Page 15 - (کیهان لندن - سال سى و سوم ـ شماره ۹ (دوره جديد

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‫ﺟﻤﻌﻪ ‪ 22‬ﺗﺎ ﭘﻨﺠﺸﻨﺒﻪ ‪ 28‬ﻣﻰ ‪2015‬‬

‫ﻫﺎﻳﺪﻩ ﺗﻮﻛﻠﻰ ﺍﺯ ﻓﻌﺎﻻﻥ ﺳﻴﺎﺳﻰ ﺳﺎﻛﻦ ﻟﻨﺪﻥ ﻭ ﻋﻀﻮ ﺣﺰﺏ‬ ‫ﻳﺎﺩﺑﻮﺩ ﻣﺤﻤﺪﻋﻠﻰ ﺳﭙﺎﻧﻠﻮ ﺩﺭ ﻟﻨﺪﻥ‪ :‬ﺁﺫﻳﻦ ﺑﺒﻨﺪ ﺍﻯ ﺑﺎﺩ!‬
‫ﻣﺸﺮﻭﻃﻪ ﺍﻳﺮﺍﻥ )ﻟﻴﺒﺮﺍﻝ‪ -‬ﺩﻣﻜﺮﺍﺕ( ﺍﺳﺖ‪ .‬ﺍﺯ ﺍﻭ ﻧﻴﺰ ﺩﺭﺑﺎﺭﻩ ﻛﻴﻬﺎﻥ‬

‫ﻟﻨﺪﻥ ﻣﻰﭘﺮﺳﻴﻢ‪.‬‬

‫ﭼﺎپ ﻣﻰﺷﺪ ﻧﻤﻰﺩﻳﺪﻡ ﻭ ﻫﻤﺎﻥ‬ ‫‪‬ﺁﻳﺎ ﺟﺎﻯ ﻧﺴﺨﻪ ﭼﺎﭘﻰ ﻛﻴﻬﺎﻥ‬
‫ﺻﻮﺭﺕ ﺭﺍ ﺗﻮﺻﻴﻪ ﻣﻰﻛﻨﻢ‪.‬‬
‫ﻟﻨﺪﻥ ﺭﺍ ﺧﺎﻟﻰ ﻣﻰﺑﻴﻨﻴﺪ؟ ﻓﻜﺮ‬
‫‪‬ﺑﻪ ﻧﻈﺮ ﺷﻤﺎ ﭼﻪ ﮔﺮﻭﻩ ﺳﻨﻰ‬
‫ﻣﺨﺎﻃﺒﺎﻧﻰ ﺍﺻﻠﻰ ﺁﻥ ﺭﺍ ﺑﺎﻳﺪ‬ ‫ﻣﻰﻛﻨﻴﺪ ﭼﻨﻴﻦ ﻧﺸﺮﻳﻪﺍﻯ ﺩﺭ‬

‫ﺗﺸﻜﻴﻞ ﺩﻫﺪ؟‬ ‫ﺻﻮﺭﺕ ﺍﻧﺘﺸﺎﺭ ﭼﺎﭘﻰ ﻣﻰﺑﺎﻳﺪ ﭼﻪ‬
‫‪-‬ﻃﺒﻴﻌﺘﺄ ﻣﻰﺷﻮﺩ ﺍﻳﻦ ﮔﻮﻧﻪ‬
‫ﺑﺮﺩﺍﺷﺖ ﻛﺮﺩ ﻛﻪ ﺑﻴﺸﺘﺮﻳﻦ‬ ‫ﻣﺴﺎﺋﻠﻰ ﺭﺍ ﻭ ﭼﮕﻮﻧﻪ ﭘﻮﺷﺶ ﺩﻫﺪ؟‬
‫ﺧﻮﺍﻧﻨﺪﮔﺎﻥ ﻛﻴﻬﺎﻥ ﭼﺎﭘﻰ ﺍﻓﺮﺍﺩ‬ ‫‪-‬ﺑﻪ ﺑﺎﻭﺭ ﻣﻦ ﻛﻴﻬﺎﻥ ﻟﻨﺪﻥ‬
‫ﺑﺎﻻﻯ ﭼﻬﻞ ﺳﺎﻝ ﺑﺎﺷﻨﺪ ﺍﻣﺎ‬ ‫ﻣﻨﻈﻢﺗﺮﻳﻦ ﻭ ﭘﺮﺑﺎﺭﺗﺮﻳﻦ ﻧﺸﺮﻳﻪ‬
‫ﻧﺒﺎﻳﺪ ﺍﺯ ﺍﻳﻦ ﺑﺎﺑﺖ ﻧﺎﺧﺮﺳﻨﺪ ﺑﻮﺩ‬ ‫ﭼﺎﭘﻰ ﺍﻳﺮﺍﻧﻰ ﭘﺲ ﺍﺯ ﺍﻧﻘﻼﺏ ﺑﻮﺩﻩ‬
‫ﺯﻳﺮﺍ ﻫﻤﻴﺸﻪ ﺑﺰﺭﮔﺘﺮﻫﺎ ﻭ ﺍﺳﺎﺗﻴﺪ‬ ‫ﺍﺳﺖ ﻭ ﻣﻦ ﺍﻣﻴﺪﻭﺍﺭﻡ ﻛﻪ ﺩﻭﺑﺎﺭﻩ ﺑﻪ‬
‫ﭼﺎپ ﺑﺮﮔﺮﺩﺩ‪ .‬ﺟﺎﻯ ﻛﻴﻬﺎﻥ ﻟﻨﺪﻥ‬
‫ﭼﺎﭘﻰ ﭼﻄﻮﺭ ﻣﻰﺗﻮﺍﻧﺪ ﺧﺎﻟﻰ ﻧﺒﺎﺷﺪ‬
‫ﺯﻣﺎﻧﻰ ﻛﻪ ﻫﻴﭻ ﻧﺸﺮﻳﺔ ﺩﻳﮕﺮﻯ ﺩﺭ‬

‫ﮔﻔﺘﮕﻮ ﺑﺎ ﻫﺎﻳﺪﻩ ﺗﻮﻛﻠﻰ ﺩﺭﺑﺎﺭﻩ ﻛﻴﻬﺎﻥ ﻟﻨﺪﻥ‪:‬‬ ‫ﭼﻪ ﮔﺎ ِﻭ ﺳﺒ ِﺰ ﻗﺸﻨﮕﻰ‬ ‫ﺗﻬﺮﺍﻥ ﺑﺮﺍﻯ ﺳﭙﺎﻧﻠﻮ ﺟﻐﺮﺍﻓﻴﺎ ﻧﺒﻮﺩ‪،‬‬ ‫ﺍﺳﺖ ﻛﻪ ﺍﻭ ﺟﺰﻭ ﻛﺴﺎﻧﻰ ﺑﻮﺩﻩ ﺍﺳﺖ ﻛﻪ‬ ‫ﻣﺮﺍﺳﻢ ﻳﺎﺩﺑﻮﺩ ﻣﺤﻤﺪﻋﻠﻰ ﺳﭙﺎﻧﻠﻮ ﺳﻪ‬
‫ﺑﻠﻜﻪ ﻳﻚ ﺗﺎﺭﻳﺦ ﺑﻮﺩ‪ .‬ﺩﺭ ﺗﻤﺎﻡ ﺷﻌﺮﺵ‬ ‫ﻧﺎﻣﻪﺍﻯ ﺑﻪ ﺁﻥ ﺻﻨﺪﻭﻕ ﺍﻧﺪﺍﺧﺘﻪ ﺍﺳﺖ‪.‬‬ ‫ﺷﻨﺒﻪ ‪ 19‬ﻣﻪ ﺑﻪ ﻫﻤﺖ ﻧﺸﺮ »ﻧﻮﮔﺎﻡ«‬
‫ﻧﺴﺨﻪ ﭼﺎﭘﻰ ﻭ ﺁﻧﻼﻳﻦ‬ ‫ﺍﺯ ﺟﻨﺲ ﺷﺎﺥ ﻭ ﺑﺮ ِگ ﺩﺭﺧﺘﺎﻥ‬ ‫ﻳﻚ ﻧﻮﺳﺎﻧﻰ ﻣﻴﺎﻥ ﺧﻴﺎﺑﺎﻥ ﻭ ﺑﻴﺎﺑﺎﻥ‪،‬‬ ‫ﺑﻌﺪ ﺍﺯ ﺍﻳﻦ ﺑﻮﺩ ﻛﻪ ﺑﺨﺸﻰ ﺍﺯ ﺁﻥ ﻛﺎﺭﻫﺎ‬ ‫ﺩﺭ ﺳﺎﻟﻦ ﺧﻠﻴﻠﻰ ﺩﺍﻧﺸﮕﺎﻩ ﺳﻮﺍﺱ ﻟﻨﺪﻥ‬
‫ﻣﻜﻤﻞ ﻳﻜﺪﻳﮕﺮ ﻫﺴﺘﻨﺪ‬ ‫ﻣﺪﻧﻴﺖ ﻭ ﺑﺪﻭﻳﺖ ﻭﺟﻮﺩ ﺩﺍﺷﺖ ﻛﻪ‬ ‫ﺭﺍ ﺑﻪ ﺻﻮﺭﺕ ﺍﺳﺘﻨﺴﻴﻞ ﻣﻨﺘﺸﺮ ﻛﺮﺩﻧﺪ‬ ‫ﺑﺮﮔﺰﺍﺭ ﺷﺪ‪ .‬ﺩﺭ ﺍﻳﻦ ﻣﺮﺍﺳﻢ ﻋﻼﻭﻩ ﺑﺮ‬
‫ﺷﻜﻔﺘﻪ ﺍﺳﺖ‬ ‫ﺍﻳﻦ ﻣﺤﺪﻭﺩ ﺑﻪ ﺟﻐﺮﺍﻓﻴﺎﻯ ﺧﺎﺻﻰ‬ ‫ﻭ ﻳﻚ ﻧﺴﺨﻪ ﺍﺯ ﺁﻥ ﺭﺍ ﺑﻪ ﺻﺎﺣﺒﺎﻥ ﺍﺛﺮ‬ ‫ﺳﺨﻨﺮﺍﻧﻰ ﻣﺴﻌﻮﺩ ﺑﻬﻨﻮﺩ‪ ،‬ﺟﻤﺸﻴﺪ‬
‫ﻫﺎﻳﺪﻩ ﺗﻮﻛﻠﻰ‬ ‫ﺑﺮﺷﺎﺧ ِﻚ ﺧﻴﺎﻟﻰ ﻭ ﺯﻟﻔﺎﻥ ﻛﻮﺗﻪﺍﺵ‬ ‫ﻧﺒﻮﺩ ﻭ ﻳﻚ ﭘﻴﻮﻧﺪ ﻋﻤﻴﻖ ﺗﺎﺭﻳﺨﻰ‬ ‫ﺑﺮﺯﮔﺮ‪ ،‬ﺍﺣﻤﺪ ﻛﺮﻳﻤﻰ ﺣﻜﺎﻙ ﻭ ﺷﻌﺮ‬
‫ﺩﺭ ﺑﻴﺸﺘﺮ ﺷﻌﺮﻫﺎﻯ ﺍﻭ ﻣﻰﺗﻮﺍﻥ ﭘﻴﺪﺍ‬ ‫ﺩﺍﺩﻩ ﺑﻮﺩﻧﺪ‪«.‬‬ ‫ﺧﻮﺍﻧﻰ ﻏﺰﻝ ﻣﺼﺪﻕ‪ ،‬ﻣﺴﺘﻨﺪ »ﻗﺎﻳﻖ‬
‫ﻫﺴﺘﻨﺪ ﻛﻪ ﺭﺍﻩ ﻭ ﺭﺳﻢ ﻭ ﺁﺭﻣﺎﻥﻫﺎﻯ‬ ‫ﺧﺎﺭﺝ ﺍﺯ ﻛﺸﻮﺭ ﺑﺎ ﭼﻨﻴﻦ ﺑﺮﺩ ﺷﺎﻳﺴﺘﻪ‬ ‫ﭘﺮﻭﺍﻧﻪﻫﺎﻯ ﺻﻮﺭﺗﻰ ﺁﻳﻨﻪ ﺑﺴﺘﻪﺍﻧﺪ‬ ‫ﻣﺴﻌﻮﺩ ﺑﻬﻨﻮﺩ ﺍﻳﻦ ﺧﺎﻃﺮﺍﺕ ﺭﺍ ﭼﻨﻴﻦ‬ ‫ﺳﻮﺍﺭﻯ ﺩﺭ ﺗﻬﺮﺍﻥ« ﻛﻪ ﺑﻪ ﺯﻧﺪﮔﻰ ﻭ‬
‫ﺯﻧﺪﮔﺎﻧﻰ ﺭﺍ ﻣﺴﺘﻘﻴﻢ ﻭ ﻏﻴﺮﻣﺴﺘﻘﻴﻢ‬ ‫ﻧﻮﻳﺴﻨﺪﮔﺎﻥ ﻭ ﮔﺮﺩﺍﻧﻨﺪﮔﺎﻥ ﺣﺮﻓﻪﺍﻯ‪،‬‬ ‫ﻛﺮﺩ«‪.‬‬ ‫ﺍﺩﺍﻣﻪ ﺩﺍﺩ‪» :‬ﻣﺤﻤﺪﻋﻠﻰ ﺳﭙﺎﻧﻠﻮ ﺑﻌﺪﻫﺎ‬ ‫ﺍﺷﻌﺎﺭ ﺳﭙﺎﻧﻠﻮ ﭘﺮﺩﺍﺧﺘﻪ ﻧﻴﺰ ﺑﻪ ﻧﻤﺎﻳﺶ‬
‫ﺑﻪ ﻓﺮﺯﻧﺪﺍﻥ ﺍﻳﺮﺍﻥ ﺁﻣﻮﺯﺵ ﻣﻰﺩﻫﻨﺪ‪.‬‬ ‫ﻭ ﮔﺎﻭ ﺗﺎ ﻣﻰﺁﻳﺪ‬ ‫ﺳﭙﺲ ﺍﺣﻤﺪ ﻛﺮﻳﻤﻰ ﺣﻜﺎﻙ ﺑﻪ‬ ‫ﺩﺭ ﺟﺎﻳﻰ ﺍﺷﺎﺭﻩ ﻛﺮﺩﻩ ﺍﺳﺖ ﻛﻪ ﻭﻗﺘﻰ ﺑﺎ‬
‫ﻧﺒﺎﻳﺪ ﺑﮕﺬﺍﺭﻳﻢ ﺑﺰﺭﮔﺘﺮﻫﺎ ﺩﺭ ﻧﺒﻮﺩ‬ ‫ﻫﻤﻪ ﺩﺭ ﻳﻚ ﺟﺎ‪ ،‬ﻭﺟﻮﺩ ﻧﺪﺍﺭﺩ‪.‬‬ ‫ﺗﺤﻠﻴﻞ ﺷﻌﺮﻯ ﺳﭙﺎﻧﻠﻮ ﭘﺮﺩﺍﺧﺖ‪ .‬ﺍﻭ ﺑﺎ‬ ‫ﺣﺠﻢ ﺯﻳﺎﺩﻯ ﺍﺯ ﻛﺎﺭﻫﺎﻯ ﺍﺭﺳﺎﻟﻰ ﺭﻭﺑﺮﻭ‬ ‫ﺩﺭ ﺁﻣﺪ‪.‬‬
‫ﻭ ﻳﺎ ﻛﻤﺒﻮﺩ ﺍﻃﻼﻋﺎﺕ ﺩﺭﺳﺖ ﻭ ﻳﺎ‬ ‫ﻧﺎﮔﻔﺘﻪ ﻧﻤﺎﻧﺪ‪ ،‬ﺑﺎ ﺩﺭﻙ ﺍﻳﻨﻜﻪ ﺟﻬﺎﻥ‬ ‫ﭘﺮﻭﺍﻧﻪ ﺭﺍ ﺑﺒﻴﻨﺪ‬ ‫ﺍﺷﺎﺭﻩ ﺑﻪ ﮔﻔﺘﻪ ﺟﻤﺸﻴﺪ ﺑﺮﺯﮔﺮ ﭘﻴﺮﺍﻣﻮﻥ‬ ‫ﺷﺪﻧﺪ ﺁﻧﻬﺎ ﺭﺍ ﭘﻴﺶ ﻓﺮﻭﻍ ﻓﺮﺧﺰﺍﺩ ﻫﻢ‬ ‫ﺩﺭ ﺍﺑﺘﺪﺍﻯ ﺍﻳﻦ ﻣﺮﺍﺳﻢ ﻣﺴﻌﻮﺩ ﺑﻬﻨﻮﺩ‬
‫ﺩﺭﺩﺳﺘﺮﺱ ﻧﺪﺍﺷﺘﻦ ﻧﻮﺷﺘﻪﻫﺎﻯ‬ ‫ﺍﻣﺮﻭﺯ ﺟﻬﺎﻥ ﺳﺮﻋﺖ ﻭ ﺍﻳﻨﺘﺮﻧﺖ ﺍﺳﺖ‪،‬‬ ‫ﻣﺤﺪﻭﺩ ﻛﺮﺩﻥ ﺳﭙﺎﻧﻠﻮ ﺑﻪ »ﺷﺎﻋﺮ‬ ‫ﺑﺮﺩﻩﺍﻧﺪ ﺗﺎ ﺍﻭ ﻫﻢ ﻧﻈﺮ ﺩﻫﺪ‪ .‬ﺑﻪ ﻫﺮﺻﻮﺭﺕ‬ ‫ﺑﺎ ﺍﺷﺎﺭﻩ ﺑﻪ ﺯﻣﻴﻨﻪﻫﺎﻯ ﺗﺎﺭﻳﺨﻰ ﺩﻭﺭﺍﻥ‬
‫ﻧﻮﻳﺴﻨﺪﮔﺎﻥ ﺑﺰﺭﮔﻰ ﻫﻢﭼﻮﻥ ﺩﻛﺘﺮ‬ ‫ﺑﺮﭘﺎﻳﻰ ﻛﻴﻬﺎﻥ ﺁﻧﻼﻳﻦ ﻛﻪ ﻧﻪ ﺗﻨﻬﺎ ﺑﺮﺩ‬ ‫ﻧﺎﮔﻪ ﺗﻤﺎﻡ ﺗﺮﻛﻴﺐﺍﺵ ‪ ،‬ﺩﺭ ﻻﺑﻼﻯ‬ ‫ﺗﻬﺮﺍﻥ« ﻭ ﺍﻳﻨﻜﻪ ﻋﻨﻮﺍﻥ ﺷﺎﻋﺮ ﺷﻬﺮ‬ ‫ﺍﻳﻦ ﺍﻳﺪﻩ ﺗﺒﺪﻳﻞ ﺑﻪ ﻳﻚ ﺟﺮﻳﺎﻥ ﺷﺪ ﻛﻪ‬ ‫ﺷﻜﻞﮔﻴﺮﻯ ﺷﻌﺮ ﺳﭙﺎﻧﻠﻮ ﺑﻪ ﻣﺮﺍﺳﻢ‬
‫ﺑﻴﺸﺘﺮﻯ ﻣﻰﺗﻮﺍﻧﺪ ﺩﺍﺷﺘﻪ ﺑﺎﺷﺪ ﺑﻠﻜﻪ‬ ‫ﺷﺎﺧﻪ‪ ،‬ﺑﻪ ﻫﻢ ﻣﻰﺧﻮﺭﺩ‪...‬‬ ‫ﺗﻬﺮﺍﻥ ﻧﻤﻰﺗﻮﺍﻧﺪ ﺗﻮﺿﻴﺢ ﻛﺎﻣﻠﻰ ﺍﺯ ﺍﻭ‬ ‫ﺑﻴﺶ ﺍﺯ ﻫﺮ ﻛﺴﻰ ﻣﺪﻳﻮﻥ ﺳﭙﺎﻧﻠﻮ ﺑﻮﺩ‪،‬‬ ‫ﺗﺸﻌﻴﻊ ﺟﻨﺎﺯﻩ ﺁﻳﺖﺍﷲ ﺑﺮﻭﺟﺮﺩﻯ ﺍﺷﺎﺭﻩ‬
‫ﺳﺮﻋﺖ ﺍﺭﺳﺎﻝ ﺧﺒﺮ ﺭﺍ ﺩﻩ ﭼﻨﺪﺍﻥ‬ ‫ﺑﺎﺷﺪ ﻭ ﺁﻧﭽﻪ ﺩﺭ ﻭﺍﻗﻊ ﻣﻰﺗﻮﺍﻥ ﮔﻔﺖ‬ ‫ﺍﻳﻦ ﺭﻭﺣﻴﻪ ﺭﺍ ﺳﭙﺎﻧﻠﻮ ﺗﺎ ﺁﺧﺮﻳﻦ ﺭﻭﺯﻫﺎﻯ‬ ‫ﻛﺮﺩ ﻛﻪ ﺩﺭ ﺯﻣﺎﻥ ﻧﺒﻮﺩ ﺭﺳﺎﻧﻪﻫﺎﻯ‬
‫ﻣﻰﻛﻨﺪ ﻭ ﺍﺣﺘﻤﺎﻷ ﺑﺮﺍﻯ ﺍﻳﺮﺍﻧﻴﺎﻥ‬ ‫ﺍﻛﻨﻮﻥ ﭼﻘﺪﺭ ﺑﺎﻳﺪ ﻛﻪ ﺑﺎﺩ ﻭ ﺁﻓﺘﺎﺏ‬ ‫»ﻓﺮﺍ ﺭﻓﺘﻦ ﺍﺯ ﻣﺮﺯﻫﺎﻯ ﻣﻔﻬﻮﻣﻰ ﻫﻤﻪ‬ ‫ﻋﻤﺮﺵ ﺣﻔﻆ ﻛﺮﺩ‪ .‬ﺷﺎﻳﺪ ﺳﭙﺎﻧﻠﻮ ﺟﺰﻭ‬ ‫ﺗﺼﻮﻳﺮﻯ ﻭ ﻣﺠﺎﺯﻯ ﺟﻤﻌﻴﺘﻰ ﻧﺰﺩﻳﻚ‬
‫ﺩﺭﻭﻥﻣﺮﺯ‪ ،‬ﺍﻟﺒﺘﻪ ﭘﺲ ﺍﺯ ﭼﻴﺮﻩ ﺷﺪﻥ‬ ‫ﻛﻠﻤﺎﺕ ﻣﺎﻧﻮﺱ« ﺍﺳﺖ ﮔﻔﺖ‪» :‬ﺗﺎﺭﻳﺦ‬ ‫ﺑﺰﺭﮔﺎﻥ ﺷﻌﺮ ﻓﺎﺭﺳﻰ ﻧﺒﺎﺷﺪ ﺍﻣﺎ ﺣﺲ‬ ‫ﺑﻪ ‪ 500‬ﻫﺰﺍﺭ ﻧﻔﺮ ﺑﻪ ﻣﺮﺍﺳﻢ ﺭﻓﺘﻨﺪ ﻭ‬
‫ﻣﺸﻜﻞ ﻓﻴﻠﺘﺮ‪ ،‬ﺑﺴﻴﺎﺭ ﺍﺳﺎﺳﻰ ﺍﺳﺖ‬ ‫ﺑﭙﻴﭽﻨﺪ‬ ‫ﻓﻘﻂ ﺗﺎﺭﻳﺦ ﻧﻴﺴﺖ ﻭ ﺍﻓﺴﺎﻧﻪ ﺭﺍ ﻫﻢ ﺩﺭ‬ ‫ﺍﻭ ﺩﺭ ﺟﺮﻳﺎﻥﺳﺎﺯﻯ ﻧﻘﺶ ﺍﻭ ﺭﺍ ﺩﺭ ﺷﻌﺮ‬ ‫ﻳﻚ ﺳﺎﻝ ﺑﻌﺪ ﺍﺯ ﺁﻥ ﻧﻴﺰ ﺩﺭ ﻣﺮﺍﺳﻢ ﺧﺘﻢ‬
‫ﺍﻣﺎ ﻫﺮ ﺩﻭﻯ ﺁﻧﻬﺎ‪ ،‬ﭼﺎﭘﻰ ﻭ ﺁﻧﻼﻳﻦ‬ ‫ﺑﺮ ﻣﻰﮔﻴﺮﺩ‪ .‬ﺑﻨﺎ ﺑﺮ ﺍﻳﻦ ﺳﻨﺪﺑﺎﺩ ﻳﻚ‬ ‫ﻣﺘﻤﺎﻳﺰ ﻛﺮﺩ‪ .‬ﺍﻳﻦ ﺣﺴﻰ ﻛﻪ ﺳﭙﺎﻧﻠﻮ ﺍﻫﻞ‬ ‫ﻣﻬﻮﺵ )ﺧﻮﺍﻧﻨﺪﻩ( ﭼﻴﺰﻯ ﻧﺰﺩﻳﻚ ﺑﻪ‬
‫ﺗﺎ ﺑﺎﻟﺪﺍﺭ ﺳﺒﺰ ﻭ ﻃﻼﻳﻰ ﻓﺮﻧﮕﻰ ﺭﺍ‬ ‫ﺷﺨﺼﻴﺖ ﻣﺤﻮﺭﻯ ﺩﺭ ﺷﻌﺮ ﺳﭙﺎﻧﻠﻮ‬ ‫ﺧﻄﺮ ﻛﺮﺩﻥ ﻧﺒﻮﺩ ﻫﻢ ﺍﺯ ﻫﻤﻴﻦ ﺭﻭﺣﻴﻪ‬ ‫ﻫﻤﻴﻦ ﺟﻤﻌﻴﺖ ﺩﺭ ﺷﻬﺮ ﺩﻭﺭ ﻫﻢ ﺟﻤﻊ‬
‫ﻣﻜﻤﻞ ﻫﻢ ﺧﻮﺍﻫﻨﺪ ﺑﻮﺩ‪.‬‬ ‫ﻣﻰﺷﻮﺩ ﻭ ﺍﻯ ﺑﺴﺎ ﻛﻪ ﺍﻳﻦ ﺷﺨﺼﻴﺖ‬ ‫ﺑﺮ ﻣﻰﺁﻣﺪ ﻛﻪ ﺩﺭ ﭘﺸﺖ ﺻﺤﻨﻪ ﻫﻤﻴﺸﻪ‬ ‫ﺷﺪﻧﺪ‪ .‬ﺑﻬﻨﻮﺩ ﺑﺎ ﺍﻳﻦ ﺗﻌﺎﺭﻳﻒ ﻧﺘﻴﺠﻪ‬
‫ﺍﺯ ﺷﺎﺧﻪﻫﺎ ﺑﺴﺎﺯﻧﺪ‬ ‫ﻭﺟﻮﺩ ﻧﺪﺍﺭﺩ ﻭ ﻳﺎ ﺷﺨﺼﻴﺘﻰ ﻣﺎﻧﻨﺪ‬ ‫ﺩﺭ ﺣﺎﻝ ﺟﺮﻳﺎﻥﺳﺎﺯﻯ ﺑﻮﺩ‪ .‬ﺑﻪ ﺗﻌﺒﻴﺮ‬ ‫ﮔﺮﻓﺖ ﻛﻪ ﺩﺭ ﺁﻥ ﺯﻣﺎﻥ »ﺯﻳﺮ ﭘﻮﺳﺖ‬
‫ﺷﺎﻫﻴﻦ ﻓﺎﻃﻤﻰ ﻭ ﺳﺎﻳﺮ ﺑﺰﺭﮔﺎﻧﻰ‬ ‫‪‬ﺑﻪ ﻧﻈﺮ ﺷﻤﺎ ﭼﻪ ﻧﺴﺒﺘﻰ ﺑﻴﻦ‬ ‫ﭘﻮﺭﻳﺎﻯ ﻭﻟﻰ ﺭﺍ ﻛﻪ ﺟﺰ ﺍﺯ ﺗﺎﺭﻳﺦ ﺭﺳﻤﻰ‬ ‫ﺧﻮﺩﺵ ﻛﻪ ﻣﻰﮔﻔﺖ ﺯﻣﺎﻧﻰ ﻣﻦ ﻭ ﻧﻮﺭﻯ‬ ‫ﺷﻬﺮ ﺟﺮﻳﺎﻧﻰ ﻭﺟﻮﺩ ﺩﺍﺷﺖ« ﻭ ﺍﺩﺍﻣﻪ‬
‫ﻛﻪ ﭼﺮﺥ ﻛﻴﻬﺎﻥ ﻟﻨﺪﻥ ﺭﺍ ﺑﻪ ﺣﺮﻛﺖ‬ ‫ﻣﻄﺎﻟﺐ ﻣﺨﺘﻠ ِﻒ ﺩﺍﺧﻞ ﻛﺸﻮﺭ ﻭ‬ ‫ﻛﻪ ﺁﺷﻜﺎﺭﺍ‬ ‫ﺑﻪ ﻣﺎ ﺷﻨﺎﺳﺎﻧﺪﻩ ﺷﺪﻩ ﺩﺭ ﺷﻌﺮﻫﺎﻯ ﺍﻭ‬ ‫ﻋﻼ ﺍﻳﻦ ﺳﻮﻯ ﭼﻬﺎﺭﺭﺍﻩ ﻛﺎﺭ ﻣﻰﻛﺮﺩﻳﻢ ﻭ‬ ‫ﺩﺍﺩ‪» :‬ﺍﻳﻦ ﺩﻫﻪ ﻣﻌﺮﻭﻓﻰ ﺍﺳﺖ ﻛﻪ ﻣﺎ ﺩﺭ‬
‫ﺩﺭ ﻣﻰﺁﻭﺭﻧﺪ‪ ،‬ﺭﻓﺘﻪ ﺭﻓﺘﻪ ﮔﺮﻓﺘﺎﺭ ﺑﻰ‬ ‫ﺧﺎﺭﺝ ﺍﺯ ﻛﺸﻮﺭ ﺩﺭ ﻳﻚ ﺭﻭﺯﻧﺎﻣﺔ‬ ‫ﻣﻰﺗﻮﺍﻥ ﭘﻴﺪﺍ ﻛﺮﺩ‪ .‬ﺳﭙﺎﻧﻠﻮ ﺗﻮﺍﻧﺴﺖ‬ ‫ﺁﻥ ﺳﻮ ﭼﺮﻳﻚﻫﺎ ﻳﺎﺭﮔﻴﺮﻯ ﻣﻰﻛﺮﺩﻧﺪ‪،‬‬ ‫ﺁﻥ ﺻﻤﺪ ]ﺑﻬﺮﻧﮕﻰ[ ﺭﺍ ﺷﻨﺎﺧﺘﻴﻢ‪ ،‬ﺩﻛﺘﺮ‬
‫ﺗﻔﺎﻭﺗﻰ ﺑﺸﻮﻧﺪ ﻭ ﺩﺭ ﻧﺘﻴﺠﻪ ﺟﻮﺍﻧﺘﺮﻫﺎ‬ ‫ﻫﻔﺘﮕﻰ ﺧﺎﺭﺝ ﻛﺸﻮﺭ ﺑﺎﻳﺪ ﻭﺟﻮﺩ‬ ‫ﺁﻥ ﺍﻭﻟﻰ ﻧﺨﻮﺍﻫﺪ ﺷﺪ‬ ‫ﺗﺎﺭﻳﺦ ﻭ ﺍﻓﺴﺎﻧﻪ ﺭﺍ ﺩﺭ ﺍﻭﺭﺍﻕ ﺷﻌﺮﻯﺍﺵ‬ ‫ﺑﺮﺍﻯ ﺧﻮﺩﺵ ﻫﻢ ﺁﻥ ﺯﻣﺎﻥ ﻣﺸﺨﺺ‬ ‫ﺳﺎﻋﺪﻯ ﻣﻌﺮﻓﻰ ﺷﺪ ﻭ ﺗﻘﺮﻳﺒﺎ ﻣﻰﺗﻮﺍﻧﻢ‬
‫ﺭﺍ ﺍﺯ ﺗﺸﻮﻳﻖ ﺑﻪ ﺍﻳﺮﺍﻥﺩﻭﺳﺘﻰ ﻭ‬ ‫ﺑﻪ ﻣﺎ ﻣﻌﺮﻓﻰ ﻛﺮﺩ ﻭ ﺍﮔﺮ ﺍﻳﻦ ﺣﺮﻑ‬ ‫ﺑﮕﻮﻳﻢ ﻛﻪ ﻫﺮ ﭼﻪ ﺑﻌﺪ ﺍﺯ ﺁﻥ ﭘﻴﺪﺍ ﻛﺮﺩﻳﻢ‬
‫ﺩﺍﺷﺘﻪ ﺑﺎﺷﺪ؟‬ ‫ﮔﺎﻭﻯ ﻛﻪ ﺑﻌﺪ ﺁﻓﺮﻳﻨﺶ ﻛﻮﺗﺎﻩﺍﺵ‬ ‫ﺩﺭﺳﺖ ﺑﺎﺷﺪ ﻛﻪ ﻧﻤﻰﺗﻮﺍﻥ ﺍﻭ ﺭﺍ ﺩﺭ‬ ‫ﻧﺒﻮﺩ ﭼﻪ ﺟﺮﻳﺎﻧﻰ ﺭﺍ ﺑﻪ ﻭﺟﻮﺩ ﺁﻭﺭﺩ«‪.‬‬ ‫ﺣﺎﺻﻞ ﺍﻳﻦ ﺩﻫﻪ ﺍﺳﺖ‪ .‬ﺩﻧﻴﺎ ﻧﻴﺰ ﺩﺭ ﺁﻥ‬
‫ﻣﺒﺎﺭﺯﻩ ﺑﺮﺍﻯ ﺍﻳﺮﺍﻧﻰ ﺁﺯﺍﺩ ﺑﺎﺯﺩﺍﺭﻧﺪ‪.‬‬ ‫‪-‬ﺍﮔﺮﭼﻪ ﺍﻣﺮﻭﺯ ﻛﻴﻬﺎﻥ ﺁﻧﻼﻳﻦ‬ ‫ﺭﺩﺓ ﺍﻭﻝ ﺷﺎﻋﺮﺍﻥ ﺷﻌﺮ ﻧﻮ ﺑﻌﺪ ﺍﺯ ﻧﻴﻤﺎ‬ ‫ﺩﺭ ﺑﺨﺶ ﺩﻳﮕﺮ ﺑﺮﻧﺎﻣﻪ ﺟﻤﺸﻴﺪ‬ ‫ﺯﻣﺎﻥ ﻳﻚ ﺣﺎﻟﺖ ﻋﺠﻴﺒﻰ ﺩﺍﺷﺖ‪ ،‬ﻳﻚ‬
‫ﺩﺭ ﺍﻳﻨﺘﺮﻧﺖ ﮔﺰﻳﻨﻪ ﻣﻨﺎﺳﺐ‬ ‫ﻟﺨﺘﻰ ﻧﻔﺲ ﻛﺸﻴﺪﻥ ﺩﺭ ﺷﻜﻞﻫﺎﻯ‬ ‫]ﻳﻮﺷﻴﺞ[ ﻗﺮﺍﺭ ﺩﺍﺩ ﺍﻣﺎ ﺑﺪﻭﻥ ﺍﻭ ﺑﻪ ﻳﻘﻴﻦ‬ ‫ﺑﺮﺯﮔﺮ ﻧﻴﺰ ﺑﻪ ﺑﺨﺸﻰ ﺍﺯ ﺧﺎﻃﺮﺍﺕ‬ ‫ﺭﺋﻴﺲ ﺟﻤﻬﻮﺭ ﺩﻣﻮﻛﺮﺍﺕ ]ﺟﺎﻥ ﺍﻑ‬
‫‪‬ﺁﻳﺎ ﺍﺯ ﺗﻮﺯﻳﻊ ﻧﺴﺨﺔ ﭼﺎﭘﻰ‬ ‫ﻭﺍﺭﺯﺷﻤﻨﺪﻯ ﺍﺳﺖ‪ ،‬ﺑﺨﺼﻮﺹ‬ ‫ﺟﺎﻳﻰ ]ﺩﺭ ﺷﻌﺮ ﻧﻮ[ ﺧﺎﻟﻰ ﺧﻮﺍﻫﺪ ﺑﻮﺩ«‪.‬‬ ‫ﺧﻮﺩ ﺍﺯ ﻣﺤﻤﺪﻋﻠﻰ ﺳﭙﺎﻧﻠﻮ ﭘﺮﺩﺍﺧﺖ ﻭ‬ ‫ﻛﻨﺪﻯ[ ﻛﻪ ﺟﻨﮓ ﻭﻳﺘﻨﺎﻡ ﺭﺍ ﺑﻪ ﺁﻥ ﺍﺑﻌﺎﺩ‬
‫ﻛﻴﻬﺎﻥ ﻟﻨﺪﻥ ﺩﺭ ﮔﺬﺷﺘﻪ ﺭﺍﺿﻰ‬ ‫ﻛﻪ ﻫﻢﻭﻃﻨﺎﻥ ﺩﺍﺧﻞ ﺍﻳﺮﺍﻥ ﻧﻴﺰ‬ ‫ﮔﻮﻧﺎﮔﻮﻥ‬ ‫ﻛﺮﻳﻤﻰ ﺣﻜﺎﻙ ﺩﺭ ﺑﺨﺸﻰ ﺩﻳﮕﺮ‬ ‫ﮔﻔﺖ‪» :‬ﺩﺭ ﻫﻤﺎﻥ ﺳﺎﻝﻫﺎﻳﻰ ﻛﻪ ﺑﻬﻨﻮﺩ‬ ‫ﻛﺸﺎﻧﺪﻩ ﺑﻮﺩ ﻛﺸﺘﻪ ﻣﻰﺷﻮﺩ ﻭ ﺑﻌﺪ ﺍﺯ‬
‫ﺑﻮﺩﻳﺪ؟ ﺑﻪ ﻣﻮﻗﻊ ﺑﻪ ﺩﺳﺖ ﺷﻤﺎ‬ ‫ﻣﻰﺗﻮﺍﻧﻨﺪ ﺍﺯ ﺁﻥ ﺑﻬﺮﻩﻣﻨﺪ ﺷﻮﻧﺪ‪،‬‬ ‫ﺍﺯ ﺳﺨﻨﺮﺍﻧﻰ ﺧﻮﺩ ﺷﻌﺮ ﺳﭙﺎﻧﻠﻮ ﺭﺍ ﺑﻪ‬ ‫ﺑﻪ ﺁﻥ ﺍﺷﺎﺭﻩ ﺩﺍﺭﺩ ﺩﺭ ﻓﻀﺎﻯ ﺳﻴﺎﺳﻰ‬ ‫ﺁﻥ ﻳﻚ ﺭﺋﻴﺲ ﺟﻤﻬﻮﺭ ﺟﻨﮓ ﻃﻠﺐ‬
‫ﺍﻣﺎ ﻛﻴﻬﺎﻥ ﻟﻨﺪﻥ ﭼﺎﭘﻰ ﺑﺮﺍﻯ‬ ‫ﺍﻛﻨﻮﻥﺩﺭﻣﺮﻏﺰﺍﺭﻫﺎﻯﻋﺪﻥﻣﻰ َﭼ َﺮﺩ‬ ‫ﻧﻴﺮﻭﻫﺎﻯ ﭼﺮﻳﻜﻰ ﺷﻜﻞ ﻣﻰﮔﻴﺮﻧﺪ ﻭ‬
‫ﻣﻰﺭﺳﻴﺪ؟‬ ‫ﻣﺎ ﺧﺎﺭﺝﻧﺸﻴﻨﺎﻥ ﻧﻪ ﺗﻨﻬﺎ ﻳﺎﺩﺁﻭﺭ‬ ‫ﻭ ﭼﻮﻥ ﺑﻪ ﺳﺮﺳﺘﻮﻥﻫﺎﻯ ﻛﺎﺥ‬ ‫ﺍﺣﻤﺪ ﻛﺮﻳﻤﻰ ﺣﻜﺎﻙ‬ ‫ﻣﺴﻌﻮﺩ ﺑﻬﻨﻮﺩ‬
‫‪-‬ﻣﻦ ﻫﻤﻴﺸﻪ ﺍﺯ ﻃﺮﻳﻖ ﭘﺴﺖ ﻭ‬ ‫ﺳﺎﻝﻫﺎﻯ ﻣﺒﺎﺭﺯﻩ ﺍﺳﺖ ﺑﻠﻜﻪ‬ ‫ﻋﻨﺼﺮﻯ ﺗﺸﺒﻴﻪ ﻛﺮﺩ ﻛﻪ ﺧﻴﺎﺑﺎﻥﻫﺎ ﻭ‬ ‫ﺟﻤﺸﻴﺪ ﺑﺮﺯﮔﺮ‬ ‫ﺟﻤﻬﻮﺭﻯﺧﻮﺍﻩ ]ﺭﻳﭽﺎﺭﺩ ﻧﻴﻜﺴﻮﻥ[ ﺁﻥ‬
‫ﺳﺮ ﻭﻗﺖ ﻛﻴﻬﺎﻥ ﻟﻨﺪﻥ ﺭﺍ ﺩﺭﻳﺎﻓﺖ‬ ‫ﻧﺸﺮﻳﻪﺍﻯ ﺑﻮﺩ ﻛﻪ ﺍﺯ ﺑﺎﺭ ﺳﻴﺎﺳﻰ‬ ‫ﻫﺨﺎﻣﻨﺶ ﻧﮕﺎﻩ ﻣﻰﻛﻨﺪ‬ ‫ﻧﻤﺎﺩﻫﺎﻯ ﺷﻬﺮﻯ ﺭﺍ ﺑﻪ ﻣﻮﺟﻮﺩﻯ ﺯﻧﺪﻩ‬ ‫ﺩﺭ ﻓﻀﺎﻯ ﻓﺮﻫﻨﮕﻰ ﻫﻢ ”ﮔﺮﻭﻩ ﻃﺮﻓﻪ“‬
‫ﻣﻰﻛﺮﺩﻡ‪ .‬ﻃﺒﻴﻌﺘﺎً ﭘﺨﺶ ﻫﺮ ﭼﻪ‬ ‫ﻣﻌﺘﺒﺮﻯ ﺑﺮﺧﻮﺭﺩﺍﺭ ﺑﻮﺩ ﻭ ﻫﻢﭼﻨﻴﻦ‬ ‫ﺑﺪﻝ ﻛﺮﺩﻩ ﻭ ﻣﺎ ﺭﺍ ﺑﺎ ﺧﻮﺩ ﻫﻤﺴﻔﺮ‬ ‫ﺑﺎ ﺣﻀﻮﺭ ﺳﭙﺎﻧﻠﻮ‪ ،‬ﺑﻴﻀﺎﻳﻰ‪ ،‬ﺍﺣﻤﺪ ﺭﺿﺎ‬ ‫ﺟﻨﮓ ﺭﺍ ﭘﺎﻳﺎﻥ ﺩﺍﺩﻩ ﺑﻮﺩ‪«.‬‬
‫ﮔﺴﺘﺮﺩﻩﺗﺮ ﺑﺎﺷﺪ ﺑﻬﺘﺮ ﺍﺳﺖ ﺍﻣﺎ ﺍﮔﺮ‬ ‫ﺗﺎ ﻣﻘﺪﺍﺭ ﺯﻳﺎﺩﻯ ﻧﻈﺮﮔﺎﻩﻫﺎﻯ‬ ‫ﺁﻥ ﺭﺍ ﺗﺼﻮﻳﺮ ﺧﻮﺩ ﺩﺭ ﺁﻳﻨﻪ ﭘﻨﺪﺍﺭﺩ‬ ‫ﺯﻧﺪﮔﻰ ﻣﻰﻛﻨﺪ‪ ،‬ﻭ ﺍﺩﺍﻣﻪ ﺩﺍﺩ‪» :‬ﻭﻃﻦ‬ ‫ﺍﺣﻤﺪﻯ‪ ،‬ﺍﺳﻤﺎﻋﻴﻞ ﻧﻮﺭﻯ ﻋﻼ‪ ،‬ﻧﺎﺩﺭ‬ ‫ﺑﻬﻨﻮﺩ ﺍﻓﺰﻭﺩ‪» :‬ﺁﻥ ﺩﻫﻪ ﺑﺮﺍﻯ ﻣﺎ ﺑﺎ‬
‫ﺑﻮﺩﺟﺔ ﻣﺎﻟﻰ ﺍﺟﺎﺯﻩ ﺩﻫﺪ ﻣﺨﺼﻮﺻﺎً‬ ‫ﻗﺸﺮﺳﻴﺎﺳﻰ ﺭﺍﺳﺖ ﻭ ﻟﻴﺒﺮﺍﻝ ﺭﺍ‬ ‫ﺑﺮﺍﻯ ﺳﭙﺎﻧﻠﻮ ﻓﻀﺎﻳﻰ ﻣﻴﺎﻥ ﻣﻐﺮﺏ‬ ‫ﺍﺑﺮﺍﻫﻴﻤﻰ ﻭ ﻧﺎﺩﺭ ﺍﺣﻤﺪﻯ ﻭ ﺑﻌﺪﻫﺎ‬ ‫ﺣﺎﺩﺛﻪ ﺳﻴﺎﻫﻜﻞ ﭘﺎﻳﺎﻥ ﻳﺎﻓﺖ ﺣﺎﺩﺛﻪﺍﻯ‬
‫ﺑﺎ ﺗﻮﺟﻪ ﺑﻪ ﺍﻓﺰﺍﻳﺶ ﭼﺸﻤﮕﻴﺮ‬ ‫ﻫﻢ ﺑﺎﺯﺗﺎﺏ ﻣﻰﺩﺍﺩ‪ .‬ﻫﻢﭼﻨﻴﻦ‬ ‫ﺁﺫﻳﻦ ﺑﺒﻨﺪ ﺍﻯ ﺑﺎﺩ‬ ‫ﻭ ﻣﺸﺮﻕ ﺍﺳﺖ ﺍﻣﺎ ﻧﻪ ﺑﻪ ﺁﻥ ﺷﻜﻠﻰ‬ ‫ﭘﻴﻮﻧﺪ ﺧﻮﺭﺩﻥ ﺍﻳﻦ ﺟﻤﻊ ﺑﻪ ﺟﻼﻝ‬ ‫ﻛﻪ ﻫﻨﻮﺯ ﺩﺭ ﻣﻮﺭﺩ ﺁﻥ ﺻﺤﺒﺖ ﻣﻰﺷﻮﺩ‪.‬‬
‫ﺗﻨﻬﺎ ﻧﺸﺮﻳﻪﺍﻯ ﺑﻮﺩ ﻛﻪ ﺳﻮﺍﻯ‬ ‫ﻛﻪ ﺑﺮﺍﻯ ﺷﻔﻴﻌﻰ ﻛﺪﻛﻨﻰ ﺍﺳﺖ‪ ،‬ﺑﻠﻜﻪ‬ ‫ﺁﻝﺍﺣﻤﺪ ﻭ ﺍﻳﻨﻜﻪ ﻧﺎﺩﺭ ﺍﺑﺮﺍﻫﻴﻤﻰ‬ ‫ﺩﺭ ﺍﻭﺍﻳﻞ ﻫﻤﺎﻥ ﺩﻫﻪ ﻳﻚ ﺻﻨﺪﻭﻕ ﺳﺒﺰ‬
‫ﻫﺰﻳﻨﻪﻫﺎﻯ ﭘﺴﺘﻰ ﺩﺭ ﺍﻧﮕﻠﺴﺘﺎﻥ‪.‬‬ ‫ﺗﺒﻠﻴﻐﺎﺕ ﺗﺠﺎﺭﻯ‪ ،‬ﻓﻌﺎﻟﻴﺖﻫﺎﻯ‬ ‫ﺍﻳﻦ ﺗﺮﻛﻪﻫﺎﻯ ﻣﺮﺗﻌﺶ ﺳﻴﺐ ﺭﺍ‬ ‫ﻣﻔﻬﻮﻣﻰ ﺍﺳﺖ ﻣﻌﻨﺎﺩﺍﺭ ﺩﺭ ﮔﺬﺭ ﺯﻣﺎﻥ‬ ‫ﻣﻮﻓﻖ ﻣﻰﺷﻮﺩ ﻛﻪ ﺍﻣﻀﺎﻯ ﺑﻪﺁﺫﻳﻦ‬ ‫ﺭﻧﮕﻰ ﺩﺭ ﺍﻧﺘﻬﺎﻯ ﻳﻜﻰ ﺍﺯ ﻛﻮﭼﻪﻫﺎﻯ‬
‫ﺍﻣﻴﺪﻭﺍﺭﺍﻡ ﺩﺳﺖ ﻛﻢ ﺍﻳﺮﺍﻧﻴﺎﻧﻰ ﻛﻪ‬ ‫ﺳﻴﺎﺳﻰ ﺧﺎﺭﺝ ﺍﺯ ﻛﺸﻮﺭ‪ ،‬ﺍﻋﻼﻣﻴﻪﻫﺎ‬ ‫ﻛﺮﻳﻤﻰ ﺣﻜﺎﻙ ﻳﻜﻰ ﺍﺯ ﻋﻨﺼﺮﻫﺎﻯ‬ ‫ﻭ ﺑﺮﺍﻯ ﻣﻦ ﻛﻪ ﻳﻜﻰ ﺍﺯ ﺍﻫﺘﻤﺎﻡﻫﺎﻯ‬ ‫ﺭﺍ ﺑﮕﻴﺮﺩ ﺗﺎ ﻛﺎﻧﻮﻥ ﻧﻮﻳﺴﻨﺪﮔﺎﻥ ﺍﻳﺮﺍﻥ‬ ‫ﻻﻟﻪﺯﺍﺭ ﻧﻮ ﻛﻤﻰ ﺑﺎﻻﺗﺮ ﺍﺯ ﺳﺎﻟﻦ ﺗﺎﺑﺴﺘﺎﻧﻰ‬
‫ﺩﺭ ﻛﺸﻮﺭﻫﺎﻯ ﺍﺭﻭﭘﺎﻳﻰ ﻭ ﺑﻪ ﻭﻳﮋﻩ ﺩﺭ‬ ‫ﻭ ﻓﺮﺍﺧﻮﺍﻥﻫﺎﻯ ﺳﻴﺎﺳﻰ ﺭﺍ ﻧﻴﺰ‬ ‫ﺍﺻﻠﻰ ﺍﻳﻦ ﺷﻌﺮ ﺭﺍ ﺩﺭ »ﺗﺮﻛﻴﺐ ﺻﻼﺑﺖ‬ ‫ﺟﺪﻯﺍﻡ ﻣﻘﺎﺑﻠﻪ ﺑﺎ ﻧﺎﺳﻴﻮﻧﺎﻟﻴﺴﻢ‬ ‫ﺷﻜﻞ ﺑﮕﻴﺮﺩ‪ .‬ﻣﻦ ﺩﻫﻪ ﺍﻭﺍﻳﻞ ﻫﻔﺘﺎﺩ‬ ‫ﻛﺮﻳﺴﺘﺎﻝ ﺟﺎﻳﻰ ﻛﻪ ﻛﺎﺭﻫﺎﻯ ﻣﻌﺮﻭﻑ‬
‫ﺍﻧﮕﺴﺘﺎﻥ‪ ،‬ﺁﻟﻤﺎﻥ ‪ ،‬ﻓﺮﺍﻧﺴﻪ ﻭ ﺳﻮﺋﺪ ﻛﻪ‬ ‫ﭘﻮﺷﺶ ﻣﻰﺩﺍﺩ ‪ ،‬ﺩﺭ ﺣﺎﻟﻰ ﻛﻪ ﺳﺎﻳﺮ‬ ‫ﻭ ﺷﻜﻨﻨﺪﮔﻰ« ﺩﺍﻧﺴﺘﻪ ﻭ ﺍﺩﺍﻣﻪ ﺩﺍﺩ‪» :‬ﺍﻳﻦ‬ ‫ﺍﻓﺴﺎﺭﮔﺴﻴﺨﺘﻪ ﺩﺭ ﺷﻌﺮ ﻓﺎﺭﺳﻰ ﺍﺳﺖ‪،‬‬ ‫ﺑﺎ ﺳﭙﺎﻧﻠﻮ ﺁﺷﻨﺎ ﺷﺪﻡ ﺟﺎﻳﻰ ﻛﻪ ﺩﺭ‬ ‫ﺳﻴﻨﻤﺎﻯ ﺟﻬﺎﻥ ﺭﺍ ﺁﻧﺠﺎ ﺩﻳﺪﻳﻢ‪ ،‬ﻗﺮﺍﺭ‬
‫ﺟﻤﻌﻴﺖ ﻗﺎﺑﻞ ﺗﻮﺟﻬﻰ ﺭﺍ ﺗﺸﻜﻴﻞ‬ ‫ﻧﺸﺮﻳﻪﻫﺎﻯ ﻓﺎﺭﺳﻰﺯﺑﺎﻥ ﺑﺮﻭﻥﻣﺮﺯ‪،‬‬ ‫ﺗﺮﻛﻴﺐ ﺩﺭ ﺷﻌﺮ ﺍﻣﺮﻭﺯ ﺑﺴﻴﺎﺭ ﻧﺎﺩﺭ ﺍﺳﺖ‬ ‫ﺷﻌﺮ ﺳﭙﺎﻧﻠﻮ ﻛﻪ ﺑﻪ ﺍﻳﺮﺍﻥ ﻣﻰﭘﺮﺩﺍﺯﺩ‬ ‫ﺟﻤﻌﻰ ﺑﻪ ﻧﻘﺪ ﺷﻌﺮ ﻣﻰﭘﺮﺩﺍﺧﺘﻴﻢ ﻭ‬ ‫ﮔﺮﻓﺖ‪ .‬ﺭﻭﻯ ﺁﻥ ﺻﻨﺪﻭﻕ ﻧﻮﺷﺘﻪ ﺑﻮﺩﻧﺪ‬
‫ﻣﻰﺩﻫﻨﺪ‪ ،‬ﺍﮔﺮ ﻗﺮﺍﺭ ﺑﺎﺷﺪ ﺩﻭﺑﺎﺭﻩ ﭼﺎپ‬ ‫ﺑﻪ ﺍﺳﺘﺜﻨﺎﻯ ﻳﻜﻰ ﺩﻭﺗﺎ ﺩﺭ ﺁﻣﺮﻳﻜﺎ‬ ‫ﭼﺮﺍ ﻛﻪ ﻣﺎ ﺑﻪ ﺻﻼﺑﺖ ﺍﻫﻤﻴﺖ ﻣﻰﺩﻫﻴﻢ‬ ‫ﺟﻨﺒﻪﻫﺎﻯ ﻣﻬﻤﻰ ﺭﺍ ﺩﺭ ﺑﺮ ﺩﺍﺭﺩ‪ .‬ﺍﻳﺮﺍ ِﻥ‬ ‫ﻗﺮﺍﺭ ﺷﺪ ﻣﻦ ﻣﻘﺎﻟﻪﺍﻯ ﺩﺭ ﻣﻮﺭﺩ ﺷﻌﺮ‬ ‫ﺻﻨﺪﻭﻕ ُﺟﻨﮓ ﻛﻪ ﻣﺎ ﺁﻥ ﺍﻭﺍﻳﻞ ﺁﻥ ﺭﺍ‬
‫ﺷﻮﺩ‪ ،‬ﺑﻪ ﮔﻮﻧﻪﺍﻯ ﺭﺍﺣﺖﺗﺮ ﺑﻪ ﺁﻥ‬ ‫ﻛﻪ ﺻﺮﻓﺄ ﺑﺮﺍﻯ ﺁﻣﺮﻳﻜﺎ ﭼﺎپ‬ ‫ﻭ ﺍﻳﻦ ﻟﺤﻈﻪﻫﺎﻯ ﻓ ّﺮﺍﺭ ﺩﺭ ﺷﻌﺮ ﻛﻤﺘﺮ‬ ‫ﺷﻌﺮ ﺳﭙﺎﻧﻠﻮ ﺑﻪ ﻣﻌﻨﻰ ﺍﻳﺮﺍﻧﻰ ﺑﺎ ﻣﺮﺯﻫﺎﻯ‬ ‫ﺳﭙﺎﻧﻠﻮ ﺑﻨﻮﻳﺴﻢ‪ .‬ﺩﺭ ﺁﻥ ﺗﺐ ﻭ ﺗﺎﺏ‬ ‫ﺻﻨﺪﻭﻕ َﺟﻨﮓ ﻣﻰﺧﻮﺍﻧﺪﻳﻢ‪ .‬ﺍﻳﻨﻜﻪ ﺑﻪ‬
‫ﻣﻰﺷﻮﻧﺪ‪ ،‬ﺍﺳﺎﺳﺄ ﺟﻨﺒﻪ ﺗﺠﺎﺭﻯ‬ ‫ﺩﻳﺪﻩ ﻣﻰﺷﻮﺩ ﭼﺮﺍ ﻛﻪ ﻣﺎ ﺩﺭ ﺗﺎﺭﻳﺦ‬ ‫ﺟﻐﺮﺍﻓﻴﺎﻳﻰ ﺍﻣﺮﻭﺯﻯ ﻧﻴﺴﺖ ﺑﻠﻜﻪ ﺍﻳﺮﺍﻥ‬ ‫ﺟﻮﺍﻧﻰ ﺩﺭ ﺁﻥ ﻓﻜﺮ ﺑﻮﺩﻡ ﻛﻪ ﻣﻘﺎﻟﻪﺍﻯ‬ ‫ﭼﻪ ﺷﻜﻠﻰ ﻣﺮﺩﻡ ﺧﺒﺮﺩﺍﺭ ﺷﺪﻧﺪ ﻛﻪ ﻫﺮ‬
‫ﺩﺳﺘﺮﺳﻰ ﺩﺍﺷﺘﻪ ﺑﺎﺷﻨﺪ‪.‬‬ ‫ﺩﺍﺭﻧﺪ ﻭ ﺍﮔﺮ ﻫﻢ ﻣﻄﻠﺒﻰ ﺭﺍ ﺩﺭﺝ‬ ‫ﻫﻤﻮﺍﺭﻩ ﺑﻪ ﺁﻥ ﺻﻼﺑﺖ ﺑﻴﺸﺘﺮ ﺗﻮﺟﻪ‬ ‫ﺍﻭ ﺑﺴﻴﺎﺭ ﺑﺰﺭگﺗﺮ ﺑﻮﺩﻩ ﻭ ﺣﺎﻻ ﻛﻪ‬ ‫ﺑﻨﻮﻳﺴﻢ ﺑﻪ ﻗﻮﻟﻰ ﻛﻮﺑﻨﺪﻩ ﻭ ”ﺣﻖﺍﺵ‬ ‫ﻛﺴﻰ ﻛﻪ ﻛﺎﺭﻯ ﻫﻨﺮﻯ ﺩﺍﺭﺩ ﻛﻪ ﺟﺎﻳﻰ‬
‫ﻣﻰﻛﻨﻨﺪ ﺑﻴﺸﺘﺮ ﻧﮕﺎﻩ ﺧﺒﺮﻯ ﺩﺍﺭﺩ‬ ‫ﻛﺮﺩﻩﺍﻳﻢ‪ .‬ﺳﭙﺎﻧﻠﻮ ﺩﺭ ﺛﺒﺖ ﮔﺬﺭﻧﺪﮔﻰﻫﺎ‬ ‫ﻛﻮﭼﻚﺗﺮ ﺷﺪﻩ ﺍﺳﺖ ﻛﻢ ﺍﻫﻤﻴﺖﺗﺮ‬ ‫ﺭﺍ ﻛﻒ ﺩﺳﺖﺍﺵ ﺑﮕﺬﺍﺭﻡ“ ﺍﻣﺎ ﻭﻗﺘﻰ‬ ‫ﻣﻨﺘﺸﺮ ﻧﺸﺪﻩ ﺍﺳﺖ ﻣﻰﺗﻮﺍﻧﺪ ﺩﺭ ﺍﻳﻦ‬
‫‪‬ﺧﺎﻧﻢ ﻫﺎﻳﺪﻩ ﺗﻮﻛﻠﻰ‪ ،‬ﻣﻤﻨﻮﻥ‬ ‫ﻭ ﻧﻪ ﺗﺤﻠﻴﻞ ﻳﺎ ﺁﻣﻮﺯﺵ ﺩﻳﺪﮔﺎﻩﻫﺎﻯ‬ ‫ﻭ ﻟﺤﻈﻪﻫﺎﻳﻰ ﻛﻪ ﭼﻴﺰﻯ ﺑﻪ ﭼﻴﺰﻯ‬ ‫ﻧﺸﺪﻩ ﺍﺳﺖ‪ .‬ﺍﮔﺮ ﻭﻃﻦ ﺑﺮﺍﻯ ﺳﭙﺎﻧﻠﻮ‬ ‫ﻛﺎﺭﻫﺎﻯ ﺍﻭ ﺭﺍ ﺑﻴﺸﺘﺮ ﺧﻮﺍﻧﺪﻡ ﻣﻘﺎﻟﻪ‬ ‫ﺻﻨﺪﻭﻕ ﺑﻴﺎﻧﺪﺍﺯﺩ‪ .‬ﺑﻌﺪﻫﺎ ﻣﻌﻠﻮﻡ ﺷﺪ‬
‫ﺍﺯ ﻭﻗﺘﻰ ﻛﻪ ﺩﺭ ﺍﺧﺘﻴﺎﺭ ﻛﻴﻬﺎﻥ ﻗﺮﺍﺭ‬ ‫ﺩﻳﮕﺮ ﺑﺪﻝ ﻣﻰﺷﻮﺩ ﺭﺍ ﺑﻪ ﺗﺼﻮﻳﺮ ﻛﺸﻴﺪﻩ‬ ‫ﻣﺤﺘﺮﻡ ﺍﺳﺖ ﺑﻪ ﺁﻥ ﺩﻟﻴﻞ ﺍﺳﺖ ﻛﻪ‬ ‫ﻣﻦ ﻣﺘﻔﺎﻭﺕ ﺍﺯ ﺁﻥ ﭼﻴﺰﻯ ﺷﺪ ﻛﻪ ﺩﺭ‬ ‫ﺍﻳﻦ ﺻﻨﺪﻭﻕ ﺩﻭ ﻣﺘﻮﻟﻰ ﺩﺍﺭﺩ‪ ،‬ﻳﻜﻰ ﺑﺎ‬
‫ﺳﻴﺎﺳﻰ‪.‬‬ ‫ﺍﺳﺖ‪ .‬ﮔﺎﻭ ﺳﺒﺰﻯ ﻛﻪ ﺩﺭ ﺁﻳﻨﻪ ﺻﻼﺑﺖ‬ ‫ﻣﺘﺠﺎﻭﺯ ﻧﺒﺎﺷﺪ‪ ،‬ﻭ ﺍﻳﻦ ﺳﺮﺯﻣﻴﻦ ﺭﺍ ﺑﺮﺍﻯ‬ ‫ﺍﺑﺘﺪﺍ ﺩﺭ ﺫﻫﻦ ﺩﺍﺷﺘﻢ‪ ،‬ﺑﻴﺸﺘﺮ ﺗﻔﺴﻴﺮﻯ‬ ‫ﻗﺪﻯ ﺑﻠﻨﺪ ﻛﻪ ﺳﭙﺎﻧﻠﻮ ﺑﻮﺩ ﻭ ﺩﻳﮕﺮﻯ‬
‫ﺩﺍﺩﻳﺪ‪.‬‬ ‫ﮔﺎﻭﻫﺎﻯ ﺗﺨﺖ ﺟﻤﺸﻴﺪ ﺭﺍ ﻣﻰﺑﻴﻨﺪ ﻭ ﺁﻥ‬ ‫ﺳﺘﺎﻳﺶﺁﻣﻴﺰ ﺍﺯ ﺍﻭ ﺷﺪ‪ .‬ﺳﭙﺎﻧﻠﻮ ﺷﺎﻋﺮ‬ ‫ﺑﺎ ﻗﺪﻯ ﻛﻮﺗﺎﻩﺗﺮ ﻭ ﺑﻮﺭﺗﺮ ﻛﻪ ﺍﺳﻤﺎﻋﻴﻞ‬
‫‪-‬ﻣﻦ ﻫﻢ ﻣﻤﻨﻮﻧﻢ ﻭ ﺑﺮﺍﻯ ﻛﻴﻬﺎﻥ‬ ‫‪‬ﭼﻨﻴﻦ ﺭﻭﺯﻧﺎﻣﺔ ﻫﻔﺘﮕﻰ‬ ‫ﺭﺍ ﺗﺼﻮﻳﺮ ﺧﻮﺩ ﻣﻰﺑﻴﻨﺪ ﺑﺎ ﺍﻳﻨﻜﻪ ﺍﻣﺮﻭﺯ‬ ‫ﻣﺎ ﻭ ﺷﻌﺮ ﺳﭙﺎﻧﻠﻮ ﻣﺤﺘﺮﻡ ﻣﻰﻛﻨﺪ«‪.‬‬ ‫ﻣﻮﺭﺩ ﻋﻼﻗﻪ ﺑﺴﻴﺎﺭﻯ ﻧﻴﺴﺖ ﺍﻣﺎ ﺍﻭ‬ ‫ﻧﻮﺭﻯ ﻋﻼ ﺑﻮﺩ‪ .‬ﺗﻌﺪﺍﺩ ﺍﻳﻦ ﻛﺎﻏﺬﻫﺎﻳﻰ ﻛﻪ‬
‫ﻟﻨﺪﻥ ﺁﺭﺯﻭﻯ ﭘﻴﺮﻭﺯﻯ ﻭ ﺳﺮﺑﻠﻨﺪﻯ‬ ‫ﭼﻪ ﻇﺎﻫﺮﻯ ﺑﺎﻳﺪ ﺩﺍﺷﺘﻪ ﺑﺎﺷﺪ‬ ‫ﻛﺮﻳﻤﻰ ﺣﻜﺎﻙ ﺁﻧﮕﺎﻩ ﺍﻓﺰﻭﺩ‪ ،‬ﺍﮔﺮ ﺑﻪ‬ ‫ﺩﺍﺭﺍﻯ ﺳﺒﻜﻰ ﺧﺎﺹ ﺑﻮﺩ ﻛﻪ ﺑﻪ ﺗﻌﺒﻴﺮ‬ ‫ﺑﻪ ﺁﻥ ﺻﻨﺪﻭﻕ ﺭﻓﺖ ﻣﺸﺨﺺ ﻧﻴﺴﺖ‬
‫ﻭ ﺩﺭ ﭼﻪ ﻗﻄﻊ ﻣﻨﺘﺸﺮ ﺷﻮﺩ ﻭ‬ ‫ﺩﺭ ﺟﺎﻳﮕﺎﻫﻰ ﺩﻳﮕﺮ ﺍﺳﺖ«‪.‬‬ ‫ﺍﺟﺒﺎﺭ ﻳﻚ ﺷﻌﺮ ﺭﺍ ﺍﺯ ﺳﭙﺎﻧﻠﻮ ﺑﺎﻳﺴﺖ‬ ‫ﺧﻮﺩﺵ ”ﻟﺴﺎﻥ ﻧﺎﺷﻨﺎﺧﺘﻪ“ ﺑﻮﺩ‪ .‬ﺍﻳﻨﺠﺎ‬ ‫ﺍﻣﺎ ﻣﻰﺗﻮﺍﻧﻢ ﺑﮕﻮﻳﻢ ﻛﻪ ﻫﺮ ﺁﻧﻜﻪ ﺩﺭ‬
‫ﺩﺍﺭﻡ‪.‬‬ ‫ﻣﻴﺰﺍﻥﭘﺎژ ﻣﻄﻠﻮﺏ ﺑﻪ ﻧﻈﺮ ﺷﻤﺎ‬ ‫ﺍﻭ ﺩﺭ ﭘﺎﻳﺎﻥ ﺑﻪ ﺧﺎﻃﺮﻩﺍﻯ ﺍﺯ ﺳﺎﻝﻫﺎﻯ‬ ‫ﺍﻧﺘﺨﺎﺏ ﻛﺮﺩ‪» ،‬ﮔﺎﻭ ﺳﺒﺰ« ﻛﻪ ﻳﺎﺩﻭﺍﺭﻩﺍﻯ‬ ‫ﺑﺎﻳﺪ ﺑﻪ ﻳﻚ ﻧﻜﺘﻪ ﺩﻳﮕﺮ ﺍﺷﺎﺭﻩ ﻛﻨﻢ ﻭ‬ ‫ﺩﻫﻪﻫﺎﻯ ﺑﻌﺪ ﺷﻨﺎﺧﺘﻴﻢ ﺩﺭ ﺁﻥ ﺻﻨﺪﻭﻕ‬
‫ﭼﻪ ﺧﺼﻮﺻﻴﺎﺗﻰ ﺑﺎﻳﺪ ﺩﺍﺷﺘﻪ‬ ‫ﻧﺨﺴﺖ ﺍﻧﻘﻼﺏ ‪ 57‬ﺍﺷﺎﺭﻩ ﻛﺮﺩ ﻭ ﮔﻔﺖ‪:‬‬ ‫ﺍﺯ ﺗﺨﺖ ﺟﻤﺸﻴﺪ ﺍﻣﺎ ﺳﺎﺧﺘﻪ ﺷﺪﻩ ﺍﺯ‬ ‫ﺁﻥ ﻟﻘﺐ »ﺷﺎﻋﺮ ﺗﻬﺮﺍﻥ« ﺑﻮﺩ ﻛﻪ ﺑﻪ‬ ‫ﺑﻮﺩ‪ .‬ﺍﻋﻢ ﺍﺯ ﻛﺴﺎﻧﻰ ﻛﻪ ﺩﺭ ﺳﻴﻨﻤﺎ ﺑﻮﺩﻧﺪ‬
‫»ﺩﺭ ﺁﻥ ﺷﺐﻫﺎﻯ ﺗﻴﺮﻩ ﺍﻧﻘﻼﺑﻰ ﻛﻪ ﻣﺎ‬ ‫ﻃﺒﻴﻌﺖ ﻭ ﺷﺎﺥ ﻭ ﺑﺮگ ﺩﺭﺧﺘﺎﻥ ﺍﺳﺖ‪،‬‬ ‫ﺳﭙﺎﻧﻠﻮ ﺩﺍﺩﻩ ﺑﻮﺩﻧﺪ‪ ،‬ﺑﺎ ﺍﻳﻨﻜﻪ ﺧﻮﺩﺵ‬ ‫ﻣﺎﻧﻨﺪ ﻛﻴﺎﺭﺳﺘﻤﻰ‪ ،‬ﻛﻴﻤﻴﺎﻳﻰ ﻭ ﺣﺘﻰ ﺩﺭ‬
‫ﺑﺎﺷﺪ؟‬ ‫ﻣﻰﻓﻬﻤﻴﺪﻳﻢ ﻛﻪ ﻣﺎ ﺍﺯ ﺍﻭ ﻧﻴﺴﺘﻴﻢ ﻭ ﺍﻭ‬ ‫ﻫﻢ ﺍﺯ ﺍﻳﻦ ﻣﻮﺿﻮﻉ ﻧﺎﺭﺍﺿﻰ ﻧﺒﻮﺩ ﺍﻣﺎ‬ ‫ﺟﺎﻳﻰ ﻣﻴﺮﺣﺴﻴﻦ ﻣﻮﺳﻮﻯ ﻫﻢ ﻧﻮﺷﺘﻪ‬
‫‪-‬ﻣﻦ ﻣﺸﻜﻠﻰ ﺩﺭ ﺷﻜﻞ‬ ‫ﺍﺯ ﻣﺎ ﻧﻴﺴﺖ‪ ،‬ﺗﺎ ﺻﺒﺢ ﺗﺮﺍﻧﻪﻫﺎﻯ ﻗﻤﺮ ﻭ‬ ‫ﺁﻥ ﺷﻌﺮ ﺑﺮﺍﻯ ﻣﻦ ﺧﻮﺍﻫﺪ ﺑﻮﺩ‪:‬‬
‫ﻇﺎﻫﺮﻯ ﻛﻴﻬﺎﻥ ﻛﻪ ﺩﺭ ﮔﺬﺷﺘﻪ‬ ‫ﺑﻨﺎﻥ ﻭ ﻣﺮﺿﻴﻪ ﻭ ﺩﻟﻜﺶ ﺭﺍ ﻣﻰﺧﻮﺍﻧﺪﻳﻢ‬
‫ﻭ ﺧﺴﺘﻪ ﻧﻤﻰﺷﺪﻳﻢ‪ .‬ﺁﻥ ﺷﺐ ﻫﻤﺎﻥ‬
‫ﻳﺎﺩﻭﺍﺭﻩﻫﺎﻳﻰ ﺍﺳﺖ ﻛﻪ ﻫﻤﺎﻥ ﻛﺎﺭﻯ ﻛﻪ‬
‫ﻣﻰﻛﺮﺩ ﻛﻪ ﺷﻌﺮ ﺳﭙﺎﻧﻠﻮ ﺍﻣﺮﻭﺯ ﺑﺮﺍﻯ ﻣﺎ‬
‫ﻣﻰﻛﻨﺪ ﻳﻌﻨﻰ ﻳﺎﺩﻫﺎﻳﻰ ﺭﺍ ﺯﻧﺪﻩ ﻣﻰﻛﻨﺪ‬
‫ﻛﻪ ﺍﮔﺮ ﺷﻌﺮ ﺳﭙﺎﻧﻠﻮ ﻧﺒﻮﺩ ﻣﺎ ﺭﺍ ﺑﻪ‬

‫ﺧﻴﺎﺑﺎﻥﻫﺎ ﻧﻤﻰﺑﺮﺩ«‪.‬‬
‫ﭘﺲ ﺍﺯ ﭘﺎﻳﺎﻥ ﺍﻳﻦ ﻳﺎﺩﺑﻮﺩ‪ ،‬ﻳﻜﻰ ﺍﺯ‬
‫ﺷﺮﻛﺖ ﻛﻨﻨﺪﮔﺎﻥ ﺩﺭ ﮔﻔﺘﮕﻮﻯ ﻛﻮﺗﺎﻫﻰ‬
‫ﺑﻪ ﻛﻴﻬﺎﻥ ﻟﻨﺪﻥ ﮔﻔﺖ‪» :‬ﺷﻌﺮ ﺳﭙﺎﻧﻠﻮ‬
‫ﺑﺮﺍﻯ ﻣﻦ ﻫﻤﺎﻧﻰ ﺍﺳﺖ ﻛﻪ ﺩﺭ ﻓﻴﻠﻢ‬
‫]ﻣﺴﺘﻨﺪ ﻗﺎﻳﻖ ﺳﻮﺍﺭﻯ ﺩﺭ ﺗﻬﺮﺍﻥ[ ﺑﻪ ﺁﻥ‬
‫ﻭﺍﺯ ﺯﺑﺎﻥ ﺧﻮﺩ ﺳﭙﺎﻧﻠﻮ ﺍﺷﺎﺭﻩ ﺷﺪ‪ .‬ﻳﻌﻨﻰ‬
‫ﻣﺒﺎﺭﺯﻩ ﺑﺎ ﺗﻼﺷﻰ ﻛﻪ ﻣﻰﺧﻮﺍﻫﺪ ﺗﺎﺭﻳﺦ‬
‫ﺭﺍ ﭘﺎﻙ ﻛﻨﺪ ﻭ ﺳﭙﺎﻧﻠﻮ ﻣﺎ ﺭﺍ ﺑﺎ ﺧﻮﺩ ﺑﻪ‬
‫ﺁﻥ ﺗﺎﺭﻳﺦ ﻣﻰﺑﺮﺩ‪ .‬ﺩﺭ ﻭﺍﻗﻊ ﺷﻌﺮ ﺍﻭ ﺷﻌﺮ‬
‫ﺯﻣﺎﻥ ﺍﺳﺖ ﻭ ﻳﻚ ﺳﻴﺮ ﺩﺭ ﺗﺎﺭﻳﺨﻰ ﻛﻪ‬
‫ﺑﺴﻴﺎﺭﻯ ﺁﻥ ﺭﺍ ﻫﺮ ﺭﻭﺯ ﺩﺭ ﻛﻮﭼﻪﻫﺎ‬

‫ﻣﻰﺑﻴﻨﻨﺪ«‪.‬‬
‫ﺷﺮﻛﺖ ﻛﻨﻨﺪﻩ ﺩﻳﮕﺮﻯ ﺑﺎ ﺗﻮﺟﻪ ﺑﻪ‬
‫ﻧﻘﺶ ﺳﭙﺎﻧﻠﻮ ﺩﺭ ﺷﻌﺮ ﻓﺎﺭﺳﻰ ﭼﻨﻴﻦ‬
‫ﮔﻔﺖ‪» :‬ﺳﭙﺎﻧﻠﻮ ﺭﺍ ﻫﻤﺎﻥ ﻃﻮﺭ ﻛﻪ ﺩﺭ‬
‫ﺳﺨﻨﺮﺍﻧﻰﻫﺎ ﺍﺷﺎﺭﻩ ﺷﺪ ﺍﮔﺮ ﻣﺤﺪﻭﺩ‬
‫ﺑﻪ ﺷﺎﻋﺮ ﺗﻬﺮﺍﻥ ﻛﻨﻴﻢ ﺩﺭ ﺣﻖ ﺍﻭ ﺟﻔﺎ‬
‫ﻛﺮﺩﻩﺍﻳﻢ‪ .‬ﺑﻪ ﺑﺎﻭﺭ ﻣﻦ ﺍﮔﺮ ﺍﻭ ﺭﺍ ﻣﺤﺪﻭﺩ‬
‫ﺑﻪ ﺷﺎﻋﺮ ﺑﻮﺩﻥ ﻧﻴﺰ ﺑﻜﻨﻴﻢ ﺩﺭ ﺣﻖ ﺍﻭ ﺟﻔﺎ‬
‫ﻛﺮﺩﻩﺍﻳﻢ‪ .‬ﻛﺎﺭﻫﺎﻯ ﺗﺤﻘﻴﻘﻰ ﻭ ﺗﺮﺟﻤﻪ ﺍﻭ‬
‫ﺩﺭ ﻧﻮﻉ ﺧﻮﺩ ﺑﺴﻴﺎﺭ ﺍﺭﺯﺷﻤﻨﺪ ﺍﺳﺖ ﻭ‬
‫ﻛﺘﺎﺏ »ﭼﻬﺎﺭ ﺷﺎﻋﺮ ﺁﺯﺍﺩﻯ« ﺍﺯ ﺟﻤﻠﻪ‬
‫ﻛﺎﺭﻫﺎﻳﻰ ﺍﺳﺖ ﻛﻪ ﺩﺭ ﺗﺎﺭﻳﺦ ﺍﺩﺑﻴﺎﺕ‬

‫ﺍﻳﺮﺍﻥ ﻣﺎﻧﺪﮔﺎﺭ ﺧﻮﺍﻫﺪ ﺷﺪ«‪.‬‬