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‫ﺗﺮاﻧﻪ هﺎی ﺧﻴﺎم‬

‫ﺗﺮاﻧﻪ هﺎی ﺧﻴﺎم‬

‫ﺻﺎدق هﺪاﻳﺖ‬ ‫ﻧﺸﺮ ﺗﺪﺑﻴﺮ‬ ‫ﺑﺎ ﺗﻼش‪ :‬رﻧﻮا راﺳﺦ‬

‫ﻧﺸﺮ ﺗﺪﺑﻴﺮ‬

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‫ﺗﺮاﻧﻪ هﺎی ﺧﻴﺎم‬

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‫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

‫ﺗﺮاﻧﻪ هﺎی ﺧﻴﺎم‬

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‫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

‫ﺗﺮاﻧﻪ هﺎی ﺧﻴﺎم‬

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‫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

‫ﺗﺮاﻧﻪ هﺎی ﺧﻴﺎم‬

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‫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

‫ﺗﺮاﻧﻪ هﺎی ﺧﻴﺎم‬

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‫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

‫ﺗﺮاﻧﻪ هﺎی ﺧﻴﺎم‬

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‫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

‫ﺗﺮاﻧﻪ هﺎی ﺧﻴﺎم‬

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‫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

‫ﺗﺮاﻧﻪ هﺎی ﺧﻴﺎم‬

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‫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

‫ﺗﺮاﻧﻪ هﺎی ﺧﻴﺎم‬

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‫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

‫ﺗﺮاﻧﻪ هﺎی ﺧﻴﺎم‬

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‫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

‫ﺗﺮاﻧﻪ هﺎی ﺧﻴﺎم‬

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‫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

‫ﺗﺮاﻧﻪ هﺎی ﺧﻴﺎم‬

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‫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

‫ﺗﺮاﻧﻪ هﺎی ﺧﻴﺎم‬

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‫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

‫ﺗﺮاﻧﻪ هﺎی ﺧﻴﺎم‬

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‫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

‫ﺗﺮاﻧﻪ هﺎی ﺧﻴﺎم‬

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‫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

‫ﺗﺮاﻧﻪ هﺎی ﺧﻴﺎم‬

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‫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

‫ﺗﺮاﻧﻪ هﺎی ﺧﻴﺎم‬

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‫‪ .‬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

‫ﺗﺮاﻧﻪ هﺎی ﺧﻴﺎم‬

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‫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 ‫ﺧﻮﺭ ﻋﺎﻟﻢ ﻭ ﮔﺮﺩﺵ ﺑﻮﺩ‪ «.‬ﺁﻳﺎ ﺍﺯ ﺟﻤﻠﺔ ﺁﺧﺮ‪ ،‬ﻓﺮﻣﻮﻝ ﻣﻌﺮﻭﻑ‬

‫‪milieu Adaptation du‬‬

‫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

‫ﺗﺮاﻧﻪ هﺎی ﺧﻴﺎم‬

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‫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

‫ﺗﺮاﻧﻪ هﺎی ﺧﻴﺎم‬

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‫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

‫ﺗﺮاﻧﻪ هﺎی ﺧﻴﺎم‬

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‫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

‫ﺗﺮاﻧﻪ هﺎی ﺧﻴﺎم‬

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‫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 ‫ﻫﻮﺍ ﺑﺮﺍﻱ ﺷﻜﺎﺭ ﻣﻨﺎﺳﺐ ﺍﺳﺖ ﻳﺎ ﻧﻪ ﻭ ﺧﻴﺎﻡ ﺍﺯ ﺭﻭﻱ ﻋﻠﻢ ﻧﻴﻮﺭ ﻧﻴﻮﺍﺭ‬

‫‪Meterologie‬‬

‫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

‫ﺗﺮاﻧﻪ هﺎی ﺧﻴﺎم‬

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‫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

‫ﺗﺮاﻧﻪ هﺎی ﺧﻴﺎم‬

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‫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

‫ﺗﺮاﻧﻪ هﺎی ﺧﻴﺎم‬

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‫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

‫ﺗﺮاﻧﻪ هﺎی ﺧﻴﺎم‬

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‫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

‫ﺗﺮاﻧﻪ هﺎی ﺧﻴﺎم‬

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‫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

‫ﺗﺮاﻧﻪ هﺎی ﺧﻴﺎم‬

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‫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

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‫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

‫ﺗﺮاﻧﻪ هﺎی ﺧﻴﺎم‬

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‫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

‫ﺗﺮاﻧﻪ هﺎی ﺧﻴﺎم‬

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‫»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.‬‬

‫ﻧﺸﺮ ﺗﺪﺑﻴﺮ‬

‫ﺗﺮاﻧﻪ هﺎی ﺧﻴﺎم‬

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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

‫ﺗﺮاﻧﻪ هﺎی ﺧﻴﺎم‬

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‫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

‫ﺗﺮاﻧﻪ هﺎی ﺧﻴﺎم‬

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‫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

‫ﺗﺮاﻧﻪ هﺎی ﺧﻴﺎم‬

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‫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

‫ﺗﺮاﻧﻪ هﺎی ﺧﻴﺎم‬

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‫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

‫ﺗﺮاﻧﻪ هﺎی ﺧﻴﺎم‬

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‫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

‫ﺗﺮاﻧﻪ هﺎی ﺧﻴﺎم‬

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‫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

‫ﺗﺮاﻧﻪ هﺎی ﺧﻴﺎم‬

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‫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

‫ﺗﺮاﻧﻪ هﺎی ﺧﻴﺎم‬

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‫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

‫ﺗﺮاﻧﻪ هﺎی ﺧﻴﺎم‬

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‫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

‫ﺗﺮاﻧﻪ هﺎی ﺧﻴﺎم‬

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‫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

‫ﺗﺮاﻧﻪ هﺎی ﺧﻴﺎم‬

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‫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

‫ﺗﺮاﻧﻪ هﺎی ﺧﻴﺎم‬

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‫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

‫ﺗﺮاﻧﻪ هﺎی ﺧﻴﺎم‬

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‫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

‫ﺗﺮاﻧﻪ هﺎی ﺧﻴﺎم‬

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‫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

‫ﺗﺮاﻧﻪ هﺎی ﺧﻴﺎم‬

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‫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 ‫ﺑﺮ ﻃﺒﻖ ﻧﺠﻮﻡ ﻭ ﻃﺐ‬

‫‪Empirique‬‬

‫ﺷﺮﺡ ﻣﻲﺩﻫﺪ‪ .‬ﺍﮔﺮ ﭼﻪ ﺍﻳﻦ ﻛﺘﺎﺏ ﺩﺳﺘﻮﺭﻱ ﻭ ﺑﻪ‬

‫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

‫ﺗﺮاﻧﻪ هﺎی ﺧﻴﺎم‬

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‫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

‫ﺗﺮاﻧﻪ هﺎی ﺧﻴﺎم‬

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‫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 ‫ﮔﺮﻓﺘﻪﺍﻧﺪ‪.‬‬

‫ﺻﺎﺩﻕ ﻫﺪﺍﻳﺖ‬

‫ﺗﻬﺮﺍﻥ‪ ،‬ﭼﻬﺎﺭﻡ ﻣﻬﺮ ﻳﻚ ﻫﺰﺍﺭ ﻭ ﺳﻴﺼﺪ ﻭ ﺳﻴﺰﺩﻩ‬

‫ﻧﺸﺮ ﺗﺪﺑﻴﺮ‬

‫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

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‫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

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‫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

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‫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

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‫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

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‫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

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‫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

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‫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

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‫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

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‫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

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‫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

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‫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

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‫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

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‫‪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

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‫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

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‫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

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‫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

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‫‪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

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‫‪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

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‫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

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‫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

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‫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

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‫ﺗﺮاﻧﻪ هﺎی ﺧﻴﺎم‬

‫ﺩﻳﺪﻳﻢ ﻛﻪ ﺑﺮ ﻛﻨﮕﺮﻩﺍﺵ ﻓﺎﺧﺘﻪﺍﻱ‬ ‫ﺑﻨﺸﺴﺘﻪ ﻫﻤﻲ ﮔﻔﺖ ﻛﻪ‪» :‬ﻛﻮﻛﻮ‪ ،‬ﻛﻮﻛﻮ؟«‬

‫ﻧﺸﺮ ﺗﺪﺑﻴﺮ‬

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‫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

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‫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

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‫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

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‫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

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‫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

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‫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

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‫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

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‫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

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‫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

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‫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

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‫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

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‫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

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‫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

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‫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

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‫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

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‫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

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‫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

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‫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

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‫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

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‫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

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‫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

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‫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

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‫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

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‫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

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‫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

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‫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

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‫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

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‫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

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‫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

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‫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

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‫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

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‫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

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‫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

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‫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

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‫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

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‫ﺗﺮاﻧﻪ هﺎی ﺧﻴﺎم‬

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‫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 ‫‪[email protected]‬‬ ‫ﻧﺸﺮ ﺗﺪﺑﻴﺮ‬