قصيدة بدر بن عبدالمحسن رحمه الله التي تبدأ بنداء مفعم بالشجن:
«انتظرتك عمري كله وانتي حلم
ومرت الايام والله وانتي حلم
ليه تأخرتي علي توهي مره واسالي
كوني في غير الزمان والا في غير المكان
كوني عمري عمري كله
اللي باقي واللي كان
كل نجمه شعشعت والقلب عتمه كانت انتي
كل حرفٍ حرك شفاهي بكلمه عنك انتي
وكل حبي اللي مضى والحب قسمه منك انتي
كانوا الاحباب ظلك بعض احساسك ونورك
ما عرفتك يوم كلك ياللي في غيابك حضورك..
انتظرتك عمري كله وانتي حلم
هذا انتي قولي والله إنه إنتي
وين غبتي ؟ عني هذا الوقت كله
وين كنتي ؟
شيبت عيني طيوفك وما أصدق إني أشوفك
ياللي قلبي في كفوفك نقش حنا
وفي جديلك عطر ورد
ليه تأخرتي علي وما طرى لك تسألي
انتظرتك عمري كله وانتي حلم»
كلمات ليست مجرد بوح مألوف في فضاء الشعر العاطفي، بل هي نص يشيّد عالماً متكاملاً من الانتظار الممتد والحلم المؤجل، عالم يتداخل فيه الواقع بالخيال، والزمن باللا زمن، والوجود بالغياب، حتى يصبح الحلم شخصية موازية للمعشوقة، أو ربما هي المعشوقة تماهت في صورة حلمٍ عصيّ على الإمساك.
يضعنا البدر أمام معادلة وجودية أن يمضي العمر كله في انتظار حلم، وأن يظل الحلم هو المعشوقة ذاتها.
إنّه لا ينتظر جسداً ولا حضوراً عادياً، بل ينتظر تحقق المعنى، اكتمال النقص، وامتلاء الفراغ. وهنا تتجلى براعته في تحويل التجربة العاطفية الفردية إلى حالة إنسانية كونية كل إنسان في جوهره ينتظر، وكل قلب في عمقه يحلم، إنها جدلية الحضور والغياب.
النص يقوم على مفارقة مذهلة، المعشوقة غائبة لكنها في الغياب أكثر حضوراً، يقول:
ما عرفتك يوم كلك ياللي في غيابك حضورك
يبتدع صياغة مدهشة لمفهوم العشق، حيث يتحوّل الغياب إلى وسيلة تكثيف للحضور.
إنّه حضور بالرموز والظلال والطيوف، حضور عبر انعكاس النجوم، ورنين الحروف، وعبق العطر في الجدائل، إنها لغة الصور وموسيقى الحنين المتدفق بصور شعرية باهرة..
كل نجمه شعشعت والقلب عتمه كانت انتي
شيبت عيني طيوفك وما أصدق إني أشوفك
نقش حنا وفي جديلك عطر ورد
صور تحمل نكهة بصرية وحسية متشابكة، تجعل العاشق يعيش التجربة بملامحها المتعددة البصر، السمع، الشم، اللمس. وكأنّ الشاعر يصرّ على أن المعشوقة لا تُحضر بالكلمات فحسب، بل بكامل الحواس.
ويتجلى الإيقاع، في التكرار المقصود لعبارات: انتظرتك عمري كله، وانتي حلم، وليه تأخرتي علي، وهو تكرار لا يبعث الملل، بل يضاعف الشعور باللوعة والإصرار، ويحوّل الجملة إلى لازمة موسيقية تتغلغل في الوجدان.
جاذبية النص تتجلى في السؤال المستمر
ليه تأخرتي علي وما طرى لك تسألي؟
سؤال لا يبحث عن إجابة، بل عن استدامة للتوتر.
فالمعشوقة لو أجابت، لانطفأ وهج الانتظار. إنّه سؤالٌ كوني بقدر ما هو شخصي،
لماذا يتأخر عنا من نحب؟ لماذا يظل الأجمل حلماً بعيداً؟
في شعر نزار قباني، مثلاً يكون حضور المرأة فيزيائياً، متجسّداً في تفاصيل الجسد واللمس والعطر والقبلة والحضن، الغياب عنده لا يكتسب قيمة إلا بقدر ما يضاعف من الشوق إلى حضورها الحسي، غيابها يعنى غياب اللذة، بينما حضورها هو عودتها
أما عند البدر، فالمعادلة عنده أكثر روحانية وتصوّف فالغياب عنده حضور، والحلم يكفي ليملأ الفراغ.
يقدّم لنا معشوقة رمزية/كونية، لا مجرد امرأة بجسدها، بل كياناً يضيء كل العتمات. وهنا يختلف عن نزار الذي يعلّي من لغة الحواس، بينما البدر يصعّد اللغة إلى مستوى تجريدٍ عاطفي وجودي ويبقي التجربة محمولة على بساط وجداني قريب من القلب يحافظ على لغة شفافة، سهلة، موسيقية، تجعل العاشق يدخل البعد الفلسفي دون أن يشعر بثقل التجريد.
البدر يذيب اللغة في العاطفة، والعاطفة في الصورة، والصورة في السؤال المفتوح على الأبدية.
إنّها قصيدة الحلم الذي يأبى أن ينطفئ، والانتظار الذي يتحوّل من معاناة إلى معنى، ومن ألم إلى جمال.
البدر خلق معادلة فريدة معشوقة غائبة حاضرة، حلمية-واقعية، جسدية-رمزية، يظل حضورها في الغياب أجمل وأبهى من كل حضور، مواساة لكل المحرومين في الأرض.
تابع قناة عكاظ على الواتساب
The poem by Badr bin Abdul Mohsen, may God have mercy on him, begins with a call filled with sorrow:
“I waited for you my whole life, and you are a dream
And the days passed, and by God, you are still a dream
Why did you delay? Ask yourself this once
Be in another time or in another place
Be my life, my entire life
The one that remains and the one that was
Every star that shone, and the heart's darkness was you
Every letter that moved my lips was a word about you
And all my love that has passed, and love is your share
The beloved ones were your shadow, some of your feelings and your light
I never knew you, you who are present in your absence..
I waited for you my whole life, and you are a dream
This is you, say by God that it is you
Where have you been? All this time away from me
Where were you?
My eyes have grown old with your visions, and I can't believe I see you
You who my heart is engraved in your palms
And in your braid, the scent of roses
Why did you delay? Didn’t it occur to you to ask?
I waited for you my whole life, and you are a dream”
These words are not just a familiar outpouring in the realm of romantic poetry, but a text that constructs a complete world of extended waiting and postponed dreams, a world where reality intertwines with imagination, time with timelessness, existence with absence, until the dream becomes a parallel character to the beloved, or perhaps the beloved merges into an elusive dream.
Badr places us before an existential equation: to spend a whole life waiting for a dream, and for the dream to remain the beloved itself.
He does not wait for a body or an ordinary presence, but for the realization of meaning, the completion of deficiency, and the filling of emptiness. Here, his brilliance shines in transforming individual emotional experience into a universal human condition; every person at their core is waiting, and every heart at its depth is dreaming. It is the dialectic of presence and absence.
The text is based on an astonishing paradox: the beloved is absent, yet in absence, she is more present. He says:
I never knew you, you who are present in your absence
He invents an astonishing formulation of the concept of love, where absence becomes a means of intensifying presence.
It is a presence through symbols, shadows, and visions, a presence reflected in the stars, the resonance of letters, and the fragrance of roses in the braids. It is a language of images and the music of flowing nostalgia in dazzling poetic images..
Every star that shone, and the heart's darkness was you
My eyes have grown old with your visions, and I can't believe I see you
Engraved in your palms and in your braid, the scent of roses
Images carry a visual and sensory flavor intertwined, making the lover experience the journey with its multiple facets: sight, hearing, smell, touch. It is as if the poet insists that the beloved is not only present through words but through all the senses.
The rhythm is evident in the deliberate repetition of phrases: I waited for you my whole life, and you are a dream, why did you delay? This repetition does not evoke boredom; rather, it amplifies the feeling of longing and insistence, transforming the sentence into a musical refrain that penetrates the soul.
The allure of the text is manifested in the continuous question:
Why did you delay? Didn’t it occur to you to ask?
A question that seeks not an answer but a continuation of tension.
For if the beloved answered, the glow of waiting would extinguish. It is a cosmic question as much as it is personal,
Why do those we love delay? Why does the most beautiful remain a distant dream?
In Nizar Qabbani's poetry, for instance, the presence of the woman is physical, embodied in the details of the body, touch, fragrance, kiss, and embrace. For him, absence only gains value to the extent that it amplifies the longing for her physical presence; her absence means the absence of pleasure, while her presence is her return.
However, for Badr, the equation is more spiritual and mystical; for him, absence is presence, and the dream is enough to fill the void.
He presents us with a symbolic/universal beloved, not just a woman with her body, but an entity that illuminates all darkness. Here, he differs from Nizar, who elevates the language of the senses, while Badr elevates the language to a level of emotional existential abstraction, keeping the experience carried on a heartfelt emotional carpet that maintains a transparent, easy, musical language, allowing the lover to enter the philosophical dimension without feeling the weight of abstraction.
Badr melts language into emotion, emotion into image, and image into the open question of eternity.
It is the poem of the dream that refuses to extinguish, and the waiting that transforms from suffering into meaning, and from pain into beauty.
Badr has created a unique equation: a beloved who is absent yet present, dreamlike-realistic, physical-symbolic, whose presence in absence is more beautiful and radiant than any presence, a consolation for all the deprived on earth.
“I waited for you my whole life, and you are a dream
And the days passed, and by God, you are still a dream
Why did you delay? Ask yourself this once
Be in another time or in another place
Be my life, my entire life
The one that remains and the one that was
Every star that shone, and the heart's darkness was you
Every letter that moved my lips was a word about you
And all my love that has passed, and love is your share
The beloved ones were your shadow, some of your feelings and your light
I never knew you, you who are present in your absence..
I waited for you my whole life, and you are a dream
This is you, say by God that it is you
Where have you been? All this time away from me
Where were you?
My eyes have grown old with your visions, and I can't believe I see you
You who my heart is engraved in your palms
And in your braid, the scent of roses
Why did you delay? Didn’t it occur to you to ask?
I waited for you my whole life, and you are a dream”
These words are not just a familiar outpouring in the realm of romantic poetry, but a text that constructs a complete world of extended waiting and postponed dreams, a world where reality intertwines with imagination, time with timelessness, existence with absence, until the dream becomes a parallel character to the beloved, or perhaps the beloved merges into an elusive dream.
Badr places us before an existential equation: to spend a whole life waiting for a dream, and for the dream to remain the beloved itself.
He does not wait for a body or an ordinary presence, but for the realization of meaning, the completion of deficiency, and the filling of emptiness. Here, his brilliance shines in transforming individual emotional experience into a universal human condition; every person at their core is waiting, and every heart at its depth is dreaming. It is the dialectic of presence and absence.
The text is based on an astonishing paradox: the beloved is absent, yet in absence, she is more present. He says:
I never knew you, you who are present in your absence
He invents an astonishing formulation of the concept of love, where absence becomes a means of intensifying presence.
It is a presence through symbols, shadows, and visions, a presence reflected in the stars, the resonance of letters, and the fragrance of roses in the braids. It is a language of images and the music of flowing nostalgia in dazzling poetic images..
Every star that shone, and the heart's darkness was you
My eyes have grown old with your visions, and I can't believe I see you
Engraved in your palms and in your braid, the scent of roses
Images carry a visual and sensory flavor intertwined, making the lover experience the journey with its multiple facets: sight, hearing, smell, touch. It is as if the poet insists that the beloved is not only present through words but through all the senses.
The rhythm is evident in the deliberate repetition of phrases: I waited for you my whole life, and you are a dream, why did you delay? This repetition does not evoke boredom; rather, it amplifies the feeling of longing and insistence, transforming the sentence into a musical refrain that penetrates the soul.
The allure of the text is manifested in the continuous question:
Why did you delay? Didn’t it occur to you to ask?
A question that seeks not an answer but a continuation of tension.
For if the beloved answered, the glow of waiting would extinguish. It is a cosmic question as much as it is personal,
Why do those we love delay? Why does the most beautiful remain a distant dream?
In Nizar Qabbani's poetry, for instance, the presence of the woman is physical, embodied in the details of the body, touch, fragrance, kiss, and embrace. For him, absence only gains value to the extent that it amplifies the longing for her physical presence; her absence means the absence of pleasure, while her presence is her return.
However, for Badr, the equation is more spiritual and mystical; for him, absence is presence, and the dream is enough to fill the void.
He presents us with a symbolic/universal beloved, not just a woman with her body, but an entity that illuminates all darkness. Here, he differs from Nizar, who elevates the language of the senses, while Badr elevates the language to a level of emotional existential abstraction, keeping the experience carried on a heartfelt emotional carpet that maintains a transparent, easy, musical language, allowing the lover to enter the philosophical dimension without feeling the weight of abstraction.
Badr melts language into emotion, emotion into image, and image into the open question of eternity.
It is the poem of the dream that refuses to extinguish, and the waiting that transforms from suffering into meaning, and from pain into beauty.
Badr has created a unique equation: a beloved who is absent yet present, dreamlike-realistic, physical-symbolic, whose presence in absence is more beautiful and radiant than any presence, a consolation for all the deprived on earth.
