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2.
ﺒﺎﻷﺼﺎﺒﻊ ﺍﻟﺘﻲ ﻜﺎﻟﻤﺸﻁ
ﺸﻌﺭ ﻤﺤﻤﺩ ﺴﻠﻴﻤﺎﻥ ﺃﺒﺭﻴل ٧٩٩١
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.
ﻨﻭﺭﺍ ٢
5.
-١-
ﻟﻡ ﺘﻜﻥ ﻗﺼﻴﺭﺓ ﻜﺸﻬﺭ ﻓﺒﺭﺍﻴﺭ ﱠ ﻭﻻ ﺒﻀﻔﺎﺌﺭ ﻁﻭﻴﻠﺔ ﻟﺘﺼﺒﺢ ﺃﺴﻴﺭﺘﻲ ﻟﻡ ﺘﻜﻥ ﻨﺤﻴﻔﺔ ﺠﺩﺍ ﹰ ﹰ ﻭﻻ ﺒﺭﺩﻓﻴﻥ ﺸﺒﻬﺎﻥ ﺍﻟﻤﺎﻀﻲ ﻴ ِ ﺍﻟﻤﺭﺃﺓ ﺍﻟﺘﻲ ﺴﺘﺨﺭﺝ ﺍﻵﻥ ﺒﻔﺴﺘﺎﻥ ﻋﻠﻲ ﺍﻟﺭﻜ ﺔ ﹶﺒ ﹸ ٍ ﻭﺃﺼﺎﺒﻊ ﺘﻜﻔﻲ ﻹﺤﺭﺍﻕ ﻏﺎﺒﻪ ﻭﺍﻟﺘﻲ ﻟﻥ ﻴﺭﺍﻫﺎ ﺃﺤﺩ ﻭﻫﻲ ﺘﻌ ﺭ ﺍﻟﺸﺎﺭﻉ. ﹶ ﺒ ٣
6.
-٢-
ﻻ ﺘﺸﺒﻪ ﺼﻭﺭ ﹶﻬﺎ ﺘﹶ ﻭﻟﻬﺎ ﺼﻭﺕ ﻻ ﻴﺸﺒﻪ ﺒﺠﻌﺎ ﻴﺘﺄﺭﺠﺢ ﻓﻭﻕ ﺍﻟﻤﻭﺝ ِ ﹰ ﹲ ﻭﺫﻴل ﺤﺼﺎﻥ ٍ َ ﻓﺎﺭﺴﻡ ﻜﺎﻟﻘﺭﺼﺎﻥ ﺇﺫﺍ ﹰ ﻭﺘﺤ ﺭ ﻤﻥ ﺃﻟﻭﺍﺡ ﺍﻟﻤﺎﻀﻲ ﺭ ﺘﻌﺭﻑ ﺃﻥ ﺍﻟﺼﻭﺕ ﻴﺩ ﹶ ِ ﻭﺍﻟﻌﻴﻥ ﻜﺘﺎﺏ ﻭﺍﻟﻤﺘﻭﻟﻲ ﹸﺭﺏ ﺍﻟﺒﺎﺏ ﻌﺩ ﻴ ﻗ ﹸ ﻭﺘﻌﺭﻑ ﺃﻥ ﺍﻤﺭﺃﺓ ﻓﻲ ﺍﻟﻌﺸﺭﻴﻥ ﻓﻀﺎﺀ ﻴﻐﹾﻠﻰ ﹾ ﹰ ﻓﺎﻤﻨﺢ ُﺫﻨﺎ ﺸﻜل ﺍﻟﻭﺭﺩﺓ ﺃ ﹰُ ﻭﺍﻟﱡﻔﺎﺤﺔ ﻟﻭﻥ ﺍﻟﺜﺩﻱ ﺘ ﹶ ﱡ ﻭﺸﻌﺭﺍ ﺭﺍﺌﺤﺔ ﺍﻟﻨﻌﻨﺎﻉ ﹶ ﱠِ ﹰ ﺍﻤﻨﺤﻬﺎ ﺩ ﺠﺎ ﺭ ﹰ ﻭﻫﻭﺍﺀ ﻟﻡ ﺘﻬﺭﺴﻪ ﺍﻟﺴ ﺎﺭﺍﺕ ﹶ ﻴ ﹸ ﻭ ﹸل ﻗﻴﺼﺭﻙ ﻭﺴﹼﺔ ﹸﺒﺯﻙ ﻗ ﹶ ِ ﻠ ﹸ ﺨ ﹸ ﹸ ﺘﻌﺭﻑ ﺃﻥ ﺍﻷﺭﺽ ﺍﻤﺭﺃ ﹸ ﺘﺄﻜل ﻤﺎ ﻭﻟﺩﺘﻪ ﺓ ﻭﺘﻌﺭﻑ ﺃﻥ ﺍﻷﺒﻌﺩ ﺃﺩﻨﻰ ٤
7.
ﻓﺎﺼﺤﺏ ﻨﺎﺴﺎ ﻨﺤﺩﺭﻭﻥ
ﻤﻥ ﺍﻷﻟﺒﻭﻡ ﹰﻴ ﻭﻟ ﺤﺭﺍﺌﻕ ﻨﺎﺒﺘﺔ ﻓﻲ ﺍﻟﺜﻭﺏ ِ ﹸﻡ ﻟﻨﻭﺭﺍ ﺴﺕ ﺠﻬﺎﺕ ِ ﱡ ﻭﺴﻤﺎﺀﺍﻥ ِ ﻁﻴﻭﺭ ﺘﻌﻠﻭ ﺤﻴﻥ ﹸﺫﻴﺏ ﺍﻟﺸﻤﺱ ﻭﺠﻭﻩ ﺍﻟﻤﺩﺍﺤﻴﻥ ﺘ ﹸ ﻭﺼﻭﺭ ﻟﻤ ﻴﺩﻴﻥ ﻴﻀﻴﻕ ﺍﻟﺤﻭﺕ ﺒﻬﻡ. ﹸ ﺭ ٥
8.
-٣- ﺍﻟﺤ ﺭ ﻭﻥ
ﺘ ﹶﹶﻠﺒﻭﻥ ﻓﻲ ﻨﻭﻤﻬﻡ ﻭﻫﻰ ﻻ ﺘﺘﻘﹼﺏ ﻠ ﹼ ﺠ ﻴ ﻴ ﹶﻘ ﺃﻷﻨﻬﺎ ﻟﻡ ﹶﹶﺼﺭ ﺤ ﺭﺍ ؟ ﺘ ِ ﺠ ﹰ ﺃﻡ ﻷﻨﻬﻡ ﺜ ﺘﻭﺍ ﺃﻁﺭﺍﻓﻬﺎ ﺒﺎﻟﻤﺴﺎﻤﻴﺭ ِ ﹶﺒ ﻭﺃﺤﺎﻁﻭﻫﺎ ﺒﺤﻨﺎﻥ ﺯﺍﺌﺩ؟ ٍ ﻟﻡ ﺘﻜﻥ ﻫﻨﺎﻙ ﺤﻴﻥ ﺍﺨﺘﺭﻗﺕ ﺤﻭﺍﺠﺯ ﺍﻟﻜﻭﻟﻴﺭﺍ ﺒ ﺯﻤﺔ ﻁﻭﺒ ﺔ ﻭﺠﻠﹾﺒﺎﺏ ﻤﻥ ﺍﻟ ﻓﻴﺭ ﺯ ِ ﹾ ٍ ﻴ ِﺠ ﺼﻭﺘﻬﺎ ﻟﻡ ﻴﻜﻥ ﻜﻬﻔﺎ ﹰ ﻭﺜﺩﻴﻬﺎ ﻟﻡ ﻴﻜﻥ ﻗﺩ ﻁﻔﺎ ﻟﻜﻨﻨﻲ ﺍﺸﺘﻬﻴﺕ ﺍﻟﺤﺭﺏ ﻭﺍﻨﹾﺸﺩﺩﺕ ﻟﻠ ﻨﻴﻥ ﹾ ﹸ ﺭ ِ ﹸ ﺃﻅﻨﻬﺎ ﺴﺘﻌﺒﺭ ﺍﻟﻐﺭﻓﺔ. ٦
9.
-٤-
ﺇﺫﺍ ﹰ ﻜﺎﻨﺕ ﺍﻤﺭﺃﺓ ﻤﻥ ﻫﻭﺍﺀ ﻭﻤﺎﺀ ﹰ ﻭﻜﺎﻨﺕ ﻏﺒﺎﺭﺍ.. ﻭﻨﺎﺭﺍ ﻤﺤﱠﻘﺔ ﻓﻲ ﺍﻟﺴﺭﻴﺭ ِ ﹰ ﻠ ﹰ ﱠ ﹰ ﺩﻡ ﻴﺘﻨ ل ﻤﻨﻬﺎ ﺯ ﻴﺯ ﹼ ﺍﻜﺘﻤﺎﻻ ﹰ ﻑ ﻭﻴﻤﻨﺤﻬﺎ ﻤﻭﺴﻤﺎ ﻟﻠﺼﺭﺍﺥ ِ ﹰ ﻭﻜﻨﺕ ﺒﻭﺒﺎ ﻔﺘﺵ ﻋﻥ ﺤﺎﺌﻁ ٍ ﹸﻫ ﹶﻴ ﹸ ﻓﻨﺎ ﻟﺘﹾﻬﺎ ﻗﻠﻤﻲ ﻭﹾ ﻅل ﻤﻨﹾﺯﺭﻋﺎ ﻓﻲ ﺍﻟﺩﻭﺍﺓ ﹶ ﹶ ﹶ ّ ﹾ ﻭﺃﻗ ِِﻡ ﺤ ﺭﺘﻬﺎ ﻤﻥ ﺯﻨﺎﺯﻥ ﺴ ﺭ ﻓﺴﺘﺎﻨﻬﺎ ﻜﺎﺩ ﻴﺨﻨﻕ ﺜﺩﻴﻴﻥ ِ ﻭﺍﻟﺼﻤﺕ ﺠﻤﺭ ﺍﻟﺸﻔﺎﻩ ِ ﹸ ﻭﻗﻠﺕ ﺒﺴﺎﻗﻴﻥ ﻤﻥ ﻭﺭﻕ ﺴﻭﻑ ﺃﺨﻁﻭ ٍ ﺇﺫﺍ ﺍﻨﺘﺼﻑ ﺍﻟﻠﻴل ُ ﺃﻭ ﻨﻌﺴﺕ ﻓﻲ ﻴﺩﻴﻬﺎ ﺍﻟﻔﺭﺍﺸﺎﺕ ﹸ ﹼ ﺍﺒﺭﻴل ﻴﺩﻨﻭ ﺘﺭﺍﺏ ٧
10.
ﻭﻫﺭﻭﻟﺔ
ﹸ ﻭﺯﻜﺎﻡ ﻭﻨﺎﺱ ﻴ ﺒﻭﻥ ﺃﻋﻤﺎﺭﻫﻡ ﻓﻲ ﺍﻟﻤﻜﺎﺘﺏ ِ ﺼ ﻟﻜﻨﻬﺎ ﻤﻥ ﻤﻴﺎﻩ ﺴﺘﻘﹾﻔﺯ ﺨﻤ ِ ﺔ ﻜﺎﻟﻤﻼﻙ ِ ﹶ ﹾ ﹶ ﺭ ﻴ ﺴﺘﺭﻤﻰ ﻋﻠﻰ ﺩ ﹼﺔ ﻅﹼﻬﺎ ِﹼ ﻠ ﻜ ﹼ ﻭﺘﺤﺸﻭ ﻤﻨﺎﻗﻴﺭ ﺸﻤﻌﻴﺔ ﺒﺎﻟﻜﻼﻡ ِ ِ ﹰ ﹶ ﻟﻬﺎ ﻓﻲ ﺍﻟﺩﻭﺍﻟﻴﺏ ﺭﺍﺌﺤﺔ ﻟﻡ ﺘﺯل ﹸ ﻭﻨﺠﻭﻡ ﻋﻠﻰ ﺍﻟﺤﺒل ﺃﺤﺫﻴﺔ ﻜﺎﻟﺯﻫﻭﺭ ﻭﺃﺤﺫﻴﺔ ﻜﺎﻟﻘﻭﺍﻗﻊ ِ ﹸ ِ ﹸ ﻤﻥ ﻴﺨﻠﻊ ﺍﻵﻥ ﻋﻨﻬﺎ ﻤﻌﺎﻁﻔﻬﺎ ﺍﻟ ﹶﹶﺸﺒ ﺔ ﺨ ِ ﻴ ﻴﻠﻤﺱ ﺯﺭﺍ ﻟﺘﻤ ﹶﹶﺯﺝ ﺍﻟﻤﻭﺠﺘﺎﻥ ِ ﹰ ﺘ ﺘﺫﻭﺏ ﺍﻟﺸﻭﺍﺭﻉ ﻓﻲ ﺸﻬﻘﺔ ﻜﺎﻥ ﻭﺠﻪ ﺍﻟﺸﺘﺎﺀ ﺍﻟﻤﺠ ﺩ ﻤﻠﹾﺘ ِِﻘﺎ ﺒﺎﻟﺯﺠﺎﺝ ِ ﻌ ﹾ ﺼ ﹰ ﻁﻴﻭﺭ ﺘﺭﺍﺒ ﺔ ﺘﺘﺴﹼل ﻠ ﹼ ﻴ ﺼﻤﺕ ﻴﺭﻑ ﹲ ﻭﺭﻤﺎﻨﺔ ﺍﻟﺴﻘﻑ ﺘﺒﺼﻕ ﺭﻤﻼ ﹰ ﻭﺜﻭﺒﻲ ﻴﺼ ﺍﻟﻌﺼﺎﻓﻴﺭ ﻋﻥ ﻜﺘﻔﻲ ﺩ ﻭﻟﻨﻭﺭﺍ ﺸﻭﺍﻏﹸﻬﺎ ﹸ ﻠ ٨
11.
ﻗﻁﺔ
ﹸ ﻭﻜﺘﺎﺏ ﻭﻁﻔل ﻤﻥ ﺍﻟﻘﻁﻥ ﻴﻠﻬﻭ ُ ﻴﻭ ﺦ ﺃﺜﻭﺍﺒﻪ ﺤﻴﻥ ﻴﺯﺤﻑ ﺘﺤﺕ ﺍﻟﻤﻘﺎﻋﺩ ِ ﺴ ﺃﻭ ﻴﺘﻠﻜﺄ ﺒﻴﻥ ﺍﻟﺘﻔﺎﺼﻴل ِ ﻫل ﺃﻨﺕ ﻨﻭﺭﺍ ؟ ﺒﻜﺕ ﺤﻴﻥ ﺼﺤﺕ ِ ﹸ ﻭﻜﺎﻥ ﺍﻟﺼﺒﺎﺡ ﻋﻠﻰ ﻭﺠﻬﻬﺎ ﺒﻘﻌﺎ ﹰ ﻓﺎﺒﺘﺴﻤﺕ ﹸ ﻫل ﺍﻨﺨ ﻕ ﺍﻟﺒ ﺭ؟ ﹸ ﹶﺭ ﹶ ﺤ ﻤﻠﺕ ﻋﻠﻴﻬﺎ ِﹾ ﹸ ﻭﻟﻜﻨﻬﺎ ﺍﺭﺘﻌﺸﺕ ﹾ ﻓﺎﺴﺘﻨﺩﺕ ﺇﻟﻰ ﻋﻠﺒﺔ ﺍﻟﺘﺒﻎ ِ ﹸ ﺼﺎﻓﻴﺕ ﺼﻭﺭﺘﻬﺎ. ﹸ ٩
12.
-٥-
ﺒﻤﺎ ﺘﻔﺘﺢ ﺍﻵﻥ ﺸ ﺎﻜﻬﺎ ﻟﻁﻴﻭﺭ ﻤﻥ ﺍﻟ ِِﻴﺭ ﺠ ِ ٍ ﹸﺒ ﺭ ﺘﻤﻨﺢ ِِﻁﺎ ﺃﺼﺎﺒﻊ ﻤﻠﹾﻐﻭﻤﺔ ﹾ ﹰ ﻗ ﹼ ﺒﻤﺎ ﺘﻌﺭﻑ ﺍﻵﻥ ﺃﻥ ﺸﻭﺍﺭﻋﻨﺎ ﺭ ﻻ ﹸﻌﻴﻥ ﻋﻠﻰ ﺍﻟ ﺏ ﺤ ﺘ ﹸ ﻭﺍﻟﻨﻴل ﻟﻴﺱ ﺃﺒﺎ ﹰ َ ﺒﻤﺎ ﺘﻐﻠﻕ ﺍﻵﻥ ﺒﺎﺒﺎ ﹰ ﺭ ﺃﻭ ﺘﻌﻴﺩ ﺒﻨﺎﺀ ﺍﻟﻤﺩ ِﻨﺔ ﻤﺜﻠﻰ ﻴ ِ ﻋﻠﻰ ﻤﻘﻌﺩ ﺍﻟﺒﺎﺭ ِ ﺼﺎﺩﻓﺘﻬﺎ ﻓﻲ ﺍﻟﺼﺒﺎﺡ ﹸﺭﺍﻜﺽ ﻤﺎﺀ ﺘ ﹸ ﻭﺼﺎﺩﻓﺘﻬﺎ ﻓﻲ ﺍﻟﻤﺴﺎﺀ ﻋﻠﻰ ﻜﹾﻭﻤﺔ ﺘﺸﹾﻌل ﺍﻟﻨﺎﺭ ﹾ ٍﹸﹾ ِ ﻤﻥ ﺃﻨ ِ؟ ﺕ ِ ﻨﻭﺭﺍ ﻭﻤﻥ ﺃﻨ ﹶﹶ؟ ﺕ ﻤﺴﺘﻭﺤﺵ ﹲ ﻭﺍﻨﻁﻠﻘﻨﺎ ﺒﻜﻴﻨﺎ ﻤﻌﺎ ﻭﺍﺒﺘﺴﻤﻨﺎ ﹰ ﺭﺃﻴﻨﺎ ﻴﺩ ﺍﷲ ﻓﻭﻕ ﺍﻟﻤﺩﻴﻨﺔ ٠١
13.
ﻭﺍﻟﺩﺭﻜﻰ ﻴﺴﻭﻕ ﺨﺭﺍﺘﻴﺘﻪ
ﻓﻲ ﺍﻷﺯﻗﺔ ﱠِ ﻜﺎﻥ ﺍﻟﺸﺘﺎﺀ ﻋﻠﻰ ﺤﺎﻓﺔ ﺤﻴﻥ ﻤﺎﻟﺕ ٍ ﻭﺤﻁﺕ ﺩﺒﺎﺒﻴ ﻬﺎ ﻓﻭﻕ ﺭﻑ ﹼ ﺴ ﹼ ﹾ ﻭﻜﺎﻥ ﺍﻟﺸﺘﺎﺀ ﻋﻠﻰ ﺤﺎﻓﺔ ٍ ﺤﻴﻥ ﱠﺩﺕ ﺸﺭﻴﻁﺎ ﹰ ﺸ ﹾ ﱠ ﻭﻜﺎﻥ ﻋﻠﻰ ﺤﺎﻓﺔ ﺤﻴﻥ ﻋ ﺕ ﺘﻼﻻ ﻭﺃﻭﺩﻴﺔ ﺘﺸﺒﻪ ﺍﻟﻜﻬﺭﻤﺎﻥ ﹰ ﹰ ﺭ ﹸ ﻓﻨﺎﻭﻟﺘﻬﺎ ﺃﺴﻤﻲ ﻭﻗﺎﺌﻤﺔ ﺒﺎﻟﻬﺯﺍﺌﻡ. ﻗﻠﺕ ﺍﻟﺭﺠﺎل ﻤﺩﺍﻓﻊ ﺘﺼﻠﺢ ﻟﻠﺤﺭﺏ ﻭﺍﻟﻤﻬﺭﺠﺎﻨﺎﺕ ِ ِ ﹸ ﻟﻡ ﺘﻜﻥ ﺍﻤﺭﺃﺓ ﻤﺜل ﺒﻌﺽ ﺍﻟ ّﺴﺎﺀ ِ ﻨ ّﹶ ﺠﺭﺩ ﻓﺭﺝ ﻭﺜﺩﻴﻴﻥ ِ ﻤ ِ ﻜﺎﻨﺕ ﹸﻭﺍﺓ ﺍﻷﻨﻭﺜﺔ ِ ﹶﻨ ﹸ ﻤﺠﻤﹶﹶﻬﺎ ﻭﺍﻟﻌﺼﻴﺭ ﻠ ﹸﺭﻭﺝ ﺒﺄﻨﺤﺎﺌﻬﺎ ﺘ ﹶﹶﻔ ﱠﺢ ﹶﺘ ﺘ ﻓ ﹸ ﻜل ﺍﻟﺜﻘﻭﺏ ﻓﺭﻭﺝ ﻭﻜل ﺍﻟﻘﺒﺎﺏ ِ ﻟﻤﺎﺫﺍ ﻴﺫﻜﺭﻨﻲ ﺍﻟﺤ ﺒﺎﻟﺤﺭﺏ ِ ﺏ ﻅﻠﺕ ﺜﻌﺎﺒﻴﻥ ﺠﺴﻤﻲ ﺘ ﹸﺽ ﹶﻔ ﹸ ١١
14.
ﻭﻅﱠﺕ ﹸﺭﻭﺝ ﺘﻘﻭﻡ
ﻠ ﻓ ﱠ ﹸ ﻭﻅﻠﺕ ﻤﻥ ﺍﻟﻨﺎﺭ ﺒﻌﺽ ﺍﻟﺸﻅﺎﻴﺎ ﻤﻌﹼﻘﺔ ﺒﺎﻟﺤﻭﺍﺌﻁ ِ ﻠ ﹼ ﺃﻋﺭﻑ ﺃﻨﻰ ﺴﺄﺒﻠﻎ ﻤﺎﺌﻲ ﻭﺃﺤ ﺏ ﺩﻟﹾﺘﺎﻯ ﺠ ِ ﹾ ﺃﻟ ﺴﻬﺎ ﻤﺜل ﻁﻔل ﻓﻰ ﻟﺤﻠﹾﻭﺍﻩ ٍ ﻭ ﹾ ﹾﺤ ﺜﻡ ﺃﻗﺎﺭﻥ ﺒﺎﻟﺘﻭﺕ ﺭﻤﻼ ﹰ ِ ِ ﻭﺃﻋﻠﻥ ﻤﻭﺕ ﺍﻟﺤﺭﻴﺭ ِ ﹶ ﻜﻼﺏ ﺍﻟﺸﻭﺍﺭﻉ ﺨﻠﻔﻲ ﻭﻟﻴل ﻴﻠ ﻤﻘﺎﻫﻴﻪ ِ ُ ﹸﻡ ﺼﺭﺤﺎ ﺃﻗﻤﺕ ﻟﻬﺎ ﻭﻗﻠﺕ ﻤﺠﻭﺴ ﺔ ﺴﺘﻠﻡ ﺍﻟ ﹶﹶﺭﺍﺵ ِﻴ ﹸ ﻔ ﹶ ﹸ ﻭﺘﺄﻜل ﻨﺎﺴﺎ ﻤﻥ ﺍﻟﻘﺵ ﻴﻜﹾﺘ ِِﻠﻭﻥ ﹾﻬ ﹰ ﻭﻴﺒﻜﻭﻥ ﺤﻴﻥ ﻴﻤﺭ ﺍﻟﻬﻭﺍﺀ ﺒﻬﻡ. ٢١
15.
-٦-
ﺇﺫﺍ ﹰ ﻟﻡ ﺘﻜﻥ ﺩﻭ ﻗﺎ ﻭﻟﻡ ﺃﻜﻥ ﻨ ﻭﺭﺍ ﺼﺒ ﹰ ﺭ ﹰ ﻜﻨﺕ ﻭﻟﺩﺍ ﻗﺎﺩﻤﺎ ﹸ ﹰ ﻤﻥ ﻫﻨﺎﻙ ﻭﻜﺎﻨﺕ ﺒﻨﺘﺎ ِ ﹰ ﺒﺜﺩﻴﻴﻥ ﻜﺎﻟ ﻤﻠﻴﻥ ﺩ ﻭﻀﻔﻴﺭﺓ ﻜﺫﻴل ﺍﻷﺭﻨﺏ ﺇﺫﺍ ﹰ ﻟﻡ ﺘﻜﻥ ﻤﺠ ﺩ ﺍﻤﺭﺃﺓ ٍ ﺭ ﻜﺎﻨﺕ ﻤِﻜﻪ ﻠ ِ ﻭﻜﻨﺕ ﻗﺎ ِِﻤﺎ ﻤﻥ ﺍﻟﻬﺯﻴﻤﺔ ﺃﺼﻴﺢ ﻴﺎ ﻤﻠﻜﺔ ﹸ ﹸ ﺩ ﻴﺎ ﺨﺎﺌﻨﺔ ﹸ ﻴﺎ ﻜﻠﺒﺔ ﹸ ﻫل ﺍﻟﺒﺤﺭ ﻗﺎﺒل ﻟﻠﻜﺴ ِ؟ ُ ﹶِ ﺭ ﻀﺤﻜﺕ ِ ﹾ ﺤﻴﻥ ﻗﻠﺕ ﺍﻟﺒﻴﺎﺽ ﺼﺎﺭ ﺼﺩﻴﻘﺎ ﹰ ﹸ ﻭﺍﻟﻤﻴﺭﻜﺭﻭﻜﺭﻭﻡ ٣١
16.
ﻀ ِِﻜﺕ
ﺤ ﹾ ﺤﻴﻥ ﻗﻠﺕ ﻟﻥ ﻨﺸﻴﺦ ﻤﻌﺎ ﹶ ﹰ ﹸ ﺃﻜﺭﻩ ﺍﻟﻌﺠﺎﺌﺯ ﺃﻟﻭﺍﻥ ﺠﻭﺍﺭﺒﻬﻡ ﻭﺍﻷﺴﻨﺎﻥ ﺍﻟﺘﻲ ﺘ ِﻴﺕ ﻓﻲ ﺍﻟﻜﻭﺏ ِ ﺒ ﹸ ِ ﻀ ِِﻜﺕ ﺤ ﹾ ﺤﻴﻥ ﻗﻠﺕ ﺃﺤﺏ ﻭﻻ ﺃﺤﺏ ﹸ ِ ﻭﺃﻤﺸﻰ ﻭﻻ ﺃﻤﺸﻲ ﻫل ﺍﻷﺴﻭﺃ ﻤﻀﻰ؟ ٤١
17.
-٧-
ﺒﻤﺎ ﺘﻐ ِل ﺍﻵﻥ ﺃﻗﺩﺍﻤﻬﺎ ﻓﻲ ﻤﻴﺎﻩ ﻠ ﻨﺔ ٍ ﻤﻭ ٍ ﺭ ﹶﹾ ِ ﺴ ﺒﻤﺎ ﺘﺼﺒﻎ ﺍﻟﺸﻌﺭ ﱠ ﺭ ﺘﻌﻁﻴﻪ ﺭﺍﺌﺤﺔ ﺍﻟﻤﺩﻥ ﺍﻟ ﺎ ِﻠﻴﺔ ِ ﺴﺤ ِ ِ ﹸ ﺃﻭ ﺘﺘﻠ ﹼﺄ ﻗﺩﺍﻡ ﻨﺎﻓﺫﺓ ﹼ ﻜ ﻟﺘﻠﻡ ﺍﻟﻐﻴﻭﻡ ﺍﻟﺘﻲ ﺴ ﹶﹶﻁﺕ ﻤﻥ ﻋﻴﻭﻥ ﺍﻟﻤ ﹼﻨﻴﻥ ﻐﹼ ﻘ ﺜﻡ ﹶﹶﺴﻴﺭ ﺇﻟﻰ ﻓﻨﺩﻕ ﻭﻫﻰ ﺘﺭ ﹸﻥ ﹶ ﻁ ٍ ﺘ ﺘﻨﹾﺘﻅﺭ ﺍﷲ ﻴﻠﻤﺴﻬﺎ ﺒﻌﺼﺎﻩ ﹶﹾ ﻟﻴﻨﻬﻤﺭ ﺍﻟﺯﻴﺕ ﻤﻥ ﺜﺩﻴﻬﺎ ﹸ **** ﺭ ﻤﺎ ﻜﺎﻥ ﺯﻭﺭﻗﻬﺎ ﺼﺎﻋﺩﺍ ﻓﻲ ﺍﻟ ﹼﻤﺎل ﺸ ِﹼ ﹰ ﺒ ﻓﻭﺍﻨﻴ ﻬﺎ ﹶﹶﺴﺘﺭﻴﺢ ﻋﻠﻰ ﺍﻟﺜﻠﺞ ِ ﺘ ﺴ ﻫﺫﺍ ﺍﻟﺸﺘﺎﺀ ﺒﻼ ﺒﺏ ﹶﹶﻘﻕ ﺍﻟﺭﻭﺡ ﺴ ﺸ ﱠ ﺱ ﺃﺼﺎﺒﻌﻪ ﻓﻲ ﺍﻟﺠﺭﻭﺡ ِ ﺩ ﻭﻗﱠﺏ ﺃﻴﻀﺎ.. ﺒﻼ ﺒﺏ ﻠﺒﺔ ﺍﻟﻭﻗﺕ ِ ﺴ ﻋ ﹶ ﹰ ﻠ ﱠ ﻨﺎﻭﻟﻨﻲ ﻟﺤﻅﺔ ﻜﻨﺕ ﺴﻴ ﻫﺎ ﹶ ﹸ ﺩ ﹶ ﻤﻭﻗﺩ ﻓﻲ ﺍﻟﻤﻤﺭ ﻭﻁﺎ ِﻟﺔ ﻭﹸِ ﻜﺘﺏ ﻭ ﹸﺭﺍﺏ ﺘ ﹸ ٥١
18.
ﺴﺭﻴﺭ
ﺒﻘﺎﻴﺎ ﻁﻌﺎﻡ ٍ ﻭﻨﻘﺭ ﻋﻠﻰ ﺍﻟﺒﺎﺏ ﻴﺸﺒﻪ ﺯﻗﹾﺯﻗﺔ ﹾ ﹰ ﹶﹾ ﻭﺼﺒﺎﺡ.. ﻤﺩ ﺃﺼﺎﺒﻌﻪ ﻤﻥ ﺨ ﻭﻡ ﺍﻟﺸﺒﺎﺒﻴﻙ ِ ﹸﺭ ﻴ ﻫل ﺃﻨﺕ ﻤﻥ ﻤﺼﺭ ََﻗﻠﺕ ﻟﻬﺎ ﺤﻴﻥ ﺴ ﺕ ﺸﻭﺍﺭﻉ ﺤ ﹸﻭﺓ ﺒﺎﻟﻐﺒﺎﺭ ﻤ ﺸ ﹸ ﺒ ﻓﻤﺎﻟﺕ ﻋﻠﻰ ﺴ ﻙ ﻴﺘﻸﻷ ﻓﻲ ﺍﹶﹶﺤﻭﺽ ﻟ ِ ﻤ ﻴﺯﻫﻭ ﺒﺄﻟﻭﺍﻨﻪ ِ ﻭﺒﻜﺕ. ﹾ * ﺭ ﻤﺎ ﺘﺸﺭﺏ ﺍﻵﻥ ﻓﻲ ﺍﻟﺭﻜﻥ ﺸﺎﻴﺎ ﺒ ﻭﺘﺤﺼﻰ ﺍﻟﺒﻼﻁ ﹸﺩ ﻥ ﺘﺨ ﹸ ﻜﻲ ﹸﻐﻠﺏ ﺍﻟﻭﻗﺕ ﹶ ﺘ ﹸ ﺃﻭ ﺘ ﹶﹶﺸﺎﻏل ﺒﺎﻟﺜﻭﺏ ِ ﹶﺘ ﺘﺩﻋﻙ ﺜﺩﻴﺎ ﺒﺜﺩﻱ ﹶ ﹰ ﻭﺘﻀﺒﻁ ﺴﺎﻋ ﹶﻬﺎ ﻤ ﺓ ﺒﻌﺩ ﺃﺨﺭﻯ ﺘ ﺭ ﹶ ﹶ ﺭ ﻤﺎ ﺘﺘ ﹶﹶﻭﻯ ﺒﻌﺩ ﻋﻴﻭﺒﻲ ﺒ ﹶ ﹶﻘ ِ ﻭﺘﺴ ﻯ ﻀﻔﺎﺌﺭ ﺯﺍﺌﻔﺔ ﹰ ﹸ ﻭ ٦١
19.
ﺃﻭ ﺘ ﺏ
ﺍﻟﻤﺭﺍﻴﺎ ﹶ ﺴ ﻜﻤﻨ ﹸﻬﺎ ﺴﺘﻌﻴﻥ ﺼﺒﺎﺤﺎ ﻋﻠﻰ ﺍﻟﺤﺒﻭ ِ ﹰ ﺠﹸ ﺘ ﻟﻜﻨﻬﺎ ﺴﺘﻨﺎﻡ ﻜﻤﻨ ﺘﻬﺎ ﺴﺘﺸ ﺍﻟﺤﻤﺎﻡ ﺍﻟﺫﻱ ﻓﻲ ﺍﻟﺩﻓﺎﺘﺭ ِ ﹸﺩ ﹾﺠ ﺒ ﺎﻋﺔ ﺍﻟﻔ ﱠ ﻜﺎﻨﺕ ﺘﻼﺤﻘﻨﺎ ﹸل ﻴ ﻭﺍﻟﻤﺭﻭﺭﻱ ﺃﻋﻁﻰ ﻓﻭﺍﻨﻴﺴﻪ ﻟﻭﻥ ﺤﻘل ٍ ﻓﺴﺭﻨﺎ ِ ﻭﻫﺒﻨﺎ ﺍﻷ ﻭﺩ ﺍﻟﺘﻲ ﺘﺤﺭﺱ ﺍﻟﺠﺴﺭ ﻜﻴﺴﺎ ﻤﻥ ﺍﻟ ﹸﻭل ﻔ ِ ﹸ ﹰ ﺴ ﺜﻡ ﺍﺨﺘﺭﻗﻨﺎ ﺍﻟﻤﺩﻴﻨﺔ ﹶ ﺃﻋﻁﻴﺕ ﻭﺠﻬﻲ ﻟﻤﺨﻁﻭﻁﺔ ﻓﻲ ﺍﻟﺭﺨﺎﻡ ِ ﹸ ﻭﺃﻋﻁﺕ ﻟﻨﺎﻓﻭﺭﺓ ﻴﺩﻫﺎ ٍ * ﺭﺒﻤﺎ ﻭﻗﻔﺕ ﻓﻲ ﺍﻟﺼﺒﺎﺡ ﺍﻟﻤﺭﺍ ِِﻍ ﺒﻴﻨﻲ ﻭﺒﻴﻥ ﺍﻟﺭﺼﻴﻑ ﹶ ﻭ ﺃﻭ ﺍﺒﺘﺴﻤﺕ ﹾ ﻭﻫﻰ ﺘﺴ ِﻁ ﺃﻗﻤﺎﺭﻫﺎ ﺒﻴﻥ ﺭﺠﻠﻲ ﺜﻡ ﺍﻨﺤﻨﺕ ﹶ ﹸ ِ ﻘ ﻓﺎﻨﺤﻨﻴﺕ ﻭﺃﺨﺭﺠﺕ ﻋﻠﺒﺔ ﺘﺒﻐﻰ ﹸ ﹸ ﻭﻗﺩﺍﺤﺘﻲ ﻭﺴﺄﻟﺕ ﻁﻴﻭﺭﺍ ﺤﹼﻘﺔ ﻓﻲ ﺍﻟﺩﺨﺎﻥ ﻋﻥ ﺍﻟﻭﻗﺕ ِ ﹰﻤ ﻠ ﹼ ﹸ ٧١
20.
ﻀﺎﻫﻴﺕ ﺼﻭﺭﺘﻬﺎ ﺒﺎﻟﺘﻲ
ﻓﻲ ﺍﻟﺠﺭﺍﺏ ِ ﹸ ﻭﺘﻤﺘﻌﺕ ﻤﻌﺘﺫﺭﺍ ﹰ ﹸ ﺤﻴﻥ ﻤﺎﻟﺕ ﻋﻠﻰ ﺸ ٍ ﻓﻲ ﺍﻟﺤﻘﻴﺒﺔ ِ ﹶﺒ ﺢ ﻫل ﺃﻨﺕ ﻴﻭﻨﺱ؟ ﹶ ﺃﻟﻘﺕ ﻀﻔﺎﺌﺭﻫﺎ ﻟﻠﻭﺭﺍﺀ ِ ﹾ ﻭﺸ ﺕ ﻤﻥ ﺍﻟﺒﺤﺭ ﺼ ﹼﺎﺭﺓ ﻓﺎﺭﻏﺔ ﻨ ﹰ ﹼ ﹶ ﺩ * ﺒﻤﺎ ﺘﻠﻬﺙ ﺍﻵﻥ ﺒﻴﻥ ﺍﻟﻤﺤﻁﺎﺕ ﹼ ِ ﺭ ﺘﺩﻓﻥ ﻓﻲ ﺼﺩﺭﻫﺎ ﺼﻭﺭﺍ ﹰ ﹶ ﻭﺘﻬﺩﻫﺩ ﻁﻔﻼ ﻤﻥ ﺍﻟﻘﻁﻥ ِ ﹰ ﻗﺩ ﺘﺘﺫ ﹼﺭ ﺃﺭﻀﺎ ﹰ ﻜ ﹼ ﺠﻭﺍﻤﻴ ﻬﺎ ﻤﻠﻜﺎﺕ ﹸ ﺴ ﻭﺃﻁﻔﺎﻟﻬﺎ ﺸﺠﺭ ﻭﺍﻟﺭﺠﺎل ﻤﺤﺎﺭﻴﺙ ﹸ ﻫل ﻜﺎﻥ ﺒﻴﻨﻲ ﻭﺒﻴﻥ ﺸﺒﺎﺒﻴﻜﻬﺎ ﺴﻔﻥ ﺃﻡ ﺇﻟﻴﻬﺎ ﹶﹶﺴﹼﻘﺕ ﺤﺒل ﺍﻟﻜﻼﻡ ِ ﺘ ﻠ ﹸ ﹼ ﺍﻨﺤﺩﺭﺕ ﺇﻟﻰ ﹸﻀﺭﺓ ﻓﻲ ﺍﻟ ﻭﺍﺤل ﺴ ﺨ ﹸ ﹸ ﺤﻘﺩ ﺴﻴﺩﻨﻰ ﻤﻼﻤﺤﻬﺎ ﺤﻴﻥ ﺁﻜل ﻤﻨﹾﻔﺭﺩﺍ ُ ﹾ ﹰ ﹾ ٨١
21.
ﻤﺜل ﻜﻠﺏ
ٍ ﻭﺤﻴﻥ ﻋﻠﻰ ﺤﺎﺌﻁ ﺃﺘ ﺎﻨﺩ ٍ ﹶﺴ ﺤﻘﺩ ﺠﻤﻴل.. ٌ ﹾ ﻟﻤﺎﺫﺍ ﻴﻁﺎﺭﺩﻨﻲ ﻭﺠﻬ ﺎ ﻬ ﻭﻟﻤﺎﺫﺍ ﹸﻠﺢ ﻜﻤﻌﺼﻴﺔ ﻭﺘﻀﺊ ﺘ ﹶ ﹸ ﻴﻤﺎﻡ ﺒﻠﻭﻥ ﺍﹸﺒ ﻨﺯ ﻋﻠﻰ ﺍﻟﺭﻑ ﻤﺎﺯﺍل َ ﱠ ﻟﺭ ِ ﹸ ﻫل ﺜﻭﺒﻬﺎ ﻜﺎﻥ ﺃﺨﻀﺭ ﺴ ﹼﺭﻫﺎ ﻜﺎﻥ ﺒﺎﺒﹰﹰ؟ ﺎ ﻜ ﹼ ٥٨٩١ – ٦٨٩١ ٩١
22.
ﺒﺎﻷﺼﺎﺒﻊ ﺍﻟﺘﻲ ﻜﺎﻟﻤﺸﻁ
٠٢
23.
-١-
ﺃﺭﺴﻡ ﺒﺤﺭﺍ ﻭﺃﺩﻋﻭﻩ ﻨﻭﺭﺍ ﹰ ﺍﺭﺴﻡ ﺴﺎﺤﻼ ﻭﺃﺨﻁﻭ ﹰ ﻫل ﺍﻟﺠﺴﺩ ﻋﻤﻠﺔ ﺍﻟﻨﻬﺎﺭ ﻴﻥ ﻻ ﺘﺯﺍل ﺍﻟﻐﻤﺯﺓ ﹸ ﻴ ﻭﻻ ﻴﺯﺍل ﺍﻟﺨﺎل ﻜﻴﻑ ﻴﻜﻭﻥ ﻅل ﻭﻻ ﺘﻜﻭﻥ.. ﺫﻫﺏ ﱡ ُ ﻤﻥ ﻨﻭﺍﻓﺫﻫﺎ ﻟﻡ ﻴﺯل ﻴﻬ ..ﺫﻫﺏ ﻭﺭﻤﹼﻨﺎﺕ ﺎ ﹸﹼ ﺏ ﺒﺎ ُﺠﺎﻩ ﺍﻟﺒﺤﺭ ﺘ ُ ﻫل ﻫﻲ ﺍﻷﻨﺜﻰ؟ ١٢
24.
-٢-
ﺤﻴﻥ ﻜﺎﻨﺕ ﻫﻨﺎ ﻟﻡ ﺃﺭﻫﺎ ﹶ ﻟﻜ ﹼﻬﺎ ﻏﺎﺒﺕ ﹾ ﹼ ﻨ ٢٢
25.
-٣- ﺃﻅﻥ ﻟﻡ
ﺘﻜﻥ ﻤﻨﹾﺫﻭﺭﺓ ﻟﻐﺎﻓل ﻤﺜﻠﻲ ﹾ ﻭﻟﻡ ﺘﻜﻥ ﻤﻜ ﻭﺓ ﺒﺎﻟ ﺤﺭ ﹾﺴ ﹰ ﺴ ِ ﻫﻜﺫﺍ ﻟﻡ ﺃﺯﻩ ﻤﺭﺓ ﺒﺒﺎﺒﻬﺎ ﺍﻟﻌﺎﻟﻲ ﹰ ﺃﻭ ﺸﻌﺭﻫﺎ ﺍﻟﻘﺼﻴﺭ ﻭﺍﻟﺫﻱ ﻴﺭﻭﺽ ﺍﻟﻐﻴﻭﻡ ﺘﺤﺕ ﺜﻭﺒﻬﺎ ﻓﻲ ﺍﻟﻔﺠﺭ ﻋﺎﺩﺓ ﹰ ٣٢
26.
-٤- ﻫل ﻜﺎﻨﺕ ﺍﻷﺸﺠﺎﺭ
ﻓﻲ ﻁﺭﻴﻘﻬﺎ ﻟﻠﺫﺒﺢ ِ ﻋﻨﺩﻤﺎ ﺍﻨﻬﻤﻜﺕ ﹸ ﻗﻠﺕ ﺴﻔﻥ ﺘﺄﺘﻰ ﹸ ﻭﺴﻔﻥ ﺘﺭﻭﺡ ﻟﻡ ﺘﻜﻥ ﻭﺤﻭ ﹸﻬﺎ ﻓﻲ ﺍﻟﺒﻬﻭ ِ ﺸ ﹸ ﻋﻨﺩﻤﺎ ﺤ ﺭﺕ ﺸ ﱠﻟﻲ ﺭ ﹸ ﻼ ﱠ ﻭﻋﻨﺩﻤﺎ ﺃﺭﻴﺘﻬﺎ ﺍﻟﻤﺎﺸﻴﻥ ﻓﻲ ﺍﻟﻬﻭﺍﺀ ِ ﻭﺍﻟﺫﻴﻥ ﻴﺘﺭﻜﻭﻥ ﺨﻠﻔﻬﻡ ﻌﺎﹶﹶﻬﻡ ﺴ ﻟ ﻟﻴﺤﺭﺱ ﺍﻷﻁﻔﺎل َ ﻤﺎﺅﻫﺎ ﻤﺎ ﺯﺍل ﻤﻭﺼﻭﻓﺎ ﹶ ﻟﻜﻨﻨﻲ ﺍﺴﺘﺒﺩﻟﺕ ﺒﺎﻟ ﹶﹶﻁﺎ ﻗﻁﺎ ﹸ ﻘ ِ ﹼﹰ ﻭﺍﻟﺤﻭﺽ ﺒﺎﻟﻤﺤﻴﻁ ِ ﺭ ﻤﺎ ﺒ ﻷﻥ ﺸﺎﺭﺒﻲ ﻴﻌﺸﻰ ﻭﺭ ﻤﺎ ﺒ ﻷﻥ ﺜﻌﻠﺒﺎ ﺒﺩﺍﺨﻠﻲ ﹰ ﻴﻔﻀل ﺍﻨﺘﻅﺎﺭ ﻤﻭﻜﺏ ﺍﻹﻭﺯ ٤٢
27.
ﻓﻲ ﻜ ﺍﺴﺔ
ﻜﻬﺫﻩ ﺭ ٍ ٥٢
28.
-٥- ﺃﺭﺴﻡ ﺍﻟﺩﺍﺌﺭﺓ ﺍﻤﺭﺃﺓ
ﻭﺍﻟﺭﺠل ﺨﻁﺎ ﹼﹰ ﹰ ﹶ ﺃﻀﻊ ﺸﻤﻌﺔ ﻭﺃﺩﻋﻭﻫﺎ ﺍﻟﺴﺭﺓ ﹶ ﹰ ﻭﻏﻴ ﹰ ﻭﺃﻨﺩﻩ ﺍﻟﺤﻨﻴﻥ ﹶ ﻤﺔ ﹾ ﻓﻲ ﺍﻟﻐﺭﻓﺔ ﻤﻘﻌﺩ ﻻﺜﻨﻴﻥ ِ ِ ﺭﺠل ﺒﻁﻭل ﺼﺭﺨﺔ ﻭﻤﺘﺎﻫﺔ ٍ ﻗﻤﺭ ﺒﺤﺠﻡ ﻤﻭﺯﺓ ﻫﻨﺎﻙ ٍ ﻗﻤﺭ ﻭﻜﻤﻨﺠﺔ ﻓﻲ ﺍﻟﺠﺭﺍ ِ ﺏ ﹾ ﹸ ﻟﻴل ﻭﻻ ﺸﺊ ﻟﻠﺒﺭﺩ ِ ُ ﻟﻴل ﻭﻻ ﺤﺩ ﻟﻠﻌﻭﺍﺀ. ُ ٦٢
29.
-٦-
ﺍﻟﺨﻭﻑ ﹸ ﻋﻨﺩﻤﺎ ﺘﻬﺭﺏ ﻴﻐﹾﺯﻭﻨﻲ ﹾ ﻓﺄﻨﹾﺯﻭﻱ... ﻤﺘ ِﻤﺎ ﻋﻴﻨﻲ ﱠﻬ ﹰ ِ ﹾ ﻭﺴﺎﻋﺔ ﺍﻟﺠﺩﺍﺭ ِ ﹶ ﺼﻭ ﹸﻬﺎ ﹸ ﺘ ﻤﺎﺯﺍل ﻓﻲ ﺃﺫﻨﻲ ﻭﻤﺎﺅﻫﺎ ﻓﻲ ﺍﻟﻠﻴل ﺤﻴﻥ ﺼﺒﺢ ﺍﻟﺤﻨﻴﻥ ﻤﺤﺭﺍﺜﺎ ِ ﹰ ﻴ ﻴﻌ ﺊ ﺍﻷﻜﻭﺍﺏ ﺒ ﻟﻡ ﺘﻜﻥ ﻓﻲ ﺁﺨﺭ ﺍﻟﻤﻤﺭ ﻋﻨﺩﻤﺎ ﹸﻭﺩﻴﺕ ﻨ ِ ﹸ ﹸ ﺒﺭ ﻬﺎﺕ ﻜﺎﻥ ﺤﻭﻟﻬﺎ ﻠ ﺢ ﻴ ّ ﻤ ﹸ ﻭﺍﻟﻬﻭﺍﺀ ﺒﺎﻷﺼﺎﺒﻊ ﺍﻟﺘﻲ ﻜﺎﻟﻤﺸﻁ ﻓﻲ ﺍﻟﺼﺒﺎﺡ ﻋﻨﺩﻤﺎ ﺘﻸﻷﺕ ﻫﺯﺯ ﹸﻬﺎ ﹾ ﺘ ﹸ ﻭﺴﺭﺕ ﻓﻲ ﺍﻟﺩﻫﻠﻴﺯ ِ ِ ﹸ ﻗﺎﻋﺔ ﺍﻟﻤﻠﻭﻙ ﻟﻡ ﺘﻜﻥ ﺩﺍﻓﺌﺔ ﹰ ﹸ ﻭﻓﻰ ﺍﻟﻤﺴﺎﺀ ِ ٧٢
30.
ﻋﻨﺩﻤﺎ ﺴﺒ ﹰﻨﻲ
ﻤﻠﻜ ﹸﻬﺎ ﺸﺒﺕ ﹸ ﹶ ﹾﺘ ﺤ ﹰ ﺘ ﻭﻫ ﺕ ﺍﻷﺴﻭﺍﺭ ﺩ ﻟﻡ ﺘﻜﻥ ﺴﺨﻴﺔ ِ ﹰ ﻭﻟﻡ ﺘﻜﻥ ﺘﺤ ﻤﻥ ﻴﺒﻴﺕ ﻤﻐﹾﻠﻭﺒﺎ. ﹸ ﹾ ﹰ ﹸ ِﺏ ﺍﻟﻁ ﺒﻭﻥ ﻴﻌﺭﻓﻭﻥ ﺃﻨﻬﺎ ﺩﻨﺕ ﹶ ﹾ ﻴ ﻓ ﻤ ﺕ ﹶ ﺩ ﺭ ﹾ ﻭﺍﺒﺘ ﺩﺕ ﻓﺴﺎﻟﻤﺘﻬﺎ ﺍﻟﻌﻴﻥ ﹶﻌ ﹾ ﺠﻤﻠﺕ ﻭﺠﺎﻤﻠﺕ. ﹾ ﹶ ﹾ ٨٢
31.
-٧- ﺃﺭﺴﻡ ﺠﺴﺩﺍ ﻋﺎﻓﻴﺎ
ﻭﺨﺎﻟﻴﺎ ﻤﻥ ﺍﻟﺤﺭﻴﺭ ﻨﻭﺍﻗﻴﺴﻪ ِ ﹰ ِﹰ ﻻ ﺘﻭﺍﺭﻱ ﻓﻲ ﺸﺭﻓﺘﻬﺎ ﺍﻟﻤﺭﺃﺓ ﺍﻟﺒﻼﺴﺘﻴﻜﻴﺔ ﺤﻭﻟﻬﺎ ﺍﻟﺯﺠﺎﺝ ﹸ ﻭﻟﻘﺎﻟﻕ ﺍﻟﻨ ﻭﻥ ﻜﻴﻑ ﻟﺭﺃﺱ ﻭﺍﺤﺩ ﺃﻥ ﻴﻠ ٍ ﹸﻡ ِ ﻴ ِ ﻭﻜﻴﻑ ﻟﺠﺴﺩ ﺃﻥ ﻴﻐﻠﺏ ﺍﻟ ﻔﻴﺢ ﹾِ ﺼ ﺃﺭﺴﻡ ﺴﻬﻤﺎ ﻭﺃﻁﻠﻕ ﹸ ﹰ ﻭﺤِﻭﻴﺔ ﻭﺃﻋﻠﻥ ﺤﺭﺒﺎ ﺤﺘﻰ ﻤﻁﻠﻊ ﺍﻟﻔﺠﺭ ِ ﹰ ﺎ ﹰِ ﻭﺴﻼﻤﺎ ﹰ ﺒﻴﻥ ﺤﺴ ﺓ ﻭﺃﺨﺭﻯ ﻭ ٩٢
32.
-٨-
ﻟﻭ ﺃﻨﻬﺎ ﺒﺄﺼﺎﺒﻌﻲ ﻅﻠﺕ ﺘﻤ ﱠﻁ ﺸﻌﺭ ﺎ ﻫ ﱠ ﺸ ﻟﻬﺠﺭﺘﻬﺎ ﻟﻜﻨﻬﺎ ﺫﻫﺒﺕ ﻭﻅل ﺍﻟﻤﺸﻁ ﻴﻁﺤﻨﻪ ﺍﻟﻔﺭﺍﻍ ﹸ ﹸ ﹾ ﺃﻅﻥ ﻜﺎﻥ ﺍﻟﻠﻴل ﻓﻲ ﺍﻟﻤﻤﺸﻰ ﺭﻤﺎﺩﻴﺎ ﹰ ﻭﺃﻨﺎ ُﺴﺎﻴﺭ ﻐﺭﻤﻴﻥ ﺇﻟﻰ ﺍﻟﺤﺩﻭﺩ ِ ﻤ ﺃ ُ ﺃﻗﻭل ﻴﺎ ﺒﺎﺸﺎ ﻓﺘﻘﹾﻔﺯ ﻤﻥ ﺸﻘﻭﻕ ﺍﻟﻭﺠﻪ ِ ﹾ ﺃﻭ ﺘﻨﹾﺴﺎﺏ ﻤﻥ ﻭﺭﻕ ٍ ﹶﹾ **** ﺇﺒﺭﻴل ﻜﺎﻥ ﻫﻨﺎ ﻭﺍﻟﺤﺭﺏ ﻁﺎ ِﻟﺔ ﺘﻠ ﺍﻟﻌﺎﻁﻠﻴﻥ ﻭ ﹸﻡ ِ ﻭﻜﻨﺕ ﺃﺨﹾﻔﻰ ﻤﺸﹾ ﺔ ﺍﻟﻘﺭﻭﻱ ﻴ ﹸ ﹾ ﺃﺤﻠﻕ ﻤﺭﺓ ﻓﻲ ﺍﻟﻔﺠﺭ ﻜﻲ ﻴﻘﻑ ﺍﻟﺘﺭﺍﻡ ﹰ ﻭﻤﺭﺓ ﹶ ﻗﺒل ﺍﻟﺼﻌﻭﺩ ﺇﻟﻰ ﻁﻴﻭﺭ ﻻ ﺘﻁﻴﺭ ٍ ٠٣
33.
ﺃﻜﺎﻥ ﻤﺼﻌﺩﻫﺎ ﺫ
ﱠﺭ ﺒﺎﻟﺯﻨﺎﺯﻥ ﻭﺍﻟ ِِﻅﻠﻴ ﻥ ِ ﻤ ﻴ ﻴﻜ ﻤﺎ ﺯﺍﻟﺕ ﻭﺭﺍﺀ ﺍﻟﺒﺎﺏ ﺘﻨﹾﺘﻑ ﺭﻴﺵ ﻋﺼﻔﻭﺭ ٍ ﹾ ﻭﻤﺎ ﻭﺯﺍﻟﺕ ﻋﻠﻰ ﺍﻟﻜﺭﺴﻲ ﺘﻨﹾﺴﻰ ﺤ ﱠ ﺯﻴﻨﺘﻬﺎ ﻕ ﹾ ﻭﺘﻔﺘﺢ ﺒﺎﺏ ﻏﺭﻓﺘﻬﺎ ﻟﻐﻴﺭ ﺍﻟﺭﻴﺢ ِ ِﻠﻲ ﻟﻡ ﻴﻌﺩ ﺨﻠﻔﻲ ﻅ ِ ﻭﻤﻬﺭ ﺍﻟﻤﻭﻟﺩ ﺍﻟ ﱠﺒﻭﻱ ﻨ ﱠ ﻟﻜﻨﻰ ﺒﺜﻭﺏ ﺍﻟﻜﻬل ﺴﻭﻑ ﺃﺴﻴﺭ ﻤﺤﺘ ﻤﺎ ﺭ ﹰ ﺃﻜﺎﺫﻴﺒﻲ ﻋﻜﺎﻜﻴﺯ ﻷﻋﻠﻥ ﺃﻨﻬﺎ ﺫﻫﺒﺕ ﹾ ﻭﺃﻨﻰ ﺍﺭﺘﺤﺕ ﹸ ﺴﻭﻑ ﺃﻜﻠﻡ ﺍﻷﻭﻏﺎﺩ ﻋﻥ ﻗﺎﻤﻭﺴﻬﺎ ﻭﺃﻗﻭل ﻤﻭﺴﻰ ﻜﺎﻥ ﻤ ﱠﺠﻬﺎ ﺇﻟﻰ ﺒﺤﺭ ٍ ﺘ ﹰ ﱠ ﻭﺃﻨﺎ ﺇﻟﻰ ﺍﻟﺼﺤﺭﺍﺀ ِ ﻫل ﺴ ﹸﻁﻴل ﺒﺴﻤ ﹸﻬﺎ ﻨﻬﺎﺭ ﺍﻟﺒﻬﻭ؟ ﹸ ﺘ ﺘ ﹸ ١٣
34.
-٩-
ﺍﻟﺼﺩﻕ ﻟﻡ ﻴﻜﻥ ﻗﻤﻴ ﻬﺎ ﻗﻁ ﹶ ﺼ ﹸ ﺃﻷﻨﻬﺎ ﻟﻡ ﺘﻜﻥ ﺒﺴﺕ ﺃﺼﺎﺒﻊ ِِ ﱠ ﺃﻡ ﻷﻨ ﻲ ﻟﻡ ﺃﻜﻥ ﻗﺭﺼﺎﻨﺎ ﹰ ﻨ ﺒﺒﺴﻤﺔ ﻤﻀﻴﺌﺔ ﻜﺎﻟﻤﺩﻴﺔ ٍ ﻭﺸﺎﺭﺏ ﺘﻬﺎﺒﻪ ﺍﻟﻘﻁﻁ. ِ ٍ ٢٣
35.
-٠١- ﺘﻭﻥ ﺍﻟﺒﺎﺏ ﺴﻭﻑ
ﺘﻘﻭل ﻏﺎﺒﺕ ﻜﻲ ﺘﺴ ﻤﻰ ﺏ ﺩ ﻤ ﻭﻏﺎﺒﺕ ﻜﻲ ﺘﻜﻭﻥ ﻓﺭ ﺼﺤﻥ ﺍﻟﺒﻁﻥ ﹶ ﺝ ﺒ ﱠ ﹶﹶﻤﺎ ل ﻓ ﹰ ﻟﻬﺎ ﺍﻟﺼﻠﻭﺍﺕ ﻭﺍﻟﺒﺭﻜﺎﺕ ﹸ ﹸ ﺸﻬﻘ ﹸﻬﺎ ﺘﺒل ﺍﻟ ﻴﻕ ﻤﺎ ﺯﺍﻟﺕ ﹾ ّ ﺭ ﹶ ﺘ ﹸ ﻭﻜﺎﺌﻨﻬﺎ ﻭﺭﺍﺀ ﺴﺘﺎﺭﺓ ﻴﺠﺘﺭ ٍ ّ ﻤﺎ ﻜﺎﻥ ﺍﺴ ﻬﺎ ﻨﻭﺭﺍ ﻤ ﻭﻤﺎ ﻜﺎﻨﺕ ﻜﺴﺕ ﺍﻟﺤﺴﻥ ﺘﹾﻠﺴ ﻬﺎ ﺍﻟﻌﻴﻭﻥ ﻓﺘﺨﺘﻔﻲ ِ ِﹾ ﻌ ﻅﹼﺕ ﺒﻼ ﻅل ﱠ ﻠ ﹼ ﻭﻅﹼﺕ ﻟﺼﺔ ﺘﺴﺘل ﺜﻡ ﺘﺭﻭﻍ ﹸ ﹰ ﹶ ّ ﻠ ﹼ ﺒﺎﺏ ﺍﻟﺨﻠﹾﻕ ﻴﺫﻜﺭﻫﺎ ﹾ ﻭﺃﺴﻼﻙ ﺍﻟﺘﺭﺍﻡ ﻭﺠﺎﻤﻌﻭ ﺍﻷﻋﻘﺎﺏ ِ ﻟﻜﻨﻰ ﺴﺄﻨﺴﺎﻫﺎ ﺃﻗﺎ ِِﻥ ﺃﻨﹾﻔﻬﺎ ﺒﺎﻟﻜﻭﺏ ِ ﺭ ﹾ ﻭﺍﻟﺭﺩﻓﻴﻥ ﺒﺎﻟﺤﺠﺭﻴﻥ ِ ﻗﺩ ﺃﻨﺴﻰ ﻤﺯﺍﻴﺎﻫﺎ ﺃﻜ ﺭ ﻓﻲ ﺍﻟﻅﻼﻡ ﻋﻴﻭ ﻬﺎ ﻷﻨﺎﻡ ﺒ ﹶﺒ ٣٣
36.
ﻜﺎﻥ ﺒ ﹶﹶﻨﺱ
ﻤﺸﻐﻭﻻ ﺒﻜﻨﺱ ﻤﻜﺎﺘﺏ ﺍﻟﺒﻜﻭﺍﺕ ِ ِ ﹰ ﺸ ﺤﻴﻥ ﺭﺴﺕ ﹾ ﻭﻜﺎﻥ ﺍﻟﺼﺒﺢ ﻓﻲ ﺍﻟﻤﻴﺩﺍﻥ ِ ﻅل ﺍﻟﻤﺎﺀ ﻓﻲ ﺇﺒﺭﻴﻘﻬﺎ ﻴﻐﹾﻠﻰ ﹾ ﻭﻅل ﻫﺒﻭ ﻬﺎ ﻋﻴﺩﺍ ﹰ ﺒ ﺤﺼﺎﻥ ﺍﻟﻤﻭﻟﺩ ﺍﻟﻨﺒﻭﻱ ﻓﻲ ﺍﻟ ﹼﺒﻙ ﻭﺍﻟﺤﻠﻭﻯ ﺼﻬﻴل ُ ﺸﺎ ﹼ ﻜﻴﻑ ﻤﺭ ﺍﻟﻭﻗﺕ؟ ﺴﻭﻑ ﺘ ﻴﺭ ﻤﺨﹾﻔﻴﻴﻥ ﺃﻗﺩﺍﻤﺎ ﹰ ﻌ ﹾ ﻭﺘﺩﻨﻰ ﺼﻭﺘﻬﺎ ﺍﻟﻤﺨﺒﻭﺀ ﻓﻲ ﻭﺩﻉ ٍ ﹸ ﺴﺘﻌﻠﻥ ﺃﻨﻬﺎ ﺍﻟﻤﻴﻨﺎﺀ ﺤﻤﺭﺓ ﺠﺴﻤﻬﺎ ﺤﺩ ﻭﻟﺅﻟﺅﻫﺎ ﺍﻟﺫﻱ ﻓﻲ ﺍﻟﻐﺎﺭ ِ ﻫل ﺴ ﹸﻘﺎﺭﻥ ﺍﻷﺒﻘﺎﺭ ﺒﺎﻷﺸﺠﺎﺭ ِ ﺘ ﹸ ﺘﻬﺒﻁ ﺴﹼﻡ ﺍﻷﺼﻭﺍﺕ ﻋﺎﺭﻴﺔ ﻠ ﹼ ﻟﺘ ِﻀﻊ ﻨﺎﺒﺘﺎ ﻓﻲ ﺍﻟﻘﺎﻉ ِ ِ ﹰ ﺭ ﺃﻡ ﺴﺘﻬﺏ ﻤﻥ ﺠﺴﺩ ﻠ ﺤ ﹰ ﺒﺭﺍﻴﺎﺕ ﺍﻟﺒﺩﺍﺌ ﻴ ﻴﻥ ﻤﻭ ﺔ ﺤﻠﹾﻔﺎﺀ ﺍﻟﺸﻭﺍﺭﻉ ﻟﻡ ﺘﺯل ﺘﻌﻠﻭ. ﹾ ٤٣
37.
-١١-
ﺤﺘﻰ ﺍﻵﻥ ﻻ ﺃﻋﺭﻑ ﺍﺴﻤﻬﺎ ﺍﻟﺫﻱ ﺍﻟﺘﻘ ﹶﹶﺘﻪ ﻤﻥ ﻋﻠﻰ ﺍﻟﺭﺼﻴﻑ ﻁ ﻭﻻ ﺍﻟﺫﻱ ﺩﻓﻨﺘﻪ ﻓﻲ ﻭﺍﺯ ﺍﻟﺴ ﹶﹶﺭ ﻔ ﺠ ﺤﺘﻰ ﺍﻵﻥ ﻻ ﺃﻋﺭﻑ ﻤﺎ ﺍﻟﺫﻱ ﺸ ﻨﻲ ﺇﻟﻴﻬﺎ ﹶﺩ ﻓﻤﻬﺎ ﻟﻡ ﻴﻜﻥ ﻀﺎﺀ ﻤ ﻭﺜﻭ ﻬﺎ ﺒ ﻟﻡ ﻴﻜﻥ ﻤ ﱠﺴﻌﺎ ﻟﻐﻴﺭﻫﺎ. ﺘ ﹰ ﹶ ﱠ ٥٣
38.
-٢١-
ﻭﻷﻨﻬﺎ ﻫﺒﻁﺕ ﻤﻥ ﺍﻟﺸ ﺎﻙ ﻤﺜل ﺴﺤﺎﺒﺔ ٍ ﺒ ﺴ ﻴ ﹸﻬﺎ ﻨﻭﺭﺍ ﻤﹸ ﺘ ﻫﺸﺸﺕ ﻟﻬﺎ ﹶﹾ ﹸ ﻭﻗﻠﺕ ﺍﷲ ﻓﻭﻕ ﺴﻤﺎﺌﻪ ﻭﺃﻨﺎ ﻋﻠﻰ ﺤ ﺭﻱ ﺠ ﻨﺤ ﺍﻟﻤﺘ ﺒﻴﻥ ﹸ ِﺏ ﻌ ﺸﺩﺩﺕ ﺒﺤﺭﺍ ﻤﻥ ﺩﻫﺎﻟﻴﺯﻱ ﻟﻜﻲ ﹶﹶﺭﺘﹾﺎﺡ ﺘ ﹾ ﹰ ﹶ ﹸ ﻓﺎﺒﺘﺴﻤﺕ ﹾ ﻭﺃﻋﻁﺕ ﺘﺎﺌﻬﺎ ﺨﻁﻭﻁﺔ ﺍﻟﺒﻭﻏﺎﺯ ِ ﹰﻤ ﻜﻨﺕ ﺃﻋ ﺃﺯﺭﺍﺭ ﺍﻟﻘﻤﻴﺹ ِ ﹸ ﺩ ﺃﻗﻴﺱ ﺴﻤﻙ ﺍﻟﺼﻤﺕ ِ ْ ﺨﻠﻑ ﺍﻟﺜﻭﺏ ﻜﺎﻥ ﺍﻟﻌﺸﺏ ﺃﺤﻤﺭ ﻭﺍﻟﻁﻴﻭﺭ ﺘﻤﺩ ﺃﻋﻨﺎﻗﺎ ﹰ ﻭﺒ ﺍﺒﻭﻥ ﻴﺴﺘﺭﺨﻭﻥ ﻭ ﻫل ﻜﺎﻥ ﺍﻟﻌﻭﺍﺀ ﻤﺴﺎﻓﺔ ﺒﻴﻨﻲ ﻭﺒﻴﻥ ﺒﻭﻴﻀﺔ ﺘﻨﺸ ﱡ؟ ﻕ ﱡ ﹰ ﺃﻡ ﻜﺎﻥ ﺍﻟﺘﻘﺎﺀ ﻤﺸ ﺩﻴﻥ ﺍﺴﺘﻐﹾﺭﻗﺎ ﻓﻲ ﺍﻟﺠﻭﻉ ِ ﹾ ﹶﺭ ﻜﻨﺎ ﻨﻌﺠﻥ ﺍﻷﻟﻔﺎﻅ ﻨﺴﺘﻬﻭﻱ..ﻨﻬ ﺩ ﹶ ﹶ ُﺩﻴﺭﻫﺎ ﻭﺘﺴ ﺼﺤﺭﺍﺌﻲ ﺏ ﺃ ُ ٦٣
39.
ﻭﻨﻘﺭﺃ ﻋﻨﺩﻤﺎ ﻴﺼل
ﺍﻟﻜﻼﻡ ﺇﻟﻰ ﻨﻬﺎﻴﺘﻪ ِ ﻗﻭﺍﻤﻴﺱ ﺍﻷﺼﺎﺒﻊ ٍ ﻭﺍﻟﻌﻴﻭﻥ ﻭﺩﻭﺭﺓ ﺍﻟﺭﻗ ﺔ ﹶ ﹶ ﺒ ﻜﻨﺕ ﺍﻟﺫﻱ ﺍﺨﺘﺎﺭﺘﻪ ﻟﻺﺒﺤﺎﺭ ِ ﺴﺎﻓﺭﻨﺎ ﺇﻟﻰ ﺯﻤﻥ ﺘﻜﻠﻤﺕ ﺍﻟﻌﻅﺎﻡ ﺒﻪ ِ ﹼ ﻭﺴﺎﻓﺭﻨﺎ ﺇﻟﻰ ﺍﻟﻅﻠﻤﺎﺕ ِ ﺼﺎﺭﺕ ﻤ ﺓ ﻤِﻜﻪ ﺭ ﻠ ِ ﻭﺼﺎﺭﺕ ﻤ ﺓ ﺤﺠﺭﺍ ﻁﺎ ﹸ ﺒﻪ ﹰ ﻴ ﻑ ِِ ﺭ ﻭﻋﺎﺼﻔﺔ ﻤﻥ ﺍﻟ ﹸﺴﻔﹾﻭﺭ ﻔ ﹾ ِﹸ ﺒﺤﺭ ﺍﻟﺭﻭﻡ ﻜﺎﻥ ﻁل ﻤﻥ ﻜﺘﻑ ٍ ﻴ ّ ﻭﻜﻨﺕ ﺃﺩﻭﺭ ﺃﺭﺴﻡ ﻓﻲ ﺍﻟﻔﻀﺎ ﺃِِﻔﺎ ﻟﹰ ﹸ ﺃﺴ ﻴﻪ ﺍﻟﺒﺩﺍﻴﺔ ﹶ ﻤ ﺤﻴﻥ ﹸﺒﻌﺩ ﺭﺠﻠ ﺎ ﻋﻥ ﺭﺠﻠﻬﺎ ﻬ ﺘ ﹸ ﻟﺘﺤ ِِ ﻟﺘﹾﺎﻫﺎ ﻙ ﺩ ﹾ ﹶ ﻭﺘﻀﺤﻙ ﻋﻨﺩﻤﺎ ﻴﺘﻘﺎﺒل ﺍﻟﺒﺩﺀﺍﻥ ٍ ِ ﺒﺩﺀ ﺴﺎﻜﻥ ﻭﺘﺩ ﻭﺒﺩﺀ ﻴﺼﻨﻊ ﺍﻟﺤﺭﻜﺔ ٧٣
40.
**** ﺼﺎﺩﻓﺘﻬﺎ ﻓﻲ ﺍﻟﺼﻴﻑ
ﺴﺎﺒﺤﺔ ﻭﺭﺍﺀ ﺍﻟﺒﺎﺏ ِ ﹰ ِ ﻓﺎﺴﺘ ِِﻬﻠﺕ ﺃﻋﺩﺍﺌﻲ ﻤ ﹾ ﹸ ﻭﻫﺘﻔﺕ ﻤﻥ ﺴﻨﺘﻴﻥ ﻟﻡ ﺘﻔﹾﻠﻕ ﻋﺼﺎﻱ ﺍﻟﺒﺤﺭ ِ ﹶﹾ ﹶ ﹾ ﹸ ﻤﻥ ﺴﻨﺘﻴﻥ ﻟﻡ ﺘﻬﺒﻁ ﻋﻠﻰ ﺃﺒﺭﺍﺠﻲ ﺍﻟ ﻨﻘﺎﺀ ﻌ ﺴﻭﻑ ﺘﻌﻭﺩ ﺜﺎﻨﻴﺔ ﻟﺘﻬﺒﻁ ﻓﻭﻕ ﻤﺌﺫﻨﺘﻲ ﻭﻤﺜل ﺴﺤﺎﺒﺔ ﺴﺘﺩﻭﺭ ﺼﺎﻋﺩﺓ ﹰ ٍ ﻭﻨﺎ ِﻟﺔ ِِﺯ ﺨﺭ ِﺸ ﹰ ﺨﺎﻤﺎﺕ ﺍﻟﻔﻀﺎﺀ ِ ﻤ ﺒ ﹶﺔ ﺭ ﻟﺴﻭﻑ ﺘﺭﻁﻥ ﻤﺭﺓ ﺃﺨﺭﻯ ﹰ ﺘﻠ ﺘﺭﺍﺒﻬﺎ ﻭ ﹶﹶﻘﻭﻡ ﻨﺎﻓﻀﺔ ﻭﺭﻭﺩ ﺍﻟﻨﺎﺭ ِ ﺘ ِ ﹰ ﹸﻡ ﺴﻭﻑ ﺘﻘﻭل ﻴﺎ ﻤِﻜﻲ ﻠ ِ ﻭﺴﻭﻑ ﺃﻗﻭل ﻤﻭﻻﺘﻲ ﻫﻨﺎ ﺍﻟﻜﺭﺴﻲ ﺭﺍﻴﺎﺕ ﺍﻟﺠﺩﺍﺭ ِ ﺠﻬﺎﺕ ﻭﺠﻬﻙ ِ ﹸ ﻭﺍﻟﻤﻼﺀﺍﺕ ﺍﻟﺘﻲ ﺤﺠﺕ ﺇﻟﻴﻙ ﹾ ِ ﹸ ﹶﹶﺒﻠّﺕ ﺒﺭﻭﺍﺌﺢ ﺍﻟﺠﺴﺩ ﺍﻟﺤﻤﻴﻡ ﺘ ﻠ ِ ّ ٨٣
41.
ﻫﻨﺎ ﺍﻟﺠﺤﻴﻡ ﻓ
ﻔ ﻱ ﻗﺩﻤﻴﻙ ِ ﻌﺭ ِﻴﻌﻲ ﻀ ﻌﻲ ﻴ ﻀ ِ ﻭﺭﺃﻴﺘﻬﺎ ﻓﻲ ﺠﻭﻑ ﻟﺅﻟﺅﺓ ﺘﺒ ل ﺸﻜﻠﻬﺎ ٍ ﺩ ﻭﺘﻌﻭﻡ ﻋﺎﺭﻴﺔ ﻤ ﺭﺭﺓ ﺃﻗﺎﻟﻴﻡ ﺍﻟﺒﻴﺎﺽ ِ ﹰ ﺤ ﻓﻘﻠﺕ ﻫﺫﺍ ﺍﻟﺒﺤﺭ ﺠﺎﺀﺘﻨﻲ ﻫﺩﺍﻴﺎﻩ ﻏﺩﺍ ﺃﻟﻘﺎﻩ ﺒﻴﻥ ﺩﻓﺎﺘﺭﻱ ﹰ ﺃﺼﻐﻰ ﻷ ﻟﻪ ﻭِ ﻭﺃﻗﻭل ﻨﻭﺭﺍ ﻟﻡ ﺘﺯل ﻓﻲ ﺍﻟﺭﻴﺢ ﻅل ﻫﻨﺎﻙ ﻻ ﺸﺠﺭ ﺤﺎﻭﺭﻩ ﻴ ّ ﻭﻻ ﺴﻔﻥ ﺘﻁﻴﺭ ﺇﻟﻴﻪ ِ ﻅل ﻫﻨﺎﻙ ﻤﺒﻬﻭﺭﺍ ﺒﻌﺼﺭ ﺍﻟ ِِﻴﺢ ﺸ ِ ﹰ ّ ﻭﺍﻷﺤﺠﺎﺭ ﻓﻲ ﺃﺜﻭﺍﺒﻨﺎ ﺘﻌﻠﻭ ﻭ ﹸﺤﺎﻟﻑ ﺍﻹﺴﻔﻠﺕ ِ ﹶﹾ ﹶ ﺘ ﹸ ﻫل ﺘ ﹶﹶﻭ ﹼﻑ ﺍﻟﻌﺭﺒﺎﺕ ﻋﻥ ﺃﻜل ﺍﻟﺩﺠﺎ ؟ ﺝ ﹸ ﹶﺘ ﻗ ﹼ ﺃﻨﺎ ﻫﻨﺎ ﺃﻀﻊ ﺍﻟﺸﻭﺍﺭﻉ ﺤﻭل ﻜﹼﺯﻱ ﻋﺎ ﹼ ﻭﺃﻗﻌﺩ ﻫﺎﺩﺌﺎ ﻓﻲ ﺍﻟﺭﻜﻥ ﻨﺘﹾﻅﺭﺍ ﻤﹾ ﹰ ِِﻭﺍﺭ ﺍﻟﻘﻔل ﻭﺍﻟﻤﻔﺘﺎﺡ ِ ﺤ ٩٣
42.
ﻫل ﻜﺎﻨﺕ ﺘﻨﺎﺩﻴﻨﻲ
ﺒﺄﺴﻤﺎﺀ ﺍﻟﺫﻴﻥ ﻤﻀﻭﺍ؟ ٧٨٩١ – ٧٨٩١ ٠٤
43.
ﻓﻀﺎﺀﺍﺕ ١٤
44.
-١-
ِ ﻓﻲ ﺍﻟﺼﺒﺎﺡ ﻗﺒﻠﻤﺎ ﺘﻨﹾﻔﺠﺭ ﺍﻟﻤﻘﺎﻋﺩ ﺍﻟﺘﻲ ﻓﻲ ﺍﻟﺒﻬﻭ ﻴﻨﺒﺕ ﺍﻟﺫﺒﺎﺏ ﻓﻲ ﺍﻟﻬﻭﺍﺀ ﻓﺠﺄﺓ ﹶ ﹾ ﹸ ﻭﻗﺒﻠﻤﺎ ﺘﺒﺘﻠﻊ ﺍﻷﺴﻤﺎﺀ ﻤﺎ ﻭﺭﺍﺀﻫﺎ ﻭﻴﺼﺒﺢ ﺍﻟﺩﺨﺎﻥ ﻁﻭﻓﺎﻨﺎﹶ ﺃﻫﺵ ﻁﻴﻔﻬﺎ ﺍﻟﺫﻱ ﻜﻘﻁﺔ ﻴ ٍ ﻠﺢ ﹼ ﺍﻟﺘﻲ ﹸ ﺍﻟﺤﻨﻴﻥ ﺘﺴﺭﺏ ﻭﺍﻟﻴﺩ ِ ﻓﻲ ﺍﻟﺼﺒﺎﺡ ﹼ ﻗﺒﻠﻤﺎ.. ﻴﻤﺎﻤﺔ ﺘﺘﻠﻭ ﺼﻼﺓ ﺍﻟﺸﻜﺭ ﹸ ﹾ ﻭﺍﻟﻁﻨﻴﻥ ﻤﻥ ﻤﻐﺎﺭﺓ ﻴﺤﺒﻭ ﱢ ﻭﻗﺒﻠﻤﺎ ﺘ ﺠﺎﺭﺘﻲ ﺃﻁﻔﺎﻟﻬﺎ ﹶ ﺭﺹ ﹶ ﹾﹸ ﱠ ﱠ ﻭﺘﺸﺘﻡ ﺍﻟﻠﺒﺎﻥ ﺤﺎﻓﻅﹶ ﺍﻟﺘﻲ ﻤﻨﻬﺎ ﺘﹶ ﺍﻟﺤﻠﻴﺏ ﺒﺨﺭ ﻭﺍﻟﻤ ِ ﺍﻟﻭﺍﻟﻲ ٍ ﺃﺼﺎﺒﻊ ﻗﺒﻠﻤﺎ ﺘﻁل ﻤﻥ ﺠﺭﻴﺩﺓ ﹸِّ ﻭﻴﺭﺠﻊ ﺍﻟﻤﻭﹼﺩﻭﻥ ﻤﻥ ﺃﺴﻔﺎﺭﻫﻡ ﻟ ﻭﻗﺎﺘﻠﻭ ﺍﻟﻜﻼﺏ ِ ﻓﻲ ﺍﻟﺼﺒﺎﺡ ﻗﺒﻠﻤﺎ ﺃﺸﺩ ﻟﻘﻤﺔ ﹸ ﹰ ٢٤
45.
ﺃﻭ ﺃﺸﻌل ﻴﺠﺎﺭﺓ
ﺍﻷﻭﻟﻰ ﺍﻟﺴ ﺃﻓﻙ ﺭﺯﻤﺔ ﺍﻟﺫﻨﻭﺏ ﻜﻲ ﺃﻋﺩ ِ ﻟﻡ ﺘﻜﻥ ﺒﺎﺴﻘﺔ ﹰ ﻭﻟﻡ ﺘﻜﻥ ﺒﻴﻀﺎﺀ ﹾ ﻻ ﺍﻟﻀﻔﻴﺭﺓ ﺍﻟﺘﻲ ﻓﺘﻠﺘﻬﺎ ﺴﺎﻟﺕ ﻭﻻ ﺍﻟﺨﻁﻲ ﻜﺎﻟﻌﺯﻑ ِ ﻟﻥ ﺃﺸﻴﺭ ﻟﻠﺤﺸﺎﺌﺵ ﺍﻟﺘﻲ ﺒﺎﻨﺕ ﹸ ُ ﺃﻭ ﻜﻬﺭﻤﺎﻥ ﺍﻟﺨﺩ ﻓﻲ ﺍﻟﺼﺒﺎﺡ ﹼٌ ﻗﺒﻠﻤﺎ ﻴﺨﺘﺼﺭ ﺍﻟﻌﺎﻟﻡ ﺯﺒﺎل ﹾِ ﻭﻴﻬﺒﻁ ﺍﻷﻭﻻﺩ ﺤﺎﻤﻠﻴﻥ ﻓﻲ ﺃﻜﻴﺎﺴﻬﻡ ﺁﺒﺎﺀﻫﻡ ﻭﻋﻠﺏ ﺍﻷﻟﻭﺍﻥ ِ ﻗﺒﻠﻤﺎ ﺍﻟﻜﻼﺏ ﻤﺜل ﹸ ٍ ﻟﻌﺏ ﺃﻟﻴﻔﺔ ﺘﻐﻔﻭ ﹰ ﺃﻗﻭل ﻟﻡ ﺘﻜﻥ ﺒﺭﺍ ﹰ ﻭﻟﻡ ﺘﻜﻥ ﺴﻔﻴﻨﺔ ﹰ ٣٤
46.
ﻭﺃﺩﺨل ﺍﻟﻤﺤﻴﻁ ﻗﺒﻠﻤﺎ
ﻴﻨﺤﺎﺯ ﻋﺼﻔﻭﺭ. ﹾ ٤٤
47.
-٢-
ﻷﻨﻨﻲ ﻅﻨﻨﺘﻬﺎ ﺒﺤﺭﺍ ﹰ ﻷﻨﻨﻲ ﺤﺩﺜﺘﻬﺎ ﻋﻥ ﺴﻤﻙ ﹸ ﻷﻨﻨﻲ ﺃﺭﺩﺕ ﺃﻥ ﺃﻜﻭﻥ ﹰ ﺒﺤﺎﺭﺍ ٍ ﹸ ﺒﺎﻟﺤﻠﹾﻔﺎﺀ ﺸﻌﺭﻫﺎ ﻭﺼﻭﺘﻬﺎ ﺒﺸﺎﺭﻉ ﹶ ﹶ ﻷﻨﻨﻲ ﻗﺎﺭﻨﺕ ﻷﻨﻨﻲ ﺤﺴﺒﺘﻬﺎ ﺃﻨﺎ ﻷﻨﻨﻲ ﻜﻤﺎ ﺘﻘﻭل ﺃﻤﻲ ﺨﺎﺌﺏ ُ ﻭﻻ ّ ﻓﻲ ﻓﻤﻲ ﺸﺊ ﻴ ﺒل ﹰ ﻷﻨﻨﻲ ﺃﺤﺏ ﺃﻥ ﺃﻨﺎﻡ ﺤﺘﻰ ﺍﻟﻅﻬﺭ ﺃﺤﻴﺎﻨﺎ ﹸ ِ ِ ﺭﺍﹶ ﻷﻨﻨﻲ ﺭﺍﻫ ﹸ ﻜﻲ ﺃﻜﻭﻥ ﺨﺎﺴ ﻨﺕ ﹾ ﺘﺒﺩﻟﺕ ٍ ﻭﻓﻀﻠﺕ ﻋﻠﻰ ﻗﻠﻌﺔ ﻤﻥ ﻭﺭﻕ ﹾ ﹼ ٥٤
48.
-٣- ﺸﺎﺭﻉ ﻁﻨﻁﺎ ﺒﺩﺍﻴﺘﻪ
ﻓﻲ ﺍﻟﺨﻠﻴﺞ ﻭﺁﺨﺭﻩ ﺍﻟﺭﻤل ُ ِ ﺸﺎﺭﻉ ﻁﻨﻁﺎ ﺤﺏ ﺍﻟﻌﺼﺎﻓﻴﺭ ﻴ ﻜﻬل ﻭﻁﻔل ﻋﻠﻰ ﺭﺃﺴﻪ ﻴﻘﻌﺩﺍﻥ ِ ﻴﻅ ﹼﻥ ﻤﺤﺘ ﻗﺎ ِ ﻼ ﺭ ﹰ ﹼ ﻴﺩ ﻭﺍ ِ َﺤ ﻥ ﻭﺸﺎﺭﻉ ﻁﻨﻁﺎ ﺒﻌﻴﺩ .. ﻟﻤﻨﺘﺼﻑ ﺍﻟﻠﻴل ﺭ ﹼﺘﻪ ﻗ ﹼ ﺨﺸﺏ ﻓﻲ ﺍﻟﻤﻘﺎﻫﻲ ﹶﹶ ﻜﻼﺏ ﺘﻼﻋﺏ ﺃﺸﺒﺎﺤﻬﺎ ﻓﻲ ﺍﻟﺯﻗﺎﻕ ِ ﺨﻔﻴﺭ ﻴﺴﻴل ﻋﻠﻰ ﻭﺠﻬﻪ ﺍﻟﻨﻭﻡ ﻤﻥ ﺴ ﻌﻴﻥ ﺍﻷﻤﻴﺭﺓ ﺤﻴﻥ ﹸﻁل ﺘ ﱠ ﹸ ﻴ ﻴﻤ ﻟﻬﺎ ﺴﹸﻤﺎ ﻤﻥ ﺤﺭﻭﻑ؟ ﻠ ﹰ ﹸ ﺩ ﻁﻴﻭﺭ ﺍﻟﻤﻤﺭ ﺴﺘﺤﺴﺒﻬﺎ ﻨﺨﻠﺔ ﹰ ﻭﺍﻟﻘﻨﺎﻓﺫ ﻏﺎﺭﺍ ﹰ ﺼﺒﻰ ﺴﻴﻤﻸ ﺒﺎﹸﻭﻨ ﹰ ﺒﺎﻟﻬﻭﺍﺀ ﺍﻟﺫﻱ ﻨﺴ ﺘﹾﹾﻪ ِﻴ ﻟ ﹶﺔﹸ ﻭﻜﻬل ﺴﻴﻘﻌﺩ ﻓﻲ ﻏﺭﻓﺔ ﺍﻟ ﻁﺢ ﺴ ِ ﻤﻨ ﹶﹶﻅﺭﹰ ﻨﻘﺭﺘﻴﻥ ِ ﹾﺘ ﺍ ٦٤
49.
ﺃﻜﺎﻨﺕ ﺒﺄﻗﻤﺎﺭﻫﺎ
ﺘﺘﺠ ل ﻓﻲ ﺍﻟﺒﻬﻭ ِ ﻭ ﺤﺎﻓﻴﺔ ِﹰ ٧٤
50.
-٤-
ﺒﻌﻀﺔ ﺼﻐﻴﺭﺓ ﺃﺨﺭﻯ ٍ ٍِ ﻜﺎﻥ ﻤﻥ ﺍﻟﻤﻤﻜﻥ ﺃﻥ ﺘﻅل ﻫﻨﺎ ﺃﻟﻴﻔﺔ ﻜﺎﻟﺜﻭﺏ ﹰ ﻭﻤﺸﻌﺔ ﻜﺎﻷﺴﺭﻯ ِ ﹰ ٨٤
51.
-٥-
ﻫل ﻴﻠﻴﻕ ﺒﻬﺎ ﺃﻥ ﺘﺸﻴﺦ ﻭﺘﻨﺴﻰ ﹶ ﺴﻤﺎﺀ ﻤﻥ ﺍﻟﻔﺭ ِ ﹶ ﻭ ﺃﻭ ﺴﺤﺒﺎ ﻟﻡ ﻴ ِﻗﻬﺎ ﺍﻟﺤﺼﺎﻥ ﹰ ﺭ ِ ﺩﻡ ﻨﺎﺸﻑ ﻻ ﻴﺨ ﹼ ﹸﻁ ِ ﹸ ﻭﻻ ﻴﺸﺒﻪ ﺍﻟﺭﻴﺢ ﻫﺫﺍ ﺍﻟﻤﺤﻴﻁ ﺍﻟﺫﻱ ﺘﺤﺕ ﻨﺎﻓﺫﺘﻲ ﻟﻡ ﻴﻜﻥ ﻓﻲ ﺍﻟﺼﺒﺎﺡ ِ ﻭﻟﻜﻨﻬﺎ ﻤﻥ ﻜﻼ ٍ ﺴﺘﻘﹾﻔﺯ ﻡ ﹶﹾ ﺃﻭ ﺘﻬﺒﻁ ﺍﻟﺴﱠﻡ ﺍﻟﻨﻐ ِﻲﱠ ﻠ ﱠﹶِ ﻤ ﱠ ﺴﺘﺩﻓﻊ ﺒﻌﺽ ﺍﻟﻬﻭﺍﺀ ﺒﺒﻌﺽ ﺍﻟﻬﻭﺍﺀ ِ ِ ﻭﺘﺸﹾﻔﻰ ﻤﻥ ﺍﻟﻨﻭﻡ ِ ﹶﹾ ﻓﻲ ﺍﻟﻜﻭﺏ ﻤﺎﺀ ﻭﻭﺍﺤﺘﻬﺎ ﻟﻡ ﺘﺯل ﻓﻲ ﺍﻟﺴﺭﻴﺭ ِ ﻭ ِِﻼﻥ ﻓﻲ ﺍﻟﺒﻬﻭ ﻅ ِِﻼﻥ ﻀ ﺍﻥ ﻅ ِ ِﺩ ِ ﻟﻡ ﻴﻜﻥ ﺍﻟﻌﺎﺝ ﻴﻬﺫﻯ ﻭﻻ ﺍﻟ ﹼﺨل ﻓﻲ ﺴﺎﺤﺔ ﻴﺴﺘﺠﻴﺭ ﹰ ﻨ ْ ﹼ ﻭﻟﻡ ﻴﻜﻥ ﺍﻟﺼﻤﺕ ﻤﻥ ﺫﻫﺏ ٍ ﹸ ٩٤
52.
ﻭﺍﻟﻜﻼﻡ ﺴﻼﹶﹶﻡ
ﻟ ﻓﻲ ﺍﻟﻜﻭﺏ ﻤﺎﺀ ﻭﺩﺍﻓﺌﺔ ﻻ ﺘﺯﺍل ﺍﻟﻤﺸ ﺍﺕ ﺩ ﹸ ﹰ ﻭﺍﻟﺜﻭﺏ ﺃﺤﻤﺭ ﻅل ﺍﻟﺨﺭﻴﻑ ﺩﻤﺎ ﻭﺍﻗﻔﺎ ﺒﺎﻟﻭﺼﻴﺩ ِ ﹰ ﹰ ﻭﻅل ﺍﻟﺸﺘﺎﺀ ﺃﺭﺍﻨﺏ ﻤﻜﺴﻭﺓ ﺒﺎﻟﺒﻬﺎﺀ ِ ﹸ ﹰ ﻭﻅﹼﺕ ﺘ ﹶﹶﺭﺜﺭ ﻋﻥ ﻓﺎﺘﺤﻴﻥ ﻤﻭﺍﻜﺒﻬﻡ ﻻ ﺘﺼ ﹸ ﺩ ﻠ ﹸﺜ ﹼ ﻭﺒﺎﻟﻨﺎﺭ ﺘﻠﻬﻭ ٠٥
53.
-٦- ﻫﻲ ﺍﻟﺘﻲ ﻓﻲ
ﺤﻀﻨﻬﺎ ﺼﺎﺭ ﺍﻟﻬﻭﺍﺀ ﺫﻜﺭﺍ ﺃﻗﻭل ﻟﻠﺭﺴﺎﻡ ِ ﻜﻠﻤﺎ ﺘﻁﺎﻴﺭﺕ ﻤﻥ ﻴﺩﻩ ﺍﻷﻟﻭﺍﻥ ﺃﻭ ﺃﻁل ﻤﻥ ﻋﻴﻨﻴﻪ ﺒﻌﻀ ﺎ ﻬ ﻫﻲ ﺍﻟﺘﻲ ﻤﻥ ﺃﺠﻠ ِﺎ َِ ﻬ ﺃﺤﺏ ﻋﺭ ﻪ ﺍﻟﺤﻜﻴﻡ ﻴ ﻭﺍﻟﺘﻲ ﺒﺠ ﹼﺔ ﺠﺤﻴﻤﻬﺎ ﺍﺸﺘﺭﻯ. ِ ﹼ ﻨ ١٥
54.
-٧-
ﻜﻠﻤﺎ ﺠﺎﺀ ﻤﺎﺭﺱ ﺠﺎﺀﺕ ﻤﻌﻪ ﺃﺘﻜﻭﻥ ﺍﻟﻐﺒﺎﺭ ﺍﻟﺫﻱ ﻓ ِﻪ ِ ﻴ ﻻ ﺍﻟﻁﻴ ﻭﻥ ﺒﺄﺤﺯﻤﺔ ﻤﻥ ﺭﺼﺎﺹ ﺃﺘﻭﺍ ٍ ٍِ ﺒ ﻭﻻ ﺠﺎﻤﻌﻭﺍ ﺍﻟﻴﺭﻗﺎﺕ ِ ﻓﻤﻥ ﺴ ﺫ ﱠﺭ ﺒﺤﺭﺍ ﺒﻤﺎﻀﻴﻪ ِ ﹰ ﻴ ﻜ ﱠ ﻴﺤﺸﻭ ﺒﻭﺴﻭﺴﺔ ٍ ﺴﻭﻑ ﺃﻏﻔﻭ ﻗﻠﻴﻼ ﹰ ﺃﻨﺎ ﺍﻟﻜﻬل ُ ﺴﻭﻑ ﺒﻼ ﺨ ٍ ﹶﺠل ﺃﺘﻠ ﺹ ﺼ ﺃﺘﺭﻜﻬﺎ ﺘ ﹶﹶﻭ ﻡ ﺃﻥ ﺍﻟﻬﻭﺍﺀ ﻨﻘﻰ ﹶِ ﹶﺘ ﻫ ﻟﻤﺎﺫﺍ ﹸﺩﺍﺭﻯ ﻓﻭﺍﻨﻴﺴﻬﺎ ﺒﺎﻟﻴﺩﻴﻥ ِ ﺘ ﹸ ﻋﻠﻰ ﺍﻟﺨﺎل ﺴﻭﻑ ﺃﺤﻁ ﻴﺩﺍ ﹰ ﻭﻋﻠﻰ ﺍﻟﺭﻜ ﺘﻴ ِ ﹾﺒ ﹶ ﻥ ﻟﺴﻤﺭﺘﻬﺎ ﻟﺴﻌﺔ ﹸ ﻭﻟﻠﺠﺴﻡ ﺃﻟﹾﺴﻨﺔ ﻻ ﺘﻌﺩ ِ ﹾ ﹶﹸ ﹸ ّ ﻟﻤﺎﺫﺍ ﺫ ﱠﺭﻨﻲ ﺨﺎﺘﻡ ﺒﺎﻟﺒﺤﻴﺭﺓ ِ ِ ﻴﻜ ﱠ ٢٥
55.
ﻭﺍﻟﺼﻭﺕ ﺒﺎﻟ ﱡﻭﺭ
ﹸ ﻨ ِ ﱡ ﻗﺎﺭﺌﺔ ﺍﻟﻜﻑ ﻤﻥ ﻋﺴل ﻟﻡ ﺘﻬﺒﻬﺎ ٍ ﹶ ِ ﹸ ﻓﻅﹼﺕ ﻋﻠﻰ ﺍﻟﺴﻁﺢ ِ ﻠ ﹼ ﻟﻡ ﺘﻌل ﻓﻴﻬﺎ ﺍﻟﻨﺠﻭﻡ ﹶُ ﻭﻟﻡ ﺘﺩﺨل ﺍﻟﻔﺭ ﻤﺜل ﺍﻟﺜﻌﺎﻟﺏ ِ ﹶ ﻭ ﻫل ﺃﻜﺭﺓ ﺍﻟﺒﺎﺏ ﺒﺎﺭﺩ ﹸ؟ ﺓ ﹸ ﹾ ﹸ ٣٥
56.
-٨-
ﻟﻡ ﺘ ﺩ ﺠﺩﻴﺭﺓ ﺒﻲ ﹰ ﻌ ﺃﻗﻭل ﻓﻲ ﺍﻟﺼﺒﺎﺡ ﻗﺒل ﺃﻥ ﺃﻏ ﺭ ِﻴﻘﻲ ُ ﹶﻴ ﺭ ِ ﺤﻴﻥ ﺃﺭﻯ ﺍﻟﻜﺘﺏ ﻤﺭﺼﻭﺼﺔ ﻜﺎﻟﺒﻭﺍ ِِﺭ ﺨ ﹰ ﻭﺍﻟﻁﻴﻭﺭ ﻤﺼﻠﻭﺒﺔ ﻓﻲ ﺍﻟﻤﻤﺸﻰ ﹰ ﻭﺤﻴﻥ ﺃﺫﻜﺭ ﺍﻟﺠﺎ ِﻅ ﺍﻟﺫﻱ ﻟﻡ ﺘﺩﺴﻪ ﻋ ﺔ ﹶ ﺭﺒ ﺤ ِ ﻭﻟﻡ ِﻘﻊ ﻤﻥ ﺍﻟﻁﺎﺒﻕ ﺍﻟﻌﺎﺸﺭ ﻴ ِ ٤٥
57.
-٩-
ﺍﻟﻌﻴﻨﺎﻥ ﻫﻤﺎ ﺍﻷﻨﻑ ﹸ ﻭﻤﺎﺀ ﺍﻟﺭﻗﺒﺔ ِ ﻭﺍﻟﺜﺩﻴﺎﻥ ِ ﻭﻨﻭﺭﺍ ﻟﻴﺴﺕ ﻨﻭﺭﺍ ﻜﻴﻑ ﺍﺴﺘ ﹶﹶﺭ ﺍﻟﺒﺤﺭ ﺇﺫﺍ ﹰ ﹶﺘ ﻭﺍﻜﺘﻤل ﺤﻀﻭﺭ ﺍﻟﻐﺎﺌﺏ ِ ﺴﻭﻑ ﺃﻗﻭل ﺼﺒﺎﺡ ﺍﻟﺨﻴﺭ ﻭﺴﻭﻑ ﺘﻔﺘﺵ ﻋﻥ ﻨﺒﻭﺭ ﺼ ٍ ﹼﱠ ﹸ ﻫﺫﺍ ﺠﺴﺩﻱ ﺴﻭﻑ ﺃﻗﻭل ﻭﻫﺫﺍ ﺍﻟﺒﺤﺭ ﹸﺫﻴﻪ ﻓﻬ ﻴﻪ ﺍﻨﺨﻠﻌﻲ ﻤﻨﻪ ﺃﻭ ﺃﻨﺯﺭﻋﻲ ﻓﻴﻪ ِ ﹸ ﹶ ﺯ ﺨ ﺼِﻴﻪ ﺃﺫﻴﺒﻲ ﻓﻴﻪ ﺍﻟﺩﻫﺸﺔ ﺃﻭ ﺼﻠ ِﻪ ﹶ ِ ﻴ ﹶ ِﻠ ِ ﻭﻗﻭﻟﻲ ﺩﺨل ﺍﻟﻌﺎﺸﻕ ﺒﺴﺘﺎﻥ ﺍﻟﻤﻌﺸﻭﻕ ِ ﻓﺂﺜﺭﻨﺎﻩ ﻭﺴﺎﺭﺭﻨﺎﻩ ﻭﺩ ﱠﺭﻨﺎﻩ ﺒﺠﻠﺩ ﻏﻴﺭ ﺍﻟﺠﻠﺩ ﹾِ ﺜ ِ ﹾ ٍ ﻭﻨﺎﺭ ﻏﻴﺭ ﺍﻟﻨﺎﺭ ﻫﻭ ﺍﻟﻤﺴﻜﻭﻥ ﺒﺠﻤﺭ ﺍﻟﺸﻙ ﺍﻟﻤﻠﻙ ِ ِﱠ ٍ ﺍﻟﻤﺸﺘﺒﻙ ﻤﻊ ﺍﻟﻐﻴﻼﻥ ِ ﹾ ِ ٥٥
58.
ﺜﻼﺙ ﺃﺭﺍﺌﻙ ﻏﺎﺒﺕ
ﹾ ﺒﺎﺒﺎﻥ ﻭﺩﻭﻻﺒﺎﻥ ِ ﻭﻨﻭﺭﺍ ﻅﻠﺕ ﺘﻬﻭﻯ ﺍﻟﻤﺸﻤﺵ ﹾ ﹶ ﻭﺍﻟﻨﻭﺍﺭ ﱡ ﻭ ﻨ ﺍﻟﺴﺒﻊ ﺤ ﹶﻙ ِ ﻭﻅﻠﺕ ﺘﻀﺤﻙ ﺤﻴﻥ ﺃﺴ ﻰ ﻗﺒل ﺍﻷﻜل ِ ُ ﻤ ﻭﻗﺒل ﺍﻟﻨﻭﻡ ِ ﻭﺤﻴﻥ ﺃ ﹶﹶﻨﻰ ﻓﻲ ﺍﻟ ﻤﺎﻡ ﺤ ِ ﻏ ﻟﻤﺎﺫﺍ ﻀ ِِﻜﺕ ﺤﻴﻥ ﻫﻤﻤﺕ ﺒﻬﺎ؟ ﹸ ﺤ ﹾ ٦٥
59.
-٠١-
ﺍﻟﺸﻭﺍﺭﻉ ﺍﻟﺘﻲ ﻟﻡ ﺘﺴﻌﻨﺎ ﹶ ﻭﺍﻟﻤﺩﻴﻨﺔ ﺍﻟﺘﻲ ﺨﺎﻨﺕ ﹾ ﻴﺤﺘﻠﻬﺎ ﺍﻟﺠﺭﺍﺩ ﺍﻵﻥ ٧٥
60.
-١١- ﻟﻤﻘﺎ ِﺽ ﺍﻷﺒﻭﺍﺏ
ﺃﻥ ﺘﺘﺫ ﹼﺭ ﺍﻷﻴﺩﻱ ﻜ ﹼ ﻴ ِ ﻭﻟﻠﻌﺭﺒﺎﺕ ﺃﻥ ﺘ ِﺙ ﺍﻟﺸﻭﺍﺭﻉ ِ ﺭ ﻟﻸﺼﺎﺒﻊ ﺃﻥ ﺘﻅل ﺃﻟﻴﻔﺔ ﱠ ﹰ ﻭﻟﻰ ﺃﻥ ﺃﺴﺘﻌﻴﺩ ﺍﻟ ﻔل ﻜﺎﻟﻤﻌﺘﺎﺩ ﺤﹾ َ ﻟﻲ ﺃﻥ ﺃﺘﺭﻙ ﺍﻟ ﱡﺒﺎﻙ ﻤﻔﹾﺘﻭﺤﺎ ﺸ ﹼ ﹾ ﹰ ﱡ ﻭﻜ ﱠ ﺍﻟﻨﻭﺭ ِ ﹸل ﻗﺩ ﺘ ﹶﹶﺫ ﹼﺭ ﺍﻟﻤﻤﺸﻰ ﹶﺘ ﻜ ﹼ ﻭﺘل ﺍﻟﻌﺸﹾﹾﺏ ﻟﻭﻥ ﻗﻤﻴﺼﻬﺎ ﺍﻟﻤﻠﻘﻰ ﻋﻠﻰ ﺍﻟﻜﺭﺴﻲ ﻭﺍﻟ ﻭﺘﻴﺎﻥ ﺴ ﺃﻭ ﻓ ﺍﻷﺼﺎﺒﻊ ﺒﺎﻷﺼﺎﺒﻊ ِ ﹶﺭﺡ ﻜﻴﻑ ﻤﺭ ﺍﻟﻭﻗ ﹸ؟ ﺕ ﹸ ﺨﻴﻁ ﺩﻡ ﻤﻥ ﺍﻷﻟﺒﻭﻡ ﺴﻭﻑ ﻴﺴﻴل ٍ ﺨﻴﻁ ﺩﻡ ٍ ﺴﻴﻠﻤﻊ ﺭﺒﻤﺎ ﻓﻲ ﺍﻟﻔﺠﺭ ِ ﺤﻴﻥ ﺘﻔ ﱠﺵ ﺍﻟﻘﺩﻤﺎﻥ ﻋﻥ ﻗﺩﻤﻴﻥ ِ ِ ﺘ ﹸ ﻭﺍﻹﻋﺼﺎﺭ ﻋﻥ ﺸﻜل ٍ ٨٥
61.
ﻟﻴﺱ ﻟﻬﺎ ﺃﻥ
ﹸﺼﺒﺢ ﻗﻔﺼﺎ ﹰ ﺘ ﹸ ﺃﻁﻔﺎﻟﻲ ﻴﻨﺘﻅﺭﻭﻥ ﺭﺠﻭﻋﻲ ﻭﻜﻼﺏ ﺍﻟﺴﻜ ِ ﹶﻙ ﻭﻤﺠﻬﻭﻟﻭﻥ ﻫﺭﺴﺕ ﺃﺼﺎﺒ ﻬﻡ ﻌ ﹸ ﻤﻥ ﻨ ٍ ﺴ ﹶﺔ ﻟﻴﺱ ﻟﻬﺎ ﺃﻥ ﺘﺭﻜﺽ ﺨﻠﻔﻲ ﺍﻷﺨﺭ ﱠﻭﻥ ﺒﺎﻟﺒ ﱠ ﻭﺒﺎﻟﻌﺴﻠﻲ ﻟ ﻨﻲ ﱠ ﺍﻵﺨﺭ ﺤﻁ ﺍﻟﺒﺴﻤﺔ ﻓﻲ ﺍﻟﻌﻴﻨﻴﻥ ِ ﹶ ﻭﻓﻰ ﺍﻟﻜﺘﻔﻴﻥ ِ ﻭﻨﻭ ﻗﻭﺱ ﺍﻟ ﱠﻬﻘﺔ ﻭﺍﻷﻁﺭﺍﻑ ﹶ ﺸ ِﱠ ﹶ ﺭ ﺍﻵﺨﺭ ﻟﻑ ﻗﻤﻴﺼﺎ ﺤﻭل ﺍﻟﺒﺤﺭ ِ ﹰ ﻭﻫﺎﺠﻡ ﻜﺎﻟﻘﺭﺼﺎﻥ ِ ﺍﻵﺨﺭ ﺃﺜ ﺕ ﻓﺎﺌﺩﺓ ﻟﻠﺜﺩﻱ ﻭﺃﺨﺭﻯ ﹾﺒ ﹶ ﹰ ﻟﺘﺠﺎﻭﻴﻑ ﺍﻨﺘﻅﺭﺕ ﻜﺎﻷﻋﺸﺎﺵ ِ ﺍﻵﺨﺭ ﻜﺎﻥ ﺼﺒﻴﺎ ﻓﻲ ﺍﻟﻌﺸﺭﻴﻥ ﻭﺭﺠﻼ ﹰ ﺃﻴﻀﺎ ﻓﻲ ﺍﻟﻌﺸﺭﻴﻥ ﻴ ِل ﺍﻵﺨﺭ ﻜﺎﻥ ﺒﻠﻐﺔ ﺍﻟﻤﻜﺘﺸﻔﻴﻥ ﺤﺎﻭ ُ ﻓﻙ ﺍﻟﺠﺴﺩ ِ ٩٥
62.
ﺇﻟﻰ ﻗﺎﺭﺍﺕ
ٍ ﻭﻤﺤﻴﻁﺎﺕ ٍ ٠٦
63.
-٣١-
ﺒﺭﻭﺍﺌﺤﻬﺎ ﺃﻭﻗﻅ ﺤﻴﻭﺍﻨﺎﺘﻲ ﻭﺃﺭ ﻊ ﺃﻋﻤﺩﺓ ﺍﻟﻤﻴﺩﺍﻥ ِ ﺼ ﻭﻜل ﺼﺒﺎﺡ ٍ ﺤﻴﻥ ﻴﻌﻭﺩ ﺇﻟﻰ ﺍﻟﻤﻴﻨﺎﺀ ﺩﻡ ِ ﺃﻤﻸ ﻜﻭﺒﻴﻥ ِ ﻭﺃﺴﻘﻰ ﺸﺠﺭﺍ ﻓﻲ ﺍﻷﻟﺒﻭﻡ ِ ﹶ ﺃﻅﻥ ﺍﻟﺸﻌﺭ ﺍﺒﻴﺽ ﻗﻠﻴﻼ ﹰ ﻭﺍﻟﺒﺭﻜﺎﻥ ﺍﺨﺘﻨﻕ ﹶ ﺃﻅﻥ ﺍﻟﺭﻜ ﺔ ﺼﺎﺭﺕ ﺃﺨﺸ ﹾ ﹶﻥ ﹾﺒ ﹶ ﻭﺍﻟﺜﺩﻴﻴﻥ ﺍﻨﺩﹶﹶﻘﺎ ﹾ ﻟ ﺠﺭﺱ ﺍﻟﺒﺎﺏ ﻴﺭﻥ ِ ﻭﻤﻥ ﻨﺎﻓﺫﺓ ٍ ﻴﺴﻘﻁ ﻅل ّ ﻻ ﺃﻋﺭ ﹸﻪ ﻓ ﻭﻻ ﻴﻌﺭﻓﻨﻲ ١٦
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