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‫ﺟﻤﻌﻪ ‪ 13‬ﺗﺎ ﭘﻨﺠﺸﻨﺒﻪ ‪ 19‬ﻧﻮﺍﻣﺒﺮ ‪2015‬‬

‫ﺑﺎ ﻫﻤﻜﺎﺭﻯ ﻓﺮﻳﺪ ﺷﻔﻴﻌﻰ ﻧﻮﺭﻯ ﺍﺛﺮﻯ‬ ‫ﺑﻪ ﺑﻬﺎﻧﻪ ﺍﺟﺮﺍﻯ ﻧﻤﺎﻳﺶ ﻋﺎﺭﻑ ﻧﺎﻣﻪ ﺩﺭﻟﻨﺪﻥ‬ ‫ﺩﺭ ﺭﻭﺯ ﺷﻨﺒﻪ ‪ 17‬ﺍﻛﺘﺒﺮ ‪2015‬‬
‫ﺟﺎﻭﺩﺍﻥ ﺭﺍ ﺧﻠﻖ ﻧﻤﻮﺩ ﻛﻪ ﺑﺪﻭﻥ ﺷﻚ‬ ‫ﻧﻤﺎﻳﺶ ﻋﺎﺭﻑ ﻧﺎﻣﻪ ﺍﺛﺮ ﺑﻴﺎﺩﻣﺎﻧﺪﻧﻰ‬
‫ﺑﺎﺯﺗﺎﺏ ﻭ ﺑﺎﺯﺧﻮﺭﺩ ﻓﺮﺍﻭﺍﻥ ﺁﻥ ﺩﺭ‬ ‫ﻧﮕﺎﺭﻧﺪﻩ‪ :‬ﺭ‪ -‬ﺁﺭﺍﺩ‬ ‫ﺍﻳﺮﺝ ﺍﺯ ﺍﻭﻟﻴﻦ ﺷﺎﻋﺮﺍﻧﻰ ﺍﺳﺖ‬ ‫ﺍﺯ ﺯﺍﻭﻳﻪ ﻣﻴﻬﻦﭘﺮﺳﺘﻰ ﺑﻪ ﻣﺸﺮﻭﻃﻪ‬ ‫ﻭ ﺍﻭﺍﻳﻞ ﺩﻭﺭﻩ ﭘﻬﻠﻮﻯ( ﻭ ﺍﺯ ﭘﻴﺸﮕﺎﻣﺎﻥ‬ ‫ﺍﻳﺮﺝ ﻣﻴﺮﺯﺍ ﺑﻪ ﻫﻤﺖ ﻓﺴﺘﻴﻮﺍﻝ ﻫﻨﺮ‬
‫ﺳﺴﺖ ﻧﻤﻮﺩﻥ ﺭﻳﺸﻪ ﻫﺎﻯ ﺧﺮﺍﻓﺎﺕ‬ ‫ﻛﻪ ﺷﻌﺮﻫﺎﻳﻰ ﺭﺍ ﺑﻄﻮﺭ ﺧﺎﺹ ﺑﺮﺍﻯ‬ ‫ﻣﻰﻧﮕﺮﻳﺴﺖ‪ ،‬ﺑﻴﺸﺘﺮ ﺍﺯ ﺩﻳﺪﮔﺎﻩ ﻳﻚ‬ ‫ﺗﺠﺪﺩ ﺩﺭ ﺍﺩﺑﻴﺎﺕ ﻓﺎﺭﺳﻰ ﺑﻮﺩ‪ .‬ﺍﻳﺮﺝ‬ ‫ﺩﺭ ﺳﺎﻟﻦ ﺑﺰﺭگ ﺧﺎﻧﻪ ﭘﻴﺸﺎﻫﻨﮕﻰ‬
‫ﻭ ﺑﺎﺯ ﻧﻤﻮﺩﻥ ﺍﻓﻜﺎﺭ ﺑﺴﺘﻪ ﺑﻮﻳﮋﻩ ﺩﺭ‬ ‫ﻭ ﺳﻨﺖ ﺷﻜﻦ ﺑﻮﺩﻩﺍﺳﺖ‪ .‬ﺗﺼﻨﻴﻒﻫﺎﻯ‬ ‫ﻛﻮﺩﻛﺎﻥ ﺳﺮﻭﺩﻩﺍﺳﺖ‪ .‬ﺷﻌﺮﻫﺎﻳﻰ ﭼﻮﻥ‬ ‫ﺑﻮﺭژﻭﺍﻯ ﺍﺷﺮﺍﻓﻰ‪ ،‬ﻣﻨﺘﻘﺪ ﺭﻭﺍﺑﻂ‬ ‫ﻣﻴﺮﺯﺍ ﺩﺭ ﻗﺎﻟﺐﻫﺎﻯ ﮔﻮﻧﺎﮔﻮﻥ‪ ،‬ﺷﻌﺮ‬ ‫ﺩﺭ ﻟﻨﺪﻥ )ﺑﺎﺩﻥ ﭘﺎﻭﻝ ﻫﺎﻭﺱ(‬
‫ﺟﺎﻣﻌﻪ ﺧﺮﺍﻓﻪ ﺯﺩﻩ ﺍﻳﺮﺍﻥ ﻛﻨﻮﻧﻰ‬ ‫ﻋﺎﺭﻑ ﭼﻮﻥ ﺍﻛﺜﺮﺍً ﺩﺭ ﻭﺻﻒ ﺣﺎﻝ‬ ‫ﺷﻮﻕ ﺩﺭﺱ ﺧﻮﺍﻧﺪﻥ‪ ،‬ﻣﻬﺮ ﻣﺎﺩﺭ‪ ،‬ﻛﻼﻍ‬ ‫ﺍﺟﺘﻤﺎﻋﻰ ﺑﻮﺩ‪ .‬ﻭ ﺿﻤﻦ ﺁﻧﻜﻪ ﺗﻮﺩﻩ‬ ‫ﺳﺮﻭﺩﻩ ﻭ ﺍﺭﺯﺷﻤﻨﺪﺗﺮﻳﻦ ﺍﺷﻌﺎﺭﺵ‬ ‫ﺑﺮﻭﻯ ﺻﺤﻨﻪ ﺭﻓﺖ‪.‬ﺍﻳﻦ ﺑﺮﻧﺎﻣﻪ ﻛﻪ‬
‫ﺗﺎﺛﻴﺮ ﺍﺳﺎﺳﻰ ﻭ ﻭﻳﮋﻩ ﺧﻮﺍﻫﺪ ﮔﺬﺍﺷﺖ‪.‬‬ ‫ﻭ ﺍﻭﺿﺎﻉ ﺯﻣﺎﻧﻪ ﺑﻮﺩ ﻫﻤﮕﻰ ﺗﺎﺛﻴﺮ‬ ‫ﻭ ﺭﻭﺑﺎﻩ‪ ،‬ﺧﺮﺱ ﻭ ﺻﻴﺎﺩﺍﻥ‪ ،‬ﺩﻭ ﻧﻔﺮ ﺩﺯﺩ‬ ‫ﻣﺮﺩﻡ ﺭﺍ ﻓﺎﻗﺪ ﺷﻌﻮﺭ ﺳﻴﺎﺳﻰ ﻭ ﺩﺭﻙ‬ ‫ﻣﻀﺎﻣﻴﻦ ﺍﻧﺘﻘﺎﺩﻯ‪ ،‬ﺍﺟﺘﻤﺎﻋﻰ‪،‬‬ ‫ﺑﺼﻮﺭﺕ ﻃﻨﺰ ﺳﻴﺎﺳﻰ ﻭ ﻣﻮﺯﻳﻜﺎﻝ‬
‫ﻃﺮﺍﺣﻰ ﺻﺤﻨﻪ‪،‬ﻭﺳﺎﻳﻞ ﺷﺨﺼﻰ‬ ‫ﺑﺴﺰﺍﻳﻰ ﺩﺭ ﻣﺠﺎﻣﻊ ﺁﻥ ﺭﻭﺯ ﺩﺍﺷﺖ‪.‬‬ ‫ﺧﺮﻯ ﺩﺯﺩﻳﺪﻧﺪ‪ ،‬ﻧﺼﻴﺤﺖ ﺑﻪ ﻓﺮﺯﻧﺪ‪ ،‬ﻣﺎ‬ ‫ﺍﺟﺘﻤﺎﻋﻰ ﻣﻰﺩﺍﻧﺴﺖ‪ ،‬ﺩﻭﺭﻯ ﺍﺯ ﺧﻄﺮ‬ ‫ﺍﺣﺴﺎﺳﻰ ﻭ ﺗﺮﺑﻴﺘﻰ ﺩﺍﺭﻧﺪ‪ .‬ﺷﻌﺮ ﺍﻳﺮﺝ‬ ‫ﺑﺎ ﻫﻨﺮﻣﻨﺪﻯ ﺷﺎﻫﺮﺥ ﻣﺸﻜﻴﻦ ﻗﻠﻢ ‪،‬‬
‫ﺍﻳﺮﺝ ﻭ ﻋﺎﺭﻑ‪،‬ﻣﻴﺰ ﻛﺎﺭ ﻭ ﭘﻮﺷﺶ ﺁﻧﻬﺎ‬ ‫ﻋﺎﺭﻑ ﺍﺯ ﺍﻭﻟﻴﻦ ﻛﺴﺎﻧﻰ ﺍﺳﺖ ﻛﻪ ﺩﺭ‬ ‫ﻛﻪ ﺍﻃﻔﺎﻝ ﺍﻳﻦ ﺩﺑﺴﺘﺎﻧﻴﻢ ﺍﺯ ﻧﻤﻮﻧﻪﻫﺎﻯ‬ ‫ﺩﺭ ﺍﻓﺘﺎﺩﻥ ﺑﺎ ﻗﺪﺭﺗﻤﻨﺪﺍﻥ ﻭ ﭘﻴﺮﻭﻯ‬ ‫ﺳﺎﺩﻩ ﻭ ﺭﻭﺍﻥ ﻭ ﮔﺎﻫﻰ ﺩﺭﺑﺮﮔﻴﺮﻧﺪﻩ‬ ‫ﻓﺮﻳﺪ ﺷﻔﻴﻊ ﻧﻮﺭﻯ ﻭ ﺳﻴﻤﻮﻥ ﺩﺭﺍﻳﻪ‬
‫ﺗﻤﺎﻣﺎ ﺑﺨﻮﺑﻰ ﺍﻧﺘﺨﺎﺏ ﺷﺪﻩﺑﻮﺩ ﺑﻄﻮﺭﻯ‬ ‫ﺍﻳﺮﺍﻥ ﻛﻨﺴﺮﺕ ﺑﺮﮔﺰﺍﺭ ﻛﺮﺩ ﻭ ﺑﻪ ﺟﻨﺒﻪ‬ ‫ﺍﻳﻨﮕﻮﻧﻪ ﺍﺷﻌﺎﺭ ﻫﺴﺘﻨﺪ ﻛﻪ ﻣﻀﻤﻮﻥ‬ ‫ﺍﺯ ﻣﺼﻠﺤﺖ ﺭﺍ ﺑﺮﺍﻯ ﺩﻭﺳﺘﺎﻥ ﺗﺠﻮﻳﺰ‬ ‫ﻭﺍژﮔﺎﻥ ﻭ ﮔﻔﺘﺎﺭﻫﺎﻯ ﻋﺎﻣﻴﺎﻧﻪ ﺍﺳﺖ ﻭ‬ ‫ﺍﺟﺮﺍ ﺷﺪ ﻣﻮﺭﺩ ﺍﺳﺘﻘﺒﺎﻝ ﭼﺸﻤﮕﻴﺮ‬
‫ﻛﻪ ﺑﻪ ﻣﺨﺎﻃﺒﻴﻦ ﻭ ﺗﻤﺎﺷﺎﮔﺮﺍﻥ ﺍﻳﻦ‬ ‫ﻏﻴﺮ ﻣﺠﻠﺴﻰ ﺑﻮﺩﻥ ﻭ ﻣﺮﺩﻣﻰ ﺑﻮﺩﻥ‬ ‫ﺩﻟﻨﺸﻴﻨﻰ ﻭ ﺟﺬﺍﺑﻰ ﺭﺍ ﺑﺎ ﺯﺑﺎﻥ ﺑﺴﻴﺎﺭ‬ ‫ﺍﺷﻌﺎﺭ ﺍﻭ ﺍﺯ ﺟﻤﻠﻪ ﺍﺷﻌﺎﺭ ﺍﺛﺮﮔﺬﺍﺭ ﺑﺮ‬ ‫ﺍﻳﺮﺍﻧﻴﺎﻥ ﻣﻘﻴﻢ ﺍﻧﮕﻠﺴﺘﺎﻥ ﻗﺮﺍﺭ ﮔﺮﻓﺖ‪.‬‬
‫ﻓﺮﺻﺖ ﺭﺍ ﻣﻴﺪﺍﺩ ﺑﺎ ﺍﺷﻌﺎﺭﻯ ﻛﻪ ﺑﻪ‬ ‫ﺁﻥ ﺗﺎﻛﻴﺪ ﻣﻰﻭﺭﺯﺩ‪ .‬ﻛﻨﺴﺮﺕﻫﺎﻯ ﺍﻭ‬ ‫ﻣﻰﻛﺮﺩ‪:‬‬
‫ﺯﺑﺎﻥ ﺍﻳﺮﺝ ﺟﺎﺭﻯ ﻣﻴﺸﺪ ﻭ ﺗﺼﻨﻴﻒ‬ ‫ﻫﻤﻴﺸﻪ ﭘﺮ ﺭﻭﻧﻖ ﻭ ﭘﺮ ﺍﺯﺩﺣﺎﻡ ﺑﻮﺩ‪.‬‬ ‫ﻋﺎﺭﻑﻧﺎﻣﻪ ﻣﻌﺮﻭﻓﺘﺮﻳﻦ ﺷﻌﺮ ﺍﻳﺮﺝ‬
‫ﻫﺎﻯ ﺯﻳﺒﺎﻳﻰ ﻛﻪ ﻋﺎﺭﻑ ﺩﺭ ﺣﻴﻦ‬ ‫ﻣﻴﺮﺯﺍ ﻭ ﺍﺯ ﻣﺸﻬﻮﺭﺗﺮﻳﻦ ﻣﻨﻈﻮﻣﻪﻫﺎﻯ‬
‫ﻧﻮﺍﺧﺘﻦ ﺳﻪ ﺗﺎﺭ ﻣﻴﺨﻮﺍﻧﺪ ﺑﻪ ﻓﻀﺎﻯ‬ ‫ﺍﺩﺑﻴﺎﺕ ﻓﺎﺭﺳﻰ ﺍﺳﺖ‪ .‬ﺷﻌﺮﻯ ﺩﺭ‬
‫ﺁﻥ ﻋﺼﺮ ﻣﺘﺼﻞ ﺷﺪﻩ ﻭ ﺩﺭﻙ ﺑﻬﺘﺮﻯ‬ ‫ﻗﺎﻟﺐ ﻣﺜﻨﻮﻯ ﺩﺭ ‪ 515‬ﺑﻴﺖ ﻛﻪ ﺩﺭ‬
‫ﺍﺯ ﺍﺷﻌﺎﺭ ﻭ ﺗﺼﻨﻴﻒ ﻫﺎ ﺩﺍﺷﺘﻪ ﺑﺎﺷﻨﺪ‪.‬‬ ‫ﺍﺻﻞ ﺩﺭ ﻫﺠﻮ ﻋﺎﺭﻑ ﻗﺰﻭﻳﻨﻰ ﺳﺮﻭﺩﻩ‬
‫ﺻﺮﻓﻨﻈﺮ ﺍﺯ ﺷﺨﺼﻴﺖ ﭘﺮﺩﺍﺯﻳﻬﺎﻯ‬ ‫ﺷﺪﻩ ﻭﻟﻰ ﺷﺎﻋﺮ ﺩﺭ ﺿﻤﻦ ﺁﻥ ﺑﻪ ﺑﻴﺎﻥ‬
‫ﻣﻨﺎﺳﺐ ﻭ ﺗﻐﻴﻴﺮ ﮔﻮﻳﺶ ﻭ ﻟﻬﺠﻪ ﻫﺎ‬ ‫ﻣﺴﺎﺋﻞ ﺳﻴﺎﺳﻰ ﻭ ﺍﺟﺘﻤﺎﻋﻰ ﺑﺎ ﻧﮕﺎﻩ‬
‫ﻛﻪ ﺑﺎ ﺯﺑﺎﻥ ﺷﻌﺮ ﺁﻣﻴﺨﺘﻪ ﺑﻮﺩ ﺑﺎﻳﺴﺘﻰ‬ ‫ﺍﻧﺘﻘﺎﺩﻯ ﻧﻴﺰ ﻣﻰﭘﺮﺩﺍﺯﺩ‪ .‬ﻧﻜﻮﻫﺶ‬
‫ﺍﺯ ﺳﻜﺎﻧﺲ ﻋﺎﻟﻰ ﻭ ﻣﺘﻤﺎﻳﺰ ﻣﺴﺖ‬ ‫ﺣﺠﺎﺏ ﻭ ﻣﺨﺎﻟﻔﺖ ﺑﺎ ﺧﺎﻧﻪﻧﺸﻴﻨﻰ‬
‫ﺷﺪﻥ ﺍﻳﺮﺝ ﻭ ﺷﻌﺮ ﺧﻮﺍﻧﻰ ﻭ ﺭﻗﺺ‬ ‫ﺯﻧﺎﻥ‪ ،‬ﺍﻧﺘﻘﺎﺩ ﺍﺯ ﺳﻴﺎﺳﺖﻣﺪﺍﺭﺍﻥ ﻭ‬
‫ﻓﻀﺎﻯ ﺳﻴﺎﺳﻰ ﻛﺸﻮﺭ ﻭ ﺍﻋﺘﺮﺍﺽ ﺑﻪ‬
‫ﻭﻯ ﺗﻌﺮﻳﻒ ﻭ ﺗﻤﺠﻴﺪ ﻧﻤﻮﺩ‪.‬‬ ‫ﺭﻭﺍﺝ ﺑﭽﻪﺑﺎﺯﻯ ﻭ ﺭﺍﺑﻄﻪ ﺑﺎ ﻫﻤﺠﻨﺲ‬
‫ﺍﺭﺯﺵ ﻛﺎﺭ ﺷﺎﻫﺮﺥ ﺯﻣﺎﻧﻰ ﺩﻭ‬ ‫ﺍﺯ ﻣﻀﺎﻣﻴﻦ ﺩﻳﮕﺮ ﺍﻳﻦ ﺷﻌﺮ ﺍﺳﺖ ﻛﻪ‬
‫ﭼﻨﺪﺍﻥ ﻣﻴﺸﻮﺩ ﻛﻪ ﺑﻴﺶ ﺍﺯ ﭘﺎﻧﺼﺪ‬ ‫ﺑﺎ ﺑﻴﺎﻧﻰ ﻃﻨﺰﺁﻣﻴﺰ ﻭ ﻫﺰﻟﻰ ﻣﻄﺮﺡ‬
‫ﺑﻴﺖ ﺷﻌﺮ ﺍﻳﻦ ﻣﻨﻈﻮﻣﻪ ﺭﺍ ﺑﺪﻭﻥ ﺗﭙﻖ‬
‫‪،‬ﺑﺪﻭﻥ ﺳﺎﻧﺴﻮﺭ ﻭﺍژﮔﺎﻥ‪،‬ﺑﺎ ﺻﻼﺑﺖ ﻭ ﺑﺎ‬ ‫ﺷﺪﻩﺍﻧﺪ‪.‬‬
‫ﺟﺴﺎﺭﺕ ﺳﺘﻮﺩﻧﻰ ﺑﻪ ﺯﺑﺎﻥ ﻣﻰ ﺁﻭﺭﺩ‬
‫ﻭ ﻫﻤﻜﺎﺭﻯ ﻭ ﺑﺎﺯﻯ ﻣﺘﻴﻦ ‪ ،‬ﻓﺎﺧﺮ‬ ‫ﻋﺎﺭﻑﻧﺎﻣﻪ ﺑﻪ ﺭﻏﻢ ﻣﺤﺒﻮﺑﻴﺖ ﻭ‬
‫ﻭ ﺩﺭﺧﻮﺭ ﺍﻋﺘﻨﺎﻯ ﻓﺮﻳﺪ ﺩﺭ ﻧﻘﺶ‬ ‫ﺷﻬﺮﺕ ﻓﺮﺍﻭﺍﻥ ﺧﻮﺩ ﻣﻮﺭﺩ ﺍﻧﺘﻘﺎﺩﺍﺕ‬
‫ﻋﺎﺭﻑ ﻗﺰﻭﻳﻨﻰ ﻛﻪ ﺗﻮﺍﻡ ﺑﺎ ﻧﻮﺍﺧﺘﻦ ﻭ‬ ‫ﻭ ﻣﺨﺎﻟﻔﺖﻫﺎﻯ ﻓﺮﺍﻭﺍﻥ ﻧﻴﺰ ﻗﺮﺍﺭ‬
‫ﺳﺮﻭﺩﻥ ﺗﺼﺎﻧﻴﻒ ﻋﺎﺭﻑ ﻧﻴﺰ ﻫﺴﺖ ﺩﺭ‬ ‫ﮔﺮﻓﺘﻪ ﻭ ﺷﺎﻋﺮﺍﻥ ﻣﻌﺎﺻﺮ ﺍﻳﺮﺝ‬
‫ﺟﺎﻭﺩﺍﻧﮕﻰ ﺍﻳﻦ ﺍﺛﺮ‪ ،‬ﺑﺮﺟﺴﺘﻪ ﺍﺳﺖ‪.‬‬ ‫ﻧﻴﺰ ﭼﻨﺪﻳﻦ ﻣﻨﻈﻮﻣﻪ ﻣﻔﺼﻞ ﺩﺭ‬
‫ﻋﺎﺭﻓﻰ ﻛﻪ ﺩﺭ ﻃﻮﻝ ﻧﻤﺎﻳﺶ ﻣﻮﺭﺩ‬ ‫ﺍﻧﺘﻘﺎﺩ ﺍﺯ ﺁﻥ ﺳﺮﻭﺩﻧﺪ ﻭ ﺍﻳﺮﺝ ﻣﻴﺮﺯﺍ‬
‫ﻫﺠﻤﻪ ﺭﻛﻴﻚ ﺗﺮﻳﻦ ﺍﻟﻔﺎﻅ ﺍﺯ ﻃﺮﻑ‬ ‫ﻧﻴﺰ ﭼﻨﺪﻳﻦ ﺷﻌﺮ ﺩﺭ ﭘﺎﺳﺦ ﺑﻪ‬
‫ﺩﻭﺳﺖ ﺧﻮﺩ ﺍﻳﺮﺝ ﻗﺮﺍﺭ ﻣﻴﮕﻴﺮﺩ ﻭ‬ ‫ﺍﻳﺸﺎﻥ ﺳﺮﻭﺩﻩﺍﺳﺖ‪ .‬ﺍﻧﮕﻴﺰﻩ ﺑﺮﺧﻰ‬
‫ﻣﺨﺎﻟﻔﺖﻫﺎ ﺩﻓﺎﻉ ﺍﺯ ﻋﺎﺭﻑ ﻗﺰﻭﻳﻨﻰ ﻭ‬
‫ﻓﻘﻂ ﻣﻴﻨﻮﺍﺯﺩ ﻭ ﻣﻰ ﺳﺮﺍﻳﺪ‪.‬‬ ‫ﺑﺮﺧﻰ ﺩﻳﮕﺮ ﺩﻓﺎﻉ ﺍﺯ ﺣﺠﺎﺏ ﻭ ﺑﺮﺧﻰ‬
‫ﺍﻟﺒﺘﻪ ﺷﺎﻫﺮﺥ ﻣﻌﺘﻘﺪ ﺍﺳﺖ ﺧﻮﺩ‬ ‫ﻧﻴﺰ ﺍﻧﺘﻘﺎﺩ ﺍﺯ ﻋﺒﺎﺭﺍﺕ ﺧﺎﺭﺝ ﺍﺯ ﻋﺮﻑ‬
‫ﺳﺎﻧﺴﻮﺭﻯ ﺑﻼﻯ ﺟﺎﻣﻌﻪ ﻣﺘﻤﺪﻥ ﻭ‬
‫ﺁﺭﻣﺎﻧﮕﺮﺍﺳﺖ ﻭ ﺑﺎ ﻋﻠﻢ ﺑﻪ ﺍﻳﻦ ﻣﻮﺿﻮﻉ‬ ‫ﺩﺭ ﺍﻳﻦ ﺷﻌﺮ ﺑﻮﺩﻩﺍﺳﺖ‪.‬‬
‫ﺑﺪﻭﻥ ﻛﻢ ﻭ ﻛﺎﺳﺖ ﻛﺮﺩﻥ ﺍﺷﻌﺎﺭ‬
‫ﺁﻧﭽﻪ ﺭﺍ ﻛﻪ ﺍﻳﺮﺝ ﺳﺮﻭﺩﻩ ﺑﻪ ﺯﺑﺎﻥ‬ ‫ﺩﺭ ﻣﻮﺭﺩ ﻋﻠﺖ ﺳﺮﻭﺩﻥ ﻋﺎﺭﻑﻧﺎﻣﻪ‬
‫ﺭﻭﺍﻳﺖﻫﺎﻯ ﮔﻮﻧﺎﮔﻮﻧﻰ ﻧﻘﻞ ﺷﺪﻩ ﻛﻪ‬
‫ﺟﺎﺭﻯ ﻣﻴﺴﺎﺯﺩ‪.‬‬ ‫ﻫﻤﮕﻰ ﺑﻪ ﻳﻚ ﻧﺘﻴﺠﻪ ﻳﻌﻨﻰ ﺭﻧﺠﺶ‬
‫ﺍﻳﺮﺝ ﺍﺯ ﻋﺎﺭﻑ ﻗﺰﻭﻳﻨﻰ ﺩﺭ ﻫﻨﮕﺎﻡ‬
‫ﻧﻤﺎﻳﺸﻰ ﻛﻪ ﺑﺎ ﻣﻄﻠﻊ »ﺷﻨﻴﺪﻡ‬ ‫ﺳﻔﺮ ﻋﺎﺭﻑ ﺑﻪ ﻣﺸﻬﺪ ﺧﺘﻢ ﻣﻰﺷﻮﺩ‪.‬‬
‫ﻣﻦ ﻛﻪ ﻋﺎﺭﻑ ﺟﺎﻧﻢ ﺁﻣﺪ ‪ /‬ﺭﻓﻴﻖ‬ ‫ﮔﻮﻳﺎ ﺍﻳﺮﺝ ﻫﻤﺎﻥﻃﻮﺭ ﻛﻪ ﺩﺭ ﺷﻌﺮ‬
‫ﺳﺎﺑﻖ ﻃﻬﺮﺍﻧﻢ ﺁﻣﺪ« ﺷﺮﻭﻉ ﺷﺪ ﻭ‬ ‫ﻣﻰﮔﻮﻳﺪ ﺍﻧﺘﻈﺎﺭ ﺩﺍﺷﺘﻪ ﻛﻪ ﻋﺎﺭﻑ‬
‫ﺩﺭ ﺧﻼﻝ ‪ 515‬ﺑﻴﺖ ﺁﻥ ﺑﻪ ﻧﻜﻮﻫﺶ‬ ‫ﺑﻪ ﺩﻟﻴﻞ ﺩﻭﺳﺘﻰ ﺩﻳﺮﻳﻨﻪ ﺩﺭ ﺍﻳﻦ‬
‫ﺣﺠﺎﺏ ﻭ ﻣﺨﺎﻟﻔﺖ ﺑﺎ ﺧﺎﻧﻪﻧﺸﻴﻨﻰ‬

‫ﺷﺎﻫﺮﺥ ﻣﺸﻜﻴﻦ ﻗﻠﻢ ﻭ ﻓﺮﻳﺪ ﺷﻔﻴﻊ ﻧﻮﺭﻯ ﻓﻬﻴﻢ ﺧﺮﺍﺯﻯ ﻣﺆﺳﺲ ﻓﺴﺘﻴﻮﺍﻝ ﻫﻨﺮ‬

‫ﺯﻧﺎﻥ‪ ،‬ﺍﻧﺘﻘﺎﺩ ﺍﺯ ﺳﻴﺎﺳﺖﻣﺪﺍﺭﺍﻥ ﻭ‬ ‫ﻋﺎﺭﻑ ﺩﺭ ﻣﻮﺭﺩ ﺗﺼﻨﻴﻒ ﻭ ﺗﺼﻨﻴﻒ‬ ‫ﺳﺎﺩﻩ ﻭ ﺭﻭﺍﻧﻰ ﻣﻄﺮﺡ ﻣﻰﻛﻨﻨﺪ‪.‬‬ ‫ﺭﻋﺎﻳﺎ ﺟﻤﻠﮕﻰ ﺑﻴﭽﺎﺭﮔﺎﻥ ﺍﻧﺪ‬ ‫ﺷﻌﺮ ﺩﻭﺭﻩ ﻣﺸﺮﻭﻃﻴﺖ ﺑﻮﺩ‪.‬‬ ‫ﺳﻔﺮ ﺑﻪ ﺩﻳﺪﻥ ﺍﻭ ﺑﻴﺎﻳﺪ ﺍﻣﺎ ﻋﺎﺭﻑ‬
‫ﻓﻀﺎﻯ ﺳﻴﺎﺳﻰ ﻛﺸﻮﺭ ﭘﺮﺩﺍﺧﺖ ﻭ‬ ‫ﺳﺎﺯﻯ ﻋﻘﻴﺪﻩ ﺩﺍﺷﺖ ﻛﻪ ﺗﺼﻨﻴﻒ ﻧﺒﺎﻳﺪ‬ ‫ﻭﻯ ﭼﻨﺪﻳﻦ ﺷﻌﺮ ﻧﻴﺰ ﺩﺭ ﺍﺣﺘﺮﺍﻡ‬ ‫ﻛﻪ ﺍﺯ ﻓﻘﺮ ﻭ ﻓﻨﺎ ﺁﻭﺍﺭﮔﺎﻥ ﺍﻧﺪ‬ ‫ﺍﻳﺮﺝ ﺑﻪ ﮔﺮﻭﻫﻰ ﺍﺯ ﺷﺎﻫﺰﺍﺩﮔﺎﻥ ﻗﺎﺟﺎﺭ‬ ‫ﺑﻪ ﻣﻘﺮ ژﺍﻧﺪﺍﺭﻣﺮﻯ ﻣﺸﻬﺪ‪ ،‬ﻛﻪ ﺩﺭ ﺁﻥ‬
‫ﺑﻪ ﺁﺧﻮﻧﺪ ﻭ ﺭﻭﺿﻪ ﺧﻮﺍﻧﻰ ﺗﺎﺧﺖ ﺑﺎ‬ ‫ﺗﺤﺮﻳﺮ ﺩﺍﺷﺘﻪ ﺑﺎﺷﺪ ﺗﺎ ﻣﺮﺩﻣﻰ ﻛﻪ ﺻﺪﺍ‬ ‫ﺑﻪ ﻣﺎﺩﺭ ﺩﺍﺭﺩ‪ .‬ﺷﻌﺮﻫﺎﻳﻰ ﭼﻮﻥ »ﻗﻠﺐ‬ ‫ﺗﻤﺎﻡ ﺍﺯ ﺟﻨﺲ ﮔﺎﻭ ﻭ ﮔﻮﺳﻔﻨﺪﻧﺪ‬ ‫ﺗﻌﻠﻖ ﺩﺍﺷﺖ ﻛﻪ ﺩﺭ ﺣﻜﻤﺮﺍﻧﻰ ﺑﺮ ﻛﺸﻮﺭ‬ ‫ﺯﻣﺎﻥ ﺩﺭ ﺍﺧﺘﻴﺎﺭ ﻛﻠﻨﻞ ﭘﺴﻴﺎﻥ ﺑﻮﺩﻩ‪،‬‬
‫ﻭ ﺗﺤﺮﻳﺮ ﻧﺪﺍﺭﻧﺪ ﺑﺘﻮﺍﻧﻨﺪ ﺑﻪ ﺭﺍﺣﺘﻰ‬ ‫ﻣﺎﺩﺭ« ﺑﺎ ﻣﻄﻠﻊ »ﺩﺍﺩ ﻣﻌﺸﻮﻕ ﺑﻪ ﻋﺎﺷﻖ‬ ‫ﻧﻪ ﺁﺯﺍﺩﻯ ﻧﻪ ﻗﺎﻧﻮﻥ ﻣﻰﭘﺴﻨﺪﻧﺪ‬ ‫ﺳﻬﻢ ﻣﻮﺛﺮﻯ ﻧﺪﺍﺷﺘﻨﺪ ﻭﻟﻰ ﺑﺎ ﺍﻳﻦ‬ ‫ﻣﻰﺭﻭﺩ ﻭ ﻭﻗﺘﻰ ﻫﻢ ﻛﻪ ﺍﻳﺮﺝ ﺑﺮﺍﻯ‬
‫ﻣﻘﻄﻊ ﺯﻳﺮ ﭘﺎﻳﺎﻥ ﻣﻰ ﻳﺎﺑﺪ‪:‬‬ ‫ﺍﺯ ﭘﺲ ﺍﺟﺮﺍﻯ ﺁﻥ ﺑﺮﺁﻳﻨﺪ‪ .‬ﻋﺎﺭﻑ ﺩﺭ‬ ‫ﭘﻴﻐﺎﻡ‪/‬ﻛﻪ ﻛﻨﺪ ﻣﺎﺩﺭ ﺗﻮ ﺑﺎ ﻣﻦ ﺟﻨﮓ«‬ ‫ﺑﺮﺍﻯ ﻫﻤﭽﻮ ﻣﻠﺖ ﻫﻤﭽﻮ ﻣﺮﺩﻡ‬ ‫ﻭﺟﻮﺩ‪ ،‬ﺗﻌﻠﻖ ﺧﺎﻃﺮ ﺧﻮﺩ ﺭﺍ ﺑﻪ ﻧﺴﺐ‬ ‫ﻣﻼﻗﺎﺕ ﺍﻭ ﺑﻪ ﺁﻧﺠﺎ ﻣﻰﺭﻭﺩ ﺑﺎ ﻭﻯ‬
‫ﺳﺮﺗﺎﺳﺮ ﺯﻧﺪﮔﻰ ﺧﻮﺩ ﻫﻤﻴﺸﻪ ﺻﺮﺍﺣﺖ‬ ‫ﻭ »ﻣﻬﺮ ﻣﺎﺩﺭ« ﺑﺎ ﻣﻄﻠﻊ »ﮔﻮﻳﻨﺪ ﻣﺮﺍ‬ ‫ﻧﺒﺎﻳﺪ ﻛﺮﺩ ﻋﻘﻞ ﺧﻮﻳﺶ ﺭﺍ ﮔﻢ‬ ‫ﻭ ﺍﺷﺮﺍﻓﻴﺖ ﺧﻮﺩ ﺣﻔﻆ ﻛﺮﺩﻩ ﺑﻮﺩﻧﺪ‪.‬‬ ‫ﺑﺮﺧﻮﺭﺩ ﺳﺮﺩﻯ ﻣﻰﻛﻨﺪ ﻭ ﺁﻥ ﺷﺐ‬
‫ﺑﻪﺷﻮﺧﻲﮔﻔﺘﻪﺍﻡﮔﺮﻳﺎﻭﻩﻳﻲﭼﻨﺪ‬ ‫ﺩﺍﺷﺘﻪ ﻭ ﺍﻳﻦ ﺣﺪﺍﻗﻞ ﺩﺭ ﺗﺼﻨﻴﻒﻫﺎﻯ‬ ‫ﭼﻮ ﺯﺍﺩ ﻣﺎﺩﺭ ‪ /‬ﭘﺴﺘﺎﻥ ﺑﻪ ﺩﻫﺎﻥ ﮔﺮﻓﺘﻦ‬ ‫ﺍﻳﺮﺝ ﻧﻴﺰ ﻣﺎﻧﻨﺪ ﭘﺪﺭﺵ ﺻﺪﺭﺍﻟﺸﻌﺮﺍ‪،‬‬ ‫ﺩﺭ ﻛﻨﺴﺮﺕ ﻫﻢ ﻏﺰﻟﻰ ﻣﻰﺧﻮﺍﻧﺪ ﻛﻪ‬
‫ﻣﺒﺎﺩﺍ ﺩﻭﺳــﺘﺎﻥ ﺍﺯ ﻣﻦ ﺑﺮﻧﺠﻨﺪ‬ ‫ﺍﺟﺘﻤﺎﻋﻰ ﻭ ﺳﻴﺎﺳﻰ ﺍﻭ ﺑﻪ ﺧﻮﺑﻰ‬ ‫ﺁﻣﻮﺧﺖ« ﺍﺯ ﻣﻌﺮﻭﻓﺘﺮﻳﻦ ﺍﺷﻌﺎﺭ ﻓﺎﺭﺳﻰ‬ ‫ﺑﺎﻭﺟﻮﺩ ﺁﻧﻜﻪ ﺍﻳﺮﺝ ﺑﻪ ﺷﺎﻫﺰﺍﺩﮔﻰ ﺧﻮﺩ‬ ‫ﮔﺎﻩ ﺩﭼﺎﺭ ﻓﻘﺮ ﻭ ﺗﻨﮕﺪﺳﺘﻰ ﻣﻰﺷﺪ ﻭ‬ ‫ﺩﺭ ﺑﻴﺖ ﭘﺎﻳﺎﻧﻰ ﺁﻥ ﻓﺘﺤﻌﻠﻰﺷﺎﻩ ﺟﺪ‬
‫ﻣﺸﻬﻮﺩ ﺍﺳﺖ‪ .‬ﺍﻭ ﺑﺪﻭﻥ ﻫﺮﺍﺱ ﺁﻥ‬ ‫ﻣﺒﺎﻫﺎﺕ ﻣﻰﻛﺮﺩ‪ ،‬ﻭﻟﻰ ﺍﺑﻴﺎﺗﻰ ﻧﻴﺰ ﺩﺭ‬ ‫ﺍﺯ ﻫﻤﻴﻦ ﺭﻭ ﻫﻤﻔﻜﺮﻯ ﻭ ﻫﻤﺪﺭﺩﻯ‬
‫ﻓﺴﺘﻴﻮﺍﻝ ﻫﻨﺮ ﺑﻪ ﺳﺮﭘﺮﺳﺘﻰ ﺧﺎﻧﻢ‬ ‫ﭼﻪ ﺭﺍ ﻛﻪ ﻓﻜﺮ ﻣﻰﻛﺮﺩ ﺩﺭﺳﺖ ﺍﺳﺖ‬ ‫ﺩﺭ ﻣﻮﺭﺩ ﺍﺣﺘﺮﺍﻡ ﺑﻪ ﻣﺎﺩﺭ ﻫﺴﺘﻨﺪ‪.‬‬ ‫ﻧﻘﺪ ﻭ ﺑﺪﮔﻮﻳﻰ ﺩﺭﺑﺎﺭﻩ ﻣﺤﻤﺪﻋﻠﻰ ﺷﺎﻩ‬ ‫ﺑﺎ ﺗﻬﻴﺪﺳﺘﺎﻥ ﻭ ﺭﻭﺡ ﺍﻋﺘﺮﺍﺽ ﺑﻪ‬ ‫ﺍﻳﺮﺝ ﺭﺍ ﻧﻔﺮﻳﻦ ﻣﻰﻛﻨﺪ‪:‬‬
‫ﻓﻬﻴﻢ ﺧﺮﺍﺯﻯ ﺍﺯ ﺁﻏﺎﺯ ﻓﻌﺎﻟﻴﺖ ﺧﻮﺩ‬ ‫ﺑﺮ ﺯﺑﺎﻥ ﻣﻰﺭﺍﻧﺪ ﺗﺎ ﺟﺎﻳﻰ ﻛﻪ ﺻﺮﺍﺣﺖ‬ ‫ﺍﻳﺮﺝ ﻫﻤﭽﻨﻴﻦ ﺍﺯﺟﻤﻠﻪ ﻧﺨﺴﺘﻴﻦ‬ ‫ﻧﺎﺑﺮﺍﺑﺮﻯﻫﺎﻯ ﺍﺟﺘﻤﺎﻋﻰ ﺩﺭ ﻭﻯ ﺯﻧﺪﻩ‬ ‫»ﭼﻮ ﺟﻐﺪ ﺑﺮ ﺳﺮ ﻭﻳﺮﺍﻧﻪﻫﺎﻯ‬
‫ﺿﻤﻦ ﻣﻌﺮﻓﻰ ﭼﻬﺮﻩﻫﺎﻯ ﻫﻨﺮﻯ‬ ‫ﺍﻭ ﮔﺎﻩ ﺑﺎﻋﺚ ﺭﻧﺠﺶ ﺩﻭﺳﺘﺎﻥ ﻭ ﻳﺎﺭﺍﻧﺶ‬ ‫ﻣﺮﺩﺍﻧﻰ ﺩﺭ ﺍﻳﺮﺍﻥ ﺷﻨﺎﺧﺘﻪ ﻣﻰﺷﻮﺩ‬ ‫ﻭ ﺍﺣﻤﺪ ﺷﺎﻩ ﺍﺯ ﻭﻯ ﺑﺎﻗﻰﻣﺎﻧﺪﻩﺍﺳﺖ‪.‬‬ ‫ﺑﻮﺩ‪ .‬ﺍﻭ ﺑﻪ ﺳﺒﺐ ﺧﺼﻠﺖ ﻭﻟﺨﺮﺟﻰ‪،‬‬ ‫ﺷﺎﻩ ﻋﺒﺎﺱ ‪ /‬ﻧﺸﺴﺖ ﻋﺎﺭﻑ ﻭ‬
‫ﻫﻤﻮﺍﺭﻩ ﺗﻼﺵ ﻧﻤﻮﺩﻩﺍﺳﺖ ﺯﻣﻴﻨﻪ‬ ‫ﻛﻪ ﺍﺯ ﺟﻨﺒﺶﻫﺎﻯ ﺣﺎﻣﻰ ﺣﻘﻮﻕ ﺯﻧﺎﻥ‬ ‫ﺁﺛﺎﺭ ﺍﻳﺮﺝ ﺭﺍ ﻣﻰﺗﻮﺍﻥ ﺑﻪ ﺩﻭ ﺑﺨﺶ‬ ‫ﺳﻔﺮﻫﺎﻯ ﻣﺪﺍﻭﻡ ﻭ ﺗﻐﻴﻴﺮ ﻣﻜﺮﺭ ﺷﻐﻞ‪،‬‬
‫ﺳﺎﺯ ﺗﺤﻘﻖ ﺍﻫﺪﺍﻑ ﻓﺮﻫﻨﮕﻰ ﻭ ﻣﻴﻬﻦ‬ ‫ﻣﻰﺷﺪﻩﺍﺳﺖ‪.‬‬ ‫ﭘﻴﺶ ﻭ ﭘﺲ ﺍﺯ ﻣﺸﺮﻭﻃﻪ ﺗﻘﺴﻴﻢ ﻛﺮﺩ‪.‬‬ ‫ﺑﺮﺧﻼﻑ ﻣﻴﻞ ﺑﺎﻃﻨﻰ ﺧﻮﺩ ﮔﺎﻩ ﻣﺠﺒﻮﺭ‬ ‫ﻧﻔﺮﻳﻦ ﺑﻪ ﺭﻭﺡ ﺧﺎﻗﺎﻥ ﻛﺮﺩ«‬
‫ﺩﻭﺳﺘﺎﻧﻪ ﺑﺎﺷﺪ ﻛﻪ ﻧﻤﺎﻳﺶ ﻋﺎﺭﻑ ﻧﺎﻣﻪ‬ ‫ﻧﻤﺎﻳﺶ ﻣﻮﺯﻳﻜﺎﻝ ﻋﺎﺭﻓﻨﺎﻣﻪ ﺩﻭﻣﻴﻦ‬ ‫ﺣﻤﺎﻳﺖ ﻛﺮﺩﻩﺍﺳﺖ‪.‬‬ ‫ﺍﺷﻌﺎﺭ ﺩﻭﺭﻩ ﭘﻴﺶ ﺍﺯ ﻣﺸﺮﻭﻃﻪ ﺍﻭ ﻛﻪ‬ ‫ﺑﻪ ﻣﺪﻳﺤﻪﺳﺮﺍﻳﻰ ﺍﻋﻴﺎﻥ ﻭ ﺍﺷﺮﺍﻑ‬
‫ﻧﻴﺰ ﺑﺮگ ﺯﺭﻳﻦ ﺩﻳﮕﺮﻯ ﺍﺳﺖ ﺑﺮ ﺍﻳﻦ‬ ‫ﺍﺛﺮ ﺍﺯ ﺍﻳﺮﺝ ﻣﻴﺮﺯﺍﺳﺖ ﻛﻪ ﺷﺎﻫﺮﺥ‬ ‫ﻭ ﺍﻣﺎ ﻋﺎﺭﻑ ﻗﺰﻭﻳﻨﻰ ‪ ،‬ﺷﺎﻋﺮ‬ ‫ﻣﺤﺼﻮﻝ ﺩﻭﺭﺍﻥ ﺟﻮﺍﻧﻰ ﺍﻭﺳﺖ‪ ،‬ﺑﻴﺸﺘﺮ‬ ‫ﻣﻰﺷﺪ ﻭﻟﻰ ﺑﻪ ﻧﺤﻮ ﻣﻼﻳﻢ ﺍﻣﺎ ﻣﻮﺛﺮ‬ ‫ﺍﻳﺮﺝ ﭘﺲ ﺍﺯ ﺍﻳﻦ ﺣﻮﺍﺩﺙ ﺗﺼﻤﻴﻢ‬
‫ﻣﺸﻜﻴﻦ ﻗﻠﻢ ﺳﺎﺑﻘﻪ ﺍﺟﺮﺍﻯ ﺁﻥ ﺭﺍ ﺩﺍﺭﺩ‪.‬‬ ‫ﻭ ﺗﺼﻨﻴﻒﺳﺎﺯ ﻗﺰﻭﻳﻨﻰ ﭘﺪﺭﺵ‬ ‫ﻗﺼﺎﻳﺪﻯ ﺩﺭ ﺳﺘﺎﻳﺶ ﺭﺟﺎﻝ ﺯﻣﺎﻥ ﻭ‬ ‫ﺍﺯ ﺍﻳﻦ ﻛﺎﺭ ﺍﺑﺮﺍﺯ ﺩﻟﺘﻨﮕﻰ ﻭ ﺑﻴﺰﺍﺭﻯ‬ ‫ﺑﻪ ﺳﺮﻭﺩﻥ ﺷﻌﺮﻯ ﺩﺭ ﻫﺠﻮ ﻋﺎﺭﻑ‬
‫ﺩﻓﺘﺮ ﭘﺮﺑﺎﺭ‪.‬‬ ‫ﭘﻴﺶ ﺍﺯ ﺍﻳﻦ ﺑﺎ ﻣﺪﻳﺮﻳﺖ ﻓﺴﺘﻴﻮﺍﻝ ﻫﻨﺮ‬ ‫»ﻣﻼﻫﺎﺩﻯ ﻭﻛﻴﻞ« ﺑﻮﺩ‪ .‬ﻋﺎﺭﻑ ﺻﺮﻑ‬ ‫ﺑﺰﺭﮔﺎﻥ ﻗﺎﺟﺎﺭ ﺍﺳﺖ‪ .‬ﺑﺨﺶ ﺑﺰﺭﮔﻰ ﺍﺯ‬ ‫ﻣﻰﮔﻴﺮﺩ ﻭ ﺑﻪ ﺗﺸﻮﻳﻖ ﺩﻭﺳﺘﺎﻥ‬
‫ﺣﻀﻮﺭ ﭼﺸﻤﮕﻴﺮ ﺍﻳﺮﺍﻧﻴﺎﻥ ﺳﺎﻛﻦ‬ ‫ﻣﻨﻈﻮﻣﻪ ﺯﻫﺮﻩ ﻭ ﻣﻨﻮﭼﻬﺮ ﺩﻳﮕﺮ ﺍﺛﺮ‬ ‫ﻭ ﻧﺤﻮ ﻋﺮﺑﻰ ﻭ ﻓﺎﺭﺳﻰ ﺭﺍ ﺩﺭ ﻗﺰﻭﻳﻦ‬ ‫ﺍﻳﻦ ﺩﺳﺘﻪ ﺍﺷﻌﺎﺭ ﺍﻳﺮﺝ ﺍﻣﺮﻭﺯﻩ ﺩﺭ ﺩﺳﺖ‬ ‫ﻣﻰﻛﺮﺩ‪.‬‬ ‫ﻣﻄﺎﻟﺐ ﺳﻴﺎﺳﻰ ﻭ ﺍﺟﺘﻤﺎﻋﻰ ﺭﺍ‬
‫ﺍﻧﮕﻠﺴﺘﺎﻥ ﻭ ﻣﺸﺎﺭﻛﺖ ﺩﺭ ﺑﺮﻧﺎﻣﻪ ﻫﺎﻯ‬ ‫ﻓﺎﺧﺮ ﺍﻳﺮﺝ ﻣﻴﺮﺯﺍ ﺗﻮﺳﻂ ﻭﻯ ﺩﺭ ﻟﻨﺪﻥ‬ ‫ﻓﺮﺍ ﮔﺮﻓﺖ‪ .‬ﺧﻂ ﺷﻜﺴﺘﻪ ﻭ ﻧﺴﺘﻌﻠﻴﻖ‬ ‫ﻧﻴﺴﺖ‪ .‬ﺍﺷﻌﺎﺭ ﺩﻭﺭﻩ ﭘﺲ ﺍﺯ ﻣﺸﺮﻭﻃﻪ‬ ‫ﻛﺴﺎﻧﻰ ﻛﻪ ﺍﺯ ﻧﺰﺩﻳﻚ ﺑﺎ ﺍﻳﺮﺝ ﺍﺭﺗﺒﺎﻁ‬ ‫ﻧﻴﺰ ﺩﺭ ﺁﻥ ﻣﻰ ﮔﻨﺠﺎﻧﺪ ﻭ ﺑﻪ ﻣﺮﻭﺭ‬
‫ﻓﺴﺘﻴﻮﺍﻝ ﻫﻨﺮ ﺩﺭ ﻃﻮﻝ ﺍﻳﻦ ﺳﺎﻟﻴﺎﻥ‬ ‫ﻭ ﺳﺎﻳﺮ ﻛﺸﻮﺭﻫﺎﻯ ﺍﺭﻭﭘﺎﻳﻰ ﺑﻪ ﺭﻭﻯ‬ ‫ﺭﺍ ﺑﺴﻴﺎﺭ ﺧﻮﺏ ﻣﻰﻧﻮﺷﺖ‪ .‬ﻣﻮﺳﻴﻘﻰ‬ ‫ﺍﻳﺮﺝ ﻛﻪ ﺑﻴﺸﺘﺮ ﺑﻪ ﺍﻧﺘﻘﺎﺩﻫﺎﻯ ﺍﺟﺘﻤﺎﻋﻰ‬ ‫ﺩﺍﺷﺘﻪﺍﻧﺪ‪ ،‬ﮔﻔﺘﻪﺍﻧﺪ ﻛﻪ ﺍﻭ ﺩﺭ ﺯﻧﺪﮔﻰ‬ ‫ﺑﺨﺶﻫﺎﻯ ﺟﺪﻳﺪﻯ ﺭﺍ ﺑﻪ ﺁﻥ‬
‫ﻧﻴﺰ ﻣﺆﻳﺪ ﻧﻈﻢ ﻭﺗﺮﺗﻴﺐ ‪،‬ﺑﺮﻧﺎﻣﻪ ﺭﻳﺰﻯ‬ ‫ﺭﺍ ﻧﺰﺩ ﺣﺎﺝ ﺻﺎﺩﻕ ﺧﺮﺍﺯﻯ ﻓﺮﺍ ﮔﺮﻓﺖ‪.‬‬ ‫ﺩﺭ ﻗﺎﻟﺐ ﻣﻀﺎﻣﻴﻦ ﺑﻜﺮ ﺍﺧﺘﺼﺎﺹ ﺩﺍﺭﺩ‪،‬‬ ‫ﺭﻭﺯﻣﺮﻩ ﻣﺮﺩﻯ ﻣﺘﻴﻦ ﻭ ﻣﻮﻗﺮ ﺑﻮﺩﻩ ﻭ ﺩﺭ‬ ‫ﺍﺿﺎﻓﻪ ﻣﻰﻛﻨﺪ‪ .‬ﺑﻪﻃﻮﺭﻯﻛﻪ ﺣﺘﻰ‬
‫ﺩﻗﻴﻖ ﻭ ﺍﺩﺍﻯ ﺍﺣﺘﺮﺍﻡ ﺑﻪ ﻋﻼﻗﻤﻨﺪﺍﻥ‬ ‫ﺻﺤﻨﻪ ﺭﻓﺖ‪.‬‬ ‫ﻣﺪﺗﻰ ﺑﻪ ﺍﺻﺮﺍﺭ ﭘﺪﺭ ﺩﺭ ﭘﺎﻯ ﻣﻨﺒﺮ ﻣﻴﺮﺯﺍ‬ ‫ﺩﺍﺭﺍﻯ ﺍﻋﺘﺒﺎﺭ ﺍﺩﺑﻰ ﺑﻴﺸﺘﺮﻯ ﻫﺴﺘﻨﺪ‪.‬‬ ‫ﺟﻤﻊ ﺑﻪ ﻟﻔﻆ ﻗﻠﻢ ﺳﺨﻦ ﻣﻰﮔﻔﺘﻪ ﺍﻣﺎ‬ ‫ﭘﻴﺶ ﺍﺯ ﺗﻜﻤﻴﻞ ﻭ ﺍﻧﺘﺸﺎﺭ ﺩﺭ ﺑﻴﻦ‬
‫ﻭ ﺩﻭﺳﺘﺪﺍﺭﺍﻥ ﻫﻨﺮ ﺍﺯ ﺟﺎﻧﺐ ﻣﺪﻳﺮﻳﺖ‬ ‫ﺷﺎﻫﺮﺥ ﭘﺲ ﺍﺯ ﺗﻮﻓﻴﻖ ﺩﺭ ﺍﺟﺮﺍﻯ‬ ‫ﺣﺴﻦ ﻭﺍﻋﻆ‪ ،‬ﻳﻜﻰ ﺍﺯ ﻭﻋﺎﻅ ﻗﺰﻭﻳﻦ‪،‬‬ ‫ﺍﺳﺘﻔﺎﺩﻩ ﺗﻘﺮﻳﺒﺎً ﺑﻰﻧﻈﻴﺮ ﺍﻳﺮﺝ ﺍﺯ ﺯﺑﺎﻥ‬ ‫ﻫﻨﮕﺎﻡ ﺣﻀﻮﺭ ﺩﺭ ﻣﺤﺎﻓﻞ ﺧﺼﻮﺻﻰ ﻭ‬ ‫ﺷﻌﺮﺩﻭﺳﺘﺎﻥ ﻭ ﺍﺩﻳﺒﺎﻥ ﺑﺴﻴﺎﺭ ﻣﺸﻬﻮﺭ‬
‫ﺍﻳﻦ ﻣﺠﻤﻮﻋﻪ ﺑﻮﺩﻩ ﺍﺳﺖ ﺑﺮ ﺍﺳﺎﺱ‬ ‫ﺯﻫﺮﻩ ﻭ ﻣﻨﻮﭼﻬﺮ ﺑﻪ ﺗﻮﺻﻴﻪ ﻭ ﺗﺸﻮﻳﻖ‬ ‫ﺑﻪ ﻧﻮﺣﻪ ﺧﻮﺍﻧﻰ ﭘﺮﺩﺍﺧﺖ ﻭ ﻋﻤﺎﻣﻪ‬ ‫ﺳﺎﺩﻩ ﻭ ﺧﺮﻭﺝ ﺍﻭ ﺍﺯ ﭼﺎﺭﭼﻮﺏﻫﺎ ﻭ‬ ‫ﺩﺭ ﻣﻴﺎﻥ ﺩﻭﺳﺘﺎﻥ‪ ،‬ﺍﻳﻦ ﺣﺮﻳﻢ ﺑﻪ ﻳﻜﺒﺎﺭﻩ‬ ‫ﺷﺪﻩ ﻭ ﺳﺮﻭﺻﺪﺍﻯ ﺯﻳﺎﺩﻯ ﺑﻪﭘﺎ ﻛﺮﺩﻩ‬
‫ﺍﻃﻼﻋﺎﺕ ﺩﺭﻳﺎﻓﺘﻰ ﺍﻳﻦ ﻧﻮﻳﺪ ﺭﺍ‬ ‫ﺑﺰﺭﮔﺎﻧﻰ ﭼﻮﻥ ﺍﻳﺮﺝ ﭘﺰﺷﻜﺰﺍﺩ ‪ ،‬ﻛﺮﻳﻢ‬ ‫ﻣﻰﺑﺴﺖ ﻭﻟﻰ ﭘﺲ ﺍﺯ ﻣﺮگ ﭘﺪﺭ ﻋﻤﺎﻣﻪ‬ ‫ﻗﺎﻟﺐﻫﺎﻯ ﺭﺍﻳﺞ ﺩﺭ ﺷﻌﺮ ﻓﺎﺭﺳﻰ‪ ،‬ﺑﺎﻋﺚ‬ ‫ﺍﺯ ﻣﻴﺎﻥ ﻣﻰﺭﻓﺖ ﻭ ﺑﻪ ﺑﺬﻟﻪﮔﻮﻳﻰ ﻣﺒﺪﻝ‬ ‫ﺑﻮﺩ ﻭ ﻫﺰﺍﺭﺍﻥ ﻧﺴﺨﻪ ﺩﺳﺖﻧﻮﻳﺲ ﺍﺯ‬
‫ﻣﻰﺩﻫﺪ ﻛﻪ ﺩﺭ ﺧﻼﻝ ﺑﺮﻧﺎﻣﻪﻫﺎﻯ‬ ‫ﺣﻜﺎﻙ ﻭ ﻓﺮﺥ ﻏﻔﺎﺭﻯ ﻭ ﻣﺴﺆﻭﻟﻴﺘﻰ‬ ‫ﺭﺍ ﺑﺮﺩﺍﺷﺖ ﻭ ﺗﺮﻙ ﺭﻭﺿﻪ ﺧﻮﺍﻧﻰ ﻛﺮﺩ‪.‬‬ ‫ﺷﺪﻩ ﺗﺎ ﺷﻌﺮ ﺍﻭ‪ ،‬ﺟﺎﻳﮕﺎﻩ ﻭﻳﮋﻩﺍﻯ ﻧﺴﺒﺖ‬
‫ﺁﺗﻰ ﺧﻮﺩ‪ ،‬ﺑﻪ ﺩﻟﻴﻞ ﺍﺳﺘﻘﺒﺎﻝ ﻭ‬ ‫ﻛﻪ ﺍﺣﺴﺎﺱ ﻣﻴﻨﻤﻮﺩ ﻋﻬﺪﻩ ﺩﺍﺭ ﻧﻤﺎﻳﺎﻥ‬ ‫ﻋﺎﺭﻑ ﺍﻭﻟﻴﻦ ﺗﺼﻨﻴﻔﺶ ﺭﺍ ﺩﺭ ‪18‬‬ ‫ﺑﻪ ﺷﺎﻋﺮﺍﻥ ﻫﻢ ﺩﻭﺭﻩ ﺧﻮﺩ ﺩﺭ ﺍﺩﺑﻴﺎﺕ‬ ‫ﻣﻰﺷﺪ‪.‬‬ ‫ﺁﻥ ﻣﻮﺟﻮﺩ ﺑﻮﺩ‪.‬‬
‫ﺗﻘﺎﺿﺎﻫﺎﻯ ﻣﻜﺮﺭ ﻫﻤﻮﻃﻨﺎﻥ‪ ،‬ﻣﺠﺪﺩﺍً‬ ‫ﺳﺎﺧﺘﻦ ﺑﺨﺸﻰ ﺍﺯ ﻻﻳﻪ ﻫﺎﻯ ﺍﺟﺘﻤﺎﻋﻰ‬ ‫ﺳﺎﻟﮕﻰ ﺳﺎﺧﺖ‪ .‬ﻭﻯ ﻳﺎ ﺗﺼﻨﻴﻒﻫﺎﻯ‬ ‫ﺍﻳﺮﺝ ﺑﻪ ﻫﻤﺮﺍﻩ ﻣﻠﻚﺍﻟﺸﻌﺮﺍ‬ ‫ﺍﻳﺮﺝ ﻣﻴﺮﺯﺍ ﻣﻠﻘﺐ ﺑﻪ‬
‫ﻧﻤﺎﻳﺶ ﻣﻮﺯﻳﻜﺎﻝ ﻋﺎﺭﻑﻧﺎﻣﻪ ﺭﺍ ﺩﺭ‬ ‫ﻣﺴﺘﺘﺮ ﺩﺭ ﺍﻳﻦ ﻣﻨﻈﻮﻣﻪ ﺷﻌﺮﻯ ﺷﺪ ﻭ‬ ‫ﻭﻃﻨﻰ‪-‬ﺳﻴﺎﺳﻰ ﺳﺎﺧﺘﻪ ﻭ ﻳﺎ ﺗﺼﻨﻴﻒ‬ ‫ﻓﺎﺭﺳﻰ ﺑﻴﺎﺑﺪ‪.‬‬ ‫ﺑﻬﺎﺭ‪ ،‬ﺑﻠﻨﺪﺗﺮﻳﻦ ﺻﺪﺍﻯ ﺷﻌﺮ ﺩﻭﺭﻩ‬ ‫»ﺟﻼﻝﺍﻟﻤﻤﺎﻟﻚ« ﻭ »ﻓﺨﺮﺍﻟﺸﻌﺮﺍ«‪،‬‬
‫ﺑﻪ ﺯﻳﺒﺎﻳﻰ ﺗﻤﺎﻡ ﻭ ﻧﻤﺎﻳﺸﻰ ﺧﻴﺮﻩ ﻛﻨﻨﺪﻩ‬ ‫ﻋﺸﻘﻰ ﻭ ﺩﺭ ﻫﺮ ﺩﻭ ﺯﻣﻴﻨﻪ ﻧﻴﺰ ﺑﻰ ﺑﺎﻙ‬ ‫ﻣﺸﺮﻭﻃﻪ ﺑﻮﺩ‪ .‬ﺍﻭ ﺑﺮ ﺧﻼﻑ ﺑﻬﺎﺭ ﻛﻪ‬ ‫ﺍﺯ ﺟﻤﻠﻪ ﺷﺎﻋﺮﺍﻥ ﺑﺮﺟﺴﺘﻪ ﺍﻳﺮﺍﻧﻰ ﺩﺭ‬
‫ﻟﻨﺪﻥ ﺑﻪ ﺭﻭﻯ ﺻﺤﻨﻪ ﺑﺒﺮﺩ‪.‬‬ ‫ﻋﺼﺮ ﻣﺸﺮﻭﻃﻴﺖ )ﺍﻭﺍﺧﺮ ﺩﻭﺭﻩ ﻗﺎﺟﺎﺭ‬

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