺍﻭ ﻧﮕﺎﻫﻲ‬ ‫ﺑﻴﻨﺪﺍﺯﺩ ؟"ﻛﺎﺵ ﺑﻪ ﻣﻦ ﻫﻢ ﻧﮕﺎﻩ ﻛﻨﺪ"ﭼﺮﺍ ﻛﻪ ﺧﻴﻠﻲ ﻭﻗﺖ ﺍﺳﺖ‬ ‫ﺯﻧﻲ ﻧﺪﻳﺪﻩ‪.‬ﺹ‪67‬‬ ‫ﺩﺭ ﺣﺎﻟﻲ ﻛﻪ ﺧﻮﺩﺵ ﻧﻴﺰﻣﻰﮔﻮﻳﺪ ﺗﻘﺮﻳﺒﺎ ﻫﺸﺖ ‪،‬ﻧﻪ ﺳﺎﻋﺘﻲ‬ ‫ﻣﻰﺷﻮﺩﻛﻪ ﺑﻪ ﺧﺎﻧﻪ ﺷﺎﻥ ﻫﺠﻮﻡ ﺍﻭﺭﺩ ﺍﻧﺪ ﻭﺩﺍﺧﻞ ﻣﺎﺷﻴﻦ ﺯﻧﺪﺍﻧﻲ ﺍﺵ‬ ‫ﻛﺮﺩﻩ ﺍﻧﺪ‪).‬ﺗﻀﺎﺩ ﺩﺭ ﮔﻔﺘﺎﺭ(ﺑﻪ ﺍﻋﺘﻘﺎﺩ ﻧﮕﺎﺭﻧﺪﻩ ﻧﻮﻳﺴﻨﺪﻩ ﻣﻰﺑﺎﻳﺴﺖ‬ ‫ﺩﻟﻬﺮﻩ ﻭ ﺗﺸﻮﻳﺶ ﺑﻴﺸﺘﺮﻱ ﺑﺮﺍﻱ ﻣﻦ ﺭﺍﻭﻱ ﺩﺭ ﺣﺎﻝ ﻣﺮگ ﺩﺭ ﻧﻈﺮ‬ ‫ﻣﻰﮔﺮﻓﺖ‪.‬ﺑﺎ ﺩﺭ ﻧﻈﺮ ﮔﺮﻓﺘﻦ ﺩﻳﺪﮔﺎﻩ ﻣﻦ ﺭﺍﻭﻱ ﺑﻪ ﺭﺍﺣﺘﻲ ﻣﻰﺗﻮﺍﻥ‬ ‫ﺍﺯ ﺗﺮﺱﻫﺎ ﺑﻴﻢﻫﺎ ﻭ ﻧﺎﺭﺍﺣﺘﻲ ﮔﻔﺖ‪ .‬ﺩﺭ ﺣﺎﻟﻲ ﻛﻪ ﺍﻳﻦ ﺭﺍﻭﻱ ﺑﺎ‬ ‫ﺑﻴﺎﻧﻲ ﺧﻮﻧﺴﺮﺩ ﺍﺯﻣﺮگ ﺧﻮﺩﻣﻰﮔﻮﻳﺪ‪.‬ﮔﺮﭼﻪ ﺫﺍﺕ ﺩﺍﺳﺘﺎﻥﻫﺎﻱ‬ ‫ﻣﺪﺭﻥ ﺧﻮﻧﺴﺮﺩﻱ ﺭﺍﻭﻱ ﺳﺖ ﺍﻣﺎ ﺍﻳﻦ ﻧﻜﺘﻪ ﻧﺒﺎﻳﺪ ﻣﺘﻀﺎﺩ ﺑﺎ ﺳﺎﺧﺖ‬ ‫ﻫﻤﺴﻮﻳﻲ ﺫﻫﻦ ﻭ ﻟﺤﻈﻪﻯ ﺭﻭﺍﻳﺖ ﺑﺎﺷﺪ‪.‬ﻫﻤﺎﻧﮕﻮﻧﻪ ﻛﻪ ﺩﺭ ﻗﺴﻤﺖ‬ ‫ﺩﻭﻡ ﺍﻳﻦ ﻫﻤﺴﻮﻳﻲ ﻭﺟﻮﺩﺩﺍﺭﺩ ﻭ ﻓﺮﺩ ﻣﺮﺩﻩ ﺍﺯ ﺩﻏﺪﻏﻪﻫﺎﻳﻲ ﻣﻰﮔﻮﻳﺪ‬ ‫ﻛﻪ ﺑﺎ ﺍﻭ ﻭ ﻟﺤﻈﻪﻯ ﺭﻭﺍﻳﺖ ﻫﻤﺨﻮﺍﻥ ﺍﺳﺖ‪ .‬ﻣﺎﻧﻨﺪ ﺍﻳﻨﻜﻪ ﺩﻭﺳﺖ‬ ‫ﺩﺍﺭﺩ ﺑﺮ ﺳﺮ ﺟﻨﺎﺯﻩ ﺍﺵ ﻣﻮﻳﻪ ﻛﻨﻨﺪ‪.‬‬ ‫ﺑﺎ ﺗﻤﺎﻡ ﺍﻳﻦ ﺍﻭﺻﺎﻑ ﻭ ﻛﺎﺳﺘﻲﻫﺎﻱ ﺍﻧﺪﻙ ‪،‬ﺑﺎﻳﺪ ﮔﻔﺖ "ﻣﺮﺩﻱ‬ ‫ﻛﻪ ﮔﻮﺭﺵ ﮔﻢ ﺷﺪ" ﺑﻪ ﺩﻟﻴﻞ ﺍﺳﺘﻔﺎﺩﻩ ﺍﺯ ﺍﻳﺮﻭﻧﻲ ﻭ ﺑﻴﺎﻥ ﺳﻨﺖﻫﺎ‬ ‫ﻭ ﺳﺎﺧﺘﺎﺭ ﺷﻜﻨﻲ ﺩﺭ ﺩﻳﺪﮔﺎﻩ ﻛﺎﺭﻱ ﺩﺭ ﺧﻮﺭ ﺍﻋﺘﻨﺎ ﺳﺖ‪ .‬ﺑﻪ ﺍﻣﻴﺪ‬ ‫ﻛﺎﺭﻫﺎﻱ ﺑﻌﺪﻱ ﺧﻴﺎﻭﻱ ﻭ ﺧﺴﺘﻪ ﻧﺒﺎﺷﻴﺪ ﺑﻪ ﺍﻭ‪.‬‬

‫ﭘﺎﻧﻮﺷﺖ‪:‬‬ ‫‪1‬ﻭ‪.2‬ﺍﺳﻜﻮﻟﺰ‪،‬ﺭﺍﺑﺮﺕ؛ﺩﺭﺍﻣﺪﻱ ﺑﺮ ﺳﺎﺧﺘﺎﺭﮔﺮﺍﻳﻲ ﺩﺭﺍﺩﺑﻴﺎﺕ ؛ﻓﺮﺯﺍﻧﻪ‬ ‫ﻃﺎﻫﺮﻱ؛ﺗﻬﺮﺍﻥ‪ :‬ﻧﺸﺮ ﺁﮔﻪ‬ ‫‪.3‬ﺳﻠﺪﻭﻥ‪،‬ﺭﺍﻣﺎﻭ ﭘﻴﺘﺮ ﻭﻳﺪﻭﺳﻮﻥ؛ﺭﺍﻫﻨﻤﺎﻱ ﻧﻈﺮﻳﻪﻯ ﺍﺩﺑﻲ ﻣﻌﺎﺻﺮ‪ ،‬ﻋﻴﺎﺱ‬ ‫ﻣﺨﺒﺮ‪.‬ﺗﻬﺮﺍﻥ‪.‬‬ ‫‪.4‬ﺑﻠﺰﻱ‪،‬ﻛﺎﺗﺮﻳﻦ؛ ﻋﻤﻞ ﻧﻘﺪ؛ﻋﻴﺎﺱ ﻣﺨﺒﺮ؛ﺗﻬﺮﺍﻥ‪ :‬ﻧﺸﺮ ﻗﺼﻪ‬ ‫‪.5‬ﺧﻴﺎﻭﻱ ‪،‬ﺣﺎﻓﻆ؛ﻣﺮﺩﻱ ﻛﻪ ﮔﻮﺭﺵ ﮔﻢ ﺷﺪ؛ﺗﻬﺮﺍﻥ‪ :‬ﻧﺸﺮ ﭼﺸﻤﻪ ‪،‬ﺑﻬﺎﺭ‬ ‫‪1387‬‬

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‫ﺩﻭﺭﻩ ﺟﺪﻳﺪ‪/‬ﺷﻤﺎﺭﻩ ‪ 9‬ﻭ ‪)10‬ﭘﻴﺎﭘﻲ‪39‬ﻭ‪ /(40‬ﺳﺎﻝ ﺳﻮﻡ‪/‬ﻧﻮﺭﻭﺯ‪88‬‬

‫ﺑﻪﻳﻚ ﺳﻔﺮ ﺧﻴﺎﻟﻲ ﺷﺎﻋﺮﺍﻧﻪ ﺑﺒﺮﺩ‪ .‬ﺑﻌﺪ ﺍﻳﻦ ﺑﻴﺖ‬ ‫ﺍﺯ ﺷﻌﺮ ﺧﻮﺩﺵ ﺭﺍ ﺧﻮﺍﻧﺪ‪:‬‬ ‫ﺑﺎﻍ ﺭﺍ ﺁﻓﺘﻲ ﭼﻮ ﭘﻴﭽﻚ ﻧﻴﺴﺖ‬ ‫ﻛﻪ ﺑﻪ ﺩﻭﺭ ﮔﻞ ﻭ ﺳﻤﻦ ﭘﻴﭽﻴﺪ‬ ‫ﺑﻌﺪﻳﻚ ﺑﻴﺖ ﺍﻳﻦ ﺷﻌﺮ ﺭﺍ ﺍﺯﻳﻚ ﺷﺎﻋﺮ ﮔﻤﻨﺎﻡ‬ ‫ﺧﻮﺍﻧﺪ‪:‬‬ ‫ﺧﻮﻥ ﺷﺪ ﺩﻝ ﻣﻦ ﺧﻮﺏ ﺷﺪ‬ ‫ﺍﻳﻦ ﺧﻮﻥ ﺷﺪﻧﻲ ﺑﻮﺩ‬ ‫ﻭ ﮔﻔﺖ ﺷﻌﺮ ﺧﻮﺏ ﻭ ﺑﺎ ﺍﺣﺴﺎﺳﻲ ﺍﺳﺖ…‬ ‫ﺟﻼﻝ ﻫﻤﺎﻳﻲ‪ ،‬ﺍﺳﺘﺎﺩ ﺑﺴﻴﺎﺭ ﺧﻮﺏ ﻭ ﺁﻣﻮﺯﻧﺪﻩﺍﻱ‬ ‫ﺑﻮﺩ ﻣﻦ ﺧﻴﻠﻲ ﺯﻳﺎﺩ ﺍﺯ ﺍﻭ ﺁﻣﻮﺧﺘﻢ‪ .‬ﺩﺭ ﺁﻏﺎﺯ ﺯﻣﺎﻥ‬ ‫ﻛﻪ ﺩﺍﻧﺶﺁﻣﻮﺯ ﺩﺑﻴﺮﺳﺘﺎﻥ ﺑﺮﻧﺎﻣﻪ ﻣﻄﺎﻟﻌﻪ ﺧﺎﺭﺝ‬ ‫ﺍﺯ ﺩﺑﻴﺮﺳﺘﺎﻥ ﻧﺪﺍﺷﺖ ﺑﻪ ﻣﺎ ﮔﻔﺖ ﻫﺮ ﻛﺪﺍﻡﺗﺎﻥ‬ ‫ﻛﺘﺎﺑﻲ ﺍﻧﺘﺨﺎﺏ ﻛﻨﻴﺪ ﺁﻥ ﺭﺍ ﺑﺨﻮﺍﻧﻴﺪ ﻧﺘﻴﺠﻪﺍﺵ‬ ‫ﺭﺍ ﺑﻨﻮﻳﺴﻴﺪ ﺑﺮﺍﻱ ﻣﻦ ﺑﻴﺎﻭﺭﻳﺪ‪ .‬ﻣﻦ ﻛﺘﺎﺏ ﺷﻌﺮﻱ‬ ‫ﺭﺍ ﮔﺰﻳﻨﺶ ﻛﺮﺩﻡ ﺑﻪ ﻧﺎﻡ »ﻭﻳﺲ ﻭﺭﺍﻣﻴﻦ«‬ ‫ﮔﺮﮔﺎﻧﻲ‪ ،‬ﺁﻥ ﺭﺍ ﺧﻮﺍﻧﺪﻡ ﻭ ﻳﺎﺩﺩﺍﺷﺖ ﻛﺮﺩﻡ ﻭ ﺑﻪ‬ ‫ﺍﺳﺘﺎﺩ ﻫﻤﺎﻳﻲ ﺩﺍﺩﻡ‪ .‬ﺍﺳﺘﺎﺩ ﺗﺸﻮﻳﻘﻢ ﻛﺮﺩ ﻭ ﮔﻔﺖ‬ ‫ﺷﻌﺮﻫﺎﻱ ﺷﺎﻋﺮﺍﻥ ﻭ ﻧﻮﺷﺘﻪﻫﺎﻱ ﻧﻮﻳﺴﻨﺪﮔﺎﻥ‬ ‫ﺩﻳﮕﺮ ﺭﺍ ﺑﺨﻮﺍﻥ ﻭ ﺑﺎ ﺍﺩﺑﻴﺎﺕ ﻛﺸﻮﺭﻣﺎﻥ ﺁﺷﻨﺎﻳﻲ‬ ‫ﺑﻴﺸﺘﺮﻱ ﭘﻴﺪﺍ ﻛﻦ‪ .‬ﻣﻦ ﺭﺍﻫﻨﻤﺎﻳﻲﺍﺵ ﺭﺍ ﺑﻪ ﻛﺎﺭ‬ ‫ﺑﺴﺘﻢ ﻭ ﺍﻧﺪﻛﻲ ﺭﻭﺵ ﭘﮋﻭﻫﺶ ﺭﺍﻳﺎﺩ ﮔﺮﻓﺘﻢ‪.‬‬ ‫ﻣﻦ ﺍﻳﻦ ﻛﺎﺭ ﺭﺍ ﺍﺯ ﻫﻤﺎﻥ ﺯﻣﺎﻥ ﺩﺍﻧﺶﺁﻣﻮﺯﻱ‬ ‫ﺩﺭ ﺩﺍﺭﺍﻟﻔﻨﻮﻥ ﺗﺎﻛﻨﻮﻥ ﻫﻢ ﺍﺩﺍﻣﻪ ﺩﺍﺩﻡ ﻭ ﭼﻮﻥ‬ ‫ﺩﻳﻮﺍﻥ ﺣﺎﻓﻆ ﺭﺍ ﺯﻳﺎﺩ ﻣﻲﺧﻮﺍﻧﺪﻡ ﻭ ﻣﻲﺧﻮﺍﻧﻢ‬ ‫ﭘﮋﻭﻫﺶﻫﺎﻳﻲ ﺩﺭ ﻣﻔﺎﻫﻴﻢ ﻏﺎﻟﺐ ﺷﻌﺮﻫﺎﻱ‬ ‫ﺣﺎﻓﻆ ﻓﺮﺍﻫﻢ ﺁﻭﺭﺩﻩ ﻭ ﺑﺮﺍﻱ ﭼﺎپ ﻭ ﺍﻧﺘﺸﺎﺭ‬ ‫ﺁﻣﺎﺩﻩ ﻛﺮﺩﻩﺍﻡ ﻣﺎﻧﻨﺪ‪» :‬ﺧﺪﺍ ﻭ ﻗﺮﺁﻥ ﺩﺭ ﺷﻌﺮ‬ ‫ﺣﺎﻓﻆ« ﻛﻪ ﭼﺎپ ﻭ ﻣﻨﺘﺸﺮ ﺷﺪﻩ ﺍﺳﺖ‪ .‬ﻣﻨﻈﻮﺭ‬ ‫ﺍﺯ ﺍﻳﻦ ﭘﮋﻭﻫﺶ ﻓﺮﺍﻫﻢ ﺁﻭﺭﺩﻥ ﻣﺮﺟﻌﻲ ﺍﺳﺖ‬ ‫ﺩﺭﻳﻚ ﻣﻔﻬﻮﻡ ﻏﺎﻟﺐ ﺩﺭ ﺷﻌﺮ ﺣﺎﻓﻆ‪ .‬ﺑﻪ ﻋﻨﻮﺍﻥ‬ ‫ﻣﺜﺎﻝ ﺷﻤﺎ ﻣﻲﺧﻮﺍﻫﻴﺪ ﺑﺪﺍﻧﻴﺪ ﺣﺎﻓﻆ ﺩﺭﺑﺎﺭﻩ ﺧﺪﺍ‬ ‫ﻭ ﻗﺮﺁﻥ ﭼﻪ ﮔﻔﺘﻪ ﺍﺳﺖ‪ .‬ﻛﺘﺎﺏ »ﺧﺪﺍ ﻭ ﻗﺮﺁﻥ«‬ ‫ﺩﺭ ﺷﻌﺮ ﺣﺎﻓﻆ« ﺭﺍ ﻣﻲﺧﻮﺍﻧﻴﺪ ﻭ ﺗﻤﺎﻡ ﺷﻌﺮﻫﺎﻳﻲ‬ ‫ﺭﺍ ﻛﻪ ﺣﺎﻓﻆ ﺩﺭ ﺍﻳﻦ ﺑﺎﺭﻩ ﮔﻔﺘﻪ ﺍﺳﺖ ﺩﺭ ﺁﻥ‬ ‫ﻣﻲﺑﻴﻨﻴﺪ ﻭ ﺩﻳﮕﺮ ﻧﻴﺎﺯﻱ ﻧﺪﺍﺭﻳﺪ ﻛﻪ ﺗﻤﺎﻡ ﺩﻳﻮﺍﻥ‬ ‫ﺣﺎﻓﻆ ﺭﺍ ﺑﺨﻮﺍﻧﻴﺪ ﻭ ﻫﻤﭽﻨﻴﻦ ﺍﺳﺖ ﺩﺭﺑﺎﺭﻩ‬ ‫ﻣﻔﻬﻮﻡﻫﺎﻱ ﻏﺎﻟﺐ ﺩﻳﮕﺮ ﺩﺭ ﺷﻌﺮ ﺣﺎﻓﻆ ﻣﺎﻧﻨﺪ‪:‬ﺭﻳﺎ‪،‬‬ ‫ﻣﻮﺳﻴﻘﻲ‪ ،‬ﭘﻴﺮ‪ ،‬ﮔﻞ ﻭ ﺑﻠﺒﻞ‪ ،‬ﺳﺮﻧﻮﺷﺖ‪ ...‬ﺩﺭ ﺷﻌﺮ‬ ‫ﺣﺎﻓﻆﻳﺎ »ﺣﺎﻓﻆ ﻭ ﺳﺘﺎﻳﺶ ﺍﺯ ﺷﻌﺮ ﺧﻮﺩﺵ« ﻭ‬ ‫ﻣﻔﻬﻮﻡﻫﺎﻱ ﻏﺎﻟﺐ ﺩﻳﮕﺮ ﺩﺭ ﺷﻌﺮ ﺣﺎﻓﻆ‪ ،‬ﻛﻪ ﻣﻦ‬ ‫ﺁﻧﻬﺎ ﺭﺍ ﭘﮋﻭﻫﺶ ﻭ ﺑﺮﺍﻱ ﭼﺎپ ﻭ ﺍﻧﺘﺸﺎﺭ ﺁﻣﺎﺩﻩ‬ ‫ﻛﺮﺩﻩﺍﻡ ﻭ ﺍﻣﻴﺪﻭﺍﺭﻡ ﺷﺎﻋﺮﺍﻥ ﺣﺎﻓﻆ ﺩﻭﺳﺖ ﺁﻧﻬﺎ‬ ‫ﺭﺍ ﺑﻪ ﭼﺎپ ﺑﺮﺳﺎﻧﻨﺪ ﻭ ﻣﻨﺘﺸﺮ ﻛﻨﻨﺪ‪.‬‬ ‫ﺍﻧﺸﺎءﺍﷲ‪ .‬ﺟﻨﺎﺏ ﻛﺴﻤﺎﻳﻲ ﺁﻳﺎ ﺩﺭ ﻛﻼﺱ‬ ‫ﺷﻤﺎ ﻫﻢ ﺷﺎﮔﺮﺩﻫﺎﻱ ﺩﻳﮕﺮﻱ ﻫﻢ ﺑﻮﺩﻧﺪ‬ ‫ﻛﻪ ﺷﻌﺮ ﻣﻲﮔﻔﺘﻨﺪ ﻭ ﺑﺮﺍﻱ ﺍﺳﺘﺎﺩ ﻫﻤﺎﻳﻲ‬ ‫ﻣﻲﺧﻮﺍﻧﺪﻧﺪ؟‬ ‫ﺑﻠﻪ‪ .‬ﺍﺳﺘﺎﺩ ﻫﻤﺎﻳﻲ ﻧﻪ ﺗﻨﻬﺎ ﺷﺎﻋﺮ ﻛﻪ ﺷﻌﺮ ﺩﻭﺳﺖ‬ ‫ﻫﻢ ﺑﻮﺩ ﻭ ﺩﺭﺑﺎﺭﻩ ﺷﻌﺮﻫﺎﻱ ﺷﺎﮔﺮﺩﺍﻧﺶ ﻧﻈﺮ‬ ‫ﻣﻲﺩﺍﺩ ﻭ ﺍﺻﻼﺡ ﻣﻲﻛﺮﺩ‪.‬‬ ‫ﻣﺜﻼ ﻣﻤﻜﻦ ﺍﺳﺖ ﻧﺎﻡ ﺑﺒﺮﻳﺪ؟‬ ‫ﻳﻜﻲ ﺑﻮﺩ ﺑﻪ ﻧﺎﻡ ﻛﻮﺛﺮ ﻛﻪ ﺷﺎﻋﺮ ﺣﺴﺎﺳﻲ ﺑﻮﺩ‬ ‫ﻭ ﺧﻴﻠﻲ ﺧﻮﺏ ﺷﻌﺮ ﻣﻲﮔﻔﺖ‪ .‬ﭘﺲ ﺍﺯ ﭘﺎﻳﺎﻥ‬ ‫ﺗﺤﺼﻴﻠﺶ ﺩﺭ ﺩﺍﻧﺸﮕﺎﻩ‪ ،‬ﺩﺭ ﺯﻣﺎﻥ ﻧﺨﺴﺖﻭﺯﻳﺮﻱ‬ ‫ﻣﺼﺪﻕ ﻓﺮﻣﺎﻧﺪﺍﺭ ﺷﻬﺮﺳﺘﺎﻧﻲ ﺷﺪ ﻧﻤﻲﺩﺍﻧﻢ‬

‫ﺷﻌﺮﻫﺎﻱ ﺍﻭ ﭼﺎپ ﺷﺪﻳﺎ ﻧﻪ‪.‬ﻳﻜﻲ ﻫﻢ ﺑﻮﺩ ﺑﻪ ﻧﺎﻡ‬ ‫ﺍﻋﺘﻤﺎﺩﻱ ﻛﻪ ﺩﺭ ﻭﺯﺍﺭﺕ ﻛﺸﻮﺭ ﺑﻪ ﻣﻘﺎﻡ ﺑﺎﻻﻳﻲ ﺭﺳﻴﺪ‪.‬‬ ‫ﺍﺯ ﺍﻭ ﭼﻨﺪ ﺷﻌﺮ ﺭﺍ ﻛﻪ ﺩﺭ ﻣﻄﺒﻮﻋﺎﺕ ﭼﺎپ ﺷﺪﻩ ﺑﻮﺩ‬ ‫ﺩﻳﺪﻡ‪ .‬ﺍﮔﺮ ﺍﺟﺎﺯﻩ ﺑﺪﻳﺪ ﺑﻪ ﺧﺎﻃﺮﻩ ﺑﺎﻣﺰﻩﺍﻱ ﺩﺭ ﺍﻳﻦ ﺑﺎﺭﻩ‬ ‫ﺍﺷﺎﺭﻩ ﻛﻨﻢ‪.‬‬ ‫ﺧﻮﺍﻫﺶ ﻣﻲﻛﻨﻢ‪.‬‬ ‫ﭼﻮﻥ ﺍﺳﺘﺎﺩ ﻫﻤﺎﻳﻲ ﺑﻪ ﺷﺎﻋﺮﻫﺎﻱ ﻛﻼﺳﺶ ﺗﻮﺟﻪ‬ ‫ﺧﺎﺻﻲ ﺩﺍﺷﺖ‪،‬ﻣﻮﺟﺐ ﭼﺸﻢ ﻭ ﻫﻤﭽﺸﻤﻲ ﺷﺎﮔﺮﺩﻫﺎﻱ‬ ‫ﺩﻳﮕﺮ ﻣﻲﺷﺪ‪.‬ﻳﻚ ﺭﻭﺯﻳﻜﻲ ﺍﺯ ﺷﺎﮔﺮﺩﻫﺎﻱ ﻣﺎ ﺑﻠﻨﺪ ﺷﺪ‬ ‫ﻭ ﮔﻔﺖ ﺁﻗﺎ ﻣﻦ ﻫﻢ ﺷﻌﺮ ﮔﻔﺘﻢ‪ .‬ﺍﺳﺘﺎﺩ ﺑﺎ ﺧﻮﺷﺤﺎﻟﻲ‬ ‫ﮔﻔﺖ ﭼﻪ ﺧﻮﺏ ﻛﻪ ﻳﻚ ﺷﺎﮔﺮﺩ ﺩﻳﮕﺮﻡ ﻫﻢ ﺷﻌﺮ‬ ‫ﻣﻲﮔﻮﻳﺪ ﭘﺎﺷﻮ ﺷﻌﺮﺕ ﺭﺍ ﺑﻠﻨﺪ ﺑﺨﻮﺍﻥ ﻛﻪ ﻫﻤﻪ ﺑﺸﻨﻮﻳﻢ‪.‬‬ ‫ﺍﻭ ﺑﻠﻨﺪ ﺷﺪ ﺳﺮﻓﻪﺍﻱ ﻛﺮﺩ ﻭ ﺩﺭ ﻣﻴﺎﻥ ﺳﻜﻮﺕ ﻭ ﺍﻧﺘﻈﺎﺭ‬ ‫ﻫﻤﻪ ﺑﺎ ﺻﺪﺍﻱ ﺑﻠﻨﺪ ﮔﻔﺖ‪:‬‬ ‫ﻭﻗﺖ ﺍﺳﺖ ﻛﻪ ﻣﻦ ﺟﺎﻣﻪ ﺧﻮﺩ ﺭﺍ ﺑ ِ َﺪﺭﻡ‬ ‫ﺑﺎﺯﺍﺭ ﺭﻭﻡ ﺟﺎﻣﻪﻯ ﺩﻳﮕﺮﻱ ﺑﺨﺮﻡ‬ ‫ﺍﺳﺘﺎﺩ ﻫﻤﺎﻳﻲ ﻛﻪ ﺑﺎ ﺷﻨﻴﺪﻥ ﺍﻳﻦ ﺷﻌﺮ ﺧﻴﻠﻲ ﻧﺎﺭﺍﺣﺖ‬ ‫ﺷﺪﻩ ﺑﻮﺩ ﻭ ﮔﻔﺖ‪:‬ﺗﻮ ﺑﺎ ﺍﻳﻦ ﺷﻌﺮ ﮔﻔﺘﻨﺖ ﺁﺑﺮﻭﻱ ﺗﻤﺎﻡ‬ ‫ﺷﺎﻋﺮﺍﻥ ﺟﻬﺎﻥ ﺭﺍ ﺑﺮﺩﻱ‪ .‬ﺑﻨﺸﻴﻦ ﺑﻨﺸﻴﻦ‪ .‬ﺍﻭ ﻧﺸﺴﺖ ﻭ‬ ‫ﺩﻳﮕﺮ ﺍﺯ ﺷﺎﻋﺮﻱ ﺩﻡ ﻧﺰﺩ‪.‬‬ ‫ﺟﻨﺎﺏ ﻛﺴﻤﺎﻳﻲ ﺍﺯ ﺍﺳﺘﺎﺩﺍﻥ ﺩﻳﮕﺮﺗﺎﻥ ﺩﺭ‬ ‫ﺩﺍﺭﺍﻟﻔﻨﻮﻥ ﭼﻴﺰﻱ ﺑﻪﻳﺎﺩ ﻧﺪﺍﺭﻳﺪ؟‬ ‫ﭼﺮﺍ‪ .‬ﺍﺯ ﺍﺳﺘﺎﺩ ﺑﻬﻤﻨﻴﺎﺭ ﻫﻢ ﻛﻪ ﻣﻌﻠﻢ ﻓﻠﺴﻔﻪ ﻣﺎ ﺑﻮﺩ ﻳﻚ‬ ‫ﺧﺎﻃﺮﻩ ﻓﺮﺍﻣﻮﺵ ﻧﺸﺪﻧﻲ ﺩﺍﺭﻡ‪.‬‬ ‫ﺁﻥ ﺭﺍ ﻫﻢ ﺑﻔﺮﻣﺎﻳﻴﺪ ﺳﭙﺎﺳﮕﺰﺍﺭ ﻣﻲﺷﻮﻳﻢ‪.‬‬ ‫ﺍﺳﺘﺎﺩ ﺑﻬﻤﻨﻴﺎﺭ ﻳﻚ ﺭﻭﺯ ﻛﻪ ﺍﺯ ﺍﻧﺴﺎﻥ ﺑﺤﺚ ﻣﻲﻛﺮﺩ‬ ‫ﮔﻔﺖ‪» :‬ﻫﺮ ﺍﻧﺴﺎﻥ ﺟﻬﺎﻥ ﺟﺪﺍﮔﺎﻧﻪﺍﻱ ﺍﺳﺖ« ﻣﻦ‬ ‫ﺍﻳﻦ ﺟﻤﻠﻪ ﻛﻮﺗﺎﻩ ﻭ ﭘﺮﻣﻌﻨﺎ ﺭﺍﻳﺎﺩﺩﺍﺷﺖ ﻭ ﺍﺯ ﺑﺮ ﻛﺮﺩﻡ ﻭ‬ ‫ﺗﺎﻛﻨﻮﻥ ﺩﺭ ﺯﻧﺪﮔﻲﺍﻡ ﺑﺎ ﻫﺮ ﺍﻧﺴﺎﻥ ﻛﻪ ﺁﺷﻨﺎ ﺷﺪﻩﺍﻡ ﺑﻪ‬ ‫ﺩﺭﺳﺘﻲ ﺁﻥ ﺑﻴﺸﺘﺮ ﭘﻲ ﻣﻲﺑﺮﻡ‪.‬‬ ‫ﺭﺍﺳﺖ ﺍﺳﺖ‪ .‬ﻫﺮ ﺍﻧﺴﺎﻥ ﺑﺎ ﺷﻜﻞ ﻭ ﺷﻤﺎﻳﻠﻲ ﻭ ﺭﻭﺣﻴﻪ‬ ‫ﻭ ﺧﻠﻖ ﻭ ﺧﻮﻳﻲ ﻛﻪ ﺩﺍﺭﺩﻳﻚ ﺟﻬﺎﻥ ﺟﺪﺍﮔﺎﻧﻪ ﺍﺳﺖ ﻭ‬ ‫ﺑﺎ ﺩﻳﮕﺮﺍﻥ ﻓﺮﻕ ﺩﺍﺭﺩ‪.‬‬ ‫ﺩﺭ ﻫﻤﺎﻥ ﻭﻗﺖﻫﺎ ﻣﻲﺧﻮﺍﺳﺘﻢ ﺷﻬﺮﻳﺎﺭ ﺭﺍ ﺍﺯ ﻧﺰﺩﻳﻚ‬ ‫ﺑﺒﻴﻨﻢ ﻭ ﺑﺎ ﺍﻭ ﻛﻪ ﺷﻌﺮﻫﺎﻳﺶ ﺭﺍ ﺩﺭ ﻣﺠﻠﻪﻫﺎ ﻣﻲﺧﻮﺍﻧﺪﻡ‬ ‫ﻭ ﻟﺬﺕ ﻣﻲﺑﺮﺩﻡ ﺁﺷﻨﺎﻳﻲ ﺑﻴﺸﺘﺮﻱ ﭘﻴﺪﺍ ﻛﻨﻢ‪ .‬ﺑﺮﺍﺩﺭﻡ‬ ‫ﺩﻭﺳﺘﻲ ﺩﺍﺷﺖ ﺑﻪ ﻧﺎﻡ ﺁﻗﺎﻱ ﭘﺮﻭﻳﻦ ﻛﻪ ﺑﺎ ﺷﻬﺮﻳﺎﺭ‬ ‫ﺧﻴﻠﻲ ﺩﻭﺳﺖ ﺑﻮﺩ‪ .‬ﺍﻭﻳﻚ ﺷﺐ ﻣﻦ ﻭ ﺑﺮﺍﺩﺭﻡ ﺭﺍ ﺑﻪ‬ ‫ﺧﺎﻧﻪ ﺷﻬﺮﻳﺎﺭ ﺑﺮﺩ‪ .‬ﺷﻬﺮﻳﺎﺭ ﻛﻪ ﺗﻨﻬﺎ ﺯﻧﺪﮔﻲ ﻣﻲﻛﺮﺩ‪ ،‬ﻣﺎ‬ ‫ﺭﺍ ﺑﺎ ﻟﻄﻒ ﻭ ﻣﻬﺮﺑﺎﻧﻲ ﭘﺬﻳﺮﻓﺖ ﻭ ﺑﺎ ﭼﺎﻱ ﻭ ﺷﻴﺮﻳﻨﻲ‬ ‫ﭘﺬﻳﺮﺍﻳﻲ ﻛﺮﺩ‪ .‬ﻫﻮﺍ ﺳﺮﺩ ﺑﻮﺩ‪ .‬ﻣﻨﻘﻞ ﭘﺮﺁﺗﺶ ﮔﺪﺍﺧﺘﻪﺍﻱ‬ ‫ﺩﺍﺷﺖ ﻛﻪ ﺍﺗﺎﻕ ﺭﺍ ﮔﺮﻡ ﻣﻲﻛﺮﺩ‪ .‬ﺑﺮﺍﻱ ﻣﺎ ﺍﺯ ﺷﻌﺮﻫﺎﻳﺶ‬ ‫ﺧﻮﺍﻧﺪ‪ .‬ﺳﻪﺗﺎﺭﺵ ﺭﺍ ﺑﺮﺩﺍﺷﺖ ﻭ ﺭﻭﺩﻛﻲ ﻭﺍﺭ ﻧﻮﺍﺧﺖ‪.‬‬ ‫ﺩﻭ ﺩﺍﻧﮓ ﺻﺪﺍﻱ ﮔﺮﻡ ﻭ ﮔﻮﺷﻨﻮﺍﺯ ﻭ ﮔﻮﻳﺶ ﻭﻳﮋﻩﺍﻱ‬ ‫ﺩﺍﺷﺖ‪ .‬ﻣﻦ ﻣﺒﻬﻮﺕ ﺷﻌﺮﻫﺎﻳﺶ‪ ،‬ﺷﻌﺮ ﺧﻮﺍﻧﺪﻧﺶ‪،‬‬ ‫ﺳﻪﺗﺎﺭ ﻧﻮﺍﺧﺘﻨﺶ ﻭ ﺣﺎﻝ ﻭ ﻫﻮﺍﻱ ﺷﺎﻋﺮﺍﻧﻪﺍﺵ ﺷﺪﻩ‬ ‫ﺑﻮﺩﻡ‪ .‬ﺑﺮﺍﻱ ﺁﻥ ﻛﻪ ﻣﺰﺍﺣﻢ ﺧﻠﻮﺕ ﻭ ﺗﻨﻬﺎﻳﻲﺍﺵ ﻧﺸﻮﻳﻢ‬ ‫ﺍﺟﺎﺯﻩ ﺧﻮﺍﺳﺘﻴﻢ ﻭ ﺭﻓﺘﻴﻢ‪.‬ﻳﻚ ﺷﺐ ﺑﻬﺎﺭ ﻫﻢ ﻛﻪ ﻫﻮﺍ‬ ‫ﺧﻮﺏ ﺑﻮﺩ‪ ،‬ﺑﺮﺍﺩﺭﻡ ﺷﻬﺮﻳﺎﺭ ﺭﺍ ﺑﻪ ﺧﺎﻧﻪﻣﺎﻥ ﺩﻋﻮﺕ ﻛﺮﺩ‬ ‫ﻛﻪ ﺑﺎ ﻛﻤﺎﻝ ﻟﻄﻒ ﭘﺬﻳﺮﻓﺖ ﻭ ﺁﻣﺪ‪ .‬ﺩﺭ ﻫﻮﺍﻱ ﺁﺯﺍﺩ ﺩﺭ‬ ‫ﺣﻴﺎﻁ ﻛﻨﺎﺭ ﺣﻮﺽ ﻭ ﺑﺎﻏﭽﻪ ﻧﺸﺴﺘﻴﻢ‪ .‬ﭼﻨﺪ ﺳﺎﻋﺘﻲ‬ ‫ﻣﺎﻧﺪ ﭼﻨﺪ ﺗﺎ ﺍﺯ ﺷﻌﺮﻫﺎﻱ ﻣﺮﺍ ﺩﻳﺪ ﻭ ﻧﻈﺮ ﺩﺍﺩ‪ .‬ﻣﻦ ﺩﺭ ﺁﻥ‬ ‫ﺯﻣﺎﻥ ﺩﺭ ﺷﻌﺮﻡ ﺑﻪ ﺷﻌﺮ ﺷﻬﺮﻳﺎﺭ ﺍﺷﺎﺭﻩ ﻛﺮﺩﻡ ﺍﺯ ﺟﻤﻠﻪ‬

‫ﺩﺭ ﺷﻌﺮﻱ ﺑﻪ ﻋﻨﻮﺍﻥ »ﭼﺮﺍ ﺧﺎﻣﻮﺷﻲ« ﻛﻪ ﺩﺭ ﺳﺎﻝ‬ ‫‪ 1316‬ﺳﺮﻭﺩﻩﺍﻡ ﮔﻔﺘﻪﺍﻡ‪:‬‬ ‫ﭼﻪ ﺧﻮﺵ ﻓﺮﻣﻮﺩ ﺷﻬﺮﻳﺎﺭ‪ ،‬ﺍﻳﻦ ﻣﻀﻤﻮﻥ ﺷﻴﻮﺍ ﺭﺍ‬ ‫ﮔﺮﺍﻣﻲ ﺷﺎﻋﺮ ﻣﺤﺒﻮﺏ ﻭ ﺍﺳﺘﺎﺩ ﺳﺨﻨﺪﺍﻧﻢ‬ ‫ﻣﺮﺍ ﻫﺮﭼﻪ ﺑﻮﺩ ﺩﺭ ﺳﺮ ﻫﻮﺍﻱ ﺻﺤﺒﺖ ﭘﻴﺮﺍﻥ‬ ‫ﺩﻝ ﺑﻲﭘﻴﺮ ﻣﻦ ﮔﻮﻳﺪ ﻫﻮﺍ ﺧﻮﺍﻩ ﺟﻮﺍﻧﺎﻧﻢ‬ ‫ﺍﺷﺎﺭﻩ ﺑﻪ ﺍﻳﻦ ﺑﻴﻦ ﺷﻬﺮﻳﺎﺭ‪:‬‬ ‫ﺍﮔﺮﭼﻪ ﻣﻦ ﺻﺤﺒﺖ ﭘﻴﺮﻡ ﻫﻮﺱ ﺍﺳﺖ‬ ‫ﺩﻝ ﺑﻲﭘﻴﺮ ﺟﻮﺍﻥ ﺩﺍﺭﺩ ﺩﻭﺳﺖ‬ ‫ﻣﺪﺗﻰ ﺩﺭ ﺗﻬﺮﺍﻥ ﺩﺭ ﺑﺎﻧﻚ ﻛﺸﺎﻭﺭﺯﻱ ﻫﻢ ﻛﻪ ﺍﺗﺎﻗﻲ‬ ‫ﺩﺍﺷﺖ ﻫﻤﭽﻨﺎﻥ ﺑﻪ ﺩﻳﺪﺍﺭﺵ ﻣﻲﺭﻓﺘﻢ ﺗﺎ ﻭﻗﺘﻲ ﻛﻪ ﺍﻭ‬ ‫ﻛﻮچ ﻛﺮﺩ ﺑﻪ ﺗﺒﺮﻳﺰ‪.‬‬ ‫ﺟﻨﺎﺏ ﻛﺴﻤﺎﻳﻲ ﺍﺯ ﭘﺎﻳﺎﻥ ﺩﻭﺭﻩ ﺩﺍﻧﺶﺁﻣﻮﺯﻱ‬ ‫ﭘﺮﺛﻤﺮﺗﺎﻥ ﺩﺭ ﺩﺑﻴﺮﺳﺘﺎﻥ ﻭ ﺩﺍﺭﺍﻟﻔﻨﻮﻥ ﺑﮕﻮﻳﻴﺪ‪.‬‬ ‫ﺩﺑﻴﺮﺳﺘﺎﻥ ﺩﺍﺭﺍﻟﻔﻨﻮﻥ ﺩﺭ ﺳﺎﻝ ‪ 1317‬ﺑﻪ ﻣﻨﺎﺳﺒﺖ ﭘﺎﻳﺎﻥ‬ ‫ﺩﻭﺭﻩ ﺳﻪ ﺳﺎﻟﻪ ﻣﺘﻮﺳﻄﻪ ﺭﺷﺘﻪ ﺍﺩﺑﻲ ﺩﺍﻧﺶﺁﻣﻮﺯﺍﻧﺶ‬ ‫ﺟﺸﻦ ﻛﻮﭼﻜﻲ ﺑﺎ ﺣﻀﻮﺭ ﺍﺳﺘﺎﺩﺍﻥ ﻭ ﭘﺪﺭﺍﻥ ﺷﺎﮔﺮﺩﺍﻥ‬ ‫ﺗﺮﺗﻴﺐ ﺩﺍﺩ‪ .‬ﺁﻗﺎﻱ ﺍﻣﻴﺮﺧﻴﺰﻱ ﻛﻪ ﺍﺯ ﺷﺨﺼﻴﺖﻫﺎﻱ‬ ‫ﺍﺩﺑﻲ ﻭ ﺳﻴﺎﺳﻲ ﺁﺫﺭﺁﺑﺎﺩﮔﺎﻥ ﻭ ﺍﺯ ﺁﺯﺍﺩﻳﺨﻮﺍﻫﺎﻥ ﻭ‬ ‫ﺩﺳﺖﺍﻧﺪﺭﻛﺎﺭﺍﻥ ﺩﻭﺭﻩ ﻣﺸﺮﻭﻃﻴﺖ ﻭ ﺩﺭ ﺁﻥ ﺗﺎﺭﻳﺦ ﻣﺪﻳﺮ‬ ‫ﺩﺑﻴﺮﺳﺘﺎﻥ ﺩﺍﺭﺍﻟﻔﻨﻮﻥ ﺑﻮﺩ ﺳﺨﻨﺎﻧﻲ ﮔﻔﺖ‪ .‬ﺷﺎﮔﺮﺩﺍﻥ ﻭ‬ ‫ﺷﺎﮔﺮﺩﺍﻥ ﺑﺮﮔﺰﻳﺪﻩ ﺁﻥ ﺩﻭﺭﻩ ﺍﺯ ﺟﻤﻠﻪ ﻣﺤﻤﺪ ﻗﺎﺿﻲ‬ ‫ﻛﻪ ﺑﻌﺪ ﻣﺘﺮﺟﻢ ﺯﺑﺮﺩﺳﺘﻲ ﺷﺪ ﻭ ﻛﺘﺎﺏﻫﺎﻱ ﺯﻳﺎﺩﻱ ﺑﻪ‬ ‫ﺗﺮﺟﻤﻪ ﺍﻭ ﺑﻪ ﭼﺎپ ﺭﺳﻴﺪﻧﺪ ﻭ ﻓﺮﻭﺧﺘﻪ ﺷﺪﻧﺪ‪ ،‬ﻧﻮﺷﺘﻪﻫﺎ‬ ‫ﻭ ﺷﻌﺮﻫﺎﻱﺷﺎﻥ ﺭﺍ ﺧﻮﺍﻧﺪﻧﺪ‪ ،‬ﻣﻦ ﻫﻢ ﺷﻌﺮ ﺩﺍﺭﺍﻟﻔﻨﻮﻥ‬ ‫ﺭﺍ ﻛﻪ ﺳﺮﻭﺩﻩ ﺑﻮﺩﻡ ﺧﻮﺍﻧﺪﻡ‪ .‬ﺁﻗﺎﻱ ﺍﻣﻴﺮﺧﻴﺰﻱ ﻛﻪ ﺷﻌﺮ‬ ‫»ﺳﻴﻞ« ﻣﺮﺍ ﻫﻢ ﺧﻮﺍﻧﺪﻩ ﺑﻮﺩ ﻣﺮﺍ ﺗﺸﻮﻳﻖ ﻛﺮﺩ ﻭ ﺑﻪ‬ ‫ﺍﻳﻦ ﺗﺮﺗﻴﺐ ﭘﺮﻭﻧﺪﻩ ﺩﺍﻧﺶﺁﻣﻮﺯﻱ ﻣﻦ ﺩﺭ ﺩﺑﻴﺮﺳﺘﺎﻥ‬ ‫ﺩﺍﺭﺍﻟﻔﻨﻮﻥ ﺑﺴﺘﻪ ﺷﺪ‪.‬‬ ‫ﺑﻌﺪ ﭼﻪ ﻛﺮﺩﻳﺪ؟‬ ‫ﺩﺭ ﺩﺍﻧﺸﻜﺪﻩ ﺣﻘﻮﻕ ﻭ ﻋﻠﻮﻡ ﺳﻴﺎﺳﻲ ﻭ ﺍﻗﺘﺼﺎﺩﻱ‬ ‫ﺩﺍﻧﺸﮕﺎﻩ ﺗﻬﺮﺍﻥ ﻧﺎﻡ ﻧﻮﺷﺘﻢ ﻭ ﺑﻪ ﺗﺤﺼﻴﻼﺗﻢ ﺍﺩﺍﻣﻪ‬ ‫ﺩﺍﺩﻡ‪.‬‬ ‫ﺍﺯ ﺍﺳﺘﺎﺩﺍﻥ ﺩﺍﻧﺸﻜﺪﻩ ﺣﻘﻮﻕ ﻫﻢ ﺍﮔﺮ‬ ‫ﺧﺎﻃﺮﻩﺍﻱ ﺩﺍﺭﻳﺪ ﺑﻔﺮﻣﺎﻳﻴﺪ‪.‬‬ ‫ﺭﺋﻴﺲ ﺩﺍﻧﺸﻜﺪﻩ ﺣﻘﻮﻕ ﺩﺭ ﺁﻥ ﺯﻣﺎﻥ ﺁﻗﺎﻱ ﺩﻛﺘﺮ‬ ‫ﺷﺎﻳﮕﺎﻥ ﺑﻮﺩ ﻛﻪ ﺑﻌﺪﻫﺎ ﻫﻤﻜﺎﺭ ﺁﻗﺎﻱ ﺩﻛﺘﺮ ﻣﺼﺪﻕ‬ ‫ﺩﺭ ﻧﺨﺴﺖﻭﺯﻳﺮﻱ ﺍﻭ ﺷﺪ‪ .‬ﺍﺳﺘﺎﺩﺍﻥ ﺩﺍﻧﺸﻤﻨﺪ ﻭ‬ ‫ﻧﺎﻣﺪﺍﺭ ﺩﻳﮕﺮﻱ ﻫﻢ ﺑﻮﺩﻧﺪ ﻣﺎﻧﻨﺪ ﺩﻛﺘﺮ ﻣﺘﻴﻦ ﺩﻓﺘﺮﻱ‬ ‫ﻧﺨﺴﺖﻭﺯﻳﺮ ﻭﻗﺖ ﻛﻪ ﺑﺎ ﺍﻳﻦ ﺳﻤﺖ ﻫﻢ ﺑﻪ ﺩﺍﻧﺸﻜﺪﻩ‬ ‫ﻣﻲﺁﻣﺪ ﻭ ﺩﺭﺱ ﻣﻲﺩﺍﺩ‪ .‬ﻋﺒﺪﻩ‪ ،‬ﺁﻗﺎﻱ ﻗﺎﺳﻢﺯﺍﺩﻩ‪ ،‬ﺩﻛﺘﺮ‬ ‫ﻭﻟﻲﺍﷲ ﻧﺼﺮ ﻛﻪ ﺍﺯ ﺩﻛﺘﺮ ﻧﺼﺮ ﺧﺎﻃﺮﻩﻫﺎﻱ ﺷﻨﻴﺪﻧﻲ ﻭ‬ ‫ﺑﻪﻳﺎﺩﻣﺎﻧﺪﻧﻲ ﺩﺍﺭﻡ‬ ‫ﭼﻮﻥ ﻧﻘﻞ ﺍﻳﻦ ﮔﻮﻧﻪ ﺧﺎﻃﺮﺍﺕ ﺗﺎﺭﻳﺦ‬ ‫ﺷﻔﺎﻫﻰ ﻣﻌﺎﺻﺮ ﺍﺳﺖ ﻭ ﺑﻪ ﺷﻨﺎﺧﺖ‬ ‫ﺟﺮﻳﺎﻧﻬﺎﻯ ﺍﺩﺑﻰ‪،‬ﺳﻴﺎﺳﻰ ﻭ ﺍﺟﺘﻤﺎﻋﻰ ﻛﻤﻚ‬ ‫ﻣﻰﻛﻨﺪ‪،‬ﺧﻮﺍﻫﺶ ﻣﻲﻛﻨﻢ ﺑﻔﺮﻣﺎﻳﻴﺪ‪.‬‬ ‫ﺩﻛﺘﺮ ﻭﻟﻲﺍﷲ ﻧﺼﺮ ﺍﺳﺘﺎﺩ ﺟﻐﺮﺍﻓﻴﺎﻱ ﺳﻴﺎﺳﻲ ﺩﺭ ﻛﻼﺱ‬ ‫ﺳﻮﻡ ﺳﻴﺎﺳﻲ ﺩﺍﻧﺸﻜﺪﻩ ﺣﻘﻮﻕ ﻭ ﻣﺮﺩ ﺩﺍﻧﺸﻤﻨﺪ ﻭ‬ ‫ﻣﺤﻘﻖ ﻭ ﺍﻳﺮﺍﻥ ﺩﻭﺳﺘﻲ ﺑﻮﺩ‪ .‬ﺗﻜﻴﻪ ﻛﻼﻣﺶ »ﻋﺰﻳﺰﺍﻥ‬ ‫ﻣﻦ« ﺑﻮﺩ‪.‬ﻳﻚ ﺭﻭﺯ ﻛﻪ ﺟﻐﺮﺍﻓﻴﺎﻱ ﺍﻧﮕﻠﺴﺘﺎﻥ ﺭﺍ ﺩﺭﺱ‬

‫ﻣﻲﺩﺍﺩ ﮔﻔﺖ‪ :‬ﻋﺰﻳﺰﺍﻥ ﻣﻦ‪ ،‬ﺍﻳﻦ ﺟﻠﻤﻪ ﺭﺍ ﻛﻪ‬ ‫ﻣﻲﮔﻮﻳﻢ ﺑﺎ ﺧﻂ ﺩﺭﺷﺖ ﺩﺭ ﺩﻓﺘﺮﺗﺎﻥ ﺑﺎ ﺧﻂ‬ ‫ﺩﺭﺷﺖ ﺑﻨﻮﻳﺴﻴﺪ ﻭ ﺍﺯ ﻣﻦ ﺑﻪﻳﺎﺩﮔﺎﺭ ﺩﺍﺷﺘﻪ‬ ‫ﺑﺎﺷﻴﺪ‪ .‬ﻣﻦ ﺩﺭ ﺍﺛﺮ ﻣﻄﺎﻟﻌﺎﺗﻲ ﻛﻪ ﻛﺮﺩﻩﺍﻡ ﺑﻪ ﺍﻳﻦ‬ ‫ﻧﺘﻴﺠﻪ ﻣﻬﻢ ﺭﺳﻴﺪﻩﺍﻡ ﻛﻪ ﺩﺭ ﺁﻳﻨﺪﻩ ﻧﻪ ﭼﻨﺪﺍﻧﻲ‬ ‫ﺩﻭﺭ ﻛﺸﻮﺭ ﻧﻮﺑﻨﻴﺎﺩ ﺁﻣﺮﻳﻜﺎ ﺟﺎﻧﺸﻴﻦ ﺍﻣﭙﺮﺍﺗﻮﺭﻱ‬ ‫ﻛﻬﻦ ﺳﺎﻝ ﺍﻧﮕﻠﺴﺘﺎﻥ ﺧﻮﺍﻫﺪ ﺷﺪ‪ .‬ﺷﻤﺎ ﺟﻮﺍﻥﻫﺎ‬ ‫ﺍﻳﻦ ﺩﮔﺮﺩﻳﺴﻲ ﺭﺍ ﺑﻪ ﭼﺸﻢ ﺧﻮﺍﻫﻴﺪ ﺩﻳﺪ‪.‬‬ ‫ﻋﺠﺐ ﺍﺳﺘﺎﺩ ﺁﻳﻨﺪﻩﻧﮕﺮﻱ ﺑﻮﺩ‪.‬‬ ‫ﺧﺎﻃﺮﻩ ﺩﻳﮕﺮﻡ ﺍﺯ ﺩﻛﺘﺮ ﻭﻟﻲﺍﷲ ﻧﺼﺮ ﺍﻳﻦ ﺍﺳﺖ‬ ‫ﻛﻪ ﺍﻭ ﺑﻪ ﺯﺑﺎﻥ ﻓﺎﺭﺳﻲ ﻭ ﺩﺭﺳﺖ ﻧﻮﺷﺘﻦ ﺁﻥ‬ ‫ﺧﻴﻠﻲ ﻋﻼﻗﻪ ﺩﺍﺷﺖ‪.‬ﻳﻚ ﺭﻭﺯ ﺩﺭ ﻛﻼﺱ ﻣﺎ‬ ‫ﮔﻔﺖ‪ :‬ﺩﺍﺷﺘﻢ ﺍﺯ ﺧﻴﺎﺑﺎﻥ ﺷﺎﻩﺁﺑﺎﺩ ﻣﻲﮔﺬﺷﺘﻢ‬ ‫ﺩﻳﺪﻡ ﭘﺸﺖ ﺷﻴﺸﻪﻳﻚ ﻣﻐﺎﺯﻩ ﻧﻮﺷﺘﻪﺍﻧﺪ‪ :‬ﺩﺭ‬ ‫ﺍﻳﻨﺠﺎ ﺗﺮﻳﺎﻙ ﺍﻋﻼ ﺑﻪ ﻓﺮﻭﺵ ﻣﻲﺭﺳﺪ‪ .‬ﻣﻲﺩﺍﻧﻴﺪ‬ ‫ﻛﻪ ﻓﺮﻭﺵ ﺗﺮﻳﺎﻙ ﺍﺯﺍﺩ ﺍﺳﺖ‪ .‬ﺭﻓﺘﻢ ﺗﻮﻱ ﻣﻐﺎﺯﻩ‬ ‫ﻭ ﺑﻪ ﺻﺎﺣﺒﺶ ﮔﻔﺘﻢ‪ :‬ﺁﻗﺎ ﺍﻳﻦ ﺗﺮﻳﺎﻙ ﺷﻤﺎ‬ ‫ﻣﺮﺩﻡ ﺍﻳﺮﺍﻥ ﺭﺍ ﻣﻲﻛﺸﺪ ﻭ ﺁﻥ ﺍﻋﻼﻳﻲ ﻛﻪ ﺑﻪ‬ ‫ﺁﻥ ﺻﻮﺭﺕ ﻧﻮﺷﺘﻪﺍﻳﺪ ﻣﺮﺍ ﻣﻲﻛﺸﺪ‪ .‬ﺍﻭ ﻟﺒﺨﻨﺪ‬ ‫ﺯﻧﺎﻥ ﮔﻔﺖ ﺧﺪﺍﻧﻜﻨﺪ ﺁﻗﺎ ﭼﺮﺍ؟ ﮔﻔﺘﻢ ﺷﻤﺎ ﺍﻋﻼﻡ‬ ‫ﺭﺍ ﺑﺎ ﺍﻟﻒ ﻧﻮﺷﺘﻪﺍﻳﺪ ﭼﻮﻥ ﺍﻳﻦ ﻭﺍژﻩ ﻋﺮﺑﻲ ﺍﺳﺖ‬ ‫ﺑﺎﻳﺪ ﺁﺧﺮ ﺁﻥ ﺭﺍ ﻃﺒﻖ ﺩﺳﺘﻮﺭ ﺯﺑﺎﻥ ﻋﺮﺑﻲ ﺑﺎﻳﺎ‬ ‫ﺑﻨﻮﻳﺴﻴﺪ ﻭ ﺑﺎ ﺍﻟﻒ ﺑﺨﻮﺍﻧﻴﺪ‪ .‬ﮔﻔﺖ ﺟﻨﺎﺏ ﺩﻛﺘﺮ‬ ‫ﻭﻟﻲﺍﷲ ﻧﺼﺮ ﻛﻪ ﻣﻦ ﺷﻤﺎ ﺭﺍ ﻣﻲﺷﻨﺎﺳﻢ ﻭ ﺑﻪ‬ ‫ﻋﻠﻢ ﻭ ﺩﺍﻧﺶ ﺷﻤﺎ ﺑﺴﻴﺎﺭ ﺍﺣﺘﺮﺍﻡ ﻣﻲﮔﺬﺍﺭﻡ ﻭ‬ ‫ﺟﺴﺎﺭﺕ ﻣﻲﻛﻨﻢ ﻭ ﻣﻲﮔﻮﻳﻢ ﻣﮕﺮ ﻣﻦ ﻋﺮﺏ‬ ‫ﻫﺴﺘﻢ ﻛﻪ ﺑﺎﻳﺪ ﺍﻋﻼ ﺭﺍ ﻃﺒﻖ ﺩﺳﺘﻮﺭ ﺯﺑﺎﻥ‬ ‫ﻋﺮﺑﻲ ﺑﻨﻮﻳﺴﻢ ﻫﺮ ﻭﺍژﻩﺍﻱ ﻛﻪ ﺍﺯ ﻫﺮ ﺯﺑﺎﻧﻲ ﺑﻪ‬ ‫ﺯﺑﺎﻥ ﻓﺎﺭﺳﻲ ﻭﺍﺭﺩ ﻣﻲﺷﻮﺩ ﺑﺎﻳﺪ ﺑﻪ ﺩﺳﺘﻮﺭ ﺯﺑﺎﻥ‬ ‫ﻓﺎﺭﺳﻲ ﻧﻮﺷﺘﻪ ﺷﻮﺩ ﻧﻪ ﺑﻪ ﺩﺳﺘﻮﺭ ﺁﻥ ﺯﺑﺎﻥ‪.‬‬ ‫ﺩﻳﺪﻡ ﻣﺮﺩ ﺑﻘﺎﻝ‪ ،‬ﺍﻣﺎ ﻣﺮﺩ ﺩﺍﻧﺸﻤﻨﺪﻱ ﺍﺳﺖ ﻭ ﺍﺯ‬ ‫ﻣﻦ ﺩﻛﺘﺮ ﺑﺎﺳﻮﺍﺩﺗﺮ ﻭ ﺍﻳﺮﺍﻥﺩﻭﺳﺖﺗﺮ ﺍﺳﺖ‪ .‬ﻣﺮﺍ‬ ‫ﺑﻪﻳﻚ ﭼﺎﻱ ﻗﻨﺪﭘﻬﻠﻮ ﺩﻋﻮﺕ ﻛﺮﺩ ﺧﻮﺭﺩﻡ ﻭ ﺑﺎ‬ ‫ﻫﻢ ﺩﻭﺳﺖ ﺧﻮﺑﻲ ﺷﺪﻳﻢ‪.‬‬ ‫ﺩﺍﻧﺸﺠﻮﻳﺎﻥ ﺩﺍﻧﺸﻜﺪﻩﻫﺎ ﻓﺮﺻﺖ‬ ‫ﺑﻴﺸﺘﺮﻱ ﺩﺍﺭﻧﺪ ﺷﻤﺎ ﺩﺭ ﻭﻗﺖ ﺁﺯﺍﺩﺗﺎﻥ‬ ‫ﭼﻪ ﻛﺮﺩﻳﺪ؟‬ ‫ﻳﻚ ﺩﺑﻴﺮﺳﺘﺎﻥ ﺩﺧﺘﺮﺍﻧﻪ ﺑﻪ ﻧﺎﻡ ﺳﺮﻭﺵ ﺁﮔﻬﻲ‬ ‫ﻛﺮﺩﻩ ﺑﻮﺩ ﻛﻪ ﺍﺯ ﺩﺍﻧﺸﺠﻮﻳﺎﻥ ﺩﺍﻧﺸﻜﺪﻩﻫﺎ ﻣﻌﻠﻢ‬ ‫ﻧﻴﻤﻪﻭﻗﺖ ﻣﻲﺧﻮﺍﻡ‪ .‬ﻣﻦ ﺑﺮﺍﻱ ﻛﻪ ﻫﺰﻳﻨﻪ‬ ‫ﺗﺤﺼﻴﻠﻢ ﺭﺍ ﺧﻮﺩﻡ ﺗﺄﻣﻴﻦ ﻛﻨﻢ ﺑﺎ ﺣﻘﻮﻕ ﻣﺎﻫﻲ‬ ‫ﭘﻨﺠﺎﻩ ﺭﻳﺎﻝ ﻣﻌﻠﻢ ﺍﺩﺑﻴﺎﺕ ﺁﻥ ﺩﺑﻴﺮﺳﺘﺎﻥ ﺷﺪﻡ ﻭ‬ ‫ﭘﺲ ﺍﺯ ﻳﻜﻲ‪ ،‬ﺩﻭ ﻣﺎﻩ ﻛﻪ ﺩﻳﺪﻧﺪ ﻣﻌﻠﻢ ﺑﺎﺳﻮﺍﺩ ﻭ‬ ‫ﺳﺮ ﺑﻪ ﺯﻳﺮﻭ ﺧﻮﺑﻲ ﻫﺴﺘﻢ ﺗﺎﺭﻳﺦ ﻭ ﺟﻐﺮﺍﻓﻴﺎﻳﻲ‬ ‫ﻭ ﺯﺑﺎﻥ ﺭﺍ ﻫﻢ ﺍﺯ ﻛﻼﺱ ‪ 8‬ﺗﺎ ‪ 11‬ﺑﺎ ﺍﺿﺎﻓﻪ‬ ‫ﺣﻘﻮﻕ ﺑﻪ ﻣﻦ ﺩﺍﺩﻧﺪ ﻛﻪ ﺣﻘﻮﻗﻢ ﺷﺪ ﻣﺎﻫﻲ‬ ‫‪ 120‬ﺭﻳﺎﻝ‪ .‬ﺩﻭ ﺳﺎﻝ ﺗﺎ ﭘﺎﻳﺎﻥ ﺗﺤﺼﻴﻼﺗﻢ ﺩﺭ‬ ‫ﺩﺍﻧﺸﻜﺪﻩ ﺣﻘﻮﻕ ﺩﺭ ﺁﻥ ﺩﺑﻴﺮﺳﺘﺎﻥ ﺩﺭﺱ ﺩﺍﺩﻡ‪.‬‬ ‫ﺷﻌﺮ ﺑﻠﻨﺪ »ﺍﺷﻚ ﺭﻭﺡ« ﻛﻪ ﻣﻄﻠﻌﺶ ﺍﻳﻦ‬ ‫ﺍﺳﺖ‪:‬‬ ‫ﺩﺭ ﺩﺑﻴﺮﺳﺘﺎﻥ ﻧﺴﻮﺍﻥ ﺳﺮﻭﺵ‬ ‫ﻳﻚ ﺩﻭﺱ ﺳﺎﻟﻲ‪ ،‬ﺑﺎ ﻛﻤﺎﻝ ﺟﺪ ﻭ ﻫﻮﺵ‬ ‫ﺩﺧﺘﺮﺍﻥ ﺭﺍ ﺩﺭﺱ ﻣﻦ ﺁﻣﻮﺧﺘﻢ‬ ‫ﺧﺮﻣﻦ ﺟﻬﻞ ﻭ ﺑﻄﺎﻟﺖ ﺳﻮﺧﺘﻢ‬ ‫ﻳﺎﺩﮔﺎﺭ ﺁﻥ ﺯﻣﺎﻥ ﺍﺳﺖ‪.‬‬

‫ﮔﻔﺘﮕﻮ‬

‫ﺩﻭﺭﻩ ﺟﺪﻳﺪ‪/‬ﺷﻤﺎﺭﻩ ‪ 9‬ﻭ ‪)10‬ﭘﻴﺎﭘﻲ‪39‬ﻭ‪ /(40‬ﺳﺎﻝ ﺳﻮﻡ‪/‬ﻧﻮﺭﻭﺯ‪88‬‬

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‫ﺩﻭﺷﻨﺒﻪﻫﺎ ﺩﺭ ﺧﺎﻧﻪ ﻛﺴﻤﺎﻳﻰ‬ ‫ﻣﺼﺎﺣﺒﻪ ﺑﺎ ﺍﺳﺘﺎﺩ ﻋﻠﻲ ﻛﺴﻤﺎﺋﻲ ﭘﺪﺭ ﺩﻭﺑﻼژ ﺍﻳﺮﺍﻥ‬ ‫ﻣﺤﻤﺪ ﻋﺰﻳﺰﻱ‪ /‬ﻣﺮﺟﺎﻥ ﺟﻮﺍﺩﻳﺎﻥ‬ ‫ﻗﺴﻤﺖ ﺍﻭﻝ‬ ‫ﻣﻘﺪﻣﻪ‬

‫ﺑﺴﺎ ﺷﺐ ﻛﻪ ﺗﺎ ﺭﻭﺷﻨﺎﻳﻲ ﺳﺤﺮ‬ ‫ﻧﻬﺎﺩﻡ ﺑﻪ ﺯﺍﻧﻮﻱ ﺍﻧﺪﻳﺸﻪ ﺳﺮ‬ ‫ﻛﻪ ﺍﺯ ﻋﻤﺮ ﺭﻓﺘﻪ ﺑﻪ ﺳﺨﺘﻲ‪ ،‬ﻣﺮﺍ‬ ‫ﺑﻪ ﺟﺰﻳﺎﺩ ﻭ ﺣﺴﺮﺕ‪ ،‬ﭼﻪ ﻣﺎﻧﺪﻩ ﺑﻪ ﺟﺎ‬ ‫ﻫﺮ ﺁﻥﻳﺎﺩ ﺑﻮﺩﻱ ﻛﻪ ﺩﺭﻳﺎ ﺑﻮﺩ‬ ‫ﮔﺬﺷﺖ ﺍﺯ ﺑﺮ ﺩﻳﺪﻩ‪ ،‬ﭼﻮﻥ ﺍﺑﺮ ﻭ ﺩﻭﺩ‬ ‫ﺍﺯ ﻛﺘﺎﺏ »ﻓﺮﺩﺍ«‬ ‫ﺧﻮﺷﺤﺎﻟﻴﻢ ﻛﻪ ﺍﻣﺮﻭﺯ ﺭﺳﻤﺎً ﺗﻮﺍﻧﺴﺘﻴﻢ‬ ‫ﺧﺪﻣﺖ ﺍﺳﺘﺎﺩ ﻋﻠﻲ ﻛﺴﻤﺎﻳﻲ‪ ،‬ﭘﺪﺭ ﺩﻭﺑﻼژ‬ ‫ﺍﻳﺮﺍﻥ ﺑﺮﺳﻴﻢ‪ :‬ﺷﺎﻋﺮ ﺑﺴﻴﺎﺭ ﻓﻬﻴﻢ ﻭ‬ ‫ﺷﻴﺮﻳﻦﮔﻔﺘﺎﺭ ﻭ ﻧﻐﺮ ﮔﻔﺘﺎﺭ‪...‬‬

‫ﺟﻨﺎﺏ ﺍﺳﺘﺎﺩ ﺍﻳﻦ ﺟﻮﺭﻱ ﻛﻪ ﻣﻦ ﺗﻮﺭﻗﻲ‬ ‫ﻛﺮﺩﻡ ﻛﺘﺎﺏ »ﻓﺮﺩﺍ« ﻭ »ﻣﺼﺪﻕ ﻧﺎﻣﻪ«‬ ‫ﺷﻤﺎ ﺭﺍ ﻣﺘﻮﺟﻪ ﺷﺪﻡ ﻛﻪ ﺷﻤﺎ ﻫﻤﺎﻥ‬ ‫ﻃﻮﺭﻱ ﻛﻪ ﺍﻳﺮﺝ ﻣﻴﺮﺯﺍ ﮔﻔﺖ ﺷﺎﻋﺮﻱ‬ ‫ﻫﺴﺘﻴﺪ ﻛﻪ ﻃﺒﻊ ﺭﻭﺍﻥ ﺩﺍﺭﻳﺪ‪،‬ﻳﻌﻨﻲ ﺍﺯ‬

‫ﭼﻮﻥ ﻫﻤﻪ ﭼﻴﺰ ﺭﺍ ﺑﺎﻳﺪ ﺑﻪ ﻧﺎﻡ ﺧﺪﺍ ﺁﻏﺎﺯ ﻛﺮﺩ‪ ،‬ﻣﻦ‬ ‫ﻫﻢ ﺑﻪ ﻧﺎﻡ ﺧﺪﺍ ﺁﻏﺎﺯ ﻣﻲﻛﻨﻢ‪.‬ﻣﺘﺸﻜﺮﻡ‪.‬ﭘﻴﺶ ﺍﺯ‬ ‫ﮔﻔﺘﮕﻮﻱﻣﺎﻥ ﺳﭙﺎﺳﮕﺰﺍﺭﻱ ﻣﻲﻛﻨﻢ ﻛﻪ ﺯﺣﻤﺖ‬ ‫ﻛﺸﻴﺪﻳﺪ ﻭ ﺑﻪ ﺩﻳﺪﻥ ﻣﻦ ﮔﻮﺷﻪﻧﺸﻴﻦ ﺍﻭﻣﺪﻳﺪ ﻭ ﺍﺯ‬ ‫ﻟﻄﻔﻲ ﻛﻪ ﻛﺮﺩﻳﺪ‪ .‬ﺍﺯ ﺻﻤﻴﻢ ﻗﻠﺐ ﺳﭙﺎﺳﮕﺰﺍﺭﻡ‪ .‬ﺍﺯ ﺧﺎﻧﻢ‬ ‫ﺟﻮﺍﺩﻳﺎﻥ ﺑﺎﺯ ﻫﻢ ﺗﺸﻜﺮ ﻣﻲﻛﻨﻢ ﻛﻪ ﻟﻄﻒ ﻛﺮﺩﻧﺪ ﻭ‬ ‫ﻛﺘﺎﺏ »ﻧﻬﺞﺍﻟﺒﻼﻏﻪ« ﺑﻪ ﺗﺮﺟﻤﻪ ﺧﻮﺏ ﺍﺳﺘﺎﺩ ﺍﺑﻮﺍﻟﻘﺎﺳﻢ‬ ‫ﭘﺎﻳﻨﺪﻩ ﺭﺍ ﺑﻪ ﻣﻦ ﺗﺤﻔﻪ ﺩﺍﺩﻧﺪ‪.‬‬ ‫ﻣﻦ ﺩﺭ ﺩﻳﺪﺍﺭ ﻛﻮﺗﺎﻫﻲ ﻛﻪ ﺩﺭ ﻣﻄﺐ ﺩﻛﺘﺮ ﺍﺗﻔﺎﻕ ﺍﻓﺘﺎﺩ ﺑﺎ‬ ‫ﺍﻳﺸﻮﻥ ﺁﺷﻨﺎ ﺷﺪﻡ‪ .‬ﺍﻳﺸﻮﻥ ﺑﺎ ﻣﺎﺩﺭﺷﻮﻥ ﺑﻪ ﻣﻄﺐ ﺁﻗﺎﻱ‬ ‫ﺩﻛﺘﺮ ﺣﺠﺘﻲ ﺍﻭﻣﺪﻩ ﺑﻮﺩﻧﺪ‪ ،‬ﻣﻦ ﻫﻢ ﺑﺮﺍﻱ ﭼﻜﺎپ ﺩﻛﺘﺮ‬ ‫ﻛﻪ ﭘﺰﺷﻚ ﻣﻌﺎﻟﺠﻢ ﺑﻮﺩﻡ‪ .‬ﻫﻤﻮﻥ ﺟﺎ ﺁﺷﻨﺎﻳﻲ ﺍﺩﺑﻲ‬ ‫ﻭ ﻣﻄﺒﻮﻋﺎﺗﻲ ﻣﺎ ﺷﺮﻭﻉ ﺷﺪ ﻭ ﻧﺘﻴﺠﻪ ﺍﻳﻦ ﻫﻤﻜﺎﺭﻱ‬ ‫ﺻﻤﻴﻤﺎﻧﻪ ﺍﺩﺑﻲ ﻭ ﻣﻄﺒﻮﻋﺎﺗﻲ ﻛﻪ ﺧﺎﻧﻢ ﺟﻮﺍﺩﻳﺎﻥ ﺑﺎ‬ ‫ﻛﻤﺎﻝ ﻟﻄﻒ ﻭ ﺣﻮﺻﻠﻪ ﺍﻧﺠﺎﻡ ﻣﻲﺩﻫﻨﺪ ﺑﺎﻋﺚ ﺷﺪ ﻛﻪ‬ ‫ﻣﻦ ﺍﻓﺘﺨﺎﺭ ﺁﺷﻨﺎﻳﻲ ﺑﺎ ﺷﻤﺎ ﻧﻮﻳﺴﻨﺪﻩ ﺩﺍﻧﺸﻤﻨﺪ ﻭ ﺳﺮﺩﺑﻴﺮ‬ ‫ﻣﺠﻠﻪ ﺭﻭﺩﻛﻲ ﺭﺍ ﭘﻴﺪﺍ ﻛﻨﻢ ﻭ ﺁﺭﺯﻭﻣﻨﺪﻡ ﻫﻤﭽﻨﺎﻥ‬ ‫ﺍﺩﺍﻣﻪﻳﺎﺑﺪ‪ .‬ﺍﻛﻨﻮﻥ ﺍﮔﺮ ﺍﺯ ﮔﺬﺷﺘﻪ ﺩﻭﺭ ﻣﻦ ﺑﺨﻮﺍﻫﻴﻢ ﺑﺎﻳﺪ‬ ‫ﺍﺯ ﺗﻮﻟﺪﻡ ﺁﻏﺎﺯ ﻛﻨﻢ‪.‬‬ ‫ﺑﻠﻪ ﺧﻮﺷﺤﺎﻝ ﻣﻲﺷﻮﻳﻢ‪،‬ﺑﻔﺮﻣﺎﻳﻴﺪ!‬ ‫ﭘﺪﺭ ﻭ ﻣﺎﺩﺭ ﻭ ﭼﻬﺎﺭ ﺑﺮﺍﺩﺭ ﻭﻳﻚ ﺧﻮﺍﻫﺮﻡﻳﻚ ﺧﺎﻧﻮﺍﺩﻩ‬ ‫ﻛﻮﭼﻚ ﻫﻔﺖﻧﻔﺮﻱ ﺑﻮﺩﻳﻢ ﻭ ﻣﻦ ﻛﻮﭼﻚﺗﺮﻳﻦ ﺑﺮﺍﺩﺭ‬ ‫ﻭ ﺍﺯ ﻫﻤﻪ ﺧﺮﺩﺳﺎﻝﺗﺮ ﺑﻮﺩﻡ‪ ،‬ﭘﺪﺭ‪،‬ﺑﺎﺯﺭﮔﺎﻥ ﻭ ﻣﺮﺩﻱ ﺩﺭ‬ ‫ﻋﻴﻦ ﺣﺎﻝ ﺑﺴﻴﺎﺭ ﻣﺬﻫﺒﻲ ﻭ ﺑﺴﻴﺎﺭ ﺍﻳﺮﺍﻥ ﺩﻭﺳﺖ ﺑﻮﺩ‪.‬‬ ‫ﭼﻨﺎﻥ ﻛﻪ ﺩﺭ ﻗﻴﺎﻡ ﺟﻨﮕﻞ ﻣﻴﺮﺯﺍﻛﻮﭼﻚﺧﺎﻥ ﺩﺭ ﻓﻮﻣﻦ‬ ‫ﻫﻤﺮﺍﻩ ﺍﻭ ﺗﻔﻨﮓ ﺑﻪ ﺩﻭﺵ ﮔﺮﻓﺖ ﻭ ﺩﺭ ﻓﺘﺢ ﺗﻬﺮﺍﻥ‬ ‫ﻫﻢ ﺷﺮﻛﺖ ﻛﺮﺩ‪.‬ﻳﻚ ﺑﺎﺭ ﻫﻢ ﻭﻗﺘﻲ ﺧﻮﺍﺏ ﺩﻳﺪ ﻛﻪ‬ ‫ﺑﺎﻳﺪ ﭘﻴﺎﺩﻩ ﺑﻪ ﻛﺮﺑﻼ ﺑﺮﻭﺩ ﻭ ﺗﺠﺎﺭﺗﺨﺎﻧﻪﺍﺵ ﺭﺍ ﺩﺭ ﺑﺎﺯﺍﺭ‬ ‫ﺗﻬﺮﺍﻥ ﺑﻪ ﺷﺎﮔﺮﺩﺵ ﺳﭙﺮﺩ ﻭ ﭘﻴﺎﺩﻩ ﺑﻪ ﻛﺮﺑﻼ ﺑﻪ ﺯﻳﺎﺭﺕ‬ ‫ﺣﺮﻡ ﺣﻀﺮﺕ ﺍﻣﺎﻡ ﺣﺴﻴﻦ )ﻉ( ﺭﻓﺖ ﻭ ﻫﻢ ﺩﺭ ﻣﻬﺎﺟﺮﺕ‬ ‫ﻣﺪﺭﺱ ﺑﻪ ﻛﺸﻮﺭ ﻋﺜﻤﺎﻧﻲ ﻫﻤﺮﺍﻩ ﻭ ﺩﺭ ﺷﻤﺎﺭ ﻣﻬﺎﺟﺮﺍﻥ‬ ‫ﺑﻮﺩ‪ .‬ﺩﺭ ﺍﻳﻦ ﺳﻔﺮ ﻣﻬﺎﺟﺮﺗﻲ‪،‬ﺩﺭ ﻛﺮﻧﺪ ﻛﺮﺩﺳﺘﺎﻥﻳﻚ‬ ‫ﺷﺐ ﻣﺎﺩﺭﻡ ﺭﺍ ﺑﻪ ﺧﻮﺍﺏ ﺩﻳﺪ ﻭ ﺑﻪ ﺍﻭ ﮔﻔﺖ ﻭﻗﺘﻲ‬ ‫ﻣﻦ ﺑﻪ ﺳﻔﺮ ﻣﻲﺭﻓﺘﻢ ﺷﻤﺎ ﺑﺎﺭﺩﺍﺭ ﺑﻮﺩﻳﺪ‪،‬ﭼﻪ ﺷﺪ؟ ﭼﻪ‬ ‫ﻛﺮﺩﻳﺪ؟ ﺍﺯ ﺑﺎﺭﺗﺎﻥ ﺑﻪ ﺳﻼﻣﺖ ﻓﺎﺭﻍ ﺷﺪﻳﺪ؟ ﻣﺎﺩﺭ ﻫﻢ‬ ‫ﺩﺭ ﺧﻮﺍﺏ ﺑﻪ ﺍﻭ ﮔﻔﺘﻪ ﺑﻮﺩ ﺑﻠﻪ ﻳﻚ ﭘﺴﺮ ﺑﻪ ﺩﻧﻴﺎ ﺁﻭﺭﺩﻡ ﻭ‬ ‫ﻫﻤﺎﻥﻃﻮﺭ ﻛﻪ ﺁﺭﺯﻭ ﺩﺍﺷﺘﻴﻢ ﭘﺴﺮﻱ ﺑﻪ ﻧﺎﻡ ﻋﻠﻲ ﺩﺍﺷﺘﻪ‬ ‫ﺑﺎﺷﻴﻢ ﺍﺳﻢ ﺍﻭ ﺭﺍ ﮔﺬﺍﺷﺘﻢ ﻋﻠﻲ‪ ،‬ﭘﺪﺭﻡ ﺑﻴﺪﺍﺭ ﻣﻲﺷﻮﺩ ﻭ‬ ‫ﭘﺸﺖ ﻗﺮﺁﻥ ﻫﻤﺮﺍﻫﺶﻳﺎﺩﺩﺍﺷﺖ ﻣﻲﻛﻨﺪ ﻭ ﻭﻗﺘﻲ ﺑﻪ‬ ‫ﺗﻬﺮﺍﻥ ﻣﻲﺁﻳﺪ ﺗﺎﺭﻳﺦ ﺗﻮﻟﺪ ﻣﺮﺍ ﺩﺭ ﻗﺮﺁﻥ ﻣﺎﺩﺭﻡ ﻣﻲﺑﻴﻨﺪ‬

‫ﻋﻜﺲ‪:‬ﺳﺎﻣﺎﻥ ﺍﻗﻮﺍﻣﻰ‬

‫ﺑﻲﺗﺮﺩﻳﺪﻳﻜﻲ ﺍﺯ ﺁﻓﺖﻫﺎﻱ ﺑﺰﺭگ ﺭﻭﺯﮔﺎﺭ‬ ‫ﻣﺎ‪ ،‬ﺷﺘﺎﺏﺯﺩﮔﻲ ﻭ ﻋﺪﻡ ﺗﺄﻣﻞ ﺩﺭ ﺍﻃﺮﺍﻑ‬ ‫ﻭ ﻧﺪﻳﺪﻥ ﻭ ﻧﺸﻨﺎﺧﺘﻦ ﺍﺳﺖ‪ .‬ﻧﺸﺎﺧﺘﻦ‬ ‫ﭼﻴﺰﻫﺎﻱ ﺑﺎ ﺍﺭﺯﺷﻲ ﻛﻪ ﻫﺴﺘﻨﺪ ﻭ ﭼﻬﺮﻩ ﺍﺯ‬ ‫ﻣﺎ ﭘﻮﺷﺎﻧﺪﻩﺍﻧﺪ ﻭﻳﺎ ﺍﮔﺮ ﻫﻢ ﻧﭙﻮﺷﺎﻧﺪﻩﺍﻧﺪ ﻣﺎ‬ ‫ﺭﺍ ﭼﺸﻢ ﺩﻳﺪﻥ ﺁﻧﻬﺎ ﻧﻴﺴﺖ ﻛﻪ ﭼﺸﻢﻫﺎﻣﺎﻥ‬ ‫ﺍﺯ ﺁﻥ ﻟﻮﻥ ﻛﻪ ﺑﻴﻬﻘﻰ ﮔﻔﺖ‪،‬ﻧﺪﻳﺪﻩﺍﻥ ﻻﺑﺪ‪...‬‬ ‫ﺑﺎ ﺍﺳﺘﺎﺩ ﻋﻠﻲ ﻛﺴﻤﺎﻳﻲ ﻛﻪ ﻫﻢ ﺷﺎﻋﺮ ﺍﺳﺖ‬ ‫ﻭ ﻫﻢ ﺑﺎﺯﻳﮕﺮ ﻭ ﻫﻢ ﻣﺘﺮﺟﻢ ﻭ ﻫﻢ ﭘﺪﺭ ﺩﻭﺑﻼژ‬ ‫ﺍﻳﺮﺍﻥ ﻭ ﺍﺯ ﻫﻤﻪ ﻣﻬﻤﺘﺮ ﺍﻧﺴﺎﻧﻲ ﻭﺍﺭﺳﺘﻪ ﺑﺎ‬ ‫ﻭﺟﺪﺍﻧﻲ ﺑﻴﺪﺍﺭ ﻭ ﺳﺮﻱ ﭘﺮﺷﻮﺭ ﻭ ﺩﻟﻲ ﮔﺮﻡ ﻭ‬ ‫ﺑﺴﻴﺎﺭ ﻣﻬﺮﺑﺎﻥ ﻭ ﺻﻤﻴﻤﻲ‪ ،‬ﺍﺯ ﻃﺮﻳﻖ ﺳﺮﻛﺎﺭ‬ ‫ﺧﺎﻧﻢ ﻣﺮﺟﺎﻥ ﺟﻮﺍﺩﻳﺎﻥ ﻛﻪ ﺧﻮﺩ ﺍﻧﺴﺎﻧﻲ‬ ‫ﻓﺎﺿﻞ ﻭ ﻓﺮﻫﻨﮓﺩﻭﺳﺖ ﻭ ﺍﻫﻞ ﻗﻠﻢ ﻭ ﺍﺩﺏ‬ ‫ﻭ ﻣﻌﺮﻑ ﺍﺳﺖ‪ ،‬ﺁﺷﻨﺎ ﺷﺪﻡ‪.‬‬ ‫ﺍﻳﺸﺎﻥ ﭼﻨﺪﻳﻦﺑﺎﺭ ﺑﺎ ﺷﻮﻕ ﻭ ﺍﺭﺍﺩﺕ ﺍﺯ ﺍﺳﺘﺎﺩ‬ ‫ﻋﻠﻲ ﻛﺴﻤﺎﻳﻲ ﮔﻔﺖ ﻭ ﻗﺮﺍﺭ ﻣﺼﺎﺣﺒﻪ ﺭﺍ ﻫﻢ‬ ‫ﺍﻭ ﮔﺬﺍﺷﺖ ﻭ ﺳﺮﺍﻧﺠﺎﻡ ﻫﺮ ﺩﻭﻱ ﻣﺎ ﺑﺎ ﻫﻢ‬ ‫ﺑﻪ ﺧﺪﻣﺖ ﺍﺳﺘﺎﺩ ﻋﻠﻲ ﻛﺴﻤﺎﻳﻲ ﺭﻓﺘﻴﻢ ﻭ‬ ‫ﻃﻲ ﺩﻭ ﺟﻠﺴﻪ ﺩﻭ ﺳﺎﻋﺘﻪ ﺑﺎ ﺍﻳﺸﺎﻥ ﺻﺤﺒﺖ‬ ‫ﻛﺮﺩﻳﻢ ﻭ ﺍﻟﺒﺘﻪ ﺗﻼﺵ ﻣﺎ ﺍﻳﻦ ﺑﻮﺩ ﻛﻪ ﺑﻴﺸﺘﺮ‬ ‫ﺷﻨﻮﻧﺪﻩ ﺑﺎﺷﻴﻢ ﺗﺎ ﺳﻠﺴﻠﻪ ﺗﺪﺍﻋﻲ ﻣﻌﺎﻧﻲ‬ ‫ﺍﺳﺘﺎﺩ ﺩﺭ ﻫﻨﮕﺎﻡ ﺻﺤﺒﺖ ﺑﺎﻋﺚﻳﺎﺩﺁﻭﺭﻱ‬ ‫ﺧﺎﻃﺮﺍﺕ ﺩﻭﺭﺗﺮ ﺍﻳﺸﺎﻥ ﻫﻢ ﺑﺸﻮﺩ‪ .‬ﺑﻪ ﻫﻤﻴﻦ‬ ‫ﺩﻟﻴﻞ ﺳﺆﺍﻻﺕ ﻣﺎ ﺑﺴﻴﺎﺭ ﻛﻤﺘﺮ ﻭ ﻣﺨﺘﺼﺮﺗﺮ‬ ‫ﺍﺯ ﭘﺎﺳﺦﻫﺎﻱ ﺍﻳﺸﺎﻥ ﺍﺳﺖ‪.‬ﻳﻌﻨﻲ ﻣﺎ ﺑﻪ ﺁﻧﭽﻪ‬ ‫ﻛﻪ ﻣﻲﺧﻮﺍﺳﺘﻴﻢ – ﻓﺮﺍﻫﻢ ﻛﺮﺩﻥ ﺑﺴﺘﺮﻱ‬ ‫ﻣﻨﺎﺳﺐ ﺟﻬﺖﻳﺎﺩﺁﻭﺭﻱ ﺧﺎﻃﺮﺍﺕ ﺍﺳﺘﺎﺩ‬ ‫ﻋﻠﻲ ﻛﺴﻤﺎﻳﻲ – ﺧﻮﺍﺳﺘﻴﻢ ﻧﺰﺩﻳﻚ ﺷﻮﻳﻢ‬ ‫ﻭ ﺷﺪﻳﻢ‪.‬‬ ‫ﺩﺭ ﻃﻲ ﺍﻳﻦ ﺩﻭ ﺟﻠﺴﻪ ﮔﻔﺘﮕﻮ ﺩﺭ ﻣﻨﺰﻝ‬ ‫ﺍﺳﺘﺎﺩ ﻛﺴﻤﺎﻳﻲ ﺍﻧﺠﺎﻡ ﮔﺮﻓﺖ‪ ،‬ﻣﺎ ﺑﺴﻴﺎﺭ‬ ‫ﭼﻴﺰﻫﺎ ﺍﺯ ﺍﻳﺸﺎﻥ ﺁﻣﻮﺧﺘﻴﻢ‪.‬‬ ‫ﺍﻣﻴﺪ ﻛﻪ ﺍﻧﺘﺸﺎﺭ ﺍﻳﻦ ﮔﻔﺘﮕﻮ ﺩﺭ ﻣﺠﻠﻪ‬ ‫ﺭﻭﺩﻛﻲ ﻓﺮﺻﺖ ﺍﻳﻦ ﺩﻳﺪﺍﺭ ﺭﺍ ﺑﺮﺍﻱ ﺩﻳﮕﺮﺍﻥ‬ ‫ﻫﻢ ﻓﺮﺍﻫﻢ ﺑﻴﺎﻭﺭﺩ‪.‬‬

‫ﺁﻥ ﺟﻤﻠﻪﺍﻳﺪ ﻛﻪ ﺧﻮﺩﺷﺎﻥ ﺑﺎﻟﻔﻄﺮﻩ ﻭﺍﻗﻌﺎً‬ ‫ﺷﺎﻋﺮ ﻫﺴﺘﻨﺪ ﻭ ﺍﻳﻦ ﺗﻮﺍﻧﺎﻳﻲ ﺭﺍ ﺩﺍﺭﻧﺪ‪ ،‬ﻭﻗﺘﻲ‬ ‫ﻛﻪ ﺩﺍﻧﺸﺶ ﺭﺍ ﺩﺍﺷﺘﻪ ﺑﺎﺷﻴﻨﺪ ﻭ ﺍﻧﺪﻳﺸﻪ ﻭ‬ ‫ﺍﺣﺴﺎﺱ ﻫﻢ ﺩﺭ ﻭﺍﻗﻊ ﺑﻪ ﺁﻥ ﺍﺿﺎﻓﻪ ﺷﻮﺩ‬ ‫ﻫﻤﻴﻦ ﻣﻲﺷﻮﺩ ﻛﻪ ﻣﺎ ﺑﻪ ﺁﻥ ﻣﻲﮔﻮﻳﻴﻢ ﺷﻌﺮ‬ ‫ﺧﻮﺍﻧﺪﻧﻲ ﻭ ﻣﺎﻧﺪﻧﻲ‪ .‬ﺣﺎﻝ ﺑﻴﺸﺘﺮ ﻣﺎﻳﻠﻢ ﻛﻪ ﺍﺯ‬ ‫ﺧﻮﺩ ﺷﻤﺎ‪ ،‬ﺩﺭ ﻳﻚ ﮔﻔﺘﮕﻮﻱ ﺳﺎﺩﻩ‪ ،‬ﺻﻤﻴﻤﺎﻧﻪ‬ ‫ﻭ ﺭﺍﺣﺖ ﺳﺆﺍﻝ ﻛﻨﻢ ﻛﻪ‪ :‬ﭼﻪ ﻛﺮﺩﻳﺪ؟ ﭼﻪ‬ ‫ﻣﻲﻛﻨﻴﺪ؟ ﺍﺯ ﮔﺬﺷﺘﻪﻫﺎﺗﻮﻥ ﺑﻔﺮﻣﺎﻳﻴﺪ‪ ،‬ﻛﺠﺎ‬ ‫ﺑﻪ ﺩﻧﻴﺎ ﺍﻭﻣﺪﻳﺪ؟ ﭼﻪ ﺟﻮﺭﻱ ﺗﺤﺼﻴﻞ ﻛﺮﺩﻳﺪ؟‬

‫ﻭ ﻣﺘﻮﺟﻪ ﻣﻲﺷﻮﺩ ﺧﻮﺍﺑﺶ ﻫﻤﺎﻥ ﺷﺒﻲ ﺑﻮﺩﻩ ﺍﺳﺖ ﻛﻪ‬ ‫ﻣﻦ ﻣﺘﻮﻟﺪ ﺷﺪﻡ‪.‬‬ ‫ﻣﻦ »ﺧﻮﺍﺏ ﭘﺪﺭﻡ ﺩﺭ ﺷﺐ ﺗﻮﻟﺪ ﻣﻦ« ﺭﺍ‪ ،‬ﺑﺎ ﻫﻤﻴﻦ‬ ‫ﻋﻨﻮﺍﻥ ﺩﺭ ﺷﻌﺮ ﺑﻠﻨﺪﻱ ﺑﻪ ﺍﻳﻦ ﻣﻄﻠﻊ‪:‬‬ ‫ﭼﻮ ﻣﻲﺯﺍﺩﻡ ﺍﺯ ﻣﺎﺩﺭ ﻣﻬﺮﺑﺎﻥ‬ ‫ﺑﺴﻲ ﻣﻨﻘﻠﺐ ﺑﻮﺩ ﻭﺿﻊ ﺟﻬﺎﻥ‬ ‫ﭘﺲ ﺁﺯ ﻭ ﺧﻮﺩﺧﻮﺍﻫﻲ ﻭ ﻧﺎﻡ ﻭ ﻧﻨﮓ‬ ‫ﻋﻴﺎﻥ ﺩﺭ ﺟﻬﺎﻥ ﺷﺪ ﻫﻴﻮﻻﻱ ﺟﻨﮓ‬ ‫ﺳﺮﻭﺩﻩﺍﻡ ﻛﻪ ﺩﺭ ﺻﻔﺤﻪ ‪ 211‬ﻛﺘﺎﺏ »ﺩﻳﺮﻭﺯ‪ ،‬ﺍﻣﺮﻭﺯ«‬ ‫ﻣﺠﻤﻮﻋﻪ ﺷﻌﺮﻡ ﺩﺭ ﺳﺎﻝ ‪ 1377‬ﺑﻪ ﭼﺎپ ﺭﺳﻴﺪﻩ ﺍﺳﺖ‪.‬‬ ‫ﺗﺤﺼﻴﻼﺕ ﺧﻴﻠﻲ ﺍﺑﺘﺪﺍﻳﻲ ﺭﺍ ﭘﻴﺶ ﻣﺎﺩﺭﻡ ﺩﺭ ﺧﺎﻧﻪ ﺩﺭ‬ ‫ﺷﻬﺮ ﺭﺷﺖ ﺁﻣﻮﺧﺘﻢ ﭼﻮﻥ ﭘﺪﺭﻡ ﺑﺮﺍﻱ ﺗﺠﺎﺭﺕ ﺑﻪ ﺭﺷﺖ‬ ‫ﺭﻓﺘﻪ ﻭ ﺧﺎﻧﻮﺍﺩﻩ ﺭﺍ ﺑﻪ ﺁﻧﺠﺎ ﺑﺮﺩﻩ ﺑﻮﺩ‪.‬‬ ‫ﻣﺘﻮﻟﺪ ﻛﺠﺎ ﻫﺴﺘﻴﺪ؟‬ ‫ﻣﺘﻮﻟﺪ ﺗﻬﺮﺍﻥ ﻫﺴﺘﻢ‪ .‬ﺗﺎﺭﻳﺦ ﺗﻮﻟﺪﻡ ‪ 1294‬ﻫﺠﺮﻱ‬ ‫ﺧﻮﺭﺷﻴﺪﻱ ﺍﺳﺖ‪ .‬ﺩﻭﺭﻩ ﺷﺶ ﺳﺎﻟﻪ ﺍﺑﺘﺪﺍﻳﻲ ﻭ ﺳﻪ ﺳﺎﻟﻪ‬ ‫ﺍﻭﻝ ﻣﺘﻮﺳﻄﻪ ﺭﺍ ﺩﺭ ﺭﺷﺖ ﮔﺬﺭﺍﻧﺪﻡ ﻭ ﭼﻮﻥ ﻣﻲﺧﻮﺍﺳﺘﻢ‬ ‫ﺭﺷﺘﻪ ﺍﺩﺑﻲ ﺭﺍ ﺑﺨﻮﺍﻧﻢ ﻭ ﺩﺭ ﺁﻧﺠﺎ ﻧﺒﻮﺩ‪ ،‬ﻣﺮﺍ ﺑﻪ ﺗﻬﺮﺍﻥ‬ ‫ﻓﺮﺳﺘﺎﺩﻧﺪ ﻛﻪ ﺩﺭ ﺧﺎﻧﻪ ﺧﺎﻟﻪﻱ ﭘﻴﺮ ﻭ ﺗﻨﻬﺎ ﺯﻧﺪﮔﻲ‬ ‫ﻣﻲﻛﺮﺩﻡ‪ .‬ﺩﺭ ﺩﺑﻴﺮﺳﺘﺎﻥ ﺩﺍﺭﺍﻟﻔﻨﻮﻥ ﻧﺎﻡﻧﻮﻳﺴﻲ ﻛﺮﺩﻡ ﻭ‬

‫ﺩﻭﺭﻩ ﺳﻪ ﺳﺎﻟﻪ ﺩﻭﻡ ﻣﺘﻮﺳﻄﻪ ﺭﺍ ﺩﺭ ﺭﺷﺘﻪ ﺍﺩﺑﻲ‬ ‫ﺩﺭ ﺁﻥ ﺩﺑﻴﺮﺳﺘﺎﻥ ﮔﺬﺭﺍﻧﺪﻡ‪ .‬ﺩﺑﻴﺮﻫﺎﻱ ﺑﺴﻴﺎﺭ‬ ‫ﺑﺴﻴﺎﺭ ﺩﺍﻧﺸﻤﻨﺪﻱ ﺩﺍﺷﺘﻴﻢ ﻛﻪ ﻣﻦ ﺍﺯ ﺁﻧﻬﺎ‬ ‫ﻓﺮﺍﻭﺍﻥ ﺁﻣﻮﺧﺘﻢ‪ .‬ﺩﺑﻴﺮﻫﺎﻳﻲ ﻣﺎﻧﻨﺪ ﺍﺳﺘﺎﺩ ﺟﻼﻝ‬ ‫ﻫﻤﺎﻳﻲ‪ ،‬ﺍﺳﺘﺎﺩ ﺑﻬﻤﻨﻴﺎﺭ‪ ،‬ﺍﺳﺘﺎﺩ ﻓﺮﻭﺯﺍﻧﻔﺮ‪ ،‬ﺍﺳﺘﺎﺩ‬ ‫ﻣﻠﻚﺷﻌﺮﺍﻱﺑﻬﺎﺭ‬ ‫ﺑﻠﻪ ﺩﺭﺳﺖ ﺍﺳﺘﺎﻧﺼﺎﻓﺎ ﺍﻳﻦ ﺍﺳﺘﺎﺩﺍﻥ‬ ‫ﻫﻤﻪ ﺍﺯ ﺷﺨﺼﻴﺖﻫﺎﻱ ﺑﺰﺭگ ﺍﺩﺑﻴﺎﺕ‬ ‫ﻣﺎ ﻫﺴﺘﻨﺪ‪ .‬ﺍﮔﺮ ﺧﺎﻃﺮﻩﻫﺎﻳﻲ ﺍﺯ ﺁﻧﻬﺎ‬ ‫ﺩﺭ ﻛﻼﺱ ﺩﺭﺱ ﺑﻪﻳﺎﺩﺗﺎﻥ ﻣﺎﻧﺪﻩ‬ ‫ﺑﻔﺮﻣﺎﻳﻴﺪ ﻣﻤﻨﻮﻥ ﻣﻲﺷﻮﻳﻢ‪.‬‬ ‫ﺧﻴﻠﻲ ﺧﻮﺏ ﺑﻪﻳﺎﺩ ﺩﺍﺭﻡ‪.‬ﻳﻚ ﺭﻭﺯ ﺯﻧﺪﻩﻳﺎﺩ‬ ‫ﺍﺳﺘﺎﺩ ﺟﻼﻝ ﻫﻤﺎﻳﻲ ﻛﻪ ﺩﺭ ﻛﻼﺱ ﻣﺎ ﺩﺭﺱ‬ ‫ﻣﻲﺩﺍﺩ ﻭ ﻓﺼﻞ ﺑﻬﺎﺭ ﺑﻮﺩ ﺍﺯ ﭘﻨﺠﺮﻩ ﺑﻪ ﺣﻴﺎﻁ‬ ‫ﺑﺰﺭگ ﻭ ﭘﺮﺩﺭﺧﺖ ﻭ ﺳﺮﺳﺒﺰ ﺩﺍﺭﺍﻟﻔﻨﻮﻥ ﻧﮕﺎﻩ‬ ‫ﻛﺮﺩ ﻭ ﭘﺲ ﺍﺯ ﺍﻧﺪﻙ ﺳﻜﻮﺗﻲ ﺑﻪ ﻣﺎ ﺭﻭ ﻛﺮﺩ‬ ‫ﻭ ﮔﻔﺖ ﺷﻤﺎ ﺍﺯ ﺗﻤﺎﺷﺎﻱ ﺑﺮگﻫﺎﻱ ﺩﺭﺧﺖﻫﺎ‬ ‫ﻛﻪ ﺑﺎ ﺯﺩﻥ ﻣﻼﻳﻢ ﻧﺴﻴﻢ ﺁﺭﺍﻡ ﺁﺭﺍﻡ ﻣﻲﺟﻨﺒﻨﺪ‬ ‫ﻭ ﻣﻲﺭﻗﺼﻨﺪ ﭼﻪ ﭼﻴﺰﻱ ﺣﺲ ﻣﻲﻛﻨﻴﺪ؟ ﻣﺎ‬ ‫ﺍﺣﺴﺎﺱ ﻣﻲﻛﺮﺩﻳﻢ ﻛﻪ ﺍﺳﺘﺎﺩ ﻣﻲﺧﻮﺍﻫﺪ ﻣﺎ ﺭﺍ‬

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‫ﺩﻭﺭﻩ ﺟﺪﻳﺪ‪/‬ﺷﻤﺎﺭﻩ ‪ 9‬ﻭ ‪)10‬ﭘﻴﺎﭘﻲ‪39‬ﻭ‪ /(40‬ﺳﺎﻝ ﺳﻮﻡ‪/‬ﻧﻮﺭﻭﺯ‪88‬‬

‫ﺑﻮﺩ ﻭ ﺩﺭ ﺍﻳﺮﺍﻥ ﺑﺮﺍﻱ ﺷﺮﻛﺖﻫﺎﻱ‬ ‫ﺧﺎﺭﺟﻲ ﻭﻛﺎﻟﺖ ﻣﻲﻛﺮﺩ‪ .‬ﻣﺮﺩﻱ‬ ‫ﺳﻴﺎﺳﺖ ﭘﻴﺸﻪ ﻭ ﺍﺟﺘﻤﺎﻋﻲ ﻭ‬ ‫ﻧﻮﻳﺴﻨﺪﻩ‪ ،‬ﺭﻭﺯﻧﺎﻣﻪﻧﻮﻳﺲ ﻭ ﻣﺪﻳﺮ‬ ‫ﺭﻭﺯﻧﺎﻣﻪ ﻧﺪﺍﻱ ﻋﺪﺍﻟﺖ ﻭ ﺑﺎ ﺩﺷﺘﻲ‪،‬‬ ‫ﻧﻤﺎﻳﻨﺪﻩ ﻣﺠﻠﺲ ﺷﻮﺭﺍﻱ ﻣﻠﻲ ﻫﻤﻜﺎﺭ‬ ‫ﺑﻮﺩ‪ .‬ﺗﺎﺭﻳﺨﭽﻪﺍﻱ ﺑﻪ ﻧﺎﻡ ﺑﺎﺯﻳﮕﺮﺍﻧﻲ‬ ‫ﻋﺼﺮ ﻃﻼﻳﻲ ﺍﺯ ﺳﻴﺎﺳﺘﻤﺪﺍﺭﺍﻥ‬ ‫ﻭ ﻣﺪﻳﺮﺍﻥ ﺩﻭﺭﻩ ﺭﺿﺎﺷﺎﻩ ﭘﻬﻠﻮﻱ‬ ‫ﻣﻲﻧﻮﺷﺖ‪ .‬ﻣﺮﺍ ﺑﻪ ﻛﺘﺎﺑﺨﺎﻧﻪ ﻣﺠﻠﺲ‬ ‫ﻣﻲﻓﺮﺳﺘﺎﺩﻧﺪ ﺗﺎ ﺯﺍ ﺭﻭﺯﻧﺎﻣﻪﻫﺎﻱ‬ ‫ﻗﺪﻳﻤﻲ ﻭ ﺍﺯ ﻣﺬﺍﻛﺮﺍﺕ ﻣﺠﻠﺲ ﺑﺮﺍﻱ‬ ‫ﺑﺎﺯﻳﮕﺮﺍﻥ ﻋﺼﺮ ﻃﻼﻳﻲ ﻣﻄﻠﺐﻫﺎﻱ‬ ‫ﻣﻬﻤﻲ ﺭﺍ ﺭﻭﻧﻮﻳﺲ ﻣﻲﻛﺮﺩﻳﻢ ﻭ‬ ‫ﺑﺮﺍﻳﺶ ﻣﻲﺑﺮﺩﻡ‪ .‬ﻣﺪﻳﺮ ﻛﻞ ﺗﺒﻠﻴﻐﺎﺕ‬ ‫ﺷﺪ ﻳﻚ ﺳﺨﻨﺮﺍﻧﻲ ﻫﻔﺘﮕﻲ ﺯﻧﺪﻩ‬ ‫ﺩﺭ ﺭﺍﺩﻳﻮ ﺩﺍﺷﺖ‪ .‬ﻣﺮﺍ ﺑﺎ ﺧﻮﺩﺭﻭﻱ‬ ‫ﻛﻮﭼﻜﺶ ﻛﻪ ﺧﻮﺩﺵ ﺭﺍﻧﻨﺪﮔﻲ‬ ‫ﻣﻲﻛﺮﺩ ﺑﻪ ﺭﺍﺩﻳﻮ ﻛﻪ ﺁﻥ ﺯﻣﺎﻥ ﺩﺭ‬ ‫ﺟﺎﺩﻩ ﻗﺪﻳﻢ ﺷﻬﺮﺍﻥ ﺑﻮﺩ ﻣﻲﺑﺮﺩ‪ .‬ﻣﺮﺍ‬ ‫ﺑﺎ ﻛﺎﺭ ﺭﺍﺩﻳﻮ ﻭ ﺗﺒﻠﻴﻐﺎﺕ ﺁﺷﻨﺎ ﻣﻲﻛﺮﺩ‪.‬‬ ‫ﺑﻌﺪﻫﺎ ﻛﻪ ﻣﻦ ﻛﺎﺭ ﻭﻛﺎﻟﺖ ﺩﺍﺩﮔﺴﺘﺮﻱ‬ ‫ﺭﺍ ﺭﻫﺎ ﻛﺮﺩﻩ ﻭ ﻓﻴﻠﻤﺴﺎﺯ ﺷﺪﻩ ﺑﻮﺩﻡ ﻭ‬ ‫ﺩﻳﮕﺮ ﺑﺎ ﺍﻭ ﺍﺭﺗﺒﺎﻃﻲ ﻧﺪﺍﺷﺘﻢ ﺍﻭ‬ ‫ﺳﻨﺎﺗﻮﺭ ﺷﺪﻩ ﺑﻮﺩ ﺍﻧﮕﺎﺭ ﭘﺸﺖ ﭘﺮﺩﻩ‬ ‫ﺑﺎ ﻋﻮﺍﻣﻞ ﺩﺍﺩﮔﺎﻩ ﺩﻛﺘﺮ ﻣﺼﺪﻭﻕ‬ ‫ﻫﻤﻜﺎﺭﻱ ﺩﺍﺷﺖ‪ .‬ﺯﻳﺮﺍ ﺩﻛﺘﺮ ﻣﺼﺪﻕ‬ ‫ﺩﺭﻳﻜﻲ ﺍﺯ ﺩﻓﺎﻋﻴﺎﺗﺶ ﺩﺭ ﺩﺍﺩﮔﺎﻩ ﺍﺯ ﺍﻭ‬ ‫ﺑﻪ ﻋﻨﻮﺍﻥ ﻫﻤﻜﺎﺭﻱ ﺑﺎ ﺍﻓﺴﺮﺍﻥ ﺍﺭﺷﺪ‪،‬‬ ‫ﺑﻪ ﻧﺎﻡ ژﻧﺮﺍﻝ ﺧﻮﺍﺟﻪﻧﻮﺭﻱ ﻧﺎﻡ ﺑﺮﺩﻩ‬ ‫ﺑﻮﺩ‪ .‬ﭼﻮﻥ ﺑﺎ ﻋﻠﻢ ﺭﻭﺍﻧﺸﻨﺎﺳﻲ ﻫﻢ‬ ‫ﺁﺷﻨﺎ ﺑﻮﺩ ﺩﺭ ﭘﺎﻳﺎﻥ ﻋﻤﺮﺵ ﻛﻼﺳﻲ‬ ‫ﺑﺎ ﻋﻨﻮﺍﻥ ﺭﻭﺍﻧﺸﻨﺎﺳﻲ ﺑﺎﺯ ﻛﺮﺩﻩ ﺑﻮﺩ‬ ‫ﻛﻪ ﺷﻤﺎﺭﻱ ﺷﺎﮔﺮﺩ ﻫﻢ ﺩﺍﺷﺖ‪.‬‬ ‫ﻭﻛﻴﻞ ﺩﻳﮕﺮ ﻋﻠﻲﺍﻛﺒﺮ ﻃﺎﻫﺎ‪ ،‬ﻣﺮﺩﻱ‬ ‫ﺣﻘﻴﻘﺖﺟﻮ‪ ،‬ﻣﻬﺮﺑﺎﻥ ﻭ ﻣﺬﻫﺒﻲ ﺑﻮﺩ‪.‬‬ ‫ﺗﻤﺎﻡ ﻣﺎﻩ ﺭﻣﻀﺎﻥ ﻣﺜﻞ ﻣﻦ ﺭﻭﺯﻩ‬ ‫ﻣﻲﮔﺮﻓﺖ‪ .‬ﻣﻦ ﻣﻲﺩﻳﺪﻡ ﻛﻪ ﺩﺭ‬ ‫ﻫﻤﺎﻥ ﺩﻓﺘﺮ ﺑﺎ ﻳﻚ ﭼﺎﻱ ﻭ ﻳﻚ‬ ‫ﺗﻜﻪ ﻧﺎﻥ ﺍﻓﻄﺎﺭ ﻣﻲﻛﺮﺩ‪ .‬ﺑﻪ ﺣﻘﻮﻕ‬ ‫ﻗﻀﺎﻳﻲ ﻭ ﺟﻨﺎﻳﻲ ﺍﻳﺮﺍﻥ ﺍﺣﺎﻃﻪ ﻛﺎﻣﻞ‬ ‫ﺩﺍﺷﺖ‪ .‬ﺑﻪ ﻫﻤﻴﻦ ﺟﻬﺖ ﺍﻭ ﺭﺍ ﺑﻪ‬ ‫ﻋﻨﻮﺍﻥ ﻭﻛﻴﻞ ﻣﺪﺍﻓﻊ ﻃﻴﺐ ﺍﻧﺘﺨﺎﺏ‬ ‫ﻛﺮﺩﻩ ﺑﻮﺩﻧﺪ ﻛﻪ ﺩﺭ ﺩﺍﺩﮔﺎﻩ ﻧﻈﺎﻣﻲ‬ ‫ﻣﺤﺎﻛﻤﻪ ﻣﻲﺷﺪ‪ .‬ﻣﻮﺿﻮﻉ ﻃﻴﺐ‬ ‫ﺩﺭ ﺁﻥ ﺯﻣﺎﻥ ﭘﺮﺳﺮ ﻭ ﺻﺪﺍ ﻭ ﻣﻮﺭﺩ‬ ‫ﺗﻮﺟﻪ ﺩﻭﻟﺖ ﻭ ﻣﺮﺩﻡ ﺑﻮﺩ‪ .‬ﺁﻗﺎﻱ ﻃﺎﻫﺎ‬ ‫ﻣﺮﺍ ﺑﻪ ﺩﺍﺩﮔﺎﻩﻫﺎ ﻣﻲﺑﺮﺩ ﻭ ﺑﻪ ﺩﺍﺩﮔﺎﻩ‬ ‫ﺭﺳﻴﺪﮔﻲ ﺑﻪ ﺍﺗﻬﺎﻡﻫﺎﻱ ﺳﺮﺗﻴﺐ‬ ‫ﺭﻛﻦﺍﻟﺪﻳﻦ ﻣﺨﺘﺎﺭ‪ ،‬ﺭﺋﻴﺲ ﻛﻞ‬ ‫ﺷﻬﺮﺑﺎﻧﻲ ﺍﻳﺮﺍﻥ ﻭ ﺍﻓﺴﺮﺍﻥ ﻭ ﻋﺎﻣﻼﻥ‬ ‫ﺷﻬﺎﺩﺕ ﺷﻬﻴﺪ ﻣﺪﺭﺱ ﻣﻲﻓﺮﺳﺘﺎﺩ ﺗﺎ‬ ‫ﺑﻪ ﻛﺎﺭ ﺩﺍﺩﺭﺳﻲ ﻭﻛﺎﻟﺖ ﺁﺷﻨﺎ ﺷﻮﻡ‪.‬‬ ‫ﺍﻳﻦ ﺩﺍﺩﺭﺳﻲ‪ ،‬ﭘﺲ ﺍﺯ ﺳﻘﻮﻁ ﻭ ﺗﺒﻌﻴﺪ‬ ‫ﺭﺿﺎﺷﺎﻩ ﻭ ﭘﻨﺠﺮﻩﺍﻱ ﻛﻪ ﺑﺮﺍﻱ ﺁﺯﺍﺩﻱ‬ ‫ﭘﺲ ﺍﺯ ﺩﻳﻜﺘﺎﺗﻮﺭﻱ ﺩﺭ ﻣﻄﺒﻮﻋﺎﺕ ﻭ‬ ‫ﺟﺎﻣﻌﻪ ﺩﺭ ﺩﻫﻪ ﺑﻴﺴﺖ ﺑﺎﺯ ﺷﺪﻩ ﺑﻮﺩ‪،‬‬ ‫ﺗﻐﻴﻴﺮ ﻣﻬﻤﻲ ﺩﺭ ﺍﻳﺮﺍﻥ ﺑﻪ ﺷﻤﺎﺭ‬ ‫ﻣﻲﺭﻓﺖ‪.‬‬

‫ﺍﺳﺘﺎﺩ ﻛﺴﻤﺎﻳﻲ ﺑﺤﺚﻣﻮﻥ ﺑﻪ ﺟﺎﻫﺎﻱ‬ ‫ﺣﺴﺎﺱ ﻛﺸﻴﺪﻩ ﺷﺪﻩ‪ ،‬ﺍﺯ ﻫﻤﻮﻥ‬ ‫ﺩﺍﺩﺭﺳﻲ ﻭ ﻫﻤﻮﻥ ﺍﻓﺮﺍﺩﻱ ﻛﻪ ﻣﺘﻬﻢ‬ ‫ﺑﻮﺩﻧﺪ ﻣﺪﺭﺱ ﺭﺍ ﺷﻬﻴﺪ ﻛﺮﺩﻧﺪ‬ ‫ﺑﻔﺮﻣﺎﻳﻴﺪ‪.‬‬

‫ﻣﻦ ﺑﻪ ﻋﻨﻮﺍﻥﻳﻚ ﻛﺎﺭﺁﻣﻮﺯ ﺟﻮﺍﻥ ﻭﻛﺎﻟﺖ‬ ‫ﺩﺍﺩﮔﺴﺘﺮﻱ ﺑﻪ ﺁﻥ ﺩﺍﺩﺭﺳﻲ ﻣﻲﺭﻓﺘﻢ ﻭ ﺑﺎ‬ ‫ﺩﻟﺒﺴﺘﮕﻲ ﺯﻳﺎﺩﻱ ﻛﻪ ﺑﻪ ﺍﻭﺿﺎﻉ ﻭ ﺍﺣﻮﺍﻝ‬ ‫ﺍﻳﺮﺍﻥ ﻭ ﻣﻄﺒﻮﻋﺎﺕ ﺩﺍﺷﺘﻢ ﺁﻥ ﺭﺍ ﭘﻴﮕﻴﺮﻱ‬ ‫ﻣﻲﻛﺮﺩﻡ‪ .‬ﻭﻛﻴﻞﻫﺎﻱ ﭘﺎﻳﻪﻳﻚ ﺩﺍﺩﮔﺴﺘﺮﻱ‬ ‫ﺁﺯﺍﺩﻳﺨﻮﺍﻩ ﻛﻪ ﺑﺮﺧﻲ ﺍﺯ ﺁﻧﻬﺎ ﺩﻳﺪﮔﺎﻩ ﭼﭗ‬ ‫ﺩﺍﺷﺘﻨﺪ ﻭ ﻭﻛﻴﻞ ﻣﺪﺍﻓﻊ ﺯﻧﺪﻩﻳﺎﺩ ﻣﺪﺭﺱ ﻭ‬ ‫ﺩﻳﮕﺮﺍﻥ ﺑﻮﺩﻧﺪ ﺑﺎ ﺍﺳﺘﻔﺎﺩﻩ ﺍﺯ ﺍﻳﻦ ﺁﺯﺍﺩﻱ‬

‫ﺷﻬﺮﺑﺎﻧﻲ‪ ،‬ﺳﻮﺯﻥ ﻣﻮﺍﺩ ﺗﺰﺭﻳﻖ ﻣﻲﻛﺮﺩ‬ ‫ﻭ ﺁﻧﻬﺎ ﺑﺎ ﻫﻤﺎﻥ ﺳﻮﺯﻥ ﻛﺸﺘﻪ ﻣﻲﺷﺪﻧﺪ‬ ‫ﻭ ﺣﻜﻮﻣﺖ ﺍﺯ ﻭﺟﻮﺩ ﻭ ﻣﺰﺍﺣﻤﺖﻫﺎﻱ‬ ‫ﺁﻧﻬﺎ ﺁﺳﻮﺩﻩ ﻣﻲﮔﺮﺩﻳﺪ‪ .‬ﭘﺲ ﺍﺯ ﭘﺎﻳﺎﻥ ﺁﻥ‬ ‫ﺩﺍﺩﺭﺳﻲ ﺟﻨﺤﺎﻟﻲ‪ ،‬ﺑﺎ ﺣﻜﻢ ﺩﺍﺩﮔﺎﻩ ﺻﺎﺩﺭ‬ ‫ﺷﺪ ﺭﻛﻦﺍﻟﺪﻳﻦ ﻣﺨﺘﺎﺭﻱ‪ ،‬ﺭﺋﻴﺲ ﻛﻞ‬ ‫ﺷﻬﺮﺑﺎﻧﻲ ﺍﻳﺮﺍﻥ ﻭ ﺍﻓﺴﺮﺍﻥ ﻭ ﭘﺎﺳﺒﺎﻧﺎﻥ‬ ‫ﺯﻳﺮ ﺩﺳﺘﺶ‪ ،‬ﻫﺮ ﻛﺪﺍﻡ ﺑﻪ ﭼﻨﺪ ﺳﺎﻝ ﺯﻧﺪﺍﻥ‬ ‫ﻣﺤﻜﻮﻡ ﺷﺪﻧﺪ‪ ،‬ﻭ ﺗﻨﻬﺎ ﭘﺰﺷﻚ ﺍﺣﻤﺪﻱ ﺑﻪ‬ ‫ﺍﻋﺪﺍﻡ ﻣﺤﻜﻮﻡ ﺷﺪ ﻭ ﺑﻪ ﻧﻮﺷﺘﻪ ﺭﻭﺯﻧﺎﻣﻪﻫﺎ‪:‬‬ ‫ﺑﺎ ﺁﻥ ﺩﺍﺩﺭﺳﻲ ﻭ ﺍﻋﺪﺍﻡ ﭘﺰﺷﻚ ﺍﺣﻤﺪﻱ‪،‬‬ ‫ﺣﻜﻮﻣﺖ ﺩﻳﻜﺘﺎﺗﻮﺭﻱ ﺭﺿﺎﺷﺎﻩ ﭘﺎﻙ‬ ‫ﻭ ﭘﺎﻛﻴﺰﻩ ﻭ ﺑﻲﮔﻨﺎﻩ ﺷﺪ‪ .‬ﺗﺎﺭﻳﺦ ﭼﻪ‬

‫ﺷﻨﻴﺪﻩ ﺑﻮﺩﻳﻢ ﺻﺎﺩﻕ ﻫﺪﺍﻳﺖ ﻛﺎﺭﻱ ﻛﺮﺩﻩ ﺑﻮﺩ ﻛﻪ ﻫﻤﻪ ﺁﻥ ﺭﺍ ﭘﺬﻳﺮﻓﺘﻪ‬ ‫ﺑﻮﺩﻧﺪ ﻭ ﻫﻤﺎﻥ ﮔﻮﻧﻪ ﺭﻓﺘﺎﺭ ﻣﻲﻛﺮﺩﻧﺪ‪ .‬ﺻﺎﺩﻕ ﻫﺪﺍﻳﺖ ﭼﺎﻱﻳﺎ ﻗﻬﻮﻩﺍﻱ‬ ‫ﺭﺍ ﻛﻪ ﻣﻲﺧﻮﺭﺩ ﭘﻮﻟﺶ ﺭﺍ ﺧﻮﺩﺵ ﻣﻲﺩﺍﺩ ﻭ ﻧﻪ ﭘﻮﻝ ﻛﺴﻲ ﺭﺍ ﺣﺴﺎﺏ‬ ‫ﻣﻲﻛﺮﺩ ﻧﻪ ﻣﻬﻤﺎﻥ ﻛﺴﻲ ﻣﻲﺷﺪ‪ .‬ﻣﻦ ﻭ ﻧﻮﻳﺴﻨﺪﻩﻫﺎ ﻭ ﺷﺎﻋﺮﻫﺎﻱ ﻫﻤﺴﻦ‬ ‫ﻭ ﺳﺎﻝ ﻭ ﺗﺎﺯﻩ ﺑﻪ ﺩﻭﺭﺍﻥ ﺭﺳﻴﺪﻩ ﻫﻢ‪ ،‬ﺑﻪ ﺁﻥ ﻛﺎﻓﻪ ﻣﻲﺭﻓﺘﻴﻢ‪ ،‬ﺩﻭﺭﻳﻚ ﻣﻴﺰ‬ ‫ﺟﻤﻊ ﻣﻲﺷﺪﻳﻢ‪ ،‬ﭼﺎﻱ ﻭ ﻗﻬﻮﻩ ﻣﻲﺧﻮﺭﺩﻳﻢ ﺍﻣﺎ ﺑﻪ ﻣﻴﺰ ﺻﺎﺩﻕ ﻫﺪﺍﻳﺖ‬ ‫ﻧﺰﺩﻳﻚ ﻧﻤﻲﺷﺪﻳﻢ‪ .‬ﭼﻮﻥ ﻫﻨﻮﺯ ﻧﻮﺟﻮﺍﻥ ﻭ ﻧﺎﺷﻨﺎﺱ ﺑﻮﺩﻳﻢ ﻭ ﺑﺎ ﺑﺰﺭﮔﺎﻥ ﻭ‬ ‫ﻧﺎﻣﺪﺍﺭﺍﻥ ﺩﻣﺨﻮﺭ ﻧﺸﺪﻩ ﺑﻮﺩﻳﻢ‪.‬‬ ‫ﻧﺎﮔﻬﺎﻥ ﺑﻪ ﻭﺟﻮﺩ ﺁﻣﺪﻩ ﺩﺭ ﺩﺍﺩﮔﺎﻩ ﻋﻠﻴﻪ‬ ‫ﺭﺿﺎﺷﺎﻩ ﻭ ﺍﻭ ﺩﺍﺩ ﺳﺨﻦ ﻣﻲﺩﺍﺩﻧﺪ ﻭ ﺑﺎ‬ ‫ﺷﺮﺡ ﺩﺳﺘﮕﻴﺮﻱﻫﺎ ﻭ ﺯﻧﺪﺍﻥﻫﺎ ﻭ ﻛﺸﺘﻦ‬ ‫ﺁﺯﺍﺩﻳﺨﻮﺍﻫﺎﻥ ﻭ ﻣﺮﺩﺍﻥ ﻧﺎﻣﺪﺍﺭ‪ ،‬ﺣﻜﻮﻣﺖ‬ ‫ﺩﻳﻜﺘﺎﺗﻮﺭ ﻭﺍﺑﺴﺘﻪ ﺍﻭ ﺭﺍ ﻣﺤﻜﻮﻡ ﻣﻲﻛﺮﺩﻧﺪ‬ ‫ﻭ ﺭﻭﺯﻧﺎﻣﻪﻫﺎﻱ ﺑﻲﺳﺎﻧﺴﻮﺭ ﺣﻜﺎﻳﺖﻫﺎﻱ‬ ‫ﻫﻴﺠﺎﻥﺍﻧﮕﻴﺰﺵ ﺭﺍ ﺑﻪ ﻣﻴﺎﻥ ﻣﺮﺩﻡ‬ ‫ﻣﻲﺑﺮﺩﻧﺪ ﻭ ﻣﺮﺩﻡ ﺑﻲﺗﺮﺱ ﺍﺯ ﻣﺄﻣﻮﺭﺍﻥ‬ ‫ﭘﻨﻬﺎﻥ ﺷﻬﺮﺑﺎﻧﻲ ﻣﻘﺘﺪﺭ ﻣﺨﺘﺎﺭ‪ ،‬ﺑﺎ ﻫﻢ ﺑﻪ‬ ‫ﮔﻔﺖ ﻭ ﺷﻨﻴﺪ ﻣﻲﭘﺮﺩﺍﺧﺘﻨﺪ ﻛﻪ ﻋﺠﺐ‬ ‫ﺣﻜﻮﻣﺘﻲ ﺩﺍﺷﺘﻴﻢ ﻭ ﺧﺒﺮ ﻧﺪﺍﺷﺘﻴﻢ‪.‬‬ ‫ﻧﻘﺶ ﺍﻭﻝ ﺍﻳﻦ ﻧﻤﺎﻳﺶ ﺗﺎﺭﻳﺨﻲ ﺭﺍ ﺳﺮﺗﻴﭗ‬ ‫ﺭﻛﻦﺍﻟﺪﻳﻦ ﻣﺨﺘﺎﺭﻱ ﺩﺍﺷﺖ ﻛﻪ ﺩﺍﺭﺍﻱ‬ ‫ﺩﻭ ﮔﻮﻧﻪ ﭼﻬﺮﻩ ﻣﺘﻔﺎﻭﺕ ﺑﻮﺩ‪.‬ﻳﻚ ﭼﻬﺮﻩ‬ ‫ﺧﺸﻦﻳﻚ ﻧﻈﺎﻣﻲ ﻣﻘﺘﺪﺭ ﺑﻲﺭﺣﻢ ﻭ‬ ‫ﻣﺴﺘﺒﺪ ﻛﻪ ﻭﺯﻳﺮﺍﻥ ﻭ ﺍﻓﺴﺮﺍﻥ ﺍﺭﺷﺪ ﻫﻢ‬ ‫ﺍﺯ ﺍﻭ ﻣﻲﺗﺮﺳﻴﺪﻧﺪ ﻭﻳﻚ ﭼﻬﺮﻩ ﻣﻼﻳﻢ‬ ‫ﻭ ﻟﻄﻴﻒﻳﻚ ﻣﻮﺳﻴﻘﻴﺪﺍﻥ ﻧﺎﻣﺪﺍﺭ ﻛﻪ ﺑﺎ‬ ‫ﺗﺮﺩﺳﺘﻲ ﻭﻳﻮﻟﻮﻥ ﻣﻲﻧﻮﺍﺧﺖ ﻭ ﺁﻫﻨﮓﻫﺎﻱ‬ ‫ﺧﻮﺏ ﻭ ﺩﻟﻨﺸﻴﻦ ﻭ ﺑﻪﻳﺎﺩﻣﺎﻧﺪﻧﻲ ﻣﻲﺳﺎﺧﺖ‪.‬‬ ‫ﺟﻤﻊ ﺍﻳﻦ ﺩﻭ ﭼﻬﺮﻩ ﻣﺘﻀﺎﺩ ﺩﺭ ﺳﺮﺗﻴﭗ‬ ‫ﺭﻛﻦﺍﻟﺪﻳﻦ ﻣﺨﺘﺎﺭﻱ ﺷﮕﻔﺖﺍﻧﮕﻴﺰ ﺑﻮﺩ‪.‬‬ ‫ﺍﻭ ﺩﺭ ﺯﻧﺪﺍﻥ ﺁﺯﺍﺩﻱ ﻫﻢ ﻣﺰﻩ ﺯﻧﺪﺍﻥﻫﺎﻱ‬ ‫ﺗﺎﺭﻳﻚ ﻭ ﺷﻜﻨﺠﻪﻫﺎﻱ ﺩﺭﺩﻧﺎﻙ ﺍﻗﺮﺍﺭﺁﻭﺭ‬ ‫ﺧﻮﺩﺵ ﺭﺍ ﻧﭽﺸﻴﺪ‪ .‬ﺩﺭ ﺍﺗﺎﻕ ﺧﻮﺏ ﻭ‬ ‫ﺭﺍﺣﺖ ﺑﺎ ﺷﺎﻡ ﻭ ﻧﺎﻫﺎﺭﺳﺎﻟﻢ ﻭ ﺧﻮﺭﺩﻧﻲ‪،‬‬ ‫ﻛﻪ ﺍﺯ ﺧﺎﻧﻪﺍﺵ ﻣﻲﺁﻭﺭﺩﻧﺪ ﻭ ﺩﻳﺪﺍﺭﻫﺎﻳﻲ‬ ‫ﻛﻪ ﺁﺯﺍﺩﺍﻧﻪ ﺩﺍﺷﺖ ﺯﻧﺪﺍﻧﻲ ﺑﻮﺩ‪ .‬ﻭﻳﻮﻟﻮﻧﺶ ﺭﺍ‬ ‫ﻣﻲﻧﻮﺍﺧﺖ ﻭ ﺁﻫﻨﮓﻫﺎﻳﺶ ﺭﺍ ﻣﻲﺳﺎﺧﺖ‪.‬‬ ‫ﭘﺲ ﺍﺯ ﺍﻭ ﺍﻓﺴﺮﺍﻥ ﻭ ﭘﺎﺳﺒﺎﻥﻫﺎﻳﻲ ﺑﻮﺩﻧﺪ‬ ‫ﺗﺎ ﻣﻲﺭﺳﻴﺪﻧﺪ ﺑﻪ ﻣﺮﺩ ﺑﻲﺍﻫﻤﻴﺘﻲ ﺑﻪ ﻧﺎﻡ‬ ‫ﭘﺰﺷﻚ ﺍﺣﻤﺪﻱ ﻛﻪ ﭘﺰﺷﻚ ﺯﻧﺪﺍﻥ ﻭ ﻣﺘﻬﻢ‬ ‫ﺑﻮﺩ ﻛﻪ ﺑﻪ ﺷﺨﺼﻴﺖﻫﺎﻱ ﻣﻬﻢ ﺳﻴﺎﺳﻲ ﻭ‬ ‫ﺍﺩﺑﻲ ﺍﺯ ﺳﺮﺍﻥ ﺍﻳﻞ ﺗﺎ ﺷﺎﻋﺮ ﻭ ﻧﻮﻳﺴﻨﺪﻩ‬ ‫ﻭ ﺁﺯﺍﺩﻳﺨﻮﺍﻩ ﻛﻪ ﺩﺭ ﺯﻧﺪﺍﻥﻫﺎﻱ ﺷﻬﺮﺑﺎﻧﻲ‬ ‫ﺯﻧﺪﺍﻥ ﺑﻮﺩﻧﺪ‪ ،‬ﺑﻪ ﺩﺳﺘﻮﺭ ﻣﻘﺎﻡ ﺍﺭﺷﺪ‬

‫ﺩﺍﺳﺘﺎﻥﻫﺎﻱ ﺗﻠﺦ ﻭ ﺷﻴﺮﻳﻦ ﻣﻜﺮﺭﻱ‬ ‫ﺑﺎﺷﻨﺪ‪ ،‬ژﻧﺮﺍﻝ ﻓﻮﺷﻪ‪ ،‬ﺭﺋﻴﺲ ﺷﻬﺮﺑﺎﻧﻲ‬ ‫ﻧﺎﭘﻠﺌﻮﻥ ﺑﻮﻧﺎﭘﺎﺭﺕ ﺍﺯ ﻓﺮﺍﻧﺴﻪ ﻭ ﭼﻨﻴﻦ‬ ‫ﺷﺨﺼﻴﺖﻫﺎﻳﻲ ﺍﺯ ﺟﻬﺎﻥ ﺭﺍ ﺍﺯ ﺩﻳﺮﺑﺎﺯ‬ ‫ﺗﺎﻛﻨﻮﻥ ﺩﺭ ﭼﻨﺘﻪ ﺩﺍﺭﺩ!‬ ‫ﺟﻨﺎﺏ ﻛﺴﻤﺎﻳﻲ ﺍﻳﻦ ﻃﻮﺭ ﻛﻪ ﻣﻦ‬ ‫ﺣﺪﺱ ﻣﻲﺯﻧﻢ ﺷﻤﺎ ﺑﻪ ﻭﻛﺎﻟﺖ‬ ‫ﭘﺎﻳﻪﻳﻚ ﺩﺍﺩﮔﺴﺘﺮﻱﺗﺎﻥ ﻫﻢ‬ ‫ﭼﻨﺪﺍﻥ ﺩﻟﺒﺴﺘﮕﻲ ﻧﺪﺍﺷﺘﻴﺪ‪.‬‬ ‫ﺩﺭﺳﺖ ﺣﺪﺱ ﺯﺩﻳﺪ‪ .‬ﺩﺭ ﻭﻛﺎﻟﺖ‬ ‫ﺩﺍﺩﮔﺴﺘﺮﻱﺍﻡ ﺑﺎ ﺁﻧﭽﻪ ﺑﺮ ﺳﺮﻡ ﺁﻣﺪ – ﻛﻪ‬ ‫ﺩﺍﺳﺘﺎﻥ ﺩﻳﮕﺮﻱ ﺩﺍﺭﺩ – ﺩﺭﻳﺎﻓﺘﻢ ﻛﻪ ﺍﻳﻦ‬ ‫ﻛﺎﺭ ﺷﺮﻳﻒ ﻭ ﺷﻜﻞﮔﺸﺎﻱ ﺍﺟﺘﻤﺎﻋﻲ ﻛﺎﺭ‬ ‫ﻣﻦ ﻧﻴﺴﺖ ﻭ ﭘﺲ ﺍﺯ ﭘﻨﺞ ﺳﺎﻝ ﺭﻫﺎﻳﺶ‬ ‫ﻛﺮﺩﻡ ﻭ ﻧﻮﻳﺴﻨﺪﮔﻲ ﻭ ﺷﺎﻋﺮﻱ ﺭﺍ ﻛﻪ ﺩﺭ ﺁﻥ‬ ‫ﻣﺪﺕ ﻫﻢ ﺑﻪ ﺁﻧﻬﺎ ﻣﺸﻐﻮﻝ ﺑﻮﺩﻡ ﺑﺎ ﺩﻟﮕﺮﻣﻲ‬ ‫ﺑﻴﺸﺘﺮﻱ ﺍﺩﺍﻣﻪ ﺩﺍﺩﻡ‪ .‬ﺩﺭ ﺭﻭﺯﻧﺎﻣﻪ ﻧﺪﺍﻱ‬ ‫ﻋﺪﺍﻟﺖﻳﻚ ﺳﺘﻮﻥ ﺣﻘﻮﻗﻲ ﺑﻪ ﻧﺎﻡ »ﺁﻧﭽﻪ‬ ‫ﺑﺎﻳﺪ ﺍﺯ ﻗﺎﻧﻮﻧﻲ ﺑﺪﺍﻧﻴﺪ«ﻳﻚ ﺳﺘﻮﻥ ﺍﺟﺘﻤﺎﻋﻲ‬ ‫ﺑﻪ ﺍﺳﻢ »ﺍﺯ ﺷﻤﺎ ﭼﻪ ﭘﻨﻬﺎﻥ ﻭﻳﻚ ﺩﺍﺳﺘﺎﻥ‬ ‫ﺗﺮﺟﻤﻪ ﺑﻪ ﻧﺎﻡ‪» :‬ﺳﻪ ﺑﻴﮕﻨﺎﻩ« ﺩﺭ ﭘﺎﻭﺭﻗﻲ‬ ‫ﺩﺍﺷﺘﻢ‪ .‬ﺩﺭ ﻣﺠﻠﻪ ﻛﺎﻧﻮﻥ ﺷﻌﺮﺍ«‪ ،‬ﺩﻭﺭ‬ ‫ﻣﺠﻠﻪﻫﺎ ﻭ ﺭﻭﺯﻧﺎﻣﻪﻫﺎ ﺩﻳﮕﺮ ﻫﻢ ﺑﺎ ﻧﻮﺷﺘﻪ ﻭ‬ ‫ﺗﺮﺟﻤﻪ ﻫﻤﻜﺎﺭﻱ ﻣﻲﻛﺮﺩﻡ ﺩﺭ ﻣﺠﻠﻪ ﺗﺮﻗﻲ‬ ‫ﻏﻴﺮ ﺍﺯ ﻣﻘﺎﻟﻪﻳﻚ ﺳﺘﻮﻥ ﻫﻤﻴﺸﮕﻲ ﺑﻪ‬ ‫ﻋﻨﻮﺍﻥ »ﻫﺰﺍﺭ ﻭﻳﻚ ﺧﺒﺮ ﺧﻮﺍﻧﺪﻧﻲ« ﺩﺍﺷﺘﻢ‬ ‫ﻛﻪ ﺍﺯ ﻣﻄﺒﻮﻋﺎﺕ ﺧﺎﺭﺟﻲ ﺗﺮﺟﻤﻪ ﻣﻲﻛﺮﺩﻡ‪.‬‬ ‫ﺩﺭ ﻣﺠﻠﻪ ﺁﺳﻴﺎﻱ ﺟﻮﺍﻧﺎﻥ ﻫﻢﻳﻚ ﺩﺍﺳﺘﺎﻥ‬ ‫ﺗﺎﺭﻳﺨﻲ ﻣﻲﻧﻮﺷﺘﻢ ﺑﻪ ﻧﺎﻡ "ﺯﻳﺒﺎﻱ ﺣﺴﻮﺩ"‬ ‫ﻛﻪ ﺩﺭ ﭘﺎﻭﺭﻗﻲ ﭼﺎپ ﻣﻲﺷﺪ‪ .‬ﺑﻌﺪ ﻫﻢ ﺑﻪ‬ ‫ﺻﻮﺭﺕ ﻛﺘﺎﺏ ﻣﻨﺘﺸﺮ ﺷﺪ‪ .‬ﺩﺭ ﺳﺎﻝ ‪1326‬‬ ‫ﺭﺍﺩﻳﻮ ﻟﻨﺪﻥ ﻣﺴﺎﺑﻘﻪ ﺷﻌﺮﻱ ﮔﺬﺍﺷﺖ ﻫﻢ‬ ‫ﺷﻌﺮﻱ ﺳﺮﻭﺩﻡ ﻭ ﻓﺮﺳﺘﺎﺩﻡ ﻭ ﻣﻤﺘﺎﺯ ﺷﻨﺎﺧﺘﻪ‬ ‫ﺷﺪﻡ ﻭ ﺩﻭ‪ ،‬ﺳﻪ ﺑﺎﺭ ﺩﺭ ﺭﺍﺩﻳﻮ ﻟﻨﺪﻥ ﺧﻮﺍﻧﺪﻩ‬

‫ﺷﺪ ﺑﺎ ﺍﻳﻦ ﻣﻄﻠﻊ‪» :‬ﺩﻭﺭ‪ ،‬ﺁﻧﺠﺎ ﻛﻪ ﺟﻨﮕﻞ‬ ‫ﺍﻧﺒﻮﻩ ﺟﺎﻣﻪ ﺳﺒﺰ ﻛﻮﺩﻩ ﺩﺭ ﺗﻦ ﻛﻮﻩ« ﻛﻪ ﺩﺭ‬ ‫ﺷﻤﺎﺭﻩ ﺍﻭﻝﻳﺎ ﺩﻭﻡ ﻣﺠﻠﻪ ﻋﻠﻤﻲ ﺑﻪ ﭼﺎپ‬ ‫ﺭﺳﻴﺪ‪ .‬ﺑﺎ ﺷﺎﻋﺮﺍﻥ ﻭ ﻧﻮﻳﺴﻨﺪﮔﺎﻥ ﺩﻳﮕﺮﻱ‬ ‫ﻫﻢ ﺗﺎ ﺁﺷﻨﺎ ﺷﺪﻡ ﺍﺯ ﺟﻤﻠﻪ ﺑﺎ ﺍﺣﻤﺪ ﺷﺎﻣﻠﻮ‪،‬‬ ‫ﻛﻪ ﺩﺭ ﻣﺠﻠﻪ ﻛﻮﭼﻚ ﺍﺩﺑﻲ »ﺳﺨﻦ ﻧﻮ«‬ ‫ﻫﻤﻜﺎﺭ ﺑﻮﺩﻡ‪ .‬ﺑﺎ ﺍﻭ ﺑﻪ ﺧﺎﻧﻪ ﻧﻴﻤﺎ ﻣﻲﺭﻓﺘﻴﻢ‬ ‫ﻭ ﺑﺮﺍﻱ ﻣﺠﻠﻪ »ﺳﺨﻦ ﻧﻮ« ﺳﺮﻣﻘﺎﻟﻪ‬ ‫ﻣﻲﮔﺮﻓﺘﻴﻢ‪ .‬ﻧﻴﻤﺎ ﻣﺎ ﺭﺍ ﺑﺎ ﻣﻬﺮﺑﺎﻧﻲ ﺑﺴﻴﺎﺭ‬ ‫ﻣﻲﭘﺬﻳﺮﻓﺖ‪ .‬ﻣﻲﻧﺸﺴﺘﻴﻢ‪ ،‬ﺍﻭ ﻣﻲﮔﻔﺖ ﻭ‬ ‫ﻣﺎ ﻣﻲﻧﻮﺷﺘﻴﻢ ﻭ ﺑﻌﺪ ﺩﺭ ﺁﻥ ﻣﺠﻠﻪ ﭼﺎپ‬ ‫ﻣﻲﻛﺮﺩﻳﻢ‪ .‬ﻧﻴﻤﺎ ﻣﻲﮔﻔﺖ ﻣﻦ ﺑﻴﺴﺖ ﺳﺎﻝ‬ ‫ﻛﺎﺭ ﻛﺮﺩﻡ ﺗﺎ ﻗﺎﻟﺐ ﺷﻌﺮ ﻓﺎﺭﺳﻲ ﺭﺍ ﺗﻐﻴﻴﺮ‬ ‫ﺩﺍﺩﻡ‪.‬ﻳﻚ ﺭﻭﺯ ﻣﻦ ﺑﻪ ﻭﺯﺍﺭﺕ ﻓﺮﻫﻨﮓ‪ ،‬ﺩﺭ‬ ‫ﺑﺎﻍ ﻋﻤﺎﺭﺕ ﺳﻌﻮﺩﻳﻪ ﻛﻪ ﺍﺯ ﺳﺎﺧﺘﻤﺎﻥﻫﺎﻱ‬ ‫ﺩﻭﺭﺍﻥ ﻗﺎﺟﺎﺭ ﺍﺳﺖ ﺭﻓﺘﻢ ﺗﺎ ﻛﺘﺎﺏ‬ ‫»ﻭﻟﮕﺮﺩﺍﻥ« ﺭﺍ ﻛﻪ ﺷﺎﻣﻞ ﭼﻨﺪ ﺩﺍﺳﺘﺎﻥ‬ ‫ﻛﻮﺗﺎﻩ ﻏﻴﺮﺳﺎﺳﻲ ﺍﺳﺖ ﻭ »ﻣﺎﻛﺴﻴﻢ‬ ‫ﮔﻮﺭﮔﻲ« ﻧﻮﻳﺴﻨﺪﻩ ﺑﺰﺭگ ﺭﻭﺳﻴﻪ ﺗﺮﺟﻤﻪ‬ ‫ﻛﺮﺩﻩ ﺑﻮﺩﻡ ﺑﻪ ﻣﻠﻚﺍﻟﺸﻌﺮﺍﻱ ﺑﻬﺎﺭ‬ ‫ﭘﻴﺸﻜﺶ ﻛﻨﻢ‪ .‬ﭘﻴﺶ ﺧﻮﺩﻡ ﻓﻜﺮ ﻣﻲﻛﺮﺩﻡ‬ ‫ﺣﺎﻻ ﻛﻪ ﻣﻠﻚﺍﻟﺸﻌﺮﺍﻱ ﺑﻬﺎﺭ‪ ،‬ﻭﺯﻳﺮ‬ ‫ﻓﺮﻫﻨﮓ ﻭﻗﺖ ﺍﺳﺖ‪ ،‬ﺑﺎﻳﺪ ﺩﺭ ﺗﺎﻻﺭ ﺑﺰﺭگ‬ ‫ﺍﻳﻦ ﻋﻤﺎﺭﺕ ﺍﺷﺮﺍﻓﻲ ﻧﺸﺴﺘﻪ ﺑﺎﺷﺪ ﻭ ﻣﻌﻠﻮﻡ‬ ‫ﻧﻴﺴﺖ ﺑﺎ ﺗﺸﺮﻳﻔﺎﺗﻲ ﻛﻪ ﺩﺍﺭﺩ ﻣﻦ ﻧﺎﺷﻨﺎﺱ‬ ‫ﺭﺍ ﺑﭙﺬﻳﺮﺩ‪ .‬ﺍﻣﺎ ﻣﺮﺍ ﺑﻪ ﺣﻴﺎﻁ ﻛﻮﭼﻚ‬ ‫ﺁﻥ ﻋﻤﺎﺭﺕ ﺑﺰﺭگ ﺭﺍﻫﻨﻤﺎﻳﻲ ﻛﺮﺩﻧﺪ‪.‬‬ ‫ﻣﻠﻚﺍﻟﺸﻌﺮﺍﻱ ﺑﻬﺎﺭ ﺷﺎﻋﺮ‪ ،‬ﻧﻮﻳﺴﻨﺪﻩ‪،‬‬ ‫ﺭﻭﺯﻧﺎﻣﻪﻧﻮﻳﺲ‪ ،‬ﻭ ﺁﺯﺍﺩﻳﺨﻮﺍﻩ ﻧﺎﻣﺪﺍﺭ ﺁﻥ‬ ‫ﺯﻣﺎﻥ ﺩﺭ ﺍﺗﺎﻕ ﺳﺎﺩﻩﺍﻱ ﭘﺸﺖﻳﻚ ﻣﻴﺰ‬ ‫ﻣﻌﻤﻮﻟﻲ ﻧﺸﺴﺘﻪ ﺑﻮﺩ ﺑﺎ ﻛﻤﺎﻝ ﻣﻬﺮﺑﺎﻧﻲ‬ ‫ﻣﺮﺍ ﭘﺬﻳﺮﻓﺖ‪ .‬ﺩﺭ ﻛﻨﺎﺭ ﺧﻮﺩﺵ ﻧﺸﺎﻧﺪ‪ .‬ﺍﺯ‬ ‫ﺣﺎﻝ ﻭ ﺗﺤﺼﻴﻼﺕ ﻭ ﻛﺎﺭﻡ ﭘﺮﺳﻴﺪ‪.‬ﻛﺘﺎﺏ‬ ‫ﻭﻟﮕﺮﺩﺍﻥ ﺭﺍ ﻛﻪ ﭘﻴﺸﻜﺶ ﻛﺮﺩﻡ ﺑﺎ ﺭﻭﻱ‬ ‫ﺑﺎﺯ ﮔﺮﻓﺖ ﻭ ﮔﻔﺖ ﺑﺎ ﺩﻗﺖ ﻣﻲﺧﻮﺍﻧﻢ ﻭ‬ ‫ﭘﺲ ﻣﻲﻓﺮﺳﺘﻢ‪ .‬ﺍﻛﻨﻮﻥ ﻛﻪ ﺷﻤﺎ ﺟﻮﺍﻥ‬ ‫ﺩﺍﻧﺸﻤﻨﺪﻱ ﻫﺴﺘﻴﺪ ﻣﻲﻧﻮﻳﺴﻴﺪ ﻭ ﺷﻌﺮ‬ ‫ﻣﻲﺳﺮﺍﻳﻴﺪ ﺑﺎﻳﺪ ﺗﻼﺵ ﻛﻨﻴﺪ ﻭ ﺧﻮﺩﺗﺎﻥ ﺭﺍ‬ ‫ﺑﺸﻨﺎﺳﻴﺪ ﻭ ﺣﺘﻲ ﺷﻨﺎﺧﺘﻪ ﺷﺪﻳﺪ ﺩﻳﮕﺮﺍﻥ‬ ‫ﺷﻤﺎ ﺭﺍ ﺑﻴﺸﺘﺮ ﻣﻲﺷﻨﺎﺳﺎﻧﻨﺪ‪ ...‬ﭼﻨﺪ ﺭﻭﺯ‬ ‫ﺑﻌﺪ ﻛﺘﺎﺏ ﻭﻟﮕﺮﺩﺍﻥ ﺭﺍ ﺑﺎ ﻧﺎﻣﻪ ﺷﻴﻮﺍﻳﻲ ﺑﻪ‬ ‫ﺍﻣﻀﺎ ﺧﻮﺩﺵ ﺑﺮﺍﻳﻢ ﻓﺮﺳﺘﺎﺩ ﻛﻪ ﺩﺭ ﺁﻏﺎﺯ ﺁﻥ‬ ‫ﻛﺘﺎﺏ ﭼﺎپ ﻛﺮﺩﻡ ﻭ ﭘﻨﺪﺵ ﺭﺍ ﻫﻢ ﺗﺎ ﺁﻧﺠﺎ‬ ‫ﻛﻪ ﺧﻮﺩﻧﻤﺎﻳﻲ ﻧﺒﺎﺷﺪ‪ ،‬ﺑﻪ ﻛﺎﺭ ﺑﺴﺘﻢ‪ .‬ﻭﻗﺘﻲ‬ ‫ﺍﺯ ﭘﻴﺶ ﻣﻠﻚﺍﻟﺸﻌﺮﺍﻱ ﺑﻬﺎﺭ ﺑﺮﻣﻲﮔﺸﺘﻢ‬ ‫ﻧﻴﻤﺎ ﺭﺍ ﺩﺭ ﺣﻴﺎﻁ ﺁﻧﺠﺎ ﺩﻳﺪﻡ‪ .‬ﮔﻔﺖ ﺑﺮﺍﻱ‬ ‫ﭘﻴﮕﻴﺮﻱ ﺑﺎﺯﻧﺸﺴﺘﮕﻲﺍﻡ ﺁﻣﺪﻩﺍﻡ‪ .‬ﻣﻦ ﻫﻢ‬ ‫ﺩﻳﺪﺍﺭ ﻣﻠﻚﺍﻟﺸﻌﺮﺍﻱ ﺑﻬﺎﺭ ﺭﺍ ﺗﻌﺮﻳﻒ ﻛﺮﺩﻡ‬ ‫ﻧﻴﻤﺎ ﮔﻔﺖ‪ :‬ﻣﻠﻚﺍﻟﺸﻌﺮﺍﻱ ﺑﻬﺎﺭ ﺷﺎﻋﺮ ﺑﺴﻴﺎﺭ‬ ‫ﺑﺰﺭگ ﻭ ﺩﺍﻧﺸﻤﻨﺪ ﺭﻭﺯﮔﺎﺭ ﻣﺎﺳﺖ‪.‬‬ ‫ﺷﻤﺎ ﺍﺯ ﺧﺎﻃﺮﺍﺗﺘﺎﻥ ﺑﺎ ﺍﺳﺘﺎﺩ‬ ‫ﺟﻼﻝ ﻫﻤﺎﻳﻲ‪،‬ﺍﺳﺘﺎﺩ ﺑﻬﻤﻨﻴﺎﺭ ﻭ‬ ‫ﻣﻠﻚﺍﻟﺸﻌﺮﺍﻱ ﺑﻬﺎﺭ ﻭ ﺷﻬﺮﻳﺎﺭ‬ ‫ﻭ ﻧﻴﻤﺎ ﺍﺷﺎﺭﻩﻫﺎﻳﻲ ﻛﺮﺩﻳﺪ‪ .‬ﺁﻳﺎ ﺑﺎ‬ ‫ﺻﺎﺩﻕ ﻫﺪﺍﻳﺖ ﻫﻢ ﺩﻳﺪﺍﺭ ﺩﺍﺷﺘﻴﺪ؟‬ ‫ﻣﻦ ﺑﺎ ﺻﺎﺩﻕ ﻫﺪﺍﻳﺖ ﺭﻭ ﺑﻪ ﺭﻭ ﺻﺤﺒﺖ‬ ‫ﻧﻜﺮﺩﻡ‪.‬ﺩﺭ ﺧﻴﺎﺑﺎﻥ ﻓﺮﺩﻭﺳﻲ ﺭﺳﺘﻮﺭﺍﻧﻰ‬ ‫ﺑﻮﺩ ﺑﻪ ﻧﺎﻡ ﺭﺳﺘﻮﺭﺍﻥ ﻳﺎ ﻛﺎﻓﻪ ﻧﺎﺩﺭﻱ ﻛﻪ‬

‫ﺁﻥ ﺯﻣﺎﻥ ﻫﻨﺮﻣﻨﺪﻫﺎ ﺩﺭ ﺁﻥ ﺁﻣﺪ ﻭ‬ ‫ﺷﺪ ﺩﺍﺷﺘﻨﺪ‪.‬ﻳﻚ ﺗﺎﻻﺭ ﭼﺎﻱﺧﻮﺭﻱ‬ ‫ﺩﺍﺷﺖ ﻭ ﻳﻚ ﺗﺎﻻﺭ ﻧﺎﻫﺎﺭﺧﻮﺭﻱ‪.‬ﻳﻚ‬ ‫ﻣﻴﺰ ﻋﺴﻠﻲ ﻣﻌﻤﻮﻟﻲ ﻛﺎﻓﻪ‪،‬ﻛﻨﺎﺭ ﻣﻴﺰ‬ ‫ﺑﻠﻨﺪ ﻛﺎﺭﻛﻨﺎﻥ ﺑﻮﺩ ﻛﻪ ﺻﺎﺩﻕ‬ ‫ﻫﺪﺍﻳﺖ ﻭﻗﺘﻲ ﺑﻪ ﺁﻧﺠﺎ ﻣﻲﺁﻣﺪ‪،‬‬ ‫ﻫﻤﻴﺸﻪ ﭘﺸﺖ ﺁﻥ ﻣﻴﺰ ﻋﺴﻠﻲ‬ ‫ﻣﻲﻧﺸﺴﺖ ﺩﻭﺳﺘﺎﻥ ﻧﺰﺩﻳﻜﺶ ﻫﻢ‬ ‫ﺩﻭﺭ ﺁﻥ ﻣﻲﻧﺸﺴﺘﻨﺪ ﭼﺎﻱ ﻭ ﻗﻬﻮﻩ‬ ‫ﻣﻲﺧﻮﺭﺩﻧﺪ ﻭ ﺣﺮﻑ ﻣﻲﺯﺩﻧﺪ‪ .‬ﺷﻨﻴﺪﻩ‬ ‫ﺑﻮﺩﻳﻢ ﺻﺎﺩﻕ ﻫﺪﺍﻳﺖ ﻛﺎﺭﻱ ﻛﺮﺩﻩ‬ ‫ﺑﻮﺩ ﻛﻪ ﻫﻤﻪ ﺁﻥ ﺭﺍ ﭘﺬﻳﺮﻓﺘﻪ ﺑﻮﺩﻧﺪ‬ ‫ﻭ ﻫﻤﺎﻥ ﮔﻮﻧﻪ ﺭﻓﺘﺎﺭ ﻣﻲﻛﺮﺩﻧﺪ‪.‬‬ ‫ﺻﺎﺩﻕ ﻫﺪﺍﻳﺖ ﭼﺎﻱﻳﺎ ﻗﻬﻮﻩﺍﻱ‬ ‫ﺭﺍ ﻛﻪ ﻣﻲﺧﻮﺭﺩ ﭘﻮﻟﺶ ﺭﺍ ﺧﻮﺩﺵ‬ ‫ﻣﻲﺩﺍﺩ ﻭ ﻧﻪ ﭘﻮﻝ ﻛﺴﻲ ﺭﺍ ﺣﺴﺎﺏ‬ ‫ﻣﻲﻛﺮﺩ‪،‬ﻧﻪ ﻣﻬﻤﺎﻥ ﻛﺴﻲ ﻣﻲﺷﺪ‪.‬‬ ‫ﻣﻦ ﻭ ﻧﻮﻳﺴﻨﺪﻩﻫﺎ ﻭ ﺷﺎﻋﺮﻫﺎﻱ‬ ‫ﻫﻤﺴﻦ ﻭ ﺳﺎﻝ ﻭ ﺗﺎﺯﻩ ﺑﻪ ﺩﻭﺭﺍﻥ‬ ‫ﺭﺳﻴﺪﻩ ﻫﻢ‪ ،‬ﺑﻪ ﺁﻥ ﻛﺎﻓﻪ ﻣﻲﺭﻓﺘﻴﻢ‪،‬‬ ‫ﺩﻭﺭﻳﻚ ﻣﻴﺰ ﺟﻤﻊ ﻣﻲﺷﺪﻳﻢ‪،‬‬ ‫ﭼﺎﻱ ﻭ ﻗﻬﻮﻩ ﻣﻲﺧﻮﺭﺩﻳﻢ ﺍﻣﺎ‬ ‫ﺑﻪ ﻣﻴﺰ ﺻﺎﺩﻕ ﻫﺪﺍﻳﺖ ﻧﺰﺩﻳﻚ‬ ‫ﻧﻤﻲﺷﺪﻳﻢ‪ .‬ﭼﻮﻥ ﻫﻨﻮﺯ ﻧﻮﺟﻮﺍﻥ‬ ‫ﻭ ﻧﺎﺷﻨﺎﺱ ﺑﻮﺩﻳﻢ ﻭ ﺑﺎ ﺑﺰﺭﮔﺎﻥ ﻭ‬ ‫ﻧﺎﻣﺪﺍﺭﺍﻥ ﺩﻣﺨﻮﺭ ﻧﺸﺪﻩ ﺑﻮﺩﻳﻢ‪.‬‬ ‫ﻏﻴﺮ ﺍﺯ ﻡ‪.‬ﻓﺮﺯﺍﻧﻪ ﺩﻭﺳﺖ ﻫﻤﺴﻦ‬ ‫ﻭ ﺳﺎﻝ ﺧﻮﺩﻣﺎﻥ ﻛﻪ ﻧﻮﻳﺴﻨﺪﻩ ﻭ‬ ‫ﻣﺘﺮﺟﻢ ﺑﻮﺩ ﻛﻪ ﺑﺎ ﺻﺎﺩﻕ ﻫﺪﺍﻳﺖ‬ ‫ﺁﺷﻨﺎ ﺑﻮﺩ‪ .‬ﺯﺑﺎﻥ ﻓﺮﺍﻧﺴﻪ ﻣﻲﺩﺍﻧﺴﺖ‬ ‫ﻭ ﺑﺮﺍﻱ ﻛﺴﺐ ﺍﻃﻼﻉ ﻭ ﮔﺮﻓﺘﻦ‬ ‫ﻛﺘﺎﺏﻫﺎﻱ ﺗﺎﺯﻩ ﺟﺎﻟﺐ ﻓﺮﺍﻧﺴﻪ ﺑﻪ‬ ‫ﺧﺎﻧﻪﺍﺵ ﻣﻲﺭﻓﺖ‪.‬ﺑﻌﺪ ﻛﻪ ﻓﺮﺯﺍﻧﻪ‬ ‫ﺑﺮﺍﻱ ﺍﺩﺍﻣﻪ ﺗﺤﺼﻴﻞ ﺑﻪ ﻓﺮﺍﻧﺴﻪ‬ ‫ﺭﻓﺖ‪ ،‬ﺩﺭ ﭘﺎﺭﻳﺲ ﻫﻢ ﺑﺎ ﺻﺎﺩﻕ‬ ‫ﻫﺪﺍﻳﺖ ﻛﻪ ﺩﺭ ﺁﻥ ﺷﻬﺮ ﺑﻮﺩ ﺭﻓﺖ‬ ‫ﻭ ﺁﻣﺪ ﺩﺍﺷﺖ‪ .‬ﺩﺭ ﻛﺘﺎﺏﻫﺎﻳﻲ ﻫﻢ‬ ‫ﻛﻪ ﺑﻪ ﻓﺎﺭﺳﻲ ﻧﻮﺷﺖ ﻭ ﻣﻨﺘﺸﺮ‬ ‫ﻛﺮﺩ ﺍﺯ ﺻﺎﺩﻕ ﻫﺪﺍﻳﺖ ﻫﻢ ﻧﻮﺷﺘﻪ‬ ‫ﺍﺳﺖ‪ .‬ﻫﻤﭽﻨﻴﻦ ﺍﺷﺎﺭﻩ ﻛﺮﺩﻩ ﺍﺳﺖ‬ ‫ﻛﻪ ﻣﻦ ﻭ ﺑﺮﺧﻲ ﺍﺯ ﻧﻮﻳﺴﻨﺪﮔﺎﻥ ﻭ‬ ‫ﺷﺎﻋﺮﺍﻥ ﺩﻳﮕﺮ ﺭﻭﺯﻫﺎﻱ ﺩﻭﺷﻨﺒﻪ‬ ‫ﻫﺮ ﻫﻔﺘﻪ ﺩﺭ ﺧﺎﻧﻪ ﻛﺴﻤﺎﻳﻲ ﺟﻤﻊ‬ ‫ﻣﻲﺷﺪﻳﻢ‪ .‬ﺩﺭ ﭘﺎﺳﺦ ﭘﺮﺳﺶ ﺷﻤﺎ‬ ‫ﺟﻨﺎﺏ ﻋﺰﻳﺰﻱ ﻋﺰﻳﺰ‪ ،‬ﺁﺷﻨﺎﻳﻲ ﻣﻦ‬ ‫ﺑﺎ ﺻﺎﺩﻕ ﻫﺪﺍﻳﺖ ﻫﻤﻴﻦ ﺳﻼﻡ ﻭ‬ ‫ﻫﻤﻴﻦ ﺩﻳﺪﺍﺭﻫﺎﻱ ﺍﺯ ﺩﻭﺭ ﺑﻮﺩ‪.‬‬ ‫ﺍﺳﺘﺎﺩ‪ ،‬ﻣﻦ ﻓﻜﺮ ﻣﻲﻛﻨﻢ‬ ‫ﺍﺩﺍﻣﻪ ﮔﻔﺘﮕﻮﻱﻣﺎﻥ ﺭﺍ ﺑﺎﻳﺪ‬ ‫ﺑﮕﺬﺍﺭﻳﻢ ﺑﻪ ﺟﻠﺴﻪ ﺑﻌﺪ‪.‬‬ ‫ﺗﺎ ﺍﻳﻨﺠﺎ ﺗﺎ ﻣﻘﻄﻊ ﺧﺎﺻﻲ‬ ‫ﺍﻭﻣﺪﻳﻢ ﺗﺎ ﻣﻘﺪﻣﺎﺗﻲ ﻓﺮﺍﻫﻢ‬ ‫ﺑﺸﻮﺩ ﺑﺮﺍﻱ ﮔﻔﺘﮕﻮﻫﺎﻱ‬ ‫ﺑﻌﺪﻱ‬ ‫ﻣﻦ ﺑﺎ ﻛﻤﺎﻝ ﻣﻴﻞ ﺩﺭ ﺍﺧﺘﻴﺎﺭ ﺷﻤﺎ‬ ‫ﻫﺴﺘﻢ‪.‬‬ ‫ﺍﺩﺍﻣﻪ ﺩﺍﺭﺩ‬

‫ﺩﻭﺭﻩ ﺟﺪﻳﺪ‪/‬ﺷﻤﺎﺭﻩ ‪ 9‬ﻭ ‪)10‬ﭘﻴﺎﭘﻲ‪39‬ﻭ‪ /(40‬ﺳﺎﻝ ﺳﻮﻡ‪/‬ﻧﻮﺭﻭﺯ‪88‬‬

‫ﭼﻪ ﺳﺎﻟﻲ ﺍﺳﺘﺎﺩ؟‬ ‫ﻓﺮﻭﺭﺩﻳﻦ ‪ 1320‬ﻛﻪ ﺩﺭ ﻣﺠﻤﻮﻋﻪ‬ ‫ﺷﻌﺮﻡ ﺑﻪ ﻋﻨﻮﺍﻥ‪» :‬ﺩﻳﺮﻭﺯ‪ ،‬ﺍﻣﺮﻭﺯ« ﺩﺭ‬ ‫‪ 1377‬ﭼﺎپ ﺷﺪﻩ ﺍﺳﺖ‪.‬‬ ‫ﺩﻳﮕﺮ ﻛﺎﺭﺗﺎﻥ ﺩﺭ ﺩﺍﻧﺸﻜﺪﻩ‬ ‫ﺣﻘﻮﻕ ﺑﻪ ﭘﺎﻳﺎﻥ ﺭﺳﻴﺪ؟‬ ‫ﻧﻪﻳﻚ ﻛﻼﺱ ﺭﻭﺯﻧﺎﻣﻪﻧﮕﺎﺭﻱ ﻛﻮﺗﺎﻩ‬ ‫ﻣﺪﺕ ﻫﻢ ﺩﺭ ﺩﺍﻧﺸﻜﺪﻩ ﺣﻘﻮﻕ ﺑﺎﺯ‬ ‫ﺷﺪ ﺑﺎ ﺍﺳﺘﺎﺩﺍﻥ ﻧﺎﻣﺪﺍﺭ ﻭ ﺩﺍﻧﺸﻤﻨﺪﻱ‬ ‫ﻣﺎﻧﻨﺪ ﺭﺷﻴﺪﻳﺎﺳﻤﻲ ﺷﺎﻋﺮ ﻭ ﻣﺤﻘﻖ‪،‬‬ ‫ﻣﻄﻴﻊﺍﻟﺪﻭﻟﻪ ﺣﺠﺎﺯﻱ ﻧﻮﻳﺴﻨﺪﻩ‪،‬‬ ‫ﺳﻌﻴﺪ ﻧﻔﻴﺴﻲ ﻧﻮﻳﺴﻨﺪﻩ ﻭ ﭘﮋﻭﻫﺸﮕﺮ‪،‬‬ ‫ﺩﻛﺘﺮ ﺻﻮﺭﺗﮕﺮ ﺷﺎﻋﺮ ﺍﺳﺘﺎﺩ ﺯﺑﺎﻥ ﻭ‬ ‫ﺩﻳﮕﺮﺍﻥ‪ .‬ﻣﻦ ﺑﻪ ﻋﻨﻮﺍﻥ ﻧﻮﻳﺴﻨﺪﻩ‬ ‫ﻣﻄﺒﻮﻋﺎﺕ ﺩﺭ ﺁﻥ ﻛﻼﺱ ﺷﺮﻛﺖ‬ ‫ﻛﺮﺩﻡ ﻭ ﺩﻭﺭﻩﺍﺵ ﺭﺍ ﮔﺬﺭﺍﻧﺪﻡ‪.‬‬ ‫ﺍﻧﮕﺎﺭ ﺑﺎ ﺑﺴﻴﺎﺭﻱ ﺍﺯ ﺷﺎﻋﺮﺍﻥ‬ ‫ﻭ ﻧﻮﻳﺴﻨﺪﮔﺎﻥ ﺑﺰﺭگ ﻭ‬ ‫ﺩﺍﻧﺸﻤﻨﺪ ﻭ ﻧﺎﻣﺪﺍﺭ ﺯﻣﺎﻥﺗﺎﻥ‬ ‫ﺁﺷﻨﺎ ﺷﺪﻳﺪ؟‬ ‫ﺑﻠﻪ ﺍﻳﻦﻳﻜﻲ ﺍﺯ ﺧﻮﺷﺒﺨﺘﻲﻫﺎﻱ‬ ‫ﺯﻧﺪﮔﻲ ﻣﻦ ﺑﻮﺩ‪.‬‬ ‫ﻭ ﭼﻪﻳﺎﺩﺑﻮﺩﻫﺎﻱ ﺧﻮﺑﻲ ﺍﺯ‬ ‫ﻣﻌﻠﻢﻫﺎﻱ ﺧﻮﺏ ﺭﻭﺯﮔﺎﺭ‬ ‫ﺩﺍﻧﺶﺁﻣﻮﺯﻱﺗﺎﻥ ﺩﺍﺭﻳﺪ?‬ ‫ﻣﻦ ﻫﺮ ﺍﺯ ﮔﺎﻫﻲ ﻛﻪ ﺑﻪ ﮔﺬﺷﺘﻪﻫﺎﻱ‬ ‫ﺩﻭﺭﻡ ﻧﮕﺎﻩ ﻣﻲﻛﻨﻢ ﻣﻲﺑﻴﻨﻢ ﭼﻘﺪﺭ‬ ‫ﺧﻮﺷﺒﺨﺖ ﺑﻮﺩﻡ ﻛﻪ ﻓﺮﺻﺖﻳﺎﻓﺘﻢ‬ ‫ﺯﻳﺮ ﺩﺳﺖ ﭼﻨﻴﻦ ﻣﻌﻠﻢﻫﺎﻱ ﺩﺍﻧﺸﻤﺪ ﻭ‬ ‫ﺁﻣﻮﺯﮔﺎﺭﺍﻥ ﺍﻧﺴﺎﻧﻲ ﺗﺤﺼﻴﻞ ﻛﻨﻢ ﻛﻪ‬ ‫ﻫﻤﻪﺷﺎﻥ ﺩﺭ ﺑﻠﻨﺪﺍﻱ ﻋﻠﻢ ﻭ ﺩﺍﻧﺶ‬ ‫ﺑﻮﺩﻧﺪ ﻭ ﺩﺍﻧﺶ ﻭ ﺍﻧﺴﺎﻧﻴﺖ ﺧﻮﺩﺷﺎﻥ‬ ‫ﺭﺍ ﺑﻪ ﻧﻮﺁﻣﻮﺯﺍﻥ ﻭ ﺩﺍﻧﺶﺁﻣﻮﺯﺍﻥ ﻭ‬ ‫ﺩﺍﻧﺸﺠﻮﻳﺎﻥ ﺑﻪ ﺭﺍﻳﮕﺎﻥ ﻣﻲﺁﻣﻮﺧﺘﻨﺪ‪.‬‬ ‫ﻫﻤﻴﺸﻪ ﺳﭙﺎﺳﮕﺰﺍﺭﺷﺎﻥ ﻫﺴﺘﻢ‪.‬‬ ‫ﺑﻠﻪ ﭼﻨﻴﻦ‬ ‫ﺍﺳﺘﺜﻨﺎﻳﻲ ﺍﺳﺖ‬

‫ﻓﺮﺻﺖﻫﺎﻳﻲ‬

‫ﺧﻮﺷﺒﺨﺘﻲ ﺍﻣﺮﻭﺯﻡ ﻫﻢ ﻛﻪ ﺑﺎﻳﺪ ﺍﺯ‬ ‫ﺧﺪﺍ ﺳﭙﺎﺳﮕﺰﺍﺭﺵ ﺑﺎﺷﻢ ﺍﻳﻦ ﺍﺳﺖ‬ ‫ﻛﻪ ﺑﺎﻳﻜﻲ ﺍﺯ ﺍﻫﺎﻱ ﺩﺍﻧﺶ ﻭ ﺷﻌﺮ ﻭ‬ ‫ﻧﻮﻳﺴﻨﺪﮔﻲ ﻭ ﺍﻧﺴﺎﻧﻴﺖ ﻣﺎﻧﻨﺪ ﺷﻤﺎ‬ ‫ﺟﻨﺎﺏ ﻋﺰﻳﺰﻱ ﻋﺰﻳﺰ ﺁﺷﻨﺎ ﺷﺪﻩﺍﻡ‪.‬‬ ‫ﺷﻤﺎ ﺑﺎ ﭘﺮﺳﺶﻫﺎﻱ ﺩﻗﻴﻖﺗﺎﻥ ﻣﺮﺍ ﺑﻪ‬ ‫ﺩﻭﺭﻩ ﺷﺎﺩ ﻭ ﺷﺎﺩﻱﺑﺨﺶ ﺯﻧﺪﮔﻲﺍﻡ‬ ‫ﻣﻲﺑﺮﻳﺪ ﻭ ﺑﺎ ﺻﺒﺮ ﻭ ﺣﻮﺻﻠﻪ‪،‬‬ ‫ﭘﺮﮔﻮﻳﻲﻫﺎﻳﻢ ﺭﺍ ﺗﺤﻤﻞ ﻣﻲﻛﻨﻴﺪ ﻭ‬ ‫ﭼﻨﻴﻦ ﺭﻭﺷﻲ ﺭﺍ ﺑﻪ ﻣﻦ ﻣﻲﺁﻣﻮﺯﻳﺪ‪.‬‬ ‫ﺍﻳﻦ ﮔﻔﺖ ﻭ ﺷﻨﻴﺪﻫﺎ ﺩﺭ ﺣﻘﻴﻘﺖ‬ ‫ﺑﺨﺸﻲ ﺍﺯ ﺗﺎﺭﻳﺦ ﻧﮕﺎﺭﻱ ﻧﻪ ﭼﻨﺪﺍﻥ‬ ‫ﺩﻭﺭ ﮔﺬﺷﺘﻪ ﺍﻳﺮﺍﻥ ﻣﺎﺳﺖ ﻛﻪ ﺑﺎﻳﺪ‬

‫ﻗﺪﺭﺵ ﺭﺍ ﺑﺪﺍﻧﻴﻢ‪ .‬ﺑﺎﻭﺭ ﻛﻨﻴﺪ ﻛﻪ ﭘﺮﮔﻮﻳﻲ‬ ‫ﻧﻴﺴﺖ‪.‬‬ ‫ﻣﻦ ﺑﺎﻳﺪ ﺍﺯ ﺧﺎﻧﻢ ﺟﻮﺍﺩﻳﺎﻥ ﺻﻤﻴﻤﺎﻧﻪ‬ ‫ﺳﭙﺎﺳﮕﺰﺍﺭﻱ ﻛﻨﻢ ﻛﻪ ﺩﺭ ﻫﻤﻜﺎﺭﻱ ﺍﺩﺑﻲ‬ ‫ﻭ ﺭﻭﺯﻧﺎﻣﻪﻧﻮﻳﺴﻲ ﺷﺎﻳﺴﺘﻪﺷﺎﻥ ﭼﻨﻴﻦ‬ ‫ﻓﺮﺻﺘﻲ ﺭﺍ ﻛﻪ ﺑﺎ ﺷﻤﺎ ﺁﺷﻨﺎ ﺷﺪﻡ ﺑﺮﺍﻱ ﻣﻦ‬ ‫ﻓﺮﺍﻫﻢ ﺁﻭﺭﺩﻧﺪ‪ .‬ﺑﺴﻴﺎﺭ ﺑﺴﻴﺎﺭ ﻣﻤﻨﻮﻧﻢ‪.‬‬ ‫ﻣﻦ ﺑﺮﺍﻱ ﭘﺎﺳﺨﮕﻮﻳﻲ ﺑﻪ ﭘﺮﺳﺶﻫﺎﻱ ﺷﻤﺎ‬ ‫ﺳﺮﺍﭘﺎ ﮔﻮﺷﻢ‪.‬‬ ‫ﻣﺘﺸﻜﺮﻡ‪ .‬ﭘﺲ ﺩﻳﮕﺮ ﻣﻲﺗﻮﺍﻧﺴﺘﻴﺪ‬ ‫ﻛﺎﺭﻱ ﺑﮕﻴﺮﻳﺪ ﻭ ﺑﻪ ﺍﺟﺘﻤﺎﻉ ﻭﺍﺭﺩ‬ ‫ﺷﻮﻳﺪ‪.‬‬ ‫ﺑﻠﻪ‪.‬ﻳﻚ ﻛﺎﺭ ﻣﻮﻗﺖ ﭘﻴﺶ ﺁﻣﺪ ﻛﻪ ﮔﻮﺷﻪﺍﺯ‬ ‫ﻓﻌﺎﻟﻴﺖﻫﺎﻱ ﺍﺟﺘﻤﺎﻋﻲ ﺭﺍ ﻧﺸﺎﻧﻢ ﺩﺍﺩ‪.‬ﻳﻜﻲ‬ ‫ﺍﺯ ﺩﻭﺳﺖﻫﺎﻱ ﺩﺍﻧﺸﺠﻮ‪ ،‬ﺩﺭ ﺍﻧﺘﺨﺎﺑﺎﺕ‬ ‫ﻣﺠﻠﺲ ﺷﻮﺭﺍﻱ ﻣﻠﻲ ﻣﻨﺸﻰ ﻳﻚ ﺷﻌﺒﻪ‬ ‫ﺭﺃﻱﮔﻴﺮﻱ ﺷﺪﻩ ﺑﻮﺩ‪ ،‬ﻣﺮﺍ ﻫﻢ ﻣﻌﺮﻓﻲ‬ ‫ﻛﺮﺩ ﻛﻪ ﻣﻨﺸﻲ ﺣﻮﺯﻩ ﺩﻳﮕﺮﻱ ﺷﺪﻡ ﺩﺭ‬ ‫ﻣﺴﺠﺪ ﺧﻴﺎﺑﺎﻥ ﺳﻴﺮﻭﺱ ﻧﺰﺩﻳﻚ ﭼﻬﺎﺭﺭﺍﻩ‬ ‫ﺳﺮﭼﺸﻤﻪ‪ ،‬ﺳﺮﻳﻚ ﻣﻴﺰ ﺩﺭﺍﺯ ﺟﺎﻱ ﻣﻦ‬ ‫ﺑﻮﺩ‪ .‬ﭘﺎﺳﺒﺎﻥﻫﺎﻯ ﺩﻡ ﺩﺭ ﻣﺴﺠﺪ ﻛﺎﺭﮔﺮﻫﺎ‬ ‫ﺭﻭ ﻣﻲﻓﺮﺳﺘﺎﺩﻧﺪ ﺗﻮﻱ ﻣﺴﺠﺪ ﺭﺃﻱ ﺑﺪﻫﻨﺪ‪.‬‬ ‫ﻣﻦ ﻧﺎﻡ ﻫﺮ ﻛﺪﺍﻡ ﺭﺍ ﺍﺯ ﺭﻭﻱ ﺷﻨﺎﺳﻨﺎﻣﻪﺍﺵ‬ ‫ﻣﻲﻧﻮﺷﺘﻢ ﻭ ﺑﻪ ﻫﻤﻜﺎﺭ ﻛﻨﺎﺭﻡ ﻣﻲﺩﺍﺩﻡ‪.‬‬ ‫ﺁﺧﺮ ﻣﻴﺰ ﻛﺎﻏﺬ ﺭﺃﻱ ﻧﻮﺷﺘﻪ ﺷﺪﻩﺍﻱ ﺭﺍ‬ ‫ﺑﻪ ﻛﺎﺭﮔﺮﻱ ﻣﻲﺩﺍﺩﻧﺪ ﻛﻪ ﺩﺭ ﺻﻨﺪﻭﻕ‬ ‫ﻣﻲﺍﻧﺪﺍﺧﺖ‪ .‬ﺭﺃﻱﮔﻴﺮﻱﻳﻚ ﻣﺎﻫﻪ ﻛﻪ ﺗﻤﺎﻡ‬ ‫ﺷﺪ ﺻﻨﺪﻭﻕ ﻻﻙ ﻭ ﻣﻬﺮ ﺷﺪﻩ ﺭﺃﻱﻫﺎ ﺭﺍ‬ ‫ﺑﺎ ﺩﺭﺷﻜﻪ ﺑﻪ ﻣﺠﻠﺲ ﺍﺻﻠﻲ ﺑﺮﺩﻳﻢ‪ .‬ﺩﺭ‬ ‫ﺁﻧﺠﺎﻳﻜﻲ ﺍﺯ ﻣﻨﺸﻲﻫﺎ ﺍﺳﻢﻫﺎﻳﻲ ﺭﺍ ﻛﻪ ﺩﺭ‬ ‫ﻭﺭﻗﻪ ﺭﺃﻱ ﺑﻮﺩ ﺑﺎ ﺻﺪﺍﻱ ﺑﻠﻨﺪ ﻣﻲﺧﻮﺍﻧﺪ‪،‬‬ ‫ﺍﻣﺎ ﺍﺳﻢ ﻛﺴﻲ ﺭﺍ ﺩﺭ ﺩﻓﺘﺮ ﻛﻞ ﺍﻧﺘﺨﺎﺑﺎﺕ‬ ‫ﻣﻲﻧﻮﺷﺘﻨﺪ ﻛﻪ ﻗﺮﺍﺭ ﺑﻮﺩ ﻭﻛﻴﻞ ﺑﺸﻮﺩ‪ .‬ﺑﻌﺪ‬ ‫ﻫﻢ ﺍﻋﻼﻣﻴﻪ ﺻﺎﺩﺭ ﻣﻲﻛﺮﺩﻧﺪ ﻛﻪ ﻣﺜ ً‬ ‫ﻼ‬ ‫ﺁﻗﺎﻱ ﻣﺪﺭﺱ ﺣﺘﻲﻳﻚ ﺭﺃﻱ ﻫﻢ ﻧﻴﺎﻭﺭﺩﻩ‪.‬‬ ‫ﻣﻲﮔﻔﺘﻨﺪ ﺁﻗﺎﻱ ﻣﺪﺭﺱ ﻫﻢ ﮔﻔﺘﻪ ﺑﻮﺩ ﭘﺲ‬ ‫ﺍﻭﻥ ﺭﺃﻳﻲ ﺭﻭ ﻛﻪ ﺧﻮﺩﻡ ﺑﻪ ﺍﺳﻢ ﺧﻮﺩﻡ‬ ‫ﻧﻮﺷﺘﻢ ﻭ ﺩﺭ ﺻﻨﺪﻭﻕ ﻓﻼﻥ ﺣﻮﺯﻩ ﺍﻧﺪﺍﺧﺘﻢ‬ ‫ﭼﻄﻮﺭ ﺷﺪ؟ ﻣﻦ ﺍﻧﺘﺨﺎﺑﺎﺕ ﺑﻪ ﺍﺻﻄﻼﺡ ﺁﺯﺍﺩ‬ ‫ﻣﺮﺩﻣﻲ ﺭﺍ ﺩﺭﻳﻚ ﻧﻤﺎﻳﺶ ﻓﺮﻳﺒﻨﺪﻩ ﺩﻭﻟﺘﻲ‬ ‫ﺩﺭ ﻫﻤﺎﻥ ﺩﻭﺭﻩ ﺑﻪ ﭼﺸﻢ ﺩﻳﺪﻡ!‬ ‫ﺑﻪ ﺍﻳﻦ ﺗﺮﺗﻴﺐ ﺗﺤﺼﻴﻞ ﺩﺭ‬ ‫ﺩﺍﻧﺸﻜﺪﻩ ﺣﻘﻮﻗﻲ ﺭﺍ ﺑﻪ ﭘﺎﻳﺎﻥ‬ ‫ﺭﺳﺎﻧﺪﻳﺪ‪.‬‬ ‫ﺑﻠﻪ‪ .‬ﭘﺎﻳﺎﻥﻧﺎﻣﻪﺍﻱ ﺑﻪ ﻋﻨﻮﺍﻥ »ﻗﺮﺍﺭﺩﺍﺩ‬ ‫ﻭﺭﺳﺎﻱ ﻭ ﻧﺘﻴﺠﻪﻫﺎﻱ ﺁﻥ« ﻧﻮﺷﺘﻢ ﻛﻪ ﺩﺭ‬ ‫ﺁﻥ ﺑﺎ ﺩﻟﻴﻞ ﻭ ﺑﺮﻫﺎﻥ ﺷﺮﺡ ﺩﺍﺩﻡ ﻗﺮﺍﺭﺩﺍﺩ‬ ‫»ﻭﺭﺳﺎﻱ« ﻧﺸﺎﻥ ﻣﻲﺩﻫﺪ ﻛﻪ ﺟﻨﮓ ﺩﻭﻡ‬ ‫ﺟﻬﺎﻧﻲ ﺩﺭ ﭘﻴﺶ ﺍﺳﺖ ﭘﺎﻳﺎﻥﻧﺎﻣﻪﺍﻡ ﺑﺎ ﺩﺭﺟﻪ‬ ‫ﺧﻮﺏ ﺗﺼﻮﻳﺐ ﺷﺪ ﻭ ﻣﻦ ﺩﺭ ﺧﺮﺩﺍﺩ ‪1320‬‬ ‫ﻟﻴﺴﺎﻧﺴﻴﻪ ﻋﻠﻮﻡ ﺳﻴﺎﺳﻲ ﺷﻨﺎﺧﺘﻪ ﺷﺪﻡ‪.‬‬ ‫ﻧﺨﻮﺍﺳﺘﻴﺪ ﺑﻪ ﺗﺤﺼﻴﻞﺗﺎﻥ ﺍﺩﺍﻣﻪ‬ ‫ﺑﺪﻫﻴﺪ؟‬ ‫ﭼﺮﺍ ﻣﻲﺧﻮﺍﺳﺘﻢ‪ .‬ﺩﺍﻧﺸﻜﺪﻩ ﺣﻘﻮﻕ ﺁﮔﻬﻲ‬

‫ﺩﺍﺩ ﺑﺮﺍﻱ ﺩﻛﺘﺮﺍﻱ ﺣﻘﻮﻕ ﺩﺍﻧﺸﺠﻮ‬ ‫ﻣﻲﭘﺬﻳﺮﺩ‪ .‬ﻣﻦ ﻫﺰﺍﺭ ﺭﻳﺎﻝ ﺑﻪ ﺑﺎﻧﻚ ﻣﻠﻲ‬ ‫ﺩﺍﺩﻡ ﻭ ﻧﺎﻡﻧﻮﻳﺴﻲ ﻛﺮﺩﻡ‪ ،‬ﺍﻣﺎ ﺩﻛﺘﺮﺍ ﺗﺸﻜﻴﻞ‬ ‫ﻧﺸﺪ‪ .‬ﻣﻦ ﻫﻢ ﺩﻛﺘﺮ ﺣﻘﻮﻕ ﻧﺸﺪﻡ‪.‬‬ ‫ﺑﻌﺪ ﭼﻪ ﻛﺮﺩﻳﺪ؟‬ ‫ﺧﻮﺍﺳﺘﻢ ﺑﺎ ﺧﺪﻣﺖ ﺩﺭ ﻭﺯﺍﺭﺕ ﺍﻣﻮﺭ ﺧﺎﺭﺟﻪ‬ ‫ﺑﻪ ﺯﻧﺪﮔﻲ ﺍﺟﺘﻤﺎﻋﻲ ﻭﺍﺭﺩ ﺑﺸﻢ‬ ‫ﭼﺮﺍ ﻭﺯﺍﺭﺕ ﺍﻣﻮﺭ ﺧﺎﺭﺟﻪ؟‬ ‫ﭼﻮﻥ ﺩﺭ ﻛﻮﺩﻛﻲ ﺩﺭ ﺁﻟﺒﻮﻡ ﺧﺎﻧﻮﺍﺩﮔﻲﻣﺎﻥ‬ ‫ﻋﻜﺴﻲ ﺩﻳﺪﻩ ﺑﻮﺩﻡ ﻛﻪ ﻣﺮﺩﻱ ﺩﺭ ﻟﺒﺎﺱ‬ ‫ﻣﻠﻴﻠﻪ ﺩﻭﺯﻱ ﻧﺸﺴﺘﻪ ﺑﻮﺩ ﭘﺮﺳﻴﺪﻩ ﺑﻮﺩﻡ‬ ‫ﺍﻳﻦ ﻛﻴﻪ ﻛﻪ ﻟﺒﺎﺳﺶ ﺍﻳﻦ ﺟﻮﺭﻳﻪ؟ﮔﻔﺘﻨﺪ‬ ‫ﺍﻳﻦ ﺳﻔﻴﺮﻩ ﺑﺎ ﻟﺒﺎﺱ ﺳﻔﺎﺭﺕ‪ .‬ﻣﻦ ﻛﻪ ﮔﻮﻝ‬ ‫ﻟﺒﺎﺱ ﺳﻔﺎﺭﺕ ﺭﺍ ﺧﻮﺭﺩﻩ ﺑﻮﺩﻡ ﺍﺯ ﻫﻤﺎﻥ‬ ‫ﻭﻗﺖ ﺧﻮﺍﺳﺘﻢ ﺳﻔﻴﺮ ﺑﺸﻢ‪ .‬ﭘﺲ ﺩﻭﺭﻩ‬ ‫ﺳﻴﺎﺳﻲ ﺩﺍﻧﺸﻜﺪﻩ ﺣﻘﻮﻕ ﺭﻭ ﮔﺬﺭﻭﻧﺪﻡ ﻭ‬ ‫ﺑﺎ ﺷﻮﻕ ﻭ ﺫﻭﻕ ﺭﻓﺘﻢ ﺑﻪ ﻭﺯﺍﺭﺕ ﺧﺎﺭﺟﻪ‪،‬‬

‫ﺍﻣﺎ ﭼﻮﻥ ﺁﻥ ﻭﺯﺍﺭﺕ ﻃﺒﻖ ﺗﺼﻮﻳﺐ‬ ‫ﻣﺠﻠﺲ ﻣﻮﻇﻒ ﺑﻮﺩ ﻟﻴﺴﺎﻧﻴﻪﻫﺎﻱ ﺳﻴﺎﺳﻲ‬ ‫ﺭﺍ ﺍﺳﺘﺨﺪﺍﻡ ﻛﻨﺪ‪ ،‬ﺍﻣﺎ ﭼﻮﻥ ﺑﻨﺎ ﺑﺮ ﻳﻚ‬ ‫ﺳﻨﺖ ﻭ ﺭﻭﺵ ﻗﺪﻳﻤﻲ ﻟﻴﺴﺎﻧﺴﻴﻪﻫﺎﻳﻲ ﺭﻭ‬ ‫ﻣﻲﭘﺬﻳﺮﻓﺖ ﻛﻪ ﺧﻮﻳﺸﺎﻭﻧﺪﻱ ﺩﺭ ﺁﻥ ﺩﺍﺷﺘﻪ‬ ‫ﺑﺎﺷﻨﺪ ﻭ ﻣﻦ ﭼﻨﻴﻦ ﻛﺴﻲ ﺭﻭ ﻧﺪﺍﺷﺘﻢ‬ ‫ﭘﺬﻳﺮﻓﺘﻪ ﻭ ﺍﺳﺘﺨﺪﺍﻡ ﻧﺸﺪﻡ‪.‬‬ ‫ﭼﺮﺍ ﺍﺯ ﺍﻭﻥ ﺧﻮﻳﺸﺎﻭﻧﺪﻱ ﻛﻪ‬ ‫ﻋﻜﺴﺶ ﺩﺭ ﺁﻟﺒﻮﻡ ﺧﺎﻧﻮﺍﺩﮔﻲﺗﻮﻥ‬ ‫ﺑﻮﺩ ﺍﺳﺘﻔﺎﺩﻩ ﻧﻜﺮﺩﻳﻦ؟‬ ‫ﺍﻭﻥ ﻛﻪ ﺯﻧﺪﻩ ﻧﺒﻮﺩ‪ .‬ﺑﻪ ﺍﻳﻦ ﺗﺮﺗﻴﺐ ﺁﺭﺯﻭﻱ‬ ‫ﻛﻮﺩﻛﺎﻧﻪﺍﻡ ﺑﺎ ﺍﻭ ﺳﻨﺖ ﻭ ﺭﻭﺵ ﻭ ﺍﻭﻥ‬ ‫ﻟﺒﺎﺱ ﻣﻠﻴﻠﻪﺩﻭﺯﻱ ﻓﺮﻳﺐ ﺩﻫﻨﺪﻩ ﻭ ﺫﻫﻦ ﻭ‬ ‫ﭼﺸﻤﻢ ﭘﺎﻙ ﻭ ﻧﺎﺑﻮﺩ ﺷﺪﻧﺪ‪ .‬ﺩﺭ ﻭﺯﺍﺭﺕ ﺍﻣﻮﺭ‬ ‫ﺧﺎﺭﺟﻪ ﺑﻪ ﻣﻦ ﮔﻔﺘﻨﺪ ﺑﻪ ﻭﺯﺍﺭﺗﺨﺎﻧﻪﻫﺎﻱ‬ ‫ﺩﻳﮕﺮ ﺑﺮﻭﻳﺪ‪ .‬ﭘﻨﺞ ﺳﺎﻟﻲ ﺑﺎ ﻧﺎﻣﻪﻫﺎﻱ‬ ‫ﺳﻔﺎﺭﺷﻲ ﺍﺯ ﺍﻳﻦ ﺩﻭﺳﺖ ﻭ ﺁﻥ ﻣﻘﺎﻡ ﺍﻳﻦ‬ ‫ﺗﻬﺮﺍﻥ ﺭﻭ ﺯﻳﺮ ﭘﺎ ﮔﺬﺍﺷﺘﻢ ﺍﺯ ﺻﺒﺢ ﺗﺎ ﺷﺐ‬ ‫ﺍﻣﺎ ﻫﻴﭻ ﻭﺯﺍﺭﺗﺨﺎﻧﻪﺍﻱ ﺑﻪ ﻣﻦ ﻛﺎﺭﻱ ﻧﺪﺍﺩ‬

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‫ﻧﺨﺴﺖﻭﺯﻳﺮﻱ ﻫﻢ ﻛﺎﺭﻱ ﻧﻜﺮﺩ‪ .‬ﺑﻪ‬ ‫ﻫﺮﺣﺎﻝ ﻧﺎﺍﻣﻴﺪ ﻧﻤﻲﺷﺪﻡ ﺑﻪ ﻧﻮﺷﺘﻦ‬ ‫ﻭ ﺗﺮﺟﻤﻪ ﻛﺮﺩﻥ ﺑﺮﺍﻱ ﻣﻄﺒﻮﻋﺎﺕ‬ ‫ﺍﺩﺍﻣﻪ ﻣﻲﺩﺍﺩﻡ‪.‬‬ ‫ﺁﻓﺮﻳﻦ ﺑﺮ ﺷﻤﺎ ﻛﻪ ﻧﺎﺍﻣﻴﺪ‬ ‫ﻧﻤﻲﺷﺪﻳﺪ‪.‬‬ ‫ﺑﻠﻪ‪ .‬ﺧﻮﺍﻧﺪﻩ ﺑﻮﺩﻡ ﻛﻪ »ﺩﺭ ﻧﺎﺍﻣﻴﺪﻱ‬ ‫ﺑﺴﻲ ﺍﻣﻴﺪ ﺍﺳﺖ«‪...‬ﻳﻚ ﺭﻭﺯﻳﻚ‬ ‫ﺷﺎﮔﺮﺩ ﺩﺍﻧﺸﻜﺪﻩ ﺣﻘﻮﻕ ﻛﻪ ﺑﺎ‬ ‫ﻫﻢ ﺧﻴﻠﻲ ﺩﻭﺳﺖ ﺑﻮﺩﻳﻢ ﺑﻪ ﻣﻦ‬ ‫ﮔﻔﺖ ﺗﻮ ﻛﻪ ﻣﻲﺗﻮﻧﻲ ﻭﻛﻴﻞ‬ ‫ﺩﺍﺩﮔﺴﺘﺮﻱ ﺑﺸﻲ ﭼﺮﺍ ﻧﻤﻲﺷﻲ؟‬ ‫ﺑﻪ ﺗﺸﻮﻳﻖ ﺍﻭ ﺩﻭﺭﻩﻳﻚ ﺳﺎﻟﻪ‬ ‫ﻛﺎﺭﺁﻣﻮﺯﻱ ﻭﻛﺎﻟﺖ ﺩﺍﺩﮔﺴﺘﺮﻱ ﺭﺍ‬ ‫ﺑﺎ ﺩﻭ ﻭﻛﻴﻞ ﺩﺭﺟﻪﻳﻚ ﺩﺍﺩﮔﺴﺘﺮﻱ‬ ‫ﮔﺬﺭﻭﻧﺪﻡ ﻛﻪ ﺑﺎ ﻫﻢ ﺩﺭﻳﻚ ﺩﻓﺘﺮ‬ ‫ﻛﺎﺭ ﻣﻲﻛﺮﺩﻧﺪ‪.‬ﻳﻜﻲ ﺍﺑﺮﺍﻫﻴﻢ‬ ‫ﺧﻮﺍﺟﻪﻧﻮﺭﻱ ﺑﻮﺩ ﻛﻪ ﺗﺤﺼﻴﻼﺕ‬ ‫ﺣﻘﻮﻗﻲ ﺭﺍ ﺩﺭ ﺑﻠﮋﻳﻚ ﮔﺬﺭﺍﻧﺪﻩ‬

‫ﺻﺎﺣﺐﺍﻣﺘﻴﺎﺯ‪ ،‬ﻣﺪﻳﺮﻣﺴﺆﻭﻝ ﻭﺳﺮﺩﺑﻴﺮ‪:‬ﻣﺤﻤﺪ ﻋﺰﻳﺰﻱ‬ ‫ﻣﺪﻳﺮ ﻫﻨﺮﻯ ‪ :‬ﺟﻮﺍﺩ ﺁﺗﺸﺒﺎﺭﻯ‪ /‬ﮔﺮﺍﻓﻴﺴﺖ ﻭ ﺻﻔﺤﻪ ﺁﺭﺍ ‪ :‬ﭘﺮﻳﺴﺎ ﻋﺰﻳﺰﻱ‬

‫ﻓﺮﻫﻨﮕﻰ ‪ /‬ﺍﺟﺘﻤﺎﻋﻰ ‪ /‬ﺍﺩﺑﻰ )ﺧﺒﺮﻯ‪/‬ﺗﺤﻠﻴﻠﻰ‪/‬ﭘﮋﻭﻫﺸﻰ(‬ ‫ﺭﻭﺩﻛﻲ ﻧﺸﺮﻳﻪﺍﻱ ﺍﺳﺖ ﻣﺴﺘﻘﻞ‪،‬ﻛﻪ ﺑﻪ ﻫﻴﭻ ﺍﺭﮔﺎﻥ‪ ،‬ﺣﺰﺏ ﻭﺳﺎﺯﻣﺎﻧﻲ ﻭﺍﺑﺴﺘﻪ ﻧﻴﺴﺖ‪ .‬ﻭ ﻣﻄﺎﻟﺐ ﺁﻥ ﺑﻴﺎﻧﮕﺮ ﻧﻈﺮ ﻭ ﺁﺭﺍﻱ ﻧﻮﻳﺴﻨﺪﮔﺎﻥ ﺁﻥ ﺍﺳﺖ‪.‬‬

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‫ﺧﻮﺍﻧﻨﺪﮔﺎﻥ ﻣﺤﺘﺮﻡ‪:‬‬ ‫ﻟﻄﻔﺎً ﻣﻘﺎﻻﺕ ﺍﺭﺳﺎﻟﻲ ﺧﻮﺩ ﺭﺍ ﺗﺎﻳﭗ ﺷﺪﻩ‪،‬ﻫﻤﺮﺍﻩ ﺑﺎ ﻓﻼﭘﻰﻳﺎ ﺳﻰ ﺩﻯ ﺍﺭﺳﺎﻝ ﻓﺮﻣﺎﻳﻴﺪ‪.‬‬ ‫ﺩﺍﺭﻳﺪ‪.‬ﺩﻭﺭﻩ ﺟﺪﻳﺪ ﺷﻤﺎﺭﻩ ‪ 9‬ﻭ ‪ / 10‬ﭘﻴﺎﭘﻲ‪39‬‬ ‫ﺳﻮﻡ ‪/‬‬ ‫‪1388‬‬ ‫ﻧﻮﺭﻭﺯ‬ ‫ﺳﺎﻝﺍﺭﺳﺎﻝ‬ ‫ﻣﺘﻦ ‪/‬ﺍﺻﻠﻲ‬ ‫ﺗﺼﻮﻳﺮ‬ ‫ﻣﻘﺎﻻﺕ ﺗﺮﺟﻤﻪ ﺷﺪﻩ ﺭﺍ ﺑﻪ ﻫﻤﺮﺍﻩ‬ ‫ﺭﻭﺩﻛﻲ ﺩﺭ ﺭﺩ‪ ،‬ﻗﺒﻮﻝ ﻭ ﺍﺻﻼﺡ ﻣﻄﺎﻟﺐ ﺁﺯﺍﺩ ﺍﺳﺖ‪.‬‬

‫ﻣﻔﻬﻮﻡ ﻣﺮگ ﺩﺭ ﻣﺮﺩﻩﺧﻮﺭﻫﺎ‬

‫ﻳﺎﺩﺩﺍﺷﺘﻲ ﺑﺮ ﺩﺍﺳﺘﺎﻥ ﻣﺮﺩﻩﺧﻮﺭﻫﺎ ﺍﺛ ِﺮ ﺻﺎﺩﻕ‬ ‫ﻫﺪﺍﻳﺖ‬ ‫ﺍﺯ ﻣﺤﻤﺪ ﺑﻬﺎﺭﻟﻮ‬ ‫ﻣﻔﻬﻮﻡ ﻣﺮگ ﺩﺭ ﻣﺮﺩﻩﺧﻮﺭﻫﺎ ﻫﻤﺎﻥ ﺗﻤﺎﻳﻞ ﻫﺪﺍﻳﺖ ﺭﺍ ﺑﻪ ﺍﻧﺪﻳﺸﺔ‬ ‫ﺻﻮﺭﺕ ﻧﺠﺎﺕ ﺍﺯ‬ ‫ﻣﺮگ ﻧﺸﺎﻥ ﻧﻤﻲﺩﻫﺪ‪ .‬ﻣﺮگ ﺩﺭ ﺍﻳﻦ ﺩﺍﺳﺘﺎﻥ ﺑﻪ‬ ‫ِ‬ ‫»ﺗﺮﺍژﻳﻚ«‬ ‫ﻋﻨﻮﺍﻥ ﺗﻘﺪﻳ ِﺮ ﻣﺤﺘﻮﻡ ﺍﻧﺴﺎﻥ ﺑﺎ ﺟﻨﺒﺔ‬ ‫ﺭﻧﺞ ﻫﺴﺘﻲ‪ ،‬ﺑﻪ‬ ‫ِ‬ ‫ِ‬ ‫ِ‬ ‫ﻋﻨﻮﺍﻥ‬ ‫ﺁﻥ ﺗﺼﻮﻳﺮ ﻧﺸﺪﻩ ﺍﺳﺖ‪ .‬ﻣﺮگ ﺩﺭ ﻣﺮﺩﻩﺧﻮﺭﻫﺎ‪ ،‬ﭼﻨﺎﻥﻛﻪ ﺍﺯ‬ ‫ِ‬ ‫ﺁﻥ ﺑﺮﻣﻲﺁﻳﺪ‪ ،‬ﺟﻨﺒﻪﺍﻱ ﻫﺰﻝﺁﻣﻴﺰ ﻭ »ﻛﻤﻴﻚ« ﺩﺍﺭﺩ‪ ،‬ﻭ ﺍﻳﻦ‬ ‫ﺩﺍﺳﺘﺎﻥ ﺑﻪ ﮔﻤﺎﻥ ﻣﻦ‪ ،‬ﺍﺛﺮﻱ ﺍﺳﺖ ﻟﻄﻴﻔﻪﻭﺍﺭ )‪(Anecdotal‬‬ ‫ﻛﻪ ﻣﺰﺍﺡ ﺩﺭ ﺁﻥ ﺑﺎ ﻣﻮﺿﻮﻋﻲ ﺩﺭﺩﻧﺎﻙ ﺩﺭﺁﻣﻴﺨﺘﻪ ﺍﺳﺖ‪ .‬ﻋﻨﺼ ِﺮ‬ ‫»ﻟﻄﻴﻔﻪﻭﺍ ِﺭ« ﺩﺍﺳﺘﺎﻥ‪ -‬ﻣﺮﺩﻱ ﻛﻪ ﻇﺎﻫﺮﺍً ﻣﺮﺩﻩ ﺍﺳﺖ ﺍ ّﻣﺎ ﺍﺯ ﻗﺒﺮ‪،‬‬ ‫ﻗﺒﻞ ﺍﺯ ﺁﻥﻛﻪ ﺭﻭﻳﺶ ﺧﺎﻙ ﺑﺮﻳﺰﻧﺪ‪ ،‬ﺑﺮﻣﻲﺧﻴﺰﺩ‪ -‬ﻣﺮﺩﻩﺧﻮﺭﻫﺎ ﺭﺍ‬ ‫ﻣﻀﻤﻮﻥ ﻣﺮگ ﺩﺍﺭﻧﺪ‪ ،‬ﻣﺘﻤﺎﻳﺰ‬ ‫ﺍﺯ ﺩﺍﺳﺘﺎﻥﻫﺎﻱ ﺩﻳﮕ ِﺮ ﻫﺪﺍﻳﺖ‪ ،‬ﻛﻪ‬ ‫ِ‬ ‫ﺩﺍﺳﺘﺎﻥ»ﻟﻄﻴﻔﻪﻭﺍ ِﺭ« ﺩﻳﮕﺮﻱ‪،‬‬ ‫ﻣﻲﺳﺎﺯﺩ‪ .‬ﺍﻳﻦ ﺩﺍﺳﺘﺎﻥ ﺭﺍ‪ ،‬ﻣﺎﻧﻨ ِﺪ ﻫﺮ‬ ‫ِ‬ ‫ﻣﻲﺗﻮﺍﻥ ﺩﺭ ﭼﻨﺪ‬ ‫ﻋﺒﺎﺭﺕ ﻛﻮﺗﺎﻩ ﺧﻼﺻﻪ ﻭ ﻧﻘﻞ ﻛﺮﺩ‪ ،‬ﺑﻪ ﺻﻮﺭﺗﻲ‬ ‫ِ‬ ‫ﻛﻪ ﻣﺸﺨﺼﺎﺕ ﻭ ﺍﻣﺘﻴﺎﺯﻫﺎﻱ ﺁﻥ‪ ،‬ﺑﻪ ﻣﻘﺪﺍ ِﺭ ﻓﺮﺍﻭﺍﻥ‪ ،‬ﺣﻔﻆ ﺷﻮﻧﺪ‪.‬‬ ‫ﺩﺭ ﻭﺍﻗﻊ ﺁﻥﭼﻪ ﺩﺭ ﻣﺮﺩﻩﺧﻮﺭﻫﺎ ﺍﻫﻤﻴﺖ ﺩﺍﺭﺩ»ﻧﻘﺸﻪ« ﻭ »ﻃﺮﺡ«‬ ‫ﺗﺮﺗﻴﺐ ﻭﻗﺎﻳﻊ ﻭ ﺣﻮﺍﺩﺙ – ﺍﺳﺖ ﻧﻪ‬ ‫)‪ (plot‬ﺩﺍﺳﺘﺎﻥ‪ -‬ﻳﻌﻨﻲ‬ ‫ِ‬ ‫ﺧﻮﺩِ»ﺩﺍﺳﺘﺎﻥ«؛ ﺯﻳﺮﺍ ﺩﺍﺳﺘﺎﻥ ﻣﺎﺩﺓ ﺧﺎﻣﻲ ﺍﺳﺖ ﻛﻪ ﺩﺭ»ﻃﺮﺡ«‬

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‫ﻟﻴﺘﻮﮔﺮﺍﻓﻲ‪ :‬ﻣﻴﻨﺎ ﻧﮕﺎﺭﻩ‪ /‬ﭼﺎپ ﻭ ﺻﺤﺎﻓﻲ‪:‬ﮔﻬﺮ‪/‬ﺧﻴﺎﺑﺎﻥ ﺳﻌﺪﻯ ﺟﻨﻮﺑﻰ‪.‬ﺭﻭﺑﺮﻭﻯ ﺑﺎﻧﻚ ﻣﻠﻰ‪.‬ﻛﻮﭼﻪ ﺷﻬﻴﺪ ﻓﺨﺮﺍﻳﻰ‪.‬ﭘﻼﻙ ‪.55‬ﺗﻠﻔﻦ‪33903799 :‬‬ ‫ﻧﺸﺎﻧﻲ ﺩﻓﺘﺮ ﻣﺠﻠﻪ‪ :‬ﺍﻧﻘﻼﺏ – ﺥ ﻓﻠﺴﻄﻴﻦﺟﻨﻮﺑﻲ – ﺥ ﺷﻬﻴﺪ ﻭﺣﻴﺪ ﻧﻈﺮﻱ‬ ‫ﻛﻮﭼﻪ ﺍﻓﺸﺎﺭ‪ .‬ﭘﻼﻙ ‪ 4.‬ﻭﺍﺣﺪ ‪ 4.‬ﺗﻠﻔﻦ‪ /66972785,66410462 :‬ﺗﻠﻔﻜﺲ‪66410462:‬‬ ‫ﻛﺪﭘﺴﺘﻲ‪ 1315895184:‬ﺗﻮﺯﻳﻊ‪ :‬ﭼﺎﭘﺎﺭ ﺑﺎﻣﺪﺍﺩ‬ ‫ﭘﺴﺖﺍﻟﻜﺘﺮﻭﻧﻴﻜﻲ‪roudaki_ magazine@yahoo. com :‬‬

‫ﮔﺮﻓﺘﻦ ﻫﻤﺔ‬ ‫ﻗﻮﺍﻡ ﻣﻲﻳﺎﺑﺪ‪ .‬ﻣﻨﻈﻮﺭ ﺍﺯ»ﻃﺮﺡ« ﺑﻪ ﻛﺎﺭ‬ ‫ِ‬ ‫ﺳﺒﻚ ﺩﺍﺳﺘﺎﻥ‬ ‫ﺗﻤﻬﻴﺪﺍﺕ ﻭ ﺷﮕﺮﺩﻫﺎ ﻭ ﻧﺸﺎﻥﻫﺎ ﻭ ﺣﺘﻲ‬ ‫ِ‬ ‫ﺍﺳﺖ‪ .‬ﻧﺤﻮﺓ ﻗﻄﻊ ﻭ ﻭﺻﻞ ِ ﺻﺤﻨﻪ ﻫﺎ‪ ،‬ﻛﻮﺗﺎﻩ ﻭ ﺑﻠﻨﺪ‬ ‫ﻛﺮﺩﻥ ﺯﻣﺎﻥ ﻫﺎ ﺟﺰ ِﻭ »ﻃﺮﺡ« ﺍﺳﺖ‪ .‬ﻣﺮﺩﻩﺧﻮﺭﻫﺎ‪،‬‬ ‫ﺗﻮﺻﻴﻒ‬ ‫ِ‬ ‫ﺍﺗﺎﻕ ﻧﻴﻤﻪﺗﺎﺭﻳﻚ ﻭ ﺩﻭﺩﺯﺩﻩ‪،‬‬ ‫ﺩﺭ ﻳﻚ»ﻣﺠﻠﺲ«‪ ،‬ﺩﺭ ﻳﻚ ِ‬ ‫ﺯﻣﺎﻥ ﻛﻮﺗﺎﻫﻲ ﺭﺍ ﺩﺭ ﺑﺮﻣﻲﮔﻴﺮﺩ‪ .‬ﺩﺭ ﻭﺍﻗﻊ‬ ‫ﺟﺮﻳﺎﻥ ﺩﺍﺭﺩ‪ ،‬ﻭ ِ‬ ‫ﻣﺎ ﺑﺎ ﻳﻚ»ﺻﺤﻨﺔ ﻧﻤﺎﻳﺸﻲ« )‪ (scene‬ﺭﻭﺑﻪﺭﻭ ﻫﺴﺘﻴﻢ؛‬ ‫ﺻﻮﺭﺕ‬ ‫ﺑﻪ ﺍﻳﻦ ﻣﻌﻨﻲ ﻛﻪ ﻣﻨﻈﺮﻩﺍﻱ ﺭﺍ ﺍﺯ ﻧﺰﺩﻳﻚ ﻭ ﺑﻪ‬ ‫ِ‬ ‫ﭘﻴﺶ ﭼﺸﻢ ﺧﻮﺩ ﻣﻲﺑﻴﻨﻴﻢ‪ .‬ﺍﻳﻦﻃﻮﺭ ﺍﺳﺘﻨﺒﺎﻁ‬ ‫ﺗﻤﺮﻛﺰﻳﺎﻓﺘﻪ ِ‬ ‫ﻣﻲﺷﻮﺩ ﻛﻪ ﻫﺪﺍﻳﺖ ﺑﻪ ﺁﻥﭼﻪ ﺩﺭ ﺻﺤﻨﺔ ﺗﺌﺎﺗﺮ ﺍﺗﻔﺎﻕ‬ ‫ﻣﻲﺍﻓﺘﺪ ﻧﻈﺮ ﺩﺍﺷﺘﻪ ﺍﺳﺖ‪ 1.‬ﮔﻔﺖﻭﮔﻮ ﺩﺭ ﺍﻳﻦ ﺩﺍﺳﺘﺎﻥ‬ ‫ﻗﺪﺭﺕ ﮔﻔﺖﻭﮔﻮﻧﻮﻳﺴﻲ ِ ﻫﺪﺍﻳﺖ‬ ‫ﻧﻘﺶ ﻣﺤﻮﺭﻱ ﺩﺍﺭﺩ‪ ،‬ﻭ‬ ‫ِ‬ ‫ِ‬ ‫ﺩﺭ ﺁﻥ ﺧﻴﺮﻩﻛﻨﻨﺪﻩ ﺍﺳﺖ‪ .‬ﻧﻮﻳﺴﻨﺪﻩ ﺍﺯ ﺻﺤﻨﺔ ﺩﺍﺳﺘﺎﻥ‬ ‫ﻃﻮﻝ ﺩﺍﺳﺘﺎﻥ ﺧﻮﺩ ﺭﺍ ﺑﺎ ﺁﺩﻡﻫﺎ‬ ‫ﻏﺎﻳﺐ ﺍﺳﺖ‪ ،‬ﻭ ﺧﻮﺍﻧﻨﺪﻩ ﺩﺭ ِ‬ ‫– ﺩﻭ ﻫﻮﻭ ﻭ ﺯﻧﻲ ﻛﻪ ﺑﺮﺍﻱ ﻏﻤﮕﺴﺎﺭﻱ ﺑﻪ ﺧﺎﻧﺔ ﺁﻥﻫﺎ‬ ‫ﺁﻣﺪﻩ ﺍﺳﺖ ﻭ ﻳﻜﻲ ﺩﻭ ﻧﻔﺮ ﺩﻳﮕﺮ – ﺗﻨﻬﺎ ﺍﺣﺴﺎﺱ ﻣﻲﻛﻨﺪ‪.‬‬ ‫ﻫﻤﺔ ﺁﻥ ﻣﻼﺣﻈﺎﺕ ﻭ ﻧﻜﺎﺗﻲ ﻛﻪ ﺧﻮﺍﻧﻨﺪﻩ ﻣﻲﺗﻮﺍﻧﺪ ﻓﺮﺽ‬ ‫ﺑﮕﻴﺮﺩ ﻳﺎ ﺍﺳﺘﻨﺒﺎﻁ ﻛﻨﺪ ﺍﺯ ﺩﺍﺳﺘﺎﻥ ﺣﺬﻑ ﺷﺪﻩ ﺍﺳﺖ‪.‬‬ ‫ﻧﻮﻳﺴﻨﺪﻩ ﺣﺘﻲ ﻧﺎ ِﻡ ﺁﺩﻡﻫﺎ ﺭﺍ ﻣﺸﺨﺺ ﻧﻤﻲﻛﻨﺪ‪ ،‬ﻣﮕﺮ‬ ‫ﻭﻗﺘﻲ ﻛﻪ ﺧﻮ ِﺩ ﺁﺩﻡﻫﺎ ﺩﺭ ﮔﻔﺖﻭﮔﻮﻫﺎﻱﺷﺎﻥ ﻧﺎﻡ ﻳﻚﺩﻳﮕﺮ‬ ‫ﺭﺍ ﺑﻪ ﺯﺑﺎﻥ ﻣﻲﺁﻭﺭﻧﺪ‪ .‬ﺩﺭ ﻭﺍﻗﻊ ﻧﻮﻳﺴﻨﺪﻩ ﻣﺎﻧﻨ ِﺪ ﻳﻚ‬ ‫ﻧﻮﻳﺲ ﺳﺒﻚﺩﺳﺖ ﻋﻤﻞ ﻣﻲﻛﻨﺪ ﻭ ﻣﻲﮔﺬﺍﺭﺩ‬ ‫ﻧﻤﺎﻳﺶﻧﺎﻣﻪ ِ‬ ‫ﻛﻪ ﺁﺩﻡﻫﺎﻱ ﺩﺍﺳﺘﺎﻥ ﺧﻮﺩﺷﺎﻥ ﺭﺍ‪ ،‬ﺩﺭ ﻣﻜﺎﻟﻤﺔ ﺯﻳﺮﻛﺎﻧﻪ ﻭ‬ ‫ﻣﻴﺎﻥ ﺁﻥﻫﺎ ﺩﺭﻣﻲﮔﻴﺮﺩ‪ ،‬ﻧﺸﺎﻥ ﺑﺪﻫﻨﺪ‪.‬‬ ‫ﭘﺮﺣﺮﺍﺭﺗﻲ ﻛﻪ ِ‬ ‫ﺷﺨﺼﻴﺖ ﺁﻥﻫﺎ ﻭ‬ ‫ﻣﻌﺮﻑ‬ ‫ﻣﺎ ﺍﺯ ﮔﻔﺖﻭﮔﻮﻱ ﺯﻥﻫﺎ‪ ،‬ﻛﻪ‬ ‫ِ‬ ‫ِ‬ ‫ﻋﻤﻖ ﺑﻲﭼﺎﺭﮔﻲ ﻭ ﺑﻲﭘﻨﺎﻫﻲ‬ ‫ﻋﻨﺼ ِﺮ ﺳﺎﺯﻧﺪﺓ ﺩﺍﺳﺘﺎﻥ ﺍﺳﺖ‪ِ ،‬‬ ‫ﺗﻼﺵ ﺑﻴﻮﻩﺯﻥﻫﺎ ﺑﺮﺍﻱ‬ ‫ﻭ ﺍﺳﺘﻴﺼﺎﻝ ﺁﻥﻫﺎ ﺭﺍ ﺩﺭﻣﻲﻳﺎﺑﻴﻢ‪.‬‬ ‫ِ‬ ‫ﻣﺎﺗﺮﻙ ﻣﺨﺘﺼ ِﺮ ﺷﻮﻫﺮﺷﺎﻥ ﭼﻴﺰﻱ ﻧﻴﺴﺖ ﻣﮕﺮ‬ ‫ﺗﺼﺎﺣﺐ‬ ‫ِ‬ ‫ِ‬ ‫ﺯﺑﻮﻥ ﺁﺩﻡﻫﺎ ﺩﺭ ﺑﺮﺍﺑﺮ ﻋﻮﺍﺭﺽ ﻭﻳﺮﺍﻥﮔ ِﺮ‬ ‫ﻭ‬ ‫ﺯﺍﺭ‬ ‫ﻭﺍﻛﻨﺶ‬ ‫ِ‬ ‫ِ‬ ‫ﻣﺮگ؛ ﺁﻥﭼﻪ ﻣﻮﺟﺐ ﺷﺪﻩ ﺍﺳﺖ ﺗﺎ ﻧﻮﻳﺴﻨﺪﻩ ﺍﺯ ﺁﻥﻫﺎ ﺑﻪ‬ ‫ﻋﻨﻮﺍﻥ»ﻣﺮﺩﻩﺧﻮﺭ« ﺗﻌﺒﻴﺮ ﻛﻨﺪ‪ .‬ﺩﺭ ﺍﻳﻦ ﺩﺍﺳﺘﺎﻥ ﺑﻴﺶ ﺍﺯ‬ ‫ِ‬ ‫ﻫﺮ ﭼﻴﺰ ﺻﺪﺍﻱ ﮔﺮﻳﻪ ﻭ ﻧﺎﻟﻪ ﻭ ﻧﻔﺮﻳﻦ ﺷﻨﻴﺪﻩ ﻣﻲﺷﻮﺩ‪،‬‬ ‫ﻭ ﻧﻮﻳﺴﻨﺪﻩ ﺩﺭ ﻓﻀﺎﻱ ﻣﺮگ ﻣﻮﻗﻌﻴﺖﻫﺎﻱ»ﻛﻤﻴﻚ«‬ ‫ﻣﻲﺁﻓﺮﻳﻨﺪ؛ ﻣﻮﻗﻌﻴﺖﻫﺎﻳﻲ ﻛﻪ ﺭﺍﻩ ﻭ ﺭﺳﻢ ﮔﺮﻭﻩﻫﺎ ﻭ ﺁﺣﺎ ِﺩ‬ ‫ﻣﺸﺨﺼﻲ ﺍﺯ ﺟﺎﻣﻌﺔ ﺍﻳﺮﺍﻧﻲ ﺩﺭ ﺁﻥﻫﺎ ﻣﻨﻌﻜﺲ ﺍﺳﺖ‪.‬‬ ‫ﺁﻥﭼﻪ ﺩﺭ ﻣﺮﺩﻩﺧﻮﺭﻫﺎ ﻧﻈﺮﮔﻴﺮ ﺍﺳﺖ ﻛﺎﺭﺑﺮ ِﺩ ﮔﻮﻧﻪﻫﺎﻱ‬ ‫ﺟﻨﺴﻴﺖ‬ ‫ﻣﻮﻗﻌﻴﺖ ﺍﺟﺘﻤﺎﻋﻲ ﻭ‬ ‫ﺯﺑﺎﻧﻲ ﻭ ﻣﺘﻐﻴﺮﻫﺎﻳﻲ ﭼﻮﻥ‬ ‫ِ‬ ‫ِ‬ ‫ﺯﺑﺎﻥ‬ ‫ﺁﺩﻡﻫﺎ – ﺗﻔﺎﻭﺕ ﺩﺭ ﮔﻔﺘﺎ ِﺭ ﺯﻥ ﻭ ﻣﺮﺩ – ﺍﺳﺖ‪ِ .‬‬ ‫ﺁﺩﻡﻫﺎﻱ ﺩﺍﺳﺘﺎﻥ ﭘﺮﻣﺎﻳﻪ ﻭﺳﺮﺷﺎﺭ ﺍﺯ ﻛﻨﺎﻳﻪ ﻭ ﺍﺷﺎﺭﻩ‬ ‫ﻣﻘﺪﻭﺭﺍﺕ‬ ‫ﻭ ﺗﻤﺜﻴﻞ ﺍﺳﺖ‪ ،‬ﻭ ﺍﺳﺘﻔﺎﺩﺓ ﻣﻨﺎﺳﺐ ﺍﺯ‬ ‫ِ‬ ‫ﺯﺑﺎﻥ ﻋﺎﻣﻴﺎﻧﻪ‪،‬‬ ‫ﻫﺎﻱ»ﺩﺭﺍﻣﺎﺗﻴﻚ«‬ ‫ﺑﻴﺎﻧﻲ ﻭ ﺣﺎﻟﺖ‬ ‫ِ‬ ‫ِ‬ ‫ﻓﻀﺎ)‪ (Atmosphere‬ﻭ»ﺣﺎﻝ ﻭ ﻫﻮﺍ«ﻱ )‪(mood‬‬ ‫ﺑﺎﻓﺖ‬ ‫ﻋﻴﻦ ﺣﺎﻝ ِ‬ ‫ﺩﺍﺳﺘﺎﻥ ﺭﺍ ﻣﺆﺛﺮ ﺍﺯ ﻛﺎﺭ ﺩﺭﺁﻭﺭﺩﻩ ﺍﺳﺖ‪ .‬ﺩﺭ ِ‬ ‫ﺯﺑﺎﻥ ﺁﺩﻡﻫﺎ ﺑﻴﺎﻥﻛﻨﻨﺪﺓ ﺟﻨﺒﺔ ﺭﻭﺍﻥﺷﻨﺎﺧﺘﻲ‬ ‫ﻟﺤﻦ ِ‬ ‫ﻛﻼﻡ ﻭ ِ‬ ‫ﻗﺎﺑﻠﻴﺖ ﻧﻮﻳﺴﻨﺪﮔﻲ ﻫﺪﺍﻳﺖ ﺭﺍ‬ ‫ﺁﻥﻫﺎ ﻧﻴﺰ ﻫﺴﺖ‪ ،‬ﻭ ﺍﻣﺘﻴﺎ ِﺯ‬ ‫ِ‬ ‫ﺑﻪ ﺧﻮﺑﻲ ﻧﺸﺎﻥ ﻣﻲﺩﻫﺪ‪.‬‬ ‫ﺷﻨﺎﺱ‬ ‫‪ . 1‬ﻣﺮﺩﻩﺧﻮﺭﻫﺎ‪ ،‬ﺑﻪ ﺗﺮﺟﻤﺔ ﻳﺎﻥ ﺭﻳﭙﻜﺎ‪ ،‬ﺍﻳﺮﺍﻥ‬ ‫ِ‬ ‫ﺩﺭ»ﺍﻧﺠﻤﻦ ﺧﺎﻭﺭﻱ‬ ‫ﺳﺎﻝ ‪ 1318‬ﺷﻤﺴﻲ‬ ‫ﻧﺎﻡﺁﻭ ِﺭ ﭼﻚ‪ ،‬ﺩﺭ ِ‬ ‫ِ‬ ‫ﭘﺮﺍگ« ﺑﻪ ﺻﻮﺭﺕ ﻣﻜﺎﻟﻤﻪ ﺧﻮﺍﻧﺪﻩ ﻣﻲﺷﻮﺩ‪ .‬ﭘﺲ ﺍﺯ ﺁﻥ‪،‬‬ ‫ﺩﺭ ﺍﻳﺮﺍﻥ‪ ،‬ﺗﻮﺳﻂ ﻋﺒﺪﺍﻟﺤﺴﻴﻦ ﻧﻮﺷﻴﻦ ﻭ ﺑﺎ ﻫﻤﻜﺎﺭﻱ ﺧﻮ ِﺩ‬ ‫ﻫﺪﺍﻳﺖ ﺑﻪ ﺻﻮﺭﺕ ﻧﻤﺎﻳﺶﻧﺎﻣﻪ ﺩﺭﻣﻲﺁﻳﺪ ﻭ ﺍﺟﺮﺍ ﻣﻲﺷﻮﺩ‪.‬‬ ‫ﺻﺎﺣﺐ ﺍﻳﻦ ﻗﻠﻢ‪،‬‬ ‫ﺑﻪ ﻧﺎﻣﻪﻫﺎﻱ ﺻﺎﺩﻕ ﻫﺪﺍﻳﺖ‪ ،‬ﮔﺮﺩﺁﻭﺭﻱ‬ ‫ِ‬ ‫ﻣﺮﺍﺟﻌﻪ ﺷﻮﺩ‪.‬‬ ‫ﻧﻘﻞ ﺍﺯ ﻛﺘﺎﺏ ﻋﺸﻖ ﻭ ﻣﺮگ ﺩﺭ ﺁﺛﺎ ِﺭ ﺻﺎﺩﻕ ﻫﺪﺍﻳﺖ – ﻧﺸﺮ ﻗﻄﺮﻩ‬

‫ﻛﻠﻮﺯﺁپ‬

‫ﻛﺎﺭﻳﻜﺎﺗﻮﺭ‪ /‬ﺟﻮﺍﺩ ﺁﺗﺸﺒﺎﺭﻯ‬