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4575

  1. 1.           ‫א‬
  2. 2. ‫ﻃﺒﻘﺎ ﻟﻘﻮﺍﻧﲔ ﺍﳌﻠﻜﻴﺔ ﺍﻟﻔﻜﺮﻳﺔ‬ ‫א‬ ‫א‬ ‫א‬ ‫.‬ ‫אא‬ ‫א‬ ‫)ﻋـﱪ ﺍﻻﻧﱰﻧـﺖ ﺃﻭ‬ ‫א‬ ‫אא‬ ‫ﻟﻠﻤﻜﺘﺒــﺎﺕ ﺍﻻﻟﻜﱰﻭﻧﻴــﺔ ﺃﻭ ﺍﻷﻗــﺮﺍﺹ ﺍﳌﺪﳎــﺔ ﺃﻭ ﺍﻯ‬ ‫א‬ ‫ﻭﺳﻴﻠﺔ ﺃﺧﺮﻯ (‬ ‫א‬ ‫א‬ ‫.‬ ‫.‬ ‫א א‬
  3. 3. ‫‪‬‬ ‫‪٣ ................................................................ ‬‬ ‫ﻗﺭﺍﺀﺓ ﻓﻲ ﺩﻴﻭﺍﻥ ﺸﻤﺱ ِ ﹶﻤﻴ ٍ ﺃﺯ ‪‬ﻕ .............................. ٦‬ ‫ﹶ ‪  ‬ﻟﻘ ﺹ َ ‪‬ﺭ‬ ‫ﺃﺭﺍﺠﻴﺢ ﺍﻟﻐﺭ ‪‬ﺔ.................................................... ٨١‬ ‫‪ ‬ﹸ ‪‬ﺒ‬ ‫ﺨﻴ‪‬ﻁ ﺩ ﹶﺎﻥ ....................................................... ٣٢‬ ‫ﹶ ‪‬ﺨ‬ ‫ﺩﻤﻭﻉ ﺍﻟﺸﻤﺱ .................................................... ٥٢‬ ‫‪‬‬ ‫ﻤ ‪‬ﺍﻴﺎ ﺍﻷﺯ ‪‬ﻕ .................................................... ٨٢‬ ‫َ ‪‬ﺭ‬ ‫‪‬ﺭ‬ ‫ﹶﺍﻜﺭﺓ ﻤﺩﻨﺘﹶﺔ ..................................................... ٠٣‬ ‫ﺫ ِ ‪ ‬ﹲ ‪  ‬ﹾ ﹶﻠ‬ ‫ﻗ ‪‬ﺤﺎ ﺒﻘ ‪‬ﺡ ........................................................ ٢٣‬ ‫ﹶﺩ ﹰ ِ ﹶﺩ‬ ‫ﻜﻴﻑ ﺘﺘﻌ ‪‬ﻯ ﺍﻷﺸ ‪‬ﺎﺀ .............................................. ٣٣‬ ‫َ ﹾﻴ‬ ‫ﹶ ‪ ‬ﹶ ﹶ ﹶ ‪‬ﺭ‬ ‫ﺒ ﹶﺎﺀ ﺍﻟﺜـﻠﹾﺞ ...................................................... ٥٣‬ ‫‪‬ﻜ ‪ ‬ﱠ‬ ‫ﹶﺎﻨ ِ ﺍﻟﻤ ‪‬ﺍﺌﻥ ﺃﺠ ‪‬ل ............................................... ٧٣‬ ‫ﻜ ﹶﺕ ﺩ ِ ‪ َ ‬ﻤ‬ ‫ﻨﺯﻴﻑ ﻓﻭﻕ ﻨﻬﺭ ﺒﺎﺭﻴﺱ ........................................... ٩٣‬ ‫ﹲ ﹶ ِ‬ ‫ﺭ ﹶﺍﺫ ﺸﻤ‪‬ﺱ ....................................................... ٢٤‬ ‫‪‬ﺫ ﹸ ﹶ‬ ‫ﻟﻭ ﻜﻨﹾﺕ ﻤﻌﻲ ﻓﻲ ﺒﺎﺭﻴﺱ .......................................... ٣٤‬ ‫ﹸ‬ ‫ﺸﻲﺀ ‪‬ﺎ ... ...................................................... ٥٤‬ ‫ﹶ ‪ ‬ﻤ‬
  4. 4. ‫ﺇﻜﺴﺭ ﺯ ‪‬ﺎ ِﻲ .................................................... ٧٤‬ ‫ِ ‪ ‬ﺠ ﺠ‬ ‫ﻭﺠ ‪‬ﺎﻥ .. ........................................................ ٩٤‬ ‫‪ ‬ﻬ‬ ‫ﻓﺘﺎ ِﻴﺕ ﻗ ‪‬ﺭ ....................................................... ٠٥‬ ‫ﻓ ﹸ ﹶﻤ‬ ‫ﻗﺩﺭ ﺍﻷﺤ ‪‬ﺎﺀ ...................................................... ١٥‬ ‫ﹶ ‪ِ َ  ‬ﺒ‬ ‫ﻭﺤﺩﻩ ﻴﺸ ‪‬ﺏ ..................................................... ٣٥‬ ‫‪     ‬ﹾﺭ‬ ‫ﻜﻠ ‪‬ﺎ ﹶﻼﻤﺴ ﹶﺎ...................................................... ٤٥‬ ‫ﹸﱠﻤ ﺘ ‪ ‬ﻨ‬ ‫ﻤﻥ ﺃﺨﺭﺠ ﹶﻲ ﻤﻥ ﺍﻟﺘ ‪‬ﺍﺏ ؟ ........................................ ٥٥‬ ‫‪ َ  ‬ﹾ ‪ ‬ﻨ ِ ‪ ‬ﱡ ﺭ‬ ‫ﻋﺸﻕ ‪‬ﺘ ِﻴﻕ .................................................... ٧٥‬ ‫ِ ﹾ ﹲﻋـ‬ ‫ﻭﺠ‪‬ﻪ ............................................................. ٨٥‬ ‫‪‬‬ ‫ﺸﻤﺴ ﹶﺎ ‪‬ﺎ ﹶﺕ .. .................................................. ٩٥‬ ‫ﹶ ‪ ‬ﻨ ﻤ ﺘ‬ ‫ﺸﻤﺱ ﺤﻤ‪‬ﺭﺍﺀ..................................................... ٠٦‬ ‫ﹶ‪  ‬‬ ‫ﺒﻌ ‪‬ﻤﺎ ﺍ َﻤﻴﺭ ‪‬ﺎﺕ ................................................ ٣٦‬ ‫‪ ‬ﺩ ﻷ ‪ ‬ﻤ‬ ‫ﻗﻔﺹ ﺃﺯﺭﻕ ﻟﻠﻌ ‪‬ﺎﻓﻴﺭ ............................................ ٥٦‬ ‫ﹶ ﹶ ‪   َ ‬ﹸ ‪‬ﺼ‬ ‫ﻤ ﹶﺎﺘﻴﺢ ........................................................... ٦٦‬ ‫‪‬ﻔ‬ ‫ﻨﻬﺭ ﺍﻟﺠﺭ‪‬ﺡ ....................................................... ٧٦‬ ‫ﹶ‪ ‬‬ ‫‪‬ﺒﻲ ﺍﻟﺤﻘل ﺍﻟﻔ ‪‬ﺍ ‪‬ﺔ .............................................. ٨٦‬ ‫ﺼ ‪  ‬ﹾ ِ ﹶﺯ ﻋ‬
  5. 5. ‫ﻅﱡﻙ ﻫ ﹶﺍ ﺍﻟﺸﻘﻲ .................................................. ٠٧‬ ‫ِﻠ ‪‬ﺫ ﱠ ِ ّ‬ ‫ﻨ ِﻴﺕ ﻭﺠﻬ‪‬ﻲ ..................................................... ٢٧‬ ‫ﹶﺴ ﹸ ‪‬‬ ‫ﹶﺄﻥ ‪‬ﻭﺤﺎ ﺘ ﹶﺎ ِﺭ ................................................. ٣٧‬ ‫ﻜ ‪ ‬ﺭ ﹰ ﹸﻐ ﺩ‬ ‫ﺤ ‪‬ﺍﺌﻕ ﺍﻟﻀﻭﺀ .................................................... ٥٧‬ ‫‪‬ﺩ ِ ﹸ‬ ‫ﹶﺭﺍ ِﻴل ﺍﻷ ‪‬ﺩ ...................................................... ٧٧‬ ‫ﺘ ﺘ ُ َﺒ‬ ‫ﺩﻭﻟﻔﻴﻥ ﺍﻟﹼﻴل ...................................................... ٨٧‬ ‫ﻠ‬ ‫ﻗﻤﺭ ﺍﻟﺜـﻠﹾﺞ ...................................................... ٩٧‬ ‫ﹶ‪  ‬ﱠ‬ ‫ﺍﻟﻁﻔل ﻭﺍﻟﺸﻤ‪‬ﺱ ................................................... ١٨‬ ‫ِﹾ ُ ﱠ‬ ‫ﺃﺸ ‪‬ﺎﺡ ﻋﻠﻰ ﻀ ﹶﺎﻑ ﺍﻟﺠﺭ‪‬ﺡ ........................................ ٢٨‬ ‫ِﻔ ِ ‪‬‬ ‫َ ﹾﺒ ‪‬‬ ‫ﺍﻟﺤﻠﻡ ﺍﻟ ﹶﻔﻴﻑ ..................................................... ٤٨‬ ‫‪‬ﹾ ‪ ‬ﻜ‬ ‫ِﺜل ﻀﻭﺀ ﻴﻨ ﱢﻁ .................................................. ٦٨‬ ‫ﻤ ُ ‪  ٍ  ‬ﹶﻘ‬ ‫ﻭﺤﺩﻩ ﹶﺎﻥ ........................................................ ٩٨‬ ‫‪   ‬ﻜ‬ ‫ﺃﻻ ﺃﺤ ‪ِ ‬ﻭﺍﻫﺎ ................................................... ١٩‬ ‫ﱠ ُ ِﺏ ﺴ‬
  6. 6. ‫א‬ ‫א‬ ‫ﺘﺘﻌﺩﺩ ﺘﺠﺎﺭﺏ ﺍﻟﺸﻌﺭﺍﺀ ﻓﻲ ﺒﻴﺌﺎﺘﻬﻡ ﺍﻟﻤﺨﺘﻠﻔﺔ ﺤﺘﻰ ﻟﻡ ﻴﺒﻕ‬ ‫ﹶ‬ ‫ﻓﻲ ﺃﻴﺩﻴﻨﺎ ﻤﺎ ﻨﺴﺘﻁﻴﻊ ﺒﻪ ﺃﻥ ﻨﺘﺎﺒﻊ ﻫﺫﻩ ﺍﻟﺘﺠﺎﺭﺏ .‬ ‫ﻭﺒﺎﻟﺭﻏﻡ ﻤﻥ ﻜﺜﺭﺓ ﻫﺫﻩ ﺍﻟﺘﺠﺎﺭﺏ ، ﻓﻘﺩ ﻴﻠﻤﻊ ﻤﻥ ﺒﻴﻨﻬﺎ‬ ‫ﺒﺎﺭﻕ ﻴﺠﻌﻠﻨﺎ ﻨﻘﻑ ﻤﻌﻪ ﻭﻨﻨﺠﺫﺏ ﺇﻟﻴﻪ ﻭﻨﻘﺭﺅﻩ ﻗﺭﺃﺓ ﺍﻟﻭﻋﻲ‬ ‫ﻭﺍﻟﺘﺄﻨﻲ .. ﻤﺎﺩﺍﻡ ﻴﻀﻴﻑ ﺍﻟﺠﺩﻴﺩ ﺇﻟﻰ ﺴﺎﺤﺔ ﺍﻟﺸﻌﺭ .‬ ‫ﻭﺩﻴـﻭﺍﻥ ﺍﻟﻴـﻭﻡ : " ﺸﻤﺱ ﻟﻘﻤﻴﺹ ﺃﺯﺭﻕ " ﻟﻠﺸﺎﻋﺭ‬ ‫ﺍﻟﻠﺒﻨﺎﻨﻲ ﻤﺎﻫﺭ ﺍﻟﺨﻴﺭ ، ﻤﻥ ﺒﻴﻥ ﻫﺫﻩ ﺍﻟﻘﻠﺔ ﺍﻟﺘﻲ ﺘﺠﻌﻠﻨﺎ ﻨﺘﻭﻗﻑ‬ ‫ﻋﻨﺩﻫﺎ ﺒﻜل ﺍﻟﺘﺄﻨﻲ ﻭﺍﻟﺤﺏ .‬ ‫ﻭﺼﺎﺤﺏ ﻫﺫﺍ ﺍﻟﺩﻴﻭﺍﻥ ﻟﻪ ﻨﺸﺎﻁ ﺜﻘﺎﻓﻲ ﻭﺃﺩﺒﻲ ﻤﻌﺭﻭﻑ‬ ‫ﺴﻭﺍﺀ ﻓﻲ ﺒﻠﺩﻩ - ﻟﺒﻨﺎﻥ - ﺃﻭ ﺒﻠﺩ ﺍﻟﻐﺭﺒﺔ – ﻓﺭﻨﺴﺎ – ﻓﻬﻭ ﻤﻨﻅﻡ‬ ‫ﻟﻤﻬﺭﺠﺎﻥ ﺍﻟﺸﻌﺭﺍﺀ ﺍﻟﺸﺒﺎﺏ ، ﻭﻤﺸﺎﺭﻙ ﻓﻲ ﻤﻬﺭﺠﺎﻨﺎﺕ ﻋﺎﻟﻤﻴﺔ‬ ‫ﻟﻠﺸﻌﺭ ﺍﻟﻤﻌﺎﺼﺭ ﻭﻟﻪ ﻗﺼﺎﺌﺩ ﻤﺼﻭﺭﺓ .. ﺇﻟﻰ ﺠﺎﻨﺏ ﺩﻴﻭﺍﻥ‬ ‫ﺸﻌﺭﻩ ﺍﻷﻭل :‬
  7. 7. ‫" ﻋﺎﺭﻴﺎ ﺘﺤﺕ ﺍﻟﺸﻤﺱ "‬ ‫ﹰ‬ ‫ﻭﻴﺘﻀﺢ ﻤﻥ ﺫﻟﻙ ﺃﻥ ﺍﻟﺸﺎﻋﺭ ﺠﻤﻊ ﺒﻴﻥ ﺍﻟﻐﺭﺒﺔ ﻭﺍﻟﺤﻨﻴﻥ‬ ‫ﺇﻟﻰ ﻭﻁﻨﻪ ﺒﻜل ﻤﺎ ﻴﺤﻤل ﻫﺫﺍ ﺍﻟﺠﻤﻊ ﻤﻥ ﺍﻟﺘﺂﻟﻑ ﻭﺍﻟﺘﻨﺎﻗﺽ ﻤﻌﺎ‬ ‫ﻤﻤﺎ ﻴﺠﻌﻠﻨﺎ ﻨﻀﻊ ﻴﺩﻨﺎ ﻋﻠﻰ ﻤﻔﺎﺘﻴﺢ ﻋﺎﻟﻤﻪ ﺍﻟﺸﻌﺭﻱ .‬ ‫ﻭﻫﻭ ﺸﺎﻋﺭ ﻴﻜﺘﺏ ﺸﻌﺭ ﺍﻟﺘﻔﻌﻴﻠﺔ ، ﻜﻤﺎ ﻴﻜﺘﺏ ﻤﺎ ﻴﺴﻤﻰ‬ ‫ﺒﻘﺼﻴﺩﺓ ﺍﻟﻨﺜﺭ .. ﻭﺒﻌﻴﺩﺍ ﻋﻥ ﺍﻟﺩﺨﻭل ﻓﻲ ﺍﻻﺼﻁﻼﺤﺎﺕ‬ ‫ﹰ‬ ‫ﻭﺍﻟﻤﻔﺎﻫﻴــﻡ .. ﻴﻤﻜﻨﻨﺎ ﺃﻥ ﻨﺘﻌﺎﻤل ﻤﻊ ﺸﺎﻋﺭﻴﺔ ﻫﺫﻩ ﺍﻟﻨﺼﻭﺹ‬ ‫.. ﺃﻱ ﻤﻊ ﻤﺎ ﺘﺤﻤﻠﻪ ﻤﻥ ﻗﺩﺭﺓ ﻋﻠﻰ ﻟﻤﺱ ﺍﻟﻭﺠﺩﺍﻥ ﻭﻤﺨﺎﻁﺒﺔ‬ ‫ﺍﻻﺤﺴﺎﺱ ﻭﺍﻟﺘﻌﺒﻴﺭ ﻋﻥ ﻫﺫﻴﻥ ﺍﻟﻤﺤﻭﺭﻴﻥ ﺍﻷﺴﺎﺴﻴﻴﻥ : ﺍﻟﻐﺭﺒﺔ‬ ‫ﻭﺍﻟﻭﻁﻥ .‬ ‫ﻴﻁﺎﻟﻌﻨﺎ ﺍﻟﺸﺎﻋﺭ ﻓﻲ ﺨﻁﻭﺘﻪ ﺍﻷﻭﻟﻰ ﺒﻬﺫﺍ ﺍﻹﺤﺴﺎﺱ ﺍﻟﻌﻤﻴﻕ‬ ‫ﺒﺎﻟﻐﺭﺒﺔ .. ﻭﻫﻭ ﺇﺤﺴﺎﺱ ﻴﻤﺘﺯﺝ ﺒﻪ ﺍﻟﺤﻨﻴﻥ ﺇﻟﻰ ﻭﻁﻨﻪ ﻤﻊ ﻤﺎ‬ ‫ﺘﺤﻤﻠﻪ ﺍﻟﻐﺭﺒﺔ ﻤﻥ ﺍﻟﻤﻌﺭﻓﺔ ﻭﺍﻻﻨﻁﻼﻕ .. ﻴﻘﻭل ﺍﻟﺸﺎﻋﺭ :‬ ‫ﻟﻐﺭﺒﺘﻨﺎ ﻤﺼﺎﺒﻴﺢ‬ ‫‪‬‬ ‫ِ ﹸ ‪ ِ‬‬ ‫ﺃﺸﻌﺸﻌﻬﺎ ﺒﺄﺸﺠﺎﻨﻲ‬ ‫ُ ﹶ ِ‪َ ‬‬ ‫ﻭﺘﺴﺒﺢ ﺒﻲ ﺇﻟﻰ ﺯﻤﻥ‬ ‫ٍ‬ ‫‪‬‬ ‫ﺘﺸﻘﻕ ﻓﻲ ﻅﻼﻡ ﺍﻟﻔﺠﺭ‬ ‫ِ‬ ‫ﹼﹶ‬
  8. 8. ‫ﻓﻴﺴﺭﻗﻨﻲ‬ ‫ﹶ‪ ‬ﹸ‬ ‫ﻭﻴﻁﻔﺌﻨﻲ‬ ‫‪ُ ‬‬ ‫ﻭﻴﻜﺴﺭﻨﻲ ﻋﻠﻰ ﻫﺩﺒﻴﻙ‬ ‫‪‬‬ ‫ِ‪‬‬ ‫ﻟﻴﻐﺭﻕ ﻓﻲ ﺩﻤﻲ ﻜﻭﻨﻲ‬ ‫ﹶ‬ ‫ِ‬ ‫ﻤﺴﺎﺀ ﺍﻟﺨﻴﺭ ﻴﺎ ﻭﻁﻨﻲ‬ ‫‪‬‬ ‫ﻴﺤﺎﻭل ﺍﻟﺸﺎﻋﺭ ﻫﻨﺎ ﺃﻥ ﻴﺼل ﺒﻴﻥ ﻁﺭﻓﻲ ﺍﻟﻨﻘﻴﻀﻴﻥ :‬ ‫ﺍﻟﻐﺭﺒﺔ ﻭﺍﻟﻭﻁﻥ .. ﻟﻌﻠﻪ ﻴﺴﺘﻁﻴﻊ ﺃﻥ ﻴﻀﻲﺀ ﻟﻨﻔﺴﻪ ﺩﺭﻭﺏ‬ ‫ﺍﻟﻔﺠﺭ ، ﻭﻴﺤﺘﻭﻱ ﺍﻟﻜﻭﻥ ﻓﻲ ﺩﻤﻪ .. ﻟﻜﻥ ﻫل ﺍﺴﺘﻁﺎﻉ ﺍﻟﺸﺎﻋﺭ‬ ‫ﺃﻥ ﻴﻔﻠﺢ ﻓﻲ ﺫﻟﻙ ﺍﻟﻭﺼل ﺍﻟﻤﺴﺘﺤﻴل .. ﻟﻴﺱ ﻟﻨﺎ ﺃﻥ ﻨﻨﺘﻅﺭ ﺇﺠﺎﺒﺔ‬ ‫ﺸﺎﻓﻴﺔ ﻋﻠﻰ ﺫﻟﻙ ، ﻭﺇﻨﻤﺎ ﻴﻜﻔﻴﻨﺎ ﺃﻥ ﻨﺭﻯ ﺸﺎﻋﺭﻨﺎ ﻻ ﻴﻜﻑ ﻋﻥ‬ ‫ﺍﻟﺴﻌﻲ ﺇﻟﻰ ﻫﺫﺍ ﺍﻟﻤﺴﺘﺤﻴل ..‬ ‫ﻭﻻ ﻴﻤل ﻭﻻﻴﺘﻭﻗﻑ :‬ ‫ّ‬ ‫ﻤﺴﺎﺀ ﺍﻟﺨﻴﺭ ﻴﺎ ﻭﻁﻨﻲ‬ ‫‪‬‬ ‫ﻤﺴﺎ ﻋﻴﻨﻴﻙ‬ ‫ﺃﻏﻨﻴﻬﺎ‬ ‫ُ ﹼ‬ ‫ﺘﻐﻨﻴﻨﻲ‬ ‫ﹸ ﹼ‬
  9. 9. ‫ﻭﺇﻥ ﻏﺎﺒﺕ ﺘﺜﻴﺭ ﺠﺭﺍﺡ‬ ‫‪‬‬ ‫ﻟﻌﻠﻬﺎ ﺠﺭﺍﺡ ﺍﻟﺸﻭﻕ ﻭﺍﻟﺤﻨﻴﻥ ، ﻭﺍﻟﺨﻭﻑ ﻤﻥ ﺍﻟﻤﺠﻬﻭل ..‬ ‫ﹼ‬ ‫ﻭﻗﺩ ﻨﺭﻯ ﺍﻟﺸﺎﻋﺭ ﻴﺘﻭﻫﻡ ﻫﺫﺍ ﺍﻟﻭﺼل ﺒﻤﺎ ﻴﻤﻠﻙ ﻤﻥ ﺨﻴﺎل‬ ‫ﻭﻗﺩﺭﺓ ﻋﻠﻰ ﺨﻠﻕ ﻭﺍﻗﻊ ﺨﺎﺹ ﺒﻪ ، ﻭﻫﺫﺍ ﺍﻟﻭﺍﻗﻊ ﻟﻴﺱ ﻭﺍﻗﻌﺎ‬ ‫ﻜﺎﻤﻼ ﻭﺇﻨﻤﺎ ﻴﻅل ﻤﻨﻘﻭﺼﺎ ﻟﻴﺤﺙ ﺍﻟﺸﺎﻋﺭ ﺩﺍﺌﻤﺎ ﻋﻠﻰ ﺍﺴﺘﻜﻤﺎﻟﻪ :‬ ‫ﺃﻭﻫﻤﻨﻲ ﺤﺒﺎ‬ ‫َ ‪ّ ‬ﹰ‬ ‫ﺍﺤﺫﻑ ﺠﺎﺫﺒﻴﺔ ﺍﻷﺭﺽ‬ ‫ّﹶ‬ ‫ﹾ‬ ‫ﻜﻠﻤﺎ ﺍﻓﺘﺭﻗﻨﺎ‬ ‫ﹼ‬ ‫ﺘﻌﻠﻘﺕ ﻁﻴﺭﺍ‬ ‫ﹰ‬ ‫ﹼ ﹸ‬ ‫ﺒﻴﻥ ﺍﻟﺠﻔﻭﻥ ﻭﺍﻷﻫﺩﺍﺏ‬ ‫‪ِ ‬‬ ‫... ...‬ ‫ﺍﻫﻤﺱ ﻓﻘﻁ ﺒﻌﻴﻨﻴﻙ‬ ‫ِ ‪‬‬ ‫ﻴﺘﻭ ﹼﺢ ﺍﻟﻠﻴل ﺒﺎﻟﺒﻴﺎﺽ‬ ‫ﺸ‪ُ ‬‬ ‫ﻭﻴﺒﺩﻭ ﺃﻥ ﺍﻻﺤﺴﺎﺱ ﺒﺎﻟﻐﺭﺒﺔ ﻗـﺩ ﹸﺭﺽ ﻓﺭﻀﺎ ﻋﻠﻰ‬ ‫ﹰ‬ ‫ﻓ‬ ‫ﺍﻟﺸﺎﻋﺭ .. ﻓﻬﻭ ﺒﻴﻥ ﻴﻭﻡ ﻭﻟﻴﻠﺔ ﻭﺠﺩ ﻨﻔﺴﻪ ﻤﻨـﺯﻭﻋﺎ ﻤﻥ‬ ‫ﹰ‬
  10. 10. ‫ﺃﺤﻀﺎﻥ ﻭﻁﻨﻪ ، ﻭﻜﺎﻥ ﻋﻠﻴﻪ ﺃﻥ ﻴﺘﻭﺍﺀﻡ ﻤﻊ ﻫﺫﻩ ﺍﻟﻐﺭﺒﺔ ﺒﻜل ﻤﺎ‬ ‫ﻴﻤﻠﻙ ﻤﻥ ﻗﺩﺭﺓ ﻋﻠﻰ ﻫﺫﻩ ﺍﻟﻤﻭﺍﺀﻤﺔ ﺩﻭﻥ ﺃﻥ ﻴﺘﺨﻠﻰ ﻋﻥ ﺤﻨﻴﻨﻪ‬ ‫ﻭﺃﺸﻭﺍﻗﻪ ﺍﻟﻤﺨﺘﺯﻨﺔ :‬ ‫ﻜﺎﻥ ﻋﻠﻲ ﺃﻥ ﺃﻤﻀﻲ‬ ‫‪ّ ‬‬ ‫ﺒﺎﺭﻴﺱ ﺘﻨﺘﻅﺭ‬ ‫‪‬‬ ‫ﺃﺭﻗﺕ ﺭﻭﺤﻲ‬ ‫َ‪ ‬ﹸ‬ ‫ﻭﺤﺩﻱ ﻜﻨﺕ ﺃﺤﺘﻀﺭ‬ ‫ﹸ‬ ‫ﻭﺍﻟﻜل ﻴﻀﺤﻙ‬ ‫ﱡ‬ ‫ﺍﻟﻜل ﻜﺎﻥ ﻴﻀﺤﻙ .. ﻭﻫﻭ ﻴﺤﺱ ﺒﺎﻟﻤﺭﺍﺭﺓ ﻭﺍﻻﺤﺒﺎﻁ ..‬ ‫ّ‬ ‫ﻭﺫﻟﻙ ﻓﻲ ﻅﻨﻲ ﻫﻭ ﺍﺤﺘﻀﺎﺭ ﺍﻟﺸﺎﻋﺭ .. ﻟﻜﻨﻪ ﻟﻡ ﻴﺴﺘﺴﻠﻡ ﻟﻬﺫﺍ‬ ‫ﺍﻻﺤﺴﺎﺱ ﺍﻟﻘﺎﺘل .. ﺼﺤﻴﺢ ﺃﺨﺫ ﺍﻟﺸﺎﻋﺭ ﻴﻌﺒﺭ ﻋﻥ ﻫﺫﻩ ﺍﻟﺤﺎﻟﺔ‬ ‫ﺍﻟﻤﻀﻨﻴﺔ ﻓﻲ ﻋﺩﺩ ﻤﻥ ﺍﻟﻨﺼﻭﺹ ﺍﻟﺘﻲ ﻜﺘﺒﺕ ﻓﻲ ﺘﻭﺍﺭﻴﺦ‬ ‫ﻤﺘﻘﺎﺭﺒﺔ ﺠﺩﺍ ، ﺤﺘﻰ ﺍﻨﻪ ﻜﺎﻥ ﻴﻜﺘﺏ ﻋﺩﺩﺍ ﻤﻨﻬﺎ ﻓﻲ ﺍﻟﻴﻭﻡ ﺍﻟﻭﺍﺤﺩ‬ ‫ﹰ‬ ‫ﹰ‬ ‫؛ ﻟﻜﻨﻪ ﺒﺎﻟﺭﻏﻡ ﻤﻥ ﺫﻟﻙ ﺍﺴﺘﻁﺎﻉ ﺃﻥ ﻴﺘﺠﺎﻭﺯ ﻜل ﻫﺫﺍ ﻭﻫﻭ‬ ‫ﻴﻌﺒﺭ ﺒﺼﺩﻕ ﻋﻥ ﻤﻌﺎﻨﺎﺘﻪ :‬ ‫ﻭﺤﺩﻱ‬
  11. 11. ‫ﺃﺩﻕ ﻗﺩﺤﺎ ﺒﻘﺩﺡ‬ ‫ﱡ ﹰ ِﹶ ‪‬‬ ‫ﺫﺍﻜﺭﺘﻲ ﻭﻗﻠﺒﻲ‬ ‫ﻭﺃﺸﺭﺏ‬ ‫ﻭﺤﻴﻨﻤﺎ ﻜﺎﻥ ﻴﻌﺒﺭ ﻋﻥ ﺴﻬﺭﺓ ﺭﺃﺱ ﺍﻟﺴﻨﺔ ﺍﻜﺘﺸﻑ ﻫﺫﺍ‬ ‫ّ‬ ‫ﺍﻟﺯﻴﻑ ﺍﻟﺫﻱ ﻴﻠﻭﻥ ﻭﺠﻭﻩ ﺍﻟﺒﺸﺭ ﻭﺍﻟﺸﻭﺍﺭﻉ ﻭﺍﻟﻤﻘﺎﻫﻲ ، ﻭﺭﺃﻯ‬ ‫ﻨﻔﺴﻪ ﻴﺤﺱ ﺍﻟﻭﺤﺩﺓ ﻭﻴﺘﻤﻨﻰ ﻭﺠﻭﺩ ﺍﻵﺨﺭ :‬ ‫ﺒﺎﷲ ﻋﻠﻴﻙ‬ ‫ِ ‪‬ﹶ ‪‬‬ ‫ﻤﺩ ﻴﺩﻴﻙ‬ ‫‪ّ‬‬ ‫ﺭﺍﻗﺼﻨﻲ ﺒﻌﺩ‬ ‫‪‬‬ ‫ﺭﺍﻗﺼﻨﻲ ﺃﺒﺩﺍ‬ ‫ﹰ‬ ‫‪‬‬ ‫ﻻ ﺘﻬﺩﺃ‬ ‫ْ‬ ‫ﺒﺎﺭﻴﺱ ﺒﻜﺎﺀ ﺜﻠﺞ‬ ‫‪ ‬‬ ‫... ...‬ ‫ﻜل ﺍﻟﻨﺠﻭﻡ‬ ‫ﱡ‬ ‫ُ‬ ‫ﻭﺍﻟﻐﻴﻭﻡ‬ ‫ﺩﻤﺎﺀ ﻓﻲ ﺍﻷﺭﺽ ﺘﺴﻔﻙ‬ ‫ِ ﹸ ‪‬ﹶ‬ ‫‪‬‬
  12. 12. ‫ﺍﻟﺩﻨﻴﺎ ﺒﺩﻭﻨﻙ ﻤﻭﺕ‬ ‫ﹲ‬ ‫ﻭﺒﻙ ﺍﻟﺘﻜﻭﻴﻥ ﻴﺒﺩﺃ‬ ‫ﹼ ‪‬‬ ‫ﻭﻴﺼل ﺒﻪ ﺍﻟﺘﻭﻫﻡ ﺇﻟﻰ ﺃﻓﻕ ﻴﻜﺎﺩ ﻴﻜﻭﻥ ﻤﺴﺘﺤﻴﻼ .. ﻓﻘﺩ‬ ‫ﺘﻭﻫﻡ ﺃﻨﻪ ﻤﺘﻭﺤﺩ ﺒﻬﺫﻩ ﺍﻟﻐﺭﺒﺔ ﺍﻟﻁﺎﻏﻴﺔ .. ﻤﺘﻭﺤــﺩ ﺒﺒﺎﺭﻴﺱ‬ ‫‪ّ ‬‬ ‫ّ‬ ‫.. ﻭﻨﻬﺭ ﺒﺎﺭﻴﺱ ، ﻭﻁﻴﺭ ﺒﺎﺭﻴﺱ ، ﻭﻟﻴﻠﻬﺎ ﻭﻨﻬﺎﺭﻫﺎ :‬ ‫ﺒﺎﺭﻴﺱ ﻟﻲ‬ ‫‪‬‬ ‫ﺒﺎﺭﻴﺱ ﻟﻲ‬ ‫‪‬‬ ‫ﻨﻭﺭﻫﺎ ﻓﻲ ﺩﻤﻌﻲ ﻴﺼﻠﻲ‬ ‫ﹼ‬ ‫‪‬‬ ‫ﻟﻴﻠﻬﺎ ﻴﻬﺒﻁ ﻤﻥ ﻅﻠﻲ‬ ‫ﹼ‬ ‫ِﹸ‬ ‫ﹸ‬ ‫ﻤﻥ ﻴﺴﺭﻕ ﺒﺎﺭﻴﺱ ﻤﻨﻲ‬ ‫‪‬‬ ‫ﹸ‬ ‫ﻫل ﺘﻭﺤﺩﺕ ﺒﺎﺭﻴﺱ ﺒﺒﻴﺭﻭﺕ ؟ ﻫل ﺼﺎﺭﺍ ﻓﻲ ﻗﻠﺏ‬ ‫ّ‪‬‬ ‫ﺍﻟﺸﺎﻋﺭ ﻭﻁﻨﺎ ﻭﺍﺤﺩﺍ ؟ ﺒﻌﺩ ﻤﺤﺎﻭﻻﺘﻪ ﻤﺩ ﺠﺴﺭ ﺍﻟﺤﺏ ﺒﻴﻨﻬﻤﺎ ..‬ ‫ﺭﺒﻤﺎ ﺃﻓﻠﺢ ﺍﻟﺸﺎﻋﺭ ﻓﻲ ﺫﻟﻙ ﺤﺘﻰ ﻻ ﻴﻔﻘﺩ ﺤﺴﻪ ﺍﻟﺼﺎﺩﻕ ﺒﺎﻟﺤﻴﺎﺓ:‬ ‫ﻟﻤﺩﻴﻨﺘﻨﺎ ﻭﺠﻬﺎﻥ‬ ‫ﹶِ ‪ ‬‬ ‫ﺃﻨﺕ .. ﻭﺃﻨﺎ‬
  13. 13. ‫ﺘﺭﺍﻨﺎ ﺍﻟﻨﺎﺱ‬ ‫ﹼ‬ ‫ﻓﻲ ﻜل ﺍﻷﺯﻤﻨﺔ‬ ‫ﱢ‬ ‫ﺃﻭ ﻴﻘﻭل :‬ ‫ﺨﻴﻭﻁ ﺍﻟﻘﺩﺭ ﺘﺭﺒﻁﻨﺎ‬ ‫ﹸ ﹸ ﹶ ‪ ِ ‬ﹶ ‪ ِ‬ﹸ‬ ‫ﺘﻌﺎﻨﺩ ﺭﻴﺢ ﺍﻟﺯﻤﻥ‬ ‫ﹸ ‪ّ  ‬‬ ‫ﻤﺎ ﺘﻘﻁﻌﺕ‬ ‫ﹼ‪‬‬ ‫ﻭﻻ ﺍﻨﺒﺭﺕ‬ ‫‪‬‬ ‫ﺇﻟﻰ ﺃﻥ ﻴﻌﺒﺭ ﺒﺼﺩﻕ ﻭﺒﻼ ﻤﻭﺍﺭﺒﺔ ﻋﻥ ﻫﺫﺍ ﺍﻟﺘﻭﺤﺩ ﻓﻴﻘﻭل:‬ ‫ّ‬ ‫ٍ‬ ‫ّ‬ ‫ﻋﻴﺸﺘﻨﻲ ﻓﻲ ﺒﻴﺭﻭﺕ‬ ‫ّ ﹶ‬ ‫ﺸﻤﺱ ﺒﺎﺭﻴﺱ ﺍﻟﺒﺎﺭﺩﺓ‬ ‫‪‬‬ ‫‪‬‬ ‫... ...‬ ‫ﻭﻓﻲ ﻨﻬﺎﻴﺔ ﺍﻟﻘﺼﻴﺩﺓ ﻴﺼل ﺇﻟﻰ ﺫﺭﻭﺓ ﺍﻻﺤﺴﺎﺱ ﺒﻬﺫﺍ ﺍﻟﺘﻭﺤﺩ :‬ ‫‪‬‬ ‫ﺇﻟﻰ ﺒﺎﺭﻴﺱ ﺃﻋﻭﺩ‬ ‫‪‬‬ ‫ﻭﻤﺎ ﺯﻟﺕ ﺃﺭﻜﺽ‬ ‫‪‬‬ ‫ﹸ‬ ‫ﺨﻁﺎﻱ ﺴﺤﺎﺏ‬ ‫ﹸ ‪  ‬‬
  14. 14. ‫ﺼﺒﺎﺤﺎﺕ ﺘﻤﻭﺕ‬ ‫ﹲ‬ ‫‪‬‬ ‫ﺃﺭﻜﺽ‬ ‫‪‬‬ ‫ﺨﻠﻑ ﺸﻤﺱ ﺤﻤﺭﺍﺀ ﻓﻲ ﺒﻴﺭﻭﺕ‬ ‫‪‬‬ ‫ٍ‬ ‫ﹶ‬ ‫ﻭﺍﻟﺸﺎﻋﺭ ﺘﺘﻨﺎﺯﻋﻪ ﻤﺸﺎﻋﺭ ﺍﻟﺤﺯﻥ ﻭﺍﻟﻔﺭﺡ .. ﻭﺍﻟﺨﻭﻑ‬ ‫ﻭﺍﻷﻤﺎﻥ .. ﻭﺍﻟﻌﺘﻤﺔ ﻭﺍﻟﻀﻭﺀ .. ﻭﺍﻟﺼﻘﻴﻊ ﻭﺍﻟﺩﻑﺀ .. ﻭﻫﺫﺍ‬ ‫ﺍﻟﺘﺭﺍﻭﺡ ﺒﻴﻥ ﺍﻟﻘﻁﺒﻴﻥ ﻫﻭ ﺍﻟﺫﻱ ﻴﺸﻜل ﻭﺠﺩﺍﻥ ﺍﻟﺸﺎﻋﺭ ﻭﺘﺠﺭﺒﺘﻪ‬ ‫ﹼ‬ ‫ﻓﻲ ﻫﺫﻩ ﺍﻟﻐﺭﺒﺔ ﻓﻬﻭ ﺘﺎﺭﺓ ﻴﺤﺱ ﺍﻟﻤﻭﺕ ﺒﻤﺠﺭﺩ ﺃﻥ ﻴﻐﻠﻕ ﺒﺎﺏ‬ ‫ّ‬ ‫ﹰ‬ ‫ﺒﻴﺘﻪ ﻋﻠﻴﻪ ﻓﻲ ﺍﻟﻤﺴﺎﺀ :‬ ‫ﻜل ﻟﻴﻠﺔ‬ ‫ّ‬ ‫ﺃﻭﺩﻉ ﺠﺴﺩﻱ ﻓﻲ ﺴﺭﻴﺭ ﺍﻟﻤﻭﺕ‬ ‫ِ‬ ‫ِ‪ ‬‬ ‫ﻭﺘﺎﺭﺓ ﺃﺨﺭﻯ ﺤﻴﻥ ﻴﺴﻴﺭ ﻭﺤﻴﺩﺍ ﻓﻲ ﺍﻟﻌﺭﺍﺀ.. ﻴﻨﺘﺎﺒﻪ ﻨﻔﺱ ﺍﻟﺸﻌﻭﺭ :‬ ‫ﹰ‬ ‫ﺨﻁﻰ ﻓﻲ ﺍﻟﻌﺭﺍﺀ‬ ‫ﹸ ‪‬‬ ‫ﻜﺄﻥ ﺭﻭﺤﺎ ﺘﻐﺎﺩﺭ‬ ‫ﹰ‬ ‫َّ‬ ‫ﺼﺩﻯ ﻟﺘﺎﺒﻭﺕ ﺨﻔﻲ‬ ‫ٍ ّ‬ ‫‪‬‬ ‫ﻴﻨـﺯﻟﻕ ﻤﻥ ﺍﻟﺤﺎﻓﺔ ﺇﻟﻰ ﺍﻟﻨﻬﺭ‬ ‫ﹼِ‬ ‫ﹸ‬
  15. 15. ‫ﻭﻫﺎ ﻫﻭ ﻤﺠﺩﺩﺍ ﻴﻔﺘﻘﺩ ﺍﻵﺨﺭ ﻓﻲ ﺯﺤﻤﺔ ﺍﻟﺨﻁﻰ ﺒﺎﻟﺭﻏﻡ ﻤﻥ‬ ‫ﹰ‬ ‫ﻭﺠﻭﺩﻩ ﺒﻴﻥ ﺍﻟﺒﺸﺭ :‬ ‫ﻨﺴﻴﺕ ﻭﺠﻬﻲ ﻓﻲ ﻤﺭﺍﻴﺎﻙ‬ ‫ﹸ‬ ‫ﺃﻤﺸﻲ ﻻ ﺃﺭﻯ ﺃﺤﺩﺍ‬ ‫ﹰ‬ ‫ﻭﻻ ﺃﺤﺩ ﻴﺭﺍﻨﻲ‬ ‫ﻜﻔﺎﻨﻲ ﺤﻴﻥ ﺘﻨﻅﺭ ﻓﻴﻬﺎ‬ ‫ﺘﺭﺍﻨﻲ‬ ‫ﻭﻫﻭ ﺃﻴﻀﺎ ﻴﻌﻴﺵ ﺤﻠﻤﺎ ﺒﺎﻟﻨﻭﺭ ﻭﺍﻟﺤﺏ ﻭﺍﻟﺠﻤﺎل :‬ ‫ﹰ‬ ‫ﹰ‬ ‫ﻜﻡ ﻜﻨﺕ ﺃﺤﻠﻡ ﺒﺎﻟﺸﻤﺱ‬ ‫ﹸ ﹸ‪ ‬ﹼ ِ‬ ‫ﺃﺤﺒﺴﻬﺎ ﻓﻲ ﺠﻴﺏ ﺴﺭﻭﺍﻟﻲ‬ ‫ِ ِ‬ ‫‪ ِ‬‬ ‫ﺃﻗﺘﻨﺹ ﺍﻟﻨﺠﻤﺔ‬ ‫‪ ‬ﹼ‬ ‫ﺃﻋﻠﻘﻬﺎ ﻋﻠﻰ ﺼﺩﺭ ﻤﺭﻴﻭﻟﻲ‬ ‫‪ِ ‬‬ ‫ُ ﱢﹸ‬ ‫... ...‬ ‫ﺃﺤﻼﻤﻲ ﺍﻟﺼﻐﻴﺭﺓ ﻟﻡ ﺘﻤﺕ‬ ‫ﹾ‬ ‫ّ‬ ‫ﻭﻻ ﺍﻟﻁﻔل ﻤﺎﺕ‬ ‫ُ‬
  16. 16. ‫ﻭﺍﻟﺸﻌﻭﺭ ﺒﺎﻟﻁﻔﻭﻟﺔ ﻫﻭ ﺍﻟﺫﻱ ‪‬ﺒﻘﻲ ﺍﻟﺸﺎﻋﺭ ﻓﻲ ﺤﻴﻭﻴﺔ‬ ‫ﻴ‬ ‫ﺩﺍﺌﻤﺔ ﻭﻁﻼﻗﺔ ﻓﻲ ﻤﻭﺍﺠﻬﺔ ﺍﻟﻌﺎﻟﻡ ﻭﻅﻼﻤﻪ ﻭﻋﻭﺍﻁﻔﻪ ﺍﻟﻌﺎﺘﻴﺔ .‬ ‫ﻫﻭ ﺇﺫﻥ ، ﻴﺤﻠﻡ ﺒﺎﻟﺤﻨﻴﻥ ﺇﻟﻰ ﺼﺩﺭ ﺩﺍﻓﻲﺀ ، ﺇﻟﻰ ﻅل‬ ‫ٍ‬ ‫ٍ‬ ‫ﻴﺅﻭﻴﻪ ، ﺤﺘﻰ ﻻ ﻴﺸﻌﺭ ﺒﺎﻟﻤﻠل ، ﺭﻏﻡ ﺍﻷﻟﻡ ، ﻤﻥ ﺍﻟﻭﺤﺩﺓ‬ ‫‪‬‬ ‫ﺍﻟﻘﺎﺴﻴﺔ :‬ ‫ﻜﺎﻥ ﺍﻟﻁﻔل ﻴﻤﻭﺕ‬ ‫ُ‬ ‫ﺜﻡ ﻫﺏ ﻤﻥ ﺴﺒﺎﺕ‬ ‫‪‬‬ ‫‪‬‬ ‫ﺒﻴﻥ ﺍﻟﺸﺠﺭ ﺍﻷﺸﻘﺭ ﻓﻲ ﺍﻟﻐﺎﺒﺎﺕ‬ ‫ِ‬ ‫ﹼ‪ِ‬‬ ‫ﻫﻜﺫﺍ ﻴﻭﺩ ﻟﻭ ﻴﺤﺎﻓﻅ ﺩﺍﺌﻤﺎ ﻋﻠﻰ ﻫﺫﻩ ﺍﻟﺒﺭﺍﺀﺓ ﺍﻟﺘﻲ ﺘﺠﻌﻠﻪ‬ ‫ﹰ‬ ‫‪‬‬ ‫ﺒﻌﻴﺩﺍ ﻋﻥ ﺍﻟﻴﺄﺱ .. ﻭﺍﻟﺩﻴﻭﺍﻥ ﺤﺎﻓل ﺒﻬﺫﻩ ﺍﻟﻨﻤﺎﺫﺝ ﺍﻟﺘﻲ ﺘﺩﺨل ﻤﺎ‬ ‫ﹰ‬ ‫ﺒﻴﻥ ﺍﻟﻘﻁﺒﻴﻥ: ﺍﻟﻐﺭﺒﺔ ﻭﺍﻟﺤﻨﻴﻥ ﺇﻟﻰ ﺍﻟﻭﻁﻥ .. ﻭﺘﺠﻌل ﺍﻟﻘﺎﺭﻱﺀ‬ ‫ﻤﺸﺩﻭﺩﺍ ﺇﻟﻰ ﻫﺫﻩ ﺍﻟﺘﻨﻭﻴﻌﺎﺕ ﻤﻥ ﺍﻟﺼﻭﺭ ﺍﻟﻤﻨﺤﻭﺘﺔ ﻤﻥ ﻋﻤﻕ‬ ‫ﹰ‬ ‫ﺍﻟﻭﺠﺩﺍﻥ ﻭﺍﻟﻁﺎﺯﺠﺔ ﻓﻲ ﻤﻼﻤﺤﻬﺎ .. ﻭﺃﻜﺎﺩ ﺃﺠﺯﻡ ﺃﻥ ﺃﻏﻠﺏ ﻫﺫﻩ‬ ‫ﺍﻟﺼﻭﺭ ﺘﺘﺴﻡ ﺒﺎﻟﺠ ّﺓ ﻭﺍﻟﺒﺴﺎﻁﺔ ﻤﻌﺎ .. ﻓﺘﺼﻴﺏ ﺍﻟﻘﺎﺭﻱﺀ‬ ‫‪‬‬ ‫ﹰ‬ ‫ﺩ‬ ‫ﺒﺎﻟﺩﻫﺸﺔ .‬ ‫ّ‬
  17. 17. ‫ﻟﻘﺩ ﺴﻌﺩﺕ ﺒﻘﺭﺍﺀﺓ ﻫﺫﺍ ﺍﻟﺩﻴﻭﺍﻥ ﺍﻟﺫﻱ ﻴﺤﻤل ﻗﺩﺭﺍ ﻜﺒﻴﺭﺍ ﻤﻥ‬ ‫ﹰ‬ ‫ﹰ‬ ‫ﺍﻟﺸﺎﻋﺭﻴﺔ .. ﺍﺴﺘﻁﺎﻉ ﺍﻟﺸﺎﻋﺭ ﻓﻴﻬﺎ ﺃﻥ ﻴﻌﺒﺭ ﺒﺼﺩﻕ ﻭﻗﺩﺭﺓ ﻋﻥ‬ ‫‪ّ ‬‬ ‫ﺘﺠﺭﺒﺘﻪ ﺍﻟﺘﻲ ﻋﺎﺸﻬﺎ .. ﻭﺤﺎﻭل ﻓﻴﻬﺎ ﺃﻥ ﻴﺘﺠﺎﻭﺯ ﻤﻌﺎﻨﺎﺘﻬﺎ ﺒﻤﺎ‬ ‫ﻴﻤﻠﻙ ﻤﻥ ﺤﺱ ﻤﺭﻫﻑ ﻭﺸﻔﺎﻑ ﻭﺘﻌﺒﻴﺭ ﻤﺘﻤﻴﺯ ﻭﻋﻤﻴﻕ ...‬ ‫ٍ ‪ٍّ ‬‬ ‫ﹼ‬ ‫‪‬‬ ‫ﺍﻟﺸﺎﻋﺭ / ﺃﺤﻤﺩ ﺴﻭﻴﻠﻡ‬ ‫ﺍﻟﻘﺎﻫﺭﺓ- ﻤﺎﺭﺱ ٥٠٠٢‬
  18. 18. ‫ﺃﺭﺍﺠﻴﺢ ﺍﻟﻐﺭ ‪‬ﺔ‬ ‫‪ ‬ﹸ ‪‬ﺒ‬ ‫ِﻐﺭﺒ ِﻨﺎ‬ ‫ﻟ ‪ ‬ﺘ‬ ‫ﺃﺭﺍﺠﻴﺢ ﺃﻫﺩﻫﺩ ‪‬ﺎ ﺒﺄﺤ ‪‬ﺍﻨﻲ‬ ‫‪ ِ   ُ ‬ﻫ ِ َ ‪ ‬ﺯ‬ ‫‪‬ﺘﺠ ‪‬ﺢ ﺒﻲ ﺇﻟﻰ ﻭﻁﻥ‬ ‫ٍ‬ ‫ﻭ ﹶ ‪‬ﻤ ‪‬‬ ‫ﹶﻌﻠﻕ ﻓﻲ ﻏ ‪‬ﺎﻡ ﺍﻟﻔﺠﺭ‬ ‫‪‬‬ ‫ﹶﻤ ِ‬ ‫ﺘﱠﹶ‬ ‫ﻓﺈﻥ ﺘﻭﹰ ﺘﻼﻤﺴ‪‬ﻨﺎ‬ ‫‪ ‬ﹶ ‪‬ﺍ ‪‬‬ ‫ﺘ ‪‬ﺎﻗﻁ ﺯﺥ ﺃﻟﻭﺍﻥ‬ ‫ٍ‬ ‫ﹶﺴ ﹶ ﹶ ‪ ‬ﱠ‬ ‫ﺃﻟﻤِ ‪‬ﻬﺎ ﺒﺄﺠ ﹶﺎﻨﻲ‬ ‫َُﹶ ‪‬ﻠﻤ َِ ‪‬ﻔ‬ ‫ﻤ ‪‬ﺎﺀ ﺍﻟﺨﻴﺭ ﻴﺎ ﻭﻁﻨﻲ‬ ‫ِ‬ ‫‪‬ﺴ ‪‬‬ ‫***‬ ‫ﻟ ﹸﺭﺒ ِﻨﺎ‬ ‫ﻐ ‪‬ﺘ‬ ‫ﻤ ‪‬ﺎﺒﻴﺢ‬ ‫‪‬ﺼ ‪‬‬ ‫ﺃﺸﻌﺸ ‪‬ﻬﺎ ﺒﺄﺸ ‪‬ﺎﻨﻲ‬ ‫ُ ﹶ ‪ِ ‬ﻌ َِ ﹾﺠ‬ ‫‪‬ﺘﺴ ‪‬ﺢ ﺒﻲ ﺇﻟﻰ ﺯﻤﻥ‬ ‫‪ٍ ‬‬ ‫ﻭ ﹶ ‪‬ﺒ ‪‬‬
  19. 19. ‫ﺘﺸﻘﻕ ﻓﻲ ﹶﻼﻡ ﺍﻟﻬﺠ‪‬ﺭ‬ ‫ﹶ ﹶﱠ ﹶ ﻅ ِ ‪‬‬ ‫ﻓ ‪‬ﺴ ِ ﹸﻨﻲ‬ ‫ﹶﻴ ‪‬ﺭﻗ‬ ‫ﻭﻴﻁﻔ ُﻨﻲ‬ ‫‪ ‬ﹾ ِﺌ‬ ‫ﻭﻴﻜﺴ ‪‬ﻨﻲ ﻋﻠﻰ ‪‬ﺩﺒﻴ‪‬ﻙ‬ ‫ﻫ‪‬‬ ‫‪ ‬ﹾ ِﺭ‬ ‫ﻟ ‪‬ﻐ ‪‬ﻕ ﻓﻲ ﺩﻤﻲ ﻜﻭﻨﻲ‬ ‫ﻴﺭﹶ‬ ‫ﻤﺴﺎﺀ ﺍﻟﺨﻴ ِ ﻴﺎ ﻭﻁﻨﻲ‬ ‫‪ ‬ﹶ ‪‬ﺭ‬ ‫***‬ ‫ﻟ ﹸﺭﺒﺘﻨﺎ‬ ‫ﻐ‬ ‫ﻤ ﹶﺎﺘﻴﺢ ﺃﻋﱢ ﹸﻬﺎ ﺒﺸﺭ ‪‬ﺎﻨﻲ‬ ‫‪‬ﻔ ‪ ُ ‬ﻠﻘ ِ ِ ‪‬ﻴ‬ ‫ﻓﺈﻥ ‪‬ﺎﻋﺕ ‪‬ﻨﺎﻭﻴﻨﻲ‬ ‫ﹶِ ‪ ‬ﻀ ‪ ‬ﹾ ﻋ‬ ‫ﻭﻀﻌﺕ ﺒﻅل ﺸﻴ ﹶﺎﻨﻲ‬ ‫‪  ِ ‬ﹸ ِ ﱢ ﹶ ‪‬ﻁ‬ ‫ﻭﺇﻥ ﺒﺤﺕ ﺤ ‪‬ﺎﺴﻴﻨﻲ‬ ‫ِ ‪   ‬ﹾ ‪‬ﺴ‬ ‫ﻭﻨﻤﺕ ِﻠﻴ ِ ﺠﺩ ‪‬ﺍﻨﻲ‬ ‫ِ ‪ ‬ﹸ ﺒ ﹶ ‪‬ل ‪  ‬ﺭ‬ ‫ﺃﻤﺭ ‪‬ﻫﺎ ﺒﺄﻭ ‪‬ﺎﻤﻲ‬ ‫ُ ‪ ‬ﺭ ِ َ ‪‬ﻫ‬ ‫ﻓﺘﻔﺘﺢ ﺼﺩﺭﻱ ﺍﻟﻤﻘﻔﻭل‬ ‫ﹶﹶ ﹾﹶ ‪ ِ   ‬‬ ‫ﺘﻌ ‪‬ﺵ ﺃﻨﺕ ﻓﻲ ﺒﺎﻟﻲ‬ ‫ﹸ ‪‬ﺭ ﹸ ﹶ‬
  20. 20. ‫ﻟ ﹸﻭﻗ ﹶﻨﻲ‬ ‫ﺘ ِﻅ‬ ‫‪‬ﺘﺤ ِﹶﻨﻲ‬ ‫ﻭ ﹶ ‪‬ﻤﻠ‬ ‫ﻭﺘﻬ ِﻴﻨﻲ ﻷﺤ‪‬ﻼﻤﻲ‬ ‫َ‬ ‫‪ ‬ﹶ ‪‬ﺩ‬ ‫ﺃﺭﻓﺭﻑ ﻓﻲ ﺴ ‪‬ﺎ ﻋﻴﻨﻴﻙ‬ ‫‪‬‬ ‫‪‬ﻤ‬ ‫ُ ‪‬ﹾ ِ ﹸ‬ ‫ﺃﺤ ﱢﻡ ﻜ ﱠ ﺃﺼ‪‬ـ ﹶﺎﻤﻲ‬ ‫ُ ‪‬ﻁ ‪ ‬ﹸل َ ﻨ‬ ‫***‬ ‫ﻟ ﹸﺭﺒ ِﻨﺎ‬ ‫ِ ﻐ ‪‬ﺘ‬ ‫ﻨ ‪‬ﺍﻓﻴﺭ‬ ‫ﹶﻭ ‪‬‬ ‫ﺘﻌ ‪‬ﻴﻨﻲ‬ ‫ﹸ ‪‬ﺭ‬ ‫ﻭﺃﻟﺒﺴ ‪‬ﺎ‬ ‫‪ َ ‬ﹾ ‪ ‬ﻬ‬ ‫ﺃ ِﻴﺽ ﺇﻟﻴﻙ‬ ‫َﻓ ‪ِ ‬ﹶ ‪ ‬‬ ‫***‬ ‫ﻟ ﹸﺭﺒ ِﻨﺎ‬ ‫ِ ﻐ ‪‬ﺘ‬ ‫ﻤ ‪‬ﺍﻤﻴﺭ‬ ‫‪‬ﺯ ‪‬‬ ‫ﺃ ‪‬ﺍﻗ ‪‬ﻬﺎ‬ ‫ُﺭ ِﺼ‬ ‫ﻭ ﹶﻨﻔ ﹸﻨﻲ‬ ‫‪‬ﺘ ﹸﺨ‬
  21. 21. ‫ﺃﻫ ‪ ‬ﺭﻴﺎﺡ‬ ‫َ ‪‬ﺏ‬ ‫ﺃﻫ ‪ ‬ﻋﻠﻴ‪‬ﻙ‬ ‫َ ‪‬ﺏ ‪‬ﹶ‬ ‫***‬ ‫ﻤ ‪‬ﺎﺀ ﺍﻟﺨﻴ ِ ﻴﺎ ﻭ ﹶﻨﻲ‬ ‫‪‬ﺴ ‪ ‬ﹶ ‪‬ﺭ ‪‬ﻁ‬ ‫ﻤ ‪‬ﺎ ﻋﻴﻨﻴﻙ‬ ‫‪‬ﺴ‬ ‫ﺃ ﹶـ ﱢﻴﻬﺎ‬ ‫ُﻏ ﻨ‬ ‫ﺘﻐ ﱢﻴﻨﻲ‬ ‫ﹸ ﹶﻨ‬ ‫ﻭﺇﻥ ﹶﺎﺒﺕ‬ ‫‪  ِ‬ﻏ ‪ ‬ﹾ‬ ‫ﹸﺜﻴﺭ ﺠ ‪‬ﺍﺡ‬ ‫ﺘ ‪ِ ‬ﺭ ‪‬‬ ‫ﺘﻤ ‪ ‬ﹸﻨﻲ‬ ‫ﹸ ‪ ‬ﻭﺘ‬ ‫ﻭﺘﺭ ِﻴﻨﻲ‬ ‫‪ ‬ﹶ ‪‬ﻤ‬ ‫‪‬ﺇﻥ ﻻﺤﺕ‬ ‫ﻭ ‪  ‬ﹾ‬ ‫ﹸﻨﻴﺭ ﺼ ‪‬ﺎﺡ‬ ‫ﺘ ‪ ‬ﺒ ‪‬‬ ‫ﻴﻘ ‪‬ﻠ ﹸﻲ‬ ‫‪ِ ‬ﹶﺒ ﻨ‬
  22. 22. ‫ﻭ ‪‬ﺤﻴﻴﻨﻲ‬ ‫ﻴ‬ ‫ﺼ ‪‬ﺎﺡ ﺍﻟﺨﻴ ِ ﻴﺎ ﻭﻁﻨﻲ‬ ‫‪‬ﺒ ‪ ‬ﹶ ‪‬ﺭ‬ ‫ﺼ ‪‬ﺎ ﻋﻴﻨﻴ‪‬ﻙ ...‬ ‫‪‬ﺒ ‪  ‬ﹶ‬ ‫ﺑﻴﺮوت ـ ﺷﺘﺎء ١٠٠٢‬
  23. 23. ‫ﺨﻴ‪‬ﻁ ﺩ ﹶﺎﻥ‬ ‫ﹶ ‪‬ﺨ‬ ‫ﺃﻋﺭﻑ ﺍﻵﻥ ﻤﺎ ﺒﻴﻨ ﹶﺎ‬ ‫َ ‪ ِ ‬ﹸ ‪   ‬ﹶﻨ‬ ‫ﺨﻴﻁ ﺩ ﹶﺎﻥ‬ ‫ﹶ ‪ ‬ﹶ ‪‬ﺨ‬ ‫ﺤﻴﻥ ﺃﻤ ‪ ‬ﻴﺩﻱ‬ ‫ِ ‪ َ ‬ﺩ‬ ‫ﻴﺴﺘ ِﻴل ﻨﺎﺭﺍ‬ ‫‪  ‬ﹶﺤ ُ ﹰ‬ ‫ﻭﺃﺤﺘ ِﻕ‬ ‫‪  َ ‬ﹶﺭ‬ ‫ﺃﻋﺭﻑ ﺍﻵﻥ ﻤﺎ ﺒﻴﻨﻨﺎ‬ ‫ﹸ ‪‬‬ ‫ﺨﻴﻁ ‪‬ﺎﺀ‬ ‫ﹶ‪ ‬ﹶ ﻤ‬ ‫ﺤﻴﻥ ﺘﻤ ‪ ‬ﻴ ‪‬ﻙ‬ ‫‪ ‬ﹶ ‪‬ﺩ ‪‬ﺩ‬ ‫ﻴﺴﺘﺤﻴل ﺒﺤ‪‬ﺭﺍ‬ ‫ُ‪ ‬ﹰ‬ ‫ﻭﺘﺨﺘ ِﻕ‬ ‫‪ ‬ﹶ ﹾ ﹶﻨ‬ ‫ﺃﻋﺭﻑ ﺍﻵﻥ ﻤﺎ ﺒﻴﻨﻨﺎ‬ ‫َ‪ ِ‬ﹸ ‪‬‬ ‫ﺨﻴﻁ ﻫ ‪‬ﺍﺀ‬ ‫ﹶ ‪ ‬ﹶ ‪‬ﻭ‬
  24. 24. ‫ﺤﻴﻥ ﻨﻤ ‪ ‬ﻴﺩﻴ‪‬ﻨﺎ‬ ‫‪ ‬ﹶ ‪‬ﺩ ‪ ‬‬ ‫‪‬ﺴﺘ ِﻴل ِﻴﺤﺎ‬ ‫ﻴ ‪ ‬ﹶﺤ ُ ﺭ ﹰ‬ ‫ﻭﻨﺘﻼﺸﻰ ..‬ ‫ﺑﻴﺮوت ـ رﺑﻴﻊ ١٠٠٢‬
  25. 25. ‫ﺩﻤﻭﻉ ﺍﻟﺸﻤﺱ‬ ‫‪‬‬ ‫ﺃﻭﻫﻤ‪‬ﻨﻲ ﺤﺒﺎ ..‬ ‫‪‬ﹰ‬ ‫َ‪ِ‬‬ ‫ﺇﺠﻌل ﺴ ‪‬ﺎﻱ ﻤﺭﺍﻴﺎ ﺍﻟﺴﺭﺍﺏ‬ ‫ْ ‪‬ﻤ ‪‬‬ ‫ﻜﱠﻤﺎ ﺍﻟﺘﻘﻴﻨﺎ‬ ‫ﻠ‬ ‫ﺃﻤﻁﺭ ﺍﻟﻘﻠﺏ‬ ‫‪‬‬ ‫‪‬‬ ‫ﺸﻅﺎﻴﺎ ﺍﻟﺴﺤﺎﺏ‬ ‫‪‬‬ ‫ﹶ‬ ‫ﺃﻭﻫﻤ‪‬ﻨﻲ ﺤ ‪‬ﺎ ..‬ ‫ﺒ‬ ‫َ‪ِ‬‬ ‫ﺍﺤﺫﻑ ﺠﺎﺫﺒﻴﺔ ﺍﻷﺭﺽ‬ ‫‪‬ﹶ‬ ‫ﹾ‬ ‫ﻜﱠﻤﺎ ﺍﻓﺘﺭﻗﻨﺎ‬ ‫ﻠ‬ ‫ﺘﻌﱠﻘﺕ ﻁﻴ ‪‬ﺍ‬ ‫ﹶ ‪‬ﻠ ﹾ ﹸ ﺭ‬ ‫ﺒﻴﻥ ﺍﻟ ‪‬ﻔﻭﻥ ﻭﺍﻷﻫﺩﺍﺏ‬ ‫ﺠ ِ‬ ‫ﺃﻭ ِﻤ‪‬ﻨﻲ ﺤﺒﺎ ..‬ ‫‪‬ﹰ‬ ‫َ ‪‬ﻫ‬ ‫ﻻ ﺘﻘل ﺸﻴﺌﺎ‬ ‫ْ ﹰ‬
  26. 26. ‫ﺍﻫﻤﺱ ﻓﻘﻁ ﺒﻌﻴﻨﻴﻙ‬ ‫‪‬‬ ‫ﻴﺘﻭ ﱠﺢ ﺍﻟﻠﻴل ﺒﺎﻟﺒﻴﺎﺽ‬ ‫ُ‬ ‫ﺸ‬ ‫ﺃﻭﻫﻤ‪‬ﻨﻲ ﺤﺒﺎ ..‬ ‫‪‬ﹰ‬ ‫َ‪ِ‬‬ ‫ﻤ ّ ﻴ ‪‬ﻙ ..‬ ‫‪ ‬ﺩ ‪‬ﺩ‬ ‫ﺃﺤﺠﺏ ﺍﻟﻭ ‪‬ﻭﻩ‬ ‫ُ ‪ ِ  ‬ﺠ ‪‬‬ ‫ِﻼل ﺍﻟﻀ ‪‬ﺎﺏ‬ ‫ﻅ َ ‪‬ﺒ‬ ‫ﺃﻭﻫﻤ‪‬ﻨﻲ ﺤﺒﺎ ..‬ ‫‪‬ﹰ‬ ‫َ‪ِ‬‬ ‫ﻤ ّ ﻴ ‪‬ﻙ ..‬ ‫‪ ‬ﺩ ‪‬ﺩ‬ ‫ﺃﻏ ﹸﻭ ﻋﻠﻴ‪‬ﻬﺎ ﻗﻠﻴﻼ‬ ‫ﹰ‬ ‫َ ﹾﻔ ‪ ‬ﹶ‬ ‫ﺃﺒﻜﻲ ﻋﻠﻴﻬﺎ ﻗﻠﻴﻼ‬ ‫ﹰ‬ ‫ﺃﻏﺘ ِل ﻤﻥ ﺨ ﹶﺎﻴﺎﻱ‬ ‫ﹶﻁ ‪‬‬ ‫َ ﹾ ﹶﺴ ُ‬ ‫ﻤ ّ ﻴ ‪‬ﻙ ..‬ ‫‪ ‬ﺩ ‪‬ﺩ‬ ‫ﻋﻁﺸﹾﻨﻲ ..‬ ‫‪‬ﱢ‬ ‫ﺍﻜﺴﺭ‪‬ﻨﻲ ..‬ ‫ﹾِ‬ ‫ﺍﻋﺼﺭ‪‬ﻨﻲ ..‬ ‫‪ ‬‬
  27. 27. ‫ﺍﺩﻓﻕ ﺩ ‪‬ﻭﻉ ﺍﻟﺸﻤﺱ ﻋﻠﻲ‬ ‫‪ ‬ﹾ ‪‬ﻤ ‪ ‬ﱠ ‪  ِ ‬ﹶ ّ‬ ‫ْ‬ ‫ﻴﻤ ِﻲ ﻭﻤﺽ ﻋﻴﻨﻴ‪‬ﻬﺎ‬ ‫‪ ‬ﺴ ‪     ‬ﹶ‬ ‫ﻋﻴﻨﻲ‬ ‫‪ ‬ﹶ ّ‬ ‫ْ‬ ‫ﺃﻭﻫﻤ‪‬ﻨﻲ ﺤﺒﺎ ..‬ ‫‪‬ﹰ‬ ‫َ‪ِ‬‬ ‫ﺑﻴﺮوت ﺻﻴﻒ ١٠٠٢‬
  28. 28. ‫ﻤ ‪‬ﺍﻴﺎ ﺍﻷﺯ ‪‬ﻕ‬ ‫َ ‪‬ﺭ‬ ‫‪‬ﺭ‬ ‫ﻤﺭ ﺍﻟﺼﻴﻑ ﻗ ِﻴ ‪‬ﺍ‬ ‫ﹸ ﹶﺼ ﺭ‬ ‫‪‬‬ ‫ﻟﻡ ﺃ ‪‬ﺒﺢ ﺒﻅﻠﻙ ﻫﺫﹾﺍ ﺍﻟﺼﻴ‪‬ﻑ‬ ‫‪‬‬ ‫ﹶ ‪ْ ‬ﺴ ‪ِ ِ ‬ﱢ ‪ ‬‬ ‫ﻟﻡ ﺘﺯﺡ ِﺘﺎﺭ ﺍﻟﺭﻤل ﻋﻥ ﻭﺠ ِﻲ‬ ‫ﹶ ‪ ‬ﹸ ِ ‪ ‬ﺴ ‪    ِ   ‬ﻬ‬ ‫ﹶﺎﻥ ﻋﻠﻲ ﺃﻥ ﺃﻤ ِﻲ ..‬ ‫ﻜ ‪ َ  َ  ِ ‬ﻀ‬ ‫‪‬ﺎﺭﻴﺱ ﺘﻨﺘ ِﺭ ..‬ ‫‪ ‬ﹶ ﹾ ﹶﻅ‬ ‫ﺒ‬ ‫ﺤ ‪‬ﻠﺕ ﻗﻠﹾﺒﻲ ِ ﹶﺎ ‪‬ﻭ ِ ﺍﻟﺴ ﹶﺭ‬ ‫‪‬ﻤ ﹾ ﹸ ﹶ ﺒﺘ ﺒ ﺕ ‪‬ﻔ‬ ‫ﻟﻡ ﺃﺒ ِ ‪‬ﻠﻴﻪ‬ ‫ﹶ ‪ َ ‬ﻙ ﻋ ِ‬ ‫ﻭﻟﻡ ﻴﺒﻙ ﺃ ‪‬ﺩ‬ ‫‪َ ِ   ‬ﺤ‬ ‫ﻤﺭ ﺍﻟﺼﻴﻑ ﻗﺼﻴ ‪‬ﺍ‬ ‫ﺭ‬ ‫ﹸ‬ ‫‪‬‬ ‫ﻟﻡ ﺘﺠﺭﺡ ‪‬ﺭﺍﻴﺎ ﺍﻷﺯ ‪‬ﻕ‬ ‫َ ‪‬ﺭ‬ ‫ﹶ‪ ‬ﹶ ‪   ‬ﻤ‬ ‫ﻟﻡ ﺘﺴﻔﻙ ﺼ ِﻴﻠﻲ‬ ‫ﹶ ‪ ‬ﹶ ‪  ِ ‬ﻬ‬ ‫ﻓﻭﻕ ﺍﻟﺸ ﹶﻕ‬ ‫ﹶ ‪ ‬ﹶ ﱠﻔ‬ ‫ﹶﺎﻥ ﻋﻠﻲ ﺃﻥ ﺃﻤ ِﻲ‬ ‫ﻜ ‪ َ  َ  ِ  ‬ﻀ‬
  29. 29. ‫‪‬ﺎﺭﻴﺱ ﺘﻨﺘ ِﺭ‬ ‫‪ ‬ﹶ ﹾ ﹶﻅ‬ ‫ﺒ‬ ‫ﺃﺭﻗﺕ ﺭﻭﺤﻲ‬ ‫َ ‪‬ﹾ ﹸ‬ ‫ﻭﺤ‪‬ﺩﻱ ﻜﻨﺕ ﺍﺤﺘ ِﺭ‬ ‫ﹸ ﹾ ﹸ ﹶ ‪ ‬ﹶﻀ‬ ‫‪‬‬ ‫ﻭﺍﻟﻜل ﻴﻀ ‪‬ﻙ‬ ‫ﹸ ﱡ ‪ ‬ﺤ‬ ‫ﺑﻴﺮوت – أﻏﺴﻄﺲ ١٠٠٢‬
  30. 30. ‫ﹶﺍﻜﺭﺓ ﻤﺩﻨﺘ ﹶﺔ‬ ‫ﺫ ِ ‪ ‬ﹲ ‪  ‬ﹾ ﹶﻠ‬ ‫ﻟﻡ ﺘﻌﺩ ﹶﺍﻜ ‪‬ﺘﻲ ﻋﺫ ‪‬ﺍﺀ‬ ‫ﹶ ‪ ‬ﹶ ‪  ‬ﺫ ِﺭ ‪ ‬ﹾﺭ‬ ‫ﺃﻟﻑ ﻋ ِﻴﻕ ﻟﻬﺎ‬ ‫َ ﹾ ﹸ ‪‬ﺸ ٍ‬ ‫ﻤﻁﻠﻘﺔ ﻤ ‪‬ﺍﺕ‬ ‫‪ ‬ﹶﱠ ﹶ ﹲ ‪‬ﺭ‬ ‫ﻭﺃﺭﻤﹶﺔ‬ ‫‪  َ ‬ﻠ‬ ‫ﻻ ﻁﻔل ﻴﺴﺄل ﻋﻨ ‪‬ﺎ‬ ‫ِ ﹾ ٌ ‪  ُ َ ‬ﹾﻬ‬ ‫ﻻ ‪‬ﺎﺌﹶﺔ‬ ‫ﻋ ِﻠ‬ ‫ﺯ ‪‬ﺍﺭ .. ﺯ ‪‬ﺍﺭ‬ ‫‪‬ﻭ‬ ‫‪‬ﻭ ‪‬‬ ‫ﺘﺴﺘﻘﺒﻠ ‪‬ﻡ ِﻼ ﻭﹶﻪ‬ ‫ﹶ ‪ ‬ﹶ ﹾ ِﹸﻬ ﺒ ‪‬ﻟ‬ ‫ﺘﺴﺘﻘ ِﹸﻬﻡ ﻤﻌ ‪‬ﺍﺓ‬ ‫ﹶ ‪ ‬ﹶ ﹶﺒﻠ ‪ ‬ﺭ‬ ‫ِﻻ ﻤﻥ ﺃﺤ ‪‬ﺍﻥ‬ ‫ﺇ ِ ‪ َ ‬ﺯ ٍ‬ ‫ﻤﺩﻨﺘﹶﺔ‬ ‫‪  ‬ﹾ ﹶﻠ‬ ‫ﺘﺼ ‪ ‬ﺍﻟ ﹶﺎﻱ ِﻲ ﺍﻷﻜ ‪‬ﺍﺏ‬ ‫ﹶ ‪‬ﺏ ﺸ ‪ ‬ﻓ َ ﹾﻭ‬ ‫ﺘﺼ ‪ ‬ﺍﻟﻨﺎﺭ ِﻲ ﺍﻷﺜ ‪‬ﺍﺏ‬ ‫ﹶ ‪‬ﺏ ‪ ‬ﻓ َ ﹾﻭ‬
  31. 31. ‫ﺘﺴﺘل ﺴ ‪‬ﻭﻑ ﺍﻟ ﱠﺎﻴﺎﺕ‬ ‫ﹶ ‪ ‬ﹶ ﱡ ‪‬ﻴ ﹶ ﻨ‬ ‫ﺘﺭ ﹸﺹ ‪‬ﻗ ‪‬ﺔ ﺍﻷﻤ ‪‬ﺍﺕ‬ ‫ﹶ ‪‬ﻗ ‪ ‬ﺭ ﹾﺼ ﹶ َ ‪‬ﻭ‬ ‫ﻭﺘﻨﻁ ِﻰﺀ ...‬ ‫ﹶ ﹾ ﹶﻔ‬ ‫ﺑﺎریﺲ – ﺱﺒﺘﻤﺒﺮ ١٠٠٢‬
  32. 32. ‫ﻗ ‪‬ﺤﺎ ﺒﻘ ‪‬ﺡ‬ ‫ﹶﺩ ﹰ ِ ﹶﺩ‬ ‫ﺒﻨﻔﹾﺴﻲ َﻨﺎ ﺃ ‪‬ﻯ‬ ‫ﺃ َﺭ‬ ‫ِﹶ‬ ‫ِﺌﺫﻨ ﹰ ﺘﺒ ِﻲ‬ ‫ﻤ ْ ﹶ ﹶﺔ ﹶ ‪‬ﻜ‬ ‫‪‬ﻠﻰ ‪‬ﺎﺏ ﺍﻟﻤ ‪‬ﺎﺀ‬ ‫ﻋ ﺒ ِ ‪‬ﺴ‬ ‫ﺒﻨﻔ ِﻲ ﺃﻥ ﺃﻫ ِﻱ‬ ‫ِ ﹶ ﹾﺴ َ ‪  َ ‬ﻭ‬ ‫ﻓﻲ ‪‬ﻴ‪‬ﺭﻭﺕ ﺤ ﱠﻰ‬ ‫ﹶ ‪‬ﺘ‬ ‫ﺒ‬ ‫ﻓﻲ ﹶﻼﻡ ﺍﻟﻌ ‪‬ﺎﺀ‬ ‫ﻅ ِ ‪‬ﻴ‬ ‫ﻋﺎﻡ ﻴﻤ ِﻲ‬ ‫‪  ‬ﻀ‬ ‫ﻭﺤ ِﻱ‬ ‫‪ ‬ﺩ‬ ‫ﺃﺩ ﱡ ﻗﺩ ‪‬ﺎ ﺒﻘ ‪‬ﺡ‬ ‫َ ‪‬ﻕ ﹶ ‪‬ﺤ ِ ﹶﺩ‬ ‫ﹶﺍ ِﺭﺘﻲ ﻭﻗﻠﹾﺒﻲ‬ ‫‪‬ﹶ‬ ‫ﺫﻜ‬ ‫ﻭﺃﺸ ‪‬ﺏ ...‬ ‫‪ َ‬ﹾﺭ‬ ‫ﺑﺎریﺲ – ٢١دیﺴﻤﺒﺮ ١٠٠٢‬
  33. 33. ‫ﻜﻴﻑ ﺘﺘﻌ ‪‬ﻯ ﺍﻷﺸ ‪‬ﺎﺀ‬ ‫ﹶ ‪ ‬ﹶ ﹶ ﹶ ‪‬ﺭ َ ﹾﻴ‬ ‫ﻫ ﹶﺍ ﺍﻟﺼ ‪‬ﺎﺡ‬ ‫‪‬ﺒ ‪‬‬ ‫‪‬ﺫ‬ ‫ﺭﺃﻴﺕ ‪‬ﻭ ِﻲ‬ ‫‪  َ‬ﹸ ﺭ ﺤ‬ ‫ﺘﻨﺯﻑ ﻓﻭﻕ ﺍﻟﻨﻬﺭ‬ ‫ﹶﹾ ِ ﹸ ﹶ ‪ ‬ﹶ ﱠ ‪ِ ‬‬ ‫ﺤ ﱠﻰ ‪‬ﺎﺭ ﺒ ‪‬ﺎﻀﺎ‬ ‫‪‬ﺘ ﺼ ‪  ‬ﻴ ﹰ‬ ‫ﻭﻋﻠﻤﺕ‬ ‫‪  ِ ‬ﹸ‬ ‫ﻜﻴﻑ ﺘﺘﻌ ‪‬ﻯ ﺍﻷﺸ ‪‬ﺎﺀ‬ ‫َ ﹾﻴ‬ ‫ﹶ ‪ ‬ﹶ ﹶ ﹶ ‪‬ﺭ‬ ‫ﻫ ﹶﺍ ﺍﻟﺼ ‪‬ﺎﺡ‬ ‫‪‬ﺒ ‪‬‬ ‫‪‬ﺫ‬ ‫ﺭﺃﻴﺕ ﺍﻟﻤ ِﻴﻨﺔ ﺘﺠ ِﻱ‬ ‫‪  َ ‬ﹸ ‪ ‬ﺩ ﹶ ﹶ ‪‬ﺭ‬ ‫ﻭﺍﻟﻨﻬﺭ ﻭ ‪‬ﺍ ‪‬ﻫﺎ ﻴﺠ ِﻱ‬ ‫ﱠ ‪  ‬ﺭ ﺀ ‪ ‬ﺭ‬ ‫ﻴﺒﻜﻲ ..‬ ‫ﻴﺤﺘ ِﻕ‬ ‫‪  ‬ﹶﺭ‬ ‫ﻟ ﻡ ﺘﺭ ﻩ‬ ‫‪ ‬ﹶ ‪‬‬ ‫ﻭﻟﻡ ﺘﺴﻤﻊ ﺒ ﹶﺎﻩ‬ ‫‪ ‬ﹶ ‪   ‬ﻜ ‪‬‬
  34. 34. ‫ﻭﻋﻠﻤﺕ‬ ‫‪  ِ ‬ﹸ‬ ‫ﻜﻴﻑ ﺤ ﱠﻰ ﺍﻷﺸ ‪‬ﺎﺀ‬ ‫ﹶ ‪ ‬ﹶ ‪‬ﺘ َ ﹾ ﻴ‬ ‫ﺘﺤ ‪ ‬ﻭﺘﻔﺘ ِﻕ‬ ‫ﹸ ِﺏ ﹶ ﹾ ﹶﺭ‬ ‫ﻫ ﹶﺍ ﺍﻟﺼ ‪‬ﺎﺡ‬ ‫‪‬ﺒ ‪‬‬ ‫‪‬ﺫ‬ ‫ﺭﺃﻴﺕ ﻴﺩ ﺍﻟﺴ ‪‬ﺎﺀ‬ ‫‪  َ‬ﹸ ‪  ‬ﻤ‬ ‫ﺘﻤﺘﺩ ِﻟﻰ ﻴ ِﻱ‬ ‫ﹶ ‪ ‬ﹶ ‪ ‬ﺇ ‪‬ﺩ‬ ‫ﻻ .. ﻟﺴ ِ ﺃﻨﺕ‬ ‫ﹶ ‪‬ﺕ ِ‬ ‫ﻫ ﹶﺎﻟﻙ ﻤﻥ ﺃﻫ ‪‬ﺍﻩ‬ ‫‪‬ﻨ ِ ‪  َ   ‬ﻭ ‪‬‬ ‫ﺑﺎریﺲ – ٤١ یﻨﺎیﺮ ١٠٠٢‬
  35. 35. ‫ﺒ ﹶﺎﺀ ﺍﻟﺜـﻠﹾﺞ‬ ‫‪‬ﻜ ‪ ‬ﱠ‬ ‫ِﺎﷲ ﻋﻠﻴ‪‬ﻙ‬ ‫ﺒ ِ ‪‬ﹶ‬ ‫ِﻓﺘﺢ ﻋﻴ‪‬ﻨ ‪‬ﻙ‬ ‫ﺍﹶ‪  ‬ﻴ‬ ‫ﻻ ﺒﺤﺭ ﻓﻲ ﺍﻟﺩﻨﻴﺎ‬ ‫‪‬‬ ‫ﻭﻻ ﻤﺭ ﹶﺄ‬ ‫‪ ‬ﻓ‬ ‫ِﺎﷲ ﻋﻠﻴ‪‬ﻙ‬ ‫ﺒ ‪‬ﹶ‬ ‫ﻤ ّ ﻴﺩﻴ‪‬ﻙ‬ ‫‪‬ﺩ ‪ ‬‬ ‫‪‬ﺍﻗﺼ‪‬ﻨﻲ ﺒﻌﺩ‬ ‫‪ ‬‬ ‫ﺭِ‬ ‫‪‬ﺍﻗﺼ‪‬ﻨﻲ َﺒﺩﹰ ..‬ ‫ﺃ ﺍ‬ ‫ﺭِ‬ ‫ﻻ ﺘﻬﺩﺃ‬ ‫ﹶ ‪ْ ‬‬ ‫‪‬ﺎﺭﻴﺱ ﺒ ﹶﺎﺀ ﺜﻠﺞ‬ ‫‪ ‬ﻜ ‪ٍ ‬‬ ‫ﺒ‬ ‫ﻭﺍﻟﺜﻠﺞ ﻓﻲ ﺼﺩ ِﻙ ﺃﺩﻓﺄ‬ ‫‪ ‬ﺭ َ ‪ ‬ﹶ ْ‬ ‫ﱠﹾ ‪‬‬ ‫ﻜ ﱡ ﺍﻟﻤ ﹶﺎ ِﻲ ..‬ ‫ﹸل ‪‬ﻘ ﻫ‬
  36. 36. ‫ﻭﺍﻟ ‪‬ﻼ ِﻲ ..‬ ‫ﻤ ﻫ‬ ‫ﺠ ﹶﺎﺯﺍﺕ ﻷ ﹶﺎﺱ ﺘﻔ ﹶﻙ‬ ‫ِ ﻨ ﹲ ُﻨ ٍ ﹸ ﹾ ﺘ‬ ‫ﻜ ﱡ ﺍﻟﻨ ‪‬ﻭﻡ..‬ ‫ﹸل ﱡﺠ ِ‬ ‫ﻭﺍﻟﻐ ‪‬ﻭﻡ ..‬ ‫ﹸﻴ ِ‬ ‫ﺩ ‪‬ﺎﺀ ﻓﻲ ﺍﻷﺭ ِ ﺘﺴ ﹶﻙ‬ ‫َ ‪ ‬ﺽ ﹸ ‪‬ﻔ‬ ‫ِﻤ ‪‬‬ ‫ﺍﻟﺩﻨﹾﻴﺎ ﺒ ‪‬ﻭ ِﻙ ﻤﻭﺕ‬ ‫ﹶ ‪ِ ‬ﺩ ﻨ ‪  ‬ﹲ‬ ‫ِ‬ ‫ﻭﺒﻙ ﺍﻟﺘﻜ ِﻴﻥ ﻴﺒ ‪‬ﺃ ..‬ ‫‪  ِ ‬ﱠ ﹾ ﻭ ‪  ‬ﺩ‬ ‫ﺑﺎریﺲ – ١٣ دیﺴﻤﺒﺮ ١٠٠٢‬
  37. 37. ‫ﹶﺎﻨ ِ ﺍﻟﻤ ‪‬ﺍﺌﻥ ﺃﺠ ‪‬ل‬ ‫ﻜ ﹶﺕ ﺩ ِ ‪ َ ‬ﻤ‬ ‫ﹶﺎﻨ ِ ﺍﻟﻤ ‪‬ﺍ ِﻥ‬ ‫ﻜ ﹶﺕ ﺩ ﺌ‬ ‫ﺃﻋ ‪‬ﺍﺴ ﹰ‬ ‫َ ‪‬ﺭ ﺎ‬ ‫ﺃﺠ ‪‬ﺍﺴ ﹰ‬ ‫َ ‪‬ﺭ ﺎ‬ ‫ﺸﻤﻌﺎ‬ ‫ﹶ ‪ ‬ﹰ‬ ‫َ‬ ‫ﺩﻤﻌﺎ‬ ‫‪  ‬ﹰ‬ ‫ﻭ ‪‬ﺂ ِﻥ‬ ‫‪‬ﻤ ﺫ‬ ‫ﹶﺎﻨ ِ ﺍﻟﻤ ‪‬ﺍ ِﻥ‬ ‫ﻜ ﹶﺕ ﺩ ﺌ‬ ‫ﺃﻁﻔﺎﻻ ﺘﻠ ‪‬ﺏ‬ ‫ﹰ ﹶ ﹾﻌ‬ ‫ﺸ ‪‬ﻭﺴﺎ ﺘﺠ ِﻱ‬ ‫ﹸﻤ ﹰ ﹶ ‪‬ﺭ‬ ‫ﻭﻻ ﺘﺘ ‪‬ﺏ‬ ‫ﹶ ﹾﻌ‬ ‫ﻭﺒﺭ ﹸ ﹶﺎﻻ‬ ‫‪ ‬ﺘ ﻘ ﹰ‬ ‫ﻭ َ ‪‬ﻫ ﺍ‬ ‫‪‬ﺃﺯ ‪‬ﺎﺭﹰ‬ ‫‪  ‬ﹶﺎ ِﻥ‬ ‫ﻭﺠﻨ ﺌ‬
  38. 38. ‫ﹶﺎﻨ ِ ﺍﻟﻤﺩﺍ ِﻥ‬ ‫ﺌ‬ ‫ﻜ ﹶﺕ‬ ‫ﺃﻗ ‪‬ﺎﺭﹰ‬ ‫َ ﹾﻤ ﺍ‬ ‫ﺃﻁ ‪‬ﺎﺭﹰ‬ ‫َ ﹾﻴ ﺍ‬ ‫ﻓ ﹶﺎﺕ ﺤ ‪‬‬ ‫ﹸﺘ ﹶ ‪ ‬ﺏ‬ ‫ﻭﺴ ﹶﺎﻜﺭ‬ ‫‪ ‬ﻜ ِ ‪‬‬ ‫ﻜﺎﻨﺕ ﺍِﻤﺩﺍﺌﻥ ﺃﺠ ‪‬ل‬ ‫ِ ﻟ ِ ‪ َ ‬ﻤ‬ ‫ﻭﺍﻟ ﱠﺎﺱ ﻜﺎﻨﺕ ﺃﻁ ‪‬ﺏ‬ ‫ﻨ ‪ ‬ﹶ ﹾ َ ﹾﻴ‬ ‫ﻭﺍﻟﻁ ‪‬ﻗﺎ ﹸ ﺃﺭ ‪‬ﺏ‬ ‫ﱡﺭ ﺕ َ ‪‬ﺤ‬ ‫ﻜﺎﻥ ﺍﻟ ‪‬ﻭﺕ ﺃﺩ ﹶﺄ‬ ‫‪ ‬ﺼ ‪ ‬ﹸ َ ‪‬ﻓ‬ ‫ﻭﺍﻟﻘﻠﺏ ﻤﺭ ﹶﺄ‬ ‫ﹶ ﹾ ‪  ‬ﻓ‬ ‫ﻟﻌﺸﻕ ﺜﺎ ِﺭ‬ ‫ِِ ﹾ ٍ ﺌ‬ ‫ﻜﻡ ﻜﺎﻨﺕ ‪‬ﻤﻴﻠ ﹰ ﺘﻠﻙ ﺍﻟﻤﺩﺍﺌﻥ ..‬ ‫ِ‬ ‫ﹶ ‪ ‬ﹶ ﹾ ﺠ ﹶﺔ ‪‬‬ ‫ﺑﺎریﺲ – ١ یﻨﺎیﺮ ٢٠٠٢‬
  39. 39. ‫ﻨﺯﻴﻑ ﻓﻭﻕ ﻨﻬﺭ ﺒﺎﺭﻴﺱ‬ ‫ﹲ ﹶ ِ‬ ‫ﻟﻡ ‪‬ﺒﻕ ﺇﻻ ﻅﱢﻲ‬ ‫ِﻠ‬ ‫ﻴ‪ ‬ﹶ‬ ‫ﺃﻁ ‪‬ﺎ ﹰﺎ ﻓﻭﻕ ﺍﻟﻨﻬ‪‬ﺭ‬ ‫َ ﹾﻴ ﻓ ﹶ ‪ ‬ﹶ ﱠ‬ ‫ﺸﻌ‪‬ﺭﻱ ﻴﺘﺩﱠﻰ ﺼﻔ ‪‬ﺎ ﹰﺎ‬ ‫‪ ‬ﹾﺼ ﻓ‬ ‫‪ ‬ﹶ ‪‬ﻟ‬ ‫ﹶ‬ ‫ﻭﻴ ‪‬ﺍﻱ ﺯﻫ‪‬ﺭ‬ ‫‪ ‬ﺩ ‪ ‬‬ ‫ﻭﺍﻟﺠﺭﺡ ﻴﺠﺭﻱ ﺸ ﱠﺎﻓ ﹰ‬ ‫ﹶﻔ ﺎ‬ ‫‪‬‬ ‫ﺩ ‪‬ﻭﻉ ﻓﺠ‪‬ﺭ‬ ‫‪‬ﻤ ‪ ‬ﹶ‬ ‫ﻤﺭ ﺍﻟﻌﺎﺒﺭ ﹶﺎل :‬ ‫‪ِ ‬ﻗ‬ ‫" ﺍﻟ ﱠﻬﺭ ﺴ ِﻴﺩ ‪‬ﺫﺍ ﺍﻟﻨ ‪‬ﺎﺭ " .‬ ‫ﻨ ‪  ‬ﻌ ‪ ‬ﻫ ﱠﻬ‬ ‫***‬ ‫ﺘﻁﻔﻭ ﻋ ‪‬ﻭﻨﻲ ﻓﻭﻕ ﺍﻟﻨﻬ‪‬ﺭ‬ ‫ﹶ‪ ‬ﹶ ﱠ‬ ‫ﹶ ﹾ ﹸ ‪‬ﻴ‬ ‫ﺸ ﹶﺎﻴﺎ ﺭﻗ ‪‬ﺍ ﹶﺔ‬ ‫ﹶﻅ ‪ ‬ﹾﺭ ﻗ‬ ‫ِﻋﻠﻡ ﻜﻠ ‪‬ﺎ ﹶﺎﺽ ﺍﻟﻨﻬ‪‬ﺭ‬ ‫ﺍ ﹶ ‪ ‬ﹸﱠﻤ ﻓ ‪ ‬ﱠ‬ ‫ﺃﻥ ‪‬ﻭ ِﻲ ﻤﺸ ﹶﺎ ﹶﺔ‬ ‫‪ ‬ﺭ ﺤ ‪ ‬ﹾﺘ ﻗ‬ ‫***‬
  40. 40. ‫ﻭﻴﺤﻤﺭ ﺍﻟﻨﻬﺭ‬ ‫‪    ‬ﱠ ‪‬‬ ‫ﺘﺄﺘﻲ ﺍﻟ ﱠﻭﺍﺭﺱ ﻜ ﱠ ﺼ ‪‬ﺎﺡ‬ ‫ﻨ ِ ‪ ‬ﹸل ‪ ‬ﺒ‬ ‫ﺃﻁﻌﻤ ‪‬ﺎ ﺒ ﹶﻤﻲ ..‬ ‫ُ ﹾ ِ ‪‬ﻬ ِﻔ‬ ‫ﻭﺤﺩ ‪‬ﺎ ﺘﻌ ِﻑ ﻁﻌ ‪ ‬ﺍﻟﺠ ‪‬ﺍﺡ‬ ‫‪  ‬ﻫ ﹶ ‪‬ﺭ ﹶ ‪‬ﻡ ِﺭ‬ ‫ﻭﺤ ‪‬ﻫﺎ ﺘﻌﺭﻑ ﻟﻭ‪‬ﻥ ﺩ ِﻲ‬ ‫‪  ‬ﺩ ﹶ ‪ ِ ‬ﹸ ﹶ ‪‬ﻤ‬ ‫***‬ ‫ﺠﺭﺤﻲ ﻴﻨـﺯﻑ ﻓﻲ ﺒﺎﺭﻴﺱ‬ ‫ِ ﹸ‬ ‫‪ِ‬‬ ‫ﻨﻬﺭ ‪‬ﺎﺭﻴﺱ ﻤ ﱢﻲ‬ ‫‪ِ ‬ﻨ‬ ‫ﹶ‪ ‬ﺒ‬ ‫ﻟﻭ ﻟﻡ ﺃﻨﺯﻑ ﻓﻲ ﺒﺎﺭﻴﺱ‬ ‫‪َ  ‬ﹾ ِ ﹾ‬ ‫ﻟ ‪‬ﺎ ﹶﺎﻥ ﺍﻟ ﱠﻬﺭ ‪‬ﻐ ِﻲ‬ ‫ﻤ ﻜ ‪ ‬ﻨ‪ ‬ﻴ ﻨ‬ ‫ﱢ‬ ‫ﻜ ﱡ ﻁﻴ ٍ ﻓﻲ ﺒﺎﺭﻴﺱ‬ ‫ﹸل ﹶ ‪ ‬ﺭ‬ ‫ﻴﺤ ِﻲ ﻟﻠﺩﻨﹾﻴﺎ ‪‬ﻨ ﱢﻲ‬ ‫‪ ‬ﻜ ‪ ‬ﻋ ـ‬ ‫‪‬ﺎﺭﻴﺱ ﻟﻲ‬ ‫‪‬‬ ‫ﺒ‬ ‫‪‬ﺎﺭﻴﺱ ﻟﻲ‬ ‫‪‬‬ ‫ﺒ‬ ‫ﹸﻭ ‪‬ﻫﺎ ﻓﻲ ﺩﻤ ِﻲ ﻴﺼﱢﻲ‬ ‫‪ ‬ﻌ ‪  ‬ﻠ‬ ‫ﻨ ﺭ‬
  41. 41. ‫ﻟﻴﹸﻬﺎ ﻴﻬﺒﻁ ﻤﻥ ﻅﱢﻲ‬ ‫ﹶ ‪‬ﻠ ‪ ِ  ‬ﹸ ِ ‪ِ ‬ﻠ‬ ‫ﻤﻥ ﻴﺴﺭﻕ ﺒﺎﺭﻴﺱ ِﻨ ﱢﻲ ؟‬ ‫‪ ‬ﻤـ‬ ‫‪ِ‬ﹸ‬ ‫ﺑﺎریﺲ – ٥ یﻨﺎیﺮ ٢٠٠٢‬
  42. 42. ‫ﺭ ﹶﺍﺫ ﺸﻤ‪‬ﺱ‬ ‫‪‬ﺫ ﹸ ﹶ‬ ‫ﺘ ‪‬ﺍﻤﺕ ﺃ ‪‬ﺎ ِﻌﻲ‬ ‫ﹶﺭ ‪ ‬ﹾ َﺼ ﺒ‬ ‫ﻓﻭﻕ ﺍﻟﺒﺤﺭ ﺍﻟﻤﻜ ﹸﻭﻑ‬ ‫ﹶ ‪ ‬ﹶ ‪ ِ  ‬ﹾﺸ‬ ‫ﹶﺎﻥ ﺍﻟﻠﻴل ﹶﺯﻴ ‪‬ﺍ‬ ‫ﻜ ‪ُ ‬ﻏ ﺭ‬ ‫ﻭﺍﻟﺒﺭﻕ ﺴ ‪‬ﻭﻑ‬ ‫‪  ‬ﹸ ‪‬ﻴ‬ ‫ﻜﺘ ‪ ِ ‬ﺍﺴ ‪‬ﻙ‬ ‫ﹶ ﹶﺒﺕ ‪‬ﻤ‬ ‫ﺍﺸﺘ ‪‬ﻠﺕ ﻤﻭ ‪‬ﺔ‬ ‫ﹶﻌ ﹶ ﹾ ‪  ‬ﺠ‬ ‫ﺘ ﹶﺎﻴﺭﺕ ﺤ ‪‬ﻭﻑ‬ ‫ﹶﻁ ‪  ‬ﹾ ‪‬ﺭ‬ ‫ﺘ ‪‬ﺎﻭﺕ ﻋﻠﻰ ﺍﻟ ‪‬ﻨﻴﺎ‬ ‫ﺩ‬ ‫ﹶﻬ ‪ ‬ﹾ‬ ‫ﺸ ﹶﺎﻴﺎ ﺜﻠ ٍ‬ ‫ﹶﻅ ﹶ ﹾﺞ‬ ‫ﺭ ﹶﺍﺫ ﺸﻤ ٍ‬ ‫‪‬ﺫ ﹶ ﹶ ‪‬ﺱ‬ ‫ِﻘﻠ ٍ ﺃﺯ ‪‬ﻕ ﻤﻠﹾﻬﻭﻑ‬ ‫ﻟ ﹶ ﹾﺏ َ ‪‬ﺭ ﹶ ‪‬‬ ‫ﺑﺎریﺲ – ٦ یﻨﺎیﺮ ٢٠٠٢‬
  43. 43. ‫ﻟﻭ ﻜﻨﹾﺕ ﻤﻌﻲ ﻓﻲ ﺒﺎﺭﻴﺱ‬ ‫ﹸ‬ ‫ﻟﻭ ﻜﻨﹾﺕ ﻤﻌ‪‬ﻲ ﻓﻲ ‪‬ﺎﺭﻴﺱ‬ ‫ﺒ‬ ‫‪ ‬ﹸ ‪‬‬ ‫ﹶﺎﻨﺕ ‪‬ﺎﺭﻴﺱ ﺃﺠ ‪‬ل‬ ‫‪ ‬ﻤ‬ ‫ﻜﹶ ﹾﺒ‬ ‫ﺃﺤﺭﻗ ﹶﺎ ﻜ ﱠ ﺍﻟﻜﻭﺍﺒﻴﺱ‬ ‫َ ‪  ‬ﹾﻨ ﹸل‬ ‫ﻤﺎ ﻋﺩ‪‬ﻨﺎ ﻋﻥ ﹶﻲﺀ ﻨﺴَل‬ ‫‪   ‬ﺸ ٍ ﹶ ‪‬ﺄ‬ ‫‪‬ﺎﺭﻴﺱ ﺘﺠ‪‬ﺭﻱ ﻓﻭﻕ ﺍﻟﻨﻬ‪‬ﺭ‬ ‫ﹶ‪ ‬ﹶ ﱠ‬ ‫‪‬ﹶ‬ ‫ﺒ‬ ‫ﻓﻭﻕ ﺍﻟﺨﻤﺭ ..‬ ‫ِ‬ ‫ﹶ‪ ‬ﹶ‬ ‫ﻓﻭﻕ ﺍﻟﺯﻫ‪‬ﺭ ..‬ ‫ﹶ‪ ‬ﹶ ‪‬‬ ‫ﻓﻭﻕ ﺠﺭﺡ ﺍﻟ ﱠﺎﺱ ﺘﺠ‪‬ﺭﻱ‬ ‫ﹶ‪ ‬ﹶ ‪ ِ ‬ﻨ ِ ﹶ‬ ‫ﻓﻭﻕ ﺍﻟ ﱠﺎﺭ‬ ‫ﹶ‪ ‬ﹶ ﻨ ِ‬ ‫ﻓﻭﻕ ﺍﻟﺠﻤ‪‬ﺭ‬ ‫ﹶ‪ ‬ﹶ ‪‬‬ ‫ﻓﻭﻕ ‪‬ﻼﺓ ﺍﻟﻤﺤﺭﻭﻤﻴﻥ‬ ‫ﹶ‪ ‬ﹶﺼ ِ‬ ‫ﻓﻭﻕ ﺃﻏﺎﻨﻲ ﺍﻟﺸ ‪‬ﺎﺫﻴﻥ‬ ‫ﹶﺤ‬ ‫ﹶ‪ ‬ﹶ‬ ‫ﻓﻭﻕ ﺃﻤﺎﻨﻲ ﺍﻟﻤﻅﻠﻭﻤﻴﻥ‬ ‫ِ‬ ‫ﹶ‪ ‬ﹶ‬
  44. 44. ‫ﻓﻭﻕ ﺍﻟﻠﻴل‬ ‫ﹶ‪ ‬ﹶ ِ‬ ‫ﻓﻭﻕ ﺍﻟﻔﺠ‪‬ﺭ‬ ‫ﹶ‪ ‬ﹶ ﹶ‬ ‫ﺘﺠ ِﻱ ..‬ ‫ﹶ ‪‬ﺭ‬ ‫ﺘﺠ ِﻱ ..‬ ‫ﹶ ‪‬ﺭ‬ ‫ﻻ ﺘﺴَل‬ ‫ﹶ ‪‬ﺄ‬ ‫ﻟﻭ ﻜﻨﹾﺕ ﻤ ِﻲ ﻓﻲ ﺒﺎﺭﻴﺱ‬ ‫‪ ‬ﹸ ‪‬ﻌ‬ ‫ﻜﺎﻥ ﺍﷲ ﻓﻴﻨﺎ ﺃﺠ ‪‬ل‬ ‫َ ‪‬ﻤ‬ ‫‪ُ ‬‬ ‫ﺃﻀﺄْﻨﺎ ﻜ ﱠ ﺍﻟﻨ ‪‬ﺍ ِﻴﺱ‬ ‫َ ‪ ‬ﹸل ﱠ ﻭ ﻗ‬ ‫ﻤﺎ ﻋﺩ‪‬ﻨﺎ ﻋﻥ ﺤﻠﻡ ﻨﺴَل‬ ‫‪    ‬ﹾ ٍ ﹶ ‪‬ﺄ‬ ‫ﻜ ﱠﺎ ﺘﻬ ﹶﺎ ﻓﻲ ﺍﻟﻁ ‪‬ﻗﺎﺕ‬ ‫ﹸﺭ‬ ‫ﹸﻨ ﹸ ‪‬ﻨ‬ ‫ﺃﺸﻌﻠﹾﻨﺎ ﹸﻤﻭﻉ ﺍﻟ ‪‬ﺎ ‪‬ﺎﺕ‬ ‫‪ ‬ﺸ ‪ ‬ﺴﺤ‬ ‫ﺇﻟﺘﻬﺒ‪‬ﻨﺎ ﻭﺍﺤﺘﺭﻗ ﹶﺎ‬ ‫‪ ‬ﹶ ‪ ‬ﹾﻨ‬ ‫ﹾﹶ ‪‬‬ ‫ﻭﺍﻟﻌ ﱠﺎﻕ ﺍﻟﻤ ‪‬ﺎﻨﻴﻥ‬ ‫‪‬ﺸ ﹶ ﺠ‬ ‫ﻟﻭ ﻜﻨﹾﺕ ‪‬ﻌﻲ ﻓﻲ ﺒﺎﺭﻴﺱ ...‬ ‫ﹸ ﻤ‬ ‫ﺑﺎریﺲ – ٧ یﻨﺎیﺮ ٢٠٠٢‬
  45. 45. ‫ﺸﻲﺀ ‪‬ﺎ ...‬ ‫ﹶ ‪ ‬ﻤ‬ ‫ﺸﻲﺀ ﻤﺎ ...‬ ‫ﹶ ‪‬‬ ‫ﻟﺴﺕ ﺃﺩ‪‬ﺭﻱ‬ ‫ﹶ‪ ‬ﹸَ‬ ‫ﻜﺄ ﱢﻲ ﺃﺤ ‪‬‬ ‫َﻨ ُ ِﺏ‬ ‫ﺘ ‪‬ﺍﻤﺕ ﺍﻟﻜ ‪‬ﺍﻜﺏ ﻓﻲ ﺒﺤ ِﻱ‬ ‫‪ ‬ﺭ‬ ‫ﹶﺭ ‪ ِ ‬ﹶ ﻭ ِ ‪‬‬ ‫ِﺜل ﺍﻟﻌ ‪‬ﺎﻓﻴﺭ‬ ‫ﻤ ﹾ َ ‪‬ﺼ‬ ‫‪‬ﺍﺤﺕ ﺘﻠﺘ ِﺏ‬ ‫ﺭ ‪ ‬ﹾ ﹶ ﹾ ﹶﻬ ‪‬‬ ‫ﺤ ﱠﻰ ﺭﺃ ِﻲ ..‬ ‫‪‬ﺘ ‪ْ ‬ﺴ‬ ‫ﻟﻡ ﻴﻌﺩ ﻴﻘ ‪‬ﻯ ﻋﻠﻰ ﺍﻟﺘﻔﻜﻴﺭ ...‬ ‫‪    ‬ﹾﻭ‬ ‫ﺍﻟﻀﻭﺀ ﻟ ‪‬ﺏ‬ ‫‪   ‬ﹶﻬ‬ ‫ﺍﻟﻤﺎﺀ ﻟ ‪‬ﺏ‬ ‫‪ ‬ﹶﻬ‬ ‫ﻭﺃ ﹶﺎ ﺍﻟﺯﺭﻗ ﹸ ﺍﻟﻭﺤﻴﺩﺓ ﺍﻟﻤﻤ ﱠﺩﺓ‬ ‫ﺘ‬ ‫ﹸ‬ ‫‪َ‬ﻨ ‪  ‬ﹶﺔ‬ ‫ﻓﻲ ﻤ ‪‬ﺍﺭ ﺍﻟﺫ ‪‬ﺏ‬ ‫‪‬ﺩ ِ ﱠ ﻫ‬ ‫ﺸﻲﺀ ﻤﺎ ..‬ ‫ﹶ ‪‬‬
  46. 46. ‫ﻟﺴﺕ ﺃﺩ ِﻱ‬ ‫ﹶ ‪ ‬ﹸ َ ‪‬ﺭ‬ ‫ﻜﺄﻨ ‪ ‬ﺃﺤ ‪... ‬‬ ‫ﹶَ ﱢﻲ ُ ِﺏ‬ ‫ﻜﺄ ﱠﻤﺎ ﺍﻟﻘﻠﺏ ﺘ ‪‬ﺍﻋﻰ‬ ‫ﹶ َﻨ ﹶ ﹾ ‪ ‬ﹶ ﺩ‬ ‫ﻓﻲ ﺼﺩ‪‬ﺭﻱ‬ ‫‪‬‬ ‫ﺒﻌﺩ ﺃﺴ ﹶﺎﺭ ﺍﻟﺘ ‪‬ﺏ‬ ‫‪   ‬ﻔ ِ ﱠﻌ‬ ‫ﺑﺎریﺲ ٤١ یﻨﺎیﺮ ٢٠٠٢‬
  47. 47. ‫ﺇﻜﺴﺭ ﺯ ‪‬ﺎ ِﻲ‬ ‫ِ ‪ ‬ﺠ ﺠ‬ ‫ﺃﻋ ِﻑ ﻨﺯﻑ ﺍﻟ ‪‬ﻨﻔ ‪ ِ ‬ﻓﻲ ﺍﻟ ‪‬ﻴﻭﻥ‬ ‫ﻌ‬ ‫َ ‪‬ﺭ ﹸ ﹶ ‪ ‬ﹶ ﺒ ﹶ ﹾ ﺴ ﺞ‬ ‫ﺃﻋ ِﻑ ﻨﺯﻑ ﺍﻟﻤ ‪‬ﺍ ِﺏ‬ ‫َ ‪‬ﺭ ﹸ ﹶ ‪ ‬ﹶ ‪‬ﺭ ﻜ‬ ‫ﻭﺍﻟﻜ ‪‬ﺍ ِﺏ ..‬ ‫ﹶﻭ ﻜ‬ ‫ﻓﻲ ﻋﻤﻕ ﺍﻟﺒ ‪‬ﻭﺭ‬ ‫‪ ِ  ‬ﺤ‬ ‫ﺃﻋﺭﻑ ﻜﻴﻑ ﺃﺤ ‪‬ﻙ‬ ‫َ ‪ ِ ‬ﹸ ﹶ ‪ ‬ﹶ ُ ِﺒ‬ ‫ِﺸﻬﻘ ِ ﺍﻟﻤﺠﻨﻭﻥ‬ ‫ﺒ ﹶ ‪ ‬ﹶﺔ‬ ‫ﻟﻜﻥ ..‬ ‫ﹶِ ‪‬‬ ‫ﺇﻜﺴﺭ ﺯ ‪‬ﺎ ِﻲ‬ ‫ﹾ ِ ‪ ‬ﺠ ﺠ‬ ‫ﻭﺍﻓﺘﺢ ﻟﻴﻠﻲ‬ ‫ﹾﹶ ‪‬‬ ‫ﻟﺸﻁﹾﺂﻥ ﺍﻟﺯ ‪‬ﺩ‬ ‫ِ ﹸ ِ ‪‬ﺒ‬ ‫ﺘ ‪‬ﻯ ﺩ ِﻲ‬ ‫ﹶﺭ ﻤ‬ ‫ﻴﺯ‪‬ﻫﻲ ‪‬ﺘ ‪‬ﺔ ﺍﻟﻌ ‪‬ﻭﺭ‬ ‫ﻋ ﹾﺒ ﹶ ‪‬ﺼ‬ ‫‪‬‬ ‫‪‬ﻠﻰ ﻤﻤﺭ ﺍﻷ ‪‬ﺩ ..‬ ‫ﻋ ‪َ   ‬ﺒ‬
  48. 48. ‫ﺑﺎریﺲ – ٦١ یﻨﺎیﺮ ٢٠٠٢‬
  49. 49. ‫ﻭﺠ ‪‬ﺎﻥ ..‬ ‫‪ ‬ﻬ‬ ‫ﻟﻤﺩﻴﻨﺘﻨﺎ ﻭﺠ ‪‬ﺎﻥ‬ ‫‪ ‬ﻬ‬ ‫ﺃﻨﹾﺕ .. ﻭَﻨﺎ‬ ‫‪‬ﺃ‬ ‫َ‬ ‫ﺘ ‪‬ﺍﻨﺎ ﺍﻟ ﱠﺎﺱ‬ ‫ﹶﺭ ﻨ ‪‬‬ ‫ﻓﻲ ﻜ ﱢ ﺍﻷﺯﻤ ﹶﺔ‬ ‫ﹸل َ ‪ ِ ‬ﻨ‬ ‫ﺑﺎریﺲ – ٦١ یﻨﺎیﺮ ٢٠٠٢‬
  50. 50. ‫ﻓﺘﺎ ِﻴﺕ ﻗ ‪‬ﺭ‬ ‫ﻓ ﹸ ﹶﻤ‬ ‫ﹶﺎﻨﺕ ﹶﺍﻜ ‪‬ﺘﻲ ﻭﺍﻫ ﹶﺔ‬ ‫ﻜ ﹶ ﹾ ﺫ ِﺭ ‪ِ ‬ﻨ‬ ‫ﺼﻔ ‪‬ﺍﺀ ﺍﻟﻭﺠﻪ ﻤﺘﻌ ‪‬ﺔ‬ ‫‪ ‬ﹾ ﺭ ‪  ِ   ‬ﹾ ‪‬ﺒ‬ ‫ﺘ ﹶﺎﻡ ﻤﺒﺘﺴ ‪‬ﺔ‬ ‫ﹶ ﻨ ‪   ‬ﹶ ِﻤ‬ ‫ﻭﻟﻡ ﺘﻨﻡ ﹶﺍ ِﺭﺘﻲ ﻤﻨ ﹸ ﺍﻷ ‪‬ل‬ ‫‪ ‬ﹾ ﺫ َﺯ‬ ‫ﹶﹶ ‪ ‬ﺫ ﻜ‬ ‫‪‬ﺍ ‪‬ﻫﺎ ﺍﻟﻠﻴل ﻓﻲ ﺴ ِﻴ ِﻫﺎ‬ ‫‪‬ﺭ ﺭ‬ ‫ُ‬ ‫ﺯﺭ‬ ‫ﺃﺸ ‪‬ل ﻗﻨﹾﺩﻴﹶﻬﺎ‬ ‫َ ﹾﻌ َ ِ ﻠ‬ ‫ﺃﻓ ‪‬ﻍ ﻤﻥ ﺠﻴ‪‬ﺒﻪ‬ ‫‪ِ ‬‬ ‫َ ﹾﺭ ﹶ‬ ‫ﻫ ‪‬ﺍﻴﺎ ﺍﻟﺴ ﹶﺭ‬ ‫‪‬ﻔ‬ ‫‪‬ﺩ‬ ‫ﻗﺭﺹ ﺸﻤ ٍ ‪‬ﻁﻔَﺓ‬ ‫ﹸ ‪  ‬ﹶ ‪‬ﺱ ﻤ ﹶﺄ‬ ‫ﻓ ﹶﺎ ِﻴﺕ ﻗ ‪‬ﺭ‬ ‫ﹶﺘ ﻓ ﹶ ﹶ ﻤ‬ ‫‪‬ﻨ ِ ‪ ‬ﻓﻲ ﺍﻟﻤﺤ ﱠﺔ‬ ‫‪‬ﻁ‬ ‫ﻭ ﹶﺴﻲ‬ ‫ﺤ ‪‬ﻭﺏ ﺍﻟﺤﻠﻡ ﺍﻟ ‪‬ﻨﻭ ‪‬ﺔ‬ ‫‪‬ﺒ ‪  ‬ﹾ ِ ﻤ ‪‬ﻤ‬ ‫ﺤ ‪‬ﻭﺏ ﺍﻟﺤ ‪ ‬ﻭﺍﻟﻘ ‪‬ل‬ ‫‪‬ﺒ ‪ ‬ﺏ ﹸﺒ‬ ‫ﺑﺎریﺲ ـ ٧١ یﻨﺎیﺮ ٢٠٠٢‬
  51. 51. ‫ﻗﺩﺭ ﺍﻷﺤ ‪‬ﺎﺀ‬ ‫ﹶ ‪ِ َ  ‬ﺒ‬ ‫ﹸﻴﻭﻁ ﺍﻟﻘ ‪ ِ ‬ﺘﺭ ِ ﹸﻨﺎ‬ ‫ﺨ ﹸ ﹶﺩﺭ ﹶ ‪‬ﺒﻁ‬ ‫ﺘ ‪‬ﺎﻨﺩ ﺭﻴﺢ ﺍﻟﺯ ‪‬ﻥ ..‬ ‫ﹸﻌ ِ ‪  ‬ﻤ‬ ‫‪‬ﺎ ﺘﻘﻁ ‪‬ﺕ ..‬ ‫ﻤ ﹶ ﹶ ﱠﻌ ﹾ‬ ‫ﻭﻻ ﺍﻨﺒﺭﺕ ..‬ ‫ﹾ‪  ‬ﹾ‬ ‫َ‬ ‫ﺃﻋﺭﻑ ﺍﻵﻥ ﻤﺎ ﺒﻴﻨ ﹶﺎ‬ ‫َ ‪ ِ ‬ﹸ ‪   ‬ﹶﻨ‬ ‫‪‬ﺍﺤ ‪‬ﻨﺎ ﻓ ‪‬ﺍ ﹶﺔ‬ ‫ﻭ ِﺩ ﹶ ﺭ ﺸ‬ ‫ﺜﺎﻨﻴﻨﺎ ﻀﻭ‪‬ﺀ‬ ‫‪‬‬ ‫ﻻ ﺍﻨﻜ ‪  ‬ﻤﺼ ‪‬ﺎﺡ‬ ‫ﹶ ﺴﺭ ِ ‪‬ﺒ ‪‬‬ ‫ﻭﻻ ﺠ ﹶﺎﺡ ﺍﺤﺘ ‪‬ﻕ ...‬ ‫‪‬ﻨ ‪  ‬ﹶﺭ‬ ‫ﺃﻋﺭﻑ ﺍﻵﻥ ﻤﺎ ﺒﻴﻨ ﹶﺎ‬ ‫َ ‪ ِ ‬ﹸ ‪   ‬ﹶﻨ‬ ‫‪‬ﺍﺤ ‪‬ﻨﺎ ﺼ ‪‬ﺎﺡ‬ ‫ﻭ ِ ﺩ ‪‬ﺒ ‪‬‬ ‫ﺜﺎﻨﻴﻨﺎ ﻤ ‪‬ﺎﺀ‬ ‫‪‬ﺴ‬ ‫ﺒﻴﻨ ﹶﺎ ..‬ ‫‪  ‬ﹶﻨ‬
  52. 52. ‫ﺃﺴ ﹶﺎﺭ ﻤ ‪‬ﺎ ﹶﺔ‬ ‫َ ‪‬ﻔ ‪ ‬ﺴ ﻓ‬ ‫ﺃﻁ ‪‬ﺎﺭ ﺴ ‪‬ﺎﺀ‬ ‫َ ﹾﻴ ‪  ‬ﻤ‬ ‫ﺃﻋﺭﻑ ﺍﻵﻥ ﻤﺎ ﺒﻴﻨ ﹶﺎ‬ ‫َ ‪ ِ ‬ﹸ ‪   ‬ﹶﻨ‬ ‫ﺃﺤﻼﻡ‬ ‫َ ‪ ‬ﹶ‪‬‬ ‫ﻁ ﹸﻭﹶﺔ‬ ‫ﹸﻔ ﻟ‬ ‫ﺃﺸ ‪‬ﺎﺡ ﺘﺩ ﱡ ﻋﻠﻰ ﺃﺒﻭﺍ ِﻨﺎ‬ ‫ﺒ‬ ‫َ ﹾﺒ ‪ ‬ﹶ ‪‬ﻕ‬ ‫ﺒﻭ ‪‬ﻭﻩ ﻤﺠ ‪‬ﻭﹶﺔ‬ ‫ِ ِﺠ ٍ ‪  ‬ﻬ ﻟ‬ ‫ﻭﻻ ﻨﻌﺭﻑ ﻜﻴﻑ ﻴﺄﺘﻲ ﻏ ‪‬ﻨﺎ‬ ‫ﹶ ‪ ِ ‬ﹸ ﹶ ‪ ‬ﹶ ‪ ْ ‬ﹶﺩ‬ ‫ﻭﻻ ﻜﻴﻑ ﻤﺎﻀﻴﻨﺎ ‪‬ﺎﺀ !‬ ‫ﺠ‬ ‫ﹶ‪ ‬ﹶ‬ ‫ﻜ ﱡ ﻤﺎ ﻨﻌﺭﻑ ﺃ ﱠﻨﺎ‬ ‫ﹸل ﹶ ‪ ِ ‬ﹸ ﻨ‬ ‫ﻋﺯﻑ ﺍﺸﺘ ‪‬ﺎل‬ ‫‪  ‬ﹸ ﹾ ِﻌ ٍ‬ ‫ﻨﺯﻑ ﺍﺸ ِـﻴﺎﻕ‬ ‫ﹶ ‪ ‬ﹸ ﹾﺘ‬ ‫ﻤﺎ ﺤ ‪‬ﻠﺘ ﹶﺎ ﻴﺎ ﺼﺩﻴﻘﻲ‬ ‫ِﻴ ﹸﻨ‬ ‫ﺫﺍ ﻫﻭ ﻗﺩﺭ ﺍﻷﺤ ‪‬ﺎﺀ ...‬ ‫ﹶ ‪ِ َ  ‬ﺒ‬ ‫ﺑﺎریﺲ – ٨١ یﻨﺎیﺮ ٢٠٠٢‬
  53. 53. ‫ﻭﺤﺩﻩ ﻴﺸ ‪‬ﺏ‬ ‫‪     ‬ﹾﺭ‬ ‫ﺭَﻯ ﻋﻨﻜ ‪‬ﻭ ﹰﺎ‬ ‫‪‬ﺃ ‪ ‬ﹾ ﹶ ﺒ ﺘ‬ ‫ﻴﺭﻜﺏ ﻗﺭﺹ ﺍﻟﺸﻤ‪‬ﺱ‬ ‫‪ ‬ﹶ ‪ ‬ﹸ ‪  ‬ﱠ‬ ‫ﺭَﻯ ﺃﺨﻁ ‪‬ﻭﻁﺎ‬ ‫‪‬ﺃ ُ ﹾ ﹸ ﺒ ﹰ‬ ‫ﻴﻨﻬﺏ ِﻴﺱ ﺍﻟﺭﻤ‪‬ل‬ ‫‪‬ﹾ ‪  ‬ﻜ ‪ ‬‬ ‫ﺭَﻯ ﺃ ﹶﺎ ‪‬ﺎ‬ ‫‪‬ﺃ ُ ﻨ ﺴ‬ ‫ﹸﻠﻬﺏ ﻓﻴﻪ ﺍﻟﺠﻤ‪‬ﺭ‬ ‫‪‬‬ ‫ﺘﹾ ِ ‪‬‬ ‫ﻭﻭﺤﺩﻩ ﻴﺸﺭﺏ ﻤﻥ ﻅﱢﻪ‬ ‫‪      ‬ﹾ ‪ِ  ِ  ‬ﻠ‬ ‫ﺑﺎریﺲ ٩١ یﻨﺎیﺮ ٢٠٠٢‬
  54. 54. ‫ﻜﻠ ‪‬ﺎ ﹶﻼﻤﺴ ﹶﺎ‬ ‫ﹸﱠﻤ ﺘ ‪ ‬ﻨ‬ ‫ﻜﺄ ﱠﻙ ﻭﺠ ِﻲ ﻓﻲ ﺍﻟ ِﺭﺁﺓ‬ ‫ﻤ‬ ‫ﹶَﻨ ‪ ‬ﻬ‬ ‫ﻜﺄ ِﻲ ﺍﻨ ِﻜﺎ ‪‬ﻙ ﻓﻭﻕ ﺍﻟﻤﺎﺀ‬ ‫ﹶَﻨ ﻌ ﺴ ﹶ ‪ ‬ﹶ‬ ‫ﻜﻠ ‪‬ﺎ ﺘﻼ ‪‬ﺴ‪‬ﻨﺎ‬ ‫ﹸﱠﻤ ﹶ ﹶﻤ‬ ‫ﺘﻼ ﹶﻰ ﻭﺠ ‪‬ﻙ‬ ‫ﹶ ﹶﺸ ‪  ‬ﻬ‬ ‫ﻭﻭﺠ ِﻲ ﻴﻨﻜ ِﺭ‬ ‫‪  ‬ﻬ ‪ ‬ﹾ ﹶﺴ‬ ‫ﺑﺎریﺲ – ٩١ یﻨﺎیﺮ ٢٠٠٢‬
  55. 55. ‫ﻤﻥ ﺃﺨﺭﺠ ﹶﻲ ﻤﻥ ﺍﻟﺘ ‪‬ﺍﺏ ؟‬ ‫‪ َ  ‬ﹾ ‪ ‬ﻨ ِ ‪ ‬ﱡﺭ‬ ‫ﻤﻥ ﺃﺨ ‪ ‬ﻨﻲ ﻤﻥ ﺍﻟ ﱡﺭﺍﺏ ﺇﻟﻰ ﺍﻟﺒﺤ‪‬ﺭ ؟‬ ‫‪‬‬ ‫‪ َ  ‬ﹾﺭﺠ ِ ‪ ‬ﺘ ِ‬ ‫ﻷﺼﺒﺢ ﺠﺭﺡ ﺍﻟﻤﺎﺀ‬ ‫ً ‪    ِ‬‬ ‫َﺭﺍ ِﻴﺢ ﺍﻟﻤﺩ ﻭﺍﻟﺠﺯ‪‬ﺭ‬ ‫ﺃ ﺠ ‪  ‬‬ ‫ﺤ ﹸﻭﻟﻲ ﻤﺩﻯ‬ ‫‪ ‬‬ ‫‪‬ﻘ‬ ‫ِﻼﻟﻲ ﺯﺭ ﹶﺔ‬ ‫‪ ‬ﻗ‬ ‫ﻅ‬ ‫ﺴ ِﻴﺭﻱ ﺫﻫﺏ ﺍﻟﺭﻤ‪‬ل‬ ‫ﹶ‪  ‬‬ ‫‪‬ﺭ‬ ‫ﻗﻨ ِﻴﻠﻲ ﻗﺼﺏ ﺍﻟﺴ ﱠﺭ‬ ‫ِ ﹾﺩ ﹶ ‪   ‬ﻜ‬ ‫ﻤﻥ ﺃﺨ ‪ ‬ﻨﻲ ﻤﻥ ﺍﻟ ﱡﺭﺍﺏ ﺇﻟﻰ ﺍﻟﻔﺠ‪‬ﺭ ؟‬ ‫ﹶ‬ ‫‪ َ  ‬ﹾﺭﺠ ِ ‪ ‬ﺘ ِ‬ ‫ُﻓﻴﻕ ﻓﻭﻕ ﺍﻷﻓﻕ ﺍﻟﻤﺘﺭﺍﻤﻲ‬ ‫ﺃ ﹸ ﹶ ‪ ‬ﹶ ُﹸ ِ‬ ‫ُﺯﻴﺢ ﺴ ﹶﺎﺭ ﺍﻟﺴ ‪‬ﺎﺏ‬ ‫ﺃ ‪ِ ‬ﺘ ‪ ‬ﺤ ِ‬ ‫ﺃﻤ ِﻲ ﻋﻠﻰ ﺃ ‪‬ﺎﺒ ِﻲ‬ ‫َﺼ ِﻌ‬ ‫َ ‪‬ﺸ‬ ‫ﻓﻲ ﻤﻤﺭ ﺍﻟﻔ ‪‬ﺎﺀ‬ ‫‪   ‬ﹶﻀ‬ ‫ﺃﺘﻌ ‪‬ﻯ ﻋﻠﻰ ﺠﺴﺭ ﻜﻭ ﹶﺏ‬ ‫ِ ‪ ِ ‬ﹶ ‪‬ﻜ‬ ‫َ ﹶ ‪‬ﺭ‬
  56. 56. ‫ﺃ ِﻴﻕ ﻨﺠ‪‬ﻤﺎ‬ ‫ُﺭ ﹸ ﹶ ﹰ‬ ‫ﺃﺴﺘ ِﻡ ﻭﺃﺸ ‪‬ﺏ‬ ‫َ ‪ ‬ﹶﺤ ‪ َ ‬ﹾﺭ‬ ‫ﺃﺘﻤ ‪‬ﻯ ﻓﻲ ﻭﺠﻪ ﺍﻟﺸﻤ‪‬ﺱ‬ ‫‪ ِ ‬ﱠ‬ ‫َ ﹶ ‪‬ﺭ‬ ‫ﺃﺘﻤ ﱠﻁ‬ ‫َ ﹶ ‪‬ﺸ‬ ‫ﺃ ﹶﺎﺸﻴﺩﻱ ﺍﻨﻬ ‪‬ﺎﺭ ﻀﻭﺀ‬ ‫ِﻤ ‪  ‬‬ ‫َﻨ‬ ‫ﻭﻜﻠ ‪‬ﺎ ﺃﻀ ‪‬ﻙ ...‬ ‫‪ ‬ﹸﱠﻤ َ ‪‬ﺤ‬ ‫ﻴﺴﻘﻁ ﻨﻴ ‪‬ﻙ‬ ‫‪  ‬ﹸ ﹸ ﹶ ‪‬ﺯ‬ ‫ﺃﺨ ‪ ‬ﻨﻲ ﺍﻟﺤ ‪ ‬ﻤﻥ ﺍﻟﺘ ‪‬ﺍﺏ‬ ‫‪‬ﺏ ِ ‪ ‬ﱡﺭ ِ‬ ‫َ ﹾﺭﺠ‬ ‫ﻭﺇﻟﻰ ﺍﻟ ﱡﺭﺍﺏ ﻟﻥ ﺃ ‪‬ﻭﺩ‬ ‫ﺘ ِ ﹶ ‪َ ‬ﻋ‬ ‫ﺑﺎریﺲ – ٩١ یﻨﺎیﺮ ٢٠٠٢‬
  57. 57. ‫ﻋﺸﻕ ‪‬ﺘ ِﻴﻕ‬ ‫ِ ﹾ ﹲﻋـ‬ ‫ﺒﺎﺭﻴﺱ‬ ‫‪‬‬ ‫ﻋﺸﻕ ﻋ ِﻴﻕ ﻴﺘﺠ ‪‬ﺩ‬ ‫ِ ﹾ ﹲ ‪‬ﺘ ﹲ ‪ ‬ﹶ ‪ ‬ﺩ‬ ‫ﻓﻲ ﺍﻟﻨﻭﺭ ‪‬ﺘ ‪‬ﺎ ‪‬ﻯ‬ ‫‪ ‬ﻴ ﹶﻤ ﺩ‬ ‫ِ‪‬‬ ‫ﻓﻲ ﺍﻟ ﱠﻬﺭ ‪‬ﺘ ‪‬ﺩﺩ‬ ‫‪ ‬ﻨ ‪  ‬ﻴ ﹶﻤ‬ ‫ﺒﺎﺭﻴﺱ‬ ‫‪‬‬ ‫ﺤﻠﻡ ﺤ ِﻴﻡ ﻴ ﹶﻔﺘﺢ‬ ‫‪ ‬ﹾ ‪  ‬ﻤ ‪ ‬ﺘ ﱠ‬ ‫ﻓﻲ ﺍﻟﻭﻫﺞ ‪‬ﺘ ‪‬ﺎ ‪‬ﻯ‬ ‫‪    ‬ﻴ ﹶﻬ ﺩ‬ ‫ﻓﻲ ﺍﻟ ﱠﻠﺞ ‪‬ﺘ ‪‬ﻨﹾﺩﺡ‬ ‫‪ ‬ﺜ ﹾ ‪ ‬ﻴ ﹶﺭ‬ ‫ﺇﻥ ‪‬ﺩﻋﺘﻙ ﻴﺎ ﺒﺎﺭﻴﺱ‬ ‫‪‬‬ ‫ِ ‪ ‬ﻭ ‪‬ﹸ ِ‬ ‫ﺒﻭﺠﻬﻲ ﻓﻴﻙ ﺃﺘ ‪‬ـ ‪‬ﺢ‬ ‫ِ ‪ َ ِ  ِ  ِ  ‬ﹶﺼ ﺒ‬ ‫ﺑﺎریﺲ ـ ٠٢ یﻨﺎیﺮ ٢٠٠٢‬
  58. 58. ‫ﻭﺠ‪‬ﻪ‬ ‫‪‬‬ ‫ﺃﻟﻬﺙ ﻓﻲ ﺼﺤ ‪‬ﺍﺀ ﺫﺍﻜ ‪‬ﺘﻲ‬ ‫‪ ‬ﺭ ِ ﺭ‬ ‫َﹾ ‪ ‬ﹸ‬ ‫ﹶ ‪‬ﺅ‬ ‫ِﻁﻁﻲ ﺘﻤ ُ‬ ‫ﻗ‬ ‫ﻋ ‪‬ﺎﻓ ِﺭﻱ ﺘﺨﹾـ ﹶـ ِﻕ‬ ‫‪‬ﺼ ﻴ ﹶ ﺘ ﻨ‬ ‫ﺃﺭﺴﻡ ﻭﺠﻬﺎ ﻓﻲ ﺍﻟﻜﺜ ‪‬ﺎﻥ‬ ‫ﹸ ﹾﺒ‬ ‫َ ‪     ‬ﹰ‬ ‫ﺍﻟ ‪‬ﻴﺢ ﻋﻠﻰ ﻭﺸﻙ ﺍﻟﻬ ‪‬ﻭﺏ‬ ‫‪ ‬ﹾ ِ ﹾ ‪‬ﺒ‬ ‫ﺭ ‪‬‬ ‫ﻫﻨﻴ ‪‬ﺔ ..‬ ‫‪ ‬ﹶ ‪‬ﻬ‬ ‫ﻴﺼﺒﺢ ﻟﻠﺼﺤﺭ‪‬ﺍﺀ ﻭ ‪‬ﻭﻩ‬ ‫‪ ِ    ِ  ‬ﺠ‬ ‫ﺘ ‪‬ﺎ ِﻴل‬ ‫ﹶﻤ ﺜ ُ‬ ‫ﻤ ‪‬ﺍ ِﻴل‬ ‫‪‬ﻭ ﻭ ُ‬ ‫‪‬ﻗ ﹶﺎ ِﻴل ﺍﻟﻘﻠ ِ ﺘﻨﻜ ِﺭ ...‬ ‫ﻭ ﹶﻨ ﺩ ُ ﹶ ﹾ ﺏ ﹶ ﹾ ﹶ ﺴ‬ ‫ﺑﺎریﺲ – ٠٢ یﻨﺎیﺮ ٢٠٠٢‬
  59. 59. ‫ﺸﻤﺴ ﹶﺎ ‪‬ﺎ ﹶﺕ ..‬ ‫ﹶ ‪ ‬ﻨ ﻤ ﺘ‬ ‫ﻋﹶﻰ ﺸ ‪‬ﺎﻜﻲ‬ ‫‪‬ﻠ ﹸﺒ‬ ‫ﺘﻁﻔﻭ ﻓﻲ ﺍﻟﻨﻬﺭ ﻋﻴ ﹶﺎﻙ‬ ‫ﱠ ‪  ِ ‬ﻨ ِ‬ ‫ﺘﻀ ‪‬ﺌﺎﻥ ﻟﻴﻠﻲ ﺍﻷﺴ ‪‬ﺩ‬ ‫‪‬ﻭ‬ ‫ﹸ ِﻴ ِ‬ ‫ﺘﺴَﻻﻨﻲ :‬ ‫ﹶ ‪‬ﺄ‬ ‫ﺃﻤﻥ ﻓﺠﺭ ﻴﻁﻠﻊ‬ ‫ِ ‪  ٍ ‬ﹾﹸ ‪‬‬ ‫ﺃﻭ ﺼﺒﺢ ﻴ ‪‬ﻭﺩ ؟‬ ‫‪ ٍ  ‬ﻌ‬ ‫- ﺸﻤ ‪‬ﻨﺎ ‪‬ﺎﺘﺕ‬ ‫ﹶ ‪‬ﺴ ﻤ ﹶ ﹾ‬ ‫ﺩﻓ ﱠﺎﻫﺎ ﹶﺍﺕ ﻴﻭﻡ‬ ‫‪ ‬ﹶﻨ ﺫ ﹶ ٍ‬ ‫ﻓﻲ ﺒﺤﺭ ﺒﻴ‪‬ﺭﻭﺕ‬ ‫‪ِ‬‬ ‫ﺍﻟﺤﻠﻡ ﻴﺤﺸﺭﺝ ..‬ ‫‪‬ﹾ ‪   ‬ﹾ ِ ‪‬‬ ‫ﻭﺍﻟ ‪‬ﻭﺀ ﹶﻴﻨﺎ ﻴ ‪‬ﻭﺕ‬ ‫ﻀ ‪ ‬ﻓ ‪‬ﻤ‬ ‫ﻻ ﺘﺴَﻟﻴﻨﻲ ﺒﻌﺩ‬ ‫‪ ‬‬ ‫ﹶ ‪‬ﺄ‬ ‫ﻜ ﱡ ﺸﻲﺀ ﻤ ‪‬ﻰ‬ ‫ٍ ‪‬ﻀ‬ ‫ﹸل‬ ‫ﺃ ‪ ‬ﹰ ﻟﻥ ﻴ ‪‬ﻭﺩ‬ ‫َﺒﺩﺍ ‪‬ﻌ‬ ‫ﺑﺎریﺲ - ٠٢ یﻨﺎیﺮ ٢٠٠٢‬
  60. 60. ‫ﺸﻤﺱ ﺤﻤ‪‬ﺭﺍﺀ‬ ‫ﹶ‪  ‬‬ ‫ﻋﻴﺸﺘ ِﻲ ﻓﻲ ﺒﻴ‪‬ﺭﻭﺕ‬ ‫‪‬‬ ‫‪ ‬ﹾ ﹶﻨ‬ ‫ﺸﻤ ‪ ‬ﺒﺎﺭﻴﺱ ﺍﻟ ‪‬ﺎﺭ ‪‬ﺓ‬ ‫‪ ‬ﺒ ِﺩ‬ ‫ﹶ ‪‬ﺱ‬ ‫ﻜﻨﺕ ﺃﻤ ِﻲ ﻋﻠﻰ ﺃﻫ ‪‬ﺍﺒﻲ‬ ‫‪‬ﺩ‬ ‫ﹸ ﹾ ﹸ َ ‪‬ﺸ‬ ‫ﻜﻲ ﻻ ﺘ ‪‬ﻯ ﺃﻁ ‪‬ﺎ ِﻱ ﺘﻨ ِﻑ‬ ‫ﹾﻴ ﺭ ﹶ ﹾ ﺯ‬ ‫ﹶﺭ‬ ‫ﻓﻲ ﺤ ﹸﻭﻟﻲ ﺍﻟ ﱠﺎﺌ ‪‬ﺔ‬ ‫ﻨ ِﻤ‬ ‫‪‬ﻘ‬ ‫ﻟﻡ ﺘﺘ ‪‬ﻠﻕ ﺃﺸ ‪‬ﺎﺭﻱ‬ ‫ﹶ ﹶﺴﱠ ﹾ َ ﹾﺠ‬ ‫ﻟﺘﺭﻯ ﺸﻤ ِﻲ ﺍﻟﺫﺍ ِﺒﺔ‬ ‫ﺌ‬ ‫ﹶ ‪‬ﺴ‬ ‫ﻭﻟﻡ ﺃﺭﻜﺽ ﻓﻲ ‪‬ﻘﻭِﻙ‬ ‫‪ َ ‬ﹸ ‪ ‬ﺤ ﻟ‬ ‫ﻜﺎﻨﺕ ﺘﺘ ‪‬ﺍﺭﻯ ‪‬ﺎﺭ ‪‬ﺔ‬ ‫ﻫ ِﺒ‬ ‫ﹶ ﹾ ﹶ ﹶﻭ‬ ‫ﻫ ﹶﺫﺍ ﹶﺎﻥ ﻤﺸ ‪‬ﺍ ِﻱ‬ ‫‪‬ﻜ ﻜ ‪ ِ ‬ﹾ ﻭ ﺭ‬ ‫ﻋﻴ‪‬ﻨﺎ ﺇﻟﻰ ﺍﻷ ‪‬ﺎﻡ‬ ‫ﻤ‬ ‫‪ ‬ﹰ‬ ‫ﻋﻴ‪‬ﻨﺎ ﺇﻟﻰ ﺍﻟﻭﺭﺍﺀ‬ ‫‪ ‬ﹰ‬ ‫ﺸﻤ‪‬ﺴﺎ ﺤﻤ ‪‬ﺍﺀ‬ ‫ﹶ ﹰ ‪ ‬ﺭ‬ ‫ﻨﺼ ﹸﻬﺎ ﻓﻲ ﺍﻟﺒﺤﺭ‬ ‫‪ِ‬‬ ‫ِ ‪‬ﻔ‬
  61. 61. ‫ﻨﺼ ﹸﻬﺎ ﻓﻲ ﺍﻟﻌ ‪‬ﺍﺀ‬ ‫‪‬ﺭ‬ ‫ِ ‪‬ﻔ‬ ‫ﻜ ﱠﺎ ﻜﺎﻷﻁ ﹶﺎل ﻨﻀ ‪‬ﻙ‬ ‫َ ﹾﻔ ِ ﹶ ‪‬ﺤ‬ ‫ﹸﻨ‬ ‫‪‬ﻗﻠ ِﻲ ﺘ ﱠﺎﺤﺔ ﺤ ‪ ‬ﺤﻤ ‪‬ﺍﺀ‬ ‫ﻭ ﺒ ﹸﻔ ‪ ‬ﹸ ‪‬ﺏ ‪ ‬ﺭ‬ ‫ﺘﻨ ﱢﻁ ﺴ ﱠﺭ‬ ‫ﹸ ﹶﻘ ﹸ ‪‬ﻜ‬ ‫ﹶﺎﻥ ﺍﻟﻤﺸﻬﺩ ﺸﻬ ‪‬ﺎ‬ ‫ﻜ ‪  ‬ﹾ ‪ ‬ﻴ‬ ‫ﻭﺃﺴ ﹶﺎ ﹸﻙ ﺍﻟﺒﻴ ‪‬ﺎﺀ‬ ‫َ ‪‬ﻨ ﻨ ‪ ‬ﻀ‬ ‫ﺘﻨﻬﺵ ﹸﻔﺎ ‪‬ﺘﻲ ﺍﻟﺴﻜﺭ ‪‬ﺔ‬ ‫‪ ‬ﹶ ِﻴ‬ ‫ﹶﹾ ‪ ‬ﹸ ﺘ ﺤ‬ ‫ﻭ ﻨﺭ ﹸ ﺽ‬ ‫ﹶ ‪‬ﻜ ‪‬‬ ‫ﻭ ‪‬ﻭ ‪‬ﻨﺎ ﺘﻀﺤﻙ‬ ‫‪‬ﺠ ﻫ ﹶ ‪  ‬‬ ‫ِﻼﹸﻨﺎ ﺘﻨﺯﻑ‬ ‫ﻅ ﻟ ﹶﹾ ِ ﹸ‬ ‫ﻭﺤ‪‬ﺩﻱ ﻜﻨﺕ ﺃﻋﺭﻑ‬ ‫ﹸﹾ ﹸ َ ‪ ِ ‬ﹸ‬ ‫‪‬‬ ‫ﺃﻥ ﻓﻲ ﺁﺨﺭ ﺍﻟﻤ ﹶﺎﻑ‬ ‫ِ ‪‬ﻁ‬ ‫َ‪‬‬ ‫ﺘﺘ ‪‬ﺼ ‪‬ﻨﺎ ﺍﻟ ‪‬ﺎ ِﻴﺔ‬ ‫ﹶ ﹶﺭ ‪ ‬ﺩ ﻬ ﻭ‬ ‫ﻋﻴﺸﺘ ِﻲ ﻓﻲ ﺒﻴ‪‬ﺭﻭﺕ‬ ‫‪‬‬ ‫‪  ‬ﹾ ﹶﻨ‬ ‫ﺸﻤ ‪ ‬ﺒﺎﺭﻴﺱ ﺍﻟﺒﺎﺭﺩﺓ‬ ‫‪‬‬ ‫ﹶ ‪‬ﺱ‬
  62. 62. ‫ﺇﻟﻰ ﺒﺎﺭﻴﺱ ﺍﻟﻴﻭﻡ ﺃ ‪‬ﻭﺩ‬ ‫‪َ ‬ﻋ‬ ‫‪‬‬ ‫ﻭ ‪‬ﺎﺯﻟﺕ ﺃﺭ ﹸﺽ‬ ‫ﻤ ﹸ َ ‪‬ﻜ ‪‬‬ ‫ﺨ ﹶﺎﻱ ﺴ ‪‬ﺎﺏ‬ ‫ﹸﻁ ‪ ‬ﺤ ‪‬‬ ‫ﺼ ‪‬ﺎ ‪‬ﺎﺕ ﺘ ‪‬ﻭﺕ‬ ‫‪‬ﺒ ﺤ ﹲ ﹶ ﻤ‬ ‫ﺃﺭ ﹸﺽ ..‬ ‫‪‬ﻜ ‪‬‬ ‫ﺨﻠﻑ ﺸﻤ ٍ ﺤﻤ ‪‬ﺍﺀ ﻓﻲ ﺒﻴﺭﻭﺕ‬ ‫ﹶ ﹾ ﹶ ﹶ ‪‬ﺱ ‪ ‬ﺭ‬ ‫ﺑﺎریﺲ – ١٢ یﻨﺎیﺮ ٢٠٠٢‬
  63. 63. ‫ﺒﻌ ‪‬ﻤﺎ ﺍ َﻤﻴﺭ ‪‬ﺎﺕ‬ ‫‪ ‬ﺩ ﻷ ‪ ‬ﻤ‬ ‫ﺃﺸ ‪‬ﺎﺡ ﺘﹸﻭﺡ ‪‬ﻠﻰ ﺍﻟﺸﺭ ﹶﺎﺕ‬ ‫ﱡ ‪‬ﻓ‬ ‫َ ﹾﺒ ‪ ‬ﻠ ‪ ‬ﻋ‬ ‫ﺘﻬﻤﺱ ﺒﺎﺴﻡ ﺃﻤ‪‬ﻴﺭ ‪‬ﺎﺕ‬ ‫ﹶ‪ ٍ َ ِ  ِ‬ﻤ‬ ‫ﺍﻟ ‪‬ﺎﺭﻴﺔ ﺍﻟﺴﻭ ‪‬ﺍﺀ‬ ‫ﺠ ﹸ ‪ ‬ﺩ‬ ‫‪‬ﻘﻁ ﻤﻥ ﻜﻔﻴ‪‬ﻬﺎ‬ ‫ﺴﹶ ﹶ ِ ‪ ‬ﹶﱠ‬ ‫ﺸﻤﻊ ﺍﻟﻤﺼ ‪‬ﺎﺡ‬ ‫ﹶ ‪ ِ  ‬ﺒ‬ ‫ﻭﺍﺸﺘ ‪‬ﻠﺕ‬ ‫ﹶﻌ ﹶ ﹾ‬ ‫ﻭﺍﻹﻟﻬﺔ ﺍﻟ ‪‬ﺎﺸ ﹶﺔ‬ ‫ﹶ ‪ ‬ﹸ ﻌ ِﻘ‬ ‫ﺃﺨﻁﺄﺕ ﺴﻬﻤ ‪‬ﺎ‬ ‫َ ﹾ ﹶ َ ﹾ ‪  ‬ﻬ‬ ‫ﻭ ‪‬ﺎﻋﺕ ..‬ ‫‪‬ﻀ ‪ ‬ﹾ‬ ‫ﻭﺍﻟﺤ ‪‬ﺍﺱ ﺜﻤﹸﻭﺍ‬ ‫‪‬ﺭ ‪ ‬ﹶ ِ ﻠ‬ ‫ﺤﺘﻰ ﹶﺎ ‪‬ﻭﺍ‬ ‫‪‬ﱠ ﻨ ﻤ‬ ‫ﻓﻘﺄ ﺍﻟﻠﻴل ﺃﻋﻴ ‪ ‬ﺍﻟ ﱠﺒﺎﺒﻴﻙ‬ ‫ﹶ ﹶ َ ُ َ ‪ ‬ﻥ ﺸ‬ ‫ﻭﺍﻟﺠ ‪‬ﺭﺍﻥ ﺒﻜﺕ‬ ‫ﹸ ‪‬ﺩ ‪  ‬ﹶ ﹾ‬
  64. 64. ‫ﻓﺎ ﱠﻜﺄﺕ ﻋﻠﻰ ‪‬ﻼﻟ ِﻬﺎ‬ ‫ﺴ ِﻤ‬ ‫ﺘ َ ﹾ‬ ‫ِﺜل ﻋ ‪‬ﻭﺯ ﻋﻠﻰ ﻋ ﱡﺎﺯ‬ ‫‪‬ﻜ‬ ‫ﻤ ﹾ َ ‪‬ﺠ ٍ‬ ‫ﻭﺍﻟﺩﻡ ‪‬ﺭ ِـﺢ‬ ‫‪ ‬ﻴ ﺸ ‪‬‬ ‫ﻤﻥ ﻓ ِ ﺍﻟﻤ ‪‬ﺯﺍﻴﻴﻙ‬ ‫ِ ‪ ‬ﹶﻡ ﻭ‬ ‫ﻓﻲ ﺤ ِﻴﻘﺔ ﺍﻟﻘﻠ ِ ﺍﻟﻜ ِﻴﺭ‬ ‫‪‬ﺩ ِ ﹶ ﹾﺏ ﹶﺒ‬ ‫ﻻ ﻁ ﹸﻭﺱ ﻤ ‪‬ﺎ ِﻴﺔ ﺒﻌﺩ‬ ‫ﹸﻘ ‪ ‬ﺴ ﺌ ﹰ ‪  ‬‬ ‫ﻷﺴ ‪‬ﺍﺏ ﺍﻟﻌ ‪‬ﺎ ِﻴﺭ‬ ‫َ ‪‬ﺭ ِ ‪‬ﺼ ﻓ‬ ‫ﺒﻌﺩ ﻫﺫﺍ ﺍﻟﺨ ‪‬ﺍﺏ‬ ‫ﹶﺭ‬ ‫‪ ‬‬ ‫ﻟﻥ ﻴ ‪‬ﻭ ‪‬ﻨﻲ ﺤ ّ‬ ‫ﹶ ‪ ‬ﺯ ﺭ ‪‬ﺏ‬ ‫ﺑﺎریﺲ – ١٢ یﻨﺎیﺮ ٢٠٠٢‬

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