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‫ﺻﻔﺤﻪ ‪ 5‬ـ ‪ Page 5‬ـ ﺷﻤﺎﺭﻩ ‪39‬‬ ‫ﻭﻳﮋﻩ ﻛﺮﻳﺴﻤﺲ‬
‫ﺟﻤﻌﻪ ‪ 18‬ﺗﺎ ﭘﻨﺠﺸﻨﺒﻪ ‪ 31‬ﺩﺳﺎﻣﺒﺮ ‪2015‬‬

‫ﻛﻮﭼﻪﻯ ﻣﺸﻬﻮﺭ ﻓﺮﻳﺪﻭﻥ ﻣﺸﻴﺮﻯ ﺩﺭ ﺷﻌﺮ‪ ،‬ﺍﻣﺎ ﻧﻪ ﺩﺭ‬ ‫ﻫﻨﻮﺯ ﺑﻮﺳﻪ‪ ،‬ﺑﻪ ﺧﻮﺭﺷﻴﺪ ﻣﻰﺯﻧﺪ ﺩﻫﻨﺶ‬
‫ﺯﺍﺩﮔﺎﻫﺶ ‪...‬‬
‫ﺍﺣﻤﺪ ﺷﺎﻣﻠﻮ‪ ،‬ﺑﺎﻣﺪﺍ ِﺩ ﺷﻌﺮ ﺍﻣﺮﻭﺯ ﺍﻳﺮﺍﻥ‪ ،‬ﺩﺭ ‪ 21‬ﺁﺫﺭ ‪ 1304‬ﺧﻮﺭﺷﻴﺪﻯ ﺩﺭ ﺧﺎﻧﻪﻯ ﺷﻤﺎﺭﻩﻯ ‪ 134‬ﺧﻴﺎﺑﺎﻥ ﺻﻔﻰ‬

‫ﻛﺘﺎﻳﻮﻥ ﺣﻼﺟﺎﻥ ‪ -‬ﺩﺭ ﺭﻭﺯ ﺟﻤﻌﻪ‬ ‫ﻋﻠﻴﺸﺎﻩ ﺗﻬﺮﺍﻥ‪ ،‬ﭘﺎ ﺑﻪ ُﮔﺴﺘﺮﻩﻯ ﮔﻴﺘﻰ ﻣﻰﮔﺬﺍﺭﺩ ﺗﺎ ﻋﺸﻖ ﺑﺎ ﻧﻮﺭ‪ ،‬ﺑﺎ ﻏﺮﻭﺭ ”ﺟﺎﻣﻰ ﺑﻪ ﺳﺮﺑﻠﻨﺪ ِﻯ ﺁﻭﺍﺯ ﻋﺎﺷﻘﺎﻥ ﺑﺮﺩﺍﺭﺩ“‪.‬‬
‫‪ 13‬ﻧﻮﺍﻣﺒﺮ ﺗﻨﻬﺎ ﺑﺎ ﻓﺎﺻﻠﻪ ﻳﻚ ﺳﺎﻋﺖ‬
‫ﺍﺯ ﺣﻤﻼﺕ ﺗﺮﻭﺭﻳﺴﺘﻰ ﭘﺎﺭﻳﺲ ﺗﻮﺳﻂ‬ ‫ﻋﺰﻳﺰ ﺧﺎﻃﺮﻩ ﺍﻧﮕﻴﺰﻡ ﺑﻴﮋﻥ ﺍﺳﺪﻯ ﭘﻮﺭ‪ ،‬ﺳﺮﺩﺑﻴﺮ ”ﺩﻓﺘﺮ ﻫﻨﺮ“ ﺩﺭ ﺍﻣﺮﻳﻜﺎ ﺩﺭ ﺳﺎﻝ ‪ 76‬ﺧﻮﺭﺷﻴﺪﻯ ﻭﻳﮋﻩﻧﺎﻣﻪﺍﻯ ﺑﺮﺍﻯ‬
‫ﺍﻓﺮﺍﻃﻴﻮﻥ ﺍﺳﻼﻣﻰ ﻋﻠﻴﻪ ﺍﻧﺴﺎﻧﻴﺖ‪،‬‬
‫ﻣﻬﺮ ﻭ ﻋﺸﻖ ﻛﻪ ﺑﻪ ﻛﺸﺘﺎﺭ ﺑﻴﺶ ﺍﺯ‬ ‫ﺍﻳﻦ ﻣﺮ ِﺩ ﻣﺮﺩﺳﺘﺎ ِﻥ ﺷﻌﺮ ﺍﻣﺮﻭﺯ ﺍﻳﺮﺍﻥ ‪،‬ﻧﺸﺮ ﻣﻰﺩﻫﺪ‪ “ .‬ﺑﻮﺳﻪ ﺑﻪ ﺧﻮﺭﺷﻴﺪ“ ﺭﺍ ﻛﻪ ﺩﺭ ﺑﺎﺭﻩﻯ ﺷﺎﻣﻠﻮ ﻧﻮﺷﺘﻢ ﻧﺨﺴﺘﻴﻦ‬
‫ﺻﺪ ﻧﻔﺮ ﻭ ﺯﺧﻤﻰ ﺷﺪﻥ ﺩﻩﻫﺎ ﺗﻦ ﺩﺭ‬
‫ﺁﻥ ﺷﺐ ﺍﻧﺠﺎﻣﻴﺪ‪ ،‬ﺟﻤﻌﻴﺖ ﻛﻮﭼﻜﻰ‬ ‫ﺭﺿﺎ ﻣﻘﺼﺪﻯ‬ ‫ﺑﺎﺭ ﺩﺭ ﺍﻳﻦ ”ﺩﻓﺘﺮ“ ﺍﻧﺘﺸﺎﺭ ﻳﺎﻓﺖ‪.‬‬
‫ﺍﺯ ﺍﻳﺮﺍﻧﻴﺎﻥ ﺩﺭ ﮔﻮﺷﻪﺍﻯ ﺍﺯ ﭘﺎﺭﻳﺲ‬
‫ﮔﺸﺘﻴﻢ‬ ‫ﺑﺎ ﺍﻳﻦﺣﺎﻝ ﻫﻴﭻ ﻛﺪﺍﻡ ﺑﻪ ﺍﻧﺪﺍﺯﻩ‬ ‫ﻳﺎﺩ ﻭ ﻧﺎﻡ ﻓﺮﻳﺪﻭﻥ ﻣﺸﻴﺮﻯ ﺭﺍ ﮔﺮﺍﻣﻰ‬
‫ﺳﺎﻋﺘﻰ ﺑﺮ ﻟﺐ ﺁﻥ ﺟﻮﻯ ﻧﺸﺴﺘﻴﻢ‪.‬‬ ‫»ﻛﻮﭼﻪ«ﻯ ﻓﺮﻳﺪﻭﻥ ﻣﺸﻴﺮﻯ‬ ‫ﻣﻰﺩﺍﺷﺘﻨﺪ‪ .‬ﺷﺎﻋﺮﻯ ﻛﻪ ﺟﺰ ﺍﺯ ﺑﺮﺍﻯ‬
‫ﺗﻮ‪،‬ﻫﻤﻪﺭﺍﺯﺟﻬﺎﻥﺭﻳﺨﺘﻪﺩﺭﭼﺸﻢﺳﻴﺎﻫﺖ‪.‬‬ ‫ﺧﺎﻃﺮﺍﺕ ﺟﻤﻌﻰ ﻣﺎ ﺭﺍ ﺍﺯ ﻣﻔﻬﻮﻡ‬ ‫ﻣﻬﺮ ﻭ ﻋﺸﻖ ﻭ ﺩﻭﺳﺘﻰ ﻭ ﺁﺯﺍﺩﻯ ﻭ‬
‫ﻛﻮﭼﻪ ﻋﻄﺮﺁﮔﻴﻦ ﻧﻜﺮﺩﻩ ﺍﺳﺖ‪ .‬ﺑﻪ‬
‫ﻣﻦ ﻫﻤﻪ‪ ،‬ﻣﺤﻮ ﺗﻤﺎﺷﺎﻯ ﻧﮕﺎﻫﺖ‪.‬‬ ‫ﻋﻘﻴﺪﻩ ﻣﻬﺸﻴﺪ ﻣﺸﻴﺮﻯ‪» ،‬ﻛﻮﭼﻪ«ﻯ‬ ‫ﻃﺒﻴﻌﺖ ﻧﺴﺮﻭﺩ‪.‬‬
‫ﺁﺳﻤﺎﻥ‪ ،‬ﺻﺎﻑ ﻭ ﺷﺐ‪ ،‬ﺁﺭﺍﻡ‬ ‫ﻣﺸﻴﺮﻯ ﺩﺭ ﺳﺮﺯﻣﻴﻦ ﺷﻌﺮ ﻓﺎﺭﺳﻰ‬ ‫ﺑﺮﻧﺎﻣﻪ ﺑﺎ ﺧﻮﺍﻧﺪﻥ ﺷﻌﺮ ﻣﻌﺮﻭﻑ‬
‫ﺑﺨﺖ‪ ،‬ﺧﻨﺪﺍﻥ ﻭ ﺯﻣﺎﻥ‪ ،‬ﺭﺍﻡ‬ ‫ﺑﻪ ﻟﺤﺎﻅ ﻣﺤﺒﻮﺑﻴﺖ ﺭﺧﺪﺍﺩﻯ ﺍﺳﺖ‬ ‫»ﻛﻮﭼﻪ« ﺑﻪ ﺯﺑﺎﻥ ﺍﻧﮕﻠﻴﺴﻰ ﻭ ﻓﺮﺍﻧﺴﻪ‬
‫ﺍﺟﺘﻨﺎﺏﻧﺎﭘﺬﻳﺮ‪ .‬ﻣﺎ ﺍﻣﺎ ﻫﻴﭻ ﻛﻮﭼﻪﺍﻯ‬ ‫ﺗﻮﺳﻂ ﺧﺎﻧﻢ ﺳﻮﺯﻯ ﺿﻴﺎﻳﻰ ﻫﻤﺮﺍﻩ ﺑﺎ‬
‫ﺧﻮﺷﺔ ﻣﺎﻩ ﻓﺮﻭ ﺭﻳﺨﺘﻪ ﺩﺭ ﺁﺏ‬ ‫ﻧﻮﺍﺯﻧﺪﮔﻰ ﻭﻳﻮﻟﻮﻥﺳﻞ ﺁﻗﺎﻯ ﻣﻬﺮﺩﺍﺩ‬
‫ﺷﺎﺧﻪﻫﺎ ﺩﺳﺖ ﺑﺮﺁﻭﺭﺩﻩ ﺑﻪ ﻣﻬﺘﺎﺏ‬ ‫ﺑﺎﺭﺍﻥ ﺁﻏﺎﺯ ﺷﺪ ﻭ ﺳﭙﺲ ﺧﺎﻧﻢ ﻣﻬﺸﻴﺪ‬ ‫ﺭﺿﺎ ﻣﻘﺼﺪﻯ‪ ،‬ﺍﺣﻤﺪ ﺷﺎﻣﻠﻮ‬ ‫ﻫﻢ ﺍﺯ ﺣﻤﺎﺳﻪ ‪ ،‬ﻧﺸﺎﻥ ﺩﺍﺭﺩ‪.‬‬
‫ﻣﺸﻴﺮﻯ ﻓﺮﻫﻨﮓﻧﻮﻳﺲ‪ ،‬ﻣﺘﺮﺟﻢ ﻭ‬
‫ﺷﺐ ﻭ ﺻﺤﺮﺍ ﻭ ﮔﻞ ﻭ ﺳﻨﮓ‬ ‫ﺩﺍﺳﺘﺎﻥﻧﻮﻳﺲ ﺑﻪ ﺑﺮﺭﺳﻰ ﺍﺷﻌﺎﺭ ﻭ‬ ‫ﭘﺲ‬ ‫ﻫﻢ ﺍﺯ ﺯﻣﺎﻧﻪ ﻯ ﺳﺒﺰ‪.‬‬
‫ﻫﻤﻪ ﺩﻝ ﺩﺍﺩﻩ ﺑﻪ ﺁﻭﺍﺯ ﺷﺒﺎﻫﻨﮓ‬ ‫ﺟﺎﻳﮕﺎﻩ ﻓﺮﻳﺪﻭﻥ ﻣﺸﻴﺮﻯ ﺩﺭ ﺷﻌﺮ‬ ‫ﺍﺯ ﺍﻫﺎﻟﻰ ﻯ ﺭﻭﺯ ﺳﺖ‬
‫ﻭﺩﺭ ﺣﻮﺍﻟﻰ ﻯ ﺳﺮﺷﺎ ِﺭ ﺑﺎﻣﺪﺍ ِﺩ ﺑﻬﺎﺭ‬ ‫ﻫﻢ ﺍﺯ ﺟﺮﺍﺣ ِﺖ ﭘﺎﻳﻴﺰ‪.‬‬
‫ﻳﺎﺩﻡ ﺁﻳﺪ‪ ،‬ﺗﻮ ﺑﻪ ﻣﻦ ﮔﻔﺘﻰ‪:‬‬ ‫ﻣﻌﺎﺻﺮ ﻓﺎﺭﺳﻰ ﭘﺮﺩﺍﺧﺖ‪.‬‬ ‫ﻫﻤﺎﺭﻩ ‪َ ،‬ﻣﺴﻜﻦ ﺩﺍﺭﺩ‪.‬‬
‫ـ »ﺍﺯ ﺍﻳﻦ ﻋﺸﻖ ﺣﺬﺭ ﻛﻦ!‬ ‫ﻭﻯ ﺩﺭ ﺍﺑﺘﺪﺍ ﺩﺭﺑﺎﺭﻩ ﭘﻴﺪﺍﻳﺶ ﺷﻌﺮ‬ ‫ﺍﮔﺮﭼﻪ ﭘﻨﺠﻪ ﻯ ﭘﺎﻳﻴﺰ ‪ ،‬ﺑﺮ ﮔﻠﻮﻯ ُﮔﻠﺶ‬ ‫ﻫﻢ ﺍﺯ ﺗﺮﺍﻧﻪ ﻯ ﺗﺎﺑﺴﺘﺎﻥ‪.‬‬
‫ﻟﺤﻈﻪﺍﻯ ﭼﻨﺪ ﺑﺮ ﺍﻳﻦ ﺁﺏ ﻧﻈﺮ ﻛﻦ‪،‬‬ ‫ﻧﻮ ﻭ ﺍﻳﻨﻜﻪ ﺳﺮﺁﻏﺎﺯ ﺭﻭﻳﺎﺭﻭﻳﻰ ﺷﻌﺮ‬ ‫ﻫﺰﺍﺭ ﺩﺷﻨﻪ ‪ ،‬ﻓﺮﻭﺩ ﺁﻭﺭﺩ‬
‫ﺁﺏ‪ ،‬ﺁﻳﻴﻨﺔ ﻋﺸﻖ ﮔﺬﺭﺍﻥ ﺍﺳﺖ‪،‬‬ ‫ﻓﺎﺭﺳﻰ ﻭ ﺷﻌﺮ ﻣﻐﺮﺏﺯﻣﻴﻦ ﺑﻮﺩﻩ‬ ‫ﻭﺷﺎﺩﻣﺎﻧﻰ ﻯ ﺁﻭﺍ ِﺯ ﺍﺭﻏﻮﺍﻧﺶ ﺭﺍ‪-‬‬ ‫ﻧﮕﺎ ِﻩ ﻧﺮ ِﻡ ﻧﻮﻳﺪ ﺁﻓﺮﻳ ِﻦ ﺍﻭ ﺑﻪ ﺩﺭﺧﺖ‬
‫ﺗﻮﻛﻪﺍﻣﺮﻭﺯﻧﮕﺎﻫﺖﺑﻪﻧﮕﺎﻫﻰﻧﮕﺮﺍﻥﺍﺳﺖ‪،‬‬ ‫ﺻﺤﺒﺖ ﻛﺮﺩ ﻭ ﺗﻮﺿﻴﺢ ﺩﺍﺩ ﻛﻪ‬ ‫ﺑﻪ ﻏﻢ ﻧﺸﺎﻧﺪ ُﻭ ﺑﻪ ﺷﻴﻮﻥ ﻛﺸﺎﻧﺪ ُﻭ ﭘﺮﭘﺮ ﻛﺮﺩ‬ ‫ﺟﻮﺍﻧﻪ ﺭﺍ ﺑﻪ ﺳﺮ ﺍﻧﺠﺎﻡ ِ ﺳﺒﺰ ﺧﻮﺍﻫﺪ ﺑُﺮﺩ‬
‫ﺑﺎﺵ ﻓﺮﺩﺍ‪ ،‬ﻛﻪ ﺩﻟﺖ ﺑﺎ ﺩﮔﺮﺍﻥ ﺍﺳﺖ!‬ ‫ﺷﺎﻋﺮﺍﻧﻰ ﭼﻮﻥ ﺗﻘﻰ ﺭﻓﻌﺖ‪ ،‬ﻻﻫﻮﺗﻰ‪،‬‬ ‫ﺩﻝ ﺍﺯ ﺳﭙﻴﺪﻩ ُﻭ ﺁﻳﻴﻨﻪ ‪ ،‬ﺑﺮ ﻧﻤﻰ ﺩﺍﺭﺩ‬
‫ﺗﺎ ﻓﺮﺍﻣﻮﺵ ﻛﻨﻰ‪ ،‬ﭼﻨﺪﻯ ﺍﺯ ﺍﻳﻦ ﺷﻬﺮ‬ ‫ﺷﻤﺲ ﻛﺴﻤﺎﻳﻰ‪ ،‬ﻣﻴﺮﺯﺍﺩﻩ ﻋﺸﻘﻰ‬ ‫ﻫﻨﻮﺯ ﺑﻮﺳﻪ ﺑﻪ ﺧﻮﺭﺷﻴﺪ ﻣﻰ ﺯﻧﺪ ﺩﻫﻨﺶ‪.‬‬ ‫ﻃﺮﺍﻭ ِﺕ ﺗﭙ ِﺶ ﺗﺎﺑﻨﺎ ِﻙ ﺍﻭ ﺑﺮ ﺧﺎﻙ‬
‫ﻭ ﺗﻨﻰ ﭼﻨﺪ ﺑﻪ ﻓﻜﺮ ﺗﻐﻴﻴﺮ ﺷﻌﺮ ﻭ‬ ‫ﭘﻴﺎﻡ ﺁﺏ ‪ ،‬ﺑﻪ ﺧﺸﻜﻰ ﺳﺖ‪.‬‬
‫ﺳﻔﺮ ﻛﻦ!«‬ ‫ﻗﺎﻟﺐ ﻭ ﻣﺤﺘﻮﺍﻯ ﺳﻨﺘﻰ ﺁﻥ ﺍﻓﺘﺎﺩﻧﺪ ﻭ‬ ‫ﺁﻟﻤﺎﻥ ‪.‬ﻛﻠﻦ ‪ 76.‬ﺧﻮﺭﺷﻴﺪﻯ‬
‫ﺑﺎ ﺗﻮ ﮔﻔﺘﻢ‪» :‬ﺣﺬﺭ ﺍﺯ ﻋﺸﻖ!؟‪ -‬ﻧﺪﺍﻧﻢ‬ ‫ﻛﻮﺷﻴﺪﻧﺪ ﺷﻌﺮ ﻓﺎﺭﺳﻰ ﺭﺍ ﺍﺯ ﺗﻨﮕﻨﺎﻯ‬ ‫ﺳﺮﺷ ِﺖ ﺍﻭ ﺑﻪ ﺳﺮﺷ ِﺖ ﺳﭙﻴﺪﻩ ﻣﻰ ﻣﺎﻧَﺪ‬
‫ﻗﻮﺍﻋﺪ ﻛﻼﺳﻴﻚ ﺩﺭ ﺑﻴﺎﻭﺭﻧﺪ‪.‬ﻓﺮﻳﺪﻭﻥ‬
‫ﻣﺸﻴﺮﻳﭙﺲ ﺍﺯ ﺁﻥ ﻧﻴﻤﺎ ﻳﻮﺷﻴﺞ ﺑﻮﺩ‬ ‫ﻛﻪ ﺍﺯ ﻧﻬﺎﻳ ِﺖ ﺷﺐ‬
‫ﻛﻪ ﺑﺎ ﺗﺠﺮﺑﻪ ﻭ ﺷﻨﺎﺧﺖ ﺍﺯ ﺷﻌﺮ‬
‫ﻛﻬﻦ ﻓﺎﺭﺳﻰ ﭘﺎ ﺑﻪ ﻣﻴﺪﺍﻥ ﺍﻳﻦ ﺗﻐﻴﻴﺮ‬ ‫”ﺣﺠﺎ ِﺏ ﭼﻬﺮﻩ ﻯ ﺟﺎﻥ‪ ،‬ﻣﻰ ﺷﻮ ﺩ ﻏﺒﺎﺭ ِ“ ﺗﻨﺶ‬
‫ﮔﺬﺍﺷﺖ ﻭ ﻫﻢ ﺍﻭﺳﺖ ﻛﻪ ﭘﺪﺭ »ﺷﻌﺮ‬
‫ﻧﻮ« ﻭ ﺍﻧﺘﺨﺎﺏ ﺍﻳﻦ ﻧﺎﻡ ﺑﺮﺍﻯ ﺷﻌﺮ‬

‫ﻣﻌﺎﺻﺮ ﺍﻳﺮﺍﻥ ﺍﺳﺖ‪.‬‬

‫ﻛﺸﻒ ﻗﺒﺮ ﻳﻚ ﺯﻥ ﺛﺮﻭﺗﻤﻨﺪ ‪ 5‬ﻫﺰﺍﺭ ﺳﺎﻟﻪ‬

‫ﺳﻔﺮ ﺍﺯ ﭘﻴﺶ ﺗﻮ؟ ﻫﺮﮔﺰ ﻧﺘﻮﺍﻧﻢ‪،‬ﻧﺘﻮﺍﻧﻢ!‬ ‫ﺭﺍ ﺑﺎ ﻧﺎﻡ ﺷﺎﻋﺮ ﺣﺘﻰ ﺩﺭ ﺯﺍﺩﮔﺎﻫﺶ‬ ‫ﺧﺎﻧﻢ ﻣﺸﻴﺮﻯ ﮔﻔﺖ‪ ،‬ﺩﺭ ﺍﺩﺍﻣﻪ‬ ‫ﺯﻳﺎﺩﻯ ﻛﻮﺩﻙ ﺩﻭ ﺳﺎﻟﻪ ﻫﻢ ﭘﻴﺪﺍ ﺷﺪﻩ‬ ‫ﺷﻬﺮ ﺳﻮﺧﺘﻪ ﺭﺍ ﺑﺎ ﭼﻨﺪ ﻛﺸﻒ ﺑﺴﻴﺎﺭ‬ ‫ﺑﺎﺳﺘﺎﻥ ﺷﻨﺎﺳﺎﻥ ﺷﻬﺮ ﺳﻮﺧﺘﻪ‪،‬‬
‫ﺭﻭﺯ ﺍﻭﻝ‪ ،‬ﻛﻪ ﺩﻝ ﻣﻦ ﺑﻪ ﺗﻤﻨﺎﻯ ﺗﻮ ﭘﺮ ﺯﺩ‪،‬‬ ‫ﻧﺪﺍﺭﻳﻢ‪.‬‬ ‫ﺷﺎﻋﺮﺍﻥ ﺟﻮﺍﻥ ﺁﻥ ﺩﻭﺭﺍﻥ ﺑﺎ ﭘﻴﺮﻭﻯ‬ ‫ﻛﻪ ﺑﻪ ﺩﻻﻳﻞ ﻣﺨﺘﻠﻒ ﺍﺯ ﺩﻧﻴﺎ ﺭﻓﺘﻪﺍﻧﺪ‪.‬‬ ‫ﻣﻬﻢ ﻣﻰﺷﻨﺎﺳﻨﺪ‪ .‬ﻳﻜﻰ ﺍﺯ ﺁﻧﻬﺎ ﻗﺒﺮﻫﺎ ﻭ‬ ‫ﺍﺳﻜﻠﺖ ﺯﻧﻰ ﺛﺮﻭﺗﻤﻨﺪ ﺑﺎ ‪ 112‬ﺳﻔﺎﻝ‬
‫ﺍﺯ ﻧﻴﻤﺎ ﻭ ﺟﺮﻳﺎﻥ ﺷﻌﺮ ﻧﻮ ﭘﺎ ﺑﻪ ﺍﻳﻦ‬ ‫ﻣﻨﺘﻬﺎ ﺑﺮﺍﻯ ﺑﺮﺭﺳﻰ ﻋﻠﺖ ﻣﺮگ ﻭ ﻣﻴﺮ‬ ‫ﺍﺳﻜﻠﺖﻫﺎﻳﻰ ﺍﺳﺖ ﻛﻪ ﺩﺭ ﮔﻮﺭﺳﺘﺎﻥ‬ ‫ﻭ ﻳﻚ ﺧﻤﺮﻩ ﺭﻧﮕﺎﺭﻧﮓ ﺭﺍ ﺩﺭ ﻗﺒﺮﻯ‬
‫ﭼﻮﻥ ﻛﺒﻮﺗﺮ‪ ،‬ﻟﺐ ﺑﺎﻡ ﺗﻮ ﻧﺸﺴﺘﻢ‬ ‫ﺑﺮﻧﺎﻣﻪ ﺑﺎ ﺧﻮﺍﻧﺪﻥ ﻳﻜﻰ ﺍﺯ ﺍﺷﻌﺎﺭ‬ ‫ﻋﺮﺻﻪ ﮔﺬﺍﺷﺘﻨﺪ ﺑﻪ ﻃﻮﺭﻯ ﻛﻪ ﺷﺎﻫﺪ‬ ‫ﺁﻧﻬﺎ ﺑﺎﻳﺪ ﻣﻄﺎﻟﻌﺎﺕ ﺍﻧﮕﻞ ﺷﻨﺎﺳﻰ ﺍﻧﺠﺎﻡ‬ ‫ﺁﻥ ﻛﺸﻒ ﺷﺪﻩ ﺍﺳﺖ‪ .‬ﻣﺮﺩﮔﺎﻥ ﺍﻳﻦ‬
‫ﺗﻮ ﺑﻪ ﻣﻦ ﺳﻨﮓ ﺯﺩﻯ‪ ،‬ﻣﻦ ﻧﻪ ﺭﻣﻴﺪﻡ‪ ،‬ﻧﻪ‬ ‫ﻓﺮﻳﺪﻭﻥ ﻣﺸﻴﺮﻯ ﺗﻮﺳﻂ ﺩﻭﺳﺖ ﺑﺴﻴﺎﺭ‬ ‫ﺩﺭﺧﺸﺶ ﻧﺎﻡﻫﺎﻳﻰ ﭼﻮﻥ ﻣﻬﺪﻯ ﺍﺧﻮﺍﻥ‬ ‫ﺷﻮﺩ‪ .‬ﺑﺎ ﺍﻳﻦ ﺣﺎﻝ ﺗﺎ ﺍﻳﻨﺠﺎ ﺑﺎﺳﺘﺎﻥ‬ ‫ﺷﻬﺮ ﮔﻮﻳﺎ ﺑﻨﺎ ﺩﺍﺭﻧﺪ ﺗﺎ ﻫﺰﺍﺭﺍﻥ ﺳﺎﻝ ﺑﻌﺪ‬ ‫ﺳﺮﺩﺍﺑﻪﺍﻯ ﺷﻜﻞ ﻛﺸﻒ ﻛﺮﺩﻧﺪ‪.‬‬
‫ﻧﺰﺩﻳﻚﺍﺵ ﺁﻗﺎﻯ ﻣﺤﻤﺪ ﻣﺸﻴﺮﻯ ﻛﻪ ﺑﺎ‬ ‫ﺛﺎﻟﺚ‪ ،‬ﻓﺮﻭﻍ ﻓﺮﺧﺰﺍﺩ‪ ،‬ﻧﺎﺩﺭ ﻧﺎﺩﺭﭘﻮﺭ‪،‬‬ ‫ﺷﻨﺎﺳﺎﻥ ﺍﺯ ﺑﺮﺭﺳﻰ ﺗﺨﺮﻳﺐ ﺑﺨﺸﻰ‬ ‫ﻫﻢ ﻓﻜﺮ ﺑﺎﺳﺘﺎﻥ ﺷﻨﺎﺳﺎﻥ ﺭﺍ ﺑﻪ ﺧﻮﺩ‬ ‫ﻳﻜﻰ ﺍﺯ ﺩﻻﻳﻞ ﺛﺮﻭﺗﻤﻨﺪ ﺑﻮﺩﻥ ﺻﺎﺣﺐ‬
‫ﮔﺴﺴﺘﻢ‪«. . .‬‬ ‫ﻭﺟﻮﺩ ﺳﻦ ﺑﺎﻻ ﻭ ﺩﺷﻮﺍﺭﻯﻫﺎﻯ ﺑﺴﻴﺎﺭ‬ ‫ﺳﻴﻤﻴﻦ ﺑﻬﺒﻬﺎﻧﻰ‪ ،‬ﻓﺮﻳﺪﻭﻥ ﻣﺸﻴﺮﻯ ﻭ‬ ‫ﺍﺯ ﺟﻤﺠﻤﻪ ﻭ ﺍﺳﺘﺨﻮﺍﻥ ﻣﺮﺩﮔﺎﻥ‬ ‫ﻣﺸﻐﻮﻝ ﻛﻨﻨﺪ‪ .‬ﮔﻮﺭﺳﺘﺎﻥ ﺍﻳﻦ ﺷﻬﺮ‬ ‫ﺍﻳﻦ ﻗﺒﺮ‪ ،‬ﺳﺮﺩﺍﺑﻪﺍﻯ ﺷﻜﻞ ﺑﻮﺩﻥ ﺁﻥ‬
‫ﺑﺎﺯﮔﻔﺘﻢﻛﻪ‪»:‬ﺗﻮﺻﻴﺎﺩﻯﻭﻣﻦﺁﻫﻮﻯﺩﺷﺘﻢ‬ ‫ﺩﺭ ﺍﻳﻦ ﻣﺮﺍﺳﻢ ﺣﻀﻮﺭ ﻳﺎﻓﺘﻪ ﺑﻮﺩ ﺑﻪ‬ ‫ﺩﺭﻳﺎﻓﺘﻪﺍﻧﺪ ﻛﻪ ﺍﻣﺮﺍﺽ ﭘﻮﺳﺘﻰ ﻳﻜﻰ ﺍﺯ‬ ‫‪ 5‬ﻫﺰﺍﺭﻩ ﺳﺎﻟﻪ ﻳﻜﻰ ﺍﺯ ﭘﺮ ﺳﻮﺍﻝﺗﺮﻳﻦ‬ ‫ﺍﺳﺖ‪ .‬ﻧﻜﺘﻪ ﺩﻳﮕﺮ ﺑﻪ ﺟﺎﺳﺎﺯﻯ ‪112‬‬
‫ﺗﺎﺑﻪﺩﺍﻡﺗﻮﺩﺭﺍﻓﺘﻢﻫﻤﻪﺟﺎﮔﺸﺘﻢﻭﮔﺸﺘﻢ‬ ‫ﺩﻳﮕﺮﺍﻥ ﻫﺴﺘﻴﻢ‪.‬‬ ‫ﺷﺎﻳﻊﺗﺮﻳﻦ ﺑﻴﻤﺎﺭﻯﻫﺎ ﺩﺭ ﺷﻬﺮ ﺳﻮﺧﺘﻪ‬ ‫ﻣﺤﻮﻃﻪﻫﺎﻯ ﺗﺎﺭﻳﺨﻰ ﺑﺮﺍﻯ ﺑﺎﺳﺘﺎﻥ‬ ‫ﺷﻰ‪ ،‬ﻇﺮﻭﻑ ﻏﺬﺍ‪ ،‬ﻧﻮﺷﻴﺪﻧﻰ ﻭ ﻧﺬﺭﻯﻫﺎﻯ‬
‫ﭘﺎﻳﺎﻥ ﺭﺳﻴﺪ‪.‬‬ ‫ﻭﻯ ﺩﺭ ﺑﺨﺸﻰ ﺩﻳﮕﺮ ﺑﻪ ﺷﻌﺮﻫﺎﻯ‬ ‫ﺻﺎﺣﺐ ﺍﺳﻜﻠﺖ ﻣﺮﺑﻮﻁ ﻣﻰﺷﻮﺩ ‪ .‬ﻛﻨﺎﺭ‬
‫ﺣﺬﺭ ﺍﺯ ﻋﺸﻖ ﻧﺪﺍﻧﻢ‪ ،‬ﻧﺘﻮﺍﻧﻢ!«‬ ‫ﺍﺟﺘﻤﺎﻋﻰ ﻭ ﺳﻴﺎﺳﻰ ﻓﺮﻳﺪﻭﻥ ﻣﺸﻴﺮﻯ‬ ‫ﺑﻮﺩﻩ ﺍﺳﺖ‪.‬‬ ‫ﺷﻨﺎﺳﺎﻥ ﺍﺳﺖ‪.‬‬ ‫ﺍﻳﻦ ﻗﺒﺮ ﻳﻚ ﺳﺮﻣﻪﺩﺍﻥ ﻭ ﺗﻜﻪﺍﻯ ﭘﺎﺭﭼﻪ‬
‫ﺍﺷﻜﻰ ﺍﺯ ﺷﺎﺧﻪ ﻓﺮﻭ ﺭﻳﺨﺖ‬ ‫ﻛﻮﭼﻪ‬ ‫ﺍﺷﺎﺭﻩ ﻛﺮﺩ ﻭ ﺗﺎﻛﻴﺪ ﻧﻤﻮﺩ ﻛﻪ ﺷﻌﺮ‬ ‫ﻣﻨﺼﻮﺭ ﺳﺠﺎﺩﻯ ﺩﺭﺑﺎﺭﻩ ﻧﺤﻮﻩ ﺗﺪﻓﻴﻦ‬ ‫ﺷﻬﺮ ﺳﻮﺧﺘﻪ ‪ 151‬ﻫﻜﺘﺎﺭ ﺍﺳﺖ‬ ‫ﻛﻪ ﻧﺰﺩﻳﻚ ﺳﺮ ﺍﻭ ﻣﻰﺗﻮﺍﻥ ﻣﺸﺎﻫﺪﻩ ﻛﺮﺩ‬
‫ﺍﻭ ﺳﻴﺎﺳﺖﺯﺩﻩ ﻧﻴﺴﺖ ﺍﻣﺎ ﺑﻪ ﻃﻮﺭ‬ ‫ﺍﺟﺴﺎﺩ ﺩﺭ ﺍﻳﻦ ﺷﻬﺮ ﻧﻴﺰ ﻣﻰﮔﻮﻳﺪ‪:‬‬ ‫ﻛﻪ ‪ 25‬ﻫﻜﺘﺎﺭ ﺁﻥ ﺭﺍ ﮔﻮﺭﺳﺘﺎﻥ ﻭ ‪80‬‬ ‫ﻧﻴﺰ ﺩﻳﺪﻩ ﻣﻰﺷﻮﺩ‪ .‬ﻭﺟﻮﺩ ﺍﻳﻦ ﺳﺮﻣﻪﺩﺍﻥ‬
‫ﻣﺮﻍ ﺷﺐ‪ ،‬ﻧﺎﻟﺔ ﺗﻠﺨﻰ ﺯﺩ ﻭ ﺑﮕﺮﻳﺨﺖ ‪. . .‬‬ ‫ﺑﻰ ﺗﻮ‪ ،‬ﻣﻬﺘﺎﺏﺷﺒﻰ‪ ،‬ﺑﺎﺯ ﺍﺯ ﺁﻥ ﻛﻮﭼﻪ‬ ‫ﻏﻴﺮﻣﺴﺘﻘﻴﻢ ﺑﺎﺯﺗﺎﺏ ﺭﻭﻳﺪﺍﺩﻫﺎﻯ‬ ‫»ﺩﺭﻫﺎﻯ ﻗﺒﻮﺭ ﺳﺮﺩﺍﺑﻪﺍﻯ ﻣﻌﻤﻮﻻ ﺑﻪ‬ ‫ﻫﻜﺘﺎﺭﺵ ﺭﺍ ﻣﺤﻮﻃﻪ ﻣﺴﻜﻮﻧﻰ ﺗﺸﻜﻴﻞ‬ ‫ﻭ ﻇﺮﻑ ﭘﻠﻰﻛﺮﻭﻡ ﺭﻧﮕﺎﺭﻧﮓ ﺑﻪ ﺭﺍﺣﺘﻰ‬
‫ﺍﺷﻚ ﺩﺭ ﭼﺸﻢ ﺗﻮ ﻟﺮﺯﻳﺪ‪،‬‬ ‫ﮔﺬﺷﺘﻢ‪،‬‬ ‫ﺳﻴﺎﺳﻰ ﺩﻭﺭﺍﻥ ﺧﻮﻳﺶ ﺍﺳﺖ ﻭ ﺍﻳﻦ‬ ‫ﺟﻬﺖ ﻃﻠﻮﻉ ﻭ ﻳﺎ ﻏﺮﻭﺏ ﺁﻓﺘﺎﺏ ﺑﺎﺯ‬ ‫ﻣﻰﺩﻫﺪ ﻭ ﺑﻘﻴﻪ ﺁﻥ ﻣﺤﻮﻃﻪ ﺻﻨﻌﺘﻰ ﻭ‬ ‫ﻣﻰﺗﻮﺍﻧﺪ ﺑﺎﺳﺘﺎﻥ ﺷﻨﺎﺳﺎﻥ ﺭﺍ ﻣﻄﻤﺌﻦ‬
‫ﻣﺎﻩ ﺑﺮ ﻋﺸﻖ ﺗﻮ ﺧﻨﺪﻳﺪ!‬ ‫ﻣﻬﻢ ﺭﺍ ﺑﻪ ﻭﺿﻮﺡ ﺩﺭ ﺍﻛﺜﺮ ﺷﻌﺮﻫﺎﻯ‬ ‫ﻣﻰﺷﺪ ﻭ ﺍﮔﺮ ﻓﺮﺩﻯ ﺩﺭ ﺷﺐ ﺩﻓﻦ ﺷﺪﻩ‬ ‫ﻣﺤﻠﻪ ﺑﻨﺎﻫﺎﻯ ﻳﺎﺩﻣﺎﻧﻰ ﻭ ﻋﺎﻡ ﺍﻟﻤﻨﻔﻌﻪ‬ ‫ﻛﻨﺪ ﻛﻪ ﺍﻳﻦ ﻗﺒﺮ ﻣﺘﻌﻠﻖ ﺑﻪ ﻳﻚ ﺯﻥ‬
‫ﻫﻤﻪ ﺗﻦ ﭼﺸﻢ ﺷﺪﻡ‪ ،‬ﺧﻴﺮﻩ ﺑﻪ ﺩﻧﺒﺎﻝ ﺗﻮ‬ ‫ﻣﺸﻴﺮﻯ ﻣﻰﺑﻴﻨﻴﻢ‪ ،‬ﺍﻳﻨﻜﻪ ﺍﻭ ﺷﺎﻋﺮﻯ‬ ‫ﺑﺎﺷﺪ ﺻﻮﺭﺕ ﺍﻭ ﺭﺍ ﺑﻪ ﺯﻣﻴﻦ ﺑﺮﮔﺮﺩﺍﻧﺪﻩ‬
‫ﻳﺎﺩﻡ ﺁﻳﺪ ﻛﻪ‪ :‬ﺩﮔﺮ ﺍﺯ ﺗﻮ ﺟﻮﺍﺑﻰ ﻧﺸﻨﻴﺪﻡ‬ ‫ﮔﺸﺘﻢ‪،‬‬ ‫ﻋﻠﻴﻪ ﺑﻴﺪﺍﺩﮔﺮﻯ ﻭ ﻇﻠﻤﻰﺳﺖ ﻛﻪ‬ ‫ﻭ ﺍﮔﺮ ﺳﺮ ﻇﻬﺮ ﺩﻓﻦ ﺷﺪﻩ ﺑﺎﺷﺪ ﺍﻭ ﺭﺍ‬ ‫ﺍﺳﺖ‪.‬‬ ‫ﺍﺳﺖ‪.‬‬
‫ﭘﺎﻯ ﺩﺭ ﺩﺍﻣﻦ ﺍﻧﺪﻭﻩ ﻛﺸﻴﺪﻡ‪.‬‬ ‫ﺩﺭ ﻃﻮﻝ ﺗﺎﺭﻳﺦ ﻫﻤﻮﺍﺭﻩ ﮔﺮﻳﺒﺎﻧﮕﻴﺮ‬ ‫ﻃﺎﻕ ﺑﺎﺯ ﮔﺬﺍﺷﺘﻪﺍﻧﺪ‪ .‬ﺑﻨﺎﺑﺮﺍﻳﻦ ﺍﺯ ﻧﻮﻉ‬ ‫ﺩﺭ ﮔﻮﺭﺳﺘﺎﻥ ﺷﻬﺮ ﺳﻮﺧﺘﻪ ﺗﺎ ﻛﻨﻮﻥ‬ ‫ﻣﺮﻳﻢ ﺭﻣﻀﺎﻧﻰ ﺍﺳﺘﺨﻮﺍﻥ ﺷﻨﺎﺱ ﻭ‬
‫ﻧﮕﺴﺴﺘﻢ‪ ،‬ﻧﺮﻣﻴﺪﻡ‪.‬‬ ‫ﺷﻮﻕ ﺩﻳﺪﺍﺭ ﺗﻮ ﻟﺒﺮﻳﺰ ﺷﺪ ﺍﺯ ﺟﺎﻡ ﻭﺟﻮﺩﻡ‪،‬‬ ‫ﻧﻮﻉ ﺑﺸﺮ ﺑﻮﺩﻩ ﺍﺳﺖ‪ .‬ﻣﺸﻴﺮﻯ ﺍﻳﻦ‬ ‫ﺗﺪﻓﻴﻦ ﻣﻰﺗﻮﺍﻥ ﮔﻔﺖ ﻛﻪ ﺁﻥ ﻓﺮﺩ ﺩﺭ‬ ‫ﺣﺪﻭﺩ ‪ 35‬ﺗﺎ ‪ 40‬ﻫﺰﺍﺭ ﻗﺒﺮ ﭘﻴﺪﺍ ﺷﺪﻩ ﻛﻪ‬ ‫ﻛﺎﺭﺷﻨﺎﺱ ژﻧﺘﻴﻚ ﺑﺎﺳﺘﺎﻥ ﺷﻨﺎﺳﻰ‬
‫ﺷﺪﻡ ﺁﻥ ﻋﺎﺷﻖ ﺩﻳﻮﺍﻧﻪ ﻛﻪ ﺑﻮﺩﻡ‪.‬‬ ‫ﺑﻴﺪﺍﺩﮔﺮﻯ ﺭﺍ ﺑﻪ ﺷﺪﺕ ﻧﻜﻮﻫﺶ‬ ‫ﭼﻪ ﺳﺎﻋﺘﻰ ﺍﺯ ﺭﻭﺯ ﺩﻓﻦ ﺷﺪﻩ ﺍﺳﺖ‪.‬‬ ‫ﺗﺨﻤﻴﻦ ﺯﺩﻩ ﻣﻰﺷﻮﺩ ‪ 60‬ﻫﺰﺍﺭ ﺍﺳﻜﻠﺖ‬ ‫ﻣﻰﮔﻮﻳﺪ‪» :‬ﺍﺳﻜﻠﺖ ﺩﻓﻦ ﺷﺪﻩ ﺩﺭ ﺍﻳﻦ‬
‫ﺭﻓﺖ ﺩﺭ ﻇﻠﻤﺖ ﻏﻢ‪ ،‬ﺁﻥ ﺷﺐ ﻭ ﺷﺐﻫﺎﻯ‬ ‫ﭼﻮﻥ ﻫﻤﻴﺸﻪ ﺳﻌﻰ ﻣﻰﻛﺮﺩﻩﺍﻧﺪ‬ ‫ﺩﺭ ﺁﻧﻬﺎ ﺑﺎﺷﺪ‪ .‬ﺁﻧﻄﻮﺭ ﻛﻪ ﺳﻴﺪ ﻣﻨﺼﻮﺭ‬ ‫ﻗﺒﺮ ﻣﺘﻌﻠﻖ ﺑﻪ ﻳﻚ ﺯﻥ ﺣﺪﻭﺩﺍ ‪ 38‬ﺗﺎ ‪40‬‬
‫ﺩﮔﺮ ﻫﻢ‪،‬‬ ‫ﺩﺭ ﻧﻬﺎﻧﺨﺎﻧﺔ ﺟﺎﻧﻢ‪ ،‬ﮔﻞ ﻳﺎﺩ ﺗﻮ‪ ،‬ﺩﺭﺧﺸﻴﺪ‬ ‫ﻣﻰﻛﻨﺪ‪.‬‬ ‫ﭼﺸﻢ ﻣﺮﺩﻩ ﺭﻭ ﺑﻪ ﺧﻮﺭﺷﻴﺪ ﻭ ﻧﻮﺭ‬ ‫ﺳﺠﺎﺩﻯ ﺑﺎﺳﺘﺎﻥ ﺷﻨﺎﺳﻰ ﻛﻪ ﺳﺎﻝﻫﺎﻯ‬ ‫ﺳﺎﻟﻪ ﺑﺎ ‪ 155‬ﺳﺎﻧﺘﻰ ﻣﺘﺮ ﻗﺪ ﺑﻮﺩﻩ ﺍﺳﺖ‬
‫ﺑﺎﻍ ﺻﺪ ﺧﺎﻃﺮﻩ ﺧﻨﺪﻳﺪ‪،‬‬ ‫ﻣﻬﺸﻴﺪ ﻣﺸﻴﺮﻯ ﺩﺭ ﺳﺘﺎﻳﺶ ﺷﺎﻋﺮ‬ ‫ﺑﺎﺷﺪ‪ .‬ﮔﻮﻳﺎ ﻣﺮﺩﻡ ﺍﻳﻦ ﺷﻬﺮ ﺑﻪ ﻧﻮﺭ ﻭ‬ ‫ﺳﺎﻝ ﺩﺭ ﺍﻳﻦ ﻣﺤﻮﻃﻪ ﺑﺎﺳﺘﺎﻧﻰ ﻛﺎﺭ ﻛﺮﺩﻩ‬ ‫ﻛﻪ ﺩﻧﺪﺍﻥ ﺁﺳﻴﺎﻳﺶ ﺭﺍ ﻧﻴﺰ ﺍﺯ ﺩﺳﺖ ﺩﺍﺩﻩ‬
‫ﻧﻪ ﮔﺮﻓﺘﻰ ﺩﮔﺮ ﺍﺯ ﻋﺎﺷﻖ ﺁﺯﺭﺩﻩ ﺧﺒﺮ ﻫﻢ‪،‬‬ ‫ﻋﻄﺮ ﺻﺪ ﺧﺎﻃﺮﻩ ﭘﻴﭽﻴﺪ‪:‬‬ ‫ﻣﻰﮔﻮﻳﺪ ﻛﻪ ﻭﻯ ﺍﻧﺴﺎﻥﮔﺮﺍ ﻭ ﻣﺘﻌﻬﺪ‬ ‫ﺁﺗﺶ ﺩﻟﺒﺴﺘﮕﻰ ﺩﺍﺷﺘﻪﺍﻧﺪ‪ ،‬ﺑﻪ ﻫﻤﻴﻦ‬ ‫ﺍﺳﺖ ﻣﻰﮔﻮﻳﺪ‪ 70» ،‬ﺩﺭﺻﺪ ﺍﺳﻜﻠﺖ‬ ‫ﻭ ﺩﭼﺎﺭ ﺳﺎﻳﺶ ﺯﻳﺎﺩﻯ ﺩﺭ ﺩﻧﺪﺍﻥﻫﺎﻳﺶ‬
‫ﻧﻪ ُﻛﻨﻰ ﺩﻳﮕﺮ ﺍﺯ ﺁﻥ ﻛﻮﭼﻪ ﮔﺬﺭ ﻫﻢ ‪. . .‬‬ ‫ﺩﺭ ﺑﺮﺍﺑﺮ ﺟﺎﻣﻌﻪ ﺑﺸﺮﻯ ﺑﻮﺩ ﻭ ﺑﺴﻴﺎﺭﻯ ﺍﺯ‬ ‫ﺩﻟﻴﻞ ﺩﺭ ﻗﺒﺮﻫﺎﻯ ﺳﺮﺩﺍﺑﻪﺍﻯ ﻋﻮﺩﺳﻮﺯ‬ ‫ﻫﺎﻯ ﺍﻳﻦ ﻗﺒﻮﺭ ﺩﺍﺭﺍﻯ ﻛﻔﻦ ﺑﻮﺩﻩﺍﻧﺪ ﺍﻣﺎ‬
‫ﺑﻰ ﺗﻮ‪ ،‬ﺍﻣﺎ‪ ،‬ﺑﻪ ﭼﻪ ﺣﺎﻟﻰ ﻣﻦ ﺍﺯ ﺁﻥ ﻛﻮﭼﻪ‬ ‫ﻳﺎﺩﻡﺁﻣﺪﻛﻪﺷﺒﻰﺑﺎﻫﻢﺍﺯﺁﻥﻛﻮﭼﻪﮔﺬﺷﺘﻴﻢ‬ ‫ﺷﻌﺮﻫﺎﻳﺶ ﻣﺮﺛﻴﻪﺍﻯ ﺩﺭ ﻣﺮگ ﺍﻧﺴﺎﻧﻴﺖ‬ ‫ﻫﻢ ﻣﻰﮔﺬﺍﺷﺘﻨﺪ ﻭ ﺗﺎ ﺯﻣﺎﻧﻰ ﻛﻪ‬ ‫ﻧﻪ ﺁﻥ ﻛﻔﻨﻰ ﻛﻪ ﻣﺎ ﺩﺭ ﺩﻭﺭﻩ ﻣﻌﺎﺻﺮ‬ ‫ﺑﻮﺩﻩ ﺍﺳﺖ«‪.‬‬
‫ﭘﺮ ﮔﺸﻮﺩﻳﻢ ﻭ ﺩﺭ ﺁﻥ ﺧﻠﻮﺕ ﺩﻝﺧﻮﺍﺳﺘﻪ‬ ‫ﺍﺳﺖ‪.‬ﺍﻭ ﻓﺮﻳﺪﻭﻥ ﻣﺸﻴﺮﺍﻯ ﺭﺍ ﭘﻴﺸﺘﺎﺯ ﻭ‬ ‫ﻣﺤﺪﻭﺩﻩ ﻗﺒﺮ ﺍﻛﺴﻴﮋﻥ ﺩﺍﺷﺘﻪ ﺍﻳﻦ ﻋﻮﺩ‬ ‫ﻣﻰﺷﻨﺎﺳﻴﻢ ﺑﻠﻜﻪ ﭘﺎﺭﭼﻪﺍﻯ ﺑﻪ ﺩﻭﺭ ﺑﺪﻥ‬ ‫ﻗﺮﺍﺭ ﺍﺳﺖ ﺧﺎﻙ ﺯﻳﺮ ﻟﮕﻦ ﻭ ﺑﺨﺶ‬
‫ﮔﺬﺷﺘﻢ!‬ ‫ﻣﻴﺪﺍﻥﺩﺍﺭ ﺷﻌﺮ ﺭﻣﺎﻧﺘﻴﺴﻢ ﺍﺟﺘﻤﺎﻋﻰ‬ ‫ﺑﻮﺩﻩ ﻭ ﻳﺎ ﺯﻳﺮ ﺍﻧﺪﺍﺯ ﻭ ﻟﺒﺎﺳﻰ ﻛﻪ ﺍﺯ ﺁﻧﻬﺎ‬ ‫ﻫﺎﻯ ﺩﻳﮕﺮ ﺍﻳﻦ ﺍﺳﻜﻠﺖ ﻧﻴﺰ ﻧﻤﻮﻧﻪ‬
‫ﻣﻰﺩﺍﻧﺪ ﭼﺮﺍ ﻛﻪ ﺷﻌﺮﺵ ﻋﺎﺷﻘﺎﻧﻪ‪،‬‬ ‫ﻣﻰﺳﻮﺧﺘﻪ ﺍﺳﺖ«‪.‬‬ ‫ﺗﻜﻪﻫﺎﻯ ﻛﻮﭼﻜﻰ ﻛﻨﺎﺭ ﺍﺳﻜﻠﺖﻫﺎ ﺑﺎﻗﻰ‬ ‫ﺑﺮﺩﺍﺭﻯ ﺷﻮﺩ ﻭ ﺭﻭﻯ ﺁﻥ ﺁﺯﻣﺎﻳﺶ ﻫﺎﻯ‬
‫ﺷﻌﺮ ﻛﻮﭼﻪ ﺑﺎ ﺻﺪﺍﻯ ﺷﺎﻋﺮ ﻣﻨﺒﻊ‪ :‬ﺑﺮﻧﺎﻣﻪ ﺁﭘﺎﺭﺍﺕ‬ ‫ﺷﻔﺎﻑ‪ ،‬ﺁﮔﺎﻩ ﻭ ﺗﺎﺛﻴﺮﮔﺬﺍﺭ ﺍﺳﺖ‪.‬‬ ‫ﺳﺠﺎﺩﻯ ﺑﻪ ﻋﻮﺩﺳﻮﺯ ﻣﻨﺤﺼﺮ ﺑﻪ ﻓﺮﺩ‬ ‫ﻣﻴﻜﺮﻭﺏ ﺷﻨﺎﺳﻰ ﺍﻧﺠﺎﻡ ﺩﻫﻨﺪ‪ .‬ﻧﺤﻮﻩ‬
‫ﺑﻪ ﺭﻭﻯ ﺗﺼﻮﻳﺮ ﺯﻳﺮ ﻛﻠﻴﻚ ﻛﻨﻴﺪ‬ ‫ﺩﺭ ﭘﺎﻳﺎﻥ ﺑﻪ ﺑﺮﺭﺳﻰ ﺷﻌﺮ ﻛﻮﭼﻪ‬ ‫ﻛﺸﻒ ﺷﺪﻩ ﺩﺭ ﺁﺧﺮﻳﻦ ﻗﺒﺮ ﺍﺷﺎﺭﻩ ﻛﺮﺩﻩ‬ ‫ﻣﺎﻧﺪﻩ ﺍﺳﺖ«‪.‬‬ ‫ﻗﺮﺍﺭ ﮔﺮﻓﺘﻦ ﻇﺮﻭﻑ ﺩﺍﺧﻞ ﻗﺒﺮ ﻣﻮﺭﺩ‬
‫ﻭ ﺩﻻﻳﻞ ﻣﺎﻧﺪﮔﺎﺭ ﺑﻮﺩﻥ ﺍﻳﻦ ﺷﻌﺮ‬ ‫ﻭ ﮔﻔﺘﻪ ﺍﺳﺖ‪» :‬ﺍﻳﻦ ﻋﻮﺩﺳﻮﺯ ﺩﺍﺭﺍﻯ‬ ‫ﺩﺭ ﻓﺼﻞ ﭘﺎﻧﺰﺩﻫﻢ ﺑﺎﺳﺘﺎﻥﺷﻨﺎﺳﻰ‬ ‫ﺑﺮﺭﺳﻰ ﺩﻗﻴﻖ ﺑﺎﺳﺘﺎﻥ ﺷﻨﺎﺳﺎﻥ ﻗﺮﺍﺭ‬
‫ﭘﺮﺩﺍﺧﺘﻪ ﺷﺪ‪ ،‬ﻭ ﺍﻳﻨﻜﻪ ﺷﺎﻋﺮﺍﻥ ﺑﺴﻴﺎﺭﻯ‬ ‫ﺁﻳﻨﻪﺍﻯ ﻛﻮﭼﻚ ﺑﺮﺍﻯ ﮔﺮﻡ ﻧﮕﻪ ﺩﺍﺷﺘﻦ‬ ‫ﺩﺭ ﻣﺤﻮﻃﻪ ﺷﻬﺮ ﺳﻮﺧﺘﻪ ﺣﺪﻭﺩ ‪85‬‬ ‫ﻣﻰﮔﻴﺮﺩ‪ .‬ﻧﻮﻉ ﻗﺮﺍﺭ ﮔﺮﻓﺘﻦ ﺁﻧﻬﺎ ﻛﻨﺎﺭ‬
‫ﭼﻮﻥ ﺍﻭﺣﺪﻯ ﻣﺮﺍﻏﻪﺍﻯ‪ ،‬ﺑﻴﺪﻝ ﺩﻫﻠﻮﻯ‪،‬‬ ‫ﺑﻮﺩﻩ ﺍﺳﺖ‪ .‬ﺍﻳﻦ ﻳﻜﻰ ﺍﺯ ﺍﺷﻴﺎﻯ ﻣﻬﻢ ﻗﺒﺮ‬ ‫ﺍﺳﻜﻠﺖ ﭘﻴﺪﺍ ﺷﺪﻩ ﻛﻪ ﺩﺭ ﻣﻴﺎﻥ ﺁﻧﻬﺎ‬ ‫ﻳﻜﺪﻳﮕﺮ ﻣﻰﺗﻮﺍﻧﺪ ﺍﻃﻼﻋﺎﺕ ﻣﻔﻴﺪﻯ‬
‫ﺣﺎﻓﻆ‪ ،‬ﻋﺮﻓﻰ ﺷﻴﺮﺍﺯﻯ ﻭ ﻗﺮﻩﺍﻟﻌﻴﻦ ﺗﺎ‬ ‫ﺯﻧﺎﻥ ﺳﻬﻢ ﺑﻴﺸﺘﺮﻯ ﺭﺍ ﺩﺭ ﻣﻴﺰﺍﻥ ﻣﺮگ‬ ‫ﺩﺭﺑﺎﺭﻩ ﺻﺎﺣﺐ ﺍﺳﻜﻠﺖ ﺑﻪ ﺑﺎﺳﺘﺎﻥ‬
‫ﺷﺎﻋﺮﺍﻥ ﻣﻌﺎﺻﺮ ﻣﺎﻧﻨﺪ ﻓﺮﻭﻍ ﻓﺮﺧﺰﺍﺩ ﻳﺎ‬ ‫ﺗﺎﺯﻩ ﻛﺎﻭﺵ ﺷﺪﻩ ﺑﻪ ﺣﺴﺎﺏ ﻣﻰﺁﻳﺪ«‪.‬‬ ‫ﻭ ﻣﻴﺮ ﺩﺍﺷﺘﻪﺍﻧﺪ‪ .‬ﺩﺭ ﺍﻳﻦ ﻣﻴﺎﻥ ﺗﻌﺪﺍﺩ‬ ‫ﺷﻨﺎﺳﺎﻥ ﺑﺪﻫﺪ‪ .‬ﺍﺯ ﺍﻳﻦ ﺭﻭ ﺗﻤﺎﻡ ﺯﻭﺍﻳﺎﻯ‬
‫ﺳﻬﺮﺍﺏ ﺳﭙﻬﺮﻯ ﻭ ﺩﻳﮕﺮﺍﻥ ﺷﻌﺮﻫﺎﻯ‬ ‫ﺍﻳﻦ ﻗﺒﺮ ﻋﻜﺲ ﺑﺮﺩﺍﺭﻯ ﻣﻰﺷﻮﺩ‪ .‬ﺣﺘﻰ‬
‫ﺑﺴﻴﺎﺭﻯ ﺩﺭ ﻭﺻﻒ ﻛﻮﭼﻪ ﺩﺍﺭﻧﺪ‪ ،‬ﻣﺎﻧﻨﺪ‬ ‫ﺧﺎﻛﻰ ﻛﻪ ﺩﺍﺧﻞ ﻇﺮﻭﻑ ﺍﺳﺖ ﺭﺍ ﻧﮕﻪ‬
‫ﺩﺍﺷﺘﻪ ﻭ ﺍﺯ ﺁﻥ ﻧﻤﻮﻧﻪ ﺑﺮ ﻣﻰﺩﺍﺭﻧﺪ ﺗﺎ‬
‫ﺍﻳﻦ ﺷﻌﺮ ﺯﻳﺒﺎﻯ ﻗﺮﻩﺍﻟﻌﻴﻦ‪:‬‬ ‫ﺗﺤﺖ ﺁﺯﻣﺎﻳﺶﻫﺎﻯ ﻣﺨﺘﻠﻒ ﻗﺮﺍﺭ ﮔﻴﺮﺩ‪.‬‬
‫ﺧﺎﻙ ﺍﻳﻦ ﻇﺮﻭﻑ ﻣﻰﺗﻮﺍﻧﺪ ﭘﺮﺩﻩ ﺍﺯ‬
‫ﮔﺮﺑﻪﺗﻮﺍﻓﺘﺪﻡﻧﻈﺮﭼﻬﺮﻩﺑﻪﭼﻬﺮﻩﺭﻭﺑﻪﺭﻭ‬ ‫ﻣﺤﺘﻮﻳﺎﺕ ﺁﻧﻬﺎ‪ ،‬ﻧﻮﻉ ﻏﺬﺍ ﻭ ﺧﻮﺭﺍﻛﻰﻫﺎﻯ‬

‫ﺷﺮﺡ ﺩﻫﻢ ﻏﻢ ﺗﻮ ﺭﺍ ﻧﻜﺘﻪ ﺑﻪ ﻧﻜﺘﻪ ﻣﻮ ﺑﻪ ﻣﻮ‬ ‫ﻫﺰﺍﺭﺍﻥ ﺳﺎﻝ ﭘﻴﺶ ﺑﺮﺩﺍﺭﺩ‪.‬‬
‫ﺑﻪ ﮔﺰﺍﺭﺵ ﺧﺒﺮﮔﺰﺍﺭﻯ ﻣﻬﺮ‪ ،‬ﺩﺭ‬
‫ﺍﺯ ﭘﻰ ﺩﻳﺪﻥ ُﺭﺥﺍﺕ ﻫﻤﭽﻮ ﺻﺒﺎ ﻓﺘﺎﺩﻩﺍﻡ‬ ‫ﭘﺎﻧﺰﺩﻫﻤﻴﻦ ﻓﺼﻞ ﺍﺯ ﻛﺎﻭﺵﻫﺎﻯ ﺑﺎﺳﺘﺎﻥ‬
‫ﺧﺎﻧﻪﺑﻪﺧﺎﻧﻪﺩﺭﺑﻪﺩﺭﻛﻮﭼﻪﺑﻪﻛﻮﭼﻪﻛﻮﺑﻪﻛﻮ‬ ‫ﺷﻨﺎﺳﻰ ﺷﻬﺮ ﺳﻮﺧﺘﻪ ﺑﻪ ﺳﺮﭘﺮﺳﺘﻰ‬
‫ﺳﻴﺪ ﻣﻨﺼﻮﺭ ﺳﺠﺎﺩﻯ‪ ،‬ﺑﺎﺳﺘﺎﻥ ﺷﻨﺎﺳﺎﻥ‬
‫ﺑﻪ ﻳﺎﻓﺘﻪﻫﺎﻯ ﺟﺎﻟﺒﻰ ﺩﺳﺖ ﭘﻴﺪﺍ ﻛﺮﺩﻧﺪ‬
‫ﻛﻪ ﻫﻢ ﺑﺨﺸﻰ ﺍﺯ ﺳﻮﺍﻻﺕ ﭘﮋﻭﻫﺸﻰ ﺁﻧﻬﺎ‬
‫ﺭﺍ ﭘﺎﺳﺦ ﻣﻰﺩﻫﺪ ﻭ ﻫﻢ ﺳﻮﺍﻻﺕ ﺩﻳﮕﺮﻯ‬

‫ﺑﺮﺍﻳﺸﺎﻥ ﺑﻪ ﻭﺟﻮﺩ ﻣﻰﺁﻭﺭﺩ‪.‬‬

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