Diwan Aqil khan razi

‫ﺩﻳﻮﺍﻥ ﻋﺎﻗﻞ ﺧﺎﻥ ﺭﺍﺯﻱ ﺧﻮﺍﻓﻲ‬ ‫)ﺷﺎﻋﺮ ﻗﺮﻥ ﻳﺎﺯﺩﻫﻢ ﻫﺠﺮﻱ ﻣﻘﻴﻢ ﻫﻨﺪ(‬ ‫ﺑﻪﺗﺼﺤﻴﺢ‬ ‫ﺩﮐﺘﺮ ﻣﺤ ‪‬ﻤﺪ ﺍﻣﻴﻦ »ﻋﺎﻣﺮ«‬ ‫)ﺍﺳﺘﺎﺩ ﺯﺑﺎﻥ ﻓﺎﺭﺳﻲ ﺩﺍﻧﺸﮕﺎﻩ ﮐﻠﮑﺘﻪ(‬ ‫ﺑﺎﺯﻧﮕﺮﻱ ﻭ ﻭﻳﺮﺍﺳﺘﺎﺭﻱ‬ ‫ﻋﻠﻲﺭﺿﺎ ﻗﺰﻭﻩ‬ ‫ﻣﺮﻛﺰ ﺗﺤﻘﻴﻘﺎﺕ ﻓﺎﺭﺳﻲ‬ ‫ﺭﺍﻳﺰﻧﻲ ﻓﺮﻫﻨﮕﻲ ﺳﻔﺎﺭﺕ ﺟﻤﻬﻮﺭﻱ ﺍﺳﻼﻣﻲ ﺍﻳﺮﺍﻥ‬ ‫ﺩﻫﻠﻲﻧﻮ‬

‫ﻣﺮﻛﺰ ﺗﺤﻘﻴﻘﺎﺕ ﻓﺎﺭﺳﻲ‬ ‫ﺭﺍﻳﺰﻧﻲ ﻓﺮﻫﻨﮕﻲ ﺳﻔﺎﺭﺕ ﺟﻤﻬﻮﺭﻱ ﺍﺳﻼﻣﻲ ﺍﻳﺮﺍﻥ ـ ﺩﻫﻠﻲﻧﻮ‬ ‫ﺑﺎ ﻫﻤﮑﺎﺭﻱ‬ ‫ﻣﻌﺎﻭﻧﺖ ﻓﺮﻫﻨﮕﻲ ﻭﺯﺍﺭﺕ ﻓﺮﻫﻨﮓ ﻭ ﺍﺭﺷﺎﺩ ﺍﺳﻼﻣﯽ‬ ‫ﮔﻨﺠﻴﻨﺔ ﻣﻴﺮﺍﺙ ﻣﺸﺘﺮﮎ ﺍﻳﺮﺍﻥ ﻭ ﻫﻨﺪ ‪٧ -‬‬ ‫______________________________________‬ ‫ﺩﻳﻮﺍﻥ ﻋﺎﻗﻞ ﺧﺎﻥ ﺭﺍﺯﻱ ﺧﻮﺍﻓﻲ‬ ‫ﺳﺮﻭﺩﻩ‪ :‬ﻋﺎﻗﻞ ﺧﺎﻥ ﺭﺍﺯﻱ‬ ‫ﺑﻪﮐﻮﺷﺶ‪ :‬ﺩﮐﺘﺮ ﻣﺤﻤ‪‬ﺪ ﺍﻣﻴﻦ »ﻋﺎﻣﺮ«‬ ‫ﺑﺎﺯﻧﮕﺮﻱ ﻭ ﻭﻳﺮﺍﺳﺘﺎﺭﯼ‪ :‬ﻋﻠﯽﺭﺿﺎ ﻗﺰﻭﻩ‬ ‫______________________________________‬ ‫ﺣﺮﻭﻓﭽﻴﻨﻲ ﻭ ﺻﻔﺤﻪﺁﺭﺍﻳﻲ‪ :‬ﻋﻠﻲ ﺭﺿﺎ‬ ‫ﻃﺮ‪‬ﺍﺣﻲ ﺟﻠﺪ‪ :‬ﻋﺎﻳﺸﻪ ﻓﻮﺯﻳﻪ‬ ‫ﻧﺎﻇﺮ ﭼﺎﭖ‪ :‬ﺣﺎﺭﺙ ﻣﻨﺼﻮﺭ‬ ‫‪²‬‬ ‫ﭼﺎﭖ ﺍ ‪‬ﻭﻝ‪ :‬ﺩﻫﻠﻲﻧﻮ ـ ﺑﻬﻤﻦﻣﺎﻩ ‪ ١٣٨۸‬ﻫ ﺵ‪/‬ﻓﻮﺭﻳﻪ ‪ ٢٠١٠‬ﻡ‬ ‫ﭼﺎﭖ ﻭ ﺻ ‪‬ﺤﺎﻓﻲ‪ :‬ﺍﻟﻔﺎ ﺁﺭﺕ‪ ,‬ﻧﻮﺋﻴﺪﺍ )ﻳﻮ‪.‬ﭘﻲ‪(.‬‬ ‫ﺷﺎﺑﻚ‪۹۷۸-۹۶۴-۴۳۹-۴۰۲-۷ :‬‬ ‫‪²‬‬ ‫ﻧﺸﺎﻧﻲ‪ :‬ﺷﻤﺎﺭﺓ ‪ ،١٨‬ﺗﻴﻠﻚ ﻣﺎﺭﮒ‪ ،‬ﺩﻫﻠﻲﻧﻮ‪١١٠٠٠١-‬‬ ‫ﺗﻠﻔﻦ‪ ،٢٣٣٨٣٢٣٢-٤ :‬ﺩﻭﺭﻧﮕﺎﺭ‪٢٣٣٨٧٥٤٧ :‬‬ ‫‪[email protected]‬‬ ‫‪[email protected]‬‬ ‫‪http://newdelhi.icro.ir‬‬

‫ﻓﻬﺮﺳﺖ‬ ‫‪٥‬‬ ‫ﻓﻬﺮﺳﺖ‬ ‫ﺷﺎﻋﺮﻱ ﺍﺯ ﺩﻳﺎﺭ ﺧﻮﺍﻑ‪۱۳.....................................................................................‬‬ ‫‪.۱‬‬ ‫‪.٢‬‬ ‫ﺍﻇﻬﺎﺭ ﺳﺨﻦ ‪۳۵.........................................................................................................‬‬ ‫‪.٣‬‬ ‫‪.٤‬‬ ‫ﺍﺣﻮﺍﻝ ﻭ ﺁﺛﺎﺭ ﻋﺎﻗﻞ ﺧﺎﻥ ﺭﺍﺯﻱ‪۴۳......................................................................‬‬ ‫ﻋﺰﻟﻴ‪‬ﺎﺕ‬ ‫ﺍﻱ ﺯ ﻋﮑﺲ ﺭﻭﻱ ﺗﻮ ﻟﻄﻒ ﻭ ﺻﻔﺎ ﺁﻳﻴﻨﻪ ﺭﺍ‪۶۱................................................‬‬ ‫ﺍﻱ ﺍﺯ ﺗﻦ ﺗﻮ ﺭﻭﺡ ﺑﻮﺩ ﺩﺭ ﺗ ِﻦ ﻗﺒﺎ ‪۶۲..................................................................‬‬ ‫ﺑﻪﻗﻮﻝ ﻧﺎﺧﺪﺍ ﺍﻧﺪﺍﺧﺘﻢ ﺍﺳﺒﺎﺏ ﺩﺭ ﺩﺭﻳﺎ‪۶۴..........................................................‬‬ ‫ﺧﺸﮏ ﮐﻨﻢ ﺯ ﺳﻮﺯ ﺩﻝ ﺩﻳﺪﺓ ﺍﺷﮑﺒﺎﺭ ﺭﺍ ‪۶۵......................................................‬‬ ‫ﺩﺭ ﻫﺮ ﺩﻭ ﺟﻬﺎﻥ ﻭﺻﻞ ﺗﻮ ﺑﺎﺷﺪ ﻫﻮﺱ ﻣﺎ‪۶۶...................................................‬‬ ‫ﺳﺮﻣﺴﺖ ﺟﺎﻡ ﻧﻴﺴﺖ ﺩﻝ ﺟﺮﻋﻪ ﻧﻮﺵ ﻣﺎ ‪۶۷.....................................................‬‬ ‫ﺷﮑﺮ ﺧﺪﺍ ﮐﻪ ﻣﻴﮑﺪﻩ ﺁﻣﺪ ﻣﻘﺎﻡ ﻣﺎ ‪۶۸..................................................................‬‬ ‫ﺑﺎ ﺩﻵﺭﺍﻡ ﺍﺳﺖ ﺁﺭﺍﻡ ﺩﻝ ﺧﻮﺩﮐﺎﻡ ﻣﺎ ‪۶۹.............................................................‬‬ ‫ﭼﺮﺍ ﺩﻝ ﻣﻲﺩﻫﻲ ﺍﺯ ﺳﺎﺩﻩ ﺩﻝ ﻧﻔﺲ ﺧﻴﺎﻟﻲ ﺭﺍ‪۶۹.............................................‬‬ ‫ﻧﺒﺎﺯﺩ ﺩﻭﺳﺖ ﺑﺎ ﻫﺮ ﺑﻮﺍﻟﻬﻮﺱ ﻧﺮﺩ ﻣﺤ‪‬ﺒﺖ ﺭﺍ ‪۷۰...............................................‬‬ ‫ﺑﺎ ﮐﺲ ﻧﺴﺎﺧﺘﻴﻢ ﺑﻪﻣﺎ ﺳﺎﺧﺖ ﻳﺎﺭ ﻣﺎ ‪۷۱.............................................................‬‬ ‫ﺻﺒﺎ ﺑﮕﻮ ﻧﮕﻪ ﺁﻣﻮﺯ ﭼﺸﻢ ﻟﻴﻼ ﺭﺍ‪۷۱....................................................................‬‬ ‫ﺍﻓﺴﺮﺩ ﺗﻦ ﺯ ﮔﺮﻳﻪ ﺑﻪﺷﺐﻫﺎﻱ ﺩﻱ ﺩﺭ ﺁﺏ ‪۷۳..................................................‬‬

‫ﺩﻳﻮﺍﻥ ﺍﺷﻌﺎﺭ ﻋﺎﻗﻞ ﺧﺎﻥ ﺭﺍﺯﻱ ‪٦‬‬ ‫ﺩﺭ ﻣﻮﺕ ﻭ ﺑﻌﺜﻢ ﺩﺍﺭﺩ ﻣﺬﺑﺬﺏ ‪۷۴........................................................................‬‬ ‫ﺍﮔﺮﭼﻪ ﺑﺮ ﺭﺧﺖ ﺍﻱ ﺁﻓﺘﺎﺏ ﻧﻴﺴﺖ ﻧﻘﺎﺏ ‪۷۴.....................................................‬‬ ‫ﭼﻪ ﻓﺘﻨﻪ ﺑﻮﺩ ﮐﻪ ﺑﺎﺯ ﺍﺯ ﺩﺭﻡ ﺩﺭﺁﻣﺪ ﺷﺐ ‪۷۵......................................................‬‬ ‫ﻣﺮﺍ ﺯﻟﻒ ﭘﺮﻳﺸﺎﻧﺶ ﭘﺮﻳﺸﺎﻥﺗﺮ ﻧﻤﻮﺩ ﺍﻣﺸﺐ‪۷۵.................................................‬‬ ‫ﺍﺯ ﻫﺠﺮ ﺑﻲﺩﻟﻴﻢ ﻭ ﺩﻝ ﻣﺎ ﺑﻪﺩﺳﺖ ﺍﻭﺳﺖ‪۷۶.....................................................‬‬ ‫ﺍﻱ ﺁﺑﺸﺎﺭ ﺳﻴﻞ ﺳﺮﺷﮑﺖ ﺯ ﺳﺮ ﮔﺬﺷﺖ ‪۷۷......................................................‬‬ ‫ﺍﻱ ﭘﺴﺮ ﺑﺎﺭ ﻏﻤﺖ ﭘﺸ ِﺖ ﺩﻭ ﺗﺎ ﺧﻮﺍﻫﺪ ﺷﮑﺴﺖ‪۷۸........................................‬‬ ‫ﺍﻱ ﺩﺭﻳﻐﺎ ﺭﺍﺯ ﻣﺎ ﺭﺍ ﻣﺤﺮﻡِ ﺍﺳﺮﺍﺭ ﻧﻴﺴﺖ ‪۷۹.......................................................‬‬ ‫ﺍﺑﺮ ﺳﻴﺎﻩ ﻧﻴﺴﺖ ﮐﻪ ﺍﺧﺘﺮ ﮔﺮﻓﺘﻪ ﺍﺳﺖ‪۸۰............................................................‬‬ ‫ﺍﺯ ﻋﺸﻖ ﻣﮕﻮ ﮐﻪ ﮔﻔﺘﻨﻲ ﻧﻴﺴﺖ ‪۸۱......................................................................‬‬ ‫ﺍﻱ ﻣﺮﺍﺋﻲ ﺭﺍﻩ ﻭ ﺭﺳﻢ ﭘﺎﺭﺳﺎﻳﻲ ﺩﻳﮕﺮ ﺍﺳﺖ ‪۸۱................................................‬‬ ‫ﺑﺮ ﺩﺭ ﻣﻴﮑﺪﻩ ﺯﺍﻫﺪ ﺑﻪﺗﻤﺎﺷﺎ ﺑﮕﺬﺷﺖ ‪۸۲............................................................‬‬ ‫ﺑﻴﺎ ﮐﻪ ﺟﺎﻥ ﺑﻪﻟﺐ ﺍﺯ ﺍﻧﺘﻈﺎﺭ ﺁﻣﺪ ﻭ ﺭﻓﺖ ‪۸۴......................................................‬‬ ‫ﺑﺎﺩﺓ ﻳﮏ ﺧﻢ ﻋﺸﻖ ﺍﺳﺖ ﮐﻪ ﻣﻴﻨﺎ ﻣﻴﻨﺎﺳﺖ‪۸۶..................................................‬‬ ‫ﺑﺎﺯ ﮔﻠﺸﻦ ﺭﺍ ﺻﻔﺎﻳﻲ ﺩﻳﮕﺮ ﺍﺳﺖ‪۸۶...................................................................‬‬ ‫ﭘ‪‬ﺮ ﮐﻦ ﺟﮕﺮ ﺍﺯ ﺩﺍﻍ ﮐﻪ ﺑﺎﻏﻲ ﺑﻪﺍﺯ ﺍﻳﻦ ﻧﻴﺴﺖ‪۸۸............................................‬‬ ‫ﺗﺎ ﮔﺮﻓﺘﻢ ﮔﻮﺷﻪ ﻧﻘﺶ ﺑﻮﺭﻳﺎ ﺯﻧﺠﻴﺮ ﭘﺎﺳﺖ ‪۸۹...................................................‬‬ ‫ﺣﺪﻳﺚ ﻋﺸﻖ ﻣﻦ ﻭ ﺗﻮ ﺑﻪﺩﺍﺳﺘﺎﻥﻫﺎ ﺭﻓﺖ ‪۹۰....................................................‬‬ ‫ﺩﺭ ﺳ ِﺮ ﺑﻮﺍﻟﻬﻮﺳﺎﻥ ﮔﺮﭼﻪ ﺗﻤﻨﹼﺎﻱ ﻣﻲ ﺍﺳﺖ ‪۹۱..................................................‬‬ ‫ﺩﺭ ﺭﺍﻩ ﻋﺸﻖ ﺑﻲﺳﺮ ﻭ ﭘﺎ ﻣﻲﺗﻮﺍﻥ ﮔﺬﺷﺖ ‪۹۱...................................................‬‬ ‫ﺩﺭ ﻋﺸﻖ ﻣﺮﺩﻩ ﻋﻤﺮِ ﺍﺑﺪ ﻣﻲﺗﻮﺍﻥ ﮔﺮﻓﺖ ‪۹۲.......................................................‬‬ ‫ﺳﺮ ﭼﻮ ﮐﺸﻴﺪﻡ ﺯ ﺟﻴﺐ‪ ،‬ﻋﺸﻖ ﮔﺮﻳﺒﺎﻥ ﮔﺮﻓﺖ ‪۹۳..............................................‬‬ ‫ﻋﻘﺪ ﻣﻬﺮ ﺗﻮ ﺑﺴﺘﻨﻢ ﻫﻮﺱ ﺍﺳﺖ‪۹۴......................................................................‬‬ ‫ﻗﺴﻢ ﺑﻪﭘﺎﻱ ﺗﻮ ﺩﺭ ﺳﺮ ﻫﻮﺍﻱ ﺟﻠﻮﺓ ﺗﻮﺳﺖ ‪۹۵.................................................‬‬

‫ﻓﻬﺮﺳﺖ‬ ‫‪٧‬‬ ‫ﮐﺲ ﻧﺪﺍﻧﺴﺖ ﮐﻪ ﺁﻥ ﻗﺒﻠﺔ ﻋﺸﹼﺎﻕ ﮐﺠﺎﺳﺖ ‪۹۵.................................................‬‬ ‫ﮔﻔﺘﻪ ﺑﻮﺩﻡ ﮐﻪ ﻏﻢِ ﻳﺎﺭ ﻣﺮﺍ ﺧﻮﺍﻫﺪ ﺳﻮﺧﺖ ‪۹۷.................................................‬‬ ‫ﺍﻱ ﮐﻪ ﺍﺯ ﻳﮏ ﺷﻤﻊ ﺭﻭﻳﺖ ﺻﺪ ﺷﺒﺴﺘﺎﻥ ﺭﻭﺷﻦ ﺍﺳﺖ ‪۹۷..................................‬‬ ‫ﻧﺪﺍﻧﻢ ﺍﺯ ﻏﻢ ﻫﺠﺮ ﺗﻮ ﺣﺎ ِﻝ ﺩﻝ ﭼﻮﻥ ﺍﺳﺖ ‪۹۸..................................................‬‬ ‫ﻫﺮﺟﺎ ﮐﻪ ﺯ ﺳﻮﺯِ ﺩﻝِ ﻋﺎﺷﻖ ﺍﺛﺮﻱ ﻫﺴﺖ‪۹۹.....................................................‬‬ ‫ﺍﺑﺮﻭﻱ ﻭ ﺯﻟﻒ ﻭ ﮐﺎﮐﻞ ﺗﻮ ﺍﻱ ﻧﮕﺎﺭ ﮐﺞ‪۱۰۱......................................................‬‬ ‫ﻳﻮﺳﻒ ﻣﺼﺮﻱ ﺍﺭ ﭼﻪ ﺑﻮﺩ ﺻﺒﻴﺢ‪۱۰۲...................................................................‬‬ ‫ﹸﺗﺮﮎ ﻣﺎ ﺭﺍﻡ ﺷﺪ ﻣﺒﺎﺭﮎ ﺑﺎﺩ ‪۱۰۳.............................................................................‬‬ ‫ﺗﺎ ﺑﻪﺭﺥ ﺯﻟﻒ ﺳﻴﻪ ﺁﻥ ﺑﺖ ﻃﻨﹼﺎﺯ ﻧﻬﺎﺩ‪۱۰۳............................................................‬‬ ‫ﺟﺎﻧﻢ ﻫﺪﻑ ﺗﻴﺮِ ﺑﻼ ﺷﺪ ﭼﻪ ﺑﻪﺟﺎ ﺷﺪ‪۱۰۴...........................................................‬‬ ‫ﺧﺮﻗﻪ ﻭ ﺗﺴﺒﻴﺢ ﻣﺎ ﺩﺭ ﮔﺮﻭ ﺑﺎﺩﻩ ﺷﺪ ‪۱۰۵..............................................................‬‬ ‫ﺳﺮﺷﮑﻢ ﺩﺭ ﺩﻝ ﺩﺭﻳﺎ ﻧﮕﻨﺠﺪ ‪۱۰۵...........................................................................‬‬ ‫ﺩﺭ ﺳﻴﻨﺔ ﺗﻨﮕﻢ ﺩﻝ ﺑﺎ ﻳﺎﺭ ﻧﻤﻲﮔﻨﺠﺪ ‪۱۰۶...............................................................‬‬ ‫ﺩﻝ ‪‬ﭘﺮ ﺍﺯ ﻣﻬﺮ ﺑﺘﺎﻥ ﺍﺯ ﺩﻭﻟﺖ ﻧﻈﹼﺎﺭﻩ ﺷﺪ ‪۱۰۷........................................................‬‬ ‫ﺩﻟﻢ ﭼﻮ ﻏﻨﭽﻪ ﺯ ﺑﺎﺩ ﺑﻬﺎﺭ ﻭﺍ ﻧﺸﻮﺩ ‪۱۰۸................................................................‬‬ ‫ﺯ ﻣﮋﮔﺎﻥِ ﺗﺮﻡ ﺧﻮﻥِ ﺩ ِﻝ ﺻﺪ ﭼﺎﮎ ﻣﻲﺭﻳﺰﺩ ‪۱۰۹................................................‬‬ ‫ﺩﻝ ﮐﻪ ﺩﺭﻳﺎﺳﺖ ﻗﻄﺮﻩ ﺁﺳﺎ ﺷﺪ ‪۱۰۹......................................................................‬‬ ‫ﻧﺸﺌﺔ ﻋﺸﻖ ﺗﻮ ﭘﻲ ﺩﺭ ﭘﻲ ﺭﺳﺪ‪۱۱۰.......................................................................‬‬ ‫ﺯ ﺳﻮﺯ ﻣﻲﮐﺸﻢ ﺁﻫﻲ ﻭ ﻣﻲﮐﻨﻢ ﻓﺮﻳﺎﺩ ‪۱۱۱..........................................................‬‬ ‫ﺳﺎﻝﻫﺎ ﺑﻮﺩ ﮐﻪ ﺩﻝ ﻣﻌﺘﮑﻒ ﮐﻮﻱ ﺗﻮ ﺑﻮﺩ‪۱۱۱.....................................................‬‬ ‫ﻣﻦ ﻣﺴﺘﻢ ﻭ ﺩﻳﻮﺍﻧﻪ ﻫﺸﻴﺎﺭ ﻧﺨﻮﺍﻫﻢ ﺷﺪ ‪۱۱۳........................................................‬‬ ‫ﻫﺮﮐﻪ ﭼﻮﻥ ﻣﻨﺼﻮﺭ ﺭﺍﺯﺕ ﺁﺷﮑﺎﺭﺍ ﻣﻲﮐﻨﺪ ‪۱۱۳.................................................‬‬ ‫ﻫﺮ ﮐﻪ ﺩﺭ ﮐﻮﻱ ﺗﻮ ﺑﺮ ﻋﺰﻡ ﺗﻤﺎﺷﺎ ﻣﻲﺭﻭﺩ‪۱۱۴...................................................‬‬ ‫ﮔﻔﺘﻢ ﺑﻪﺻﺒﺮ ﮐﺎﺭ ﻣﻦ ﺁﺳﺎﻥ ﺷﻮﺩ ﻧﺸﺪ‪۱۱۵...........................................................‬‬

‫ﺩﻳﻮﺍﻥ ﺍﺷﻌﺎﺭ ﻋﺎﻗﻞ ﺧﺎﻥ ﺭﺍﺯﻱ ‪٨‬‬ ‫ﺍﮔﺮ ﺷﺮﺍﺏ ﺧﻮﺭﻱ ﺩﺭ ﺑﻬﺎﺭ ﺑﺎﻳﺪ ﺧﻮﺭﺩ ‪۱۱۵........................................................‬‬ ‫ﭘﺲ ﺍﺯ ﺻﺪ ﺗﻮﺑﻪ ﺑﺎ ﻣﺴﺘﺎﻥ ﻧﺸﺴﺘﻢ ﺗﺎ ﭼﻪ ﭘﻴﺶ ﺁﻳﺪ ‪۱۱۶......................................‬‬ ‫ﺍﻣﺮﻱ ﮐﻪ ﺯ ﻃﺒﻊ ﺑﺸﺮ ﺁﻳﺪ ﺑﺸﺮ ﺁﻳﺪ‪۱۱۷ ................................................................‬‬ ‫ﺍﻓﺴﻮﺱ ﮐﻪ ﺍﻳﻦ ﻋﻤﺮ ﮔﺮﺍﻧﻤﺎﻳﻪ ﺗﻠﻒ ﺷﺪ‪۱۱۸.....................................................‬‬ ‫ﺗﺎ ﺯﻟﻒ ﺗﻮ ﺩﺭ ﻧﻈﺮ ﺩﺭﺁﻣﺪ‪۱۱۸................................................................................‬‬ ‫ﺩﺭﺩﻡ ﺑﻪﺳﺮ ﻧﺒﺎﺷﺪ ﺭﻭﺯﻱ ﮐﻪ ﺳﺮ ﻧﺒﺎﺷﺪ ‪۱۱۸.......................................................‬‬ ‫ﻣﮕﺮ ﮐﻪ ﻣﺎﻩ ﻣﻦ ﺍﻣﺸﺐ ﺭﺥ ﺍﺯ ﻧﻘﺎﺏ ﮐﺸﻴﺪ‪۱۱۹.................................................‬‬ ‫ﭼﻮﻥ ﺩﺭ ﺁﻳﻴﻨﺔ ﻣﺎ ﺟﻠﻮﻩﻧﻤﺎ ﺭﻭﻱ ﺗﻮ ﺑﻮﺩ‪۱۲۰.......................................................‬‬ ‫ﺍﻱ ﺣﺴﻦ ﺗﺮﺍ ﻫﺮ ﺩﻡ ﺻﺪ ﺟﻠﻮﻩ ﻧﻘﺎﺏ ﺍﻧﺪﺭ‪۱۲۰.................................................‬‬ ‫ﺩﻝ ﺧﻮﻥ ﻧﺸﺪﻱ ﻋﺎﺷﻖ ﻭ ﻣﻔﺘﻮﻥ ﻧﺸﺪﻱ ﮔﺮ‪۱۲۱................................................‬‬ ‫ﮔﺸﺘﻴﻢ ﺿﻌﻴﻒ ﻭ ﺩﻝ ﺗﻮﺍﻧﺎﺳﺖ ﻫﻨﻮﺯ ‪۱۲۲............................................................‬‬ ‫ﺩﻝ ﮔﻮﺵ ﺗﻔﺄﻝ ﺑﻪﺳﺮﻭ ِﺵ ﮐﻪ ﻧﻬﺪ ﺑﺎﺯ ‪۱۲۳..........................................................‬‬ ‫ﻣﺮﺍ ﺑﻪﺭﻭﺯ ﺟﺪﺍﻳﻲ ﭼﻮ ﻧﻴﺴﺖ ﻣﺤﺮﻡِ ﺭﺍﺯ ‪۱۲۴......................................................‬‬ ‫ﺣﺎﺻﻞ ﻫﺮ ﺩﻭ ﺟﻬﺎﻥ ﻋﺸﻖِ ﺑﺘﺎﻥ ﻣﺎ ﺭﺍ ﺑﺲ‪۱۲۵..................................................‬‬ ‫ﮔﺮﭼﻪ ﺩﺭ ﺳﺮ ﻣﺮﺍ ﻧﻤﺎﻧﺪ ﻫﻮﺱ‪۱۲۶........................................................................‬‬ ‫ﺷﺐ ﻋﻴﺪ ﺍﺳﺖ ﻭ ﻣﻦ ﺍﺯ ﻳﺎﺭ ﺑﻌﻴﺪﻡ ﺍﻓﺴﻮﺱ‪۱۲۷...............................................‬‬ ‫ﮔﺮﻓﺖ ﻣﻄﺮ ِﺏ ﻣﺎ ﭼﻮﻥ ﺭﺑﺎﺏ ﺩﺭ ﺁﻏﻮﺵ‪۱۲۸.....................................................‬‬ ‫ﻳﺎ ﻣ‪‬ﻨﻪ ﺑﺮ ﻋﻘﻞ ﺩﺍﻍِ ﻋﺸﻖ ﻳﺎ ﺩﻳﻮﺍﻧﻪ ﺑﺎﺵ ‪۱۲۹......................................................‬‬ ‫ﺩﻝ ﺭﻣﻴﺪﺓ ﻣﺎ ﺭﺍ ﺯ ﺑﻨﺪ ﻧﻴﺴﺖ ﺧﻼﺹ ‪۱۲۹...........................................................‬‬ ‫ﺩﻝ ﺑﻪﺗﻮ ﺩﺍﺩﻡ ﺯ ﺩﺳﺖ‪ ،‬ﺁﻩ ﮐﻪ ﮐﺮﺩﻡ ﻏﻠﻂ ‪۱۳۰...................................................‬‬ ‫ﺑﺎ ﻣﻦ ﻣﺴﺖ ﺍﮔﺮ ﻳﺎﺭ ﺩﺭﺁﻳﺪ ﺑﻪﺳﻤﺎﻉ ‪۱۳۱.............................................................‬‬ ‫ﻧﻬﺎﺩﻩ ﺑﺮ ﺩ ِﻝ ﻣﺎ ﻋﺸﻖ ﻻﻟﻪ ﺭﻭﻳﺎﻥ ﺩﺍﻍ ‪۱۳۲...........................................................‬‬ ‫ﺩﺍﻧﺔ ﺧﺎﻟﺶ ﻧﻬﺎﻥ ﺩﺭ ﺩﺍﻡ ﺯﻟﻒ ‪۱۳۳........................................................................‬‬ ‫ﺍﺯ ﻣﻘﻴ‪‬ﺪ ﺳﻮﻱ ﻣﻄﻠﻖ ﺳﻔﺮﻱ ﺩﺍﺭﺩ ﻋﺸﻖ ‪۱۳۴.......................................................‬‬

‫ﻓﻬﺮﺳﺖ‬ ‫‪٩‬‬ ‫ﺧﻮﺍﻫﻢ ﺑﻪﺗﻮ ﺍﻇﻬﺎﺭ ﮐﻨﻢ ﺩﺭﺩ ﻭ ﻏﻢ ﻋﺸﻖ ‪۱۳۵....................................................‬‬ ‫ﻧﮕﺎﺭ ﻣﻦ ﭼﻮ ﺷﻮﺩ ﺩﺭ ﻋﺘﺎﺏ ﻏﺮﻕ ﻋﺮﻕ ‪۱۳۵......................................................‬‬ ‫ﺯ ﺁﺏ ﺩﻳﺪﺓ ﮔﺮﻳﺎﻥ ﻣﻦ ﺳﺤﺎﺏ ﺧﺠﻞ ‪۱۳۶..........................................................‬‬ ‫ﭼﺮﺍ ﺑﻪﺟﻠﻮﺓ ﺻﻮﺭﺕ ﻧﻈﺮ ﮔﺸﺎﻳﺪ ﺩﻝ‪۱۳۷............................................................‬‬ ‫ﺍﺯ ﺑﺲ ﻧﻬﺎﺩﻩﺍﻡ ﺑﻪﺭﻫﺖ ﺍﻱ ﻧﮕﺎﺭ ﭼﺸﻢ‪۱۳۷.........................................................‬‬ ‫ﺑﻪﺑﻮﻳﺶ ﺻﺒﺤﺪﻡ ﭼﻮﻥ ﺑﺎﺩ ﺩﺭ ﮔﻠﺰﺍﺭ ﭘﻴﭽﻴﺪﻡ ‪۱۳۸.............................................‬‬ ‫ﺗﺎ ﻋﻘ ِﺪ ﻣﺤﺒ‪‬ﺖ ﺗﻮ ﺑﺴﺘﻴﻢ‪۱۳۹....................................................................................‬‬ ‫ﺗﺎ ﻧﻔﺲ ﺩﺍﺭﻳﻢ ﺁﻩ ﺩﻟﮕﺸﺎﻳﻲ ﻣﻲﺯﻧﻴﻢ ‪۱۴۰..............................................................‬‬ ‫ﺟﺬﺑﻪﺍﻱ ﮐﻮ ﮐﻪ ﺩﮔﺮ ﺑﺎﺭ ﺑﻪﻣﻴﺨﺎﻧﻪ ﺭﻭﻡ ‪۱۴۱........................................................‬‬ ‫ﺩﻭﺭِ ﻃﺮﺏ ﺁﺧﺮ ﺷﺪ ﻭ ﻣﺴﺘﻴﻢ ﭼﻪ ﻣﺴﺘﻴﻢ ‪۱۴۲.....................................................‬‬ ‫ﺩﻝِ ﺩﻳﻮﺍﻧﺔ ﺧﻮﺩ ﺭﺍ ﺑﻪﺯﻟﻒ ﻳﺎﺭ ﻣﻲﺑﻨﺪﻡ ‪۱۴۲........................................................‬‬ ‫ﺯﺍﻫﺪ ﭼﻪ ﺯﻧﻲ ﻃﻌﻨﻪ ﮐﻪ ﻣﺎ ﻋﺎﺷﻖ ﻭ ﻣﺴﺘﻴﻢ ‪۱۴۳.................................................‬‬ ‫ﺟﺎﻧﺎ ﺩﻝ ﺷﮑﺴﺘﻪ ﺑﻪﺯﻟﻒِ ﺗﻮ ﺑﺴﺘﻪﺍﻳﻢ ‪۱۴۴.............................................................‬‬ ‫ﮐﺲ ﻧﺪﺍﻧﺪ ﻏﻴﺮ ﺣﻖ ﻣﺎ ﮐﻴﺴﺘﻴﻢ‪۱۴۴.......................................................................‬‬ ‫ﻣﺎ ﺩﺭ ﺳﻤﺎﻉ‪ ،‬ﮔﺮﻳﺔ ﻣﺴﺘﺎﻧﻪ ﻣﻲﮐﻨﻴﻢ ‪۱۴۵...............................................................‬‬ ‫ﻣﺎ ﻣﻲ ﻧﺨﻮﺭﺩﻩﺍﻳﻢ ﻭ ﭼﻪ ﻣﺴﺘﺎﻧﻪ ﻣﻲﺭﻭﻳﻢ ‪۱۴۶....................................................‬‬ ‫ﻣﺴﺘﻢ ﻭﻟﻴﮏ ﺳﺎﮐﻦ ﻣﻴﺨﺎﻧﺔ ﺧﻮﺩﻡ ‪۱۴۷..................................................................‬‬ ‫ﻏﻤﺰﻩ ﺯﻥ ﺷﺪ ﭼﺸﻢ ﻭ ﺍﺑﺮﻭ ﻧﻴﺰ ﻫﻢ‪۱۴۸................................................................‬‬ ‫ﺍﻱ ﺩﻝ ﺍﺯ ﺳﻮﺯ ﻋﺸﻖ ﺁﻩ ﻣﮑﻦ ‪۱۴۸........................................................................‬‬ ‫ﺍﺯ ﻫﻤﭽﻮ ﺗﻮﻳﻲ ﺗﻮﺍﻥ ﮔﺬﺷﺘﻦ‪۱۴۹..........................................................................‬‬ ‫ﺑﻮﺩ ﺑﺎ ﺣﺴﻦ ﺟﻨﺎﻥ ﺑﺎﺯﺍﺭ ﻟﻴﻠﻲ ﮐﻲ ﭼﻨﻴﻦ ‪۱۴۹.....................................................‬‬ ‫ﺑﻴﺎﺭ ﺑﺎﺩﻩ ﮐﻪ ﻏﻤﮕﻴﻦ ﻧﻤﻲﺗﻮﺍﻥ ﺑﻮﺩﻥ ‪۱۵۰.............................................................‬‬ ‫ﺟﻠﻮﺓ ﺗﻮ ﭼﺸﻢ ﻣﻮﺳﻲ ﺑﺮﻧﺘﺎﺑﺪ ﺑﻴﺶ ﺍﺯﻳﻦ ‪۱۵۱....................................................‬‬ ‫ﺩﻻ ﺍﺯ ﻧﺎﻭﮎ ﻣﮋﮔﺎﻥ ﺣﺬﺭ ﮐﺮﺩﻥ ﺗﻮﺍﻥ ﻧﺘﻮﺍﻥ ‪۱۵۲...............................................‬‬

‫ﺩﻳﻮﺍﻥ ﺍﺷﻌﺎﺭ ﻋﺎﻗﻞ ﺧﺎﻥ ﺭﺍﺯﻱ ‪١٠‬‬ ‫ﻋﺸﻘﻢ ﺩﺍﺭﺩ ﺑﻪﺭﻧﮓ ﻣﺴﺘﺎﻥ ‪۱۵۲...............................................................................‬‬ ‫ﮔﺮ ﺗﻤﻨﹼﺎ ﺩﺍﺭﻱ ﺍﻱ ﺩﻝ ﺑﺎ ﺳﻠﻴﻤﺎﻥ ﺯﻳﺴﺘﻦ‪۱۵۳......................................................‬‬ ‫ﻣﻦ ﺁﻥ ﻣﺴﺘﻢ ﮐﻪ ﺩﺭ ﻣﺴﺘﻲ ﺗﺮﺍﻭﺩ ﺻﺪ ﺧﻤﺎﺭ ﺍﺯ ﻣﻦ ‪۱۵۴ ................................‬‬ ‫ﺩﺭ ﻋﺸﻖ ﮐﺎﻡ ﺩﻝ ﻧﮑﻨﺪ ﻣﺮ ِﺩ ﺁﺭﺯﻭ ‪۱۵۴..................................................................‬‬ ‫ﺍﺯ ﺩﻳﺪﻩ ﺭﻓﺘﻪﺍﻱ ﻭ ﺑﻪﺩﻝ ﺟﺎﻱ ﮐﺮﺩﻩﺍﻱ‪۱۵۵.........................................................‬‬ ‫ﺗﺎ ﺑﻪﺁﻫﻨﮓ ﺳﻔﺮ ﻧﺎﻗﻪ ﺭﻭﺍﻥ ﺳﺎﺧﺘﻪﺍﻱ ‪۱۵۶............................................................‬‬ ‫ﺩﻟﻢ ﺟﺰ ﺩﺭﺩﺳﺮ ﺍﺯ ﺳﺮ ﻧﺪﻳﺪﻩ ‪۱۵۶..........................................................................‬‬ ‫ﺩﻟﻢ ﺑﺮﺩ ﺯﻟﻒ ﻧﮕﺎﺭﻱ ﭼﻪ ﭼﺎﺭﻩ‪۱۵۷......................................................................‬‬ ‫ﺯ ﺟﺎﻡ ﻋﺸﻖ ﺳﺮﻣﺴﺘﻢ ﻣﻦ ﻭ ﻣﺨﻤﻮﺭ ﻳﻌﻨﻲ ﭼﻪ ‪۱۵۸..........................................‬‬ ‫ﺯ ﻏﻤﺰﺓ ﮐﻪ ﻧﻬﺎﻧﻲ ﺩﺭﻭ ِﻥ ﺟﺎﻥ ﺯﺩﻩﺍﻱ‪۱۵۸............................................................‬‬ ‫ﺻﺒﺤﺪﻡ ﺑﺎﺩ ﺻﺒﺎ ﺁﻭﺭﺩ ﺑﻮﻱ ﺗﺎﺯﻩﺍﻱ ‪۱۵۹..............................................................‬‬ ‫ﺁﺩﻣﻲ ﺭﺍ ﺍﮔﺮ ﺍﺯ ﺧﻮﻳﺶ ﺧﺒﺮ ﻣﻲﺑﻮﺩﻱ ‪۱۶۰.........................................................‬‬ ‫ﺍﻱ ﮐﻪ ﻣﺴﺘﻲ ﺩﮔﺮﭼﻪ ﻣﻲﺧﻮﺍﻫﻲ ‪۱۶۱...................................................................‬‬ ‫ﺑﻪﻧﻈﺎﺭﻩ ﺭﻓﺖ ﻋﻤﺮﻱ ﻧﻈﺮﻡ ﻧﺪﻳﺪ ﺭﻭﻳﻲ ‪۱۶۲........................................................‬‬ ‫ﺟﺰﺍﮎ ﺍﷲ ﺍﻱ ﺳﺎﻗﻲ ﺑﺪﻩ ﻣﻲ‪۱۶۲...........................................................................‬‬ ‫ﭼﻴﺴﺖ ﺩﺍﻧﻲ ﺑﺎﺩﻩ؟ ﺍﺑﻠﻴﺲ ﻣ‪‬ﻀﻞ ﺭﺍ ﻳﺎﻭﺭﻱ‪۱۶۳.................................................‬‬ ‫ﭼﺮﺍ ﺍﺳﺮﺍ ِﺭ ﻣﻦ ﺳﺮﮔﺸﺘﻪﺍﻱ ﺧﻮﺩ ﺳﺮ ﺑﻪﺳﺮ ﭘﻴﭽﻲ‪۱۶۴......................................‬‬ ‫ﺩﻭﺵ ﺍﺯ ﺑﺮ ﻣﻦِ ﺭﻣﻴﺪﻩ ﺭﻓﺘﻲ‪۱۶۵............................................................................‬‬ ‫ﺩﺭ ﻣﺰﺭﻋﺔ ﺟﻬﺎﻥ ﺯ ﻭﺍ ﺳﻮﺧﺘﮕﻲ‪۱۶۶....................................................................‬‬ ‫ﺻﺪ ﺷﻌﻠﻪ ﺯ ﻏﻢ ﺩﺭ ﺩﻟﻢ ﺍﻓﺮﻭﺧﺘﻪ ﺑﺎﺷﻲ ‪۱۶۶......................................................‬‬ ‫ﻋﻤﺮﻱﺳﺖ ﮐﻪ ﻣﺎ ﺑﺎﺩﻩ ﭘﺮﺳﺘﻴﻢ ﺑﻪﺑﻮﻳﻲ ‪۱۶۷.........................................................‬‬ ‫ﺳﻼﻣﻲ ﺭﺳﻴﺪﻩ ﺯ ﻋﺎﻟﻲﺟﻨﺎﺑﻲ ‪۱۶۷..........................................................................‬‬ ‫ﻓﺮﺳﺘﺎﺩﻩﺍﻡ ﺩﻝ ﺯ ﺑﻬﺮ ﻧﺜﺎﺭﻱ ‪۱۶۸..............................................................................‬‬ ‫ﻣﻼﻣﺘﻢ ﻣﮑﻦ ﺍﻱ ﻫﻤﻨﺸﻴﻦ ﺯ ﻧﺎﺩﺍﻧﻲ ‪۱۶۹................................................................‬‬

‫ﻓﻬﺮﺳﺖ‬ ‫‪١١‬‬ ‫ﻧﺪﺍﺩﻩﺍﻱ ﺩ ِﻝ ﺧﻮﺩ ﺭﺍ ﺑﻪﻳﺎﺭ ﻣﻌﺬﻭﺭﻱ ‪۱۷۰.............................................................‬‬ ‫ﻫﺮﮔﺰ ﻧﺪﻳﺪﻩ ﭼﺸﻤﻲ ﺩﺭ ﻣﻠﮏ ﺟﻠﻮﻩﺳﺎﺯﻱ‪۱۷۱..................................................‬‬ ‫ﺗﺮﺟﻴﻊﺑﻨﺪ‬ ‫‪.۵‬‬ ‫ﭘﺮﺩﻩ ﺍﺯ ﺭﺥ ﮐﺸﻴﺪﻩ ﺁﻣﺪ ﻳﺎﺭ ‪۱۷۲............................................................................‬‬ ‫ﺗﺎ ﺧﻢ ﺑﺎﺩﻩ ﺑﺎﺷﺪ ﺍﻧﺪﺭ ﺟﻮﺵ‪۱۷۳..........................................................................‬‬ ‫ﺩﻭﺵ ﺩﺭ ﺟﻠﻮﻩ ﺁﻣﺪ ﺁﻥ ﻃﹼﻨﺎﺯ ‪۱۷۴..........................................................................‬‬ ‫ﺳﺎﻗﻲ ﺳﺎﺩﻩ ﺳﺎﻏﺮِ ﭘ‪‬ﺮ ﻣﻲ‪۱۷۶..................................................................................‬‬ ‫ﺍﻱ ﺧﺪﺍﻭﻧﺪ ﻣﺎﻝ ﻭ ﻋﺰﹼ ﻭ ﻋﻼ ‪۱۷۷..........................................................................‬‬ ‫ﻧﺎﮔﺮﻓﺘﻲ ﺑﻪﺩﺳﺖ ﺩﺳﺘﺔ ﮔﻞ‪۱۷۸..............................................................................‬‬ ‫ﭼﻮﻥ ﺣﺒﺎﺑﻴﻢ ﻣﺎ ﺩﺭﻳﻦ ﺩﺭﻳﺎ ‪۱۷۹..............................................................................‬‬ ‫ﺳﺎﻗﻲﻧﺎﻣﻪ‬ ‫‪.۶‬‬ ‫ﺩﻻ ﺻﺒﺢ ﺷﺎﺩﻱﺳﺖ ﭼﻮﻥ ﺧﻔﺘﻪﺍﻱ ‪۱۸۱..............................................................‬‬ ‫ﺧﻤﺎﺭﻧﺎﻣﻪ‬ ‫‪.۷‬‬ ‫ﺍﻳﺎ ﺳﺮﺧﻮﺵ ﺍﺯ ﺩﻭ ِﺭ ﻟﻴﻞ ﻭ ﻧﻬﺎﺭ ‪۱۹۶....................................................................‬‬ ‫ﻣﺮﺛﻴﺔ ﺑﺮﺍﺩﺭ‬ ‫‪.۸‬‬ ‫ﺑﺴﻢ ﺍﷲ ﺍﻟ ‪‬ﺮﺣﻤﻦ ﺍﻟﺮ‪‬ﺣﻴﻢ‪۲۰۲...................................................................................‬‬ ‫ﻣﺮﺛﻴﺔ ﻓﺮﺯﻧﺪﺍﻥ‬ ‫‪.۹‬‬ ‫ﺧﺪﺍﻭﻧﺪﺍ ﭼﻮ ﺩﻝ ﺭﺍ ﺩﺍﺩﻩﺍﻱ ﻏﻢ‪۲۱۳......................................................................‬‬ ‫ﻣﻘﻄﹼﻌﺎﺕ‬ ‫‪.۱۰‬‬ ‫ﭼﻮﻥ ﻣﺤ ‪‬ﻤﺪﺗﻘﻲ ﺯ ﺩﺍﺭِ ﻓﻨﺎ‪۲۲۰................................................................................‬‬ ‫ﻣﻴﺮ ﺑﺮﺧﻮﺭﺩﺍﺭ ﭼﻮﻥ ﺭﻓﺖ ﺍﺯ ﮔﻠﺴﺘﺎﻥ ﺟﻬﺎﻥ ‪۲۲۰...............................................‬‬ ‫ﺍﺯ ﺟﻬﺎﻥ ﻧﻘﻞ ﮐﺮﺩ ﺳﻴ‪‬ﺪﻩﺍﻱ‪۲۲۱..............................................................................‬‬

‫ﺩﻳﻮﺍﻥ ﺍﺷﻌﺎﺭ ﻋﺎﻗﻞ ﺧﺎﻥ ﺭﺍﺯﻱ ‪١٢‬‬ ‫ﭼﻮ ﺍﺯ ﻧﺴﻴﻢ ﺳﺤﺮ ﺑﻮﻱ ﻭﺻﻞ ﺩﻭﺳﺖ ﺷﻤﻴﺪ ‪۲۲۱.............................................‬‬ ‫‪.۱۱‬‬ ‫ﺍﺫﺍ ﻭﺻﻞ ﺍﻟﻔﺮﻳﺪ ﺍﻟﺤﻖ ﺑﺎﺍﻟﺤﻖ ‪۲۲۲........................................................................‬‬ ‫ﺷﮑﺮ ﺍﻳﺰﺩ ﮐﻪ ﺍﺧﺘ ِﺮ ﺍﺳﻌﺪ ‪۲۲۲.................................................................................‬‬ ‫ﺑﺤﻤﺪ ﺍﷲ ﮐﻪ ﺍﺯ ﺗﺄﻳﻴﺪ ﺩﺍﺩﺍﺭ‪۲۲۳.............................................................................‬‬ ‫ﺑﺮ ﻓﻠﮏ ﺷﻤﺲ ﺍﺯ ﺟﻠﻮﺱ ﺷﺎﻩ ﭼﻮﻥ ﺁﮔﺎﻩ ﺷﺪ ‪۲۲۴..........................................‬‬ ‫ﻳﺎﻓﺖ ﺍﻳﻦ ﻣﺴﺠﺪ ﺑﻨﺎ ﺩﺭ ﻋﻬﺪ ﺷﺎﻩ ﺩﻳﻦ ﭘﻨﺎﻩ ‪۲۲۵................................................‬‬ ‫ﺩﺭ ﻭﺻﻒ ﺍﻫﻞِ ﺑﻴﺖﻉ‬ ‫ﺯ ﺍﻫﻞ ﺑﻴﺖ ﻣﻄ ‪‬ﻬﺮ ﭼﮕﻮﻧﻪ ﻭﺻﻒ ﮐﻨﻢ ‪۲۲۶..........................................................‬‬ ‫ﺍﻣﺮﻭﺯ ﺭﻭ ِﺯ ﻗﺘ ِﻞ ﺷﻬﻴﺪﺍﻥِ ﮐﺮﺑﻼﺳﺖ ‪۲۲۷...............................................................‬‬ ‫ﻗﺼﺎﻳﺪ‬ ‫‪.۱۲‬‬ ‫ﺑﻴﺎ ﮐﻪ ﺩﺍﻋﻲ ﺍﻟﻲ ﺍﷲ ﺷﻴﺦ ﺷ ﹼﻄﺎﺭ ﺍﺳﺖ ‪۲۳۱.........................................................‬‬ ‫ﺍﻳﺎ ﺧﺪﻳﻮ ﺟﻬﺎﻧﺒﺎﻥ ﻭ ﺷﺎﻩ ﻣﻠﮏ ﺳﺘﺎﻥ ‪۲۳۳............................................................‬‬ ‫ﭼﻨﺪ ﺷﻌﺮ ﻣﺘﻔ ‪‬ﺮﻗﻪ‬ ‫‪.۱۳‬‬ ‫ﺗﺎ ﮐﻪ ﺁﺏ ﺣﺴﺮﺕ ﺍﻧﺪﺭ ﭼﺸﻢ ﻣﺎ ﮔﺮﺩﺍﺏ ﺷﺪ‪۲۳۵............................................‬‬ ‫ﻣﺮﻍ ﭼﻤﻦ ﺑﺒﻴﻦ ﮐﻪ ﭼﻪ ﻓﺮﻳﺎﺩ ﻣﻲﮐﻨﺪ ‪۲۳۸...........................................................‬‬ ‫ﺩﻻ ﺑﻪﻋﺸﻖ ﺳﺘﻤﮕﺎﺭ ﮐﻴﻨﻪ ﺩﺍﺭ ﺑﺴﺎﺯ ‪۲۴۱...............................................................‬‬ ‫‪ .۱۴‬ﮐﺘﺎﺏﺷﻨﺎﺳﻲ‪۲۴۵........................................................................................................‬‬

‫ﺷﺎﻋﺮﻱ ﺍﺯ ﺩﻳﺎﺭ ﺧﻮﺍﻑ‬ ‫‪١٣‬‬ ‫ﺷﺎﻋﺮﻱ ﺍﺯ ﺩﻳﺎﺭ ﺧﻮﺍﻑ‬ ‫ﺑﺴﻴﺎﺭﻱ ﺭﺍ ﮔﻤﺎﻥ ﺑﺮ ﺍﻳﻦ ﺍﺳﺖ ﮐﻪ ﻋﺎﻗﻞ ﺧﺎﻥ ﺭﺍﺯﻱ ﻧﻴﺰ ﭼﻮﻥ ﺭﺍﺯﻱﻫﺎﻱ ﺩﻳﮕﺮ ﺍﺯ‬ ‫ﺟﻤﻠﻪ ﻣﺤﻤﺪ ﺍﺑﻦ ﺯﮐﺮﻳﺎﻱ ﺭﺍﺯﻱ ﺩﺍﻧﺸﻤﻨﺪ ﺑﺰﺭﮒ ﺍﻳﺮﺍﻥ ﻭ ﺟﻬﺎﻥ ﻳﺎ ﭼﻮﻥ‬ ‫ﻓﺨﺮﺍﻟ ‪‬ﺪﻳﻦ ﺭﺍﺯﻱ‪ ،‬ﺣﮑﻴﻢ ﻭ ﻓﻴﻠﺴﻮﻑ ﻭ ﺍﻣﺎﻡ ﺍﻟﻤﺸ ﹼﮑﮑﻴﻦ‪ ،‬ﺑﺎﻳﺪ ﺍﺯ ﺍﻫﺎﻟﻲ ﺭﻱ ﺑﺎﺷﺪ‬ ‫ﺍﻣ‪‬ﺎ ﺑﻪﮔﻔﺘﺔ ﺧﻮﺩ ﻭﻱ ﻭ ﺑﻪﺷﻬﺎﺩﺕ ﺍﻳﻦ ﺑﻴﺖ ﺍﺯ ﺍﺷﻌﺎﺭﺵ ﻭﻱ ﺍﺯ ﺩﻳﺎﺭ ﺭﻱ ﻧﻴﺴﺖ‪:‬‬ ‫ﺗﺨﻠﹼﺺ ﺑﻬﺘﺮ ﺍﺯ ﺭﺍﺯﻱ ﭼﻪ ﺧﻮﺍﻫﻲ ﭼـﻮ ﺑﺎﺷـﺪ ﻣﺮﺷـﺪﺕ ﺭﺍﺯ ﺍﻟﻬـﻲ‪١‬‬ ‫ﻭ ﺍﻳﻦ ﺭﺍﺯ ﺍﻟﻬﻲ ﺑﺰﺭﮔﻤﺮﺩﻱ ﻋﺎﺭﻑ ﺍﺳﺖ ﺑﻪﻧﺎﻡ ﺣﻀﺮﺕ ﺑﺮﻫﺎﻥﺍﻟﺪ‪‬ﻳﻦ ﺭﺍﺯ‬ ‫ﺍﻟﻬﻲ ﮐﻪ ﺑﻪﺷﻴﺦ ﺷﻄﹼﺎﺭ ﻣﻌﺮﻭﻑ ﺑﻮﺩﻩ ﺍﺳﺖ ﻭ ﺩﺭ ﻣﻨﻄﻘﻪ ﺑﺮﻫﺎﻥﭘﻮﺭ ﮔﺠﺮﺍﺕ ﺩﺭ‬ ‫ﺭﻭﺯﮔﺎﺭ ﺷﺎﻋﺮ ﻣﻲﺯﻳﺴﺘﻪ ﺍﺳﺖ‪ .‬ﻋﺎﻗﻞ ﺧﺎﻥ ﺑﻪﺗﺼﺮﻳﺢ ﺧﻮﺩ ﻭﻱ ﺍﺯ ﺳﺮﺯﻣﻴﻦ‬ ‫ﺧﻮﺍﻑ ﺍﻳﺮﺍﻥ ﺑﻮﺩﻩ ﺍﺳﺖ‪ ،‬ﺳﺮﺯﻣﻴﻨﻲ ﮐﻪ ﺗﺎ ﻫﻨﻮﺯ ﺩﺭ ﻧﻘﺸﺔ ﺟﻐﺮﺍﻓﻴﺎ ﺷﻬﺮﻱ ﻣﺮﺯﻱ‬ ‫ﺩﺭ ﻣﺸﺮﻕ ﺍﻳﺮﺍﻥ ﻭ ﻫﻢ ﻣﺮﺯ ﺑﺎ ﺍﻓﻐﺎﻧﺴﺘﺎﻥ ﺍﺳﺖ ﻭ ﺩﻭﺗﺎﺭﻧﻮﺍﺯﺍﻥ ﺁﻥ ﻧﺎﺣﻴﻪ ﺑﺴﻴﺎﺭ‬ ‫ﭼﻴﺮﻩ ﺩﺳﺘﻨﺪ ﻭ ﮐﺎﺵ ﺑﻌﺪ ﺍﺯ ﺍﻳﻦ ﺗﺮﺍﻧﻪﻫﺎﻱ ﺩﻟﮑﺶ ﻭ ﺯﻳﺒﺎﻱ ﺍﻳﻦ ﻫﻤﺸﻬﺮﻱ ﺷﺎﻥ‬ ‫ﺩﺭ ﺩﻳﺎﺭ ﻫﻨﺪ ﺭﺍ ﻧﻴﺰ ﺩﺭ ﻻﺑﻼﻱ ﺁﻭﺍﺯﻫﺎﻱ ﻏﺮﻳﺒﺎﻧﻪ ﺷﺎﻥ ﺑﺨﻮﺍﻧﻨﺪ‪.‬‬ ‫ﻋﺎﻗﻞ ﺧﺎﻥ ﺷﺎﻋﺮ ﺍﺳﺖ ﻭ ﻣﻮ ‪‬ﺭﺥ ﻭ ﺩﻭﻟﺘﻤﺮﺩ‪ .‬ﻗﺮﻳﺐ ﺑﻪﭘﻨﺠﺎﻩ ﺳﺎﻝ ﻣﻘﺎﻣﺎﺕ ﻭ‬ ‫ﻣﻨﺎﺻﺐ ﻭﺍﻻ ﺩﺍﺷﺘﻪ ﺍﺳﺖ ﻭ ﻫﻤﺎﺭﻩ ﻣﻮﺭﺩ ﺗﮑﺮﻳﻢ ﻭ ﺍﺣﺘﺮﺍﻡ ﭘﺎﺩﺷﺎﻩ ﻭ ﺷﺎﻋﺮﺍﻥ‬ ‫ﺑﺰﺭﮒ ﺭﻭﺯﮔﺎﺭ ﺧﻮﻳﺶ ﺑﻮﺩﻩ ﺍﺳﺖ‪ .‬ﻭﻱ ﺍﺯ ﺣﻴﺚ ﺳﻦ ﻭ ﺳﺎﻝ ﻗﺮﻳﺐ ﺑﻪﺭﺑﻊ ﻗﺮﻥ‬ ‫‪ .1‬ﻋﺎﻗﻞ ﺧﺎﻥ ﺭﺍﺯﻱ‪ :‬ﻣﻬﺮ ﻭ ﻣﺎﻩ‪ ،‬ﻭﺭﻕ ‪ ،٩١ ،٥٩ ،٥٨‬ﺷﻤﺎﺭﻩ ﻣﺨﻄﻮﻃﻪ ‪ ،٢٧٧‬ﻣﺠﻤﻮﻋﺔ ﮐﺮﺯﻥ‪،‬‬ ‫ﺍﻧﺠﻤﻦ ﺁﺳﻴﺎﻱ ﮐﻠﮑﺘﹼﻪ‪.‬‬

‫ﺩﻳﻮﺍﻥ ﺍﺷﻌﺎﺭ ﻋﺎﻗﻞ ﺧﺎﻥ ﺭﺍﺯﻱ ‪١٤‬‬ ‫ﭘﺲ ﺍﺯ ﺻﺎﺋﺐ ﻭ ﺭﺑﻊ ﻗﺮﻥ ﭘﻴﺶ ﺍﺯ ﺑﻴﺪﻝ ﺯﻳﺴﺘﻪ ﺍﺳﺖ ﻭ ﺳﻌﺎﺩﺕ ﻫﻤﻨﺸﻴﻨﻲ ﺑﺎ ﺍﻳﻦ‬ ‫ﻫﺮ ﺩﻭ ﺷﺎﻋﺮ ﺑﺰﺭﮒ ﺭﺍ ﻧﻴﺰ ﺩﺍﺷﺘﻪ ﺍﺳﺖ ﻭ ﺷﺎﻋﺮﻱ ﭼﻮﻥ ﺑﻴﺪﻝ ﺩﻫﻠﻮﻱ ﺍﻳﺸﺎﻥ ﺭﺍ‬ ‫ﺑﺴﻴﺎﺭ ﻣﻮﺭﺩ ﺗﮑﺮﻳﻢ ﻭ ﻧﻮﺍﺯﺵ ﻗﺮﺍﺭ ﻣﻲﺩﺍﺩﻩ ﺍﺳﺖ ﻭ ﻫﺮﮔﺎﻩ ﺍﻳﻦ ﺷﺎﻋﺮ ﺷﻌﺮﻱ ﺍﺯ‬ ‫ﺑﻴﺪﻝ ﺭﺍ ﻧﻘﺪ ﻣﻲﮐﺮﺩﻩ ﺍﺳﺖ ﺑﻴﺪﻝ ﺑﻪﺍﺣﺘﺮﺍﻡ ﻧﻈﺮ ﻭ ﺭﺃﻱ ﺍﻭ ﺑﺮﻣﻲﺧﺎﺳﺘﻪ ﻭ ﺍﺣﺘﺮﺍﻡ‬ ‫ﺭﺍ ﺑﻪﺟﺎﻱ ﻣﻲﺁﻭﺭﺩﻩ ﻭ ﺍﻣﺮ ﺍﻭ ﺭﺍ ﻣﻄﺎﻉ ﻣﻲﺩﺍﻧﺴﺘﻪ ﺍﺳﺖ‪.‬‬ ‫ﺩﺭ ﻣﺎﻩﻫﺎﻱ ﮔﺬﺷﺘﻪ ﺍﺯ ﺳﻮﻱ ﻣﺮﮐﺰ ﺗﺤﻘﻴﻘﺎﺕ ﻓﺎﺭﺳﻲ ﺩﻫﻠﻲ ﻧﻮ ﭼﻨﺪ ﺩﻳﻮﺍﻥ ﻭ‬ ‫ﺩﻓﺘﺮ ﺷﻌﺮ ﺍﺯ ﺷﺎﻋﺮﺍﻥ ﺍﻳﺮﺍﻧﻲ ﻣﻘﻴﻢ ﻫﻨﺪ ﺩﺭ ﻋﺼﺮ ﻳﺎﺯﺩﻫﻢ ﻭ ﺩﻭﺍﺯﺩﻫﻢ ﻫﺠﺮﻱ‬ ‫ﺑﻪﭼﺎﭖ ﺭﺳﻴﺪ ﮐﻪ ﺩﻳﻮﺍﻥ ﺣﮑﻴﻢ ﺷﻬﺮﺕ ﺷﻴﺮﺍﺯﻱ ﻭ ﺩﻓﺘﺮﻱ ﺍﺯ ﻣﺜﻨﻮﻱ ﺁﺷﻮﺏ‬ ‫ﻫﻨﺪﻭﺳﺘﺎﻥ ﺳﺮﻭﺩﻩ ﻣﻼﺑﻬﺸﺘﻲ ﺷﻴﺮﺍﺯﻱ ﺍﺯ ﺁﻥ ﺟﻤﻠﻪ ﺑﻮﺩ ﻭ ﺍﻳﻦ ﺷﺎﻋﺮﺍﻥ ﭘﻴﺶ ﺍﺯ‬ ‫ﺍﻳﻦ ﺩﺭ ﺍﻳﺮﺍﻥ ﺗﻘﺮﻳﺒﺎ ﮔﻤﻨﺎﻡ ﻭ ﻧﺎﺷﻨﺎﺧﺘﻪ ﺑﻮﺩﻧﺪ ﻭ ﺩﻓﺘﺮﻱ ﻭ ﺷﻌﺮﻱ ﺍﺯ ﺁﻧﺎﻥ ﺯﻣﺰﻣﻪ‬ ‫ﻧﻤﻲﺷﺪ ﻭ ﺷﺎﻋﺮ ﺍﻳﻦ ﺩﻓﺘﺮ ﻳﻌﻨﻲ ﻋﺎﻗﻞ ﺧﺎﻥ ﺭﺍﺯﻱ ﻧﻴﺰ ﺍﮔﺮﭼﻪ ﺩﺭ ﺳﺮﺯﻣﻴﻦ ﻫﻨﺪ‬ ‫ﻧﺎﻣﻲ ﺷﻨﺎﺧﺘﻪ ﺷﺪﻩ ﺩﺭ ﻋﺮﺻﺔ ﺗﺎﺭﻳﺦ ﻭ ﺳﻴﺎﺳﺖ ﻭ ﺍﺩﺏ ﺑﻮﺩﻩ ﺍﺳﺖ‪ ،‬ﺍ‪‬ﻣﺎ ﺩﺭ ﺍﻳﺮﺍﻥ‬ ‫ﺑﺎﻳﺪ ﺍﻭ ﺭﺍ ﺩﺭ ﺷﻤﺎﺭ ﻫﻤﺎﻥ ﺷﺎﻋﺮﺍﻥ ﮔﻤﻨﺎﻡ ﻭ ﻏﺮﻳﺐ ﺟﺎﻱ ﺩﺍﺩ ﻭ ﺧﺪﺍﻱ ﺭﺍ ﺷﺎﮐﺮﻳﻢ‬ ‫ﮐﻪ ﺍﻳﻨﮏ ﭘﺲ ﺍﺯ ﻗﺮﻥﻫﺎ ﺑﻪﻫ ‪‬ﻤﺖ ﻭ ﺗﻼﺵ ﭘﮋﻭﻫﺸﮕﺮﻱ ﺩﻳﮕﺮ ﺍﺯ ﺳﺮﺯﻣﻴﻦ ﻫﻨﺪ‬ ‫ﺍﺑﺮﻫﺎﻱ ﮔﻤﻨﺎﻣﻲ ﺑﻪﮐﻨﺎﺭﻱ ﻣﻲﺭﻭﺩ ﻭ ﺩﻳﻮﺍﻥ ﺩﺭﺧﺸﺎﻥ ﺷﺎﻋﺮﻱ ﭼﻮﻥ ﻋﺎﻗﻞ ﺧﺎﻥ‬ ‫ﺭﺍﺯﻱ ﺧﻮﺍﻓﻲ ﻧﻴﺰ ﺭﻭﻱ ﭼﺎﭖ ﺭﺍ ﺑﻪﺧﻮﺩ ﻣﻲﺑﻴﻨﺪ ﻭ ﺍﻳﻦ ﺍﻟﺒﹼﺘﻪ ﻗﺪﻣﻲ ﻣﺒﺎﺭﮎ ﺍﺳﺖ ﻭ‬ ‫ﺑﺎﺩﺍ ﮐﻪ ﺍﻳﻦ ﮔﺎﻡ ﻣﺒﺎﺭﮎ ﺑﺎ ﮔﺎﻡﻫﺎﻱ ﺩﻳﮕﺮ ﺑﻪﺭﺍﻩ ﺑﻴﺎﻧﺠﺎﻣﺪ ﻭ ﺳﺮﺍﻧﺠﺎﻣﻲ ﺭﻭﺷﻦ ﻭ‬ ‫ﺁﻓﺘﺎﺑﻲ ﺭﺍ ﻧﺼﻴﺐ ﺯﺑﺎﻥ ﻭ ﺍﺩﺑﻴﺎﺕ ﻓﺎﺭﺳﻲ ﺩﺭ ﺷﺒﻪﻗﺎ ‪‬ﺭﻩ ﮐﻨﺪ‪.‬‬ ‫ﻭ ﺍﺯ ﻳﺎﺩ ﻧﺒﺮﻳﻢ ﮐﻪ ﺗﻮﻓﻴﻖ ﺑﻴﺸﺘﺮ ﺩﺭ ﺍﻳﻦ ﻋﺮﺻﻪ ﻭﺍﻣﺪﺍﺭ ﻫﻤﺪﻟﻲ ﻭ ﻫﻤﮑﺎﺭﻱ‬ ‫ﻓﺮﻫﻨﮕﻲ ﺑﻴﻦ ﻓﺮﻫﻴﺨﺘﮕﺎﻥ ﺍﻳﺮﺍﻥ ﻭ ﻫﻨﺪ ﺧﻮﺍﻫﺪ ﺑﻮﺩ ﻭ ﺍﺯ ﺍﻳﻦ ﺭﻭﻱ ﺧﺪﺍﻱ ﺭﺍ‬ ‫ﺷﺎﮐﺮﻳﻢ ﮐﻪ ﺍﻳﻦ ﻓﺮﺻﺖ ﺍﺭﺯﺷﻤﻨﺪ ﺭﺍ ﺑﻪﻣﺎ ﺍﺭﺯﺍﻧﻲ ﮐﺮﺩ ﺗﺎ ﺳﻬﻤﻲ ﻫﺮﭼﻨﺪ ﺍﻧﺪﮎ‬ ‫ﺩﺭ ﺍﻧﺘﺸﺎﺭ ﺍﻳﻦ ﺳﻠﺴﻠﻪ ﻣﺠﻤﻮﻋﻪﻫﺎﻱ ﻓﺮﻫﻨﮕﻲ ﻭ ﺍﺩﺑﻲ ﺩﺍﺷﺘﻪ ﺑﺎﺷﻴﻢ‪.‬‬ ‫ﺍﻳﻨﮏ ﮐﻪ ﺩﻳﻮﺍﻥ ﺍﻳﻦ ﺷﺎﻋﺮ ﺍﺭﺟﻤﻨﺪ ﺭﻭﻱ ﭼﺎﭖ ﺭﺍ ﺑﻪﺧﻮﺩ ﻣﻲﺑﻴﻨﺪ ﻭ ﺑﺎ‬ ‫ﻋﻨﺎﻳﺖ ﺑﻪﺁﻥ ﮐﻪ ﻣﺼ ‪‬ﺤﺢ ﻭ ﭘﮋﻭﻫﺸﮕﺮ ﺍﺭﺟﻤﻨﺪ ﺑﻪﻭﻳﮋﮔﻲﻫﺎﻱ ﺷﻌﺮﻱ ﺍﻳﻦ ﺷﺎﻋﺮ‬

‫ﺷﺎﻋﺮﻱ ﺍﺯ ﺩﻳﺎﺭ ﺧﻮﺍﻑ‬ ‫‪١٥‬‬ ‫ﮐﻤﺘﺮ ﭘﺮﺩﺍﺧﺘﻪ ﺍﺳﺖ‪ ،‬ﺑﺮ ﺧﻮﺩ ﻓﺮﺽ ﻣﻲﺩﺍﻧﻢ ﺗﺎ ﺑﻪﻏﻨﻴﻤﺖ ﻓﺮﺻﺖ ﻫﺮﭼﻨﺪ‬ ‫ﺷﺘﺎﺑﻨﺎﮎ ﮔﺬﺭﻱ ﺩﺭ ﺩﻳﻮﺍﻥ ﺍﺷﻌﺎﺭ ﺍﻳﻦ ﺷﺎﻋﺮ ﺩﺍﺷﺘﻪ ﺑﺎﺷﻢ ﻭ ﺑﻲﮔﻤﺎﻥ ﺩﺭ ﺍﻳﻦ ﺳﻴﺮ‬ ‫ﻭ ﮔﺸﺖ ﺁﻧﺎﺕ ﻭ ﻟﺤﻈﺎﺕ ﻧﺎﺑﻲ ﺭﺍ ﻣﺮﻭﺭ ﺧﻮﺍﻫﻴﻢ ﮐﺮﺩ ﻭ ﺍﺯ ﺁﻥ ﻫﻤﻪ ﺷﺎﻋﺮﺍﻧﮕﻲ‬ ‫ﺍﻧﺪﮐﻲ ﺭﺍ ﺧﻮﺍﻫﻴﻢ ﭼﺸﻴﺪ ﮐﻪ ﮔﻔﺘﻪﺍﻧﺪ‪:‬‬ ‫ﺁﺏ ﺩﺭﻳﺎ ﺭﺍ ﺍﮔﺮ ﻧﺘﻮﺍﻥ ﮐﺸـﻴﺪ ﻫﻢ ﺑﻪﻗﺪﺭ ﺗﺸﻨﮕﻲ ﺑﺎﻳﺪ ﭼﺸﻴﺪ‬ ‫ﺑﺮﺍﻱ ﭘﺮﺩﺍﺧﺘﻦ ﺑﻪﻳﮏ ﺷﺎﻋﺮ ﻭ ﻣﺘﻦ ﭘﻴﺶ ﺭﻭﻱ ﻣﻲﺗﻮﺍﻥ ﺑﺎ ﺷﻴﻮﻩﻫﺎﻱ ﻣﺘﻔﺎﻭﺗﻲ‬ ‫ﺁﻥ ﺭﺍ ﻧﻘﺪ ﮐﺮﺩ‪ .‬ﺍﻣ‪‬ﺎ ﺑﺎ ﺗﻮﺟﻪ ﺑﻪﻣﺨﺎﻃﺒﺎﻥ ﺍﻳﻦ ﺩﻓﺘﺮ ﻭ ﺩﻳﻮﺍﻥ ﻭ ﻧﮕﺎﻩ ﺍﺳﺘﺎﺩﺍﻥ ﻭ‬ ‫ﺩﺍﻧﺸﺠﻮﻳﺎﻥ ﺯﺑﺎﻥ ﻓﺎﺭﺳﻲ ﻫﻨﺪ ﻭ ﺣﺘﹼﻲ ﺍﻳﺮﺍﻥ ﺑﻪﻧﻘﺪ ﺳﻨﹼﺘﻲ‪ ،‬ﻧﺎﭼﺎﺭ ﺍﺯ ﻫﻤﻴﻦ ﺩﺭﻳﭽﻪ‬ ‫ﻧﮕﺎﻫﻲ ﺑﻪﺍﻳﻦ ﮐﺘﺎﺏ ﻣﻲﺍﻧﺪﺍﺯﻡ ﻭ ﺍﻳﻦ ﺭﺍ ﻫﻢ ﻳﺎﺩﺁﻭﺭ ﺷﻮﻡ ﮐﻪ ﺩﺭ ﻣﻘﺎﻡ ﻣﻘﺎﻳﺴﻪ ﻭ‬ ‫ﺍﹼﺗﮑﺎ ﺑﺮ ﺍﺻﻮﻝ ﻋﻠﻤﻲ ﻧﻘﺪ‪ ،‬ﭼﻪ ﺑﺴﺎ ﮐﻪ ﻧﻘﺪ ﺳﻨﹼﺘﻲ ﮔﺎﻩ ﺣﹼﺘﻲ ﺍﺯ ﻧﻘﺪ ﻣﺪﺭﻥ ﻭ ﭘﺴﺖ‬ ‫ﻣﺪﺭﻥ ﺟﻠﻮﺗﺮ ﻫﻢ ﺑﺎﺷﺪ ﻭ ﻫﻨﻮﺯ ﻫﻢ ﺑﻪﺧﺼﻮﺹ ﺩﺭ ﻓﻀﺎﻱ ﺍﺩﺑﻲ ﺍﻣﺮﻭﺯ ﻓﺎﺭﺳﻲ‬ ‫ﺯﺑﺎﻧﺎﻥ ﻫﻨﺪ ﻭ ﺍﻳﺮﺍﻥ ﺍﺩﺑﻴﺎﺕ ﻭ ﻣﺘﻦ ﺍﺩﺑﻲ ـ ﺣﺘﻲ ﺩﺭ ﺩﺍﻧﺸﮕﺎﻩ ـ ﺑﻴﺶ ﺍﺯ ﺁﻥ ﮐﻪ‬ ‫ﺗﮑﻴﻪﺍﺵ ﺑﺮ ﺧﺮﺩ ﺟﻤﻌﻲ ﻭ ﻣﻌﻘﻮﻟﻴﺖ ﺑﺎﺷﺪ ﻭ ﭼﺸﻢ ﺑﻪﺁﺭﺍﺀ ﻣﺪﺭﻧﻴﺴﺖﻫﺎ ﻭ ﭘﺴﺖ‬ ‫ﻣﺪﺭﻥﻫﺎ ﺩﺍﺷﺘﻪ ﺑﺎﺷﺪ‪ ،‬ﻧﮕﺎﻫﺶ ﺑﻪﺳﹼﻨﺖ ﻣﻌﻄﻮﻑ ﺍﺳﺖ ﻭ ﺑﻪﺗﺄﺛﻴﺮﮔﺬﺍﺭﻱ ﻭ‬ ‫ﺗﺄﺛﻴﺮﭘﺬﻳﺮﻱ ﻫﻨﺮ ﻭ ﺍﺩﺏ ﻣﻲﺍﻧﺪﻳﺸﺪ‪ .‬ﺍﺯ ﺍﻳﻦ ﺭﻭ ﺑﻪﺍﺣﺘﺮﺍﻡ ﭘﮋﻭﻫﺸﮕﺮ ﻭ ﺣﹼﺘﻲ ﺷﺎﻋﺮ‬ ‫ﺍﻳﻦ ﺩﻓﺘﺮ ﮐﻪ ﺧﻮﺩ ﺍﺯ ﺷﺎﻋﺮﺍﻥ ﻣﻘﻴﺪ ﺑﻪﺳﻨﹼﺖ ﺍﺩﺑﻲ ﺑﻮﺩﻩ ﺍﺳﺖ ﻧﺎﭼﺎﺭﻡ ﺍﺯ ﺍﻳﻦ ﺯﺍﻭﻳﻪ‬ ‫ﺑﻪﻧﻘﺪ ﺍﻳﻦ ﺩﻓﺘﺮ ﺑﭙﺮﺩﺍﺯﻡ‪.‬‬ ‫ﺩﺭ ﻳﮏ ﻧﮕﺎﻩ ﮐﹼﻠﻲ ﺩﻳﻮﺍﻥ ﺍﻳﻦ ﺷﺎﻋﺮ ﺍﺯ ﺁﻥ ﺩﺳﺖ ﺩﻳﻮﺍﻥﻫﺎﻳﻲﺳﺖ ﮐﻪ‬ ‫ﺑﻪﺳﻼﻣﺖ ﺯﺑﺎﻥ ﻭ ﺭﻋﺎﻳﺖ ﺍﺳﻠﻮﺏﻫﺎﻱ ﺯﺑﺎﻧﻲ ﻭ ﻣﻌﻨﺎﻳﻲ ﺍﺩﺏ ﻓﺎﺭﺳﻲ ﻭﻓﺎﺩﺍﺭ ﺍﺳﺖ‬ ‫ﻭ ﺷﺎﻋﺮ ﺑﺎ ﺯﺑﺎﻥ ﻓﺎﺭﺳﻲ ﭼﻮﻥ ﺯﺑﺎﻥ ﻣﺎﺩﺭﻱ ﺭﻓﺘﺎﺭ ﮐﺮﺩﻩ ﺍﺳﺖ ﻭ ﺧﻄﺎﻫﺎﻳﺶ ﺩﺭ‬ ‫ﺭﻋﺎﻳﺖ ﺍﺻﻮﻝ ﺷﻌﺮ ﺻﺤﻴﺢ ﭘﺎﺭﺳﻲ ﺁﻧﻘﺪﺭ ﺍﻧﺪﮎ ﺍﺳﺖ ﮐﻪ ﻣﻲﺗﻮﺍﻥ ﺍﺯ ﺁﻥ‬ ‫ﺑﻪﺁﺳﺎﻧﻲ ﮔﺬﺷﺖ ﻭ ﻫﻤﻴﻦ ﻭﺟﻪ ﺍﺯ ﺷﻌﺮﺵ ﺭﺍ ﻧﻘﻄﺔ ﻗ ‪‬ﻮﺕ ﮐﺎﺭﺵ ﻗﺮﺍﺭ ﺩﺍﺩ‪ .‬ﻭﻱ‬ ‫ﺁﻧﻘﺪﺭ ﺩﺭ ﺍﻳﻦ ﮐﺎﺭ ﻣﺴﹼﻠﻂ ﺭﻓﺘﺎﺭ ﮐﺮﺩﻩ ﺍﺳﺖ ﮐﻪ ﺍﻭ ﺭﺍ ﺑﺎﻳﺪ ﺍﺯ ﺷﺎﻋﺮﺍﻥ ﺧﻮﺏ‬ ‫ﺭﻭﺯﮔﺎﺭ ﺧﻮﺩ ﺑﻪﺣﺴﺎﺏ ﺁﻭﺭﺩ‪ ،‬ﺍﻳﻦ ﮐﻪ ﮔﻔﺘﻴﻢ ﻧﮑﺘﻪ ﻭ ﻋﻴﺐ ﺩﺭ ﮐﺎﺭ ﺍﻭ ﺍﻧﺪﮎ ﺍﺳﺖ‬

‫ﺩﻳﻮﺍﻥ ﺍﺷﻌﺎﺭ ﻋﺎﻗﻞ ﺧﺎﻥ ﺭﺍﺯﻱ ‪١٦‬‬ ‫ﺩﻟﻴﻞ ﺁﻥ ﻧﻴﺴﺖ ﮐﻪ ﭼﻨﻴﻦ ﺗﺼ ‪‬ﻮﺭ ﮐﻨﻴﻢ ﮐﻪ ﻋﺎﻗﻞ ﺧﺎﻥ ﻭ ﺑﺴﻴﺎﺭﻱ ﺍﺯ ﺷﺎﻋﺮﺍﻥ‬ ‫ﺑﺰﺭﮒ ﻓﺎﺭﺳﻲ ﮐﻼﻡ ﺷﺎﻥ ﻭﺣﻲ ﻣﻨﺰﻝ ﺍﺳﺖ ﻭ ﺍﻳﺮﺍﺩ ﻭ ﻋﻴﺒﻲ ﻣﺘﻮﺟ‪‬ﻪ ﺁﻧﺎﻥ ﻧﻴﺴﺖ‪،‬‬ ‫ﺧﻴﺮ‪ ،‬ﺣﺘﹼﻲ ﺩﺭ ﺩﻳﻮﺍﻥ ﻏﺰﻟﻴﺎﺕ ﺷﻤﺲ ﺗﺒﺮﻳﺰﻱ ﻭ ﺍﺷﻌﺎﺭ ﺷﻮﺭﻳﺪﻩ ﺷﺎﻋﺮﻱ ﭼﻮﻥ‬ ‫ﻣﻮﻻﻧﺎ ﻧﻴﺰ ﺧﺼﻮﺻﺎ ﺩﺭ ﻭﺟﺪﻳﺎﺕ ﻭﻱ ﮔﺎﻩ ﺧﻄﺎﻫﺎﻳﻲ ﮐﻮﭼﮏ ﺍﺯ ﺟﻨﺲ ﻗﻮﺍﻓﻲ ﻭ‬ ‫ﮔﺎﻩ ﻭﺯﻥ ﻭﺟﻮﺩ ﺩﺍﺭﺩ‪ ،‬ﭘﺲ ﺟﺎﻱ ﺗﻌﺠ‪‬ﺐ ﻧﺒﺎﻳﺪ ﺑﺎﺷﺪ ﺍﮔﺮ ﺑﻪﻋﻨﻮﺍﻥ ﻣﺜﺎﻝ ﺩﺭ ﺩﻳﻮﺍﻥ‬ ‫ﻋﺎﻗﻞ ﺧﺎﻥ ﺭﺍﺯﻱ ﻧﻴﺰ ﺑﺎ ﻣﺮﻭﺭﻱ ﺩﻗﻴﻖ ﮔﺎﻩ ﭼﻨﻴﻦ ﺑﻴﺘﻲ ﺭﺍ ﺑﻴﺎﺑﻴﻢ ﻭ ﺑﮕﻮﻳﻴﻢ ﮐﻪ ﺍﻱ‬ ‫ﮐﺎﺵ ﺷﺎﻋﺮﺵ ﺩﺭ ﺍﻳﻦ ﺑﻴﺖ ﺩﻗﻴﻖﺗﺮ ﻣﻲﺷﺪ‪:‬‬ ‫ﻋﻴﻦ ﻋﺒﺎﺭﺕ ﮔﺸﺘﻪ ﺍﺯ ﻋﻴﻦﺍﻟﻴﻘﻴﻦ ﺑﺮ ﺷﻬﻮﺩ ﺣﻖ ﺍﺷﺎﺭﺕ ﮐﺮﺩ ﺷـﻴﻦ‬ ‫ﻋﺸﻖ ﻏ ‪‬ﻮﺍﺻﻲﺳﺖ ﺩﺭ ﺑﺤﺮ ﺟﻤﺎﻝ ﻃـﺎﻟـﺐ ﺩ‪ ‬ﺭ ﺟـﻤﻴـﻞ ﺑـﻲﻣﺜـﺎﻝ‬ ‫ﻣﻲﺑﻴﻨﻴﻢ ﮐﻪ ﺩﺭ ﻣﺼﺮﻉ ﻧﺨﺴﺖ ﺑﻴﺖ ﺍﻭ‪‬ﻝ‪ ،‬ﺷﺎﻋﺮ ﻋﻴﻦ ﺭﺍ ﻣﺜﻞ ﺍﻟﻒ ﺗﻠﹼﻔﻆ ﮐﺮﺩﻩ‬ ‫ﻭ ﺁﻭﺭﺩﻩ‪:‬‬ ‫ﻋﻴﻦ ﻋﺒﺎﺭﺕ‪ ...‬ﮐﻪ ﺣﺮﻑ »ﻉ« ﺩﺭ ﮐﻠﻤﺔ ﻋﺒﺎﺭﺕ ﺩﺭ ﻭﺯﻥ ﻧﻤﻲﮔﻨﺠﺪ ﻭ ﺗﻠﻔﹼﻆ‬ ‫ﻧﻤﻲﺷﻮﺩ ﻭ ﺍﻳﻦ ﺍﺯ ﮐﺎﺳﺘﻲﻫﺎﻱ ﺷﻌﺮ ﺑﺴﻴﺎﺭﻱ ﺍﺯ ﺷﺎﻋﺮﺍﻥ ﺣﺎﻝ ﻭ ﻣﺎﺿﻲ ﻧﻴﺰ‬ ‫ﻫﺴﺖ‪ .‬ﺍ‪‬ﻣﺎ ﺗﻘﺮﻳﺒﺎ ﺑﺎ ﺍﻃﻤﻴﻨﺎﻥ ﻣﻲﮔﻮﻳﻢ ﮐﻪ ﺍﮔﺮ ﺷﺎﻋﺮ ﺍﻳﻦ ﻣﺜﻨﻮﻱ ﺯﻧﺪﻩ ﺑﻮﺩ ﺑﻲﮔﻤﺎﻥ‬ ‫ﺑﺎ ﺍﻳﻦ ﺗﻐﻴﻴﺮ ﻣﺼﺮﻉ ﻣﻮﺍﻓﻘﺖ ﻣﻲﮐﺮﺩ ﻭ ﺷﺎﻳﺪ ﺍﻳﻦ ﻣﺼﺮﻉ ﺭﺍ ﺍﻳﻦ ﮔﻮﻧﻪ ﺍﺻﻼﺡ‬ ‫ﻣﻲﮐﺮﺩ ﮐﻪ‪:‬‬ ‫ﻋﻴﻦ ﺁﻥ ﺑﺎﺷﺪ ﻫﻤﺎﻥ ﻋﻴﻦ ﺍﻟﻴﻘﻴﻦ‪...‬‬ ‫ﺍﻳﻦ ﻧﮑﺘﻪ ﺭﺍ ﺩﺭ ﺁﻏﺎﺯ ﺍﻳﻦ ﻧﻮﺷﺘﺎﺭ ﺑﺪﺍﻥ ﺟﻬﺖ ﺁﻭﺭﺩﻡ ﺗﺎ ﻣﺼﺤ‪‬ﺤﺎﻥ ﺍﺭﺟﻤﻨﺪ‬ ‫ﺩﻭﺍﻭﻳﻦ ﺷﻌﺮ ﭘﺎﺭﺳﻲ ﺑﺪﺍﻧﻨﺪ ﮐﻪ ﮔﺎﻩ ﺣﹼﺘﻲ ﺷﺎﻋﺮﺍﻥ ﺑﺰﺭﮒ ﻧﻴﺰ ﻣﻤﮑﻦ ﺍﺳﺖ ﺩﺭ‬ ‫ﺳﺮﻭﺩﻥ ﺣﹼﺘﻲ ﺩﭼﺎﺭ ﻧﻘﺺ ﻭ ﮐﺎﺳﺘﻲﻫﺎﻳﻲ ﺑﺎﺷﻨﺪ ﻭ ﮐﺎﺭ ﻳﮏ ﻣﺼ ‪‬ﺤﺢ ﺁﮔﺎﻩ ﺁﻥ‬ ‫ﺍﺳﺖ ﮐﻪ ﺑﺘﻮﺍﻧﺪ ﺗﻤﺎﻡ ﺍﻳﻦ ﮐﺎﺳﺘﻲﻫﺎ ﻭ ﻧﻘﺎﻁ ﻗ ‪‬ﻮﺕﻫﺎ ﺭﺍ ﺑﺒﻴﻨﺪ ﻭ ﮔﺎﻩ ﺧﻄﺎﻱ ﺷﺎﻋﺮ‬ ‫ﻭ ﮔﺎﻩ ﺧﻄﺎﻱ ﮐﺎﺗﺐ ﻭ ﺧﻄﺎﻫﺎﻱ ﺩﻳﮕﺮ ﺭﺍ ﻧﻴﺰ ﺑﺘﻮﺍﻧﺪ ﺑﺮﺟﺴﺘﻪ ﮐﻨﺪ ﻭ ﺩﺭ ﻳﮏ ﮐﻼﻡ‬ ‫ﺍﺯ ﻋﻠﻢ ﻧﻘﺪ ﺍﺩﺑﻲ ﻭ ﻋﺮﻭﺽ ﻭ ﻗﻮﺍﻓﻲ ﻧﻴﺰ ﺑﻪﺍﻧﺪﺍﺯﺓ ﮐﺎﻓﻲ ﺑﻬﺮﻩ ﻣﻨﺪ ﺑﺎﺷﺪ‪ ،‬ﻭﮔﺮﻧﻪ‬ ‫ﺑﻲﮔﻤﺎﻥ ﺩﺭ ﮐﺎﺭﺵ ﮐﺎﺳﺘﻲﻫﺎﻱ ﻓﺮﺍﻭﺍﻧﻲ ﺭﺍﻩ ﺧﻮﺍﻫﺪ ﻳﺎﻓﺖ‪ .‬ﺍﻳﻦ ﺭﺍ ﮔﻔﺘﻢ ﮐﻪ ﮔﻔﺘﻪ‬

‫ﺷﺎﻋﺮﻱ ﺍﺯ ﺩﻳﺎﺭ ﺧﻮﺍﻑ‬ ‫‪١٧‬‬ ‫ﺑﺎﺷﻢ ﺣﹼﺘﻲ ﺍﻳﻦ ﺧﻄﺎﻫﺎﻱ ﮐﻮﭼﮏ ﺩﺭ ﻋﻠﻢ ﻧﻘﺪﺍﻟﺸﻌﺮ ﻭ ﻋﺮﻭﺽ ﻗﺎﺑﻞ ﺍﻋﻤﺎﺽ ﻭ‬ ‫ﮔﺬﺷﺖ ﻧﻴﺴﺖ‪ ،‬ﺍﻣ‪‬ﺎ ﺍﻳﻦ ﺧﻄﺎﻳﺎ ﺁﻧﻘﺪﺭ ﮐﻢ ﺍﺳﺖ ﮐﻪ ﺩﺭ ﻳﮏ ﮐﻠﻴﺖ ﻣﻲﺗﻮﺍﻥ ﺁﻥ ﺭﺍ‬ ‫ﻧﻴﺰ ﻧﺎﺩﻳﺪﻩ ﮔﺮﻓﺖ‪ .‬ﻧﮑﺘﺔ ﻓﻮﻕ ﺍﻟﺒﺘﹼﻪ ﺍﺯ ﻣﻨﻈﺮ ﻧﮕﺎﻩ ﺷﺎﻋﺮﺍﻥ ﻭ ﻣﻨﺘﻘﺪﺍﻥ ﺷﻌﺮ ﺩﻳﺮﻭﺯ‬ ‫ﺷﺒﻪﻗﺎ ‪‬ﺭﻩ ﻧﻴﺰ ﻣﻲﺗﻮﺍﻧﺪ ﻳﮏ ﮐﺎﺳﺘﻲ ﺟﺪ‪‬ﻱ ﺗﻠﻘﹼﻲ ﺷﻮﺩ‪ ،‬ﭼﺮﺍ ﮐﻪ ﺳﺮﺯﻣﻴﻦ ﻫﻨﺪﻭﺳﺘﺎﻥ‬ ‫ﺩﺭ ﮔﺬﺷﺘﻪﺍﻱ ﻧﻪ ﭼﻨﺪﺍﻥ ﺩﻭﺭ ﻣﻬﺪ ﻧﻘﺪ ﺍﺩﺑﻲ ﻧﻴﺰ ﺑﻮﺩﻩ ﺍﺳﺖ ﻭ ﺍﮔﺮ ﺑﻪﻋﻨﻮﺍﻥ ﻣﺜﺎﻝ‬ ‫ﺩﺭ ﺷﻌﺮ ﺣﺰﻳﻦ ﭼﻨﻴﻦ ﺧﺒﻂ ﻭ ﺧﻄﺎﻳﻲ ﻳﺎﻓﺖ ﻣﻲﺷﺪ ﺷﺎﻋﺮﺍﻥ ﻭ ﻣﻨﺘﻘﺪﺍﻧﻲ ﭼﻮﻥ‬ ‫ﺧﺎﻥ ﺁﺭﺯﻭ ﻭ ﺩﻳﮕﺮﺍﻥ ﺁﻥ ﺭﺍ ﺑﺴﻴﺎﺭ ﺑﺮﺟﺴﺘﻪ ﻣﻲﮐﺮﺩﻧﺪ‪ .‬ﺍﻟﺒﺘﻪ ﺗﻔﺎﻭﺕ ﻋﻴﻦ ﻭ ﺍﻟﻒ ﻭ‬ ‫ﮔﺎﻩ ﺗﻠﹼﻔﻆ ﻳﮑﺴﺎﻥ ﺍﻳﻦ ﺩﻭ ﺍﺯ ﺳﻮﻱ ﻏﻴﺮ ﻋﺮﺑﻲ ﺯﺑﺎﻧﺎﻥ ﺳﺒﺐ ﺁﻭﺭﺩﻥ ﭼﻨﻴﻦ ﺧﻄﺎﻳﻲ‬ ‫ﻣﻲﺷﻮﺩ ﻭ ﺩﺭ ﻋﺼﺮ ﻭ ﺭﻭﺯﮔﺎﺭ ﻣﺎ ﮐﻪ ﺍﻳﻦ ﺧﻄﺎﻳﺎ ﺣﹼﺘﻲ ﺑﻴﺸﺘﺮ ﺑﻪﭼﺸﻢ ﻣﻲﺁﻳﺪ ﺩﺭ ﺑﻴﻦ‬ ‫ﺷﺎﻋﺮﺍﻥ ﻣﻌﺎﺻﺮ ﺳﺮﺯﻣﻴﻦ ﺍﻳﺮﺍﻥ ﻧﻴﺰ ﺑﻪﻓﺮﺍﻭﺍﻧﻲ ﺍﻳﻦ ﺧﻄﺎ ﺭﺍ ﻣﻲﺗﻮﺍﻥ ﻣﺸﺎﻫﺪﻩ ﮐﺮﺩ‪.‬‬ ‫ﺍﻣ‪‬ﺎ ﺩﺭ ﮐﻨﺎﺭ ﺍﻳﻦ ﺍﻧﺪﮎ ﮐﺎﺳﺘﻲﻫﺎ ﺑﺎﻳﺪ ﺍﻋﺘﺮﺍﻑ ﮐﺮﺩ ﮐﻪ ﺩﺭ ﻫﻤﻴﻦ ﺩﻭ ﺑﻴﺖ ﻭ‬ ‫ﺑﻴﺖﻫﺎﻱ ﺩﻳﮕﺮ ﺍﻳﻦ ﺷﺎﻋﺮ ﭼﻘﺪﺭ ﻣﻀﻤﻮﻥﻫﺎﻱ ﺑﮑﺮ ﻭ ﭼﻘﺪﺭ ﺭﻭﺍﻧﻲ ﻭ ﺳﻼﺳﺖ‬ ‫ﮐﻼﻡ ﺑﻪﭼﺸﻢ ﻣﻲﺁﻳﺪ‪ .‬ﺧﺼﻮﺻﺎ ﺩﺭ ﺑﻴﺖ ﺩﻭﻡ‪ ،‬ﻣﺎ ﻳﮏ »ﺳﻬﻞ ﻣﻤﺘﻨﻊ« ﺳﻌﺪﻱ ﮔﻮﻧﻪ‬ ‫ﺭﺍ ﺷﺎﻫﺪﻳﻢ ﻭ ﺍﻳﻦ ﺧﻮﺩ ﺗﻮﻓﻴﻖ ﮐﻤﻲ ﻧﻴﺴﺖ‪ .‬ﺩﺭ ﺩﻳﻮﺍﻥ ﻋﺎﻗﻞ ﺧﺎﻥ ﺳﻼﺳﺖ ﻭ‬ ‫ﺭﻭﺍﻧﻲ ﮐﻼﻡ ﻭ ﺳﻼﻣﺖ ﺯﺑﺎﻧﻲ ﻭ ﺳﻬﻞ ﻭ ﻣﻤﺘﻨﻊ ﺑﻮﺩﻥ ﮐﻼﻡ ﺑﺴﻴﺎﺭ ﺑﺮﺟﺴﺘﻪ‬ ‫ﻣﻲﻧﻤﺎﻳﺪ ﻭ ﻋﺎﻗﻞ ﺧﺎﻥ ﺩﺭ ﮐﻼﻡ ﺳﻬﻞ ﻣﻤﺘﻨﻊ ﺧﻮﺩ ﻫﻤﺎﻧﻘﺪﺭ ﺟﺎﻧﺐ ﺳﻬﻞ ﺭﺍ ﮔﺮﻓﺘﻪ‬ ‫ﺍﺳﺖ ﮐﻪ ﺑﻪﺟﻨﺒﺔ ﻣﻤﺘﻨﻊ ﺑﻮﺩﻥ ﺁﻥ ﺗﻮﺟ‪‬ﻪ ﮐﺮﺩﻩ ﺍﺳﺖ ﻭ ﺗﻮﺍﻧﺴﺘﻪ ﺍﺳﺖ ﺑﻴﻦ ﺍﻳﻦ ﺩﻭ‬ ‫ﺟﻨﺒﻪ ﺗﻌﺎﺩﻟﻲ ﻫﻨﺮﻱ ﺍﻳﺠﺎﺩ ﮐﻨﺪ ﻭ ﺭﺍﺯ ﻣﻮﻓﻘﻴﺖ ﺷﺎﻋﺮﺍﻧﻲ ﭼﻮﻥ ﺳﻌﺪﻱ ﻭ ﻧﻈﺎﻣﻲ‬ ‫ﻧﻴﺰ ﻫﻤﻴﻦ ﺍﺳﺖ‪ ،‬ﭼﺮﺍ ﮐﻪ ﺑﺴﻴﺎﺭﻱ ﺩﺭ ﺳﺮﻭﺩﻥ ﺳﻬﻞ ﻣﻤﺘﻨﻊ ﺑﻪﻭﺟﻪ ﺳﻬﻞ ﺁﻥ ﺗﻮﺟﻪ‬ ‫ﻣﻲﮐﻨﻨﺪ ﻭ ﺩﺭ ﺑ‪‬ﻌﺪ ﺩﻭﻡ ﺁﻥ ﮐﻪ ﻣﻤﺘﻨﻊ ﺑﻮﺩﻥ ﺁﻥ ﺍﺳﺖ ﭼﻨﺪﺍﻥ ﺗﻮﻓﻴﻘﻲ ﻧﺪﺍﺭﻧﺪ‪ ،‬ﺍﻣ‪‬ﺎ‬ ‫ﻋﺎﻗﻞ ﺧﺎﻥ ﺩﺭ ﻏﺰﻝﻫﺎ ﻭ ﻣﺜﻨﻮﻱﻫﺎﻳﺶ ﻧﺸﺎﻥ ﺩﺍﺩﻩ ﺍﺳﺖ ﮐﻪ ﺷﺎﻋﺮﻱ ﭼﻴﺮﻩ ﺩﺳﺖ‬ ‫ﺍﺳﺖ ﮐﻪ ﮔﺎﻩ ﺣﺘﹼﻲ ﻣﻲﺗﻮﺍﻧﺪ ﻣﻴﻨﻴﺎﺗﻮﺭﻫﺎﻱ ﮐﻼﻣﻲﺍﺵ ﺭﺍ ﺩﺭ ﺯﻣﻴﻨﻪﺍﻱ ﺍﺯ ﮔﻔﺘﺎﺭ‬ ‫ﺭﻭﺯﺍﻧﻪ ﻭ ﭘﻴﺶ ﭘﺎ ﺍﻓﺘﺎﺩﻩ ﺑﻪﺭﺥ ﺑﮑﺸﺎﻧﺪ ﻭ ﮔﺎﻩ ﻧﻴﺰ ﮐﻼﻣﺶ ﺑﺎ ﮐﺎﺳﺘﻲﻫﺎﻱ ﺟﺰﺋﻲ‬ ‫ﻫﻤﺮﺍﻩ ﻣﻲﺷﻮﺩ ﻭ ﮐﹼﻔﻪ‪ ،‬ﮔﺎﻩ ﺑﻪﻧﻔﻊ ﺗﻌﻘﻴﺪ ﻭ ﮔﺎﻩ ﺑﻪﻧﻔﻊ ﺁﺳﺎﻥ ﮔﻴﺮﻱ ﺗﻤﺎﻳﻞ ﭘﻴﺪﺍ‬

‫ﺩﻳﻮﺍﻥ ﺍﺷﻌﺎﺭ ﻋﺎﻗﻞ ﺧﺎﻥ ﺭﺍﺯﻱ ‪١٨‬‬ ‫ﻣﻲﮐﻨﺪ ﻭ ﺷﺎﻋﺮ ﺩﺭ ﺁﻥ ﻟﺤﻈﺎﺕ ﺍﺯ ﺷﻌﺮ ﻧﺎﺏ ﻓﺎﺻﻠﻪ ﻣﻲﮔﻴﺮﺩ‪.‬‬ ‫ﺩﻳﻮﺍﻥ ﺍﺷﻌﺎﺭ ﺍﻳﻦ ﺷﺎﻋﺮ ﭼﻨﺪﺍﻥ ﻗﻄﻮﺭ ﻧﻴﺴﺖ ﻭ ﺷﺎﻳﺪ ﺍﺯ ﻟﺤﺎﻇﻲ ﺑﺘﻮﺍﻥ ﺍﻃﻼﻕ‬ ‫ﺷﺎﻋﺮ ﮐﻢ ﮔﻮﻱ ﻭ ﮔﺰﻳﺪﻩ ﮔﻮﻱ ﺭﺍ ﺑﻪﺍﻳﺸﺎﻥ ﺩﺍﺩ ﻭ ﻳﺎ ﺍﮔﺮ ﺑﺎ ﺍﻧﺼﺎﻑ ﻭ ﺳﺨﺖ‬ ‫ﮔﻴﺮﻱ ﺑﻴﺸﺘﺮﻱ ﺑﻪﺩﻳﻮﺍﻥ ﺍﻭ ﻧﮕﺎﻩ ﮐﻨﻴﻢ ﻫﻤﺎﻥ ﺍﻃﻼﻕ ﮐﻢ ﮔﻮﻳﻲ ﺑﺮﺍﻱ ﺍﻳﺸﺎﻥ‬ ‫ﺑﻪﺍﻧﺼﺎﻑ ﻧﺰﺩﻳﮑﺘﺮ ﺑﺎﺷﺪ‪ .‬ﺍﮔﺮﭼﻪ ﺷﺎﻋﺮ ﺗﻼﺵ ﮐﺮﺩﻩ ﺍﺳﺖ ﺗﺎ ﺍﺯ ﮔﺰﻳﺪﻩ ﮔﻮﻳﻲ ﻧﻴﺰ‬ ‫ﻓﺎﺻﻠﻪ ﻧﮕﻴﺮﺩ ﻭ ﺍﺯ ﻗﻀﺎ ﺩﺭ ﺑﺮﺧﻲ ﻏﺰﻟﻬﺎﻱ ﺍﻳﻦ ﺩﻓﺘﺮ ﺁﺛﺎﺭﻱ ﻗﺎﺑﻞ ﺗﺄ‪‬ﻣﻞ ﻭ ﻣﺎﻧﺪﻧﻲ‬ ‫ﺍﺭﺍﺋﻪ ﺷﺪﻩ ﺍﺳﺖ ﮐﻪ ﻣﺼﺪﺍﻕ ﮐﺎﻣﻞ ﮔﺰﻳﺪﻩ ﮔﻮﻳﻲ ﻧﻴﺰ ﻫﺴﺖ‪.‬‬ ‫ﻋﺎﻗﻞ ﺧﺎﻥ ﺑﻴﺶ ﺍﺯﻫﺮ ﺷﺎﻋﺮﻱ ﺗﺤﺖ ﺗﺄﺛﻴﺮ ﻣﻮﻻﻧﺎﺳﺖ ﻭ ﺍﻳﻦ ﻧﮑﺘﻪﺍﻱﺳﺖ ﮐﻪ‬ ‫ﺻﺎﺣﺒﺎﻥ ﺗﺬﮐﺮﻩ ﻧﻴﺰ ﺑﺪﺍﻥ ﺍﻋﺘﺮﺍﻑ ﮐﺮﺩﻩﺍﻧﺪ‪ .‬ﻫﻢ ﺻﺎﺣﺐ »ﻣﺂﺛﺮﺍﻻﻣﺮﺍ« ﻭ ﻫﻢ ﻣﺆﹼﻟﻒ‬ ‫»ﺳﻔﻴﻨﺔﺍﻟﺸﻌﺮﺍ« ﺑﺮ ﺍﻳﻦ ﻧﮑﺘﻪ ﺍﻧﮕﺸﺖ ﮔﺬﺍﺷﺘﻪﺍﻧﺪ ﮐﻪ ﻋﺎﻗﻞ ﺧﺎﻥ ﺑﺎ ﻣﺜﻨﻮﻱ ﻣﻮﻻﻧﺎ ﻭ‬ ‫ﺍﺷﻌﺎﺭ ﻭﻱ ﻣﺤﺸﻮﺭ ﻭ ﺩﻣﺨﻮﺭ ﺑﻮﺩﻩ ﺍﺳﺖ‪:‬‬ ‫ﻣﺆﻟﹼﻒ ﻣﺂﺛﺮﺍﻻﻣﺮﺍ ﺭﺍﺟﻊ ﺑﻪﺩﻳﻮﺍﻥ ﺭﺍﺯﻱ ﻣﻲﮔﻮﻳﺪ‪:‬‬ ‫”ﺩﻳﻮﺍﻥ ﻭ ﻣﺜﻨﻮﻱ ﺍﻭ ﻣﺸﻬﻮﺭ ﺍﺳﺖ‪ .‬ﺩﺭ ﺣ ﹼﻞ ﺗﺪﻗﻴﻘﺎﺕ ﻣﺜﻨﻮﻱ ﻣﻮﻻﻧﺎﻱ‬ ‫ﺭﻭﻡ ﺧﻮﺩ ﺭﺍ ﻳﮕﺎﻧﻪ ﻣﻲﺩﺍﻧﺴﺖ“‪.١‬‬ ‫ﻣﺆﻟﹼﻒ ﺳﻔﻨﻴﺔﺍﻟﺸﻌﺮﺍ ﮐﻼﻡ ﺭﺍﺯﻱ ﺭﺍ ﺑﻪﻃﺮﺯ ﻭ ﺳﺒﮏ ﺧﻮﺏﺗﺮﻳﻦ ﺗﺸﺒﻴﻪ ﺩﺍﺩﻩ‬ ‫ﺁﻥ ﺭﺍ ﺑﻪﺟﻮﻫﺮ ﻣﻌﺎﺭﻑ ﺗﻌﺒﻴﺮ ﺩﺍﺩﻩ ﺍﺳﺖ‪ .‬ﻣﻲﮔﻮﻳﺪ‪:‬‬ ‫”ﺧﺎﻥ ﻣﺬﮐﻮﺭ ﺩﺭ ﺳﺨﻦﮔﻮﻳﻲ ﺑﺮﺁﻣﺪ ﻭ ﮐﻼﻣﺶ ﻣﻤﻠﻮ ﺍﺳﺖ ﺑﻪﺟﻮﻫﺮ‬ ‫ﻣﻌﻴﺎﺭ ﺧﻮﺑﻲ ﻃﺮﺯ ﻭ ﻃﻮﺭ ﺍﻭ ﻣﺸﺎﺑﻪ ﻭ ﻣﺘﺸﺎﺑﻪ ﺑﻪﭘﻴﺮ ﺭﻭﻡ ﺍﺳﺖ…“‪.٢‬‬ ‫ﭘﺎﺭﻩﺍﻱ ﺍﺯ ﻏﺰﻟﻴﺎﺕ ﺷﺎﻋﺮ ﻏﺰﻝﻫﺎﻳﻲ ﺍﺳﺖ ﮐﻪ ﻭﻱ ﺑﻪﺷﻴﻮﺓ ﺧﺎﻧﻘﺎﻫﻲ ﻭ‬ ‫ﺻﻮﻓﻴﺎﻧﻪ ﺳﺮﻭﺩﻩ ﺍﺳﺖ ﻭ ﺩﺭ ﺳﺮﻭﺩﻥ ﺍﻳﻦ ﻏﺰﻟﻬﺎ ﺷﺎﻋﺮ ﺑﻴﺶ ﺍﺯ ﻫﺮ ﺷﺎﻋﺮﻱ‬ ‫ﺑﻪﻏﺰﻝﻫﺎﻱ ﻣﻮﻻﻧﺎ ﺗﻮﺟ‪‬ﻪ ﺩﺍﺷﺘﻪ ﺍﺳﺖ‪:‬‬ ‫‪ .1‬ﻣﺂﺛﺮﺍﻻﻣﺮﺍ‪.۸۲۱/۲ ،‬‬ ‫‪ .2‬ﺳﻔﻴﻨﺔﺍﻟﺸﻌﺮﺍ‪.٢٨٩ ،‬‬

‫ﺷﺎﻋﺮﻱ ﺍﺯ ﺩﻳﺎﺭ ﺧﻮﺍﻑ‬ ‫‪١٩‬‬ ‫ﻣﻦ ﻣﺴـﺘﻢ ﻭ ﺩﻳﻮﺍﻧﻪ ﻫﺸﻴﺎﺭ ﻧﺨﻮﺍﻫﻢ ﺷـﺪ‬ ‫ﺩﺭ ﺧـﻮﺍﺏ ﺗﺮﺍ ﺩﻳﺪﻡ ﺑﻴﺪﺍﺭ ﻧﺨﻮﺍﻫﻢ ﺷـﺪ‬ ‫ﻣﻦ ﺩﻝ ﺑﻪﮐﺴﻲ ﺩﺍﺩﻡ ﺑﻴﺪﺍﺩ ﻧﺨـﻮﺍﻫﻢ ﺑﻮﺩ‬ ‫ﮐﺎﺭﻱ ﻋﺠﺒﻲ ﮐﺮﺩﻡ ﺑﻲﮐﺎﺭ ﻧﺨﻮﺍﻫﻢ ﺷـﺪ‬ ‫ﺩﺭ ﺳﻠﺴـﻠﺔ ﺯﻟﻔﺶ ﺩﻳـﻮﺍﻧﻪ ﺩﻟـﻢ ﮔـﻮﻳﺪ‬ ‫ﺯﻧﺠﻴﺮ ﺍﮔﺮ ﺍﻳﻦ ﺍﺳﺖ ﻫﺸﻴﺎﺭ ﻧﺨﻮﺍﻫﻢ ﺷﺪ‬ ‫ﻏﺰﻝﻫﺎﻱ ﺩﻳﮕﺮ ﺑﺎ ﺣﺎﻝ ﻭ ﻫﻮﺍﻱ ﻗﻠﻨﺪﺭﻱ ﻭ ﻋﺮﻓﺎﻧﻲ ﻧﻴﺰ ﺩﺭ ﺍﻳﻦ ﺩﻳﻮﺍﻥ‬ ‫ﺑﻪﭼﺸﻢ ﻣﻲﺧﻮﺭﺩ ﮐﻪ ﺷﻮﺭ ﻭ ﺣﺎﻝ ﻭ ﻭﺟﺪ ﺁﻥ ﻫﻤﭽﻨﺎﻥ ﺳﺎﻳﺔ ﺳﻨﮕﻴﻦ ﻣﻮﻻﻧﺎ ﻭ‬ ‫ﻏﺰﻟﻴﺎﺕ ﺷﻤﺲ ﺭﺍ ﻓﺮﺍﻳﺎﺩ ﻣﻲﺁﻭﺭﺩ‪ ،‬ﺍﻳﻦ ﻏﺰﻝ ﻧﻴﺰ ﺩﺭ ﺷﻤﺎﺭ ﺁﻧﻬﺎﺳﺖ‪:‬‬ ‫ﭘﺲ ﺍﺯ ﺻﺪ ﺗﻮﺑﻪ ﺑﺎ ﻣﺴﺘﺎﻥ ﻧﺸﺴﺘﻢ ﺗﺎ ﭼﻪ ﭘﻴﺶ ﺁﻳﺪ‬ ‫ﺑﻪﻳﮏ ﭘﻴﻤﺎﻧﻪ ﺻﺪ ﭘﻴﻤﺎﻥ ﺷﮑﺴﺘﻢ ﺗﺎ ﭼﻪ ﭘﻴﺶ ﺁﻳﺪ‬ ‫ﻣﻘﻴﻢ ﮐـﻌﺒﻪ ﮔﺸﺘﻢ ﻋﺸﻖ ﺗـﺮﺳـﺎﺯﺍﺩﻩ ﭘﻴﺶ ﺁﻣـﺪ‬ ‫ﭘﺮﺳﺘـﻴﺪﻡ ﺑﺖ ﻭ ﺯﻧﹼﺎﺭ ﺑﺴـﺘﻢ ﺗﺎ ﭼـﻪ ﭘﻴﺶ ﺁﻳـﺪ‬ ‫ﺑﺴﻴﺎﺭﻱ ﺍﺯ ﻏﺰﻝﻫﺎﻱ ﻣﻮﻻﻧﺎ ﺩﺭ ﺣﺎﻝ ﻭ ﻫﻮﺍﻱ ﺑﻲﺧﻮﻳﺸﻲ ﻭ ﺑﺎ ﻳﺎﺩ ﺷﻤﺲ‬ ‫ﺗﺒﺮﻳﺰﻱ ﮔﻔﺘﻪ ﺷﺪﻩ ﺍﺳﺖ ﻭ ﺍﮔﺮ ﻣﻼﮎ ﭘﻴﺮ ﺑﺎﺷﺪ ﻭ ﻣﺮﺍﺩ‪ ،‬ﭘﺲ ﺷﻤﺎﺭﻱ ﺍﺯ ﻏﺰﻝﻫﺎﻱ‬ ‫ﻋﺎﻗﻞ ﺧﺎﻥ ﻧﻴﺰ ﻣﻲﺑﺎﻳﺴﺖ ﺑﺎ ﺍﹼﺗﮑﺎ ﺑﻪﺣﺎﻝ ﻭ ﻫﻮﺍﻱ ﻣﺮﺍﺩﺵ ﺷﻴﺦ ﺷﻄﹼﺎﺭ ﺳﺮﻭﺩﻩ‬ ‫ﺁﻣﺪﻩ ﺑﺎﺷﺪ‪ ،‬ﺍ‪‬ﻣﺎ ﺩﺭ ﻭﺍﻗﻊ ﺷﻤﺎﺭ ﺍﻳﻦ ﺍﺷﻌﺎﺭ ﺑﺴﻴﺎﺭ ﺍﻧﺪﮎ ﻭ ﺗﻨﻬﺎ ﺩﺭ ﭼﻨﺪ ﻏﺰﻝ‬ ‫ﺧﻼﺻﻪ ﺷﺪﻩ ﺍﺳﺖ ﮐﻪ ﺍﻳﻦ ﺧﻮﺩ ﺧﺒﺮ ﺍﺯ ﺁﻥ ﺩﺍﺭﺩ ﮐﻪ ﻋﺎﻗﻞ ﺧﺎﻥ ﺁﻧﻘﺪﺭﻫﺎ ﻫﻢ‬ ‫ﺩﻟﺒﺴﺘﻪ ﻭ ﺷﻴﻔﺘﺔ ﭘﻴﺮ ﺧﻮﺩ ﻧﺒﻮﺩ ﮐﻪ ﺭﻭﺯﺍﻥ ﻭ ﺷﺒﺎﻧﺶ ﺭﺍ ﺑﻪﺧﻮﺩ ﻣﺸﻐﻮﻝ ﺩﺍﺭﺩ ﻭ ﺑﺎ‬ ‫ﻳﺎﺩﺵ ﻏﺰﻝﻫﺎﻱ ﺳﻮﺯﻧﺎﮎ ﺑﮕﻮﻳﺪ‪ ،‬ﺷﺎﻳﺪ ﺧﻮﺩ ﻭﻱ ﺩﺭ ﺍﻳﻦ ﺑﻴﺖ ﻣﺮﻳﺪ ﺑﻮﺩﻧﺶ ﺭﺍ‬ ‫ﺑﻪﺧﻮﺑﻲ ﺗﺼﻮﻳﺮ ﮐﺮﺩﻩ ﺑﺎﺷﺪ ﮐﻪ ﺍﻳﻦ ﺗﻌﻠﹼﻖ ﺧﺎﻃﺮ ﺷﺎﻳﺪ ﺍﺯ ﻧﻮﻉ ﻫﻮﺱ ﻭ ﺁﺭﺯﻭﻳﻲ‬ ‫ﺑﻮﺩﻩ ﺑﺎﺷﺪ ﮐﻪ ﭼﻨﺪﺍﻥ ﺩﺭ ﺟﺎﻧﺶ ﺭﻳﺸﻪ ﻧﺪﻭﺍﻧﺪﻩ ﺍﺳﺖ‪ .‬ﺍﻳﻦ ﺑﻴﺖ ﺧﻮﺩ ﺍﻭﺳﺖ‪:‬‬ ‫ﺑـﺮ ﺩﺭِ ﺭﻫـﻨـﻤـﺎﻱ ﺷـﻄﹼـﺎﺭﻱ ﻣﺜﻞ ﺭﺍﺯﻱ ﻧﺸﺴﺘﻨﻢ ﻫﻮﺱ ﺍﺳﺖ‬ ‫ﻳﺎ ﺍﻳﻦ ﻏﺰﻝ ﮐﻪ ﺻﻮﻓﻲ ﻳﻲ ﻃﺎﻟﺐ ﺑﺮﻫﺎﻥ ﻭ ﺗﻌﹼﻘﻞ ﺭﺍ ﺑﻪﻣﺎ ﻧﺸﺎﻥ ﻣﻲﺩﻫﺪ ﻧﻪ‬

‫ﺩﻳﻮﺍﻥ ﺍﺷﻌﺎﺭ ﻋﺎﻗﻞ ﺧﺎﻥ ﺭﺍﺯﻱ ‪٢٠‬‬ ‫ﺻﻮﻓﻲﻳﻲ ﻭﺍﻟﻪ ﻭ ﺷﻴﺪﺍ ﻭ ﻋﺎﺷﻖ ﺑﻲﭼﻮﻥ ﻭ ﭼﺮﺍ ﻭ ﭼﺸﻢ ﺑﺴﺘﻪ ﻧﻈﺮﺑﺎﺯ ﺧﻂ ﻓﺮﻣﺎﻥ‬ ‫ﭘﻴﺮ ﺭﺍ‪:‬‬ ‫ﮐﺲ ﻧﺪﺍﻧﺪ ﻏﻴﺮ ﺣﻖ ﻣﺎ ﮐﻴـﺴﺘﻴﻢ ﺯﺍﻧﮑﻪ ﺩﺭ ﻣﻴﺨﺎﻧﻪ ﺻﻮﻓﻲ ﺯﻳﺴﺘﻴﻢ‬ ‫ﺷﻬﺮ ﻭ ﺷﻬﺮ ﻭ ﺟﺎﺑﻪﺟﺎ ﻭ ﮐﻮﺑﻪﮐﻮ ﻃـﺎﻟﺐ ﺑـﺮﻫـﺎﻥ ﺷـﻄﹼﺎﺭﻳﺴﺘـﻴﻢ‬ ‫ﻭ ﺍﻳﻦ ﻫﻢ ﻧﻤﻮﻧﻪﺍﻱ ﺩﻳﮕﺮ‪:‬‬ ‫ﻣﻦ ﻭ ﺭﺳﻢ ﺳﺒﮑﺒﺎﺭﻱ ﻭ ﺭﺍﻩ ﺷﻴﺦ ﺷﻄﹼﺎﺭﻱ‬ ‫ﺩﺭ ﺟﺎﻳﻲ ﻧﻴﺰ ﻋﺎﻗﻞ ﺧﺎﻥ ﺑﻪﺍﺧﺘﺼﺎﺭ ﻭ ﺩﺭ ﻣﺼﺮﻋﻲ ﺭﺍﻩ ﻭ ﺭﻭﺵ ﺷﻄﹼﺎﺭﻳﻪ ﺭﺍ‬ ‫ﺍﻳﻨﮕﻮﻧﻪ ﺗﻮﺿﻴﺢ ﻣﻲﺩﻫﺪ‪:‬‬ ‫ﺷﻄﹼﺎﺭﻱﺍﻳﻢ ﻭ ﻣﺬﻫ ِﺐ ﻣﺎ ﺳﺘﺮ ﻣﺬﻫﺒﻲﺳﺖ‬ ‫ﺍﺯ ﻣﺴﻠﮏ ﺷﺎﻋﺮ ﮐﻪ ﺑﮕﺬﺭﻳﻢ ﺍﻧﺪﮐﻲ ﺳﻴﺮ ﻭ ﮔﺸﺖ ﺩﺭ ﺳﺒﮏ ﺍﺩﺑﻲ ﺍﻭ‬ ‫ﻣﻲﺗﻮﺍﻧﺪ ﺩﺭ ﻣﻌﺮ‪‬ﻓﻲ ﺑﻬﺘﺮ ﻭﻱ ﺑﻪﻣﺎ ﮐﻤﮏ ﮐﻨﺪ‪ .‬ﺑﻪﻧﻈﺮ ﻣﻲﺁﻳﺪ ﮐﻪ ﺳﺒﮏ ﺷﻌﺮﻱ‬ ‫ﻋﺎﻗﻞ ﺧﺎﻥ ﺑﻴﺸﺘﺮ ﺍﺯ ﺁﻥ ﮐﻪ ﺳﺒﮏ ﻫﻨﺪﻱ ﺑﺎﺷﺪ‪ ،‬ﺳﺒﮏ ﻋﺮﺍﻗﻲ ﺍﺳﺖ ﻭ ﺗﻼﺵ ﺍﻭ‬ ‫ﺩﺭ ﺑﺮﺧﻲ ﻏﺰﻝﻫﺎ ﻧﻈﻴﺮﻩ ﮔﻮﻳﻲ ﺑﺮﺧﻲ ﺑﺰﺭﮔﺎﻥ ﻏﺰﻝ ﻓﺎﺭﺳﻲﺳﺖ ﻭ ﺍﺯ ﺍﻳﻦ ﻣﻴﺎﻥ‬ ‫ﺷﻤﺎﺭ ﻗﺎﺑﻞ ﺗﻮﺟﻬﻲ ﺍﺯ ﻏﺰﻝﻫﺎ ﻳﺎﺩﺁﻭﺭ ﻏﺰﻝﻫﺎﻱ ﺣﺎﻓﻆ ﺷﻴﺮﺍﺯﻱ ﺍﺳﺖ‪ .‬ﺍﻳﻦ ﻏﺰﻝ‬ ‫ﻋﺎﻗﻞ ﺧﺎﻥ ﺭﺍ ﺑﺒﻴﻨﻴﺪ‪:‬‬ ‫ﺻـﺒﺎ ﺑـﮕﻮ ﻧﮕـﻪ ﺁﻣـﻮﺯ ﭼﺸـﻢ ﻟﻴـﻼ ﺭﺍ‬ ‫ﺧﺮﺍﺑﻪ ﮔﺮﺩ ﭼﻮ ﻣﺠﻨﻮﻥ ﺗﻮ ﮐﺮﺩﻩﺍﻱ ﻣﺎ ﺭﺍ‬ ‫ﻫﻤﻪ ﺯ ﻋﺸﻖ ﺗﻮ ﺩﺍﻏﻨﺪ ﻭ ﮐـﺲ ﻧﻤﻲﺩﺍﻧﺪ‬ ‫ﭼﻪ ﺳﻮﺯ ﺑﻮﺩ ﮐﻪ ﻳﮏ ﺩﺍﻍ ﺳﻮﺧﺖ ﺩﻝﻫﺎ ﺭﺍ‬ ‫ﮐﻪ ﺍﻳﻦ ﻏﺰﻝ‪ ،‬ﺑﻴﺶ ﺍﺯ ﻫﺮ ﻏﺰﻟﻲ ﻏﺰﻝ ﺣﺎﻓﻆ ﺑﺎ ﺍﻳﻦ ﻣﻄﻠﻊ ﺭﺍ ﺑﻪﺫﻫﻦ ﻣﺘﺒﺎﺩﺭ‬ ‫ﻣﻲﮐﻨﺪ ﮐﻪ‪:‬‬ ‫ﺻـﺒﺎ ﺑﻪﻟﻄـﻒ ﺑﮕـﻮ ﺁﻥ ﻏـﺰﺍﻝ ﺯﻳﺒﺎ ﺭﺍ‬ ‫ﮐﻪ ﺳﺮ ﺑﻪﮐﻮﻩ ﻭ ﺑﻴﺎﺑﺎﻥ ﺗﻮ ﺩﺍﺩﻩﺍﻱ ﻣﺎ ﺭﺍ‬

‫ﺷﺎﻋﺮﻱ ﺍﺯ ﺩﻳﺎﺭ ﺧﻮﺍﻑ‬ ‫‪٢١‬‬ ‫ﺍﻳﻦ ﻧﺸﺎﻥ ﺍﺯ ﺁﻥ ﺩﺍﺭﺩ ﮐﻪ ﺩﻳﻮﺍﻥ ﺷﺎﻋﺮﺍﻧﻲ ﭼﻮﻥ ﺣﺎﻓﻆ ﻭ ﻣﻮﻻﻧﺎ ﺍﺯ‬ ‫ﺩﻳﻮﺍﻥﻫﺎﻱ ﺑﺎﻟﻴﻨﻲ ﻋﺎﻗﻞ ﺧﺎﻥ ﺑﻮﺩﻩ ﺍﺳﺖ ﻭ ﺑﺎ ﺷﻌﺮ ﺍﻳﻦ ﺷﺎﻋﺮﺍﻥ ﺑﻴﺶ ﺍﺯ ﺩﻳﮕﺮﺍﻥ‬ ‫ﻣﺤﺸﻮﺭ ﺑﻮﺩﻩ ﺍﺳﺖ ﻭ ﺳﺎﻳﺔ ﺳﻨﮕﻴﻦ ﺍﻳﻦ ﺑﺰﺭﮔﺎﻥ ﺑﺮ ﻏﺰﻝﻫﺎ ﻭ ﺍﺷﻌﺎﺭ ﺷﺎﻋﺮ ﺑﻴﺶ ﺍﺯ‬ ‫ﻫﺮ ﺷﺎﻋﺮ ﺩﻳﮕﺮﻱ ﺍﺣﺴﺎﺱ ﻣﻲﺷﻮﺩ‪ .‬ﺍﻳﻦ ﻫﻢ ﻏﺰﻝ ﺩﻳﮕﺮﻱ ﺍﺯ ﻋﺎﻗﻞ ﺧﺎﻥ ﺑﺎ ﺣﺎﻝ‬ ‫ﻭ ﻫﻮﺍﻱ ﺗﺄﺛﻴﺮﭘﺬﻳﺮﻱ ﺍﺯ ﺣﺎﻓﻆ‪:‬‬ ‫ﺳـﺎﻝﻫﺎ ﺑﻮﺩ ﮐﻪ ﺩﻝ ﻣﻌﺘﮑﻒ ﮐﻮﻱ ﺗﻮ ﺑﻮﺩ‬ ‫ﺭﻭﻱ ﭼﻮﻥ ﻗﺒﻠﻪ ﻧﻤﺎ ﺍﺯ ﻫﻤﻪ ﺳﻮ ﺳﻮﻱ ﺗﻮ ﺑﻮﺩ‬ ‫ﻣـ ِﻦ ﺩﻳـﻮﺍﻧﻪ ﺑﻪﺯﻧﺠـﻴﺮ ﺟـﻬﺎﻥ ﻣﻲﮔﺸﺘـﻢ‬ ‫ﻟﻴﮏ ﭘـﺎﺑﻨـﺪ ﺩﻟـﻢ ﺳﻠﺴـﻠﺔ ﻣـﻮﻱ ﺗﻮ ﺑﻮﺩ‬ ‫ﮐﻪ ﺑﻲﺷﮏ ﺫﻫﻦ ﺷﺎﻋﺮ ﺩﺭ ﻫﻨﮕﺎﻡ ﺳﺮﻭﺩﻥ ﺍﻳﻦ ﻏﺰﻝ ﺑﻴﺶ ﺍﺯ ﻫﺮ ﻏﺰﻟﻲ ﻣﺘﻮ ‪‬ﺟﻪ‬ ‫ﺍﻳﻦ ﻏﺰﻝ ﺣﺎﻓﻆ ﺑﻮﺩﻩ ﺍﺳﺖ ﮐﻪ‪:‬‬ ‫ﺩﻭﺵ ﺩﺭ ﺣﻠﻘﺔ ﻣﺎ ﻗﺼـﺔ ﮔﻴﺴﻮﻱ ﺗﻮ ﺑﻮﺩ‬ ‫ﺗﺎ ﺩﻝ ﺷﺐ ﺳﺨﻦ ﺍﺯ ﺳﻠﺴﻠﺔ ﻣﻮﻱ ﺗﻮ ﺑﻮﺩ‬ ‫ﺗﻮﻓﻴﻖ ﺷﺎﻋﺮ ﺭﺍ ﺑﻴﺸﺘﺮ ﻣﻲﺗﻮﺍﻥ ﺩﺭ ﻏﺰﻝﻫﺎﻳﻲ ﺑﻪﺗﻤﺎﺷﺎ ﻧﺸﺴﺖ ﮐﻪ ﺑﺮ ﺁﻥ ﺳﺎﻳﺔ‬ ‫ﺳﻨﮕﻴﻦ ﺷﺎﻋﺮﺍﻥ ﺑﺰﺭﮒ ﻧﻴﻔﺘﺎﺩﻩ ﺍﺳﺖ‪ .‬ﺍﻳﻦ ﻏﺰﻝ ﺍﺯ ﺁﻥ ﺩﺳﺖ ﻏﺰﻝﻫﺎﺳﺖ‪:‬‬ ‫ﮔﻔﺘﻢ ﺑﻪﺻﺒﺮ ﮐﺎﺭ ﻣـﻦ ﺁﺳﺎﻥ ﺷـﻮﺩ ﻧﺸﺪ‬ ‫ﺩﺭ ﻫﺠﺮ ﺩﻝ ﺯ ﻋﺸـﻖ ﭘﺸﻴﻤﺎﻥ ﺷﻮﺩ ﻧﺸﺪ‬ ‫ﮐـﻮﮐـﻮ ﺯﺩﻡ ﭼـﻮ ﻓـﺎﺧﺘﻪ ﺩﺭ ﺑﺎﻍ ﺁﺭﺯﻭ‬ ‫ﮐﺎﻥ ﺳﺮﻭ ﺧﻮﺵﺧﺮﺍﻡ ﺧﺮﺍﻣﺎﻥ ﺷﻮﺩ ﻧﺸﺪ‬ ‫ﺍﺯ ﺷﺎﻋﺮﺍﻥ ﺩﻭﺭﻩﻫﺎﻱ ﺑﻌﺪ‪ ،‬ﻫﺎﺗﻒ ﺍﺻﻔﻬﺎﻧﻲ ﺭﺍ ﻣﻲﺗﻮﺍﻥ ﻧﺎﻡ ﺑﺮﺩ ﮐﻪ ﺗﻘﺮﻳﺒﺎﹰ‬ ‫ﻳﮑﺼﺪ ﺳﺎﻝ ﺑﻌﺪ ﺍﺯ ﻋﺎﻗﻞ ﺧﺎﻥ ﻓﻮﺕ ﮐﺮﺩﻩ ﺍﺳﺖ‪ .‬ﻫﺎﺗﻒ ﻧﻴﺰ ﻫﻢ ﻏﺰﻟﻲ ﺑﺎ ﺍﻳﻦ‬ ‫ﺭﺩﻳﻒ ﻭ ﻗﺎﻓﻴﻪ ﺩﺍﺭﺩ‪:‬‬ ‫ﮔﻔﺘﻢ ﮐﻪ ﭼﺎﺭﺓ ﻏﻢ ﻫﺠﺮﺍﻥ ﺷـﻮﺩ ﻧﺸﺪ‬ ‫ﺩﺭ ﻭﺻﻞ ﻳﺎﺭ ﻣﺸﮑﻠﻢ ﺁﺳﺎﻥ ﺷﻮﺩ ﻧﺸﺪ‬

‫ﺩﻳﻮﺍﻥ ﺍﺷﻌﺎﺭ ﻋﺎﻗﻞ ﺧﺎﻥ ﺭﺍﺯﻱ ‪٢٢‬‬ ‫ﻧﮑﺘﻪ ﺟﺎﻟﺐ ﺁﻥ ﺍﺳﺖ ﮐﻪ ﺩﻗﻴﻘﹰﺎ ﻫﻤﻴﻦ ﻫﺎﺗﻒ ﮐﻪ ﺍﺯ ﻣﺸﻬﻮﺭﺗﺮﻳﻦ ﺷﺎﻋﺮﺍﻥ‬ ‫ﺳﺒﮏ ﺑﺎﺯﮔﺸﺖ ﺑﻪﺣﺴﺎﺏ ﻣﻲﺁﻳﺪ ﻧﻴﺰ ﺗﺮﺟﻴﻊﺑﻨﺪﻱ ﺩﺍﺭﺩ ﮐﻪ ﺑﺴﻴﺎﺭ ﺑﻪﺗﺮﺟﻴﻊﺑﻨﺪ‬ ‫ﻋﺎﻗﻞ ﺧﺎﻥ ﺭﺍﺯﻱ ﺷﺒﺎﻫﺖ ﻣﻲﺑﺮﺩ‪ .‬ﺗﺮﺟﻴﻊﺑﻨﺪ ﻫﺎﺗﻒ ﺁﻧﻘﺪﺭ ﻣﺸﻬﻮﺭ ﺷﺪﻩ ﺍﺳﺖ ﮐﻪ‬ ‫ﺑﻴﺶ ﺍﺯ ﻧﻴﻤﻲ ﺍﺯ ﺷﻬﺮﺕ ﺷﺎﻋﺮ ﺷﺎﻳﺪ ﻭﺍﻣﺪﺍﺭ ﺁﻥ ﺑﺎﺷﺪ‪ .‬ﻫﻤﺎﻥ ﺗﺮﺟﻴﻊﺑﻨﺪ ﻣﻌﺮﻭﻑ ﺑﺎ‬ ‫ﺗﺮﺟﻴﻊ ”ﻭﺣﺪﻩ ﻻ ﺍﻟﻪ ﺍﻻ ﻫﻮ“ ﮐﻪ ﺍﻳﻦ ﺗﺮﺟﻴﻊ ﺭﻭﺍﻥ ﻭ ﺍﻟﻬﻲ‪ ،‬ﺧﻮﺩ ﺗﺮﺟﻤﻪ ﺩﻳﮕﺮﻱ‬ ‫ﺍﺯ ﺗﺮﺟﻴﻊ ﻋﺎﻗﻞ ﺧﺎﻥ ﺭﺍﺯﻱﺳﺖ ﺑﺎ ﻫﻤﺎﻥ ﻭﺯﻥ ﮐﻪ ‪” :‬ﻟﻴﺲ ﻓﻲ ﺍﻟﺪ‪‬ﺍﺭ ﻏﻴﺮﻩ ﺩﻳ‪‬ﺎﺭ“‪.‬‬ ‫ﺷﺎﻳﺪ ﻧﻪ ﺑﺎ ﻳﻘﻴﻦ ﺑﻠﮑﻪ ﺑﺎ ﺍﺣﺘﻴﺎﻁ ﻭ ﺑﺎ ﺣﺪﺱ ﻭ ﮔﻤﺎﻥ ﺑﺘﻮﺍﻥ ﮔﻔﺖ ﮐﻪ ﻫﺎﺗﻒ‬ ‫ﺍﺯ ﺷﺎﻋﺮﺍﻧﻲ ﺑﻮﺩﻩ ﮐﻪ ﺩﻳﻮﺍﻥ ﻋﺎﻗﻞ ﺧﺎﻥ ﺭﺍ ﺧﻮﺍﻧﺪﻩ ﻭ ﺗﺎ ﺍﻧﺪﺍﺯﻩﺍﻱ ﻫﻢ ﺍﺯ ﻓﺮﻡ ﺁﻥ‬ ‫ﺗﺄﺛﻴﺮ ﭘﺬﻳﺮﻓﺘﻪ ﺍﺳﺖ‪ ،‬ﺍﻟﺒﺘﻪ ﺍﻳﻦ ﺗﻨﻬﺎ ﻳﮏ ﺣﺪﺱ ﻣﻲﺗﻮﺍﻧﺪ ﺑﺎﺷﺪ ﻭ ﺍﺯ ﺣﻴﺚ ﻗﺪﺭﺕ‬ ‫ﺍﺩﺑﻲ ﺩﺭ ﺗﺮﺟﻴﻊﺑﻨﺪ ﺍﻳﻦ ﺩﻭ ﺷﺎﻋﺮ ﺑﻲﮔﻤﺎﻥ ﺑﺎﻳﺪ ﮐﺎﺭ ﻫﺎﺗﻒ ﺭﺍ ﺗﺮﺟﻴﺢ ﺩﺍﺩ ﻭ ﺁﻥ ﺭﺍ‬ ‫ﻳﮑﻲ ﺍﺯ ﺑﻪﻳﺎﺩﻣﺎﻧﺪﻧﻲﺗﺮﻳﻦ ﺗﺮﺟﻴﻊﺑﻨﺪﻫﺎﻱ ﺯﺑﺎﻥ ﻓﺎﺭﺳﻲ ﺑﻪﺣﺴﺎﺏ ﺁﻭﺭﺩ‪.‬‬ ‫ﺑﺎ ﺍﺳﺘﻨﺎﺩ ﺑﻪﺩﻏﺪﻏﺔ ﺧﺎﻃﺮ ﻋﺎﻗﻞ ﺧﺎﻥ ﺭﺍﺯﻱ ﺩﺭ ﻏﺰﻟﺴﺮﺍﻳﻲ ﻭ ﺑﺎ ﻣﺮﻭﺭ‬ ‫ﻏﺰﻝﻫﺎﻱ ﺍﻳﻦ ﺷﺎﻋﺮ ﻣﻲﺗﻮﺍﻥ ﻧﺘﻴﺠﻪ ﮔﺮﻓﺖ ﮐﻪ ﺳﺒﮏ ﺍﺩﺑﻲ ﻭﻱ ﺩﺭ ﻏﺰﻝ ﺑﻴﺸﺘﺮ‬ ‫ﻣﺘﻤﺎﻳﻞ ﺑﻪﻃﺮﺯ ﻏﺰﻝﻫﺎﻱ ﺣﺎﻓﻆ ﻭ ﻣﻮﻻﻧﺎ ﻭ ﺳﺒﮏ ﺷﺎﻋﺮﺍﻥ ﻋﺮﺍﻗﻲﺳﺖ‪ .‬ﺣﺘﹼﻲ‬ ‫ﻋﻨﺎﻳﺖ ﻭ ﺗ ‪‬ﻮﺟﻪ ﺷﺎﻋﺮ ﺑﻪﺑﺮﺧﻲ ﻏﺰﻝﻫﺎﻱ ﺣﺎﻓﻆ ﺩﺭ ﺣ ‪‬ﺪﻱﺳﺖ ﮐﻪ ﻣﻲﺗﻮﺍﻥ ﺁﻧﻬﺎ ﺭﺍ‬ ‫ﺍﺳﺘﻘﺒﺎﻝﻫﺎﻳﻲ ﺍﺯ ﺑﺮﺧﻲ ﻏﺰﻝﻫﺎﻱ ﺣﺎﻓﻆ ﺩﺍﻧﺴﺖ‪ .‬ﺍ‪‬ﻣﺎ ﺍﺳﺘﻘﺒﺎﻝ ﺍﺯ ﺣﺎﻓﻆ ﻭ‬ ‫ﺯﻭﺭﺁﺯﻣﺎﻳﻲ ﺩﺭ ﻫﻤﺎﻥ ﻭﺯﻥ ﻭ ﻗﺎﻓﻴﻪ ﻭ ﺳﺒﮏ ﻧﻪ ﺗﻨﻬﺎ ﺑﺮﺍﻱ ﺑﺴﻴﺎﺭﻱ ﺍﺯ ﺷﺎﻋﺮﺍﻥ‬ ‫ﻣﺘﻮﺳ‪‬ﻂ ﮐﻪ ﺣﹼﺘﻲ ﺑﺮﺍﻱ ﺷﺎﻋﺮﺍﻥ ﺑﺰﺭﮒ ﻧﻴﺰ ﻋﺎﻗﺒﺖ ﺧﻮﺷﻲ ﻧﺪﺍﺷﺘﻪ ﺍﺳﺖ ﻭ ﺣﺎﻓﻆ‬ ‫ﺑﺰﺭﮒ ﺗﻤﺎﻡ ﺑﺎ ﺭﻧﺪﻱ‪ ،‬ﺗﻤﺎﻡ ﺁﻥ ﺷﻌﺮﻫﺎ ﻭ ﻏﺰﻝﻫﺎ ﺭﺍ ﺑﻪﻧﻔﻊ ﺧﻮﺩ ﻣﺼﺎﺩﺭﻩ ﮐﺮﺩﻩ ﻭ‬ ‫ﺍﺟﺎﺯﻩ ﺣﻀﻮﺭ ﻭ ﻇﻬﻮﺭ ﺭﺍ ﺑﻪﮐﻤﺘﺮ ﮐﺴﻲ ﺩﺍﺩﻩ ﺍﺳﺖ‪ .‬ﺍﺯ ﺍﻳﻦ ﺭﻭ ﺍﮔﺮ ﻫﻢ ﺑﭙﺬﻳﺮﻳﻢ‬ ‫ﮐﻪ ﺑﺨﺸﻲ ﺍﺯ ﺗﺠﺮﺑﻴﺎﺕ ﻏﺰﻟﺴﺮﺍﻳﻲ ﺷﺎﻋﺮ ﺩﺭ ﺳﺒﮏ ﻋﺮﺍﻗﻲ ﻏﺰﻝﻫﺎﻱ ﺣﺎﻓﻈﺎﻧﺔ‬ ‫ﺍﻭﺳﺖ‪ ،‬ﺍﻳﻦ ﺑﺨﺶ ﺭﺍ ﻧﺒﺎﻳﺪ ﭼﻨﺪﺍﻥ ﺟﺰﻭ ﻏﺰﻝﻫﺎﻱ ﻣﻮﹼﻓﻖ ﺷﺎﻋﺮ ﺑﻪﺣﺴﺎﺏ ﺁﻭﺭﻳﻢ‪،‬‬ ‫ﭼﺮﺍ ﮐﻪ ﺭﻗﻴﺐ‪ ،‬ﺣﺎﻓﻆ ﺍﺳﺖ ﻭ ﺑﻪﻫﻴﭻ ﺷﺎﻋﺮﻱ ﺍﺟﺎﺯﺓ ﻋﺮﺽ ﺍﻧﺪﺍﻡ ﻧﺪﺍﺩﻩ ﺍﺳﺖ‪.‬‬ ‫ﮐﻴﺴﺖ ﮐﻪ ﺑﺎ ﺧﻮﺍﻧﺪﻥ ﺍﻳﻦ ﺑﻴﺖ ﺍﺯ ﻋﺎﻗﻞ ﺧﺎﻥ ﺭﺍﺯﻱ‪:‬‬

‫ﺷﺎﻋﺮﻱ ﺍﺯ ﺩﻳﺎﺭ ﺧﻮﺍﻑ‬ ‫‪٢٣‬‬ ‫ﺍﮔﺮ ﺷﺮﺍﺏ ﺧﻮﺭﻱ ﺩﺭ ﺑﻬﺎﺭ ﺑﺎﻳﺪ ﺧﻮﺭﺩ‬ ‫ﺯ ﺩﺳـﺖ ﺳﺎﺩﻩ ﺭﺥ ﮔﻠ ِﻌﺬﺍﺭ ﺑﺎﻳﺪ ﺧﻮﺭﺩ‬ ‫ﻳﺎﺩ ﺍﻳﻦ ﻏﺰﻝ ﺣﺎﻓﻆ ﻧﻴﻔﺘﺪ ﮐﻪ‪:‬‬ ‫ﺍﮔﺮ ﺷﺮﺍﺏ ﺧﻮﺭﻱ ﺟﺮﻋﻪﺍﻱ ﻓﺸﺎﻥ ﺑﺮ ﺧﺎﮎ‬ ‫ﺍﺯ ﺁﻥ ﮔﻨﺎﻩ ﮐـﻪ ﻧﻔﻌﻲ ﺭﺳـﺪ ﺑﻪﻏﻴﺮ ﭼﻪ ﺑﺎﮎ‬ ‫ﺍﻣ‪‬ﺎ ﺷﺎﻋﺮ ﮔﺎﻩ ﻏﺰﻝﻫﺎﻳﻲ ﻣﻲﺳﺮﺍﻳﺪ ﮐﻪ ﺍﮔﺮ ﭼﻪ ﺗﺤﺖ ﺗﺄﺛﻴﺮ ﺯﺑﺎﻥ ﺣﺎﻓﻆ ﺍﺳﺖ‪،‬‬ ‫ﺍ‪‬ﻣﺎ ﻳﺎﺩﺁﻭﺭ ﺑﻴﺖﻫﺎ ﻭ ﻋﺒﺎﺭﺍﺕ ﺑﺴﻴﺎﺭ ﻣﺸﻬﻮﺭ ﺣﺎﻓﻆ ﻧﻴﺴﺖ ﻭ ﻳﺎ ﻻﺍﻗﻞ ﻗﺎﻓﻴﻪ ﻭ‬ ‫ﺭﺩﻳﻒ ﻣﺸﺘﺮﮐﻲ ﺑﺎ ﺣﺎﻓﻆ ﻧﺪﺍﺭﺩ ﻭ ﺑﺎ ﺗﺮﮐﻴﺐﻫﺎﻱ ﺁﺷﻨﺎﻳﻲ ﺷﺮﻭﻉ ﻧﻤﻲﺷﻮﺩ‪ ،‬ﺩﺭ‬ ‫ﺍﻳﻦ ﻣﻮﺍﻗﻊ ﻧﻴﺰ ﻣﻮﹼﻓﻘﻴﺖ ﺷﺎﻋﺮ ﺑﻴﺸﺘﺮ ﺍﺳﺖ ﻭ ﺭﻧﮓ ﻭ ﺑﻮﻱ ﺧﻮﺩ ﺭﺍ ﺑﻴﺸﺘﺮ ﻧﺸﺎﻥ‬ ‫ﻣﻲﺩﻫﺪ‪ .‬ﺍﻳﻦ ﻏﺰﻝ ﺍﺯ ﻋﺎﻗﻞ ﺧﺎﻥ ﺷﺎﻳﺪ ﺷﺎﻫﺪ ﺧﻮﺑﻲ ﺑﺮﺍﻱ ﺍﻳﻦ ﺍ ‪‬ﺩﻋﺎ ﺑﺎﺷﺪ‪:‬‬ ‫ﺩﺭﺩﻡ ﺑﻪﺳﺮ ﻧﺒﺎﺷـﺪ ﺭﻭﺯﻱ ﮐﻪ ﺳﺮ ﻧﺒﺎﺷﺪ‬ ‫ﺍﻳﻦ ﺳـﺮ ﺍﮔﺮ ﻧﺒﺎﺷـﺪ ﺩﺭﺩ ﺩﮔـﺮ ﻧﺒﺎﺷـﺪ‬ ‫ﺍﻱ ﻏـﻤﺰﺓ ﻧﻬﺎﻧﻲ ﭼـﻮﻥ ﺩﺭ ﻣﻴﺎ ِﻥ ﺟـﺎﻧﻲ‬ ‫ﺟـﺎﻥ ﺩﺍﻧﺪ ﻭ ﺗﻮ ﺩﺍﻧﻲ ﻣﺎ ﺭﺍ ﺧﺒﺮ ﻧﺒﺎﺷـﺪ‬ ‫ﮔﺮ ﺳﻮﺧﺖ ﺟﺎ ِﻥ ﺭﺍﺯﻱ ﺍﺯ ﺩﺍﻍ ﺑﻲﻧﻴﺎﺯﻱ‬ ‫ﻣﺎﻳﻴﻢ ﻭ ﻋﺸﻖﺑﺎﺯﻱ ﺟﺎﻥ ﻫﻢ ﺍﮔﺮ ﻧﺒﺎﺷـﺪ‬ ‫ﻳﺎ ﺍﻳﻦ ﻏﺰﻝ ﮐﻪ ﺑﻴﺸﺘﺮﻳﻦ ﺗﻮﻓﻴﻖ ﺷﺎﻋﺮ ﺩﺭ ﻧﺰﺩﻳﮏ ﺷﺪﻥ ﺑﻪﺳﺒﮏ ﺣﺎﻓﻆ ﺩﺭ ﺁﻥ‬ ‫ﻣﺸﻬﻮﺩ ﺍﺳﺖ‪:‬‬ ‫ﺩﺭ ﻣـﻮﺕ ﻭ ﺑﻌـﺜﻢ ﺩﺍﺭﺩ ﻣﺬﺑـﺬﺏ ﺧﻮﻧﺮﻳﺰﻱ ﭼﺸﻢ‪ ،‬ﺟﺎﻥ ﺑﺨﺸﻲ ﻟﺐ‬ ‫ﺍﻱ ﺷﻤﻊ ﻣﺎﻳﻴﻢ ﺩﺭ ﺳـﻮﺯ ﻭ ﮔﺮﻳـﻪ ﺗﺎ ﺷﺎﻡ ﻫﺮ ﺭﻭﺯ‪ ،‬ﺗﺎ ﺻﺒﺢ ﻫﺮ ﺷـﺐ‬ ‫ﻳﻮﺳــﻒ ﻧﮑــﺮﺩﻩ ﺍﻧﺪﻳــﺸﺔ ﭼــﺎﻩ ﮔــﺮ ﺍﻭﻓﺘــﺎﺩﻱ ﺩﺭ ﭼــﺎﻩ ﻏﺒﻐــﺐ‬ ‫ﻣﻴـﺨﺎﻧﻪ ﺭﻓﺘـﻴﻢ ﺳـﺎﻏﺮ ﮐـﺸﻴﺪﻳﻢ ﺍﻳﻦ ﺍﺳﺖ ﻣﺬﻫﺐ ﺍﻳﻦ ﺍﺳﺖ ﻣﺸﺮﺏ‬ ‫ﺍﮔﺮﭼﻪ ﺍﺯ ﺣﻴﺚ ﻭﺯﻥ ﻋﺮﻭﺿﻲ ﺧﻮﺍﻧﻨﺪﻩ ﺭﺍ ﻓﻮﺭﺍ ﺑﻪﻳﺎﺩ ﺍﻳﻦ ﻏﺰﻝﻫﺎﻱ ﺣﺎﻓﻆ‬ ‫ﻣﻲﺍﻧﺪﺍﺯﺩ‪:‬‬

‫ﺩﻳﻮﺍﻥ ﺍﺷﻌﺎﺭ ﻋﺎﻗﻞ ﺧﺎﻥ ﺭﺍﺯﻱ ‪٢٤‬‬ ‫ﭼﻨﺪﺍﻥ ﮐﻪ ﮔﻔﺘﻢ ﻏﻢ ﺑﺎ ﻃﺒﻴﺒﺎﻥ ﺩﺭﻣﺎﻥ ﻧﮑﺮﺩﻧﺪ ﻣﺴﮑﻴﻦ ﻃﺒﻴﺒﺎﻥ‬ ‫ﻭ ﻳﺎ ‪:‬‬ ‫ﮔﺮ ﺗﻴﻎ ﺑـﺎﺭﺩ ﺩﺭ ﮐﻮﻱ ﺁﻥ ﻣﺎﻩ ﮔـﺮﺩﻥ ﻧﻬـﺎﺩﻳﻢ ﺍﻟﺤـﮑـﻢ ﷲ‬ ‫ﻋﺎﻗﻞ ﺧﺎﻥ ﺭﺍﺯﻱ ﻧﺸﺎﻥ ﺩﺍﺩﻩ ﺍﺳﺖ ﮐﻪ ﺩﺭ ﺳﺒﮏ ﻋﺮﺍﻗﻲ ﮔﺎﻫﻲ ﮐﻪ ﺧﻮﺩﺵ‬ ‫ﺍﺳﺖ ﻭ ﻧﻪ ﻧﺴﺨﻪ ﮐﭙﻲ ﺍﻳﻦ ﻭ ﺁﻥ ﺑﻴﺸﺘﺮ ﺗﻮﺍﻧﺴﺘﻪ ﺍﺳﺖ ﺧﻮﺩ ﺭﺍ ﻧﺸﺎﻥ ﺑﺪﻫﺪ‪ .‬ﺍﻳﻦ‬ ‫ﻫﻢ ﺩﻟﻴﻞ‪:‬‬ ‫ﻫﺮﮔﺰ ﻧﺪﻳﺪﻩ ﭼﺸﻤﻲ ﺩﺭ ﻣﻠﮏ ﺟﻠﻮﻩﺳﺎﺯﻱ‬ ‫ﭼﺸﻤﻲ ﺑﺪﻳﻦ ﺳﻴﺎﻫﻲ‪ ،‬ﺯﻟﻔﻲ ﺑﺪﻳﻦ ﺩﺭﺍﺯﻱ‬ ‫ﺩﺭ ﺧـﻮﻥ ﺩﻝ ﻧﺸﺴﺘﻢ ﺗﺎ ﺑﺎ ﺗﻮ ﻋﻬـﺪ ﺑﺴﺘﻢ‬ ‫ﻣـﻦ ﺑﺎ ﻏﻤﺖ ﺑﺴﺎﺯﻡ ﺑﺎ ﻣﻦ ﺍﮔـﺮ ﻧﺴـﺎﺯﻱ‬ ‫ﺩﺭ ﮐﺎﺭﺧـﺎﻧﺔ ﻋﺸﻖ ﻗﺴـﻤﺖ ﭼﻨﻴﻦ ﻧﻬﺎﺩﻧﺪ‬ ‫ﻣـﺎ ﻭ ﻧﻴـﺎﺯﻣﻨـﺪﻱ‪ ،‬ﻣﻌﺸـﻮﻕ ﻭ ﺑﻲﻧﻴـﺎﺯﻱ‬ ‫ﺗﺎ ﻧﺎﻡ ﻣﺎ ﻧﺒﺎﺷﺪ ﻋﺸﻖ ﺍﺳﺖ ﻭ ﮐﺎﻭﺵ ﻣـﺎ‬ ‫ﺗـﺎ ﻧـﺎﻡ ﻋﺸﻖ ﺑﺎﺷـﺪ ﻣﺎﻳﻴﻢ ﻭ ﻋﺸـﻘﺒﺎﺯﻱ‬ ‫ﮐﻪ ﺩﺭ ﻣﺠﻤﻮﻉ ﺁﻥ ﺭﺍ ﻣﻲﺗﻮﺍﻥ ﺍﺯ ﻣﻮﹼﻓﻖﺗﺮﻳﻦ ﻏﺰﻝﻫﺎﻱ ﺍﻳﻦ ﺩﻓﺘﺮ ﺑﻪﺣﺴﺎﺏ‬ ‫ﺁﻭﺭﺩ‪ .‬ﻳﺎ ﺍﻳﻦ ﻏﺰﻝ ﮐﻪ ﺩﺳﺖ ﮐﻤﻲ ﺍﺯ ﻳﮏ ﻏﺰﻝ ﺧﻮﺏ ﻭ ﺑﻪﻳﺎﺩﻣﺎﻧﺪﻧﻲ ﻧﺪﺍﺭﺩ‪:‬‬ ‫ﻣـﻼﻣﺘﻢ ﻣﮑـﻦ ﺍﻱ ﻫﻤﻨـﺸﻴﻦ ﺯ ﻧـﺎﺩﺍﻧـﻲ‬ ‫ﻓﺴـﻮﻥ ﻋﺸـﻖ ﻧـﺪﺍﻧﻲ ﻓﺴـﺎﻧﻪ ﻣﻲﺧﻮﺍﻧﻲ‬ ‫ﻣﻨﻢ ﮐـﻪ ﺩﻝ ﺑﻪﺑﺘﻲ ﺑﺴﺘﻢ ﻭ ﺯ ﺧﻮﺩ ‪‬ﺭﺳﺘﻢ‬ ‫ﺗـﻮ ﺩﻝ ﻧـﺪﺍﺩﻩﺍﻱ ﻭ ﺑﻴـﺪﻟﻲ ﻧﻤـﻲﺩﺍﻧـﻲ‬ ‫ﻧﻈﺮ ﺑﻪﻳﺎﺭ ﺣﺮﺍﻡ ﺍﺳﺖ ﻭ ﻣﺎﻝ ﺷﺒﻬﻪ ﺣﻼﻝ‬ ‫ﺯﻫـﻲ ﻃـﺮﻳﻘـﺔ ﺯﻫـﺪ ﻭ ﺯﻫـﻲ ﻣﺴﻠﻤﺎﻧﻲ‬ ‫ﺩﻟـﻢ ﺧـﻼﺹ ﻧﻴـﺎﺑـﺪ ﺯ ﺑﻨـﺪ ﺯﻟﻔﻴـﻨـﺶ‬ ‫ﺍﺯ ﺍﻳـﻦ ﺩﻭ ﺳﻠﺴـﻠﻪ ﻧﺒﻮﺩ ﺑﺮﻭﻥ ﭘﺮﻳﺸﺎﻧﻲ‬

‫ﺷﺎﻋﺮﻱ ﺍﺯ ﺩﻳﺎﺭ ﺧﻮﺍﻑ‬ ‫‪٢٥‬‬ ‫ﮔﺎﻫﻲ ﺍﻭﻗﺎﺕ ﻧﻴﺰ ﺑﺎ ﺍﺳﺘﻔﺎﺩﻩ ﺍﺯ ﻇﺮﻓﻴﺖﻫﺎﻱ ﻃﻨﺰ ﺩﺭ ﻏﺰﻝ ﺍﺑﻴﺎﺗﻲ ﻣﻲﺁﻓﺮﻳﻨﺪ‬ ‫ﮐﻪ ﺩﺳﺖ ﮐﻤﻲ ﺍﺯ ﻳﮏ ﺑﻴﺖ ﻧﺎﺏ ﻭ ﻳﮏ ﺿﺮﺏ ﺍﻟﻤﺜﻞ ﺧﻮﺏ ﻧﺪﺍﺭﺩ‪:‬‬ ‫ﺳـﻼﻣﻲ ﺭﺳـﻴﺪﻩ ﺯ ﻋـﺎﻟﻲﺟـﻨﺎﺑﻲ ﮐﻪ ﺟﺰ ﻣﻌﺬﺭﺕ ﻧﻴﺴﺖ ﺁﻥ ﺭﺍ ﺟﻮﺍﺑﻲ‬ ‫ﺍﮔﺮﭼﻪ ﺩﺭ ﺭﻭﺯﮔﺎﺭ ﺍﻭﺝ ﺳﺒﮏ ﻫﻨﺪﻱ ﺑﻴﺸﺘﺮﻳﻦ ﺩﻏﺪﻏﻪ ﻋﺎﻗﻞ ﺧﺎﻥ ﺗﺠﺮﺑﻪ ﺩﺭ‬ ‫ﺳﺒﮏ ﻋﺮﺍﻗﻲﺳﺖ‪ ،‬ﮔﺎﻩ ﻧﻴﺰ ﺳﺒﮏ ﻫﻨﺪﻱ ﺍﻭ ﺭﺍ ﻭﺳﻮﺳﻪ ﻣﻲﮐﻨﺪ ﻭ ﺍﺯ ﺍﻳﻦ ﺭﻭﻱ‬ ‫ﺑﺮﺧﻲ ﻏﺰﻟﻬﺎﻱ ﺳﺒﮏ ﻫﻨﺪﻱ ﻧﻴﺰ ﺩﺭ ﺩﻳﻮﺍﻥ ﺍﻭ ﺑﻪﭼﺸﻢ ﻣﻲﺧﻮﺭﺩ‪:‬‬ ‫ﺯ ﻣﮋﮔﺎ ِﻥ ﺗـﺮﻡ ﺧﻮ ِﻥ ﺩ ِﻝ ﺻﺪ ﭼـﺎﮎ ﻣﻲﺭﻳﺰﺩ‬ ‫ﭼﻮ ﺧﻮﻥ ﺻﻴﺪ ﺑﺴﻤﻞ ﮐﺮﺩﻩ ﮐﺰ ﻓﺘﺮﺍﮎ ﻣﻲﺭﻳﺰﺩ‬ ‫ﻣﻦ ﺍﻳﻦ ﺧﻮﻧﺎﺑﻪ ﺭﺍ ﺍﺯ ﭼﺸﻤﺔ ﺩﻝ ﻣﻲﮐﻨﻢ ﺣﺎﺻﻞ‬ ‫ﺗﻮ ﭘﻨﺪﺍﺭﻱ ﮐﻪ ﺁﺏ ﺍﺯ ﺩﻳـﺪﺓ ﻏﻤﻨﺎﮎ ﻣﻲﺭﻳﺰﺩ‬ ‫ﻧﺨﺴﺘﻴﻦ ﻏﻤﺰﺓ ﭼﺸﻤﺶ ﻧﺼﻴﺐ ﺧﺎﮐﺴﺎﺭﺍﻥ ﺷﺪ‬ ‫ﺯ ﺟـﺎﻡ ﺑﺎﺩﻩ ﺍ ‪‬ﻭﻝ ﻗﻄـﺮﻩﺍﻱ ﺑﺮ ﺧـﺎﮎ ﻣﻲﺭﻳﺰﺩ‬ ‫ﺷﻬـﻴﺪ ﻏﻤـﺰﺓ ﺧـﻮﻧﺮﻳـﺰ ﺍﻭ ﻋﻴـﺶ ﺍﺑـﺪ ﺩﺍﺭﺩ‬ ‫ﻧﺪﺍﺭﻡ ﺑﺎﮎ ﺍﮔﺮ ﺧـﻮﻥ ﻣﻦ ﺁﻥ ﺑﻲﺑﺎﮎ ﻣﻲﺭﻳﺰﺩ‬ ‫ﺭﻭﺯﮔﺎﺭ ﻋﺎﻗﻞ ﺧﺎﻥ ﺭﺍﺯﻱ ﻭ ﺑﻴﺪﻝ ﺭﻭﺯﮔﺎﺭ ﺗﻔﹼﻨﻦﻫﺎﻱ ﺷﺎﻋﺮﺍﻥ ﺩﺭ ﺑﻪﮐﺎﺭﮔﻴﺮﻱ‬ ‫ﻗﻮﺍﻓﻲ ﻧﻮ ﻭ ﺍﺳﺘﺨﺪﺍﻡ ﺍﻭﺯﺍﻥ ﻧﻮ ﺑﻮﺩﻩ ﺍﺳﺖ ﻭ ﻋﺎﻗﻞ ﺧﺎﻥ ﺭﺍﺯﻱ ﻧﻴﺰ ﺩﺭ ﺷﻤﺎﺭ‬ ‫ﺷﺎﻋﺮﺍﻧﻲﺳﺖ ﮐﻪ ﺑﻴﺶ ﺍﺯ ﺁﻥ ﮐﻪ ﺑﻪﻓﮑﺮ ﺑﻪﺧﺪﻣﺖ ﮔﺮﻓﺘﻦ ﺍﻭﺯﺍﻥ ﻧﻮ ﺑﺎﺷﺪ ﺩﺭ‬ ‫ﺑﻪﮐﺎﺭﮔﻴﺮﻱ ﻗﻮﺍﻓﻲ ﺗﺎﺯﻩ ﺍﺯ ﺧﻮﺩ ﺷﻮﻕ ﻧﺸﺎﻥ ﻣﻲﺩﻫﺪ‪:‬‬ ‫ﺍﻓﺴﺮﺩ ﺷﺐ ﺑﻪﮔﺮﻳﻪ ﺑﻪﺷﺐﻫﺎﻱ ﺩﻱ ﺩﺭ ﺁﺏ‬ ‫ﺩﻝ ﺗﺎ ﮐﺠﺎ ﺩﺭ ﺁﺗﺶ ﻭ ﺗﻦ ﺗﺎ ﺑﻪﮐﻲ ﺩﺭ ﺁﺏ‬ ‫ﻳﺎ‪:‬‬ ‫ﺍﺑـﺮﻭﻱ ﻭ ﺯﻟﻒ ﻭ ﮐﺎﮐﻞ ﺗﻮ ﺍﻱ ﻧﮕﺎﺭ ﮐﺞ‬ ‫ﻳﮏ ﺩﻝ ﭼﻪ ﺳﺎﻥ ﻣﻌﺎﺵ ﮐﻨﺪ ﺑﺎ ﺳﻪ ﭼﺎﺭ ﮐﺞ‬ ‫ﺍﻳﻦ ﻫﻢ ﻧﻤﻮﻧﻪﺍﻱ ﺩﻳﮕﺮ‪:‬‬

‫ﺩﻳﻮﺍﻥ ﺍﺷﻌﺎﺭ ﻋﺎﻗﻞ ﺧﺎﻥ ﺭﺍﺯﻱ ‪٢٦‬‬ ‫ﺩﻝ ﺭﻣﻴـﺪﺓ ﻣـﺎ ﺭﺍ ﺯ ﺑﻨـﺪ ﻧﻴﺴـﺖ ﺧـﻼﺹ‬ ‫ﺑﻪﺑﻨﺪ ﺯﻟﻒ ﺷﺪ ﻭ ﺯﺍﻥ ﮐﻤﻨﺪ ﻧﻴﺴﺖ ﺧﻼﺹ‬ ‫ﻣـﺮﺍ ﺑـﻪﺳﻠﺴـﻠﺔ ﺯﻟـﻒ ﺍﻭ ﻗﺴـﻢ ﮐـﻪ ﺍﺯ ﺍﻭ‬ ‫ﺩﻝ ﺷﮑﺴـﺘﺔ ﻳﮏ ﻣﺴﺘﻤـﻨﺪ ﻧﻴﺴﺖ ﺧـﻼﺹ‬ ‫ﻳﺎ ﮔﺎﻩ ﺑﺎ ﺍﺳﺘﻔﺎﺩﻩ ﺍﺯ ﺑﺎﺳﺘﺎﻧﮕﺮﺍﻳﻲ ﺳﺒﮏ ﺧﺮﺍﺳﺎﻧﻲ ﺑﻪﺧﺼﻮﺹ ﺩﺭ ﻗﺎﻓﻴﻪ‬ ‫ﺑﻪﭼﻨﻴﻦ ﺯﺑﺎﻥ ﻓﺎﺧﺮﻱ ﺩﺳﺖ ﻣﻲﻳﺎﺑﺪ‪:‬‬ ‫ﺩﻝ ﺧﻮﻥ ﻧﺸﺪﻱ ﻋﺎﺷﻖ ﻭ ﻣﻔﺘﻮﻥ ﻧﺸﺪﻱ ﮔﺮ‬ ‫ﻋﺎﺷﻖ ﻧﺸﺪﻱ ﺭﻭﺯﻱ ﺍﻭ ﺧﻮﻥ ﻧﺸـﺪﻱ ﮔﺮ‬ ‫ﺟـﺎﻧـﻢ ﺳﺘـﻢ ﻏﻤـﺰﺓ ﺧـﻮﻧﺮﻳـﺰ ﻧﻬـﻔﺘﻲ‬ ‫ﺧـﻮﻧﺎﺏ ﺩﺭﻭﻥ ﻣﺎﻳـﻞ ﺑﻴﺮﻭﻥ ﻧﺸـﺪﻱ ﮔﺮ‬ ‫ﻟﻴﻠﻲ ﻧﺸـﺪﻱ ﺷـﻬـﺮﺓ ﺁﻓـﺎﻕ ﺑﻪﺧـﻮﺑـﻲ‬ ‫ﺩﺳـﺘﺎﻥ ﺯ ِﻥ ﻫﻨﮕﺎﻣﺔ ﻣﺠﻨـﻮﻥ ﻧﺸـﺪﻱ ﮔﺮ‬ ‫ﮔﻔﺘﻴﻢ ﮐﻪ ﻋﺎﻗﻞ ﺧﺎﻥ ﺷﺎﻋﺮﻱ ﺑﺎﺳﺘﺎﻧﮕﺮﺍﺳﺖ ﻭ ﺯﺑﺎﻧﺶ ﺍﻫﻞ ﻣﺨﺎﻃﺮﻩ ﻧﻴﺴﺖ‪.‬‬ ‫ﺍﺯ ﺷﮕﺮﺩﻫﺎﻱ ﺳﺒﮏ ﺧﺮﺍﺳﺎﻧﻲ ﻧﻴﺰ ﺩﺭ ﺳﺒﮏ ﻋﺮﺍﻗﻲ ﺑﻬﺮﻩ ﻣﻲﮔﻴﺮﺩ ﻭ ﺑﺎ ﻋﻨﺎﻳﺖ‬ ‫ﺑﻪﺯﺑﺎﻧﻲ ﻓﺼﻴﺢ ﻭ ﻣﺤﮑﻢ ﻏﺰﻟﻲ ﺩﺭﺳﺖ ﻭ ﺻﺤﻴﺢ ﻭ ﺳﺎﻟﻢ ﺍﺭﺍﺋﻪ ﻣﻲﮐﻨﺪ‪:‬‬ ‫ﺍﻱ ﺣﺴﻦ ﺗﺮﺍ ﻫﺮ ﺩﻡ ﺻﺪ ﺟﻠﻮﻩ ﻧﻘﺎﺏ ﺍﻧﺪﺭ‬ ‫ﺻـﺪ ﻣﻮﺝ ﺯﻧﺪ ﺩﺭﻳﺎ ﻫﺮ ﻟﺤﻈﻪ ﺣﺒﺎﺏ ﺍﻧﺪﺭ‬ ‫ﺗﻮ ﮔﺸﺘﻪ ﻧﻬﺎﻥ ﺩﺭﻣﺎ ﭼﻮﻥ ﺁﺏ ﺑﻪﺭﻧﮓ ﺍﻧﺪﺭ‬ ‫ﻣﺎ ﺟـﻠﻮﻩﻧﻤﺎ ﺍﺯ ﺗﻮ ﭼﻮﻥ ﺭﻧﮓ ﺑﻪﺁﺏ ﺍﻧﺪﺭ‬ ‫ﮔﺎﻩ ﻧﻴﺰ ﺑﺎ ﻗﻮﺍﻓﻲ ﺩﺷﻮﺍﺭ ﻭ ﻧﺎﻳﺎﺏ ﻏﺰﻝ ﻣﻲﮔﻮﻳﺪ‪ ،‬ﺍﻟﺒﺘﻪ ﺩﺭ ﺁﻭﺭﺩﻥ ﻗﻮﺍﻓﻲ‬ ‫ﺩﺷﻮﺍﺭ ﺷﺎﻋﺮﺍﻥ ﻗﺼﻴﺪﻩ ﺳﺮﺍﻱ ﺳﺒﮏ ﺧﺮﺍﺳﺎﻧﻲ ﮔﻮﻱ ﺳﺒﻘﺖ ﺭﺍ ﺍﺯ ﻫﻤﻪ ﺷﺎﻋﺮﺍﻥ‬ ‫ﺍﻋﺼﺎﺭ ﻭ ﺍﺩﻭﺍﺭ ﺷﻌﺮ ﻓﺎﺭﺳﻲ ﺭﺑﻮﺩﻩﺍﻧﺪ‪:‬‬ ‫ﺩﻝ ﺑﻪﺗﻮ ﺩﺍﺩﻡ ﺯ ﺩﺳـﺖ‪ ،‬ﺁﻩ ﮐﻪ ﮐـﺮﺩﻡ ﻏﻠـﻂ‬ ‫ﺷﻴﺸﻪ ﺳـﭙﺮﺩﻡ ﺑﻪﻣﺴﺖ ﮐـﺲ ﻧﮑﻨﺪ ﺯﻳﻦ ﻧﻤﻂ‬

‫ﺷﺎﻋﺮﻱ ﺍﺯ ﺩﻳﺎﺭ ﺧﻮﺍﻑ‬ ‫‪٢٧‬‬ ‫ﭼﺸﻢ ﻣـﻪ ﻭ ﺁﻓﺘﺎﺏ ﺟﺰ ﺗـﻮ ﻧﺪﻳﺪﻩ ﺑﻪﺧـﻮﺍﺏ‬ ‫ﻣﻮﻱ ﺑﻪﺍﻳﻦ ﭘﻴﭻ ﻭ ﺗﺎﺏ ﺭﻭﻱ ﺑﻪﺍﻳﻦ ﺧﺎﻝ ﻭ ﺧﻂ‬ ‫ﮔـﺮﭼـﻪ ﻧﻴ‪‬ﻢ ﺑﻮﺍﻟﻬﻮﺱ ﻣﻲﮐﻨﻢ ﺍﻳـﻦ ﻣﻠﺘﻤـﺲ‬ ‫ﺩﺭ ﺩﻭ ﺟﻬﺎﻥ ﻳﮏ ﻧﻔﺲ ﻭﺻﻞ ﺗﻮ ﺧﻮﺍﻫﻢ ﻓﻘﻂ‬ ‫ﻳﺎ ﺍﻳﻦ ﻏﺰﻝ ﮐﻪ ﻳﺎﺩﺁﻭﺭ ﻓﺨﺎﻣﺖ ﻏﺰﻝﻫﺎﻱ ﺑﻲﺭﺩﻳﻒ ﺳﻌﺪﻱ ﺍﺳﺖ ﮐﻪ ﻗﺎﻓﻴﻪ‬ ‫ﺗﻤﺎﻡ ﺑﺎﺭ ﺷﻌﺮ ﺭﺍ ﺑﺮ ﺩﻭﺵ ﻣﻲﮐﺸﺪ ﻭ ﺭﮔﻪﻫﺎﻳﻲ ﺍﺯ ﻋﺒﺎﺭﺍﺕ ﻋﺮﺑﻲ ﻧﻴﺰ ﺩﺭ ﺑﺎﻓﺖ‬ ‫ﮐﻼﻡ ﺧﻮﺵ ﻧﺸﺴﺘﻪ ﺍﺳﺖ‪:‬‬ ‫ﻳﻮﺳﻒ ﻣﺼﺮﻱ ﺍﺭ ﭼﻪ ﺑﻮﺩ ﺻﺒﻴﺢ ﺩﻝ ﻣــﺎ ﺑــﺮﺩ ﺩﻟﺮﺑــﺎﻱ ﻣﻠــﻴﺢ‬ ‫ﺩﻭ ﺟﻬﺎﻥ ﺭﺍ ﺯ ﻧﻮﺭ ﺍﻭﺳﺖ ﻇﻬﻮﺭ ﻣﻲﻧﻤﺎﻳﺪ ﺑﻪﻋـﻴﻦ ﻋـﺸﻖ ﺻـﺮﻳﺢ‬ ‫ﺁﻥ ﮐﻪ ﺑﻌـﺪ ﺍﺯ ﻧـﺰﻭﻝ ﺩﺭ ﻋـﺎﻟﻢ ﻣﻠﹼــﺖ ﺍﻭ ﮐﻨــﺪ ﻗﺒــﻮﻝ ﻣــﺴﻴﺢ‬ ‫ﻗـﺎﻝ ﻓـﻲ ﺷــﺎﻧـﻪ ﺍﻧـﺎ ﺍﻓﺼـﺢ ﮐ ﹼﻞ ﻗـﻮﻝ ﻣـﻦ ﺍﻟﻔﺼﻴﺢ ﻓﺼـﻴﺢ‬ ‫ﺩﺭ ﺍﻳﻦ ﺑﻴﺖ ﺁﺧﺮ ﻭ ﺩﺭ ﺷﻌﺮﻫﺎﻱ ﺩﻳﮕﺮ ﺑﻪﺧﺼﻮﺹ ﺩﺭ ﺗﺮﺟﻴﻊﺑﻨﺪ ﺍﻳﻦ ﺩﻓﺘﺮ‪،‬‬ ‫ﺷﺎﻋﺮ ﺧﻮﺍﺳﺘﻪ ﻋﺮﺑﻲ ﺩﺍﻧﻲ ﺧﻮﺩ ﺭﺍ ﻧﻴﺰ ﺑﻪﺭﺥ ﺑﮑﺸﺪ ﻭ ﺍﻳﻦ ﺍﻟﺒﺘﻪ ﺍﺯ ﻧﻘﺎﻁ ﻗﻮ‪‬ﺕ ﺍﻭ‬ ‫ﻧﻴﺰ ﻣﻲﺗﻮﺍﻧﺪ ﺑﻪﺣﺴﺎﺏ ﺁﻳﺪ ﭼﺮﺍ ﮐﻪ ﺩﺭ ﺳﺮﻭﺩﻥ ﺷﻌﺮ ﺑﻪﺍﻳﻦ ﺯﺑﺎﻥ ﻧﻴﺰ ﺩﭼﺎﺭ ﺗﮑﹼﻠﻒ‬ ‫ﻧﺸﺪﻩ ﻭ ﺑﺎ ﺍﺳﺘﻔﺎﺩﻩ ﺍﺯ ﺍﻭﺯﺍﻥ ﮐﻮﺗﺎﻩ ﻳﺎ ﮔﺮﺗﻪ ﺑﺮﺩﺍﺭﻱ ﺍﺯ ﺟﻤﻼﺕ ﻭ ﺿﺮﺏ‬ ‫ﺍﻟﻤﺜﻞﻫﺎﻱ ﻋﺮﺑﻲ ﻳﺎ ﻋﺒﺎﺭﺍﺕ ﻗﺮﺁﻧﻲ ﻭ ﺍﺩﻋﻴﻪ ﮐﺎﺭ ﺧﻮﺩ ﺭﺍ ﻧﻪ ﺗﻨﻬﺎ ﺁﺳﺎﻥﺗﺮ‪ ،‬ﺑﻠﮑﻪ‬ ‫ﺩﺍﺭﺍﻱ ﻣﻘﺒﻮﻟﻴﺖ ﺑﻴﺸﺘﺮ ﮐﺮﺩﻩ ﺍﺳﺖ‪ .‬ﺍﻳﻦ ﭼﻨﺪ ﺑﻴﺖ ﺍﺯ ﺗﺮﺟﻴﻊﺑﻨﺪ ﺭﺍ ﻫﻢ ﺑﺒﻴﻨﻴﺪ‪:‬‬ ‫ﺍﻱ ﺧﺪﺍﻭﻧﺪ ﻣـﺎﻝ ﻭ ﻋـﺰﹼ ﻭ ﻋـﻼ ﻣﺎﺷـــﻐﻠﺘﻢ ﺑﻨـــﺸﺄﺓ ﺍﻻﻭﻟـــﻲ‬ ‫ﺭﻭ ﺑﻪﺍﻭ ﮐﻦ ﮐﻪ ﺑﺎﺯﮔﺸﺖ ﺑﻪﺩﻭﺳﺖ ﻓﻠﹶــﻪ ﺍﻟﮑــﻞﹼ ﻣــﻦ ﻟــﻪ ﺍﻟﻤــﻮﻟﻲ‬ ‫ﭼﻮﻥ ﺩﺭﺁﻣﺪ ﺑﻪﺟﻠﻮﻩ ﻗﺎﻣـﺖ ﻳـﺎﺭ ﻗﹸﻠــ ﹸﺖ ﺳــﺒﺤﺎﻥ ﺭ‪‬ﺑــﻲ ﺍﻻﻋﻠــﻲ‬ ‫ﺁﻧﭽـﻪ ﻣـﻦ ﺍﺯ ﻏﻢ ﺗﻮ ﺩﻳﺪ ﺳـﺘﻢ ﻣـﺎ ﺭﺃﻱ ﺍﻟﻘﻴﺲ ﻣـﻦ ﻏـﻢ ﺍﻟﻠﻴﻠﻲ‬ ‫ﮔﺎﻩ ﻧﻴﺰ ﺷﺎﻋﺮ ﺩﺭ ﻭﺭﻃﻪ ﺗﻔﹼﻨﻦﻫﺎﻱ ﺯﺑﺎﻧﻲ ﻣﻲﻏﻠﺘﺪ ﻭ ﺣﺘﹼﻲ ﺍﺯ ﻟﻬﺠﻪﻫﺎﻱ ﻣﺤﻠﹼﻲ‬ ‫ﻣﺮﺩﻡ ﺑﻠﺦ ﻧﻴﺰ ﺩﺭ ﻳﮏ ﻏﺰﻝ ﻣﺒﺘﻨﻲ ﺑﺮ ﺯﺑﺎﻥ ﻣﻌﻴﺎﺭ ﻓﺎﺭﺳﻲ ﺳﻮﺩ ﻣﻲﺟﻮﻳﺪ‪ .‬ﺍﺯ ﻧﻈﺮ‬ ‫ﺯﺑﺎﻥﺷﻨﺎﺳﻲ ﻭ ﺗﺤﻘﻴﻖ ﺩﺭ ﻟﻬﺠﻪﻫﺎ ﻭ ﮔﻮﻳﺶﻫﺎﻱ ﺯﺑﺎﻧﻲ ﺍﻳﻦ ﻏﺰﻝ ﺷﺎﻳﺪ ﺍﺭﺯﺵ‬

‫ﺩﻳﻮﺍﻥ ﺍﺷﻌﺎﺭ ﻋﺎﻗﻞ ﺧﺎﻥ ﺭﺍﺯﻱ ‪٢٨‬‬ ‫ﻭﺍﻻﻳﻲ ﻧﻴﺰ ﺩﺍﺷﺘﻪ ﺑﺎﺷﺪ‪ ،‬ﺍﻣ‪‬ﺎ ﺁﻧﻘﺪﺭ ﻧﻴﺴﺖ ﮐﻪ ﺑﻪﭼﺸﻢ ﺁﻳﺪ ﻳﺎ ﺣﹼﺘﻲ ﺭﮔﻪﺍﻱ ﺍﺯ ﻳﮏ‬ ‫ﺷﻴﻮﻩ ﻭ ﻃﺮﺯ ﺩﺭ ﻏﺰﻝ ﺩﻳﺮﻭﺯ ﺗﻠﻘﻲ ﺷﻮﺩ ﻭ ﻧﻈﺮﻫﺎ ﺭﺍ ﻣﺘﻮﺟ‪‬ﻪ ﺧﻮﺩ ﮐﻨﺪ‪:‬‬ ‫ﺩﺭ ﻣﺰﺭﻋﺔ ﺟﻬﺎﻥ ﺯ ﻭﺍ ﺳـﻮﺧﺘﮕﻲ ﺩﺭ ﺧﺮﻣﻦ ﺧﻮﻳﺸﻢ ﺁﺗﺶ ﺍﻓﺮﻭﺧﺘﮕﻲ‬ ‫ﻣﺎﻳﻴﻢ ﺩﺭ ﺍﻳﻦ ﺟﻬﺎﻥ ﻭ ﺟـﺎﻥ ﺁﺯﺍﺩ ﺁﻥ ﻧﻴﺰ ﺑﻪﺩﺳﺖ ﻋﺸﻖ ﺑﻔﺮﻭﺧﺘﮕـﻲ‬ ‫ﻫﺮﭼﻨﺪ ﺑﻪﻫﺮ ﺯﺑﺎﻥ ﺳﺨﻦ ﮔﻔﺘـﻴﮕﻢ ﺍﻳﻦ ﻗﺎﻓﻴﻪ ﺭﺍ ﺑﻪﺑﻠﺨـﻢ ﺁﻣـﻮﺧﺘﮕﻲ‬ ‫ﺑﻪﮔﻤﺎﻧﻢ ﻣﺮﺩﻡ ﺍﻣﺮﻭﺯ ﻧﻮﺍﺣﻲ ﺷﻤﺎﻝ ﺑﻠﺦ ﻭ ﺑﻪﺧﺼﻮﺹ ﺗﺎﺟﻴﮑﺎﻥ ﺗﺎﺟﻴﮑﺴﺘﺎﻥ‬ ‫ﻭ ﺑﺨﺎﺭﺍ ﻧﻴﺰ ﺍﻓﻌﺎﻟﻲ ﺍﺯ ﺍﻳﻦ ﺩﺳﺖ ﺭﺍ ﺗﺎ ﻫﻨﻮﺯ ﺩﺭ ﻣﺤﺎﻭﺭﺍﺕ ﺭﻭﺯﺍﻧﺔ ﺧﻮﺩ ﺑﻪﮐﺎﺭ‬ ‫ﻣﻲﮔﻴﺮﻧﺪ‪.‬‬ ‫ﺑﺮﺧﻲ ﺍﺯ ﺗﺠﺮﺑﻪﻫﺎﻱ ﺷﻌﺮﻱ ﺷﺎﻋﺮ ﺩﺭ ﺍﻭﺯﺍﻥ ﮐﻮﺗﺎﻩ ﺷﮑﻞ ﻣﻲﮔﻴﺮﺩ ﻭ ﺩﺭ‬ ‫ﺍﻭﺯﺍﻥ ﮐﻮﺗﺎﻩ ﺷﺎﻋﺮ ﺑﺎﻳﺪ ﺍﺯ ﺑﻀﺎﻋﺖ ﺯﺑﺎﻧﻲ ﻭ ﺑﻴﺎﻧﻲ ﺑﺎﻻﺗﺮﻱ ﻧﻴﺰ ﺑﺮﺧﻮﺭﺩﺍﺭ ﺑﺎﺷﺪ ﻭ‬ ‫ﺑﻪﺑﻴﺎﻥ ﺩﻳﮕﺮ ﺩﺭ ﻳﮏ ﻏﺰﻝ ﺑﺎ ﺍﻭﺯﺍﻥ ﺑﻠﻨﺪ ﺣﺸﻮ ﻭ ﺯﻭﺍﺋﺪ ﮐﻼﻡ ﺑﻴﺸﺘﺮ ﺧﻮﺩ ﺭﺍ ﻧﺸﺎﻥ‬ ‫ﻣﻲﺩﻫﺪ ﺗﺎ ﻳﮏ ﻏﺰﻝ ﺑﺎ ﻭﺯﻥ ﮐﻮﺗﺎﻩ ﻭ ﺍﹼﺗﻔﺎﻗﺎ ﺑﺎ ﻭﺟﻮﺩ ﺁﻥ ﮐﻪ ﺑﺴﻴﺎﺭﻱ ﮔﻤﺎﻥ‬ ‫ﻣﻲﺑﺮﻧﺪ ﮐﻪ ﻏﺰﻝ ﮔﻔﺘﻦ ﺩﺭ ﻭﺯﻥ ﮐﻮﺗﺎﻩ ﺁﺳﺎﻥﺗﺮ ﺍﺳﺖ‪ ،‬ﺑﺎﻳﺪ ﮔﻔﺖ ﮐﻪ ﺗﻨﻬﺎ ﺷﺎﻋﺮﺍﻥ‬ ‫ﺑﺎ ﺗﺠﺮﺑﻪ ﻭ ﻗﻮﻱ ﺍﺯ ﻋﻬﺪﺓ ﺳﺮﻭﺩﻥ ﻏﺰﻝﻫﺎﻱ ﻣﻮﻓﹼﻖ ﺑﺎ ﻭﺯﻥ ﮐﻮﺗﺎﻩ ﺑﺮﻣﻲﺁﻳﻨﺪ ﻭ ﻫﺮ‬ ‫ﺳﺎﺩﻩﺍﻱ ﺩﻟﻴﻞ ﺁﺳﺎﻧﻲ ﻧﻴﺴﺖ ﻭ ﺩﺭ ﺍﻳﻦ ﻋﺮﺻﻪ ﺷﺎﻋﺮﺍﻧﻲ ﻣﻮﹼﻓﻖﺗﺮﻧﺪ ﮐﻪ ﺯﺑﺎﻥ‬ ‫ﺷﻌﺮﻱ ﺷﺎﻥ ﺑﻴﺸﺘﺮ ﻣﺒﺘﻨﻲ ﺑﺮ ﺳﻬﻞ ﻭ ﻣﻤﺘﻨﻊ ﻣﻲﺑﺎﺷﺪ‪ .‬ﺍﻳﻦ ﻧﻤﻮﻧﻪﻫﺎ ﺭﺍ ﺑﺒﻴﻨﻴﺪ‪:‬‬ ‫ﻧﺸﺌﺔ ﻋﺸﻖ ﺗﻮ ﭘـﻲ ﺩﺭ ﭘـﻲ ﺭﺳـﺪ ﮔﻪ ﺯ ﭼﺸﻢ ﻣﺴﺖ ﻭ ﮔﻪ ﺍﺯ ﻣﻲﺭﺳـﺪ‬ ‫ﺩﻝ ﮐﻨــﺪ ﻳــﺎﺩ ﻧﻴــﺴﺘﺎﻥ ﻋــﺪﻡ ﭼﻮﻥ ﺑﻪﮔﻮﺷﻢ ﻧﻐﻤﻪﺍﻱ ﺍﺯ ﻧﻲ ﺭﺳﺪ‬ ‫ﺩﻭﺳﺖ ﺑﺎ ﻣﺎ ﻳﮏ ﺩﻣﻲ ﺧﻮﺍﻫﺪ ﺭﺳﻴﺪ ﮐﻲ ﺭﺳﺪﺍﻱ ﺩﻭﺳﺖ ﺁﻥ ﺩﻡ ﮐﻲ ﺭﺳﺪ‬ ‫ﺩﺭ ﻣﺠﻤﻮﻉ ﻣﻲﺗﻮﺍﻥ ﻋﺎﻗﻞ ﺧﺎﻥ ﺭﺍ ﺷﺎﻋﺮﻱ ﻣﺘﻤﺎﻳﻞ ﺑﻪﻫﺮ ﺳﻪ ﺳﺒﮏ ﺷﻌﺮﻱ ﻭ‬ ‫ﺑﻴﺸﺘﺮ ﻣﺘﻤﺎﻳﻞ ﺑﻪﺳﺒﮏ ﻋﺮﺍﻗﻲ ﺩﺍﻧﺴﺖ‪ ،‬ﺍ‪‬ﻣﺎ ﺗﻘﻠﻴﺪ ﺍﻭ ﺍﺯ ﺣﺎﻓﻆ ﺑﺴﻴﺎﺭ ﺍﻭ ﺭﺍ ﺑﻪﺣﺎﺷﻴﻪ‬ ‫ﻣﻲﺭﺍﻧﺪ‪ .‬ﺍﺯ ﺍﻳﻦ ﺭﻭ ﺩﺭ ﺳﺒﮏ ﻋﺮﺍﻗﻲ ﺗﺠﺮﺑﻪﻫﺎﻱ ﺧﺎﻧﻘﺎﻫﻲ ﻭ ﺍﺷﻌﺎﺭ ﺻﻮﻓﻴﺎﻧﻪ ﺍﻳﻦ‬ ‫ﺷﺎﻋﺮ ﺑﺮ ﺣﺎﻓﻈﺎﻧﻪﻫﺎﻱ ﺍﻭ ﺭﺟﺤﺎﻥ ﺍﺩﺑﻲ ﺩﺍﺭﺩ ﻭ ﻣﻲﭼﺮﺑﺪ ﻭ ﺩﺭ ﺑﺮﺧﻲ ﻏﺰﻝﻫﺎﻱ‬ ‫ﻭﺯﻥ ﮐﻮﺗﺎﻩ ﻧﻴﺰ ﺑﺎ ﺍﺳﺘﻔﺎﺩﻩ ﺍﺯ ﺷﻴﻮﻩﻫﺎﻱ ﺳﺨﻨﻮﺭﻱ ﺳﻌﺪﻱ ﺷﻌﺮﻫﺎﻳﻲ ﺑﻪﻳﺎﺩﻣﺎﻧﺪﻧﻲ‬

‫ﺷﺎﻋﺮﻱ ﺍﺯ ﺩﻳﺎﺭ ﺧﻮﺍﻑ‬ ‫‪٢٩‬‬ ‫ﺍﺭﺍﺋﻪ ﮐﺮﺩﻩ ﺍﺳﺖ‪ .‬ﺍ‪‬ﻣﺎ ﺑﺎ ﺍﻳﻦ ﻫﻤﻪ ﺍﻭ ﺩﺭ ﻗﺮﻥ ﺧﻮﺩ ﻭ ﺭﻭﺯﮔﺎﺭ ﺳﺒﮏ ﻫﻨﺪﻱ‬ ‫ﺑﻪﻋﻨﻮﺍﻥ ﻧﻤﺎﻳﻨﺪﻩﺍﻱ ﻗﺎﺑﻞ ﺍﻋﺘﻨﺎ ﻭ ﺍﻧﮕﺸﺖ ﺷﻤﺎﺭ ﻣﻌ ‪‬ﺮﻓﻲ ﻧﻤﻲﺷﻮﺩ ﻭ ﺍﮔﺮ ﺑﻨﺎﺳﺖ‬ ‫ﺷﺎﻋﺮﻱ ﺩﺭ ﺩﻭﺭﺓ ﻭﻱ ﺩﺭ ﺳﺒﮏ ﺗﻠﻔﻴﻘﻲ ﻋﺮﺍﻗﻲ ﻭ ﻫﻨﺪﻱ ﺑﻤﺎﻧﺪ ﻭ ﻧﺎﻣﺒﺮﺩﺍﺭﺗﺮ ﺍﺯ‬ ‫ﻫﻤﻪ ﺑﺎﺷﺪ‪ ،‬ﺍﻭ ﺑﻲﮔﻤﺎﻥ ﺷﺎﻋﺮﻱﺳﺖ ﮐﻪ ﺍﺯ ﭘﺲ ﻋﺎﻗﻞ ﺧﺎﻥ ﻭ ﺑﻴﺪﻝ ﺁﻣﺪﻩ ﺍﺳﺖ ﻭ‬ ‫ﺍﻭ ﮐﺴﻲ ﻧﻴﺴﺖ ﺟﺰ ﺣﺰﻳﻦ ﻻﻫﻴﺠﻲ‪ .‬ﻭ ﺍﮔﺮ ﺑﺨﻮﺍﻫﻴﻢ ﺩﺭ ﺧﻮﺩ ﺳﺒﮏ ﻫﻨﺪﻱ‬ ‫ﻧﻤﺎﻳﻨﺪﻩﺍﻱ ﺭﺍ ﺩﺭ ﻫﻨﺪ ﺩﻭﺭﺍﻥ ﻋﺎﻗﻞ ﺧﺎﻥ ﻣﻌﺮﻓﻲ ﮐﻨﻴﻢ ﺑﻴﺶ ﺍﺯ ﻫﺮ ﺷﺎﻋﺮﻱ ﺗﻮﻓﻴﻖ‬ ‫ﺑﺎ ﺑﻴﺪﻝ ﻭ ﺻﺎﺋﺐ ﻭ ﮐﻠﻴﻢ ﻫﻤﺮﺍﻩ ﺍﺳﺖ ﻭ ﺑﻌﺪ ﺍﺯ ﺁﻧﺎﻥ ﺷﺎﻋﺮﺍﻧﻲ ﭼﻮﻥ ﻏﻨﻲ‬ ‫ﮐﺸﻤﻴﺮﻱ ﻭ ﻧﺎﺻﺮﻋﻠﻲ ﻭ ﺳﻠﻴﻢ ﻭ ﻣﺤ ‪‬ﻤﺪ ﺟﺎﻥ ﻗﺪﺳﻲ ﻭ ﺩﻳﮕﺮﺍﻥ ﺷﺎﻳﺪ ﺍﺳﺘﺤﻘﺎﻕ‬ ‫ﺑﻴﺸﺘﺮﻱ ﺑﺮﺍﻱ ﻣﻌ ‪‬ﺮﻓﻲ ﺷﺪﻥ ﺩﺍﺷﺘﻪ ﺑﺎﺷﻨﺪ‪ .‬ﺗﻨﻬﺎ ﻣﻲﺗﻮﺍﻧﻴﻢ ﻋﺎﻗﻞ ﺧﺎﻥ ﺭﺍﺯﻱ ﺭﺍ ﺩﺭ‬ ‫ﺭﻭﺯﮔﺎﺭ ﮐﻤﻲ ﺑﻌﺪ ﺍﺯ ﺧﻮﺩ ﺑﻴﺶ ﺍﺯ ﺩﻳﮕﺮ ﺷﺎﻋﺮﺍﻥ ﺍﺯ ﺣﻴﺚ ﺍﺳﺘﻔﺎﺩﻩ ﺍﺯ ﺳﺒﮏﻫﺎﻱ‬ ‫ﻣﺨﺘﻠﻒ ﺍﺩﺑﻲ ﺑﻪﺣﺰﻳﻦ ﻻﻫﻴﺠﻲ ﺷﺒﻴﻪ ﮐﻨﻴﻢ ﻭ ﺍﻭ ﺭﺍ ﺣﺰﻳﻨﻲ ﮐﻮﭼﮏ ﺑﻪﺷﻤﺎﺭ‬ ‫ﺁﻭﺭﻳﻢ‪ ،‬ﻭ ﺍﻳﻦ ﺍﻟﺒﺘﹼﻪ ﮐﻪ ﺍﺯ ﻋﻈﻤﺖ ﮐﺎﺭ ﺷﺎﻋﺮ ﻧﻤﻲﮐﺎﻫﺪ ﻭ ﺷﻌﺮ ﻭﻱ ﺭﺍ ﺷﻌﺮﻱ‬ ‫ﻣﺒﺘﻨﻲ ﺑﺮ ﻗﻮﺍﻋﺪ ﻭ ﺍﺻﻮﻝ ﺷﻌﺮ ﭘﺎﺭﺳﻲ ﻭ ﻣﻘﻴﺪ ﺑﻪﺁﻥ ﻭ ﻭﻓﺎﺩﺍﺭ ﺑﻪﺳﺒﮏﻫﺎﻱ ﺍﺩﺑﻲ ﻭ‬ ‫ﺭﻳﺸﻪ ﺩﺍﺭ ﻣﻌﺮ‪‬ﻓﻲ ﻣﻲﮐﻨﺪ‪ .‬ﺍﺯ ﺁﻥ ﺭﻭ ﮐﻪ ﺣﺰﻳﻦ ﻧﻴﺰ ﺩﺭ ﻫﺮ ﺳﻪ ﺳﺒﮏ ﺗﺠﺮﺑﻪﻫﺎﻱ‬ ‫ﻋﺎﻟﻲ ﺍﻧﺪﻭﺧﺘﻪ ﺑﻮﺩ‪ ،‬ﻭﻟﻲ ﺗﻮﻓﻴﻘﺎﺕ ﺍﻭ ﻧﻴﺰ ﺩﺭ ﺳﺒﮏ ﻋﺮﺍﻗﻲ ﺑﻴﺸﺘﺮ ﺑﻮﺩ ﻭ ﺑﻪﻣﺪﺩ‬ ‫ﺟﺴﺎﺭﺕﻫﺎﻱ ﺯﺑﺎﻧﻲ ﻭ ﭘﺨﺘﮕﻲ ﻣﻌﺎﻧﻲ ﺩﺭ ﺟﻮﺍﺭ ﺯﺑﺎﻥ ﺑﻲﺑﺪﻳﻞ ﺣﺎﻓﻆ ﻗﻠﻤﺮﻭﻱ‬ ‫ﻗﺎﺑﻞ ﺍﻋﺘﻨﺎ ﻭ ﺗﻮﺟ‪‬ﻪ ﺑﺮﺍﻱ ﺧﻮﺩ ﮔﺸﻮﺩ ﮐﻪ ﺷﺎﻳﺪ ﻳﮑﻲ ﺍﺯ ﺩﻻﻳﻞ ﺗﻮﻓﻴﻖ ﺁﻥ ﺑﻬﺮﻩ‬ ‫ﮔﻴﺮﻱ ﻣﻼﻳﻢ ﺍﺯ ﺳﺒﮏ ﻫﻨﺪﻱ ﻭ ﺣﹼﺘﻲ ﺧﺮﺍﺳﺎﻧﻲ ﻭ ﺗﻠﻔﻴﻖ ﺁﮔﺎﻫﺎﻧﻪ ﻭ ﺍﺳﺘﺎﺩﺍﻧﺔ ﺁﻥ ﺑﺎ‬ ‫ﺳﺒﮏ ﻋﺮﺍﻗﻲ ﺑﻮﺩ‪ .‬ﺷﺎﻳﺪ ﺍﺯ ﺍﻳﻦ ﺟﻬﺖ ﺣﺰﻳﻦ ﺭﺍ ﺑﺎﻳﺪ ﮐﺎﻣﻞ ﮐﻨﻨﺪﺓ ﺭﺍﻫﻲ ﺩﺍﻧﺴﺖ‬ ‫ﮐﻪ ﻋﺎﻗﻞ ﺧﺎﻥ ﺑﻪﺩﻧﺒﺎﻝ ﺁﻥ ﺭﻓﺖ ﻭ ﺍﻟﺒﺘﻪ ﺩﺭ ﺁﻥ ﭼﻨﺪﺍﻥ ﺑﻲﺗﻮﻓﻴﻖ ﻧﻴﺰ ﻧﺒﻮﺩ‪.‬‬ ‫ﺍﺷﻌﺎﺭ ﺳﺒﮏ ﺧﺮﺍﺳﺎﻧﻲ ﺷﺎﻋﺮ ﭼﻨﺪﺍﻥ ﭼﻨﮕﻲ ﺑﻪﺩﻝ ﻧﻤﻲﺯﻧﺪ ﻭ ﺩﺭ ﻣﻴﺎﻥ ﺳﺮﻭﺩﻩﻫﺎﻱ‬ ‫ﻭﻱ ﺗﻨﻬﺎ ﭼﻨﺪ ﻗﺼﻴﺪﻩ ﺑﺎ ﺯﺑﺎﻥ ﺳﺒﮏ ﺧﺮﺍﺳﺎﻧﻲ ﻭ ﺑﻴﺸﺘﺮ ﺑﺎ ﺍﺗﹼﮑﺎ ﺑﺮ ﺗﻔﻨﹼﻦ ﺳﺮﻭﺩﻩ‬ ‫ﺁﻣﺪﻩ ﺍﺳﺖ ﮐﻪ ﻧﺸﺎﻥ ﻣﻲﺩﻫﺪ ﻭﻱ ﺷﺎﻋﺮ ﭼﻨﺪﺍﻥ ﺍﺳﺘﻮﺍﺭﻱ ﺩﺭ ﺳﺒﮏ ﺧﺮﺍﺳﺎﻧﻲ ﻧﻴﺰ‬

‫ﺩﻳﻮﺍﻥ ﺍﺷﻌﺎﺭ ﻋﺎﻗﻞ ﺧﺎﻥ ﺭﺍﺯﻱ ‪٣٠‬‬ ‫ﻧﻴﺴﺖ ﻭ ﺫﻭﻕ ﻭ ﺗﻮﻓﻴﻖ ﻭﻱ ﺑﻴﺶ ﺍﺯ ﻫﻤﻪ ﺩﺭ ﻫﻤﺎﻥ ﺳﺒﮏ ﻋﺮﺍﻗﻲ ﺧﻮﺩ ﺭﺍ ﺑﻪﻣﻨﺼﺔ‬ ‫ﻇﻬﻮﺭ ﻧﺸﺎﻧﺪﻩ ﺍﺳﺖ‪ .‬ﺍﻳﻦ ﻧﻤﻮﻧﻪﺍﻱ ﺍﺯ ﻗﺼﻴﺪﺓ ﺍﻭﺳﺖ ﮐﻪ ﺍﻟﺒﹼﺘﻪ ﻧﻤﮑﻲ ﻧﻴﺰ ﺩﺍﺭﺩ‪:‬‬ ‫ﺩﺭﺩﻡ ﺑﻪﺳﺮ ﻧﺒﺎﺷﺪ ﺭﻭﺯﻱ ﮐﻪ ﺳﺮ ﻧﺒﺎﺷﺪ‬ ‫ﺍﻳﻦ ﺳـﺮ ﺍﮔﺮ ﻧﺒﺎﺷـﺪ ﺩﺭﺩ ﺩﮔﺮ ﻧﺒﺎﺷـﺪ‬ ‫ﺍﻱ ﻏـﻤﺰﺓ ﻧﻬﺎﻧﻲ ﭼﻮﻥ ﺩﺭ ﻣﻴﺎﻥِ ﺟـﺎﻧﻲ‬ ‫ﺟﺎﻥ ﺩﺍﻧﺪ ﻭ ﺗﻮ ﺩﺍﻧﻲ ﻣﺎ ﺭﺍ ﺧﺒﺮ ﻧﺒﺎﺷـﺪ‬ ‫ﮔﺮ ﺳﻮﺧﺖ ﺟﺎ ِﻥ ﺭﺍﺯﻱ ﺍﺯ ﺩﺍﻍ ﺑﻲﻧﻴﺎﺯﻱ‬ ‫ﻣﺎﻳﻴﻢ ﻭ ﻋﺸﻖﺑﺎﺯﻱ ﺟﺎﻥ ﻫﻢ ﺍﮔﺮ ﻧﺒﺎﺷﺪ‬ ‫ﺍﺯ ﺣﻴﺚ ﻣﺤﺘﻮﺍ ﻭ ﺍﻋﺘﻘﺎﺩ ﻧﻴﺰ ﺑﺎﻳﺪ ﮔﻔﺖ ﮐﻪ ﻋﺎﻗﻞ ﺧﺎﻥ ﺷﺎﻋﺮﻱﺳﺖ ﻣﻘﻴﺪ‬ ‫ﺑﻪﺍﺧﻼﻕ ﻭ ﻣﺴﻠﻤﺎﻧﻲ ﻭ ﺑﻪﻋﻨﻮﺍﻥ ﻣﺜﺎﻝ ﺑﺮﺧﻮﺭﺩ ﻭﻱ ﺑﺎ ﺑﺎﺩﻩ ﻭ ﺑﺎﺩﻩ ﮔﺴﺎﺭﺍﻥ ﭼﻨﺎﻥ‬ ‫ﺍﺳﺖ ﮐﻪ ﺑﺎ ﺁﻧﺎﻥ ﺳﺮ ﺳﺘﻴﺰ ﺩﺍﺭﺩ ﻭ ﻧﮑﻮﻫﺶ ﺁﻧﺎﻥ ﺭﺍ ﻓﺮﻳﺎﺩ ﻣﻲﮐﻨﺪ‪:‬‬ ‫ﭼـﻴﺴﺖ ﺩﺍﻧـﻲ ﺑﺎﺩﻩ؟ ﺍﺑﻠﻴـﺲ ﻣ‪‬ﻀﻞ ﺭﺍ ﻳـﺎﻭﺭﻱ‬ ‫ﺟـﻬـﻞ ﺭﺍ ﭘـﺮﻭﺭﺩﮔﺎﺭﻱ‪ ،‬ﻓﺴـﻖ ﺭﺍ ﭘﻴﻐـﻤـﺒﺮﻱ‬ ‫ﺣ‪‬ﺴﻦ ﺭﺍ ﻋﺼﻤﺖ ﮔﺪﺍﺯ ﻭ ﻋﺸﻖ ﺭﺍ ﺷﻬﻮﺕ ﻃﺮﺍﺯ‬ ‫ﺩﺭ ﻃـﺮﻳﻘـﺖ ﺭﻫـﺰﻧﻲ ﻭ ﺩﺭ ﻃـﺒﻴـﻌﺖ ﺭﻫـﺒﺮﻱ‬ ‫ﻧﻔﺲ ﺭﺍ ﭼﻮ ﺟﺎﻥ ﻣﺴﺎﻋﺪ‪ ،‬ﺭﻭﺡ ﺭﺍ ﭼﻮﻥ ﻧﻔﺲ‪ ،‬ﺿﺪ‬ ‫ﻧـﺰﺩ ﮐـﺎﻓـﺮ ﻣـﺆﻣﻨـﻲ ﻭ ﻧـﺰﺩ ﻣـﺆﻣﻦ ﮐـﺎﻓـﺮﻱ‬ ‫ﺁﺗﺶ ﺣـﺮﺹ ﻭ ﻫـﻮﺱ ﺍﺯ ﻗـﻄﺮﺓ ﺍﻭ ﺷـﻌﻠﻪ ﺯﻥ‬ ‫ﻫﺴـﺖ ﺩﺭ ﺻـﻮﺭﺕ ﭼـﻮ ﺁﺑﻲ ﻭ ﺑﻪﻣﻌﻨﻲ ﺁﺯﺭﻱ‬ ‫ﮔﺮﭼﻪ ﺍﺳـﻤﺎﻱ ‪‬ﻣﻀـﻞ ﺩﺍﺭﺩ ﻣﻈـﺎﻫﺮ ﺩﺭ ﺟـﻬﺎﻥ‬ ‫ﻟﻴﮏ ﺭﺍﺯﻱ ﺩﺭ ﺿﻼﻟﺖ ﻧﻴﺴﺖ ﭼﻮﻥ ﻣﻲ ﻣﻈﻬﺮﻱ‬ ‫ﺍﻳﻦ ﻗﻄﻌﻪ ﻣﺒﺘﻨﻲ ﺑﺮ ﺳﺒﮏ ﺧﺮﺍﺳﺎﻧﻲ ﺍﮔﺮ ﭼﻪ ﻗﺼﺎﻳﺪ ﺷﺎﻋﺮﺍﻥ ﻓﺤﻞ ﺧﺮﺍﺳﺎﻧﻲ‬ ‫ﺭﺍ ﻓﺮﺍﻳﺎﺩ ﻣﻲﺁﻭﺭﺩ ﺍ‪‬ﻣﺎ ﻫﻤﭽﻨﺎﻥ ﻗﻄﻌﻪﺍﻱﺳﺖ ﮐﻨﺪﻩ ﺷﺪﻩ ﺍﻧﮕﺎﺭ ﺍﺯ ﻗﺼﻴﺪﻩﺍﻱ ﻭ ﺍﻟﺒﺘﻪ‬ ‫ﺩﺭ ﺷﻤﺎﺭ ﮐﺎﺭﻫﺎﻱ ﻣﻮﻓﹼﻖ ﺷﺎﻋﺮ ﺩﺭ ﻋﺮﺻﻪ ﺳﺒﮏ ﺧﺮﺍﺳﺎﻧﻲ ﺑﻪﺣﺴﺎﺏ ﻣﻲﺁﻳﺪ‪.‬‬

‫ﺷﺎﻋﺮﻱ ﺍﺯ ﺩﻳﺎﺭ ﺧﻮﺍﻑ‬ ‫‪٣١‬‬ ‫ﺍﺯ ﺟﻬﺖ ﺩﻳﻦ ﻭ ﺍﻋﺘﻘﺎﺩ ﻭ ﺑﺎﻭﺭﻫﺎﻱ ﻣﺬﻫﺒﻲ ﻧﻴﺰ ﻋﺎﻗﻞ ﺧﺎﻥ ﺷﺎﻋﺮﻱ ﺑﺎﻭﺭﻣﻨﺪ‬ ‫ﻭ ﺭﻫﺮﻭ ﻭﻻﻳﺖ ﻣﻮﻻﻋﻠﻲ)ﻉ( ﻭ ﺍﻭﻻﺩ ﻣﻄ ‪‬ﻬﺮ ﺍﻭ)ﻉ( ﺍﺳﺖ ﻭ ﺩﺭ ﭼﻨﺪ ﺟﺎﻱ ﺩﻳﻮﺍﻥ ﻧﻴﺰ‬ ‫ﺍﺷﻌﺎﺭ ﺩﻳﻨﻲ ﻭ ﻣﺪﺍﻳﺢ ﻋﻠﻮﻱ ﻭ ﺣﺴﻴﻨﻲ ﺍﻭ ﺍﻳﻦ ﺣﻘﻴﻘﺖ ﺭﺍ ﻓﺮﻳﺎﺩ ﻣﻲﮐﻨﺪ ‪:‬‬ ‫ﺍﻱ ﻣﺒﺘﺪﻉ ﺍﺯ ﺷـﺎﻳﺒﺔ ﺑﻐﺾ ﺑـﻮﺩ ﭘـﺎﮎ‬ ‫ﻫﺮ ﺩﻝ ﮐﻪ ﺩﺭﻭ ﺩﻭﺳﺘﻲ ﺷﺎﻩ ﻧﺠﻒ ﺷﺪ‬ ‫ﻳﺎ ﺍﻳﻦ ﺳﻮﮒ ﺳﺮﻭﺩ ﺩﺭ ﻣﺎﺗﻢ ﺷﻬﻴﺪﺍﻥ ﮐﺮﺑﻼ ﮐﻪ ﺗﺮﮐﻴﺐﺑﻨﺪ ﺷﺎﻋﺮﺍﻧﻲ ﭼﻮﻥ‬ ‫ﻣﺤﺘﺸﻢ ﮐﺎﺷﺎﻧﻲ ﻭ ﻭﺣﺸﻲ ﺑﺎﻓﻘﻲ ﻭ‪ ...‬ﺭﺍ ﺩﺭ ﺫﻫﻦ ﺯﻧﺪﻩ ﻣﻲﮐﻨﺪ‪:‬‬ ‫ﺍﻣـﺮﻭﺯ ﺭﻭﺯِ ﻗـﺘ ِﻞ ﺷـﻬﻴﺪﺍﻥِ ﮐـﺮﺑﻼﺳـﺖ‬ ‫ﺍﺯ ﺩﻳﺪﻩ ﺟﺎﻱ ﺍﺷﮏ ﺍﮔﺮ ﺧﻮﻥ ﺭﻭﺩ ﺭﻭﺍﺳﺖ‬ ‫ﺍﻣـﺮﻭﺯ ﻣـﻮﺭﺙ ﺍﻟﻢ ﻭ ﻣﺎﺗﻢ ﻭ ﻏـﻢ ﺍﺳـﺖ‬ ‫ﺍﻣﺮﻭﺯ ﺑﺎﻋﺚ ﺍﺳﻒ ﻭ ﺣﺴﺮﺕ ﻭ ﺑ‪‬ﮑﺎﺳـﺖ‬ ‫ﺍﻣﺮﻭﺯ ﻫﺮﮐﻪ ﺧﺸﮏ ﺑﻮﺩ ﺩﻳﺪﻩﺍﺵ ﺯ ﺍﺷﮏ‬ ‫ﺑﻲﺍﻋﺘﺒﺎﺭ ﻭ ﺑﻴﺪﻝ ﻭ ﺑﻲﺩﺭﺩ ﻭ ﺑﻲﺣﻴﺎﺳـﺖ‬ ‫ﺍﻣـﺮﻭﺯ ﺭﻭ ِﺯ ﺷــﺎﺩﻱ ﺁﻝِ ﺍﻣـﻴ‪‬ـﻪ ﺍﺳــﺖ‬ ‫ﺍﻣـﺮﻭﺯ ﺭﻭﺯ ﻣﺤﻨ ِﺖ ﺍﻭﻻﺩِ ﻣﺼﻄﻔـﻲﺳـﺖ‬ ‫ﻋﺎﻗﻞ ﺧﺎﻥ ﺍﮔﺮﭼﻪ ﺩﺭ ﻗﺎﻟﺐﻫﺎﻱ ﻣﺨﺘﻠﻒ ﺷﻌﺮﻱ ﺁﺛﺎﺭ ﻣﺘﻨﻮ‪‬ﻋﻲ ﺍﺭﺍﺋﻪ ﮐﺮﺩﻩ‬ ‫ﺍﺳﺖ ﺍﻣ‪‬ﺎ ﺷﺎﻳﺪ ﻏﺰﻟﻴﺎﺕ ﺷﺎﻋﺮ ﺭﺍ ﺑﺘﻮﺍﻥ ﻧﻘﻄﺔ ﻋﻄﻒ ﻭ ﻗﻮ‪‬ﺕ ﺩﻳﻮﺍﻥ ﺍﻭ ﺑﻪﺣﺴﺎﺏ‬ ‫ﺁﻭﺭﺩ‪ .‬ﺩﺭ ﻣﻴﺎﻥ ﻣﺜﻨﻮﻱﻫﺎﻱ ﻭﻱ ﻧﻴﺰ ﺯﺑﺎﻥ ﺳﺎﻗﻲ ﻧﺎﻣﺔ ﻭﻱ ﺑﻪﻧﻈﺮ ﭘﺨﺘﻪﺗﺮ ﺍﺯ ﺩﻳﮕﺮ‬ ‫ﻣﺜﻨﻮﻱﻫﺎ ﻣﻲﺁﻳﺪ ﻭ ﮔﺎﻩ ﺑﻪﻧﻘﻄﺔ ﺍﻭﺟﻲ ﺍﻳﻨﭽﻨﻴﻦ ﻣﻲﺭﺳﺪ‪:‬‬ ‫‪ ...‬ﺯ ﺯﻟﻔﻴﻦ ﭼﻮﻥ ﺳﻨﺒﻠﺴﺘﺎﻥ ﺑﮕﻮﻱ ﺑﻪﺑﻠﺒـﻞ ﺣـﺪﻳ ِﺚ ﮔﻠـﺴﺘﺎﻥ ﺑﮕـﻮﻱ‬ ‫ﺳﺮﻭﺩﻱ ﺑﻪﮔـﻮﺵِ ﺩﻝِ ﻣـﺴﺖ ﺯﻥ ﺑﻪﺯﻧﺠﻴﺮ ﺻـﺒﺮ ﺟﻨـﻮﻥ ﺩﺳـﺖ ﺯﻥ‬ ‫ﭼﻮ ﺩﺳﺘﺖ ﺑﻪﻧـﻲ ﺁﺳـﺘﻴﻦ ﺑﺮﺯﻧـﺪ ﺑﻪﺩﺍﻣـﺎﻥِ ﺟـﺎﻥ ﺷـﻌﻠﻪﺍﻱ ﺳـﺮﺯﻧﺪ‬ ‫ﻓـــﺸﺎﻧﻴﻢ ﺍﺯ ﺁﺳـــﻤﺎﻥ ﺁﺳـــﺘﻴﻦ ﺑﭽﻴﻨــﻴﻢ ﺩﺍﻣــﺎﻥ ﺯ ﺭﻭﻱ ﺯﻣــﻴﻦ‬ ‫ﻣﺘـﺎﻉِ ﺩﻧـﻲ ﺭﺍ ﺑـﻪﺩﻭ ﻧـﺎﻥ ﺩﻫـﻴﻢ ﺩﻝ ﻭ ﺩﻳﻦ ﻭ ﺟﺎﻥ ﺭﺍ ﺑﻪﺟﺎﻧﺎﻥ ﺩﻫﻴﻢ‬

‫ﺩﻳﻮﺍﻥ ﺍﺷﻌﺎﺭ ﻋﺎﻗﻞ ﺧﺎﻥ ﺭﺍﺯﻱ ‪٣٢‬‬ ‫ﺑـﻪﮐـﻨﺞ ﺧﺮﺍﺑـﺎﺕ ﮔﻴـﺮﻳﻢ ﺟـﺎﻱ ﻧﺪﺍﻧﻴﻢ ﭘـﺎ ﺍﺯ ﺳـﺮ ﻭ ﺳـﺮ ﺯ ﭘـﺎﻱ‬ ‫ﺍﮔـﺮ ﻣﺜﻞ ﻣﺴـﺘﺎﻥ ﺑـﺮﺁﺭﻳﻢ ﺩﺳـﺖ ﮔـﺸﺎﻳﻴﻢ ﭼﺸﻤﻲ ﺑـﻪﺁﻳﻴﻦ ﻣﺴـﺖ‬ ‫ﻋﺎﻗﻞ ﺧﺎﻥ ﺩﺭ ﻣﺜﻨﻮﻱ »ﺳﻮﮒ ﺑﺮﺍﺩﺭ« ﺑﻴﺶ ﺍﺯ ﻫﻤﻪ ﺗﺤﺖ ﺗﺄﺛﻴﺮ ﺯﺑﺎﻥ ﻧﻈﺎﻣﻲ ﻭ‬ ‫ﺟﺎﻣﻲ ﺍﺳﺖ‪ .‬ﻫﻢ ﻧﻈﺎﻣﻲ ﺁﻏﺎﺯ ﻣﺨﺰﻥﺍﻻﺳﺮﺍﺭ ﺭﺍ ﺑﺎ ﺍﻳﻦ ﻣﺼﺮﺍﻉ ﺷﺮﻭﻉ ﮐﺮﺩﻩ ﺍﺳﺖ ﮐﻪ‪:‬‬ ‫ﺑﺴـﻢ ﺍﷲ ﺍﻟـﺮﺣـﻤﻦ ﺍﻟﺮﺣـﻴﻢ ﻫـﺴﺖ ﮐﻠﻴـﺪ ﺩﺭ ﮔﻨﺞ ﺣﮑﻴﻢ‬ ‫ﻭ ﻫﻢ ﺟﺎﻣﻲ ﺩﺭ ﻫﻔﺖ ﺍﻭﺭﻧﮕﺶ‪ ،‬ﺗﺤﻔﻪ ﺍﻻﺣﺮﺍﺭ ﺧﻮﺩ ﺭﺍ ﺍﻳﻦ ﮔﻮﻧﻪ ﺁﻏﺎﺯ‬ ‫ﻣﻲﮐﻨﺪ ﮐﻪ‪:‬‬ ‫ﺑﺴـﻢ ﺍﷲ ﺍﻟـﺮﺣـﻤﻦ ﺍﻟﺮﺣـﻴﻢ ﻫﺴﺖ ﺻﻼﻱ ﺳﺮ ﺧﻮﺍﻥ ﮐﺮﻳﻢ‬ ‫ﻭ ﻋﺎﻗﻞ ﺧﺎﻥ ﺭﺍﺯﻱ ﺑﻪﺗﺄﺛﻲ ﺍﺯ ﺍﻳﻦ ﺍﺳﺘﺎﺩﺍﻥ ﺑﺰﺭﮒ ﻣﻲﮔﻮﻳﺪ‪:‬‬ ‫ﺑـــﺴﻢ ﺍﷲ ﺍﻟـــﺮ‪‬ﺣﻤﻦ ﺍﻟـــﺮ‪‬ﺣﻴﻢ ﻫــﺴﺖ ﺩﻟﻴﻠــﻲ ﺑــﻪﮐــﻼ ِﻡ ﻗــﺪﻳﻢ‬ ‫ﻧــﺎﻡِ ﺧــﺪﺍ ﻓﺎﺗﺤــﺔ ﻫــﺮ ﮐﺘــﺎﺏ ﺑﻠﮑـﻪ ﺍﺯ ﺍﻭ ﻓﺎﺗﺤـﻪ ﺭﺍ ﻓـﺘﺢ ﺑـﺎﺏ‬ ‫ﺁﻧﮑـﻪ ﺑﺮﺁﻳـﺪ ﺑـﻪﻫـﻮﺍﻳﺶ ﻧﻔـﺲ ﻧﺎﻡِ ﺧﺪﺍﻱ ﺍﺳﺖ ﻭ ﺧﺪﺍﻱ ﺍﺳﺖ ﻭ ﺑﺲ‬ ‫ﺑﺎﺭﮔـ ِﻪ ﺍﻭﺳـﺖ ﺣـﺪﻭﺙ ﻭ ﻗـﺪﻡ ﮐﺎﺭﮔـﻪِ ﺍﻭﺳـﺖ ﻭﺟـﻮﺩ ﻭ ﻋـﺪﻡ‬ ‫ﺩﺭ ﻣﺜﻨﻮﻱ »ﻣﺮﺛﻴﻪ ﻓﺮﺯﻧﺪﺍﻥ« ﺑﺎ ﻣﻄﻠﻊ‪:‬‬ ‫ﺧﺪﺍﻭﻧﺪﺍ ﭼـﻮ ﺩﻝ ﺭﺍ ﺩﺍﺩﻩﺍﻱ ﻏـﻢ ﻣﮑﻦ ﺻﺒﺮ ﺍﺯ ﺩﻝ ﻣﻐﻤﻮﻡ ﻫـﻢ ﮐـﻢ‬ ‫ﭼـﻮ ﺑﺮ ﺩﻝ ﮐﺮﺩﻱ ﺍﻣﻀﺎﻱ ﻗﻀﺎ ﺭﺍ ﻓـﺮﺍﻣﻮﺷﻢ ﮐﻦ ﺍﺯ ﺩﻝ ﻣﺎﻣﻀﻲ ﺭﺍ‪...‬‬ ‫ﻧﻴﺰ ﺑﻪﻧﻈﺮ ﻣﻲﺭﺳﺪ ﮐﻪ ﻋﺎﻗﻞ ﺧﺎﻥ ﺑﻴﺶ ﺍﺯ ﻫﺮ ﺷﺎﻋﺮ ﺩﻳﮕﺮﻱ ﺗﺤﺖ ﺗﺄﺛﻴﺮ‬ ‫ﻧﻈﺎﻣﻲﺳﺖ‪ ،‬ﺑﻪﺧﺼﻮﺹ ﺩﺭ ﺧﺴﺮﻭ ﻭ ﺷﻴﺮﻳﻦ ﺍﻭ ﮐﻪ ﺑﺎ ﻣﻨﺎﺟﺎﺕﻫﺎﻳﻲ ﺍﺯ ﺍﻳﻦ‬ ‫ﺩﺳﺖ ﻫﻤﺮﺍﻩ ﺍﺳﺖ ‪:‬‬ ‫ﺧـﺪﺍﻭﻧﺪﺍ ﺷـﺒﻢ ﺭﺍ ﺭﻭﺯ ﮔـﺮﺩﺍﻥ ﭼﻮ ﺭﻭﺯﻡ ﺑﺮ ﺟﻬﺎﻥ ﭘﻴﺮﻭﺯ ﮔﺮﺩﺍﻥ‬ ‫ﻳﺎ ﺗﺤﺖ ﺗﺄﺛﻴﺮ ﻋ ﹼﻄﺎﺭ ﺩﺭ ﺍﻟﻬﻲﻧﺎﻣﻪ ﻭ ﺧﺴﺮﻭﻧﺎﻣﻪ ﮐﻪ ﺍﺯ ﺍﻳﻦ ﮔﻮﻧﻪ ﻧﻴﺎﻳﺶﻫﺎ ﮐﻢ‬ ‫ﻧﺪﺍﺭﺩ‪:‬‬ ‫ﺑﻪﻓﻀﻠﺖ ﻣﺮﺩﻩﺍﻱ ﺭﺍ ﺯﻧﺪﻩ ﮔﺮﺩﺍﻥ‪...‬‬ ‫ﺧﺪﺍﻭﻧﺪﺍ ﺩﻟﻢ ﺭﺍ ﺑﻨﺪﻩ ﮔﺮﺩﺍﻥ‬

‫ﺷﺎﻋﺮﻱ ﺍﺯ ﺩﻳﺎﺭ ﺧﻮﺍﻑ‬ ‫‪٣٣‬‬ ‫ﺍﮔﺮﭼﻪ ﻣﺼﺤ‪‬ﺢ ﻣﺤﺘﺮﻡ ﺧﻴﺎﻟﺶ ﺭﺍﺣﺖ ﺑﻮﺩﻩ ﻭ ﺩﻳﻮﺍﻥ ﺍﻳﻦ ﺷﺎﻋﺮ ﺭﺍ ﺑﺎ ﺍﺳﺘﻨﺎﺩ‬ ‫ﺑﻪﻧﺴﺨﺔ ﻣﻮﺟﻮﺩ ﺩﺭ ﮐﺘﺎﺑﺨﺎﻧﻪ ﺑﻮﺩﻟﻦ ﺍﺭﺍﺋﻪ ﺩﺍﺩﻩ ﺍﺳﺖ‪ ،‬ﺍ‪‬ﻣﺎ ﻣﻘﺎﻡ ﺍﺩﺑﻲ ﻭ ﻣﻨﺰﻟﺖ ﻭ‬ ‫ﺷﺄﻥ ﺍﺟﺘﻤﺎﻋﻲ ﻭ ﺗﺎﺭﻳﺨﻲ ﺍﻳﻦ ﺷﺎﻋﺮ ﺁﻧﻘﺪﺭ ﺑﻮﺩﻩ ﻭ ﻫﺴﺖ ﮐﻪ ﺑﺘﻮﺍﻥ ﺣﹼﺘﻲ ﺩﺭ‬ ‫ﺻﻮﺭﺕ ﻧﺒﻮﺩﻥ ﻧﺴﺨﻪﻫﺎﻱ ﺛﺎﻧﻲ ﻭ ﺛﺎﻟﺚ ﺍﻳﻦ ﺩﻳﻮﺍﻥ‪ ،‬ﺍﺯ ﻻﺑﻼﻱ ﺑﺮﺧﻲ ﺗﺬﮐﺮﻩﻫﺎ ﻭ‬ ‫ﺑﻴﺎﺽﻫﺎﻱ ﻣﻮﺟﻮﺩ ﻧﻴﺰ ﺑﺨﺶ ﺩﻳﮕﺮﻱ ﺍﺯ ﺍﺷﻌﺎﺭ ﺷﺎﻋﺮ ﺭﺍ ﺍﺳﺘﺨﺮﺍﺝ ﻭ ﺍﺭﺍﺋﻪ ﮐﺮﺩ‪،‬‬ ‫ﭼﺮﺍ ﮐﻪ ﺭﻭﺯﮔﺎﺭ ﻋﺎﻗﻞ ﺧﺎﻥ ﺭﺍﺯﻱ ﺭﻭﺯﮔﺎﺭ ﺗﺬﮐﺮﻩﻫﺎ ﻭ ‪‬ﺟﻨﮓﻫﺎ ﻭ ﺳﻔﻴﻨﻪﻫﺎﻱ‬ ‫ﻣﺘﻔﺎﻭﺕ ﻭ ﻣﺨﺘﻠﻒ ﻭ ﺭﻧﮕﺎﺭﻧﮓ ﻧﻴﺰ ﺑﻮﺩ‪ ،‬ﺟﺰ ﺁﻥ ﮐﻪ ﺑﭙﺬﻳﺮﻳﻢ ﮐﻪ ﻋﺎﻗﻞ ﺧﺎﻥ ﺷﻤﺎﺭ‬ ‫ﺍﺷﻌﺎﺭﺵ ﻫﻤﻴﻦ ﺑﻮﺩﻩ ﻭ ﺟﺰ ﺍﻳﻦ ﺭﺍ ﺧﻮﺩ ﮐﻨﺎﺭ ﮔﺬﺍﺷﺘﻪ ﻭ ﻧﮑﺘﺔ ﺩﻳﮕﺮ ﺁﻥ ﮐﻪ ﺷﺎﻳﺪ‬ ‫ﻣﻘﺎﻡ ﻭ ﻣﻨﺼﺐ ﺩﻭﻟﺘﻲ ﺍﻳﻦ ﺷﺎﻋﺮ ﻭ ﻣﻮ ‪‬ﺭﺥ ﺑﻮﺩﻥ ﻭﻱ ﻧﻴﺰ ﺍﺯ ﺟﻨﺒﻪﻫﺎﻱ ﺩﻳﮕﺮﻱ‬ ‫ﺑﺎﺷﺪ ﮐﻪ ﺟﻨﺒﺔ ﺷﺎﻋﺮﻱ ﻭﻱ ﺭﺍ ﺗﺎ ﺣﺪﻭﺩﻱ ﺍﺯ ﻧﻈﺮﻫﺎ ﻣﺨﻔﻲ ﻭ ﺩﻭﺭ ﻧﮕﺎﻩ ﺩﺍﺷﺘﻪ‬ ‫ﺍﺳﺖ ﻭ ﺷﺎﻳﺪ ﻧﻴﺰ ﺭﻭﺣﻴﺔ ﺧﻮﺩ ﺷﺎﻋﺮ ﺑﺎ ﺍﺳﺘﻨﺴﺎﺥ ﻧﺴﺦ ﻣﺘﻔﺎﻭﺕ ﺍﺯ ﺩﻳﻮﺍﻧﺶ ﮐﻨﺎﺭ‬ ‫ﻧﻴﺎﻣﺪﻩ ﻭ ﺍﺯ ﺍﻳﻦ ﺭﻭﻱ ﺩﺭ ﺍﻳﻦ ﻗﺤﻂ ﺑﺎﺯﺍﺭ ﻧﺴﺦ ﺍﺷﻌﺎﺭ ﺍﻳﻦ ﺷﺎﻋﺮ‪ ،‬ﺍﺳﺘﻨﺎﺩ ﻣﺼﺤ‪‬ﺢ‬ ‫ﻣﺤﺘﺮﻡ ﺑﺮ ﻫﻤﻴﻦ ﺗﮏ ﻧﺴﺨﻪ ﺭﺍ ﻧﻴﺰ ﻓﻌﻼ ﺑﺎﻳﺪ ﺑﻪﻓﺎﻝ ﻧﻴﮏ ﮔﺮﻓﺖ ﻭ ﺳﻨﮓ ﺑﻨﻴﺎﺩﻳﻦ ﻭ‬ ‫ﻧﺨﺴﺘﻴﻦ ﺑﻪﺣﺴﺎﺏ ﺁﻭﺭﺩ ﻭ ﺷﺎﻳﺪ ﮐﻪ ﺩﺭ ﺁﻳﻨﺪﻩ ﺑﻪﮐﻮﺷﺶ ﻣﺤﹼﻘﻘﺎﻥ ﺩﻳﮕﺮ ﺩﻳﻮﺍﻧﻲ‬ ‫ﮐﺎﻣﻞﺗﺮ ﺍﺯ ﺍﻳﻦ ﺷﺎﻋﺮ ﺩﺭ ﺩﺳﺘﺮﺱ ﻋﻼﻗﻤﻨﺪﺍﻥ ﻗﺮﺍﺭ ﮔﺮﻓﺖ‪ ،‬ﭼﺮﺍ ﮐﻪ ﺧﻮﺩ ﻣﺼ ‪‬ﺤﺢ‬ ‫ﺍﻳﻦ ﺩﻓﺘﺮ ﻧﻴﺰ ﺩﺭ ﺳﺮﺳﺨﻦ ﺧﻮﻳﺶ ﺍﻋﺘﺮﺍﻑ ﺩﺍﺭﺩ ﮐﻪ ﺷﻤﺎﺭ ﻣﻨﻈﻮﻣﻪﻫﺎ ﻭ ﺍﺷﻌﺎﺭ ﺍﻳﻦ‬ ‫ﺷﺎﻋﺮ ﺑﻴﺶ ﺍﺯ ﺍﻳﻦ ﺩﻓﺘﺮ ﻭ ﺩﻳﻮﺍﻥ ﺍﺳﺖ‪.‬‬ ‫ﺩﺭ ﺑﺎﺯﻧﮕﺮﻱ ﺍﻳﻦ ﺩﻳﻮﺍﻥ ﻧﮑﺎﺗﻲ ﻓﺮﺍﻭﺍﻥ ﺑﻪﻧﻈﺮ ﺭﺳﻴﺪ ﮐﻪ ﺑﺮﺧﻲ ﺍﺯ ﻧﮕﺎﻩ‬ ‫ﻣﺼﺤ‪‬ﺢ ﻣﺤﺘﺮﻡ ﺩﻭﺭ ﻣﺎﻧﺪﻩ ﺑﻮﺩ ﻭ ﺑﺮﺧﻲ ﻧﻴﺰ ﺗﻮﺿﻴﺢ ﻭﺍﺿﺤﺎﺕ ﺑﻮﺩ ﻭ ﺁﻥﻫﺎ ﺭﺍ‬ ‫ﺍﻋﻤﺎﻝ ﮐﺮﺩﻡ‪ .‬ﭼﺮﺍ ﮐﻪ ﮐﺎﺳﺘﻲﻫﺎﻳﻲ ﺍﺯ ﻧﻮﻉ ﻭﺯﻥ ﻋﺮﻭﺿﻲ ﻭ ﺧﻮﺍﻧﺪﻩ ﻧﺸﺪﻥ ﺩﻳﻮﺍﻥ‬ ‫ﻭ ﺍﺧﺘﻼﻑ ﻓﺎﺣﺶ ﺑﻴﻦ ﺩﻭ ﻧﺴﺨﻪ ﺍﺯ ﻣﻮﺍﺭﺩﻱﺳﺖ ﮐﻪ ﺑﻴﺸﺘﺮ ﺍﺯ ﻋﻬﺪﻩ ﻳﮏ ﺷﺎﻋﺮ‬ ‫ﺑﺮﻣﻲﺁﻳﺪ ﻭ ﺍﺯ ﺷﻤﺎ ﭼﻪ ﭘﻨﻬﺎﻥ ﺳﻲ ﺳﺎﻝ ﺍﺳﺖ ﮐﻪ ﺗﻬﻤﺖ ﺷﺎﻋﺮﻱ ﺑﺮ ﺩﻭﺵ ﺍﻳﻦ‬ ‫ﮐﻤﺘﺮﻳﻦ ﺳﻨﮕﻴﻨﻲ ﻣﻲﮐﻨﺪ ﻭ ﺍﺯ ﺍﻳﻦ ﺭﻭﻱ ﺁﻧﺠﺎ ﮐﻪ ﻋﺒﺎﺭﺗﻲ ﺍﺯ ﺟﻨﺲ ﻳﻘﻴﻦ ﺑﺎ ﻣﻦ‬ ‫ﺑﻮﺩ ﺁﻥ ﺭﺍ ﺑﺮ ﺷﮏﻫﺎ ﻭ ﺷﺒﻬﻪﻫﺎ ﺭﺟﺤﺎﻥ ﺩﺍﺩﻡ ﻭ ﺁﻧﺠﺎ ﮐﻪ ﺭﺃﻳﻢ ﺑﺮ ﮔﻤﺎﻥ ﻭ ﻇﻦ‪‬‬

‫ﺩﻳﻮﺍﻥ ﺍﺷﻌﺎﺭ ﻋﺎﻗﻞ ﺧﺎﻥ ﺭﺍﺯﻱ ‪٣٤‬‬ ‫ﺍﺳﺘﻮﺍﺭ ﺑﻮﺩ ﺑﻪﻋﺒﺎﺭﺕ ﻣﺼﺤ ‪‬ﺢ ﺍﺭﺟﻤﻨﺪ ﺍﺳﺘﻨﺎﺩ ﺟﺴﺘﻢ ﻭ ﺍﺯ ﺍﻳﻦ ﺭﻭﻱ ﻭ ﺑﺎ ﺍﻳﻦ‬ ‫ﺷﻴﻮﻩ ﻭ ﻣﺮﺍﻡ ﺩﻩﻫﺎ ﻧﮑﺘﺔ ﺭﻳﺰ ﻭ ﺩﺭﺷﺖ ﺩﺭ ﺍﻳﻦ ﺩﻳﻮﺍﻥ ﺭﺍ ﺑﺮ ﺍﺳﺎﺱ ﺍﻳﻦ ﺍﺻﻞ‬ ‫ﻣﻨﻄﻘﻲ ﻭ ﻋﻘﻼﻧﻲ ﻭ ﺑﺎ ﻣﻌﻴﺎﺭﻫﺎﻱ ﺍﺩﺑﻲ ﻭ ﺷﻌﺮﻱ ﺍﺻﻼﺡ ﮐﺮﺩﻡ ﻭ ﺩﻓﺘﺮ ﺣﺎﺿﺮ ﺭﺍ‬ ‫ﺑﺎﺭ ﺩﻳﮕﺮ ﺑﺎ ﺣﻮﺻﻠﻪ ﻭ ﺩﻗﹼﺖ ﺍﺯ ﻧﻈﺮ ﮔﺬﺭﺍﻧﺪﻡ ﻭ ﺑﻪﺗﻼﺵﻫﺎﻱ ﺍﺭﺯﻧﺪﺓ ﻣﺼﺤﺢ‪‬‬ ‫ﺍﺭﺟﻤﻨﺪ ﻧﻴﺰ ﺩﺭ ﺑﺴﻴﺎﺭﻱ ﺟﺎﻫﺎ ﺁﻓﺮﻳﻦ ﮔﻔﺘﻢ ﻭ ﺍﻳﻦ ﺩﻓﺘﺮ ﺑﻴﺶ ﺍﺯ ﻫﻤﻪ ﺣﺎﺻﻞ‬ ‫ﺯﺣﻤﺎﺕ ﺑﻲﺩﺭﻳﻎ ﺣﻀﺮﺕ ﺍﻳﺸﺎﻥ ﺑﻮﺩﻩ ﻭ ﻫﺴﺖ ﮐﻪ ﺍﺟﺮﺷﺎﻥ ﻣﺄﺟﻮﺭ ﻭ ﺳﻌﻲ ﺷﺎﻥ‬ ‫ﻣﺸﮑﻮﺭ ﺑﺎﺩ‪ .‬ﺯﻳﺎﺩﻩ ﺍﺯ ﺍﻳﻦ ﺟﺴﺎﺭﺕ ﻧﻴﺴﺖ‪ .‬ﮐﺎﺳﺘﻲﻫﺎﻳﻲ ﺍﮔﺮ ﻫﺴﺖ ﺍﺯ ﻣﻦ ﺍﺳﺖ‬ ‫ﻭ ﺭﺍﺳﺘﻲﻫﺎ ﻭ ﺩﺭﺳﺘﻲﻫﺎ ﺍﺯ ﺁﻥ ﻳﺎﺭ ﮔﺮﺍﻣﻲ‪.‬‬ ‫ﻭ ﺣﺮﻑ ﺁﺧﺮ ﺁﻥ ﮐﻪ ﺑﻪﻗﻮﻝ ﺁﻥ ﺑﺰﺭﮒ‪:‬‬ ‫ﺍﻳﻦ ﻫﻤﻪ ﮔﻔﺘﻴﻢ ﻟﻴﮏ ﺍﻧﺪﺭ ﺑﺴﻴﭻ ﺑﻲﻋﻨﺎﻳـﺎﺕ ﺧـﺪﺍ ﻫﻴﭽﻴﻢ ﻫﻴﭻ‬ ‫ﻭﺍﻟﺴ‪‬ﻼﻡ‪ -‬ﺩﻱﻣﺎﻩ ‪ -۱۳۸۸‬ﻋﻠﻲﺭﺿﺎ ﻗﺰﻭﻩ‬

‫ﺍﻇﻬﺎﺭ ﺳﺨﻦ‬ ‫‪٣٥‬‬ ‫ﺍﻇﻬﺎﺭ ﺳﺨﻦ‬ ‫ﺑﺎ ﻧﺎﻡ ﺍﻳﺰﺩ ﻣﹼﺘﻌﺎﻝ ﻭ ﺩﺭﻭﺩ ﻭ ﺳﻼﻡ ﺑﺮ ﻧﺒﻲ ﺁﺧﺮﺍﻟﺰﹼﻣﺎﻥ ﺣﻀﺮﺕ ﻣﺤ ‪‬ﻤﺪ ﻣﺼﻄﻔﻲ‬ ‫ﺻﻠﹼﻲ ﺍﷲ ﻋﻠﻴﻪ ﻭ ﺳﻠﹼﻢ‪ ،‬ﺍﻇﻬﺎﺭ ﺍﻳﻦ ﺍﻣﺮ ﻻﺯﻡ ﻣﻲﺑﺎﺷﺪ ﮐﻪ ﭘﺲ ﺍﺯ ﺗﺤﺼﻴﻞ ﺩﺭﺟﺔ‬ ‫ﺩﮐﺘﺮﺍ )‪ (Ph. D‬ﺩﺭ ﺯﻣﻴﻨﺔ ﺯﺑﺎﻥ ﻭ ﺍﺩﺏ ﻓﺎﺭﺳﻲ ﺑﻪﻣﻮﺿﻮﻉ ”ﺍﺣﻮﺍﻝ‪ ١‬ﻭ ﺁﺛﺎﺭ ﻋﺎﻗﻞ‬ ‫ﺧﺎﻥ ﺭﺍﺯﻱ ـ ﻣﻮﺭ‪‬ﺥ ﻭ ﺷﺎﻋﺮ ﻧﺎﻣﻮﺭ ﺑﻪﻋﻬﺪ ﻋﺎﻟﻤﮕﻴﺮ“‪ ،‬ﺍﺯ ﺩﺍﻧﺸﮕﺎﻩ ﮐﻠﮑﹼﺘﻪ ﺩﺭ ﺳﺎﻝ‬ ‫‪ ۱۹۹۶‬ﻣﻴﻼﺩﻱ‪ ،‬ﺑﻨﺪﻩ ﻣﻴﻞ ﺷﺪﻳﺪ ﺩﺍﺷﺘﻢ ﮐﻪ ﺩﻳﻮﺍﻥ ﻋﺎﻗﻞ ﺧﺎﻥ ﺭﺍﺯﻱ ﺭﺍ ﮐﻪ ﺗﺎ ﻫﻨﻮﺯ‬ ‫ﺍﺯ ﺯﻳﻮﺭ ﻃﺒﻊ ﻣﺤﺮﻭﻡ ﺍﺳﺖ‪ ،‬ﺗﺼﺤﻴﺢ ﻭ ﺁﻣﺎﺩﺓ ﭼﺎﭖ ﮔﺮﺩﺍﻧﻢ ﺗﺎ ﺑﺎ ﻣﻌ ‪‬ﺮﻓﻲ ﻧﺎﻣﺒﺮﺩﻩ‬ ‫ﺑﻪﺯﺑﺎﻥ ﻭ ﺍﺩﺑ‪‬ﻴﺎﺕ ﻓﺎﺭﺳﻲ‪ ،‬ﺻﺎﺣﺐ ﺩﻳﻮﺍﻥ ﻳﻌﻨﻲ ﻋﺎﻗﻞ ﺧﺎﻥ ﺭﺍﺯﻱ ﮐﻪ ﮔﻢﮔﺸﺘﺔ‬ ‫ﺍﺩﺏ ﺍﺳﺖ ﻣﻴﺎﻥ ﺩﺍﻧﺸﻤﻨﺪﺍﻥ ﻭ ﺩﺍﻧﺸﺠﻮﻳﺎﻥ ﻓﺎﺭﺳﻲ ﻣﻌﺮ‪‬ﻓﻲ ﺑﺸﻮﺩ ﻭ ﻣﻘﺎﻡ ﻭ‬ ‫ﺍﻫﻤﻴ‪‬ﺘﺶ ﻣﻴﺎﻥ ﺳﺨﻨﮕﻮﻳﺎﻥ ﻭ ﺗﺎﺭﻳﺦﻧﻮﻳﺴﺎﻥ ﻫﻨﺪﻱ ﺑﻴﺸﺘﺮ ﻣﻌ‪‬ﻴﻦ ﺷﻮﺩ‪.‬‬ ‫ﻋﺎﻗﻞ ﺧﺎﻥ ﺭﺍﺯﻱ ﮐﻪ ﺭﺍﺟﻊ ﺑﻪﺯﻧﺪﮔﻲﻧﺎﻣﻪﺍﺵ ﺑﻪﺗﻔﺼﻴﻞ ﺩﺭ ﺻﻔﺤﺎﺕ ﺁﻳﻨﺪﻩ‬ ‫ﺳﺨﻦ ﺧﻮﺍﻫﻢ ﮔﻔﺖ‪ ،‬ﻣﻮ ‪‬ﺭﺥ ﻭ ﺷﺎﻋﺮ ﻧﺎﻣﺒﺮﺩﺍﺭ ﻋﻬﺪِ ﺍﻭﺭﻧﮕﺰﻳﺐ ﻋﺎﻟﻤﮕﻴﺮ ﺭﺣﻤﻪ ﺍﷲ‬ ‫ﻋﻠﻴﻪ )‪ ۱۷۰۷-۱۶۵۸‬ﻡ( ﺑﻮﺩ‪ .‬ﻭﻱ ﺑﻪﺩﺭﺑﺎﺭ ﻋﺎﻟﻤﮕﻴﺮ ﺑﺎ ﻣﻨﺎﺻﺐ ﻣﺨﺘﻠﻒ ﺍﺭﺗﺒﺎﻁ‬ ‫ﺩﺍﺷﺖ‪ .‬ﺩﺭ ﻣﻮﺿﻮﻉ ﺗﺎﺭﻳﺦ »ﻭﺍﻗﻌﺎﺕ ﻋﺎﻟﻤﮕﻴﺮﻱ« ﺍﺯ ﺁﺛﺎﺭ ﻣﻌﺮﻭﻑ ﺍﻭﺳﺖ ﮐﻪ‬ ‫ﺑﻪﻭﺳﻴﻠﺔ ﻫﻤﻴﻦ ﺗﺄﻟﻴﻒ ﺁﻭﺍﺯﻩﺍﺵ ﺩﺭ ﺷﺒﻪﻗﺎ ‪‬ﺭﻩ ﭘﻴﭽﻴﺪﻩ ﺍﺳﺖ‪ .‬ﺭﺍﺟﻊ ﺑﻪﺩﻳﻮﺍﻥ ﺭﺍﺯﻱ‬ ‫ﻧﺎﮔﺰﻳﺮ ﺍﺯ ﺗﻮ ‪‬ﺟﻪ ﺑﻪﻧﮑﺎ ِﺕ ﺯﻳﺮ ﻫﺴﺘﻴﻢ‪.‬‬ ‫‪ .1‬ﺍﻳﻦ ﻣﻮﺿﻮﻉ ﭘﺎﻳﺎﻥ ﻧﺎﻣﺔ ﺑﻨﺪﻩ ﺍﺳﺖ ﮐﻪ ﺑﻪﺯﺑﺎﻥ ﻓﺎﺭﺳﻲ ﺑﺮﺍﻱ ﺩﺭﻳﺎﻓﺖ ﺩﺭﺟﺔ ﺩﮐﺘﺮﻱ ﺑﻪﺩﺍﻧﺸﮕﺎﻩ‬ ‫ﮐﻠﮑﺘﹼﻪ ﺑﻪﺳﺎﻝ ‪ ۱۹۹۴‬ﻣﻴﻼﺩﻱ ﺳﭙﺮﺩﻩ ﺑﻮﺩﻡ‪ .‬ﺣﺎﻻ ﺍﻳﻦ ﭘﺎﻳﺎﻥ ﻧﺎﻣﻪ ﺑﻪﺯﺑﺎﻥ ﺍﺭﺩﻭ ﺩﺭ ﺳﺎﻝ ‪۲۰۰۵‬‬ ‫ﻣﻴﻼﺩﻱ ﺩﺭ ﮐﻠﮑﺘﹼﻪ ﺑﻪﭼﺎﭖ ﺭﺳﻴﺪﻩ ﻭ ﺩﺳﺘﻴﺎﺏ ﺍﺳﺖ‪) .‬ﻣﺤ ‪‬ﻤﺪ ﺍﻣﻴﻦ ﻋﺎﻣﺮ(‪.‬‬

‫ﺩﻳﻮﺍﻥ ﺍﺷﻌﺎﺭ ﻋﺎﻗﻞ ﺧﺎﻥ ﺭﺍﺯﻱ ‪٣٦‬‬ ‫‪ .۱‬ﺗﺎ ﺁﻧﺠﺎ ﮐﻪ ﺑﻨﺪﻩ ﺗﺤﻘﻴﻖ ﮐﺮﺩﻩﺍﻡ ﻧﺴﺨﺔ ﺧ ﹼﻄﻲ ﺩﻳﻮﺍﻥ ﺭﺍﺯﻱ ﺩﺭ ﻫﻴﭻ ﻣﺆﺳ‪‬ﺴﺔ‬ ‫ﺁﻣﻮﺯﺷﻲ ﻳﺎ ﮐﺘﺎﺑﺨﺎﻧﺔ ﻣﹼﻠﻲ ﻭ ﺷﺨﺼﻲ ﺩﺭ ﺳﺮﺍﺳﺮ ﻫﻨﺪ ﺩﺳﺘﻴﺎﺏ ﻧﻴﺴﺖ ﺑﻪﺟﺰ‬ ‫ﻳﮏ ﻧﺴﺨﺔ ﺧ ﹼﻄﻲ ﮐﻪ ﺩﺭ ﻣﺠﻤﻮﻋﺔ ﺑﻮﺩﻟﻴﻦ ﺑﺎ ﺷﻤﺎﺭﺓ )‪ (Bodlian) (۱۱۴۸‬ﺩﺭ‬ ‫ﮐﺘﺎﺑﺨﺎﻧﺔ ﻟﻨﺪﻥ )ﺑﺮﻳﻄﺎﻧﻴﻪ( ﻣﻮﺟﻮﺩ ﺍﺳﺖ‪ .‬ﺍﻳﻦ ﺗﻨﻬﺎ ﻧﺴﺨﻪﺍﻱﺳﺖ ﮐﻪ ﻫﻨﮕﺎﻡِ‬ ‫ﭘﮋﻭﻫﺶ ﺑﻪﻣﻮﺿﻮﻉ ﻣﺰﺑﻮﺭ ﺑﻨﺪﻩ ﻋﮑﺲ ﺁﻥ ﺩﻳﻮﺍﻥ ﺭﺍ ﺗﻮﺳ‪‬ﻂ ﺩﮐﺘﺮ ﻣﺤﻤ‪‬ﺪ‬ ‫ﻓﻴﺮﻭﺯ ﺭﺍﻫﻨﻤﺎﻱ ﺑﺮﺭﺳﻲ ﻭ ﭘﺮﻭﻓﺴﻮﺭ ﺑﺎﺯﻧﺸﺴﺘﻪ ﺩﺭ ﺭﺷﺘﺔ ﺯﺑﺎﻥ ﻭ ﺍﺩﺑ‪‬ﻴﺎﺕ‬ ‫ﻓﺎﺭﺳﻲ ﺩﺭ ﺩﺍﻧﺸﮕﺎﻩ ﮐﻠﮑﺘﹼﻪ ﺍﺯ ﮐﺘﺎﺑﺨﺎﻧﺔ ﻣﺬﮐﻮﺭ ﺩﺭﻳﺎﻓﺖ ﮐﺮﺩﻩ ﺑﻮﺩﻡ‪.‬‬ ‫‪ .۲‬ﺩﺭ ﮐﺘﺎﺑﺨﺎﻧﺔ ﺷﺎﻫﺎﻥِ ﺍﻭﺩﻫ ﺩﺭ ﻫﻨﺪ‪ ،‬ﺍﺯ ﻳﮏ ﻧﺴﺨﺔ ﺧﻄﹼﻲ ﺩﻳﻮﺍﻥ ﺭﺍﺯﻱ ﺳﺨﻦ‬ ‫ﺑﻪﻣﻴﺎﻥ ﻣﻲﺁﻳﺪ ﮐﻪ ﺭﺍﺟﻊ ﺑﻪﻧﺴﺨﺔ ﺫﺧﻴﺮﺓ ﻣﻮﺗﻲ ﻣﺤﻞ ﺍﺳﺖ ﻭ ﺷﻤﺎﺭﺓ‬ ‫ﻣﺨﻄﻮﻃﻪ )‪ (۴۶۷‬ﺩﺍﺭﺩ ﻭﻟﻲ ﻧﻪ ﺁﻥ ﮐﺘﺎﺑﺨﺎﻧﻪ ﺩﺭ ﺣﺎﻝ ﺣﺎﺿﺮ ﻣﻮﺟﻮﺩ ﺍﺳﺖ ﻭ‬ ‫ﻧﻪ ﺁﻥ ﻧﺴﺨﺔ ﺩﻳﻮﺍﻥ ﺩﺭ ﺩﺳﺘﺮﺱ ﺍﺳﺖ‪ .‬ﻣﻄﺎﺑﻖ ﺑﻪﺍﺳﭙﺮﻧﮕﺮ )‪(Springer‬‬ ‫ﻓﻬﺮﺳﺖﻧﮕﺎﺭ ﻣﺨﻄﻮﻃﺎﺕ ﺍﻭﺩﻫ‪ ،‬ﻣﺸﻤﻮﻻﺕِ ﺍﻳﻦ ﺩﻳﻮﺍﻥ ﻋﺒﺎﺭﺗﻨﺪ ﺍﺯ‪ :‬ﻗﺼﺎﻳﺪ‪:‬‬ ‫‪ ۳۴‬ﺻﻔﺤﻪ‪ ،‬ﻫﺮ ﺻﻔﺤﻪ ‪ ۱۱‬ﺑﻴﺖ‪ .‬ﻣﻄﻠ ِﻊ ﻗﺼﻴﺪﺓ ﺍ ‪‬ﻭﻝ ﺍﻳﻦ ﺍﺳﺖ‪:‬‬ ‫ﺍﻱ ﺻﻮﺭﺕ ﻫﺴﺘﻲ ﺯ ﮐﺮﻡ ﺩﺍﺩﻩ ﻋﺪﻡ ﺭﺍ‬ ‫ﺑﺮ ﺫﺍﺕ ﺗـﻮ ﺍﺛﺒـﺎﺕ ﮐﻨﺪ ﻋﻘﻞ ﻗـﺪﻡ ﺭﺍ‬ ‫ﻭﻟﻲ ﺍﻳﻦ ﻗﺼﻴﺪﻩ ﺩﺭ ﻧﺴﺨﺔ ﺑﻮﺩﻟﻴﻦ ﻧﻴﺴﺖ‪.‬‬ ‫ﻏﺰﻟﻴﺎﺕ‪ ۹۴ :‬ﺻﻔﺤﻪ‪ ،‬ﻫﺮ ﺻﻔﺤﻪ ‪ ۹‬ﺑﻴﺖ ﺩﺍﺭﺩ‪ .‬ﺑﻪﻋﻼﻭﻩ ﻋﺪ‪‬ﻩﺍﻱ ﺍﺯ ﺭﺑﺎﻋﻴ‪‬ﺎﺕ ﻭ‬ ‫ﻗﻄﻌﺎﺕ ﺗﺎﺭﻳﺨﻲ ﻧﻴﺰ ﺩﺍﺭﺩ‪ ،‬ﺷﺎﻣﻞ ﻳﮏ ﻗﻄﻌﻪ ﮐﻪ ﺗﺎﺭﻳﺦﻧﮕﺎﺭﺵ ﺁﻥ ‪ ۱۰۷۳‬ﻫﺠﺮﻱ‬ ‫ﻗﻤﺮﻱ ﺍﺳﺖ‪ .‬ﻣﻄﻠ ِﻊ ﻏﺰﻝِ ﻧﺨﺴﺘﻴﻦ ﺍﻳﻦ ﺍﺳﺖ‪:‬‬ ‫ﺍﻱ ﺯ ﻋﮑﺲِ ﺭﻭﻱ ﺗﻮ ﻟﻄﻒ ﻭ ﺻﻔﺎ ﺁﻳﻴﻨﻪ ﺭﺍ‬ ‫ﺟـﻠﻮﺓ ﺭﺧﺴـﺎﺭ ﺗــﻮ ﺩﺍﺩﻩ ﺟـﻼ ﺁﻳﻴـﻨﻪ ﺭﺍ‬ ‫ﮐﻪ ﻣﻄﻠ ِﻊ ﻏﺰﻝِ ﻧﺨﺴﺘﻴﻦ ﺍﻳﻦ ﺩﻳﻮﺍﻥ ﻣﻄﺎﺑﻖ ﺑﺎ ﻣﺠﻤﻮﻋﺔ ﺑﻮﺩﻟﻴﻦ ﺍﺳﺖ ﻭﻟﻲ ﺍﻳﻦ‬ ‫ﻣﺠﻤﻮﻋﻪ ﺍﺯ ﺭﺑﺎﻋﻴ‪‬ﺎﺕ ﺧﺎﻟﻲﺳﺖ ﻭ ﻗﻄﻌﺎ ِﺕ ﺗﺎﺭﻳﺨﻲ ﺩﺍﺭﺩ‪ ،‬ﻭﻟﻲ ﻗﻄﻌﻪﺍﻱ ﮐﻪ‬ ‫ﺗﺎﺭﻳﺦ ﻧﮕﺎﺭﺵ ﺁﻥ ‪ ١٠٧٣‬ﻫﺠﺮﻱ ﺍﺳﺖ ﺩﺭ ﻣﺠﻤﻮﻋﺔ ﺑﻮﺩﻟﻴﻦ ﻧﻴﺴﺖ‪.‬‬

‫ﺍﻇﻬﺎﺭ ﺳﺨﻦ‬ ‫‪٣٧‬‬ ‫‪ .۳‬ﻳﮏ ﻧﺴﺨﺔ ﺧ ﹼﻄﻲ ﺩﻳﻮﺍﻥ ﺭﺍﺯﻱ ﺩﺭ ﺫﺧﻴﺮﺓ ﮐﺘﺎﺑﺨﺎﻧﺔ ﻋﻠﻴﮕﺮ ﻣﻮﺟﻮﺩ ﺍﺳﺖ ﻭﻟﻲ‬ ‫ﻓﻘﻂ ﺩﺍﺭﺍﻱ ﺭﺩﻳﻒ »ﺍﻟﻒ‪ ،‬ﺑﺎ ﻭ ﺗﺎﻱ ﺗﺎﺯﻱ« ﻏﻴﺮ ﻣﮑﻤ‪‬ﻞ ﻭ ﻧﺎﻗﺺﺍﻵﺧﺮ ﺍﺳﺖ ﻭ‬ ‫ﺗﻌﺪﺍﺩ ‪ ۳۰‬ﻭﺭﻕ ﺩﺍﺭﺩ‪ .‬ﺧ ﹼﻂ ﻧﺴﺘﻌﻠﻴﻖ ﻏﻨﻴﻤﺖ‪ ،‬ﻧﺴﺨﺔ ﮐﺮﻡ ﺧﻮﺭﺩﻩ ﻭ ﺩﺭ‬ ‫ﺟﺎﻫﺎﻳﻲ ﺑﻌﻀﻲ ﻭﺍﮊﻩﻫﺎ ﻫﻢ ﺣﺬﻑ ﺷﺪﻩ ﺍﺳﺖ‪ .‬ﺗﺤﺮﻳﺮ ﻧﺴﺨﻪ ﻭ ﮐﺎﻏﺬ ﺩﺍﺭﺍﻱ‬ ‫ﮐﻬﻦ ﺳﺎﻟﻲ ﻭ ﻏﻴﺮﻗﺎﺑﻞ ﺧﻮﺍﻧﺪﻥ ﻭ ﺯﻳﺮﺍﮐﺲ ﮐﺮﺩﻥ ﺍﺳﺖ‪.١‬‬ ‫‪ .۴‬ﺭﺍﺟﻊ ﺑﻪﻧﺴﺨﺔ ﺩﻳﻮﺍﻥ ﺭﺍﺯﻱ ﺍﻳﻦ ﺍﻣﺮ ﻫﻢ ﻣﻮﺭﺩ ﺗﻮ ‪‬ﺟﻪ ﻣﻲﺑﺎﺷﺪ ﮐﻪ ﺩﮐﺘﺮ‬ ‫ﺷﺎﻳﺴﺘﻪ ﺍﺧﺘﺮ ﺟﺎﻭﻳﺪ‪ ،‬ﻣﺆﹼﻟﻒ ﻋﺎﻗﻞ ﺧﺎﻥ ﺭﺍﺯﻱ‪ :‬ﺍﺣﻮﺍﻝ ﻭ ﺁﺛﺎﺭ ﺑﻪﺣﻮﺍﻟﺔ‬ ‫ﻣﻮﻟﻮﻱ ﺧﺪﺍﺑﺨﺶ ﺧﺎﻥ ﻳﮏ ﻧﺴﺨﺔ ﺩﻳﻮﺍﻥ ﺭﺍﺯﻱ ﺫﮐﺮ ﻧﻤﻮﺩﻩ ﺍﺳﺖ ﺑﺎ ﺍﻳﻦ ﻣﻄﻠﻊ‪:‬‬ ‫ﮔـﻮﺍﻫﻲ ﻣﻲﺩﻫﺪ ﻋﺎﻟﻢ ﺑﻪﻭﺣﺪﺕ ﺫﺍﺕ ﺑﻲﭼـﻮﻥ ﺭﺍ‬ ‫ﮐﻪ ﺧﺎﺻ‪‬ﻴﺖ ﻳﮑﻲ ﺑﺎﺷﺪ ﺯ ﭼﻨﺪﻳﻦ ﺟﺰﻭ ﻣﻌﺠﻮﻥ ﺭﺍ‪٢‬‬ ‫ﺍﻳﻦ ﺍﻣﺮ ﺧﻴﻠﻲ ﺑﺎﻋﺚ ﺗﻌﺠ‪‬ﺐ ﺍﺳﺖ ﮐﻪ ﭼﻄﻮﺭ ﺩﮐﺘﺮ ﻣﻮﺻﻮﻑ ﺍﻳﻦ ﺷﻌﺮ‬ ‫»ﮔﻮﺍﻫﻲ ﻣﻲﺩﻫﻢ…« ﻳﺎ ﺍﻳﻦ ﻣﻘﻄﻊِ ﻏﺰﻝ‪:‬‬ ‫ﭼـﺮﺍ ﺍﺯ ﻓـﻄﺮﺗﻢ ﺑـﺎ ﺧـﻮﺩ ﻧﻨـﺎﺯﺩ ﻣﺤـﻔﻞ ﻣﻌﻨـﻲ‬ ‫ﮐﻪ ﻓﺎﻧﻮﺱ ﺍﺳﺖ ﻋﺎﻗﻞ! ﺧﺎﻧﺔ ﻣﻦ ﺷﻤﻊ ﻣﻀﻤﻮﻥ ﺭﺍ‬ ‫ﺭﺍ ﺩﺭﺝ ﮐﺮﺩﻩ ﻭ ﺍﻳﻦ ﺭﺍ ﺑﻪﻋﺎﻗﻞ ﺧﺎﻥ ﺭﺍﺯﻱ ﻧﺴﺒﺖ ﺩﺍﺩﻩ ﺍﺳﺖ! ﺩﺭ ﺣﺎﻟﻲ ﮐﻪ‬ ‫ﺷﻌﺮﻫﺎﻱ ﻣﺬﮐﻮﺭ ﻣﺎﻝِ ﻋﺎﻗﻞ ﺧﺎﻧﻲ ﺍﺳﺖ ﮐﻪ ﻧﺎﻣﺶ »ﻫﻨﺮﻭﺭ ﺧﺎﻥ« ﺑﻮﺩ ﻭ ﺗﺨﹼﻠﺺ‬ ‫ﻋﺎﻗﻞ ﺩﺍﺷﺖ‪ .‬ﻫﻨﺮﻭﺭ ﺧﺎﻥ ﻣﻌﺎﺻ ِﺮ ﻋﺎﻗﻞ ﺧﺎﻥ ﺭﺍﺯﻱ ﺑﻮﺩ ﮐﻪ ﺑﻴﺸﺘﺮ ﺯﻧﺪﮔﺎﻧﻲﺍﺵ‬ ‫ﺩﺭ ﻋﻬﺪ ﻧﻈﺎﻡﺍﻟﻤﻠﮏ ﺁﺻﻒﺟﺎﻩ )ﻣﺘﻮﹼﻓﻲ ‪ ١١٦١‬ﻫ‪ ١٧٤٨/‬ﻡ( ﻭ ﺍﻭ‪‬ﻝ ﺳﺎﻝ ﺣﮑﻮﻣﺖ‬ ‫ﺩﺭ ﻋﻬﺪ ﻓﺮ‪‬ﺥ ﺳﻴﺮ )‪ ١١٢٤‬ﻫ‪ ١٧١٣/‬ﻡ( ﮔﺬﺷﺖ‪ .‬ﺍﻳﻦ ﺭﺍ ﻫﻢ ﺑﺎﻳﺪ ﺩﺍﻧﺴﺖ ﮐﻪ ﺩﻳﮕﺮ‬ ‫ﺷﻌﺮﺍﻱ ﺁﻥ ﻋﻬﺪ ﻣﺜﻼﹰ ﺧﻮﺍﺟﻪ ﻣﺤﻤ‪‬ﺪ ﻋﺎﻗﻞ ﺑﺮﺍﺩ ِﺭ ﺧﻮﺍﺟﻪ ﮐﺎﻣﻞ ﻭ ﺳﺨﻨﻮﺭ ﺧﺎﻥ‬ ‫ﮐﻪ ﻋﺎﻗﻞ ﮐﺸﻤﻴﺮ ﻫﻢ ﻣﻲﻧﺎﻣﻴﺪ‪ ،‬ﻫﻤﻪ ﺭﺍﺯﻱ ﺗﺨﻠﹼﺺ ﻣﻲﮐﺮﺩﻧﺪ ﻭ ﺍﻳﻦ ﻫﻤﻪ ﺭﺍ ﺍﺯ‬ ‫‪ .1‬ﻣﮑﺘﻮﺏ ﺑﻪﻧﺎﻡ ﺑﻨﺪﻩ ﺍﺯ ﻃﺮﻑ ﺷﮑﻴﻞ ﺍﺣﻤﺪ ﺧﺎﻥ‪ ،‬ﮐﺎﺭﮔﺰﺍﺭ ﮐﺘﺎﺑﺨﺎﻧﺔ ﻣﻮﻻﻧﺎ ﺁﺯﺍﺩ‪ ،‬ﺩﺍﻧﺸﮕﺎﻩ ﻋﻠﻲﮔﺮﻩ‪،‬‬ ‫ﻣﻮ ‪‬ﺭﺧﻪ ‪/٤‬ﮊﺍﻧﻮﻳﻪ ‪ ٢٠٠٧‬ﻣﻴﻼﺩﻱ‪ ،‬ﺷﻤﺎﺭﻩ ﺣﻮﺍﻟﻪ ‪.٣٩٤‬‬ ‫‪ .2‬ﺩﮐﺘﺮ ﺷﺎﻳﺴﺘﻪ ﺍﺧﺘﺮ ﺟﺎﻭﻳﺪ‪ :‬ﻋﺎﻗﻞ ﺧﺎﻥ ﺭﺍﺯﻱ‪ ،‬ﺍﺣﻮﺍﻝ ﻭ ﺁﺛﺎﺭ‪ ،‬ﺹ ‪ ،٨١‬ﻧﺎﮔﭙﻮﺭ ‪ ١٩٩٩‬ﻡ‪.‬‬

‫ﺩﻳﻮﺍﻥ ﺍﺷﻌﺎﺭ ﻋﺎﻗﻞ ﺧﺎﻥ ﺭﺍﺯﻱ ‪٣٨‬‬ ‫ﻋﺎﻗﻞ ﺧﺎﻥ ﺗﻔﺮﻳﻖ ﺩﺍﺩﻩ‪ ،‬ﻋﺎﻗﻞ ﺧﺎﻥ ﺭﺍ »ﻋﺎﻗﻞ ﺷﺎﻫﺠﻬﺎﻥﺁﺑﺎﺩﻱ« ﻧﺎﻡ ﺑﺮﺩﻩﺍﻧﺪ ﮐﻪ‬ ‫ﻣﻴﺎﻥ ﺁﻥ ﻫﻤﻪ ﻓﺮﻕ ﺑﺸﻮﺩ ﻭ ﻫﻴﭻ ﺍﺷﺘﺒﺎﻩ ﻧﺒﺎﺷﺪ‪ .١‬ﺑﻪﻋﻼﻭﻩ ﻣﻘﻄ ِﻊ ﻏﺰﻝ ﻣﺬﮐﻮﺭ ﻋﺎﻗﻞ‬ ‫ﺧﺎﻥ ﺩﺭ ﻏﺰﻝِ ﺩﻳﮕﺮﻱ ﺍﻳﻦ ﺷﻌ ِﺮ ﻣﻌﺮﻭﻑ ﻫﻢ ﺩﺍﺭﺩ ﮐﻪ ﺯﺑﺎﻧﺰﺩ ﺧﺎﺹ ﻭ ﻋﺎﻡ ﺍﺳﺖ‪.‬‬ ‫ﻣﻼﺣﻈﻪ ﺑﺸﻮﺩ‪:‬‬ ‫ﺩﻝِ ﺩﻳـﻮﺍﻧﻪ ﺩﺭ ﺯﻧﺠﻴﺮ ﺯﻟﻔﺶ ﺑﺴﺘﻪ ﺣﻴـﺮﺍﻧﻢ‬ ‫ﭼﺮﺍ ﮐﺎﺭﻱ ﮐﻨﺪ ﻋﺎﻗﻞ ﮐﻪ ﺑﺎﺯ ﺁﻳﺪ ﭘﺸﻴﻤﺎﻧﻲ‪٢‬‬ ‫ﺩﺭ ﻫﺮ ﺩﻭ ﺷﻌﺮ ﻓﻮﻕﺍﻟ ﹼﺬﮐﺮ ﺍﺯ ﻭﺍﮊﺓ ﻋﺎﻗﻞ‪ ،‬ﺭﻭﺷﻦ ﺍﺳﺖ ﮐﻪ ﺍﻳﻦ ﺷﻌﺮﻫﺎ ﻣﺎﻝِ‬ ‫ﻋﺎﻗﻞ ﺧﺎﻥ ﺍﺳﺖ ﻧﻪ ﻋﺎﻗﻞ ﺧﺎﻥ ﻣﺘﺨﻠﹼﺺ ﺑﻪﺭﺍﺯﻱ‪ ،‬ﺍﻳﻨﺠﺎ ﺍﻳﻦ ﻧﮑﺘﻪ ﻫﻢ ﻗﺎﺑﻞ ﺫﮐﺮ‬ ‫ﻣﻲﺑﺎﺷﺪ ﮐﻪ ﻗﺒﻞ ﺍﺯ ﺍﻳﻦ ﻫﺮ ﺩﻭ ﺷﻌﺮ ﻣﺬﮐﻮﺭ ﺩﺭ ﺩﻳﻮﺍﻥ ﻋﺎﻗﻞ ﺧﺎﻥ ﺭﺍﺯﻱ ﻧﻴﺴﺖ‪.‬‬ ‫‪ .۵‬ﺩﮐﺘﺮ ﺷﺎﻳﺴﺘﻪ ﺍﺧﺘﺮ ﺟﺎﻭﻳﺪ ﺑﻪﺣﻮﺍﻟﺔ ﺳﺮﺍﺝﺍﻟﺪ‪‬ﻳﻦ ﻋﻠﻲ ﺧﺎﻥ ﺁﺭﺯﻭ ﻭ ﻣﺆﻟﹼﻒ‬ ‫ﻣﺠﻤﻊﺍﻟﻨﹼﻔﺎﻳﺲ »ﺩﻳﻮﺍﻥ ﺩﻭﻡ ﺭﺍﺯﻱ« ﺭﺍ ﻫﻢ ﺫﮐﺮ ﮐﺮﺩﻩ ﺍﺳﺖ ﻭ ﺍﻳﻦ ﻋﺒﺎﺭ ِﺕ‬ ‫ﻣﺠﻤﻊﺍﻟﹼﻨﻔﺎﻳﺲ ﺭﺍ ﮐﻪ‪» :‬ﺍﻧﺘﺨﺎﺏ ﺩﻳﻮﺍﻥ ﺩﻭﻡ ﺭﺍﺯﻱ ﮐﻪ ﻏﺰﻝﻫﺎﻱ ﺑﻲﺗﺮﺗﻴﺐ‬ ‫ﺩﺍﺭﺩ«‪ ،‬ﻧﻘﻞ ﻧﻤﻮﺩﻩ ﺑﻪﺍ ﹼﻃﻼﻉ ﻣﻲﺭﺳﺎﻧﺪ ﮐﻪ ﺭﺍﺯﻱ ﺩﻳﻮﺍﻥ ﺩ ‪‬ﻭﻣﻲ ﻫﻢ ﺩﺍﺷﺘﻪ ﮐﻪ‬ ‫ﻏﻴﺮ ﻣﺪﻭ‪‬ﻥ ﻭ ﺑﻲﺗﺮﺗﻴﺐ ﺑﻮﺩﻩ‪ .٣‬ﭼﻨﺎﻧﮑﻪ ﻗﺒﻼﹰ ﺫﮐﺮ ﻧﻤﻮﺩﻡ ﺩﻳﻮﺍﻥِ ﺭﺍﺯﻱ ﻓﻘﻂ‬ ‫ﻳﮏ ﻧﺴﺨﺔ ﺧ ﹼﻄﻲ ﺩﺍﺭﺩ ﻭ ﺩﻳﮕﺮ ﻫﻴﭻ ﻧﺴﺨﻪﺍﻱ ﺭﺍﺟﻊ ﺑﻪﺩﻳﻮﺍﻥ ﺭﺍﺯﻱ ﻧﻪ ﺩﺭ‬ ‫ﻫﻨﺪ ﻭ ﻧﻪ ﺩﺭ ﺧﺎﺭﺝ ﻫﻨﺪ ﺑﻪﺟﺰ ﺩﺭ ﺑﻮﺩﻟﻴﻦ )ﻟﻨﺪﻥ( ﻳﺎﻓﺖ ﻧﻤﻲﺷﻮﺩ‪ ،‬ﻟﺬﺍ ﺑﺪﻭﻥ‬ ‫ﺗﺤﻘﻴﻖ ﻭ ﺑﺮﺭﺳﻲ ﺁﻭﺭﺩﻥ ﺍﻳﻦ ﻧﮑﺘﻪ ﮐﻪ ﺭﺍﺯﻱ ﺩﻳﻮﺍ ِﻥ ﺩﻭ‪‬ﻡ ﻫﻢ ﺩﺍﺷﺖ ﺩﺭﺳﺖ‬ ‫ﻧﻴﺴﺖ‪ .‬ﻣﻤﮑﻦ ﺍﺳﺖ ﮐﻪ ﺁﻥ ﺩﻳﻮﺍﻥ ﻣﺘﻌﹼﻠﻖ ﺑﻪﻫﻨﺮﻭﺭ ﺧﺎﻥ ﻋﺎﻗﻞ ﻳﺎ ﺩﻳﮕﺮ‬ ‫ﺷﻌﺮﺍﻱ ﻣﻌﺎﺻﺮ ﺑﺎ ﺗﺨﹼﻠﺺ »ﻋﺎﻗﻞ« ﺑﺎﺷﺪ ﮐﻪ ﺭﺍﺟﻊ ﺑﻪﺍﻳﺸﺎﻥ ﺩﺭ ﺻﻔﺤﺎﺕ‬ ‫ﮔﺬﺷﺘﻪ ﺳﺨﻦ ﺭﻓﺖ‪ .‬ﺁﻧﻬﺎ ﻣﻤﮑﻦ ﺍﺳﺖ ﺩﻳﻮﺍﻥ ﺍﻭ‪‬ﻝ‪ ،‬ﺩ ‪‬ﻭﻡ ﻳﺎ ﺳ ‪‬ﻮﻡ ﺩﺍﺷﺘﻪ‬ ‫‪ .1‬ﻣﺠﻤﻮﻋﺔ ﻣﺨﻄﻮﻃﺔ ﻋﺮﺑﻲ ﻭ ﻓﺎﺭﺳﻲ‪ ،‬ﺟﻠﺪ ‪ ،٣‬ﺹ ‪ ،١٨٩‬ﺷﻤﺎﺭﻩ ‪ ،٣٧٨‬ﮐﺘﺎﺑﺨﺎﻧﺔ ﺧﺪﺍﺑﺨﺶ‪ ،‬ﭘﺘﻨﺎ‪.‬‬ ‫‪ .2‬ﺩﻳﻮﺍﻥ ﻋﺎﻗﻞ‪ ،‬ﺹ ‪ ،٣٣٦‬ﺷﻤﺎﺭﻩ ﻣﺨﻄﻮﻃﻪ ‪.٥٨٦‬‬ ‫‪ .3‬ﺷﺎﻳﺴﺘﻪ ﺍﺧﺘﺮ ﺟﺎﻭﻳﺪ‪ ،‬ﺹ ‪.٨١‬‬

‫ﺍﻇﻬﺎﺭ ﺳﺨﻦ‬ ‫‪٣٩‬‬ ‫ﺑﺎﺷﻨﺪ‪ ،‬ﭼﻨﺎﻧﮑﻪ ﺩﻭ ﻧﺴﺨﺔ ﺧ ﹼﻄﻲ ﺩﻳﻮﺍﻥ ﻫﻨﺮﻭﺭ ﺧﺎﻥ ﻋﺎﻗﻞ ﺑﺎ ﺗﺮﺗﻴﺐ ﺷﻤﺎﺭﻩ‬ ‫)‪ (۳۱۶۳‬ﻭ )‪ (۵۵۹۲‬ﺩﺭ ﮐﺘﺎﺑﺨﺎﻧﺔ ﺭﺍﻣﭙﻮﺭ ﺭﺿﺎ ﻣﻮﺟﻮﺩ ﺍﺳﺖ‪.‬‬ ‫‪ .۶‬ﺭﺍﺟﻊ ﺑﻪﻧﺴﺨﺔ ﺩﻳﻮﺍﻥ ﺭﺍﺯﻱ ﺍﻳﻦ ﻧﮑﺘﻪ ﻫﻢ ﻗﺎﺑﻞ ﺍﻋﺘﻨﺎ ﻭ ﺫﮐﺮ ﺍﺳﺖ ﮐﻪ‬ ‫ﻓﻬﺮﺳﺖﻧﮕﺎﺭ ﻣﺨﻄﻮﻃﺎﺕ ﻓﺎﺭﺳﻲ ﮐﺘﺎﺑﺨﺎﻧﺔ ﺭﺍﻣﭙﻮﺭ ﺭﺿﺎ ﻳﻌﻨﻲ ﺷﺎﻳﺴﺘﻪ ﺧﺎﻥ‬ ‫ﺍﺯ ﺩﻭ ﻧﺴﺨﺔ ﺧ ﹼﻄﻲ ﺩﻳﻮﺍ ِﻥ ﺭﺍﺯﻱ ﺍ ﹼﻃﻼﻉ ﺩﺍﺩﻩ ﺍﺳﺖ‪ .‬ﻣﻄﺎﺑﻖ ﻓﻬﺮﺳﺖ ﺩﺭ ﻳﮏ‬ ‫ﺻﻒ »ﺩﻳﻮﺍﻥ ﺭﺍﺯﻱ« ﺩﺭﺝ ﺍﺳﺖ ﻭ ﺩﺭ ﺻﻒِ ﻣﻘﺎﺑﻞ ﺍﺳﻢ ﻣﺆﹼﻟﻒ ﻳﻌﻨﻲ »ﻣﻴﺮ‬ ‫ﻣﺤﻤ‪‬ﺪ ﻋﺴﮑﺮﻱ ﻋﺎﻗﻞ ﺧﺎﻥ ﺭﺍﺯﻱ‪ ۱۱۰۸ ،‬ﻫ« ﻫﻢ ﺩﺭﺝ ﺷﺪﻩ ﺍﺳﺖ‪ .١‬ﭘﺲ ﺍﺯ‬ ‫ﺩﺭﻳﺎﻓﺖ ﮐﺮﺩﻥ ﻋﮑﺲ ﺁﻥ ﺩﻭ ﻧﺴﺨﻪ ﻣﻌﻠﻮﻡ ﮔﺸﺖ ﮐﻪ ﻓﻬﺮﺳﺖﻧﮕﺎﺭ ﻫﻴﭻ‬ ‫ﺯﺣﻤﺖ ﺑﺮﺭﺳﻲ ﻧﮑﺸﻴﺪﻩ ﻭ ﺷﻌﺮ ﻓﻼﻥ ﺭﺍ ﺑﻪﻧﺎﻡ ﻓﻼﻥ ﻣﻨﺴﻮﺏ ﮐﺮﺩﻩ‪ .‬ﻓﻘﻂ‬ ‫ﺗﺨﹼﻠﺺ »ﻋﺎﻗﻞ« ﺭﺍ ﺩﺭ ﻣﻘﻄﻊ ﺩﻳﻮﺍﻥ ﺩﻳﺪﻩ‪ ،‬ﮔﻤﺎﻥ ﺑﺮﺩﻩ ﮐﻪ ﺍﻳﻦ ﻫﻤﺎﻥ ﻋﺎﻗﻞ‬ ‫ﺧﺎﻥ ﺭﺍﺯﻱﺳﺖ ﺍﻣ‪‬ﺎ ﺣﻘﻴﻘﺖ ﺍﻳﻦ ﺍﺳﺖ ﮐﻪ ﻣﻄﺎﺑﻖ ﺑﻪﻓﻬﺮﺳﺖ ﺷﺎﻳﺴﺘﻪ ﺧﺎﻥ ﺩﻭ‬ ‫ﻧﺴﺨﺔ ﺧﻄﹼﻲ ﺩﻳﻮﺍﻥ ﻣﺬﮐﻮﺭ ﻣﻠﮑﻴ‪‬ﺖ ﻫﻨﺮﻭﺭ ﺧﺎﻥ ﻋﺎﻗﻞ ﺍﺳﺖ‪ .‬ﻣﻮﻟﻮﻱ‬ ‫ﺧﺪﺍﺑﺨﺶ ﺧﺎﻥ‪ ،‬ﺳﺮﺍﺝﺍﻟﺪﻳﻦ ﻋﻠﻲ ﺧﺎﻥ ﺁﺭﺯﻭ‪ ،‬ﺩﮐﺘﺮ ﺷﺎﻳﺴﺘﻪ ﺍﺧﺘﺮ ﺟﺎﻭﻳﺪ ﻭ‬ ‫ﺷﺎﻳﺴﺘﻪ ﺧﺎﻥ ﻓﻬﺮﺳﺖﻧﮕﺎﺭ ﮐﺘﺎﺑﺨﺎﻧﺔ ﺭﺍﻣﭙﻮﺭ ﺭﺿﺎ ﺭﺍ ﻫﺮﭼﻪ ﻣﻐﺎﻟﻄﻪ‪ ،‬ﺍﺷﮑﺎﻝ‬ ‫ﻳﺎ ﺍﺷﺘﺒﺎﻩ ﺭﺍﺟﻊ ﺑﻪﺩﻳﻮﺍﻥ ﺭﺍﺯﻱ ﺷﺪﻩ ﺍﺳﺖ ﺑﻨﺪﻩ ﺁﻧﻬﺎ ﻫﻤﻪ ﺭﺍ ﺑﻪﺩﹼﻗﺖ ﺑﺮﺭﺳﻲ‬ ‫ﮐﺮﺩﻩﺍﻡ ﻭ ﺩﺭ ﺍﻳﻦ ﺗﺤﻘﻴﻖ ﺁﻭﺭﺩﻩﺍﻡ‪.‬‬ ‫ﺣﺎﻻ ﺑﻪﻧﮑﺎﺕ ﺯﻳﺮ ﺑﺤﺚ ﻧﺴﺨﺔ ﺧﻄﹼﻲ ﺩﻳﻮﺍﻥ ﻣﻴﺮ ﻣﺤﻤ‪‬ﺪ ﻋﺴﮑﺮﻱ ﻋﺎﻗﻞ‬ ‫ﺧﺎﻥ ﺭﺍﺯﻱ )‪ ۱۱۰۸‬ﻫ( ﺗﻮﺟ‪‬ﻪ ﺗﺎﻥ ﺭﺍ ﺟﻠﺐ ﻣﻲﮐﻨﻢ‪ .‬ﻧﺴﺨﺔ ﺧﻄﹼﻲ ﺑﻮﺩﻟﻴﻦ‬ ‫ﺷﻤﺎﺭﻩ ‪ ۱۱۴۸‬ﻭﺍﺣﺪ ﻧﺴﺨﺔ ﺩﻳﻮﺍﻥ ﻋﺎﻗﻞ ﺧﺎﻥ ﺭﺍﺯﻱﺳﺖ ﮐﻪ ﺍﺯ ﻋﮑﺲ ﺁﻥ ﺑﻨﺪﻩ‬ ‫ﺑﻪﮐﻠﹼﻲ ﺍﺳﺘﻔﺎﺩﻩ ﻧﻤﻮﺩﻩﺍﻡ‪ .‬ﺍﻳﻦ ﻧﺴﺨﻪ ﺍﺯ ﺹ ‪ ۵۴‬ﺷﺮﻭﻉ ﺷﺪﻩ ﺗﺎ ﺹ ‪۱۱۹‬‬ ‫ﺑﻪﭘﺎﻳﺎﻥ ﻣﻲﺭﺳﺪ ﮐﻪ ﺍﺯ ﺁﻥ ﺭﻭﺷﻦ ﺍﺳﺖ ﮐﻪ ﺍﻳﻦ ﻧﺴﺨﻪ ﺷﺎﻣﻞِ ﻧﺴﺨﺔ ﺩﻳﮕﺮﻱ‬ ‫‪ .1‬ﺷﺎﻳﺴﺘﻪ ﺧﺎﻥ‪ :‬ﻓﻬﺮﺳﺖ ﻣﺨﻄﻮﻃﺎﺕ ﻓﺎﺭﺳﻲ‪ ،‬ﮐﺘﺎﺑﺨﺎﻧﺔ ﺭﺍﻣﭙﻮﺭ ﺭﺿﺎ‪ ،‬ﺹ ‪۴۲۰‬؛ ﺩﻳﻮﺍ ِﻥ ﻋﺎﻗﻞ‪،‬‬ ‫ﺷﻤﺎﺭﻩ ﻣﻄﻠﻮﺑﻪ ‪ ،۳۱۶۳‬ﺗﻌﺪﺍﺩ ﺍﻭﺭﺍﻕ ‪۹۶‬؛ ﺩﻳﻮﺍ ِﻥ ﻋﺎﻗﻞ‪ ،‬ﺷﻤﺎﺭﻩ ﻣﻄﻠﻮﺑﻪ ‪ ،۵۵۹۲‬ﺗﻌﺪﺍﺩ ﺍﻭﺭﺍﻕ‬ ‫‪ ۲۱۶‬ﻓﻬﺮﺳﺖ ﻣﺬﮐﻮﺭ ﺍﺯ ﻃﺮﻑ ﮐﺘﺎﺑﺨﺎﻧﺔ ﺧﺪﺍﺑﺨﺶ‪ ،‬ﭘﺘﻨﺎ ﭼﺎﭖ ﮔﺮﺩﻳﺪﻩ ﺍﺳﺖ‪.‬‬

‫ﺩﻳﻮﺍﻥ ﺍﺷﻌﺎﺭ ﻋﺎﻗﻞ ﺧﺎﻥ ﺭﺍﺯﻱ ‪٤٠‬‬ ‫ﺍﺳﺖ ﻭ ‪ ۶۶‬ﻭﺭﻕ ﺩﺍﺭﺩ‪ .‬ﻣﻄﺎﻟﺐ ﺍﻳﻦ ﻧﺴﺨﻪ ﻋﺒﺎﺭﺗﻨﺪ ﺍﺯ‪ :‬ﻏﺰﻟﻴ‪‬ﺎﺕ )ﺍﺯ ﺹ ‪ ۵۵‬ﺗﺎ‬ ‫‪ ،(۹۵‬ﺗﺮﺟﻴﻊﺑﻨﺪ )ﺍﺯ ﺹ ‪ ۹۵‬ﺗﺎ ‪ ،(۹۸‬ﺳﺎﻗﻲﻧﺎﻣﻪ )ﺍﺯ ﺹ ‪ ۹۸‬ﺗﺎ ‪،(۱۰۳‬‬ ‫ﺧﻤﺎﺭﻧﺎﻣﻪ )ﺍﺯ ﺹ ‪ ۱۰۹‬ﺗﺎ ‪ ،(۱۱۱‬ﻣﻘﻄﹼﻌﺎﺕ )ﺍﺯ ﺹ ‪ ۱۱۱‬ﺗﺎ ‪ ،(۱۱۳‬ﻭ ﺩﺭ ﺁﺧﺮ‬ ‫ﻗﺼﻴﺪﻩﺍﻱ ﺩﺭ ﻣﺪﺡ ﺑﺮﻫﺎﻥﺍﻟﺪ‪‬ﻳﻦ )ﺍﺯ ﺹ ‪ ۱۱۴‬ﺗﺎ ‪ .(۱۱۹‬ﺩﺭ ﺍﺧﺘﺘﺎﻡ ﺍﻳﻦ ﻧﺴﺨﻪ‬ ‫ﺍﻗﺘﺒﺎﺱ ﻏﻴﺮ ﺭﻭﺷﻦ ﺍﻳﻦ ﻃﻮﺭ ﺩﺭﺝ ﺍﺳﺖ‪:‬‬ ‫”ﺩﻳﻮﺍﻥ ﻧﻮ‪‬ﺍﺏ ﻋﺎﻗﻞ ﺧﺎﻥ ﺭﺍﺯﻱ ﻋﻨﺎﻳﺖ ﻧﻤﻮﺩﻩ ﺧﻮﺩ ﺑﻪﺩﻭﻟﺖ… ﺑﻪﺑﻨﺪﻩ‬ ‫ﻋﺎﺻﻲ ﺧﻮﺍﺟﻪ ﻏﻼﻡ ﺍﺣﻤﺪ ﻫﺮﮐﻪ ﺩﻋﻮﻱ ﮐﻨﺪ ﺑﺎﻃﻞ ﮔﺮﺩﺩ“‪) .‬ﺹ ‪.(۱۱۹‬‬ ‫ﺍﺯ ﺍﻳﻦ ﺍﻗﺘﺒﺎﺱ ﻣﻌﻠﻮﻡ ﻣﻲﺷﻮﺩ ﮐﻪ ﺧﻮﺩ ﺭﺍﺯﻱ ﺍﻳﻦ ﻧﺴﺨﺔ ﺩﻳﻮﺍﻥ ﺭﺍ ﺑﻪﺧﻮﺍﺟﻪ‬ ‫ﻏﻼﻡ ﺍﺣﻤﺪ ﻋﻨﺎﻳﺖ ﮐﺮﺩﻩ ﺑﻮﺩ‪ ،‬ﻭﻟﻲ ﺑﻪﺳﺒﺐ ﺩﺭﺝ ﻧﺸﺪﻥِ ﺗﺎﺭﻳﺦ ﻧﺴﺨﻪ ﺗﻌﻴﻴ ِﻦ ﺳﺎﻝِ‬ ‫ﮐﺘﺎﺑﺖ ﺍﻳﻦ ﻧﺴﺨﺔ ﺩﻳﻮﺍﻥ ﻣﺸﮑﻞ ﺍﺳﺖ‪ .‬ﺍﻣ‪‬ﺎ ﺣﺘﻤﹰﺎ ﺍﻳﻦ ﻧﺴﺨﻪ ﺩﺭ ﺯﻧﺪﮔﺎﻧﻲ ﺭﺍﺯﻱ‬ ‫ﺑﻪﺭﺷﺘﺔ ﺗﺤﺮﻳﺮ ﺩﺭﺁﻣﺪﻩ ﺍﺳﺖ‪ .‬ﺍﻳﻦ ﻧﺴﺨﻪ ﺑﺮ ﺭﻭﻱ ﮐﺎﻏﺬ ﺧﺎﮐﻲ ﺭﻧﮓ ﺍﺳﺖ ﻭ ﺧﻂ‬ ‫ﻧﺴﺘﻌﻠﻴﻖ ﺩﺍﺭﺩ ﻭ ﺳﺮِ ﻭﺭﻕ ﻣﺰ‪‬ﻳﻦ ﻭ ﺁﺭﺍﺳﺘﻪ ﺍﺳﺖ‪ .‬ﺗﺤﺮﻳﺮ ﺧﻴﻠﻲ ﺻﺎﻑ ﻭ ﺧﻮﺍﻧﺪﻧﻲ‬ ‫ﺍﺳﺖ‪ .‬ﻳﮏ ﺩﻭ ﺟﺎ ﮐﻪ ﻭﺍﮊﻩﻫﺎ ﮐﻤﺮﻧﮓ ﺷﺪﻩ ﺁﻥ ﺭﺍ ﺑﻪﻋﻴﻨﻪ ﻧﻮﺷﺘﻪ ﻳﺎ ﺟﺎﻳﻲ ﮐﻪ ﺍﺯ‬ ‫ﺁﻧﺠﺎ ﻭﺍﮊﻩﻫﺎ ﺣﺬﻑ ﻫﺴﺘﻨﺪ ﺩﺭ ﺁﻧﺠﺎ ﻧﺸﺎ ِﻥ ﺳﺆﺍﻟﻲ )؟( ﮔﺬﺍﺷﺘﻪﺍﻡ‪.‬‬ ‫ﺧﻮﺷﺒﺨﺘﺎﻧﻪ ﺳﻌﺎﺩﺕ ﺗﺼﺤﻴﺢ ﺍﻳﻦ ﻧﺴﺨﺔ ﺩﻳﻮﺍﻥ ﺭﺍﺯﻱ ﺭﺍ ﺍﻳﻦ ﺟﺎﻧﺐ‬ ‫ﺑﺎ ﺭﺍﻫﻨﻤﺎﻳﻲ ﺍﺳﺘﺎﺩ ﮔﺮﺍﻣﻲ ﻣﻮﻻﻧﺎ ﺍﺑﻮﻣﺤﻔﻮﻅﺍﻟﮑﺮﻳﻢ ﻣﻌﺼﻮﻣﻲ ﭘﺮﻭﻓﺴﻮﺭ‬ ‫ﺑﺎﺯﻧﺸﺴﺘﻪ ﻣﺪﺭﺳﻪ ﻋﺎﻟﻴﺔ ﮐﻠﮑﺘﹼﻪ ﻭ ﻳﮑﻲ ﺍﺯ ﺑﺮﺟﺴﺘﻪﺗﺮﻳﻦ ﺩﺍﻧﺸﻤﻨﺪﺍﻥِ ﺯﺑﺎﻥ ﻭ‬ ‫ﺍﺩﺑﻴ‪‬ﺎﺕ ﻋﺮﺑﻲ ﻭ ﻓﺎﺭﺳﻲ ﺩﺍﺷﺘﻢ‪ .‬ﺍﻳﻦ ﻧﺴﺨﺔ ﺗﺎﺯﺓ ﺩﻳﻮﺍﻥ ﻓﺎﺭﺳﻲ‪ ،‬ﻋﻼﻭﻩ ﺑﺮ‬ ‫ﻣﻄﺎﻟﺐ ﻣﺨﺘﻠﻒ ﻏﺰﻝﻫﺎﻳﻲ ﺩﺍﺭﺩ ﮐﻪ ﺗﻌﺪﺍﺩ ﺁﻥ ﺑﻪ ‪ ۱۳۵‬ﻣﻲﺭﺳﺪ‪ .‬ﺩﺭ ﺿﻤﻦ‬ ‫ﺑﻲﺗﺮﺗﻴﺐ ﺍﻳﻦ ﻧﺴﺨﻪ ﺑﺎﻳﺪ ﺩﺍﻧﺴﺖ ﮐﻪ ﺍﺯ ﺭﺩﻳﻒ ﺍﻟﻒ ﺗﺎ ﺗﺎﻱ ﺗﺎﺯﻱ ﻳﻌﻨﻲ ﺍﺯ‬ ‫ﻭﺭﻕ ‪ ۱‬ﺗﺎ ‪ ۱۹‬ﻣﻄﺎﺑﻖ ﺑﻪﺣﺮﻭﻑ ﺗﻬﺠ‪‬ﻲ ﻏﺰﻝﻫﺎ ﺩﺭﺝ ﺍﺳﺖ‪ .‬ﺑﻌﺪ ﺍﺯ ﺁﻥ ﺍﺯ ﻫﻤﺎﻥ‬ ‫ﻭﺭﻕ ‪ ۱۹‬ﻏﺰﻝﻫﺎﻱ ﺗﺮﺗﻴﺐ ﻳﻌﻨﻲ ﻣﺸﺘﻤﻞﺑﺮ ﺭﺩﻳﻒ ﺩﺍﻝ ﺑﻪﻧﻈﺮ ﻣﻲﺁﻳﺪ ﮐﻪ‬ ‫ﺳﻠﺴﻠﺔ ﺁﻥ ﺗﺎ ﻭﺭﻕ ‪ ۱۳‬ﻣﻲﺭﺳﺪ‪ .‬ﺩﻭﺑﺎﺭﻩ ﺍﺯ ﻫﻤﺎﻥ ﻭﺭﻕ ﺑﻘﻴﺔ ﻏﺰﻝﻫﺎ ﺍﺯ ﺭﺩﻳﻒ‬ ‫ﺗﺎﻱ ﺗﺎﺯﻱ ﺷﺮﻭﻉ ﻣﻲﺷﻮﺩ ﻭ ﺑﺮ ﻭﺭﻕ ‪ ۱۶‬ﺗﮑﻤﻴﻞ ﻣﻲﺷﻮﺩ‪ .‬ﻫﻤﻴﻦ ﻃﻮﺭ ﺩﺭ ﻣﻴﺎﻥ‬

‫ﺍﻇﻬﺎﺭ ﺳﺨﻦ‬ ‫‪٤١‬‬ ‫ﻫﺮ ﻳﮏ ﻏﺰﻝ ﺭﺩﻳﻒ ﺝ ﻭ ﺡ ﺩﺍﺭﺩ‪ ،‬ﺑﻌﺪ ﺍﺯ ﺁﻥ ﺍﺯ ﻭﺭﻕ ‪ ۱۶‬ﺑﻘﻴﻪ ﻏﺰﻝﻫﺎ ﺍﺯ‬ ‫ﺭﺩﻳﻒ »ﺩﺍﻝ« ﺩﻭﺑﺎﺭﻩ ﺷﺮﻭﻉ ﺷﺪﻩ ﺑﻪﻭﺭﻕ ‪ ۲۳‬ﺗﮑﻤﻴﻞ ﻣﻲﺷﻮﺩ‪ .‬ﺑﻌﺪ ﺍﺯ ﺁﻥ ﺍﺯ‬ ‫ﻭﺭﻕ ‪ ۲۳‬ﻏﺰﻝﻫﺎ ﺩﺍﺭﺍﻱ ﺭﺩﻳﻒ »ﺭﺍ« ﺷﺮﻭﻉ ﺷﺪﻩ‪ ،‬ﻣﻄﺎﺑﻖ ﺑﻪﺣﺮﻭﻑ ﺗﻬﺠ‪‬ﻲ ﺑﺎ‬ ‫ﺗﺮﺗﻴﺐ ﺑﻪﺻﻔﺤﻪ ‪ ۹۵‬ﻳﻌﻨﻲ ﻭﺭﻕ ‪ ۴۳‬ﺑﺮ ﺭﺩﻳﻒ »ﻳﺎﻱ« ﺗﻤﺎﻡ ﻣﻲﺷﻮﺩ‪ .‬ﻳﻌﻨﻲ‬ ‫ﺭﺩﻳﻒﻭﺍﺭ ﻏﺰﻝﻫﺎ ﺭﺍ ﮐﻪ ﺩﺭ ﻣﻴﺎﻥ ﺑﺎﻗﻲ ﻣﺎﻧﺪﻩ ﺍﺳﺖ ﺁﻧﻬﺎ ﺭﺍ ﻫﻤﺮﺍﻩ ﺩﻳﮕﺮ‬ ‫ﻏﺰﻝﻫﺎﻳﻲ ﮐﻪ ﺭﺩﻳﻒ ﻣﺨﺘﻠﻒ ﺩﺍﺭﺩ ﺩﺭﺝ ﮐﺮﺩﻩﺍﻧﺪ‪ ،‬ﮐﻪ ﻣﺼ ﹼﺼﺢ ﺑﺮﺍﻱ ﺟﺪﺍ‬ ‫ﻧﻤﻮﺩﻥ ﺁﻧﻬﺎ ﻣﺘﺤﻤ‪‬ﻞ ﻭﻗﺖ ﻭ ﺩﺷﻮﺍﺭﻱ ﻓﺮﺍﻭﺍﻥ ﻣﻲﺷﻮﺩ‪ .‬ﺑﻨﺪﻩ ﺁﻥ ﻫﻤﻪ ﺭﺍ ﻣﻄﺎﺑﻖ‬ ‫ﺑﻪﺣﺮﻭﻑ ﺗﻬﺠ‪‬ﻲ ﺗﺮﺗﻴﺐ ﻭ ﺗﺼﺤﻴﺢ ﻧﻤﻮﺩﻩ ﻭ ﺑﺮ ﺭﻭﻱ ﻫﺮ ﻏﺰﻝ ﺷﻤﺎﺭﻩ )ﻋﺪﺩ(‬ ‫ﮔﺬﺍﺷﺘﻪﺍﻡ ﺗﺎ ﻣﻌﻠﻮﻡ ﺑﺸﻮﺩ ﮐﻪ ﺗﻌﺪﺍﺩ ﻏﺰﻝﻫﺎ ﭼﻨﺪ ﺗﺎ ﺍﺳﺖ‪ .‬ﺍﻳﻦ ﺭﺍ ﻫﻢ ﺗﺬ ﹼﮐﺮ‬ ‫ﻣﻲﺩﻫﻢ ﮐﻪ ﻏﺰﻝﻫﺎﻱ ﺩﺍﺭﺍﻱ ﺭﺩﻳﻒ ﺙ‪ ،‬ﭺ‪ ،‬ﺥ‪ ،‬ﺫ‪ ،‬ﺽ‪ ،‬ﻅ‪ ،‬ﮎ‪ ،‬ﮒ ﻭ ﻏﻴﺮﻩ‬ ‫ﺩﺭ ﺍﻳﻦ ﺩﻳﻮﺍﻥ ﻧﻴﺴﺖ ﻭ ﺍﺯ ﺭﺑﺎﻋﻲﻫﺎ ﻫﻢ ﺍﻳﻦ ﺩﻳﻮﺍﻥ ﺧﺎﻟﻲﺳﺖ‪ .‬ﻫﺮﭼﻪ ﻫﺴﺖ‬ ‫ﻫﻤﻴﻦ ﺍﺳﺖ ﮐﻪ ﺩﺭ ﺍﺩﺍﻣﻪ ﺁﻧﻬﺎ ﺭﺍ ﺫﮐﺮ ﻧﻤﻮﺩﻩﺍﻡ‪.‬‬ ‫ﺑﻪﺍﻳﻦ ﻧﮑﺘﻪ ﻫﻢ ﺗﻮﺟ‪‬ﻪ ﺑﺎﻳﺪ ﮐﺮﺩ ﮐﻪ ﺑﻨﺪﻩ ﺩﻳﻮﺍﻥ ﺣﺎﺿﺮ ﺭﺍ ﺑﻪﻟﺤﺎﻅ ﻃﺮﺯ‬ ‫ﻓﺎﺭﺳﻲ ﺟﺪﻳﺪ ﺗﺮﺗﻴﺐ ﺩﺍﺩﻩﺍﻡ‪ ،‬ﻣﺜﻼﹰ ﻳﺎﻱ ﻣﺠﻬﻮﻝ ) ( ﺭﺍ ﺑﺎ ﻳﺎﻱ ﻣﻌﺮﻭﻑ )ﻱ(‪،‬‬ ‫ﻧﻮﻥ ﻏﻨﹼﻪ ﺭﺍ ) ( ﺑﺎ ﻧﻮﻥ ﻇﺎﻫﺮ )ﻥ(‪ ،‬ﺍﺳﺐ ﺭﺍ ﺑﺎ ﺍﺳﭗ‪ ،‬ﺍﮐﺮ ﺭﺍ ﺑﺎ ﺍﮔﺮ‪ ،‬ﺷﮑﻔﺘﻪ ﺭﺍ‬ ‫ﺑﺎ ﺷﮕﻔﺘﻪ‪ ،‬ﮐﻮﺵ ﺭﺍ ﺑﺎ ﮔﻮﺵ ﻭ ﻏﻴﺮﻩ ﻋﻮﺽ ﮐﺮﺩﻩﺍﻡ‪ ،‬ﻳﻌﻨﻲ ﻣﻄﺎﺑﻖ ﺑﻪﻃﺮﺯ ﻓﺎﺭﺳﻲ‬ ‫ﺟﺪﻳﺪ ﻫﺮﭼﻪ ﻻﺯﻡ ﺩﺍﻧﺴﺘﻢ ﺁﻥ ﺭﺍ ﺗﺼﺤﻴﺢ ﻧﻤﻮﺩﻩ ﻭ ﺩﺭ ﺣ ‪‬ﺪ ﺑﻀﺎﻋﺖ ﺗﻼﺵ ﮐﺮﺩﻡ‬ ‫ﺗﺎ ﺩﻳﻮﺍﻥ ﺍﺯ ﺍﻏﻼﻁ ﭘﺎﮎ ﻭ ﺑﻲﻋﻴﺐ ﺑﺎﺷﺪ ﻭ ﺑﺎ ﺯﺣﻤﺖ ﻭ ﺳﻌﻲ ﺑﺴﻴﺎﺭ ﺍﻳﻦ ﻧﺴﺨﺔ‬ ‫ﻓﺎﺭﺳﻲ ﺭﺍ ﺑﺎ ﭘﺎﻭﺭﻗﻲﻫﺎ ﺁﺭﺍﺳﺘﻪ ﮐﺮﺩﻩ‪ ،‬ﺑﻪﺧﺪﻣﺖ ﺩﺍﻧﺸﻤﻨﺪﺍﻥ‪ ،‬ﭘﮋﻭﻫﺸﮕﺮﺍﻥ ﻭ‬ ‫ﻣﺤ ﹼﺼﻼﻥ ﻓﺎﺭﺳﻲ ﺟﺴﺎﺭﺕ ﺑﻪﺗﻘﺪﻳﻢ ﻣﻲﻧﻤﺎﻳﻢ‪.‬‬ ‫ﺑﺮ ﺧﻮﺩ ﻓﺮﺽ ﻣﻲﺩﺍﻧﻢ ﺗﺎ ﺍﺯ ﺯﺣﻤﺎﺕ ﻣﺪﻳﺮﺍﻥ ﺭﺍﻳﺰﻧﻲ ﻓﺮﻫﻨﮕﻲ ﺟﻤﻬﻮﺭﻱ‬ ‫ﺍﺳﻼﻣﻲ ﺍﻳﺮﺍﻥ ﺩﺭ ﻫﻨﺪ ﺁﻗﺎﻱ ﺩﮐﺘﺮ ﮐﺮﻳﻢ ﻧﺠﻔﻲ ﺑﺮﺯﮔﺮ )ﺭﺍﻳﺰﻥ ﻓﺮﻫﻨﮕﻲ( ﻭ‬ ‫ﺷﺎﻋﺮ ﻭ ﭘﮋﻭﻫﺸﮕﺮ ﺍﻳﺮﺍﻧﻲ ﺁﻗﺎﻱ ﺩﮐﺘﺮ ﻋﻠﻲ ﺭﺿﺎ ﻗﺰﻭﻩ )ﻣﺪﻳﺮ ﻣﺮﮐﺰ ﺗﺤﻘﻴﻘﺎﺕ‬ ‫ﻓﺎﺭﺳﻲ( ﮐﻪ ﺩﺭ ﭼﺎﭖ ﺍﻳﻦ ﺍﺛﺮ ﻭ ﻭﻳﺮﺍﺳﺘﺎﺭﻱ ﺁﻥ ﺳﻬﻤﻲ ﺍﺭﺯﻧﺪﻩ ﺩﺍﺷﺘﻪ ﺍﺳﺖ‬

‫ﺩﻳﻮﺍﻥ ﺍﺷﻌﺎﺭ ﻋﺎﻗﻞ ﺧﺎﻥ ﺭﺍﺯﻱ ‪٤٢‬‬ ‫ﺑﻪﻧﻮﺑﻪ ﺧﻮﺩ ﺗﺸ ﹼﮑﺮ ﻭ ﺳﭙﺎﺱ ﺩﺍﺷﺘﻪ ﺑﺎﺷﻢ‪ .‬ﺍﺯ ﺧﺪﺍﻭﻧﺪ ﻣﺘﹼﻌﺎﻝ ﺩﻋﺎﮔﻮ ﻫﺴﺘﻢ ﮐﻪ‬ ‫ﺍﻳﻦ ﺧﺪﻣﺖِ ﺣﻘﻴﺮ ﻭ ﮐﻢ ﻣﺎﻳﺔ ﺍﻳﻦ ﺑﻨﺪﺓ ﻋﺎﺟﺰ ﺭﺍ ﺷﺮﻑ ﻗﺒﻮﻟﻴ‪‬ﺖ ﺑﺨﺸﺪ ﻭ ﺍﺯ‬ ‫ﺧﻄﺎﻫﺎﻳﺶ ﺩﺭﮔﺬﺭﺩ‪ .‬ﺁﻣﻴﻦ‪.‬‬ ‫ﺧﺎﮐﺴﺎﺭ ـ ﻣﺤ ‪‬ﻤﺪ ﺍﻣﻴﻦ ﻋﺎﻣﺮ‬ ‫ﻳﮑﻢ ﮊﺍﻧﻮﻳﻪ ‪ ۲۰۰۹‬ﻣﻴﻼﺩﻱ‬

‫ﺍﺣﻮﺍﻝ ﻭ ﺁﺛﺎﺭ ﻋﺎﻗﻞ ﺧﺎﻥ ﺭﺍﺯﻱ‬ ‫‪٤٣‬‬ ‫ﺍﺣﻮﺍﻝ ﻭ ﺁﺛﺎﺭ ﻋﺎﻗﻞ ﺧﺎﻥ ﺭﺍﺯﻱ‬ ‫ﺍﻭﺭﻧﮓﺯﻳﺐ ﻋﺎﻟﻤﮕﻴﺮ ﺭﲪﺔ ﺍﷲ ﻋﻠﻴﻪ ﮐﻪ ﺩﺭ ﺣﺪﻭﺩ ﭘﻨﺠﺎﻩ ﺳﺎﻝ )‪ ١٧٠٧-١٦٥٨‬ﻡ(‬ ‫ﺩﺭ ﻫﻨﺪ ﺣﮑﻤﺮﺍﻧﻲ ﮐﺮﺩ‪ ،‬ﻧﻴﻤﺔ ﺍﻭﻝ ﻳﻌﻨﻲ ﺑﻴﺴﺖ ﻭ ﭘﻨﺞ ﺳﺎﻝ ﻧﺨﺴﺖ ﺭﺍ ﺩﺭ ﻫﻨﺪ‬ ‫ﺷﻤﺎﻟﻲ ﻭ ﻧﻴﻤﺔ ﺩﻭﻡ ﻳﻌﻨﻲ ﺩﻳﮕﺮ ﺑﻴﺴﺖ ﻭ ﭘﻨﺞ ﺳﺎﻝ ﺭﺍ ﺩﺭ ﻫﻨﺪ ﺟﻨﻮﺑﻲ ﺑﻪﺳﺮ ﺑﺮﺩ‪.‬‬ ‫ﺁﻥ ﻭﻗﺖ ﺍﻳﺎﻟﺖﻫﺎﻱ ﺩﻫﻠﻲ ﻭ ﺍﻭﺭﻧﮓﺁﺑﺎﺩ ﻫﺮ ﺩﻭ ﺑﻪﻟﺤﺎﻅ ﻋﻠﻮﻡ ﻭ ﻓﻨﻮﻥ‪ ،‬ﻣﺮﮐﺰ‬ ‫ﻣﻬﻤ‪‬ﻲ ﺑﻪﺷﻤﺎﺭ ﻣﻲﺭﻓﺘﻨﺪ ﻭ ﺍﺯ ﭼﻬﺎﺭ ﺟﺎﻧﺐ ﻫﻨﺪ ﺩﺍﻧﺸﻤﻨﺪﺍﻥ‪ ،‬ﻧﻮﻳﺴﻨﺪﮔﺎﻥ ﻭ‬ ‫ﺳﺨﻦﺳﺮﺍﻳﺎﻥ ﺑﻪﺁﻥ ﻧﻘﺎﻁ ﻋﻠﻤﻲ ﮔﺮﺩﺁﻣﺪﻩ ﺑﻮﺩﻧﺪ ﻭ ﻋﺎﻟﻤﮕﻴﺮ ﻫﻤﻪ ﺭﺍ ﺑﺎ ﺩﻝ ﻭ ﺟﺎﻥ‬ ‫ﻓﺮﺍﻭﺍﻥ ﺳﺮﭘﺮﺳﺘﻲ ﻧﻤﻮﺩﻩ ﻭ ﺑﻌﻀﻲ ﺍﺯ ﺍﻳﺸﺎﻥ ﺭﺍ ﻣﻄﺎﺑﻖ ﺑﻪﺍﺳﺘﻌﺪﺍﺩ ﻭ ﻟﻴﺎﻗﺖﺷﺎﻥ ﺩﺭ‬ ‫ﺍﻣﻮﺭ ﺳﻠﻄﻨﺖ ﺑﺎ ﻣﻨﺎﺻﺐ ﻣﺨﺘﻠﻒ ﻫﻢ ﻧﻮﺍﺯﺵ ﻣﻲﮐﺮﺩ‪ .‬ﻣﻴﺎﻥ ﺁﻥ ﺩﺍﻧﺸﻤﻨﺪﺍﻥ ﻋﺎﻗﻞ‬ ‫ﺧﺎﻥ ﺭﺍﺯﻱ ﻫﻢ ﺍﺯ ﺣﻴﺚ ﻣﻮ ‪‬ﺭﺥ‪ ،‬ﺷﺎﻋﺮ ﻭ ﺍﺩﻳﺐ ﺷﻬﺮﺗﻲ ﺑﻪﺳﺰﺍ ﺩﺍﺷﺖ ﮐﻪ ﺑﻪﺩﺭﺑﺎﺭ‬ ‫ﻋﺎﻟﻤﮕﻴﺮﻱ ﺍﺭﺗﺒﺎﻁ ﺩﺍﺷﺘﻪ ﺑﻮﺩ‪.١‬‬ ‫ﺗﺎﺭﻳﺦ ﻭ ﺟﺎﻱ ﺗﻮﹼﻟﺪ‬ ‫ﺩﺭ ﻫﻴﭻ ﺗﺬﮐﺮﻩ ﺗﺎﺭﻳﺦ ﺗﻮﻟﹼﺪ ﺭﺍﺯﻱ ﻣﺬﮐﻮﺭ ﻧﻴﺴﺖ‪ ،‬ﻭﻟﻲ ﺑﻪﻭﻗﺖ ﻭﻓﺎﺗﺶ‬ ‫)ﺭﺑﻴﻊﺍﻟﺜﺎﻧﻲ ‪١١٠٨‬ﻫ‪ ١٦٩٦/‬ﻡ(‪ ٢‬ﻋﻤﺮﺵ ﻫﺸﺘﺎﺩ ﻭ ﺩﻭ ﺳﺎﻝ )‪ (٨٢‬ﺑﻮﺩ‪ ٣‬ﺍﺯﻳﻦ ﻟﺤﺎﻅ‬ ‫ﺗﺎﺭﻳﺦ ﺳﺎﻝ ﺗﻮﹼﻟﺪﺵ ﺑﺎﻳﺪ ﺳﺎﻝ ‪ ١٠٢٦‬ﻫ )‪ ١٦١٤‬ﻡ( ﺑﺎﺷﺪ‪.‬‬ ‫‪ .1‬ﺩﮐﺘﺮ ﺁﻓﺘﺎﺏ ﺍﺻﻐﺮ‪ :‬ﺗﺎﺭﻳﺦ ﻧﻮﻳﺴﻲ ﻓﺎﺭﺳﻲ ﺩﺭ ﻫﻨﺪ ﻭ ﭘﺎﮐﺴﺘﺎﻥ‪ ،‬ﺹ ‪ ،٣٩٣‬ﻻﻫﻮﺭ ‪ ١٩٥٨‬ﻡ‪.‬‬ ‫‪ .2‬ﻣﺤﻤ‪‬ﺪ ﺳﺎﻗﻲ ﻣﺴﺘﻌﺪ ﺧﺎﻥ‪ :‬ﻣﺂﺛﺮ ﻋﺎﻟﻤﮕﻴﺮﻱ‪ ،‬ﺹ ‪ ،٣٨٣‬ﮐﻠﮑﺘﹼﻪ‪ ١٨٧١ ،‬ﻡ‪.‬‬ ‫‪ .3‬ﻧﻮﺭﺍﻟﺤﺴﻦ ﺍﻧﺼﺎﺭﻱ‪ :‬ﻓﺎﺭﺳﻲ ﺍﺩﺏ ﺑﻪﻋﻬﺪ ﺍﻭﺭﻧﮓﺯﻳﺐ‪ ،‬ﺹ ‪ ،٩٦‬ﺩﻫﻠﻲ ‪ ١٩٦٩‬ﻡ‪.‬‬

‫ﺩﻳﻮﺍﻥ ﺍﺷﻌﺎﺭ ﻋﺎﻗﻞ ﺧﺎﻥ ﺭﺍﺯﻱ ‪٤٤‬‬ ‫ﻧﺎﻡ ﻭ ﺗﺨﹼﻠﺺ‬ ‫ﻧﺎﻡ ﺍﺻﻠﻲ ﺭﺍﺯﻱ ﻣﻴﺮ ﻋﺴﮑﺮﻱ ﺑﻮﺩ‪ .‬ﻭﻱ ﺩﺭ ﺗﺼﻨﻴﻔﺶ »ﺛﻤﺮﺍﺕﺍﻟﺤﻴﺎﺕ« ﺭﺍﺟﻊ ﺑﻪﻧﺎﻡ‬ ‫ﻭ ﺗﺨﹼﻠﺼﺶ ﺍﻳﻦ ﻃﻮﺭ ﺗﻮﺿﻴﺢ ﻣﻲﺩﻫﺪ‪.‬‬ ‫ﻣـﺮﺍ ﺩﺭ ﺩﻓــﺘـﺮ ﺩﻳــﻮﺍﻥ ﺍﻳــﺎﻡ ﺗﺨﻠﹼﺺ ﺭﺍﺯﻱ ﺍﺳﺖ ﻭ ﻋﺴﮑﺮﻱ ﻧﺎﻡ‪١‬‬ ‫ﭼﻮﻧﮑﻪ ﺭﺍﺯﻱ ﺩﺭ ﮔﺮﻭﻩِ ﺍﺭﺍﺩﺕ ﺣﻀﺮﺕ ﺑﺮﻫﺎﻥﺍﻟ ‪‬ﺪﻳﻦ ﺭﺍﺯ ﺍﻟﻬﻲ ﺷﺎﻣﻞ ﺑﻮﺩ‪ ،‬ﺑﻪﻫﻤﻴﻦ‬ ‫ﺳﺒﺐ ﻭﻱ ﺗﺨﻠﹼﺺ »ﺭﺍﺯﻱ« ﮐﺮﺩ‪ .‬ﺩﺭ ﺷﻌﺮ ﺩﻳﮕﺮ ﺭﺍﺟﻊ ﺑﻪﺍﻳﻦ ﻧﮑﺘﻪ ﺗﺼﺮﻳﺢ ﺩﺍﺭﺩ‪:‬‬ ‫ﺗﺨﹼﻠﺺ ﺑﻬﺘﺮ ﺍﺯ ﺭﺍﺯﻱ ﭼﻪ ﺧﻮﺍﻫﻲ ﭼـﻮ ﺑﺎﺷـﺪ ﻣـﺮﺷﺪﺕ ﺭﺍﺯ ﺍﻟﻬﻲ‪٢‬‬ ‫ﻋﺎﻗﻞ ﺧﺎﻥ ﺭﺍﺯﻱ ﺩﺭ ﺍﻭﺭﻧﮓﺁﺑﺎﺩ )ﺩ ﹼﮐﻦ( ﭼﺸﻢ ﺑﻪﺟﻬﺎﻥ ﮔﺸﻮﺩ‪ .٣‬ﻫﻤﺔ ﻣﺤﻘﹼﻘﺎﻥ‬ ‫ﺑﻪﺍﻳﻦ ﺍﻣﺮ ﺍﹼﺗﻔﺎﻕ ﺩﺍﺭﻧﺪ‪ ،‬ﺧﻮﺩ ﺭﺍﺯﻱ ﺩﺭ ﻣﺜﻨﻮﻱﺍﺵ »ﻣﻬﺮ ﻭ ﻣﺎﻩ« ﺍﻳﻦ ﻃﻮﺭ ﺗﻮﺿﻴﺢ‬ ‫ﻣﻲﺩﻫﺪ‪:‬‬ ‫ﺑـﻪﻫﻨﺪﺳـﺘﺎﻥ ﺍﮔـﺮ ﻫﺴﺘﻢ ﺳﺨـﻦ ﺑﺎﻑ‬ ‫ﻭ ﻟﻴﮑﻦ ﺗﺎﺭ ﻭ ﭘﻮﺩﻡ ﻫﺴﺖ ﺩﺭ ﺧﻮﺍﻑ‪٤‬‬ ‫ﺍﻫﻞِ ﺧﺎﻧﻮﺍﺩﻩ‬ ‫ﺭﺍﺟﻊ ﺑﻪﺧﺎﻧﻮﺍﺩﺓ ﺭﺍﺯﻱ ﻣﻌﻠﻮﻣﺎﺕ ﻣﺨﺘﺼﺮ ﺍﻳﻦ ﺍﺳﺖ ﮐﻪ ﺍﺟﺪﺍﺩﺵ ﺍﺻ ﹰﻼ ﺍﺯ ﻧﮋﺍﺩ‬ ‫ﺍﻳﺮﺍﻧﻲ ﺑﻮﺩﻧﺪ ﮐﻪ ﺩﺭ ﻗﺮﻳﻪﺍﻱ ﺑﻪﻧﺎﻡ »ﺧﻮﺍﻑ« ﺩﺭ ﺷﻬﺮ ﺧﺮﺍﺳﺎﻥ ﺯﻧﺪﮔﻲ ﻣﻲﮐﺮﺩﻧﺪ‪.٥‬‬ ‫ﻧﺎﻡ ﭘﺪﺭﺵ ﺳﻴﺪ ﻣﺤ ‪‬ﻤﺪ ﺗﻘﻲ‪ ٦‬ﻭ ﻧﺎﻡ ﻣﺎﺩﺭﺵ ﺣﻔﻴﻈﻪ ﺑﺎﻧﻮ ﺑﻮﺩ‪ ٧‬ﺩﺭ ﻗﻄﻌﺔ ﺫﻳﻞ ﺭﺍﺯﻱ‬ ‫ﺭﺍﺟﻊ ﺑﻪﻧﺎﻡ ﻭ ﺗﺎﺭﻳﺦ ﻭﻓﺎﺕ ﭘﺪﺭﺵ ﺍﻳﻦ ﻃﻮﺭ ﺑﻪﺻﺮﺍﺣﺖ ﻣﻲﺳﺮﺍﻳﺪ‪:‬‬ ‫‪ .1‬ﻋﺎﻗﻞ ﺧﺎﻥ ﺭﺍﺯﻱ‪ :‬ﺛﻤﺮﺍﺕ ﺍﻟﺤﻴﺎﺕ‪ ،‬ﺷﻤﺎﺭﻩ ﻣﺨﻄﻮﻃﻪ ‪ ،٣٨‬ﻭﺭﻕ ‪ ،١‬ﺳﺎﻻﺭﺟﻨﮓ ﻣﻮﺯﻩ‪ ،‬ﺣﻴﺪﺭﺁﺑﺎﺩ‪.‬‬ ‫‪ .2‬ﻋﺎﻗﻞ ﺧﺎﻥ ﺭﺍﺯﻱ‪ :‬ﻣﻬﺮ ﻭ ﻣﺎﻩ‪ ،‬ﻭﺭﻕ ‪ ،٩١ ،٥٩ ،٥٨‬ﺷﻤﺎﺭﻩ ﻣﺨﻄﻮﻃﻪ ‪ ،٢٧٧‬ﻣﺠﻤﻮﻋﺔ ﮐﺮﺯﻥ‪،‬‬ ‫ﺍﻧﺠﻤﻦ ﺁﺳﻴﺎﻱ ﮐﻠﮑﺘﹼﻪ‪.‬‬ ‫‪ .3‬ﻭﺍﻟﻪ ﺩﺍﻏﺴﺘﺎﻧﻲ‪ :‬ﺭﻳﺎﺽﺍﻟﺸﻌﺮﺍ‪ ،‬ﺹ ‪ ،٢٠٨‬ﺷﻤﺎﺭﺓ ﺧﻄﹼﻲ ‪ ،٢٣٠‬ﻣﺠﻤﻮﻋﻪ ﺍﻧﺠﻤﻦ ﺁﺳﻴﺎﻳﻲ ﮐﻠﮑﺘﹼﻪ‪.‬‬ ‫‪ .4‬ﻣﻬﺮ ﻭ ﻣﺎﻩ‪ ،‬ﺹ ‪.٥٨ ،٩‬‬ ‫‪ .5‬ﻣﺂﺛﺮﺍﻻﻣﺮﺍ‪ ،‬ﺝ ‪ ،۲‬ﺹ ‪.۸۲۱‬‬ ‫‪ .6‬ﻧﻮﺭﺍﻟﺤﺴﻦ ﺍﻧﺼﺎﺭﻱ‪ ،‬ﺹ ‪.۹۴‬‬ ‫‪ .7‬ﻣﺤ ‪‬ﻤﺪ ﺍﻓﻀﻞ ﺳﺮﺧﻮﺵ‪ :‬ﮐﻠﻤﺎﺕﺍﻟﺸﻌﺮﺍ‪ ،‬ﻣﺮﺗﹼﺒﻪ ﺻﺎﺩﻕ ﻋﻠﻲ ﻻﻫﻮﺭﻱ‪ ،‬ﺹ ‪ ،۴۸‬ﻻﻫﻮﺭ‪ ۱۹۴۲ ،‬ﻡ‪.‬‬

‫ﺍﺣﻮﺍﻝ ﻭ ﺁﺛﺎﺭ ﻋﺎﻗﻞ ﺧﺎﻥ ﺭﺍﺯﻱ‬ ‫‪٤٥‬‬ ‫ﭼﻮﻥ ﻣﺤ ‪‬ﻤـﺪ ﺗﻘـﻲ ﺯ ﺩﺍﺭ ﻓﻨـﺎ ﮐﺮﺩ ﻋﺰﻡ ﺳـﻔﺮ ﺑـﻪﻋـﺎﻟﻢ ﺣـﻲ‬ ‫ﮔﻔﺖ ﺗﺎﺭﻳﺦ ﺭﺣﻠﺘﺶ ﺍﻳﻦ ﺍﺳﺖ ﮐﻪ ﻣﺤﻤ‪‬ﺪ ﮐﻨـﺪ ﺷـﻔﺎﻋﺖ ﻭﻱ‪١‬‬ ‫‪١٠٣٤‬‬ ‫ﻳﻌﻨﻲ ﺍﺯ ﻗﻄﻌﺔ ﻓﻮﻕﺍﻟ ﹼﺬﮐﺮ ﻣﻌﻠﻮﻡ ﻣﻲﺷﻮﺩ ﮐﻪ ﭘﺪﺭ ﺭﺍﺯﻱ ﺳﻴﺪ ﻣﺤﻤ‪‬ﺪ ﺗﻘﻲ ﻧﺎﻡ‬ ‫ﺩﺍﺷﺖ ﮐﻪ ﺑﻪﺳﺎﻝ ‪ ١٠٣٤‬ﻫﺠﺮﻱ ﺭﺣﻠﺖ ﻧﻤﻮﺩ‪.‬‬ ‫ﻋﺎﻗﻞ ﺧﺎﻥ ﺭﺍﺯﻱ ﺩﻭ ﭘﺴﺮ ﺩﺍﺷﺖ‪ ،‬ﻳﮑﻲ ﻣﻴﺮ ﻋﺒﺪﺍﻟﺤﻲ ﻭ ﺩﻳﮕﺮﻱ ﻗ‪‬ﻴﻮﻡ ﺧﺎﻥ‪،‬‬ ‫ﻣﻴﺮ ﻋﺒﺪﺍﻟﺤﻲ ﺩﺭ ﺣﻴﺎﺕ ﭘﺪﺭﺵ ﺩﺭ ﺩﻫﻠﻲ ﻓﻮﺕ ﺷﺪ‪ .‬ﺍﺯ ﺍﻳﻦ ﻣﺼﺮﻋﻪ »ﺁﻩ ﺩﺭ‬ ‫ﮔﻠﺰﺍﺭ ﺍﻣﮑﺎﻥ ﻣﻴﺮ ﻋﺒﺪﺍﻟﺤﻲ ﻧﻤﺎﻧﺪ« ﺗﺎﺭﻳﺦ ﻭﻓﺎﺗﺶ ‪ ١١٠٥‬ﻫﺠﺮﻱ ﺑﺮﻣﻲﺁﻳﺪ‪.٢‬‬ ‫ﺍﺳﻢ ﭘﺴﺮ ﺩﻭﻡ‪ ،‬ﻗ‪‬ﻴﻮﻡ ﺧﺎﻥ ﺑﻮﺩ‪ ٣‬ﻭﻟﻲ ﺩﺧﺘﺮ ﺭﺍﺯﻱ ﮐﻪ ﺯﻭﺟﺔ ﻧ ‪‬ﻮﺍﺏ ﺷﮑﺮ ﺍﷲ‬ ‫ﺧﺎﻥ ﺑﻮﺩ ﻧﺎﻣﺶ ﻣﻌﻠﻮﻡ ﻧﮕﺸﺖ‪ ٤‬ﺭﺍﺯﻱ ﺑﺮﺍﺩﺭ ﻫﻢ ﺩﺍﺷﺖ ﮐﻪ ﻣﺘﺄﺳ‪‬ﻔﺎﻧﻪ ﺭﺍﺟﻊ‬ ‫ﺑﻪﻧﺎﻣﺶ ﻫﻴﭻ ﺍ ﹼﻃﻼﻋﻲ ﺑﻪﻫﻢ ﻧﺮﺳﻴﺪ‪ ،‬ﺩﺭ ﺩﻳﻮﺍﻥ ﺭﺍﺯﻱ »ﻣﺮﺛﻴﺔ ﺑﺮﺍﺩﺭ« ﻫﻢ ﻣﻮﺟﻮﺩ‬ ‫ﺍﺳﺖ‪.٥‬‬ ‫ﺁﻣﻮﺯﺵ ﻭ ﭘﺮﻭﺭﺵ‬ ‫ﭘﺲ ﺍﺯ ﺗﺤﺼﻴﻞ ﻣﻘﺪ‪‬ﻣﺎﺗﻲ ﺭﺍﺯﻱ ﺑﻪﺧﺎﻃﺮ ﮐﺴﺐ ﻋﻠﻮﻡ ﺭﻭﺣﺎﻧﻲ ﺭﺟﻮﻉ ﺑﻪﺣﻀﺮﺕ‬ ‫ﺑﺮﻫﺎﻥﺍﻟ ‪‬ﺪﻳﻦ ﺭﺍﺯ ﺍﻟﻬﻲ ﮐﺮﺩ‪ ٦‬ﮐﻪ ﺩﺭ ﻋﻬﺪ ﺍﻣﭙﺮﺍﻃﻮﺭ ﻋﺎﻟﻤﮕﻴﺮ ﺍﺯ ﺳﻠﺴﻠﺔ ﻣﻌﺮﻭﻑ‬ ‫ﺷﻄﹼﺎﺭﻳﻪ ﺻﻮﻓﻲ ﺑﺰﺭﮒ ﻭ ﻋﺎﺭﻑ ﺑﺎﷲ ﺑﻪﺷﻤﺎﺭ ﻣﻲﺭﻓﺖ‪ .‬ﺁﻥ ﺣﻀﺮﺕ ﺑﻪﻣﻘﺎﻡ‬ ‫ﺑﺮﻫﺎﻥﭘﻮﺭ ﺩﺭ ﺍﻳﺎﻟﺖ ﮔﺠﺮﺍﺕ ﺯﻧﺪﮔﺎﻧﻲ ﻣﻲﮐﺮﺩﻧﺪ ﻭ ﻫﻤﺎﻧﺠﺎ ﺩﺭ ﺣﺪﻭﺩ ‪ ١٠٨٣‬ﻫﺠﺮﻱ‬ ‫‪ .1‬ﺩﻳﻮﺍﻥِ ﺭﺍﺯﻱ‪ :‬ﺑﻮﺩﻟﻴﻦ‪ ،‬ﺷﻤﺎﺭﻩ ﺧ ﹼﻄﻲ ‪ ،۱۱۴۸‬ﻭﺭﻕ ‪.۶۰‬‬ ‫‪ .2‬ﮐﻠﻤﺎﺕﺍﻟﺸﻌﺮﺍ‪ ،‬ﺹ ‪.۲‬‬ ‫‪ .3‬ﻣﻘﺒﻮﻝ ﺑﻴﮓ ﺑﺪﺧﺸﺎﻧﻲ‪ :‬ﺗﺎﺭﻳﺦ ﺍﺩﺑﻴﺎﺕ ﻣﺴﻠﻤﺎﻧﺎﻥ ﻫﻨﺪ ﻭ ﭘﺎﮐﺴﺘﺎﻥ‪ ،‬ﺝ ‪ ،۴‬ﺹ ‪ ،۴۱۱‬ﻻﻫﻮﺭ‬ ‫‪ ۱۹۷۱‬ﻡ‪.‬‬ ‫‪ .4‬ﺩﻳﻮﺍﻥ ﺭﺍﺯﻱ‪ ،‬ﻭﺭﻕ ‪.۶۰‬‬ ‫‪ .5‬ﻫﻤﺎﻥ‪ ،‬ﻭﺭﻕ ‪.۵۷‬‬ ‫‪ .6‬ﻣﺂﺛﺮﺍﻻﻣﺮﺍ‪٨٢١/٢ ،‬؛ ﺳﻔﻴﻨﺔﺍﻟﺸﻌﺮﺍ‪ ،‬ﺹ ‪ ،٢٨٩‬ﻣﺨﺰﻥ ﺍﻟﻐﺮﺍﻳﺐ‪ ،‬ﺝ ‪ ،١‬ﻭﺭﻕ ‪.١٤٨‬‬

‫ﺩﻳﻮﺍﻥ ﺍﺷﻌﺎﺭ ﻋﺎﻗﻞ ﺧﺎﻥ ﺭﺍﺯﻱ ‪٤٦‬‬ ‫ﺍﻳﻦ ﺩﺍ ِﺭﻓﺎﻧﻲ ﺭﺍ ﺍﻟﻮﺩﺍﻉ ﮔﻔﺖ‪ ١‬ﭘﺲ ﺍﺯ ﺷﺮﻑ ﺗﻠ ‪‬ﻤﺬ ﻭ ﺳﻌﺎﺩﺕ ﻣﻼﻗﺎﺕ ﺑﻪﺣﻀﺮﺕ‬ ‫ﺑﺮﻫﺎﻧﭙﻮﺭﻱ ﺭﺍﺯﻱ ﭼﻨﻴﻦ ﺍﻇﻬﺎﺭ ﻣﻲﻧﻤﺎﻳﺪ‪:‬‬ ‫”ﭼﻮﻥ ﺍﻳﻦ ﻓﻘﻴﺮ ﮐﺜﻴﺮﺍﻟﺘﹼﻘﺼﻴﺮ ﺷﺮﻑ ﺍﺯ ﺳﻌﺎﺩﺕ ﻣﻼﺯﻣﺖ ﺣﻀﺮﺕ‬ ‫ﻫﺪﺍﻳﺖﭘﻨﺎﻩ ﻭﻻﻳﺖ ﺩﺳﺘﮕﺎﻩ ﺷﻴﺦﺍﻟ ﹼﺰﻣﺎﻥ ﻣﻘﺘﺪﺍﻟ ‪‬ﺪﻭﺭﺍﻥ ﺍﻟﺬﻱ ﺁﺛﺎﺭ ﻭ ﻭﻻﻳﺔ‬ ‫ﻣﺒﻴﻦ ﻣﻦ ﺍﻟﺠﺒﻦﺍﻟﻬﺎﺩﻱ ﺍﻟﻲ ﺍﻟﺼﺪﻕ ﺍﻟﺼﺪﻕ ﻭ ﺍﻟﻴﻘﻴﻦ ﺑﺎﻟﺤﺞ ﻭ ﺍﻟﺒﺮﺍﻫﻴﻦ‬ ‫ﺣﺠﺖ ﺍﻟﻄﺮﻳﻘﺖ ﻭ ﺍﻟﺤﻘﻴﻘﺖ ﺑﺮﻫﺎﻥﺍﻟﺤﻖ ﻭ ﺍﻟﺪ‪‬ﻳﻦ ﻳﺎﻓﺖ ﻭ ﺷﻌﺸﺔ ﺟﻤﺎﻝ‬ ‫ﻋﺪﻳﻢﺍﻟﻤﺜﺎﻝ ﺁﻥ ﺧﻮﺭﺷﻴﺪ ﻧﻈﻴﺮ ﺑﺮ ﻣﺮﺁﺕ ﺿﻤﻴﺮ ﺍﻳﻦ ﺣﻘﻴﺮ ﺗﺎﻓﺖ“‪.٢‬‬ ‫ﻣﻼﺯﻣﺖ ﺷﺎﻫﻲ‬ ‫ﻗﺒﻞ ﺍﺯ ﺟﻠﻮﺱ ﮐﺮﺩﻥ ﺍﻭﺭﻧﮓﺯﻳﺐ ﺑﺮ ﺗﺨﺖ‪ ،‬ﺩﺭ ﻋﻬﺪ ﺷﺎﻫﺰﺍﺩﮔﻲﺍﺵ‪ ،‬ﻋﺎﻗﻞ ﺧﺎﻥ‬ ‫ﺭﺍﺯﻱ ﺑﺎ ﺍﻭ ﺍﺭﺗﺒﺎﻁ ﺩﺍﺷﺖ ﻭ ﻳﮑﻲ ﺍﺯ ﻣﻌﺘﻤﺪﻳﻦ ﻭ ﺩﻭﺳﺘﺎﻥِ ﺧﺎﺹ ﻭﻱ ﺑﻪﺣﺴﺎﺏ‬ ‫ﻣﻲﺁﻣﺪ‪ .‬ﺭﺍﺯﻱ ﻫﻤﺮﺍِﻩ ﺍﻭﺭﻧﮓﺯﻳﺐ ﺩﺭ ﺩﮐﹼﻦ ﺑﻪﻋﻬﺪﺓ ﺿﻠﻊﺩﺍﺭ ﻓﺎﻳﺾ ﮔﺮﺩﻳﺪ‪.٣‬‬ ‫ﻭﻗﺘﻲ ﮐﻪ ﻋﺎﻟﻤﮕﻴﺮ ﺑﻪﺳﺎﻝ ‪ ١٠٤٧‬ﻫﺠﺮﻱ ﺍﺳﺘﺎﻧﺪﺍ ِﺭ ﺩﮐﹼﻦ ﺑﻮﺩ‪ ،‬ﺭﺍﺯﻱ ﺑﻪﻋﻨﻮﺍﻥ‬ ‫»ﺑﺨﺶ ﺩﻭﻡ« ﺑﻪﺧﺪﻣﺖ ﻭﻱ ﺩﺭﺁﻣﺪ‪ .٤‬ﭼﻮﻥ ﺍﻭﺭﻧﮓﺯﻳﺐ ﺑﻪﺧﺎﻃﺮ ﻋﻴﺎﺩﺕ ﭘﺪﺭﺵ‬ ‫ﻋﺎﺯﻡ ﺳﻔﺮ ﻫﻨﺪ ﺷﻤﺎﻟﻲ ﮔﺸﺖ‪ ،‬ﻭﻱ ﻋﺎﻗﻞ ﺧﺎﻥ ﺭﺍ ﺑﻪﺣﺮﺍﺳﺖ ﺣﺼﺎﺭ ﺷﻬﺮ ﺩﺭ‬ ‫ﺍﻭﺭﻧﮓﺁﺑﺎﺩ ﺟﺎ ﮔﺬﺍﺷﺖ ﻭ ﺑﻪﻋﻄﺎﻱ ﺧﻠﻌﺖ ﻭ ﻓﻴﻞ ﺍﻭ ﺭﺍ ﻧﻮﺍﺯﺵ ﮐﺮﺩ‪ .٥‬ﺗﺎ ﻭﻗﺘﻲ‬ ‫ﮐﻪ ﻋﺎﻗﻞ ﺧﺎﻥ ﺩﺭ ﺩ ﹼﮐﻦ ﺑﻮﺩ ﺍﺯ ﺍﺻﻞ ﻭ ﺍﺿﺎﻓﻪ ﺑﻪﻣﻨﺼﺐ ﻫﺰﺍﺭ ﻭ ﭘﺎﻧﺼﺪ ﺳﻮﺍﺭ ﺍﺯ‬ ‫ﺟﺎﻧﺐ ﻋﺎﻟﻤﮕﻴﺮ ﺍﻭ ﺭﺍ ﻣﺒﺎﻫﻲ ﻣﻲﮔﺮﺩﻳﺪ‪ .٦‬ﭘﺲ ﺍﺯ ﺗﺎﺝﮔﺬﺍﺭﻱ ﻋﺎﻟﻤﮕﻴﺮ ﻋﺎﻗﻞ ﺧﺎﻥ‬ ‫ﺭﺍ ﺑﻪﺩﺭﺑﺎﺭﺵ ﻃﻠﺒﻴﺪ ﻭ ﺩﺭ ﺳﺎﻝ ‪ ١٠٦٨‬ﻫﺠﺮﻱ ﺍﻭ ﺭﺍ ﺑﻪﻟﻘﺐ »ﻋﺎﻗﻞ ﺧﺎﻥ« ﻣﻠﹼﻘﺐ‬ ‫‪ .1‬ﺳﻲ‪ .‬ﺍﻱ ﺍﺳﺘﻮﺭﻱ‪ :‬ﭘﺮﺷﻴﻦ ﻟﺘﺮﻳﭽﺮ ‪ ،۵۸۴/۲‬ﻟﻨﺪﻥ ‪ ۱۹۷۰‬ﻡ‪.‬‬ ‫‪ .2‬ﺭﺍﺯﻱ‪ :‬ﺛﻤﺮﺍﺕ ﺍﻟﺤﻴﺎﺕ‪ ،‬ﻧﺴﺨﺔ ﺧ ﹼﻄﻲ‪ ،‬ﻭﺭﻕ ‪.۱‬‬ ‫‪ .3‬ﺻﺒﺎﺡﺍﻟﺪﻳﻦ ﻋﺒﺪﺍﻟﺮ‪‬ﺣﻤﻦ‪ :‬ﺑﺰﻡ ﺗﻴﻤﻮﺭﻳﻪ‪ ،‬ﺹ ‪ ،۲۶۷‬ﺍﻋﻈﻢﮔﺮﻩ‪ ۱۹۴۸ ،‬ﻡ‪.‬‬ ‫‪ .4‬ﻣﻨﺸﻲ ﻣﺤﻤ‪‬ﺪ ﮐﺎﻇﻢ‪ :‬ﻋﺎﻟﻤﮕﻴﺮ ﻧﺎﻣﻪ‪ ،‬ﺹ ‪ ،۴۱‬ﮐﻠﮑﹼﺘﻪ ‪ ۱۸۴۸‬ﻡ‪.‬‬ ‫‪ .5‬ﮐﻴﻮﻝ ﺭﺍﻡ‪ :‬ﺗﺬﮐﺮﺓ ﺍﻻﻣﺮﺍ‪ ،‬ﺷﻤﺎﺭﻩ ﻧﺴﺨﺔ ﺧﻄﹼﻲ ‪ ،۲۱۶‬ﺹ ‪ ،۱۲۵‬ﺍﻧﺠﻤﻦ ﺁﺳﻴﺎﻳﻲ‪ ،‬ﮐﻠﮑﹼﺘﻪ‪.‬‬ ‫‪ .6‬ﻋﺎﻟﻤﮕﻴﺮﻧﺎﻣﻪ‪ ،‬ﺹ ‪.۴۰۱‬‬

‫ﺍﺣﻮﺍﻝ ﻭ ﺁﺛﺎﺭ ﻋﺎﻗﻞ ﺧﺎﻥ ﺭﺍﺯﻱ‬ ‫‪٤٧‬‬ ‫ﮐﺮﺩ‪ .١‬ﻭ ﺑﻌﺪ ﺍﺯ ﺁﻥ ﻋﺎﻗﻞ ﺧﺎﻥ ﺭﺍ ﺑﻪﻣﻨﺼﺐ ﻓﻮﺟﺪﺍﺭﻱ ﻣﻴﺎﻥ ﺩﻭﺁﺑﻪ ﺗﻔﻮﻳﺾ‬ ‫ﮔﺮﺩﻳﺪﻩ ﺑﻪﻋﻨﺎﻳﺖ ﺧﻠﻌﺖ ﻭ ﺍﺳﭗ ﻭ ﺑﻪﺍﺿﺎﻓﺔ ﭘﺎﻧﺼﺪ ﺳﻮﺍﺭ ﺑﻪﻣﻨﺼﺐ ﻫﺰﺍﺭ ﻭ‬ ‫ﭘﺎﻧﺼﺪﻱ ﺑﺎ ﻫﺰﺍﺭ ﺳﻮﺍﺭ ﺳﺮﺑﻠﻨﺪ ﮔﺮﺩﺍﻧﻴﺪ‪ .٢‬ﺩﺭ ﺳﺎﻝ ﭼﻬﺎﺭﻡ ﺗﺨﺖ ﻧﺸﻴﻨﻲ )‪-١٠٧١‬‬ ‫‪ ٧٢‬ﻫ( ﺍﻭﺭﻧﮓﺯﻳﺐ‪ ،‬ﻋﺎﻗﻞ ﺧﺎﻥ ﺑﻨﺎ ﺑﻪﻋﻮﺍﺭﺽ ﺟﺴﻤﺎﻧﻲ ﺍﺯ ﻓﻮﺟﺪﺍﺭﻱ ﻣﻴﺎﻥ‬ ‫ﺩﻭﺁﺏ ﻣﻌﺰﻭﻝ ﮔﺸﺖ‪ .٣‬ﻭ ﺩﺭ ﭘﻴﺸﮕﺎﻩ ﺧﻼﻓﺖ ﻭ ﺟﻬﺎﻧﺒﺎﻧﻲ ﺑﺮﺍﻱ ﮔﺬﺍﺭ ﺯﻧﺪﮔﺎﻧﻲ‬ ‫ﻭﻱ ﺍﺳﺘﺪﻋﺎ ﻧﻤﻮﺩ ﮐﻪ ﻣﻄﺎﺑﻖ ﺑﻪﻋﺮﺿﺪﺍﺷﺖ ﻭﻱ ﻋﺎﻟﻤﮕﻴﺮ ﺍﻭ ﺭﺍ ﺑﻪﺳﺎﻟﻴﺎﻧﺔ ﻫﺰﺍﺭ‬ ‫ﺭﻭﭘﻴﻪ ﻣﻮﻇﹼﻒ ﮔﺸﺖ‪ .٤‬ﻭ ﺍﻭ ﺭﺍ ﺑﻪﭘﺎﻳﺘﺨﺖ ﻻﻫﻮﺭ ﻓﺮﺳﺘﺎﺩ‪ .٥‬ﺩﺭ ﺳﺎﻝ ﺟﻠﻮﺱ ﺷﺸﻢ‬ ‫ﻳﻌﻨﻲ )‪ ١٠٧٤‬ﻫ‪ ۶۴-۱۶۳/‬ﻡ( ﭼﻮﻥ ﺍﻭﺭﻧﮓﺯﻳﺐ ﺍﺯ ﮐﺸﻤﻴﺮ ﺑﻪﻻﻫﻮﺭ ﻣﺮﺍﺟﻌﺖ‬ ‫ﻧﻤﻮﺩ‪ ،‬ﻋﺎﻗﻞ ﺧﺎﻥ ﺩﮔﺮﺑﺎﺭﻩ ﺍﺯ ﺳﻼﻣﺘﻲ ﺑﺮﺧﻮﺭﺩﺍﺭ ﺑﻮﺩﻩ ﺑﻪﻣﻼﺯﻣﺖ ﺷﺎﻫﻲ ﺷﺮﮐﺖ‬ ‫ﺟﺴﺖ ﻭ ﺑﻪﻣﻨﺼﺐ ﺩﺍﺭﻭﻏﺔ ﻏﺴﻞﺧﺎﻧﻪ ﺳﺮﻓﺮﺍﺯ ﺷﺪﻩ ﺑﻪﻏﺎﻳﺖ ﺧﻠﻌﺖ ﻭ ﺍﺳﭗ ﻭ‬ ‫ﺷﻤﺸﻴﺮ ﻭ ﺑﻪﻣﻨﺼﺐ ﺩﻭ ﻫﺰﺍﺭﻱ ﺑﺎ ﻫﻔﺘﺼﺪ ﺳﻮﺍﺭ ﻣﺒﺎﻫﻲ ﮔﺸﺖ‪ .٦‬ﭘﺲ ﺍﺯ ﺳﻪ ﺳﺎﻝ‬ ‫ﻳﻌﻨﻲ ﺩﺭ ﺳﺎﻝ ﺟﻠﻮﺱ ﻧﻬﻢ )‪ ۱۰۷۷‬ﻫ‪ ۶۷-۱۶۶۶/‬ﻡ( ﻣﻨﺼﺐ ﻋﺎﻗﻞ ﺧﺎﻥ ﺑﻪﺍﺿﺎﻓﺔ‬ ‫ﺩﻭ ﻫﺰﺍﺭ ﻭ ﭘﺎﻧﺼﺪﻱ ﻫﻔﺘﺼﺪ ﺳﻮﺍﺭ ﺑﻠﻨﺪ ﻣﺮﺗﺒﮕﻲ ﺑﺮﺍﻓﺮﺍﺷﺖ ﻭ ﺑﻪﻣﺮﺣﻤﺖ ﺧﻨﺠﺮ‬ ‫ﻣﺮ ﹼﺻﻊ ﺑﺎ ﻋﻼﻗﺔ ﻣﺮﻭﺍﺭﻳﺪ ﺷﺪ‪ .٧‬ﻭﻟﻲ ﺩﺭ ﺳﺎﻝ ﺩﻭﺍﺯﺩﻫﻢ )‪ ۱۰۷۷‬ﻫ‪ ۶۷-۱۶۶۶/‬ﻡ(‬ ‫ﻭﻗﺘﻲ ﮐﻪ ﻋﺎﻗﻞ ﺧﺎﻥ ﺍﺯ ﺣﻴﺚ ﺩﺍﺭﻭﻏﺔ ﺩﺍﮎ ﭼﻮﮐﻲ ﺗﻘ ‪‬ﺮﺭﻱ ﺩﺍﺷﺖ‪ ٨‬ﺩﺭ ﺁﻥ ﻭﻗﺖ‬ ‫ﻋﻤﺮﺵ ﺍﺯ ﭘﻨﺠﺎﻩ ﻣﺘﺠﺎﻭﺯ ﮔﺸﺘﻪ ﺑﻮﺩ ﻭ ﺍﻭ ﺑﻪﺗﻘ ‪‬ﺮﺭ ﺳﺎﻟﻴﺎﻧﺔ ﺩﻭﺍﺯﺩﻩ ﻫﺰﺍﺭ ﺭﻭﭘﻴﻪ‬ ‫‪ .1‬ﻣﺂﺛﺮﺍﻻﻣﺮﺍ‪.۸۲۱/۲ ،‬‬ ‫‪ .2‬ﻋﺎﻟﻤﮕﻴﺮﻧﺎﻣﻪ‪ ،‬ﺹ ‪.٤٧٨‬‬ ‫‪ .3‬ﻣﺂﺛﺮﺍﻻﻣﺮﺍ‪.٨٢١/٢ ،‬‬ ‫‪ .4‬ﻋﺎﻟﻤﮕﻴﺮﻧﺎﻣﻪ‪ ،‬ﺹ ‪.٦٣٠‬‬ ‫‪ .5‬ﻣﺂﺛﺮﻋﺎﻟﻤﮕﻴﺮﻱ‪ ،‬ﺹ ‪.٣٧‬‬ ‫‪ .6‬ﻣﻨﺘﺨﺐ ﺍﻟﻠﺒﺎﺏ‪.١٧٧/١ ،‬‬ ‫‪ .7‬ﻋﺎﻟﻤﮕﻴﺮﻧﺎﻣﻪ‪ ،‬ﺹ ‪.٩٨١‬‬ ‫‪ .8‬ﻫﻤﺎﻥ‪ ،‬ﺹ ‪.٨٢‬‬

‫ﺩﻳﻮﺍﻥ ﺍﺷﻌﺎﺭ ﻋﺎﻗﻞ ﺧﺎﻥ ﺭﺍﺯﻱ ‪٤٨‬‬ ‫ﺩﻭﺑﺎﺭﻩ ﺍﺯ ﺧﺪﻣﺖ ﺷﺎﻫﻲ ﻋﺰﻟﺖ ﺍﺧﺘﻴﺎﺭ ﮐﺮﺩ‪ .١‬ﭘﺲ ﺍﺯ ﺁﻥ ﻋﺎﻗﻞ ﺧﺎﻥ ﺩﺭ ﺣﺪﻭﺩ‬ ‫ﺗﺎ ﺩﻭﺍﺯﺩﻩ ﺳﺎﻝ ﻫﻴﭻ ﻣﻨﺼﺒﻲ ﻗﺒﻮﻝ ﻧﮑﺮﺩ ﻭﻟﻲ ﺑﻪﺩﺭﺑﺎﺭ ﺷﺎﻫﻲ ﭘﻴﻮﺳﺘﻪ ﺍﺭﺗﺒﺎﻁ ﺩﺍﺷﺘﻪ‬ ‫ﺑﻮﺩ ﮐﻪ ﺑﻪﻫﻤﻴﻦ ﺳﺒﺐ ﺑﻨﺎ ﺑﻪﻓﺮﻣﺎ ِﻥ ﺷﺎﻫﻲ ﺷﺎﻫﺰﺍﺩﻩ ﺷﺎﻩِ ﻋﺎﻟﻢ ﺩﺭ ﺳﺎﻝ ‪۱۰۸۹‬‬ ‫ﻫﺠﺮﻱ ﻣﻄﺎﺑﻖ ‪ ۷۹-۱۶۷۸‬ﻣﻴﻼﺩﻱ ﻋﺎﻗﻞ ﺧﺎﻥ ﺭﺍ ﺍﺯ ﺧﻠﻌﺖ ﻭ ﺧﻨﺠﺮ ﮐﻪ ﻫﻔﺖ‬ ‫ﻫﺰﺍﺭ ﺭﻭﭘﻴﻪ ﺑﻬﺎ ﺩﺍﺷﺖ ﺳﺮﻓﺮﺍﺯ ﻓﺮﻣﻮﺩ‪ .٢‬ﺳﭙﺲ ﺩﺭ ﺳﺎﻝ ‪ ۱۰۹۰‬ﻫﺠﺮﻱ‪۸۰-۱۶۷۹/‬‬ ‫ﻣﻴﻼﺩﻱ ﻋﺎﻗﻞ ﺧﺎﻥ ﺍﺯ ﺗﻐ‪‬ﻴﺮ ﺻﻔﻲ ﺧﺎﻥ ﺑﻪﻣﻨﺼﺐ »ﺑﺨﺸﻲ ﺗﻦ« ﻣﻤﺘﺎﺯ ﺷﺪ‪ .٣‬ﺑﺮ‬ ‫ﺩﺭﻳﺎﻓﺖ ﺁﻥ ﻣﻨﺼﺐ ﺧﺎﻥ ﻣﺬﺑﻮﺭ ﻧﺎﻣﺔ ﺗﺸﮑﹼﺮ ﺑﻪﻧﺎﻡ ﺍﻣﭙﺮﺍﻃﻮﺭ ﻋﺎﻟﻤﮕﻴﺮ ﻓﺮﺳﺘﺎﺩ ﮐﻪ‬ ‫ﺍﻗﺘﺒﺎﺳﻲ ﺍﺯ ﺁﻥ ﺭﺍ ﺫﻳﻼﹰ ﺩﺭﺝ ﻣﻲﮐﻨﻢ‪:‬‬ ‫”ﮐﻤﺘﺮﻳﻦ ﻓﺪﻭﻳﺎﻥ ﻋﻘﻴﺪﺕﺍﻧﺪﻭﺯ ﻋﺎﻗﻞ ﺧﺎﻥ ﺑﻪﻣﻘﺘﻀﺎﻱ ﺻﺪﻕ ﺻﺪﺍﻗﺖ ﻭ‬ ‫ﺧﻠﻮﺹ ﺍﺭﺍﺩﺕ ﭘﻴﺸﺎﻧﻲ ﻧﻴﺎﺯ ﺑﻪﺳﺠﺪﻩ ﺍﻓﺘﻘﺎﺭ ﻧﻮﺑﺮﺍﻥ ﺳﺎﺧﺘﻪ… ﮐﻪ ﺍﺯ‬ ‫ﺭﻭﺯ ﻋﻨﺎﻳﺖ ﻧﻤﺎﻳﺎﻥ ﻭ ﺍﺣﺴﺎﻥ ﺑﻲﭘﺎﻳﺎﻥ ﻣﺸﺘﻤﻞ ﺑﺮ ﺷﺶ ﺧﺎﻧﻪﺯﺍﺩ‬ ‫ﻣﻮﺭﻭﺛﻲ ﺑﻪﻧﺎﻡ ﺍﺧﻼﺹ ﮐﻴﺶ ﺳﻤﺖ ﺻﺪﻭﺭ ﻳﺎﻓﺘﻪ ﺑﻮﺩ… ﺳﻼﻣﺖ‬ ‫ﺑﻨﺪﮔﺎﻥ ﺣﻀﺮﺕ ﻇ ﹼﻞ ﺍﻟﻬﻲ ﻭ ﺗﺮﻗﹼﻲ ﺩﺭﺟﺎﺕ ﻭﺍﻻﺷﺎﻫﻲ ﻣﻄﻠﻮﺏ ﻭ‬ ‫ﻣﺄﻣﻮﻝ ﻣﻲﺩﺍﺭﺩ‪ .‬ﺍﻟﻬﻲ ﮐﻮﮐﺐ ﻋﻈﻤﺖ ﻭ ﻧﺎﻣﺪﺍﺭﻱ ﺍﺯ ﺍﻓﻖ ﺩﻭﻟﺖ ﺑﻲﺍﻧﺘﻬﺎ‬ ‫ﺗﺎﺑﻨﺪﻩ ﺑﻮﺩ“‪.٤‬‬ ‫ﺩﺭ ﺳ ‪‬ﻦ ﺍﺧﻴﺮ‪ ،‬ﻋﺎﻗﻞ ﺧﺎﻥ ﺑﻪﺳﺎﻝ ‪ ۱۰۹۱‬ﻫﺠﺮﻱ‪ ۱۶۸۱/‬ﻣﻴﻼﺩﻱ ﻳﮏ ﺑﺎﺭ ﺩﻳﮕﺮ‬ ‫ﺍﺯ ﻧﻈﺮ ﻋﻨﺎﻳﺖ ﺷﺎﻫﻲ ﺑﻪﻣﻨﺼﺐ ﺍﺳﺘﺎﻧﺪﺍﺭ ﺩﻫﻠﻲ ﻣﻨﺼﻮﺏ ﮔﺸﺖ ﻭ ﺑﺎ ﺍﺿﺎﻓﺔ‬ ‫ﻫﺰﺍﺭﻱ ﮐﻪ ﻣﺸﺘﻤﻞ ﺑﺮ ﺧﻠﻌﺖ ﻭ ﺧﻨﺠﺮ ﻣﺮ ﹼﺻﻊ ﺑﺎ ﻣﺮﻭﺍﺭﻳﺪ ﺑﻮﺩ ﺷﺮﻓﻴﺎﺏ ﺷﺪ‪ .٥‬ﺑﺮ‬ ‫‪ .1‬ﻣﺂﺛﺮﻋﺎﻟﻤﮕﻴﺮﻱ‪.١٥٣ ،‬‬ ‫‪ .2‬ﻫﻤﺎﻥ‪.٢١٨ ،‬‬ ‫‪ .3‬ﻣﺂﺛﺮﺍﻻﻣﺮﺍ‪.٨٢٢/٢ ،‬‬ ‫‪ .4‬ﻭﺯﻳﺮ ﻋﻠﻲ ﻋﺒﺮﺗﻲ‪ :‬ﺭﻳﺎﺽ ﺍﻻﻓﮑﺎﺭ‪ ،‬ﻭﺭﻕ ‪ ،٢٦‬ﮐﻠﮑﹼﺘﻪ ‪ ١٨٥٢‬ﻡ؛ ﻋﺴﮑﺮﻱ ﺣﺴﻴﻦ ﺑﻠﮕﺮﺍﻣﻲ‪:‬‬ ‫ﺻﺤﺎﺋﻒ ﺷﺮﺍﺋﻒ‪ ،‬ﺷﻤﺎﺭﺓ ﺧﻄﹼﻲ ‪ ،٢٦٨‬ﻭﺭﻕ ‪ ،٧٧‬ﻣﺠﻤﻮﻋﺔ ﺍﺣﺴﻦ‪ ،‬ﻋﻠﻲﮔﺮﻩ‪.‬‬ ‫‪ .5‬ﺗﺬﮐﺮﺓﺍﻻﻭﻟﻴﺎ‪ ،‬ﺹ ‪١٢٥‬؛ ﻣﺂﺛﺮﻋﺎﻟﻤﮕﻴﺮﻱ‪ ،‬ﺹ ‪١٩٥‬؛ ﻣﺂﺛﺮﺍﻻﻣﺮﺍ‪.٨٢٢/٢ ،‬‬

‫ﺍﺣﻮﺍﻝ ﻭ ﺁﺛﺎﺭ ﻋﺎﻗﻞ ﺧﺎﻥ ﺭﺍﺯﻱ‬ ‫‪٤٩‬‬ ‫ﺩﺭﻳﺎﻓﺖ ﺍﻳﻦ ﺍﻋﺰﺍﺯ ﺷﺎﻫﻲ ﻣﺤﻤ‪‬ﺪ ﺍﻓﻀﻞ ﺳﺮﺧﻮﺵ ﻣﺆﹼﻟﻒ »ﮐﻠﻤﺎﺕﺍﻟﺸﻌﺮﺍ« ﮐﻪ‬ ‫ﻣﻌﺎﺻﺮ ﺭﺍﺯﻱ ﺑﻮﺩ ﻭ ﺑﻪﺍﻭ ﺧﻴﻠﻲ ﺣﺴﺪ ﻣﻲﺑﺮﺩ‪ ،‬ﻗﻄﻌﻪﺍﻱ ﻫﺠﻮﻳﻪ ﺑﻪﻧﺎﻡ ﻋﺎﻗﻞ ﺧﺎﻥ‬ ‫ﻧﮕﺎﺷﺖ ﮐﻪ ﺍﺯ ﺁﻥ ﺍﻇﻬﺎﺭ ﺑﻐﺾ ﻭ ﻧﻔﺮﺕ ﺷﻨﻴﺪﻩ ﻣﻲﺷﺪ‪:‬‬ ‫ﭼﻮﻥ ﻫﺰﺍﺭﻱ ﺍﺿﺎﻓﻪ ﻋﺎﻗـﻞ ﺧـﺎﻥ ﻳﺎﻓـﺖ ﻧـﺎﮐﺮﺩﻩ ﮐﻮﺷـﺶ ﻣﻄﻠـﻖ‬ ‫ﺩﻝ ﺑﻪﺻـﺪ ﺣﻴﻒ ﮔﻔﺖ ﺗﺎﺭﻳﺨﺶ ﺁﻩ ﺁﻣــﺪ ﺍﺿــﺎﻓـﺔ ﻧــﺎﺣــﻖ‪١‬‬ ‫ﻭﻓﺎﺕ ﺭﺍﺯﻱ‬ ‫ﭼﻨﺎﻧﮑﻪ ﺩﺭ ﺻﻔﺤﺎﺕ ﮔﺬﺷﺘﻪ ﺑﺤﺚ ﺑﺮﺩﻳﻢ ﮐﻪ ﻋﺎﻗﻞ ﺧﺎﻥ ﺭﺍﺯﻱ ﺍﺯ ﻋﻬﺪ‬ ‫ﺷﺎﻫﺰﺍﺩﮔﻲ ﺍﻭﺭﻧﮓﺯﻳﺐ ﺑﻪﺩﺭﺑﺎﺭﺵ ﺍﺭﺗﺒﺎﻁ ﻣﻲﺩﺍﺷﺖ ﻭ ﺍﺯ ﺁﻥ ﻭﻗﺖ ﺗﺎ ﻣﻨﺼﺐ‬ ‫ﺍﺳﺘﺎﻧﺪﺍﺭ ﺩﻫﻠﻲ )‪ ۱۱۰۸-۱۰۴۷‬ﻫ( ﺭﻭﻱ ﻫﻢ ﺭﻓﺘﻪ ‪ ۶۱‬ﺳﺎﻝ‪ ،‬ﻭ ﺍﺯ ﺍﻳﻦ ﻣﻴﺎﻥ ﺯﻣﺎﻧﺔ‬ ‫ﺭﺧﺼﺖ ﺍﻭ ﺍﺯ ﻣﻼﺯﻣﺖ ﻭ ﺧﺪﻣﺖ ﺭﺍ ﮐﻪ ﻣﺸﺘﻤﻞ ﺑﺮ ‪ ۱۲‬ﺳﺎﻝ ﺍﺳﺖ ﺍﮔﺮ ﺗﺨﻔﻴﻒ‬ ‫ﮐﻨﻴﻢ‪ ،‬ﺑﻪﻃﻮﺭ ﮐﻠﹼﻲ ﻣ ‪‬ﺪﺕ ﻣﻼﺯﻣﺘﺶ ‪ ۴۹‬ﺳﺎﻝ ﻣﻲﮔﺮﺩﺩ ﮐﻪ ﺁﻥ ﺭﺍ ﺑﺎ ﻧﻴﮏﻧﺎﻣﻲ ﻭ‬ ‫ﻭﻓﺎﺩﺍﺭﻱ ﺍﻧﺠﺎﻡ ﺩﺍﺩﻩ ﺩﺭ ﻣﺎﻩ ﺭﺑﻴﻊﺍﻟﺜﺎﻧﻲ ﺑﻪﺳﺎﻝ ‪ ۱۱۰۸‬ﻫﺠﺮﻱ‪/‬ﺍﮐﺘﺒﺮ ‪ ۱۶۹۶‬ﻣﻴﻼﺩﻱ‬ ‫ﺑﻪﻋﻤﺮ ﻫﺸﺘﺎﺩ ﻭ ﺩﻭ ﺳﺎﻟﮕﻲ ﺭﻫﺴﭙﺎﺭ ﻣﻠﮏ ﻋﺪﻡ ﮔﺸﺖ‪ .٢‬ﻣﺮﺯﺍ ﻋﺒﺪﺍﻟﻘﺎﺩﺭ ﺑﻴﺪﻝ ﮐﻪ‬ ‫ﻣﻌﺎﺻﺮ ﺭﺍﺯﻱ ﻭ ﺍﺯ ﺑﺮﺟﺴﺘﻪﺗﺮﻳﻦ ﺷﻌﺮﺍﻱ ﺁﻥ ﻋﻬﺪ ﺑﻮﺩ‪ ،‬ﺑﺮ ﻭﻓﺎﺕ ﺭﺍﺯﻱ ﻏﺰﻟﻲ‬ ‫ﺳﺮﻭﺩ ﮐﻪ ﺩﺭ ﺁﻥ ﺍﻇﻬﺎﺭ ﻋﻘﻴﺪﺕ ﻭ ﻣﺤ‪‬ﺒﺘﺶ ﻧﻤﻮﺩ ﻭ ﻋﻈﻤﺖ ﻭ ﺍﻫﻤﻴ‪‬ﺖ ﺭﺍﺯﻱ ﺭﺍ‬ ‫ﺳﺮﺑﻠﻨﺪ ﮔﺮﺩﺍﻧﻴﺪ‪ .‬ﻣﻲﮔﻮﻳﺪ‪:‬‬ ‫ﭘﺎﻱ ﭘﻴﻮﻧﺪ ﺳـﺨﻦﺳـﻨﺠﺎﻥ ﻧﻤﺎﻧـﺪ ﺗﮑﻴﻪ ﮔﺎﻩِ ﺻﺎﺣﺐ ﻋﺮﻓـﺎﻥ ﻧﻤﺎﻧـﺪ‬ ‫ﺭﻓﺖ ﺍﺯ ﺁﻓﺎﻕ ﻟﻄﻒ ﻋـﺪﻝ ﻭ ﺩﺍﺩ ﺑﺮﮐﺖ ﺩﻳﻦ‪ ،‬ﻗﺪﻭﺓ ﺍﻧـﺴﺎﻥ ﻧﻤﺎﻧـﺪ‬ ‫ﻗﻄﺐ ﺍﻗﻄﺎﺏ ﺣﻘﺎﻳﻖ ﺑـﺎﺭ ﺑـﺴﺖ ﺳﺎﻟﮑﻲ ﺩﺭ ﮐﺸﻮﺭ ﺍﻣﮑـﺎﻥ ﻧﻤﺎﻧـﺪ‬ ‫ﻣﺠـﻤﻊ ﺍﺳـﺘﺎﺩ ﺑـﻲﺷـﻴﺮﺍﺯﻩ ﺷـﺪ ﻣﻬﺪﻱ ﺟﻤﺠﺎﻩ ﻋﺎﻗﻞ ﺧﺎﻥ ﻧﻤﺎﻧﺪ‪٣‬‬ ‫‪ .1‬ﮐﻠﻤﺎﺕﺍﻟﺸﻌﺮﺍ‪ ،‬ﺹ ‪٢٥-٢٤‬؛ ﻏﻼﻡ ﻋﻠﻲ ﺁﺯﺍﺩ ﺑﻠﮕﺮﺍﻣﻲ‪ :‬ﻳﺪ ﺑﻴﻀﺎ‪ ،‬ﺹ ‪ ،١٠٣‬ﻋﻠﻲﮔﺮﻩ ‪ ١٧٣٢‬ﻡ‪.‬‬ ‫‪ .2‬ﺑﻨﺪﺭﺍﺑﻦﺩﺍﺱ ﺧﻮﺷﮕﻮ‪ :‬ﺳﻔﻨﻴﺔ ﺧﻮﺷﮕﻮ‪ ،‬ﻣﺮﺗﹼﺒﺔ ﺷﺎﻩ ﻋﻄﺎﺀﺍﻟ ‪‬ﺮﺣﻤﻦ ﮐﺎﮐﻮﻱ‪ ،‬ﺹ ‪ ،١٣‬ﭘﺘﻨﺎ ‪ ١٩٥٩‬ﻡ‪.‬‬ ‫‪ .3‬ﻣﻌﺎﺭﻑ‪ ،‬ﺹ ‪ ،٤١-٤٠‬ﺍﻋﻈﻢ ﮔﺮﻩ‪ ،‬ﮊﻭﺋﻴﻪ ‪ ١٩٩٢‬ﻡ‪.‬‬