‫‪0‬‬ ‫ﺗﺮاﻧﻪ هﺎی ﺧﻴﺎم‬

‫ﺗﺮاﻧﻪ هﺎی ﺧﻴﺎم‬

‫ﺻﺎدق هﺪاﻳﺖ‬
‫ﻧﺸﺮ ﺗﺪﺑﻴﺮ‬
‫ﺑﺎ ﺗﻼش‪ :‬رﻧﻮا راﺳﺦ‬

‫ﻧﺸﺮ ﺗﺪﺑﻴﺮ‬
‫‪1‬‬ ‫ﺗﺮاﻧﻪ هﺎی ﺧﻴﺎم‬

‫ﭘﻴﺸﮕﻔﺘﺎر‬
‫ﺷﺎﻳﺪ ﻛﻤﺘﺮ ﻛﺘﺎﺑﻲ ﺩﺭ ﺩﻧﻴﺎ ﻣﺎﻧﻨﺪ ﻣﺠﻤﻮﻋﺔ ﺗﺮﺍﻧﻪﻫﺎﻱ ﺧﻴﺎﻡ ﺗﺤﺴﻴﻦ ﺷﺪﻩ‪ ،‬ﻣﺮﺩﻭﺩ ﻭ ﻣﻨﻔﻮﺭ‬
‫ﺑﻮﺩﻩ‪ ،‬ﺗﺤﺮﻳﻒ ﺷﺪﻩ‪ ،‬ﺑﻬﺘﺎﻥ ﺧﻮﺭﺩﻩ‪ ،‬ﻣﺤﻜﻮﻡ ﮔﺮﺩﻳﺪﻩ‪ ،‬ﺣﻼﺟﻲ ﺷﺪﻩ‪ ،‬ﺷﻬﺮﺕ ﻋﻤﻮﻣﻲ ﻭ‬
‫ﺩﻧﻴﺎﮔﻴﺮ ﭘﻴﺪﺍ ﻛﺮﺩﻩ ﻭ ﺑﺎﻻﺧﺮﻩ ﻧﺎﺷﻨﺎﺱ ﻣﺎﻧﺪﻩ‪.‬‬

‫ﺍﮔﺮ ﻫﻤﺔ ﻛﺘﺎﺏﻫﺎﻳﻲ ﻛﻪ ﺭﺍﺟﻊ ﺑﻪ ﺧﻴﺎﻡ ﻭ ﺭﺑﺎﻋﻴﺎﺗﺶ ﻧﻮﺷﺘﻪ ﺷﺪﻩ ﺟﻤﻊﺁﻭﺭﻱ ﺷﻮﺩ‬
‫ﺗﺸﻜﻴﻞ ﻛﺘﺎﺑﺨﺎﻧﺔ ﺑﺰﺭﮔﻲ ﺭﺍ ﺧﻮﺍﻫﺪ ﺩﺍﺩ‪ .‬ﻭﻟﻲ ﻛﺘﺎﺏ ﺭﺑﺎﻋﻴﺎﺗﻲ ﻛﻪ ﺑﻪ ﺍﺳﻢ ﺧﻴﺎﻡ ﻣﻌﺮﻭﻑ‬
‫ﺍﺳﺖ ﻭ ﺩﺭ ﺩﺳﺘﺮﺱ ﻫﻤﻪ ﻣﻲﺑﺎﺷﺪ ﻣﺠﻤﻮﻋﻪﺍﻱ ﺍﺳﺖ ﻛﻪ ﻋﻤﻮﻣﹰﺎ ﺍﺯ ﻫﺸﺘﺎﺩ ﺍﻟﻲ ﻫﺰﺍﺭ ﻭ‬
‫ﺩﻭﻳﺴﺖ ﺭﺑﺎﻋﻲ ﻛﻢ ﻭ ﺑﻴﺶ ﺩﺭ ﺑﺮ ﺩﺍﺭﺩ؛ ﺍﻣﺎ ﻫﻤﺔ ﺁﻥﻫﺎ ﺗﻘﺮﻳﺒﹰﺎ ﺟﻨﮓ ﻣﻐﻠﻮﻃﻲ ﺍﺯ ﺍﻓﻜﺎﺭ‬
‫ﻣﺨﺘﻠﻒ ﺭﺍ ﺗﺸﻜﻴﻞ ﻣﻲﺩﻫﻨﺪ‪ .‬ﺣﺎﻻ ﺍﮔﺮ ﻳﻜﻲ ﺍﺯ ﺍﻳﻦ ﻧﺴﺨﻪﻫﺎﻱ ﺭﺑﺎﻋﻴﺎﺕ ﺭﺍ ﺍﺯ ﺭﻭﻱ‬
‫ﺗﻔﺮﻳﺢ ﻭﺭﻕ ﺑﺰﻧﻴﻢ ﻭ ﺑﺨﻮﺍﻧﻴﻢ ﺩﺭ ﺁﻥ ﺑﻪ ﺍﻓﻜﺎﺭ ﻣﺘﻀﺎﺩ‪ ،‬ﺑﻪ ﻣﺼﻤﻮﻥﻫﺎﻱ ﮔﻮﻧﺎﮔﻮﻥ ﻭ ﺑﻪ‬
‫ﻣﻮﺿﻮﻉﻫﺎﻱ ﻗﺪﻳﻢ ﻭ ﺟﺪﻳﺪ ﺑﺮ ﻣﻲﺧﻮﺭﻳﻢ؛ ﺑﻄﻮﺭﻳﻜﻪ ﺍﮔﺮ ﻳﻜﻨﻔﺮ ﺻﺪ ﺳﺎﻝ ﻋﻤﺮ ﻛﺮﺩﻩ‬
‫ﺑﺎﺷﺪ ﻭ ﺭﻭﺯﻱ ﺩﻭ ﻣﺮﺗﺒﻪ ﻛﻴﺶ ﻭ ﻣﺴﻠﻚ ﻭ ﻋﻘﻴﺪﺓ ﺧﻮﺩ ﺭﺍ ﻋﻮﺽ ﻛﺮﺩﻩ ﺑﺎﺷﺪ ﻗﺎﺩﺭ‬
‫ﺑﮕﻔﺘﻦ ﭼﻨﻴﻦ ﺍﻓﻜﺎﺭﻱ ﻧﺨﻮﺍﻫﺪ ﺑﻮﺩ‪ .‬ﻣﻀﻤﻮﻥ ﺍﻳﻦ ﺭﺑﺎﻋﻴﺎﺕ ﺭﻭﻱ ﻓﻠﺴﻔﻪ ﻭ ﻋﻘﺎﻳﺪ ﻣﺨﺘﻠﻒ‬
‫ﺍﺳﺖ ﺍﺯ ﻗﺒﻴﻞ‪ :‬ﺍﻟﻬﻲ‪ ،‬ﻃﺒﻴﻌﻲ‪ ،‬ﺩﻫﺮﻱ‪ ،‬ﺻﻮﻓﻲ‪ ،‬ﺧﻮﺷﺒﻴﻨﻲ‪ ،‬ﺑﺪﺑﻴﻨﻲ‪ ،‬ﺗﻨﺎﺳﺨﻲ‪ ،‬ﺍﻓﻴﻮﻧﻲ‪،‬‬
‫ﺑﻨﮕﻲ‪ ،‬ﺷﻬﻮﺕﭘﺮﺳﺘﻲ‪ ،‬ﻣﺎﺩﻱ‪ ،‬ﻣﺮﺗﺎﺿﻲ‪ ،‬ﻻﻣﺬﻫﺒﻲ‪ ،‬ﺭﻧﺪﻱ ﻭ ﻗﻼﺷﻲ‪ ،‬ﺧﺪﺍﺋﻲ‪ ،‬ﻭﺍﻓﻮﺭﻱ ‪.‬‬
‫‪ . .‬ﺁﻳﺎ ﻣﻤﻜﻦ ﺍﺳﺖ ﻳﻜﻨﻔﺮ ﺍﻳﻦﻫﻤﻪ ﻣﺮﺍﺣﻞ ﻭ ﺣﺎﻻﺕ ﻣﺨﺘﻠﻒ ﺭﺍ ﭘﻴﻤﻮﺩﻩ ﺑﺎﺷﺪ ﻭ ﺑﺎﻻﺧﺮﻩ‬
‫ﻓﻴﻠﺴﻮﻑ ﻭ ﺭﻳﺎﺿﻲﺩﺍﻥ ﻭ ﻣﻨﺠﻢ ﻫﻢ ﺑﺎﺷﺪ؟ ﭘﺲ ﺗﻜﻠﻴﻒ ﻣﺎ ﺩﺭ ﻣﻘﺎﺑﻞ ﺍﻳﻦ ﺁﺵ ﺩﺭ ﻫﻢ‬
‫ﺟﻮﺵ ﭼﻴﺴﺖ؟ ﺍﮔﺮ ﺑﻪ ﺷﺮﺡ ﺣﺎﻝ ﺧﻴﺎﻡ ﺩﺭ ﻛﺘﺐ ﻗﺪﻣﺎ ﻫﻢ ﺭﺟﻮﻉ ﺑﻜﻨﻴﻢ ﺑﻬﻤﻴﻦ‬
‫ﺍﺧﺘﻼﻑ ﻧﻈﺮ ﺑﺮ ﻣﻲﺧﻮﺭﻳﻢ‪.‬‬

‫ﻧﺸﺮ ﺗﺪﺑﻴﺮ‬
‫‪2‬‬ ‫ﺗﺮاﻧﻪ هﺎی ﺧﻴﺎم‬

‫ﺍﻳﻦ ﺍﺧﺘﻼﻓﻲ ﺍﺳﺖ ﻛﻪ ﻫﻤﻴﺸﻪ ﺩﺭ ﺍﻃﺮﺍﻑ ﺍﻓﻜﺎﺭ ﺑﺰﺭﮒ ﺭﻭﻱ ﻣﻲﺩﻫﺪ‪ .‬ﻭﻟﻲ ﺍﺷﺘﺒﺎﻩ ﻣﻬﻢ‬
‫ﺍﺯ ﺁﻧﺠﺎ ﻧﺎﺷﻲ ﺷﺪﻩ ﻛﻪ ﭼﻨﺎﻧﻜﻪ ﺑﺎﻳﺪ ﺧﻴﺎﻡ ﺷﻨﺎﺧﺘﻪ ﻧﺸﺪﻩ ﻭ ﺍﻓﺴﺎﻧﻪﻫﺎﺋﻲ ﻛﻪ ﺭﺍﺟﻊ ﺑﺎﻭ‬
‫ﺷﺎﻳﻊ ﻛﺮﺩﻩﺍﻧﺪ ﺍﻳﻦ ﺍﺷﻜﺎﻝ ﺭﺍ ﺩﺭ ﺍﻧﺘﺨﺎﺏ ﺭﺑﺎﻋﻴﺎﺕ ﺍﻭ ﺗﻮﻟﻴﺪ ﻛﺮﺩﻩ ﺍﺳﺖ‪.‬‬

‫ﺩﺭ ﺍﻳﻨﺠﺎ ﻣﺎ ﻧﻤﻲﺧﻮﺍﻫﻴﻢ ﺑﻪ ﺷﺮﺡ ﺯﻧﺪﮔﻲ ﺧﻴﺎﻡ ﺑﭙﺮﺩﺍﺯﻳﻢ ﻭ ﻳﺎ ﺣﺪﺳﻴﺎﺕ ﻭ ﮔﻔﺘﻪﻫﺎﻱ‬

‫ﺩﻳﮕﺮﺍﻥ ﺭﺍ ﺭﺍﺟﻊ ﺑﺎﻭ ﺗﻜﺮﺍﺭ ﺑﻜﻨﻴﻢ‪ .‬ﭼﻮﻥ ﺻﻔﺤﺎﺕ ﺍﻳﻦ ﻛﺘﺎﺏ ﺧﻴﻠﻲ ﻣﺤﺪﻭﺩ ﺍﺳﺖ‪.‬‬
‫ﺍﺳﺎﺱ ﻛﺘﺎﺏ ﻣﺎ ﺭﻭﻱ ﻳﻚ ﻣﺸﺖ ﺭﺑﺎﻋﻲ ﻓﻠﺴﻔﻲ ﻗﺮﺍﺭ ﮔﺮﻓﺘﻪ ﺍﺳﺖ ﻛﻪ ﺑﺎﺳﻢ ﺧﻴﺎﻡ‪ ،‬ﻫﻤﺎﻥ‬
‫ﻣﻨﺠﻢ ﻭ ﺭﻳﺎﺿﻲﺩﺍﻥ ﺑﺰﺭﮒ ﻣﺸﻬﻮﺭ ﺍﺳﺖ ﻭ ﻳﺎ ﺑﺨﻄﺎ ﺑﺎﻭ ﻧﺴﺒﺖ ﻣﻲﺩﻫﻨﺪ‪ .‬ﺍﻣﺎ ﭼﻴﺰﻱﻛﻪ‬
‫ﺍﻧﻜﺎﺭ ﻧﺎﭘﺬﻳﺮ ﺍﺳﺖ‪ ،‬ﺍﻳﻦ ﺭﺑﺎﻋﻴﺎﺕ ﻓﻠﺴﻔﻲ ﺩﺭ ﺣﺪﻭﺩ ﻗﺮﻥ ﭘﻨﺞ ﻭ ﺷﺶ ﻫﺠﺮﻱ ﺑﺰﺑﺎﻥ‬
‫ﻓﺎﺭﺳﻲ ﮔﻔﺘﻪ ﺷﺪﻩ‪.‬‬

‫ﺗﺎ ﻛﻨﻮﻥ ﻗﺪﻳﻤﺘﺮﻳﻦ ﻣﺠﻤﻮﻋﺔ ﺍﺻﻴﻞ ﺍﺯ ﺭﺑﺎﻋﻴﺎﺗﻲ ﻛﻪ ﺑﻪ ﺧﻴﺎﻡ ﻣﻨﺴﻮﺏ ﺍﺳﺖ‪ ،‬ﻧﺴﺨﺔ‬
‫»ﺑﻮﺩﻟﻦ« ﺍﻛﺴﻔﺮﺩ ﻣﻲﺑﺎﺷﺪ ﻛﻪ ﺩﺭ ﺳﻨﺔ ‪ ٨٦٥‬ﺩﺭ ﺷﻴﺮﺍﺯ ﻛﺘﺎﺑﺖ ﺷﺪﻩ‪ .‬ﻳﻌﻨﻲ ﺳﻪ ﻗﺮﻥ ﺑﻌﺪ ﺍﺯ‬
‫ﺧﻴﺎﻡ ﻭ ﺩﺍﺭﺍﻱ ‪ ١٥٨‬ﺭﺑﺎﻋﻲ ﺍﺳﺖ‪ ،‬ﻭﻟﻲ ﻫﻤﺎﻥ ﺍﻳﺮﺍﺩ ﺳﺎﺑﻖ ﻛﻢ ﻭ ﺑﻴﺶ ﺑﻪ ﺍﻳﻦ ﻧﺴﺨﻪ ﻭﺍﺭﺩ‬
‫ﺍﺳﺖ‪ .‬ﺯﻳﺮﺍ ﺭﺑﺎﻋﻴﺎﺕ ﺑﻴﮕﺎﻧﻪ ﻧﻴﺰ ﺩﺭﻳﻦ ﻣﺠﻤﻮﻋﻪ ﺩﻳﺪﻩ ﻣﻲﺷﻮﺩ‪.‬‬

‫ﻓﻴﺘﺰﺟﺮﺍﻟﺪ ﻛﻪ ﻧﻪ ﺗﻨﻬﺎ ﻣﺘﺮﺟﻢ ﺭﺑﺎﻋﻴﺎﺕ ﺧﻴﺎﻡ ﺑﻮﺩﻩ‪ ،‬ﺑﻠﻜﻪ ﺍﺯ ﺭﻭﺡ ﻓﻴﻠﺴﻮﻑ ﺑﺰﺭﮒ ﻧﻴﺰ‬
‫ﻣﻠﻬﻢ ﺑﻮﺩﻩ ﺍﺳﺖ‪ ،‬ﺩﺭ ﻣﺠﻤﻮﻋﺔ ﺧﻮﺩ ﺑﻌﻀﻲ ﺭﺑﺎﻋﻴﺎﺗﻲ ﺁﻭﺭﺩﻩ ﻛﻪ ﻧﺴﺒﺖ ﺁﻥﻫﺎ ﺑﻪ ﺧﻴﺎﻡ‬
‫ﺟﺎﻳﺰ ﻧﻴﺴﺖ‪ ،‬ﻗﻀﺎﻭﺕ ﻓﻴﺘﺰﺟﺮﺍﻟﺪ ﻣﻬﻤﺘﺮ ﺍﺯ ﺍﻏﻠﺐ ﺷﺮﺡ ﺣﺎﻻﺗﻲ ﺍﺳﺖ ﻛﻪ ﺭﺍﺟﻊ ﺑﻪ ﺧﻴﺎﻡ‬
‫ﺩﺭ ﻛﺘﺐ ﻗﺪﻳﻢ ﺩﻳﺪﻩ ﻣﻲﺷﻮﺩ؛ ﭼﻮﻥ ﺑﺎ ﺫﻭﻕ ﻭ ﺷﺎﻣﺔ ﺧﻮﺩﺵ ﺑﻬﺘﺮ ﺭﺑﺎﻋﻴﺎﺕ ﺍﺻﻠﻲ ﺧﻴﺎﻡ‬
‫ﺭﺍ ﺗﺸﺨﻴﺺ ﺩﺍﺩﻩ ﺗﺎ ﻧﻴﻜﻼ ﻣﺘﺮﺟﻢ ﻓﺮﺍﻧﺴﻮﻱ ﺭﺑﺎﻋﻴﺎﺕ ﺧﻴﺎﻡ ﻛﻪ ﺍﻭ ﺭﺍ ﺑﻨﻈﺮ ﻳﻚ ﺷﺎﻋﺮ‬
‫ﺻﻮﻓﻲ ﺩﻳﺪﻩ ﻭ ﻣﻌﺘﻘﺪ ﺍﺳﺖ ﻛﻪ ﺧﻴﺎﻡ ﻋﺸﻖ ﻭ ﺍﻟﻮﻫﻴﺖ ﺭﺍ ﺑﻠﺒﺎﺱ ﺷﺮﺍﺏ ﻭ ﺳﺎﻗﻲ ﻧﺸﺎﻥ‬

‫ﻧﺸﺮ ﺗﺪﺑﻴﺮ‬
‫‪3‬‬ ‫ﺗﺮاﻧﻪ هﺎی ﺧﻴﺎم‬

‫ﻣﻲﺩﻫﺪ‪ ،‬ﭼﻨﺎﻧﻜﻪ ﺍﺯ ﻫﻤﺎﻥ ﺗﺮﺟﻤﺔ ﻣﻐﻠﻮﻁ ﺍﻭ ﺷﺨﺺ ﺑﺎ ﺫﻭﻕ ﺩﻳﮕﺮﻱ ﻣﺎﻧﻨﺪ ﺭﻧﺎﻥ ﺧﻴﺎﻡ‬
‫ﺣﻘﻴﻘﻲ ﺭﺍ ﺷﻨﺎﺧﺘﻪ ﺍﺳﺖ‪.‬‬

‫ﻗﺪﻳﻤﺘﺮﻳﻦ ﻛﺘﺎﺑﻲ ﻛﻪ ﺍﺯ ﺧﻴﺎﻡ ﺍﺳﻤﻲ ﺑﻤﻴﺎﻥ ﺁﻭﺭﺩﻩ ﻭ ﻧﻮﻳﺴﻨﺪﺓ ﺁﻥ ﻫﻢ ﻋﺼﺮ ﺧﻴﺎﻡ ﺑﻮﺩﻩ ﻭ‬
‫ﺧﻮﺩﺵ ﺭﺍ ﺷﺎﮔﺮﺩ ﻭ ﻳﻜﻲ ﺍﺯ ﺩﻭﺳﺘﺎﻥ ﺍﺭﺍﺩﺗﻤﻨﺪ ﺧﻴﺎﻡ ﻣﻌﺮﻓﻲ ﻣﻲﻛﻨﺪ ﻭ ﺑﺎ ﺍﺣﺘﺮﺍﻡ ﻫﺮ ﭼﻪ‬
‫ﺗﻤﺎﻣﺘﺮ ﺍﺳﻢ ﺍﻭ ﺭﺍ ﻣﻲﺑﺮﺩ‪ ،‬ﻧﻈﺎﻣﻲ ﻋﺮﻭﺿﻲ ﻣﺆﻟﻒ »ﭼﻬﺎﺭ ﻣﻘﺎﻟﻪ« ﺍﺳﺖ‪ .‬ﻭﻟﻲ ﺍﻭ ﺧﻴﺎﻡ ﺭﺍ‬
‫ﺩﺭ ﺭﺩﻳﻒ ﻣﻨﺠﻤﻴﻦ ﺫﻛﺮ ﻣﻲﻛﻨﺪ ﻭ ﺍﺳﻤﻲ ﺍﺯ ﺭﺑﺎﻋﻴﺎﺕ ﺍﻭ ﻧﻤﻲﺁﻭﺭﺩ‪ .‬ﻛﺘﺎﺏ ﺩﻳﮕﺮﻱ ﻛﻪ‬
‫ﻣﺆﻟﻒ ﺁﻥ ﺍﺩﻋﺎ ﺩﺍﺭﺩ ﺩﺭ ﺍﻳﺎﻡ ﻃﻔﻮﻟﻴﺖ )‪ (٥٠٧‬ﺩﺭ ﻣﺠﻠﺲ ﺩﺭﺱ ﺧﻴﺎﻡ ﻣﺸﺮﻑ ﺷﺪﻩ‬
‫»ﺗﺎﺭﻳﺦ ﺑﻴﻬﻘﻲ« ﻭ »ﺗﺘﻤﻪ ﺻﻮﺍﻥ ﺍﻟﺤﻜﻤﻪ« ﻧﮕﺎﺭﺵ ﺍﺑﻮﺍﻟﺤﺴﻦ ﺑﻴﻬﻘﻲ ﻣﻲﺑﺎﺷﺪ ﻛﻪ ﺗﻘﺮﻳﺒﹰﺎ ﺩﺭ‬
‫ﺳﻨﺔ ‪ ٥٦٢‬ﺗﺄﻟﻴﻒ ﺷﺪﻩ‪ .‬ﺍﻭ ﻧﻴﺰ ﺍﺯ ﺧﻴﺎﻡ ﭼﻴﺰ ﻣﻬﻤﻲ ﺑﺪﺳﺖ ﻧﻤﻲﺩﻫﺪ‪ ،‬ﻓﻘﻂ ﻋﻨﻮﺍﻥ ﺍﻭ ﺭﺍ‬
‫ﻣﻲﮔﻮﻳﺪ ﻛﻪ‪» :‬ﺩﺳﺘﻮﺭ‪ ،‬ﻓﻴﻠﺴﻮﻑ ﻭ ﺣﺠﻪ ﺍﻟﺤﻖ« ﻧﺎﻣﻴﺪﻩ ﻣﻲﺷﺪﻩ! ﭘﺪﺭﺍﻥ ﺍﻭ ﻫﻤﻪ‬
‫ﻧﻴﺸﺎﺑﻮﺭﻱ ﺑﻮﺩﻩﺍﻧﺪ‪ ،‬ﺩﺭ ﻋﻠﻮﻡ ﻭ ﺣﻜﻤﺖ ﺗﺎﻟﻲ ﺍﺑﻮﻋﻠﻲ ﺑﻮﺩﻩ ﻭﻟﻲ ﺷﺨﺼﹰﺎ ﺁﺩﻣﻲ ﺧﺸﻚ‪،‬‬
‫ﻭ ﺑﺪ ﺧﻠﻖ ﻭ ﻛﻢ ﺣﻮﺻﻠﻪ ﺑﻮﺩﻩ‪ .‬ﭼﻨﺪ ﻛﺘﺎﺏ ﺍﺯ ﺁﺛﺎﺭ ﺍﻭ ﺫﻛﺮ ﻣﻲﻛﻨﺪ ﻭ ﻓﻘﻂ ﻣﻌﻠﻮﻡ‬
‫ﻣﻲﺷﻮﺩ ﻛﻪ ﺧﻴﺎﻡ ﻋﻼﻭﻩ ﺑﺮ ﺭﻳﺎﺿﻴﺎﺕ ﻭ ﻧﺠﻮﻡ ﺩﺭ ﻃﺐ ﻭ ﻟﻐﺖ ﻭ ﻓﻘﻪ ﻭ ﺗﺎﺭﻳﺦ ﻧﻴﺰ ﺩﺳﺖ‬
‫ﺩﺍﺷﺘﻪ ﻭ ﻣﻌﺮﻭﻑ ﺑﻮﺩﻩ ﺍﺳﺖ‪ .‬ﻭﻟﻲ ﺩﺭ ﺁﻧﺠﺎ ﻫﻢ ﺍﺳﻤﻲ ﺍﺯ ﺍﺷﻌﺎﺭ ﺧﻴﺎﻡ ﻧﻤﻲﺁﻳﺪ ﮔﻮﻳﺎ‬
‫ﺗﺮﺍﻧﻪﻫﺎﻱ ﺧﻴﺎﻡ ﺩﺭ ﺯﻣﺎﻥ ﺣﻴﺎﺗﺶ ﺑﻮﺍﺳﻄﺔ ﺗﻌﺼﺐ ﻣﺮﺩﻡ ﻣﺨﻔﻲ ﺑﻮﺩﻩ ﻭ ﺗﺪﻭﻳﻦ ﻧﺸﺪﻩ ﻭ‬
‫ﺗﻨﻬﺎ ﺑﻴﻦ ﻳﻜﺪﺳﺘﻪ ﺍﺯ ﺩﻭﺳﺘﺎﻧﻦ ﻫﻤﺮﻧﮓ ﻭ ﺻﻤﻴﻤﻲ ﺍﻭ ﺷﻬﺮﺕ ﺩﺍﺷﺘﻪ ﻭ ﻳﺎ ﺩﺭ ﺣﺎﺷﻴﺔ‬
‫ﺟﻨﮓﻫﺎ ﻭ ﻛﺘﺐ ﺍﺷﺨﺎﺹ ﺑﺎ ﺫﻭﻕ ﺑﻄﻮﺭ ﻗﻠﻢ ﺍﻧﺪﺍﺯ ﭼﻨﺪ ﺭﺑﺎﻋﻲ ﺍﺯ ﺍﻭ ﺿﺒﻂ ﺷﺪﻩ‪ ،‬ﻭ ﭘﺲ‬
‫ﺍﺯ ﻣﺮﮔﺶ ﻣﻨﺘﺸﺮ ﮔﺮﺩﻳﺪﻩ ﻛﻪ ﺩﺍﻍ ﻻﻣﺬﻫﺒﻲ ﻭ ﮔﻤﺮﺍﻫﻲ ﺭﻭﻳﺶ ﮔﺬﺍﺷﺘﻪﺍﻧﺪ ﻭ ﺑﻌﺪﻫﺎ ﺑﺎ‬
‫ﺍﺿﺎﻓﺎﺕ ﻣﻘﻠﺪﻳﻦ ﻭ ﺩﺷﻤﻨﺎﻥ ﺍﻭ ﺟﻤﻊﺁﻭﺭﻱ ﺷﺪﻩ‪ .‬ﺍﻧﻌﻜﺎﺱ ﺭﺑﺎﻋﻴﺎﺕ ﺍﻭ ﺭﺍ ﺩﺭ ﻛﺘﺎﺏ‬
‫»ﻣﺮﺻﺎﺩﺍﻟﻌﺒﺎﺩ« ﺧﻮﺍﻫﻴﻢ ﺩﻳﺪ‪.‬‬

‫ﻧﺸﺮ ﺗﺪﺑﻴﺮ‬
‫‪4‬‬ ‫ﺗﺮاﻧﻪ هﺎی ﺧﻴﺎم‬

‫ﺍﻭﻟﻴﻦ ﻛﺘﺎﺑﻲ ﻛﻪ ﺩﺭ ﺁﻥ ﺍﺯ ﺧﻴﺎﻡ ﺷﺎﻋﺮ ﮔﻔﺘﮕﻮ ﻣﻲﺷﻮﺩ ﻛﺘﺎﺏ »ﺧﺮﻳﺪﻩ ﺍﻟﻘﺼﺮ« ﺗﺄﻟﻴﻒ‬
‫ﻋﻤﺎﺩﺍﻟﺪﻳﻦ ﻛﺎﺗﺐ ﺍﺻﻔﻬﺎﻧﻲ ﺑﺰﺑﺎﻥ ﻋﺮﺑﻲ ﺍﺳﺖ ﻛﻪ ﺩﺭ ‪ ٥٧٢‬ﻳﻌﻨﻲ ﻗﺮﻳﺐ ‪ ٥٠‬ﺳﺎﻝ ﺑﻌﺪ ﺍﺯ‬
‫ﻣﺮﮒ ﺧﻴﺎﻡ ﻧﻮﺷﺘﻪ ﺷﺪﻩ ﻭ ﻣﺆﻟﻒ ﺁﻥ ﺧﻴﺎﻡ ﺭﺍ ﺩﺭ ﺯﻣﺮﺓ ﺷﻌﺮﺍﻱ ﺧﺮﺍﺳﺎﻥ ﻧﺎﻡ ﺑﺮﺩﻩ ﻭ‬
‫ﺗﺮﺟﻤﺔ ﺣﺎﻝ ﺍﻭ ﺭﺍ ﺁﻭﺭﺩﻩ ﺍﺳﺖ‪.‬‬

‫ﻛﺘﺎﺏ ﺩﻳﮕﺮﻱ ﻛﻪ ﺧﻴﺎﻡ ﺷﺎﻋﺮ ﺭﺍ ﺗﺤﺖ ﻣﻄﺎﻟﻌﻪ ﺁﻭﺭﺩﻩ »ﻣﺮﺻﺎﺩ ﺍﻟﻌﺒﺎﺩ« ﺗﺄﻟﻴﻒ ﻧﺠﻢﺍﻟﺪﻳﻦ‬
‫ﺭﺍﺯﻱ ﻣﻲﺑﺎﺷﺪ ﻛﻪ ﺩﺭ ﺳﻨﺔ ‪ ٦٢١ - ٦٢٠‬ﺗﺄﻟﻴﻒ ﺷﺪﻩ‪ .‬ﺍﻳﻦ ﻛﺘﺎﺏ ﻭﺛﻴﻘﺔ ﺑﺰﺭﮔﻲ ﺍﺳﺖ‬
‫ﺯﻳﺮﺍ ﻧﻮﻳﺴﻨﺪﺓ ﺁﻥ ﺻﻮﻓﻲ ﻣﺘﻌﺼﺒﻲ ﺑﻮﺩﻩ ﻭ ﺍﺯ ﺍﻳﻦ ﻟﺤﺎﻅ ﺑﻌﻘﺎﻳﺪ ﺧﻴﺎﻡ ﺑﻨﻈﺮ ﺑﻄﻼﻥ‬
‫ﻧﮕﺮﻳﺴﺘﻪ ﻭ ﻧﺴﺒﺖ ﻓﻠﺴﻔﻲ ﻭ ﺩﻫﺮﻱ ﻭ ﻃﺒﻴﻌﻲ ﺑﺎﻭ ﻣﻲﺩﻫﺪ ﻭ ﻣﻲﮔﻮﻳﺪ‪:‬‬

‫)ﺹ ‪ . . .» (١٨‬ﻛﻪ ﺛﻤﺮﺓ ﻧﻈﺮ ﺍﻳﻤﺎﻥﺳﺖ ﻭ ﺛﻤﺮﺓ ﻗﺪﻡ ﻋﺮﻓﺎﻥ‪ .‬ﻓﻠﺴﻔﻲ ﻭ ﺩﻫﺮﻱ ﻭ ﻃﺒﺎﻳﻌﻲ‬
‫ﺍﺯ ﺍﻳﻦ ﺩﻭ ﻣﻘﺎﻡ ﻣﺤﺮﻭﻣﻨﺪ ﻭ ﺳﺮﮔﺸﺘﻪ ﻭ ﮔﻢ ﮔﺸﺘﻪﺍﻧﺪ‪ .‬ﻳﻜﻲ ﺍﺯ ﻓﻀﻼ ﻛﻪ ﺑﻨﺰﺩ ﻧﺎﺑﻴﻨﺎﻳﺎﻥ‬
‫ﺑﻔﻀﻞ ﻭ ﺣﻜﻤﺖ ﻭ ﻛﻴﺎﺳﺖ ﻣﻌﺮﻭﻑ ﻭ ﻣﺸﻬﻮﺭ ﺍﺳﺖ ﻭ ﺁﻥ ﻋﻤﺮ ﺧﻴﺎﻡ ﺍﺳﺖ‪ ،‬ﺍﺯ ﻏﺎﻳﺖ‬
‫ﺣﻴﺮﺕ ﻭ ﺿﻼﻟﺖ ﺍﻳﻦ ﺑﻴﺖ ﺭﺍ ﻣﻲﮔﻮﻳﺪ‪ ،‬ﺭﺑﺎﻋﻲ‪:‬‬

‫ﺩﺭ ﺩﺍﻳﺮﻩﺍﻱ ﻛﺎﻣﺪﻥ ﻭ ﺭﻓﺘﻦ ﻣﺎﺳﺖ‪،‬‬

‫ﺁﻥ ﺭﺍ ﻧﻪ ﺑﺪﺍﻳﺖ‪ ،‬ﻧﻪ ﻧﻬﺎﻳﺖ ﭘﻴﺪﺍﺳﺖ؛‬

‫ﻛﺲ ﻣﻲﻧﺰﻧﺪ ﺩﻣﻲ ﺩﺭ ﻳﻦ ﻋﺎﻟﻢ ﺭﺍﺳﺖ‪،‬‬

‫ﻛﻴﻦ ﺁﻣﺪﻥ ﺍﺯ ﻛﺠﺎ ﻭ ﺭﻓﺘﻦ ﺑﻜﺠﺎﺳﺖ!‬

‫ﻧﺸﺮ ﺗﺪﺑﻴﺮ‬
‫‪5‬‬ ‫ﺗﺮاﻧﻪ هﺎی ﺧﻴﺎم‬

‫ﺭﺑﺎﻋﻲ‪:‬‬

‫ﺩﺍﺭﻧﺪﻩ ﭼﻪ ﺗﺮﻛﻴﺐ ﻃﺒﺎﻳﻊ ﺁﺭﺍﺳﺖ‪.‬‬

‫ﺑﺎﺯ ﺍﺯ ﭼﻪ ﺳﺒﺐ ﻓﻜﻨﺪﺵ ﺍﻧﺪﺭ ﻛﻢ ﻭ ﻛﺎﺳﺖ؟‬

‫ﮔﺮ ﺯﺷﺖ ﺁﻣﺪ ﺍﻳﻦ ﺻﻮﺭ‪ ،‬ﻋﻴﺐ ﻛﺮﺍﺳﺖ؟‬

‫ﻭﺭ ﻧﻴﻚ ﺁﻣﺪ‪ ،‬ﺧﺮﺍﺑﻲ ﺍﺯ ﺑﻬﺮ ﭼﻪ ﺧﻮﺍﺳﺖ؟«‬

‫)ﺹ ‪ . . .» (٢٢٧‬ﺍﻣﺎ ﺁﻧﭽﻪ ﺣﻜﻤﺖ ﺩﺭ ﻣﻴﺮﺍﻧﻴﺪﻥ ﺑﻌﺪ ﺍﺯ ﺣﻴﺎﺕ ﻭ ﺩﺭ ﺯﻧﺪﻩ ﻛﺮﺩﻥ ﺑﻌﺪ ﺍﺯ‬
‫ﻣﻤﺎﺕ ﭼﻪ ﺑﻮﺩ‪ ،‬ﺗﺎ ﺟﻮﺍﺏ ﺑﺂﻥ ﺳﺮﮔﺸﺘﺔ ﻏﺎﻓﻞ ﻭ ﮔﻢ ﮔﺸﺘﺔ ﻋﺎﻃﻞ ﻣﻲﮔﻮﻳﺪ‪:‬‬

‫ﺩﺍﺭﻧﺪﻩ ﭼﻮ ﺗﺮﻛﻴﺐ ﻃﺒﺎﻳﻊ ﺁﺭﺍﺳﺖ ‪«. . .‬‬

‫ﻗﻀﺎﻭﺕ ﺍﻳﻦ ﺷﺨﺺ ﺍﺭﺯﺵ ﻣﺨﺼﻮﺻﻲ ﺩﺭ ﺷﻨﺎﺳﺎﻧﻴﺪﻥ ﻓﻜﺮ ﻭ ﻓﻠﺴﻔﺔ ﺧﻴﺎﻡ ﺩﺍﺭﺩ‪ .‬ﻣﺆﻟﻒ‬
‫ﺻﻮﻓﻲ ﻣﺸﺮﺏ ﺍﺯ ﻧﻴﺶ ﺯﺑﺎﻥ ﻭ ﻓﺤﺶ ﻧﺴﺒﺖ ﺑﻪ ﺧﻴﺎﻡ ﺧﻮﺩ ﺩﺍﺭﻱ ﻧﻜﺮﺩﻩ ﺍﺳﺖ‪ .‬ﺍﻟﺒﺘﻪ‬
‫ﺑﻮﺍﺳﻄﺔ ﻧﺰﺩﻳﻚ ﺑﻮﺩﻥ ﺯﻣﺎﻥ‪ ،‬ﺍﺯ ﻫﺮ ﺟﻬﺖ ﻣﺆﻟﻒ ﻣﺰﺑﻮﺭ ﺁﺷﻨﺎﺗﺮ ﺑﻪ ﺯﻧﺪﮔﻲ ﻭ ﺍﻓﻜﺎﺭ ﻭ‬
‫ﺁﺛﺎﺭ ﺧﻴﺎﻡ ﺑﻮﺩﻩ‪ ،‬ﻭ ﻋﻘﻴﺪﺓ ﺧﻮﺩ ﺭﺍ ﺩﺭﺑﺎﺭﺓ ﺍﻭ ﺍﺑﺮﺍﺯ ﻣﻲﻛﻨﺪ‪ .‬ﺁﻳﺎ ﺍﻳﻦ ﺧﻮﺩ ﺩﻟﻴﻞ ﻛﺎﻓﻲ‬
‫ﻧﻴﺴﺖ ﻛﻪ ﺧﻴﺎﻡ ﻧﻪ ﺗﻨﻬﺎ ﺻﻮﻓﻲ ﻭ ﻣﺬﻫﺒﻲ ﻧﺒﻮﺩﻩ‪ ،‬ﺑﻠﻜﻪ ﺑﺮﻋﻜﺲ ﻳﻜﻲ ﺍﺯ ﺩﺷﻤﻨﺎﻥ‬
‫ﺗﺮﺳﻨﺎﻙ ﺍﻳﻦ ﻓﺮﻗﻪ ﺑﺸﻤﺎﺭ ﻣﻲﺁﻣﺪﻩ؟‬

‫ﺍﺳﻨﺎﺩ ﺩﻳﮕﺮ ﺩﺭ ﺑﻌﻀﻲ ﺍﺯ ﻛﺘﺐ ﻗﺪﻣﺎ ﻣﺎﻧﻨﺪ‪ ،‬ﻧﺰﻫﻪﺍﻻﺭﻭﺍﺡ‪ ،‬ﺗﺎﺭﻳﺦ ﺍﻟﺤﻜﻤﺈ‪ ،‬ﺁﺛﺎﺭ ﺍﻟﺒﻼﺩ‪،‬‬
‫ﻓﺮﺩﻭﺱ ﺍﻟﺘﻮﺍﺭﻳﺦ ﻭ ﻏﻴﺮﻩ ﺩﺭﺑﺎﺭﺓ ﺧﻴﺎﻡ ﻭﺟﻮﺩ ﺩﺍﺭﺩ ﻛﻪ ﺍﻏﻠﺐ ﺍﺷﺘﺒﺎﻩﺁﻟﻮﺩ ﻭ ﺳﺎﺧﺘﮕﻲ‬

‫ﻧﺸﺮ ﺗﺪﺑﻴﺮ‬
‫‪6‬‬ ‫ﺗﺮاﻧﻪ هﺎی ﺧﻴﺎم‬

‫ﺍﺳﺖ‪ ،‬ﻭ ﺍﺯ ﺭﻭﻱ ﺗﻌﺼﺐ ﻭ ﻳﺎ ﺍﻓﺴﺎﻧﻪﻫﺎﻱ ﻣﺠﻌﻮﻝ ﻧﻮﺷﺘﻪ ﺷﺪﻩ ﻭ ﺭﺍﺑﻄﺔ ﺧﻴﻠﻲ ﺩﻭﺭ ﺑﺎ‬
‫ﺧﻴﺎﻡ ﺣﻘﻴﻘﻲ ﺩﺍﺭﺩ‪ .‬ﻣﺎ ﺩﺭ ﺍﻳﻨﺠﺎ ﻣﺠﺎﻝ ﺍﻧﺘﻘﺎﺩ ﺁﻥﻫﺎ ﺭﺍ ﻧﺪﺍﺭﻳﻢ‪.‬‬

‫ﺗﻨﻬﺎ ﺳﻨﺪ ﻣﻬﻤﻲ ﻛﻪ ﺍﺯ ﺭﺑﺎﻋﻴﺎﺕ ﺍﺻﻠﻲ ﺧﻴﺎﻡ ﺩﺭ ﺩﺳﺖ ﻣﻲﺑﺎﺷﺪ‪ ،‬ﻋﺒﺎﺭﺗﺴﺖ ﺍﺯ ﺭﺑﺎﻋﻴﺎﺕ‬
‫ﺳﻴﺰﺩﻩﮔﺎﻧﻪ »ﻣﻮﻧﺲ ﺍﻻﺣﺮﺍﺭ« ﻛﻪ ﺩﺭ ﺳﻨﺔ ‪ ٧٤١‬ﻫﺠﺮﻱ ﻧﻮﺷﺘﻪ ﺷﺪﻩ‪ ،‬ﻭ ﺩﺭ ﺧﺎﺗﻤﺔ ﻛﺘﺎﺏ‬
‫ﺭﺑﺎﻋﻴﺎﺕ ﺭﻭﺯﻥ ﺍﺳﺘﻨﺴﺎﺥ ﻭ ﺩﺭ ﺑﺮﻟﻴﻦ ﭼﺎﭖ ﺷﺪﻩ )ﺭﺟﻮﻉ ﺷﻮﺩ ﺑﻪ ﻧﻤﺮﺍﺕ‪،٢٧ ،١٠ ،٨ :‬‬
‫‪ (.١٢٧ ،١١٥ ،٩٣ ،٦٧ ،٦٤ ،٦٢ ،٥٩ ،٤٥ ،٤١ ،٢٩‬ﺭﺑﺎﻋﻴﺎﺕ ﻣﺰﺑﻮﺭ ﻋﻼﻭﻩ ﺑﺮ ﻗﺪﻣﺖ‬
‫ﺗﺎﺭﻳﺨﻲ‪ ،‬ﺑﺎ ﺭﻭﺡ ﻭ ﻓﻠﺴﻔﻪ ﻭ ﻃﺮﺯ ﻧﮕﺎﺭﺵ ﺧﻴﺎﻡ ﺩﺭﺳﺖ ﺟﻮﺭ ﻣﻲﺁﻳﻨﺪ ﻭ ﺍﻧﺘﻘﺎﺩ ﻣﺆﻟﻒ‬
‫»ﻣﺮﺻﺎﺩ ﺍﻟﻌﺒﺎﺩ« ﺑﻪ ﺁﻥﻫﺎ ﻧﻴﺰ ﻭﺍﺭﺩ ﺍﺳﺖ‪ .‬ﭘﺲ ﺩﺭ ﺍﺻﺎﻟﺖ ﺍﻳﻦ ﺳﻴﺰﺩﻩ ﺭﺑﺎﻋﻲ ﻭ ﺩﻭ ﺭﺑﺎﻏﻲ‬
‫»ﻣﺮﺻﺎﺩ ﺍﻟﻌﺒﺎﺩ« ﻛﻪ ﻳﻜﻲ ﺍﺯ ﺁﻥﻫﺎ ﺩﺭ ﻫﺮ ﺩﻭ ﺗﻜﺮﺍﺭ ﺷﺪﻩ )ﻧﻤﺮﻩ ‪ (١٠‬ﺷﻜﻲ ﺑﺎﻗﻲ ﻧﻤﻲﻣﺎﻧﺪ‬
‫ﻭ ﺿﻤﻨﹰﺎ ﻣﻌﻠﻮﻡ ﻣﻲﺷﻮﺩ ﻛﻪ ﮔﻮﻳﻨﺪﺓ ﺁﻥﻫﺎ ﻳﻚ ﻓﻠﺴﻔﺔ ﻣﺴﺘﻘﻞ ﻭ ﻃﺮﺯ ﻓﻜﺮ ﻭ ﺍﺳﻠﻮﺏ‬
‫ﻣﻌﻴﻦ ﺩﺍﺷﺘﻪ‪ ،‬ﻭ ﻧﺸﺎﻥ ﻣﻲﺩﻫﺪ ﻛﻪ ﻣﺎ ﺑﺎ ﻓﻴﻠﺴﻮﻓﻲ ﻣﺎﺩﻱ ﻭ ﻃﺒﻴﻌﻲ ﺳﺮ ﻭ ﻛﺎﺭ ﺩﺍﺭﻳﻢ‪ .‬ﺍﺯﻳﻦ‬
‫ﺭﻭ ﺑﺎ ﻛﻤﺎﻝ ﺍﻃﻤﻴﻨﺎﻥ ﻣﻲﺗﻮﺍﻧﻴﻢ ﺍﻳﻦ ﺭﺑﺎﻋﻴﺎﺕ ﭼﻬﺎﺭﺩﻩﮔﺎﻧﻪ ﺭﺍ ﺍﺯ ﺧﻮﺩ ﺷﺎﻋﺮ ﺑﺪﺍﻧﻴﻢ ﻭ‬
‫ﺁﻥﻫﺎ ﺭﺍ ﻛﻠﻴﺪ ﻭ ﻣﺤﻚ ﺷﻨﺎﺳﺎﺋﻲ ﺭﺑﺎﻋﻴﺎﺕ ﺩﻳﮕﺮ ﺧﻴﺎﻡ ﻗﺮﺍﺭ ﺑﺪﻫﻴﻢ‪.‬‬

‫ﺍﺯ ﺍﻳﻦﻗﺮﺍﺭ ﭼﻬﺎﺭﺩﻩ ﺭﺑﺎﻋﻲ ﻣﺬﻛﻮﺭ ﺳﻨﺪ ﺍﺳﺎﺳﻲ ﺍﻳﻦ ﻛﺘﺎﺏ ﺧﻮﺍﻫﺪ ﺑﻮﺩ‪ ،‬ﻭ ﺩﺭ ﺍﻳﻦ‬
‫ﺻﻮﺭﺕ ﻫﺮ ﺭﺑﺎﻋﻲ ﻛﻪ ﻳﻚ ﻛﻠﻤﻪ ﻭ ﻳﺎ ﻛﻨﺎﻳﻪ ﻣﺸﻜﻮﻙ ﻭ ﺻﻮﻓﻲ ﻣﺸﺮﺏ ﺩﺍﺷﺖ ﻧﺴﺒﺖ‬
‫ﺁﻥ ﺑﻪ ﺧﻴﺎﻡ ﺟﺎﻳﺰ ﻧﻴﺴﺖ‪ .‬ﻭﻟﻲ ﻣﺸﻜﻞ ﺩﻳﮕﺮﻱ ﻛﻪ ﺑﺎﻳﺪ ﺣﻞ ﺑﺸﻮﺩ ﺍﻳﻦﺳﺖ ﻛﻪ ﻣﻲﮔﻮﻳﻨﺪ‬
‫ﺧﻴﺎﻡ ﺑﻪ ﺍﻗﺘﻀﺎﻱ ﺳﻦ‪ ،‬ﭼﻨﺪﻳﻦ ﺑﺎﺭ ﺍﻓﻜﺎﺭ ﻭ ﻋﻘﺎﻳﺪﺵ ﻋﻮﺽ ﺷﺪﻩ‪ ،‬ﺩﺭ ﺍﺑﺘﺪﺍ ﻻﺍﺑﺎﻟﻲ ﻭ‬
‫ﺷﺮﺍﺑﺨﻮﺍﺭ ﻭ ﻛﺎﻓﺮ ﻭ ﻣﺮﺗﺪ ﺑﻮﺩﻩ ﻭ ﺁﺧﺮ ﻋﻤﺮ ﺳﻌﺎﺩﺕ ﺭﻓﻴﻖ ﺍﻭ ﺷﺪﻩ ﺭﺍﻫﻲ ﺑﺴﻮﻱ ﺧﺪﺍ‬
‫ﭘﻴﺪﺍ ﻛﺮﺩﻩ ﻭ ﺷﺒﻲ ﺭﻭﻱ ﻣﻬﺘﺎﺑﻲ ﻣﺸﻐﻮﻝ ﺑﺎﺩﻩ ﮔﺴﺎﺭﻱ ﺑﻮﺩﻩ؛ ﻧﺎﮔﺎﻩ ﺑﺎﺩ ﺗﻨﺪﻱ ﻭﺯﻳﺪﻥ‬

‫ﻧﺸﺮ ﺗﺪﺑﻴﺮ‬
‫‪7‬‬ ‫ﺗﺮاﻧﻪ هﺎی ﺧﻴﺎم‬

‫ﻣﻲﮔﻴﺮﺩ ﻭ ﻛﻮﺯﺓ ﺷﺮﺍﺏ ﺭﻭﻱ ﺯﻣﻴﻦ ﻣﻲﺍﻓﺘﺪ ﻭ ﻣﻲﺷﻜﻨﺪ‪ .‬ﺁﻥﻭﻗﺖ ﺧﻴﺎﻡ ﺑﺮﺁﺷﻔﺘﻪ ﺑﺨﺪﺍ‬
‫ﻣﻲﮔﻮﻳﺪ‪:‬‬

‫ﺍﺑﺮﻳﻖ ﻣﻲ ﻣﺮﺍ ﺷﻜﺴﺘﻲ ﺭﺑﻲ‪،‬‬

‫ﺑﺮ ﻣﻦ ﺩﺭ ﻋﻴﺶ ﺭﺍ ﺑﻪ ﺑﺴﺘﻲ ﺭﺑﻲ؛‬

‫ﻣﻦ ﻣﻲ ﺧﻮﺭﻡ ﻭ ﺗﻮ ﻣﻲ ﻛﻨﻲ ﺑﺪ ﻣﺴﺘﻲ‪،‬‬

‫ﺧﺎﻛﻢ ﺑﺪﻫﻦ ﻣﮕﺮ ﺗﻮ ﻣﺴﺘﻲ ﺭﺑﻲ؟‬

‫ﺧﺪﺍ ﺍﻭ ﺭﺍ ﻏﻀﺐ ﻣﻲﻛﻨﺪ‪ ،‬ﻓﻮﺭﹰﺍ ﺻﻮﺭﺕ ﺧﻴﺎﻡ ﺳﻴﺎﻩ ﻣﻲﺷﻮﺩ ﻭ ﺧﻴﺎﻡ ﺩﻭﺑﺎﺭﻩ ﻣﻲﮔﻮﻳﺪ‪:‬‬

‫ﻧﺎﻛﺮﺩﻩ ﮔﻨﺎﻩ ﺩﺭ ﺟﻬﺎﻥ ﻛﻴﺴﺖ؟ ﺑﮕﻮ‪،‬‬

‫ﺁﻥﻛﺲ ﻛﻪ ﮔﻨﻪ ﻧﻜﺮﺩﻩ ﭼﻮﻥ ﺯﻳﺴﺖ؟ ﺑﮕﻮ؛‬

‫ﻣﻦ ﺑﺪ ﻛﻨﻢ ﻭ ﺗﻮ ﺑﺪ ﻣﻜﺎﻓﺎﺕ ﺩﻫﻲ!‬

‫ﭘﺲ ﻓﺮﻕ ﻣﻴﺎﻥ ﻣﻦ ﻭ ﺗﻮ ﭼﻴﺴﺖ؟ ﺑﮕﻮ‪.‬‬

‫ﺧﺪﺍ ﻫﻢ ﺍﻭ ﺭﺍ ﻣﻲﺑﺨﺸﺪ ﻭ ﺭﻭﻳﺶ ﺩﺭﺧﺸﻴﺪﻥ ﻣﻲﮔﻴﺮﺩ‪ ،‬ﻭ ﻗﻠﺒﺶ ﺭﻭﺷﻦ ﻣﻲﺷﻮﺩ‪ .‬ﺑﻌﺪ‬
‫ﻣﻲﮔﻮﻳﺪ‪» :‬ﺧﺪﺍﻳﺎ ﻣﺮﺍ ﺑﺴﻮﻱ ﺧﻮﺩﺕ ﺑﺨﻮﺍﻥ!« ﺁﻥﻭﻗﺖ ﻣﺮﻍ ﺭﻭﺡ ﺍﺯ ﺑﺪﻧﺶ ﭘﺮﻭﺍﺯ‬
‫ﻣﻲﻛﻨﺪ!‬

‫ﻧﺸﺮ ﺗﺪﺑﻴﺮ‬
‫‪8‬‬ ‫ﺗﺮاﻧﻪ هﺎی ﺧﻴﺎم‬

‫ﺍﻳﻦ ﺣﻜﺎﻳﺖ ﻣﻌﺠﺰﺁﺳﺎﻱ ﻣﻀﺤﻚ ﺑﺪﺗﺮ ﺍﺯ ﻓﺤﺶﻫﺎﻱ ﻧﺠﻢﺍﻟﺪﻳﻦ ﺭﺍﺯﻱ ﺑﻪ ﻣﻘﺎﻡ ﺧﻴﺎﻡ‬
‫ﺗﻮﻫﻴﻦ ﻣﻲﻛﻨﺪ‪ ،‬ﻭ ﺍﻓﺴﺎﻧﺔ ﺑﭽﮕﺎﻧﻪﺍﻱ ﺍﺳﺖ ﻛﻪ ﺍﺯ ﺭﻭﻱ ﻧﺎﺷﻴﮕﺮﻱ ﺑﻬﻢ ﺑﺎﻓﺘﻪﺍﻧﺪ‪ .‬ﺁﻳﺎ‬
‫ﻣﻲﺗﻮﺍﻧﻴﻢ ﺑﮕﻮﺋﻴﻢ ﮔﻮﻳﻨﺪﺓ ﺁﻥ ﭼﻬﺎﺭﺩﻩ ﺭﺑﺎﻋﻲ ﻣﺤﻜﻢ ﻓﻠﺴﻔﻲ ﻛﻪ ﺑﺎ ﻫﺰﺍﺭ ﺯﺧﻢ ﺯﺑﺎﻥ ﻭ‬
‫ﻧﻴﺶ ﺧﻨﺪﻫﺎﻱ ﺗﻤﺴﺨﺮ ﺁﻣﻴﺰﺵ ﺩﻧﻴﺎ ﻭ ﻣﺎﻓﻲﻫﺎﻳﺶ ﺭﺍ ﺩﺳﺖ ﺍﻧﺪﺍﺧﺘﻪ‪ ،‬ﺩﺭ ﺁﺧﺮ ﻋﻤﺮ‬
‫ﺍﺷﻚ ﻣﻲﺭﻳﺰﺩ ﻭ ﺍﺯ ﻫﻤﺎﻥ ﺧﺪﺍﺋﻲ ﻛﻪ ﻣﺤﻜﻮﻡ ﻛﺮﺩﻩ ﺑﺰﺑﺎﻥ ﻟﻐﺎﺕ ﺁﺧﻮﻧﺪﻱ ﺍﺳﺘﻐﺎﺛﻪ‬
‫ﻣﻲﻃﻠﺒﺪ؟ ﺷﺎﻳﺪ ﻳﻚ ﻧﻔﺮ ﺍﺯ ﭘﻴﺮﻭﺍﻥ ﻭ ﺩﻭﺳﺘﺎﻥ ﺷﺎﻋﺮ ﺑﺮﺍﻱ ﻧﮕﻬﺪﺍﺭﻱ ﺍﻳﻦ ﮔﻨﺞ ﮔﺮﺍﻥﺑﻬﺎ‪،‬‬
‫ﺍﻳﻦ ﺣﻜﺎﻳﺖ ﺭﺍ ﺳﺎﺧﺘﻪ ﺗﺎ ﺍﮔﺮ ﻛﺴﻲ ﺑﻪ ﺭﺑﺎﻋﻴﺎﺕ ﺗﻨﺪ ﺍﻭ ﺑﺮﺑﺨﻮﺭﺩ ﺑﻨﻈﺮ ﻋﻔﻮ ﻭ ﺑﺨﺸﺎﻳﺶ‬
‫ﺑﮕﻮﻳﻨﺪﺓ ﺁﻥ ﻧﮕﺎﻩ ﻛﻨﺪ ﻭ ﺑﺮﺍﻳﺶ ﺁﻣﺮﺯﺵ ﺑﺨﻮﺍﻫﺪ!‬

‫ﺍﻓﺴﺎﻧﺔ ﺩﻳﮕﺮﻱ ﺷﻬﺮﺕ ﺩﺍﺭﺩ ﻛﻪ ﺑﻌﺪ ﺍﺯ ﻣﺮﮒ ﺧﻴﺎﻡ ﻣﺎﺩﺭﺵ ﺩﺍﻳﻢ ﺑﺮﺍﻱ ﺍﻭ ﺍﺯ ﺩﺭﮔﺎﻩ‬
‫ﺧﺪﺍ ﻃﻠﺐ ﺁﻣﺮﺯﺵ ﻣﻲﻛﺮﺩﻩ ﻭ ﻋﺠﺰ ﻭ ﻻﺑﻪ ﻣﻲﻧﻤﻮﺩﻩ‪ ،‬ﺭﻭﺡ ﺧﻴﺎﻡ ﺩﺭ ﺧﻮﺍﺏ ﺑﺎﻭ ﻇﺎﻫﺮ‬
‫ﻣﻲﺷﻮﺩ ﻭ ﺍﻳﻦ ﺭﺑﺎﻋﻲ ﺭﺍ ﻣﻲﮔﻮﻳﺪ‪:‬‬

‫ﺍﻱ ﺳﻮﺧﺘﺔ ﺳﻮﺧﺘﺔ ﺳﻮﺧﺘﻨﻲ‪،‬‬

‫ﺍﻱ ﺁﺗﺶ ﺩﻭﺯﺥ ﺍﺯ ﺗﻮ ﺍﻓﺮﻭﺧﺘﻨﻲ؛‬

‫ﺗﺎ ﻛﻲ ﮔﻮﺋﻲ ﻛﻪ ﺑﺮ ﻋﻤﺮ ﺭﺣﻤﺖ ﻛﻦ؟‬

‫ﺣﻖ ﺭﺍ ﺗﻮ ﻛﺠﺎ ﺑﺮﺣﻤﺖ ﺁﻣﻮﺧﺘﻨﻲ؟‬

‫ﺑﺎﻳﺪ ﺍﻗﺮﺍﺭ ﻛﺮﺩ ﻛﻪ ﻃﺒﻊ ﺧﻴﺎﻡ ﺩﺭ ﺁﻥ ﺩﻧﻴﺎ ﺧﻴﻠﻲ ﭘﺲ ﺭﻓﺘﻪ ﻛﻪ ﺍﻳﻦ ﺭﺑﺎﻋﻲ ﺁﺧﻮﻧﺪﻱ‬
‫ﻣﺰﺧﺮﻑ ﺭﺍ ﺑﮕﻮﻳﺪ‪ .‬ﺍﺯ ﺍﻳﻦ ﻗﺒﻴﻞ ﺍﻓﺴﺎﻧﻪﻫﺎ ﺩﺭﺑﺎﺭﺓ ﺧﻴﺎﻡ ﺯﻳﺎﺩ ﺍﺳﺖ ﻛﻪ ﻗﺎﺑﻞ ﺫﻛﺮ ﻧﻴﺴﺖ‪،‬‬
‫ﻭ ﺍﮔﺮ ﻫﻤﺔ ﺁﻥﻫﺎ ﺟﻤﻊﺁﻭﺭﻱ ﺑﺸﻮﺩ ﻛﺘﺎﺏ ﻣﻀﺤﻜﻲ ﺧﻮﺍﻫﺪ ﺷﺪ‪ .‬ﻓﻘﻂ ﭼﻴﺰﻱﻛﻪ ﻣﻬﻢ‬

‫ﻧﺸﺮ ﺗﺪﺑﻴﺮ‬
‫‪9‬‬ ‫ﺗﺮاﻧﻪ هﺎی ﺧﻴﺎم‬

‫ﺍﺳﺖ ﺑﺎﻳﻦ ﻧﻜﺘﻪ ﺑﺮ ﻣﻲﺧﻮﺭﻳﻢ ﻛﻪ ﺗﺄﺛﻴﺮ ﻓﻜﺮ ﻋﺎﻟﻲ ﺧﻴﺎﻡ ﺩﺭ ﻳﻚ ﻣﺤﻴﻂ ﭘﺴﺖ ﻭ‬
‫ﻣﺘﻌﺼﺐ ﺧﺮﺍﻓﺎﺕ ﭘﺮﺳﺖ ﭼﻪ ﺑﻮﺩﻩ‪ ،‬ﻭ ﻣﺎ ﺭﺍ ﺩﺭ ﺷﻨﺎﺳﺎﺋﻲ ﺍﻭ ﺑﻬﺘﺮ ﺭﺍﻫﻨﻤﺎﺋﻲ ﻣﻲﻛﻨﺪ‪ .‬ﺯﻳﺮﺍ‬
‫ﻗﻀﺎﻭﺕ ﻋﻮﺍﻡ ﻭ ﻣﺘﺼﻮﻓﻴﻦ ﻭ ﺷﻌﺮﺍﻱ ﺩﺭﺟﺔ ﺳﻮﻡ ﻭ ﭼﻬﺎﺭﻡ ﻛﻪ ﺑﺎﻭ ﺣﻤﻠﻪ ﻛﺮﺩﻩﺍﻧﺪ ﺍﺯ‬
‫ﺯﻣﺎﻥ ﺧﻴﻠﻲ ﻗﺪﻳﻢ ﺷﺮﻭﻉ ﺷﺪﻩ‪ ،‬ﻭ ﻫﻤﻴﻦ ﻋﻠﺖ ﻣﺨﻠﻮﻁ ﺷﺪﻥ ﺭﺑﺎﻋﻴﺎﺕ ﺍﻭ ﺭﺍ ﺑﺎ ﺍﻓﻜﺎﺭ‬
‫ﻣﺘﻀﺎﺩ ﺑﺪﺳﺖ ﻣﻲﺩﻫﺪ ﻛﺴﺎﻧﻲﻛﻪ ﻣﻨﺎﻓﻊ ﺧﻮﺩ ﺭﺍ ﺍﺯ ﺍﻓﻜﺎﺭ ﺧﻴﺎﻡ ﺩﺭ ﺧﻄﺮ ﻣﻲﺩﻳﺪﻩﺍﻧﺪ ﺗﺎ‬
‫ﭼﻪ ﺍﻧﺪﺍﺯﻩ ﺩﺭ ﺧﺮﺍﺏ ﻛﺮﺩﻥ ﻓﻜﺮ ﺍﻭ ﻛﻮﺷﻴﺪﻩﺍﻧﺪ‪.‬‬

‫ﻭﻟﻲ ﻣﺎ ﺍﺯ ﺭﻭﻱ ﺭﺑﺎﻋﻴﺎﺕ ﺧﻮﺩ ﺧﻴﺎﻡ ﻧﺸﺎﻥ ﺧﻮﺍﻫﻴﻢ ﺩﺍﺩ ﻛﻪ ﻓﻜﺮ ﻭ ﻣﺴﻠﻚ ﺍﻭ ﺗﻘﺮﻳﺒﹰﺎ‬
‫ﻫﻤﻴﺸﻪ ﻳﻜﺠﻮﺭ ﺑﻮﺩﻩ ﻭ ﺍﺯ ﺟﻮﺍﻧﻲ ﺗﺎ ﭘﻴﺮﻱ ﺷﺎﻋﺮ ﭘﻴﺮﻭ ﻳﻚ ﻓﻠﺴﻔﺔ ﻣﻌﻴﻦ ﻭ ﻣﺸﺨﺺ ﺑﻮﺩﻩ‬
‫ﻭ ﺩﺭ ﺍﻓﻜﺎﺭ ﺍﻭ ﻛﻤﺘﺮﻳﻦ ﺗﺰﻟﺰﻝ ﺭﺥ ﻧﺪﺍﺩﻩ‪ .‬ﻭ ﻛﻤﺘﺮﻳﻦ ﻓﻜﺮ ﻧﺪﺍﻣﺖ ﻭ ﭘﺸﻴﻤﺎﻧﻲ ﻳﺎ ﺗﻮﺑﻪ ﺍﺯ‬
‫ﺧﺎﻃﺮﺵ ﻧﮕﺬﺷﺘﻪ ﺍﺳﺖ‪.‬‬

‫ﺩﺭ ﺟﻮﺍﻧﻲ ﺷﺎﻋﺮ ﺑﺎ ﺗﻌﺠﺐ ﺍﺯ ﺧﻮﺩﺵ ﻣﻲﭘﺮﺳﺪ ﻛﻪ ﭼﻬﺮﻩ ﭘﺮﺩﺍﺯ ﺍﺯﻝ ﺑﺮﺍﻱ ﭼﻪ ﺍﻭ ﺭﺍ‬
‫ﺩﺭﺳﺖ ﻛﺮﺩﻩ‪ .‬ﻃﺮﺯ ﺳﺆﺍﻝ ﺁﻥﻗﺪﺭ ﻃﺒﻴﻌﻲ ﻛﻪ ﻓﻜﺮ ﻋﻤﻴﻘﻲ ﺭﺍ ﺑﺮﺳﺎﻧﺪ ﻣﺨﺼﻮﺹ ﺧﻴﺎﻡ‬
‫ﺍﺳﺖ‪:‬‬

‫ﻫﺮ ﭼﻨﺪ ﻛﻪ ﺭﻧﮓ ﻭ ﺭﻭﻱ ﺯﻳﺒﺎﺳﺖ ﻣﺮﺍ‪،‬‬

‫ﭼﻮﻥ ﻻﻟﻪ ﺭﺥ ﻭ ﭼﻮ ﺳﺮﻭ ﺑﺎﻻﺳﺖ ﻣﺮﺍ؛‬

‫ﻣﻌﻠﻮﻡ ﻧﺸﺪ ﻛﻪ ﺩﺭ ﻃﺮﺑﺨﺎﻧﺔ ﺧﺎﻙ‪،‬‬

‫ﻧﻘﺎﺵ ﺍﺯﻝ ﺑﻬﺮ ﭼﻪ ﺁﺭﺍﺳﺖ ﻣﺮﺍ!‬

‫ﻧﺸﺮ ﺗﺪﺑﻴﺮ‬
‫‪10‬‬ ‫ﺗﺮاﻧﻪ هﺎی ﺧﻴﺎم‬

‫ﺍﺯ ﺍﺑﺘﺪﺍﻱ ﺟﻮﺍﻧﻲ ﺯﻧﺪﮔﻲ ﺭﺍ ﺗﻠﺦ ﻭ ﻧﺎﮔﻮﺍﺭ ﻣﻲﺩﻳﺪﻩ ﻭ ﺩﺍﺭﻭﻱ ﺩﺭﺩﻫﺎﻱ ﺧﻮﺩ ﺭﺍ ﺩﺭ‬
‫ﺷﺮﺍﺏ ﺗﻠﺦ ﻣﻲﺟﺴﺘﻪ‪:‬‬

‫ﺍﻣﺮﻭﺯ ﻛﻪ ﻧﻮﺑﺖ ﺟﻮﺍﻧﻲ ﻣﻦ ﺍﺳﺖ‪،‬‬

‫ﻣﻲ ﻧﻮﺷﻢ ﺍﺯ ﺁﻥ ﻛﻪ ﻛﺎﻣﺮﺍﻧﻲ ﻣﻦ ﺍﺳﺖ؛‬

‫ﻋﻴﺒﻢ ﻣﻜﻨﻴﺪ‪ ،‬ﮔﺮﭼﻪ ﺗﻠﺦ ﺍﺳﺖ ﺧﻮﺵ ﺍﺳﺖ‪،‬‬

‫ﺗﻠﺦ ﺍﺳﺖ‪ ،‬ﭼﺮﺍ ﻛﻪ ﺯﻧﺪﮔﺎﻧﻲ ﻣﻦ ﺍﺳﺖ!‬

‫ﺩﺭ ﺍﻳﻦ ﺭﺑﺎﻋﻲ ﺍﻓﺴﻮﺱ ﺭﻓﺘﻦ ﺟﻮﺍﻧﻲ ﺭﺍ ﻣﻲﺧﻮﺭﺩ‪:‬‬

‫ﺍﻓﺴﻮﺱ ﻛﻪ ﻧﺎﻣﺔ ﺟﻮﺍﻧﻲ ﻃﻲ ﺷﺪ!‬

‫ﻭﺍﻥ ﺗﺎﺯﻩ ﺑﻬﺎﺭ ﺯﻧﺪﮔﺎﻧﻲ ﺩﻱ ﺷﺪ!‬

‫ﺣﺎﻟﻲ ﻛﻪ ﻭﺭﺍ ﻧﺎﻡ ﺟﻮﺍﻧﻲ ﮔﻔﺘﻨﺪ‪،‬‬

‫ﻣﻌﻠﻮﻡ ﻧﺸﺪ ﺍﻭ ﻛﻪ ﻛﻲ ﺁﻣﺪ ﻛﻲ ﺷﺪ!‬

‫ﺷﺎﻋﺮ ﺑﺎ ﺩﺳﺖ ﻟﺮﺯﺍﻥ ﻭ ﻣﻮﻱ ﺳﻔﻴﺪ ﻗﺼﺪ ﺑﺎﺩﻩ ﻣﻲﻛﻨﺪ‪ .‬ﺍﮔﺮ ﺍﻭ ﻣﻌﺘﻘﺪ ﺑﺰﻧﺪﮔﻲ ﺑﻬﺘﺮﻱ ﺩﺭ‬
‫ﺩﻧﻴﺎﻱ ﺩﻳﮕﺮ ﺑﻮﺩ‪ ،‬ﺍﻟﺒﺘﻪ ﺍﻇﻬﺎﺭ ﻧﺪﺍﻣﺖ ﻣﻲﻛﺮﺩ ﺗﺎ ﺑﻘﻴﺔ ﻋﻴﺶ ﻭ ﻧﻮﺵﻫﺎﻱ ﺧﻮﺩ ﺭﺍ ﺑﻪ ﺟﻬﺎﻥ‬
‫ﺩﻳﮕﺮ ﻣﺤﻮﻝ ﺑﻜﻨﺪ‪ .‬ﺍﻳﻦ ﺭﺑﺎﻋﻲ ﻛﺎﻣﻼ ﺗﺄﺳﻒ ﻳﻚ ﻓﻴﻠﺴﻮﻑ ﻣﺎﺩﻱ ﺭﺍ ﻧﺸﺎﻥ ﻣﻲﺩﻫﺪ ﻛﻪ‬
‫ﺩﺭ ﺁﺧﺮﻳﻦ ﺩﻗﺎﻳﻖ ﺯﻧﺪﮔﻲ ﺳﺎﻳﺔ ﻣﺮﮒ ﺭﺍ ﺩﺭ ﻛﻨﺎﺭ ﺧﻮﺩ ﻣﻲﺑﻴﻨﺪ ﻭ ﻣﻲﺧﻮﺍﻫﺪ ﺑﺨﻮﺩﺵ‬

‫ﻧﺸﺮ ﺗﺪﺑﻴﺮ‬
‫‪11‬‬ ‫ﺗﺮاﻧﻪ هﺎی ﺧﻴﺎم‬

‫ﺗﺴﻠﻴﺖ ﺑﺪﻫﺪ ﻭﻟﻲ ﻧﻪ ﺑﺎ ﺍﻓﺴﺎﻧﻪﻫﺎﻱ ﻣﺬﻫﺒﻲ‪ ،‬ﻭ ﺗﺴﻠﻴﺖ ﺧﻮﺩ ﺭﺍ ﺩﺭ ﺟﺎﻡ ﺷﺮﺍﺏ ﺟﺴﺘﺠﻮ‬
‫ﻣﻲﻛﻨﺪ‪:‬‬

‫ﻣﻦ ﺩﺍﻣﻦ ﺯﻫﺪ ﻭ ﺗﻮﺑﻪ ﻃﻲ ﺧﻮﺍﻫﻢ ﻛﺮﺩ‪،‬‬

‫ﺑﺎ ﻣﻮﻱ ﺳﭙﻴﺪ‪ ،‬ﻗﺼﺪ ﻣﻲ ﺧﻮﺍﻫﻢ ﻛﺮﺩ‪،‬‬

‫ﭘﻴﻤﺎﻧﺔ ﻋﻤﺮ ﻣﻦ ﺑﻪ ﻫﻔﺘﺎﺩ ﺭﺳﻴﺪ‪،‬‬

‫ﺍﻳﻦ ﺩﻡ ﻧﻜﻨﻢ ﻧﺸﺎﻁ ﻛﻲ ﺧﻮﺍﻫﻢ ﻛﺮﺩ؟‬

‫ﺍﮔﺮ ﺩﺭﺳﺖ ﺩﻗﺖ ﺑﻜﻨﻴﻢ ﺧﻮﺍﻫﻴﻢ ﺩﻳﺪ ﻛﻪ ﻃﺮﺯ ﻓﻜﺮ‪ ،‬ﺳﺎﺧﺘﻤﺎﻥ ﻭ ﺯﺑﺎﻥ ﻭ ﻓﻠﺴﻔﻪ ﮔﻮﻳﻨﺪﺓ‬
‫ﺍﻳﻦ ﭼﻬﺎﺭ ﺭﺑﺎﻋﻲ ﻛﻪ ﺩﺭ ﻣﺮﺍﺣﻞ ﻣﺨﺘﻠﻒ ﺯﻧﺪﮔﻲ ﮔﻔﺘﻪ ﺷﺪﻩ ﻳﻜﻲ ﺍﺳﺖ‪ ،‬ﭘﺲ ﻣﻲﺗﻮﺍﻧﻴﻢ‬
‫ﺑﻄﻮﺭ ﺻﺮﻳﺢ ﺑﮕﻮﺋﻴﻢ ﻛﻪ ﺧﻴﺎﻡ ﺍﺯ ﺳﻦ ﺷﺒﺎﺏ ﺗﺎ ﻣﻮﻗﻊ ﻣﺮﮒ ﻣﺎﺩﻱ‪ ،‬ﺑﺪﺑﻴﻦ ﻭ ﺭﻳﺒﻲ ﺑﻮﺩﻩ‬
‫)ﻭ ﻳﺎ ﻓﻘﻂ ﺩﺭ ﺭﺑﺎﻋﻴﺎﺗﺶ ﺍﻳﻨﻄﻮﺭ ﻣﻲﻧﻤﻮﺩﻩ( ﻭ ﻳﻚ ﻟﺤﻦ ﺗﺮﺍﮊﻳﻚ ﺩﺍﺭﺩ ﻛﻪ ﺑﻐﻴﺮ ﺍﺯ‬
‫ﮔﻮﻳﻨﺪﺓ ﻫﻤﺎﻥ ﺭﺑﺎﻋﻴﺎﺕ ﭼﻬﺎﺭﺩﻩﮔﺎﻧﺔ ﺳﺎﺑﻖ ﻛﺲ ﺩﻳﮕﺮﻱ ﻧﻤﻲﺗﻮﺍﻧﺪ ﮔﻔﺘﻪ ﺑﺎﺷﺪ‪ ،‬ﻭ ﻗﻴﺎﻓﺔ‬
‫ﺍﺩﺑﻲ ﻭ ﻓﻠﺴﻔﻲ ﺍﻭ ﺑﻄﻮﺭ ﻛﻠﻲ ﺗﻐﻴﻴﺮ ﻧﻜﺮﺩﻩ ﺍﺳﺖ‪ .‬ﻓﻘﻂ ﺩﺭ ﺁﺧﺮ ﻋﻤﺮ ﺑﺎ ﻳﻚ ﺟﺒﺮ‬
‫ﻳﺄﺱﺁﻟﻮﺩﻱ ﺣﻮﺍﺩﺙ ﺗﻐﻴﻴﺮ ﻧﺎﭘﺬﻳﺮ ﺩﻫﺮ ﺭﺍ ﺗﻠﻘﻲ ﻧﻤﻮﺩﻩ ﻭ ﺑﺪﺑﻴﻨﻲ ﻛﻪ ﻇﺎﻫﺮﹰﺍ ﺧﻮﺵﺑﻴﻨﻲ‬
‫ﺑﻨﻈﺮ ﻣﻲﺁﻳﺪ ﺍﺗﺨﺎﺫ ﻣﻲﻛﻨﺪ‪.‬‬

‫ﺑﻄﻮﺭ ﺧﻼﺻﻪ‪ ،‬ﺍﻳﻦ ﺗﺮﺍﻧﻪﻫﺎﻱ ﭼﻬﺎﺭ ﻣﺼﺮﺍﻋﻲ ﻛﻢ ﺣﺠﻢ ﻭ ﭘﺮ ﻣﻌﻨﻲ ﺍﮔﺮ ﺩﻩ ﺗﺎﻱ ﺍﺯ ﺁﻥﻫﺎ‬
‫ﻫﻢ ﺑﺮﺍﻱ ﻣﺎ ﺑﺎﻗﻲ ﻣﻲﻣﺎﻧﺪ‪ ،‬ﺑﺎﺯ ﻫﻢ ﻣﻲﺗﻮﺍﻧﺴﺘﻴﻢ ﺑﻔﻬﻤﻴﻢ ﻛﻪ ﮔﻮﻳﻨﺪﺓ ﺍﻳﻦ ﺭﺑﺎﻋﻴﺎﺕ ﺩﺭ‬
‫ﻣﻘﺎﺑﻞ ﻣﺴﺎﺋﻞ ﻣﻬﻢ ﻓﻠﺴﻔﻲ ﭼﻪ ﺭﻭﻳﻪﺍﻱ ﺭﺍ ﺩﺭ ﭘﻴﺶ ﮔﺮﻓﺘﻪ ﻭ ﻣﻲﺗﻮﺍﻧﺴﺘﻴﻢ ﻃﺮﺯ ﻓﻜﺮ ﺍﻭ ﺭﺍ‬
‫ﺑﺪﺳﺖ ﺑﻴﺎﻭﺭﻳﻢ‪ .‬ﻟﻬﺬﺍ ﺍﺯ ﺭﻭﻱ ﻣﻴﺰﺍﻥ ﻓﻮﻕ‪ ،‬ﻣﺎ ﻣﻲﺗﻮﺍﻧﻴﻢ ﺭﺑﺎﻋﻴﺎﺗﻲ ﻛﻪ ﻣﻨﺴﻮﺏ ﺑﻪ ﺧﻴﺎﻡ‬

‫ﻧﺸﺮ ﺗﺪﺑﻴﺮ‬
‫‪12‬‬ ‫ﺗﺮاﻧﻪ هﺎی ﺧﻴﺎم‬

‫ﺍﺳﺖ ﺍﺯ ﻣﻴﺎﻥ ﻫﺮﺝ ﻭ ﻣﺮﺝ ﺭﺑﺎﻋﻴﺎﺕ ﺩﻳﮕﺮﺍﻥ ﺑﻴﺮﻭﻥ ﺑﻴﺎﻭﺭﻳﻢ‪ .‬ﻭﻟﻲ ﺁﻳﺎ ﺍﻳﻦﻛﺎﺭ ﺁﺳﺎﻥ‬
‫ﺍﺳﺖ؟‬

‫ﻣﺴﺘﺸﺮﻕ ﺭﻭﺳﻲ ﮊﻭﻛﻮﻓﺴﻜﻲ‪ ،‬ﻣﻄﺎﺑﻖ ﺻﻮﺭﺗﻲ ﻛﻪ ﺗﻬﻴﻪ ﻛﺮﺩﻩ ﺩﺭ ﻣﻴﺎﻥ ﺭﺑﺎﻋﻴﺎﺗﻲ ﻛﻪ ﺑﻪ‬
‫ﺧﻴﺎﻡ ﻣﻨﺴﻮﺏ ﺍﺳﺖ ‪ ٨٢‬ﺭﺑﺎﻋﻲ »ﮔﺮﺩﻧﺪﻩ« ﭘﻴﺪﺍ ﻛﺮﺩﻩ‪ ،‬ﻳﻌﻨﻲ ﺭﺑﺎﻋﻴﺎﺗﻲ ﻛﻪ ﺑﻪ ﺷﻌﺮﺍﻱ‬
‫ﺩﻳﮕﺮ ﻧﻴﺰ ﻧﺴﺒﺖ ﺩﺍﺩﻩ ﺷﺪﻩ؛ ﺑﻌﺪﻫﺎ ﺍﻳﻦ ﻋﺪﺩ ﺑﻪ ﺻﺪ ﺭﺳﻴﺪﻩ‪ .‬ﻭﻟﻲ ﺑﺎﻳﻦ ﺻﻮﺭﺕ ﻫﻢ‬
‫ﻧﻤﻲﺷﻮﺩ ﺍﻋﺘﻤﺎﺩ ﻛﺮﺩ‪ ،‬ﺯﻳﺮﺍ ﻣﺴﺘﺸﺮﻕ ﻣﺬﻛﻮﺭ ﺻﻮﺭﺕ ﺧﻮﺩ ﺭﺍ ﺑﺮ ﻃﺒﻖ ﻗﻮﻝ )ﺍﻏﻠﺐ‬
‫ﺍﺷﺘﺒﺎﻩ( ﺗﺬﻛﺮﻩﻧﻮﻳﺴﺎﻥ ﻣﺮﺗﺐ ﻛﺮﺩﻩ ﻛﻪ ﻧﻪ ﺗﻨﻬﺎ ﻧﺴﺒﺖ ﺭﺑﺎﻋﻴﺎﺕ ﺩﻳﮕﺮﺍﻥ ﺭﺍ ﺍﺯ ﺧﻴﺎﻡ ﺳﻠﺐ‬
‫ﻛﺮﺩﻩﺍﻧﺪ ﺑﻠﻜﻪ ﺍﻏﻠﺐ ﺭﺑﺎﻋﻴﺎﺕ ﺧﻴﺎﻡ ﺭﺍ ﻫﻢ ﺑﺪﻳﮕﺮﺍﻥ ﻧﺴﺒﺖ ﺩﺍﺩﻩﺍﻧﺪ‪ .‬ﺍﺯ ﻃﺮﻑ ﺩﻳﮕﺮ‪،‬‬
‫ﺳﻼﺳﺖ ﻃﺒﻊ‪ ،‬ﺷﻴﻮﺍﺋﻲ ﻛﻼﻡ‪ ،‬ﻓﻜﺮ ﺭﻭﺷﻦ ﺳﺮﺷﺎﺭ ﻭ ﻓﻠﺴﻔﺔ ﻣﻮﺷﻜﺎﻑ ﻛﻪ ﺍﺯ ﺧﻴﺎﻡ ﺳﺮﺍﻍ‬
‫ﺩﺍﺭﻳﻢ ﺑﻤﺎ ﺍﺟﺎﺯﻩ ﻣﻲﺩﻫﺪ ﻛﻪ ﻳﻘﻴﻦ ﻛﻨﻴﻢ ﺑﻴﺶ ﺍﺯ ﺁﻧﭽﻪ ﺍﺯ ﺭﺑﺎﻋﻴﺎﺕ ﺣﻘﻴﻘﻲ ﺍﻭ ﻛﻪ ﺩﺭ‬
‫ﺩﺳﺖ ﺍﺳﺖ‪ ،‬ﺧﻴﺎﻡ ﺷﻌﺮ ﺳﺮﻭﺩﻩ ﻛﻪ ﺍﺯ ﺑﻴﻦ ﺑﺮﺩﻩﺍﻧﺪ ﻭ ﺁﻥﻫﺎﺋﻲ ﻛﻪ ﻣﺎﻧﺪﻩ ﺑﻤﺮﻭﺭ ﺍﻳﺎﻡ‬
‫ﺗﻐﻴﻴﺮﺍﺕ ﻛﻠﻲ ﻭ ﺍﺧﺘﻼﻓﺎﺕ ﺑﻲﺷﻤﺎﺭ ﭘﻴﺪﺍ ﻛﺮﺩﻩ ﻭ ﺭﻭﻱ ﮔﺮﺩﺍﻧﻴﺪﻩ‪.‬‬

‫ﻋﻼﻭﻩ ﺑﺮ ﺑﻲﻣﺒﺎﻻﺗﻲ ﻭ ﺍﺷﺘﺒﺎﻫﺎﺕ ﺍﺳﺘﻨﺴﺎﺥ ﻛﻨﻨﺪﮔﺎﻥ ﻭ ﺗﻐﻴﻴﺮ ﺩﺍﺩﻥ ﻛﻠﻤﺎﺕ ﺧﻴﺎﻡ ﻛﻪ ﻫﺮ‬
‫ﻛﺴﻲ ﺑﻪ ﻣﻴﻞ ﺧﻮﺩﺵ ﺩﺭ ﺁﻥﻫﺎ ﺗﺼﺮﻑ ﻭ ﺩﺳﺘﻜﺎﺭﻱ ﻛﺮﺩﻩ‪ ،‬ﺗﻐﻴﻴﺮﺍﺕ ﻋﻤﺪﻱ ﻛﻪ‬
‫ﺑﺪﺳﺖ ﺍﺷﺨﺎﺹ ﻣﺬﻫﺒﻲ ﻭ ﺻﻮﻓﻲ ﺷﺪﻩ ﻧﻴﺰ ﺩﺭ ﺑﻌﻀﻲ ﺍﺯ ﺭﺑﺎﻋﻴﺎﺕ ﻣﺸﺎﻫﺪﻩ ﻣﻲﺷﻮﺩ‬
‫ﻼ‪:‬‬
‫ﻣﺜ ﹰ‬

‫ﺷﺎﺩﻱ ﺑﻄﻠﺐ ﻛﻪ ﺣﺎﺻﻞ ﻋﻤﺮ ﺩﻣﻲ ﺍﺳﺖ‪.‬‬

‫ﺗﻘﺮﻳﺒﹰﺎ ﺩﺭ ﻫﻤﻪ ﻧﺴﺦ ﻧﻮﺷﺘﻪ »ﺷﺎﺩﻱ ﻣﻄﻠﺐ« ﺩﺭ ﺻﻮﺭﺗﻲ ﻛﻪ ﺳﺎﺧﺘﻤﺎﻥ ﺷﻌﺮ ﻭ ﻣﻮﺿﻮﻋﺶ‬
‫ﺧﻼﻑ ﺁﻥ ﺭﺍ ﻧﺸﺎﻥ ﻣﻲﺩﻫﺪ‪ .‬ﻳﻚ ﺩﻟﻴﻞ ﺩﻳﮕﺮ ﺑﻪ ﺍﻓﻜﺎﺭ ﺿﺪ ﺻﻮﻓﻲ ﻭ ﺿﺪ ﻣﺬﻫﺒﻲ ﺧﻴﺎﻡ‬

‫ﻧﺸﺮ ﺗﺪﺑﻴﺮ‬
‫‪13‬‬ ‫ﺗﺮاﻧﻪ هﺎی ﺧﻴﺎم‬

‫ﻧﻴﺰ ﻫﻤﻴﻦ ﺍﺳﺖ ﻛﻪ ﺭﺑﺎﻋﻴﺎﺕ ﺍﻭ ﻣﻐﺸﻮﺵ ﻭ ﺁﻟﻮﺩﻩ ﺑﻪ ﺭﺑﺎﻋﻴﺎﺕ ﺩﻳﮕﺮﺍﻥ ﺷﺪﻩ‪ .‬ﻋﻼﻭﻩ‬
‫ﺑﺮﻳﻦ ﻫﺮ ﺁﺧﻮﻧﺪﻱ ﻛﻪ ﺷﺮﺍﺏ ﺧﻮﺭﺩﻩ ﻭ ﻳﻚ ﺭﺑﺎﻋﻲ ﺩﺭﻳﻦ ﺯﻣﻴﻨﻪ ﮔﻔﺘﻪ ﺍﺯ ﺗﺮﺱ ﺗﻜﻔﻴﺮ‬
‫ﺁﻧﺮﺍ ﺑﻪ ﺧﻴﺎﻡ ﻧﺴﺒﺖ ﺩﺍﺩﻩ‪ .‬ﻟﻬﺬﺍ ﺭﺑﺎﻋﻴﺎﺗﻲ ﻛﻪ ﺍﻏﻠﺐ ﺩﻡ ﺍﺯ ﺷﺮﺍﺑﺨﻮﺍﺭﻱ ﻭ ﻣﻌﺸﻮﻗﻪ ﺑﺎﺯﻱ‬
‫ﻣﻲﺯﻧﺪ ﺑﺪﻭﻥ ﻳﻚ ﺟﻨﺒﺔ ﻓﻠﺴﻔﻲ ﻭ ﻳﺎ ﻧﻜﺘﺔ ﺯﻧﻨﺪﻩ ﻭ ﻳﺎ ﻧﺎﺷﻲ ﺍﺯ ﺍﻓﻜﺎﺭ ﻧﭙﺨﺘﻪ ﻭ ﺍﻓﻴﻮﻧﻲ‬
‫ﺍﺳﺖ ﻭ ﺳﺨﻨﺎﻧﻲ ﻛﻪ ﺩﺍﺭﺍﻱ ﻣﻌﺎﻧﻲ ﻣﺠﺎﺯﻱ ﺳﺴﺖ ﻭ ﺩﺭﺷﺖ ﺍﺳﺖ ﻣﻲﺷﻮﺩ ﺑﺎ ﻛﻤﺎﻝ‬
‫ﻼ ﺁﻳﺎ ﺟﺎﻱ ﺗﻌﺠﺐ ﻧﻴﺴﺖ ﻛﻪ ﺩﺭ ﻣﺠﻤﻮﻋﺔ ﻣﻌﻤﻮﻟﻲ ﺭﺑﺎﻋﻴﺎﺕ‬
‫ﺍﻃﻤﻴﻨﺎﻥ ﺩﻭﺭ ﺑﺮﻳﺰﻳﻢ‪ .‬ﻣﺜ ﹰ‬
‫ﺧﻴﺎﻡ ﺑﺎﻳﻦ ﺭﺑﺎﻋﻲ ﺑﺮﺑﺨﻮﺭﻳﻢ‪:‬‬

‫ﺍﻱ ﺁﻧﻜﻪ ﮔﺰﻳﺪﻩﺍﻱ ﺗﻮ ﺩﻳﻦ ﺯﺭﺗﺸﺖ‪،‬‬

‫ﺍﺳﻼﻡ ﻓﻜﻨﺪﻩﺍﻱ ﺗﻤﺎﻡ ﺍﺯ ﭘﺲ ﻭ ﭘﺸﺖ؛‬

‫ﺗﺎ ﻛﻲ ﻧﻮﺷﻲ ﺑﺎﺩﻩ ﻭ ﺑﻴﻨﻲ ﺭﺥ ﺧﻮﺏ؟‬

‫ﺟﺎﺋﻲ ﺑﻨﺸﻴﻦ ﻋﻤﺮ ﻛﻪ ﺧﻮﺍﻫﻨﺪﺕ ﻛﺸﺖ‪.‬‬

‫ﺍﻳﻦ ﺭﺑﺎﻋﻲ ﺗﻬﺪﻳﺪ ﺁﻣﻴﺰ ﺁﻳﺎ ﺩﺭ ﺯﻣﺎﻥ ﺯﻧﺪﮔﺎﻧﻲ ﺧﻴﺎﻡ ﮔﻔﺘﻪ ﺷﺪﻩ ﻭ ﺑﺎﻭ ﺳﺆ ﻗﺼﺪ‬
‫ﻛﺮﺩﻩﺍﻧﺪ؟ ﺟﺎﻱ ﺗﺮﺩﻳﺪ ﺍﺳﺖ‪ ،‬ﭼﻮﻥ ﺳﺎﺧﺘﻤﺎﻥ ﺭﺑﺎﻋﻲ ﺟﺪﻳﺪﺗﺮ ﺍﺯ ﺯﻣﺎﻥ ﺧﻴﺎﻡ ﺑﻨﻈﺮ‬
‫ﻣﻲﺍﻳﺪ‪ .‬ﻭﻟﻲ ﺩﺭ ﻫﺮ ﺻﻮﺭﺕ ﻗﻀﺎﻭﺕ ﮔﻮﻳﻨﺪﻩ ﺭﺍ ﺩﺭ ﺑﺎﺭﺓ ﺧﻴﺎﻡ ﻭ ﺩﺭﺟﺔ ﺍﺧﺘﻼﻁ‬
‫ﺗﺮﺍﻧﻪﻫﺎﻱ ﺍﻭ ﺭﺍ ﺑﺎ ﺭﺑﺎﻋﻴﺎﺕ ﺩﻳﮕﺮﺍﻥ ﻧﺸﺎﻥ ﻣﻲﺩﻫﺪ‪.‬‬

‫ﺑﻬﺮﺣﺎﻝ‪ ،‬ﺗﺎ ﻭﻗﺘﻲﻛﻪ ﻳﻚ ﻧﺴﺨﻪ ﺧﻄﻲ ﻛﻪ ﺍﺯ ﺣﻴﺚ ﺯﻣﺎﻥ ﻭ ﺳﻨﺪﻳﺖ ﺗﻘﺮﻳﺒﹰﺎ ﻣﺜﻞ‬
‫ﺭﺑﺎﻋﻴﺎﺕ ﺳﻴﺰﺩﻩﮔﺎﻧﻪ ﻛﺘﺎﺏ »ﻣﻮﻧﺲ ﺍﻻﺣﺮﺍﺭ« ﺑﺎﺷﺪ ﺑﺪﺳﺖ ﻧﻴﺎﻣﺪﻩ‪ ،‬ﻳﻚ ﺣﻜﻢ ﻗﻄﻌﻲ‬
‫ﺩﺭﺑﺎﺭﺓ ﺗﺮﺍﻧﻪﻫﺎﻱ ﺍﺻﻠﻲ ﺧﻴﺎﻡ ﺩﺷﻮﺍﺭ ﺍﺳﺖ‪ ،‬ﺑﻌﻼﻭﻩ ﺷﻌﺮﺍﺋﻲ ﭘﻴﺪﺍ ﺷﺪﻩﺍﻧﺪ ﻛﻪ ﺭﺑﺎﻋﻴﺎﺕ‬

‫ﻧﺸﺮ ﺗﺪﺑﻴﺮ‬
‫‪14‬‬ ‫ﺗﺮاﻧﻪ هﺎی ﺧﻴﺎم‬

‫ﺧﻮﺩ ﺭﺍ ﻣﻮﺍﻓﻖ ﻣﺰﺍﺝ ﻭ ﻣﺸﺮﺏ ﺧﻴﺎﻡ ﺳﺎﺧﺘﻪﺍﻧﺪ ﻭ ﺳﻌﻲ ﻛﺮﺩﻩﺍﻧﺪ ﻛﻪ ﺍﺯ ﺍﻭ ﺗﻘﻠﻴﺪ ﺑﻜﻨﻨﺪ‬
‫ﻭﻟﻲ ﺳﻼﻣﺖ ﻛﻼﻡ ﺁﻥﻫﺎ ﻫﺮ ﻗﺪﺭ ﻫﻢ ﻛﺎﻣﻞ ﺑﺎﺷﺪ ﺍﮔﺮ ﻣﻀﻤﻮﻥ ﻳﻚ ﺭﺑﺎﻋﻲ ﺭﺍ ﻣﺨﺎﻟﻒ‬
‫ﺳﻠﻴﻘﻪ ﻭ ﻋﻘﻴﺪﺓ ﺧﻴﺎﻡ ﺑﺒﻴﻨﻴﻢ ﺑﺎ ﻛﻤﺎﻝ ﺟﺮﺋﺖ ﻣﻲﺗﻮﺍﻧﻴﻢ ﻧﺴﺒﺖ ﺁﻥ ﺭﺍ ﺍﺯ ﺧﻴﺎﻡ ﺳﻠﺐ ﺑﻜﻨﻴﻢ‪.‬‬
‫ﺯﻳﺮﺍ ﺗﺮﺍﻧﻪﻫﺎﻱ ﺧﻴﺎﻡ ﺑﺎ ﻭﺿﻮﺡ ﻭ ﺳﻼﻣﺖ ﻛﺎﻣﻞ ﻭ ﺑﻴﺎﻥ ﺳﺎﺩﻩ ﮔﻔﺘﻪ ﺷﺪﻩ؛ ﺩﺭ ﺍﺳﺘﻬﺰﺇ ﻭ‬
‫ﮔﻮﺷﻪ ﻛﻨﺎﻳﻪ ﺧﻴﻠﻲ ﺷﺪﻳﺪ ﻭ ﺑﻲﭘﺮﻭﺍﺳﺖ‪ .‬ﺍﺯﻳﻦ ﻣﻄﻠﺐ ﻣﻲﺷﻮﺩ ﻧﺘﻴﺠﻪ ﮔﺮﻓﺖ ﻛﻪ ﻫﺮ‬
‫ﻓﻜﺮ ﺿﻌﻴﻒ ﻛﻪ ﺩﺭ ﻳﻚ ﻗﺎﻟﺐ ﻣﺘﻜﻠﻒ ﻭ ﻏﻴﺮ ﻣﻨﺘﻈﻢ ﺩﻳﺪﻩ ﺷﻮﺩ ﺍﺯ ﺧﻴﺎﻡ ﻧﺨﻮﺍﻫﺪ ﺑﻮﺩ‪،‬‬
‫ﻣﺸﺮﺏ ﻣﺨﺼﻮﺹ ﺧﻴﺎﻡ‪ ،‬ﻣﺴﻠﻚ ﻓﻠﺴﻔﻲ‪ ،‬ﻋﻘﺎﻳﺪ ﻭ ﻃﺮﺯ ﺑﻴﺎﻥ ﺁﺯﺍﺩ ﻭ ﺷﻴﺮﻳﻦ ﻭ ﺭﻭﺷﻦ ﺍﻭ‬
‫ﺍﻳﻦﻫﺎ ﺻﻔﺎﺗﻲ ﺍﺳﺖ ﻛﻪ ﻣﻲﺗﻮﺍﻧﺪ ﻣﻌﻴﺎﺭ ﻣﺴﺌﻠﺔ ﻓﻮﻕ ﺑﺸﻮﺩ‪.‬‬

‫ﻣﺎ ﻋﺠﺎﻟﺘﹰﺎ ﺍﻳﻦ ﺗﺮﺍﻧﻪﻫﺎ ﺭﺍ ﺑﺎﺳﻢ ﻫﻤﺎﻥ ﺧﻴﺎﻡ ﻣﻨﺠﻢ ﻭ‬

‫ﺭﻳﺎﺿﻲﺩﺍﻥ ﺫﻛﺮ ﻣﻲﻛﻨﻴﻢ‪ ،‬ﭼﻮﻥ ﻣﺪﻋﻲ ﺩﻳﮕﺮﻱ ﭘﻴﺪﺍ‬
‫ﻧﻜﺮﺩﻩ‪ .‬ﺗﺎ ﺑﺒﻴﻨﻴﻢ ﺍﻳﻦ ﺍﺷﻌﺎﺭ ﻣﺮﺑﻮﻁ ﺑﻬﻤﺎﻥ ﺧﻴﺎﻡ ﻣﻨﺠﻢ ﻭ‬
‫ﻋﺎﻟﻢ ﺍﺳﺖ ﻭ ﻳﺎ ﺧﻴﺎﻡ ﺩﻳﮕﺮﻱ ﮔﻔﺘﻪ‪ .‬ﺑﺮﺍﻱ ﺍﻳﻦﻛﺎﺭ ﺑﺎﻳﺪ‬
‫ﺩﻳﺪ ﻃﺮﺯ ﻓﻜﺮ ﻭ ﻓﻠﺴﻔﺔ ﺍﻭ ﭼﻪ ﺑﻮﺩﻩ ﺍﺳﺖ‪.‬‬

‫ﻧﺸﺮ ﺗﺪﺑﻴﺮ‬
‫‪15‬‬ ‫ﺗﺮاﻧﻪ هﺎی ﺧﻴﺎم‬

‫ﺧﻴﺎم ﻓﻴﻠﺴﻮف‬

‫ﻓﻠﺴﻔﻪ ﺧﻴﺎﻡ ﻫﻴﭻﻭﻗﺖ ﺗﺎﺯﮔﻲ ﺧﻮﺩ ﺭﺍ ﺍﺯ ﺩﺳﺖ ﻧﺨﻮﺍﻫﺪ ﺩﺍﺩ‪ .‬ﭼﻮﻥ ﺍﻳﻦ ﺗﺮﺍﻧﻪﻫﺎﻱ ﺩﺭ‬
‫ﻇﺎﻫﺮ ﻛﻮﭼﻚ ﻭﻟﻲ ﭘﺮ ﻣﻐﺰ ﺗﻤﺎﻡ ﻣﺴﺎﺋﻞ ﻣﻬﻢ ﻭ ﺗﺎﺭﻳﻚ ﻓﻠﺴﻔﻲ ﺭﺍ ﻛﻪ ﺩﺭ ﺍﺩﻭﺍﺭ ﻣﺨﺘﻠﻒ‬
‫ﺍﻧﺴﺎﻥ ﺭﺍ ﺳﺮﮔﺮﺩﺍﻥ ﻛﺮﺩﻩ ﻭ ﺍﻓﻜﺎﺭﻱ ﺭﺍ ﻛﻪ ﺟﺒﺮﹰﺍ ﺑﺎﻭ ﺗﺤﻤﻴﻞ ﺷﺪﻩ ﻭ ﺍﺳﺮﺍﺭﻱ ﺭﺍ ﻛﻪ‬
‫ﺑﺮﺍﻳﺶ ﻻﻳﻨﺤﻞ ﻣﺎﻧﺪﻩ ﻣﻄﺮﺡ ﻣﻲﻛﻨﺪ‪ .‬ﺧﻴﺎﻡ ﺗﺮﺟﻤﺎﻥ ﺍﻳﻦ ﺷﻜﻨﺠﻪﻫﺎﻱ ﺭﻭﺣﻲ ﺷﺪﻩ‪:‬‬
‫ﻓﺮﻳﺎﺩﻫﺎﻱ ﺍﻭ ﺍﻧﻌﻜﺎﺱ ﺩﺭﺩﻫﺎ‪ ،‬ﺍﺿﻄﺮﺍﺏﻫﺎ‪ ،‬ﺗﺮﺱﻫﺎ‪ ،‬ﺍﻣﻴﺪﻫﺎ ﻭ ﻳﺄﺱﻫﺎﻱ ﻣﻴﻠﻴﻮﻥﻫﺎ ﻧﺴﻞ‬
‫ﺑﺸﺮ ﺍﺳﺖ ﻛﻪ ﭘﻲ ﺩﺭ ﭘﻲ ﻓﻜﺮ ﺁﻥﻫﺎ ﺭﺍ ﻋﺬﺍﺏ ﺩﺍﺩﻩ ﺍﺳﺖ‪ .‬ﺧﻴﺎﻡ ﺳﻌﻲ ﻣﻲﻛﻨﺪ ﺩﺭ‬
‫ﺗﺮﺍﻧﻪﻫﺎﻱ ﺧﻮﺩﺵ ﺑﺎ ﺯﺑﺎﻥ ﻭ ﺳﺒﻚ ﻏﺮﻳﺒﻲ ﻫﻤﺔ ﺍﻳﻦ ﻣﺸﻜﻼﺕ‪ ،‬ﻣﻌﻤﺎﻫﺎ ﻭ ﻣﺠﻬﻮﻻﺕ ﺭﺍ‬
‫ﺁﺷﻜﺎﺭﺍ ﻭ ﺑﻲ ﭘﺮﺩﻩ ﺣﻞ ﺑﻜﻨﺪ‪ .‬ﺍﻭ ﺯﻳﺮ ﺧﻨﺪﻩﻫﺎﻱ ﻋﺼﺒﺎﻧﻲ ﻭ ﺭﻋﺸﻪﺁﻭﺭ‪ ،‬ﻣﺴﺎﺋﻞ ﺩﻳﻨﻲ ﻭ‬
‫ﻓﻠﺴﻔﻲ ﺭﺍ ﺑﻴﺎﻥ ﻣﻲﻛﻨﺪ‪ ،‬ﺑﻌﺪ ﺭﺍﻩ ﺣﻞ ﻣﺤﺴﻮﺱ ﻭ ﻋﻘﻠﻲ ﺑﺮﺍﻳﺶ ﻣﻲﺟﻮﻳﺪ‪.‬‬

‫ﺑﻄﻮﺭ ﻣﺨﺘﺼﺮ‪ ،‬ﺗﺮﺍﻧﻪﻫﺎﻱ ﺧﻴﺎﻡ ﺁﺋﻴﻨﻪﺍﻱ ﺍﺳﺖ ﻛﻪ ﻫﺮ ﻛﺲ ﻭﻟﻮ ﺑﻲ ﻗﻴﺪ ﻭ ﻻﺍﺑﺎﻟﻲ ﻫﻢ‬
‫ﺑﺎﺷﺪ ﻳﻚ ﺗﻜﻪ ﺍﺯ ﺍﻓﻜﺎﺭ‪ ،‬ﻳﻚ ﻗﺴﻤﺖ ﺍﺯ ﻳﺄﺱﻫﺎﻱ ﺧﻮﺩ ﺭﺍ ﺩﺭ ﺁﻥ ﻣﻲﺑﻴﻨﺪ ﻭ ﺗﻜﺎﻥ‬
‫ﻣﻲﺧﻮﺭﺩ‪ .‬ﺍﺯﻳﻦ ﺭﺑﺎﻋﻴﺎﺕ ﻳﻚ ﻣﺬﻫﺐ ﻓﻠﺴﻔﻲ ﻣﺴﺘﻔﺎﺩ ﻣﻲﺷﻮﺩ ﻛﻪ ﺍﻣﺮﻭﺯﻩ ﻃﺮﻑ ﺗﻮﺟﻪ‬
‫ﻋﻠﻤﺎﻱ ﻃﺒﻴﻌﻲ ﺍﺳﺖ ﻭ ﺷﺮﺍﺏ ﮔﺲ ﻭ ﺗﻠﺦ ﻣﺰﻩ ﺧﻴﺎﻡ ﻫﺮ ﭼﻪ ﻛﻬﻨﻪﺗﺮ ﻣﻲﺷﻮﺩ ﺑﺮ‬
‫ﮔﻴﺮﻧﺪﻩﮔﻴﺶ ﻣﻲﺍﻓﺰﺍﻳﺪ‪ .‬ﺑﻪ ﻫﻴﻤﻦ ﺟﻬﺖ ﺗﺮﺍﻧﻪﻫﺎﻱ ﺍﻭ ﺩﺭ ﻫﻤﻪ ﺟﺎﻱ ﺩﻧﻴﺎ ﻭ ﺩﺭ‬
‫ﻣﺤﻴﻂﻫﺎﻱ ﮔﻮﻧﺎﮔﻮﻥ ﻭ ﺑﻦ ﻧﮋﺍﺩﻫﺎﻱ ﻣﺨﺘﻠﻒ ﻃﺮﻑ ﺗﻮﺟﻪ ﺷﺪﻩ‪.‬‬

‫ﻫﺮ ﻛﺪﺍﻡ ﺍﺯ ﺍﻓﻜﺎﺭ ﺧﻴﺎﻡ ﺭﺍ ﺟﺪﺍﮔﺎﻧﻪ ﻣﻲﺷﻮﺩ ﻧﺰﺩ ﺷﻌﺮﺍ ﻭ ﻓﻼﺳﻔﻪ ﺑﺰﺭﮒ ﭘﻴﺪﺍ ﻛﺮﺩ‪ .‬ﻭﻟﻲ‬
‫ﺭﻭﻱﻫﻢﺭﻓﺘﻪ ﻫﻴﭻﻛﺪﺍﻡ ﺍﺯ ﺁﻥﻫﺎ ﺭﺍ ﻧﻤﻲﺷﻮﺩ ﺑﺎ ﺧﻴﺎﻡ ﺳﻨﺠﻴﺪ ﻭ ﺧﻴﺎﻡ ﺩﺭ ﺳﺒﻚ ﺧﻮﺩﺵ‬

‫ﻧﺸﺮ ﺗﺪﺑﻴﺮ‬
‫‪16‬‬ ‫ﺗﺮاﻧﻪ هﺎی ﺧﻴﺎم‬

‫ﺍﺯ ﺍﻏﻠﺐ ﺁﻥﻫﺎ ﺟﻠﻮ ﺍﻓﺘﺎﺩﻩ‪ .‬ﻗﻴﺎﻓﺔ ﻣﺘﻴﻦ ﺧﻴﺎﻡ ﺍﻭ ﺭﺍ ﺑﻴﺶ ﺍﺯ ﻫﻤﻪ ﭼﻴﺰ ﻳﻚ ﻓﻴﻠﺴﻮﻑ ﻭ‬
‫ﺷﺎﻋﺮ ﺑﺰﺭﮒ ﻫﻤﺪﻭﺵ ﻟﻮﻛﺮﺱ‪ ،‬ﺍﭘﻴﻜﻮﺭ‪ ،‬ﮔﻮﺗﻪ‪ ،‬ﺷﻜﺴﭙﻴﺮ ﻭ ﺷﻮﭘﻦﺁﻭﺭ ﻣﻌﺮﻓﻲ ﻣﻲﻛﻨﺪ‪.‬‬

‫ﺍﻛﻨﻮﻥ ﺑﺮﺍﻱ ﺍﻳﻦﻛﻪ ﻃﺮﺯ ﻓﻜﺮ ﻭ ﻓﻠﺴﻔﺔ ﮔﻮﻳﻨﺪﺓ ﺭﺑﺎﻋﻴﺎﺕ ﺭﺍ ﭘﻴﺪﺍ ﺑﻜﻨﻴﻢ ﻭ ﺑﺸﻨﺎﺳﻴﻢ‬
‫ﻧﺎﮔﺰﻳﺮﻳﻢ ﻛﻪ ﺍﻓﻜﺎﺭ ﻭ ﻓﻠﺴﻔﺔ ﺍﻭ ﺭﺍ ﭼﻨﺎﻧﻜﻪ ﺍﺯ ﺭﺑﺎﻋﻴﺎﺗﺶ ﻣﺴﺘﻔﺎﺩ ﻣﻲﺷﻮﺩ ﺑﻴﺮﻭﻥ ﺑﻴﺎﻭﺭﻳﻢ‪،‬‬
‫ﺯﻳﺮﺍ ﺟﺰ ﺍﻳﻦ ﻭﺳﻴﻠﻪ ﺩﻳﮕﺮﻱ ﺩﺭ ﺩﺳﺘﺮﺱ ﻣﺎ ﻧﻴﺴﺖ ﻭ ﺯﻧﺪﮔﻲ ﺩﺍﺧﻠﻲ ﻭ ﺧﺎﺭﺟﻲ ﺍﻭ‪،‬‬
‫ﺍﺷﺨﺎﺻﻲ ﻛﻪ ﺑﺎ ﺁﻥﻫﺎ ﺭﺍﺑﻄﻪ ﺩﺍﺷﺘﻪ‪ ،‬ﻣﺤﻴﻂ ﻭ ﻃﺮﺯ ﺯﻧﺪﮔﻲ‪ ،‬ﺗﺄﺛﻴﺮ ﻣﻮﺭﻭﺛﻲ‪ ،‬ﻓﻠﺴﻔﻪﺍﻱ ﻛﻪ‬
‫ﺗﻌﻔﻴﺐ ﻣﻲﻛﺮﺩﻩ ﻭ ﺗﺮﺑﻴﺖ ﻋﻠﻤﻲ ﻭ ﻓﻠﺴﻔﻲ ﺍﻭ ﺑﻪ ﻣﺎ ﻣﺠﻬﻮﻝ ﺍﺳﺖ‪.‬‬

‫ﺍﮔﺮ ﭼﻪ ﻳﻚ ﻣﺸﺖ ﺁﺛﺎﺭ ﻋﻠﻤﻲ‪ ،‬ﻓﻠﺴﻔﻲ ﻭ ﺍﺩﺑﻲ ﺍﺯ ﺧﻴﺎﻡ ﺑﻪ ﻳﺎﺩﮔﺎﺭ ﻣﺎﻧﺪﻩ ﻭﻟﻲ ﻫﻴﭻﻛﺪﺍﻡ‬
‫ﺍﺯ ﺁﻥﻫﺎ ﻧﻤﻲﺗﻮﺍﻧﺪ ﻣﺎ ﺭﺍ ﺩﺭ ﺍﻳﻦ ﻛﺎﻭﺵ ﺭﺍﻫﻨﻤﺎﺋﻲ ﺑﻜﻨﺪ‪ .‬ﭼﻮﻥ ﺗﻨﻬﺎ ﺭﺑﺎﻋﻴﺎﺕ‪ ،‬ﺍﻓﻜﺎﺭ‬
‫ﻧﻬﺎﻧﻲ ﻭ ﺧﻔﺎﻳﺎﻱ ﻗﻠﺐ ﺧﻴﺎﻡ ﺭﺍ ﻇﺎﻫﺮ ﻣﻲﺳﺎﺯﺩ‪ .‬ﺩﺭ ﺻﻮﺭﺗﻲﻛﻪ ﻛﺘﺎﺏﻫﺎﺋﻲ ﻛﻪ ﺑﻪ‬
‫ﻣﻘﺘﻀﺎﻱ ﻭﻗﺖ ﻭ ﻣﺤﻴﻂ ﻳﺎ ﺑﻪ ﺩﺳﺘﻮﺭ ﺩﻳﮕﺮﺍﻥ ﻧﻮﺷﺘﻪ ﺣﺘﻲ ﺑﻪ ﻭﻱ ﺗﻤﻠﻖ ﻭ ﺗﻈﺎﻫﺮ ﺍﺯ ﺁﻥﻫﺎ‬
‫ﺍﺳﺘﺸﻤﺎﻡ ﻣﻲﺷﻮﺩ ﻭ ﻛﺎﻣﻼ ﻓﻠﺴﻔﺔ ﺍﻭ ﺭﺍ ﺁﺷﻜﺎﺭ ﻧﻤﻲﻛﻨﺪ‪.‬‬

‫ﺑﻪ ﺍﻭﻟﻴﻦ ﻓﻜﺮﻱ ﻛﻪ ﺩﺭ ﺭﺑﺎﻋﻴﺎﺕ ﺧﻴﺎﻡ ﺑﺮﻣﻲﺧﻮﺭﻳﻢ ﺍﻳﻦ ﺍﺳﺖ ﻛﻪ ﮔﻮﻳﻨﺪﻩ ﺑﺎ ﻧﻬﺎﻳﺖ‬
‫ﺟﺮﺋﺖ ﻭ ﺑﺪﻭﻥ ﭘﺮﻭﺍ ﺑﺎ ﻣﻨﻄﻖ ﺑﻲﺭﺣﻢ ﺧﻮﺩﺵ ﻫﻴﭻ ﺳﺴﺘﻲ‪ ،‬ﻫﻴﭻ ﻳﻚ ﺍﺯ ﺑﺪﺑﺨﺘﻲﻫﺎﻱ‬
‫ﻓﻜﺮﻱ ﻣﻌﺎﺻﺮﻳﻦ ﻭ ﻓﻠﺴﻔﻪ ﺩﺳﺘﻮﺭﻱ ﻭ ﻣﺬﻫﺒﻲ ﺁﻥﻫﺎ ﺭﺍ ﻗﺒﻮﻝ ﻧﺪﺍﺭﺩ‪ ،‬ﻭ ﺑﻪ ﺗﻤﺎﻡ ﺍﺩﻋﺎﻫﺎ ﻭ‬
‫ﮔﻔﺘﻪﻫﺎﻱ ﺁﻥﻫﺎ ﭘﺸﺖ ﭘﺎ ﻣﻲﺯﻧﺪ‪ .‬ﺩﺭ ﻛﺘﺎﺏ »ﺍﺧﺒﺎﺭﺍﻟﻌﻠﻤﺈ ﺑﺎﺧﺒﺎﺭﺍﻟﺤﻜﻤﺈ« ﻛﻪ ﺩﺭ ﺳﻨﻪ‬
‫‪ ٦٤٦‬ﺗﺄﻟﻴﻒ ﺷﺪﻩ ﺭﺍﺟﻊ ﺑﻪ ﺍﺷﻌﺎﺭ ﺧﻴﺎﻡ ﺍﻳﻦ ﻃﻮﺭ ﻣﻲﻧﻮﻳﺴﺪ‪ . . . » :‬ﺑﺎﻃﻦ ﺁﻥ ﺍﺷﻌﺎﺭ ﺑﺮﺍﻱ‬
‫ﺷﺮﻳﻌﺖ ﻣﺎﺭﻫﺎﻱ ﮔﺰﻧﺪﻩ ﻭ ﺳﻠﺴﻠﻪ ﺯﻧﺠﻴﺮﻫﺎﻱ ﺿﻼﻝ ﺑﻮﺩ‪ .‬ﻭ ﻭﻗﺘﻲﻛﻪ ﻣﺮﺩﻡ ﺍﻭ ﺭﺍ ﺩﺭ ﺩﻳﻦ‬
‫ﺧﻮﺩ ﺗﻌﺒﻴﺐ ﻛﺮﺩﻧﺪ ﻭ ﻣﻜﻨﻮﻥ ﺧﺎﻃﺮ ﺍﻭ ﺭﺍ ﻇﺎﻫﺮ ﺳﺎﺧﺘﻨﺪ‪ ،‬ﺍﺯ ﻛﺸﺘﻪ ﺷﺪﻥ ﺗﺮﺳﻴﺪ ﻭ ﻋﻨﺎﻥ‬
‫ﺯﺑﺎﻥ ﻭ ﻗﻠﻢ ﺧﻮﺩ ﺭﺍ ﺑﺎﺯ ﻛﺸﻴﺪ ﻭ ﺑﻪ ﺯﻳﺎﺭﺕ ﺣﺞ ﺭﻓﺖ ‪ . . .‬ﻭ ﺍﺳﺮﺍﺭ ﻧﺎﭘﺎﻙ ﺍﻇﻬﺎﺭ ﻧﻤﻮﺩ ‪. .‬‬

‫ﻧﺸﺮ ﺗﺪﺑﻴﺮ‬
‫‪17‬‬ ‫ﺗﺮاﻧﻪ هﺎی ﺧﻴﺎم‬

‫‪ .‬ﻭ ﺍﻭ ﺭﺍ ﺍﺷﻌﺎﺭ ﻣﺸﻬﻮﺭ ﺍﺳﺖ ﻛﻪ ﺧﻔﺎﻳﺎﻱ ﻗﻠﺐ ﺍﻭ ﺩﺭ ﺯﻳﺮ ﭘﺮﺩﻩﻫﺎﻱ ﺁﻥ ﻇﺎﻫﺮ ﻣﻲﮔﺮﺩﺩ‬
‫ﻭ ﻛﺪﻭﺭﺕ ﺑﺎﻃﻦ ﺍﻭ ﺟﻮﻫﺮ ﻗﺼﺪﺵ ﺭﺍ ﺗﻴﺮﮔﻲ ﻣﻲﺩﻫﺪ‪«.‬‬

‫ﭘﺲ ﺧﻴﺎﻡ ﺑﺎﻳﺪ ﻳﻚ ﺍﻧﺪﻳﺸﻪ ﺧﺎﺹ ﻭ ﺳﻠﻴﻘﻪ ﻓﻠﺴﻔﻲ ﻣﺨﺼﻮﺻﻲ ﺭﺍﺟﻊ ﺑﻪ ﻛﺎﺋﻨﺎﺕ ﺩﺍﺷﺘﻪ‬
‫ﺑﺎﺷﺪ‪ .‬ﺣﺎﻝ ﺑﺒﻴﻨﻴﻢ ﻃﺮﺯ ﻓﻜﺮ ﺍﻭ ﭼﻪ ﺑﻮﺩﻩ‪ :‬ﺑﺮﺍﻱ ﺧﻮﺍﻧﻨﺪﻩ ﺷﻜﻲ ﺑﺎﻗﻲ ﻧﻤﻲﻣﺎﻧﺪ ﻛﻪ ﮔﻮﻳﻨﺪﺓ‬
‫ﺭﺑﺎﻋﻴﺎﺕ ﺗﻤﺎﻡ ﻣﺴﺎﺋﻞ ﺩﻳﻨﻲ ﺭﺍ ﺑﺎ ﺗﻤﺴﺨﺮ ﻧﮕﺮﻳﺴﺘﻪ ﻭ ﺍﺯ ﺭﻭﻱ ﺗﺤﻘﻴﺮ ﺑﻪ ﻋﻠﻤﺈ ﻭ ﻓﻘﻬﺎﺋﻲ‬
‫ﻛﻪ ﺍﺯ ﺁﻧﭽﻪ ﺧﻮﺩﺷﺎﻥ ﻧﻤﻲﺩﺍﻧﻨﺪ ﺩﻡ ﻣﻲﺯﻧﻨﺪ ﺣﻤﻠﻪ ﻣﻲﻛﻨﺪ‪ .‬ﺍﻳﻦ ﺷﻮﺭﺵ ﺭﻭﺡ ﺁﺭﻳﺎﺋﻲ ﺭﺍ‬
‫ﺑﺮ ﺿﺪ ﺍﻋﺘﻘﺎﺩﺍﺕ ﺳﺎﻣﻲ ﻧﺸﺎﻥ ﻣﻲﺩﻫﺪ ﻭ ﻳﺎ ﺍﻧﺘﻘﺎﻡ ﺧﻴﺎﻡ ﺍﺯ ﻣﺤﻴﻂ ﭘﺴﺖ ﻭ ﻣﺘﻌﺼﺒﻲ ﺑﻮﺩﻩ‬
‫ﻛﻪ ﺍﺯ ﺍﻓﻜﺎﺭ ﻣﺮﺩﻣﺎﻧﺶ ﺑﻴﺰﺍﺭ ﺑﻮﺩﻩ‪ .‬ﻭﺍﺿﺢ ﺍﺳﺖ ﻓﻴﻠﺴﻮﻓﻲ ﻣﺎﻧﻨﺪ ﺧﻴﺎﻡ ﻛﻪ ﻓﻜﺮ ﺁﺯﺍﺩ ﻭ‬
‫ﺧﺮﺩﻩ ﺑﻴﻦ ﺩﺍﺷﺘﻪ ﻧﻤﻲﺗﻮﺍﻧﺴﺘﻪ ﻛﻮﺭﻛﻮﺭﺍﻧﻪ ﺯﻳﺮ ﺑﺎﺭ ﺍﺣﻜﺎﻡ ﺗﻌﺒﺪﻱ‪ ،‬ﺟﻌﻠﻲ‪ ،‬ﺟﺒﺮﻱ ﻭ ﺑﻲ‬
‫ﻣﻨﻄﻖ ﻓﻘﻬﺎﻱ ﺯﻣﺎﻥ ﺧﻮﺩﺵ ﺑﺮﻭﺩ ﻭ ﺑﻪ ﺍﻓﺴﺎﻧﻪﻫﺎﻱ ﭘﻮﺳﻴﺪﻩ ﻭ ﺩﺍﻡﻫﺎﻱ ﺧﺮﺑﮕﻴﺮﻱ ﺁﻥﻫﺎ‬
‫ﺍﻳﻤﺎﻥ ﺑﻴﺎﻭﺭﺩ‪.‬‬

‫ﺯﻳﺮﺍ ﺩﻳﻦ ﻋﺒﺎﺭﺗﺴﺖ ﺍﺯ ﻣﺠﻤﻮﻉ ﺍﺣﻜﺎﻡ ﺟﺒﺮﻱ ﻭ ﺗﻜﻠﻴﻔﺎﺗﻲ ﻛﻪ ﺍﻃﺎﻋﺖ ﺁﻥ ﺑﻲ ﭼﻮﻥ ﻭ‬

‫ﺟﺮﺍ ﺑﺮ ﻫﻤﻪ ﻭﺍﺟﺐ ﺍﺳﺖ ﻭ ﺩﺭ ﻣﺒﺎﺩﻱ ﺁﻥ ﺫﺭﻩﺍﻱ ﺷﻚ ﻭ ﺷﺒﻬﻪ ﻧﻤﻲﺷﻮﺩ ﺑﺨﻮﺩ ﺭﺍﻩ ﺩﺍﺩ‬
‫ﻭ ﻳﻜﺪﺳﺘﻪ ﻧﮕﺎﻫﺒﺎﻥ ﺍﺯ ﺁﻥ ﺍﺣﻜﺎﻡ ﺍﺳﺘﻔﺎﺩﻩ ﻛﺮﺩﻩ ﻣﺮﺩﻡ ﻋﻮﺍﻡ ﺭﺍ ﺍﺳﺒﺎﺏ ﺩﺳﺖ ﺧﻮﺩﺷﺎﻥ‬
‫ﻣﻲ ﻧﻤﺎﻳﻨﺪ‪ .‬ﻭﻟﻲ ﺧﻴﺎﻡ ﻫﻤﺔ ﺍﻳﻦ ﻣﺴﺎﺋﻞ ﻭﺍﺟﺐ ﺍﻟﺮﻋﺎﻳﺔ ﻣﺬﻫﺒﻲ ﺭﺍ ﺑﺎ ﻟﺤﻦ ﺗﻤﺴﺨﺮﺁﻣﻴﺰ ﻭ‬
‫ﺑﻲﺍﻋﺘﻘﺎﺩ ﺗﻠﻘﻲ ﻛﺮﺩﻩ ﻭ ﺧﻮﺍﺳﺘﻪ ﻣﻨﻔﺮﺩﹰﺍ ﺍﺯ ﺭﻭﻱ ﻋﻤﻞ ﻭ ﻋﻠﻞ ﭘﻲ ﺑﻪ ﻣﻌﻤﻮﻝ ﻭ ﻣﻌﻠﻮﻝ‬
‫ﺑﺒﺮﺩ‪ .‬ﻭ ﻣﺴﺎﺋﻞ ﻣﻬﻢ ﻣﺮﮒ ﻭ ﺯﻧﺪﮔﻲ ﺭﺍ ﺑﻄﺮﺯ ﻣﺜﺒﺖ ﺍﺯ ﺭﻭﻱ ﻣﻨﻄﻖ ﻭ ﻣﺤﺴﻮﺳﺎﺕ ﻭ‬
‫ﻣﺸﺎﻫﺪﺍﺕ ﻭ ﺟﺮﻳﺎﻥ ﻣﺎﺩﻱ ﺯﻧﺪﮔﻲ ﺣﻞ ﺑﻨﻤﺎﻳﺪ‪ ،‬ﺍﺯﻳﻦ ﺭﻭ ﺗﻤﺎﺷﺎﭼﻲ ﺑﻲﻃﺮﻑ ﺣﻮﺍﺩﺙ‬
‫ﺩﻫﺮ ﻣﻲﺷﻮﺩ‪.‬‬

‫ﻧﺸﺮ ﺗﺪﺑﻴﺮ‬
‫‪18‬‬ ‫ﺗﺮاﻧﻪ هﺎی ﺧﻴﺎم‬

‫ﺧﻴﺎﻡ ﻣﺎﻧﻨﺪ ﺍﻏﻠﺐ ﻋﻠﻤﺎﻱ ﺁﻥ ﺯﻣﺎﻥ ﺑﻪ ﻗﻠﺐ ﻭ ﺍﺣﺴﺎﺳﺎﺕ ﺧﻮﺩﺵ ﺍﻛﺘﻔﺎ ﻧﻤﻲﻛﻨﺪ‪ ،‬ﺑﻠﻜﻪ‬
‫ﻣﺎﻧﻨﺪ ﻳﻚ ﺩﺍﻧﺸﻤﻨﺪ ﺑﻪ ﺗﻤﺎﻡ ﻣﻌﻨﻲ ﺁﻧﭽﻪ ﺭﺍ ﻛﻪ ﺩﺭ ﻃﻲ ﻣﺸﺎﻫﺪﺍﺕ ﻭ ﻣﻨﻄﻖ ﺧﻮﺩ ﺑﺪﺳﺖ‬
‫ﻣﻲﺁﻭﺭﺩ ﻣﻲﮔﻮﻳﺪ‪ .‬ﻣﻌﻠﻮﻡ ﺍﺳﺖ ﺍﻣﺮﻭﺯﻩ ﺍﮔﺮ ﻛﺴﻲ ﺑﻄﻼﻥ ﺍﻓﺴﺎﻧﻪﻫﺎﻱ ﻣﺬﻫﺒﻲ ﺭﺍ ﺛﺎﺑﺖ‬
‫ﺑﻨﻤﺎﻳﺪ ﭼﻨﺪﺍﻥ ﻛﺎﺭ ﻣﻬﻤﻲ ﻧﻜﺮﺩﻩ ﺍﺳﺖ‪ ،‬ﺯﻳﺮﺍ ﺍﺯ ﺭﻭﻱ ﻋﻠﻮﻡ ﺧﻮﺩ ﺑﻪ ﺧﻮﺩ ﺑﺎﻃﻞ ﺷﺪﻩ‬
‫ﺍﺳﺖ‪ .‬ﻭﻟﻲ ﺍﮔﺮ ﺯﻣﺎﻥ ﻭ ﻣﺤﻴﻂ ﻣﺘﻌﺼﺐ ﺧﻴﺎﻡ ﺭﺍ ﺩﺭ ﻧﻈﺮ ﺑﻴﺎﻭﺭﻳﻢ‪ ،‬ﻛﺎﺭ ﺍﻭ ﺑﻲﺍﻧﺪﺍﺯﻩ ﻣﻘﺎﻡ‬
‫ﺍﻭ ﺭﺍ ﺑﺎﻻ ﻣﻲﺑﺮﺩ‪.‬‬

‫ﺍﮔﺮ ﭼﻪ ﺧﻴﺎﻡ ﺩﺭ ﻛﺘﺎﺏﻫﺎﻱ ﻋﻠﻤﻲ ﻭ ﻓﻠﺴﻔﻲ ﺧﻮﺩﺵ ﻛﻪ ﺑﻨﺎ ﺑﺪﺳﺘﻮﺭ ﻭ ﺧﻮﺍﻫﺶ‬

‫ﺑﺰﺭﮔﺎﻥ ﺯﻣﺎﻥ ﺧﻮﺩ ﻧﻮﺷﺘﻪ‪ ،‬ﺭﻭﻳﻪ ﻛﺘﻤﺎﻥ ﻭ ﺗﻘﻴﻪ ﺭﺍ ﺍﺯ ﺩﺳﺖ ﻧﺪﺍﺩﻩ ﻭ ﻇﺎﻫﺮﹰﺍ ﺟﻨﺒﺔ‬
‫ﺑﻲﻃﺮﻑ ﺑﺨﻮﺩ ﻣﻲﮔﻴﺮﺩ‪ ،‬ﻭﻟﻲ ﺩﺭ ﺧﻼﻝ ﻧﻮﺷﺘﻪﻫﺎﻱ ﺍﻭ ﻣﻲﺷﻮﺩ ﺑﻌﻀﻲ ﻣﻄﺎﻟﺐ ﻋﻠﻤﻲ‬
‫ﻛﻪ ﺍﺯ ﺩﺳﺘﺶ ﺩﺭﺭﻓﺘﻪ ﻣﻼﺣﻈﻪ ﻧﻤﻮﺩ‪ .‬ﻣﺜﻼ ﺩﺭ »ﻧﻮﺭﻭﺯﻧﺎﻣﻪ« )ﺹ ‪ (٤‬ﻣﻲﮔﻮﻳﺪ‪» :‬ﺑﻪ ﻓﺮﻣﺎﻥ‬
‫ﺍﻳﺰﺩ ﺗﻌﺎﻟﻲ ﺣﺎﻝﻫﺎﻱ ﻋﺎﻟﻢ ﺩﻳﮕﺮﮔﻮﻥ ﮔﺸﺖ‪ ،‬ﻭ ﭼﻴﺰﻫﺎﺀ ﻧﻮ ﭘﺪﻳﺪ ﺁﻣﺪ‪ .‬ﻣﺎﻧﻨﺪ ﺁﻧﻚ ﺩﺭ‬
‫‪milieu Adaptation du‬‬ ‫ﺧﻮﺭ ﻋﺎﻟﻢ ﻭ ﮔﺮﺩﺵ ﺑﻮﺩ‪ «.‬ﺁﻳﺎ ﺍﺯ ﺟﻤﻠﺔ ﺁﺧﺮ‪ ،‬ﻓﺮﻣﻮﻝ ﻣﻌﺮﻭﻑ‬
‫ﺍﺳﺘﻨﺒﺎﻁ ﻧﻤﻲﺷﻮﺩ؟ ﺯﻳﺮﺍ ﺍﻭ ﻣﻨﻜﺮ ﺍﺳﺖ ﻛﻪ ﺧﺪﺍ ﻣﻮﺟﻮﺩﺍﺕ ﺭﺍ ﺟﺪﺍ ﺟﺪﺍ ﺧﻠﻖ ﻛﺮﺩﻩ ﻭ‬
‫ﻣﻌﺘﻘﺪ ﺍﺳﺖ ﻛﻪ ﺁﻥﻫﺎ ﺑﻪ ﻓﺮﺍﺧﻮﺭ ﮔﺮﺩﺵ ﻋﺎﻟﻢ ﺑﺎ ﻣﺤﻴﻂ ﺗﻮﺍﻓﻖ ﭘﻴﺪﺍ ﻛﺮﺩﻩﺍﻧﺪ‪ .‬ﺍﻳﻦ ﻗﺎﻋﺪﺓ‬
‫ﻋﻠﻤﻲ ﻛﻪ ﺩﺭ ﺍﺭﻭﭘﺎ ﻭﻟﻮﻟﻪ ﺍﻧﺪﺍﺧﺖ ﺁﻳﺎ ﺧﻴﺎﻡ ﺩﺭ ‪ ٨٠٠‬ﺳﺎﻝ ﭘﻴﺶ ﺑﻔﺮﺍﺳﺖ ﺩﺭﻳﺎﻓﺘﻪ ﻭ‬
‫ﺣﺪﺱ ﺯﺩﻩ ﺍﺳﺖ؟ ﺩﺭ ﻫﻤﻴﻦ ﻛﺘﺎﺏ )ﺹ ‪ (٣‬ﻧﻮﺷﺘﻪ‪» :‬ﻭ ﺍﻳﺰﺩ ﺗﻌﺎﻟﻲ ﺁﻓﺘﺎﺏ ﺭﺍ ﺍﺯ ﻧﻮﺭ‬
‫ﺑﻴﺎﻓﺮﻳﺪ ﻭ ﺁﺳﻤﺎﻥﻫﺎ ﻭ ﺯﻣﻴﻦﻫﺎ ﺭﺍ ﺑﺪﻭ ﭘﺮﻭﺭﺵ ﺩﺍﺩ‪ «.‬ﭘﺲ ﺍﻳﻦ ﻧﺸﺎﻥ ﻣﻲﺩﻫﺪ ﻛﻪ ﻋﻼﻭﻩ ﺑﺮ‬
‫ﻓﻴﻠﺴﻮﻑ ﻭ ﺷﺎﻋﺮ ﻣﺎ ﺑﺎ ﻳﻜﻨﻔﺮ ﻋﺎﻟﻢ ﻃﺒﻴﻌﻲ ﺳﺮ ﻭ ﻛﺎﺭ ﺩﺍﺭﻳﻢ‪.‬‬

‫ﻭﻟﻲ ﺩﺭ ﺗﺮﺍﻧﻪﻫﺎﻱ ﺧﻮﺩﺵ ﺧﻴﺎﻡ ﺍﻳﻦ ﻛﺘﻤﺎﻥ ﻭ ﺗﻘﻴﻪ ﺭﺍ ﻛﻨﺎﺭ ﮔﺬﺍﺷﺘﻪ‪ .‬ﺯﻳﺮﺍ ﺩﺭﻳﻦ ﺗﺮﺍﻧﻪﻫﺎ‬
‫ﻛﻪ ﺯﺧﻢ ﺭﻭﺣﻲ ﺍﻭ ﺑﻮﺩﻩ ﺑﻪ ﻫﻴﭻ ﻭﺟﻪ ﺯﻳﺮ ﺑﺎﺭ ﻛﺮﻡ ﺧﻮﺭﺩﺓ ﺍﺻﻮﻝ ﻭ ﻗﻮﺍﻧﻴﻦ ﻣﺤﻴﻂ‬

‫ﻧﺸﺮ ﺗﺪﺑﻴﺮ‬
‫‪19‬‬ ‫ﺗﺮاﻧﻪ هﺎی ﺧﻴﺎم‬

‫ﺧﻮﺩﺵ ﻧﻤﻲﺭﻭﺩ‪ ،‬ﺑﻠﻜﻪ ﺑﺮﻋﻜﺲ ﺍﺯ ﺭﻭﻱ ﻣﻨﻄﻖ ﻫﻤﺔ ﻣﺴﺨﺮﻩﻫﺎﻱ ﺍﻓﻜﺎﺭ ﺁﻧﺎﻥ ﺭﺍ ﺑﻴﺮﻭﻥ‬
‫ﻣﻲ ﺁﻭﺭﺩ‪ .‬ﺟﻨﮓ ﺧﻴﺎﻡ ﺑﺎ ﺧﺮﺍﻓﺎﺕ ﻭ ﻣﻮﻫﻮﻣﺎﺕ ﻣﺤﻴﻂ ﺧﻮﺩﺵ ﺭﺩ ﺳﺮﺗﺎﺳﺮ ﺗﺮﺍﻧﻪﻫﺎﻱ ﺍﻭ‬
‫ﺁﺷﻜﺎﺭ ﺍﺳﺖ ﻭ ﺗﻤﺎﻡ ﺯﻫﺮﺧﻨﺪﻩﻫﺎﻱ ﺍﻭ ﺷﺎﻣﻞ ﺣﺎﻝ ﺯﻫﺎﺩ ﻭ ﻓﻘﻬﺎ ﻭ ﺍﻟﻬﻴﻮﻥ ﻣﻲﺷﻮﺩ ﻭ ﺑﻪ‬
‫ﻗﺪﺭﻱ ﺑﺎ ﺍﺳﺘﺎﺩﻱ ﻭ ﺯﺑﺮﺩﺳﺘﻲ ﺩﻣﺎﻍ ﺁﻥﻫﺎ ﺭﺍ ﻣﻲﻣﺎﻻﻧﺪ ﻛﻪ ﻧﻈﻴﺮﺵ ﺩﻳﺪﻩ ﻧﺸﺪﻩ‪ .‬ﺧﻴﺎﻡ‬
‫ﻫﻤﺔ ﻣﺴﺎﺋﻞ ﻣﺎﻭﺭﺇ ﻣﺮﮒ ﺭﺍ ﺑﺎ ﻟﺤﻦ ﺗﻤﺴﺨﺮ ﺁﻣﻴﺰ ﻭ ﻣﺸﻜﻮﻙ ﻭ ﺑﻄﻮﺭ ﻧﻘﻞ ﻗﻮﻝ ﺑﺎ‬
‫»ﮔﻮﻳﻨﺪ« ﺷﺮﻭﻉ ﻣﻲﻛﻨﺪ‪:‬‬

‫ﮔﻮﻳﻨﺪ‪» :‬ﺑﻬﺸﺖ ﻭ ﺣﻮﺭ ﻋﻴﻦ ﺧﻮﺍﻫﺪ ﺑﻮﺩ ‪(٨٨) . . .‬‬

‫ﮔﻮﻳﻨﺪ ﻣﺮﺍ‪» :‬ﺑﻬﺸﺖ ﺑﺎ ﺣﻮﺭ ﺧﻮﺵ ﺍﺳﺖ ‪(٩٠) . . .‬‬

‫ﮔﻮﻳﻨﺪ ﻣﺮﺍ ﻛﻪ‪» :‬ﺩﻭﺯﺧﻲ ﺑﺎﺷﺪ ﻣﺴﺖ ‪(٨٧) . . .‬‬

‫ﺩﺭ ﺯﻣﺎﻧﻲ ﻛﻪ ﺍﻧﺴﺎﻥ ﺭﺍ ﺁﻳﻨﺔ ﺟﻤﺎﻝ ﺍﻟﻬﻲ ﻭ ﻣﻘﺼﻮﺩ ﺁﻓﺮﻳﻨﺶ ﺗﺼﻮﺭ ﻣﻲﻛﺮﺩﻩﺍﻧﺪ ﻭ ﻫﻤﺔ‬
‫ﺍﻓﺴﺎﻧﻪﻫﺎﻱ ﺑﺸﺮ ﺩﻭﺭ ﺍﻭ ﺩﺭﺳﺖ ﺷﺪﻩ ﺑﻮﺩ ﻛﻪ ﺳﺘﺎﺭﻩﻫﺎﻱ ﺁﺳﻤﺎﻥ ﺑﺮﺍﻱ ﻧﺸﺎﻥ ﺩﺍﺩﻥ‬
‫ﺳﺮﻧﻮﺷﺖ ﺍﻭ ﺧﻠﻖ ﺷﺪﻩ ﻭ ﺯﻣﻴﻦ ﻭ ﺯﻣﺎﻥ ﻭ ﺑﻬﺸﺖ ﻭ ﺩﻭﺯﺥ ﺑﺮﺍﻱ ﺧﺎﻃﺮ ﺍﻭ ﺑﺮﭘﺎ ﺷﺪﻩ ﻭ‬
‫ﺍﻧﺴﺎﻥ ﺩﻧﻴﺎﻱ ﻛﻬﻴﻦ ﻭ ﻧﻤﻮﻧﻪ ﻭ ﻧﻤﺎﻳﻨﺪﺓ ﺟﻬﺎﻥ ﻣﻬﻴﻦ ﺑﻮﺩﻩ ﭼﻨﺎﻧﻜﻪ ﺑﺎﺑﺎ ﺍﻓﻀﻞ ﻣﻲﮔﻮﻳﺪ‪:‬‬

‫ﺍﻓﻼﻙ ﻭ ﻋﻨﺎﺻﺮ ﻭ ﻧﺒﺎﺕ ﻭ ﺣﻴﻮﺍﻥ‪،‬‬

‫ﻋﻜﺴﻲ ﺯ ﻭﺟﻮﺩ ﺭﻭﺷﻦ ﻛﺎﻣﻞ ﻣﺎﺳﺖ‪.‬‬

‫ﺧﻴﺎﻡ ﺑﺎ ﻣﻨﻄﻖ ﻣﺎﺩﻱ ﻭ ﻋﻠﻤﻲ ﺧﻮﺩﺵ ﺍﻧﺴﺎﻥ ﺭﺍ ﺟﺎﻡ ﺟﻢ ﻧﻤﻲﺩﺍﻧﺪ‪ .‬ﭘﻴﺪﺍﻳﺶ ﻭ ﻣﺮﮒ ﺍﻭ‬
‫ﺭﺍ ﻫﻤﺎﻧﻘﺪﺭ ﺑﻲﺍﻫﻤﻴﺖ ﻣﻲﺩﺍﻧﺪ ﻛﻪ ﻭﺟﻮﺩ ﻭ ﻣﺮﮒ ﻳﻚ ﻣﮕﺲ‪:‬‬

‫ﻧﺸﺮ ﺗﺪﺑﻴﺮ‬
‫‪20‬‬ ‫ﺗﺮاﻧﻪ هﺎی ﺧﻴﺎم‬

‫ﺁﻣﺪ ﺷﺪﻥ ﺗﻮ ﺍﻧﺪﺭﻳﻦ ﻋﺎﻡ ﭼﻴﺴﺖ؟‬

‫ﺁﻣﺪ ﻣﮕﺴﻲ ﭘﺪﻳﺪ ﻭ ﻧﺎﭘﻴﺪﺍ ﺷﺪ! )‪(٤١‬‬

‫ﺣﺎﻝ ﺑﺒﻴﻨﻴﻢ ﺩﺭ ﻣﻘﺎﺑﻞ ﻧﻔﻲ ﻭ ﺍﻧﻜﺎﺭ ﻣﺴﺨﺮﻩﺁﻟﻮﺩﻱ ﻛﻪ ﺍﺯ ﻋﻘﺎﻳﺪ ﻓﻘﻬﺎ ﻭ ﻋﻠﻤﺎ ﻣﻲﻛﻨﺪ‬
‫ﺧﻮﺩﺵ ﻧﻴﺰ ﺭﺍﻩ ﺣﻠﻲ ﺑﺮﺍﻱ ﻣﺴﺎﺋﻞ ﻣﺎﻭﺭﺇ ﻃﺒﻴﻌﻲ ﭘﻴﺪﺍ ﻛﺮﺩﻩ؟‬

‫ﺩﺭ ﻧﺘﻴﺠﺔ ﻣﺸﺎﻫﺪﺍﺕ ﻭ ﺗﺤﻘﻴﻘﺎﺕ ﺧﻮﺩﺵ ﺧﻴﺎﻡ ﺑﻪ ﺍﻳﻦ ﻣﻄﻠﺐ ﺑﺮ ﻣﻲﺧﻮﺭﺩ ﻛﻪ ﻓﻬﻢ ﺑﺸﺮ‬
‫ﻣﺤﺪﻭﺩ ﺍﺳﺖ‪ .‬ﺍﺯ ﻛﺠﺎ ﻣﻲﺁﺋﻴﻢ ﻭ ﺑﻪ ﻛﺠﺎ ﻣﻲﺭﻭﻳﻢ؟ ﻛﺴﻲ ﻧﻤﻲﺩﺍﻧﺪ‪ ،‬ﻭ ﺁﻥﻫﺎﺋﻲ ﻛﻪ‬
‫ﺻﻮﺭﺕ ﺣﻖﺑﺠﺎﻧﺐ ﺑﻪ ﺧﻮﺩ ﻣﻲﮔﻴﺮﻧﺪ ﻭ ﺩﺭ ﺍﻃﺮﺍﻑ ﺍﻳﻦ ﻗﻀﺎﻳﺎ ﺑﺤﺚ ﻣﻲﻧﻤﺎﻳﻨﺪ ﺟﺰ ﻳﺎﻭﻩ‬
‫ﺳﺮﺍﺋﻲ ﻛﺎﺭﻱ ﻧﻤﻲﻛﻨﻨﺪ؛ ﺧﻮﺩﺷﺎﻥ ﻭ ﺩﻳﮕﺮﺍﻥ ﺭﺍ ﮔﻮﻝ ﻣﻲﺯﻧﻨﺪ‪ .‬ﻫﻴﭻﻛﺲ ﺑﻪ ﺍﺳﺮﺍﺭ ﺍﺯﻝ‬
‫ﭘﻲ ﻧﺒﺮﺩﻩ ﻭ ﻧﺨﻮﺍﻫﺪ ﺑﺮﺩ ﻭ ﻳﺎ ﺍﺻﻼ ﺍﺳﺮﺍﺭﻱ ﻧﻴﺴﺖ ﻭ ﺍﮔﺮ ﻫﺴﺖ ﺩﺭ ﺯﻧﺪﮔﻲ ﻣﺎ ﺗﺄﺛﻴﺮﻱ‬
‫ﻧﺪﺍﺭﺩ‪ ،‬ﻣﺜﻼ ﺟﻬﺎﻥ ﭼﻪ ﻣﺤﺪﺙ ﻭ ﭼﻪ ﻗﺪﻳﻢ ﺑﺎﺷﺪ ﺁﻳﺎ ﺑﻪ ﭼﻪ ﺩﺭﺩ ﻣﺎ ﺧﻮﺍﻫﺪ ﺧﻮﺭﺩ؟‬

‫ﭼﻮﻥ ﻣﻦ ﺭﻓﺘﻢ‪ ،‬ﺟﻬﺎﻥ ﻣﺤﺪﺙ ﭼﻪ ﻗﺪﻳﻢ‪(٩٣) .‬‬

‫ﺗﺎ ﻛﻲ ﺯ ﺣﺪﻳﺚ ﭘﻨﺞ ﻭ ﭼﺎﺭ ﺍﻱ ﺳﺎﻗﻲ؟‬

‫ﺑﻤﺎ ﭼﻪ ﻛﻪ ﻭﻗﺖ ﺧﻮﺩﻣﺎﻥ ﺭﺍ ﺳﺮ ﺑﺤﺚ ﭘﻨﺞ ﺣﻮﺍﺱ ﻭ ﭼﻬﺎﺭ ﻋﻨﺼﺮ ﺑﮕﺬﺭﺍﻧﻴﻢ؟ ﭘﺲ ﺑﻪ‬
‫ﺍﻣﻴﺪ ﻭ ﻫﺮﺍﺱ ﻣﻮﻫﻮﻡ ﻭ ﺑﺤﺚ ﭼﺮﻧﺪ ﻭﻗﺖ ﺧﻮﺩﻣﺎﻥ ﺭﺍ ﺗﻠﻒ ﻧﻜﻨﻴﻢ‪ ،‬ﺁﻧﭽﻪ ﮔﻔﺘﻪﺍﻧﺪ ﻭ ﺑﻪ‬
‫ﻫﻢ ﺑﺎﻓﺘﻪﺍﻧﺪ ﺍﻓﺴﺎﻧﺔ ﻣﺤﺾ ﻣﻲﺑﺎﺷﺪ‪ ،‬ﻣﻌﻤﺎﻱ ﻛﺎﺋﻨﺎﺕ ﻧﻪ ﺑﻮﺳﻴﻠﺔ ﻋﻠﻢ ﻭ ﻧﻪ ﺑﺪﺳﺘﻴﺎﺭﻱ ﺩﻳﻦ‬
‫ﻫﺮﮔﺰ ﺣﻞ ﻧﺨﻮﺍﻫﺪ ﺷﺪ ﻭ ﺑﻪ ﻫﻴﭻ ﺣﻘﻴﻘﺘﻲ ﻧﺮﺳﻴﺪﻩﺍﻳﻢ‪.‬ﺩﺭ ﻭﺭﺇ ﺍﻳﻦ ﺯﻣﻴﻨﻲ ﻛﻪ ﺭﻭﻳﺶ‬
‫ﺯﻧﺪﮔﻲ ﻣﻲﻛﻨﻴﻢ ﻧﻪ ﺳﻌﺎﺩﺗﻲ ﻫﺴﺖ ﻭ ﻧﻪ ﻋﻘﻮﺑﺘﻲ‪ .‬ﮔﺬﺷﺘﻪ ﻭ ﺁﻳﻨﺪﻩ ﺩﻭ ﻋﺪﻡ ﺍﺳﺖ ﻭ ﻣﺎ‬
‫ﺑﻴﻦ ﺩﻭ ﻧﻴﺴﺘﻲ ﻛﻪ ﺳﺮﺣﺪ ﺩﻭ ﺩﻧﻴﺎﺳﺖ ﺩﻣﻲ ﺭﺍ ﻛﻪ ﺯﻧﺪﻩﺍﻳﻢ ﺩﺭﻳﺎﺑﻴﻢ! ﺍﺳﺘﻔﺎﺩﻩ ﺑﻜﻨﻴﻢ ﻭ ﺩﺭ‬

‫ﻧﺸﺮ ﺗﺪﺑﻴﺮ‬
‫‪21‬‬ ‫ﺗﺮاﻧﻪ هﺎی ﺧﻴﺎم‬

‫ﺍﺳﺘﻔﺎﺩﻩ ﺷﺘﺎﺏ ﺑﻜﻨﻴﻢ‪ .‬ﺑﻪ ﻋﻘﻴﺪﺓ ﺧﻴﺎﻡ ﻛﻨﺎﺭ ﻛﺸﺘﺰﺍﺭﻫﺎﻱ ﺳﺒﺰ ﻭ ﺧﺮﻡ‪ ،‬ﭘﺮﺗﻮ ﻣﻬﺘﺎﺏ ﻛﻪ‬
‫ﺩﺭ ﺟﺎﻡ ﺷﺮﺍﺏ ﺍﺭﻏﻮﺍﻧﻲ ﻫﺰﺍﺭﺍﻥ ﺳﺎﻳﻪ ﻣﻨﻌﻜﺲ ﻣﻲﻛﻨﺪ‪ ،‬ﺁﻫﻨﮓ ﺩﻟﻨﻮﺍﺯ ﭼﻨﮓ‪ ،‬ﺳﺎﻗﻴﺎﻥ‬
‫ﻣﺎﻫﺮﻭ‪ ،‬ﮔﻞﻫﺎﻱ ﻧﻮﺷﻜﻔﺘﻪ‪ ،‬ﻳﮕﺎﻧﻪ ﺣﻘﻴﻘﺖ ﺯﻧﺪﮔﻲ ﺍﺳﺖ ﻛﻪ ﻣﺎﻧﻨﺪ ﻛﺎﺑﻮﺱ ﻫﻮﻟﻨﺎﻛﻲ‬
‫ﻣﻲﮔﺬﺭﺩ‪ .‬ﺍﻣﺮﻭﺯ ﺭﺍ ﺧﻮﺵ ﺑﺎﺷﻴﻢ‪ ،‬ﻓﺮﺩﺍ ﺭﺍ ﻛﺴﻲ ﻧﺪﻳﺪﻩ‪ .‬ﺍﻳﻦ ﺗﻨﻬﺎ ﺁﺭﺯﻭﻱ ﺯﻧﺪﮔﻲ ﺍﺳﺖ‪:‬‬

‫ﺣﺎﻟﻲ ﺧﻮﺵ ﺑﺎﺵ ﺯﺍﻧﻜﻪ ﻣﻘﺼﻮﺩ ﺍﻳﻨﺴﺖ‪(١٣٤) .‬‬

‫ﺩﺭ ﻣﻘﺎﺑﻞ ﺣﻘﺎﻳﻖ ﻣﺤﺴﻮﺱ ﻭ ﻣﺎﺩﻱ ﻳﻚ ﺣﻘﻴﻘﺖ ﺑﺰﺭﮔﺘﺮ ﺭﺍ ﺧﻴﺎﻡ ﻣﻌﺘﻘﺪ ﺍﺳﺖ‪ ،‬ﻭ ﺁﻥ‬
‫ﻭﺟﻮﺩ ﺷﺮ ﻭ ﺑﺪﻱ ﺍﺳﺖ ﻛﻪ ﺑﺮ ﺧﻴﺮ ﻭ ﺧﻮﺷﻲ ﻣﻲﭼﺮﺑﺪ‪ .‬ﮔﻮﻳﺎ ﻓﻜﺮ ﺟﺒﺮﻱ ﺧﻴﺎﻡ ﺑﻴﺸﺘﺮ‬
‫ﺩﺭ ﺍﺛﺮ ﻋﻠﻢ ﻧﺠﻮﻡ ﻭ ﻓﻠﺴﻔﺔ ﻣﺎﺩﻱ ﺍﻭ ﭘﻴﺪﺍ ﺷﺪﻩ‪ .‬ﺗﺄﺛﻴﺮ ﺗﺮﺑﻴﺖ ﻋﻠﻤﻲ ﺍﻭ ﺭﻭﻱ ﻧﺸﻮ ﻭ ﻧﻤﺎﻱ‬
‫ﻓﻠﺴﻔﻴﺶ ﻛﺎﻣﻼ ﺁﺷﻜﺎﺭ ﺍﺳﺖ‪ .‬ﺑﻪ ﻋﻘﻴﺪﺓ ﺧﻴﺎﻡ ﻃﺒﻴﻌﺖ ﻛﻮﺭ ﻭ ﻛﺮ ﮔﺮﺩﺵ ﺧﻮﺩ ﺭﺍ‬
‫ﻣﺪﺍﻭﻣﺖ ﻣﻲﺩﻫﺪ‪ .‬ﺁﺳﻤﺎﻥ ﺗﻬﻲ ﺍﺳﺖ ﻭ ﺑﻪ ﻓﺮﻳﺎﺩ ﻛﺴﻲ ﻧﻤﻲﺭﺳﺪ‪:‬‬

‫ﺑﺎ ﭼﺮﺥ ﻣﻜﻦ ﺣﻮﺍﻟﻪ ﻛﺎﻧﺪﺭ ﺭﻩ ﻋﻘﻞ‪،‬‬

‫ﭼﺮﺥ ﺍﺯ ﺗﻮ ﻫﺰﺍﺭ ﺑﺎﺭ ﺑﻴﭽﺎﺭﻩﺗﺮ ﺍﺳﺖ! )‪(٣٤‬‬

‫ﭼﺮﺥ ﻧﺎﺗﻮﺍﻥ ﻭ ﺑﻲﺍﺭﺍﺩﻩ ﺍﺳﺖ‪ .‬ﺍﮔﺮ ﻗﺪﺭﺕ ﺩﺍﺷﺖ ﺧﻮﺩﺵ ﺭﺍ ﺍﺯ ﮔﺮﺩﺵ ﺑﺎﺯﻣﻲﺩﺍﺷﺖ‪:‬‬

‫ﺩﺭ ﮔﺮﺩﺵ ﺧﻮﺩ ﺍﮔﺮ ﻣﺮﺍ ﺩﺳﺖ ﺑﺪﻱ‪،‬‬

‫ﺧﻮﺩ ﺭﺍ ﺑﺮﻫﺎﻧﺪﻣﻲ ﺯ ﺳﺮﮔﺮﺩﺍﻧﻲ‪(٣٣) .‬‬

‫ﺑﺮ ﻃﺒﻖ ﻋﻘﺎﻳﺪ ﻧﺠﻮﻣﻲ ﺁﻥ ﺯﻣﺎﻥ ﺧﻴﺎﻡ ﭼﺮﺥ ﺭﺍ ﻣﺤﻜﻮﻡ ﻣﻲﻛﻨﺪ ﻭ ﺍﺣﺴﺎﺱ ﺳﺨﺖ‬
‫ﻗﻮﺍﻧﻴﻦ ﺗﻐﻴﻴﺮ ﻧﺎﭘﺬﻳﺮ ﺍﺟﺮﺍﻡ ﻓﻠﻜﻲ ﺭﺍ ﻛﻪ ﺩﺭ ﺣﺮﻛﺖ ﻫﺴﺘﻨﺪ ﻣﺠﺴﻢ ﻣﻲﻧﻤﺎﻳﺪ‪ .‬ﻭ ﺍﻳﻦ ﺩﺭ‬

‫ﻧﺸﺮ ﺗﺪﺑﻴﺮ‬
‫‪22‬‬ ‫ﺗﺮاﻧﻪ هﺎی ﺧﻴﺎم‬

‫ﻧﺘﻴﺠﺔ ﻣﻄﺎﻟﻌﺔ ﺩﻗﻴﻖ ﺳﺘﺎﺭﻩﻫﺎ ﻭ ﻗﻮﺍﻧﻴﻦ ﻣﻨﻈﻢ ﺁﻥﻫﺎﺳﺖ ﻛﻪ ﺯﻧﺪﮔﻲ ﻣﺎ ﺭﺍ ﺩﺭ ﺗﺤﺖ ﺗﺄﺛﻴﺮ‬
‫ﻗﻮﺍﻧﻴﻦ ﺧﺸﻦ ﮔﺮﺩﺵ ﺍﻓﻼﻙ ﺩﺍﻧﺴﺘﻪ‪ ،‬ﻭﻟﻲ ﺑﻪ ﻗﻀﺎ ﻭ ﻗﺪﺭ ﻣﺬﻫﺒﻲ ﺍﻋﺘﻘﺎﺩ ﻧﺪﺍﺷﺘﻪ ﺯﻳﺮ ﻛﻪ‬
‫ﺑﺮ ﻋﻠﻴﻪ ﺳﺮﻧﻮﺷﺖ ﺷﻮﺭﺵ ﻣﻲﻛﻨﺪ ﻭ ﺍﺯﻳﻦ ﻟﺤﺎﻅ ﺑﺪﺑﻴﻨﻲ ﺩﺭ ﺍﻭ ﺗﻮﻟﻴﺪ ﻣﻲﺷﻮﺩ‪ .‬ﺷﻜﺎﻳﺖ‬
‫ﺍﻭ ﺍﻏﻠﺐ ﺍﺯ ﮔﺮﺩﺵ ﭼﺮﺥ ﻭ ﺍﻓﻼﻙ ﺍﺳﺖ ﻧﻪ ﺍﺯ ﺧﺪﺍ‪ .‬ﻭ ﺑﺎﻻﺧﺮﻩ ﺧﻴﺎﻡ ﻣﻌﺘﻘﺪ ﻣﻲﺷﻮﺩ ﻛﻪ‬
‫ﻫﻤﺔ ﻛﻮﺍﻛﺐ ﻧﺤﺲ ﻫﺴﺘﻨﺪ ﻭ ﻛﻮﻛﺐ ﺳﻌﺪ ﻭﺟﻮﺩ ﻧﺪﺍﺭﺩ‪:‬‬

‫ﺍﻓﻼﻙ ﻛﻪ ﺟﺰ ﻏﻢ ﻧﻔﺰﺍﻳﻨﺪ ﺩﮔﺮ ‪(٢٨) . . .‬‬

‫ﺩﺭ ﻧﻮﺭﻭﺯﻧﺎﻣﻪ )ﺹ ‪ (٤٠‬ﺑﻄﻮﺭ ﻧﻘﻞ ﻗﻮﻝ ﻣﻲﻧﻮﻳﺴﺪ‪ . . .» :‬ﻭ ﭼﻨﻴﻦ ﮔﻔﺘﻪﺍﻧﺪ ﻛﻪ ﻫﺮ ﻧﻴﻚ ﻭ‬
‫ﺑﺪﻱ ﻛﻪ ﺍﺯ ﺗﺄﺛﻴﺮ ﻛﻮﺍﻛﺐ ﺳﻴﺎﺭﻩ ﺑﺮ ﺯﻣﻴﻦ ﺁﻳﺪ‪ ،‬ﺑﻪ ﺗﻘﺪﻳﺮ ﻭ ﺍﺭﺍﺩﺕ ﺑﺎﺭﻳﺘﻌﺎﻟﻲ‪ ،‬ﻭ ﺑﻪ‬
‫ﺷﺨﺼﻲ ﭘﻴﻮﻧﺪﺩ‪ ،‬ﺑﺪﻳﻦ ﺍﻭﺗﺎﺭ ﻭ ﻗﺴﻲ ﮔﺬﺭﺩ‪ «.‬ﻧﻈﺎﻣﻲ ﻋﺮﻭﺿﻲ ﺩﺭ ﺿﻤﻦ ﺣﻜﺎﻳﺘﻲ ﻛﻪ ﺍﺯ‬
‫ﺧﻴﺎﻡ ﻣﻲﺁﻭﺭﺩ ﻣﻲ؛ﻭﻳﺪ ﻛﻪ ﻣﻠﻜﺸﺎﻩ ﺍﺯ ﺧﻴﺎﻡ ﺩﺭﺧﻮﺍﺳﺖ ﻣﻲﻛﻨﺪ ﻛﻪ ﭘﻴﺸﮕﻮﺋﻲ ﺑﻜﻨﺪ‬
‫‪Meterologie‬‬ ‫ﻫﻮﺍ ﺑﺮﺍﻱ ﺷﻜﺎﺭ ﻣﻨﺎﺳﺐ ﺍﺳﺖ ﻳﺎ ﻧﻪ ﻭ ﺧﻴﺎﻡ ﺍﺯ ﺭﻭﻱ ﻋﻠﻢ ﻧﻴﻮﺭ ﻧﻴﻮﺍﺭ‬
‫ﭘﻴﺸﮕﻮﻳﻲ ﺻﺤﻴﺢ ﻣﻲﻛﻨﺪ ﺑﻌﺪ ﻣﻲﺍﻓﺰﺍﻳﺪ‪» :‬ﺍﮔﺮ ﭼﻪ ﺣﻜﻢ ﺣﺠﻪﺍﻟﺤﻖ ﻋﻤﺮ ﺑﺪﻳﺪﻡ‪ ،‬ﺍﻣﺎ‬
‫ﻧﺪﻳﺪﻡ ﺍﻭ ﺭﺍ ﺩﺭ ﺍﺣﻜﺎﻡ ﻧﺠﻮﻡ ﻫﻴﭻ ﺍﻋﺘﻘﺎﺩﻱ‪«.‬‬

‫ﺩﺭ ﺭﺑﺎﻋﻲ ﺩﻳﮕﺮ ﻋﻠﺖ ﭘﻴﺪﺍﻳﺶ ﺭﺍ ﺩﺭ ﺗﺤﺖ ﺗﺄﺛﻴﺮ ﭼﻬﺎﺭ ﻋﻨﺼﺮ ﻭ ﻫﻔﺖ ﺳﻴﺎﺭﻩ ﺩﺍﻧﺴﺘﻪ‪:‬‬

‫ﺍﻱ ﺁﻧﻜﻪ ﻧﺘﻴﺠﺔ ﭼﻬﺎﺭ ﻭ ﻫﻔﺘﻲ‪،‬‬

‫ﻭﺯ ﻫﻔﺖ ﻭ ﭼﻬﺎﺭ ﺩﺍﻳﻢ ﺍﻧﺪﺭ ﺗﻔﺘﻲ‪(٢٩) .‬‬

‫ﭼﻨﺎﻧﻜﻪ ﺳﺎﺑﻖ ﮔﺬﺷﺖ ﺑﺪﺑﻴﻨﻲ ﺧﻴﺎﻡ ﺍﺯ ﺳﻦ ﺟﻮﺍﻧﻴﺶ ﻭﺟﻮﺩ ﺩﺍﺷﺖ )ﻧﻤﺮﺓ ‪ (٦‬ﻭ ﺍﻳﻦ‬
‫ﺑﺪﺑﻴﻨﻲ ﻫﻴﭻﻭﻗﺖ ﮔﺮﻳﺒﺎﻥ ﺍﻭ ﺭﺍ ﻭﻝ ﻧﻜﺮﺩﻩ‪ .‬ﻳﻜﻲ ﺍﺯ ﺍﺧﺘﺼﺎﺻﺎﺕ ﻓﻜﺮ ﺧﻴﺎﻡ ﺍﺳﺖ ﻛﻪ‬

‫ﻧﺸﺮ ﺗﺪﺑﻴﺮ‬
‫‪23‬‬ ‫ﺗﺮاﻧﻪ هﺎی ﺧﻴﺎم‬

‫ﭘﻴﻮﺳﺘﻪ ﺑﺎ ﻏﻢ ﻭ ﺍﻧﺪﻭﻩ ﻭ ﻧﻴﺴﺘﻲ ﻭ ﻣﺮﮒ ﺁﻏﺸﺘﻪ ﺍﺳﺖ ﻭ ﺩﺭ ﻫﻤﺎﻥ ﺣﺎﻝ ﻛﻪ ﺩﻋﻮﺕ ﺑﻪ‬
‫ﺧﻮﺷﻲ ﻭ ﺷﺎﺩﻱ ﻣﻲﻧﻤﺎﻳﺪ ﻟﻔﻆ ﺧﻮﺷﻲ ﺩﺭ ﮔﻠﻮ ﮔﻴﺮ ﻣﻲﻛﻨﺪ‪ .‬ﺯﻳﺮﺍ ﺩﺭ ﻫﻤﻴﻦ ﺩﻡ ﺑﺎ‬
‫ﻫﺰﺍﺭﺍﻥ ﻧﻜﺘﻪ ﻭ ﺍﺷﺎﺭﻩ ﻫﻴﻜﻞ ﻣﺮﮒ‪ ،‬ﻛﻔﻦ‪ ،‬ﻗﺒﺮﺳﺘﺎﻥ ﻭﻧﻴﺴﺘﻲ ﺧﻴﻠﻲ ﻗﻮﻱﺗﺮ ﺍﺯ ﻣﺠﻠﺲ‬
‫ﻛﻴﻒ ﻭ ﻋﻴﺶ ﺟﻠﻮ ﺍﻧﺴﺎﻥ ﻣﺠﺴﻢ ﻣﻲﺷﻮﺩ ﻭ ﺁﻥ ﺧﻮﺷﻲ ﻳﻜﺪﻡ ﺭﺍ ﺍﺯ ﺑﻴﻦ ﻣﻲﺑﺮﺩ‪.‬‬

‫ﻃﺒﻴﻌﺖ ﺑﻲﺍﻋﺘﻨﺎ ﻭ ﺳﺨﺖ ﻛﺎﺭ ﺧﻮﺩ ﺭﺍ ﺍﻧﺠﺎﻡ ﻣﻲﺩﻫﺪ‪ .‬ﻳﻚ ﺩﺍﻳﻪ ﺧﻮﻧﺨﻮﺍﺭ ﻭ ﺩﻳﻮﺍﻧﻪ‬
‫ﺍﺳﺖ ﻛﻪ ﺍﻃﻔﺎﻝ ﺧﻮﺩ ﺭﺍ ﻣﻲﭘﺮﻭﺭﺍﻧﺪ ﻭ ﺑﻌﺪ ﺑﺎ ﺧﻮﻧﺴﺮﺩﻱ ﺧﻮﺷﻪﻫﺎﻱ ﺭﺳﻴﺪﻩ ﻭ ﻧﺎﺭﺱ ﺭﺍ‬
‫ﺩﺭﻭ ﻣﻲﻛﻨﺪ‪ .‬ﻛﺎﺵ ﻫﺮﮔﺰ ﺑﺪﻧﻴﺎ ﻧﻤﻲﺁﻣﺪﻳﻢ‪ ،‬ﺣﺎﻻ ﻛﻪ ﺁﻣﺪﻳﻢ‪ ،‬ﻫﺮ ﭼﻪ ﺯﻭﺩﺗﺮ ﺑﺮﻭﻳﻢ‬
‫ﺧﻮﺷﺒﺨﺖﺗﺮ ﺧﻮﺍﻫﻴﻢ ﺑﻮﺩ‪:‬‬

‫ﻧﺎﺁﻣﺪﮔﺎﻥ ﺍﮔﺮ ﺑﺪﺍﻧﻨﺪ ﻛﻪ ﻣﺎ‪،‬‬

‫ﺍﺯ ﺩﻫﺮ ﭼﻪ ﻣﻲﻛﺸﻴﻢ‪ ،‬ﻧﺎﻳﻨﺪ ﺩﮔﺮ‪(٢٨) .‬‬

‫ﺧﺮﻡﺩﻝ ﺁﻧﻜﻪ ﺯﻳﻦ ﺟﻬﺎﻥ ﺯﻭﺩ ﺑﺮﻓﺖ‪،‬‬

‫ﻭﺁﺳﻮﺩﻩ ﻛﺴﻲﻛﻪ ﺧﻮﺩ ﻧﺰﺍﺩ ﺍﺯ ﻣﺎﺩﺭ‪(٢٣) .‬‬

‫ﺍﻳﻦ ﺁﺭﺯﻭﻱ ﻧﻴﺴﺘﻲ ﻛﻪ ﺧﻴﺎﻡ ﺩﺭ ﺗﺮﺍﻧﻪﻫﺎﻱ ﺧﻮﺩ ﺗﻜﺮﺍﺭ ﻣﻲﻛﻨﺪ ﺁﻳﺎ ﺑﺎ ﻧﻴﺮﻭﺍﻧﻪ ﺑﻮﺩﺍ‬
‫ﺷﺒﺎﻫﺖ ﻧﺪﺍﺭﺩ؟ ﺩﺭ ﻓﻠﺴﻔﻪ ﺑﻮﺩﺍ ﺩﻧﻴﺎ ﻋﺒﺎﺭﺗﺴﺖ ﺍﺯ ﻣﺠﻤﻮﻉ ﺣﻮﺍﺩﺙ ﺑﻪ ﻫﻢ ﭘﻴﻮﺳﺘﻪ ﻛﻪ‬
‫ﺗﻐﻴﻴﺮﺍﺕ ﺩﻧﻴﺎﻱ ﻇﺎﻫﺮﻱ ﺩﺭ ﻣﻘﺎﺑﻞ ﺁﻥ ﻳﻚ ﺍﺑﺮ‪ ،‬ﻳﻚ ﺍﻧﻌﻜﺎﺱ ﻭ ﻳﺎ ﻳﻚ ﺧﻮﺍﺏ ﭘﺮ ﺍﺯ‬
‫ﺗﺼﻮﻳﺮﻫﺎﻱ ﺧﻴﺎﻟﻲ ﺍﺳﺖ‪:‬‬

‫ﺍﺣﻮﺍﻝ ﺟﻬﺎﻥ ﻭ ﺍﺻﻞ ﺍﻳﻦ ﻋﻤﺮ ﻛﻪ ﻫﺴﺖ‪،‬‬

‫ﻧﺸﺮ ﺗﺪﺑﻴﺮ‬
‫‪24‬‬ ‫ﺗﺮاﻧﻪ هﺎی ﺧﻴﺎم‬

‫ﺧﻮﺍﺑﻲ ﻭ ﺧﻴﺎﻟﻲ ﻭ ﻓﺮﻳﺒﻲ ﻭ ﺩﻣﻲ ﺍﺳﺖ‪(١٩٠) .‬‬

‫ﺍﻏﻠﺐ ﺷﻌﺮﺍﻱ ﺍﻳﺮﺍﻥ ﺑﺪﺑﻴﻦ ﺑﻮﺩﻩﺍﻧﺪ‪ ،‬ﻭﻟﻲ ﺑﺪﺑﻴﻨﻲ ﺁﻥﻫﺎ ﻭﺍﺑﺴﺘﮕﻲ ﻣﺴﺘﻘﻴﻢ ﺑﺎ ﺣﺲ ﺷﻬﻮﺕ‬
‫ﺗﻨﺪ ﻭ ﻧﺎﻛﺎﻡ ﺁﻧﺎﻥ ﺩﺍﺭﺩ‪ .‬ﺩﺭ ﺻﻮﺭﺗﻲﻛﻪ ﺩﺭ ﻧﺰﺩ ﺧﻴﺎﻡ ﺑﺪﺑﻴﻨﻲ ﻳﻚ ﺟﻨﺒﺔ ﻋﺎﻟﻲ ﻭ ﻓﻠﺴﻔﻲ‬
‫ﺩﺍﺭﺩ ﻭ ﻣﺎﻫﺮﻭﻳﺎﻥ ﺭﺍ ﺗﻨﻬﺎ ﻭﺳﻴﻠﺔ ﺗﻜﻤﻴﻞ ﻋﻴﺶ ﻭ ﺗﺰﻳﻴﻦ ﻣﺠﺎﻟﺲ ﺧﻮﺩﺵ ﻣﻲﺩﺍﻧﺪ ﻭ‬
‫ﺍﻏﻠﺐ ﺍﻫﻤﻴﺖ ﺷﺮﺍﺏ ﺑﺮ ﺯﻥ ﻏﻠﺒﻪ ﻣﻲﻛﻨﺪ‪ .‬ﻭﺟﻮﺩ ﺯﻥ ﻭ ﺳﺎﻗﻲ ﻳﻚ ﻧﻮﻉ ﺳﺮﭼﺸﻤﺔ ﻛﻴﻒ‬
‫ﻭ ﻟﺬﺕ ﺑﺪﻳﻌﻲ ﻭ ﺯﻳﺒﺎﺋﻲ ﻫﺴﺘﻨﺪ‪ .‬ﻫﻴﭻﻛﺪﺍﻡ ﺭﺍ ﺑﻌﺮﺵ ﻧﻤﻲﺭﺳﺎﻧﺪ ﻭ ﻣﻘﺎﻡ ﺟﺪﺍﮔﺎﻧﻪﺍﻱ‬
‫ﻧﺪﺍﺭﻧﺪ‪ .‬ﺍﺯ ﻫﻤﺔ ﺍﻳﻦ ﭼﻴﺰﻫﺎﻱ ﺧﻮﺏ ﻭ ﺧﻮﺵﻧﻤﺎ ﻳﻚ ﻟﺬﺕ ﺁﻧﻲ ﻣﻲﺟﺴﺘﻪ‪ .‬ﺍﺯﻳﻦ ﻟﺤﺎﻅ‬
‫ﺧﻴﺎﻡ ﻳﻚﻧﻔﺮ ﭘﺮﺳﺘﻨﺪﻩ ﻭ ﻃﺮﻓﺪﺍﺭ ﺯﻳﺒﺎﺋﻲ ﺑﻮﺩﻩ ﻭ ﺑﺎ ﺫﻭﻕ ﺑﺪﻳﻌﻴﺎﺕ ﺧﻮﺩﺵ ﭼﻴﺰﻫﺎﻱ‬
‫ﺧﻮﺵﮔﻮﺍﺭ‪ ،‬ﺧﻮﺵﺁﻫﻨﮓ ﻭ ﺧﻮﺵﻣﻨﻈﺮ ﺭﺍ ﺍﻧﺘﺨﺎﺏ ﻣﻲﻛﺮﺩﻩ‪ .‬ﻳﻚ ﻓﺼﻞ ﺍﺯ ﻛﺘﺎﺏ‬
‫»ﻧﻮﺭﻭﺯﻧﺎﻣﻪ« ﺭﺍ ﺩﺭﺑﺎﺭﺓ ﺻﻮﺭﺕ ﻧﻴﻜﻮ ﻧﻮﺷﺘﻪ ﻭ ﺍﻳﻦﻃﻮﺭ ﺗﻤﺎﻡ ﻣﻲﺷﻮﺩ‪ . . .» :‬ﻭ ﺍﻳﻦ ﻛﺘﺎﺏ‬
‫ﺭﺍ ﺍﺯ ﺑﺮﺍﻱ ﻓﺎﻝ ﺧﻮﺏ ﺑﺮ ﺭﻭﻱ ﻧﻴﻜﻮ ﺧﺘﻢ ﻛﺮﺩﻩ ﺁﻣﺪ‪ «.‬ﭘﺲ ﺧﻴﺎﻡ ﺍﺯ ﭘﻴﺶﺁﻣﺪﻫﺎﻱ‬
‫ﻧﺎﮔﻮﺍﺭ ﺯﻧﺪﮔﻲ ﺷﺨﺼﻲ ﺧﻮﺩﺵ ﻣﺜﻞ ﺷﻌﺮﺍﻱ ﺩﻳﮕﺮ ﻣﺜﻼ ﺍﺯ ﻗﻬﺮﻛﺮﺩﻥ ﻣﻌﺸﻮﻗﻪ ﻭ ﻳﺎ‬
‫ﻧﺪﺍﺷﺘﻦ ﭘﻮﻝ ﻧﻤﻲﻧﺎﻟﺪ‪ .‬ﺩﺭﺩ ﺍﻭ ﻳﻚ ﺩﺭﺩ ﻓﻠﺴﻔﻲ ﻭ ﻧﻔﺮﻳﻨﻲ ﺍﺳﺖ ﻛﻪ ﺑﺮ ﭘﺎﻳﻪ ﺍﺣﺴﺎﺱ‬
‫ﺧﻮﻳﺶ ﺑﻪ ﺍﺳﺎﺱ ﺁﻓﺮﻳﻨﺶ ﻣﻲﻓﺮﺳﺘﺪ‪ .‬ﺍﻳﻦ ﺷﻮﺭﺵ ﺩﺭ ﻧﺘﻴﺠﺔ ﻣﺸﺎﻫﺪﺍﺕ ﻭ ﻓﻠﺴﻔﺔ‬
‫ﺩﺭﺩﻧﺎﻙ ﺍﻭ ﭘﻴﺪﺍ ﺷﺪﻩ‪ .‬ﺑﺪﺑﻴﻨﻲ ﺍﻭ ﺑﺎﻻﺧﺮﻩ ﻣﻨﺠﺮ ﺑﻪ ﻓﻠﺴﻔﺔ ﺩﻫﺮﻱ ﺷﺪﻩ‪ .‬ﺍﺭﺍﺩﻩ‪ ،‬ﻓﻜﺮ‪،‬‬
‫ﺣﺮﻛﺖ ﻭ ﻫﻤﻪ ﭼﻴﺰ ﺑﻪ ﻧﻈﺮﺵ ﺑﻴﻬﻮﺩﻩ ﺁﻣﺪﻩ‪:‬‬

‫ﺍﻱ ﺑﻲﺧﺒﺮﺍﻥ‪ ،‬ﺟﺴﻢ ﻣﺠﺴﻢ ﻫﻴﭻ ﺍﺳﺖ‪،‬‬

‫ﻭﻳﻦ ﻃﺎﺭﻡ ﻧﻪ ﺳﭙﻬﺮ ﺍﺭﻗﻢ ﻫﻴﭻ ﺍﺳﺖ‪(١٠١) .‬‬

‫ﻧﺸﺮ ﺗﺪﺑﻴﺮ‬
‫‪25‬‬ ‫ﺗﺮاﻧﻪ هﺎی ﺧﻴﺎم‬

‫ﺑﻪ ﻧﻈﺮ ﻣﻲﺁﻳﺪ ﻛﻪ ﺷﻮﭘﻦﺁﻭﺭ ﺍﺯ ﻓﻠﺴﻔﺔ ﺑﺪﺑﻴﻨﻲ ﺧﻮﺩﺵ ﺑﻪ ﻫﻤﻴﻦ ﻧﺘﻴﺠﺔ ﺧﻴﺎﻡ ﻣﻲﺭﺳﺪ‪:‬‬
‫»ﺑﺮﺍﻱ ﻛﺴﻲ ﻛﻪ ﺑﻪ ﺩﺭﺟﻪﺍﻱ ﺑﺮﺳﺪ ﻛﻪ ﺍﺭﺍﺩﺓ ﺧﻮﺩ ﺭﺍ ﻧﻔﻲ ﺑﻜﻨﺪ‪ .‬ﺩﻧﻴﺎﺋﻲ ﻛﻪ ﺑﻪ ﻧﻈﺮ ﻣﺎ‬
‫ﺁﻧﻘﺪﺭ ﺣﻘﻴﻘﻲ ﻣﻲﺁﻳﺪ‪ ،‬ﺑﺎ ﺗﻤﺎﻡ ﺧﻮﺭﺷﻴﺪﻫﺎ ﻭ ﻛﻬﻜﺸﺎﻥﻫﺎﻳﺶ ﭼﻴﺴﺖ؟ ﻫﻴﭻ!«‬

‫ﺧﻴﺎﻡ ﺍﺯ ﻣﺮﺩﻡ ﺯﻣﺎﻧﻪ ﺑﺮﻱ ﻭ ﺑﻴﺰﺍﺭ ﺑﻮﺩﻩ‪ .‬ﺍﺧﻼﻕ‪ ،‬ﺍﻓﻜﺎﺭ ﻭ ﻋﺎﺩﺍﺕ ﺁﻥﻫﺎ ﺭﺍ ﺑﺎ ﺯﺧﻢ‬
‫ﺯﺑﺎﻥﻫﺎﻱ ﺗﻨﺪ ﻣﺤﻜﻮﻡ ﻣﻲﻛﻨﺪ ﻭ ﺑﻪﻫﻴﭻﻭﺟﻪ ﺗﻠﻘﻴﻨﺎﺕ ﺟﺎﻣﻌﻪ ﺭﺍ ﻧﭙﺬﻳﺮﻓﺘﻪ ﺍﺳﺖ‪ .‬ﺍﺯ ﺍﺷﻌﺎﺭ‬
‫ﻋﺮﺑﻲ ﻭ ﺑﻌﻀﻲ ﺍﺯ ﻛﺘﺎﺏﻫﺎﻱ ﺍﻭ ﺍﻳﻦ ﻛﻴﻨﻪ ﻭ ﺑﻐﺾ ﺧﻴﺎﻡ ﺑﺮﺍﻱ ﻣﺮﺩﻣﺎﻥ ﻭ ﺑﻲﺍﻋﺘﻤﺎﺩﻱ ﺑﻪ‬
‫ﺁﻧﺎﻥ ﺑﻪ ﺧﻮﺑﻲ ﺩﻳﺪﻩ ﻣﻲﺷﻮﺩ‪ .‬ﺩﺭ ﻣﻘﺪﻣﺔ ﺟﺒﺮ ﻭ ﻣﻘﺎﺑﻠﻪﺍﺵ ﻣﻲﮔﻮﻳﺪ‪:‬‬

‫»ﻣﺎ ﺷﺎﻫﺪ ﺑﻮﺩﻳﻢ ﻛﻪ ﺍﻫﻞ ﻋﻠﻢ ﺍﺯ ﺑﻴﻦ ﺭﻓﺘﻪ ﻭ ﺑﺪﺳﺘﻪﺍﻱ ﻛﻪ ﻋﺪﻩﺷﺎﻥ ﻛﻢ ﻭ ﺭﻧﺠﺸﺎﻥ ﺑﺴﻴﺎﺭ‬
‫ﺑﻮﺩ ﻣﻨﺤﺼﺮ ﮔﺮﺩﻳﺪﻧﺪ‪ .‬ﻭ ﺍﻳﻦ ﻋﺪﺓ ﺍﻧﮕﺸﺖﺷﻤﺎﺭ ﻧﻴﺰ ﺩﺭ ﻃﻲ ﺯﻧﺪﮔﻲ ﺩﺷﻮﺍﺭ ﺧﻮﺩ‬
‫ﻫﻤﺖﺷﺎﻥ ﺭﺍ ﺻﺮﻑ ﺗﺤﻘﻴﻘﺎﺕ ﻭ ﺍﻛﺘﺸﺎﻓﺎﺕ ﻋﻠﻤﻲ ﻧﻤﻮﺩﻧﺪ‪ .‬ﻭﻟﻲ ﺍﻏﻠﺐ ﺩﺍﻧﺸﻤﻨﺪﺍﻥ ﻣﺎ‬
‫ﺣﻖ ﺭﺍ ﺑﻪ ﺑﺎﻃﻞ ﻣﻲﻓﺮﻭﺷﻨﺪ ﻭ ﺍﺯ ﺣﺪ ﺗﺬﻭﻳﺮ ﻭ ﻇﺎﻫﺮ ﺳﺎﺯﻱ ﺗﺠﺎﻭﺯ ﻧﻤﻲﻛﻨﻨﺪ؛ ﻭ ﺁﻥ‬
‫ﻣﻘﺪﺍﺭ ﻣﻌﺮﻓﺘﻲ ﻛﻪ ﺩﺍﺭﻧﺪ ﺑﺮﺍﻱ ﺍﻏﺮﺍﺽ ﭘﺴﺖ ﻣﺎﺩﻱ ﺑﻜﺎﺭ ﻣﻲﺑﺮﻧﺪ‪ ،‬ﻭ ﺍﮔﺮ ﺷﺨﺼﻲ ﺭﺍ‬
‫ﻃﺎﻟﺐ ﺣﻖ ﻭ ﺍﻳﺜﺎﺭ ﻛﻨﻨﺪﻩ ﺻﺪﻕ ﻭ ﺳﺎﻋﻲ ﺩﺭ ﺭﺩ ﺑﺎﻃﻞ ﻭ ﺗﺮﻙ ﻭ ﺗﺰﻭﻳﺮ ﺑﻴﻨﻨﺪ ﺍﺳﺘﻬﺰﺇ ﻭ‬
‫ﺍﺳﺘﺨﻔﺎﻑ ﻣﻲﻛﻨﻨﺪ‪ «.‬ﮔﻮﻳﺎ ﺩﺭ ﻫﺮ ﺯﻣﺎﻥ ﺍﺷﺨﺎﺹ ﺩﻭ ﺭﻭ ﻭ ﻣﺘﻘﻠﺐ ﻭ ﻛﺎﺳﻪ ﻟﻴﺲ‬
‫ﭼﺎﭘﻠﻮﺱ ﻛﺎﺷﺎﻥ ﺟﻠﻮ ﺍﺳﺖ!‬

‫ﺩﻳﻮﮊﻥ ﻣﻌﺮﻭﻑ ﺭﻭﺯﻱ ﺩﺭ ﺷﻬﺮ ﺁﺗﻦ ﺑﺎ ﻓﺎﻧﻮﺱ ﺭﻭﺷﻦ ﺟﺴﺘﺠﻮﻱ ﻳﻚﻧﻔﺮ ﺍﻧﺴﺎﻥ ﺭﺍ‬
‫ﻣﻲﻧﻤﻮﺩ ﻭ ﻋﺎﻗﺒﺖ ﭘﻴﺪﺍ ﻧﻜﺮﺩ‪ .‬ﻭﻟﻲ ﺧﻴﺎﻡ ﻭﻗﺖ ﺧﻮﺩ ﺭﺍ ﺑﻪ ﺗﻜﺎﭘﻮﻱ ﺑﻴﻬﻮﺩﻩ ﺗﻠﻒ ﻧﻜﺮﺩﻩ ﻭ‬
‫ﺑﺎ ﺍﻃﻤﻴﻨﺎﻥ ﻣﻲﮔﻮﻳﺪ‪:‬‬

‫ﮔﺎﻭﻳﺴﺖ ﺑﺮ ﺁﺳﻤﺎﻥ‪ ،‬ﻗﺮﻳﻦ ﭘﺮﻭﻳﻦ‪،‬‬

‫ﻧﺸﺮ ﺗﺪﺑﻴﺮ‬
‫‪26‬‬ ‫ﺗﺮاﻧﻪ هﺎی ﺧﻴﺎم‬

‫ﮔﺎﻭﻳﺴﺖ ﺩﮔﺮ ﺑﺮ ﺯﻳﺮﺵ ﺟﻤﻠﻪ ﺯﻣﻴﻦ؛‬

‫ﮔﺮ ﺑﻴﻨﺎﺋﻲ ﭼﺸﻢ ﺣﻘﻴﻘﺖ ﺑﮕﺸﺎ‪:‬‬

‫ﺯﻳﺮ ﻭ ﺯﺑﺮ ﺩﻭ ﮔﺎﻭ ﻣﺸﺘﻲ ﺧﺮ ﺑﻴﻦ‪.‬‬

‫ﻭﺍﺿﺢ ﺍﺳﺖ ﺩﺭ ﺍﻳﻦﺻﻮﺭﺕ ﺧﻴﺎﻡ ﺍﺯ ﺑﺲ ﻛﻪ ﺩﺭ ﺯﻳﺮ ﻓﺸﺎﺭ ﺍﻓﻜﺎﺭ ﭘﺴﺖ ﻣﺮﺩﻡ ﺑﻮﺩﻩ‬
‫ﺑﻪﻫﻴﭻﻭﺟﻪ ﻃﺮﻓﺪﺍﺭ ﻣﺤﺒﺖ‪ ،‬ﻋﺸﻖ‪ ،‬ﺍﺧﻼﻕ‪ ،‬ﺍﻧﺴﺎﻧﻴﺖ ﻭ ﺗﺼﻮﻑ ﻧﺒﻮﺩﻩ‪ ،‬ﻛﻪ ﺍﻏﻠﺐ‬
‫ﻧﻮﻳﺴﻨﺪﮔﺎﻥ ﻭ ﺷﻌﺮﺍ ﻭﻇﻴﻔﺔ ﺧﻮﺩﺷﺎﻥ ﺩﺍﻧﺴﺘﻪﺍﻧﺪ ﻛﻪ ﺍﻳﻦ ﺍﻓﻜﺎﺭ ﺭﺍ ﺍﮔﺮ ﭼﻪ ﺧﻮﺩﺷﺎﻥ‬
‫ﻣﻌﺘﻘﺪ ﻧﺒﻮﺩﻩﺍﻧﺪ ﺑﺮﺍﻱ ﻋﻮﺍﻡ ﻓﺮﻳﺒﻲ ﺗﺒﻠﻴﻎ ﺑﻜﻨﻨﺪ‪ .‬ﭼﻴﺰﻱﻛﻪ ﻏﺮﻳﺐ ﺍﺳﺖ‪ ،‬ﻓﻘﻂ ﻳﻚ ﻣﻴﻞ ﻭ‬
‫ﺭﻏﺒﺖ ﻳﺎ ﺳﻤﭙﺎﺗﻲ ﻭ ﺗﺄﺳﻒ ﮔﺬﺷﺘﻪ ﺍﻳﺮﺍﻥ ﺩﺭ ﺧﻴﺎﻡ ﺑﺎﻗﻲ ﺍﺳﺖ‪ .‬ﺍﮔﺮ ﭼﻪ ﺑﻮﺍﺳﻄﻪ ﺍﺧﺘﻼﻑ‬
‫ﺯﻳﺎﺩ ﺗﺎﺭﻳﺦ‪ ،‬ﻣﺎ ﻧﻤﻲﺗﻮﺍﻧﻴﻢ ﺑﻪ ﺣﻜﺎﻳﺖ ﻣﺸﻬﻮﺭ ﺳﻪ ﺭﻓﻴﻖ ﺩﺑﺴﺘﺎﻧﻲ ﺑﺎﻭﺭ ﺑﻜﻨﻴﻢ ﻛﻪ‬
‫ﻧﻈﺎﻡﺍﻟﻤﻠﻚ ﺑﺎ ﺧﻴﺎﻡ ﻭ ﺣﺴﻦ ﺻﺒﺎﺡ ﻫﻢﺩﺭﺱ ﺑﻮﺩﻩﺍﻧﺪ‪ .‬ﻭﻟﻲ ﻫﻴﭻ ﺍﺳﺘﺒﻌﺎﺩﻱ ﻧﺪﺍﺭﺩ ﻛﻪ‬
‫ﺧﻴﺎﻡ ﻭ ﺣﺴﻦ ﺻﺒﺎﺡ ﺑﺎ ﻫﻢ ﺭﺍﺑﻄﻪ ﺩﺍﺷﺘﻪﺍﻧﺪ‪ .‬ﺯﻳﺮﺍ ﻛﻪ ﺑﭽﺔ ﻳﻚ ﻋﻬﺪ ﺑﻮﺩﻩﺍﻧﺪ ﻭ ﻫﺮ ﺩﻭ‬
‫ﺗﻘﺮﻳﺒﹰﺎ ﺩﺭ ﻳﻚ ﺳﻨﻪ ‪ ٥١٨- ٥١٧‬ﻣﺮﺩﻩﺍﻧﺪ‪ .‬ﺍﻧﻘﻼﺏ ﻓﻜﺮﻱ ﻛﻪ ﻫﺮ ﺩﻭ ﺩﺭ ﻗﻠﺐ ﻣﻤﻠﻜﺖ‬
‫ﻣﻘﺘﺪﺭ ﺍﺳﻼﻣﻲ ﺗﻮﻟﻴﺪ ﻛﺮﺩﻧﺪ ﺍﻳﻦ ﺣﺪﺱ ﺭﺍ ﺗﺄﻳﻴﺪ ﻣﻲﻛﻨﺪ ﻭ ﺷﺎﻳﺪ ﺑﻪ ﻫﻤﻴﻦ ﻣﻨﺎﺳﺒﺖ‬
‫ﺁﻥﻫﺎ ﺭﺍ ﺑﺎ ﻫﻢ ﻫﻤﺪﺳﺖ ﺩﺍﻧﺴﺘﻪﺍﻧﺪ‪ .‬ﺣﺴﻦ ﺑﻮﺳﻴﻠﺔ ﺍﺧﺘﺮﺍﻉ ﻣﺬﻫﺐ ﺟﺪﻳﺪ ﻭ ﻟﺮﺯﺍﻧﻴﺪﻥ‬
‫ﺍﺳﺎﺱ ﺟﺎﻣﻌﺔ ﺁﻥ ﺯﻣﺎﻥ ﺗﻮﻟﻴﺪ ﻳﻚ ﺷﻮﺭﺵ ﻣﻠﻲ ﺍﻳﺮﺍﻧﻲ ﻛﺮﺩ‪ .‬ﺧﻴﺎﻡ ﺑﻮﺍﺳﻄﺔ ﺁﻭﺭﺩﻥ‬
‫ﻣﺬﻫﺐ ﺣﺴﻲ‪ ،‬ﻓﻠﺴﻔﻲ‪ ،‬ﻭ ﻋﻘﻠﻲ ﻭ ﻣﺎﺩﻱ ﻫﻤﺎﻥ ﻣﻨﻈﻮﺭ ﺍﻭ ﺭﺍ ﺩﺭ ﺗﺮﺍﻧﻪﻫﺎﻱ ﺧﻮﺩﺵ ﺍﻧﺠﺎﻡ‬
‫ﺩﺍﺩ‪ .‬ﺗﺄﺛﻴﺮ ﺣﺴﻦ ﭼﻮﻥ ﺑﻴﺸﺘﺮ ﺭﻭﻱ ﺳﻴﺎﺳﺖ ﻭ ﺷﻤﺸﻴﺮ ﺑﻮﺩ ﺑﻌﺪ ﺍﺯ ﻣﺪﺗﻲ ﺍﺯ ﺑﻴﻦ ﺭﻓﺖ‪.‬‬
‫ﻭﻟﻲ ﻓﻠﺴﻔﺔ ﻣﺎﺩﻱ ﺧﻴﺎﻡ ﻛﻪ ﭘﺎﻳﻪﺍﺵ ﺭﻭﻱ ﻋﻘﻞ ﻭ ﻣﻨﻄﻖ ﺑﻮﺩ ﭘﺎﻳﺪﺍﺭ ﻣﺎﻧﺪ‪.‬‬

‫ﻧﺸﺮ ﺗﺪﺑﻴﺮ‬
‫‪27‬‬ ‫ﺗﺮاﻧﻪ هﺎی ﺧﻴﺎم‬

‫ﻧﺰﺩ ﻫﻴﭻ ﻳﻚ ﺍﺯ ﺷﻌﺮﺍ ﻭ ﻧﻮﻳﺴﻨﺪﮔﺎﻥ ﺍﺳﻼﻡ ﻟﺤﻦ ﺻﺮﻳﺢ ﻧﻔﻲ ﺧﺪﺍ ﻭ ﺑﺮ ﻫﻢ ﺯﺩﻥ ﺍﺳﺎﺱ‬
‫ﺍﻓﺴﺎﻧﻪﻫﺎﻱ ﻣﺬﻫﺒﻲ ﺳﺎﻣﻲ ﻣﺎﻧﻨﺪ ﺧﻴﺎﻡ ﺩﻳﺪﻩ ﻧﻤﻲﺷﻮﺩ ﺷﺎﻳﺪ ﺑﺘﻮﺍﻧﻴﻢ ﺧﻴﺎﻡ ﺭﺍ ﺍﺯ ﺟﻤﻠﺔ‬
‫ﺍﻳﺮﺍﻧﻴﺎﻥ ﺿﺪ ﻋﺮﺏ ﻣﺎﻧﻨﺪ‪ :‬ﺍﺑﻦ ﻣﻘﻔﻊ‪ ،‬ﺑﻪﺁﻓﺮﻳﺪ‪ ،‬ﺍﺑﻮﻣﺴﻠﻢ‪ ،‬ﺑﺎﺑﻚ ﻭ ﻏﻴﺮﻩ ﺑﺪﺍﻧﻴﻢ‪ .‬ﺧﻴﺎﻡ ﺑﺎ‬
‫ﻟﺤﻦ ﺗﺄﺳﻒ ﺍﻧﮕﻴﺰﻱ ﺍﺷﺎﺭﻩ ﺑﻪ ﭘﺎﺩﺷﺎﻫﺎﻥ ﭘﻴﺸﻴﻦ ﺍﻳﺮﺍﻥ ﻣﻲﻛﻨﺪ‪ .‬ﻣﻤﻜﻦ ﺍﺳﺖ ﺍﺯ ﺧﻮﺍﻧﺪﻥ‬
‫ﺷﺎﻫﻨﺎﻣﺔ ﻓﺮﺩﻭﺳﻲ ﺍﻳﻦ ﺗﺄﺛﺮ ﺩﺭ ﺍﻭ ﭘﻴﺪﺍ ﺷﺪﻩ ﻭ ﺩﺭ ﺗﺮﺍﻧﻪﻫﺎﻱ ﺧﻮﺩﺵ ﭘﻴﻮﺳﺘﻪ ﻓﺮ ﻭ ﺷﻜﻮﻩ‬
‫ﻭ ﺑﺰﺭﮔﻲ ﭘﺎﻳﻤﺎﻝ ﺷﺪﺓ ﺁﻧﺎﻥ ﺭﺍ ﮔﻮﺷﺰﺩ ﻣﻲﻧﻤﺎﻳﺪ ﻛﻪ ﺑﺎ ﺧﺎﻙ ﻳﻜﺴﺎﻥ ﺷﺪﻩﺍﻧﺪ ﻭ ﺩﺭ‬
‫ﻛﺎﺥﻫﺎﻱ ﻭﻳﺮﺍﻥ ﺁﻥﻫﺎ ﺭﻭﺑﺎﻩ ﻻﻧﻪ ﻛﺮﺩﻩ ﻭ ﺟﻐﺪ ﺁﺷﻴﺎﻧﻪ ﻧﻤﻮﺩﻩ‪ .‬ﻗﻬﻘﻬﻪﻫﺎﻱ ﻋﺼﺒﺎﻧﻲ ﺍﻭ‪،‬‬
‫ﻛﻨﺎﻳﺎﺕ ﻭ ﺍﺷﺎﺭﺍﺗﻲ ﻛﻪ ﺑﻪ ﺍﻳﺮﺍﻥ ﮔﺬﺷﺘﻪ ﻣﻲ “ﻣﺎﻳﺪ ﭘﻴﺪﺍﺳﺘﺖ ﻛﻪ ﺍﺯ ﺗﻪ ﻗﻠﺐ ﺍﺯ ﺭﺍﻫﺰﻧﺎﻥ‬
‫ﻋﺮﺏ ﻭ ﺍﻓﻜﺎﺭ ﭘﺴﺖ ﺁﻥﻫﺎ ﻣﺘﻨﻔﺮ ﺍﺳﺖ‪ ،‬ﻭ ﺳﻤﭙﺎﺗﻲ ﺍﻭ ﺑﻪ ﻃﺮﻑ ﺍﻳﺮﺍﻧﻲ ﻣﻲﺭﻭﺩ ﻛﻪ ﺩﺭ‬
‫ﺩﻫﻦ ﺍﻳﻦ ﺍﮊﺩﻫﺎﻱ ﻫﻔﺘﺎﺩ ﺳﺮ ﻓﺮﻭ ﺷﺪﻩ ﺑﻮﺩﻩ ﻭ ﺑﺎ ﺗﺸﻨﺞ ﺩﺳﺖ ﻭ ﭘﺎ ﻣﻲﺯﺩﻩ‪.‬‬

‫ﻧﺒﺎﻳﺪ ﺗﻨﺪ ﺑﺮﻭﻳﻢ‪ ،‬ﺁﻳﺎ ﻣﻘﺼﻮﺩ ﺧﻴﺎﻡ ﺍﺯ ﻳﺎﺩﺁﻭﺭﻱ ﺷﻜﻮﻩ ﮔﺬﺷﺘﻪ ﺳﺎﺳﺎﻧﻲ ﻣﻘﺎﻳﺴﺔ ﺑﻲﺛﺒﺎﺗﻲ‬
‫ﻭ ﻛﻮﭼﻜﻲ ﺗﻤﺪﻥ ﻫﺎ ﻭ ﺯﻧﺪﮔﻲ ﺍﻧﺴﺎﻥ ﻧﺒﻮﺩﻩ ﺍﺳﺖ ﻭ ﻓﻘﻂ ﻳﻚ ﺗﺼﻮﻳﺮ ﻣﺠﺎﺯﻱ ﻭ‬
‫ﻛﻨﺎﻳﻪﺍﻱ ﺑﻴﺶ ﻧﻴﺴﺖ؟ ﻭﻟﻲ ﺑﺎ ﺣﺮﺍﺭﺗﻲ ﻛﻪ ﺑﻴﺎﻥ ﻣﻲﻛﻨﺪ ﺟﺎﻱ ﺷﻚ ﻭ ﺷﺒﻬﻪ ﺑﺎﻗﻲ‬
‫ﻧﻤﻲﮔﺬﺍﺭﺩ‪ .‬ﻣﺜﻼ ﺻﺪﺍﻱ ﻓﺎﺧﺘﻪ ﻛﻪ ﺷﺐ ﻣﻬﺘﺎﺏ ﺭﻭﻱ ﻭﻳﺮﺍﻧﺔ ﺗﻴﺴﻔﻮﻥ ﻛﻮﻛﻮ ﻣﻲﮔﻮﻳﺪ‬
‫ﻣﻮ ﺭﺍ ﺑﻪ ﺗﻦ ﺧﻮﺍﻧﻨﺪﻩ ﺭﺍﺳﺖ ﻣﻲﻛﻨﺪ‪:‬‬

‫ﺁﻥ ﻗﺼﺮ ﻛﻪ ﺑﺮ ﭼﺮﺥ ﻫﻤﻲ ﺯﺩ ﭘﻬﻠﻮ‪،‬‬

‫ﺑﺮ ﺩﺭﮔﻪ ﺍﻭ ﺷﻬﺎﻥ ﻧﻬﺎﺩﻧﺪﻱ ﺭﻭ‪،‬‬

‫ﺩﻳﺪﻳﻢ ﻛﻪ ﺑﺮ ﻛﻨﮕﺮﻩﺍﺵ ﻓﺎﺧﺘﻪﺍﻱ‬

‫ﺑﻨﺸﺴﺘﻪ ﻫﻤﻲ ﮔﻔﺖ ﻛﻪ‪» :‬ﻛﻮﻛﻮ‪ ،‬ﻛﻮﻛﻮ؟«‬

‫ﻧﺸﺮ ﺗﺪﺑﻴﺮ‬
‫‪28‬‬ ‫ﺗﺮاﻧﻪ هﺎی ﺧﻴﺎم‬

‫ﺁﻥ ﻗﺼﺮ ﻛﻪ ﺑﻬﺮﺍﻡ ﺩﺭﻭ ﺟﺎﻡ ﮔﺮﻓﺖ‪،‬‬

‫ﺁﻫﻮ ﺑﭽﻪ ﻛﺮﺩ ﻭ ﺷﻴﺮ ﺁﺭﺍﻡ ﮔﺮﻓﺖ؛‬

‫ﺑﻬﺮﺍﻡ ﻛﻪ ﮔﻮﺭ ﻣﻲﮔﺮﻓﺘﻲ ﻫﻤﻪ ﻋﻤﺮ‪،‬‬

‫ﺩﻳﺪﻱ ﻛﻪ ﭼﮕﻮﻧﻪ ﮔﻮﺭ ﺑﻬﺮﺍﻡ ﮔﺮﻓﺖ؟‬

‫ﭼﻨﺎﻧﻜﻪ ﺳﺎﺑﻘﹰﺎ ﺫﻛﺮ ﺷﺪ ﺧﻴﺎﻡ ﺟﺰ ﺭﻭﺵ ﺩﻫﺮ ﺧﺪﺍﺋﻲ ﻧﻤﻲﺷﻨﺎﺧﺘﻪ ﻭ ﺧﺪﺍﺋﻲ ﺭﺍ ﻛﻪ‬
‫ﻣﺬﺍﻫﺐ ﺳﺎﻣﻲ ﺗﺼﻮﺭ ﻣﻲﻛﺮﺩﻩﺍﻧﺪ ﻣﻨﻜﺮ ﺑﻮﺩﻩ ﺍﺳﺖ‪ .‬ﻭﻟﻲ ﺑﻌﺪ ﻗﻴﺎﻓﺔ ﺟﺪﻱﺗﺮ ﺑﻪ ﺧﻮﺩ‬
‫ﻣﻲﮔﻴﺮﺩ ﻭ ﺭﺍﻩ ﺣﻞ ﻋﻠﻤﻲ ﻭ ﻣﻨﻄﻘﻲ ﺑﺮﺍﻱ ﻣﺴﺎﺋﻞ ﻣﺎﻭﺭﺇ ﻃﺒﻴﻌﻲ ﺟﺴﺘﺠﻮ ﻣﻲﻛﻨﺪ‪ .‬ﭼﻮﻥ‬
‫ﺭﺍﻩ ﻋﻘﻠﻲ ﭘﻴﺪﺍ ﻧﻤﻲﻛﻨﺪ ﺑﻪ ﺗﻌﺒﻴﺮ ﺷﺎﻋﺮﺍﻧﺔ ﺍﻳﻦ ﺍﻟﻔﺎﻅ ﻗﻨﺎﻋﺖ ﻣﻲﻧﻤﺎﻳﺪ‪ .‬ﺻﺎﻧﻊ ﺭﺍ ﺗﺸﺒﻴﻪ ﺑﻪ‬
‫ﻛﻮﺯﻩﮔﺮ ﻣﻲﻛﻨﺪ ﻭ ﺍﻧﺴﺎﻥ ﺭﺍ ﺑﻪ ﻛﻮﺯﻩ ﻭ ﻣﻲﮔﻮﻳﺪ‪:‬‬

‫ﺍﻳﻦ ﻛﻮﺯﻩﮔﺮ ﺩﻫﺮ ﭼﻨﻴﻦ ﺟﺎﻡ ﻟﻄﻴﻒ‪،‬‬

‫ﻣﻲﺳﺎﺯﺩ ﻭ ﺑﺎﺯ ﺑﺮ ﺯﻣﻴﻦ ﻣﻲﺯﻧﺪﺵ! )‪(٤٣‬‬

‫ﺑﻪ ﺣﻘﻴﻘﺖ ﻣﻄﻠﺐ ﻛﺎﺭﻱ ﻧﺪﺍﺭﻳﻢ ﻭﻟﻲ ﻣﺠﻠﺲ ﺍﻳﻦ ﻛﻮﺯﻩﮔﺮ ﺩﻳﻮﺍﻧﻪ ﺭﺍ ﺑﺎ ﻗﻴﺎﻓﺔ ﺍﺣﻤﻖ ﻭ‬
‫ﺧﻮﻥﺧﻮﺍﺭﺵ ﻛﻪ ﻫﻤﺔ ﻫﻢ ﺧﻮﺩ ﺭﺍ ﺻﺮﻑ ﺻﻨﺎﻳﻊ ﻇﺮﻳﻒ ﻣﻲﻛﻨﺪ ﻭﻟﻲ ﺍﺯ ﺭﻭﻱ ﺟﻨﻮﻥ‬
‫ﺁﻥ ﻛﻮﺯﻩﻫﺎ ﺭﺍ ﻣﻲﺷﻜﻨﺪ‪ ،‬ﻓﻘﻂ ﻗﻠﻢ ﺁﻗﺎﻱ ﺩﺭﻭﻳﺶ ﻧﻘﺎﺵ ﺗﻮﺍﻧﺴﺘﻪ ﺭﻭﻱ ﭘﺮﺩﻩ ﺧﻮﺩﺵ‬
‫ﻣﺠﺴﻢ ﺑﻜﻨﺪ‪.‬‬

‫ﺑﻬﺸﺖ ﻭ ﺩﻭﺯﺥ ﺭﺍ ﺩﺭ ﻧﻬﺎﺩ ﺍﺷﺨﺎﺹ ﺩﺍﻧﺴﺘﻪ‪:‬‬

‫ﺩﻭﺯﺥ ﺷﺮﺭﻱ ﺯ ﺭﻧﺞ ﺑﻴﻬﻮﺩﺓ ﻣﺎﺳﺖ‪،‬‬

‫ﻧﺸﺮ ﺗﺪﺑﻴﺮ‬
‫‪29‬‬ ‫ﺗﺮاﻧﻪ هﺎی ﺧﻴﺎم‬

‫ﻓﺮﺩﻭﺱ ﺩﻣﻲ ﺯ ﻭﻗﺖ ﺁﺳﻮﺩﺓ ﻣﺎﺳﺖ‪(١٤٢) .‬‬

‫ﮔﻞﻫﺎﻱ ﺧﻨﺪﺍﻥ‪ ،‬ﺑﻠﺒﻼﻥ ﻧﺎﻻﻥ‪ ،‬ﻛﺸﺘﺰﺍﺭﻫﺎﻱ ﺧﺮﻡ‪ ،‬ﻧﺴﻴﻢ ﺑﺎﻣﺪﺍﺩ‪ ،‬ﻣﻬﺘﺎﺏ ﺭﻭﻱ ﻣﻬﺘﺎﺑﻲ‪،‬‬
‫ﻣﻬﺮﻭﻳﺎﻥ ﭘﺮﻳﻮﺵ‪ ،‬ﺁﻫﻨﮓ ﭼﻨﮓ‪ ،‬ﺷﺮﺍﺏ ﮔﻠﮕﻮﻥ‪ ،‬ﺍﻳﻦﻫﺎ ﺑﻬﺸﺖ ﻣﺎﺳﺖ‪ .‬ﭼﻴﺰﻱ ﺑﻬﺘﺮ ﺍﺯ‬
‫ﺍﻳﻦﻫﺎ ﺭﻭﻱ ﺯﻣﻴﻦ ﭘﻴﺪﺍ ﻧﻤﻲﺷﻮﺩ‪ ،‬ﺑﺎ ﺍﻳﻦ ﺣﻘﺎﻳﻘﻲ ﻛﻪ ﺩﺭﻳﻦ ﺩﻧﻴﺎﻱ ﺑﻲﺛﺒﺎﺕ ﭘﺮ ﺍﺯ ﺩﺭﺩ ﻭ‬
‫ﺯﺟﺮ ﺑﺮﺍﻳﻤﺎﻥ ﻣﺎﻧﺪﻩ ﺍﺳﺘﻔﺎﺩﻩ ﺑﻜﻨﻴﻢ‪ .‬ﻫﻤﻴﻦ ﺑﻬﺸﺖ ﻣﺎﺳﺖ‪ ،‬ﺑﻬﺸﺖ ﻣﻮﻋﻮﺩﻱ ﻛﻪ ﻣﺮﺩﻡ ﺭﺍ‬
‫ﺑﻪ ﺍﻣﻴﺪﺵ ﮔﻮﻝ ﻣﻲﺯﻧﻨﺪ! ﭼﺮﺍ ﺑﻪ ﺍﻣﻴﺪ ﻣﻮﻫﻮﻡ ﺍﺯ ﺁﺳﺎﻳﺶ ﺧﻮﺩﻣﺎﻥ ﭼﺸﻢ ﺑﭙﻮﺷﻴﻢ؟‬

‫ﻛﺲ ﺧﻠﺪ ﻭ ﺣﺠﻴﻢ ﺭﺍ ﻧﺪﻳﺪﻩ ﺍﺳﺖ‪ ،‬ﺍﻱ ﺩﻝ‪،‬‬

‫ﮔﻮﺋﻲ ﻛﻪ ﺍﺯ ﺁﻥﺟﻬﺎﻥ ﺭﺳﻴﺪﻩ ﺍﺳﺖ؟ ﺍﻱ ﺩﻝ‪(٩١) .‬‬

‫ﻳﻚ ﺑﺎﺯﻳﮕﺮ ﺧﺎﻧﺔ ﻏﺮﻳﺒﻲ ﺍﺳﺖ‪ .‬ﻣﺜﻞ ﺧﻴﻤﻪﺷﺐﺑﺎﺯﻱ ﻳﺎ ﺑﺎﺯﻱ ﺷﻄﺮﻧﺞ‪ ،‬ﻫﻤﺔ ﻛﺎﺋﻨﺎﺕ‬
‫ﺭﻭﻱ ﺻﻔﺤﻪ ﮔﻤﺎﻥ ﻣﻲﻛﻨﻨﺪ ﻛﻪ ﺁﺯﺍﺩﻧﺪ‪ .‬ﻭﻟﻲ ﻳﻚ ﺩﺳﺖ ﻧﺎﻣﺮﺋﻲ ﻛﻪ ﮔﻮﺋﻲ ﻣﺘﻌﻠﻖ ﺑﻪ‬
‫ﻳﻚ ﺑﭽﻪ ﺍﺳﺖ ﻣﺪﺗﻲ ﺑﺎ ﻣﺎ ﺗﻔﺮﻳﺢ ﻣﻲﻛﻨﺪ‪ .‬ﻣﺎ ﺭﺍ ﺟﺎ ﺑﻪ ﺟﺎ ﻣﻲﻛﻨﺪ‪ ،‬ﺑﻌﺪ ﺩﻟﺶ ﺭﺍ‬
‫ﻣﻲﺯﻧﺪ‪ ،‬ﺩﻭﺑﺎﺭﻩ ﺍﻳﻦ ﻋﺮﻭﺳﻚﻫﺎ ﻳﺎ ﻣﻬﺮﻩﻫﺎ ﺭﺍ ﺩﺭ ﺻﻨﺪﻭﻕ ﻓﺮﺍﻣﻮﺷﻲ ﻭ ﻧﻴﺴﺘﻲ ﻣﻲﺍﻧﺪﺍﺯﺩ‪:‬‬

‫ﻣﺎ ﻟﻌﺒﺘﮕﺎﻧﻴﻢ ﻭ ﻓﻠﻚ ﻟﻌﺒﺖ ﺑﺎﺯ‪،‬‬

‫ﺍﺯ ﺭﻭﻱ ﺣﻘﻴﻘﺘﻲ ﻧﻪ ﺍﺯ ﺭﻭﻱ ﻣﺠﺎﺯ ‪(٥٠) . . .‬‬

‫ﺧﻴﺎﻡ ﻣﻲﺧﻮﺍﺳﺘﻪ ﺍﻳﻦ ﺩﻧﻴﺎﻱ ﻣﺴﺨﺮﻩ‪ ،‬ﭘﺴﺖ ﻏﻢ ﺍﻧﮕﻴﺰ ﻭ ﻣﻀﺤﻚ ﺭﺍ ﺍﺯ ﻫﻢ ﺑﭙﺎﺷﺪ ﻭ ﻳﻚ‬
‫ﺩﻧﻴﺎﻱ ﻣﻨﻄﻘﻲﺗﺮﻱ ﺭﻭﻱ ﺧﺮﺍﺑﺔ ﺁﻥ ﺑﻨﺎ ﺑﻜﻨﺪ‪:‬‬

‫ﮔﺮ ﺑﺮ ﻓﻠﻜﻢ ﺩﺳﺖ ﺑﺪﻱ ﭼﻮﻥ ﻳﺰﺩﺍﻥ‪،‬‬

‫ﻧﺸﺮ ﺗﺪﺑﻴﺮ‬
‫‪30‬‬ ‫ﺗﺮاﻧﻪ هﺎی ﺧﻴﺎم‬

‫ﺑﺮﺩﺍﺷﺘﻤﻲ ﻣﻦ ﺍﻳﻦ ﻓﻠﻚ ﺭﺍ ﺯ ﻣﻴﺎﻥ ‪(٢٥) . . .‬‬

‫ﺑﺮﺍﻱ ﺍﻳﻨﻜﻪ ﺑﺪﺍﻧﻴﻢ ﺗﺎ ﭼﻪ ﺍﻧﺪﺍﺯﻩ ﻓﻠﺴﻔﺔ ﺧﻴﺎﻡ ﺩﺭ ﻧﺰﺩ ﭘﻴﺮﻭﺍﻥ ﺍﻭ ﻃﺮﻑ ﺗﻮﺟﻪ ﺑﻮﺩﻩ ﻭ ﻣﻘﻠﺪ‬
‫ﭘﻴﺪﺍ ﻛﺮﺩﻩ‪ ،‬ﺍﻳﻦ ﻧﻜﺘﻪ ﺭﺍ ﻣﻲﮔﻮﺋﻴﻢ ﻛﻪ ﻣﺆﻟﻒ »ﺩﺑﺴﺘﺎﻥ ﻣﺬﺍﻫﺐ« ﺩﺭ ﭼﻨﺪ ﺟﺎ ﻣﺜﻞ ﺍﺯ‬
‫ﺭﺑﺎﻋﻴﺎﺕ ﺧﻴﺎﻡ ﻣﻲﺍﻭﺭﺩ ﻭ ﻳﻚ ﺟﺎ ﺭﺑﺎﻋﻲ ﻏﺮﻳﺒﻲ ﺑﺎﻭ ﻧﺴﺒﺖ ﻣﻲﺩﻫﺪ )ﺹ ‪. . .» :(٦٣‬‬
‫ﺳﻤﺮﺍﺩ ﺩﺭ ﻟﻐﺖ ﻭﻫﻢ ﻭ ﭘﻨﺪﺍﺭ ﺭﺍ ﮔﻮﻳﻨﺪ ‪ . . .‬ﻓﺮﻩﻣﻨﺪ ﺷﺎﮔﺮﺩ ﻓﺮ ﺍﻳﺮﺝ ﮔﻔﺘﻪ‪ :‬ﺍﮔﺮ ﻛﺴﻲ‬
‫ﻣﻮﺟﻮﺩ ﺑﺎﺷﺪ ﺩﺍﻧﺪ ﻛﻪ ﻋﻨﺎﺻﺮ ﻭ ﺍﻓﻼﻙ ﻭ ﺍﻧﺠﻢ ﻭ ﻋﻘﻮﻝ ﻭ ﻧﻔﻮﺱ ﺣﻖ ﺍﺳﺖ‪ .‬ﻭ ﻭﺍﺟﺐ‬
‫ﺍﻟﻮﺟﻮﺩﻱ ﻛﻪ ﻣﻲﮔﻮﻳﺪ ﻫﺴﺘﻲ ﭘﺬﻳﺮ ﻧﺸﺪ ﻭ ﻣﺎ ﺍﺯ ﻭﻫﻢ ﮔﻤﺎﻥ ﺑﺮﻳﻢ ﻛﻪ ﺍﻭ ﻫﺴﺖ ﻭ ﻳﻘﻴﻦ‬
‫ﻛﻪ ﺍﻭ ﻫﻢ ﻧﻴﺴﺖ‪ .‬ﻣﻦ ﺍﻻﺳﺘﺸﻬﺎﺩ ﺣﻜﻴﻢ ﻋﻤﺮ ﺧﻴﺎﻡ ﺑﻴﺖ‪:‬‬

‫»ﺻﺎﻧﻊ ﺑﻪ ﺟﻬﺎﻥ ﻛﻬﻨﻪ ﻫﻤﭽﻮﻥ ﻇﺮﻓﻲ ﺍﺳﺖ‪.‬‬

‫»ﺁﺑﻴﺴﺖ ﺑﻤﻌﻨﻲ ﻭ ﺑﻈﺎﻫﺮ ﺑﺮﻗﻲ ﺍﺳﺖ؛‬

‫»ﺑﺎﺯﻳﭽﻪ ﻛﻔﺮ ﻭ ﺩﻳﻦ ﺑﻄﻔﻼﻥ ﺑﺴﭙﺎﺭ‪،‬‬

‫»ﺑﮕﺬﺭ ﺯ ﻣﻘﺎﻣﻲ ﻛﻪ ﺧﺪﺍ ﻫﻢ ﺣﺮﻓﻲ ﺍﺳﺖ!«‬

‫ﺩﺭ ﺟﺎﻱ ﺩﻳﮕﺮ )ﺹ ‪ (١٥٩‬ﺭﺍﺟﻊ ﺑﻪ ﻋﻘﺎﻳﺪ ﭼﺎﺭﻭﺍﻙ ﻣﻲﮔﻮﻳﺪ‪ . . .» :‬ﻋﺎﻗﻞ ﺑﺎﻳﺪ ﺍﺯ‬
‫ﺟﻤﻴﻊ ﻟﺬﺍﺕ ﺑﻬﺮﻩ ﮔﻴﺮﺩ ﻭ ﺍﺯ ﻣﺸﺘﻬﻴﺎﺕ ﺣﺘﺮﺍﺯ ﻧﻨﻤﺎﻳﺪ‪ .‬ﺍﺯ ﺁﻥﻛﻪ ﭼﻮﻥ ﺑﺨﺎﻙ ﭘﻴﻮﺳﺖ‬
‫ﺑﺎﺯ ﺁﻣﺪﻥ ﻧﻴﺴﺖ‪ .‬ﻉ‪:‬‬

‫»ﺑﺎﺯ ﺁﻣﺪﻧﺖ ﻧﻴﺴﺖ‪ ،‬ﭼﻮ ﺭﻓﺘﻲ ﺭﻓﺘﻲ‪.‬‬

‫ﻧﺸﺮ ﺗﺪﺑﻴﺮ‬
‫‪31‬‬ ‫ﺗﺮاﻧﻪ هﺎی ﺧﻴﺎم‬

‫»ﺭﻭﺷﻦﺗﺮ ﮔﻮﺋﻴﻢ ﻋﻘﻴﺪﻩ‪ ،‬ﭼﺎﺭﻭﺍﻙ ﺁﻥﺳﺖ ﻛﻪ ﺍﻳﺸﺎﻥ ﮔﻮﻳﻨﺪ‪ :‬ﭼﻮﻥ ﺻﺎﻧﻊ ﭘﺪﻳﺪﺍﺭ‬
‫ﻧﻴﺴﺖ ﻭ ﺍﺩﺭﺍﻙ ﺑﺸﺮﻱ ﺑﻪ ﺍﺛﺒﺎﺕ ﺁﻥ ﻣﺤﻴﻂ ﻧﻴﺎﺭﺩ ﺷﺪ‪ ،‬ﻣﺎ ﺭﺍ ﭼﺮﺍ ﺑﻨﺪﮔﻲ ﺍﻣﺮﻱ ﻣﻈﻨﻮﻥ‪،‬‬
‫ﻣﻮﻫﻮﻡ‪ ،‬ﺑﻞ ﻣﻌﺪﻭﻡ ﺑﺎﻳﺪ ﻛﺮﺩ؟ ‪ . . .‬ﻭ ﺑﻬﺮ ﻧﻮﻳﺪ ﺟﻨﺖ ﻭ ﺭﺍﺣﺖ ﺁﻥ ﺍﺯ ﻛﺜﺮﺕ ﺣﺮﺹ‪،‬‬
‫ﺍﺑﻠﻬﺎﻧﻪ ﺩﺳﺖ ﺍﺯ ﻧﻌﻤﺖﻫﺎ ﻭ ﺭﺍﺣﺖﻫﺎ ﺑﺎﺯﺩﺍﺷﺖ؟ ﻋﺎﻗﻞ ﻧﻘﺪ ﺭﺍ ﺑﻪ ﻧﺴﻴﻪ ﻧﺪﻫﺪ ‪ . . .‬ﺁﻧﭽﻪ‬
‫ﻇﺎﻫﺮ ﻧﻴﺴﺖ ﺑﺎﻭﺭ ﻛﺮﺩﻥ ﺁﻥ ﺭﺍ ﻧﺸﺎﻳﺪ ﺗﺮﻛﻴﺐ ﺟﺴﺪ ﻣﻮﺍﻟﻴﺪ ﺍﺯ ﻋﻨﺎﺻﺮ ﺍﺭﺑﻌﻪ ﺍﺳﺖ‪ ،‬ﺑﻪ‬
‫ﻣﻘﺘﻀﺎﻱ ﻃﺒﻴﻌﺖ ﻳﻚ ﭼﻨﺪ ﺑﺎ ﻫﻢ ﺗﺄﻟﻴﻒ ﭘﺬﻳﺮ ﺷﺪﻩ ‪ ،. . .‬ﭼﻮﻥ ﺗﺮﻛﻴﺐ ﻣﺘﻼﺷﻲ ﺷﻮﺩ‪،‬‬
‫ﻣﻌﺎﺩ ﻋﻨﺼﺮ ﺟﺰ ﻋﻨﺼﺮ ﻧﻴﺎﺭﺩ ﺑﻮﺩ‪ .‬ﺑﻌﺪ ﺍﺯ ﺗﺨﺮﻳﺐ ﻛﺎﺥ ﺗﻦ‪ ،‬ﻋﺮﻭﺟﻲ ﺑﻪ ﺑﺮﻳﻦ ﻭﻃﻦ ﻭ ﻧﺎﺯ‬
‫ﻭ ﻧﻌﻴﻢ ﻭ ﻧﺰﻭﻝ ﻧﺎﺭ ﻭ ﺟﺤﻴﻢ ﻧﺨﻮﺍﻫﺪ ﺑﻮﺩ‪«.‬‬

‫ﺁﻳﺎ ﺗﺠﺰﻳﺔ ﺍﻓﻜﺎﺭ ﺧﻴﺎﻡ ﺭﺍ ﺍﺯﻳﻦ ﺳﻄﻮﺭ ﺩﺭﻙ ﻧﻤﻲﻛﻨﻴﻢ؟ ﻫﺮﻭﻥ ﺁﻟﻦ ﺩﺭ ﺍﺿﺎﻓﺎﺕ ﺑﻪ‬
‫ﺭﺑﺎﻋﻴﺎﺕ ﺧﻴﺎﻡ )ﺹ ‪ (٢٩١‬ﺍﺯ ﻛﺘﺎﺏ »ﺳﺮﮔﺬﺷﺖ ﺳﻠﻄﻨﺖ ﻛﺎﺑﻞ« ﺗﺄﻟﻴﻒ ﺍﻟﻔﻴﻨﺴﺘﻦ ﻛﻪ ﺩﺭ‬
‫ﺳﻨﺔ ‪ ١٨١٥‬ﻣﻴﻼﺩﻱ ﺑﻪ ﻃﺒﻊ ﺭﺳﻴﺪﻩ ﻧﻘﻞ ﻣﻲﻛﻨﺪ ﻭ ﺷﺮﺡ ﻣﻲﺩﻫﺪ ﻛﻪ ﻓﺮﻗﻪﺍﻱ ﺩﻫﺮﻱ ﻭ‬
‫ﻻﻣﺬﻫﺐ ﺑﺎﺳﻢ ﻣﻼﺯﻛﻲ ﺷﻬﺮﺕ ﺩﺍﺭﻧﺪ‪» :‬ﺑﻪ ﻧﻈﺮ ﻣﻲﺁﻳﺪ ﻛﻪ ﺍﻓﻜﺎﺭ ﺁﻥﻫﺎ ﺧﻴﻠﻲ ﻗﺪﻳﻤﻲ‬
‫ﺍﺳﺖ ﻭ ﻛﺎﻣﻼ ﺑﺎ ﺍﻓﻜﺎﺭ ﺷﺎﻋﺮ ﻗﺪﻳﻢ ﺍﻳﺮﺍﻥ ﺧﻴﺎﻡ ﻭﻓﻖ ﻣﻲﺩﻫﺪ‪ ،‬ﻛﻪ ﺩﺭ ﺁﺛﺎﺭ ﺍﻭ ﻧﻤﻮﻧﻪﻫﺎﻱ‬
‫ﻻﻣﺬﻫﺒﻲ ﺑﻪ ﻗﺪﺭﻱ ﺷﺪﻳﺪ ﺍﺳﺖ ﻛﻪ ﺩﺭ ﻫﻴﺞ ﺯﺑﺎﻧﻲ ﺳﺎﺑﻘﻪ ﻧﺪﺍﺭﺩ‪ . . .‬ﺍﻳﻦ ﻓﺮﻗﻪ ﻋﻘﺎﻳﺪ‬
‫ﺧﻮﺩﺷﺎﻥ ﺭﺍ ﺩﺭ ﺧﻔﺎ ﺁﺷﻜﺎﺭ ﻣﻲﻛﺮﺩﻧﺪ ﻭ ﻣﻌﺮﻭﻑ ﺍﺳﺖ ﻛﻪ ﻋﻘﺎﻳﺪ ﺁﻥﻫﺎ ﺑﻴﻦ ﻧﺠﺒﺎﻱ ﺭﻧﺪ‬
‫ﺩﺭﺑﺎﺭ ﺷﺎﻩ ﻣﺤﻤﻮﺩ ﺭﺧﻨﻪ ﻛﺮﺩﻩ ﺑﻮﺩ‪«.‬‬

‫ﺍﺧﺘﺼﺎﺹ ﺩﻳﮕﺮﻱ ﻛﻪ ﺩﺭ ﻓﻠﺴﻔﺔ ﺧﻴﺎﻡ ﻣﺸﺎﻫﺪﻩ ﻣﻲﺷﻮﺩ ﺩﻗﻴﻖ ﺷﺪﻥ ﺍﻭ ﺩﺭ ﻣﺴﺌﻠﺔ ﻣﺮﮒ‬
‫ﺍﺳﺖ‪ ،‬ﻧﻪ ﺍﺯ ﺭﺍﻩ ﻧﺸﺌﺎﺕ ﺭﻭﺡ ﻭ ﻓﻠﺴﻔﻪ ﺍﻟﻬﻴﻮﻥ ﺁﻥ ﺭﺍ ﺗﺤﺖ ﻣﻄﺎﻟﻌﻪ ﺩﺭﻣﻲﺁﻭﺭﺩ‪ ،‬ﺑﻠﻜﻪ ﺍﺯ‬
‫ﺭﻭﻱ ﺟﺮﻳﺎﻥ ﻭ ﺍﺳﺘﺤﺎﻟﻪ ﺫﺭﺍﺕ ﺍﺟﺴﺎﻡ ﻭ ﺗﺠﺰﻳﻪ ﻣﺎﺩﻩ ﺗﻐﻴﻴﺮﺍﺕ ﺁﻧﺮﺍ ﺑﺎ ﺗﺼﻮﻳﺮﻫﺎﻱ‬
‫ﺷﺎﻋﺮﺍﻧﻪ ﻭ ﻏﻤﻨﺎﻛﻲ ﻣﺠﺴﻢ ﻣﻲﻛﻨﺪ‪.‬‬

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‫ﺑﺮﺍﻱ ﺧﻴﺎﻡ ﻣﺎﻭﺭﺇ ﻣﺎﺩﻩ ﭼﻴﺰﻱ ﻧﻴﺴﺖ‪ .‬ﺩﻧﻴﺎ ﺩﺭ ﺍﺛﺮ ﺍﺟﺘﻤﺎﻉ ﺫﺭﺍﺕ ﺑﻮﺟﻮﺩ ﺁﻣﺪﻩ ﻛﻪ ﺑﺮ‬
‫ﺣﺴﺐ ﺍﺗﻔﺎﻕ ﻛﺎﺭ ﻣﻲﻛﻨﻨﺪ‪ .‬ﺍﻳﻦ ﺟﺮﻳﺎﻥ ﺩﺍﻳﻤﻲ ﻭ ﺍﺑﺪﻱ ﺍﺳﺖ‪ ،‬ﻭ ﺫﺭﺍﺕ ﭘﻲ ﺩﺭ ﭘﻲ ﺩﺭ‬
‫ﺍﺷﻜﺎﻝ ﻭ ﺍﻧﻮﺍﻉ ﺩﺍﺧﻞ ﻣﻲﺷﻮﻧﺪ ﻭ ﺭﻭﻱ ﻣﻲﮔﺮﺩﺍﻧﻨﺪ‪ .‬ﺍﺯﻳﻦ ﺭﻭ ﺍﻧﺴﺎﻥ ﻫﻴﭻ ﺑﻴﻢ ﻭ ﺍﻣﻴﺪﻱ‬
‫ﻧﺪﺍﺭﺩ ﻭ ﺩﺭ ﻧﺘﻴﺠﻪ ﺗﺮﻛﻴﺐ ﺫﺭﺍﺕ ﻭ ﭼﻬﺎﺭ ﻋﻨﺼﺮ ﻭ ﺗﺄﺛﻴﺮ ﻫﻔﺖ ﻛﻮﻛﺐ ﺑﻮﺟﻮﺩ ﺁﻣﺪﻩ ﻭ‬
‫ﺭﻭﺡ ﺍﻭ ﻣﺎﻧﻨﺪ ﻛﺎﻟﺒﺪ ﻣﺎﺩﻱ ﺍﺳﺖ ﻭ ﭘﺲ ﺍﺯ ﻣﺮﮒ ﻧﻤﻲﻣﺎﻧﺪ‪:‬‬

‫ﺑﺎﺯﺁﻣﺪﻧﺖ ﻧﻴﺴﺖ‪ ،‬ﭼﻮ ﺭﻓﺘﻲ ﺭﻓﺘﻲ‪(٢٩) .‬‬

‫ﭼﻮﻥ ﻋﺎﻗﺒﺘﺖ ﻛﺎﺭ ﺟﻬﺎﻥ »ﻧﻴﺴﺘﻲ« ﺍﺳﺖ‪(١٤٠) .‬‬

‫ﻫﺮ ﻻﻟﻪ ﭘﮋﻣﺮﺩﻩ ﻧﺨﻮﺍﻫﺪ ﺑﺸﻜﻔﺖ‪(٤٧) .‬‬

‫ﺍﻣﺎ ﺧﻴﺎﻡ ﺑﻪ ﻫﻤﻴﻦ ﺍﻛﺘﻔﺎ ﻧﻤﻲﻛﻨﺪ ﻭ ﺫﺭﺍﺕ ﺑﺪﻥ ﺭﺍ ﺗﺎ ﺁﺧﺮﻳﻦ ﻣﺮﺣﻠﻪ ﻧﺸﺌﺎﺗﺶ ﺩﻧﺒﺎﻝ‬
‫ﻣﻲﻧﻤﺎﻳﺪ ﻭ ﺑﺎﺯﮔﺸﺖ ﺁﻥﻫﺎ ﺭﺍ ﺷﺮﺡ ﻣﻲﺩﻫﺪ‪ .‬ﺩﺭ ﻣﻮﺿﻮﻉ ﺑﻘﺎﻱ ﺭﻭﺡ ﻣﻌﺘﻘﺪ ﺑﻪ ﮔﺮﺩﺵ‬
‫ﻭ ﺍﺳﺘﺤﺎﻟﻪ ﺫﺭﺍﺕ ﺑﺪﻥ ﭘﺲ ﺍﺯ ﻣﺮﮒ ﻣﻲﺷﻮﺩ‪ .‬ﺯﻳﺮﺍ ﺁﻧﭽﻪ ﻣﺤﺴﻮﺱ ﺍﺳﺖ ﻭ ﺑﻪ ﺗﻤﻴﺰ ﺩﺭ‬
‫ﻣﻲﺁﻳﺪ ﺍﻳﻦﺳﺖ ﻛﻪ ﺫﺭﺍﺕ ﺑﺪﻥ ﺩﺭ ﺍﺟﺴﺎﻡ ﺩﻳﮕﺮ ﺩﻭﺑﺎﺭﻩ ﺯﻧﺪﮔﻲ ﻭ ﻳﺎ ﺟﺮﻳﺎﻥ ﭘﻴﺪﺍ‬
‫ﻣﻲﻛﻨﻨﺪ‪ .‬ﻭﻟﻲ ﺭﻭﺡ ﻣﺴﺘﻘﻠﻲ ﻛﻪ ﺑﻌﺪ ﺍﺯ ﻣﺮﮒ ﺯﻧﺪﮔﻲ ﺟﺪﺍﮔﺎﻧﻪ ﺩﺍﺷﺘﻪ ﺑﺎﺷﺪ ﻧﻴﺴﺖ‪ .‬ﺍﮔﺮ‬
‫ﺧﻮﺷﺒﺨﺖ ﺑﺎﺷﻴﻢ‪ ،‬ﺫﺭﺍﺕ ﺗﻦ ﻣﺎ ﺧﻢ ﺑﺎﺩﻩ ﻣﻲﺷﻮﻧﺪ ﻭ ﭘﻴﻮﺳﺘﻪ ﻣﺴﺖ ﺧﻮﺍﻫﻨﺪ ﺑﻮﺩ‪ ،‬ﻭ‬
‫ﺯﻧﺪﮔﻲ ﻣﺮﻣﻮﺯ ﻭ ﺑﻲﺍﺭﺍﺩﻩﺍﻱ ﺭﺍ ﺗﻌﻘﻴﺐ ﻣﻲﻛﻨﻨﺪ‪ .‬ﻫﻤﻴﻦ ﻓﻠﺴﻔﻪ ﺫﺭﺍﺕ ﺳﺮﭼﺸﻤﻪ ﺩﺭﺩ ﻭ‬
‫ﺍﻓﻜﺎﺭ ﻏﻢﺍﻧﮕﻴﺰ ﺧﻴﺎﻡ ﻣﻲﺷﻮﺩ‪ .‬ﺩﺭ ﮔﻞ ﻛﻮﺯﻩ‪ ،‬ﺩﺭ ﺳﺒﺰﻩ‪ ،‬ﺩﺭ ﮔﻞ ﻻﻟﻪ‪ ،‬ﺩﺭ ﻣﻌﺸﻮﻗﻪﺍﻱ ﻛﻪ‬
‫ﺑﺎ ﺣﺮﻛﺎﺕ ﻣﻮﺯﻭﻥ ﺑﻪ ﺁﻫﻨﮓ ﭼﻨﮓ ﻣﻲﺭﻗﺼﺪ‪ ،‬ﺩﺭ ﻣﺠﺎﻟﺲ ﺗﻔﺮﻳﺢ ﻭ ﺩﺭ ﻫﻤﻪ ﺟﺎ ﺫﺭﺍﺕ‬
‫ﺑﻲﺛﺒﺎﺕ ﻭ ﺟﺮﻳﺎﻥ ﺳﺨﺖ ﻭ ﺑﻲﺍﻋﺘﻨﺎﻱ ﻃﺒﻴﻌﺖ ﺟﻠﻮ ﺍﻭﺳﺖ‪ .‬ﺩﺭ ﻛﻮﺯﻩ ﺷﺮﺍﺏ ﺫﺭﺍﺕ ﺗﻦ‬

‫ﻧﺸﺮ ﺗﺪﺑﻴﺮ‬
‫‪33‬‬ ‫ﺗﺮاﻧﻪ هﺎی ﺧﻴﺎم‬

‫ﻣﻬﺮﻭﻳﺎﻥ ﺭﺍ ﻣﻲﺑﻴﻨﺪ ﻛﻪ ﺧﺎﻙ ﺷﺪﻩﺍﻧﺪ‪ ،‬ﻭﻟﻲ ﺯﻧﺪﮔﻲ ﻏﺮﻳﺐ ﺩﻳﮕﺮﻱ ﺭﺍ ﺩﺍﺭﻧﺪ‪ .‬ﺯﻳﺮﺍ ﺩﺭ‬
‫ﺁﻥﻫﺎ ﺭﻭﺡ ﻟﻄﻴﻒ ﺑﺎﺩﻩ ﺩﺭ ﻏﻠﻴﺎﻥ ﺍﺳﺖ‪.‬‬

‫ﺩﺭ ﺍﻳﻨﺠﺎ ﺷﺮﺍﺏ ﺍﻭ ﺑﺎ ﻫﻤﻪ ﻛﻨﺎﻳﺎﺕ ﻭ ﺗﺸﺒﻴﻬﺎﺕ ﺷﺎﻋﺮﺍﻧﻪﺍﻱ ﻛﻪ ﺩﺭ ﺗﺮﺍﻧﻪﻫﺎﻳﺶ ﻣﻲﺁﻭﺭﺩ‬

‫ﻳﻚ ﺻﻮﺭﺕ ﻋﻤﻴﻖ ﻭ ﻣﺮﻣﻮﺯ ﺑﺨﻮﺩ ﻣﻲﮔﻴﺮﺩ‪ .‬ـ ﺷﺮﺍﺏ ﺩﺭ ﻋﻴﻦ ﺣﺎﻝ ﻛﻪ ﺗﻮﻟﻴﺪ ﻣﺴﺘﻲ ﻭ‬
‫ﻓﺮﺍﻣﻮﺷﻲ ﻣﻲﻛﻨﺪ‪ ،‬ﺩﺭ ﻛﻮﺯﻩ ﺣﻜﻢ ﺭﻭﺡ ﺭﺍ ﺩﺭ ﺗﻦ ﺩﺍﺭﺩ‪ .‬ﺁﻳﺎ ﺍﺳﻢ ﻫﻤﻪ ﻗﺴﻤﺖﻫﺎﻱ‬
‫ﻛﻮﺯﻩ ﺗﺼﻐﻴﺮ ﻫﻤﺎﻥ ﺍﻋﻀﺎﻱ ﺑﺪﻥ ﺍﻧﺴﺎﻥ ﻧﻴﺴﺖ ﻣﺜﻞ‪ :‬ﺩﻫﻨﻪ‪ ،‬ﻟﺒﻪ‪ ،‬ﮔﺮﺩﻧﻪ‪ ،‬ﺩﺳﺘﻪ‪ ،‬ﺷﻜﻢ ‪. . .‬‬
‫ﻭ ﺷﺮﺍﺏ ﻣﻴﺎﻥ ﻛﻮﺯﻩ ﺭﻭﺡ ﭘﺮ ﻛﻴﻒ ﺁﻥ ﻧﻤﻲﺑﺎﺷﺪ؟ ﻫﻤﺎﻥ ﻛﻮﺯﻩ ﻛﻪ ﺳﺎﺑﻖ ﺑﺮ ﺍﻳﻦ‬
‫ﻳﻚﻧﻔﺮ ﻣﺎﻫﺮﻭ ﺑﻮﺩﻩ! ﺍﻳﻦ ﺭﻭﺡ ﭘﺮ ﻏﻠﻴﺎﻥ ﺯﻧﺪﮔﻲ ﺩﺭﺩﻧﺎﻙ ﮔﺬﺷﺘﻪ ﻛﻮﺯﻩ ﺭﺍ ﺭﻭﻱ ﺯﻣﻴﻦ‬
‫ﻳﺎﺩﺁﻭﺭﻱ ﻣﻲﻛﻨﺪ! ﺍﺯ ﺍﻳﻦﻗﺮﺍﺭ ﻛﻮﺯﻩ ﻳﻚ ﺯﻧﺪﮔﻲ ﻣﺴﺘﻘﻞ ﭘﻴﺪﺍ ﻣﻲﻛﻨﺪ ﻛﻪ ﺷﺮﺍﺏ ﺑﻪ‬
‫ﻣﻨﺰﻟﻪ ﺭﻭﺡ ﺁﻥﺳﺖ‪:‬‬

‫ﻟﺐ ﺑﺮ ﻟﺐ ﻛﻮﺯﻩ ﺑﺮﺩﻡ ﺍﺯ ﻏﺎﻳﺖ ﺁﺯ‪(١٣٩) .‬‬

‫ﺍﻳﻦ ﺩﺳﺘﻪ ﻛﻪ ﺑﺮ ﮔﺮﺩﻥ ﺍﻭ ﻣﻲﺑﻴﻨﻲ‪،‬‬

‫ﺩﺳﺘﻲ ﺍﺳﺖ ﻛﻪ ﺑﺮ ﮔﺮﺩﻥ ﻳﺎﺭﻱ ﺑﻮﺩﻩ ﺍﺳﺖ‪(٧٢) .‬‬

‫)ﺍﻳﻦ ﮔﻮﻧﻪ ﺗﺸﺒﻴﻪ ﺯﻳﺎﺩ ﺩﺭ ﺍﻓﻜﺎﺭ ﺧﻴﺎﻡ ﺩﻳﺪﻩ ﻣﻲﺷﻮﺩ‪ .‬ﻣﺜﻼ ﺩﺭ ﻧﻮﺭﻭﺯﻧﺎﻣﻪ )ﺹ ‪ (٤٠‬ﺩﺭ‬
‫ﻣﻮﺭﺩ ﻛﻤﺎﻥ ﻣﻲﮔﻮﻳﺪ‪ . . .» :‬ﻭ ﺑﻪ ﻳﻚ ﺭﻭﻱ ﻛﻤﺎﻥ ﺑﺮ ﺻﻮﺭﺕ ﻣﺮﺩﻡ ﻧﮕﺎﺷﺘﻪ ﺍﺳﺖ ﺍﺯ‬
‫ﺭﮒ ﻭ ﺍﺳﺘﺨﻮﺍﻥ ﻭ ﭘﻲ ﻭ ﭘﻮﺳﺖ ﻭ ﮔﻮﺷﺖ‪ ،‬ﻭ ﺯﻩ ﻭﻱ ﭼﻮﻥ ﺟﺎﻥ ﻭﻱ ﺑﻮﺩ ﻛﻪ ﺑﻪ ﻭﻱ‬
‫ﺯﻧﺪﻩ ﺍﺳﺖ‪ ،‬ﺑﺎ ﺟﺎﻥ ﻛﻪ ﺍﺯ ﻫﻨﺮﻣﻨﺪ ﺑﻴﺎﺑﺪ‪«.‬‬

‫ﻧﺸﺮ ﺗﺪﺑﻴﺮ‬
‫‪34‬‬ ‫ﺗﺮاﻧﻪ هﺎی ﺧﻴﺎم‬

‫ﺍﺯ ﻣﻄﺎﻟﺐ ﻓﻮﻕ ﺑﺪﺳﺖ ﻣﻲﺁﻳﺪ ﻛﻪ ﺧﻴﺎﻡ ﺩﺭ ﺧﺼﻮﺹ ﻣﺎﻫﻴﺖ ﻭ ﺍﺭﺯﺵ ﺯﻧﺪﮔﻲ ﻳﻚ‬
‫ﻋﻘﻴﺪﻩ ﻭ ﻓﻠﺴﻔﺔ ﻣﻬﻤﻲ ﺩﺍﺭﺩ‪ .‬ﺁﻳﺎ ﺍﻭ ﺩﺭ ﻣﻘﺎﺑﻞ ﺍﻳﻦﻫﻤﻪ ﺑﺪﺑﺨﺘﻲ ﻭ ﺍﻳﻦ ﻓﻠﺴﻔﻪ ﭼﻪ ﺧﻂ‬
‫ﻣﺸﻲ ﻭ ﺭﻭﻳﻪﺍﻱ ﺭﺍ ﭘﻴﺶ ﻣﻲﮔﻴﺮﺩ؟‬

‫ﺩﺭ ﺻﻮﺭﺗﻲﻛﻪ ﻧﻤﻲﺷﻮﺩ ﺑﻪ ﭼﮕﻮﻧﮕﻲ ﺍﺷﻴﺎﺀ ﭘﻲ ﺑﺮﺩ‪ ،‬ﺩﺭ ﺻﻮﺭﺗﻲ ﻛﻪ ﻛﺴﻲ ﻧﺪﺍﻧﺴﺘﻪ ﻭ‬
‫ﻧﺨﻮﺍﻫﺪ ﺩﺍﻧﺴﺖ ﻛﻪ ﺍﺯ ﻛﺠﺎ ﻣﻲﺁﺋﻴﻢ ﻭ ﺑﻪ ﻛﺠﺎ ﻣﻲﺭﻭﻳﻢ ﻭ ﮔﻔﺘﻪﻫﺎﻱ ﺩﻳﮕﺮﺍﻥ ﻣﺰﺧﺮﻑ‬
‫ﻭ ﺗﻠﺔ ﺧﺮ ﺑﮕﻴﺮﻱ ﺍﺳﺖ‪ ،‬ﺩﺭ ﺻﻮﺭﺗﻲ ﻛﻪ ﻃﺒﻴﻌﺖ ﺁﺭﺍﻡ ﻭ ﺑﻲﺍﻋﺘﻨﺎ ﻭﻇﻴﻔﺔ ﺧﻮﺩﺵ ﺭﺍ ﺍﻧﺠﺎﻡ‬
‫ﻣﻲﺩﻫﺪ ﻭ ﻫﻤﻪ ﻛﻮﺷﺶﻫﺎﻱ ﻣﺎ ﺩﺭ ﻣﻘﺎﺑﻞ ﺍﻭ ﺑﻴﻬﻮﺩﻩ ﺍﺳﺖ ﻭ ﺗﺤﻘﻴﻘﺎﺕ ﻓﻠﺴﻔﻲ ﻏﻴﺮ‬
‫ﻣﻤﻜﻦ ﻣﻲ ﺑﺎﺷﺪ‪ ،‬ﺩﺭ ﺻﻮﺭﺗﻲﻛﻪ ﺍﻧﺪﻭﻩ ﻭ ﺷﺎﺩﻱ ﻣﺎ ﻧﺰﺩ ﻃﺒﻴﻌﺖ ﻳﻜﺴﺎﻥ ﺍﺳﺖ ﻭ ﺩﻧﻴﺎﺋﻲ‬
‫ﻛﻪ ﺩﺭ ﺁﻥ ﻣﺴﻜﻦ ﺩﺍﺭﻳﻢ ﭘﺮ ﺍﺯ ﺩﺭﺩ ﻭ ﺷﺮ ﻫﻤﻴﺸﮕﻲ ﺍﺳﺖ ﻭ ﺯﻧﺪﮔﻲ ﻫﺮﺍﺳﻨﺎﻙ ﻣﺎ‬
‫ﻳﻜﺮﺷﺘﻪ ﺧﻮﺍﺏ‪ ،‬ﺧﻴﺎﻝ‪ ،‬ﻓﺮﻳﺐ ﻭ ﻣﻮﻫﻮﻡ ﻣﻲ ﺑﺎﺷﺪ‪ ،‬ﺩﺭ ﺻﻮﺭﺗﻲﻛﻪ ﭘﺎﺩﺷﺎﻫﺎﻥ ﺑﺎ ﻓﺮ ﻭ‬
‫ﺷﻜﻮﻩ ﮔﺬﺷﺘﻪ ﺑﻪ ﺧﺎﻙ ﻧﻴﺴﺘﻲ ﻫﻢ ﺁﻏﻮﺵ ﺷﺪﻩﺍﻧﺪ‪ ،‬ﻭ ﭘﺮﻳﺮﻭﻳﺎﻥ ﻧﺎﻛﺎﻣﻲ ﻛﻪ ﺑﻪ ﺳﻴﻨﺔ‬
‫ﺧﺎﻙ ﺗﺎﺭﻳﻚ ﻓﺮﻭ ﺭﻓﺘﻪﺍﻧﺪ ﺫﺭﺍﺕ ﺗﻦ ﺁﻥﻫﺎ ﺩﺭ ﺗﻨﮕﻨﺎﻱ ﮔﻮﺭ ﺍﺯ ﻫﻢ ﺟﺪﺍ ﻣﻲﺷﻮﺩ ﻭ ﺩﺭ‬
‫ﻧﺒﺎﺗﺎﺕ ﻭ ﺍﺷﻴﺎﺀ ﺯﻧﺪﮔﻲ ﺩﺭﺩﻧﺎﻛﻲ ﺭﺍ ﺩﻧﺒﺎﻝ ﻣﻲﻛﻨﺪ‪ .‬ﺁﻳﺎ ﻫﻤﻪ ﺍﻳﻦﻫﺎ ﺑﺰﺑﺎﻥ ﺑﻲﺯﺑﺎﻧﻲ‬
‫ﺳﺴﺘﻲ ﻭ ﺷﻜﻨﻨﺪﮔﻲ ﭼﻴﺰﻫﺎﻱ ﺭﻭﻱ ﺯﻣﻴﻦ ﺭﺍ ﺑﻪ ﻣﺎ ﻧﻤﻲﮔﻮﻳﻨﺪ؟ ﮔﺬﺷﺘﻪ ﺑﺠﺰ ﻳﺎﺩﮔﺎﺭ‬
‫ﺩﺭﻫﻢ ﻭ ﺭﺅﻳﺎﺋﻲ ﺑﻴﺶ ﻧﻴﺴﺖ‪ ،‬ﺁﻳﻨﺪﻩ ﻣﺠﻬﻮﻝ ﺍﺳﺖ‪ .‬ﭘﺲ ﻫﻤﻴﻦ ﺩﻡ ﺭﺍ ﻛﻪ ﺯﻧﺪﻩﺍﻳﻢ‪ ،‬ﺍﻳﻦ‬
‫ﺩﻡ ﮔﺬﺭﻧﺪﻩ ﻛﻪ ﺑﻪ ﻳﻚ ﭼﺸﻢ ﺑﻪ ﻫﻢ ﺯﺩﻥ ﺩﺭ ﮔﺬﺷﺘﻪ ﻓﺮﻭ ﻣﻲ ﺭﻭﺩ‪ ،‬ﻫﻤﻴﻦ ﺩﻡ ﺭﺍ ﺩﺭﻳﺎﺑﻴﻢ‬
‫ﻭ ﺧﻮﺵ ﺑﺎﺷﻴﻢ‪ .‬ﺍﻳﻦ ﺩﻡ ﻛﻪ ﺭﻓﺖ ﺩﻳﮕﺮ ﭼﻴﺰﻱ ﺩﺭ ﺩﺳﺖ ﻣﺎ ﻧﻤﻲﻣﺎﻧﺪ‪ ،‬ﻭﻟﻲ ﺍﮔﺮ ﺑﺪﺍﻧﻴﻢ‬
‫ﻛﻪ ﺩﻡ ﺭﺍ ﭼﮕﻮﻧﻪ ﺑﮕﺬﺭﺍﻧﻴﻢ! ﻣﻘﺼﻮﺩ ﺍﺯ ﺯﻧﺪﮔﻲ ﻛﻴﻒ ﻭ ﻟﺬﺕ ﺍﺳﺖ‪ .‬ﺗﺎ ﻣﻲﺗﻮﺍﻧﻴﻢ ﺑﺎﻳﺪ‬
‫ﻏﻢ ﻭ ﻏﺼﻪ ﺭﺍ ﺍﺯ ﺧﻮﺩﻣﺎﻥ ﺩﻭﺭ ﺑﻜﻨﻴﻢ‪ ،‬ﻣﻌﻠﻮﻡ ﺭﺍ ﺑﻪ ﻣﺠﻬﻮﻝ ﻧﻔﺮﻭﺷﻴﻢ ﻭ ﻧﻘﺪ ﺭﺍ ﻓﺪﺍﻱ‬
‫ﻧﺴﻴﻪ ﻧﻜﻨﻴﻢ‪ .‬ﺍﻧﺘﻘﺎﻡ ﺧﻮﺩﻣﺎﻥ ﺭﺍ ﺍﺯ ﺯﻧﺪﮔﻲ ﺑﺴﺘﺎﻧﻴﻢ ﭘﻴﺶ ﺍﺯ ﺁﻥﻛﻪ ﺩﺭ ﭼﻨﮕﺎﻝ ﺍﻭ ﺧﺮﺩ‬
‫ﺑﺸﻮﻳﻢ!‬

‫ﻧﺸﺮ ﺗﺪﺑﻴﺮ‬
‫‪35‬‬ ‫ﺗﺮاﻧﻪ هﺎی ﺧﻴﺎم‬

‫ﺑﺮﺑﺎﻱ ﻧﺼﻴﺐ ﺧﻮﻳﺶ ﻛﺖ ﺑﺮﺑﺎﻳﻨﺪ‪(٤٥) .‬‬

‫ﺑﺎﻳﺪ ﺩﺍﻧﺴﺖ ﻫﺮ ﭼﻨﺪ ﺧﻴﺎﻡ ﺍﺯ ﺗﻪ ﺩﻝ ﻣﻌﺘﻘﺪ ﺑﻪ ﺷﺎﺩﻱ ﺑﻮﺩﻩ ﻭﻟﻲ ﺷﺎﺩﻱ ﺍﻭ ﻫﻤﻴﺸﻪ ﺑﺎ ﻓﻜﺮ‬
‫ﻋﺪﻡ ﻭ ﻧﻴﺴﺘﻲ ﺗﻮﺃﻡ ﺍﺳﺖ‪ .‬ﺍﺯﻳﻦ ﺭﻭ ﻫﻤﻮﺍﺭﻩ ﻣﻌﺎﻧﻲ ﻓﻠﺴﻔﺔ ﺧﻴﺎﻡ ﺩﺭ ﻇﺎﻫﺮ ﺩﻋﻮﺕ ﺑﻪ‬
‫ﺧﻮﺷﮕﺬﺭﺍﻧﻲ ﻣﻲﻛﻨﺪ ﺍﻣﺎ ﺩﺭ ﺣﻘﻴﻘﺖ ﻫﻤﻪ ﮔﻞ ﻭ ﺑﻠﺒﻞ‪ ،‬ﺟﺎﻡﻫﺎﻱ ﺷﺮﺍﺏ‪ ،‬ﻛﺸﺘﺰﺍﺭ ﻭ‬
‫ﺗﺼﻮﻳﺮﻫﺎﻱ ﺷﻬﻮﺕﺍﻧﮕﻴﺰ ﺍﻭ ﺟﺰ ﺗﺰﺋﻴﻨﻲ ﺑﻴﺶ ﻧﻴﺴﺖ‪ ،‬ﻣﺜﻞ ﻛﺴﻲﻛﻪ ﺑﺨﻮﺍﻫﺪ ﺧﻮﺩﺵ ﺭﺍ‬
‫ﺑﻜﺸﺪ ﻭ ﻗﺒﻞ ﺍﺯ ﻣﺮﮒ ﺑﻪ ﺗﺠﻤﻞ ﻭ ﻧﺰﻳﻴﻦ ﺍﺗﺎﻕ ﺧﻮﺩﺵ ﺑﭙﺮﺩﺍﺯﺩ‪ .‬ﺍﺯﻳﻦ ﺟﻬﺖ ﺧﻮﺷﻲ ﺍﻭ‬
‫ﺑﻴﺸﺘﺮ ﺗﺄﺛﺮﺁﻭﺭ ﺍﺳﺖ‪ .‬ﺧﻮﺵ ﺑﺎﺷﻴﻢ ﻭ ﻓﺮﺍﻣﻮﺵ ﺑﻜﻨﻴﻢ ﺗﺎ ﺧﻮﻥ‪ ،‬ﺍﻳﻦ ﻣﺎﻳﻊ ﺯﻧﺪﮔﻲ‪ ،‬ﻛﻪ ﺍﺯ‬
‫ﻫﺰﺍﺭﺍﻥ ﺯﺧﻢ ﻣﺎ ﺟﺎﺭﻱ ﺍﺳﺖ ﻧﻪ ﺑﻴﻨﻴﻢ!‬

‫ﭼﻮﻥ ﺧﻴﺎﻡ ﺍﺯ ﺟﻮﺍﻧﻲ ﺑﺪﺑﻴﻦ ﻭ ﺩﺭ ﺷﻚ ﺑﻮﺩﻩ ﻭ ﻓﻠﺴﻔﻪ ﻛﻴﻒ ﻭ ﺧﻮﺷﻲ ﺭﺍ ﺩﺭ ﻫﻨﮕﺎﻡ‬

‫ﭘﻴﺮﻱ ﺍﻧﺘﺨﺎﺏ ﻛﺮﺩﻩ ﺑﻪ ﻫﻤﻴﻦ ﻣﻨﺎﺳﺒﺖ ﺧﻮﺷﻲ ﺍﻭ ﺁﻏﺸﺘﻪ ﺑﺎ ﻓﻜﺮ ﻳﺄﺱ ﻭ ﺣﺮﻣﺎﻥ ﺍﺳﺖ‪:‬‬

‫ﭘﻴﻤﺎﻧﺔ ﻋﻤﺮ ﻣﻦ ﺑﻪ ﻫﻔﺘﺎﺩ ﺭﺳﻴﺪ‪،‬‬

‫ﺍﻳﻦ ﺩﻡ ﻧﻜﻨﻢ ﻧﺸﺎﻁ‪ ،‬ﻛﻲ ﺧﻮﺍﻫﻢ ﻛﺮﺩ؟ )‪(١٤١‬‬

‫ﺍﻳﻦ ﺗﺮﺍﻧﻪ ﻛﻪ ﻇﺎﻫﺮﹰﺍ ﻟﺤﻦ ﻳﻚﻧﻔﺮ ﺭﻧﺪ ﻛﺎﺭﻛﺸﺘﻪ ﻭ ﻋﻴﺎﺵ ﺭﺍ ﺩﺍﺭﺩ ﻛﻪ ﺍﺯ ﻫﻤﻪ ﭼﻴﺰ ﺑﻴﺰﺍﺭ‬
‫ﻭ ﺯﺩﻩ ﺷﺪﻩ ﻭ ﺯﻧﺪﮔﻲ ﺭﺍ ﻣﻲﭘﺮﺳﺘﺪ ﻭ ﻧﻔﺮﻳﻦ ﻣﻲ ﻛﻨﺪ‪ ،‬ﺩﺭ ﺣﻘﻴﻘﺖ ﺷﺘﺎﺏ ﻭ ﺭﻏﺒﺖ ﺑﻪ‬
‫ﺑﺎﺩﻩ ﮔﺴﺎﺭﻱ ﺩﺭ ﺳﻦ ﻫﻔﺘﺎﺩ ﺳﺎﻟﮕﻲ ﺍﻳﻦ ﺭﺑﺎﻋﻲ ﺭﺍ ﺑﻴﺶ ﺍﺯ ﺭﺑﺎﻋﻴﺎﺕ ﺑﺪﺑﻴﻨﻲ ﺍﻭ ﻏﻢﺍﻧﮕﻴﺰ‬
‫ﻣﻲﻛﻨﺪ ﻭ ﻛﺎﻣﻼ ﻓﻜﺮ ﻳﻚﻧﻔﺮ ﻓﻴﻠﺴﻮﻑ ﻣﺎﺩﻱ ﺭﺍ ﻧﺸﺎﻥ ﻣﻲﺩﻫﺪ ﻛﻪ ﺁﺧﺮﻳﻦ ﺩﻗﺎﻳﻖ ﻋﻤﺮ‬
‫ﺧﻮﺩ ﺭﺍ ﺩﺭ ﻣﻘﺎﺑﻞ ﻓﻨﺎﻱ ﻣﺤﺾ ﻣﻲﺧﻮﺍﻫﺪ ﺩﺭﻳﺎﺑﺪ!‬

‫ﻧﺸﺮ ﺗﺪﺑﻴﺮ‬
‫‪36‬‬ ‫ﺗﺮاﻧﻪ هﺎی ﺧﻴﺎم‬

‫ﺭﻭﻱ ﺗﺮﺍﻧﻪﻫﺎﻱ ﺧﻴﺎﻡ ﺑﻮﻱ ﻏﻠﻴﻆ ﺷﺮﺍﺏ ﺳﻨﮕﻴﻨﻲ ﻣﻲﻛﻨﺪ ﻭ ﻣﺮﮒ ﺍﺯ ﻻﻱ ﺩﻧﺪﺍﻥﻫﺎﻱ‬
‫ﻛﻠﻴﺪ ﺷﺪﻩﺍﺵ ﻣﻲﮔﻮﻳﺪ‪» :‬ﺧﻮﺵ ﺑﺎﺷﻴﻢ!«‬

‫ﻣﻮﺿﻮﻉ ﺷﺮﺍﺏ ﺩﺭ ﺭﺑﺎﻋﻴﺎﺕ ﺧﻴﺎﻡ ﻣﻘﺎﻡ ﺧﺎﺻﻲ ﺩﺍﺭﺩ‪ .‬ﺍﮔﺮ ﭼﻪ ﺧﻴﺎﻡ ﻣﺎﻧﻨﺪ ﺍﺑﻦ ﺳﻴﻨﺎ ﺩﺭ‬
‫ﺧﻮﺭﺩﻥ ﺷﺮﺍﺏ ﺯﻳﺎﺩﻩﺭﻭﻱ ﻧﻤﻲﻛﺮﺩﻩ ﻭﻟﻲ ﺩﺭ ﻣﺪﺡ ﺁﻧﺎﻥ ﺗﺎ ﺍﻧﺪﺍﺯﻩﺍﻱ ﺍﻏﺮﺍﻕ ﻣﻲﮔﻮﻳﺪ‪.‬‬
‫ﺷﺎﻳﺪ ﺑﻴﺸﺘﺮ ﻣﻘﺼﻮﺩﺵ ﻣﺪﺡ ﻣﻨﻬﻴﺎﺕ ﻣﺬﻫﺒﻲ ﺍﺳﺖ‪ .‬ﻭﻟﻲ ﺩﺭ »ﻧﻮﺭﻭﺯﻧﺎﻣﻪ« ﻳﻚ ﻓﺼﻞ‬
‫ﻛﺘﺎﺏ ﻣﺨﺼﻮﺹ ﻣﻨﺎﻓﻊ ﺷﺮﺍﺏ ﺍﺳﺘﺖ ﻭ ﻧﻮﻳﺴﻨﺪﻩ ﺍﺯ ﺭﻭﻱ ﺗﺠﺮﺑﻴﺎﺕ ﺩﻳﮕﺮﺍﻥ ﻭ ﺁﺯﻣﺎﻳﺶ‬
‫ﺷﺨﺼﻲ ﻣﻨﺎﻓﻊ ﺷﺮﺍﺏ ﺭﺍ ﺷﺮﺡ ﻣﻲﺩﻫﺪ ﻭ ﺩﺭ ﺁﻧﺠﺎ ﺍﺳﻢ ﺑﻮﻋﻠﻲ ﺳﻴﻨﺎ ﻭ ﻣﺤﻤﺪ ﺯﻛﺮﻳﺎﻱ‬
‫ﺭﺍﺯﻱ ﺭﺍ ﺫﻛﺮ ﻣﻲﻛﻨﺪ )ﺹ ‪ (٦٠‬ﻣﻲﮔﻮﻳﺪ‪» :‬ﻫﻴﭻ ﭼﻴﺰ ﺩﺭ ﺗﻦ ﻣﺮﺩﻡ ﻧﺎﻓﻊﺗﺮ ﺍﺯ ﺷﺮﺍﺏ‬
‫ﻧﻴﺴﺖ‪ ،‬ﺧﺎﺻﻪ ﺷﺮﺍﺏ ﺍﻧﮕﻮﺭﻱ ﺗﻠﺦ ﻭ ﺻﺎﻓﻲ‪ ،‬ﺧﺎﺻﻴﺘﺶ ﺁﻧﺴﺖ ﻛﻪ ﻏﻢ ﺭﺍ ﺑﺒﺮﺩ ﻭ ﺩﻝ ﺭﺍ‬
‫ﺧﺮﻡ ﻛﻨﺪ‪) «.‬ﺹ ‪ . . .» :(٧٠‬ﻫﻤﻪ ﺩﺍﻧﺎﻳﺎﻥ ﻣﺘﻔﻖ ﮔﺸﺘﻨﺪ ﻛﻪ ﻫﻴﭻ ﻧﻌﻤﺘﻲ ﺑﻬﺘﺮ ﻭ ﺑﺰﺭﮔﻮﺍﺭﺗﺮ‬
‫ﺍﺯ ﺷﺮﺍﺏ ﻧﻴﺴﺖ‪) «.‬ﺹ ‪ . . .» :(٦١‬ﻭ ﺩﺭ ﺑﻬﺸﺖ ﻧﻌﻤﺖ ﺑﺴﻴﺎﺭ ﺍﺳﺖ ﻭ ﺷﺮﺍﺏ ﺑﻬﺘﺮﻳﻦ‬
‫ﻧﻌﻤﺘﻬﺎﺀ ﺑﻬﺸﺖ ﺍﺳﺖ‪ «.‬ﺁﻳﺎ ﻣﻲﺗﻮﺍﻧﻴﻢ ﺑﺎﻭﺭ ﻛﻨﻴﻢ ﻛﻪ ﻧﻮﻳﺴﻨﺪﻩ ﺍﻳﻦ ﺟﻤﻠﻪ ﺭﺍ ﺍﺯ ﺭﻭﻱ ﺍﻳﻤﺎﻥ‬
‫ﻧﻮﺷﺘﻪ ﺩﺭ ﺻﻮﺭﺗﻲﻛﻪ ﺑﺎ ﺗﻤﺴﺨﺮ ﻣﻲﮔﻮﻳﺪ‪:‬‬

‫ﮔﻮﻳﻨﺪ‪ :‬ﺑﻬﺸﺖ ﻭ ﺣﻮﺽ ﻛﻮﺛﺮ ﺑﺎﺷﺪ! )‪(٨٩‬‬

‫ﻭﻟﻲ ﺩﺭ ﺭﺑﺎﻋﻴﺎﺕ‪ ،‬ﺷﺮﺍﺏ ﺑﺮﺍﻱ ﻓﺮﻭ ﻧﺸﺎﻧﺪﻥ ﻏﻢ ﻭ ﺍﻧﺪﻭﻩ ﺯﻧﺪﮔﻲ ﺍﺳﺖ‪ .‬ﺧﻴﺎﻡ ﭘﻨﺎﻩ ﺑﻪ ﺟﺎﻡ‬
‫ﺑﺎﺩﻩ ﻣﻲ ﺑﺮﺩ ﻭ ﺑﺎ ﻣﻲ ﺍﺭﻏﻮﺍﻧﻲ ﻣﻲﺧﻮﺍﻫﺪ ﺁﺳﺎﻳﺶ ﻓﻜﺮﻱ ﻭ ﻓﺮﺍﻣﻮﺷﻲ ﺗﺤﺼﻴﻞ ﺑﻜﻨﺪ‪.‬‬
‫ﺧﻮﺵ ﺑﺎﺷﻴﻢ‪ ،‬ﻛﻴﻒ ﺑﻜﻨﻴﻢ‪ ،‬ﺍﻳﻦ ﺯﻧﺪﮔﻲ ﻣﺰﺧﺮﻑ ﺭﺍ ﻓﺮﺍﻣﻮﺵ ﺑﻜﻨﻴﻢ‪ .‬ﻣﺨﺼﻮﺻﹰﺎ‬
‫ﻓﺮﺍﻣﻮﺵ ﺑﻜﻨﻴﻢ‪ ،‬ﭼﻮﻥ ﺩﺭ ﻣﺠﺎﻟﺲ ﻋﻴﺶ ﻣﺎ ﻳﻚ ﺳﺎﻳﺔ ﺗﺮﺳﻨﺎﻙ ﺩﻭﺭ ﻣﻲﺯﻧﺪ‪ .‬ـ ﺍﻳﻦ‬
‫ﺳﺎﻳﻪ ﻣﺮﮒ ﺍﺳﺖ‪ ،‬ﻛﻮﺯﻩ ﺷﺮﺍﺏ ﻟﺒﺶ ﺭﺍ ﻛﻪ ﺑﻪ ﻟﺐ ﻣﺎ ﻣﻲﮔﺬﺍﺭﺩ ﺁﻫﺴﺘﻪ ﺑﻐﻞ ﮔﻮﺷﻤﺎﻥ‬

‫ﻧﺸﺮ ﺗﺪﺑﻴﺮ‬
‫‪37‬‬ ‫ﺗﺮاﻧﻪ هﺎی ﺧﻴﺎم‬

‫ﻣﻲﮔﻮﻳﺪ‪ :‬ﻣﻦﻫﻢ ﺭﻭﺯﻱ ﻣﺜﻞ ﺗﻮ ﺑﻮﺩﻩﺍﻡ‪ ،‬ﭘﺲ ﺭﻭﺡ ﻟﻄﻴﻒ ﺑﺎﺩﻩ ﺭﺍ ﺑﻨﻮﺵ ﺗﺎ ﺯﻧﺪﮔﻲ ﺭﺍ‬
‫ﻓﺮﺍﻣﻮﺵ ﺑﻜﻨﻲ!‬

‫ﺑﻨﻮﺷﻴﻢ‪ ،‬ﺧﻮﺵ ﺑﺎﺷﻴﻢ‪ .‬ﭼﻪ ﻣﺴﺨﺮﻩ ﻏﻤﻨﺎﻛﻲ! ﻛﻴﻒ؟ ﺯﻥ‪ ،‬ﻣﻌﺸﻮﻕ ﺩﻣﺪﻣﻲ‪ .‬ﺑﺰﻧﻴﻢ‪،‬‬
‫ﺑﺨﻮﺍﻧﻴﻢ‪ ،‬ﺑﻨﻮﺷﻴﻢ ﻛﻪ ﻓﺮﺍﻣﻮﺵ ﺑﻜﻨﻴﻢ ﭘﻴﺶ ﺍﺯ ﺁﻥﻛﻪ ﺍﻳﻦ ﺳﺎﻳﺔ ﺗﺮﺳﻨﺎﻙ ﮔﻠﻮﻱ ﻣﺎ ﺭﺍ ﺩﺭ‬
‫ﭼﻨﮕﺎﻝ ﺍﺳﺘﺨﻮﺍﻧﻴﺶ ﺑﻔﺸﺎﺭﺩ‪ .‬ﻣﻴﺎﻥ ﺫﺭﺍﺕ ﺗﻦ ﺩﻳﮕﺮﺍﻥ ﻛﻴﻒ ﺑﻜﻨﻴﻢ ﻛﻪ ﺫﺭﺍﺕ ﺗﻦ ﻣﺎ ﺭﺍ‬
‫ﺻﺪﺍ ﻣﻲﺯﻧﻨﺪ ﻭ ﺩﻋﻮﺕ ﺑﻪ ﻧﻴﺴﺘﻲ ﻣﻲﻛﻨﻨﺪ ﻭ ﻣﺮﮒ ﺑﺎ ﺧﻨﺪﻩ ﭼﻨﺪﺵﺍﻧﮕﻴﺰﺵ ﺑﻪ ﻣﺎ‬
‫ﻣﻲﺧﻨﺪﺩ‪.‬‬

‫ﺯﻧﺪﮔﻲ ﻳﻜﺪﻡ ﺍﺳﺖ‪ .‬ﺁﻥ ﺩﻡ ﺭﺍ ﻓﺮﺍﻣﻮﺵ ﺑﻜﻨﻴﻢ!‬

‫ﻣﻲ ﺧﻮﺭ ﻛﻪ ﭼﻨﻴﻦ ﻋﻤﺮ ﻛﻪ ﻏﻢ ﺩﺭ ﭘﻲ ﺍﻭﺳﺖ‪،‬‬

‫ﺁﻥ ﺑﻪ ﻛﻪ ﺑﺨﻮﺍﺏ ﻳﺎ ﺑﻤﺴﺘﻲ ﮔﺬﺭﺩ! )‪(١٤٣‬‬

‫ﻧﺸﺮ ﺗﺪﺑﻴﺮ‬
‫‪38‬‬ ‫ﺗﺮاﻧﻪ هﺎی ﺧﻴﺎم‬

‫ﺧﻴﺎم ﺷﺎﻋﺮ‬

‫ﺁﻧﭽﻪ ﻛﻪ ﺍﺟﻤﺎﻻ ﺍﺷﺎﺭﻩ ﺷﺪ ﻧﺸﺎﻥ ﻣﻲﺩﻫﺪ ﻛﻪ ﻧﻔﻮﺫ ﻓﻜﺮ‪ ،‬ﺁﻫﻨﮓ ﺩﻟﻔﺮﻳﺐ‪ ،‬ﻧﻈﺮ‬
‫ﻣﻮﺷﻜﺎﻑ‪ ،‬ﻭﺳﻌﺖ ﻗﺮﻳﺤﻪ‪ ،‬ﺯﻳﺒﺎﺋﻲ ﺑﻴﺎﻥ‪ ،‬ﺻﺤﺖ ﻣﻨﻄﻖ‪ ،‬ﺳﺮﺷﺎﺭﻱ ﺗﺸﺒﻴﻬﺎﺕ ﺳﺎﺩﺓ‬
‫ﺑﻲﺣﺸﻮ ﻭ ﺯﻭﺍﺋﺪ ﻭ ﻣﺨﺼﻮﺻﹰﺎ ﻓﻠﺴﻔﻪ ﻭ ﻃﺮﺯ ﻓﻜﺮ ﺧﻴﺎﻡ ﻛﻪ ﺑﻪ ﺁﻫﻨﮓﻫﺎﻱ ﮔﻮﻧﺎﮔﻮﻥ‬
‫ﮔﻮﻳﺎﺳﺖ ﻭ ﺑﺎ ﺭﻭﺡ ﻫﺮ ﻛﺲ ﺣﺮﻑ ﻣﻲﺯﻧﺪ ﺩﺭ ﻣﻴﺎﻥ ﻓﻼﺳﻔﻪ ﻭ ﺷﻌﺮﺍﻱ ﺧﻴﻠﻲ ﻛﻤﻴﺎﺏ‬
‫ﻣﻘﺎﻡ ﺍﺭﺟﻤﻨﺪ ﻭ ﺟﺪﺍﮔﺎﻧﻪﺍﻱ ﺑﺮﺍﻱ ﺍﻭ ﺍﺣﺮﺍﺯ ﻣﻲﻛﻨﺪ‪.‬‬

‫ﺭﺑﺎﻋﻲ ﻛﻮﭼﻜﺘﺮﻳﻦ ﻭﺯﻥ ﺷﻌﺮﻱ ﺍﺳﺖ ﻛﻪ ﺍﻧﻌﻜﺎﺱ ﻓﻜﺮ ﺷﺎﻋﺮ ﺭﺍ ﺑﺎ ﻣﻌﻨﻲ ﺗﻤﺎﻡ ﺑﺮﺳﺎﻧﺪ‪.‬‬
‫)ﺩﺭ ﻛﺘﺎﺏ ﻛﺮﻳﺴﺘﻨﺴﻦ ﺭﺍﺟﻊ ﺑﻪ ﺭﺑﺎﻋﻴﺎﺕ ﺧﻴﺎﻡ )ﺹ ‪ (٩٠‬ﻧﻮﺷﺘﻪ ﻛﻪ ﺭﺑﺎﻋﻲ ﻭﺯﻥ ﺷﻌﺮﻱ‬
‫ﻛﺎﻣﻼ ﺍﻳﺮﺍﻧﻲ ﺍﺳﺖ ﻭ ﺑﻪ ﻋﻘﻴﺪﺓ ﻫﺎﺭﺗﻤﺎﻥ ﺭﺑﺎﻋﻲ ﺗﺮﺍﻧﻪ ﻧﺎﻣﻴﺪﻩ ﻣﻲﺷﺪﻩ ﻭ ﺍﻏﻠﺐ ﺑﻪ ﺁﻭﺍﺯ‬
‫ﻣﻲﺧﻮﺍﻧﺪﻩﺍﻧﺪ‪.‬‬

‫ﺑﺮﺳﺎﺯ ﺗﺮﺍﻧﻪﺍﻱ ﻭ ﭘﻴﺶﺁﻭﺭ ﻣﻲ‪(١١٦) .‬‬

‫ﺑﻌﺪﻫﺎ ﺍﻋﺮﺍﺏ ﺍﻳﻦ ﻭﺯﻥ ﺭﺍ ﺍﺯ ﻓﺎﺭﺳﻲ ﺗﻘﻠﻴﺪ ﻛﺮﺩﻧﺪ‪ ،‬ﺍﻳﻦ ﻋﻘﻴﺪﻩ ﺭﺍ ﻻﺑﺪ ﻫﺎﺭﺗﻤﺎﻥ ﺍﺯ‬
‫ﺧﻮﺍﻧﺪﻥ ﮔﻔﺘﺔ ﺷﻤﺲ ﻗﻴﺲ ﺭﺍﺯﻱ ﺭﺍﺟﻊ ﺑﻪ ﺭﺑﺎﻋﻲ ﭘﻴﺪﺍ ﻛﺮﺩﻩ‪(.‬‬

‫ﻫﺮ ﺷﺎﻋﺮﻱ ﺧﻮﺩﺵ ﺭﺍ ﻣﻮﻇﻒ ﺩﺍﻧﺴﺘﻪ ﻛﻪ ﺩﺭ ﺟﺰﻭ ﺍﺷﻌﺎﺭﺵ ﻛﻢ ﻭ ﺑﻴﺶ ﺭﺑﺎﻋﻲ ﺑﮕﻮﻳﺪ‪.‬‬
‫ﻭﻟﻲ ﺧﻴﺎﻡ ﺭﺑﺎﻋﻲ ﺭﺍ ﺑﻪ ﻣﻨﺘﻬﺎ ﺩﺭﺟﺔ ﺍﻋﺘﺒﺎﺭ ﻭ ﺍﻫﻤﻴﺖ ﺭﺳﺎﻧﻴﺪﻩ ﻭ ﺍﻳﻦ ﻭﺯﻥ ﻣﺨﺘﺼﺮ ﺭﺍ‬
‫ﺍﻧﺘﺨﺎﺏ ﻛﺮﺩﻩ‪ ،‬ﺩﺭ ﺻﻮﺭﺗﻲﻛﻪ ﺍﻓﻜﺎﺭ ﺧﻮﺩﺵ ﺭﺍ ﺩﺭ ﻧﻬﺎﻳﺖ ﺯﺑﺮﺩﺳﺘﻲ ﺩﺭ ﺁﻥ ﮔﻨﺠﺎﻧﻴﺪﻩ‬
‫ﺍﺳﺖ‪.‬‬

‫ﻧﺸﺮ ﺗﺪﺑﻴﺮ‬
‫‪39‬‬ ‫ﺗﺮاﻧﻪ هﺎی ﺧﻴﺎم‬

‫ﺗﺮﺍﻧﻪﻫﺎﻱ ﺧﻴﺎﻡ ﺑﻪ ﻗﺪﺭﻱ ﺳﺎﺩﻩ‪ ،‬ﻃﺒﻴﻌﻲ ﻭ ﺑﻪ ﺯﺑﺎﻥ ﺩﻟﭽﺴﺐ ﺍﺩﺑﻲ ﻭ ﻣﻌﻤﻮﻟﻲ ﮔﻔﺘﻪ ﺷﺪﻩ‬
‫ﻛﻪ ﻫﺮ ﻛﺴﻲ ﺭﺍ ﺷﻴﻔﺘﻪ ﺁﻫﻨﮓ ﻭ ﺗﺸﺒﻴﻬﺎﺕ ﻗﺸﻨﮓ ﺁﻥ ﻣﻲﻧﻤﺎﻳﺪ‪ ،‬ﻭ ﺍﺯ ﺑﻬﺘﺮﻳﻦ ﻧﻤﻮﻧﻪﻫﺎﻱ‬
‫ﺷﻌﺮ ﻓﺎﺭﺳﻲ ﺑﻪ ﺷﻤﺎﺭ ﻣﻲﺁﻳﺪ‪ .‬ﺧﻴﺎﻡ ﻗﺪﺭﺕ ﺍﺩﺍﻱ ﻣﻄﻠﺐ ﺭﺍ ﺑﻪ ﺍﻧﺪﺍﺯﻩﺍﻱ ﺭﺳﺎﻧﻴﺪﻩ ﻛﻪ‬
‫ﮔﻴﺮﻧﺪﮔﻲ ﻭ ﺗﺄﺛﻴﺮ ﺁﻥ ﺣﺘﻤﻲ ﺍﺳﺖ ﻭ ﺍﻧﺴﺎﻥ ﺑﻪ ﺣﻴﺮﺕ ﻣﻲﺍﻓﺘﺪ ﻛﻪ ﻳﻚ ﻋﻘﻴﺪﻩ ﻓﻠﺴﻔﻲ‬
‫ﻣﻬﻤﻲ ﭼﮕﻮﻧﻪ ﻣﻤﻜﻦ ﺍﺳﺖ ﺩﺭ ﻗﺎﻟﺐ ﻳﻚ ﺭﺑﺎﻋﻲ ﺑﮕﻨﺠﺪ ﻭ ﭼﮕﻮﻧﻪ ﻣﻲﺗﻮﺍﻥ ﭼﻨﺪ‬
‫ﺭﺑﺎﻋﻲ ﮔﻔﺖ ﻛﻪ ﺍﺯ ﻫﺮ ﻛﺪﺍﻡ ﻳﻚ ﻓﻜﺮ ﻭ ﻓﻠﺴﻔﺔ ﻣﺴﺘﻘﻞ ﻣﺸﺎﻫﺪﻩ ﺑﺸﻮﺩ ﻭ ﺩﺭ ﻋﻴﻦ ﺣﺎﻝ‬
‫ﺑﺎ ﻫﻢ ﻫﻢﺁﻫﻨﮓ ﺑﺎﺷﺪ‪ .‬ﺍﻳﻦ ﻛﺸﺶ ﻭ ﺩﻟﺮﺑﺎﺋﻲ ﻓﻜﺮ ﺧﻴﺎﻡ ﺍﺳﺖ ﻛﻪ ﺗﺮﺍﻧﻪﻫﺎﻱ ﺍﻭ ﺭﺍ ﺩﺭ‬
‫ﺩﻧﻴﺎ ﻣﺸﻬﻮﺭ ﻛﺮﺩﻩ‪ ،‬ﻭﺯﻥ ﺳﺎﺩﻩ ﻭ ﻣﺨﺘﺼﺮ ﺷﻌﺮﻱ ﺧﻴﺎﻡ ﺧﻮﺍﻧﻨﺪﻩ ﺭﺍ ﺧﺴﺘﻪ ﻧﻤﻲﻛﻨﺪ ﻭ ﺑﻪ ﺍﻭ‬
‫ﻓﺮﺻﺖ ﻓﻜﺮ ﻣﻲﺩﻫﺪ‪.‬‬

‫ﺧﻴﺎﻡ ﺩﺭ ﺷﻌﺮ ﭘﻴﺮﻭﻱ ﺍﺯ ﻫﻴﭻﻛﺲ ﻧﻤﻲﻛﻨﺪ‪ .‬ﺯﺑﺎﻥ ﺳﺎﺩﺓ ﺍﻭ ﺑﻪ ﻫﻤﻪ ﺍﺳﺮﺍﺭ ﺻﻨﻌﺖ ﺧﻮﺩﺵ‬
‫ﻛﺎﻣﻼ ﺁﮔﺎﻩ ﺍﺳﺖ ﻭ ﺑﺎ ﻛﻤﺎﻝ ﺍﻳﺠﺎﺯ‪ ،‬ﺑﻪ ﺑﻬﺘﺮﻳﻦ ﻃﺮﺯﻱ ﺷﺮﺡ ﻣﻲﺩﻫﺪ‪ .‬ﺩﺭ ﻣﻴﺎﻥ ﻣﺘﻔﻜﺮﻳﻦ‬
‫ﻭ ﺷﻌﺮﺍﻱ ﺍﻳﺮﺍﻧﻲ ﻛﻪ ﺑﻌﺪ ﺍﺯ ﺧﻴﺎﻡ ﺁﻣﺪﻩﺍﻧﺪ‪ ،‬ﺑﺮﺧﻲ ﺍﺯ ﺁﻥﻫﺎ ﺑﻪ ﺧﻴﺎﻝ ﺍﻓﺘﺎﺩﻩﺍﻧﺪ ﻛﻪ ﺳﺒﻚ‬
‫ﺍﻭ ﺭﺍ ﺗﻌﻘﻴﺐ ﺑﻜﻨﻨﺪ ﻭ ﺍﺯ ﻣﺴﻠﻚ ﺍﻭ ﭘﻴﺮﻭﻱ ﺑﻨﻤﺎﻳﻨﺪ‪ ،‬ﻭﻟﻲ ﻫﻴﭻﻛﺪﺍﻡ ﺍﺯ ﺁﻥﻫﺎ ﻧﺘﻮﺍﻧﺴﺘﻪﺁﻧﺪ‬
‫ﺑﻪ ﺳﺎﺩﮔﻲ ﻭ ﺑﻪ ﺑﺰﺭﮔﻲ ﻓﻜﺮ ﺧﻴﺎﻡ ﺑﺮﺳﻨﺪ‪ .‬ﺯﻳﺮﺍ ﺑﻴﺎﻥ ﻇﺮﻳﻒ ﻭ ﺑﻲﻣﺎﻧﻨﺪ ﺍﻭ ﺑﺎ ﺁﻫﻨﮓ‬
‫ﺳﻠﻴﺲ ﻣﺠﺎﺯﻱ ﻛﻨﺎﻳﻪﺩﺍﺭ ﺍﻭ ﻣﺨﺼﻮﺹ ﺑﻪ ﺧﻮﺩﺵ ﺍﺳﺖ‪ .‬ﺧﻴﺎﻡ ﻗﺎﺩﺭ ﺍﺳﺖ ﻛﻪ ﺍﻟﻔﻆ ﺭﺍ‬
‫ﻣﻮﺍﻓﻖ ﻓﻜﺮ ﻭ ﻣﻘﺼﻮﺩ ﺧﻮﺩﺵ ﺍﻧﺘﺨﺎﺏ ﺑﻜﻨﺪ‪ .‬ﺷﻌﺮﺵ ﺑﺎ ﻳﻚ ﺁﻫﻨﮓ ﻟﻄﻴﻒ ﻭ ﻃﺒﻴﻌﻲ‬
‫ﺟﺎﺭﻱ ﻭ ﺑﻲﺗﻜﻠﻒ ﺍﺳﺖ‪ ،‬ﺗﺸﺒﻴﻬﺎﺕ ﻭ ﺍﺳﺘﻌﺎﺭﺍﺗﺶ ﻳﻚ ﻇﺮﺍﻓﺖ ﺳﺎﺩﻩ ﻭ ﻃﺒﻴﻌﻲ ﺩﺍﺭﺩ‪.‬‬

‫ﻃﺮﺯ ﺑﻴﺎﻥ‪ ،‬ﻣﺴﻠﻚ ﻭ ﻓﻠﺴﻔﺔ ﺧﻴﺎﻡ ﺗﺄﺛﻴﺮ ﻣﻬﻤﻲ ﺩﺭ ﺍﺩﺑﻴﺎﺕ ﻓﺎﺭﺳﻲ ﻛﺮﺩﻩ ﻣﻴﺪﺍﻥ ﻭﺳﻴﻌﻲ‬
‫ﺑﺮﺍﻱ ﺟﻮﻻﻥ ﻓﻜﺮ ﺩﻳﮕﺮﺍﻥ ﺗﻬﻴﻪ ﻧﻤﻮﺩﻩ ﺍﺳﺖ‪ .‬ﺣﺘﻲ ﺣﺎﻓﻆ ﻭ ﺳﻌﺪﻱ ﺩﺭ ﻧﺸﺌﺎﺕ ﺫﺭﻩ‪،‬‬
‫ﻧﺎﭘﺎﻳﺪﺍﺭﻱ ﺩﻧﻴﺎ‪ ،‬ﻏﻨﻴﻤﺖ ﺷﻤﺮﺩﻥ ﺩﻡ ﻭ ﻣﻲ ﭘﺮﺳﺘﻲ ﺍﺷﻌﺎﺭﻱ ﺳﺮﻭﺩﻩﺍﻧﺪ ﻛﻪ ﺗﻘﻠﻴﺪ ﻣﺴﺘﻘﻴﻢ‬

‫ﻧﺸﺮ ﺗﺪﺑﻴﺮ‬
‫‪40‬‬ ‫ﺗﺮاﻧﻪ هﺎی ﺧﻴﺎم‬

‫ﺍﺯ ﺍﻓﻜﺎﺭ ﺧﻴﺎﻡ ﺍﺳﺖ‪ .‬ﻭﻟﻲ ﻫﻴﭻﻛﺪﺍﻡ ﻧﺘﻮﺍﻧﺴﺘﻪﺍﻧﺪ ﺩﺭﻳﻦ ﻗﺴﻤﺖ ﺑﻪ ﻣﺮﺗﺒﺔ ﺧﻴﺎﻡ ﺑﺮﺳﻨﺪ‪.‬‬
‫ﻣﺜﻼ ﺳﻌﺪﻱ ﻣﻲﮔﻮﻳﺪ‪:‬‬

‫ﺑﺨﺎﻙ ﺑﺮ ﻣﺮﻭ ﺍﻱ ﺁﺩﻣﻲ ﺑﻪ ﻧﺨﻮﺕ ﻭ ﻧﺎﺯ‪،‬‬

‫ﻛﻪ ﺯﻳﺮ ﭘﺎﻱ ﺗﻮ ﻫﻤﭽﻮﻥ ﺗﻮ ﺁﺩﻣﻴﺰﺍﺩ ﺍﺳﺖ‪(٦٣) .‬‬

‫ﻋﺠﺐ ﻧﻴﺴﺖ ﺍﺯ ﺧﺎﻙ ﺍﮔﺮ ﮔﻞ ﺷﻜﻔﺖ‪،‬‬

‫ﻛﻪ ﭼﻨﺪﻳﻦ ﮔﻞ ﺍﻧﺪﺍﻡ ﺩﺭ ﺧﺎﻙ ﺧﻔﺖ! )‪(٥٨‬‬

‫ﺳﻌﺪﻳﺎ ﺩﻱ ﺭﻓﺖ ﻭ ﻓﺮﺩﺍ ﻫﻤﭽﻨﺎﻥ ﻣﻮﺟﻮﺩ ﻧﻴﺴﺖ‪.‬‬

‫ﺩﺭﻣﻴﺎﻥ ﺍﻳﻦ ﻭ ﺁﻥ ﻓﺮﺻﺖ ﺷﻤﺎﺭ ﺍﻣﺮﻭﺯ ﺭﺍ‪(١٢٠) .‬‬

‫ﻭ ﺩﺭﻳﻦ ﺍﺷﻌﺎﺭ ﺣﺎﻓﻆ‪:‬‬

‫ﭼﻨﻴﻦ ﻛﻪ ﺑﺮ ﺩﻝ ﻣﻦ ﺩﺍﻍ ﺯﻟﻒ ﺳﺮﻛﺶ ﺗﺴﺖ‪،‬‬

‫ﺑﻨﻔﺸﻪﺯﺍﺭ ﺷﻮﺩ ﺗﺮﺑﺘﻢ ﭼﻮ ﺩﺭ ﮔﺬﺭﻡ‪(٦٣) .‬‬

‫ﻫﺮ ﻭﻗﺖ ﺧﻮﺵ ﻛﻪ ﺩﺳﺖ ﺩﻫﺪ ﻣﻐﺘﻨﻢ ﺷﻤﺎﺭ‪،‬‬

‫ﻛﺲ ﺭﺍ ﻭﻗﻮﻑ ﻧﻴﺴﺖ ﻛﻪ ﺍﻧﺠﺎﻡ ﻛﺎﺭ ﭼﻴﺴﺖ! )‪(١١٢‬‬

‫ﺭﻭﺯﻱ ﻛﻪ ﭼﺮﺥ ﺍﺯ ﮔﻞ ﻣﺎ ﻛﻮﺯﻩﻫﺎ ﻛﻨﺪ‪،‬‬

‫ﺯﻧﻬﺎﺭ ﻛﺎﺳﺔ ﺳﺮ ﻣﺎ ﭘﺮ ﺷﺮﺍﺏ ﻛﻦ‪(٦٦) .‬‬

‫ﻧﺸﺮ ﺗﺪﺑﻴﺮ‬
‫‪41‬‬ ‫ﺗﺮاﻧﻪ هﺎی ﺧﻴﺎم‬

‫ﻛﻪ ﻫﺮ ﭘﺎﺭﻩ ﺧﺸﺘﻲ ﻛﻪ ﺑﺮ ﻣﻨﻈﺮﻳﺴﺖ‪،‬‬

‫ﺳﺮ ﻛﻴﻘﺒﺎﺩﻱ ﻭ ﺍﺳﻜﻨﺪﺭﻳﺴﺖ! )‪(١٠٩‬‬

‫ﻗﺪﺡ ﺑﺸﺮﻁ ﺍﺩﺏ ﮔﻴﺮ ﺯﺍﻧﻜﻪ ﺗﺮﻛﻴﺒﺶ‪،‬‬

‫ﺯ ﻛﺎﺳﺔ ﺳﺮ ﺟﻤﺸﻴﺪ ﻭ ﺑﻬﻤﻦ ﺍﺳﺖ ﻭ ﻗﺒﺎﺩ‪(٧٠) .‬‬

‫ﺣﺎﻓﻆ ﻭ ﻣﻮﻟﻮﻱ ﻭ ﺑﻌﻀﻲ ﺍﺯ ﺷﻌﺮﺍﻱ ﻣﺘﻔﻜﺮ ﺩﻳﮕﺮ ﺍﮔﺮ ﭼﻪ ﺍﻳﻦ ﺷﻮﺭﺵ ﻭ ﺭﺷﺎﺩﺕ ﻓﻜﺮ‬
‫ﺧﻴﺎﻡ ﺭﺍ ﺣﺲ ﻛﺮﺩﻩﺍﻧﺪ ﻭ ﮔﺎﻫﻲ ﺷﻠﺘﺎﻕ ﺁﻭﺭﺩﻩﺍﻧﺪ‪ ،‬ﻭﻟﻲ ﺑﻘﺪﺭﻱ ﻣﻄﺎﻟﺐ ﺧﻮﺩﺷﺎﻥ ﺭﺍ ﺯﻳﺮ‬
‫ﺟﻤﻼﺕ ﻭ ﺗﺸﺒﻴﻬﺎﺕ ﻭ ﻛﻨﺎﻳﺎﺕ ﺍﻏﺮﺍﻕﺁﻣﻴﺰ ﭘﻮﺷﺎﻧﻴﺪﻩﺍﻧﺪ ﻛﻪ ﻣﻤﻜﻦ ﺍﺳﺖ ﺁﻧﺮﺍ ﺑﻪ ﺻﺪ‬
‫ﮔﻮﻧﻪ ﺗﻌﺒﻴﺮ ﻭ ﺗﻔﺴﻴﺮ ﻛﺮﺩ‪ .‬ﻣﺨﺼﻮﺻﹰﺎ ﺣﺎﻓﻆ ﻛﻪ ﺧﻴﻠﻲ ﺍﺯ ﺍﻓﻜﺎﺭ ﺧﻴﺎﻡ ﺍﻟﻬﺎﻡ ﻳﺎﻓﺘﻪ ﻭ‬
‫ﺗﺸﺒﻴﻬﺎﺕ ﺍﻭ ﺭﺍ ﮔﺮﻓﺘﻪ ﺍﺳﺖ‪ .‬ﻣﻲﺗﻮﺍﻥ ﮔﻔﺖ ﺍﻭ ﻳﻜﻲ ﺍﺯ ﺑﻬﺘﺮﻳﻦ ﻭ ﻣﺘﻔﻜﺮﺗﺮﻳﻦ ﭘﻴﺮﻭﺍﻥ‬
‫ﺧﻴﺎﻡ ﺍﺳﺖ‪ .‬ﺍﮔﺮ ﭼﻪ ﺣﺎﻓﻆ ﺧﻴﻠﻲ ﺑﻴﺸﺘﺮ ﺍﺯ ﺧﻴﺎﻡ ﺭﺅﻳﺎ‪ ،‬ﻗﻮﺓ ﺗﺼﻮﺭ ﻭ ﺍﻟﻬﺎﻡ ﺷﺎﻋﺮﺍﻧﻪ ﺩﺍﺷﺘﻪ‬
‫ﻛﻪ ﻣﺮﺑﻮﻁ ﺑﻪ ﺷﻬﻮﺕ ﺗﻨﺪ ﺍﻭ ﻣﻲﺑﺎﺷﺪ‪ ،‬ﻭﻟﻲ ﺍﻓﻜﺎﺭ ﺍﻭ ﺑﻪ ﭘﺎﻱ ﻓﻠﺴﻔﺔ ﻣﺎﺩﻱ ﻭ ﻣﻨﻄﻘﻲ ﺧﻴﺎﻡ‬
‫ﻧﻤﻲﺭﺳﺪ ﻭ ﺷﺮﺍﺏ ﺭﺍ ﺑﺼﻮﺭﺕ ﺍﺳﺮﺍﺭﺁﻣﻴﺰ ﺻﻮﻓﻴﺎﻥ ﺩﺭﺁﻭﺭﺩﻩ‪ .‬ﺩﺭ ﻫﻤﻴﻦ ﻗﺴﻤﺖ ﺣﺎﻓﻆ‬
‫ﺍﺯ ﺧﻴﺎﻡ ﺟﺪﺍ ﻣﻲﺷﻮﺩ‪ .‬ﻣﺜﻼ ﺷﺮﺍﺏ ﺣﺎﻓﻆ ﺍﮔﺮ ﭼﻪ ﺩﺭ ﺑﻌﻀﻲ ﺟﺎﻫﺎ ﺑﻄﻮﺭ ﻭﺍﺿﺢ ﻫﻤﺎﻥ‬
‫ﺁﺏ ﺍﻧﮕﻮﺭ ﺍﺳﺖ‪ ،‬ﻭﻟﻲ ﺑﻪ ﻗﺪﺭﻱ ﺯﻳﺮ ﺍﺻﻄﻼﺣﺎﺕ ﺻﻮﻓﻴﺎﻧﻪ ﭘﻮﺷﻴﺪﻩ ﺷﺪﻩ ﻛﻪ ﺍﺟﺎﺯﺓ‬
‫ﺗﻌﺒﻴﺮ ﺭﺍ ﻣﻲﺩﻫﺪ ﻭ ﻳﻚ ﻧﻮﻉ ﺗﺼﻮﻑ ﻣﻲﺷﻮﺩ ﺍﺯ ﺁﻥ ﺍﺳﺘﻨﺒﺎﻁ ﻛﺮﺩ‪ .‬ﻭﻟﻲ ﺧﻴﺎﻡ ﺍﺣﺘﻴﺎﺝ ﺑﻪ‬
‫ﭘﺮﺩﻩﭘﻮﺷﻲ ﻭ ﺭﻣﺰ ﻭ ﺍﺷﺎﺭﻩ ﻧﺪﺍﺭﺩ‪ ،‬ﺍﻓﻜﺎﺭﺵ ﺭﺍ ﺻﺎﻑ ﻭ ﭘﻮﺳﺖ ﻛﻨﺪﻩ ﻣﻲﮔﻮﻳﺪ‪ .‬ﻫﻤﻴﻦ‬
‫ﻟﺤﻦ ﺻﺎﺩﻩ‪ ،‬ﺑﻲﭘﺮﻭﺍ ﻭ ﺻﺮﺍﺣﺖ ﻟﻬﺠﻪ ﺍﻭ ﺭﺍ ﺍﺯ ﺳﺎﻳﺮ ﺷﻌﺮﺍﻱ ﺁﺯﺍﺩ ﻓﻜﺮ ﻣﺘﻤﺎﻳﺰ ﻣﻲﻛﻨﺪ‪.‬‬

‫ﻣﺜﻼ ﺍﻳﻦ ﺍﺷﻌﺎﺭ ﺣﺎﻓﻆ ﺑﺨﻮﺑﻲ ﺟﻨﺒﺔ ﺻﻮﻓﻲ ﻭ ﺭﺅﻳﺎﻱ ﺷﺪﻳﺪ ﺍﻭ ﺭﺍ ﻣﻲﺭﺳﺎﻧﺪ‪:‬‬

‫ﻧﺸﺮ ﺗﺪﺑﻴﺮ‬
‫‪42‬‬ ‫ﺗﺮاﻧﻪ هﺎی ﺧﻴﺎم‬

‫ﺍﻳﻦﻫﻤﻪ ﻋﻜﺲ ﻣﻲ ﻭ ﻧﻘﺶ ﻭ ﻧﮕﺎﺭﻳﻦ ﻛﻪ ﻧﻤﻮﺩ‪،‬‬

‫ﻳﻚ ﻓﺮﻭﻍ ﺭﺥ ﺳﺎﻗﻲ ﺍﺳﺖ ﻛﻪ ﺩﺭ ﺟﺎﻡ ﺍﻓﺘﺎﺩ‪.‬‬

‫ﻣﺎ ﺩﺭ ﭘﻴﺎﻟﻪ ﻋﻜﺲ ﺭﺥ ﻳﺎﺭ ﺩﻳﺪﻩﺍﻳﻢ‪،‬‬

‫ﺍﻱ ﺑﻲﺧﺒﺮ ﺯ ﻟﺬﺕ ﺷﺮﺏ ﻣﺪﺍﻡ ﻣﺎ‪.‬‬

‫ﺣﺎﻓﻆ ﻧﻴﺰ ﺑﻪ ﺯﻫﺎﺩ ﺣﻤﻠﻪ ﻣﻲﻛﻨﺪ ﻭﻟﻲ ﭼﻘﺪﺭ ﺑﺎ ﺣﻤﻠﺔ ﺧﻴﺎﻡ ﻓﺮﻕ ﺩﺍﺭﺩ‪:‬‬

‫ﺭﺍﺯ ﺩﺭﻭﻥ ﭘﺮﺩﻩ ﺯ ﺭﻧﺪﺍﻥ ﻣﺴﺖ ﭘﺮﺱ‪،‬‬

‫ﻛﺎﻳﻦ ﺣﺎﻝ ﻧﻴﺴﺖ ﺯﺍﻫﺪ ﻋﺎﻟﻲ ﻣﻘﺎﻡ ﺭﺍ‪(٨٥) .‬‬

‫ﺧﻴﻠﻲ ﺑﺎ ﻧﺰﺍﻛﺖﺗﺮ ﻭ ﺗﺮﺳﻮﺗﺮ ﺍﺯ ﺧﻴﺎﻡ ﺑﻪ ﺑﻬﺸﺖ ﺍﺷﺎﺭﻩ ﻣﻲﻛﻨﺪ‪:‬‬

‫ﺑﺎﻍ ﻓﺮﺩﻭﺱ ﻟﻄﻴﻒ ﺍﺳﺖ‪ ،‬ﻭﻟﻴﻜﻦ ﺯﻧﻬﺎﺭ‪،‬‬

‫ﺗﻮ ﻏﻨﻴﻤﺖ ﺷﻤﺮ ﺍﻳﻦ ﺳﺎﻳﺔ ﺑﻴﺪ ﻭ ﻟﺐ ﻛﺸﺖ‪(٨٨) .‬‬

‫ﭼﻘﺪﺭ ﺑﺎ ﺍﺣﺘﻴﺎﻁ ﻭ ﻣﺤﺎﻓﻈﻪﻛﺎﺭﻱ ﺑﻪ ﺟﻨﮓ ﺻﺎﻧﻊ ﻣﻲﺭﻭﺩ‪:‬‬

‫ﭘﻴﺮ ﻣﺎ ﮔﻔﺖ ﺧﻄﺎ ﺑﺮ ﻗﻠﻢ ﺻﻨﻊ ﻧﺮﻓﺖ‪،‬‬

‫ﺁﻓﺮﻳﻦ ﺑﺮ ﻧﻈﺮ ﭘﺎﻙ ﺧﻄﺎ ﭘﻮﺷﺶ ﺑﺎﺩ! )‪(١١‬‬

‫ﺷﻌﺮﺍﻱ ﺩﻳﮕﺮ ﻧﻴﺰ ﺍﺯ ﺧﻴﺎﻡ ﺗﺒﻌﻴﺖ ﻛﺮﺩﻩﺍﻧﺪ ﻭ ﺣﺘﻲ ﺩﺭ ﺍﺷﻌﺎﺭ ﺻﻮﻓﻲ ﻛﻨﺎﻳﺎﺕ ﺧﻴﺎﻡ ﺩﻳﺪﻩ‬
‫ﻣﻲﺷﻮﺩ؛ ﻣﺜﻼ ﺍﻳﻦ ﺷﻌﺮ ﻋﻄﺎﺭ‪:‬‬

‫ﻧﺸﺮ ﺗﺪﺑﻴﺮ‬
‫‪43‬‬ ‫ﺗﺮاﻧﻪ هﺎی ﺧﻴﺎم‬

‫ﮔﺮ ﭼﻮ ﺭﺳﺘﻢ ﺷﻮﻛﺖ ﻭ ﺯﻭﺭﺕ ﺑﻮﺩ‪،‬‬

‫ﺟﺎﻱ ﭼﻮﻥ ﺑﻬﺮﺍﻡ ﺩﺭ ﮔﻮﺭﺕ ﺑﻮﺩ‪(٥٤) .‬‬

‫ﻏﺰﺍﻟﻲ ﻧﻴﺰ ﻣﻀﻤﻮﻥ ﺧﻴﺎﻡ ﺭﺍ ﺍﺳﺘﻌﻤﺎﻝ ﻣﻲﻛﻨﺪ‪:‬‬

‫ﭼﺮﺥ ﻓﺎﻧﻮﺱ ﺧﻴﺎﻟﻲ ﻋﺎﻟﻤﻲ ﺣﻴﺮﺍﻥ ﺩﺭ ﺍﻭ‪،‬‬

‫ﻣﺮﺩﻣﺎﻥ ﭼﻮﻥ ﺻﻮﺭﺕ ﻓﺎﻧﻮﺱ ﺳﺮﮔﺮﺩﺍﻥ ﺩﺭ ﺍﻭ‪(١٠٥) .‬‬

‫ﺑﺮ ﻃﺒﻖ ﺭﻭﺍﻳﺖ »ﺍﺧﺒﺎﺭﺍﻟﻌﻠﻤﺈ« ﺧﻴﺎﻡ ﺭﺍ ﺗﻜﻔﻴﺮ ﻣﻲﻛﻨﻨﺪ ﺑﻪ ﻣﻜﻪ ﻣﻲﺭﻭﺩ ﻭ ﺷﺎﻳﺪ ﺳﺮ ﺭﺍﻩ‬
‫ﺧﻮﺩ ﺧﺮﺍﺑﺔ ﺗﻴﺴﻔﻮﻥ ﺭﺍ ﺩﻳﺪﻩ ﻭ ﺍﻳﻦ ﺭﺑﺎﻋﻲ ﺭﺍ ﮔﻔﺘﻪ‪:‬‬

‫ﺁﻥ ﻗﺼﺮ ﻛﻪ ﺑﺮ ﭼﺮﺥ ﻫﻤﻲ ﺯﺩ ﭘﻬﻠﻮ ‪(٥٦) . . .‬‬

‫ﺁﻳﺎ ﺧﺎﻗﺎﻧﻲ ﺗﻤﺎ ﻗﺼﻴﺪﺓ ﻣﻌﺮﻭﻑ ﺧﻮﺩ »ﺍﻳﻮﺍﻥ ﻣﺪﺍﺋﻦ« ﺭﺍ ﺍﺯ ﻫﻤﻴﻦ ﺭﺑﺎﻋﻲ ﺧﻴﺎﻡ ﺍﻟﻬﺎﻡ‬
‫ﻧﺸﺪﻩ؟‬

‫ﺍﺯ ﻫﻤﺔ ﺗﺄﺛﻴﺮﺍﺕ ﻭ ﻧﻔﻮﺫ ﺧﻴﺎﻡ ﺩﺭ ﺍﺩﺑﻴﺎﺕ ﻓﺎﺭﺳﻲ ﭼﻴﺰﻱ ﻛﻪ ﻣﻬﻤﺘﺮ ﺍﺳﺖ ﺭﺷﺎﺩﺕ ﻓﻜﺮﻱ‬
‫ﻭ ﺁﺯﺍﺩﻱ ﺍﺳﺖ ﻛﻪ ﺍﺑﺪﺍﻉ ﻛﺮﺩﻩ ﻭ ﮔﻮﻳﺎ ﺑﻪ ﻗﺪﺭﺕ ﻗﻠﻢ ﺧﻮﺩﺵ ﺁﮔﺎﻩ ﺑﻮﺩﻩ‪ .‬ﭼﻮﻥ ﺩﺭ‬
‫»ﻧﻮﺭﻭﺯﻧﺎﻣﻪ« )ﺹ ‪ (٤٨‬ﺩﺭ ﻓﺼﻞ »ﺍﻧﺪﺭ ﻳﺎﺩ ﻛﺮﺩﻥ ﻗﻠﻢ« ﺣﻜﺎﻳﺘﻲ ﻣﻲﺁﻭﺭﺩ ﻛﻪ ﻗﻠﻢ ﺭﺍ ﺍﺯ‬
‫ﺗﻴﻎ ﺑﺮﻫﻨﻪ ﻣﺆﺛﺮﺗﺮ ﻣﻲﺩﺍﻧﺪ ﻭ ﺍﻳﻨﻄﻮﺭ ﻧﺘﻴﺠﻪ ﻣﻲﮔﻴﺮﺩ‪ . . . » :‬ﻭ ﺗﺄﺛﻴﺮ ﻗﻠﻢ ﺻﻼﺡ ﻭ ﻓﺴﺎﺩ‬
‫ﻣﻤﻠﻜﺖ ﺭﺍ ﻛﺎﺭﻱ ﺑﺰﺭﮔﺴﺖ‪ ،‬ﻭ ﺧﺪﺍﻭﻧﺪﺍﻥ ﻗﻠﻢ ﺭﺍ ﻛﻪ ﻣﻌﺘﻤﺪ ﺑﺎﺷﻨﺪ ﻋﺰﻳﺰ ﺑﺎﻳﺪ ﺩﺍﺷﺖ‪«.‬‬

‫ﺗﺄﺛﻴﺮ ﺧﻴﺎﻡ ﺩﺭ ﺍﺩﺑﻴﺎﺕ ﺍﻧﮕﻠﻴﺲ ﻭ ﺁﻣﺮﻳﻜﺎ‪ ،‬ﺗﺄﺛﻴﺮ ﺍﻭ ﺩﺭ ﺩﻧﻴﺎﻱ ﻣﺘﻤﺪﻥ ﺍﻣﺮﻭﺯ‪ ،‬ﻫﻤﺔ ﺍﻳﻦﻫﺎ‬
‫ﻧﺸﺎﻥ ﻣﻲﺩﻫﺪ ﻛﻪ ﮔﻔﺘﻪﻫﺎﻱ ﺧﻴﺎﻡ ﺑﺎ ﺩﻳﮕﺮﺍﻥ ﺗﺎ ﭼﻪ ﺍﻧﺪﺍﺯﻩ ﻓﺮﻕ ﺩﺍﺭﺩ‪.‬‬

‫ﻧﺸﺮ ﺗﺪﺑﻴﺮ‬
‫‪44‬‬ ‫ﺗﺮاﻧﻪ هﺎی ﺧﻴﺎم‬

‫ﺧﻴﺎﻡ ﺍﮔﺮ ﭼﻪ ﺳﺮ ﻭ ﻛﺎﺭ ﺑﺎ ﺭﻳﺎﺿﻴﺎﺕ ﻭ ﻧﺠﻮﻡ ﺩﺍﺷﺘﻪ ﻭﻟﻲ ﺍﻳﻦ ﭘﻴﺸﺔ ﺧﺸﻚ ﻣﺎﻧﻊ ﺍﺯ‬
‫ﺗﻈﺎﻫﺮ ﺍﺣﺴﺎﺳﺎﺕ ﺭﻗﻴﻖ ﻭ ﻟﺬﺕ ﺑﺮﺩﻥ ﺍﺯ ﻃﺒﻴﻌﺖ ﻭ ﺫﻭﻕ ﺳﺮﺷﺎﺭ ﺷﻌﺮﻱ ﺍﻭ ﻧﺸﺪﻩ! ﻭ‬
‫ﺍﻏﻠﺐ ﻫﻨﮕﺎﻡ ﻓﺮﺍﻏﺖ ﺭﺍ ﺑﻪ ﺗﻔﺮﻳﺢ ﻭ ﺍﺩﺑﻴﺎﺕ ﻣﻲﮔﺬﺭﺍﻧﻴﺪﻩ‪ .‬ﺍﮔﺮ ﭼﻪ ﻣﺎﺑﻴﻦ ﻣﻨﺠﻤﻴﻦ ﻣﺎﻧﻨﺪ‬
‫ﺧﻮﺍﺟﻪ ﻧﺼﻴﺮ ﻃﻮﺳﻲ ﻭ ﻏﻴﺮﻩ ﺷﺎﻋﺮ ﺩﻳﺪﻩ ﺷﺪﻩ ﻭ ﺍﺷﻌﺎﺭﻱ ﺑﻪ ﺁﻥﻫﺎ ﻣﻨﺴﻮﺏ ﺍﺳﺖ ﻭﻟﻲ‬
‫ﮔﻔﺘﻪﻫﺎﻱ ﺁﻥﻫﺎ ﺑﺎ ﺧﻴﺎﻡ ﺯﻣﻴﻦ ﺗﺎ ﺁﺳﻤﺎﻥ ﻓﺮﻕ ﺩﺍﺭﺩ‪ .‬ﺁﻧﺎﻥ ﺗﻨﻬﺎ ﺩﺭ ﺍﻟﻬﻴﺎﺕ ﻭ ﺗﺼﻮﻑ ﻳﺎ‬
‫ﻋﺸﻖ ﻭ ﺍﺧﻼﻕ ﻭ ﻳﺎ ﻣﺴﺎﺋﻞ ﺍﺟﺘﻤﺎﻋﻲ ﺭﺑﺎﻋﻲ ﮔﻔﺘﻪﺍﻧﺪ‪ .‬ﻳﻌﻨﻲ ﻫﻤﺎﻥ ﮔﻔﺘﻪﻫﺎﻱ ﺩﻳﮕﺮﺍﻥ ﺭﺍ‬
‫ﺗﻜﺮﺍﺭ ﻛﺮﺩﻩﺍﻧﺪ ﻭ ﺫﻭﻕ ﺷﺎﻋﺮﻱ ﺩﺭ ﺍﺷﻌﺎﺭ ﻭ ﻗﻴﺎﻓﻪﭘﺮﺩﺍﺯﻱ ﺁﻥﻫﺎ ﺗﻘﺮﻳﺒﹰﺎ ﻭﺟﻮﺩ ﻧﺪﺍﺭﺩ‪.‬‬

‫ﺷﺐ ﻣﻬﺘﺎﺏ‪ ،‬ﻭﻳﺮﺍﻧﻪ‪ .‬ﻣﺮﻍ ﺣﻖ‪ ،‬ﻗﺒﺮﺳﺘﺎﻥ‪ ،‬ﻫﻮﺍﻱ ﻧﻤﻨﺎﻙ ﺑﻬﺎﺭﻱ ﺩﺭ ﺧﻴﺎﻡ ﺧﻴﻠﻲ ﻣﺆﺛﺮ‬
‫ﺑﻮﺩﻩ‪ .‬ﻭﻟﻲ ﺑﻪ ﻧﻈﺮ ﻣﻲﺁﻳﺪ ﻛﻪ ﺷﻜﻮﻩ ﻭ ﻃﺮﺍﻭﺕ ﺑﻬﺎﺭ‪ ،‬ﺭﻧﮓﺓﺍ ﻭ ﺑﻮﻱ ﮔﻞ‪ ،‬ﭼﻤﻦﺯﺍﺭ‪،‬‬
‫ﺟﻮﻳﺒﺎﺭ‪ ،‬ﻧﺴﻴﻢ ﻣﻼﻳﻢ ﻭ ﻃﺒﻴﻌﺖ ﺍﻓﺴﻮﻧﮕﺮ‪ ،‬ﺑﺎ ﺁﻫﻨﮓ ﭼﻨﮓ ﺳﺎﻗﻴﺎﻥ ﻣﺎﻫﺮﻭ ﻭ ﺑﻮﺳﻪﻫﺎﻱ‬
‫ﭘﺮﺣﺮﺍﺭﺕ ﺁﻥﻫﺎ ﻛﻪ ﻓﺼﻞ ﺑﻬﺎﺭ ﻭ ﻧﻮﺭﻭﺯ ﺭﺍ ﺗﻜﻤﻴﻞ ﻣﻲﻛﺮﺩﻩ‪ ،‬ﺩﺭ ﺭﻭﺡ ﺧﻴﺎﻡ ﺗﺄﺛﻴﺮ‬
‫ﻓﻮﻕﺍﻟﻌﺎﺩﻩ ﺩﺍﺷﺘﻪ‪ .‬ﺧﻴﺎﻡ ﺑﺎ ﻟﻄﺎﻓﺖ ﻭ ﻇﺮﺍﻓﺖ ﻣﺨﺼﻮﺻﻲ ﻛﻪ ﺩﺭ ﻧﺰﺩ ﺷﻌﺮﺍﻱ ﺩﻳﮕﺮ‬
‫ﻛﻤﻴﺎﺏ ﺍﺳﺖ ﻃﺒﻴﻌﺖ ﺭﺍ ﺣﺲ ﻣﻲﻛﺮﺩﻩ ﻭ ﺑﺎ ﻳﻚ ﺩﻧﻴﺎ ﺍﺳﺘﺎﺩﻱ ﻭﺻﻒ ﺁﻥ ﺭﺍ ﻣﻲﻛﻨﺪ‪:‬‬

‫ﺭﻭﺯﻱ ﺍﺳﺖ ﺧﻮﺵ ﻭ ﻫﻮﺍ ﻧﻪ ﮔﺮﻡ ﺍﺳﺖ ﻭ ﻧﻪ ﺳﺮﺩ‪(١١٨) .‬‬

‫ﺑﻨﮕﺮ ﺯ ﺻﺒﺎ ﺩﺍﻣﻦ ﮔﻞ ﭼﺎﻙ ﺷﺪﻩ‪(٦٠) . . .‬‬

‫ﺍﺑﺮ ﺁﻣﺪ ﻭ ﺯﺍﺭ ﺑﺮ ﺳﺮ ﺳﺒﺰﻩ ﮔﺮﻳﺴﺖ‪(٦١) . . .‬‬

‫ﭼﻮﻥ ﺍﺑﺮ ﺑﻪ ﻧﻮﺭﻭﺯ ﺭﺥ ﻻﻟﻪ ﺑﺸﺴﺖ‪(٦٢) . . .‬‬

‫ﻣﻬﺘﺎﺏ ﺑﻨﻮﺭ ﺩﺍﻣﻦ ﺷﺐ ﺑﺸﻜﺎﻓﺖ‪(١١١) . . .‬‬

‫ﻧﺸﺮ ﺗﺪﺑﻴﺮ‬
‫‪45‬‬ ‫ﺗﺮاﻧﻪ هﺎی ﺧﻴﺎم‬

‫ﺧﻴﺎﻡ ﺩﺭ ﻭﺻﻒ ﻃﺒﻴﻌﺖ ﺗﺎ ﻫﻤﺎﻥ ﺍﻧﺪﺍﺯﻩ ﻛﻪ ﺍﺣﺘﻴﺎﺝ ﺩﺍﺭﺩ ﺑﺎ ﭼﻨﺪ ﻛﻠﻤﻪ ﻣﺤﻴﻂ ﻭ ﻭﺿﻊ ﺭﺍ‬
‫ﻣﺠﺴﻢ ﻭ ﻣﺤﺴﻮﺱ ﻣﻲﻛﻨﺪ‪ .‬ﺁﻥ ﻫﻢ ﺩﺭ ﺯﻣﺎﻧﻲ ﻛﻪ ﺷﻌﺮ ﻓﺎﺭﺳﻲ ﺩﺭ ﺯﻳﺮ ﺗﺄﺛﻴﺮ ﺗﺴﻠﻂ‬
‫ﻋﺮﺏ ﻳﻚ ﻧﻮﻉ ﻟﻐﺖ ﺑﺎﺯﻱ ﻭ ﺍﻇﻬﺎﺭ ﻓﻀﻞ ﻭ ﺗﻤﻠﻖ ﮔﻮﻳﻲ ﺧﺸﻚ ﻭ ﺑﻲﻣﻌﻨﻲ ﺷﺪﻩ ﺑﻮﺩﻩ‪،‬‬
‫ﻭ ﺷﺎﻋﺮﺍﻥ ﻛﻤﻴﺎﺑﻲ ﻛﻪ ﺫﻭﻕ ﻃﺒﻴﻌﻲ ﺩﺍﺷﺘﻪﺍﻧﺪ ﺑﺮﺍﻱ ﻳﻚ ﺑﺮﮒ ﻭ ﻳﺎ ﻳﻚ ﻗﻄﺮﻩ ﮊﺍﻟﻪ ﺑﻪ‬
‫ﻗﺪﺭﻱ ﺍﻏﺮﺍﻕ ﻣﻲﮔﻔﺘﻪﺍﻧﺪ ﻛﻪ ﺍﻧﺴﺎﻥ ﺭﺍ ﺍﺯ ﻃﺒﻴﻌﺖ ﺑﻴﺰﺭﺍ ﻣﻲﻛﺮﺩﻩﺍﻧﺪ‪ .‬ﺍﻳﻦ ﺳﺎﺩﮔﻲ ﺯﺑﺎﻥ‬
‫ﺧﻴﺎﻡ ﺑﺮ ﺑﺰﺭﮔﻲ ﻣﻘﺎﻡ ﺍﻭ ﻣﻲﺍﻓﺰﺍﻳﺪ‪ .‬ﻧﻪ ﺗﻨﻬﺎ ﺧﻴﺎﻡ ﺑﻪ ﺍﻟﻔﺎﻅ ﺳﺎﺩﻩ ﺍﻛﺘﻔﺎ ﻛﺮﺩﻩ‪ ،‬ﺑﻠﻜﻪ ﺩﺭ‬
‫ﺗﺮﺍﻧﻪﻫﺎﻱ ﺧﻮﺩ ﺍﺳﺘﺎﺩﻱﻫﺎﻱ ﺩﻳﮕﺮﻱ ﻧﻴﺰ ﺑﻜﺎﺭ ﺑﺮﺩﻩ ﻛﻪ ﻧﻈﻴﺮ ﺁﻥ ﺩﺭ ﻧﺰﺩ ﻫﻴﭻﻳﻚ ﺍﺯ‬
‫ﺷﻌﺮﺍﻱ ﺍﻳﺮﺍﻥ ﺩﻳﺪﻩ ﻧﻤﻲﺷﻮﺩ‪ .‬ﺍﻭ ﺑﺎ ﻛﻨﺎﻳﻪ ﻭ ﺗﻤﺴﺨﺮ ﻟﻐﺎﺕ ﻗﻠﻨﺒﻪ ﺁﺧﻮﻧﺪﻱ ﺭﺍ ﮔﺮﻓﺘﻪ ﻭ ﺑﻪ‬
‫ﺧﻮﺩﺷﺎﻥ ﭘﺲ ﺩﺍﺩﻩ ﻣﺜﻼ ﺩﺭﻳﻦ ﺭﺑﺎﻋﻲ‪:‬‬

‫ﮔﻮﻳﻨﺪ‪» :‬ﺑﻬﺸﺖ ﻭ ﺣﻮﺭ ﻋﻴﻦ ﺧﻮﺍﻫﺪ ﺑﻮﺩ‪،‬‬

‫ﺁﻧﺠﺎ ﻣﻲ ﻧﺎﺏ ﻭ ﺍﻧﮕﺒﻴﻦ ﺧﻮﺍﻫﺪ ﺑﻮﺩ‪«.‬‬

‫ﺍﻭﻝ ﻧﻘﻞ ﻗﻮﻝ ﻛﺮﺩﻩ ﻭ ﺍﺻﻄﻼﺣﺎﺕ ﺁﺧﻮﻧﺪﻱ ﺭﺍ ﺩﺭ ﻭﺻﻒ ﺟﻨﺖ ﺑﻪ ﺯﺑﺎﻥ ﺧﻮﺩﺷﺎﻥ‬
‫ﺷﺮﺡ ﺩﺍﺩﻩ‪ ،‬ﺑﻌﺪ ﺟﻮﺍﺏ ﻣﻲﺩﻫﺪ‪:‬‬

‫ﮔﺮ ﻣﺎ ﻣﻲ ﻭ ﻣﻌﺸﻮﻗﻪ ﮔﺰﻳﺪﻳﻢ ﭼﻪ ﺑﺎﻙ؟‬

‫ﭼﻮﻥ ﻋﺎﻗﺒﺖ ﻛﺎﺭ ﻫﻤﻴﻦ ﺧﻮﺍﻫﺪ ﺑﻮﺩ!‬

‫ﺩﺭﻳﻦ ﺭﺑﺎﻋﻲ ﺍﻟﻘﺎﺏ ﺍﺩﺑﺎ ﻭ ﻓﻀﻼ ﺭﺍ ﺑﻪ ﺍﺻﻄﻼﺡ ﺧﻮﺩﺷﺎﻥ ﻣﻲﮔﻮﻳﺪ‪:‬‬

‫ﺁﻧﺎﻧﻜﻪ »ﻣﺤﻴﻂ ﻓﻀﻞ ﻭ ﺁﺩﺍﺏ ﺷﺪﻧﺪ‪،‬‬

‫ﻧﺸﺮ ﺗﺪﺑﻴﺮ‬
‫‪46‬‬ ‫ﺗﺮاﻧﻪ هﺎی ﺧﻴﺎم‬

‫ﺩﺭ ﺟﻤﻊ ﻛﻤﺎﻝ ﺷﻤﻊ ﺍﺻﺤﺎﺏ ﺷﺪﻧﺪ‪«.‬‬

‫ﺑﻪ ﺯﺑﺎﻥ ﺧﻮﺩﺵ ﺍﻟﻘﺎﺏ ﻭ ﺍﺩﻋﺎﻱ ﺁﻥﻫﺎ ﺭﺍ ﺧﺮﺍﺏ ﻣﻲﻛﻨﺪ‪:‬‬

‫ﺭﻩ ﺯﻳﻦ ﺷﺐ ﺗﺎﺭﻳﻚ ﻧﺒﺮﺩﻧﺪ ﺑﺮﻭﺯ‪،‬‬

‫ﮔﻔﺘﻨﺪ ﻓﺴﺎﻧﻪﺍﻱ ﻭ ﺩﺭ ﺧﻮﺍﺏ ﺷﺪﻧﺪ!‬

‫ﺩﺭ ﺟﺎﻱ ﺩﻳﮕﺮ ﻟﻔﻆ »ﭘﺮﺩﻩ« ﺻﻮﻓﻴﺎﻥ ﺭﺍ ﻣﻲﺁﻭﺭﺩ ﻭ ﺑﻌﺪ ﺑﻪ ﺗﻤﺴﺨﺮ ﻣﻲﮔﻮﻳﺪ ﻛﻪ ﭘﺸﺖ‬
‫ﭘﺮﺩﺓ ﺍﺳﺮﺍﺭ ﻋﺪﻡ ﺍﺳﺖ‪:‬‬

‫ﻫﺴﺖ ﺍﺯ ﭘﺲ »ﭘﺮﺩﻩ« ﮔﻔﺘﮕﻮﻱ ﻣﻦ ﻭ ﺗﻮ‪،‬‬

‫ﭼﻮﻥ »ﭘﺮﺩﻩ« ﺑﺮﺍﻓﺘﺪ‪ ،‬ﻧﻪ ﺗﻮ ﻣﺎﻧﻲ ﻭ ﻧﻪ ﻣﻦ!‬

‫ﮔﺎﻫﻲ ﺑﺎ ﻟﻐﺎﺕ ﺑﺎﺯﻱ ﻣﻲﻛﻨﺪ‪ ،‬ﻭﻟﻲ ﺻﻨﻌﺖ ﺍﻭ ﭼﻘﺪﺭ ﺑﺎ ﺻﻨﺎﻳﻊ ﻟﻮﺱ ﻭ ﺳﺎﺧﺘﮕﻲ ﺑﺪﻳﻊ‬
‫ﻓﺮﻕ ﺩﺍﺭﺩ‪ .‬ﻣﺜﻼ ﻟﻐﺎﺗﻲ ﻛﻪ ﺩﻭ ﻣﻌﻨﻲ ﺭﺍ ﻣﻲﺭﺳﺎﻧﺪ‪:‬‬

‫ﺑﻬﺮﺍﻡ ﻛﻪ ﮔﻮﺭ ﻣﻲﮔﺮﻓﺘﻲ ﻫﻤﻪ ﻋﻤﺮ‪،‬‬

‫ﺩﻳﺪﻱ ﻛﻪ ﭼﮕﻮﻧﻪ ﮔﻮﺭ ﺑﻬﺮﺍﻡ ﮔﺮﻓﺖ؟‬

‫ﺗﻘﻠﻴﺪ ﺁﻭﺍﺯ ﻓﺎﺧﺘﻪ ﻛﻪ ﺩﺭ ﺿﻤﻦ ﺑﻪ ﻣﻌﻨﻲ »ﻛﺠﺎ ﺭﻓﺘﻨﺪ؟« ﻫﻢ ﺑﺎﺷﺪ ﻳﻚ ﺷﺎﻫﻜﺎﺭ ﺯﻳﺮﻛﻲ‪،‬‬
‫ﺗﺴﻠﻂ ﺑﻪ ﺯﺑﺎﻥ ﻭ ﺫﻭﻕ ﺭﺍ ﻣﻲﺭﺳﺎﻧﺪ‪:‬‬

‫ﺩﻳﺪﻳﻢ ﻛﻪ ﺑﺮ ﻛﻨﮕﺮﻩﺍﺵ ﻓﺎﺧﺘﻪﺍﻱ‪،‬‬

‫ﺑﻨﺸﺴﺘﻪ ﻫﻤﻲ ﮔﻔﺖ ﻛﻪ‪» :‬ﻛﻮﻛﻮ‪ ،‬ﻛﻮﻛﻮ؟«‬

‫ﻧﺸﺮ ﺗﺪﺑﻴﺮ‬
‫‪47‬‬ ‫ﺗﺮاﻧﻪ هﺎی ﺧﻴﺎم‬

‫ﺩﺭ ﺁﺧﺮ ﺑﻌﻀﻲ ﺍﺯ ﺭﺑﺎﻋﻴﺎﺕ ﻗﺎﻓﻴﻪ ﺗﻜﺮﺍﺭ ﺷﺪﻩ‪ ،‬ﺷﺎﻳﺪ ﺑﻨﻈﺮ ﺑﻌﻀﻲ ﻓﻘﺮ ﻟﻐﺖ ﻭ ﻗﺎﻓﻴﻪ ﺭﺍ‬
‫ﺑﺮﺳﺎﻧﺪ ﻣﺜﻞ‪:‬‬

‫ﺩﻧﻴﺎ ﺩﻳﺪﻱ ﻭ ﻫﺮ ﭼﻪ ﺩﻳﺪﻱ ﻫﻴﭻ ﺍﺳﺖ ‪(١٠٢) . . .‬‬

‫ﺑﻨﮕﺮ ﺯ ﺟﻬﺎﻥ ﭼﻪ ﻃﺮﻑ ﺑﺮﺑﺴﺘﻢ؟ ﻫﻴﭻ‪(١٠٧) .‬‬

‫ﻭﻟﻲ ﺗﻤﺎﻡ ﺗﺮﺍﮊﺩﻱ ﻣﻮﺿﻮﻉ ﺩﺭ ﻫﻤﻴﻦ ﺗﻜﺮﺍﺭ »ﻫﻴﭻ« ﺟﻤﻊ ﺷﺪﻩ‪.‬‬

‫ﭼﻨﺪﻳﻦ ﺍﺛﺮ ﻓﻠﺴﻔﻲ ﻭ ﻋﻠﻤﻲ ﺑﻪ ﺯﺑﺎﻥ ﻓﺎﺭﺳﻲ ﻭ ﻋﺮﺑﻲ ﺍﺯ ﺧﻴﺎﻡ ﻣﺎﻧﺪﻩ‪ .‬ﻭﻟﻲ ﺁﺛﺎﺭ ﻓﻠﺴﻔﻲ ﻭ‬
‫ﻋﻠﻤﻲ ﺍﻭ ﻫﺮﮔﺰ ﺩﺭ ﻣﻴﺰﺍﻥ ﺷﻬﺮﺗﺶ ﺩﺧﺎﻟﺘﻲ ﻧﺪﺍﺷﺘﻪ‪ .‬ﺧﻮﺷﺒﺨﺘﺎﻧﻪ ﺍﺧﻴﺮﹰﺍ ﻳﻚ ﺭﺳﺎﻟﺔ ﺍﺩﺑﻲ‬
‫ﮔﺮﺍﻧﺒﻬﺎﺋﻲ ﺍﺯ ﺧﻴﺎﻡ ﺑﺪﺳﺖ ﺁﻣﺪ ﻣﻮﺳﻮﻡ ﺑﻪ‪» :‬ﻧﻮﺭﻭﺯﻧﺎﻣﻪ« ﻛﻪ ﺑﻪ ﺳﻌﻲ ﻭ ﺍﻫﺘﻤﺎﻡ ﺩﻭﺳﺖ‬
‫ﻋﺰﻳﺰﻡ ﺁﻗﺎﻱ ﻣﺠﺘﺒﻲ ﻣﻴﻨﻮﻱ ﺩﺭ ﺗﻬﺮﺍﻥ ﺑﻪ ﭼﺎﭖ ﺭﺳﻴﺪ‪ .‬ﺍﻳﻦ ﻛﺘﺎﺏ ﺑﻪ ﻓﺎﺭﺳﻲ ﺳﺎﺩﻩ ﻭ ﺑﻲ‬
‫ﻣﺎﻧﻨﺪﻱ ﻧﻮﺷﺘﻪ ﺷﺪﻩ ﻛﻪ ﻧﺸﺎﻥ ﻣﻲﺩﻫﺪ ﺍﺛﺮ ﻗﻠﻢ ﺗﻮﺍﻧﺎﻱ ﻫﻤﺎﻥ ﮔﻮﻳﻨﺪﻩ ﺗﺮﺍﻧﻪﻫﺎ ﻣﻲﺑﺎﺷﺪ‪ .‬ﻧﺜﺮ‬
‫ﺍﺩﺑﻲ ﺁﻥ ﻳﻜﻲ ﺍﺯ ﺑﻬﺘﺮﻳﻦ ﻭ ﺳﻠﻴﺲﺗﺮﻳﻦ ﻧﻤﻮﻧﻪﻫﺎﻱ ﻧﺜﺮ ﻓﺎﺭﺳﻲ ﺍﺳﺖ ﻭ ﺳﺎﺧﺘﻤﺎﻥ‬
‫ﺟﻤﻼﺕ ﺁﻥ ﺧﻴﻠﻲ ﻧﺰﺩﻳﻚ ﺑﻪ ﭘﻬﻠﻮﻱ ﻣﻲﺑﺎﺷﺪ ﻭ ﻫﻴﭻﻛﺪﺍﻡ ﺍﺯ ﻛﺘﺎﺏﻫﺎﺋﻲ ﻛﻪ ﻛﻢ ﻭ‬
‫ﺑﻴﺶ ﺩﺭ ﺁﻥ ﺩﻭﺭﻩ ﻧﻮﺷﺘﻪ ﺷﺪﻩ ﺍﺯ ﻗﺒﻴﻞ‪» :‬ﺳﻴﺎﺳﺖ ﻧﺎﻣﻪ« ﻭ »ﭼﻬﺎﺭ ﻣﻘﺎﻟﻪ« ﻭ ﻏﻴﺮﻩ ﺍﺯ ﺣﻴﺚ‬
‫ﻧﺜﺮ ﻭ ﺍﺭﺯﺵ ﺍﺩﺑﻲ ﺑﻪ ﭘﺎﻱ »ﻧﻮﺭﻭﺯﻧﺎﻣﻪ« ﻧﻤﻲﺭﺳﻨﺪ‪.‬‬

‫ﻧﮕﺎﺭﻧﺪﻩ ﻣﻮﺿﻮﻉ ﻛﺘﺎﺏ ﺧﻮﺩ ﺭﺍ ﻳﻜﻲ ﺍﺯ ﺭﺳﻮﻡ ﻣﻠﻲ ﺍﻳﺮﺍﻥ ﻗﺪﻳﻢ ﻗﺮﺍﺭ ﺩﺍﺩﻩ ﻛﻪ ﺭﺍﺑﻄﺔ‬
‫ﻣﺴﺘﻘﻴﻢ ﺑﺎ ﻧﺠﻮﻡ ﺩﺍﺭﺩ‪ ،‬ﻭ ﺩﺭ ﺁﻥ ﺧﺮﺍﻓﺎﺕ ﻧﺠﻮﻣﻲ ﻭ ﺍﻋﺘﻘﺎﺩﺍﺕ ﻋﺎﻣﻴﺎﻧﻪ ﻭ ﺧﻮﺍﺹ ﺍﺷﻴﺎﺀ ﺭﺍ‬
‫ﺷﺮﺡ ﻣﻲﺩﻫﺪ‪ .‬ﺍﮔﺮ ﭼﻪ ﺍﻳﻦ ﻛﺘﺎﺏ ﺩﺳﺘﻮﺭﻱ ﻭ ﺑﻪ‬ ‫‪Empirique‬‬ ‫ﺑﺮ ﻃﺒﻖ ﻧﺠﻮﻡ ﻭ ﻃﺐ‬
‫ﻓﺮﺍﺧﻮﺭ ﻣﻘﺘﻀﻴﺎﺕ ﺭﻭﺯ ﻧﻮﺷﺘﻪ ﺷﺪﻩ‪ ،‬ﻭﻟﻲ ﺩﺭ ﺧﻔﺎﻱ ﺍﻟﻔﺎﻅ ﺁﻥ ﻫﻤﺎﻥ ﻣﻮﺷﻜﺎﻓﻲ ﻓﻜﺮ‪،‬‬
‫ﻫﻤﺎﻥ ﻣﻨﻄﻖ ﻣﺤﻜﻢ ﺭﻳﺎﺿﻲﺩﺍﻥ‪ ،‬ﻗﻮﻩ ﺗﺼﻮﺭ ﻓﻮﻕﺍﻟﻌﺎﺩﻩ ﻭ ﻛﻼﻡ ﺷﻴﻮﺍﻱ ﺧﻴﺎﻡ ﻭﺟﻮﺩ ﺩﺍﺭﺩ‬

‫ﻧﺸﺮ ﺗﺪﺑﻴﺮ‬
‫‪48‬‬ ‫ﺗﺮاﻧﻪ هﺎی ﺧﻴﺎم‬

‫ﻭ ﺩﺭ ﮔﻮﺷﻪ ﻭ ﻛﻨﺎﺭ ﺑﻪ ﻫﻤﺎﻥ ﻓﻠﺴﻔﻪ ﻋﻠﻤﻲ ﻭ ﻣﺎﺩﻱ ﺧﻴﺎﻡ ﻛﻪ ﺍﺯ ﺩﺳﺘﺶ ﺩﺭ ﺭﻓﺘﻪ ﺑﺮ‬
‫ﻣﻲﺧﻮﺭﻳﻢ‪ .‬ﺩﺭﻳﻦ ﻛﺘﺎﺏ ﻧﻪ ﺣﺮﻓﻲ ﺍﺯ ﻋﺬﺍﺏ ﺁﺧﺮﺕ ﺍﺳﺖ ﻭ ﻧﻪ ﺍﺯ ﻟﺬﺍﻳﺬ ﺟﻨﺖ‪ ،‬ﻧﻪ ﻳﻚ‬
‫ﺷﻌﺮ ﺻﻮﻓﻲ ﺩﻳﺪﻩ ﻣﻲﺷﻮﺩ ﻭ ﻧﻪ ﺍﺯ ﺍﺧﻼﻕ ﻭ ﻣﺬﻫﺐ ﺳﺨﻨﻲ ﺑﻪ ﻣﻴﺎﻥ ﻣﻲﺁﻳﺪ‪ .‬ﻣﻮﺿﻮﻉ‬
‫ﻳﻚ ﺟﺸﻦ ﺑﺎ ﺷﻜﻮﻩ ﺍﻳﺮﺍﻥ‪ ،‬ﻫﻤﺎﻥ ﺍﻳﺮﺍﻧﻲ ﻛﻪ ﻓﺎﺧﺘﻪ ﺑﺎﻻﻱ ﮔﻨﺒﺪ ﻭﻳﺮﺍﻧﺶ ﻛﻮﻛﻮ‬
‫ﻣﻲﮔﻮﻳﺪ ﻭ ﺑﻬﺮﺍﻡ ﻭ ﻛﺎﻭﻭﺱ ﻭ ﻧﻴﺸﺎﺑﻮﺭ ﻭ ﺗﻮﺳﺶ ﺑﺎ ﺧﺎﻙ ﻳﻜﺴﺎﻥ ﺷﺪﻩ‪ ،‬ﺍﺯ ﺟﺸﻦ ﺁﻥ‬
‫ﺩﻭﺭﻩ ﺗﻌﺮﻳﻒ ﻣﻲﻛﻨﺪ ﻭ ﺁﺩﺍﺏ ﻭ ﻋﺎﺩﺍﺕ ﺁﻧﺮﺍ ﻣﻲﺳﺘﺎﻳﺪ‪.‬‬

‫ﺁﻳﺎ ﻣﻲﺗﻮﺍﻧﻴﻢ ﺩﺭ ﻧﺴﺒﺖ ﺍﻳﻦ ﻛﺘﺎﺏ ﺑﻪ ﺧﻴﺎﻡ ﺷﻚ ﺑﻴﺎﻭﺭﻳﻢ؟ ﺍﻟﺒﺘﻪ ﺍﺯ ﻗﺮﺍﻳﻨﻲ ﻣﻤﻜﻦ ﺍﺳﺖ‪.‬‬
‫ﻭﻟﻲ ﺑﺮ ﻓﺮﺽ ﻫﻢ ﻛﻪ ﺍﺯ ﺭﻭﻱ ﺗﺼﺎﺩﻑ ﻭ ﻳﺎ ﺗﻌﻤﺪ ﺍﻳﻦ ﻛﺘﺎﺏ ﺑﻪ ﺧﻴﺎﻡ ﻣﻨﺴﻮﺏ ﺷﺪﻩ‬
‫ﺑﺎﺷﺪ‪ ،‬ﻣﻲﺗﻮﺍﻧﻴﻢ ﺑﮕﻮﺋﻴﻢ ﻛﻪ ﻧﻮﻳﺴﻨﺪﺓ ﺁﻥ ﺭﺍﺑﻄﺔ ﻓﻜﺮﻱ ﺑﺎ ﺧﻴﺎﻡ ﺩﺍﺷﺘﻪ ﻭ ﺩﺭ ﺭﺩﻳﻒ ﻫﻤﺎﻥ‬
‫ﻓﻴﻠﺴﻮﻑ ﻧﻴﺸﺎﺑﻮﺭﻱ ﻭ ﺑﻪ ﻣﻘﺎﻡ ﺍﺩﺑﻲ ﻭ ﺫﻭﻗﻲ ﺍﻭ ﻣﻲﺭﺳﻴﺪﻩ‪ .‬ﺑﻪ ﻫﺮ ﺣﺎﻝ‪ ،‬ﺗﺎ ﺯﻣﺎﻧﻲ ﻛﻪ ﻳﻚ‬
‫ﺳﻨﺪ ﻣﻬﻢ ﺗﺎﺭﻳﺨﻲ ﺑﺪﺳﺖ ﻧﻴﺎﻣﺪﻩ ﻛﻪ ﻫﻤﻴﻦ ﻛﺘﺎﺏ »ﻧﻮﺭﻭﺯﻧﺎﻣﻪ« ﺭﺍ ﻛﻪ ﺩﺭ ﺩﺳﺖ ﺍﺳﺖ‬
‫ﺑﻪ ﻧﻮﻳﺴﻨﺪﻩ ﻣﻘﺪﻡ ﺑﺮ ﺧﻴﺎﻡ ﻧﺴﺒﺖ ﺑﺪﻫﺪ ﻫﻴﭻ ﮔﻮﻧﻪ ﺣﺪﺱ ﻭ ﻓﺮﺿﻲ ﻧﻤﻲﺗﻮﺍﻧﺪ ﻧﺴﺒﺖ ﺁﻥ‬
‫ﺭﺍ ﺍﺯ ﺧﻴﺎﻡ ﺳﻠﺐ ﺑﻜﻨﺪ‪ .‬ﺑﺮﻋﻜﺲ‪ ،‬ﺧﻴﻠﻲ ﻃﺒﻴﻌﻲ ﺍﺳﺖ ﻛﻪ ﺭﻭﺡ ﺳﺮﻛﺶ ﻭ ﺑﻴﺰﺍﺭ ﺧﻴﺎﻡ‪،‬‬
‫ﺁﻣﻴﺨﺘﻪ ﺑﺎ ﺯﻳﺒﺎﺋﻲ ﻭ ﻇﺮﺍﻓﺖﻫﺎ ﻛﻪ ﺍﺯ ﺍﻋﺘﻘﺎﺩﺍﺕ ﺧﺸﻦ ﺯﻣﺎﻥ ﺧﻮﺩﺵ ﺳﺮﺧﻮﺭﺩﻩ‪ ،‬ﺩﺭ‬
‫ﺧﺮﺍﻓﺎﺕ ﻋﺎﻣﻴﺎﻧﻪ ﻳﻚ ﺳﺮﭼﺸﻤﻪ ﺗﻔﺮﻳﺢ ﻭ ﺗﻨﻮﻉ ﺑﺮﺍﻱ ﺧﻮﺩﺵ ﭘﻴﺪﺍ ﺑﻜﻨﺪ‪ .‬ﺳﺮﺗﺎﺳﺮ ﻛﺘﺎﺏ‬
‫ﻣﻴﻞ ﺍﻳﺮﺍﻧﻲ ﺳﺎﺳﺎﻧﻲ‪ ،‬ﺫﻭﻕ ﻫﻨﺮﻱ ﻋﺎﻟﻲ‪ ،‬ﻇﺮﺍﻓﺖﭘﺮﺳﺘﻲ ﻭ ﺣﺲ ﺗﺠﻤﻞ ﻣﺎﻧﻮﻱ ﺭﺍ ﺑﻪ ﻳﺎﺩ‬
‫ﻣﻲﺁﻭﺭﺩ‪ .‬ﻧﮕﺎﺭﻧﺪﻩ ﭘﺮﺳﺘﺶ ﺯﻳﺒﺎﺋﻲ ﺭﺍ ﭘﻴﺸﻪ ﺧﻮﺩﺵ ﻧﻤﻮﺩﻩ‪ ،‬ﻫﻤﻴﻦ ﺯﻳﺒﺎﺋﻲ ﻛﻪ ﺩﺭ ﻟﻐﺎﺕ‬
‫ﻭ ﺩﺭ ﺁﻫﻨﮓ ﺟﻤﻼﺕ ﺍﻭ ﺑﺨﻮﺑﻲ ﭘﻴﺪﺍﺳﺖ‪ .‬ﺧﻴﺎﻡ ﺷﺎﻋﺮ‪ ،‬ﻋﺎﻟﻢ ﻭ ﻓﻴﻠﺴﻮﻑ ﺧﻮﺩﺵ ﺭﺍ‬
‫ﻳﻚ ﺑﺎﺭ ﺩﻳﮕﺮ ﺩﺭ ﺍﻳﻦ ﻛﺘﺎﺏ ﻣﻌﺮﻓﻲ ﻣﻲﻛﻨﺪ‪.‬‬

‫ﻧﺸﺮ ﺗﺪﺑﻴﺮ‬
‫‪49‬‬ ‫ﺗﺮاﻧﻪ هﺎی ﺧﻴﺎم‬

‫ﺧﻴﺎﻡ ﻧﻤﺎﻳﻨﺪﻩ ﺫﻭﻕ ﺧﻔﻪ ﺷﺪﻩ‪ ،‬ﺭﻭﺡ ﺷﻜﻨﺠﻪ ﺩﻳﺪﻩ ﻭ ﺗﺮﺟﻤﺎﻥ ﻧﺎﻟﻪﺓﺍ ﻭ ﺷﻮﺭﺵ ﻳﻚ‬
‫ﺍﻳﺮﺍﻥ ﺑﺰﺭﮒ‪ ،‬ﺑﺎ ﺷﻜﻮﻩ ﻭ ﺁﺑﺎﺩ ﻗﺪﻳﻢ ﺍﺳﺖ ﻛﻪ ﺩﺭ ﺯﻳﺮ ﻓﺸﺎﺭ ﻓﻜﺮ ﺯﻣﺨﺖ ﺳﺎﻣﻲ ﻭ‬
‫ﺍﺳﺘﻴﻼﻱ ﻋﺮﺏ ﻛﻢ ﻛﻢ ﻣﺴﻤﻮﻡ ﻭ ﻭﻳﺮﺍﻥ ﻣﻲﺷﺪﻩ‪.‬‬

‫ﺍﺯ ﻣﻄﺎﻟﺐ ﻓﻮﻕ ﺑﺪﺳﺖ ﻣﻲﺁﻳﺪ ﻛﻪ ﮔﻮﻳﻨﺪﻩ ﺍﻳﻦ ﺗﺮﺍﻧﻪﻫﺎ ﻓﻴﻠﺴﻮﻑ‪ ،‬ﻣﻨﺠﻢ ﻭ ﺷﺎﻋﺮ‬
‫ﺑﻲﻣﺎﻧﻨﺪﻱ ﺑﻮﺩﻩ ﺍﺳﺖ‪ .‬ﺣﺎﻝ ﺍﮔﺮ ﺑﺨﻮﺍﻫﻴﻢ ﻧﺴﺒﺖ ﺍﻳﻦ ﺭﺑﺎﻋﻴﺎﺕ ﺭﺍ ﺍﺯ ﺧﻴﺎﻡ ﻣﻌﺮﻭﻑ ﺳﻠﺐ‬
‫ﺑﻜﻨﻴﻢ‪ ،‬ﺁﻳﺎ ﺑﻪ ﻛﻲ ﺁﻥﻫﺎ ﺭﺍ ﻧﺴﺒﺖ ﺧﻮﺍﻫﻴﻢ ﺩﺍﺩ؟ ﻻﺑﺪ ﺑﺎﻳﺪ ﺧﻴﺎﻡ ﺩﻳﮕﺮﻱ ﺑﺎﺷﺪ ﻛﻪ ﻫﻤﺰﺍﺩ‬
‫ﻫﻤﺎﻥ ﺧﻴﺎﻡ ﻣﻌﺮﻭﻑ ﺍﺳﺖ ﻭ ﺷﺎﻳﺪ ﺍﺯ ﺧﻴﺎﻡ ﻣﻨﺠﻢ ﻫﻢ ﻣﻘﺎﻣﺶ ﺑﺰﺭﮔﺘﺮ ﺑﺎﺷﺪ‪ .‬ﻭﻟﻲ ﺩﺭ‬
‫ﻫﻴﭻ ﺟﺎ ﺑﻄﻮﺭ ﻣﺸﺨﺺ ﺍﺳﻢ ﺍﻭ ﺑﺮﺩﻩ ﻧﺸﺪﻩ ﻭ ﻛﺴﻲ ﺍﻭ ﺭﺍ ﻧﻤﻲﺷﻨﺎﺧﺘﻪ‪ ،‬ﺩﺭ ﺻﻮﺭﺗﻲﻛﻪ‬
‫ﺑﺎﻳﺴﺘﻲ ﺩﺭ ﻳﻚ ﺯﻣﺎﻥ ﻭ ﻳﻚ ﺟﺎ ﻭ ﺑﻪ ﻳﻚ ﻃﺮﺯ ﺑﺎ ﺧﻴﺎﻡ ﻣﻨﺠﻢ ﺯﻧﺪﮔﻲ ﻛﺮﺩﻩ ﺑﺎﺷﺪ‪ .‬ﭘﺲ‬
‫ﺍﻳﻦ ﺑﻪ ﻏﻴﺮ ﺍﺯ ﺧﻮﺩ ﺧﻴﺎﻡ ﻛﻪ ﮊﻧﻲ ﺑﻲﻣﺎﻧﻨﺪ ﺍﻭ ﺑﻪ ﺍﻧﻮﺍﻉ ﮔﻮﻧﺎﮔﻮﻥ ﺗﺠﻠﻲ ﻣﻲﻛﺮﺩﻩ ﻭ ﻳﺎ‬
‫ﺷﺒﺢ ﺍﻭ ﻛﺲ ﺩﻳﮕﺮﻱ ﻧﺒﻮﺩﻩ‪ .‬ﺍﺻﻼ ﺁﻳﺎ ﻛﺲ ﺩﻳﮕﺮﻱ ﺭﺍ ﺑﻪ ﺟﺰ ﺧﻴﺎﻡ ﺳﺮﺍﻍ ﺩﺍﺭﻳﻢ ﻛﻪ‬
‫ﺑﺘﻮﺍﻧﺪ ﺍﻳﻨﻄﻮﺭ ﺗﺮﺍﻧﻪ ﺳﺮﺍﺋﻲ ﺑﻜﻨﺪ؟‬

‫ﭼﻨﺪ ﻗﻄﻌﻪ ﺷﻌﺮ ﻋﺮﺑﻲ ﺍﺯ ﺧﻴﺎﻡ ﻣﺎﻧﺪﻩ ﺍﺳﺖ‪ ،‬ﻭﻟﻲ ﺍﺯ ﺁﻧﺠﺎﺋﻲ ﻛﻪ ﻫﻴﭻ ﻳﻚ ﺍﺯ ﺷﻌﺮﺍ‬
‫ﻧﺘﻮﺍﻧﺴﺘﻪﺍﻧﺪ ﺁﻥﻫﺎ ﺭﺍ ﺑﻪ ﺷﻌﺮ ﻓﺎﺭﺳﻲ ﺑﺰﺑﺎﻥ ﺧﻴﺎﻡ ﺩﺭﺑﻴﺎﻭﺭﻧﺪ ﺍﺯ ﺩﺭﺝ ﺁﻥ ﭼﺸﻢ ﭘﻮﺷﻴﺪﻳﻢ‪.‬‬

‫ﺑﻨﺎ ﺑﻪ ﺧﻮﺍﻫﺶ ﺩﻭﺳﺖ ﻫﻨﺮﻣﻨﺪﻡ ﺁﻗﺎﻱ ﺩﻭﺭﻳﺶ ﻧﻘﺎﺵ‪ ،‬ﺍﻳﻦ ﻣﻘﺪﻣﻪ ﺭﺍ ﺍﺟﻤﺎﻻ ﺑﻪ ﺗﺮﺍﻧﻪﺓﺍﻱ‬
‫ﺧﻴﺎﻡ ﻧﻮﺷﺘﻢ ﺗﺎ ﺭﺍﻫﻨﻤﺎﻱ ﺗﺎﺑﻠﻮﻫﺎﻱ ﺍﻳﺸﺎﻥ ﺑﺸﻮﺩ‪ .‬ﺩﺭﻳﻦ ﻛﺘﺎﺏ ﺗﺮﺍﻧﻪﻫﺎﻱ ﺧﻴﺎﻡ ﻣﻄﺎﺑﻖ‬
‫ﺳﺒﻚ ﻭ ﺍﻓﻜﺎﺭ ﻓﻠﺴﻔﻲ ﻣﺮﺗﺐ ﺷﺪﻩ ﻭ ﺭﺑﺎﻋﻴﺎﺗﻲ ﻛﻪ ﺑﻪ ﻧﻈﺮ ﻣﺸﻜﻮﻙ ﻣﻲﺁﻣﺪﻩ ﺟﻠﻮ ﺁﻥﻫﺎ‬
‫ﻳﻚ ﺳﺘﺎﺭﻩ ﮔﺬﺍﺷﺘﻪ ﺷﺪﻩ‪ ،‬ﺍﻳﻦ ﺭﺑﺎﻋﻴﺎﺕ ﺑﺮ ﻓﺮﺽ ﻫﻢ ﺍﺯ ﺧﻮﺩ ﺧﻴﺎﻡ ﻧﺒﺎﺷﺪ ﺍﺯ ﭘﻴﺮﻭﺍﻥ‬
‫ﺧﻴﻠﻲ ﺯﺑﺮﺩﺳﺖ ﺍﻭ ﺧﻮﺍﻫﺪ ﺑﻮﺩ ﻛﻪ ﻣﺴﺘﻘﻴﻤﹰﺎ ﺍﺯ ﻓﻜﺮ ﻓﻴﻠﺴﻮﻑ ﻭ ﺷﺎﻋﺮ ﺑﺰﺭﮒ ﺍﻟﻬﺎﻡ‬
‫ﺗﻬﺮﺍﻥ‪ ،‬ﭼﻬﺎﺭﻡ ﻣﻬﺮ ﻳﻚ ﻫﺰﺍﺭ ﻭ ﺳﻴﺼﺪ ﻭ ﺳﻴﺰﺩﻩ‬ ‫ﺻﺎﺩﻕ ﻫﺪﺍﻳﺖ‬ ‫ﮔﺮﻓﺘﻪﺍﻧﺪ‪.‬‬

‫ﻧﺸﺮ ﺗﺪﺑﻴﺮ‬
‫‪50‬‬ ‫ﺗﺮاﻧﻪ هﺎی ﺧﻴﺎم‬

‫را ز ﺁﻓﺮﻳﻨﺶ‬
‫‪١‬‬

‫ﻫﺮ ﭼﻨﺪ ﻛﻪ ﺭﻧﮓ ﻭ ﺭﻭﻱ ﺯﻳﺒﺎﺳﺖ ﻣﺮﺍ‪،‬‬

‫ﭼﻮﻥ ﻻﻟﻪ ﺭﺥ ﻭ ﭼﻮ ﺳﺮﻭ ﺑﺎﻻﺳﺖ ﻣﺮﺍ‪،‬‬

‫ﻣﻌﻠﻮﻡ ﻧﺸﺪ ﻛﻪ ﺩﺭ ﻃﺮﺑﺨﺎﻧﺔ ﺧﺎﻙ‬

‫ﻧﻘﺎﺵ ﺍﺯﻝ ﺑﻬﺮ ﭼﻪ ﺁﺭﺍﺳﺖ ﻣﺮﺍ؟‬

‫‪٢‬‬

‫ﺁﻭﺭﺩ ﺑﻪ ﺍﺿﻄﺮﺍﺭﻡ ﺍﻭﻝ ﺑﻮﭼﻮﺩ‪،‬‬

‫ﺟﺰ ﺣﻴﺮﺗﻢ ﺍﺯ ﺣﻴﺎﺕ ﭼﻴﺰﻱ ﻧﻔﺰﻭﺩ‪،‬‬

‫ﺭﻓﺘﻴﻢ ﺑﻪ ﺍﻛﺮﺍﻩ ﻭ ﻧﺪﺍﻧﻴﻢ ﭼﻪ ﺑﻮﺩ‬

‫ﺯﻳﻦ ﺁﻣﺪﻥ ﻭ ﺑﻮﺩﻥ ﻭ ﺭﻓﺘﻦ ﻣﻘﺼﻮﺩ!‬

‫‪٣‬‬

‫ﺍﺯ ﺁﻣﺪﻧﻢ ﻧﺒﻮﺩ ﮔﺮﺩﻭﻥ ﺭﺍ ﺳﻮﺩ‪،‬‬

‫ﻭﺯ ﺭﻓﺘﻦ ﻣﻦ ﺟﺎﻩ ﻭ ﺟﻼﻟﺶ ﻧﻔﺰﻭﺩ؛‬

‫ﻧﺸﺮ ﺗﺪﺑﻴﺮ‬
‫‪51‬‬ ‫ﺗﺮاﻧﻪ هﺎی ﺧﻴﺎم‬

‫ﻭﺯ ﻫﻴﭽﻜﺴﻲ ﻧﻴﺰ ﺩﻭ ﮔﻮﺷﻢ ﻧﺸﻨﻮﺩ‪،‬‬

‫ﻛﺎﻳﻦ ﺁﻣﺪﻥ ﻭ ﺭﻓﺘﻨﻢ ﺍﺯ ﺑﻬﺮ ﭼﻪ ﺑﻮﺩ!‬

‫‪٤‬‬

‫ﺍﻱ ﺩﻝ ﺗﻮ ﺑﻪ ﺍﺩﺭﺍﻙ ﻣﻌﻤﺎ ﻧﺮﺳﻲ‪،‬‬

‫ﺩﺭ ﻧﻜﺘﺔ ﺯﻳﺮﻛﺎﻥ ﺩﺍﻧﺎ ﻧﺮﺳﻲ؛‬

‫ﺍﻳﻨﺠﺎ ﺯ ﻣﻲ ﻭ ﺟﺎﻡ ﺑﻬﺸﺘﻲ ﻣﻲﺳﺎﺯ‪،‬‬

‫ﻛﺎﻧﺠﺎ ﻛﻪ ﺑﻬﺸﺖ ﺍﺳﺖ ﺭﺳﻲ ﻳﺎ ﻧﺮﺳﻲ!‬

‫‪٥‬‬

‫ﺩﻝ ﺳﺮ ﺣﻴﺎﺕ ﺍﮔﺮ ﻛﻤﺎﻫﻲ ﺩﺍﻧﺴﺖ‪،‬‬

‫ﺩﺭ ﻣﺮﮒ ﻫﻢ ﺍﺳﺮﺍﺭ ﺍﻟﻬﻲ ﺩﺍﻧﺴﺖ؛‬

‫ﺍﻣﺮﻭﺯ ﻛﻪ ﺑﺎ ﺧﻮﺩﻱ‪ ،‬ﻧﺪﺍﻧﺴﺘﻲ ﻫﻴﭻ‪،‬‬

‫ﻓﺮﺩﺍ ﻛﻪ ﺯ ﺧﻮﺩ ﺭﻭﻱ ﭼﻪ ﺧﻮﺍﻫﻲ ﺩﺍﻧﺴﺖ؟‬

‫ﻧﺸﺮ ﺗﺪﺑﻴﺮ‬
‫‪52‬‬ ‫ﺗﺮاﻧﻪ هﺎی ﺧﻴﺎم‬

‫‪۶‬‬

‫ﺗﺎ ﭼﻨﺪ ﺯﻧﻢ ﺑﺮﻭﻱ ﺩﺭﻳﺎﻫﺎ ﺧﺸﺖ‪،‬‬

‫ﺑﻴﺰﺍﺭ ﺷﺪﻡ ﺯ ﺑﺖ ﭘﺮﺳﺘﺎﻥ ﻭ ﻛﻨﺸﺖ؛‬

‫ﺧﻴﺎﻡ ﻛﻪ ﮔﻔﺖ ﺩﻭﺯﺧﻲ ﺧﻮﺍﻫﺪ ﺑﻮﺩ؟‬

‫ﻛﻪ ﺭﻓﺖ ﺑﺪﻭﺯﺥ ﻭ ﻛﻪ ﺁﻣﺪ ﺯ ﺑﻬﺸﺖ؟‬

‫‪٧‬‬

‫ﺍﺳﺮﺍﺭ ﺍﺯﻝ ﺭﺍ ﻧﻪ ﺗﻮ ﺩﺍﻧﻲ ﻭ ﻧﻪ ﻣﻦ‪،‬‬

‫ﻭﻳﻦ ﺣﺮﻑ ﻣﻌﻤﺎ ﻧﻪ ﺗﻮ ﺧﻮﺍﻧﻲ ﻭ ﻧﻪ ﻣﻦ؛‬

‫ﻫﺴﺖ ﺍﺯ ﭘﺲ ﭘﺮﺩﻩ ﮔﻔﺘﮕﻮﻱ ﻣﻦ ﻭ ﺗﻮ‪،‬‬

‫ﭼﻮﻥ ﭘﺮﺩﻩ ﺑﺮﺍﻓﺘﺪ‪ ،‬ﻧﻪ ﺗﻮ ﻣﺎﻧﻲ ﻭ ﻧﻪ ﻣﻦ‪.‬‬

‫‪٨‬‬

‫ﺍﻳﻦ ﺑﺤﺮ ﻭﺟﻮﺩ ﺁﻣﺪﻩ ﺑﻴﺮﻭﻥ ﺯ ﻧﻬﻔﺖ‪،‬‬

‫ﻛﺲ ﻧﻴﺴﺖ ﻛﻪ ﺍﻳﻦ ﮔﻮﻫﺮ ﺗﺤﻘﻴﻖ ﺑﺴﻔﺖ؛‬

‫ﻫﺮ ﻛﺲ ﺳﺨﻨﻲ ﺍﺯ ﺳﺮ ﺳﻮﺩﺍ ﮔﻔﺘﻪ ﺍﺳﺖ‪،‬‬

‫ﺯﺍﻥ ﺭﻭﻱ ﻛﻪ ﻫﺴﺖ‪ ،‬ﻛﺲ ﻧﻤﻲﺩﺍﻧﺪ ﮔﻔﺖ‪.‬‬

‫ﻧﺸﺮ ﺗﺪﺑﻴﺮ‬
‫‪53‬‬ ‫ﺗﺮاﻧﻪ هﺎی ﺧﻴﺎم‬

‫‪٩‬‬

‫ﺍﺟﺮﺍﻡ ﻛﻪ ﺳﺎﻛﻨﺎﻥ ﺍﻳﻦ ﺍﻳﻮﺍﻧﻨﺪ‪،‬‬

‫ﺍﺳﺒﺎﺏ ﺗﺮﺩﺩ ﺧﺮﺩﻣﻨﺪﺍﻧﻨﺪ‪،‬‬

‫ﻫﺎﻥ ﺗﺎ ﺳﺮ ﺭﺷﺘﺔ ﺧﺮﺩ ﮔﻢ ﻧﻜﻨﻲ‪،‬‬

‫ﻛﺎﻧﺎﻥ ﻛﻪ ﻣﺪﺑﺮﻧﺪ ﺳﺮﮔﺮﺩﺍﻧﻨﺪ!‬

‫‪١٠‬‬

‫ﺩﻭﺭﻱ ﻛﻪ ﺩﺭ ﺁﻣﺪﻥ ﻭ ﺭﻓﺘﻦ ﻣﺎﺳﺖ‪،‬‬

‫ﺍﻭ ﺭﺍ ﻧﻪ ﻧﻬﺎﻳﺖ‪ ،‬ﻧﻪ ﺑﺪﺍﻳﺖ ﭘﻴﺪﺍﺳﺖ‪،‬‬

‫ﻛﺲ ﻣﻲﻧﺰﻧﺪ ﺩﻣﻲ ﺩﺭﻳﻦ ﻣﻌﻨﻲ ﺭﺍﺳﺖ‪،‬‬

‫ﻛﺎﻳﻦ ﺁﻣﺪﻥ ﺍﺯ ﻛﺠﺎ ﻭ ﺭﻓﺘﻦ ﺑﻜﺠﺎﺳﺖ!‬

‫‪١١‬‬

‫ﺩﺍﺭﻧﺪﻩ ﭼﻮ ﺗﺮﻛﻴﺐ ﻃﺒﺎﻳﻊ ﺁﺭﺍﺳﺖ‪،‬‬

‫ﺍﺯ ﺑﻬﺮ ﭼﻪ ﺍﻭﻓﻜﻨﺪﺵ ﺍﻧﺪﺭ ﻛﻢ ﻭ ﻛﺎﺳﺖ؟‬

‫ﮔﺮ ﻧﻴﻚ ﺁﻣﺪ‪ ،‬ﺷﻜﺴﺘﻦ ﺍﺯ ﺑﻬﺮ ﭼﻪ ﺑﻮﺩ؟‬

‫ﻧﺸﺮ ﺗﺪﺑﻴﺮ‬
‫‪54‬‬ ‫ﺗﺮاﻧﻪ هﺎی ﺧﻴﺎم‬

‫ﻭﺭ ﻧﻴﻚ ﻧﻴﺎﻣﺪ ﺍﻳﻦ ﺻﻮﺭ‪ ،‬ﻋﻴﺐ ﻛﺮﺍﺳﺖ؟‬

‫‪١٢‬‬

‫ﺁﻧﺎﻧﻜﻪ ﻣﺤﻴﻂ ﻓﻀﻞ ﻭ ﺁﺩﺍﺏ ﺷﺪﻧﺪ‪،‬‬

‫ﺩﺭ ﺟﻤﻊ ﻛﻤﺎﻝ ﺷﻤﻊ ﺍﺻﺤﺎﺏ ﺷﺪﻧﺪ‪،‬‬

‫ﺭﻩ ﺯﻳﻦ ﺷﺐ ﺗﺎﺭﻳﻚ ﻧﺒﺮﺩﻧﺪ ﺑﺮﻭﺯ‪،‬‬

‫ﮔﻔﺘﻨﺪ ﻓﺴﺎﻧﻪﺍﻱ ﻭ ﺩﺭ ﺧﻮﺍﺏ ﺷﺪﻧﺪ‪.‬‬

‫‪*١٣‬‬

‫ﺁﻧﺎﻧﻜﻪ ﺯ ﭘﻴﺶ ﺭﻓﺘﻪﺍﻧﺪ ﺍﻱ ﺳﺎﻗﻲ‪،‬‬

‫ﺩﺭ ﺧﺎﻙ ﻏﺮﻭﺭ ﺧﻔﺘﻪﺍﻧﺪ ﺍﻱ ﺳﺎﻗﻲ‪،‬‬

‫ﺭﻭ ﺑﺎﺩﻩ ﺧﻮﺭ ﻭ ﺣﻘﻴﻘﺖ ﺍﺯ ﻣﻦ ﺑﺸﻨﻮ‪:‬‬

‫ﺑﺎﺩ ﺍﺳﺖ ﻫﺮ ﺁﻧﭽﻪ ﮔﻔﺘﻪﺍﻧﺪ ﺍﻱ ﺳﺎﻗﻲ‪.‬‬

‫‪* ١٤‬‬

‫ﺁﻥ ﺑﻴﺨﺒﺮﺍﻥ ﻛﻪ ﺩﺭ ﻣﻌﻨﻲ ﺳﻔﺘﻨﺪ‬

‫ﻧﺸﺮ ﺗﺪﺑﻴﺮ‬
‫‪55‬‬ ‫ﺗﺮاﻧﻪ هﺎی ﺧﻴﺎم‬

‫ﺩﺭ ﭼﺮﺥ ﺑﻪ ﺍﻧﻮﺍﻉ ﺳﺨﻦﻫﺎ ﮔﻔﺘﻨﺪ؛‬

‫ﺁﮔﻪ ﭼﻮ ﻧﮕﺸﺘﻨﺪ ﺑﺮ ﺍﺳﺮﺍﺭ ﺟﻬﺎﻥ‪،‬‬

‫ﺍﻭﻝ ﺯﻧﺨﻲ ﺯﺩﻧﺪ ﻭ ﺁﺧﺮ ﺧﻔﺘﻨﺪ!‬

‫‪١٥‬‬

‫ﮔﺎﻭﻳﺴﺖ ﺑﺮ ﺁﺳﻤﺎﻥ ﻗﺮﻳﻦ ﭘﺮﻭﻳﻦ‪،‬‬

‫ﮔﺎﻭﻳﺴﺖ ﺩﮔﺮ ﻧﻬﻔﺘﻪ ﺩﺭ ﺯﻳﺮ ﺯﻣﻴﻦ؛‬

‫ﮔﺮ ﺑﻴﻨﺎﺋﻲ‪ ،‬ﭼﺸﻢ ﺣﻘﻴﻘﺖ ﺑﮕﺸﺎ‪:‬‬

‫ﺯﻳﺮ ﻭ ﺯﺑﺮ ﺩﻭ ﮔﺎﻭ ﻣﺸﺘﻲ ﺧﺮ ﺑﻴﻦ‪.‬‬

‫ﻧﺸﺮ ﺗﺪﺑﻴﺮ‬
‫‪56‬‬ ‫ﺗﺮاﻧﻪ هﺎی ﺧﻴﺎم‬

‫درد زﻧﺪﮔﯽ‬
‫‪١٦‬‬

‫ﺍﻣﺮﻭﺯ ﻛﻪ ﻧﻮﺑﺖ ﺟﻮﺍﻧﻲ ﻣﻦ ﺍﺳﺖ‪،‬‬

‫ﻣﻲ ﻧﻮﺷﻢ ﺍﺯ ﺁﻧﻜﻪ ﻛﺎﻣﺮﺍﻧﻲ ﻣﻦ ﺍﺳﺖ؛‬

‫ﻋﻴﺒﻢ ﻣﻜﻨﻴﺪ‪ .‬ﺍﮔﺮ ﭼﻪ ﺗﻠﺦ ﺍﺳﺖ ﺧﻮﺵ ﺍﺳﺖ‪،‬‬

‫ﺗﻠﺦ ﺍﺳﺖ‪ ،‬ﺍﺯ ﺁﻧﻜﻪ ﺯﻧﺪﮔﺎﻧﻲ ﻣﻦ ﺍﺳﺖ‪.‬‬

‫‪١٧‬‬

‫ﮔﺮ ﺁﻣﺪﻧﻢ ﺑﻤﻦ ﺑﺪﻱ‪ ،‬ﻧﺎﻣﺪﻣﻲ‪.‬‬

‫ﻭﺭ ﻧﻴﺰ ﺷﺪﻥ ﺑﻤﻦ ﺑﺪﻱ‪ ،‬ﻛﻲ ﺷﺪﻣﻲ؟‬

‫ﺑﻪ ﺯﺍﻥ ﻧﺒﺪﻱ ﻛﻪ ﺍﻧﺪﺭﻳﻦ ﺩﻳﺮ ﺧﺮﺍﺏ‪،‬‬

‫ﻧﻪ ﺁﻣﺪﻣﻲ‪ ،‬ﻧﻪ ﺷﺪﻣﻲ‪ ،‬ﻧﻪ ﺑﺪﻣﻲ‪.‬‬

‫‪١٨‬‬

‫ﺍﺯ ﺁﻣﺪﻥ ﻭ ﺭﻓﺘﻦ ﻣﺎ ﺳﻮﺩﻱ ﻛﻮ؟‬

‫ﻭﺯ ﺗﺎﺭ ﻭﺟﻮﺩ ﻋﻤﺮ ﻣﺎ ﭘﻮﺩﻱ ﻛﻮ؟‬

‫ﻧﺸﺮ ﺗﺪﺑﻴﺮ‬
‫‪57‬‬ ‫ﺗﺮاﻧﻪ هﺎی ﺧﻴﺎم‬

‫ﺩﺭ ﭼﻨﺒﺮ ﭼﺮﺥ ﺟﺎﻥ ﭼﻨﺪﻳﻦ ﭘﺎﻛﺎﻥ‪،‬‬

‫ﻣﻲﺳﻮﺯﺩ ﻭ ﺧﺎﻙ ﻣﻲﺷﻮﺩ‪ ،‬ﺩﻭﺩﻱ ﻛﻮ؟‬

‫‪١٩‬‬

‫ﺍﻓﺴﻮﺱ ﻛﻪ ﺑﻲﻓﺎﻳﺪﻩ ﻓﺮﺳﻮﺩﻩ ﺷﺪﻳﻢ‪،‬‬

‫ﻭﺯ ﺩﺍﺱ ﺳﭙﻬﺮ ﺳﺮﻧﮕﻮﻥ ﺳﻮﺩﻩ ﺷﺪﻳﻢ‪،‬‬

‫ﺩﺭﺩﺍ ﻭ ﻧﺪﺍﻣﺘﺎ ﻛﻪ ﺗﺎ ﭼﺸﻢ ﺯﺩﻳﻢ‪،‬‬

‫ﻧﺎﺑﻮﺩﻩ ﺑﻜﺎﻡ ﺧﻮﻳﺶ‪ ،‬ﻧﺎﺑﻮﺩﻩ ﺷﺪﻳﻢ!‬

‫‪* ٢٠‬‬

‫ﺑﺎ ﻳﺎﺭ ﭼﻮ ﺁﺭﻣﻴﺪﻩ ﺑﺎﺷﻲ ﻫﻤﻪ ﻋﻤﺮ‪،‬‬

‫ﻟﺬﺍﺕ ﺟﻬﺎﻥ ﭼﺸﻴﺪﻩ ﺑﺎﺷﻲ ﻫﻤﻪ ﻋﻤﺮ‪،‬‬

‫ﻫﻢ ﺁﺧﺮ ﻛﺎﺭ ﺭﺣﻠﺘﺖ ﺧﻮﺍﻫﺪ ﺑﻮﺩ‪،‬‬

‫ﺧﻮﺍﺑﻲ ﺑﺎﺷﺪ ﻛﻪ ﺩﻳﺪﻩ ﺑﺎﺷﻲ ﻫﻤﻪ ﻋﻤﺮ‪.‬‬

‫‪٢١‬‬

‫ﺍﻛﻨﻮﻥ ﻛﻪ ﺯ ﺧﻮﺷﺪﻟﻲ ﺑﺠﺰ ﻧﺎﻡ ﻧﻤﺎﻧﺪ‪،‬‬

‫ﻧﺸﺮ ﺗﺪﺑﻴﺮ‬
‫‪58‬‬ ‫ﺗﺮاﻧﻪ هﺎی ﺧﻴﺎم‬

‫ﻳﻚ ﻫﻤﺪﻡ ﭘﺨﺘﻪ ﺟﺰ ﻣﻲ ﺧﺎﻡ ﻧﻤﺎﻧﺪ‪:‬‬

‫ﺩﺳﺖ ﻃﺮﺏ ﺍﺯ ﺳﺎﻏﺮ ﻣﻲ ﺑﺎﺯ ﻣﮕﻴﺮ‬

‫ﺍﻣﺮﻭﺯ ﻛﻪ ﺩﺭ ﺩﺳﺖ ﺑﺠﺰ ﺟﺎﻡ ﻧﻤﺎﻧﺪ!‬

‫‪٢٢‬‬

‫ﺍﻳﻜﺎﺵ ﻛﻪ ﺟﺎﻱ ﺁﺭﻣﻴﺪﻥ ﺑﻮﺩﻱ‪،‬‬

‫ﻳﺎ ﺍﻳﻦ ﺭﻩ ﺩﻭﺭ ﺭﺍ ﺭﺳﻴﺪﻥ ﺑﻮﺩﻱ؛‬

‫ﻛﺎﺵ ﺍﺯ ﭘﻲ ﺻﺪ ﻫﺰﺍﺭ ﺳﺎﻝ ﺍﺯ ﺩﻝ ﺧﺎﻙ‪،‬‬

‫ﭼﻮﻥ ﺳﺒﺰﻩ ﺍﻣﻴﺪ ﺑﺮﺩﻣﻴﺪﻥ ﺑﻮﺩﻱ!‬

‫‪٢٣‬‬

‫ﭼﻮﻥ ﺣﺎﺻﻞ ﺁﺩﻣﻲ ﺩﺭﻳﻦ ﺟﺎﻱ ﺩﻭ ﺩﺭ‪،‬‬

‫ﺟﺰ ﺩﺭﺩ ﺩﻝ ﻭ ﺩﺍﺩﻥ ﺟﺎﻥ ﻧﻴﺴﺖ ﺩﮔﺮ‪:‬‬

‫ﺧﺮﻡ ﺩﻝ ﺁﻧﻜﻪ ﻳﻚ ﻧﻔﺲ ﺯﻧﺪﻩ ﻧﺒﻮﺩ‪،‬‬

‫ﻭ ﺁﺳﻮﺩﻩ ﻛﺴﻴﻜﻪ ﺧﻮﺩ ﻧﺰﺍﺩ ﺍﺯ ﻣﺎﺩﺭ!‬

‫ﻧﺸﺮ ﺗﺪﺑﻴﺮ‬
‫‪59‬‬ ‫ﺗﺮاﻧﻪ هﺎی ﺧﻴﺎم‬

‫‪* ٢٤‬‬

‫ﺁﻧﻜﺲ ﻛﻪ ﺯﻣﻴﻦ ﻭ ﭼﺮﺥ ﺍﻓﻼﻙ ﻧﻬﺎﺩ‪،‬‬

‫ﺑﺲ ﺩﺍﻍ ﻛﻪ ﺍﻭ ﺑﺮ ﺩﻝ ﻏﻤﻨﺎﻙ ﻧﻬﺎﺩ؛‬

‫ﺑﺴﻴﺎﺭ ﻟﺐ ﭼﻮ ﻟﻌﻞ ﻭ ﺯﻟﻔﻴﻦ ﭼﻮ ﻣﺸﻚ‬

‫ﺩﺭ ﻃﺒﻞ ﺯﻣﻴﻦ ﻭ ﺣﻘﺔ ﺧﺎﻙ ﻧﻬﺎﺩ!‬

‫‪٢٥‬‬

‫ﮔﺮ ﺑﺮ ﻓﻠﻜﻢ ﺩﺳﺖ ﺑﺪﻱ ﭼﻮﻥ ﻳﺰﺩﺍﻥ‪،‬‬

‫ﺑﺮﺩﺍﺷﺘﻤﻲ ﻣﻦ ﺍﻳﻦ ﻓﻠﻚ ﺭﺍ ﺯ ﻣﻴﺎﻥ؛‬

‫ﺍﺯ ﻧﻮ ﻓﻠﻚ ﺩﮔﺮ ﭼﻨﺎﻥ ﺳﺎﺧﺘﻤﻲ‪،‬‬

‫ﻛﺎﺯﺍﺩﻩ ﺑﻜﺎﻡ ﺩﻝ ﺭﺳﻴﺪﻱ ﺁﺳﺎﻥ‪.‬‬

‫ﻧﺸﺮ ﺗﺪﺑﻴﺮ‬
‫‪60‬‬ ‫ﺗﺮاﻧﻪ هﺎی ﺧﻴﺎم‬

‫از ازل ﻧﻮﺷﺘﻪ‬

‫‪٢٦‬‬

‫ﺑﺮ ﻟﻮﺡ ﻧﺸﺎﻥ ﺑﻮﺩﻧﻲﻫﺎ ﺑﻮﺩﻩ ﺍﺳﺖ‪،‬‬

‫ﭘﻴﻮﺳﺘﻪ ﻗﻠﻢ ﺯ ﻧﻴﻚ ﻭ ﺑﺪ ﻓﺮﺳﻮﺩﻩ ﺍﺳﺖ؛‬

‫ﺩﺭ ﺭﻭﺯ ﺍﺯﻝ ﻫﺮ ﺁﻧﭽﻪ ﺑﺎﻳﺴﺖ ﺑﺪﺍﺩ‪،‬‬

‫ﻏﻢ ﺧﻮﺭﺩﻥ ﻭ ﻛﻮﺷﻴﺪﻥ ﻣﺎ ﺑﻴﻬﻮﺩﻩ ﺍﺳﺖ‪.‬‬

‫‪٢٧‬‬

‫ﭼﻮﻥ ﺭﻭﺯﻱ ﻭ ﻋﻤﺮ ﺑﻴﺶ ﻭ ﻛﻢ ﻧﺘﻮﺍﻥ ﻛﺮﺩ‪،‬‬

‫ﺧﻮﺩ ﺭﺍ ﺑﻜﻢ ﻭ ﺑﻴﺶ ﺩﮊﻡ ﻧﺘﻮﺍﻥ ﻛﺮﺩ؛‬

‫ﻛﺎﺭ ﻣﻦ ﻭ ﺗﻮ ﭼﻨﺎﻧﻜﻪ ﺭﺃﻱ ﻣﻦ ﻭ ﺗﺴﺖ‬

‫ﺍﺯ ﻣﻮﻡ ﺑﺪﺳﺖ ﺧﻮﻳﺶ ﻫﻢ ﻧﺘﻮﺍﻥ ﻛﺮﺩ‪.‬‬

‫‪٢٨‬‬

‫ﺍﻓﻼﻙ ﻛﻪ ﺟﺰ ﻏﻢ ﻧﻔﺰﺍﻳﻨﺪ ﺩﮔﺮ‪،‬‬

‫ﻧﻨﻬﻨﺪ ﺑﺠﺎ ﺗﺎ ﻧﺮﺑﺎﻳﻨﺪ ﺩﮔﺮ؛‬

‫ﻧﺸﺮ ﺗﺪﺑﻴﺮ‬
‫‪61‬‬ ‫ﺗﺮاﻧﻪ هﺎی ﺧﻴﺎم‬

‫ﻧﺎ ﺁﻣﺪﮔﺎﻥ ﺍﮔﺮ ﺑﺪﺍﻧﻨﺪ ﻛﻪ ﻣﺎ‬

‫ﺍﺯ ﺩﻫﺮ ﭼﻪ ﻣﻲﻛﺸﻴﻢ‪ ،‬ﻧﺎﻳﻨﺪ ﺩﮔﺮ‪.‬‬

‫‪٢٩‬‬

‫ﺍﻱ ﺁﻧﻜﻪ ﻧﺘﻴﺠﺔ ﭼﻬﺎﺭ ﻭ ﻫﻔﺘﻲ‪،‬‬

‫ﻭﺯ ﻫﻔﺖ ﻭ ﭼﻬﺎﺭ ﺩﺍﻳﻢ ﺍﻧﺪﺭ ﺗﻔﺘﻲ‪،‬‬

‫ﻣﻲ ﺧﻮﺭ ﻛﻪ ﻫﺰﺍﺭ ﺑﺎﺭﻩ ﺑﻴﺸﺖ ﮔﻔﺘﻢ‪:‬‬

‫ﺑﺎﺯ ﺁﻣﺪﻧﺖ ﻧﻴﺴﺖ‪ ،‬ﭼﻮ ﺭﻓﺘﻲ ﺭﻓﺘﻲ‪.‬‬

‫‪* ٣٠‬‬

‫ﺗﺎ ﺧﺎﻙ ﻣﺮﺍ ﺑﻘﺎﻟﺐ ﺁﻣﻴﺨﺘﻪﺍﻧﺪ‪،‬‬

‫ﺑﺲ ﻓﺘﻨﻪ ﻛﻪ ﺍﺯ ﺧﺎﻙ ﺑﺮﺍﻧﮕﻴﺨﺘﻪﺍﻧﺪ؛‬

‫ﻣﻦ ﺑﻬﺘﺮ ﺍﺯﻳﻦ ﻧﻤﻲﺗﻮﺍﻧﻢ ﺑﻮﺩﻥ‬

‫ﻛﺰ ﺑﻮﺗﻪ ﻣﺮﺍ ﭼﻨﻴﻦ ﺑﺮﻭﻥ ﺭﻳﺨﺘﻪﺍﻧﺪ‪.‬‬

‫ﻧﺸﺮ ﺗﺪﺑﻴﺮ‬
‫‪62‬‬ ‫ﺗﺮاﻧﻪ هﺎی ﺧﻴﺎم‬

‫‪* ٣١‬‬

‫ﺗﺎ ﻛﻲ ﺯ ﭼﺮﺍﻍ ﻣﺴﺠﺪ ﻭ ﺩﻭﺩ ﻛﻨﺸﺖ؟‬

‫ﺗﺎ ﻛﻲ ﺯ ﺯﻳﺎﻥ ﺩﻭﺯﺥ ﻭ ﺳﻮﺩ ﺑﻬﺸﺖ؟‬

‫ﺭﻭ ﺑﺮ ﺳﺮ ﻟﻮﺡ ﺑﻴﻦ ﻛﻪ ﺍﺳﺘﺎﺩ ﻗﻀﺎ‬

‫ﺍﻧﺪﺭ ﺍﺯﻝ ﺁﻧﭽﻪ ﺑﻮﺩﻧﻲ ﺑﻮﺩ‪ ،‬ﻧﻮﺷﺖ‪.‬‬

‫‪* ٣٢‬‬

‫ﺍﻱ ﺩﻝ ﭼﻮ ﺣﻘﻴﻘﺖ ﺟﻬﺎﻥ ﻫﺴﺖ ﻣﺠﺎﺯ‪،‬‬

‫ﭼﻨﺪﻳﻦ ﭼﻪ ﺑﺮﻱ ﺧﻮﺍﺭﻱ ﺍﺯﻳﻦ ﺭﻧﺞ ﺩﺭﺍﺯ!‬

‫ﺗﻦ ﺭﺍ ﺑﻪ ﻗﻀﺎ ﺳﭙﺎﺭ ﻭ ﺑﺎ ﺩﺭﺩ ﺑﺴﺎﺯ‪،‬‬

‫ﻛﺎﻳﻦ ﺭﻓﺘﻪ ﻗﻠﻢ ﺯ ﺑﻬﺮ ﺗﻮ ﻧﺎﻳﺪ ﺑﺎﺯ‪.‬‬

‫‪٣٣‬‬

‫ﺩﺭ ﮔﻮﺵ ﺩﻟﻢ ﮔﻔﺖ ﻓﻠﻚ ﭘﻨﻬﺎﻧﻲ‪:‬‬

‫ﺣﻜﻤﻲ ﻛﻪ ﻗﻀﺎ ﺑﻮﺩ ﺯ ﻣﻦ ﻣﻲﺩﺍﻧﻲ؟‬

‫ﺩﺭ ﮔﺮﺩﺵ ﺧﻮﺩ ﺍﮔﺮ ﻣﺮﺍ ﺩﺳﺖ ﺑﺪﻱ‪،‬‬

‫ﺧﻮﺩ ﺭﺍ ﺑﺮﻫﺎﻧﺪﻣﻲ ﺯ ﺳﺮﮔﺮﺩﺍﻧﻲ‬

‫ﻧﺸﺮ ﺗﺪﺑﻴﺮ‬
‫‪63‬‬ ‫ﺗﺮاﻧﻪ هﺎی ﺧﻴﺎم‬

‫‪٣٤‬‬

‫ﻧﻴﻜﻲ ﻭ ﺑﺪﻱ ﻛﻪ ﺩﺭ ﻧﻬﺎﺩ ﺑﺸﺮ ﺍﺳﺖ‪،‬‬

‫ﺷﺎﺩﻱ ﻭ ﻏﻤﻲ ﻛﻪ ﺩﺭ ﻗﻀﺎ ﻭ ﻗﺪﺭ ﺍﺳﺖ‪،‬‬

‫ﺑﺎ ﭼﺮﺥ ﻣﻜﻦ ﺣﻮﺍﻟﻪ ﻛﺎﻧﺪﺭ ﺭﻩ ﻋﻘﻞ‪،‬‬

‫ﭼﺮﺥ ﺍﺯ ﺗﻮ ﻫﺰﺍﺭﺑﺎﺭ ﺑﻴﭽﺎﺭﻩﺗﺮ ﺍﺳﺖ‪.‬‬

‫ﻧﺸﺮ ﺗﺪﺑﻴﺮ‬
‫‪64‬‬ ‫ﺗﺮاﻧﻪ هﺎی ﺧﻴﺎم‬

‫ﮔﺮدش دوران‬
‫‪٣٥‬‬

‫ﺍﻓﺴﻮﺱ ﻛﻪ ﻧﺎﻣﻪ ﺟﻮﺍﻧﻲ ﻃﻲ ﺷﺪ‪،‬‬

‫ﻭﺍﻥ ﺗﺎﺯﻩ ﺑﻬﺎﺭ ﺯﻧﺪﮔﺎﻧﻲ ﺩﻱ ﺷﺪ‪،‬‬

‫ﺣﺎﻟﻲ ﻛﻪ ﻭﺭﺍ ﻧﺎﻡ ﺟﻮﺍﻧﻲ ﮔﻔﺘﻨﺪ‪،‬‬

‫ﻣﻌﻠﻮﻡ ﻧﺸﺪ ﻛﻪ ﺍﻭ ﻛﻲ ﺁﻣﺪ‪ ،‬ﻛﻲ ﺷﺪ!‬

‫‪٣٦‬‬

‫ﺍﻓﺴﻮﺱ ﻛﻪ ﺳﺮﻣﺎﻳﻪ ﺯ ﻛﻒ ﺑﻴﺮﻭﻥ ﺷﺪ‪،‬‬

‫ﺩﺭ ﭘﺎﻱ ﺍﺟﻞ ﺑﺴﻲ ﺟﮕﺮﻫﺎ ﺧﻮﻥ ﺷﺪ!‬

‫ﻛﺲ ﻧﺎﻣﺪ ﺍﺯ ﺁﻧﺠﻬﺎﻥ ﻛﻪ ﭘﺮﺳﻢ ﺍﺯ ﻭﻱ‪:‬‬

‫ﻛﺎﺣﻮﺍﻝ ﻣﺴﺎﻓﺮﺍﻥ ﺩﻧﻴﺎ ﭼﻮﻥ ﺷﺪ‪.‬‬

‫‪٣٧‬‬

‫ﻳﻜﭽﻨﺪ ﺑﻪ ﻛﻮﺩﻛﻲ ﺑﻪ ﺍﺳﺘﺎﺩ ﺷﺪﻳﻢ؛‬

‫ﻳﻜﭽﻨﺪ ﺯ ﺍﺳﺘﺎﺩﻱ ﺧﻮﺩ ﺷﺎﺩ ﺷﺪﻳﻢ؛‬

‫ﻧﺸﺮ ﺗﺪﺑﻴﺮ‬
‫‪65‬‬ ‫ﺗﺮاﻧﻪ هﺎی ﺧﻴﺎم‬

‫ﭘﺎﻳﺎﻥ ﺳﺨﻦ ﺷﻨﻮ ﻛﻪ ﻣﺎ ﺭﺍ ﭼﻪ ﺭﺳﻴﺪ‪:‬‬

‫ﭼﻮﻥ ﺁﺏ ﺑﺮﺁﻣﺪﻳﻢ ﻭ ﭼﻮﻥ ﺑﺎﺩ ﺷﺪﻳﻢ!‬

‫‪٣٨‬‬

‫ﻳﺎﺭﺍﻥ ﻣﻮﺍﻓﻖ ﻫﻤﻪ ﺍﺯ ﺩﺳﺖ ﺷﺪﻧﺪ‪،‬‬

‫ﺩﺭ ﭘﺎﻱ ﺍﺟﻞ ﻳﻜﺎﻥ ﻳﻜﺎﻥ ﭘﺴﺖ ﺷﺪﻧﺪ‪،‬‬

‫ﺑﻮﺩﻳﻢ ﺑﻴﻚ ﺷﺮﺍﺏ ﺩﺭ ﻣﺠﻠﺲ ﻋﻤﺮ‪،‬‬

‫ﻳﻜﺪﻭﺭ ﺯ ﻣﺎ ﭘﻴﺸﺘﺮﻙ ﻣﺴﺖ ﺷﺪﻧﺪ!‬

‫‪٣٩‬‬

‫ﺍﻱ ﭼﺮﺥ ﻓﻠﻚ ﺧﺮﺍﺑﻲ ﺍﺯ ﻛﻴﻨﺔ ﺗﺴﺖ‪،‬‬

‫ﺑﻴﺪﺍﺩﮔﺮﻱ ﭘﻴﺸﺔ ﺩﻳﺮﻳﻨﺔ ﺗﺴﺖ‪،‬‬

‫ﻭﻱ ﺧﺎﻙ ﺍﮔﺮ ﺳﻴﻨﺔ ﺗﻮ ﺑﺸﻜﺎﻓﻨﺪ‪،‬‬

‫ﺑﺲ ﮔﻮﻫﺮ ﻗﻴﻤﺘﻲ ﻛﻪ ﺩﺭ ﺳﻴﻨﺔ ﺗﺴﺖ!‬

‫ﻧﺸﺮ ﺗﺪﺑﻴﺮ‬
‫‪66‬‬ ‫ﺗﺮاﻧﻪ هﺎی ﺧﻴﺎم‬

‫‪٤٠‬‬

‫ﭼﻮﻥ ﭼﺮﺥ ﺑﻜﺎﻡ ﻳﻚ ﺧﺮﺩﻣﻨﺪ ﻧﮕﺸﺖ‪،‬‬

‫ﺧﻮﺍﻫﻲ ﺗﻮ ﻓﻠﻚ ﻫﻔﺖ ﺷﻤﺮ‪ ،‬ﺧﻮﺍﻫﻲ ﻫﺸﺖ‬

‫ﭼﻮﻥ ﺑﺎﻳﺪ ﻣﺮﺩ ﻭ ﺁﺭﺯﻭﻫﺎ ﻫﻤﻪ ﻫﺸﺖ‪،‬‬

‫ﭼﻪ ﻣﻮﺭ ﺧﻮﺭﺩ ﺑﻪ ﮔﻮﺭ ﻭ ﭼﻪ ﮔﺮﮒ ﺑﺪﺷﺖ‪.‬‬

‫‪٤١‬‬

‫ﻳﻚ ﻗﻄﺮﺓ ﺁﺏ ﺑﻮﺩ ﻭ ﺑﺎ ﺩﺭﻳﺎ ﺷﺪ‪،‬‬

‫ﻳﻚ ﺫﺭﺓ ﺧﺎﻙ ﻭ ﺑﺎ ﺯﻣﻴﻦ ﻳﻜﺘﺎ ﺷﺪ‪،‬‬

‫ﺁﻣﺪ ﺷﺪﻥ ﺗﻮ ﺍﻧﺪﺭﻳﻦ ﻋﺎﻟﻢ ﭼﻴﺴﺖ؟‬

‫ﺁﻣﺪ ﻣﮕﺴﻲ ﭘﺪﻳﺪ ﻭ ﻧﺎﭘﻴﺪﺍ ﺷﺪ‪.‬‬

‫‪* ٤٢‬‬

‫ﻣﻲﭘﺮﺳﻴﺪﻱ ﻛﻪ ﭼﻴﺴﺖ ﺍﻳﻦ ﻧﻘﺶ ﻣﺠﺎﺯ‪،‬‬

‫ﮔﺮ ﺑﺮ ﮔﻮﻳﻢ ﺣﻘﻴﻘﺘﺶ ﻫﺴﺖ ﺩﺭﺍﺯ‪،‬‬

‫ﻧﻘﺸﻲ ﺍﺳﺖ ﭘﺪﻳﺪ ﺁﻣﺪﻩ ﺍﺯ ﺩﺭﻳﺎﺋﻲ‪،‬‬

‫ﻭﺁﻧﮕﺎﻩ ﺷﺪﻩ ﺑﻘﻌﺮ ﺁﻥ ﺩﺭﻳﺎ ﺑﺎﺯ‪.‬‬

‫ﻧﺸﺮ ﺗﺪﺑﻴﺮ‬
‫‪67‬‬ ‫ﺗﺮاﻧﻪ هﺎی ﺧﻴﺎم‬

‫‪٤٣‬‬

‫ﺟﺎﻣﻲ ﺍﺳﺖ ﻛﻪ ﻋﻘﻞ ﺁﻓﺮﻳﻦ ﻣﻲﺯﻧﺪﺵ‪،‬‬

‫ﺻﺪ ﺑﻮﺳﻪ ﺯ ﻣﻬﺮ ﺑﺮ ﺟﺒﻴﻦ ﻣﻲﺯﻧﺪﺵ؛‬

‫ﺍﻳﻦ ﻛﻮﺯﻩﮔﺮ ﺩﻫﺮ ﭼﻨﻴﻦ ﺟﺎﻡ ﻟﻄﻴﻒ‬

‫ﻣﻲﺳﺎﺯﺩ ﻭ ﺑﺎﺯ ﺑﺮ ﺯﻣﻴﻦ ﻣﻲﺯﻧﺪﺵ!‬

‫‪٤٤‬‬

‫ﺍﺟﺰﺍﻱ ﭘﻴﺎﻟﻪﺍﻱ ﻛﻪ ﺩﺭ ﻫﻢ ﭘﻴﻮﺳﺖ‪،‬‬

‫ﺑﺸﻜﺴﺘﻦ ﺁﻥ ﺭﻭﺍ ﻧﻤﻲﺩﺍﺭﺩ ﻣﺴﺖ‪،‬‬

‫ﭼﻨﺪﻳﻦ ﺳﺮ ﻭ ﺳﺎﻕ ﻧﺎﺯﻧﻴﻦ ﻭ ﻛﻒ ﺩﺳﺖ‪،‬‬

‫ﺍﺯ ﻣﻬﺮ ﻛﻪ ﭘﻴﻮﺳﺖ ﻭ ﺑﻪ ﻛﻴﻦ ﻛﻪ ﺷﻜﺴﺖ؟‬

‫‪٤٥‬‬

‫ﻋﺎﻟﻢ ﺍﮔﺮ ﺍﺯ ﺑﻬﺮ ﺗﻮ ﻣﻲﺁﺭﺍﻳﻨﺪ‪،‬‬

‫ﻣﮕﺮﺍﻱ ﺑﺪﺍﻥ ﻛﻪ ﻋﺎﻗﻼﻥ ﻧﮕﺮﺍﻳﻨﺪ؛‬

‫ﺑﺴﻴﺎﺭ ﭼﻮ ﺗﻮ ﺭﻭﻧﺪ ﻭ ﺑﺴﻴﺎﺭ ﺁﻳﻨﺪ‪.‬‬

‫ﺑﺮﺑﺎﻱ ﻧﺼﻴﺐ ﺧﻮﻳﺶ ﻛﺖ ﺑﺮﺑﺎﻳﻨﺪ‪.‬‬

‫ﻧﺸﺮ ﺗﺪﺑﻴﺮ‬
‫‪68‬‬ ‫ﺗﺮاﻧﻪ هﺎی ﺧﻴﺎم‬

‫‪٤٦‬‬

‫ﺍﺯ ﺟﻤﻠﺔ ﺭﻓﺘﮕﺎﻥ ﺍﻳﻦ ﺭﺍﻩ ﺩﺭﺍﺯ‪،‬‬

‫ﺑﺎﺯ ﺁﻣﺪﻩﺍﻱ ﻛﻮ ﻛﻪ ﺑﻤﺎ ﮔﻮﻳﺪ ﺭﺍﺯ؟‬

‫ﻫﺎﻥ ﺑﺮ ﺳﺮ ﺍﻳﻦ ﺩﻭ ﺭﺍﻫﻪ ﺍﺯ ﺭﻭﻱ ﻧﻴﺎﺯ‪،‬‬

‫ﭼﻴﺰﻱ ﻧﮕﺬﺍﺭﻱ ﻛﻪ ﻧﻤﻲﺁﻳﻲ ﺑﺎﺯ!‬

‫‪٤٧‬‬

‫ﻣﻲ ﺧﻮﺭ ﻛﻪ ﺑﺰﻳﺮ ﮔﻞ ﺑﺴﻲ ﺧﻮﺍﻫﻲ ﺧﻔﺖ‪،‬‬

‫ﺑﻲﻣﻮﻧﺲ ﻭ ﺑﻲﺭﻓﻴﻖ ﻭ ﺑﻲﻫﻤﺪﻡ ﻭ ﺟﻔﺖ؛‬

‫ﺯﻧﻬﺎﺭ ﺑﻜﺲ ﻣﮕﻮ ﺗﻮ ﺍﻳﻦ ﺭﺍﺯ ﻧﻬﻔﺖ‪:‬‬

‫ﻫﺮ ﻻﻟﻪ ﻛﻪ ﭘﮋﻣﺮﺩ‪ ،‬ﻧﺨﻮﺍﻫﺪ ﺑﺸﻜﻔﺖ‪.‬‬

‫‪* ٤٨‬‬

‫ﭘﻴﺮﻱ ﺩﻳﺪﻡ ﺑﺨﺎﻧﺔ ﺧﻤﺎﺭﻱ‪،‬‬

‫ﮔﻔﺘﻢ‪ :‬ﻧﻜﻨﻲ ﺯ ﺭﻓﺘﮕﺎﻥ ﺍﺧﺒﺎﺭﻱ؟‬

‫ﮔﻔﺘﺎ‪ ،‬ﻣﻲ ﺧﻮﺭ ﻛﻪ ﻫﻤﭽﻮ ﻣﺎ ﺑﺴﻴﺎﺭﻱ‪،‬‬

‫ﺭﻓﺘﻨﺪ ﻭ ﻛﺴﻲ ﺑﺎﺯ ﻧﻴﺎﻣﺪ ﺑﺎﺭﻱ!‬

‫ﻧﺸﺮ ﺗﺪﺑﻴﺮ‬
‫‪69‬‬ ‫ﺗﺮاﻧﻪ هﺎی ﺧﻴﺎم‬

‫‪٤٩‬‬

‫ﺑﺴﻴﺎﺭ ﺑﮕﺸﺘﻴﻢ ﺑﮕﺮﺩ ﺩﺭ ﻭ ﺩﺷﺖ‪،‬‬

‫ﺍﻧﺪﺭ ﻫﻤﻪ ﺁﻓﺎﻕ ﺑﮕﺸﺘﻴﻢ ﺑﮕﺸﺖ؛‬

‫ﻛﺲ ﺭﺍ ﻧﺸﻨﻴﺪﻳﻢ ﻛﻪ ﺁﻣﺪ ﺯﻳﻦ ﺭﺍﻩ‬

‫ﺭﺍﻫﻲ ﻛﻪ ﺑﺮﻓﺖ‪ ،‬ﺭﺍﻫﺮﻭ ﺑﺎﺯ ﻧﮕﺸﺖ!‬

‫‪٥٠‬‬

‫ﻣﺎ ﻟﻌﺒﺘﮕﺎﻧﻴﻢ ﻭ ﻓﻠﻚ ﻟﻌﺒﺖ ﺑﺎﺯ‪،‬‬

‫ﺍﺯ ﺭﻭﻱ ﺣﻘﻴﻘﺘﻲ ﻧﻪ ﺍﺯ ﺭﻭﻱ ﻣﺠﺎﺯ؛‬

‫ﻳﻜﭽﻨﺪ ﺩﺭﻳﻦ ﺑﺴﺎﻁ ﺑﺎﺯﻱ ﻛﺮﺩﻳﻢ‪،‬‬

‫ﺭﻓﺘﻴﻢ ﺑﺼﻨﺪﻭﻕ ﻋﺪﻡ ﻳﻚ ﻳﻚ ﺑﺎﺯ!‬

‫‪٥١‬‬

‫ﺍﻱ ﺑﺲ ﻛﻪ ﻧﺒﺎﺷﻴﻢ ﻭ ﺟﻬﺎﻥ ﺧﻮﺍﻫﺪ ﺑﻮﺩ‪،‬‬

‫ﻧﻲ ﻧﺎﻡ ﺯ ﻣﺎ ﻧﻪ ﻧﺸﺎﻥ ﺧﻮﺍﻫﺪ ﺑﻮﺩ؛‬

‫ﻧﺸﺮ ﺗﺪﺑﻴﺮ‬
‫‪70‬‬ ‫ﺗﺮاﻧﻪ هﺎی ﺧﻴﺎم‬

‫ﺯﻳﻦ ﭘﻴﺶ ﻧﺒﻮﺩﻳﻢ ﻭ ﻧﺒﺪ ﻫﻴﭻ ﺧﻠﻞ‪،‬‬

‫ﺯﻳﻦ ﭘﺲ ﭼﻮ ﻧﺒﺎﺷﻴﻢ ﻫﻤﺎﻥ ﺧﻮﺍﻫﺪ ﺑﻮﺩ‪.‬‬

‫‪٥٢‬‬

‫ﺑﺮ ﻣﻔﺮﺵ ﺧﺎﻙ ﺧﻔﺘﮕﺎﻥ ﻣﻲﺑﻴﻨﻢ‪،‬‬

‫ﺩﺭ ﺯﻳﺮ ﺯﻣﻴﻦ ﻧﻬﻔﺘﮕﺎﻥ ﻣﻲﺑﻴﻨﻢ؛‬

‫ﭼﻨﺪﺍﻧﻜﻪ ﺑﺼﺤﺮﺍﻱ ﻋﺪﻡ ﻣﻲﻧﮕﺮﻡ‪،‬‬

‫ﻧﺎﺁﻣﺪﮔﺎﻥ ﻭ ﺭﻓﺘﮕﺎﻥ ﻣﻲﺑﻴﻨﻢ!‬

‫‪٥٣‬‬

‫ﺍﻳﻦ ﻛﻬﻨﻪ ﺭﺑﺎﻁ ﺭﺍ ﻛﻪ ﻋﺎﻟﻢ ﻧﺎﻡ ﺍﺳﺖ‬

‫ﺁﺭﺍﻣﮕﻪ ﺍﺑﻠﻖ ﺻﺒﺢ ﻭ ﺷﺎﻡ ﺍﺳﺖ‪،‬‬

‫ﺑﺰﻣﻲ ﺍﺳﺖ ﻛﻪ ﻭﺍﻣﺎﻧﺪﺓ ﺻﺪ ﺟﻤﺸﻴﺪ ﺍﺳﺖ‪،‬‬

‫ﮔﻮﺭﻳﺴﺖ ﻛﻪ ﺧﻮﺍﺑﮕﺎﻩ ﺻﺪ ﺑﻬﺮﺍﻡ ﺍﺳﺖ!‬

‫ﻧﺸﺮ ﺗﺪﺑﻴﺮ‬
‫‪71‬‬ ‫ﺗﺮاﻧﻪ هﺎی ﺧﻴﺎم‬

‫‪٥٤‬‬

‫ﺁﻥ ﻗﺼﺮ ﻛﻪ ﺑﻬﺮﺍﻡ ﺩﺭﻭ ﺟﺎﻡ ﮔﺮﻓﺖ‪،‬‬

‫ﺁﻫﻮ ﺑﭽﻪ ﻛﺮﺩ ﻭ ﺭﻭﺑﻪ ﺁﺭﺍﻡ ﮔﺮﻓﺖ؛‬

‫ﺑﻬﺮﺍﻡ ﻛﻪ ﮔﻮﺭ ﻣﻲﮔﺮﻓﺘﻲ ﻫﻤﻪ ﻋﻤﺮ‪،‬‬

‫ﺩﻳﺪﻱ ﻛﻪ ﭼﮕﻮﻧﻪ ﮔﻮﺭ ﺑﻬﺮﺍﻡ ﮔﺮﻓﺖ؟‬

‫‪٥٥‬‬

‫ﻣﺮﻏﻲ ﺩﻳﺪﻡ ﻧﺸﺴﺘﻪ ﺑﺮ ﺑﺎﺭﺓ ﺗﻮﺱ‪،‬‬

‫ﺩﺭ ﭼﻨﮓ ﮔﺮﻓﺘﻪ ﻛﻠﺔ ﻛﻴﻜﺎﻭﺱ‪،‬‬

‫ﺑﺎ ﻛﻠﻪ ﻫﻤﻲ ﮔﻔﺖ ﻛﻪ‪ :‬ﺍﻓﺴﻮﺱ‪ ،‬ﺍﻓﺴﻮﺱ!‬

‫ﻛﻮ ﺑﺎﻧﮓ ﺟﺮﺱﻫﺎ ﻭ ﻛﺠﺎ ﻧﺎﻟﺔ ﻛﻮﺱ؟‬

‫‪٥٦‬‬

‫ﺁﻥ ﻗﺼﺮ ﻛﻪ ﺑﺮ ﭼﺮﺥ ﻫﻤﻲ ﺯﺩ ﭘﻬﻠﻮ‪،‬‬

‫ﺑﺮ ﺩﺭﮔﻪ ﺍﻭ ﺷﻬﺎﻥ ﻧﻬﺎﺩﻧﺪﻱ ﺭﻭ‪،‬‬

‫ﻧﺸﺮ ﺗﺪﺑﻴﺮ‬
‫‪72‬‬ ‫ﺗﺮاﻧﻪ هﺎی ﺧﻴﺎم‬

‫ﺩﻳﺪﻳﻢ ﻛﻪ ﺑﺮ ﻛﻨﮕﺮﻩﺍﺵ ﻓﺎﺧﺘﻪﺍﻱ‬

‫ﺑﻨﺸﺴﺘﻪ ﻫﻤﻲ ﮔﻔﺖ ﻛﻪ‪» :‬ﻛﻮﻛﻮ‪ ،‬ﻛﻮﻛﻮ؟«‬

‫ﻧﺸﺮ ﺗﺪﺑﻴﺮ‬
‫‪73‬‬ ‫ﺗﺮاﻧﻪ هﺎی ﺧﻴﺎم‬

‫ذرات ﮔﺮدﻧﺪﻩ‬
‫‪٥٧‬‬

‫ﺍﺯ ﺗﻦ ﭼﻮ ﺑﺮﻓﺖ ﺟﺎﻥ ﭘﺎﻙ ﻣﻦ ﻭ ﺗﻮ‪،‬‬

‫ﺧﺸﺘﻲ ﺩﻭ ﻧﻬﻨﺪ ﺑﺮ ﻣﻐﺎﻙ ﻣﻦ ﻭ ﺗﻮ؛‬

‫ﻭﺁﻧﮕﻪ ﺯ ﺑﺮﺍﻱ ﺧﺸﺖ ﮔﻮﺭ ﺩﮔﺮﺍﻥ‪،‬‬

‫ﺩﺭ ﻛﺎﻟﺒﺪﻱ ﻛﺸﻨﺪ ﺧﺎﻙ ﻣﻦ ﻭ ﺗﻮ‪.‬‬

‫‪* ٥٨‬‬

‫ﻫﺮ ﺫﺭﻩ ﻛﻪ ﺑﺮ ﺭﻭﻱ ﺯﻣﻴﻨﻲ ﺑﻮﺩﻩ ﺍﺳﺖ‪،‬‬

‫ﺧﻮﺭﺷﻴﺪ ﺭﺧﻲ‪ ،‬ﺯﻫﺮﻩ ﺟﺒﻴﻨﻲ ﺑﻮﺩﻩ ﺍﺳﺖ‪،‬‬

‫ﮔﺮﺩ ﺍﺯ ﺭﺥ ﺁﺳﺘﻴﻦ ﺑﻪ ﺁﺯﺭﻡ ﻓﺸﺎﻥ‪،‬‬

‫ﻛﺎﻥ ﻫﻢ ﺭﺥ ﺧﻮﺏ ﻧﺎﺯﻧﻴﻨﻲ ﺑﻮﺩﻩ ﺍﺳﺖ‪.‬‬

‫ﻧﺸﺮ ﺗﺪﺑﻴﺮ‬
‫‪74‬‬ ‫ﺗﺮاﻧﻪ هﺎی ﺧﻴﺎم‬

‫‪٥٩‬‬

‫ﺍﻱ ﭘﻴﺮ ﺧﺮﺩﻣﻨﺪ ﭘﮕﻪﺗﺮ ﺑﺮﺧﻴﺰ‪،‬‬

‫ﻭﺍﻥ ﻛﻮﺩﻙ ﺧﺎﻙ ﺑﻴﺰ ﺭﺍ ﺑﻨﮕﺮ ﺗﻴﺰ‪،‬‬

‫ﭘﻨﺪﺵ ﺩﻩ ﻭ ﮔﻮ ﻛﻪ‪ ،‬ﻧﺮﻡ ﻧﺮﻣﻚ ﻣﻲﺑﻴﺰ‪،‬‬

‫ﻣﻐﺰ ﺳﺮ ﻛﻴﻘﺒﺎﺩ ﻭ ﭼﺸﻢ ﭘﺮﻭﻳﺰ!‬

‫‪٦٠‬‬

‫ﺑﻨﮕﺮ ﺯ ﺻﺒﺎ ﺩﺍﻣﻦ ﮔﻞ ﭼﺎﻙ ﺷﺪﻩ‪،‬‬

‫ﺑﻠﺒﻞ ﺯ ﺟﻤﺎﻝ ﮔﻞ ﻃﺮﺑﻨﺎﻙ ﺷﺪﻩ؛‬

‫ﺩﺭ ﺳﺎﻳﺔ ﮔﻞ ﻧﺸﻴﻦ ﻛﻪ ﺑﺴﻴﺎﺭ ﺍﻳﻦ ﮔﻞ‪،‬‬

‫ﺍﺯ ﺧﺎﻙ ﺑﺮﺁﻣﺪﻩ ﺍﺳﺖ ﻭ ﺩﺭ ﺧﺎﻙ ﺷﺪﻩ!‬

‫‪٦١‬‬

‫ﺍﺑﺮ ﺁﻣﺪ ﻭ ﺯﺍﺭ ﺑﺮ ﺳﺮ ﺳﺒﺰﻩ ﮔﺮﻳﺴﺖ‪،‬‬

‫ﺑﻲ ﺑﺎﺩﺓ ﮔﻠﺮﻧﮓ ﻧﻤﻲﺷﺎﻳﺪ ﺯﻳﺴﺖ؛‬

‫ﻧﺸﺮ ﺗﺪﺑﻴﺮ‬
‫‪75‬‬ ‫ﺗﺮاﻧﻪ هﺎی ﺧﻴﺎم‬

‫ﺍﻳﻦ ﺳﺒﺰﻩ ﻛﻪ ﺍﻣﺮﻭﺯ ﺗﻤﺎﺷﺎﮔﻪ ﻣﺎﺳﺖ‪،‬‬

‫ﺗﺎ ﺳﺒﺰﺓ ﺧﺎﻙ ﻣﺎ ﺗﻤﺎﺷﺎﮔﻪ ﻛﻴﺴﺖ!‬

‫‪٦٢‬‬

‫ﭼﻮﻥ ﺍﺑﺮ ﺑﻪ ﻧﻮﺭﻭﺯ ﺭﺥ ﻻﻟﻪ ﺑﺸﺴﺖ‪،‬‬

‫ﺑﺮﺧﻴﺰ ﻭ ﺑﺠﺎﻡ ﺑﺎﺩﻩ ﻛﻦ ﻋﺰﻡ ﺩﺭﺳﺖ؛‬

‫ﻛﺎﻳﻦ ﺳﺒﺰﻩ ﻛﻪ ﺍﻣﺮﻭﺯ ﺗﻤﺎﺷﺎﮔﻪ ﺗﺴﺖ‪،‬‬

‫ﻓﺮﺩﺍ ﻫﻤﻪ ﺍﺯ ﺧﺎﻙ ﺗﻮ ﺑﺮﺧﻮﺍﻫﺪ ﺭﺳﺖ!‬

‫‪٦٣‬‬

‫ﻫﺮ ﺳﺒﺰﻩ ﻛﻪ ﺑﺮ ﻛﻨﺎﺭ ﺟﻮﺋﻲ ﺭﺳﺘﻪ ﺍﺳﺖ‪،‬‬

‫ﮔﻮﺋﻲ ﺯ ﻟﺐ ﻓﺮﺷﺘﻪ ﺧﻮﺋﻲ ﺭﺳﺘﻪ ﺍﺳﺖ؛‬

‫ﭘﺎ ﺑﺮ ﺳﺮ ﻫﺮ ﺳﺒﺰﻩ ﺑﻪ ﺧﻮﺍﺭﻱ ﻧﻨﻬﻲ‪،‬‬

‫ﻛﺎﻥ ﺳﺒﺰﻩ ﺯ ﺧﺎﻙ ﻻﻟﻪ ﺭﻭﺋﻲ ﺭﺳﺘﻪ ﺍﺳﺖ‪.‬‬

‫ﻧﺸﺮ ﺗﺪﺑﻴﺮ‬
‫‪76‬‬ ‫ﺗﺮاﻧﻪ هﺎی ﺧﻴﺎم‬

‫‪٦٤‬‬

‫ﻣﻲ ﺧﻮﺭ ﻛﻪ ﻓﻠﻚ ﺑﻬﺮ ﻫﻼﻙ ﻣﻦ ﻭ ﺗﻮ‪،‬‬

‫ﻗﺼﺪﻱ ﺩﺍﺭﺩ ﺑﺠﺎﻥ ﭘﺎﻙ ﻣﻦ ﻭ ﺗﻮ؛‬

‫ﺩﺭ ﺳﺒﺰﻩ ﻧﺸﻴﻦ ﻭ ﻣﻲ ﺭﻭﺷﻦ ﻣﻴﺨﻮﺭ‪،‬‬

‫ﻛﺎﻳﻦ ﺳﺒﺰﻩ ﺑﺴﻲ ﺩﻣﺪ ﺯ ﺧﺎﻙ ﻣﻦ ﻭ ﺗﻮ!‬

‫‪* ٦٥‬‬

‫ﺩﻳﺪﻡ ﺑﺴﺮ ﻋﻤﺎﺭﺗﻲ ﻣﺮﺩﻱ ﻓﺮﺩ‪،‬‬

‫ﻛﻮ ﮔﻞ ﺑﻠﮕﺪ ﻣﻲﺯﺩ ﻭ ﺧﻮﺍﺭﺵ ﻣﻲﻛﺮﺩ‪،‬‬

‫ﻭﺍﻥ ﮔﻞ ﺑﺰﺑﺎﻥ ﺣﺎﻝ ﺑﺎ ﺍﻭ ﻣﻲﮔﻔﺖ‪:‬‬

‫ﺳﺎﻛﻦ‪ ،‬ﻛﻪ ﭼﻮ ﻣﻦ ﺑﺴﻲ ﻟﮕﺪ ﺧﻮﺍﻫﻲ ﺧﻮﺭﺩ!‬

‫‪٦٦‬‬

‫ﺑﺮﺩﺍﺭ ﭘﻴﺎﻟﻪ ﻭ ﺳﺒﻮ ﺍﻱ ﺩﻝ ﺟﻮ‪،‬‬

‫ﺑﺮ ﮔﺮﺩ ﺑﮕﺮﺩ ﺳﺒﺰﻩﺯﺍﺭ ﻭ ﻟﺐ ﺟﻮ؛‬

‫ﻧﺸﺮ ﺗﺪﺑﻴﺮ‬
‫‪77‬‬ ‫ﺗﺮاﻧﻪ هﺎی ﺧﻴﺎم‬

‫ﻛﺎﻳﻦ ﭼﺮﺥ ﺑﺴﻲ ﻗﺪ ﺑﺘﺎﻥ ﻣﻬﺮﻭ‪،‬‬

‫ﺻﺪ ﺑﺎﺭ ﭘﻴﺎﻟﻪ ﻛﺮﺩ ﻭ ﺻﺪ ﺑﺎﺭ ﺳﺒﻮ!‬

‫‪٦٧‬‬

‫ﺑﺮ ﺳﻨﮓ ﺯﺩﻡ ﺩﻭﺵ ﺳﺒﻮﻱ ﻛﺎﺷﻲ‪،‬‬

‫ﺳﺮ ﻣﺴﺖ ﺑﺪﻡ ﭼﻮ ﻛﺮﺩﻡ ﺍﻳﻦ ﺍﻭﺑﺎﺷﻲ؛‬

‫ﺑﺎ ﻣﻦ ﺑﺰﺑﺎﻥ ﺣﺎﻝ ﻣﻲﮔﻔﺖ ﺳﺒﻮ‪:‬‬

‫ﻣﻦ ﭼﻮﻥ ﺗﻮ ﺑﺪﻡ‪ ،‬ﺗﻮ ﻧﻴﺰ ﭼﻮﻥ ﻣﻦ ﺑﺎﺷﻲ!‬

‫‪٦٨‬‬

‫ﺯﺍﻥ ﻛﻮﺯﺓ ﻣﻲ ﻛﻪ ﻧﻴﺴﺖ ﺩﺭ ﻭﻱ ﺿﺮﺭﻱ‪،‬‬

‫ﭘﺮ ﻛﻦ ﻗﺪﺣﻲ ﺑﺨﻮﺭ‪ ،‬ﺑﻤﻦ ﺩﻩ ﺩﮔﺮﻱ؛‬

‫ﺯﺍﻥ ﭘﻴﺸﺘﺮ ﺍﻱ ﭘﺴﺮ ﻛﻪ ﺩﺭ ﺭﻫﮕﺬﺭﻱ‪،‬‬

‫ﺧﺎﻙ ﻣﻦ ﻭ ﺗﻮ ﻛﻮﺯﻩ ﻛﻨﺪ ﻛﻮﺯﻩﮔﺮﻱ‪.‬‬

‫ﻧﺸﺮ ﺗﺪﺑﻴﺮ‬
‫‪78‬‬ ‫ﺗﺮاﻧﻪ هﺎی ﺧﻴﺎم‬

‫‪* ٦٩‬‬

‫ﺑﺮ ﻛﻮﺯﻩﮔﺮﻱ ﭘﺮﻳﺮ ﻛﺮﺩﻡ ﮔﺬﺭﻱ‪،‬‬

‫ﺍﺯ ﺧﺎﻙ ﻫﻤﻲ ﻧﻤﻮﺩ ﻫﺮ ﺩﻡ ﻫﻨﺮﻱ؛‬

‫ﻣﻦ ﺩﻳﺪﻡ ﺍﮔﺮ ﻧﺪﻳﺪ ﻫﺮ ﺑﻲﺑﺼﺮﻱ‪،‬‬

‫ﺧﺎﻙ ﭘﺪﺭﻡ ﺩﺭ ﻛﻒ ﻫﺮ ﻛﻮﺯﻩﮔﺮﻱ‪.‬‬

‫‪* ٧٠‬‬

‫ﻫﺎﻥ ﻛﻮﺯﻩﮔﺮﺍ ﺑﭙﺎﻱ ﺍﮔﺮ ﻫﺸﻴﺎﺭﻱ‪،‬‬

‫ﺗﺎ ﭼﻨﺪ ﻛﻨﻲ ﺑﺮ ﮔﻞ ﻣﺮﺩﻡ ﺧﻮﺍﺭﻱ؟‬

‫ﺍﻧﮕﺸﺖ ﻓﺮﻳﺪﻭﻥ ﻭ ﻛﻒ ﻛﻴﺨﺴﺮﻭ‪،‬‬

‫ﺑﺮ ﭼﺮﺥ ﻧﻬﺎﺩﻩﺍﻱ‪ ،‬ﭼﻪ ﻣﻲﭘﻨﺪﺍﺭﻱ؟‬

‫‪٧١‬‬

‫ﺩﺭ ﻛﺎﺭﮔﻪ ﻛﻮﺯﻩﮔﺮﻱ ﻛﺮﺩﻡ ﺭﺍﻱ‪،‬‬

‫ﺑﺮ ﭘﻠﺔ ﭼﺮﺥ ﺩﻳﺪﻡ ﺍﺳﺘﺎﺩ ﺑﭙﺎﻱ‪،‬‬

‫ﻣﻲﻛﺮﺩ ﺩﻟﻴﺮ ﻛﻮﺯﻩ ﺭﺍ ﺩﺳﺘﻪ ﻭ ﺳﺮ‪،‬‬

‫ﺍﺯ ﻛﻠﺔ ﭘﺎﺩﺷﺎﻩ ﻭ ﺍﺯ ﺩﺳﺖ ﮔﺪﺍﻱ!‬

‫ﻧﺸﺮ ﺗﺪﺑﻴﺮ‬
‫‪79‬‬ ‫ﺗﺮاﻧﻪ هﺎی ﺧﻴﺎم‬

‫‪٧٢‬‬

‫ﺍﻳﻦ ﻛﻮﺯﻩ ﭼﻮ ﻣﻦ ﻋﺎﺷﻖ ﺯﺍﺭﻱ ﺑﻮﺩﻩ ﺍﺳﺖ‪،‬‬

‫ﺩﺭ ﺑﻨﺪ ﺳﺮ ﺯﻟﻒ ﻧﮕﺎﺭﻱ ﺑﻮﺩﻩ ﺍﺳﺖ؛‬

‫ﺍﻳﻦ ﺩﺳﺘﻪ ﻛﻪ ﺑﺮ ﮔﺮﺩﻥ ﺍﻭ ﻣﻲﺑﻴﻨﻲ‪:‬‬

‫ﺩﺳﺘﻲ ﺍﺳﺖ ﻛﻪ ﺑﺮ ﮔﺮﺩﻥ ﻳﺎﺭﻱ ﺑﻮﺩﻩ ﺍﺳﺖ!‬

‫‪٧٣‬‬

‫ﺩﺭ ﻛﺎﺭﮔﻪ ﻛﻮﺯﻩﮔﺮﻱ ﺑﻮﺩﻡ ﺩﻭﺵ‪،‬‬

‫ﺩﻳﺪﻡ ﺩﻭ ﻫﺰﺍﺭ ﻛﻮﺯﻩ ﮔﻮﻳﺎ ﻭ ﺧﻤﻮﺵ؛‬

‫ﻫﺮ ﻳﻚ ﺑﺰﺑﺎﻥ ﺣﺎﻝ ﺑﺎ ﻣﻦ ﮔﻔﺘﻨﺪ‪:‬‬

‫»ﻛﻮ ﻛﻮﺯﻩﮔﺮ ﻭ ﻛﻮﺯﻩﺧﺮ ﻭ ﻛﻮﺯﻩﻓﺮﻭﺵ؟«‬

‫ﻧﺸﺮ ﺗﺪﺑﻴﺮ‬
‫‪80‬‬ ‫ﺗﺮاﻧﻪ هﺎی ﺧﻴﺎم‬

‫هﺮ ﭼﻪ ﺑﺎدا ﺑﺎد‬

‫‪٧٤‬‬

‫ﮔﺮ ﻣﻦ ﺯ ﻣﻲ ﻣﻐﺎﻧﻪ ﻣﺴﺘﻢ‪ ،‬ﻫﺴﺘﻢ‪،‬‬

‫ﮔﺮ ﻛﺎﻓﺮ ﻭ ﮔﺒﺮ ﻭ ﺑﺖ ﭘﺮﺳﺘﻢ‪ ،‬ﻫﺴﺘﻢ‪،‬‬

‫ﻫﺮ ﻃﺎﻳﻔﻪﺍﻱ ﺑﻤﻦ ﮔﻤﺎﻧﻲ ﺩﺍﺭﺩ‪،‬‬

‫ﻣﻦ ﺯﺍﻥ ﺧﻮﺩﻡ‪ ،‬ﭼﻨﺎﻧﻜﻪ ﻫﺴﺘﻢ ﻫﺴﺘﻢ‪.‬‬

‫‪٧٥‬‬

‫ﻣﻲ ﺧﻮﺭﺩﻥ ﻭ ﺷﺎﺩ ﺑﻮﺩﻥ ﺁﺋﻴﻦ ﻣﻨﺴﺖ‪،‬‬

‫ﻓﺎﺭﻍ ﺑﻮﺩﻥ ﺯ ﻛﻔﺮ ﻭ ﺩﻳﻦ؛ ﺩﻳﻦ ﻣﻨﺴﺖ؛‬

‫ﮔﻔﺘﻢ ﺑﻌﺮﻭﺱ ﺩﻫﺮ‪ :‬ﻛﺎﺑﻴﻦ ﺗﻮ ﭼﻴﺴﺖ؟‬

‫ﮔﻔﺘﺎ‪ :‬ـ ﺩﻝ ﺧﺮﻡ ﺗﻮ ﻛﺎﺑﻴﻦ ﻣﻨﺴﺖ‪.‬‬

‫ﻧﺸﺮ ﺗﺪﺑﻴﺮ‬
‫‪81‬‬ ‫ﺗﺮاﻧﻪ هﺎی ﺧﻴﺎم‬

‫‪٧٦‬‬

‫ﻣﻦ ﺑﻲ ﻣﻲ ﻧﺎﺏ ﺯﻳﺴﺘﻦ ﻧﺘﻮﺍﻧﻢ‪،‬‬

‫ﺑﻲ ﺑﺎﺩﻩ‪ ،‬ﻛﺸﻴﺪ ﺑﺎﺭ ﺗﻦ ﻧﺘﻮﺍﻧﻢ‪،‬‬

‫ﻣﻦ ﺑﻨﺪﺓ ﺁﻥ ﺩﻣﻢ ﻛﻪ ﺳﺎﻗﻲ ﮔﻮﻳﺪ‪:‬‬

‫»ﻳﻚ ﺟﺎﻡ ﺩﮔﺮ ﺑﮕﻴﺮ« ﻭ ﻣﻦ ﻧﺘﻮﺍﻧﻢ‪.‬‬

‫‪٧٧‬‬

‫ﺍﻣﺸﺐ ﻣﻲ ﺟﺎﻡ ﻳﻜﻤﻨﻲ ﺧﻮﺍﻫﻢ ﻛﺮﺩ‪،‬‬

‫ﺧﻮﺩ ﺭﺍ ﺑﻪ ﺩﻭ ﺟﺎﻡ ﻣﻲ ﻏﻨﻲ ﺧﻮﺍﻫﻢ ﻛﺮﺩ؛‬

‫ﺍﻭﻝ ﺳﻪ ﻃﻼﻕ ﻋﻘﻞ ﻭ ﺩﻳﻦ ﺧﻮﺍﻫﻢ ﺩﺍﺩ‪،‬‬

‫ﭘﺲ ﺩﺧﺘﺮ ﺭﺯ ﺭﺍ ﺑﺰﻧﻲ ﺧﻮﺍﻫﻢ ﻛﺮﺩ‪.‬‬

‫‪* ٧٨‬‬

‫ﭼﻮﻥ ﻣﺮﺩﻩ ﺷﻮﻡ‪ ،‬ﺧﺎﻙ ﻣﺮﺍ ﮔﻢ ﺳﺎﺯﻳﺪ‪،‬‬

‫ﺍﺣﻮﺍﻝ ﻣﺮﺍ ﻋﺒﺮﺕ ﻣﺮﺩﻡ ﺳﺎﺯﻳﺪ؛‬

‫ﻧﺸﺮ ﺗﺪﺑﻴﺮ‬
‫‪82‬‬ ‫ﺗﺮاﻧﻪ هﺎی ﺧﻴﺎم‬

‫ﺧﺎﻙ ﺗﻦ ﻣﻦ ﺑﻪ ﺑﺎﺩﻩ ﺁﻏﺸﺘﻪ ﻛﻨﻴﺪ‪،‬‬

‫ﻭﺯ ﻛﺎﻟﺒﺪﻡ ﺧﺸﺖ ﺳﺮ ﺧﻢ ﺳﺎﺯﻳﺪ‪.‬‬

‫‪* ٧٩‬‬

‫ﭼﻮﻥ ﺩﺭﮔﺬﺭﻡ ﺑﻪ ﺑﺎﺩﻩ ﺷﻮﺋﻴﺪ ﻣﺮﺍ‪،‬‬

‫ﺗﻠﻘﻴﻦ ﺯ ﺷﺮﺍﺏ ﻧﺎﺏ ﮔﻮﺋﻴﺪ ﻣﺮﺍ‪،‬‬

‫ﺧﻮﺍﻫﻴﺪ ﺑﺮﻭﺯ ﺣﺸﺮ ﻳﺎﺑﻴﺪ ﻣﺮﺍ؟‬

‫ﺍﺯ ﺧﺎﻙ ﺩﺭ ﻣﻴﻜﺪﻩ ﺟﻮﺋﻴﺪ ﻣﺮﺍ‪.‬‬

‫‪* ٨٠‬‬

‫ﭼﻨﺪﺍﻥ ﺑﺨﻮﺭﻡ ﺷﺮﺍﺏ‪ ،‬ﻛﺎﻳﻦ ﺑﻮﻱ ﺷﺮﺍﺏ‬

‫ﺁﻳﺪ ﺯ ﺗﺮﺍﺏ‪ ،‬ﭼﻮﻥ ﺭﻭﻡ ﺯﻳﺮ ﺗﺮﺍﺏ‪،‬‬

‫ﮔﺮ ﺑﺮ ﺳﺮ ﺧﺎﻙ ﻣﻦ ﺭﺳﺪ ﻣﺨﻤﻮﺭﻱ‪،‬‬

‫ﺍﺯ ﺑﻮﻱ ﺷﺮﺍﺏ ﻣﻦ ﺷﻮﺩ ﻣﺴﺖ ﻭ ﺧﺮﺍﺏ‪.‬‬

‫ﻧﺸﺮ ﺗﺪﺑﻴﺮ‬
‫‪83‬‬ ‫ﺗﺮاﻧﻪ هﺎی ﺧﻴﺎم‬

‫‪٨١‬‬

‫ﺭﻭﺯﻱ ﻛﻪ ﻧﻬﺎﻝ ﻋﻤﺮ ﻣﻦ ﻛﻨﺪﻩ ﺷﻮﺩ‪،‬‬

‫ﻭﺍﺟﺰﺍﻡ ﺯ ﻳﻜﺪﮔﺮ ﭘﺮﺍﻛﻨﺪﻩ ﺷﻮﺩ؛‬

‫ﮔﺮ ﺯﺍﻧﻜﻪ ﺻﺮﺍﺣﺌﻲ ﻛﻨﻨﺪ ﺍﺯ ﮔﻞ ﻣﻦ‪،‬‬

‫ﺣﺎﻟﻲ ﻛﻪ ﺯ ﺑﺎﺩﻩ ﭘﺮ ﻛﻨﻲ ﺯﻧﺪﻩ ﺷﻮﺩ‪.‬‬

‫‪* ٨٢‬‬

‫ﺩﺭ ﭘﺎﻱ ﺍﺟﻞ ﭼﻮ ﻣﻦ ﺳﺮ ﺍﻓﻜﻨﺪﻩ ﺷﻮﻡ‪،‬‬

‫ﻭﺯ ﺑﻴﺦ ﺍﻣﻴﺪ ﻋﻤﺮ ﺑﺮﻛﻨﺪﻩ ﺷﻮﻡ‪،‬‬

‫ﺯﻳﻨﻬﺎﺭ‪ ،‬ﮔﻠﻢ ﺑﺠﺰ ﺻﺮﺍﺣﻲ ﻧﻜﻨﻴﺪ‪،‬‬

‫ﺑﺎﺷﺪ ﻛﻪ ﺯ ﺑﻮﻱ ﻣﻲ ﺩﻣﻲ ﺯﻧﺪﻩ ﺷﻮﻡ‪.‬‬

‫‪* ٨٣‬‬

‫ﻳﺎﺭﺍﻥ ﺑﻤﻮﺍﻓﻘﺖ ﭼﻮ ﺩﻳﺪﺍﺭ ﻛﻨﻴﺪ‪،‬‬

‫ﺑﺎﻳﺪ ﻛﻪ ﺯ ﺩﻭﺳﺖ ﻳﺎﺩ ﺑﺴﻴﺎﺭ ﻛﻨﻴﺪ؛‬

‫ﻧﺸﺮ ﺗﺪﺑﻴﺮ‬
‫‪84‬‬ ‫ﺗﺮاﻧﻪ هﺎی ﺧﻴﺎم‬

‫ﭼﻮﻥ ﺑﺎﺩﺓ ﺧﻮﺷﮕﻮﺍﺭ ﻧﻮﺷﻴﺪ ﺑﻬﻢ‪،‬‬

‫ﻧﻮﺑﺖ ﭼﻮ ﺑﻤﺎ ﺭﺳﺪ ﻧﮕﻮﻧﺴﺎﺭ ﻛﻨﻴﺪ‪.‬‬

‫‪* ٨٤‬‬

‫ﺁﻧﺎﻧﻜﻪ ﺍﺳﻴﺮ ﻋﻘﻞ ﻭ ﺗﻤﻴﻴﺰ ﺷﺪﻧﺪ‪،‬‬

‫ﺩﺭ ﺣﺴﺮﺕ ﻫﺴﺖ ﻭ ﻧﻴﺴﺖ ﻧﺎﭼﻴﺰ ﺷﺪﻧﺪ؛‬

‫ﺭﻭ ﺑﺎ ﺧﺒﺮﺍ‪ ،‬ﺗﻮ ﺁﺏ ﺍﻧﮕﻮﺭ ﮔﺰﻳﻦ‪،‬‬

‫ﻛﺎﻥ ﺑﻲﺧﺒﺮﺍﻥ ﺑﻐﻮﺭﻩ ﻣﻴﻮﻳﺰ ﺷﺪﻧﺪ!‬

‫‪* ٨٥‬‬

‫ﺍﻱ ﺻﺎﺣﺐ ﻓﺘﻮﻱ‪ ،‬ﺯ ﺗﻮ ﭘﺮﻛﺎﺭﺗﺮﻳﻢ‪،‬‬

‫ﺑﺎ ﺍﻳﻨﻬﻤﻪ ﻣﺴﺘﻲ‪ ،‬ﺍﺯ ﺗﻮ ﻫﺸﻴﺎﺭﺗﺮﻳﻢ؛‬

‫ﺗﻮ ﺧﻮﻥ ﻛﺴﺎﻥ ﺧﻮﺭﻱ ﻭ ﻣﺎ ﺧﻮﻥ ﺭﺯﺍﻥ‪،‬‬

‫ﺍﻧﺼﺎﻑ ﺑﺪﻩ؛ ﻛﺪﺍﻡ ﺧﻮﻧﺨﻮﺍﺭﺗﺮﻳﻢ؟‬

‫ﻧﺸﺮ ﺗﺪﺑﻴﺮ‬
‫‪85‬‬ ‫ﺗﺮاﻧﻪ هﺎی ﺧﻴﺎم‬

‫‪٨٦‬‬

‫ﺷﻴﺨﻲ ﺑﺰﻧﻲ ﻓﺎﺣﺸﻪ ﮔﻔﺘﺎ‪ :‬ﻣﺴﺘﻲ‪،‬‬

‫ﻫﺮ ﻟﺤﻈﻪ ﺑﺪﺍﻡ ﺩﮔﺮﻱ ﭘﺎ ﺑﺴﺘﻲ؛‬

‫ﮔﻔﺘﺎ‪ :‬ﺷﻴﺨﺎ‪ ،‬ﻫﺮ ﺁﻧﭽﻪ ﮔﻮﺋﻲ ﻫﺴﺘﻢ‪،‬‬

‫ﺁﻳﺎ ﺗﻮ ﭼﻨﺎﻧﻜﻪ ﻣﻲﻧﻤﺎﺋﻲ ﻫﺴﺘﻲ؟‬

‫‪* ٨٧‬‬

‫ﮔﻮﻳﻨﺪ ﻛﻪ ﺩﻭﺯﺧﻲ ﺑﻮﺩ ﻋﺎﺷﻖ ﻭ ﻣﺴﺖ‪،‬‬

‫ﻗﻮﻟﻲ ﺍﺳﺖ ﺧﻼﻑ‪ ،‬ﺩﻝ ﺩﺭ ﺁﻥ ﻧﺘﻮﺍﻥ ﺑﺴﺖ‪،‬‬

‫ﮔﺮ ﻋﺎﺷﻖ ﻭ ﻣﺴﺖ ﺩﻭﺯﺧﻲ ﺧﻮﺍﻫﺪ ﺑﻮﺩ‪،‬‬

‫ﻓﺮﺩﺍ ﺑﺎﺷﺪ ﺑﻬﺸﺖ ﻫﻤﭽﻮﻥ ﻛﻒ ﺩﺳﺖ!‬

‫‪٨٨‬‬

‫ﮔﻮﻳﻨﺪ‪ :‬ﺑﻬﺸﺖ ﻭ ﺣﻮﺭ ﻋﻴﻦ ﺧﻮﺍﻫﺪ ﺑﻮﺩ‪،‬‬

‫ﻭﺁﻧﺠﺎ ﻣﻲ ﻧﺎﺏ ﻭ ﺍﻧﮕﺒﻴﻦ ﺧﻮﺍﻫﺪ ﺑﻮﺩ؛‬

‫ﻧﺸﺮ ﺗﺪﺑﻴﺮ‬
‫‪86‬‬ ‫ﺗﺮاﻧﻪ هﺎی ﺧﻴﺎم‬

‫ﮔﺮ ﻣﺎ ﻣﻲ ﻭ ﻣﻌﺸﻮﻗﻪ ﮔﺰﻳﺪﻳﻢ ﭼﻪ ﺑﺎﻙ؟‬

‫ﺁﺧﺮ ﻧﻪ ﺑﻌﺎﻗﺒﺖ ﻫﻤﻴﻦ ﺧﻮﺍﻫﺪ ﺑﻮﺩ؟‬

‫‪* ٨٩‬‬

‫ﮔﻮﻳﻨﺪ‪ :‬ﺑﻬﺸﺖ ﻭ ﺣﻮﺭ ﻭ ﻛﻮﺛﺮ ﺑﺎﺷﺪ‪،‬‬

‫ﺟﻮﻱ ﻣﻲ ﻭ ﺷﻴﺮ ﻭ ﺷﻬﺪ ﻭ ﺷﻜﺮ ﺑﺎﺷﺪ؛‬

‫ﭘﺮ ﻛﻦ ﻗﺪﺡ ﺑﺎﺩﻩ ﻭ ﺑﺮ ﺩﺳﺘﻢ ﻧﻪ‪،‬‬

‫ﻧﻘﺪﻱ ﺯ ﻫﺰﺍﺭ ﻧﺴﻴﻪ ﺑﻬﺘﺮ ﺑﺎﺷﺪ‪.‬‬

‫‪* ٩٠‬‬

‫ﮔﻮﻳﻨﺪ ﺑﻬﺸﺖ ﻋﺪﻥ ﺑﺎ ﺣﻮﺭ ﺧﻮﺵ ﺍﺳﺖ‪،‬‬

‫ﻣﻦ ﻣﻲﮔﻮﻳﻢ ﻛﻪ‪ :‬ﺁﺏ ﺍﻧﮕﻮﺭ ﺧﻮﺵ ﺍﺳﺖ؛‬

‫ﺍﻳﻦ ﻧﻘﺪ ﺑﮕﻴﺮ ﻭ ﺩﺳﺖ ﺍﺯ ﺁﻥ ﻧﺴﻴﻪ ﺑﺪﺍﺭ‪،‬‬

‫ﻛﺎﻭﺍﺯ ﺩﻫﻞ ﺑﺮﺍﺩﺭ ﺍﺯ ﺩﻭﺭ ﺧﻮﺵ ﺍﺳﺖ‪.‬‬

‫ﻧﺸﺮ ﺗﺪﺑﻴﺮ‬
‫‪87‬‬ ‫ﺗﺮاﻧﻪ هﺎی ﺧﻴﺎم‬

‫‪٩١‬‬

‫ﻛﺲ ﺧﻠﺪ ﻭ ﺟﺤﻴﻢ ﺭﺍ ﻧﺪﻳﺪﻩ ﺍﺳﺖ ﺍﻱ ﺩﻝ‬

‫ﮔﻮﺋﻲ ﻛﻪ ﺍﺯ ﺁﻥ ﺟﻬﺎﻥ ﺭﺳﻴﺪﻩ ﺍﺳﺖ ﺍﻱ ﺩﻝ؟‬

‫ﺍﻣﻴﺪ ﻭ ﻫﺮﺍﺱ ﻣﺎ ﺑﭽﻴﺰﻱ ﺍﺳﺖ ﻛﺰﺍﻥ‪،‬‬

‫ﺟﺰ ﻧﺎﻡ ﻭ ﻧﺸﺎﻧﻲ ﻧﻪ ﭘﺪﻳﺪ ﺍﺳﺖ ﺍﻱ ﺩﻝ!‬

‫‪* ٩٢‬‬

‫ﻣﻦ ﻫﻴﭻ ﻧﺪﺍﻧﻢ ﻛﻪ ﻣﺮﺍ ﺁﻧﻜﻪ ﺳﺮﺷﺖ‪،‬‬

‫ﺍﺯ ﺍﻫﻞ ﺑﻬﺸﺖ ﻛﺮﺩ‪ ،‬ﻳﺎ ﺩﻭﺯﺥ ﺯﺷﺖ؛‬

‫ﺟﺎﻣﻲ ﻭ ﺑﺘﻲ ﻭ ﺑﺮﺑﻄﻲ ﺑﺮ ﻟﺐ ﻛﺸﺖ‪،‬‬

‫ﺍﻳﻦ ﻫﺮ ﺳﻪ ﻣﺮﺍ ﻧﻘﺪ ﻭ ﺗﺮﺍ ﻧﺴﻴﻪ ﺑﻬﺸﺖ‪.‬‬

‫‪٩٣‬‬

‫ﭼﻮﻥ ﻧﻴﺴﺖ ﻣﻘﺎﻡ ﻣﺎ ﺩﺭﻳﻦ ﺩﻫﺮ ﻣﻘﻴﻢ‪،‬‬

‫ﭘﺲ ﺑﻲ ﻣﻲ ﻭ ﻣﻌﺸﻮﻕ ﺧﻄﺎﺋﻲ ﺍﺳﺖ ﻋﻈﻴﻢ‪.‬‬

‫ﻧﺸﺮ ﺗﺪﺑﻴﺮ‬
‫‪88‬‬ ‫ﺗﺮاﻧﻪ هﺎی ﺧﻴﺎم‬

‫ﺗﺎ ﻛﻲ ﺯ ﻗﺪﻳﻢ ﻭ ﻣﺤﺪﺙ ﺍﻣﻴﺪﻡ ﻭ ﺑﻴﻢ؟‬

‫ﭼﻮﻥ ﻣﻦ ﺭﻓﺘﻢ‪ ،‬ﺟﻬﺎﻥ ﭼﻪ ﻣﺤﺪﺙ ﭼﻪ ﻗﺪﻳﻢ‪.‬‬

‫‪٩٤‬‬

‫ﭼﻮﻥ ﺁﻣﺪﻧﻢ ﺑﻤﻦ ﻧﺒﺪ ﺭﻭﺯ ﻧﺨﺴﺖ‪،‬‬

‫ﻭﻳﻦ ﺭﻓﺘﻦ ﺑﻲﻣﺮﺍﺩ ﻋﺰﻣﻴﺴﺖ ﺩﺭﺳﺖ‪،‬‬

‫ﺑﺮﺧﻴﺰ ﻭ ﻣﻴﺎﻥ ﺑﺒﻨﺪ ﺍﻱ ﺳﺎﻗﻲ ﭼﺴﺖ‪،‬‬

‫ﻛﺎﻧﺪﻭﻩ ﺟﻬﺎﻥ ﺑﻤﻲ ﻓﺮﻭ ﺧﻮﺍﻫﻢ ﺷﺴﺖ‪.‬‬

‫‪٩٥‬‬

‫ﭼﻮﻥ ﻋﻤﺮ ﺑﺴﺮ ﺭﺳﺪ‪ ،‬ﭼﻪ ﺑﻐﺪﺍﺩ ﭼﻪ ﺑﻠﺦ‪،‬‬

‫ﭘﻴﻤﺎﻧﻪ ﭼﻮ ﭘﺮﺷﺪ‪ ،‬ﭼﻪ ﺷﻴﺮﻳﻦ ﻭ ﭼﻪ ﺗﻠﺦ؛‬

‫ﺧﻮﺵ ﺑﺎﺵ ﻛﻪ ﺑﻌﺪ ﺍﺯ ﻣﻦ ﻭ ﺗﻮ ﻣﺎﻩ ﺑﺴﻲ‪،‬‬

‫ﺍﺯ ﺳﻠﺦ ﺑﻐﺮﻩ ﺁﻳﺪ‪ ،‬ﺍﺯ ﻏﺮﻩ ﺑﺴﻠﺦ!‬

‫ﻧﺸﺮ ﺗﺪﺑﻴﺮ‬
‫‪89‬‬ ‫ﺗﺮاﻧﻪ هﺎی ﺧﻴﺎم‬

‫‪* ٩٦‬‬

‫ﺟﺰ ﺭﺍﻩ ﻗﻠﻨﺪﺭﺍﻥ ﻣﻴﺨﺎﻧﻪ ﻣﭙﻮﻱ‪،‬‬

‫ﺟﺰ ﺑﺎﺩﻩ ﻭ ﺟﺰ ﺳﻤﺎﻉ ﻭ ﺟﺰ ﻳﺎﺭ ﻣﺠﻮﻱ؛‬

‫ﺑﺮ ﻛﻒ ﻗﺪﺡ ﺑﺎﺩﻩ ﻭ ﺑﺮ ﺩﻭﺵ ﺳﺒﻮﻱ‪،‬‬

‫ﻣﻲ ﻧﻮﺵ ﻛﻦ ﺍﻱ ﻧﮕﺎﺭ ﻭ ﺑﻴﻬﻮﺩﻩ ﻣﮕﻮﻱ‪.‬‬

‫‪* ٩٧‬‬

‫ﺳﺎﻗﻲ ﻏﻢ ﻣﻦ ﺑﻠﻨﺪ ﺁﻭﺍﺯ ﺷﺪﻩ ﺍﺳﺖ‪،‬‬

‫ﺳﺮﻣﺴﺘﻲ ﻣﻦ ﺑﺮﻭﻥ ﺯ ﺍﻧﺪﺍﺯﻩ ﺷﺪﻩ ﺍﺳﺖ؛‬

‫ﺑﺎ ﻣﻮﻱ ﺳﭙﻴﺪ ﺳﺮﺧﻮﺷﻢ ﻛﺰ ﻣﻲ ﺗﻮ‪،‬‬

‫ﭘﻴﺮﺍﻧﻪ ﺳﺮﻡ ﺑﻬﺎﺭ ﺩﻝ ﺗﺎﺯﻩ ﺷﺪﻩ ﺍﺳﺖ‪.‬‬

‫‪* ٩٨‬‬

‫ﺗﻨﮕﻲ ﻣﻲ ﻟﻌﻞ ﺧﻮﺍﻫﻢ ﻭ ﺩﻳﻮﺍﻧﻲ‪،‬‬

‫ﺳﺪ ﺭﻣﻘﻲ ﺑﺎﻳﺪ ﻭ ﻧﺼﻒ ﻧﺎﻧﻲ‪،‬‬

‫ﻧﺸﺮ ﺗﺪﺑﻴﺮ‬
‫‪90‬‬ ‫ﺗﺮاﻧﻪ هﺎی ﺧﻴﺎم‬

‫ﻭﺍﻧﮕﻪ ﻣﻦ ﻭ ﺗﻮ ﻧﺸﺴﺘﻪ ﺩﺭ ﻭﻳﺮﺍﻧﻲ‪،‬‬

‫ﺧﻮﺷﺘﺮ ﺑﻮﺩ ﺁﻥ ﺯ ﻣﻠﻜﺖ ﺳﻠﻄﺎﻧﻲ‪.‬‬

‫‪* ٩٩‬‬

‫ﻣﻦ ﻇﺎﻫﺮ ﻧﻴﺴﺘﻲ ﻭ ﻫﺴﺘﻲ ﺩﺍﻧﻢ‪،‬‬

‫ﻣﻦ ﺑﺎﻃﻦ ﻫﺮ ﻓﺮﺍﺯ ﻭ ﭘﺴﺘﻲ ﺩﺍﻧﻢ؛‬

‫ﺑﺎ ﺍﻳﻨﻬﻤﻪ ﺍﺯ ﺩﺍﻧﺶ ﺧﻮﺩ ﺷﺮﻣﻢ ﺑﺎﺩ‪،‬‬

‫ﮔﺮ ﻣﺮﺗﺒﻪﺍﻱ ﻭﺭﺍﻱ ﻣﺴﺘﻲ ﺩﺍﻧﻢ‪.‬‬

‫‪١٠٠‬‬

‫ﺍﺯ ﻣﻦ ﺭﻣﻘﻲ ﺑﺴﻌﻲ ﺳﺎﻗﻲ ﻣﺎﻧﺪﻩ ﺍﺳﺖ‪،‬‬

‫ﻭﺯ ﺻﺤﺒﺖ ﺧﻠﻖ‪ ،‬ﺑﻲ ﻭﻓﺎﺋﻲ ﻣﺎﻧﺪﻩ ﺍﺳﺖ؛‬

‫ﺍﺯ ﺑﺎﺩﺓ ﺩﻭﺷﻴﻦ ﻗﺪﺣﻲ ﺑﻴﺶ ﻧﻤﺎﻧﺪ‪،‬‬

‫ﺍﺯ ﻋﻤﺮ ﻧﺪﺍﻧﻢ ﻛﻪ ﭼﻪ ﺑﺎﻗﻲ ﻣﺎﻧﺪﻩ ﺍﺳﺖ!‬

‫ﻧﺸﺮ ﺗﺪﺑﻴﺮ‬
‫‪91‬‬ ‫ﺗﺮاﻧﻪ هﺎی ﺧﻴﺎم‬

‫هﻴﭻ اﺳﺖ‬

‫‪١٠١‬‬

‫ﺍﻱ ﺑﻴﺨﺒﺮﺍﻥ ﺷﻜﻞ ﻣﺠﺴﻢ ﻫﻴﭻ ﺍﺳﺖ‪،‬‬

‫ﻭﻳﻦ ﻃﺎﺭﻡ ﻧﻪ ﺳﭙﻬﺮ ﺍﺭﻗﻢ ﻫﻴﭻ ﺍﺳﺖ‪.‬‬

‫ﺧﻮﺵ ﺑﺎﺵ ﻛﻪ ﺩﺭ ﻧﺸﻴﻤﻦ ﻛﻮﻥ ﻭ ﻓﺴﺎﺩ‪،‬‬

‫ﻭﺍﺑﺴﺘﺔ ﻳﻚ ﺩﻣﻴﻢ ﻭ ﺁﻧﻬﻢ ﻫﻴﭻ ﺍﺳﺖ!‬

‫‪١٠٢‬‬

‫ﺩﻧﻴﺎ ﺩﻳﺪﻱ ﻭ ﻫﺮ ﭼﻪ ﺩﻳﺪﻱ ﻫﻴﭻ ﺍﺳﺖ‪،‬‬

‫ﻭﺁﻥ ﻧﻴﺰ ﻛﻪ ﮔﻔﺘﻲ ﻭ ﺷﻨﻴﺪﻱ ﻫﻴﭻ ﺍﺳﺖ‪،‬‬

‫ﺳﺮﺗﺎﺳﺮ ﺁﻓﺎﻕ ﺩﻭﻳﺪﻱ ﻫﻴﭻ ﺍﺳﺖ‪،‬‬

‫ﻭﺁﻥ ﻧﻴﺰ ﻛﻪ ﺩﺭ ﺧﺎﻧﻪ ﺧﺰﻳﺪﻱ ﻫﻴﭻ ﺍﺳﺖ‪.‬‬

‫ﻧﺸﺮ ﺗﺪﺑﻴﺮ‬
‫‪92‬‬ ‫ﺗﺮاﻧﻪ هﺎی ﺧﻴﺎم‬

‫‪١٠٣‬‬

‫ﺩﻧﻴﺎ ﺑﻤﺮﺍﺩ ﺭﺍﻧﺪﻩ ﮔﻴﺮ‪ ،‬ﺁﺧﺮ ﭼﻪ؟‬

‫ﻭﻳﻦ ﻧﺎﻣﺔ ﻋﻤﺮ ﺧﻮﺍﻧﺪﻩ ﮔﻴﺮ‪ ،‬ﺁﺧﺮ ﭼﻪ؟‬

‫ﮔﻴﺮﻡ ﻛﻪ ﺑﻜﺎﻡ ﺩﻝ ﺑﻤﺎﻧﺪﻱ ﺻﺪ ﺳﺎﻝ‪،‬‬

‫ﺻﺪ ﺳﺎﻝ ﺩﮔﺮ ﺑﻤﺎﻧﺪﻩ ﮔﻴﺮ‪ ،‬ﺁﺧﺮ ﭼﻪ؟‬

‫‪* ١٠٤‬‬

‫ﺭﻧﺪﻱ ﺩﻳﺪﻡ ﻧﺸﺴﺘﻪ ﺑﺮ ﺧﻨﮓ ﺯﻣﻴﻦ‪،‬‬

‫ﻧﻪ ﻛﻔﺮ ﻭ ﻧﻪ ﺍﺳﻼﻡ ﻭ ﻧﻪ ﺩﻧﻴﺎ ﻭ ﻧﻪ ﺩﻳﻦ‪،‬‬

‫ﻧﻲ ﺣﻖ‪ ،‬ﻧﻪ ﺣﻘﻴﻘﺖ‪ ،‬ﻧﻪ ﺷﺮﻳﻌﺖ ﻧﻪ ﻳﻘﻴﻦ‬

‫ﺍﻧﺪﺭﺩﻭ ﺟﻬﺎﻥ ﻛﺮﺍ ﺑﻮﺩ ﺯﻫﺮﺓ ﺍﻳﻦ؟‬

‫‪١٠٥‬‬

‫ﺍﻳﻦ ﭼﺮﺥ ﻓﻠﻚ ﻛﻪ ﻣﺎ ﺩﺭ ﺍﻭ ﺣﻴﺮﺍﻧﻴﻢ‪،‬‬

‫ﻓﺎﻧﻮﺱ ﺧﻴﺎﻝ ﺍﺯ ﺍﻭ ﻣﺜﺎﻟﻲ ﺩﺍﻧﻴﻢ‪:‬‬

‫ﻧﺸﺮ ﺗﺪﺑﻴﺮ‬
‫‪93‬‬ ‫ﺗﺮاﻧﻪ هﺎی ﺧﻴﺎم‬

‫ﺧﻮﺭﺷﻴﺪ ﭼﺮﺍﻍ ﺩﺍﻥ ﻭ ﻋﺎﻟﻢ ﻓﺎﻧﻮﺱ‪،‬‬

‫ﻣﺎ ﭼﻮﻥ ﺻﻮﺭﻳﻢ ﻛﺎﻧﺪﺭ ﺍﻭ ﮔﺮﺩﺍﻧﻴﻢ‪.‬‬

‫‪١٠٦‬‬

‫ﭼﻮﻥ ﻧﻴﺴﺖ ﺯ ﻫﺮ ﭼﻪ ﻫﺴﺖ ﺟﺰ ﺑﺎﺩ ﺑﺪﺳﺖ‪،‬‬

‫ﭼﻮﻥ ﻫﺴﺖ ﺯﻫﺮ ﭼﻪ ﻫﺴﺖ ﻧﻘﺼﺎﻥ ﻭ ﺷﻜﺴﺖ‪،‬‬

‫ﺍﻧﮕﺎﺭ ﻛﻪ ﻫﺴﺖ‪ ،‬ﻫﺮ ﭼﻪ ﺩﺭ ﻋﺎﻟﻢ ﻧﻴﺴﺖ‪،‬‬

‫ﭘﻨﺪﺍﺭ ﻛﻪ ﻧﻴﺴﺖ‪ ،‬ﻫﺮ ﭼﻪ ﺩﺭ ﻋﺎﻟﻢ ﻫﺴﺖ‪.‬‬

‫‪١٠٧‬‬

‫ﺑﻨﮕﺮ ﺯ ﺟﻬﺎﻥ ﭼﻪ ﻃﺮﻑ ﺑﺮ ﺑﺴﺘﻢ؟ ﻫﻴﺞ‪،‬‬

‫ﻭﺯ ﺣﺎﺻﻞ ﻋﻤﺮ ﭼﻴﺴﺖ ﺩﺭ ﺩﺳﺘﻢ؟ ﻫﻴﭻ‪،‬‬

‫ﺷﻤﻊ ﻃﺮﺑﻢ‪ ،‬ﻭﻟﻲ ﭼﻮ ﺑﻨﺸﺴﺘﻢ‪ ،‬ﻫﻴﭻ‪،‬‬

‫ﻣﻦ ﺟﺎﻡ ﺟﻤﻢ‪ ،‬ﻭﻟﻲ ﭼﻮ ﺑﺸﻜﺴﺘﻢ‪ ،‬ﻫﻴﭻ‪.‬‬

‫ﻧﺸﺮ ﺗﺪﺑﻴﺮ‬
‫‪94‬‬ ‫ﺗﺮاﻧﻪ هﺎی ﺧﻴﺎم‬

‫دم را درﻳﺎﺑﻴﻢ‬
‫‪١٠٨‬‬
‫ﺍﺯ ﻣﻨﺰﻝ ﻛﻔﺮ ﺗﺎ ﺑﺪﻳﻦ‪ ،‬ﻳﻚ ﻧﻔﺲ ﺍﺳﺖ‪،‬‬

‫ﻭﺯ ﻋﺎﻟﻢ ﺷﻚ ﺗﺎ ﺑﻪ ﻳﻘﻴﻦ‪ ،‬ﻳﻚ ﻧﻔﺲ ﺍﺳﺖ‪،‬‬

‫ﺍﻳﻦ ﻳﻚ ﻧﻔﺲ ﻋﺰﻳﺰ ﺭﺍ ﺧﻮﺵ ﻣﻴﺪﺍﺭ‪،‬‬

‫ﻛﺰ ﺣﺎﺻﻞ ﻋﻤﺮ ﻣﺎ ﻫﻤﻴﻦ ﻳﻚ ﻧﻔﺲ ﺍﺳﺖ‪.‬‬

‫‪١٠٩‬‬

‫ﺷﺎﺩﻱ ﺑﻄﻠﺐ ﻛﻪ ﺣﺎﺻﻞ ﻋﻤﺮ ﺩﻣﻲ ﺍﺳﺖ‪،‬‬

‫ﻫﺮ ﺫﺭﻩ ﺯ ﺧﺎﻙ ﻛﻴﻘﺒﺎﺩﻱ ﻭ ﺟﻤﻲ ﺍﺳﺖ‪،‬‬

‫ﺍﺣﻮﺍﻝ ﺟﻬﺎﻥ ﻭ ﺍﺻﻞ ﺍﻳﻦ ﻋﻤﺮ ﻛﻪ ﻫﺴﺖ‪،‬‬

‫ﺧﻮﺍﺑﻲ ﻭ ﺧﻴﺎﻟﻲ ﻭ ﻓﺮﻳﺒﻲ ﻭ ﺩﻣﻲ ﺍﺳﺖ‪.‬‬

‫‪١١٠‬‬

‫ﺗﺎ ﺯﻫﺮﻩ ﻭ ﻣﻪ ﺩﺭ ﺁﺳﻤﺎﻥ ﮔﺸﺘﻪ ﭘﺪﻳﺪ‪،‬‬

‫ﻧﺸﺮ ﺗﺪﺑﻴﺮ‬
‫‪95‬‬ ‫ﺗﺮاﻧﻪ هﺎی ﺧﻴﺎم‬

‫ﺑﻬﺘﺮ ﺯ ﻣﻲ ﻧﺎﺏ ﻛﺴﻲ ﻫﻴﭻ ﻧﺪﻳﺪ؛‬

‫ﻣﻦ ﺩﺭ ﻋﺠﺒﻢ ﺯ ﻣﻲ ﻓﺮﻭﺷﺎﻥ‪ ،‬ﻛﺎﻳﺸﺎﻥ‪،‬‬

‫ﺯﻳﻦ ﺑﻪ ﻛﻪ ﻓﺮﻭﺷﻨﺪ ﭼﻪ ﺧﻮﺍﻫﻨﺪ ﺧﺮﻳﺪ؟‬

‫‪١١١‬‬

‫ﻣﻬﺘﺎﺏ ﺑﻪ ﻧﻮﺭ ﺩﺍﻣﻦ ﺷﺐ ﺑﺸﻜﺎﻓﺖ‪،‬‬

‫ﻣﻲ ﻧﻮﺵ‪ ،‬ﺩﻣﻲ ﺧﻮﺷﺘﺮ ﺍﺯ ﺍﻳﻦ ﻧﺘﻮﺍﻥ ﻳﺎﻓﺖ؛‬

‫ﺧﻮﺵ ﺑﺎﺵ ﻭ ﺑﻴﻨﺪﻳﺶ ﻛﻪ ﻣﻬﺘﺎﺏ ﺑﺴﻲ‪،‬‬

‫ﺍﻧﺪﺭ ﺳﺮ ﮔﻮﺭ ﻳﻚ ﺑﻴﻚ ﺧﻮﺍﻫﺪ ﺗﺎﻓﺖ!‬

‫‪١١٢‬‬

‫ﭼﻮﻥ ﻋﻬﺪﻩ ﻧﻤﻲﺷﻮﺩ ﻛﺴﻲ ﻓﺮﺩﺍ ﺭﺍ‪،‬‬

‫ﺣﺎﻟﻲ ﺧﻮﺵ ﻛﻦ ﺗﻮ ﺍﻳﻦ ﺩﻝ ﺳﻮﺩﺍ ﺭﺍ‪،‬‬

‫ﻣﻲﻧﻮﺵ ﺑﻪ ﻣﺎﻫﺘﺎﺏ‪ ،‬ﺍﻱ ﻣﺎﻩ ﻛﻪ ﻣﺎﻩ‬

‫ﺑﺴﻴﺎﺭ ﺑﮕﺮﺩﺩ ﻭ ﻧﻴﺎﺑﺪ ﻣﺎ ﺭﺍ‪.‬‬

‫ﻧﺸﺮ ﺗﺪﺑﻴﺮ‬
‫‪96‬‬ ‫ﺗﺮاﻧﻪ هﺎی ﺧﻴﺎم‬

‫‪١١٣‬‬

‫ﺍﻳﻦ ﻗﺎﻓﻠﺔ ﻋﻤﺮ ﻋﺠﺐ ﻣﻲﮔﺬﺭﺩ!‬

‫ﺩﺭﻳﺎﺏ ﺩﻣﻲ ﻛﻪ ﺑﺎ ﻃﺮﺏ ﻣﻲﮔﺬﺭﺩ؛‬

‫ﺳﺎﻗﻲ‪ ،‬ﻏﻢ ﻓﺮﺩﺍﻱ ﺣﺮﻳﻔﺎﻥ ﭼﻪ ﺧﻮﺭﻱ‪.‬‬

‫ﭘﻴﺶ ﺁﺭ ﭘﻴﺎﻟﻪ ﺭﺍ‪ ،‬ﻛﻪ ﺷﺐ ﻣﻲﮔﺬﺭﺩ‪.‬‬

‫‪١١٤‬‬

‫ﻫﻨﮕﺎﻡ ﺳﭙﻴﺪﻩ ﺩﻡ ﺧﺮﻭﺱ ﺳﺤﺮﻱ‬

‫ﺩﺍﻧﻲ ﻛﻪ ﭼﺮﺍ ﻫﻤﻲ ﻛﻨﺪ ﻧﻮﺣﻪ ﮔﺮﻱ؟‬

‫ﻳﻌﻨﻲ ﻛﻪ‪ :‬ﻧﻤﻮﺩﻧﺪ ﺩﺭ ﺁﻳﻴﻨﺔ ﺻﺒﺢ‬

‫ﻛﺰ ﻋﻤﺮ ﺷﺒﻲ ﮔﺬﺷﺖ ﻭ ﺗﻮ ﺑﻲﺧﺒﺮﻱ!‬

‫‪١١٥‬‬

‫ﻭﻗﺖ ﺳﺤﺮ ﺍﺳﺖ‪ ،‬ﺧﻴﺰ ﺍﻱ ﻣﺎﻳﺔ ﻧﺎﺯ‪،‬‬

‫ﻧﺮﻣﻚ ﻧﺮﻣﻚ ﺑﺎﺩﻩ ﺧﻮﺭ ﻭ ﭼﻨﮓ ﻧﻮﺍﺯ‪،‬‬

‫ﻧﺸﺮ ﺗﺪﺑﻴﺮ‬
‫‪97‬‬ ‫ﺗﺮاﻧﻪ هﺎی ﺧﻴﺎم‬

‫ﻛﺎﻥﻫﺎ ﻛﻪ ﺑﺠﺎﻳﻨﺪ ﻧﭙﺎﻳﻨﺪ ﻛﺴﻲ‪،‬‬

‫ﻭﺁﻥﻫﺎ ﻛﻪ ﺷﺪﻧﺪ ﻛﺲ ﻧﻤﻲﺁﻳﺪ ﺑﺎﺯ!‬

‫‪١١٦‬‬

‫ﻫﻨﮕﺎﻡ ﺻﺒﻮﺡ ﺍﻱ ﺻﻨﻢ ﻓﺮﺥ ﭘﻲ‪،‬‬

‫ﺑﺮ ﺳﺎﺯ ﺗﺮﺍﻧﻪﺍﻱ ﻭ ﭘﻴﺶ ﺁﻭﺭ ﻣﻲ؛‬

‫ﻛﺎﻓﻜﻨﺪ ﺑﺨﺎﻙ ﺻﺪ ﻫﺰﺍﺭﺍﻥ ﺟﻢ ﻭ ﻛﻲ‬

‫ﺍﻳﻦ ﺁﻣﺪﻥ ﺗﻴﺮﻣﻪ ﻭ ﺭﻓﺘﻦ ﺩﻱ‪.‬‬

‫‪١١٧‬‬

‫ﺻﺒﺢ ﺍﺳﺖ‪ ،‬ﺩﻣﻲ ﺑﺮ ﻣﻲ ﮔﻠﺮﻧﮓ ﺯﻧﻴﻢ‪،‬‬

‫ﻭﻳﻦ ﺷﻴﺸﺔ ﻧﺎﻡ ﻭ ﻧﻨﮓ ﺑﺮ ﺳﻨﮓ ﺯﻧﻴﻢ‪،‬‬

‫ﺩﺳﺖ ﺍﺯ ﺍﻣﻞ ﺩﺭﺍﺯ ﺧﻮﺩ ﺑﺎﺯ ﻛﺸﻴﻢ‪،‬‬

‫ﺩﺭ ﺯﻟﻒ ﺩﺭﺍﺯ ﻭ ﺩﺍﻣﻦ ﭼﻨﮓ ﺯﻧﻴﻢ‪.‬‬

‫ﻧﺸﺮ ﺗﺪﺑﻴﺮ‬
‫‪98‬‬ ‫ﺗﺮاﻧﻪ هﺎی ﺧﻴﺎم‬

‫‪١١٨‬‬

‫ﺭﻭﺯﻳﺴﺖ ﺧﻮﺵ ﻭ ﻫﻮﺍ ﻧﻪ ﮔﺮﻡ ﺍﺳﺖ ﻭ ﻧﻪ ﺳﺮﺩ‪،‬‬

‫ﺍﺑﺮ ﺍﺯ ﺭﺥ ﮔﻠﺰﺍﺭ ﻫﻤﻲ ﺷﻮﻳﺪ ﮔﺮﺩ‪،‬‬

‫ﺑﻠﺒﻞ ﺑﺰﺑﺎﻥ ﭘﻬﻠﻮﻱ ﺑﺎ ﮔﻞ ﺯﺭﺩ‪،‬‬

‫ﻓﺮﻳﺎﺩ ﻫﻤﻲ ﺯﻧﺪ ﻛﻪ‪ :‬ﻣﻲ ﺑﺎﻳﺪ ﺧﻮﺭﺩ!‬

‫‪١١٩‬‬

‫ﻓﺼﻞ ﮔﻞ ﻭ ﻃﺮﻑ ﺟﻮﻳﺒﺎﺭ ﻭ ﻟﺐ ﻛﺸﺖ‪،‬‬

‫ﺑﺎ ﻳﻚ ﺩﻭ ﺳﻪ ﺗﺎﺯﻩ ﺩﻟﺒﺮﻱ ﺣﻮﺭ ﺳﺮﺷﺖ؛‬

‫ﭘﻴﺶ ﺁﺭ ﻗﺪﺡ ﻛﻪ ﺑﺎﺩﻩ ﻧﻮﺷﺎﻥ ﺻﺒﻮﺡ‪،‬‬

‫ﺁﺳﻮﺩﻩ ﺯ ﻣﺴﺠﺪﻧﺪ ﻭ ﻓﺎﺭﻍ ﺯ ﺑﻬﺸﺖ‪.‬‬

‫‪١٢٠‬‬

‫ﺑﺮ ﭼﻬﺮﺓ ﮔﻞ ﻧﺴﻴﻢ ﻧﻮﺭﻭﺯ ﺧﻮﺵ ﺍﺳﺖ‪،‬‬

‫ﺩﺭ ﺻﺤﻦ ﭼﻤﻦ ﺭﻭﻱ ﺩﻟﻔﺮﻭﺯ ﺧﻮﺵ ﺍﺳﺖ‪،‬‬

‫ﻧﺸﺮ ﺗﺪﺑﻴﺮ‬
‫‪99‬‬ ‫ﺗﺮاﻧﻪ هﺎی ﺧﻴﺎم‬

‫ﺍﺯ ﺩﻱ ﻛﻪ ﮔﺬﺷﺖ ﻫﺮ ﭼﻪ ﮔﻮﺋﻲ ﺧﻮﺵ ﻧﻴﺴﺖ؛‬

‫ﺧﻮﺵ ﺑﺎﺵ ﻭ ﺯ ﺩﻱ ﻣﮕﻮ‪ ،‬ﻛﻪ ﺍﻣﺮﻭﺯ ﺧﻮﺵ ﺍﺳﺖ‪.‬‬

‫‪١٢١‬‬

‫ﺳﺎﻗﻲ‪ ،‬ﮔﻞ ﻭ ﺳﺒﺰﻩ ﺑﺲ ﻃﺮﺑﻨﺎﻙ ﺷﺪﻩ ﺍﺳﺖ‪،‬‬

‫ﺩﺭﻳﺎﺏ ﻛﻪ ﻫﻔﺘﺔ ﺩﮔﺮ ﺧﺎﻙ ﺷﺪﻩ ﺍﺳﺖ؛‬

‫ﻣﻲ ﻧﻮﺵ ﻭ ﮔﻠﻲ ﺑﭽﻴﻦ‪ ،‬ﻛﻪ ﺗﺎ ﺩﺭ ﻧﮕﺮﻱ‬

‫ﮔﻞ ﺧﺎﻙ ﺷﺪﻩ ﺍﺳﺖ ﻭ ﺳﺒﺰﻩ ﺧﺎﺷﺎﻙ ﺷﺪﻩ ﺍﺳﺖ‪.‬‬

‫‪١٢٢‬‬

‫ﭼﻮﻥ ﻻﻟﻪ ﺑﻪ ﻧﻮﺭﻭﺯ ﻗﺪﺡ ﮔﻴﺮ ﺑﺪﺳﺖ‪،‬‬

‫ﺑﺎ ﻻﻟﻪ ﺭﺧﻲ ﺍﮔﺮ ﺗﺮﺍ ﻓﺮﺻﺖ ﻫﺴﺖ؛‬

‫ﻣﻲ ﻧﻮﺵ ﺑﻪ ﺧﺮﻣﻲ‪ ،‬ﻛﻪ ﺍﻳﻦ ﭼﺮﺥ ﻛﺒﻮﺩ‬

‫ﻧﺎﮔﺎﻩ ﺗﺮﺍ ﭼﻮ ﺧﺎﻙ ﮔﺮﺩﺍﻧﺪ ﭘﺴﺖ‪.‬‬

‫ﻧﺸﺮ ﺗﺪﺑﻴﺮ‬
‫‪100‬‬ ‫ﺗﺮاﻧﻪ هﺎی ﺧﻴﺎم‬

‫‪*١٢٣‬‬

‫ﻫﺮ ﮔﻪ ﻛﻪ ﺑﻨﻔﺸﻪ ﺟﺎﻣﻪ ﺩﺭ ﺭﻧﮓ ﺯﻧﺪ‪،‬‬

‫ﺩﺭ ﺩﺍﻣﻦ ﮔﻞ ﺑﺎﺩ ﺻﺒﺎ ﭼﻨﮓ ﺯﻧﺪ‪،‬‬

‫ﻫﺸﻴﺎﺭ ﻛﺴﻲ ﺑﻮﺩ ﻛﻪ‪ ،‬ﺑﺎ ﺳﻴﻤﺒﺮﻱ‬

‫ﻣﻲ ﻧﻮﺷﺪ ﻭ ﺟﺎﻡ ﺑﺎﺩﻩ ﺑﺮ ﺳﻨﮓ ﺯﻧﺪ‪.‬‬

‫‪١٢٤‬‬

‫ﺑﺮﺧﻴﺰ ﻭ ﻣﺨﻮﺭ ﻏﻢ ﺟﻬﺎﻥ ﮔﺬﺭﺍﻥ‪،‬‬

‫ﺧﻮﺵ ﺑﺎﺵ ﻭ ﺩﻣﻲ ﺑﻪ ﺷﺎﺩﻣﺎﻧﻲ ﮔﺬﺭﺍﻥ‬

‫ﺩﺭ ﻃﺒﻊ ﺟﻬﺎﻥ ﺍﮔﺮ ﻭﻓﺎﺋﻲ ﺑﻮﺩﻱ‪،‬‬

‫ﻧﻮﺑﺖ ﺑﺘﻮ ﺧﻮﺩ ﻧﻴﺎﻣﺪﻱ ﺍﺯ ﺩﮔﺮﺍﻥ‪.‬‬

‫‪١٢٥‬‬

‫ﺩﺭ ﺩﺍﻳﺮﺓ ﺳﭙﻬﺮ ﻧﺎ ﭘﻴﺪﺍ ﻏﻮﺭ‪،‬‬

‫ﻣﻲ ﻧﻮﺵ ﺑﻪ ﺧﻮﺷﺪﻟﻲ ﻛﻪ ﺩﻭﺭ ﺍﺳﺖ ﺑﺠﻮﺭ؛‬

‫ﻧﺸﺮ ﺗﺪﺑﻴﺮ‬
‫‪101‬‬ ‫ﺗﺮاﻧﻪ هﺎی ﺧﻴﺎم‬

‫ﻧﻮﺑﺖ ﭼﻮ ﺑﺪﻭﺭ ﺗﻮ ﺭﺳﺪ ﺁﻩ ﻣﻜﻦ‪،‬‬

‫ﺟﺎﻣﻲ ﺍﺳﺖ ﻛﻪ ﺟﻤﻠﻪ ﺭﺍ ﭼﺸﺎﻧﻨﺪ ﺑﺪﻭﺭ!‬

‫‪١٢٦‬‬

‫ﺍﺯ ﺩﺭﺱ ﻋﻠﻮﻡ ﺟﻤﻠﻪ ﺑﮕﺮﻳﺰﻱ ﺑﻪ‪،‬‬

‫ﻭﺍﻧﺪﺭ ﺳﺮ ﺯﻟﻒ ﺩﻟﺒﺮ ﺁﻭﻳﺰﻱ ﺑﻪ‪،‬‬

‫ﺯﺁﻥ ﭘﻴﺶ ﻛﻪ ﺭﻭﺯﮔﺎﺭ ﺧﻮﻧﺖ ﺭﻳﺰﺩ‪،‬‬

‫ﺗﻮ ﺧﻮﻥ ﻗﻨﻴﻨﻪ ﺩﺭ ﻗﺪﺡ ﺭﻳﺰﻱ ﺑﻪ‪.‬‬

‫‪١٢٧‬‬

‫ﺍﻳﺎﻡ ﺯﻣﺎﻧﻪ ﺍﺯ ﻛﺴﻲ ﺩﺍﺭﺩ ﻧﻨﮓ‪،‬‬

‫ﻛﻮ ﺩﺭ ﻏﻢ ﺍﻳﺎﻡ ﻧﺸﻴﻨﺪ ﺩﻟﺘﻨﮓ؛‬

‫ﻣﻲ ﺧﻮﺭ ﺗﻮ ﺩﺭ ﺁﺑﮕﻴﻨﻪ ﺑﺎ ﻧﺎﻟﺔ ﭼﻨﮓ‪،‬‬

‫ﺯﺁﻥ ﭘﻴﺶ ﻛﻪ ﺁﺑﮕﻴﻨﻪ ﺁﻳﺪ ﺑﺮ ﺳﻨﮓ!‬

‫ﻧﺸﺮ ﺗﺪﺑﻴﺮ‬
‫‪102‬‬ ‫ﺗﺮاﻧﻪ هﺎی ﺧﻴﺎم‬

‫‪* ١٢٨‬‬

‫ﺍﺯ ﺁﻣﺪﻥ ﺑﻬﺎﺭ ﻭ ﺍﺯ ﺭﻓﺘﻦ ﺩﻱ‪،‬‬

‫ﺍﻭﺭﺍﻕ ﻭﺟﻮﺩ ﻣﺎ ﻫﻤﻲ ﮔﺮﺩﺩ ﻃﻲ؛‬

‫ﻣﻲ ﺧﻮﺭ‪ ،‬ﻣﺨﻮﺭ ﺍﻧﺪﻭﻩ‪ ،‬ﻛﻪ ﮔﻔﺘﻪ ﺍﺳﺖ ﺣﻜﻴﻢ‪:‬‬

‫ﻏﻢﻫﺎﻱ ﺟﻬﺎﻥ ﭼﻮ ﺯﻫﺮ ﻭ ﺗﺮﻳﺎﻗﺶ ﻣﻲ‪.‬‬

‫‪١٢٩‬‬

‫ﺯﺍﻥ ﭘﻴﺶ ﻛﻪ ﻧﺎﻡ ﺗﻮ ﺯ ﻋﺎﻟﻢ ﺑﺮﻭﺩ‬

‫ﻣﻲ ﺧﻮﺭ‪ ،‬ﻛﻪ ﭼﻮ ﻣﻲ ﺑﺪﻝ ﺭﺳﺪ ﻏﻢ ﺑﺮﻭﺩ؛‬

‫ﺑﮕﺸﺎﻱ ﺳﺮ ﺯﻟﻒ ﺑﺘﻲ ﺑﻨﺪ ﺯ ﺑﻨﺪ‪،‬‬

‫ﺯﺍﻥ ﭘﻴﺶ ﻛﻪ ﺑﻨﺪ ﺑﻨﺪﺕ ﺍﺯ ﻫﻢ ﺑﺮﻭﺩ!‬

‫‪* ١٣٠‬‬

‫ﺍﻱ ﺩﻭﺳﺖ ﺑﻴﺎ ﺗﺎ ﻏﻢ ﻓﺮﺩﺍ ﻧﺨﻮﺭﻳﻢ‪،‬‬

‫ﻭﻳﻦ ﻳﻜﺪﻡ ﻋﻤﺮ ﺭﺍ ﻏﻨﻴﻤﺖ ﺷﻤﺮﻳﻢ؛‬

‫ﻧﺸﺮ ﺗﺪﺑﻴﺮ‬
‫‪103‬‬ ‫ﺗﺮاﻧﻪ هﺎی ﺧﻴﺎم‬

‫ﻓﺮﺩﺍ ﻛﻪ ﺍﺯﻳﻦ ﺩﻳﺮ ﻛﻬﻦ ﺩﺭ ﮔﺬﺭﻳﻢ‬

‫ﺑﺎ ﻫﻔﺖ ﻫﺰﺍﺭ ﺳﺎﻟﮕﺎﻥ ﺳﺮ ﺑﺴﺮﻳﻢ‪.‬‬

‫‪* ١٣١‬‬

‫ﺗﻦ ﺯﻥ ﭼﻮ ﺑﺰﻳﺮ ﻓﻠﻚ ﺑﻲ ﺑﺎﻛﻲ‪،‬‬

‫ﻣﻲ ﻧﻮﺵ ﭼﻮ ﺩﺭ ﺟﻬﺎﻥ ﺁﻓﺖ ﻧﺎﻛﻲ؛‬

‫ﭼﻮﻥ ﺍﻭﻝ ﻭ ﺁﺧﺮﺕ ﺑﺠﺰ ﺧﺎﻛﻲ ﻧﻴﺴﺖ‪،‬‬

‫ﺍﻧﮕﺎﺭ ﻛﻪ ﺑﺮ ﺧﺎﻙ ﻧﻪ ﺍﻱ ﺩﺭ ﺧﺎﻛﻲ‪.‬‬

‫‪* ١٣٢‬‬

‫ﻣﻲ ﺑﺮ ﻛﻒ ﻣﻦ ﻧﻪ ﻛﻪ ﺩﻟﻢ ﺩﺭ ﺗﺎﺑﺴﺖ‪،‬‬

‫ﻭﻳﻦ ﻋﻤﺮ ﮔﺮﻳﺰ ﭘﺎﻱ ﭼﻮﻥ ﺳﻴﻤﺎﺑﺴﺖ‪،‬‬

‫ﺩﺭﻳﺎﺏ ﻛﻪ‪ ،‬ﺁﺗﺶ ﺟﻮﺍﻧﻲ ﺁﺑﺴﺖ‪،‬‬

‫ﻫﺶﺩﺍﺭ‪ ،‬ﻛﻪ ﺑﻴﺪﺍﺭﻱ ﺩﻭﻟﺖ ﺧﻮﺍﺏ ﺍﺳﺖ‪.‬‬

‫ﻧﺸﺮ ﺗﺪﺑﻴﺮ‬
‫‪104‬‬ ‫ﺗﺮاﻧﻪ هﺎی ﺧﻴﺎم‬

‫‪١٣٣‬‬

‫ﻣﻲ ﻧﻮﺵ ﻛﻪ ﻋﻤﺮ ﺟﺎﻭﺩﺍﻧﻲ ﺍﻳﻨﺴﺖ‪،‬‬

‫ﺧﻮﺩ ﺣﺎﺻﻠﺖ ﺍﺯ ﺩﻭﺭ ﺟﻮﺍﻧﻲ ﺍﻳﻨﺴﺖ‪،‬‬

‫ﻫﻨﮕﺎﻡ ﮔﻞ ﻭ ﻣﻞ ﺍﺳﺖ ﻭ ﻳﺎﺭﺍﻥ ﺳﺮ ﻣﺴﺖ‪،‬‬

‫ﺧﻮﺵ ﺑﺎﺵ ﺩﻣﻲ‪ ،‬ﻛﻪ ﺯﻧﺪﮔﺎﻧﻲ ﺍﻳﻨﺴﺖ‪.‬‬

‫‪١٣٤‬‬

‫ﺑﺎ ﺑﺎﺩﻩ ﻧﺸﻴﻦ‪ ،‬ﻛﻪ ﻣﻠﻚ ﻣﺤﻤﻮﺩ ﺍﻳﻨﺴﺖ‪،‬‬

‫ﻭﺯ ﭼﻨﮓ ﺷﻨﻮ‪ ،‬ﻛﻪ ﻟﺤﻦ ﺩﺍﻭﺩ ﺍﻳﻨﺴﺖ؛‬

‫ﺍﺯ ﺁﻣﺪﻩ ﻭ ﺭﻓﺘﻪ ﺩﮔﺮ ﻳﺎﺩ ﻣﻜﻦ‪،‬‬

‫ﺣﺎﻟﻲ ﺧﻮﺵ ﺑﺎﺵ‪ ،‬ﺯﺍﻧﻜﻪ ﻣﻘﺼﻮﺩ ﺍﻳﻨﺴﺖ‪.‬‬

‫‪١٣٥‬‬

‫ﺍﻣﺮﻭﺯ ﺗﺮﺍ ﺩﺳﺘﺮﺱ ﻓﺮﺩﺍ ﻧﻴﺴﺖ‪،‬‬

‫ﻭﺍﻧﺪﻳﺸﺔ ﻓﺮﺩﺍﺕ ﺑﺠﺰ ﺳﻮﺩﺍ ﻧﻴﺴﺖ‪.‬‬

‫ﺿﺎﻳﻊ ﻣﻜﻦ ﺍﻳﻦ ﺩﻡ ﺍﺭ ﺩﻟﺖ ﺑﻴﺪﺍﺭ ﺍﺳﺖ‪،‬‬

‫ﻛﺎﻳﻦ ﺑﺎﻗﻲ ﻋﻤﺮ ﺭﺍ ﺑﻘﺎ ﭘﻴﺪﺍ ﻧﻴﺴﺖ!‬

‫ﻧﺸﺮ ﺗﺪﺑﻴﺮ‬
‫‪105‬‬ ‫ﺗﺮاﻧﻪ هﺎی ﺧﻴﺎم‬

‫‪*١٣٦‬‬

‫ﺩﻭﺭﺍﻥ ﺟﻬﺎﻥ ﺑﻲ ﻣﻲ ﻭ ﺳﺎﻗﻲ ﻫﻴﭻ ﺍﺳﺖ‪،‬‬

‫ﺑﻲ ﺯﻣﺰﻣﺔ ﻧﺎﻱ ﻋﺮﺍﻗﻲ ﻫﻴﭻ ﺍﺳﺖ؛‬

‫ﻫﺮ ﭼﻨﺪ ﺩﺭ ﺍﺣﻮﺍﻝ ﺟﻬﺎﻥ ﻣﻲﻧﮕﺮﻡ‪،‬‬

‫ﺣﺎﺻﻞ ﻫﻤﻪ ﻋﺸﺮﺕ ﺍﺳﺖ ﻭ ﺑﺎﻗﻲ ﻫﻴﭻ ﺍﺳﺖ‪.‬‬

‫‪١٣٧‬‬

‫ﺗﺎ ﻛﻲ ﻏﻢ ﺁﻥ ﺧﻮﺭﻡ ﻛﻪ ﺩﺍﺭﻡ ﻳﺎ ﻧﻪ؛‬

‫ﻭﻳﻦ ﻋﻤﺮ ﺑﻪ ﺧﻮﺷﺪﻟﻲ ﮔﺬﺍﺭﻡ ﻳﺎ ﻧﻪ‪،‬‬

‫ﭘﺮ ﻛﻦ ﻗﺪﺡ ﺑﺎﺩﻩ‪ ،‬ﻛﻪ ﻣﻌﻠﻮﻣﻢ ﻧﻴﺴﺖ‬

‫ﻛﺎﻳﻦ ﺩﻡ ﻛﻪ ﻓﺮﻭ ﺑﺮﻡ ﺑﺮﺁﺭﻡ ﻳﺎ ﻧﻪ‪.‬‬

‫‪١٣٨‬‬

‫ﺗﺎ ﺩﺳﺖ ﺑﻪ ﺍﺗﻔﺎﻕ ﺑﺮ ﻫﻢ ﻧﺰﻧﻴﻢ‪،‬‬

‫ﭘﺎﻳﻲ ﺯ ﻧﺸﺎﻁ ﺑﺮ ﺳﺮ ﻏﻢ ﻧﺰﻧﻴﻢ‪،‬‬

‫ﻧﺸﺮ ﺗﺪﺑﻴﺮ‬
‫‪106‬‬ ‫ﺗﺮاﻧﻪ هﺎی ﺧﻴﺎم‬

‫ﺧﻴﺰﻳﻢ ﻭ ﺩﻣﻲ ﺯﻧﻴﻢ ﭘﻴﺶ ﺍﺯ ﺩﻡ ﺻﺒﺢ‪،‬‬

‫ﻛﺎﻳﻦ ﺻﺒﺢ ﺑﺴﻲ ﺩﻣﺪ ﻛﻪ ﻣﺎ ﺩﻡ ﻧﺰﻧﻴﻢ!‬

‫‪١٣٩‬‬

‫ﻟﺐ ﺑﺮ ﻟﺐ ﻛﻮﺯﻩ ﺑﺮﺩﻡ ﺍﺯ ﻏﺎﻳﺖ ﺁﺯ‪،‬‬

‫ﺗﺎ ﺯﻭ ﻃﻠﺒﻢ ﻭﺍﺳﻄﺔ ﻋﻤﺮ ﺩﺭﺍﺯ‪،‬‬

‫ﻟﺐ ﺑﺮ ﻟﺐ ﻣﻦ ﻧﻬﺎﺩ ﻭ ﻣﻲﮔﻔﺖ ﺑﺮﺍﺯ‪:‬‬

‫ﻣﻲ ﺧﻮﺭ‪ ،‬ﻛﻪ ﺑﺪﻳﻦ ﺟﻬﺎﻥ ﻧﻤﻲﺁﻳﻲ ﺑﺎﺯ!‬

‫‪١٤٠‬‬

‫ﺧﻴﺎﻡ‪ ،‬ﺍﮔﺮ ﺯ ﺑﺎﺩﻩ ﻣﺴﺘﻲ‪ ،‬ﺧﻮﺵ ﺑﺎﺵ؛‬

‫ﺑﺎ ﻻﻟﻪ ﺭﺧﻲ ﺍﮔﺮ ﻧﺸﺴﺘﻲ‪ ،‬ﺧﻮﺵ ﺑﺎﺵ؛‬

‫ﭼﻮﻥ ﻋﺎﻗﺒﺖ ﻛﺎﺭ ﺟﻬﺎﻥ ﻧﻴﺴﺘﻲ ﺍﺳﺖ‪،‬‬

‫ﺍﻧﮕﺎﺭ ﻛﻪ ﻧﻴﺴﺘﻲ‪ ،‬ﭼﻮ ﻫﺴﺘﻲ ﺧﻮﺵ ﺑﺎﺵ‪.‬‬

‫ﻧﺸﺮ ﺗﺪﺑﻴﺮ‬
‫‪107‬‬ ‫ﺗﺮاﻧﻪ هﺎی ﺧﻴﺎم‬

‫‪١٤١‬‬

‫ﻓﺮﺩﺍ ﻋﻠﻢ ﻧﻔﺎﻕ ﻃﻲ ﺧﻮﺍﻫﻢ ﻛﺮﺩ‪،‬‬

‫ﺑﺎ ﻣﻮﺱ ﺳﭙﻴﺪ ﻗﺼﺪ ﻣﻲ ﺧﻮﺍﻫﻢ ﻛﺮﺩ؛‬

‫ﭘﻴﻤﺎﻧﺔ ﻋﻤﺮ ﻣﻦ ﺑﻪ ﻫﻔﺘﺎﺩ ﺭﺳﻴﺪ‪،‬‬

‫ﺍﻳﻦ ﺩﻡ ﻧﻜﻨﻢ ﻧﺸﺎﻁ‪ ،‬ﻛﻲ ﺧﻮﺍﻫﻢ ﻛﺮﺩ؟‬

‫‪١٤٢‬‬

‫ﮔﺮﺩﻭﻥ ﻧﮕﺮﻱ ﺯ ﻗﺪ ﻓﺮﺳﻮﺩﺓ ﻣﺎﺳﺖ‪،‬‬

‫ﺟﻴﺤﻮﻥ ﺍﺛﺮﻱ ﺯ ﺍﺷﻚ ﭘﺎﻟﻮﺩﺓ ﻣﺎﺳﺖ‪،‬‬

‫ﺩﻭﺯﺥ ﺷﺮﺭﻱ ﺯ ﺭﻧﺞ ﺑﻴﻬﻮﺩﺓ ﻣﺎﺳﺖ‪،‬‬

‫ﻓﺮﺩﻭﺱ ﺩﻣﻲ ﺯ ﻭﻗﺖ ﺁﺳﻮﺩﺓ ﻣﺎﺳﺖ‪.‬‬

‫‪١٤٣‬‬

‫ﻋﻤﺮﺕ ﺗﺎ ﻛﻲ ﺑﺨﻮﺩ ﭘﺮﺳﺘﻲ ﮔﺬﺭﺩ‪،‬‬

‫ﻳﺎ ﺩﺭ ﭘﻲ ﻧﻴﺴﺘﻲ ﻭ ﻫﺴﺘﻲ ﮔﺬﺭﺩ؛‬

‫ﻣﻲ ﺧﻮﺭ‪ .‬ﻛﻪ ﭼﻨﻴﻦ ﻋﻤﺮ ﻛﻪ ﻏﻢ ﺩﺭ ﭘﻲ ﺍﻭﺳﺖ‬

‫ﺁﻥ ﺑﻪ ﻛﻪ ﺑﺨﻮﺍﺏ ﻳﺎ ﺑﻤﺴﺘﻲ ﮔﺬﺭﺩ‪.‬‬

‫ﻧﺸﺮ ﺗﺪﺑﻴﺮ‬
 ‫‪108‬‬ ‫ﺗﺮاﻧﻪ هﺎی ﺧﻴﺎم‬

‫ﻧﺸﺮ ﺗﺪﺑﻴﺮ ﻣﻨﺘﺸﺮ ﮐﺮدﻩ اﺳﺖ ‪:‬‬

‫ﮐﺎﺷﻔﺎن ﻓﺮوﺗﻦ ﺷﻮﮐﺮان ‪ :‬اﺣﻤﺪ ﺷﺎﻣﻠﻮ‬

‫اﻳﻤﺎن ﺑﻴﺎورﻳﻢ ﺑﻪ ﺁﻏﺎز ﻓﺼﻞ ﺳﺮد‪ :...‬ﻓﺮوغ ﻓﺮﺧﺰاد‬

‫ﻣﺎهﯽ ﺳﻴﺎﻩ ﮐﻮﭼﻮﻟﻮ‪ :‬ﺻﻤﺪﺑﻬﺮﻧﮕﯽ‬

‫ﺗﺮاﻧﻪ هﺎی ﺧﻴﺎم‪ :‬ﺻﺎدق هﺪاﻳﺖ‬

‫در ﺻﻮرﺗﯽ ﮐﻪ ﺗﻤﺎﻳﻞ دارﻳﺪ ﮐﺘﺐ ﺑﺎﻻ ﺑﺮای ﺷﻤﺎ ارﺳﺎل ﺷﻮد ﺑﺎ ﻣﺎ ﺗﻤﺎس ﺑﮕﻴﺮﻳﺪ‬

‫ﻧﺸﺮ ﺗﺪﺑﻴﺮ ﺗﻨﻬﺎ اﻧﺘﺸﺎراﺗﯽ ﮐﻪ ﮐﺘﺎﺑﻬﺎی ﺧﻮد را ﺑﻪ ﺻﻮرت ﻓﺎﻳﻠﻬﺎی ﮐﺎﻣﭙﻴﻮﺗﺮی‬

‫راﻳﮕﺎن ﺑﺮای ﺷﻤﺎ ارﺳﺎل ﻣﯽ ﮐﻨﺪ‪.‬‬

‫ﺁدرس ﻣﺎ‪:‬‬
‫‪http://tadbir.blogspot.com‬‬
‫‪Renowa1000@aol.com‬‬

‫ﻧﺸﺮ ﺗﺪﺑﻴﺮ‬