‫ﺑﻬﺮﺍﻡ ﺑﻴﻀﺎﻳﻰ‬ ‫ﺩﺭ ﺯﺍﺩْ ﺭﻭ ِﺯ ﺁﻥﻛﻪ ﺩﻭﻟﺘَﺶ ﺁﺑﺎﺩ‬

‫ﻟﺐ ﺑﺴﺘﻪ ﺑﻮﺩ ﺣﻖّ‬

‫ﺣﻮﺍﻟﻰِ ﺑﻴﻬﻖ‬ ‫‪260‬‬
‫ﺑﺨﺎﺭﺍ‬
‫ﺍﻓﺴﺎﻧﻪ ﻧﻤﻰﺧﻮﺍﻧْﺪ ﭘ ِﭻ ﭘ ِﭽﻪ!‬ ‫ﺳﺎﻝ ﺳﻴﺰﺩﻫﻢ‬
‫ﺷﻤﺎﺭﻩ ‪76‬‬
‫ﻣﺮﺩﺍﺩ ‪ -‬ﺷﻬﺮﻳﻮﺭ‬
‫‪1389‬‬

‫ﺳﺎﻳﻪﻫﺎ ﭘَﺮﺳﻪ ﻣﻰﺯﺩﻧﺪ‬

‫ِ‬
‫ﺍﻃﺮﺍﻑ ﺳﺒﺰﻭﺍﺭ‬ ‫ﺩﺭ‬
‫ﻭﺍژﻩﻫﺎ ُﮔﻢ ﺑﻮﺩﻧﺪ‬
‫َﺳﺮﮔﺸﺘﻪ ﭘﻰ ﻣﻌﻨﺎﻳﻰ‬
‫ْ‬
‫ﺗﺎ ﺗﻮ ﺁﻣﺪﻯ؛‬
‫ﻫﻔﺘﺎﺩ ﺳﺎ ِﻝ ﭘﻴﺶ ـ ﺍﻣﺮﻭﺯ!‬

‫ﺩﺭ ﺯﺍﺩﺭﻭﺯ ﺁﻥﻛﻪ ﺩﻭﻟﺘﺶ ﺁﺑﺎﺩ‬

‫ﻧ ُ ُﻬﻢ ﻳﺎ ﭘﺎﻧﺰﺩ ُﻫ ِﻢ ﺍَﻣﺮﺩﺍﺩ‪ - 89 /‬ﻓﺮﻗﻲ ﻧﻤﻲ ُﻛﻨَﺪ‬
 ‫ﻣﻬﻨﺎﺯﻋﺒﺪﺍﻟﻠﻬﻰ‬ ‫ﺳﺎﻟﺸﻤﺎﺭ ﻣﺤﻤﻮﺩ ﺩﻭﻟﺖﺁﺑﺎﺩﻯ‬

‫‪261‬‬
‫ﺑﺨﺎﺭﺍ‬
‫ﺑﺮﺍﻯ ﺗﺪﺍﺭﻙ ﺳﺎﻟﺸﻤﺎﺭ ﺍﺯ ﺗﺤﻘﻴﻘﺎﺕ ﺁﻗﺎﻯ ﻣﺤﻤﺪﺭﺿﺎ ﻗﺮﺑﺎﻧﻰ ﻣﺪﺩ ﻓﺮﺍﻭﺍﻥ ﮔﺮﻓﺘﻪﺍﻡ ﻛﻪ ﺑﺪﻳﻦ ﻭﺳﻴﻠﻪ‬
‫ﺳﺎﻝ ﺳﻴﺰﺩﻫﻢ‬
‫ﺷﻤﺎﺭﻩ ‪76‬‬
‫ﺍﺯ ﺍﻳﺸﺎﻥ ﺳﭙﺎﺳﮕﺰﺍﺭﻯ ﻣﻰﻛﻨﻢ‪.‬‬
‫ﻣﺮﺩﺍﺩ ‪ -‬ﺷﻬﺮﻳﻮﺭ‬
‫‪1389‬‬
‫ﻣﺤﻤﻮﺩ ﺩﻭﻟﺖﺁﺑﺎﺩﻯ ﻓﺮﺯﻧﺪ ﻓﺎﻃﻤﻪ ﻭ ﻋﺒﺪﺍﻟﺮﺳﻮﻝ‪ ،‬ﻣﺘﻮﻟﺪ ﺳﺎﻝ ‪1319‬‬ ‫‪ 1319‬ﺵ‪ 1941 ،‬ﻡ‬
‫ﺧﻮﺭﺷﻴﺪﻯ ﺩﺭ ﺩﻭﻟﺖﺁﺑﺎﺩ ﺳﺒﺰﻭﺍﺭ‪.‬‬
‫ﮔﺮﺩﺍﻧﺪﻥ ﻧﻌﺶﻫﺎﻯ »ﮔﻞﻣﺤﻤﺪ«‪» ،‬ﺑﻴﮓﻣﺤﻤﺪ« )ﻗﻬﺮﻣﺎﻧﺎﻥ ﻛﺘﺎﺏ ﻛﻠﻴﺪﺭ‬ ‫‪ 1323‬ﺵ‪ 1945 ،‬ﻡ‬
‫ﻣﺤﻤﻮﺩ ﺩﻭﻟﺖﺁﺑﺎﺩﻯ( ﺩﺭ ﺷﻬﺮ ﺳﺒﺰﻭﺍﺭ‪.‬‬
‫ﺁﻏﺎﺯ ﺗﺤﺼﻴﻼﺕ ﺍﺑﺘﺪﺍﻳﻰ‪.‬‬ ‫‪ 1325‬ﺵ‪ 1946 ،‬ﻡ‬
‫ﭘﺎﻳﺎﻥ ﺗﺤﺼﻴﻼﺕ ﺍﺑﺘﺪﺍﻳﻰ‪.‬‬ ‫‪ 1332‬ﺵ‪ 1953 ،‬ﻡ‬
‫ﻛﺎﺭ ﺩﺭ ﻛﺎﺭﺧﺎﻧﺔ ﭘﻨﺒﻪ‪ .‬ﺑﻴﻤﺎﺭﻯ ﺍﺳﺘﺌﻮﻣﻠﻴﺖ ﺩﺭ ﭘﺎ )ﺑﻴﻤﺎﺭﻯ ﺍﺳﺘﺨﻮﺍﻧﻰ(‪.‬‬ ‫‪ 1333‬ﺵ‪ 1954 ،‬ﻡ‬
‫ﺳﻔﺮ ﺑﻪ ﻣﺸﻬﺪ ﺑﺮﺍﻯ ﻣﻌﺎﻟﺠﻪ‪.‬‬ ‫‪ 1334‬ﺵ‪ 1955،‬ﻡ‬
‫ﺳﻔﺮ ﺑﻪ ﻋﺘﺒﺎﺕ‪ .‬ﺑﺎﺯﮔﺸﺖ ﻭ ﺗﻮﻗﻒ ﻣﻮﻗﻒ ﺩﺭ ﺗﻬﺮﺍﻥ‪.‬‬ ‫‪ 1335‬ﺵ‪ 1956 ،‬ﻡ‬
‫ﺑﺎﺯﮔﺸﺖ ﺑﻪ ﺳﺒﺰﻭﺍﺭ ﻭ ﺁﻏﺎﺯ ﻛﺎﺭ ﺩﺭ ﺷﻬﺮ ﺳﺒﺰﻭﺍﺭ‪.‬‬ ‫‪ 1336‬ﺵ‪ 1957 ،‬ﻡ‬
‫ﺳﻔﺮ ﺑﻪ ﻣﺸﻬﺪ ﺑﻪ ﻗﺼﺪ ﻭﺭﻭﺩ ﺑﻪ ﺁﻣﻮﺯﺷﮕﺎﻩ ﮔﺮﻭﻫﺒﺎﻧﻰ‪ .‬ﺁﺷﻨﺎﻳﻰ ﺑﺎ ﺳﻴﻨﻤﺎ ﻭ ﺗﺌﺎﺗﺮ‪.‬‬ ‫‪ 1337‬ﺵ‪ 1958 ،‬ﻡ‬
‫ﺳﻔﺮ ﺑﻪ ﺗﻬﺮﺍﻥ‪ .‬ﺁﺷﻨﺎﻳﻰ ﺑﺎ ﺁﺛﺎﺭ ﺁﻧﺘﻮﺍﻥ ﭼﺨﻮﻑ ﻭ ﺻﺎﺩﻕ ﻫﺪﺍﻳﺖ‪.‬‬ ‫‪ 1338‬ﺵ‪ 1959 ،‬ﻡ‬
‫ﻛﺎﺭ ﺩﺭ ﺗﺌﺎﺗﺮ ﭘﺎﺭﺱ ﺩﺭ ﻻﻟﻪﺯﺍﺭ ﺑﻪﻋﻨﻮﺍﻥ ﻭ ﺭﻛﻼﻣﺎﺗﻮﺭ‪ .‬ﺁﻏﺎﺯ ﺩﺍﺳﺘﺎﻥﻧﻮﻳﺴﻰ‪.‬‬ ‫‪ 1339‬ﺵ‪ 1960 ،‬ﻡ‬
‫ﺷﺮﻛﺖ ﺩﺭ ﻛﻼﺱ ﺗﺌﺎﺗﺮ »ﺁﻧﺎﻫﻴﺘﺎ« ﺑﻪ ﺻﻮﺭﺕ ﻣﺴﺘﻤﻊ ﺁﺯﺍﺩ‪.‬‬ ‫‪ 1340‬ﺵ‪ 1961 ،‬ﻡ‬
‫ﻣﻬﺎﺟﺮﺕ ﺧﺎﻧﻮﺍﺩﻩ ﺑﻪ ﺗﻬﺮﺍﻥ‪ .‬ﺁﻏﺎﺯ ﺩﺍﺳﺘﺎﻥﻧﻮﻳﺴﻰ ﺑﻪﻃﻮﺭ ﺟﺪﻯ ﻭ ﭼﺎپ‬ ‫‪ 1341‬ﺵ‪ 1962 ،‬ﻡ‬
‫ﺩﺍﺳﺘﺎﻥ ﻛﻮﺗﺎﻩ »ﺗﻪ ﺷﺐ« )ﻧﺨﺴﺘﻴﻦ ﺩﺍﺳﺘﺎﻥ( ﺩﺭ ﻣﺠﻠﺔ ﺁﻧﺎﻫﻴﺘﺎ‪ .‬ﺑﺎﺯﻯ ﺩﺭ‬
‫ﻧﻤﺎﻳﺸﻨﺎﻣﺔ »ﺷﺐﻫﺎﻯ ﺳﻔﻴﺪ« ﺍﺛﺮ ﺩﺍﺳﺘﺎﻳﻔﺴﻜﻰ‪.‬‬
‫ﻧﮕﺎﺭﺵ ﺩﺍﺳﺘﺎﻥﻫﺎﻯ »ﺍﺩﺑﺎﺭ« ﻭ »ﻫﺠﺮﺕ ﺳﻠﻴﻤﺎﻥ«‪ .‬ﺑﺎﺯﻯ ﺩﺭ ﻧﻤﺎﻳﺶﻫﺎﻯ‬ ‫‪ 1342‬ﺵ‪ 1963 ،‬ﻡ‬
‫»ﻗﺮﻋﻪ ﺑﺮﺍﻯ ﻣﺮگ« ﺍﺛﺮ ﻭﺍﻫﻪ ﻛﺎﭼﺎ‪» ،‬ﺍﻧﻴﺲ ﻣﻨﺪﻭ« ﻭ »ﺗﺎﻧﻴﺎ«‪.‬‬
‫ﻣﺮگ ﻧﻮﺭﺍﷲ ﺩﻭﻟﺖﺁﺑﺎﺩﻯ )ﺑﺮﺍﺩﺭ ‪ 21‬ﺳﺎﻟﻪﺍﺵ(‪ .‬ﺗﺮﻙ ﺗﺤﺼﻴﻞ‪ .‬ﺑﺎﺯﻯ ﺩﺭ‬ ‫‪ 1343‬ﺵ‪ 1946 ،‬ﻡ‬
‫ﻧﻤﺎﻳﺶ »ﻧﮕﺎﻫﻰ ﺍﺯ ﭘﻞ« ﺍﺛﺮ ﺁﺭﺗﻮﺭ ﻣﻴﻠﺮ‪ .‬ﻧﮕﺎﺭﺵ ﺩﺍﺳﺘﺎﻥﻫﺎﻯ »ﺑﻴﺎﺑﺎﻧﻰ«‪» ،‬ﭘﺎﻯ‬
‫ﮔﻠﺪﺳﺘﺔ ﺍﻣﺎﻣﺰﺍﺩﻩ ﺷﻌﻴﺐ« )ﺍﻳﻦ ﺩﺍﺳﺘﺎﻥ ﺑﻌﺪﺍ ً ﺩﺭ ﺳﺎﻝ ‪ 1352‬ﺩﺭ ﻣﺠﻤﻮﻋﺔ‬
‫»ﻻﻳﻪﻫﺎﻯ ﺑﻴﺎﺑﺎﻧﻰ« ﭼﺎپ ﻣﻰﺷﻮﺩ(‪ ،‬ﻭ »ﺳﺎﻳﻪﻫﺎﻯ ﺧﺴﺘﻪ«‪.‬‬
‫ﺁﺷﻨﺎﻳﻰ ﺑﺎ ﺍﺣﻤﺪ ﺷﺎﻣﻠﻮ‪ .‬ﻧﮕﺎﺭﺵ ﺩﺍﺳﺘﺎﻥﻫﺎﻯ »ﺳﻔﺮ« ﻭ »ﺑﻨﺪ«‪ .‬ﺳﻔﺮ ﺑﻪ‬ ‫‪ 1345‬ﺵ‪ 1966 ،‬ﻡ‬
‫ﺑﻨﺪﺭﻋﺒﺎﺱ‪.‬‬
‫ﺁﺷﻨﺎﻳﻰ ﺑﺎ ﺟﻼﻝ ﺁﻝﺍﺣﻤﺪ‪ .‬ﺁﺷﻨﺎﻳﻰ ﺑﺎ ﺁﺛﺎﺭ ﻏﻼﻣﺤﺴﻴﻦ ﺳﺎﻋﺪﻯ‪ .‬ﺑﺎﺯﻯ‬ ‫‪ 1346‬ﺵ‪ 1967 ،‬ﻡ‬
‫ﺩﺭ ﻧﻤﺎﻳﺶ »ﭼﻮﺏ ﺑﻪ ﺩﺳﺖﻫﺎﻯ ﻭﺭﺯﻳﻞ« ﺍﺛﺮﻏﻼﻣﺤﺴﻴﻦ ﺳﺎﻋﺪﻯ‪ .‬ﭘﺎﻳﺎﻥ‬ ‫‪262‬‬
‫ﻧﮕﺎﺭﺵ »ﺍﻭﺳﻨﺔ ﺑﺎﺑﺎﺳﺒﺤﺎﻥ«‪ .‬ﺑﺎﺯﻯ ﺩﺭ ﻧﻤﺎﻳﺶ »ﺷﻬﺮ ﻃﻼﻳﻰ« ﺍﺛﺮ ﻋﺒﺎﺱ‬
‫ﺟﻮﺍﻧﻤﺮﺩ‪ ،‬ﺩﺭ ﺗﺎﻻﺭ ‪ 25‬ﺷﻬﺮﻳﻮﺭ‪ ،‬ﺑﻬﻤﻦﻣﺎﻩ‪.‬‬
‫ﺍﻧﺘﺸﺎﺭ »ﺍﻭﺳﻨﺔ ﺑﺎﺑﺎﺳﺒﺤﺎﻥ«‪ ،‬ﺳﺎﺯﻣﺎﻥ ﺗﺪﺍﺭﻙ ﻭ ﻧﺸﺮ‪ ،‬ﺗﻬﺮﺍﻥ‪) .‬ﭼﺎپ ﭼﻬﺎﺭﻡ‬ ‫‪ 1347‬ﺵ‪ 1968 ،‬ﻡ‬
‫ﻫﻤﻴﻦ ﻛﺘﺎﺏ ﺗﻮﺳﻂ ﺍﻧﺘﺸﺎﺭﺍﺕ ﮔﻠﺸﺎﻳﻰ‪ ،‬ﺗﻬﺮﺍﻥ(‪ .‬ﺑﺎﺯﻯ ﺩﺭ ﻧﻤﺎﻳﺶ »ﻃﻠﺴﻢ‬
‫ﺣﺮﻳﺮ ﻭ ﻣﺎﻫﻴﮕﻴﺮ« ﺍﺛﺮ ﻋﻠﻰ ﺣﺎﺗﻤﻰ ﺩﺭ ﺗﺎﻻﺭ ﻭ ﻣﻮﺯﻩ ﻭ ﺑﻌﺪ ﺩﺭ ﺷﻬﺮﺳﺘﺎﻥﻫﺎ‪.‬‬
‫ﻧﮕﺎﺭﺵ ﺩﺍﺳﺘﺎﻥﻫﺎﻯ »ﮔﺎﻭﺍﺭﻩﺑﺎﻥ« ﻭ »ﺑﺎ ﺷﺒﻴﺮﻭ«‪ .‬ﻧﮕﺎﺭﺵ ﻧﻤﺎﻳﺸﻨﺎﻣﺔ »ﺗﻨﮕﻨﺎ«‪.‬‬
‫ﺍﻧﺘﺸﺎﺭ ﺩﺍﺳﺘﺎﻥ ﺑﻠﻨﺪ »ﺳﻔﺮ«‪ .‬ﺍﻧﺘﺸﺎﺭ ﻣﺠﻤﻮﻋﺔ »ﻻﻳﻪﻫﺎﻯ ﺑﻴﺎﺑﺎﻧﻰ« )ﻣﺠﻤﻮﻋﺔ‬
‫ﺷﺶ ﺩﺍﺳﺘﺎﻥ‪ :‬ﺍﺩﺑﺎﺭ‪ ،‬ﭘﺎﻯ ﮔﻠﺪﺳﺘﺔ ﺍﻣﺎﻣﺰﺍﺩﻩ ﺷﻌﻴﺐ‪ ،‬ﺑﻴﺎﺑﺎﻧﻰ‪ ،‬ﺳﺎﻳﻪﻫﺎﻯ‬
‫ﺧﺴﺘﻪ‪ ،‬ﻫﺠﺮﺕ ﺳﻠﻴﻤﺎﻥ(‪ ،‬ﺍﻧﺘﺸﺎﺭﺍﺕ ﺭﻭﺯ‪ ،‬ﺗﻬﺮﺍﻥ‪.‬‬
‫ﺳﻔﺮ ﺑﻪ »ﻛﺎﺧﻚ« ﺧﺮﺍﺳﺎﻥ ﭘﺲ ﺍﺯ ﺯﻟﺰﻟﺔ ﺧﺮﺍﺳﺎﻥ‪ .‬ﺑﺎﺯﻯ ﺩﺭ ﻧﻤﺎﻳﺶ‬ ‫‪ 1348‬ﺵ‪ 1969 ،‬ﻡ‬
‫»ﺿﻴﺎﻓﺖ« ﻭ »ﻋﺮﻭﺳﻚﻫﺎ« ﺍﺛﺮ ﺑﻬﺮﺍﻡ ﺑﻴﻀﺎﺋﻰ‪ .‬ﺁﻏﺎﺯ ﻧﮕﺎﺭﺵ ﺭﻣﺎﻥ »ﻛﻠﻴﺪﺭ«‪.‬‬
‫ﭘﺎﻳﺎﻥ ﻧﮕﺎﺭﺵ »ﮔﺎﻭﺍﺭﻩﺑﺎﻥ«‪ .‬ﻧﮕﺎﺭﺵ ﺩﺍﺳﺘﺎﻥ ﺑﻠﻨﺪ »ﻋﻘﻴﻞ ﻋﻘﻴﻞ«‪.‬‬
‫ﺍﺯﺩﻭﺍﺝ ﺑﺎ ﻣﻬﺮﺁﺫﺭ ﻣﺎﻫﺮ‪ .‬ﺳﻔﺮ ﺑﻪ ﺭﻭﺳﺘﺎﻯ ﻛﻠﻴﺪﺭ )ﻛﻮﻫﭙﺎﻳﻪﺍﻯ ﺩﺭ ﺷﻤﺎﻝ‬ ‫‪ 1349‬ﺵ‪ 1970 ،‬ﻡ‬
‫ﻧﻴﺸﺎﺑﻮﺭ(‪» .‬ﺳﻮﺩﺍﻯ ﻣﺮﺩ ﭘﻴﺮ« ﻧﻘﺪﻯ ﺑﺮ ﻧﻤﺎﻳﺸﻨﺎﻣﺔ »ﻣﺤﺎﻕ« ﻭ »ﻣﺮگ ﺩﺭ‬
‫ﭘﺎﻳﻴﺰ« ﺍﺛﺮ ﺍﻛﺒﺮ ﺭﺍﺩﻯ‪ ،‬ﺭﻭﺯﻧﺎﻣﺔ ﻛﻴﻬﺎﻥ‪ .‬ﻧﻘﺪﻯ ﺑﺮ ﻧﻤﺎﻳﺸﻨﺎﻣﺔ »ﺑﺎ ﺧﺸﻢ ﺑﻪ ﻳﺎﺩ‬
 ‫ﺁﺭ« ﺍﺛﺮ ﺟﺎﻥ ﺁﺯﺑﻦ ﺗﺮﺟﻤﺔ ﻛﺮﻳﻢ ﺍﻣﺎﻣﻰ‪ ،‬ﺭﻭﺯﻧﺎﻣﺔ ﻛﻴﻬﺎﻥ‪ ،‬ﺑﻬﻤﻦﻣﺎﻩ‪» .‬ﺳﻴﺮﻯ‬
‫ﺩﺭ ﺍﻧﺪﻳﺸﻪﻫﺎﻯ ﺑﺮﺷﺖ« ﻧﻘﺪﻯ ﺑﺮ ﻛﺘﺎﺏ »ﺳﻴﺮﻯ ﺩﺭ ﺍﻧﺪﻳﺸﻪﻫﺎﻯ ﺑﺮﺷﺖ«‬
‫ﺗﺄﻟﻴﻒ ﻡ‪ .‬ﺍﻣﻴﻦ ﻣﺆﻳﺪ‪ ،‬ﺭﻭﺯﻧﺎﻣﺔ ﻛﻴﻬﺎﻥ‪ ،‬ﺑﻬﻤﻦﻣﺎﻩ‪ .‬ﺑﺎﺯﻯ ﺩﺭ ﻧﻤﺎﻳﺶﻫﺎﻯ‬
‫»ﻣﺮگ ﺩﺭ ﭘﺎﻳﻴﺰ« ﺍﺛﺮ ﺍﻛﺒﺮ ﺭﺍﺩﻯ ﻭ »ﺗﻤﺎﻡ ﺁﺭﺯﻭﻫﺎ« ﺍﺛﺮ ﻧﺼﺮﺕ ﻧﻮﻳﺪﻯ‪ ،‬ﺍﻧﺘﺸﺎﺭ‬
‫ﻧﻤﺎﻳﺸﻨﺎﻣﺔ »ﺗﻨﮕﻨﺎ«‪ ،‬ﺍﻧﺘﺸﺎﺭﺍﺕ ﺭﺯ‪ ،‬ﭼﺎپ ﺍﻭﻝ‪ ،‬ﺗﻬﺮﺍﻥ‪.‬‬
‫ﺁﺷﻨﺎﻳﻰ ﺑﺎ ﺍﻣﻴﺮﺣﺴﻴﻦ ﺁﺭﻳﺎﻧﭙﻮﺭ‪ .‬ﺍﻧﺘﺸﺎﺭ ﺩﺍﺳﺘﺎﻥ ﺑﻠﻨﺪ »ﮔﺎﻭﺍﺭﻩﺑﺎﻥ«‪ ،‬ﭼﺎپ ﺍﻭﻝ‪،‬‬ ‫‪ 1350‬ﺵ‪ 1971 ،‬ﻡ‬
‫ﺍﻧﺘﺸﺎﺭﺍﺕ ﺻﺪﺍﻯ ﻣﻌﺎﺻﺮ‪ .‬ﭘﺎﻳﺎﻥ ﻧﮕﺎﺭﺵ ﺩﺍﺳﺘﺎﻥ ﺑﻠﻨﺪ »ﺑﺎ ﺷﺒﻴﺮﻭ«‪ .‬ﺗﻨﻈﻴﻢ ﻭ‬
‫ﺍﺟﺮﺍ ﻭ ﺑﺎﺯﻯ ﺩﺭ ﻧﻤﺎﻳﺶ »ﺭﺍﺷﻮﻣﻮﻥ« ﺍﺛﺮ ﺁﻛﻮﺗﺎﮔﺎﻭﺍ ﻧﻮﻳﺴﻨﺪﺓ ژﺍﭘﻨﻰ‪ .‬ﭘﺎﻳﺎﻥ‬
‫ﻧﮕﺎﺭﺵ »ﺑﺎ ﺷﺒﻴﺮﻭ«‪ .‬ﻧﮕﺎﺭﺵ ﺩﺍﺳﺘﺎﻥ »ﻣﺮﺩ«‪» .‬ﻏﺮﻳﺒﻪ ﺩﺭ ﻧﺎﺭﺳﺘﺎﻥ« ﻧﻘﺪﻯ ﺑﺮ‬
‫ﻧﻤﺎﻳﺸﻨﺎﻣﺔ »ﺍﻓﻮﻝ« ﺍﺛﺮ ﺍﻛﺒﺮ ﺭﺍﺩﻯ‪ ،‬ﺭﻭﺯﻧﺎﻣﺔ ﻛﻴﻬﺎﻥ‪.‬‬
‫ﻣﺮگ ﺑﺮﺍﺩﺭ ﻧﺎﺗﻨﻰﺍﺵ ﻋﻠﻰ ﺩﻭﻟﺖﺁﺑﺎﺩﻯ ﺩﺭ ﺣﺎﺩﺛﺔ ﺭﺍﻧﻨﺪﮔﻰ ﺟﺎﺩﺓ ﻫﺮﺍﺯ‪ .‬ﺍﻧﺘﺸﺎﺭ‬ ‫‪ 1351‬ﺵ‪ 1972 ،‬ﻡ‬
‫ﺩﺍﺳﺘﺎﻥ ﺑﻠﻨﺪ »ﺑﺎ ﺷﺒﻴﺮﻭ«‪ ،‬ﭼﺎپ ﺍﻭﻝ‪ ،‬ﺍﻧﺘﺸﺎﺭﺍﺕ ﺻﺪﺍﻯ ﻣﻌﺎﺻﺮ‪ .‬ﺁﺷﻨﺎﻳﻰ ﺑﺎ‬
‫ﺳﻬﺮﺍﺏ ﺳﭙﻬﺮﻯ‪ .‬ﺑﺎﺯﻯ ﺩﺭ ﻧﻤﺎﻳﺶ »ﺣﺎﺩﺛﺔ ﺩﺭﻭﻳﺸﻰ« ﺍﺛﺮ ﺁﺭﺗﻮ ﻣﻴﻠﺮ‪ .‬ﺍﻧﺘﺸﺎﺭ‬
‫ﺩﺍﺳﺘﺎﻥ ﺑﻠﻨﺪ »ﻋﻘﻴﻞ ﻋﻘﻴﻞ«‪ ،‬ﺍﻧﺘﺸﺎﺭﺍﺕ ﻣﺮﺯ ﻭ ﺑﻮﻡ‪ .‬ﭘﺎﻳﺎﻥ ﻧﮕﺎﺭﺵ ﻧﻤﺎﻳﺸﻨﺎﻣﺔ‬
‫»ﺩﺭﺧﺖ« )ﻣﻔﻘﻮﺩ ﺷﺪﻩ ﺍﺳﺖ(‪ .‬ﺍﻧﺘﺸﺎﺭ »ﺿﻤﻴﻤﺔ ﮔﺎﻭﺍﺭﻩﺑﺎﻥ« ﻧﻘﺪﻯ ﺑﺮ ﻛﺘﺎﺏ‬
‫‪263‬‬ ‫ﮔﺎﻭﺍﺭﻩﺑﺎﻥ ﺩﻭﻟﺖﺁﺑﺎﺩﻯ ﺍﺛﺮ ﺑﺎﻗﺮ ﻣﻮﻣﻨﻰ‪ .‬ﻧﮕﺎﺭﺵ ﺭﻣﺎﻥ »ﭘﺎﺋﻴﻨﻰﻫﺎ« )ﻣﻔﻘﻮﺩ‬
‫ﺷﺪﻩ ﺍﺳﺖ(‪ .‬ﻧﮕﺎﺭﺵ ﻧﻤﺎﻳﺸﻨﺎﻣﺔ »ﺩﺭﺧﺖ« )ﻣﻔﻘﻮﺩ ﺷﺪﻩ ﺍﺳﺖ(‪ .‬ﻧﮕﺎﺭﺵ‬
‫ﺩﺍﺳﺘﺎﻥ »ﺧﻮﻥ ﻭ ﺧﻨﺠﺮ ﻭ ﺷﻴﺪﺍ« )ﻧﺎﻡ ﺩﻳﮕﺮ ﺁﻥ »ﺷﺐﻫﺎﻯ ﻗﻠﻌﻪﭼﻤﻦ«؛‬
‫ﻧﺨﺴﺘﻴﻦ ﺟﻮﺍﻧﻪﻫﺎﻯ ﻛﺘﺎﺏ »ﻛﻠﻴﺪﺭ« ﺍﺯ ﺩﻝ ﺁﻥ ﺑﻴﺮﻭﻥ ﻣﻰﺁﻳﺪ(‪.‬‬
‫ﺑﺎﺯﻧﻮﻳﺴﻰ ﺩﺍﺳﺘﺎﻥ ﺑﻠﻨﺪ »ﺳﻔﺮ«‪ .‬ﻧﮕﺎﺭﺵ ﺩﺍﺳﺘﺎﻥ »ﺭﻭﺯ ﻭ ﺷﺐ ﻳﻮﺳﻒ«‬ ‫‪ 1352‬ﺵ‪ 1973 ،‬ﻡ‬
‫)ﻣﻔﻘﻮﺩ ﺷﺪﻩ ﺍﺳﺖ( ﺳﺨﻨﺮﺍﻧﻰ ﺩﺭ ﺩﺍﻧﺸﮕﺎﻩ ﺗﻬﺮﺍﻥ ﺗﺤﺖ ﻋﻨﻮﺍﻥ »ﻣﻮﻗﻌﻴﺖ‬
‫ﻛﻠﻰ ﻫﻨﺮ ﻭ ﺍﺩﺑﻴﺎﺕ ﻛﻨﻮﻧﻰ«‪ ،‬ﺍﻳﻦ ﻣﺘﻦ ﺑﻪ ﻭﺳﻴﻠﺔ ﺍﻧﺘﺸﺎﺭﺍﺕ ﮔﻠﺸﺎﻳﻰ ﺩﺭ‬
‫ﺗﻬﺮﺍﻥ ﻣﻨﺘﺸﺮ ﻣﻰﺷﻮﺩ‪ .‬ﺑﺎﺯﻯ ﺩﺭ ﻧﻤﺎﻳﺶ »ﭼﻬﺮﻩﻫﺎﻯ ﺳﻴﻤﻮﻥ ﻣﺎﺷﺎﺭ« ﺍﺛﺮ‬
‫ﺑﺮﺗﻮﻟﺖ ﺑﺮﺷﺖ‪ ،‬ﺗﻬﻴﺔ ﻓﻴﻠﻢ ﻛﻮﺗﺎﻩ‪ ،‬ﻫﺸﺖ ﻣﻴﻠﻴﻤﺘﺮﻯ ﺗﻮﺳﻂ ﺳﻴﻨﻤﺎﻯ ﺁﺯﺍﺩ‬
‫ﺍﻫﻮﺍﺯ ﺑﻪ ﻛﺎﺭﮔﺮﺩﺍﻧﻰ ﻋﺒﺪﺍﷲ ﻧﺮﻳﻤﻮﺳﻰ ﻛﻪ ﻧﻴﻤﻪ ﺗﻤﺎﻡ ﻣﺎﻧﺪ‪ .‬ﻧﻤﺎﻳﺶ ﻓﻴﻠﻢ‬
‫ﺳﻴﻨﻤﺎﻳﻰ »ﺧﺎﻙ« ﺑﻪ ﻛﺎﺭﮔﺮﺩﺍﻧﻰ ﻣﺴﻌﻮﺩ ﻛﻴﻤﻴﺎﻳﻰ ﺑﺮ ﺍﺳﺎﺱ ﺩﺍﺳﺘﺎﻥ »ﺍﻭﺳﻨﺔ‬
‫ﺑﺎﺑﺎﺳﺒﺤﺎﻥ« ﺩﻭﻟﺖ ﺁﺑﺎﺩﻯ‪ ،‬ﺍﻧﺘﺸﺎﺭ ﻧﻘﺪ ﺩﻭﻟﺖﺁﺑﺎﺩﻯ ﺑﺮ ﻓﻴﻠﻢ ﺧﺎﻙ ﻛﻴﻤﻴﺎﻳﻰ‬
‫ﺑﺎ ﻋﻨﻮﺍﻥ »ﺑﺎﺑﺎﺳﺒﺤﺎﻥ ﺩﺭ ﺧﺎﻙ«! ﺍﻧﺘﺸﺎﺭ ﻣﻘﺎﻟﺔ »ﺗﺬﻛﺮﻩ‪ ،‬ﺩﻳﺪﺍﺭ ﺧﺎﻣﻮﺵ ﺑﺎ‬
‫ﺑﻬﺮﻧﮓ«‪ ،‬ﺭﻭﺯﻧﺎﻣﺔ ﻛﻴﻬﺎﻥ‪ ،‬ﺍﻧﺘﺸﺎﺭ »ﺁﺧﺮ ﺑﺎﺯﻯ«‪ ،‬ﺭﻭﺍﻳﺖ ﻳﻚ ﺩﻳﺪﺍﺭ‪ .‬ﻧﻘﺪ ﻛﺘﺎﺏ‬
‫»ﻗﺼﺔ ﻫﺴﺘﻰ« ﺍﺛﺮ ﻣﺮﺗﻀﻰ ﺭﺿﻮﺍﻥ ﺑﺎ ﻋﻨﻮﺍﻥ »ﻗﺼﻪ ﻫﺴﺘﻰ‪ ،‬ﻗﺼﻪﺍﻯ ﻛﻮﺩﻛﺎﻧﻪ‬
‫ﺑﺮﺍﻯ ﺑﺰﺭﮔﺴﺎﻻﻥ«‪ ،‬ﺑﻴﻨﺎﻟﻮﺩ‪ .‬ﺳﻔﺮ ﺑﻪ ﺳﺒﺰﻭﺍﺭ ﺑﻪ ﻫﻤﺮﺍﻩ ﻣﻬﺪﻯ ﻓﺘﺤﻰ‪ ،‬ﺷﻬﺎﺏ‬
‫ﻣﻮﺳﻮﻯﺯﺍﺩﻩ‪ ،‬ﻭ ﻣﺤﻤﺪﺭﺿﺎ ﻟﻄﻔﻰ‪ ،‬ﺍﻧﺘﺸﺎﺭ ﺩﺍﺳﺘﺎﻥ ﺑﻠﻨﺪ »ﻋﻘﻴﻞ ﻋﻘﻴﻞ«‪ ،‬ﭼﺎپ‬
‫ﺩﻭﻡ‪ ،‬ﺍﻧﺘﺸﺎﺭ ﻣﺠﻤﻮﻋﺔ »ﻻﻳﻪﻫﺎﻯ ﺑﻴﺎﺑﺎﻧﻰ«‪ ،‬ﭼﺎپ ﺩﻭﻡ‪ ،‬ﺍﻧﺘﺸﺎﺭﺍﺕ ﮔﻠﺸﺎﻳﻰ‪،‬‬
‫ﺗﻬﺮﺍﻥ‪ .‬ﺍﻧﺘﺸﺎﺭ ﻧﻤﺎﻳﺸﻨﺎﻣﺔ »ﺗﻨﮕﻨﺎ«‪ ،‬ﭼﺎپ ﺩﻭﻡ‪ ،‬ﺍﻧﺘﺸﺎﺭ ﺩﺍﺳﺘﺎﻥ ﻛﻮﺗﺎﻩ »ﻣﺮﺩ«‪.‬‬
‫ﺩﺳﺘﮕﻴﺮﻯ ﻭ ﺑﺎﺯﺩﺍﺷﺖ ﺗﻮﺳﻂ ﻋﻮﺍﻣﻞ ﺳﺎﺯﻣﺎﻥ ﺍﻣﻨﻴﺖ ﺷﺎﻩ‪ .‬ﺍﻧﺘﺸﺎﺭ ﺩﺍﺳﺘﺎﻥ‬ ‫‪ 1353‬ﺵ‪ 1974 ،‬ﻡ‬
‫ﺑﻠﻨﺪ »ﻋﻘﻴﻞ ﻋﻘﻴﻞ«‪ ،‬ﭼﺎپ ﺳﻮﻡ‪ .‬ﺑﺎﺯﻯ ﺩﺭ ﻧﻤﺎﻳﺶ »ﺍﻋﻤﺎﻕ« ﺍﺛﺮ ﻣﺎﻛﺴﻴﻢ‬
‫ﮔﻮﺭﻛﻰ‪» .‬ﺣﺮﻑﻫﺎﻳﻰ ﭘﻴﺮﺍﻣﻮﻥ ﻗﺼﻪ« ﮔﻔﺖﻭﺷﻨﻮﺩ ﺩﻭﻟﺖﺁﺑﺎﺩﻯ ﺑﺎ ﺟﻨﮓ‬
‫ﻟﻮﺡ‪» .‬ﻧﻴﻤﻪﻫﺎﻯ ﺍﻭﻝ ﺭﺍﻩ« ﮔﻔﺖﻭﺷﻨﻮﺩ ﺩﻭﻟﺖﺁﺑﺎﺩﻯ ﺑﺎ ﺭﻭﺯﻧﺎﻣﺔ ﺁﻳﻨﺪﮔﺎﻥ‪.‬‬
‫ﺧﺮﺩﺍﺩﻣﺎﻩ‪ .‬ﭘﺎﻳﺎﻥ ﻧﮕﺎﺭﺵ »ﺍﺯ ﺧﻢ ﭼﻨﺒﺮ«‪ .‬ﻧﮕﺎﺭﺵ ﺳﻔﺮﻧﺎﻣﺔ »ﺩﻳﺪﺍﺭ ﺑﻠﻮچ«‬
‫ﺩﺭ ﺩﻯﻣﺎﻩ‪ ،‬ﻗﺒﻞ ﺍﺯ ﺩﺳﺘﮕﻴﺮ ﺷﺪﻥ‪.‬‬
‫ﺑﺎﺯﺩﺍﺷﺖ ﻭ ﺯﻧﺪﺍﻧﻰ‪.‬‬ ‫‪ 1354‬ﺵ‪ 1975 ،‬ﻡ‬
‫ﺑﺎﺯﺩﺍﺷﺖ ﻭ ﺯﻧﺪﺍﻧﻰ‪.‬‬ ‫‪ 1355‬ﺵ‪ 1976 ،‬ﻡ‬
‫ﺁﺯﺍﺩﻯ ﻭ ﺭﻫﺎﻳﻰ ﺍﺯ ﺯﻧﺪﺍﻥ‪ .‬ﺍﻧﺘﺸﺎﺭ ﺩﺍﺳﺘﺎﻥ ﺑﻠﻨﺪ »ﺍﺯ ﺧﻢ ﭼﻨﺒﺮ«‪ ،‬ﭼﺎپ ﺍﻭﻝ‪،‬‬ ‫‪ 1356‬ﺵ‪ 1977 ،‬ﻡ‬
‫ﺍﻧﺘﺸﺎﺭﺍﺕ ﭘﻴﻮﻧﺪ‪ .‬ﺍﻧﺘﺸﺎﺭ »ﺩﻳﺪﺍﺭ ﺑﻠﻮچ« )ﺳﻔﺮﻧﺎﻣﻪ(‪ ،‬ﭼﺎپ ﺍﻭﻝ‪ ،‬ﺍﻧﺘﺸﺎﺭﺍﺕ‬
‫ﺷﺒﮕﻴﺮ ﻭ ﭘﻴﻮﻧﺪ‪ .‬ﺍﻧﺘﺸﺎﺭ ﻣﻘﺎﻟﺔ »ﭘﺸﺖ ﻧﻘﺎﺏ«‪ .‬ﮔﺮﻓﺘﻦ ﺍﺟﺎﺯﻩ ﺍﺯ ﻧﻮﻳﺴﻨﺪﻩ‬
‫ﺑﺮﺍﻯ ﺗﺮﺟﻤﺔ »ﮔﺎﻭﺍﺭﻩﺑﺎﻥ« ﺑﻪ ﺯﺑﺎﻥ ﺁﻟﻤﺎﻧﻰ‪.‬‬
‫ﺁﻏﺎﺯ ﺍﻧﺘﺸﺎﺭ ﺭﻣﺎﻥ ﺩﻩ ﺟﻠﺪﻯ »ﻛﻠﻴﺪﺭ«‪ ،‬ﭼﺎپ ﺍﻭﻝ‪ ،‬ﺍﻧﺘﺸﺎﺭﺍﺕ ﻧﺸﺮ ﭘﺎﺭﺳﻰ‪.‬‬ ‫‪ 1357‬ﺵ‪ 1978 ،‬ﻡ‬ ‫‪264‬‬
‫ﭘﺎﻳﺎﻥ ﻧﮕﺎﺭﺵ ﻭ ﭼﺎپ ﺭﻣﺎﻥ »ﺟﺎﻯ ﺧﺎﻟﻰ ﺳﻠﻮچ«‪ ،‬ﭼﺎپ ﺍﻭﻝ‪ ،‬ﺍﻧﺘﺸﺎﺭﺍﺕ‬
‫ﺁﮔﺎﻩ‪ ،‬ﺍﻧﺘﺸﺎﺭ ﻣﺠﻤﻮﻋﺔ ﻣﻘﺎﻻﺕ »ﻧﺎﮔﺰﻳﺮﻯ ﻭ ﮔﺰﻳﻨﺶ ﻫﻨﺮﻣﻨﺪ«‪ ،‬ﭼﺎپ ﺍﻭﻝ‪،‬‬
‫ﺍﻧﺘﺸﺎﺭﺍﺕ ﺷﺒﺎﻫﻨﮓ‪ .‬ﺳﺨﻨﺮﺍﻧﻰ ﺩﺭ ﺩﺍﻧﺸﮕﺎﻩ ﺗﻬﺮﺍﻥ‪ .‬ﺍﻧﺘﺸﺎﺭ ﻣﻘﺎﻟﺔ »ﻋﺸﻖ‪،‬‬
‫ﻋﺎﺷﻘﺎﻥ ﺭﺍ‪ ،‬ﺟﺎﻡ ﺟﻢ‪ ،‬ﺷﻤﺎ ﺭﺍ«‪ ،‬ﺭﻭﺯﻧﺎﻣﺔ ﻛﻴﻬﺎﻥ‪ ،‬ﺍﺳﻔﻨﺪﻣﺎﻩ‪» ،‬ﺍﻳﺮﺍﻥ ﻭ‬
‫ﺧﻄﺮ ﺗﻌﺼﺒﺎﺕ ﻓﺮﻗﻪﺍﻯ«‪ .‬ﺳﺨﻨﺮﺍﻧﻰ ﺩﺭ ﺩﺍﻧﺸﮕﺎﻩ ﺁﺯﺍﺩ ﺍﻳﺮﺍﻥ‪ ،‬ﭼﺎپ ﺩﺭ‬
‫ﺭﻭﺯﻧﺎﻣﻪﻫﺎﻯ ﻛﻴﻬﺎﻥ ﻭ ﺍﻃﻼﻋﺎﺕ‪» .‬ﻛﺸﻒ ﺿﺮﻭﺭﺕ ﻭﺣﺪﺕ ﺩﺭ ﺗﺠﺮﺑﻪ‬
‫ﻭ ﻋﻤﻞ«‪ ،‬ﺳﺨﻨﺮﺍﻧﻰ ﺩﺭ ﻣﺪﺭﺳﺔ ﻋﺎﻟﻰ ﭘﺎﺭﺱ‪ ،‬ﭼﺎپ ﻣﺘﻦ ﺳﺨﻨﺮﺍﻧﻰ ﺩﺭ‬
‫ﺭﻭﺯﻧﺎﻣﺔ ﻛﻴﻬﺎﻥ‪ .‬ﺍﻧﺘﺸﺎﺭ »ﺍﻭﺳﻨﺔ ﺑﺎﺑﺎﺳﺒﺤﺎﻥ«‪ ،‬ﭼﺎپ ﻫﻔﺘﻢ‪ ،‬ﺍﻧﺘﺸﺎﺭ ﻓﻴﻠﻤﻨﺎﻣﺔ‬
‫»ﺳﺮﺑﺪﺍﺭﺍﻥ«‪ ،‬ﻛﺘﺎﺏ ﺟﻤﻌﻪ‪ ،‬ﺷﻤﺎﺭﺓ ‪.6‬‬
‫ﺩﻳﺪﺍﺭ ﻭ ﮔﻔﺖﻭﺷﻨﻮﺩ ﺩﻭﻟﺖﺁﺑﺎﺩﻯ ﺑﺎ ﺁﻗﺎ ﺑﺰﺭگ ﻋﻠﻮﻯ ﺑﺎ ﺣﻀﻮﺭ ﺑﺎﻗﺮ‬ ‫‪ 1358‬ﺵ‪ 1979 ،‬ﻡ‬
‫ﻣﺆﻣﻨﻰ‪ ،‬ﻣﺤﺴﻦ ﻳﻠﻔﺎﻧﻰ‪ ،‬ﺍﺑﺮﺍﻫﻴﻢ ﺭﻫﺒﺮ ﻭ ﻣﺤﻤﺪﻋﻠﻰ ﺳﺠﺎﺩﻯ‪ ،‬ﺍﻧﺘﺨﺎﺏ‬
‫ﺩﻭﻟﺖﺁﺑﺎﺩﻯ ﺑﻪﻋﻨﻮﺍﻥ ﺩﺑﻴﺮ ﺍﻭﻝ ﺳﻨﺪﻳﻜﺎﻯ ﻫﻨﺮﻣﻨﺪﺍﻥ ﻭ ﻛﺎﺭﻛﻨﺎﻥ ﺗﺌﺎﺗﺮ ﺍﻳﺮﺍﻥ‪.‬‬
‫ﺍﻧﺘﺸﺎﺭ »ﮔﺎﻭﺍﺭﻩﺑﺎﻥ« ﺑﻪ ﺯﺑﺎﻥ ﺁﻟﻤﺎﻧﻰ ﺑﺎ ﺗﺮﺟﻤﺔ ﺩﻛﺘﺮ ﺗﻮﺭﺝ ﺭﻫﻨﻤﺎ‪ .‬ﻧﮕﺎﺭﺵ‬
‫ﻧﻤﺎﻳﺸﻨﺎﻣﺔ »ﻗﻘﻨﻮﺱ«‪» .‬ﻧﮕﺎﻫﻰ ﺑﻪ ﺳﻰ ﻭ ﭘﻨﺞ ﺳﺎﻝ ﺗﺌﺎﺗﺮ ﻣﺒﺎﺭﺯ«‪ .‬ﺳﺨﻨﺮﺍﻧﻰ ﺩﺭ‬
‫ﺩﺍﻧﺸﮕﺎﻩ ﺻﻨﻌﺘﻰ ﺷﺮﻳﻒ ﺩﺭ ﺭﻭﺯ ﺟﻬﺎﻧﻰ ﺗﺌﺎﺗﺮ‪ ،‬ﭼﺎپ ﺩﺭ ﻣﺠﻠﺔ ﺁﻧﺎﻫﻴﺘﺎ‪» .‬ﻳﺎﺩ‬
‫ﻫﻨﺮﻣﻨﺪ« ﺳﺨﻨﺮﺍﻧﻰ ﻛﻮﺗﺎﻩ ﺑﺮ ﻣﺰﺍﺭ ﭘﺮﻭﻳﺰ ﻓﻨﻰﺯﺍﺩﻩ‪ .‬ﺍﺟﺮﺍﻯ »ﻫﺠﺮﺕ ﺳﻠﻴﻤﺎﻥ«‬
 ‫ﺩﻭﻟﺖﺁﺑﺎﺩﻯ ﺗﻮﺳﻂ ﺻﺪﺭﺍﻟﺪﻳﻦ ﺣﺠﺎﺯﻯ‪» .‬ﻛﻠﻪ ﮔﺮﺩﻫﺎ ﻭ ﻛﻠﻪ ﺗﻴﺰﻫﺎ« ﻧﻘﺪﻯ‬
‫ﺑﺮ ﺍﺟﺮﺍﻯ ﻧﻤﺎﻳﺸﻨﺎﻣﻪ ﺑﺮﺗﻮﻟﺪ ﺑﺮﺷﺖ‪ ،‬ﭼﺎپ ﺩﺭ ﻛﺘﺎﺏ ﺟﻤﻌﻪ‪ ،‬ﺁﺫﺭﻣﺎﻩ‪ .‬ﺍﻧﺘﺸﺎﺭ‬
‫ﻣﻘﺎﻟﺔ »ﺑﻪ ﺳﻮﻯ ﺗﺌﺎﺗﺮ ﻣﻠﻰ«‪ ،‬ﻧﺸﺮﻳﺔ ﺳﻨﺪﻳﻜﺎﻯ ﻫﻨﺮﻣﻨﺪﺍﻥ ﻭ ﻛﺎﺭﻛﻨﺎﻥ ﺗﺌﺎﺗﺮ‪.‬‬
‫ﺍﻧﺘﺸﺎﺭ ﻣﻘﺎﻟﺔ »ﭘﻴﺶ ﺍﺯ ﻫﺮ ﺁﺋﻴﻨﻰ ﺍﻳﺮﺍﻧﻰ ﻫﺴﺘﻴﻢ«‪ .‬ﺭﻭﺯﻧﺎﻣﺔ ﺁﻳﻨﺪﮔﺎﻥ‪ .‬ﺍﻧﺘﺸﺎﺭ‬
‫»ﺗﺌﺎﺗﺮ ﺩﺭ ﻣﺤﺎﻕ«‪ ،‬ﮔﻔﺖﻭﺷﻨﻮﺩ‪ ،‬ﭼﺎپ ﺩﺭ ﺻﺤﻨﺔ ﻣﻌﺎﺻﺮ‪.‬‬
‫ﺍﻧﺘﺸﺎﺭ ﺩﺍﺳﺘﺎﻥ »ﻫﺠﺮﺕ ﺳﻠﻴﻤﺎﻥ« ﺑﻪ ﺯﺑﺎﻥ ﺳﻮﺋﺪﻯ‪» .‬ﻳﺎﺩﺩﺍﺷﺖﻫﺎﻳﻰ ﺩﺭﺑﺎﺭﺓ‬ ‫‪ 1359‬ﺵ‪ 1980 ،‬ﻡ‬
‫ﺩﺍﺳﺘﺎﻥ«‪ ،‬ﭼﺎپ ﺩﺭ ﻛﺘﺎﺏ ﺷﻮﺭﺍﻯ ﻧﻮﻳﺴﻨﺪﮔﺎﻥ ﻭ ﻫﻨﺮﻣﻨﺪﺍﻥ ﺍﻳﺮﺍﻥ‪ ،‬ﻛﺘﺎﺏ‬
‫ﺍﻭﻝ‪ ،‬ﭘﺎﻳﻴﺰ‪» .‬ﺳﻨﺪﻳﻜﺎ ﻭ ﻣﺎ«‪ ،‬ﮔﻔﺖﻭﺷﻨﻮﺩﻯ ﺑﺎ ﺩﻭﻟﺖﺁﺑﺎﺩﻯ‪ ،‬ﭼﺎپ ﺩﺭ ﺻﺤﻨﺔ‬
‫ﻣﻌﺎﺻﺮ‪ ،‬ﺍﺳﻔﻨﺪ ﻣﺎﻩ‪.‬‬
‫ﻓﻮﺕ ﭘﺪﺭ‪ .‬ﭘﺎﻳﺎﻥ ﻧﮕﺎﺭﺵ ﻓﻴﻠﻤﻨﺎﻣﺔ »ﺍﺗﻮﺑﻮﺱ«‪» .‬ﻃﺮﺏ ﻭ ﺗﺤﻮﻝ«‪ ،‬ﺳﺨﻨﺮﺍﻧﻰ‬ ‫‪ 1360‬ﺵ‪ 1981 ،‬ﻡ‬
‫ﺩﺭ ﺗﺌﺎﺗﺮ ﺩﻫﻘﺎﻥ‪ ،‬ﭼﺎپ ﺩﺭ ﻛﺘﺎﺏ ﺷﻮﺭﺍﻯ ﻧﻮﻳﺴﻨﺪﮔﺎﻥ ﻭ ﻫﻨﺮﻣﻨﺪﺍﻥ ﺍﻳﺮﺍﻥ‪،‬‬
‫ﻛﺘﺎﺏ ﺳﻮﻡ‪ ،‬ﻓﺮﻭﺭﺩﻳﻦﻣﺎﻩ‪.‬‬
‫ﺁﻏﺎﺯ ﻣﻜﺎﺗﺒﻪ ﺑﺎ ﻣﺤﻤﺪﻋﻠﻰ ﺟﻤﺎﻟﺰﺍﺩﻩ‪ .‬ﺍﻧﺘﺸﺎﺭ ﻧﻤﺎﻳﺸﻨﺎﻣﺔ »ﻗﻘﻨﻮﺱ«‪.‬‬ ‫‪ 1361‬ﺵ‪ 1982 ،‬ﻡ‬
‫ﭘﺎﻳﺎﻥ ﻧﮕﺎﺭﺵ ﺭﻣﺎﻥ ﺩﻩ ﺟﻠﺪﻯ »ﻛﻠﻴﺪﺭ«‪ .‬ﺗﺪﺭﻳﺲ ﺩﺭ ﻣﺪﺭﺳﺔ ﺗﻠﻮﻳﺰﻳﻮﻥ‪.‬‬ ‫‪1362‬ﺵ‪ 1983 ،‬ﻡ‬

‫‪265‬‬ ‫ﭼﺎپ ﺩﺍﺳﺘﺎﻥ »ﻣﺮﺩ« ﺑﻪ ﺯﺑﺎﻥ ﻓﺮﺍﻧﺴﻮﻯ ﺩﺭ ﻣﺠﻤﻮﻋﺔ ﺩﺍﺳﺘﺎﻥﻫﺎﻯ ﺍﻳﺮﺍﻧﻰ‪.‬‬ ‫‪1363‬ﺵ‪ 1984 ،‬ﻡ‬
‫ﻓﻮﺕ ﻣﺎﺩﺭ‪ .‬ﻧﮕﺎﺭﺵ ﺩﺍﺳﺘﺎﻥ »ﺁﻫﻮﻯ ﺑﺨﺖ ﻣﻦ ﮔﺰﻝ«‪ .‬ﻧﮕﺎﺭﺵ ﻓﻴﻠﻤﻨﺎﻣﺔ‬ ‫‪ 1365‬ﺵ‪ 1986،‬ﻡ‬
‫»ﻫﻴﻮﻻ«‪ .‬ﻧﮕﺎﺭﺵ ﻗﺼﺔ ﺭﺍﺩﻳﻮﻳﻰ »ﺍﺗﺎﻕ ﺷﻤﺎﺭﺓ ‪ ،«6‬ﻣﻬﺮﻣﺎﻩ‪» .‬ﮔﻞ ﺩﻳﻮﺍﻧﻪ«‬
‫ﻗﺼﻪﺍﻯ ﺑﺮﺍﻯ ﺭﺍﺩﻳﻮ‪ ،‬ﺑﺮ ﺍﺳﺎﺱ »ﮔﻞ ﺳﺮﺥ ﺭﻧﮓ« ﺍﺛﺮ ﮔﺎﺭﺷﻴﻦ‪ ،‬ﺷﻬﺮﻳﻮﺭﻣﺎﻩ‪.‬‬
‫»ﺁﺯﺍﺩﻯ‪ ،‬ﺍﻳﺪﺋﻮﻟﻮژﻯ ﻣﺸﺘﺮﻙ ﻫﻤﺔ ﻧﻮﻳﺴﻨﺪﮔﺎﻥ ﺟﻬﺎﻥ ﺍﺳﺖ«‪ ،‬ﻣﻘﺎﻟﻪﺍﻯ ﺑﺎ‬ ‫‪ 1366‬ﺵ‪1987 ،‬ﻡ‬
‫ﻳﺎﺩ ﻏﻼﻣﺤﺴﻴﻦ ﺳﺎﻋﺪﻯ‪ ،‬ﭼﺎپ ﺩﺭ ﺭﻭﺯﻧﺎﻣﺔ ﻛﻴﻬﺎﻥ‪» .‬ﻧﻘﺶ ﺳﻴﻤﺎﻯ ﺍﻭ«‪،‬‬
‫ﺳﺨﻨﺮﺍﻧﻰ ﺩﺭ ﺗﺎﻻﺭ ﻣﻮﺯﻩ ﻫﻨﺮﻫﺎﻯ ﻣﻌﺎﺻﺮ‪.‬‬
‫ﺍﻧﺘﺸﺎﺭ ﺩﺍﺳﺘﺎﻥ »ﺁﻫﻮﻯ ﺑﺨﺖ ﻣﻦ ﮔﺰﻝ«‪ ،‬ﭼﺎپ ﺍﻭﻝ‪ ،‬ﺍﻧﺘﺸﺎﺭﺍﺕ ﻧﺸﺮ ﭼﺸﻤﻪ‪،‬‬ ‫‪1367‬ﺵ‪ 1988 ،‬ﻡ‬
‫»ﺻﻠﺢ ﻭ ﺟﻨﮓ« )ﭘﺎﻳﺎﻥ ﻛﺎﺑﻮﺱ( ﭘﺎﺳﺦ ﺑﻪ ﻣﺠﻠﻪ ﺗﺎﻳﻢ ـ ﻻﻳﻒ‪ ،‬ﭼﺎپ ﻣﺘﻦ‬
‫ﻓﺎﺭﺳﻰ ﺁﻥ ﺩﺭ ﻣﺠﻠﺔ ﺩﻧﻴﺎﻯ ﺳﺨﻦ‪ ،‬ﺷﻤﺎﺭﺓ ‪ ،22‬ﺁﺑﺎﻥﻣﺎﻩ‪» .‬ﻫﻴﻮﻻ« ﻃﺮﺡ ﻳﻚ‬
‫ﻓﻴﻠﻤﻨﺎﻣﻪ‪ ،‬ﺍﻧﺘﺸﺎﺭ ﺩﺭ ﻧﺸﺮﻳﺔ ﺩﻧﻴﺎﻯ ﺳﺨﻦ‪ ،‬ﺷﻤﺎﺭﺓ ‪ 20‬ﺷﻬﺮﻳﻮﺭﻣﺎﻩ‪» ،‬ﺿﺪ‬
‫ﺧﺎﻃﺮﺍﺕ‪ ،‬ﺍﺛﺮﻯ ﻣﺘﻔﺎﻭﺕ«‪ ،‬ﻧﻘﺪﻯ ﺑﺮ ﻛﺘﺎﺏ ﺿﺪ ﺧﺎﻃﺮﺍﺕ ﺍﺛﺮ ﺁﻧﺪﺭﻩ ﻣﺎﻟﺮﻭ‪،‬‬
‫ﺗﺮﺟﻤﺔ ﺍﺑﻮﺍﻟﺤﺴﻦ ﻧﺠﻔﻰ ﻭ ﺭﺿﺎ ﺳﻴﺪ ﺣﺴﻴﻨﻰ‪ ،‬ﻣﺠﻠﺔ ﺁﺩﻳﻨﻪ‪ ،‬ﺷﻤﺎﺭﺓ ‪،21‬‬
‫ﻭﻳﮋﺓ ﻧﻮﺭﻭﺯ‪» .‬ﺩﺭ ﺍﺣﻮﺍﻝ ﺭﻣﺎﻥ«‪ ،‬ﻣﻘﺎﻟﻪ‪ ،‬ﭼﺎپ ﺩﺭ ﻣﺠﻠﺔ ﺁﺩﻳﻨﻪ‪ ،‬ﺷﻤﺎﺭﺓ ‪،21‬‬
‫ﺍﺳﻔﻨﺪﻣﺎﻩ‪ .‬ﺍﻧﺘﺸﺎﺭ ﻣﻘﺎﻟﺔ »ﺭﻣﺎﻥ ﭼﻴﺴﺖ؟«‪ ،‬ﻣﺠﻠﺔ ﺩﻧﻴﺎﻯ ﺳﺨﻦ‪ ،‬ﺷﻤﺎﺭﺓ ‪،25‬‬
‫ﺍﺳﻔﻨﺪﻣﺎﻩ‪.‬‬
‫ﺍﻧﺘﺸﺎﺭ ﻛﺘﺎﺏ »ﻛﺎﺭﻧﺎﻣﻪ ﺳﭙﻨﺞ«‪) ،‬ﺳﻪ ﺟﻠﺪ(‪ ،‬ﻣﺠﻤﻮﻋﺔ ﺁﺛﺎﺭ‪ ،‬ﭼﺎپ ﺍﻭﻝ‪،‬‬ ‫‪ 1368‬ﺵ‪ 1989 ،‬ﻡ‬
‫ﺍﻧﺘﺸﺎﺭﺍﺕ ﺑﺰﺭﮔﻤﻬﺮ‪ ،‬ﺗﻬﺮﺍﻥ‪ ،‬ﺍﻧﺘﺸﺎﺭ ﻛﺘﺎﺏ » ﻣﺎ ﻧﻴﺰ ﻣﺮﺩﻣﻰ ﻫﺴﺘﻴﻢ«‪،‬‬
‫ﮔﻔﺖﻭﮔﻮ ﺑﺎ ﻓﺮﻳﺪﻭﻥ ﻓﺮﻳﺎﺩ ﻭ ﺍﻣﻴﺮﺣﺴﻴﻦ ﭼﻬﻞ ﺗﻦ‪ ،‬ﻧﺸﺮ ﭘﺎﺭﺳﻰ‪.‬‬
‫»ﻧﻮﻳﺴﻨﺪﮔﺎﻥ ﺩﻭﺳﺘﺪﺍﺭﺍﻥ ﺑﺸﺮﻳﺖ«‪ ،‬ﮔﻔﺖﻭﮔﻮ ﺑﺎ ﺩﻭﻟﺖﺁﺑﺎﺩﻯ‪ ،‬ﻣﺠﻠﺔ ﺩﻧﻴﺎﻯ‬
‫ﺳﺨﻦ‪ ،‬ﺷﻤﺎﺭﺓ ‪ ،28‬ﻣﺮﺩﺍﺩ ـ ﺷﻬﺮﻳﻮﺭﻣﺎﻩ‪ .‬ﺳﻔﺮ ﺑﻪ ﻫﻠﻨﺪ‪ ،‬ﺳﻮﺋﺪ‪ ،‬ﺁﻟﻤﺎﻥ‪،‬‬
‫ﺍﻧﮕﻠﺴﺘﺎﻥ‪ ،‬ﻭ ﻓﺮﺍﻧﺴﻪ‪» .‬ﺍﻧﺴﺎﻥ ﺳﻮﻡ«‪ ،‬ﺳﺨﻨﺮﺍﻧﻰ ﺩﺭ ﺳﻤﭙﻮﺯﻳﻮﻡ ﺁﻣﺴﺘﺮﺩﺍﻡ‪،‬‬
‫ﭼﺎپ ﻣﺘﻦ ﻓﺎﺭﺳﻰ ﺩﺭ ﻣﺠﻠﺔ ﺩﻧﻴﺎﻯ ﺳﺨﻦ‪ ،‬ﺷﻤﺎﺭﺓ ‪ ،29‬ﭘﺎﻳﻴﺰ‪ .‬ﺁﻏﺎﺯ ﺗﺮﺟﻤﺔ‬
‫ﺭﻣﺎﻥ »ﺟﺎﻯ ﺧﺎﻟﻰ ﺳﻠﻮچ« ﺑﻪ ﺯﺑﺎﻥ ﺁﻟﻤﺎﻧﻰ ﺗﻮﺳﻂ ﺯﻳﮕﺮﻳﺪ ﻟﻄﻔﻰ‪.‬‬
‫ﺳﻔﺮ ﺑﻪ ﺁﻟﻤﺎﻥ ﺑﻪ ﺩﻋﻮﺕ ﺧﺎﻧﺔ ﻓﺮﻫﻨﮓﻫﺎﻯ ﺟﻬﺎﻥ )ﺑﺮﻟﻦ(‪ .‬ﺁﻏﺎﺯ ﺗﺮﺟﻤﺔ‬ ‫‪1369‬ﺵ‪1990 ،‬ﻡ‬
‫ﺩﺍﺳﺘﺎﻥ »ﺳﻔﺮ« ﺗﻮﺳﻂ ﺩﻛﺘﺮ ﺑﻬﻤﻦ ﻧﻴﺮﻭﻣﻨﺪ‪» .‬ﺑﺮﺧﻮﺭﺩﻫﺎﻯ ﺟﺰﻣﻰ ﻣﻮﺭﺩ‬
‫ﻋﻼﻗﻪ ﻣﻦ ﻧﻴﺴﺖ«‪ ،‬ﮔﻔﺖﻭﮔﻮﻯ ﺩﻭﻟﺖﺁﺑﺎﺩﻯ ﺑﺎ ﻧﺎﻫﻴﺪ ﻣﻮﺳﻮﻯ‪ ،‬ﻣﺠﻠﺔ‬
‫ﺩﻧﻴﺎﻯ ﺳﺨﻦ‪ ،‬ﺷﻤﺎﺭﺓ ‪ ،32‬ﺧﺮﺩﺍﺩ ـ ﺗﻴﺮﻣﺎﻩ‪» .‬ﺍﻯ ﺑﺴﺎ ﻫﻨﺪﻭ ﻭ ﺗﺮﻙ ﻫﻤﺰﺑﺎﻥ«‪،‬‬
‫ﻣﺠﻠﺔ ﺁﺩﻳﻨﻪ‪ ،‬ﺷﻤﺎﺭﺓ ‪ ،52‬ﺁﺫﺭﻣﺎﻩ‪» .‬ﺭﺍﺑﻄﻪ ﻫﻨﺮ ﻭ ﺍﺩﺑﻴﺎﺕ ﺑﺎ ﻣﺮﺩﻡ«‪ ،‬ﻣﻘﺎﻟﻪ‪،‬‬
‫ﭼﺎپ ﺩﺭ ﻣﺠﻠﺔ ﻛﻠﻚ‪ ،‬ﺷﻤﺎﺭﺓ ‪ ،6‬ﺷﻬﺮﻳﻮﺭﻣﺎﻩ‪ .‬ﺍﻧﺘﺸﺎﺭ »ﻫﺠﺮﺕ ﺳﻠﻴﻤﺎﻥ«‬
‫ﺑﻪ ﺯﺑﺎﻥ ﭼﻴﻨﻰ‪» .‬ﻓﺼﻞ ﺷﻜﻮﻓﺎﻳﻰ ﺍﺩﺑﻴﺎﺕ ﺁﺳﻴﺎ«‪ ،‬ﮔﻔﺖﻭﺷﻨﻮﺩ‪ ،‬ﻣﺠﻠﺔ ﺩﻧﻴﺎﻯ‬
‫ﺳﺨﻦ‪ ،‬ﺗﻴﺮﻣﺎﻩ‪.‬‬ ‫‪266‬‬
‫‪11370‬ﺵ‪ 1991 ،‬ﻡ ﺍﻧﺘﺸﺎﺭ ﻛﺘﺎﺏ »ﺭﻭﺯﮔﺎﺭ ﺳﭙﺮﻯ ﺷﺪﻩ ﻣﺮﺩﻡ ﺳﺎﻟﺨﻮﺭﺩﻩ« )ﺟﻠﺪ ﺍﻭﻝ‪ ،‬ﺍﻗﻠﻴﻢ‬
‫ﺑﺎﺩ(‪ ،‬ﭼﺎپ ﺍﻭﻝ‪ ،‬ﻧﺸﺮ ﭼﺸﻤﻪ ﻭ ﻧﺸﺮ ﭘﺎﺭﺳﻰ‪ ،‬ﺳﻔﺮ ﺑﻪ ﺁﻣﺮﻳﻜﺎ ﻭ ﻛﺎﻧﺎﺩﺍ‬
‫ﺑﻪ ﺩﻋﻮﺕ ﺳﻴﺮﺍ‪ .‬ﺍﻧﺘﺸﺎﺭ ﻧﺸﺮﻳﺔ »ﺯﻣﺎﻧﻪ«‪ ،‬ﺷﻤﺎﺭﺓ ﺩﻭﻡ‪ ،‬ﻭﻳﮋﺓ ﺩﻭﻟﺖﺁﺑﺎﺩﻯ‪،‬‬
‫ﺑﻪ ﻫﻤﺖ ﺧﺴﺮﻭ ﻗﺪﻳﺮﻯ‪ ،‬ﺁﺑﺎﻥﻣﺎﻩ‪ ،‬ﺳﻦ ﺣﻮﺯﻩ‪» .‬ﻣﺎﻩ ﺗﻤﺎﻡ ﻧﻴﻤﺮﻭﺯ«‪،‬‬
‫ﮔﻔﺖﻭﮔﻮﻯ ﺩﻭﻟﺖﺁﺑﺎﺩﻯ ﺑﺎ ﺷﺎﻫﺮﺥ ﺗﻮﻳﺴﺮﻛﺎﻧﻰ‪ ،‬ﻣﺠﻠﺔ ﺩﻧﻴﺎﻯ ﺳﺨﻦ‪،‬‬
‫ﺷﻤﺎﺭﺓ ‪ ،42‬ﺗﻴﺮﻣﺎﻩ‪» .‬ﻣﺜﻠﺚ ﻧﺤﺲ«‪ ،‬ﻋﻨﻮﺍﻥ ﺳﺨﻨﺮﺍﻧﻰ ﺩﺭ ﻛﻨﻔﺮﺍﻧﺲ‬
‫ﺳﻴﻴﺮﺍ‪ ،‬ﺩﺍﻧﺸﮕﺎﻩ ﻣﻴﺸﻴﮕﺎﻥ‪ ،‬ﭼﺎپ ﺍﻳﻦ ﺳﺨﻨﺮﺍﻧﻰ ﺩﺭ ﻣﺠﻠﺔ ﺁﺩﻳﻨﻪ‪ ،‬ﺷﻤﺎﺭﺓ‬
‫‪ ،60‬ﺗﻴﺮﻣﺎﻩ‪ .‬ﺳﺨﻨﺮﺍﻧﻰ ﺩﺭ ﺩﺍﻧﺸﮕﺎﻩ ﻛﻮﺋﻴﻨﺰ )ﻛﺎﻧﺎﺩﺍ(‪ .‬ﺷﺮﻛﺖ ﺩﺭ ﭼﻨﺪﻳﻦ‬
‫ﺟﻠﺴﺔ ﻓﺮﻫﻨﮕﻰ ﺩﺭ ﻧﻴﻮﺟﺮﺳﻰ‪ ،‬ﻛﻨﺘﻴﻜﺖ‪ ،‬ﻭﺍﺷﻨﮕﺘﻦ‪» .‬ﺭﻧﺞ ﻣﺎ‪ ،‬ﻓﺮﺿﻴﻪ ﻣﺎ«‪،‬‬
‫ﺳﺨﻨﺮﺍﻧﻰ ﺩﺭ ﺩﺍﻧﺸﮕﺎﻩ ﺳﻴﺎﺗﻞ )ﻭﺍﺷﻨﮕﺘﻦ( ﻭ ﺩﺍﻧﺸﮕﺎﻩ ﺑﺮﻛﻠﻰ )ﻛﺎﻟﻴﻔﺮﻧﻴﺎ(‪،‬‬
‫ﭼﺎپ ﺁﻥ ﺩﺭ ﻧﺸﺮﻳﺔ ﮔﺮﺩﻭﻥ‪ ،‬ﻓﺮﻭﺭﺩﻳﻦﻣﺎﻩ‪ ،‬ﺍﻧﺘﺸﺎﺭ ﺩﺍﺳﺘﺎﻥ »ﺁﻫﻮﻯ ﺑﺨﺖ ﻣﻦ‬
‫ﮔﺰﻝ« ﺑﻪ ﺯﺑﺎﻥ ﺳﻮﺋﺪﻯ‪ .‬ﭼﺎپ ﺩﺍﺳﺘﺎﻥ »ﺍﺩﺑﺎﺭ« ﺑﻪ ﺯﺑﺎﻥ ﺍﻧﮕﻠﻴﺴﻰ ﺩﺭ ﻛﺘﺎﺏ‬
‫»ﺩﺍﺳﺘﺎﻥﻫﺎﻳﻰ ﺍﺯ ﺍﻳﺮﺍﻥ«‪ ،‬ﺯﻳﺮ ﻧﻈﺮ ﺩﻛﺘﺮ ﺣﺸﻤﺖ ﻣﺆﻳﺪ‪ ،‬ﺍﻧﺘﺸﺎﺭﺍﺕ ﻣﻴﺞ‪،‬‬
‫ﻭﺍﺷﻨﮕﺘﻦ‪ .‬ﺍﻧﺘﺸﺎﺭ ﻣﻘﺎﻟﺔ »ﺑﻮﻯ ﺧﻮﺵ ﺑﺎﻏﺴﺘﺎﻥ ﻳﻮﺵ ﺩﺭ ﺍﻓﻐﺎﻧﺴﺘﺎﻥ«‪ ،‬ﻣﺠﻠﺔ‬
‫ﺁﺩﻳﻨﻪ‪ ،‬ﺷﻤﺎﺭﺓ ‪ ،64‬ﺁﺑﺎﻥﻣﺎﻩ‪.‬‬
 ‫ﺳﻔﺮ ﺑﻪ ﻣﻮﻧﻴﺦ ﻭ ﺳﺨﻨﺮﺍﻧﻰ ﺩﺭ ﺳﻤﭙﻮﺯﻳﻮﻡ ﺍﺩﺑﻴﺎﺕ ﺩﺭ ﮔﺬﺍﺭ ﺑﻪ ﻫﺰﺍﺭﻩ ﺳﻮﻡ‪.‬‬ ‫‪1371‬ﺵ‪1992 ،‬ﻡ‬
‫ﺗﺤﺖ ﻋﻨﻮﺍﻥ »ﺩﺭ ﺁﺳﺘﺎﻧﻪ ﻓﺼﻠﻰ ﺳﺮﺩ«‪ ،‬ﭼﺎپ ﺁﻥ ﺩﺭ ﻣﺠﻠﺔ ﺁﺩﻳﻨﻪ‪ ،‬ﺷﻤﺎﺭﺓ ‪،70‬‬
‫ﺍﺭﺩﻳﺒﻬﺸﺖﻣﺎﻩ‪ ،‬ﺍﻧﺘﺸﺎﺭ ﻛﺘﺎﺏ »ﺟﺎﻯ ﺧﺎﻟﻰ ﺳﻠﻮچ« ﺑﻪ ﺯﺑﺎﻥ ﺁﻟﻤﺎﻧﻰ‪ ،‬ﺣﻀﻮﺭ ﺩﺭ‬
‫ﻧﻤﺎﻳﺸﮕﺎﻩ ﻛﺘﺎﺏ ﻓﺮﺍﻧﻜﻔﻮﺭﺕ‪ .‬ﭘﺎﻳﺎﻥ ﻧﮕﺎﺭﺵ ﺟﻠﺪ ﺩﻭﻡ ﻛﺘﺎﺏ »ﺭﻭﺯﮔﺎﺭ ﺳﭙﺮﻯ‬
‫ﺷﺪﻩ ﻣﺮﺩﻡ ﺳﺎﻟﺨﻮﺭﺩﻩ«‪ .‬ﺍﻧﺘﺸﺎﺭ ﻛﺘﺎﺏ »ﺭ َﺩ‪ ،‬ﮔﻔﺖ ﻭ ﮔﺰﺍﺭ ﺳﭙﻨﺞ« )ﻣﺠﻤﻮﻋﺔ‬
‫ﻣﻘﺎﻻﺕ ﻭ ﺳﺨﻨﺮﺍﻧﻰﻫﺎ ﻭ ﻧﻮﺷﺘﻪﻫﺎﻯ ﭘﺮﺍﻛﻨﺪﻩ(‪ .‬ﺍﻧﺘﺸﺎﺭ ﺍﻓﺴﺎﻧﻪ »ﺁﻫﻮﻯ ﺑﺨﺖ‬
‫ﻣﻦ ﮔﺰﻝ«‪ ،‬ﭼﺎپ ﺳﻮﻡ‪» .‬ﺁﻳﺎ ﺍﺩﺑﻴﺎﺕ ﺩﺍﺳﺘﺎﻧﻰ ﻣﺎ ﺟﻬﺎﻧﻰ ﺍﺳﺖ؟«‪ ،‬ﻣﻘﺎﻟﻪ‪ ،‬ﻣﺠﻠﺔ‬
‫ﺩﻧﻴﺎﻯ ﺳﺨﻦ‪ ،‬ﺷﻤﺎﺭﺓ ‪ ،53‬ﺑﻬﻤﻦ ﻭ ﺍﺳﻔﻨﺪ ﻣﺎﻩ‪ .‬ﺍﻧﺘﺸﺎﺭ ﻛﺘﺎﺏ »ﺭﻭﺯﮔﺎﺭ ﺳﭙﺮﻯ‬
‫ﺷﺪﻩ ﻣﺮﺩﻡ ﺳﺎﻟﺨﻮﺭﺩﻩ« )ﺟﻠﺪ ﺩﻭﻡ‪ ،‬ﺑﺮﺯﺥ ﺧﺲ(‪ ،‬ﭘﺎﻳﻴﺰ‪.‬‬
‫ﺳﻔﺮ ﺑﻪ ﺁﻟﻤﺎﻥ‪ .‬ﺍﻧﺘﺸﺎﺭ ﻣﻘﺎﻟﺔ »ﺍﺯ ﻧﻘﻄﺔ ﻋﺰﻳﻤﺖ ﺗﺎ ﻟﺤﻈﻪ ﺷﺪﻥ«‪ ،‬ﻣﺠﻠﺔ ﺗﻜﺎﭘﻮ‪،‬‬ ‫‪1372‬ﺵ‪ 1993 ،‬ﻡ‬
‫ﺩﻭﺭﺓ ﻧﻮ‪ ،‬ﺷﻤﺎﺭﺓ ‪ ،7‬ﺩﻯ ﻭ ﺑﻬﻤﻦﻣﺎﻩ‪ ،‬ﺍﻧﺘﺸﺎﺭ ﻓﻴﻠﻤﻨﺎﻣﺔ »ﺍﺗﻮﺑﻮﺱ«‪ .‬ﺍﻧﺘﺸﺎﺭ‬
‫ﻣﻘﺎﻟﺔ »ﺩﻣﻮﻛﺮﺍﺳﻰ ﻭ ﺣﺪﻭﺩ ﺑﺸﺮ ﺑﻮﺩﻥ ﻣﺎ«‪ ،‬ﻣﺠﻠﺔ ﺁﺩﻳﻨﻪ‪ ،‬ﺷﻤﺎﺭﻩﻫﺎﻯ ‪ 84‬ﻭ‬
‫‪ . 85‬ﺁﺑﺎﻥﻣﺎﻩ‪ .‬ﺍﻧﺘﺸﺎﺭ »ﺯﺑﺎﻥ ﻓﺎﺭﺳﻰ ﺯﺑﺎﻥ ﺷﻌﺮ ﺍﺳﺖ«‪ ،‬ﻣﻘﺎﻟﻪ ﻭ ﮔﻔﺖﻭﮔﻮ‪،‬‬
‫ﭼﺎپ ﺩﺭ ﺭﻭﺯﻧﺎﻣﺔ ﻓﺮﺍﻧﻜﻔﻮﺭﺗﺮ ﺭﻭﻧﺪﺷﺎﻭ‪ ،‬ﻣﺘﻦ ﻓﺎﺭﺳﻰ ﺩﺭ ﻣﺠﻠﺔ ﺩﻧﻴﺎﻯ‬
‫ﺳﺨﻦ‪ ،‬ﺷﻤﺎﺭﺓ ‪ ،55‬ﺧﺮﺩﺍﺩ ﻭ ﺗﻴﺮﻣﺎﻩ‪» ،‬ﮔﻔﺖﻭﮔﻮ ﺑﺎ ﺍﺣﻤﺪ ﺷﺎﻣﻠﻮ‪ ،‬ﻣﺤﻤﻮﺩ‬
‫‪267‬‬ ‫ﺩﻭﻟﺖﺁﺑﺎﺩﻯ‪ ،‬ﻣﻬﺪﻯ ﺍﺧﻮﺍﻥ ﺛﺎﻟﺚ«‪ ،‬ﻛﺎﺭ ﻣﺤﻤﺪ ﻣﺤﻤﺪﻋﻠﻰ‪ ،‬ﭼﺎپ ﺍﻭﻝ‪،‬‬
‫ﻧﺸﺮ ﻗﻄﺮﻩ ﺗﻬﺮﺍﻥ‪.‬‬
‫ﺁﻏﺎﺯ ﺗﺮﺟﻤﺔ »ﺟﺎﻯ ﺧﺎﻯ ﺳﻠﻮچ« ﺑﻪ ﺯﺑﺎﻥ ﻓﺮﺍﻧﺴﻮﻯ‪ .‬ﭼﺎپ ﻣﻘﺎﻟﺔ »ﭼﻴﺮﮔﻰ‬ ‫‪1373‬ﺵ‪ 1994 ،‬ﻡ‬
‫ﺑﺮ ﻣﺮگ‪ ،‬ﺗﺎﻭﺍﻥ ﺯﻳﺴﺘﻦ« )ﺩﺭﺑﺎﺭﺓ ﻛﺘﺎﺏ ﺭﻭﺯﮔﺎﺭ ﺳﭙﺮﻯ ﺷﺪﻩ ﻣﺮﺩﻡ‬
‫ﺳﺎﻟﺨﻮﺭﺩﻩ(‪ ،‬ﻣﺠﻠﺔ ﺗﻜﺎﭘﻮ‪ ،‬ﻓﺮﻭﺭﺩﻳﻦﻣﺎﻩ‪ ،‬ﺍﻧﺘﺸﺎﺭ ﻣﻘﺎﻟﺔ »ﺩﺭ ﭼﺮﺍﻳﻰ ﻓﻘﺪﺍﻥ‬
‫ﺍﺧﺘﺮﺍﻥ«‪ ،‬ﻣﺠﻠﺔ ﺩﻧﻴﺎﻯ ﺳﺨﻦ‪ ،‬ﺷﻤﺎﺭﻩﻫﺎﻯ ‪26‬ـ ‪ ،28‬ﺑﻬﻤﻦ ﻭ ﺍﺳﻔﻨﺪﻣﺎﻩ‪.‬‬
‫ﺍﻧﺘﺸﺎﺭ ﻧﺸﺮﻳﺔ ﺗﻜﺎﭘﻮ‪ ،‬ﺷﻤﺎﺭﺓ ﻓﺮﻭﺭﺩﻳﻦﻣﺎﻩ‪،‬ﺩﻭﺭﺓ ﻧﻮ ﺷﻤﺎﺭﺓ ‪ ،8‬ﺑﺨﺸﻰ ﺍﺯ ﺍﻳﻦ‬
‫ﺷﻤﺎﺭﻩ ﺑﻪ ﻫﻤﺖ ﻣﻨﺼﻮﺭ ﻛﻮﺷﺎﻥ ﻭﻳﮋﺓ ﻣﺤﻤﻮﺩ ﺩﻭﻟﺖﺁﺑﺎﺩﻯ ﻭ ﻛﺘﺎﺏ »ﺍﻗﻠﻴﻢ‬
‫ﺑﺎﺩ« ﺍﻭﺳﺖ‪ .‬ﺍﻧﺘﺸﺎﺭ »ﻧﻜﺘﻪ ﺍﻳﻦﺟﺎﺳﺖ« )ﻳﺎﺩﺩﺍﺷﺘﻰ ﺑﺮ ﻛﺘﺎﺏ »ﺭﻭﺯﮔﺎﺭ ﺳﭙﺮﻯ‬
‫ﺷﺪﻩ ﻣﺮﺩﻡ ﺳﺎﻟﺨﻮﺭﺩﻩ« )ﺟﻠﺪ ﺍﻭﻝ‪ ،‬ﺍﻗﻠﻴﻢ ﺑﺎﺩ(‪ ،‬ﻣﺠﻠﺔ ﺗﻜﺎﭘﻮ‪ ،‬ﻓﺮﻭﺭﺩﻳﻦﻣﺎﻩ‪،‬‬
‫ﺍﻧﺘﺸﺎﺭ »ﻳﺎﺩﺳﺘﺎﻳﻰ ﻧﻤﺎﻳﺶ ﺗﻨﺒﻮﺭﻧﻮﺍﺯ«‪ ،‬ﻧﻘﺪﻯ ﺑﺮ ﺍﺟﺮﺍﻯ ﻧﻤﺎﻳﺶ »ﺗﻨﺒﻮﺭﻧﻮﺍﺯ«‪،‬‬
‫ﻛﺎﺭﮔﺮﺩﺍﻥ ﻫﺎﺩﻯ ﻣﺮﺯﺑﺎﻥ‪ ،‬ﻣﺠﻠﺔ ﺩﻧﻴﺎﻯ ﺳﺨﻦ‪ ،‬ﺷﻤﺎﺭﺓ ‪ ،59‬ﺍﺳﻔﻨﺪﻣﺎﻩ‪.‬‬
‫ﺗﺮﺟﻤﺔ ﻣﺠﻠﺪ ﺍﻭﻝ »ﻛﻠﻴﺪﺭ« ﺑﻪ ﺯﺑﺎﻥ ﺁﻟﻤﺎﻧﻰ‪.‬‬ ‫‪1374‬ﺵ‪ 1995 ،‬ﻡ‬
‫ﺍﻧﺘﺸﺎﺭ ﭼﺎپ ﺩﻭﻡ »ﺟﺎﻯ ﺧﺎﻟﻰ ﺳﻠﻮچ« ﺑﻪ ﺯﺑﺎﻥ ﺁﻟﻤﺎﻧﻰ‪ ،‬ﺍﻧﺘﺸﺎﺭ »ﻫﻤﺎﻳﺶ‬ ‫‪1375‬ﺵ‪ 1996 ،‬ﻡ‬
‫ﺟﻬﺎﻧﻰ ﻧﻮﻳﺴﻨﺪﮔﺎﻥ‪ ،‬ﺍﻣﻮﺍﺝ ﺳﻪ ﺩﺭﻳﺎ«‪ ،‬ﮔﻔﺖﻭﮔﻮ‪ ،‬ﻣﺠﻠﺔ ﺩﻧﻴﺎﻯ ﺳﺨﻦ‪،‬‬
‫ﺷﻤﺎﺭﺓ ‪ ،70‬ﻣﻬﺮ ﻭ ﺁﺑﺎﻥﻣﺎﻩ‪.‬‬
 ‫ﺍﻧﺘﺸﺎﺭ ﻣﺠﻠﺪ ﺍﻭﻝ »ﻛﻠﻴﺪﺭ« ﺑﻪ ﺯﺑﺎﻥ ﺁﻟﻤﺎﻧﻰ ﺩﺭ ﺯﻭﺭﻳﺦ‪.‬‬ ‫‪1376‬ﺵ‪ 1997 ،‬ﻡ‬
‫ﺍﻧﺘﺸﺎﺭ ﺑﺤﺜﻰ ﻛﻠﻰ ﺗﺤﺖ ﻋﻨﻮﺍﻥ »ﻛﺎﻧﻮﻥ ﻧﻮﻳﺴﻨﺪﮔﺎﻥ‪ ،‬ﻣﺤﻔﻞ ﺑﺴﺘﺔ‬ ‫‪1377‬ﺵ‪ 1998 ،‬ﻡ‬
‫ﻧﺨﺒﻪﮔﺮﺍﻳﺎﻧﻪ«‪ ،‬ﭼﻬﺎﺭ ﮔﻔﺖﻭﮔﻮﻯ ﻣﺴﺘﻘﻞ ﺑﺎ‪ :‬ﻣﺤﻤﻮﺩ ﺩﻭﻟﺖﺁﺑﺎﺩﻯ‪ ،‬ﻫﻮﺷﻨﮓ‬
‫ﮔﻠﺸﻴﺮﻯ‪ ،‬ﺳﻴﻤﻴﻦ ﺑﻬﺒﻬﺎﻧﻰ‪ ،‬ﻭ ﻣﺤﻤﺪﺟﻌﻔﺮ ﭘﻮﻳﻨﺪﻩ‪ ،‬ﻧﺸﺮﻳﺔ ﻓﺮﻫﻨﮓ ﺗﻮﺳﻌﻪ‪،‬‬
‫ﺳﺎﻝ ﻫﻔﺘﻢ‪ ،‬ﺷﻤﺎﺭﻩﻫﺎﻯ ‪ 35‬ﻭ ‪ ،36‬ﻣﺮﺩﺍﺩﻣﺎﻩ‪.‬‬
‫ﺷﺮﻛﺖ ﺩﺭ ﺟﺸﻦ »ﺻﺪﺍﻯ ﺍﺩﺑﻴﺎﺕ ﺍﻳﺮﺍﻥ« )ﺑﻪ ﻣﺪﺕ ﻳﻚ ﻫﻔﺘﻪ( ﺩﺭ ﺁﻣﺮﻳﻜﺎ‬ ‫‪1378‬ﺵ‪ 1999،‬ﻡ‬
‫)ﺑﻪ ﺍﺗﻔﺎﻕ ﻣﺤﻤﺪﻋﻠﻰ ﺳﭙﺎﻧﻠﻮ‪ ،‬ﺟﻮﺍﺩ ﻣﺠﺎﺑﻰ ﻭ ﺷﻬﺮﻳﺎﺭ ﻣﻨﺪﻧﻰﭘﻮﺭ(‪ :‬ﺳﻴﻤﻴﻦ‬
‫ﺑﻬﺒﻬﺎﻧﻰ ﻭ ﺍﺣﻤﺪ ﺷﺎﻣﻠﻮ ﻫﻢ ﺩﻋﻮﺕ ﺷﺪﻩ ﺑﻮﺩﻧﺪ ﻛﻪ ﻧﺘﻮﺍﻧﺴﺘﻨﺪ ﺷﺮﻛﺖ‬
‫ﻛﻨﻨﺪ‪ .‬ﺍﻳﻦ ﺟﺸﻦ ﺑﻪ ﻫﻤﺖ ﭘﻦ ﺁﻣﺮﻳﻜﺎ‪ ،‬ﺩﺍﻧﺸﮕﺎﻩ ﻛﻠﻤﺒﻴﺎ ﻭ ﺍﻧﺠﻤﻦ ﺁﺳﻴﺎﻳﻰ‬
‫ﺑﺮﮔﺰﺍﺭﮔﺮﺩﻳﺪ‪ .‬ﺳﺨﻨﺮﺍﻧﻰ ﺩﺭ ﺩﺍﻧﺸﮕﺎﻩ ﻛﻠﻤﺒﻴﺎ‪.‬‬
‫ﺗﺮﺟﻤﻪ »ﺟﺎﻯ ﺧﺎﻟﻰ ﺳﻠﻮچ« ﺑﻪ ﺯﺑﺎﻥ ﻋﺮﺑﻰ ﺑﻪ ﻭﺳﻴﻠﺔ ﺳﻠﻴﻢ ﻋﺒﺪﺍﻻﻣﻴﺮ‬ ‫‪ 1379‬ﺵ‪ 2000 ،‬ﻡ‬
‫ﺣﻤﺪﺍﻥ‪ ،‬ﺩﺭ ﺳﻮﺭﻳﻪ‪ .‬ﺍﻧﺘﺸﺎﺭ ﺟﻠﺪ ﺳﻮﻡ )ﺑﺨﺶ ﭘﺎﻳﺎﻧﻰ( ﻛﺘﺎﺏ »ﺭﻭﺯﮔﺎﺭ‬
‫ﺳﭙﺮﻯ ﺷﺪﻩ ﻣﺮﺩﻡ ﺳﺎﻟﺨﻮﺭﺩﻩ« )ﭘﺎﻳﺎﻥ ﺟﻐﺪ(‪.‬‬
‫ﺍﻧﺘﺸﺎﺭ ﻧﺸﺮﻳﺔ ﺩﻓﺘﺮ ﻫﻨﺮ ﺷﻤﺎﺭﺓ ‪ 14‬ﻭﻳﮋﺓ ﻣﺤﻤﻮﺩ ﺩﻭﻟﺖﺁﺑﺎﺩﻯ‪ ،‬ﺍﺳﻔﻨﺪﻣﺎﻩ‪،‬‬ ‫‪ 1380‬ﺵ‪ 2001 ،‬ﻡ‬
‫ﺍﺳﺘﺎﻛﺘﻦ )ﻛﺎﻟﻴﻔﺮﻧﻴﺎ(‪ .‬ﺳﺘﺎﻳﺶ ﻭﻳﮋﺓ ﻣﻨﺘﻘﺪﺍﻥ ﻣﻄﺒﻮﻋﺎﺕ ﺍﺯ ﺩﻭﻟﺖﺁﺑﺎﺩﻯ ﺩﺭ‬
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‫ﺟﻠﺴﺔ ﻧﺸﺮﻳﺔ »ﻛﺘﺎﺏ ﻫﻔﺘﻪ«‪ ،‬ﺗﻬﺮﺍﻥ‪ .‬ﮔﭗ ﺣﺴﻦ ﻣﺤﻤﻮﺩﻯ ﻭ ﻣﺮﻳﻢ ﺍﻓﺸﻨﮓ‬
‫ﺑﺎ ﺩﻭﻟﺖﺁﺑﺎﺩﻯ ﺗﺤﺖ ﻋﻨﻮﺍﻥ »ﻣﺎ ﻫﻤﻪ ﺍﺯ ﺍﻳﻞ ﺁﻣﺪﻩﺍﻳﻢ«‪ ،‬ﻧﺸﺮﻳﺔ ﻫﻤﺸﻬﺮﻯ‪،‬‬
‫ﺁﺫﺭﻣﺎﻩ‪ ،‬ﮔﭗ ﺩﻓﺘﺮ ﻫﻨﺮ ﺑﺎ ﺩﻭﻟﺖﺁﺑﺎﺩﻯ )ﺑﻪ ﻫﻤﺖ ﺟﻮﺍﺩ ﻣﺠﺎﺑﻰ‪ ،‬ﻋﻤﺮﺍﻥ‬
‫ﺻﻼﺣﻰ‪ ،‬ﻣﺤﻤﺪ ﻗﺎﺳﻢﺯﺍﺩﻩ‪ ،‬ﻭ ﺣﻤﻴﺪﺭﺿﺎ ﺭﺿﺎﻳﻰ(‪.‬‬
 ‫ﺳﻴﻤﻴﻦ ﺑﻬﺒﻬﺎﻧﻰ‬ ‫ﺗﻮﻓﺎﻥ ﺧﻴﺎﻝ ﺩﺭ ﺍﻗﻠﻴﻢ ﺑﺎﺩ‬

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‫ﺑﺨﺎﺭﺍ‬
‫ﺗﺮﺩﻳﺪ ﻧﻤﻰﻛﻨﻢ ﻛﻪ ﻣﺤﻤﻮﺩ ﺩﻭﻟﺖﺁﺑﺎﺩﻯ ﻧﻮﻳﺴﻨﺪﻩﻳﻰ ﺗﻮﺍﻧﺎﺳﺖ‪ ،‬ﻧﻮﻳﺴﻨﺪﻩﻳﻰﺳﺖ ﻛﻪ ﺳﻴﻼﻥ‬
‫ﺳﺎﻝ ﺳﻴﺰﺩﻫﻢ‬ ‫ﺍﻧﺪﻳﺸﻪﺍﺵ ﻗﻠﻤﺶ ﺭﺍ ﺑﻪ ﺳﺘﻮﻩ ﻣﻰﺁﻭﺭﺩ ﻭ ﺗﻜﺎﭘﻮﻯ ﻗﻠﻤﺶ ﻣﭻ ﺩﺳﺘﺶ ﺭﺍ‪ .‬ﻏﺎﻟﺒ ٌﺎ ﻣﻰﺑﻴﻨﻤﺶ ﻛﻪ‬
‫ﺷﻤﺎﺭﻩ ‪76‬‬
‫ﻣﺮﺩﺍﺩ ‪ -‬ﺷﻬﺮﻳﻮﺭ‬ ‫ﺳﺎﻋﺪ ﺭﺍﺳﺖ ﺭﺍ ﺑﺴﺘﻪ ﺍﺳﺖ ﻭ ﺍﺯ ﺩﺭﺩ ﺁﻥ ﻣﻰﻧﺎﻟﺪ‪.‬ﺑﺎ ﺍﻳﻦ ﻫﻤﻪ ﺑﺮﺍﻯ ﺍﻭ ﻧﻮﺷﺘﻦ ﮔﻮﻳﻰ ﺗﻨﻔﺴﻰﺳﺖ‬
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‫ﻛﻪ ﺑﻪ ﻫﻴﭻ ﻋﻨﻮﺍﻥ ﻭﻗﻔﻪ ﺭﺍ ﭘﺬﻳﺮﺍ ﻧﻴﺴﺖ‪.‬ﮔﻬﮕﺎﻩ ﻛﻪ ﺩﺭ ﻣﺤﻔﻠﻰ ﻣﻰﻧﺸﻴﻨﺪ ﻛﻪ ﺷﺎﺩﻯﻫﺎﻯ ﺁﻥ‬
‫ﭘﺎﺳﺨﮕﻮﻯ ﻭﺳﻮﺳﻪﻫﺎﻯ ﮔﺬﺭﺍﻧﻰﺳﺖ‪ ،‬ﻣﻰﺑﻴﻨﻢ ﻛﻪ ﭼﺸﻢﻫﺎﺵ ﻧﮕﺮﺍﻥ ﺍﺳﺖ ﻭ ﭘﻴﺸﺎﻧﻰﺵ ﮔﺮﻓﺘﻪ ﻭ‬
‫ﺩﺭﻫﻢ‪ .‬ﮔﻮﻳﺎ ﺩﺭ ﻣﻐﺰﺵ ﭼﻨﻴﻦ ﻣﻰﮔﺬﺭﺩ ﻛﻪ »ﺣﻴﻒ ﺍﺯ ﺍﻳﻦ ﻭﻗﺖ ﻛﻪ ﻣﻰﺗﻮﺍﻧﺴﺖ ﺻﻔﺤﻪﻯ ﻗﺼﻪﻳﻰ‬
‫ﻳﺎ ﮔﻮﺷﻪﻯ ﻧﻮﺷﺘﻪﻳﻰ ﺭﺍ ﺑﻴﺎﻓﺮﻳﻨﺪ!« ﺑﺎﺭﻯ‪ ،‬ﺑﻴﺎﻥ ﺍﻳﻦ ﺍﻧﺪﻳﺸﻪ ﺭﺍ ﺍﺯ ﭼﻬﺮﻩﺍﺵ ﺧﻮﺍﻧﺪﻩﺍﻡ‪.‬‬
‫ﻏﺎﻟﺒ ٌﺎ ﺩﻳﺮﺗﺮ ﺍﺯ ﺩﻳﮕﺮﺍﻥ ﻣﻰﺁﻳﺪ ﻭ ﺯﻭﺩﺗﺮ ﻣﻰﺭﻭﺩ‪ .‬ﻣﻰﺭﻭﺩ ﻛﻪ ﺑﺎ ﺩﻓﺘﺮ ﻭ ﻗﻠﻢ ﺧﻮﺩ ﺧﻠﻮﺕ ﻛﻨﺪ‪.‬‬
‫ﻫﻤﻴﻦ ﺣﺎﻻ ﭼﻨﺪﻳﻦ ﻫﺰﺍﺭ ﺻﻔﺤﻪ ﺍﺯ ﺍﺛﺮ ﻗﻠﻢ ﺍﻭ ﭘﻴﺶ ﺭﻭﻯ ﻣﻦ ﺍﺳﺖ ﻛﻪ ﻧﻴﻤﻰ ﻣﻮﻓﻖ ﻫﺴﺘﻨﺪ ﻭ‬
‫ﻧﻴﻤﻰ ﺩﺭﺧﺸﺎﻥ‪.‬ﺩﺭ ﻧﻈﺮ ﻣﻦ‪ ،‬ﺑﻪ ﻃﻮﺭ ﻛﻠﻰ ﺍﻭ ﻳﻜﻰ ﺍﺯ ﻣﺼﺎﺩﻳﻖ ﺑﺮﺟﺴﺘﻪﻯ ﻫﻨﺮ ﻗﺼﻪﻧﻮﻳﺴﻰ ﺩﺭ ﻣﻴﺎﻥ‬
‫ﻧﺴﻞ ﺑﻌﺪ ﺍﺯ ﺟﻤﺎﻝﺯﺍﺩﻩ ﻭ ﻫﺪﺍﻳﺖ ﻭ ﻋﻠﻮﻯ ﻭ ﭼﻮﺑﻚ ﺍﺳﺖ‪.‬‬
‫ﻗﻠﻤﺮﻭ ﻛﺎﺭ ﺍﻭ ﺭﻭﺳﺘﺎﺳﺖ ﻭ ﺷﺨﺼﻴﺖﻫﺎﻯ ﺍﻭ‪ ،‬ﺑﻴﺸﺘﺮ‪ ،‬ﺭﻭﺳﺘﺎﻳﻰﺍﻧﺪ‪ .‬ﺩﺭ ﺍﻳﻦ ﻗﻠﻤﺮﻭ ﻣﺤﺪﻭﺩ‬
‫ﻭ ﻣﻌﻴﻦ‪ ،‬ﻭﺳﻌﺖ ﺧﻴﺎﻝ ﺍﻭ ﻣﻮﺟﺐ ﺣﻴﺮﺕ ﺍﺳﺖ‪ .‬ﺩﺭ ﺁﺛﺎﺭﻯ ﻛﻪ ﺍﺯ ﺍﻳﻦ ﻧﻮﻳﺴﻨﺪﻩﻯ ﭘﺮﻛﺎﺭ ﭘﻴﺶ‬
‫ﺭﻭ ﺩﺍﺭﻳﻢ‪ ،‬ﺻﺪﻫﺎ ﺷﺨﺼﻴﺖ ﻣﻰﺑﻴﻨﻴﻢ ﻛﻪ ﺗﻘﺮﻳﺒ ٌﺎ ﻫﻤﻪﻯ ﺁﻥﻫﺎ ﻣﺮﺩﻡ ﻋﺎﺩﻯ ﻫﺴﺘﻨﺪ‪ -‬ﺍﻫﻞ ﺧﺮﺍﺳﺎﻥ‪،‬‬
‫ﺑﻠﻮﭼﺴﺘﺎﻥ ﻭ ﺣﺘﺎ ﺟﻨﻮﺏ ﺍﻳﺮﺍﻥ ﻛﻪ ﻧﻤﻰﺩﺍﻧﻢ ﻧﻮﻳﺴﻨﺪﻩ ﺗﺎ ﭼﻪ ﺣﺪ ﺑﺎ ﺍﻳﻦ ﺟﻨﻮﺑﻰﻫﺎ ﻣﺤﺸﻮﺭ ﺑﻮﺩﻩ‬
‫ﺍﺳﺖ‪ ،‬ﺍﻣﺎ ﻣﻰﺑﻴﻨﻴﻢ ﻛﻪ ﺑﺎ ﻭﺍژﮔﺎﻥ ﻭ ﺗﻌﺒﻴﺮﺍﺕ ﻭ ﻓﺮﻫﻨﮓ ﺁﻧﺎﻥ ﻛﺎﻣ ٌ‬
‫ﻼ ﺁﺷﻨﺎﺳﺖ‪ .‬ﺩﺍﺳﺘﺎﻥ ﻛﻮﺗﺎﻩ »ﺑﺎ‬
‫ﺷﺒﻴﺮﻭ« ﮔﻮﺍﻩ ﺍﻳﻦ ﻣﺪﻋﺎﺳﺖ‪ .‬ﺩﺭ ﺍﻳﻦ ﺩﺍﺳﺘﺎﻥ ﺩﺭﻳﺎ ﺭﺍ‪،‬ﻟﻨﺞ ﺭﺍ‪ ،‬ﺟﺎﺷﻮﻫﺎ ﺭﺍ‪ ،‬ﻣﺎﻫﻴﮕﻴﺮﺍﻥ ﺭﺍ ﻟﻤﺲ‬
‫ﻫﻮﻭﻯ« ﻧﺎﺧﺪﺍ ﻋﻠﻰ ﺭﺍ ﺩﺭ ﻛﻨﺎﺭ ﺻﺒﺎﺡ ﻭ ﻣﺤﻤﺪ ﻣﻰﺷﻨﻮﻯ‪ .‬ﺭﻭﺳﺘﺎ ﻣﺤﻞ‬ ‫ِ‬ ‫ﻣﻰﻛﻨﻰ ﻭ ﺧﺮﻭﺵ »ﻋﻠﻰ‬
‫ﺟﻮﻻﻥ ﺍﻧﺪﻳﺸﻪﻯ ﺩﻭﻟﺖﺁﺑﺎﺩﻯﺳﺖ‪ .‬ﻫﻤﻪﻯ ﺧﺼﻮﺻﻴﺎﺕ ﻭﻣﺘﻌﻠﻘﺎﺕ ﺁﻥ ﺭﺍ ﻣﻰﺷﻨﺎﺳﺪ ﺗﻮﺟﻪ ﺑﻪ‬
‫ﻫﻤﺎﻥﮔﻮﻧﻪ ﻛﻪ ﺧﺎﻧﻪﻱ ﺧﻮﺩ ﺭﺍ ﻣﻰﺷﻨﺎﺳﺪ‪.‬‬
‫ﻗﺪﺭﺕ ﺗﻮﺻﻴﻒ ﺩﻗﻴﻖ ﺟﺎﻣﻪﻳﻰﺳﺖ ﺑﺮﺍﺯﻧﺪﻩﻯ ﺑﺎﻻﻯ ﺍﻭ‪ .‬ﺑﻪ ﻣﺪﺩ ﺍﻳﻦ ﺗﻮﺻﻴﻒ ﺗﻘﺮﻳﺒ ٌﺎ ﻫﻴﭻﻳﻚ‬
‫ﺍﺯ ﺩﺍﺳﺘﺎﻥﻫﺎﻯ ﺍﻭ ﺍﺯ ﻓﻀﺎﻯ ﺭﻭﺷﻦ ﺑﺎ ﺧﻄﻮﻁ ﺩﻗﻴﻖ ﻭ ﺑﺮﺟﺴﺘﻪ ﺗﺠﺴﻤﻰ ﭘﺮﺟﺎﻥ ﻭ ﭘﺮ ﺗﺤﺮﻙ‬
‫ﺑﻰﺑﻬﺮﻩ ﻧﻴﺴﺖ‪.‬ﺻﺤﻨﻪﻫﺎﻯ ﺍﻭ ﺗﺌﺎﺗﺮﻯ ﻫﺴﺘﻨﺪ ﻛﻪ ﺗﻮ ﺗﻤﺎﺷﺎﮔﺮﺷﺎﻥ ﻧﻴﺴﺘﻰ ﺑﻠﻜﻪ ﺑﻪﺟﺎﻯ ﻳﻚﻳﻚ‬
‫ﺷﺨﺼﻴﺖﻫﺎ ﺑﺎﺯﻳﮕﺮ ﻣﻰﺷﻮﻯ‪ .‬ﺍﺣﺴﺎﺱ ﻣﻰﻛﻨﻰ ﻛﻪ ﻧﻪ ﺗﻨﻬﺎ ﺩﺭ ﺧﻮﺍﻧﺪﻥ ﺑﻠﻜﻪ ﺩﺭ ﭘﻴﺶﺭﺍﻧﺪﻥ‬
‫ﺩﺍﺳﺘﺎﻥ ﺳﻬﻤﻰ ﺩﺍﺭﻯ‪ .‬ﺍﻳﻦ ﺍﺳﺖ ﻛﻪ ﻫﺮﮔﺰ ﺍﺯ ﺧﻮﺍﻧﺪﻥ ﺧﺴﺘﻪ ﻧﻤﻰﺷﻮﻯ‪:‬‬
‫»‪ -‬ﺳﻠﻤﺎﻧﻌﻠﻴﺸﺎﻩ‪ ...‬ﺳﻠﻤﺎﻧﻌﻠﻴﺸﺎﻩ‪ ...‬ﺳﻠﻤﺎﻧﻌﻠﻴﺸﺎﻩ‪ ...‬ﻓﻘﻂ ﻫﻤﻴﻦ ﻳﻚ ﻛﻼﻡ ﺭﺍ‬
‫ﻣﻰﺗﻮﺍﻧﺴﺖ ﺑﮕﻮﻳﺪ‪ ،‬ﻓﻘﻂ ﻫﻤﻴﻦ ﻳﻚ ﻛﻼﻡ ﺭﺍ ﺗﻜﺮﺍﺭ ﻣﻰﻛﺮﺩ ﻭ ﭼﺸﻢﻫﺎﻯ ﺩﺭﺷﺖ‬
‫ﻭ ﺳﻴﺎﻫﺶ ﺭﺍ ﻛﻪ ﻫﺮ ﻛﺪﺍﻡ ﻣﺜﻞ ﺗﺨﻢ ﻳﻚ ﺷﺘﺮﻣﺮﻍ ﺑﻮﺩﻧﺪ ﺍﺯ ﺗﻪ ﺯﻳﺮﺯﻣﻴﻦ ﻛﻪ ﻣﺜﻞ‬
‫ﻳﻚ ﮔﻮﺭ ﺳﻴﺎﻩ ﺑﻮﺩ ﻓﻘﻂ ﺑﺎ ﻳﻚ ﭘﻴﻪﺳﻮﺯ ﻟﺐ ﺗﺎﻗﭽﻪﺍﺵ ﺭﻭﺷﻦ ﻣﻰﺷﺪ‪ ،‬ﺑﻪ ﻣﻦ‬
‫ﺩﻭﺧﺘﻪ ﺑﻮﺩ ﻭ ﻣﻦ ﻣﺜﻞ ﭼﻐﻮﻛﻰ ﻛﻪ ﺳﺤﺮ ﺍﻓﻌﻰ ﺷﺪﻩ ﺑﺎﺷﺪ‪ ،‬ﺭﻭﻯ ﭘﻠﻪﻱ ﺯﻳﺮﺯﻣﻴﻦ‬
‫ﻣﺎﻧﺪﻩ ﺑﻮﺩﻡ ﻭ ﺍﻧﮕﺎﺭ ﺧﺸﻚ ﺷﺪﻩ ﺑﻮﺩﻡ ﻭ ﺑﻮﻯ ﻧﺎ ﻭ ﻧﻢ ﺳﺮﻣﺎ ﻭ ﺩﻭﺩ ﺑﺎ ﻫﻢ ﻗﺎﻃﻰ‬
‫ﺷﺪﻩ ﺑﻮﺩ ﻭ ﻣﻰﺭﻓﺖ ﺗﻮﻯ ﺩﻣﺎﻏﻢ‪ .‬ﺁﺗﺸﻰ ﻛﻪ ﻣﻴﺎﻥ ﮔﻮﺩﺍﻝ ﺯﻳﺮﺯﻣﻴﻦ ﺭﻭﺷﻦ ﻛﺮﺩﻩ‬
‫ﺑﻮﺩﻧﺪ ﺩﺍﺷﺖ ﺧﺎﻣﻮﺵ ﻣﻰﺷﺪ‪ .‬ﻭ ﺟﺎﺑﻪﺟﺎ ﻓﻘﻂ َﻭﻝ َﻭﻝ ﻣﻰﺯﺩ‪ .‬ﻫﻤﺎﻥﻗﺪﺭ ﻛﻪ‬ ‫‪270‬‬
‫ﻣﻦﺑﺘﻮﺍﻧﻢ ﻧﻔﺲ ﺯﺩﻥ ﻋﻠﻴﺸﺎﺩ ﺭﺍ ﻭ ﺍﻳﻦﻛﻪ ﺳﻴﻨﻪ ﻭ ﺷﻜﻢ ﺑﺮﻫﻨﻪﺍﺵ ﺑﺎ ﻫﺮ ﻧﻔﺴﻰ‬
‫ﭼﻪ ﺟﻮﺭ ﺑﺎﻻ ﻭ ﭘﺎﻳﻴﻦ ﻣﻰﺭﻓﺖ ﺑﺒﻴﻨﻢ‪ .‬ﻋﻠﻴﺸﺎﺩ ﺭﻭﻯ ﮔﻮﺩﺍﻝ ﺁﺗﺶ ﺍﻧﮕﺎﺭ ﺧﻴﻤﻪ‬
‫ﺯﺩﻩ ﺑﻮﺩ‪ ،‬ﻳﻘﻪﻯ ﭘﻴﺮﺍﻫﻨﺶ ﺭﺍ ﺗﺎ ﺗﻪ ﺟﺮ ﺩﺍﺩﻩ ﺑﻮﺩ‪ ،‬ﻛﻒ ﺩﺳﺖﻫﺎﻳﺶ ﺭﺍ ﮔﺬﺍﺷﺘﻪ‬
‫ﺑﻮﺩ ﺩﻭﻃﺮﻑ ﮔﻮﺩﺍﻝ ﺁﺗﺶ‪ ،‬ﺯﺍﻧﻮﻫﺎﻳﺶ ﺭﺍ ﻫﻢ ﺯﺩﻩ ﺑﻮﺩ ﺯﻣﻴﻦ ﻭ ﺷﻜﻤﺶ ﺭﺍ‬
‫ﮔﺮﻓﺘﻪ ﺑﻮﺩ ﺭﻭﻯ ﮔﻮﺩﺍﻝ ﺁﺗﺶ‪ .‬ﻳﻚ ﺑﻨﺪ ﻣﻰﻟﺮﺯﻳﺪ ﻭ ﺩﺭ ﻫﻤﺎﻥ ﺣﺎﻝ ﻣﺜﻞ ﮔﺮگ‬
‫ﺑﻪ ﻣﻦ ﻛﻪ ﺯﻳﺮ ﺩﻫﻨﻪﻯ ﺯﻳﺮﺯﻣﻴﻦ ﺍﻳﺴﺘﺎﺩﻩ ﺑﻮﺩﻡ‪ ،‬ﺧﻴﺮﻩ ﺷﺪﻩ ﺑﻮﺩ‪ .‬ﭘﻴﻪﺳﻮﺯ ﭘﺖﭘﺖ‬
‫ﻣﻰﻛﺮﺩ ﻭ ﺍﻳﻦ ﭘﺖﭘﺖ ﺷﻌﻠﻪﻯ ﭘﻴﻪﺳﻮﺯ ﺑﻪ ﭼﺸﻢﻫﺎﻯ ﺍﻭ ﻛﻪ ﺷﺪﻩ ﺑﻮﺩﻧﺪ ﺩﻭ ﺗﻐﺎﺭ‬
‫ﺧﻮﻥ‪ ،‬ﺗﺮﺳﻨﺎﻛﻰﻯ ﺑﻴﺸﺘﺮﻯ ﻣﻰﺩﺍﺩ‪ .‬ﻛﻼﻩ ﺳﺮﺵ ﻧﺒﻮﺩ ﻭ ﻣﻮﻫﺎﻯ ﺑﻠﻨﺪ ﻭ ﺳﻴﺎﻩ ﻭ‬
‫ﭘﻴﭻﭘﻴﭽﺶ ﺭﻳﺨﺘﻪ ﺑﻮﺩ ﺩﻭﺭ ﺷﺎﻧﻪﻫﺎ ﻭ ﺭﻭﻯ ﭘﻴﺸﺎﻧﻴﺶ‪«...‬‬
‫)ﺹ ‪(78‬‬
‫ﺍﺳﺘﻔﺎﺩﻩ ﺍﺯ ﺍﺻﻄﻼﺣﺎﺕ ﻭ ﻛﺎﺭﺑُﺮﺩ ﻭﺍژﮔﺎ ِﻥ ﻣﺮﺩﻣﻰ ﻛﻪ ﺍﺯ ﺁﻧﺎﻥ ﻗﺼﻪ ﻣﻰﮔﻮﻳﺪ ﻳﻜﻰ ﺍﺯ ﺷﮕﺮﺩﻫﺎﻯ‬
‫ﻣﻮﺭﺩ ﻋﻼﻗﻪﻯ ﺩﻭﻟﺖﺁﺑﺎﺩﻯﺳﺖ‪ ،‬ﺑﻪﺣﺪﻯ ﻛﻪ ﮔﺎﻩ ﻧﺎﭼﺎﺭ ﻣﻰﺷﻮﺩ ﻭﺍژﻧﺎﻣﻪﻫﺎﻳﻰ ﺍﺯ ﺁﻥﻫﺎ ﺗﺪﻭﻳﻦ‬
‫ﻛﻨﺪ ﻭ ﺩﺭ ﺍﺧﺘﻴﺎﺭ ﺧﻮﺍﻧﻨﺪﻩ ﺑﮕﺬﺍﺭﺩ )ﺭﻭﺯﮔﺎﺭ ﺳﭙﺮﻯ ﺷﺪﻩ‪ ...‬ﺍﻳﻦ ﻭﺍژﻩﻧﺎﻣﻪ ﺭﺍ ﺿﻤﻴﻤﻪﻯ ﭘﺎﻳﺎﻥ‬
‫ُ‬
‫»ﺳﻨﮕﻚ«‪» ،‬ﺷﭙﺎﺕ«‪» ،‬ﻟﻔﭻ«‪» ،‬ﻧﻮﺱ« ﻭ‪ ...‬ﺑﺮﺍﻯ‬ ‫ﺩﺍﺭﺩ(‪» .‬ﺍُﺳﻨﻰ«‪» ،‬ﺯﻭﻏﻮﺭﻳﺖ«‪ُ » ،‬ﻗﻨّﻪ ﻗﻨّﻪ«‪ ،‬ﺧُ ﺮﺍﺱ«‪،‬‬
‫ﺧﻮﺍﻧﻨﺪﻩ ﻧﺎﺁﺷﻨﺎﺳﺖ‪ .‬ﺑﻪ ﻛﺎﺭ ﮔﺮﻓﺘﻦ ﺍﻳﻦﮔﻮﻧﻪ ﻭﺍژﻩﻫﺎ‪ ،‬ﻫﻤﺮﺍﻩ ﺑﺎ ﺍﺻﻄﻼﺣﺎﺕ ﻭ ﺗﻌﺒﻴﺮﺍﺕ ﺯﺑﺎﻥ ﻣﺤﻠﻰ‪،‬‬
‫ﺷﮕﺮﺩﻯﺳﺖ ﻛﻪ ﻧﻮﻳﺴﻨﺪﻩ ﺍﺯ ﺁﻥ ﺑﺮﺍﻯ ﺗﺮﺳﻴﻢ ﻓﻀﺎ ﻭ ﺗﺼﻮﻳﺮ ﺷﺨﺼﻴﺖﻫﺎ ﻛﻤﻚ ﻣﻰﮔﻴﺮﺩ ﻭ ﺧﻮﺍﻧﻨﺪﻩ‬
 ‫ﺭﺍ ﺩﺭ ﻣﺤﻴﻄﻰ ﻏﻴﺮ ﺍﺯ ﺁﻥﭼﻪ ﺁﺷﻨﺎﻯ ﺍﻭﺳﺖ ﻣﻰﮔﺬﺍﺭﺩ‪ .‬ﺍﻳﻦ ﺷﮕﺮﺩ ﺧﺎﺹ ﻣﻮﺭﺩ ﺗﻘﻠﻴﺪ ﺑﻌﻀﻰ ﺍﺯ‬
‫ﻧﻮﻳﺴﻨﺪﮔﺎﻥ ﺟﻮﺍﻥ ﺍﺯ ﺟﻤﻠﻪ ﺧﺎﻧﻢ ﺭﻭﺍﻧﻰﭘﻮﺭ ﻗﺮﺍﺭ ﮔﺮﻓﺘﻪ ﺍﺳﺖ‪ .‬ﺑﻪ ﺍﻳﻦ ﺗﺮﺗﻴﺐ ﻣﻰﺗﻮﺍﻥ ﮔﻔﺖ ﺯﺑﺎﻥ‬
‫ﺩﻭﻟﺖﺁﺑﺎﺩﻯ‪ ،‬ﺑﺎ ﺁﻥﻛﻪ ﻓﺎﺭﺳﻰﻯ ﻓﺼﻴﺢ ﺍﺳﺖ‪ ،‬ﺍﺯ ﻭﻳﮋﮔﻰﻯ ﺯﺑﺎﻥ ﻣﺤ ّﻠﻰ ﺑﺮﺧﻮﺭﺩﺍﺭ ﺍﺳﺖ‪:‬‬
‫»ﺷﺒﮕﻴﺮ ﺑﻮﺩ ﻭ ﻫﻮﺍ ﮔﺮگﻭﻣﻴﺶ ﺑﻮﺩ ﻭ ﻣﻌﻠﻮﻡ ﺑﻮﺩ ﻛﻪ ﻋﻠﻴﺸﺎﺩ ﺗﺎﺻﺒﺢ ﻧﺨﻮﺍﺑﻴﺪﻩ‪.‬‬
‫ﻣﻦ ﻭ ﺻﻔﺪﺭ ﻫﺮﻛﺪﺍﻡ ﺳﻴﺰﺩﻩ‪/‬ﭼﻬﺎﺭﺩﻩ ﺳﺎﻝ ﺑﻴﺸﺘﺮ ﻧﺪﺍﺷﺘﻴﻢ ﻭ ﻣﺜﻞ ﮔﺮﺑﻪﻫﺎﻯ ﮔﻴﺞ‬
‫ﻫﺘﺮﻩ ﻫﺘﺮﻩ ﻣﻰﺧﻮﺭﺩﻳﻢ‪ ...‬ﺧﻮﺩﻡ ﺭﺍ ﺭﺳﺎﻧﺪﻡ ﻟﺐ ﺣﻮﺽ ﻭ ﻳﻚ ﻣﺸﺖ ﺁﺏ ﺑﻪ‬
‫ﺻﻮﺭﺗﻢ ﺯﺩﻡ ﺗﺎ ﺍﺟﻴﺮ ﺷﻮﻡ ﻭ ﺳﺮﺣﺎﻝ ﺑﻴﺎﻳﻢ‪«...‬‬
‫)ﺭﻭﺯﮔﺎﺭ ﺳﭙﺮﻯ ﺷﺪﻩ‪ ...‬ﺻﺺ ‪(66-65‬‬
‫»‪ ...‬ﺟﻠﻮ ﺭﻭﻯ ﻣﻦ ﺍﻳﺴﺘﺎﺩ ﻭ ﮔﻔﺖ‪» :‬ﺗﻤﺎﻡ ﺷﺪ‪ «.‬ﻣﻦ ﻫﭙﻜﻪ ﺯﺩﻩ ﻭ ﺍﺯ ﺯﺑﺎﻥ ﺍﻓﺘﺎﺩﻩ‬
‫ﺑﻮﺩﻡ‪ ...‬ﺑﻰﺑﻰ ﮔﻴﺴﻮ ﭼﺸﻢﻫﺎﻳﺶ ﺗﻘﺮﻳﺒ ًﺎ ﻧﺎﺩﻳﺪ ﺷﺪﻩ ﺑﻮﺩ‪ .‬ﺍﻳﻦ ﺑﻮﺩ ﻛﻪ ﺟﻠﻮ ﺭﻓﺘﻢ‪،‬‬
‫ﺩﻡ ﺩﺭ ﺍﻳﺴﺘﺎﺩﻡ‪ ،‬ﻗﺒﺎﻟﻪﻧﺎﻣﭽﻪ ﺭﺍ ﺟﻠﻮﻳﺶ ﮔﺮﻓﺘﻢ ﻭ ﮔﻔﺘﻢ‪ :‬ﺗﻤﺎﺵ ﻛﺮﺩﻡ؛ ﺑﻪ ﺩﺍﻳﻰ‬
‫ﻧﻌﻤﺎﻥ ﺑﮕﻮ ﻛﻼﻫﺶ ﺭﺍ ﺑﮕﺬﺍﺭﺩ ﺑﺎﻻﺗﺮ‪«...‬‬
‫)ﻫﻤﺎﻥ‪ ...‬ﺹ ‪(293‬‬
‫»ﻫﻤﺎﻥ ﻣﻮﺳﻢ ﺍﺳﺖ ﻛﻪ ﻋﺒﺪﻭﺱ ﺧﺎﻧﻪﻯ ﻣﻠﻤﻞ ﺧﺎﻧﻢ ﺭﺍ ﺍﺟﺎﺭﻩ ﻣﻰﻛﻨﺪ‪ ،‬ﺧﺎﻧﻪﻳﻰ‬
‫ﺩﺭ ﻣﺤﻠﻪﻱ ﺳﺒﺮﻳﺰ ﻭ ﭼﺴﺒﻴﺪﻩ ﺑﻪ ﺗﻪ َﺣﻴَﻂ‪ ،‬ﻧﺰﺩﻳﻚ ﺑﺎﺭﻭ‪«...‬‬
‫‪271‬‬ ‫)ﻫﻤﺎﻥ‪ ...‬ﺹ ‪(313‬‬

‫ﺩﺭ ﻫﻤﻪﻯ ﺍﻳﻦ ﺟﻤﻠﻪﺑﻨﺪﻯﻫﺎ ﻭ ﺍﻳﻦ ﻃﺮﺯ ﻣﻜﺎﻟﻤﻪ ﻣﻰﺗﻮﺍﻥ ﻃﻨﻴﻦ ﻏﻠﻴﻆ ﻟﻬﺠﻪﻯ ﺧﺮﺍﺳﺎﻧﻰ ﺭﺍ‬
‫ﺑﻪ ﻳﺎﺩ ﺁﻭﺭﺩ ﺑﻰﺁﻥﻛﻪ ﭼﻴﺰﻯ ﺍﺯ ﻓﺎﺭﺳﻰﻯ ﻣﻌﻤﻮﻝ ﻛﻢ ﺩﺍﺷﺘﻪ ﺑﺎﺷﺪ‪.‬‬
‫ﻧﻮﻳﺴﻨﺪﻩ ﺧﻮﺏ ﻣﻰﺩﺍﻧﺪ ﻛﻪ ﺍﻳﻦ ﻃﺮﺯ ﺗﻜﻠﻢ ﺭﺍ ﺑﺎ ﻫﻤﺎﻥ ﺧﺼﺎﻳﺺ ﻣﺤﻠﻰ ﺑﻪ ﻧﺴﺒﺖ ﺷﺨﺼﻴﺖﻫﺎﻯ‬
‫ﺩﺍﺳﺘﺎﻧﺶ ﭼﻪﮔﻮﻧﻪ ﺗﻐﻴﻴﺮ ﺩﻫﺪ‪ .‬ﻟﺤﻦ ﺁﻣﺮﺍﻧﻪﻯ ﻋﻠﻴﺸﺎﺩ ﺑﺎ ﻟﺤﻦ ﭼﺎﭘﻠﻮﺳﺎﻧﻪ ﻭ ﻣﺰ ّﻭﺭﺍﻧﻪﻯ ﻏﻼﻡﻛﻞ‬
‫ﺍﺯ ﺯﻣﻴﻦ ﺗﺎ ﺁﺳﻤﺎﻥ ﺗﻔﺎﻭﺕ ﺩﺍﺭﺩ‪ .‬ﻫﻤﭽﻨﻴﻦ ﻟﺤﻦ ﺧﻮﺩ ﻋﻠﻴﺸﺎﺩ ﺑﻪ ﻫﻨﮕﺎﻡ ﻟﻮﻟﻰ ﻭ ﺷﻨﮕﻮﻟﻰ ﺑﺎ ﻟﺤﻦ‬
‫ﺍﻭ ﺑﻪ ﻫﻨﮕﺎﻡ ﻣﺨﻤﻮﺭﻯ ﻓﺮﻕ ﻣﻰﻛﻨﺪ‪ .‬ﻭ ﺑﺎﺯ ﻭﻗﺘﻰ ﺍﺯ ﻣﺮﺩﻡ ﺟﻨﻮﺏ ﻣﻰﻧﻮﻳﺴﺪ ﺩﺭ ﻃﺮﺯ ﺗﻜﻠﻢ ﺁﻥﻫﺎ‬
‫ﻟﻬﺠﻪﻯ ﺍﻫﺎﻟﻰﻯ ﺑﻨﺪﺭ ﺭﺍ ﺧﻮﺏ ﺍﺣﺴﺎﺱ ﻣﻰﻛﻨﻰ‪ ،‬ﺍﮔﺮﭼﻪ ﻣﻄﻤﺌﻦ ﻧﻴﺴﺘﻢ ﻛﻪ ﺍﻭ ﺑﺘﻮﺍﻧﺪ ﺍﻳﻦ ﻟﻬﺠﻪ‬
‫ﺭﺍ ﺧﺎﺭﺝ ﺍﺯ ﻧﻮﺷﺘﺎﺭ ﺧﻮﺩ ﺗﻘﻠﻴﺪ ﻛﻨﺪ‪.‬‬
‫ﺷﺎﻋﺮﺍﻧﻪ ﻧﻮﺷﺘﻦ ﻧﻴﺰ ﺍﺯ ﺧﺼﻮﺻﻴﺎﺕ ﺩﻳﮕﺮ ﺍﻳﻦ ﻧﻮﻳﺴﻨﺪﻩ ﺍﺳﺖ‪ .‬ﻫﺮﺟﺎ ﻛﻪ ﻻﺯﻡ ﻣﻰﺩﺍﻧﺪ ﺍﺯ‬
‫ﺗﻌﺒﻴﺮﺍﺕ ﺷﻌﺮﮔﻮﻧﻪ‪ ،‬ﺍﺯ ﺗﻮﺻﻴﻒﻫﺎﻯ ﺭﻧﮕﻴﻦ ﻭ ﺭﻗﺖﺍﻧﮕﻴﺰ ﻭ ﺍﺯ ﺗﺨﻴّﻞ ﻇﺮﻳﻒ ﺳﻮﺩ ﻣﻰﺑ َ َﺮﺩ‪:‬‬
‫»‪ ...‬ﺳﺎﻣﻮﻥ ﻣﻰﺍﻳﺴﺘﺪ ﻭ ﺻﻨﻮﺑﺮ ﺑﺮﻣﻰﺧﻴﺰﺩ ﻭ ﻧﮕﺎﻩ ﻣﻰﻛﻨﺪ‪ .‬ﺩﺭﻭﻧﻪﻯ ﭼﺸﻢﻫﺎﻳﺶ‬
‫ﺳﺮﺥ ﺍﺳﺖ‪ ،‬ﺑﻪ ﺭﻧﮓ ﺷﻴﺎﺭِ ﺧﻮ ِﻥ ﻳﺎﺩِ ﺳﺎﻣﻮﻥ‪ .‬ﺟﺎﻣﻪﻳﻰ ﺳﻴﺎﻩ ﻭ ﺑﻠﻨﺪ ﺑﻪ ﺗﻦ‬
‫ﺩﺍﺭﺩ ﺁﻥ ﺯﻥ ﺑﻠﻨﺪﻗﺎﻣﺖ‪ ،‬ﻭ ﮔﻴﺴﻮﺍﻧﻰ ﺳﻔﻴﺪ ﺍﺯ ﻛﻨﺎﺭﻩﻫﺎﻯ ﺳﺮﺑﻨﺪﺵ ﺍﻓﺸﺎﻥ ﺷﺪﻩ‬
‫ﺑﺮ ﺷﺎﻧﻪﻫﺎﻳﺶ‪ .‬ﺳﺎﻣﻮﻥ ﺳﺮﻣﺎﻯ ﭘﻨﺠﻪﻫﺎﻯ ﻣﺎﺩﺭ ﺭﺍ ﺣﺲ ﻣﻰﻛﻨﺪ‪ .‬ﻣﺎﺩﺭ ﺳﺮﻣﺎﻯ‬
‫ﺩﺳﺖﻫﺎﻯ ﺳﺎﻣﻮﻥ ﺭﺍ ﺣﺲ ﻣﻰﻛﻨﺪ‪ .‬ﭼﺮﺍﻍ ﭼﺸﻢﻫﺎﻯ ﺳﺎﻣﻮﻥ ﺭﺍﻩ ﺭﺍ ﺭﻭﺷﻦ‬
 ‫ﻣﻰﻛﻨﺪ‪ .‬ﻣﺎﺩﺭ ﻭ ﻓﺮﺯﻧﺪ ﺍﺯ ﺷﻴﺎﺭ ﻛﻮﭼﻪﻫﺎ ﻣﻰﮔﺬﺭﻧﺪ‪ .‬ﺩﻳﻮﺍﺭ ﺩﻫﻦ ﻣﻰﮔﺸﺎﻳﺪ ﻭ‬
‫ﻓﺮﺍﺥ ﻓﺮﺍﺥ‪ .‬ﻭ ﺁﺳﻤﺎﻥ ﭘُﺮ ﺍﺳﺖ ﺍﺯ‬
‫ِ‬ ‫ﺁﻥ ﺩﻭ ﺑﻴﺮﻭﻥ ﻣﻰﺭﻭﻧﺪ‪ .‬ﺑﻴﺎﺑﺎﻥ ﻓﺮﺍﺥ ﺍﺳﺖ‪،‬‬
‫ﺑﻰﻧﻬﺎﻳﺖ ﺳﺘﺎﺭﻩ‪ ،‬ﺑﻰﻧﻬﺎﻳﺖ ﺳﺘﺎﺭﻩ‪ ...‬ﺳﻜﻮﺕ‪ ،‬ﺳﻜﻮﺕ‪ ،‬ﺳﻜﻮﺕ‪«.‬‬
‫)ﻫﻤﺎﻥ‪ ...‬ﺻﺺ ‪(548-547‬‬
‫»‪ ...‬ﺑﺮﻑ ﺷﺮﻭﻉ ﺷﺪﻩ ﺍﺳﺖ‪ .‬ﺁﺭﺍﻡ ﺁﺭﺍﻡ ﺷﺮﻭﻉ ﺷﺪﻩ ﻭ ﻫﻮﺍ ﭼﻨﺎﻥ ﺧﺎﻣﻮﺵ ﺍﺳﺖ‬
‫ﻛﻪ ﺍﻧﮕﺎﺭ ﺯﻧﺪﮔﻰ ﺻﺪﺍ ﻧﺪﺍﺭﺩ‪ ،‬ﻫﻤﻪ ﭼﻴﺰ ﻣﺜﻞ ﻳﻚ ﺧﻮﺍﺏ ﺍﺳﺖ‪ ،‬ﺳﻴّﺎﻝ ﻭ ﻣﻼﻳﻢ‪،‬‬
‫ﺍﺑﺮﻳﺸﻢ‪ ،‬ﻏﺮﻭﺏ ﺍﺳﺖ ﻳﺎ ﻧﻴﺴﺖ؟ ﻫﻤﻪ ﭼﻴﺰ ﮔﻨﮓ ﻭ ﻣﺒﻬﻢ ﺍﺳﺖ‪«...‬‬
‫)ﻫﻤﺎﻥ‪ ...‬ﺹ ‪(489‬‬
‫»‪ ...‬ﺩﺭ ﺭﻭﺳﭙﻰﺧﺎﻧﻪ‪ ،‬ﺳﺮﮔﺬﺷﺖﻫﺎ ﺑﺎ ﺍﻧﺪﻭﻩ ﻳﻜﻨﻮﺍﺧﺘﻰ ﺗﻌﺮﻳﻒ ﻣﻰﺷﻮﻧﺪ‪ ،‬ﻭ ﺩﺭ‬
‫ﺁﻥﺟﺎ ﺍﺷﻚﻫﺎ ﻫﻢ ﺍﻧﮕﺎﺭ‪«...‬‬
‫)ﻫﻤﺎﻥ‪ ...‬ﺹ ‪(488‬‬
‫ﺷﻴﻮﻩﻯ ﻧﺜﺮ ﺩﻭﻟﺖﺁﺑﺎﺩﻯ ﺳﺮﺍﺳﺮ ﺩﺳﺘﻮﺭﻯ ﻭ ﺩﻗﻴﻖ ﺍﺳﺖ‪ .‬ﻫﺮﮔﺰ ﻭﺍژﻩﻯ ﻻﺯﻣﻰ ﺑﻪ ﺗﺴﺎﻣﺢ ﺣﺬﻑ‬
‫ﻧﻤﻰﺷﻮﺩ‪ .‬ﻫﺮﮔﺰ ﻓﻌﻠﻰ ﺩﺭ ﺍِﺳﻨﺎﺩ ﺑﻪ ﻓﺎﻋﻞ ﺗﺮﺩﻳﺪ ﻧﻤﻰﺁﻓﺮﻳﻨﺪ‪ .‬ﺩﺭ ﺗﻨﻈﻴﻢ ﺍﺭﻛﺎﻥ ﺟﻤﻠﻪ ﺗﺎ ﺣﺪ ﺍﻣﻜﺎﻥ‬
‫ﺭﻭﺵ ﻋﺎﺩﻯ ﻭ ﻣﻌﻤﻮﻝ ﺍﻳﻦ ﺯﻣﺎﻥ ﺭﺍ ﺭﻋﺎﻳﺖ ﻣﻰﻛﻨﺪ‪ .‬ﻧﻮﺷﺘﻪﻯ ﺍﻭ‪ ،‬ﺩﺭ ﻋﻴﻦ ﻛﺸﺶ ﻭ ﻫﻴﺠﺎﻥ‪،‬‬
‫ﻧﻈﻢ ﻭ ﺣﻮﺻﻠﻪ ﻭ ﺩﻗﺖ ﺭﺍ ﺗﺪﺍﻋﻰ ﻣﻰﻛﻨﺪ‪ .‬ﺍﻳﻦ ﻭﻳﮋﮔﻰ ﺑﻰﺗﺮﺩﻳﺪ ﺑﺮ ﺍﺛﺮ ﻣﻤﺎﺭﺳﺖ ﺻﻔﺖ ﺛﺎﻧﻮﻯﻯ‬
‫ﻧﻮﻳﺴﻨﺪﻩ ﺷﺪﻩ ﺍﺳﺖ ﻭﮔﺮﻧﻪ ﺧﻮﺩ ﺩﻭﻟﺖﺁﺑﺎﺩﻯ‪ ،‬ﺩﺭ ﻋﻴﻦ ﺣﻔﻆ ﻣﺘﺎﻧﺖ ﻭ ﺍﺩﺏ‪ ،‬ﺳﺨﺖ ﺗﻨﺪﺧﻮﺳﺖ‬ ‫‪272‬‬
‫ﻭ ﺑﻪﺭﻏﻢ ﻣﻴﻞ ﺑﺎﻃﻨﻰ‪ ،‬ﮔﺎﻩ ﺍﺯ ﺑﺮﻭﺯ ﺍﻳﻦ ﺗﻨﺪﺧﻮﻳﻰ ﻧﻤﻰﺗﻮﺍﻧﺪ ﺟﻠﻮﮔﻴﺮﻯ ﻛﻨﺪ‪ .‬ﭘﻮﺳﺖ ﺳﻔﻴﺪ ﻭ ﻛﻢ‬
‫ﺧﻮﻥ ﭼﻬﺮﻩﺍﺵ ﺑﻪ ﺳﺮﺧﻰ ﻣﻰﮔﺮﺍﻳﺪ ﻭ ﺭگﻫﺎﻯ ﮔﺮﺩﻥ ﻭ ﺷﻘﻴﻘﻪﺍﺵ ﻣﺘﻮﺭﻡ ﻣﻰﺷﻮﺩ ﻭ ﭼﺸﻢﻫﺎﻯ‬
‫ﺩﺭﺧﺸﺎﻥ ﻭ ﺭﻭﺷﻨﺶ ﺭﺍ ﻏﺒﺎﺭ ﻣﻼﻝ ﺗﻴﺮﻩ ﻣﻰﻛﻨﺪ‪ .‬ﺍﻣﺎ ﺯﺑﺎﻥ ﻭ ﻛﻼﻡ ﻫﻤﻴﺸﻪ ﺩﺭ ﺍﺧﺘﻴﺎﺭ ﺍﻭﺳﺖ ﻭ‬
‫ﻧﺪﻳﺪﻩﺍﻡ ﻛﻪ ﻫﻴﺠﺎﻥ ﺩﺭﻭﻧﻰ ﺍﻭ ﺭﺍ ﺍﺯ ﻣﺮﺍﻋﺎﺕ ﺍﺩﺏ ﺑﺮﻛﻨﺎﺭ ﺩﺍﺭﺩ‪.‬‬
‫ﮔﻮﻳﺎ ﺑﻪ ﻫﻨﮕﺎﻡ ﻧﻮﺷﺘﻦ ﻧﻴﺰ‪ ،‬ﺑﺎ ﻭﺟﻮﺩ ﻫﻤﻪﻯ ﻫﻴﺠﺎﻥﻫﺎ ﻭ ﺑﻰﺻﺒﺮﻯﻫﺎ ﻭ ﺗﺐﻭﺗﺎﺏﻫﺎ‪ ،‬ﺯﺑﺎﻥ‬
‫ﻗﻠﻢ ﺭﺍ ﺑﻪ ﺍﺧﺘﻴﺎﺭ ﻣﻰﮔﻴﺮﺩ ﻭ ﭼﻨﻴﻦ ﺍﺳﺖ ﻛﻪ ﻣﺎ ﺭﺍ ﺭﻭﻳﺎﺭﻭﻯ ﻧﺜﺮﻯ ﻣﺘﻴﻦ‪ ،‬ﭘﺨﺘﻪ ﻭ ﺣﺴﺎﺏ ﺷﺪﻩ‬
‫ﻗﺮﺍﺭ ﻣﻰﺩﻫﺪ‪.‬‬
‫ﺩﻭﻟﺖﺁﺑﺎﺩﻯ ﻧﻪ ﺗﻨﻬﺎ ﻗﻮﺍﻋﺪ ﮔﻔﺘﺎﺭ ﺭﺍ ﺑﻪ ﻛﻤﺎﻝ ﺭﻋﺎﻳﺖ ﻣﻰﻛﻨﺪ ﺑﻠﻜﻪ ﺁﻥﭼﻨﺎﻥ ﺩﺭ ﺑﻨﺪ ﻗﻮﺍﻋﺪ‬
‫ﻼ ﻭﺍژﻩﻯ‬‫ﻧﻮﺷﺘﺎﺭ ﺍﺳﺖ ﻛﻪ ﺗﻦ ﺑﻪ ﻗﺒﻮﻝ ﺍﻣﻼﻯ ﻟﻐﺎﺗﻰ ﻛﻪ ﻏﻠﻄﺸﺎﻥ ﻣﻌﻤﻮﻝﺗﺮ ﺍﺳﺖ ﻧﻤﻰﺩﻫﺪ‪ .‬ﻣﺜ ً‬
‫»ﻣﺤﻈﻮﺭ« ﺭﺍ ﻛﻪ ﻓﺎﺭﺳﻰﺯﺑﺎﻧﺎﻥ ﺑﻪ ﻫﻨﺠﺎﺭ ﻣﻌﻤﻮﻝ ﺑﻪ ﺍﻳﻦ ﺷﻜﻞ ﻧﻮﺷﺘﻪﺍﻧﺪ »ﻣﺤﺬﻭﺭ« ﻣﻰﻧﻮﻳﺴﺪ ﻭ‬
‫ﮔﻮﻳﺎ ﺩﺭ ﺗﻔﺴﻴﺮ ﻣﻌﻨﺎﻯ ﺁﻥ ﻧﻈﺮ ﺍﺑﻮﺍﻟﺤﺴﻦ ﻧﺠﻔﻰ ﺭﺍ ﻣﻰﭘﺬﻳﺮﺩ‪ .‬ﺑﺎ ﺍﻳﻦﻫﻤﻪ ﺩﻗﺖ ﺍﻯ ﻛﺎﺵ ﺍﺯ ﺭﻭﻯ‬
‫»ﺍﻟﺮﺣﻴﻞ« ﺗﺸﺪﻳﺪ ﺣﺬﻑ ﻧﻤﻰﺷﺪ ﻛﻪ ﺩﺭ ﭼﻨﺪ ﺟﺎ ﺍﻳﻦ ﻭﺍژﻩ ﺑﺪﻭﻥ ﺗﺸﺪﻳﺪ ﺩﻳﺪﻩ ﻣﻰﺷﻮﺩ‪ ،‬ﺍﺯ‬ ‫ﻭﺍژﻩﻯ ّ‬
‫ﺟﻤﻠﻪ ﺹ ‪ ،65‬ﺩﺭ ﺣﺎﻟﻰ ﻛﻪ ﺩﺭﺳﺖ ﺩﺭ ﻭﺍژﻩﻯ ﺑﻌ ِﺪ ﺁﻥ ﺗﺸﺪﻳ ِﺪ ﻭﺍژﻩﻯ »ﺣﺎﻟﻴّﻪ« ﻧﮕﺎﻫﺪﺍﺭﻯ ﺷﺪﻩ‬
‫ﺍﺳﺖ‪ .‬ﺿﻤﻨ ًﺎ ﺩﺭ ﺟﺎﻳﻰ ﺑﻪ ﭼﺸﻤﻢ ﺧﻮﺭﺩ ﻛﻪ ﻭﺍژﻩﻯ »ﺍﻳّﻬﺎ ﺍﻟﻨّﺎﺱ« ﺑﺎ ﺣﺬﻑ ﻫﻤﺰﻩﻯ ﺍﻟﻒ ﻻﻡ ﻭ ﺑﻪ‬
‫ﺍﻳﻦ ﻭﺻﻮﺭﺕ ﻧﻮﺷﺘﻪ ﺷﺪﻩ ﺍﺳﺖ‪» :‬ﺍﻳﻬﺎﻟﻨّﺎﺱ«‪.‬‬
‫ﺩﺭﻭﻧﻤﺎﻳﻪﻯ ﺁﺛﺎﺭ ﺍﻳﻦ ﻧﻮﻳﺴﻨﺪﻩ ﺷﺮﺡ ﺍﺣﻮﺍﻝ ﺭﻭﺳﺘﺎ ﻭ ﺭﻭﺳﺘﺎﻳﻴﺎﻥ ﺍﺳﺖ‪ .‬ﺳﻌﻰ ﺍﻭ ﺑﺮ ﺍﻳﻦ ﺍﺳﺖ‬
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‫‪
t‬ﺳﻴﻤﻴﻦ ﺑﻬﺒﻬﺎﻧﻲ ﺩﺭ ﻳﻜﻲ ﺍﺯ ﺟﻠﺴﺎﺕ ﻋﺼﺮ ﭘﻨﺠﺸﻨﺒﻪ ﺩﺭ ﺑﺨﺎﺭﺍ )ﭘﺎﻳﻴﺰ ‪(1388‬‬

‫ﻛﻪ ﺯﻧﺪﮔﻰﻯ ﻃﺎﻗﺖﻓﺮﺳﺎﻯ ﻣﺤﺮﻭﻡﺗﺮﻳﻦ ﻃﺒﻘﺎﺕ ﺟﺎﻣﻌﻪﻯ ﺍﻳﺮﺍﻧﻰ ﻳﻌﻨﻰ ﻫﻤﻴﻦ ﺭﻭﺳﺘﺎﻳﻴﺎﻥ ﺭﺍ‬
‫ﺗﺸﺮﻳﺢ ﻛﻨﺪ‪ .‬ﺩﺭ ﺭﺳﻴﺪﻥ ﺑﻪ ﺍﻳﻦ ﻣﻘﺼﻮﺩ ﺗﺎﻛﻨﻮﻥ ﻣﻮﻓﻖﺗﺮ ﺍﺯ ﺍﻭ ﻛﺴﻰ ﺭﺍ ﺳﺮﺍﻍ ﻧﺪﺍﺭﻡ‪ .‬ﺍﻟﺒﺘﻪ ﺑﻪﻧﻈﺮ‬
‫ﻣﻦ ﺩﺭ ﺍﻳﻦ ﻣﻮﺭﺩ ﮔﺎﻩ ﺑﻪ ﻣﺒﺎﻟﻐﻪ ﻣﻰﮔﺮﺍﻳﺪ‪ .‬ﺩﺭ ﺁﺛﺎﺭ ﺍﻭ ﻫﻴﭻﻳﻚ ﺍﺯ ﺷﺨﺼﻴﺖﻫﺎ‪ ،‬ﺣﺘﺎ ﺑﺮﺍﻯ ﻟﺤﻈﻪﻳﻰ‬
‫ﻛﻮﺗﺎﻩ‪ ،‬ﻧﻪ ﺧﻮﺷﺒﺨﺘﻨﺪ ﻭ ﻧﻪ ﺗﺼﻮﺭﻯ ﺍﺯ ﺧﻮﺷﺒﺨﺘﻰ ﺩﺍﺭﻧﺪ‪ .‬ﺍﻳﻦ ﻃﺮﺯ ﻓﻜﺮ ﺩﺭ ﻛﺘﺎﺏ ﺍﺧﻴﺮ ﺍﻭ ﺍﺯ‬
‫ﻣﺒﺎﻟﻐﻪ ﻫﻢ ﺩﺭﻣﻰﮔﺬﺭﺩ ﻭ ﮔﻬﮕﺎﻩ ﺑﻪ ﺍﻏﺮﺍﻕ ﻧﺰﺩﻳﻚ ﻣﻰﺷﻮﺩ‪ ،‬ﺗﺎ ﺣﺪﻯ ﻛﻪ ﺫﻫﻨﻴﺎﺕ ﻧﻮﻳﺴﻨﺪﻩ ﺭﺍ ﺩﺭ‬
‫ﻣﺤﺪﻭﺩﻩﻯ ﻣﻄﻠﻖﮔﺮﺍﻳﻰ ﻣﺤﺒﻮﺱ ﻣﻰﻛﻨﺪ‪ .‬ﺍﺷﺎﺭﻩ ﻛﺮﺩﻡ ﻛﻪ ﺩﻭﻟﺖﺁﺑﺎﺩﻯ ﻧﻮﻳﺴﻨﺪﻩﻳﻰ ﺗﻮﺍﻧﺎﺳﺖ‪.‬‬
‫ﻫﻤﻴﻦ ﺗﻮﺍﻧﺎﻳﻰﺳﺖ ﻛﻪ ﺍﻭ ﺭﺍ ﻭﺍﻣﻰﺩﺍﺭﺩ ﺗﺎ ﻇﻔﺮﻣﻨﺪﺍﻧﻪ ﺫﻫﻨﻴﺎﺕ ﺧﻮﺩ ﺭﺍ ﻭﺍﻗﻌﻰ ﺟﻠﻮﻩ ﺩﻫﺪ ﻧﻪ ﺁﻥﻛﻪ‬
‫ﻭﺍﻗﻌﻴﺖﻫﺎ ﺭﺍ ﺩﺭ ﺁﻳﻨﻪﻯ ﺫﻫﻦ ﺧﻮﺩ ﻣﻨﻌﻜﺲ ﻛﻨﺪ‪ .‬ﺷﺨﺼﻴﺖﻫﺎ ﺭﺍ ﺑﻪ ﺷﻜﻠﻰ ﻛﻪ ﺧﻮﺩ ﻣﻰﺧﻮﺍﻫﺪ‬
‫ﺗﻮﺟﻴﻪ ﻣﻰﻛﻨﺪ ﻧﻪ ﺑﻪ ﺷﻜﻠﻰ ﻛﻪ ﻫﺴﺘﻨﺪ ﻳﺎ ﺑﺎﻳﺪ ﺑﺎﺷﻨﺪ‪ .‬ﺷﺨﺼﻴﺖ ﻋﺠﻴﺐ ﻭ ﻏﺮﻳﺐ ﻭ ﺗﺼﻮﺭﻧﺎﭘﺬﻳﺮﻯ‬
‫ﭼﻮﻥ ﻋﻠﻴﺸﺎﺩ‪ ،‬ﺑﺎ ﻧﻴﺮﻭﻯ ﻣﻬﺎﺭﺕ ﺩﺭ ﺗﺠﺴﻢ ﻧﻮﻳﺴﻨﺪﻩ‪ ،‬ﺑﺮﺍﻯ ﺧﻮﺍﻧﻨﺪﻩ ﭘﺬﻳﺮﻓﺘﻨﻰ ﻣﻰﺷﻮﺩ ﺗﺎ ﺑﻪﺣﺪﻯ‬
‫ﻛﻪ ﻓﻀﻮﻻﺕ ﺧﻮﺩ ﺭﺍ ﺩﺭ ﻛﺎﺳﻪﻯ ﭼﻴﻨﻰﻯ ﻋﺘﻴﻘﻪﻯ ﻣﻴﺰﺑﺎﻥ ﺗﺨﻠﻴﻪ ﻣﻰﻛﻨﺪ ﻭ ﺑﻪ ﺩﺳﺘﺶ ﻣﻰﺩﻫﺪ ﻭ‬
‫ﺧﻮﺍﻧﻨﺪﻩ ﺍﺑﺪﺍ ً ﺩﭼﺎﺭ ﻧﺎﺑﺎﻭﺭﻯ ﻭ ﺣﻴﺮﺕ ﻧﻤﻰﺷﻮﺩ )ﻫﻤﺎﻥ ﺹ ‪ .(68‬ﺟﺰ ﻳﻚ ﻧﻴﺮﻭﻯ ﻣﻐﻨﺎﺗﻴﺴﻰ ﻭ‬
‫ﺁﻣﺮﺍﻧﻪ ﻛﻪ ﺩﺭ ﻣﻴﺎﻥ ﻭﺍژﻩﻫﺎ ﻧﻬﻔﺘﻪ ﺍﺳﺖ ﻭ ﻫﺮ ﻧﺎﻣﻌﻘﻮﻟﻰ ﺭﺍ ﻣﻌﻘﻮﻝ ﺟﻠﻮﻩ ﻣﻰﺩﻫﺪ‪ ،‬ﻫﻴﭻ ﺩﻟﻴﻠﻰ ﺑﺮﺍﻯ‬
‫ﺗﻮﺟﻴﻪ ﭼﻨﻴﻦ ﻋﻤﻠﻰ ﺑﻪ ﺧﻮﺍﻧﻨﺪﻩ ﺍﺭﺍﺋﻪ ﻧﻤﻰﺷﻮﺩ‪.‬‬
‫ﻋﻠﻴﺸﺎﺩ ﭼﻪ ﻛﺎﺭﻩ ﺍﺳﺖ؟ ﺧﺎﻥﺯﺍﺩﻩ‪ ،‬ﺩﺍﺋﻢﺍﻟﺨﻤﺮ‪ ،‬ﻣﻌﺘﺎﺩ ﺑﻪ ﺷﻴﺮﻩ‪ ،‬ﺩﺭﻭﻳﺶﻧﻤﺎ‪ ،‬ﭘﻬﻠﻮﺍﻥ ﻳﺎ‬
‫ﭘﻠﻮﺍﻥﭘﻨﺒﻪ‪ ،‬ﺭﺍﻫﺰﻧﻰ ﻛﻪ ﻣﻰﺗﻮﺍﻧﺪ ﺑﺎﺯﺍﺭ ﺭﺍ ﻗﺮﻕ ﻛﻨﺪ ﻭ ﺩﻭ ﺁﺩﻡ ﻋﺎﻗﻞ ﺭﺍ‪ ،‬ﻣﺠﻨﻮﻥ ﻭ ﻣﺠﺒﻮﺭ‪ ،‬ﺑﻪ ﺩﻧﺒﺎﻝ‬ ‫‪274‬‬
‫ﺧﻮﺩ ﺍﻳﻦﺳﻮﻯ ﻭ ﺁﻥﺳﻮ ﺑﻜﺸﺪ‪ ،‬ﺩﺭ ﻣﻀﺤﻜﻪﺳﺎﺯﻯ ﺍﺯ ﺩﻭﻥ ﻛﻴﺸﻮﺕ ﺩﺳﺖﻛﻤﻰ ﻧﺪﺍﺭﺩ ﺍﻣﺎ ﺩﺭ‬
‫ﻧﺎﺑﻪﻛﺎﺭﻯ ﻭ ﺑﺪﺟﻨﺴﻰ ﺩﺳﺖ ﺷﻴﻄﺎﻥ ﺭﺍ ﺍﺯ ﭘﺸﺖ ﺑﺴﺘﻪ ﺍﺳﺖ‪ .‬ﻫﻤﻪﻯ ﺍﻳﻦ ﺧﺼﻮﺻﻴﺎﺕ ﭼﻪﻃﻮﺭ ﺩﺭ‬
‫ﭼﻨﻴﻦ ﺁﺩﻣﻰ ﺟﻤﻊ ﻣﻰﺷﻮﺩ؟ ﻭ ﺁﻳﺎ ﻫﻤﻪﻯ ﺍﻳﻦ ﻣﺠﻤﻮﻋﻪﻯ ﺯﺷﺘﻰ ﻭ ﻛﺜﺎﻓﺖ ﺑﺮﺍﻯ ﺁﻥ ﺍﺳﺖ ﻛﻪ ﺍﺯ‬
‫ﺍﻭ ﻳﻚ ﺧﺎﻥﺯﺍﺩﻩ ﺳﺎﺧﺘﻪ ﺷﻮﺩ ﻛﻪ ﻫﻴﭻ ﺣﻴﻮﺍﻧﻰ ﻧﻈﻴﺮﺵ ﭘﻴﺪﺍ ﻧﻤﻰﺷﻮﺩ ﻭ ﻫﻴﭻ ﺑﻮﻳﻰ ﻭ ﺑﻬﺮﻩﻳﻰ ﺍﺯ‬
‫ﺁﺩﻣﻴّﺖ ﻧﺒﺮﺩﻩ ﺍﺳﺖ؟ ﻫﻤﻪﻯ ﺧﺎﻥﻫﺎ ﻭ ﺧﺎﻥﺯﺍﺩﻩﻫﺎﻯ ﺍﻳﻦ ﻛﺘﺎﺏ ﺑﻪﻃﻮﺭ ﻣﻄﻠﻖ ﺧﺼﻮﺻﻴﺎﺕ ﻣﻨﻔﻰ‬
‫ﺩﺍﺭﻧﺪ ﻭ ﻫﻤﻪﻯ ﺭﻭﺳﺘﺎﻳﻴﺎﻥ ﻧﻴﺰ ﻏﺮﻕ ﺩﺭ ﻛﺜﺎﻓﺖ ﻭ ﺑﺪﺑﺨﺘﻰ ﻫﺴﺘﻨﺪ‪.‬‬
‫ﺍﺩﺑﺎﺭ ﻭ ﻧﻜﺒﺖ ﺩﺭ ﺍﻳﻦ ﻛﺘﺎﺏ ﺑﻴﺶ ﺍﺯ ﻛﺘﺎﺏﻫﺎﻯ ﺩﻳﮕﺮ ﺍﻳﻦ ﻧﻮﻳﺴﻨﺪﻩ ﻫﻨﮕﺎﻣﻪ ﻣﻰﻛﻨﺪ‪ .‬ﺑﺮﺍﻯ‬
‫ﺣﻀﻴﺾ ﺑﺪﺑﺨﺘﻰ ﻭ ﻛﺜﺎﻓﺖ ﺑﻪﺷﻤﺎﺭ‬ ‫ِ‬ ‫ﻣﻦ ﺩﺍﺳﺘﺎﻥ ﻛﻮﺗﺎﻩ »ﺍﺩﺑﺎﺭ« )ﻛﺎﺭﻧﺎﻣﻪﻯ ﺳﭙﻨﺞ‪ ،‬ﺻﺺ ‪(55-37‬‬
‫ﻣﻰﺭﻓﺖ‪ .‬ﮔﻤﺎﻥ ﻧﻤﻰﻛﻨﻢ‪ ،‬ﺩﺳﺖﻛﻢ ﺩﺭ ﺩﺍﺳﺘﺎﻥﻫﺎﻯ ﺍﻳﺮﺍﻧﻰ ﻭ ﺑﻴﮕﺎﻧﻪﻳﻰ ﻛﻪ ﻣﻦ ﺧﻮﺍﻧﺪﻩﺍﻡ‪ ،‬ﺑﻴﺶ ﺍﺯ‬
‫ﺁﻥ ﺷﻮﺭﺑﺨﺘﻰ ﻭ ﭘﻠﻴﺪﻯ ﻋﺮﺿﻪ ﺷﺪﻩ ﺑﺎﺷﺪ‪ .‬ﺍﻣﺎ »ﺭﻭﺯﮔﺎﺭ ﺳﭙﺮﻯ ﺷﺪﻩ‪ «...‬ﺍﻳﻦ ﺣﻀﻴﺾ ﺭﺍ ﺷﻜﺴﺖ‬
‫ﻭ ﺑﻪ ﺩﺭﺟﺎﺕ ﭼﺸﻤﮕﻴﺮﻯ ﺍﺯ ﺁﻥ ﻓﺮﻭﺗﺮ ﻧﺸﺴﺖ‪:‬‬
‫ﻛﺮﻩﺧﺮﻯ ﻛﻪ ﺍﺯ ﻏﺮﺷﻤﺎﻝﻫﺎ ﺧﺮﻳﺪﻩ ﺍﺳﺖ ﻋﺮﻋﺮ ﻣﻰﻛﻨﺪ ﻭ ﺍﻳﻦ ﻧﺸﺎﻧﻪﻳﻰ ﻧﺤﺲ ﺍﺳﺖ‪ .‬ﻛﺘﺎﺏ‬ ‫ّ‬
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‫ﺑﺎ ﺍﻳﻦ ﻧﺸﺎﻧﻪﻯ ﻧﺤﺲ‪ ،‬ﻛﻪ ﺑﺎﻳﺪ ﺑﺮﺍﻯ ﺩﻓﻊ ﺁﻥ ﻟﺘّﻪ ﻭ ﮔﻪ ﺳﮓ ﺩﻭﺩ ﻛﺮﺩ‪ ،‬ﺁﻏﺎﺯ ﻣﻰﺷﻮﺩ‪ .‬ﺻﺎﺣﺐ ﺍﻻﻍ‬
‫ﺑﺮ ﺍﺛﺮ ﺍﻳﻦ ﻧﺤﻮﺳﺖ ﻣﻰﻣﻴﺮﺩ‪ .‬ﭘﺴﺮ ﺟﺎﻯ ﺍﻭ ﺭﺍ ﻣﻰﮔﻴﺮﺩ ﻭ ﺩﺭ ﺣﺎﻟﻰ ﻛﻪ ﻫﻨﻮﺯ ﻛﻮﺩﻛﻰ ﺭﺍ ﭘﺸﺖ ﺳﺮ‬
‫ﻧﮕﺬﺍﺷﺘﻪ ﺳﺮﭘﺮﺳﺖ ﺧﺎﻧﻮﺍﺩﻩ ﻣﻰﺷﻮﺩ ﻭ ﺑﺮﺍﺩﺭ ﻳﺘﻴﻢ ﻭ ﺧﺮﺩﺳﺎﻝﺗﺮ ﺧﻮﺩ ﺭﺍ ﺩﺭ ﺩﻭﺭﺍﻥ ﺍﻳﻦ ﺳﺮﭘﺮﺳﺘﻰ‬
‫ﻋﺬﺍﺏ ﻣﻰﺩﻫﺪ ﻭ ﺷﻜﻨﺠﻪ ﻣﻰﻛﻨﺪ‪ .‬ﺑﺮﺍﺩﺭ ﺑﺮ ﺍﺛﺮ ﻛﺘﻚﻫﺎﻯ ﺍﻭ ﺑﻪ ﻣﺮﺿﻰ ﻧﺎﺷﻨﺎﺧﺘﻪ ﺩﭼﺎﺭ ﻣﻰﺷﻮﺩ‬
 ‫ﻛﻪ ﻣﻌﻠﻮﻡ ﻧﻴﺴﺖ ﺳﻞ ﺍﺳﺘﺨﻮﺍﻧﻰﺳﺖ ﻳﺎ »ﺍﺳﺘﺌﻮﻣﻰﻳﻠﻴﺖ« ﻳﺎ ﺁﺑﺴﻪ ﻳﺎ ﭼﻪ ﭼﻴﺰ ﺩﻳﮕﺮ‪ .‬ﺁﻥﭼﻪ ﻣﺴﻠﻢ‬
‫ﺍﺳﺖ ﻧﺸﺎﻧﻪﻫﺎﻯ ﺍﻳﻦ ﺑﻴﻤﺎﺭﻯﻯ ﺧﻴﺎﻟﻰ ﺑﺎ ﻫﻴﭻ ﺑﻴﻤﺎﺭﻯﻯ ﻭﺍﻗﻌﻰ ﻣﻄﺎﺑﻘﻪ ﻧﻤﻰﻛﻨﺪ‪ .‬ﺍﻳﻦ ﺑﻴﻤﺎﺭﻯ‬
‫ﻣﺎﻩﻫﺎ ﻃﻮﻝ ﻣﻰﻛﺸﺪ ﻭ ﺑﺮﺍﻯ ﺩﺭﻣﺎﻥ ﺁﻥ ﻓﻘﻂ ﺷﻴﺮﻩﻯ ﺗﺮﻳﺎﻙ ﺗﺠﻮﻳﺰ ﻣﻰﺷﻮﺩ ﺗﺎ ﻧﻌﺮﻩﻯ ﻛﻮﺩﻙ ﺩﺭ‬
‫ﺧﻮﺍﺏ ﺗﺨﺪﻳﺮﻯﻱ ﺍﻭ ﺧﻔﻪ ﺷﻮﺩ‪ .‬ﻭ ﺁﻥﮔﺎﻩ ﭼﺮﻙ ﺳﺮ ﺑﺎﺯ ﻣﻰﻛﻨﺪ ﻭ ﺑﻪ ﺍﻧﺪﺍﺯﻩﻯ ﻳﻚ ﺧﻴﻚ ﭼﺮﻙ‬
‫ﺍﺯ ﭘﺎ ﺧﺎﺭﺝ ﻣﻰﺷﻮﺩ ﻭ ﺑﺎ ﺍﻳﻦ ﻫﻤﻪ ﻛﻮﺩﻙ ﺯﻧﺪﻩ ﻣﻰﻣﺎﻧﺪ!‬
‫ﺷﻨﻴﺪﻩﺍﻡ ﻛﻪ ﮔﻮﺳﺘﺎﻭ ﻓﻠﻮﺑﺮ ﻭﻗﺘﻰ ﻣﻰﺧﻮﺍﺳﺖ ﺭﻣﺎﻥ »ﺳﺎﻻﻣﺒﻮ« ﺭﺍ ﺑﻨﻮﻳﺴﺪ )ﺭﻣﺎﻧﻰ ﻛﻪ ﺩﺭ ﺁﻥ‬
‫ﺍﺯ ﻣﺎﺭ ﺑﻪ ﻣﺜﺎﺑﻪﻯ ﻣﻈﻬﺮﻯ ﻣﻘﺪﺱ ﻳﺎﺩ ﻣﻰﺷﻮﺩ ﻭ »ﺳﺎﻻﻣﺒﻮ« ﻧﮕﺎﻫﺒﺎﻥ ﺍﻳﻦ ﻣﺎﺭ ﻣﻘﺪﺱ ﺍﺳﺖ(‪ ،‬ﺑﻪ‬
‫ﺷﻤﺎﻝ ﺍﻓﺮﻳﻘﺎ ﺭﻓﺖ‪ .‬ﺗﺤﻘﻴﻖ ﻣﻔﺼﻠﻰ ﺩﺭﺑﺎﺭﻩﻯ ﻣﺎﺭﻫﺎﻯ ﻧﺎﺣﻴﻪﻳﻰ ﺍﻧﺠﺎﻡ ﺩﺍﺩ ﻛﻪ ﺩﺍﺳﺘﺎﻥ ﺩﺭ ﺁﻥ ﺍﺗﻔﺎﻕ‬
‫ﻣﻰﺍﻓﺘﺪ‪ :‬ﺭﻧﮓ ﭘﻮﺳﺖ ﻣﺎﺭﻫﺎ‪ ،‬ﺧﺼﻮﺻﻴﺎﺕ ﺁﻥﻫﺎ‪ ،‬ﻃﻮﻝ ﻋﻤﺮﺷﺎﻥ‪ ،‬ﺯﻫﺮﺷﺎﻥ‪ ،‬ﻣﻜﺎﻧﻴﺰﻡ ﺧﻔﺖ ﻭ ﺧﻴﺰ‬
‫ﻭ ﺣﻤﻠﻪﺷﺎﻥ‪ ،‬ﻧﻮﻉ ﻭ ﻣﻴﺰﺍﻥ ﺧﻮﺭﺍﻛﺸﺎﻥ‪ ...‬ﻭ ﺍﻳﻦ ﺗﺤﻘﻴﻖ ﺳﻮﺍﻯ ﺗﺤﻘﻴﻘﺎﺕ ﺗﺎﺭﻳﺨﻰ ﻭ ﻣﺴﺘﻨﺪﺍﺕ ﺍﻭ‬
‫ﺑﻮﺩﻩ ﺍﺳﺖ‪ .‬ﮔﻮﻳﺎ ﺗﺤﻤﻞ ﺍﻳﻦ ﺯﺣﻤﺖ ﺑﺮﺍﻯ ﺁﻥ ﺑﻮﺩﻩ ﺍﺳﺖ ﻛﻪ ﺩﺭ ﺗﺼﻮﻳﺮ ﺣﺎﻻﺕ ﻣﺎﺭ ﻣﻮﺭﺩ ﻧﻈﺮ‬
‫ﻭﺍﻗﻌﻴﺖ ﺭﺍ ﻣﺨﺪﻭﺵ ﻧﻜﻨﺪ‪ .‬ﺩﺭ »ﺭﻭﺯﮔﺎﺭ ﺳﭙﺮﻯ ﺷﺪﻩ« )ﺻﺺ ‪ (23-21‬ﻣﻰﺑﻴﻨﻴﻢ ﻛﻪ ﻧﻮﻳﺴﻨﺪﻩ‬
‫ﻧﻮﻋﻰ ﺑﻴﻤﺎﺭﻯ ﺭﺍ ﺗﺼﻮﻳﺮ ﻣﻰﻛﻨﺪ ﻛﻪ ﻣﻌﻠﻮﻡ ﻧﻴﺴﺖ ﭼﻴﺴﺖ ﻭ ﺁﻳﺎ ﭘﺰﺷﻚ ﻣﻰﺗﻮﺍﻧﺪ ﺑﭙﺬﻳﺮﺩ ﻛﻪ ﻛﺴﻰ‬
‫ﻳﻚ ﺧﻴﻚ ﭼﺮﻙ ﺩﺭ ﺑﺪﻥ ﻭ ﺩﺭ ﺍﺳﺘﺨﻮﺍﻥ ﺩﺍﺷﺘﻪ ﺑﺎﺷﺪ ﻭ ﻣﺎﻩﻫﺎ ﻛﻪ ﻫﻴﭻ‪ ،‬ﺑﻴﺶ ﺍﺯ ﭼﻨﺪ ﺭﻭﺯ ﺯﻧﺪﻩ‬
‫ﺑﻤﺎﻧﺪ؟ ﺑﻪ ﻫﻤﻴﻦ ﺗﺮﺗﻴﺐ ﺩﺭ ﻣﻮﺭﺩ ﺳﻴﻔﻴﻠﻴﺲ ﻭ ﺳﻴﻔﻴﻠﻴﺴﻰ ﺩﺭ ﺑﺨﺶ ﭼﻬﺎﺭﻡ ﺍﻳﻦ ﻛﺘﺎﺏ ﻣﻄﺎﻟﺐ ﻏﻴﺮ‬
‫‪275‬‬ ‫ﻭﺍﻗﻌﻰ ﻣﻰﺑﻴﻨﻴﻢ‪ :‬ﺳﻴﻔﻴﻠﻴﺴﻰﻫﺎ ﻫﻤﻪ ﺍﺩﺭﺍﺭﺷﺎﻥ ﺑﻪ ﺭﻧﮓ ﻧﻴﻞ ﺍﺳﺖ‪ .‬ﺍﺯ ﻳﻚ ﭘﺰﺷﻚ ﭘﺮﺳﻴﺪﻡ‪ :‬ﺁﻳﺎ ﺍﺩﺭﺍﺭ‬
‫ﺷﺨﺺ ﺳﻴﻔﻴﻠﻴﺴﻰ ﻧﻴﻠﻰ ﻣﻰﺷﻮﺩ؟ ﮔﻔﺖ‪ :‬ﺑﻪ ﻫﻴﭻ ﻭﺟﻪ‪ ،‬ﻣﮕﺮ ﺩﺭ ﻣﻮﺍﺭﺩﻯ ﻛﻪ ﺩﺍﺭﻭﻯﻯ ﻧﻴﻠﻰ ﺭﻧﮓ‬
‫ﺑﻪ ﺑﻴﻤﺎﺭ ﺧﻮﺭﺍﻧﺪﻩ ﺷﺪﻭ ﻭ ﺍﻳﻦ ﺩﺍﺭﻭ ﺩﺭ ﺑﺪﻥ ﺟﺬﺏ ﻧﺸﻮﺩ ﻭ ﺑﻪ ﻫﻨﮕﺎﻡ ﺩﻓﻊ ﺍﺯ ﻣﺜﺎﻧﻪ ﺭﻧﮓ ﺍﺩﺭﺍﺭ ﺭﺍ‬
‫ﻧﻴﻠﻰ ﻛﻨﺪ‪ .‬ﻋﻠﻴﺸﺎﺩ ﻛﻪ ﻫﻨﻮﺯ ﺑﻪ ﭘﺰﺷﻚ ﻣﺮﺍﺟﻌﻪ ﻧﻜﺮﺩﻩ ﻳﺎ ﺳﺘﺎﺭﻩ ﻛﻪ ﻋﻤﺪﺍ ً ﺑﻪ ﺳﻴﻔﻴﻠﻴﺲ ﮔﺮﻓﺘﺎﺭﺵ‬
‫ﻛﺮﺩﻩﺍﻧﺪ ﭼﺮﺍ ﺑﺎﻳﺪ ﺍﺩﺭﺍﺭﺷﺎﻥ ﻧﻴﻠﻰ ﺑﺎﺷﺪ؟ ﻣﻨﻜﺮ ﻭﻳﮋﮔﻰﻫﺎﻯ ﺭﺋﺎﻟﻴﺴﻢ ﺟﺎﺩﻭﻳﻰ‪ ،‬ﻛﻪ ﺍﺯ ﻣﻜﺘﺐﻫﺎﻯ‬
‫ﻼ ﺩﺭ ﺻﺪ ﺳﺎﻝ ﺗﻨﻬﺎﻳﻰ(‪ ،‬ﻧﻴﺴﺘﻢ ﺍﻣﺎ ﺭﻣﺎ ِﻥ ﺩﻭﻟﺖﺁﺑﺎﺩﻯ ﻫﻤﻪ ﺟﺎ ﺩﺭ‬ ‫ﺍﺩﺑﻰﻯ ﻗﺮﻥ ﺑﻴﺴﺘﻢ ﺍﺳﺖ )ﻣﺜ ً‬
‫ﻳﻚ ﺭﺋﺎﻟﻴﺴﻢ ﻣﻌﻤﻮﻝ ﻭ ﻛﻼﺳﻴﻚ ﺭﻳﺸﻪ ﺩﺍﺭﺩ ﻭ ﺍﻳﻦﮔﻮﻧﻪ ﺗﺨﻴﻞ ﺑﺎ ﺭﻭﻧﺪ ﻏﺎﻟﺐ ﻛﺘﺎﺏ ﻣﻐﺎﻳﺮﺕ‬
‫ﻼ ﺍﻳﻦ ﺑﺨﺶ ﭼﻬﺎﺭﻡ ﺍﺯ ﻳﻚ ﻓﺎﻧﺘﺰﻯﻯ ﻗﻮﻯ ﻭ ﺑﺴﻴﺎﺭ ﺯﻳﺒﺎ ﺑﺮﺧﻮﺭﺩﺍﺭ ﺍﺳﺖ‪ .‬ﻳﻚ ﺩﺍﺳﺘﺎﻥ‬ ‫ﺩﺍﺭﺩ‪ .‬ﺍﺻ ً‬
‫ﻛﻮﺗﺎﻩ ﻭ ﭼﺸﻤﮕﻴﺮ ﻭ ﺗﺎ ﺣﺪﻯ ﻓﺮﺍﻭﺍﻗﻌﻰ ﺑﻪﺷﻤﺎﺭ ﻣﻰﺭﻭﺩ‪ .‬ﺟﺎ ﺩﺍﺷﺖ ﻛﻪ ﺩﺭ ﻣﻴﺎﻥ ﺩﺍﺳﺘﺎﻥﻫﺎﻯ‬
‫ﻛﻮﺗﺎﻩ ﺩﻳﮕﺮ ﻧﻮﻳﺴﻨﺪﻩ ﻗﺮﺍﺭ ﮔﻴﺮﺩ‪ .‬ﺩﺍﺳﺘﺎﻧﻰﺳﺖ ﻣﺘﺄﺛﺮ ﺍﺯ ﻇﻠﻢ ﻓﺮﺍﺩﺳﺘﺎﻥ ﺑﺮ ﻓﺮﻭﺩﺳﺘﺎﻥ ﻛﻪ ﻋﻨﺎﺻﺮ‬
‫ﺗﺨﻴﻠﻰﻯ ﺩﺭﻭﻧﻤﺎﻳﻪﺍﺵ ﺁﻥ ﺭﺍ ﺍﺯ ﺭﻭﻧﺪ ﺳﺎﻳﺮ ﺑﺨﺶﻫﺎﻯ ﺍﻳﻦ ﻛﺘﺎﺏ ﻣﺘﻤﺎﻳﺰ ﻣﻰﻛﻨﺪ‪ .‬ﺿﻤﻨ ًﺎ ﺍﺭﺗﺒﺎﻁ‬
‫ﭼﻨﺪﺍﻧﻰ ﻫﻢ ﺑﺎ ﺳﺎﻳﺮ ﻭﻗﺎﻳﻊ ﺩﺍﺳﺘﺎﻥ ﻧﻤﻰﺗﻮﺍﻧﺪ ﺩﺍﺷﺘﻪ ﺑﺎﺷﺪ ﺟﺰ ﺍﻳﻦ ﻛﻪ ﻋﻠﻴﺸﺎﺩ ﮔﺬﺍﺭﺵ ﺑﻪ ﺷﻬﺮ‬
‫ﺳﻴﻔﻴﻠﻴﺴﻰﻫﺎ ﺍﻓﺘﺎﺩﻩ ﻭ ﺳﻴﻔﻴﻠﻴﺲ ﮔﺮﻓﺘﻪ ﺍﺳﺖ‪ .‬ﺑﻪ ﻫﻤﻴﻦ ﺳﺒﺐ ﻣﻰﮔﻮﻳﻢ ﺍﻳﻦ ﺑﺨﺶ‪ ،‬ﺩﺭ ﺟﺎﻯ ﺧﻮﺩ‪،‬‬
‫ﺑﺴﻴﺎﺭ ﺯﻳﺒﺎﺳﺖ ﺍﻣﺎ ﺩﺭ ﺍﻳﻦ ﻛﺘﺎﺏ ﺭﺋﺎﻟﻴﺴﺘﻰ ﺧﺎﺭﺝ ﺍﺯ ﻣﺘﻦ ﺩﺍﺳﺘﺎﻥ ﺑﻪ ﺷﻤﺎﺭ ﻣﻰﺭﻭﺩ‪ .‬ﺣﺬﻑ ﺍﻳﻦ‬
‫ﻓﺼﻞ ﻛﻮﭼﻚﺗﺮﻳﻦ ﻟﻄﻤﻪﻳﻰ ﺑﻪ ﺍﺻﻞ ﺩﺍﺳﺘﺎﻥ ﻧﻤﻰﺯﻧﺪ ﻭﺍﺯ ﺻﻔﺤﻪﻯ ‪ 110‬ﺗﺎ ﭘﺎﻳﺎﻥ ﻛﺘﺎﺏ ﺩﻳﮕﺮ‬
‫ﻧﺎﻣﻰ ﺍﺯ »ﺷﺎﺯﺩﻩ ﺧﺎﻧﻢ« ﻭ ﺩﻳﮕﺮ ﺷﺨﺼﻴﺖﻫﺎﻯ ﺷﻬﺮ ﺳﻴﻔﻴﻠﻴﺴﻰﻫﺎ ﺑﻪ ﻣﻴﺎﻥ ﻧﻤﻰﺁﻳﺪ ﻭ ﺧﻮﺍﻧﻨﺪﻩ‪ ،‬ﺍﮔﺮ‬
‫ﺣﺎﻓﻈﻪﻯ ﺧﻮﺑﻰ ﺩﺍﺷﺘﻪ ﺑﺎﺷﺪ‪ ،‬ﺍﺯ ﺧﻮﺩ ﻣﻰﭘﺮﺳﺪ‪ :‬ﺁﻥ ﮔﺮﻭﻩ ﭼﻪ ﻛﺎﺭﻩ ﺑﻮﺩﻧﺪ ﻭ ﻛﺠﺎ ﺭﻓﺘﻨﺪ؟‬
‫ﺍﻓﺰﻭﻥ ﺑﺮ ﺍﻳﻦ‪ ،‬ﺑﺴﻴﺎﺭﻯ ﺍﺯ ﺭﻭﻳﺪﺍﺩﻫﺎ ﻭ ﺷﺨﺼﻴﺖﻫﺎ‪ ،‬ﺩﺭ ﺍﻳﻦ ﺩﺍﺳﺘﺎﻥ ﺳﺮﮔﺮﻡﻛﻨﻨﺪﻩ‪ ،‬ﺑﺎ‬
‫ﻼ ﻋﻠﻴﺸﺎﺩ ﻭ‬‫ﻫﻤﻪﻯ ﺟﺬﺑﻪ ﻭ ﺷﻮﺭﻯ ﻛﻪ ﺩﺍﺭﻧﺪ‪ ،‬ﻣﺜﻞ ﺗﺨﻢﻣﺮﻍ ﺩﺭ ﺁﺏ ﺷﻮﺭ ﻣﻌﻠﻖ ﻣﻰﻣﺎﻧﻨﺪ ‪ -‬ﻣﺜ ً‬
‫ﺷﻴﺮﻳﻨﻜﺎﺭﻯﻫﺎﻳﺶ ﻛﻪ ﺧﻴﻠﻰ ﺯﻭﺩ ﺑﻪ ﻓﺮﺍﻣﻮﺷﻰ ﺳﭙﺮﺩﻩ ﻣﻰﺷﻮﺩ ﻭ ﺗﺎ ﺁﺧﺮ ﺩﺍﺳﺘﺎﻥ ﻓﻘﻂ ﻛﺎﻟﺴﻜﻪﻯ‬
‫»ﺟﻦ ﻭ ُﺟﻤﻨﺪﻩ«‪ ،‬ﮔﻬﮕﺎﻩ‪ ،‬ﻟﻖﻟﻖﺯﻧﺎﻥ ﺍﻳﻦﺳﻮﻯ ﻭ ﺁﻥﺳﻮﻯ‬ ‫ّ‬ ‫ﺑﻰﺳﺮﻧﺸﻴﻦ ﺍﻭﺳﺖ ﻛﻪ ﻫﻤﺮﺍﻩ ﺑﺎ ﺗﻮ ّﻫﻢ‬
‫ﻣﻰﺭﻭﺩ‪ .‬ﺩﺭ ﻋﻮﺽ‪ ،‬ﺳﺮ ﻭ ﻛ ّﻠﻪﻯ ﺍﺳﻜﻨﺪﺭ ﻭ ﻗﻠﻴﭻ ﻭ ﻣﻼﺋﻜﻪ ﻭ ﺻﻨﻮﺑﺮ ﭘﻴﺪﺍ ﻣﻰﺷﻮﺩ‪ ،‬ﻭ ﺭﻭﺡ ﺳﺎﻣﻮ ِﻥ‬
‫ﻗﺤﻄﻰﺯﺩﻩﻯ ﺧﺎﻙ ﺷﺪﻩ ﺑﺎ ﺳﺎﻣﻮﻥ‪ ،‬ﻓﺮﺯﻧﺪ ﻗﻠﻴﭻ‪ ،‬ﺩﺭﻣﻰﺁﻣﻴﺰﺩ ﻭ ﺍﻭ ﺭﺍ ﺳﻮﺩﺍﻳﻰ ﻣﻰﻛﻨﺪ‪ .‬ﻧﻴﻜﻤﻦ‬
‫ﺣﻀﻮﺭ ﭘﻴﺪﺍ ﻣﻰﻛﻨﺪ ﻛﻪ ﻣﻌﻠﻮﻡ ﻧﻴﺴﺖ ﺍﺻﻔﻬﺎﻧﻰﺳﺖ ﻳﺎ ﺍﻧﮕﻠﻴﺴﻰ )ﻭ ﭼﺮﺍ ﺍﺻﻔﻬﺎﻧﻰ؟(‪ .‬ﺳﺮﺑﺎﺯ‬
‫ﺭﻭﺳﻰ ﺷ ّﻘﻪ ﻣﻰﺷﻮﺩ‪ .‬ﻭ ﺳﻴﻤﻮﻧﻮﻑ ﺑﻪ ﻃﺮﺯ ﻓﺠﻴﻌﻰ ﺑﻪ ﻗﺘﻞ ﻣﻰﺭﺳﺪ‪ .‬ﺻﺤﻨﻪﻫﺎ ﮔﺎﻩ ﺁﻥﻗﺪﺭ ﻫﻴﺠﺎﻥ‬
‫ﻣﻰﺁﻓﺮﻳﻨﻨﺪ ﻛﻪ ﻧﻔﺲ ﺩﺭ ﺳﻴﻨﻪﻯ ﺧﻮﺍﻧﻨﺪﻩ ﺑﻨﺪ ﻣﻰﺁﻳﺪ ﻭ ﻗﻠﺐ ﺍﺯ ﺷﺪﺕ ﺗﭙﺶ ﺑﻪ ﺍﻧﻔﺠﺎﺭ ﻧﺰﺩﻳﻚ‬
‫ﻣﻰﺷﻮﺩ‪ .‬ﺍﻣﺎ ﺣﻀﻮﺭ ﺍﻳﻦ ﺭﻭﻳﺪﺍﺩﻫﺎ ﻛﺎﺭﺑﺮﺩﻯ ﺟﺰ ﺁﻓﺮﻳﻨﺶ ﻫﻤﻴﻦ ﻫﻴﺠﺎﻥﻫﺎ ﻧﺪﺍﺭﺩ‪ .‬ﺑﻪﻃﻮﺭ ﻛﻠﻰ‪،‬‬
‫ﺍﻳﻦ ُﺭﻣﺎﻥ ﺩﺍﺳﺘﺎﻥ ﻳﻚ ﺧﺎﻧﻮﺍﺩﻩ ﻳﺎ ﻳﻚ ﻧﺴﻞ ﻧﻴﺴﺖ‪ ،‬ﺑﻠﻜﻪ ﺑﻪ ﻭﺍﺑﺴﺘﮕﺎﻥ ﻭ ﺍﻋﻘﺎﺑﺸﺎﻥ ﻧﻴﺰ ﻛﺸﻴﺪﻩ‬
‫ﻣﻰﺷﻮﺩ‪ .‬ﮔﻮﻳﺎ ﺩﺭ ﭘﺎﻳﺎﻥ ﻛﺘﺎﺏ ﻳﺎ ﺁﻏﺎﺯ ﺁﻥ ﺑﺎﻳﺪ ﺗﺒﺎﺭﻧﺎﻣﻪﻳﻰ ﺍﺯ ﺍﻳﻦ ﺍﺷﺨﺎﺹ ﻭ ﻭﺍﺑﺴﺘﮕﺎﻧﺸﺎﻥ ﺗﻨﻈﻴﻢ‬
‫ﻭ ﺿﻤﻴﻤﻪ ﺷﻮﺩ ﺗﺎ ﺧﻮﺍﻧﻨﺪﻩ ﺁﺳﺎﻥﺗﺮ ﺩﺭﻙ ﻛﻨﺪ ﻛﻪ »ﻛﻰ ﺑﻪ ﻛﻰ ﻭ ﻛﺠﺎ ﺑﻪ ﻛﺠﺎ« ﺑﻮﺩﻩ ﺍﺳﺖ‪ .‬ﮔﻔﺘﻪ‬
‫ﻣﻰﺷﻮﺩ ﻛﻪ ﺟﻠﺪ ﺩﻭﻡ ﺍﻳﻦ ﺩﺍﺳﺘﺎﻥ ﺁﻣﺎﺩﻩﻯ ﭼﺎپ ﺍﺳﺖ‪ .‬ﺧﺪﺍ ﻛﻨﺪ ﺗﺎ ﺁﻥ ﻣﻮﻗﻊ ﻧﺎﻡ ﺷﺨﺼﻴﺖﻫﺎﻯ‬
‫ﺟﻠﺪ ﺍﻭﻝ ﺍﺯ ﺧﺎﻃﺮﻣﺎﻥ ﻧﺮﻭﺩ‪.‬‬
‫ﺍﻣﺎ ﺍﻳﻦ ﺩﺍﺳﺘﺎﻥ‪ ،‬ﺍﺯ ﻫﺮ ﻛﺠﺎ ﻛﻪ ﺑﺨﻮﺍﻧﻰﺵ‪ ،‬ﺍﺯ ﻫﺮ ﺻﻔﺤﻪ ﻛﻪ ﺷﺮﻭﻉ ﺷﻮﺩ‪ ،‬ﺑﻪ ﺩﻧﺒﺎﻝ ﺧﻮﺩ‬ ‫‪276‬‬
‫ﻣﻰﻛﺸﺎﻧﺪﺕ ﻭ ﺭﻫﺎﻳﺖ ﻧﻤﻰﻛﻨﺪ‪ .‬ﻫﻴﭻ ﻻﺯﻡ ﻧﻴﺴﺖ ﻛﻪ ﻣﺎﻗﺒﻞ ﻭ ﻣﺎﺑﻌﺪ ﺁﻥ ﺭﺍ ﺑﺪﺍﻧﻰ ﺗﺎ ﺑﺮﺍﻳﺖ ﺟﺎﻟﺐ‬
‫ﺗﻮﺟﻪ ﺑﺎﺷﺪ‪ .‬ﻫﻤﻪ ﺟﺎ ﻣﻰﺗﻮﺍﻧﺪ ﻣﻨﻈﺮﻯ ﺷﮕﻔﺘﻰﺁﻓﺮﻳﻦ ﺗﻘﺪﻳﻤﺖ ﻛﻨﺪ‪.‬‬
‫ﺭﻣﺎﻥﻫﺎﻯ ﻣﻌﻤﻮﻝ ﻭ ﺑﻌﻀﻰ ﺍﺯ ﺭﻣﺎﻥﻫﺎﻯ ﺧﻮﺩ ﺩﻭﻟﺖﺁﺑﺎﺩﻯ ﻣﺜﻞ ﺟﺎﻯ ﺧﺎﻟﻰ ﺳﻠﻮچ ﺳﺮﮔﺬﺷﺖ‬
‫ﻳﻚ ﺯﻧﺪﮔﻰ ﺭﺍ ﺩﺭ ﻣﻘﻄﻌﻰ ﺍﺯ ﺯﻣﺎﻥ ﺑﺎ ﺍﺷﺨﺎﺻﻰ ﻛﻪ ﺑﻪ ﺁﻥ ﺯﻧﺪﮔﻰ ﻭﺍﺑﺴﺘﻪ ﻫﺴﺘﻨﺪ ﺗﺮﺳﻴﻢ ﻣﻰﻛﻨﻨﺪ‪.‬‬
‫»ﺍﻗﻠﻴﻢ ﺁﺑﺎﺩ«‪ ،‬ﺍﻣﺎ‪ ،‬ﺷﺮﺡ ﺍﺣﻮﺍﻝ ﺍﺷﺨﺎﺹ ﻭ ﮔﺰﺍﺭﺵ ﺣﻮﺍﺩﺛﻰﺳﺖ ﻛﻪ ﺑﻴﺸﺘﺮﻳﻨﻪﻯ ﺁﻥﻫﺎ ﺑﻰﺁﻥﻛﻪ‬
‫ﺩﺭ ﺳﺮﻧﻮﺷﺖ ﻳﺎ ﺩﺭ ﺧﻠﻖ ﻳﻜﺪﻳﮕﺮ ﺩﺧﻴﻞ ﺑﺎﺷﻨﺪ ﺩﺭ ﻫﻢ ﻣﻰﭘﻴﭽﻨﺪ‪ ،‬ﻋﻴﻨ ًﺎ ﻣﺜﻞ ﺭﺷﺘﻪﻫﺎﻯ ﻣﺠﺰﺍ ﻛﻪ‬
‫ﺩﺭ ﻫﻢ ﺗﻨﻴﺪﻩ ﺷﻮﻧﺪ‪ .‬ﺩﺍﻣﻨﻪﻯ ﺍﻳﻦﮔﻮﻧﻪ ﻧﻘﻞ ﮔﻔﺘﻦ ﻣﻤﻜﻦ ﺍﺳﺖ ﻭﺳﻌﺖ ﺑﺴﻴﺎﺭ ﭘﻴﺪﺍ ﻛﻨﺪ ﻭ ﺷﺎﻳﺪ ﺑﻪ‬
‫ﺑﻰﻧﻬﺎﻳﺖ ﺑﺮﺳﺪ‪ .‬ﺩﺭ ﻭﺍﻗﻊ ﻧﻮﻳﺴﻨﺪﻩ‪ ،‬ﺑﻪ ﺟﺎﻯ ﺁﻥ ﻛﻪ ﻣﺎﺟﺮﺍﻫﺎ ﺭﺍ ﺩﺭ ﻃﻮﻝ ﺧﻂ ﻣﺴﺘﻘﻴﻢ ﺩﻧﺒﺎﻝ ﻛﻨﺪ‪،‬‬
‫ﺑﺎ ﺯﻳﮕﺰﺍگﻫﺎﻯ ﻧﺎﻣﻨﻈﻢ ﻭ ﺭﻳﺰ ﻭ ﺩﺭﺷﺖ ﻭ ﺑﺎ ﺟﺮﻳﺎﻥﻫﺎﻯ ﭘﻴﺶﺑﻴﻨﻰ ﻧﺸﺪﻩ ﻭ ﺧﻮﺩﺍﻧﮕﻴﺨﺘﻪ ﺭﻭﻯ‬
‫ﻛﺎﻏﺬ ﺁﻭﺭﺩﻩ ﺍﺳﺖ‪ .‬ﺍﻳﻦ ﺍﺯ ﻣﻘﻮﻟﻪﻯ ﺟﺮﻳﺎﻥ ﺳﻴّﺎﻝ ﺫﻫﻦ ﻧﻴﺴﺖ‪ ،‬ﺯﻳﺮﺍ ﺩﺭ ﺁﻥ ﺷﻴﻮﻩ ﺯﻣﺎﻥ ﻧﻈﻢ ﻣﻨﻄﻘﻰ‬
‫ﺧﻮﺩ ﺭﺍ ﻭﺍﻣﻰﮔﺬﺍﺭﺩ‪ ،‬ﺩﺭ ﺣﺎﻟﻰ ﻛﻪ ﺩﺭ ﻛﺘﺎﺏ ﺣﺎﺿﺮ ﺯﻣﺎﻥ ﻋﻨﺼﺮﻯﺳﺖ ﻛﻪ ﺑﻪﻃﻮﺭ ﻣﻨﻈﻢ ﺍﺯ ﮔﺬﺷﺘﻪ‬
‫ﺁﻏﺎﺯ ﻣﻰﺷﻮﺩ ﻭ ﺑﻪ ﺗﺪﺭﻳﺞ ﺑﻪ ﺯﻣﺎﻥﻫﺎﻯ ﺑﻌﺪﻯ ﻣﻰﺭﺳﺪ‪ .‬ﺍﻣﺎ ﻣﻜﺎﻥﻫﺎ ﻭ ﺍﺷﺨﺎﺹ ﺑﻰﻫﻴﭻ ﺭﺍﺑﻄﻪﻯ‬
‫ﺗﺪﺍﻋﻰﮔﺮ ﻭ ﻓﻘﻂ ﺑﺎ ﻧﻴﺮﻭﻯ ﺗﺨﻴﻞ ﻧﻮﻳﺴﻨﺪﻩ ﻧﻮﺑﻪﻧﻮ ﺁﻓﺮﻳﺪﻩ ﻣﻰﺷﻮﻧﺪ‪.‬‬
‫ﺍﻳﻦ ﻣﺸﺨﺼﺎﺕ‪ ،‬ﺑﺎ ﻫﻤﻪﻯ ﻣﻐﺎﻳﺮﺕ ﺩﺭ ﺁﺩﺍﺏ ﻭ ﺭﺳﻮﻡ ﻭ ﺳﻨﻦ‪ ،‬ﻣﺮﺍ ﺑﻪ ﻳﺎﺩ ﺩﻭﻥ ﻛﻴﺸﻮﺕ‬
‫ﻣﻰﺍﻧﺪﺍﺯﺩ ﻛﻪ ﺑﻰﺷﻚ ﺭﻳﺸﻪ ﺩﺭ ﺩﺍﺳﺘﺎﻥﻫﺎﻯ ﭘﻴﻜﺎﺭﺳﻚ )‪ (picaresque‬ﻭ ﻫﻤﭽﻨﻴﻦ ﺩﺭ ﻗﺼﻪﻫﺎﻯ‬
‫»ﻫﺰﺍﺭ ﻭ ﻳﻜﺸﺐ« ﻭ ﺩﺍﺳﺘﺎﻥﻫﺎﻯ ﻗﺪﻳﻢ ﺍﻳﺮﺍﻧﻰ ﻭ ﻫﻨﺪﻯ ﺩﺍﺭﺩ‪.‬‬
 ‫ﻛﺘﺎﺏ‪ ،‬ﺍﺯ ﺑﺎﺑﺖ ﺷﺮﺡ ﻭ ﺗﻔﺼﻴﻞ ﺍﺣﻮﺍﻝ ﺩﺭﻭﻧﻰ‪ ،‬ﺑﻴﺶ ﻭ ﻛﻢ‪ ،‬ﺗﻬﻰﺳﺖ ﻭ ﻛﺴﻰ ﻧﻤﻰﺩﺍﻧﺪ ﺩﺭ‬
‫ﺭﻭﺍﻥ ﻋﺒﺪﻭﺱ ﭼﻪ ﻏﻮﻏﺎﻳﻰﺳﺖ ﻛﻪ ﺍﻭ ﺭﺍ ﺗﺎ ﺍﻳﻦ ﺣﺪ ﺷﻘﻰ ﻭ ﺩﺭ ﻗﺒﺎﻝ ﺑﺮﺍﺩﺭ ﻭ ﻣﺎﺩﺭ ﻭ ﺣﺘﺎ ﺯﻧﺎﻥ‬
‫ﺧﻮﺩ ﺳﺘﻤﮕﺮ ﻛﺮﺩﻩ ﺍﺳﺖ ﻭ ﺩﺭ ﻋﻴﻦ ﺣﺎﻝ ﭼﻪ ﺍﺗﻔﺎﻗﻰ ﻣﻮﺟﺐ ﺷﺪﻩ ﺍﺳﺖ ﻛﻪ ﺍﻳﻦ ﻣﻮﺟﻮﺩ ﺑﻰﺭﺣﻢ‬
‫ﻓﺮﺯﻧﺪﺍﻥ ﺧﻮﺩ‪ ،‬ﻧﺒﻰ ﻭ ﺭﺿﻰ‪ ،‬ﺭﺍ ﺩﻭﺳﺖ ﺑﺪﺍﺭﺩ ﻭ ﺍﺯ ﺟﺪﺍﻳﻰﻯ »ﺁﻥ ﺩﻭ ﺁﻫﻮ ﺑﺮﻩ« ﺑﻪﺩﺭﺩ ﺑﺎﺷﺪ‪ .‬ﻛﺴﻰ‬
‫ﻧﻤﻰﺩﺍﻧﺪ ﻛﺪﺍﻡ ﺍﻧﮕﻴﺰﻩﻯ ﻧﻬﺎﻧﻰ »ﭘﺮﻯ« ﻭ »ﺯﺭﻯ« ﺭﺍ ﻭﺍﺩﺍﺷﺘﻪ ﺍﺳﺖ ﺗﺎ ﺍﺯ ﻓﺎﺣﺸﻪﺧﺎﻧﻪﻫﺎﻯ ﺗﻬﺮﺍﻥ‬
‫ﺳﺮ ﺩﺭﺑﻴﺎﻭﺭﻧﺪ‪ .‬ﻓﻘﺮ؟ ﺑﻰﺳﺮﭘﺮﺳﺘﻰ؟ ﺑﻰﺳﻮﺍﺩﻯ ﻭ ﺑﻰﻓﺮﻫﻨﮕﻰ؟ ﻣﺤﻴﻂ ﻣﺤﺪﻭﺩ ﻭ ﺧﻔﻘﺎﻥ ﮔﺮﻓﺘﻪﻯ‬
‫ﺧﺎﻧﻮﺍﺩﻩ ﻭ ﺭﻭﺳﺘﺎ؟ ﻭ ﺩﻳﮕﺮ ﭼﻪ؟ ﻛﺴﻰ ﻧﻤﻰﺩﺍﻧﺪ ﺟﻨﺎﻳﺖ ﻭ ﻗﺴﺎﻭﺕ ﺑﺎ ﺿﻤﻴﺮ ﻗﻠﻴﭻ ﭼﻪ ﻣﻰﻛﻨﺪ ﻭ‬
‫ُﻫﺪﻯ ﭼﻪﮔﻮﻧﻪ ﻣﻰﺗﻮﺍﻧﺪ ﺑﺎ ﺁﻥ ﺁﺭﺍﻣﺶ ﺁﺩﻣﻰ ﺭﺍ ﺑﺎ ﺳﺎﻃﻮﺭ ﺑﻜﺸﺪ ﻭ ﺗﻜﻪ ﺗﻜﻪ ﻛﻨﺪ‪ ،‬ﻋﻴﻨ ًﺎ ﻣﺜﻞ ﺍﻳﻦﻛﻪ‬
‫ﮔﻮﺳﻔﻨﺪﻯ ﺭﺍ ﻗﻄﻌﻪ ﻗﻄﻌﻪ ﻛﺮﺩﻩ ﺑﺎﺷﺪ‪ .‬ﺭﻭﺍﻥ ﻫﻤﻪﻯ ﺷﺨﺼﻴﺖﻫﺎﻯ ﺍﻳﻦ ﻛﺘﺎﺏ ﺑﺮﺍﻯ ﻣﺎ ﻧﺎﺷﻨﺎﺧﺘﻪ‬
‫ﻣﻰﻣﺎﻧﺪ‪ .‬ﻓﻘﻂ ﺣﻮﺍﺩﺙ ﺑﻴﺮﻭﻧﻴَﺶ‪ ،‬ﺑﻰﺁﻥﻛﻪ ﺑﺮ ﻫﻴﭻ ﺭﻗّﺖ ﻭ ﻋﺎﻃﻔﻪﻳﻰ ﻣﺘﻜﻰ ﺑﺎﺷﺪ‪ ،‬ﻣﺎ ﺭﺍ ﻭﺍﻣﻰﺩﺍﺭﺩ‬
‫ﻛﻪ ﺩﺭ ﻣﻮﺭﺩﺷﺨﺼﻴﺖﻫﺎ ﺑﻪ ﺩﺍﻭﺭﻯ ﺑﻨﺸﻴﻨﻴﻢ‪.‬‬
‫ﺍﻓﺰﻭﻥ ﺑﺮ ﺍﻳﻦ‪ ،‬ﺷﺨﺼﻴﺖﻫﺎﻯ ﺍﻳﻦ ﻛﺘﺎﺏ ﻫﻤﻪ ﻣﻨﺤﻂ‪ ،‬ﻫﻤﻪ ﭘﻠﻴﺪ‪ ،‬ﻫﻤﻪ ﺑﻴﻤﺎﺭﮔﻮﻥ ﻳﺎ ﺍﺣﻤﻘﻨﺪ‪.‬‬
‫ﺁﻳﺎ ﺩﺭ ﺭﻭﺳﺘﺎ ﺁﺩﻡﻫﺎﻳﻰ ﻛﻪ ﺑﻪ ﻧﺴﺒﺖ ﺑﻮﻳﻰ ﻭ ﺑﻬﺮﻩﻳﻰ ﺍﺯ ﺧﺼﺎﻳﻞ ﺍﻧﺴﺎﻥ ﺑﺮﺩﻩ ﺑﺎﺷﻨﺪ ﻭﺟﻮﺩ‬
‫ﻧﺪﺍﺭﺩ؟ ﺁﻳﺎ ﺍﻳﻦ ﺷﺨﺼﻴﺖﻫﺎ ﻫﻤﻪ ﻧﻤﺎﺩ ﻛﺜﺎﻓﺖ ﻭ ﻧﺠﺎﺳﺘﻨﺪ؟ ﺗﻨﻬﺎ ﺷﺨﺼﻴﺘﻰ ﻛﻪ ﺩﺭ ﺍﻳﻦ ﻛﺘﺎﺏ‬
‫ﺗﺎ ﺣﺪﻯ ﻣﻬﺮﺑﺎﻥ ﻭ ﺩﺭ ﻭﺍﻗﻊ ﻳﻚ ﺁﺩﻡ ﻃﺒﻴﻌﻰﺳﺖ‪ ،‬ﺑﺎ ﻫﻤﻪ ﻛﭽﻠﻰ ﻭ ﺩﺭﻣﺎﻧﺪﮔﻰ‪ ،‬ﺭﺿﻰ ‪ -‬ﭘﺴﺮ‬
‫‪277‬‬ ‫ﺑﺰﺭگ ﻋﺒﺪﻭﺱ‪ -‬ﺍﺳﺖ‪ .‬ﺩﻳﮕﺮﺍﻥ ﻫﻤﻪ ﺍﺣﻤﻖ‪ ،‬ﺧﻮﺩﺧﻮﺍﻩ‪ ،‬ﺣﻘﻪﺑﺎﺯ‪ ،‬ﭘﺴﺖﻓﻄﺮﺕ‪ ،‬ﺭﻳﺎﻛﺎﺭ ﻭ ﺟﻨﺎﻳﺖ‬
‫ﻗﺼﻪ ﺁﻣﻴﺰﻩﻳﻰ ﺍﺯ ﻣﺒﺎﻟﻐﻪ ﻭ ﺍﻏﺮﺍﻗﻨﺪ‪.‬‬
‫ﭘﻴﺸﻪﺍﻧﺪ‪ .‬ﺍﻳﻦ ﺍﺳﺖ ﻛﻪ ﻣﻌﺘﻘﺪﻡ ﻋﺪﻩﻳﻰ ﺍﺯ ﺷﺨﺼﻴﺖﻫﺎﻯ ﺍﻳﻦ ّ‬
‫ﻣﻦ ﺑﺎ ﺍﻳﻦ ﻛﻪ ﺑﻴﺶ ﺍﺯ ﺩﻭﻟﺖﺁﺑﺎﺩﻯ ﻋﻤﺮ ﻛﺮﺩﻩﺍﻡ ﻭ ﮔﺬﺍﺭﻡ ﺑﻪ ﺭﻭﺳﺘﺎﻫﺎ ﻧﻴﺰ ﺍﻓﺘﺎﺩﻩ ﺍﺳﺖ‪ ،‬ﺍﻳﻦ‬
‫ﻫﻤﻪ ﺑﺪﺑﺨﺘﻰ ﻭ ﭘﻠﻴﺪﻯ ﺭﺍ ﺑﻪ ﺍﻃﻼﻕ ﺑﻪ ﺧﺎﻃﺮ ﻧﻤﻰﺁﻭﺭﻡ‪ .‬ﺩﺭ ﻣﻴﺎﻥ ﺭﻭﺳﺘﺎﻳﻴﺎﻥ ﺑﻰﺩﻭﺍ ﻭ ﺩﺭﻣﺎﻥ ﻭ‬
‫ﺑﻰﻛﺲ ﻭ ﺑﻰﭘﻨﺎﻩ‪ ،‬ﺁﺩﻡﻫﺎﻯ ﻣﻬﺮﺑﺎﻥ‪ ،‬ﺧﻮﺵﺫﺍﺕ‪ ،‬ﺳﺎﺩﻩﺩﻝ‪ ،‬ﺧﻨﺪﻩﺭﻭ‪ ،‬ﺷﺎﺩ ﻭ ﺭﺍﺿﻰ ﺍﺯ ﺯﻧﺪﮔﻰ ﻫﻢ‬
‫ﺑﺴﻴﺎﺭ ﺩﻳﺪﻩﺍﻡ‪.‬‬
‫ﺩﺭ ﺍﻳﻦ ﻛﺘﺎﺏ ﺍﺯ ﻫﺮﮔﻮﻧﻪ ﺑﻴﻤﺎﺭﻯ ﻭ ﺯﺷﺘﻰ ﻭ ﻋﻘﺎﻳﺪ ﺧﺮﺍﻓﻰ ﻭ ﻓﺮﻫﻨﮓ ﻣﻨﺤﻂ ﻣﻰﺗﻮﺍﻥ ﻧﺸﺎﻥ‬
‫ﺟﺴﺖ‪ :‬ﺳﻮﺯﺍﻙ‪ ،‬ﺳﻴﻔﻴﻠﻴﺲ‪ ،‬ﺯﺧﻢﻫﺎﻯ ﻋﻔﻮﻧﻰ‪ ،‬ﻛﭽﻠﻰ‪ ،‬ﺗﺮﺍﺧﻢ‪ ،‬ﺷﭙﺶ‪ ،‬ﺷﻴﺮﻩﻛﺸﻰ‪ ،‬ﮔﺮﺳﻨﮕﻰ‪،‬‬
‫ﻗﺤﻄﻰ‪ ،‬ﻋﺮﺑﺪﻩﻛﺸﻰ‪ ،‬ﻣﺎﻝ ﻣﺮﺩﻡﺧﻮﺭﻯ‪ ،‬ﻇﻠﻢ‪ ،‬ﻓﺤﺸﺎ‪ ،‬ﺟﻤﺎﻉ ﺑﺎ ﺧﺮ‪ ،‬ﻛﺘﻚ ﺯﺩﻥ‪ ،‬ﮔﻮﺯﻳﺪﻥ ﺩﺭ ﻏﺬﺍﻯ‬
‫»ﺟﻦ ﻭ ﺟﻤﻨﺪﻩ« ﻭ‪ ...‬ﻳﻚ ﻣﺜﻨﻮﻯﻯ ﻫﻔﺘﺎﺩ ﻣﻦ ﻛﺎﻏﺬ ﺍﺯ ﺁﻥﭼﻪ ﺑﻪ ﺍﻋﺘﻘﺎﺩ‬‫ﻫﻤﮕﺎﻧﻰ‪ ،‬ﺍﻋﺘﻘﺎﺩ ﺑﻪ ﺭ ّﻣﺎﻝ ﻭ ّ‬
‫ﻧﻮﻳﺴﻨﺪﻩ ﺯﻳﺮﺑﻨﺎﻯ ﺯﻧﺪﮔﻰ ﻭ ﺍﺟﺘﻤﺎﻉ ﻭ ﻓﺮﻫﻨﮓ ﺭﻭﺳﺘﺎﻳﻰ ﻭ ﺷﺎﻳﺪ ﻧﻴﺰ ﺷﻬﺮﻯﻱ ﻣﺎ ﺭﺍ ﺗﺸﻜﻴﻞ‬
‫ﻣﻰﺩﻫﺪ‪ .‬ﺩﺳﺖ ﺑﺎﻻ ﺭﺍ ﻣﻰﮔﻴﺮﻡ ﻭ ﻣﻰﭘﺬﻳﺮﻡ ﻛﻪ ﻫﻤﻪﻯ ﺍﻳﻦ ﺭﺫﺍﻳﻞ ﻭ ﻛﺜﺎﻓﺎﺕ ﻣﻮﺟﻮﺩ ﺑﺎﺷﺪ‪ ،‬ﺍﻣﺎ ﺍﻳﻦ‬
‫ﻫﻤﻪ ﻫﻴﭻ ﺿﺪ ﻭ ﺧﻼﻓﻰ ﻧﺪﺍﺭﺩ؟ ﺁﻳﺎ ﺍﻳﻦ ﻫﺮ ﺩﻭ ﺭﻭﻯ ﺳﻜﻪﻯ ﻭﻃﻦ ﻣﺎﺳﺖ؟‬
‫ﻣﻦ ﺳﺎﻝﻫﺎﺳﺖ ﻛﻪ ﺑﺎ ﺁﺛﺎﺭ ﺩﻭﻟﺖﺁﺑﺎﺩﻯ ﻋﺸﻖ ﻭﺭﺯﻳﺪﻩﺍﻡ‪ .‬ﻣﺎﺭﺍﻝ ﺭﺍ ﺳﻮﺍﺭ ﺑﺮ ﺍﺳﺒﺶ ﻧﻤﻮﺩﺍﺭﻯ‬
‫ﺍﺯ ﻏﺮﻭﺭ ﻭ ﺳﺮﻣﺴﺘﻰﻯ ﺯﻥ ﺍﻳﺮﺍﻧﻰ ﺩﺍﻧﺴﺘﻪﺍﻡ‪ .‬ﻣِﺮﮔﺎﻥ ﺭﺍ ﺩﻟﻴﺮ ﻭ ﻣﻘﺎﻭﻡ ﻭ ﺷﻜﺴﺖﻧﺎﭘﺬﻳﺮ ﻳﺎﻓﺘﻪﺍﻡ‪.‬‬
‫ﺑﺎﺑﺎﺳﺒﺤﺎﻥ ﺭﺍ ﻧﻤﻮﻧﻪﻯ ﺗﺤﻤﻞ ﺩﺭ ﺑﺮﺍﺑﺮ ﺑﺪﺑﺨﺘﻰ ﻭ‪ ،‬ﺩﺭ ﻋﻴﻦ ﺑﻰﺩﺍﻧﺸﻰ‪ ،‬ﺣﻜﻴﻢ ﻭ ﺧﺮﺩﻣﻨﺪ ﻳﺎﻓﺘﻪﺍﻡ‪.‬‬
‫ﭼﻪﮔﻮﻧﻪ ﺍﺳﺖ ﻛﻪ ﺩﺍﺳﺘﺎﻥ ﺍﺧﻴﺮ ﺍﻭ ﻧﻪﺗﻨﻬﺎ ﻏﺮﻭﺭﻡ ﺭﺍ ﺑﺮﻧﻤﻰﺍﻧﮕﻴﺰﺩ ﺑﻠﻜﻪ ﺧﻮﺍﺭﻡ ﻣﻰﻛﻨﺪ ﻭ ﺑﻴﺰﺍﺭﻡ‬
‫ﻣﻰﻛﻨﺪ ﺍﺯ ﺁﻥ ﻛﺴﺎﻥ ﻛﻪ ﺍﻳﻦ ﻫﻤﻪ ﺯﺑﻮﻧﻰ ﺭﺍ ﮔﺮﺩﻥ ﻧﻬﺎﺩﻩﺍﻧﺪ ﻭ ﺑﺎﺯﻡ ﻣﻰﺩﺍﺭﺩ ﺍﺯ ﺍﻳﻦ ﻛﻪ ﺣﺘﺎ ﺍﺷﻚ‬
‫ﺗﺮﺣﻤﻰ ﺑﺮ ﺁﻧﺎﻥ ﺑﻴﻔﺸﺎﻧﻢ؛ ﻛﻪ ﺩﺭ ﭘﻨﺪﺍﺭ ﻣﻦ ﺍﮔﺮ ﺑﻪ ﻭﺍﻗﻊ ﺍﻳﻦﭼﻨﻴﻨﻨﺪ‪ ،‬ﺑﺪﺑﺨﺘﻰ ﺭﺍ ﺳﺰﺍﻭﺍﺭﺗﺮ ﺍﺯ ﺍﻳﺸﺎﻥ‬
‫ﻛﺴﻰ ﻧﻴﺴﺖ‪.‬‬
‫ﻧﻤﻰﺩﺍﻧﻢ ﺍﻓﺮﻳﻘﺎﻳﻴﺎﻥ ﮔﺮﻓﺘﺎﺭﺗﺮﻧﺪ ﻳﺎ ﻣﺎ‪ .‬ﺑﻪ ﻫﺮﺣﺎﻝ ﺍﻳﻦ ﺭﺍ ﻣﻰﺩﺍﻧﻢ ﻛﻪ ﺁﻧﺎﻥ ﻧﻴﺰ ﺍﺯ ﻣﺮﺩﻡ ﭘﺮﻳﺸﻴﺪﻩ‬
‫ﻭ ﺳﺘﻤﺪﻳﺪﻩﻯ ﺟﻬﺎﻧﻨﺪ‪ .‬ﺍﻣﺎ ﺑﺸﻨﻮﻳﺪ ﺍﺯ ﺍﻣﻪ ﺳﺰﺭ ﻛﻪ ﺍﺯ ﻣﺮﺩﻡ ﻭ ﺯﺍﺩﮔﺎﻩ ﺧﻮﺩ ﭼﻨﻴﻦ ﻳﺎﺩ ﻣﻰﻛﻨﺪ‪:‬‬
‫ﺑﻪ ﺭﺍﺳﺘﻰ ﺳﻼﻟﻪﻫﺎﻯ ﺑﺮﺗﺮ ﺟﻬﺎﻥ‬
‫ﮔﺴﺘﺎﺥ ﺩﺭ ﺑﺮﺍﺑﺮ ﻫﻤﻪﻯ ﺟﺮﻳﺎﻥﻫﺎﻯ ﺟﻬﺎﻥ‬
‫ﺁﺷﻴﺎﻥ ﻣﻬﺮﺑﺎﻧﻰﻯ ﻫﻤﻪﻯ ﻧﺴﻴﻢﻫﺎﻯ ﺟﻬﺎﻥ‬
‫ﻣﺼﺐ ﺑﻰﻧﺎﻭﺩﺍﻥ ﻫﻤﻪﻯ ﺁﺏﻫﺎﻯ ﺟﻬﺎﻥ‬ ‫ّ‬
‫ﺷﺮﺍﺭﻩﻯ ﺁﺗﺶ ﻣﻘﺪﺱ ﺟﻬﺎﻥ‬
‫ﭘﺎﺭﻩﻯ ﺗﻦ ﺗﭙﻨﺪﻩﻯ ﺟﻬﺎﻥ‬
‫ﺍﺯ ﺟﻨﺒﺶ ﺧﺎﺹ ﺟﻬﺎﻥ!‬
‫ﺑﺎ ﺍﻳﻦ ﻫﻤﻪ‪ ،‬ﻛﺎﺭ ﻧﻮﻳﺴﻨﺪﻩ ﻭ ﺷﺎﻋﺮ ﺩﻳﺪﻥ ﺍﺳﺖ ﻭ ﮔﻔﺘﻦ‪ .‬ﺑﺎﻳﺪ ﺁﺗﺶ ﺧﻮﺩ ﺭﺍ ﻋﺮﺿﻪ ﻛﻨﻴﻢ ـ‬
‫ﮔﻴﺮﻡ ﻛﻪ ﻧﺨﻮﺍﻫﻨﺪﺵ‪.‬‬
‫ﺍﺯ ﺁﻥ ﺑﻪ ﺩﻳﺮِ ُﻣﻐﺎﻧﻢ ﻋﺰﻳﺰ ﻣﻰﺩﺍﺭﻧﺪ‬
‫ﻛﻪ ﺁﺗﺸﻰ ﻛﻪ ﻧﻤﻴﺮﺩ ﻫﻤﻴﺸﻪ ﺩﺭ ﺩﻝ ﻣﺎﺳﺖ‪....‬‬ ‫‪278‬‬
‫‪ 22‬ﺍﺳﻔﻨﺪ ‪70‬‬
 ‫ﺳﻴﻤﻴﻦ ﺑﻬﺒﻬﺎﻧﻲ‬ ‫ﺳﻴﻤﺎ‪-‬ﻧﮕﺎﺷﺖ‬

‫ﻳﻚ ﺍﺑﺮﻭ‬
‫ﺳﺮ ﺑﺎﻻ‬
‫ﻳﻚ ﺍﺑﺮﻭ‬
‫‪279‬‬ ‫ﭘﺎ ﺑﺮﺟﺎ‬
‫ﭼﺸﻢﻫﺎﺵ‪:‬‬
‫ﺁﺳﻤﺎ ِﻥ ﺑﻰﺍﺑﺮ ﻭ ﺑﻰﻏﺒﺎﺭ‬
‫ﻧﮕﺎﻫﺶ‪:‬‬
‫ِ‬
‫ﺍﻧﮕﺎﺭ »ﻃﻠﺐ ﻣﻰﻛﻨﺪ ﺍﺭﺙ ﭘﺪﺭ ﺍﺯ ﻣﻦ!«‬

‫ﺳﻴﻤﺎ‪:‬‬
‫ﺗﺼﻮﻳﺮﻯ ﺍﺯ ﺑﻬﺎﺭ‬
‫ﺩﺭ ﭘﺎﻳﻴﺰ ﺭﻭﺯﮔﺎﺭ‬
‫ﺩﻫﺎﻥ‪:‬‬
‫ﮔﺮﺩ ﻛﺮﺩﻩ ﻭ ﻧﻴﻢﺑﺎﺯ‬
‫ﮔﻮﻳﺎﻯ ﺣﺮﻓﻰ ﺍﺯ ﺣﺮﻭﻑ‬
‫ﺷﺎﻳﺪ‪ :‬پ‪ ،‬ﻳﻌﻨﻰ‪...‬‬
‫ﻳﻌﻨﻰ‪ :‬ﭘﻮچ‪.‬‬

‫ﻣﻰﮔﻮﻳﺪ‪:‬‬
‫ـ ﺣﺎﻻ ﺩﻳﮕﺮ ﻣﺎ ﺭﺍ ﻧﻤﻰﺷﻨﺎﺳﻰ؟‬
‫ـ ﻛﻴﺴﺖ ﻛﻪ ﺷﻤﺎ ﺭﺍ ﻧﺸﻨﺎﺳﺪ‪ ،‬ﺍﺳﺘﺎﺩ! ﻫﻤﻪﻯ ﻛﺘﺎﺏﻫﺎﺗﺎﻥ ﺭﺍ ﺧﻮﺍﻧﺪﻩﺍﻡ‪ ،‬ﺑﺎ ﭼﻪ ﺍﺷﺘﻴﺎﻗﻰ! ﺑﻴﺶ‬
‫ﺍﺯ ﺑﻴﺴﺖ ﻭ ﭼﻨﺪ ﺳﺎﻝ ﻛﻨﺎﺭ ﺑﺎﻟﻴﻨﻢ ﻧﺸﺴﺘﻪﺍﻧﺪ‪ .‬ﺍﺯ »ﺟﺎﻯ ﺧﺎﻟﻰ ﺳﻠﻮچ« ﺗﺎ »ﺳﻠﻮﻙ«‪» ،‬ﻧﻮﻥ ﻧﻮﺷﺘﻦ«‬
‫ﻭ »ﺯﻭﺍﻝ ﻛﻠﻨﻞ« ﺭﺍ ﻧﺨﻮﺍﻧﺪﻩﺍﻡ‪.‬‬
‫‪ -‬ﺁﺧﺮ ﺍﻳﻦ ﭼﺸﻢ ﻧﻴﺴﺖ ﻛﻪ ﻣﻦ ﺩﺍﺭﻡ‪.‬‬
‫ﺑﻰﺁﻥﻛﻪ ﺗﺄﺛﺮﺵ ﺭﺍ ﺁﺷﻜﺎﺭ ﻛﻨﺪ‪ ،‬ﻣﻰﮔﻮﻳﺪ‪» :‬ﺧﻮﺩﻡ ﻣﻰﺁﻳﻢ ﻭ ﺑﺮﺍﻳﺖ ﻣﻰﺧﻮﺍﻧﻢ‪«.‬‬
‫)ﻫﻨﻮﺯ ﻛﻪ ﻫﻨﻮﺯ ﺍﺳﺖ ﻧﻴﺎﻣﺪﻩ ﺍﺳﺖ‪ ،‬ﺣﻖ ﺩﺍﺭﺩ؛ ﻭﻗﺘﻰ ﺭﺍ ﻛﻪ ﻣﻰﺗﻮﺍﻧﺪ ﺻﺮﻑ ﺁﻓﺮﻳﺪﻥ ﺗﺎﺯﻩﻫﺎ‬
‫ﻭﻗﻒ ﺗﻐﺎﻓﻞ ﺩﻳﮕﺮﺍﻥ ﻛﻨﺪ!(‬ ‫ِ‬ ‫ﻛﻨﺪ‪ ،‬ﺑﻴﺎﻳﺪ‬
‫ﻣﻰﺭﻭﻡ ﻭ ﭼﺎﻯ ﻣﻰﺁﻭﺭﻡ‪ ،‬ﺩﺭ ﺩﻭ ﻟﻴﻮﺍﻥ ﺁﺏﺧﻮﺭﻯ‪ ،‬ﺑﻪ ﺍﺻﻄﻼﺡ »ﭼﺎﻯ ﺗﺮﻛﻰ«‪ .‬ﻣﻦ ﭼﺎﻯ‬
‫ﺧﻂ ﻋﻤﻮﺩﻯ‪،‬‬ ‫ﺍﺳﺘﻜﺎﻧﻰ ﺭﺍ ﺩﻭﺳﺖ ﻧﺪﺍﺭﻡ‪ .‬ﺣﺎﻻ ﺩﻳﮕﺮ ﺩﻭ ﺍﺑﺮﻭﻯ ﺍﻭ ﻫﻢ ﺳﻄﺢ ﻣﻰﺷﻮﻧﺪ ﻭ ﺩﻭ ّ‬
‫ﻣﻮﺍﺯﻯ ﻳﻜﺪﻳﮕﺮ ﻣﻴﺎ ِﻥﺷﺎﻥ ﭘﺪﻳﺪ ﻣﻰﺁﻳﺪ‪ .‬ﺍﺯ ﮔﻮﺷﻪﻯ ﭼﺸﻢ ﺑﻪ ﻟﻴﻮﺍﻥ ﭼﺎﻯ ﭼﺸﻢ ﺧﻴﺮﻩ ﻣﻰﺷﻮﺩ‬
‫ﻭ ﻣﻰﮔﻮﻳﺪ‪ :‬ﺧﺎﻥ ﺟﺎﻥ! ﺍﻳﻦ ﭼﺎﻳﻰﻫﺎ ﺑﺮﺍﻯ ﺭﺿﺎ ﺑﺮﺍﻫﻨﻰ ﺧﻮﺏ ﺍﺳﺖ‪ .‬ﭼﻴﺰﻯ ﺑﻴﺎﺭ ﻛﻪ ﻣﻌﻘﻮﻝ ﻭ‬
‫ﻣﻨﻄﻘﻰ ﺑﺎﺷﺪ‪.‬‬
‫ﻣﻰﮔﻮﻳﻢ‪ :‬ﭼﺸﻢ‪ ،‬ﺍﻣﺎ ﻣﻦ ﺍﻳﻦ ﭼﺎﻯ ﻟﻴﻮﺍﻧﻰ ﺭﺍ ﺩﻭﺳﺖ ﻣﻰﺩﺍﺭﻡ ﻛﻪ ﻧﻤﻰﮔﺬﺍﺭﺩ ﺑﺮﺍﻫﻨﻰ ﻭ ﺁﺛﺎﺭﺵ‬
‫ﺭﺍ ﻓﺮﺍﻣﻮﺵ ﻛﻨﻢ‪ .‬ﺧﻮﺷﺤﺎﻟﻢ ﻛﻪ ﺷﻤﺎ ﻫﻢ ﺍﺯ ﺍﻭ ﻳﺎﺩ ﻛﺮﺩﻳﺪ‪.‬‬
‫ﻣﻰﺭﻭﻡ ﻭ ﺑﺎ ﻳﻚ ﭼﺎﻯ ﺩﺭ ﺍﺳﺘﻜﺎﻥ ﻛﻤﺮﺑﺎﺭﻳﻚ ﻭ ﻳﻚ ﻧﻌﻠﺒﻜﻰﻯ ﻟﺐ ﻃﻼﻳﻰ ﺩﺭ ﺳﻴﻨﻰﻯ‬
‫ﻧﻘﺮﻩﻳﻰ ﻇﺮﻳﻒ ﺑﺮﻣﻰﮔﺮﺩﻡ‪ .‬ﺑﺎ ﻟﺒﺨﻨﺪﻯ ﺍﺯ ﺳﺮ ﺭﺿﺎﻳﺖ ﻣﻰﮔﻮﻳﺪ‪» :‬ﺣﺎﻝ ﺷﺪ ﺣﺴﺎﺑﻰ!«‬ ‫‪280‬‬
‫ﻫﻤﻪﺍﺵ ﺍﻳﻦﻫﺎ ﻧﻴﺴﺖ‪ .‬ﺩﻭﻟﺖﺁﺑﺎﺩﻯ ﻛﻮﻫﻰ ﺍﺯ ﻭﻗﺎﺭ ﻭ ﺩﺍﻧﺶ ﺍﺳﺖ‪ .‬ﻣﻐﺮﻭﺭ ﻧﻴﺴﺖ ﺍﻣﺎ ﻗﺪﺭ‬
‫ﺣﻼﺝ ﻣﻰﺍﻧﺪﺍﺯﺩ‪.‬‬ ‫ﺧﻮﺩ ﺭﺍ ﻣﻰﺩﺍﻧﺪ‪ .‬ﻣﺮﺍ ﺑﻪ ﻳﺎﺩ ﮔﻔﺘﻪﻯ ّ‬
‫ﻧﻘﻞ ﺑﻪ ﻣﻀﻤﻮﻥ ﻣﻰﻛﻨﻢ‪ .‬ﻣﻰﮔﻮﻳﻨﺪ ﺩﺭ ﺯﻧﺪﺍﻥ ﺷﺒﻰ ﻫﺰﺍﺭ ﺭﻛﻌﺖ ﻧﻤﺎﺯ ﻣﻰﺧﻮﺍﻧﺪ‪ .‬ﺯﻧﺪﺍﻧﺒﺎﻥ‬
‫ﭘﺮﺳﻴﺪ ﺗﻮ ﻛﻪ ﻣﻰﮔﻮﻳﻰ »ﻣﻦ ﺧﺪﺍ ﻫﺴﺘﻢ« ﺍﻳﻦ ﻫﺰﺍﺭ ﺭﻛﻌﺖ ﻧﻤﺎﺯ ﺭﺍ ﺑﺮﺍﻯ ﻛﻪ ﻣﻰﺧﻮﺍﻧﻰ؟ ﺣﻼﺝ‬
‫ﺩﺭ ﭘﺎﺳﺦ ﮔﻔﺖ‪» :‬ﻣﺎ ﺩﺍﻧﻴﻢ ﻗﺪﺭ ﻣﺎ«!‬
‫ﺑﺎﺯ ﻫﻢ ﻫﻤﻪﺍﺵ ﺍﻳﻦ ﻧﻴﺴﺖ‪ .‬ﺩﻭﻟﺖﺁﺑﺎﺩﻯ ﻭﻗﺘﻰ ﺳﺮ ﺣﺎﻝ ﺑﺎﺷﺪ ﺑﺴﻴﺎﺭ ﺧﻮﺵﻣﺤﻀﺮ ﺍﺳﺖ‪.‬‬
‫ﺍﺯ ﻟﻄﻴﻔﻪﮔﻮﻳﻰ ﺩﺭﻳﻎ ﻧﻤﻰﻛﻨﺪ ﻭ ﺗﺎ ﺣﺪّ ﺍﻣﻜﺎﻥ ﻣﻰﺧﻨﺪﺍﻧﺪﺕ‪ .‬ﮔﺎﻫﻰ ﻫﻢ ﺧﻴﻠﻰ ﺟﺪّ ﻯﺳﺖ‪ .‬ﺍﻧﮕﺎﺭ‬
‫ﻓﻜﺮ ﻣﻰﻛﻨﻰ ﻛﻪ ﭘﺸﺖ ﻣﻴﺰ ﺳﺨﻨﺮﺍﻧﻰ ﺣﺮﻑ ﻣﻰﺯﻧﺪ‪ .‬ﺩﺭ ﻛﺎﺭ ﺧﻮﺩ ﺍﺳﺘﺎﺩ ﺍﺳﺖ ﻭ ﺑﺴﻴﺎﺭ ﭼﻴﺰﻫﺎ‬
‫ﻣﻰﺗﻮﺍﻥ ﺍﺯ ﺍﻭ ﺁﻣﻮﺧﺖ‪.‬‬
‫ﺣﺎﺩﺛﻪ ﺁﻓﺮﻳﻨﻰ ﺩﺭ ﻧﻮﺷﺘﻪﻫﺎﻯ ﺍﻭ ﺟﺎﻯ ﺍﺭﺟﻤﻨﺪﻯ ﺩﺍﺭﺩ‪ .‬ﻭﻗﺘﻰ ﻗﺼﻪﻫﺎﻳﺶ ﺭﺍ ﻣﻰﺧﻮﺍﻧﻰ ﻭ ﺑﻪ‬
‫ﺷﺮﺡ ﺣﺎﺩﺛﻪ ﻣﻰﺭﺳﻰ ﺻﺪﺍﻯ ﻗﻠﺐ ﺧﻮﺩﺕ ﺭﺍ ﻣﻰﺷﻨﻮﻯ! ﺍﻳﻦ ﻫﻤﺎﻥ ﺣﺎﻟﺘﻰﺳﺖ ﻛﻪ ﻣﻦ ﺑﺎ ﺧﻮﺍﻧﺪﻥ‬
‫ﺻﺤﻨﻪﻯ ﺍﺳﺐﺩﺍﻧﻰ ﺩﺭ ﺭﻣﺎﻥ ﺟﻨﮓ ﻭ ﺻﻠﺢ ﺗﺎﻟﺴﺘﻮﻯ ﺣﺲ ﻛﺮﺩﻩﺍﻡ‪.‬‬
‫ﺍﻳﻨﻚ ﺷﻤﺎ ﻭ ﺳﺨﻨﻰ ﺑﻴﺸﺘﺮ ﺩﺭﺑﺎﺭﻩﻯ ﺍﻭ ﺑﻪ ﻧﻘﻞ ﺍﺯ ﻛﺘﺎﺏ ﻳﺎﺩ ﺑﻌﻀﻰ ﻧﻔﺮﺍﺕ‪.‬‬
‫ﻋﻤﺮﺵ ﺩﺭﺍﺯ ﻭ ﻗﻠﻤﺶ ﻫﻤﻴﺸﻪ ﺑﺮﺗﻮﺍﻥ ﺑﺎﺩ‪.‬‬
‫ﺳﻴﻤﻴﻦ ﺑﻬﺒﻬﺎﻧﻰ‬
‫‪ 24‬ﻣﺮﺩﺍﺩ ‪89‬‬
‫‪281‬‬

‫‪
t‬ﭘﺪﺭ )ﻋﺒﺪﺍﻟﺮﺳﻮﻝ( ﻭ ﻣﺎﺩﺭ )ﻓﺎﻃﻤﻪ(‬

 ‫‪282‬‬

‫‪
t‬ﻣﺤﻤﻮﺩ ﺩﻭﻟﺖﺁﺑﺎﺩﻱ ﺩﺭ ﺳﺎﻝﻫﺎﻱ ﺗﺠﺮﺑﻪ ﺗﺌﺎﺗﺮ ﻭ ﺑﺎﺯﻳﮕﺮﻱ‬

‫‪283‬‬

‫‪
t‬ﻣﺤﻤﻮﺩ ﺩﻭﻟﺖﺁﺑﺎﺩﻱ ﺩﺭ ﺧﺎﻧﻪ‪ .‬ﺯﻣﺴﺘﺎﻥ ‪.1361‬‬

‫‪
t‬ﻳﺎﺭﺗﺎ ﻳﺎﺭﺍﻥ ﻭ ﻣﺤﻤﻮﺩ ﺩﻭﻟﺖﺁﺑﺎﺩﻱ‪ .‬ﺯﻣﺴﺘﺎﻥ ‪ .1361‬ﺗﻬﺮﺍﻥ‬
‫‪284‬‬

‫‪
t‬ﻣﺤﻤﻮﺩ ﺩﻭﻟﺖﺁﺑﺎﺩﻱ ﺩﺭ ِ‬
‫ﺍﺗﺎﻕ ﻛﺎﺭِ ﺧﻮﺩ‪ .‬ﺯﻣﺴﺘﺎﻥ ‪.1361‬‬
‫‪285‬‬

‫‪
t‬ﻣﺤﻤﻮﺩ ﺩﻭﻟﺖﺁﺑﺎﺩﻱ ﺩﺭ ﻣﻴﺎﻧﺴﺎﻟﻲ )ﺗﺎﺑﺴﺘﺎﻥ ‪(1364‬‬

‫‪
t‬ﻣﺤﻤﻮﺩ ﺩﻭﻟﺖﺁﺑﺎﺩﻱ ﻭ ﻣﻬﺪﻱ ﻓﺘﺤﻲ‪ .‬ﺗﺎﺑﺴﺘﺎﻥ ‪.1363‬‬
‫‪286‬‬

‫‪
t‬ﻣﺤﻤﻮﺩ ﺩﻭﻟﺖﺁﺑﺎﺩﻱ ﻭ ﺍﺣﻤﺪ ﺷﺎﻣﻠﻮ )ﺷﻬﺮﻙ ﺩﻫﻜﺪﻩ(‬

 ‫‪
t‬ﻣﺤﻤﻮﺩ ﺩﻭﻟﺖﺁﺑﺎﺩﻱ ﻭ ﻳﺎﺷﺎﺭ ﻛﻤﺎﻝ )ﻧﻮﻳﺴﻨﺪﺓ ﺗﺮﻙ( ﺩﺭ ﻛﻨﻔﺮﺍﻧﺲ ﺟﻬﺎﻧﻲ ﻗﻠﻢ‬

‫‪287‬‬

‫‪
t‬ﻣﺤﻤﻮﺩ ﺩﻭﻟﺖﺁﺑﺎﺩﻱ ﻭ ﺟﻮﺍﺩ ﻣﺠﺎﺑﻲ ﻭ ﻣﺤﻤﺪﺭﺿﺎ ﻟﻄﻔﻲ‪ .‬ﺑﻴﺮﻭﻥ ﮔﺎﻟﺮﻱ ﮔﻠﺴﺘﺎﻥ )ﻧﻤﺎﻳﺸﮕﺎﻩ ﻧﻘﺎﺷﻲ ﺳﺎﺭﺍ‬
‫ﺩﻭﻟﺖﺁﺑﺎﺩﻱ(‬
‫‪
t‬ﻣﺤﻤﻮﺩ ﺩﻭﻟﺖﺁﺑﺎﺩﻱ ﻭ ﺩﻛﺘﺮ ﻣﺤﻤﺪﺭﺿﺎ ﺷﻔﻴﻌﻲ ﻛﺪﻛﻨﻲ ﺩﺭ ﺑﺮﻟﻴﻦ )‪(1369‬‬
‫‪288‬‬

‫‪
t‬ﺩﺭ ﺳﻔﺮ ﺁﻣﺮﻳﻜﺎ )ژﻭﺋﻦ ‪) (1991‬ﻋﻜﺲ ﺍﺯ ﻧﺎﻫﻴﺪ ﺍﺻﻼﻥﺑﻴﮕﻲ(‬

‫‪289‬‬

‫‪
t‬ﻧﻴﻮﺟﺮﺳﻲ ‪ -‬ﺑﻴﮋﻥ ﺍﺳﺪﻱﭘﻮﺭ ﻭ ﻣﺤﻤﻮﺩ ﺩﻭﻟﺖﺁﺑﺎﺩﻱ )ژﻭﺋﻦ ‪) (1991‬ﻋﻜﺲ ﺍﺯ ﻧﺎﻫﻴﺪ ﺍﺻﻼﻥﺑﻴﮕﻲ(‬

 ‫‪290‬‬

‫‪
t‬ﺩﺭ ﻣﺮﺍﺳﻢ ﺑﺪﺭﻗﺔ ﺍﺣﻤﺪ ﺷﺎﻣﻠﻮ ﺩﺭ ﻣﻘﺎﺑﻞ ﺑﻴﻤﺎﺭﺳﺘﺎﻥ ﺍﻳﺮﺍﻧﻤﻬﺮ‬

‫‪291‬‬

‫‪
t‬ﻣﺮﺍﺳﻢ ﺷﺐ ﻣﻮﻻﻧﺎ ﺍﺯ ﺷﺐﻫﺎﻱ ﻣﺠﻠﺔ ﺑﺨﺎﺭﺍ )‪ 23‬ﺁﺫﺭ ‪(1385‬‬

 ‫‪292‬‬

‫‪
t‬ﺳﺨﻨﺮﺍﻧﻲ ﺩﺭﺑﺎﺭﺓ ﺳﻴﺪﻣﺤﻤﺪﻋﻠﻲ ﺟﻤﺎﻟﺰﺍﺩﻩ ﺩﺭ ﺳﺎﻟﺮﻭﺯ ﺗﻮﻟﺪ ﺟﻤﺎﻟﺰﺍﺩﻩ ﺩﺭ ﺷﺐﻫﺎﻱ ﻣﺠﻠﺔ ﺑﺨﺎﺭﺍ )ﺁﺑﺎﻥ ‪(1385‬‬
‫ﻋﻜﺲ ﺍﺯ ﺟﻮﺍﺩ ﺁﺗﺸﺒﺎﺭﻱ(‬
‫‪293‬‬

‫‪
t‬ﻣﺤﻤﻮﺩ ﺩﻭﻟﺖﺁﺑﺎﺩﻱ )ﻋﻜﺲ ﺍﺯ ﻛﺎﻣﺒﻴﺰ ﺷﺎﻓﻌﻲ(‬

‫‪
t‬ﻣﺤﻤﻮﺩ ﺩﻭﻟﺖﺁﺑﺎﺩﻱ ﻭ ﻫﻤﺴﺮﺵ ﻣﻬﺮﺁﺫﺭ ﺩﺭ ﺷﺐ ﺳﻴﺪﻣﺤﻤﺪﻋﻠﻲ ﺟﻤﺎﻟﺰﺍﺩﻩ )ﺁﺑﺎﻥ ‪(1385‬‬
‫‪294‬‬

‫‪
t‬ﻣﺤﻤﻮﺩ ﺩﻭﻟﺖﺁﺑﺎﺩﻱ ﻭ ﺩﻛﺘﺮ ﻋﺰﺕﺍﷲ ﻓﻮﻻﺩﻭﻧﺪ ﺩﺭ ﺷﺐ ﻫﺎﻧﺎ ﺁﺭﻧﺖ‬

 ‫‪ 23
t‬ﺁﺫﺭ ‪ (85‬ﺑﺎ ﺩﻛﺘﺮ ﻣﺤﻤﺪﻋﻠﻲ ﻣﻮﺣﺪ ﻗﺒﻞ ﺍﺯ ﻣﺮﺍﺳﻢ ﺷﺐ ﻣﻮﻻﻧﺎ ﺍﺯ ﺷﺐﻫﺎﻱ ﻣﺠﻠﺔ ﺑﺨﺎﺭﺍ )ﻋﻜﺲ ﺍﺯ ﻛﻴﺎﻧﻲ‬
‫ﺍﻣﺎﻧﻲ(‬
‫‪295‬‬

‫‪5
t‬ﺷﻨﺒﻪ ‪ 88/2/24‬ﺍﺯ ﺭﺍﺳﺖ‪ :‬ﻫﺎﺷﻢ ﺑﻨﺎﭘﻮﺭ ‪ -‬ﻣﺤﻤﻮﺩ ﺩﻭﻟﺖﺁﺑﺎﺩﻱ ‪ -‬ﻋﻠﻲ ﺩﻫﺒﺎﺷﻲ ﻭ ﺷﻴﺪﺍ ﺩﻳﺎﻧﻲ )ﻋﻜﺲ ﺍﺯ‬
‫ﺷﻬﺎﺏ ﺩﻫﺒﺎﺷﻲ(‬
 ‫‪296‬‬

‫‪
t‬ﺩﺭ ﺟﻠﺴﺔ ﻋﺼﺮ ﭘﻨﺞﺷﻨﺒﻪ ﺩﺭ ﺑﺨﺎﺭﺍ )‪5‬ﺷﻨﺒﻪ ‪(88/2/24‬‬

 ‫‪297‬‬

‫‪
t‬ﺩﻓﺘﺮ ﻣﺠﻠﻪ ﺑﺨﺎﺭﺍ ‪5 -‬ﺷﻨﺒﻪ ﺑﻴﺴﺖﻭﭼﻬﺎﺭﻡ ﺍﺭﺩﻳﺒﻬﺸﺖ ﻣﺎﻩ ‪ .1388‬ﺟﻠﺴﺔ ﻋﺼﺮ ﭘﻨﺠﺸﻨﺒﻪ ﺩﺭ ﺑﺨﺎﺭﺍ ﻛﻪ ﺍﺧﺘﺼﺎﺹ ﺩﺍﺷﺖ ﺑﻪ ﺩﻳﺪﺍﺭ ﻣﺤﻤﻮﺩ ﺩﻭﻟﺖﺁﺑﺎﺩﻱ ﺑﺎ ﺧﺎﻧﻢ ﺳﻮﮔﻲ ﺍﻭﺯﺩﺍﻣﺎﺭ ﻧﻮﻳﺴﻨﺪﻩ ﺁﻟﻤﺎﻧﻲ‬
‫ﻛﻪ ﻋﻀﻮ ﺁﻛﺎﺩﻣﻲ ﺯﺑﺎﻥ ﻭ ﺍﺩﺑﻴﺎﺕ ﺁﻟﻤﺎﻥ‪ .‬ﺩﺭ ﺍﻳﻦ ﻋﻜﺲ ﻣﺤﻤﻮﺩ ﺣﺴﻴﻨﻲﺯﺍﺩ ‪ -‬ﺳﻌﻴﺪ ﻓﻴﺮﻭﺯﺁﺑﺎﺩﻱ ‪ -‬ﻓﺮﺯﺍﻧﻪ ﻗﻮﺟﻠﻮ ‪ -‬ﻫﺎﺷﻢ ﺑﻨﺎﭘﻮﺭ ‪ -‬ﺷﻴﻮﺍ ﻣﻘﺎﻧﻠﻮ ‪ -‬ﻣﺤﻤﺪﻋﻠﻲ ﺁﺗﺶﺑﺮگ ‪ -‬ﻳﺎﺳﻤﻴﻦ ﺛﻘﻔﻲ ‪-‬‬
‫ﻧﺎﻫﻴﺪ ﻣﻮﺳﻮﻱ ‪ -‬ﻣﺤﻤﺪﺣﺴﻦ ﺣﺎﻣﺪﻱ ‪ -‬ﺟﻮﺍﺩ ﺁﺗﺸﺒﺎﺭﻱ ‪ -‬ﺳﺤﺮ ﻣﺎﺯﻳﺎﺭ‪ -‬ﺳﻴﺴﻴﻞ ﺗﺰﻥ ‪ -‬ﻣﻬﺪﻱ ﻭﺯﻳﺮﺑﺎﻧﻲ ﻭ ﺩﻳﮕﺮ ﺩﻭﺳﺘﺪﺍﺭﺍﻥ ﺩﻭﻟﺖﺁﺑﺎﺩﻱ ﺩﻳﺪﻩ ﻣﻲﺷﻮﻧﺪ‪) .‬ﻋﻜﺲ ﺍﺯ ﺷﻬﺎﺏ ﺩﻫﺒﺎﺷﻲ(‬
 ‫‪298‬‬

‫‪
t‬ﻣﺤﻤﻮﺩ ﺩﻭﻟﺖﺁﺑﺎﺩﻱ ﺩﺭ ﻳﻜﻲ ﺍﺯ ﺟﻠﺴﺎﺕ ﻋﺼﺮ ﭘﻨﺠﺸﻨﺒﻪ ﺩﺭ ﺑﺨﺎﺭﺍ ﺑﺎ ﺩﻭﺳﺘﺪﺍﺭﺍﻧﺶ )ﻋﻜﺲ ﺍﺯ ﺟﻮﺍﺩ ﺁﺗﺸﺒﺎﺭﻱ(‬
 ‫‪
t‬ﺩﻳﺪﺍﺭ ﺑﺎ ﺩﻛﺘﺮ ﻣﺤﻤﺪﺭﺿﺎ ﺷﻔﻴﻌﻲ ﻛﺪﻛﻨﻲ ‪ -‬ﭼﻬﺎﺭﺷﻨﺒﻪ ‪ 12‬ﺗﻴﺮ ‪) 1387‬ﻋﻜﺲ ﺍﺯ ﻋﻠﻲ ﺩﻫﺒﺎﺷﻲ(‬
‫‪299‬‬

‫‪
t‬ﺍﺯ ﺭﺍﺳﺖ‪ :‬ژﺍﻥ ﻛﻠﻮﺩ ﻭﺁﺯﻥ ‪ -‬ﻛﻨﺴﺘﺎﻧﺘﻴﻦ ﭘﺎﺳﺎﻟﻴﺲ ﻭ ﻣﺤﻤﻮﺩ ﺩﻭﻟﺖﺁﺑﺎﺩﻱ ﺩﺭ ﻣﻴﺰﮔﺮﺩ »ﺣﻴﺎﺕ ﻭ ﻧﻘﺶ‬
‫ﻧﺸﺮﻳﺎﺕ ﺍﺩﺑﻲ« ﺷﻬﺮﻳﻮﺭ ‪) - 1387‬ﻋﻜﺲ ﺍﺯ ﻋﻠﻲ ﺩﻫﺒﺎﺷﻲ(‬
‫‪
t‬ﻣﺤﻤﻮﺩ ﺩﻭﻟﺖﺁﺑﺎﺩﻱ ﺩﺭ ﺷﺐ ﻛﺎﻓﺔ ﺷﻮﻛﺎ‪ .‬ﺗﺎﺑﺴﺘﺎﻥ ‪.1389‬‬
‫‪300‬‬

‫‪
t‬ﻣﺤﻤﻮﺩ ﺩﻭﻟﺖﺁﺑﺎﺩﻱ ﺩﺭ ﺷﺐ ﻛﺎﻓﺔ ﺷﻮﻛﺎ‪ .‬ﺗﺎﺑﺴﺘﺎﻥ ‪.1389‬‬

 ‫‪
t‬ﻣﻬﺮﺁﺫﺭ ﺩﻭﻟﺖ ﺁﺑﺎﺩﻱ ‪ -‬ﺧﺎﻧﻢ ﻣﺠﺎﺑﻲ ‪ -‬ﻳﺎﺭﺗﺎ ﻳﺎﺭﺍﻥ ‪ -‬ﻣﺤﻤﻮﺩ ﺩﻭﻟﺖﺁﺑﺎﺩﻱ ﻭ ﺩﻛﺘﺮ ﻣﺠﺎﺑﻲ‬
‫‪301‬‬

‫‪
t‬ﻣﺤﻤﺪﺭﺿﺎ ﻟﻄﻔﻲ ﻭ ﻣﺤﻤﻮﺩ ﺩﻭﻟﺖﺁﺑﺎﺩﻱ ﺩﺭ ﻣﺮﺍﺳﻢ ﺍﻓﺘﺘﺎﺣﻴﻪ ﻧﻤﺎﻳﺸﮕﺎﻩ ﻋﻜﺲﻫﺎﻱ ﺩﻭﻟﺖﺁﺑﺎﺩﻱ )ﻣﺮﺩﺍﺩ ‪(89‬‬
‫)ﻋﻜﺲ ﺍﺯ ﻓﺮﺟﺎﻡ ﻣﻨﺼﻮﺭﻱ(‬
 ‫‪
t‬ﻣﺤﻤﻮﺩ ﺩﻭﻟﺖﺁﺑﺎﺩﻱ ﺩﺭ ﺳﺎﻟﺮﻭﺯ ﺗﻮﻟﺪﺵ )ﻣﺮﺩﺍﺩ ‪(89‬‬
‫‪302‬‬

‫‪
t‬ﺩﻛﺘﺮ ﺟﻮﺍﺩ ﻣﺠﺎﺑﻲ ‪ -‬ﻣﻬﺮﺁﺫﺭ ﺩﻭﻟﺖﺁﺑﺎﺩﻱ ﻭ ﻣﺤﻤﻮﺩ ﺩﻭﻟﺖﺁﺑﺎﺩﻱ‪ ،‬ﺗﺎﺑﺴﺘﺎﻥ ‪1389‬‬

 ‫‪
t‬ﺩﻳﺪﺍﺭ ﺑﺎ ﺩﻛﺘﺮ ﺷﻔﻴﻌﻲ ﻛﺪﻛﻨﻲ ﭘﺲ ﺍﺯ ﺑﺎﺯﮔﺸﺖ ﺍﺯ ﺳﻔﺮ ﻣﻄﺎﻟﻌﺎﺗﻲ ﺩﺭ ﺩﺍﻧﺸﮕﺎﻩ ﭘﺮﻳﻨﺴﺘﻮﻥ )ﻣﺮﺩﺍﺩ ‪(1389‬‬
‫)ﻋﻜﺲ ﺍﺯ ﻋﻠﻲ ﺩﻫﺒﺎﺷﻲ(‬
‫‪303‬‬

‫‪
t‬ﺍﺯ ﺭﺍﺳﺖ‪ :‬ﻣﺤﻤﺪﺍﻓﺸﻴﻦ ﻭﻓﺎﻳﻲ ﻣﺤﻤﻮﺩ ﺩﻭﻟﺖﺁﺑﺎﺩﻱ ‪ -‬ﺩﻛﺘﺮ ﻣﺤﻤﺪﺭﺿﺎ ﺷﻔﻴﻌﻲ ﻛﺪﻛﻨﻲ ﻭ ﺩﻛﺘﺮ ﻣﺴﻌﻮﺩ‬
‫ﺟﻌﻔﺮﻱ ﺩﺭ ﻣﻨﺰﻝ ﺩﻛﺘﺮ ﻛﺪﻛﻨﻲ ‪ -‬ﻣﺮﺩﺍﺩ ‪) 1389‬ﻋﻜﺲ ﺍﺯ ﻋﻠﻲ ﺩﻫﺒﺎﺷﻲ(‬
 ‫‪304‬‬

‫‪
t‬ﻣﺤﻤﻮﺩ ﺩﻭﻟﺖﺁﺑﺎﺩﻱ ﭘﺲ ﺍﺯ ﺍﻧﺘﺸﺎﺭ ﻛﺘﺎﺏ »ﻧﻮﻥ ﻧﻮﺷﺘﻦ« ‪ -‬ﻋﻜﺲ ﺍﺯ ﻋﻠﻴﺮﺿﺎ ﻣﻮﺣﺪﻱ‬

 ‫‪
t‬ﻣﺤﻤﻮﺩ ﺩﻭﻟﺖﺁﺑﺎﺩﻱ ﺩﺭ ﺧﺎﻧﻪ‪ .‬ﺗﺎﺑﺴﺘﺎﻥ ‪) 1389‬ﻋﻜﺲ ﺍﺯ ﻳﺎﺭﺗﺎ ﻳﺎﺭﺍﻥ(‬
‫‪305‬‬

‫‪
t‬ﻣﺤﻤﻮﺩ ﺩﻭﻟﺖﺁﺑﺎﺩﻱ ﺩﺭ ﺧﺎﻧﻪ‪ .‬ﺗﺎﺑﺴﺘﺎﻥ ‪) 1389‬ﻋﻜﺲ ﺍﺯ ﻳﺎﺭﺗﺎ ﻳﺎﺭﺍﻥ(‬

‫ﺑﻬﺎءﺍﻟ ّﺪﻳﻦ ﺧ ّﺮﻣﺸﺎﻫﻰ‬ ‫ﺁﺛﺎﺭ ﺩﻭﻟﺖﺁﺑﺎﺩﻯ‬
‫ﺍﻛﻨﻮﻥ ﻧﻮﻛﻼﺳﻴﻚ ﺍﺳﺖ‬

‫ﺩﻭﻟﺖﺁﺑﺎﺩﻯ ﺑﺎ ﺳﺎﺑﻘﺔ ﺑﻴﺶﺍﺯﭼﻬﻞﺳﺎﻝ ﻧﻮﻳﺴﻨﺪﮔﻰ ﺟﺎﻳﮕﺎﻩ ﺭﻓﻴﻌﻰ ﺩﺭ ﺩﻟﻬﺎ‪ ،‬ﻭ ﭘﺎﻳﮕﺎﻫﻰ ﺑﻠﻨﺪ‬ ‫‪306‬‬
‫ﺑﺨﺎﺭﺍ‬
‫ﺩﺭ ﻣﺤﻔﻠﻬﺎ ﻳﺎﻓﺘﻪ ﺍﺳﺖ‪ .‬ﺑﺎ ﺗﺮﺟﻤﺔ ﺍﻛﺜﺮ ﺁﺛﺎﺭﺵ‪ ،‬ﺑﻪ ﭼﻨﺪ ﺯﺑﺎﻥ‪ ،‬ﺷﻬﺮﺗﺶ ﺟﻬﺎﻧﻰ ﺍﺳﺖ‪ ،‬ﻭ ﺑﺎﺭﻫﺎ‬ ‫ﺳﺎﻝ ﺳﻴﺰﺩﻫﻢ‬
‫ﺷﻤﺎﺭﻩ ‪76‬‬
‫)ﺑﻪ ﻗﻮﻟﻰ ‪ 19‬ﺑﺎﺭ( ﻧﺎﻣﺰﺩ ﺩﺭﻳﺎﻓﺖ ﺟﺎﻳﺰﺓ ﻧﻮﺑﻞ ﺍﺩﺑﻴﺎﺕ ﺷﺪﻩ ﺍﺳﺖ‪ ،‬ﺍﻣﺎ ﺑﻪ ﻧﺘﻴﺠﻪ ﻧﺮﺳﻴﺪﻩ ﺍﺳﺖ‪ .‬ﺁﻳﺎ‬ ‫ﻣﺮﺩﺍﺩ ‪ -‬ﺷﻬﺮﻳﻮﺭ‬
‫‪1389‬‬
‫ﻣﻼﺣﻈﺎﺕ ﺳﻴﺎﺳﻰ ﺩﺭ ﺍﻳﻦ ﺍﻣﺮ ﺩﺧﻴﻞ ﺑﻮﺩﻩ ﺍﺳﺖ ﻭ ﺍﻭ ﺩﺍﺭﺩ ﺩﺭ ﺟﻬﺎﻥ ﺳﻴﺎﺳﺖﺯﺩﺓ ﺍﻣﺮﻭﺯ ﺗﺎﻭﺍﻥ‬
‫ﺍﻳﺮﺍﻧﻰ ﺑﻮﺩﻥ ﻭ ﻓﺎﺭﺳﻰ ﻧﻮﺷﺘﻦ ﺧﻮﺩ ﺭﺍ ﻣﻰﭘﺮﺩﺍﺯﺩ؟ ﺣﺎﻝ ﺁﻧﻜﻪ ﺑﺮﺍﻯ ﻣﺎ ﻓﺎﺭﺳﻰ ﻧﻮﺷﺘﻦ ﺍﻭــ ﻛﻪ ﺩﺭ‬
‫ﻛﻤﺎﻝ ﻓﺼﺎﺣﺖ ﺍﺳﺖــﭼﻪ ﺑﺴﺎ ﻣﻬﻤﺘﺮﻳﻦ ﻭﺟﻪ ﻫﻨﺮ ﺍﻭ ﺑﺎﺷﺪ‪ .‬ﺑﻴﺶ ﺍﺯ ﭘﻨﺞ ﻫﺰﺍﺭ ﺻﻔﺤﻪ ﻧﺜﺮ ﻓﺎﺭﺳﻰ‬
‫ﻓﺼﻴﺢ ﻭ ﺩﻟﭙﺬﻳﺮ‪ ،‬ﻛﻢﻧﻌﻤﺖ ﻭ ﻛﻢﻏﻨﻴﻤﺘﻰ ﻧﻴﺴﺖ‪.‬‬
‫ﻳﻚ ﺑﺎﺭ ﻳﻜﻰ ﺍﺯ ﺩﻭﺳﺘﺎﻧﻢ ﺍﺯ ﻣﻦ ﭘﺮﺳﻴﺪ ﭼﺮﺍ ﺁﻗﺎﻯ ﺩﻭﻟﺖﺁﺑﺎﺩﻯ ﺍﻳﻦﻃﻮﺭ ﺍﺩﺑﻴﺎﺗﻰ ﻭ ﺍﺩﺑﻰ‬
‫ﻣﻰﻧﻮﻳﺴﺪ‪ ،‬ﺩﺭﺳﺖ ﻣﺜﻞ ﻗﺪﻣﺎ‪ ،‬ﻓﺮﺿ ًﺎ ﺑﻴﻬﻘﻰ‪ .‬ﭘﺎﺳﺨﻰ ﻣﻮﻗﺖ ﺑﻪ ﺍﻭ ﺩﺍﺩﻡ ﻭ ﮔﻔﺘﻢ ﺟﻮﺍﺏ ﺍﺻﻠﻰ ﺭﺍ‬
‫ﺍﺯ ﺧﻮﺩ ﺍﺳﺘﺎﺩ ﻣﻰﭘﺮﺳﻢ‪ .‬ﻭ ﭘﺮﺳﻴﺪﻡ‪ .‬ﮔﻔﺖ ﻣﻦ ﻗﺪﻣﺎﺋﻰ ﻳﺎ ﺍﺩﺑﻰ ﻧﻤﻰﻧﻮﻳﺴﻢ‪ .‬ﻧﺜﺮ ﻣﻦ ﺩﺭ ﻛﻠﻴﺪﺭ ﻳﺎ‬
‫ﺟﺎﻯ ﺧﺎﻟﻰ ﺳﻠﻮچ ﻳﺎ ﺁﺛﺎﺭ ﺩﻳﮕﺮﻡ ﻣﺜﻞ ﻓﺎﺭﺳﻰ ﺣﺮﻑﺯﺩﻥ ﺍﻣﺮﻭﺯ ﻣﺮﺩﻡ ﺑﻴﻬﻖ ﻭ ﺳﺒﺰﻭﺍﺭ ﻭ ﻧﻴﺸﺎﺑﻮﺭ‬
‫ﻭ ﺩﻭﻟﺖﺁﺑﺎﺩ ﻭ ﻫﻤﺔ ﺁﻥ ﻧﻮﺍﺣﻰ ﺧﺮﺍﺳﺎﻥ ﺍﺳﺖ‪ ،‬ﻣﻰﺗﻮﺍﻥ ﺭﻓﺖ ﺑﻪ ﻣﺤﻞ ﻭ ﺗﺤﻘﻴﻖ ﻣﻴﺪﺍﻧﻰ ﻭ ﻣﺤﻠﻰ‬
‫ﻛﺮﺩ‪ .‬ﺍﻳﻦ ﺩﺭﺳﺖﺗﺮﻳﻦ ﻭ ﻗﺎﻧﻊﻛﻨﻨﺪﻩﺗﺮﻳﻦ ﭘﺎﺳﺦ ﺑﻮﺩ‪ .‬ﺍﻳﻦ ﭘﺎﺳﺦ ﺑﺮﺍﻯ ﺷﻴﻔﺘﮕﺎﻥ ﺯﺑﺎﻥ ﻓﺎﺭﺳﻰ ﻫﻢ‬
‫ﺑﺸﺎﺭﺕ ﺑﺰﺭﮔﻰ ﺑﻮﺩ‪.‬‬
‫ﻣﻰﺩﺍﻧﺴﺘﻢ ﻭ ﺑﻬﺘﺮ ﺩﺍﻧﺴﺘﻢ ﻛﻪ ﻫﻨﺮ ﺑﺰﺭگ ﺩﻭﻟﺖﺁﺑﺎﺩﻯ ﺍﻳﻦ ﺍﺳﺖ ﻛﻪ ﻓﺮﻣﺎﻟﻴﺴﺖ ﻳﺎ ﺻﻮﺭﺕﮔﺮﺍ‬
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‫ﺷﻤﺎﻯ ﺧﻮﺍﻧﻨﺪﻩ ﺑﻰﺣﻮﺻﻠﻪﺍﻳﺪ‪ .‬ﻣﻦ ﺍﻳﻦ ﺍﺛﺮ ﺭﺍ ﺩﺭ‬ ‫ﻧﻴﺴﺖ‪ .‬ﻣﻰﮔﻮﻳﻨﺪ ﻛﻠﻴﺪﺭ ﺍﻃﻨﺎﺏ ﺩﺍﺭﺩ‪ .‬ﻣﻰﮔﻮﻳﻢ‬
‫ﻫﻴﺄﺕ ﺯﻳﺮﺍﻛﺴﻰ ﻭ ﭘﻴﺶ ﺍﺯ ﺁﻧﻜﻪ ﺑﻪﺻﻮﺭﺕ ﻛﺘﺎﺏ ﻣﻨﺘﺸﺮ ﺷﻮﺩ ﺧﻮﺍﻧﺪﻩﺍﻡ‪ ،‬ﺑﺎ ﺁﻧﻜﻪ ﺧﻮﺍﻧﺪﻥ ﺁﻥ ﺩﺭ‬
 ‫ﺁﻥ ﻫﻴﺄﺕ‪ ،‬ﺑﻪ ﺁﺳﺎﻧﻰ ﻛﺘﺎﺏ ﻧﺒﻮﺩ‪ ،‬ﺍﻣﺎ ﺟﺎﺫﺑﺔ ﻛﺘﺎﺏ‪ ،‬ﻫﻢ ﺭﻭﺍﻳﺖ ﺍﺻﻠﻰ ﻭ ﻫﻢ ﺭﻭﻳﺪﺍﺩﻫﺎﻯ ﻓﺮﻋﻰ ﺑﻴﺶ‬
‫ﺍﺯ ﺁﻥ ﺑﻮﺩ ﻛﻪ ﺑﻬﺎﻧﻪﮔﻴﺮﺍﻧﻪ ﺑﮕﻮﻳﻢ؛ ﺍﻳﻦ ﺣﻤﺎﺳﺔ ﺍﻳﻦ ﻋﺼﺮ ﺑﻰﺍﺳﻄﻮﺭﻩ ﻭ ﺣﻤﺎﺳﻪ‪ ،‬ﺍﻃﻨﺎﺏ ﺩﺍﺭﺩ‪.‬‬
‫ﺑﻌﺪﻫﺎ ﻭﻗﺘﻰ ﻣﻨﺘﻘﺪﺍﻥ ﺑﻰﻏﺮﺽ ﻭ ﺍﺯ ﻫﻤﻪ ﺟﺎﺍﻓﺘﺎﺩﻩﺗﺮ ﺷﺎﺩﺭﻭﺍﻥ ﺑﺰﺭگ ﻋﻠﻮﻯ ﺩﺭ ﺍﺷﺎﺭﻩ ﺑﻪ‬
‫ﻛﻠﻴﺪﺭ ﻧﻮﺷﺖ ﻛﻪ »ﺍﻳﻦ ﺍﺛﺮ ﺍﻃﻨﺎﺏ ﺩﺍﺭﺩ ﻭ ﺑﻨﺪﻩ )ﻳﻌﻨﻰ ﻋﻠﻮﻯ( ﺣﺎﺿﺮﻡ ﺁﻥ ﺭﺍ ﺩﺭ ﻳﻚ ﺟﻠﺪ ﭘﺎﻧﺼﺪ‬
‫ﺻﻔﺤﻪﺍﻯ )ﻳﺎ ﭼﻴﺰﻯ ﻧﺰﺩﻳﻚ ﺑﻪ ﺍﻳﻦ ﺍﻧﺪﺍﺯﻩ ﻛﻪ ﺍﻛﻨﻮﻥ ﺩﺭﺳﺖ ﺑﻪ ﻳﺎﺩ ﻧﺪﺍﺭﻡ( ﭼﻨﺎﻥ ﺍﻃﻨﺎﺏﺯﺩﺍﻳﻰ‬
‫ﻭ ﺑﺎﺯﻧﻮﺷﺖ ﻛﻨﻢ ﻛﻪ ﺧﻮﺩ ﺍﺳﺘﺎﺩ ﺩﻭﻟﺖﺁﺑﺎﺩﻯ ﻫﻢ ﺑﭙﺴﻨﺪﺩ ﻭ ﺍﺯ ﺣﺎﺻﻞ ﻛﺎﺭ ﺭﺍﺿﻰ ﺑﺎﺷﺪ«‪ ،‬ﺟﺎ‬
‫ﺧﻮﺭﺩﻡ‪ .‬ﺯﻳﺮﺍ ﺩﺭ ﺍﻳﻦ ﺑﺎﺯﺍﻧﺪﻳﺸﻰ ﺩﻳﺪﻡ ﺣﻘﻴﻘﺘﻰ ﺩﺭ ﺍﻳﻦ ﺳﺨﻦ ﻫﺴﺖ‪ .‬ﺍﻣﺎ ﺑﻪ ﺷﻬﺎﺩﺕ ﺍﻳﻦﻫﻤﻪ‬
‫ﺧﻮﺍﻧﻨﺪﻩ‪ ،‬ﻭ ﺍﻳﻦﻫﻤﻪ ﺗﺠﺪﻳﺪ ﭼﺎپ ﻛﻪ ﺍﻳﻦ ﺍﺛﺮ ﺩﺍﺭﺩ ﺑﺎﻳﺪ ﺑﻪ ﺍﻳﻦ ﻧﺘﻴﺠﻪ ﺭﺳﻴﺪ ﻛﻪ ﺍﮔﺮ ﻫﻢ ﺍﻃﻨﺎﺏ‬
‫ﺩﺍﺭﺩ‪ ،‬ﺍﻃﻨﺎﺑﻰ ﺧﻮﺵ ﻭ ﺧﻮﺷﺎﻳﻨﺪ ﺩﺍﺭﺩ ﻭ ﺩﺭ ﻫﺮ ﺣﺎﻝ ﻭ ﻫﻤﻪ ﺣﺎﻝ ﺍﺛﺮﻯ ﺧﻮﺷﺨﻮﺍﻥ ﺍﺳﺖ ﻫﻢ‬
‫ﺧﻮﺍﻧﺪﻧﻰ ﺩﺭ ﺭﻭﺯﮔﺎﺭ ﻣﺎ ﻭ ﻫﻢ ﻣﺎﻧﺪﻧﻰ ﺍﺯ ﺭﻭﺯﮔﺎﺭ‪ ،‬ﺗﺎ ﺩﻫﻪﻫﺎ ﻭ ﺳﺪﻩﻫﺎﻯ ﺩﻭﺭ ﺩﺳﺖ ﺁﻳﻨﺪﻩ‪.‬‬
‫ﻳﻚ ﺳﺨﻦ ﺩﻳﮕﺮ ﺩﺭﺑﺎﺭﺓ ﻛﻠﻴﺪﺭ ﺩﺍﺭﻡ ﻭ ﺁﻥ ﺍﻳﻦ ﺍﺳﺖ ﻛﻪ ﺑﺎ ﺍﻳﻦ ﻋﺸﻖ ﻭ ﺍﻋﺘﻘﺎﺩ ﻛﻪ ﺑﻪ ﺁﻥ ﺩﺍﺭﻡ‬
‫ﻭ ﺷﻔﺎﻫﻰ ﻭ ﻛﺘﺒﻰ ﻧﻘﺪ ﺗﻠﺦ ﻭ ﻧﺎﺑﺠﺎﻯ ﻣﺮﺣﻮﻡ ﮔﻠﺸﻴﺮﻯ ﺭﺍ ﻧﻘﺪ ﻛﺮﺩﻩﺍﻡ‪ ،‬ﺑﻪ ﺩﺭﺧﻮﺍﺳﺖ ﺩﻭﺳﺘﻰ‬
‫ﻣﺸﺘﺮﻙ ﻣﻘﺎﻟﻪﺍﻯ ﺩﺭﺑﺎﺭﺓ ﺁﻥ ﻧﻮﺷﺘﻢ ﻛﻪ ﺍﺳﻢ ﻭ ﺭﺳﻤﺶ ﻭ ﻇﺎﻫﺮ ﻭ ﺑﺎﻃﻨﺶ »ﻛﻠﻴﺪﺭ ﻭ ﻧﻴﺎﻟﻮﺩﻧﺶ‬
‫ﺑﻪ ﺭﻣﺎﻥ ﻧﻮ« ﺑﻮﺩ‪ .‬ﺑﻪ ﮔﻤﺎﻧﻢ ﺟﻨﺎﺏ ﺩﻭﻟﺖﺁﺑﺎﺩﻯ ﺁﻥ ﻧﻘﺪ ﻭ ﻧﻈﺮ ﺭﺍ ﻧﺨﻮﺍﻧﺪﻩ ﺭﺩ ﻛﺮﺩﻩ‪ .‬ﻭ ﻛﺘﺎﺑﻰ ﻛﻪ‬
‫ﻣﺠﻤﻮﻋﻪﺍﻯ ﺍﺯ ﻣﻘﺎﻻﺕ ﺍﺭﺯﺷﻤﻨﺪ ﺩﺭﺑﺎﺭﺓ ﻛﻠﻴﺪﺭ ﺑﻮﺩ ﻣﻨﺘﺸﺮ ﺷﺪ‪ ،‬ﻭ ﻣﻘﺎﻟﺔ ﺑﻨﺪﻩ ﺍﺯ ﺁﻥ ﺟﺎ ﻣﺎﻧﺪ‪ .‬ﻫﻨﻮﺯ‬
‫‪307‬‬ ‫ﻧﻤﻰﺩﺍﻧﻢ ﭼﻪ ﺧﻠﻒ ﻭ ﺧﻼﻓﻰ ﺩﺭ ﺁﻥ ﻣﻘﺎﻟﻪ ﺑﻮﺩ‪ .‬ﺭﻭﺷﻦﺗﺮ ﺍﺯ ﺧﻮﺭﺷﻴﺪ ﺍﺳﺖ ﻛﻪ ﺳﺒﻚ ﻧﮕﺎﺭﺵ‬
‫ﻛﻠﻴﺪﺭ ﻗﺪﻳﻤﻰ ﺍﺳﺖ‪ .‬ﭼﻨﺎﻧﻜﻪ ﺳﺒﻚ ﻫﻤﺔ ﺁﺛﺎﺭ ﺩﺍﺳﺘﺎﻧﻰ ﺷﺎﺩﺭﻭﺍﻥ ﺻﺎﺩﻕ ﻫﺪﺍﻳﺖ ــ ﺑﻪ ﻏﻴﺮ ﺍﺯ‬
‫ﺑﻮﻑﻛﻮﺭــ ﻭ ﻫﻤﺔ ﺁﺛﺎﺭ ﺭﻭﺍﻧﺸﺎﺩ ﻣﺤﻤﺪﻋﻠﻰ ﺟﻤﺎﻝﺯﺍﺩﻩ ﻫﻢ ﻗﺪﻳﻤﻰ ﺍﺳﺖ‪ .‬ﻣﻨﻈﻮﺭﻡ ﺍﺯ ﻗﺪﻳﻤﻰ ﺍﻳﻦ‬
‫ﻗﺼﻪﮔﻮﻳﺎﻧﻪ‪ ،‬ﻭ ﺑﺪﻭﻥ ﺑﺎﺯﻯﻫﺎﻯ ﺭﻣﺎﻥ ﻧﻮ ﺍﺳﺖ‪.‬‬‫ﺍﺳﺖ ﻛﻪ ﺳﺮ ﺭﺍﺳﺖ ﻭ ﺭﺋﺎﻟﻴﺴﺖ ﻭ ّ‬
‫ﻧﻮﺩ ﻭ ﻧﻪ ﺩﺭﺻﺪ‪ ،‬ﻭ ﺑﻠﻜﻪ ﻫﻤﺔ ﺧﻮﺍﻧﻨﺪﮔﺎﻥ ﺭﻣﺎﻧﻬﺎﻯ ﻧﻮ ﺑﻪ ﻗﺎﻋﺪﺓ ﺑﻜﺶ ﻭﻟﻰ ﺧﻮﺷﮕﻠﻢ ﻛﻦ‬
‫ﺭﻓﺘﺎﺭ ﻣﻰﻛﻨﻨﺪ‪ .‬ﻓﻜﺮ ﻣﻰﻛﻨﻨﺪ ﻧﻮﺷﺘﻦ ﻭ ﺧﻮﺍﻧﺪﻥ ﺭﻣﺎﻥﻧﻮ ﻣﺘﻌﻠﻖ ﺑﻪ ﺍﻧﺴﺎﻥ ﻃﺮﺍﺯ ﻧﻮﻳﻦ ﺍﺳﺖ‪ .‬ﺍﻣﺎ‬
‫ﻟﻘﻤﻪﺍﻯ ﮔﻠﻮﮔﻴﺮﺗﺮ ﺍﺯ ﺭﻣﺎﻥ ﻧﻮ ﻧﺪﺍﺭﻳﻢ‪ .‬ﻣﻰﮔﻮﻳﻢ ﻭ ﻣﻰﺁﻳﻤﺶ ﺍﺯ ﻋﻬﺪﻩ ﺑﺮﻭﻥ ﻛﻪ ﺣﺘﻰ ‪ 10‬ﻧﻔﺮ ﺍﺯ‬
‫ﺧﻮﺍﻧﻨﺪﮔﺎﻥ ﺷﺎﻫﻜﺎﺭ ﺑﻮﻑ ﻛﻮﺭ ﺍﺯ ﺁﻥ ﺑﻪ ﺍﻧﺪﺍﺯﻩﺍﻯ ﻛﻪ ﺍﺯ ﺣﺎﺟﻰﺁﻗﺎ ﻳﺎ ﺳﮓﻭﻟﮕﺮﺩ ﻟﺬﺕ ﺑﺮﺩﻩﺍﻧﺪ‪،‬‬
‫ﺣﻆ ﺭﻭﺣﻰ ﻭ ﻟﺬﺕ ﺯﻳﺒﺎﻳﻰ ﺷﻨﺎﺧﺘﻰ ﻧﺒﺮﺩﻩﺍﻧﺪ‪ .‬ﺑﺸﺮ »ﺍﺯ ﺩﻡ ﺻﺒﺢ ﺍﺯﻝ ﺗﺎ ﺁﺧﺮ ﺷﺎﻡ ﺍﺑﺪ« ﺩﻧﺒﺎﻝ ﻗﺼﻪ‬
‫ﺷﻨﻴﺪﻥ )ﻭ ﺍﻟﺒﺘﻪ ﻗﺼﻪﮔﻮﻳﻰ ﻭ ﻗﺼﻪﻧﻮﻳﺴﻰ( ﺍﺳﺖ‪ .‬ﺭﻣﺎﻥ ﻧﻮ‪ ،‬ﺟﺎﺩﻭ ﻭ ﺟﺎﺫﺑﺔ ﻗﺼﻪ ﺭﺍ ﻧﺪﺍﺭﺩ‪.‬‬
‫ﺍﺳﻨﻮﺑﻴﺴﻢ ﻭ ﺭﻳﺎﻛﺎﺭﻯ ﻓﺮﻫﻨﮕﻰﻭﻫﻨﺮﻯ ﺭﺍ ﺩﺳﺖﻛﻢ ﻧﮕﻴﺮﻳﺪ‪ .‬ﺁﻧﻬﺎﻳﻰ ﻛﻪ ﺑﻪ ﺧﻮﺩﺷﺎﻥ ﺯﻭﺭ‬
‫ﻣﻰﮔﻮﻳﻨﺪ ﻭ ﺭﻣﺎﻥ ﻧﻮ ﻣﻰﺧﻮﺍﻧﻨﺪ‪ ،‬ﺑﻪ ﺭﻭﻯ ﺧﻮﺩﺷﺎﻥ ــ ﺗﺎ ﭼﻪ ﺭﺳﺪ ﺑﻪ ﻣﺎ ــ ﻧﻤﻰﺁﻭﺭﻧﺪ ﻛﻪ ﻟﺬﺗﻰ ﺍﺯ‬
‫ﺁﻥ ﻧﺎ‪-‬ﺩﺍﺳﺘﺎﻥﻫﺎ ﻧﻤﻰﺑﺮﻧﺪ‪ ،‬ﻭﻟﻰ ﺍﻗﺮﺍﺭ ﺑﻪ ﺍﻳﻦ ﺍﻣﺮ ﺍُﻓﺖ ﺩﺍﺭﺩ‪ .‬ﻭ ﻫﻢﺍﻛﻨﻮﻥ ﻃﺮﻓﺪﺍﺭﺍﻥ ﺭﻭﺩﺭﺑﺎﻳﺴﺘﻰ ﺯﺩﺓ‬
‫ﺭﻣﺎﻥ ﻧﻮ ﺑﺮﺍﻯ ﺍﻳﻦ ﺻﺮﺍﺣﺖ ﺑﻴﺎﻥ ﺑﺮﺍﻯ ﺑﻨﺪﻩ ﭘﺮﻭﻧﺪﻩ ﺩﺭﺳﺖ ﻣﻰﻛﻨﻨﺪ ﻛﻪ ﺧﺮﻣﺸﺎﻫﻰ ﺫﻫﻦ ﻭﺫﻫﻨﻴﺖ‬
‫ﻗﺪﻳﻤﻰ ﺩﺍﺭﺩ ﻭ ﻛﺸﺶ ﻭ ﻛﻮﺷﺶ ﻓﻬﻢ ﺭﻣﺎﻥﻧﻮ ﺭﺍ ﻧﺪﺍﺭﺩ‪ .‬ﺑﺎﻛﻰ ﻧﻴﺴﺖ‪ .‬ﺩﺭ ﻋﻮﺽ ﻣﻄﻤﺌﻨﻢ ﻛﻪ ﻋﺪﺓ‬
‫ﺑﺴﻴﺎﺭﻯ ﻫﻢ ﺍﺯ ﺍﻳﻨﻜﻪ ﺑﻨﺪﻩ ﺟﺮﺋﺖ ﻛﺮﺩﻩ ﻭ ﺣﺮﻑ ﺩﻝ ﺁﻧﻬﺎ ﺭﺍ ﻫﻢ ﺯﺩﻩﺍﻡ ﺑﻨﺪﻩ ﺭﺍ ﺗﺄﻳﻴﺪ ﻣﻰﻛﻨﻨﺪ‪.‬‬
‫ﺑﺮﮔﺮﺩﻳﻢ ﺑﻪ ﺁﺛﺎﺭ ﺩﻭﻟﺖﺁﺑﺎﺩﻯ ﻋﺰﻳﺰ‪ .‬ﺍﻏﻠﺐ‪ ،‬ﺑﻠﻜﻪ ﺗﻤﺎﻣﻰ ﺩﺍﺳﺘﺎﻥﻫﺎﻯ ﻛﻮﺗﺎﻩ ﺩﻭﻟﺖﺁﺑﺎﺩﻯ‪،‬‬
‫ﺑﻪﻭﻳﮋﻩ ﺁﻧﻬﺎ ﻛﻪ ﺩﺭ ﺩﻫﺔ ‪ 1340‬ﻧﻮﺷﺘﻪ ﺷﺪﻩ ﻭ ﺑﻌﺪﻫﺎ ﺑﺎ ﻋﻨﻮﺍﻥ ﻛﺎﺭﻧﺎﻣﺔ ﺳﭙﻨﺞ ﻣﺠﻤﻮﻋ ًﺎ ﺗﺠﺪﻳﺪ‬
‫ﭼﺎپ ﺷﺪﻩ‪ ،‬ﺟﺬﺍﺑﻴﺖ ﻃﺒﻴﻌﻰ )ﻳﻌﻨﻰ ﻫﻤﺎﻥ ﺷﻴﻮﺓ ﺷﻴﻮﺍﻯ ﻗﺪﻳﻤﻰ ﻭ ﺻﻤﻴﻤﻰ( ﺩﺍﺭﺩ‪ .‬ﺍﻣﺎ ﺍﻣﺎﻥ ﺍﺯ ﻧﻮ‬
‫ﻧﻮﻳﺴﻰﻫﺎﻯ ﺍﻭ ﻣﺎﻧﻨﺪ ﺭﻭﺯﮔﺎﺭ ﺳﭙﺮﻯ ﺷﺪﺓ ﻣﺮﺩﻡ ﺳﺎﻟﺨﻮﺭﺩﻩ )ﻛﻪ ﺍﻣﻴﺪﻭﺍﺭﻡ ﺍﺳﻤﺶ ﺭﺍ ﺍﺷﺘﺒﺎﻩ ﻧﻨﻮﺷﺘﻪ‬
‫ﺑﺎﺷﻢ( ﻭ ﺳﻠﻮﻙ‪ .‬ﺑﺎ ﺁﻧﻜﻪ ﺑﻨﺪﻩ ﻧﻘﺪﻯ ﻣﺜﺒﺖ ﻭ ﻣﻔﺼﻞ ﺑﻪ ﺳﻠﻮﻙ ﻧﻮﺷﺘﻪﺍﻡ ﻭ ﺁﻥ ﺭﺍ ﺳﺘﻮﺩﻩﺍﻡ‪ ،‬ﺍﻣﺎ ﺑﺴﻰ‬
‫ﺑﻴﺸﺘﺮ ﻭ ﭘﻴﺸﺘﺮ ﺍﺯﺁﻥ ﺟﺎﻯ ﺧﺎﻟﻰ ﺳﻠﻮچ ﺭﺍ ﺳﺘﻮﺩﻩﺍﻡ ﻛﻪ ﻧﻘﺪ ﺳﺎﺩﻩ ﻭ ﻗﺪﻳﻤﻰﺍﻡ ﺑﺮﺁﻥ‪ ،‬ﺩﺭ ﻧﺸﺮﻳﺔ ﺑﺮﺝ‬
‫ﺑﻪ ﺳﺮﭘﺮﺳﺘﻰ ﺩﺍﺳﺘﺎﻥﻧﻮﻳﺴﻰ ﺗﻮﺍﻧﺎﻯ ﻣﻌﺎﺻﺮ ﺟﻨﺎﺏ ﻣﺤﻤﺪﻋﻠﻰ ﭼﺎپ ﺷﺪﻩ ﺍﺳﺖ‪.‬‬
‫ﺑﻴﺴﺖﻭﻫﻔﺖ ﺳﺎﻝ ﭘﻴﺶ‪ ،‬ﻭﻗﺘﻰ ﻛﻪ ﻣﻰﺧﻮﺍﺳﺘﻢ ﻧﺴﺨﻪﺍﻯ ﺍﺯ ﻛﻠﻴﺎﺕ ﺳﻌﺪﻯ ــ ﺗﺼﺤﻴﺢ ﺧﻮﺩﻡ‬
‫ﺑﺮ ﻣﺒﻨﺎﻯ ﺗﺼﺤﻴﺢ ﻣﺮﺣﻮﻣﺎﻥ ﻣﺤﻤﺪﻋﻠﻰ ﻓﺮﻭﻏﻰ ﻭ ﺣﺒﻴﺐ ﻳﻐﻤﺎﻳﻰــ ﺑﻪ ﺍﺳﺘﺎﺩ ﺩﻭﻟﺖﺁﺑﺎﺩﻯ ﺍﻫﺪﺍ‬
‫ﻛﻨﻢ ﺍﻳﻦ ﺷﻌﺮ ﺭﺍ ﺑﺮﺍﻳﺶ ﺳﺮﻭﺩﻡ ﻭ ﺩﺭ ﺟﺎﻳﻰ ﺍﺯ ﺻﻔﺤﺎﺕ ﺳﻔﻴﺪ ﭘﻴﺶ ﺍﺯ ﺻﻔﺤﺔ ﻋﻨﻮﺍﻥ ﺁﻥ ﻧﻮﺷﺘﻢ‬
‫ﻛﻪ ﭼﻨﻴﻦ ﺍﺳﺖ‪:‬‬
‫ﻫﺮ ﻣﺘﺎﻋﻰ ﺯ ﻣﻌﺪﻧﻰ ﺧﻴﺰﺩ«‬ ‫»ﺷﻜﺮ ﺍﺯ ﻣﺼﺮ ﻭ ﺳﻌﺪﻯ ﺍﺯ ﺷﻴﺮﺍﺯ‬
‫ﺗﺎ ﺑﺴﻰ ﻧﻘﺶ ﻃﺮﻓﻪ ﺍﻧﮕﻴﺰﺩ‬ ‫ﺩﻭﻟﺖﺁﺑﺎﺩﻯ ﺍﺯ ﺧﺮﺍﺳﺎﻥ ﺧﺎﺳﺖ‬
‫ﻗﺼﻪ ﺭﺍ ﻃﺮﺡ ﺗﺎﺯﻩﺍﻯ ﺭﻳﺰﺩ‬ ‫ﻧﺜﺮ ﺭﺍ ﺭﻭﺡ ﺗﺎﺯﻩﺍﻯ ﺑﺨﺸﺪ‬
‫ﭼﻮﻥ ﺯ ﺩﻝ ﺧﺎﺳﺖ ﺩﺭ ﺩﻝ ﺁﻭﻳﺰﺩ‬ ‫ﺩﺍﺳﺘﺎﻧﻬﺎﺵ ﺭﺍﺳﺖ ﻛﺮﺩﺍﺭﺳﺖ‬
‫ِﺳﺮﻩ ﺑﺎ ﻧﺎﺳﺮﻩ ﻧﻴﺎﻣﻴﺰﺩ‬ ‫ﺯﻧﺪﮔﻰ ﻣﻰﺗﺮﺍﻭﺩ ﺍﺯ ﻗﻠﻤﺶ‬
‫ﺯﺭ ﭘﺎﻙ ﺍﺯ ﻣﺤﻚ ﻧﭙﺮﻫﻴﺰﺩ‬ ‫ﺍﻣﺘﺤﺎﻧﺶ ﻗﺒﻮﻝ ﺧﺎﻃﺮ ﺧﻠﻖ‬ ‫‪308‬‬
‫ﺑﻨﺎﻣﻴﺰﺩ‬ ‫ﺧُ ﺮﻣﺎ‪،‬‬ ‫ﺁﻓﺮﻳﻦ‪،‬‬ ‫ﺷﺎﻫﻜﺎﺭ ﺯﻣﺎﻥ »ﻛﻠﻴﺪﺭ« ﺍﻭﺳﺖ‬
‫ﺩﻯ ﻣﺎﻩ ‪1362‬‬
‫ﺷﻌﺮﻯ ﺩﻳﮕﺮﻯ ﻫﻢ ﺩﺭﺑﺎﺭﺓ ﻳﻜﻰ ﺍﺯ ﺑﺎﺷﺨﺼﻴﺖﺗﺮﻳﻦ ﭼﻬﺮﻩﻫﺎﻯ ﻛﻠﻴﺪﺭ ﻳﻌﻨﻰ ﺯﻳﻮﺭ ــ ﻫﻤﺴﺮ‬
‫ﺍﻭﻝ ﻭ ﻭﻓﺎﺩﺍﺭ ﻭ ﻓﺪﺍﻛﺎﺭ ﮔﻞﻣﺤﻤﺪ ــ ﻛﻪ ﺷﻮﻫﺮﺵ‪ ،‬ﻣﺎﺭﺍﻝ ﺯﻳﺒﺎﻯ ﺟﻮﺍﻥ ﺭﺍ ﺑﺮ ﺳﺮ ﺍﻭ ﺑﻪ ﺍﺻﻄﻼﺡ‬
‫ﻫﻮﻭ ﻣﻰﺁﻭﺭﺩ‪ .‬ﻫﺮﭼﻪ ﻣﺎﺭﺍﻝ ﺯﻳﺒﺎﻳﻰ ﻇﺎﻫﺮ ﺩﺍﺭﺩ‪ ،‬ﺯﻳﻮﺭ ﺯﻳﺒﺎﻳﻰ ﺑﺎﻃﻦ ﺩﺍﺭﺩ‪ .‬ﺳﺮﺍﻧﺠﺎﻡ ﻫﻢ ﺩﻭﺵ‬
‫ﺑﻪ ﺩﻭﺵ ﮔﻞﻣﺤﻤﺪ‪ ،‬ﺩﺭ ﻧﻴﺮﻭﻯ ﻧﺎﺑﺮﺍﺑﺮ‪ ،‬ﺑﺎ ژﺍﻧﺪﺍﺭﻡﻫﺎ ﻣﻰﺟﻨﮕﺪ ﻭ ﺟﺎﻥ ﺑﻪ ﺳﺮ ﻋﺸﻖ ﻭ ﺍﻳﻤﺎﻥ‬
‫ﻣﻰﮔﺬﺍﺭﺩ‪ .‬ﺑﻪ ﻗﻮﻝ ﺣﺎﻓﻆ‪:‬‬
‫ﻛﺎﻳﻨﻬﻤﻪ ﻧﻘﺶ ﻋﺠﺐ ﺩﺭ ﮔﺮﺩﺵ ﭘﺮﮔﺎﺭ ﺩﺍﺷﺖ‬ ‫ﺧﻴﺰ ﺗﺎ ﺑﺮ ﻛﻠﻚ ﺁﻥ ﻧﻘﺎﺵ ﺟﺎﻥ ﺍﻓﺸﺎﻥ ﻛﻨﻴﻢ‬

‫ﺯﻳﻮﺭِ ﻛﻠﻴﺪﺭ‬
‫ﺑﻮﺩ‬ ‫ﺑﭽﻪ ﻧﺰﺍﺋﻴﺪﻩ ﺑﻮﺩ ﻭ ﻣﺎﺩﺭ‬
‫ﺯﻧﻰ ﻛﻪ ّ‬ ‫ﺯﻧﻰ ﻛﻪ ﺯﺍﺋﺮ ﻏﻢ‪ ،‬ﺯﻳﻮﺭِ ﻛﻠﻴﺪﺭ ﺑﻮﺩ‬
‫ﺑﻮﺩ‬ ‫ﺯﻧﻰ ﻛﻪ ﺳﻨﮓ ﺻﺒﻮﺭﺍﻧﻪ ﻣﺤﻮ ﺷﻮﻫﺮ‬ ‫ﺯﻧﻰ ﻛﻪ ﺳﻮﮔﻠﻰﺍﻯ ﺷﺪ ﻫﻮﻭ ﻭ ﻫﻤﺸﻮﻳﺶ‬
‫ﺑﻮﺩ‬ ‫ﺩﻻﻭﺭﻯ ﻛﻪ ﺩﺭ ﺍﻳّﺎﻡ ﺧﻮﻳﺶ ﺩﻟﺒﺮ‬ ‫ﺯﻧﻰ ﻛﻪ ﭼﺎﻩ ﻏﻤﺶ ﺁﻩ ﻭ ﻣﺎﻩ ﺑﺎ ﻫﻢ ﺩﺍﺷﺖ‬
‫ﺑﻮﺩ‬ ‫ﻛﻪ ﮔﻴﺴﻮﺍﻧﺶ ﻛﻤﻨﺪ ﺍﺑﺮﻭﺍﻧﺶ ﺧﻨﺠﺮ‬ ‫ﺑﻪ ﮔﺎﻩ ﺧﻮﻳﺶ ﭼﻪ ﺩﻟﻬﺎ ﺯ ﺷﻮﻫﺮﺵ ﻣﻰﺑﺮﺩ‬
‫ﺑﻮﺩ‬ ‫ﺷﺒﺎﻧﻪ ﻳﺎﺭ‪ ،‬ﻭﻟﻴﻜﻦ ﺑﻪ ﺭﻭﺯ ﻳﺎﻭﺭ‬ ‫ﻫﻤﻴﺸﻪ ﺑﺎ ﻫﻤﻪ ﻣﺮﺩﺍ ِﻥ ﺩِﻩ ﺩﺭﻭ ﻣﻰﻛﺮﺩ‬
 ‫ﻓﺮﺷﺘﻪﺧﻮﻯ ﻭ ﮔﻞﺍﻧﺪﺍﻡ ﻭ ﻣﺎﻩ ﭘﻴﻜﺮ ﺑﻮﺩ‬
‫ﭼﻮ ﻣﺎﻩ ﭼﺎﺭﺩﻩ ﻳﺎ ﻣﺜﻞ ﻣﻴﻮﻩ ﻧﻮﺑﺮ ﺑﻮﺩ‬
‫ﺯَﺑﻮﻥ ُﺷﻮﻯ ﺷﺪ ﻭ ﻛﻠﻔﺘﺎﻧﻪ ﻧﻮﻛﺮ ﺑﻮﺩ‬
‫ﺧﻤﻴﺪﻩ ﻗﺎﻣﺖ ﺍﻭ ﺷﺪ ﻭ ﮔﺮ ﺻﻨﻮﺑﺮ ﺑﻮﺩ‬
‫ﺯﻧﻰ ﻛﻪ ﻋﻬﺪ ﺟﻮﺍﻧﻰ ﺧﻮﺩ ﺳﺨﻨﻮﺭ ﺑﻮﺩ‬
‫ﻛﻪ ﻟﺤﻈﻪﺍﻳﺶ ﺑﻪ ﺣﺒﺲ ﺍﺑﺪ ﺑﺮﺍﺑﺮ ﺑﻮﺩ‬
‫ﺑﺴﺎﻥ ﺩﺍﻭﻃﻠﺐ ﺩﻭﺳﺘﺪﺍﺭ ﻫﺎﺟﺮ ﺑﻮﺩ‬
‫ﭼﻪ ﺩﻳﺮﺑﺎﻭﺭ ﻭ ﺍ ّﻣﺎ ﭼﻪ ﺯﻭﺩﺑﺎﻭﺭ ﺑﻮﺩ‬
‫ﺑﻪ ﺟﺎﻯ ﺭﺍﺩﻳﻮ ﺩﺭ ﻛﻠﺒﻪﺍﺵ ﺳﻤﺎﻭﺭ ﺑﻮﺩ‬
‫ﻣﻜﺮﺭ ﺑﻮﺩ‬‫ّ‬ ‫ﻗﺼﻪﺍﻯ‬‫ّ‬ ‫ﻭ ﺭﻧﺠﻨﺎﻣﺔ ﺍﻭ‬
‫ﺍﮔﺮﭼﻪ ﺩﺭ ﺩﻝ ﺧﻮﺩ ﻧﻴﺰ ﺍﻭ ﻣﺬ ّﻛﺮ ﺑﻮﺩ‬
‫ﺧﺒﺮ ﻧﺪﺍﺷﺖ ﻛﻪ ﺗﻬﺮﺍﻥ ﻣﺎ ﻣﺼ ّﻮﺭ ﺑﻮﺩ‬
‫ﺣﺠﺎﺏ ﻛﺸﻒ ﺷﺪ ﺍﻭ ﺩﺭ ﺣﺼﺎﺭ ﭼﺎﺩﺭ ﺑﻮﺩ‬
‫ﻛﻪ ﺩﺍﺩﮔﺎﻩ ﺭﺿﺎﺷﺎﻩ ﺩﺍﺩﮔﺴﺘﺮ ﺑﻮﺩ!‬
‫‪309‬‬ ‫ﺟﻬﺎﻥ ﺍﻭ ﻧﻪ ﻓﺮﺍﺗﺮ ﺯ ﻋ ّﻤﻪ »ﺧﺎﻭﺭ« ﺑﻮﺩ‬
‫ﻫﻤﻴﺸﻪ ﺩﻳﺪﻩﺍﺵ ﺍﺯ ﺭﻧﺞ ﺩﻳﮕﺮﺍﻥ ﺗﺮ ﺑﻮﺩ‬
‫ﺩﺭ ﺁﺵ ﻛﺸﻚﭘﺰﻯ ﻧﻴﺰ ﻫﻢ ﻫﻨﺮﻭﺭ ﺑﻮﺩ‬
‫ﻭ ﻗﻠﺐ ﻗﺎﻧﻊ ﺍﻭ ﺩﺭ ﺑﺮﺵ ﻛﺒﻮﺗﺮ ﺑﻮﺩ‬
‫ﻛﺒﻮﺗﺮﺍﻧﻪ ﺩﺭ ﺍﻧﺪﻭﻩ ﺧﻮﺩ ﺷﻨﺎﻭﺭ ﺑﻮﺩ‬
‫ﺑﻪ ﺳﺎﻥ ﺑﺎﺩ ﺻﺒﺎ ﺑﻮﺩ ﻳﺎ ﻛﺒﻮﺗﺮ ﺑﻮﺩ‬
‫ﺯﻧﻰ ﻧﻪ ﺑﺎﻧﻮ ﻭ ﻣﺎﺩﺍﻡ‪ ،‬ﺩﺍﻡﭘﺮﻭﺭ ﺑﻮﺩ‬
‫ﻛﻪ ﻛﺎﺭﺩﺍﻥ ﻭ ﻛﻤﺎ ﺑﻴﺶ ﻫﻢ ﻛﻼﻧﺘﺮ ﺑﻮﺩ‬
‫ﺯﻧﻰ ﻛﻪ ﺯﺍﺭ ﻭ ﻧﺰﺍﺭﺍﻧﻪ ﺭﻭﺡﭘﺮﻭﺭ ﺑﻮﺩ‬
‫ﺯﻧﻰ ﻛﻪ ﺑﺎ ﺧﻮﺩ ﻭ ﺑﻴﮕﺎﻧﻪ ﻧﻴﺰ ﺧﻮﺍﻫﺮ ﺑﻮﺩ‬
‫ﺯﻧﻰ ﻓﻘﻴﺮ ﻛﻪ ﻗﻠﺒ ًﺎ ﺭﻓﻴﻖﭘﺮﻭﺭ ﺑﻮﺩ‬
‫ﻛﻪ ﺩﺭﺑﻬﺎﺭ ﺧﺰﺍﻥ ﻛﺮﺩﻩ ﻣﻬﺮﺵ ﺁﺫﺭ ﺑﻮﺩ‬
‫ﺑﭽﻪ ﻧﻴﺰ ﻛﻤﺘﺮ ﺑﻮﺩ‬
‫ﻭ ﻭﺍژﮔﺎﻥ ﻭﻯ ﺍﺯ ّ‬
‫ﻭ ﺍﺯ ﻗﻀﺎﻯ ﻓﻠﻚ‪ ،‬ﭼﻮﺏ ﺧﺸﻚ ﻭ ﻻﻏﺮ ﺑﻮﺩ‬
‫ﻧﺪﺍﺷﺖ ﺟﻮﻫﺮ ﺍﻭ ﺭﺍ ﻭﻟﻴﻚ ﮔﻮﻫﺮ ﺑﻮﺩ‬
‫ﻛﻪ »ﮔﻞﻣﺤ ّﻤﺪ« ﺍﺯ ﺍﻭ ﺑﻰﺳﺒﺐ ﻣﻜﺪّ ﺭ ﺑﻮﺩ‬
‫ﺳﭙﻴﺪﻩ ﺳﻴﻢ ﺭﺩﻩ ﺑﻮﺩ ﺩ ّﺭ ﺩﻧﺪﺍﻧﻬﺎﺵ‬
‫ﭼﻮ ﺍﺯ ﺩﺭﺧﺖ ﻏﻤﺶ ﺑﺎﺯ ﭼﻴﺪﻩ ﺑﻮﺩ ﭘﺪﺭ‬
‫ﻛﺮﺩ‬ ‫ﺑﻰﺯﺑﺎﻧﺶ‬ ‫ﻭﻟﻴﻚ ﺑﺎﺯﻯ ﺍﻳّﺎﻡ‬
‫ﺧﻮﺩ ﺍﺯ ﺳﺘﺮﻭﻧﻰ ﺍﺯ ﺩﺭﺩ ﺗﻠﺦ ﻧﺎﺯﺍﺋﻰ‬
‫ﻗﺪﺵ ﺑﻪ ﺳﺎﻥ ﺯﺑﺎﻧﺶ ﺯ ﻭﻫﻢ ﺷﺪ ﻛﻮﺗﺎﻩ‬
‫ﺧﺪﺍﻯ ﺭﺍ ﭼﻪ ﻛﻨﺪ ﺑﺎ ﺗﺤ ّﻤﻞ ﻫﻤﺸﻮ‬
‫ﺑﺴﺎﻥ ﺳﺎﺭﻩ ﻫﻤﺎﻥ ﻫﻤﺴﺮ ﺧﻠﻴﻞﺍﷲ‬
‫ﭼﻪ ﺭﻧﺞﻫﺎ ﻛﻪ ﺑﺴﻰ ﺩﻳﺪ ﻭ ﺩﻡ ﻧﺰﺩ ﻳﻚ ﺁﻩ‬
‫ﺑﻪ ﻏﻴﺮ ﻧﺎﻡ ﺧﻮﺩﺵ ﺯﻳﻮﺭﻯ ﺑﻪ ﻳﺎﺩ ﻧﺪﺍﺷﺖ‬
‫ﺧﺒﺮ ﻧﺪﺍﺷﺖ ﻛﻪ ﺁﺯﺍﺩﻯ ﺯﻧﺎﻧﻰ ﻫﺴﺖ‬
‫ﺧﺒﺮ ﻧﺪﺍﺷﺖ ﻛﻪ ﺗﺎﺭﻳﺦ ﺟﺰ ﻣﺬ ّﻛﺮ ﻧﻴﺴﺖ‬
‫ﺧﺒﺮ ﻧﺪﺍﺷﺖ ﻛﻪ ﺩﺭ ﺷﻬﺮ‪ ،‬ﺑﺎﻧﻮﺍﻥ ﺷﺎﻫﻨﺪ‬
‫ﺧﺒﺮ ﻧﺪﺍﺷﺖ ﻛﻪ ﺩﺭ ﺷﻬﺮ ﺳﻴﻨﻤﺎ ﺩﺍﺭﻧﺪ‬
‫ﺧﺒﺮ ﻧﺪﺍﺷﺖ ﻛﺴﺎﻥ ﺩﺍﺩ ﺧﻮﻳﺶ ﻣﻰﮔﻴﺮﻧﺪ‬
‫ﺳﺘﻢ ﻛﺸﻴﺪﻥ ﺍﻭ ﺟﺰﻭ ﺯﻧﺪﮔﺎﻧﻰ ﺑﻮﺩ‬
‫ﺩﺭ ﺁﻓﺘﺎﺏ ﻫﻤﻪ ﺭﺧﺖ ُﺷﺴﺘﻪ ﻣﻰﺧﺸﻜﺎﻧﺪ‬
‫ﻧﺸﺴﺘﻪ ﺑﻮﺩ ﺑﻪ ﻛﻨﺠﻰ ﻭ ﭘﺸﻢ ﻣﻰﺭﻳﺴﻴﺪ‬
‫ﻫﻤﻴﺸﻪ ﻣﺠﻤﻊ ﻣﺮﻏﺎﻥ‪ ،‬ﺩﺭﺧﺖ ﮔﺮﺩﻭﻯ ﭘﻴﺮ‬
‫ﻧﻪ ﻓﺮﻕ ﻭ ﻓﺎﺻﻠﻪ ﻣﻰﺩﻳﺪ ﺑﻴﻦ ﺑﻠﺒﻞ ﻭ ﺯﺍﻍ‬
‫ﺑﺮﺍﻯ ﻧﺎﻣﻪﺑﺮﻯ ﺑﻴﻦ »ﮔﻞﻣﺤﻤﺪ« ﻭ ﺷﻬﺮ‬
‫ﺯﻧﻰ ﻋﻔﻴﻒ‪ ،‬ﻭﻓﺎﭘﻴﺸﻪ‪ ،‬ﭘﺨﺘﻪ‪ ،‬ﻛﺪﺑﺎﻧﻮ‬
‫ﺯﻧﻰ ﻛﻪ ﺟﻠﻮﻩﺍﻯ ﺍﺯ ﺟﺎﺩﻭﻯ ﺟﻤﺎﻝ ﻧﺪﺍﺷﺖ‬
‫ﺟﻤﺎﻝ ﺍﻭ ﻛﻢ ﻭ ﺁﻧﮕﻪ ﻣﺠﺎﻝ ﺍﻭ ﻛﻤﺘﺮ‬
‫ﻣﺠﺴﻤﺔ ﻣﻬﺮ ﻭ ﻣﻬﺮ ﻭﺭﺯﻳﺪﻥ‬ ‫ّ‬ ‫ﺯﻧﻰ‬
‫ﺯﻧﻰ ﻛﻪ ﺟﺴ ِﻢ ﺧﺸﻦ ﺩﺍﺷﺖ ﺑﺎ ﻟﻄﺎﻓﺖ ﺭﻭﺡ‬
‫ﺯﻧﻰ ﻛﻪ ﺩﺭ ﺩﻝ ﺧﻮﺩ ﺁﺗﺶ ﻣﺤﺒّﺖ ﺩﺍﺷﺖ‬
‫ﺯﻧﻰ ﻛﻪ ﺣﺮﻑ ﻭ ﻛﻼﻣﻰ ﺩﺭ ﺍﺧﺘﻴﺎﺭ ﻧﺪﺍﺷﺖ‬
‫ﺯﻧﻰ ﻛﻪ ﺷﻮﻫﺮ ﺍﻭ ﻣﻴﻞ ﻓﺮﺑﻬﻰ ﻣﻰﺩﺍﺷﺖ‬
‫ﻫﻮﻭﻯ ﺧﻮﺵ ﺑﺮ ﻭ ﺭﻭﻳﺶ »ﻣﺎﺭﺍﻝ« ﺑﺴﻰ ﺯﻳﺎﺩ‬
‫ﻛﺪﺍﻡ ﭘﻴﺮﺯﻥ ﭼﺸﻢ ﺷﻮﺭ ﺟﺎﺩﻭ ﻛﺮﺩ‬
‫ﺯﺑﻮﻥ ﻭ ﺯﺍﺭ ﺷﺪ ﺁﻧﻜﻮ ﺩﻟﻴﺮ ﻭ ﺩﻟﺒﺮ ﺑﻮﺩ‬
‫ﻭ ﻟﻴﻚ ﻣﺮﻛﺐ »ﺯﻳﻮﺭ« ﺍﻻﻍ ﻭ ﺍﺳﺘﺮ ﺑﻮﺩ‬
‫ﻭ ﺍﺯ ﺗﻤﺎﻡ ﺯﻧﺎﻥ ﭘﻴﺶ ﭼﺸﻢ ﺍﻭ ﺳﺮ ﺑﻮﺩ‬
‫»ﻣﺎﺭﺍﻝ« ﺯﻳﻨﺖ ﺑﺴﺘﺎﻥ ﻭ ﺑﺎﻍ ﻭ ﺑﺴﺘﺮ ﺑﻮﺩ‬
‫»ﻣﺎﺭﺍﻝ« ﺩﺭ ﺑﺮ ﻭ ﺍﻭ ﻣﺜﻞ ﺣﻠﻘﻪ ﺑﺮ ﺩﺭ ﺑﻮﺩ‬
‫ﺑﻪ ﺟﻤﻊ ﺗﻌﺰﻳﻪ ﻣﺎﻧﻨﺪ ﺷﻤﺮ ﻛﺎﻓﺮ ﺑﻮﺩ‬
‫ﺳﺮﺷﺘﻪ ﺑﺎ ﻏﻢ ﺍﻭ ﻣﺜﻞ ﺷﻴﺮ ﻭ ّ‬
‫ﺷﻜﺮ ﺑﻮﺩ‬
‫ﺑﺸﺮ ﻧﺒﻮﺩ ﺗﻮ ﮔﻮﻳﻰ ﻭ ﺩﺭ ﻣﺜﻞ ﺷﺮ ﺑﻮﺩ‬
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‫ﻗﻨﺎﺕ ﺭﻧﺞ ﺯﻧﺎﻥ ﺭﺍ ﺑﺴﺎﻥ ﻣﻈﻬﺮ ﺑﻮﺩ‬
‫ﺯ ﺟﻤﻊ ﺭﺍﻧﺪﻩ ﻭ ﻳﺎ ﻟﻘﻮﺯ ﭼﻮﻥ ﺑ ِﺰ ﮔﺮ ﺑﻮﺩ‬
‫ﻧﺪﻳﺪﻩ ﺁﺏ ﻭﻟﻰ ﺑﺎﻃﻨ ًﺎ ﺷﻨﺎﮔﺮ ﺑﻮﺩ‬
‫ﻛﺴﻰ ﻛﻪ ﺷﻴﺮﺩﻝ ﺍﻣﺎ ﻏﺰﺍﻝ ﭘﻴﻜﺮ ﺑﻮﺩ‬
‫ﻛﺴﻰ ﻛﻪ ﭼﺸﻢ ﻭ ﭼﺮﺍﻍ ﻣﻦ ﻭ »ﻛﻠﻴﺪﺭ« ﺑﻮﺩ‬
‫ﻛﺴﻰ ﻛﻪ ﺑﺮ ﺳﺮﺵ ﺍﺯ ﻧﻮﺭ ﻋﺸﻖ ﺍﻓﺴﺮ ﺑﻮﺩ‬
‫ﻛﺴﻰ ﻛﻪ ﻧﺎﻡ ﮔﺮﺍﻣﻴﺶ ﻧﻴﺰ »ﺯﻳﻮﺭ« ﺑﻮﺩ‬
‫ﺯﻣﺎﻧﻪ ﻧﺎﻗﺪ ﻭ ﮔﻮﻫﺮﺷﻨﺎﺱ ﻭ ﺯﺭﮔﺮ ﺑﻮﺩ‬
‫ﻛﻪ ﺩﺭ ﻣﻘﺎﻳﺴﻪ ﺑﺎ ﺷﻌﺮ ﺩﻳﮕﺮﺍﻥ‪ ،‬ﺗﺮ ﺑﻮﺩ‬
‫ﺩﮔﺮ ﺯ ﺣﺴﻦ ﻭ ﻣﻼﺣﺖ‪ ،‬ﺍﺛﺮ ﻧﻤﺎﻧﺪ ﺩﺭ ﺍﻭ‬
‫»ﻣﺎﺭﺍﻝ« ﭼﺎﺑﻚ ﻭ ﻓﺮﻣﺎﻧﺮﻭﺍ ﻭ ﺍﺳﺐﻧﺸﻴﻦ‬
‫»ﻣﺎﺭﺍﻝ« ﺳﻮﮔﻠﻰ ﻗﻠﺐ »ﮔﻞﻣﺤﻤﺪ« ﺷﺪ‬
‫ﻧﺸﺴﺘﻪ »ﺯﻳﻮﺭ« ﭼﻮﻥ ﺁﺗﺸﻰ ﺑﻪ ﺧﺎﻛﺴﺘﺮ‬
‫ﻫﻮﻭ ﻧﻮﺍﺯ ﺷﺪ ﺍﺯ ﺗﻨﮕﻨﺎﻯ ﻧﺎﭼﺎﺭﻯ‬
‫ﺯﻧﻰ ﻛﻪ ﻳﻜﺴﺮﻩ ﭼﻮﻥ ﺯﻳﻨﺐ ﺯﻳﺎﺩﻯ ﺗﻠﺦ‬
‫ﺷﺮﺍﺭ ﺷﻌﻠﻪﻭﺭ ﻋﺸﻖ ﺩﺭ ﺩﻝ ﺳﺮﺩﺵ‬
‫ﺯ ﻋﻤﻖ ﻣﺤﻨﺖ ﺗﺎﺭﻳﺦ ﺷﺮﻕ ﻣﻰﺁﻣﺪ‬
‫ﺯﻧﻰ ﻛﻪ ﺯﺧﻢ ﺯﻣﺎﻥ ﻭ ﺯﺑﺎﻥ ﺑﻪ ﺟﺎﻧﺶ ﺩﺍﺷﺖ‬
‫ﻧﻪ ﻓﺮﻕ ﻭ ﻓﺎﺻﻠﻪﺍﻯ ﺑﻴﻦ ﮔﻮﺭ ﻭ ﮔﻬﻮﺍﺭﻩ‬
‫ﻧﺪﺍﺷﺖ ﻭﺍﻫﻤﻪ ﺍﺯ ﺩﻝ ﺯﺩﻥ ﺑﻪ ﺩﺭﻳﺎﻫﺎ‬
‫ﻛﻨﺎﺭ ﻫﻤﺴﺮ ﺧﻮﺩ ﺟﺎﻥ ﺳﭙﺮﺩ ﺩﺭ ﭘﻴﻜﺎﺭ‬
‫ﺣﻤﺎﺳﻪ ﻣﺎﻧﺪ ﺑﻪﺟﺎ ﺍﺯ ﺣﺪﻳﺚ ﻫ ّﻤﺖ ﺍﻭ‬
‫ﺩﺭﺳﺖﻭﺍﺭ ﺑﻪ ﭘﺎﻳﺎﻥ ﺭﺳﺎﻧﺪ ﻋﻬﺪ ﻭ ﻭﻓﺎ‬
‫ﻭ ﺯﻳﺐ ﺧﺎﻃﺮﻩﻫﺎ ﺷﺪ ﺑﻪ ﻧﻴﻜﻨﺎﻣﻰ ﺧﻮﻳﺶ‬ ‫‪310‬‬
‫ﺯﻣﺎﻧﻪ ﺧﺎﻃﺮﻩﺍﺵ ﺭﺍ ﺑﺴﻰ ﮔﺮﺍﻣﻰ ﺩﺍﺷﺖ‬
‫ﻣﮕﻮ ﻛﻪ ﺧﺸﻚ ﺑﻪ ﭘﺎﻳﺎﻥ ﺭﺳﻴﺪ ﭼﺎﻣﺔ ﻣﻦ‬
 ‫ﻣﺤﻤﺪﺭﺿﺎ ﻗﺎﻧﻮﻥﭘﺮﻭﺭ‬ ‫ﻧﻮﺍﻯ ﻧﻘﺎﻝ ﺩﺭ ﻛﻠﻴﺪﺭ‬

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‫ﺑﺨﺎﺭﺍ‬
‫ﺁﻳﺎ ﺗﺎﻛﻨﻮﻥ ﺻﺪﺍﻯ ﻗﺼﻪﮔﻮ ﻳﺎ ﺷﺎﻋﺮ ﺭﺍ ﺍﺯ ﻻﺑﻪﻻﻯ ﺧﻄﻮﻁ ﻣﻨﻘﺶ ﺑﺮ ﺻﻔﺤﻪ؛ ﺍﺯ ﻻﺑﻪﻻﻯ ﻭﺍژﻩﻫﺎ‪،‬‬
‫ﺳﺎﻝ ﺳﻴﺰﺩﻫﻢ‬ ‫ﻋﺒﺎﺭﺍﺕ ﻭ ﺟﻤﻠﻪﻫﺎ ﺷﻨﻴﺪﻩﺍﻳﺪ؟ ﻣﻨﻈﻮﺭ ﻓﻘﻂ ﺯﻳﺮﻯ ﻭ ﺑﻤﻰ ﺻﺪﺍ ﻧﻴﺴﺖ‪ .‬ﺍﻳﻨﺠﺎ ﻣﻨﻈﻮﺭ ﺁﻫﻨﮓ ﻭ ﻧﻮﺍﻯ ﺁﻥ‬
‫ﺷﻤﺎﺭﻩ ‪76‬‬
‫ﻣﺮﺩﺍﺩ ‪ -‬ﺷﻬﺮﻳﻮﺭ‬ ‫ﺻﺪﺍﺳﺖ ﻭ ﻧﻪ ﻓﻘﻂ ﭼﻴﺰﻯ ﻛﻪ ﺍﺯ ﻣﻌﺎﻧﻰ ﻭ ﻣﻔﺎﻫﻴﻢ ﻣﺘﻦ ﺩﺍﺳﺘﺎﻥ ﻳﺎ ﺷﻌﺮ ﺩﺭﻙ ﻣﻰﻛﻨﻴﻢ‪ ،‬ﺑﻠﻜﻪ ﭼﻴﺰﻯ‬
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‫ﺍﺳﺖ ﻛﻪ ﺷﺎﻳﺪ ﺑﺸﻮﺩ ﺍﺯ ﺁﻥ ﺑﻪ »ﻣﻮﺳﻴﻘﻰ« ﺻﺪﺍﻯ ﻗﺼﻪﮔﻮ ﻳﺎ ﺷﺎﻋﺮ ﺗﻌﺒﻴﺮ ﻛﺮﺩ ﻛﻪ ﮔﺎﻫﻰ ﺷﺎﺩ ﺍﺳﺖ ﻭ‬
‫ﮔﺎﻫﻰ ﻏﻢﺍﻧﮕﻴﺰ‪ ،‬ﮔﺎﻩ ﭘﺮﻫﻴﺠﺎﻥ ﻭ ﮔﺎﻩ ﺁﺭﺍﻡ‪ .‬ﻣﺜﻞ ﻣﻮﺳﻴﻘﻰ ﻣﺘﻦ ﻳﻚ ﻓﻴﻠﻢ ﺳﻴﻨﻤﺎﻳﻰ ﻛﻪ ﺑﻪ ﻓﻀﺎﻯ ﺩﺍﺳﺘﺎﻥ‬
‫ﻭ ﺭﻧﮓﺁﻣﻴﺰﻯ ﺻﺤﻨﻪﻫﺎ ﻭ ﺷﺨﺼﻴﺖﻫﺎ ﻛﻤﻚ ﻣﻰﻛﻨﺪ ﻭ ﺩﺭ ﻣﻮﺍﻗﻌﻰ ﺣﺘﺎ ﺑﺮ ﺁﻥﻫﺎ ﭼﻴﺮﻩ ﻣﻰﺷﻮﺩ‪ .‬ﺍﻳﻦ‬
‫ﻫﻤﺎﻥ ﺧﺼﻮﺻﻴﺘﻰ ﺍﺳﺖ ﻛﻪ ﺍﻏﻠﺐ ﺩﺭ ﺧﻮﺍﻧﺪﻥ ﺷﻌﺮ ﻭ ﻫﺮ ﺍﺯ ﮔﺎﻩ ﺩﺭ ﺩﺍﺳﺘﺎﻥ ﻣﺎ ﺭﺍ ﻭﺍ ﻣﻰﺩﺍﺭﺩ ﺳﻄﺮﻯ ﻳﺎ‬
‫ﻗﻄﻌﻪﺍﻯ ﺭﺍ ﺑﺎ ﺻﺪﺍﻯ ﺑﻠﻨﺪ ﺑﺨﻮﺍﻧﻴﻢ ﻭ ﺁﻥ »ﻣﻮﺳﻴﻘﻰ« ﻳﺎ ﻧﻮﺍﻯ ﺻﺪﺍﻯ ﺷﺎﻋﺮ ﻳﺎ ﻧﻮﻳﺴﻨﺪﻩ ﺭﺍ ﻛﻪ ﺩﺭ »ﮔﻮﺵ‬
‫ﻣﻐﺰﻣﺎﻥ« ﻣﻰﺷﻨﻮﻳﻢ ﺑﻪ ﮔﻮﺵ ﺗﻦ ﻧﻴﺰ ﺑﺸﻨﻮﻳﻢ‪ .‬ﺍﻳﻨﺠﺎﺳﺖ ﻛﻪ ﻣﺎ ﺣﺘﺎ ﺷﺎﻋﺮ ﺭﺍ ﺑﻪ ﭼﺸﻢ ﺩﻝ ﻣﻰﺑﻴﻨﻴﻢ ﻛﻪ‬
‫ﮔﻮﻳﻰ ﺩﺭ ﺑﺮﺍﺑﺮ ﻣﺎ ﻧﺸﺴﺘﻪ ﻭ ﺷﻌﺮ ﺧﻮﺩ ﺭﺍ ﺑﺎ ﺻﺪﺍﻯ ﺭﺳﺎ ﻭ ﺁﻫﻨﮕﻰ ﻣﻨﺎﺳﺐ ﻣﻰﺧﻮﺍﻧﺪ ﺍﻟﺒﺘﻪ ﺁﻫﻨﮓ ﻭ‬
‫ﺻﺪﺍﻳﻰ ﻛﻪ ﺩﺭ ﺗﺼﻮﺭ ﺩﺍﺭﻳﻢ ﻣﻤﻜﻦ ﺍﺳﺖ ﻫﻤﮕﻮﻥ ﺑﺎ ﻟﺤﻦ ﺻﺪﺍﻯ ﺧﻮﺩ ﺷﺎﻋﺮ ﻳﺎ ﻧﻮﻳﺴﻨﺪﻩ ﻧﺒﺎﺷﺪ ﻭ ﺩﺭ‬
‫ﻼ ﺑﻪ ﻣﻨﺎﺳﺒﺘﻰ ﺻﺪﺍﻯ ﺷﺎﻋﺮﻯ ﺭﺍ ﺷﻨﻴﺪﻩﺍﻳﻢ ﻛﻪ ﺷﻌﺮ ﺧﻮﺩﺵ ﺭﺍ ﺧﻮﺍﻧﺪﻩ ﺍﻣﺎ ﻧﻮﺍﻳﻰ ﻛﻪ ﺩﺭ‬ ‫ﻣﻮﺍﺭﺩﻯ ﻣﺜ ً‬
‫ﻼ ﺑﺎ ﺗﺠﺮﺑﻪ ﻋﻴﻨﻰ ﺻﺪﺍﻯ ﺷﺎﻋﺮ ﺗﻔﺎﻭﺕ ﺩﺍﺭﺩ‪ .‬ﺍﻳﻦ ﺑﻪ ﺧﺼﻮﺹ ﺩﺭ ﻗﺮﻥ ﻣﺎ‬ ‫ﺗﺨﻴﻞ ﺷﻨﻮﺍﻳﻰ ﻣﺎ ﺑﻮﺩﻩ ﻛﺎﻣ ً‬
‫ﺑﺎ ﻧﻮﺍﺭﻫﺎﻯ ﺿﺒﻂ ﺻﻮﺕ ﻭ ﻭﻳﺪﺋﻮ ﻭ ﺭﺍﺩﻳﻮ ﻭ ﺗﻠﻮﻳﺰﻳﻮﻥ ﺯﻳﺎﺩ ﺍﺗﻔﺎﻕ ﻣﻰﺍﻓﺘﺪ‪ .‬ﺍﻭﻟﻴﻦ ﺑﺎﺭﻯ ﺭﺍ ﻛﻪ ﺻﺪﺍﻯ‬
‫ﺍﺣﻤﺪ ﺷﺎﻣﻠﻮ ﻳﺎ ﻣﻬﺪﻯ ﺍﺧﻮﺍﻥ ﺛﺎﻟﺚ ﻳﺎ ﻓﺮﻭﻍ ﻓﺮﺧﺰﺍﺩ ﺭﺍ ﺍﺯ ﻧﻮﺍﺭ ﺷﻨﻴﺪﻳﺪ‪ ،‬ﺑﻪ ﻳﺎﺩ ﺑﻴﺎﻭﺭﻳﺪ‪.‬‬
‫ﺍﺯ ﺍﻳﻦ ﺑﮕﺬﺭﻳﻢ ﻭ ﺑﻪ »ﻛﻠﻴﺪﺭ« ﺑﭙﺮﺩﺍﺯﻳﻢ‪ .‬ﻳﻌﻨﻰ ﺻﺪﺍ‪ ،‬ﺁﻫﻨﮓ‪ ،‬ﻣﻮﺳﻴﻘﻰ ﻳﺎ ﻧﻮﺍﻯ »ﻛﻠﻴﺪﺭ«‪ .‬ﺩﺭ »ﻛﻠﻴﺪﺭ«‬
‫ﺍﻟﺒﺘﻪ ﺍﻳﻦ ﻣﻮﺳﻴﻘﻰ ﻣﺘﻦ ﻫﻤﺎﻥ ﻃﻨﻴﻦ ﺻﺪﺍﻯ ﺭﺍﻭﻯ ﺩﺍﺳﺘﺎﻥ ﺍﺳﺖ‪ ،‬ﻳﺎ ﺷﺎﻳﺪ ﺑﮕﻮﻳﻴﻢ ﻃﻨﻴﻦ ﺻﺪﺍﻯ ﻗﺼﻪﮔﻮ‬
‫ﻳﺎ ﺑﻪ ﻗﻮﻟﻰ ﻧﻘﺎﻝ ﻛﻪ ﮔﺎﻩ ﺷﺎﺩ ﺍﺳﺖ ﻭ ﮔﺎﻩ ﻏﻢﺍﻧﮕﻴﺰ‪ ،‬ﮔﺎﻩ ﭘﺮﻫﻴﺠﺎﻥ ﻭ ﮔﺎﻩ ﺁﺭﺍﻡ‪ ،‬ﮔﺎﻩ ﺻﺪﺍﻯ ﺁﻫﻨﮓ ﺻﺪﺍﻯ‬
‫ﺭﺯﻣﺠﻮﻯ ﺭﺟﺰﺧﻮﺍﻧﻰ ﺭﺍ ﺩﺍﺭﺩ ﻭ ﮔﺎﻩ ﻋﻢ ﺻﺪﺍﻯ ﻧﻮﺣﻪﺧﻮﺍﻧﻰ ﺭﺍ‪ .‬ﮔﺎﻩ ﺑﺴﺎﻥ ﻓﺮﻳﺎﺩﻯ ﺩﺭ ﺩﺷﺘﻬﺎ ﻭ‬
‫ﻛﻮﻩﻫﺎﻯ ﺧﺮﺍﺳﺎﻥ ﻣﻰﭘﻴﭽﺪ ﮔﺎﻩ ﻓﺮﻳﺎﺩﻯ ﺍﺳﺖ ﺩﺭ ﻣﻴﺎﻥ ﻃﻮﻓﺎﻥ ﻭ ﺑﺎﺩ‪.‬‬
‫ﻓﺮﺍﺭ ﻛﻪ ﻧﻤﻰﺷﻮﺩ ﺑﺎ ﺗﺤﻠﻴﻞ ﻭ ﻧﻘﺪ ﻧﺜﺮ ﻭ ﺳﺒﻚ‬ ‫ﺭﻭﻯ ﺻﺤﻨﻪ ﻛﺘﺎﺏ ﺍﻟﺒﺘﻪ ﺍﻳﻦ »ﻣﻮﺳﻴﻘﻰ« ﭼﻴﺰﻯ ﺍﺳﺖ ّ‬
‫ﻳﺎ ﺳﺎﺧﺖ ﻭ ﺩﻳﮕﺮ ﻋﻨﺎﺻﺮ ﺩﺍﺳﺘﺎﻥ ﺍﻧﮕﺸﺖ ﺭﻭﻳﺶ ﮔﺬﺍﺷﺖ ﻭ ﺗﺠﺰﻳﻪ ﻭ ﺗﺤﻠﻴﻠﺶ ﻛﺮﺩ‪ .‬ﭼﻴﺰﻯ ﺍﺳﺖ‬
‫ﻛﻪ ﺩﺭ ﻫﻮﺍ ﻭ ﻓﻀﺎﻯ ﻧﺎﻣﺮﺋﻰ ﺩﺍﺳﺘﺎﻥ ﻭﺟﻮﺩ ﺩﺍﺭﺩ ﻛﻪ ﻧﻤﻰﺑﻴﻨﻴﺶ ﻭﻟﻰ ﻣﻰﺩﺍﻧﻰ ﻛﻪ ﻫﺴﺖ‪ .‬ﺗﻨﻬﺎ ﺷﺎﻳﺪ ﺩﺭ‬
‫ﻣﻘﺎﻡ ﻣﻘﺎﻳﺴﻪ ﺑﺘﻮﺍﻥ ﺭﺩﭘﺎﻳﻰ ﺍﺯ ﺁﻥ ﺩﻳﺪ )ﻳﺎ ﺷﻨﻴﺪ(‪ .‬ﺍﻳﻨﺠﺎ ﺳﻌﻰ ﺧﻮﺍﻫﻴﻢ ﻛﺮﺩ ﺑﺎ ﭼﻨﺪ ﻣﻘﺎﻳﺴﻪ ﺍﻳﻦ ﺭﺩﭘﺎ ﺭﺍ‬
‫ﺑﻴﺎﺑﻴﻢ ﻭ ﺍﮔﺮ ﺷﺪﻧﻰ ﺍﺳﺖ )ﻳﻌﻨﻰ ﺑﺘﻮﺍﻧﻴﻢ( ﺑﺒﻴﻨﻴﻢ ﺗﺄﺛﻴﺮﺵ ﭼﻴﺴﺖ ﻭ ﺁﻳﺎ ﭼﻴﺰﻯ ﺑﺮ ﻣﻌﻨﻰ ﻭ ﻣﻔﻬﻮﻡ ﺩﺍﺳﺘﺎﻥ‬
‫ﻣﻰﺍﻓﺰﺍﻳﺪ ﻳﺎ ﻧﻪ؟‬
‫ﺩﺭﺑﺎﺭﻩﻯ ﺭﻭﺍﻝ ﺭﻭﺍﻳﺖ »ﻛﻠﻴﺪﺭ« ﮔﻔﺘﻪ ﺷﺪﻩ ﻛﻪ ﺷﺒﻴﻪ ﺑﻪ ﻧﻘﺎﻟﻰ ﺍﺳﺖ‪ ،‬ﻳﻌﻨﻰ ﻧﻘﺎﻟﻰ ﻗﻬﻮﻩﺧﺎﻧﻪﺍﻯ ﻭ‬
‫ﺍﻳﻦ ﺣﺮﻑ ﺷﺎﻳﺪ ﺯﻳﺎﺩ ﺍﺯ ﺣﻘﻴﻘﺖ ﺩﻭﺭ ﻧﺒﺎﺷﺪ‪ ،‬ﺩﺳﺖ ﻛﻢ ﺩﺭ ﻣﻮﺭﺩ ﺟﺎﻫﺎﻳﻰ ﺩﺭ ﺩﺍﺳﺘﺎﻥ‪ .‬ﺍﮔﺮ ﺍﻳﻦ ﭼﻨﻴﻦ‬
‫ﺍﺳﺖ ﺷﺎﻳﺪ ﺑﺘﻮﺍﻥ ﮔﻔﺖ ﺁﻥ »ﻣﻮﺳﻴﻘﻰ« ﻫﻤﺎﻥ ﺁﻫﻨﮓ ﻟﺤﻦ ﻧﻘﺎﻝ ﺍﺳﺖ ﻛﻪ ﺑﻪﺧﺼﻮﺹ ﺩﺭ ﻗﺴﻤﺖﻫﺎﻯ‬
‫ﺭﻭﺍﻳﺘﻰ ﻭ ﺷﺎﻳﺪ ﺗﻮﺻﻴﻔﻰ ﻭ ﺗﻮﺿﻴﺤﻰ )ﻭ ﻧﻪ ﺍﻟﺰﺍﻣ ًﺎ ﺩﺭ ﻧﻘﻞ ﻗﻮﻝﻫﺎﻯ ﻣﺴﺘﻘﻴﻢ ﺁﺩﻡﻫﺎ( ﺑﻪ ﮔﻮﺵ ﺧﻮﺍﻧﻨﺪﻩ‬
‫ﻣﻰﺭﺳﺪ‪.‬‬
‫ﻃﺒﻴﻌﻰ ﺍﺳﺖ ﻛﻪ ﻭﻗﺘﻰ ﺍﺯ ﺍﻳﻦ »ﻣﻮﺳﻴﻘﻰ« ﺩﺭ ﻣﺘﻨﻰ ﺻﺤﺒﺖ ﻣﻰﻛﻨﻴﻢ ﻣﻨﻈﻮﺭ ﺍﻳﻦ ﻧﻴﺴﺖ ﻛﻪ ﻣﺜ ً‬
‫ﻼ‬
‫ﭼﻴﺰﻯ ﻏﻴﺮ ﺍﺯ ﺗﺮﻛﻴﺐ ﺍﺟﺰﺍﻯ ﺯﺑﺎﻥ ﻳﻌﻨﻰ ﻭﺍژﻩﻫﺎ ﻭ ﻋﺒﺎﺭﺍﺕ ﻭ ﭼﮕﻮﻧﮕﻰ ﺗﺮﻛﻴﺐ ﺁﻥﻫﺎ ﺩﺭ ﺍﻧﺘﻘﺎﻝ ﺍﻳﻦ‬ ‫‪312‬‬
‫»ﻣﻮﺳﻴﻘﻰ« ﺑﻪ ﺧﻮﺍﻧﻨﺪﻩ ﺍﺯ ﻃﺮﻳﻖ ﻧﺜﺮ ﺩﺧﺎﻟﺖ ﺩﺍﺭﺩ‪ .‬ﻧﻬﺎﻳﺘ ًﺎ ﺯﺑﺎﻥ ﻫﻤﺎﻥ ﻋﺎﻣﻞ ﻧﺎﻗﻞ ﺍﻳﻦ ﻣﻮﺳﻴﻘﻰ ﺍﺳﺖ ﻭ‬
‫ﺳﺒﻚ ﻭ ﺭﻭﺵ ﺗﺮﻛﻴﺐ ﻭﺍژﻩﻫﺎ ﻭ ﺟﻤﻠﻪﺑﻨﺪﻯ ﻫﺮ ﻧﻮﻳﺴﻨﺪﻩ ﺑﻪ ﻭﺟﻮﺩ ﺁﻭﺭﻧﺪﻩ ﺁﻥ ﺍﺳﺖ‪.‬‬
‫ﺩﺭ ﺑﺮﺭﺳﻰ »ﻛﻠﻴﺪﺭ« ﺑﻴﺸﺘﺮ ﻧﺎﻗﺪﺍﻥ ﺗﻮﺟﻪ ﺧﺎﺻﻰ ﺑﻪ ﻧﺜﺮ ﺩﻭﻟﺖﺁﺑﺎﺩﻯ ﺩﺭ ﺍﻳﻦ ﺩﺍﺳﺘﺎﻥ ﺩﺍﺷﺘﻪﺍﻧﺪ‪.‬‬
‫ﺑﻪﻃﻮﺭ ﻗﻄﻊ ﻣﻰﺗﻮﺍﻥ ﮔﻔﺖ ﻛﻪ ﻧﻮﻳﺴﻨﺪﻩ ﺩﺭ ﺍﻳﻦ ﺍﺛﺮ ﺑﻪ ﺗﺠﺮﺑﻪ ﭘﺮﺩﺍﺧﺘﻪ ﻭ ﺍﺯ ﺗﻠﻔﻴﻖ ﮔﻮﻳﺶ ﺧﺮﺍﺳﺎﻧﻰ‬
‫ﺑﺎ ﻧﻮﺁﻭﺭﻯﻫﺎﻳﻰ ﺩﺭ ﺳﺎﺧﺘﻤﺎﻥ ﻭ ﻛﺎﺭﺑﺮﺩ ﻭﺍژﻩﻫﺎ ﻛﺎﺭ ﻣﻮﻓﻘﻰ ﺭﺍ ﺑﻪ ﺍﻧﺠﺎﻡ ﺭﺳﺎﻧﻴﺪﻩ ﺍﺳﺖ‪ .‬ﺍﻟﺒﺘﻪ ﻛﺎﺭﻫﺎﻯ‬
‫ﺗﺠﺮﺑﻰ ﺑﺎ ﻧﺜﺮ ﺩﺍﺳﺘﺎﻧﻰ ﺩﺭ ﺍﺩﺑﻴﺎﺕ ﻣﻌﺎﺻﺮ ﺍﻳﺮﺍﻧﻰ ﻣﻨﺤﺼﺮ ﺑﻪ ﺩﻭﻟﺖﺁﺑﺎﺩﻯ ﻧﻴﺴﺖ‪ .‬ﭘﻴﺸﻜﺴﻮﺗﺎﻥ ﺍﻳﻦ‬
‫ﺗﺠﺮﺑﻪﻫﺎ ﻣﺎﻧﻨﺪ ﻣﺤﻤﺪﻋﻠﻰ ﺟﻤﺎﻟﺰﺍﺩﻩ‪ ،‬ﺑﺎ ﺍﺳﺘﻔﺎﺩﻩ ﺍﺯ ﻛﻼﻡ ﻋﺎﻣﻴﺎﻧﻪ ﻭ ﺻﺎﺩﻕ ﻫﺪﺍﻳﺖ ﻭ ﺑﺰﺭگ ﻋﻠﻮﻯ‬
‫ﺑﺎ ﺳﺎﺩﻩﻧﻮﻳﺴﻰ ﻭ ﻫﻤﻮﺍﺭ ﻛﺮﺩﻥ ﺭﺍﻩ ﺯﺑﺎﻥ ﺩﺍﺳﺘﺎﻥﻧﻮﻳﺴﻰ ﺑﺮﺍﻯ ﻧﺴﻞﻫﺎﻯ ﺁﻳﻨﺪﻩ ﺑﻮﺩﻩﺍﻧﺪ‪ .‬ﺑﻌﺪ ﺍﺯ ﺍﻳﻦﻫﺎ‬
‫ﻧﺎﻡﺁﻭﺭﺍﻧﻰ ﭼﻮﻥ ﺻﺎﺩﻕ ﭼﻮﺑﻚ‪ ،‬ﺟﻼﻝ ﺁﻝ ﺍﺣﻤﺪ ﻭ ﻫﻮﺷﻨﮓ ﮔﻠﺸﻴﺮﻯ ﻫﺮ ﻳﻚ ﺗﺠﺮﺑﻪﻫﺎﻳﻰ ﺩﺭ ﺍﻳﻦ‬
‫ﺯﻣﻴﻨﻪ ﺩﺍﺷﺘﻪﺍﻧﺪ‪.‬‬
‫ﻧﺜﺮ ﺟﻼﻝ ﺁﻝ ﺍﺣﻤﺪ‪ ،‬ﺑﺮﺍﻯ ﻣﺜﺎﻝ‪ ،‬ﺑﻪﻃﻮﺭ ﻛﻠﻰ ﻭ ﺑﻪﻭﻳﮋﻩ ﺩﺭ ﺑﻌﻀﻰ ﺍﺯ ﺩﺍﺳﺘﺎﻥﻫﺎﻯ ﻛﻮﺗﺎﻩ ﻭ‬
‫ﺩﺭ ﺩﺍﺳﺘﺎﻥﻫﺎﻯ ﺑﻠﻨﺪ »ﻣﺪﻳﺮ ﻣﺪﺭﺳﻪ« ﻭ ﺷﺎﻳﺪ »ﻧﻔﺮﻳﻦ ﺯﻣﻴﻦ« ﻭ ﻧﻴﺰ ﺩﺭ ﻣﻘﺎﻻﺕ ﺍﺟﺘﻤﺎﻋﻰﺍﺵ ﻣﺎﻧﻨﺪ‬
‫»ﻏﺮﺏﺯﺩﮔﻰ« ﻧﺜﺮﻯ ﺍﺳﺖ ﻧﺴﺒﺘ ًﺎ ﺧﺸﻦ‪ ،‬ﻗﺎﻃﻊ ﻭ ﻣﺆﺛﺮ ﺑﺎ ﺟﻤﻠﻪﻫﺎ ﻭ ﻋﺒﺎﺭﺍﺕ ﻛﻮﺗﺎﻩ‪ .‬ﺑﻪ ﻫﻤﻴﻦ ﺩﻟﻴﻞ‬
‫ﻣﻮﺳﻴﻘﻰ ﺁﻥ )ﺍﮔﺮ ﺑﺸﻮﺩ ﺁﻥ ﺭﺍ ﻣﻮﺳﻴﻘﻰ ﺧﻮﺍﻧﺪ( ﺧﺸﻦ ﺑﻪ ﻧﻈﺮ ﻣﻰﺭﺳﺪ ﻭ ﺻﺪﺍﻯ ﻋﺼﺒﺎﻧﻰ ﺁﻝ ﺍﺣﻤﺪ ﺭﺍ‬
‫ﺍﺯ ﺁﻥ ﻣﻰﺷﻨﻮﻳﻢ‪ .‬ﺍﻳﻦ ﺍﻣﺎ ﻫﻤﻴﺸﻪ ﺍﻳﻦﻃﻮﺭ ﻧﻴﺴﺖ‪ .‬ﻫﻤﻴﻦ ﺟﻤﻠﻪﻫﺎ ﻭ ﻋﺒﺎﺭﺍﺕ ﻛﻮﺗﺎﻩ ﮔﺎﻩ ﺣﺎﻟﺘﻰ ﺷﺎﻋﺮﺍﻧﻪ‬
‫ﻣﻰﻳﺎﺑﻨﺪ‪ ،‬ﺣﺎﻟﺘﻰ ﻋﺎﻃﻔﻰ ﺑﺎ ﺯﻣﺰﻣﻪﻫﺎﻯ ﻣﻮﺳﻴﻘﻰ ﻣﺎﻧﻨﺪ‪:‬‬
 ‫»ﻟﺒﺎﺱ ﺍﺣﺮﺍﻡ ﺭﺍ ﺍﺯ ﻣﺪﻳﻨﻪ ﭘﻮﺷﻴﺪﻩ ﺑﻮﺩﻳﻢ‪ .‬ﻭ ﻣﺮﺍﺳﻢ ﻣﺴﺠﺪ ﻭ ﺑﻌﺪ ﺳﻮﺍﺭ ﺷﺪﻥ ﻭ ﺁﻣﺪﻥ ﻭ ﺁﻣﺪﻥ‪.‬‬
‫ﺳﻘﻒ ﺁﺳﻤﺎﻥ ﺑﺮ ﺳﺮ‪ ،‬ﻭ ﺳﺘﺎﺭﻩﻫﺎ ﭼﻪ ﭘﺎﻳﻴﻦ‪ ،‬ﻭ ﺁﺳﻤﺎﻥ ﻋﺠﺐ ﻧﺰﺩﻳﻚ‪ .‬ﻭ ﻋﻘﺮﺏ ﺳﺨﺖ ﺭﻭﺑﻪﺭﻭ ﻧﻤﺎﻳﺎﻥ‪...‬‬
‫ﻭ ﻣﻦ ﻫﻴﭻ ﺷﺒﻰ ﭼﻨﺎﻥ ﺑﻴﺪﺍﺭ ﻧﺒﻮﺩﻩﺍﻡ ﻭ ﭼﻨﺎﻥ ﻫﺸﻴﺎﺭ ﺑﻪ ﻫﻴﭽﻰ‪ .‬ﺯﻳﺮ ﺳﻘﻒ ﺁﻥ ﺁﺳﻤﺎﻥ ﻭ ﺁﻥ ﺍﺑﺪﻳﺖ‪،‬‬
‫ﻫﺮﭼﻪ ﺷﻌﺮ ﻛﻪ ﺍﺯ ﺑﺮ ﺩﺍﺷﺘﻢ ﺧﻮﺍﻧﺪﻡ ـ ﺑﺰﻣﺰﻣﻪﺍﻯ ﺑﺮﺍﻯ ﺧﻮﻳﺶ ـ ﻭ ﻫﺮﭼﻪ ﺩﻗﻴﻖﺗﺮ ﻛﻪ ﺗﻮﺍﻧﺴﺘﻢ ﺩﺭ ﺧﻮﺩ‬
‫)‪(1‬‬
‫ﻧﮕﺮﻳﺴﺘﻢ ﺗﺎ ﺳﭙﻴﺪﻩ ﺩﻣﻴﺪ‪«.‬‬
‫ﻛﻪ ﺍﺯ ﺟﻤﻼﺕ ﻭ ﻭﺍژﻩﻫﺎﻯ ﻣﻨﺘﻘﻂ ﻭ ﺗﻠﮕﺮﺍﻓﻰ‪ ،‬ﺻﺪﺍﻯ ﺯﻣﺰﻣﻪﻯ ﮔﻮﻳﻨﺪﻩ ﻛﻪ ﺷﻌﺮ ﻣﻰﺧﻮﺍﻧﺪ ﺑﻪ‬
‫ﮔﻮﺵ ﻣﻰﺭﺳﺪ ﻭ ﺍﻳﻦ ﻫﻤﺎﻥ ﻣﻮﺳﻴﻘﻰ »ﺧﺴﻰ ﺩﺭ ﻣﻴﻘﺎﺕ« ﺍﺳﺖ ﻛﻪ ﺍﺯ ﻻﺑﻪﻻ ﻭ ﺍﺯ ﻃﺮﻳﻖ ﺍﻳﻦ ﺳﻄﻮﺭ‬
‫ﻭﺍژﻩﻫﺎ ﻣﻰﺷﻨﻮﻳﻢ ﻭ ﮔﺎﻩ ﺑﺮ ﺩﻝ ﻣﻰﻧﺸﻴﻨﺪ ﭼﻮﻥ ﺯﻣﺰﻣﻪﺍﻯ ﺍﺳﺖ ﺷﺨﺼﻰ ﻭ ﺧﺼﻮﺻﻰ‪ ،‬ﺣﺘﺎ ﺷﺨﺼﻰﺗﺮ‬
‫ﺍﺯ ﺻﺪﺍﻯ ﺷﺎﻋﺮﺍﻥ ﺍﺯ ﻃﺮﻳﻖ »ﻣﻦ« ﺷﻌﺮﺷﺎﻥ‪.‬‬
‫ﻣﺜﺎﻟﻰ ﺩﻳﮕﺮ ﺑﻴﺎﻭﺭﻳﻢ ﺍﺯ ﻧﻮﻳﺴﻨﺪﻩﺍﻯ ﺩﻳﮕﺮ‪ .‬ﺑﺎﺯ ﺍﺯ ﺗﺠﺮﺑﻪﻫﺎﻯ ﻗﺒﻞ ﺍﺯ ﺩﻭﻟﺖﺁﺑﺎﺩﻯ ﻭ »ﻛﻠﻴﺪﺭ«‪ ،‬ﻛﺎﺭﻫﺎﻯ‬
‫ﺍﺑﺮﺍﻫﻴﻢ ﮔﻠﺴﺘﺎﻥ ﺭﺍ ﺑﺎﻳﺪ ﻧﺎﻡ ﺑﺮﺩ ﻭ »ﻣﻮﺳﻴﻘﻰ« ﻭﻳﮋﻩ ﺯﺑﺎﻥ ﺩﺍﺳﺘﺎﻧﻰ ﺍﻭ ﺭﺍ‪ .‬ﮔﻠﺴﺘﺎﻥ ﺑﺎ ﻛﺎﺭﺑﺮﺩ ﻭﺯﻥ ﻭ ﺗﻜﺮﺍﺭ‬
‫ﻓﻌﻞ‪ ،‬ﺁﻫﻨﮕﻰ ﺩﺭ ﻧﺜﺮ ﺧﻮﺩ ﺍﻳﺠﺎﺩ ﻣﻰﻛﻨﺪ ﻛﻪ ﺩﺭ ﺗﻤﺎﻡ ﺩﺍﺳﺘﺎﻥ ﺍﺩﺍﻣﻪ ﻣﻰﻳﺎﺑﺪ ﻭ ﺑﻪ ﺁﻥ ﺭﻧﮓ ﺑﻰﻃﺮﻓﺎﻧﻪ ﻭ‬
‫ﺑﻪﺧﺼﻮﺹ ﻃﻨﺰﺁﻣﻴﺰ ﻭ ﺣﺘﺎ ﻃﻌﻨﻪﺁﻣﻴﺰﻯ ﻣﻰﺩﻫﺪ‪ .‬ﺍﻳﻦ ﻫﻢ ﺩﺭ ﻣﻮﺭﺩ ﺩﺍﺳﺘﺎﻥﻫﺎﻯ ﻛﻮﺗﺎﻩ ﮔﻠﺴﺘﺎﻥ ﻭ ﻫﻢ‬
‫ﺩﺭ ﺭﻣﺎﻥ ﺑﻠﻨﺪﺵ »ﺍﺳﺮﺍﺭ ﮔﻨﺞ ﺩﺭﻩﻯ ﺟﻨﻰ«‪ ،‬ﺻﺪﻕ ﻣﻰﻛﻨﺪ ﻭ ﻧﻴﺰ ﺩﺭ ﻣﻮﺭﺩ ﻓﻴﻠﻢﻫﺎﻳﺶ ﻛﻪ ﺩﺭ ﺁﻥﻫﺎ ﻫﻢ‬
‫ﻛﻮﺷﺸﻰ ﺩﺭ ﺧﻠﻖ ﺍﻳﻦ »ﻣﻮﺳﻴﻘﻰ ﺯﺑﺎﻧﻰ« ﺩﺍﺭﺩ ﻭ ﺑﺎﺯﻳﮕﺮﺍﻥ ﺑﺎ ﺻﺪﺍﻳﻰ ﻣﻮﺯﻭﻥ ﻭ ﻳﻜﻨﻮﺍﺧﺖ ﺟﻤﻼﺗﻰ ﺭﺍ‬
‫‪313‬‬ ‫ﻛﻪ ﺍﻏﻠﺐ ﻧﻮﻋﻰ ﻗﺎﻓﻴﻪ ﺩﺍﺭﻧﺪ ﺍﺩﺍ ﻣﻰﻛﻨﻨﺪ‪ .‬ﻧﮕﺎﻩ ﻛﻨﻴﻢ ﺑﻪ ﻗﻄﻌﻪﺍﻯ ﺍﺯ ﺩﺍﺳﺘﺎﻥ ﻛﻮﺗﺎﻩ »ﺳﻔﺮ ﻋﺼﻤﺖ«‪:‬‬
‫»ﻭﻗﺘﻰ ﻛﻪ ﺳﺮﺑﺮﺩﺍﺷﺖ ﭼﺸﻤﺶ ﺑﻪ ﻧﻮﺭ ﺗﻮﻯ ﺣﺮﻡ ﺧﻮ ﮔﺮﻓﺘﻪ ﺑﻮﺩ‪ ،‬ﻭ ﻫﺮ ﭼﻴﺰ ﺷﺴﺘﻪ ﺑﻮﺩ‪ ،‬ﺭﻓﺘﻪ ﺑﻮﺩ‪،‬‬
‫ﻭ ﺟﺰ ﺍﻭ ﻧﺒﻮﺩ‪ .‬ﺍﻧﺒﻮﻩ ﻣﺮﺩﻣﻰ ﻛﻪ ﺯﻳﺮ ﺭﻭﺍﻕ ﺑﻠﻨﺪ ﺩﺭ ﺭﻓﺖ ﻭ ﺁﻣﺪ ﺧﻮﺩ ﺑﻮﺩﻧﺪ ﺍﻧﮕﺎﺭ ﺧﻠﻮﺕ ﺍﻭ ﺭﺍ ﺑﺮ ﻫﻢ‬
‫ﻧﻤﻰﺯﺩﻧﺪ‪ .‬ﺍﻧﮕﺎﺭ ﻫﻴﭻ ﻛﺴﻰ ﻫﺮﮔﺰ ﺍﺯ ﺁﺳﺘﺎﻧﻪ ﺗﺠﺎﻭﺯ ﻧﻜﺮﺩﻩ ﺑﻮﺩ‪ .‬ﻫﺮﮔﺰ ﻧﮕﺎﻩ ﺑﻪ ﺣﺪ ﺣﺮﻡ ﻧﺮﻓﺘﻪ ﺑﻮﺩ‪ ،‬ﻭ‬
‫ﻣﺮﻗﺪ ﭘﻴﻮﺳﺘﻪ ﭘﺎﻙ ﻣﺎﻧﺪﻩ ﺑﻮﺩ‪ ،‬ﻭ ﺍﺯ ﻫﺮ ﻧﻔﻮﺫ ﺩﻭﺭ‪ ،‬ﺑﺎﻛﺮﻩ‪ .‬ﺍﻛﻨﻮﻥ ﺍﻧﮕﺎﺭ ﺍﻭ ﺭﺳﻴﺪﻩ ﺑﻮﺩ‪ ،‬ﻭ ﻫﺮﻛﺲ ﻛﻪ ﺑﻮﺩ‬
‫)‪(2‬‬
‫ﺍﻭ ﻧﺒﻮﺩ‪ ،‬ﻭ ﺍﻭ ﺑﻮﺩ ﻭ ﺭﺑﻂ ﺑﻼﻓﺼﻞ ﺑﺎ ﻭﺟﻮﺩ‪ ،‬ﻳﺎ ﻣﺤﺠﺮﻯ ﻛﻪ ﻣﺮﻛﺰ ﺣﺮﻣﺖ ﺑﻮﺩ ﻭ ﮔﺮﻳﺴﺖ‪«.‬‬
‫ﺩﺭ ﺟﻤﻠﻪ ﺍﻭﻝ ﻭﺍژﻩﻫﺎﻯ »ﻧﻮﺭ«‪» ،‬ﺗﻮﻯ«‪» ،‬ﺧﻮ«‪» ،‬ﺑﻮﺩ«‪» ،‬ﺍﻭ« )ﺩﻭﺑﺎﺭ( ﻭ »ﻧﺒﻮﺩ« ﺁﻫﻨﮓ ﻳﻚ ﻧﻮﺍﺧﺘﻰ‬
‫ﺑﻪ ﺟﻤﻠﻪ ﻣﻰﺩﻫﻨﺪ ﺑﻪﻃﻮﺭﻯ ﻛﻪ ﮔﻮﻳﻰ ﺣﺘﺎ ﺑﺮ ﻣﻔﻬﻮﻡ ﺁﻥ ﻏﻠﺒﻪ ﻣﻰﻛﻨﻨﺪ‪ .‬ﺩﺭ ﺟﻤﻼﺕ ﺑﻌﺪ ﻫﻢ ﺑﺎﺯ »ﺑﻮﺩ«‬
‫ﭼﻨﺪﻳﻦ ﺑﺎﺭ ﺗﻜﺮﺍﺭ ﺷﺪﻩ ﻭ ﺗﺮﻛﻴﺒﺎﺕ ﻳﺎ ﻓﻌﻞﻫﺎﻯ »ﻧﻜﺮﺩﻩ ﺑﻮﺩ«‪» ،‬ﻧﺮﻓﺘﻪ ﺑﻮﺩ«‪» ،‬ﻣﺎﻧﺪﻩ ﺑﻮﺩ« ﻭ »ﺭﺳﻴﺪﻩ ﺑﻮﺩ«‬
‫ﻛﺎﺭ ﺭﺩﻳﻒ ﺷﻌﺮﻯ ﺭﺍ ﺍﻧﺠﺎﻡ ﻣﻰﺩﻫﻨﺪ‪.‬‬
‫ﮔﺮﭼﻪ ﺁﻫﻨﮓ ﺍﻳﻦ ﻧﺜﺮ ﺑﻪ ﮔﻮﺵ ﺩﻟﭙﺬﻳﺮ ﺍﺳﺖ ﻭﻟﻰ ﺷﺎﻳﺪ ﺑﺸﻮﺩ ﮔﻔﺖ ﺁﻫﻨﮕﻰ ﺍﺳﺖ »ﻣﺼﻨﻮﻋﻰ«‬
‫ﻛﻪ ﻧﻮﻳﺴﻨﺪﻩ ﻋﻤﺪﺍ ً ﺑﻪ ﻋﻨﻮﺍﻥ ﭼﺎﺷﻨﻰ ﺑﻪ ﺩﺍﺳﺘﺎﻥ ﺍﻓﺰﻭﺩﻩ ﺍﺳﺖ ﻭ ﻣﺎ ﻫﻤﻴﺸﻪ ﺍﺯ ﺁﻥ ﺁﮔﺎﻫﻴﻢ‪ .‬ﺍﻳﻦ ﺁﻫﻨﮓ‬
‫ﺩﺭ ﺟﺎﻫﺎﻳﻰ ﭼﻨﺎﻥ ﭘﺮﻃﻨﻴﻦ ﺍﺳﺖ ﻛﻪ ﺍﺯ ﻓﻬﻢ ﺧﻮﺩ ﺩﺍﺳﺘﺎﻥ ﺟﻠﻮﮔﻴﺮﻯ ﻣﻰﻛﻨﺪ ﻭ ﻣﺎ ﻣﺠﺒﻮﺭﻳﻢ ﻗﻄﻌﻪﺍﻯ‬
‫ﺭﺍ ﺩﻭﺑﺎﺭﻩ ﺑﺨﻮﺍﻧﻴﻢ‪ .‬ﺍﻳﻦ ﺁﻫﻨﮓ ﻣﻮﺯﻭﻥ ﺩﺭ ﺍﺷﻌﺎﺭ ﻋﺎﻣﻴﺎﻧﻪ ﻭ ﻛﻮﺩﻛﺎﻥ ﺩﺭ ﺍﺷﻌﺎﺭﻯ ﻣﺎﻧﻨﺪ »ﭘﺮﻳﺎ« ﻯ ﺍﺣﻤﺪ‬
‫ﺷﺎﻣﻠﻮ ﻛﻪ ﺩﺭ ﺁﻥ ﺍﺯ ﺍﺷﻌﺎﺭ ﻋﺎﻣﻴﺎﻧﻪ ﺍﺳﺘﻔﺎﺩﻩ ﺷﺪﻩ ﺩﻳﺪﻩ ﻣﻰﺷﻮﺩ ﻭ ﺍﺛﺮ ﻣﺸﺎﺑﻬﻰ ﺩﺭ ﺧﻮﺍﻧﻨﺪﻩ ﺩﺍﺭﺩ‪.‬‬
‫‪ (1‬ﺟﻼﻝ ﺁﻝ ﺍﺣﻤﺪ‪» ،‬ﺧﺴﻰ ﺩﺭ ﻣﻴﻘﺎﺕ«‪ ،‬ﺗﻬﺮﺍﻥ‪ ،‬ﭼﺎﭘﺨﺎﻧﻪ ﺧﻮﺷﻪ ﺳﺎﻝ ‪ ،1335‬ﺹ ‪.82-83‬‬
‫‪ (2‬ﺍﺑﺮﺍﻫﻴﻢ ﮔﻠﺴﺘﺎﻥ‪» ،‬ﺳﻔﺮ ﻋﺼﻤﺖ« ﺍﺯ ﻣﺠﻤﻮﻋﻪ »ﺟﻮﻯ ﻭ ﺩﻳﻮﺍﺭ ﻭ ﺗﺸﻨﻪ«‪ .‬ﭼﺎپ ﺳﻮﻡ ‪ ،1351‬ﭼﺎﭘﺨﺎﻧﻪ ﻣﻴﻬﻦ‪ ،‬ﺹ‬
‫‪.69-70‬‬
‫ﺩﺭ »ﻛﻠﻴﺪﺭ« ﺑﺮ ﺧﻼﻑ ﺁﺛﺎﺭ ﮔﻠﺴﺘﺎﻥ‪ ،‬ﻣﻮﺳﻴﻘﻰ ﻧﺜﺮ ﻳﺎ ﻧﻮﺍﻯ ﺻﺪﺍﻯ ﺭﺍﻭﻯ ﻳﺎ ﻧﻮﻳﺴﻨﺪﻩ ﺑﺎ ﺁﻥﭼﻪ ﺩﺭ‬
‫ﺩﺍﺳﺘﺎﻥ ﺍﺗﻔﺎﻕ ﻣﻰﺍﻓﺘﺪ‪ ،‬ﺑﺎ ﺣﻮﺍﺩﺙ ﻭ ﺻﺤﻨﻪﻫﺎ‪ ،‬ﺑﺎ ﺣﺎﻻﺕ ﻋﺎﻃﻔﻰ ﺷﺨﺼﻴﺘﻬﺎ ﻭ ﺭﻭﺍﺑﻂ ﺁﻥﻫﺎ ﻫﻤﮕﻮﻥ‬
‫ﺍﺳﺖ‪ .‬ﺩﺭ ﻳﻚﺟﺎ ﺍﻳﻦ ﻧﻮﺍ ﻛﻢ ﻛﻢ ﺑﻠﻨﺪ ﻭ ﺑﻠﻨﺪﺗﺮ ﻣﻰﺷﻮﺩ ﺗﺎ ﺻﺤﻨﻪ ﺭﻭﻳﺎﺭﻭﻳﻰ ﻭ ﺭﺯﻡ ﻳﺎ ﻛﺸﻤﻜﺶ ﺭﺍ‬
‫ﻫﻤﺮﺍﻫﻰ ﻛﻨﺪ ﻭ ﺟﺎﻯ ﺩﻳﮕﺮ »ﻣﻮﺳﻴﻘﻰِ« ﺁﺭﺍﻡ ﻣﺘﻦ ﺻﺤﻨﻪ ﻋﺎﺷﻘﺎﻧﻪﺍﻯ ﺍﺳﺖ‪ ،‬ﺩﺭ ﻳﻚﺟﺎ ﺍﺯ ﺁﻥ ﻏﺮﺵ ﺑﺎﺩ‬
‫ﻭ ﻃﻮﻓﺎﻥ ﺭﺍ ﻣﻰﺷﻨﻮﻳﻢ ﻭ ﺩﺭ ﺟﺎﻯ ﺩﻳﮕﺮ ﺯﻣﺰﻣﻪﻯ ﺟﻮﻳﺒﺎﺭﻯ ﺭﺍ ﺩﺭ ﻃﺒﻴﻌﺘﻰ ﺯﻳﺒﺎ‪ .‬ﺩﺭ ﻣﻘﺎﻳﺴﻪ ﺑﺎ »ﻣﻮﺳﻴﻘﻰ‬
‫ﻣﺼﻨﻮﻋﻰ« ﻧﺜﺮ ﮔﻠﺴﺘﺎﻥ‪» .‬ﻣﻮﺳﻴﻘﻰ« »ﻛﻠﻴﺪﺭ« ﻃﺒﻴﻌﻰ ﺍﺳﺖ ﻭ ﺑﻪ ﻓﻬﻢ ﺭﻭﺍﻳﺖ ﻛﻤﻚ ﻣﻰﻛﻨﺪ‪ .‬ﻧﮕﺎﻩ ﻛﻨﻴﻢ ﺑﻪ‬
‫ﭼﻨﺪ ﻧﻤﻮﻧﻪ‪ .‬ﻧﻤﻮﻧﻪ ﺍﻭﻝ ﺍﺯ ﺷﺐ ﻓﺮﺍﺭ »ﺷﻴﺮﻭ«ﺳﺖ ﺍﺯ ﺧﺎﻧﻪ ﺑﺮﺍﻯ ﻣﻼﻗﺎﺕ ﺑﺎ »ﻣﺎﻩ ﺩﺭﻭﻳﺶ«‪:‬‬
‫»ﺷﻴﺮﻭ ﺻﺪﺍﻯ ﻗﻠﺐ ﺧﻮﺩ ﺭﺍ ﻣﻰﺷﻨﻮﺩ‪ .‬ﺷﻴﺮﻭ ﺯﺑﺎﻥ ﻗﻠﺐ ﺧﻮﺩ ﺭﺍ ﻣﻰﺷﻨﺎﺳﺪ‪ .‬ﺷﻴﺮﻭ ﻓﺸﺎﺭ ﺯﺍﻳﺶ‬
‫ﻓﺮﺯﻧﺪ ﺭﺍ ﺣﺲ ﻣﻰﻛﻨﺪ‪ .‬ﺷﻴﺮﻭ ﻣﻰﺩﺍﻧﺪ ﻛﻪ ﭘﺎﻯ ﺩﺭ ﭘﻠﻪ ﺗﺎﺯﻩﺍﻯ ﻣﻰﮔﺬﺍﺭﺩ‪ .‬ﺷﻴﺮﻭ ﺑﺎ ﭼﺸﻢ ﻗﺪﻡ ﺑﺮﻣﻰﺩﺍﺭﺩ‪.‬‬
‫ﺷﻴﺮﻭ ﻣﻰﺩﺍﻧﺪ ﻋﻄﺶ ﻋﺸﻖ ﺍﻭ ﺭﺍ ﺑﻪ ﺩﻭﺯﺥ ﻫﻢ ﺑﺘﻮﺍﻧﺪ ﻛﺸﺎﻧﺪ‪.‬ﺷﻴﺮﻭ ﭘﻴﺸﺎﭘﻴﺶ ﺭﻧﮓ ﺧﻮﻥ ﺧﻮﺩ ﺑﺮ ﺧﻨﺠﺮ‬
‫ﺑﺮﺍﺩﺭ ﻣﻰﺑﻴﻨﺪ‪.‬ﺷﻴﺮﻭ ﻣﺮﺩﺍﻧﻪ ﺩﻝ ﺑﻪ ﺳﻔﺮ ﺩﺍﺩﻩ ﺍﺳﺖ‪ .‬ﺷﻴﺮﻭ ﺧﻮﺍﻫﺮ ﮔﻞﻣﺤﻤﺪ ﺍﺳﺖ‪ .‬ﺷﻴﺮﻭ ﭼﻴﺰﻯ ﺍﺯ ﺑﺮﺍﺩﺭ‬
‫)‪(1‬‬
‫ﻛﻢ ﻧﻤﻰﺁﻭﺭﺩ‪ .‬ﺷﻴﺮﻭ ﻧﻤﻰﺧﻮﺍﻫﺪ ﭼﻴﺰﻯ ﺍﺯ ﺑﺮﺍﺩﺭ ﻛﻢ ﺑﻴﺎﻭﺭﺩ‪«.‬‬
‫ﻭ ﺍﺯ ﻻﺑﻪﻻﻯ ﺍﻳﻦ ﺗﻮﺻﻴﻒ ﺣﺎﻟﺖ ﺷﻴﺮﻭ ﺻﺪﺍﻯ ﺭﺍﻭﻯ ﺍﺳﺖ ﻭ ﺁﻫﻨﮓ ﺻﺪﺍﻯ ﺍﻭ ﻛﻪ ﻣﺎ ﻣﻰﺷﻨﻮﻳﻢ‪.‬‬
‫ﺍﻳﻦ ﻫﻤﺎﻥ ﺁﻫﻨﮓ ﺻﺪﺍﻯ ﻧﻘﺎﻝ ﺍﺳﺖ ﻛﻪ ﺩﺭ ﺟﺎﻳﻰ ﺩﻳﮕﺮ ﺑﻌﺪ ﺍﺯ ﻛﻮﺷﺶ ﻧﺎﻓﺮﺟﺎﻡ »ﻛﻠﻤﻴﺸﻰﻫﺎ« ﺑﺮﺍﻯ‬
‫ﺭﺑﻮﺩﻥ »ﺻﻮﻗﻰ« ﻭ ﻛﺸﺘﻪ ﺷﺪﻥ »ﺣﺎﺝ ﺣﺴﻴﻦ ﭼﺎﺭﮔﻮﺷﻠﻰ« ﻭ »ﻣﺪﻳﺎﺭ« ﻧﻴﺰ ﻣﻰﺷﻨﻮﻳﻢ‪:‬‬
‫»ﺧﺴﺘﻪ ﻭ ﻣﺎﻧﺪﻩ ﻭ ﺩﺭﺩﻣﻨﺪ‪ ،‬ﺑﺮ ﺑﺴﺘﺮ ﺁﻏﻮﺵﻣﺎﻝ ﻣﻬﺘﺎﺏ‪ ،‬ﮔﻞﻣﺤﻤﺪ ﻣﻰﺭﺍﻧﺪ‪ .‬ﻣﻰﺭﺍﻧﺪ ﻭ ﻧﺪﺍﻧﺴﺘﻪ ﺑﺎ‬ ‫‪314‬‬
‫ﺧﻮﺩ ﻣﻰﺧﻮﺍﻧﺪ‪ .‬ﻧﻪ ﺑﺎ ﻫﺮﺍﻯ ﻭ ﺑﺎﻧﮓ‪ ،‬ﺍﺯ ﺁﻥﮔﻮﻧﻪ ﻛﻪ ﭼﻮﭘﺎﻧﺎﻥ ﮔﻠﻪ ﻓﺮﻳﺎﺩ ﻣﻰﻛﻨﻨﺪ‪ .‬ﺑﻪ ﺟﺎﻥ ﻧﺎﻟﻪ ﻭ ﺩﺭﺩﻣﻨﺪ‬
‫ﻣﻰﺧﻮﺍﻧﺪ‪ ،‬ﮔﻞﻣﺤﻤﺪ‪ .‬ﺁﻭﺍﻳﻰ ﺑﻪ ﺩﺭﺩ ﺩﺭ ژﺭﻓﺎﻯ ﺟﺎﻥ‪ .‬ﻭ ﮔﺎﻩ ﺧﺮﻭﺷﻰ ﺑﻪ ﭼﺸﻢ ﻛﻪ ﺩﺭ ﺗﻨﻮﺭﻩﻯ ﺩﻝ‬
‫ﻣﻰﭘﻴﭽﺪ‪ .‬ﺩﻳﮕﺮ ﺻﺪﺍ ﻧﻴﺴﺖ‪ .‬ﺗﻦ ﻭ ﻫﻔﺖ ﺑﻨﺪ ﺗﻦ ﺻﺪﺍﺳﺖ‪ .‬ﻓﺮﻳﺎﺩﻯ ﺧﺎﻣﻮﺵ ﺑﺮ ﮔﺴﺘﺮﻩﻯ ﺷﺐ ﻭ‬
‫)‪(2‬‬
‫ﺩﺷﺖ‪ .‬ﺍﻗﺒﺎﻟﻰ ﺍﺯ ﻫﻴﺎﻫﻮﻯ ﺩﺭ ﻫﻢ ﻓﺮﻭ ﻛﻮﻓﺘﻪ‪ .‬ﺗﻴﺮﻩ ﭘﺸﺖ ﺍﺯ ﺩﺭﺩ ﺗﻴﺮ ﻣﻰﻛﺸﺪ‪ .‬ﻏﻢ!«‬
‫ﺣﺎﻝ ﻧﮕﺎﻩ ﻛﻨﻴﺪ ﺑﻪ ﻭﺻﻔﻰ ﺍﺯ ﺑﺎﺩﻫﺎﻯ ﻛﻮﻳﺮﻯ‪:‬‬
‫»ﺑﺎﺯ ﺍﻳﻦ ﺑﺎﺩ ﺑﺮﺧﺎﺳﺘﻪ ﺑﻮﺩ‪ .‬ﻣﻰﻭﺯﻳﺪ‪ ،‬ﻣﻰﻧﺎﻟﻴﺪ ﻭ ﺧﺎﻙ ﺭﺍ ﺑﺮ ﻣﻰﺁﺷﻔﺖ‪ ،‬ﺩﺭ ﻫﻢ ﻣﻰﭘﻴﭽﺎﻧﺪ‪ ،‬ﺑﻪ ﺧﺎﻙ‬
‫ﺩﺭ ﻣﻰﺁﻣﻴﺨﺖ‪ ،‬ﻣﻰﻏﻠﺘﺎﻧﺪ‪ ،‬ﻣﻰﻏﻠﺘﻴﺪ ﻭ ﻫﻤﭽﻮﻥ ﻧﻤﺪﻯ ﻛﻪ ﺩﺭ ﻫﻢ ﺑﻠﻮﻟﺪ ﺑﺮ ﺩﺷﺖ ﻣﻰﻟﻮﻟﻴﺪ‪ .‬ﺗﻦ ﺑﺮ ﺑﻴﺎﺑﺎﻥ‬
‫ﺳﻮﺧﺘﻪ ﻣﻰﻣﺎﻻﻧﺪ ﻭ ﺑﻮﺗﻪﻫﺎﻯ ﺑﺮﻛﻨﺪﻩ ﻣﺮﻩ ﺭﺍ ﺑﺎ ﺧﻮﺩ ﻣﻰﺩﻭﺍﻧﺪ‪ .‬ﺩﻭﺭ ﻣﻰﺷﺪ ﻭ ﻣﻮﺝ ﺧﺎﻙ ﺩﺭ ﻫﺮ ﭘﻨﺎﻩ ﻓﺮﻭ‬
‫ﻣﻰﻧﺸﺎﻧﺪ ﻭ ﺑﺎﺯ ﺳﻴﻨﻪ ﺑﻪ ﺯﻣﻴﻦ ﻣﻰﺳﺎﻳﺎﻧﺪ‪.‬ﺩﺭ ﻫﻴﺰﻡ ﻭ ﺑﻮﺗﻪ ﭼﻨﮓ ﻣﻰﺍﻧﺪﺍﺧﺖ‪ ،‬ﻟﻮﻟﻪ ﻣﻰﺷﺪ ﻭ ﻣﻰﻟﻮﻻﻧﺪ‪،‬‬
‫ﺑﺎﻻ ﻣﻰﺭﻓﺖ ﺗﺎﺏ ﻣﻰﺧﻮﺭﺩ ﻭ ﺍﺯ ﺿﺨﺎﻣﺖ ﺧﻮﺩ ﺍﺑﺮﻯ ﺑﺮ ﭼﺸﻢ ﺳﺘﺎﺭﻩ ﻣﻰﻛﺸﻴﺪ‪ .‬ﺟﺎ ﺭﺍ ﺗﻨﮓ ﻣﻰﻛﺮﺩ‪،‬‬
‫)‪(3‬‬
‫ﺧﺎﻧﻪ ﺭﺍ ﺗﻨﮓ ﻣﻰﻛﺮﺩ‪ ،‬ﺩﻝ ﺭﺍ ﺗﻨﮓ ﻣﻰﻛﺮﺩ‪«.‬‬
‫ﺩﻭﻟﺖﺁﺑﺎﺩﻯ ﻫﻢ ﻣﺜﻞ ﮔﻠﺴﺘﺎﻥ ﺍﺯ ﻭﺍژﻩﻫﺎ ﻭ ﻋﺒﺎﺭﺍﺕ ﻭﺯﻥ ﻭ ﻗﺎﻓﻴﻪ ﻣﻰﺳﺎﺯﺩ ﻭ ﺍﺯ ﻧﻮﺍﻯ ﻧﺸﺎﻥ ﺩﺍﺩﻥ‬
‫ﺑﺮﺍﻯ ﻗﺪﺭﺕ ﺑﺎﺩ ﺍﺳﺘﻔﺎﺩﻩ ﻣﻰﻛﻨﺪ‪ ،‬ﻭﻟﻰ ﺁﻥﭼﻪ ﻧﻮﺍ ﻭ ﺁﻫﻨﮓ ﻧﺜﺮ ﻛﻠﻴﺪﺭ ﺭﺍ ﺍﺯ »ﻣﻮﺳﻴﻘﻰ« ﺩﺍﺳﺘﺎﻥﻫﺎﻯ‬
‫ﮔﻠﺴﺘﺎﻥ ﻣﺘﻤﺎﻳﺰ ﻣﻰﻛﻨﺪ ﻫﻤﺎﻧﺎ ﻫﻤﮕﻮﻧﻰ ﻣﻄﻠﺐ ﻭ ﺻﺪﺍﺳﺖ‪ .‬ﻭ ﺑﻪ ﻧﻤﻮﻧﺔ ﺩﻳﮕﺮﻯ ﺑﻨﮕﺮﻳﻢ ﺍﺯ ﺁﺧﺮ ﺩﺍﺳﺘﺎﻥ‬
‫‪ (1‬ﻣﺤﻤﺪ ﺩﻭﻟﺖﺁﺑﺎﺩﻯ »ﻛﻠﻴﺪﺭ« ﭼﺎپ ﭼﻬﺎﺭﻡ ﺗﻬﺮﺍﻥ ﻧﺸﺮ ﭘﺎﺭﺱ ‪ ،1364‬ﺹ ‪.148‬‬
‫‪» (2‬ﻛﻠﻴﺪﺭ«‪ ،‬ﺟﻠﺪ ﺍﻭﻝ‪ ،‬ﺹ ‪.87-186‬‬
‫‪» (3‬ﻛﻠﻴﺪﺭ«‪ ،‬ﺟﻠﺪ ﺍﻭﻝ‪ ،‬ﺹ ‪.74‬‬
 ‫ﺑﻌﺪ ﺍﺯ ﻛﺸﺘﻪ ﺷﺪﻥ »ﮔﻞﻣﺤﻤﺪ«ﻫﺎ ﺑﺪﺳﺖ ﻧﻴﺮﻭﻫﺎﻯ ﺣﻜﻮﻣﺘﻰ ﻭ ﺍﺭﺑﺎﺑﺎﻥ‪ ،‬ﺻﺤﻨﻪﺍﻯ ﻛﻪ ﻳﺎﺩﺁﻭﺭ »ﺷﺎﻡ‬
‫ﻏﺮﻳﺒﺎﻥ« ﺍﺳﺖ ﺑﺎ ﻧﻌﺸﻬﺎﻯ ﻳﺎﻏﻴﺎﻥ ﻛﺸﺘﻪ ﺷﺪﻩ ﻛﻪ ﺑﻪ ﺳﻮﻯ ﺷﻬﺮ ﺑﺮﺩﻩ ﻣﻰﺷﻮﻧﺪ‪:‬‬
‫»ﻣﺮﺩﻡ ﺩﻳﻪﻫﺎ ﺑﻪ ﭘﻴﺸﻮﺍﺯ ﻧﻤﻰﺁﻣﺪﻧﺪ‪ ،‬ﻳﺎ ﺩﺳﺖ ﻛﻢ ﺷﺎﺩﻣﺎﻧﻪ ﺑﻪ ﭘﻴﺸﻮﺍﺯ ﻧﻤﻰﺁﻣﺪﻧﺪ‪ .‬ﺑﺴﺎ ﻣﺮﺩﻡ ﻛﻪ ﺑﺮ ﺳﺮ‬
‫ﺭﺍﻩﻫﺎ ﻣﻰﺍﻳﺴﺘﺎﺩﻧﺪ‪ ،‬ﻣﻰﻧﮕﺮﻳﺴﺘﻨﺪ ﻭ ﻣﻰﮔﺮﻳﺴﺘﻨﺪ ﻭ ﻛﺸﻨﺪﮔﺎﻥ ﺭﺍ ﺑﻪ ﺩﻝ ﻧﻔﺮﻳﻦ ﻣﻰﻛﺮﺩﻧﺪ‪ .‬ﻫﻤﻪ ﺍﺯ ﺍﻳﻦ ﺭﻭ‬
‫ﺑﻮﺩ ﺍﮔﺮ ﺍﺭﺩﻭ ﺩﺭﻧﮓ ﻧﻤﻰﻛﺮﺩ ﻭ ﻳﻜﺴﺮﻩ ﻣﻰﮔﺬﺷﺖ ﺗﺎ ﭘﻴﺶ ﺍﺯ ﻏﺮﻭﺏ ﺁﻓﺘﺎﺏ ﺧﻮﺩ ﺭﺍ ﺑﻪ ﺷﻬﺮ ﺑﺮﺳﺎﻧﺪ‪....‬‬
‫ﭘﺲ ﺍﺭﺩﻭﻯ ﺟﻬﺎﻥ ﻭ ﻫﻤﺪﺳﺘﺎﻧﺶ ﭘﻴﺶ ﺍﺯ ﺁﻥﻛﻪ ﺑﻪ ﺷﻬﺮ ﻭﺭﻭﺩ ﻛﻨﻨﺪ ﺑﺠﺰ ﻳﻚ ﺳﺮ ﺑﺮﻳﺪﻩ‪ ،‬ﺳﻪ ﻣﺮﺩ ﺑﺴﺘﻪ‬
‫)‪(1‬‬
‫ﺑﺮ ﻟﻨﮕﻪﻫﺎﻯ ﺩﺭ ﻭ ﺳﻪ ﺯﻥ ﺧﺎﻣﻮﺵ ﻛﻪ ﺑﺮ ﺟﻤﺎﺯ ﻧﺸﺎﻧﺪﻩ ﺑﻮﺩﻧﺪ‪ ،‬ﻛﺴﻰ ﺭﺍ ﻫﻤﺮﺍﻩ ﺧﻮﺩ ﻧﺪﺍﺷﺘﻨﺪ«‬
‫ﻧﻮﺍﻯ ﺻﺪﺍﻯ ﻧﻘﺎﻝ ﺩﺭ ﺍﻳﻦﺟﺎ ﺁﺭﺍﻡﺗﺮ ﺍﺳﺖ ﻭ ﺣﺎﻟﺘﻰ ﻋﺰﺍﺯﺩﻩ ﺩﺍﺭﺩ‪ .‬ﺍﻧﮕﺎﺭ ﻛﻪ ﺣﺘﺎ ﺻﺪﺍﻯ ﺩﻫﻞ ﻭ‬
‫ﺳﺮﻧﺎﻯ ﺩﺳﺘﻪ ﻋﺰﺍ ﺭﺍ )ﻛﻪ ﺩﺭ ﺍﺻﻞ ﺑﺮﺍﻯ ﺟﺸﻦ ﭘﻴﺮﻭﺯﻯ ﺑﺮ ﻳﺎﻏﻴﺎﻥ ﺑﺮﺍﻩ ﺍﻧﺪﺍﺧﺘﻪﺍﻧﺪ( ﻣﻰﺷﻨﻮﻳﻢ ﻛﻪ » ﻧﻮﺍﻯ‬
‫ﺷﺎﺩﻣﺎﻧﻪ ﻧﺒﻮﺩ‪ ...‬ﺳﺎﺯ ﻭ ﺩﻫﻞ ﺁﻭﺍﻳﻰ ﺣﺰﻳﻦ ﻳﺎﻓﺘﻪ ﺑﻮﺩﻧﺪ‪ .‬ﻧﻮﺍ ﻫﻢ ﺿﺮﺏ ﮔﺎﻡﻫﺎﻳﻰ ﺑﻮﺩ ﻛﻪ ﺑﺮﺩﺍﺷﺘﻪ ﻣﻰﺷﺪ‪،‬‬
‫ﻭ ﺍﻳﻦ ﺧﻮﺩ ﻧﻮﺍﻯ ﭼﻤﺮﻯ ﺭﺍ ﻣﻰﻣﺎﻧﺴﺖ‪«.‬‬
‫ﺻﺪﺍ ﻭ ﻧﻮﺍﻳﻰ ﺭﺍ ﻛﻪ ﺻﺪﺍ ﻭ ﻧﻮﺍﻯ ﻧﻘﺎﻟﺶ ﺧﻮﺍﻧﺪﻳﻢ ﻭ ﺩﺭ ﺳﺮﺍﺳﺮ »ﻛﻠﻴﺪﺭ« ﺷﻨﻴﺪﻩ ﻣﻰﺷﻮﺩ ﻫﻤﺎﻥ‬
‫ﺍﺳﺖ ﻛﻪ ﺑﺮﺍﻯ ﺑﺮﺧﻰ ﺍﺯ ﻣﻨﺘﻘﺪﺍﻥ ﺍﻳﻦ ﺭﻣﺎﻥ ﺑﻪ ﺣﻀﻮﺭ ﻣﺰﺍﺣﻢ ﺭﺍﻭﻯ »ﺩﺍﻧﺎﻯ ﻛﻞ« ﻭ ﻳﺎ »ﻋﻨﺼﺮ ﺩﺍﻧﺴﺘﻨﻰ‪....‬‬
‫ﻛﻪ ﺑﻪ ﺷﻜﻞ ﺑﺪﻯ ﻭﺍﺭﺩ ﺭﻣﺎﻥ ﺷﺪﻩ ﺍﺳﺖ« ﺗﻌﺒﻴﺮ ﺷﺪﻩ ﺍﺳﺖ‪ (2).‬ﻣﺎ ﺩﺭ ﺍﻳﻦﺟﺎ ﻛﺎﺭ ﺑﻪ ﺑﺪﻯ ﻳﺎ ﺧﻮﺑﻰ ﺍﻳﻦ‬
‫ﻋﻨﺼﺮ »ﻣﺰﺍﺣﻢ« ﻧﺪﺍﺭﻳﻢ‪ .‬ﺳﺌﻮﺍﻝ ﻣﺎ ﻣﺮﺑﻮﻁ ﺑﻪ ﻋﻤﻞﻛﺮﺩ »ﻣﻮﺳﻴﻘﻰ« ﻳﺎ ﻧﻮﺍﻯ ﺻﺪﺍﻯ ﺭﺍﻭﻯ ﺍﺳﺖ ﺩﺭ‬
‫‪315‬‬ ‫»ﻛﻠﻴﺪﺭ«‪.‬‬
‫ﮔﻔﺘﻴﻢ ﻛﻪ ﺷﺎﻳﺪ ﺑﺎ ﻣﻘﺎﻳﺴﻪ ﺑﺸﻮﺩ ﺭﺩﭘﺎﻳﻰ ﺍﺯ ﺍﻳﻦ »ﻧﻮﺍ« ﭘﻴﺪﺍ ﻛﺮﺩ ﻭ ﻋﻤﻞﻛﺮﺩ ﺁﻥ ﺭﺍ ﺭﻭﺷﻦ ﻧﻤﻮﺩ‪ .‬ﻓﺮﻕ‬
‫ﺍﺳﺎﺳﻰ ﺑﻴﻦ ﻛﺎﺭﺑﺮﺩ ﻧﺜﺮ ﻣﻮﺯﻭﻥ ﮔﻠﺴﺘﺎﻥ ﻭ ﻃﺮﺯ ﻛﺎﺭ ﺩﻭﻟﺖﺁﺑﺎﺩﻯ ﺩﺭ ﺑﺮﺩﺍﺷﺖ ﻳﺎ ﺑﺮﺧﻮﺭﺩ ﻫﺮ ﻳﻚ ﻧﺴﺒﺖ‬
‫ﺑﻪ ﺩﺍﺳﺘﺎﻧﻰ ﺍﺳﺖ ﻛﻪ ﻫﺮﻛﺪﺍﻡ ﻣﻰﺁﻓﺮﻳﻨﻨﺪ‪.‬ﮔﻠﺴﺘﺎﻥ ﺳﻌﻰ ﺑﺮ ﺍﻳﻦ ﺩﺍﺭﺩ ﻛﻪ ﻳﻚ ﺷﺎﻫﺪ ﺑﻰﻃﺮﻑ ﺑﺎﻗﻰ ﺑﻤﺎﻧﺪ‬
‫ﻭ ﺁﻫﻨﮕﻰ ﻛﻪ ﺑﻪ ﻧﺜﺮ ﺧﻮﺩ ﺍﺿﺎﻓﻪ ﻣﻰﻛﻨﺪ ﻋﺎﻣﻠﻰ ﺍﺳﺖ ﻛﻪ ﻋﻤﺪﺍ ً ﺑﻪﺻﻮﺭﺗﻰ »ﻣﺼﻨﻮﻋﻰ« ﺑﻪ ﻛﺎﺭ ﻣﻰﮔﻴﺮﺩ‬
‫ﺑﻪ ﻃﻮﺭﻯ ﻛﻪ ﻫﻤﻴﺸﻪ ﻭ ﺩﺭ ﻫﺮ ﻟﺤﻈﻪ ﺗﻮﺟﻪ ﺧﻮﺍﻧﻨﺪﻩ ﺭﺍ ﺑﻪ »ﻣﺼﻨﻮﻋﻰ« ﺑﻮﺩﻥ ﺩﻧﻴﺎﻯ ﺩﺍﺳﺘﺎﻧﻰ ﺁﻓﺮﻳﺪﻩ‬
‫ﺧﻮﺩ ﺟﻠﺐ ﻛﻨﺪ‪ .‬ﺑﻪﻫﻤﻴﻦ ﺩﻟﻴﻞ‪ ،‬ﺑﺮﺧﻼﻑ ﺳﻌﻰ ﻧﻮﻳﺴﻨﺪﻩ ﺑﺮ ﺑﻰﻃﺮﻓﻰ ﻭ ﺍﻳﺠﺎﺩ ﻓﺎﺻﻠﻪ ﺑﻴﻦ ﻫﻨﺮﻣﻨﺪ ﻭ ﺍﺛﺮ‬
‫ﻫﻨﺮﻯ‪ ،‬ﺧﻮﺍﻧﻨﺪﻩ‪ ،‬ﺩﺍﺋﻤ ًﺎ ﺍﺯ ﺣﻀﻮﺭ ﺍﻭ ﺩﺭ ﺩﺍﺳﺘﺎﻥ ﺁﮔﺎﻩ ﺍﺳﺖ ﻭ ﺍﻳﻦ ﺑﻪ ﺳﺒﺐ ﻭﺟﻮﺩ ﺁﻫﻨﮓ ﻣﻮﺯﻭﻥ ﻧﺜﺮﻯ‬
‫ﺍﺳﺖ ﻛﻪ ﺑﺎ ﻣﻀﻤﻮﻥ ﻧﻮﺷﺘﻪ ﺭﺍﺑﻄﻪﻯ ﻣﺴﺘﻘﻴﻢ ﻧﺪﺍﺭﺩ‪ .‬ﺍﺯ ﻃﺮﻑ ﺩﻳﮕﺮ ﺩﺭ ﻛﻠﻴﺪﺭ‪ ،‬ﺩﻭﻟﺖﺁﺑﺎﺩﻯ ﺍﺩﻋﺎﻳﻰ ﺑﺮ‬
‫ﺑﻰﻃﺮﻓﻰ ﺩﺭ ﮔﻔﺘﻦ ﺩﺍﺳﺘﺎﻥ ﻧﺪﺍﺭﺩ ﻭ ﺣﺘﺎ ﺩﺭ ﺟﺎﻯ ﺟﺎﻯ ﺩﺍﺳﺘﺎﻥ ﺭﺍﻭﻯ ﺑﺎ ﺿﻤﻴﺮ ﺍﻭﻝ ﺷﺨﺺ ﻣﻔﺮﺩ ﻭﺍﺭﺩ‬
‫ﻼ ﺍﺯ ﻗﻬﺮﻣﺎﻥ ﻛﺘﺎﺏ ﺑﻪ ﻋﻨﻮﺍﻥ »ﮔﻞ ﻣﺤﻤﺪ ﻣﻦ« ﻳﺎﺩ ﻣﻰﻛﻨﺪ ﺩﺭ ﺍﻳﻦﺟﺎ ﺣﻀﻮﺭ ﺭﺍﻭﻯ ﺩﺭ‬ ‫ﺩﺍﺳﺘﺎﻥ ﺷﺪﻩ ﻭ ﻣﺜ ً‬
‫ﺩﺍﺳﺘﺎﻥ ﻧﻪ ﺍﻳﻦﻛﻪ ﻓﻘﻂ ﻣﺰﺍﺣﻢ ﻧﻤﻰﻧﻤﺎﻳﺪ‪ ،‬ﺑﻠﻜﻪ ﺧﺼﻮﺻﻴﺘﻰ ﻣﻤﺘﺎﺯ ﺑﻪ ﺁﻥ ﺍﺿﺎﻓﻪ ﻣﻰﻛﻨﺪ‪ .‬ﺍﻳﻦ ﺧﺼﻮﺻﻴﺖ‬
‫ﻣﻤﺘﺎﺯ ﻫﻤﺎﻥ ﻧﻮﺍﻯ ﮔﺮﻡ ﺻﺪﺍﻯ ﻗﺼﻪﮔﻮﻯ ﺳﻨﺘﻰ ﻭ ﻧﻘﺎﻝ ﺍﺳﺖ ﻛﻪ ﺩﻭﻟﺖﺁﺑﺎﺩﻯ ﭼﺎﺷﻨﻰ ﺭﻣﺎﻥ ﺧﻮﺩ ﻛﺮﺩﻩ‬
‫ﻭ ﺑﺎ ﺍﻳﻦ ﻛﺎﺭ ﺑﻪ ﺁﻥ ﺣﻴﺎﺗﻰ ﻧﻮ ﺑﺨﺸﻴﺪﻩ ﺍﺳﺖ‪.‬‬

‫‪» (1‬ﻛﻠﻴﺪﺭ«‪ ،‬ﺟﻠﺪ ﺩﻫﻢ‪ ،‬ﺹ ‪.26-2825‬‬

‫‪ (2‬ﻧﺴﻴﻢ ﺧﺎﻛﺴﺎﺭ‪» ،‬ﻛﻠﻴﺪﺭ« ﺭﻣﺎﻧﻰ ﻣﺎﻧﺪﻧﻰ ﺩﺭ ﺍﺩﺑﻴﺎﺕ ﻣﻌﺎﺻﺮ ﺍﻳﺮﺍﻥ‪» ،‬ﭼﺸﻢﺍﻧﺪﺍﺯ« ﺷﻤﺎﺭﻩ ‪ 2‬ﺑﻬﺎﺭ ‪ 1366‬ﺹ ‪.70‬‬
‫ﻫﻤﭽﻨﻴﻦ ﻧﮕﺎﻩ ﻛﻨﻴﺪ ﺑﻪ ﻫﻮﺷﻨﮓ ﮔﻠﺸﻴﺮﻯ‪» ،‬ﺣﺎﺷﻴﻪﺍﻯ ﺑﺮ ﻛﻠﻴﺪﺭ« ﻧﻘﺪ ﺁﮔﺎﻩ‪ ،‬ﺍﻧﺘﺸﺎﺭﺍﺕ ﺁﮔﺎﻩ ﺗﻬﺮﺍﻥ ﭘﺎﻳﻴﺰ ‪ 1361‬ﺹ‬
‫‪.38-62‬‬
‫ﻣﻬﺪﻯ ﻓﻴﺮﻭﺯﻳﺎﻥ‬ ‫ﺑﺎ ﻣﺎﺩﻳﺎﻥ ﺳﺮﺥﻳﺎﻝ ﺍﻣﺮﺅﺍﻟﻘﻴﺲ‬

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‫ﺍﺳﺘﺎﺩ ﻣﺤﻤﻮﺩ ﺩﻭﻟﺖﺁﺑﺎﺩﻯ ﺩﺭ ﺁﻥ ﻣﺎﺩﻳﺎﻥ ﺳﺮﺥﻳﺎﻝ ﺑﻪ ﺯﻧﺪﮔﻰ ﺷﺎﻋﺮ ﻧﺎﻣﺪﺍﺭ ﺗﺎﺯﻯ ﺍﻣﺮﺅﺍﻟﻘﻴﺲ‬ ‫ﺑﺨﺎﺭﺍ‬
‫ﺳﺎﻝ ﺳﻴﺰﺩﻫﻢ‬
‫)‪ 540 - 500‬ﻡ( ﭘﺮﺩﺍﺧﺘﻪ ﺍﺳﺖ ﻭ ﺑﺎ ﺯﺑﺎﻧﻰ ﺷﻜﻮﻫﻤﻨﺪ ﻭ ﺍﺛﺮﮔﺬﺍﺭ ﻭ ﺑﺎ ﺑﻬﺮﻩﮔﻴﺮﻯ ﺍﺯ ﻧﻴﺮﻭﻯ ﺧﻴﺎﻝ‪،‬‬ ‫ﺷﻤﺎﺭﻩ ‪76‬‬
‫ﻣﺮﺩﺍﺩ ‪ -‬ﺷﻬﺮﻳﻮﺭ‬
‫ﺩﺭ ﻓﻀﺎﻳﻰ ﺷﮕﻔﺖ ﻭ ﺭﺍﺯﺁﻟﻮﺩ ‪-‬ﻛﻪ ﺁﻓﺮﻳﺪﻥ ﺁﻥ ﺗﻨﻬﺎ ﺍﺯ ﻗﻠﻢ ﺟﺎﺩﻭﻳﻰ ﺍﻳﺸﺎﻥ ﺑﺮﻣﻲﺁﻳﺪ‪ -‬ﮔﻮﺷﻪﺍﻯ‬ ‫‪1389‬‬
‫ﺍﺯ ﺯﻧﺪﮔﻰ ﺍﻳﻦ ﺷﺎﻋﺮ ﺩﻭﺭﺓ ﺟﺎﻫﻠﻰ ﺭﺍ ﺑﻪ ﺗﺼﻮﻳﺮ ﻛﺸﻴﺪﻩ ﺍﺳﺖ‪ .‬ﻧﺜﺮ ﺷﻴﻮﺍﻯ ﺍﺳﺘﺎﺩ ﻫﻤﭽﻮﻥ ﻫﻤﻴﺸﻪ‬
‫ﺷﺎﻋﺮﺍﻧﻪ ﺍﺳﺖ ﻭ ﮔﺎﻩ ﭼﻨﺎﻥ ﺁﻫﻨﮕﻴﻦ ﻣﻲﺷﻮﺩ ﻛﻪ ﭼﻴﺰﻯ ﺟﺰ ﺷﻌﺮﺵ ﻧﻤﻲﺗﻮﺍﻥ ﺧﻮﺍﻧﺪ؛ ﻣﺎﻧﻨﺪ ﺍﻳﻦ‬
‫ﭼﻨﺪ ﺟﻤﻠﻪ ﻛﻪ ﺩﺍﺭﺍﻯ ﻭﺯﻥ ﻋﺮﻭﺿﻰ )ﻣﻔﻌﻮﻝ ﻓﺎﻋﻼﺕ ﻣﻔﺎﻋﻴﻞ ﻓﺎﻋﻠﻦ ‪ (...‬ﻧﻴﺰ ﻫﺴﺖ ﻭ ﻣﺎ ﺁﻥ ﺭﺍ‬
‫ﺑﻪ ﺷﻴﻮﺓ ﺷﻌﺮ ﻧﻴﻤﺎﻳﻰ ﺳﻄﺮﺑﻨﺪﻯ ﻛﺮﺩﻩﺍﻳﻢ‪:‬‬
‫ﻓﺼﻞ ﺟﻨﻮﻥ ﻣﻦ ‪-‬‬
‫ﺁﻏﺎﺯ ﺷﺪ؟‬
‫ﺁﻏﺎﺯ ‪ ...‬ﺁﺭﻯ‪-‬‬
‫ﺩﺭ ﺍﻧﺤﻨﺎﻯ ﺧﺎﻃﺮﺓ ﻗﺘﻞ ﻭ ﺩ ّﻡ؟‬
‫ﺩﺭ ﺧﺎﻃﺮ ﺧﻠﻮﺭ!‬
‫ﺍﻯ ﺭﻫﺮﻭﺍ ِﻥ ﺧﺴﺘﻪ‬
‫ﺍﻳﻨﺠﺎ ﭼﻪ ﺧﺎﺭﺯﺍﺭ ﻏﺮﻳﺒﻰ ﺍﺳﺖ‪.‬‬
‫ﻣﻦ ﺑﻲﺩﺭﻭﻍ ﺁﻣﺪﻩ ﺑﻮﺩﻡ‪،‬‬
‫ﺯﺍﻳﻴﺪﺓ ﺑﻠﻮﻍ ‪) ...‬ﺁﻥ ﻣﺎﺩﻳﺎﻥ ﺳﺮﺥﻳﺎﻝ‪ ،‬ﺹ‪(76‬‬
‫ﺩﺭ ﺟﺎﻯ ﺟﺎﻯ ﺍﻳﻦ ﺍﺛﺮ ﺍﺭﺯﺷﻤﻨﺪ ﺑﻪ ﻧﻜﺘﻪﻫﺎﻯ ﺗﺎﺭﻳﺨﻰ ﻭ ﺍﺷﺎﺭﺍﺗﻰ ﺑﻪ ﺷﻌﺮﻫﺎﻯ ﺍﻣﺮﺅﺍﻟﻘﻴﺲ )ﻳﺎ‬
 ‫ﺩﻳﮕﺮﺍﻥ ﺍﺯ ﺟﻤﻠﻪ ﻣﻬﻠﻬﻞ ﻭ ﺳﻤﻮﺃﻝ( ﺑﺮﻣﻲﺧﻮﺭﻳﻢ ﻭ ﺍﮔﺮ ﺧﻮﺍﻧﻨﺪﻩ ﺑﺎ ﺷﻌﺮ ﺍﻣﺮﺅﺍﻟﻘﻴﺲ ﺁﺷﻨﺎ ﺑﺎﺷﺪ‪،‬‬
‫ﻟﺬﺗﻰ ﺩﻭ ﭼﻨﺪﺍﻥ ﺍﺯ ﺍﻳﻦ ﺍﺛﺮ ﺧﻮﺍﻫﺪ ﺑﺮﺩ‪ .‬ﺩﻭﻟﺖﺁﺑﺎﺩﻯ ﺩﺭ ﻣﻴﺎﻥ ﺷﻌﺮﻫﺎﻯ ﺍﻣﺮﺅﺍﻟﻘﻴﺲ‪ ،‬ﺑﻴﺸﺘﺮﻳﻦ ﺑﻬﺮﻩ‬
‫ﺭﺍ ﺍﺯ ﻗﺼﻴﺪﺓ »ﻣﻌ ّﻠﻘﺔ« ﺍﻭ ﺑﺮﺩﻩ ﺍﺳﺖ‪ .‬ﺍﻳﻦ ﻗﺼﻴﺪﻩ‪ ،‬ﻧﺨﺴﺘﻴﻦ »ﻣﻌ ّﻠﻘﻪ« ﺍﺯ ﺁﻭﻳﺨﺘﮕﺎﻥ ﻫﻔﺘﮕﺎﻧﻪ )ﻣﻌ ّﻠﻘﺎﺕ‬
‫ﺳﺒﻊ ﻳﺎ ﺍﻟﺴﺒﻊ ﺍﻟﻄﻮﺍﻝ ﻛﻪ ﮔﺎﻩ ﻣﺬ ّﻫﺒﺎﺕ ﻭ ﺍﻟﺴﻤﻮﻁ ﻧﻴﺰ ﺧﻮﺍﻧﺪﻩ ﺷﺪﻩﺍﻧﺪ( ﺍﺳﺖ ﻛﻪ ﻧﺎﻣﺪﺍﺭﺗﺮﻳﻦ ﺳﺮﻭﺩﺓ‬
‫ﺍﻣﺮﺅﺍﻟﻘﻴﺲ ﻧﻴﺰ ﺑﻪ ﺷﻤﺎﺭ ﻣﻲﺭﻭﺩ‪» .‬ﮔﻔﺘﻪﺍﻧﺪ ﻛﻪ ﺍﻳﻦ ﻗﺼﺎﻳﺪ ﻫﻔﺘﮕﺎﻧﻪ ﺭﺍ ﺑﻌﺪ ﺍﺯ ﺁﻥ ﻛﻪ ﺩﺭ ﺑﺎﺯﺍﺭ ﻋﻜﺎﻅ ﻳﺎ‬
‫ﺍﻣﺜﺎﻝ ﺁﻥ ﺩﺍﻭﺭﺍﻥ ﻣﺴﺎﺑﻘﺎﺕ ﺳﺨﻨﻮﺭﻯ ﺭﺃﻯ ﺑﻪ ﺭﺟﺤﺎﻥ ﻭ ﺑﺮﺗﺮﻯ ﺁﻧﻬﺎ ﺩﺭ ﻓﺼﺎﺣﺖ ﺩﺍﺩﻩﺍﻧﺪ‪ ،‬ﺑﻪ ﺩﺭِ ﻛﻌﺒﻪ‬
‫ﺁﻭﻳﺨﺘﻪﺍﻧﺪ ﻭ ﺑﻪ ﻫﻤﻴﻦ ﺟﻬﺖ ﺁﻧﻬﺎ ﺭﺍ ﻣﻌ ّﻠﻘﺎﺕ ﮔﻮﻳﻨﺪ‪ .‬ﻭﻟﻰ ﺩﺭ ﻧﻈ ِﺮ ﺍﻫﻞ ﺗﺤﻘﻴﻖ ﺍﻣﺮﻭﺯ ﺍﻳﻦ ﺭﻭﺍﻳﺖ‪،‬‬
‫ﺍﻓﺴﺎﻧﻪﺍﻯ ﺑﻴﺶ ﻧﻴﺴﺖ ﻭ ﺩﺭﺳﺖ ﺁﻥ ﺍﺳﺖ ﻛﻪ ﺍﻳﻦ ﻗﺼﺎﻳﺪ ﺭﺍ ﺑﻪ ﻫﻔﺖ ﺭﺷﺘﻪ ﺍﺯ ﮔﻮﻫﺮ ﻛﻪ ﺯﻳﺐ ﻭ ﺯﻳﻮﺭ‬
‫ﺳﻴﻨﺔ ﻫﻔﺖ ﺷﺎﻫﺪ ﺯﻳﺒﺎ ﺑﺎﺷﺪ‪ ،‬ﺗﺸﺒﻴﻪ ﻛﺮﺩﻩﺍﻧﺪ ﻭ ﺑﺪﻳﻦ ﺳﺒﺐ ﺍﻳﻦ ﻗﺼﺎﻳﺪ ﺭﺍ ﺳﻤﻮﻁ ﻫﻢ ﮔﻮﻳﻨﺪ ﻛﻪ ﺟﻤﻊ‬
‫ﺳﻤﻂ ﺑﻪ ﻣﻌﻨﻰ ﺭﺷﺘﺔ ﮔﻮﻫﺮ ﺍﺳﺖ ﻳﺎ ﺁﻧﻜﻪ ﭼﻮﻥ ﺭﺍﻭﻳﺎﻥ ﺷﻌﺮ ﺍﻳﻦ ﻗﺼﺎﻳﺪ ﺭﺍ ﺑﺮ ﻟﻮﺡ ﺣﺎﻓﻈﺔ ﺧﻮﻳﺶ‬
‫ﻧﻘﺶ ﻛﺮﺩﻩﺍﻧﺪ ﻭ ﺑﻪ ﺧﺰﺍﻧﺔ ﺧﺎﻃﺮ ﺳﭙﺮﺩﻩﺍﻧﺪ‪ ،‬ﺁﻧﻬﺎ ﺭﺍ »ﻣﻌ ّﻠﻘﻪ« ﻧﺎﻣﻴﺪﻩﺍﻧﺪ« )ﺷﺮﺡ ﻣﻌ ّﻠﻘﺎﺕ ﺳﺒﻊ‪ ،‬ﺹ‪.(11‬‬
‫»ﻣﻌ ّﻠﻘﺎﺕ ﺳﺒﻊ» ﻭ ﺑﻪ ﻭﻳﮋﻩ »ﻣﻌ ّﻠﻘﺔ ﺍﻣﺮﺅﺍﻟﻘﻴﺲ« ﭼﻨﺎﻥ ﻧﺎﻣﺪﺍﺭ ﺍﺳﺖ ﻛﻪ ﺩﺭ ﺍﺩﺑﻴﺎﺕ ﻓﺎﺭﺳﻰ ﻧﻴﺰ ﺍﺯ ﺁﻥ‬
‫ﭼﻮﻧﺎﻥ ﻧﻤﻮﻧﺔ ﺑﺮﺗ ِﺮ ﺳﺮﻭﺩﺓ ﺷﻴﻮﺍ ﻳﺎﺩ ﻣﻲﺷﻮﺩ‪ .‬ﺑﺮﺍﻯ ﻧﻤﻮﻧﻪ ﺳﺨﻦﺳﺎﻻﺭ ﺷﺮﻭﺍﻧﻰ‪ ،‬ﺧﺎﻗﺎﻧﻰ‪ ،‬ﺁﻥ ﮔﺎﻩ ﻛﻪ‬
‫ﻣﻲﺧﻮﺍﻫﺪ ﺟﺎﻳﮕﺎﻩ ﻳﮕﺎﻧﺔ ﺧﻮﻳﺶ ﺭﺍ ﺩﺭ ﺳﺨﻨﻮﺭﻯ ﺁﺷﻜﺎﺭ ﺳﺎﺯﺩ‪ ،‬ﺩﺭﺑﺎﺭﺓ ﭼﺎﻣﺔ ﺧﻮﺩ ﻣﻲﮔﻮﻳﺪ‪:‬‬
‫ﺛﺎﻣﻨﻪ ﺍﺳﺖ ﺍﺯ ﻏﺮﺍﻳﺐ ﺍﺷﻌﺎﺭ‬ ‫ﺍﻳﻦ ﻗﺼﻴﺪﻩ ﺯ ﺟﻤﻊ ﺳﺒﻌﻴﺎﺕ‬
‫‪317‬‬ ‫ﻛﻌﺒﻪ ﺩﺭ ﻣﻦ ﻓﺸﺎﻧﺪﻯ ﺍﺳﺘﺎﺭ‬ ‫ﺍﺯ ﺩﺭِ ﻛﻌﺒﻪ ﮔــﺮ ﺩﺭﺁﻭﻳــﺰﻧﺪ‬
‫ﻭ ﺍﻣﺮﺅﺍﻟﻘﻴﺲ ﺭﺍ ﻓﻜﻨﺪ ﺍﺯ ﻛﺎﺭ‬ ‫ْﻙ« ﺭﺍ َﻗﻔﺎﻳﻰ ﭼﻨﺪ‬ ‫ﺯﺩ »ﻗِﻔﺎ ﻧَﺐ ِ‬
‫)ﺩﻳﻮﺍﻥ ﺧﺎﻗﺎﻧﻰ‪ ،‬ﺹ‪(207-206‬‬
‫ْﻙ« )ﺑﺎﻳﺴﺘﻴﺪ ﺗﺎ ﺑﮕﺮﻳﻴﻢ( ﺩﻭ ﻭﺍژﺓ ﺁﻏﺎﺯﻳﻦِ ﻧﺨﺴﺘﻴﻦ ﺑﻴﺖ »ﻣﻌ ّﻠﻘﺔ« ﺍﻣﺮﺅﺍﻟﻘﻴﺲ )ﺩﻳﻮﺍﻥ‬ ‫»ﻗِﻔﺎ ﻧَﺐ ِ‬
‫ﺍﻣﺮﺉ ﺍﻟﻘﻴﺲ‪ ،‬ﺹ‪ (29‬ﺍﺳﺖ‪.‬‬
‫ﺩﺭ ﺍﻳﻨﺠﺎ ﺑﺮﺧﻰ ﺑﻴﺖﻫﺎﻯ ﺗﺎﺯﻯ ﺭﺍ ﻛﻪ ﺩﺭ ﺁﻥ ﻣﺎﺩﻳﺎﻥ ﺳﺮﺥﻳﺎﻝ ﺑﻪ ﺁﻧﻬﺎ ﺍﺷﺎﺭﺗﻰ ﺭﻓﺘﻪ ﻳﺎ‬
‫ﺗﺮﺟﻤﻪﮔﻮﻧﻪﺍﻯ ﺍﺯ ﺁﻥ ﺑﻪ ﺩﺳﺖ ﺩﺍﺩﻩ ﺷﺪﻩ‪ ،‬ﺑﺮﺍﻯ ﺁﺷﻨﺎﻳﻰ ﺑﻴﺸﺘﺮ ﺧﻮﺍﻧﻨﺪﮔﺎﻥ ﻭ ﺩﻭﺳﺘﺪﺍﺭﺍﻥ ﺁﺛﺎﺭ‬
‫ﮔﺮﺍﻧﺴﻨﮓ ﺍﺳﺘﺎﺩ‪ ،‬ﻣﻲﺁﻭﺭﻳﻢ‪ .‬ﺍﻳﻦ ﺟﻤﻠﻪ ﻛﻪ ﺍﺯ ﺯﺑﺎﻥ ﻗﻴﺲ ﺑﺎﺯﮔﻮ ﺷﺪﻩ ﺍﺳﺖ‪» :‬ﺑﺮﻕ ﭼﺸﻤﺎﻧﺖ ﺭﺍ ﺑﺮ‬
‫ﻣﻦ ﻧﺘﺎﻓﺘﻰ ﻣﮕﺮ ﺑﺎ ﻧﻴﺰﻩﻫﺎﻯ ﻧﮕﺎﻫﺖ ﻗﻠﺐ ﻣﺮﺍ ﺁﻣﺎﺝ ﮔﺮﻓﺘﻪ ﺑﺎﺷﻰ« )ﺁﻥ ﻣﺎﺩﻳﺎﻥ ﺳﺮﺥﻳﺎﻝ‪ ،‬ﺹ‪(14‬‬
‫ﺑﺮﮔﺮﻓﺘﻪ ﺍﺯ ﺑﻴﺖ ﺑﻴﺴﺖ ﻭ ﺩﻭﻡ ﻣﻌ ّﻠﻘﻪ ﺍﺳﺖ‪:‬‬
‫ﺐ ُﻣ َﻘﺘﱠﻞِ‬ ‫ﺑ ِ َﺴ ْﻬ َﻤﻴْ ِ‬
‫ﻚ ﻓﻲ ﺃ ْﻋﺸﺎﺭِ َﻗ ْﻠ ٍ‬ ‫ﻨــﺎﻙ ّﺍﻻ ﻟ ِ ْ‬
‫ﺘﻀـﺮِﺑﻲ‬ ‫ِ‬ ‫َﻭ ﻣﺎ َﺫ َﺭ َﻓ ْ‬
‫ﺖ َﻋﻴْ‬
‫)ﺩﻳﻮﺍﻥ ﺍﻣﺮﺉ ﺍﻟﻘﻴﺲ‪ ،‬ﺹ‪(49‬‬
‫ﺗﺮﺟﻤﻪ‪» :‬ﭼﺸﻤﺎﻧﺖ ﺳﺮﺷﻚ ﻧﺮﻳﺨﺖ ﺟﺰ ﺁﻧﻜﻪ ﺧﻮﺍﺳﺘﻰ ﺑﺎ ﺩﻭ ﺗﻴﺮ ﻧﮕﺎﻩ‪ ،‬ﺩ ِﻝ ﺧﺎﻛﺴﺎﺭ ﭘﺎﺭﻩ‬
‫)‪(1‬‬
‫ﭘﺎﺭﺓ ﺷﻜﺴﺘﺔ ﻣﺮﺍ ﺗﻴﺮﺑﺎﺭﺍﻥ ﻛﻨﻰ« )ﻣﻌ ّﻠﻘﺎﺕ ﺳﺒﻊ‪ ،‬ﺹ ‪.(14‬‬

‫‪ (1‬ﺍﺯ ﺁﻧﺠﺎ ﻛﻪ ﺩﻭﻟﺖﺁﺑﺎﺩﻯ ﺧﻮﺩ ﺑﺎ ﺯﺑﺎﻥ ﻋﺮﺑﻰ ﺁﺷﻨﺎﻳﻰ ﺩﺭﺧﻮﺭ ﻧﺪﺍﺭﺩ ﻭ ﻫﻤﺎﻧﮕﻮﻧﻪ ﻛﻪ ﺧﻮﺩ ﮔﻔﺘﻪ ﺍﺳﺖ ﺍﺯ ﺭﺍﻩ ﺗﺮﺟﻤﺔ‬
‫ﺍﺳﺘﺎﺩ ﻋﺒﺪﺍﻟﻤﺤﻤﺪ ﺁﻳﺘﻰ ﺑﺎ ﺷﻌﺮ ﺍﻣﺮﺅﺍﻟﻘﻴﺲ ﺁﺷﻨﺎ ﺷﺪﻩ‪ ،‬ﻣﺎ ﻧﻴﺰ ﻫﻤﺎﻥ ﺗﺮﺟﻤﻪ ﺭﺍ ﺁﻭﺭﻳﻢ ﻭ ﻳﺎﺩﻛﺮﺩ ﺍﻳﻦ ﻧﻜﺘﻪ ﺷﺎﻳﺴﺘﻪ‬
‫ﺍﺳﺖ ﻛﻪ ﺍﻳﻦ ﺗﺮﺟﻤﻪ ﺑﺎ ﻫﻤﺔ ﺷﻴﻮﺍﻳﻰ ﻭ ﺯﻳﺒﺎﻳﻰ ﮔﺎﻩ ﻳﻜﺴﺮﻩ ﭘﺎﻳﺒﻨﺪ ﺑﻪ ﻣﺘﻦ ﻧﻴﺴﺖ‪.‬‬
‫ﺩﺭ ﺑﺨﺸﻰ ﺍﺯ ﻛﺘﺎﺏ‪» ،‬ﻗﻴﺲ« ﺑﺎ ﻣﺎﺩﻳﺎﻥ ﺳﺮﺥﻳﺎﻝ ﺧﻮﺩ ﺍﺯ ﻣﺎﺟﺮﺍﻳﻰ ﻛﻪ ﺑﺎ ﺩﻟﺒﺮ ﺩﺍﺷﺘﻪ ﻳﺎﺩ ﻣﻲﻛﻨﺪ‪:‬‬
‫»ﺑﺮ ﻛﻮﭘﺎﻝ ﺗﻮ ﻧﺸﺴﺘﻪ ﺑﻮﺩﻡ ﺗﻴﺰ ﻭ ﭼﺎﺑﻚ ﺁﻥ ﺷﺐ ﻛﻪ ﺧﻮﺩ ﺭﺍ ﺑﻪ ﻛﺠﺎﻭﺓ ﺁﻥ ﺯﻥ ﻣﺸﺘﺎﻕ ﺩﺭﺍﻧﺪﺍﺧﺘﻢ‬
‫ﻭ ﺑﻪ ﺗﺸﻮﻳﺶ ﻭ ﺩﻟﻬﺮﻩ ﺧﻔﻴﺪﻩ ﮔﻔﺖ‪ :‬ﻭﺍﻯ ﺑﺮ ﺗﻮ ﻗﻴﺲ! ﻣﺮﺍ ﻓﺮﻭﺍﻓﻜﻨﺪﻯ! ﻛﺠﺎﻭﻩ ﻛﺞ ﺷﺪﻩ ﺑﻮﺩ ﻛﻪ‬
‫ﮔﻔﺘﺎ‪ :‬ﻧﺎﻗﻪﺍﻡ ﺭﺍ ﻛﺸﺘﻰ ﻗﻴﺲ! ﺩﺭﺍُﻓﺖ‪ ،‬ﺩﺭﺍُﻓﺖ! ﺍﻣﺎ ﻣﻦ ﻓﺮﻭﻧﻴﻔﻜﻨﺪﻡ ﺧﻮﺩ ﺭﺍ ﻭ ﺧﻮﺍﺳﺘﻢ ﻛﻪ ﻣﻬﺎﺭ‬
‫ﻧﺎﻗﻪﺵ ﺭﺍ ﺳﺴﺖ ﻛﻨﺪ ﺗﺎ ﻫﺮ ﻛﺠﺎ ﻛﻪ ﺧﻮﺍﻫﺪ ﺑﺮﻭﺩ! ﺑﻮﺱ ﻭ ﻛﻨﺎﺭ ﺧﻮﺩ ﺭﺍ ﺩﺭﻳﻎ ﻣﺪﺍﺭ ﺍﺯ ﻗﻴﺲ ﺍﻯ‬
‫ﺑﺎﻧﻮ! ﺑﮕﺬﺍﺭ ﻣﻴﻮﻩﻫﺎﻯ ﻋﺸﻖ ﺑﭽﻴﻨﻢ ﺍﺯ ﺑﻮﺳﺘﺎﻥ ﺟﻤﺎﻝ ﺗﻮ!« )ﺁﻥ ﻣﺎﺩﻳﺎﻥ ﺳﺮﺥﻳﺎﻝ‪ ،‬ﺹ‪ .(28‬ﺍﻳﻦ‬
‫ﺳﺨﻨﺎﻥ ﺑﺮﮔﺮﻓﺘﻪ ﺍﺯ ﺍﻳﻦ ﺳﻪ ﺑﻴﺖ ﻣﻌ ّﻠﻘﻪ ﺍﺳﺖ‪:‬‬
‫ّﻚ ُﻣ ْﺮ ِﺟﻠﻲ‬ ‫ﻼﺕ ﺇﻧ َ‬ ‫ﺖ‪ :‬ﻟ َ َ‬
‫ﻚ ﺍﻟ ْ َﻮﻳْ ُ‬ ‫َﻓﻘﺎﻟ َ ْ‬ ‫ﺖ ﺍﻟ ْ ِﺨﺪْ َﺭ ِﺧﺪْ َﺭ ُﻋﻨَﻴْ َﺰﺓ ٍ‬
‫َﻭ ﻳَﻮ َﻡ َﺩﺧَ ْﻠ ُ‬
‫ﺲ ﻓﺎﻧ ْ ِﺰ ِﻝ‬ ‫ﺕ ﺑَﻌﻴﺮﻱ ﻳﺎ ﺍﻣﺮ َءﺍﻟ َﻘﻴْ ِ‬ ‫َﻋ َﻘ ْﺮ َ‬ ‫َﺒﻴﻂ ﺑِﻨﺎ ﻣﻌـ ًﺎ‪:‬‬ ‫ﻣﺎﻝ ﺍﻟْﻐ ُ‬ ‫ﻮﻝ َﻭ َﻗﺪْ َ‬ ‫ﺗَ ُﻘ ُ‬
‫ﻭ ﻻ ﺗُﺒْﻌِﺪﻳﻨـﻲ ﻣ ِ ْﻦ َﺟﻨ ِ‬
‫َـﺎﻙ ﺍﻟ ُﻤ َﻌ ّﻠﻞِ‬ ‫ﺖ ﻟَﻬﺎ‪ :‬ﺳﻴﺮﻱ ﻭ ﺃ ْﺭ ِﺧﻲ ﺯِﻣﺎ َﻣﻪ‬ ‫َﻓ ُﻘ ْﻠ ُ‬
‫)ﺩﻳﻮﺍﻥ ﺍﻣﺮﺉ ﺍﻟﻘﻴﺲ‪ ،‬ﺹ‪(35-34‬‬
‫ﺗﺮﺟﻤﻪ‪» :‬ﻭ ﺁ ﻥ ﺭﻭﺯ ﻛﻪ ﺧﻮﺩ ﺭﺍ ﺑﻪ ﻛﺠﺎﻭﺓ ُﻋﻨﻴﺰﻩ ﺍﻧﺪﺍﺧﺘﻢ ﻭ ﺍﻭ ﻣﻀﻄﺮﺑﺎﻧﻪ ﮔﻔﺖ‪ :‬ﻭﺍﻯ ﺑﺮ ﺗﻮ‪،‬‬
‫ﻣﺮﺍ ﭘﻴﺎﺩﻩ ﺧﻮﺍﻫﻰ ﮔﺬﺍﺷﺖ‪ /‬ﻭ ﺩﺭ ﺣﺎﻟﻰ ﻛﻪ ﻛﺠﺎﻭﺓ ﻣﺎ ﻛﺞ ﺷﺪﻩ ﺑﻮﺩ ﮔﻔﺖ‪ :‬ﺍﻣﺮﺅﺍﻟﻘﻴﺲ ﭘﻴﺎﺩﻩ ﺷﻮ‪،‬‬
‫ﺷﺘﺮﻡ ﺭﺍ ُﻛﺸﺘﻰ‪ /‬ﻭ ﻣﻦ ﮔﻔﺘﻢ‪ :‬ﻣﻬﺎﺭﺵ ﺭﺍ ﺳﺴﺖ ﻛﻦ ﻭ ﺑﮕﺬﺍﺭ ﻫﺮ ﺟﺎ ﻛﻪ ﺧﻮﺍﻫﺪ ﺑﺮﻭﺩ ﻭ ﺑﻬﻞ ﺗﺎ‬
‫ﺍﺯ ﮔﻠﺒﻦ ﺟﻤﺎﻟﺖ ﻫﻤﭽﻨﺎﻥ ﺑﻬﺮﻩ ﮔﻴﺮﻡ« )ﻣﻌ ّﻠﻘﺎﺕ ﺳﺒﻊ‪ ،‬ﺹ‪.(14‬‬
‫»ﻗﻴﺲ« ﺳﺨﻦ ﺧﻮﺩ ﺭﺍ ﭼﻨﻴﻦ ﭘﻰ ﻣﻲﮔﻴﺮﺩ‪» :‬ﻫﻢ ﺗﻮ ﻣﻲﺩﺍﻧﻰ ﻭ ﻣﻲﺷﻨﺎﺳﻰ ﺷﻴﺪﺍﻳﻰ ﺟﻨﻮﻥ‬ ‫‪318‬‬
‫ﺁﺳﺎﻯ ﺳﻮﺍﺭﻯ ﺭﺍ ﻛﻪ »ﻗﻴﺲ« ﺑﻮﺩ ﻭ ﺍﻯ ﺑﺴﺎ ﻛﻮﺩﻛﺎﻥ ﮔﺮﻳﺎﻥ ﺭﺍ ﻛﻪ ﺑﺎﺯﻣﻲﮔﺮﻓﺘﻪ ﺑﻮﺩ ﺍﺯ ﻣﺎﺩﺭﺍﻥ ﺍﻳﺸﺎﻥ‬
‫ﺗﺎ ﺭﺿﺎ ﻳﺎﺑﺪ ﺑﻪ ﻧﻴﻢﻧﻴﻢ‪ ،‬ﻧﻴﻤﻲ ﻛﻮﺩﻙ ﻭ ﻧﻴﻤﻰ ﺍﺯ ﻗﻴﺲ ﺑﺎ ﻫﻤﻪ ﭘﺎﺭﺳﺎﻳﻰ ﻛﻪ ﺩﺍﺷﺖ ﺁﻥ ﺗﺴﻠﻴﻢ ﺗﻤﺎﻡ!«‬
‫)ﺁﻥ ﻣﺎﺩﻳﺎﻥ ﺳﺮﺥﻳﺎﻝ‪ ،‬ﺹ‪.(29-28‬‬
‫ﺩﺭﻳﺎﻓﺘﻦ ﻣﻔﻬﻮﻡ ﺩﻗﻴﻖ ﺍﻳﻦ ﺟﻤﻼﺕ ﻭ ﺧﻮﺍﺳﺘﺔ ﻧﻮﻳﺴﻨﺪﻩ ﺑﺮﺍﻯ ﻛﺴﺎﻧﻰ ﻛﻪ ﺑﺎ ﺳﺮﻭﺩﺓ »ﻗﻴﺲ«‬
‫ﺁﺷﻨﺎ ﻧﻴﺴﺘﻨﺪ‪ ،‬ﺩﺷﻮﺍﺭ ﺍﺳﺖ‪ .‬ﺩﺭ ﺍﻳﻦ ﺑﺨﺶ‪ ،‬ﺍﺷﺎﺭﻩﺍﻯ ﺑﺎﺭﻳﻚ ﻭ ﻧﻐﺰ ﺑﻪ ﺑﻴﺖ ﺷﺎﻧﺰﺩﻫﻢ ﻭ ﻫﻔﺪﻫﻢ‬
‫ﻣﻌ ّﻠﻘﻪ )ﺩﻳﻮﺍﻥ ﺍﻣﺮﺉ ﺍﻟﻘﻴﺲ‪ ،‬ﺹ‪ (36-35‬ﺭﻓﺘﻪ ﺍﺳﺖ ﻛﻪ ﺩﺭ ﺁﻥ »ﻗﻴﺲ«‪ ،‬ﮔﺴﺘﺎﺥ ﻭ ﺑﻲﭘﺮﻭﺍ ﺍﺯ‬
‫ﺷﺐﻫﺎﻯ ﺧﻔﺖ ﻭ ﺧﻴﺰ ﺑﺎ ﺯﻧﺎﻧﻰ ﺷﻴﺮﺩﻩ ﺳﺨﻦ ﻣﻲﮔﻮﻳﺪ ﻛﻪ ﺩﺭ ﻫﻨﮕﺎﻡ ﻫﻤﺒﺴﺘﺮﻯ ﺑﺎ ﺍﻳﺸﺎﻥ ﻧﻴﻤﻰ‬
‫ﺍﺯ ﺗﻨﺸﺎﻥ ﺩﺭ ﮔﺮﻭ ﺁﻏﻮﺵ ﻗﻴﺲ ﺑﻮﺩﻩ ﺍﺳﺖ ﻭ ﻧﻴﻤﻰ ﺩﻳﮕﺮ ﺳﺮﮔﺮﻡ ﺁﺭﺍﻡ ﺳﺎﺧﺘﻦ ﻧﻮﺯﺍﺩِ ﮔﺮﻳﺎﻧﺸﺎﻥ‪.‬‬
‫ﺍﻳﻦ ﺟﻤﻼﺕ ﻧﻴﺰ ﺑﺮﮔﺮﻓﺘﻪ ﺍﺯ ﻣﻌ ّﻠﻘﻪ ﺍﺳﺖ‪» :‬ﻭ ﺁﻥ ﻇﻬﺮ ﺗﻔﺘﻴﺪﻩ ﺍﺯ ﺗﺎﺑﺶ ﺁﻓﺘﺎﺏ‪ ،‬ﻣﻴﺎﻥ ﺭﻳﮕﺴﺘﺎﻥ‬
‫ﻭ ُﻫﺮﻡ ﭼﺸﻢﺁﺯﺍﺭ ﺁﻥ ﻛﻪ ﻳﺎﺭ ﺍﺯ ﺟﺴﺎﺭﺕ ﻣﻦ ﺑﺮﺁﺷﻔﺖ ﻭ ﺳﻮﮔﻨﺪ ﺧﻮﺭﺩ ﻛﻪ ﺗﺎ ﺍﺑﺪ ﻣﺮﺍ ﻧﺨﻮﺍﻫﺪ‬
‫ﺩﻳﺪ‪ .‬ﻣﻦ ﻧﻴﺰ ﺑﺮﺁﺷﻔﺘﻢ ‪ ...‬ﺑﺎﻧﮓ ﺑﺮﺁﻭﺭﺩﻡ‪ :‬ﺁﻳﺎ ﭘﻨﺪﺍﺷﺘﻪﺍﻯ ﻋﺸﻖ ﺗﻮ ﻫﻼﻙ ﻣﻦ ﺍﺳﺖ ﻭ ﺁﻳﺎ ﮔﻤﺎﻥ‬
‫ﺑﺮﺩﻩﺍﻯ ﻗﻠﺐ ﻣﻦ ﻛﺒﻮﺗﺮ ﺩﺳﺖﺁﻣﻮﺯﻯ ﺍﺳﺖ ﺍﺳﻴﺮ ﺳﺮﭘﻨﺠﻪﻫﺎﻯ ﺗﻮ؟ ﻗﻠﺒﻢ ﺭﺍ ﺍﺯ ﻗﻠﺒﺖ ﺑﻴﺮﻭﻥ ﻛﻦ‬
‫ﺍﮔﺮ ﺧﺼﺎﻝ ﻣﺮﺍ ﺑﺮﻧﻤﻲﺗﺎﺑﻰ!« )ﺁﻥ ﻣﺎﺩﻳﺎﻥ ﺳﺮﺥﻳﺎﻝ‪ ،‬ﺹ‪.(29‬‬
‫ــﻢ ﺗ ََﺤ ﱢﻠﻞِ‬
‫ــﻲ َﻭ ﺁﻟَــﺖ َﺣـ ْﻠﻔــ ًﺔ ﻟ َ ْ‬ ‫َﻋ َﻠ ﱠ‬ ‫ﺕ‬ ‫َﻭ ﻳَﻮﻣ ًﺎ َﻋﻠﻲ َﻇ ْﻬ ِﺮ ﺍﻟ ْ َﻜ ِ‬
‫ﺜﻴﺐ ﺗَ َﻌ ّﺬ َﺭ ْ‬
‫ﻓﺄﺟ ِﻤﻠﻲ‬ ‫ﺖ َﺻ ْﺮﻣِﻲ ْ‬ ‫ْﺖ َﻗﺪْ ﺃ ْﺯ َﻣ ْﻌ ِ‬
‫َﻭ ﺇﻥْ ُﻛﻨ ِ‬ ‫ﺑﻌﺾ ﻫــﺬﺍ ﺍﻟﺘﱠﺪَ ﻟُﻞِ‬ ‫َ‬ ‫ﺃﻓــﺎ ِﻃ َﻢ َﻣﻬ ً‬
‫ﻼ‬
‫ﺐ ﻳَ ْﻔ َﻌـﻞِ‬‫ﻚ َﻣ ْﻬ َﻤــﺎ ﺗَﺄ ُﻣــﺮﻱ ﺍﻟ ْ َﻘ ْﻠ َ‬ ‫َﻭ ﺃﻧﱠ ِ‬ ‫ﻚ ﻗﺎﺗِﻠـﻲ‬ ‫ﻙ ﻣِﻨّــﻲ ﱠ‬
‫ﺃﻥ ُﺣ ﱢﺒ ِ‬ ‫ــﺮ ِ‬‫ﺃ َﻏ ﱠ‬
 ‫ــﻦ ﺛِﻴـﺎﺑ ِ ِ‬
‫ﻚ ﺗَﻨ ُْﺴﻞِ‬ ‫َﻓ ُﺴ ّﻠﻲ ﺛِﻴـــﺎﺑﻲ َﻋ ْ‬ ‫ْﻚ ﻣِﻨّﻲ ﺧَ ﻠﻴ َﻘ ٌﺔ‬ ‫َﻭ ﺇﻥْ ﺗ ُ‬
‫َﻚ َﻗﺪْ ﺳﺎ َءﺗ ِ‬
‫)ﺩﻳﻮﺍﻥ ﺍﻣﺮﺉ ﺍﻟﻘﻴﺲ‪ ،‬ﺹ‪(37-36‬‬
‫ﺗﺮﺟﻤﻪ‪» :‬ﻭ ﺁﻥ ﺭﻭﺯ ﻛﻪ ﺑﺮ ﺳﺮ ﺁﻥ ﺗﭙﺔ ﺭﻳﮓ‪ ،‬ﻣﺤﺒﻮﺏ ﺳﺮﺳﺨﺘﻰ ﭘﻴﺸﻪ ﻛﺮﺩ ﻭ ﺳﻮﮔﻨﺪ ﺧﻮﺭﺩ‪،‬‬
‫ﺳﻮﮔﻨﺪﻯ ﻧﺎﺷﻜﺴﺘﻨﻰ‪ ،‬ﻛﻪ ﺗﺎ ﺍﺑﺪ ﺍﺯ ﻣﻦ ﺟﺪﺍ ﮔﺮﺩﺩ‪ /.‬ﺍﻯ ﻓﺎﻃﻤﻪ‪ ،‬ﺍﻳﻦ ﻋﺸﻮﻩﮔﺮﻯﻫﺎ ﻓﺮﻭﮔﺬﺍﺭ ﻭ ﺍﮔﺮ‬
‫ﺧﻮﺍﻫﻰ ﺍﺯ ﻣﻦ ﺟﺪﺍ ﺷﻮﻯ‪ ،‬ﺭﺍﻫﻰ ﺑﻬﺘﺮ ﭘﻴﺶ ﮔﻴﺮ‪ /.‬ﻋﺸﻖ ﺗﻮ ﻫﻼﻙ ﺟﺎﻥ ﻣﻦ ﺍﺳﺖ ﻭ ﻗﻠﺐ ﻣﻦ‬
‫ﺭﺍﻡ ﺩﺳﺘﺎﻥ ﺗﻮ؛ ﻫﻢ ﺍﺯ ﺍﻳﻦ ﺭﻭﻯ ﺳﺮﮔﺮﺍﻥ ﺷﺪﻩﺍﻯ‪ /‬ﺍﮔﺮ ﺑﺮﺧﻰ ﺧﺼﺎﻝ ﻣﺮﺍ ﻧﭙﺴﻨﺪﻳﺪﻩﺍﻯ‪ ،‬ﻗﻠﺒﻢ ﺭﺍ ﺍﺯ‬
‫ﻗﻠﺒﺖ ﺑﻴﺮﻭﻥ ﻛﻦ)‪)«.(1‬ﻣﻌ ّﻠﻘﺎﺕ ﺳﺒﻊ‪ ،‬ﺹ‪.(14‬‬
‫ﻧﻜﺘﺔ ﻧﻐﺰ ﺩﺭ ﺑﺮﺩﺍﺷﺖ ﺩﻭﻟﺖﺁﺑﺎﺩﻯ ﺍﺯ ﻣﻌ ّﻠﻘﺔ ﻗﻴﺲ ﺍﻳﻦ ﺍﺳﺖ ﻛﻪ ﺍﻭ ﺟﻤﻠﺔ ﺧﺒﺮﻯ ﺑﻴﺖ ﺳﻮﻡ‬
‫ﺭﺍ ﺑﻪ ﮔﻮﻧﺔ ﭘﺮﺳﺸﻰ ﺳﺮﺯﻧﺶﺁﻣﻴﺰ ﺩﺭﺁﻭﺭﺩﻩ ﻭ ﺑﻪ ﺍﻳﻦ ﺷﻴﻮﻩ ﭘﻴﺎﻡ ﺑﻴﺖ ﺭﺍ )ﻛﻪ ﺑﻪ ﺷﻌﺮﻫﺎﻯ ﺷﻴﻮﺓ‬
‫ﻭﺍﺳﻮﺧﺖ ﻫﻤﺎﻧﻨﺪ ﺍﺳﺖ( ﻧﻤﻮﺩﻯ ﺑﻬﺘﺮ ﻭ ﺑﻴﺸﺘﺮ ﺑﺨﺸﻴﺪﻩ ﺍﺳﺖ‪ .‬ﺩﺭ ﺗﺮﺟﻤﺔ ﺁﻳﺘﻰ ﻧﺨﺴﺖ ﺑﻪ ﻧﻈﺮ‬
‫ﻣﻲﺭﺳﺪ ﻗﻴﺲ ﺑﻪ ﺍﻳﻦ ﻧﻜﺘﻪ ﻛﻪ ﻗﻠﺐ ﺩﻟﺪﺍﺩﻩ ﺭﺍﻡ ﺩﺳﺘﺎﻥ ﺩﻟﺪﺍﺭ ﺷﺪﻩ ﺍﻋﺘﺮﺍﻑ ﻣﻲﻛﻨﺪ‪ ،‬ﺍﻣﺎ ﺑﻪ ﺭﺍﺳﺘﻰ‬
‫ﭼﻨﻴﻦ ﻧﻴﺴﺖ ﻭ ﺩﻟﺪﺍﺩﺓ ﺧﺸﻤﮕﻴﻦ ﻭ ﺁﺯﺭﺩﻩ ﺍﺯ ﻧﺎﺯ ﺑﻲﺍﻧﺪﺍﺯﺓ ﻳﺎﺭ‪ ،‬ﺑﺎ ﺳﺮﺯﻧﺶ ﺍﻭ ﻣﻲﮔﻮﻳﺪ‪ :‬ﺗﻮ ﺑﺪﻳﻦ‬
‫ﻓﺮﻳﻔﺘﻪ ﺷﺪﻩﺍﻯ ﻛﻪ ﺩﻭﺳﺘﺪﺍﺭﻯ ﺗﻮ ﻣﺮﺍ ﺍﺯ ﭘﺎﻯ ﺩﺭﺍﻓﻜﻨﺪﻩ ﻭ ﻫﺮﭼﻪ ﺑﮕﻮﻳﻰ ﺍﻧﺠﺎﻡ ﻣﻲﺩﻫﻢ؛ ﺍﻣﺎ ﭼﻨﻴﻦ‬
‫ﻧﻴﺴﺖ؛ ﺍﮔﺮ ﺧﻮﻯ ﻣﺮﺍ ﻧﻤﻲﭘﺴﻨﺪﻯ ﺍﺯ ﻣﻦ ﺟﺪﺍ ﺷﻮ!‬
‫ﺩﻭﻟﺖﺁﺑﺎﺩﻯ ﺩﺭ ﺻﻔﺤﺔ ﭼﻬﻞ ﺗﺮﺟﻤﺔ ﺩﻭ ﺑﻴﺖ ﻣﻌ ّﻠﻘﻪ )ﺩﻳﻮﺍﻥ ﺍﻣﺮﺉ ﺍﻟﻘﻴﺲ‪ ،‬ﺹ‪ (49‬ﺭﺍ ﺑﺎ ﭘﺪﻳﺪ‬
‫‪319‬‬ ‫ﺁﻭﺭﺩﻥ ﺍﻧﺪﻛﻰ ﺩﮔﺮﮔﻮﻧﻰ ﺩﺭ ﺗﺮﺟﻤﺔ ﺁﻳﺘﻰ ﺁﻭﺭﺩﻩ ﺍﺳﺖ‪:‬‬
‫»ﻫﺎﻥ ﺍﻯ ﺷﺐ ﺩﻳﺮﭘﺎﻯ! ﺁﻳﺎ ﺩﺭﻳﭽﻪﻫﺎﻯ ﺑﺎﻣﺪﺍﺩﻯ ﺭﺍ ﻧﺨﻮﺍﻫﻰ ﮔﺸﻮﺩ؟ ﮔﻴﺮﻡ ﺧﻮﺷﺘﺮ ﻧﻴﺴﺖ‬
‫ﻋﺎﺷﻘﺎﻥ ﺭﺍ ﭘﺮﺗﻮ ﺑﺎﻣﺪﺍﺩﻯ ﺍﺯ ﺗﻴﺮﮔﻰ ﺷﺎﻣﮕﺎﻫﺎﻥ! ﺷﮕﻔﺘﺎ ﺍﺯ ﺷﺒﻰ ﻛﻪ ﺳﺘﺎﺭﮔﺎﻧﺶ ﺭﺍ ﮔﻮﻳﻰ ﺑﺎ‬
‫ﺭﻳﺴﻤﺎﻥﻫﺎﻯ ﺗﺎﻓﺘﻪ ﺑﺮ ﺻﺨﺮﻩﻫﺎﻯ ﺳﺨﺖ ﺑﺴﺘﻪﺍﻧﺪ« )ﺁﻥ ﻣﺎﺩﻳﺎﻥ ﺳﺮﺥﻳﺎﻝ‪ ،‬ﺹ‪.(40‬‬
‫ّ‬
‫ﺗﺮﺟﻤﺔ ﺁﻳﺘﻰ ﺍﺯ ﺩﻭ ﺑﻴﺖ ﻳﺎﺩ ﺷﺪﻩ ﻛﻪ ﺑﻴﺖﻫﺎﻯ ﭼﻬﻞ ﻭ ﺷﺸﻢ ﻭ ﭼﻬﻞ ﻭ ﻫﻔﺘﻢ ﻣﻌﻠﻘﻪ ﻫﺴﺘﻨﺪ‪،‬‬
‫ﭼﻨﻴﻦ ﺍﺳﺖ‪» :‬ﻫﺎﻥ ﺍﻯ ﺷﺐ ﺩﻳﺮﻧﺪﻩ! ﺩﺭﻳﭽﻪﻫﺎﻯ ﺑﺎﻣﺪﺍﺩﻯ ﺭﺍ ﺑﮕﺸﺎﻯ‪ ،‬ﻫﺮﭼﻨﺪ ﻋﺎﺷﻖ ﺩﻟﺨﺴﺘﻪ‬
‫ﺭﺍ ﭘﺮﺗﻮ ﺑﺎﻣﺪﺍﺩﻯ ﺍﺯ ﺗﻴﺮﮔﻰ ﺷﺎﻣﮕﺎﻫﻰ ﺧﻮﺷﺘﺮ ﻧﻴﺴﺖ‪ /.‬ﺷﮕﻔﺘﺎ ﺍﺯ ﺷﺒﻰ ﻛﻪ ﮔﻮﻳﻰ ﺍﺧﺘﺮﺍﻧﺶ ﺭﺍ ﺑﺎ‬
‫ﺭﻳﺴﻤﺎﻥﻫﺎﻯ ﺗﺎﻓﺘﻪ ﺑﺮ ﺻﺨﺮﻩﻫﺎﻯ ﻛﻮﻩ ﻳﺬﺑُﻞ ﺑﺴﺘﻪﺍﻧﺪ«)ﻣﻌ ّﻠﻘﺎﺕ ﺳﺒﻊ‪ ،‬ﺹ‪.(16‬‬
‫ﺩﺭ ﻫﻤﻴﻦ ﺻﻔﺤﻪ ﺗﺮﺟﻤﻪﮔﻮﻧﻪﺍﻯ ﺍﺯ ﺑﻴﺖﻫﺎﻯ ‪ 49‬ﺗﺎ ‪ 52‬ﻣﻌ ّﻠﻘﻪ )ﺩﻳﻮﺍﻥ ﺍﻣﺮﺉ ﺍﻟﻘﻴﺲ‪ ،‬ﺹ‪-50‬‬
‫‪ (51‬ﺁﻣﺪﻩ ﺍﺳﺖ‪:‬‬
‫»ﺭﻭﺯﮔﺎﺭﻯ ﻣﺸﻚ ﺁﺏ ﺑﺮ ﭘﺸﺖ ﺟ ّﻤﺎﺯﻯ ﺭﺍﻫﻮﺍﺭ ﻣﻲﻧﻬﺎﺩﻡ ﺍﺯ ﺭﺍﻩﻫﺎﻯ ﺩﻭﺭ ﻭ ﻣﻲﺁﻭﺭﺩﻡ ﺑﺮﺍﻯ‬
‫ﺭﻓﻴﻘﺎﻧﻢ‪ .‬ﻳﺎﺭﺍﻧﻢ! ﺑﻴﺎﺑﺎﻥ ﺧﺸﻚ ﻭ ﺑﻲﺁﺏ ﻭ ﺑﻲﮔﻴﺎﻩ ــ ﺷﺒﻰ‪ ،‬ﻧﻴﻢ ﺷﺒﻰ ــ ﺭﺍﻩ ﺑﺮ ﻣﻦ ﺑﺴﺖ ﺑﺎ ﺯﻭﺯﺓ‬
‫ﮔﺮﮔﺎﻥ ﮔﺮﺳﻨﻪﺍﺵ‪ ،‬ﻛﻪ ﺁﻥ ﮔﺮگ ﭼﻮﻥ ﭘﻮﺯﻩ ﮔﺮﻓﺖ ﺳﻮﻯ ﻣﻦ ﺑﺎ ﺯﻭﺯﻩﻫﺎﻯ ﻣﺮگ‪ ،‬ﻣﻦ ﺑﺎ ﺍﻭ ﺑﻪ‬
‫ﺳﺨﻦ ﺩﺭﺁﻣﺪﻡ‪ ،‬ﺑﺎ ﮔﺮگ!‬
‫ﺍﻯ ﮔﺮگ! ﻣﻦ ﻭ ﺗﻮ ﻫﺮ ﺩﻭ ﻣﺴﻜﻴﻨﻴﻢ ﻭ ﺑﻪ ﻃﻠﺐ ﺻﺤﺮﺍﻫﺎ ﺭﺍ ﺩﺭﻣﻲﻧﻮﺭﺩﻳﻢ ﻭ ﻫﺮ ﺩﻭﻣﺎﻥ ﺍﻯ‬

‫‪ (1‬ﺗﺮﺟﻤﺔ ﻭﺍژﻩ ﺑﻪ ﻭﺍژﺓ ﻣﺼﺮﺍﻉ ﭘﺎﻳﺎﻧﻰ ﭼﻨﻴﻦ ﺍﺳﺖ‪» :‬ﺟﺎﻣﻪﻫﺎﻳﻢ ﺭﺍ ﺍﺯ ﺟﺎﻣﻪﻫﺎﻳﺖ ﺑﻴﺮﻭﻥ ﺑﻜﺶ!« ﺟﺎﻣﻪ ﺭﺍ ﺩﺭ ﺍﻳﻦ ﺑﻴﺖ‬
‫ﻚ َﻓ َﻄ ﱢﻬﺮ« )ﻣﺪﺛﺮ‪ (4 ،‬ﻣﺠﺎﺯ ﺍﺯ ﻗﻠﺐ ﺩﺍﻧﺴﺘﻪﺍﻧﺪ )ﻧﻚ‪ :‬ﺷﺮﺡ ﻣﻌ ّﻠﻘﺎﺕ ﺳﺒﻊ‪ ،‬ﺹ‪.(25‬‬
‫ﻫﻤﺎﻧﻨﺪ ﺁﻳﺔ »ﻭ ﺛﻴﺎﺑ َ َ‬
‫ﮔﺮگ ﭼﻮﻥ ﭼﻴﺰﻯ ﺑﻴﺎﺑﻴﻢ ﺑﻲﺩﺭﻧﮓ ﺍﺯ ﺩﺳﺖ ﻣﻲﺩﻫﻴﻢ ﻭ ﺁﻥ ﻛﻪ ﻣﻌﻴﺸﺘﻰ ﭼﻮﻥ ﻣﻦ ﻭ ﺗﻮ ﺩﺍﺷﺘﻪ‬
‫ﺑﺎﺷﺪ‪ ،‬ﻫﻤﻮﺍﺭﻩ ﻣﺴﻜﻴﻦ ﻭ ﺗﻬﻴﺪﺳﺖ ﺑﺎﻗﻰ ﺍﺳﺖ« )ﺁﻥ ﻣﺎﺩﻳﺎﻥ ﺳﺮﺥﻳﺎﻝ‪ ،‬ﺹ‪.(40‬‬
‫ﺁﻳﺘﻰ ﺑﻴﺖﻫﺎﻯ ﻳﺎﺩ ﺷﺪﻩ ﺭﺍ ﭼﻨﻴﻦ ﺗﺮﺟﻤﻪ ﻛﺮﺩﻩ ﺍﺳﺖ‪» :‬ﭼﻪ ﺑﺴﺎ ﻣﺸﻚ ﺁﺏ ﺭﺍ ﺑﺮ ﺩﻭﺵ ﺧﻮﺩ ــ‬
‫ﻛﻪ ﺑﻪ ﺗﺤﻤﻞ ﺑﺎﺭ ﮔﺮﺍﻥ ﻭ ﺭﻧﺞ ﺳﻔﺮ ﻋﺎﺩﺕ ﻛﺮﺩﻩ ﺑﻮﺩ ــ ﻣﻲﻧﻬﺎﺩﻡ ﻭ ﺑﺮﺍﻯ ﻗﻮﻡ ﺧﻮﺩ ﺁﺏ ﻣﻲﺑﺮﺩﻡ‪/.‬‬
‫ﺑﺴﺎ ﺑﻴﺎﺑﺎﻧﻰ ﺧﺸﻚ ﻭ ﺑﻲﺁﺏ ﻭ ﮔﻴﺎﻩ‪ ،‬ﭼﻮﻥ ﺷﻜ ِﻢ ﮔﻮﺭﺧﺮﺍﻥ‪ ،‬ﺭﺍ ﺩﺭﻧﻮﺷﺘﻢ ﻭ ﺯﻭﺯﺓ ﮔﺮگ ﮔﺮﺳﻨﻪ‪،‬‬
‫ﭼﻮﻥ ﻧﺎﻟﺔ ﻋﻴﺎﻟﻤﻨﺪﺍﻥ ﺯﻧﺪﮔﻰ ﺑﺎﺧﺘﻪ‪ ،‬ﺑﻪ ﮔﻮﺵ ﻣﻲﺭﺳﻴﺪ‪ /.‬ﻭﻗﺘﻰ ﻛﻪ ﮔﺮگ ﺯﻭﺯﻩ ﻛﺸﻴﺪ‪ ،‬ﻣﻦ ﺩﺭﻧﮓ‬
‫ﻛﺮﺩﻡ ﻭ ﮔﻔﺘﻢ‪ :‬ﺍﻯ ﮔﺮگ! ﻣﻦ ﻭ ﺗﻮ ﻫﺮ ﺩﻭ ﻣﺴﻜﻴﻦ ﻭ ﻓﻘﻴﺮﻳﻢ‪ .‬ﻫﺮ ﺩﻭﻯ ﻣﺎ ﺑﻪ ﻃﻠﺐ ﺑﺮﺧﺎﺳﺘﻪﺍﻳﻢ‪،‬‬
‫ﻭﻟﻰ ﺑﻪ ﭼﻴﺰﻯ ﺩﺳﺖ ﻧﻴﺎﻓﺘﻪﺍﻳﻢ‪ /.‬ﻫﺮ ﺩﻭ ﭼﻮﻥ ﭼﻴﺰﻯ ﺑﻴﺎﺑﻴﻢ‪ ،‬ﺑﻲﺩﺭﻧﮓ ﺍﺯ ﺩﺳﺖ ﻣﻲﺩﻫﻴﻢ ﻭ ﺁﻥ ﻛﻪ‬
‫ﻣﻌﻴﺸﺘﻰ ﭼﻮﻥ ﻣﻦ ﻭ ﺗﻮ ﺩﺍﺷﺘﻪ ﺑﺎﺷﺪ‪ ،‬ﭘﻴﻮﺳﺘﻪ ﻓﻘﻴﺮ ﻭ ﻧﺎﺗﻮﺍﻥ ﺍﺳﺖ« )ﻣﻌ ّﻠﻘﺎﺕ ﺳﺒﻊ‪ ،‬ﺹ‪.(16‬‬
‫ﺩﻭﻟﺖﺁﺑﺎﺩﻯ ﺍﺯ ﺳﺮﻭﺩﻩﻫﺎﻳﻰ ﺟﺰ »ﻣﻌ ّﻠﻘﻪ« ﻧﻴﺰ ﺑﻬﺮﻩ ﺟﺴﺘﻪ ﻛﻪ ﺑﺮﺍﻯ ﻧﻤﻮﻧﻪ ﻣﻲﺗﻮﺍﻥ ﺍﺯ ﺑﻴﺖﻫﺎﻯ‬
‫ﺯﻳﺮ ﻳﺎﺩ ﻛﺮﺩ‪:‬‬
‫ﺑِﺄ ْﻣـ ٍﺮ ﺗَ َﺰ ْﻋـ َﺰ َﻉ ﻣِﻨْـﻪ ﺍﻟ ْ ُﻘ َ‬
‫ﻠـ ْﻞ‬ ‫ﺣﺪﻳﺚ َﻓ َﻜ َﺬﺑْــﺘُـ ُﻪ‬
‫ٌ‬ ‫ﺃﺗـــﺎﻧِﻲ‬
‫ـﻞ‬‫ﺃﻻ ُﻛ ﱡﻞ َﺷﻲءٍ ِﺳـﻮﺍ ُﻩ َﺟ َﻠ ْ‬ ‫ـﻢ‬‫ﺃﺳـــ ٍﺪ َﺭﺑﱠ ُﻬ ْ‬ ‫ﺑ ِ َﻘﺘْﻞِ ﺑَﻨــﻲ َ‬
‫َﻤﻴﻢ ﻭ ﺃﻳْ َﻦ ﺍﻟْﺨَ ْ‬
‫ـﻮﻝ‬ ‫ﻭ ﺃﻳْ َﻦ ﺗ ٌ‬ ‫ـﻦ َﺭﺑﱢــﻬـﺎ؟‬ ‫َﻓـﺄﻳْ َﻦ َﺭﺑﻴ َﻌ ُﺔ َﻋ ْ‬
‫ﻣﺎﺍﺳﺘَ َﻬ ْﻞ‬
‫ْ‬ ‫َﻛﻤﺎ ﻳَ ْﺤ ُﻀ ُﺮﻭﻥَ ﺇﺫﺍ‬ ‫ــﺮﻭﻥَ ﻟَـﺪَ ﻱ ﺑﺎﺑِﻪ‬ ‫ﺃﻻ ﻳَ ْﺤ ُﻀ ُ‬
‫)ﺩﻳﻮﺍﻥ ﺍﻣﺮﺉ ﺍﻟﻘﻴﺲ‪ ،‬ﺹ ‪(15‬‬ ‫‪320‬‬
‫ﺗﺮﺟﻤﺔ ﺍﻳﻦ ﺑﻴﺖﻫﺎ ﺑﺎ ﺍﻧﺪﻛﻰ ﺩﮔﺮﮔﻮﻧﻰ ﭼﻨﺪ ﺑﺎﺭ ﺩﺭ ﻛﺘﺎﺏ )ﺻﻔﺤﺎﺕ ‪ (67 ،61- 60 ،32‬ﺁﻣﺪﻩ‬
‫ﻛﻪ ﻳﻚ ﻧﻤﻮﻧﻪ ﺭﺍ ﺩﺭ ﺍﻳﻨﺠﺎ ﻣﻲﺁﻭﺭﻳﻢ‪» :‬ﺧﺒﺮﻯ ﺑﻪ ﻣﻦ ﺭﺳﻴﺪ ﻛﻪ ﺩﺭ ﺑﺎﻭﺭ ﻣﻦ ﻧﮕﻨﺠﻴﺪ ﺩﺭ ﺁﻥ ﺩﻡ‪،‬‬
‫ﺧﺒﺮﻯ ﻛﻪ ﻗﻠﺐ ﻛﻮﻩﻫﺎ ﺍﺯ ﺑﺎﻭﺭ ﺁﻥ ﺑﻪ ﻟﺮﺯﻩ ﺩﺭﻣﻲﺁﻣﺪﻧﺪ‪ /‬ﺧﺒﺮﻯ ﺩﺭ ﺁﻥ ﻛﻪ ﺑﻨﻰ ﻋﺪﻭﺍﻥ ﭘﺮﻭﺭﺩﮔﺎﺭ‬
‫ﺧﻮﻳﺶ ﺭﺍ ﻛﺸﺘﻪﺍﻧﺪ! ﻭ ﭼﻮﻥ ﺩﺭ ﺑﺎﻭﺭ ﻣﻦ ﻧﺸﺴﺖ ﺁﻥ ﺧﺒﺮ ﺷﻮﻡ‪ ،‬ﺑﺪﺍﻥ ﻛﻪ ﻫﺮ ﭼﻴﺰ ﺩﻳﮕﺮ ﺟﺰ ﺁﻥ‬
‫ﻧﺎﭼﻴﺰ ﻭ ﺑﺲ ﺍﺭﺯﺍﻥ ﺍﺳﺖ ﺑﺮﺍﻳﻢ‪ /.‬ﻛﺠﺎ ﺑﻮﺩ ﺍﺑﻦ ﺭﺑﻴﻌﻪ ﺩﻭﺭ ﺍﺯ ﭘﺮﻭﺭﺩﮔﺎﺭ ﺧﻮﺩ؟ ﻛﺠﺎ ﺑﻮﺩ ﺗﻤﻴﻢ ﻭ‬
‫ﻛﺠﺎ ﺑﻮﺩﻧﺪ ﺧﺪﻣﺘﻜﺎﺭﺍﻥ ﺩﺳﺖ ﺑﻪ ﺗﻴ ِﻎ ٌﺣﺠﺮ؟‪ /‬ﭼﺮﺍ ﺣﺎﺿﺮ ﻧﺒﻮﺩﻧﺪ ﺩﺭ ﺧﺎﻧﺔ ﺣﺠﺮ ﭼﻨﺎﻥ ﻛﻪ ﮔﺮﺩ‬
‫ﺳﻔﺮﺓ ﺍﻭ ﺟﻤﻊ ﻣﻲﺑﻮﺩﻧﺪ ﻫﻤﻪ ﺭﻭﺯ ﻭ ﻫﻤﻪ ﺷﺐ؟« )ﺁﻥ ﻣﺎﺩﻳﺎﻥ ﺳﺮﺥﻳﺎﻝ‪ ،‬ﺹ ‪.(32‬‬

‫ﻛﺘﺎﺑﻨﺎﻣﻪ‬
‫ﻗﺮﺁﻥ ﻛﺮﻳﻢ‪.‬‬
‫ﺁﻥ ﻣﺎﺩﻳﺎﻥ ﺳﺮﺥﻳﺎﻝ‪ .‬ﻣﺤﻤﻮﺩ ﺩﻭﻟﺖﺁﺑﺎﺩﻯ‪ .‬چ‪ ،1‬ﺗﻬﺮﺍﻥ‪ :‬ﻧﮕﺎﻩ‪.1383 ،‬‬
‫ﺍﻟﻤﺠﺎﻧﻰ ﺍﻟﺤﺪﻳﺜﻪ‪ ،‬ﺝ‪ .1‬ﻓﻮﺍﺩ ﺍﻓﺮﺍﻡ ﺍﻟﺒﺴﺘﺎﻧﻰ‪ .‬ﻗﻢ‪ :‬ﺫﻭﻯ ﺍﻟﻘﺮﺑﻰ‪.1386 ،‬‬
‫ﺩﻳﻮﺍﻥ ﺍﻣﺮﺉ ﺍﻟﻘﻴﺲ‪ .‬ﺑﻴﺮﻭﺕ‪ :‬ﺩﺍﺭ ﺻﺎﺩﺭ‪ ،‬ﺑﻲﺗﺎ‪.‬‬
‫ﺳﺠﺎﺩﻯ‪ .‬چ‪ ،3‬ﺗﻬﺮﺍﻥ‪ :‬ﺯﻭﺍﺭ‪.1368 ،‬‬ ‫ﺩﻳﻮﺍﻥ ﺧﺎﻗﺎﻧﻰ ﺷﺮﻭﺍﻧﻰ‪ .‬ﺗﺼﺤﻴﺢ ﺿﻴﺎءﺍﻟﺪّ ﻳﻦ ّ‬
‫ﺷﺮﺡ ﻣﻌ ّﻠﻘﺎﺕ ﺳﺒﻊ‪ ،‬ﺍﺣﻤﺪ ﺗﺮﺟﺎﻧﻰ ﺯﺍﺩﻩ‪ .‬ﺑﺎ ﻣﻘﺪﻣﻪ ﻭ ﺗﻌﻠﻴﻘﺎﺕ ﺟﻠﻴﻞ ﺗﺠﻠﻴﻞ‪ .‬چ‪ ،1‬ﺗﻬﺮﺍﻥ‪ :‬ﺳﺮﻭﺵ‪.1382 ،‬‬
‫ﻣﻌ ّﻠﻘﺎﺕ ﺳﺒﻊ‪ .‬ﺗﺮﺟﻤﺔ ﻋﺒﺪﺍﻟﻤﺤﻤﺪ ﺁﻳﺘﻰ‪ .‬چ‪ ،6‬ﺗﻬﺮﺍﻥ‪ :‬ﺳﺮﻭﺵ‪.1387 ،‬‬
 ‫ﻧﺎﻣﻪﻫﺎﻯ ﺟﻤﺎﻟﺰﺍﺩﻩ ﺑﻪ ﺩﻭﻟﺖﺁﺑﺎﺩﻯ‬

‫‪321‬‬ ‫ژﻧﻮ ‪ 24‬ﻣﺮﺩﺍﺩ ‪1362‬‬

‫ﺑﺨﺎﺭﺍ‬
‫ﺳﺎﻝ ﺳﻴﺰﺩﻫﻢ‬ ‫ﻼ ﻗﻠﺒﻰ ﺧﺪﻣﺖ ﺩﻭﺳﺖ ﮔﺮﺍﻣﻰ ﻫﺮﮔﺰ ﻧﺎﺩﻳﺪﻩ ﻭﻟﻰ ﺳﺨﺖ ﭘﺴﻨﺪﻳﺪﻩﺍﻡ‬ ‫ﺑﺎ ﺳﻼﻡ ﻭ ﺩﻋﺎﻯ ﻛﺎﻣ ً‬
‫ﺷﻤﺎﺭﻩ ‪76‬‬
‫ﻣﺮﺩﺍﺩ ‪ -‬ﺷﻬﺮﻳﻮﺭ‬ ‫ﺣﻀﺮﺕ ﺁﻗﺎﻯ ﻣﺤﻤﻮﺩ ﺩﻭﻟﺖﺁﺑﺎﺩﻯ ﺳﺒﺰﻭﺍﺭﻯ‬
‫‪1389‬‬
‫ﺑﻪ ﻋﺮﺽ ﻣﻴﺮﺳﺎﻧﺪ ﻛﻪ ﺩﻭ ﺟﻠﺪ »ﻛﻠﻴﺪﺭ« ﺭﺳﻴﺪ ﻭ ﻣﺮﺍ ﺳﺮﺷﺎﺭ ﺍﺯ ﻣﺴﺮﺕ ﻭ ﺍﻣﺘﻨﺎﻥ ﺳﺎﺧﺖ ﻭ‬
‫ﺳﺨﺖ ﮔﺮﻡ ﻣﻄﺎﻟﻌﻪ ﻫﺴﺘﻢ ﻭ ﻣﺪﺍﻡ ﺑﺮ ﺗﻌﺠﺒﻢ ﻣﻰﺍﻓﺰﺍﻳﺪ ﻛﻪ ﺍﻳﻦ ﻣﺮﺩ ﻋﺰﻳﺰ ﺍﻳﻦ ﻫﻤﻪ ﻓﻬﻢ ﻭ ﺫﻭﻕ‬
‫ﺑﻰﺳﺎﺑﻘﻪ ﻭ ﻓﻜﺮ ﻭ ﻭﺍﻗﻊﺑﻴﻨﻰ ﺭﺍ ﺍﺯ ﻛﺠﺎ ﺁﻭﺭﺩﻩ ﺍﺳﺖ‪.‬‬
‫ﻣﻦ ﺭﻣﺎﻧﻬﺎﻯ ﺯﻳﺎﺩﻯ ﺧﻮﺍﻧﺪﻩﺍﻡ‪ .‬ﺍﺯ ﻏﺮﺑﻰﻫﺎ ﺧﻴﻠﻰ ﺧﻮﺍﻧﺪﻡ‪ .‬ﺗﺼﻮﺭ ﻧﻤﻰﻛﻨﻢ ﻛﺴﻰ ﺑﻪ ّﺣﺪ‬
‫ﺩﻭﻟﺖﺁﺑﺎﺩﻯ ﺗﻮﺍﻧﺴﺘﻪ ﺑﺎﺷﺪ ﺍﻳﻨﭽﻨﻴﻦ ﺷﺎﻫﻜﺎﺭﻯ ﺑﻴﺎﻓﺮﻳﻨﺪ‪ .‬ﺑﺮ ﻣﻦ ﻣﺴﻠﻢ ﺍﺳﺖ ﺭﻭﺯﻯ ﻗﺪﺭ ﻭ ﻗﻴﻤﺖ‬
‫»ﻛﻠﻴﺪﺭ« ﺭﺍ ﺧﻮﺍﻫﻨﺪ ﺩﺍﻧﺴﺖ ﻭ ﺑﻪ ﺯﺑﺎﻧﻬﺎﻯ ﺯﻳﺎﺩﻯ ﺗﺮﺟﻤﻪ ﺧﻮﺍﻫﺪﺷﺪ‪ .‬ﺭﻭﺯﻯ ﺭﺍ ﻣﻰﺑﻴﻨﻢ ﻛﻪ‬
‫ﺩﻭﻟﺖﺁﺑﺎﺩﻯ ﻋﺰﻳﺰ ﻣﺎ ﺟﺎﻳﺰﺓ ﻧﻮﺑﻞ ﺭﺍ ﺩﺭﻳﺎﻓﺖ ﺧﻮﺍﻫﺪ ﻛﺮﺩ‪.‬‬
‫ﺍﻟﺒﺘﻪ ﻣﻤﻜﻦ ﺍﺳﺖ ﻣﻦِ ﭘﻴﺮﻣﺮﺩ ﺁﻥ ﺭﻭﺯ ﻧﺒﺎﺷﻢ‪ .‬ﻭﻟﻰ ﺍﻃﻤﻴﻨﺎﻥ ﺩﺍﺭﻡ ﺗﺮﺟﻤﻪ »ﻛﻠﻴﺪﺭ« ﺑﻪ ﺯﺑﺎﻧﻬﺎﻯ‬
‫ﺯﻧﺪﻩ ﺩﻧﻴﺎ ﺩﻭﻟﺖﺁﺑﺎﺩﻯ ﺭﺍ ﺑﻪ ﺟﺎﻳﺰﺓ ﺍﺩﺑﻴﺎﺕ ﻧﻮﺑﻞ ﺧﻮﺍﻫﺪ ﺭﺳﺎﻧﺪ‪» .‬ﻛﻠﻴﺪﺭ« ﺑﺮﺗﺮﻳﻦ ﺭﻣﺎﻧﻰ ﺍﺳﺖ ﻛﻪ‬
‫ﺗﺎﻛﻨﻮﻥ ﺧﻮﺍﻧﺪﻩﺍﻡ‪.‬‬
‫ﻣﺤﻤﻮﺩﺟﺎﻥ‪ ،‬ﻣﺤﻤﻮﺩ ﻋﺰﻳﺰﻡ ﺩﻟﻢ ﻣﻰﺧﻮﺍﻫﺪ ﺑﺘﻮﺍﻧﻢ ﺁﻧﭽﻪ ﺭﺍ ﻛﻪ ﺑﺎ ﻣﻄﺎﻟﻌﻪ ﻛﺘﺎﺑﻬﺎﻯ ﺗﻮ ﺑﺨﺼﻮﺹ‬
‫»ﻛﻠﻴﺪﺭ« ﺩﺭﻣﻰﻳﺎﺑﻢ ﻧﻪ ﺗﻨﻬﺎ ﺑﻪ ﻫﻤﻮﻃﻨﺎﻥ ﺑﻠﻜﻪ ﺑﻪ ﺗﻤﺎﻡ ﻛﺴﺎﻧﻰ ﻛﻪ ﺑﻪ ﻛﺎﺭﻫﺎﻯ ﺗﻮ ﻋﻼﻗﻤﻨﺪ ﻫﺴﺘﻨﺪ‬
‫ﺑﮕﻮﻳﻢ‪ .‬ﻭﻟﻰ ﻣﻰﺑﻴﻨﻢ ﺧﺪﺍ ﺭﺍ ﺷﻜﺮ ﭼﻨﺎﻥ ﻣﻰﻧﻤﺎﻳﺪ ﻛﻪ ﻻﺍﻗﻞ ﻫﻤﻮﻃﻨﺎﻥ ﺑﺎ ﺫﻭﻕ ﻭ ﺑﺎ ﻓﻬﻢ ﺧﻮﺩﺷﺎﻥ‬
‫ﺩﺳﺘﮕﻴﺮﺷﺎﻥ ﺷﺪﻩ ﭼﻨﺎﻧﻜﻪ ﺩﺭ ﻫﻤﻴﻦ ﺍﻭﺍﺧﺮ ﺍﺯ ﺩﻭﺭ ﻭ ﻧﺰﺩﻳﻚ ﺑﻪ ﻣﻦ ﻧﻮﺷﺘﻪﺍﻧﺪ ﻛﻪ »ﻛﻠﻴﺪﺭ« ﺭﺍ‬
‫ﺧﻮﺍﻧﺪﻩﺍﻧﺪ ﻭ ﺁﻧﻬﺎ ﻫﻢ ﻣﺜﻞ ﺧﻮﺩ ﻣﻦ ﻏﺮﻗﺔ ﺗﻌﺠﺐ ﻫﺴﺘﻨﺪ‪ .‬ﻣﻦ ﺑﻘﺪﺭﻯ ﻳﺎﺩﺩﺍﺷﺖ ﺑﺮﺍﻯ ﺗﻬﻴﻪ ﻣﻘﺎﻟﻪ‬
‫ﺑﺮﺩﺍﺷﺘﻪﺍﻡ ﻛﻪ ﺧﻮﺩﻡ ﮔﻴﺞ ﺷﺪﻩﺍﻡ ﻭ ﻣﻨﺘﻈﺮ ﻓﺮﺻﺖ ﻫﺴﺘﻢ )ﺯﻧﻢ ﻛﻤﺎ ﻓﻰﺍﻟﺴﺎﺑﻖ ﻣﺮﻳﺾ ﺍﺳﺖ ﻭ‬
‫ﺳﺨﺖ ﺍﺣﺘﻴﺎﺝ ﺑﻪ ﻣﺮﺍﻗﺒﺖ ﻭ ﻣﻮﺍﻇﺒﺖ ﻫﺮ ﺳﺎﻋﺖ ﻭ ﺣﺘﻰ ﻫﺮ ﭼﻨﺪ ﺩﻗﻴﻘﻪ ﺩﺍﺭﺩ ﻭ ﺧﻮﺩﻡ ﻫﻢ ﺑﺎﺯ ﺍﺯ‬
‫ﻧﻮ ﺩﭼﺎﺭ ﺩﺭﺩ ﺩﻧﺪﺍﻥ ﻫﺴﺘﻢ(‪ .‬ﺑﺎﻳﺪ ﺩﺭ ﻓﺮﺻﺖ ﺑﻬﺘﺮ ﻭ ﻃﻮﻻﻧﻰﺗﺮﻯ ﺑﻨﻮﻳﺴﻢ‪.‬‬
‫ﺩﻭﻟﺖﺁﺑﺎﺩﻯ ﻋﺰﻳﺰﻡ ﭼﻨﺪﻯ ﭘﻴﺶ ﺧﻮﺍﺳﺘﻴﺪ ﺑﺎ ﺗﻠﻔﻦ ﺑﺎ ﻣﻦ ﺻﺤﺒﺖ ﺑﺪﺍﺭﻳﺪ ﮔﻮﺵ ﻣﻦ ﺳﻨﮕﻴﻦ‬
‫ﺷﺪﻩ ﺍﺳﺖ ﻭ ﺩﺭ ﺗﻠﻔﻦ ﺻﺪﺍ ﺭﺍ ﺩﺭﺳﺖ ﻧﻤﻰﺷﻨﻮﻡ‪ .‬ﺯﻧﻢ ﺍﺳﻢ ﺷﻤﺎ ﺭﺍ ﺑﺮﺍﻳﻢ ﮔﻔﺖ ﻭﻟﻰ ﺩﺭﺳﺖ‬
‫ﺩﺳﺘﮕﻴﺮﻡ ﻧﺸﺪ ﻛﻪ ﭼﻪ ﻣﻄﻠﺒﻰ ﺑﻪ ﺍﻭ ﮔﻔﺘﻴﺪ‪ .‬ﻫﻤﻴﻦﻗﺪﺭ ﻛﻪ ﺩﻳﺪﻡ ﺩﺭ ﻓﻜﺮ ﺍﺭﺍﺩﺗﻤﻨﺪﺗﺎﻥ ﻫﺴﺘﻴﺪ‬
‫ﺑﺮﺍﺳﺘﻰ ﺧﻮﺷﺤﺎﻝ ﺷﺪﻡ‪ .‬ﭼﺮﺍ ﺑﺮﺍﻳﻢ ﻛﺎﻏﺬ ﻣﻔﺼﻞ ﻧﻤﻰﻧﻮﻳﺴﻴﺪ‪ .‬ﭼﺮﺍ ﺧﻮﺩﺩﺍﺭﻯ ﻣﻰﻛﻨﻴﺪ‪ .‬ﺍﮔﺮ ﺑﻪ‬
‫ﺩﻭﺳﺘﻰ ﻭ ﺑﻪ ﺣﺮﻓﻬﺎﻯ ﻣﻦ ﺍﻋﺘﻘﺎﺩ ﺩﺍﺭﻳﺪ ﺑﺎﻳﺪ ﺗﺸﺮﻳﻔﺎﺕ ﺭﺍ ﺑﻪ ﻛﻨﺎﺭ ﺑﻴﻨﺪﺍﺯﻳﺪ ﻭ ﻗﺪﺭﻯ ﺑﻴﺸﺘﺮ ﺑﺎ‬
‫ﻣﻦ ﺩﺭﺩﺩﻝ ﺑﻜﻨﻴﺪ‪ .‬ﺍﻣﻴﺪﻭﺍﺭﻡ ﻭﺿﻊ ﻭ ﺭﻭﺯﮔﺎﺭﺗﺎﻥ ﺭﻭﺑﺮﺍﻩ ﺑﺎﺷﺪ ﻭ ﺩﺭﺩﺳﺮ ﻭ ﻋﺬﺍﺏ ﺭﺯﻕ ﻭ ﺭﻭﺯﻯ‬
‫ﻧﺪﺍﺷﺘﻪ ﺑﺎﺷﻴﺪ‪ .‬ﻣﻦ ﺑﻪ ﻗﺪﺭﺕ ﻓﻜﺮ ﻭ ﻭﺍﻗﻊﺑﻴﻨﻰ ﻭ ﺳﺒﻚ ﻭ ﺷﻴﻮﺓ ﺩﺍﺳﺘﺎﻧﻮﻳﺴﻰﺍﺕ ﻋﻘﻴﺪﺓ ﺭﺍﺳﺦ ﺩﺍﺭﻡ‪.‬‬
‫ﺍﺣﺴﺎﺱ ﻣﻰﻛﻨﻢ ﻛﻪ ﺁﺩﻡ ﺑﺎ ﻓﻜﺮ ﻭ ﺷﺮﺍﻓﺘﻤﻨﺪﻯ ﻫﺴﺘﻴﺪ ﻭ ﻓﺮﻳﺐ ﺷﻬﺮﺕ ﻭ ﺣﺮﻓﻬﺎﻯ ﭘﻮﻙ ﻭ ﭘﻮچ‬
‫ﻣﺮﺩﻡ ﻣﺘﻤﻠﻖ ﻭ ﻧﻔﻬﻢ ﻭ ﻣﺰﺧﺮﻑﮔﻮ ﺭﺍ ﻧﺨﻮﺍﻫﻴﺪ ﭘﺬﻳﺮﻓﺖ ﻭ ﺭﺍﻩ ِ ﺧﻮﺩﺗﺎﻥ ﺭﺍ ﺧﻮﺍﻫﻴﺪ ﺭﻓﺖ‪.‬‬
‫ﺩﺭ ﻫﺮ ﺻﻮﺭﺕ ﻣﻦ ﺷﻤﺎ ﺭﺍ ﺩﻭﺳﺖ ﻣﻰﺩﺍﺭﻡ ﻭ ﺁﺭﺯﻭﻣﻨﺪﻡ ﻫﻤﺎﻥ ﺑﺎﺷﺪ ﻛﻪ ﺩﺳﺘﮕﻴﺮﻡ ﺷﺪﻩ ﺍﺳﺖ‬
‫ﻭ ﻣﻰﭘﻨﺪﺍﺭﻡ‪.‬‬
‫ﺧﺪﺍ ﻳﺎﺭ ﻭ ﻳﺎﻭﺭ ﻣﻦ ﻭ ﻣﺪﺩﻛﺎﺭﺗﺎﻥ ﺑﺎﺷﺪ‪.‬‬ ‫‪322‬‬
‫ﺑﺎ ﺍﺭﺍﺩﺗﻤﻨﺪﻯ ﻭ ﻃﻠﺐ ﺗﻮﻓﻴﻖ ﺻﺎﺩﻗﺎﻧﻪ‬
‫ﺳﻴﺪ ﻣﺤﻤﺪﻋﻠﻰﺟﻤﺎﻟﺰﺍﺩﻩ‬
‫ﭼﺮﺍ ﺁﺩﺭﺳﺘﺎﻥ ﺭﺍ ﺑﺮﺍﻳﻢ ﺗﺎ ﺑﺤﺎﻝ ﻧﺪﺍﺩﻩﺍﻳﺪ؟‬

‫ژﻧﻮ ‪ 2‬ﺗﻴﺮ ‪1362‬‬

‫ﺧﺪﻣﺖ ﺣﻀﺮﺕ ﺁﻗﺎﻯ ﻣﺤﻤﻮﺩ ﺩﻭﻟﺖﺁﺑﺎﺩﻯ )ﺳﺒﺰﻭﺍﺭﻯ(‬
‫ﺑﺎ ﺳﻼﻡ ﻭ ﺩﻋﺎﻯ ﻗﻠﺒﻰ ﺧﺪﻣﺖ ﺩﻭﺳﺖ ﻧﺎﺩﻳﺪﺓ ﺧﻮﺩﻡ )ﻛﻪ ﺷﺎﻳﺪ ﺑﺘﻮﺍﻧﻢ ﺍﺩﻋﺎ ﻛﻨﻢ ﻛﻪ ﺣﺎﻻ ﺍﻭ‬
‫ﺭﺍ ﺧﻮﺏ ﻣﻰﺷﻨﺎﺳﻢ ﻭ ﺑﺠﺎ ﻣﻰﺁﻭﺭﻡ( ﺑﻌﺮﺽ ﻣﻴﺮﺳﺎﻧﺪ ﻛﻪ ﭼﺸﻤﻢ ﺑﻪ ﺩﺳﺖ ﺧﻂ ﺷﺮﻳﻒ ﺭﻭﺷﻦ‬
‫ﮔﺮﺩﻳﺪ ﻭ ﻣﻤﻨﻮﻧﻢ ﻛﻪ ﺧﻮﺍﻫﺸﻢ ﺭﺍ ﻣﻮﺭﺩ ﻗﺒﻮﻝ ﺩﺍﻧﺴﺘﻪ ﺑﺮﺍﻳﻢ ﻛﺎﻏﺬ ﻧﻮﺷﺘﻪﺍﻳﺪ ﻛﺘﺎﺏ »ﺟﺎﻯ ﺧﺎﻟﻰ‬
‫ﺳﻠﻮچ« ﻛﻪ ﺑﺎﺯ ﺑﻪ ﻋﻘﻴﺪﺓ ﻗﺎﺻﺮﻳﻦ ﺷﺎﻫﻜﺎﺭﻯ ﺍﺩﺏ ﻛﻨﻮﻧﻰ ﺍﻳﺮﺍﻥ ﺍﺳﺖ ﺭﺳﻴﺪ ﻭ ﺗﺎ ﺑﻪ ﺁﺧﺮ ﺭﺳﺎﻧﺪﻡ‬
‫ﺭﺍﺣﺖ ﻧﺸﺪﻡ‪ .‬ﺗﺒﺮﻳﻚ ﻗﻠﺒﻰ ﺗﻘﺪﻳﻢ ﻣﻴﺪﺍﺭﻡ‪ .‬ﻛﺎﺭ ﺧﻮﺑﻰ ﻛﺮﺩﻩﺍﻳﺪ ﻭ ﻣﻰﻛﻨﻴﺪ ﻭ ﺗﺼﻮﺭ ﻧﻔﺮﻣﺎﺋﻴﺪ‬
‫ﻫﻤﻮﻃﻨﺎﻧﺘﺎﻥ ﻧﻤﻰﻓﻬﻤﻨﺪ ﻭ ﻗﺪﺭﺷﻨﺎﺱ ﻧﻴﺴﺘﻨﺪ‪ .‬ﻭﺍﺣﺪ ﻛ َﺎﻟﻒ ﺩﺭ ﻣﻴﺎﻥ ﻣﺎ ﻛﻢ ﻧﻴﺴﺖ ﻭ ﺁﻧﻬﺎ ﻫﺴﺘﻨﺪ ﻛﻪ‬
‫ﺟﻮﻫﺮ ﺁﻥ ﭼﻴﺰ ﮔﺮﺍﻧﺒﻬﺎﺋﻰ ﻫﺴﺘﻨﺪ ﻛﻪ ﻧﺎﻣﺶ ﺍﻧﺴﺎﻧﻴﺖ ﻭ ﺧﻮﺑﻰ ﻭ ﻟﻄﻒ ﻭ ﺫﻭﻕ ﻭ ﺁﺳﺎﻳﺶ ﺍﺳﺖ ﻭ‬
‫ﺁﻧﻬﺎ ﻗﺪﺭ ﭼﻮﻥ ﻣﺤﻤﻮﺩ ﺩﻭﻟﺖﺁﺑﺎﺩﻯ )ﺳﺒﺰﻭﺍﺭﻯ( ﺭﺍ ﺧﻮﺏ ﻣﻴﺪﺍﻧﻨﺪ‪ .‬ﺍﻣﻴﺪﻭﺍﺭﻡ ﻧﻈﺮ ﺧﻮﺩﻡ ﺭﺍ ﺩﺭﺑﺎﺭﺓ‬
‫ﻛﺎﺭ ﺟﻨﺎﺏ ﻋﺎﻟﻰ ﻛﻪ ﺩﻭﺳﺖ ﺑﺎﺍﺭﺯﺵ ﻣﻦ ﻫﺴﺘﻴﺪ )ﻭ ﻫﻤﭽﻨﻴﻦ ﻫﺮ ﻛﺲ ﻗﺪﺭ ﻭ ﻣﻘﺎﻡ ﻭ ﻋﺸﻖ ﻭ‬
‫ﻓﺪﺍﻛﺎﺭﻯ ﺷﻤﺎ ﺭﺍ ﺩﺍﺷﺘﻪ ﺑﺎﺷﺪ( ﺑﻨﻮﻳﺴﻢ ﻭ ﺩﺭ ﻣﺠﻠﻪ ﺑﻪ ﭼﺎپ ﺑﺮﺳﺎﻧﻴﻢ‪ .‬ﺍﮔﺮ ﺣﻮﺻﻠﻪ ﻭ ﺩﻣﺎﻍ ﺩﺍﺷﺘﻪ‬
 ‫ﺑﺎﺷﻴﺪ ﻭ ﺑﺎﺯ ﻫﻢ ﺑﺮﺍﻳﻢ ﻛﺎﻏﺬ ﺑﻨﻮﻳﺴﻴﺪ‪ .‬ﻣﺮﺍ ﺩﺭ ﺍﻳﻦ ﺳﻦﻭﺳﺎﻝ )‪ 93‬ﺳﺎﻝ ﻫﺠﺮﻯ( ﺟﻮﺍﻥ ﻣﻴﺴﺎﺯﻳﺪ‪.‬‬
‫ﺩﺭﺑﺎﺭﺓ ﻛﺎﺭﺗﺎﻥ ﺑﺨﻮﺩﺗﺎﻥ ﻫﻢ ﺟﺴﺎﺭﺕ ﻭﺭﺯﻳﺪﻩ ﺷﺮﺣﻰ ﻣﺴﺘﻘﻴﻤ ًﺎ ﺑﻪ ﺧﻮﺩﺗﺎﻥ ﺧﻮﺍﻫﻢ ﻧﻮﺷﺖ‪ .‬ﻧﻘﺪﺍ ً‬
‫ﺑﺴﻴﺎﺭ ﮔﺮﻓﺘﺎﺭ ﺑﻴﻤﺎﺭﻯ ﻫﻤﺴﺮﻡ ﻭ ﺿﻌﻒ ﻭ ﻧﺎﺗﻮﺍﻧﻰ ﻭ ﮔﺮﻓﺘﺎﺭﻳﻬﺎﻯ ﺟﻮﺭ ﺑﻪ ﺟﻮﺭ ﺧﻮﺩﻡ ﻫﺴﺘﻢ‪.‬‬
‫ﺧﺪﺍ ﻳﺎﺭ ﻭ ﻳﺎﻭﺭﺗﺎﻥ ﺑﺎﺷﺪ‪ .‬ﺁﺩﺭﺱ ﻧﺪﺍﺩﻩ ﺑﻮﺩﻳﺪ ﻭ ﻟﻬﺬﺍ ﺑﻮﺳﻴﻠﺔ ﺩﻭﺳﺘﻢ ﺣﻀﺮﺕ ﺁﻗﺎﻯ ﺩﻛﺘﺮ ﺗﻘﻰ‬
‫ﺭﺿﻮﻯ ﺍﻳﻦ ﻣﺨﺘﺼﺮ ﺭﺍ ﻣﻌﺮﻭﺽ ﺩﺍﺷﺘﻢ‪.‬‬
‫ﻗﺮﺑﺎﻧﺖ ﺳﻴﺪ ﻣﺤﻤﺪﻋﻠﻰ ﺟﻤﺎﻟﺰﺍﺩﻩ‬

‫ژﻧﻮ ‪ 13‬ﺗﻴﺮ ‪1362‬‬

‫ﺑﺎ ﺳﻼﻡ ﻭ ﺍﺧﻼﺹﻣﻨﺪﻯ ﻗﻠﺒﻰ ﺧﺪﻣﺖ ﺩﻭﺳﺖ ﻋﺎﻟﻴﻘﺪﺭ ﻧﺎﺩﻳﺪﺓ ﺧﻮﺩﻡ ﺣﻀﺮﺕ ﺁﻗﺎﻯ ﻣﺤﻤﻮﺩ‬
‫ﺩﻭﻟﺖﺁﺑﺎﺩﻯ ﺳﺒﺰﻭﺍﺭﻯ ﺑﻪ ﻋﺮﺽ ﻣﻴﺮﺳﺎﻧﺪ ﻛﻪ ﻧﺎﻣﺔ ﻛﻮﺗﺎﻩ ﻭ ﻛﺘﺎﺏ ﻋﺎﻟﻰ »ﺟﺎﻯ ﺧﺎﻟﻰ ﺳﻠﻮچ« ﻭ‬
‫ﻧﻤﺎﻳﺸﻨﺎﻣﺔ »ﻗﻘﻨﻮﺱ« ﺭﺳﻴﺪ ﻭ ﻣﺮﺍ ﻣﻤﻨﻮﻥ ﻭ ﻣﺤﻔﻮﻅ ﺳﺎﺧﺖ‪ .‬ﺑﺎﻳﺪ ﻗﺪﺭﺕ ﻗﻠﻢ ﺧﻮﺩﺗﺎﻥ ﺭﺍ ﺩﺍﺷﺘﻪ‬
‫ﻣﺘﺤﻴﺮﻡ ﻛﻪ ﺩﺭ ﺍﻳﺮﺍﻥ ﻣﺎ ﻭ ﺁﻥ ﺻﻔﺤﺎﺕ ﺧﺸﻚ ﻭ ﺧﺎﻟﻰ ﻧﺎﮔﻬﺎﻥ‬
‫ّ‬ ‫ﺑﺎﺷﻢ ﺗﺎ ﺑﺘﻮﺍﻧﻢ ﺑﮕﻮﻳﻢ ﺗﺎ ﭼﻪ ﺍﻧﺪﺍﺯﻩ‬
‫ﺍﻋﺠﺎﺯﻯ ﺷﺪﻩ ﻭ ﺟﻮﺍﻧﻰ ﺑﻪ ﻧﺎﻡ ﻣﺤﻤﻮﺩ ﺩﻭﻟﺖﺁﺑﺎﺩﻯ ﻇﻬﻮﺭ ﻛﺮﺩﻩ ﻭ ﻛﺘﺎﺑﻬﺎﺋﻰ ﺑﻪ ﺍﻳﻦ ﺁﺏﻭﺧﺎﻙ‬
‫ﻫﺪﻳﻪ ﻛﺮﺩﻩ ﺍﺳﺖ‪ .‬ﻛﻪ ﺑﻜ ّﻠﻰ ﺑﻰﺳﺎﺑﻘﻪ ﻭ ﺑﻰﻧﻈﻴﺮ ﺑﻮﺩﻩ ﺍﺳﺖ‪ .‬ﻫﻤﻪ ﺭﺍ ﺗﺎ ﻧﺨﻮﺍﻧﺪﻡ ﺁﺳﻮﺩﻩ ﻧﺸﺪﻡ‪.‬‬
‫ﻭ ﺑﺎ ﻭﺟﻮﺩ ﺑﻴﻤﺎﺭﻯ ﺯﻧﻢ ﻭ ﺿﻌﻒ ﻭ ﻧﺎﺗﻮﺍﻧﻰ ﻭ ﭘﻴﺮﻯ ﺧﻮﺩﻡ ﺑﺎ ﺩﻗّﺖ ﻭ ﻣﺪﺍﺩ ﺑﺪﺳﺖ ﺧﻮﺍﻧﺪﻡ ﻭ‬
‫‪323‬‬ ‫ﺍﻛﻨﻮﻥ ﺩﺭ ﺍﻧﺘﻈﺎﺭ ﻓﺮﺻﺖ ﻫﺴﺘﻢ ﻛﻪ ﻻﻣﺤﺎﻟﻪ ﺍﻧﺪﻛﻰ ﺍﺯ ﺁﻧﭽﻪ ﺭﺍ ﺍﺣﺴﺎﺱ ﻛﺮﺩﻩﺍﻡ ﺑﻪ ﺭﻭﻯ ﻛﺎﻏﺬ‬
‫ﺑﻴﺎﻭﺭﻡ ﻭ ﺑﺮﺍﻳﺘﺎﻥ )ﻳﺎ ﻣﺴﺘﻘﻴﻤ ًﺎ ﺑﺮﺍﻯ ﻣﺠﻠﺔ »ﺁﻳﻨﺪﻩ«( ﺑﻔﺮﺳﺘﻢ ﻫﻤﻴﻨﻘﺪﺭ ﺑﺪﺍﻧﻴﺪ ﻛﻪ ﺑﺮ ﺷﻤﺎ ﺻﺪ ﺁﻓﺮﻳﻦ‬
‫ﻣﻴﮕﻮﻳﻢ ﻭ ﻭﺟﻮﺩ ﺷﻤﺎ ﻭ ﺍﻣﺜﺎﻝ ﺷﻤﺎ )ﻛﻪ ﺑﺴﻴﺎﺭ ﺑﺴﻴﺎﺭ ﻛﻢ ﻭ ﺑﻠﻜﻪ ﻧﺎﻳﺎﺏ ﺍﺳﺖ( ﻣﺎﻳﺔ ﻣﺴﺮﺕ ﺧﺎﻃﺮ‬
‫ﻭ ﺍﻣﻴﺪﻭﺍﺭﻯ ﻣﻦ ﺑﺮﺍﻯ ﺧﻴﻠﻰ ﭼﻴﺰﻫﺎﺳﺖ‪ .‬ﺧﺪﺍ ﻳﺎﺭ ﻭ ﻳﺎﻭﺭﺗﺎﻥ ﺑﺎﺷﺪ‪ .‬ﻫﺮ ﻭﻗﺖ ﺩﻣﺎﻍ ﻭ ﺣﻮﺻﻠﻪﺍﻯ‬
‫ﺩﺍﺷﺘﻴﺪ‪ .‬ﺑﺮﺍﻳﻢ ﻛﺎﻏﺬ ﻭ ﺩﺭﺩﺩﻝ ﺑﻨﻮﻳﺴﻴﺪ‪ .‬ﺧﻴﻠﻰ ﻣﻤﻨﻮﻥ ﻭ ﺧﻴﻠﻰ ﺧﻮﺷﺤﺎﻝ ﻣﻴﺸﻮﻡ‪.‬‬
‫ﻗﺮﺑﺎﻧﺘﺎﻥ ﻭﺍﻗﻌ ًﺎ ﻣﻴﺮﻭﻡ ﺟﻤﺎﻟﺰﺍﺩﻩ‬

‫ژﻧﻮ ‪ 10‬ﺧﺮﺩﺍﺩ ‪1363‬‬

‫ﻗﺮﺑﺎﻥ ﺍﺩﻳﺐ ﺳﺮ ﺗﺎ ﭘﺎ ﻣﺤﺒﺘﻢ ﻣﻴﺮﻭﻡ ﺑﺎﺯ ﺩﻭﺳﺖ ﭘﻴﺮ ﻓﺮﺗﻮﺕ ﺗﻮ ﻣﺰﺍﺣﻢ ﺍﺳﺖ ﺧﺪﺍ ﺑﺨﻮﺍﻫﺪ‬
‫ﺩﻣﺎﻍ ﻭ ﺣﻮﺻﻠﻪ ﺩﺍﺷﺘﻪ ﺑﺎﺷﻰ ﺭﻭﺯﮔﺎﺭ ﻣﻦ ﻫﻤﺎﻥ ﺍﺳﺖ ﻛﻪ ﻣﻴﺪﺍﻧﻰ ﻭ ﺍﻳﻦ ﺑﻴﺖ ﻭﺭﺩ ﺯﺑﺎﻧﻢ ﺷﺪﻩ‬
‫ﺍﺳﺖ‪:‬‬
‫ﻏﻢ ﺍﻳّﺎﻡ ﺟﻮﺍﻧﻰ ﺟﮕﺮﻡ ﺧﻮﻥ ﻣﻴﻜﺮﺩ‬
‫ﺧﻮﺏ ﺷﺪ ﭘﻴﺮ ﺷﺪﻡ ﻛﻢ ﻛﻢ ﻭ ﻧﺴﻴﺎﻥ ﺁﻣﺪ‬
‫ﺍﻣﺎ ﻣﻰﻛﻮﺷﻢ ﻛﻪ ﺁﻧﭽﻪ ﺭﺍ ﺩﻭﺳﺖ ﺩﺍﺷﺘﻨﻰ ﺍﺳﺖ ﻓﺮﺍﻣﻮﺵ ﻧﻜﻨﻢ ﻭ ﺍﺩﺏ ﻣﻦ ﺍﺯ ﺁﻥ ﺟﻤﻠﻪ‬
‫ﺍﺳﺖ‪ .‬ﺣﺎﻣﻞ ﺍﻳﻦ ﻛﺎﺭﺕ ﺩﻭﺳﺖ ﻣﻦ ﺁﻗﺎﻯ ﻣﺤﻤﻮﺩ ﺩﻭﻟﺖﺁﺑﺎﺩﻯ ﺳﺒﺰﻭﺍﺭﻯ ﻧﻮﻳﺴﻨﺪﺓ ﻭﺍﻗﻌ ًﺎ ﺑﺴﻴﺎﺭ‬
‫ﮔﺮﺍﻧﻘﺪﺭﻯ ﺍﺳﺖ ﻭ ﺭﻣﺎﻧﻬﺎﻯ ﻋﺎﻟﻰ ﻭ ﻣﻤﺘﺎﺯ ﻭ ﺑﻰﻧﻈﻴﺮ ﻧﻮﺷﺘﻪ ﻭ ﺑﻪ ﭼﺎپ ﺭﺳﺎﻧﻴﺪﻩ ﺍﺳﺖ ﮔﻤﺎﻥ‬
‫ﺣﺴﺎﺳﻴﺖ ﺩﭼﺎﺭ ‪ dépression‬ﺍﻋﺼﺎﺏ ﺷﺪﻩ ﺍﺳﺖ ﺍﻭ ﺭﺍ ﺑﺘﻮ ﻣﻰﺳﭙﺎﺭﻡ ﻭ ﺗﻤﺎﻡ‬ ‫ﻣﻰﻛﻨﻢ ﺍﺯ ﺯﻭﺭ ّ‬
‫ﻣﺨﺎﺭﺝ ﺩﻭﺍ ﻭ ﻣﻌﺎﻟﺠﻪ ﺭﺍ ﻫﻢ ﺑﻪ ﻋﻬﺪﻩ ﻣﻴﮕﻴﺮﻡ ﺩﻳﮕﺮ ﻣﻴﺪﺍﻧﻢ ﻛﻪ ﻣﺮﺩ ﻣﺮﺩﺍﻧﻪ ﺑﻮﺩﻩﺍﻯ ﻭ ﻫﺴﺘﻰ ﺗﺎ‬
‫ﻫﺴﺘﻰ ﺧﻮﺍﻫﺪ ﻣﺎﻧﺪ‪.‬‬
‫ﻗﺮﺑﺎﻧﺖ ﻣﻴﺮﻭﻡ ﺍﮔﺮ ﺍﻳﻦ ﺩﻭﺳﺖ ﻣﻦ ﻣﺤﺘﺎﺝ ﻃﺒﻴﺐ ﻣﺘﺨﺼﺺ ﺍﺳﺖ ﺧﻮﺩﺕ ﺭﺍﻫﻨﻤﺎﺋﻰ ﺧﻮﺍﻫﻴﺪ‬
‫ﻓﺮﻣﻮﺩ ﻗﺮﺑﺎﻧﺘﺎﻥ ﻣﻴﺮﻭﻡ ﻭ ﺻﻮﺭﺕ ﻣﺤﺒﻮﺏ ﺧﻮﺩﺕ ﻭ ﺩﺳﺖ ﻫﻤﺴﺮ ﻋﺰﻳﺰﺕ ﺭﺍ ﻣﻴﺒﻮﺳﻢ‪.‬‬
‫ﺍِﮔﻰ ﺍﻧﺪﻛﻰ ﺷﺎﻳﺪ ﺑﻬﺘﺮ ﺷﺪﻩ ﺑﺎﺷﺪ ﺑﺎ ﺧﺪﺍﺳﺖ‪.‬‬
‫ﻗﺮﺑﺎﻧﺘﺎﻥ ﺟﻤﺎﻟﺰﺍﺩﻩ‬

‫ژﻧﻮ ‪ 10‬ﺧﺮﺩﺍﺩ ‪1363‬‬

‫ﺑﺎ ﺳﻼﻡ ﻭ ﺩﻋﺎ ﻭ ﻋﻼﻗﻤﻨﺪﻯ ﺧﺎﻟﺼﺎﻧﻪ ﺧﺪﻣﺖ ﺩﻭﺳﺖ ﮔﺮﺍﻧﻘﺪﺭﻡ ﺣﻀﺮﺕ ﺁﻗﺎﻯ ﻣﺤﻤﻮﺩ‬
‫ﺩﻭﻟﺖﺁﺑﺎﺩﻯ ﻧﻮﻳﺴﻨﺪﺓ ﮔﺮﺍﻧﻘﺪﺭ ﺍﻣﺮﻭﺯ ﻭ ﻓﺮﺩﺍﻯ ﺍﻳﺮﺍﻥ‪ .‬ﺑﻪ ﻋﺮﺽ ﻣﻴﺮﺳﺎﻧﺪ ﻛﻪ ﻭﺻﻮﻝ ﻧﺎﻣﺔ‬
‫‪ 63/2/20‬ﺟﻨﺎﺏ ﻋﺎﻟﻰ ﺑﺮﺍﻳﻢ ﺩﺭ ﻋﻴﻦ ﺣﺎﻝ ﻣﺴﺮﺕ ﻗﻠﺒﻰ ﻭ ﺍﻓﺴﺮﺩﮔﻰ ﻭ ﭘﺮﻳﺸﺎﻧﻰ ﺭﻭﻣﻰﺁﻭﺭﺩ ﭼﺮﺍ‬
‫ﻣﺮﺩ ﻣﺮﺩﺍﻧﻪﺍﻯ ﻛﻪ ﺁﻥ ﻫﻤﻪ ﺯﺷﺖﻭﻧﻴﻜﻮ ﻭ ﺧﻮﺏﻭﺑﺪ ﺭﻭﺯﮔﺎﺭ ﻭ ﺯﻧﺪﮔﻰ ﺭﺍ ﺩﻳﺪﻩ ﻭ ﭼﺸﻴﺪﻩ ﺍﺳﺖ‬
‫ﺍﻣﺮﻭﺯ ﻛﻪ ﺁﻥ ﻫﻤﻪ ﺧﻮﺍﻧﻨﺪﻩ ﻭ ﺍﺭﺍﺩﺕ ﻛﻴﺶ ﺩﺭ ﻣﻴﺎﻥ ﻫﻤﻮﻃﻨﺎﻥ ﺑﺎ ﻓﻬﻢ ﻭ ﺑﺎ ﺍﺣﺴﺎﺳﺎﺗﺶ ﭘﻴﺪﺍ ﻛﺮﺩﻩ‬
‫ﻭ ﺣﻖ ﺩﺍﺭﺩ ﻛﻪ ﺧﻮﺩ ﺭﺍ ﺑﻪ ﻣﻘﺼﻮﺩ ﺭﺳﻴﺪﻩ ﺑﺪﺍﻧﺪ ﺑﺎﻳﺪ ﺑﺎﺭﺍﺩﺗﻤﻨﺪ ﻭ ﺭﻓﻴﻖ ﺷﻔﻴﻖ ﺧﻮﺩ ﭘﺲ ﺍﺯ ﺁﻥ‬
‫ﻫﻤﻪ ﺳﻜﻮﺕ ﻭ ﺑﻰﺧﺒﺮﻯ ﺑﻨﻮﻳﺴﺪ ﻛﻪ‪» :‬ﺣﺎﻝ ﻫﻴﭻ ﻛﺎﺭﻯ ﺭﺍ ﻧﺪﺍﺭﻡ ﻭ ﺩﻟﻢ ﻣﻰﺧﻮﺍﻫﺪ ﺑﺘﻮﺍﻧﻢ ﻣﺜﻞ‬
‫ﻳﻚ ﺩﻳﻮ ﺑﺨﻮﺍﺏ ﭼ ّﻠﻪ ﻓﺮﻭ ﺭﻭﻡ ﻭ ﻫﻴﭻ ﭼﻴﺰ ﻭ ﻫﻴﭽﻜﺲ ﺭﺍ ﻧﺒﻴﻨﻢ ﻭ ﻫﻴﭻ ﺻﺪﺍﺋﻰ ﺭﺍ ﻧﺸﻨﻮﻡ‪«.‬‬ ‫‪324‬‬
‫ﻣﻦ ﺍﺯ ﺧﻮﺍﺏ ﭼﻠﺔ ﺩﻳﻮ ﺑﻰﺧﺒﺮﻡ ﻭ ﺍﻳﻦ ﺟﻬﻞ ﻫﻢ ﺳﺮ ﺑﺎﺭ ﺁﻥ ﻫﻤﻪ ﻧﺎﺩﺍﻧﻰﻫﺎﻯ ﺩﻳﮕﺮﻡ ﻣﻰﺑﺎﺷﺪ‬
‫ﻭﻟﻰ ﻣﻰﻓﻬﻤﻢ ﻛﻪ ﺗﺎ ﺍﻧﺪﺍﺯﻩﺍﻯ ﺑﺮﻋﻜﺲ ﺁﻥ ﭼﻴﺰﻯ ﺍﺳﺖ ﻛﻪ ﺩﺭ ﺍﻳﻦ ﺳﻦﻭﺳﺎﻝ ﻣﻦ ﺁﺭﺯﻭ ﻣﻰﻛﻨﻢ‪.‬‬
‫ﻣﻴﭙﺮﺳﻴﺪ ﭼﻪ ﺁﺭﺯﻭ ﻣﻰﻛﻨﻰ‪ .‬ﮔﻮﺵ ﺑﺪﻩ ﺗﺎ ﺑﺮﺍﻳﺖ ﺣﻜﺎﻳﺖ ﻛﻨﻢ‪ .‬ﺩﻟﻢ ﻣﻰﺧﻮﺍﻫﺪ ﺍﺯ ﻧﻮ ﺟﻮﺍﻥ ﺑﺸﻮﻡ‪.‬‬
‫ﻋﻼﻗﻪﺍﻡ ﺑﻪ ﻣﻮﻫﺒﺎﺕ ﺯﻧﺪﮔﻰ ﻭ ﺟﻮﺍﻧﻰ ﺷﺪﻳﺪﺗﺮ ﺑﺸﻮﺩ‪ .‬ﻋﺎﺷﻖ ﺑﺸﻮﻡ‪ .‬ﺑﺘﻮﺍﻧﻢ ﺑﺎ ﻣﻌﺸﻮﻗﻪﺍﻡ ﺩﺭ‬
‫ﺟﺎﻫﺎﻯ ﺑﺴﻴﺎﺭ ﺯﻳﺒﺎ ﻭ ﺑﺎ ﺻﻔﺎ ﻭ ﺑﺎﺭﻭﺡ ﺩﺭ ﺳﻴﻨﺔ ﻛﻮﻩﻫﺎ ﻭ ﺭﻭﺑﺮﻭﻯ ﻣﻨﻈﺮﺓ ﺩﺭﻳﺎ ﻭ ﺍﻣﻮﺍﺝ ﺳﻴﻨﻪﻛﺶ‬
‫ﺩﺭﻳﺎ ﻭ ﻗﺎﻳﻘﻬﺎﻯ ﻣﺎﻫﻴﮕﻴﺮﻯﻫﺎﻯ ﺩﻭﺭﺍﺩﻭﺭ ﻭ ﺷﺒﺎﻧﮕﺎﻩ ﺁﺳﻤﺎﻥ ﺑﺎ ﺳﺘﺎﺭﻩﻫﺎﻯ ﺷﻮﺥ ﻭ ﺩﺭﺧﺸﺎﻧﻰ ﻛﻪ‬
‫ﻣﺪﺍﻡ ﺭﻭﺷﻨﻰ ﻭ ﺧﺎﻣﻮﺷﻰ ﺩﺍﺭﻧﺪ ﻭ ﺻﺪﺍﻯ ﻣﺮﻏﺎﻧﻰ ﻛﻪ ﺩﺭ ﺷﺐ ﻫﻢ ﮔﺎﻫﻰ ﺁﻭﺍﺯ ﻣﻴﺨﻮﺍﻧﻨﺪ ﺑﺎﻳﺴﺘﻢ‪.‬‬
‫ﺩﻟﻢ ﻣﻰﺧﻮﺍﻫﺪ ﻫﺮ ﺩﻭ ﮔﺮﺳﻨﻪ ﺑﺎﺷﻴﻢ ﻭ ﭘﻮﻝ ﻛﺎﻓﻰ ﺩﺍﺷﺘﻪ ﺑﺎﺷﻴﻢ ﻭ ﺧﻮﺩﻣﺎﻥ ﺭﺍ ﺑﻪ ﻳﻚ ﺭﺳﺘﻮﺭﺍﻥ‬
‫ﺧﻠﻮﺕ ﻭ ﭘﺎﻙ ﻭ ﭘﺎﻛﻴﺰﻩ ﺑﺮﺳﺎﻧﻴﻢ ﻭ ﺁﻧﭽﻪ ﺩﻟﻤﺎﻥ ﻣﻰﺧﻮﺍﻫﺪ ﺍﺯ ﺧﻮﺭﺩﻧﻰ ﻭ ﺁﺷﺎﻣﻴﺪﻧﻰ ﻭ ﻣﺨﺼﻮﺻ ًﺎ‬
‫ﻣﻌﻄﺮ ﻭ ﺍﻧﮕﻮﺭ ﺳﻠﻄﺎﻧﻰ ﻭ ﺷﺮﺑﺘﻬﺎﻳﻰ ﻛﻪ ﻓﻘﻂ ﺩﺭ ﺍﻳﺮﺍﻥ ﭘﻴﺪﺍ ﻣﻴﺸﻮﺩ ﺭﻭﻯ‬ ‫ﺍﻧﺠﻴﺮ ﻭ ﺧﻴﺎﺭ ﺗﺮ ﻭ ّ‬
‫ﻣﻴﺰ ﺑﻴﺎﻳﺪ ﻭ ﭘﻬﻠﻮﻯ ﻫﻢ ﺑﻨﺸﻴﻨﻴﻢ ﻭ ﺩﺳﺖ ﻫﻤﺪﻳﮕﺮ ﺭﺍ ﺑﮕﻴﺮﻳﻢ ﻭ ﺳﺎﻛﺖ ﺑﻤﺎﻧﻴﻢ ﻭﻟﻰ ﺻﺪﺍﻯ ﻗﻠﺐ‬
‫ﻳﻜﺪﻳﮕﺮ ﺭﺍ ﺑﺸﻨﻮﻳﻢ ﻭ ﺿﺮﺑﺎﻥ ﺧﻮﻥ ﺭﺍ ﺩﺭ ﺭﮔﻬﺎﻯ ﺩﺳﺖ ﻭ ﺑﺎﺯﻭﻯ ﻳﻜﺪﻳﮕﺮ ﺍﺣﺴﺎﺱ ﻛﻨﻴﻢ ﻭ ﺣﺘﻰ‬
‫ﺍﮔﺮ ﻣﻤﻜﻦ ﺑﺎﺷﺪ ﺯﻳﺎﺩ ﻫﻤﺪﻳﮕﺮ ﺭﺍ ﻧﺒﻮﺳﻴﻢ ﻭﻟﻰ ﺑﭙﺮﺳﺘﻴﻢ ﻭ ﺳﭙﺲ ﺩﺭ ﺗﺎﺭﻳﻜﻰ ﺷﺐ ﺑﺎ ﻗﺪﻡ ﻛﻮﺗﺎﻩ ﻭ‬
‫ﺭﻗﺼﺎﻥ ﺧﻮﺩ ﺭﺍ ﺑﻪ ﺳﺎﺣﻞ ﺩﺭﻳﺎ ﺑﺮﺳﺎﻧﻴﻢ ﻭ ﺑﻪ ﺗﻤﺎﺷﺎﻯ ﺍﻣﻮﺍﺝ ﺩﻳﻮﺍﻧﻪ ﻛﻪ ﺳﻴﻨﻪﻛﺸﺎﻥ ﺣﻤﻠﻪ ﻣﻰﺁﻭﺭﻧﺪ‬
‫ﻭ ﺑﻌﺪ ﻓﻮﺭﺍ ً ﺧﺶﺧﺶﻛﻨﺎﻥ ﺧﻮﺩ ﺭﺍ ﻋﻘﺐ ﻣﻴﻜﺸﻨﺪ ﭼﺸﻢ ﺑﺪﻭﺯﻳﻢ ﻭ ﻫﺮ ﺩﻭ ﺑﺪﻭﻥ ﺁﻧﻜﻪ ﺑﻴﻜﺪﻳﮕﺮ‬
‫ﺧﺒﺮ ﺑﺪﻫﻴﻢ ﺁﺭﺯﻭ ﺑﻜﻨﻴﻢ ﻛﻪ ﺍﻯ ﻛﺎﺵ ﺭﻭﺯﮔﺎﺭ ﺑﺴﻴﺎﺭﺩﺭﺍﺯﻯ ﻛﻪ ﺷﺒﻴﻪ ﺑﻪ ﻣﺮگ ﺑﺎﺷﺪ ﻫﻤﺎﻧﺠﺎ ﻭ‬
 ‫ﺑﻬﻤﺎﻥ ﺣﺎﻟﺖ ﺑﺘﻮﺍﻧﻴﻢ ﺑﻤﺎﻧﻴﻢ ﻭ ﺍﺯ ﺩﻧﻴﺎ ﻭ ﻣﺎﻓﻴﻬﺎ ﺑﻰﺧﺒﺮ ﻭ ﺑﻰﺍﻋﺘﻨﺎ ﺧﻮﺩﻣﺎﻥ ﺭﺍ ﺭﺍﺳﺘﻰ ﺭﺍﺳﺘﻰ ﺑﺮگ‬
‫ﻭ ﮔﻠﻰ ﺍﺯ ﺩﺭﺧﺖ ﻧﺎﻣﺘﻨﺎﺳﺐ ﺧﻠﻘﺖ ﻭ ﺯﻣﻴﻦ ﻭ ﺩﺭﻳﺎ ﻭ ﺟﻨﮕﻠﻬﺎ ﻭ ﺁﺳﻤﺎﻥ ﻭ ﺳﺘﺎﺭﻩﻫﺎ ﺑﺪﺍﻧﻴﻢ‪.‬‬
‫ﺩﻭﻟﺖﺁﺑﺎﺩﻯ ﻋﺰﻳﺰ ﺑﻪ ﻣﻦ ﻣﻰﻧﻮﻳﺴﺪ‪» :‬ﺍﺣﺴﺎﺱ ﻣﻰﻛﻨﻢ ﻭﺟﻮﺩﻡ ﺩﭼﺎﺭ ﻧﻮﻋﻰ ﻧﺎﺧﻮﺷﻰ ﻣﻰﺷﻮﺩ‬
‫ﻛﻪ ﻓﻘﻂ ﺧﻮﺍﺏ ﻣﺴﺘﻤﺮ ﻣﻴﺘﻮﺍﻧﺪ ﺷﻔﺎﻳﺶ ﺑﺎﺷﺪ‪«.‬‬
‫ﺧﻮﺩﺕ ﺧﻮﺏ ﻣﻴﺪﺍﻧﻰ ﻛﻪ ﺍﺳﻢ ﺧﻮﺍﺏ ﻣﺴﺘﻤﺮ ﺍﺳﻢ ﺑﻰﻣﺴﻤﺎﺋﻰ ﺍﺳﺖ ﻭ ﻣﺮﺩﻥ ﻫﻢ ﭼﻮﻥ ﺍﺯ‬
‫ﻧﻮ ﺑﻴﺪﺍﺭﻯ ﻧﺪﺍﺭﺩ ﭼﻴﺰ ﺧﻮﺑﻰ ﻧﻴﺴﺖ ﻣﮕﺮ ﺁﻧﻜﻪ ﺑﺪﺍﻧﻴﻢ ﻛﻪ ﺑﺎﺯ ﺍﺯ ﺁﻥ ﺧﻮﺍﺏ ﺑﻴﺪﺍﺭ ﺧﻮﺍﻫﻴﻢ ﺷﺪ ﻭ‬
‫ﺩﻭﺑﺎﺭﻩ ﺑﺎ ﺩﻧﻴﺎ ﻭ ﺯﻧﺪﻩ ﺑﻮﺩﻥ ﺩﺳﺖ ﺑﻪ ﺩﺳﺖ ﺧﻮﺍﻫﻴﻢ ﺷﺪ ﻭ ﭼﻨﻴﻦ ﺗﺠﺪﻳﺪ ﺣﻴﺎﺕ ﺭﺍ ﺩﺭ ﻣﺬﺍﻫﺐ‬
‫»ﻣﻴﻌﺎﺩ ﻭ ﺭﺳﺘﺎﺧﻴﺰ« ﺧﻮﺍﻧﺪﻩﺍﻧﺪ ﻭ ﺍﺭﺍﺩﺗﻤﻨﺪﺕ ﺩﺭ ﭘﺎﻳﺎﻥ )ﻭ ﺣﺘﻰ ﺩﺭ ﺧﻼﻝ( ﻛﺘﺎﺏ »ﺻﺤﺮﺍﻯ‬
‫ﻣﺤﺸﺮ« ﺷﺮﺣﻰ ﺩﺭ ﺁﻥ ﺑﺎﺏ ﺁﻭﺭﺩﻩ ﺍﺳﺖ ﻛﻪ ﺩﻭﺭ ﺍﺯ ﻣﻨﻄﻖ ﻧﻴﺴﺖ ﻳﻌﻨﻰ ﻣﻴﭙﺮﺳﻢ ﺁﻳﺎ ﺍﮔﺮ ﺑﻪ ﻓﺮﺽ‬
‫ﻣﺤﺎﻝ ﺑﻪ ﺑﻬﺸﺖ ﺑﺮﻭﻡ ﻭ ﺧﺴﺘﻪ ﻭ ﻛﺴﻞ ﺑﺸﻮﻡ ﻭ ﺩﻟﻢ ﻫﻮﺍﻯ ﺑﻴﺮﻭﻥ ﺭﺍ ﺑﻜﻨﺪ ﻭ ﺑﺨﻮﺍﻫﻢ ﺍﺯ ﺑﻬﺸﺖ‬
‫ﺑﻴﺮﻭﻥ ﺑﺮﻭﻡ ﻭ ﺁﺯﺍﺩ ﺑﺸﻮﻡ ﻭ ﻫﺮ ﺟﺎ ﺩﻟﻢ ﻣﻰﺧﻮﺍﻫﺪ ﺑﺮﻭﻡ ﻭ ﻫﺮ ﭼﻴﺰ ﻏﻴﺮ ﺍﺯ ﺁﺏ ﻛﻮﺛﺮ ﻭ ﻣﻴﻮﻩﻫﺎﻯ‬
‫ﺑﻬﺸﺘﻰ ﺩﻟﻢ ﺧﻮﺍﺳﺖ ﺑﺘﻮﺍﻧﻢ ﺑﺨﻮﺭﻡ ﻭ ﺑﻴﺎﺷﺎﻣﻢ ﻭ ﺍﮔﺮ ﺩﻟﻢ ﺍﺯ ﻣﻌﺎﺷﺮﺕ ﺑﺎ ﺣﻮﺭﻯ ﻭ ﻏﻠﻤﺎﻥ‪ ،‬ﺯﺩﻩ‬
‫ﺷﺪﻩ ﺍﺳﺖ ﺑﺘﻮﺍﻧﻢ ﺧﻮﺩﻡ ﻣﺨﺘﺎﺭ ﺩﺭ ﻛﺎﺭ ﺑﺎﺷﻢ ﻭ ﻭﺍﻯ ﺑﻪ ﻛﺴﻰ ﻛﻪ ﺟﻮﺍﺏ ﻧﻔﻰ ﻭ ﺭ ّﺩ ﺑﺸﻨﻮﺩ‪ .‬ﺩﻭﺳﺖ‬
‫ﻣﻦ ﻣﺤﻤﻮﺩ ﺩﻭﻟﺖﺁﺑﺎﺩﻯ ﺧﻮﺩﺕ ﺍﺣﻮﺍﻝ ﺧﻮﺩﺕ ﺭﺍ »ﻭﺣﺸﺘﻨﺎﻙ« ﺗﻮﺻﻴﻒ ﻛﺮﺩﻩﺍﻯ ﻭ ﺍﻟﺤﻖ ﻛﻪ ﺑﻪ‬
‫ﻗﻮﻝ ﺧﻮﺩﺕ »ﻗﺎﺑﻞ ﺍﻧﺘﻘﺎﻝ ﻧﻴﺴﺖ«‪ .‬ﭼﻴﺰﻯ ﻛﻪ ﻫﺴﺖ ﺑﺎﺯ ﺧﻮﺩﺕ ﺩﺭ ﺩﻧﺒﺎﻟﺔ ﺁﻧﭽﻪ ﺩﺭ ﻓﻮﻕ ﮔﺬﺷﺖ‬
‫‪325‬‬ ‫ﺑﺎﺯ ﺑﺮﺍﻳﻢ ﻧﻮﺷﺘﻪﺍﻯ‪» :‬ﺻﺒﺢﻫﺎ ﺩﻟﻢ ﻧﻤﻰﺧﻮﺍﻫﺪ ﺳﺮ ﺍﺯ ﺑﺎﻟﻴﻦ ﺑﺮﺩﺍﺭﻡ ﻭ ﭼﺸﻢ ﺑﻪ ﺍﻳﻦ ﺯﻧﺪﮔﻰ ﻛﻪ‬
‫ﮔﻮﺋﻰ ﺑﻬﺎﺭ ﺭﺍ ﻫﻢ ﺟﻮﺍﺏ ﻛﺮﺩﻩ ﺍﺳﺖ ﺑﺎﺯ ﻛﻨﻢ« )ﺧﻮﺩﺕ ﺑﻴﻦ ﻛﻠﻤﺔ ﻛﺮﺩﻩ ﺍﺳﺖ ﻭ ﺑﺎﺯ ﻛﻨﻢ ﻭﻳﺮﮔﻮﻝ‬
‫ﻓﺮﻧﮕﻰ ﮔﺬﺍﺷﺘﻪﺍﻯ ﻛﻪ ﺑﻪ ﻛ ّﻠﻰ ﺯﺍﻳﺪ ﺍﺳﺖ ﻭ ﺑﻬﺘﺮ ﺍﺳﺖ ﺍﻳﻦ ﻋﻼﻣﺘﻬﺎﻯ ﻟﻮﺱ ﺭﺍ ﺑﻜ ّﻠﻰ ﻓﺮﺍﻣﻮﺵ‬
‫ﻋﻄﺎﺭ ﻭ ﺣﺎﻓﻆ ﻫﻢ ﺍﺳﺘﻌﻤﺎﻝ ﻧﻤﻴﻜﺮﺩﻧﺪ ﻭ ﺩﻧﻴﺎ ﺯﻳﺮﻭﺯﺑﺮ ﻧﻤﻴﺸﺪ‬ ‫ﻛﻨﻰ ﭼﻨﺎﻧﻜﻪ ﺧﻴّﺎﻡ ﻭ ﻣﻨﻮﭼﻬﺮﻯ ﻭ ّ‬
‫ﻭ ﺁﺳﻤﺎﻥ ﺑﻪ ﺯﻣﻴﻦ ﻧﺨﻮﺍﻫﺪ ﺁﻣﺪ(‪ .‬ﺧﻮﺩﺕ ﺗﺼﺪﻳﻖ ﺧﻮﺍﻫﻰ ﻛﺮﺩ ﻛﻪ ﺍﻳﻦ ﻣﻴﻞ ﺑﻪ ﺯﻧﺪﮔﻰ ﺑﺎ ﺁﻧﭽﻪ‬
‫ﻗﺒﻞ ﺍﺯ ﺁﻥ ﺩﺭﺑﺎﺭﺓ ﺁﺭﺯﻭﻯ ﺧﻮﺍﺏ ﻣﺴﺘﻤﺮ ﻧﻮﺷﺘﻪﺍﻯ ﺿﺪّ ﻭﻧﻘﻴﺾ ﺍﺳﺖ ﻣﮕﺮ ﺍﻳﻨﻜﻪ ﺍﺷﺘﺒﺎﻫ ًﺎ »ﺑﺎﺯ ﻛﻨﻢ«‬
‫ﺑﻪ ﺟﺎﻯ »ﺑﺎﺯ ﻧﻜﻨﻢ« ﺁﻣﺪﻩ ﺑﺎﺷﺪ‪.‬‬
‫ﻼ ﻣﻘﺮﻭﻥ ﺑﻪ ﺣﻘﻴﻘﺖ‬ ‫ﻣﻦ ﻳﻘﻴﻦﺩﺍﺭﻡ ﻛﻪ ﺁﻧﭽﻪ ﺧﻮﺩ ﺷﻤﺎ ﺩﺭﺑﺎﺭﻩ ﺍﺣﻮﺍﻝ ﺧﻮﺩﺗﺎﻥ ﻧﻮﺷﺘﻪﺍﻯ ﻛﺎﻣ ً‬
‫ﺍﺳﺖ‪ .‬ﺷﻤﺎ ﻧﻮﺷﺘﻪﺍﻳﺪ‪» :‬ﺍﻳﻦ ﺑﻰﻧﻈﻤﻰ ﻣﻦ ﻧﺎﺷﻰ ﺍﺯ ﺧﺴﺘﮕﻰ ﺍﺳﺖ ﺧﺴﺘﮕﻰ ﻣﺮگ ﺑﺎﺭ«‬
‫ﺧﻮﺩﺕ ﻃﺒﻴﺐ ﺣﺎﺫﻗﻰ ﻫﺴﺘﻰ ﻭ ﺧﻮﺏ ﺩﺳﺘﮕﻴﺮﺕ ﺷﺪﻩ ﺍﺳﺖ ﻛﻪ ﺍﻳﻦ ﻭﺧﺎﻣﺖ ﺍﺣﻮﺍﻝ ﺯﺍﻳﻴﺪﺓ‬
‫ﺧﺴﺘﮕﻰ ﺍﺳﺖ ﺗﻮ ﺩﺭ ﻣﺪّ ﺕ ﺍﻧﺪﻛﻰ ﺻﺪﻫﺎ ﻭ ﺻﺪﻫﺎ ﺻﻔﺤﺔ ﺑﺰﺭگ ﻣﻄﺎﻟﺐ ﺑﺴﻴﺎﺭ ﮔﻮﻧﺎﮔﻮﻥ ﺍﺯ ﻗﻠﻢ‬
‫ﭼﺎﺑﻚ ﺭﻭﻯ ﻛﺎﻏﺬ ﺑﻰﺯﺑﺎﻥ ﻭ ﺑﻰﻋﺎﻃﻔﻪ ﺁﻭﺭﺩﻩﺍﻯ ﻭ ﺭﺳﺘﻢ ﺩﺳﺘﺎﻥ ﻫﻢ ﺍﮔﺮ ﺑﻪ ﺟﺎﻯ ﺩﻭﻟﺖﺁﺑﺎﺩﻯ‬
‫ﻋﺰﻳﺰ ﻣﺎ ﺑﻮﺩ ﺍﺣﺴﺎﺱ »ﺧﺴﺘﮕﻰ« ﻣﻴﻜﺮﺩ‪.‬‬
‫ﻣﻦ ﻭﻗﺘﻰ ﺑﺎ ﺷﺎﺩﺭﻭﺍﻥ ﺻﺎﺩﻕ ﻫﺪﺍﻳﺖ ﺁﺷﻨﺎﺷﺪﻡ ﻭ ﺍﻭ ﻫﻢ ﻣﺜﻞ ﺩﻭﻟﺖﺁﺑﺎﺩﻯ ﺩﺭ ﻧﺎﻣﻪﻫﺎﻳﺶ‬
‫ﺍﺯ ﺧﺴﺘﮕﻰ ﻭ ﺑﻰﺳﺎﻣﺎﻧﻰ ﺭﻭﺣﻰ ﺳﺨﻦ ﻣﻴﺮﺍﻧﺪ ﭘﻴﺶ ﺧﻮﺩﻡ ﻓﻜﺮ ﻛﺮﺩﻡ ﻻﺑﺪّ ﺁﺷﻨﺎﻯ ﺯﻥ ﺟﻮﺍﻥ ﻭ‬
‫ﻋﺸﻘﺒﺎﺯ ﻧﺪﺍﺭﺩ ﻭ ﻣﻄﻠﺐ ﺭﺍ ﺑﻪ ﺍﻭ ﻧﻮﺷﺘﻢ ﻭ ﺍﻭ ﺩﺭ ﺟﻮﺍﺏ ﺑﻪ ﻣﻦ ﻧﻮﺷﺖ ﻛﻪ ﺍﻳﻨﺠﻮﺭ ﻫﻢ ﻫﺴﺖ‬
‫ﻭ ﮔﺎﻫﻰ ﺍﻳﻦ ﮔﻮﺷﻪ ﻭ ﺁﻥ ﮔﻮﺷﻪ »ﺷﻜﺎﺭﻯ« ﺑﺪﺳﺖ ﻣﻰﺁﻳﺪ ﻭ ﺑﻌﺪﻫﺎ ﻫﻢ ﺍﺯ ﺩﻭﺳﺘﺎﻥ ﺩﻳﮕﺮﺵ‬
‫ﺷﻨﻴﺪﻡ ﻛﻪ ﺍﺯ ﺍﻳﻦ ﻧﻌﻤﺖ ﻫﻢ ﺯﻳﺎﺩ ﻣﺤﺮﻭﻡ ﻧﻤﻰﻣﺎﻧﺪﻩ ﺍﺳﺖ‪ .‬ﺷﻤﺎ ﺭﺍ ﻧﻤﻴﺪﺍﻧﻢ ﻛﻪ ﺩﺭ ﺍﻳﻦ ﻋﺮﺻﻪ‬
‫ﻼﺟﻴﺪ ﻭ ﺍﮔﺮ ﺑﺨﻮﺍﻫﻢ ﺍﺯ ﺁﻧﭽﻪ ﺩﺭ »ﻛﻠﻴﺪﺭ« ﺩﺭ ﻋﺸﻖ ﺳﻮﺯﺍﻥ ﺯﻥ ﻭ ﻣﺮﺩ )ﺑﺨﺼﻮﺹ‬ ‫ﭼﻨﺪ ﻣﺮﺩﻩ ﺣ ّ‬
‫ﺯﻥ( ﻧﻮﺷﺘﻪﺍﻳﺪ ﻧﺘﻴﺠﻪﺑﮕﻴﺮﻡ ﺑﺎﻳﺪ ﻣﺮﺩ ﻛﺎﺭ ﺑﺎﺷﻴﺪ ﻭ ﺧﺴﺘﮕﻰ ﺷﻤﺎ ﺭﺍ ﻣﻤﻜﻦ ﺍﺳﺖ ﺗﺎ ﺍﻧﺪﺍﺯﻩﺍﻯ ﺑﻪ‬
‫ﺍﻓﺮﺍﻁ ﺩﺭﻳﻦ ﻛﺎﺭ ﻣﺮﺑﻮﻁ ﺩﺍﻧﺴﺖ )ﻭ ﻳﺎ ﺁﻧﻜﻪ ﺑﺮﻋﻜﺲ ﺑﺮ ﻣﺤﺮﻭﻣﻰ ﺍﺯ ﺍﻳﻦ ﻛﺎﺭ(‪ .‬ﺧﻮﺩﺗﺎﻥ ﻋﻠﺖ‬
‫ﺧﺴﺘﮕﻰ ﺭﺍ ﺩﺭ ﻳﻚ ﻛﻠﻤﻪ ﺩﺍﺩﻩﺍﻳﺪ‪» :‬ﭼﺮﺍ؟«‪ .‬ﻋﺰﻳﺰﻡ‪» ،‬ﭼﺮﺍ ﻧﺪﺍﺭﺩ ﻛﻪ ﻧﺪﺍﺭﺩ« ﻫﻤﻴﻦ ﺍﺳﺖ ﻛﻪ ﻫﺴﺖ‬
‫ﻭ ﺧﻮﺏ ﻫﻢ ﻫﺴﺖ ﻭ ﻫﻤﻴﺸﻪ ﭼﻨﻴﻦ ﺑﻮﺩﻩ ﻭ ﭼﻨﻴﻦ ﻫﺴﺖ ﻭ ﭼﻨﻴﻦ ﺧﻮﺍﻫﺪ ﺑﻮﺩ ﺍﻟﻰ ﺍﺑﺪﺍﻵﺑﺎﺩ‪ .‬ﻧﻪ‬
‫ﺗﻨﻬﺎ ﺍﻧﺴﺎﻥ ﺑﻬﻤﻴﻦ ﻣﺘﻮﺍﻟﻰ ﺑﻮﺩﻥ ﺳﺮﻭﻛﺎﺭ ﺩﺍﺭﺩ ﺑﻠﻜﻪ ﺗﻤﺎﻡ ﺣﻴﻮﺍﻧﺎﺕ‪ ،‬ﺗﻤﺎﻡ ﮔﻴﺎﻩﻫﺎ ﺗﻤﺎﻡ ﺭﻭﺩﺧﺎﻧﻪﻫﺎ‬
‫ﻭ ﺳﺮﭼﺸﻤﻪﻫﺎ ﻭ ﻛﻮﻫﻬﺎ ﻭ ﺩﺭﻳﺎﻫﺎ ﻭ ﮔﻴﺘﻰﻫﺎﻯ ﻻﺗﻌﺪّ ﻭ ﻻﺗﺤﺼﺎﻯ ﻓﻀﺎﻯ ﻻﻳﺘﻨﺎﻫﻰ‪ .‬ﻣﻦ ﻛﺘﺎﺑﻰ‬
‫ﺩﺍﺭﻡ ﺑﻪ ﻗﻠﻢ ﺩﺍﻧﺸﻤﻨﺪ ﺧﻴﻠﻰ ﺑﺰﺭگ ﺍﻧﮕﻠﻴﺴﻰ )ﺍﻭ ﺭﺍ ﺩﺭ ﺭﺩﻳﻒ ﺍﻧﻴﺸﺘﻦ ﻣﻴﮕﺬﺍﺭﻧﺪ( ﻛﻪ »ﻓﻴﺰﻳﻚ‬
‫ﻭ ﻓﻠﺴﻔﻪ« ﻋﻨﻮﺍﻥ ﺩﺍﺭﺩ ﻭ ﻣﺘﺎﺳﻔﺎﻧﻪ ﺳﻮﺍﺩﻡ ﻗﺪّ ﻧﻤﻴﺪﻫﺪ ﻛﻪ ﺑﺴﻴﺎﺭﻯ ﺍﺯ ﻣﻄﺎﻟﺐ ﺁﻥ ﺭﺍ ﺑﻔﻬﻤﻢ ﻭﻟﻰ‬
‫ﺣﻆ ﻛﺮﺩﻡ ﻭﻗﺘﻰ ﺳﻼﻧﻪ ﺁﻥ ﺭﺍ ﺑﭙﺎﻳﺎﻥ ﺭﺳﺎﻧﻴﺪﻡ ﻭ ﺩﻳﺪﻡ ﺩﺭ ﭘﺎﻳﺎﻥ ﻛﺘﺎﺏ ﺑﻪ ﻧﻘﻞ ﺍﺯ ﻋﺎﻟﻢ ﺧﻴﻠﻰ‬
‫ﺑﺰﺭگ ﻗﺪﻳﻤﺘﺮ ﺩﻳﮕﺮﻯ ﻣﻰﻧﻮﻳﺴﺪ ﻣﺎ ﺑﻪ ﺧﻴﺎﻝ ﺧﻮﺩﻣﺎﻥ ﺩﺭ ﺭﺍﻩ ﻓﻬﻤﻴﺪﻥ ﭼﻮﻥ ﻭ ﭼﺮﺍﻯ ﺁﻓﺮﻳﻨﺶ‬
‫ﻗﺪﻣﻬﺎﺋﻰ ﺑﺮﺩﺍﺷﺘﻪﺍﻳﻢ ﻭﻟﻰ ﺍﺩﻳﺴﻮﻥ ﮔﻔﺘﻪ ﺍﻃﻔﺎﻝ ﺧﺮﺩﺳﺎﻟﻰ ﺑﻴﺶ ﻧﻴﺴﺘﻴﻢ ﻛﻪ ﺩﺭ ﻛﻨﺎﺭ ﺩﺭﻳﺎﻯ ﺑﻴﻜﺮﺍﻧﻰ‬
‫ﻧﺸﺴﺘﻪﺍﻳﻢ ﻭ ﺑﺎ ﭼﻨﺪ ﺭﻳﮓ ﻛﻮﭼﻚ ﺑﺎﺯﻯ ﻣﻰﻛﻨﻴﻢ‪ .‬ﺳﭙﺲ ﺧﻮﺩ ﻣﺆﻟﻒ ﻛﺘﺎﺏ )ﺟﻴﻤﺲ ﺟﻴﻦ(‬
‫ﻣﻴﮕﻮﻳﺪ ﻣﺎ ﺁﺩﻣﻴﺎﻥ ﻣﺪﺕ ﺯﻳﺎﺩﻯ ﻧﻴﺴﺖ ﻛﻪ ﺑﻪ ﺩﻧﻴﺎ ﺁﻣﺪﻩﺍﻳﻢ ﻭ ﺍﮔﺮ ﺑﺎﺯ ﻫﻢ ﻣﻠﻴﻮﻧﻬﺎ ﺳﺎﻝ ﺑﺎﻗﻰ ﺑﻤﺎﻧﻴﻢ‬
‫ﻭ ﻣﺪﺍﻡ ﺩﺭ ﺟﺴﺘﺠﻮ ﺑﺎﺷﻴﻢ ﺑﺎﺯ ﺑﺠﺎﺋﻰ ﻧﺨﻮﺍﻫﻴﻢ ﺭﺳﻴﺪ ﻭ ﻛﺎﺭﻣﺎﻥ ﻣﻨﺤﺼﺮ ﺧﻮﺍﻫﺪ ﺑﻮﺩ ﺑﻪ ﻣﺸﺎﻫﺪﻩ‬ ‫‪326‬‬
‫ﻭ ﻣﻌﺎﻳﻨﻪ ﻭﻟﻰ ﺑﻪ ﻋﻤﻖ ﻣﻌﻨﻰ ﭘﻰ ﻧﺨﻮﺍﻫﻴﻢ ﺑﺮﺩ ﻭ ﺑﻲﭼﻮﻥ ﻭ ﭼﺮﺍ ﺟﻮﺍﺑﻰ ﻧﺨﻮﺍﻫﻴﻢ ﺷﻨﻴﺪ‪ .‬ﻋﺰﻳﺰﻡ‬
‫ﺩﻭﻟﺖﺁﺑﺎﺩﻯ‪ ،‬ﭼﻪ ﻟﺰﻭﻣﻰ ﺩﺍﺭﺩ ﻛﻪ ﻣﺎ ﺑﻔﻬﻤﻴﻢ ﭼﺮﺍ ﺩﻧﻴﺎ ﺩﻧﻴﺎﻯ ﺁﻛﻞ ﻭ ﻣﺄﻛﻮﻝ ﺍﺳﺖ‪ .‬ﭼﺮﺍ ﻣﺎﻫﻰ‬
‫ﺑﺰﺭگ ﻣﺎﻫﻰ ﻛﻮﭼﻚ ﺭﺍ ﻣﻰﺧﻮﺭﺩ ﻭ ﻣﺎﻫﻰ ﻛﻮﭼﻚ ﻣﺎﻫﻰ ﻛﻮﭼﻜﺘﺮ ﺭﺍ‪ .‬ﭼﺮﺍ ﮔﺮگ ّﺑﺮﻩ ﺭﺍ ﻣﻴﺪ ّﺭﺩ ﻭ‬
‫ﭼﺮﺍ ﺁﺩﻣﻴﺎﻥ ﻫﻤﺪﻳﮕﺮ ﺭﺍ ﻋﺬﺍﺏ ﻣﻴﺪﻫﻨﺪ ﻭ ﺑﻘﺘﻞ ﻣﻴﺮﺳﺎﻧﻨﺪ‪ .‬ﻣﻦ ﺩﺭ ﺟﻠﻮ ﻣﻨﺰﻟﻤﺎﻥ ﭼﻨﺪ ﺩﺭﺧﺖ ﺳﺮﻭ‬
‫ﻛﻮﭼﻚ ﻫﺴﺖ ﻭ ﻫﺮ ﺭﻭﺯ ﺩﺭ ﻓﺼﻠﻬﺎﻯ ﺑﻬﺎﺭ ﻭ ﺗﺎﺑﺴﺘﺎﻥ ﻣﺮﻏﻚ ﺳﻴﺎﻫﻰ ﻛﻪ ﻧﻮﻙ ﻧﺎﺭﻧﺠﻰ ﺭﻧﮓ ﺩﺍﺭﺩ‬
‫ﻣﺮﺗﺒ ًﺎ ﺩﺭ ﺳﺎﻋﺘﻬﺎﻯ ﺁﺧﺮ ﺭﻭﺯ ﻣﻰﺁﻳﺪ ﺭﻭﻯ ﺑﻠﻨﺪﺗﺮﻳﻦ ﺷﺎﺧﺔ ﺁﻥ ﺩﺭﺧﺖ ﻣﻰﻧﺸﻴﻨﺪ ﻳﻚ ﺩﻭ ﺳﺎﻋﺘﻰ‬
‫ﺑﺮﺍﻳﻤﺎﻥ ﺁﻭﺍﺯ ﺧﻮﺑﻰ ﻣﻴﺨﻮﺍﻧﺪ ﺁﻭﺍﺯﺵ ﺷﺒﻴﻪ ﺍﺳﺖ ﺑﻪ ﺣﺮﻑﺯﺩﻥ ﻭ ﺍﺳﻤﺶ ﺑﻪ ﺯﺑﺎﻥ ﻓﺮﺍﻧﺴﻪ ﻣﻴﺮﻝ‬
‫ﺍﺳﺖ ‪ Merle‬ﻭ ﺍﻧﮕﻠﻴﺴﻴﻬﺎ ﺍﻭ ﺭﺍ »ﭘﺮﻧﺪﻩ ﺳﻴﺎﻩ« ﻣﻴﺨﻮﺍﻧﻨﺪ ﻭ ﺁﻟﻤﺎﻧﻴﻬﺎ ‪) Amsel‬ﺍَﻣﮋﻝ( ﻭ ﺑﺴﻴﺎﺭ ﻣﺮﻍ‬
‫ﻣﺤﺒﻮﺑﻰ ﺍﺳﺖ ﻭ ﺍﺯ ﻗﺮﺍﺭﻯ ﻛﻪ ﻣﺪﺗﻬﺎ ﺟﺴﺘﺠﻮ ﻛﺮﺩﻡ ﻋﺎﻗﺒﺖ ﻣﻌﻠﻮﻡ ﺷﺪ ﻛﻪ ﺩﺭ ﻻﺭﺳﺘﺎﻥ ﭘﻴﺪﺍ ﻣﻴﺸﻮﺩ‬
‫ﻼ ﺩﺭ ﺍﻃﺮﺍﻑ‬ ‫ﺖ ﻣﻴﺨﻮﺍﻧﻨﺪ ﻭ ﺩﺭ ﺳﺎﻳﺮ ﻧﻘﺎﻁ ﺍﻳﺮﺍﻥ )ﻭ ﻣﺜ ً‬‫ﺖ ﻳﺎ ِﺷ ْﻔ ْ‬
‫ﻭ ﺳﺎﻛﻨﻴﻦ ﺁﻥ ﻧﻮﺍﺣﻰ ﺍﻭ ﺭﺍ ﭼ ْﻔ ْ‬
‫ﺗﻬﺮﺍﻥ( ﺩﻳﺪﻩ ﻧﺸﺪﻩ ﺍﺳﺖ ﻭ ﺩﺭﻳﻦ ﺑﺎﺏ ﺑﺎ ﺩﻭﺳﺖ ﻋﺰﻳﺰ ﺧﻮﺩﻡ ﺩﺍﺳﺘﺎﻥﻧﻮﻳﺲ ﺑﺴﻴﺎﺭ ﻣﺤﺒﻮﺏ‬
‫ﺑﺎﺑﺎﻣﻘﺪّ ﻡ ﻣﻜﺎﺗﺒﻪ ﺩﻭﺭﻭﺩﺭﺍﺯﻯ ﺩﺍﺷﺘﻪ ﻭ ﺩﺍﺭﻡ‪ .‬ﺑﻪ ﻣﻦ ﭼﻪ ﻛﻪ ﺧﺪﺍ ﭼﺮﺍ ﻣﺎ ﺭﺍ ﺧﻠﻖ ﻛﺮﺩﻩ ﺍﺳﺖ‪ ،‬ﺑﺘﻮ‬
‫ﭼﻪ ﻛﻪ ﭼﺮﺍ ﺁﺩﻣﻴﺰﺍﺩ ﺑﺎﻳﺪ ﺑﻤﻴﺮﺩ‪ ،‬ﺑﻤﺎ ﭼﻪ ﻛﻪ ﻗﻠﺪﺭ ﭘﺪﺭ ﺁﺩﻡ ﻧﺎﺗﻮﺍﻧﻰ ﺭﺍ ﺟﻠﻮ ﭼﺸﻤﺶ ﻣﻰﺁﻭﺭﺩ‪ .‬ﺑﻠﻪ‬
‫ﺑﺴﻴﺎﺭ ﺧﻮﺏ ﺍﺳﺖ ﻛﻪ ﺑﺘﻮﺍﻧﻴﻢ ﺗﺎ ﺟﺎﺋﻰ ﻛﻪ ﺍﻣﻜﺎﻥﭘﺬﻳﺮ ﺍﺳﺖ ﺟﻠﻮﮔﻴﺮﻯ ﻛﻨﻴﻢ ﻭﻟﻰ ﻣﺤﺎﻝ ﺍﺳﺖ ﻛﻪ‬
‫ﻗﻠﺪﺭﻯ ﻭ ﺗﻌﺪّ ﻯ ﻗﻮﻯ ﺭﺍ ﺑﻪ ﺿﻌﻴﻒ ﺍﺯ ﺩﻧﻴﺎ ﺑﺮﺍﻧﺪﺍﺯﻳﻢ‪ .‬ﺑﺮﺍﺩﺭ ﺟﺎﻥ‪ ،‬ﻋﻤﺮ ﺩﻭ ﺭﻭﺯ ﺍﺳﺖ ﻭ ﻛﻮﺗﺎﻩ‬
‫ﺍﺳﺖ ﻭ ﻣﺮگ ﻭ ﮔﻮﺭ ﺧﻴﻠﻰ ﺩﻭﺭ ﻭ ﺩﺭﺍﺯ ﺍﺳﺖ‪ .‬ﺍﻳﻦ ﺧﻴﺎﻻﺕ ﺭﺍ ﺍﺯ ﺳﺮ ﺑﺪﺭﻛﻦ ﻭ ﺍﮔﺮ ﻣﺮﺍ ﺩﻭﺳﺖ‬
 ‫ﺧﻮﺩﺕ ﻭ ﺧﻴﺮﺧﻮﺍﻩ ﺧﻮﺩﺕ ﻣﻴﺪﺍﻧﻰ ﺑﻪ ﺣﺮﻓﻢ ﮔﻮﺵ ﺑﺪﻩ ﻭ ﺗﻨﻬﺎ ﻭ ﻳﺎ ﺑﺎ ﻳﻚ ﺭﻓﻴﻖ ﺷﻔﻴﻖ ﻛﻪ ﻳﺎﺭِ‬
‫ﺷﺎﻃﺮ ﺑﺎﺷﺪ ﻧﻪ ﺑﻼﻯ ﺟﺎﻥ ﻣﻘﺪﻣﺎﺕ ﻣﺴﺎﻓﺮﺗﻰ ﺭﺍ ﺑﺮﺍﻯ ﻳﻜﻰ ﺩﻭ ﻣﺎﻩ ﺩﺭ ﺟﺎﻫﺎﻯ ﺑﺎﺻﻔﺎﻯ ﺍﻳﺮﺍﻥ )ﺩﺭﻳﺎ‬
‫ﻭ ﺟﻨﮕﻞ ﻋﻤﻮﻣ ًﺎ ﻏﻢﺍﻓﺰﺍﺳﺖ ﻭ ﻋﻤﻮﻣ ًﺎ ﺑﺮﺍﻯ ﻣﺪﺕ ﻛﻮﺗﺎﻫﻰ ﻟﺬﺕﺑﺨﺶ ﺍﺳﺖ( ﻣﺴﺎﻓﺮﺗﻰ ﺑﻜﻦ ﻭ‬
‫ﺗﺎ ﺭﻭﺯ ﺧﺴﺘﻪ ﻭ ﻭﺍﺭﻓﺘﻪ ﻧﺸﺪﻩﺍﻯ ﺑﻪ ﺑﺴﺘﺮ ﺧﻮﺍﺏ ﻣﺮﻭ ﻭ ﺯﻳﺎﺩ ﻫﻢ ﻧﺨﻮﺭ ﻭ ﺯﻳﺎﺩ ﻫﻢ ﻣﻴﺎﺷﺎﻡ ﻭ ﺍﺯ‬
‫ﺷﻌﺮﻫﺎﻯ ﺭﻭﺩﻛﻰ ﻭ ﻣﻨﻮﭼﻬﺮﻯ ﻭ ﺑﺎﺑﺎ ﻃﺎﻫﺮ ﺑﺎ ﺧﻮﺩﺕ ﺑﺒﺮ ﻛﻪ ﮔﺎﻫﻰ ﺭﻭﻯ ﻋﻠﻔﻬﺎﻯ ﺻﺤﺮﺍﺑﻨﺸﻴﻨﻰ‬
‫ﻭ ﺑﺨﻮﺍﻧﻰ )ﺑﺎ ﺻﺪﺍﻯ ﺑﻠﻨﺪ( ﻭ ﺩﻭﺑﺎﺭﻩ ﮔﺮﺩﻭﺧﺎﻙ ﺭﺍ ﺍﺯ ﺳﺮﻭﻛﻮﻝ ﺧﻮﺩ ﺑﺰﺩﺍﺋﻰ ﻭ ﺑﺎﺯ ﺑﻪ ﭘﻴﺎﺩﻩﺭﻭﻯ‬
‫)ﻳﺎ ﻗﺎﻃﺮ ﻭ ﺍﻻﻍﺳﻮﺍﺭﻯ ﻭ ﻛﺎﻣﻴﻮﻥﺳﻮﺍﺭﻯ ﻭ ﺍﻣﺜﺎﻝ ﺁﻥ( ﺑﻴﻔﺘﻰ ﺩﺭ ﺩﻫﺎﺕ ﻣﻨﺘﻈﺮ ﻧﺒﺎﺷﻰ ﻛﻪ ﻫﺮ ﺩﻫﺎﺗﻰ‬
‫ﺣﻜﻴﻢ ﻭ ﻓﻴﻠﺴﻮﻑ ژﺭﻑﺑﻴﻨﻰ ﺑﺎﺷﺪ ﻭﻟﻰ ﺧﻮﺍﻫﻰ ﺩﻳﺪ ﻛﻪ ﺣﺮﻓﻬﺎﻯ ﺧﻮﺏ ﻫﻢ ﻣﻴﺰﻧﻨﺪ ﻛﻪ ﺧﻮﺩﺕ‬
‫ﺻﺪ ﺑﺎﺭ ﻭ ﺩﻭﻳﺴﺖ ﺑﺎﺭ ﻭ ﻫﺰﺍﺭ ﺑﺎﺭ ﺑﻬﺘﺮ ﺍﺯ ﻣﻦ ﻣﻴﺪﺍﻧﻰ ﻭ ﺩﺭ ﻛﺘﺎﺑﻬﺎﻳﺖ ﺑﺎ ﺍﺳﺘﺎﺩﻯ ﺗﺎﻡﻭﺗﻤﺎﻡ ﺑﺮﺍﻳﻤﺎﻥ‬
‫ﺁﻭﺭﺩﻩﺍﻯ ﻭ ﺑﺎﻗﻰ ﺧﻮﺍﻫﺪ ﻣﺎﻧﺪ ﻭ ﻫﻤﻪ ﺧﻮﺍﻫﻨﺪ ﮔﻔﺖ ﺍﻳﻦ ﻣﺤﻤﻮﺩ ﺩﻭﻟﺖﺁﺑﺎﺩﻯ )ﺳﺒﺰﻭﺍﺭﻯ( ﻋﺠﺐ‬
‫ﺁﺩﻡ ﻏﺮﻳﺒﻰ ﺑﻮﺩﻩ ﺍﺳﺖ ﻣﺜﻞ ﺍﻳﻦ ﺍﺳﺖ ﻛﻪ ﺑﺎ ﻣﺘّﻪ ﻛﺎﺭ ﻛﺮﺩﻩ ﺍﺳﺖ ﻭ ﻣﺘّﻪ ﺑﻪ ﺧﺸﺨﺎﺵ ﻛﺸﻴﺪﻩ ﺍﺳﺖ‬
‫ﻭ ﺍﻟﺤﻖ ﻫﺮ ﭼﻪ ﻧﻮﺷﺘﻪ ﺑﺴﻴﺎﺭ ﺧﻮﺏ ﻭ ﺧﻮﺍﻧﺪﻯ ﻭ ﻟﺬﺕﺑﺨﺶ ﻭ ﻋﺒﺮﺕﺑﺨﺶ ﺍﺳﺖ‪.‬‬
‫ﻣﻜﺮﺭ ﻧﻮﺷﺘﻪﺍﻳﺪ ﻛﻪ ﻣﻦ ﻧﺒﺎﻳﺪ ﭼﻮﻥ ﺷﻤﺎ ﺑﻪ ﻧﺎﻣﻪﺍﻡ ﻓﻮﺭﺍ ً ﺟﻮﺍﺏ ﻧﻨﻮﺷﺘﻪﺍﻳﺪ‬
‫ﺷﻤﺎ ﺩﺭ ﻧﺎﻣﺔ ﺧﻮﺩﺗﺎﻥ ّ‬
‫ﻫﺰﺍﺭ ﻧﻮﻉ ﻓﻜﺮ ﻛﺮﺩﻩ ﺑﺎﺷﻢ‪ .‬ﻋﺰﻳﺰﻡ ﻣﺤﻤﻮﺩ ﺟﺎﻥ‪ ،‬ﻣﻦ ﻫﻢ ﻣﺜﻞ ﺧﻮﺩﺕ ﺍﻋﺘﻨﺎﻳﻰ ﺑﻪ ﻋﻮﺍﻟﻢ ﺯﻭﺩﮔﺬﺭ‬
‫ﺩﻧﻴﺎ ﻭ ﻫﻤﻨﻮﻋﺎﻥ ﺧﻮﺩﻡ ﺳﻌﻰ ﻣﻰﻛﻨﻢ ﻧﺪﺍﺷﺘﻪ ﺑﺎﺷﻢ‪ .‬ﻣﻦ ﺑﺪﻭﻥ ﺁﻧﻜﻪ ﻻﺯﻡ ﺑﺎﺷﺪ ﺑﺮﺍﻳﻢ ﻧﻘﻞ ﻛﻨﻰ‬
‫‪327‬‬ ‫ﻛﻢﻭﺑﻴﺶ ﻣﻴﺘﻮﺍﻧﻢ ﺣﺪﺱﺑﺰﻧﻢ ﻛﻪ ﭼﮕﻮﻧﻪ ﻋﻤﺮ ﻣﻴﮕﺬﺭﺍﻧﻰ ﻭ ﭼﻪ ﻋﻮﺍﻟﻤﻰ ﺭﺍ ﻃﻰ ﻣﻰﻛﻨﻰ‪ .‬ﺧﺎﻃﺮ‬
‫ﻼ ﺁﺳﻮﺩﻩ ﺑﺎﺷﺪ ﻛﻪ ﺑﺨﺪﺍﺋﻰ ﺧﺪﺍ ﻗﺴﻢ ﺣﺘﻰ ﻳﻚ ﺛﺎﻧﻴﻪ ﻫﻴﭽﮕﻮﻧﻪ ﺧﻴﺎﻟﻰ ﻛﻪ ﺑﻮﻯ ﻣﻼﻝ‬ ‫ﻧﺎﺯﻧﻴﻨﺖ ﻛﺎﻣ ً‬
‫ﺧﺎﻃﺮ ﺩﺍﺷﺘﻪ ﺑﺎﺷﺪ ﺍﺯ ﻣﺨﻴّﻠﻪﺍﻡ ﻧﮕﺬﺷﺘﻪ ﻭ ﻻﻧﻪ ﻧﻜﺮﺩﻩ ﺍﺳﺖ‪ .‬ﻣﻦ ﺩﻟﻢ ﻣﻴﺨﻮﺍﺳﺖ ﺩﺭﺑﺎﺭﺓ ﺷﻤﺎ ﻣﻘﺎﻟﺔ‬
‫ﻣﻔﺼﻠﻰ ﺑﻨﻮﻳﺴﻢ ﻭ ﺩﺭﺑﺎﺭﺓ ﺷﻤﺎ ﺧﻴﻠﻰ ﺣﺮﻑ ﺑﺰﻧﻢ ﻭﻟﻰ ﺍﻭﻻً ﺩﻳﺪﻡ ﺍﻣﺮﻭﺯ ﻣﺎ ﻣﺠ ّﻠﻪﺍﻯ ﻛﻪ ﺑﺘﻮﺍﻧﺪ‬
‫ﭼﻨﻴﻦ ﻧﻮﺷﺘﻪﻫﺎﻯ ﺩﻭﺭ ﻭ ﺩﺭﺍﺯﻯ ﺭﺍ ﺩﺭﺝ ﻛﻨﺪ ﻧﺪﺍﺭﻳﻢ ﻭ ﺗﻨﻬﺎ »ﺁﻳﻨﺪﻩ« ﻣﺎﻧﺪﻩ )ﻧﻤﻴﺪﺍﻧﻢ ﺁﻳﺎ ﺑﺮﺍﺳﺘﻰ‬
‫ﻣﺎﻧﺪﻩ ﻳﺎ ﻧﻪ( ﻛﻪ ﻫﺮ ﭼﻨﺪ ﻣﺎﻩ ﻳﻜﺒﺎﺭ ﻣﻨﺘﺸﺮﻣﻴﺸﻮﺩ ﻭ ﺁﻥ ﻫﻢ ﻣﻰﺑﻴﻨﻢ ﻭ ﻣﻰﺷﻨﻮﻡ ﻭ ﻣﻴﺨﻮﺍﻧﻢ ﻛﻪ ﻋﺪﺓ‬
‫ﺯﻳﺎﺩﻯ ﺍﺯ ﺍﻫﻞ ﻓﻀﻞ ﻭ ﻛﻤﺎﻟﻬﺎﻯ ﺧﻮﺩﻣﺎﻧﻰ ﻭ ﺍﺭﺑﺎﺏ ﻧﻈﻢ ﻭ ﻧﺜﺮ ﺍﺯﻭ ﮔﻠﻪﻣﻨﺪ ﻫﺴﺘﻨﺪ ﻛﻪ ﻣﻘﺎﻻﺗﺸﺎﻥ‬
‫ﺭﺍ ﭼﺮﺍ ﺑﻪ ﭼﺎپ ﻧﻤﻴﺮﺳﺎﻧﺪ‪.‬‬
‫ﺍﺯ ﻃﺮﻑ ﺩﻳﮕﺮ ﻣﻰﺑﻴﻨﻢ ﻛﻪ ﺑﻼﺷﻚ ﺩﻭﻟﺖﺁﺑﺎﺩﻯ ﺍﻣﺮﻭﺯ ﻧﻮﻳﺴﻨﺪﺓ ﻣﺸﻬﻮﺭﻯ ﻣﻰﺑﺎﺷﺪ ﻭ ﻟﻮﺱ‬
‫ﻭ ﺑﻴﻤﺰﻩ ﺍﺳﺖ ﻛﻪ ﻛﺴﻰ ﺩﺭﺻﺪﺩ ﺑﺮﺁﻳﺪ ﻛﻪ ﺍﻋﺮﻑ ﺍﺯ ﺧﻮﺩ ﺭﺍ ﻣﻌﺮﻓﻰ ﻧﻤﺎﻳﺪ‪ .‬ﻣﻦ ﺩﺭ ﻣﻮﻗﻊ ﺧﻮﺍﻧﺪﻥ‬
‫ﻛﺘﺎﺑﻬﺎﻯ ﺷﻤﺎ ﺑﻪ ﻗﺪﺭﻯ ﻳﺎﺩﺩﺍﺷﺘﻬﺎﻯ ﻛﻮﺗﺎﻩ ﺑﺮﺩﺍﺷﺘﻪﺍﻡ ﻛﻪ ﻗﺼﺪ ﺩﺍﺷﺘﻢ ﻣﺼﺎﻟﺢ ﻳﻚ ﻣﻘﺎﻟﻪ ﻗﺮﺍﺭﺑﺪﻫﻢ‬
‫ﻭﻟﻰ ﺷﻤﺎ ﺩﺭﺳﺖ ﻧﻤﻴﺪﺍﻧﻴﺪ ﻛﻪ ﻣﻦ ﺑﺎ ﭼﻪ ﺭﻭﺯﮔﺎﺭﻯ ﺩﺳﺖ ﺑﮕﺮﻳﺒﺎﻧﻢ‪ .‬ﺯﻧﻢ ﺑﻴﻤﺎﺭ ﺍﺳﺖ )ﺑﻴﻤﺎﺭﻯ‬
‫ﺭﻭﺣﻰ( ﻭ ﺑﻪ ﺭﺍﺳﺘﻰ »ﺭﺍﺣﺘﻰ ﻧﻴﺴﺖ ﺩﺭ ﺁﻥ ﺧﺎﻧﻪ ﻛﻪ ﺑﻴﻤﺎﺭﻯ ﻫﺴﺖ«‪ .‬ﻣﻦ ﻭ ﺯﻧﻢ ﻛﺎﻣ ً‬
‫ﻼ ﺗﻨﻬﺎ‬
‫ﻫﺴﺘﻴﻢ‪ .‬ﮔﺎﻫﻰ ﺩﺧﺘﺮ ﺑﺮﺍﺩﺭ ﻣﺮﺣﻮﻣﻢ ﺭﺿﺎ ﻛﻪ ﻣﻨﻴﺮﻩ ﻧﺎﻡ ﺩﺍﺭﺩ ﻭ ﺯﻧﻰ ﺍﺳﺖ ‪ 50‬ﻭ ﭼﻨﺪ ﺳﺎﻟﻪ ﻭ‬
‫ﺷﻮﻫﺮﺵ ﻣﺮﺩﻩ ﻭ ﺧﻮﺩﺵ ﺑﺎ ﻳﻚ ﭘﺴﺮ ﺑﺰﺭگ ﻭ ﻳﻚ ﺩﺧﺘﺮ ‪ 21‬ﺳﺎﻟﻪ ﺩﺭ ﭘﺎﺭﻳﺲ ﺩﺭﺗﻴﺎﺗﺮ ﻛﺎﺭ ﻣﻰﻛﻨﺪ‬
‫)ﻳﺎ ﻣﻴﻜﺮﺩ( ﻭ ﺻﺪ ﻧﻮﻉ ﻣﺸﻜﻼﺕ ﺩﺍﺭﺩ ﮔﺎﻫﻰ ﺧﻮﺩﺵ ﺭﺍ ﺑﻪ ژﻧﻮ ﻣﻴﺮﺳﺎﻧﺪ ﻭ ﻛﻤﻚ ﺑﻪ ﻣﺎ ﻣﻴﺮﺳﺎﻧﺪ‬
‫ﻭﻟﻰ ﺍﺯ ﺁﻥ ﮔﺬﺷﺘﻪ ﺗﻘﺮﻳﺒ ًﺎ ﻫﻤﻴﺸﻪ ﻣﻦ ﻭ ﺯﻥ ﺑﻴﻤﺎﺭﻡ )ﻣﻦ ‪ 94‬ﺳﺎﻟﻪ ﻭ ﺯﻧﻢ ‪ 80‬ﺳﺎﻟﻪ( ﺗﻨﻬﺎ ﻫﺴﺘﻴﻢ ﻭ‬
‫ﻣﻦ ﺣﺘﻰ ﭼﻨﺪ ﺑﺎﺭ ﻇﻬﺮﻫﺎ ﻭ ﺷﺐﻫﺎ ﺁﺷﭙﺰﻯ ﻫﻢ ﻣﻰﻛﻨﻢ ﻭ ﻛﺎﺭ ﺧﺎﻧﻪﺩﺍﺭﻯ ﻭ ﺧﺮﻳﺪ ﻭ ﺧﻴﻠﻰ ﻛﺎﺭﻫﺎ‬
‫ﺭﺍ ﺑﻪ ﻋﻬﺪﻩ ﺩﺍﺭﻡ ﻭﻟﻰ ﺳﺮ ﺳﻮﺯﻧﻰ ﺷﺎﻛﻰ ﻧﻴﺴﺘﻢ ﻭ ﺑﻪ ﺧﻮﺩﻡ ﻣﻴﮕﻮﻳﻢ ﻧﻮﺩ ﺳﺎﻟﻰ ﺯﻧﺪﮔﺎﻧﻰ ﺑﺮﺍﻯ ﺗﻮ‬
‫ﺯﻳﺎﺩ ﺗﻠﺦ ﻧﺒﻮﺩﻩ ﺍﺳﺖ ﺍﻳﻦ ﭼﻨﺪ ﺭﻭﺯﻩ ﻫﻢ ﻣﻴﮕﺬﺭﺩ ﻭ ﺑﺎ ﺧﻂ ﻧﺴﺘﻌﻠﻴﻖ ﺩﺭﺷﺖ ﺭﻭﻯ ﻗﻄﻌﻪ ﻣﻘﻮﺍﺋﻰ‬
‫ﻧﻮﺍﺷﺘﻪﺍﻡ‪» :‬ﺍﻳﻦ ﻧﻴﺰ ﺑﮕﺬﺭﺩ« ﻭ ﻗﺎﺏ ﻛﺮﺩﻩﺍﻡ ﻭ ﺩﺭ ﺑﺎﻻﻯ ﺁﺋﻴﻨﻪ ﺍﻃﺎﻕ ﺧﻮﺍﺏ ﺯﻧﻢ ﺁﻭﻳﺨﺘﻪﺍﻡ‪ .‬ﭘﺲ‬
‫ﻼ ﺁﺳﻮﺩﻩ ﺑﺎﺷﺪ ﻛﻪ ﻫﻴﭽﻮﻗﺖ )ﺣﺘﻰ ﻳﻚ ﺛﺎﻧﻴﻪ( ﻫﻴﭻ ﻣﻼﻝ ﺧﺎﻃﺮﻯ‬ ‫ﻼ ﻛﺎﻣ ً‬
‫ﻼ ﻛﺎﻣ ً‬
‫ﺧﺎﻃﺮ ﻧﺎﺯﻧﻴﻨﺖ ﻛﺎﻣ ً‬
‫)ﺣﺘﻰ ﻳﻚ ﺫ ّﺭﻩ ﻭ ﻳﻚ ﺩﺍﻧﻪ ﺧﺸﺨﺎﺵ( ﺑﺨﻮﺩ ﺭﺍﻩ ﻧﺪﺍﺩﻩﺍﻡ ﻛﻪ ﭼﺮﺍ ﻣﺤﻤﻮﺩ ﻋﺰﻳﺰﻣﺎﻥ ﺑﺮﺍﻳﻢ ﻫﺮ ﺭﻭﺯ‬
‫ﻣﻔﺼﻞ ﻧﻤﻰﻧﻮﻳﺴﺪ ﻭ ﺧﺪﺍ ﮔﻮﺍﻩ ﺍﺳﺖ ﻛﻪ ﺍﺯ ﺁﻥ ﻫﻤﻪ ﺍﻳﺮﺍﻧﻰ ﻛﻪ ﺩﺭﺑﺪﺭ ﺷﺪﻩﺍﻧﺪ ﻭ ﮔﺎﻫﻰ‬ ‫ﻧﺎﻣﻪﻫﺎﻯ ّ‬
‫ﻼ ﻧﻤﻰﺷﻨﺎﺳﻢ ﺑﻰﺟﻬﺖ ﺑﺮﺍﻯ ﺗﻔﺮﻳﺢ ﺧﺎﻃﺮ ﺧﻮﺩﺷﺎﻥ ﻛﺎﻏﺬﻫﺎﻯ ﺩﻭﺭ ﻭ ﺩﺭﺍﺯ ﻛﻪ ﻫﻴﭻ ﺭﻭﻧﺪ‬ ‫ﺍﺻ ً‬
‫ﺣﺴﺎﺑﻰ ﻫﻢ ﻧﺪﺍﺭﺩ ﺑﺮﺍﻳﻢ ﻣﻰﻧﻮﻳﺴﻨﺪ ﻛﻪ ﺑﻴﺰﺍﺭ ﺷﺪﻩﺍﻡ ﻭﻟﻰ ﻋﻤﻮﻣ ًﺎ ﺳﻌﻰ ﺩﺍﺭﻡ ﻭﻟﻮ ﺑﺎ ﻳﻚ ﻛﺎﺭﺕ‬
‫ﭘﺴﺘﺎﻝ ﻭﻟﻮ ﺩﻭ ﺳﻪ ﺳﻄﺮ ﺑﺎﺷﺪ ﻫﻴﭽﻜﺪﺍﻡ ﺭﺍ ﺑﻰﺟﻮﺍﺏ ﻧﮕﺬﺍﺭﻡ ﻛﻪ ﺧﻴﺎﻝ ﻛﻨﻨﺪ ﺑﺎ ﺁﻧﻬﺎ ﻣﺨﺎﻟﻔﺘﻰ‬
‫ﺩﺍﺭﻡ ﻭ ﻳﺎ ﺑﻰﺍﻋﺘﻨﺎ ﻫﺴﺘﻢ‪ ،‬ﺗﺮﺍ ﺑﻪ ﺧﺪﺍ ﻫﺮ ﻭﻗﺖ ﺧﻮﺩﺕ ﺭﺍ ﺧﻴﻠﻰ ﺧﺴﺘﻪ ﻭ ﺗﻨﻬﺎ ﺍﺣﺴﺎﺱ ﻛﺮﺩﻯ‬
‫ّ‬
‫ﻣﻔﺼﻞﺗﺮ ﻭ ﺑﻬﺘﺮ ﻛﺎﻏﺬ ﺑﻨﻮﻳﺲ ﻭ ﭼﻨﺎﻥ ﭘﻨﺪﺍﺭ ﻛﻪ ﻛﺎﻏﺬﺕ ﺭﺍ ﺑﻪ ﺩﺭﻳﺎ‬ ‫ﻗﻠﻢ ﺑﺮﺩﺍﺭ ﻭ ﺑﺮﺍﻳﻢ ﻫﺮ ﻗﺪﺭ‬
‫ﻣﻰﺍﻧﺪﺍﺯﻯ‪ .‬ﻫﻴﭻ ﻧﮕﺮﺍﻥ ﻧﺒﺎﺵ ﻛﻪ ﻣﺮﺍ ﻧﺎﺭﺍﺣﺖ ﺧﻮﺍﻫﺪ ﻛﺮﺩ ﻭ ﻳﺎ ﺁﻧﻜﻪ ﺑﻪ ﺁﺩﻡ ﻧﺎﻣﺤﺮﻡ ﻧﺸﺎﻥ ﺧﻮﺍﻫﻢ‬
‫ﺩﺍﺩ‪ .‬ﺑﻪ ﺟﺎﻥ ﺧﻮﺩﻡ ﻛﻪ ﺍﺯ ﺟﺎﻥ ﻫﺮ ﻛﺲ ﺑﻴﺸﺘﺮ ﺩﻭﺳﺖ ﺩﺍﺭﻡ ﻗﺴﻢ ﺍﮔﺮ ﻫﻴﭻ ﻧﻨﻮﻳﺴﻰ ﻫﻢ ﺍﻓﺴﺮﺩﻩ‬
‫ﺧﻮﺍﻫﻢ ﺑﻮﺩ ﻭﻟﻰ ﺩﻟﮕﻴﺮ ﻧﻤﻴﺸﻮﻡ ﺭﺍﺣﺖ ﺭﺍﺣﺖ ﺑﺎﺵ‪.‬‬
‫ﺍﺧﻴﺮﺍ ً ﺑﺮﺍﻳﻢ ﺍﺯ ﭘﺎﺭﻳﺲ ﻳﻚ ﻧﺸﺮﻳﻪﺍﻯ )ﺑﺼﻮﺭﺕ ﻛﺘﺎﺑﻰ ﺑﺎ ﺻﻔﺤﺎﺕ ﺑﺰﺭگ ﺩﺭ ‪ 217‬ﺻﻔﺤﻪ ﺑﻪ‬ ‫‪328‬‬
‫ﺯﺑﺎﻥ ﻭ ﺧﻂ ﻓﺮﺍﻧﺴﻮﻯ ﺭﺳﻴﺪﻩﺍﺳﺖ ﻛﻪ ﺩﺭ ﻫﻤﺎﻥ ﭘﺎﺭﻳﺲ ﺑﻪ ﭼﺎپ ﺭﺳﻴﺪﻩﺍﺳﺖ ﻭ ﻋﻨﻮﺍﻥ ﺧﺎﺭﺟﻰ‬
‫ﺩﺍﺭﺩ ﺑﺪﻳﻦ ﻗﺮﺍﺭ‪:‬‬
‫ﺍﻧﺠﻤﻦ ﺍﻳﺮﺍﻧﺸﻨﺎﺳﻰ ﻓﺮﺍﻧﺴﻪ ﺩﺭ ﺗﻬﺮﺍﻥ‬
‫ﻣﺠ ّﻠﻪ‬
‫ﭼﻜﻴﺪﻩﻫﺎﻯ ﺍﻳﺮﺍﻧﺸﺎﻧﺴﻰ‬
‫ﺳﺎﻝ ‪ 1362‬ﺟﻠﺪ ‪6‬‬
‫ﺗﻬﺮﺍﻥ ﭘﺎﺭﻳﺲ‬
‫ﻭ ﻣﺘﻀﻤﻦ ﻋﻨﺎﻭﻳﻦ ﺍﻧﺘﺸﺎﺭﺍﺕ )ﻛﺘﺎﺏ‪+‬ﺭﺳﺎﻟﻪ‪+‬ﻣﻘﺎﻟﻪ( ﺩﺭﺑﺎﺭﻩ ﺍﻳﺮﺍﻥ ﺑﻪ ﺯﺑﺎﻧﻬﺎﻯ ﮔﻮﻧﺎﮔﻮﻥ ﻭ‬
‫ﺩﺭ ﻗﺴﻤﺖ »ﺍﺩﺑﻴﺎﺕ ﻓﺎﺭﺳﻰ« ﺩﺭ ﻓﺼﻞ »ﺍﺩﺑﻴﺎﺕ ﺧﺎﺭﺟﻰ ﺟﺪﻳﺪ« ﺻﻔﺤﻪ ‪135‬ﺩﺭ ﺗﺤﺖ ﺷﻤﺎﺭﺓ‬
‫‪ 470‬ﺍﺯ ﻣﻘﺎﻟﺔ ﮔﻠﺸﻴﺮﻯ ﺩﺭﺑﺎﺭﺓ ﺭﻣﺎﻥ »ﻛﻠﻴﺪﺭ« ﺑﺎ ﻋﻨﻮﺍﻥ »ﺣﺎﺷﻴﻪﺍﻯ ﺑﺮ ﺭﻣﺎﻧﻬﺎﻯ ﻣﻌﺎﺻﺮ‪ ،‬ﺣﺎﺷﻴﻪﺍﻯ‬
‫ﺑﺮ »ﻛﻠﻴﺪﺭ«؛ »ﻧﻘﺪﺁﮔﺎﻩ« ﺗﻬﺮﺍﻥ‪ ،‬ﺻﻔﺤﻪ ‪ 1361‬ﺩﺭ ﺳﺎﻝ ‪ 1982‬ﺻﻔﺤﺎﺕ ‪38‬ـ‪ 62‬ﺑﺎ ﺧﻼﺻﻪ ﻣﻘﺎﻟﻪ‬
‫ﻣﻔﺼﻞ ﺑﻪ ﭼﺎپ ﺭﺳﻴﺪﻩﺍﺳﺖ‪ .‬ﺩﺭ ﺗﻬﺮﺍﻥ ﻣﻴﺘﻮﺍﻧﻴﺪ ﺑﻪ‬ ‫)ﺑﻪ ﺯﺑﺎﻥ ﻓﺮﺍﻧﺴﻮﻯ( ﺩﺭ ‪ 17‬ﺳﻄﺮ ﻃﻮﻳﻞ ﻭ ّ‬
‫ﺁﺳﺎﻧﻰ ﺩﺭ ﺍﻧﺴﺘﻴﺘﻮﻯ ﻓﺮﺍﻧﺴﻪ )ﻳﺎ ﺍﻧﺠﻤﻦ ﻓﺮﺍﻧﺴﻪ ﺍﻳﺮﺍﻧﺸﻨﺎﺳﻰ( »ﺍﻳﺮﺍﻥ« ﺩﺭ ﺗﻬﺮﺍﻥ‪ ،‬ﺻﻨﺪﻭﻕ ﭘﺴﺘﻰ‬
‫‪ 51‬ﺗﻬﺮﺍﻥ‪ (1968/‬ﺑﻪ ﺁﺳﺎﻧﻰ ﺑﺪﺳﺖ ﺑﻴﺎﻭﺭﻳﺪ ﻭ ّﺍﻻ ﺩﻭ ﻛﻠﻤﻪ ﺑﻨﻮﻳﺴﻴﺪ ﺗﺎ ﺗﺮﺟﻤﺔ ﺁﻥ ﺭﺍ ﻋﺮﺽ ﻛﻨﻢ‬
‫ﻭ ﺑﺮﺍﻳﺘﺎﻥ ﺑﻔﺮﺳﺘﻢ‪ .‬ﺍﺯ ﻛﺘﺎﺏ ﺗﻌﺮﻳﻒ ﻛﺮﺩﻩ ﺍﺳﺖ‪.‬‬
‫ﻋﻨﻮﺍﻥ ﻧﺸﺮﻳﻪ ﺑﻪ ﺯﺑﺎﻥ ﻓﺮﺍﻧﺴﻪ ﭼﻨﻴﻦ ﺍﺳﺖ‪:‬‬
‫‪Studia Iranica‬‬
 ‫‪Supplément 6-1985‬‬
‫‪Alistracla Iranica‬‬
‫ﻣﻦ ﺩﺭ ﺗﻬﺮﺍﻥ ﭼﻨﺪﻳﻦ ﺳﺎﻝ ﺍﺳﺖ ﺩﻭﺳﺖ ﺑﺴﻴﺎﺭ ﺧﻮﺑﻰ ﭘﻴﺪﺍ ﻛﺮﺩﻩﺍﻡ ﻛﻪ ﻧﺎﻣﻪﻫﺎﻳﺶ ﺑﺮﺍﻳﻢ‬
‫ﻣﺴﺮﺕﺑﺨﺶ ﻭ ﻟﺬﺕﺁﻣﻴﺰ ﺍﺳﺖ‪ .‬ﺧﻴﻠﻰ ﺩﻟﻢ ﻣﻰﺧﻮﺍﻫﺪ ﺷﻤﺎ ﻫﻢ ﺑﺎ ﺍﻳﻦ ﻣﺮﺩ ﺧﻮﺏ ﻭ ﭘﺎﻙ ﻭ ﺑﺎﻓﻬﻢ‬
‫ﺑﺨﺶ ﺧﻮﺍﻫﺪ ﺑﻮﺩ‪.‬‬‫ﻭ ﻋﺎﻃﻔﻪ ﺁﺷﻨﺎ ﻭ ﺩﻭﺳﺖ ﺑﺸﻮﻳﺪ ﻳﻘﻴﻦﺩﺍﺭﻡ ﻣﺼﺎﺣﺒﺘﺶ ﺑﺮﺍﻯ ﺷﻤﺎ ﺑﺴﻴﺎﺭ ﻣﺴﺮﺕ ُ‬
‫ﻧﺎﻡ ﺍﻭ ﺭﺍ ﻻﺑﺪ ﺷﻨﻴﺪﻩﺍﻳﺪ‪ .‬ﺩﺍﺳﺘﺎﻧﺴﺮﺍﻯ ﺑﺴﻴﺎﺭ ﻋﺎﻟﻰ ﺍﺳﺖ ﻭ ﺩﺍﺳﺘﺎﻧﻬﺎﻯ ﺑﺴﻴﺎﺭﻯ ﺍﺯﻭ ﺩﺭ ﻣﺠﻠﻪﻫﺎ ﻭ‬
‫ﻳﺎ ﺑﺼﻮﺭﺕ ﻛﺘﺎﺏ ﺑﻪ ﭼﺎپ ﺭﺳﻴﺪﻩﺍﺳﺖ‪ .‬ﻧﺎﻣﺶ ﺑﺎﺑﺎ ﻣﻘﺪﻡ ﺍﺳﺖ ﻣﺮﺩ ﺩﺍﻧﺸﻤﻨﺪ ﻭ ﻃﺒﻴﻌﺖ ﺩﻭﺳﺖ‬
‫ﺑﺰﺭﮔﻰ ﺍﺳﺖ ﻭ ﺁﺩﺭﺳﺶ ﺍﺯ ﻗﺮﺍﺭ ﺯﻳﺮ ﺍﺳﺖ‪ .‬ﺗﻬﺮﺍﻥ ﺧﻴﺎﺑﺎﻥ ﻣﻴﺮﻋﻤﺎﺩـ ﺧﻴﺎﺑﺎﻥ ﻫﻔﺘﻢ ﺷﻤﺎﺭﻩ ‪ 5‬ﻣﻨﻄﻘﻪ‬
‫ﭘﺴﺘﻰ ‪.15877‬‬
‫ﻻﺑﺪ ﺗﻠﻔﻦ ﻫﻢ ﺩﺍﺭﺩ‪ .‬ﺍﺳﺘﺪﻋﺎ ﺩﺍﺭﻡ ﺑﺎ ﺗﻠﻔﻦ ﺳﻼﻡ ﺑﺎﻻﺑﻠﻨﺪ ﻣﺮﺍ ﺑﻪ ﺍﻭ ﺑﺮﺳﺎﻧﻴﺪ ﻭ ﻗﺮﺍﺭ ﻣﻼﻗﺎﺕ ﺑﺎ‬
‫ﺍﻭ ﺑﺪﻫﻴﺪ ﻭ ﻣﺮﺍ ﻫﻢ ﻳﺎﺩ ﺑﻜﻨﻴﺪ ﻭ ﺑﺎ ﻫﻢ ﻧﺎﻫﺎﺭ ﻛﺎﻣﻠﻰ ﺩﺭ ﻣﻨﺰﻝ ﺍﻭ ﺻﺮﻑﻓﺮﻣﺎﺋﻴﺪ‪ .‬ﻓﺮﺍﻣﻮﺵ ﻧﻔﺮﻣﺎﺋﻴﺪ‬
‫ﻛﻪ ﺣﻴﻒ ﺍﺳﺖ‪.‬‬
‫ﺁﺩﺭﺱ ﺍﺳﺘﺎﺩ ﺩﻛﺘﺮ ﺍﺣﺴﺎﻥ ﻳﺎﺭﺷﺎﻃﺮ ﻛﻪ ﺩﺭ ﺟﻮﺍﺏ ﻧﺎﻣﻪﺍﻯ ﻛﻪ ﺑﻪ ﺍﻭ ﻧﻮﺷﺘﻪ ﺑﻮﺩﻡ ﻭ ﺍﺯ ﺷﻤﺎ‬
‫ﺑﺎ ﺍﻭ ﺻﺤﺒﺖ ﺩﺍﺷﺘﻪ ﺑﺎﺷﻢ ﺑﻪ ﻣﻦ ﻧﻮﺷﺖ ﻛﻪ ﻛﺘﺎﺏ ﺷﻤﺎ ﺭﺍ ﺑﺪﺳﺖ ﺁﻭﺭﺩﻩ ﻭ ﺧﻮﺍﻧﺪﻩ ﺍﺳﺖ ﻭ‬
‫ﺷﻤﺎ ﺭﺍ ﻇﻬﻮﺭ ﺗﺎﺯﻩ ﮔﺮﺍﻧﺒﻬﺎﺋﻰ ﺧﻮﺍﻧﺪﻩ ﺑﻮﺩ )ﻳﺎ ﻋﺒﺎﺭﺗﻰ ﻗﺮﻳﺐ ﺑﻪ ﺍﻳﻦ ﻣﻀﻤﻮﻥ( ﺁﺩﺭﺱ ﺍﻳﺸﺎﻥ ﺩﺭ‬
‫ﻧﻴﻮﻳﻮﺭﻙ )ﺍﻳﺸﺎﻥ ﺩﺍﻧﺸﮕﺎﻩ ﻛﻠﻤﺒﻴﺎ ﺳﻤﺖ ﺍﺳﺘﺎﺩﻯ ﺩﺍﺭﻧﺪ ﻭ ﺩﺍﻳﺮﻩﺍﻟﻤﻌﺎﺭﻑ ﺑﺰﺭگ ﺍﻳﺮﺍﻧﻴﻜﺎ ﺭﺍ ﺑﻪ ﺯﺑﺎﻥ‬
‫‪329‬‬ ‫ﺍﻧﮕﻠﻴﺴﻰ ﺩﺍﺭﻧﺪ ﺍﻧﺘﺸﺎﺭ ﻣﻴﺪﻫﻨﺪ ﻭ ﻛﺘﺎﺑﻬﺎﺋﻰ ﺩﺭ ﺣﺪﻭﺩ ﭘﻨﺠﺎﻩ ﺷﺼﺖ ﺟﻠﺪ ﺗﺎ ﺑﺤﺎﻝ ﺍﺯ ﺯﺑﺎﻥ ﻓﺎﺭﺳﻰ‬
‫ﻭ ﺯﺑﺎﻧﻬﺎﻯ ﺩﻳﮕﺮ ﺩﺭ ﺑﺎﺏ ﺍﻳﺮﺍﻥ ﻭ ﺍﺩﺏ ﻭ ﺣﻜﻤﺖ ﻭ ﻋﻠﻮﻡ ﻭ ﺗﺎﺭﻳﺦ ﻭ ﻏﻴﺮﻩ ﺩﺭ ﺍﻣﺮﻳﻜﺎ ﺗﺮﺟﻤﻪ ﻭ‬
‫ﻼ ﺑﻰﻧﻈﻴﺮ ﻫﺴﺘﻨﺪ‪:‬‬‫ﭼﺎپ ﺭﺳﺎﻧﻴﺪﻩﺍﻧﺪ ﻭ ﺩﺭ ﻧﻮﻉ ﺧﻮﺩ ﻛﺎﻣ ً‬
‫‪Professor Dr .Ehsan Yarshater‬‬
‫‪Encyclopaedia Iranica‬‬
‫‪450 River side‬‬
‫‪Drive4 #‬‬
‫‪New-York N.Y10027.‬‬
‫‪U.S.A‬‬

‫ﮔﻤﺎﻥ ﻣﻰﻛﻨﻢ ﺍﮔﺮ ﺑﻪ ﺁﺩﺭﺱ ﺩﺍﻧﺸﮕﺎﻩ ﻛﻠﻤﺒﻴﺎ‬

‫‪Columbia University‬‬
‫‪New-York U.S.A‬‬
‫ﻫﻢ ﺑﻨﻮﻳﺴﻴﺪ ﺑﺪﺳﺘﺶ ﻣﻴﺮﺳﺪ‪.‬‬
‫ﺯﻳﺎﺩ ﭘﺮﮔﻮﺋﻰ ﻛﺮﺩﻡ‪ .‬ﺳﺮ ﻋﺰﻳﺰﺗﺎﻥ ﺭﺍ ﺑﺪﺭﺩ ﺁﻭﺭﺩﻡ‪ .‬ﻋﻴﺒﻰ ﻧﺪﺍﺭﺩ‪ .‬ﮔﻔﺖﻭﺷﻨﻴﺪ ﺍﺯ ﺩﻭﺭ ﻫﻢ‬
‫ﺧﻮﺩﺵ ﺧﺎﻟﻰ ﺍﺯ ﺣﺎﻝ ﻭ ﻛﻴﻔﻰ ﻧﻴﺴﺖ‪.‬‬
‫ﻗﺮﺑﺎﻧﺖ ﺳﻴﺪ ﻣﺤﻤﺪﻋﻠﻰ ﺟﻤﺎﻟﺰﺍﺩﻩ‬
‫ﺳﻼﻡ ﻭﭘﻴﺎﻡ ﻣﺤﺒﺖ ﻣﺮﺍ ﺑﻪ ﺩﻭﺳﺘﻤﺎﻥ ﺁﻗﺎﻯ ﺩﻛﺘﺮ ﺗﻘﻰ ﺭﺿﻮﻯ ﺑﺮﺳﺎﻧﻴﺪ‪.‬‬
‫ﺩﻭﺳﺖ ﻧﺎﺯﻧﻴﻨﻢ ﺁﻗﺎﻯ ﻣﺤﻤﻮﺩ ﺩﻭﻟﺖﺁﺑﺎﺩﻯ ﻛﻪ ﻧﻪ ﺩﻭﻟﺖ ﺩﺍﺭﻯ ﻧﻪ ﺁﺑﺎﺩﻯ ﮔﺎﻩ ﻣﻰﻛﻨﻢ ﮔﺮﻓﺘﺎﺭ‬
‫ﺿﻌﻒ ﺍﻋﺼﺎﺏ ﺷﺪﻩﺍﻯ ﻛﻪ ﺑﻪ ﺯﺑﺎﻥ ﻓﺮﺍﻧﺴﻪ ﺩپ ﺭﺳﻴﻮﻥ‪ depression‬ﻣﻰﺑﺎﺷﺪ ﺑﺪ ﺑﻼﺋﻰ ﺍﺳﺖ‬
‫ﺍﺳﺘﺪﻋﺎﻯ ﻣﺨﺼﻮﺹ ﺩﺍﺭﻡ ﻛﻪ ﻫﺮﭼﻪ ﺯﻭﺩﺗﺮ ﭘﺎﻛﺖ ﺟﻮﻑ ﺭﺍ ﭘﺲ ﺍﺯ ﮔﺮﻓﺘﻦ ﻭﻋﺪﺓ ﻣﻼﻗﺎﺕ‬
‫)ﺑﺘﻮﺳﻂ ﺗﻠﻔﻦ( ﺑﻪ ﺩﻭﺳﺖ ﺑﺴﻴﺎﺭ ﺑﺴﻴﺎﺭ ﺑﺎ ﺁﺩﻣﻴﺖ ﻛﻪ ﻃﺒﻴﺐ ﺳﺎﻟﺨﻮﺭﺩﻩ ﺑﺎﺍﻳﻤﺎﻥ ﻭ ﻣﺤﺒﻮﺑﻰ ﺍﺳﺖ‬
‫ﺑﺒﺮﻳﺪ ﻭ ﺑﺎ ﺍﻳﺸﺎﻥ ﺁﺷﻨﺎ ﺑﺸﻮﻳﺪ ﻭ ﻫﺮ ﭼﻪ ﺩﺳﺘﻮﺭ ﺩﺍﺩ ﺟﺪﺍ ﻋﻤﻞ ﻓﺮﻣﺎﺋﻴﺪ‪.‬‬
‫ﺧﺪﺍ ﻳﺎﺭﻭ ﻳﺎﻭﺭﺕ ﺑﺎﺷﺪ‪.‬‬
‫ﻗﺮﺑﺎﻧﺖ ﺟﻤﺎﻟﺰﺍﺩﻩ‬
‫ﺩﻭﺳﺘﻤﺎﻥ ﺁﻗﺎﻯ ﺩﻛﺘﺮ ﺗﻘﻰ ﺭﺿﻮﻯ ﻫﻢ ﭘﺰﺷﻚ ﺑﺎﺳﺎﺑﻘﻪ ﻭ ﺑﺎﺗﺠﺮﺑﻪ ﻭ ﺑﺎﺍﻧﺴﺎﻧﻴﺘﻰ ﻫﺴﺘﻨﺪ ﻭ ﺍﻳﺸﺎﻥ‬
‫ﻫﻢ ﺍﻟﺒﺘﻪ ﺑﺮﺍﻯ ﻣﻌﺎﻟﺠﻪ ﺻﻼﺣﻴﺖ ﺗﺎﻡﻭﺗﻤﺎﻡ ﺩﺍﺭﺩ‪ .‬ﻛﻤﻚ ﻭ ﺭﺍﻫﻨﻤﺎﻳﻰ ﺧﻮﺍﻫﻨﺪ ﻓﺮﻣﻮﺩ‪.‬‬
‫ﺑﻌﺪﺍﻟﺘﺤﺮﻳﺮ‪:‬‬
‫ﻓﻜﺮ ﻣﻴﻜﺮﺩﻡ ﺷﺎﻳﺪ ﻣﻘﺘﻀﻰ ﺑﺎﺷﺪ ﻛﻪ ﺧﻮﺩﺗﺎﻥ ﻣﺤﻤﻮﺩ ﺩﻭﻟﺖﺁﺑﺎﺩﻯ ﺗﻤﺎﻡ ﻣﺠﻠﺪﺍﺕ »ﻛﻠﻴﺪﺭ«‬
‫ﺭﺍ ﻣﺨﺘﺼﺮ ﻛﺮﺩﻩ ﻳﻌﻨﻰ ﻗﺴﻤﺘﻬﺎﻳﻰ ﺭﺍ ﻛﻪ ﻓﻌﻞﻭﻋﻤﻞ ﺭﺍ ﻧﺸﺎﻥ ﻣﻴﺪﻫﺪ ﺑﻴﺸﺘﺮ ﻭ ﻗﺴﻤﺘﻬﺎﻳﻰ ﻗﻮﻝ ﻭ‬
‫ﻼ ﺩﺭ ‪ 350‬ﺻﻔﺤﻪ( ﺑﺮﺍﻯ ﺑﺴﻴﺎﺭﻯ ﺍﺯ‬ ‫ﺧﺒﺮ ﺭﺍ ﻛﻤﺘﺮ ﺍﺧﺘﻴﺎﺭ ﻣﻴﻔﺮﻣﻮﺩﻧﺪ ﻭ ﻫﻤﻪ ﺭﺍ ﺩﺭ ﻳﻚ ﺟﻠﺪ )ﻣﺜ ً‬
‫ﻫﻤﻮﻃﻨﺎﻥ ﻛﻪ ﻓﺎﻗﺪ ﺻﺒﺮ ﻭ ﺣﻮﺻﻠﻪ ﻭ ﻋﻼﻗﺔ ﻛﺎﻓﻰ ﻫﺴﺘﻨﺪ ﺩﺭ ﺑﻴﺴﺖ ﺳﻰ ﻫﺰﺍﺭ ﻧﺴﺨﻪ ﺑﻪ ﭼﺎپ‬
‫ﻣﻴﺮﺳﺎﻧﻴﺪﻧﺪ ﻭ ﺍﺯ ﻣﺮﺩﻡ ﻛﻠﻴﺪﺭ ﻫﻢ ﺗﺼﺎﻭﻳﺮﻯ ﺗﻬﻴﻪ ﻓﺮﻣﻮﺩﻩ ﺩﺭ ﻛﺘﺎﺏ ﻣﻰﺁﻭﺭﺩﻳﺪ ﮔﻤﺎﻥ ﻣﻰﻛﻨﻢ ﺗﻤﺎﻡ‬
‫ﻣﺠﻠﺪﺍﺕ ﺑﻪ ﺁﺳﺎﻧﻰ ﺑﻔﺮﻭﺵ ﻣﻴﺮﻓﺖ ﻭ ﻣﺮﺩﻡ ﻧﻮﻳﺴﻨﺪﻩ ﻣﺎ ﺭﺍ ﺑﻬﺘﺮ ﻣﻴﺸﻨﺎﺧﺘﻨﺪ ﻭ ﻗﺪﺭﺩﺍﻧﻰ ﻣﻴﻜﺮﺩﻧﺪ‬
‫ﺍ ّﻣﺎ ﺍﺯ ﻃﺮﻑ ﺩﻳﮕﺮ ﻣﻴﺘﺮﺳﻢ ﺩﺭ ﺍﺷﺘﺒﺎﻩ ﺑﺎﺷﻢ‪ .‬ﻫﺮ ﭼﻪ ﺁﻥ ﺧﺴﺮﻭ ﻛﻨﺪ ﺷﻴﺮﻳﻦ ﺑﻮﺩ‪.‬‬ ‫‪330‬‬

‫ﺗﻮﺟﻪ ﺗﻮﺟﻪ‬
‫ﺁﺩﺭﺱ ﺟﺪﻳﺪ ﺳﺎﻳﺖ ﺑﺨﺎﺭﺍ‬

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 ‫ﺍﻧﺪﺭﻩ ﺭﻭﺳﺖ‬ ‫ﻣﺤﻤﻮﺩ ﺩﻭﻟﺖﺁﺑﺎﺩﻯ ﺩﺭ ﻧﺮﻭژ‬
‫ﻣﺪﻳﺮ ﻫﻨﺮﻯ ﻓﺴﺘﻴﻮﺍﻝ‬
‫ﻣﺰﺩﻙ ﺷﻔﻴﻌﻴﺎﻥ‬
‫ﻫﻤﻜﺎﺭ ﺍﺩﺑﻰ ﻓﺴﺘﻴﻮﺍﻝ‬

‫‪ ....‬ﺟﺰ ﺍﻳﻦ ﺑﺎﻗﻰ ﻫﻤﻪ ﻫﻴﺎﻫﻮﺳﺖ‪ ،‬ﻫﻤﻪ ﻓﺮﻳﺎﺩ ﺍﺳﺖ‬

‫ﺗﻘﻼﻳﻰ ﺩﺭ ﺑﻠﻌﻨﺪﮔﻰ ﺩﻫﺎﻥ ﻳﻜﻰ ﺗﺎﺭﻳﻜﻰ‪.‬‬
‫ﮔﻮﺭگ ﻳﻮﻫﺎﻧﺴﻦ‬

‫‪331‬‬
‫ﺑﺨﺎﺭﺍ‬
‫ﺑﻬﺎﺭ ﺍﻣﺴﺎﻝ ﻣﻴﺰﺑﺎﻥ ﻣﺤﻤﻮﺩ ﺩﻭﻟﺖﺁﺑﺎﺩﻯ ﺑﻮﺩﻳﻢ‪ ،‬ﺩﺭ ﻓﺴﺘﻴﻮﺍﻝ ﺑﻴﻦﺍﻟﻤﻠﻠﻰ ﻧﺮﻭژ‪ ،‬ﺑﺰﺭﮔﺘﺮﻳﻦ‬
‫ﺳﺎﻝ ﺳﻴﺰﺩﻫﻢ‬ ‫ﻫﻤﺎﻳﺶ ﺍﺩﺑﻰ ﻛﺸﻮﺭﻫﺎﻯ ﻧﻮﺭﺩﻳﻚ ‪ -‬ﮔﺮﺩﻫﻤﺎﻳﻰ ﭼﻨﺪ ﺭﻭﺯﻩﺍﻱ ﻛﻪ ﺍﮔﺮﭼﻪ ﻛﻮﺗﺎﻩ‪ ،‬ﺍﻣﺎ ﭘﺮﺑﺎﺭ ﺑﻮﺩ ﻭ‬
‫ﺷﻤﺎﺭﻩ ‪76‬‬
‫ﻣﺮﺩﺍﺩ ‪ -‬ﺷﻬﺮﻳﻮﺭ‬ ‫ﺯﻧﺪﻩ ‪ ،‬ﻫﻢ ﺑﻪ ﻣﻔﻬﻮﻡ ﺍﻧﺴﺎﻧﻰ ﻭﺍژﻩ ﻭ ﻫﻢ ﺑﻪ ﻣﻌﻨﺎﻯ ﺍﺩﺑﻰﺍﺵ‪ ،‬ﻛﻪ ﻫﺮ ﺩﻭ ﺗﺎﺭﻫﺎﻯ ﻳﻚ ﻛﻼﻑ ﺩﺭﻫﻢ‬
‫‪1389‬‬
‫ﭘﻴﭽﻴﺪﻩﺍﻧﺪ‪.‬‬
‫ﻓﺴﺘﻴﻮﺍﻝ ﺍﺩﺑﻰ ﻟﻴﻠﻪﻫﺎﻣﺮ‪ -‬ﺭﻭﺯﻫﺎﻯ ﺳﻴﮕﺮﻯ ﺍﻭﻧﺴﺖ ‪ -‬ﻫﻤﺎﻳﺶ ﺳﺎﻻﻧﻪﺍﻯ ﺍﺳﺖ ﻛﻪ ﻫﺮ ﺳﺎﻟﻪ‬
‫ﺩﺭ ﺷﻬﺮ ﻟﻴﻠﻪﻫﺎﻣﺮ‪ ،‬ﺩﺭﻗﺴﻤﺖ ﺷﻤﺎﻟﻰ ﺩﺭﻳﺎﭼﻪ »ﻣﻴﻮﺳﺎ«‪ ،‬ﺑﺰﺭگﺗﺮﻳﻦ ﺩﺭﻳﺎﭼﻪ ﻧﺮﻭژ ﺑﺮﮔﺰﺍﺭ ﻣﻲﺷﻮﺩ‪،‬‬
‫ﺩﺭ ﻃﺒﻴﻌﺘﻰ ﺑﻜﺮﻭ ﻫﻮﺍﻳﻰ ﺩﻟﭙﺬﻳﺮ‪ ،‬ﻭ ﺑﺎ ﺟﻤﻌﻴﺘﻰ ﻧﺰﺩﻳﻚ ﺑﻪ ﺑﻴﺴﺖ ﻭ ﺷﺶ ﻫﺰﺍﺭ ﻧﻔﺮ ﻛﻪ ﺑﺎ ﻭﺟﻮﺩ‬
‫ﻣﺤﺪﻭﺩﻳﺖ ﺟﻐﺮﺍﻓﻴﺎﻳﻰﺍﺵ‪ ،‬ﺳﺎﻻﻧﻪ ﺻﺪﻫﺎ ﻧﻔﺮ ﺍﺯ ﻧﻮﻳﺴﻨﺪﮔﺎﻥ ﺟﻬﺎﻥ ﺭﺍ ﻣﻴﺰﺑﺎﻥ ﺍﺳﺖ‪ ،‬ﻛﻪ ﺩﺭ ﺍﻳﻦ‬
‫ﻣﻴﺎﻥ ﺗﻨﻬﺎ ﻳﻚ ﻧﻮﻳﺴﻨﺪﻩ ﺑﻪﻋﻨﻮﺍﻥ ﻣﻬﻤﺎﻥ ﻭﻳﮋﻩ ﺩﻋﻮﺕ ﺷﺪﻩ ﻭ ﺳﺨﻨﺮﺍﻥ ﺍﺻﻠﻰ ﻓﺴﺘﻴﻮﺍﻝ ﺧﻮﺍﻫﺪ ﺑﻮﺩ‪.‬‬
‫ﺩﻋﻮﺗﻰ ﻛﻪ ﺍﻣﺴﺎﻝ ﻣﺤﻤﻮﺩ ﺩﻭﻟﺖﺁﺑﺎﺩﻯ ‪ -‬ﻫﻤﭽﻮﻥ ﻫﺮﺗﺎ ﻣﻮﻟﺮ)‪ (1‬ﺁﻟﻤﺎﻧﻰ )ﺑﺮﻧﺪﻩ ﺟﺎﻳﺰﻩ ﻧﻮﺑﻞ( ﺩﺭ‬
‫ﺳﺎﻝ ‪ ،2007‬ﻳﺎ ﮔﺎﺗﺎﻥ ﺳﻮﺳﻰ)‪ (2‬ﻛﺎﻧﺎﺩﺍﻳﻰ ﺩﺭ ﺳﺎﻝ ‪ - 2008‬ﺑﺮ ﻣﺎ ﻣﻨﺖ ﻧﻬﺎﺩ ﻭ ﺁﻥ ﺭﺍ ﭘﺬﻳﺮﻓﺖ‪.‬‬
‫ﻧﺎﮔﻔﺘﻪ ﭘﻴﺪﺍﺳﺖ ﻛﻪ ﭼﻨﻴﻦ ﭘﺮﻭژﻩﺍﻯ ﻧﻪ ﻣﺤﺪﻭﺩ ﺑﻪ ﭼﻨﺪ ﺭﻭﺯ ﺑﺮﮔﺰﺍﺭﻯ ﻓﺴﺘﻴﻮﺍﻝ‪ ،‬ﻛﻪ ﺑﻪ ﻣﻨﻈﻮﺭ‬
‫ﺑﺎﺯﭘﺮﺩﺍﺧﺘﻦ ﺑﻪ ﻳﻚ ﺗﻔﻜﺮ ﺍﺳﺖ‪ ،‬ﻭ ﻣﻬﻤﺎﻥ ﺩﻋﻮﺕ ﺷﺪﻩ ﻧﻪ ﺗﻨﻬﺎ ﺳﺨﻨﺮﺍﻥ ﺍﺻﻠﻰ‪ ،‬ﻛﻪ ﺛﻘﻞ ﻭ ﺗﻤﺮﻛﺰ‬
‫ﺍﺩﺑﻰ ﺍﻳﻦ ﻫﻤﺎﻳﺶ ﺧﻮﺍﻫﺪ ﺑﻮﺩ ﺗﻤﺮﻛﺰﻯ ﻛﻪ ﻫﻢ ﺍﺯ ﺳﻮﻯ ﻣﺎ ﺑﺮﮔﺰﺍﺭﻛﻨﻨﺪﮔﺎﻥ ﻭ ﻫﻢ ﺍﺯ ﺳﻮﻯ ﺭﺳﺎﻧﻪﻫﺎ‬
‫ﺑﺎﻳﺪ ﭘﻮﺷﺶ ﺩﺍﺩﻩ ﻣﻲﺷﺪ ﻭ ﻫﻤﻴﻦ ﺑﻮﺩ ﭘﻴﭽﻴﺪﮔﻰ ﻛﺎﺭ ﺍﻣﺴﺎﻝ‪ :‬ﺍﺯ ﺩﻭﻟﺖﺁﺑﺎﺩﻯ ﭼﻪ ﺑﺎﻳﺪ ﻧﻮﺷﺖ؟‬

‫‪1) Herta Muller.‬‬

‫‪2) Gaétan Soucy.‬‬
 ‫‪
t‬ﻣﺰﺩﻙ ﺷﻔﻴﻌﻴﺎﻥ ﺩﺭ ﻣﻮﺭﺩ ﺍﺩﺑﻴﺎﺕ ﻭ ﺗﻔﻜﺮ ﺩﻭﻟﺖ ﺁﺑﺎﺩﻯ‬

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t‬ﺁﻗﺎﻯ ﺩﻭﻟﺖ ﺁﺑﺎﺩﻯ ﺩﺭ ﺣﻴﻦ ﺧﻮﺍﻧﺪﻥ ﺳﺨﻨﺮﺍﻧﻰ ﺍﺻﻠﻰ ﺳﺖ‬

 ‫‪
t‬ﺳﺨﻨﺮﺍﻧﻲ ﻣﺤﻤﻮﺩ ﺩﻭﻟﺖﺁﺑﺎﺩﻱ ﺩﺭ ﻓﺴﺘﻴﻮﺍﻝ ﺑﻴﻦﺍﻟﻤﻠﻠﻲ ﻧﺮﻭژ‬

‫‪333‬‬
‫ﺍﺯ ﻛﺪﺍﻡ ﻛﺘﺎﺏ؟ ﭼﮕﻮﻧﻪ ﻣﻲﺗﻮﺍﻥ ﻓﺮﺍﻳﻨﺪ ﺗﺎﺭﻳﺨﻰ ﺻﺪ ﺳﺎﻟﺔ ﺁﻥ ﺳﺮﺯﻣﻴﻦ ﺭﺍ ﺩﺭ ﭼﻨﺪ ﺑﺮگ ﺧﻼﺻﻪ‬
‫ﻛﺮﺩ؟ ﭘﻴﭽﻴﺪﻩ‪ ،‬ﺍﻣﺎ ﭘﺮﺑﺎﺭ ﺑﻮﺩ ‪ -‬ﻭ ﺣﺴﻰ ﻏﺮﻳﺐ‪ ،‬ﺁﻥ ﻫﻢ ﺑﺮﺍﻯ ﻛﺴﻲ ﻛﻪ ﺑﻪ ﺯﺑﺎﻥ ﻣﺎﺩﺭﻯ ﻳﺎﺯﺩﻩ ﺳﺎﻝ‬
‫ﺣﺘﻰ ﻧﺎﻣﻪﺍﻯ ﻧﻨﻮﺷﺘﻪ ﺑﻮﺩ ﻭ ﻧﺨﻮﺍﻧﺪﻩ ﺑﻮﺩ ﺟﺰ ﺍﺩﺑﻴﺎﺕ ﻭ ﺗﻔﻜﺮ ﻏﺮﺏ ‪ -‬ﮔﺮﭼﻪ ﺍﺯ ﻧﻮﺟﻮﺍﻧﻰ ﻣﺄﻧﻮﺱ‬
‫ﺑﻮﺩﻡ ﺑﺎ ﺯﺑﺎﻥ ﻭ ﺍﺩﺑﻴﺎﺕ ﺩﻭﻟﺖﺁﺑﺎﺩﻯ‪ .‬ﭘﺲ ﺟﺰ ﻣﻘﺎﻟﻪﺍﻯ ﺩﺭ ﺭﻭﺯﻧﺎﻣﺔ ﺁﻓﺘﻦ ﭘﻮﺳﺘﻦ)‪ ،(1‬ﮔﻔﺘﮕﻮﻳﻰ ﺷﺪ‬
‫ﺑﺎ ﺩﻭﻟﺖﺁﺑﺎﺩﻯ ‪ -‬ﺩﺭ ﻫﻔﺘﻪﻧﺎﻣﺔ ﻣﻮﺭﮔﻦ ﺑﻼﺩﻩ‪ ،‬ﭘﺮﺑﺎﺭﺗﺮﻳﻦ ﻫﻔﺘﻪﻧﺎﻣﺔ ﻓﺮﻫﻨﮕﻰ ﻧﺮﻭژ ‪ -‬ﻫﻢ ﺩﺭ ﻣﻮﺭﺩ‬
‫ﻛﺎﺭﻫﺎﻱ ﺧﻮﺩﺵ ﻭ ﻫﻢ ﺩﺭ ﺑﺎﺏ ﻛﻠﻲ ﺍﺩﺑﻴﺎﺕ ﻭ ﻧﻴﺰ ﺍﻫﻤﻴﺖ ﺯﺑﺎﻥ ﻓﺎﺭﺳﻲ ﺑﺮﺍﻯ ﻧﻮﻳﺴﻨﺪﻩﺍﻯ ﻛﻪ‬
‫ﺍﻭﺳﺖ‪» :‬ﺭﻣﺰ ﺍﺻﻠﻲ ﺭﺳﻴﺪﻥ ﻋﺎﺷﻖ ﺑﻮﺩﻥ ﺍﺳﺖ‪ .‬ﻋﺎﺷﻖ ﺯﺑﺎﻥ ﺑﻮﺩﻥ‪ .‬ﺯﺑﺎﻥ ﺩﺭ ﻣﻘﺎﻡ ﻫﻮﻳﺖ ﻣﻠﻰ ﻣﺎ‬
‫)‪(2‬‬
‫ﻛﻪ ﺑﺴﻴﺎﺭ ﺩﺷﻮﺍﺭ ﺑﺎﺯ ﺯﺍﺋﻴﺪﻩ ﺷﺪ ﺗﺎ ﻣﺎ ﺑﺘﻮﺍﻧﻴﻢ ﻫﻨﻮﺯ ﺍﻳﺮﺍﻧﻰ ﺑﺎﺷﻴﻢ«‪.‬‬
‫ﻣﺘﻦ »ﺳﺨﻨﺮﺍﻧﻲ ﺍﺻﻠﻲ« ﺗﺮﺟﻤﻪ ﻭ ﭼﻮﻥ ﻫﺮ ﺳﺎﻝ ﺑﻪ ﺷﻜﻞ ﻛﺘﺎﺏ ﻛﻮﭼﻜﻰ ﺍﻧﺘﺸﺎﺭ ﻳﺎﻓﺖ‪ ،‬ﺗﺎ ﻫﻢ‬
‫ﺑﻪ ﻣﻴﻬﻤﺎﻧﺎﻥ ﻫﻤﺎﻳﺶ ﺍﻫﺪﺍ ﻭ ﻫﻢ ﺭﻭﺯ ﺳﺨﻨﺮﺍﻧﻰ ﺑﻴﻦ ﺷﺮﻛﺖﻛﻨﻨﺪﮔﺎﻥ ﭘﺨﺶ ﺷﻮﺩ‪ .‬ﺭﻭﺯ ﺳﺨﻨﺮﺍﻧﻰ‬
‫ﺳﺎﻟﻦ ﭘﺮ ﺑﻮﺩ‪ .‬ﻫﻢ ﺍﺯ ﻧﻮﻳﺴﻨﺪﻩﻫﺎﻯ ﺣﺎﺿﺮ ﺩﺭ ﻓﺴﺘﻴﻮﺍﻝ ﻭ ﻫﻢ ﺍﺯ ﻣﺮﺩﻡ ﻋﺎﺩﻱ‪ .‬ﺁﻧﻴﻜﻦ ﻫﻮﻳﺘﻔﻠﺖ)‪،(3‬‬
‫ﻭﺯﻳﺮ ﻓﺮﻫﻨﮓ ﻧﺮﻭژ ﻫﻢ ﺑﺮﺍﻯ ﺩﻳﺪﻥ ﺩﻭﻟﺖﺁﺑﺎﺩﻯ ﻭ ﺷﻨﻴﺪﻥ ﺳﺨﻨﺮﺍﻧﻰﺍﺵ ﺁﻣﺪﻩ ﺑﻮﺩ‪ .‬ﺩﻭﻟﺖﺁﺑﺎﺩﻯ‬
‫ﻣﺘﻦ ﺭﺍ ﺑﻪ ﻓﺎﺭﺳﻰ ﺧﻮﺍﻧﺪ ﻭ ﺣﺎﺿﺮﻳﻦ ﺗﺮﺟﻤﺔ ﻧﺮﻭژﻯ ﺁﻥ ﺭﺍ ﺩﺭ ﺩﺳﺖ ﺩﺍﺷﺘﻨﺪ‪ .‬ﺻﺪﺍﻯ ﻧﻮﻳﺴﻨﺪﻩ‬

‫‪1) Mazdak Shafieian, «Landsbyens forfatter», Aftenposten, 25.05.2010, s. 4.‬‬

‫‪2) Mahmoud Dowlatabadi, i samtale med Mazdak Shafieian, «Fra en malstrøm i‬‬
‫‪gulfen», Morgenbladet, 21.05.2010, s. 40‬‬
‫‪3) Anniken Huitfeldt.‬‬
 ‫‪
t‬ﻣﺰﺩﻙ ﺷﻔﻴﻌﻴﺎﻥ ﻭ ﺁﻗﺎﻯ ﺩﻭﻟﺖ ﺁﺑﺎﺩﻯ ﺩﺭ ﻛﻨﺎﺭ ﻫﻢ ﺑﻌﺪ ﺍﺯ ﺳﺨﻨﺮﺍﻧﻰ ﺍﻳﺸﺎﻥ‬

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t‬ﻣﺰﺩﻙ ﺷﻔﻴﻌﻴﺎﻥ ﻭ ﺁﻗﺎﻯ ﺩﻭﻟﺖ ﺁﺑﺎﺩﻯ ﺩﺭ ﻛﻨﺎﺭ ﻫﻢ‪ .‬ﻣﺪﻳﺮ ﻫﻨﺮﻯ ﻓﺴﺘﻴﻮﺍﻝ ﺍﻧﺪﺭﻩ ﺭﻭﺳﺖ ﺩﺭ ﺣﻴﻦ ﺗﺸﻜﺮ ﺍﺯ‬
‫ﺁﻗﺎﻯ ﺩﻭﻟﺖ ﺁﺑﺎﺩﻯ ﺳﺖ‬
 ‫‪
t‬ﺍﻭﻟﻪ ﺭﻭﺑﺮﺕ ﺳﻮﻧﺪﻩ )‪ (Ole Robert Sunde‬ﻭ ﺁﻗﺎﻯ ﺩﻭﻟﺖﺁﺑﺎﺩﻯ ﺩﺭ ﻛﻨﺎﺭ ﻫﻢ ﻧﻮﻳﺴﻨﺪﻩ ﻭ ﺭﻣﺎﻥﻧﻮﻳﺲ‬
‫ﺻﺎﺣﺐ ﻧﺎﻡ ﻧﺮﻭژﻯ‬
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‫ﺩﺭﺩﻣﻨﺪ ﺑﻮﺩ ﻭ ﺧﺴﺘﻪ‪ ،‬ﺁﺯﺭﺩﻩ ﺑﻮﺩ ﺍﻣﺎ ﭘﺮﺍﻣﻴﺪ ﺟﻤﻠﻪﻫﺎﻳﻰ ﻓﺸﺮﺩﻩ ﺩﺭ ﻣﻮﺭﺩ ﺍﻧﺴﺎﻥ ﻣﻌﺎﺻﺮ ﺑﻮﺩﻥ ﺩﺭ‬
‫ﺁﻥ ﺳﺮﺯﻣﻴﻦ‪ ،‬ﻭ ﻧﻮﻳﺴﻨﺪﻩ ﺩﺭ ﺁﻥ ﺩﻳﺎﺭ ﺑﻮﺩﻧﺶ ‪ -‬ﻭ ﺑﻴﺎﻥ ﺍﻳﻦﻛﻪ‪» :‬ﺑﺎﺷﺪ ﻛﻪ ﺩﺭ ﺷﻨﺎﻋﺖ ﺗﺎﺭﻳﺦ ﻫﺮ ﺑﺎﺭ‬
‫ﺑﺎ ﺷﻜﺴﺖ ﻳﻚ ﺑﺎﺭ ﻣﻰﻣﻴﺮﻳﻢ ﻭ ﺑﺎﺯ ﺯﺍﺩﻩ ﺷﺪﻩﺍﻳﻢ‪ .‬ﺍﻣﺎ ﺁﻳﺎ ﻫﻤﻴﻦ ﻋﺬﺍﺏﻫﺎﺳﺖ ﻋﻠﻘﻪﻱ ﭘﻴﻮﻧﺪ ﻣﻦ ﺑﺎ‬
‫ﻣﺮﺩﻡ ﻭ ﺳﺮﺯﻣﻴﻨﻢ؟ ‪ ...‬ﻣﻰﮔﻮﻳﻢ ﺑﮕﺬﺍﺭﻳﺪ ﺭﻧﺞﻫﺎﻳﻢ ﺭﺍ ﺑﺎ ﻣﺮﺩﻡ ﻛﺸﻮﺭﻡ ﺗﻘﺴﻴﻢ ﻛﻨﻢ‪ ،‬ﻣﻦ ﺭﺍﻭﻯ ﻳﻚ‬
‫ﺟﺮﺍﺣﻰ ﺗﺎﺭﻳﺨﻰ ﻫﺴﺘﻢ‪ .«...‬ﺟﺮﺍﺣﻰ ﺗﺎﺭﻳﺨﻰ ﻛﻪ ﺩﻭﻟﺖﺁﺑﺎﺩﻯ ﺭﻭﺍﻳﺖ ﻛﺮﺩ ﻭ ﺷﻜﺎﻓﺖ‪ ،‬ﺑﺎ ﺯﺑﺎﻥ‬
‫ﭼﻮﻥ ﻫﻤﻴﺸﻪ ﻣﻮﺳﻴﻘﻴﺎﻳﻰﺍﺵ‪ ،‬ﺁﻧﭽﻨﺎﻥ ﻛﻪ ﻓﺮﺩﺭﻳﻚ ﻭﺍﻧﺪﺭﻭپ ﻣﻨﺘﻘﺪ ﺭﻭﺯﻧﺎﻣﺔ ﺩﺍگﺑﻼﺩﻩ ﭘﺲ ﺍﺯ‬
‫ﺳﺨﻨﺮﺍﻧﻰ ﺑﻪ ﻣﻦ ﮔﻔﺖ‪» :‬ﺑﻰﻗﺮﺍﺭﻡ‪ ،‬ﺑﺎﻳﺪ ﺑﺮﻭﻡ ﺑﻨﻮﻳﺴﻢ« ﻭ ﺭﻓﺖ ﻭ ﻧﻮﺷﺖ ﺗﺎ ﺭﻭﺯ ﺑﻌﺪ ﺩﺭ ﺻﻔﺤﺔ‬
‫ﺩﻭﻡ ﺭﻭﺯﻧﺎﻣﻪ ﺧﻮﺍﻧﺪﻳﻢ‪» :‬ﺍﻳﻦ ﭼﮕﻮﻧﻪ ﺻﺪﺍﻳﻰﺳﺖ؟ ﻓﺮﻳﺎﺩﻯ ﺍﺯ ﺟﻬﺎﻥ ﺳﻮﻡ؟ ﻧﻪ‪ .‬ﺟﻬﺎﻥ ﺍﻭﻝ‪ ،‬ﺍﻳﻦ‬
‫ﺻﺪﺍﻯ ﺟﻬﺎﻥ ﺷﻌﺮ ﺍﺳﺖ‪ (1)«.‬ﭼﻮﻥ ﺑﻰﻫﻴﭻ ﺗﻌﺎﺭﻓﻰ‪ :‬ﺣﺮﻑﻫﺎﻯ ﺩﻭﻟﺖﺁﺑﺎﺩﻯ ﺗﻜﺎﻥﺩﻫﻨﺪﻩ ﺑﻮﺩ‪.‬‬
‫ﺭﻭﺯ ﺑﻌﺪ ﺍﺯ ﺳﺨﻨﺮﺍﻧﻰ ﻛﻠﻴﺪﺭﺧﻮﺍﻧﻰ ﺩﺍﺷﺘﻴﻢ‪» :‬ﻣﺮگ ﻣﺪﻳﺎﺭ«‪ .‬ﭼﺮﺍ ﻛﻪ ﺍﻳﻦ ﭘﺎﺳﺎژ ﻫﻢ ﺑﻴﺎﻧﮕﺮ ﺣﻀﻮﺭ‬
‫ﭼﺸﻤﮕﻴﺮ ﻧﻮﻳﺴﻨﺪﻩ ﺩﺭ ﺍﺛﺮ ﺍﺳﺖ ﻭ ﻫﻢ ﺯﺑﺎﻥ ﺣﻤﺎﺳﻰ ﺭﻣﺎﻥ‪ .‬ﻣﺎ ﭘﻴﺸﻨﻬﺎﺩ ﺩﺍﺩﻳﻢ‪ ،‬ﻭ ﺁﻗﺎﻯ ﺩﻭﻟﺖﺁﺑﺎﺩﻯ‬
‫ﭘﺬﻳﺮﻓﺖ‪ .‬ﺍﻭﻝ ﺗﺮﺟﻤﺔ ﻧﺮﻭژﻯ ﺧﻮﺍﻧﺪﻩ ﺷﺪ ﻭ ﺑﻌﺪ ﻣﺘﻦ ﻓﺎﺭﺳﻰ‪ .‬ﭘﺲ ﺍﺯ ﺁﻥ ﺷﺒﻜﻪ ﺭﺍﺩﻳﻮ ﺍﻯ »ﺍﻥ ﺍﺭ‬
‫ﻛﻮ«)‪ (2‬ﮔﺰﺍﺭﺷﻲ ﺗﻬﻴﻪ ﻛﺮﺩ ﺍﺯ ﺩﺍﺳﺘﺎﻥﺧﻮﺍﻧﻲ ﻧﻮﻳﺴﻨﺪﻩ ﻭ ﺑﺎ ﺩﻭﻟﺖﺁﺑﺎﺩﻯ ﻣﺼﺎﺣﺒﻪﺍﻯ ﺍﻧﺠﺎﻡ ﺩﺍﺩ‪.‬‬
‫ﺟﺰ ﺳﺨﻨﺮﺍﻧﻰ ﺍﺻﻠﻰ ﻭ ﻛﻠﻴﺪﺭ ﺧﻮﺍﻧﻰ ﺍﻟﺒﺘﻪ ﻗﺮﻳﺐ ﺑﻪ ﺻﺪ ﻭ ﻫﺸﺘﺎﺩ ﺑﺮﻧﺎﻣﻪ ﺩﺍﺷﺘﻴﻢ‪ ،‬ﺍﺯ‬
‫ﺷﻌﺮﺧﻮﺍﻧﻰ ﮔﺮﻓﺘﻪ ﺗﺎ ﺩﺍﺳﺘﺎﻥﺧﻮﺍﻧﻰ ﻭ ﺳﺨﻨﺮﺍﻧﻰ‪ ،‬ﻛﻪ ﺩﺭ ﺍﻳﻦ ﻣﻴﺎﻥ ﻣﻰﺗﻮﺍﻥ ﺑﻪ ﺳﺨﻨﺮﺍﻥ ﻭ ﺩﻳﮕﺮ‬

‫‪1) Fredrik Wandrup‚ «Røsten fra Iran», Dagbladet, 29.05.2010. s. 2.‬‬

‫‪2) NRK‬‬
‫ﻣﻬﻤﺎﻥ ﺍﻳﺮﺍﻧﻰﻣﺎﻥ‪ ،‬ﻫﻮﺷﻨﮓ ﻣﺎﻫﺮﻭﻳﺎﻥ ﺍﺷﺎﺭﻩ ﻛﺮﺩ‪ ،‬ﺑﺎ ﺻﺤﺒﺘﻰ ﺩﺭ ﺑﺎﺏ ﻣﺪﺭﻧﻴﺘﻪ ﺩﺭ ﺍﻳﺮﺍﻥ‪ .‬ﺗﺎ ﺭﻭﺯﻯ‬
‫ﺩﻳﮕﺮ ﺁﻣﺪ ﻭ ﻭ ﭘﺎﻳﺎﻧﻰ ﺩﻳﮕﺮ ‪ -‬ﭘﺎﻳﺎﻧﻰ ﻛﻪ ﺧﻮﺩ ﺁﻏﺎﺯ ﺩﻭﺳﺘﻰﻫﺎ ﺑﻮﺩ‪.‬‬
‫ﻛﻢﺧﻮﺍﺏ ﺑﻮﺩﻳﻢ‪ ،‬ﺍﻣﺎ ﻧﻪ ﺧﺴﺘﻪ‪ ،‬ﻛﻪ ﻫﻤﺔ ﻫﻔﺖ ﺭﻭﺯ ﻫﻤﺎﻳﺶ ﺑﻪ ﺩﻭﺳﺘﻰ ﮔﺬﺷﺖ ﻭ ﺑﻪ‬
‫ﺻﻤﻴﻤﻴﺖ‪ ،‬ﮔﺮﻣﺎ ﮔﺮﻡ ﺑﺎ ﻫﻢ ﺑﻮﺩﻧﻰ ﻛﻪ ﻛﻮﻓﺘﮕﻰ ﭼﻨﺪ ﻣﺎﻫﻪ ﻛﺎﺭ ﺭﺍ ﺍﺯ ﺗﻨﻤﺎﻥ ﺑﻴﺮﻭﻥ ﻛﺮﺩ‪ .‬ﻏﻴﺮ‬
‫ﺍﺯ ﻣﻮﻓﻘﻴﺖ ﻛﺎﺭﻯ ﻭ ﺧﺮﺳﻨﺪ ﺑﻮﺩﻥ ﺍﺯ ﻧﺘﻴﺠﺔ ﺣﺮﻓﻪﺍﻯ ﻓﺴﺘﻴﻮﺍﻝ ‪ -‬ﺯﻧﺪﻩ ﺑﻮﺩﻳﻢ ﻭ ﭘﺮ ﻧﺸﺎﻁ‪ ،‬ﺍﺯ‬
‫ﻧﺸﺴﺘﻦﻫﺎﻯ ﺷﺒﺎﻧﻪ ‪ -‬ﻭ ﺍﻳﻦ ﺑﺎﺭ ﺑﺎ ﺣﻀﻮﺭ ﮔﺮﻡ ﻭ ﺻﻤﻴﻤﻰ ﺩﻭﻟﺖﺁﺑﺎﺩﻯ ﻛﻪ ﻧﻪ ﺗﻨﻬﺎ ﻧﻘﻄﻪ ﻋﻄﻒ‬
‫ﺍﺩﺑﻰ ﻓﺴﺘﻴﻮﺍﻝ‪ ،‬ﻛﻪ ﺑﺎ ﻣﺤﺒﺘﺶ ﺭﻋﺎﻳﺖ ﺍﻧﺴﺎﻥ ﺑﻮﺩ‪.‬‬
‫ﻭ ﺑﻪ ﺭﺍﺳﺘﻰ ﺁﻳﺎ ﻫﻤﻴﻦ ﻫﻤﺎﻳﺶﻫﺎ‪ ،‬ﺩﻳﺪﺍﺭ ﻛﺮﺩﻥﻫﺎ ﻭ ﺩﻭﺳﺘﻰﻫﺎ ﻧﻴﺴﺖ ﭘﻴﻮﻧﺪ ﺧﺠﺴﺘﺔ ﻣﻴﺎﻥ‬
‫ﺍﻧﺴﺎﻧﻬﺎ؟ »ﭼﺮﺍﻍ ﺭﺍﻫﻰ ﺑﺎ ﻛﻮﺷﺶ ﻫﻤﺮﺍﻩ ﺟﻬﺎﻥ ﺷﺪﻥ«‪ ،‬ﺁﻥ ﮔﻮﻧﻪ ﻛﻪ ﺩﻭﻟﺖﺁﺑﺎﺩﻯ ﮔﻔﺖ‪» :‬ﺑﺨﺸﻰ‬
‫ﺍﺯ ﺟﻬﺎﻥ ﺑﻮﺩﻥ ﺑﺮﺍﻯ ﺷﻨﺎﺧﺖ ﺑﻴﺸﺘﺮ ﺧﻮﺩ ﻭ ﺟﻬﺎﻥ ﺑﺎ ﺭﻭﻯ ﮔﺸﺎﺩﻩ‪ ،‬ﺩﻭﺭ ﺍﺯ ﺑﻐﺾ ﻭ ﻛﻴﻨﻪﻫﺎﻳﻰ‬
‫ﻛﻪ ﻛﻴﻨﻪﻭﺭﺯﺍﻥ ﻫﻢ ﺧﻮﺩ ﻧﺒﺎﻳﺪ ﺩﻟﺸﺎﺩ ﺑﺎﺷﻨﺪ ﺍﺯ ﺩﺷﻤﻦﺧﻮﻳﻰﻫﺎﻳﺸﺎﻥ ‪ .«...‬ﻛﻪ ﺟﺰ ﺍﻳﻦ ‪ -‬ﭼﻨﺎﻥ ﻛﻪ‬
‫ﮔﻮﺭگ ﻳﻮﻫﺎﻧﺴﻦ ﻧﺮﻭژﻯ ﻣﻰﻧﻮﻳﺴﺪ ‪ -‬ﺑﺎﻗﻰ ﻫﻤﻪ ﻫﻴﺎﻫﻮﺳﺖ‪:‬‬
‫»ﺟﺰ ﺍﻳﻦ ﺑﺎﻗﻰ ﻫﻤﻪ ﻫﻴﺎﻫﻮﺳﺖ ﻭ ﻫﻤﻪ ﻓﺮﻳﺎﺩ ﺍﺳﺖ‬
‫)‪(1‬‬
‫ﺗﻘﻼﻳﻰ ﺩﺭ ﺑﻠﻌﻨﺪﮔﻰ ﺩﻫﺎﻥ ﻳﻜﻰ ﺗﺎﺭﻳﻜﻰ‪«.‬‬

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‫‪1) Georg Johannesen, Eksil, Om klosterlasse og andre eksempler. Cappelen,‬‬

‫‪Oslo: 2005, s. 50.‬‬