More Related Content
More from kotob arabia (20)
478
- 3. ﻃﺒﻘﺎ ﻟﻘﻮﺍﻧﲔ ﺍﳌﻠﻜﻴﺔ ﺍﻟﻔﻜﺮﻳﺔ
א א א
. אא
א
)ﻋـﱪ ﺍﻻﻧﱰﻧـﺖ ﺃﻭ א אא
ﻟﻠﻤﻜﺘﺒــﺎﺕ ﺍﻻﻟﻜﱰﻭﻧﻴــﺔ ﺃﻭ ﺍﻷﻗــﺮﺍﺹ ﺍﳌﺪﳎــﺔ ﺃﻭ ﺍﻯ
א ﻭﺳﻴﻠﺔ ﺃﺧﺮﻯ (
א א .
. א א
- 4.
ﺼﻔ ﺭ ﺍﻟ ﻔﺎﺯﺍﺕ .................................................. ٦
ﻋ ﻭ ﻤ
ﺍﻟ ﻌﺎﺭﻙ ............................................................ ٩
ﻤ
ﺍﻟﻤﺤﺎﻜﻤﺎﺕ ....................................................... ١٢
ﺍﻷﺒﻁـﺎل ............................................. ٢٢
ﺍﻟﻌــﺎﻟــﻡ ..................................................... ٤٢
ﺍﻟﺤﺏ ............................................................... ٦٢
ﺭﺍﺌﺤـــﺔ ...................................................... ٩٢
ﹶﺴــﺎﺌــﺭ ................................................... ٢٣
ﺨ
ﺘﺤﺕ ﺍﻟﻐ ﺎﺭ ...................................................... ٣٣
ﹶ ﹶ ﹸﺒ
ﹸﺒﺭ ﻟﻠﻴ ﹶﻰ .. ..................................................... ٦٣
ﻗ ﹶ ﻠ
ﻤﻭﺴﻴ ﹶﻰ ﻨﺎﺌ ﻴﺔ ﻟﻲ ............................................. ٦٣
ﻘ ﺠ ﺯ
ﻴﺎ ﺠﺩﺭﺍﻥ ﻤﺴﺎﻓﺭﺓ ............................................... ٧٣
ٍ
ﻨﺎﺯ ﺼﺎﻤﺕ ﻟﻤﻭﺕ ﻟﻴ ﹶﻰ .............................. ٠٤
ِ ﻠ ﹲ ﺠ
ﺸﻤﺱ ﺍﻟﻬ ﹶﻴﺎﻨﺎﺕ................................................. ٢٤
ﺫ
ﺘﺎﺒﻭﺕ ﻠ ِﻲ ...................................................... ٧٤
ﻤ ﹶﻜ ّ
- 5. ﹶﻠــﻠل ......................................................... ١٥
ﻁ َﹲ ٌ
ﻭ ﹸﻭﺒﻴﺎ .. ﺇﺭﺍ ﺓ .................................................. ٥٥
ﺩ ﻴ ﺘ
ﺸﻴ ﹸﻭﺨﺔ ٣٢ .................................................... ٩٥
ﹶ ﺨ ﹶ ﹸ
ﹶﻤﻼﻙ ﻐﻴﺭ ..................................................... ٣٦
ﻜ ﹶٍﺼ ٍ
ﺍﻟﻤﻁ ـــﺦ ..................................................... ٩٦
ﹸ ﹾﺒ
ﺴﻤﻙ ﻤﻠﻭﺙ ﺒﺎﻟ ﹶﻭﺍﺒﻴﺱ ........................................... ٧٧
ﹶ ّ ﹲ ﻜ
ﻫ ﹶﻴﺎﻥ ﻻ ﻴﻠﻴﻕ ﺒﻤﺠﻨﻭﻥ .......................................... ١٨
ﹸ ﺫ
ﻫﺠﺭﺓ ﺍﻟﺠ ـــــﺎﺕ .......................................... ٩٩
ﹸ ﻬ
- 6. ﺍﻟﻘﻴﻤﺔ
ﻟ ﻱ ﺃﻤﺎﻥ، ﺒﺎﻟﺘﺄﻜﻴﺩ، ﺤﻴﺙ ﺍﻟﺤﻴﺎﺓ ﺤﻘﻴﻘﺔ، ﻓﻌﻼ.
ﹰ ﹶﺩ
ﻭﻟ ﻱ ﻴﻭﺴﻑ ﻤﺼﻁﻔﻰ ﻋﻠﻲ ﺍﻟﻌﺭﺒﻲ ﺍﻟﻨﻔﻴﻌﻲ، ﺸﻴﺦ ﺍﻟﻌﺭﺏ
ﹶﺩ
ﺍﻟﺤﻘﻴﻘﻲ، ﻭﺁﺨﺭﻫﻡ – ﺭﺤﻤﻪ ﺍﷲ – ﻤﺎ ﻫﻨﺎﻟﻙ ﻤﻥ ﺨﻴﺭ، ﻭﻤﺎ
ﺴﻭﺍﻩ ﻓﺄﻨﺎ ﺃﺒﺭﺃ – ﻗﺒﻠﻪ – ﷲ ﻤﻨﻪ.
ﻟ ﻱ ﺴﻤﻴﺭﺓ ﺇﺒﺭﺍﻫﻴﻡ ﻤﻨﺼﻭﺭ، ﺍﻟﺘﻲ ﺃﻋﻁﺎﻫﺎ ﺍﷲ ﻜل ﻫﺫﺍ
ﻭ ﹶﺩ
ﻓﺄﺤﺴﻨﺕ ﻓﻴﻪ.
ﻭﻟ ﻱ ﺃ.ﺩ. ﻋﻠﻲ ﻋﺸﺭﻱ ﺯﺍﻴﺩ، ﺃ.ﺩ. ﺃﺤﻤﺩ ﺩﺭﻭﻴﺵ،
ﹶﺩ
ﺩ. ﺼﻼﺡ ﺍﻟﺴﺭﻭﺭﻱ، ﺃﺤﻤﺩ ﺯﺭﺯﻭﺭ، ﺠﻤﺎل ﺍﻟﻘﺼﺎﺹ، ﺍﻟﻘﻴﻤﺔ،
ﺤﻴﺙ ﻻ ﺯﻭﺍل.
ﻭﹶﺩﻱ ﻋﺭﺏ ﺜﺎﺒﺕ ﺒﺄﺒﻲ ﺤ ﺎﺩ: ﺍﻟﺤﺩﺍﺌﻕ ﻭﺍﻟﺭﻤﺎل ﻭﺍﻟﻨﺎﺱ
ﻤ ﻟ
ﻭﺍﻟﻤﻘﺎﺒﺭ، ﺍﻟﺠﻐﺭﺍﻓﻴﺎ ﺍﻟﺘﻲ ﺘﺘﺤﻭل ﻟﺘﺒﻘﻰ، ﻤﻬﻤﺎ ﺃﺭﺍﺩﻭﺍ.
ﻟ ﻱ: ﺸﺠﺭﺓ ﺍﻟﺯﻨﺯﻟﺨﺕ ﻓﻲ ﺤﺩﻴﻘﺔ ﺍﻟﺒﻴﺕ ﺍﻟﻘﺩﻴﻡ، ﻭﺘﻜﻌﻴﺒﺔ
ﻭ ﹶﺩ
ﺍﻟﻌﻨﺏ ﺍﻟﺘﻲ ﺃﻅﻠﺕ ﻴﻭﺴﻑ.
ﻟ ﻱ ﺃﺴﻤﺎﺀ ﻭﻫﺎﻟﺔ ﺃﺒﻨﺘﻲ ﻭﻭﺭﺩﺘﻲ ﺭﻭﺤﻲ.
ﻭ ﹶﺩ
ﺭﻀﺎ
ﻴﻨﺎﻴﺭ ٥٩٩١
- 8. ﻴﻘﻅﺔ ﻤﻥ ﻏﻔﹾﻭﺓ ﺍﻟﻴﻨﺎﺒﻴﻊ
ِ ﹲ
]ﺒﻜل ﺘﻴ ﺴﻬﺎ ﻭﻤﻠﻭﺤﺘﻬﺎ[
ﺒ
ﻓﺭﺍﺭ ﺇﻟﻰ ﺃﺒﺩﻴﺔ ﺍﻟﺩﻡ ﺍﻟﻤﺴﻔﻭﺡ ﻓﻲ ﺍﻟﻤﻨﺎﻓﻲ
ِ ِ ِ
ﻟﻡ ﺘﻜﻥ ﺩﻤﻌﺔ ﺘﺴﻴل
ُ ﹲ
ﺜﻡ ﺍﻨﻬﻴﺎﺭ ﻓﻲ ﻓﻨﺎﺭﺍﺕ ﺍﻟﺭﻭﺡ
ﹶ
ﻫﻲ ﻴﻘﻅﺔ
ﹸ
ﺘﺄﺨﺫ ﺤﻠﻡ ﺍﻟﻴﻨﺎﺒﻴﻊ ﺍﻟﺭﺍﺌﻕ
ﹶ
ﺘﻘﺫﻑ ﺠﺴﺎﺭﺓ ﺍﻟﻌﺯﻟﺔ
ِ
ﻭﺘﺫﺭﻑ ﻤﺩﺭﺍﺭﺍ ﻋﻠﻰ ﻨﺴﻴﺞ ﺍﻟﻐﻔﻭﺓ
ﹾ ﹰ
]ﻏﻔﻭ ﹲ؟
ﺓ
ﺃﻡ ﺇﺴﻔﻨﺞ ﺍﻟﺭﻓﺎﻫﻴﺔ ﺍﻟﺭﻭﺤﻴﺔ؟[
ﻟﻴﺱ ﺒﺎﻫﻅﺎ ﺍﻟﺤﻠﻡ ﺒﺎﻟﺒﻜﺎﺀ
ِ ﹰ
ﺒﻘﺩﺭ ﻤﺎ ﻫﻭ ﺒﺎﻫﻅ ﺇﺩﺭﺍﻙ ﻟﻭﻋﺔ ﻴﻨﺒﻭﻉ ﻴﻔﻴﻕ
ٍ ﹸ ِ ﹲ
- 9. ﻓﻴﻠﻤﺱ ﻤﻭﺴﻴﻘﻰ
ﹾ
ﺤﻴﻥ
ﻴﻔﺘﻘﺩ ﺸﺠﺭﺓ
ﹰ
ﺩﺭﻙ ﺘﺤﺠﺭ ﻋﺼﻔﻭﺭ ﺍﻟﻤﻔﺎﺯﺍﺕ
ﹾ ِ ﻴ
ﻋﻠﻰ ﺼﺨﻭﺭ
ِ
ﺍﻟﻤﻨﺎﻓﻲ
ﺃﺒﻭ ﺤﻤـﺎﺩ
٠٩٩١
- 10.
.. א א "
.. ..
.." ؟؟
- 11. -١-
ﺴﻭﻑ ﺘﻐﻨﻲ ﺍﻟﻤﺠﺎﺩﻴﻑ ... ﺴ ﹸﻐﻨﻲ
ﺘ ﹸ ﹶ
ﻭﺘﻨﺼﺭﻑ ﺍﻟ ﻔﻴﻨﺔ ﺇﻟﻰ ﺸﺭﺍﻉ ﻴﻨﹾﻬﺽ
ﹸ ﺴ
ﻤﻥ ﺘﺎﺒﻭﺕ ﺍﻟﺭﺃﺱ
ِ ْ
ﺍﻟ ﻭﺡ
ﺭ
ﺍﻟﺘﻲ ﻗﺎﺀﺘﹾﻬﺎ ﻋﻨﹾﺩﻤﺎ ﻤ ﺕ
ﺭ
ﻋﻠﻰ ﺼﺭﺍﻁ ﺍﻟﺠﻭﻉ
ِ ِ
ﺍﻟ ﻨ ﺍﺕ
ﺴﻭ ﹸ
ﺇﻨﺎﺀ ﻴ ﹶﻁﺭ ﺍﻵﺘﻲ
ﻘ
ﻭﻜﺎﻥ ﺍﻟﻤﻭﺴﻴﻘﻲ ﻴﺭﺠﻭ ﺍﻟﻤﻭﺴﻴﻘﻰ
ﺃﻥ ﺘﻘﹾﺘل ﻓﻲ ﻫﺩﻭﺀ
َ
ﺍﻟ ﻭﺭ ﺍﻟﻌﺘﻴﻘﺔ
ﹶ ﺼ
ﻋﻠﻰ ﺠﺩﺍﺭ ﺍﻟﻠﺤﻥ ﺍﻟ ﻨﺎ ِﺯﻱ
ِ ﹼ ِﺠ ﺌ
ﻤ ﻕ ﺍﻟﻘﺎﻨﻭﻥ ﻤﻥ ﻨﺎ ← ﻻ ﺃﻋﺭﻑ
ﻫ ﺭﹶ
]ﺍﻟ ﹶﺎﻨﻭﻥ !![
ﻘ
ﺴﻴﺩﺨﻨﻭﻥ ﻭﻴﻬﻴﻤﻭ ،
ﻥ
- 12. ﺒﻴﻨﻤﺎ ﻫﺭﺓ ﻓﻲ ﺍﻟﻤﻌﻤل ﺍﻟﹼﻐﻭ ،
ِ ﻠ ﻱ ﹲ
ﹸﻨﺨﺭﺏ ﺍﻟﻐﺒﺎﺭ
ﺘﹶ ﹾ ِ
ﺴﻔﻴﻨﺔ ﺘﻨﻔﻲ ﻀﺠﻴﺞ ﺍﻟﻤﺠﺎﺩﻴﻑ
ِ ﹲ
ﺭﻭﻴﺩﺍ
ﹰ
ﻭﺇﻨﺎﺀ ﻴﻨﹾﺩﻟﻕ ﻤﻨﻪ ﺍﻟﻘﺎﻨﻭﻥ
ﻤﺎﺫﺍ ﻴﺭﻴﺩ ﺍﷲ ﻤﻨﻲ ﺒﺎﻟﻀﺒﻁ ← ﺃﻋﺭﻑ
ﹸ
ﺍﻹﻨﺎﺀ
ﺍﻹﻨﺎﺀ !!
ﺜﻘﺏ ﻴﺩﺨل ﺍﻟﻐﺭﻕ ﻤﻨﻪ
ﹸ ﹾ ُ
ﻫﺫﻩ ﺍﻟﺸﻌﺭﺍﺕ ﻋﻠﻰ ﺍﻟﺤﺎﻓ ِ
ﹶﺔ ﹸ
ﻨﺎﻤﻭﺱ ﺍﻟﺨﺭﺍﺏ
ﻜﻴﻑ ﺘﻠﺘﻘ ﹸﻬﺎ ﻫﺭﺓ ﺫﻴﹸﻬﺎ ﻴﻤﻸ ﺍﻟﻤﻌﻤل ﺍﻟﻠ ﹶﻭﻱ
َ ﱡﻐ ُ ﹲ ﻠ ﹶ ﹾ ﻁ
ﺒﺎﻟﺠ ﹶﺎﺯﺍﺕ
ﻨ ﹾ
- 13. ]ﺍﻟﻤﺠﺎﺩﻴﻑ ﻋﻠﻰ ﺃﻋﻨﺎﻕ
ِ ﹸ
ﻴﻭﺵ ﺍﻟ ﹼﺎﺒﻌﻴﻥ !!
ﺘ ﺠ
ﻁﺭﺏ ﺠﻤﻴل ﺃﻴﻬﺎ ﺍﻟﺨﺭﺍﺏ
ٌ ﹶِ
ﺃﻴﻬﺎ ﺍﻟﺘﻴﻪ[
ﹼ ﻤﻠﻙ
ِ
ﻫﺫﻩ ﺍﻟ ﻤﻜﺔ ﺍﻟﺘﻲ ﻨ ِ ﺘﹾﻬﺎ
ﹶ ﺴﻴ ﺴ ﹸ
ﻤﻠﻭﺜﺔ ﺒﺎﻟﻜﻭﺍﺒﻴﺱ ↔ ﻓﻲ ﺍﻟﻤﻌ ل ﺍﻟﻠ ﹶﻭﻱ
ﻤ ﻐ ﹲ
]ﻜﻡ ﺃﻨﺕ ﻤﻌ ﱢﺒﺔ ﺃﻴﺘﻬﺎ ﺍﻟﻐﻴﻤﺔ![
ﹸ ِ ﺫﹲ
:ﺨﻠﻑ ﺍﻟﻌﻼﻤﺎﺕ !
ﹾ - ﺃﻴﻥ ﺍﻟﺒﻭﺼﻠ ﹸ؟
ﺔ
ﺴﻴﺎﻕ ﻴﻨﻔﻲ ﺍﻟﻤﺎﻭﺭﺍﺀ
ﹲ
ﻭﻴﺘﻌﻘﺏ ﺍﻟﻘﺎﻨﻭﻥ
]ﻜﻡ ﺃﻨﺕ ﻤﻌ ِﺒﺔ ﺃﻴﺘﻬﺎ ﺍﻟﻐﻴﻤﺔ![
ﹸ ِ ﺫ
ﻜﻡ
ﹶ
ﺍﻟﻘﺎﻫﺭﺓ – ﺃﺒﻭ ﺤﻤﺎﺩ*
ﻴﻨﺎﻴﺭ – ﻓﺒﺭﺍﻴﺭ ١٩٩١
- 14. -٢-
ﺇﻨﹾﻬﺎﺭ ﺍﻟﺠﺩﺍﺭ
ﺍﺘﻀﺢ ﻜ ﱡ ﺸﻲﺀ
ﹸل ﹶ
ﻴﻘﻴﻥ ﻭﺍﺤﺩ
ﻤﺎ ﺍﻟ ﹼﻱ ﻴﺤﺩﺙ!
ﹸ ﺫ
ﺃﺸﹾﺭﻗ ِ ﺍﻟ ﺅﻴﺎ ﻟﻠﺭﺍﺌﻲ
ﹶﺕ ﺭ
ﻴﻘﻑ ﺍﻟﺤﺩﺱ ﺃﻋ ل ﺃﺤ ﺍ
ﹸ ﺯ َ ﺩ
ﺤﺭﺍﺌﻕ ﻭﺍﻨﻬﻴﺎﺭﺍﺕ
ﻻ ﹸﺩﺭﺓ
ﻗ ﹶ
ﻫﺭﺓ ﺘﻌﺠﺯ
ﹲ
ﻟﻴﺱ ﺴﻭﻯ ﺍﻟﺸ ﻭﺩ!
ﻬ ِ ِ
ﻭﺫﻴل ﻴﺨﹾﺸﻰ ﺍﻟﺤﺭﻴﻕ
ﹾ ٍ
- 15. ﻁﺎﻡ ﻭﺭﻤﺎﺩ
ﺤ ﺍﻟﻁﺭﻴﻕ ؟!
ﹸ
ﺤﺭﻭﻑ ﻻ ﹸﻁﻴﻕ
ﹲ ﺘ ﹾ ﺍﻟ ﺍ ُﻭﻥ
ﺭﺅ
ﺘﺤﻤل ﻜل ﻫﺫﺍ !!
ﻭﺍﻀﺢ ... ﻭﺍﻀﺢ
ﻤﻘﺎﻋﺩ ﺘﻀﺤﻙ
ﹶ
ﺍﻟ ﻼﻫﺔ ﺭﺍﺌﺤﺔ
ﹲ ﺒ ﹸ
ﻤﻥ ﻜ ﱢ ﹶﻲﺀ ﺘﻘﻭل
ُ ﹸل ﺸ ٍ
ﺍﻨﹾﻬﺎﺭ ﺍﻟﺠﺩﺍﺭ
ﺘﻨ ﹶﺼﺭ ﺍﻟﻤ ﹶﺎﻫﺩﺓ
ﹾﺘ ﺸ ﹸ
ﻭﺘﻘﻑ ﺍﻻﺸ ِﺒﺎﻫﺎﺕ
ﹾ ﹶ ِ ﹸ ﹾﺘ
ﺍﻟﻁﺎﺌﺭ ﻴﺼﻌﺩ ← ﺇﻟﻰ ﺃﻴﻥ !
ﹼ
ﻭﺍﻟ ِﺩﺍﺭ ﻴﻨﺎﻡ ← ﻟﻤﺎﺫﺍ!
ﺠ
ﻜﻴﻑ ُﻨﻬﺽ ﺍﻟﺠﺩﺍﺭ ﻭﺃﻨﻔﺦ
ﹸﹸ ﺃﹾ ِ
- 16. ﻓﻲ ﺍﻟ ﹼﺎﺌﺭ !
ﻁِ
]ﻫﻨﺎ ﻴﻌﻴﺸﻭﻥ
ﺤﻴﺙ ﻴﺠﺭﻱ
ﹸ
ﺴ ﺱ ﺍﻟﺴﻨﻭﺍﺕ[
ﹾ ﻭ
ﺭﺍﺌﻕ ﺘﺨﺘﺼﺭ ﺍﻟ ﱡﺭﻓﺎﺕ
ﹾ ﺤ ِ ﹸ ﹾ ِ ﺸ
ﺸﺭﻓﺘﻲ
ﹸ
)ﻜل ﹶﻲﺀ
ﺸ ٍ ﻜﻴﻑ ﺃﻭﻗﻅ ﻤﻥ ﻏﻔﹾﻭﺓ ﺍﻟ ﹶﺭﺍﺏ
ﹶ ِ ﺨ ﹸ ﹶ
ﺘﻬﺎﻭﻯ
ﻴ
ﻴﺘﻬﺎﻭﻯ
ﻜ ﱡ ﺸﻲﺀ(
ﹸل
]ﺘﺭﻜﺽ ﺍﻟ ﺭﺨﺔ ﻫﻜﺫﺍ
ﺼ ﹶﹸ
ﻓﻲ ﺒﻁﻥ ﺠﻴل ﺍﻻﻨﹾﻬﻴﺎﺭﺍﺕ[
ﹾِ
ﺸﺎ ِﺩ ﺜﻤل ﻭﻓﻌل ﺤﺘﻀﺭ
ﻫ ﹶِ ٌ ِ ٌ ﻤ
- 17. ﻭﻀﻼﻻﺕ ﺘﻤﻸ ﺍﻟ ﻭﺍﺀ
ﹲ ُ ﻬ
ﻤﺎ ﺍﻟﺫﻱ ﻴﺤﺩ ﹸ !
ﺙ
ﻤﻘﺎﻋﺩ ﻻ ﺘﻔﹾﻨﻰ
ﹶ
)ﺍﻟ ﻘﻴﻘﺔ(
ﺤ ﹶﹸ ﺠﻴﺵ ﻴﺠﺭﻱ →
ﻫﺭﺓ ... ﻭﻗ ﺍﺱ ﺤﺎﻓل ﺒﻌﺯﻟﺔ
ً ِ ﹸﺩ ﹲ
ﺍﻟﻜﺎ ِﻨﺎﺕ
ﺌ ﹾ
ﺠﻨﺎﺯﺓ ﺍﻟﻠﻭﻥ ... ﺯ ﺍﺝ ﺍﻟ ﹸﺭﺸﹾﺎﺓ
ﻭ ﻔ ﹾ ِ ﹸ
]ﺍﻟﻘﺩﺭﺓ ﺘﻐﻠﻲ ﻭﺍﻟﻤﻨﺘ ِﺭﻭ
ﹾ ﹶﻅ ﻥ ِ ﹸ ﺤﻭل ﺍﻟﺸﺭﻓﺔ ﺍﻟﺠﻭﻉ
ﻜﺜ ﺭ [
ﹸﹸ
ﺤ ﺔ ﻭﺍﺤﺩﺓ
ﹲ ﻀ ﻴ
ﻭﻗﺘﹾﻠﻰ ﻜﺜﻴﺭﻭﻥ
ﹶ
ﺃﺒﻭ ﺤﻤﺎﺩ *
ﻓﺒﺭﺍﻴﺭ ١٩٩١
- 18. -٣-
ﻭﻫل ﻜﺎﻥ ﺜﻡ ﺠﺒل!
ﹶْ ﺍﻨﹾﻬﺎﺭ ﺍﻟﺠﺒل
ُ
ﻜﺎﻥ ﻻﺒﺩ ﻤﻥ ﺍﻟﻭﻫﻡ
ِ
ﺤﺘﻰ ﺘﺭﻯ
ﺍﻟﺤﻭﺍﺌﻁ ← ﺍﻟﺭ ﺎﺡ
ﻴ ﹸ
ﺍﻷﺒ ﺓ ﺍﻟﺘﻲ ﺘﺴﻘﻁ ﻜل ﻴﻭﻡ
ﹸ ﹸ ُ ﻭ
ﺘﻔﻘﺩ ﹸﻔﻭﻟﺘ ﺎ
ﻁ ﹶﻬ
ﺒﻔﻘﹾﺩ ﺃﺒﻴﻬﺎ
ﺍﻟﻐﺯﻟﺔ ﺘﻘﹾﺭﺃ ← ﺍﻟﺭﻴﺎﺡ
ﹸ ﹸ ُ
ﺤﻴﺙ ﻴﺒﺩﻭ
ﹸ
ﺍﻟ ِﻴﺎﺏ
ﻐ
ﻋﺼﻔﹾﻭﺭ ﺸﻭﻙ
ٍ
ﻭﻻﺒﺩ ﻤﻥ ﻭﺭﺩﺓ ﺒﻌﻴﺩﺓ ..... ﺒﻌﻴﺩﺓ
ٍ ٍ ٍ
ﻴ َ ﺔ
ﺤﺘﻰ ﺴﻴل ﺩﻤ ﹸ
- 19. ﻓﺘﺤﻤﺭ ﻭﺭﺩﺓ ﺍﻟﻐﻴﺎﺏ
ﹸ
ﺍﻻﹾﻨﺘﻅﺎﺭ
ﻨ ﹸﺭ ﺸ ﺎﻙ ﺍﻟﺨﺭﺍﺏ
ﻴ ﻘ ﹸﺒ
ﻭﺍﻟﺭﺤﻠﺔ
ﹸ
ﻫﺠﺭﺓ ﺍﻟ ﻀﻭﺭ
ﹸ ﺤ
ﺤﻴﻥ ﻴﺄْﺘﻭﻥ
ﻜﺭﻴﺵ ﻤﻥ ﺍﻟ ﺒل
ٍ ﺠ ِ
ﻫﻨﺎﻙ ﻭﺍﻟ ﻴﺢ
ﺭ
ﻨﺎ
ﻫ
ﺍﻟ ﻴﺢ !!
ﺭ
ﺍﻟ ﹼﻼﻡ
ﻅ
ﻴﻁﻠﺴﻡ ﺍﻟﺤﺭﻭﻑ
ﹶ ﹶﹾ ِ
ﻓﻴﺸﺭ ﹸ ﺍﻟﻐﻴﺎﺏ
ﹾ ِﻕ
.... ﺎﺏ
ﻴ
- 20. ﹸﻁل ﺍﻟﻭﺭﺩﺓ
ﹸ ﺘ ﱡ
ﻤﻥ ﺸ ﺎﻙ ﺘ ﹶﻭ ﻤﻪ ﺍﻟ ﻴﺢ
ﹸﺒ ﺘ ﻫ ﺭ
ﺘﻨﻜﺴﺭ ﺍﻟﺤﺭﻭ ﹸ،
ﻑ
ﺤﻴﻥ ﺘﻔﹾﺘﻥ
ﹸ
ﺍﻟ ﺭﺓ ﺒﻨ ﹶﻑ ﺍﻟﻭﻫﻡ
ﻬ ﹸ ﹸﺘ
ﻭﺍﻟﻅﻼﻡ ﻤﺭﺒﺽ ﺍﻟﺭﻴﺵ
ﹾ
ﺒﻼ ﺸﻲﺀ
ﻭﺘﻁل ﺍﻟﺴﻔﻴﻨﺔ ﺒﻼ ﺸﻲﺀ
ﹶ ﱡ ﹸ
ﻭﻴﺸﹾﺭﻕ ﺍﻟﻐﻴﺎﺏ
ﺒ ِﺸﻨﻘ ٍ ﻟﺤ ﹶﻤﻴﺔ
ِﻤ ﹶ ﹶﺔ ﺘ ِ
ﺍﻟ ﻭﺍﺀ ﻓﻲ ﺍﻟﺨﺭﺍﺏ
ﻤ ِ
ﻷﻥ ﻜل ﺸﻲﺀ ﻻ ﺸﻲﺀ
ﱠ ٍ
ﺒﻌﻴﺩﺍ ﻓﻲ ﺍﻟ ِﻨﺎﺀ
ﻐ ﹰ ﻓﻬﻡ
ﹶ
ﻴ ﺎﻭﻟﻭﻥ ﻓﻲ ﹶﺭ ِﻕ ﺍﻟﻌﺩﻡ
ﻁ ﻴ ﺤ
- 21. ﻤﺴﺭﺡ ﻤﻅﹾﻠﻡ
ﻭﺸﺎﻫﺩ ﺩﺍﺭ
ﻴ
ﺤﻴﺙ ﻻ ﻤﻜﻥ ﹶﻔﺎﺩﻱ
ﹸ ﻴ ﺘ
ﺍﺼﻁﹾﺨﺎﺏ ﺍﻟ ﺭﻭﻑ
ِ ِ ﺤ
ﻭ ﹶﺸ ِﺞ ﺍﻟﺩ ﺎﻍ
ﻤ ﹾ ﻨ ﻴ
ﺃﺒﻭ ﺤﻤﺎﺩ *
٨٢/٢ – ٤/٣/١٩٩١
- 23. ﺍﻷﺒﻁـﺎل
- ﻤﻥ ﻫﻨﺎ – ﺘﻤﺘﺩ
ﹶ ﹶ
ﺍﻟ ﹼﻬﺎﻴﺎﺕ
ﹸ ﻨ
ﻭﻻ ﻴﺒﺩﺃ ﺍﻟ ﹼﺠﺭ ﺍﻟ ﹶﺩﻴﻡ.
ﺸ ﻘ
ﺴﻴﻤﺭ ﻜل ﺸﻲﺀ
ﱡ ٍ
ﻴﺤﺴ ﻪ ﺍﻟﻅﻤﺂﻥ ِﺩﺍ ﺍ
ﺠ ﺭ ﺒ
ﻭﻟﻭ ﻨﻅﺭ ﺘﺤﺕ ﻗﺩﻤﻴﻪ
ِ ﹶ
ﻟﺭﺃﻯ
ﺭﻭﻋﺔ ﺍﻷﻨﻘﺎﺽ.
ﹶ
ﹸﺭﺍﺩﻯ
ﻓ
ﻋﺒﺭﻭﺍ
ﻋﻨﺩ ُﻤﻭﻤﺔ ﺘﻨﹾﺘﺤﺏ
ﺃ ٍ
ﻤﻥ ﻟﻭﺜﺔ ﺘﻤﺱ ﺃْﻁﺭﺍ ﹶﻬﺎ ﺍﻟﻤﻨﺎﺤﺔ
ﹶ ﹶ ﻓ ﹶ
ﻭﻻ ﻤﻜﻥ ﺃﻥ ﻴﻨﹾﻬﺽ ﻤﻥ ﺍﻷﺸﻴﺎﺀ
ِ ﻴ
- 24. ﺍﻟﻜﻼﻡ
ﻫﻜﺫﺍ ﻏ ﻠﺕ ﺃﺩﺭﺍ ﹶﻬﻡ
ﻨ ﺴ ﹾ
ﻭ ﺭﻋﺕ ﺍﻟ ﹼﺒﻴﻌﺔ
ﺯ ِ ﻁ ﹶ
ﻭﺃﺠﻠﺴﺘﹾﻬﻡ
ﹶ
ﻋﻨﹾﺩﻤﺎ ﺍﻤﺘﺩ ﺠﺫﺭ ﺍﻟ ﻁﻭﻟ ِ،
ِ ﹾ ﺒ ﺔ ِ
ﻓﻲ ﺍﻟﻤﺴﺎﺀ –
ﺍﻨﹾﻜﺴﺭ – ﺒ ﻅ ﺔ ﺍﻟﱠﻭﺜﺔ – ﻜل ﺸﻲﺀ
ﱡ ﻌ ﻤ ﻠ ِ
ﺍﻟﺠﺭﺜﻭﻤﺔ
ﹸ
ﺤﻴ ﹶﻤﺎ
ﻨ ﺃﺸﺩ ﻁﺒ ِﻴﺔ ﻤﻥ ﺍﻟ ِﺫﺍﺀ
ﻘ ﹰ ﺤ
ﻘﻑ ﺤﺎﺌﻁ ﺍﻟﻠﻐ ِ
ﹸ ﱡ ﹶﺔ ﻴ ﹸ
ﺃﺸﺩ ﻤﻜﺎ ﻤﻥ ﺍﻟ ﹶﻤﻴﺹ
ﹶ ﺴ ﹾﹰ ﻘ
ﻤﻊ ﻫﺫﺍ ﻟﻴﺴﺕ ﺍﻟ ﹼﻔﻭﻟﺔ ﺒﺭﺍﺀﺓ
ﹰ ِ ﻁ ﹸ
ﺃﻴ ﹶﻬﺎ ﺍﻟﺠﺩﺭﺍﻥ
ﺘ ﻭﻻ ﻴﻤﻜﻥ ﺃﻥ ﻴﻜﻭﻥ ﻫﺫﺍ ﻋﺩﻻ
ﹰ
- 25. ﺍﻟﻌــﺎﻟــﻡ
ﺍﻟﺩﻻﺌل ﻜﺜﻴﺭﺓ
ﹲ ُ
ﻭﻫﻜﺫﺍ ﻗﺭﺕ ﻋﻠﻰ ﺭﺍﺤ ِﻬﺎ
ﺘ ﹾ
ﻭﺍﻤﺘﺼﺕ ﺍﻹﺸﺎﺭﺍﺕ
ﹾ ﹾ ِ
ﻜﱠﻤﺎ ﻗ ﹶﺯﺕ ﻋﻠﻰ ﺍﻷﺸﹾﻴﺎﺀ ﺴ ﻴﺎﺕ
ِﻤ ﻤ ﹸ ﹸﻠ ﻔ ﹾ
ﻭﻋﻠﻰ ﺍﻟﺤﺩﻴﻘﺔ ﻓﻀﺎﺀ
ﻴﻘﹾﺸﻌﺭ ﻋﻥ ﺃﻟﹾﻔﺔ ﺃﻥ ﻴﻨﺎﻡ ﺍﻟﻭﺩﻴﻊ
ِ
ﻭﺘﺭﻑ ﺍﻟ ﻘﻭل
ﱠ ﺤ ْ
ﻭﻜل ﺤﻴﻥ ﺘﻨﹾﺯﻑ ﺸ ﺭ ﺎ ﺍﻟﻘﺩﻴﻡ
ﹸ ﺠ ﻫ ﱠ ٍ
ﻭﻴﺨﹾﻤ ﹸﻬﺎ ﺸﺠﺭ ﺍﻟ ﻁﻭﻟﺔ
ﺒ ِ ﺸ
ﻓﺘﻬﺘﺯ ﺍﻟﻁ ﺄﻨﻴﻨﺔ
ﹶﻤ ﹶ ﹾ ﹶ
ﺍﻟﻐﺎﺒﺔ ﻭﺍﺩﻋﺔ
ﹲ ﹸ
ﺨﺎ ِﺝ ﺍﻟﻐﻔﹾﻭﺓ ﻫﻜ ﹶﺍ
ﺭ ﹶ ِ ﺫ ﻭﺍﻟ ﺫﻭﺭ ﺘﻨﹾﻬﺎﺭ
ﺠ
- 26. ﺘﺘﺸﺒﺙ ِﻬﺭﺓ ﺍﻟ ﻤﻴﺭ
ﹶ ﹶ ﹸ ﺒ ِ ﻀ ِ
ﻭﺍﻟﹼﻐﺎﺕ
ﻠ ِ
ﻭﺘﻁﺭﺩ ﺃ ﹼﺒﻴﺎﺀ ﺍﻟ ﻁﻭﻻﺕ
ﹾ ﺒ ﻨ
ﻫﻜﺫﺍ ﺘﺭﺘﺎﺡ ﺇﻟﻰ ﺘﻔﹾﺴﻴﺭﻙ
ِ
ﺃ ﻬﺎ ﺍﻟ ﺎﻟﻡ
ﻴ ﻌ ﹶ
ﻭﻟﻴﺱ ﺃﺭﻭﻉ ﻤﻨﻬﺎ ﻓﻲ ﺍﻟ ﺯﻟﺔ
ﻌ ِ
ﻭ ﻤﺎل ﺍﻟﻤﺸﺎﻫﺩﺓ
ﹾ ﺠ ِ
ﺴ ﺩﺓ ﺍﻟ ﻘﻴﻥ
ﻴ ﹸ ﻴ
ﻜﻤﺎ ﺒﺭ ﻜل ﺸﻲﺀ
ﻋ ﱡ
ﺘﻠﻘﻰ – ﻓﻘ ِ – ﺍﻟ ﹼﻬﺎﺩﺓ
ﺸ ﹶ ﹶ ﹶﻁ
ﻭﺘﻤﻀﻲ.
ﹶ
- 27. ﺍﻟﺤﺏ
ﻟﻴﺱ ﹶﺒﻴﺎ
ﻨ ﹰ
ﻏﻴ ﺃ ﹼﻪ ﻜﺫﺍ ﺩﺍ ِﻤﺎ
ﺌ ﹰ ﹶ ﺭ ﻨ ﻫ
ﻴﻘﹾﺘل ﹶﻠ ﻪ ﹶﻴﻤ ﺍﻟ ﻭﺍﺀ
ُ ﻗ ﺒ ﻟ ﺭ ﻬ
ﻴﺼﻤﺩ ﻋﻥ ﻓﺘﻕ ﺍﻟﺤﺠﺎﺏ
ِ ﹾ ِ
ﻭﻻ ﻴﺩﻋﻭ
ﻴ ﻤل ﺒﻌﺫﺍﺏ ﺤﻀﺎﺭﺘﻪ
ِِ ِ ﺯ ُ
ﻭﻴﻨﺴﺤﻕ
ﹾِﹸ
ﺘﺤﺕ ﹶﻭﺍﺯﻨﺎﺕ ﻋﺎﻟﻤﻴﻥ
ِ ﹶ ﹶﺘ
ﻟﻴﺱ ﻫﺫﺍ ﻤﻭ ﺍ ﺃ ﻬﺎ ﺍﻟﺤﺏ
ﺼ ﺩ ﻴ
ﻟﻴﺤﻤل ﺍﻟ ﹼﺎﺒﻭﺕ ﻤﺒﺸ ﺍ
َ ﺘ ﹶ ﹼﺭ
ﻓﻲ ﺍﻟﺤﺎ ِﻼﺕ
ﻓ ﹾ
ﻓﻴﺨﹾﻨﻕ ﺍﻟﻜﻼ ،
ﻡ ﹶ
ﻭﻴﺫﺒﺢ ﺍﻟﻤﻴﺕ ﺍﻟﻭ ﻴﻊ
ﹶ ﺩ
- 28. ﺤﺘﻰ ﺘﻨﺎﻡ ﺍﻟﺭﻏﹾﺒﺔ ﻓﻲ ﺍﻟﻐﻼﻑ
ﹾ ﹸ
ﻭﻴﻨﺴﺤﺏ ﻤﺘﻥ
ﹾ ِ ﹾ
ﺇﻟﻰ ﺴﻔﻴﻨﺔ ﺍﻟ ﺩﺍﻋﺔ
ِ ﻭ ﹾ
ﺍﻟﻬﺎﻤﺵ ﺤﻴﻡ ﺃﻴ ﹸﻬﺎ ﺍﻟﻭﺍ ِﻔﺔ
ﻗ ﹾ ﹸﺠ ﺘ
ﻭﺍﻟﺠﺩﺭﺍﻥ ﺘﻨﹾﻁﻭﻱ
ﹶ
ﻋﻠﻰ ﺘ ﻋﺎ ِﻬﺎ
ﹶﺼﺩ ﺘ
ﻓﺎﻨﺘﻅﺭﻱ ﺩﻋﻭ ﹶﻬﻡ
ﺘ
ﻟﻴﺱ ﻨﺒﻴﺎ
ﹰ
ﻏﻴﺭ ﺃﻨﻪ ﻫﻜﺫﺍ
ﺩﺍﺌﻤﺎ
ﹰ
ﺩﻋﻭﺓ ﻤﺼﻤﺘﺔ
ﹲ ﹶﹲ
ﻋﻠﻰ ﺤﺩﻴﻘﺔ ﺘﺸ ﹶﻰ ﺒﻭﺭﺩﺓ ﺍﻟﺫ ﻭل
ِ ﹶﺒ ْ ٍ ﹶ ﹾﻘ
ﺍﻟﺨﻼﺹ ﺒﻌﻴﺩ ﺃﻴ ﹸﻬﺎ ﺍﻷﻤﻭﻤﺔ
ﹸ ﺘ
ﺃﻤﺎﻡ ﺍﻟﻁﺎ ِﺭ
ﺌ
ﻭﺭﺍﺀ ﺍﻟﻨﺎﻓﺫﺓ
ﹾ
ﻓﻠﹾﺘﺸﻕ ﺒﺎﻟﻌﺎﻟﻡ ﺃﻴﻬﺎ ﺍﻟﺴﻴﺩ
ﹾﹶ
- 31. ﺴﻤﺎﻭﺍﺕ ﺼﻴﻔ ﺔ ﻐﹶﻘﺔ
ﻴ ﻤﻠ ﹲ
ﺍﻟﺸﺒﺎﺒﻴﻙ ﹶﺩل ﻋﻠﻰ ﺍﻟﺠﻭﻉ.
ِ ﺘ ﱡ
ﻭﺘﺠﻠﺏ ﺍﻟﺭﻭﺍﺌﺢ
ِ
ﺇﻟﻰ ﻤﻭﺕ ﻴﻁل
ﱡ
ﻤﻥ ﺃﺒﺭﺍﺝ ﺘﺭﻓﻌﻪ.
ٍ ﱡِِ
ﺤﻴﻥ ﻴﺼﺒﺢ ﺍﻟﻨﺎﺱ ﺘﺤﺕ ﺍﻟﺸﺭﻓ ِ
ﱡ ﹶﺔ
ﻗﺸ ﺔ
ﹼﹰ
ﻭﺤﻴﺩﺓ
ﹰ
ﺘﺼﺒﺢ ﺍﻟﺭﺍﺌﺤﺔ
ﹸ
ﺤ ﺭﺍ.
ﺠ ﹰ
ﺍﻟ ﻭﺕ ﺍﻟ ﺎﻋﺩ
ﺼ ﹸ ﺼ
ﻓﻲ ﹸﻔﻭﺕ ﺍﻟﻜﺎﺌﻨﺎﺕ
ِ ﺨ ِ
ﺭﻋﺸﺔ ﺍﻟ ﻻﻟﺔ
ﹸ ﺩ ﹾ
- 32. ﺇ ﹼﻬﺎ ﺍﻟﻤﻭﺴﻴﻘﻰ!
ﻨ
ﺤﻴﺙ ﺍﻟﺭﺍﺌﺤﺔ ﺫﺍ ِﺭﺓ
ﹸ ﻜ ﹲ ﹸ
ﺭ ﻤﺎ –
ﺒ
ﺃﻭ ﺒﺎﺼﺭﺓ
ِ ﹾ
ﻭﺍﻟﺸﹾﺭﻓﺔ
ﹸ
ﻓﻲ ﺘﻤﺔ ﺍﻟﺤﻭﺍﺱ
ﻋ
ﺒﺎﺏ ﻏﻔﹾﻭﺓ
ﹶ ﹾ
ﺍﻟﻘﺎﻫﺭﺓ *
٥١/٩/١٩٩١
- 34. ﺘﺤﺕ ﺍﻟﻐ ﺎﺭ
ﹶ ﹶ ﹸﺒ
]ﺇﻨﻙ ﺘﺘﻐﻴﺭﻴﻥ
ﹼِ
ﻟﻘﺩ ﺘﻐ ﺭﺕ ﺒﺎﻟﻔﻌل
ﻴ ِ
ﺘﻐ ﺭﺕ ﺇﻟﻰ ﺩ ﺠﺔ ﺃ ﹼﻨﻲ
ﺭ ِ ﻨ ﻴ ِ
)١(
ﻟﻡ ﺃﻋﺩ ﺃﻋﺭﻓﻙ[
ِ ﹸ ِ
ﺜﻤﺔ ﺃﺼ ِﻗﺎﺀ ﺠﺩﻴﺭﻭﻥ
ﹶ ﺩ
ﺒﺎﻟﻨ ِﺎﻡ ﺍﻟﻌﺎﻟﻤﻲ ﺍﻟﺠﺩﻴﺩ
ﹼﻅ
ﺒﻴﻨﻤﺎ ﻤﺎﺯﻟﺕ
ﹾ ﹸ
ﺃﺤﺼﻰ ﻨﺒﻀﻲ
ُ
ﻜﻁﺎﺤﻭﻨﺔ ﺘﺴﺤﻕ ﺍﻟﻔﺭﺍﻍ
ﹶ ﹸ ٍ
ﻭ ﹸﺘﺒﻠﻪ ﺒﺎﻟﺭﺠﻊ
ﺘ ﹸ
ﺒﻌﻘﹾﻼ ﹼﻴﺔ ﻨﺎﺩﺭﺓ
ٍ ﻨ ٍ
)١(
ﻤﻥ ﺭﻭﺍﻴﺔ )ﺍﻟﺠﺤﻴﻡ( ﻟﻬﻨﺭﻱ ﺃﺭﻴﻭﺱ.
- 35. ُﻗ ﺭ ﺘﺤﻭﻴل ﺍﻟﻨ ﺎﻴﺔ
َ ﻬ ِ ﺃﺭ
ﺇﻟﻰ
ﺫﻜﹾﺭﻯ
ِ
ﻤﺅْﻟﻤﺔ
ٍ
ﻓﻲ ﺍﻟﺸﻴﺨﻭﺨﺔ
ِ ﹼ
ﻜﻤﻥ ﻻ ﻴﻬﺎﺏ ﺍﻟﻔﻘﺭ
ﹾ ﹶ
ﻭﻴﺨﹾﺸﻰ ﺍﻟﺠﻭﻉ
ﺇ ﹼﻪ ﺍﻟﻴﻘﻴﻥ
ﻨ
ﺘﺤﺕ ﺸﻤﺱ ﺍﻟﹾﻴﻭﺘﻭﺒﻴﺎ
ِ ﹸ
ﻴﺭﺠﻊ ﺍﻟ ﹼﺎﺭﻴﺦ
ﺘ ﹸ
ﺃﻅﺎﻓﺭ ﺍﻟﻔﻘ ِ ﻨﻔ ﻬﺎ
ِ ﹶ ﹾﺭ ﹾ ﺴ
ﺍﻟﺤﺼﺎﺭ ﺫﺍ ﹸﻪ
ﺘ
ﻭﺍﻷﺼﺩﻗﺎﺀ ﺃﻋﻴ ﹸﻬﻡ
ﻨ
ﻴﻁ ُﻭﻥ ﺍﻟﺠﺜﺔ ﺍﻟ ﹶﺩﻴﻤﺔ
ﹶﺅ ﹼ ﹶ ﻘ ﹶ
- 36. )١(
ﺒﻴﻨﻤﺎ ﺘﺼﺭﺥ "ﻤﺎﺭﻱ ﻤﺎﺘﻴﻴﻪ"
ﹸ
ِﻤﺎ ﻻ ﺃﻓﻬﻡ
ﹾ ﺒ
ﻜﻨﹾﺕ ﺃﺸ ﺭﺍﺌﺤﺔ ﺍﻟ ِﻴﺎﻨﺎﺕ
ﹶ ﺨ ِ ﹸ َ ﹸﻡ
ﻭﺃﺴﻤﻊ ﺩﺒﻴﺏ ﺍﻟﻤﻭﺕ
ِ
ﺘﺤﺕ ﺍﻟ ﹸﺒﺎﺭ.
ﹶ ﹶ ﻐ
* ﺍﻟﻘﺎﻫـﺭﺓ *
٠٢/٦/٢٩٩١
)١(
ﻤﻁﺭﺒﺔ ﻓﺭﻨﺴﻴﺔ ﺸﻬﻴﺭﺓ
- 37. ..
- 38. ﻴﺎ ﺠﺩﺭﺍﻥ ﻤﺴﺎﻓﺭﺓ
ٍ
ﺒﺭﺍﺌﺤﺔ ﻤﻥ ﺍﻟﻜﺘﺏ
ِ ٍ
ﻭﺍﻟﺤﺏ
ﻴﺄﺘﻲ ﺍﻟﺜﻼﺜﺎﺀ
ﻭﻴﻤﻀﻲ
ﺇﻟﻰ ﺼﻴﻑ ﻤﺎﻟﺢ
ٍ ٍ
ﻭﺘﺼﺩﻉ ﻓﻲ ﺍﻟﺫﺍﻜﺭﺓ
ِ ٍ
ﺤﻴﺙ ﻻ ﻤﻁﺭ
ﻭﻻ ﻤﻭﺍﻋﻴﺩ.
***
ﻜﺠﻤﺭﺓ ﺯﺭﻗﺎﺀ
ٍ
ﻴﺼﺒﺢ ﺍﻟﻤﻘﻌﺩ ﺸﻬﻭ ﺍ
ﺭ
ﻤﻥ ﺍﻟﻤﻭﺕ ﻭﺍﻟﺫﻜﺭﻴﺎﺕ.
ﹾ ِ
***
ﻟﻠﺒﺤﺭ
ِ
- 39. ﻟﻭﻥ ﺍﻟﺜﻼﺜﺎﺀ
ﻭﻟﻠﻤﺴﺎﺀ
ِ
ﺩﻜﹾﻨﺔ ﻻ ﺘﺭﻴﻡ
ﹲ
ﺤﻴﻥ ﻴﺼﻴﺭ ﺍﻟﻬﺎﺘﻑ
ﹸ
ﺴﻤﺎﺀ ﻤﻐﻠﻘﺔ
ﹰ
ﻭﺇﻟ ﺎ ﻏﺎﺌ ﺎ
ﺒ ﻬ
ﻭﺍﻻﻨﺘﻅﺎﺭ
ﻤﻭ ﹰﺎ ﻴﺘﻜﺭﺭ
ﺘ
ﻜﺎﻟ ﺤﻰ ﻋﻠﻰ ﺍﻟﺭﻭﺡ
ﺭ
***
ﻫﻜﺫﺍ
ﺘﺴﺤﻕ ﺍﻟﻠﺤﻅﺔ
ﹸ ﹸ
ﻜل ﺸﻲﺀ
ﻭﻟﻴﺱ ﻫﺫﺍ ﻋﺩﻻ
ﹰ
ﺃﻴ ﹸﻬﺎ ﺍﻟﺠﺩﺭﺍﻥ
ﺘ
ﻜﺄﻥ ﻟﻠﺸﻌ ِ، ﻭﺍﷲ
ِ ﺏ
- 41. ﻨﺎﺯ ﺼﺎﻤﺕ ﻟﻤﻭﺕ ﻟﻴ ﹶﻰ
ِ ﻠ ﹲ ﺠ
ﺴﻔﻴﻨﺔ ﺘﻤ ِﻲ
ﹲ ﻀ
ﺇﻟﻰ ﻫﻭﺓ
ٍ
ﻤﻥ ﺍﻟﻤﻭﺕ ﻤﻌﹼﻘﺔ
ِ ﻠ ﹲ ِ ﻭﺒﻼﺩ
ﻋﻠﻰ ﺭ َﺘﻲ
ِﺌ ِ
***
ﺴﺄﺠﻠﺱ
ﻓﻲ ﺸﺭﻓﺔ ﺒﻼ ﻗ ﻤﻴﻥ
ﹶﺩ ﹸ ٍ
ﻋﻠﻰ ﻏﻴﻤﺔ ﺴﺘﻬﻭﻯ
ٍ
ﺴﺭﻴﻌﺎ
ﹰ
ﺇﻟﻰ ﻗﺭﺍﺭ ﺴﺤﻴﻕ
ﹾ ٍ
***
ﻫﻜﺫﺍ
ﺘﻠ ﱡ ﺭﺃﺴﻙ ﺒ ﺴﺎﺩﺓ
ﹶﹸﻑ ِ ﻭ ٍ
ﻤﻥ ﺍﻟﺠﻤﺭ ﻭﺍﻟ ﹼﻜﺭﻴﺎﺕ
ﹾ ِﺫ
- 42. ﻭﺘﺒﻜﻲ
ﺩﺍﺌﻤﺎ ﺩﻭﻥ ﺩﻤﻭﻉ
ﹰ
***
ﻴﻤﻜﻥ ﻟﻜل ﺍﻷﺸﻴﺎﺀ ﺃﻥ ﺘﺼﻴﺭ
ِ ﱢ
ﻻﺸﻲﺀ
ﻭﻴﻤﻜﻥ ﻟﻠﻤﺭﺃﺓ ﺃﻥ ﺘﻜﻭﻥ
ِ
ﺸ ﻜﺎ ﺃﻭ ﹶﺩﻴﻌﺔ
ﹶﺭ ﹰ ﺨ ﹾ
ﻷﻥ ﺭﻜﻨﺎ ﺎ ﺘﺴﻜ ﹸﻪ
ﻨ ﹾﹰ ﻤ
ﻤﻭﺴﻴ ﹶﻰ ﺠﻨﺎﺌﺯﻴﺔ
ﹲ ﻘ
ﻻ ﻴﺄﺘﻲ ﻟﻴﺅﺍﺯﺭ ﺭﻭﺤﻙ
ِ
ﻟﻘﻠﺒﻙ ﻓﻲ ﺍﻨﻁ ِﺎ ِﻪ ﺍﻷﺨﻴﺭ
ﻔﺌ ِ
ﻴﻨﻤﻭ ﺸﺭﻙ ﺍﻟﻤﻭﺍﻋﻴﺩ
ِ ﹶ
ﻭﺍﻟﺫﻜﺭﻴﺎﺕ
ﹾ
***
ﺘﺤﺕ ﺸﺠﺭﺓ ﺍﻟﻭﺤﺩﺓ
ِ ِ ﹶ
ﺘﻤﻭﺕ ﺍﻤﺭﺃﺘﻲ
ﹸ
- 43. ﺸﻤﺱ ﺍﻟﻬ ﹶﻴﺎﻨﺎﺕ
ﺫ
ﻓﻲ ﻫﺫﻩ ﺍﻟﻅﻠﹾﻤﺔ
ﹼ ِ ﻋﻨﹾﺩﻙ
ِ
ﺴﺄﺘﺭﻙ ﻋﻴﻨﻲ
ﻟﺘﺭﻋﻴﺎﻙ
ِ
ﻭﻭﺤﻴ ﺍ ﺃﺘﺨﺒﻁ
ﹸ ﺩ
ﺒﻜل ﺠﻼﻟﻲ
ّ ﻷﺴﻘﻁ
ﹸ ﹶ
ﻓﻲ ﺃ ل ﻋﺜﹾﺭﺓ
ٍ ﻭ
ﻜﺸﺠﺭﺓ ﻨ ِﻴ ﺎ ﺍﷲ
ٍ ﹶﺴ ﻬ ُ
ﺒﺼﺒﺎﻱ ﻭﻫﻭﺍﻱ ﻭﻤﻨﹾﻔﺎﻱ
ِ
***
ﻤﻥ ﻨﻅﹾﺭﺓ
ﹶ ٍ
ﻤﺴﺭﻭﻗﺔ ﻋﻠﻰ ﺍﻟﺩﺭﺝ
ِ ٍ
ﻴﺒﺩﺃ ﺍﻻﺤﺘﺭﺍﻕ
ﹸ
ﻭﻴﺸﹾﺘﻌل ﺍﻟﻬﺫﻴﺎﻥ
ُ
ﻜﻬﺎﺭﺏ ﻻ ﻴﻌﻠﻡ ﻤﻁﺎﺭﺩﻴﻪ
ٍ
- 44. ﺃﻨﺴﺎﻨﻲ
ﻓﻲ ﻋﺭﺒﺎﺕ ﺍ ُﺠﺭﺓ ﺒﻼ ﻤﺤﻁﺔ
ﹼٍ ِ ﻷ ِ
***
ﻜﺄﻥ ﺍﻟﺸﻭﺍﺭﻉ ﻟﻡ ﺘﻜﻥ
ﹸ
ﺃﻭ ﻜﺄﻥ ﺍﻟ ﹸﻁﺎ ﺭﻤﺎﺩ
ﺨ
***
ﻜﻴﻑ ﻟﻡ ﻴﻭﻗﻅ
ﹾ
ﻁﺎﺌﺭ ﺍﻟﻤﺤﺒﺔ ﺃ ﻲ
ِﻤ
ﻤﻥ ﺸ ﺎﻙ ﺍﻟﻤﺴﺘﺸ ﹶﻰ
ﹾﻔ ﹸﺒ
ﻤﻥ ﺒ ﺍﺒﺔ ﻫﺫﺍ ﺍﻟﻌﺎﻟﻡ
ﻭ ِ ﻷﺩﺨل ﺇﻟﻴﻙ
ﹸَ ِ
ﻤﻐﹾﻤﻭﺭﺍ ﺒﻤﻁﺭ ﺍﻟﺸﻔﺘﻴ ِ ؟!
ِ ﹼ ﹶ ﹶ ﻥ ﹰ
ﻨﺩﺍﺀ ﺍﷲ ﻓﻲ ﺭﻭﻋﻲ
ِ
ﻭﺍﻷﺭﺽ ﻟﻴﺴﺕ ﺍﻟﺠﻨﺔ
ِ ﹼﹶ
***
ﺼ ﻯ ﺼﻤﺘﻙ
ِ ِ ﺩ ﻫﻜﺫﺍ ﺘﺄ ﹼﺭﺕ ﻋﻥ
ﺨ ﹸ
- 45. ***
ﺸﻲﺀ ﻜﻤﺭﺍﺭﺓ ﺍﻟﻔﻘﺩ
ِ ﹾِ ﹶ
ﺘﻁﻴﺭ
ﻜﻭﺭﻗﺔ
ٍ
ﻟﺘﺩﻭ ﻬﺎ ﺍﻷﻗﺩﺍﻡ
ﺴ
***
ﻜﺄﻥ ﺒﻼ ﺍ ﺘﻘﻭﻡ ﻤﻥ ﺍﻟﻤﻭﺕ
ِ ﹾ ﹾ ﺩ
ﻜﺄﻥ ﺒﻼﺩﺍ ﺘﻤﻭﺕ
ﹾ
***
ﻟﻠﻭﺤﺸﺔ
ِ ﺠﺤﻴﻡ ﺍﻟ ﹸﻁﺎ
ﺨ
ﻭﺍﻟﻔﻘﺩ
ﹾِ
ﻭﻟﻠﺸﻭﺍﺭﻉ ﺍﻟﺸﻌﺒﻴﺔ
ِ ﹼ ِ
ﻭﻟﺒﺤﻴﺭﺓ ﺍﻟﻨﺴﻴﺎﻥ
ِ
ﻭﻟﻠﻤﻨ ﹶﻰ
ﹾﻔ
ﻟﺸﺠﺭﺓ ﺘﻬﺠﺭ ﺃﺭ ﻬﺎ
ﻀ ٍ
) ١(
ﻟﺤﻭﺍﺭﻱ "ﺍﻟﺩﺭﺍﺴﺔ"
ِ
ﻟﺤﺎﺌﻜﺔ ﺍﻟﺒﻴﺕ ﺍﻟﻘﺩﻴﻡ
ِ ِ
- 46. )١ (
ﻟﺒﺌﺭ ﺍﻟ ﻠﻡ ﺍﻟﻐﺭﻴﺏ ﻓﻲ "ﻤﺩﻴﻨﺔ ﻨﺼﺭ"
ِ ِ ﺴِ
ﻟﻠﻤﻴﻨﻲ ﺒﺎﺹ
ِ
ﺍﻟﺫﻱ ﻜﺎﻥ ﻴﺌﻥ ﺒﺎﻟﻜﻠﻤﺎﺕ
ِ
ﻓﺎﺘﺤﺎ ﻜﻭﺓ ﺍﻟﻤﻭﺕ
ﹰ ﹸ ﹶ ِ
ﺃﻤﺎﻡ ﻋﻴﻨﻴﻙ
ِ
ﻫﻜﺫﺍ ﻤﺎﺕ
ﹶ
) ١(
"ﺒﺎﺏ ﺍﻟ ﹼﻌﺭ ﺔ"
ﺸ ﻴ
) ١(
ﻭ"ﺍﻟﻤﻭﺴﻜﻲ"
)١(
ﻭ "ﻤﺴﺘﺸﻔﻰ ﺍﻟﺘﺄﻤﻴﻥ"
ِ
ﻭﻋﻴﻨﺎﻙ
ِ
ﻭ ﹶﺘﻔﻲ ﺍﻷﻴﺴﺭ
ﻜ
)٢(
ﻟﺘﻘﻭﻟﻲ : " ﻟﻜﻨ ﹼﻲ ﻗﺩ ﻤﺕ ﻜﺘﹾﻤﺎ ﹰﺎ"
ﻨ ﹶ ِ ﱡ ِ ﻨ
)١(
ﺸﻭﺍﺭﻉ ﻭﺃﺤﻴﺎﺀ ﻭﺃﻤﺎﻜﻥ ﺒﺎﻟﻘﺎﻫﺭﺓ.
)٢(
ﻤﻥ ﺸﻌﺭ ﻤﻨﺴﻭﺏ ﺇﻟﻰ ﻟﻴﻠﻰ ﺤﺒﻴﺒﺔ ﺍﻟﻤﺠﻨﻭﻥ
- 47. ﻭﻴﺒﻘﻰ ﻟﻲ ﻫﺫﻴﺎﻥ ﺍﻷﻤﺎﻜﻥ
ِ
ﺍﻟﺘﻲ ﻀﺎﻗﺕ ﺒﻤﺎ ﺭﺤﺒﺕ ﻴﻭ ﺎ
ﹾ ﻤ ﹾ
)١(
ﻭ "ﻴﺎ ﺨﻠﻴﻠﻲ ﺴﺎﻋﺔ ﻻ ﺘﺭﻴﻤﺎ"
ﹰ
)١(
ﻤﻥ ﺸﻌﺭ ﺘﻐﻨﻴﻪ ﻓﻴﺭﻭﺯ.
- 48. ﺘﺎﺒﻭﺕ ﻠ ِﻲ
ﻤ ﹶﻜ ّ
ﺍﻟﺒﺤﺭ ﻓﻲ "ﺍﺴﻜﻨﺩﺭ ﺔ" ﻭ " ﺭﺃﺱ ﺍﻟﺒﺭ"
ْ ِ ﻴ
ﺭﻤﺎﺩﻱ ﻫﺫﺍ ﺍﻟﺼﻴﻑ
ﻭﺍﻟﻭﺤﺩﺓ ﺴﺎﻤﻘﺔ
ﹲ ﹸ
ﻓﻲ ﻀﺠﻴﺞ ﺍﻷﺠﺴﺎﺩ
ِ
ﻓﻬل ﺼﺤﻭﺕ ﻋﻠﻰ ﻓﺠﻴﻌﺔ ﺍﻟﺠﺩﺭﺍﻥ؟
ِ ِ
ﻋﻠﻰ ﻀﻴﺎﻉ ﺍﻟ ﺭﻗﺔ
ِ ﺯ ِ
ﻭﻤﻠﻭﺤﺔ ﺍﻟﻌﺎﻟﻡ؟
ِ
ﺸﻔﺘﺎﻙ
ِ
ﻤﻁ ﻘ ﹶﺎﻥ ﻋﻠﻰ ﻤﻭﺕ
ٍ ﹾﺒ ﺘ ِ
ﻅﹼل ﻫﺩ ﻰ
ﻴ ﻠ ُ ﺒ
ﻓﺄﻗﻴﻤﻲ ﻓﻨﺎﺭﺍ ﻟ ﻭﺤﻲ
ﹰ ﺭ
ﺤ ﹼﻰ ﺁﺨﺭ ﻨﻅﺭﺓ ﺘﺴﺭﻗﻴﻨﻬﺎ
ٍﹶ ِ ﺘ
ﻋﻠﻰ ﺍﻟﺩﺭﺝ
- 49. ***
ﻴﻘﻅ ﻭﺍﻟﺤﺠﺭﺓ ﻨﺎﺌﻤﺔ
ﹲ ﹸ ِ
ﺃﻀ ِﺏ
َ ﺭ
ﺠﺩﺭﺍ ﹰﺎ ﻤﻥ ﺍﻟ ﹼﻜﺭﻴﺎﺕ
ﹾ ﺫ ﻨ
***
ﺴﺄﺒﺤﺙ ﻋﻥ ﺭﺃﺴﻲ
ﹸ
ﺍﻟﺘﻲ ﺩﺤﺭﺠ ﹸﻬﺎ
ﺘ
ﻓﻲ ﺃﻭل ﻁﺭﻴﻕ ﻀﻤﻨﹾﺎ
ٍ
ﻭﺃﺜﻘل ﺠﺴﻤﻲ ﻟﺘﺨﺒ
ﹶ ﹾ ﻭ ﹾِ ُ ِ
ﻭﺭﺩﺓ ﺍﻟ ﻭﺡ
ﹸ ﺭ
***
ﺴﺄﻋ ﺭ ﺩﻭﻥ ﻤﻭﻜﺏ
ٍ ﺒ
ﻜﻘ ﺭ ﻤﻴﺕ
ﹶﻤ ٍ
ﻓﻲ ﻟﻴﻠﺔ ﻏﻤﺎ ﻴﺔ
ٍ ﻤ ٍ
- 50. ﻟﺤﻅﺘﻲ ﺃﻗﺼﺭ ﻤﻥ
ﻟﻤﺤﺔ ﻋﻴﻨ ِﻙ
ِ ﹾﻴ
ﺘﺎﺭﻴﺦ ﻤﻥ ﺍﻟﻔﻘﹾﺩﺍﻥ
ﹸ ﻭﻟﻜﻥ ﺍﻷﻟ
ﹶﻡ
***
ﻫﻜﺫﺍ ﻴﺨﹾﺘﻔﻲ ﺍﻟﻭﻤﻴﺽ:
ﻤﻠﻜﺔ ﻤﻌﹼﻘﺔ ﻋﻠﻰ ﺠﺩﺍﺭ
ٍ ﹲ ﻠ
ﺘﺤ ﹶﻬﺎ
ﺘ
ﺘﺎﺭﻴﺦ ﻤﻴﺕ
ﹲ
ﻭﺭﻭﺡ ﺘﺫﻭﻱ
ﺃﻤﺎﻡ "ﺍﻟﺒﻭﺘﻭﺠﺎﺯ"
ﻫﻜﺫﺍ
ُﻋﺩ ﺘﺎﺒﻭﺘﺎ ﹶﻜﻴ ﹰ
ﹰ ﻤﻠ ﺎ ﺃ
ﻟﻬﺫﺍ ﺍﻟﻤﻭﺕ ﺍﻟﺒﻬﻲ
ﻭﺃﺤ ﹸﺭ ﻗﺒﺭﻴﻨﺎ
ﻔ
- 53. ﻜﺄﻨﻙ ﺘ ﻲﺀ ﻤﻥ ﺍﻟﻨﺴﻴﺎﻥ
ﹼ ﹼ ﺠ
ِﺫﺍ ِﺭﺓ ﻜﻭﺥ ﻭ ﹶﺭﺍ ِ ﺃﺯﻤﻨﺔ
ٍ ٍ ﺨ ﺏ ﺒ ﻜ ِ
ﺨﺎﺭﺝ ﺍﻟ ﱠﺎﺭﻴﺦ
ﺘ ﹾ
ﻤﻜﻥ ﻟﻠﺠﺩﺍﺭ ﺃﻥ ﻴﻜﻭﻥ ﺸﺭﻴ ﹰﺎ
ﻜ ِ ﻴ
ﻭﺍﺤﺩﺍ
ِ
ﻓﻲ ﻓﻨﺎﺀ ﻤﺎ
ٍ
ﺤﻴﺙ ﺘﻜﹾﺒﺭ ﺍﻟﻠﺤﻅﺔ
ﹸ ﱠ ﹸ
ﺒﻼ ﺫﻭﺭ
ﺠ
ﻭﻴﻨﹾﺒﻌﺙ ﺍﻷﺠﺩﺍﺩ
ﹸ
ﺒﻼ ﺃ ﹸﻨﻴﻥ ﻭﻻ ﻓﻡ
ٍ ُﺫ ِ
)١(
ﺘﺤﺕ ﺸﺠﺭﺓ "ﺍﻟﺒﺎﺭﺍﻨﻭﻴﺎ" ﻭﺜﻤﺎﺭ "ﺍﻟﻌﺼﺎﺏ"
ِ ِ ﹶ
)١(
ﺩﺍﺀﺍﻥ ﻨﻔﺴﻴﺎﻥ ﻋﺎﺩﻴﺎﻥ ﺠﺩﺍ.
ﹰ
- 54. ﻫﻨﺎﺍﻙ
ﺤﻴﺙ ﻘﻌﻰ ﺍﻷﺼﺩﻗﺎﺀ
ﹸﻴ
ﺤﻭل ﻓﺭﺍﺌﻬﻡ
ٍِ َ
ﺒﻌﻴﻭﻥ ﻤﻥ ﹸﺤﺎﺱ ﺃﺤﻤﺭ
ﻨ ٍ ٍ
ﺘﻬﺭﺏ ﻫ ﺓ ﺍﻟﱡﻐﺎﺕ
ﹶ ﺭﹸ ﻠ
ﻭﻴﻘﻑ ﺍﻟﻴﻘﻴﻥ ﺃﻋ ل
ﺯ َ ِ ﹸ
ﺃﺤ ﺍ
ﺩ
ﻤﻥ ﺨﻼل ﺠﺩﺍﺭ
ٍ ِ
ﻓﻲ ﻤﺩﺭﺴﺔ ﻤﺎ
ِ
ﻴﺘﺴﻠل ﺍﻟﻘﺩﻤﺎﺀ
ﹼُ
ﺒﺸﻭﺍﺭﺏ ﻜﺜﺔ
ﹶﹼ ٍ
ﻭﻋﻴﻭﻥ ﺁِﻬﺔ ﻜﺎﻟ ﹼﻭﺍﻓﺫ
ِ ﻟ ٍ ﻨ ِ
ﺍﻟﺘﻲ ﺘﻐﻠﻕ ﻋﻠﻴﻙ ﺍﻟ ﻠﻡ
ﹸ ﹾِ ﹸ ﺤ
ﺤ ﺙ ﺘﻔﺭ
ﻴ ﹸ ِ
ﺒﺼﺭﺨﺔ
ٍ
- 55. ﻤﻜﺘﻭﻤﺔ
ٍ
ﻭﺒﻤﻭﺴﻴﻘﻰ
ﺘﻌﺼﻑ
ﹶ ِ ﹸ
ﻋﻠﻰ ﺍﻟ ﹶﺭﺍﺏ
ﺨ
* ﺍﻟﻘﺎﻫـﺭﺓ *
٩٢/٠١/٢٩٩١
- 57. ﻴﻤﻜﻥ ﻟﻠﻤﺎﻀﻲ ﺃﻥ
ﻴﻐ ﹸﻭ ﻗﻠﻴ ﹰ،
ﻔ ﻼ
ﻓﻲ ﻏﻴﺎﺏ ﻗﺎﻨﻭﻥ ﺍﻟﻁﻭﺍﺭﺉ ﺍﻟﺩﺍﺌﻡ
ِ ِ ِ
ﺤﻴ ﹶﻬﺎ ﺴﺄﻗﻭل:
ُ ﻨ
ﺃﺤ ﻙ..
ﺒ
ﻟﻤﺎﺫﺍ ﺃﻏﻠﻘﺕ ﺍﻟﻤﺎﻀﻲ،
ﹾ ﹸ
ﻭﻋ ﻴﺕ ﺍﻟﻨﺎ ِﺫﺓ ؟!
ﺭ ﹸ ﻓ ﹾ
ﹶﺨﺎﻓﻴ ؟
ﺘ ﻥ
ﺃﻀﻴﻕ ﻠﻲ
ﹸﻋ
ﺤﻴﺙ ﺍﻟﻘﻤﻊ ﺫﺍﻜﺭﺓ،
ﹲ ﹸ
ﺒﻼ ﺘﺎﺭﻴﺦ.
ﹾ
ﻭﻴﻤﻜﻥ ﻟﻠﺠﺴﺩ ﺃﻥ ﻴﻐﻔﻭ
ﹾﹸ ِ
ﻓﻲ ﺍﻟﻭﻤﻴﺽ
- 58. ﺃﺭﺩﺕ ﻜﺜﻴﺭﺍ ﻭﺃﺨ ﹶﻴﺕ
ﹰ َ ﹾﻔ ﹸ ﹸ
ﺭﻭﺕ ﺍﻟ ﻤﺎﻍ
ﺠﺒ ﹶ ﺩ ﹾ
ﻋﻠﻰ ﺘﺼﺩﻋﺎﺘﻲ
ﻫﻜﺫﺍ ﻴﺤ ﹸﻡ ﺍﻟﻐﻴﺎﺏ.
ﻜ
ﻭﺘﺄﻜل ﺍﻟ ﺤﺩﺓ ﻤﻥ ﻁﺎ ِﻬﺎ،
ﺤ ﻤ ُ ﻭ ﹸ
ﻟﺘﻘﻭﻡ
ﻋﻨﺩﻤﺎ ﺘﻐﻠﻕ ﻤﺯﺍﻟﻴﺞ ﺍﻹﺭﺍﺩ ِ،
ﺓ ﹸ ﹾﹶ ﹸ
ﺨ ِﻱ ﺍﻟ ﻤﻥ
ﹸﺫ ﺯ
ﻭﺍﻋ ﺭﻱ،
ﺒ
ﻫﻜﺫﺍ ﻴﻤﻜﻥ ﺃﻥ
ﺃﻤﻀﻲ ﺒﻴﻭﺘﻭﺒﻴﺎﻱ ﺍﻟﻤ ﺘﺔ
ﻴ ﹾ
ﻭﻟﻥ ﺃﻋﺒﺭ ﺍﻟﺠﺴﺭ.
ِ
ﻟﺤﻅﺔ
ﹰ
ﻨﺠﻌل ﻤﻥ
ﺴ ُ
- 59. ﻤﻭﺘﻨﺎ
ﻋﺯﺍﺀ ﻟ ﺎ ِﺭﻴﻥ ﺁ ﹶﺭﻴﻥ
ِ ﻌ ﺒ ﺨ
* ﺍﻟﻘﺎﻫﺭﺓ *
ﺃﻏﺴﻁﺱ ٢٩٩١
- 61. ﻟﺤﻅﺔ ﻭﺤﻴﺩﺓ ﻟﻸﺸﻴﺎﺀ
ﹲ ﹲ
ﺘﻘﻑ ﺍﻟﻁﻔﻭﻟﺔ ﻭﺍﺩﻋﺔ
ﹰ ﹸ ﹸ
ﻓﻲ ﻀﺒﺎ ِﻬﺎ.
ﺒ
ﻋ ﺭﺕ
ﺒ ﹾ
ﻭﺃﻨﺎ ﺃﺤﺎﻭل ﺍﻹﻤﺴﺎﻙ ﺒﻬﺎ
ُ
ﻫﻜﺫﺍ ﺃﻓﻌل ﺩﺍﺌﻤﺎ
ﹰ ُ
ﺃ ﹶﻭﺍﻁﺄ ﻤﻊ ﺩﺭﺍﻥ ﺍﻟﻔﻘﺩ.
ﺘ ُ ﺠ
ﻭﺃﺯﺭﻉ ﺸ ﺭ ﺍﻟﻌﺯﻟ ِ ﻋﻠﻰ
ﹶﺠ ﹶﺔ
ﺭ ِﺭ ﺍﻟﻭﺤﺸﺔ.
ﺴ ﻴ
ﺃﺤﻴﺎﻨﺎ ﺃﻤﺴﻙ ﺭﺃﺴﻲ
ﹰ
ِﻜﻠﺘﺎ ﻴﺩﻱ
ﺒ
ﻜﻲ ﻻ ﻴﺘﺩﺤ ﺝ
ﺭ
- 62. ]ﺭ ﻤﺎ ﻜﻨﺕ ﺃﻋﻠﻤﻪ[.
ﺒ ﹾ ﹸ َ ﺇﻟﻰ ﻤﺩﻯ
ﻋﺯﻟﺔ ﻓﺭﻴﺩﺓ
ﹲ ﹲ
)ﻟﻴﺴﺕ ﻤﻭﻁﻭﺀﺓ "ﺒﺎﻷﻨﺎ ﺍﻟ ﻠﻴﺎ"(
ﻌ ﹰ
ﺇ ﹼﻪ ﺍﻟﻬﺠﺱ ﺍﻟﺨﺎﻟ ﹸ،
ﻕ ﻨ
ﻭﺃﺒﺩ ﺔ ﺍﻟﺒﺼﻴﺭﺓ
ِ ِ ﻴ
ﻜﺄ ﹼﻪ ﻴﻘﻴﻥ ﻟﻔﻘﺩ ﺍﻤﺭﺃﺓ.
ٍ ﹾِ ﻨ
ﻫل ﺘﻜﺭﻫﻴﻥ ﺃ ﻲ ﺍﹼﺘﻲ
ُ ﻤ ﻟ
ﺯ ﻋﺕ ﺍﻟﻁﺒﻴﻌﺔ ﺒﺭﺒﻴﻊ ﺍﻟﻌﻨﺎﻗﻴﺩ ؟!
ﹶ ﺭ ِ
ﺴﻭﻑ ﺃﺒﻴﻌﻙ ﻗﻠﺒﻲ
ِ
ﻷ ﹼﻬﻡ ﻴﺤﺎﺭﺒﻭﻨ ِ،
ﹶﻙ ﻨ
ﺤﺘﻰ ﺁﺨﺭ ﻫﺯﻴﻤﺔ ﻤﺠﻴﺩ ٍ،
ﺓ ٍ ِ
ﺃﺩﻓ ﻬﻡ ﻨﺤﻭ ﺎ
ﻌ ﹶ ﻫ
- 63. ﻫﻜﺫﺍ؛ ﺒﻼ ﺃﻱ ﺸﻲﺀ
ﻭﻻ ﺃﻱ ﻤﺠﺩ ﻗﺩﻴﻡ
ٍ
ﻁﺭﻴﻕ ﻟﺒﺼﻴﺭﺓ ﺍﻟﺘﺄﻟﻪ.
ِ ﱡِ ﹲ
ﻟﻡ ﺃﺴﺘﻁﻊ ﺍﻤﺘﻼﻙ ﻤﺎﻀﻴﻙ،
ِ ﹾﹶ
ﻭﻻ ﺍﻓﺘﺭﺸﺕ ِﺴﺎﻁ ﺍﻟﻤ ﺒﺔ
ﹾ ﹸﺒ ﹶ ﺤ ِ
ﻤﻀﻁ ﺍ
ﹼﺭ
ﻜﺄ ﹼﻪ ﻴﻘﻴﻥ ﻟﻬﺠﺱ ﻤﺎ؛
ِ ﻨ
ﺸﻴﺨﻭﺨﺔ ﺘﺩﺏ ﻓﻲ ﺍﻟﺭﻭﺡ
ﹲ
ﻭﻭﻫﻥ ﻴﺴﺤﻕ ﺍﻟﺴﺎ ﹶﻴﻥ
ﹸ ﻗ
ﻟﻠﺤﻅﺔ ﻟﻥ ﺘﺠﻲﺀ
ﹶ ٍ
ﻴﻜﺒﺭ ﺍﻟﻘﻠﺏ
ﹾ
ﺨﺎﺭﺝ ﺍﻟﺯ ﻥ
ﻤ
* ﺍﻟﻘﺎﻫﺭﺓ *
٢٢/١/١٩ – ٣٢/١/٣٩٩١
- 65. ﺍﻟﺠﺴﺩ ﺴ ﺩ ﺍﻟﻭﻗﺕ
ﻴ ﹾ ِ
ﻭﺍﻟﻌﺎﻟﻡ ﻤﻤﻜﻥ
ﻓﻤﺎ ﺃﺘﹾﻔﻪ ﺃﻥ ﺘﻌ ﻯ ﺍﻟﺴﻤﻙ
َ ﺩ
ﻓﻲ ﺸﻭﺍﺀ "ﺍﻟﻤﻴﻠﻭﺩﺭﺍﻤﺎ"
ِ
ﻜﻡ ﺍﺭﺘﺸﻔﹾﻨﺎ ﻫﺫﻩ ﺍﻟﻤﻴﺎﺩﻴﻥ ﻭ ﺎ
ﺴ ﻴ
ﻜﺎﻥ ﻁﻌﻡ ﺍﻟﺨﻁﻭﺓ ﻤﺨﺘﻠ ﹰﺎ
ﻔ ِ
ﻭﺍﻟﺒﺎﺌﻌﻭﻥ ﻴﺘﻼﺸﻭﻥ
ﺍﻟﺠﺴﺩ ﻟﻴﺱ ﻏﺭﻴﺒﺎ
ﻟﻜﻥ ﺃﻨﹾﻔﻲ ﺘﻐ ﺭ
ﹶﻴ
ﻴﻨﻬﺽ ﺍﻟﺒﺎﺌﻌﻭﻥ ﺒ ﺭﺍ ِﻬﻡ
ﺼ ﺨ
ﻭﺘﻨﺸﺭ ﺍﻟﻤﻴﺎﺩﻴﻥ ﻏﺒﺎﺭﻫﺎ
- 66. ﻜﻡ ﻫﻭ ﺠﻤﻴل ﺃﻥ ﻴﺼﻴﺭ ﺍﻟﻌﺎﻟﻡ
ﻫﻜﺫﺍ
ﻗﺒﺢ ﻀﺩ ﺍﻟﻨﺴﻴﺎﻥ
ﻭ ﹸﻁﻰ ﻟﺫﻜﺭﻴﺎﺕ ﺘﻀﻴﻊ
ٍ ﺨ
ﻓﻲ "ﺍﻟﻌﺘﺒﺔ" ﺘﺜﹾﻘل ﺍﻟ ﹸﻁﻰ
ُ ﺨ ِ
ﻜﺄﻥ ﺍﻟﺫﻜﺭﻯ
ﺘﺸ ﻨﻲ ﻟﻸﺭﺽ
ﺩ
ﺒﻤﺴﺎﻤﻴﺭ ﺍﻟ ﻨﻭﺍﺕ
ِ ﺴ ِ
ﻭﺍﻟﻤﻭﺕ
ﹾ
ﻫﻜﺫﺍ؛
ﺒﺭﻭﻤﺎﻨﺘﻴﻜ ﺔ ﻤﺒﺎﻟﻎ ﻓﻴﻬﺎ
ٍ ﻴ
ﺃ ﱠﺠﻪ ﺇﻟﻰ ﺍﻟﺴﻤﺎﺀ
ﺘ ِ
ﻜﻤﻼ ٍ ﺼﻐﻴﺭ
ﹶﻙ
- 67. ﻫل ﺭﻨﻴﻥ ﺍﻟﺠﺴﺩ
ِ
ﻴﻭﻗﻅﻨﻲ؟
ﺃﻡ ﺍﻟ ﹼﻜﺭﻯ
ﺫ
ﺒﻜﺎﺘﻡ ﺍﻟﺼﻭﺕﹾ؟
ِِ
ﻟﻤﺎﺫﺍ ﺃﺘﹾﻴﺕ ﺍﻟﺴﺎﻋ ﹶ؟
ﺔ ِ
ﻫل ﺃﺩﺭﻜﺕ ﻏﻴﺎﺏ ﺍﻟﻤﻭﺴﻴﻘﻰ؟
ﹾ ِ
ﺇ ﹼﻨﻲ ﺃﻨﹾﻔﺽ ﹸﺒﺎﺭ ﺍﻟ ﱢﺴﻴﺎﻨﺎﺕ
ِ ﻏ ﻨ ﻨ
ﻭﺃﺨﹾﺘﺭﻉ ﺍﻟﻨﺎﺱ
ﻭﺍﻟﻤﻴﺎﺩﻴﻥ
ﻭﺍﻟ ﺤﺎﻡ
ﺯ
ﻭﺍﻟﻤﺸﻬﺩ ﻟﺤﻅﺔ ﻭﺍﻗﻔﺔ
ﹾ ﹲ
ﻓﻜﻴﻑ ﺍﺠﺘﺯﺕ ﺍﻟﻔﺠﻴﻌ ﹶ؟!
ﺔ ﹶ ِ
ﺃﺨﻔﻲ ﻤﻌﺠﻭﻥ "ﺍﻟﻤﺎ ِﻴﺠﻭﺍﻨﺎ" ﺘﺤﺕ ﺍﻟﻤﺎﺌﺩﺓ
ِ ﹶ ﺭ
ﻓﻬل ﺃﺠﺩﺕ ﻁﺒﺦ ﺴﻤﻙ ﺍﻟﺫﻜﹾﺭﻯ
ِ ﹼ ِ ﹶ ﹶ
ﺤﺘﻰ ﺼﺒﺢ ﺍﻟ ﻭﺴﻜﻲ
ﻴ ﻤ
- 68. ﺨﺎﻟﻴﺎ
ﹰ
ﻭﺃﺒﺩﻭ ﻏﺎﺭﻗﺎ ﺤ ﹼﻰ ﻜﻌﺒﻲ
ﹰ ﺘ ﹶ
ﺃﻤﺎﻡ ﺩﺭ ِﻙ ﺍﻟﺴﻬل ؟!
ْ ﺠ
ﺃﺤﺴﻨﺕ ﻓﺤﺹ ﺍﻟﺴ ﺩﺓ ﻜﻁﻔل
ﹾٍ ﹾ ِ ﻴ
ﺃﻤﺎﻡ ﻟﻌﺒﺔ ﺼﺩﻴﻘﻪ
ِ ﹸ ِ
ﻟﻜﻨﻙ ﻟﻡ ﺘ ﻯ ﺍﻟﻁﻔل ﺍﻟﻤﺨ ﺄ
ﹼ ﹾ َ ﹶﺒ ﹼ ِ ﹶﺭ
ﻓﻲ ﻤﻼ ِﺴﻬﺎ ﺍﻟ ﺍﺨﻠﻴﺔ
ﺩ ِ ﺒ
ﻭﺃﺴﻤﺎ ﹶﻙ ﺍﻟﺘﻲ ﺩﺍﻋﺒﺕ ﺴﺩ ﺎ
ﹾ ﺠ ﻫ ﻜ
ﻭﻨﺎﻗﻭﺱ َ ﻋﻴﻨﻴﻬﺎ
ﺍﻟﺫﻱ ﻗﺭﻉ ﺃﺫﻨﹾﻴﻙ
ُ ﹸ ِ
ﻓﺄﺼﺒﺕ ﺒﺎﻟﺼﻤﻤﻡ
ُ ِ
ﻫﻜﺫﺍ،
ﺒﻁﻔﻠﻴﺔ ﻋﻨﻴﺩﺓ
ٍ ﹾِ ٍ
ﻨﺴﻴﺕ ﻜل ﺸﻲﺀ
ٍ َ
ﻭﻟﻡ ﺃﻋﺩ ﻗﺎﺩ ﺍ ﺃﻥ ُﻜﺭﺭ
ﺃ ﺭ
- 69. ﺠﺴﻤﻙ ﻋﺎﺠﺯ
ِ
ﻭُﻨﻭﺜﺘﻙ ﺘﺼﻔﺭ
ﺃ ﹸِ
ﻫﻜﺫﺍ:
ﺃﺤ ﹸﻡ ﺍﻟ ِﻁﺎﺀ
ﻜ ﻐ
ﻋﻠﻰ ﹶﻠﺒﻲ
ﻗ
ﻭﺃﻨﺎﻡ
ﺒﻼ ﻀﺠﻴﺞ
* ﺍﻟﻘﺎﻫﺭﺓ *
٤/٢/٣٩٩١
- 71. ﺠﺜﺔ ﻓﻲ ﺍﻟﻤﻁﺒ ِ،
ﺦ ﱠ ﹲ
ﻟﻴﺱ ِﻭﻯ ﺍﻟ ﻭﺕ
ﻤ ﹾ ﺴ
ﺤﻘﻴﻘﺔ ﻭﺤﻴﺩﺓ
ﹰ ﹰ
ﺘﻠﺒﺱ ﺍﻷﻤﺎﻜﻥ
ﹾِ
ﺤﻘﻴﻘﺔ ﻭﺍﺤﺩﺓ
ﹰ ﹰ
ﺘﻤﻠﻙ
ﹶ ِ
ﻗﻠﹾﺒﻲ
***
ﺒﺄﻱ ﺴﻜﹾﻴﻥ ﻴﻘﻁﻊ
ٍ ﹾ ﹶ
ﺍﻟﻭﻗﺕ ؟
ﹾ ﹸ
ﻤﺩﺭﺴﺔ.
ﹲ
ﺒ ﺍﺒﺔ ﻤﻐﹾﻠﻘ ﹲ،
ﻭ ﹲ ﺔ
ﻭﻋﻴﻨﺎﻱ ﺭﺼﺩ
ﺍﻻﻨﹾﻬﻴﺎﺭﺍﺕ ﹸﺅ ﱢﺭ ﺍﻟﻌﺎﻟ
ﹸ ﺘ ﻁ ﹶﻡ
- 72. ﻤﻥ ﺤﻭﻟﻲ
ِ
ﻓﻸ ﻏ ﻥ
ﹶُﹶ
ﺘﺤﺕ ﺃﺴﻨﺎﻥ ﺍﻻﻨ ِﻅﺎﺭ
ِ ﹾﺘ ﹶ
ﺘﻨﹾﻔﺘﺢ ﺍﻟﺒ ﺍﺒ ﹸ،
ﹶ ﻭ ﺔ
ﻭﻴﻘﻑ ﹸﻬﺎﺙ
ِﹸ ﻟ ﹲ
ﻤﺎ ﺍﹼﺫﻱ ﺘﺨ ﺌﻪ
ﻟ ﹸ ﹶﺒ ُ
ﺃ ﻬﺎ ﺍﻟﺴﻭﺭ
ﻴ
ﺃ ﻬﺎ ﺍﻟﻌﻘل ﺍﻟﺫﻱ
ُ ﻴ
ﻴﺘﻬﺎﻭﻯ؟
***
ﺨ ﱢﻔﻲ ﻤﻥ ﻭﻗﻊ ﹸﻁﺎ ِ،
ﺨ ﻙ ﻔ
ﻤﺨﺎﻓﺔ ﺃﻥ ﻴﺼﺤﻭ
ﺍﻟ ﺩﻴﻊ
ﻭ
ﻴﻨﺎﻡ
ﻟﻴﺴﺭﻕ ﺍﻟﺨ ﹶﻰ
ِ ﹶ ﹸﻁ
ﺘﺤﺕ ﺸﻤ ِ ﺃﺒﺭﻴل
َ ﹶ ﺱ
- 73. ﻭﻻ ﺘﺅ ﱢﻤﻲ ﺍﻟﻤﺎ ِﻴﺠ ﺍﻨﺎ
ﺭ ﻭ ﹸ َﺜ
ﻓﻲ ﺸﺎﺭﻉ "ﻨﻭﺒﺎﺭ"
ﻻ ﺘﻭﻗﻅﻴﻪ
ِ ِِ ِ
ﻤﻥ ﻏﻴﺒﻭﺒﺘﻪ ﺍﻟ ﺍ َﻌﺔ
ِ ِﺭ ﺌ ﹾ
***
ﺴﺄ ﹶﻀ ﺦ ﺒﺎﻟﻌﻁﺭ
ِِ ﺘ ﻤﹸ
ﻭﺃﺨﺭﺝ
ﹾ
ﺍﻷﺼﺩﻗﺎﺀ ﻐﻠﻘﻭﻥ ﺍﻟ ﹼﻭﺍ ِﺫ
ﻨ ﻓ ﻴ
ﻋﻠﻰ ﻓﺭﺍﺌﺴﻬﻡ
ِ ِِ
ﻓﻴﻤﺎ ﺃﺒﺩﻭ ﻤﺠﻨﻭﻨﺎ
ﹰ
ﺴﻴﺤﺩ ﹸ ﺃﻥ ﺃﺫﻫﺏ
ﺙ ﹾ
ﻟﻤﻘﹾﻬﻰ ﻤﺭﻴﺽ
ٍ
ﻓُﺴﻠﻡ ﻋﻠﻰ ﻤﻥ ﻟﻡ ُﺴﻠﻡ ﻋﻠﻴﻪ
ﺃ ﹼِ ﺄ ﱢ
ﻤﻨ ﹸ ﻋﺎﻤﻴﻥ ﻜﺎﻤﹶﻴﻥ
ِﻠ ﹾﺫ
- 74. ﻭﺴﻴﻠﺯﻡ ﺍﻟﺘﺴ ﱡﻊ
ﹾ ﱠ ﻜ
ﻷﻥ ﺍﻟ ﹼﻭﺍﺭﻉ ﺃﻭﺴﻊ
ﺸ
ﻗﻠﻴﻼ ﻤﻥ
ﹰ
ﺠﺩﺭﺍﻥ ﺴﻜ ٍ
ِ ﻤ ﹶﻥ
ﻴﻀ ﻨﻲ
ﻤ
ﺒﻼ ﺸﺎﻫﺩ
ٍِ
ﻤﻊ ﺫﻟﻙ ﺃﻋﻭﺩ ﻟﻠﺒﻴﺕ
ِ
ﻤﺴﺎﺀ ﻤﺒﺘﻬ ﺎ
ﺠ
ﻤﻥ ﺸﺩﺓ ﺍﻟﺤﺯﻥ
ِ ِ
***
ﺴﻭﻑ ﺃﺒﺤﺙ ﻓﻲ ﺍﻟﻘﻠ ِ
ﹶﻡ ﹸ
- ﺍﻟﺸﻲﺀ ﺍﻟﻭﺤﻴﺩ ﺍﻟﺫﻱ ﺒﻘﻲ ﻤﻨﻙ –
ِ ِ ﱠ ِ
ﻋﻥ ﺃﺼﺎﺒﻌﻙ ﺍﻟ ﺤﻴﻤﺔ
ِِ ِ ﺭ ِ
ﺍﻟﺘﻲ ﻴﺄ ﹸﻠﻬﺎ ﺍﻟﻤﻁﹾﺒﺦ
ﹸ ُﻜ
ﺴﻭﻑ ﺃﺒﺤﺙ ﻓﻲ "ﺍﻟﻤﻭﺴﻜﻲ"
ﹸ
- 75. ﻋﻥ ﹸﻁﻰ ﺘﺘﺼ ﻉ ﻋﻠﻴﻬﺎ ﺍﻟ ِﻨﺎﻴﺎﺕ
ﺒ ﹸ ﺩ ﺨ
ﻓﻲ ﻗﻠﺒﻲ
ﻨﺎ ﺃﻴﻀﺎ : ﺍﻟﻜِﻤﺎﺕ
ﹶﻠ ﹸ ﹰ ﻫ
ﺤﻴﺙ ﹸﺼﺒﺢ ﻜل ﻴﻭﻡ
ﺘ ِﱠ ٍ
ﺒﻼ ﻤﻌﻨﻰ
ﻭﺍﻷﻤﻭﻤﺔ ﺸ ﺭﺓ
ﹸ ﹶﺠ ﹲ
ﻨﺴﺘ ِﱡﻬﺎ
ﹶ ﹶﻅﻠ
ﻋﻨﺩ ﻤﻭ ﹼﻔﻲ ﺍﻟﺒﻨﻭﻙ
ﻅ
ﻫﺭ ﺎ ﻤﻥ ﻨﺎﻓﻭﺭﺓ ﺍﻟﺩﻡ
ٍ ِ ﺒ
ﺍﻟﺘﻲ ﺘﺘﻭ ﻁ ﺃﺒﺭﻴل
َ ﺴ
ﺘﻤﺎﻤﺎ
ﹰ
ﻨﺎﻙ – ﺃﻴﻀﺎ – ﺍﻷﻓﻕ ﺍﻟﺫﻱ
ُﹾ ﹸ ﹰ ﻫ
ﻨﺘ ِﺏ
ﻴ ﹾ ﹶﺼ
ِ َ ٍ ﺒ ﻌ ﺔ
ﺒﺠﺩﺭﺍﻥ ﺃﺭ ٍ
ﻤﻨﹾﺩﺍﺤﺔ
ٍ
ﻤﻥ ﻗﺒ ٍ ﻴﻼﺤ ﹸﻨﻲ
ﻘ ﹶ ﺭ
- 76. ﻟﺤﻅﺔ ﺘﺤﺘﻤل ﺍﻟ ﹼﻔﻭﻟﺔ
ﹲﹶ ُﻁ ﹶ
ﻭﺍﻟ ﱠﻴﺨﹾﻭﺨﺔ ﻓﻲ ﺍﻷﺸﹾﻴﺎﺀ
ﹶ ﺸ
ﻭﺠﺜﺔ ﻓﻲ ﺍﻟ ﻁﺒﺦ
ﻤ ِ ﹼ ﹲ
ﻭﺤﻘﻴﻘﺔ ﻭﺍﺤﺩﺓ
ﹲ ﹲ
ﻭﺤﻴﺩﺓ
ﹾ
***
ﺴﻴ ﹸﻭﻥ ﻋﻠﻴﻨﺎ
ﻜ ﹶ
- ﺒ ﻁﻭﻟﺔ ﻟﻥ ﻨﺴﺘﻁﻴ ﻬﺎ –
ﻌ ِﺒ ٍ
ﺭﺴﻡ ﺨﻁﻭﻁ ﺍﻟﺤﺩﻭﺩ ﺒﻴ ﹶﻨﺎ
ﻨ ﹸ ِ
ﻭﻤﻊ ﺫﻟﻙ
ﻟﻥ ﻴﻜﻭﻥ ﺍﻟﺒﺭﻭﺘﻭﻜﻭل ﺎ ﺍ
ُ ﺤﺩ
ﺙ
ﺴﻴﺤﺩ ﹸ
ﺃﻥ ﺘﺴ ﹶﻌﻴﺩﻱ ﺍﻟ ﻁ ﺦ
ﻤ ﹾﺒ ﹶ ﺘ
ﻭﺍﺴﺘﺭﺩ ﺼﻤﺕ ﻭﺍﺤﺔ
ٍ ﹶ ِ ﹶ
ﻓﻲ ﺠﺒل ﺒﻌﻴﺩ
ٍ ٍ
ﺒﻌﻴﺩ
- 77. ﺤﻴﺙ ﺘﻬﺫﻱ ﺒﺯﺍﺌﺭﻴﻥ
ﹸ
ﻭﺒ ﺤﺩﺓ
ﻭ ٍ
ﻻ ﹶﻠﻭﻙ ﺘﺎﺭﻴﺨﻬﺎ
ﺘ
ﻓﻘﻁ
ﻤﺘﺤﻑ ﻟﻠ ﹶﺭﺍﺏ
ﹾ ﹲ ﺨ ِ
ﻭﺘﺸﺒﺙ ﺒﺎﻟ ﱠﻅﺭ
ﹶ ﹶ ﹲ ﻨ ِ
ﺤﻴﻨﻤﺎ ﺃﺠﻔﻑ ﺩﻤﻭﻋﻙ
ِ ﹸ
ﻤﻥ ﻭﺭﺍﺀ ﺍﻷﺴﻼﻙ
ِ
* ﺍﻟﻘﺎﻫﺭﺓ *
٣١ – ٠٢/٤/٣٩٩١
- 79. ﻴﻠﹾﺯﻡ ﺃﻥ ﺘﺒ ﹶﻰ ﻗﺭﻴﺒﺎ ﻤ ﹼﻰ
ﹰ ِﻨ ﹶ ﻘ
ﻷ ﹼﻲ ﻻ ﺃﻗﺩﺭ ﻋﻠﻰ ﺍﻟ ﺤﻴل ﻋﻨ ِ،
ﺭ ِ ﹾﻙ ﹾِ ﻨ
ﻭﻻ ﺍﻟﺒﻘﺎﺀ
ﻫﻜ ﹶﺍ؛
ﹶﺫ
ﻤﻌﻠ ﹰﺎ ﺒﻴﻥ ﻤﻭﺘﻴﻥ
ِ ﹼﻘ
ﻭﺍﺤﺘﻤﺎﻟﻴﻥ
ِ
ﻴﻠﺯﻡ ﺃﻥ ﺍﻟﻤﺴﻙ
ﹾِ ﹾ
ﺍﻟﻠﻤ ﺔ ﺍﻷﺨﻴﺭﺓ
ﹶ ﱠ ﺴ ﹶ
ﻗﺒل ﻤﻭﺘﻰ
َ
ﺍﹼﺫﻱ ﻴﻘﹾﺘﺭﺏ
ﻟ
***
ﺍﻗ ِﻀﻲ ﻋﻠﻰ ﺩﻱ
ﻴ ﹾﺒ
ﺇﻨ ﻲ
ِﹼ
ﺃ ﹶﻬﺎ ﻯ
ﺘ ﻭ
- 80. ﻋﻠﻰ ﻠﻴﺒﻙ ﺃ ﻬﺎ ﺍﻟ ﻠﻙ
ﺼ ِ ﻴ ﻤ
ﻜﺫﺍ؛
ﻫ
ﻫﺯ ﺍ ﻓﻲ ﺍﻟﻤﻴﺎﺩﻴﻥ
ﻭ
ﺃﻤﺎﻡ ﺍﻟ ﻤﻙ ﺍﻟﻤﻠﻭﺙ ﺒﺎﻟﻜ ﺍﺒﻴﺱ
ِ ﹶﻭ ﺴ ِ
***
ﺍﺤﺘﺎﺝ ﻜﺜﻴ ﺍ ﻤﻥ ﺍﻟ ﹼﻭﻡ
ﺭ ِ ﻨ
ﺍﻟﺫﻱ ﻟﻡ ﻴﻌﺩ ﺼﺎﻟﺤﺎ
ﻟﻘﺘﹾل ﺫﺍ ﺍﻟ ﻤﺎﻍ
ﹶ ﻫ ﺩ ﹾ
ﻭﻤﺤﻭ ﺫﺍ ﺍﻟ ِﻨﺎﺀ ﺍ َﻟﻴﻡ
ِ ﻫ ﻐ ِ ﻷ ِ
ﺇ ﹼﻪ ﺒﺴﺘﺎﻥ ﻅﻬﻴﺭ ِﻨﺎ
ﺘ ِﻨ
ﺴﺘﻨﹾﻔﻠﺘﻴﻥ ﺩﻭﻥ ﻅل
ﱟ ﹶ
ﺤﻴﺙ ﻻ ﻅل ﺇﻻ
ﱠ ﹼ ﹸ
ﺃﻥ ﻴﺴﺘﺩﺭ ﻨﻲ ﺍﻟﻤﺎﻀﻲ
ِ ﺠ
ﺒﺘ ﺯ ﻱ
ِ ﹶﻌﺎ ِ