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‫ﺍﻟﻄﺒﻌﺔ ﺍﻷﻭﱃ‬ ‫ﻡ‬٢٠٢١ /‫ﻫـ‬١٤٤٢

‫ﻟﻠﻄﺒﺎﻋﺔ ﻭﺍﻟﻨﴩ ﻭﺍﻟﺘﻮﺯﻳﻊ‬ ‫ ﻣﺪﻳﻨﺔ ﻧﴫ‬-￯‫ ﺵ ﻋﺒﺪ ﺍﳊﻰ ﺣﺠﺎﺯ‬١١ ٠١٠٠٠١٣٥٤٠٦ - ٢٢٧٤٦٢٧٧ :‫ﺗﻠﻴﻔﻮﻥ‬ www.dar-elhekma.com info@dar-elhekma.com

‫‪٨٠٩٫٩‬‬

‫ﺩ‪ .‬ﻋﺒﲑ ﺧﺎﻟﺪ ﳛﻴﻲ‬

‫ﻉﺏﺃﺩ‬

‫ﺃﺩﺏ ﺍﻟﺮﺣﻼﺕ ﺍﳌﻌﺎﴏ ﺑﻤﻔﻬﻮﻡ ﺫﺭﺍﺋﻌﻲ‪ /‬ﺩ‪ .‬ﻋﺒﲑ ﺧﺎﻟﺪ‬

‫ﳛﻴﻲ‪ - .‬ﺍﻟﻘﺎﻫﺮﺓ‪ :‬ﺩﺍﺭ ﺍﳊﻜﻤﺔ ﻟﻠﻄﺒﺎﻋﺔ ﻭﺍﻟﻨﴩ ﻭﺍﻟﺘﻮﺯﻳﻊ‪،‬‬ ‫ﻁ‪٢٠٢١ ،١‬ﻡ‪.‬‬ ‫‪١٤٢‬؛ ‪٢٤‬ﺳﻢ‪.‬‬ ‫ﺗﺪﻣﻚ‪٩٧٨-٩٧٧-٧٢٨-٣٣٦-٦ :‬‬ ‫‪ -١‬ﺃﺩﺏ ﺍﻟﺮﺣﻼﺕ‪.‬‬

‫ﺃ‪ -‬ﺍﻟﻌﻨﻮﺍﻥ‬

‫ﺭﻗﻢ ﺍﻹﻳﺪﺍﻉ‬

‫‪٢٠٢٠/١٧٥٤٠‬‬

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‫‪978-977-728-336-6‬‬

‫‪v‬‬

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Z

‫‪<‹ËÇœi‬‬ ‫‪<·]ÜŞf÷]<ÎÇ∑<ÎÜíπ]<ÍÒ]ÊÜ÷]<‹◊œe‬‬ ‫‪<Üí⁄<h^jfl “<Å^†]<ª<l¯uÜ÷]<hÅ_<Ìf√ç<ãÈÒÖ‬‬ ‫ﹺ‬ ‫ﹺ‬ ‫ﻟﻸﺩﺏ‬ ‫ﺟﻴﺪﹰ ﺍ‬ ‫ﺍﻷﺩﺏ‪،‬‬ ‫ﻣﺘﺨﺼ ﹰﺼﺎ ﰲ‬ ‫ﺃﻛﺎﺩﻳﻤﻴﺎ‪ ،‬ﻭﻻ‬ ‫ﻟﺴﺖ‬ ‫ﹸ‬ ‫ﹾ‬ ‫ﹼ‬ ‫ﻭﻟﻜﻦ ﺃﻋﺘ ﹸ‬ ‫‪h‬‬ ‫ﱪ ﻧﻔﴘ ﻗﺎﺭﺋﹰﺎ ﹼ‬ ‫ﹺ‬ ‫ﹺ‬ ‫ﹴ‬ ‫ﹴ‬ ‫ﹺ‬ ‫ﹺ‬ ‫ﹺ‬ ‫ﺷﻌﺒﺔ ﹺ‬ ‫ﹺ‬ ‫ﺑﺎﲢﺎﺩ‬ ‫ﺍﻟﺮﺣﻼﺕ‬ ‫ﺃﺩﺏ‬ ‫ﺑﺮﺋﺎﺳﺔ‬ ‫ﴍﻓﺖ‬ ‫ﺑﺼﻔﺔ‬ ‫ﺍﻟﺮﺣﻼﺕ‬ ‫ﻭﻷﺩﺏ‬ ‫ﻋﻤﻮ ﹰﻣﺎ‪،‬‬ ‫ﺧﺎﺻﺔ‪ ،‬ﻭﻗﺪﹾ‬ ‫ﹸ‬

‫ﹺ‬ ‫ﹺ‬ ‫ﻛﺘﺐ ﹺ‬ ‫ﻣﻦ ﹺ‬ ‫ﹺ‬ ‫ﹺ‬ ‫ﺍﻟﺮﺣﻼﺕ ﰲ ﻭﺟﻮﺩ‬ ‫ﺃﺩﺏ‬ ‫ﳌﻨﺎﻗﺸﺔ‬ ‫ﻣﴫ‪ ،‬ﻭﻛﻨﺎ ﻧﻌﻘﺪﹸ ﻧﺪﻭﺓ ﺷﻬﺮﻳ ﹰﺔ‬ ‫ﻛﺘﺎﺏ‬ ‫ﹶ‬ ‫ﻛﺘﺎﺏ ﹾ‬ ‫ﺍﳌﺘﻌﻤ ﹺ‬ ‫ﹺ‬ ‫ﹺ‬ ‫ﺍﻟﺮﺣ ﹸ‬ ‫ﹶ‬ ‫ﺍﻟﻮﻗﺖ‬ ‫ﻭﺍﻟﻌﺮﺏ ﰲ‬ ‫ﺍﳌﴫﻳﻮﻥ‬ ‫ﺎﻟﺔ‬ ‫ﺍﻟﻘﺮﺍﺀﺓ‬ ‫ﺃﺗﺎﺡ ﱄ ﻫﺬﺍ ﻓﺮﺻ ﹶﺔ‬ ‫ﻘﺔ ﳌﺎ ﹸ‬ ‫ﹸ‬ ‫ﻣﺆﻟﻔﻪ‪ ،‬ﻭﻗﺪﹾ ﹶ‬ ‫ﻛﺘﺒﻪ ﹼ‬ ‫ﹼ‬

‫ﹺ‬ ‫ﺃﺷﺎﺭﺕ ﹺ‬ ‫ﲑ ﺧﺎﻟﺪﹾ ﳛﻴﻲ ﰲ ﻛﺘﺎﲠﺎ ﹺ‬ ‫ﹺ‬ ‫ﺑﺄﺩﺏ ﺍﻟﺴﻔ ﹺﺮ‪ ،‬ﹸ‬ ‫ﺣﻴﺚ‬ ‫ﺇﻟﻴﻪ ﻛﺎﺗﺒﺘﻨﺎ‬ ‫ﻭﻫﻮ ﻣﺎ‬ ‫ﹾ‬ ‫ﺍﳊﺎﴐ‪ ،‬ﹶ‬ ‫ﺍﻟﺪﻛﺘﻮﺭﺓ ﻋﺒ ﹾ‬ ‫ﹴ‬ ‫ﹴ‬ ‫ﹶ‬ ‫ﹶ‬ ‫ﹸ‬ ‫ﺟﺪﻳﺪﺓ‪ ،‬ﺇﱃ ﹾ‬ ‫ﺍﻟﺮﺣﺎﻟﺔ‬ ‫ﺻﺎﺭ‬ ‫ﻭﺑﻼﺩ‬ ‫ﳎﺎﻫﻞ‬ ‫ﻋﻦ‬ ‫ﺍﻟﺮﺣﻼﺕ ﻭ ﹾﱂ ﺗﻌﺪﹾ ﻏﺎﻳﺘﻬﺎ‬ ‫ﺭﺕ‬ ‫ﹸ‬ ‫ﺗﻄﻮ ﹾ‬ ‫ﺍﻟﻜﺸﻒ ﹾ‬ ‫ﺃﻥ ﹶ‬ ‫ﹼ‬ ‫ﹴ‬ ‫ﹴ‬ ‫ﺃﻭ ﹴ‬ ‫ﹴ‬ ‫ﹴ‬ ‫ﹴ‬ ‫ﺷﺨﺼﻴﺔ‪.‬‬ ‫ﺃﻭ‬ ‫ﺃﻭ‬ ‫ﺃﻭ‬ ‫ﺑﻐﺎﻳﺔ‬ ‫ﻣﺴﺎﻓﺮﺍ‬ ‫ﺳﻴﺎﺣﻴﺔ ﹾ‬ ‫ﻃﺒﻴﺔ ﹾ‬ ‫ﺳﻴﺎﺳﻴﺔ ﹾ‬ ‫ﲡﺎﺭﻳﺔ ﹾ‬ ‫ﹰ‬

‫ﹺ‬ ‫ﹺ‬ ‫ﹺ‬ ‫ﹴ‬ ‫ﺃﻛﺎﺩﻳﻤﻲ ﱢ‬ ‫ﹶ‬ ‫ﹴ‬ ‫ﳖﺎﻳﺔ ﻛﻞﹺ‬ ‫ﻟﻜﻞ‬ ‫ﻋﺮﺽ‬ ‫ﺑﻤﺜﺎﺑﺔ‬ ‫ﺩﻭﺭﺓ‪،‬‬ ‫ﺍﻟﺸﻌﺒﺔ ﺍﻟﺬﻱ ﹸﻳﻌﻘﺪﹸ ﰲ‬ ‫ﻣﺆﲤﺮ‬ ‫ﻭﻛﺎﻥ‬ ‫ﹴ‬ ‫ﹸ‬ ‫ﹺ‬ ‫ﹺ‬ ‫ﹺ‬ ‫ﹴ‬ ‫ﹺ‬ ‫ﲑ ﻓﻜ ﹺﺮ ﹺ‬ ‫ﺍﳉﺪﻳﺪ ﰲ ﺗﺄﺻﻴﻞﹺ ﻭﺗﺄﻃ ﹺ‬ ‫ﺍﳉﻐﺮﺍﻓﻴﺔ‬ ‫ﻣﺘﺨﺼﺼﲔﹶ ﰲ‬ ‫ﺃﺳﺎﺗﺬﺓ‬ ‫ﺑﻮﺍﺳﻄﺔ‬ ‫ﺍﻟﺮﺣﻼﺕ‪،‬‬ ‫ﺃﺩﺏ‬ ‫ﹼ‬ ‫ﹺ‬ ‫ﹺ‬ ‫ﹺ‬ ‫ﹺ‬ ‫ﹺ‬ ‫ﹺ‬ ‫ﹴ‬ ‫ﻣﻊ ﺍﻟﱰﻛﻴ ﹺﺰ‬ ‫ﺍﻟﺮﺣﻼﺕ‬ ‫ﻗﺮﺍﺀﺓ ﺃﺷﻬ ﹺﺮ‬ ‫ﻣﻦ‬ ‫ﻟﺒﻌﺾ‬ ‫ﻭﻋﺮﻭﺽ‬ ‫ﻭﺍﻷﺩﺏ‬ ‫ﺍﻟﻜﺘﺐ‪ .‬ﻭﻗﺪﹾ ﲤﻜ ﹼﻨﺎ ﹾ‬ ‫ﺍﻟﻌﺮﺑﻴﺔ‪ ،‬ﹶ‬

‫ﹺ‬ ‫ﹺ‬ ‫ﺍﳉﺬﺏ ﰲ ﹶ‬ ‫ﺍﳌﻮﺿﻮﻋﺎﺕ ﺑﺎﻋﺘﺒﺎﺭﻫﺎ ﹼ‬ ‫ﹺ‬ ‫ﹺ‬ ‫ﹺ‬ ‫ﹺ‬ ‫ﻭﺍﻟﻘﺎﺭﺉ‬ ‫ﺍﻟﻜﺎﺗﺐ‬ ‫ﺃﻭ‬ ‫ﳏﻂ ﺍﻫﺘﲈ ﹺﻡ‬ ‫ﺗﻠﻚ‬ ‫ﻣﻨﺎﻃﻖ‬ ‫ﻋﲆ‬ ‫ﺍﻟﺮﺣﺎﻟﺔ ﹾ‬ ‫ﹺ‬ ‫ﹴ‬ ‫ﹺ‬ ‫ﹶ‬ ‫ﻓﺘﺢ ﹴ‬ ‫ﺑﺬﻟﻚ ﻗﻴﻤ ﹶﺔ ﹺ‬ ‫ﺍﳌﻌﺮﻓﺔ ﻭﺍﻟﺘﻮﺍﺻﻞﹺ ﺑﲔﹶ‬ ‫ﻣﻦ‬ ‫ﺁﻓﺎﻕ‬ ‫ﺃﺩﺏ‬ ‫ﻣﻌﺎ‪ ،‬ﻣﺆﻛﺪﹰ ﺍ‬ ‫ﺍﻟﺮﺣﻼﺕ ﰲ ﹺ‬ ‫ﺟﺪﻳﺪﺓ ﹾ‬ ‫ﹰ‬

‫ﹺ‬ ‫ﹺ‬ ‫ﹺ‬ ‫ﹺ‬ ‫ﹺ‬ ‫ﻭﺗﺪﻋﻴﻢ ﹺ‬ ‫ﻧﺎﺣﻴﺔ ﺍﻟﺼ ﹺ‬ ‫ﻭﺍﻟﺘﻌﺎﻭﻥ‬ ‫ﱪ‬ ‫ﻭﺍﻟﺘﻌﺎﺭﻑ‪ ،‬ﻭﺍﻟﻘﺪﺭ ﹸﺓ ﻋﲆ‬ ‫ﻣﻦ‬ ‫ﺍﻟﻘﻴﻢ‬ ‫ﺍﻟﺸﻌﻮﺏ‬ ‫ﺑﻌﺾ ﹺ‬ ‫ﹺ‬ ‫ﺍﻹﻧﺴﺎﻧﻴﺔ ﹾ‬ ‫ﹺ‬ ‫ﹺ‬ ‫ﺍﻟﺮﺣ ﹸ‬ ‫ﺭﺻﺪ ﻣﺮﻛ ﹺﺰ‬ ‫ﺗﺴﻬﻢ‬ ‫ﺍﻟﻘﻴﻢ ﺍﻟﺘﻲ‬ ‫ﻣﻦ‬ ‫ﺎﻟﺔ‬ ‫ﺍﻟﺮﺣﻼﺕ ﰲ‬ ‫ﹸ‬ ‫ﹸ‬ ‫ﹺ‬ ‫ﻭﻳﻜﺘﺒﻪ‪ ،‬ﻭﻏﲑﻫﺎ ﹾ‬ ‫ﺍﳉﺎﺫﺑﻴﺔ ﻓﻴﲈ ﻳﺮﺍ ﹸﻩ ﹼ‬ ‫ﹸ‬

‫ﺇﺷﺎﻋﺘﻬﺎ‪.‬‬

‫ﹴ‬ ‫ﹴ‬ ‫ﻭﻋﲆ ﹶ‬ ‫ﹸ‬ ‫ﻭﲡﻮﺍﻝ‬ ‫ﻭﺇﻋﺪﺍﺩ ﻭﺳﻔ ﹴﺮ‬ ‫ﻋﻦ ﲡﻬﻴ ﹴﺰ‬ ‫ﺫﻟﻚ ﹾﱂ ﺗﻌﺪﹾ‬ ‫ﺍﻟﺮﺣﻠﺔ ﻛﲈ ﺗﻌ ﹼﻠﻤﻨﺎ‪ ،‬ﻋﺒﺎﺭ ﹲﺓ ﹾ‬ ‫ﹴ‬ ‫ﹴ‬ ‫ﹴ‬ ‫ﹺ‬ ‫ﹺ‬ ‫ﻭﺍﻟﺰﻣﺎﻥ‪ ،‬ﹾ‬ ‫ﺩﻓﻴﻨﺔ ﰲ ﺍﻟﺘﻐﻴ ﹺ‬ ‫ﹲ‬ ‫ﲇ‬ ‫ﺍﳌﻜﺎﻥ‬ ‫ﻭﺭﺻﺪ ﻭﺗﺴﺠﻴﻞﹴ ﰲ‬ ‫ﺭﻏﺒﺔ‬ ‫ﻋﻦ‬ ‫ﺗﻌﺒﲑ‬ ‫ﻫﻲ‬ ‫ﲑ ﺍﻟﺪﺍﺧ ﹺ‬ ‫ﻋﻤﻴﻖ ﹾ‬ ‫ﹲ‬ ‫ﺑﻞ ﹶ‬

‫ﹴ‬ ‫ﹴ‬ ‫ﹺ‬ ‫ﹴ‬ ‫ﹲ‬ ‫ﹸ‬ ‫ﹺ‬ ‫ﻫﻲ‬ ‫ﳊﺎﺟﺔ‬ ‫ﻭﺗﻠﺒﻴﺔ‬ ‫ﻭﺃﻭﺳﻊ‪،‬‬ ‫ﺃﺭﺣﺐ‬ ‫ﻵﻓﺎﻕ‬ ‫ﻭﺍﻻﻧﻄﻼﻕ‬ ‫ﲡﺎﺭﺏ‬ ‫ﺧﻮﺽ‬ ‫ﺍﳊﺎﺟﺔ ﺇﱃ‬ ‫ﹶ‬ ‫ﹶ‬ ‫ﹶ‬ ‫ﴐﻭﺭﻳﺔ ﹶ‬ ‫ﹺ‬ ‫ﺍﻟﺮﺣ ﹺ‬ ‫ﹺ‬ ‫ﹴ‬ ‫ﺑﺎﻟﺘﻌﺮ ﹺ‬ ‫ﹺ‬ ‫ﹴ‬ ‫ﹸ‬ ‫ﻋﻦ‬ ‫ﻭﻗﻴﻢ‬ ‫ﺛﻘﺎﻓﺎﺕ‬ ‫ﻑ ﺇﱃ‬ ‫ﺎﻟﺔ‬ ‫ﺍﻻﺳﺘﻜﺸﺎﻑ‪،‬‬ ‫ﺍﻟﺮﻏﺒﺔ ﰲ‬ ‫ﺃﻭ‬ ‫ﹴ‬ ‫ﲣﺘﻠﻒ ﹾ‬ ‫ﺛﻘﺎﻓﺔ ﹼ‬ ‫ﺟﺪﻳﺪﺓ‪ ،‬ﹾ‬ ‫ﹼ‬

‫‪٧‬‬

‫ﹺ‬ ‫ﹴ‬ ‫ﹲ‬ ‫ﹸ‬ ‫ﹺ‬ ‫ﻋﻦ ﺗﻐﻴ ﹺ‬ ‫ﻓﺎﻟﺮﺣﻠﺔ ﹾ‬ ‫ﻣﻜﺎﻥ‪،‬‬ ‫ﲑ‬ ‫ﻣﻦ ﺗﻌﺒﲑﻫﺎ ﰲ‬ ‫ﺍﳌﻜﺎﻥ‪،‬‬ ‫ﺭﺣﻠﺔ ﰲ‬ ‫ﻛﺎﻧﺖ‬ ‫ﻭﺇﻥ ﹾ‬ ‫ﹺ‬ ‫ﺍﻟﻮﺍﻗﻊ ﹾ‬ ‫ﺃﻛﺜﺮ ﹾ‬ ‫ﻭﺍﻟﻜﺎﺗﺐ‪ .‬ﹶ‬ ‫ﹺ‬ ‫ﹺ‬ ‫ﹺ‬ ‫ﹼﺇﻻ ﹶ‬ ‫ﹸ‬ ‫ﺃﻭ‬ ‫ﻣﻜﺎﻥ‬ ‫ﻫﻮ‬ ‫ﺍﻟﺜﻘﺎﻓﺔ ﺍﻷﺧﺮ￯‪،‬‬ ‫ﻣﻌﻈﻢ‬ ‫ﺑﺎﳌﻜﺎﻥ‪ ،‬ﰲ‬ ‫ﺃﻥ ﺍﳌﻘﺼﻮ ﹶﺩ‬ ‫ﹺ‬ ‫ﹺ‬ ‫ﺍﻟﺮﺣﻼﺕ‪ ،‬ﹶ‬ ‫ﺍﳌﺠﺘﻤﻊ ﺍﻵﺧ ﹺﺮ ﹾ‬

‫ﹺ‬ ‫ﹰ‬ ‫ﹸ‬ ‫ﹺ‬ ‫ﹺ‬ ‫ﺍﻟﺮﺣﻠﺔ‬ ‫ﱪ‬ ‫ﺍﻟﻜﺎﺗﺐ‬ ‫ﻭﻛﲈ ﻳﺮﺍﻫﺎ‬ ‫ﺣﻀﻴﺾ‬ ‫ﻣﻦ‬ ‫ﻭﺍﻟﻨﺎﻗﺪ ﺍﳌﻐﺮ ﹺ‬ ‫ﺍﻧﺘﻘﺎﻻ ﹾ‬ ‫ﰊ ﺍﻟﺪﻛﺘﻮ ﹺﺭ ﺧﺎﻟﺪﹾ ﺍﻟﺘﻮﺯﺍﲏ‪ ،‬ﺗﻌﺘ ﹸ‬ ‫ﹺ‬ ‫ﹴ‬ ‫ﹺ‬ ‫ﹺ‬ ‫ﺍﳉﻬﺎﺩ‬ ‫ﻣﻦ‬ ‫ﻣﺪﺍﺭﺝ‬ ‫ﻭﺍﻷﻫﻮﺍﺀ‪ ،‬ﺇﱃ‬ ‫ﺍﻟﺮﻏﺒﺎﺕ‬ ‫ﺍﻟﺮﻭﺣﻲ ﻭﺍﻟﻔﻜﺮﻱﹺ ﻭﺍﳊﻀﺎﺭﻱﹺ ‪.‬‬ ‫ﹺ‬ ‫ﻋﻠﻮﻳﺔ ﹾ‬ ‫ﹶ‬ ‫ﹺ‬ ‫ﹺ‬ ‫ﹺ‬ ‫ﺣﺴﻦ‬ ‫ﺍﻟﻌﺮﺍﻗﻲ‬ ‫ﻟﻠﻜﺎﺗﺐ‬ ‫ﻟﺮﻭﺍﻳﺔ »ﺍﻟﻨﻮﰐ«‬ ‫ﺍﺳﺘﻤﺘﻌﻨﺎ ﻣﻦ ﺧﻼﻝ ﺍﻟﻜﺘﺎﺏ ﺑﺘﺤﻠﻴﻞ ﺍﻟﻜﺎﺗﺒﺔ‬ ‫ﹺ‬ ‫ﹺ‬ ‫ﹺ‬ ‫ﹴ‬ ‫ﹺ‬ ‫ﹺ‬ ‫ﺷﻌﺒﺔ ﹺ‬ ‫ﺃﺩﺏ‬ ‫ﻧﺪﻭﺍﺕ‬ ‫ﻣﻦ‬ ‫ﺍﻟﻜﺎﺗﺒﺔ ﰲ‬ ‫ﺍﻟﺒﺤﺎ ﹺﺭ‪ ،‬ﻭﻗﺪﹾ ﻧﺎﻗﺸﻨﺎ ﺍﻟﺮﻭﺍﻳ ﹶﺔ ﰲ ﺣﻀﻮ ﹺﺭ‬ ‫ﺍﻟﺮﺣﻼﺕ‪،‬‬ ‫ﻭﺍﺣﺪﺓ ﹾ‬ ‫ﹺ‬ ‫ﹶ‬ ‫ﺍﻟﻌﻤﻞ ﹶ‬ ‫ﻭﻻ ﺷﻚ ﹶ‬ ‫ﻣﻌﺎﴏ ﻣﻦ ﹺ‬ ‫ﹴ‬ ‫ﻣﻦ ﹸ‬ ‫ﺃﺩﺏ‬ ‫ﻣﻦ ﻧﻮ ﹴﻉ‬ ‫ﺍﻟﺮﺣﻼﺕ‪.‬‬ ‫ﺃﻥ‬ ‫ﺣﻴﺚ ﹸ‬ ‫ﺇﻧﻪ ﹾ‬ ‫ﳑﻴ ﹰﺰﺍ ﹾ‬ ‫ﻛﺎﻥ ﹼ‬

‫ﻓﻮﻕ ﹺ‬ ‫ﹺ‬ ‫ﱪ ﹺ‬ ‫ﺍﻟﺮﺣﻠﺔ ﺍﻟﺘﻲ ﺃﺧﺬﻧﺎ ﲠﺎ ﹶ‬ ‫ﹸ‬ ‫ﺍﻟﻜﺎﺗﺒﺔ ﺇﱃ ﱠ‬ ‫ﺍﻟﻜﺎﺗﺐ‬ ‫ﺃﻥ‬ ‫ﺧﻠﺼﺖ‬ ‫ﻋﺎﳌﻪ‬ ‫ﻫﺬﻩ‬ ‫ﹶ‬ ‫ﹾ‬ ‫ﹶ‬ ‫ﺍﺳﺘﻄﺎﻉ‪ :‬ﻋ ﹶ‬ ‫ﹺ‬ ‫ﹺ‬ ‫ﹺ‬ ‫ﹺ‬ ‫ﹶ‬ ‫ﹺ‬ ‫ﹶ‬ ‫ﺍﻷﺯﺭﻕ‪ ،‬ﹾ‬ ‫ﺍﳌﺼﲑﻳﺔ ﺑﲔﹶ ﺧﻄ ﹺﺮ‬ ‫ﺍﳌﺒﺎﻏﺘﺔ‪ ،‬ﻭﲢﻮﻻﺗﻪ‬ ‫ﺗﻘﻠﺒﺎﺗﻪ‬ ‫ﻭﺳﻂ‬ ‫ﻳﻄﻮﻑ ﺑﻨﺎ‬ ‫ﻭﻓﺮﺡ‬ ‫ﺍﳌﻮﺕ‬ ‫ﺃﻥ‬ ‫ﹶ‬ ‫ﹺ‬ ‫ﺍﻟﻨﺠﺎﺓ‪.‬‬ ‫ﹺ‬ ‫ﹶ‬ ‫ﹺ‬ ‫ﹸ‬ ‫ﹺ‬ ‫ﹺ‬ ‫ﹺ‬ ‫ﺑﺘﻄﺒﻴﻖ‬ ‫ﺍﻟﻜﺎﺗﺒﺔ‬ ‫ﻗﺎﻣﺖ‬ ‫ﺫﺭﺍﺋﻌﻲ«‬ ‫ﺍﻟﺮﺣﻼﺕ ﺑﻤﻨﻈﻮ ﹴﺭ‬ ‫»ﺃﺩﺏ‬ ‫ﻛﺘﺎﺏ‬ ‫ﺍﻟﺘﺠﻮﺍﻝ ﰲ‬ ‫ﺧﻼﻝ‬ ‫ﹾ‬ ‫ﹴ‬ ‫ﹴ‬ ‫ﹺ‬ ‫ﹾ‬ ‫ﹺ‬ ‫ﻟﻠﻜﺎﺗﺐ ﺍﳌﴫﻱﹺ‬ ‫ﻭﺗﻌﺎﻣﻠﺖ‬ ‫)ﺃﻳﺎﻡ ﺑﻐﺪﺍﺩ ﹶ(‪.‬‬ ‫‪/‬ﺧﻠﻴﻞ ﺍﳉﻴﺰﺍﻭﻱ‪/‬‬ ‫)ﺭﻭﺍﻳﺔ(‬ ‫ﻣﻨﻬﺠﻬﺎ ﻋﲆ‬ ‫ﹾ‬ ‫ﺑﻌﻨﻮﺍﻥ ﹸ‬ ‫ﻃﺒﻘﺖ ﹺ‬ ‫ﹴ‬ ‫ﻧﻘﺪﻳﺔ ﹴ‬ ‫ﹴ‬ ‫ﹺ‬ ‫ﻛﻜﺘﺎﺏ ﰲ ﹺ‬ ‫ﹺ‬ ‫ﹴ‬ ‫ﻋﺎﺩﻳﺔ‬ ‫ﺃﺩﺑﻴﺔ‬ ‫ﲑ‬ ‫ﺍﻟﺮﺣﻼﺕ‪ ،‬ﻭﻟﻜﻨﻬﺎ‬ ‫ﺃﺩﺏ‬ ‫ﻟﻴﺲ‬ ‫ﻣﻊ‬ ‫ﹾ‬ ‫ﹶ‬ ‫ﻋﻠﻴﻪ ﻣﻌﺎﻳ ﹶ‬ ‫ﺍﻟﻜﺘﺎﺏ‪ ،‬ﹶ‬ ‫ﹴ‬ ‫ﹸ‬ ‫ﻳﻤﻜﻦ ﺗﻄﺒﻴﻘﻬﺎ ﻋﲆ ﺃﻱﹺ‬ ‫)ﺭﻭﺍﻳﺔ(‪،‬‬ ‫ﻓﺘﻘﻮﻝ‪:‬‬ ‫ﹸ‬

‫ﹺ‬ ‫ﹺ‬ ‫ﹺ‬ ‫ﹺ‬ ‫ﻧﻘﺪﻱ ﹺ‬ ‫ﹲ‬ ‫ﺃﲨﻌﺖ ﱠ‬ ‫ ﹶ‬‫ﺍﳌﴫﻳﺔ‬ ‫ﺍﻟﻌﺎﻣﻴﺔ‬ ‫ﺑﺎﻟﻠﻬﺠﺔ‬ ‫ﻛﺎﻥ‬ ‫ﺟﻞ‬ ‫ﻣﺄﺧﺬ‬ ‫ﻭﺍﻟﻌﺮﺍﻗﻴﺔ‪ ،‬ﻭﻫﺬﺍ‬ ‫ﻋﻠﻴﻪ‪ ،‬ﻭﻗﺪﹾ‬ ‫ﹲ‬ ‫ﹾ‬ ‫ﹺ‬ ‫ﹺ‬ ‫ﹺ‬ ‫ﹺ‬ ‫ﹺ‬ ‫ﹺ‬ ‫ﺁﺭﺍﺀ‬ ‫ﺍﻟﻌﺮﺑﻴﺔ ﺍﻟﻔﺼﺤﻰ ﰲ ﺍﳊﻮﺍ ﹺﺭ‪.‬‬ ‫ﺍﻟﻠﻐﺔ‬ ‫ﺍﺳﺘﻌﲈﻝ‬ ‫ﴐﻭﺭﺓ‬ ‫ﺍﻟﻨﻘﺎﺩ ﻭﺍﻟﺪﺍﺭﺳﲔﹶ ﻋﲆ‬ ‫ﹸ‬ ‫ﻣﻊ ﹶ‬ ‫ﹶ‬ ‫ﹺ‬ ‫ﹺ‬ ‫ﺍﳌﻔﱰﺽ ﹶﺃﳖﺎ ﺗﻨﺎﻗﺸﻪ‬ ‫ﻛﲈ‬ ‫ﺃﻥ‬ ‫ﺍﻷﺧﻼﻗﻲ ﻟﺪ￯‬ ‫ﺑﺎﳉﺎﻧﺐ‬ ‫ﺍﻫﺘﻤﺖ‬ ‫ﻧﻼﺣﻆ ﺃﳖﺎ‬ ‫ﹾ‬ ‫ﹺ‬ ‫ﺍﻟﻜﺎﺗﺐ‪ ،‬ﹶ‬

‫ﻛﻜﺘﺎﺏ ﰲ ﹺ‬ ‫ﺃﺩﺏ ﺍﻟﺮﺣﻼﺕ ﻭﺗﻘﻮﻝ‪:‬‬

‫ﻟﻴﺲ ﹺ‬ ‫ﻓﻬﻮ ﹸ‬ ‫ﻭﺍﺯﻉ‬ ‫ﻭﻳﻤﻜﻦ‬ ‫ﻟﻠﻮﺍﻗﻊ‪،‬‬ ‫ﻳﻨﻘﻞ ﺻﻮﺭ ﹰﺓ ﻛﺘﺎﺑﻴ ﹰﺔ‬ ‫ﺃﺧﻼﻗﻲ ﻟﺘﱪﻳ ﹺﺮ ﻣﺎ‬ ‫ﻟﺪﻳﻪ ﹲ‬ ‫ﹸ‬ ‫ﹶ‬ ‫ﹺ‬ ‫ﻳﻜﺘﺒﻪ‪ ،‬ﹶ‬ ‫ ﹶ‬‫ﹲ‬ ‫ﹴ‬ ‫ﹾ‬ ‫ﳉﺎﻧﺐ ﺃﺧﻼﻗﻲ‪ ،‬ﺇﻻ ﻋﻨﺪ ﺗﻨﺎﻭﻝ ﺍﻟﻌﻤﻞ‬ ‫ﻳﻜﺘﺒﻪ‬ ‫ﺇﺧﻀﺎﻉ ﻣﺎ‬ ‫ﻳﻤﻜﻦ‬ ‫ﻭﻟﻜﻦ ﻻ‬ ‫ﺃﻥ ﻳﻌﻠﻖﹶ ﻋﻠﻴﻬﺎ‪،‬‬ ‫ﹶ‬ ‫ﹸ‬ ‫ﹶ‬ ‫ﹸ‬ ‫ﻓﻌﻠﺖ ﺩﻛﺘﻮﺭﺓ ﻋﺒﲑ‪ ،‬ﺗﻨﺎﻭﻟﺖ ﺍﻟﻌﻤﻞ ﻛـ )ﺃﺩﺏ ﺳﻔﺮ( ﰲ ﺇﻃﺎﺭ ﴎﺩﻱ‬ ‫ﺑﺈﻃﺎﺭ ﺭﻭﺍﺋﻲ ﻛﲈ‬ ‫ﹾ‬

‫ﺭﻭﺍﺋﻲ‪.‬‬

‫‪٨‬‬

‫ﺣﻴﺚ ﻗﺎﻟﺖ ﲢﺖ ﺑﻨﺪ ﺍﳋﻠﻔﻴﺔ ﺍﻷﺧﻼﻗﻴﺔ‪:‬‬ ‫ﹺ‬ ‫ ﹶ‬‫ﹺ‬ ‫ﹺ‬ ‫ﻋﻤﻠﻪ‪ ،‬ﻭﻋﲆ ﻛﻞﹺ‬ ‫ﺍﻟﻜﺎﺗﺐ ﺷﺪﻳﺪﹸ‬ ‫ﺍﻷﺧﻼﻗﻲ ﰲ‬ ‫ﺍﳉﺎﻧﺐ‬ ‫ﺍﳊﺮﺹ ﻋﲆ ﺇﻇﻬﺎ ﹺﺭ‬ ‫ﻛﺎﻥ‬ ‫ﹺ‬ ‫ﹸ‬ ‫ﹺ‬ ‫ﹺ‬ ‫ﹺ‬ ‫ﹺ‬ ‫ﹺ‬ ‫ﹺ‬ ‫ﻭﺍﻻﻗﺘﺼﺎﺩﻳﺔ‪ ،‬ﻭﰲ ﻛﻞﹺ‬ ‫ﺍﻟﺴﻴﺎﺳﻴﺔ‬ ‫ﻭﺍﻟﺘﻌﺎﻣﻠﻴﺔ ﻭﺣﺘﻰ‬ ‫ﻭﺍﻟﻌﻘﺎﺋﺪﻳﺔ‬ ‫ﺍﻻﺟﺘﲈﻋﻴﺔ‬ ‫ﺍﳌﺴﺘﻮﻳﺎﺕ‪،‬‬

‫ﹺ‬ ‫ﹺ‬ ‫ﹺ‬ ‫ﹺ‬ ‫ﻣﻦ‬ ‫ﻭﻗﺪﻡ‬ ‫ﺍﳌﻮﺍﻗﻒ‪،‬‬ ‫ﺍﻟﺮﻭﺍﻳﺎﺕ ﺍﻟﺘﻲ‬ ‫ﺍﻟﺸﺒﺎﺏ ﺍﳌﴫﻱﹺ ‪ ،‬ﺧﻼ ﹰﻓﺎ‬ ‫ﻋﻦ‬ ‫ﹶ‬ ‫ﹰ‬ ‫ﻟﻠﻤﺌﺎﺕ ﹾ‬ ‫ﺃﻧﻤﻮﺫﺟﺎ ﻣﴩﹼ ﹰﻓﺎ ﹾ‬ ‫ﹺ‬ ‫ﱡ‬ ‫ﹾ‬ ‫ﻣﻊ ﹶ‬ ‫ﻣﴫ ﺇﱃ ﺑﻐﺪﺍ ﹶﺩ‬ ‫ﺍﻟﻜﺎﺗﺐ ﹾﱂ‬ ‫ﺃﻥ‬ ‫ﻭﺍﳌﴘﺀ‬ ‫ﺍﳌﺴﻒ‬ ‫ﺍﳉﺎﻧﺐ‬ ‫ﻳﻘﺪﻡ ﻛ ﹼﺘﺎﲠﺎ‬ ‫ﻣﻦ ﹶ‬ ‫ﹶ‬ ‫ﹸ‬ ‫ﹸ‬ ‫ﹸ‬ ‫ﻳﻨﺘﻘﻞ ﹾ‬ ‫ﻟﻠﺴﻤﻌﺔ‪ ،‬ﹶ‬ ‫ﹴ‬ ‫ﻟﺘﺠﻤﻴﻞﹺ‬ ‫ﺻﻮﺭﺓ ﺍﳌﴫﻳﲔﹶ ‪.‬‬ ‫ﹺ‬ ‫ﹺ‬ ‫ﹴ‬ ‫ﻋﺮﺍﺭ‬ ‫ﺇﺑﺮﺍﻫﻴﻢ‬ ‫ﻭﻓﺎﺀ‬ ‫ﻛﺘﺎﺏ‬ ‫ﺍﺗﻜﺄﺕ ﻋﲆ‬ ‫ﻻﺣﻈﺖ ﺃﳖﺎ‬ ‫ﺍﳌﻌﻨﻮﻥ ﺑـ »ﺍﳌﻠﺘﻘﻰ«‪ .‬ﰲ‬ ‫ﹸ‬ ‫ﹾ‬ ‫ﻟﻠﻜﺎﺗﺒﺔ ﹸ‬ ‫ﹾ‬ ‫ﹾ‬ ‫ﹺ‬ ‫ﹴ‬ ‫ﹺ‬ ‫ﹺ‬ ‫ﹺ‬ ‫ﳏﺎﻭﻟﺔ ﻟﺘﺤﻠﻴﻞﹺ‬ ‫ﻭﺧﻠﺼﺖ‬ ‫ﺍﻟﻜﺘﺎﺏ‪.‬‬ ‫ﺃﺷﺎﺭﺕ ﺇﻟﻴﻬﺎ ﰲ‬ ‫ﺍﻷﻛﺎﺩﻳﻤﻴﺔ ﺍﻟﺘﻲ‬ ‫ﺍﳌﻨﺎﻫﺞ‬ ‫ﻭﺗﻄﺒﻴﻖ‬ ‫ﺍﻟﻨﺺ‬ ‫ﹾ‬ ‫ﹾ‬ ‫ﹺ‬

‫ﺇﱃ ﱠ‬ ‫ﺃﻥ‬ ‫ﺍﻟﻜﺘﺎﺏ‪:‬‬ ‫ﹶ‬

‫ﹺ‬ ‫ﹴ‬ ‫ﻟﻴﺲ‬ ‫ﺟﻨﺲ ﻳﻮﺍﺯﻱ‬ ‫ﺍﳉﻨﺲ‪ ،‬ﻳﻨﺘﻤﻲ ﺇﱃ‬ ‫»ﻣﺴﻠﻮﺏ‬ ‫‬‫ﰊ ﻭﺃﺣﻴﺎ ﹰﻧﺎ ﻳﻠﺘﻘﻲ ﹸ‬ ‫ﹸ‬ ‫ﺍﳉﻨﺲ ﺍﻷﺩ ﹸ‬ ‫ﻣﻌﻪ‪ ،‬ﹶ‬ ‫ﹸ‬ ‫ﹺ‬ ‫ﹲ‬ ‫ﹺ‬ ‫ﹺ‬ ‫ﻋﻴﻨﻴﺔ‬ ‫ﻣﺸﺎﻫﺪﺍﺕ‬ ‫ﻓﻬﻮ‬ ‫ﺑﺎﻟﻨﺺ‪،‬‬ ‫ﻧﺼﺎ ﺷﺒﻴﻪ‬ ‫ﺍﻟﴪﺩﻳﺔ‪،‬‬ ‫ﺍﻷﺟﻨﺎﺱ‬ ‫ﻣﻦ‬ ‫ﹲ‬ ‫ﺟﻨﺴﺎ ﹾ‬ ‫ﻭﻟﻴﺲ ‪h‬‬ ‫ﻭﻟﻴﺲ ‪h‬‬ ‫ﻧﺼﺎ‪ ،‬ﹶ‬ ‫ﹶ‬ ‫ﹶ‬ ‫ﹰ‬ ‫ﹺ‬ ‫ﹴ‬ ‫ﹺ‬ ‫ﹴ‬ ‫ﺍﻟﻠﻐﻮﻳﺔ ﻋﻠﻴﻨﺎ ﻧﻘﺪ ﹸﻩ ﺑﺸﻜﻞﹴ‬ ‫ﺩﻳﻤﻮﻏﺮﺍﻓﻴﺔ‬ ‫ﺑﺎﳉﲈﻟﻴﺎﺕ‬ ‫ﻣﺸﺎﻫﺪﺍﺕ‬ ‫ﻭﻫﻮ ﻳﻨﺘﻤﻲ ﺇﱃ‬ ‫ﲣﺘﺺ‬ ‫ﹴ‬ ‫ﹸ‬ ‫ﻋﻠﻤﻲ‪ ،‬ﹶ‬ ‫ﹴ‬ ‫ﺑﻠﺪﻳﻦ ﳐﺘﻠﻔ ﹺ‬ ‫ﹺ‬ ‫ﻟﺮﺣﻠﺔ ﺑﲔﹶ‬ ‫ﻭﲨﺎﻟﻴﺎ‪.‬‬ ‫ﻭﺍﺟﺘﲈﻋﻴﺎ‬ ‫ﻭﻋﻤﺮﺍﻧﻴﺎ‬ ‫ﺟﻐﺮﺍﻓﻴﺎ‬ ‫ﲔ‬ ‫ﻣﻘﺎﺭﻧ ﹰﺔ‬ ‫‪h‬‬ ‫‪h‬‬ ‫‪h‬‬ ‫‪h‬‬

‫ﹴ‬ ‫ﹴ‬ ‫ﹴ‬ ‫ﹴ‬ ‫ﺃﻥ ﹶ‬ ‫ﹸ‬ ‫ﻭﻣﻦ ﻧﺎﺣﻴﺘﻨﺎ ﻧﺮ￯ ﱠ‬ ‫ﻛﻞ ﹴ‬ ‫ﳏﺪﺩ‪.‬‬ ‫ﻧﺺ‪،‬‬ ‫ﺯﻣﺎﻥ‬ ‫ﻣﻜﺎﻥ‪ ،‬ﰲ‬ ‫ﻣﻜﺎﻥ ﺇﱃ‬ ‫ﻣﻦ‬ ‫ﻳﻨﺘﻘﻞ‬ ‫ﹸ‬ ‫ﹾ‬ ‫ﺻﺎﺣﺒﻪ ﹾ‬ ‫ﹴ‬ ‫ﹰ‬ ‫ﻭﺇﻥ ﹶ‬ ‫ﲑ‪ ،‬ﺣﺘﻰ ﹾ‬ ‫ﺗﺼﻨﻴﻔﻪ ﺑﻐ ﹴ‬ ‫ﺃﺳﻠﻮﺑﻪ‬ ‫ﻛﺎﻥ‬ ‫ﻳﻤﻜﻦ‬ ‫ﺭﺣﻼﺕ‪ ،‬ﻭﻻ‬ ‫ﺃﺩﺏ‬ ‫ﹸ‬ ‫ﹸ‬ ‫ﱪ ﹶ‬ ‫ﹸ‬ ‫ﻓﻬﻮ ﻳﻌﺘ ﹸ‬ ‫ﻓﻌﻠﻴﺎ‪ ،‬ﹶ‬ ‫ﺍﻧﺘﻘﺎﻻ ‪h‬‬

‫ﹺ‬ ‫ﺍﻟﴪﺩ‪.‬‬ ‫ﺃﻧﻮﺍﻉ‬ ‫ﻣﻦ‬ ‫ﹺ‬ ‫ﺃﻭ ﺃﻱﹺ ﻧﻮ ﹴﻉ ﹾ‬ ‫ﺍﻷﺩ ﹸ‬ ‫ﰊ ﺗﻘﺮﻳﺮ ‪h‬ﻳﺎ‪ ،‬ﹾ‬

‫ﹺ‬ ‫ﹺ‬ ‫ﺇﺿﺎﻓﺔ ﹲ‬ ‫ﹲ‬ ‫ﹴ‬ ‫ﺍﻟﺮﺣﻼﺕ‬ ‫ﺃﺩﺏ‬ ‫ﺍﻟﺒﺤﺚ ﺍﻟ ﹾﺘﻲ‬ ‫ﻣﻨﺎﻫﺞ‬ ‫ﺭﺍﻗﻴﺔ ﺇﱃ‬ ‫ﻭﺑﺤﻖ‪،‬‬ ‫ﺍﻟﻜﺘﺎﺏ‪،‬‬ ‫ﱪ‬ ‫ﹾ‬ ‫ﹺ‬ ‫ﺗﻨﺎﻭﻟﺖ ﹶ‬ ‫ﹸ‬ ‫ﻭﻳﻌﺘ ﹶ‬ ‫ﹺ‬ ‫ﹺ‬ ‫ﹺ‬ ‫ﹺ‬ ‫ﹲ‬ ‫ﹲ‬ ‫ﺧﺼﻮﺻﻴﺔ ﹺ‬ ‫ﹴ‬ ‫ﺧﺎﺻﺔ‪.‬‬ ‫ﻃﺒﻴﻌﺔ‬ ‫ﻛﺄﺩﺏ ﹸﻟﻪ‬ ‫ﺍﻟﺮﺣﻼﺕ‬ ‫ﺃﺩﺏ‬ ‫ﺇﻏﻔﺎﻝ‬ ‫ﻣﻊ ﻋﺪ ﹺﻡ‬ ‫ﺑﺎﻟﻨﻘﺪ‬ ‫ﹺ‬ ‫ﺍﳌﻨﻬﺠﻲ‪ ،‬ﹶ‬ ‫ﲪﺪﻱ ﺍﻟﺒﻄﺮﺍﻥ‬ ‫ﻛﺎﺗﺐ ﺭﻭﺍﺋﻲ‬ ‫ﺭﺋﻴﺲ ﺷﻌﺒﺔ ﺃﺩﺏ ﺍﻟﺮﺣﻼﺕ ﺑﺎﲢﺎﺩ ﻛ ﹼﺘﺎﺏ ﻣﴫ‬

‫‪٩‬‬

;ÿÂfl ¯\;g]e’\ ⁄ <ÏÜë^√π]<ÌË]ÊÜ÷]<V˜Ê_ JÜë^√π]<Ì◊uÜ÷]<hÅ_<V^È⁄ fi^m <Üvf÷]<l¯uÖ<hÅ_<V^n⁄ ÷^m <ÜÀä÷]<hÅ_<V^√⁄ e]Ö <ÌÈÊ]Ü∆ÁµÇ÷]<hÅ_<V^ä⁄^} ⁄

‫‪⁄‬‬ ‫_‪ÏÜë^√π]<ÌË]ÊÜ÷]<V˜Ê‬‬ ‫ﺳﺄﺧﺘﺎﺭ ﺍﳊﺪﻳﺚ ﺑﺎﺧﺘﺼﺎﺭ ﻋﻦ ﺍﻟﺮﻭﺍﻳﺔ ﺍﳌﻌﺎﴏﺓ ﻭﳑﻴﺰﺍﲥﺎ‪ ،‬ﺑﺎﳌﻘﺎﺭﻧﺔ ﻣﻊ ﺍﻟﺮﻭﺍﻳﺔ‬

‫ﺍﻟﻜﻼﺳﻴﻜﻴﺔ ﺍﻟﺘﻲ ﺗﴩﺡ ﺍﻟﻮﺍﻗﻊ ﺍﳌﺮﺋﻲ ﺑﺸﻜﻞ ﺇﺧﺒﺎﺭﻱ ﻭﻋﲔ ﺗﺼﻮﻳﺮﻳﺔ‪ ،‬ﻟﺬﻟﻚ ﺗﻜﺘﺐ‬ ‫ﻓﻴﻬﺎ ﻣﺌﺎﺕ ﺍﻟﺼﻔﺤﺎﺕ ﻟﴩﺡ ﻭﺍﻗﻊ ﻻ ﻳﺘﻌﻠﻖ ﺑﺎﻷﺩﺏ‪ ،‬ﺻﻮﺭﺓ ﻣﻴﺘﺔ ﻻ ﻗﻴﻤﺔ ﳍﺎ‪ ،‬ﻫﺬﻩ‬

‫ﻓﻌﻠﻴﺎ ﺍﻟﻜﺎﻣﲑﺍ ﰲ ﺍﻟﺴﻴﻨﲈ‪،‬‬ ‫ﻭﻋﻮﺽ ﻋﻨﻬﺎ‬ ‫ﹼ‬ ‫ﺍﻟﴩﻭﺣﺎﺕ ﺍﻟﻮﺻﻔﻴﺔ ﺍﳌﻜﺘﻮﺑﺔ ﹼ‬ ‫ﻋﻮﺿﺖ ﻋﻨﻬﺎ ‪h‬‬ ‫ﺍﻟﺪﻳﻜﻮﺭ ﰲ ﺍﳌﴪﺡ‪ .‬ﺑﺎﻟﺮﻭﺍﻳﺔ ﺍﳊﺪﻳﺜﺔ ﺃﻭ ﺍﳌﻌﺎﴏﺓ ﲤﻮﺕ ﻫﺬﻩ ﺍﻟﴩﻭﺣﺎﺕ ﺣﻴﺚ‬

‫ﺃﺻﺒﺤﺖ ﻋﲔ ﺍﻟﻜﺎﺗﺐ ﻫﻲ ﻋﲔ ﺍﻟﻜﺎﻣﲑﺍ‪ ،‬ﻟﻜﻦ ﻋﱪ ﻣﺪﺍﺭﺱ ﺃﺩﺑﻴﺔ ﻳﺘﻢ ﺍﳋﻠﻂ ﻓﻴﲈ ﺑﻴﻨﻬﺎ‪،‬‬ ‫ﻣﺜﻞ ﺍﻟﱪﻧﺎﺳﻴﺔ )ﺍﻟﻔﻦ ﻟﻠﻔﻦ(‪ ،‬ﻭﺍﻟﺮﻭﻣﺎﻧﺴﻴﺔ ﻭﺍﻟﺮﻣﺰﻳﺔ‪ ،‬ﻓﺎﻟﻮﺻﻒ ﻓﻴﻬﺎ ﺻﻮﺭﺓ ﺃﺩﺑﻴﺔ ﻭﻟﻴﺲ‬ ‫ﻭﺍﻗﻌﻴﺔ ﺑﺤﺘﺔ‪.‬‬

‫ﰲ ﺍﻟﺮﻭﺍﻳﺔ ﺍﳌﻌﺎﴏﺓ ﹼ‬ ‫ﺗﻘﻞ ﺍﻟﴩﻭﺣﺎﺕ ﺍﳌﻴﻠﻮﺩﺭﺍﻣﻴﺔ ﺑﺎﺧﺘﺰﺍﻝ ﺍﳊﺸﻮ‪ ،‬ﻭﻗﺪ ﺗﻼﺷﺖ‬

‫ﺍﳊﺒﻜﺔ ﺑﻌﺪ ﳖﺎﻳﺔ ﺍﻟﻘﺮﻥ ﺍﻟﻌﴩﻳﻦ ﺑﺘﺪﺍﻋﻲ ﺳﻴﻞ ﺍﻟﻮﻋﻲ‪ ،‬ﻓﺠﺎﺀﺕ ﺍﻟﺮﻭﺍﻳﺔ ﺑﻼ ﳖﺎﻳﺔ ﻭﺻﺎﺭﺕ‬ ‫ﺗﻠﻚ ﺍﳊﺎﻟﺔ ﺳﻤﺔ ﻟﻠﺮﻭﺍﻳﺔ ﺍﳊﺪﻳﺜﺔ ﺍﳌﻌﺎﴏﺓ‪ ،‬ﺭﻭﺍﻳﺔ ﺑﻼ ﳖﺎﻳﺔ‪.‬‬

‫ﺗﺒﺪﻭ ﺍﻟﺮﻭﺍﻳﺔ ﺍﳌﻌﺎﴏﺓ ﻛﺠﻤﻠﺔ ﻧﺎﻗﺼﺔ‪ ،‬ﻭﻋﺪﻡ ﺍﻛﺘﲈﳍﺎ ﻫﻮ ﺍﻧﻌﻜﺎﺱ ﻟﻌﺪﻡ ﺍﻛﺘﲈﻝ‬

‫ﺍﻟﻔﻜﺮ ﻭﺍﻹﻳﲈﻥ ﻭﺍﳌﺠﺘﻤﻊ ﺍﻟﺬﻱ ﹸﺗﻜﺘﺐ ﻓﻴﻪ ﺍﻟﺮﻭﺍﻳﺔ‪ ،‬ﻓﺘﺤﺖ ﺍﻟﺘﺄﺛﲑ ﺍﻟﻨﻔﴘ ﻟﻠﻨﻈﺮﻳﺎﺕ ﺍﻟﻨﻔﺴﻴﺔ‬ ‫ﺍﳉﺪﻳﺪﺓ‪ ،‬ﺗﻜﻮﻥ ﺍﳊﻴﺎﺓ ﺑﻌﻴﺪﺓ ﻋﻦ ﺍﳉﺮﻳﺎﻥ ﺍﳌﺴﺘﻤﺮ‪ ،‬ﻟﻜﻨﻬﺎ ﲡﻌﻞ ﻫﺬﺍ ﺍﳉﺮﻳﺎﻥ ﻋﺒﺎﺭﺓ ﻋﻦ ﺳﻠﺴﻠﺔ‬ ‫ﻣﻨﻔﺼﻠﺔ ﻣﻦ ﺍﻟﻠﺤﻈﺎﺕ ﺍﳌﺘﻘﻄﻌﺔ ﻭﺍﳌﺘﻼﺣﻘﺔ‪ ،‬ﻓﺎﻟﺮﻭﺍﻳﺔ ﺍﳊﺪﻳﺜﺔ ﻫﻲ ﺭﻭﺍﻳﺔ ﻧﻔﺴﻴﺔ ﻣﺜﻞ ﺭﻭﺍﻳﺎﺕ‬

‫ﻫﻨﺮﻱ ﺟﻴﻤﺲ‪ ،‬ﺟﻮﺯﻳﻒ ﻛﺎﻧﺮﺍﺩ‪ ،‬ﺟﻴﻤﺲ ﺟﻮﻳﺲ‪ ،‬ﻓﲑﺟﻴﻨﻴﺎ ﻭﻭﻟﻒ‪ ،‬ﻫﺆﻻﺀ ﺍﻟﺬﻳﻦ ﺟﻌﻠﻮﺍ ﻣﻦ‬

‫ﺍﻟﺮﻭﺍﻳﺔ ﺍﻹﻧﻜﻠﻴﺰﻳﺔ ﺭﻭﺍﻳﺔ ﺫﺍﺕ ﻃﺎﺑﻊ ﻧﻔﴘ )ﺳﻴﻜﻮﻟﻮﺟﻲ(‪.‬‬

‫ﻭﻛﺬﻟﻚ ﺍﻟﺸﺨﺼﻴﺎﺕ‪ ،‬ﻳﻜﻮﻥ ﺍﻟﻘﻠﻢ ﻫﻮ ﺍﻟﺸﺨﺼﻴﺔ ﺍﳊﻴﺔ ﺍﻟﺘﻲ ﺗﺘﻜﻠﻢ ﻭﺗﻘﻮﻡ ﺑﺎﻷﻓﻌﺎﻝ‪.‬‬ ‫ﹴ‬ ‫ﻭﺭﺍﻕ ﰲ ﻣﻌﺎﳉﺔ ﻗﻀﺎﻳﺎ ﺍﳊﺐ‬ ‫ﺍﻟﻮﺍﻗﻌﻴﺔ ﰲ ﺍﻟﺮﻭﺍﻳﺔ ﺍﳊﺪﻳﺜﺔ ﻋﻤﻠﺖ ﺑﺸﻜﻞ ﻣﻔﻴﺪ‬

‫ﻭﺍﳉﻨﺲ ﻭﺍﻟﺰﻭﺍﺝ‪) ،‬ﱂ ﺗﺄﺧﺬ ﺍﳉﻨﺲ ﻛﻌﻤﻠﻴﺔ ﺷﻬﻮﺍﻧﻴﺔ ﻣﺜﲑﺓ‪ ،‬ﺑﻞ ﺃﺧﺬﲥﺎ ﺑﺘﻌﻠﻴﻢ ﻛﻴﻔﻴﺔ ﺍﻟﺘﻌﺎﻣﻞ‬

‫ﻣﻊ ﺍﳉﻨﺲ ﺍﻵﺧﺮ‪ ،‬ﻳﻌﻨﻲ ﺛﻘﺎﻓﺔ ﺟﻨﺴﻴﺔ ﻋﻠﻤﻴﺔ(‪ ،‬ﺍﻟﺮﻭﺍﻳﺔ ﺍﳊﺪﻳﺜﺔ ﻛﴪﺕ ﺍﻟﻨﻈﺮﺓ ﺍﻟﻔﻴﻜﺘﻮﺭﻳﺔ‬ ‫ﻭﺣﺮﺓ‪.‬‬ ‫ﺍﳌﺘﺤ ﹼﻔﻈﺔ ﻟﻠﺠﻨﺲ ﻭﺍﳊﺐ ﻭﺍﻟﺰﻭﺍﺝ ﺑﻤﻌﺎﳉﺔ ﴏﳛﺔ ﹼ‬

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‫ﺍﻟﺮﻭﺍﻳﺔ ﺍﳌﻌﺎﴏﺓ ﺃﺛﺒﺘﺖ ﺃﻥ ﺍﻟﻀﻤﲑ ﺍﻹﻧﺴﺎﲏ ﻫﻮ ﻋﺒﺎﺭﺓ ﻋﻦ ﻣﻮﺍﻗﻊ ﺃﻭ ﺳﺎﺣﺎﺕ ﻋﻤﻴﻘﺔ‬

‫ﻭﻣﺪﻓﻮﻧﺔ ﲢﺖ ﺍﻟﻮﻋﻲ ﻧﻔﺴﻪ‪ ،‬ﻭﻳﺴﻤﻰ ﺑﺎﻟﻮﻋﻲ ﺍﳌﻠﺤﻖ ﺃﻭ ﺍﻟﺜﺎﻧﻮﻱ ﺃﻭ ﺍﻟﻼﻭﻋﻲ‪.‬‬

‫ﲤﺘﺎﺯ ﺍﻟﺮﻭﺍﻳﺔ ﺍﳌﻌﺎﴏﺓ ﺑﺎﻟﺘﻌﺒﲑ ﻋﻦ ﺷﻌﺒﻴﺔ ﺍﻟﺒﻠﺪ ﺍﻟﺬﻱ ﹸﺗﻜﺘﺐ ﻓﻴﻪ‪ ،‬ﻭﻛﺬﻟﻚ ﺑﺎﻟﺘﻌﺒﲑ ﻋﻦ‬

‫ﺍﻟﺘﻨﻮﻳﻊ ﻭﺍﻟﺘﻌﻘﻴﺪ ﺍﻟﺴﺎﺋﺪ ﻓﻴﻪ‪.‬‬

‫ﺗﺄﺧﺬ– ﻭﺑﺸــﻜﻞ ﻋﻤــﲇ‪ -‬ﻛﻞ ﺍﻟﺜﻴﲈﺕ )ﺍﻷﻳﺪﻳﻮﻟﻮﺟﻴﺎﺕ( ﺍﻟﺘﻲ ﺗﺪﻭﺭ ﰲ ﺳــﺎﺣﺎﺕ‬

‫ﻭﺍﻟﺘﻄﻮﺭ ﰲ ﻛﻨﻒ‬ ‫ﺫﺍﻙ ﺍﳌﺠﺘﻤــﻊ ﻟﻠﺘﻌﺒــﲑ ﻋﻨﻬﺎ ﺑﻌﺪﺩ ﻣﻦ ﺍﻻﲡﺎﻫﺎﺕ ﺍﻟﺘــﻲ ﲢﺎﻛﻲ ﺍﳌﻌﺎﴏﺓ‬ ‫ﹼ‬

‫ﺍﻟﺘﻄﻮﺭ ﰲ ﺣﻴــﺎﺓ ﺍﻟﻨﺎﺱ‪ ،‬ﻭﲢﺎﻭﻝ ﺃﻥ ﺗﻌﺎﻟﺞ ﺃﻭ ﺗﺴــﺘﻌﺮﺽ‬ ‫ﻫــﺬﺍ ﺍﳌﺠﺘﻤﻊ‪ ،‬ﺣﻴــﺚ ﺗﻮﺍﻛﺐ‬ ‫ﹼ‬

‫ﺍﻟﻘﻀﺎﻳــﺎ ﺍﻹﳚﺎﺑﻴــﺔ ﻭﺍﻟﻘﻀﺎﻳــﺎ ﺍﻟﺴــﻠﺒﻴﺔ‪ ،‬ﺍﳉﻤﻴﻠــﺔ ﻭﺍﻟﻘﺒﻴﺤــﺔ‪ ،‬ﻋﲆ ﺣﺪﹼ ﺳــﻮﺍﺀ‪ ،‬ﻭﻻ ﺗﻘﺪﹼ ﻡ‬ ‫ﻗﻀﻴــﺔ ﻣﺎ ﻣــﻦ ﻭﺟﻬﺔ ﻭﺍﺣﺪﺓ ﻓﻘﻂ‪ ،‬ﹰ‬ ‫ﺃﻳﻀﺎ ﻻ ﹼ‬ ‫ﺗﻔﻀﻞ ﻭﺟﻬﺔ ﻋﻦ ﺃﺧــﺮ￯‪ ،‬ﻓﺎﳌﻌﺎﻧﺎﺓ ﻣﻦ ﺍﻟﻔﻘﺮ‬

‫ﻭﺍﻟﺒــﺆﺱ ﺗﻜﻮﻥ ﻣﺴــﺎﻭﻳﺔ ﺑﺎﻟﻘﻴﻤــﺔ ﳌﻌﺎﳉﺔ ﺍﳌﻮﺍﺿﻴﻊ ﺍﻷﺧــﺮ￯‪ ،‬ﻣﻊ ﺇﻋﻄﺎﺀ ﺍﻟﻔﻘــﺮ ﺗﻀﺎﻣﻨﹰﺎ‬ ‫ﻧﺎﺑﻌﺎ ﻣــﻦ ﺍﻟﺘﻌﺎﻃﻒ ﺍﻟﻮﺍﻗﻌــﻲ‪ ،‬ﺍﻟﺬﻱ ﻳﻨﺒﻊ ﻣــﻦ ﻣﻌﺎﳉﺔ ﺍﻟﺮﻭﺍﻳــﺔ ﻟﻠﻘﻀﺎﻳﺎ‬ ‫ﺍﺟﺘﲈﻋ ﱟﻴــﺎ ﺃﻛﺜــﺮ ﹰ‬

‫ﺍﻻﺟﺘﲈﻋﻴــﺔ‪.‬‬

‫ﺍﻟﺮﻭﺍﻳﺔ ﺍﳌﻌﺎﴏﺓ ﺗﻌﻤﻞ ﰲ ﻣﻨﻄﻘﺔ ﺍﻟﺘﺤﻠﻴﻞ ﺍﻻﺟﺘﲈﻋﻲ ﻭﺍﻟﺘﺤﻘﻴﻖ ﻭﺍﻻﺳﺘﺠﻮﺍﺏ ﰲ‬

‫ﻗﻀﺎﻳﺎ ﺍﳌﺠﺘﻤﻊ‪.‬‬

‫ﳎﺮﺩ ﺭﻭﺍﻳﺔ ﻟﻠﺘﺴﻠﻴﺔ ﻭﻻ ﻟﻠﻘﺮﺍﺀﺍﺕ ﺍﳋﻔﻴﻔﺔ ﺑﻌﺪ ﻭﺟﺒﺎﺕ‬ ‫ﺍﻟﺮﻭﺍﻳﺔ ﺍﳌﻌﺎﴏﺓ ﱂ ﺗﻜﻦ ﹼ‬ ‫ﺟﻴﺪ‪ ،‬ﻭﻟﻴﺲ ﻓﻴﻬﺎ‬ ‫ﺍﻟﻄﻌﺎﻡ‪ ،‬ﺑﻞ ﻫﻲ ﺗﻌﺎﻟﺞ ﻗﻀﻴﺔ ﺟﺪﹼ ﻳﺔ ﺑﻄﺮﻳﻘﺔ ﻓﻨﻴﺔ )ﺃﺩﺑﻴﺔ( ﳏﺒﻮﻛﺔ ﺑﺸﻜﻞ ﹼ‬ ‫ﺃﺷﻴﺎﺀ ﺿﻌﻴﻔﺔ‪.‬‬

‫ﺍﳊﺪﺍﺛﺔ ﺛﻮﺭﺓ ﲡﺪﻳﺪ ﻋﲆ ﺍﳌﺄﻟﻮﻑ ﺍﻟﴪﺩﻱ‪ ،‬ﺃﻱ ﺃﳖﺎ ﻻ ﺗﺆﻣﻦ ﺑﻘﻮﻟﺒﺔ ﺍﻷﺩﺏ ﺍﻟﴪﺩﻱ‬

‫ﻭﺍﻟﺒﺤﺚ ﰲ ﻃﻴﺎﺗﻪ ﻋﻦ ﺍﻻﻧﺒﻬﺎﺭ ﻭﺍﻟﺘﺸﻮﻳﻖ؛ ﻟﺬﻟﻚ ﺣﺎﻭﻟﻮﺍ ﻣﺰﺝ ﺍﻷﺩﺏ ﺑﺎﻟﻔﻦ‪ ،‬ﻷﻥ ﺍﻟﻔﻦ ﻓﻴﻪ‬ ‫ﲢﺮﺭ ﻭﺇﺭﻫﺎﺻﺎﺕ ﻣﺘﻘﻠﺒﺔ‪ ،‬ﻛﺎﻟﺘﺠﺮﻳﺪ ﻭﻏﲑﻫﺎ؛ ﻟﺬﻟﻚ ﺑﺤﺜﺖ ﻋﻦ ﻣﺒﺪﺃ ﺃﺳﻠﻮﰊ ﻳﺸﱰﻙ ﻓﻴﻪ‬ ‫ﱡ‬

‫ﺍﻟﺮﺳﻢ ﻭﺍﳌﻮﺳﻴﻘﻰ ﻭﺍﻷﺩﺏ ﺑﺒﻮﺗﻘﺔ ﻭﺍﺣﺪﺓ؛ ﻟﺬﻟﻚ ﺍﻧﻄﻠﻘﺖ ﻣﻦ ﻣﺒﺪﺃ ﻣﺰﺝ ﺃﺳﻠﻮﰊ ﳚﻤﻊ ﺑﲔ‬

‫ﺍﻟﺮﺳﻢ ﻭﺍﳌﻮﺳﻴﻘﻰ ﻭﺍﻷﺩﺏ‪ ،‬ﻭﻫﻮ ﺍﻟﺮﺳﻢ ﺑﺎﻟﻜﻠﲈﺕ ﺃﻭ ﺍﻟﻌﺰﻑ ﺑﺎﻟﻜﻠﲈﺕ‪ ،‬ﻭﻫﺬﺍ ﻣﺒﺪﺃ ﲨﺎﱄ‬

‫ﳚﻤﻊ ﺛﻼﺛﻲ ﺃﲨﻞ ﻣﻐﺮﻳﺎﺕ ﺑﺎﻟﺘﺸﻮﻳﻖ‪ ،‬ﺟﻌﻠﺖ ﺍﳌﻌﺎﴏﺓ ﺗﺼﺐ ﰲ ﳎﺮ￯ ﺍﻷﺩﺏ ﺑﺈﻃﻼﻕ ﺳﻴﻞ‬

‫‪١٤‬‬

‫ﻣﻦ ﺍﳌﺪﺍﺭﺱ ﺍﻷﺩﺑﻴﺔ ﻭﺍﻟﻔﻨﻴﺔ ﻭﺍﳌﻮﺳﻴﻘﻴﺔ ﺍﻟﺘﻲ ﺯ ﹼﻳﻨﺖ ﺍﻷﺳﺎﻟﻴﺐ ﺍﻷﺩﺑﻴﺔ ﺍﻟﴪﺩﻳﺔ ﻭﺟﻌﻠﺘﻬﺎ ﲣﺮﺝ‬

‫ﻋﻦ ﺍﻟﺘﻘﺮﻳﺮ ﻧﺤﻮ )ﺍﻷﺩﺑﻴﺔ ﻭﺍﻟﺸﺎﻋﺮﻳﺔ( ﺑﺎﻻﻧﺰﻳﺎﺡ ﻧﺤﻮ ﺍﳋﻴﺎﻝ ﻭﺩﺭﺟﺎﺕ ﺍﻟﺮﻣﺰ ﻭﺍﻟﺘﻜﺜﻴﻒ‬ ‫ﺍﻟﺘﻌﺒﲑﻱ ﺑﺎﳉﻤﻊ ﺑﲔ ﻋﺪﺓ ﻣﺪﺍﺭﺱ ﺑﺄﺳﻠﻮﺏ ﻭﺍﺣﺪ‪ ،‬ﻓﻈﻬﺮﺕ ﺑﻮﺍﺩﺭ ﻷﺳﺎﻟﻴﺐ ﺃﺩﺑﻴﺔ ﻣﺘﻌﺪﺩﺓ‬

‫ﻛﺄﺳﻠﻮﺏ ﺍﳋﻄﻒ ﻭﺃﺳﻠﻮﺏ ﺍﳌﺰﺝ ﻭﺃﺳﺎﻟﻴﺐ ﺃﺧﺮ￯ ﺗﺴﻤﻰ ﺑﻤﺪﺍﺭﺳﻬﺎ ﺍﻟﺮﻭﻣﺎﻧﴘ ﻭﺍﻟﻔﻠﺴﻔﻲ‬

‫ﻭﺍﻟﻨﻔﴘ‪.‬‬

‫ﺗﺪﻋﻮ ﺍﳌﻌﺎﴏﺓ ﺇﱃ ﺍﳋﺮﻭﺝ ﻋﻦ ﺍﳌﺄﻟﻮﻑ ﺍﳌﻘﻮﻟﺐ ﺑﺒﻨﺎﺀ‪ ،‬ﻛﺨﺮﻭﺟﻬﺎ ﻋﻦ ﺍﻟﺒﻨﺎﺀ ﺍﻟﻔﻨﻲ‬

‫ﺍﻟﴪﺩﻱ ﰲ ﺍﻟﴪﺩ ﻭﺍﻟﻘﺎﻓﻴﺔ ﰲ ﺍﻟﺸﻌﺮ‪ ،‬ﻭﺫﻟﻚ ﺑﺎﺳﺘﺨﺪﺍﻡ ﺗﻘﻨﻴﺎﺕ ﺟﺪﻳﺪﺓ ﻛﺘﻘﻨﻴﺔ ﺍﳊﻮﺍﺭ ﺍﻟﺪﺍﺧﲇ‬

‫ﻭﺟﺮﻳﺎﻥ ﺗﻴﺎﺭ ﺍﻟﻮﻋﻲ ﺍﻟﻨﻔﴘ ﻭﺍﻟﻔﻼﺷﺒﺎﻙ‪ ،‬ﻭﺍﺳﺘﺨﺪﺍﻡ ﺍﳌﺰﺝ ﺑﲔ ﺍﳌﺪﺍﺭﺱ ﺍﻷﺩﺑﻴﺔ ﺍﻟﺘﻲ ﺩﺧﻠﺖ‬

‫ﰲ ﺍﳌﻌﺎﴏﺓ ﻛﻤﺪﺭﺳﺔ ﺍﻟﱪﻧﺎﺳﺔ )ﺍﻟﻔﻦ ﻟﻠﻔﻦ( ﻭﺍﻷﺩﺏ ﻟﻸﺩﺏ ﻭﺍﳌﺪﺭﺳﺔ ﺍﻟﺘﺠﺮﻳﺪﻳﺔ ﻭﺍﳌﺪﺭﺳﺔ‬ ‫ﺍﻻﻧﻄﺒﺎﻋﻴﺔ ﻭﺍﳌﺪﺭﺳﺔ ﺍﻟﻨﻔﺴﻴﺔ ﻭﺍﻟﻔﻠﺴﻔﻴﺔ ﻭﻣﺪﺍﺭﺱ ﺃﺧﺮ￯ ﺳﻴﺎﺳﻴﺔ ﻭﺍﻗﺘﺼﺎﺩﻳﺔ‪.‬‬

‫‪VÜë^√π]<Ì◊uÜ÷]<hÅ_<V^È⁄ fi^m‬‬ ‫‪<Vl¯uÜ÷]<hÅ_<ÃËÜ√i‬‬ ‫ﺗﻌﺪﹼ ﺩﺕ ﺍﻟﺘﻌﺎﺭﻳﻒ ﺑﺨﺼﻮﺹ ﻫﺬﺍ ﺍﻷﺩﺏ‪ ،‬ﹸ‬ ‫ﻭﻛﺘﺒﺖ ﻓﻴﻪ ﻣﺌﺎﺕ ﺍﻟﻜﺘﺐ ﻭﺍﳌﺼﺎﺩﺭ‪،‬‬

‫ﺳﺄﺧﺘﺎﺭ ﻣﻨﻬﺎ ﻣﺎ ﺃﲨﻌﺖ ﻋﻠﻴﻪ ﻣﻌﻈﻢ ﻫﺬﻩ ﺍﻟﺘﻌﺎﺭﻳﻒ‪ ،‬ﻭﻫﻮ ﺁﺧﺮ ﻣﺎ ﻗﺪﹼ ﻣﺘﻪ )ﻭﻳﻜﻴﺒﻴﺪﻳﺎ( ﺑﺸﻜﻞ‬ ‫ﻣﺒﺴﻂ ﻭﺷﺎﻣﻞ‪:‬‬ ‫ﹼ‬

‫ﻳﺼﻮﺭ ﻓﻴــﻪ ﺍﻟﻜﺎﺗﺐ ﻣــﺎ ﺟﺮ￯ ﻟﻪ‬ ‫»ﺃﺩﺏ ﺍﻟﺮﺣــﻼﺕ ﻫــﻮ ﻧﻮﻉ ﻣــﻦ ﺍﻷﺩﺏ ﺍﻟــﺬﻱ ﹼ‬

‫ﻣــﻦ ﺃﺣــﺪﺍﺙ ﻭﻣــﺎ ﺻﺎﺩﻓﻪ ﻣــﻦ ﺃﻣﻮﺭ ﺃﺛﻨــﺎﺀ ﺭﺣﻠﺔ ﻗﺎﻡ ﲠــﺎ ﻷﺣــﺪ ﺍﻟﺒﻠﺪﺍﻥ‪ .‬ﻭ ﹸﺗﻌــﺪﹼ ﻛﺘﺐ‬ ‫ﺍﻟﺮﺣــﻼﺕ ﻣﻦ ﺃﻫــﻢ ﺍﳌﺼﺎﺩﺭ ﺍﳉﻐﺮﺍﻓﻴــﺔ ﻭﺍﻟﺘﺎﺭﳜﻴــﺔ ﻭﺍﻻﺟﺘﲈﻋﻴﺔ؛ ﻷﻥ ﺍﻟﻜﺎﺗﺐ ﻳﺴــﺘﻘﻲ‬

‫ﺍﳊﻴﺔ‪ ،‬ﻭﺍﻟﺘﺼﻮﻳــﺮ ﺍﳌﺒﺎﴍ‪ ،‬ﳑﺎ ﳚﻌــﻞ ﻗﺮﺍﺀﲥﺎ ﻏﻨﻴﺔ‪،‬‬ ‫ﺍﳌﻌﻠﻮﻣــﺎﺕ ﻭﺍﳊﻘﺎﺋــﻖ ﻣﻦ ﺍﳌﺸــﺎﻫﺪﺓ ﹼ‬

‫ﳑﺘﻌﺔ ﻭﻣﺴــﻠﻴﺔ«)‪.(١‬‬

‫ﻧﻔﺮﻕ ﹰ‬ ‫ﺃﻭﻻ ﺑﲔ ﺃﻧﻮﺍﻉ ﺍﻷﺩﺏ‪ ،‬ﺍﻷﺩﺏ ﺑﺸﻜﻞ ﻋﺎﻡ‬ ‫ﳌﻌﺮﻓﺔ ﺟﺬﻭﺭ ﺃﺩﺏ ﺍﻟﺮﺣﻠﺔ ﳚﺐ ﺃﻥ ﹼ‬

‫ﻳﻨﻘﺴﻢ ﺇﱃ ﻗﺴﻤﲔ‪:‬‬

‫)‪ (١‬ﺃﺩﺏ ﺍﻟﺮﺣﻼﺕ – ﻭﻳﻜﻴﺒﻴﺪﻳﺎ ‪.ar.m.wikipedia.org‬‬

‫‪١٥‬‬

‫‪<Vnon-fiction<Ê_<ÎÖ^f}˝]<hÁ◊â˘]<G‬‬ ‫ﻭﻧﻌﻨﻲ ﺑﻪ ﺍﻷﺩﺏ ﺍﻟﺬﻱ ﺗﻜﻮﻥ ﻭﻇﻴﻔﺘﻪ ﺇﺧﺒﺎﺭﻳﺔ ﻋﻠﻤﻴﺔ ﺗﻘﺮﻳﺮﻳﺔ ﻣﻌﺠﻤﻴﺔ )‪(semantic‬‬

‫‪ ،%١٠٠‬ﻭﻫﺬﺍ ﺍﻟﻨﻮﻉ ﳏﺪﻭﺩ ﺑﺤﺪﻭﺩ ﺍﳊﻘﻴﻘﺔ ﻭﺍﻟﻮﺍﻗﻊ‪ ،‬ﻻ ﳚﻮﺯ ﺍﳋﺮﻭﺝ ﻣﻨﻪ ﺑﺘﺄﻭﻳﻼﺕ ﺃﺧﺮ￯‬ ‫ﹰ‬ ‫ﹼﺇﻻ ﺍﳌﻌﺎﲏ ﺍﻟﺘﻲ ﹼ‬ ‫ﻳﺮﻛﺰ ﻋﻠﻴﻬﺎ ﺍﳌﻌﺠﻢ‪ ،‬ﻭﻳﻜﻮﻥ‬ ‫ﻭﺳﻴﻄﺎ ﻟﻠﺼﺤﺎﻓﺔ ﻭﺍﻟﻜﺘﺐ ﺍﻟﻌﻠﻤﻴﺔ ﻭﺍﳋﻄﺎﺑﺎﺕ‬ ‫ﺍﻟﺮﺳﻤﻴﺔ ﻭﺍﻟﻌﻘﻮﺩ ﻭﺍﻟﺼﻜﻮﻙ ﻭﺍﳌﻮﺍﺛﻴﻖ ﺍﻟﻌﺎﻣﺔ ﺍﻟﺪﻭﻟﻴﺔ ﻭﺍﳊﻜﻮﻣﻴﺔ ﻭﺍﻟﻌﺎﳌﻴﺔ‪ ،‬ﻭﺃﻣﻮﺭ ﺃﺧﺮ￯‬ ‫ﻣﻨﻄﻘﻴﺔ ﺇﺧﺒﺎﺭﻳﺔ‪.‬‬

‫‪Vfiction<ÍeÅ˘]<hÁ◊â˘]<G‬‬ ‫ﻭﻫﻮ ﺍﻷﺩﺏ ﺍﻟﺬﻱ ﳜﺮﺝ ﻋﻦ ﺍﻟﻮﺍﻗﻊ ﻧﺤﻮ‪:‬‬ ‫‪ -١‬ﺍﳋﻴﺎﻝ‪.‬‬ ‫‪ -٢‬ﺍﻟﺮﻣﺰ‪.‬‬ ‫‪ -٣‬ﺍﻟﺘﺄﻭﻳﻞ‪.‬‬ ‫‪ -٤‬ﺍﻟﺴﻴﺎﻕ )ﺍﻟﺬﺭﻳﻌﺔ(‪.‬‬ ‫ﻭﻫﺬﺍ ﺍﻟﻨﻮﻉ ﻣﻦ ﺍﻷﺩﺏ ﳞﺘﻢ ﺑﺘﻜﻨﻴﻚ ﺍﻻﻧﺰﻳﺎﺡ ﻧﺤﻮ ﻭﺍﺣﺪ ﻣﻦ ﺍﻷﺷﻜﺎﻝ ﺍﳌﺬﻛﻮﺭﺓ‬

‫ﺃﻋﻼﻩ‪ ،‬ﻳﻨﺰﺍﺡ ﻧﺤﻮ ﲨﻴﻌﻬﺎ ﺃﻭ ﻧﺤﻮ ﺑﻌﺾ ﻣﻨﻬﺎ‪ ،‬ﻟﻜﻦ ﻫﺬﺍ ﻻ ﻳﻌﻨﻲ ﺃﻥ ﺍﻷﺩﺏ ﺍﻻﻧﺰﻳﺎﺣﻲ ﻻ‬ ‫ﻣﺘﺪﺭﺟﺔ ﺑﺪﺭﺟﺎﺕ ﺑﺎﳌﺌﺔ‪ ،‬ﻭﻻ ﳚﻮﺯ‬ ‫ﻳﻘﺒﻞ ﻣﻄﻠ ﹰﻘﺎ ﺣﺎﻟﺔ ﺍﻹﺧﺒﺎﺭ؛ ﻟﺬﻟﻚ ﺗﻜﻮﻥ ﺩﺭﺟﺔ ﺍﻻﻧﺰﻳﺎﺡ ﹼ‬

‫ﺍﻧﺰﻳﺎﺣﺎ ‪%١٠٠‬؛ ﻷﻧﻨﺎ ﻧﺤﺘﺎﺝ ﺍﻹﺧﺒﺎﺭ ﻟﻔﻚ ﻃﻼﺳﻢ ﺩﺭﺟﺎﺕ ﺍﻻﻧﺰﻳﺎﺡ ﺍﻟﻌﺎﻟﻴﺔ ﺑﺤﻜﻢ‬ ‫ﺃﻥ ﻳﻜﻮﻥ‬ ‫ﹰ‬ ‫ﻓﺘﺢ ﺍﻟﻨﺺ ﺍﳌﻐﻠﻖ ﻟﻠﻨﺨﺒﺔ ﺑﺎﲡﺎﻩ ﺍﻟﻌﻤﻮﻣﻴﺔ‪.‬‬

‫ﹼ‬ ‫ﻭﻗﺪ‬ ‫ﺑﻤﺬﻛﺮﺍﺕ‬ ‫ﻳﺘﻀﻤﻦ ﺃﺩﺏ ﺍﻟﺮﺣﻼﺕ ﺣﺎﻟﺔ ﺍﻷﺩﺏ ﺍﻷﻭﱃ‪ ،‬ﺑﺪﺃ ﺃﺩﺏ ﺍﻟﺮﺣﻼﺕ‬ ‫ﹼ‬ ‫ﻳﻜﺘﺒﻬﺎ ﺍﻟﺸﺨﺺ ﻋﻦ ﺳﻔﺮﺗﻪ ﺇﱃ ﺃﻣﺎﻛﻦ ﳐﺘﻠﻔﺔ‪ ،‬ﻭ ﺗﻌ ﹼﻠﻖ ﺫﻟﻚ ﺍﻷﺩﺏ ﺑﻮﺳﺎﺋﻞ ﺍﻟﺴﻔﺮ ﺳﺎﺑ ﹰﻘﺎ‬

‫ﻭﺣﺎﻟﻴﺎ‪.‬‬ ‫‪h‬‬

‫ﻛﺎﻥ ﺍﻟﺴﻔﺮ ﺳﺎﺑ ﹰﻘﺎ ﻳﺪﻭﺭ ﺑﺰﻣﻜﺎﻧﻴﺔ ﻃﻮﻳﻠﺔ‪ ،‬ﺗﻘﺘﴤ ﻣﻦ ﺍﻹﻧﺴﺎﻥ ﺃﻥ ﻳﺒﻘﻰ ﰲ ﺃﻣﺎﻛﻦ ﺑﻌﻴﻨﻬﺎ‬

‫ﻣﺮ ﺑﻪ ﻣﻦ‬ ‫ﺛﻢ ﻳﺴﺘﺄﻧﻒ ﺳﻔﺮﻩ ﻋﲆ ﻇﻬﺮ ﺩﺍ ﹼﺑﺔ‪ ،‬ﻭﻫﺬﺍ ﻣﺎ ﻛﺎﻥ ﳚﻌﻠﻪ ﹼ‬ ‫ﻟﻠﺮﺍﺣﺔ ﻋﺪﺓ ﺃﻳﺎﻡ‪ ،‬ﹼ‬ ‫ﻳﺴﺠﻞ ﻣﺎ ﹼ‬

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‫ﻣﺸﺎﻫﺪﺍﺕ ﺟﻐﺮﺍﻓﻴﺔ ﻭﺍﺟﺘﲈﻋﻴﺔ ﻋﻤﺮﺍﻧﻴﺔ‪ ،‬ﻭﻣﻌﻠﻮﻣﺎﺕ ﺗﺎﺭﳜﻴﺔ ﻭﺍﻗﺘﺼﺎﺩﻳﺔ ﻭﺳﻴﺎﺳﻴﺔ‪ ،‬ﻭﺑﺬﻟﻚ‬

‫ﻳﻜﻮﻥ ﺍﳊﺪﻳﺚ ﻋﻦ ﺗﻠﻚ ﺍﻷﺷﻴﺎﺀ ﺑﺸﻜﻞ ﻋﻠﻤﻲ ﻷﳖﺎ ﺣﻘﺎﺋﻖ ﻋﻠﻤﻴﺔ‪.‬‬

‫‪<Üvf÷]<l¯uÖ<hÅ_<V^n⁄ ÷^m‬‬ ‫ﺗﻄﻮﺭﺕ ﻭﺳﺎﺋﻞ ﺍﻟﺴﻔﺮ‪ ،‬ﺗﻘ ﹼﻠﺼﺖ ﺍﻟﺰﻣﻜﺎﻧﻴﺔ ﹰ‬ ‫ﻗﻠﻴﻼ‪ ،‬ﻭﺻﺎﺭ ﺍﻹﻧﺴﺎﻥ ﻳﺴﺎﻓﺮ‬ ‫ﻭﺣﲔ ﹼ‬ ‫ﺑﺸﻜﻞ ﻣﺒﺎﴍ ﻟﻠﻤﻜﺎﻥ ﺍﻟﺬﻱ ﻳﺮﻭﻡ ﺍﻟﻮﺻﻮﻝ ﺇﻟﻴﻪ‪ ،‬ﹸﻓﺄﳘﻞ ﺃﺩﺏ ﺍﻟﺮﺣﻠﺔ‪ ،‬ﻭﺻﺎﺭﺕ ﺍﻟﻜﺘﺎﺑﺔ ﻓﻴﻪ‬

‫ﻗﻠﻴﻠﺔ ﺟﺪ‪ h‬ﺍ‪ ،‬ﻭﺣﲔ ﺍﺳﺘﺬﻛﺮ ﺍﻟﺘﺎﺭﻳﺦ ﺍﻷﺩﰊ ﻫﺬﺍ ﺍﻟﻨﻮﻉ ﻣﻦ ﺍﻷﺩﺏ ﺭﺳﻢ ﻟﻪ ﺧﺎﺭﻃﺔ ﺟﺪﻳﺪﺓ‪،‬‬ ‫ﻣﻘﺘﴫﺍ ﻋﲆ ﻧﺨﺒﺔ ﻣﻦ ﺍﻟﻨﺎﺱ‪ ،‬ﺇ ﹼﻣﺎ ﻋﲆ ﺍﻟﺒﺤﺎﺭﺓ ﺃﻭ ﺍﻟﻄﻴﺎﺭﻳﻦ ﹼ‬ ‫ﻭﻛﺎﻥ‬ ‫ﻭﺍﳌﻼﺣﲔ ﺃﻭ ﺍﻟﺬﻳﻦ ﳛﺒﻮﻥ‬ ‫ﹰ‬ ‫ﺍﻟﺴﻔﺮ ﺍﻟﺪﺍﺋﻢ‪ ،‬ﻭﻋﻨﺪﻫﻢ ﺷﻐﻒ ﺍﻟﻜﺘﺎﺑﺔ ﺑﺎﻷﺩﺏ‪.‬‬

‫ﻭﺑﻌﺪ ﺍﳊﺮﺏ ﺍﻟﻌﺎﳌﻴﺔ ﺍﻟﺜﺎﻧﻴﺔ‪ ،‬ﻭﺇﻃﻼﻕ ﻣﻔﺎﻫﻴﻢ ﺍﳊﺪﺍﺛﺔ ﺍﻷﺩﺑﻴﺔ‪ ،‬ﺑﺪﺃ ﺃﺩﺏ ﺍﻟﺮﺣﻠﺔ ﻳﻨﺘﻘﻞ‬

‫ﺗﺪﺭﳚﻴﺎ ﻣﻦ ﺍﻹﺧﺒﺎﺭ ﻧﺤﻮ ﺃﺩﺏ ﺍﻻﻧﺰﻳﺎﺡ‪ ،‬ﻓﻘﺪ ﺑﺪﺃ ﺃﺻﺤﺎﺑﻪ ﻣﻦ ﺍﻟﻜ ﹼﺘﺎﺏ ﻳﻜﺘﺒﻮﻧﻪ ﺑﺒﻨﺎﺀ ﻓﻨﻲ‬ ‫‪h‬‬ ‫ﻧﻮﻋﺎ ﻣﻦ ﺍﻟﻘﺺ‪ ،‬ﻭﺍﺳ ﹸﺘﺨﺪﻣﺖ ﻓﻴﻪ ﺍﳌﺪﺍﺭﺱ ﺍﻷﺩﺑﻴﺔ ﺍﳊﺪﻳﺜﺔ ﻣﺜﻞ‪ :‬ﺍﻟﻮﺍﻗﻌﻴﺔ‬ ‫ﻭﺑﻨﺎﺀ ﲨﺎﱄ‪ ،‬ﻭﺻﺎﺭ ﹰ‬

‫ﻭﺍﻟﱪﻧﺎﺳﺔ ﻭﺍﻟﺮﻣﺰﻳﺔ ﻭﺍﻷﺩﺏ ﻟﻠﻤﺠﺘﻤﻊ ﻭﺍﻷﺩﺏ ﻟﻸﺩﺏ ﻭﺍﳌﺪﺭﺳﺔ ﺍﻟﺘﺠﺮﻳﺪﻳﺔ ﻭﺍﻟﻄﺒﻴﻌﻴﺔ‬

‫ﻭﺍﻟﺮﻭﻣﺎﻧﺴﻴﺔ ﻭ ﻣﺪﺍﺭﺱ ﺃﺧﺮ￯‪.‬‬

‫ﻟﺬﻟﻚ ﺍﻧﺘﻘﻞ ﺍﻟﺮﻭﻱ ﺇﱃ ﻣﺮﺣﻠﺔ ﺍﻟﺮﻭﺍﻳﺎﺕ ﺍﳌﻌﺎﴏﺓ ﰲ ﺃﺩﺏ ﺍﻟﺮﺣﻠﺔ‪ ،‬ﻭﺍﻣﺘﻠﻚ ﺗﻘﻨﻴﺎﺕ‬

‫ﻋﺪﻳﺪﺓ ﻣﺜﻞ‪:‬‬

‫‪ -١‬ﺗﻘﻨﻴﺔ ﺍﳊﻮﺍﺭ ﺍﳋﺎﺭﺟﻲ ‪Dialogue‬‬ ‫‪ -٢‬ﺗﻘﻨﻴﺔ ﺍﳊﻮﺍﺭ ﺍﻟﺪﺍﺧﲇ ‪Monologue‬‬ ‫‪ -٣‬ﺗﻘﻨﻴﺔ ﺗﺪﻓﻖ ﺳﻴﻞ ﺍﻟﻮﻋﻲ ‪Stream of consciousness‬‬ ‫‪ -٤‬ﺍﳋﻄﻒ ﺧﻠ ﹰﻔﺎ ‪Flashback‬‬

‫ﺍﳉﲈﻝ‪:‬‬

‫ﺗﻠﻚ ﺍﻟﺘﻘﻨﻴﺎﺕ ﺟﻌﻠﺖ ﻣﻦ ﺃﺩﺏ ﺍﻟﺮﺣﻠﺔ ﻣﻦ ﺃﲨﻞ ﺃﻧﻮﺍﻉ ﺍﻟﺮﻭﻱ؛ ﻷﻧﻪ ﺍﻣﺘﻠﻚ ﻧﻮﻋﻲ‬

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‫ﺍﻟﺒﻼﻏﻲ )ﺍﻟﺒﺪﻳﻊ ﻭﺍﻟﺒﻴﺎﻥ(‪ ،‬ﻭﻋﻠﻢ ﺍﳉﲈﻝ )ﺍﺳﺘﺨﺪﺍﻡ ﺃﺳﻠﻮﺏ ﺍﳋﻄﻒ ﺑﺈﺩﺧﺎﻝ ﺍﳌﺪﺍﺭﺱ‬ ‫ﺑﺤﺮﻓﻴﺔ ﻭﺩ ﹼﻗﺔ ﻣﺘﻨﺎﻫﻴﺔ(‪.‬‬ ‫ﺍﻟﺘﻲ ﹸﺫﻛﺮﺕ ﺳﺎﺑ ﹰﻘﺎ ﰲ ﺻﻨﺎﻋﺔ ﺍﳉﻤﻠﺔ ﺍﻟﻮﺍﺣﺪﺓ‬ ‫ﹼ‬ ‫ﻭﺇﱃ ﻫﺬﺍ ﺍﻟﻨﻮﻉ ﺗﻨﺘﻤﻲ ﺍﻟﺪﺭﺍﺳﺔ ﺍﻷﻭﱃ ﻭﺍﻟﺪﺭﺍﺳﺔ ﺍﻟﺜﺎﻧﻴﺔ‪ ،‬ﻭﺍﻟﺘﻲ ﺍﺭﺗﺄﻳﺖ ﺃﻥ ﺃﺳﻤﻴﻪ‬

‫)ﺑﺄﺩﺏ ﺭﺣﻼﺕ ﺍﻟﺒﺤﺮ(‪ ،‬ﺣﻴﺚ ﻛﺘﺐ ﺍﻟﻜﺎﺗﺐ ﺭﻭﺍﻳﺘﹶﲔ ﻣﻌﺎﴏﺗﲔ ﺧﻼﻝ ﺭﺣﻠﺘﲔ ﺑﺤﺮ ﹼﻳﺘﲔ‪.‬‬ ‫ﻭﻫﻮ ﳜﺘﻠﻒ ﻋﻦ )ﺃﺩﺏ ﺍﻟﺒﺤﺮ( ﺍﻟﺬﻱ ﺗﻜﻮﻥ ﺛﻴﻤﺘﻪ ﺍﻟﺮﺋﻴﺴﻴﺔ ﻫﻲ ﺍﻟﴫﺍﻉ ﺑﲔ ﺍﻹﻧﺴﺎﻥ ﻭﺍﻟﺒﺤﺮ‪،‬‬ ‫ﻛﺮﻭﺍﻳﺔ )ﺍﻟﺸﻴﺦ ﻭﺍﻟﺒﺤﺮ( ﻷﺭﻧﺴﺖ ﻫﻴﻤﻨﺠﻮﺍﻱ‪ ،‬ﻭﺭﻭﺍﻳﺔ ﺣﻨﺎ ﻣﻴﻨﺔ )ﺍﻟﴩﺍﻉ ﻭﺍﻟﻌﺎﺻﻔﺔ(‪ ،‬ﺍﻟﻔﺮﻕ‬ ‫ﺘﻨﺎﻭﻟﺔ ﰲ ﻛﻼ ﺍﻟﻨﻮﻋﲔ‪.‬‬ ‫ﺑﻴﻨﻬﲈ ﰲ ﺍﻟﺜﻴﻤﺔ ﺍ ﹸﳌ ﹶ‬

‫‪<ÜÀä÷]<hÅ_<V^√⁄ e]Ö‬‬ ‫ﻄﻮﺭ ﺍﻟ ﹼﺘﻜﻨﻮﻟﻮﺟﻲ ﺍﻟﺬﻱ ﺃﺿﻴﻒ ﳍﺬﺍ ﺍﻷﺩﺏ )ﺃﺩﺏ ﺍﻟﺮﺣﻠﺔ( ﺑﺸﻜﻞ ﺇﺟﺮﺍﺋﻲ‬ ‫ﻭﻣﻊ ﺍﻟ ﹼﺘ ﹼ‬ ‫ﳏﺘﻮﻡ ﺑﻌﻮﺍﻣﻞ ﹼ‬ ‫ﺯﻣﻜﺎﻧﻴﺔ ﻫﺬﺍ‬ ‫ﺍﻟﺴﻔﺮ ﻭﺍﻻﺗﹼﺼﺎﻻﺕ‪ ،‬ﺗﻘ ﹼﻠﺼﺖ‬ ‫ﺍﻟﻄﺒﻴﻌﺔ ﻭﺍﻟ ﹼﺘﻘﺪﹼ ﻡ ﺍﻟ ﹼﺘﻜﻨﻮﻟﻮﺟﻲ ﰲ ﹼ‬ ‫ﹼ‬ ‫ﹴ‬ ‫ﺗﻨﻮﻉ ﺩﺍﺧﲇ ﰲ ﺫﻟﻚ ﺍﻷﺩﺏ‪ ،‬ﺣﻴﺚ ﺍﻧﻔﺼﻠﺖ‬ ‫ﺍﻷﺩﺏ ﺣﺘﻰ ﺻﺎﺭﺕ‬ ‫ﺳﺎﻋﺎﺕ ﻭﺃ ﹼﻳﺎ ﹰﻣﺎ‪ ،‬ﻭﺣﺪﺙ ﹼ‬ ‫ﺍﻟﺰﻣﻦ‪ ،‬ﺑﻤﻌﻨﻰ ﹼ‬ ‫ﻣﺴﺎﻓﺮﺍ ﺑﻐﺎﻳﺔ‬ ‫ﻣﻜﺎﻧﻴﺘﻪ ﻋﻦ‬ ‫ﺍﻟﺮﺣﺎﻟﺔ ﺻﺎﺭ‬ ‫ﺯﻣﺎﻧﻴﺘﻪ‪ ،‬ﻓﺘﻌﺪﹼ ﺩﺕ ﺍﻷﻣﻜﻨﺔ ﻭﺗﻘ ﹼﻠﺺ ﹼ‬ ‫ﺃﻥ ﹼ‬ ‫ﹰ‬ ‫ﹼ‬ ‫ﹼ‬

‫ﻟﺬﺭﺍﺋﻌﻴﺘﻲ ﹸﻳﻀﺎﻑ ﻷﺩﺏ‬ ‫ﲡﺎﺭ ﹼﻳﺔ ﺃﻭ‬ ‫ﺳﻴﺎﺣﻴﺔ ﺃﻭ‬ ‫ﻃﺒﻴﺔ ﺃﻭ‬ ‫ﺷﺨﺼﻴﺔ‪ ،‬ﻓﱪﺃﻳﻲ‪ ،‬ﻭﻃﺒ ﹰﻘﺎ‬ ‫ﹼ‬ ‫ﹼ‬ ‫ﹼ‬ ‫ﺳﻴﺎﺳﻴﺔ ﺃﻭ ﹼ‬ ‫ﹼ‬

‫ﺍﻟﺴﻔﺮ‪ ،‬ﻭﻫﺬﺍ ﻣﻔﺼﻞ ﻭﻣﺼﻄﻠﺢ ﺟﺪﻳﺪ ﻗﺎﺑﻞ ﻟﻠ ﹼﻨﻘﺎﺵ‪،‬‬ ‫ﺍﻟﺮﺣﻠﺔ ﻣﻔﺼﻞ ﺟﺪﻳﺪ ﹼ‬ ‫ﻳﺴﻤﻰ ﺑﺄﺩﺏ ﹼ‬ ‫ﹼ‬

‫ﻷﳖﺎ ﱂ ﺗﻌﺪ ﺭﺣﻠﺔ‪،‬‬ ‫ﻭﺭﻭﺍﻳﺘﻨﺎ ﺍﻟﺘﻲ ﻧﺤﻦ ﺑﺼﺪﺩ ﺗﻨﺎﻭﳍﺎ ﻧﻘﺪ ‪h‬ﻳﺎ ﻫﻲ ﻣﺸﻬﺪ ﳍﺬﺍ ﺍﳌﻔﺼﻞ ﺍﳉﺪﻳﺪ‪ ،‬ﹼ‬

‫ﻭﺇﻧﹼﲈ ﺳﻔﺮ ﺑﻘﺼﺪ ﺍﳍﺠﺮﺓ ﻭﺍﻟ ﹼﺘﻮﻃﲔ ﻭﺍﳌﺴﺎﻛﻨﺔ‪ ،‬ﻭﺍﻟﺒﺤﺚ ﻋﻦ ﺍﻟﻌﻤﻞ ﻭﻋﻦ ﻟﻘﻤﺔ ﺍﻟﻌﻴﺶ ﰲ‬

‫ﺍﻟﺴﻔﺮ‪ ،‬ﳜﻠﻖ ﻓﻴﻪ‬ ‫ﺍﻟﺮﺣﻠﺔ‪ ،‬ﺃﺳﻤﻴ ﹸﺘﻪ ﺃﺩﺏ ﹼ‬ ‫ﺑﻠﺪﺍﻥ ﺃﺧﺮ￯؛ ﻟﺬﻟﻚ ﺃﺷﲑ ﺇﱃ ﺟﻨﺲ ﺟﺪﻳﺪ ﻣﻦ ﺃﺩﺏ ﹼ‬

‫ﻭﺍﻟﺰﻣﺎﻥ ﻋﻨﴫﻳﻦ ﻣﺘﺒﺎﻋﺪﻳﻦ ﰲ ﻫﺬﺍ ﺍﳉﻨﺲ‬ ‫ﻣﻜﺎﻧﻴﺔ‪ ،‬ﻓﻴﺼﲑ ﺍﳌﻜﺎﻥ ﹼ‬ ‫ﺍﻟﻜﺎﺗﺐ ﺍﻧﻔﺼﺎ ﹰﻣﺎ ﰲ ﹼ‬ ‫ﺍﻟﺰ ﹼ‬

‫ﺍﻟﺘﺘﺒﻊ ﺍﻟﻘﺪﻳﻢ ﻟﻸﻣﻜﻨﺔ‪ ،‬ﺗﺘﻌﺪﹼ ﺩ ﻓﻴﻪ ﺍﻷﻣﻜﻨﺔ‬ ‫ﺍﻟﺮﺣﻠﺔ‪ ،‬ﳜﺘﻔﻰ ﻣﻨﻬﺎ ﹼ‬ ‫ﻋﻨﻬﲈ ﰲ ﺍﳉﻨﺲ ﺍﻷﺻﲇ ﺃﺩﺏ ﹼ‬ ‫ﺍﻟﺰﻣﻦ‪،‬‬ ‫ﻭﺗﺘﻄﺎﺑﻖ )ﺍﳌﻜﺎﻥ ﺍﻟﺬﻱ ﺍﻧﻄﻠﻖ ﻣﻨﻪ ﺍﳌﺴﺎﻓﺮ ﻳﺸﺒﻪ ﺍﻷﻣﻜﻨﺔ ﺍﻟﺘﻲ ﻭﺻﻞ ﺇﻟﻴﻬﺎ(‪ ،‬ﻓﻴﻘﴫ ﹼ‬

‫ﺍﻟﺮﺣﻠﺔ ﺇﱃ‬ ‫ﻭﺗﻀﻌﻒ‬ ‫ﹼ‬ ‫ﺩﻳﻤﻮﻏﺮﺍﻓﻴﺔ ﺍﳌﺸﺎﻫﺪ ﻋﻨﺪ ﻫﺬﺍ ﺍﻟ ﹼﺘﻄﺎﺑﻖ ﺍﳌﻜﺎﲏ‪ ،‬ﻓﻴﺘﺒﺪﹼ ﻝ ﺍﻷﺩﺏ ﻣﻦ ﺃﺩﺏ ﹼ‬ ‫ﺍﻟﴪﺩ ﹼﻳﺔ( ﻓﻴﻪ‪ .‬ﻓﺎﻟﻐﺎﻳﺔ ﻫﻨﺎ )ﺍﳍﺠﺮﺓ ﻭﺍﻟ ﹼﺘﻮﻃﲔ ﻭﺍﳌﺴﺎﻛﻨﺔ‬ ‫ﺍﻟﺴﻔﺮ ﹼ‬ ‫ﺒﺒﻴﺔ )ﺍﳌﻘﺼﺪ ﹼﻳﺔ ﹼ‬ ‫ﻟﺘﻐﲑ ﹼ‬ ‫ﺃﺩﺏ ﹼ‬ ‫ﺍﻟﺴ ﹼ‬

‫ﱪﺭ ﺍﳊﺪﺙ‪.‬‬ ‫ﻭﺍﻟﻌﻤﻞ( ﺗ ﹼ‬

‫‪١٨‬‬

‫}^‪<ÌÈÊ]Ü∆ÁµÇ÷]<hÅ_<V^ä⁄‬‬ ‫‪⁄‬‬ ‫ﻭﳘﺎ‪:‬‬

‫ﺗﻨﻘﺴﻢ ﺍﻟﻨﺼﻮﺹ ﺍﳌﻜﺘﻮﺑﺔ ﺑﺤﺴﺐ ﺍﻷﺳﻠﻮﺏ ﺍﻟﺬﻱ ﺗﻜﺘﺐ ﺑﻪ ﺇﱃ ﻗﺴﻤﲔ ﺃﺳﺎﺳﻴﲔ‪،‬‬ ‫ﺍﻷﺩﺏ ‪ ،fiction‬ﻭﺍﻟﻼ ﺃﺩﺏ ‪ non fiction‬ﺃﻭ ﺍﻷﺩﺏ ﺍﻹﺧﺒﺎﺭﻱ )ﺍﻟﺘﻘﺮﻳﺮﻱ ﺍﻟﻌﻠﻤﻲ(‪.‬‬ ‫ﻭﻳﻨﻘﺴﻢ ﺍﻷﺩﺏ ‪ fiction‬ﺇﱃ‪:‬‬ ‫‪ -١‬ﺍﻟﺸﻌﺮ‬

‫‪ -٢‬ﺍﻟﴪﺩ‬

‫ﻭﻳﻨﻘﺴﻢ ﺍﻷﺩﺏ ﺇﱃ‪ :‬ﺷﻌﺮ ﻭﴎﺩ‬ ‫ﻭﻳﻨﻘﺴﻢ ﺍﻟﴪﺩ ﺇﱃ ﺍﻷﺟﻨﺎﺱ ﺍﻟﴪﺩﻳﺔ ﺍﻟﺘﺎﻟﻴﺔ‪:‬‬ ‫ ﺍﻟﺮﻭﺍﻳﺔ‬‫ ﺍﻟﻘﺼﺔ ﺍﻟﻘﺼﲑﺓ‬‫ ﺍﻟﻘﺼﺔ ﺍﳌﻜﺜﻔﺔ‬‫ ﺍﳌﻘﺎﻣﺔ‬‫ ﺍﳌﻘﺎﻟﺔ‬‫ ﺍﳌﴪﺣﻴﺔ‬‫ ﺍﳋﺎﻃﺮﺓ‬‫ ﺍﻟﺮﺳﺎﻟﺔ‬‫ ﺍﻟﻘﺺ ﺍﳌﻘﺎﱄ‬‫ ﺍﳌﻘﻄﻮﻋﺔ ﺍﻟﴪﺩﻳﺔ‬‫ ﺍﳊﻮﺍﺭﻳﺔ ﺍﻟﴪﺩﻳﺔ‬‫‪ -‬ﺃﺩﺏ ﺍﻟﺮﺣﻠﺔ‬

‫‪١٩‬‬

‫ﻭﻳﻨﻘﺴﻢ ﺃﺩﺏ ﺍﻟﺮﺣﻠﺔ ﺇﱃ ﺟﻨﺲ ﺃﺩﰊ ﺭﻭﺍﺋﻲ )ﳛﺘﻮﻱ ﻋﲆ ﺑﻨﺎﺀ ﻓﻨﻲ(‪ ،‬ﻭﺇﱃ ﻣﺸﺎﻫﺪﺍﺕ‬

‫ﺧﺎﺭﺟﺎ ﻋﻦ ﺍﻟﴪﺩ ﺍﻷﺩﰊ(‪.‬‬ ‫ﺩﻳﻤﻮﻏﺮﺍﻓﻴﺔ )ﻋﻨﺪﻣﺎ ﻳﻜﻮﻥ‬ ‫ﹰ‬

‫‪<V^fl∆c‬‬ ‫ﻧﻌﻨﻲ ﺑﺎﻟﺪﻳﻤﻮﻏﺮﺍﻓﻴﺎ ﺧﺮﻭﺝ ﺃﺩﺏ ﺍﻟﺮﺣﻠﺔ ﻣﻦ ﺧﻴﻤﺔ ﺍﻟﻌﻤﻖ ﺍﻷﺩﰊ ﺍﳋﻴﺎﱄ ﻭﺍﻟﺮﻣﺰﻱ‬

‫ﺑﺎﲡﺎﻩ ﺍﻹﺧﺒﺎﺭ‪ ،‬ﻭﳜﺘﺺ ﲠﺬﻩ ﺍﳊﺎﻟﺔ ﺍﻟﺒﻴﻨﻴﺔ ﻋﻠﻢ ﺍﻟﺪﻳﻤﻮﻏﺮﺍﻓﻴﺎ‪.‬‬ ‫ﻭﻋﻠﻢ ﺍﻟﺪﻳﻤﻮﻏﺮﺍﻓﻴﺎ )ﻋﻠﻢ ﺍﻟﺴﻜﺎﻥ‬

‫)‪(١‬‬

‫ﺃﻭ ﺍﻟﺪﺭﺍﺳﺎﺕ ﺍﻟﺴﻜﺎﻧﻴﺔ(‪ :‬ﻓﺮﻉ ﻣﻦ ﻋﻠﻢ‬

‫ﺍﻻﺟﺘﲈﻉ ﻭﺍﳉﻐﺮﺍﻓﻴﺎ ﺍﻟﺒﴩﻳﺔ ﺍﻟﺬﻱ ﻳﻘﻮﻡ ﻋﲆ ﺩﺭﺍﺳﺔ ﻋﻠﻤﻴﺔ ﳋﺼﺎﺋﺺ ﺍﻟﺴﻜﺎﻥ ﻣﻦ ﺣﻴﺚ‬ ‫ﺍﻟﻌﺪﺩ ﻭﺍﻟﺘﻮﺯﻳﻊ ﻭﺍﻟﻜﺜﺎﻓﺔ ﻭﺍﻟﱰﻛﻴﺐ ﻭﺍﻷﻋﺮﺍﻕ ﻭﻣﻜﻮﻧﺎﺕ ﺍﻟﻨﻤﻮ )ﺍﻹﻧﺠﺎﺏ ﻭﺍﻟﻮﻓﻴﺎﺕ‬ ‫ﻭﺍﳍﺠﺮﺓ(‪ ،‬ﻧﺴﺐ ﺍﻷﻣﺮﺍﺽ ﻭﺍﳊﺎﻻﺕ ﺍﻻﻗﺘﺼﺎﺩﻳﺔ ﻭﺍﻻﺟﺘﲈﻋﻴﺔ‪ ،‬ﻭﻧﺴﺐ ﺍﻷﻋﲈﺭ ﻭﺍﳉﻨﺲ‬

‫ﻭﻣﺴﺘﻮ￯ ﺍﻟﺪﺧﻞ ﻭﻏﲑ ﺫﻟﻚ ﰲ ﺇﺣﺪ￯ ﺍﳌﻨﺎﻃﻖ‪ ،‬ﻭﲤﺜﻞ ﺍﻟﺪﺭﺍﺳﺎﺕ ﺍﻟﺴﻜﺎﻧﻴﺔ ﺍﻟﻄﺮﻳﻘﺔ ﺍﳌﺒﺪﺋﻴﺔ‬

‫ﻟﻔﻬﻢ ﺍﳌﺠﺘﻤﻊ ﺍﻟﺒﴩﻱ‪.‬‬

‫ﻭﺍﻟﻌﻤﻞ ﺍﻟﺬﻱ ﺳﻨﺘﻨﺎﻭﻟﻪ ﲢﺖ ﻫﺬﺍ ﺍﻟﻨﻮﻉ‪ ،‬ﻫﻮ ﻧﺺ ﻣﻮﺍﺯﻱ؛ ﻷﻧﻪ ﻛﺘﺎﺏ )ﻣﺴﻠﻮﺏ‬

‫ﺟﻨﺴﺎ ﻣﻦ ﺍﻷﺟﻨﺎﺱ‬ ‫ﺍﳉﻨﺲ‪ ،‬ﻳﻨﺘﻤﻲ ﺇﱃ ﺟﻨﺲ ﻳﻮﺍﺯﻱ ﺍﳉﻨﺲ ﺍﻷﺩﰊ ﻭﺃﺣﻴﺎ ﹰﻧﺎ ﻳﻠﺘﻘﻲ ﻣﻌﻪ‪ ،‬ﻟﻴﺲ ﹰ‬

‫ﻧﺼﺎ(‪ ،‬ﻓﻬﻮ ﻣﺸﺎﻫﺪﺍﺕ ﻋﻴﻨﻴﺔ ﲣﺘﺺ ﺑﺎﳉﲈﻟﻴﺎﺕ‬ ‫ﻧﺼﺎ )ﺷﺒﻴﻪ ﺑﺎﻟﻨﺺ ﻭﻟﻴﺲ ‪h‬‬ ‫ﺍﻟﴪﺩﻳﺔ( ﻭﻟﻴﺲ ‪h‬‬

‫ﺍﻟﻠﻐﻮﻳﺔ ﻋﻠﻴﻨﺎ ﻧﻘﺪﻩ ﺑﺸﻜﻞ ﻋﻠﻤﻲ‪ ،‬ﻭﻫﻮ ﻳﻨﺘﻤﻲ ﺇﱃ ﻣﺸﺎﻫﺪﺍﺕ ﺩﻳﻤﻮﻏﺮﺍﻓﻴﺔ ﻣﻘﺎﺭﻧﺔ ﻟﺮﺣﻠﺔ ﺑﲔ‬

‫ﻭﲨﺎﻟﻴﺎ‪ ،‬ﻏﺮﰊ ﻭﴍﻗﻲ‪ ،‬ﺑﲔ ﺍﻟﻮﻻﻳﺎﺕ ﺍﳌﺘﺤﺪﺓ‬ ‫ﻭﻋﻤﺮﺍﻧﻴﺎ‬ ‫ﻭﺍﺟﺘﲈﻋﻴﺎ‬ ‫ﺑﻠﺪﻳﻦ ﳐﺘﻠﻔﲔ ﺟﻐﺮﺍﻓ ﹰﻴﺎ‬ ‫‪h‬‬ ‫‪h‬‬ ‫‪h‬‬

‫)ﻟﻮﺱ ﺃﻧﺠﻠﻮﺱ( ﻭﺑﲔ ﲨﻬﻮﺭﻳﺔ ﻣﴫ ﺍﻟﻌﺮﺑﻴﺔ )ﺍﻟﻘﺎﻫﺮﺓ – ﺍﻷﻗﴫ – ﺃﺳﻮﺍﻥ ‪ -‬ﺍﻹﺳﲈﻋﻴﻠﻴﺔ‬ ‫ ﺍﻟﺴﻮﻳﺲ(‪ ،‬ﺣﻴﺚ ﻗﺎﻣﺖ ﺍﻟﻜﺎﺗﺒﺔ ﺑﺘﺴﺠﻴﻞ ﻣﺸﺎﻫﺪﺍﲥﺎ ﺍﻟﺪﻳﻤﻮﻏﺮﺍﻓﻴﺔ ﺑﺸﻜﻞ ﻋﻴﻨﻲ ﻋﻦ ﻃﺮﻳﻖ‬‫ﻋﺪﺳﺎﺕ ﺍﻟﺘﺼﻮﻳﺮ ﺑﺼﻮﺭ ﳐﺘﻠﻔﺔ‪ ،‬ﻭﺗﺴﺠﻴﻞ ﺣﺮﰲ ﺑﻘﻠﻤﻬﺎ ﺍﻟﺬﻱ ﻳﻘﻊ ﺑﲔ ﺍﻟﺘﻘﺮﻳﺮﻳﺔ ﻭﺍﻷﺩﺑﻴﺔ‪.‬‬ ‫ﻓﺈﺫﻥ ﻫﺬﺍ ﺍﻟﻌﻤﻞ ﺟﻨﺴﻪ ﺃﺩﺏ ﺭﺣﻠﺔ ﰲ ﺇﻃﺎﺭ ﻣﺸﺎﻫﺪﺍﺕ ﺩﻳﻤﻐﺮﺍﻓﻴﺔ‪.‬‬

‫)‪ (١‬ﻣﻘﺪﻣﺔ ﰲ ﻋﻠﻢ ﺍﻟﺴﻜﺎﻥ ﻭﺗﻄﺒﻴﻘﺎﺗﻪ‪ ،‬ﻣﺎﺟﺪ ﻋﺜﲈﻥ‪ ،‬ﻣﻮﻗﻊ ﻭﺍﻱ ﺑﺎﻙ ﻣﺸﲔ‪.‬‬

‫‪٢٠‬‬

;È›]m’\;g]e’\ <Ì◊uÜ÷]<hÅ_<≈]Áfi_<Ó◊¬<ÌÈ√Ò]ÖÉ<l^â]ÖÅ <Üë^√⁄<ÍÒ]ÊÖ<Ö^õc<ª

Üvf÷]<l¯uÖ<hÅ_ DÍiÁfl÷]E<HDòÈe_<Ü€Œ<—Öá_<ÜùE<V^jË]ÊÖ <Ö^vf÷]<‡äu<ÍŒ]Ü√÷]<gi^”◊÷ fl ^qÉÁ¥_ ⁄

‫_‪<Üë^√⁄<ÍÒ]ÊÖ<Ö^õc<ª<Ì◊uÜ÷]<hÅ‬‬ ‫‪^qÉÁ¥_<DÖ^vf÷]<‡äuE<ÍŒ]Ü√÷]<ÍÒ]ÊÜ◊÷<DòÈe_<Ü€Œ<—Öá_<ÜùE<ÌË]ÊÖ‬‬ ‫‪⁄‬‬

‫‪ÍȨ<4f¬<JÅ<ÌËÖÁä÷]<ÏÇŒ^fl◊÷<≈^Şœjâ˜]<ÌÈ÷be<ÌÈ√Ò]ÖÉ<Ìâ]ÖÅ‬‬

‫‪⁄‬‬ ‫_‪V^fl∆cÊ<Ì⁄flÇœ⁄<V˜Ê‬‬ ‫ﻗﺪﹼ ﻡ ﺍﻟﻜﺎﺗﺐ ﻋﻤﻠﻪ ﺍﻷﺩﰊ ﻋﲆ ﺃﻧﻪ ﺃﺩﺏ ﺭﺣﻼﺕ ﻭﻫﺬﺍ ﺻﺤﻴﺢ‪ ،‬ﻓﺄﺩﺏ ﺍﻟﺮﺣﻠﺔ‬

‫ﻫﻮ ﺍﻷﺩﺏ ﺍﻟﺬﻱ ﻳﻜﺘﺐ ﻓﻴﻪ ﺍﻹﻧﺴﺎﻥ ﻋﻦ ﺍﻟﺒﻠﺪﺍﻥ ﺍﻟﺘﻲ ﺯﺍﺭﻫﺎ‪ ،‬ﻭﳍﺬﺍ ﺍﻷﺩﺏ ﺳﻤﺔ ﻋﻠﻤﻴﺔ‬ ‫ﺍﺟﺘﲈﻋﻴﺔ ﺟﻐﺮﺍﻓﻴﺔ ﺃﻛﺜﺮ ﳑﺎ ﻫﻲ ﺃﺩﺑﻴﺔ‪ ،‬ﻛﺄﻥ ﻳﺬﻛﺮ ﺍﻟﻜﺎﺗﺐ ﺍﻟﻨﻈﺎﻡ ﺍﻟﺴﻴﺎﳼ ﻭﺍﻻﻗﺘﺼﺎﺩﻱ‬

‫ﺍﻟﺴﺎﺋﺪ ﰲ ﺗﻠﻚ ﺍﻟﺒﻠﺪﺍﻥ ﺃﻭ ﺍﳌﺪﻥ‪ ،‬ﻳﺼﻒ ﺍﻷﺑﻨﻴﺔ ﻭﺍﻟﻔﻦ ﺍﳌﻌﲈﺭﻱ ﻭﺍﻟﺸﻮﺍﺭﻉ ﻭﺍﳌﻌﺎﱂ‬ ‫ﺍﻷﺛﺮﻳﺔ ﺍﻟﺸﻬﲑﺓ ﻓﻴﻬﺎ‪ ،‬ﺛﻘﺎﻓﺔ ﺃﻫﻠﻬﺎ‪ ،‬ﺗﺮﺍﺛﻬﻢ‪ ،‬ﻋﺎﺩﺍﲥﻢ ﻭﺗﻘﺎﻟﻴﺪﻫﻢ ﺍﻻﺟﺘﲈﻋﻴﺔ‪ ،‬ﻣﺮﺍﺳﻢ‬

‫ﺍﻷﻋﻴﺎﺩ ﻭﺍﻻﺣﺘﻔﺎﻻﺕ ﻋﻨﺪﻫﻢ‪ ،‬ﺍﻷﺩﻳﺎﻥ ﻭﺍﳌﻌﺘﻘﺪﺍﺕ ﺍﳌﺨﺘﻠﻔﺔ‪ ،‬ﺍﻟﺘﻌﺎﻳﺶ ﺑﲔ ﺍﻟﴩﺍﺋﺢ‬ ‫ﺍﳌﺨﺘﻠﻔﺔ ﰲ ﺫﻟﻚ ﺍﳌﺠﺘﻤﻊ‪ ،‬ﺟﻐﺮﺍﻓﻴﺔ ﺫﻟﻚ ﺍﻟﺒﻠﺪ‪ ،‬ﻭﺗﺎﺭﳜﻪ‪ ،‬ﺛﺮﻭﺍﺗﻪ‪ ،‬ﻣﻨﺘﺠﺎﺗﻪ‪ ،‬ﻭﺃﺷﻬﺮ‬

‫ﺷﺨﺼﻴﺎﺗﻪ‪ ،‬ﻳﺘﺤﺪﹼ ﺙ ﹰ‬ ‫ﺍﳌﺸﻮﻗﺔ ﺍﻟﺘﻲ ﺣﺼﻠﺖ ﻣﻌﻪ ﺃﺛﻨﺎﺀ‬ ‫ﺃﻳﻀﺎ ﻋﻦ ﺍﻷﺣﺪﺍﺙ ﻭﺍﳌﻐﺎﻣﺮﺍﺕ‬ ‫ﹼ‬ ‫ﺍﻟﺮﺣﻠﺔ‪.‬‬ ‫ﻧﺨﺘﺎﺭ ﺃﺣﺪ ﺍﳌﻘﺎﻃﻊ ﺍﻟﺘﻲ ﲢﺪﹼ ﺙ ﻓﻴﻬﺎ ﺍﻟﻜﺎﺗﺐ ﻋﻦ ﺫﻟﻚ‪:‬‬ ‫»ﻭﺻﻠﺖ ﺑﻨﺎ ﺍﻟﺴﻔﻴﻨﺔ ﻣﻴﻨﺎﺀ ﻛﻮﳌﺒﻮ ﺃﻛﱪ ﻣﺪﻥ ﴎﻱ ﻻﻧﻜﺎ ﺍﳌﺰﺩﺣﻢ ﺑﺎﻟﻨﺎﺱ‪ ،‬ﻣﺪﻳﻨﺔ‬

‫ﻟﻴﻌﺰ ﲠﺎ ﺃﻫﻠﻬﺎ ﺍﳌﺨﺘﻠﻔﲔ ﰲ ﺍﻷﺩﻳﺎﻥ‬ ‫ﲨﻴﻠﺔ ﺭﺳﻤﻬﺎ ﺍﳋﺎﻟﻖ ﻋﲆ ﻇﻬﺮ ﻛﻮﻛﺐ ﺍﻷﺭﺽ‪ ،‬ﹼ‬

‫ﻭﺍﳌﻌﺘﻘﺪﺍﺕ‪ ،‬ﻣﺘﺤﺎﺑﲔ ﻳﻌﻤﻠﻮﻥ ﻛﻴﺪ ﻭﺍﺣﺪﺓ‪ ،‬ﻻ ﺗﺸﻮﺏ ﺣﻴﺎﲥﻢ ﺷﺎﺋﺒﺔ ﺍﻻﺧﺘﻼﻑ‬

‫ﺍﻹﺛﻨﻲ ﺃﻭ ﺍﻟﻄﺎﺋﻔﻲ ﺃﻭ ﻏﲑﳘﺎ‪ ،‬ﺃﻧﺎﺱ ﺭﺿﻮﺍ ﺑﻌﻴﺸﻬﻢ ﻭﺭﺿﻴﺖ ﲠﻢ ﺍﻟﺪﻧﻴﺎ ﺛﻢ ﻭﺳﻌﺖ‬ ‫ﳍﻢ ﻣﻦ ﺻﺪﺭﻫﺎ‪ ،‬ﻟﻴﻨﻌﻤﻮﺍ ﺑﺎﻗﺘﺼﺎﺩ ﺑﺎﻫﺮ ﻧﺘﻴﺠﺔ ﻣﻮﻗﻌﻬﺎ ﺍﳉﻐﺮﺍﰲ ﺍﳌﻬﻢ ﺑﻮﺟﻮﺩﻫﺎ ﺷﺒﻪ‬

‫ﺟﺰﻳﺮﺓ ﻳﻔﺼﻠﻬﺎ ﻋﻦ ﺍﻟﻘﺎﺭﺓ ﺍﳍﻨﺪﻳﺔ ﻣﻦ ﺍﻟﺸﲈﻝ ﺍﻣﺘﺪﺍ ﹰﺩ ﺍ ﺧﻠﻴﺞ ﻣﺎﻧﺎﺭ‪ ،‬ﻭﻣﻦ ﺍﳉﻨﻮﺏ ﺍﳌﻄﻞ‬ ‫ﹰ‬ ‫ﻋﲆ ﺍﳌﺤﻴﻂ ﺍﳍﻨﺪﻱ ﺍﳌﺤﻔﻮﻑ ﺑﺎﻟﺒﺤﺮ ﺍﻟﻌﺮﰊ‬ ‫ﺷﲈﻻ ‪ ،‬ﲢﻴﻄﻬﺎ ﺍﻟﻐﺎﺑﺎﺕ ﻭﺍﳉﺒﺎﻝ ﺍﻟﺴﻮﺩﺍﺀ‬

‫ﺍﳌﻨﺘﺼﺒﺔ ﻓﻮﻕ ﺃﺭﺽ ﺧﺼﺒﺔ ﺍﺷﺘﻬﺮﺕ ﰲ ﺇﻧﺘﺎﺝ ﺍﻟﺒﻦ ﻭﺍﻟﺸﺎﻱ ﻭﺍﳌﻄﺎﻁ ﻭﺍﳌﻼﺑﺲ‬ ‫ﻭﺍﻷﺣﺠﺎﺭ ﺍﻟﻜﺮﻳﻤﺔ«‪.‬‬

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‫ﻭﻟﻜﻦ ﺍﻟﺮﻭﺍﻳﺔ ﺍﻟﺘﻲ ﺑﲔ ﺃﻳﺪﻳﻨﺎ ﺍﳌﻌﻨﻮﻧﺔ ﺑـ )ﺑﺤﺮﺃﺯﺭﻕ ‪ -‬ﻗﻤﺮ ﺃﺑﻴﺾ( ﻟﻸﺩﻳﺐ ﺍﻟﻌﺮﺍﻗﻲ‬ ‫ﺣﺴﻦ ﺍﻟﺒﺤﺎﺭ ﹸﻛﺘﺒﺖ ﺑﺸﻜﻞ ﻣﻌﺎﴏ‪ ،‬ﺑﺤﻴﺚ ﲣ ﹼﻠﻠﻬﺎ ﺃﺳﻠﻮﺏ ﺃﺩﰊ ﹴ‬ ‫ﺭﺍﻕ ﺟﺪ‪ h‬ﺍ ﻳﺴﻤﻰ ﺃﺳﻠﻮﺏ‬ ‫ﺍﳋﻄﻒ‪ ،‬ﻭﻓﻴﻪ ﺍﺳﺘﻄﺎﻉ ﺍﻟﻜﺎﺗﺐ ﺇﺫﺍﺑﺔ ﺍﻟﺴﻤﺔ ﺍﻟﻌﻠﻤﻴﺔ ﻟﻠﻤﻌﻠﻮﻣﺎﺕ )ﺍﻹﺧﺒﺎﺭﻳﺔ( ﺑﺎﻟﺴﻤﺔ ﺍﻷﺩﺑﻴﺔ‬

‫ﺍﳉﲈﻟﻴﺔ‪،‬‬ ‫ﻭﺍﻟﴪ ﰲ ﺫﻟﻚ ﺃﻥ ﺍﻟﻜﺎﺗﺐ ﺍﺳﺘﺨﺪﻡ ﺗﻘﻨﻴﺎﺕ ﺍﻟﺸﻜﻞ ﺍﳌﻌﺎﴏ ﻟﻠﺮﻭﺍﻳﺔ ﺑﺪﻣﺞ ﺍﳌﺪﺍﺭﺱ‬ ‫ﹼ‬

‫ﺍﻷﺩﺑﻴﺔ ﻟﺮﺳﻢ ﺍﻟﺼﻮﺭﺓ ﺑﺎﻟﻜﻠﲈﺕ‪.‬‬

‫ﻭﺑﺈﺧﻀﺎﻉ ﺭﻭﺍﻳﺔ )ﺑﺤﺮ ﺃﺯﺭﻕ ‪ -‬ﻗﻤﺮ ﺃﺑﻴﺾ( ﳋﺼﺎﺋﺺ ﺍﻟﺮﻭﺍﻳﺔ ﺍﳌﻌﺎﴏﺓ ﺳﻨﺠﺪ ﺃﳖﺎ‬ ‫ﹰ‬ ‫ﺳﻠﻮﻛﺎ‬ ‫ﺭﻭﺍﻳﺔ ﻣﻌﺎﴏﺓ ﺑﺎﻣﺘﻴﺎﺯ‪ ،‬ﻓﺎﻟﻜﺎﺗﺐ ﺳﻠﻚ‬ ‫ﻣﻌﺎﴏﺍ ﺑﺄﻧﻪ ﻛﺘﺐ ﺃﺩﺏ ﺍﻟﺮﺣﻠﺔ ﺑﺮﺣﻠﺔ ﻗﺎﻡ‬ ‫ﹰ‬

‫ﲠﺎ ﹰ‬ ‫ﻓﻌﻼ‪ ،‬ﻓﺄﺿﺤﺖ ﺭﻭﺍﻳﺘﻪ ﻣﺰﺩﻭﺟﺔ ﺍﳌﻮﺿﻮﻉ‪ ،‬ﺍﳌﻮﺿﻮﻉ ﺍﻷﻭﻝ‪ :‬ﻣﻌﺎﳉﺔ ﺣﺎﻟﺘﻪ ﺍﻟﺮﻭﻣﺎﻧﺴﻴﺔ‬ ‫ﻭﻣﻮﻗﻔﻪ ﻣﻦ ﺍﳉﻨﺲ ﻭﺍﳊﺐ ﻭﻣﻴﻠﻪ ﻟﻠﻮﺣﺪﺓ ﻭﺍﻟﻘﻠﻖ‪ ،‬ﻭﺍﳌﻮﺿﻮﻉ ﺍﻟﺜﺎﲏ‪ :‬ﺷﻐﻔﻪ ﺑﺎﳉﲈﻝ ﺍﳌﻮﻗﻌﻲ‬

‫ﻟﻠﻄﺒﻴﻌﺔ ﺍﳌﻨﺘﴩﺓ ﰲ ﺍﳌﻌﻤﻮﺭﺓ‪ ،‬ﻭﺍﻟﺘﻲ ﺟﺎﺀﺕ ﻣﻦ ﻋﺸﻘﻪ ﻟﻠﺒﺤﺮ ﺍﻟﺬﻱ ﻳﺸﻐﻞ ‪ ٥/٤‬ﺍﳌﻌﻤﻮﺭﺓ‪.‬‬

‫‪VhÅ˘]<ºÒ^u<Ó◊¬<Â4⁄^ä⁄Ê<gi^”÷]<Ï4â‬‬ ‫ﺣﺴﻦ ﺍﻟﺒﺤﺎﺭ‪ ،‬ﺭﻭﺍﺋﻲ ﻭﺷﺎﻋﺮ ﻋﺮﺍﻗﻲ‪ ،‬ﻋﻀﻮ ﺍﻻﲢﺎﺩ ﺍﻟﻌﺎﻡ ﻟﻸﺩﺑﺎﺀ ﻭﺍﻟﻜﺘﺎﺏ ﰲ‬

‫ﺑﺤﺎﺭ‪.‬‬ ‫ﺍﻟﻌﺮﺍﻕ‪ ،‬ﺧﺮﻳﺞ ﻣﻦ ﺃﻛﺎﺩﻳﻤﻴﺔ ﺍﳋﻠﻴﺞ ﺍﻟﻌﺮﰊ ﻟﻠﺪﺭﺍﺳﺎﺕ ﺍﻟﺒﺤﺮﻳﺔ‪ ،‬ﺍﳌﻬﻨﺔ ﹼ‬

‫‪<VhÅ˘]<ºÒ^u<Ó◊¬<4⁄^ä⁄‬‬ ‫ )ﺍﻟﺪﺭﺩﺑﻴﺲ( ﳎﻤﻮﻋﺔ ﻗﺼﺼﻴﺔ ﺻﺪﺭﺕ ﻋﺎﻡ ‪٢٠١١‬ﻡ‪.‬‬‫ ﺭﻭﺍﻳﺔ )ﺑﺤﺮ ﺃﺯﺭﻕ ‪ -‬ﻗﻤﺮ ﺃﺑﻴﺾ( ﻧﺎﻝ ﻋﻨﻬﺎ ﺟﺎﺋﺰﺓ ﺃﺩﺏ ﺍﻟﺮﺣﻼﺕ ﻋﺎﻡ ‪٢٠١٣‬ﻡ‪.‬‬‫ ﺭﻭﺍﻳﺔ )ﻣﺮﺍﻡ( ﺻﺪﺭﺕ ﻋﺎﻡ ‪٢٠١٤‬ﻡ‪.‬‬‫ ﺭﻭﺍﻳﺔ )ﺍﻟﻨﻮﰐ( ﺻﺪﺭﺕ ﻋﺎﻡ ‪٢٠١٧‬ﻡ‪.‬‬‫‪-‬‬

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‫)ﺍﻟﺮﻳﺢ ﹸﺗﱰﻙ ﻓﻮﻕ ﺍﻟﻄﺎﻭﻟﺔ( ﳎﻤﻮﻋﺔ ﻗﺼﺼﻴﺔ ﺻﺪﺭﺕ ‪٢٠١٧‬ﻡ‪.‬‬

‫‪Í√Ò]ÖÑ÷]<ÿÈ◊vj÷]<l^ËÁjä⁄‬‬ ‫‪⁄‬‬ ‫_‪Í÷^€¢]<Ífi^ä◊÷]<Ê<ÎÜíf÷]<ÔÁjäπ]<V˜Ê‬‬ ‫‪Linguistic Level<and<External‬‬

‫ﻳﻀﻢ ﻫﺬﺍ ﺍﳌﺴﺘﻮ￯ ﻣﺪﺍﺧﻞ ﺍﳉﻮﺍﻧﺐ ﺍﻟﻌﻴﻨﻴﺔ ﻭﺍﳌﻨﻈﻮﺭﺓ ﰲ ﺍﻟﻨﺺ‪ ،‬ﻓﺎﻟﺸﻜﻞ ﰲ ﺍﻟﻨﺺ‬ ‫ﹼ‬

‫ﺍﻟﻌﺮﰊ ﰲ ﺳﺒﺎﻕ ﻣﺴﺘﻤﺮ ﻣﻊ ﺍﳌﻀﻤﻮﻥ ﻣﻦ ﻧﺎﺣﻴﺔ ﲨﺎﻟﻴﺔ ﻭﻫﻮ ﺃﺣﺪ ﺳﲈﺕ ﺍﻟﻠﻐﺔ ﺍﻟﻌﺮﺑﻴﺔ ﺍﻟﺘﻲ‬ ‫ﻣﺮﺓ ﰲ ﺍﻟﺸﻜﻞ ﻭﺃﺧﺮ￯ ﰲ ﺍﳌﻀﻤﻮﻥ‪ ،‬ﻭﺃﺣﻴﺎ ﹰﻧﺎ‬ ‫ﺗﺘﻤﻴﺰ ﲠﺎ ﻋﲆ ﺍﻟﻠﻐﺎﺕ ﺍﻷﺧﺮ￯‪ ،‬ﻗﺪ ﻧﺠﺪ ﹼ‬ ‫ﹼ‬ ‫ﺍﻟﺘﻔﻮﻕ ﹼ‬ ‫ﻳﺘﻮﺍﺯ￯ ﺍﻻﺛﻨﺎﻥ ﺑﺎﳉﲈﻟﻴﺎﺕ ﺍﳌﻨﻈﻮﺭﺓ‪ ،‬ﻭﻳﱪﺯ ﻫﺬﺍ ﺍﻟﺸﺄﻥ ﰲ ﺍﳌﺪﺍﺧﻞ ﺍﻟﺘﺎﻟﻴﺔ‪:‬‬

‫‪VExternal Trend<ÎÜíf÷]<ÿ}Çπ]<IM‬‬ ‫ﻣﻘﺴﻢ ﻋﲆ ﺃﺭﺑﻌﺔ ﻋﴩ ﹰ‬ ‫ﻓﺼﻼ ﻏﲑ ﻣﺘﺴﺎﻭﻳﺔ ﰲ ﻣﺴﺎﺣﺎﲥﺎ‪ ،‬ﺑﻌﻀﻬﺎ ﻳﺘﺠﺎﻭﺯ ﺍﻟﻌﴩ‬ ‫ﻣﺆﻟﻒ ﹼ‬

‫ﺻﻔﺤﺎﺕ‪ ،‬ﻭﺁﺧﺮ ﻻ ﺗﺘﺠﺎﻭﺯ ﺍﻟﺼﻔﺤﺔ ﻣﺜﻞ ﻓﺼﻞ )ﳊﻈﺔ ﺗﺄﻣﻞ(‪ ،‬ﺃﻣﺎ ﺍﻟﻔﺼﻞ ﺍﻷﺧﲑ )ﻗﺎﺩﻡ‬

‫ﺍﻷﻳﺎﻡ( ﻓﻜﺎﻥ ﺃﺭﺑﻌﺔ ﺃﺳﻄﺮ ﻓﻘﻂ! ﻋﻨﺎﻭﻳﻦ ﺍﻟﻔﺼﻮﻝ ﺗﻮﺯﻋﺖ ﺑﲔ ﺩﻻﻻﺕ ﺷﻌﻮﺭﻳﺔ )ﺭﺍﺋﺤﺔ‬ ‫ﺍﻟﺮﻏﺒﺔ‪ ،‬ﺭﻏﺒﺎﺕ ﻣﻜﺒﻮﺗﺔ‪ ،‬ﻣﺴﺎﻓﺎﺕ ﺍﻟﺼﻤﺖ‪ ،‬ﺯﲪﺔ ﺍﻷﻓﻜﺎﺭ(‪ ،‬ﻭﻻ ﺷﻌﻮﺭﻳﺔ )ﳊﻈﺔ ﺗﺄﻣﻞ‪،‬‬ ‫ﻧﻌﺎﺱ ﺍﻟﻠﻴﻞ ﺍﳌﻌﺘﻖ(‪ ،‬ﻣﻜﺎﻧﻴﺔ )ﺩﻭﻣﺎﻱ‪ ،‬ﻧﺴﻴﻮﺱ‪ ،‬ﻗﺮﻳﺔ ﺳﺎﺗﺮﻥ(‪ ،‬ﺯﻣﺎﻧﻴﺔ )ﺍﻟﺴﺎﻋﺔ ﺍﳋﺎﻣﺴﺔ‪،‬‬ ‫ﺍﻟﻴﻮﻡ ﺍﻷﻭﻝ(‪ ،‬ﺣﺪﺙ )ﺍﻟﻌﺎﺻﻔﺔ(‪ ،‬ﻳﺘﺼﺪﹼ ﺭﻫﺎ )ﺭﻳﺘﺎ( ﺍﺳﻢ ﺍﻟﺸﺨﺼﻴﺔ ﺍﻟﺘﻲ ﺃﺣﺒﻬﺎ ﺍﻟﺴﺎﺭﺩ‪.‬‬

‫ﺑﺤﺎﺭ ﳚﻮﺏ ﺍﻟﺒﺤﺎﺭ ﻋﲆ ﻣﺘﻦ ﺳﻔﻴﻨﺔ‪ ،‬ﻭﻗﻊ ﰲ ﺣﺐ‬ ‫ﺃ ﹼﻣﺎ ﻣﻮﺿﻮﻉ ﺍﻟﺮﻭﺍﻳﺔ‪ :‬ﻓﻬﻮ ﻗﺼﺔ ﹼ‬

‫ﺍﻣﺮﺃﺓ ﺃﻧﺪﻭﻧﻴﺴﻴﺔ ﺗﺪﻳﻦ ﺑﺎﻟﺒﻮﺫﻳﺔ‪ ،‬ﺗﻘﻴﻢ ﰲ ﺑﻴﺌﺔ ﺧﻄﺮﺓ‪ ،‬ﺃﻛﱪ ﺳ ‪h‬ﻨﺎ ﻣﻨﻪ‪ ،‬ﳍﺎ ﻃﻔﻞ ﻭﺃﻡ ﻋﺠﻮﺯ‪،‬‬ ‫ﻭﻋﺪﻫﺎ ﺑﺎﻟﺰﻭﺍﺝ ﺑﻌﺪ ﺃﻥ ﺗﺴﻠﻢ‪ ،‬ﻭﺍﺳﺘﺄﻧﻒ ﺭﺣﻠﺘﻪ ﺑﻐﺎﻳﺔ ﺃﻥ ﳚﻤﻊ ﺍﳌﺎﻝ ﻟﻴﻌﻮﺩ ﻭﻳﺘﺰﻭﺝ ﻣﻨﻬﺎ‬

‫ﻭﻳﺸﱰﻱ ﳍﺎ ﺑﻴﺖ‪ ،‬ﻳﺼﺎﺩﻑ ﰲ ﺭﺣﻠﺘﻪ ﺍﻟﻜﺜﲑ ﻣﻦ ﺍﳌﻐﺮﻳﺎﺕ ﻟﻜﻨﻪ ﻻ ﳜﻮﻥ ﺣﺒﻴﺒﺘﻪ‪ ،‬ﺑﻌﺪ ﻋﺎﻡ ﻳﻌﻮﺩ‬ ‫ﺇﱃ ﺃﻧﺪﻭﻧﻴﺴﻴﺎ ﻟﻴﻠﺘﻘﻲ ﺣﻠﻤﻪ‪.‬‬

‫ﻭﺃ ﹼﻣﺎ ﺍﻟﺘﻘﻨﻴﺎﺕ ﺍﻟﴪﺩﻳﺔ‪:‬‬ ‫ ﻟﻮ ﻧﻈﺮﻧﺎ ﰲ ﺻﻔﺤﺎﺕ ﺍﻟﺮﻭﺍﻳﺔ ﻣﻦ ﺃﻭﻝ ﺳﻄﺮ ﻓﻴﻬﺎ ﻭﺣﺘﻰ ﺁﺧﺮ ﺳﻄﺮ ﻓﻴﻬﺎ‪ ،‬ﻧﺮ￯ ﺍﻟﻜﺎﺗﺐ‬‫ﺗﻔﻮﻕ‬ ‫ﲨﺎﻟﻴﺎ ﰲ ﺃﺳﻠﻮﺏ ﺍﳋﻄﻒ ﺍﻟﴪﺩﻱ‪ ،‬ﲨﻞ ﻗﺼﲑﺓ ﺧﺎﻃﻔﺔ ﻣﻨﻔﺼﻠﺔ ﳏﺼﻮﺭﺓ‬ ‫ﻗﺪ ﹼ‬ ‫‪h‬‬

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‫ﺑﲔ ﻓﻮﺍﺭﺯ ﴎﺩﻳﺔ ﻭﻟﻴﺲ ﻓﻮﺍﺭﺯ ﻟﻐﻮﻳﺔ؛ ﻭﺫﻟﻚ ﻻﺳﺘﺨﺪﺍﻣﻪ ﺍﳉﻤﻞ ﺍﻟﻘﺼﲑﺓ ﺍﳌﺪﺭﻭﺳﺔ‬

‫ﻳﻜﻤﻢ ﺃﻓﻮﺍﻩ ﺍﳉﻤﻞ ﺍﻹﺧﺒﺎﺭﻳﺔ ﺑﺤﴩﻫﺎ ﺑﲔ‬ ‫ﺑﺪﺭﺟﺔ ﺍﻧﺰﻳﺎﺡ ﻋﺎﻟﻴﺔ‪ ،‬ﺑﺤﻴﺚ ﺍﺳﺘﻄﺎﻉ ﺃﻥ ﹼ‬ ‫ﺍﳉﻤﻞ ﺍﻻﻧﺰﻳﺎﺣﻴﺔ‪ ،‬ﻭﻫﺬﻩ ﺣﺎﻟﺔ ﺟﺪﻳﺪﺓ ﻣﻌﺎﴏﺓ ﺍﺳﺘﺨﺪﻣﻬﺎ ﺍﻟﻜﺎﺗﺐ ﻛﺘﻜﻨﻴﻚ ﺍﻣﺘﺎﺯ ﺑﻪ‪.‬‬

‫ﻣﺘﻜﴪ ﺍﳌﻼﻣﺢ‪،‬‬ ‫»ﻻ ﺃﻋﺮﻑ ﻣﻌﻨﻰ ﺍﳌﻐﺎﺯﻟﺔ ﻭﺍﳊﺐ‪h ،‬‬ ‫ﺻﺒﻴﺎ ﻛﻨﺖ ﰲ ﺍﳊﺎﺩﻳﺔ ﻋﴩﺓ‪ ،‬ﻣﻨﻈﺮﻩ ﹼ‬ ‫ﺧﺎﺋ ﹰﻔﺎ‪ ،‬ﻣﻠﺘﺼ ﹰﻘﺎ ﺑﺎﳊﺎﺋﻂ ﳚﺎﻫﺪ ﻛﻲ ﳛﺎﻓﻆ ﻋﲆ ﺍﻟﺜﺒﺎﺕ ﻭﺳﺤﺐ ﺍﻟﻨﻔﺲ‪ ،‬ﺧﻔﻘﺎﺕ ﻗﻠﺒﻲ ﻗﻮﻳﺔ‪،‬‬

‫ﺗﺮﺗﻔﻊ ﻭﺗﴬﺏ ﺃﺻﺪﺍﺅﻫﺎ ﺃﺫﲏ‪ ،‬ﻣﻦ ﺍﺑﻨﺔ ﺟﲑﺍﻥ ﻟﻌﻮﺏ‪ ،‬ﻳﺪﻫﺎ ﻛﻴﺪ ﺍﻟﺸﻴﻄﺎﻥ‪ ،‬ﺗﻨﺪﺱ ﲢﺖ‬ ‫ﺃﺷﻢ ﻓﻴﻬﺎ ﻓﺴ ﹰﻘﺎ ﻭﺧﻮ ﹰﻓﺎ‪ ،‬ﻳﻠﻔﻬﲈ ﺻﻤﺖ ﻋﻤﻴﻖ‪،‬‬ ‫ﻗﻤﻴﴢ ﺇﱃ ﺻﺪﺭﻱ ‪ ...‬ﺗﻠﺜﻢ ﻭﺟﻬﻲ ﺑﺸﻔﺎﻩ ﹼ‬ ‫ﺃﺭﻳﺪ ﻣﻨﻬﺎ ﺍﻻﺑﺘﻌﺎﺩ‪.«...‬‬

‫‪⁄‬‬ ‫_ <‪I‬‬ ‫]‪ <HhÁ◊â˘^e<ÌÈeÅ˘]<åÖ]Çπ]<I<ÄÖ^ë<ÎÜíe<ÿ”éeÊ<I<^ñË_<gi^”÷]<›Ç~jâ‬ﻣﺎ‬ ‫ﺟﻌﻠﻪ ﺃﺳﻠﻮ ﹰﺑﺎ ﺻﻌ ﹰﺒﺎ؛ ﻷﻧﻪ ﳛﻤﻞ ﺧﻠﻄﺔ ﻓﻨﻴﺔ ﲨﺎﻟﻴﺔ ﺭﺍﻗﻴﺔ ﺃﺭﺩﻳ ﹸﺘﻬﺎ ﹲ‬ ‫ﲨﺎﻝ ﻟﻐﻮﻱ ﻭﲨﺎﻝ ﻋﻠﻤﻲ‪،‬‬ ‫ﻭﺳﻨﺘﻨﺎﻭﻝ ﺍﳉﲈﻝ ﺍﻟﻠﻐﻮﻱ ﰲ ﺍﳌﺴﺘﻮ￯ ﺍﻟﻠﺴﺎﲏ؛ ﻷﻧﻪ ﻳﺘﺤﺪﹼ ﺙ ﻋﻦ ﻋﻠﻤﻲ ﺍﻟﺒﻴﺎﻥ ﻭﺍﻟﺒﺪﻳﻊ‪ .‬ﺃﻣﺎ‬ ‫ﺍﳉﲈﻝ ﺍﻟﻌﻠﻤﻲ ﻭﻫﻮ ﺧﻠﻴﻂ ﻏﲑ ﻣﺘﺠﺎﻧﺲ ﻣﻦ ﻣﺪﺍﺭﺱ ﺃﺩﺑﻴﺔ ﻣﻌﺎﴏﺓ ﻭﻫﻲ )ﺍﻟﻮﺍﻗﻌﻴﺔ‪ ،‬ﺍﻟﺮﻣﺰﻳﺔ‪،‬‬ ‫ﺍﻟﴪﻳﺎﻟﻴﺔ‪ ،‬ﺍﻟﱪﻧﺎﺳﺔ‪ ،‬ﺍﻟﻔﻦ ﻟﻠﻤﺠﺘﻤﻊ‪ ،‬ﺍﻟﺮﻭﻣﺎﻧﺴﻴﺔ‪ ،‬ﺍﻟﻄﺒﻴﻌﻴﺔ( ﻟﺘﻜﻮﻳﻦ ﺍﻟﺼﻮﺭ ﺑﺎﻟﻜﻠﲈﺕ؛ ﻷﻥ‬ ‫ﺍﻷﺩﺏ ﺍﳌﻌﺎﴏ ﻧﻮﻉ ﻣﻦ ﺃﻧﻮﺍﻉ ﺍﻟﻔﻦ‪ ،‬ﺃﺫﻛﺮ ﺷﻮﺍﻫﺪ ﻋﻠﻴﻬﺎ ﻣﺴﺘﻌﺮﺿ ﹰﺔ ﺑﻌﺾ ﺍﻟﺼﻮﺭ ﺍﳌﺮﺳﻮﻣﺔ‬ ‫ﺑﻌﻠﻢ ﺍﳉﲈﻝ ﻣﻦ ﺍﻟﺮﻭﺍﻳﺔ‪:‬‬

‫ ﺍﳊﻴﺎﺓ ﲣﻄﺮ ﺑﺒﺎﱄ ﻣﺜﻞ ﻭﻣﻀﺔ‪ ،‬ﻭ ﺃﻋﺰﻑ ﺍﻟﺪﻣﻊ ﻣﺜﻞ ﺭﺟﻞ ﻣﺘﻌﺐ ﻧﺎﻡ ﰲ ﺣﻀﻦ ﺃﺭﻧﺐ‪.‬‬‫ ﺭﻣﺘﻨﻲ ﺍﻟﺴﺎﻋﺎﺕ ﺣﺘﻰ ﺻﺎﺭﺕ ﺍﻷﻳﺎﻡ ﰲ ﻭﺣﺪﰐ ﻛﻔﻮ ﹰﻓﺎ ﺗﺪﻓﻌﻨﻲ ﻟﻠﻬﺬﻳﺎﻥ ﻭﺍﳍﺬﺭ‪.‬‬‫‬‫ﺷﻌﺮﺍ‪ ،‬ﻛﺎﻥ ﻳﺮﺗﻘﻲ ﺇﱃ ﻣﺮﺗﺒﺔ ﺍﻷﺩﺏ ﺍﻟﺮﻓﻴﻊ ﰲ ﺍﻟﻐﺰﻝ‪.‬‬ ‫ﻏﺮﺩ ﻗﻠﺒﻲ ﹰ‬ ‫ﹼ‬

‫ﳌﻠﻤﺖ ﺷﻔﺘﻲ ﻭﺭﲨﺖ ﺍﻟﺒﺤﺮ ﺑﻘﺒﻼﺕ ﻛﺎﻧﺖ ﻧﺪ ﹼﻳﺔ ﻭﺗﺮﻛﺖ ﺍﻟﻌﻤﻼﻕ ﻭﺷﺄﻧﻪ‪.‬‬ ‫‬‫ﹸ‬

‫ ﰲ ﻏﺮﻓﺘﻲ ﻭﺣﺪﻱ ﺃﺳﻤﻊ ﻣﻌﺰﻭﻓﺔ ﺍﳊﺰﻥ ﻣﺘﻜﺌﹰﺎ ﻋﲆ ﺿﻴﺎﻋﻲ ﺧﺎﺋ ﹰﻔﺎ ﻣﻦ ﺍﻟﻴﺄﺱ ﺍﻟﺬﻱ‬‫ﺃﺣﺎﻃﻨﻲ‪.‬‬

‫ ﻓﻤﻲ ﺑﻄﻌﻤﻪ ﺍﻟﻐﺮﻳﺐ ﻳﻤﺘﺪﹼ ﻓﻮﻕ ﺍﳌﺪﹼ ﺍﳊﺰﻳﻦ ﺗﺮﺳﻤﻪ ﺍﻟﺮﻣﺎﻝ ﺑﻼ ﳖﺎﻳﺔ ﻭﻻ ﺑﺪﺍﻳﺔ‪.‬‬‫ﴎﻳﻌﺎ‪.‬‬ ‫ ﺑﻴﻨﲈ ﺍﳉﺴﺪ ﺍﻟﻈﺎﺯﺝ ﺫﻭ ﺍﻟﻮﺟﻪ ﺍﳌﺘﺄﱂ ﺗﻐﺴﻠﻪ ﺍﻟﻠﺤﻈﺎﺕ ﻳﻌﺪﻭ‬‫ﹰ‬

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‫ﺍﺗﻜﺄ ﺍﻟﻜﺎﺗﺐ ﺑﺄﻃﺮﺍﻓﻪ ﺍﻟﻌﻠﻴﺎ ﻭﺍﻟﺴﻔﲆ ﻋﲆ ﺗﻘﻨﻴﺎﺕ ﻣﻌﺎﴏﺓ ﺭﺍﻗﻴﺔ ﺟﺪﹼ ﺍ‪ ،‬ﺻﻌﺪﺕ‬

‫ﺑﺄﺳﻠﻮﺑﻪ ﻧﺤﻮ ﴎﻗﺔ ﺍﻟﺴﲈﺀ‪ ،‬ﻭﻫﻲ‪:‬‬

‫‪VDialogue<ÌÈqÖ^§]<l]Ö]Á£] I< h‬‬ ‫ﺍﻟﻘﺼﲑﺓ ﺍﳌﺪﺭﻭﺳﺔ ﺍﳌﻘﺘﻀﺒﺔ‪ ،‬ﺍﻋﺘﻤﺪ ﻋﲆ ﺍﻟﴪﺩ ﺃﻛﺜﺮ ﻣﻦ ﺍﳊﻮﺍﺭﺍﺕ‪ ،‬ﻭﺟﻌﻞ ﺍﳊﻮﺍﺭﺍﺕ‬

‫ﻣﻔﺎﺗﻴﺢ ﻟﻔﺘﺢ ﺍﻷﺣﺪﺍﺙ‪.‬‬

‫ ﻣﺎ ﺭﺃﻱ ﺩﻳﺎﻧﺘﻜﻢ ﺑﻤﻦ ﳜﺮﺝ ﻋﻨﻬﺎ ﻭﻳﺪﺧﻞ ﺍﻹﺳﻼﻡ؟‬‫ﺃﺟﺎﺏ ﺑﻄﺮﻳﻘﺔ ﻣﻬﺬﺑﺔ‪:‬‬ ‫ ﻟﺴﻌﺎﺩﺓ ﺍﻷﺟﻴﺎﻝ ﺍﻟﻘﺎﺩﻣﺔ ﳚﺐ ﺍﻟﻌﻤﻞ ﺿﻤﻦ ﺣﺪﻭﺩ ﺍﻟﻌﻘﻞ ﻻ ﺍﻟﺮﻏﺒﺔ‪.‬‬‫ ﻣﺎﺫﺍ ﺗﻘﺼﺪ؟‬‫ﻳﻘﺮﺭ‪.‬‬ ‫ ﻧﱰﻙ ﻫﺬﺍ ﺍﻷﻣﺮ ﻟﻜﻞ ﻓﺮﺩ‪ ،‬ﳊﻈﺘﻬﺎ ﻫﻮ ﺍﻟﺬﻱ ﹼ‬‫‪VStream of consciousness<ͬÁ÷]<Ö^Èi<Ê_<ÌÈ◊}]Ç÷]<l]Ö]Á£] I< t‬‬ ‫ﻳﺄﰐ ﲠﺎ ﺍﻟﻜﺎﺗﺐ ﻛ ﹼﻠﲈ ﺍﺷﺘﺪﹼ ﺍﻟﴫﺍﻉ ﰲ ﻧﻔﺲ ﺍﻟﺴﺎﺭﺩ ﺍﻟﺬﻱ ﻫﻮ ﺍﻟﺒﻄﻞ‪ ،‬ﻭﺍﺣﺘﺎﺝ ﺇﱃ‬

‫ﻭﺗﻄﻮﺭﻩ‪ ،‬ﻭﺍﻟﺮﻭﺍﻳﺔ ﺍﳌﻌﺎﴏﺓ ﺑﺎﻷﺳﺎﺱ ﻫﻲ ﺭﻭﺍﻳﺔ‬ ‫ﺍﻟﻜﺸﻒ ﻋﻦ ﺩﻭﺍﺧﻠﻪ‪ ،‬ﺑﲈ ﳜﺪﻡ ﺳﲑ ﺍﳊﺪﺙ‬ ‫ﹼ‬ ‫ﻧﻔﺴﻴﺔ ﺑﺎﻟﺪﺭﺟﺔ ﺍﻷﻭﱃ‪:‬‬

‫»‪ ...‬ﺃﺭ ﹼﺩﺩ ﺍﻟﺼﺪ￯ ﺍﻟﺬﻱ ﺟﺎﻝ ﰲ ﺻﺪﺭﻱ‪ :‬ﻫﻞ ﺧﴪﺕ ﺍﳉﻮﻟﺔ؟‪ ،‬ﻣﺮﺓ ﺃﺧﺮ￯ ﺗﻌﺒﺖ‬

‫ﻋﺼﻴﺎ ﻋﲆ ﻗﻠﺒﻲ ﺃﻥ ﻳﺄﰐ ﺑﺠﻮﺍﺏ‪.«...‬‬ ‫ﻣﻦ ﳍﺎﺙ ﻫﺬﺍ ﺍﻟﺴﺆﺍﻝ ﺍﻟﺬﻱ ﺑﺎﺕ‬ ‫‪h‬‬ ‫‪Vflashback<ÌÈÀ◊§]<ÌËÑ«j÷] I< Å‬‬

‫ﻣﺜﺎﺭﺓ ﺑﻌﺘﺒﺔ ﻭﺍﻗﻌﻴﺔ‪ ،‬ﺣﺪﺙ ﺃﻭ ﻣﺸﻬﺪ ﳏ ﹼﻔﺰ ﻳﺄﺧﺬ ﺍﻟﺴﺎﺭﺩ ﺇﱃ ﺍﻟﺬﻛﺮﻳﺎﺕ‪:‬‬ ‫»ﻳﺎﻩ! ﺃﻧﺎ ﰲ ﺳﻨﻐﺎﻓﻮﺭﺓ ﻭﻻ ﺭﻏﺒﺔ ﱄ ﰲ ﻣﻼﻣﺴﺔ ﺍﻷﺭﺽ! ﻭﺇﺫﺍ ﰲ ﺍﻟﺘﻔﻜﲑ ﻃﻔﻘﺖ‬

‫ﹰ‬ ‫ﻣﺴﺘﻌﺮﺿﺎ ﺣﻴﺎﰐ ﺍﳌﺎﺿﻴﺔ‪ ،‬ﺑﺪﺍ ﻣﻨﻬﺎ ﻻ ﳾﺀ ﻟﺪﻱ ﺃﺧﴪﻩ ﻏﲑ ﺫﻛﺮ￯ ﻳﻮﻡ ﻧﺴﻴﺘﻪ ﻣﻨﺬ ﺃﻣﺪ‬

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‫ﻣﺮﻣﻴﺎ ﻋﲆ ﺻﺪﺭ ﻋﻤﺘﻲ‬ ‫ﺑﻌﻴﺪ ﻋﺎﻭﺩﲏ ﻓﺠﺄﺓ ﺫﻛﺮ￯ ﻇﻬﲑﺓ ﻳﻮﻡ ﺑﺎﺭﺩ ﻣﻦ ﺃﻳﺎﻡ ﺍﻟﺸﺘﺎﺀ‪ ،‬ﻛﻨﺖ ﻓﻴﻪ ‪h‬‬

‫ﺍﻟﺘﻲ ﻋﻠﻤﺘﻨﻲ ﻛﻴﻒ ﺃﻭﺍﺟﻪ ﺍﳊﻴﺎﺓ‪ ،‬ﻳﺴﺘﻬﻠﻜﻨﻲ ﺍﻟﺮﻋﺐ ﻣﻦ ﺍﻟﺸﻌﻮﺭ ﺑﺎﻹﻫﺎﻧﺔ؛ ﻷﻧﻨﻲ ﺳﻤﺤﺖ‬ ‫ﹰ‬ ‫ﺭﺣﻴﲈ ﻭﻳﻤﻜﻦ ﺍﻻﻋﺘﲈﺩ ﻋﻠﻴﻪ‪ ،‬ﺛﻢ‬ ‫ﻭﻣﺮﺓ ﺃﺧﺮ￯ ﺑﺪﺍ ﻓﺮﺍﻗﻬﺎ‬ ‫ﲤﺮ ﰲ ﻃﺒﻘﺎﺕ ﺍﻟﻨﺴﻴﺎﻥ‪ ،‬ﹼ‬ ‫ﻟﻠﺤﺎﺩﺛﺔ ﺃﻥ ﹼ‬

‫ﻭﺻﺒﺎ ﹰ‬ ‫ﻟﻘﺪ ﻓﻬﻤﺖ ﺃﻥ ﺍﳊﺰﻥ ﻭﺍﻟﻘﺪﺭ ﻗﺪ ﻫﺒﻄﺎ ﻣﻦ ﺍﻷﻋﲆ‬ ‫ﻧﺰﻭﻻ ﻋﲆ ﺭﺃﳼ‪ ،‬ﻛﻲ ﺃﻧﻀﺞ ﲠﺬﻩ‬ ‫ﹼ‬

‫ﺍﳊﻴﺎﺓ‪.«...‬‬

‫ﻭﻫﺬﻩ ﺍﻟﺘﻘﻨﻴﺎﺕ ﺗﺘﻴﺢ ﻟﻠﻜﺎﺗﺐ ﺣﺮﻳﺔ ﺍﻹﻃﺎﺣﺔ ﺑﺎﻟﺒﻨﺎﺀ ﺍﻟﻔﻨﻲ ﺍﻟﻜﻼﺳﻴﻜﻲ ﻟﻠﺮﻭﻱ‪ ،‬ﻛﲈ‬

‫ﺗﺘﻴﺢ ﻟﻪ ﺃﻥ ﺗﻜﻮﻥ ﺭﻭﺍﻳﺘﻪ ﻋﺪﻳﻤﺔ ﺍﳊﺒﻜﺔ‪ ،‬ﻭﻋﺪﻳﻤﺔ ﺍﻟﻨﻬﺎﻳﺔ ﺃﻭ ﺑﻨﻬﺎﻳﺔ ﻗﻠﻘﺔ ﻏﲑ ﻣﻘﺮﻭﺭﺓ‪ ،‬ﺃﻭ ﺑﻨﻬﺎﻳﺔ‬

‫ﻣﻔﱰﺿﺔ‪.‬‬

‫»ﻻ ﺃﻋﺮﻑ ﺑﺎﻟﻀﺒﻂ ﹺﳌﻦ ﰲ ﻗﺎﺩﻡ ﺍﻷﻳﺎﻡ ﺳﺄﺷﲑ؟‬ ‫ﺃﻟﻌﻴﻨﻲ ﺍﻟﻠﺘﲔ ﺳﺘﺤﻮﻣﺎﻥ ﺣﻮﻝ ﺑﻄﻦ ﺭﻳﺘﺎ ﰲ ﲪﻠﻬﺎ؟‬ ‫ﹼ‬ ‫ﺃﻡ ﻟﻘﻠﺒﻲ ﺍﻟﺬﻱ ﺳﻴﻤﺪﹼ ﻳﺪﻳﻪ ﺷﻮ ﹰﻗﺎ ﺇﱃ ﺃﻫﲇ؟‬ ‫ﻻ ﳞﻢ ﻻ ﳞﻢ‪ ،‬ﺳﺄﺗﺮﻙ ﻫﺬﺍ ﺇﱃ ﻗﺎﺩﻡ ﺍﻷﻳﺎﻡ‪ ،‬ﻓﺎﻟﻄﺎﺋﺮﺓ ﻫﺒﻄﺖ‪ ،‬ﻭﻗﺪ ﹼ‬ ‫ﺧﻄﺖ ﻋﺠﻼﲥﺎ ﻋﲆ‬

‫ﺃﺭﺽ ﺩﻭﻣﺎﻱ«‪.‬‬

‫‪VLinguistic Trend<Ífi^ä◊÷]<ÿ}Çπ]<IN‬‬ ‫ﺣﺼﺔ ﻛﺒﲑﺓ ﺃﺷﺒﻌﺖ ﺭﻏﺒﺎﺕ ﺍﻟﻜﺎﺗﺐ ﺣﺪﹼ ﺍﻟﺘﺨﻤﺔ ﻣﻦ ﺍﻟﻐﺬﺍﺀ‬ ‫ﺃﺧﺬﺕ ﻫﺬﻩ ﺍﻟﺮﻭﺍﻳﺔ ﹼ‬ ‫ﻏﺺ ﻫﺬﺍ ﺍﻟﻨﺺ ﺍﻟﺮﻭﺍﺋﻲ ﺑﺎﻟﺼﻮﺭ ﺍﻟﺒﻼﻏﻴﺔ ﺍﻟﺘﻲ ﱂ ﻳﻜﻦ ﻳﻘﻄﻌﻬﺎ ﹼﺇﻻ ﺣﻮﺍﺭ‬ ‫ﺍﻟﺒﻼﻏﻲ‪ ،‬ﺑﺤﻴﺚ ﹼ‬ ‫ﻣﻘﺘﻀﺐ‪ ،‬ﺃﻭ ﴎﺩ ﺇﺧﺒﺎﺭﻱ ﻃﻔﻴﻒ‪ ،‬ﹸﺃﺭﺟﻊ ﺫﻟﻚ ﺇﱃ ﳐﺰﻭﻥ ﺍﻷﺩﻳﺐ ﺍﻟﻠﻐﻮﻱ ﻭﺍﻟﺒﻼﻏﻲ‬ ‫ﺍﻟﻜﺒﲑ‪ ،‬ﺇﺿﺎﻓﺔ ﺇﱃ ﺍﺳﺘﺨﺪﺍﻣﻪ ﺗﻘﻨﻴﺎﺕ ﺍﻟﺮﻭﺍﻳﺔ ﺍﳌﻌﺎﴏﺓ ﺍﻟﺘﻲ ﺗﺘﺰ ﹼﻳﻦ ﺑﺎﻟﺼﻮﺭ ﺍﳉﲈﻟﻴﺔ ﺍﳌﺮﺳﻮﻣﺔ‬

‫ﺑﺎﻟﻜﻠﲈﺕ‪ ،‬ﺍﺧﺘﺎﺭ ﹰ‬ ‫ﺑﻌﻀﺎ ﻣﻨﻬﺎ ﻣﺘﻨﻮﻋﺔ ﺑﲔ ﺍﻻﺳﺘﻌﺎﺭﺍﺕ ﻭﺍﻟﺘﺸﺎﺑﻴﻪ ﻭﺍﻟﻜﻨﺎﻳﺎﺕ‪:‬‬ ‫ ﱂ ﺗﱰﻙ ﱄ ﻓﺮﺻﺔ ﻛﻲ ﺃﺑﴫ‪ ،‬ﺃﺷﺒﻪ ﺑﺎﻟﱪﻕ ﻣﻀﺖ‪ .‬ﺗﺸﺒﻴﻪ‪.‬‬‫‪ -‬ﻛﻜﺄﺱ ﻳﺎﻗﻮﰐ ﻓﻤﻬﺎ ﺍﳌﻔﺘﻮﺡ ﻳﻀﺤﻚ‪ .‬ﺗﺸﺒﻴﻪ‪.‬‬

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‫ ﺟﺴﺪﻱ ﺍﻟﻄﺎﺯﺝ ﻣﺜﻞ ﺍﳌﻮﺝ ﻳﻮﺍﺟﻪ ﺍﻟﺼﺨﻮﺭ ﻣﻨﺘﺼ ﹰﺒﺎ‪ ،‬ﻳﺮﺗﻄﻢ ﺑﺠﻨﻮﻥ ﻓﻴﺘﻨﺎﺛﺮ ﻣﻨﻪ ﺭﺫﺍﺫ‬‫ﺍﻷﻣﻨﻴﺎﺕ‪ .‬ﺗﺸﺒﻴﻪ‪.‬‬

‫ ﺍﳉﺴﺪ ﻳﻄﲑ ﳏﻠ ‪h‬ﻘﺎ ﻓﻮﻕ ﺍﻷﺭﺽ ﻳﻼﻣﺴﻪ ﺍﳍﻮﺍﺀ ﻣﻼﻣﺴﺔ ﺍﻟﺮﻭﺡ ﻟﻔﺘﺤﺎﺕ ﺍﻟﻨﺎﻱ‪.‬‬‫‪-‬‬

‫ﻗﻤﺘﻪ ﺿﺎﺣﻜﺔ‪ ،‬ﺍﻧﺸ ﹼﻘﺖ ﺿﻮﺿﺎﺀ‬ ‫ﻫﻨﺎﻙ ﺭﻳﺢ ﻋﺒﺜﺖ ﰲ ﺍﳌﻮﺝ‪ ،‬ﺗﺴ ﹼﻠﻘﺖ ﺳﻔﺤﻪ ﺣﺘﻰ ﹼ‬

‫ﺻﻤﺘﻲ ﺑﻀﺤﻜﺎﲥﺎ‪ .‬ﺍﺳﺘﻌﺎﺭﺓ ﻭﺗﺸﺒﻴﻪ‪.‬‬

‫ ﻭﺑﻠﻌﺖ ﺃﳖﺎﺭ ﺍﳌﻮﺟﺔ ﻭﺟﻪ ﺳﻔﻴﻨﺘﻲ ﻣﺜﻞ ﺍﳋﺎﺋﻦ ﺍﳍﺎﺭﺏ‪ .‬ﺍﺳﺘﻌﺎﺭﺓ ﻭﺗﺸﺒﻴﻪ‪.‬‬‫ ﺭﻳﺘﺎ ﻣﻴﻨﺎﺋﻲ ﺍﳌﻨﺸﻮﺩ ﺍﻟﺬﻱ ﺃﻧﺰﻉ ﻓﻴﻪ ﺟﻠﺪ ﺍﻟﺘﻌﺐ ﺍﳌﺘﻮﺍﱄ ﻭﺍﻟﺴﻔﺮ ﺍﳌﺘﻼﺣﻖ‪ ،‬ﺃﻟﺒﺲ ﻋﻨﺪﻫﺎ‬‫ﺟﻠﺪ ﺍﻟﺮﺍﺣﺔ ﻭﺍﻻﻧﺴﺠﺎﻡ ﰲ ﺣﺐ ﱂ ﺃﻗﺮﺃ ﻋﻨﻪ ﺣﺘﻰ ﰲ ﻗﺼﺺ ﺍﻟﻌﺸﻖ ﺍﻟﴩﻗﻴﺔ‪ .‬ﻛﻨﺎﻳﺔ‪.‬‬

‫ ﺗﻨﻘﻠﻨﻲ ﻋﻴﻨﺎﻫﺎ ﺇﱃ ﺣﻴﺚ ﺍﳌﺮﺍﻓﺊ ﺍﻟﻜﻮﻧﻴﺔ‪ .‬ﺍﺳﺘﻌﺎﺭﺓ‪.‬‬‫ ﻋﲆ ﺧﺎﺭﻃﺔ ﺟﺴﺪﻱ ﺍﻟﺬﻱ ﱂ ﺗﺰﻫﺮ ﻓﻴﻪ ﺑﻌﺪ ﺇﻻ ﻗﺒﻠﺔ ﻭﺍﺣﺪﺓ ﺭﺃﻳﺖ ﺍﻟﻌﺠﺐ! ﺍﺳﺘﻌﺎﺭﺓ‪.‬‬‫ ﺍﻟﻀﻮﺀ ﺍﻟﺬﻱ ﻳﺄﰐ ﻃﻌﻨﹰﺎ‪ ،‬ﻭﺍﻷﻣﻄﺎﺭ‬‫ﺃﺟﺮﺍﺳﺎ‪ ،‬ﺍﻟﻮﺍﺣﺪﺓ ﺗﻠﻮ ﺍﻷﺧﺮ￯ ﺃﺻﻮﺍﲥﺎ ﺗﺘﻌﺎﱃ ﰲ‬ ‫ﹰ‬ ‫ﺭﺃﳼ‪ .‬ﺗﺸﺒﻴﻪ ﺑﻠﻴﻎ‪.‬‬

‫ﺃﺗﺮﺟﻞ ﺍﻷﻳﺎﻡ‪ ،‬ﺃﺗﺄ ﹼﺑﻂ ﺍﻷﺣﻼﻡ‪ ،‬ﺳﺤﺎﺑﺔ ﻧﻌﺎﺱ ﺃﻋﺰﻑ ﻛﻤﻨﺠﺎﺕ ﺩﻣﻲ‪.‬‬ ‫ ﻋﺎﺑﺮ ﺍﻟﺰﻗﺎﻕ ﹼ‬‫ﺍﺳﺘﻌﺎﺭﺓ‪.‬‬ ‫ ﺃﻏﻠﻘﺖ ﻧﺎﻓﺬﺓ ﺍﻟﺸﻤﺲ ﻭﻓﺘﺤﺖ ﺃﺧﺮ￯‪ .‬ﻛﻨﺎﻳﺔ‪.‬‬‫ﻛﲈ ﺍﺳﺘﺨﺪﻡ ﺍﻟﺒﻴﺎﻥ ﻣﻮﺭ ﹰﺩﺍ ﺍﻟﻜﺜﲑ ﻣﻦ ﺍﻟﻄﺒﺎﻕ ﻭﺍﻟﱰﺍﺩﻑ ﻭﺍﳉﻨﺎﺱ‬ ‫ﺍﻟﱰﺍﺩﻑ‪:‬‬ ‫ ﻣﺘﻨﺎﺳﻖ ‪ -‬ﺭﺷﻴﻖ‪.‬‬‫ ﺭﺍﺋﻌﺔ – ﻓﺎﺗﻨﺔ‪.‬‬‫‪ -‬ﻟﺬﻳﺬﺓ – ﺷﻬﻴﺔ‪.‬‬

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‫ ﺃﻧﺎﻗﺔ – ﻟﺒﺎﻗﺔ‪.‬‬‫ﺗﻜﺮﺍﺭﺍ‪.‬‬ ‫ﻣﺮﺍﺭﺍ –‬ ‫‬‫ﹰ‬ ‫ﹰ‬ ‫ ﻏﻀﻮ ﹰﺑﺎ – ﹰ‬‫ﺭﺍﻓﻀﺎ‪.‬‬ ‫ ﺗﺮﻋﺪ‪ -‬ﺗﱪﻕ‪.‬‬‫ﻃﺒﺎﻕ‪:‬‬ ‫ ﺍﻟﻘﺮﻳﺐ ‪ #‬ﺍﻟﺒﻌﻴﺪ‪.‬‬‫ ﺗﻐﻤﺾ ﻋﻴﻨﹰﺎ ‪ #‬ﺗﻔﺘﺢ ﺃﺧﺮ￯‪.‬‬‫ ﺍﻟﻴﻤﻨﻰ ‪ #‬ﺍﻟﻴﴪ￯‪.‬‬‫ ﺃﻏﻠﻘﺖ ‪ #‬ﻓﺘﺤﺖ‪.‬‬‫ﺍﳉﻨﺎﺱ‪:‬‬ ‫ ﺍﻟﺮﻫﺒﺔ – ﺍﻟﺮﻏﺒﺔ‪.‬‬‫ ﺍﻟﺘﺪﺭﻳﺐ ‪ -‬ﺍﻟﺘﺪﺭﻳﺲ‪.‬‬‫‪Moral Level<ÍŒ¯}˘]<ÔÁjäπ]<V^È⁄ fi^m‬‬

‫‪VDstatic coreE<ìfl◊÷<Ìje^n÷]<ÌÈâ^â˘]<ÏÖˆf÷]<IM‬‬ ‫ﺗﺘﺴﻴﺪﻫﺎ ﺍﻟﺮﻭﻣﺎﻧﺴﻴﺔ‬ ‫ﺍﻣﺘﺎﺯ ﺍﻟﻜﺎﺗﺐ ﺑﺄﺳﻠﻮﺏ ﺍﳋﻄﻒ‪ ،‬ﻭﺍﺭﺗﻜﺰ ﻋﲆ ﺇﺳﱰﺍﺗﻴﺠﻴﺔ ﲨﺎﻟﻴﺔ ﹼ‬

‫ﲑﺍ ﺑﺎﺳﺘﺨﺪﺍﻡ ﺍﳌﺪﺍﺭﺱ ﺍﻷﺩﺑﻴﺔ ﺍﳌﻌﺎﴏﺓ ﺍﻷﺧﺮ￯ ﻭﻫﻲ‬ ‫ﺗﻔﻮﻕ ﻛﺜ ﹰ‬ ‫ﺑﺸﻜﻞ ﺃﺷﻤﻞ‪ ،‬ﻣﻊ ﺃﻧﻪ ﹼ‬ ‫ﺍﻟﻮﺍﻗﻌﻴﺔ ﻭﺍﻟﺮﻣﺰﻳﺔ ﻭﺍﻟﱪﻧﺎﺳﻴﺔ )ﺍﻟﻔﻦ ﻟﻠﻔﻦ( ﻭﺍﻟﻔﻦ ﻟﻠﻤﺠﺘﻤﻊ‪ ،‬ﻭﺍﻟﻄﺒﻴﻌﻴﺔ‪ ،‬ﻛﲈ ﺃﻧﻪ ﺍﻣﺘﺎﺯ ﺑﺈﺑﺮﺍﺯ‬ ‫ﺇﺳﱰﺍﺗﻴﺠﻴﺔ ﺭﺍﻗﻴﺔ ﻣﻦ ﺩﻣﺞ ﺗﻠﻚ ﺍﳌﺪﺍﺭﺱ‪ ،‬ﻭﻫﻲ ﺃﻧﻪ ﻳﻜﺒﺲ ﺍﳉﻤﻞ ﺍﻹﺧﺒﺎﺭﻳﺔ ﺑﲔ ﺍﳉﻤﻞ‬

‫ﺇﺧﺒﺎﺭﺍ‬ ‫ﻣﺼﻮ ﹰﺭﺍ‪ ،‬ﻭﻟﻴﺲ‬ ‫ﻧﻮﺍﺡ ﲨﺎﻟﻴﺔ ﺟﺪﻳﺮﺓ ﺑﺎﻟﺬﻛﺮ‪ ،‬ﺟﻌﻞ ﺍﻹﺧﺒﺎﺭ‬ ‫ﺍﻻﻧﺰﻳﺎﺣﻴﺔ‪ ،‬ﻭﻫﺬﺍ ﺃﻓﺮﺯ ﹴ‬ ‫ﹰ‬ ‫ﹼ‬ ‫ﹰ‬ ‫ﻣﺒﺎﴍﺍ ﻭﻫﺬﺍ ﻗﺎﺩﻩ ﺇﱃ ﻋﴫﻧﺔ ﺍﻟﺮﻭﺍﻳﺔ‪.‬‬

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‫ﻣﻼﺣﻈﺔ‪ :‬ﻟﻴﺲ ﻣﻦ ﺍﳌﺴﺘﺤﺴﻦ ﺃﻥ ﻳﻜﻮﻥ ﺃﺳﻠﻮﺏ ﺍﻟﺮﻭﺍﻳﺔ ﺍﻟﴪﺩﻳﺔ‬ ‫ﺍﻧﺰﻳﺎﺣﺎ ﺭﻣﺰ ‪h‬ﻳﺎ‬ ‫ﹰ‬ ‫ﺧﻴﺎﻟﻴﺎ ﹰ‬ ‫ﹰ‬ ‫ﻛﺎﻣﻼ‪ ،‬ﻭﻻ‬ ‫ﻛﺎﻣﻼ‪ ،‬ﺑﻞ ﻳﺘﺨ ﹼﻠﻠﻪ ﺃﺳﻠﻮﺏ ﺇﺧﺒﺎﺭﻱ ﻳﻔﺘﺢ ﺍﻟﻨﺺ ﻭﻳﺒﻌﺪﻩ ﻋﻦ ﺍﳋﺼﻮﺻﻴﺔ‬ ‫‪h‬‬ ‫ﻧﺤﻮ ﻋﻤﻮﻣﻴﺔ ﺍﻟﺘﻠﻘﻲ‪ ،‬ﻭﺫﻟﻚ ﻃﺒ ﹰﻘﺎ ﳌﻌﺎﻳﲑ ﺍﻟﻨﺺ ﺍﻷﺩﰊ )ﺍﳌﻘﺒﻮﻟﻴﺔ ﻭﺍﻹﺧﺒﺎﺭﻳﺔ(‪ ،‬ﻭﺍﻟﻜﺎﺗﺐ‬ ‫ﻧﺎﻭﺏ ﺑﲔ ﺍﻷﺳﻠﻮﺑﲔ ﰲ ﺻﻔﺤﺎﺕ ﺍﻟﺮﻭﺍﻳﺔ‪.‬‬

‫‪VTheme or Moral Background<Ì€Èn÷]<Ê_<ìfl◊÷<ÌÈŒ¯}˘]<ÌÈÀ◊§]<IN‬‬ ‫ﺍﺳﺘﻄﺎﻉ ﺍﻟﻜﺎﺗﺐ ﺃﻥ ﻳﺴﺘﺨﺪﻡ ﺍﳌﺤﺎﻳﺪﺓ ﺑﻄﺎﺑﻊ ﺇﻧﺴﺎﲏ ﻏﲑ ﻣﺴﺒﻮﻕ‪ ،‬ﻋﻨﺪﻣﺎ ﻗﴫ ﺭﺣﻠﺘﻪ‬

‫ﺍﻟﺒﺤﺮﻳﺔ ﻋﲆ ﺍﻷﻣﺎﻛﻦ ﺍﻟﺘﻲ ﻓﻴﻬﺎ ﺗﻌﺎﻳﺶ ﺳﻠﻤﻲ ﺑﲔ ﺃﻓﺮﺍﺩ ﺷﻌﻮﲠﺎ ﻋﲆ ﺍﺧﺘﻼﻑ ﺃﺟﻨﺎﺳﻬﻢ‬ ‫ﻭﺃﺩﻳﺎﳖﻢ ﺑﺸﻜﻞ ﻣﻘﺼﻮﺩ‬ ‫ﺇﻧﺴﺎﻧﻴﺎ‪ ،‬ﻭﺗﻜ ﹼﻠﻢ ﻋﻨﻬﻢ ﺑﺎﳋﲑ ﻭﺑﺼﻮﺭﺓ ﻋﴫﻳﺔ‪ ،‬ﺗﻜ ﹼﻠﻢ ﻋﻦ ﺍﻟﻮﻓﺎﻕ‬ ‫‪h‬‬

‫ﹼ‬ ‫ﻳﺘﺨﻄﻰ ﺍﻷﻗﻄﺎﺭ ﺍﻟﺘﻲ ﻓﻴﻬﺎ‬ ‫ﺍﻹﻧﺴﺎﲏ ﺑﻴﻨﻬﻢ‪ ،‬ﻓﻜﺎﻧﺖ ﺭﻭﺍﻳﺘﻪ ﺫﺍﺕ ﺛﻴﻤﺔ ﺇﻧﺴﺎﻧﻴﺔ‪ ،‬ﻛﲈ ﻗﺼﺪ ﺃﻥ‬ ‫ﻣﺮ ﲠﺎ‪ ،‬ﻣﺜﻞ ﺑﻠﺪﺍﻥ ﺍﻟﻮﻃﻦ ﺍﻟﻌﺮﰊ؛‬ ‫ﴏﺍﻋﺎﺕ ﻃﺎﺋﻔﻴﺔ ﺃﻭ ﻋﺮﻗﻴﺔ‪ ،‬ﻓﻠﻢ ﻳﺘﻜ ﹼﻠﻢ ﻋﻨﻬﺎ ﺭﻏﻢ ﺃﻧﻪ ﹼ‬

‫ﻟﻴﺜﺒﺖ ﻟﻨﺎ ﺃﻥ ﺍﻷﺩﺏ ﻻ ﻳﻜﻮﻥ ﺃﺩ ﹰﺑﺎ ﺇﺫﺍ ﱂ ﻳﻜﻦ ﺳﺎﻧﺪﹰ ﺍ ﻟﻈﻬﺮ ﺍﳌﺠﺘﻤﻊ ﺍﻷﺧﻼﻗﻲ‪ ،‬ﻭﺳﺎﻕ ﻟﻨﺎ ﹰ‬ ‫ﺩﻟﻴﻼ‬

‫ﺁﺧﺮ ﻋﲆ ﺫﻟﻚ‪ ،‬ﻫﻮ ﺃﻧﻪ ﺷﺎﺭﻙ ﺇﻧﺴﺎﻧﺔ ﻏﺮﻳﺒﺔ ﺣﻴﺎﺗﻪ‪ ،‬ﻭﲡﺎﻭﺯ ﻛﻞ ﺍﳌﻐﺮﻳﺎﺕ ﻣﻊ ﺳﻮﺍﻫﺎ ﻟﻴﻨﺘﴫ‬ ‫ﻟﻠﺤﺐ ﻭﺍﻟﻮﻓﺎﺀ‪ ،‬ﻭ ﻟﻴﺜﺒﺖ ﻟﻨﺎ ﺗﻌﺎﺿﺪﻩ ﺍﻹﻧﺴﺎﲏ ﺑﺘﺠﺎﻭﺯ ﺣﺎﺟﺰ ﺍﻟﺪﻳﻦ ﺑﻘﺮﺍﺭﻩ ﺍﻟﺰﻭﺍﺝ ﻣﻦ ﺍﻣﺮﺃﺓ‬

‫ﺃﻧﺪﻭﻧﻴﺴﻴﺔ ﺑﻮﺫﻳﺔ ﻭﻫﻮ ﺍﻟﺮﺟﻞ ﺍﻟﻌﺮﺍﻗﻲ ﺍﳌﺴﻠﻢ‪ ،‬ﻛﲈ ﺃﻧﻪ ﱂ ﳜﺮﺝ ﻋﻦ ﴍﻉ ﺩﻳﻨﻪ‪ ،‬ﻓﻘﺪ ﻃﻠﺐ ﻣﻨﻬﺎ‬

‫ﺃﻥ ﺗﺴﻠﻢ‪ ،‬ﹶﻭﻭﻋﺪ ﻗﻮﻣﻪ ﺑﺎﻟﺰﻳﺎﺭﺓ ﻛﻠﲈ ﺳﻨﺤﺖ ﻟﻪ ﺍﻟﻔﺮﺻﺔ‪ ،‬ﻭﻫﺬﺍ ﻫﻮ ﺩﻭﺭ ﺍﻟﺴﺎﻧﺪ ﺍﻷﺧﻼﻗﻲ ﰲ‬

‫ﻋﺮﺍﺏ ﺍﳌﺠﺘﻤﻊ‬ ‫ﻋﺮﺍﺏ ﺍﻷﺩﺏ‪.‬‬ ‫ﺍﻷﺩﺏ؛ ﻟﺬﻟﻚ‬ ‫‪h‬‬ ‫ﺫﺭﺍﺋﻌﻴﺎ‪ ،‬ﻭﺍﻟﻨﻘﺪ ﹼ‬ ‫ﺳﻤﻲ ﺍﻷﺩﺏ ﹼ‬ ‫ﹼ‬

‫]§^≥‪<VÌ‬‬ ‫ﻛﻨﺖ ﻣﻘﺘﻀﺒﺔ ﺟﺪ‪ h‬ﺍ ﺑﺴﺒﺐ ﺿﻴﻖ ﺍﻟﻮﻗﺖ‬ ‫ﻓﻤﺮﺭﺕ ﺑﺸﻜﻞ ﺳﻄﺤﻲ ﻋﲆ ﺃﺳﺎﺳﻴﺎﺕ ﺗﻠﻚ‬ ‫ﹸ‬

‫ﺍﻟﺮﻭﺍﻳﺔ ﺍﻟﺮﺍﺋﻌﺔ؛ ﻷﳖﺎ ﺃﻭﻝ ﺭﻭﺍﻳﺔ ﺃﺟﺪﻫﺎ ﺍﺳﺘﺨﺪﻣﺖ ﺍﻟﻌﴫﻧﺔ ﰲ ﺍﻷﺩﺏ ﺑﺸﻜﻞ ﻓﻨﻲ ﻭﲨﺎﱄ‪،‬‬

‫ﻭﺃﲤﻨﻰ ﺃﻥ ﺃﻛﻮﻥ ﻗﺪ ﻭﻓﻘﺖ ﺑﺪﺭﺍﺳﺘﻬﺎ ﻋﲆ ﻫﺬﺍ ﺍﻷﺳﺎﺱ‪ ،‬ﻣﻌﺘﺬﺭﺓ ﻋﻦ ﺃﻱ ﺗﻘﺼﲑ‪.‬‬

‫‪٣٣‬‬

‫‪N‬‬ ‫‪∞÷ˇ Á„•<ª<ÜÀâ‬‬ ‫‪<ÌqÊÅàπ]<DÖ^vf÷]<‡äuE<ÍiÁfl÷]<Ì◊uÖ‬‬ ‫‪Ì◊uÜ÷]<hÅ_<%]Á¬Ê<l]Ñ÷]<%]Á¬<ª‬‬

‫‪‬‬

‫ﺍﻟﱰﺣﺎﻝ ﰲ ﳎﺎﻫﻞ ﺍﻟﺬﺍﺕ ﻣﻐﺎﻣﺮﺓ ﺷﺠﺎﻋﺔ‪ ،‬ﻗﺪ ﺗﻔﻮﻕ ﺷﺠﺎﻋﺔ ﺍﳌﺤﺎﺭﺏ ﺍﳌﻘﺪﺍﻡ ﰲ‬

‫ﻭﺍﻗﻊ ﺳﺎﺣﺎﺕ ﺍﻟﺴﻔﺮ ﺍﻟﱰﺣﺎﱄ‪ ،‬ﺍﻟﺬﻱ ﳛﺘﺎﺝ ﺷﺠﺎﻋﺔ ﻓﺎﺋﻘﺔ ﻻﻗﺘﺤﺎﻡ ﺍﳌﺠﻬﻮﻝ ﻭﻛﴪ ﺭﻫﺒﺘﻪ‬ ‫ﰲ ﻋﻮﺍﱂ ﺍﻟﻨﻔﺲ ﻭﻋﻮﺍﱂ ﺍﻟﻮﺍﻗﻊ‪ .‬ﻭﺍﻟﺬﺍﺕ‪ ،‬ﺣﺼﻴﻠﺔ ﴏﺍﻉ ﺍﳋﲑ ﻭﺍﻟﴩ ﰲ ﻧﻔﺲ ﺍﳉﺴﺪ‪ ،‬ﲢﺘﺎﺝ‬

‫ﺍﻟﺮﺍﻥ‪،‬‬ ‫ﺇﱃ‬ ‫ﻭﺍﻟﺘﻄﻬﺮ ﻳﺴﺘﺪﻋﻲ ﻛﺸﻒ ﺍﻷﻋﻀﺎﺀ ﺍﳌﺴﺘﻮﺭﺓ ﻹﻣﺮﺍﺭ ﻣﺎﺀ‬ ‫ﹼ‬ ‫ﹼ‬ ‫ﺍﻟﺘﻄﻬﺮ‪ ،‬ﻛﻲ ﻻ ﻳﻜﺴﻮﻫﺎ ﹼ‬ ‫ﹼ‬ ‫ﺗﺘﺸﻜﻞ ﺍﻟﺒﻮﺍﺩﺭ‬ ‫ﻃﻴﺎﲥﺎ ﻭﺛﻨﻴﺎﲥﺎ‪ ،‬ﺧﻼﻝ ﻫﺬﻩ ﺍﻟﻌﻤﻠﻴﺔ‪،‬‬ ‫ﺍﻟﻄﻬﺮ ﻋﻠﻴﻬﺎ‪ ،‬ﹼ‬ ‫ﻭﺗﻠﻤﺴﻬﺎ ﻭﺍﻟﺘﺨﻠﻴﻞ ﺑﲔ ﹼ‬ ‫ﺍﳌﻌﺮﻓﻴﺔ ﻟﻠﺬﺍﺕ‪ ،‬ﻭﻣﻊ ﺗﻜﺮﺍﺭﻫﺎ‪ ،‬ﹼ‬ ‫ﺗﺘﺠﲆ ﺍﻟﺬﺍﺕ ﺑﺠﺮﺃﺓ‪ ،‬ﻟﺘﻌﻠﻦ ﺃﳖﺎ ﺁﻳﺔ ﹼﺑﻴﻨﺔ ﻻ ﹼ‬ ‫ﺗﻘﻞ ﻋﻈﻤﺔ ﻋﻦ‬

‫ﺑﺤﺮﻳﻦ‬ ‫ﺁﻳﺎﺕ ﺍﻟﻜﻮﻥ ﺍﳌﺤﻴﻂ ﺑﺄﺟﺮﺍﻣﻪ ﻭﺃﻏﻮﺍﺭﻩ‪ .‬ﺍﻟﻌﻤﻞ ﺍﻟﺬﻱ ﺑﲔ ﺃﻳﺪﻳﻨﺎ‪ ،‬ﺇﺑﺤﺎﺭ ﻹﻧﺴﺎﻥ ﺑﲔ ﹶ‬ ‫ﻳﺘﲈﻫﻴﺎﻥ ﻭﻻ ﻳﻠﺘﻘﻴﺎﻥ‪ ،‬ﺫﺍﺗﹺﻪ ﺍﻟﻘﺎﺑﻌﺔ ﰲ ﺣﺎﺟﺰ ﺟﺴﺪﻩ‪ ،‬ﻭﻋﺎﳌﹺﻪ ﺍﳌﺎﺋﻲ ﺍﻟﺬﻱ ﻳﻌﻴﺶ ﻓﻮﻗﻪ‪.‬‬

‫‪V^fl∆c‬‬ ‫‪<VÌÈi]Ñ÷]<Ï4ä÷]<ÌË]ÊÖ‬‬ ‫ﻳﻌﺮﻓﻬﺎ ﺑﻌﺾ ﺍﻟﻨﻘﺎﺩ ﻋﲆ ﺃﳖﺎ‪ :‬ﺷﻜﻞ ﻣﻦ ﺃﺷﻜﺎﻝ ﺍﻟﴪﺩ‪ ،‬ﻳﻘﻮﻡ ﺑﻪ ﺷﺨﺺ ﻭﺍﻗﻌﻲ‬ ‫ﹼ‬

‫ﺑﺎﻟﻜﺸﻒ ﻋﻦ ﺳﲑﺓ ﺣﻴﺎﺗﻪ ﻣﻦ ﺧﻼﻝ ﻛﺘﺎﺑﺔ ﺇﺑﺪﺍﻋﻴﺔ ﺗﺪﻭﺭ ﺣﻮﻝ ﺣﻴﺎﺗﻪ ﺍﻟﺬﺍﺗﻴﺔ ﻭﺗﺎﺭﻳﺦ ﺷﺨﺼﻴﺘﻪ‪،‬‬ ‫ﻭﺗﻔﺎﻋﻞ ﻫﺬﻩ ﺍﻟﺸﺨﺼﻴﺔ ﻣﻊ ﺷﺨﺼﻴﺎﺕ ﺃﺧﺮ￯ ﺃﻭ ﻋﻮﺍﻣﻞ ﰲ ﺍﳌﺠﺘﻤﻊ ﺍﻟﺬﻱ ﺗﻌﻴﺶ ﻓﻴﻪ)‪.(١‬‬

‫ﻳﻌﺘﱪ ﺍﻟﺮﻭﺍﺋﻲ ﺍﳌﴫﻱ ﻃﻠﻌﺖ ﺷﺎﻫﲔ ﻣﻦ ﺍﻟﺬﻳﻦ ﺧﺎﺿﻮﺍ ﻏﲈﺭ ﺭﻭﺍﻳﺔ ﺍﻟﺴﲑﺓ ﻣﻦ ﺧﻼﻝ‬ ‫ﺭﻭﺍﻳﺘﻪ )ﺍﻟﱪﺗﻘﺎﻟﺔ ﻭﺍﻟﻌﻘﺮﺏ( ﺣﺎﻭﻝ ﻓﻴﻬﺎ ﻓﻀﺢ ﺍﻟﻮﺍﻗﻊ ﺍﻟﻄﺒﻲ ﻭﺍﻻﺟﺘﲈﻋﻲ ﰲ ﻣﴫ ﻣﻦ ﺧﻼﻝ‬ ‫ﺭﺣﻠﺘﻪ ﻣﻊ ﻣﺮﺽ ﺍﻟﴪﻃﺎﻥ‪.‬‬ ‫)‪ (١‬ﺃﻳﻦ ﻫﻲ ﺍﳊﺪﻭﺩ ﺍﻟﻔﺎﺻﻠﺔ ﺑﲔ ﺍﻟﺮﻭﺍﻳﺔ ﻭﺍﻟﺴﲑﺓ ﺍﻟﺬﺍﺗﻴﺔ‪ ،‬ﻣﻮﻗﻊ ﻋﺮﺏ ‪.٤٨‬‬

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‫ﻣﺘﺨﻴﻠﺔ ﻟﺴﲑﺓ ﺫﺍﺗﻴﺔ )ﻗﺪ ﺗﻜﻮﻥ ﻭﻗﻌﺖ ﹰ‬ ‫ﻭﺭﻭﺍﻳﺔ )ﺍﻟﻨﻮﰐ( ﻗﺪ ﺗﻮﺣﻲ ﺑﺄﳖﺎ ﺭﻭﺍﻳﺔ‬ ‫ﻓﻌﻼ ﻭﱂ‬ ‫ﱠ‬

‫ﺗﻄﻠﻬﺎ ﻳﺪ ﺍﻟﺘﻨﺎﺹ( ﻳﴪﺩﻫﺎ ﺷﺨﺺ ﻭﺍﻗﻌﻲ ﰲ ﺃﺛﻨﺎﺀ ﺭﺣﻠﺘﻪ ﺍﻟﺒﺤﺮﻳﺔ‪ ،‬ﻭﻻ ﺃﺳﺘﻄﻴﻊ ﺃﻥ ﺃﻗﻮﻝ‬

‫ﻳﻘﺮ ﻭﱂ ﻳﻌﻠﻦ ﺫﻟﻚ‪ ،‬ﺭﻏﻢ ﺃﻥ ﺣﺒﻜﺔ ﺍﻟﺮﻭﺍﻳﺔ‬ ‫ﺃﻥ ﺍﻟﺴﺎﺭﺩ ﺣﻘﻴﻘﺔ ﻫﻮ ﺍﻟﻜﺎﺗﺐ‪ ،‬ﻛﻮﻥ ﺍﻟﻜﺎﺗﺐ ﱂ ﹼ‬ ‫ﻛﺒﺤﺎﺭ‪ ،‬ﻭﲡﺮﺑﺘﻪ ﺍﻹﺑﺪﺍﻋﻴﺔ ﻛﻜﺎﺗﺐ‪ ،‬ﺣﻴﺚ ﺫﻛﺮ ﻋﻨﺎﻭﻳﻦ ﻣﺆﻟﻔﺎﺗﻪ‪،‬‬ ‫ﺗﺪﻭﺭ ﺣﻮﻝ ﲡﺮﺑﺘﻪ ﺍﳌﻬﻨﻴﺔ ﹼ‬ ‫ﻭﻇﺮﻭﻑ ﻛﺘﺎﺑﺘﻬﺎ‪ ،‬ﻛﲈ ﺫﻛﺮ ﻣﻘﺘﻄﻔﺎﺕ ﻣﻨﻬﺎ ﻭﻫﺬﺍ ﺍﺑﺘﺰﺍﺯ ﴎﺩﻱ ﺳﺘﻜﺸﻔﻪ ﺍﻟﺬﺭﺍﺋﻌﻴﺔ ﰲ ﺍﳋﻮﺹ‬

‫ﰲ ﳎﻬﻮﻟﻴﺎﺕ ﺫﺍﺕ ﺍﻟﻜﺎﺗﺐ‪.‬‬

‫‪VÌÈÀËÜ√i<Ï4â‬‬ ‫ﺍﻻﺳﻢ‪ :‬ﺣﺴﻦ ﺍﻟﺒﺤﺎﺭ‪.‬‬ ‫ﺑﺤﺎﺭ ‪ -‬ﻗﺎﺹ ﻭﺭﻭﺍﺋﻲ‪.‬‬ ‫ﺍﳌﻬﻨﺔ‪ :‬ﹼ‬

‫‪<VhÅ˘]<ºÒ^u<Ó◊¬<Â4⁄^ä⁄‬‬ ‫‪ G‬ﺍﻟﺪﺭﺩﺑﻴﺲ‪ :‬ﳎﻤﻮﻋﺔ ﻗﺼﺼﻴﺔ‪.‬‬ ‫‪ G‬ﻣﺮﺍﻡ‪ :‬ﺭﻭﺍﻳﺔ‪.‬‬ ‫‪ G‬ﺑﺤﺮ ﺃﺯﺭﻕ‪ ..‬ﻗﻤﺮ ﺃﺑﻴﺾ‪ :‬ﺭﻭﺍﻳﺔ ﺣﺼﺪﺕ ﺟﺎﺋﺰﺓ ﺃﺩﺏ ﺍﻟﺮﺣﻼﺕ ‪٢٠١٣‬ﻡ‪.‬‬ ‫‪ G‬ﺍﻟﺮﻳﺢ ﹸﺗﱰﻙ ﻓﻮﻕ ﺍﻟﻄﺎﻭﻟﺔ‪ :‬ﳎﻤﻮﻋﺔ ﻗﺼﺼﻴﺔ‪.‬‬

‫‪Í√Ò]ÖÑ÷]<ÿÈ◊vj÷]<l^ËÁjä⁄‬‬ ‫‪⁄‬‬ ‫_‪Í÷^€¢]<Ífi^ä◊÷]<Ê<ÎÜíf÷]<ÔÁjäπ] –<˜Ê‬‬ ‫‪Level<External and Linguistic‬‬

‫ﻳﻀﻢ ﻫﺬﺍ ﺍﳌﺴﺘﻮ￯ ﻣﺪﺍﺧﻞ ﺍﳉﻮﺍﻧﺐ ﺍﻟﻌﻴﻨﻴﺔ ﻭﺍﳌﻨﻈﻮﺭﺓ ﰲ ﺍﻟﻨﺺ‪ ،‬ﻓﺎﻟﺸﻜﻞ ﰲ‬ ‫ﹼ‬ ‫ﺍﻟﻨﺺ ﺍﻟﻌﺮﰊ ﰲ ﺳﺒﺎﻕ ﻣﺴﺘﻤﺮ ﻣﻊ ﺍﳌﻀﻤﻮﻥ ﻣﻦ ﻧﺎﺣﻴﺔ ﲨﺎﻟﻴﺔ ﻭﻫﻮ ﺃﺣﺪ ﺳﲈﺕ ﺍﻟﻠﻐﺔ‬

‫ﺗﺘﻤﻴﺰ ﲠﺎ ﻋﲆ ﺍﻟﻠﻐﺎﺕ ﺍﻷﺧﺮ￯‪ ،‬ﻗﺪ ﻧﺠﺪ‬ ‫ﻣﺮﺓ ﰲ ﺍﻟﺸﻜﻞ ﻭﺃﺧﺮ￯ ﰲ‬ ‫ﹼ‬ ‫ﺍﻟﻌﺮﺑﻴﺔ ﺍﻟﺘﻲ ﹼ‬ ‫ﺍﻟﺘﻔﻮﻕ ﹼ‬

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‫ﺍﳌﻀﻤﻮﻥ‪ ،‬ﻭﺃﺣﻴﺎ ﹰﻧﺎ ﻳﺘﻮﺍﺯ￯ ﺍﻻﺛﻨﺎﻥ ﺑﺎﳉﲈﻟﻴﺎﺕ ﺍﳌﻨﻈﻮﺭﺓ)‪ ،(١‬ﻭﻳﱪﺯ ﻫﺬﺍ ﺍﻟﺸﺄﻥ ﰲ ﺍﳌﺪﺍﺧﻞ‬

‫ﺍﻟﺘﺎﻟﻴﺔ‪:‬‬

‫‪VExternal Trend<ÎÜíf÷]<ÿ}Çπ]<IM‬‬ ‫ﻣﻄﺒﻮﻉ ﻭﺭﻗﻲ‪ ،‬ﺑﺎﳊﺠﻢ ﺍﳌﻌﺮﻭﻑ ﻟﻠﺮﻭﺍﻳﺔ ﺍﻟﺘﻲ ﺗﻘﻊ ﰲ ﺣﻮﺍﱄ )‪ (٤١٤‬ﺻﻔﺤﺔ ﺿﻤﻨﹰﺎ‬

‫ﻧﺴﺒﻴﺎ ﰲ ﻋﴫﻧﺎ ﻫﺬﺍ‪.‬‬ ‫ﺍﻟﻔﻬﺮﺳﺖ ﻭ)ﺃﻛﻼﺷﻴﻪ( ﺩﺍﺭ ﺍﻟﻨﴩ‪ .‬ﹰ‬ ‫ﻃﺒﻌﺎ ﹸﺗﻌﺪﱡ ﺭﻭﺍﻳﺔ ﻃﻮﻳﻠﺔ ‪h‬‬

‫ﺍﻟﻐــﻼﻑ ﻛﻌﺘﺒــﺔ ﺑﴫﻳﺔ ﺃﻭﱃ‪ :‬ﺑﺨﻠﻔﻴﺔ ﺳــﻮﺩﺍﺀ ﻭﺍﻟﺼﻮﺭﺓ ﺑﺎﻟﻔﴤ ﻭﺍﻷﺳــﻮﺩ ﻭﺟﻪ‬ ‫ﻣﺘﻐﻀــﻦ ﺍﳉﺒــﲔ‪ ،‬ﹼ‬ ‫ﹼ‬ ‫ﻣﻘﻄــﺐ ﺍﳊﺎﺟﺒــﲔ‪ ،‬ﻣﺘﻬــﺪﹼ ﻝ ﺍﻷﺟﻔــﺎﻥ‪ ،‬ﺃﻧــﻒ ﻛﺒﲑ‪ ،‬ﺷــﻔﺘﺎﻥ‬ ‫ﻟﺮﺟــﻞ‬

‫ﻣﺘﺸــﻘﻘﺘﺎﻥ‪ ،‬ﻳﻌﻠﻮﳘــﺎ ﺷــﺎﺭﺏ ﻣﺘﻮﺳــﻂ ﺍﻟﻜﺜﺎﻓــﺔ‪ ،‬ﻭﺫﻗــﻦ ﺣﻠﻴﻖ‪ ،‬ﹼ‬ ‫ﻛــﻒ ﻳﺪ ﻳﻐﻄــﻲ ﺍﻟﻌﲔ‬ ‫ﺍﻟﻴــﴪ￯ ﻭﺍﳋــﺪ ﺍﻷﻳــﴪ ﲤﺎ ﹰﻣــﺎ‪ ،‬ﺑﻴﻨﲈ ﺍﻟﻌــﲔ ﺍﻟﻴﻤﻨــﻰ ﺗﻨﻈــﺮ ﺑﺘﺤــﺪﱟ ﻭﺇﴏﺍﺭ‪ ،‬ﻭﳾﺀ ﻣﻦ‬

‫ﺍﻟﻐﻀــﺐ‪ ،‬ﻭﺑﺬﻟــﻚ ﻳﺸــﲑ ﺇﱃ ﺍﻟﺘﻨﺎﺻﻒ‪ ،‬ﺍﻟﻨﻮﺭ ﻳــﴤﺀ ﻳﺎﻗﺔ ﻗﻤﻴﺺ ﳐﻄــﻂ )ﻛﺎﺭﻭﻫﺎﺕ(‬ ‫ﺑﺎﻷﺑﻴﺾ ﻭﺍﻷﺳــﻮﺩ‪.‬‬

‫ﺃﻋﲆ ﺍﻟﻐﻼﻑ‪ ،‬ﻭﺑﺎﻟﻮﺳﻂ ﻋﻨﻮﺍﻥ ﺍﻟﻌﻤﻞ ﺑﺎﻟﻠﻮﻥ ﺍﻟﱪﺗﻘﺎﱄ )ﺍﻟﻨﻮﰐ(‪ ،‬ﺇﱃ ﻳﺴﺎﺭﻩ ﺍﺳﻢ‬

‫ﺍﻟﻜﺎﺗﺐ )ﺣﺴﻦ ﺍﻟﺒﺤﺎﺭ( ﺑﺎﻟﻠﻮﻥ ﺍﻷﺑﻴﺾ‪ ،‬ﻳﻤﻴﻨﹰﺎ ﺟﻨﺲ ﺍﻟﻌﻤﻞ )ﺭﻭﺍﻳﺔ ‪ (NOVEL‬ﺑﺎﻟﻠﻮﻥ‬ ‫ﺍﻷﺑﻴﺾ ﺿﻤﻦ ﻣﺴﺘﻄﻴﻞ ﺑﺮﺗﻘﺎﱄ‪.‬‬

‫ﺍﻟﻐﻼﻑ ﺍﳋﻠﻔﻲ‪ :‬ﺍﻟﻌﻨﻮﺍﻥ ﺍﻟﻨﻮﰐ ﻣﻊ ﻣﻠﺨﺺ ﺍﺟﺘﻬﺪ ﺍﻟﻜﺎﺗﺐ ﻓﻴﻪ ﻟﻴﻌﻄﻲ ﺍﳌﺘﻠﻘﻲ ﻓﻜﺮﺓ‬

‫ﻋﻦ ﻣﻮﺿﻮﻉ ﺍﻟﺮﻭﺍﻳﺔ‪ ،‬ﻗﺪ ﻻ ﺃﻭﺍﻓﻘﻪ‪ ،‬ﻟﻜﻦ ﹰ‬ ‫ﻣﺘﻜﺮﺭﺓ‬ ‫ﺃﻳﻀﺎ ﻻ ﺃﻋﺘﱪﻫﺎ ﻧﻘﻴﺼﺔ‪ ،‬ﹼ‬ ‫ﺳﻴﲈ ﻭﺃﲏ ﻭﺟﺪﲥﺎ ﹼ‬

‫ﳜﺼﻪ ﻭﺣﺪﻩ‪ ،‬ﻻ ﺣﻖ ﻟﻠﻨﺎﻗﺪ ﺑﺎﻟﺘﺪﺧﻞ ﻓﻴﻬﺎ؛ ﻷﳖﺎ ﻋﻼﻗﺔ‬ ‫ﰲ ﻣﻌﻈﻢ ﺃﻋﲈﻟﻪ‪ ،‬ﻓﺎﻋﺘﱪﲥﺎ ﺗﻜﻨﻴﻚ ﹼ‬ ‫ﺧﺎﺻﺔ ﺑﲔ ﺍﻟﻜﺎﺗﺐ ﻭﻣﻦ ﻳﻘﺮﺃ ﻟﻪ‪.‬‬

‫ﺍﳊﺮﺗﺎﻥ ﻟﻠﻐﻼﻑ ﺍﻷﻣﺎﻣﻲ ﻭﺍﳋﻠﻔﻲ ﳑﺘﺪﺗﺎﻥ ﺧﺎﺭﺝ ﺣﺪﻭﺩ ﺍﻟﻜﺘﺎﺏ‪،‬‬ ‫ﻭﻣﺜﻨﻴﺘﺎﻥ‬ ‫ﹼ‬ ‫ﺍﻟﻨﻬﺎﻳﺘﺎﻥ ﹼ‬ ‫ﺇﱃ ﺍﻟﺪﺍﺧﻞ‪ ،‬ﹸﻛﺘﺐ ﻋﲆ ﺍﻷﻭﱃ ﺁﺭﺍﺀ ﻧﻘﺪﻳﺔ ﻣﻘﺘﻀﺒﺔ ﻟﺒﻌﺾ ﺍﻟﻨﻘﺎﺩ ﻣﻦ ﺍﳌﻐﺮﺏ ﻭﺍﻟﻌﺮﺍﻕ‪ ،‬ﻭﻋﲆ‬

‫ﺍﻟﺜﺎﻧﻴﺔ ﺻﻮﺭﺓ ﺷﺨﺼﻴﺔ ﻟﻠﻜﺎﺗﺐ‪ ،‬ﻭ ﺗﻌﺮﻳﻒ ﺑﺴﲑﺗﻪ ﺍﻷﺩﺑﻴﺔ‪.‬‬

‫)‪ (١‬ﻋﺒﺪ ﺍﻟﺮﺯﺍﻕ ﻋﻮﺩﻩ ﺍﻟﻐﺎﻟﺒﻲ‪ ،‬ﺍﳌﻮﺳﻮﻋﺔ ﺍﻟﺬﺭﺍﺋﻌﻴﺔ‪ ،‬ﺍﳌﺠﻠﺪ ﺍﻟﺜﺎﻟﺚ‪ ،‬ﺍﻟﺬﺭﺍﺋﻌﻴﺔ ﰲ ﺍﻟﺘﻄﺒﻴﻖ‪ ،‬ﻃﺒﻌﺔ ﻣﺰﻳﺪﺓ‬ ‫ﻣﻨﻘﺤﺔ‪ ،‬ﺩﺍﺭ ﺍﻟﻨﺎﺑﻐﺔ ﻟﻠﻨﴩ ﻭﺍﻟﺘﻮﺯﻳﻊ ‪٢٠١٩‬ﻡ‪ ،‬ﺻﻔﺤﺔ ‪.١٤٦‬‬

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‫ﺍﻟﻐﻼﻑ ‪ -‬ﺑﺎﻟﺼﻮﺭﺓ ﻭﺍﻟﻘﺘﺎﻣﺔ ‪ -‬ﻭﺟﺪﺗﻪ ﳐﻴ ﹰﻔﺎ ﺇﱃ ﺣﺪﹼ ﻣﺎ‪ ،‬ﻳﻨﺒﺊ ﺃﻥ ﺍﳌﺤﺘﻮ￯ ﹴ‬ ‫ﻗﺎﺱ‬

‫ﻟﻠﻐﺎﻳﺔ‪ ،‬ﻟﻜﻦ ﺍﳌﺤﺘﻮ￯ ﺣﻘﻴﻘﺔ ﻛﺎﻥ ﻓﻴﻪ ﺇﴍﺍﻗﺎﺕ ﻛﺒﲑﺓ‪ ،‬ﺭﻏﻢ ﺿﺒﺎﺑﻴﺔ ﺍﻷﺣﺪﺍﺙ‪ ،‬ﻓﺎﻟﺸﺨﻮﺹ‬

‫ﻓﻴﻪ ﻛﺎﻧﺖ ﻣﻔﻌﻤﺔ ﺑﺎﻷﻣﻞ ﻭﺍﳌﺤﺒﺔ‪ ،‬ﺭﻏﻢ ﻣﺎ ﺗﻘﺎﺳﻴﻪ ﻣﻦ ﺗﺄﺯﹼ ﻡ ﻭﺣﻨﲔ ﻭﻓﻘﺪ ﻭﺟﻔﺎﻑ ﻋﺎﻃﻔﻲ‪،‬‬ ‫ﻭﺧﻮﻑ ﻭﻣﻠﻞ ﻭﺭﻏﺒﺔ ﺑﺎﻟﻮﺻﻮﻝ ﺇﱃ ﻣﻮﺍﻧﺊ ﺍﻻﺳﺘﻘﺮﺍﺭ‪.‬‬ ‫ﺍﻟﻌﺘﺒﺔ ﺍﻟﺒﴫﻳﺔ ﺍﻟﺜﺎﻧﻴﺔ ﻫﻲ ﺍﻟﻌﻨﻮﺍﻥ )ﺍﻟﻨﻮﰐ(‪:‬‬ ‫ﹰ‬ ‫ﹰ‬ ‫ﻣﺒﺎﴍﺍ ﺑﻤﻮﺿﻮﻉ ﺍﻟﺮﻭﺍﻳﺔ‪،‬‬ ‫ﺍﺭﺗﺒﺎﻃﺎ‬ ‫ﻣﻜﻮﻥ ﺑﴫﻱ‪ ،‬ﻣﻦ ﻟﻔﻈﺔ ﻭﺍﺣﺪﺓ‪ ،‬ﳛﻘﻖ‬ ‫ﻭﻫﻮ ﱠ‬

‫ﺻﺐ ﻓﻴﻪ ﺍﻟﻜﺎﺗﺐ‬ ‫ﻟﻴﺠﻌﻠﻬﺎ ﺭﻭﺍﻳﺔ ﺗﻐﻠﺐ ﻋﻠﻴﻬﺎ ﺍﻟﺴﲑﺓ ﺍﳌﻬﻨﻴﺔ ﲢﺪﻳﺪﹰ ﺍ‪ ،‬ﻭﻫﻲ ﺍﻟﻘﺎﻟﺐ ﺍﻟﺬﻱ ﹼ‬ ‫ﺃﺣﺪﺍﺙ ﺣﻴﺎﺗﻪ ﻭﺳﲑﺗﻪ ﺍﻟﺸﺨﺼﻴﺔ‪ ،‬ﻭﺗﺪﺍﻋﻴﺎﺕ ﺩﻭﺍﺧﻠﻪ‪ ،‬ﺑﺎﻟﺒﻄ ﹶﻠﲔ ﺍﻟﻠﺬﻳﻦ ﻳﻌﻴﺸﺎﻥ ﻓﻴﻬﺎ‪ ،‬ﺫﺍﺗﹺﻪ‬

‫ﻭﺍﻵﺧﺮ‪.‬‬

‫ﻋﻨﻮﺍﻥ ﺟﺎﺫﺏ ﻭﻻﻓﺖ ﹸﻭ ﱢﻓﻖ ﺍﻟﻜﺎﺗﺐ ﺑﺎﻧﺘﻘﺎﺋﻪ‪ ،‬ﻭﺑﻪ ﻳﻜﻮﻥ ﺍﻟﻜﺎﺗﺐ ﻗﺪ ﺍﻟﻜﺎﺗﺐ ﰲ ﻭﺿﻊ‬

‫ﺃﻭﻝ ﺻ ﹼﻨﺎﺭﺓ ﺗﺸﺪﹼ ﺍﳌﺘﻠﻘﻲ ﺑﺎﻟﺘﺸﻮﻳﻖ ﻣﻨﺬ ﺍﻟﻌﺘﺒﺎﺕ ﺍﻷﻭﱃ )ﺍﻟﻐﻼﻑ ﻭﺍﻟﻌﻨﻮﺍﻥ(‪.‬‬

‫ﱂ ﻳﻜﻦ ﻫﻨﺎﻙ ﺇﻫﺪﺍﺀ‪ ،‬ﻟﻜﻦ ﻛﺎﻥ ﻫﻨﺎﻙ ﻗﻮﻝ ﻟـ )ﺍﻵﺧﺮ( ﺍﻟﺬﻱ ﻗﺎﺳﻢ ﺍﻟﺒﻄﻞ ﺣﻴﺎﺗﻪ‪.‬‬ ‫ﺍﻵﺧﺮ‪ :‬ﺭﺍﻛﺐ ﺍﻟﺒﺤﺮ ﺍﻟﺬﻱ ﺭﺍﻓﻘﺘﻪ ﻣﻨﺬ ﻭﻻﺩﺗﻪ ﺣﺘﻰ ﺍﻵﻥ ﳛﺎﻭﻝ ﲡﺎﻫﲇ‪.‬‬ ‫ﻟﻴﺸﺪﹼ ﻧﺎ ﻣﻨﺬ ﺍﻟﺒﺪﺍﻳﺔ ﳌﻌﺮﻓﺔ ﻫﺬﺍ ﺍﻟـ )ﺁﺧﺮ(‪ ،‬ﻭﻣﻦ ﻫﻮ ﺭﺍﻛﺐ ﺍﻟﺒﺤﺮ ﺫﺍﻙ؟ ﻭﻛﻴﻒ ﺭﺍﻓﻘﻪ؟‬

‫ﻭﳌﺎﺫﺍ ﳛﺎﻭﻝ ﲡﺎﻫﻠﻪ؟‪.‬‬

‫ﻭﻫﻨﺎ ﻳﺒﺪﺃ ﺗﺸﻮﻳﻖ ﹴ‬ ‫ﺛﺎﻥ )ﻣﺎ ﻗﺒﻞ ﺍﻻﺳﺘﻬﻼﻝ( ﻳﻠﺤﻖ ﺑﺎﻷﻭﻝ‪.‬‬ ‫ﺍﻟﻌﻤﻞ ﻳﻘﻊ ﰲ ﺗﺴﻌﺔ ﻓﺼﻮﻝ‪ ،‬ﻛﻞ ﻓﺼﻞ ﻳﺸﺘﻤﻞ ﻋﲆ ﹶ‬ ‫ﻣﴪﺣﻪ ﺍﻟﻮﺍﻗﻊ‬ ‫ﺃﻭﳍﲈ‬ ‫ﹸ‬ ‫ﺟﺰﺃﻳﻦ‪ ،‬ﹼ‬

‫ ﻋﺎﱂ ﺍﻟﺒﺤﺮ ﺍﻟﺬﻱ ﻳﺮﻛﺒﻪ ‪ -‬ﻳﻌﻄﻴﻪ ﺍﻟﻜﺎﺗﺐ ﻋﻨﻮﺍ ﹰﻧﺎ ﻭﺍﺣﺪﹰ ﺍ‪ ،‬ﻭﳚﻌﻠﻪ ﰲ ﺃﻗﺴﺎﻡ ﻋﺪﻳﺪﺓ ‪ -‬ﻏﺎﻟ ﹰﺒﺎ‬‫ﲬﺴﺔ ﺃﻗﺴﺎﻡ ‪ -‬ﻣﺮ ﹼﻗﻤﺔ‪ ،‬ﻭﻳﻤﺘﺪ ﻋﲆ ﺣﻮﺍﱄ ‪ ٣٠‬ﺻﻔﺤﺔ ﺑﺎﳌﺘﻮﺳﻂ‪ ،‬ﻭﺍﻵﺧﺮ ﻣﴪﺣﻪ ﺍﻟﻨﻔﺲ ﺃﻭ‬ ‫ﻳﺘﻜﻮﻥ‬ ‫ﺍﻟﺬﺍﺕ ﺍﻟﺘﻲ ﺗﺬﻫﺐ ﺑﻌﻴﺪﹰ ﺍ ﻋﻦ ﻋﺎﱂ ﺍﻟﺒﺤﺮ ﺍﻷﺯﺭﻕ ﺍﻟﺬﻱ ﻳﻌﻴﺶ ﺻﺎﺣ ﹸﺒﻬﺎ ﻓﻮﻗﻪ‪ ،‬ﻋﻨﻮﺍﻧﻪ ﹼ‬ ‫ﻣﻦ ﺗﺮﻛﻴﺒﲔ ﻣﺘﻤﻔﺼﻠﲔ‪ ،‬ﺍﻷﻭﻝ ﺛﺎﺑﺖ ﻛﻼﺯﻣﺔ )ﺍﳊﻴﺎﺓ ﻭﻏﲑﻫﺎ(‪ ،‬ﻭﺍﻟﺜﺎﲏ ﻣﺘﺤﺮﻙ ﻭﻫﻮ ﺍﻟﻌﻨﻮﺍﻥ‬

‫ﻣﻘﺴﻢ‪ ،‬ﻳﻤﺘﺪ ﻋﲆ ﺣﻮﺍﱄ ‪ ٥‬ﺻﻔﺤﺎﺕ‪ ،‬ﻋﲆ ﺳﺒﻴﻞ ﺍﳌﺜﺎﻝ‪:‬‬ ‫ﺍﻟﻔﻌﲇ‪ ،‬ﻋﺒﺎﺭﺓ ﻋﻦ ﺟﺰﺀ ﻭﺍﺣﺪ ﻏﲑ ﹼ‬

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‫• ﺍﻟﻔﺼﻞ ﺍﻷﻭﻝ‪ :‬ﺫﺍﻛﺮﺓ ﺑﻴﻀﺎﺀ ﻫﺸﺔ )‪) (٥-٤-٣-٢-١‬ﻣﻔﻬﻮﻡ ﺍﻟﻄﻔﻮﻟﺔ( ﺍﳊﻴﺎﺓ‬ ‫ﻭﻏﲑﻫﺎ ﺍﳋﻴﺎﻝ ﻟﻌﺒﺘﻨﺎ ﺍﻟﺜﺎﺋﺮﺓ )ﻣﻔﻬﻮﻡ ﺍﳋﻴﺎﻝ(‪.‬‬ ‫• ﺍﻟﻔﺼﻞ ﺍﻟﺜﺎﲏ‪ :‬ﺍﻟﺮﺍﻗﺺ ﺍﳌﺬﺑﻮﺡ ‪ ..‬ﻋﺼﺎﻓﲑ ﺍﻟﺬﺍﻛﺮﺓ )‪) (٥-٤-٣-٢-١‬ﻣﻔﻬﻮﻡ‬ ‫ﺍﳊﻠﻢ( ﺍﳊﻴﺎﺓ ﻭﻏﲑﻫﺎ‪.‬‬ ‫ﺇﻏﻼﻕ ﺍﻟﻨﻮﺍﻓﺬ‪ ..‬ﺇﲬﺎﺩ ﺍﻟﻀﻮﺀ )ﻣﻔﻬﻮﻡ ﺍﻟﻌﺰﻟﺔ( ﻭﻫﻜﺬﺍ ﺍﻷﻣﺮ ﻣﻊ ﺑﺎﻗﻴﺔ ﺍﻟﻔﺼﻮﻝ ‪...‬‬

‫»ﺗﻌﻮﺩﺕ ﻋﲆ‬ ‫ﺍﻟﺘﺤﺮﻙ ﺑﲔ ﻓﺠﺮﻳﻦ‪ :‬ﻓﺠﺮ ﻣﺎﺋﻲ‪ ،‬ﻭﺁﺧﺮ ﺃﺭﴈ«‪.‬‬ ‫ﻳﻘﻮﻝ‪ :‬ﹼ‬ ‫ﹼ‬

‫ﻫﻮ ﻳﺘﺒﻊ ﺗﻜﻨﻴﻚ ﺷﺨﺼﻨﺔ ﺍﻷﺣﺪﺍﺙ‪ ،‬ﳚﻌﻞ ﺷﺨﺼﻴﺔ ﰲ ﺍﳊﺪﺙ‪ ،‬ﻭﻟﻜﻞ ﺣﺪﺙ ﳜﻠﻖ‬

‫ﻳﻌﺮﻓﻨﺎ ﻋﲆ‬ ‫ﺷﺨﺼﻴﺔ ﻟﻨﻔﺴﻪ ﻣﻨﺎﺳﺒﺔ ﻟﻠﺤﺪﺙ‪ ،‬ﲣﺘﻠﻒ ﻋﻦ ﺍﻟﺸﺨﺼﻴﺔ ﺍﻟﺴﺎﺑﻘﺔ ﻭﺍﻟﺘﺎﻟﻴﺔ‪ ،‬ﻳﻌﻨﻲ ﹼ‬ ‫ﺟﻮﺍﻧﺐ ﺫﺍﺗﻪ ﺑﺎﳌﻘﺎﺑﻠﺔ ﻣﻊ ﺷﺨﺼﻴﺔ ﻳﻀﻌﻬﺎ ﺿﻤﻦ ﺣﺪﺙ‪ ،‬ﻣﻦ ﺧﻼﻝ ﻫﺬﻩ ﺍﳌﻮﺍﺟﻬﺔ ﻳﺴ ﹼﻠﻂ‬

‫ﻣﻌﲔ ﻣﻦ ﺟﻮﺍﻧﺐ ﺫﺍﺗﻪ‪ ،‬ﻣﻦ ﺧﻼﻝ ﺗﻜﺮﺍﺭ ﺗﻠﻚ ﺍﳌﻮﺍﺟﻬﺎﺕ ﺗﺘﻜﺸﹼ ﻒ ﺗﻠﻚ‬ ‫ﺍﻟﻀﻮﺀ ﻋﲆ ﺟﺎﻧﺐ ﹼ‬

‫ﺍﻟﺬﺍﺕ ﺍﻟﺘﻲ ﻳﺒﺤﺮ ﻓﻴﻬﺎ ﺍﻟﺴﺎﺭﺩ ﰲ ﳏﺎﻭﻟﺔ ﻟﻠﺘﻄﻬﺮ ﺑﺎﻟﻜﺘﺎﺑﺔ ﻋﻨﻬﺎ؛ ﻟﺬﻟﻚ ﻧﺮﺍﻩ ﳜﻠﻖ ﺷﺨﺼﻴﺔ‬ ‫ﺍﻷﺏ‪ ،‬ﻭﻳﻀﻌﻬﺎ ﺑﺎﻟﺘﻘﺎﺑﻞ ﻣﻊ ﺫﺍﺗﻪ ﺍﻟﻘﺎﺭﺋﺔ‪ ،‬ﻭﺫﺍﺗﻪ ﺍﻟﻜﺎﺗﺒﺔ‪ ،‬ﻋﱪ ﺍﳋﻄﻒ ﺧﻠ ﹰﻔﺎ ‪ ،flash back‬ﺃﻭ‬

‫ﺗﺪﻓﻖ ﺗﻴﺎﺭ ﺍﻟﻮﻋﻲ ‪ ،Stream of consciousness‬ﺃﻭ ﻣﻨﻮﻟﻮﺝ ‪.Monologue‬‬

‫ﻭﻣﻊ )ﺳﺎﻟﻮ( ﺍﻟﺴﻮﺭﻳﺔ ﺣﴬﺕ ﺫﺍﺗﻪ ﺍﻟﺸﺒﻘﺔ‪ ،‬ﻭﻣﻊ )ﻣﻮﲏ( ﺍﳌﴫﻳﺔ ﻇﻬﺮﺕ ﺫﺍﺗﻪ‬

‫ﹶ‬ ‫ﺍﳋ ﹺﺠﻠﺔ‪ ،‬ﻭﻣﻊ )ﺳﻴﺴﻴﻨﺎ( ﺍﻷﻭﻛﺮﺍﻧﻴﺔ ﻇﻬﺮﺕ ﺫﺍﺗﻪ ﺍﳋﻴﺎﻟﻴﺔ ﺍﳌﻨﺘﺸﻴﺔ ﺣﺪﹼ ﺍﻟﻐﺮﻭﺭ‪ ،‬ﻭﻣﻊ ﻧﺠﻼﺀ‬

‫ﺍﻹﺳﻜﻨﺪﺭﺍﻧﻴﺔ ﺣﴬﺕ ﺫﺍﺗﻪ ﺍﳋﺮﺍﻓﻴﺔ‪ ،‬ﻭﻣﻊ ﺳﻤﺮﺍﺋﻪ ﺍﻟﻔﺮﻧﺴﻴﺔ ﻇﻬﺮﺕ ﺫﺍﺗﻪ ﺍﻟﻌﺎﺷﻘﺔ‪ ،‬ﻫﻮ‬

‫ﺑﺬﻟﻚ ﻳﻜﺸﻒ ﻋﻦ ﺻﻔﺎﺕ ﺗﻠﻚ ﺍﻟﺬﺍﺕ‪ ،‬ﻫﺬﺍ ﺍﻟﻨﻮﻉ ﻣﻦ ﺍﻟﺘﻜﻨﻴﻚ ﺍﻟﺸﻔﻴﻒ ﹸﳛﺴﺐ ﻟﻠﻜﺎﺗﺐ‬ ‫ﻃﺒ ﹰﻘﺎ ﻟﻠﻤﺒﺪﺃ ﺍﻟﴪﺩﻱ )ﺇﺩﺧﺎﻝ ﺍﻟﺘﻘﻨﻴﺎﺕ ﺍﻟﻌﴫﻳﺔ( ﻟﻄﺮﺩ ﺍﻟﺮﻭﺗﲔ ﻭﺍﻟﺴﺄﻡ ﺍﻟﺬﻱ ﻳﻔﺘﻚ‬

‫ﺑﻌﻤﻠﻴﺔ ﺍﻟﺘﺸﻮﻳﻖ ﻟﺪ￯ ﺍﳌﺘﻠﻘﻲ‪ ،‬ﻛﲈ ﻫﻮ ﺍﳊﺎﻝ ﰲ ﺍﻟﺮﻭﺍﻳﺎﺕ ﺍﻟﴪﺩﻳﺔ ﺍﻟﻜﻼﺳﻴﻜﻴﺔ‪ .‬ﺍﻟﻨﺎﻗﺪ‬ ‫ﹰ‬ ‫ﺷﺎﻣﻼ‬ ‫ﺩﻓﺎﻋﻪ ﻳﻜﻮﻥ‬ ‫ﺍﻷﺩﰊ ﺣﲔ ﻳﻤﺴﻚ ﻣﻘﻮﺩ ﺍﻟﻨﻘﺪ ﻳﻜﻮﻥ ﻛﺎﳌﺪﻋﻲ ﺍﻟﻌﺎﻡ‪،‬‬ ‫ﻭﻋﻤﻮﻣﻴﺎ‬ ‫ﹸ‬ ‫‪h‬‬ ‫ﻟﺼﺎﻟﺢ ﺍﳌﺘﻠﻘﻲ‪ ،‬ﺍﻟﺬﻱ ﳚﺬﺑﻪ ﺍﻟﺘﺸﻮﻳﻖ ﻭﺍﳌﺘﻌﺔ‪ ،‬ﺇﱃ ﺟﺎﻧﺐ ﺍﻟﻔﺎﺋﺪﺓ ﺍﻷﺧﺮ￯‪ ،‬ﻭﻫﻲ ﺍﻟﻘﻴﻤﺔ‬ ‫ﻧﻔﺴﻴﺎ ﺃﻭ‬ ‫ﺍﳌﻌﺮﻓﻴﺔ ﺍﻟﺘﻲ ﻳﺘﻄ ﹼﻠﻊ ﺍﳌﺘﻠﻘﻲ ﺇﱃ ﺍﻻﺳﺘﺤﻮﺍﺯ ﻋﻠﻴﻬﺎ ﻣﻦ ﺍﻟﻨﺺ‪ ،‬ﻛﺄﻥ ﻳﻜﻮﻥ ﺍﻟﻨﺺ‬ ‫‪h‬‬ ‫ﻓﻠﺴﻔﻴﺎ ﺃﻭ ﻣﺎ ﺷﺎﺑﻪ‪.‬‬ ‫‪h‬‬

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‫ﹸ‬ ‫ﺍﻟﻔﺼﻮﻝ‬ ‫ﲪﻠﺖ‬ ‫ﻋﻨﺎﻭﻳﻦ ﺑﺪﻻﻻﺕ‪ ،‬ﺗﺒﺪﺃ ﺑﻌﻨﻮﺍﻥ ﺍﻟﻔﺼﻞ ﺍﻷﺳﺎﳼ‪ ،‬ﻳﺘﺒﻌﻪ ﺟﺰﺀ ﺍﳊﻴﺎﺓ‬ ‫ﹶ‬

‫ﹶ‬ ‫ﻋﻨﻮﺍﲏ ﺍﻟﻔﺼﻞ ﺍﻟﻮﺍﺣﺪ ﻫﻮ ﺍﻟﺪﻻﻟﺔ ﺍﻟﺘﻲ ﺗﺮﺗﺒﻂ‬ ‫ﻣﻜﻤﻞ‪ ،‬ﻫﻨﺎﻙ ﺭﺍﺑﻂ ﺑﲔ‬ ‫ﻭﻏﲑﻫﺎ ﺑﻌﻨﻮﺍﻥ ﹼ‬ ‫ﺑﺎﳌﻔﻬﻮﻡ ﻣﺜﺎﻝ‪:‬‬ ‫• ﺍﻟﻔﺼﻞ ﺍﻟﺜﺎﻟﺚ‪ :‬ﺍﺑﺘﺴﺎﻣﺔ ﺍﻟﻐﺮﺑﺔ‪ ..‬ﺳﺎﻟﻮ‪) .‬ﻣﻔﻬﻮﻡ ﺍﻟﻐﻮﺍﻳﺔ(‬ ‫• ﺍﳊﻴﺎﺓ ﻭﻏﲑﻫﺎ‪ :‬ﺑﺮﺝ ﺍﻟﺘﻤﻴﺰ‪ ..‬ﺟﻬﺔ ﺍﻹﻧﺼﺎﺕ )ﻣﻔﻬﻮﻡ ﺍﻟﻮﺣﺪﺓ(‬ ‫• ﺍﻟﻔﺼﻞ ﺍﻟﺮﺍﺑﻊ‪ :‬ﺍﻵﺧﺮﻭﻥ‪ ..‬ﺗﻌﺪﺩ ﺍﻷﻣﺰﺟﺔ )ﻣﻔﻬﻮﻡ ﺍﻟﺘﻌﺪﺩﻳﺔ(‬ ‫• ﺍﳊﻴﺎﺓ ﻭﻏﲑﻫﺎ‪ :‬ﺷﻮﺍﻃﺊ ﺩﺍﻓﺌﺔ‪ ..‬ﻧﺴﺎﺀ ﺑﺎﺭﺩﺓ )ﻣﻔﻬﻮﻡ ﺍﳊﻮﺍﺱ(‬ ‫• ﺍﻟﻔﺼﻞ ﺍﳋﺎﻣﺲ‪ :‬ﻣﺴﺎﺭﺡ ﺍﳋﻮﻑ‪ ..‬ﺍﻹﺛﺎﺭﺓ )ﻣﻔﻬﻮﻡ ﺍﻟﺘﻮﺗﺮ(‬ ‫• ﺍﳊﻴﺎﺓ ﻭﻏﲑﻫﺎ‪ :‬ﺍﻟﺜﻮﺏ ﻭﺍﻟﻌﻄﺮ‪ ..‬ﳐﺎﻃﺮ ﺍﻟﺮﻏﺒﺔ )ﻣﻔﻬﻮﻡ ﺍﳉﻨﺲ(‬ ‫ﲨﺔ )ﻣﻔﻬﻮﻡ ﺍﻟﺘﻮﻕ(‬ ‫• ﺍﻟﻔﺼﻞ ﺍﻟﺴﺎﺩﺱ‪ :‬ﺑﲔ ﺭﺻﻴﻔﲔ‪ ..‬ﺭﻏﺒﺎﺕ ﹼ‬ ‫• ﺍﳊﻴﺎﺓ ﻭﻏﲑﻫﺎ‪ :‬ﻣﺰﻳﺪﹰ ﺍ ﻣﻦ ﺍﻟﺘﻔﻜﲑ‪ ..‬ﻣﺰﻳﺪﹰ ﺍ ﻣﻦ ﺍﻻﺣﺘﲈﻻﺕ )ﻣﻔﻬﻮﻡ ﺍﻟﻔﻠﺴﻔﺔ(‬ ‫• ﺍﻟﻔﺼﻞ ﺍﻟﺴﺎﺑﻊ‪ :‬ﺍﻷﺭﺽ ﺍﳌﻤﻨﻮﻋﺔ‪ ..‬ﺯﻣﻦ ﺍﳌﺘﻐﲑﺍﺕ )ﻣﻔﻬﻮﻡ ﺍﻟﻐﺮﺍﺑﺔ ﻭﺍﻟﻌﺠﺎﺋﺒﻴﺔ(‬ ‫• ﺍﳊﻴﺎﺓ ﻭﻏﲑﻫﺎ‪ :‬ﺍﻷﺛﺮ ﺍﻷﺑﻴﺾ )ﻣﻔﻬﻮﻡ ﺍﻟﻘﻴﻤﺔ ﺍﳌﻮﺭﻭﺛﺔ(‬ ‫• ﺍﻟﻔﺼﻞ ﺍﻟﺜﺎﻣﻦ‪ :‬ﻣﺮﺍﳼ ﺍﻟﻠﺤﻈﺔ ﺍﻷﺧﲑﺓ )ﻣﻔﻬﻮﻡ ﺍﻟﻨﻬﺎﻳﺎﺕ(‬ ‫• ﺍﳊﻴﺎﺓ ﻭﻏﲑﻫﺎ‪ :‬ﺁﺧﺮ ﺍﻟﻠﻴﻞ‪ ..‬ﺃﻭﻝ ﺍﻟﻔﺮﺍﻕ )ﻣﻔﻬﻮﻡ ﺍﻟﺘﻘﺎﻃﻌﺎﺕ ﺍﻟﺰﻣﺎﻧﻴﺔ(‬ ‫• ﺍﻟﻔﺼﻞ ﺍﻟﺘﺎﺳﻊ‪ :‬ﺑﲔ ﻣﻴﻨﺎﺋﲔ‪ ..‬ﺃﺭﺽ ﻭﻣﻌﺎﱂ )ﻣﻔﻬﻮﻡ ﺍﻷﻣﻜﻨﺔ(‬ ‫ﻭﱂ ﻳﺘﺒﻊ ﻫﺬﺍ ﺍﻟﻔﺼﻞ ﺑﺎﳊﻴﺎﺓ ﻭﻏﲑﻫﺎ ﻷﻧﻪ ﺃﺭﺍﺩﻫﺎ ﳖﺎﻳﺔ ﻣﻔﺘﻮﺣﺔ‪.‬‬ ‫ﻭﺍﳊﻘﻴﻘﺔ ﺃﻥ ﺇﻳﺮﺍﺩ ﺍﻟﻌﻨﻮﺍﻥ ﺍﻟﻮﺍﺣﺪ ﺑﱰﻛﻴﺒﲔ ‪ -‬ﻳﺼﻠﺢ ﻛﻞ ﺗﺮﻛﻴﺐ ﻣﻨﻬﲈ ﻷﻥ ﻳﻜﻮﻥ‬ ‫ﻔﺎﺭﻗﺔ‪.‬‬ ‫ﻋﻨﻮﺍ ﹰﻧﺎ ﻣﻨﻔﺮ ﹰﺩﺍ ‪ -‬ﻭﺟﺪﺗﻪ ﻏﺮﻳ ﹰﺒﺎ ﺇﻥ ﱂ ﺃﺭﺑﻄﻪ ﺑﺎﻟﺪﻻﻟﺔ ﻭﺍﳌﻔﻬﻮﻡ‪ ،‬ﺇﺿﺎﻓﺔ ﺇﱃ ﻋﻨﺎﻭﻳﻦ ﺍ ﹸﳌ ﹶ‬

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‫ﺍﻟﻼﻓﺖ ﺃﻧﻪ ﻗﺒﻞ ﺃﻥ ﻳﺒﺘﺪﺉ ﺍﻟﻔﺼﻞ ﺍﻷﻭﻝ ﻗﺪﹼ ﻡ ﻓﺼ ﹶﻠﲔ ﺩﻭﻥ ﺃﻥ‬ ‫ﻳﻀﻤﻬﲈ ﻟﻠﻔﺼﻮﻝ‬ ‫ﹼ‬

‫ﻳﻌﺮﻓﻨﺎ ﻋﲆ ﺍﻟﺸﺨﺼﻴﺎﺕ ﺍﻟﺮﺋﻴﺴﻴﺔ ﰲ ﺍﻟﺮﻭﺍﻳﺔ‪.‬‬ ‫ﺍﻟﺘﺴﻌﺔ‪ ،‬ﻭﻛﺄﻧﻪ ﹼ‬

‫ﺍﻷﻭﻝ‪ :‬ﺍﻵﺧﺮ ﺃﻧﺎ )ﻭﻫﻮ ﻋﻨﴫ ﺍﻟﺘﺸﻮﻳﻖ ﺍﻟﺜﺎﻟﺚ ﺍﻟﺬﻱ ﺍﺳﺘﺨﺪﻣﻪ ﺍﻟﻜﺎﺗﺐ‪ ،‬ﻫﻨﺎ ﰲ‬

‫ﺍﻻﺳﺘﻬﻼﻝ(‪ ،‬ﺍﻟﺴﺎﺭﺩ ﺑﻜﻴﻨﻮﻧﺘﻪ ﺍﳌﺎﺩﻳﺔ ﻭﺍﻟﺬﺍﺗﻴﺔ‪ .‬ﻻ ﻳﺴﺘﻄﻴﻊ ﺃﻥ ﻳﻔﺼﻞ ﺑﻴﻨﻪ ﻭﺑﲔ ﻧﺼﻔﻪ ﺍﻵﺧﺮ‬ ‫ﺑﺘﺨﻴﻠﻪ ﺧﺎﺭﺝ ﺟﺴﺪﻩ‪ ،‬ﻳﻘﻮﻝ ﺍﻟﺴﺎﺭﺩ‪:‬‬ ‫ﹼﺇﻻ ﹼ‬ ‫ﻣﺴﻠﻴﺎ ﹰ‬ ‫ﻋﺮﻓﺖ ﱂ ﻳﻜﻦ ﻣﻌﻲ ﹼﺇﻻ ﺃﻧﺎ‬ ‫»ﻭﻫﺎ ﺃﻧﺎ ﻗﺪ ﻭﺟﺪﺕ ﺍﻟﻠﻘﺎﺀ‬ ‫ﻣﻔﻌﲈ ﺑﺎﻹﺛﺎﺭﺓ ﺍﳌﺆﳌﺔ‪ ،‬ﻭﳌﹼﺎ‬ ‫ﹸ‬ ‫‪h‬‬ ‫ﻭﺃﻧﺖ –‬ ‫ﺭﺕ ﹼﺃﻻ ﺃﺭﺣﻞ ﺑﻄﺮﻳﻘﺔ ﺍﳌﻨﻌﺰﻝ ﻋﻦ ﺍﳌﻌﺎﻧﺎﺓ‪ ،‬ﻛﲈ ﳛﺼﻞ ﻣﻊ ﺍﳋﺎﺋﻒ‬ ‫ﻗﺮ ﹸ‬ ‫ﹶ‬ ‫ﻧﺼﻔﻲ ﺍﻵﺧﺮ ‪ -‬ﹼ‬

‫ﻣﻦ ﺍﳌﻮﺕ ﺧﻠﻒ ﺍﻟﺸﻤﺲ ﺃﻭ ﲢﺖ ﺍﻟﻈﻼﻡ ‪ ...‬ﻭﺣﻴﺪﹰ ﺍ ﻓﻮﻕ ﻋﺎﳌﻲ ﺍﻷﺯﺭﻕ ﺃﻗﺘﻞ ﺍﻟﻮﻗﺖ ﰲ‬ ‫ﺣﻴﺎﺓ ﺃﺧﺮ￯‪ ،‬ﹸ‬ ‫ﺃﺗﺮﻛﻨﻲ ﻣﺜﻞ ﺍﳍﻮﺍﺀ ﹼﻟﻴﻨﹰﺎ‪ ،‬ﻭﻣﺮﺍﺕ ﻛﺜﲑﺓ ﺃﲣﻴ ﹸﻠﻨﻲ ﺧﺎﺭﺝ ﺟﺴﺪﻱ‪ ،‬ﺧﻔﻴ ﹰﻔﺎ ﲢﻤﻠﻨﻲ‬

‫ﺍﻷﻣﻮﺍﺝ ﺇﱃ ﺣﻴﺚ ﺗﺸﺎﺀ‪.«...‬‬

‫ﺍﳌﻜﻤﻞ‪،‬‬ ‫ﺍﻟﺜﺎﲏ‪ :‬ﺍﻵﺧﺮ‪ :‬ﺍﻟﻨﺼﻒ ﺍﻵﺧﺮ ﺍﻟﺬﻱ ﺳﻜﻦ ﻓﻴﻪ‪ ،‬ﺍﻟﺴﺎﻧﺪ‪ ،‬ﻭﺍﳌﺮﺷﺪ‪ ،‬ﻭﺍﳌﺸﺎﻛﺲ‪ ،‬ﹼ‬ ‫ﻭﺍﳌﺤﺮﺽ ﺍﻟﺬﻱ ﻳﺪﻋﻮﻩ ﺇﱃ‬ ‫ﻭﺍﻟﻠﻌﻮﺏ‪،‬‬ ‫ﺍﻟﺘﺤﺮﺭ‪ ،‬ﻭ ﺍﻟﺬﻱ ﺳﺎﻛﻨﻪ ﰲ ﻋﻤﺮ ﺍﻟﺴﺎﺩﺳﺔ‪ ،‬ﻭﻫﻮ ﺍﻟﻌﻤﺮ‬ ‫ﹼ‬ ‫ﹼ‬

‫ﹼ‬ ‫ﻳﺘﺤﴬ ﻓﻴﻪ ﺍﻹﻧﺴﺎﻥ ﻟﺘﻠﻘﻲ ﺍﻟﻌﻠﻢ ﻭﺍﳌﻌﺮﻓﺔ‪ ،‬ﻫﺬﺍ ﺍﻵﺧﺮ ﻳﻐﺎﺩﺭ ﺍﻟﺴﺎﺭﺩ ﰲ ﻣﺮﺣﻠﺔ ﺣﺮﺟﺔ‬ ‫ﺍﻟﺬﻱ‬

‫ﻣﻦ ﺣﻴﺎﺗﻪ‪ ،‬ﻣﺮﺣﻠﺔ ﺍﻟﻜﻬﻮﻟﺔ‪ ،‬ﻛﺎﻥ ﻳﺴﻌﻰ ﻃﻮﺍﻝ ﻋﻤﺮﻩ‬ ‫ﻟﻠﺘﺤﺮﺭ ﻣﻨﻪ‪ ،‬ﻟﻜﻨﻪ ﻋﻨﺪﻣﺎ ﻏﺎﺩﺭﻩ ﺍﺷﺘﺎﻗﻪ‪،‬‬ ‫ﹼ‬ ‫ﻳﻘﻮﻝ‪:‬‬

‫»ﻛﺎﻥ ﻳﻌﺎﻣﻠﻨﻲ ﻣﻌﺎﻣﻠﺔ ﺗﻨﺎﺳﺐ ﺣﺎﻟﺘﻲ‪ ،‬ﲤﺎ ﹰﻣﺎ ﻛﺎﻥ ﺍﻟﻘﻮﻱ ﻟﻀﻌﻔﻲ‪ ،‬ﰲ ﻫﺬﺍ ﺍﻟﻮﺟﻮﺩ‬

‫ﺍﻟﺼﺎﺭﻡ ﻳﺘﻌﺎﻣﻞ ﻣﻊ ﺃﺷﺪ ﺍﻟﻠﺤﻈﺎﺕ ﻣﺮﺍﺭﺓ ﰲ ﺭﺍﺣﺔ ﻋﺠﻴﺒﺔ‪،‬‬ ‫ﻭﻗﻔﺖ ﻣﻀﻄﺮ ﹰﺑﺎ ﻭﺍﻟﻘﻠﻖ ﻳﺮﻫﻘﻨﻲ‬ ‫ﹸ‬

‫ﻛﻨﺖ ﺃﲤﺜﹼﻠﻪ ﺍﳊﻞ ﺍﻷﻣﺜﻞ ‪ ...‬ﲣﻠﻴﺖ ﻋﻦ‬ ‫"ﲢﺮﺭ"‪ .‬ﹸ‬ ‫ﻣﻦ ﳾﺀ ﻣﺎ‪ ،‬ﻳﺄﰐ ﰲ ﺻﻮﺭﺓ ﺍﳍﺎﻣﺲ ﰲ ﺃﺫﲏ ﹼ‬ ‫ﺍﻟﻘﻠﻖ ﻣﻦ ﻭﺟﻮﺩﻩ‪،‬‬ ‫ﻭﻋﺮﻓﺖ ﺃﻧﻨﻲ ﻻ ﻳﻤﻜﻨﻨﻲ ﺍﻻﺑﺘﻌﺎﺩ ﻋﻨﻪ‪ ،‬ﺑﻌﺪ ﺃﻥ ﺻﺎﺭ ﻳﺘﺸﻜﻞ ﺃﻣﺎﻣﻲ ﻋﲆ‬ ‫ﹸ‬ ‫ﻫﻴﺌﺘﻲ ﻫﺬﻩ ﻭﺑﻨﱪﺍﺕ ﺃﺻﻮﺍﺕ ﳐﺘﻠﻔﺔ ‪ ...‬ﻧﺤﺘﺎﺝ ﺍﻟﻌﻮﺩﺓ ﺇﱃ ﺍﳌﺴﻜﻮﻥ ﻓﻴﻨﺎ«‪.‬‬

‫ﻧﺴﺘﻄﻴﻊ ﺃﻥ ﻧﻤﻴﺰ ﺍﻟﺴﲑﺓ ﺍﻟﺬﺍﺗﻴﺔ ﰲ ﺍﻟﻌﻤﻞ ﺍﻷﺩﰊ ﺣﻴﻨﲈ ﻳﺘﺤﺪﹼ ﺙ ﺍﻟﺴﺎﺭﺩ ﻋﻦ ﻧﻔﺴﻪ ﻭﻟﻴﺲ‬

‫ﻋﻦ ﺷﺨﺼﻴﺔ ﺃﺧﺮ￯؛ ﻟﺬﻟﻚ ﻛﺎﻥ ﻳﻤﻜﻦ ﺃﻥ ﻧﺠ ﹼﻨﺲ ﺍﻟﻌﻤﻞ ﻋﲆ ﺃﻧﻪ ﺳﲑﺓ ﺫﺍﺗﻴﺔ‪ ،‬ﻭﻟﻜﻦ ﺍﻟﻜﺎﺗﺐ‬ ‫ﺃﺩﺧﻞ ﺍﳋﻴﺎﻝ )ﺍﻵﺧﺮ(‪ ،‬ﻓﺘﺄﺭﺟﺢ ﺍﻟﻌﻤﻞ ﹰ‬ ‫ﻗﻠﻴﻼ ﻣﺒﺘﻌﺪﹰ ﺍ ﻋﻦ ﺍﻟﻮﺍﻗﻊ‪ ،‬ﻳﻘﻮﻝ ﺣﺴﻦ ﺍﻟﺒﺤﺎﺭ‪:‬‬

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‫»ﻗﺪ ﻳﻀﻄﺮ ﺍﳌﺮﺀ ﺇﱃ ﲡﺎﻫﻞ ﺍﳊﺎﴐ ﰲ ﺍﺳﺘﺤﻀﺎﺭ ﺍﳌﺎﴈ ﻭﺗﻄﻮﻳﺮﻩ ﹰ‬ ‫ﺧﻴﺎﻻ ﻟﻴﺒﺘﻌﺪ ﻋﻦ‬ ‫ﺍﻟﻮﺍﻗﻊ ﻣﺴﺎﻓﺔ ﻭﻓ ﹰﻘﺎ ﳌﺎ ﻳﺮﺍﻩ ﻣﻦ ﺍﻟﺪﺍﺧﻞ ﻋﲆ ﺃﻧﻪ ﺍﻷﻣﻞ ﰲ ﻋﻮﺩﺓ ﺍﻵﺧﺮ ‪ -‬ﺃﻧﺎ ‪ -‬ﻭﻫﺬﺍ ﻣﺎ ﺣﺼﻞ‬

‫ﻣﻌﻲ ﺑﺎﻟﻀﺒﻂ«‪.‬‬

‫ﻭﻷﻥ ﺍﻟﻌﻤﻞ ﺃﺧﺬ ﻃﺎﺑﻊ ﺭﻭﺍﻳﺔ ﻭﻗﻌﺖ ﺃﺣﺪﺍﺛﻬﺎ ﻋﲆ ﻇﻬﺮ ﺑﺎﺧﺮﺓ ﺧﻼﻝ ﺇﺣﺪ￯ ﺭﺣﻼﺕ‬

‫ﻛﺒﺤﺎﺭ ﻳﻜﻮﻥ ﺍﻟﻌﻤﻞ ﺭﻭﺍﻳﺔ ﺃﺩﺏ ﺭﺣﻠﺔ‪.‬‬ ‫ﺍﻟﺴﺎﺭﺩ ﻣﻦ ﺧﻼﻝ ﻣﻬﻨﺘﻪ ﹼ‬

‫ﺭﻭﺍﻳﺔ ﺗﻘﱰﺏ ﻣﻦ ﺃﺩﺏ ﺍﻟﺴﲑﺓ ﺑﺤﺬﺭ ﺷﺪﻳﺪ‪ ،‬ﻭﺃﺩﺏ ﺍﻟﺮﺣﻠﺔ‪ ،‬ﺩﻭﻥ ﺃﻥ ﺗﻐﻮﺹ ﺇﱃ ﻗﺎﻉ‬

‫ﺃ ‪h‬ﻳﺎ ﻣﻨﻬﲈ ﺑﺎﺳﺘﻐﺮﺍﻕ ﻛﻞ ﺧﺼﺎﺋﺼﻪ‪.‬‬

‫ﹼ‬ ‫ﻣﺮ ﻭﻋﺎﺵ ﲠﺎ‬ ‫ﻳﺘﺠﲆ ﺃﺩﺏ ﺍﻟﺮﺣﻼﺕ ﻋﻨﺪﻣﺎ ﻳﺘﺤﺪﹼ ﺙ ﺍﻟﻜﺎﺗﺐ ﻋﻦ ﺍﳌﻮﺍﻧﺊ ﻭﺍﳌﺪﻥ ﺍﻟﺘﻲ ﹼ‬

‫ﻣﻐﺎﻣﺮﺍﺕ ﻋﺎﻃﻔﻴﺔ ﻧﺴﺎﺋﻴﺔ‪ ،‬ﻣﻨﻬﺎ ﺍﻹﺳﻜﻨﺪﺭﻳﺔ‪:‬‬

‫»ﺳﻴﻤﺮ ﺍﻟﱰﺍﻡ ﻣﻦ ﳏﻄﺔ ﺍﻟﺮﻣﻞ ﻟﻴﺄﺧﺬﲏ ﺇﱃ ﻣﻨﻄﻘﺔ ﻗﴫ ﺭﺃﺱ ﺍﻟﺘﲔ ﺍﳌﺠﺎﻭﺭﺓ ﻟﻠﻘﴫ‬ ‫ﹼ‬

‫ﺍﳌﻠﻜﻲ‪ ،‬ﻋﺎﺋﺪﹰ ﺍ ﰊ ﺇﱃ ﺍﳌﺤﻄﺔ ﻧﻔﺴﻬﺎ‪،‬‬ ‫ﻣﺮﻭﺭﺍ ﺑﺠﺎﻣﻊ ﺍﻟﻘﺎﺋﺪ ﺇﺑﺮﺍﻫﻴﻢ ﻭﳏﻄﺔ ﻣﴫ ﻭﺍﻟﺮﺻﺎﻓﺔ‬ ‫ﹰ‬ ‫ﻭﺍﻟﻨﺰﻫﺔ ﻭﻧﺎﺭﻳﲈﻥ ﻭﺍﻟﻮﺭﺩﻳﺎﻥ‪ ،‬ﺃﻣﺎ ﺫﻭ ﺍﻟﻌﺮﺑﺎﺕ ﺍﻟﺰﺭﻕ ﻓﻴﺄﺧﺬﻙ ﰲ ﺟﻮﻟﺔ ﺑﲔ ﺍﻷﺣﻴﺎﺀ ﺍﻟﺮﺍﻗﻴﺔ‬

‫ﻭﻣﻌﺎﱂ ﺍﻟﺒﻨﺎﻳﺎﺕ ﺍﳌﻌﲈﺭﻳﺔ ﺍﳉﻤﻴﻠﺔ‪ ،‬ﻣﺜﻞ ﺭﺷﺪﻱ ﻭﺑﺎﻛﻮﺱ‪.«...‬‬ ‫ﲢﺪﹼ ﺙ ﹰ‬ ‫ﺃﻳﻀﺎ ﻋﻦ ﺍﻟﻘﺎﻫﺮﺓ ﻭﺍﻷﻫﺮﺍﻣﺎﺕ‪:‬‬

‫»ﺭﺃﻳﺖ ﺍﳌﻴﺎﺩﻳﻦ ﻭﺍﳊﺪﺍﺋﻖ ﻭﺍﻟﺴﻮﺍﺣﻞ ﻭﺍﳌﻘﺎﻫﻲ ﻭﺍﳊﺎﻧﺎﺕ ﻭﺍﻟﺸﻮﺍﺭﻉ ﺍﳌﺰﺩﲪﺔ ﺑﺎﻟﻨﺎﺱ‪،‬‬ ‫ﻣﺮﺭﻧﺎ ﺑﺎﳉﻴﺰﺓ ﺣﻴﺚ ﺍﻷﻫﺮﺍﻣﺎﺕ ‪ ...‬ﹸﻛﺘﺐ ﻋﻠﻴﻬﺎ ]ﻫﻲ ﻣﻘﺎﺑﺮ ﻣﻠﻜﻴﺔ ﳛﻤﻞ ﻛﻞ ﻣﻨﻬﺎ ﺍﺳﻢ ﺍﳌﻠﻚ‬

‫ﺷﻴﺪﻭﻫﺎ ﻗﺒﻞ ﻋﴩﺍﺕ ﺍﻟﻘﺮﻭﻥ‬ ‫ﺍﻟﺬﻱ ﺑﻨﺎﻫﺎ ﻭﺗﻢ ﺩﻓﻨﻪ ﻓﻴﻬﺎ‪ :‬ﺧﻮﻓﻮ ﻭﺧﻔﺮﻉ ﻭﻣﻨﻘﺮﻉ[ ﻭﻫﻢ ﻣﻠﻮﻙ ﱠ‬

‫ﻗﺒﻞ ﺍﳌﻴﻼﺩ‪.«...‬‬

‫ﹰ‬ ‫ﺃﻳﻀﺎ ﺗﻜﻠﻢ ﻋﻦ ﺳﻮﺭﻳﺎ ﻭﻣﻨﺎﺧﻬﺎ ﻭﺷﻮﺍﺭﻋﻬﺎ ﻭﺣﺪﺍﺋﻘﻬﺎ ﳊﻈﺔ ﻣﻐﺎﺩﺭﺗﻪ ﺍﳌﻌﱪ ﺍﳊﺪﻭﺩﻱ‬

‫ﺑﲔ ﻣﻦ ﺍﻟﻌﺮﺍﻕ ﺇﻟﻴﻬﺎ‪:‬‬

‫»ﺳﻮﺭﻳﺔ ﻟﻴﺴﺖ ﻣﺘﻮﺣﺸﺔ ﺃﻭ ﻋﺎﺑﺴﺔ ﰲ ﻭﺟﻪ ﺿﻴﻮﻓﻬﺎ‪ ،‬ﻫﻮﺍﺅﻫﺎ ﻋﺬﺏ ﺍﻟﱪﻭﺩﺓ ﻟﺬﻳﺬ‬

‫ﺷﻮﺍﺭﻋﻬﺎ ﻣﻌﺸﻮﺷﺒﺔ ﻭﰲ ﺳﲈﺋﻬﺎ ﺍﻟﻐﻴﻮﻡ ﻧﺎﺻﻌﺔ ﻭﺍﻟﺸﻤﺲ ﻭﺍﻟﻈﻞ ﻭﺍﻷﺷﺠﺎﺭ ﻭﺍﻷﺿﻮﺍﺀ‬

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‫ﺍﳌﺘﻸﻟﺌﺔ ﰲ ﺍﳊﺪﺍﺋﻖ ﻭﺍﳌﻄﺎﻋﻢ ﻭﺍﳌﺤﺎﻝ ﺍﻟﺘﺠﺎﺭﻳﺔ‪ ،‬ﺳﻮﺭﻳﺔ ﺍﳋﺎﻟﻴﺔ ‪ -‬ﻟﻴﺲ ﺍﻟﻴﻮﻡ ‪ -‬ﻣﻦ ﻣﻈﺎﻫﺮ‬ ‫ﺍﻟﺴﻼﺡ ﺗﺮﺳﻢ ﻭﺟﻪ ﺍﳌﺪﻳﻨﺔ ﺍﻟﻀﺎﺣﻚ‪ ،‬ﻭﺍﻷﻃﻔﺎﻝ ﺑﻤﻼﺑﺴﻬﻢ ﺍﻟﻘﺼﲑﺓ ﻭﺍﻟﻄﻮﻳﻠﺔ‪ ،‬ﻭﺍﻟﻨﺴﺎﺀ‬

‫ﺍﳉﻤﻴﻼﺕ‪ ،‬ﻭﺍﻟﺮﺟﺎﻝ ﺑﺜﻴﺎﲠﻢ ﺍﻷﻧﻴﻘﺔ‪ ،‬ﺗﺜﲑ ﺍﻟﺒﻬﺠﺔ ﻭﺍﻟﺘﻔﺎﺅﻝ ﰲ ﻧﻔﻮﺱ ﺯﺍﺋﺮﳞﺎ‪.«...‬‬

‫ﻛﲈ ﲢﺪﹼ ﺙ ﺑﺎﻧﺒﻬﺎﺭ ﻋﻦ ﻣﴩﻭﻉ ﺍﳉﻤﲑﺓ ﻭﻧﺨﻠﺔ ﺟﺒﻞ ﻋﲇ ﻭﻧﺨﻠﺔ ﺍﻟﺪﻳﺮﺓ ﰲ ﺩﰊ‪:‬‬ ‫»ﺭﺍﺋﻌﺔ ﻫﺬﻩ ﺍﻟﻠﺤﻈﺎﺕ ﰲ ﺩﰊ‪ ،‬ﺇﺑﺪﺍﻋﺎﺕ ﻟﻠﻌﻘﻞ ﺍﻟﺒﴩﻱ ﰲ ﺍﻧﺘﺎﺝ ﻣﺪﻳﻨﺔ ﺳﻴﺎﺣﻴﺔ‪،‬‬

‫ﻣﺪﻳﻨﺔ ﲤﺘﺪ ﰲ ﺍﻟﺒﺤﺮ ﺑﻌﺪ ﺭﺩﻡ ﺃﺟﺰﺍﺀ ﻛﺒﲑﺓ ﻣﻨﻪ ‪ ...‬ﻧﺨﻠﺔ ﺍﻟﺪﻳﺮﺓ ﲣﺮﺝ ﻣﻦ ﺍﻷﺭﺽ ﻭﲤﺘﺪ ﰲ‬

‫ﺍﲡﺎﻩ ﺍﻟﺒﺤﺮ ﻋﲆ ﻃﻮﻝ ﺧﻄﻮﻁ ﺍﳌﻼﺣﺔ ﻭﻋﲆ ﻛﻞ ﺍﻻﲡﺎﻫﺎﺕ ﻋﻼﻣﺎﺕ ﺑﺤﺮﻳﺔ‪ ،‬ﺍﻷﺧﴬ ﻳﻤﻴﻨﹰﺎ‬ ‫ﻭﺍﻷﲪﺮ ﹰ‬ ‫ﻣﺮﻭﺭﺍ ﺑﺈﻣﺎﺭﺓ ﺍﻟﺸﺎﺭﻗﺔ‪ ،‬ﻭﺍﻣﺘﺪﺍ ﹰﺩﺍ ﻣﻦ ﺩﰊ ﺇﱃ ﻣﺎ ﻧﺮﺍﻩ ﺍﻵﻥ‪.«...‬‬ ‫ﺷﲈﻻ‬ ‫ﹰ‬ ‫ﻭﺃﻣﺎ ﻋﻦ ﻣﻮﺿﻮﻉ ﹼ‬ ‫ﺃﻥ ﺍﻟﻌﻤﻞ ﺳﲑﺓ ﺫﺍﺗﻴﺔ‪ ،‬ﻗﺪ ﻗﺎﻝ ﺍﻟﻜﺎﺗﺐ ﺫﻟﻚ ﺑﺸﻜﻞ ﴏﻳﺢ‪ ،‬ﻟﻜﻦ‬ ‫ﹸ‬ ‫ﻗﺮ ﺃﻧﻪ‬ ‫ﻋﲆ ﻟﺴﺎﻥ ﺍﻟﺴﺎﺭﺩ‪ ،‬ﻓﺎﻟﻜﺎﺗﺐ ﻳﺮﺍﻭﻏﻨﺎ ﰲ ﻫﺬﻩ ﺍﳊﻴﺜﻴﺔ‪ ،‬ﺃﻭ ﺃﻧﻪ ﻗﺪ ﺃﻭﳘﻨﺎ ﺃﳖﺎ ﻛﺬﻟﻚ‪ ،‬ﻭﺃ ﹼ‬ ‫ﻧﺠﺢ‪:‬‬ ‫»ﻋﴩﺍﺕ ﺍﳌﺮﺍﺕ ﻗﺎﻭﻣﺖ ﺭﻏﺒﺎﺕ ﺍﻟﻜﺘﺎﺑﺔ‪ ،‬ﻭﰲ ﻛﻞ ﻣﺮﺓ ﻓﺸﻠﺖ‪ ،‬ﻛﺘﺒﺖ »ﺍﻟﺪﺭﺩﺑﻴﺲ«‬ ‫ﻗﺼﴢ ﺍﻷﻭﱃ ﰲ ﻣﻜﺎﻥ ﻋﻤﻴﻖ ﳐﻴﻒ ﻻ ﹼ‬ ‫ﻳﻘﻞ ﺻﻌﻮﺑﺔ ﻋﻦ ﻣﻜﺎﻥ ﻛﺘﺒﺖ ﻓﻴﻪ »ﻣﺮﺍﻡ« ﺭﻭﺍﻳﺘﻲ‬ ‫ﻣﻴ ﹰﺎﻻ ﻟﺬﺍﰐ‪،‬‬ ‫ﺍﻷﻭﱃ‪ ،‬ﻭﻗﺼﺺ »ﺍﻟﺮﻳﺢ ﹸﺗﱰﻙ ﻓﻮﻕ ﺍﻟﻄﺎﻭﻟﺔ« ‪ ...‬ﻭﻋﲆ ﺳﺒﻴﻞ ﺍﻟﺘﻐﻴﲑ ﻛﻨﺖ ﹼ‬

‫ﺑﺖ ﺍﻵﺧﺮ ﻓﻴﻬﺎ‪،‬‬ ‫ﻭﺍﺳﺘﻌﻨﺖ ﺑﻤﻜﻨﻮﻧﺎﲥﺎ ﻭﺍﺳﺘﻤﻌﺖ ﺇﱃ ﻗﻮﳍﺎ ﻭﺷﺎﺭﻛﺖ ﺃﻓﻜﺎﺭﻫﺎ‪ .‬ﺍﻟﻨﺘﻴﺠﺔ‬ ‫ﹸ‬ ‫ﺟﺮ ﹸ‬ ‫ﹼ‬ ‫ﻫﺬﺍ ﺍﻟﻠﻐﺰ ﰲ ﺍﺳﺘﻐﻼﻝ ﺍﻟﻔﺮﺻﺔ »ﺍﻟﺘﻮﻏﻞ ﻋﻤﻴ ﹰﻘﺎ ﰲ ﻛﺘﺎﺑﺔ ﺍﻟﻨﻮﰐ«‪.(...‬‬

‫ﺭﺍﻋﻰ ﺍﻟﻜﺎﺗﺐ ﰲ ﺭﻭﺍﻳﺘﻪ ﺍﻟﺼﻮﺭﺓ ﺍﻟﻌﺎﻣﺔ ﻟﻠﺼﻔﺤﺔ ﻣﻦ ﺗﺮﺗﻴﺐ ﰲ ﺍﻟﻌﻨﺎﻭﻳﻦ ﻭﺍﻟﺴﻄﻮﺭ‬

‫ﻭﺍﳉﻤﻞ ﻭﺍﳊﻮﺍﳾ ﻟﻠﺼﻔﺤﺔ‪ ،‬ﻭﺍﻟﻔﻘﺮﺍﺕ‪ ،‬ﻟﻜﻦ ﻛﺎﻥ ﻫﻨﺎﻙ ﺑﻌﺾ ﺍﳋﻠﻞ ﰲ ﺍﺳﺘﺨﺪﺍﻡ ﺃﺩﻭﺍﺕ‬

‫ﺍﻟﺘﻨﻘﻴﻂ‪ ،‬ﺍﻟﻨﻘﻄﺔ ﻭﺍﻟﻔﺎﺭﺯﺓ ﻭﻋﻼﻣﺔ ﺍﻟﺘﻌﺠﺐ ﻭﺍﻻﺳﺘﻔﻬﺎﻡ‪ ،‬ﺃﻋﺰﻭﻩ ﻻﺧﺘﻼﻝ ﰲ ﺍﻟﺘﻨﺴﻴﻘﺎﺕ‬

‫ﺍﻟﺴﺎﺑﻘﺔ ﻟﻠﻄﺒﺎﻋﺔ‪ ،‬ﻣﺴﺆﻭﻟﺔ ﻋﻨﻬﺎ ﺩﺍﺭ ﺍﻟﻨﴩ‪.‬‬

‫ﺍﻟﺮﻭﺍﻳﺔ ﻣﻦ ﺍﻟﺮﻭﺍﻳﺎﺕ ﺍﳌﻌﺎﴏﺓ‪ ،‬ﺍﺳﺘﺨﺪﻡ ﻓﻴﻬﺎ ﺍﻟﻜﺎﺗﺐ ﺍﻟﻌﺪﻳﺪ ﻣﻦ ﺍﳌﺪﺍﺭﺱ ﺍﳌﻌﺎﴏﺓ‪،‬‬

‫ﺃﳘﻬﺎ ﺍﻟﻮﺍﻗﻌﻴﺔ )ﰲ ﺍﳊﺒﻜﺔ( ﻭﺍﻟﺮﻣﺰﻳﺔ ﻭﺍﻟﺮﻭﻣﺎﻧﺴﻴﺔ ﻭﺍﻟﱪﺍﻧﺴﻴﺔ )ﺍﻟﻔﻦ ﻟﻠﻔﻦ( ﻭﺍﻟﻔﻦ ﻟﻠﻤﺠﺘﻤﻊ‪،‬‬ ‫ﻭﺍﻟﻄﺒﻴﻌﻴﺔ‪ ،‬ﻣﺰﺝ ﺑﲔ ﻫﺬﻩ ﺍﳌﺪﺍﺭﺱ ﺑﺘﻘﻨﻴﺔ ﻋﺎﻟﻴﺔ ﺟﺪ‪ h‬ﺍ‪ ،‬ﺳﺂﰐ ﻋﲆ ﺫﻛﺮﻫﺎ ﻋﻨﺪ ﺩﺭﺍﺳﺔ ﺍﻷﺳﻠﻮﺏ‪.‬‬

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‫‪VLinguistic Trend<Ífi^ä◊÷]<ÿ}Çπ]<IN‬‬ ‫ﻭﻣﺎ ﺩﺍﻡ ﺍﻷﺩﺏ ﺑﻨﺎﺀ ﻓﻨﻲ ﻭﲨﺎﱄ ﺑﻼﻏﻲ‪ ،‬ﻣﺼﻨﻮﻉ ﺑﺪﻗﺔ ﻭﺣﻨﻜﺔ ﺃﺩﺑﻴﺔ ﻣﺜﻘﻠﺔ ﺑﺎﳉﲈﻝ‬

‫ﺧﺼﺺ ﺫﻟﻚ‬ ‫ﺍﻟﺒﻼﻏﻲ ﻭﺍﻟﻌﻤﻖ ﺍﳋﻴﺎﱄ ﻭﺍﻟﺮﻣﺰﻱ‪ ،‬ﻭﻣﺜﻘﻞ ﺑﺎﻟﺘﻌﺎﺑﲑ ﺍﻟﻠﻐﻮﻳﺔ ﻭﻣﺸﺘﻘﺎﲥﺎ‪ ،‬ﻓﻘﺪ ﹼ‬

‫ﺍﳌﺪﺧﻞ ﻟﻠﺪﻭﺍﻝ ﻭﺍﳌﺪﻟﻮﻻﺕ ﻭﺍﳌﻔﺎﻫﻴﻢ ﺍﻟﱰﻛﻴﺒﻴﺔ ﻭﺍﻹﻣﻼﺋﻴﺔ ﻭﺍﻟﻠﻐﻮﻳﺔ ﻭﺗﻮﺍﺑﻌﻬﺎ ﺍﻻﺷﺘﻘﺎﻗﻴﺔ‪،‬‬

‫ﻭﺣﺘﻰ ﲢﻠﻴﻼﲥﺎ ﺍﻟﻔﻮﻧﻮﻟﻮﺟﻴﺔ‪ ،‬ﻭﺍﳌﺮﻓﻮﻟﻮﺟﻴﺔ ﻭﺍﻟﺴﻴﺎﻗﻴﺔ‪ ،‬ﺣﺴﺐ ﺍﳌﻨﻈﻮﺭ ﺍﻟﺒﻨﻴﻮﻱ ﻭﺍﻟﺘﻮﺍﺻﲇ‬

‫ﺍﻟﺬﺭﺍﺋﻌﻲ‪.‬‬

‫ﺗﺘﺤﺪﹼ ﺩ ﻣﻦ ﺧﻼﻝ ﻫﺬﺍ ﺍﳌﺪﺧﻞ‪:‬‬ ‫‪ <Vgi^”◊÷<Ì◊⁄^é÷]<ÌÈeÅ˘]<ÌÊ^œn÷]<G‬ﻭﻣﺪ￯ ﻗﺪﺭﺗﻪ ﻋﲆ ﺗﻮﻇﻴﻒ ﻣﻜﺘﺴﺒﺎﺗﻪ ﺍﻟﺜﻘﺎﻓﻴﺔ ﰲ‬ ‫ﻣﻀﲈﺭ ﻋﻤﻠﻪ ﺍﻷﺩﰊ‪ ،‬ﻭﻻ ﺷﻚ ﺃﻥ ﹼ‬ ‫ﺍﳌﻄﻠﻊ ﻋﲆ ﻫﺬﺍ ﺍﻟﻌﻤﻞ ﺳﻴﺠﺪ ﺃﻥ ﺍﻟﻜﺎﺗﺐ ﻳﻤﺘﻠﻚ ﻗﺪﺭﺍﺕ‬ ‫ﻭﻣﻌﺎﺭﻑ ﺛﻘﺎﻓﻴﺔ ﻭﺃﺩﺑﻴﺔ‪ ،‬ﻋﻜﺴﺘﻬﺎ ﺍﻷﻟﻔﺎﻅ ﺍﳌﻬﻨﻴﺔ ﺍﻟﺘﻲ ﻗﺪﹼ ﻣﻬﺎ ﻟﻨﺎ ﺑﻠﻔﻈﻬﺎ ﺍﻟﻔﺼﻴﺢ‪:‬‬

‫ﺍﻟﺒﺤﺎﺭ ﰲ ﺍﳋﻔﺎﺭﺓ ﺍﻟﺒﺤﺮﻳﺔ ﺇﻣﺴﺎﻙ ﺍﻟﺪ ﹼﻓﺔ‪.‬‬ ‫ ﻣﻬﻤﺔ ﹼ‬‫ ﻣﺴﺆﻭﻟﻴﺔ ﺍﻟﻀﺎﺑﻂ ﺍﳌﺮﺍﻗﺒﺔ ﻭﺭﺳﻢ ﺍﳋﺮﺍﺋﻂ ﺃﻭ ﺍﻟﺜﺒﺎﺕ ﻋﲆ ﺍﳌﺴﲑ ﺣﺴﺐ ﺍﳋﻂ ﺍﻟﺒﺤﺮﻱ‬‫ﺍﳌﺮﺳﻮﻡ ﻟﻠﺒﺎﺧﺮﺓ‪ ،‬ﻭ ﹸﺗﺪﺍﺭ ﻫﺬﻩ ﺍﻟﻌﻤﻠﻴﺔ ﻣﻦ ﺑﺮﺝ ﺍﳌﺮﺍﻗﺒﺔ‪.‬‬

‫ﻳﺬﻛﺮﻩ ﻛﲈ ﻫﻮ ﻣﺘﻌﺎﺭﻑ‬ ‫ﺃﻭ ‪ -‬ﻋﲆ ﺍﻷﻗﻞ ‪ -‬ﻋﻨﺪﻣﺎ ﻻ ﻳﺄﰐ ﺑﺎﻟﻠﻔﻆ ﺍﻟﻠﻐﻮﻱ ﺍﻟﻔﺼﻴﺢ‪،‬‬ ‫ﹸ‬ ‫ﺃﺩﺑﻴﺎ‪:‬‬ ‫ﻋﻠﻴﻪ‪ ،‬ﻟﻜﻦ ﻳﻘﺪﹼ ﻡ ﻟﻪ ﺗﻌﺮﻳ ﹰﻔﺎ ‪h‬‬ ‫ ﻛﻞ ﻟﻮﻥ ﻟﻪ ﻟﻮﻧﻪ ﺍﳋﺎﺹ ‪ ...‬ﻭﺍﻷﺳﻮﺩ )ﻟﻠﺒﻠﺠﺎﺕ( ‪ -‬ﺧﺰﺍﻧﺎﺕ ﲢﺘﻴﺔ ﻓﻴﻬﺎ ﻣﻮﺍﺩ ﺳﺎﺋﻠﺔ‬‫ﻣﻠﻮﺛﺔ ﲡﻤﻌﺖ ﻣﻦ ﻓﻀﻼﺕ ﺍﳌﺎﻛﻴﻨﺔ ﻭﺍﻟﺴﻄﺤﺔ ‪.-‬‬

‫ﻫﺬﻩ ﺍﻟﺜﻘﺎﻓﺔ ﺍﻷﺩﺑﻴﺔ ﺍﻟﺸﺎﻣﻠﺔ ﹼ‬ ‫ﻣﻜﻨﺘﻪ ﻣﻦ ﺗﻘﺪﻳﻢ ﻋﻤﻞ ﻣﺪﺭﻭﺱ‪ ،‬ﻭﺩﻗﻴﻖ ﺑﻤﻌﻠﻮﻣﺎﺗﻪ‪،‬‬

‫ﺃﺩﺑﻴﺎ‪.‬‬ ‫ﺑﺎﻹﺿﺎﻓﺔ ﺇﱃ ﺃﻧﻪ ﹼﻗﻴﻢ ﹼ‬

‫‪ <VÌÈeÅ˘]<å^flq˘^e<ÌȵÅ^“˘]<ÌÊÜ√π]<G‬ﺍﻟﻜﺎﺗﺐ ﻋﲆ ﺩﺭﺍﻳﺔ ﺑﻜﻞ ﺗﻘﻨﻴﺎﺕ ﺍﻟﴪﺩ‬

‫ﺍﻷﺩﰊ‪ ،‬ﻭﻋﲆ ﺍﻃﻼﻉ ﻭﻣﻌﺮﻓﺔ ﺃﻛﺎﺩﻳﻤﻴﺔ ﺑﺎﳉﻨﺲ ﺍﻷﺩﰊ ﺍﻟﺬﻱ ﻳﻜﺘﺐ ﻓﻴﻪ‪ ،‬ﺃﺩﺏ ﺍﻟﺮﺣﻼﺕ ﰲ‬

‫ﺇﻃﺎﺭ ﺣﺒﻜﺔ ﺭﻭﺍﺋﻴﺔ ﻣﻌﺎﴏﺓ‪ ،‬ﻳﺪﺭﻙ ﻣﺘﻰ ﻳﺼﻒ‪ ،‬ﻭﻣﺘﻰ ﻳﴪﺩ‪ ،‬ﻭﻣﺘﻰ ﻳﻮﻗﻒ ﺍﻟﴪﺩ ﻭﻣﺘﻰ‬

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‫ﻳﴪﻋﻪ ﻭﻣﺘﻰ ﻳﺒﻄﺌﻪ‪ ،‬ﻭﻣﺘﻰ ﻳﺴﻤﺢ ﺑﺎﻟﺪﻳﺎﻟﻮﺝ‪ ،‬ﻭﻣﺘﻰ ﳚﺮﻱ ﺍﳌﻮﻧﻮﻟﻮﺝ‪ ،‬ﻭﻣﺘﻰ ﳜﻄﻒ ﺧﻠ ﹰﻔﺎ‪،‬‬

‫ﻧﻔﺼﻞ ﺫﻟﻚ ﻋﻨﺪ ﺩﺭﺍﺳﺔ ﺗﻘﻨﻴﺎﺕ ﺍﻟﴪﺩ‪.‬‬ ‫ﻭﻣﺘﻰ ﻳﺴﻤﺢ ﺑﺘﺪﻓﻖ ﺳﻴﻞ ﺍﻟﻮﻋﻲ ‪ ...‬ﹼ‬

‫‪<V—^ÈâÊ<gÈ“]ÜiÊ<l]ÅÜÀ⁄<‡⁄<ÌËÁ«◊÷]<ÌÈflf÷]<G‬ﻟﻘﺪ ﺣﺮﺹ ﺍﻟﻜﺎﺗﺐ ﻋﲆ ﺍﺧﺘﻴﺎﺭ‬

‫ﺍﻷﻟﻔﺎﻅ ﺍﻟﺒﺴﻴﻄﺔ ﺍﳌﻌﺮﻭﻓﺔ‪ ،‬ﻟﻜﻨﻪ ﺑﺮﻉ ﰲ ﻧﻈﻢ ﺗﻠﻚ ﺍﻷﻟﻔﺎﻅ ﰲ ﺗﺮﺍﻛﻴﺐ ﻗﺼﲑﺓ ﺃﻭ ﻣﺘﻮﺳﻄﺔ‪،‬‬

‫ﺳﻠﻴﻤﺔ ﲤﺎ ﹰﻣﺎ ﻣﻦ ﺍﻟﻨﺎﺣﻴﺔ ﺍﻟﻨﺤﻮﻳﺔ‪ ،‬ﺍﻧﺘﻈﺎﻡ ﺗﻠﻚ ﺍﻟﱰﺍﻛﻴﺐ ﰲ ﺳﻴﺎﻕ ﺍﳌﻌﻨﻰ ﳚﻌﻠﻬﺎ ﺩﻗﻴﻘﺔ ﺟﺪ‪ h‬ﺍ‬ ‫ﰲ ﺭﺳﻢ ﺍﻟﺼﻮﺭﺓ ﺍﻟﺘﻲ ﻳﺮﻳﺪﻫﺎ ﺍﻟﻜﺎﺗﺐ‪ ،‬ﻭﻫﺬﺍ ﻣﺎ ﻳﻌﻄﻲ ﺍﻟﻜﺎﺗﺐ ﹰ‬ ‫ﲑﺍ ﰲ‬ ‫ﻭﲤﻴ ﹰﺰﺍ ﻛﺒ ﹰ‬ ‫ﻧﻘﺎﻃﺎ ﻋﺎﻟﻴﺔ‪h ،‬‬ ‫ﺍﻷﺳﻠﻮﺏ‪ ،‬ﻧﺄﺧﺬ ﹰ‬ ‫ﻣﺜﺎﻻ ﻋﲆ ﺫﻟﻚ‪:‬‬

‫»ﳌﺤﺖ ﰲ ﺑﻌﺾ ﺍﻟﻮﺟﻮﻩ ﺩﻑ ﹶﺀ ﺍﳌﺤﺒﺔ ﺍﻟﱪﻳﺌﺔ ﻳﻘﱰﺏ ﻣﻦ ﺻﺪﺭﻱ‪ ،‬ﻭﺣﺰ ﹰﻧﺎ ﻳﺸﺎﺑﻪ‬ ‫ﹸ‬ ‫ﺗﺪﺭﳚﻴﺎ ﺍﺳﺘﻠﻤﺖ ﹰ‬ ‫ﺧﻴﻄﺎ ﻣﻦ ﺧﻴﻮﻁ ﺍﻟﺬﺍﻛﺮﺓ‪ ،‬ﻋﺪﺕ ﺇﱃ ﻃﻔﻮﻟﺘﻲ‪ ،‬ﹰ‬ ‫ﺭﻏﲈ ﻋﻦ ﺃﻧﻒ‬ ‫ﺃﺣﺰﺍﲏ‪،‬‬ ‫‪h‬‬

‫ﺭﻏﺒﺘﻲ‪ ،‬ﺍﺧﺘﺎﺭﺕ ﺫﺍﻛﺮﰐ ﺍﻟﺬﻫﺎﺏ‪ ،‬ﻛﺎﻧﺖ ﺃﻣﻲ‪.«...‬‬

‫)ﳌﺤﺖ ‪-‬‬ ‫ﺃﻟﻔﺎﻅ ﻣﻔﺮﺩﺓ ﺑﺴﻴﻄﺔ‬ ‫ﺍﺳﺘﻠﻤﺖ ‪ -‬ﻋﺪﺕ‪ ،‬ﻭﺟﻮﻩ ‪ -‬ﺩﻑﺀ ‪ -‬ﺣﺰﻥ ‪ -‬ﺧﻴﻂ ‪-‬‬ ‫ﹸ‬ ‫ﹸ‬

‫ﳏﺒﺔ ‪ -‬ﺫﺍﻛﺮﺓ‪ ،(...‬ﻣﻨﺘﻈﻤﺔ ﰲ ﺗﺮﻛﻴﺒﻬﺎ ﺍﻟﻨﺤﻮﻱ )ﻓﻌﻞ – ﻓﺎﻋﻞ – ﻣﻔﻌﻮﻝ ﺑﻪ ‪ -‬ﺻﻔﺔ ﻭﻣﻮﺻﻮﻑ‬ ‫‪ -‬ﺟﺎﺭ ﻭﳎﺮﻭﺭ‪.(...‬‬

‫ﺍﺟﺘﲈﻉ ﻫﺬﻩ ﺍﻟﱰﺍﻛﻴﺐ‪ ،‬ﻭﺗﺮﺗﻴﺒﻬﺎ ﻋﲆ ﻫﺬﻩ ﺍﻟﺸﺎﻛﻠﺔ‪ ،‬ﻭﻛﺄﻧﻪ ﻳﺮﺳﻤﻪ ﻟﻨﺎ ﹰ‬ ‫ﺭﺳﲈ‪ ،‬ﺃﻋﻄﺎﻧﺎ‬ ‫ﺻﻮﺭﺓ ﻣﺆﻫﺒﺔ ﻟﻠﺨﻄﻒ ﺧﻠ ﹰﻔﺎ ﻋﻨﺪ ﺍﻟﻜﺎﺗﺐ‪ ،‬ﻟﻴﻌﻮﺩ ﺇﱃ ﺍﻟﻄﻔﻮﻟﺔ‪ ،‬ﻭﻳﴪﺩ ﻟﻨﺎ ﻣﺎ ﻛﺎﻥ ﳛﺪﺙ ﰲ‬

‫ﺍﳌﺎﴈ‪.‬‬

‫‪<VD›Á„Àπ]Ê<Ì÷˜Ç÷]E<ÌÈ√Ò]ÖÑ÷]<ÌÈflf÷]<‡¬<^⁄_<G‬ﻓﻘﺪ ﻛﺎﻧﺖ ﺗﺪﻭﺭ ﰲ ﺣﻠﻘﺔ ﺍﳌﻔﻬﻮﻡ‪،‬‬

‫ﺍﻟﺪﻻﻟﺔ ﺗﺸﲑ ﺇﱃ ﺍﳌﺪﻟﻮﻝ‪ ،‬ﻭﺍﳌﺪﻟﻮﻝ ﻳﺸﲑ ﺇﱃ ﺍﳌﻌﻨﻰ‪ ،‬ﻭﺍﳌﻌﻨﻰ ﻳﺸﲑ ﺇﱃ ﺍﳌﻔﻬﻮﻡ‪ ،‬ﻧﻮﺿﺢ ﺫﻟﻚ‬

‫ﻣﻦ ﺧﻼﻝ ﺧﻼﻝ ﺍﳌﺜﺎﻝ ﺍﳌﺄﺧﻮﺫ ﻣﻦ ﺍﻟﻔﻘﺮﺓ ﺍﻟﺘﺎﻟﻴﺔ‪:‬‬

‫ﻛﺎﻧﺖ ﺃﻣﻲ ﺑﺨﻔﺔ ﻭﻧﺸﺎﻁ ﺗﺴﺘﻤﻴﻠﻨﺎ ﺇﱃ ﻟﻄﻒ ﺍﻟﻠﺤﻈﺔ‪ ،‬ﻧﻠﻤﺢ ﺫﻟﻚ ﰲ ﺣﺮﻛﺎﲥﺎ ﺳﺎﻋﺔ‬

‫ﲑﺍ‪ ،‬ﺭﻏﻢ ﺍﺗﺰﺍﻧﻪ ﺍﻟﺘﺎﻡ ﻛﻨﺎ‬ ‫ﺍﻟﻐﺪﺍﺀ‪ ،‬ﻛﺎﻥ ﻭﺟﻮﺩ ﺃﰊ ﺍﳌﺘﺪﻓﻖ ﺑﻼ ﻫﻮﺍﺩﺓ ﺑﻨﻈﺮﺍﺕ ﺍﻹﻋﺠﺎﺏ ﳍﺎ ﻣﺜ ﹰ‬ ‫ﹰ‬ ‫ﻣﺴﺘﺴﻠﲈ ﻟﺒﻌﺾ ﺣﺮﻛﺎﲥﺎ ﺍﳌﻌﱪﺓ ﻋﻦ ﺣﺒﻬﺎ ﻟﻪ‪ ،‬ﻣﺸﻬﺪ ﻳﺒﻌﺚ ﰲ ﺍﻟﻨﻔﺲ ﲠﺠﺔ ﺑﻼ ﺿﻔﺎﻑ‪،‬‬ ‫ﻧﺮﺍﻩ‬

‫ﻧﻈﺮﺍﺗﻪ ﻛﺎﻧﺖ ﻋﻤﻴﻘﺔ‪ ،‬ﺃﺻﺎﺑﻌﻪ ﺍﻟﺴﻤﺮﺍﺀ ﺍﻟﻄﻮﻳﻠﺔ ﺗﻠﻤﺲ ﺃﻃﺮﺍﻑ ﻭﺟﻬﻬﺎ ﺍﻷﺑﻴﺾ‪ ،‬ﻛﺎﻥ ﻳﻜﻴﻞ‬

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‫ﺍﳌﺪﻳﺢ ﳍﺎ ﻭﻫﻲ ﻣﻨﺸﻐﻠﺔ ﺗﻌﺪﹼ ﺍﻟﻄﻌﺎﻡ ﻟﻨﺎ‪ ،‬ﻛﺎﻥ ﻳﺜﲑ ﺍﻟﺮﺍﺣﺔ ﻓﻴﻨﺎ ﻭﺷﻬﻴﺘﻨﺎ‪ ،‬ﻛﺎﻥ ﺃﰊ ﻛﺜﲑ ﺍﳌﻼﻣﺴﺔ‬

‫ﻷﻣﻲ‪ ،‬ﻭﻛﻨﺖ ﺃﳌﺢ ﺍﻻﻧﺼﻬﺎﺭ ﺑﻴﻨﻬﲈ ﰲ ﺻﺪ￯ ﺍﻻﺑﺘﺴﺎﻣﺎﺕ ﺍﻟﺘﻲ ﻛﺎﻧﺖ ﺗﺘﻜﺮﺭ ﻣﻊ ﺑﻌﺾ‬

‫ﻏﻤﺰﺍﺕ ﻣﻦ ﺍﻟﻌﻴﻮﻥ ﺗﺘﺴﻊ ﻭﺗﻀﻴﻖ ﻭﺗﺘﺴﻊ ﻛﻠﲈ ﺍﻗﱰﺑﺎ ﻣﻦ ﺑﻌﻀﻬﲈ‪ ...‬ﺍﺑﺘﻌﺪﺍ‪.‬‬

‫ﻫﺬﻩ ﺍﻟﻔﻘﺮﺓ ﺍﻟﺪﻻﻟﺔ ﻓﻴﻬﺎ )ﺍﳊﺐ(‪ ،‬ﻣﺪﻟﻮﻻﲥﺎ ﻛﻞ ﻣﺎ ﺃﴍﺕ ﲢﺘﻪ ﺑﺨﻂ‪ ،‬ﻫﺬﻩ ﺍﳌﺪﻟﻮﻻﺕ‬

‫ﰲ ﺍﻟﺴﻴﺎﻕ ﺃﺷﺎﺭﺕ ﺇﱃ ﺍﳌﻌﻨﻰ )ﺍﻟﻮﺩ(‪ ،‬ﻟﻜﻦ ﺍﳌﻔﻬﻮﻡ ﺍﳌﺨﺒﻮﺀ ﺑﺎﳌﻌﺎﲏ ﺍﳌﺆﺟﻠﺔ ﻛﺎﻥ )ﺍﻟﱰﺍﺑﻂ‬ ‫ﺍﻷﴎﻱ(‪ ،‬ﻭﻫﻮ ﻣﺎ ﺃﻭﻗﻒ ﻣﺮﺍﻭﻏﺔ ﺍﳌﺪﻟﻮﻻﺕ ﺑﺪﻳﻨﺎﻣﻴﻜﻴﺘﻬﺎ ﺍﻟﻜﺒﲑﺓ‪ ،‬ﻭﻫﺬﺍ ﻣﺎ ﻳﻮﺻﻠﻨﺎ ﺇﻟﻴﻪ‬ ‫ﺍﻟﺘﺤﻠﻴﻞ ﺍﻟﺬﺭﺍﺋﻌﻲ ﲢﺪﻳﺪﹰ ﺍ‪ ،‬ﺍﻟﺬﻱ ﻳﻌﺘﻤﺪ ﻋﲆ ﲡﺎﻭﺯ ﺍﻟﺘﺤﻠﻴﻞ ﻟﺪﻻﻻﺕ ﺍﻟﻨﺺ ﺑﺎﳌﺪﻟﻮﻻﺕ‪،‬‬ ‫ﻷﻥ ﺍﳌﺪﻟﻮﻻﺕ ﺗﻘﻒ ﻋﻨﺪ ﺍﳊﺪﹼ ﺍﻟﺴﻴﲈﻧﺘﻴﻜﻲ‪ ،‬ﻓﺘﻌﺘﱪ ﺩﺭﺟﺘﻬﺎ ﺍﻟﺪﻻﻟﻴﺔ ﻋﺒﺎﺭﺓ ﻋﻦ ﻣﺘﻮﺍﺯﻳﺎﺕ‬ ‫ﻣﱰﺍﺩﻓﺔ ﳌﻌﻨﻰ ﺍﻟﺪﻻﻟﺔ‪ ،‬ﺣﺘﻰ ﻳﺒﻠﻎ ﻫﺬﺍ ﺍﻟﺘﺠﺎﻭﺯ ﺍﻟﺮﻛﻮﻥ ﻋﻨﺪ ﺍﳌﻔﻬﻮﻡ ﻹﺩﺭﺍﻙ ﺍﳌﻌﺎﲏ ﺍﳌﺆﺟﻠﺔ‬

‫ﻋﻨﺪ ﺍﳌﻌﻨﻰ ﺍﻟﺬﺭﺍﺋﻌﻲ ﺍﻟﺬﻱ ﳜﺘﺰﻥ ﺍﻟﻠﻐﺔ ﺍﻟﺴﺎﻧﺪﺓ ﺍﻟﺘﻲ ﺗﻨﺘﺞ ﻋﻨﻬﺎ ﺍﻟﺘﺄﻭﻳﻼﺕ ﺍﳌﺘﻌﻠﻘﺔ ﰲ ﺍﳋﻴﺎﻝ‬ ‫ﻭﺍﻟﺮﻣﺰ‪ ،‬ﻭﺍﻟﺘﻲ ﺗﻜﻮﻥ ﺩﺭﺟﺔ ﺗﺄﺟﻴﻠﻬﺎ ﺇﱃ ﻣﺎ ﻻ ﳖﺎﻳﺔ‪.‬‬ ‫ﻭﻋﲆ ﻫﺬﺍ ﺍﳌﻨﻮﺍﻝ ﺗﻜ ﹼﻠﻢ ﺍﻟﻜﺎﺗﺐ ﰲ ﺍﻟﻌﺪﻳﺪ ﻣﻦ ﺍﳌﻔﺎﻫﻴﻢ‪ ،‬ﻧﺴﺘﻌﺮﺽ ﺑﻌﻀﻬﺎ ﻣﻊ ﺍﻟﺪﻻﻟﺔ‬ ‫ﻭﺍﳌﺪﻟﻮﻻﺕ‪:‬‬ ‫ﹼ‬ ‫)ﻛﺄﻥ ﺍﳊﺐ ﻋﻨﺪ ﺑﻌﺾ ﺍﻟﻨﺴﺎﺀ ﺣﺎﺟﺔ ﻛﲈ ﺍﳊﺎﺟﺔ ﺇﱃ ﺍﻟﻄﻌﺎﻡ ﻭﺍﳌﺎﺀ ﻭﺍﻟﻨﻮﻡ ﻭﺍﻹﻛﺴﺴﻮﺍﺭ‬ ‫ﺗﺘﻤﺮﺩ ﺣﲔ ﲤﺴﻚ ﺍﻟﺘﴫﻑ ﺍﻟﺒﺎﻫﺮ‪،‬‬ ‫ﻭﺍﳌﻼﺑﺲ‪ .‬ﲢﺘﺎﻝ ﻛﺜ ﹰ‬ ‫ﲑﺍ ﻭﻫﻲ ﻓﺎﻗﺪﺓ ﺇﱃ ﺍﻟﻜﻴﺎﺳﺔ ﻭﺍﻟﻠﻴﺎﻗﺔ‪ ،‬ﹼ‬ ‫ﺗﻜﻤﻦ ﻋ ﹼﻠﺘﻬﺎ ﰲ ﻧﻘﺺ ﻻﺑﺪ ﻣﻦ ﺇﻛﲈﻟﻪ‪ .‬ﻭﺇﻥ ﺗﻌﺎﺭﺿﺖ ﺍﻷﻣﻮﺭ ﻭﺭﻓﺾ ﺯﻳﻔﻬﺎ ﺍﻟﺮﺟﻞ ﻳﻜﻮﻥ‬ ‫ﻫﻮ ﺍﳌﺴﺘﺒﺎﺡ ﻟﻜﻞ ﺃﻣﺮ ﻓﺎﺿﺢ ﻭﻓﻈﻴﻊ‪ .‬ﺇﱃ ﻣﺘﻰ ﺗﻔﻜﺮ ﺍﳌﺮﺃﺓ ﺃﳖﺎ ﺍﳍﺪﻑ ﻭﺍﻟﺮﺟﻞ ﺭﻣﺢ؟ ﺇﱃ ﻣﺘﻰ‬ ‫ﺗﻨﻈﺮ ﺍﳌﺮﺃﺓ ﻭﻛﺄﳖﺎ ﺍﻟﻮﺣﻴﺪﺓ ﺍﻟﺘﻲ ﳍﺎ ﺍﻟﻘﺪﺭﺓ ﻋﲆ ﺍﺣﺘﻮﺍﺀ ﺍﻟﺮﺟﻞ؟ ﻭﺍﺳﺘﻨﻔﺎﺭ ﺍﻟﺬﻛﻮﺭ؟ ﻭﻫﻲ‬ ‫ﺍﳊﻴﺎﺓ؟‪.‬‬ ‫ﺍﻟﺪﻻﻟﺔ‪ :‬ﺍﻷﻧﺜﻰ‪.‬‬ ‫ﺍﳌﺪﻟﻮﻻﺕ‪ :‬ﺍﳊﺐ ﻭﺍﳉﻨﺲ ﻭﺍﻟﺘﻜﺎﺛﺮ‪.‬‬ ‫ﺍﳌﻔﻬﻮﻡ‪ :‬ﺍﻟﻌﺎﻃﻔﺔ‪.‬‬ ‫ﺍﳌﻔﻬﻮﻡ‪ :‬ﻳﻐﻠﻒ ﺍﳌﻌﻨﻰ‪.‬‬ ‫ﺍﳌﻔﻬﻮﻡ‪ :‬ﹼ‬ ‫ﺇﻥ ﺍﻟﻌﺎﻃﻔﺔ ﺗﻐﻠﻒ ﺍﻷﻧﻮﺛﺔ‪.‬‬

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‫ﻣﺜﺎﻝ ﺁﺧﺮ‪:‬‬ ‫»ﱂ ﺃﺟﺪ ﺃﻱ ﻣﻌﻨﻰ ﻣﻦ ﲠﺮﺟﺔ ﺛﻴﺎﲠﻦ ﻭﻻ ﻣﻦ ﺻﻮﺕ ﻳﺄﰐ ﺑﻨﱪﺓ ﻋﺎﻟﻴﺔ ﻳﺸﻌﺮﻙ ﺑﺎﻟﻮﺣﺸﻴﺔ‬

‫ﻭﻳﺪﻓﻌﻚ ﺇﱃ ﺍﻻﺑﺘﻌﺎﺩ ﻭﺍﻟﻜﺘﲈﻥ‪ .‬ﺍﳌﺮﺃﺓ ﺍﻟﺴﻮﻳﺔ ﺗﻠﻚ ﺍﻟﺘﻲ ﻧﺮﺍﻫﺎ ﺳﻴﺪﺓ ﰲ ﺍﻟﺼﺒﺎﺡ‪ ،‬ﻭﺍﻣﺮﺃﺓ ﰲ‬

‫ﺍﻟﻨﻬﺎﺭ‪ ،‬ﻭﰲ ﺍﻟﻠﻴﻞ ﺃﻧﺜﻰ ﺃﻛﺜﺮ ﻣﻦ ﺭﺍﺋﻌﺔ! ﺗﻠﻚ ﺍﻟﺘﻲ ﺗﻌﺮﻑ ﻛﻴﻒ ﺗﺒﻨﻲ ﻭﻻ ﲥﺪﻡ‪ ،‬ﲤﺴﺢ ﻋﲆ ﻛﺘﻒ‬ ‫ﻭﺗﻄﻴﺐ ﻣﺰﺍﺝ ﺍﻷﻭﻻﺩ‪ ،‬ﻭﺗﻨﻘﺶ ﰲ ﺫﻫﻦ ﺍﻟﺒﻨﺎﺕ ﺃﲨﻞ ﺍﳊﻜﺎﻳﺎﺕ‪ ،‬ﺍﳌﺮﺃﺓ ﺍﻟﻨﺎﺿﺠﺔ‬ ‫ﺯﻭﺟﻬﺎ‪،‬‬ ‫ﹼ‬

‫ﻧﺮﺍﻫﺎ ﻭﻛﺄﻧﻨﺎ ﻻ ﻧﻌﺮﻑ ﺳﻮﺍﻫﺎ‪ ،‬ﺳﻤﺤﺔ ﻟﻴﻨﺔ ﻗﻮﻳﺔ‪ .‬ﻭﺍﳊﺪﻳﺚ ﻃﻮﻳﻞ ﻋﻦ ﺍﳌﺮﺃﺓ ﺍﻟﺘﻲ ﺗﻌﺮﻑ ﻛﻴﻒ‬ ‫ﲤﺴﻚ ﺍﳊﻴﺎﺓ ﻭﺗﺮﺳﻢ ﺧﻄﻮﻁ ﻣﺴﺘﻘﺒﻠﻬﺎ‪ ،‬ﻭﺗﻌﻄﻲ ﳌﻦ ﻣﻌﻬﺎ ﻭﻣﻦ ﺣﻮﳍﺎ ﺩﺍﻓﻊ ﺍﻻﺳﺘﻤﺮﺍﺭ ﰲ‬

‫ﻋﺰ ﺍﻟﻨﻬﺎﺭ«‪.‬‬ ‫ﺍﻟﻄﺮﻳﻖ ﺍﻷﺑﻴﺾ ﺑﲔ ﺿﻔﺘﻴﻪ ﺍﻷﺷﺠﺎﺭ ﻏ ﹼﻨﺎﺀ ﰲ ﹼ‬ ‫ﺍﻟﺪﻻﻟﺔ‪ :‬ﺍﻷﻧﺜﻰ‪.‬‬ ‫ﺍﳌﺪﻟﻮﻻﺕ‪ :‬ﻣﺎ ﲢﺘﻪ ﺧﻂ‪.‬‬

‫ﻗﺴﻢ ﺍﻟﻨﺴﺎﺀ ﺇﱃ ﻗﺴﻤﲔ‪ :‬ﺻﺎﳊﺔ‬ ‫ﺍﳌﻔﻬﻮﻡ‪ :‬ﺍﻷﺧﻼﻕ ﻭﺍﳌﺜﻞ ﺍﳊﻤﻴﺪﺓ‪ ،‬ﻭﻋﲆ ﻫﺬﺍ ﺍﳌﻔﻬﻮﻡ ﹼ‬

‫ﻭﻏﲑ ﺻﺎﳊﺔ‪.‬‬

‫ﻓﺈﺫﻥ ﺃﺻﺒﺢ ﻋﻨﺪﻧﺎ ﻣﻔﺎﻫﻴﻢ ﻟﺪﻻﻟﺔ ﻭﺍﺣﺪﺓ )ﺍﻷﻧﺜﻰ( ﻫﻲ ﻣﻔﻬﻮﻡ ﺍﻟﻌﺎﻃﻔﺔ ﻭﺍﻷﺧﻼﻕ‪،‬‬

‫ﻭﺍﻷﻣﻮﻣﺔ ﻭﺍﻟﺰﻭﺟﺔ ﺍﻟﺼﺎﳊﺔ‪.‬‬

‫ﻧﺤﻦ ﻻ ﻧﺒﺤﺚ ﻋﻦ ﺍﳌﻌﻨﻰ ﻭﺇﻧﲈ ﻧﺒﺤﺚ ﻋﻦ ﻣﻌﻨﻰ ﺍﳌﻌﻨﻰ‪ ،‬ﺣﻴﺚ ﺇﻥ ﺍﻟﺘﺤﻠﻴﻞ ﺍﻟﱪﺍﻏﲈﰐ‬

‫ﻳﺄﺧﺬ ﺍﳌﻌﻨﻰ ﰲ ﺍﻟﺘﻮﺍﺻﻞ‪ ،‬ﺑﻴﻨﲈ ﺍﻟﺘﺤﻠﻴﻞ ﺍﻟﻨﻘﺪﻱ ﺍﻟﻠﺴﺎﲏ ﻳﺄﺧﺬ ﺍﳌﻌﻨﻰ ﰲ ﺍﻟﺴﻴﺎﻕ‪.‬‬ ‫ﻣﺜﺎﻝ ﺁﺧﺮ‪:‬‬

‫»ﺃﰊ ﺣﺎﴐ ﰲ ﻛﻞ ﺯﺍﻭﻳﺔ ﻣﻦ ﺯﻭﺍﻳﺎ ﺍﻟﺒﻴﺖ‪ ،‬ﻛﺎﻥ ﺍﳊﺎﻛﻢ ﺍﻟﻘﻮﻱ ﻭﺍﳌﺪﺍﻓﻊ ﺍﻟﻮﺣﻴﺪ ﻋﻨﻲ‬

‫ﺑﻘﻮﺓ‪ ،‬ﻛﻞ ﻣﺎ ﻳﻤﻜﻨﻨﻲ ﻓﻌﻠﻪ ﻫﻮ ﺍﺳﺘﻴﻌﺎﺏ ﻣﻨﻬﺠﻪ ﰲ ﺍﳊﻴﺎﺓ ﻭﻣﺎ ﺗﺮﻛﻪ ﱄ ﻣﻦ ﺃﺛﺮ‪ ،‬ﳐﻄﻮﻃﺎﺗﻪ‬ ‫ﺍﳌﺒﻌﺜﺮﺓ ﺩﺍﺧﻞ ﺍﻟﺼﻨﺪﻭﻕ ﲢﺘﻮﻱ ﺍﻹﺭﺙ ﺍﳌﻌﻨﻮﻱ ﺍﻟﻘﺎﺩﺭ ﻋﲆ ﺍﻷﺧﺬ ﺑﻴﺪﻱ‪.‬‬

‫ﻟﻦ ﺃﺳﺘﻄﻴﻊ ﺍﻟﺒﻘﺎﺀ ﻋﲆ ﻗﻴﺪ ﺍﻟﺸﻘﺎﺀ ﻭﺣﻴﺪﹰ ﺍ‪ ،‬ﺭﺑﲈ ﻛﻨﺖ ﺃﻫﺬﻱ ﻣﻦ ﻓﺮﻁ ﺍﻷﱂ‪ ،‬ﺃﻭ ﺷﻌﺮﺕ‬

‫ﺑﺨﻴﺒﺘﻲ ﻣﻦ ﻋﺪﻡ ﻗﺪﺭﰐ ﻋﲆ ﺍﺳﱰﺟﺎﻉ ﺻﻔﺎﺀ ﺫﻫﻨﻲ‪ ،‬ﺃﺭﺍﻩ ﰲ ﺍﳌﻨﺎﻡ ﻭﻣﺎ ﺯﻟﺖ ﺃﺳﻤﻌﻪ ﻳﻄﻠﺐ ﻣﻨﻲ‬

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‫ﺍﻟﻌﻤﻞ ﺑﻮﺻﻴﺘﻪ‪] :‬ﺃﻥ ﺃﻃﻠﻊ ﻋﲆ ﳐﻄﻮﻃﺎﺗﻪ ﺍﻟﺘﻲ ﺗﺮﻛﻬﺎ ﰲ ﺻﻨﺪﻭﻗﻪ ﺍﻟﺒﻨﻲ ﺍﳌﺎﺋﻞ ﻟﻠﺴﻮﺍﺩ ﲢﺖ‬ ‫ﻣﻜﺘﺒﻪ ﺍﳋﺸﺒﻲ ﺍﳌﻄﺮﺯ ﺑﺎﻟﻨﻘﻮﺵ ﺍﻟﺬﻫﺒﻴﺔ[‪.«...‬‬ ‫ﺍﻟﺪﻻﻟﺔ‪ :‬ﺍﻷﺏ‪.‬‬ ‫ﺍﳌﻔﻬﻮﻡ‪ :‬ﺍﻷﺑﻮﺓ ﻭﻣﻮﺭﻭﺛﺎﲥﺎ‪.‬‬ ‫ﻣﺜﺎﻝ ﺁﺧﺮ‪:‬‬ ‫ﺩﻭﻥ ﺃﰊ‪] :‬ﺑﻨﻲ ﻣﺎ ﻳﻘﻠﻘﻨﻲ ﻋﻠﻴﻚ ﺑﺎﻗﻲ ﺍﳊﻜﺎﻳﺔ‪ ،‬ﻭﺃﻋﺘﻘﺪ ﺃﻧﻨﻲ ﻟﻦ ﺃﺑﺎﻟﻎ ﺇﺫﺍ ﻗﻠﺖ‬ ‫»ﻟﻘﺪ ﹼ‬ ‫ﻟﻚ ﻻ ﺃﺣﺪ ﻟﻪ ﻗﺪﺭﺓ ﻋﲆ ﺇﻳﻘﺎﻑ ﺟﺤﻴﻢ ﲡﺪﹼ ﺩ ﺻﺪ￯ ﺳﺆﺍﻟﻨﺎ ﺍﻷﺯﱄ ﻣﺘﻰ‪...‬؟ ﺃﺳﺘﻐﻴﺚ ﺑﺬﺍﻛﺮﰐ‬

‫ﺍﳌﻮﺟﻌﺔ ﻭﺃﻧﺎ ﺃﻛﺘﺐ ﻟﻚ ﻋﻦ ﺃﻣﺮ ﻫﺎﻡ ﺃﺭﺍﻩ ﳛﺪﺙ ﻟﻚ ﻳﻮ ﹰﻣﺎ‪ ،‬ﻭﻟﻜﻦ ﻗﺒﻞ ﺫﻟﻚ ﻣﻦ ﺍﳌﻨﺎﺳﺐ ﺃﻥ‬ ‫ﺗﻔﻬﻢ ﺃﻥ ﳖﺎﻳﺘﻲ ﻇﻬﺮﺕ ﻭﺍﺿﺤﺔ ﻛﻞ ﺍﻟﻮﺿﻮﺡ‪ ،‬ﻭﺑﺪﺃﺕ ﺃﻋﺮﻑ ﻣﻌﻨﻰ ﺍﻗﱰﺍﺏ ﺍﳌﻮﺕ‪ ،‬ﻭﻟﻜﻦ‬ ‫ﺷﻴﺌﹰﺎ ﻭﺍﺣﺪﹰ ﺍ ﻓﻘﻂ ﱂ ﺃﺳﺘﻄﻊ ﺗﻔﺴﲑﻩ‪ ..‬ﺍﻷﻣﻞ ﻭﺃﺗﻮﻗﻌﻪ ﺃﻧﺖ‪.«[...‬‬ ‫ﺍﻟﺪﻻﻟﺔ‪ :‬ﺍﻷﺏ‪.‬‬ ‫ﺍﳌﻔﻬﻮﻡ‪ :‬ﻗﻠﻖ ﺍﻷﺏ ﻋﲆ ﺃﺑﻨﺎﺋﻪ ﻭﺭﻏﺒﺘﻪ ﰲ ﺑﻘﺎﺋﻬﻢ ﺇﱃ ﺟﻮﺍﺭﻩ‪ ،‬ﻭﺃﻣﻠﻪ ﻓﻴﻬﻢ‪.‬‬ ‫ﺍﳉﻨﺲ‪:‬‬

‫)ﺃﺣﻴﺎ ﹰﻧﺎ ﻳﺸﻜﻞ ﺍﻻﻧﻔﻌﺎﻝ ﺍﳉﻨﴘ ﻣﴪﺣﻴﺔ ﻓﻜﺎﻫﻴﺔ ﺗﺸﺒﻪ ﺇﱃ ﺣﺪ ﺑﻌﻴﺪ ﺑﻌﺾ ﻣﴪﺣﻴﺎﺕ‬

‫ﻣﱪﻫﺠﺔ ﺟﺎﻓﺔ ﺗﻌﻴﺴﺔ ﻻ ﻣﻌﻨﻰ ﳍﺎ ﻭﻻ ﺫﻭﻕ ﰲ ﺃﻳﺎﻣﻨﺎ ﻫﺬﻩ‪ ،‬ﺭﻏﻢ ﻗﻠﺘﻬﺎ ﻭﺑﺸﻜﻞ ﻻﻓﺖ(‬ ‫ﺍﻟﺪﻻﻟﺔ‪ :‬ﺍﳉﻨﺲ‪.‬‬ ‫ﺍﳌﻔﻬﻮﻡ‪ :‬ﺍﻟﺮﻏﺒﺔ ﺑﺎﻟﻠﺬﺓ‪.‬‬

‫‪ <V·^Èf÷] <‹◊¬Ê <ƒËÇf÷] <‹◊¬ – <ÌÈ∆¯f÷] <^„i^œ◊√j⁄Ê <ÌÈ÷^€¢] <ÌÈflf÷] <G‬ﻭﻣﺎ ﺃﻛﺜﺮ‬

‫ﺍﻻﺳﺘﻌﺎﺭﺍﺕ ﻭﺍﻟﺘﺸﺎﺑﻴﻪ ﻭﺍﻟﻜﻨﺎﻳﺎﺕ‪ ،‬ﻻ ﻧﺴﺘﻄﻴﻊ ﺣﴫﻫﺎ‪ ،‬ﻧﺴﺘﻌﺮﺽ ﺑﻌﻀﻬﺎ‪:‬‬ ‫ ﻋﲆ ﺿﻔﺔ ﺍﻟﺬﺍﻛﺮﺓ ﺍﳌﺘﺤﺮﺭﺓ ﻋﻠﻘﺖ ﺟﺎﺋﺰﺓ ﻣﺸﺎﻭﻳﺮﻱ‪) .‬ﺍﺳﺘﻌﺎﺭﺓ(‪.‬‬‫‪ -‬ﻫﻴﻤﻦ ﺍﻟﺼﻤﺖ ﻋﲆ ﺍﳉﻤﻴﻊ ﻭﺍﻟﻘﻠﻖ ﺳﺎﻧﺪ ﺍﻟﺘﻌﺐ‪) .‬ﺍﺳﺘﻌﺎﺭﺓ(‪.‬‬

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‫ ﲢﴬ ﻛﻞ ﺳﻨﻮﺍﺕ ﺍﻟﻌﻤﺮ‪ ،‬ﺗﺘﻨﺎﺳﻞ ﺃﺣﻼﻣﻲ ﻭﻳﺒﺘﻌﺪ ﺍﻟﺒﻮﺡ ﻣﺜﻞ ﺻﻴﻒ ﰲ ﺃﻭﻝ ﺍﻟﺸﺘﺎﺀ‪.‬‬‫)ﺍﺳﺘﻌﺎﺭﺓ(‪.‬‬

‫ ﻧﺴﻴﺖ ﻛﺂﺑﺘﻲ ﻭﺍﺑﺘﻜﺮﺕ ﴏﺧﺔ ﻛﻨﺴﺖ ﺍﻟﻮﻫﻦ ﻋﻨﻲ‪) .‬ﺍﺳﺘﻌﺎﺭﺓ(‪.‬‬‫ﻣﻜﺮﻫﺎ ﺃﺗﺬﻛﺮ ﺗﻠﻚ ﺍﻷﻳﺎﻡ‪) .‬ﺍﺳﺘﻌﺎﺭﺓ(‪.‬‬ ‫ ﺍﻧﺰﻟﻖ ﺍﻟﺼﻤﺖ ﺭﺍﻗﺪﹰ ﺍ ﰲ ﳏﻴﻄﻲ ﺍﳌﺮﻋﺐ‬‫ﹰ‬ ‫ ﺍﻟﺸﻴﺐ ﻳﲈﺭﺱ ﺍﻟﻄﻐﻴﺎﻥ‪ ،‬ﻭﺍﻟﻮﻫﻦ ﲡﺎﻭﺯ ﻋﺮﳾ‪ ،‬ﺫﻟﻚ ﺍﻟﺘﻔﻜﲑ‪) .‬ﺍﺳﺘﻌﺎﺭﺓ(‪.‬‬‫ ﻣﺎﺯﺍﻝ ﰲ ﺍﻟﺼﺪﺭ ﺭﻏﺒﺔ‪ ،‬ﺍﻟﻠﻴﻞ ﻳﺴﺘﺤﻮﺫ ﻋﲆ ﺗﻘﺪﹼ ﻣﻲ‪ ،‬ﻳﺒﻌﺜﺮ ﺧﻄﻮﺍﰐ‪) .‬ﺍﺳﺘﻌﺎﺭﺓ(‪.‬‬‫ ﺗﺪﺣﺮﺟﺖ ﺍﳊﻴﺎﺓ ﻣﻦ ﺃﻣﺎﻣﻲ ﺭﺍﻓﻀﺔ ﻣﻨﺎﻏﺎﺓ ﺣﺰﲏ‪) .‬ﻛﻨﺎﻳﺔ(‪.‬‬‫ ﻋﺰﻑ ﺍﻟﻘﻠﺐ ﻧﻮﺗﺔ ﺷﻮﻕ ﻭﺫﺍﻛﺮﺓ‪) .‬ﻛﻨﺎﻳﺔ(‪.‬‬‫ﺻﻮﲥﺎ‪ ،‬ﹶ‬ ‫ﻣﺘﻔﻮ ﹰﻫﺎ ﺑﺎﺳﻤﻲ‪) .‬ﺗﺸﺒﻴﻪ(‪.‬‬ ‫ﺟﺮﺩﲏ ﻣﻦ ﻭﺟﻬﺘﻲ ﹸ‬ ‫ﻳﻐﺮﺩ ﹼ‬ ‫ﻣﺜﻞ ﺍﻟﻌﺼﻔﻮﺭ ﹼ‬ ‫ ﻣﺎ ﹼ‬‫ﻫﺰ ﺍﻷﻣﻮﺍﺝ ﻟﻠﺴﻔﻦ ﺗﺮﻧﹼﺢ ﻗﻠﺒﻲ ﳍﺎ ﺑﺎﻟﻘﺒﻮﻝ‪) .‬ﺗﺸﺒﻴﻪ(‪.‬‬ ‫ ﻣﺜﻞ ﹼ‬‫ ﺳﻜﻨﺖ ﺟﺴﺪﻱ‪ ...‬ﻣﺜﻞ ﺷﺠﺮﺓ ﲤﺪﱡ ﺟﺬﻭﺭﻫﺎ ﺇﱃ ﺍﻟﻄﲔ ﲢﺖ ﻓﺮﺷﺔ ﺍﳌﺎﺀ‪) .‬ﺗﺸﺒﻴﻪ(‪.‬‬‫ﺍﺳﺘﺨﺪﻡ ﺍﻟﺒﺪﻳﻊ ﺑﻜﺜﺮﺓ‪:‬‬ ‫ﻃﺒﺎﻕ‪:‬‬ ‫ﺭﻓﻴﻌﺔ ‪ #‬ﻭﺿﻴﻌﺔ‬ ‫ﻗﺒﻮﻝ ‪ #‬ﺭﻓﺾ‬ ‫ﺍﳌﺴﺘﻘﺒﻞ ‪ #‬ﺍﳌﺎﴈ‬ ‫ﺍﻟﻮﺩﺍﻉ ‪ #‬ﺍﻟﻠﻘﺎﺀ‬ ‫ﺍﻟﱰﺍﺧﻲ ‪ #‬ﺍﳊﲈﺱ‬ ‫ﺣﺮ ﹰﺑﺎ ‪ #‬ﺳﻼ ﹰﻣﺎ‬

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‫ﻓﺮﺩﻭﺳﻴﺔ ‪ #‬ﺟﻬﻨﻤﻴﺔ‬ ‫ﺃﻭﻝ ‪ #‬ﺁﺧﺮ‬ ‫ﺟﻨﺎﺱ‪:‬‬ ‫ﺳﻜﻮﻥ – ﺳﻜﻮﺕ‬ ‫ﺗﺮﺍﺩﻑ‪:‬‬ ‫ﺗﻮﺑﻴﺦ ‪ -‬ﺗﻘﺮﻳﻊ ‪ -‬ﺗﻜﺒﻴﺖ‬ ‫ﺃﻭﻫﺎ ﹰﻣﺎ – ﺃﺣﻼ ﹰﻣﺎ‬ ‫ﲬﻮﻝ‪ -‬ﻛﺴﻞ‬ ‫ﺍﻟﺼﻮﺭ ﺍﳉﲈﻟﻴﺔ‪ :‬ﻭﻫﻲ ﺍﻟﺼﻮﺭ ﺍﳌﺮﺳﻮﻣﺔ ﺑﺎﻟﻜﻠﲈﺕ‪ ،‬ﻭﺍﻟﺘﻲ ﻳﻌﻤﺪ ﻓﻴﻬﺎ ﺍﻟﻜﺎﺗﺐ ﺇﱃ‬

‫ﺍﻟﺘﺰﻭﻳﻖ ﺍﳉﲈﱄ ﺑﻌﻴﺪﹰ ﺍ ﻋﻦ ﻋﻠﻢ ﺍﳉﲈﻝ ﺍﻟﻠﻐﻮﻱ ﻣﻦ ﺑﻼﻏﺔ ﻭﺑﻴﺎﻥ‪ ،‬ﺗﻜﺜﺮ ﻓﻴﻪ ﺍﻷﻟﻮﺍﻥ ﻭﺍﻟﻄﺒﻴﻌﺔ‬ ‫ﻭﺍﻟﺮﻭﻣﺎﻧﺴﻴﺔ‪ ،‬ﺑﻤﻌﻨﻰ ﺃﻥ ﳜﻠﻂ ﺍﻟﻜﺎﺗﺐ ﻋﺪﺓ ﻣﺪﺍﺭﺱ ﺃﺩﺑﻴﺔ ﻣﻨﻬﺎ ﺍﻟﱪﺍﻧﺴﻴﺔ ﻭﺍﻟﻄﺒﻴﻌﻴﺔ‪،‬‬

‫ﻭﺍﻟﺮﻭﻣﺎﻧﺴﻴﺔ‪ ،‬ﻭﺍﻟﺘﺠﺮﻳﺪﻳﺔ‪.‬‬

‫ ﰲ ﺯﻣﻦ ﺍﻟﺮﻏﺒﺔ ﻳﻜﻮﻥ ﺍﳌﺴﺘﻘﺒﻞ ﻫﻮ ﺍﳌﺎﴈ‪ ،‬ﻭﺍﳊﺎﴐ ﻳﺼﲑ ﺍﻷﺳﺒﻖ ﻭﺍﻟﻠﻴﻞ ﺑﻮﺍﺩﺭ‬‫ﺳﺆﺍﻝ‪.‬‬

‫ ﻛﺎﻥ ﺛﻤﺔ ﻧﺴﻴﻢ ﻳﻐﺎﺯﻝ ﺳﻨﺎﺑﻞ ﴎﻳﺔ‪ ،‬ﺗﻀﺤﻚ ﺇﱃ ﺍﻟﻨﺠﻮﻡ‪ ،‬ﻭﺍﻟﻘﻤﺮ ﺭﻗﺮﺍﻕ ﻭﺍﺿﺢ‪.‬‬‫ ﺑﺮﻛﺎﻥ ﺍﻻﺷﺘﻴﺎﻕ ﻳﺜﲑ ﻋﺘﻤﺔ ﺍﻟﻔﺮﺍﻕ‪.‬‬‫ ﻧﻮﺭﺱ ﺃﺑﻴﺾ ﻳﺘﺴﻠﻖ ﻭﺟﻪ ﺍﻟﻔﻀﺎﺀ ﺍﻷﲪﺮ ﻭﻋﲆ ﻣﻘﺮﺑﺔ ﻣﻦ ﺍﻟﻌﻴﻨﲔ ﻳﺮﺳﻢ ﻋﻼﻣﺔ ﻭﺩﺍﻉ‬‫ﺯﺭﻗﺎﺀ ﻭﺃﺧﺮ￯ ﻻ ﻟﻮﻥ ﳍﺎ ﻣﺒﻬﻤﺔ‪.‬‬

‫ ﺃﺧﺬ ﻳﺘﺸﻜﻞ ﺃﻣﺎﻣﻲ ﺻﻮﺕ ﻳﺸﺒﻪ ﻣﺴﲑ ﺍﻟﻨﻬﺮ‪ ،‬ﰲ ﻫﻴﺌﺔ ﺻﻮﺭ ﺿﺒﺎﺑﻴﺔ ﺍﻟﻠﻮﻥ ﺩﺧﺎﻧﻴﺔ‬‫ﺍﳌﻌﺎﲏ‪.‬‬

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‫ ﻫﻨﺎﻙ ﰲ ﺭﻛﻦ ﻣﻦ ﺃﺭﻛﺎﻥ ﺫﺍﻛﺮﰐ ﺍﳌ ﹼﺘﻘﺪﺓ ﺑﺎﻟﺸﻮﺍﻃﺊ ﺍﻟﺪﺍﻓﺌﺔ ﻭﺍﻟﻨﺴﺎﺀ ﺍﻟﺒﺎﺭﺩﺓ‪ ،‬ﺗﻈﻬﺮ ﻣﻦ‬‫ﺟﺪﻳﺪ ﻣﺸﺎﻫﺪ ﺍﻟﺬﺍﻛﺮﺓ‪.‬‬

‫ ﻛ ﹼﻨﺎ ﻋﲆ ﻋﺠﻞ ﻧﻔﻜﺮ ﺑﻨﺎ‪ ،‬ﻻ ﻧﺮ￯ ﺇﻻ ﺍﻟﻘﺎﺩﻡ ﺍﻟﺒﻜﺮ ﻳﺮﺳﻢ ﻋﲆ ﻣﻼﳏﻨﺎ ﺍﳌﻠﻮﻥ ﺍﻻﺑﺘﺴﺎﻣﺔ‪.‬‬‫ﴎﻳﻌﺎ‪ ،‬ﻣﺎﺯﺍﻝ ﻣﺬﺍﻗﻬﺎ ﻳﺘﺠﺪﹼ ﺩ‪.‬‬ ‫ﻣﺮ ﰲ ﺯﺣﺎﻡ ﺍﻻﻏﱰﺍﺏ‬ ‫‬‫ﹰ‬ ‫ﹼ‬ ‫ﻳﺘﺸﺠﺮ ﻗﻠﺒﻲ ﳊﻈﺔ ﺍﺳﺘﺬﻛﺎﺭ ﻟﻘﺎﺀ ﹼ‬ ‫ﻣﻮﺝ ﻳﻌﺪﻭ‬ ‫ﴎﻳﻌﺎ‪ ،‬ﻳﺘﺴ ﹼﻠﻖ ﺍﳉﺒﺎﻝ‪ ،‬ﻳﺴﺎﺑﻖ ﺑﻌﻀﻪ‬ ‫ﹰ‬ ‫ ﰲ ﺍﻟﺒﺎﻝ ﻣﻄﺮ ﻭﺳﻨﺎﺑﻞ ﴎﻳﺔ ﻳﻠﻤﺴﻬﺎ ﹲ‬‫ﹰ‬ ‫ﺑﻌﻀﺎ‪.‬‬

‫ ﻳﺮﺗﻘﻲ ﻭﻳﻌﻠﻮ ﻓﻴﻄﻴﻞ ﺍﻻﺭﺗﻔﺎﻉ ﻋﺎﻟ ﹰﻴﺎ ﻭﻛﺄﻧﻪ ﻳﻼﺣﻖ ﻧﻈﺮﻱ‪ ،‬ﳞﺒﻂ ﻳﻼﻣﺲ ﺟﻠﺪﻱ‪.‬‬‫ ﻭﻣﻨﻪ ﺗﺮﺍﻭﺩ ﺃﻃﺮﺍﻑ ﺍﻟﺬﻫﻦ ﺭﻏﺒﺔ ﺍﻻﺳﺘﻠﻘﺎﺀ ﻋﲆ ﹶ ﹾ‬‫ﰲﺀ ﺳﺎﺣﻞ ﺃﺧﴬ ﺩﺍﻛﻦ‪.‬‬ ‫ﻣﻄﺮﺍ ﹰ‬ ‫ﻳﺮﺗﺞ ﻓﻮﻕ ﺷﻔﺘﻴﻬﺎ ﻣﺜﻞ ﺍﻟﻨﺴﻴﻢ ﺑﲔ ﺷﺎﻃﺌﲔ‬ ‫ﻧﺎﻋﲈ‪ ،‬ﻭﺃﺛﲑ ﻋﻄﺮﻫﺎ ﹼ‬ ‫ ﺃﺭﺧﺖ ﻋﻴﻨﺎﻫﺎ ﹰ‬‫ﻭﺍﻟﻠﻴﻞ ﻃﻌﻤﻪ ﺍﻣﺘﺼﺎﺹ ﺍﻟﺼﻤﺖ‪.‬‬

‫ ﰲ ﻳﺪﻱ ﺍﳌﻤﺘﺪﺓ ﻟﺘﻐﺮﻑ ﻣﻦ ﻟﻮﳖﺎ ﺍﻷﲪﺮ ﺃﻟﻒ ﻧﺒﺾ ﻳﻠﻌﺐ ﰲ ﳖﺮ ﻣﻦ ﺍﻟﻠﺬﺓ‪.‬‬‫ ﻟﻠﻘﻤﺮ ﻭﻗﻤﺢ ﺍﻷﺭﺽ ﻗﺼﺔ‪ ،‬ﻭﻵﻫﺎﰐ ﻗﺼﺔ ﺃﺧﺮ￯‪.‬‬‫ﲣﻴﻠﺘﻨﻲ ﻭﻃﻨﹰﺎ ﰲ ﺩﺍﺭﻫﺎ ﺍﳌﺎﺀ ﻭﴎﺏ ﺍﻟﻌﺼﺎﻓﲑ ﻭﺣﻔﻨﺔ ﻣﻦ ﺍﻟﻨﺠﻮﻡ‬ ‫ ﺑﺎﺣ ﹰﺜﺎ ﻋﻦ ﺍﻷﻧﺲ ﹼ‬‫ﻭﻋﻄﺮﻱ‪.‬‬

‫‪VPsychological<Level<ÍäÀfl÷]<ÔÁjäπ]<V^È⁄ fi^m‬‬ ‫‪VBehaviorism<Theory<VDMEÍ“Á◊ä÷]<ÿ}Çπ]<IM‬‬ ‫ﳞﺘﻢ ﺑﺤﺮﻛﺔ ﺍﻷﺩﻳﺐ ﺍﻟﺴﻠﻮﻛﻴﺔ ﰲ ﺍﻟﻜﺘﺎﺑﺔ‪،‬‬ ‫ﻭﻫﻮ ﻣﺪﺧﻞ ﺍﺳﺘﻔﺰﺍﺯﻱ ﻭﳏ ﹼﻔﺰ ‪ ،stimulus‬ﹼ‬

‫ﻳﺴﺠﻠﻪ ﺍﻟﻜﺎﺗﺐ ﰲ‬ ‫ﻋﲆ ﺍﻋﺘﺒﺎﺭ ﺃﻥ ﺍﻷﺩﺏ ﺳﻠﻮﻙ ﺇﻧﺴﺎﲏ ﻳﺘﻨﺎﻭﻝ ﺣﺮﻛﺔ ﺍﻹﻧﺴﺎﻥ ﰲ ﺍﳊﻴﺎﺓ‪ ،‬ﻭﻣﺎ ﹼ‬

‫ﻧﺼﻮﺻﻪ ﻛﻌﻀﻮ ﰲ ﺍﳌﺠﺘﻤﻊ ﻫﻲ ﺇﺭﻫﺎﺻﺎﺕ ﻭﻛﻔﺎﺡ ﻭ ﻣﻌﺎﻧﺎﺓ ﻷﻓﺮﺍﺩ ﺍﳌﺠﺘﻤﻊ‪ ،‬ﻭﻣﺎ ﻫﻲ ﺇﻻ‬ ‫)‪ (١‬ﺍﻟﺬﺭﺍﺋﻌﻴﺔ ﰲ ﺍﻟﺘﻄﺒﻴﻖ‪ ،‬ﻃﺒﻌﺔ ﻣﺰﻳﺪﺓ ﻣﻨﻘﺤﺔ‪ ،‬ﺗﺄﻟﻴﻒ‪ :‬ﻋﺒﺪ ﺍﻟﺮﺯﺍﻕ ﻋﻮﺩﺓ ﺍﻟﻐﺎﻟﺒﻲ‪ ،‬ﺹ ‪ ،١٥٠‬ﺩﺍﺭ ﺍﻟﻨﺎﺑﻐﺔ‬ ‫ﻟﻠﻨﴩ‪.‬‬

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‫ﺳﻠﻮﻛﻴﺎﺕ ﻳﻮﻣﻴﺔ‬ ‫ﻣﺴﺘﻔﺰﺓ ﻟﻠﻨﺎﻗﺪ ﻭﺍﳌﺘﻠﻘﻲ ﺑﺎﻻﺳﺘﺠﺎﺑﺔ ‪ response‬ﻭﺍﻟﺘﺤﻠﻴﻞ‪ ،‬ﻭﺍﻟﻌﻤﻞ ﺛﺮﻱ‬ ‫ﹼ‬

‫ﺟﺪ‪ h‬ﺍ ﺑﺎﻟﺘﺴﺎﺅﻻﺕ ﻋﲆ ﳐﺘﻠﻒ ﺍﻷﺻﻌﺪﺓ‪ ،‬ﺍﻟﻨﻔﺴﻴﺔ‪ ،‬ﻭﺍﻟﻔﻠﺴﻔﻴﺔ‪ ،‬ﻭﺍﻻﺟﺘﲈﻋﻴﺔ‪ ،‬ﻭﺍﻟﺴﻴﺎﺳﻴﺔ‪،‬‬

‫ﻭﺍﻟﺜﻘﺎﻓﻴﺔ‪ ،‬ﻭﺍﻻﻗﺘﺼﺎﺩﻳﺔ‪ ،‬ﻭﺍﻟﻌﻘﺎﺋﺪﻳﺔ ‪ ...‬ﺗﺴﺎﺅﻻﺕ ﺟﺪﻟﻴﺔ ﲢﺘﻤﻞ ﺍﻟﻜﺜﲑﺓ ﻣﻦ ﺍﻹﺟﺎﺑﺎﺕ‪،‬‬

‫ﻭﺃﺧﺮ￯ ﺇﺷﻜﺎﻟﻴﺔ ﻟﻴﺲ ﳍﺎ ﺭﺩﻭ ﹰﺩﺍ ﻣﻘﻨﻌﺔ‪ .‬ﻳﺒﺤﺚ ﺍﻟﻨﺎﻗﺪ ﻋﻦ ﻫﺬﻩ ﺍﻷﺟﻮﺑﺔ ﺑﺸﻜﻞ ﺩﻗﻴﻖ ﻭﻳﻀﻊ‬ ‫ﺍﻟﺘﺴﺎﺅﻻﺕ ﺑﺘﻘﺎﺑﻞ ﺣﴘ ﺑﺪﻭﺍﻝ ﻭﺍﺿﺤﺔ ﻳﻘﻮﻡ ﺑﺎﻟﺒﺤﺚ ﻋﻦ ﻣﻔﺎﻫﻴﻤﻬﺎ ﺍﻟﺴﻴﻤﻴﺎﺋﻴﺔ ﺃﻭ ﺍﻟﺒﻨﻴﻮﻳﺔ‪،‬‬

‫ﻭﳛﻠﻠﻬﺎ ﺑﻄﺮﻳﻘﺔ ﺍﻟﺪﻻﻟﺔ ﻭﺍﳌﺪﻟﻮﻝ ﻭﺍﻟﻘﺮﻳﻦ ﻭﺍﳌﻔﻬﻮﻡ‪.‬‬

‫ﻟﻨﻨﻈﺮ ﻛﻴﻒ ﻓﻠﺴﻒ ﺍﳊﻴﺎﺓ‪ ،‬ﻭﻛﻴﻒ ﺗﻜﻠﻢ ﻋﻦ ﻏﺮﻳﺰﺓ ﺍﻟﺒﻘﺎﺀ ﻛﻤﺤﻔﺰ ﻻﺳﺘﻤﺮﺍﺭ ﺍﳊﻴﺎﺓ‪،‬‬

‫ﺣﺼﺔ ﺍﳌﺨﻠﻮﻕ‪ ،‬ﻭﺍﳌﻮﺕ ﻭﺍﳊﻴﺎﺓ ﺃﻗﺪﺍﺭ‬ ‫ﺣﻴﺎﺓ ﻻ ﻳﺪ ﻟﻠﻤﺨﻠﻮﻕ ﻓﻴﻬﺎ‪ ،‬ﻛﲈ ﻻ ﻳﺪ ﻟﻪ ﺑﺎﳌﻮﺕ‪ ،‬ﺍﻟﺮﻏﺒﺔ ﹼ‬ ‫ﺑﻴﺪ ﺍﳋﺎﻟﻖ‪:‬‬

‫ ﻣﻦ ﻣ ﹼﻨﺎ ﻻ ﻳﻘﻮﻝ ﻷﻧﺜﺎﻩ ﺇﻧﻪ ﺫﻛﺮ؟‬‫ﳚﻴﺐ ﻋﻦ ﺳﺆﺍﻟﻪ‪:‬‬ ‫ ﻧﺤﻦ ﺃﺣﻴﺎﺀ ﲡﺘﺎﺣﻨﺎ ﺍﻟﺮﻏﺒﺔ ﰲ ﺍﻟﺒﻘﺎﺀ‪ ،‬ﻭﻫﻲ ﺻﻔﺔ ﺃﺯﻟﻴﺔ ﻣﺜﻠﻬﺎ ﻣﺜﻞ ﺃﻣﻞ ﺍﻷﻣﻮﺍﺕ ﺍﳌﻨﺴﻴﲔ‬‫ﺧﻠﻒ ﺃﺳﻮﺍﺭ ﻗﺪﻳﻤﺔ‪ ،‬ﺭﻏﺒﺔ ﺗﺘﺄﻣﻞ ﺍﳌﺴﺎﺀ ﺍﳊﺎﻟﻚ ﰲ ﺻﻤﺖ‪ ،‬ﻭﺍﻷﻳﺎﻡ ﺳ ﹶﻔﺮ ﰲ ﺻﺤﺒﺔ‬ ‫ﺍﻷﻗﺪﺍﺭ‪ ،‬ﲤﻨﻊ ﺃﺣﻴﺎ ﹰﻧﺎ ﺍﻷﻣﻞ ﻭﺗﻌﻄﻴﻪ ﺃﺣﻴﺎ ﹰﻧﺎ‪ ،‬ﻭﺍﳌﻐﺎﻣﺮﺓ ﻃﻴﺶ ﻣﱪﺭ‪.‬‬

‫ﻫﻨﺎﻙ ﹰ‬ ‫ﺃﻳﻀﺎ ﺍﻟﻌﺪﻳﺪ ﻣﻦ ﺍﻷﺳﺌﻠﺔ ﺍﻟﻨﻔﺴﻴﺔ ﺍﻟﺘﻲ ﻳﺘﺒﺎﺩﳍﺎ ﺍﻟﺒﻄﻞ ﻭﻧﺼﻔﻪ ﺍﻵﺧﺮ ﺑﺤﻮﺍﺭ ﴎﻳﻊ‪،‬‬

‫ﺃﺳﺌﻠﺔ ﻭﺃﺟﻮﺑﺔ ﻣﺘﻼﺣﻘﺔ ﻟﻜﻨﻬﺎ ﻣﺘﲈﺳﻜﺔ ﺑﻮﺣﺪﺓ ﺍﳌﻔﻬﻮﻡ ﻭﻓﻠﺴﻔﺔ ﺍﳊﺎﻻﺕ ﺍﻟﻨﻔﺴﻴﺔ ﺍﻹﻧﺴﺎﻧﻴﺔ‬ ‫)ﺍﳊﺰﻥ‪ ،‬ﺍﻟﻜﺪﺭ‪ ،‬ﺍﻟﻮﺣﺪﺓ‪ ،‬ﺍﻻﻋﺘﻴﺎﺩ‪ ،‬ﺍﳍﺮﻭﺏ‪ ،‬ﺍﻻﺯﺩﻭﺍﺟﻴﺔ‪ ،‬ﺍﻟﺬﺍﺕ‪ ،‬ﺍﳉﲈﻝ‪ ،‬ﺍﻟﺪﻭﺍﺧﻞ‪،‬‬

‫ﺍﻟﺮﻓﺾ‪ ،‬ﺍﳌﻜﺮ‪ ،‬ﺍﻟﻠﻌﻮﺏ( ﻭﻛﺄﳖﺎ ﺣﴡ ﻳﻘﺬﻓﻬﺎ ﺍﻟﺴﺎﺋﻞ ﻭﺍﳌﺠﻴﺐ ﰲ ﺣﻔﺮﺓ ﻭﺍﺣﺪﺓ‪:‬‬ ‫ ﺃﻧﺖ ﺣﺰﻳﻦ‪..‬؟‬‫ ﻻ ﺃﻧﻜﺮ ﺫﻟﻚ‪ ،‬ﻭﻟﻜﻨﻲ ﻻ ﺃﺟﻌﻞ ﻣﻦ ﺣﺰﲏ ﺫﺭﻳﻌﺔ ﻟﻠﻌﻴﺶ ﰲ ﻛﺪﺭ‪.‬‬‫ ﻻ ﺗﺮﻳﺪ ﺍﻻﻋﺘﻴﺎﺩ ﻋﲆ ﺷﻌﻮﺭ ﺍﻟﻮﺣﺪﺓ؟‬‫‪ -‬ﻻ ﺃﺭﻳﺪ ﺗﻜﺮﺍﺭ ﺍﳍﺮﻭﺏ ﻣﻦ ﺍﻻﺯﺩﻭﺍﺟﻴﺔ‪ ،‬ﻭﻛﺄﳖﺎ ﻟﻌﻨﺔ‪.‬‬

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‫ ﺗﺒﺤﺚ ﻋﻦ ﲨﺎﻝ ﺍﻟﺬﺍﺕ؟‬‫ ﻗﻞ ﻣﺎ ﺷﺌﺖ‪.‬‬‫ ﻣﺎ ﺑﻚ؟‬‫ ﻣﺎ ﺑﺪﺍﺧﲇ ﻳﺮﻓﺾ ﺍﻟﻠﻌﻮﺏ ﺍﻟﺬﻱ ﻳﺴﻜﻨﻚ‪.‬‬‫ ﺃﻧﺎ ﻧﺼﻔﻚ ﺍﻵﺧﺮ!‬‫ ‪.........‬‬‫ﳏﲑﺓ‪.‬‬ ‫ﺍﻟﻨﻘﻂ ﰲ ﺍﳉﻮﺍﺏ ﺍﻷﺧﲑ ﺩﻻﻻﺕ ﻛﺒﲑﺓ ﻋﲆ ﺃﺳﺌﻠﺔ ﻛﺜﲑﺓ ﹼ‬ ‫ﹰ‬ ‫ﻣﻼﻛﺎ ﻭﻻ‬ ‫ﺃﺛﺎﺭ ﺇﺷﻜﺎﻟﻴﺔ ﻣﺎﻫﻴﺔ ﺍﻹﻧﺴﺎﻥ ﻭﻣﺎﺩﺗﻪ ﺍﻟﺘﻲ ﺟﺒﻠﻪ ﺍﷲ ﻣﻨﻬﺎ ﻭﻋﻠﻴﻬﺎ‪ ،‬ﻟﻴﺲ‬

‫ﺷﻴﻄﺎ ﹰﻧﺎ‪ ،‬ﻳﻔﻌﻞ ﺍﻟﻔﻀﻴﻠﺔ ﻭﻳﻔﻌﻞ ﺍﻟﺮﺫﻳﻠﺔ‪ ،‬ﺑﺎﻟﻮﻋﻲ ﻭﺍﻟﻼﻭﻋﻲ‪:‬‬

‫ﺳﺄﺗﻌﻮﺩ ﺍﻟﻜﺬﺏ‪.‬‬ ‫ﻗﻠﺖ‬ ‫ ﺇﻥ ﻣﺎ ﻳﺴﻤﻰ ﻧﺼﻔﻲ ﺍﻵﺧﺮ ﻓﺎﺭﻗﻨﻲ‪ ،‬ﻓﻘﻂ ﹸ‬‫ﹼ‬ ‫ ﻭﺃﻓﻬﻢ ﻫﻮ ﺍﻟﻌﻘﺎﺏ ﺍﳌﻔﺘﻌﻞ‪ ،‬ﻭﻟﻜﻦ ﺍﳌﺜﲑ ﻟﻠﺸﻚ ﻫﻮ ﻋﻦ ﻭﻋﻲ ﺃﻭ ﻻ ﻭﻋﻲ ﲡﺎﻫﻞ ﻓﻜﺮﺓ‬‫ﻛﻮﲏ ﺑﺒﺴﺎﻃﺔ ﻣﻔﺮﻃﺔ ﺇﻧﺴﺎﻥ‪ ،‬ﻭﻟﻴﺲ ﻣﻦ ﺣﻖ ﺃﻱ ﻛﺎﻥ ﺃﻥ ﳚﺮﺩﲏ ﻣﻦ ﺇﻧﺴﺎﻧﻴﺘﻲ‪ ،‬ﻭﻳﻠﺒﺴﻨﻲ‬ ‫ﺛﻴﺎﺏ ﺍﳌﻼﺋﻜﺔ ﺃﻭ ﺍﻟﺸﻴﻄﺎﻥ‪.‬‬

‫ ﻳﺬﻛﺮﲏ ﺑﺤﻘﻴﻘﺔ ﻭﺟﻮﺩﻱ ﻭﻻ ﻳﺪﺭﻱ ﺃﻭ ﻻ ﻳﺮﻳﺪ ﺃﻥ ﻳﺪﺭﻱ ﺃﻧﻨﻲ ﴏﺕ ﺃﻋﻠﻢ ﺣﻘﻴﻘﺘﻲ‬‫ﺟﻴﺪﹰ ﺍ‪ ،‬ﻭﻻ ﺃﺑﺎﻟﻎ ﻟﻮ ﻗﻠﺖ ﺃﻧﻪ ﱂ ﻳﺼﻞ ﺑﻌﺪ ﻫﻮ ﺃﻭ ﻏﲑﻩ ﻛﲈ ﻭﺻﻠﺖ ﺃﻧﺎ ﺇﱃ ﻣﻌﺮﻓﺔ ﺃﻥ ﻣﺎ ﺑﲔ‬

‫ﳏﺎﺟﺮ ﺍﻟﻌﻴﻮﻥ ﻣﻮﺕ ﻣﺄﻣﻮﺭ ﺃﻋﻤﻰ ﻻ ﳚﺮﺅ ﻋﲆ ﻋﺰﻝ ﺍﻟﻔﻀﻴﻠﺔ ﻋﻦ ﺍﻟﺮﺫﻳﻠﺔ‪.‬‬

‫ﱂ ﻳﻜﻦ ﺍﻟﻜﺎﺗﺐ ﺑﻤﻌﺰﻝ ﻋﻦ ﺍﻟﺴﻴﺎﺳﺔ ﻭﺍﻻﻗﺘﺼﺎﺩ ﻭﺍﳊﺮﺏ ﺍﻟﺘﻲ ﻋﺼﻔﺖ ﺑﺒﻼﺩﻩ‪،‬‬

‫ﻣﺮﺕ ﻋﻠﻴﻪ ﻣﻦ‬ ‫ﻭﱂ ﺗﻜﻦ ﺣﻴﺎﺗﻪ ﺑﻤﻌﺰﻝ ﻋﻦ ﺍﻟﻌﺎﺻﻔﺔ ﺍﳍﻮﺟﺎﺀ ﺍﻟﺘﻲ ﺍﻗﺘﻠﻌﺖ ﻣﻌﻈﻢ ﻣﺎ ﹼ‬ ‫ﻣﻈﺎﻫﺮ ﺍﳊﻴﺎﺓ ﺍﳌﻔﱰﺿﺔ‪ ،‬ﺇﺭﻫﺎﺻﺎﺕ ﺟﻌﻠﺘﻪ ﻳﻨﻔﺾ ﺩﻭﺍﺧﻠﻪ ﹰ‬ ‫ﻧﻔﻀﺎ‪ ،‬ﻣﺎ ﳚﻌﻞ ﺍﳌﺘﻠﻘﻲ ﻳﻘﺘﻔﻲ‬

‫ﺁﺛﺎﺭ ﺗﻠﻚ ﺍﻟﺪﻭﺍﺧﻞ‪ ،‬ﻭﻳﺒﺤﺚ ﻋﻦ ﺍﻷﺟﻮﺑﺔ ﺍﳌﺨﺘﺒﺌﺔ ﺑﲔ ﻃﻴﺎﺕ ﺍﻟﻜﻠﲈﺕ ﺍﳌﺮﺻﻮﻓﺔ ﺑﺎﻟﴪﺩ‬

‫ﺍﻟﺘﺎﱄ‪:‬‬

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‫ﺛﻢ ﻳﺆﺛﺮ ﻋﻰ‬ ‫ ﻫﺬﺍ ﺍﻻﻧﺘﻈﺎﺭ ﺍﻟﻄﻮﻳﻞ ﺑﺎﻟﺘﺄﻛﻴﺪ ﻳﺴﺎﻋﺪ ﻋﲆ ﺯﻳﺎﺩﺓ ﺧﺴﺎﺋﺮ ﺍﻟﴩﻛﺔ‪ ،‬ﻭﻣﻦ ﹼ‬‫ﺍﻗﺘﺼﺎﺩ ﺍﻟﺒﻠﺪ ﺍﻟﺬﻱ ﻧﻌﻴﺶ ﺣﺎﴐﻩ ﻫﺬﺍ ﲢﺖ ﺛﻘﺎﻓﺔ ﺍﻟﺘﻘﺸﻒ ﺑﺴﺒﺐ ﻫﺒﻮﻁ ﺃﺳﻌﺎﺭ‬

‫ﺍﻟﺒﱰﻭﻝ‪ .‬ﻣﻦ ﺍﻟﺴﺒﺐ؟ ﻭﳌﺎﺫﺍ؟ ﺃﺳﺌﻠﺔ ﻳﺒﺪﻭ ﻟﻦ ﺗﻨﺘﻬﻲ‪.‬‬

‫ﻛﺎﻧﺖ ﺍﻹﺟﺎﺑﺔ ﺳﻴﺎﺳﻴﺔ ﻣﻀﻤﻨﺔ ﺑﺘﺪﺍﻋﻲ ﴎﺩ ﺃﺣﺪﺍﺙ ﺍﳊﺮﺏ ﻋﲆ ﻟﺴﺎﻧﻪ‪:‬‬ ‫ ﺳﻘﻂ ﺍﻟﺼﻨﻢ! ﻧﻌﻢ‪ .‬ﻭﳊﻈﺔ ﺳﻘﻮﻃﻪ ﺷﺎﺀﺕ ﻟﻨﺎ ﺍﻷﻗﺪﺍﺭ ﺃﻥ ﻧﺤﻠﻢ ﺑﺎﳊﺮﻳﺔ ﻭﺍﳋﲑ‬‫ﻭﺍﻷﻣﺎﻥ‪.‬‬

‫ ﺳﻨﲔ ﻗﻠﻴﻠﺔ ﻣﻀﺖ ﻭﺟﺪﻧﺎ ﻣﻦ ﺍﻧﺘﺨﺒﻨﺎﻫﻢ ﺑﺎﻟﻄﺮﻕ ﺍﻟﺪﻳﻤﻘﺮﺍﻃﻴﺔ ﻏﺮﻗﻮﺍ ﰲ ﺍﻻﻣﺘﻴﺎﺯﺍﺕ‬‫ﻭﺍﳍﺒﺎﺕ ﻭﺍﻟﻌﻄﺎﻳﺎ ﻭﻣﻨﺢ ﻣﺎﺩﻳﺔ ﺗﻔﻮﻕ ﺍﻟﺘﺼﻮﺭ‪.‬‬

‫ ﺍﺳﺘﻨﺰﺍﻑ ﻣﻴﺰﺍﻧﻴﺔ ﺍﻟﺪﻭﻟﺔ ‪ ...‬ﲣﺒﻂ ﰲ ﺍﻟﻌﻼﻗﺎﺕ ﺍﳋﺎﺭﺟﻴﺔ ‪ ...‬ﻓﺮﺍﻍ ﺃﻣﻨﻲ ﺷﻨﻴﻊ ﻭﺍﻓﺘﻘﺎﺭ‬‫ﻟﻸﻣﻦ ﻭﺍﻷﻣﺎﻥ ‪ ...‬ﺍﻧﺨﺮﺍﻁ ﺑﻌﻀﻬﻢ ﰲ ﺳﻴﺎﺳﺔ ﺍﻟﺬﺑﺢ ﻭﺍﻟﻘﺬﻑ ﻭﺍﻟﺴﺐ ﻭﺍﻟﺸﺘﻢ ﻭﺍﻟﻨﻔﺦ‬

‫ﰲ ﻧﺎﺭ ﺍﻟﻄﺎﺋﻔﻴﺔ ﺍﳌﻘﻴﺘﺔ ‪ ...‬ﻇﻬﻮﺭ ﲢﺮﻛﺎﺕ ﺣﺰﺑﻴﺔ ﻳﺸﻮﲠﺎ ﺍﻟﻘﻠﻖ ‪ ...‬ﲤﺮﺩ ﺑﻌﺾ ﺍﻷﺣﺰﺍﺏ‬ ‫ﺍﳊﺎﻛﻤﺔ ﻭﺗﻌﺎﱄ ﺻﻴﺤﺎﺕ ﺍﻻﻧﻔﺼﺎﻝ‪.‬‬

‫ﺗﺴﺎﺅﻻﺕ ﰲ ﺍﳊﻘﻞ ﺍﻟﱰﺑﻮﻱ‪ ،‬ﺗﺒﺪﻭ ﻛﺄﺳﺌﻠﺔ ﺍﺧﺘﺒﺎﺭ ﺗﻌﻘﺐ ﺃﻭ ﺗﺴﺒﻖ ﺍﻟﺪﺧﻮﻝ ﰲ ﻣﺮﻛﺰ‬

‫ﻣﻦ ﻣﺮﺍﻛﺰ ﺍﻟﺘﻨﻤﻴﺔ ﺍﻟﺒﴩﻳﺔ ﺃﻭ ﺍﻹﺭﺷﺎﺩ ﻧﻔﴘ ﺃﻭ ﺍﻟﱰﺑﻮﻱ‪:‬‬ ‫ ﻛﻴﻒ ﺗﻮﻗﺪ ﺷﻤﻌﺔ؟‬‫ ﻛﻴﻒ ﺗﺮﺳﻢ ﻋﲆ ﻭﺟﻪ ﻃﻔﻞ ﺍﺑﺘﺴﺎﻣﺔ؟‬‫ ﻛﻴﻒ ﺗﺴﺘﻘﺒﻞ ﺍﻟﻔﺮﺡ ﻭﺗﺒﻌﺪ ﺍﻷﺣﺰﺍﻥ؟‬‫ ﻛﻴﻒ ﺗﺘﺠﻨﺐ ﺍﳉﺒﺎﻥ ﻭﺍﳉﺎﻫﻞ؟‬‫ﺷﺨﺼﺎ ﻣﻦ ﻇﻼﻡ ﺩﺍﻣﺲ؟‬ ‫ ﻛﻴﻒ ﲣﺮﺝ‬‫ﹰ‬

‫‪ -‬ﻛﻴﻒ ﻳﺼﺪﹼ ﻕ ﺍﻷﻃﻔﺎﻝ ﺃﻥ ﺍﻟﺸﺠﺮﺓ ﺍﻟﺘﻲ ﻳﻠﻌﺒﻮﻥ ﲢﺘﻬﺎ ﺃﻧﺖ ﺍﻟﺬﻱ ﻏﺮﺳﺖ ﺑﺬﺭﲥﺎ؟‬

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‫ﺍﳉﻮﺍﺏ‪ :‬ﺑﺒﺴﺎﻃﺔ ﻳﺘﺤﻘﻖ ﺑﺎﳌﺼﺎﳊﺔ ﻣﻊ ﺍﻟﺬﺍﺕ ﻭﺍﻵﺧﺮ‪ ،‬ﺳﻮﺍﺀ ﺁﻛﺎﻥ ﺍﻟﻀﻤﲑ ﺃﻡ‬

‫ﺍﻟﻨﻔﺲ‪.‬‬

‫ ﺇﻥ ﻋﺮﻓﺖ ﻛﻴﻒ ﻭﻣﺘﻰ ﻳﻜﻮﻥ ﺍﻹﺣﺴﺎﺱ ﺍﻟﺬﻱ ﻳﻜﻨﺲ ﺍﳋﺪﺍﻉ ﻭﺍﻟﻜﺬﺏ ﻋﻦ ﺍﻟﺬﺍﺕ‬‫ﺍﳌﺴﺤﻮﻗﺔ ﻫﻮ ﺍﻟﻌﻼﺝ ﺍﻟﻮﺣﻴﺪ ﻟﻚ‪ .‬ﺁﻧﺬﺍﻙ ﻳﻤﻜﻦ ﺍﻟﻘﻮﻝ ﺇﻧﻚ ﻗﺪ ﺃﺩﺭﻛﺖ ﺍﻟﺸﻌﻮﺭ ﺑﺎﳉﲈﻝ‬ ‫ﰲ ﺃﺭﻗﻰ ﺻﻮﺭﻩ‪ ،‬ﻭﻫﻮ ﺣﺐ ﺍﻟﺬﺍﺕ ﻭﺍﻵﺧﺮ‪.‬‬

‫ﻣﺪﻭﻧﺘﻪ‪ ،‬ﻋﻦ ﺍﳍﺪﻑ ﻣﻦ ﻭﺟﻮﺩ‬ ‫ﻫﻨﺎﻙ ﺗﺴﺎﺅﻝ ﻓﻠﺴﻔﻲ ﻋﻤﻴﻖ‪ ،‬ﻣﻦ ﻭﺍﻟﺪ ﺍﻟﺴﺎﺭﺩ ﰲ ﹼ‬

‫ﺍﻹﻧﺴﺎﻥ ﻭﺳﺒﺐ ﺗﻜﻮﻳﻨﻪ‪ ،‬ﻟﻴﻜﻮﻥ ﺍﳉﻮﺍﺏ ﺃﻧﻪ ﻻ ﺑﺪ ﻟﻺﻧﺴﺎﻥ ﻣﻦ ﺃﻥ ﻳﺄﺗﻴﻪ ﻳﻮﻡ ﺗﻜﻮﻥ ﻓﻴﻪ ﺍﳊﺎﺟﺔ‬ ‫ﻟﻼﺑﺘﻌﺎﺩ ﻋﻦ ﺍﻷﻭﺳﺎﻁ ﺍﳌﺜﺎﻟﻴﺔ ﻭﺍﻟﺘﻮﺍﺟﺪ ﻭﺳﻂ ﺍﻟﻮﺍﻗﻊ ﻹﺛﺒﺎﺕ ﺍﻟﺬﺍﺕ ﺍﻹﻧﺴﺎﻧﻴﺔ ﻓﻴﻨﺎ‪ .‬ﻟﺬﻟﻚ‬

‫ﲢﺮ ﹰﺭﺍ ﻣﻦ ﻭﻫﻢ ﻣﺴﺘﺤﻴﻞ ﻻ ﻳﺘﺤ ﹼﻘﻖ ﺃﺑﺪﹰ ﺍ‪ ،‬ﻭﻫﻮ ﺃﻥ ﺍﻹﻧﺴﺎﻥ ﻟﻦ‬ ‫ﻛﺎﻥ ﰲ ﻣﻐﺎﺩﺭﺓ ﺍﻵﺧﺮ ﻟﻠﺴﺎﺭﺩ ﹼ‬ ‫ﻳﻜﻮﻥ ﹰ‬ ‫ﹼ‬ ‫ﻣﻼﻛﺎ ﺃﺑﺪﹰ ﺍ‪ ،‬ﻭﺇﻧﻪ ﺇﻥ ﺣﺪﺙ ﺫﻟﻚ ﺳﻴﻔﻘﺪ ﺍﳍﺪﻑ ﻣﻦ ﻭﺟﻮﺩﻩ‪،‬‬ ‫ﻭﺳﻴﺨﻞ ﺑﺘﻜﻮﻳﻨﻪ‪ ،‬ﻭﻫﺬﺍ‬ ‫ﲢﻮﻝ ﺇﱃ ﻣﻼﻙ‪.‬‬ ‫ﻟﻦ ﳛﺼﻞ ﺃﺑﺪﹰ ﺍ‪ ،‬ﺇﺫ ﱂ ﻧﺠﺪ ﰲ ﺍﻟﻌﺎﱂ ﻗﺪﻳﻤﻪ ﻭﺣﺪﻳﺜﻪ ﻣﻦ ﹼ‬ ‫ﻭﺗﺴﺎﺅﻻﺕ ﻣﻴﺘﺎﻓﻴﺰﻳﻘﻴﺔ ﻻ ﺟﻮﺍﺏ ﳍﺎ ﻋﻨﺪ ﺍﻟﺒﴩ‪:‬‬ ‫ ﳌﺎﺫﺍ ﺗﻐﺪﺭ ﺑﻨﺎ ﺍﳊﻴﺎﺓ؟‬‫ ﻣﺎ ﺍﻟﴪ ﻣﻦ ﻭﺟﻮﺩ ﺍﳊﻠﻢ ﻣﺎ ﺩﺍﻡ ﺍﳌﻮﺕ ﳖﺎﻳﺘﻨﺎ؟ ﻭﻛﺄﻧﻪ ﻳﺴﺄﻝ ﻣﺎ ﺍﳉﺪﻭ￯ ﻣﻦ ﺍﳊﻴﺎﺓ ﻃﺎﳌﺎ‬‫ﺳﻴﻜﻮﻥ ﺍﳌﻮﺕ ﳖﺎﻳﺘﻨﺎ‪.‬‬

‫ ﻣﻦ ﻳﻤﺘﻠﻚ ﺍﻟﻘﻮﺓ ﻋﲆ ﺍﳌﻮﺕ؟‬‫‪DME‬‬

‫‪VInference and Empathy Theory<Íõ^ffljâ˜]Ê<Í퀜j÷]<ÿ}Çπ]<IN‬‬

‫ﻭﻫﻮ ﻣﺴﻠﻚ ﻳﻠﺠﻪ ﺍﻟﻨﺎﻗﺪ ﺃﻭ ﺍﳌﺘﻠﻘﻲ ﻣﻦ ﺧﻼﻝ ﻧﻔﺴﻪ‪ ،‬ﺑﺎﳌﻘﺎﺭﻧﺔ ﺍﳊﺮﻛﻴﺔ ﻭﺍﳊﺴﻴﺔ ﺍﻟﺘﻲ‬ ‫ﲢﺪﺙ ﺑﺎﻟﺘﻮﺍﺯﻱ ﻣﻊ ﺍﻟﻜﺎﺗﺐ ﻟﻠﺤﺎﻻﺕ ﺍﳌﺘﺸﺎﲠﺔ ﺑﲔ ﺍﻟﻜﺎﺗﺐ ﻭﺍﻟﻨﺎﻗﺪ‪ ،‬ﻓﺄﺣﺪﺍﺙ ﺍﳊﻴﺎﺓ ﻛ ﹼﻠﻬﺎ‬

‫ﻣﺘﺸﺎﲠﺔ‪ ،‬ﹼ‬ ‫ﻭﻛﻞ ﻣﺎ ﻓﻴﻬﺎ ﻣﻌﺎﺩ ﺣﺴﺐ ﺍﻟﺮﺅﻳﺔ ﺍﻟﺬﺭﺍﺋﻌﻴﺔ‪ ،‬ﺍﻟﺘﻲ ﺗﻨﻈﺮ ﻟﻠﻮﺿﻊ ﺍﳊﻴﺎﰐ ﻣﻦ ﺧﻼﻝ‬

‫ﺍﻟﻌﺒﺎﺭﺓ ﺍﻟﺘﺎﻟﻴﺔ ‪ -‬ﻧﺤﻦ ﰲ ﺯﻣﻦ ﱂ ﻳﺒﻖ ﻓﻴﻪ ﻗﻮﻝ ﱂ ﻳﻘﻞ ﺃﻭ ﺣﺪﺙ ﱂ ﳛﺪﺙ ‪ -‬ﻓﺤﻮﺍﺩﺙ ﺍﻹﻧﺴﺎﻥ‬

‫)‪ (١‬ﻧﻔﺲ ﺍﳌﺼﺪﺭ ﺍﻟﺴﺎﺑﻖ‪ ،‬ﺹ‪.١٥٢‬‬

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‫ﺗﻨﻌﻜﺲ ﻋﲆ ﺗﴫﻓﺎﺗﻪ ﻭﺣﺮﻛﺎﺗﻪ ﻭﺗﻌﺎﺑﲑﻩ ﺍﻟﻔﻴﺰﻳﺎﺋﻴﺔ ﺍﳋﺎﺭﺟﻴﺔ‪ ،‬ﻭﻫﻮ ﺇﺳﻘﺎﻁ ﻧﻔﴘ ﻋﲆ‬ ‫ﻟﻴﺴﺠﻞ ﹼ‬ ‫ﻛﻞ ﻣﺎ ﻳﺮﺍﻩ‬ ‫ﳛﺴﻪ ﺍﻟﻨﺎﻗﺪ ﺍﻟﺬﺭﺍﺋﻌﻲ ﻣﻦ ﺧﻼﻝ ﺫﻟﻚ ﺍﳌﺪﺧﻞ‪،‬‬ ‫ﺑﺎﻟﺘﻘﻤﺺ‪،‬‬ ‫ﹼ‬ ‫ﹼ‬ ‫ﺍﻵﺧﺮﻳﻦ‪ ،‬ﹼ‬ ‫ﻳﺘﻘﻤﺺ ﺷﺨﺼﻴﺔ ﺍﻟﻜﺎﺗﺐ ﻣﻦ ﺧﻼﻝ ﺗﻠﻚ ﺍﻷﺣﺪﺍﺙ‪ ،‬ﻭﻗﺪ ﻗﺪﹼ ﻡ‬ ‫ﻭﻣﻨﻬﺎ ﻳﺴﺘﻄﻴﻊ ﺍﻟﻨﺎﻗﺪ ﺃﻥ ﹼ‬

‫ﺍﻟﻌﺎﱂ ﺑﺮﻭﺏ ﻧﻤﻮﺫﺟﻪ)‪) (١‬ﺍﻟﻮﻇﻴﻔﻲ( ﺍﳌﻘﱰﺡ ﺍﻟﺬﻱ ﳜﺘﻠﻒ ﻋﻦ ﻧﻤﻮﺫﺝ )ﺍﳊﻮﺍﻓﺰ(‪ ،‬ﻷﻧﻪ ﳛﺘﻮﻱ‬

‫ﻳﺘﻐﲑ ﻫﻮ ﺃﺳﲈﺀ ﺍﻟﺸﺨﺼﻴﺎﺕ ﻭﺃﻭﺻﺎﻓﻬﺎ‪ ،‬ﻭﺍﻟﺜﺎﺑﺖ ﺍﻟﺬﻱ‬ ‫ﻋﻨﺎﴏ ﺛﺎﺑﺘﺔ ﻭﺃﺧﺮ￯ ﻣﺘﻐﲑﺓ‪ .‬ﻓﺎﻟﺬﻱ ﹼ‬

‫ﻳﺘﻐﲑ ﻫﻮ ﺃﻓﻌﺎﻝ ﺍﻟﺸﺨﺼﻴﺎﺕ ﻭﻭﻇﺎﺋﻔﻬﺎ ﺍﻟﺘﻲ ﺗﻘﻮﻡ ﲠﺎ‪) .‬ﻓﺎﻟﻮﻇﻴﻔﺔ ﻫﻲ ﻋﻤﻞ ﺍﻟﺸﺨﺼﻴﺔ‪.‬‬ ‫ﻻ ﹼ‬

‫ﻣﻨﻬﺠﺎ‬ ‫ﻭﻗﺪ ﺍﺳﺘﻨﺒﻂ ﺑﺮﻭﺏ ﻣﻦ ﻣﺎﺋﺔ ﺣﻜﺎﻳﺔ ﺭﻭﺳﻴﺔ )ﺇﺣﺪ￯ ﻭﺛﻼﺛﲔ( ﻭﻇﻴﻔﺔ ﺃﺻﺒﺤﺖ‬ ‫ﹰ‬ ‫ﻟﻠﺪﺍﺭﺳﲔ ﻣﻦ ﺑﻌﺪﻩ‪ ،‬ﻭﻫﺬﻩ ﺍﻟﻮﻇﺎﺋﻒ ﻟﻴﺴﺖ ﻛ ﹼﻠﻬﺎ ﺣﺎﴐﺓ ﻋﲆ ﺍﻟﺪﻭﺍﻡ ﰲ ﻛﻞ ﻗﺼﺔ‪ ،‬ﻭﻟﻜﻦ‬

‫ﻭﻳﺘﻮﺻﻞ ﺇﱃ ﻓﻜﺮ ﺍﻷﺩﻳﺐ ﻣﻦ‬ ‫ﺃﻳﺔ ﻗﺼﺔ ﻻﺑﺪ ﺃﻥ ﲢﻮﻱ ﻋﺪ ﹰﺩﺍ ﻣﻨﻬﺎ‪ ،‬ﻣﺮﺗ ﹰﺒﺎ ﺣﺴﺐ ﻭﺭﻭﺩﻫﺎ‪...‬‬ ‫ﹼ‬ ‫ﺧﻼﻝ ﺫﻟﻚ‪،‬‬ ‫ﻭﻳﺴﺠﻞ ﺍﳊﻜﻤﺔ ﻭﺍﳌﻮﻋﻈﺔ ﻭﺍﳌﻴﻮﻝ ﺍﻟﻨﻔﺴﻴﺔ ﻭﺍﻟﺬﺍﺗﻴﺔ ﻟﻸﺩﻳﺐ‪ .‬ﻛﺎﻥ ﻫﻨﺎﻙ ﺍﻟﻌﺪﻳﺪ‬ ‫ﹼ‬ ‫ﻣﻦ ﻫﺬﻩ ﺍﳊﻜﻢ ﻭﺍﳌﻮﺍﻋﻆ ﻣﻨﻬﺎ‪:‬‬

‫ ﺍﺧﺘﻔﺎﺀ ﺍﻟﻌﻮﺍﻃﻒ ﻳﺴﺎﻋﺪ ﻇﻬﻮﺭ ﺍﻟﻜﺮﺍﻫﻴﺔ‪.‬‬‫ ﻋﻠﻴﻚ ﺍﻹﺻﻐﺎﺀ ﻭﺗﻘﺪﻳﺮ ﺍﻟﻨﺼﺢ‪.‬‬‫ ﺍﻟﺼﻤﺖ ﻳﻔﺘﺢ ﺃﺑﻮﺍﺏ ﺍﻟﻐﻀﺐ‪.‬‬‫ ﻻ ﻳﺄﰐ ﺍﻟﺘﻤﻴﺰ ﺇﻻ ﺑﻜﺒﺢ ﲨﺎﺡ ﺍﻟﻨﻔﺲ ﻭﺇﺳﻜﺎﺕ ﺭﻏﺒﺎﲥﺎ ‪ ،‬ﻭﺳﺤﻖ ﺍﻟﺮﺫﺍﺋﻞ ﻭﺍﻟﺸﻬﻮﺍﺕ‬‫ﻭﺍﻟﺪﻭﺱ ﻋﻠﻴﻬﺎ ﺑﺸﺠﺎﻋﺔ ﻭﻋﺰﻳﻤﺔ‪ ،‬ﻋﻨﺪﻫﺎ ﻓﻘﻂ ﺗﺘﺼﺎﻟﺢ ﺍﻟﺮﻭﺡ ﻣﻊ ﺍﳉﺴﺪ‪ ،‬ﻭﺗﺼﲑ ﻛﻞ‬ ‫ﹶ‬ ‫ﺍﻟﺮﺅ￯ ﺍﻟﺘﻲ‬ ‫ﺗﻐﺸﺎﻙ ﻣﺘﺰﻧﺔ ﺍﻷﺑﻌﺎﺩ ﻭﺍﺿﺤﺔ ﺍﳌﻌﺎﱂ‪.‬‬

‫ﹰ‬ ‫ ﻛﻦ ﺃﻛﺜﺮ ﺇﴍﺍ ﹰﻗﺎ‪ ،‬ﻻ ﺃﺭﻳﺪﻙ‬‫ﻛﺴﻮﻻ‪ ،‬ﺍﻧﺘﺒﻪ ﻣﻦ ﺍﻟﺘﺴﺎﻗﻂ ﻋﲆ ﻗﺎﺭﻋﺔ ﺍﻟﻄﺮﻳﻖ ﻭﺍﺣﺬﺭ ﺍﳌﺮﺍﺀ‬ ‫ﺃﺷﺪ ﺍﳊﺬﺭ‪.‬‬

‫ﹰ‬ ‫ﺳﻘﻮﻃﺎ ﻋﻤﻮﺩ ‪h‬ﻳﺎ ﻛﲈ‬ ‫ ﻻ ﺗﻨﺰﻟﻖ ﻣﺜﻞ ﺍﻧﺰﻻﻕ ﺍﳊﺠﺮ ﺍﻟﻌﻨﻴﻒ ﻣﻦ ﺃﻋﲆ ﺃﻧﻒ ﻏﺮﻭﺭﻙ ﻟﺘﻌﺎﲏ‬‫ﺳﻘﻂ ﺑﻌﺾ ﺃﻗﺎﺭﺑﻚ ﰲ ﻫﻮﺓ ﺍﻟﻼﻋﻮﺩﺓ‪.‬‬

‫)‪ (١‬ﺍﻷﺳﺘﺎﺫ ﳏﻤﺪ ﻋﺰﺍﻡ‪ ،‬ﺩﺭﺍﺳﺘﻪ ﺷﻌﺮﻳﺔ ﺍﳋﻄﺎﺏ ﺍﻟﴪﺩﻱ‪ ،‬ﻣﻨﺸﻮﺭﺍﺕ ﺇﲢﺎﺩ ﺍﻟﻜﺘﺎﺏ ﺍﻟﻌﺮﺏ‪ ،‬ﺩﻣﺸﻖ‬ ‫‪٢٠٠٥‬ﻡ‪ ،‬ﺹ ‪.١٣‬‬

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‫ ﻓﻘﻂ ﻛﻦ ﺃﻧﺖ ﹶ ﺍﻟﺬﻱ ﺃﻋﺮﻓﻪ ﻻ ﺃﻛﺜﺮ‪.‬‬‫‪-‬‬

‫ﺍﻟﺘﺎﺭﻳﺦ ﻻ ﲣﺘﻠﻒ ﺃﳘﻴﺘﻪ ﻋﻦ ﺃﳘﻴﺔ ﺍﳊﺎﴐ ﻭﺍﳌﺴﺘﻘﺒﻞ‪ ،‬ﻭﺍﻟﺘﺎﺭﻳﺦ ﻣﻦ ﺻﻨﺎﻋﺔ ﺍﳌﺨﻠﻮﻕ‪،‬‬

‫ﻭﺍﳌﺨﻠﻮﻕ ﻋﻘﻠﻪ ﻧﺎﻗﺺ ﺃﻣﺎﻡ ﺻﻨﺎﻋﺔ ﺍﳋﺎﻟﻖ‪.‬‬ ‫‪<V‹Œ^Ş◊÷<·^eÜ÷]<xÒ^ífi‬‬

‫ ﻻ ﲢﺮﺛﻮﺍ ﰲ ﺍﳌﻠﺬﺍﺕ ﻓﺎﻟﺒﺤﺮ ﻻ ﳜﻠﻮ ﻣﻦ ﺍﳌﻮﺕ ﺃﺣﻴﺎ ﹰﻧﺎ‪.‬‬‫ ﻋﻠﻴﻜﻢ ﺍﻟﻌﻤﻞ ﺑﻄﺮﻳﻘﺔ ﺍﻟﻔﺮﺩ ﲨﺎﻋﺔ‪ ..‬ﻭﺍﳉﲈﻋﺔ ﻓﺮ ﹰﺩﺍ‪.‬‬‫ ﺍﻟﻨﻮﻡ ﻳﺒﻌﺪ ﺍﻟﺸﺤﻮﺏ‪.‬‬‫‪-‬‬

‫ﺍﻟﻜﺘﲈﻥ ﻣﻴﺰﺓ ﺍﻟﺮﺟﺎﻝ ﻭﺍﳊﻜﻤﺔ ﺛﻮﲠﻢ‪.‬‬

‫ ﺍﻷﻳﺎﻡ ﺳﻔﺮ ﰲ ﺻﺤﺒﺔ ﺍﻷﻗﺪﺍﺭ‪ ،‬ﲤﻨﻊ ﺃﺣﻴﺎ ﹰﻧﺎ ﺍﻷﻣﻞ ﻭﺗﻌﻄﻲ ﺃﺣﻴﺎ ﹰﻧﺎ‪.‬‬‫‪ -‬ﺍﳌﻐﺎﻣﺮﺓ ﻃﻴﺶ ﻣﱪﺭ‪.‬‬

‫‪VMentalism Theory<ÎÇÈ÷Áj÷]<Ê_<Ífi¯œ√÷]<ÿ}Çπ]<IO‬‬ ‫ﺍﻟﻨﺎﺱ ﺩﺭﺟﺎﺕ ﰲ ﺍﻟﻔﻬﻢ ﻭﺍﻻﺳﺘﻴﻌﺎﺏ‪ ،‬ﻓﻤﻨﻬﻢ ﻣﻦ ﻳﻔﻬﻢ ﻣﻦ ﺍﻟﻮﻫﻠﺔ ﺍﻷﻭﱃ ﰲ ﺣﲔ‬

‫ﻫﻨﺎ ﻛﻤﻦ ﳛﺘﺎﺝ ﺇﱃ ﺍﻟﺘﻜﺮﺍﺭ ﺑﺎﻟﻌﺮﺽ‪ ،‬ﻓﻨﻈﺮ ﺗﺸﻮﻣﺴﻜﻲ ﺑﻌﻘﻼﻧﻴﺘﻪ ﻣﺎﺩﻳﺔ ﻋﻠﻤﻴﺔ ﻟﻼﻛﺘﺴﺎﺏ‬

‫ﺍﻟﻨﴢ‪ ،‬ﻓﻼ ﻳﻤﻜﻦ ﺃﻥ ﻳﺪﺧﻞ ﺍﻟﻌﻘﻞ ﺯﺍﺋﺮ ﻣﻌﺮﰲ‪ ،‬ﺇﻻ ﻭﻳﻜﻮﻥ ﻣﺘﻜﺌﹰﺎ ﻋﲆ ﺃﺣﺪ ﻋﻨﺎﴏ ﺗﻠﻚ‬ ‫ﹼ‬

‫ﺍﻟﻨﻈﺮﻳﺔ‪ ،‬ﲢﺘﻮﻱ ﺗﻠﻚ ﺍﻟﻨﻈﺮﻳﺔ ﺍﻟﻔﻜﺮﻳﺔ ﻋﲆ ﻋﻨﴫﻳﻦ ﻣﻬﻤﲔ‪ ،‬ﻭﳘﺎ ﻋﻨﴫ ﺍﳌﻠﻜﺔ ﺍﳌﻌﺮﻓﻴﺔ‬ ‫‪ ،Competence‬ﻭﺗﻌﻨﻲ ﺍﳌﻮﺭﻭﺛﺎﺕ ﺍﳌﻌﺮﻓﻴﺔ ﺍﳌﻜﺘﺴﺒﺔ ﹰ‬ ‫ﺃﺻﻼ ﰲ ﺫﻫﻦ ﺍﳌﺘﻠﻘﻲ ﻣﻦ ﻣﻌﺎﺭﻑ‬ ‫ﻣﺴﺒﻘﺔ ﻃﺒﻴﻌﻴﺔ ﺃﻭ ﻣﻜﺘﺴﺒﺔ‪ ،‬ﻗﺪ ﺗﻌﻠﻤﻬﺎ ﺑﺎﻟﻘﺼﺪ ﺃﻭ ﺑﺎﻟﺪﺭﺍﺳﺔ ﻭﺍﻟﱰﺑﻴﺔ‪ ،‬ﺃﻭ ﺑﺎﻟﺒﺪﺍﻫﺔ ﺍﻟﺴﻠﻮﻛﻴﺔ‬

‫ﻟﻠﻤﺘﺘﺒﻊ ﺍﻟﻌﻠﻤﻲ‪ ،‬ﺳﻮﺍﺀ ﺃﻛﺎﻥ‬ ‫ﻋﻘﻼﻧﻴﺎ‬ ‫ﻭﺍﻻﻛﺘﺴﺎﺏ ﺍﳌﻌﺮﰲ‪ ،‬ﻭﺗﻠﻚ ﺍﳌﻌﺎﺭﻑ ﺳﺘﻜﻮﻥ ﺳﺎﻧﺪﺓ‬ ‫‪h‬‬ ‫ﹼ‬ ‫‪h‬‬ ‫ﻣﺘﻌﻠﲈ ﺃﻭ ‪h‬‬ ‫ﻣﻬﻢ ﺟﺪ‪ h‬ﺍ‪ ،‬ﻛﺒﻮﺍﺑﺔ ﻟﻠﻌﻘﻞ‬ ‫ﻣﻌﻠﲈ ﺃﻭ ﻧﺎﻗﺪﹰ ﺍ ﺃﻭ‬ ‫ﻣﺘﻠﻘﻴﺎ‪ ،‬ﺃ ﹼﻣﺎ ﻋﻨﴫ ﺍﻟﻨﻈﺮﻳﺔ ﺍﻵﺧﺮ ﻓﻬﻮ ﱞ‬ ‫‪h‬‬

‫ﰲ ﺍﻟﻌﺮﺽ ﳌﺎ ﺍﻛﺘﺴﺒﻪ ﻣﻦ ﺍﳌﻌﺎﺭﻑ‪ ،‬ﻭﻫﻮ ﻋﻨﴫ ﺍﻟﻌﺮﺽ ﺍﻟﺘﻨﻔﻴﺬﻱ )‪ (Performance‬ﺃﻭ‬

‫ﺍﻹﻧﺠﺎﺯ‪ ،‬ﻭﻫﻨﺎ ﻳﻘﻮﻡ ﺍﻟﻨﺎﻗﺪ‬ ‫ﺑﺎﻟﺘﺒﺤﺮ ﰲ ﺍﻟﻨﻘﺪ ﻣﻦ ﺧﻼﻝ ﺗﻠﻚ ﺍﳌﻌﻄﻴﺎﺕ‪ ،‬ﻭﺣﲔ ﻳﻨﺠﺰ ﻣﻬﻤﺔ‬ ‫ﹼ‬

‫‪٥٧‬‬

‫ﲨﻊ ﺍﳌﻌﻠﻮﻣﺎﺕ ﻭﻭﺯﳖﺎ‪ ،‬ﻳﻘﻮﻡ ﺑﻌﺮﺿﻬﺎ ﺃﻭ ﻧﴩﻫﺎ ﻣﻦ ﺧﻼﻝ ﺗﻠﻚ ﺍﻟﺒﻮﺍﺑﺔ ﺍﻟﻔﻜﺮﻳﺔ ﺍﻟﻌﻘﻼﻧﻴﺔ‪،‬‬

‫ﻭﻳﻐﻨﻲ ﻣﺎ ﻟﺪﻳﻪ ﻣﻦ ﺃﻓﻜﺎﺭ ﺑﺎﳋﺮﻭﺝ ﺧﺎﺭﺝ ﺍﻟﻨﺺ ﻣﻦ ﺑﻮﺍﺑﺔ ﺍﻟﺘﻨﺎﺹ )‪ (texuality‬ﺍﻟﻮﺍﺳﻌﺔ‬

‫ﻧﺤﻮ ﺃﻓﻖ ﺍﳌﺘﻮﺍﺯﻳﺎﺕ‪.‬‬

‫)‪(١‬‬

‫ﺑﻜﻞ ﻣﺎ ﻳﺘﻮ ﹼﻟﺪ ﻣﻦ ﹺﻓ ﹶﻜﺮ ﻭﺃﺣﺪﺍﺙ‪ ،‬ﻓﻬﻲ ﻗﻠﻴﻠﺔ ﺑﺎﻟﻨﺴﺒﺔ ﹺ‬ ‫ﳞﺘﻢ ﹼ‬ ‫ﻟﺴﻌﺔ ﺍﳊﻴﺎﺓ‬ ‫ﻭﻫﺬﺍ ﺍﳌﺪﺧﻞ ﹼ‬

‫ﻭﺍﻣﺘﺪﺍﺩﻫﺎ‪ ،‬ﻓﺤﲔ ﻳﻠﺞ ﺍﻟﻜﺎﺗﺐ ﻋﺎﱂ ﺍﻷﺩﺏ ﻻﺑﺪﹼ ﹼ‬ ‫ﻣﺮ‬ ‫ﻭﺃﻥ ﻟﻪ ﲡﺎﺭﺏ ﹼ‬ ‫ﻣﺮ ﻓﻴﻬﺎ‪ ،‬ﻭﻫﻲ ﲡﺎﺭﺏ ﹼ‬ ‫ﻓﻴﻬﺎ ﺍﻟﻨﺎﺱ ﻣﻦ ﻗﺒﻠﻪ‪ ،‬ﻓﺎﻟﻮﺍﻗﻊ ﺍﻻﻓﱰﺍﴈ ﻫﻮ ﻋﺎﱂ ﺍﺳﺘﻨﺴﺎﺧﻲ ﻟﻠﻮﺍﻗﻊ ﺍﳊﻘﻴﻘﻲ ﻭﺻﻮﺭﺓ‬

‫ﳏﺒﺒﺔ ﻟﻠﻤﺘﻠﻘﻲ‪ ،‬ﻓﲈ ﻳﻜﺘﺒﻪ ﺍﻷﺩﻳﺐ ﻫﻮ ﻣﺄﺧﻮﺫ ﻣﻦ ﲡﺮﺑﺔ‬ ‫ﻣﺰﻳﻨﺔ ﻟﻪ ﹼ‬ ‫ﻳﺰﻭﻗﻬﺎ ﺍﻟﻜﺎﺗﺐ ﻟﺘﻜﻮﻥ ﹼ‬

‫ﺗﺘﻜﻮﻥ ﻣﻦ ﺛﻼﺛﺔ ﻋﻨﺎﴏ ﻛﲈ ﺗﺮﺍﻫﺎ ﺍﻟﺮﺅﻳﺔ ﺍﻟﺬﺭﺍﺋﻌﻴﺔ‪ ،‬ﻭﺗﻠﻚ ﺍﻟﺜﻼﺛﻴﺔ ﺗﺘﺤﻜﻢ ﰲ ﻗﻠﻢ‬ ‫ﺛﻼﺛﻴﺔ ﹼ‬

‫ﺍﻟﻜﺎﺗﺐ‬ ‫ﻋﺮﺍﺏ ﻟﻠﻤﺠﺘﻤﻊ‬ ‫ﹼ‬ ‫ﻭﺗﻮﺟﻬﻪ ﻧﺤﻮ ﺧﺪﻣﺔ ﺍﳌﺠﺘﻤﻊ ﺑﺎﳌﻨﻄﻠﻖ ﺍﻟﺬﺭﺍﺋﻌﻲ – ﺇﻥ ﺍﻷﺩﺏ ﻫﻮ ﹼ‬ ‫‪ -‬ﻭﻫﻲ‪:‬‬

‫‪ <VÌȜȜ£]<Ï^È£]<p]Çu_<G‬ﻧﺤﻦ ﻧﺤﺘﺎﺝ ﲡﺎﺭﺏ ﺍﳊﻴﺎﺓ ﻟﻨﻌﻜﺴﻬﺎ ﻋﲆ ﺍﻷﺩﺏ‪ ،‬ﻓﻄﺒ ﹰﻘﺎ‬

‫ﻟﻠﺬﺭﺍﺋﻌﻴﺔ ﻧﺤﻦ ﰲ ﻋﴫ ﱂ ﻳﺒﻖﹶ ﻓﻴﻪ ﳾﺀ ﱂ ﹸﻳ ﹾ‬ ‫ﻘﻞ ﺃﻭ ﺣﺪﺙ ﱂ ﳛﺪﺙ‪ ،‬ﻭﻋﲆ ﺫﻟﻚ ﻫﻨﺎﻙ ﺍﻟﻜﺜﲑ‬

‫ﺍﻟﺒﺤﺎﺭﺓ ﻣﻨﺬ ﺃﻥ ﺧﺎﺽ ﺍﻹﻧﺴﺎﻥ ﻏﲈﺭ ﺍﻟﺒﺤﺮ‪ ،‬ﻭﺷﻬﺪ ﻫﻴﺠﺎﻧﻪ‪،‬‬ ‫ﻣﻦ ﺍﻟﻘﺼﺺ ﺍﻟﺘﻲ ﺣﺪﺛﺖ ﻣﻊ ﹼ‬ ‫ﻭﺗﻘ ﹼﻠﺒﺎﺗﻪ ﺍﻟﴪﻳﻌﺔ‪ ،‬ﰲ ﻣﻐﺎﻣﺮﺍﺕ ﺧﻄﺮﺓ‪ ،‬ﻭﺃﺧﺮ￯ ﺳﺎﺣﺮﺓ ﺗﺘﻨﺎﺹ ﻣﻌﻬﺎ ﻫﺬﻩ ﺍﻟﺮﻭﺍﻳﺔ‪ ،‬ﻛﲈ ﺃﻥ‬

‫ﻫﻨﺎﻙ ﺍﻟﻜﺜﲑ ﻣﻦ ﺍﻟﻨﺎﺱ ﺍﻟﺬﻳﻦ ﳍﻢ ﴍﻛﺎﺀ ﰲ ﺩﻭﺍﺧﻠﻬﻢ‪ ،‬ﺗﺘﺸﺎﺑﻪ ﻗﺼﺺ ﺗﺸﺎﺑﻜﻬﻢ ﻣﻊ ﻫﺬﻩ‬ ‫ﺍﻟﺮﻭﺍﻳﺔ‪ ،‬ﺃﻋﱰﻑ ﺃﻧﻨﻲ ﻭﺍﺣﺪﺓ ﻣﻨﻬﻢ‪.‬‬

‫ﺑﺤﺎﺭ ﻭﻋﻤﻠﻪ ﻫﺬﺍ ﺳﲑﺓ ﺫﺍﺗﻴﺔ ﻷﺣﺪﺍﺙ‬ ‫‪ <VÌÈí~é÷]<gi^”÷]<hÖ^üÊ<G‬ﺍﻟﻜﺎﺗﺐ ﺃﺻﻼ ﹼ‬

‫ﺣﺪﺛﺖ ﻣﻌﻪ ﰲ ﺭﺣﻠﺔ‪ ،‬ﻭﻫﺬﺍ ﻣﺎ ﻳﻤﻴﺰ ﻫﺬﺍ ﺍﻟﻌﻤﻞ ﺍﻷﺩﰊ‪ ،‬ﺣﻴﺚ ﺃﻥ ﺍﻟﺮﻭﺍﻳﺔ ﻛﺘﺒﻬﺎ ﺍﻟﺒﻄﻞ ﺫﺍﺗﻪ‪.‬‬

‫‪<<V^„fl¬<_ÜŒ<Ê_<^‚Ç‚^ç<ÇŒÊ<Â4∆<^„e<Üfl ⁄<:÷]<p]Çu˘]Ê<hÖ^rj÷]Ê<G‬ﺗﻨﺎﺹ ﻣﻊ ﺭﻭﺍﻳﺔ‬

‫ﺍﻟﺸﻴﺦ ﻭﺍﻟﺒﺤﺮ )ﺃﺭﻧﺴﺖ ﻫﻴﻤﻨﻐﻮﺍﻱ(‪ ،‬ﺍﻟﴩﺍﻉ ﻭﺍﻟﻌﺎﺻﻔﺔ‪ ،‬ﺣﻜﺎﻳﺔ ﺑﺤﺎﺭ )ﺣﻨﺎ ﻣﻴﻨﺔ(‪،‬‬

‫)‪ (١‬ﻋﺒﺪ ﺍﻟﺮﺯﺍﻕ ﻋﻮﺩﻩ ﺍﻟﻐﺎﻟﺒﻲ‪ ،‬ﻣﻮﺳﻮﻋﺔ ﺍﻟﺬﺭﺍﺋﻌﻴﺔ‪ ،‬ﺍﳌﺠﻠﺪ ﺍﻟﺜﺎﻟﺚ‪ ،‬ﺍﻟﺬﺭﺍﺋﻌﻴﺔ ﰲ ﺍﻟﺘﻄﺒﻴﻖ‪ ،‬ﻃﺒﻌﺔ ﻣﺰﻳﺪﺓ‬ ‫ﻭﻣﻨﻘﺤﺔ‪ ،‬ﺹ ‪ ،١٥٥‬ﺩﺍﺭ ﺍﻟﻨﺎﺑﻐﺔ ﻟﻠﻨﴩ ‪٢٠١٩‬ﻡ‪.‬‬

‫‪٥٨‬‬

‫‪Moral Level<ÍŒ¯}˘]<ÔÁjäπ]<V^n⁄ ÷^m‬‬

‫ﳎﺘﻤﻌﺎ ﻣﻦ‬ ‫ﲤﺴﻜﻪ ﺑﺎﳋﻠﻖ ﺍﻟﻜﺮﻳﻢ‪ ،‬ﻟﻦ ﻳﻜﻮﻥ ﺃﺑﺪﹰ ﺍ‬ ‫ﹰ‬ ‫»ﺇﻥ ﺍﳌﺠﺘﻤﻊ ﻣﻬﲈ ﺗﻜﻦ ﺩﺭﺟﺔ ﹼ‬ ‫ﹼ‬ ‫ﻭﺳﻴﻈﻞ ﻣﻮﺟﻮ ﹰﺩﺍ ﰲ ﻛﻞ ﻣﻜﺎﻥ ﻳﻮﺟﺪ ﻓﻴﻪ ﺇﻧﺴﺎﻥ‪ ،‬ﺑﻴﺪ ﺃﻥ‬ ‫ﺍﳌﻼﺋﻜﺔ‪ ،‬ﻭﺇﻥ ﺍﻟﴩﹼ ﻛﺎﻥ ﻭﻻ ﻳﺰﺍﻝ‬ ‫ﹰ‬ ‫ﻣﺴﻮﻏﺎ ﻟﻠﻌﻤﻞ)‪ (١‬ﻋﲆ ﲢﻮﻳﻞ ﺍﻟﻨﺎﺱ ﺇﱃ ﺷﻴﺎﻃﲔ‪ ،‬ﻭﻣﻦ ﺟﻬﺔ ﺃﺧﺮ￯ ﹼ‬ ‫ﺍﳊﻘﻴﻘﺔ ﻻ ﺗﻜﻮﻥ‬ ‫ﻓﺈﻥ‬

‫ﺍﻟﻘﻀﺎﺀ ﻋﲆ ﺍﻟﴩ ﻗﻀﺎ ﹰﺀ ﹰ‬ ‫ﳍﻮ ﴐﺏ ﻣﻦ ﺍﳌﺴﺘﺤﻴﻞ‪ ،‬ﺑﻞ ﻻﺑﺪﹼ ﻣﻦ ﺍﻟﻌﻤﻞ ﻋﲆ ﳏﺎﴏﺗﻪ ﰲ‬ ‫ﻛﺎﻣﻼ ﹶ‬

‫ﺃﺿﻴﻖ ﻣﻜﺎﻥ ﳑﻜﻦ‪ ،‬ﻭﺇﺫﺍ ﻛﺎﻥ ﻫﻨﺎﻙ ﺗﻌﺎﺭﺽ ﺑﲔ ﺍﳋﲑ ﻭﺍﳉﲈﻝ‪ ،‬ﻓﻠﻨﻘﻞ ﺑﲔ ﺍﻟﺪﻳﻦ ﻭﺍﻷﺧﻼﻕ‬

‫ﻣﻦ ﺟﻬﺔ‪ ،‬ﻭﺍﻷﺩﺏ ﻭﺍﻟﻔﻦ ﻣﻦ ﺟﻬﺔ ﺃﺧﺮ￯‪ ،‬ﻓﻠﲈﺫﺍ ﻳﻨﺒﻐﻲ ﺃﻥ ﺗﻜﻮﻥ ﺍﻷﻭﻟﻮﻳﺔ ﻟﻸﺧﻼﻕ ﻋﲆ‬ ‫ﻳﺴﻤﻢ ﺍﳊﻴﺎﺓ ﻭﻻ ﻳﺒﻘﻲ ﻣﻌﻪ ﹰ‬ ‫ﺑﺄﻱ‬ ‫ﳎﺎﻻ ﻟﻼﺳﺘﻤﺘﺎﻉ ﹼ‬ ‫ﺍﻷﺩﺏ ‪...‬؟ ﻭﺍﻹﺟﺎﺑﺔ ﺳﻬﻠﺔ ﻭﻫﻲ ﺃﻥ ﺍﻟﴩﹼ ﹼ‬

‫ﳾﺀ‪ ،‬ﻭﺇﺫﺍ ﻃﻠﺐ ﻣﻦ ﺍﻷﺩﻳﺐ ﺍﻹﻗﻼﻉ ﻋﻦ ﺍﻟﱰﻭﻳﺞ ﻟﻠﴩﹼ ﻭﺍﻟﻔﺴﺎﺩ ﰲ ﻋﻤﻠﻪ‪ ،‬ﻳﺴﺘﻄﻴﻊ ﺃﻥ‬ ‫ﺍﻟﻘﺮﺍﺀ ﺳﻴﻔﻮﲥﻢ‬ ‫ﳚﺪ ﻣﻮﺿﻮﻋﺎﺕ ﺃﺧﺮ￯ ﻻ ﲢﴡ ﻳﺒﺪﻉ ﻓﻴﻬﺎ ﺃﺩ ﹰﺑﺎ ﹸﻳﺴﺘﹶﻤﺘﹶﻊ ﺑﻪ‪ ،‬ﻓﻼ ﻫﻮ ﺇ ﹰﺫﺍ ﻭﻻ ﹼ‬

‫ﻣﺎ ﻳﻨﺸﺪﻭﻧﻪ ﻣﻦ ﻣﺘﻌﺔ‪ ،‬ﺃ ﹼﻣﺎ ﺇﺫﺍ ﺗﺮﻛﻨﺎ ﺍﻷﺩﺑﺎﺀ ﺍﳌﻨﺤ ﹼﻠﲔ ﻳﻐﺮﻭﻥ ﺑﺎﻟﻔﺎﺣﺸﺔ ﻭﻳﻌﻤﻠﻮﻥ ﻋﲆ ﻧﴩ‬

‫ﺍﻹﺑﺎﺣﻴﺔ‪ ،‬ﻓﻠﻦ ﻳﻤﻜﻦ ﺗﺪﺍﺭﻙ ﺍﻷﻣﺮ ﺑﺤﺎﻝ ﻣﻦ ﺍﻷﺣﻮﺍﻝ‪ ،‬ﻓﺈﻥ ﲤﺎﺳﻚ ﺍﻷﻣﻢ ﻭﻗﻮﲥﺎ ﺍﻷﺧﻼﻗﻴﺔ‬

‫ﺃﻫﻢ ﻣﻠﻴﺎﺭﺍﺕ ﺍﳌﺮﺍﺕ ﻣﻦ ﻣﺘﻌﺔ ﻓﻨﻴﺔ ﲡﻠﺐ ﻭﺭﺍﺀﻫﺎ ﺍﻟﺘﻔﻜﻚ ﺍﻷﺧﻼﻗﻲ ﻭﺍﻻﻧﺤﺮﺍﻓﺎﺕ ﺍﻟﻨﻔﺴﻴﺔ‬ ‫ﻭﺍﻵﻓﺎﺕ ﺍﻻﺟﺘﲈﻋﻴﺔ ‪ ...‬ﺇ ﹰﺫﺍ ﻻﺑﺪﹼ ﻣﻦ ﺧﻠﻔﻴﺔ ﺃﺧﻼﻗﻴﺔ ﺗﺼﻮﻥ ﺍﻷﺩﺏ ﻣﻦ ﺍﻻﻧﺤﺮﺍﻑ ﻭﲢﺎﺭﺏ‬

‫ﺍﻹﺳﻔﺎﻑ ﻭﺍﻟﺘﺤ ﹼﻠﻞ ﺍﻷﺧﻼﻗﻲ ﰲ ﺍﻷﺩﺏ ‪ ...‬ﻭﻫﺬﺍ ﻣﺎ ﺗﺪﻋﻮ ﻟﻪ ﺍﻟﺮﺅﻳﺔ ﺍﻟﺬﺭﺍﺋﻌﻴﺔ ﺑﻤﺴﺘﻮﺍﻫﺎ‬ ‫ﺍﻷﺧﻼﻗﻲ ﺍﳌﺘﻤﺜﹼﻞ ﰲ«‪:‬‬

‫‪VStatic<Core<ÎÜ”À÷]<4Úfj÷]<Ê_<Ìje^n÷]<ÌËÜ”À÷]<ÏÖˆf÷]<IM‬‬ ‫ﻭﻫﻲ ﻣﺪﺧﻞ ﺃﺧﻼﻗﻲ ﳚﺪ ﺍﻟﻨﺎﻗﺪ ﻓﻴﻪ ﻧﻮﻉ ﺍﻟﻌﻤﻞ ﺍﻷﺩﰊ ﻭ ﳏﺘﻮﻳﺎﺗﻪ ﺍﻷﺧﻼﻗﻴﺔ ﺍﻟﺜﺎﺑﺘﺔ‪،‬‬ ‫ﹸ‬ ‫ﺣﺴﻨﺖ‬ ‫ﻟﺬﻟﻚ ﻋﻤﻠﺖ ﺍﻟﺬﺭﺍﺋﻌﻴﺔ ﺑﺎﻟﺘﺒﺌﲑ ﺑﺎﻷﺩﺏ ﻣﻦ ﺃﺻﻞ ﻛﻠﻤﺔ )ﺃﺩﺏ( ﻟﻐﻮ ‪h‬ﻳﺎ ‪ -‬ﹸﺃﺩ ﹶﺏ‬ ‫ﺍﻟﺮﺟﻞ ﹸ‬ ‫ﺍﻟﻜﺎﺗﺐ ﹶ‬ ‫ﺣﺬ ﹶﻕ ﻓﻨﻮﻥ‬ ‫ﻭﺃﺩﺏ‬ ‫ﺃﺧﻼ ﹸﻗﻪ ﻭﻋﺎﺩﺍ ﹸﺗﻪ ﺍﻟﻔﻀﻞ ﺑﺎﻟﻌﻘﻞ ﻭﺍﻷﺩﺏ ﻻ ﺑﺎﻷﺻﻞ ﻭﺍﳊﺴﺐ‪ ،‬ﹸ‬ ‫ﹸ‬ ‫ﺍﻷﺩﺏ ﻭﺃﺟﺎﺩﻫﺎ ﹸﺃﺩﺏ ﰲ ﺣﺪﻳﺜﻪ ‪.-‬‬

‫ﺍﻟﺘﺎﻟﻴﺔ‪:‬‬

‫ﻭﻣﺎ ﺍﻫﺘﲈﻡ ﺍﻟﺬﺭﺍﺋﻌﻴﺔ ﺇﻻ ﺑﺎﻟﻨﻮﺍﺣﻲ ﺍﻷﺧﻼﻗﻴﺔ ﺍﻟﺘﻲ ﺗﺘﻀﻤﻨﻬﺎ ﺃﺩﻭﺍﺕ ﺍﻟﺸﺎﻋﺮ ﺃﻭ ﺍﻟﻜﺎﺗﺐ‬

‫)‪ (١‬ﺍﻟﺪﻛﺘﻮﺭ ﺍﺑﺮﺍﻫﻴﻢ ﻋﻮﺽ‪ ،‬ﻋﻼﻗﺔ ﺍﻷﺩﺏ ﺑﺎﻟﺪﻳﻦ ﻭﺍﻷﺧﻼﻕ‪ ،‬ﺍﻷﻟﻮﻛﺔ ﺭﺍﺑﻂ ‪. alukah.net‬‬

‫‪٥٩‬‬

‫‪Vgi^”÷]<ÌÈqÁ÷ÁËÇË_<G‬‬ ‫ﺍﻟﺘﻲ ﹼ‬ ‫ﺗﺘﻠﺨﺺ ﰲ ﺫﻫﻦ ﺍﳌﺘﻠﻘﻲ ﻭﻛﺄﳖﺎ ﺍﻟﻌﱪﺓ ﺍﻟﺘﻲ ﻳﺴﻮﻗﻬﺎ ﺍﻟﻜﺎﺗﺐ ﰲ ﻫﺬﺍ ﺍﻟﻌﻤﻞ‪:‬‬

‫ﺍﻹﻧﺠﺎﺯﺍﺕ ﺍﻟﻌﻈﻴﻤﺔ ﻻ ﺗﺘﺤﻘﻖ ﰲ ﻋﺘﻤﺔ ﺍﻟﻮﺣﺪﺓ ﻭﺍﻷﻧﺎﻧﻴﺔ‪ ،‬ﻭﺇﻧﲈ ﺗﺘﺤ ﹼﻘﻖ ﺑﺎﳌﺸﺎﺭﻛﺔ ﻣﻊ‬

‫ﺍﳉﲈﻋﺎﺕ ﺍﻹﻧﺴﺎﻧﻴﺔ ﻋﲆ ﺍﺧﺘﻼﻑ ﺍﻧﺘﲈﺀﺍﲥﻢ ﻭ ﺛﻘﺎﻓﺎﲥﻢ ﻭ ﻣﺴﺘﻮﻳﺎﲥﻢ ﺍﻻﺟﺘﲈﻋﻴﺔ‪ ،‬ﺗﺘﺤ ﹼﻘﻖ‬

‫ﺑﺎﻟﻌﻴﺶ ﻣﻊ ﺍﻵﺧﺮﻳﻦ ﻭﻗﺒﻮﳍﻢ ﻛﲈ ﻫﻢ ﻣﺎ ﱂ ﻳﻜﻮﻧﻮﺍ ﻃﻐﺎﺓ ﺃﻭ ﺃﻋﺪﺍﺀ ﳏﺘﻠﲔ‪ ،‬ﺍﻹﻧﺠﺎﺯﺍﺕ ﺍﻟﻜﺒﲑﺓ‬ ‫ﹰ‬ ‫ﺣﺮﺍ‬ ‫ﻣﺘﺼﺎﳊﺎ ﻣﻊ ﻧﻔﺴﻪ‪ ،‬ﻣﺆﻣﻨﹰﺎ ﺃﻧﻪ ﺇﻧﺴﺎﻥ ﳜﻄﺊ ﻭﻳﺼﻴﺐ‪،‬‬ ‫ﻻ ﺗﺘﺤﻘﻖ ﹼﺇﻻ ﺇﺫﺍ ﻛﺎﻥ ﺍﻹﻧﺴﺎﻥ ‪h‬‬

‫ﻟﻴﺲ ﺷﻴﻄﺎ ﹰﻧﺎ ﻭﻟﻴﺲ ﹰ‬ ‫ﻣﻼﻛﺎ‪،‬‬ ‫ﻣﺘﺤﺮﺭﺍ ﻣﻦ ﻛﻞ ﺍﻟﻌﻼﺋﻖ ﺍﻟﺘﻲ ﲢﺎﻭﻝ ﺃﻥ ﺗﻌﻴﺶ ﻋﲆ ﺫﺍﺗﻪ‪ ،‬ﻣﻦ ﻛﻞ‬ ‫‪h‬‬ ‫ﳛﺎﻭﻝ ﺃﻥ ﳜﱰﻕ ﺇﻧﺴﺎﻧﻴﺘﻪ‪ ،‬ﺳﻮﺍﺀ ﺃﻛﺎﻥ ﹰ‬ ‫ﻣﻼﻛﺎ ﺃﻡ ﺷﻴﻄﺎ ﹰﻧﺎ‪ ،‬ﺃﻭ ﺣﺘﻰ ﻧﺼ ﹰﻔﺎ ﺁﺧﺮ‪ .‬ﻫﺬﺍ ﺍﻟﻨﺼﻒ‬

‫ﺍﻵﺧﺮ ﺳﻴﻐﺎﺩﺭ ﻋﻨﺪﻣﺎ ﻳﻤﻠﻚ ﺍﻹﻧﺴﺎﻥ ﺍﻟﺸﺠﺎﻋﺔ ﺍﻟﻜﺎﻓﻴﺔ ﻟﻄﺮﺩﻩ‪ ،‬ﻟﻴﺪﺭﻙ ﺣﻘﻴﻘﺔ ﻧﻔﺴﻪ‪ ،‬ﻭﻣﺎ‬

‫ﺍﻟﻘﻠﻖ ﺍﻟﺬﻱ ﺳﻴﻨﺘﺎﺑﻪ ﺑﻌﺪ ﺗﺮﻙ ﻫﺬﺍ ﺍﻵﺧﺮ ﻟﻪ ﺇﻻ ﺧﻮﻑ ﻣﻦ ﺍﻟﻔﻘﺪ ﺑﻌﺪ ﺍﻋﺘﻴﺎﺩ ﻃﻮﻳﻞ‪ ،‬ﺍﻟﻌﻤﻞ‬ ‫ﺍﻟﺪﺅﻭﺏ ﻛﻔﻴﻞ ﺑﺘﺒﺪﻳﺪ ﺫﻟﻚ ﺍﻟﻘﻠﻖ‪ ،‬ﻟﻴﺤﻞ ﳏ ﹼﻠﻪ ﺳﻼﻡ ﻭﺳﻜﻴﻨﺔ ﻭﺭﺿﺎ ﺑﺘﺤﻘﻴﻖ ﺃﺣﻼﻡ ﹶ‬ ‫ﳉ ﹶﻤﻬﺎ‬

‫ﹰ‬ ‫ﺍﳋﻮﻑ‬ ‫ﻃﻮﻳﻼ‪.‬‬

‫)ﺇﻥ ﻣﺎ ﻳﺴﻤﻰ ﻧﺼﻔﻲ ﺍﻵﺧﺮ ﻓﺎﺭﻗﻨﻲ‪ ...‬ﻫﻮ ﻋﻦ ﻭﻋﻲ ﺃﻭ ﻻ ﻭﻋﻲ ﲡﺎﻫﻞ ﻓﻜﺮﺓ ﻛﻮﲏ‬

‫ﺑﺒﺴﺎﻃﺔ ﻣﻔﺮﻃﺔ ﺇﻧﺴﺎﻥ‪ ،‬ﻭﻟﻴﺲ ﻣﻦ ﺣﻖ ﺃﻱ ﻛﺎﻥ ﺃﻥ ﳚﺮﺩﲏ ﻣﻦ ﺇﻧﺴﺎﻧﻴﺘﻲ ﻭﻳﻠﺒﺴﻨﻲ ﺛﻴﺎﺏ ﺍﳌﻼﺋﻜﺔ‬

‫ﺃﻭ ﺍﻟﺸﻴﻄﺎﻥ‪ ،‬ﺭﻏﺒﺎﺗﻪ ﰲ ﺇﺻﻼﺣﻲ ﻻ ﺟﺪﻭ￯ ﻣﻨﻬﺎ‪ ،‬ﻳﺬﻛﺮﲏ ﺑﺤﻘﻴﻘﺔ ﻭﺟﻮﺩﻱ ‪ ...‬ﻭﻻ ﺃﺑﺎﻟﻎ ﻟﻮ‬ ‫ﻗﻠﺖ ﱂ ﻳﺼﻞ ﺑﻌﺪ ﻫﻮ ﺃﻭ ﻏﲑﻩ ﻛﲈ ﻭﺻﻠﺖ ﺃﻧﺎ ﺇﱃ ﻣﻌﺮﻓﺔ ﺃﻥ ﺑﲔ ﳏﺎﺟﺮ ﺍﻟﻌﻴﻮﻥ ﻣﻮﺕ ﻣﺄﻣﻮﺭ‬

‫ﺃﻋﻤﻰ ﻻ ﳚﺮﺅ ﻋﲆ ﻋﺰﻝ ﺍﻟﻔﻀﻴﻠﺔ ﻋﻦ ﺍﻟﺮﺫﻳﻠﺔ ‪ ...‬ﻛﺎﻧﺖ ﻧﻈﺮﰐ ﺍﳊﻤﻘﺎﺀ ﺗﺒﻌﺪﲏ ﻋﻦ ﺍﻟﻮﺍﻗﻊ‪،‬‬ ‫ﴏﺕ ﹰ‬ ‫ﻣﻴﺎﻻ ﺇﱃ ﺍﻟﺴﲑ ﻋﲆ ﺃﻃﻮﻝ ﻃﺮﻗﺎﺕ ﺍﻟﻮﺣﺪﺓ ‪ ...‬ﻛﻴﺎﲏ ﺍﳌﺰﺩﻭﺝ ﺗﻌ ﹼﻘﺪ(‪.‬‬ ‫‪<ÌÈfi^äfi˝]<Ï4äπ]<ƒ⁄<–e^Şji<:÷]<Ì⁄^√÷]<ÌÈŒ¯}˘]<ܬ^é÷]<Ê_<gi^”÷]<ÌÈrÈi]3â]<G‬‬ ‫‪VÌÈ⁄¯â˝]<ÌÈeÜ√÷]<—¯}˘]Ê‬‬ ‫ﻳﻘﺮ ﺗﺮﺑﻴﺔ ﺍﻷﻃﻔﺎﻝ ﺍﳋﺎﻟﻴﺔ‬ ‫ﺃﻋﻠﻨﻬﺎ ﺍﻟﻜﺎﺗﺐ ﴏﺍﺣﺔ‪ ،‬ﻻ ﻳﺆﻣﻦ ﺑﺄﺧﻼﻗﻴﺎﺕ ﺍﻟﻐﺮﺏ‪ ،‬ﻭﻻ ﹼ‬

‫ﻳﻘﺮ ﺃﻥ ﺍﻷﺧﻼﻕ ﻫﻲ‬ ‫ﻣﻦ ﺍﻟﺼﻼﺡ ﻋﻨﺪ ﺍﻟﻐﺮﺏ‪ ،‬ﻭﻳﻌﻠﻦ ﺃﻧﻪ ﻳﻨﺘﻤﻲ ﳌﺠﺘﻤﻌﻪ ﺍﻟﴩﻗﻲ ﺍﻟﺬﻱ ﹼ‬

‫ﺃﺳﺎﺱ ﺑﻘﺎﺀ ﺍﻷﻣﻢ‪ ،‬ﻟﻜﻨﻪ ﰲ ﺍﻟﻮﻗﺖ ﻧﻔﺴﻪ ﻳﺸﻜﻚ ﺑﺎﻟﻮﺳﺎﺋﻞ ﺍﳌﺸﺒﻮﻫﺔ ﺍﻟﺘﻲ ﻭﺻﻠﺖ ﻋﱪﻫﺎ‬ ‫ﻫﺬﻩ ﺍﻷﺧﻼﻗﻴﺎﺕ‪ ،‬ﻣﻨﺼ ﹰﻔﺎ ﺍﻟﻐﺮﺏ ﺑﺎﻋﱰﺍﻓﻪ ﺑﻔﻀﻠﻪ ﺑﺎﻟﻌﻠﻮﻡ ﻭﺍﻟﻌﻘﻞ ﺍﻟﺬﻱ ﺃﻧﺘﺞ ﺍﻟﻜﺜﲑ ﻣﻦ‬

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‫ﺍﳌﻨﺠﺰﺍﺕ ﺍﳊﻀﺎﺭﻳﺔ ﺍﻟﺘﻲ ﻋﻢ ﺧﲑﻫﺎ ﻛﻞ ﺍﻟﻌﺎﱂ ﺍﻟﴩﻗﻲ ﻭﺍﻟﻐﺮﰊ ﻋﲆ ﺣﺪ ﺳﻮﺍﺀ‪ ،‬ﻭﻻ ﻳﻘﻮﻡ‬ ‫ﺍﻟﻌﻠﻢ ﺇﻻ ﻋﲆ ﺃﺳﺲ ﻭﻗﻴﻢ ﺇﻧﺴﺎﻧﻴﺔ‪ ،‬ﺃﳘﻬﺎ ﺍﻟﺘﻮﺍﺿﻊ ﻭﺍﻟﺼﺪﻕ ﻭﺍﻹﺧﻼﺹ ﻭﺍﻟﻌﻤﻞ ﺍﳉﺎﺩ‪.‬‬

‫ﹰ‬ ‫ﺻﺎﳊﺎ ﰲ ﺗﺮﺑﻴﺔ ﺍﻷﻃﻔﺎﻝ ﻋﻨﺪﻫﻢ‪ ،‬ﺍﻟﺬﻧﺐ‬ ‫)ﻻ ﺃﺅﻣﻦ ﺑﺄﺧﻼﻗﻴﺎﺕ ﺍﻟﻐﺮﺏ‪ ،‬ﻭﻻ ﺃﺭ￯‬ ‫ﻟﻴﺲ ﺫﻧﺒﻲ‪ ،‬ﻫﻮ ﺫﻧﺐ ﻣﻦ ﺗﺮﺑﻴﺖ ﻣﻌﻬﻢ‪ ،‬ﹼ‬ ‫ﺟﺬﺭﻭﺍ ﰲ ﻣﻔﻬﻮﻣﻴﺎﰐ ﺇﻧﲈ ﺍﻷﻣﻢ ﺍﻷﺧﻼﻕ ﻣﺎ ﺑﻘﻴﺖ‬

‫ﺗﴪﺏ ﺇﱃ‬ ‫‪ ...‬ﺍﻷﺧﻼﻕ ﻳﻘﺼﺪﻭﻥ ﲠﺎ ﺃﺧﻼﻕ ﺍﻟﴩﻕ‪ ..،‬ﺣﻜﻤﻬﻢ ﺍﳌﻌﺎﺩﻱ ﻫﺬﺍ ﻛﺎﻥ ﻧﺘﻴﺠﺔ ﳌﺎ ﹼ‬ ‫ﻣﺸﺎﻫﺪﺍﲥﻢ ﻣﻦ ﺳﻴﻨﲈ ﺍﻟﻐﺮﺏ ﻭﻗﺮﺍﺀﺓ ﺑﻌﺾ ﺍﳌﺠﻼﺕ ﻭﺃﺣﺎﺩﻳﺚ ﺗﺸﺒﻪ ﺍﳋﺮﺍﻓﺎﺕ ﻋﻦ ﺍﻵﺧﺮ‪.‬‬

‫ﻭﺗﻠﻚ ﻣﻘﺎﺭﻧﺎﺕ ﺳﻄﺤﻴﺔ ﺑﺴﻴﻄﺔ ﻻ ﺗﺼﻤﺪ ﺃﻣﺎﻡ ﺍﻟﻌﻘﻞ ﺍﻟﺬﻱ ﺣﻘﻖ ﺍﳌﻌﺠﺰﺍﺕ ﰲ ﻏﺮﺏ ﻣﺆﺳﺲ‬

‫ﻋﲆ ﺍﻟﻜﺜﲑ ﻣﻦ ﺍﻷﺧﻼﻕ ﻭﺍﻟﻘﻴﻢ ﺍﻹﻧﺴﺎﻧﻴﺔ(‪.‬‬

‫‪Vܬ^é÷]<Ê_<gi^”÷]<^„uÜŞË<:÷]<ÔıÜ÷]<≈ÁfiÊ<Ì⁄^√÷]<Ö^”Ê˘]<G‬‬ ‫ﻳﺘﻮﺟﺐ ﺃﻥ ﺗﻜﻮﻥ ﻣﻔﻴﺪﺓ ﻟﻠﻤﺠﺘﻤﻊ‪ ،‬ﻭﺍﳋﺎﻟﻴﺔ ﻣﻦ ﲨﻴﻊ ﺍﻷﻓﻜﺎﺭ ﺍﻟﺴﻠﺒﻴﺔ‬ ‫ﻭﺍﻟﺘﻲ‬ ‫ﹼ‬

‫ﺍﳌﺴﺘﻮﺭﺩﺓ ﺍﳌﻨﺎﻓﻴﺔ ﻟﻸﺧﻼﻕ ﺍﻟﻌﺮﺑﻴﺔ ﻭﺍﻹﺳﻼﻣﻴﺔ‪ ،‬ﻟﻘﺪ ﻃﺮﺡ ﺍﻟﻜﺎﺗﺐ ﺍﻟﻜﺜﲑ ﻣﻦ ﺍﻷﻓﻜﺎﺭ ﻭﻻ‬ ‫ﳎﺎﻝ ﳊﴫﻫﺎ‪ ،‬ﻭﻛﻠﻬﺎ ﺗﻨﺼﺐ ﰲ ﺍﻟﺒﻮﺗﻘﺔ ﺍﻟﺼﺎﻟﺢ ﺍﳌﺠﺘﻤﻌﻲ‪ ،‬ﺗﻜ ﹼﻠﻢ ﻋﻦ ﺳﻮﺀ ﺍﻹﺩﺍﺭﺓ ﰲ ﺍﻟﴩﻛﺔ‬

‫ﺍﻟﻮﻃﻨﻴﺔ ﺍﻟﺘﺎﺑﻌﺔ ﳍﺎ ﺍﻟﺒﺎﺧﺮﺓ ﺗﺮﺍﺗﴚ‪ ،‬ﻭﻋﻦ ﺍﻟﻔﺴﺎﺩ ﺍﻹﺩﺍﺭﻱ ﻭﺍﳌﺤﺴﻮﺑﻴﺎﺕ ﻓﻴﻬﺎ‪ ،‬ﻭﻋﲆ ﺻﻌﻴﺪ‬ ‫ﺍﳌﺠﺘﻤﻊ‪ ،‬ﺭﺳﻢ ﺍﻟﻌﻼﻗﺔ ﺑﲔ ﺍﻟﻔﺮﺩ ﻭﺍﻵﺧﺮﻳﻦ‪ ،‬ﺍﻟﺘﺴﺎﻣﺢ ﺑﻤﻘﺪﺍﺭ‪ ،‬ﻣﻨﺎﻫﻀﺔ ﺍﳋﻤﻮﻝ ﻭﺍﻟﻜﺴﻞ‪،‬‬

‫ﲡ ﹼﻨﺐ ﺍﳋﻮﺽ ﰲ ﻣﻌﱰﻙ ﺍﻟﺴﻴﺎﺳﺔ ﻷﳖﺎ ﻧﻔﺎﻕ ﻻ ﻃﺎﺋﻞ ﻣﻨﻪ‪ ،‬ﻳﺒﺪﻱ ﻏﻀﺒﻪ ﻣﻦ ﳑﺎﺭﺳﺎﺕ ﺧﺎﻃﺌﺔ‬ ‫ﰲ ﺍﳌﺠﺘﻤﻊ ﻳﻘﻮﻡ ﲠﺎ ﺍﻷﻓﺮﺍﺩ ﻭﺍﻟﺴﻠﻄﺎﺕ‪ ،‬ﺍﻟﴪﻗﺔ‪ ،‬ﻭﺍﻟﻔﺴﺎﺩ ﻭﳖﺐ ﺍﳌﺎﻝ ﺍﻟﻌﺎﻡ‪ ،‬ﺍﻧﻌﺪﺍﻡ ﺍﻷﻣﻦ‪،‬‬

‫ﺍﻻﻋﺘﻘﺎﻝ ﺍﻟﺘﻌﺴﻔﻲ‪ ،‬ﻭﺣﻮﺍﺩﺙ ﺍﻟﺘﻔﺠﲑ ﻭﺍﻟﺘﻔﺨﻴﺦ‪ ،‬ﻭﺍﳋﻄﺎﺏ ﺍﻟﺪﻳﻨﻲ ﺍﳌﺘﻄﺮﻑ‪ ،‬ﺍﻟﴫﺍﻉ‬ ‫ﺍﻟﻄﺎﺋﻔﻲ ﺍﻟﺬﻱ ﻛﺎﻥ ﹰ‬ ‫ﻧﺎﺋﲈ ﻓﺄﻳﻘﻈﺘﻪ ﺃﺫﺭﻉ ﺍﻟﴩﹼ ‪ ،‬ﻛﲈ ﺃﻳﻘﻈﺖ ﺍﻟﻔﺘﻨﺔ ﺍﻟﺘﻲ ﻧﺎﻣﺖ ﻣﻦ ﺩﻫﻮﺭ‪ ،‬ﹼ‬ ‫ﻳﺆﻛﺪ‬

‫ﺍﻟﻜﺎﺗﺐ ﹼ‬ ‫ﺃﻥ ﻛﻞ ﻫﺬﻩ ﺍﳌﻔﺎﺳﺪ ﻭﺍﳌﺮﺗﻜﺒﺎﺕ‬ ‫ﻋﺪﻭﺓ‪ ،‬ﻣﺼﺎﳊﻬﺎ‬ ‫ﹼ‬ ‫ﺗﺼﺐ ﰲ ﻣﺼﻠﺤﺔ ﻗﻮ￯ ﺧﺎﺭﺟﻴﺔ ﹼ‬ ‫ﻓﻮﻕ ﻣﺼﻠﺤﺔ ﺍﻟﺒﻼﺩ‪ ،‬ﻭﻓﻮﻕ ﺇﺩﺭﺍﻙ ﲨﺎﻫﲑ ﺍﻟﺸﻌﺐ ﺍﻟﺒﺎﺋﺴﺔ‪.‬‬

‫ﻧﺎﺩﺭﺍ ﻣﺎ ﺃﻓﻜﺮ ﺑﺎﳌﺴﺎﳏﺔ‪ ،‬ﻭﻟﻜﻦ ﺇﻥ ﻇﻬﺮﺕ ﻓﺮﺻﺔ ﺃﻏﺘﻨﻤﻬﺎ‪ ،‬ﻋﻼﻗﺘﻲ ﻣﻊ‬ ‫)ﺑﺎﻟﻄﺒﻊ ﹰ‬ ‫ﺍﻵﺧﺮﻳﻦ ﺃﺭﺳﻢ ﺣﺪﻭﺩﻫﺎ ﺍﻟﺸﺨﺼﻴﺔ‪ ،‬ﻭﻻ ﺃﺣﺐ ﺍﻟﻌﺒﻮﺭ ﻋﻠﻴﻬﺎ ﺇﻻ ﰲ ﺑﻌﺾ ﺍﻻﺳﺘﺜﻨﺎﺀﺍﺕ ﻭﻫﻲ‬

‫ﻗﻠﻴﻠﺔ‪ ،‬ﺭﻏﻢ ﺭﻓﴤ ﺍﳋﻮﺽ ﰲ ﻣﻌﱰﻙ ﺍﻟﺴﻴﺎﺳﺔ‪ ،‬ﴏﺕ ﺩﺍﺋﻢ ﺍﻟﻐﻀﺐ ﻣﻦ ﻛﺴﻞ ﺑﻌﺾ ﺍﻟﺬﻛﻮﺭ‬

‫ﺍﻟﴪﺍﻕ ﻭﺧﺒﺜﻬﻢ‪ ،‬ﻣﻦ ﺍﻟﻘﺘﻠﺔ‪ ،‬ﻣﻦ ﺍﻟﻐﺒﺎﺀ ﻭﺍﳋﺴﺔ‪ ،‬ﻣﻦ ﻓﻘﺪﺍﻥ ﺍﻟﺴﻴﻄﺮﺓ‬ ‫ﻭﺟﺒﻨﻬﻢ‪ ،‬ﻭﻣﻦ ﻃﻤﻊ ﹼ‬

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‫ﻋﲆ ﺍﳌﺎﻝ ﺍﻟﻌﺎﻡ‪ ،‬ﻣﻦ ﺑﻼﻫﺔ ﺍﻟﺒﻌﺾ ﰲ ﺍﻻﺷﺘﺒﺎﻩ ﺑﺎﻷﻣﻜﻨﺔ ﻭﺍﻷﺷﺨﺎﺹ‪ ،‬ﻣﻦ ﻭﺟﻮﺩ ﺍﳌﻔﺨﺨﺎﺕ‬

‫ﻭﺍﻷﺣﺰﻣﺔ ﻭﻫﻲ ﹸﺗﺼﻨﻊ ﰲ ﺑﻌﺾ ﺩﻭﺭ ﺍﻟﻌﺒﺎﺩﺓ‪ ،‬ﻭﺗﻨﺒﻌﺚ ﻛﴫﺍﻉ ﻗﺪﻳﻢ ﻳﺘﺠﺪﹼ ﺩ ﹸﻳﺮﺍﺩ ﻣﻨﻪ ﲢﻘﻴﻖ‬ ‫ﻣﻄﺎﻟﺐ ﺧﺎﺭﺟﻴﺔ ﺃﻛﱪ ﻣﻦ ﺣﺪﻭﺩ ﺍﻟﺒﻼﺩ ﻭﺗﻔﻜﲑ ﺃﻫﻠﻬﺎ(‪.‬‬

‫ﻋﻨﺪﻣﺎ ﲢﺪﹼ ﺙ ﻋﻦ )ﺩﰊ( ﻭﺷﺎﻫﺪ ﻣﻈﺎﻫﺮ ﺍﻟﻔﺴﻖ ﻭﺍﻹﺑﺎﺣﻴﺔ ﰲ ﺷﻮﺍﺭﻋﻬﺎ‪ ،‬ﰲ ﺣﲔ ﺧﻠﺖ‬

‫ﻣﻜﺘﺒﺘﻬﺎ ﺍﻟﻌﺎﻣﺔ ﻣﻦ ﺍﻟﻜﺘﺐ ﺍﻟﺜﻘﺎﻓﻴﺔ ﺍﻟﺘﻲ ﻛﺎﻥ ﻳﺒﺤﺚ ﻋﻨﻬﺎ! ﺳﺄﻟﻪ ﺍﻟﺮﺑﺎﻥ‪» :‬ﻻ ﺃﻋﺘﻘﺪ ﺃﻥ ﻣﺎ ﺭﺃﻳﻨﺎﻩ‬ ‫ﻫﻮ ﺣﻘﻴﻘﺔ ﻣﺪﻳﻨﺔ ﺍﻷﺣﻼﻡ؟«‪ ،‬ﺃﺟﺎﺑﻪ‪» :‬ﻳﺒﺪﻭ ﻫﻨﺎﻙ ﻣﻦ ﻳﻔﺮﺽ ﻋﻠﻴﻬﻢ ﻫﺬﺍ ﺍﻻﻧﺤﻼﻝ«‪.‬‬

‫‪VTheme<or<Moral<Background<Ì€Èn÷]<Ê_<ìfl◊÷<ÌÈŒ¯}˘]<ÌÈÀ◊§]<IN‬‬ ‫ﺍﻷﺩﺏ ﺃﻧﻘﻰ ﻧﺘﺎﺝ ﺇﻧﺴﺎﲏ ﻳﻐﺴﻞ ﺍﻟﻨﻔﻮﺱ ﻭﻳﻄﻬﺮ ﺍﻷﺭﻭﺍﺡ ﻣﻦ ﺃﺩﺭﺍﻥ ﺍﳋﻄﺄ‪ ،‬ﻭﺍﻟﺮﺅﻳﺔ‬

‫ﺍﻟﺬﺭﺍﺋﻌﻴﺔ ﺃﻭﻝ ﺭﺅﻳﺔ ﻧﻘﺪﻳﺔ ﻧﺎﺩﺕ ﺑﺎﻷﺩﺏ ﺍﻷﺧﻼﻗﻲ ﻛﻈﻬﲑ ﺳﺎﻧﺪ ﻟﻠﻤﺠﺘﻤﻊ‪ ،‬ﻭﻣﻦ ﻣﻨﻄﻠﻖ‬

‫ﺍﻟﺘﻤﺮﻛﺰ ﺍﻟﺬﺭﺍﺋﻌﻲ ﺍﳌﺒﻨﻲ ﻋﲆ )ﺍﻟﻘﺮﺁﻥ ﺍﻟﻜﺮﻳﻢ( ﻭﺍﻟﺬﻱ ﻳﻨﺒﺬ ﺍﻟﻌﻨﻒ ﻭﺍﻟﻈﻠﻢ ﻭﺍﻟﻄﺒﻘﻴﺔ ﻭﺍﻟﻔﺌﻮﻳﺔ‬ ‫ﻭﺍﳌﺬﻫﺒﻴﺔ ﻭﺍﻟﻌﺮﻗﻴﺔ ﻭﻛﻞ ﳾﺀ ﻣﻨﺎﻑ ﻟﻸﺧﻼﻕ ﻭﺍﻟﺴﻠﺒﻴﺔ‪ ،‬ﻓﺎﻟﺬﺭﺍﺋﻌﻴﺔ ﺇ ﹰﺫﺍ ﺗﺘﺒ ﹼﻨﻰ ﻣﺒﺪﺃ ﺍﻟﺘﻌﻮﻳﺾ‬

‫ﺍﻷﺧﻼﻗﻲ ﻭﻣﻼﺣﻘﺔ ﺍﳉﺮﻳﻤﺔ ‪ doctrine of compensation‬ﻭﺍﳊﻔﺎﻅ ﻋﲆ ﺍﳌﻨﻈﻮﻣﺔ ﺍﻷﺧﻼﻗﻴﺔ‬ ‫ﺍﻟﻌﺎﳌﻴﺔ‪ ،‬ﻭﺣﺮﻳﺎﺕ ﺍﻟﻨﺎﺱ ﻣﻦ ﺍﻟﺘﺼﺪﻉ ﻭﺍﻻﳖﻴﺎﺭ‪ ،‬ﻭﺗﺸﺠﻴﻊ ﺍﻷﺩﺏ ﺍﻟﺮﺳﺎﱄ ﺍﻟﱰﺑﻮﻱ ﺍﻟﺬﻱ‬

‫ﹼ‬ ‫ﻳﺒﺚ ﺍﻟﺴﻠﻢ ﻭﺍﻟﻮﺋﺎﻡ ﻭﺍﳊﺐ ﻭﺍﻷﻣﻦ ﻭﺍﻷﻣﺎﻥ ﺑﲔ ﺍﻟﻨﺎﺱ‪ ،‬ﻋﻦ ﻃﺮﻳﻖ ﺍﻷﺩﺏ ﻛﻈﻬﲑ ﻟﻠﻤﺠﺘﻤﻊ‬

‫ﻭﺍﻟﻨﻘﺪ ﻋﺮﺍﺏ ﻟﻸﺩﺏ‪.‬‬

‫ﲑﺍ ﻟﻸﺩﺏ ﺍﻟﺮﺳﺎﱄ ﺍﻟﺬﻱ ﺣﻮ￯ ﺍﻟﻜﺜﲑ ﻣﻦ ﺍﻟﺮﺳﺎﺋﻞ ﺍﻹﻧﺴﺎﻧﻴﺔ‬ ‫ﻟﻘﺪ ﻛﺎﻥ ﻫﺬﺍ ﺍﻟﻌﻤﻞ ﻇﻬ ﹰ‬ ‫ﺍﻟﺘﻲ ﺗﺪﻋﻮ ﺇﱃ ﺍﺣﱰﺍﻡ ﺍﻹﻧﺴﺎﻥ ﻛﺈﻧﺴﺎﻥ‪ ،‬ﻛﲈ ﺧﻠﻘﻪ ﺍﷲ‪ ،‬ﺑﻜﻞ ﹼ‬ ‫ﺫﻻﺗﻪ ﻭﺧﲑﺍﺗﻪ‪ ،‬ﺑﻐﺾ ﺍﻟﻨﻈﺮ‬ ‫ﻋﻦ ﻟﻮﻧﻪ ﻭﻋﺮﻗﻪ ﺃﻭ ﺟﻨﺴﻴﺘﻪ ﺃﻭ ﻣﻌﺘﻘﺪﻩ ﺃﻭ ﻭﺿﻌﻪ ﺍﻻﺟﺘﲈﻋﻲ‪ ،‬ﻟﻄﺎﻣﺎ ﻛﺎﻥ )ﺍﻟﺪﻳﻦ ﺍﳌﻌﺎﻣﻠﺔ(‪،‬‬ ‫ﺍﺳﺘﺸﻬﺪ ﺑﻤﻮﻗﻒ ﺟﺎﺀ ﰲ ﺍﻟﺮﻭﺍﻳﺔ ﺑﲔ ﺍﻟﺒﺤﺎﺭ ﻭﺑﲔ ﳏﻤﻮﺩ ﺍﻟﻌﺮﺑﺴﺘﺎﲏ ﰲ ﻣﻴﻨﺎﺀ ﻣﻬﺎﺷﲑ )ﺑﻨﺪﺭ‬ ‫ﺍﻟﺒﺤﺎﺭ ﺃﻥ ﹶﻳ ﹾﻨﻘﺪﹶ ﻩ ﺛﻤﻦ ﻣﺎ ﺃﺣﴬ ﻟﻪ‪ ،‬ﻓﺮ ﹼﺩ ﻋﻠﻴﻪ ﳏﻤﻮﺩ ﺍﻟﻌﺮﺑﺴﺘﺎﲏ‪:‬‬ ‫ﺇﻣﺎﻡ ﺍﳋﻤﻴﻨﻲ( ﻋﻨﺪﻣﺎ ﺃﺭﺍﺩ ﹼ‬ ‫ ﻣﻦ ﻓﻀﻠﻚ ﻻ ﺗﺘﻌﺎﻣﻞ ﻣﻌﻲ ﻛﲈ ﻟﻮ ﺃﻧﻚ ﺗﺎﺟﺮ ﻭﺃﻧﺎ ﺍﻟﻔﻘﲑ‪.‬‬‫ ﺃﺳﺤﺐ ﻛﻼﻣﻲ ﻭﺃﻋﺘﺬﺭ‪.‬‬‫‪ -‬ﻫﺬﺍ ﻛﻼﻡ ﺍﻷﺧﻮﺓ‪.‬‬

‫‪٦٢‬‬

‫ﻣﻦ ﺃﺟﻞ ﺍﻟﻨﺎﺱ ﺍﻟﻨﻘﻴﺔ ﻧﺸﻌﻞ ﺍﻟﺮﻭﺡ‪ ،‬ﻣﺎ ﺯﺍﻝ ﰲ ﺍﻷﺟﺴﺎﺩ ﺃﺟﻨﺤﺔ‪.‬‬ ‫ﺭﺑﻂ ﺑﲔ ﺍﻹﻧﺴﺎﻥ ﻭﺍﳌﺠﺘﻤﻊ‪ ،‬ﻭﱂ ﻳﻜﻦ ﺭﺑﻄﻪ ﹰ‬ ‫ﻗﺎﺋﲈ ﻋﲆ ﺍﳊﻘﻮﻕ ﻭﺍﻟﻮﺍﺟﺒﺎﺕ‪ ،‬ﻭﺇﻧﲈ‬ ‫ﻮﺍﺭ ﹶﺛ ﹾﺖ ﻋﱪ ﺍﻷﺟﻴﺎﻝ‪ ،‬ﻧﻌﻢ ﻫﻲ‬ ‫ﺃﻗﺎﻣﻪ ﻋﲆ ﺍﻟﻘﻴﻤﺔ ﺍﻻﺟﺘﲈﻋﻴﺔ ﺍﻟﺘﻲ ﻗﻤﺖ ﻣﻨﺬ ﺍﻟﻘﺪﻡ‪ ،‬ﻭ ﹸﺗ ﹶ‬ ‫ﺍﻟﻌﺎﺩﺍﺕ ﻭﺍﻟﻌﺮﻑ ﻭﺍﻟﺘﻘﺎﻟﻴﺪ‪ ،‬ﻋﲆ ﺍﻟﺮﻏﻢ ﻣﻦ ﺍﳌﻮﺍﻗﻒ ﺍﳌﺘﺒﺎﻳﻨﺔ ﺍﲡﺎﻫﻬﺎ‪ ،‬ﺇﻻ ﺃﻥ ﺍﻟﻜﺎﺗﺐ‬ ‫ﳛﱰﻣﻬﺎ‪ ،‬ﻣﻦ ﺑﺎﺏ ﺃﳖﺎ ﳏﻔﻮﻇﺔ ﰲ ﺩﻭﺍﺧﻠﻨﺎ‪ ،‬ﺭﻛﻴﺰﺓ ﺛﺎﺑﺘﺔ‪ ،‬ﻗﺪ ﲥﺘﺰ ﻋﻨﺪ ﺍﳊﺪﺙ ﺍﳉﻠﻞ‪ ،‬ﻋﻨﺪ‬ ‫ﳊﻈﺔ ﺍﻟﻐﺪﺭ‪:‬‬

‫» ﺍﻟﻄﺒﻴﻌﺔ ﺍﻹﻧﺴﺎﻧﻴﺔ ﲤﻴﻞ ﺇﱃ ﺍﻟﺜﺒﺎﺕ ﻋﲆ ﺍﻟﻘﻴﻤﺔ ﺍﻻﺟﺘﲈﻋﻴﺔ ﺍﻷﺯﻟﻴﺔ‪ ،‬ﺭﻏﻢ ﻧﻔﻮﺭﻧﺎ ﻣﻨﻬﺎ‬ ‫ﲑﺍ ﻣﺎ ﻧﻤﻴﻞ ﻓﻴﻬﺎ ﺇﱃ ﺍﻟﻼﻣﻌﻘﻮﻝ‪ .‬ﺇﻻ ﺃﻧﻨﺎ ﻧﺒﻘﻰ ﻋﲆ ﲢ ﹼﻔﻆ ﰲ ﺩﻭﺍﺧﻠﻨﺎ‪ ،‬ﻻ ﹸﻳ ﹶ‬ ‫ﻜﺸﻒ ﺇﻻ‬ ‫ﺃﺣﻴﺎ ﹰﻧﺎ‪ ،‬ﻛﺜ ﹰ‬ ‫ﺑﻌﺪ ﺍﻟﺸﻌﻮﺭ ﺑﺎﳋﻴﺎﻧﺔ ﺃﻭ ﺍﳋﺪﺍﻉ‪ ،‬ﻭﻫﻮ ﻣﺎ ﹸﻳﺴﻤﻰ ﺑﺎﳌﺎﻫﻴﺎﺕ ﺍﻟﺸﺨﺼﻴﺔ«‪.‬‬ ‫‪Dynamic<Level<ÿÈ◊vj÷]<ª<Í“Ü£]<ÔÁjäπ]<V^√⁄ e]Ö‬‬

‫ﻭﻳﻌﺘﻤﺪ ﺍﳌﺴﺘﻮ￯ ﺍﳊﺮﻛﻲ ﰲ ﺍﻟﻨﺺ ﺍﻷﺩﰊ ﻋﲆ ﺣﺮﻛﺔ ﺍﻟﺮﻣﻮﺯ ﻭﺩﻻﻻﲥﺎ ﻭﻣﺪﻟﻮﻻﲥﺎ‪،‬‬

‫ﻭﻳﻀﻢ ﻋﻠﻢ ﺍﻟﺮﻣﻮﺯ ﺍﻟﻜﺜﲑ ﻣﻦ ﻓﺮﻭﻉ ﺍﻟﻠﻐﺔ ﻭﺑﺨﺎﺻﺔ ﻋﻠﻢ ﺍﻟﺪﻻﻟﺔ ﺑﺎﻹﺿﺎﻓﺔ ﺇﱃ)‪ (١‬ﺍﻟﻨﺤﻮ‬ ‫ﹼ‬

‫ﻭﺍﻷﺳﻠﻮﺏ‪ ،‬ﻛﲈ ﺇﻧﻪ ﻳﻌﺪﹼ ﻣﻦ ﺍﻟﻨﺎﺣﻴﺔ ﺍﻟﺪﻻﻟﻴﺔ ﻭﺣﺪﻫﺎ ﺃﻋﻢ ﻣﻦ ﻋﻠﻢ ﺍﻟﺪﻻﻟﺔ‪ ،‬ﻟﻜﻮﻥ ﻋﻠﻢ‬

‫ﺍﻟﺪﻻﻟﺔ ﳞﺘﻢ ﺑﺎﻟﺮﻣﻮﺯ ﺍﻟﻠﻐﻮﻳﺔ ﻓﻘﻂ‪ ،‬ﺑﻴﻨﲈ ﻋﻠﻢ ﺍﻟﻠﻐﺔ ﳞﺘﻢ ﺑﺎﻟﻌﻼﻣﺎﺕ ﻭﺍﻟﺮﻣﻮﺯ ﻟﻐﻮﻳﺔ ﺃﻭ ﻏﲑ‬

‫)‪(٢‬‬ ‫ﺗﺘﻢ ﺗﺼﻔﻴﺔ ﲨﻴﻊ ﺍﻟﺪﻻﻻﺕ )ﺍﻟﺪﺍﻝ ﻭﺍﳌﺪﻟﻮﻝ ﻭﺍﳌﻔﻬﻮﻡ ﻭﺍﻟﻌﻼﻣﺎﺕ(‬ ‫ﻟﻐﻮﻳﺔ ‪ ،‬ﻭﺑﺘﻠﻚ ﺍﳌﺤﻄﺔ ﹼ‬ ‫ﻭﺍﻟﻘﻴﻢ ﺑﺎﻟﻐﻮﺹ ﰲ ﻣﻜﻨﻮﻧﺎﺕ ﺍﻟﻨﺺ ﺍﳌﺨﺒﻮﺀﺓ ﻋﻤ ﹰﻘﺎ ﰲ ﺍﳌﺤﺘﻮ￯ ﺍﻟﺪﺍﺧﲇ ﻟﻠﻨﺺ ﻭﻇﺎﻫﺮﻩ‪،‬‬

‫ﻭﻣﺴﺒﺒﺎﺕ ﻭﻧﺘﺎﺋﺞ ﻃﺒ ﹰﻘﺎ ﻟﻌﻨﺎﴏ ﺍﻟﺘﺤﻠﻴﻞ ﺍﻟﺬﺭﺍﺋﻌﻲ‪،‬‬ ‫ﺛﻢ ﲢﻠﻴﻠﻬﺎ ﺑﺬﺭﺍﺋﻊ ﻣﻨﺎﺳﺒﺔ ﻭﺃﺳﺒﺎﺏ‬ ‫ﹼ‬

‫ﻳﺘﻢ ﲢﻠﻴﻞ ﲨﻴﻊ ﺍﳌﻔﺎﻫﻴﻢ ﺍﳌﺆﺟﻠﺔ )‪ (prospective meanings‬ﻭﺍﻟﺒﻨﻴﺎﺕ ﺍﻟﻔﻨﻴﺔ‬ ‫ﺣﻴﺚ ﹼ‬ ‫ﻣﺴﻤﻴﺎﲥﺎ‪ ،‬ﲢﺖ ﻫﺬﺍ ﺍﻟﻌﻨﻮﺍﻥ‪ ،‬ﺃﻭ ﺑﺸﻜﻞ‬ ‫ﻭﺍﳉﲈﻟﻴﺔ ﻭﺍﻟﺒﴫﻳﺔ ﻭﺍﻟﻠﺴﺎﻧﻴﺔ ﻭﺍﻟﺴﻠﻮﻛﻴﺔ ﲢﺖ ﹼ‬

‫ﻣﻨﻔﺮﺩ ﺛﻢ ﺍﻹﺷﺎﺭﺓ ﺇﻟﻴﻬﺎ‪ ،‬ﻭ ﺫﻟﻚ ﻣﱰﻭﻙ ﻟﱰﺗﻴﺐ ﺍﻟﻨﺎﻗﺪ ﻟﺮﺅﻳﺘﻪ ﺍﻟﻨﻘﺪﻳﺔ ﺑﻌﺪ ﺍﺳﺘﻴﻔﺎﺀ ﲨﻴﻊ‬ ‫ﺍﳌﺪﺍﺧﻞ ﻛﻔﺎﻳﺘﻬﺎ ﻣﻦ ﺍﻟﺘﺤﻠﻴﻞ‪.‬‬

‫)‪ (١‬ﺃﲪﺪ ﳐﺘﺎﺭ ﻋﻤﺮ‪ ،‬ﻋﻠﻢ ﺍﻟﺪﻻﻟﺔ‪ ،‬ﺹ‪.١٥‬‬

‫‪(2) Glossary of linguistic Terminology ,Semiotics , Dictionary of language p9 Elementary‬‬ ‫‪of Semiology, semiotics ,semiology‬‬

‫‪٦٣‬‬

‫ﻭﻣﻦ ﺗﻠﻚ ﺍﳌﺤﻄﺔ‪ ،‬ﻳﻨﻄﻠﻖ ﺍﻟﻨﺎﻗﺪ ﺍﳌﺘﺒﴫ ﺑﻤﺠﺮﻳﺎﺕ ﺍﻟﻨﺺ ﺍﻟﺪﺍﺧﻠﻴﺔ ﻭﻣﻼﺣﻘﺔ ﺣﻠﻘﺎﺕ‬

‫ﺍﻷﻓﻜﺎﺭ ﺍﳌﺘﺼﻠﺔ ﻓﻴﲈ ﺑﻴﻨﻬﺎ ﺑﺎﻟﺘﺤﻠﻴﻞ ﻭﻫﻲ ﺗﺘﺴﻊ ﰲ ﺣﻠﻘﺎﺕ ﺍﻟﻨﺺ ﺍﳌﺘﺘﺎﺑﻌﺔ‪ ،‬ﻭﲨﻊ ﺍﻷﻓﻜﺎﺭ‪،‬‬

‫ﻭﺍﻟﻠﻬﺎﺙ ﺧﻠﻒ ﺍﻟﺪﻻﻻﺕ ﻭﺍﻟﺮﻣﻮﺯ ﻭﺍﻷﻓﻜﺎﺭ ﺍﳌﺘﻌﺎﻗﺒﺔ‬ ‫ﻭﺍﳌﻜﻤﻠﺔ ﻟﺒﻌﻀﻬﺎ‪ ،‬ﻓﻴﺴﻠﻚ ﺳﻠﻮﻙ‬ ‫ﹼ‬ ‫ﹰ‬ ‫ﻭﺩﺳﲈ‪ ،‬ﻟﺬﻟﻚ ﻳﻌﺜﺮ ﻋﲆ ﺍﻷﻓﻜﺎﺭ ﺍﳌﺘﺪﺭﺟﺔ‪،‬‬ ‫ﲑﺍ‬ ‫ﺻﻴﺎﺩ ﺍﻟﻠﺆﻟﺆ‪ ،‬ﻛﻠﲈ ﻏﺎﺹ ﻋﻤﻴ ﹰﻘﺎ ﻛﺎﻥ ﺻﻴﺪﻩ ﻭﻓ ﹰ‬

‫ﻭﺍﻟﺘﻲ ﻻ ﺗﻔﴤ ﻟﻠﺘﻨﺎﻗﺾ‪ ،‬ﻓﻠﻮ ﻛﺎﻥ ﺍﻷﺩﻳﺐ ﺻﺎﺣ ﹰﻴﺎ ﳌﺎ ﹸﻳﻜﺘﺐ ﺭﻣﺰ ‪h‬ﻳﺎ ﻣﻦ ﺩﻻﻻﺕ‪ ،‬ﻓﺘﻘﺘﴤ‬ ‫ﺣﺘﻤﻴﺔ ﺍﻟﻮﻋﻲ ﺍﻟﻨﴢ‪ ،‬ﹼﺃﻻ ﻳﻘﻊ ﰲ ﴍﻙ ﺍﻟﺘﻨﺎﻗﺾ ﰲ ﺍﻷﻓﻜﺎﺭ ﰲ ﻧﺺ ﻭﺍﺣﺪ ﺩﺍﺧﲇ‪ ،‬ﺑﻞ ﻳﻜﻮﻥ‬

‫ﺍﻟﺘﻼﺣﻖ ﺍﻟﻨﴢ ﻳﺴﲑ ﺑﲔ ﻣﺴﻠﻜﲔ ﻣﺘﻮﺍﺯﻳﲔ‪ ،‬ﻭ ﺑﺤﺒﻜﺘﲔ ﻛﲈ ﳛﺪﺙ ﰲ ﺍﻟﻨﺼﻮﺹ ﺍﳌﺪﺭﻭﺳﺔ‬

‫ﺭﻣﺰ ‪h‬ﻳﺎ‪ ،‬ﺍﳊﺒﻜﺔ ﺍﻷﻭﱃ ﺇﺧﺒﺎﺭ ﴏﻳﺢ‪ ،‬ﻭﺍﻷﺧﺮ￯ ﺩﻻﻟﻴﺔ ﳐﺒﻮﺀﺓ‪ ،‬ﻭﻫﺬﺍ ﻣﻌﻨﻰ ﻣﺎ ﻳﻘﺼﺪ ﺑﻜﴪ‬

‫ﻧﺴﻤﻴﻪ ﺑﺎﻟﺘﻨﺎﻗﺾ‬ ‫ﺍﻟﺘﻮﺍﺯﻱ ﺑﲔ ﺍﳊﺒﻜﺘﲔ‪ ،‬ﺍﻟﺬﻱ ﻳﻘﻮﺩ ﻧﺤﻮ ﺍﻟﺘﺼﺎﺩﻡ ﺍﻟﻔﻜﺮﻱ ﻓﻴﲈ ﺑﻴﻨﻬﲈ‪ ،‬ﻭﻧﺤﻦ ﹼ‬

‫ﺍﻟﻔﻜﺮﻱ‪ ،‬ﻓﺎﻻﺳﺘﻤﺮﺍﺭ ﺑﺘﺤﻠﻴﻞ ﺟﺰﺋﻴﺎﺕ ﺍﻟﻨﺺ ﻳﻘﻮﺩ ﻧﺤﻮ ﺍﳋﺮﻭﺝ ﻣﻦ ﺍﻟﻨﺺ ﻧﺤﻮ ﺻﺤﺮﺍﺀ‬

‫ﺍﻟﻌﺪﻡ‪ ،‬ﻭﻫﺬﺍ ﳾﺀ ﻣﻨﺎﻗﺾ ﻟﻠﻮﺍﻗﻊ ﺍﻟﻌﻠﻤﻲ ﺍﳌﺎﺩﻱ ﻭﺩﺧﻮﻟﻪ ﰲ ﻣﻴﺘﺎﻓﻴﺰﻳﻘﻴﺎ ﺍﻷﺷﻴﺎﺀ ﺍﻋﺘﺒﺎﺭ ‪h‬ﻳﺎ‪،‬‬ ‫ﻓﺎﻟﻨﺺ ﳾﺀ ﻣﻦ ﺗﻠﻚ ﺍﻷﺷﻴﺎﺀ‪ ،‬ﻓﻼ ﳾﺀ ﻳﻔﴤ ﺇﱃ ﺍﻟﻌﺪﻡ ﻭﻻ ﳾﺀ ﳜﻠﻖ ﻣﻦ ﺍﻟﻌﺪﻡ‪ ،‬ﻭﺇﻧﹼﲈ‬ ‫ﻭﺗﺘﺤﻮﻝ ﻣﻦ ﺣﺎﻟﺔ ﺇﱃ ﺃﺧﺮ￯‪ ،‬ﺣﺘﻰ ﺍﻹﻧﺴﺎﻥ‪ ،‬ﻃﻴﻨﹰﺎ ﺛﻢ ﹰ‬ ‫ﺗﺘﻐﲑ ﺍﻷﺷﻴﺎﺀ‪،‬‬ ‫ﳊﲈ ﻭﺩ ﹰﻣﺎ‪،‬‬ ‫ﳑﻜﻦ ﺃﻥ ﹼ‬ ‫ﹼ‬ ‫ﻭﺑﻌﺪﻫﺎ ﻳﻌﻮﺩ ﺇﱃ ﺍﻷﺭﺽ ﻃﻴﻨﹰﺎ ﻣﻦ ﺟﺪﻳﺪ)‪.(١‬‬ ‫ﻧﺪﺭﺱ ﰲ ﻫﺬﺍ ﺍﳌﺴﺘﻮ￯‪:‬‬

‫‪V;À÷]<^flf÷]<IM‬‬ ‫ﺑﻤﻔﺎﺻﻠﻪ ﺍﻟﺘﺎﻟﻴﺔ‪:‬‬ ‫‪<V·]Áfl√÷]<I‬ﺍﳌﻔﺘﺎﺡ ﺍﻟﺬﻱ ﻳﻔﺘﺢ ﺍﻟﺮﻭﺍﻳﺔ ﰲ ﺍﻟﺒﻌﺪﻳﻦ ﺍﻟﺪﻻﱄ ﻭﺍﻟﺮﻣﺰﻱ‪.‬‬ ‫ﺍﻟﻨﻮﰐ‪ :‬ﻫﻮ ﹼ‬ ‫ﺍﳌﻼﺡ ﺍﻟﺬﻱ ﻳﺪﻳﺮ ﺍﻟﺴﻔﻴﻨﺔ ﰲ ﺍﻟﺒﺤﺮ‪ .‬ﻫﺬﺍ ﺑﺎﻟﺘﻌﺮﻳﻒ ﺍﻟﻘﺎﻣﻮﳼ‪.‬‬ ‫ﻭﻫﻮ ﺍﻻﺳﻢ ﺍﻟﺬﻱ ﻃﺮﺣﻪ ﻋﻠﻴﻪ ﻧﺼﻔﻪ ﺍﻵﺧﺮ ﻟﻴﻜﻮﻥ ﹰ‬ ‫ﺍﺳﲈ ﻟﻠﻤﻜﺘﺒﺔ ﺍﳌﺰﻣﻊ ﺇﻧﺸﺎﺀﻫﺎ ﰲ‬

‫ﺍﳌﺮﻛﺐ‪.‬‬

‫)‪ (١‬ﻋﺒﺪ ﺍﻟﺮﺯﺍﻕ ﻋﻮﺩﻩ ﺍﻟﻐﺎﻟﺒﻲ‪ ،‬ﺍﳌﻮﺳﻮﻋﺔ ﺍﻟﺬﺭﺍﺋﻌﻴﺔ‪ ،‬ﺍﳌﺠﻠﺪ ﺍﻟﺜﺎﻟﺚ‪ ،‬ﺍﻟﺬﺭﺍﺋﻌﻴﺔ ﰲ ﺍﻟﺘﻄﺒﻴﻖ‪ ،‬ﻃﺒﻌﺔ ﻣﺰﻳﺪﺓ‬ ‫ﻣﻨﻘﺤﺔ‪ ،‬ﺹ ‪.١٦١-١٦٠‬‬

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‫ ﺃﳛﺘﺎﺝ ﺍﻟﻨﻮﰐ ﺇﱃ ﺍﻟﻜﺜﲑ ﺣﺘﻰ ﻳﻌﺮﻑ ﻣﻌﻨﻰ ﺍﳋﻼﺹ؟‬‫ ﻣﺎﺫﺍ ﺗﻘﺼﺪ ﺑﺎﻟﻨﻮﰐ؟‬‫ ﺃﻻ ﺗﻌﺮﻑ؟‬‫ﰲ ﻣﻨﺘﺼﻒ ﺍﻟﻄﺮﻳﻖ ﻭﻗﻒ ﻭﻧﻈﺮ ﺇ ﹼﱄ ﻭﺃﺿﺎﻑ‪:‬‬ ‫ ﻫﻮ ﻋﻨﻮﺍﻧﻚ ﺍﳌﺜﲑ ﻟﻠﺪﻫﺸﺔ‪.‬‬‫ ﻭﻟﻜﻦ ﻣﺎ ﻣﻌﻨﺎﻩ؟‬‫ ﻫﻮ ﺍﻟﺒﺤﺎﺭ‪ ،‬ﻫﻮ ﺍﳌﻼﺡ‪ ،‬ﻫﻮ ﺍﻟﻘﺎﺋﺪ‪.‬‬‫ﻭﻣﺸﻮﻕ ﹸﻭ ﱢﻓﻖ ﺍﻟﻜﺎﺗﺐ ﺑﺎﻧﺘﻘﺎﺋﻪ‪.‬‬ ‫ ﻋﻨﻮﺍﻥ ﺟﺎﺫﺏ‬‫ﹼ‬ ‫<]‪VŸ¯„jâ˜]Ê<Ì⁄Çœπ‬‬‫ﻛﲈ ﺫﻛﺮﺕ ﺳﺎﺑ ﹰﻘﺎ‪ ،‬ﻛﺎﻧﺖ ﻣﻘﺪﻣﺔ ﺍﻟﻌﻤﻞ ﺗﻌﺮﻳﻒ ﺑﺸﺨﺼﻴﺎﺕ ﺍﻟﺮﻭﺍﻳﺔ‪ ،‬ﺑﻄﺮﻳﻘﺔ ﻓﻨﻴﺔ‬

‫ﻣﺜﲑﺓ ﻟﻼﻫﺘﲈﻡ ﻗﺪﹼ ﻡ ﺍﻟﻜﺎﺗﺐ ﺑﻌﺾ ﻣﻼﳏﻬﻢ ﻭﺻﻔﺎﲥﻢ‪ ،‬ﻃﺮﻳﻘﺔ ﺗﺜﲑ ﻣﺸﺎﻋﺮ ﺍﳌﺘﻠﻘﻲ‪ ،‬ﻭﺗﺪﻓﻊ‬

‫ﺑﻪ ﺇﱃ ﻣﺘﺎﺑﻌﺔ ﺍﻟﻘﺮﺍﺀﺓ‪ ،‬ﻣﻌﻠﻮﻣﺎﺕ ﻳﺴﻮﻗﻬﺎ ﺍﻟﻜﺎﺗﺐ ﻛﺄﺿﻮﺍﺀ ﺧﺎﻓﺘﺔ ﺗﻨﲑ ﺍﻟﻄﺮﻳﻖ ﺇﱃ ﳐﺒﻮﺀﺍﺕ‬ ‫ﹼ‬ ‫ﺳﺘﺘﺠﲆ ﺃﻣﺎﻡ ﺍﻟﻘﺎﺭﺉ ﺑﺎﻟﺘﺪﺭﻳﺞ ﻛﻠﲈ ﹼ‬ ‫ﺗﻮﻏﻞ ﺑﺎﻟﻘﺮﺍﺀﺓ‪.‬‬ ‫ﺍﻟﻌﻤﻞ ﺍﻷﺩﰊ ﺍﻟﺘﻲ‬ ‫ﻟﻜﻦ ﺍﻟﻜﺎﺗﺐ ﺍﺳﺘﻐﺮﻕ ﰲ ﻣﻘﺪﹼ ﻣﺘﻪ‪ ،‬ﻭﺟﻌﻠﻬﺎ ﻋﲆ ﻗﺴﻤﲔ‪ ،‬ﻋﲆ ﺍﻋﺘﺒﺎﺭ ﺃﻥ ﺍﻟﺸﺨﺼﻴﺎﺕ‬

‫ﻋﻨﻮﻧﻪ ﺑﺘﻌﺮﻳﻒ ﻣﻦ ﻣﺒﺘﺪﺃ ﻭﺧﱪ )ﺍﻵﺧﺮ‬ ‫ﺍﳌﺤﻮﺭﻳﺔ ﺍﺛﻨﺘﺎﻥ‪ ،‬ﺍﻟﻜﺎﺗﺐ ﻭﻧﺼﻔﻪ ﺍﻵﺧﺮ‪ ،‬ﺍﻟﻘﺴﻢ ﺍﻷﻭﻝ ﹶ‬

‫ﺃﻧﺎ( ﻟﻴﺰﻳﺪ ﻣﻦ ﺣﲑﺓ ﺍﳌﺘﻠﻘﻲ‪ ،‬ﻭﻟﻴﺰﻳﺪ ﻣﻦ ﺍﻟﺘﺸﻮﻳﻖ‪ ،‬ﻟﻴﻠﺘﺒﺲ ﻋﻠﻴﻪ ﺍﻷﻣﺮ‪ ،‬ﹶﻣ ﹾﻦ ﻫﺬﺍ ﺍﻵﺧﺮ؟ ﻭﳌﺎﺫﺍ‬ ‫ﹼ‬ ‫ﻳﺆﻛﺪ ﺍﻟﺴﺎﺭﺩ ﺃﻧﹼﻪ ﻫﻮ؟‪:‬‬ ‫ﹰ‬ ‫ﻣﺘﺄﺑﻄﺎ ﺫﺭﺍﻋﻴﻪ ﻭﻗﻒ ﺃﻣﺎﻣﻲ ﻳﺴﺄﻟﻨﻲ‪ :‬ﻣﺎﺫﺍ ﺗﻔﻌﻞ؟‪(...‬‬ ‫)ﺩﻓﻊ ﺍﻟﺒﺎﺏ ﻭﺩﺧﻞ ﻏﺮﻓﺘﻲ‬

‫ﺛﻢ ﺑﺪﺃ ﺑﺘﻘﺪﻳﻢ ﺑﻌﺾ ﻣﻼﻣﺢ ﺍﻟﺴﺎﺭﺩ‪ ،‬ﺑﺎﻟﺘﺪﺭﻳﺞ‪ :‬ﺷﺨﺺ ﻳﻌﺎﲏ ﻣﻦ ﺃﱂ ﺃﺳﻔﻞ ﻇﻬﺮﻩ‪ ،‬ﻛﺎﺗﺐ‬

‫ﻭﺷﺎﻋﺮ ﻭﻟﻪ ﺃﻋﲈﻟﻪ ﺍﻷﺩﺑﻴﺔ‪ ،‬ﺗﺘﻨﺎﻭﺷﻪ ﺍﲡﺎﻩ ﺍﻟﻜﺘﺎﺑﺔ ﻣﺸﺎﻋﺮ ﻛﺜﲑﺓ‪ ،‬ﻗﺮﺍﺭ ﺑﺎﻟﱰﺍﺟﻊ ﻋﻨﻬﺎ ﻭﺷﻌﻮﺭ‬ ‫ﺑﺤﺎﺭ ﳛﻴﺎ ﻓﻮﻕ ﻋﺎﳌﻪ ﺍﻷﺯﺭﻕ‪ ،‬ﻳﻌﺸﻖ ﺍﻷﻧﺜﻰ‪ ،‬ﻳﻜﺜﺮ ﻣﻦ ﺍﻟﴩﺍﺏ‬ ‫ﺑﺎﺣﺘﻴﺎﺟﻪ ﳍﺎ‪ ،‬ﻣﻨﻌﺰﻝ ﻭﺣﻴﺪ‪ ،‬ﹼ‬

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‫ﺍﳌﺴﻜﺮ‪ ،‬ﺣﺰﻳﻦ ﻳﺸﺘﺎﻕ ﺇﱃ ﺍﻟﻀﺤﻚ‪ ،‬ﻳﺄﺧﺬﻩ ﺍﳋﻴﺎﻝ ﺑﻌﻴﺪﹰ ﺍ ﻋﱪ ﺭﺣﻠﺔ ﰲ ﺍﻟﺬﺍﻛﺮﺓ‪ ،‬ﻭﻛﺬﻟﻚ ﺍﳊﻨﲔ‬ ‫ﹰ‬ ‫ﻣﺮﻏﲈ ﺳﻨﻮﺍﺕ ﺃﻛﻠﺖ ﺷﺒﺎﺑﻪ‪ ،‬ﺛﻢ ﻋﺎﺩ ﺇﻟﻴﻬﺎ‬ ‫ﺇﱃ ﺍﻟﻄﻔﻮﻟﺔ ﻭﺍﻟﺸﺒﺎﺏ‪ ،‬ﺍﻧﻌﺰﻝ ﻋﻦ ﺍﳋﻴﺎﻝ ﻭﺍﻟﻜﺘﺎﺑﺔ‬

‫ﺫﺍﺕ ﺻﺒﺎﺡ ﰲ ﺍﻟﺒﺎﺧﺮﺓ ﺗﺮﺍﺗﴚ ﻓﻮﻕ ﺑﺤﺮ ﺍﳋﻠﻴﺞ ﺍﳌﺎﻟﺢ‪ ،‬ﻓﻜﺎﻧﺖ ﺍﻟﻨﺘﻴﺠﺔ ﺍﻟﻨﻮﰐ‪ ،‬ﻳﺪﻳﻦ ﺑﺎﻟﻔﻀﻞ‬

‫ﰲ ﻇﻬﻮﺭﻩ ﺇﱃ ﻧﺼﻔﻪ ﺍﻵﺧﺮ‪ -‬ﺍﻟﻨﺼﻒ ﺍﳌﻮﺟﻮﺩ ﻓﻴﻨﺎ ‪ -‬ﻳﻘﺪﹼ ﻡ ﻧﺼﻔﻪ ﻋﲆ ﻫﺬﻩ ﺍﻟﺸﺎﻛﻠﺔ‪) :‬ﻧﺼﻔﻨﺎ‬

‫ﺍﳌﻮﺟﻮﺩ ﻓﻴﻨﺎ‪ ،‬ﻭﻟﻜﻦ ﺍﻟﻔﺮﻕ ﻫﻮ ﺃﻥ ﺑﻌﻀﻨﺎ ﻳﺴﺘﻄﻴﻊ ﺇﻇﻬﺎﺭﻩ ﻣﺘﻰ ﺷﺎﺀ‪ ،‬ﻭﺃﻧﺎ ﻻ‪ .‬ﻭﻫﻞ ﺑﺎﻹﻣﻜﺎﻥ‬

‫ﺍﻟﻔﺼﻞ ﺑﻴﻨﻬﲈ؟ ﺍﳊﻘﻴﻘﺔ ﺃﺑﻌﺪ ﻣﻦ ﺫﻟﻚ ﺑﻜﺜﲑ( ﻭﻳﺮﻏﺐ ﺑﺎﻟﺘﺤﺮﺭ ﻣﻦ ﻧﺼﻔﻪ ﺍﻵﺧﺮ‪ ،‬ﻛﻴﻒ ﺻﺎﺭ‬ ‫ﺍﻵﺧﺮ‪-‬ﻫﻮ‪-‬؟ ﻋﻨﺪﻣﺎ ﲡﺎﻫﻞ ﺍﳊﺎﴐ ﰲ ﺍﺳﺘﺤﻀﺎﺭ ﺍﳌﺎﴈ ﻭﺗﻄﻮﻳﺮﻩ ﹰ‬ ‫ﺧﻴﺎﻻ ﻟﻴﺒﻌﺪ ﻋﻦ ﺍﻟﻮﺍﻗﻊ‬ ‫ﻭﻫﻮ ﻳﺒﺤﺚ ﰲ ﺩﺍﺧﻠﻪ ﻋﻦ ﺍﻷﻣﻞ ﰲ ﻋﻮﺩﺓ ﺍﻵﺧﺮ ‪ -‬ﻫﻮ ‪ -‬ﻭﻛﺎﻧﺖ ﺗﻠﻚ ﺣﻜﺎﻳﺘﻪ‪.‬‬

‫ﺍﻟﻘﺴﻢ ﺍﻟﺜﺎﲏ‪ :‬ﺍﳊﻴﺎﺓ ﻭﻏﲑﻫﺎ )ﺍﻟﻠﻴﻞ‪ ..‬ﺍﻟﻨﻬﺎﺭ( ﺗﻜﻠﻢ ﻓﻴﻪ ﻋﻦ ﺍﻵﺧﺮ ﺍﻟﺬﻱ ﺩﺧﻞ ﺣﻴﺎﺗﻪ ﰲ‬

‫ﲤﻴﺰ ﻣﻨﻬﺎ ﺻﻮﺕ ﺧﺎﻓﺖ‪» :‬ﻻ ﲣﻒ‪ ،‬ﺃﻧﺎ‬ ‫ﺍﻟﺴﺎﺩﺳﺔ‪ ،‬ﺃﺻﻮﺍﺕ ﻭﻭﺷﻮﺷﺎﺕ ﰲ ﺍﳌﻨﺎﻡ‪ ،‬ﻣﺮﺽ ﻣﻨﻬﺎ‪ ،‬ﹼ‬

‫ﳚﺮﺩﻩ ﻣﻦ ﺍﻟﺘﻮﺍﺻﻞ ﻣﻊ ﺍﻟﻨﺎﺱ‪ ،‬ﻳﻐﲑ ﻣﻼﳏﻪ‪ ،‬ﻳﻈﻬﺮ ﻣﻦ‬ ‫ﺃﻧﺖ« ﻻﺯﻣﻪ ﻃﻮﺍﻝ ﺣﻴﺎﺗﻪ ﺍﻟﺸﺨﺼﻴﺔ‪ .‬ﹼ‬ ‫ﺍﻟﺒﺎﺏ ﻭﺍﳉﺪﺭﺍﻥ‪ ،‬ﻭﻗﺪ ﻳﺄﰐ ﻣﻦ ﺍﳌﺮﺁﺓ‪ ،‬ﳛﺘﻞ ﻧﺼﻒ ﺟﺴﺪﻩ‪ ،‬ﹼ‬ ‫ﻳﺘﺸﻜﻞ ﺑﺸﻜﻠﻪ‪ ،‬ﻣﺘﻘﻠﺐ ﺑﺘﴫﻓﺎﺗﻪ‪،‬‬ ‫ﻣﺴﺘﻔﺰ‪ ،‬ﻻ ﻳﱰﻛﻪ ﺃﺑﺪﹰ ﺍ‪ ،‬ﻳﻌﱰﻑ ﺃﻧﻪ ﳜﻄﺊ ﻭﻳﺼﻴﺐ ﻛﲈ ﺍﻵﺧﺮﻳﻦ )ﻓﻬﻮ ﺇﺫﻥ ﻟﻴﺲ ﻗﺮﻳﻦ(‪ ،‬ﺣﺪﹼ ﺛﻪ‬

‫ﻳﻮ ﹰﻣﺎ ﻋﻦ ﻣﻜﺎﺳﺐ ﺍﻟﻌﻴﺶ ﴍﻳﻄﺔ ﺃﻥ ﻳﻜﻮﻥ ﺍﻹﻧﺴﺎﻥ ﻭﺣﻴﺪﹰ ﺍ‪ ،‬ﻳﺮﻳﺪ‬ ‫ﺍﻟﺘﺤﺮﺭ ﻣﻨﻪ‪ ،‬ﻟﻪ ﻗﺪﺭﺓ ﻛﺒﲑﺓ‬ ‫ﹼ‬ ‫ﻋﲆ ﺍﻟﻈﻬﻮﺭ ﻭﺍﻻﺧﺘﺒﺎﺀ ﻓﺠﺄﺓ‪ ،‬ﻳﺴﻴﻄﺮ ﻋﻠﻴﻪ ﻭﻳﻄﻠﺐ ﺍﻻﺣﱰﺍﻡ ﻭﺍﻟﻄﺎﻋﺔ‪.‬‬ ‫‪VÌÈfi^”⁄à÷]<I‬‬

‫ﺃﺣﺪﺍﺙ ﺍﻟﺮﻭﺍﻳﺔ ﺍﳊﻘﻴﻘﻴﺔ ﺗﺒﺪﺃ ﺣﻮﺍﱄ ﺍﻟﻌﺎﴍﺓ ﺃﻭ ﺃﻛﺜﺮ ﺑﻘﻠﻴﻞ ﻣﻦ ﺻﺒﺎﺡ ﻳﻮﻡ ﺍﻷﺣﺪ‬

‫ﺃﻭﺍﺋﻞ ﺃﻟﻔﲔ ﻭﲬﺴﺔ ﻋﴩ‪ ،‬ﻭﺍﺳﺘﻤﺮﺕ ﻋﺪﺓ ﺃﺷﻬﺮ‪ ،‬ﻫﺬﺍ ﻫﻮ ﺍﻟﺰﻣﻦ ﺍﻟﻌﺎﻡ ﻟﻠﺮﻭﺍﻳﺔ‪ ،‬ﻭﺍﳌﻜﺎﻥ‬

‫ﺍﻟﺒﺎﺧﺮﺓ ﺗﺮﺍﺗﴚ ﺍﻟﺮﺍﺳﻴﺔ ﻋﲆ ﺭﺻﻴﻒ ﺍﻷﻡ‪ ،‬ﻭﺍﻟﻜﺎﺗﺐ ﻋﲆ ﺃﺑﻮﺍﺏ ﺍﳋﻤﺴﲔ‪ ،‬ﺍﻟﺒﺎﺧﺮﺓ ﻣﺘﻨﻘﻠﺔ‬ ‫ﺑﲔ ﻣﻮﺍﻧﺊ ﺍﻹﻣﺎﺭﺍﺕ )ﺟﺒﻞ ﻋﲇ ‪ -‬ﺍﻟﺸﺎﺭﻗﺔ – ﺍﳊﻤﲑﻳﺔ ‪ ،(...‬ﻭﻗﺪ ﺳﺒﻘﻪ ﲤﻬﻴﺪ ﺍﻣﺘﺪ ﻋﲆ‬ ‫ﺣﻮﺍﱄ ‪ ١٠٠‬ﺻﻔﺤﺔ ﲢﺪﹼ ﺙ ﻓﻴﻪ ﺍﻟﻜﺎﺗﺐ ﻋﻦ ﻣﺮﺣﻠﺔ ﺍﻟﻄﻔﻮﻟﺔ ﻭﺍﻟﺸﺒﺎﺏ ﺍﻟﺴﺎﺑﻘﺔ ﻷﺣﺪﺍﺙ‬

‫ﺍﻟﺮﻭﺍﻳﺔ‪ ،‬ﻭﲡﻮﺍﻟﻪ ﺑﲔ ﻣﺪﻳﻨﺘﻪ )ﻣﺪﻳﻨﺔ ﺍﳌﻨﻌﺰﻟﲔ( ﻛﲈ ﺃﺳﲈﻫﺎ‪ ،‬ﺍﳌﻮﺍﻧﺊ ﺍﻟﺘﻲ ﺯﺍﺭﻫﺎ ﻭﻋﺎﺵ ﻓﻴﻬﺎ‬

‫ﻭﻗ ﹰﺘﺎ ﻛﺎﻻﺳﻜﻨﺪﺭﻳﺔ ﻭﻃﺮﻃﻮﺱ‪ ،‬ﻭﺍﳌﻮﺍﻧﺊ ﺍﻷﺧﺮ￯‪ ،‬ﻭﺃﻭﻝ ﺗﺎﺭﻳﺦ ﺫﻛﺮﻩ ﻓﻴﻬﺎ ﺍﻟﺘﺤﺎﻗﻪ ﺑﺄﻭﻝ‬ ‫ﺑﺎﺧﺮﺓ ﺻﺒﺎﺡ ﺃﺣﺪ ﺃﻳﺎﻡ ﺻﻴﻒ ﺃﻭﺍﺧﺮ ﺍﻟﺜﲈﻧﻴﻨﺎﺕ‪ ،‬ﻭﻛﺎﻥ ﺍﻟﻜﺎﺗﺐ ﰲ ﺑﺪﺍﻳﺔ ﺍﻟﻌﴩﻳﻨﺎﺕ‪.‬‬

‫‪٦٦‬‬

‫< ]÷‪VDÍ⁄]ÖÇ÷]<≈]Üí÷]E<Í⁄]ÖÇ÷]<Ê_<ÎÅÜä÷]<‘e^éj‬‬‫ﺗﻨﻈﺮ ﺍﻟﺬﺭﺍﺋﻌﻴﺔ ﺍﻟﴪﺩﻳﺔ ﻧﻈﺮﺓ ﻋﻠﻤﻴﺔ ﰲ ﺇﻳﺼﺎﻝ ﺍﻟﺮﺳﺎﺋﻞ ﻣﻦ ﺍﻟﺴﺎﺭﺩ ﺇﱃ ﺍﳌﺠﺘﻤﻊ‪،‬‬

‫ﹼ‬ ‫ﺳﻴﻮﺿﺢ‬ ‫ﺑﺘﻜﻮﻳﻦ ﺛﺎﺑﺖ ﻭﻋﻨﻮﺍﻥ ﻟﺼﻨﺪﻭﻕ ﺑﺮﻳﺪﻱ ﺛﺎﺑﺖ‪ ،‬ﻫﻮ ﺫﻫﻦ ﺍﳌﺘﻠﻘﻲ ﻭﺗﻔﻜﲑﻩ‪ ،‬ﻛﲈ‬ ‫ﺫﻟﻚ ﺍﳌﺜﻠﺚ ﺍﻟﺴﻔﲇ ﻣﻦ ﺍﻟﺸﻜﻞ‪ ،‬ﻟﻴﻜﻮﻥ ﻫﺬﺍ ﺍﻟﺼﻨﺪﻭﻕ ﺍﻟﺜﻼﺛﻲ ﺛﺎﺑ ﹰﺘﺎ ﳛﻤﻞ ﰲ ﺩﺍﺧﻠﻪ ﲨﻴﻊ‬

‫ﺍﻟﻨﺼﺎﺹ ﻛﻲ ﺗﻜﻮﻥ ﺩﻭﺍﻝ ﺣﺘﻤﻴﺔ ﲢﻤﻞ ﻣﺪﻟﻮﻻﺕ ﻭ ﻣﻔﺎﻫﻴﻢ ﻋﺎﻣﺔ‬ ‫ﺍﻟﻮﻇﺎﺋﻒ ﺍﻟﺘﻲ ﺃﻧﺎﻃﻬﺎ ﹼ‬ ‫ﻭﺧﺎﺻﺔ‪ ،‬ﺗﺴﺎﻫﻢ ﰲ ﻋﻤﻠﻴﺔ ﺍﻟﺘﻮﺻﻴﻞ ﺍﳌﺸ ﹼﻔﺮ ﻟﺘﺤﻘﻖ ﺍﻟﺮﺳﺎﻟﺔ ﻣﺒﺘﻐﺎﻫﺎ ﺍﻷﺻﲇ ﻭﺍﻟﻮﺍﻗﻌﻲ‪،‬‬ ‫ﺣﲔ ﺗﻨﻔﻠﺖ ﻣﻦ ﻫﺬﺍ ﺍﻟﺼﻨﺪﻭﻕ ﻭﺗﺴﺘﻘﺮ ﰲ ﺫﻫﻦ ﺍﳌﺮﺳﻞ ﺇﻟﻴﻪ )ﺍﳌﺘﻠﻘﻲ ﺃﻭ ﺍﻟﻨﺎﻗﺪ(‪ ،‬ﻓﺎﳌﺜﻠﺚ‬

‫ﺍﻟﺘﻨﺎﻗﻀﻴﺔ ﺑﲔ ﻣﻔﻬﻮﻣﲔ‬ ‫)ﻭ ﺝ ﺏ( ﻳﻤﺜﹼﻞ ﺧﺰﺍﻧﺔ ﺍﻟﴫﺍﻉ ﺍﳌﻔﱰﺽ ﺑﲔ ﺍﳋﲑ ﻭﺍﻟﴩ ﻭﺍﻟﻌﻼﻗﺔ‬ ‫ﹼ‬

‫ﺎﺟﻢ ﻣﻦ‬ ‫ﻣﺘﻨﺎﻗﻀﲔ ﻳﺘﻄﻮﺭﺍﻥ ﺑﺎﻟﺘﻮﻟﻴﺪ ﻣﻦ ﳏﻮﺭ ﺍﻟﺘﻮﻟﻴﺪ )ﺏ ﻉ( ﳏﻮﺭ ﺍﻷﺣﺪﺍﺙ‪ ،‬ﺍﻟﺬﻱ ﹸﳞ ﹶ‬

‫ﺟﻬﺘﻴﻪ ﺑﻀﻐﻮﻁ )ﺷﺨﺼﻴﺎﺕ( ﺳﻠﺐ ﻭﺇﳚﺎﺏ‪ ،‬ﻳﻘﺎﺑﻠﻪ ﻋﲆ ﳏﻮﺭﻱ ﺍﻟﺘﻜﻮﻳﻦ )ﺍﻟﺒﺤﺎﺭ(‬ ‫ﻭﺍﳌﻌﺎﺭﺽ )ﺍﻵﺧﺮ(‪ ،‬ﻛﻔﻌﻞ ﻭﺭﺩ ﻓﻌﻞ ﻣﻨﻬﲈ ﻟﺘﻜﻮﻳﻦ ﺍﻷﺣﺪﺍﺙ ﺍﳌﺘﺘﺎﻟﻴﺔ‪ ،‬ﺣﺘﻰ ﲤﻸ ﺟﻨﺒﺎﺕ‬

‫ﺍﳌﺜﻠﺚ ﻣﻦ ﻗﺎﻋﺪﺓ ﺍﻟﴫﺍﻉ ﺍﳌﻌﻨﻮﻥ ﺣﺘﻰ ﻗﻤﺘﻪ ﻧﻘﻄﺔ ﺍﻟﺘﻘﺎﻃﻊ )ﺏ( ﳉﻤﻴﻊ ﺗﻠﻚ ﺍﳌﺤﺎﻭﺭ‪،‬‬

‫ﺳﻠﺒﻴﺎ ﻛﻨﺘﻴﺠﺔ ﻟﻠﻤﺴﺒﺒﺎﺕ ﰲ ﺍﻟﴫﺍﻉ ﺑﲔ ﺍﻟﺴﻠﺐ‬ ‫ﻭﺍﻗﻌﺎ‬ ‫ﺗﺴﻜﻨﻬﺎ ﺍﻟﻌﻘﺪﺓ ﻭﻫﻲ ﺍﻟﺘﻲ ﲢﻤﻞ ﹰ‬ ‫‪h‬‬

‫ﻭﺍﻹﳚﺎﺏ‪ ،‬ﻓﺘﻔﺮﺽ ﺩﻻﻟﺔ ﺍﻟﺘﺄﺯﹼ ﻡ ﻧﻔﺴﻬﺎ ﻋﲆ ﻭﺍﻗﻊ ﺍﻟﺘﺸﺎﺑﻚ ﺍﻟﴪﺩﻱ‪ ،‬ﻭﺗﺴﺎﻫﻢ ﻣﺴﺎﳘﺔ‬ ‫ﻓﻌﻠﻴﺔ ﰲ ﻗﻠﺐ ﺍﻟﴫﺍﻉ ﻣﻦ ﺗﺸﺎﺑﻚ ﺳﻠﺒﻲ ﻧﺤﻮ ﹼ‬ ‫ﺣﻞ ﻭﺍﻧﻔﺘﺎﺡ ﺇﳚﺎﰊ ﺑﺎﲡﺎﻩ ﺍﻟﻨﻬﺎﻳﺔ ﺑﻨﺘﻴﺠﺔ‬

‫ﺳﻠﺒﻴﺔ ﺑﺬﺭﻳﻌﺔ ﺇﻧﺴﺎﻧﻴﺔ ﹰ‬ ‫ﺣﺘﲈ‪ ،‬ﻭﺑﻨﻈﺮﺓ ﺫﺭﺍﺋﻌﻴﺔ‪ ،‬ﻭﻫﻲ ﺩﺭﺱ ﺇﻧﺴﺎﲏ ﻳﺴﺘﻔﻴﺪ ﻣﻨﻪ ﺍﳌﺠﺘﻤﻊ‬

‫ﺣﻴﺰ ﺍﻟﻮﺍﻗﻊ ﺍﻹﻧﺴﺎﲏ ﺍﳊﻘﻴﻘﻲ‪ ،‬ﻟﻴﺆﺩﻱ ﺍﻟﻨﺺ ﻭﻇﻴﻔﺘﻪ‬ ‫ﺣﻴﺰ ﺍﻟﻮﺍﻗﻊ ﺍﳌﺎﺩﻱ ﺇﱃ ﹼ‬ ‫ﺑﻌﺪ ﻧﻘﻠﻪ ﻣﻦ ﹼ‬ ‫ﺍﻹﻧﺴﺎﻧﻴﺔ ﺍﳌﻔﱰﺿﺔ ﻛﲈ ﰲ ﺍﻟﺸﻜﻞ ﺍﻟﺘﺎﱄ)‪:(١‬‬

‫)‪ (١‬ﺍﻟﺬﺭﺍﺋﻌﻴﺔ ﺑﲔ ﺍﳌﻔﻬﻮﻡ ﺍﻟﻔﻠﺴﻔﻲ ﻭﺍﻟﻠﻐﻮﻱ‪ ،‬ﺗﺄﻟﻴﻒ‪ :‬ﻋﺒﺪ ﺍﻟﺮﺯﺍﻕ ﺍﻟﻐﺎﻟﺒﻲ‪ ،‬ﺹ ‪ ،١٧٦‬ﺩﺍﺭ ﺍﻟﻨﺎﺑﻐﺔ ﻟﻠﻨﴩ‪،‬‬ ‫‪٢٠١٩‬ﻡ‪.‬‬

‫‪٦٧‬‬

‫¬‪<VÎÅÜä÷]<‘e^éj÷]<Üë^fl‬‬ ‫ﻭﺗﻄﻮﺭﻩ ﻭﺗﻘﺪﹼ ﻣﻪ ﰲ ﺍﳊﻴﺎﺓ ﻳﻜﻮﻥ ﰲ ﻋﻴﺸﻪ ﻭﻋﻤﻠﻪ‬ ‫‪ -١‬ﺍﳌﻮﺿﻮﻉ‪ :‬ﻗﻴﻤﺔ ﺍﻹﻧﺴﺎﻥ ﺍﻟﻔﻌﻠﻴﺔ‬ ‫ﹼ‬

‫ﻣﻊ ﺍﳉﲈﻋﺔ‪.‬‬

‫ﻭﻳﺘﻢ ﺫﻟﻚ‬ ‫‪ -٢‬ﺍﳊﺒﻜﺔ‪ :‬ﻧﻌﻨﻲ ﺑﺎﳊﺒﻜﺔ ﺗﺴﻠﺴﻞ ﺣﻮﺍﺩﺙ ﺍﻟﻘﺼﺔ ﺍﻟﺬﻱ ﻳﺆﺩﻱ ﺇﱃ ﻧﺘﻴﺠﺔ‪ ،‬ﹼ‬

‫ﺇ ﹼﻣﺎ ﻋﻦ ﻃﺮﻳﻖ ﺍﻟﴫﺍﻉ ﺍﻟﻮﺟﺪﺍﲏ ﺑﲔ ﺍﻟﺸﺨﺼﻴﺎﺕ‪ ،‬ﻭﺇ ﹼﻣﺎ ﺑﺘﺄﺛﲑ ﺍﻷﺣﺪﺍﺙ ﺍﳋﺎﺭﺟﻴﺔ‪ ،‬ﻭﻣﻦ‬

‫ﻭﻇﺎﺋﻒ ﺍﳊﺒﻜﺔ ﺇﺛﺎﺭﺓ ﺍﻟﺪﻫﺸﺔ ﰲ ﻧﻔﺲ ﺍﻟﻘﺎﺭﺉ‪ ،‬ﻭﺍﳊﺒﻜﺔ ﻫﻲ ﺍﳌﺠﺮ￯ ﺍﻟﻌﺎﻡ ﺍﻟﺬﻱ ﲡﺮﻱ ﻓﻴﻪ‬

‫ﻭﻳﺘﻢ ﻫﺬﺍ ﺑﺘﻀﺎﻓﺮ ﻋﻨﺎﴏ ﺍﻟﻘﺺ‬ ‫ﺍﻟﻘﺼﺔ‪ ،‬ﻭﺗﺘﺴﻠﺴﻞ ﺑﺄﺣﺪﺍﺛﻬﺎ ﻋﲆ ﻫﻴﺌﺔ ﻣﺘﻨﺎﻣﻴﺔ‪ ،‬ﻣﺘﺴﺎﺭﻋﺔ‪ ،‬ﹼ‬

‫ﺑﺎﻟﺮﻏﻢ ﻣﻦ ﺃﻥ ﺑﻌﺾ ﺍﻟﻜﺘﺎﺏ‬ ‫ﹰ‬ ‫ﲨﻴﻌﺎ‪ ،‬ﻭﳚﺐ ﺃﻥ ﺗﻜﻮﻥ ﺍﻷﺣﺪﺍﺙ ﻣﺮﺗﺒﻄﺔ ﺑﻤﺒﺪﺃ ﺍﻟﺴﺒﺒﻴﺔ‪ ،‬ﹼ‬

‫ﻳﻌﺘﻤﺪﻭﻥ ﻋﲆ ﻋﻨﺎﴏ ﺃﺧﺮ￯ ﰲ ﺭﺳﻢ ﺍﻷﺣﺪﺍﺙ ﺍﳌﻔﺎﺟﺌﺔ‪ ،‬ﻣﺜﻞ ﺍﺳﺘﻠﻬﺎﻡ ﺗﺪﺧﻼﺕ ﻋﺎﻣﻞ‬

‫ﺍﻟﺴﻄﺤﻴﻮﻥ‪،‬‬ ‫ﻳﻤﺠﻬﺎ ﺍﻟﺬﻭﻕ ﺍﻟﻔﻨﻲ ﺍﻟﺮﻓﻴﻊ‪ ،‬ﻭﻳﻠﺠﺄ ﺇﻟﻴﻬﺎ ﺍﻟﻜﺘﺎﺏ‬ ‫ﺍﻟﺼﺪﻓﺔ‪ ،‬ﻭﻫﺬﻩ ﻭﺳﺎﺋﻞ ﹼ‬ ‫ﹼ‬ ‫ﻭﺍﳊﺒﻜﺔ ﻧﻮﻋﺎﻥ‪:‬‬ ‫ﺃ‪ -‬ﻧﻮﻉ ﻳﻌﺘﻤﺪ ﻓﻴﻪ ﻋﲆ ﺗﺴﻠﺴﻞ ﺍﻷﺣﺪﺍﺙ‪.‬‬ ‫ﺏ ‪ -‬ﻭﻧﻮﻉ ﻳﻌﺘﻤﺪ ﻓﻴﻬﺎ ﻋﲆ ﺍﻟﺸﺨﺼﻴﺎﺕ‬

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‫ﺍﳊﺒﻜﺔ ﻫﻨﺎ ﻣﻨﻄﻘﻴﺔ‪ ،‬ﺃﺣﺪﺍﺛﻬﺎ ﻣﺮﺗﺒﻄﺔ ﺑﻤﺒﺪﺃ ﺍﻟﺴﺒﻴﺒﺔ‪ ،‬ﺗﻌﺘﻤﺪ ﻋﲆ ﺗﺴﻠﺴﻞ ﺍﻷﺣﺪﺍﺙ‪،‬‬ ‫ﻭﻫﻲ ﻋﲆ ﻧﻮﻋﲔ‪:‬‬ ‫ﻭﺑﺤﺎﺭ ﻛﺘﺐ ﻣﻌﻈﻢ ﺃﻋﲈﻟﻪ ﻭﻫﻮ ﳚﻮﺏ ﺍﻟﺒﺤﺎﺭ‪ ،‬ﻋﲆ‬ ‫ﺣﺒﻜﺔ ﳐﺒﻮﺀﺓ‪ :‬ﺳﲑﺓ ﺫﺍﺗﻴﺔ ﻷﺩﻳﺐ ﹼ‬ ‫ﻇﻬﺮ ﺳﻔﻴﻨﺔ‪ ،‬ﳛﻤﻞ ﺃﳌﹰﺎ ﺃﺳﻔﻞ ﻇﻬﺮﻩ ﺗﻌﺎﻳﺶ ﻣﻌﻪ‪ ،‬ﻛﲈ ﳛﻤﻞ ﻧﺼﻔﻪ ﺍﻵﺧﺮ ﻭﺍﻟﺬﻱ ﱂ ﻳﻜﻦ ﺑﺄﻱ‬ ‫ﺣﺎﻝ ﻻ ﹰ‬ ‫ﻣﻼﻛﺎ ﻭﻻ ﺷﻴﻄﺎ ﹰﻧﺎ‪ ،‬ﺑﻞ ﻛﺎﻥ ﻧﺼﻔﻪ ﺍﻟﺬﻱ ﺗﺴ ﹼﻠﻞ ﺇﻟﻴﻪ ﰲ ﻋﻤﺮ ﺍﻟﺴﺎﺩﺳﺔ )ﰲ ﻋﻤﺮ ﺍﻟﺘﻤﻴﻴﺰ(‪،‬‬ ‫ﹼ‬ ‫ﻭﳛﻀﻪ ﻋﲆ ﺍﻟﻌﺰﻟﺔ ﺑﺬﺭﻳﻌﺔ ﻛﺴﺐ ﺍﻟﻌﻴﺶ‪ ،‬ﺍﻟﺬﻱ ﻻ ﻳﺘﺤﻘﻖ ﹼﺇﻻ ﺇﺫﺍ ﻋﺎﺵ ﺍﻹﻧﺴﺎﻥ ﻭﺣﻴﺪﹰ ﺍ‪،‬‬

‫ﴏﺍﻉ ﻳﻨﺸﺄ ﺑﻴﻨﻬﲈ‪ ،‬ﻛﺎﻥ ﻗﺒﻠﻪ ﳚﻮﺏ ﺍﻟﺒﺤﺎﺭ ﻭﳛﻴﺎ ﺣﻴﺎﺓ ﺭﻏﺪﺓ ﰲ ﺍﳌﻮﺍﻧﺊ‪ ،‬ﻳﻌﺎﴍ ﻧﺴﺎﺀﻫﺎ‬ ‫ﻣﺰﻫﻮﺍ‬ ‫‪h‬‬ ‫ﺑﺸﺒﺎﺑﻪ ﻭﻓﺤﻮﻟﺘﻪ‪ ،‬ﻳﺮﺿﺦ ﺍﻟﺒﺤﺎﺭ ﻟﻨﺼﻔﻪ ﺍﻵﺧﺮ ﰲ ﺍﻟﺒﺪﺍﻳﺔ‪ ،‬ﻳﻌﻴﺶ ﺳﻨﻮﺍﺕ ﻛﺂﺑﺔ‪ ،‬ﻏﺮﻳ ﹰﺒﺎ ﰲ‬ ‫ﻭﺣﺪﺗﻪ ﻭﻋﺰﻟﺘﻪ‪ ،‬ﻳﻜﺘﺐ ﺍﻟﻘﺼﺺ ﺑﺘﺸﺠﻴﻊ ﻣﻦ ﻧﺼﻔﻪ ﺍﻵﺧﺮ‪ -‬ﺣﺐ ﺍﻟﻘﺮﺍﺀﺓ ﻭ ﺍﻟﻜﺘﺎﺑﺔ ﻣﻮﺭﻭ ﹸﺛﻪ‬ ‫ﻳﺘﻤﺮﺩ ﻋﲆ ﻧﺼﻔﻪ ﻭﻳﻄﻠﺐ ﻣﻨﻪ ﺃﻥ ﻳﻐﺎﺩﺭﻩ‪ ،‬ﳛﺼﻞ ﺫﻟﻚ‬ ‫ﻣﻦ ﺃﺑﻴﻪ‪ -‬ﻓﻼ ﳚﺪ ﻛﺴ ﹰﺒﺎ ﻭﻻ ﺗﻘﺪﹼ ﹰﻣﺎ‪ ،‬ﹼ‬ ‫ﺍﻟﺒﺤﺎﺭ ﺗﻜﻮﻥ ﻣﺪﻋﺎﺓ ﻟﻠﻌﻘﺎﺏ‪ ،‬ﻓﻴﻐﺎﺩﺭﻩ ﺍﻵﺧﺮ‪.‬‬ ‫ﺟﺮﺍﺀ ﻛﺬﺑﺔ ﻳﻘﻮﳍﺎ ﹼ‬ ‫ﻓﺠﺄﺓ ﹼ‬ ‫ﺑﺤﺎﺭ ﻳﻘﺮﺭ ﻣﻌﺎﻭﺩﺓ ﻋﻤﻠﻪ ﻋﲆ ﻇﻬﺮ ﺍﻷﺯﺭﻕ‪ ،‬ﺑﻌﺪ ﺳﻨﻮﺍﺕ ﻣﻦ ﺍﻋﺘﺰﺍﻟﻪ‪،‬‬ ‫ﺣﺒﻜﺔ ﻇﺎﻫﺮﺓ‪ :‬ﹼ‬ ‫ﹰ‬ ‫ﻭﻭﺣﺪﺗﻪ ﺑﻌﻴﺪﹰ ﺍ ﻋﻦ ﺍﻟﻨﺎﺱ‬ ‫ﻣﻨﺸﻐﻼ ﺑﺎﻟﻜﺘﺎﺑﺔ‪ ،‬ﻳﻨﺪﻣﺞ ﺍﻟﺒﺤﺎﺭ ﺑﺎﻟﻌﻤﻞ ﺍﳉﲈﻋﻲ ﻣﻊ ﻃﺎﻗﻢ ﺑﺎﺧﺮﺓ‬ ‫ﺗﺎﺑﻌﺔ ﻟﴩﻛﺔ ﻭﻃﻨﻴﺔ ﺍﻟﺘﺤﻖ ﲠﺎ ﺑﻌﺪ ﺃﺭﺑﻊ ﺳﻨﻮﺍﺕ ﻣﻦ ﺧﺮﻭﺝ ﻭﺍﻧﺘﻬﺎﺀ ﺍﻟﻐﺰﻭ ﺍﻷﻣﺮﻳﻜﻲ ﻟﻠﻌﺮﺍﻕ‪،‬‬ ‫ﺍﻹﺩﺍﺭﺓ ﻏﲑ ﺍﳌﺘﺰﻧﺔ ﻟﻠﴩﻛﺔ ﺍﻟﻮﻃﻨﻴﺔ ﲡﻌﻞ ﻃﺎﻗﻢ ﺍﻟﺒﺎﺧﺮﺓ ﻳﺪﺧﻠﻮﻥ ﰲ ﻣﻐﺎﻣﺮﺍﺕ ﺑﺤﺮﻳﺔ ﺧﻄﲑﺓ‬ ‫ﻛﺜﲑﺓ‪ ،‬ﻣﺘﻨ ﹼﻘﻠﲔ ﺑﲔ ﻣﻮﺍﻧﺊ ﺩﻭﻟﺔ ﺍﻹﻣﺎﺭﺍﺕ‪ ،‬ﺑﲔ ﳐﺎﻃﺮ ﻭﺧﻴﺒﺎﺕ ﻭﻧﺠﺎﺓ ﻭﺍﻧﺘﺼﺎﺭﺍﺕ ﳛﻘﻘﻬﺎ‬ ‫ﺍﻟﺒﺤﺎﺭ ﻋﲆ ﺍﻟﺼﻌﻴﺪ ﺍﻟﺸﺨﴢ ﻭﺍﳌﻬﻨﻲ‪ ،‬ﺗﺘﻜ ﹼﻠﻞ ﺑﻤﻜﺎﻓﺄﺗﻪ ﻣﻦ ﺍﻟﺮ ﹼﺑﺎﻥ ﺑﺘﻜﻠﻴﻔﻪ ﺑﺈﻧﺸﺎﺀ ﻣﻜﺘﺒﺔ ﰲ‬ ‫ﹼ‬ ‫ﺍﻟﺒﺎﺧﺮﺓ ﻳﻜﻮﻥ ﻫﻮ ﺍﳌﴩﻑ ﻭﺍﳌﺴﺆﻭﻝ ﻋﻨﻬﺎ‪ ،‬ﻳﻄﻠﻖ ﻋﲆ ﺍﳌﻜﺘﺒﺔ ﺍﺳﻢ ﺍﻟﻨﻮﰐ‪.‬‬ ‫‪<VÏÇœ√÷]<IO‬‬

‫ﻭﺍﻟﺘﺤﺮﺭ ﻣﻦ‬ ‫ﺍﻟﺒﺤﺎﺭ ﲡﺎﻫﻞ ﻧﺼﻔﻪ ﺍﻵﺧﺮ‪،‬‬ ‫ﻗﺮﺭ ﹼ‬ ‫ﹼ‬ ‫ﻋﻘﺪﺓ ﳐﺒﻮﺀﺓ ﺍﻧﻌﻘﺪﺕ ﺑﺪﺍﻳﺘﻬﺎ ﻋﻨﺪﻣﺎ ﹼ‬ ‫ﻣﻘﺮ ﹰﺭﺍ ﺃﻧﻪ ﻟﻦ ﻳﻜﻮﻥ ﻣﺎ ﻳﺮﻳﺪﻩ ﻣﻨﻪ‪ ،‬ﻭﻟﻦ ﻳﻜﺘﺐ ﺑﺎﳌﻮﺍﺿﻴﻊ ﺍﻟﻘﻠﻘﺔ ﻭﺍﳌﺜﲑﺓ ﺍﻟﺘﻲ ﻳﻘﱰﺣﻬﺎ‬ ‫ﺳﻄﻮﺗﻪ‪ ،‬ﹼ‬

‫ﻋﺎﺑﺮﺍ ﻋﺎﺩ ﹰﻳﺎ ﻓﻴﻬﺎ ﻣﺜﻞ ﻏﲑﻩ‪ ،‬ﺳﺄﻟﻪ ﻧﺼﻔﻪ‬ ‫ﻋﻠﻴﻪ‪ ،‬ﻷﻧﻪ ﻭﺟﺪ ﺃﻥ ﺍﳊﻴﺎﺓ ﻗﺼﲑﺓ ﻭﻻ ﻳﺮﻳﺪ ﺃﻥ ﻳﻜﻮﻥ ﹰ‬ ‫ﹰ‬ ‫ﺳﺆﺍﻻ ﻋﻦ ﻣﺪ￯ ﺍﻧﺘﺼﺎﺭﻩ ﻋﻠﻴﻪ ﻓﺄﺟﺎﺏ ﺏ‪ :‬ﻻ‪ ،‬ﺍﻋﺘﱪﻫﺎ ﺍﻵﺧﺮ ﺇﺟﺎﺑﺔ ﻛﺎﺫﺑﺔ‪ ،‬ﲢﺪﹼ ﺍﻩ‬ ‫ﺍﻵﺧﺮ‬ ‫ﺃﻧﻪ ﻣﻦ ﺍﻵﻥ ﻓﺼﺎﻋﺪﹰ ﺍ ﺳﻴﻜﺬﺏ‪ ،‬ﻋﻨﺪﻫﺎ ﺃﻋﻠﻤﻪ ﺍﻵﺧﺮ ﺃﻧﻪ ﺳﻴﱰﻛﻪ ﻋﻘﻮﺑﺔ ﻋﲆ ﻛﺬﺑﻪ‪ ،‬ﻭﺑﺎﻟﻔﻌﻞ‬ ‫ﺗﺮﻛﻪ‪ ،‬ﻣﺎ ﹼ‬ ‫ﺷﻜﻞ ﻋﻨﺪ ﺍﻟﺒﺤﺎﺭ ﻗﻠ ﹰﻘﺎ ﻣﻦ ﺍﺣﺘﲈﻝ ﻓﻘﺪﺍﻧﻪ ﺇﱃ ﺍﻷﺑﺪ‪.‬‬

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‫ﻳﺬﻛ ﹶ‬ ‫ ﹼ‬‫ﺮﻙ ﺍﻟﻘﻤﺮ ﰊ؟‬ ‫ﻭﻇﻬﻮﺭﺍ«‬ ‫ﻃﻔﻖ ﺻﻮﺗﻪ ﺍﻟﻜﺎﴎ ﰲ ﺭﺃﳼ ﳛﺪﹼ ﺛﻨﻲ‪» :‬ﺍﳊﻘﻴﻘﺔ ﻧﻌﻢ‪ ،‬ﺃﻧﺖ ﺗﺸﺒﻪ ﺍﻟﻘﻤﺮ ﺍﺧﺘﻔﺎ ﹰﺀ‬ ‫ﹰ‬

‫ﻭﻟﻜﻨﻲ ﺍﳌﻨﺘﴫ ﻫﺬﻩ ﺍﻟﻠﻴﻠﺔ‪.‬‬ ‫ﻗﻠﺖ‬ ‫ﻣﺸﺎﻛﺴﺎ‪:‬‬ ‫ﹸ‬ ‫ﹰ‬ ‫‪-‬ﻻ‬

‫ﹶ‬ ‫ﻋﻬﺪﺗﻚ ﺗﻜﺬﺏ!‬ ‫ ﻣﺎ‬‫ﺑﺪﺃﺕ ﺍﻟﻜﺬﺏ ﻣﻨﺬ ﺍﻟﻠﻴﻠﺔ‪.‬‬ ‫ ﹸ‬‫ ﻟﺴﺖ ﻧﺼﻔﻚ ﺑﻌﺪ ﺍﻵﻥ‪.‬‬‫ ﻣﺎﺫﺍ؟‬‫ ﺳﺄﺗﺮﻛﻚ‪..‬‬‫ ﺇﱃ ﺃﻳﻦ؟‬‫ ‪......‬‬‫ ﺃﻳﻨﻚ؟!‬‫ ‪...........‬‬‫ﺃﺛﺮﺍ‪.‬‬ ‫ﱂ ﺃﺟﺪ ﻟﻪ ﹰ‬ ‫‪Vt]ÜÀfi˜]<IP‬‬ ‫ﹼ‬ ‫ﳖﺎﺭﺍ‪،‬‬ ‫ﲣﻄﻰ ﺍﻟﺒﺤﺎﺭ ﻗﻠﻘﻪ ﻋﲆ ﻧﺼﻔﻪ ﺍﻵﺧﺮ ﺑﺎﻧﺸﻐﺎﻟﻪ ﺑﺎﻟﻌﻤﻞ ﻋﲆ ﻇﻬﺮ ﺍﻟﺒﺎﺧﺮﺓ ﹰ‬ ‫ﻭﺑﺎﻟﻜﺘﺎﺑﺔ ﹰ‬ ‫ﻟﻴﻼ‪ ،‬ﻛﺘﺐ ﺍﻟﻜﺜﲑ ﻋﲆ ﺃﻣﻞ ﺃﻥ ﻳﻈﻬﺮ ﺍﻵﺧﺮ‪ ،‬ﺣﺎﻭﻝ ﻓﻌﻞ ﻛﻞ ﺍﻷﺷﻴﺎﺀ ﺍﻟﺘﻲ ﺗﺜﲑ‬

‫ﺣﻀﻮﺭﻩ ﻟﻜﻨﻪ ﱂ ﳛﴬ‪ ،‬ﴏﺥ ﻣﻦ ﻗﻠﺒﻪ‪» :‬ﻻ« ﴏﺧﺔ ﺃﺧﺬﺗﻪ ﺇﱃ ﺍﻟﻄﻔﻮﻟﺔ‪ ،‬ﹼ‬ ‫ﺫﻛﺮﺗﻪ ﺑﻔﻘﺪﺍﻥ ﺃﺑﻴﻪ‪،‬‬

‫)ﻓﻘﺪﺍﻥ ﺍﻵﺧﺮ ﰲ ﻣﻘﺎﺑﻞ ﻓﻘﺪﺍﻥ ﺃﺑﻴﻪ( ﻭﻫﻮ )ﺭﺟﻞ ﻳﺸﺒﻪ ﺍﻟﻄﻔﻞ ﰲ ﻣﻘﺎﺑﻞ ﺭﺑﺎﻥ ﻳﺮﻳﺪ ﺍﻟﻮﺻﻮﻝ‬ ‫ﲢﺮﺭ‪.‬‬ ‫ﺇﱃ ﺑﺮ ﺍﻷﻣﺎﻥ(‪ ،‬ﻫﻜﺬﺍ ﹼ‬

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‫)ﺃﻗﻒ ﺃﻣﺎﻡ ﺍﳌﺮﺁﺓ‪ ،‬ﺃﺣﺪﺙ ﺍﻟﻔﻮﴇ ﰲ ﺻﻮﺭﰐ ﻋﻠﻪ ﳚﻲﺀ ﻭﻻ ﻳﺄﰐ ‪ ...‬ﴏﺧﺖ ﻣﻦ‬

‫ﺍﻟﻘﻠﺐ »ﻻ« ﴏﺧﺔ ﺃﺧﺬﺗﻨﻲ ﰲ ﻃﺮﻳﻖ ﺑﺪﺃﺕ ﻓﻴﻬﺎ ﻃﻔﻮﻟﺘﻲ‪ ... ،‬ﺗﻠﻚ ﺍﻟﻠﻴﻠﺔ ﺫﻛﺮﺗﻨﻲ ﺑﻔﻘﺪﺍﻥ‬

‫ﺃﰊ ! ﺭﺟﻔﺖ ﱂ ﺗﻜﻦ ﻟﺪﻱ ﻓﻜﺮﺓ ﳌﺎﺫﺍ ﺃﺫﻫﺐ ﺇﱃ ﻫﻨﺎﻙ؟ ﴏﺕ ﺑﻘﺎﻳﺎ ﻗﻠﻌﺔ ﻣﻬﺠﻮﺭﺓ ‪ ،...‬ﻗﻤﺮ‬ ‫ﳛﱰﻕ‪ ،‬ﻗﻠﺐ ﺃﻋﺰﻝ‪ ،‬ﺭﺟﻞ ﻳﺸﺒﻪ ﺍﻟﻄﻔﻞ‪ ،‬ﻭﺭﺑﺎﻥ ﻳﺮﻳﺪ ﺍﻟﻮﺻﻮﻝ ﺇﱃ ﺑﺮ ﺍﻷﻣﺎﻥ‪(...‬‬ ‫‪VÌË^„fl÷]<IQ‬‬ ‫ﻭﻫﻲ ﺍﻟﻨﻘﻄﺔ ﺍﻟﺘﻲ ﺗﻨﺘﻬﻲ ﻋﻨﺪﻫﺎ ﻛﻞ ﺍﻷﺣﺪﺍﺙ‪ ،‬ﻭﺗﺴﺘﻘﺮ ﻋﻠﻴﻬﺎ ﺍﳊﻠﻮﻝ‪ ،‬ﻭﻻ ﻳﻘﻊ ﺧﻠﻔﻬﺎ‬

‫ﻭﺗﻘﺮ ﺍﺳﺘﺘﺒﺎﺏ ﺍﻷﻣﻦ‪،‬‬ ‫ﺍﻟﺒﻮﺍﺑﺔ ﺍﻟﻨﻬﺎﺋﻴﺔ ﺍﻟﺘﻲ ﺗﻐﻠﻖ ﲨﻴﻊ ﺍﻷﺣﺪﺍﺙ‪،‬‬ ‫ﺃﻱ ﺣﺪﺙ ﺁﺧﺮ‪ ،‬ﻓﻬﻲ ﹼ‬ ‫ﹼ‬

‫ﳎﻤ ﹰﻌﺎ ﻟﻠﺤﺪﺙ‬ ‫ﻭﺍﻟﻨﻬﺎﻳﺔ ﺍﻟﺘﻲ ﲢﺪﹼ ﺩ ﻣﻌﻨﻰ ﺍﳊﺪﺙ‪ ،‬ﻭﺗﻜﺸﻒ ﻋﻦ ﺩﻭﺍﻓﻌﻪ ﻭﺣﻮﺍﻓﺰﻩ‪ ،‬ﻷﳖﺎ ﺗﻜﻮﻥ ﹼ‬ ‫ﻳﻌﱪ ﻋﻨﻪ‪ ،‬ﻭﻟﻴﺴﺖ ﺍﻟﻨﻬﺎﻳﺔ ﻋﻤﻠﻴﺔ‬ ‫ﺍﻟﻘﺼﴢ‪ ،‬ﻳﺘﺤﺪﹼ ﺩ ﻣﻦ ﺧﻼﻟﻪ ﺍﳌﻮﺿﻮﻉ ﺍﻟﺬﻱ ﺃﺭﺍﺩ ﺍﻟﻜﺎﺗﺐ ﺃﻥ ﹼ‬

‫ﺧﺘﻢ ﻷﺣﺪﺍﺙ ﺍﻟﻘﺼﺔ ﻓﺤﺴﺐ‪ ،‬ﺑﻞ ﻫﻲ ﲢﻮﻱ ﳊﻈﺔ ﺍﻟﺘﻨﻮﻳﺮ ﺍﻟﻨﻬﺎﺋﻲ ﻟﻠﻌﻤﻞ ﺍﻟﻘﺼﴢ ﺍﻟﻮﺍﺣﺪ‬ ‫ﺍﳌﺘﲈﺳﻚ‪ ،‬ﻭﻣﻦ ﺧﻼﳍﺎ ﻳﻘﻊ ﺍﻟﻜﺸﻒ ﺍﻟﻨﻬﺎﺋﻲ ﻋﻦ ﺃﺩﻭﺍﺭ ﺍﻟﺸﺨﺼﻴﺎﺕ ﻭﺍﻧﻌﻜﺎﺱ ﺃﺩﻭﺍﺭﻫﻢ ﻋﲆ‬

‫ﺍﳌﺠﺘﻤﻊ‪.‬‬

‫ﻃﺎﻓﺤﺎ ﺑﺎﻟﻔﺮﺡ ﻭﺍﻷﻣﻞ ﺑﺮﺅﻳﺔ‬ ‫ﻣﺎ ﺯﺍﻝ ﺍﻷﱂ ﺃﺳﻔﻞ ﺍﻟﻈﻬﺮ ﻳﺮﺍﻓﻖ ﺍﻟﺒﺤﺎﺭ‪ ،‬ﻟﻜﻦ ﻭﺟﻬﻪ ﻛﺎﻥ‬ ‫ﹰ‬

‫ﺍﻷﺭﺽ‪ ،‬ﻭﺗﺴﺎﺅﻻﺕ ﺗﺘﻨﺎﺳﻞ ﻣﻦ ﺭﺃﺱ ﺍﻟﺒﺤﺎﺭ‪ ،‬ﺗﺴﺘﻌﺮﺽ ﻣﻠﺬﺍﺗﻪ ﰲ ﺍﳊﻴﺎﺓ‪ ،‬ﻓﻴﻌﺮﺽ ﻋﻨﻬﺎ‪،‬‬

‫ﺍﻟﺒﺤﺎﺭ‬ ‫ﻳﺴﺘﺼﻐﺮﻫﺎ ﺃﻣﺎﻡ ﳊﻈﺔ ﻣﺒﺎﻫﺎﺓ ﻳﻔﺎﺟﺌﻨﺎ ﲠﺎ‪ ،‬ﻓﻬﻞ ﺗﺘﺤﻘﻖ؟ ﻭﻣﻦ ﻳﻨﺘﴫ ﻓﻴﻪ ﺍﻟﻜﺎﺗﺐ ﺃﻡ ﹼ‬ ‫ﻣﻌﺎ؟ ﳖﺎﻳﺔ ﻣﻔﺘﻮﺣﺔ ﻋﲆ ﺳﺆﺍﻝ ﻣﻦ ﺃﻣﻞ ﻋﲆ ﻣﺪ￯‬ ‫ﺍﻟﺬﻱ ﻳﻼﺯﻣﻪ ﺍﻷﱂ ﺃﺳﻔﻞ ﺍﻟﻈﻬﺮ؟ ﺃﻡ ﻛﻼﳘﺎ ﹰ‬ ‫ﺑﺤﺎﺭﺓ ﺍﳊﻴﺎﺓ ﻭﺗﺰﺍﲪﻬﻢ ﺑﺼﻔﻮﻑ ﻣﻨﺘﻈﻤﺔ ﻋﲆ ﺍﻗﺘﻨﺎﺀ ﻛﺘﺎﺑﻪ )ﺍﻟﻨﻮﰐ(‪:‬‬ ‫ﺇﻗﺒﺎﻝ ﹼ‬

‫)ﻳﺘﻨﺎﺳﻞ ﺍﻟﺘﻔﻜﲑ‪» ،‬ﻣﺎﺫﺍ ﺃﻓﻌﻞ؟«‪ ،‬ﻣﴪﺡ ﺍﳊﻴﺎﺓ ﻛﺒﲑ‪» ،‬ﻭﻣﺎ ﻳﻨﺘﻈﺮﻙ؟«‪ ،‬ﻧﺴﺎﺀ؟‬

‫ﻣﻄﺮ؟ ﻣﺎﻝ؟ ﻣﺸﺎﻫﺪ ﲨﻴﻠﺔ ﻭﻟﻘﺎﺀﺍﺕ ﺃﲨﻞ؟‪» ،‬ﺃﻫﺬﺍ ﻣﺎ ﺃﺭﻳﺪ؟«‪ ،‬ﻻ ﱂ ﻳﻜﻦ ﻣﻨﻬﺎ ﻣﺎ ﳚﺬﺑﻨﻲ‬ ‫ﺃﻛﺜﺮ ﻣﻦ ﳊﻈﺔ ﺗﻮﻣﺾ ﰲ ﻃﺮﻳﻖ ﺍﳌﺴﺘﻘﺒﻞ ﺍﳉﺪﻳﺪ‪» .‬ﻋﻦ ﻣﺎﺫﺍ ﺗﺘﻜ ﹼﻠﻢ؟«‪ ،‬ﳊﻈﺔ ﺍﳊﺪﺙ‬

‫ﺍﻷﻫﻢ‪» ،‬ﺗﻘﺼﺪ ﺯﻭﺍﻝ ﺍﻷﱂ ﺃﺳﻔﻞ ﻇﻬﺮﻙ؟«‪ ،‬ﻻ‪ ،‬ﻫﻲ ﳊﻈﺔ ﻻ ﲣﻠﻮ ﻣﻦ ﺍﻟﺘﺴﻠﻴﺔ ﻭﺍﻟﻔﺨﺮ‪.‬‬ ‫»ﻣﺎ ﻫﻲ؟«‪ .‬ﺃﻓﻜﺮ ﰲ ﺭﺅﻳﺔ ﺍﻟﺒﺤﺎﺭﺓ ﻳﻘﻔﻮﻥ ﺻﻔﻮ ﹰﻓﺎ ﻣﻨﻈﻤﺔ ﺃﻣﺎﻡ ﺑﺎﺏ ﺍﻟﻨﻮﰐ ﻳﻨﺘﻈﺮﻭﻥ‬

‫ﻛﺘﺎﲠﻢ ﺍﳌﻔﻀﻞ(‪.‬‬

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‫‪Characters<l^Èí~é÷]<I‬‬

‫ﺍﻟﺸﺨﺼﻴﺔ ﺍﻟﻘﺼﺼﻴﺔ ﻫﻲ ﻓﺮﺩ ﻣﻦ ﺍﳌﺠﺘﻤﻊ‪ ،‬ﻗﺪ ﻳﻜﻮﻥ ﺧﻴﺎﱄ ﺃﻭ ﻭﺍﻗﻌﻲ ﻣﻦ ﺍﻟﺬﻳﻦ ﺗﺪﻭﺭ‬

‫ﺣﻮﳍﻢ ﺃﺣﺪﺍﺙ ﺍﻟﻘﺺ‪ ،‬ﻭﻻ ﳚﻮﺯ ﺍﻟﻔﺼﻞ ﺑﻴﻨﻬﺎ ﻭﺑﲔ ﺍﳊﺪﺙ‪ ،‬ﻷﻥ ﺍﻟﺸﺨﺼﻴﺔ ﻫﻲ ﺍﻟﺘﻲ ﺗﻘﻮﻡ‬ ‫ﲠﺬﻩ ﺍﻷﺣﺪﺍﺙ‪ ،‬ﻭﻗﺪ ﹼﺃﻛﺪ ﻛﺜﲑﻭﻥ ﻋﲆ ﻫﺬﻩ ﺍﻟﺼﻠﺔ‪ ،‬ﻭﻳﻨﺘﻘﻲ ﺍﻟﻘﺎﺹ ﻣﻦ ﺍﻟﺸﺨﺼﻴﺎﺕ ﺍﻟﺘﻲ‬

‫ﻳﻮﻇﻔﻬﺎ ﻟﻠﺘﻌﺒﲑ ﻋﻦ ﺃﻓﻜﺎﺭﻩ ﻭﺁﺭﺍﺋﻪ‪:‬‬ ‫ﺍﻟﺸﺨﺼﻴﺔ ﳏﻮﺭﻳﺔ ﺭﺋﻴﺴﻴﺔ‪:‬‬

‫ﺗﻌﻮﺩ‬ ‫ﺗ ﹼﺘﺠﻪ ﻧﺤﻮﻫﺎ ﺃﻧﻈﺎﺭ ﺑﻘﻴﺔ ﺍﻟﺸﺨﺼﻴﺎﺕ‪ ،‬ﻛﲈ ﺃﳖﺎ ﺗﻘﻮﺩ ﳎﺮ￯ ﺍﻟﻘﺼﺔ ﺍﻟﻌﺎﻡ‪ ،‬ﻭﻗﺪ ﹼ‬

‫ﺍﻟﻨﻘﺎﺩ ﺃﻥ ﻳﻄﻠﻘﻮﺍ ﻋﲆ ﻫﺬﻩ ﺍﻟﺸﺨﺼﻴﺔ ﻣﺼﻄﻠﺢ ﺍﻟﺒﻄﻞ‪ ،‬ﻭﻫﻲ ﰲ ﻫﺬﺍ ﺍﻟﻌﻤﻞ ﺍﻟﻜﺎﺗﺐ ﻧﻔﺴﻪ‬ ‫ﺑﺎﻋﺘﺒﺎﺭ ﺍﻟﻌﻤﻞ ﺳﲑﺓ ﺫﺍﺗﻴﺔ‪ ،‬ﻫﻮ ﻛﺈﻧﺴﺎﻥ ﻭﻛﺎﺗﺐ ﻭﺑﺤﺎﺭ‪.‬‬ ‫ﺃﺑﻌﺎﺩ ﺍﻟﺸﺨﺼﻴﺔ‪:‬‬ ‫ﺃﺑﻌﺎﺩ ﺟﺴﺪﻳﺔ‪ :‬ﻛﻬﻞ ﲬﺴﻴﻨﻲ ﻳﻤﻴﻞ ﺇﱃ ﺍﻟﻄﻮﻝ‪ ،‬ﺃﺳﻤﺮ ﺍﻟﻮﺟﻪ‪ ،‬ﺃﺷﻴﺐ ﺍﻟﺸﻌﺮ ﻳﻌﺎﲏ ﻣﻦ‬ ‫ﺃﱂ ﺃﺳﻔﻞ ﺍﻟﻈﻬﺮ‪.‬‬

‫ﺃﺑﻌﺎﺩ ﺍﺟﺘﲈﻋﻴﺔ‪ :‬ﺍﺑﻦ ﻣﺪﻟﻞ ﻟﻌﺎﺋﻠﺔ ﻣﺜﻘﻔﺔ‪ ،‬ﺍﻟﻮﺍﻟﺪ ﻳﻤﻠﻚ ﻣﻜﺘﺒﺔ ﻛﺒﲑﺓ ﻛﺎﻧﺖ ﻭﺭﺛﺘﻪ ﻣﻨﻪ‪،‬‬ ‫ﺩﺭﺱ ﰲ ﺍﻷﻛﺎﺩﻳﻤﻴﺔ ﺍﻟﺒﺤﺮﻳﺔ‪ ،‬ﺷﺎﻋﺮ ﻭﻛﺎﺗﺐ ﳛﺐ ﺍﳋﻴﺎﻝ‪ ،‬ﻛﺜﲑ ﺍﻷﺣﻼﻡ‪ ،‬ﺷﻐﻮﻑ ﺑﺎﻟﻘﺮﺍﺀﺓ‪،‬‬ ‫ﻳﻤﻴﻞ ﺇﱃ ﻓﻠﺴﻔﺔ ﺍﻷﻣﻮﺭ‪ ،‬ﻗﺎﺩﺭ ﻋﲆ ﺍﺳﺘﻨﺒﺎﻁ ﺍﳊﻜﻢ ﻭﺍﳌﻮﺍﻋﻆ‪ ،‬ﻳﻤﻴﻞ ﺇﱃ ﺍﻟﻮﺣﺪﺓ‪ ،‬ﻣﻐﺎﻣﺮ ﻭﻣﺎﻫﺮ‬ ‫ﰲ ﻋﻤﻠﻪ ﻛﺒﺤﺎﺭ‪.‬‬ ‫ﻟﻠﺘﺤﺮﺭ ﻣﻨﻪ‪ ،‬ﺗﻨﺘﺎﺑﻪ ﻧﻮﺑﺎﺕ‬ ‫ﺍﻷﺑﻌﺎﺩ ﺍﻟﻨﻔﺴﻴﺔ‪ :‬ﻳﻌﻴﺶ ﰲ ﴏﺍﻉ ﻣﻊ ﻧﺼﻔﻪ ﺍﻵﺧﺮ‪ ،‬ﻳﺴﻌﻰ‬ ‫ﹼ‬ ‫ﻣﻦ ﺍﻟﻜﺂﺑﺔ ﻭﺍﳊﺰﻥ ﻭﺍﳊﻨﲔ ﺇﱃ ﺃﻳﺎﻡ ﻃﻔﻮﻟﺘﻪ ﺍﻷﻭﱃ‪ ،‬ﻭﺇﱃ ﺃﺑﻴﻪ ﲢﺪﻳﺪﹰ ﺍ ﻭﺳﺎﺋﺮ ﻋﺎﺋﻠﺘﻪ ﺑﺎﳌﺠﻤﻞ‪،‬‬ ‫ﳛﺒﻪ ﻳﻐﺎﺩﺭ‪ ،‬ﻫﺎﺩﺉ ﻻ ﻳﻐﻀﺐ ﺇﻻ ﻋﲆ ﻧﺼﻔﻪ ﺍﻵﺧﺮ‪ ،‬ﻭﺷﺠﺎﻉ‬ ‫ﺗﺴﻴﻄﺮ ﻋﻠﻴﻪ ﻓﻜﺮﺓ ﺃﻥ ﻛﻞ ﹶﻣ ﹾﻦ ﱡ‬ ‫ﻳﻌﻮﺽ ﻋﻦ ﺭﻏﺒﺔ‬ ‫ﰲ ﺍﻟﺘﻌﺒﲑ ﻋﻦ ﺭﺃﻳﻪ‪ ،‬ﺻﺎﻣﺖ ﺑﺎﳌﺠﻤﻞ‪ ،‬ﳛﺐ ﺍﳊﻴﺎﺓ ﺑﻤﻠﺬﺍﲥﺎ ﻣﻦ ﺍﻟﻨﺴﺎﺀ‪ ،‬ﹼ‬ ‫ﺍﳉﻨﺲ ﺑﺎﳉﻬﺪ ﺍﻟﺬﻱ ﻳﺒﺬﻟﻪ ﺑﺎﻟﻌﻤﻞ‪ ،‬ﻳﻌﻴﺶ ﰲ ﻋﺎﳌﻪ ﺍﻟﺪﺍﺧﲇ ﺃﻛﺜﺮ ﻭﻗﺘﻪ‪ ،‬ﺃﺣﻴﺎ ﹰﻧﺎ ﰲ ﲥﻮﻳﲈﺕ‪،‬‬

‫ﴎ ﻟﻪ‪ ،‬ﱂ ﻳﺴﺘﻄﻊ‬ ‫ﻭﺧﺼﻮﺻﺎ ﺑﻌﺪ‬ ‫ﺍﻟﺘﺤﺮﺭ ﻣﻦ ﻋﺎﺩﺓ ﻏﲑ ﲪﻴﺪﺓ‪ ،‬ﺷﺪﻳﺪ ﺍﻟﻘﻠﻖ‬ ‫ﹰ‬ ‫ﻛﺜﲑ ﺍﻟﺒﻜﺎﺀ‪ ،‬ﻻ ﹼ‬ ‫ﹼ‬ ‫ﻓﺮﺍﻕ ﺍﻵﺧﺮ‪ ،‬ﻭﻛﺜﲑ ﺍﻷﺭﻕ‪.‬‬

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‫ﺍﻟﺸﺨﺼﻴﺔ ﺍﳌﻌﺎﺭﺿﺔ‪:‬‬ ‫ﻭﻫﻲ ﺷﺨﺼﻴﺔ ﲤﺜﹼﻞ ﺍﻟﻘﻮ￯ ﺍﳌﻌﺎﺭﺿﺔ ﰲ ﺍﻟﻨﺺ ﺍﻟﻘﺼﴢ‪ ،‬ﻭﺗﻘﻒ ﰲ ﻃﺮﻳﻖ ﺍﻟﺸﺨﺼﻴﺔ‬ ‫ﺍﻟﺮﺋﻴﺴﺔ ﺃﻭ ﺍﻟﺸﺨﺼﻴﺔ ﺍﳌﺴﺎﻋﺪﺓ‪ ،‬ﻭﲢﺎﻭﻝ ﻗﺪﺭ ﺟﻬﺪﻫﺎ ﻋﺮﻗﻠﺔ ﻣﺴﺎﻋﻴﻬﺎ‪ .‬ﻭﺗﻌﺪﹼ ﹰ‬ ‫ﺃﻳﻀﺎ ﺷﺨﺼﻴﺔ‬ ‫ﻗﻮﻳﺔ‪ ،‬ﺫﺍﺕ ﻓﻌﺎﻟﻴﺔ ﰲ ﺍﻟﻘﺼﺔ‪ ،‬ﻭﰲ ﺑﻨﻴﺔ ﺣﺪﺛﻬﺎ‪ ،‬ﺍﻟﺬﻱ ﻳﻌﻈﻢ ﺷﺄﻧﻪ ﻛ ﹼﻠﲈ ﺍﺷﺘﺪﹼ ﺍﻟﴫﺍﻉ ﻓﻴﻪ ﺑﲔ‬

‫ﺍﻟﺸﺨﺼﻴﺔ ﺍﻟﺮﺋﻴﺴﻴﺔ‪ ،‬ﻭﺍﻟﻘﻮ￯ ﺍﳌﻌﺎﺭﺿﺔ‪ ،‬ﻭﺗﻈﻬﺮ ﻫﻨﺎ ﻗﺪﺭﺓ ﺍﻟﻜﺎﺗﺐ ﺍﻟﻔﻨﻴﺔ ﰲ ﺍﻟﻮﺻﻒ ﻭﺗﺼﻮﻳﺮ‬ ‫ﺍﳌﺸﺎﻫﺪ ﺍﻟﺘﻲ ﲤﺜﹼﻞ ﻫﺬﺍ ﺍﻟﴫﺍﻉ‪.‬‬ ‫ﻭﺍﻟﺸﺨﺼﻴﺔ ﺍﳌﻌﺎﺭﺿﺔ ﰲ ﻫﺬﺍ ﺍﻟﻌﻤﻞ ﻫﻮ )ﺍﻵﺧﺮ(‪.‬‬ ‫ﻟﻴﺲ ﻫﻨﺎﻙ ﺷﺨﺼﻴﺎﺕ ﻣﺴﺎﻋﺪﺓ‪ ،‬ﻷﻧﻪ ﻟﻴﺲ ﻫﻨﺎﻙ ﻣﻦ ﴏﺍﻉ ﺑﲔ ﺷﺨﺼﻴﺎﺕ ﻭﺍﻗﻌﻴﺔ‪،‬‬ ‫ﻟﻜﻨﻨﺎ ﻳﻤﻜﻦ ﺃﻥ ﻧﻌﺪﺩ ﺑﻌﺾ ﺍﻟﺸﺨﺼﻴﺎﺕ ﺍﳌﻼﺻﻘﺔ ﻟﻠﺸﺨﺼﻴﺔ ﺍﳌﺤﻮﺭﻳﺔ ﺍﻟﺮﺋﻴﺴﺔ‪ ،‬ﻛﺎﻥ ﳍﺎ‬ ‫ﻣﻮﺍﻗﻒ ﺇﳚﺎﺑﻴﺔ ﻣﺆﺛﺮﺓ ﻓﻴﻬﺎ‪ ،‬ﻛﺸﺨﺼﻴﺔ ﺃﰊ ﺍﻟﻨﻮﻥ )ﺳﺎﻫﻲ( ﹰ‬ ‫ﻣﺜﻼ ﻭﺍﻟﺘﻲ ﻭﺻﻔﻬﺎ ﺍﻟﺒﻄﻞ ﺑﺄﺑﻌﺎﺩﻫﺎ‬ ‫ﻭﺻ ﹰﻔﺎ ﺩﻗﻴ ﹰﻘﺎ‪:‬‬

‫ﺍﻷﺑﻌﺎﺩ ﺍﳉﺴﺪﻳﺔ‪ :‬ﺃﲪﺮ ﺍﻟﻮﺟﻪ‪... ،‬‬ ‫ﺍﻷﺑﻌﺎﺩ ﺍﻻﺟﺘﲈﻋﻴﺔ‪ :‬ﻳﻌﻤﻞ ﻣﺴﺎﻋﺪ ﺛﺎﲏ ﻟﻠﻄﺒﺎﺥ‪ ،‬ﻳﺴﻬﺮ ﻋﲆ ﺗﻘﺪﻳﻢ ﺍﻟﻄﻌﺎﻡ ﻟﻠﺒﺤﺎﺭﺓ ﻭﺗﻨﻈﻴﻒ‬

‫ﺍﳌﻜﺎﻥ‪ ،‬ﻣﺘﺰﻭﺝ ﻭﻟﻪ ﻭﻟﺪﺍﻥ ﻭﺑﻨﺖ‪ ،‬ﺛﻘﺎﻓﺘﻪ ﻋﺎﻟﻴﺔ‪ ،‬ﻗﺮﺃ ﺃﻣﻬﺎﺕ ﺍﻟﻜﺘﺐ ﰲ ﺍﻷﺩﺏ ﺍﻟﺮﻭﳼ‪.‬‬

‫ﺍﻷﺑﻌﺎﺩ ﺍﻟﻨﻔﺴﻴﺔ‪ :‬ﺷﺨﺼﻴﺔ ﻣﺮﺣﺔ ﲢﺐ ﺍﻟﺮﻗﺺ ﻭﺍﻟﻐﻨﺎﺀ ﻭﺍﳌﺰﺍﺡ‪ ،‬ﻳﻌﱰﻳﻪ ﻗﻠﻖ ﻣﻦ ﻧﻔﻮﺭ‬ ‫ﺟﻨﺴﻴﺎ‬ ‫ﺯﻭﺟﺘﻪ ﻣﻨﻪ‬ ‫‪h‬‬ ‫ﻧﺠﻼﺀ ﺍﻟﺴﻜﻨﺪﺭﺍﻧﻴﺔ‪ :‬ﺷﺎﺑﺔ ﺭﻏﻢ ﻣﻼﺑﺴﻬﺎ ﺍﳌﺘﻮﺍﺿﻌﺔ ﻛﺎﻧﺖ ﻣﻠﻴﺤﺔ ﺭﺷﻴﻘﺔ ﺍﻟﻘﻮﺍﻡ‬ ‫ﻭﺟﻬﻬﺎ ﻣﺼﺒﻮﻍ ﺑﺎﻟﺴﻤﺮﺓ ﻳﻀﺤﻚ ﻛﺎﻧﺖ ﺗﻌﻤﻞ ﺩﺍﺧﻞ ﻣﻄﻌﻢ ﻳﻘﺪﻡ ﺍﳌﺄﻛﻮﻻﺕ ﺍﻟﺸﻌﺒﻴﺔ‪.‬‬ ‫ﻣﻮﲏ‪ :‬ﺷﺎﺑﺔ ﰲ ﺍﻟﺜﻼﺛﲔ ﻣﻦ ﻋﻤﺮﻫﺎ ﺳﻤﺮﺍﺀ ﲤﻴﻞ ﺇﱃ ﺍﳊﻤﺮﺓ ﺑﻌﻴﻨﲔ ﺳﻮﺩﺍﻭﻳﻦ ﺷﻌﺮﻫﺎ‬ ‫ﺃﺳﻮﺩ ﻃﻮﻳﻞ‪ ،‬ﳍﺎ ﻭﺷﻢ ﰲ ﺃﻋﲆ ﺫﺭﺍﻋﻬﺎ ﺍﻷﻳﴪ ﻋﲆ ﺷﻜﻞ ﻃﺎﺋﺮ‬ ‫ﺳﺎﻟﻮ ﺍﻟﺴﻮﺭﻳﺔ‪ :‬ﻣﺴﺆﻭﻟﺔ ﺍﳊﺴﺎﺑﺎﺕ ﺍﳌﺎﻟﻴﺔ‪ ،‬ﻭﺍﻟﺪﻫﺎ )ﻗﻮﺗﺸﻮ( ﻣﻦ ﺃﺻﻞ ﺗﺮﻛﻲ‪ ،‬ﻭﺃﻣﻬﺎ‬

‫)ﺣﻴﺎﺓ( ﺳﻮﺭﻳﺔ‪ ،‬ﻣﺘﻮﺭﺩﺓ ﺍﳋﺪﻳﻦ‪ ،‬ﻋﺬﺑﺔ ﺍﻟﺼﻮﺕ ﺑﺸﻔﺘﲔ ﲪﺮﺍﻭﻳﻦ‪ ،‬ﻛﺎﻧﺖ ﹰ‬ ‫ﺃﻳﻀﺎ ﺃﻛﱪ ﻣﻦ‬

‫ﻛﻦ ﺃﻛﱪ ﻣﻨﻪ ﺑﻌﴩ ﺳﻨﻮﺍﺕ(‬ ‫ﺍﻟﺴﺎﺭﺩ ﺑﻌﴩ ﺳﻨﻮﺍﺕ )ﺍﻟﻼﻓﺖ ﺃﻥ ﻣﻌﻈﻢ ﻣﻦ ﻭﻗﻊ ﺑﻐﺮﺍﻣﻬﻦ ﹼ‬

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‫‪Vl^Èí~é÷]<öܬ<—Üõ‬‬ ‫ﻋﺮﺽ ﺍﻟﻜﺎﺗﺐ ﺷﺨﺼﻴﺎﺕ ﺍﻟﻌﻤﻞ ﺑﺎﻟﻄﺮﻳﻘﺔ ﺍﻟﺘﺤﻠﻴﻠﻴﺔ‪:‬‬ ‫ﻭﻫﻲ ﻃﺮﻳﻘﺔ ﻣﺒﺎﴍﺓ‪ ،‬ﻳﻌﻨﻰ ﰲ ﺭﺳﻤﻬﺎ ﻣﻦ ﺍﳋﺎﺭﺝ‪ ،‬ﺣﻴﺚ ﻳﺬﻛﺮ ﺍﻟﻘﺎﺹ ﺗﴫﻓﺎﲥﺎ‪،‬‬ ‫ﻭﻳﴩﺡ ﻋﻮﺍﻃﻔﻬﺎ ﻭﺃﺣﺎﺳﻴﺴﻬﺎ ﺑﺄﺳﻠﻮﺏ ﴏﻳﺢ ﺗﺘﻜﺸﹼ ﻒ ﻓﻴﻪ ﺷﺨﺼﻴﺘﻪ‪ ،‬ﻭﺗﻮﺟﻴﻬﻪ ﻟﺸﺨﺼﻴﺎﺗﻪ‬

‫ﻭﺃﻓﻜﺎﺭﻫﺎ ﻭﻓﻖ ﺣﺎﺟﺘﻪ‪ ،‬ﻭﺍﳍﺪﻑ ﺍﻟﺬﻱ ﺭﺳﻤﻪ‪ ،‬ﻛﲈ ﺗﺮﺩ ﻣﻼﳏﻬﺎ ﺍﳋﺎﺭﺟﻴﺔ ﻋﲆ ﻟﺴﺎﻧﻪ‪.‬‬ ‫ﻳﻘﻮﻝ ﻋﻦ ﺳﻤﺮﺍﺋﻪ ﺍﻟﻔﺮﻧﺴﻴﺔ‪:‬‬

‫»ﻭﻷﻥ ﺍﳊﺪﻳﺚ ﻋﻦ ﺍﳊﺐ ﺳﻴﺄﰐ‪ ،‬ﻻ ﺃﺳﺘﻄﻴﻊ ﻗﻮﻝ ﺍﺳﻤﻬﺎ‪ ،‬ﻓﻘﻂ ﻫﻲ ﺍﻟﺘﻲ ﻛﺎﻧﺖ ﺗﺄﺧﺬ‬

‫ﴎﻳﻌﺎ ﲢﺖ ﺯﺭﻗﺔ ﺍﻟﺴﲈﺀ‪.‬‬ ‫ﺍﳌﺎﺭ‬ ‫ﹰ‬ ‫ﺃﺷﻜﺎﻝ ﺍﻟﻐﲈﻡ ﺍﳌﺎﻃﺮ ﻣﺮﺍﺕ‪ ،‬ﻭﺍﻷﺑﻴﺾ ﹼ‬

‫ﹰ‬ ‫ﻣﻨﺪﻳﻼ ﺃﺑﻴﺾ ﻭﺗﻐﻨﻲ ﺑﻄﺮﻳﻘﺔ ﻣﻄﺮﺑﺔ ﻋﺮﺑﻴﺔ ﺷﻬﲑﺓ‪ ،‬ﻛﺎﻧﺖ ﺗﻐﻨﻲ‬ ‫ﺭﺃﻳﺘﻬﺎ ﺿﺎﺣﻜﺔ ﲢﻤﻞ‬

‫ﻣﺘﻜﴪﺓ ﺑﺪﺃﺕ ﺗﻨﺘﻘﻞ ﻣﻦ ﻣﻘﻄﻊ ﺇﱃ‬ ‫ﺑﻠﻐﺘﻬﺎ ﺍﻟﻔﺮﻧﺴﻴﺔ‪ ،‬ﲢﺎﻭﻝ ﺃﻥ ﲣﺮﺝ ﺍﳊﺮﻭﻑ ﺑﻠﻐﺘﻲ‪ ،‬ﺑﻄﺮﻳﻘﺔ‬ ‫ﹼ‬ ‫ﺁﺧﺮ ﺩﻭﻥ ﳊﻦ ﻭﻻ ﺇﻳﻘﺎﻉ‪ ،‬ﺗﺮﻳﺪﲏ ﺃﻥ ﺃﻓﻬﻢ ﺃﳖﺎ ﺗﻘ ﹼﻠﺪ ﻣﻦ ﻛﻨﺖ ﺃﻋﺸﻖ ﺳﲈﻋﻬﺎ«‪.‬‬ ‫ﴍﻗﻴﺘﻪ ﺍﻟﺘﻲ ﺗﺄﺑﻰ ﺃﻥ ﺗﺪﻋﻪ ﻳﺬﻛﺮ ﺍﺳﻢ ﺣﺒﻴﺒﺘﻪ ﻷﻧﻪ ﻳﻐﺎﺭ ﻋﻠﻴﻬﺎ‪،‬‬ ‫ﻓﺈﺫﻥ ﺑﻘﻲ ﺍﻟﺴﺎﺭﺩ ﻋﲆ‬ ‫ﹼ‬ ‫ﻳﺬﻛﺮﻧﺎ ﺏ ﺍﻷﻏﻨﻴﺔ ﺍﻟﻔﲑﻭﺯﻳﺔ )ﻻ ﺗﺴﺄﻟﻮﲏ ﻣﺎ ﺍﺳﻤﻪ ﺣﺒﻴﺒﻲ(‪.‬‬ ‫‪DME‬‬

‫]‪DRefinement and Rebuilding StrategyE<^flf÷]<ÏÅ^¬cÊ<ÿœí÷]<ÌÈrÈi]3â‬‬

‫ﻭﻧﺨﺺ ﺑﺎﻟﺘﻔﺼﻴﻞ ﺍﺳﱰﺍﺗﻴﺠﻴﺔ ﺍﻟﺼﻘﻞ ﻭﺇﻋﺎﺩﺓ ﺍﻟﺒﻨﺎﺀ‪ ،‬ﻓﻬﻲ ﺗﻌﻤﻞ ﰲ ﺍﻟﺘﺸﺎﺑﻚ ﺍﻟﴪﺩﻱ‬ ‫ﹼ‬ ‫ﻭﲣﺘﺺ ﺃﻛﺜﺮ ﺑﻌﻨﺎﴏ ﺍﳉﲈﻝ‪ ،‬ﻓﺎﻟﺮﺅﻳﺔ ﺍﻟﺬﺭﺍﺋﻌﻴﺔ ﺗﻨﻈﺮ ﻟﻠﻌﻤﻞ ﺍﻷﺩﰊ ﺍﻟﴪﺩﻱ ﻋﲆ ﺃﻧﻪ ﻣﻨ ﹺﺰﻝ‬ ‫ﹼ‬ ‫ﹸﺃ ﹺ‬ ‫ﺍﳉﲈﻟﻴﺔ ﻣﻦ ﺍﻟﺼﻘﻞ‬ ‫ﺭﺳ ﹶﻴﺖ ﺩﻋﺎﺋﻤﻪ ﺍﻷﻭﻟﻴﺔ ﻭﺍﻛﺘﻤﻠﺖ ﻫﻴﻜﻠﻴﺘﻪ ﺍﻟﺒﻨﺎﺋﻴﺔ‪ ،‬ﻭﳛﺘﺎﺝ ﺍﻟﻌﻮﺍﻣﻞ‬ ‫ﹼ‬ ‫ﻭﺍﻟﺼﺒﺎﻏﺔ ﻭﺍﻷﺛﺎﺙ ﻭ ﺍﻟﺘﻲ ﺳﺘﺴﺒﻐﻬﺎ ﻋﻠﻴﻪ ﺗﻠﻚ ﺍﻻﺳﱰﺍﺗﻴﺠﻴﺔ ﻟﺘﺠﻌﻠﻪ ﻣﻨﺎﺳ ﹰﺒﺎ ﻟﻠﺴﻜﻦ ﺑﺸﻜﻞ‬ ‫ﻣﺒﻬﺮ ﻭﻣﺮﻳﺢ‪ ،‬ﻭﺍﻟﻌﻮﺍﻣﻞ ﺍﳉﲈﻟﻴﺔ ﺗﺘﻠﺨﺺ ﻓﻴﲈ ﻳﲇ‪:‬‬

‫‪-١‬ﺍﻟﴪﺩ ‪ :Narration‬ﻭﻫﻮ ﺍﻟﻄﺮﻳﻘﺔ ﺍﻟﻠﻐﻮﻳﺔ ﺍﻟﺘﻲ ﳛﻜﻰ ﻓﻴﻬﺎ ﺍﻟﻨﺺ ﺍﺑﺘﺪﺍﺀ ﻣﻦ‬ ‫ﺍﻟﺸﺨﺺ ﺍﻟﺴﺎﺭﺩ‪ ،‬ﻭﺍﻟﻨﺺ ﺍﳌﴪﻭﺩ‪ ،‬ﺛﻢ ﺍﳌﺘﻠﻘﻲ ﺍﳌﴪﻭﺩ ﻟﻪ‪ ،‬ﻭﺑﻮﺍﺳﻄﺘﻪ ﻳﺘﺤﻘﻖ ﺗﺮﺍﺑﻂ‬ ‫ﺍﻷﺣﺪﺍﺙ ﻭﺗﺴﻠﺴﻠﻬﺎ‪.‬‬ ‫)‪ (١‬ﺍﻟﺬﺭﺍﺋﻌﻴﺔ ﺑﲔ ﺍﳌﻔﻬﻮﻡ ﺍﻟﻔﻠﺴﻔﻲ ﻭﺍﻟﻠﻐﻮﻱ‪ ،‬ﺗﺄﻟﻴﻒ‪ :‬ﻋﺒﺪ ﺍﻟﺮﺯﺍﻕ ﻋﻮﺩﺓ ﺍﻟﻐﺎﻟﺒﻲ‪ ،‬ﺹ ‪. ٢٠٢‬‬

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‫ﻋﻨﺎﴏ ﺍﳊﺪﺙ ﺍﻟﴪﺩﻱ‪:‬‬ ‫ ﻋﻨﴫ ﺍﻟﺘﺸﻮﻳﻖ‪:‬‬‫ﻭﻓﺎﺋﺪﺓ ﻫﺬﺍ ﺍﻟﻌﻨﴫ ﺗﻜﻤﻦ ﰲ ﺇﺛﺎﺭﺓ ﺍﻫﺘﲈﻡ ﺍﳌﺘﻠﻘﻲ‪ ،‬ﻭﺷﺪﹼ ﻩ ﻣﻦ ﺑﺪﺍﻳﺔ ﺍﻟﻌﻤﻞ ﺍﻟﻘﺼﴢ ﺇﱃ‬

‫ﳖﺎﻳﺘﻪ‪ ،‬ﻭﺑﻪ ﺗﴪﻱ ﰲ ﺍﻟﻘﺼﺔ ﺭﻭﺡ ﻧﺎﺑﻀﺔ ﺑﺎﳊﻴﺎﺓ‪ ،‬ﻟﻘﺪ ﺑﺪﺍ ﺍﻟﻜﺎﺗﺐ ﺭﻭﺍﻳﺘﻪ ﲠﺬﺍ ﺍﻟﻌﻨﴫ‪ ،‬ﻋﻨﺪﻣﺎ‬

‫ﻛﺎﻥ ﻋﻨﻮﺍﻥ ﺍﻻﺳﺘﻬﻼﻝ )ﺍﻵﺧﺮ ﺃﻧﺎ( ﻋﻘﺐ ﻗﻮﻝ ﻟﻶﺧﺮ‪ :‬ﺭﺍﻛﺐ ﺍﻟﺒﺤﺮ ﺍﻟﺬﻱ ﺭﺍﻓﻘﺘﻪ ﻣﻨﺬ ﻭﻻﺩﺗﻪ‬ ‫ﺣﺘﻰ ﺍﻵﻥ ﳛﺎﻭﻝ ﲡﺎﻫﲇ‪ .‬ﻭﺑﻘﻲ ﺍﻟﻜﺎﺗﺐ ﺣﺘﻰ ﺍﻟﻨﻬﺎﻳﺔ ﻭﻫﻮ ﻳﺸﺪﹼ ﺧﻴﻂ ﺍﻟﺘﺸﻮﻳﻖ ﻭﻳﺮﺧﻴﻪ ﺑﺘﻮﺍﱄ‬ ‫ﺍﻟﴪﺩ ﺣﺘﻰ ﺍﻟﻨﻬﺎﻳﺔ‪ ،‬ﻳﴪﺩ ﺍﳊﺪﺙ‪ ،‬ﻭﰲ ﳊﻈﺔ ﺣﺎﺳﻤﺔ ﻳﻘﻄﻊ ﻫﺬﺍ ﺍﻟﴪﺩ ﻣﺴﺘﺨﺪ ﹰﻣﺎ ﺇﺣﺪ￯‬ ‫ﺗﻘﻨﻴﺎﺕ ﺍﻟﴪﺩ ﺍﳌﻌﺎﴏﺓ ﻭﺍﻟﺘﻲ ﻳﺘﻘﻦ ﺍﻟﻠﻌﺐ ﲠﺎ‪ ،‬ﻛﺎﳊﻮﺍﺭ ﺍﳌﺒﺎﴍ ﺃﻭ ﺍﳌﻨﻮﻟﻮﺝ ﺃﻭ ﺍﳋﻄﻒ ﺧﻠ ﹰﻔﺎ‬

‫ﺃﻭ ﺗﺪﻓﻖ ﺳﻴﻞ ﺍﻟﻮﻋﻲ‪ ،‬ﻓﲈ ﺃﻥ ﻳﺴﺘﻘﺮ ﻋﲆ ﺇﺣﺪ￯ ﻫﺬﻩ ﺍﻟﺘﻘﻨﻴﺎﺕ ﻭﻳﺒﻠﻎ ﻓﻴﻬﺎ ﳊﻈﺔ ﻣﺜﲑﺓ ﺣﺘﻰ‬ ‫ﻳﻘﻄﻌﻬﺎ ﻓﺠﺄﺓ ﺑﺎﻟﻌﻮﺩﺓ ﺇﱃ ﺍﻟﴪﺩ‪ ،‬ﻭﻛﺄﻧﻪ ﻳﻘﻔﺰ ﻗﻔﺰﺍﺕ ﻣﺒﺎﻏﺘﺔ ﻗﺪ ﳚﻔﻞ ﻣﻨﻬﺎ ﺍﳌﺘﻠﻘﻲ ﻟﻴﺒﻘﻰ‬ ‫ﻋﲆ ﺃﻫﺒﺔ ﺍﻟﺘﻴﻘﻆ‪ .‬ﺇﺿﺎﻓﺔ ﺇﱃ ﺃﻥ ﻋﻨﺎﻭﻳﻦ ﺍﻟﻔﺼﻮﻝ ﺑﺤﺪﹼ ﺫﺍﲥﺎ ﻛﺎﻧﺖ ﻋﻨﺎﴏ ﺗﺸﻮﻳﻖ )ﺍﻟﺮﺍﻗﺺ‬ ‫ﺍﳌﺬﺑﻮﺡ ‪ -‬ﻋﺼﺎﻓﲑ ﺍﻟﺬﺍﻛﺮﺓ ‪ -‬ﻣﺴﺎﺭﺡ ﺍﳋﻮﻑ ﻭﺍﻹﺛﺎﺭﺓ ‪ -‬ﺍﻟﺜﻮﺏ ﻭﺍﻟﻌﻄﺮ‪ ..‬ﳐﺎﻃﺮ ﺍﻟﺮﻏﺒﺔ –‬

‫ﺍﻷﺭﺽ ﺍﳌﻤﻨﻮﻋﺔ‪ ..‬ﺯﻣﻦ ﺍﳌﺘﻐﲑﺍﺕ‪.(...‬‬ ‫‪ -‬ﺍﻟﻌﺎﻃﻔﺔ‪:‬‬

‫ﻫﻲ ﺍﻟﺮﻭﺍﺑﻂ ﺍﻟﺘﻲ ﺗﺸﺪﹼ ﺍﻟﺸﺨﺼﻴﺎﺕ ﺍﳌﻜﻮﻧﺔ ﻟﻌﻤﻠﻴﺔ ﺍﻟﻘﺺ‪،‬‬ ‫ﻭﺍﳌﺤﺮﻙ ﺍﻷﺳﺎﺱ ﰲ‬ ‫ﹼ‬ ‫ﺗﻮﺍﻟﺪ ﺍﻷﺣﺪﺍﺙ ﻓﻴﻬﺎ‪ .‬ﺗﻠﻚ ﺍﻟﺮﻭﺍﺑﻂ ﺍﻟﺘﻲ ﻛﺎﻧﺖ ﺑﲔ ﺍﻟﺒﺤﺎﺭ ﻭﻧﺼﻔﻪ ﺍﻵﺧﺮ ﻭﻫﻲ ﻣﺘﻘﻠﺒﺔ ﺑﲔ‬ ‫)ﺍﻟﻜﺮﻩ ﻭﺍﳊﺐ‪ ،‬ﺍﻟﺮﻓﺾ ﻭﺍﻟﻘﺒﻮﻝ‪ ،‬ﺍﻟﻌﺒﻮﺩﻳﺔ ﻭﺍﻻﻧﻌﺘﺎﻕ‪ ،‬ﺍﻟﻔﺮﺍﻕ‪ ،‬ﺍﻟﺘﺸﺎﺑﻪ ﻭﺍﻻﺧﺘﻼﻑ‪ ،‬ﺍﻟﺮﻏﺒﺔ‬ ‫ﺑﺎﻟﺘﺤﺮﺭ ﻭﺍﳊﻨﲔ ﺑﻌﺪ ﺍﻟﻔﺮﺍﻕ ‪.(...‬‬ ‫ﺃﻣﺎ ﺍﻟﺮﻭﺍﺑﻂ ﺑﲔ ﺍﻟﺒﺤﺎﺭ ﻭﺑﺎﻗﻲ ﺍﻟﺸﺨﺼﻴﺎﺕ ﺍﳌﻜﻮﻧﺔ ﻟﻠﻌﻤﻞ ﺍﻟﻘﺼﴢ‪ ،‬ﻛﺎﻧﺖ ﻗﺎﺋﻤﺔ‬ ‫ﻋﲆ ﺍﻟﺘﻌﺎﻭﻥ ﻭﺍﳌﺤﺒﺔ ﻭﺍﻟﻠﻄﻒ ﻭﺍﻻﺣﱰﺍﻡ ﻭﺍﻟﺘﻘﺪﻳﺮ ﻭﺍﳌﺴﺎﻧﺪﺓ‪ ،‬ﺳﻮ￯ ﺑﻌﺾ ﺍﻟﻨﻔﻮﺭ ﻣﻦ ﻋﺎﺻﻢ‬ ‫ﺍﻟﺒﺤﺮﻱ ﺍﳌﺘﲈﺭﺽ‪.‬‬ ‫ ﺯﻣﻦ ﺍﳊﺪﺙ‪:‬‬‫ﺃﻫﻢ ﻫﺬﻩ ﺍﻟﻌﻨﺎﴏ‪ ،‬ﻭﻫﻮ ﻳﻨﻄﻮﻱ ﻋﲆ ﳎﻤﻮﻋﺔ ﻣﻦ ﺍﻷﺯﻣﻨﺔ‪ ،‬ﻭﻫﻲ‪ :‬ﺯﻣﻦ ﺍﳊﺒﻜﺔ )ﻭﺫﻛﺮﻧﺎ‬

‫ﺃﻧﻪ ﺍﻟﺰﻣﻦ ﺍﻟﺬﻱ ﻗﻀﺎﻩ ﰲ ﺍﻟﺮﺣﻠﺔ ﻋﲆ ﺍﻟﺒﺎﺧﺮﺓ ﺗﺮﺍﺗﴚ( ﻭﺯﻣﻦ ﺍﻟﻘﺼﺔ )ﻋﻤﺮ ﺍﻟﺴﺎﺭﺩ ﻣﻨﺬ ﻭﻻﺩﺗﻪ‬

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‫ﻭﺇﱃ ﳖﺎﻳﺔ ﺍﻟﻌﻤﻞ(‪ ،‬ﻭ ﺯﻣﻦ ﺍﻟﻌﻤﻞ ﺍﻟﻘﺼﴢ ﻧﻔﺴﻪ‪ ،‬ﺛﻢ ﺯﻣﻦ ﻗﺮﺍﺀﺗﻪ‪ ،‬ﻛﲈ ﺃﻥ ﻟﻠﺤﺪﺙ ﳎﻤﻮﻋﺔ‬ ‫ﹰ‬ ‫ﻣﻦ ﺍﳋﺼﺎﺋﺺ‪ ،‬ﻣﻦ ﺷﺄﳖﺎ ﺃﻥ ﺗﺰﻳﺪﻩ ﻗﻮﺓ‬ ‫ﻭﲤﺎﺳﻜﺎ‪.‬‬ ‫ ﺍﻟﺘﻌﺒﲑ‪:‬‬‫ﻋﻦ ﻧﻔﻮﺱ ﺍﻟﺸﺨﺼﻴﺎﺕ‪ ،‬ﺗﻮﻓﺮ ﺫﻟﻚ ﻣﻦ ﺧﻼﻝ ﻓﺴﺤﺎﺕ ﻗﻠﻴﻠﺔ ﺃﺗﺎﺣﻬﺎ ﺍﻟﻜﺎﺗﺐ‬

‫ﻟﺸﺨﺼﻴﺎﺕ ﻣﻌﻴﻨﺔ ﺳﻮ￯ ﻧﻔﺴﻪ‪ ،‬ﺟﻌﻠﻬﺎ ﺗﻌﱪ ﻋﻦ ﻣﻜﻨﻮﻧﺎﲥﺎ ﻣﺜﻞ )ﺃﺑﻮ ﺍﻟﻨﻮﻥ(‪:‬‬ ‫ﺳﺄﻟﺘﻪ‪:‬‬ ‫ ﲢﺐ ﺍﻟﻐﻨﺎﺀ ﺃﻛﺜﺮ ﺃﻡ ﺍﻟﻌﻤﻞ؟‬‫‪ -‬ﻻ ﺃﺣﺐ ﻣﻐﺎﺩﺭﺓ ﺍﻻﺛﻨﲔ ﺇﻻ ﻋﻨﺪ ﺍﻟﻨﻮﻡ‪.‬‬

‫ﻓﺨﻮﺭﺍ‬ ‫ﺍﳊﻜﺎﻳﺎﺕ ﺍﳉﻨﺴﻴﺔ ﱂ ﺗﺒﺘﻌﺪ ﻋﻦ ﺗﻔﺎﺻﻴﻞ ﻛﻼﻣﻪ‪ ،‬ﻳﻄﻠﻖ ﺍﻟﻌﻨﺎﻥ ﳊﻨﺠﺮﺗﻪ ﻣﻐﺮ ﹰﺩﺍ‬ ‫ﹰ‬ ‫ﰲ ﺧﱪﺗﻪ ﺍﻟﺬﻛﻮﺭﻳﺔ ﺑﻔﻦ ﻣﻼﻣﺴﺔ ﺍﻟﻨﺴﺎﺀ ﻭﺍﳌﺪﺍﻋﺒﺔ ﻭﻛﻼﻡ ﺍﻟﻐﺰﻝ‪ ،‬ﺍﻟﻜﻼﻡ ﻳﺴﻘﻂ ﺩﻓﻌﺔ ﻭﺍﺣﺪﺓ‬ ‫ﺣﲔ ﻳﺬﻛﺮ ﱄ ﺯﻭﺟﺘﻪ‪ ،‬ﻳﺘﻘﺪ ﺍﳊﲈﺱ ﰲ ﻭﺟﻬﻪ ﻛﻠﲈ ﻭﺻﻞ ﺇﱃ ﺣﺎﺟﺘﻪ ﺍﳌﻠﺤﺔ ﺇﱃ ﺭﺅﻳﺔ ﺃﻭﻻﺩﻩ‪،‬‬ ‫ﻭﻳﻀﺤﻚ ﺣﲔ ﻳﻘﻮﻝ‪ «:‬ﹰ‬ ‫ﻭﻟﻴﻼ ﺃﻣﻬﻢ«‪.‬‬ ‫ ﻭﺣﺴﻦ ﺍﻟﺘﻮﻗﻴﻊ ﻭﺍﻻﻧﺘﻈﺎﻡ ﰲ ﺣﺒﻜﺔ ﺷﺪﻳﺪﺓ ﺍﻟﱰﺍﺑﻂ‪:‬‬‫ﻭﺃﻥ ﻳﻜﺘﺴﺐ ﺻﻔﺔ‬ ‫ﺍﻟﺴﺒﺒﻴﺔ‪،‬ﻭﺣﺘﻰ ﻳﺒﻠﻎ ﺍﳊﺪﺙ ﺩﺭﺟﺔ ﺍﻻﻛﺘﲈﻝ‪ ،‬ﻓﺈﻧﹼﻪ ﳚﺐ ﺃﻥ ﻳﺘﻮ ﹼﻓﺮ‬ ‫ﹼ‬ ‫ﻋﲆ ﻣﻌﻨﻰ‪ ،‬ﹼ‬ ‫ﻭﺇﻻ ﹼ‬ ‫ﻧﺎﻗﺼﺎ‪ ،‬ﻭﻫﺬﺍ ﻳﺄﺧﺬﻧﺎ ﺇﱃ ﲢﺪﻳﺪ ﺍﻟﺒﺆﺭﺓ ﺍﻟﺜﺎﺑﺘﺔ ﻟﻠﻌﻤﻞ ﻭﻫﺬﺍ ﻣﺎ ﺳﻨﺒﺤﺜﻪ ﰲ‬ ‫ﻇﻞ ﹰ‬

‫ﺍﳌﺴﺘﻮ￯ ﺍﻷﺧﻼﻗﻲ‪.‬‬

‫ﻃﺮﻳﻘﺔ ﺑﻨﺎﺀ ﺍﳊﺪﺙ‪:‬‬ ‫ﺍﺗﺒﻊ ﺍﻟﻜﺎﺗﺐ ﺍﻟﻄﺮﻳﻘﺔ ﺍﻟﺘﻘﻠﻴﺪﻳﺔ )ﻣﻘﺪﻣﺔ ﻋﻘﺪﺓ ﳖﺎﻳﺔ( ﰲ ﺑﻨﺎﺀ ﺃﺣﺪﺍﺙ ﺍﻟﺮﻭﺍﻳﺔ )ﻋﲆ‬ ‫ﻃﻌﻢ ﺑﻨﺎﺀﻩ ﺍﻟﺘﻘﻠﻴﺪﻱ ﺑﺎﻟﻜﺜﲑ ﻣﻦ ﺍﻟﺘﻘﻨﻴﺎﺕ ﺍﳊﺪﻳﺜﺔ ﻭﺍﻟﺘﻲ ﺗﻌﺘﻤﺪﻫﺎ ﺍﻟﻄﺮﻳﻘﺔ ﺍﳊﺪﻳﺜﺔ‪،‬‬ ‫ﺗﺮﺍﺗﴚ(‪ ،‬ﹼ‬ ‫ﻣﻦ ﺍﻟﻌﻮﺩﺓ ﺇﱃ ﺍﳌﺎﴈ )‪ (Flashback‬ﺃﻭ ﺇﱃ ﺍﳋﻠﻒ ﻟﲑﻭﻱ ﺑﺪﺍﻳﺔ ﺃﺣﺪﺍﺙ ﰲ ﻗﺼﺘﻪ‪ ،‬ﻣﺴﺘﻌﻴﻨﹰﺎ‬ ‫ﰲ ﺫﻟﻚ ﺑﺒﻌﺾ ﺍﻟﺘﻘﻨﻴﺎﺕ ﻭﺍﻷﺳﺎﻟﻴﺐ ﻣﺜﻞ ﳎﺮ￯ ﺍﻟﻼﺷﻌﻮﺭ ‪،Stream of Consciousness‬‬ ‫ﻭﺍﳌﻨﺎﺟﺎﺓ ‪ Soliloquy‬ﻭﺍﻟﺬﻛﺮﻳﺎﺕ ‪.Memories‬‬

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‫ﴎﺩﻳﺔ ﺍﳊﺪﺙ‪:‬‬ ‫ﻳﻌﺮﺽ ﺍﻷﺣﺪﺍﺙ ﺑﻄﺮﻳﻘﺔ ﺍﻟﱰﲨﺔ ﺍﻟﺬﺍﺗﻴﺔ‪ ،‬ﺑﻠﺴﺎﻥ ﺷﺨﺼﻴﺔ ﻣﻦ ﺷﺨﺼﻴﺎﺕ ﺍﻟﻌﻤﻞ‬

‫ﻭﻫﻲ ﻫﻨﺎ ﺍﻟﺒﻄﻞ‪ ،‬ﺑﻀﻤﲑ ﺍﳌﺘﻜﻠﻢ‪ ،‬ﻳﻌﺮﺽ ﺍﻟﺸﺨﺼﻴﺎﺕ ﻣﻦ ﻭﺟﻬﺔ ﻧﻈﺮﻩ‪ ،‬ﻭﳛﻠﻠﻬﺎ‪ ،‬ﺃﻥ ﺍﻟﻘﺎﺹ‬

‫ﻳﺘﺪﺧﻞ ﰲ ﺍﻷﺣﺪﺍﺙ ﻭﰲ ﻣﺴﺎﺭ ﻧﻤﻮ ﺍﻟﺸﺨﺼﻴﺎﺕ‪ ،‬ﻟﺪﺭﺟﺔ ﺃﻥ ﻳﻘﻨﻌﻨﺎ ﺃﻥ ﺍﻷﺣﺪﺍﺙ ﺣﺪﺛﺖ‬ ‫ﻟﻠﻜﺎﺗﺐ‪ ،‬ﻓﺈﻥ ﺑﺮﺍﻋﺔ ﺍﻟﻜﺎﺗﺐ ﺃﻥ ﻳﻘﻨﻌﻨﺎ ﺑﺄﻥ ﺍﻷﺣﺪﺍﺙ ﺣﻘﻴﻘﻴﺔ ﻭﻗﺪ ﺣﺪﺛﺖ ﻟﻪ ﹰ‬ ‫ﻓﻌﻼ ﻋﲆ ﺍﻋﺘﺒﺎﺭ‬

‫ﻗﻠﻴﻼ ﻟﻀﻔﺔ ﺍﻟﺴﲑﺓ ﺍﻟﺬﺍﺗﻴﺔ‪ ،‬ﻭﺃﺭ￯ ﺃﻥ ﺍﻟﻜﺎﺗﺐ ﻗﺪ ﻧﺠﺢ ﰲ ﺫﻟﻚ ﹰ‬ ‫ﺃﻧﻪ ﻳﻤﻴﻞ ﹰ‬ ‫ﻓﻌﻼ‪.‬‬

‫‪Vstyle<hÁ◊â˘]IN‬‬ ‫ﻭﻫﻮ ﺍﻟﻨﺴﻴﺞ ﺍﻟﴪﺩﻱ ﺍﻟﺬﻱ ﻳﺸﲑ ﻧﺤﻮ ﺩﺭﺟﺔ ﺍﻷﺩﺏ ﻭﻋﻤﻘﻪ ﺍﻟﴪﺩﻱ ﻭﺫﻟﻚ ﺑﺪﺭﺟﺔ‬

‫ﺍﻧﺰﻳﺎﺣﻪ ﻧﺤﻮ ﺍﳋﻴﺎﻝ ﻭﺍﻟﺮﻣﺰ‪.‬‬

‫ﺍﺳﺘﺨﺪﻡ ﺍﻟﻜﺎﺗﺐ ﺍﳌﺪﺍﺭﺱ ﺍﻷﺩﺑﻴﺔ ﺑﺎﻷﺳﻠﻮﺏ‪ ،‬ﻣﺎ ﺃﺩﺧﻞ ﻋﻤﻠﻪ ﰲ ﺳﺎﺣﺔ ﺍﻟﺮﻭﺍﻳﺔ‬

‫ﺍﳊﺪﻳﺜﺔ‪ ،‬ﺳﻴﲈ ﻭﺃﻧﻪ ﺧﻠﻂ ﺑﲔ ﻫﺬﻩ ﺍﳌﺪﺍﺭﺱ‪ ،‬ﻣﺎ ﻧﺘﺞ ﻋﻨﻪ ﻟﻮﺣﺔ ﻓﻨﻴﺔ ﺗﺪﺍﺧﻞ ﻓﻴﻬﺎ ﺍﳉﲈﻝ‬

‫ﺍﻟﻠﻐﻮﻱ‪ ،‬ﻭﺍﳉﲈﻝ ﺍﻟﻌﻠﻤﻲ‪ ،‬ﺗﻨﺎﻭﻟﻨﺎ ﺍﳉﲈﻝ ﺍﻟﻠﻐﻮﻱ ﰲ ﺍﳌﺴﺘﻮ￯ ﺍﻟﻠﺴﺎﲏ ﺍﻟﺬﻱ ﹼ‬ ‫ﻋﻠﻤﻲ ﺍﻟﺒﻴﺎﻥ‬ ‫ﻳﻀﻢ ﹶ‬

‫ﻭﺍﻟﺒﺪﻳﻊ‪ ،‬ﺃ ﹼﻣﺎ ﺍﳉﲈﻝ ﺍﻟﻌﻠﻤﻲ ﻓﻬﻮ ﺧﻠﻄﺔ ﻏﲑ ﻣﺘﺠﺎﻧﺴﺔ ﻣﻦ ﺍﳌﺪﺍﺭﺱ ﺍﻷﺩﺑﻴﺔ ﺍﳌﻌﺎﴏﺓ ﺍﳌﺨﺘﻠﻔﺔ‬

‫ﻭﻫﻲ )ﺍﻟﻮﺍﻗﻌﻴﺔ‪ ،‬ﺍﻟﺮﻣﺰﻳﺔ‪ ،‬ﺍﻟﴪﻳﺎﻟﻴﺔ‪ ،‬ﺍﻟﱪﻧﺎﺳﺔ‪ ،‬ﺍﻟﻔﻦ ﻟﻠﻤﺠﺘﻤﻊ‪ ،‬ﺍﻟﺮﻭﻣﺎﻧﺴﻴﺔ‪ ،‬ﺍﻟﻄﺒﻴﻌﻴﺔ( ﻟﺮﺳﻢ‬ ‫ﻟﻮﺣﺔ ﺑﺎﻟﻜﻠﲈﺕ‪ ،‬ﻷﻥ ﺍﻷﺩﺏ ﺍﳌﻌﺎﴏ ﻣﻦ ﺃﻧﻮﺍﻉ ﺍﻟﻔﻦ‪.‬‬

‫ﺍﻟﻼﻓﺖ ﺃﻥ ﺍﻟﻜﺎﺗﺐ ﺍﺳﺘﺨﺪﻡ ﻋﻠﻢ ﺍﳉﲈﻝ ‪ Aesthetics‬ﰲ ﺍﻷﺳﻠﻮﺏ‪ ،‬ﻭﻳﻌﻨﻲ ﻋﻠﻢ‬

‫ﲨﺎﻟﻴﺎ ﻭﻟﻴﺲ ﻟﻐﻮ ‪h‬ﻳﺎ‪ ،‬ﺃﻱ ﺣﺴﺎﺏ ﺍﻟﺘﻮﺍﻓﻖ ﺑﲔ ﻋﻨﺎﴏ ﺍﳉﻤﻠﺔ )ﺍﻷﻟﻔﺎﻅ(‬ ‫ﺍﳉﲈﻝ ﺑﻨﺎﺀ ﺍﳉﻤﻠﺔ‬ ‫‪h‬‬

‫ﺫﺭﺍﺋﻌﻴﺎ ﻭﺣﺪﺓ ﲨﺎﻟﻴﺔ ﻋﻨﺪﻣﺎ‬ ‫ﻟﻠﺘﻌﺒﲑ ﻋﻦ ﻭﺣﺪﺓ ﲨﺎﻟﻴﺔ‪ ،‬ﻓﺎﳉﻤﻠﺔ ﰲ ﺍﻷﺩﺏ ﺃﻭ ﰲ ﺍﻷﺳﻠﻮﺏ ﹸﺗﻌﺪﹼ‬ ‫‪h‬‬ ‫ﻳﺼﻞ ﺍﳊﺒﻚ ﻓﻴﻬﺎ ﺇﱃ ﺷﺪﹼ ﺗﻪ ﻟﻠﺘﺄﺛﲑ ﰲ ﺍﳌﺘﻠﻘﻲ‪ ،‬ﺑﻤﻌﻨﻰ ﺃﻥ ﻳﻜﺘﺐ ﺍﻷﺩﻳﺐ ﴎﺩﻩ ﺑﺄﺳﻠﻮﺏ ﹼ‬ ‫ﻣﺘﻤﻜﻦ‬

‫ﹰ‬ ‫ﹼ‬ ‫ﻭﺧﻠﻴﻄﺎ‬ ‫ﺍﳌﺘﻤﻜﻨﺔ ﻫﻲ ﺍﻟﺘﻲ ﲢﻮﻱ ﰲ ﺩﺍﺧﻠﻬﺎ ﺍﺳﺘﺨﺪﺍ ﹰﻣﺎ ﻟﻌﻨﺎﴏ ﺍﳉﲈﻝ‪،‬‬ ‫ﲨﺎﻟﻴﺎ‪ ،‬ﻭﺍﻷﺳﺎﻟﻴﺐ‬ ‫‪h‬‬ ‫ﻋﻴﻨﺘﻪ ﺍﻟﺬﺭﺍﺋﻌﻴﺔ ﻛﻨﻮﻉ‬ ‫ﹰ‬ ‫ﻣﺪﺭﻭﺳﺎ ﻟﻠﻤﺪﺍﺭﺱ ﺍﻷﺩﺑﻴﺔ‪ ،‬ﻣﺜﺎﻝ ﻋﲆ ﺫﻟﻚ )ﺃﺳﻠﻮﺏ ﺍﳋﻄﻒ( ﺍﻟﺬﻱ ﹼ‬

‫ﲨﺎﱄ‪ ،‬ﻟﻜﻮﻧﻪ ﺧﻠﻴﻂ ﻣﻦ ﻣﺪﺭﺳﺔ ﺍﻟﱪﻧﺎﺳﺔ ﻭﺍﻷﺩﺏ ﻟﻠﻤﺠﺘﻤﻊ ﻭﺍﻷﺩﺏ ﻟﻸﺩﺏ ﻭﺍﻟﺮﻭﻣﺎﻧﺲ‬

‫ﻭﺍﳌﺪﺭﺳﺔ ﺍﻟﻄﺒﻴﻌﻴﺔ‪.‬‬

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‫ﺍﻷﺩﻳﺐ ﲠﺬﺍ ﺍﳌﻨﺤﻰ ﺍﺗﺒﻊ ﺍﳌﺪﺭﺳﺔ ﺍﻷﺳﻠﻮﺑﻴﺔ )‪ (Stylistic‬ﻛﻮﻧﻪ ﲨﻊ ﺑﲔ ﺍﻷﺩﺏ ﻭﺍﻟﻠﻐﺔ‬

‫ﻭﺍﻟﺒﻼﻏﺔ‪.‬‬

‫ﻛﲈ ﺃﻥ ﺍﻟﻜﺎﺗﺐ ﺍﺳﺘﺨﺪﻡ ﺗﻘﻨﻴﺎﺕ ﴎﺩﻳﺔ ﻋﺪﻳﺪﺓ ﻭﺭﺍﻗﻴﺔ ﺟﺪ‪ h‬ﺍ‪ ،‬ﺳﺎﳘﺖ ﺇﱃ ﺣﺪﹼ ﻛﺒﲑ‬ ‫ﺑﺮﻓﻌﺔ ﻫﺬﺍ ﺍﻟﻌﻤﻞ‪ ،‬ﻭﻭﺿﻌﻪ ﺑﻤﺼﺎﻑ ﺍﻷﻋﲈﻝ ﺍﻟﴪﺩﻳﺔ ﺍﳌﻌﺎﴏﺓ ﺍﳌﻤﻴﺰﺓ‪ ،‬ﻣﻨﻬﺎ‪:‬‬

‫‪VDialogue<ÌÈqÖ^§]<l]Ö]Á£]<IO‬‬ ‫ﺣﻮﺍﺭﺍﺕ ﻗﻠﻴﻠﺔ ﻭ ﻗﺼﲑﺓ ﱂ ﲣﺮﺝ ﻋﻦ ﻧﻈﺎﻡ ﺍﻟﺴﺆﺍﻝ ﻭﺍﳉﻮﺍﺏ‪ ،‬ﻛﺎﻥ ﻳﺄﰐ ﲠﺎ ﻋﻘﺐ ﹼ‬ ‫ﻛﻞ‬

‫ﺗﺪ ﹼﻓﻖ ﻟﺘﻴﺎﺭ ﺍﻟﻮﻋﻲ‪ ،‬ﻟﻴﺨﺮﺝ ﺍﳌﺘﻠﻘﻲ ﻓﺠﺄﺓ ﻣﻦ ﻋﻤﻖ ﺧﻴﺎﻝ ﺍﻟﻜﺎﺗﺐ‪ ،‬ﻟﻴﺴﺎﻫﻢ ﰲ ﺍﻟﻜﺸﻒ ﻋﻦ‬ ‫ﺻﻔﺎﺗﻪ ﻭﻋﺎﺩﺍﺗﻪ ﺍﻟﺸﺨﺼﻴﺔ‪ ،‬ﻭﻳﱪﺯ ﺫﻟﻚ ﺃﻛﺜﺮ ﻣﺎ ﻳﻤﻜﻦ ﰲ ﺣﻮﺍﺭﺍﺗﻪ ﺍﳊﺎﺩﺓ ﻣﻊ ﺍﻵﺧﺮ‪:‬‬ ‫ﻋﺪﺕ ﺇﱃ ﻧﻮﺑﺔ ﺍﻟﺒﻜﺎﺀ ‪ ...‬ﻗﻠﺖ ﰲ ﻧﻔﴘ ﺃﻧﺎ ﺃﺣﻠﻢ‪ ..‬ﻛﻨﺖ ﰲ ﺃﻣﺲ ﺍﳊﺎﺟﺔ ﺇﱃ ﺍﻟﻨﺴﻴﺎﻥ‪،‬‬

‫ﻭﻻﺑﺪ ﻟﻚ ﻣﻦ ﻭﻗﺖ ﺇﱃ ﺁﺧﺮ ﻣﻦ ﺍﻻﺳﺘﺴﻼﻡ ﳌﺜﻞ ﻫﺬﻩ ﺍﳊﺎﺟﺔ‪:‬‬

‫ﻳﻌﺮﻑ ﹶ‬ ‫ﹸ‬ ‫‬‫ﺃﺑﻮﻙ ﺣﺎﻟﺘﻚ ﻛﲈ ﺃﻧﺎ!!‬ ‫ ﻟﻴﺲ ﺍﻵﻥ‬‫ ﺃﺭﺃﻳﺖ؟‬‫ ﻣﺎﺫﺍ؟‬‫ ﻫﻮ ﻳﻘﺪﹼ ﻡ ﻟﻚ ﻧﺼﻴﺤﺘﻲ!‬‫‪ -‬ﻋﻦ ﻣﺎﺫﺍ ﺗﺘﻜ ﹼﻠﻢ؟‬

‫ ﺃﺗﻮ ﹼﺩ ﺃﻥ ﻳﻘﺎﻝ ﻋﻨﻚ ﹼ‬‫ﺍﻟﺒﻜﺎﺀ ﻋﲆ ﻏﺮﺍﺭ ﺍﳌﺸﺎﻉ ﰲ ﻛﺘﺐ ﺍﻟﻔﻠﺴﻔﺔ؟‬ ‫‬‫ﻃﺒﻌﺎ ﻻ‪.‬‬ ‫ﹰ‬ ‫ ﺇﺫﻥ ﺍﻗﻄﻊ ﻫﺬﻩ ﺍﻟﻌﺎﺩﺓ‪.‬‬‫ ﻣﺎﺫﺍ ﺗﻘﺼﺪ؟‬‫‪ -‬ﺍﻟﺒﻜﺎﺀ ﳊﻈﺔ ﻫﻴﺎﺝ ﺍﳌﺸﺎﻋﺮ ﺑﺼﺤﺒﺔ ﺑﻌﺾ ﺍﻟﻜﺘﺐ ﺍﻟﺘﻲ ﻛﻨﺖ ﺗﻘﺮﺃﻫﺎ‪.‬‬

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‫ﻭﺃﺣﻴﺎ ﹰﻧﺎ ﻳﺴﺘﺨﺪﻡ ﺍﳊﻮﺍﺭ ﻟﺘﴪﻳﻊ ﴎﺩ ﺍﻷﺣﺪﺍﺙ ﺑﺄﺟﻮﺍﺋﻬﺎ ﺍﻻﻧﻔﻌﺎﻟﻴﺔ‪:‬‬ ‫ﺃﺗﺼﺒﺐ ﻋﺮ ﹰﻗﺎ ﳊﻈﺔ ﻭﻗﻮﰲ ﺃﻣﺎﻡ ﻣﻬﻨﺪﺱ ﺍﳋﻔﺮ‪ ،‬ﺍﺭﺗﺴﻤﺖ ﻋﲆ ﻭﺟﻬﻪ ﻋﻼﻣﺎﺕ‬ ‫ﻛﻨﺖ‬ ‫ﹼ‬

‫ﺍﺳﺘﻔﻬﺎﻡ ﻭﺧﻮﻑ‪ ..‬ﺳﺄﻟﺘﻪ‪:‬‬ ‫ ﻣﺎ ﺍﻟﺬﻱ ﳚﺮﻱ؟‬‫ﻓﺄﺟﺎﺏ‪:‬‬

‫ ﺭ ﹶﻣﻮﺍ ﺍﳌﺨﻄﺎﻑ ﻓﻮﻕ ﺍﻟﻜﻴﺒﻞ ﺍﻟﻀﻮﺋﻲ ﳌﻨﻄﻘﺔ ﺍﳋﻠﻴﺞ!‬‫ ﻣﺎﺫﺍ؟!!‬‫ ﻫﺬﺍ ﺍﻟﺬﻱ ﺣﺼﻞ‪.‬‬‫ ﻛﻴﻒ ﻭﻫﻮ ﰲ ﻣﻨﻄﻘﺔ ﳏﻈﻮﺭﺓ ﻣﺆﴍﺓ ﰲ ﺧﺮﺍﺋﻂ ﺍﳌﻼﺣﺔ؟‬‫ ﻻ ﺃﺩﺭﻱ‪ ،‬ﻓﻘﻂ ﺳﻨﺮﻓﻊ ﺍﳌﺨﻄﺎﻑ ﻭﻧﻐﺎﺩﺭ ﹰ‬‫ﺣﺎﻻ‪.‬‬ ‫ ﺍﻟﺒﺤﺮ ﻫﺎﺋﺞ ﻭﺍﻟﺮﻳﺢ ﻋﺎﺻﻔﺔ !‬‫ ﻣﺎ ﺍﳊﻞ ﺇﺫﻥ؟‬‫ﻳﻘﻄﻊ ﺍﳊﻮﺍﺭ ﻋﻨﺪ ﻫﺬﺍ ﺍﻟﺴﺆﺍﻝ ﻭﻳﻌﺎﻭﺩ ﺍﻟﴪﺩ‪.‬‬

‫‪VMonologue<ÌÈ◊}]Ç÷]<l]Ö]Á£]<IP‬‬ ‫ﻳﺄﰐ ﲠﺎ ﺍﻟﻜﺎﺗﺐ ﻛ ﹼﻠﲈ ﺍﺷﺘﺪﹼ ﺍﻟﴫﺍﻉ ﰲ ﻧﻔﺲ ﺍﻟﺴﺎﺭﺩ ﺍﻟﺬﻱ ﻫﻮ ﺍﻟﺒﻄﻞ‪ ،‬ﻭﺍﺣﺘﺎﺝ ﺇﱃ‬

‫ﻭﺗﻄﻮﺭﻩ‪ ،‬ﻭﺍﻟﺮﻭﺍﻳﺔ ﺍﳌﻌﺎﴏﺓ ﺑﺎﻷﺳﺎﺱ ﻫﻲ ﺭﻭﺍﻳﺔ‬ ‫ﺍﻟﻜﺸﻒ ﻋﻦ ﺩﻭﺍﺧﻠﻪ‪ ،‬ﺑﲈ ﳜﺪﻡ ﺳﲑ ﺍﳊﺪﺙ‬ ‫ﹼ‬ ‫ﻧﻔﺴﻴﺔ ﺑﺎﻟﺪﺭﺟﺔ ﺍﻷﻭﱃ‪:‬‬

‫ﺍﻟﻔﻘﺪ‪:‬‬

‫ﻫﺎ ﻫﻮ ﰲ ﺣﻮﺍﺭ ﺩﺍﺧﲇ ﻳﻔﺮﻍ ﺧﻠﺠﺎﺗﻪ ﺑﻌﺘﺐ ﻭﻏﻀﺐ ﺍﲡﺎﻩ ﺍﻵﺧﺮ ﺑﻌﺪ ﺃﻥ ﺍﺷﺘﺪﹼ ﻋﻠﻴﻪ‬

‫‪٧٩‬‬

‫)‪ ...‬ﻟﻘﺪ ﲡﺎﻭﺯﺕ ﺍﳋﻤﺴﲔ ﻭﰲ ﻧﻔﴘ ﺍﳊﺎﺟﺔ ﺇﱃ ﺍﻟﻠﻄﻒ ﻭﺍﻟﻌﺠﺐ ﻭﺍﻟﺘﻐﻨﺞ ﻭﺍﻟﺘﻤﺘﻊ‬ ‫ﹰ‬ ‫ﺷﻜﻼ ﻣﻦ‬ ‫ﺑﺎﳍﺰﻝ ﻭﺍﻟﺘﺄﻣﻴﻞ ﺇﻟﻴﻪ‪ .‬ﺑﺎﺧﺘﺼﺎﺭ ﺷﺪﻳﺪ ﻭﺑﺒﺴﺎﻃﺔ ﻣﻔﺮﻃﺔ ﱂ ﺗﻜﻦ ﺗﺸﻜﻞ ﻋﻨﺪﻱ‬

‫ﻛﻨﺖ‬ ‫ﺃﺷﻜﺎﻝ ﺍﻟﺮﻓﺎﻫﻴﺔ‪ ،‬ﻟﻘﺪ ﻛﺮﻫﺘﻨﻲ ﻣﻦ ﺃﻭﻝ ﺧﻄﻮﺓ ﺧﻄﻮﲥﺎ ﺩﻭﻥ ﺍﺳﺘﺸﺎﺭﺗﻚ‪ .‬ﻫﺬﺍ ﺍﻟﻜﺮﻩ ﹶ‬

‫ﺗﻀﻤﺮﻩ ﻭﻗﺪ ﺗﺼﺪﹼ ﻉ ﺑﻪ ﺭﺃﳼ‪،‬‬ ‫ﻭﺗﻌﺒﺖ ﻣﻨﻚ‪ ،‬ﻭﻣﻦ ﺗﻜﺮﺍﺭ ﳎﻴﺌﻚ ﺍﳌﻔﺎﺟﺊ ﻭﺍﺧﺘﻔﺎﺋﻚ ﺍﻟﻐﺮﻳﺐ‬ ‫ﹸ‬ ‫ﻛﺮﻫﺘﻚ‪ .‬ﳌﺎﺫﺍ ﺗﻜﺮﻫﻨﻲ؟ ﻭﻣﺎ ﺳﺒﺐ ﻫﺬﺍ ﺍﻟﻨﻜﺮﺍﻥ ﺍﲡﺎﻩ ﺭﻏﺒﺎﰐ ﰲ ﺍﻟﺘﻮﺍﺟﺪ ﻣﻌﻚ؟ ﻣﺘﻌﺎﻟ ﹰﻴﺎ ﰲ‬

‫ﺗﴫﻓﺎﺗﻚ ﻣﻌﻲ؟‬

‫ﻣﺆﺧﺮﺍ ﺻﺎﺭ ﻏﻴﺎﺑﻚ ﻏﺮﻳ ﹰﺒﺎ ‪.(...‬‬ ‫ﹰ‬

‫‪Vflashback<ÌÈÀ◊§]<ÌËÑ«j÷]<IQ‬‬ ‫ﻣﺜﺎﺭﺓ ﺑﻌﺘﺒﺔ ﻭﺍﻗﻌﻴﺔ‪ ،‬ﺣﺪﺙ ﺃﻭﻣﺸﻬﺪ ﳏ ﹼﻔﺰ ﻳﺄﺧﺬ ﺍﻟﺴﺎﺭﺩ ﺇﱃ ﺍﻟﺬﻛﺮﻳﺎﺕ‪:‬‬ ‫)ﻣﻌﺎﺭﰲ ﻳﺮﺗﺎﺩﻭﻥ ﺑﺸﻜﻞ ﻣﺴﺘﻤﺮ ﺍﳌﻜﺘﺒﺎﺕ ﺍﻟﻌﺎﻣﺔ‪ ،‬ﻭﰲ ﺑﻴﻮﲥﻢ ﺃﻧﺸﺄﻭﺍ ﺍﳌﻜﺘﺒﺎﺕ‬

‫ﺍﻟﺸﺨﺼﻴﺔ ‪ ...‬ﻛﻨﺖ ﰲ ﺍﻟﻌﺎﴍﺓ ﻓﻘﻂ‪ ،‬ﻭﺣﺪﺙ ﺫﻟﻚ ﰲ ﺗﻠﻚ ﺍﻟﻠﻴﻠﺔ ﺃﻭ ﻗﺒﻴﻞ ﻣﻨﺘﺼﻔﻬﺎ ﺑﻘﻠﻴﻞ‪،‬‬ ‫ﺑﺎﺏ ﺩﺍﻛﻦ ﺍﻟﻠﻮﻥ ﻳﻨﻔﺬ ﻣﻦ ﻓﺘﺤﺘﻪ ﺍﻟﺴﻔﻠﻴﺔ ﺿﻮﺀ ﻣﺘﻮﻫﺞ‪ ،‬ﻳﺪﻫﺸﻨﻲ ﺍﳌﻨﻈﺮ! ﺃﺗﻘﺪﹼ ﻡ ﺑﺨﻄﻮﺍﺕ‬

‫ﺃﺣﺮﻙ ﺃﺻﺎﺑﻌﻲ ﻋﲆ ﻋﺮﻭﺓ ﺍﻟﺒﺎﺏ ﺍﻟﻔﻀﻴﺔ‪ ،‬ﻋﲆ ﻣﻬﻞ‬ ‫ﺧﻔﻴﻔﺔ‪ ،‬ﺃﳌﺲ ﺍﻟﺒﺎﺏ‪ ،‬ﺃﺳﱰﻕ ﺍﻟﺴﻤﻊ‪ ،‬ﹼ‬ ‫ﳌﺤﺖ ﹰ‬ ‫ﺭﺟﻼ ﺃﺷﻴﺐ ﺍﻟﺮﺃﺱ ﻣﻨﺤﻨ ﹰﻴﺎ ﺇﱃ ﻃﺎﻭﻟﺔ ﺍﻟﺘﻲ ﺃﻣﺎﻣﻪ ﹰ‬ ‫ﺃﻓﺘﺢ ﺍﻟﺒﺎﺏ‪،‬‬ ‫ﻗﻠﻴﻼ‪ ،‬ﻛﺎﻥ ﻳﻘﺮﺃ ﰲ‬ ‫ﹸ‬

‫ﻛﺘﺎﺏ‪ (...‬ﺹ ‪.١٠٧‬‬

‫‪VStream of consciousness<ͬÁ÷]<Ö^Èi<–ÊÇi<IR‬‬ ‫ﻫﻮ ﻧﻮﻉ ﻣﻦ ﺍﳊﻮﺍﺭ ﺍﻟﺪﺍﺧﲇ ﻟﻠﺸﺨﺺ‪ ،‬ﻭﻳﻘﺼﺪ ﺑﻪ ﺍﻻﻧﺴﻴﺎﺏ ﺍﳌﺘﻮﺍﺻﻞ ﻟﻸﻓﻜﺎﺭ ﺩﺍﺧﻞ‬ ‫ﻭﺫﻫﻨﻴﺎ‪ ،‬ﻭﻳﺪﺧﻞ ﰲ ﺇﻃﺎﺭ ﻫﺬﺍ ﺍﻟﺘﻴﺎﺭ ﺍﻟﻜﺜﲑ ﻣﻦ ﺍﻟﺘﻐﲑﺍﺕ‬ ‫ﺑﺎﻃﻨﻴﺎ‬ ‫ﺍﻟﺬﻫﻦ‪ ،‬ﺃﻭ ﺟﺮﻳﺎﻥ ﺍﻟﻔﻜﺮ‬ ‫‪h‬‬ ‫‪h‬‬ ‫ﻭﺍﻟﺘﻘﻠﺒﺎﺕ ﻭﺍﻟﺘﻔﺎﻋﻞ ﺑﲔ ﺍﳌﺎﴈ ﻭﺍﳊﺎﴐ‪ ،‬ﻭﻏﺎﻟ ﹰﺒﺎ ﻣﺎ ﺗﻜﻮﻥ ﺍﳉﻤﻞ ﹼ‬ ‫ﻣﻔﻜﻜﺔ ﻭﺍﻷﻓﻜﺎﺭ ﻏﲑ‬ ‫ﺗﻌﱪ ﹰ‬ ‫ﻓﻌﻼ ﻋﻦ ﺧﻠﺠﺎﺕ‬ ‫ﻣﱰﺍﺑﻄﺔ ﻭﺍﳌﺸﺎﻋﺮ ﻣﺘﺪﺍﺧﻠﺔ‪ ،‬ﻳﺼﻌﺐ ﻣﻌﻬﺎ ﻣﺘﺎﺑﻌﺔ ﺍﻟﻨﺺ‪ ،‬ﻟﻜﻨﻬﺎ ﹼ‬ ‫ﺍﻟﻨﻔﺲ ﺍﻟﻔﻄﺮﻳﺔ ﰲ ﺍﻟﻼﻭﻋﻲ‪ ،‬ﻭﻻ ﺃ ﹶﺩ ﹼﻝ ﻋﻠﻴﻬﺎ ﺃﻛﺜﺮ ﻣﻦ ﺃﺣﻼﻡ ﺍﻟﻴﻘﻈﺔ‪.‬‬ ‫ﺃﻧﺼﺖ ﺇﱃ‬ ‫)ﻭﺃﻧﺎ ﺃﺗﺎﺑﻊ ﺍﳌﺴﲑ ﰲ ﻃﺮﻳﻖ ﺍﻟﻌﻮﺩﺓ ﺇﱃ ﺫﺍﰐ‪ ،‬ﱂ ﺃﻛﻦ ﻗﺪ ﻭﺻﻠﺖ ﻏﺮﻓﺘﻲ ﺑﻌﺪ‪،‬‬ ‫ﹸ‬ ‫ﻣﻌﺎ‬ ‫ﺻﻮﺕ ﺍﻋﺘﺪﺕ ﻋﲆ ﺇﺧﻔﺎﺋﻪ ﺑﻌﻴﺪﹰ ﺍ ﻋﻦ ﻣﺴﺎﻣﻊ ﺍﻟﻌﺎﱂ ﻭﺃﺣﻴﺎ ﹰﻧﺎ ﻋﻨﻲ‪ ،‬ﻣﺪﹼ ﱄ ﺟﻨﺎﺣﻪ ﻭﺍﺭﺗﻘﻴﻨﺎ ﹰ‬

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‫ﻣﻦ ﺑﻼﻁ ﺍﻟﺒﺎﺧﺮﺓ ﺇﱃ ﺃﻋﲆ ﺍﻟﺴﻘﻒ! ﺍﻟﺮﻋﺐ؟ ﱂ ﻳﻤﺴﻨﻲ ﺍﳋﻮﻑ ! ﻗﺮﻳ ﹰﺒﺎ ﻣﻦ ﻣﺼﺎﺑﻴﺢ ﺍﻟﺴﻘﻒ‬ ‫ﻋﻴﻨﻲ ﻳﻀﺤﻚ‪ ،‬ﺃﺧﺬﲏ ﺍﻟﺪﻭﺍﺭ ﺑﻌﻴﺪﹰ ﺍ ﻋﻦ ﻣﻜﺎﲏ ‪ ...‬ﺹ‪.(١٣١‬‬ ‫ﹸ‬ ‫ﻭﺟﺪﺕ ﺑﺮﻳ ﹰﻘﺎ ﰲ ﱠ‬

‫‪<VŸ^€¢]<IS‬‬ ‫ﻋﻠﻢ ﻳﻘﺘﴤ ﺣﻀﻮﺭﻩ ﰲ ﺍﻟﻨﺺ ﻟﻴﻌﻜﺲ ﺍﳉﲈﻝ ﺍﻟﻔﻨﻲ ﻓﻴﻪ‪ ،‬ﻭﻫﻮ ﹰ‬ ‫ﺩﺍﺋﲈ ﳜﻠﻂ ﺑﻴﻨﻪ ﻭﺍﻟﻔﻦ‬ ‫ﻋﲆ ﺍﻟﺮﻏﻢ ﻣﻦ ﻗﺮﲠﲈ ﻣﻦ ﺑﻌﻀﻬﲈ‪ ،‬ﹼﺇﻻ ﹼ‬ ‫ﺃﻥ ﺍﳉﲈﻝ ﳜﺘﻠﻒ ﻋﻦ ﺍﻟﻔﻦ ﻣﻦ ﺟﻬﺔ ﺍﻷﻣﻮﺭ ﺍﳊﺴﻴﺔ‬ ‫ﺣﴘ ﺃﻛﺜﺮ ﻣﻦ ﺍﻟﻔﻦ ‪ ...‬ﻭﻗﺪ ﹼ‬ ‫ﻏﻄﺖ ﺍﻟﻠﻮﺣﺎﺕ ﺍﻟﻔﻨﻴﺔ ﺟﺪﺭﺍﻥ ﺍﻟﺒﻨﺎﺀ‬ ‫ﻭﺍﻟﻮﺟﺪﺍﻧﻴﺔ‪ ،‬ﻓﺎﳉﲈﻝ‬ ‫ﹼ‬ ‫ﺍﻟﻔﻨﻲ ﳍﺬﺍ ﺍﻟﻌﻤﻞ ﺣﺘﻰ ﹸﻳ ﹶﻈ ﱡﻦ ﺃﻧﻨﺎ ﰲ ﻣﻌﺮﺽ ﻟﻠﻔﻦ ﺍﻟﺘﺸﻜﻴﲇ‪ ،‬ﻛﺎﻥ ﻫﻨﺎﻙ ﺭﺳﻢ ﺑﺎﻟﻜﻠﲈﺕ ﻭﻫﻮ‬ ‫ﻳﺴﺘﺪﻋﻲ ﺍﻟﺬﺍﺕ ﺍﻟﺸﺎﻋﺮﺓ‪:‬‬

‫ﳜﺒﺊ ﰲ ﺩﺍﺭﻫﺎ ﺍﳌﺎﺀ ﻭﴎﺏ ﺍﻟﻌﺼﺎﻓﲑ ﻭﺣﻔﻨﺔ ﻣﻦ ﺍﻟﻨﺠﻮﻡ‬ ‫ ﺑﺎﺣ ﹰﺜﺎ ﻋﻦ ﺍﻷﻧﺲ ﲣﻴﻠ ﹸﺘﻨﻲ ﻭﻃﻨﹰﺎ ﹼ‬‫ﻭﻋﻄﺮﻱ‪ ،‬ﺁﻩ ﻣﻦ ﻋﻄﺮﻱ ﻭﻣﺎ ﲢﻤﻠﻪ ﻟﻐﺘﻲ ﻣﻦ ﺃﺷﻌﺎﺭ ﺗﺴﺘﻌﴢ ﻋﲆ ﺍﻟﻔﻬﻢ‪.‬‬ ‫ ﻋﺪﺕ ﺑﺬﺍﻛﺮﰐ ﺇﱃ ﻣﺎﺽ ﻛﺎﻧﺖ ﻓﻴﻪ ﺍﻟﺸﻤﺲ ﺗﺮﺳﻞ ﻣﻮﺍﳍﺎ ﺇﱃ ﺍﳊﻘﻮﻝ ﻭﺑﲔ ﺷﻌﺎﺏ‬‫ﺍﳉﺒﺎﻝ ﻭﻋﻨﺪ ﺍﻧﺤﺪﺍﺭ ﺍﻟﺮﻭﺍﰊ‪ ،‬ﺗﺮﺳﻢ ﹰ‬ ‫ﺃﻣﻼ ﻋﲆ ﺟﺪﺭﺍﻥ ﺍﻟﻜﻠﲈﺕ‪ ،‬ﱂ ﺃﺳﺘﻄﻊ ﺇﺳﻨﺎﺩ ﺭﺃﳼ‬ ‫ﺇﱃ ﻛﺘﻔﻲ‪ ،‬ﻛﻨﺖ ﺃﺣﺘﻀﻦ ﺑﺎﻛ ﹰﻴﺎ ﻛﻞ ﺣﺮﻑ‪ ،‬ﻻ ﺃﺳﺘﻄﻴﻊ ﺍﻻﺳﺘﻤﺮﺍﺭ ﺃﻛﺜﺮ‪..‬ﻣﺎﺕ ﰲ ﻋﻴﻨﻲ‬ ‫ﺍﺧﴬﺍﺭ ﺍﻟﺮﺅ￯‪.‬‬ ‫ﹶ‬ ‫ ﻳﺎ ﻓﺎﺗﻦ ﺍﳋﻴﺎﻝ ﻣﺘﻬﻤﺔ ﺃﻧﺎ‬‫ﺑﺤﺒﻚ‪ ،‬ﻭﺣﺪﻱ ﰲ ﺑﻠﺪﻱ ﻭﻏﺮﻳﺒﺔ‪ ،‬ﻳﺎ ﻓﺎﺗﻦ ﺍﳋﻴﺎﻝ ﻣﺘﻬﻤﺔ ﺃﻧﺎ‬ ‫ﺑﺎﳊﺐ ﻭﺍﻷﻣﻄﺎﺭ ﻭﺍﻟﻐﻨﺎﺀ ﻭﺍﳌﻮﺳﻴﻘﻰ ﻭﺍﻟﻨﺎﺭ‪.‬‬ ‫‪-‬‬

‫ﻤﺔ ﹶ‬ ‫ﹸﻣ ﹶﺘﻬ ﹲ‬ ‫ﺑﻚ ﻭﰲ ﻣﺪﺡ ﺭﺟﺎﻝ ﺍﻟﴩﻕ‪ ،‬ﻭﺑﺄﲏ ﺃﻫﻮ￯ ﺍﻟﺸﻌﺮ ﺍﻟﻌﺮﰊ ﻭﺍﻟﺮﻗﺺ ﺍﻟﻌﺮﰊ ﻭﺍﻟﻠﻮﻥ‬

‫ﺍﻟﻌﺮﰊ ﻭﺍﻟﻐﲑﺓ ﺍﻟﻌﺮﺑﻴﺔ‪ ،‬ﻭﰲ ﺍﻟﺸﻮﺍﺭﻉ ﻣﺘﻬﻤﺔ ﺑﺎﻟﴩﻭﺩ ﻭﺍﻟﺘﺪﺧﲔ‪.‬‬

‫ﺍﳌﺘﻜﺮﺭ ﻋﻨﺪ ﺍﳌﺮﺍﻓﺊ ﻭﺍﻟﻨﻈﺮ ﺇﱃ ﺍﻟﺒﺤﺮ ﻭﰲ ﻧﴩ‬ ‫ﺍﻟﺒﺤﺎﺭﺓ ﻭﺑﺎﻟﻮﻗﻮﻑ‬ ‫ ﻣﺘﻬﻤﺔ ﺃﻧﺎ ﺑﺤﺐ ﹼ‬‫ﹼ‬ ‫ﺍﻟﺰﻫﻮﺭ ﺍﻟﺘﻲ ﲢﺐ ﻋﻨﺪ ﺍﻟﴩﻓﺎﺕ ‪«...‬‬ ‫]÷‪VÌȬ]Çe˝]<ÌeÜrj‬‬ ‫ﻣﻦ ﺧﻼﻝ ﺍﻻﻧﻔﻌﺎﻻﺕ ﺍﻟﺘﻲ ﺗﻜﻮﻥ ﰲ ﻧﻔﺲ ﺍﻟﺸﺎﻋﺮ ﺃﻭ ﺍﻟﻜﺎﺗﺐ ﻭﻳﺼﻴﻐﻬﺎ ﰲ ﻗﺎﻟﺐ‬ ‫ﳐﺘﴫﺍ ﹼ‬ ‫ﻟﻜﻞ ﻣﻦ ﻳﺮﻳﺪ ﺍﳋﻮﺽ‬ ‫ﺃﺩﰊ‪ ،‬ﻭﻣﺪ￯ ﻋﻤﻖ ﻭﺻﺪﻕ ﻭﻭﺿﻮﺡ‪ ،‬ﻭ ﺗﻠﻚ ﺍﳌﺸﺎﻋﺮ‪ ،‬ﺗﻌﺪﹼ‬ ‫ﹰ‬

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‫ﰲ ﺍﳌﺠﺎﻝ ﺍﻷﺩﰊ‪ ،‬ﻓﺎﻟﺒﻼﻏﺔ ﰲ ﺍﻟﺘﻌﺒﲑ ﻫﻲ ﳏﺎﻛﺎﺓ ﰲ ﺍﻹﺑﺪﺍﻉ‪ ،‬ﻭﺍﻹﺑﺪﺍﻉ ﺑﻜﻠﻤﺔ ﻣﻮﺟﺰﺓ ﻫﻮ‬ ‫ﺍﳌﺘﻨﻮﻉ ﻟﺪ￯ ﺍﻷﺩﻳﺐ ﰲ ﳎﺎﻻﺕ ﻣﺘﻌﺪﹼ ﺩﺓ ﻣﻦ ﺍﻷﺩﺏ ﳛﻈﻰ ﺑﺎﻫﺘﲈﻡ‬ ‫ﺇﺿﺎﻓﺔ ﺍﳉﺪﻳﺪ‪ ،‬ﺇﻥ ﺍﻹﺑﺪﺍﻉ ﹼ‬

‫ﺍﻟﻨ ﹼﻘﺎﺩ ﻭﺍﻟﺪﺍﺭﺳﲔ ﰲ ﺑﻠﺪﻩ ﻭﺧﺎﺭﺟﻬﺎ‪ ،‬ﺣﻴﺚ ﺗﻨﺠﺰ ﺍﻟﻜﺜﲑ ﻣﻦ ﺍﻟﺪﺭﺍﺳﺎﺕ ﺍﻷﻛﺎﺩﻳﻤﻴﺔ ﳌﻨﺠﺰﺍﺗﻪ‬ ‫ﺍﻷﺩﺑﻴﺔ‪ ،‬ﻭﺫﻟﻚ ﻧﻮﻉ ﻣﻦ ﺍﻟﺘﻮﺳﻊ ﻟﺪﺍﺋﺮﺓ ﺍﻟﺘﺠﺮﺑﺔ ﺍﻷﺩﺑﻴﺔ ﻟﺪ￯ ﺍﻷﺩﻳﺐ‪.‬‬

‫ﻳﻄﻮﻑ‬ ‫ﻟﻘﺪ ﺍﺳﺘﻄﺎﻉ ﺍﻟﻜﺎﺗﺐ ﻋﱪ ﻫﺬﻩ ﺍﻟﺮﺣﻠﺔ ﺍﻟﺘﻲ ﺃﺧﺬﻧﺎ ﲠﺎ ﻓﻮﻕ ﻋﺎﳌﻪ ﺍﻷﺯﺭﻕ‪ ،‬ﺃﻥ ﹼ‬ ‫ﻭﲢﻮﻻﺗﻪ ﺍﳌﺼﲑﻳﺔ ﺑﲔ ﺧﻄﺮ ﺍﳌﻮﺕ ﻭﻓﺮﺡ ﺍﻟﻨﺠﺎﺓ‪ ،‬ﻗﺪ ﺗﻜﻮﻥ ﺣﺒﻜﺔ‬ ‫ﺑﻨﺎ ﻭﺳﻂ ﺗﻘﻠﺒﺎﺗﻪ ﺍﳌﺒﺎﻏﺘﺔ‪ ،‬ﹼ‬ ‫ﺍﻟﻌﻤﻞ ﺍﻟﴪﺩﻱ ﻣﻄﺮﻭﻗﺔ ﹰ‬ ‫ﻗﺒﻼ‪ ،‬ﻟﻜﻦ ﻋﻨﺪﻣﺎ ﻣﺎﻫﻰ ﺍﻟﻜﺎﺗﺐ ﺑﲔ ﻋﺎﳌﻪ ﺍﳋﺎﺭﺟﻲ ﻭﻋﺎﳌﻪ ﺍﻟﺪﺍﺧﲇ‬ ‫ﻳﻌﺮﻓﻨﺎ ﻋﲆ ﺷﺨﺼﻴﺎﺕ ﻋﻤﻠﻪ‪،‬‬ ‫ﻋﺮﻓﻨﺎ ﻋﲆ ﺫﻭﺍﺗﻪ ﺍﻟﻌﺪﻳﺪﺓ ﻭﻛﺄﻧﻪ ﹼ‬ ‫ﺑﺘﻘﻠﺒﺎﺗﻪ ﻭﲢﻮﻻﺗﻪ‪ ،‬ﻭﻋﻨﺪﻣﺎ ﹼ‬ ‫ﻛﺎﻥ ﻫﺬﺍ ﺍﺑﺘﻜﺎﺭ ﹸﳛﺴﺐ ﻟﻪ‪ ،‬ﱂ ﺃﺟﺪﻩ ﲠﺬﺍ ﺍﻟﺸﻜﻞ ﺇﻻ ﻋﻨﺪ ﻗ ﹼﻠﺔ‪ ،‬ﺣﺘﻰ ﺑﺮﺍﺋﻌﺔ ﺃﺭﻧﺴﺖ ﳘﻨﻐﻮﺍﻱ‬

‫)ﺍﻟﺸﻴﺦ ﻭﺍﻟﺒﺤﺮ( ﱂ ﻳﻜﻦ ﻋﲆ ﻫﺬﻩ ﺍﻟﺪﺭﺟﺔ ﻣﻦ ﺍﻟﺘﻔﺎﺻﻴﻞ‪ ،‬ﻟﻘﺪ ﺍﺳﺘﻄﺎﻉ ﺃﻥ ﻳﻘﺪﹼ ﻡ ﻟﻨﺎ ﺫﻭﺍﺕ‬ ‫ﻋﺪﻳﺪﺓ‪ ،‬ﺧﻼ ﻧﺼﻔﻪ ﺍﻵﺧﺮ‪ ،‬ﻭﺟﺪﻧﺎ‪:‬‬

‫]÷‪JÌf∆Ö<^„fl⁄<Ün“_<ÏÅ^¬<Ï]Üœ÷]<VÌÒÖ^œ÷]<l]Ñ‬‬ ‫)ﺇﺩﻣﺎﻥ ﺍﻟﻘﺮﺍﺀﺓ ﻭﺍﻟﻜﺘﺎﺑﺔ ﺣﻴﻮﺍﺕ ﳐﺘﻠﻔﺔ ﻋﻦ ﺍﻟﻮﺍﻗﻊ‪ ،‬ﻧﺎﺑﻀﺔ ﺍﻟﺪﻫﺸﺔ‪ ،‬ﻣﺘﺠﺪﹼ ﺩﺓ ﺍﻻﻧﺒﻬﺎﺭ‪،‬‬

‫ﻣﻘﻨﻌﺔ‪ ،‬ﺃﻥ ﺗﺮﺍﻭﺩﻙ ﺍﻷﺣﻼﻡ ﰲ ﻛﻮﻧﻚ ﺑﻄﻞ ﺍﻟﺮﻭﺍﻳﺎﺕ ﻭﺣﺪﻫﺎ ﻣﺘﻌﺔ‪ ،‬ﺍﻟﻘﺮﺍﺀﺓ ﻋﺎﺩﺓ ﺃﻛﺜﺮ ﳑﺎ ﻫﻲ‬ ‫ﺭﻏﺒﺔ‪ ،‬ﻭﺑﺎﻟﻨﺴﺒﺔ ﱄ ﺃﻋﺘﻘﺪ ﺃﻥ ﺳﺒﺐ ﻫﺬﻩ ﺍﳍﻮﺍﻳﺔ ﺍﳌﻜﺘﺴﺒﺔ ﺑﺪﺃﺕ ﰲ ﺃﻭﺍﺧﺮ ﺍﻟﺴﺒﻌﻴﻨﺎﺕ‪ ،‬ﻛﺎﻥ‬

‫ﻻﻧﺘﺸﺎﺭ ﺍﳌﻜﺘﺒﺎﺕ ﺍﻟﻌﺎﻣﺔ ﰲ ﺍﳌﺪﻥ ﺍﻟﻜﺒﲑﺓ ﻣﻨﻬﺎ ﻭﺍﻟﺼﻐﲑﺓ ﺷﻬﻴﺔ ﺧﺎﺻﺔ ﻟﻠﻘﺮﺍﺀﺓ ﻭﺍﻻﻃﻼﻉ‬

‫ﻭﺍﻟﺒﺤﺚ ﻭﺍﳌﻘﺎﺭﻧﺔ‪ .‬ﻛﻨﺖ ‪ -‬ﻭﺃﻛﺜﺮ ﺍﻟﻌﺮﺍﻗﻴﲔ ‪ -‬ﻛﺜﲑ ﺍﻻﻫﺘﲈﻡ ﺑﺎﻟﻘﺮﺍﺀﺓ‪ ،‬ﺣﻴﺚ ﳚﺪ ﺍﳌﺮﺀ ﺍﳌﺘﺤﻜﻢ‬

‫ﺗﺪﺭﳚﻴﺎ ﻋﻦ ﺍﻻﻧﻐﲈﺱ ﰲ ﻭﺣﻲ ﺍﳉﻬﻞ ﻭﺍﻟﺮﻳﺎﺀ‪ ،‬ﻭﳜﻄﺮ ﱄ‬ ‫ﺑﻌﻮﺍﻃﻔﻪ ﺳﻠﻢ ﺍﻟﻨﺠﺎﺓ‪ ،‬ﻳﺒﻌﺪ ﻓﻴﻪ‬ ‫‪h‬‬ ‫ﺃﺣﻴﺎ ﹰﻧﺎ ﺑﺄﲏ ﻗﺪ ﺍﺭﲤﻴﺖ ﺑﲔ ﺃﺳﺎﻃﲑ ﺍﻟﺒﺤﺮ ﻭﺍﳊﻜﺎﻳﺎﺕ ﻭﺍﳋﺮﺍﻓﺎﺕ ﻭﺍﻟﻮﺍﻗﻊ ﺃﺛﻨﺎﺀ ﺍﻟﺴﻔﺮ ﺍﳌﺘﻜﺮﺭ‬

‫ﺑﲔ ﺍﻟﺴﻄﻮﺭ(‪.‬‬

‫]÷‪<J‡e˜]<±c<h˘]<‡⁄<ÏÇj∫<Ì◊⁄^“<Ï^Èu<VÌfi^”÷]<l]Ñ‬‬ ‫)ﺃﺷﺘﺎﻕ ﺇﱃ ﺍﻟﻜﺘﺎﺑﺔ‪» ،‬ﻣﺎﺫﺍ ﻛﺘﺒﺖ« ﺍﳊﺐ‪ ،‬ﺍﻻﺷﺘﻴﺎﻕ‪ ،‬ﺍﻟﺒﻘﺎﺀ ﻭﺍﻟﴫﺍﻉ ﺑﲔ ﺍﻟﺼﺪﻕ‬

‫ﻭﺍﳋﺪﺍﻉ؟ ﻋﻦ ﺍﻹﻧﺴﺎﻥ ﻋﻦ ﺍﳊﻴﻮﺍﻥ؟ ﺃﻭ ﺍﻟﺮﻭﺡ ﻭﺍﳉﺴﺪ؟ ﺍﻟﺒﺤﺮ ﳑﻠﻜﺔ ﻓﻴﻬﺎ ﺃﻛﺜﺮ ﻣﻦ ﺣﻴﺎﺓ‬

‫‪٨٢‬‬

‫ﻳﻤﻨﻊ ﻓﻴﻬﺎ ﻛﻞ ﳾﺀ ﺇﻻ ﺍﳋﻴﺎﻝ ‪ ...‬ﻋﻦ ﻣﺎﺫﺍ ﻛﺘﺒﺖ؟ ﳐﺎﻃﺮ ﺍﻟﺬﺍﻛﺮﺓ؟ ﻋﻦ ﺍﳊﺎﴐ؟ ﺑﺤﺮ ﻳﻜﺎﺩ‬ ‫ﻳﴪﻕ ﺃﺭﻭﺍﺣﻨﺎ؟ ﺍﻟﺒﺤﺎﺭﺓ ﰲ ﺧﻄﺮ؟ ﺧﻠﻒ ﺃﺑﻮﺍﺏ ﺍﻟﻐﺮﻑ ﺍﳌﻐﻠﻘﺔ ﻣﺴﺘﻠﻘﲔ ﻋﲆ ﻇﻬﻮﺭﻫﻢ‬ ‫ﻳﺘﺄﻣﻠﻮﻥ ﰲ ﻋﻘﻮﳍﻢ ﺍﻟﺰﻣﻦ ﺍﳉﻤﻴﻞ ﻻﺋﺬﻳﻦ ﺑﺬﺍﻛﺮﺓ ﻣﻠﺆﻫﺎ ﺭﺅﻳﺔ ﺍﻟﻜﺜﲑ ﳑﺎ ﻳﺒﺴﻂ ﺍﻟﻨﻔﺲ‪:‬‬ ‫ﺍﻷﻫﻞ‪ ،‬ﺍﻷﺻﺤﺎﺏ‪ ،‬ﺍﻟﺮﻓﻴﻘﺎﺕ ﺍﳊﺒﻴﺒﺎﺕ‪ ،‬ﺍﳌﺎﺀ‪ ،‬ﺍﻟﺸﻤﺲ‪ ،‬ﺍﻷﻃﻔﺎﻝ‪ ،‬ﺍﻟﺸﻮﺍﺭﻉ ﻭﺿﺠﻴﺞ‬ ‫ﺍﻟﻨﺎﺱ‪ ،‬ﻣﻼﺑﺲ ﺟﺪﻳﺪﺓ‪ ،‬ﻭﻣﺎ ﺇﱃ ﺫﻟﻚ ﻣﻦ ﺍﻷﻣﺎﻛﻦ ﺍﻟﺘﻲ ﻻ ﲣﻠﻮ ﻣﻦ ﺍﳌﻈﺎﻫﺮ ﺍﳌﱰﻓﺔ‪ ،‬ﺍﻟﺴﲑ‬

‫ﺣﺎﻓ ﹰﻴﺎ‪ ،‬ﺍﻟﻐﺮﻑ ﺍﻟﺸﺨﺼﻴﺔ‪ ،‬ﻋﻄﺮ ﺍﻣﺮﺃﺓ‪ ،‬ﺭﺍﺋﺤﺔ ﺃﻧﺜﻰ‪ ،‬ﺍﳌﻘﺎﻫﻲ‪ ،‬ﺍﳊﺎﻧﺎﺕ‪ ،‬ﺍﻟﺴﻬﺮ‪ ،‬ﺍﻟﺘﺤﺮﺭ‪،‬‬

‫ﻭﻋﺎﺩﺓ ﻣﺎ ﺃﺳﻤﻊ ﻣﻦ ﺑﻌﻀﻬﻢ ﺇﻃﻼﻕ ﺍﻟﻠﻌﻨﺎﺕ ﻋﲆ ﺍﻟﻴﻮﻡ ﺍﻟﺬﻱ ﺻﺎﺭﻭﺍ ﻓﻴﻪ ﺑﺤﺎﺭﺓ‪ ،‬ﻣﻬﻨﺔ ﻻ‬ ‫ﻗﻬﺮﺍ ﻭﺍﻟﻌﻮﺩﺓ ﺇﱃ ﺍﳌﺎﴈ ﺍﳌﻬﺪﻭﺭ ﻟﻠﺘﺴﲇ ﻭﺭﺍﺀ ﺍﻷﱂ ﺍﻟﺸﺨﴢ‪.‬‬ ‫ﺗﱰﻙ ﻭﺭﺍﺀﻫﺎ ﺇﻻ ﺍﻟﻨﺴﻴﺎﻥ ﹰ‬ ‫]÷‪VÌπ`jπ]<l]Ñ‬‬

‫ﻳﺘﻜﻠﻢ ﻋﻦ ﺃﱂ ﺍﻟﺬﺍﺕ ﻭﺃﱂ ﺍﻟﻌﻀﻮ‪،‬‬ ‫ﻭﻳﻜﺮﺭ ﺷﻜﻮﺍﻩ ﻣﻦ ﺃﱂ ﺃﺳﻔﻞ ﺍﻟﻈﻬﺮ ﻋﲆ ﻣﺴﺎﺭ‬ ‫ﹼ‬

‫ﺻﻔﺤﺎﺕ ﺍﻟﺮﻭﺍﻳﺔ‪ ،‬ﻭﺇﻥ ﺣﺴﺒﺖ ﺩﻻﻻﺕ ﺍﻟﺘﻜﺮﺍﺭ ﺃﺟﺪﲏ ﺃﺩﺭﺳﻬﺎ ﰲ ﻧﻄﺎﻕ ﺍﳌﻔﻬﻮﻡ ﺍﻷﺷﻤﻞ‬ ‫ﳎﺮﺩ ﺍﻷﱂ ﺍﻟﻌﻀﻮﻱ ﺍﻟﺬﻱ ﻳﻌﺘﱪ ﻣﺄﻟﻮ ﹰﻓﺎ ﻋﻨﺪ ﺃﺻﺤﺎﺏ ﺍﳌﻬﻦ ﺍﻟﺘﻲ ﺗﺘﻄ ﹼﻠﺐ ﻣﻬﻨﺘﻬﻢ ﺟﻬﺪﹰ ﺍ‬ ‫ﻣﻦ ﹼ‬

‫ﺍﻟﺒﺤﺎﺭﺓ‪ ،‬ﻭﻟﻜﻨﻲ ﱂ ﺃﺟﺪ‬ ‫ﺟﺴﺪ ﹼﻳﺎ ﻛﺒ ﹰ‬ ‫ﲑﺍ‪ ،‬ﻣﺜﻞ ﺍﻟﻮﻗﻮﻑ ﺍﻟﻄﻮﻳﻞ‪ ،‬ﻭﲪﻞ ﺍﻷﺷﻴﺎﺀ ﺍﻟﺜﻘﻴﻠﺔ‪ ،‬ﻛﺤﺎﻝ ﹼ‬

‫ﺃﲢﻮﻝ ﺇﱃ ﻣﻔﻬﻮﻡ ﺍﳊﻤﻮﻻﺕ ﺍﻟﻨﻔﺴﻴﺔ‪،‬‬ ‫ﺍﻟﺸﻜﻮ￯ ﻋﻨﺪ ﻏﲑ ﺍﻟﺴﺎﺭﺩ ﻣﻦ ﻓﺮﻳﻖ ﺍﻟﻌﻤﻞ! ﻟﺬﻟﻚ ﹼ‬ ‫ﻓﺎﻟﺴﺎﺭﺩ ﳛﻤﻞ ﺫﺍﺗﻪ ﺑﻜﻞ ﺃﺛﻘﺎﳍﺎ‪ ،‬ﻣﻀﺎ ﹰﻓﺎ ﺇﻟﻴﻬﺎ ﺛﻘﻞ )ﺍﻵﺧﺮ(! ﺍﻟﺬﻱ ﻋﺎﺵ ﻓﻴﻪ ﻣﻨﺬ ﻛﺎﻥ ﰲ‬ ‫ﺍﻟﺴﺎﺩﺳﺔ ﻣﻦ ﻋﻤﺮﻩ‪ ،‬ﻭﺇﻥ ﻛﺎﻥ ﻟﻨﺎ ﺃﻥ ﻧﻘﻮﻝ ﻋﻦ ﻫﺬﺍ ﺍﻵﺧﺮ ﺃﻧﻪ )ﻗﺮﻳﻦ( ﻟﻨﺪﺧﻞ ﰲ ﺍﳌﻴﺘﺎﻓﻴﺰﻳﻘﺎ‪،‬‬ ‫ﻧﻌﺮﻑ ﺃﻧﻪ ﺛﻘﻴﻞ ﺟﺪ‪ h‬ﺍ‪ ،‬ﻳﺮﺧﻲ ﺑﺤﻤﻮﻟﺘﻪ ﻋﲆ ﺍﻟﻨﻔﺲ ﻭﺍﳉﺴﺪ‪ ،‬ﻗﺪ ﻳﻜﻮﻥ ﻟﻠﻌﻠﻢ ﺍﻟﺒﺎﺭﺍﺳﻴﻜﻮﻟﻮﺟﻲ‬ ‫ﹰ‬ ‫ﳎﺎﻻ‬ ‫ﻭﺍﺳﻌﺎ ﻟﻠﺨﻮﺽ ﰲ ﺫﻟﻚ ﺍﳌﻮﺿﻮﻉ‪.‬‬ ‫ﹰ‬

‫ ﻛﻨﺖ ﺃﺭﺗﻘﻲ ﺍﻷﱂ‪ ،‬ﻋﲆ ﺍﻟﺒﺤﺮ ﺟﺒﻴﻨﻲ ﺍﻟﺸﺎﺣﺐ ﺍﻷﺳﻤﺮ ﻧﻘﺶ ﺻﻮﺭﺓ ﺃﰊ‪ ،‬ﺃﺷﻌﺮ ﰲ ﻋﻴﻨﻲ‬‫ﺣﺮﻗﺔ ﻭﻳﺪﺍﻱ ﺁﳌﺘﺎﲏ‪ ...،‬ﻭﺣﻴﺪﹰ ﺍ ﻣﺜﻞ ﺍﻟﻔﺠﺮ ﺃﺭﺣﻞ ﻭﺃﻋﻮﺩ ﻭﺣﻴﺪﹰ ﺍ‪ ،‬ﺣﻈﻲ ﺍﻟﻨﻜﺪ ﺻﺎﺭ‬

‫ﻳﺒﻜﻴﻨﻲ‪ ،‬ﴏﺕ ﺃﺑﻜﻲ ﰲ ﺣﻴﺎﺀ‪ ،‬ﺃﺳﻤﻊ ﺻﻮﰐ ﻭﻻ ﺃﺳﻤﻊ ﺍﻟﺮﺛﺎﺀ‪ ،‬ﻻ ﺳﻮﺍﺩ ﻭﻻ ﺣﺘﻰ‬ ‫ﻋﻼﻣﺎﺕ ﺣﺪﺍﺩ‪.‬‬

‫ ﱂ ﺃﻣﺘﻠﻚ ﻧﻔﴘ‪ ،‬ﺍﳌﻮﺕ ﻭﺍﳊﻴﺎﺓ ﺗﻮﺟﻌﺎﲏ ﺑﻘﺪﺭ ﻣﺘﺴﺎ ﹴﻭ‪ .‬ﻭﺍ ﺣﴪﺗﺎﻩ! ﻛﻠﺘﺎﳘﺎ ﻏﺮﺑﺔ ﻭﺃﻧﺎ‬‫ﺍﳊﻘﻴﻘﺔ ﺑﻴﻨﻬﲈ‪.‬‬

‫‪٨٣‬‬

‫]÷‪VÌπ^£]<l]Ñ‬‬ ‫ﺗﻄﻔﻮ ﻋﲆ ﺳﻄﺢ ﺍﻟﺸﻌﻮﺭ ﻋﻨﺪ ﺍﻟﺴﺎﺭﺩ ﻣﺜﺎﺭ ﹰﺓ ﺑﻌﺘﺒﺔ ﲨﺎﻝ‪:‬‬ ‫)ﻛﺎﻧﺖ ﺍﻟﻄﻴﻮﺭ ﺗﺼﺪﺭ ﺃﺻﻮﺍ ﹰﺗﺎ ﺗﺸﺒﻪ ﹸ‬ ‫ﺍﻟﻘ ﹶﺒﻞ‪ ،‬ﻣﻦ ﺑﻌﻴﺪ‬ ‫ﳌﺤﺖ ﺍﻟﺸﻔﻖ ﺍﻷﲪﺮ ﻛﻴﻒ ﻳﺸﻖ‬ ‫ﹸ‬ ‫ﹰ‬ ‫ﺧﻠﻴﻄﺎ ﻣﻦ ﻧﺴﺎﺋﻢ ﺑﺎﺭﺩﺓ‬ ‫ﻭﻣﻮﺟﺎ ﻳﺄﻣﻞ ﻭﺻﻮﻝ ﺣﻠﻜﺔ ﺍﻟﻠﻴﻞ ‪ ...‬ﺍﻟﺮﻳﺢ ﲢﻤﻞ‬ ‫ﻧﺎﻓﺬﺓ ﺍﻟﺴﲈﺀ‪،‬‬ ‫ﹰ‬

‫ﻳﺜﲑ ﺟﻨﻮﻥ ﺍﻟﺸﺎﻋﺮ‪ ،‬ﻣﺮﺓ ﺃﺧﺮ￯‬ ‫ﻛﻨﺖ ﺃﻋﺮﻑ ﺃﻧﻪ ﺍﻟﻐﺰﻝ‪ ،‬ﻭﻟﻴﺲ ﱄ‬ ‫ﳘﺴﺖ ﰲ ﺃﺫﻥ ﺍﻟﺸﻌﺮ‪ ،‬ﻭ ﹸ‬ ‫ﹸ‬ ‫ﺍﳊﺐ ﹼﺇﻻ ﻋﺒﻮﺭ ﺍﳌﺴﺘﺤﻴﻞ‪ ،‬ﻓﺎﻟﻐﻨﺎﺀ ﰲ ﺯﻣﻦ ﺍﳊﺮﻭﺏ ﺑﻄﻮﻟﺔ‪ ،‬ﻣﺜﻞ ﺣﺸﺪ ﺍﻟﻨﻮﺍﺭﺱ ﻏﻨﻴﺖ‪،‬‬ ‫ﻣﻦ ﹼ‬

‫ﻛﻨﺖ ﺃﺣﻠﻢ؟‬ ‫ﺗﺪﺣﺮﺟﺖ ﺍﳊﻴﺎﺓ ﺃﻣﺎﻣﻲ ﺭﺍﻓﻀﺔ ﻣﻨﺎﻏﺎﺓ ﺣﺰﲏ‪ ،‬ﻋﺰﻑ ﺍﻟﻘﻠﺐ ﻧﻮﺗﺔ ﺷﻮﻕ ﻭﺫﺍﻛﺮﺓ؟ ﹸ‬ ‫ﺍﳍﻢ ﻭﺍﻻﻧﻜﺴﺎﺭ‪ ،‬ﻭﻟﻌ ﹼﻠﻪ ﺍﻟﺴﺒﺐ ﺍﻷﺳﺎﺱ ﰲ‬ ‫ﻭﺇﻥ‪...‬؟ ﻟﻘﺪ ﻛﺎﻥ ﺍﻷﻓﻖ ﳜ ﹼﻠﺺ ﺍﻟﺬﺍﺕ ﺍﳊﺎﳌﺔ ﻣﻦ ﹼ‬

‫ﺍﻧﺘﻘﺎﻻﺕ ﺍﻹﻧﺴﺎﻥ ﺇﱃ ﺍﳋﻴﺎﻝ‪ ،‬ﺇﺫ ﱂ ﻳﻜﻦ ﺑﻮﺳﻌﻲ ﺇﻻ‬ ‫ﺍﻟﺘﺨﻴﻞ؟ ﻭﻟﻜﻦ ﺍﻟﺸﻌﻮﺭ ﺑﺎﳉﲈﻝ ﻻ ﻳﺘﻴﺢ‬ ‫ﹼ‬

‫ﱄ ﺍﻟﺘﺨﲇ ﻋﻦ ﺭﺅﻳﺔ ﺍﻟﺒﺤﺮ ﻓﻬﻮ ﻣﻌﻠﻤﻲ‪ ،‬ﻓﻬﻮ ﻓﺴﻴﺢ ﻟﻠﺨﻼﺹ ﻣﻦ ﺿﻐﻮﻃﺎﺕ ﺍﻟﻮﺍﻗﻊ(‪.‬‬ ‫]÷‪<VÌ◊ÀŞ÷]<l]Ñ‬‬

‫ﻣﺜﺎﺭﺓ ﻋﻨﺪ ﺍﻟﻘﺪﻭﻡ ﺇﱃ ﺍﻟﻮﻃﻦ‪ ،‬ﻭﻋﻨﺪ ﺍﳊﻨﲔ ﻭﺍﻟﻌﺸﻖ ﻭﺍﻻﺷﺘﻴﺎﻕ ﻟﺮﺍﺋﺤﺔ ﺍﻷﻳﺎﻡ ﺍﻷﻭﱃ‪،‬‬

‫ﲣﺮﺝ ﺣﺰﻳﻨﺔ ﺭﻏﻢ ﺍﻟﻠﻌﺐ ﻭﺍﻟﺼﻴﺎﺡ ﻭﺍﻟﻀﺤﻜﺎﺕ‪ ،‬ﻣﻦ ﻋﻤﻖ ﺍﻟﺬﺍﺕ ﻣﱰﺍﻓﻘﺔ ﻣﻊ ﺍﳊﺪﻳﺚ ﻋﻦ‬ ‫ﺍﻷﻣﺎﻥ ﻭﺍﳊﺮﻳﺔ‪ ،‬ﹼ‬ ‫ﺗﻌﻜﺮﻫﺎ ﺳﲑﺓ ﺍﳊﺮﺏ ﺍﻟﺘﻲ ﳛﻜﻴﻬﺎ ﻟﻪ ﻧﺼﻔﻪ ﺍﻵﺧﺮ ﻣﻮ ﹼﺛ ﹰﻘﺎ ﻓﻴﻬﺎ ﺃﻋﺪﺍﺩ ﺍﻷﻃﻔﺎﻝ‬

‫ﺍﳌﺬﺑﻮﺣﺔ‪.‬‬

‫)ﺫﺍﻛﺮﺓ ﻟﺬﻳﺬﺓ ﻛﺎﻧﺖ ﻓﻴﻬﺎ ﺍﻟﺸﻤﺲ ﺗﺸﺒﻪ ﺍﻟﻮﺷﺎﺡ ﺍﻷﺻﻔﺮ‪ ... ،‬ﻃﻔﻮﻟﺔ ﺗﻴ ﹼﺘﻤﺖ ﻭﻻ ﲡﺪ‬

‫ﲤﺮ ﻣﻦ ﺃﻣﺎﻡ ﺑﺮﺍﻋﻢ ﻛﺎﻥ ﻳﻤﻜﻦ ﳍﺎ ﺃﻥ‬ ‫ﺳﺒ ﹰﺒﺎ ﻟﺘﻔﺴﲑ ﺗﴫﻓﺎﲥﺎ‪ ،‬ﺑﻄﺮﻳﻘﺔ ﻏﲑ ﺍﻋﺘﻴﺎﺩﻳﺔ ﺗﺸﻌﺮ ﺃﻧﻚ ﹼ‬ ‫ﹰ‬ ‫ﺗﻨﻤﻮ ﻟﺘﻜﱪ ﲢﺖ ﺷﺠﺮﺓ ﺍﳊﻴﺎﺓ‪ ،‬ﺗﻌﻄﻲ ﺛﲈﺭﻫﺎ ﻳﻮ ﹰﻣﺎ ﻛﺎﻥ ﻳﺒﺪﻭ ﻗﺮﻳ ﹰﺒﺎ‪ ،‬ﻟﻜﻨﻚ ﺗﺮ￯ ﺍﳊﺰﻥ‬ ‫ﻣﻨﻘﻮﺷﺎ‬ ‫ﻭﺍﺿﺤﺎ‪.‬‬ ‫ﻋﲆ ﺃﺩﻳﻤﻬﺎ ‪ -‬ﺭﻏﻢ ﺗﻜﺮﺍﺭ ﺍﻟﺼﻴﺎﺡ ﰲ ﺍﻟﻠﻌﺐ ﻣﺼﺤﻮ ﹰﺑﺎ ﺑﺎﻟﻀﺤﻜﺎﺕ – ﻛﺎﻥ‬ ‫ﹰ‬ ‫ ﻫﺎ ﻫﺎ ﻫﺎ ﻫﺎ‬‫ ﺍﺳﻜﺖ‬‫ﻓﻘﺪﺕ ﺍﻟﻄﻔﻮﻟﺔ(‪.‬‬ ‫ ﻣﻦ ﺍﳌﻬﺪ‬‫ﹶ‬

‫‪٨٤‬‬

‫]÷‪<VÌœ◊œ÷]<l]Ñ‬‬ ‫ﻛﺎﻧﺖ ﺗﻈﻬﺮ ﻣﻊ ﻛﻞ ﻏﺮﻭﺏ ﻳﻌﻠﻦ ﳖﺎﻳﺔ ﺍﻷﺷﻴﺎﺀ‪:‬‬ ‫ﹼ‬ ‫)ﰲ ﻛﻞ ﻟﻴﻠﺔ ﻣﻦ ﺍﻷﺭﻕ ﺍﻷﺟﻮﻑ‬ ‫ﺍﳌﺘﺠﺬﺭ ﰲ ﻧﻔﴘ ﺯﻣﻦ ﻳﺘﻄﺎﻭﻝ ﻋﲆ ﺣﺮﻭﰲ ﺍﻟﺜﻼﺛﺔ‪،‬‬

‫ﻛﻨﺖ‬ ‫ﺧﺎﺿﻌﺎ ﻟﻪ ﺩﻭ ﹰﻣﺎ‪ ،‬ﺩﻭﻧﲈ ﺗﻔﻜﲑ ﻛﺎﻥ ﺍﻟﺸﺤﻮﺏ ﳑﺎ ﺃﻣﺎﺭﺳﻪ ﻳﺮﻏﺐ ﰲ ﺍﻟﺘﺠﺪﺩ ﺑﻌﺪ ﻣﻨﺘﺼﻒ‬ ‫ﹰ‬ ‫ﺍﻟﻠﻴﻞ‪ ،‬ﻋﺐﺀ ﺍﻟﺰﻣﻦ ﻳﺄﰐ‪ ،‬ﺗﺮﺍﻛﻢ ﺍﻷﻳﺎﻡ ﺍﳌﺎﺿﻴﺔ ﺗﻨﺴﺎﺏ ﺇﱃ ﺍﻟﺬﻫﻦ ﻟﻴﻨﺔ‪ ،‬ﺍﻻﻧﺘﺴﺎﺏ ﻟﺸﺨﺺ‬

‫ﻳﻐﲑ ﺍﳌﺮﺀ ﻣﻦ‬ ‫ﺃﻭ ﳾﺀ ﻣﻔﻘﻮﺩ‪ ،‬ﻳﻮﻗﻆ ﺍﻟﺒﺤﺮ‪ ،‬ﺍﻷﺭﺽ‪ ،‬ﺍﻟﺼﺨﻮﺭ‪ ،‬ﺍﻟﻨﺎﺭ‪ ،‬ﺍﳍﻮﺍﺀ‪ ،‬ﺑﻔﺰﻉ ﹼ‬ ‫ﻣﻌﲔ ﹼ‬ ‫ﺻﺪﺍﻗﺎﺗﻪ ﻣﻊ ﺍﻟﻘﺪﺭ‪ ،‬ﻧﺴﻴﺖ ﺍﻟﻮﻗﺖ‪ ،‬ﺣﻨﲔ ﳞﺪﺭ ﻭﺿﺠﻴﺞ ﺍﻧﺘﻈﺎﺭ ﻳﻠﺘﻬﲈﻥ ﺃﺣﻼﻡ ﻧﻔﴘ‬

‫ﺍﳌﻀﻄﺮﺑﺔ‪ ... ،‬ﻋﻼﻗﺘﻲ ﻣﻊ ﺟﺴﺪﻱ ﺷﺎﺣﺒﺔ‪ ،‬ﻭﺻﻮﺏ ﺭﻭﺣﻲ ﻋﺰﻟﺔ ﻃﻮﻳﻠﺔ‪.‬‬ ‫]÷‪<VÌœç^√÷]<l]Ñ‬‬ ‫ﺍﻟﺘﻲ ﻋﺸﻘﺖ ﺳﺎﻟﻮ ﺍﻟﺴﻮﺭﻳﺔ‪ ،‬ﻟﻜﻨﻬﺎ ﹼ‬ ‫ﲣﻄﺘﻬﺎ ﺇﱃ ﻣﺮﺍﻓﺊ ﺃﺧﺮ￯‪:‬‬

‫)‪ ...‬ﺃﻛﻤﻞ ﺍﳌﺸﻮﺍﺭ ﺻﻌﻮ ﹰﺩﺍ ﺇﱃ ﺣﺪﻗﺎﺕ ﻋﻴﻨﻴﻬﺎ‪ ،‬ﰲ ﺟﻮ ﳛﻴﻄﻨﻲ ﺑﺎﳊﻴﺎﺀ ﻣﺮﺓ ﻭﺑﺎﻟﺮﻏﺒﺎﺕ‬

‫ﻣﺮﺍﺕ ﻛﺜﲑﺓ ﺇﱃ ﺍﻟﻌﻨﺎﻕ‪ ،‬ﻛﻨﺖ ﻣﻐﻤﺾ ﺍﻟﻌﻴﻨﲔ ﺃﻗﺒﻞ ﺗﻀﺎﺭﻳﺲ ﺟﺴﻤﻬﺎ ﻭﻻ ﺃﺷﺒﻊ‪ ،‬ﺍﺧﺘﻔﺖ‬

‫ﺳﺎﻟﻮ ﻣﻨﺬ ﺳﻨﲔ ﻭﺗﻼﺷﻰ ﻣﻌﻬﺎ ﺍﻟﻌﻄﺮ ﻭﺍﻟﻐﺮﻭﺭ‪ ،‬ﻭﺑﻘﻴﺖ ﻭﺣﺪﻱ ﻳﺪﻫﺸﻨﻲ ﺍﳌﺄﻟﻮﻑ ﰲ ﺣﻀﻮﺭﻱ‬

‫ﳊﻈﺔ ﻟﺒﺴﻨﻲ ﺍﻟﻠﻮﻥ ﺍﻷﺑﻴﺾ ‪.(...‬‬

‫ﻭﺻﻠﺖ ﺗﻠﻚ ﺍﻟﺬﺍﺕ ﺇﱃ ﻓﺮﻧﺴﺎ‪ ،‬ﺇﱃ "ﺳﻤﺮﺍﺀ" ﻭﻫﻮ ﺍﺳﻢ ﺃﻃﻠﻘﻪ ﻋﲆ ﺣﺴﻨﺎﺋﻪ ﺍﻟﻔﺮﻧﺴﻴﺔ‬

‫ﺭﻣﺰﺍ ﻗﺪ ﻳﻔﻘﺪ ﻫﺎﻟﺘﻪ ﻋﻨﺪ ﺗﺴﻤﻴﺘﻪ‪ ،‬ﻋﺸﻘﻬﺎ ﻋﻨﺪﻣﺎ ﻛﺎﻥ‬ ‫ﻭﺃﴏ ﻋﲆ ﻋﺪﻡ ﺫﻛﺮ ﺍﺳﻤﻬﺎ‪ ،‬ﻛﻲ ﻳﺒﻘﻴﻬﺎ ﹰ‬ ‫ﹼ‬

‫ﺑﺎﻟﻌﴩﻳﻦ ﻣﻦ ﻋﻤﺮﻩ‪ ،‬ﻭﻳﻮﻡ ﻃﻠﺒﺖ ﻣﻨﻪ ﺃﻥ ﻳﱰﻙ ﺍﻟﺒﺤﺮ ﻭﻳﺒﻘﻰ ﻣﻌﻬﺎ ﻟﻸﺑﺪ ﱂ ﻳﺴﺘﻄﻊ ﺃﻥ ﻳﻜﺬﺏ‬

‫ﻋﻠﻴﻬﺎ‪ ،‬ﻓﺎﻟﺒﺤﺮ ﻣﻬﻨﺘﻪ ﺍﻟﺘﻲ ﳛﺐ‪ ،‬ﻟﻜﻨﻪ ﻭﻋﺪﻫﺎ ﺃﻥ ﻧﻜﻮﻥ ﻣﻴﻨﺎﺀﻩ ﺍﻷﺧﲑ‪ ،‬ﻳﻮﻣﻬﺎ ﺑﻜﺖ ﻭﻗﺎﻟﺖ‪:‬‬ ‫"ﺃﺭﻳﺪﲏ ﺍﻷﻭﱃ"‪ ،‬ﻭﺑﻘﻴﺖ ﺗﻨﺘﻈﺮ ﻋﲆ ﻭﻋﺪ ﺃﺑﱰ‪:‬‬

‫ﳌﺨﻴﻠﺘﻲ ‪ ..‬ﺗﺸﻜﻠﺖ‬ ‫ﻣﻘﻴﺪﹰ ﺍ ﹼ‬ ‫)ﺭﺃﻳﺘﻨﻲ ﺃﺿﺤﻚ ﻭﺃﻧﺎ ﺃﻛﺮﺭ "ﺳﻤﺮﺍﺀ"‪ ،‬ﺑﻌﺪ ﺩﻗﺎﺋﻖ ﻭﺟﺪﺗﻨﻲ ﹼ‬

‫ﺃﻣﺎﻣﻲ ﻭﺃﻧﺎ ﲢﺖ ﻣﺮﺵ ﺍﳌﺎﺀ ﺍﻟﺴﺎﺧﻦ ﺣﺒﻴﺒﺘﻲ ﺍﻟﻌﺎﺭﻳﺔ ﻻﻣﻌﺔ ﻣﺒﺘﻬﺠﺔ‪ ،‬ﻛﺎﻥ ﻭﺟﻬﻬﺎ ﺍﻷﺳﻤﺮ‬

‫ﺑﻨﻜﻬﺔ ﺍﻟﻐﺮﺏ ﻳﲈﺭﺱ ﺍﻟﻌﺸﻖ ﻋﲆ ﺟﺴﻤﻲ‪ ،‬ﻛﲈ ﻭﻗﻔﺖ ﻋﻨﺪﻫﺎ ﺃﻭﻝ ﻣﺮﺓ ﺗﺮﻛﺘﻨﻲ ﺃﻣﺎﺭﺱ ﻃﻘﻮﺱ‬

‫‪٨٥‬‬

‫ﻣﻄﻮﺍﻋﺎ ﰲ ﻣﺰﺍﺟﻴﺔ ﻋﺎﻟﻴﺔ ﺃﺗﻠﺬﺫ ﺑﻄﻌﻢ ﺍﻟﻘﺒﻠﺔ ﺍﻷﻭﱃ‬ ‫ﺍﻻﻧﺘﻈﺎﺭ‪ ،‬ﻭﺃﻋﻴﺪ ﺣﺮﻛﺎﰐ ﺍﻟﺬﻛﻮﺭﻳﺔ ﺑﺎﻣﺘﻴﺎﺯ‬ ‫ﹰ‬

‫ﹰ‬ ‫ﻣﻨﺤﺎﺯﺍ ﺇﱃ ﻟﻐﺔ ﺍﳍﻤﺲ‪ ،‬ﺃﻛﺘﺐ ﻭﺍﳊﴪﺓ‬ ‫ﻋﲆ ﺻﺪﺭﻱ ﺍﻟﻌﺎﺭﻱ ﻣﺜﻞ ﻧﺨﺐ ﻻ ﻳﻜﺮﺭﻧﻔﺴﻪ ﻛﻨﺖ‬ ‫ﺗﺒﺎﻋﺎ‪ ،‬ﻛﻨﺖ ﺃﻋ ﹼﻠﻖ ﻣﺎ‬ ‫ﺗﺄﺧﺬ ﺍﻟﻠﺤﻦ ﻣﻨﻲ‪ ،‬ﻣﺜﻞ ﻓﺎﻛﻬﺔ ﻃﺎﺯﺟﺔ ﻛﺎﻧﺖ ﺗﻘﺒﻠﻨﻲ ﻭﺗﺮﺗﺐ ﺍﻟﺮﻏﺒﺎﺕ ﹰ‬ ‫ﺗﺒﻘﻰ ﻣﻨﻲ ﻋﲆ ﺷﻌﺮﻫﺎ‪ ،‬ﰲ ﺍﻧﺤﻨﺎﺀﲥﺎ ﺍﳌﺘﻜﺮﺭﺓ ﻛﻨﺖ ﺃﺷﺪﻫﺎ ﱄ ﺑﻘﻮﺓ ﺍﻷﻣﻮﺍﺝ‪ ،‬ﻭﺩﻭﻥ ﺗﻌﻠﻴﻖ‬

‫ﹸﻳﺬﻛﺮ ﻛﺎﻧﺖ ﻣﻜﺘﻈﺔ ﺑﺎﻟﻘﺒﻮﻝ(‪.‬‬

‫]÷‪<VÌËÖÁŞâ˘]Ê<ÌÈÊ]ܧ]<l]Ñ‬‬ ‫ﺭﺣﻠﺔ ﻣﻊ ﻧﺠﻼﺀ ﺍﻟﺴﻜﻨﺪﺭﺍﻧﻴﺔ ﺇﱃ ﺍﻷﻫﺮﺍﻣﺎﺕ‪ ،‬ﺟﻌﻠﺘﻪ ‪ -‬ﻣﻊ ﺍﻵﺧﺮ ‪ -‬ﻳﻐﻮﺹ ﰲ ﻋﺎﱂ‬ ‫ﺍﳋﺮﺍﻓﺔ‪ ،‬ﻳﱰﻛﻪ ﺍﻵﺧﺮ ﻭﻫﻮ ﺷﺒﻪ ﻋﺎﺭ‪ ،‬ﺧﺎﺋ ﹰﻔﺎ ﻣﻦ ﺛﻮﺭ ﻛﺒﲑ ﺍﳊﺠﻢ ﻟﻮﻧﻪ ﺃﺳﻮﺩ‪ ،‬ﻭﺑﲔ ﻗﺮﻧﻴﻪ‬

‫ﺍﻟﻄﻮﻳﻠﲔ ﺷﻤﺲ ﺗﺸﲑ ﺇﻟﻴﻪ‪ ،‬ﳛﺎﻭﻝ ﺍﻻﺻﻄﺪﺍﻡ ﺑﻪ‪:‬‬

‫ﻧﺎﺭﺍ ﻳﺜﲑ ﺍﻟﻐﺒﺎﺭ ﻣﻦ ﺧﻠﻔﻪ‪ ،‬ﻭﰲ ﻫﺬﻩ ﺍﻷﺛﻨﺎﺀ‬ ‫"ﻛﺎﻥ ﺍﻟﺜﻮﺭ ﺍﻷﺳﻮﺩ ﻳﺪﻓﻊ ﻣﻦ ﻣﻨﺨﺮﻳﻪ ﹰ‬

‫ﺍﺧﺘﻔﻰ ﻧﺼﻔﻲ ﺍﻵﺧﺮ! ﻭﻗﺪ‬ ‫ﻟﻌﻨﺖ ﺍﻟﻠﺤﻈﺔ ﺍﻟﺘﻲ ﺃﺩﺧﻠﺘﻨﻲ ﻫﺬﺍ ﺍﳌﻜﺎﻥ ﺍﻟﺬﻱ ﻻ ﺃﻋﺮﻑ ﻛﻴﻒ‬ ‫ﹸ‬ ‫ﻭﳌﺎﺫﺍ ﴏﺕ ﻓﻴﻪ ﺍﻟﻄﺮﻳﺪ ﺍﻟﻮﺣﻴﺪ ﻭﺳﻂ ﻫﺬﻩ ﺍﻟﺼﺤﺮﺍﺀ ﺍﻟﻜﱪ￯! ﺻﺎﺭ ﺣﺎﱄ ﻣﻴﺆﻭﺱ ﻣﻨﻪ‪،‬‬

‫ﺃﻛﺮﺭ ﺍﻟﺼﻴﺎﺡ‪ :‬ﺃﻳﻨﻚ؟‬ ‫ﺃﺧﺎﻑ ﺍﳌﻮﺕ ﻭﺣﻴﺪﹰ ﺍ ﰲ ﻣﻜﺎﻥ ﻻ ﺃﻋﺮﻑ ﺑﻪ ﺃﺣﺪﹰ ﺍ ﻭﻻ ﻳﻌﺮﻓﻨﻲ ﺃﺣﺪ‪ ،‬ﹼ‬

‫ﺳﻘﻄﺖ ﻋﲆ ﻭﺟﻬﻲ‪،‬‬ ‫ﻻ ﺃﺣﺪ ﻳﺮ ﹼﺩ ﺳﻮ￯ ﺍﻟﺼﺪ￯‪ ،‬ﻳﺄﺗﻴﻨﻲ ﻣﻦ ﺍﳋﻠﻒ ﻣﺎ ﻳﺸﺒﻪ ﺍﻟﻨﻔﺦ ﰲ ﺍﻟﻨﺎﺭ‪،‬‬ ‫ﹸ‬

‫ﻭﺑﻌﺪ ﺟﻬﺪ ﻣﻦ ﺍﺳﺘﺠﲈﻉ ﺍﻟﻨﻔﺎﺱ‪،‬‬ ‫ﺛﻢ‬ ‫ﹸ‬ ‫ﺣﺎﻭﻟﺖ ﺍﻟﻨﻬﻮﺽ‪ ،‬ﻟﻜﻨﻲ ﻋﺠﺰﺕ‪ .‬ﺃﺫﻛﺮ ﺃﲏ ﴏﺧﺖ‪ ،‬ﹼ‬ ‫ﻛﻨﺖ ﰲ ﻣﻜﺎﻥ ﺗﺮﻏﺐ ﺍﻟﺘﻮﺍﺟﺪ ﻓﻴﻪ‪.‬‬ ‫ﺳﻤﻌﺖ‪ :‬ﹶ‬ ‫]÷‪V̜Ȁ√÷]<ÌÈ◊È◊vj÷]<l]Ñ‬‬

‫ﻃﺮﺡ ﺍﻟﻜﺎﺗﺐ ﻣﻮﺿﻮﻉ ﺍﳉﻨﺲ ﻛﻮﺿﻊ ﺍﺟﺘﲈﻋﻲ‪ ،‬ﻭﻛﻮﺿﻊ ﻧﻔﴘ‪ ،‬ﻭﻛﺤﺎﻟﺔ ﻣﺮﺿﻴﺔ‬ ‫ﺗﺴﺘﺪﻋﻲ ﺍﻟﻌﻼﺝ‪ ،‬ﲡﺎﻭﺯ ﺍﻟﻨﻈﺮﺓ ﺍﳌﺘﺤﻔﻈﺔ ﻟﻠﺠﻨﺲ‪ ،‬ﻟﻜﻨﻪ ﰲ ﺫﺍﺕ ﺍﻟﻮﻗﺖ ﱂ ﻳﺘﻜ ﹼﻠﻢ ﻋﻨﻪ‬

‫ﻧﺼﺎ ﻋﺮﺽ ﻓﻴﻪ ﻟﻠﺠﻨﺲ‬ ‫ﺑﻤﺒﺎﴍﺓ ﺃﻭ ﺑﻔﺤﺶ‪ ،‬ﻭﺇﻧﲈ ﺑﺘﻠﻤﻴﺤﺎﺕ ﻋﻤﻴﻘﺔ‪ ،‬ﻭﺇﺷﺎﺭﺍﺕ‪ ،‬ﻋﻨﺪﻣﺎ ﺳﺎﻕ ﹰ‬

‫ﺑﺄﻭﺿﺎﻋﻪ ﺍﻟﺜﻼﺛﺔ‪ ،‬ﻗﺼﺔ ﻛﺎﻥ ﻗﺪ ﻛﺘﺒﻬﺎ ﻳﻮ ﹰﻣﺎ ﻋﻦ ﺭﺟﻞ ﻓﻘﺪ ﺭﺟﻮﻟﺘﻪ ﻓﺠﺄﺓ ﰲ ﻟﻴﻠﺔ ﺯﻓﺎﻓﻪ‪ ،‬ﻓﺼﺎﺭ‬ ‫ﻻ ﳜﺮﺝ ﻣﻊ ﺯﻭﺟﺘﻪ ﺃﻣﺎﻡ ﺍﻟﻨﺎﺱ‪ ،‬ﻭﻳﺮﻓﺾ ﺍﻟﻀﻴﻮﻑ ﻭﺯﻳﺎﺭﺓ ﺍﻷﻃﺒﺎﺀ‪ ،‬ﻓﺼﺎﺭ ﻣﻌﺠﻮ ﹰﻧﺎ ﺑﺎﻟﺸﻚ‬

‫ﺣﻮﻝ ﺣﻴﺎﺗﻪ ﺇﱃ ﺟﺤﻴﻢ‪ ،‬ﻣﺎ ﺟﻌﻠﻪ ﻳﻔﻜﺮ ﺑﺎﻻﻧﺘﺤﺎﺭ‪ ،‬ﻭﻟﻜﻦ ﺣﻜﻤﺔ ﺍﻟﺰﻭﺟﺔ ﻭﺻﱪﻫﺎ‬ ‫ﺍﻟﺬﻱ ﹼ‬

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‫ﺣﺎﻻ ﺑﻴﻨﻪ ﻭﺑﲔ ﺫﻟﻚ‪ ،‬ﺗﻠﻚ ﺍﻟﺰﻭﺟﺔ ﻓﻘﺪﺕ ﺫﺍﻙ ﺍﻟﺼﱪ ﻳﻮ ﹰﻣﺎ‪ ،‬ﰲ ﻣﻮﺍﺟﻬﺔ ﺇﺣﺪ￯ ﺍﳌﺸﺎﻛﻞ ﺍﻟﺘﻲ‬ ‫ﻛﺎﻥ ﺍﻟﺰﻭﺝ ﻳﺘﻔﻨﻦ ﰲ ﺍﺑﺘﻜﺎﺭﻫﺎ‪ ،‬ﻭﻛﺎﻥ ﹼ‬ ‫ﺟﻞ ﹼ‬ ‫ﳘﻪ ﺃﻻ ﺗﺘﻨﺎﻭﻟﻪ ﺃﻗﺎﻭﻳﻞ ﺍﻷﻗﺮﺑﺎﺀ‪ ،‬ﺍﻟﺰﻭﺟﺔ ﻭﺟﺪﺕ‬

‫ﺍﻟﻮﻗﺖ ﻣﻨﺎﺳﺒﺎ ﻟﻠﻤﺤﺎﺳﺒﺔ‪ ،‬ﻓﻮﻗﻔﺖ ﺗﺬﻛﺮﻩ ﺑﻌﺠﺰﻩ‪ ،‬ﺩﻭﻥ ﺃﻥ ﺗﺸﻜﻮ ‪h‬‬ ‫ﳘﺎ ﺃﻭ ﺗﺬﻛﺮ ﺍﻟﻄﻼﻕ‪ ،‬ﻓﻘﻂ‬ ‫ﻃﻔﺖ ﻓﻮﻕ ﳘﻮﻣﻬﺎ‪ ،‬ﻭﺃﻋﻠﻤﺘﻪ ﺃﳖﺎ ﺃﻓﻀﻞ ﻣﻨﻪ ﻭﺃﳖﺎ ﺗﺴﺘﻨﻜﺮ ﺃﻓﻌﺎﻟﻪ‪ ،‬ﻭﻛﺸﻔﺖ ﻟﻪ ﺑﻌﺾ ﺃﻗﺎﻭﻳﻞ‬ ‫ﺃﻫﻠﻪ ﰲ ﺣﺜﹼﻬﺎ ﻋﲆ ﻃﻠﺐ ﺍﻟﻄﻼﻕ‪:‬‬

‫ﻛﺎﻧﺖ ﻛﻤﻦ ﻳﺒﺤﺚ ﻋﻦ ﺍﳋﻼﺹ ﰲ ﻗﻮﳍﺎ‪» :‬ﻟﻘﺪ‬ ‫ﻣﻠﻠﺖ ﻣﻦ ﻣﻦ ﺷﻜﻮﻙ‬ ‫)ﺗﻠﻚ ﺍﻟﻠﻴﻠﺔ‬ ‫ﹸ‬ ‫ﹾ‬

‫ﻭﺇﳊﺎﺡ ﺃﻫﻠﻚ‪ ،‬ﱂ ﻳﺒﻖ ﱄ ﺇﻻ ﻋﻬﺪ ﻣﻨﻚ ﺃﻥ ﺗﻨﺘﻬﻲ ﻣﻦ ﺟﺮﺣﻚ ﺍﳌﺘﻜﺮﺭ ﰲ ﺷﻚ ﺃﺭﺍﻩ ﻣﻨﻚ‬

‫ﻭﺍﺿﺤﺎ ﻭﻣﻦ ﺍﳉﻤﻴﻊ ﻭﻛﺄﲏ ﺍﻣﺮﺃﺓ ﺭﺧﻴﺼﺔ ﺃﻭ ﻏﺒﻴﺔ ﺗﺘﺒﻊ ﺷﻬﻮﺍﲥﺎ‪ ،‬ﱂ ﻳﺒﻖ ﱄ ﺇﻻ ﺍﻟﺮﺟﻮﻉ ﺇﱃ‬ ‫ﹰ‬

‫ﺍﻟﻮﺭﺍﺀ ﻣﻌﻚ ﻭﺗﺬﻛﲑﻙ ﺑﻤﻦ ﻛﺎﻥ ﻟﻚ ﺍﻷﻭﰱ ﰲ ﺍﻟﴪﺍﺀ ﻭﺍﻟﴬﺍﺀ‪ ،‬ﻋﻠﻴﻚ ﺃﻥ ﺗﺘﺬﻛﺮ ﺃﻥ ﻣﺎ ﺗﻔﻌﻠﻪ‬ ‫ﻳﴬﹼ ﰊ‪ ..‬ﻭﻗﺪ ﻳﻨﻬﺎﺭ ﲢﻔﻈﻲ ﻳﻮ ﹰﻣﺎ ﻣﺎ‪ ،‬ﻭﺃﻛﻮﻥ ﻣﺎ ﻻ ﲢﺐ ﺃﻥ ﺗﻜﻮﻥ ﻓﻴﻪ ﺯﻭﺟﺘﻚ«‪.‬‬

‫ﹺ‬ ‫ﹺ‬ ‫ﺇﺭﺿﺎﺋﻚ‬ ‫ﺃﺣﺒﻚ‪ ..‬ﻭﻻ ﻗﺪﺭﺓ ﱄ ﻋﲆ‬ ‫ ﻻ ﺃﺳﺘﻄﻴﻊ ﺃﻥ ﺃﺧﻔﻲ ﻗﻠﻘﻲ‪ ..‬ﺃﻧﺎ‬‫ﺠﺰﺕ ﻋﻨﻪ؟‬ ‫ ﻭﻫﻞ ﺍﻟﺴﻌﺎﺩﺓ ﻓﻘﻂ ﻓﻴﲈ ﹶﻋ ﹶ‬‫ ﻧﻌﻢ‬‫ﻛﻨﺖ‬ ‫‬‫ﺃﺗﺼﻮﺭﻙ ﺃﺫﻛﻰ ﻣﻦ‬ ‫ﺧﻴ ﹶ‬ ‫ﹶ‬ ‫ﺒﺖ ﻇﻨﻲ ﻓﻴﻚ‪ ،‬ﹸ‬ ‫ﹼ‬ ‫ﺃﻧﺖ ﻭﺍﻫﻢ‪ ..‬ﻭﺍﺳﻤﺢ ﱄ ﺃﻥ ﺃﻗﻮﻝ ﻟﻚ ﻟﻘﺪ ﹼ‬

‫ﺫﻟﻚ‪ ،‬ﺍﻋﻠﻢ ﺃﻥ ﺍﳌﺮﺃﺓ ﻣﻨﺎ ﻻ ﲢﺐ ﺍﻟﺮﺟﻞ ﺍﻟﺬﻛﺮ ﺃﻛﺜﺮ ﻣﻦ ﺍﻟﺮﺟﻞ ﺍﻹﻧﺴﺎﻥ‪ ،‬ﻭﻷﻛﻮﻥ ﺃﻛﺜﺮ‬

‫ﺃﻧﺖ ﺗﻌﺮﻑ ﺟﻴﺪﹰ ﺍ ﺃﻥ ﻣﺪﺍﻋﺒﺎﺗﻚ ﺗﺼﻞ‬ ‫ﴏﺍﺣﺔ ﻣﻌﻚ‪ ،‬ﻧﻌﻢ ﺃﺭﻏﺐ ﺑﺎﳌﲈﺭﺳﺔ ﻣﻌﻚ‪ ،‬ﻭﻟﻜﻦ ﹶ‬

‫ﰊ ﺇﱃ ﺭﻏﺒﺘﻲ ﺍﻟﺘﺎﻣﺔ ﻭﻻ ﺃﻛﺬﺏ ﰲ ﻫﺬﺍ ﻗﻂ‪ ،‬ﻭﻻ ﺃﺗﻨﺎﺯﻝ ﻋﻨﻪ‪ ،‬ﺃﻣﺎ ﻣﺎ ﻳﺪﻭﺭ ﰲ ﺭﺃﺳﻚ ﻓﻬﻮ‬

‫ﺍﻟﺒﻌﻴﺪ ﻛﻞ ﺍﻟﺒﻌﺪ ﻋﻨﻲ‪.‬‬

‫ ﻫﺬﺍ ﻣﺎ ﺃﺳﺄﻝ ﻋﻨﻪ ﻧﻔﴘ ﺑﻌﺪ ﻛﻞ ﳑﺎﺭﺳﺔ ﹺ‬‫ﻣﻌﻚ‪.‬‬ ‫ﺣﺒﻲ ﹶ‬ ‫ﻟﻚ؟‬ ‫ ﻭﻫﻞ ﺗﻈﻨﻨﻲ ﳑﺜﻠﺔ ﰲ ﹼ‬‫ ﻻ ﺃﺩﺭﻱ‪.‬‬‫ﻗﺎﳍﺎ ﻭﻗﺪ ﺃﺧﻔﻰ ﻭﺟﻬﻪ ﺑﲔ ﻳﺪﻳﻪ ﻭﺍﻧﺘﻬﻰ ﺑﺎﻛ ﹰﻴﺎ(‪.‬‬

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‫ﹶ‬ ‫ﻋﺮﺽ ﻣﻮﺿﻮﻉ ﺍﳉﻨﺲ‬ ‫ﻓﺈ ﹰﺫﺍ‪،‬‬ ‫ﺗﻄﻮ ﹶﺭ ﻋﻨﻪ ﻭﺿﻊ‬ ‫ﻛﻤﺴﺒﺐ ﻟﻮﺿﻊ ﺍﺟﺘﲈﻋﻲ ﻗﻠﻖ ﺑﺎﻟﺒﺪﺍﻳﺔ‪ ،‬ﹼ‬ ‫ﹼ‬

‫ﻧﻔﴘ ﻣﺮﴈ ﻣﻌﻘﺪ‪ ،‬ﺍﺳﺘﺪﻋﻰ ﻣﻮﺍﺟﻬﺔ ﻻﺑﺪﹼ ﻣﻨﻬﺎ ﰲ ﺳﺒﻴﻞ ﳏﺎﻭﻟﺔ ﻓﻚ ﺍﻟﺘﺄﺯﹼ ﻡ ﺍﻻﺟﺘﲈﻋﻲ‪،‬‬

‫ﺗﻢ ﻓﻴﻬﺎ ﻛﴪ ﺟﺪﺍﺭ ﺍﻟﺼﻤﺖ ﻋﻦ ﺗﺎﺑﻮ‬ ‫ﻭﻭﻗﻒ ﺍﺳﺘﻨﺰﺍﻑ ﺍﻟﺸﻚ ﻟﻜﻼ ﺍﻟﺰﻭﺟﲔ‪ ،‬ﻣﻮﺍﺟﻬﺔ ﹼ‬

‫ﻣﻴﺰ ﻣﻦ ﺧﻼﳍﺎ‬ ‫ﺃﺳﺎﳼ ﻣﺴﻜﻮﺕ ﻋﻨﻪ ﺑﻔﻌﻞ ﺍﻟﻌﺮﻑ ﻭﺍﳋﺠﻞ‪ ،‬ﻛﺎﻧﺖ ﻓﻴﻪ ﺍﻟﺰﻭﺟﺔ ﻫﻲ ﺍﻷﺟﺮﺃ‪ ،‬ﹼ‬

‫ﺍﻟﻜﺎﺗﺐ ﺑﲔ ﺍﻟﺬﻛﻮﺭﺓ ﻭﺍﻹﻧﺴﺎﻧﻴﺔ ‪-‬ﺍﻹﻧﺴﺎﻧﻴﺔ ﺍﳌﻘﺪﹼ ﻣﺔ ﻋﲆ ﺍﻟﺬﻛﻮﺭﺓ ﻭﺍﻷﻧﻮﺛﺔ‪ -‬ﻭﺍﳌﺸﺎﻋﺮ‬ ‫ﺍﻟﺼﺎﺩﻗﺔ ﻭﺍﳌﲈﺭﺳﺎﺕ ﺍﳌﻌﱪﺓ ﻋﻨﻬﺎ‪ ،‬ﻭ ﺍ ﹸﳌﻘﺪﱠ ﻣﺔ ﻋﲆ ﺍﳉﻨﺲ ﻛﻌﻤﻠﻴﺔ‪ ،‬ﻭﻫﻲ ﻛﺎﻓﻴﺔ ﻹﺷﺒﺎﻉ ﺍﻟﺮﻏﺒﺔ‬ ‫ﺑﺤﺐ‪.‬‬ ‫ﺍﳉﻨﺴﻴﺔ‪ ،‬ﺇﻥ ﻛﺎﻧﺖ ﹸﲤ ﹶ‬ ‫ﺎﺭﺱ ﹼ‬

‫ﺇﻥ ﺍﻟﻮﺍﻗﻌﻴﺔ ﰲ ﺍﻟﺮﻭﺍﻳﺔ ﺍﳌﻌﺎﴏﺓ ﰲ ﺃﻱ ﻣﺮﺣﻠﺔ ﺗﻜﻮﻥ ﻓﻴﻬﺎ‪ ،‬ﳚﺐ ﺃﻥ ﺗﻜﻮﻥ ﺫﺍﺕ ﻓﺎﺋﺪﺓ‬

‫ﰲ ﻣﻌﺎﳉﺔ ﺍﳉﻨﺲ‪ ،‬ﻭﻗﺪ ﺣﺎﻭﻟﺖ ﺍﻟﺮﻭﺍﻳﺎﺕ ﺍﳌﻌﺎﴏﺓ ﺃﻥ ﺗﻜﴪ ﺃﻓﻜﺎﺭ ﺍﻟﻌﴫ ﺍﻟﻔﻴﻜﺘﻮﺭﻱ‬

‫ﻭﺣﺮﺍ ﰲ ﻗﻀﺎﻳﺎ ﺍﳉﻨﺲ ﻭﺍﳊﺐ ﻭﺍﻟﺰﻭﺍﺝ‪.‬‬ ‫ﺑﻨﻈﺮﺗﻪ ﺍﳌﺘﺤﻔﻈﺔ ﻟﻠﺠﻨﺲ‪ ،‬ﻓﺠﺎﺀ ﺍﻟﻌﻼﺝ ﴏ ﹰﳛﺎ ‪h‬‬

‫ﲑﺍ ﺑﺰﻳﺎﺭﺓ ﺍﻷﻃﺒﺎﺀ ﻭﺍﳌﺸﻌﻮﺫﻳﻦ ﻋﲆ ﻣﺪ￯ ﺷﻬﺮﻳﻦ‬ ‫ﺗﺴﺘﻤﺮ ﺍﻟﻘﺼﺔ ﻣﻊ ﺍﻗﺘﻨﺎﻉ ﺍﻟﺰﻭﺝ ﺃﺧ ﹰ‬

‫ﻣﻦ ﺍﻟﺰﻣﻦ‪ ،‬ﺩﻭﻥ ﻧﺘﻴﺠﺔ‪ ،‬ﻳﺪﻓﻌﻪ ﺍﻟﻴﺄﺱ ﺇﱃ ﻗﻨﺎﻋﺔ ﺑﺎﻻﻧﻔﺼﺎﻝ‪ ،‬ﻭﻳﻌﺎﻭﺩ ﺃﺫﻳﺔ ﺯﻭﺟﺘﻪ ﺑﺎﻟﴬﺏ‬

‫ﻓﻌﻠﻴﺎ ﻋﲆ ﺍﲣﺎﺫ ﻭﺿﻊ ﺍﻻﻧﺘﺤﺎﺭ‪،‬ﲢﺎﻭﻝ ﺍﻟﺰﻭﺟﺔ ﲥﺪﺃﺗﻪ‪ ،‬ﻭﺗﺘﺼﻞ ﺑﺄﺧﻴﻬﺎ ﺍﻟﺬﻱ‬ ‫ﻭﺍﻟﺸﺘﻢ‪ ،‬ﻭﻟﻴﻘﺪﻡ ‪h‬‬ ‫ﻳﺄﰐ ﻣﻊ ﻣﺴﺎﻋﺪﺓ ﻃﺒﻴﺔ ﺗﻨﻘﻞ ﺍﻟﺰﻭﺝ ﺇﱃ ﺍﳌﺸﻔﻰ ﻭﻫﻮ ﰲ ﺣﺎﻟﺔ ﺇﻏﲈﺀ‪ ...‬ﰲ ﺍﳌﺸﻔﻰ ﻳﺰﻭﺭﻩ ﻃﺒﻴﺐ‬

‫ﺃﻋﺼﺎﺏ‪ ،‬ﻳﻄﺮﺡ ﻋﻠﻴﻪ ﺃﺳﺌﻠﺔ ﺑﻌﻴﺪﺓ ﺟﺪﹰ ﺍ ﻋﻦ ﺣﺎﻟﺘﻪ )ﻣﺎ ﺍﻟﻠﻮﻥ ﺍﻟﺬﻱ ﲢﺐ‪ ،‬ﻣﻦ ﺃﻗﺮﺏ ﺻﺪﻳﻖ‬

‫ﻟﻚ ‪.(...‬‬

‫)ﻛﻨﺖ ﺃﺭﻳﺪ ﺍﻟﻘﻮﻝ ﺇﻥ ﺩﻛﺘﻮﺭ ﺍﳉﻤﻠﺔ ﺍﻟﻌﺼﺒﻴﺔ ﻫﺬﺍ ﻻ ﻳﻌﺎﻟﺞ ﺍﳌﺠﺎﻧﲔ ﻛﲈ ﻧﺘﺼﻮﺭ‪ ،‬ﺑﻞ‬ ‫ﹸ‬ ‫ﻛﺘﺒﺖ‪ :‬ﹼ‬ ‫ﺣﻂ‬ ‫ﻳﻌﺎﻟﺞ ﻣﺮﴇ ﺍﻟﻌﴫ ﺍﳊﺪﻳﺚ‪ ،‬ﻟﻘﺪ ﻋﺮﻑ ﻋﻠﺔ ﺍﻟﺰﻭﺝ ﺑﻌﺪ ﺳﺆﺍﻟﲔ‪ ،‬ﻭﺇﻟﻴﻚ ﻣﺎ‬ ‫ﹸ‬

‫ﺍﻟﺪﻛﺘﻮﺭ ﻳﺪﻩ ﻋﲆ ﺫﺭﺍﻉ ﺍﻟﺰﻭﺝ ﻭﺳﺄﻟﻪ ﻭﻋﲆ ﻭﺟﻬﻪ ﺑﺸﺎﺷﺔ ﺻﺪﺍﻗﺔ‪:‬‬ ‫ ﻫﻞ ﲢﺐ ﺯﻭﺟﺘﻚ؟‬‫ﺃﺟﺎﺏ ﺍﻟﺰﻭﺝ‪:‬‬ ‫‪ -‬ﺟﺪ‪ h‬ﺍ‬

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‫ﻣﺮ ﻋﲆ ﺯﻭﺍﺟﻚ؟‬ ‫ ﻛﻢ ﹼ‬‫ ﺃﻛﺜﺮ ﻣﻦ ﲬﺴﺔ ﺃﺷﻬﺮ‪.‬‬‫ ﻣﺎ ﺑﻚ؟‬‫ ﻻ ﺃﺩﺭﻱ‪ ،‬ﻓﻘﻂ ﻻ ﺃﻋﺮﻑ ﻛﻴﻒ ﺃﻛﻮﻥ ﻣﻌﻬﺎ ﺃﻧﺎ‪.‬‬‫ ﻋﻦ ﻣﺎﺫﺍ ﺗﺘﻜﻠﻢ؟‬‫ ﳑﺎﺭﺳﺔ ﺍﳉﻨﺲ ﻣﺜﻞ ﺃﻱ ﺫﻛﺮ!‬‫ﺿﺤﻚ ﺍﻟﺪﻛﺘﻮﺭ ﻭﻗﺎﻝ‪:‬‬ ‫ﺛﻢ ﺃﺿﺎﻑ‪:‬‬ ‫ ﻭﺃﻧﺎ ﻻ ﺃﺷﻚ ﺑﺬﻛﻮﺭﻳﺘﻚ‪ ،‬ﹼ‬‫ ﺃﻳﻦ ﻛﻨﺖ ﻗﺒﻞ ﻳﻮﻡ ﻣﻦ ﺯﻭﺍﺟﻚ؟‬‫ ﰲ ﺍﻟﺴﻮﻕ ﻣﻊ ﺃﺧﺘﻲ‬‫ ﻣﺎﺫﺍ ﻓﻌﻠﺖ؟‬‫ﻭﻋﻄﺮﺍ‪.‬‬ ‫ ﺍﺷﱰﻳﺖ ﳍﺎ ﻭﻟﺰﻭﺟﺘﻲ ﺛﻮ ﹰﺑﺎ‬‫ﹰ‬ ‫ ﺍﻟﻠﻮﻥ ﻧﻔﺴﻪ ﻭﺍﻟﻌﻄﺮ ﻧﻔﺴﻪ ﺍﺷﱰﻳﺘﻪ ﳍﲈ؟!‬‫ ﻧﻌﻢ‪ ،‬ﻧﻌﻢ‪ ،‬ﻓﺄﺧﺘﻲ ﺃﻏﲆ ﻣﺎ ﻋﻨﺪﻱ ﻭﻫﻲ ﺑﻤﻘﺎﻡ ﺃﻣﻲ‬‫ﺿﺤﻚ ﺍﻟﺪﻛﺘﻮﺭ ﺿﺤﻜﺔ ﺃﺯﻋﺠﺖ ﺍﻟﺰﻭﺝ ﻓﺼﺎﺡ ﺑﻪ‪:‬‬ ‫ ﺗﻀﺤﻚ ﻣﻨﻲ؟‬‫ ﻻ‪ ..‬ﻭﻟﻜﻨﻲ ﺃﺿﺤﻚ ﻣﻦ ﻣﺸﻜﻠﺘﻚ ﺍﻟﺒﺴﻴﻄﺔ‬‫‪ -‬ﻛﻴﻒ؟!! ﻭﻗﺪ ﻋﺠﺰ ﺍﻷﻃﺒﺎﺀ ﻋﻦ ﻋﻼﺟﻲ‬

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‫ ﺃﻧﺖ ﺗﺮ￯‬‫ﻭﺗﺸﻢ ﰲ ﺯﻭﺟﺘﻚ ﺃﺧﺘﹶﻚ‪.‬‬ ‫ﹼ‬ ‫ ﻣﺎﺫﺍ؟!!‬‫ ﺍﺳﻤﻌﻨﻲ‬‫ ﻧﻌﻢ‬‫ ﻋﻠﻴﻚ ﹰ‬‫ﺃﻭﻻ ﺃﻥ ﺗﺴﺘﻌﻴﺪ ﺍﻟﺜﻮﺏ ﺍﻟﺬﻱ ﺃﻫﺪﻳﺘﻪ ﺇﱃ ﺃﺧﺘﻚ ﻭﺍﻟﻌﻄﺮ‬ ‫ ﳌﺎﺫﺍ؟!!‬‫ ﺍﻧﺘﻈﺮ ﺣﺘﻰ ﺃﻛﻤﻞ‬‫ ﻧﻌﻢ‪..‬‬‫ﻣﻌﺎ‬ ‫ ﺗﺄﺧﺬ ﺍﻟﺜﻮﺏ ﻭﺍﻟﻌﻄﺮ ﻣﻦ ﺃﺧﺘﻚ‪ ،‬ﻭﺗﺄﺧﺬ ﺍﻟﺜﻮﺏ ﻭﺍﻟﻌﻄﺮ ﻣﻦ ﺯﻭﺟﺘﻚ‪ ،‬ﲢﺮﻕ ﺍﻟﺜﻮﺑﲔ ﹰ‬‫ﻋﻄﺮﺍ ﺟﺪﻳﺪﹰ ﺍ ﻭﺛﻮ ﹰﺑﺎ‬ ‫‪ ،‬ﻭﺗﺘﺨﻠﺺ ﻣﻦ ﺍﻟﻌﻄﺮﻳﻦ‪ ،‬ﻭﺗﺬﻫﺐ ﺇﱃ ﺍﻟﺴﻮﻕ‪ ،‬ﺗﺸﱰﻱ ﻟﺰﻭﺟﺘﻚ ﹰ‬

‫ﻣﻐﺎﻳﺮﺍ ﻟﻸﻭﻝ ﲤﺎ ﹰﻣﺎ‪ ،‬ﻭﺗﻨﺴﻰ ﺍﻟﴩﺍﺀ ﻷﺧﺘﻚ‪ ،‬ﻭﺇﻥ ﺃﺣﺒﺒﺖ ﺃﻋﻂ‬ ‫ﺟﺪﻳﺪﹰ ﺍ ﻋﲆ ﺃﻥ ﻳﻜﻮﻥ‬ ‫ﹰ‬

‫ﺃﺧﺘﻚ ﺑﻌﺾ ﺍﳌﺎﻝ ﻭﻫﻲ ﺗﺸﱰﻱ ﻟﻨﻔﺴﻬﺎ ﻣﺎ ﺗﺮﻏﺐ ﻓﻴﻪ ‪ ،‬ﻭﺳﱰ￯ ﻛﻴﻒ ﺗﻌﻮﺩ ﻟﺰﻭﺟﺘﻚ‬

‫ﺫﻛﺮﺍ ﺃﻗﻮ￯ ﻣﻦ ﺍﳊﺼﺎﻥ ﻭﺃﺭﺷﻖ ﻣﻦ ﺍﻟﺪﻳﻚ(‪.‬‬ ‫ﹰ‬

‫ﻓﺈﺫﻥ ﺟﺎﺀﺕ ﻣﻌﺎﳉﺔ ﺍﳉﻨﺲ ﻣﻌﺎﳉﺔ ﻧﻔﺴﻴﺔ ﻋﻨﺪ ﻛﺎﺗﺒﻨﺎ ﺍﳌﻌﺎﴏ‪ ،‬ﻭﻫﻮ ﻣﺎﻳﺘﻔﻖ ﲤﺎ ﹰﻣﺎ ﻣﻊ‬

‫ﻭﺗﻜﺮﺍﺭﺍ ﺃﻥ ﺍﻟﻜﺎﺗﺐ ﻋﲆ ﺩﺭﺍﻳﺔ ﺗﺎﻣﺔ ﺑﺎﻟﺘﻘﻨﻴﺎﺕ‬ ‫ﻣﺮﺍﺭﺍ‬ ‫ﹰ‬ ‫ﻣﻴﺰﺍﺕ ﺍﻟﺮﻭﺍﻳﺔ ﺍﳌﻌﺎﴏﺓ‪ ،‬ﻣﺎ ﻳﺆﻛﺪ ﻟﻨﺎ ﹰ‬

‫ﺍﳌﻌﺎﴏﺓ‪ ،‬ﻛﲈ ﺃﻧﻪ ﻳﲈﺭﺱ ﻫﺬﻩ ﺍﳌﻌﺎﴏﺓ ﺑﺤﺮﻓﻨﺔ ﻋﺎﻟﻴﺔ‪.‬‬

‫ﲑﺍ‪ :‬ﺇﻥ ﲢﻠﻴﻼﺕ ﺍﻟﻌﻤﻴﻘﺔ ﺍﻟﺘﻲ ﺳﺎﻗﻬﺎ ﺍﻟﻜﺎﺗﺐ ﻋﻦ )ﺍﻵﺧﺮ( ﺗﻜﺸﻒ ﻟﻨﺎ ﺣﺴﻪ‬ ‫ﺃﺧ ﹰ‬

‫ﺍﻟﺘﺤﻠﻴﲇ‪ ،‬ﻭﻧﻀﺠﻪ ﺍﳌﻌﺮﰲ ﻭﺍﻟﻔﻠﺴﻔﻲ ﻟﻈﺎﻫﺮﺓ ﻧﻔﺴﻴﺔ ﻗﺪ ﺗﻠﺘﺒﺲ ﻣﻊ ﻇﺎﻫﺮﺓ ﻣﻴﺘﺎﻓﻴﺰﻳﻘﻴﺔ ﻭﻫﻲ‬

‫)ﺍﻟﻘﺮﻳﻦ( ﻭﻫﻮ ﻛﺎﺋﻦ ﺃﺛﲑﻱ ﻣﻦ ﺍﳌﻤﻜﻦ ﺃﻥ ﻳﻜﻮﻥ ﻣﻦ ﻃﺒﻴﻌﺔ ﺍﳉﻦ ﺃﻭ ﺍﳌﻼﺋﻜﺔ‪ ،‬ﻟﻜﻨﻪ ﱂ ﻳﻜﻦ ﺃ ‪h‬ﻳﺎ‬ ‫ﻣﻨﻬﲈ‪ ،‬ﻭﺇﻥ ﻛﺎﻥ ﻳﻤﻘﺖ ﺍﻟﻜﺬﺏ )ﻟﻴﻜﻮﻥ ﹰ‬ ‫ﺍﻟﺘﻤﺮﺩ‬ ‫ﻣﻼﻛﺎ(‪ ،‬ﻭﳛﺐ‬ ‫ﻭﺍﻟﺘﺤﺮﺭ ﻭﺍﻟﺴﺨﺮﻳﺔ )ﻟﻴﻜﻮﻥ‬ ‫ﹼ‬ ‫ﹼ‬ ‫ﺟ ‪h‬ﻨﺎ(‪ ،‬ﰲ ﻛﻼ ﺍﳊﺎﻟﺘﲔ ﺭﻓﻀﻪ ﺍﻟﺴﺎﺭﺩ‪ ،‬ﻟﻴﻜﻮﻥ ﺇﻧﺴﺎ ﹰﻧﺎ ﺑﻜﻞ ﺃﺧﻄﺎﺋﻪ ﻭﺃﻓﻀﺎﻟﻪ‪ ،‬ﺑﻐﺮﺍﺋﺰﻩ ﻭﺃﺧﻼﻗﻪ‪،‬‬

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‫ﻣﻜﺮﻡ ﻭﻣﻜ ﹼﻠﻒ‪ ،‬ﺑﻜﻞ ﺍﻵﻻﻡ ﺍﻟﺘﻲ ﳛﻤﻠﻬﺎ ﻋﲆ ﻇﻬﺮﻩ ﺩﻭﻥ ﺃﻥ ﹼ‬ ‫ﻳﻔﻜﺮ‬ ‫ﺑﺤﻮﺍﺳﻪ ﻭﺿﻤﲑﻩ‪ ...‬ﺇﻧﺴﺎﻥ ﹼ‬ ‫ﺟﺪﹼ ﻳﺎ ﺑﻌﻼﺟﻬﺎ ﻣﻜﺘﻔ ﹰﻴﺎ ﺑﺘﺴﻜﻴﻨﻬﺎ ﻟﻴﻘﻴﻨﻪ ﺃﳖﺎ ﺛﻘﻞ ﺍﳊﻴﺎﺓ‪ ،‬ﻭﻫﻮ ﻣﺘﻤﺴﻚ ﺑﺎﳊﻴﺎﺓ ﻣﻬﲈ ﺛﻘﻠﺖ‪:‬‬

‫ﻛﻨﺖ ﻣﺘﻠﻜﺌﹰﺎ ﻣﻌﻲ ﻗﺎﺻﺪﹰ ﺍ ﻓﺮﺍﻗﻲ‪،‬‬ ‫)ﺗﺼﻮﺭﺗﻨﻲ ﺳﺄﻛﺬﺏ ﻭﺍﺑﺘﻌﺪﺕ ﻋﻨﻲ ﻟﺬﻧﺐ ﱂ ﺃﻗﱰﻓﻪ‪ ،‬ﹶ‬ ‫ﹼ‬

‫ﻏﲑ ﺃﻥ ﺍﳉﺰﺋﲔ ﻭﺇﻥ ﺳﺎﻳﺮﺍ ﺭﻏﺒﺎﺗﻚ ﺳﻴﻌﻮﺩﺍﻥ ﻋﻠﻴﻚ ﺑﺎﻟﻨﺪﻡ‪.‬‬

‫‪ ...‬ﻟﻘﺪ ﻛﺮﻫﺘﻨﻲ ﻣﻦ ﺃﻭﻝ ﺧﻄﻮﺓ ﺧﻄﻮﲥﺎ ﺩﻭﻥ ﺍﺳﺘﺸﺎﺭﺗﻚ‪ ،‬ﻫﺬﺍ ﺍﻟﻜﺮﻩ ﻛﻨﺖ ﺗﻀﻤﺮﻩ ﻭﻗﺪ‬

‫ﺗﺼﺪﻉ ﺑﻪ ﺭﺃﳼ ﻭﺗﻌﺒﺖ ﻣﻨﻚ‪ ،‬ﻭﻣﻦ ﺗﻜﺮﺍﺭ ﳎﻴﺌﻚ ﺍﳌﻔﺎﺟﺊ ﻭﺍﺧﺘﻔﺎﺋﻚ ﺍﻟﻐﺮﻳﺐ‪ ،‬ﻛﺮﻫﺘﻚ‪.‬‬

‫ﻣﺆﺧﺮﺍ ﺻﺎﺭ ﻏﻴﺎﺑﻚ ﻏﺮﻳ ﹰﺒﺎ‪ .‬ﻏﺮﺍﺑﺔ ﲤﻨﺤﻨﻲ ﺍﻟﻘﻮﺓ ﻷﻗﻮﻝ ﺃﻧﻚ ﱂ ﺗﻜﻦ ﺇﻻ ﻭ ﹰ‬ ‫ﳘﺎ ﺻﻨﻌﺘﻪ‬ ‫ﹰ‬

‫ﺃﻧﺎ ﰲ ﻭﻗﺖ ﻛﻨﺖ ﺑﺤﺎﺟﺔ ﺇﱃ ﻣﻦ ﻳﺬﻛﺮﲏ ﺑﻀﻌﻔﻲ ﺍﻷﺯﱄ‪ ،‬ﺟﻬﲇ‪ ،‬ﲪﺎﻗﺘﻲ‪ ،‬ﺇﻓﺮﺍﻃﻲ ﰲ ﺍﻟﻄﻴﺒﺔ‬ ‫ﻣﻊ ﺍﳉﻤﻴﻊ‪ ،‬ﺃﻭﻗﻮﺓ ﺃﲣﻴﻠﻬﺎ ﺗﺪﻓﻌﻨﻲ ﺇﱃ ﺃﻥ ﺃﺣﻼﻣﻲ ﺍﻟﻮﺍﻗﻌﺔ ﺑﲔ ﺍﳋﻴﺎﻝ ﻭﺍﻟﻮﺍﻗﻊ ﳏﺎﻝ‪ ،‬ﺃﻭ‬

‫ﺃﻧﻴﺴﺎ ﻟﻮﺣﺪﰐ ﻻ ﺃﻛﺜﺮ‪ .‬ﻟﻘﺪ ﺃﺩﺭﻛﺖ ﰲ ﺍﺑﺘﻌﺎﺩﻙ ﻋﻨﻲ ﺃﻥ ﺍﻹﻧﺴﺎﻥ ﺍﻟﺬﻱ ﻳﻘﺪﻡ‬ ‫ﻳﻤﻜﻦ ﲣﻴﻠﺘﻚ ﹰ‬

‫ﻋﲆ ﺍﻟﻮﺣﺪﺓ ﻗﺎﺩﺭ ﻋﲆ ﲡﺎﻫﻞ ﻧﻔﺴﻪ‪ ،‬ﻭﻻ ﻳﻤﻜﻦ ﻟﻪ ﺃﻥ ﻳﻀﻌﻒ ﻓﺠﺄﺓ ﺍﲡﺎﻩ ﺭﻏﺒﺎﺗﻪ ﺍﻟﺘﻲ ﺗﺸﺒﻪ‬ ‫ﺭﻏﺒﺎﺕ ﺍﻵﺧﺮﻳﻦ‪ ،‬ﺃﺻﺒﺤﺖ ﺃﺭ￯ ﺑﻮﺿﻮﺡ ﺗﺎﻡ ﺃﻥ ﺍﺿﻄﺮﺍﺏ ﺃﻓﻜﺎﺭﻱ ﳾﺀ ﻃﺒﻴﻌﻲ‪ ،‬ﺃﺩﺭﻛﺖ‬ ‫ﻧﻔﴘ ﻭﻃﺎﻗﺎﰐ ﺍﻻﻋﺘﻴﺎﺩﻳﺔ‪ .‬ﻻ ﺃﻓﻜﺮ ﰲ ﲡﺎﻭﺯ ﺍﳌﻨﻄﻖ ﻛﻲ ﻻ ﺃﲢﻮﻝ ﺇﱃ ﻣﻌﺘﻮﻩ ﺃﻭ ﻓﺎﻗﺪ ﻋﻘﻞ‪ ،‬ﻟﻦ‬

‫ﺃﺗﻨﺎﺳﻰ ﻛﻴﺎﺳﺘﻲ ﺍﻟﺘﻲ ﺃﺣﺐ ﺍﳊﻔﺎﻅ ﻋﻠﻴﻬﺎ(‪.‬‬ ‫]÷‪VÏÜë^√π]<l]Ñ‬‬

‫ﺍﻫﺘﻢ ﺍﻟﻜ ﹼﺘﺎﺏ ﺍﳊﺪﺍﺛﻴﻮﻥ‬ ‫ﻭﻣﻮﺍﺿﻴﻌﻬﺎ ﺍﻟﺘﻲ ﻭﻟﺪﺕ ﰲ ﺣﻀﻦ ﺍﳊﺪﺍﺛﺔ ﻭﻣﺎ ﺑﻌﺪﻫﺎ‪ ،‬ﻭﻫﻲ ﻣﺎ ﹼ‬

‫ﻳﺜﺒﺘﻬﺎ ﻋﻨﺪﻩ‪:‬‬ ‫ﺑﻌﺮﺿﻬﺎ ﻭﳏﺎﻭﻟﺔ ﻣﻌﺎﳉﺘﻬﺎ ﰲ ﺃﻋﲈﳍﻢ ﺍﻷﺩﺑﻴﺔ‪ ،‬ﻭﺍﻟﺘﻲ ﺣﺎﻭﻝ ﻧﺼﻔﻪ ﺍﻵﺧﺮ ﺃﻥ ﹼ‬

‫)»ﺍﳉﻨﺲ‪ ،‬ﺍﳌﺎﻝ‪ ،‬ﺍﻟﻌﺒﺪ‪ ،‬ﺍﳊﻴﺎﺓ‪ ،‬ﺍﳌﻮﺕ‪ ،‬ﺍﻟﺒﺪﺍﻳﺔ‪ ،‬ﻭﺍﻵﺧﺮﺓ«‪ ،‬ﺃﻧﺎ ﺃﻓﻬﻢ ﺃﻧﻪ ﳛﺎﻭﻝ ﺇﺛﺎﺭﺓ‬

‫ﺍﻧﻔﻌﺎﱄ ﻣﻦ ﺧﻼﻝ ﻫﺬﻩ ﺍﻟﻌﻨﺎﻭﻳﻦ ﺍﻟﺘﻲ ﺃﻛﻮﻥ ﻓﻴﻬﺎ ﺑﻌﻴﺪﹰ ﺍ ﻛﻞ ﺍﻟﺒﻌﺪ ﻋﻦ ﺍﳌﻨﻄﻖ‪ ،‬ﺃﺷﻌﺮ ﺃﻧﻪ ﻭﺟﺪ‬ ‫ﰲ ﺍﳊﺪﻳﺚ ﻋﻦ ﺍﳉﻨﺲ ﺭﻏﺒﺔ ﻣﺘﺠﺪﺩﺓ‪ ،‬ﻭﻣﺎ ﻫﻮ ﺇﻻ ﺃﺩﺍﺓ ﻟﻠﺘﻜﺎﺛﺮ ﻻ ﺃﻛﺜﺮ‪ ،‬ﺍﻟﻌﺒﺚ ﺃﺣﻴﺎ ﹰﻧﺎ ﻣﻼﺫﻩ‬

‫ﺍﻟﺴﻌﻴﺪ ﰊ‪ ،‬ﻭﺃﺣﻴﺎ ﹰﻧﺎ ﻛﺜﲑﺓ ﻳﻘﻮﺩﲏ ﺇﱃ ﺍﻟﻔﺸﻞ‪ ،‬ﻳﺸﻌﺮﲏ ﺑﺎﻟﻀﻌﻒ ﺳﻮﺍﺀ ﺃﻇﻬﺮﺕ ﺫﻟﻚ ﻟﻪ ﺃﻭ‬

‫ﺃﻧﻜﺮﺗﻪ‪ ،‬ﻛﲈ ﻓﺎﻗﺪ ﺍﳌﺎﻝ ﻳﺴﺘﺄﺛﺮ ﺑﻘﻮﻟﻪ‪» :‬ﰲ ﺷﺤﺔ ﺍﳌﺎﻝ ﻳﻌﻴﺶ ﺍﳌﺮﺀ ﰲ ﺭﺍﺣﺔ ﺑﺎﻝ ﻻ ﻳﻌﺮﻓﻬﺎ ﺍﻟﻐﻨﻲ‬ ‫ﺍﳌﻮﺟﻮﻉ ﻣﻦ ﺍﳌﺮﺽ«‪ ،‬ﺗﻠﻚ ﻟﻐﺔ ﺍﳊﺮﻣﺎﻥ ﻳﺮ ﹼﺩﺩﻫﺎ ﺍﻟﻌﺒﺪ ﺍﻟﺬﻱ ﳛﺪﹼ ﺙ ﻧﻔﺴﻪ ﺑﺮﴇ ﺭﺑﻪ‪ ،‬ﳜﻠﻖ ﰲ‬

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‫ﺧﻴﺎﻟﻪ ﻣﻦ ﺍﳌﻌﺠﺰﺍﺕ ﻣﺎ ﻻ ﻳﻮﺻﻒ ﺑﺎﻟﻌﻘﻞ ﻟﻴﺨ ﹼﻔﻒ ﻋﻦ ﺫﺍﺗﻪ ﺍﻟﺘﻲ ﺗﻌﻴﺶ ﰲ ﺣﺮﺏ ﻣﻊ ﺭﺯﻗﻪ‬ ‫ﺍﻟﺬﻱ ﻗﺪﹼ ﺭ ﻋﻠﻴﻪ‪ ،‬ﺫﺍﺗﻪ ﺍﳋﺎﺋﻔﺔ ﻣﻦ ﺍﻟﻄﺒﻴﻌﺔ ﻭﻣﺎ ﻭﺭﺍﺀﻫﺎ‪ ،‬ﰲ ﴏﺍﺣﺔ ﺗﺎﻣﺔ ﻫﻲ ﺣﻴﺎﺓ ﺑﺴﻴﻄﺔ ﺗﺴﺒﺢ‬ ‫ﻧﺘﺼﻮﺭ‪ ،‬ﻟﻴﻨﺘﻬﻲ ﺑﻨﺎ ﺍﻷﻣﺮ ﺇﱃ ﺍﳌﻮﺕ‪ ،‬ﻣﻦ ﳚﺰﻡ ﻋﲆ‬ ‫ﺍﳌﺘﻐﲑﺍﺕ ﲢﺘﺎﺝ ﺇﱃ ﲡ ﹼﻠﺪ ﺃﻛﺜﺮ ﳑﺎ‬ ‫ﰲ ﻋﺎﱂ ﻣﻦ ﹼ‬ ‫ﹼ‬

‫ﻓﻬﻤﻬﺎ؟ ﻭﺃﻧﺎ ﻻ ﺃﺧﺘﻠﻒ ﻣﻌﻪ‪ ،‬ﱂ ﺃﺳﺘﻄﻊ ﻓﻬﻢ ﻛﻴﻒ ﻭﺻﻠﻨﺎ ﺇﱃ ﻫﺬﺍ ﺍﳊﺪﹼ ﻣﻦ ﺍﻟﻀﻌﻒ؟ ﻟﻜﻦ ﻣﺎ‬ ‫ﺯﻟﻨﺎ ﺃﻗﻮﻳﺎﺀ‪ ،‬ﻧﻨﻬﻞ ﻣﻦ ﺃﻣﻞ ﻧﺨﻠﻘﻪ ﻷﻧﻔﺴﻨﺎ ﹰ‬ ‫ﺗﺼﻮﺭﻫﺎ ﻓﺎﲢﺔ‬ ‫ﺭﻏﲈ ﻋﻦ ﺍﻵﺧﺮﺓ ﺍﻟﺘﻲ ﺗﻨﺘﻈﺮﻧﺎ‪ ،‬ﻗﺪ ﹼ‬ ‫ﻟﻨﺎ ﺃﺑﻮﺍﲠﺎ ﻣﴩﹼ ﻋﺔ ﰲ ﻭﺟﻪ ﻛﻞ ﻣﻦ ﺷﻬﺪ ﺑﻜﻠﻤﺘﲔ ﻳﻌﺘﻘﺪ ﻓﻴﻬﲈ ﺧﻼﺻﻪ ﻣﻦ ﺫﻧﻮﺏ ﺍﳌﺎﴈ‪ ،‬ﻭﻣﺎ‬

‫ﻓﻌﻞ ﻭﻣﺎ ﻛﺎﻥ ﻳﻔﻌﻞ ﻭ ﻣﺎ ﺳﻴﻔﻌﻞ ﻟﻮ ﻋﺎﺵ ﺣﻴﺎﺓ ﺃﻃﻮﻝ(‪.‬‬

‫ﹰ‬ ‫ﺍﳊﻘﻴﻘﺔ ﺃﻥ ﻫﺬﺍ ﺍﻟﻨﺺ ﺍﺳﺘﻮﻗﻔﻨﻲ‬ ‫ﻟﺬﺍﺗﻴﺔ ﺍﻵﺧﺮ!‪ ،‬ﻭﻻ‬ ‫ﻃﻮﻳﻼ‪ ،‬ﻟﻴﻀﻌﻨﻲ ﺃﻣﺎﻡ ﻛﺸﻒ‬ ‫ﹼ‬ ‫ﺃﺩﺭﻱ ﹺ ﹶﱂ ﺣﴬﺗﻨﻲ ﻣﻘﻮﻟﺔ )ﺷﻴﻄﺎﻥ ﺍﻟﺸﻌﺮ(‪ ،‬ﻷﻗﻴﺲ ﻋﻠﻴﻬﺎ‪ ،‬ﻓﺄﺟﺪﲏ ﺃﻣﺎﻡ )ﺷﻴﻄﺎﻥ ﺍﳊﺪﺍﺛﺔ(! ﱂ‬ ‫ﺗﻜﻮﻥ‬ ‫ﺃﺟﺪ ﺗﻌﺒ ﹰ‬ ‫ﲑﺍ ﺃﻧﺴﺐ ﻣﻨﻪ ﺃﻃﻠﻘﻪ ﻋﲆ ﻫﺬﺍ )ﺍﻵﺧﺮ( ﺍﻟﺬﻱ ﺗﻨﻄﺒﻖ ﻋﻠﻴﻪ ﹸﺟ ﹼﻞ ﺍﻟﺼﻔﺎﺕ ﺍﻟﺘﻲ ﹼ‬ ‫ﺍﻟﺬﺭﺍﻉ ﺍﻷﺩﰊ )ﺍﻟﻔﻜﺮﻱ ﻭﺍﻟﺜﻘﺎﰲ( ﻟﻠﺤﺪﺍﺛﺔ‪ ،‬ﻭﺍﻟﺘﻲ ﻣﺪﹼ ﻫﺎ ﺍﻟﻐﺮﺏ ﻋﲆ ﺷﻜﻞ ﺃﺫﺭﻉ ﺃﺧﻄﺒﻮﻃﻴﺔ‬

‫ﺑﺎﲡﺎﻩ ﺍﻟﴩﻕ‪ ،‬ﻭﺍﻟﺬﻱ ﺣﺎﻭﻟﺖ ﻣﻦ ﺧﻼﻟﻪ ﺍﻻﻣﱪﻳﺎﻟﻴﺔ ﹼ‬ ‫ﺑﺚ ﺍﻻﻧﻔﻼﺕ ﰲ ﺍﻟﻔﻜﺮ ﻭﺍﻷﺩﺏ‬ ‫ﲑﺍ‪ :‬ﹶ ﹶ‬ ‫ﻭﺍﻟﺜﻘﺎﻓﺔ ﺑﺤﺠﺔ‬ ‫"ﲢ ﱠﺮﺭ"(‪،‬‬ ‫ﻳﻜﺮﺭﻩ ﻋﲆ ﺍﻟﺴﺎﺭﺩ ﻛﺜ ﹰ‬ ‫ﺍﻟﺘﺤﺮﺭ )ﻭﻫﻮ ﺍﻟﻠﻔﻆ ﺍﻟﺬﻱ ﻛﺎﻥ ﺍﻵﺧﺮ ﹼ‬ ‫ﹼ‬ ‫ﻭﻟﻜﻦ ﺍﻟﺜﻘﺎﻓﺔ ﺍﻟﻌﺮﺑﻴﺔ ﻋﻤﻠﺖ ﻓﻴﻬﺎ ﺍﳊﺪﺍﺛﺔ ﺑﺸﻜﻞ ﻋﻜﴘ‪.‬‬

‫ﺣﺼﻦ ﹼ‬ ‫ﻭﴍﻑ ﺍﻟﻠﻐﺔ ﺍﻟﻌﺮﺑﻴﺔ ﻭﺁﺩﺍﲠﺎ ﺑﺎﻟﻘﺮﺁﻥ ﺍﻟﻜﺮﻳﻢ‪ ،‬ﻭﻫﻮ ﺳﻴﺪ ﺍﻟﻨﺼﻮﺹ‬ ‫ﺣﻴﺚ ﺇﻥ ﺍﷲ ﹼ‬

‫ﻭﳏﺘﻮﻳﺎﺗﻪ ﺳﻴﺪﺓ ﻟﻠﻤﻀﺎﻣﲔ ﺍﻟﺜﻘﺎﻓﻴﺔ ﻭﺍﻟﻔﻜﺮﻳﺔ ﰲ ﲨﻴﻊ ﳎﺎﻻﺕ ﺍﳊﻴﺎﺓ‪ ،‬ﻭﻳﺘﺒﻌﻪ ﺃﺣﺎﺩﻳﺚ ﺍﻟﺮﺳﻮﻝ‬ ‫ﹶﺖ )ﺑﺎﳉﺎﻫﻠﻴﺔ( ﹰ‬ ‫ﻇﻠﲈ‪ ،‬ﻭﻫﻲ ﺃﻡ‬ ‫ﻭﺍﻷﻭﺻﻴﺎﺀ ﻭﺍﻟﺼﺤﺎﺑﺔ‪ ،‬ﺛﻢ ﺍﻟﻌﺮﺑﺔ ﺍﻟﺸﻌﺮﻳﺔ ﺍﻟﺮﺍﻗﻴﺔ‪ ،‬ﺍﻟﺘﻲ ﹸﻧ ﹺﻌﺘ ﹾ‬

‫ﺍﻟﺜﻘﺎﻓﺔ ﻭﺍﻟﻔﻜﺮ ﺍﻹﻧﺴﺎﲏ ﺍﳌﺘﻮﺍﺭﺙ‪ ،‬ﻓﻌﻤﻠﺖ ﺍﻟﺜﻘﺎﻓﺔ ﺍﻟﻌﺮﺑﻴﺔ ﰲ ﺍﳊﺪﺍﺛﺔ ﺑﺸﻜﻞ ﻋﻜﴘ‪ ،‬ﻭﺃﺩﺍﺭﺕ‬

‫ﺩ ﹼﻓﺘﻬﺎ ﻧﺤﻮ ﺍﻻﺳﺘﻔﺎﺩﺓ ﻣﻨﻬﺎ ﻛﻤﴩﺏ ﻟﻠﺘﺠﺪﻳﺪ‪ ،‬ﺣﻴﺚ ﺃﺭﺍﺩﺕ ﺃﻥ ﹼ‬ ‫ﺗﺒﺚ ﺍﻷﻓﻜﺎﺭ ﺍﻟﻼﺃﺧﻼﻗﻴﺔ ﻣﻦ‬

‫ﺑﻐﻲ ﻭﺳﻘﻮﻁ ﻭﺭﺫﻳﻠﺔ ﻭﺍﻧﻔﻼﺕ ﺃﴎﻱ‪ ،‬ﻭﺧﻼﻋﺔ ﻭﺇﺳﻔﺎﻑ ﻭﻭﺟﻮﺩﻳﺔ ﻭﺇﳊﺎﺩ ﰲ ﺍﳌﺠﺘﻤﻌﺎﺕ‬ ‫ﺍﻟﻌﺮﺑﻴﺔ ﻭﻓﺸﻠﺖ‪ ،‬ﻭﺣﲔ ﺍﲡﻬﺖ ﻧﺢ ﺍﻷﺩﺏ ﱂ ﺗﺆ ﹼﺛﺮ ﺳﻠ ﹰﺒﺎ ﰲ ﲨﻴﻊ ﺃﻧﺤﺎﺀ ﺍﻟﻮﻃﻦ ﺍﻟﻌﺮﰊ‪ ،‬ﹼﺇﻻ ﻋﻨﺪ‬

‫ﻋﺪﺩ ﻣﻦ ﺃﺻﺎﺑﻊ ﹺ‬ ‫ﻳﺪ ﻭﺍﺣﺪﺓ)‪.(١‬‬

‫)‪ (١‬ﻋﺒﺪ ﺍﻟﺮﺯﺍﻕ ﻋﻮﺩﻩ ﺍﻟﻐﺎﻟﺒﻲ‪ ،‬ﺍﳌﻮﺳﻮﻋﺔ ﺍﻟﺬﺭﺍﺋﻌﻴﺔ‪ ،‬ﺍﳌﺠﻠﺪ ﺍﻟﺜﺎﲏ‪ ،‬ﺍﻟﺬﺭﺍﺋﻌﻴﺔ ﻭﺳﻴﺎﺩﺓ ﺍﻷﺟﻨﺎﺱ ﺍﻷﺩﺑﻴﺔ‪،‬‬ ‫ﺹ ‪.٥٦‬‬

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‫ﻭﺑﺬﻟﻚ ﻛﺎﻥ ﺍﻟﴫﺍﻉ ﺑﲔ ﺍﻟﺴﺎﺭﺩ ﻭﺍﻵﺧﺮ ﴏﺍﻉ ﺑﲔ ﺍﳌﻮﺭﻭﺙ ﻭﺍﳊﺪﺍﺛﺔ‪ ،‬ﻛﺎﻥ ﺍﻻﻧﺘﺼﺎﺭ‬

‫ﻓﻴﻪ ﻟﻺﻧﺴﺎﻥ ﻭﺍﻷﺧﻼﻕ ﻭﺍﻹﺑﺪﺍﻉ ﺍﻟﺮﺻﲔ‪.‬‬

‫ﻧﺼﺎ ﻻ ﺃﺫﻛﺮ ﻓﻴﻪ ﺍﺳﻤﻲ‪ ،‬ﺳﺄﺫﻛﺮ ﹼ‬ ‫ﻟﺬﺓ ﺍﻻﻧﺘﺼﺎﺭ ﻋﲆ ﺍﻵﺧﺮ(‪.‬‬ ‫)ﺳﺄﻛﺘﺐ ﻫﺬﻩ ﺍﻟﻠﻴﻠﺔ ‪h‬‬ ‫ﻣﻦ ﺑﻌﺪ ﻫﺬﺍ ﺍﻟﻨﺺ ﺍﺧﺘﻔﻰ )ﺍﻵﺧﺮ(‪.‬‬ ‫}^‪Supporting digital level<Çfi^ä÷]<ÍÒ^íu˝]<Ê_<Í€ŒÜ÷]<ÔÁjäπ]<V^ä⁄‬‬ ‫‪⁄‬‬

‫‪<VSupporting digital analysis<Çfi^ä÷]<Í€ŒÜ÷]<‹ÈÈœj÷]<IM‬‬ ‫ﻭﻫﻨﺎ ﻻ ﻳﻜﺘﻔﻲ ﺍﻟﻨﺎﻗﺪ ﺑﺘﺤﻠﻴﻼﺕ ﺩﻻﻻﺗﻪ ﻭﻣﺪﻟﻮﻻﺗﻪ ﻭﻣﻔﺎﻫﻴﻤﻪ ﻭﻋﻼﻣﺎﺗﻪ ﺍﳊﺴﻴﺔ‪،‬‬

‫ﹼﺇﻻ ﻭﻳﺴﻨﺪﻫﺎ ﺑﺘﺤﻠﻴﻞ ﺭﻳﺎﴈ ﺇﺣﺼﺎﺋﻲ ﺭﻗﻤﻲ ﻣﺪﺭﻭﺱ‪ ،‬ﻭﲢﻮﻳﻞ ﲨﻴﻊ ﺗﻠﻚ ﺍﻟﻌﻼﻣﺎﺕ‬ ‫ﻭﺍﻟﺪﻻﻻﺕ ﺍﳊﺴﻴﺔ ﻭﺍﳌﺪﻟﻮﻻﺕ ﺑﺠﻤﻴﻊ ﳏﻄﺎﺕ ﺍﻟﺪﺭﺍﺳﺔ ﺍﻟﻨﻘﺪﻳﺔ ﺇﱃ ﺃﺭﻗﺎﻡ ﺣﺴﺐ ﺗﻜﺮﺍﺭ‬

‫ﻣﺪﻟﻮﻻﲥﺎ‪ ،‬ﻭ ﻭﺿﻌﻬﺎ ﺑﻤﻌﻴﺎﺭ ﺣﺴﺎﰊ ﺩﻗﻴﻖ ﻛﻨﻘﺪ ﺭﻗﻤﻲ ﺳﺎﻧﺪ‪ ،‬ﻳﻌﺮﻑ ﻣﻦ ﺧﻼﻟﻪ ﻫﻮﻳﺔ‬ ‫ﺍﻷﺩﻳﺐ ﻭﺩﺭﺟﺔ ﺭﺻﺎﻧﺔ ﺍﻟﻨﺺ‪ ،‬ﻓﻬﻨﺎﻙ ﻋﻼﻗﺔ ﻭﺛﻴﻘﺔ ﺑﲔ ﺍﳌﺴﺘﻮ￯ ﺍﻟﻠﺴﺎﲏ ﻭﺍﻟﺮﻗﻤﻲ‪ ،‬ﻟﻜﻮﻥ‬ ‫ﲨﻴﻊ ﺍﻟﺪﻻﻻﺕ ﻭﺍﳌﺪﻟﻮﻻﺕ ﺍﻟﻠﻐﻮﻳﺔ ﻭﺍﻟﻠﺴﺎﻧﻴﺔ ﻭﺍﻟﺒﻼﻏﻴﺔ ﻭﺍﻟﺼﻮﺭ ﺍﻷﺩﺑﻴﺔ ﹸﺗ ﹼﺮﻗﻢ ﹸ‬ ‫ﻭﲡﻤﻊ‬

‫ﻘﺴﻢ ﻋﲆ ﻋﺪﺩ ﻣﺌﺎﺕ ﺍﳌﺠﻤﻮﻉ ﻟﻴﺴﺘﺨﺮﺝ ﺇﻣﻜﺎﻧﻴﺔ ﺍﻷﺩﻳﺐ ﻭﺩﺭﺟﺔ‬ ‫ﺑﻌﻤﻠﻴﺔ ﺣﺴﺎﺑﻴﺔ‪ ،‬ﺛﻢ ﹸﺗ ﹼ‬ ‫ﹼ‬ ‫ﲤﻜﻨﻪ ﺍﻷﺩﰊ ﺑﺎﳌﺌﺔ )‪.(%‬‬ ‫ﻭﻟﻜﻮﻥ ﺍﻟﺮﻭﺍﻳﺔ ﻣﻜﺘﻨﺰﺓ ﺑﺎﻟﺪﻻﻻﺕ ﻭﺍﳌﺪﻟﻮﻻﺕ ﻭﺍﳌﻔﺎﻫﻴﻢ‪ ،‬ﻛﺎﻥ ﻣﻦ ﺍﻟﺼﻌﺐ ﺃﻥ‬

‫ﺃﻋﺮﺿﻬﺎ ﻛﻠﻬﺎ‪ ،‬ﻭﺍﻛﺘﻔﻴﺖ ﺑﻌﺮﺽ ﺟﺰﺀ ﻳﺴﲑ ﻣﻨﻬﺎ ﰲ ﺍﳌﺪﺧﻞ ﺍﻟﻠﺴﺎﲏ‪ ،‬ﻭﻣﻦ ﺧﻼﻝ ﺣﺴﺎﺑﺎﰐ‬

‫ﺍﻟﺘﻘﺮﻳﺒﻴﺔ ﺍﻟﻨﺴﺒﻴﺔ ﻭﺟﺪﺕ ﺃﻥ ﺍﻟﻜﺎﺗﺐ ﻳﺮﺗﻔﻊ ﻣﺆﴍ ﺍﻟﺘﻘﻴﻴﻢ ﺍﻟﺮﻗﻤﻲ ﻋﻨﺪﻩ ﺇﱃ ‪ %٩٩‬ﻣﺎ ﻳﻌﻨﻲ ﺃﻧﻪ‬ ‫ﹼ‬ ‫ﺃﺩﻳﺐ ﺭﺻﲔ ﺑﺪﺭﺟﺔ ﻋﺎﻟﻴﺔ ﺟﺪ‪ h‬ﺍ‪،‬‬ ‫ﻭﻣﺘﻤﻜﻦ ﳑﺘﺎﺯ ﻣﻦ ﺃﺩﻭﺍﺗﻪ ﺍﻷﺩﺑﻴﺔ‪.‬‬

‫‪VDrubricE<Í√Ò]ÖÑ÷]<Í€ŒÖ<ÿÈπ]<IN‬‬ ‫ﻭﻻ ﻳﻜﺘﻔﻲ ﺍﻟﻨﺎﻗﺪ ﺑﺎﻷﺭﻗﺎﻡ ﺍﻟﺘﻲ ﻋﻦ ﻃﺮﻳﻘﻬﺎ ﻣﻨﺢ ﺍﻷﺩﻳﺐ ﺩﺭﺟﺘﻪ ﺍﻷﺩﺑﻴﺔ ﺑﻞ ﻳﺒﺤﺚ‬

‫ﺍﻵﻥ ﻋﻦ ﻣﻨﺤﻪ ﺩﺭﺟﺔ ﺍﻹﺑﺪﺍﻉ ﺍﻟﺬﻱ ﺑﻮﺍﺳﻄﺘﻪ ﺍﺳﺘﻄﺎﻉ ﺃﻥ ﻳﻜﺘﺐ ﺑﺘﻠﻚ ﺍﳌﻔﺮﺩﺍﺕ ﻭﺍﻟﺪﻻﻻﺕ‬

‫‪٩٣‬‬

‫ﻧﺼﺎ ﻣﺘﻔﻮ ‪h‬ﻗﺎ‪ ،‬ﻓﻴﻌﻤﻞ ﺑﺸﻜﻞ ﻋﻜﴘ‪ ،‬ﺣﲔ ﳛﺴﺐ ﺍﳌﺎﺋﺔ ﺑﻮﺍﺣﺪ )‪ (١=١٠٠‬ﻟﻴﻌﻄﻲ ﺍﻷﺩﻳﺐ‬ ‫‪h‬‬ ‫ﹼ‬ ‫ﻭﺍﻟﺘﻤﻜﻦ ﻣﻨﻬﺎ ﻟﺼﻨﺎﻋﺔ ﻣﻴﻞ ﺑﺮﺍﻏﲈﰐ ﻟﻘﺪﺭﺗﻪ ﺍﻟﺘﻌﺒﲑﻳﺔ‬ ‫ﺍﻟﱪﺍﻋﺔ ﰲ ﺍﺳﺘﺨﺪﺍﻡ ﻟﻐﺔ ﺍﻷﺩﺏ‬ ‫ﺑﺤﺴﺎﺏ ﺩﺭﺟﺔ ﺃﺭﺟﺤﻴﺔ ﺍﻹﺑﺪﺍﻉ ﻟﺪ￯ ﺍﻷﺩﻳﺐ‪ ،‬ﻭﻫﺬﺍ ﺍﳌﻴﻞ ﻳﻜﺸﻒ ﺍﻷﻣﻮﺭ ﺍﻷﺧﺮ￯ ﺍﻟﺘﻲ ﻗﺪ‬

‫ﺗﻔﻮﺕ ﻋﲆ ﺍﻟﻨﺎﻗﺪ ﰲ ﲢﻠﻴﻼﺗﻪ ﳌﺘﻮﻥ ﺍﻟﻨﺺ‪ ،‬ﻟﻴﺘﺴ ﹼﻨﻰ ﻟﻠﻨﺎﻗﺪ ﺇﺳﻨﺎﺩ ﲢﻠﻴﻠﻪ ﻋﲆ ﺟﺪﺍﺭ ﻧﻘﺪﻱ ﻋﻠﻤﻲ‬ ‫ﺑﺤﺖ ﻗﻮﻱ‪ ،‬ﻭﻋﻠﻴﻪ ﺃﻥ ﳜﺘﱪ )‪ (test‬ﲢﻠﻴﻠﻪ ﺑﺠﻤﻊ ﳎﻤﻮﻉ ﺍﻟﺪﻻﻻﺕ ﺍﳊﺴﻴﺔ‪ ،‬ﻭﺍﻷﻋﻤﺪﺓ ﺍﻟﺮﻣﺰﻳﺔ‬ ‫ﺭﻗﻤﻴﺎ ﺑﻤﻴﻞ ﺭﻗﻤﻲ )‪ ،(rubric‬ﻟﻴﺜﺒﺖ ﺭﺟﺎﺣﺔ ﺍﻟﺪﻻﻻﺕ ﻭﻣﻮﺍﺯﻧﺘﻬﺎ‪ ،‬ﻣﻊ‬ ‫ﻭﲢﻠﻴﻠﻬﺎ‪ ،‬ﺛﻢ ﺣﺴﺎﲠﺎ ‪h‬‬

‫ﺑﻌﻀﻬﺎ ﺍﻟﺒﻌﺾ ﻭﲢﺪﻳﺪ ﺩﺭﺟﺔ ﺍﳌﻴﻞ ﻟﻜﻞ ﻭﺍﺣﺪﺓ ﻣﻨﻬﺎ‪ ،‬ﺑﺬﻟﻚ ﻳﻜﻮﻥ ﻗﺪ ﺃﺳﻨﺪ ﺁﺭﺍﺀﻩ ﺍﻟﻨﻘﺪﻳﺔ‬

‫ﺭﻗﻤﻴﺎ‬ ‫ﻭﺣﺴﺎﺑﻴﺎ ﺑﺄﺣﻜﺎﻡ ﺭﻗﻤﻴﺔ ﺑﺤﺘﺔ ﻻ ﺗﻘﺒﻞ ﺍﻟﺸﻚ‪ ،‬ﻭﺗﺰﺭﻉ ﺍﻟﻴﻘﲔ ﻟﺪ￯ ﻛﻞ ﻣﺘﻠﻖﱟ ﺃﻭ ﻧﺎﻗﺪ ‪...‬‬ ‫‪h‬‬ ‫‪h‬‬ ‫ﻭﺣﺪﺍﺕ ﺍﻟﺘﺤﻠﻴﻞ ﻫﻨﺎ ﻫﻲ ﺍﻷﺭﻗﺎﻡ ﻓﻘﻂ‪.‬‬

‫ﺍﳌﻴﻞ ﺍﻟﱪﺍﻏﲈﰐ ﻋﻨﺪ ﺍﻷﺩﻳﺐ ﻋﺎﺩﻝ ‪ ٩،٨‬ﻣﻦ ‪.١٠‬‬ ‫ﺍﻟﻜﺎﺗﺐ ﻣﺒﺪﻉ ﺑﺪﺭﺟﺔ ﳑﺘﺎﺯﺓ‪.‬‬

‫‪٩٤‬‬

ÜÀä÷]<hÅ_ DÅ]Ç«e<›^Ëfl _E<ÌË]ÊÖ ÎÊ]àÈ¢]<ÿÈ◊}<ÎÜíπ]<gi^”◊÷ ^qÉÁ¥_ ⁄

‫‪O‬‬ ‫_‪<ÜÀä÷]<hÅ‬‬ ‫‪fl‬‬ ‫‚‪fl jfl ÷]<ÿ‬‬ ‫‪<[JJJx◊Şíπ]<‡¬<9‬‬ ‫‪fl ◊â<tÊÜ}<›_<ÌÈfl e^´c<ÌfiÜí¬<Ì◊uÜ÷]<hÅ_<ÌÈfl fi^”⁄á<ª<Íøé‬‬ ‫‪<ÎÊ]àÈ¢]<ÿÈ◊}<ÎÜíπ]<gËÅ˙÷<Îá]Áπ]<ì‬‬ ‫‪fl fl◊÷<Í◊}]flÇ÷]<–€√÷]<ª<ÌÈfl ◊È◊†<ÏÜÀâ‬‬ ‫‪DÅ]Ç«e<›^flË_E<h<›ÁâÁπ]Ê‬‬ ‫<‪Ñfl ÷]<ÏÇŒ^fl÷]<‹◊œe‬‬ ‫‪ÍȨ<Ç÷^}<4f¬<JÅ<ÌflËÖÁä÷]<ÌÈ√Ò]Ö‬‬ ‫‪fl‬‬

‫‪VÌ⁄flÇœ⁄‬‬ ‫ﹼ‬ ‫ﺍﻟﺴﺎﺣﺔ‬ ‫ﻟﻠﺮﻛﻮﺩ ﺍﻟ ﹼﻨﻘﺪﻱ‪ ،‬ﺍﻟﺬﻱ‬ ‫ﺍﻟﻌﺮﺑﻴﺔ ﻫﻮ ﺩﻋﻮﺓ‬ ‫ﺇﻥ ﻏﻴﺎﺏ ﺍﻟ ﹼﻨﻘﺪ ﺍﻟﻌﻠﻤﻲ ﻣﻦ ﹼ‬ ‫ﹼ‬ ‫ﻣﺴﺘﻤﺮﺓ ﹼ‬ ‫ﹼ‬

‫ﺸﺒﺚ ﺑﺎﻵﺭﺍﺀ ﺍﻟﺒﻌﻴﺪﺓ‬ ‫ﻗﺎﺩ ﻧ ﹼﻘﺎﺩ ﺍﻟ ﹼﻨﻘﺪ ﺍﻟﺜﻘﺎﰲ ﻭﺍﻻﻧﻄﺒﺎﻋﻲ ﺇﱃ ﺍﻟ ﹼﺘﻘﻠﻴﺪ ﹼ‬ ‫ﺍﻟﺴﻄﺤﻲ ﺍﻟ ﹼﺘﻔﺴﲑﻱ‪ ،‬ﻭﺍﻟ ﹼﺘ ﹼ‬ ‫ﻋﻦ ﺍﳌﻨﻄﻖ ﺍﻟﻌﺮﰊ‪ ،‬ﹼ‬ ‫ﴢ‪ ،‬ﻭﺍﻻﻧﺸﻐﺎﻝ ﺑﺬﻛﺮ ﺃﺳﲈﺀ‬ ‫ﺃﺟﻨﺒﻴﺔ‬ ‫ﻭﺍﲣﺎﺫ ﻣﺴﺎﻟﻚ ﺑﻌﻴﺪﺓ ﻋﻦ ﺍﻟ ﹼﺘﺤﻠﻴﻞ ﺍﻟ ﹼﻨ ﹼ‬ ‫ﹼ‬ ‫ﺳﲑ‬ ‫ﺺ ﺍﳋﺎﺿﻊ ﻟﻠ ﹼﺘﺤﻠﻴﻞ ﻭﺻﺎﺣﺒﻪ‪،‬‬ ‫ﻣﻌﺮﻓﻴﺔ‬ ‫ﻟﺸﺨﺼﻴﺎﺕ‬ ‫ﺃﺟﻨﺒﻴﺔ ﺑﻌﻴﺪﹰ ﺍ ﻋﻦ ﺍﻟ ﹼﻨ ﹼ‬ ‫ﻭﻣﻘﺘﻄﻔﺎﺕ ﻋﻦ ﹶ‬ ‫ﹼ‬ ‫ﹼ‬ ‫ﹼ‬

‫ﻣﺘﻨﺎﺳﲔ ﹼ‬ ‫ﺺ ﻭﻛﺎﺗﺒﻪ ﻟﺼﻴﺪ ﺍﳌﺨﺒﻮﺀﺍﺕ ﻓﻮﻕ ﻭﲢﺖ‬ ‫ﺃﻥ ﺍﻟ ﹼﻨﻘﺪ ﺍﻟﻌﻠﻤﻲ ﻫﻮ ﻏﻮﺹ ﰲ ﺃﻋﲈﻕ ﺍﻟ ﹼﻨ ﹼ‬ ‫ﹰ‬ ‫ﻏﺰﻳﺮﺍ‬ ‫ﻭﺃﺻﻴﻼ‪.‬‬ ‫ﺻﻴﺎﺩﻩ ﻋﻤﻴ ﹰﻘﺎ ﻛﺎﻥ ﺻﻴﺪﻩ ﹰ‬ ‫ﻭﺑﲔ ﹼ‬ ‫ﺍﻟﺴﻄﻮﺭ‪ ،‬ﻛﺼﻴﺪ ﺍﻟﻠﺆﻟﺆ‪ ،‬ﻛ ﹼﻠﲈ ﻏﺎﺹ ﹼ‬

‫ﻓﺎﻟﺮﺣﻼﺕ‬ ‫ﹸﻳ ﹼ‬ ‫ﺘﺸﻌﺐ ﺃﺩﺏ ﹼ‬ ‫ﺍﻟﺮﺣﻠﺔ ﻭﺗﺎﺭﳜﻬﺎ‪ ،‬ﹼ‬ ‫ﺍﻟﺮﺣﻠﺔ ﺇﱃ ﻋﺪﹼ ﺓ ﻣﻔﺎﺻﻞ ﺣﺴﺐ ﻧﻮﻉ ﹼ‬

‫ﺍﻟﺮﺣﻠﺔ ﺍﻟ ﹼﻨﻤﻮﺫﺟﻲ‪ ،‬ﹼ‬ ‫ﻷﻥ‬ ‫ﺍﻟﻘﺪﻳﻤﺔ ﻛﺎﻧﺖ ﺃﺩ ﹰﺑﺎ‬ ‫ﺍﻟﺮﺣﺎﻟﺔ ﻛﺎﻥ ﻳﻘﴤ‬ ‫ﹼ‬ ‫‪h‬‬ ‫ﺣﻘﻴﻘﻴﺎ ﻳﻤﺜﹼﻞ ﺃﺩﺏ ﹼ‬ ‫ﻣﻜﺎﻧﻴﺔ ﻟﺘﻜﻮﻥ ﺣﺒﻜﺔ ﻃﻮﻳﻠﺔ ﻟﺮﺣﻠﺘﻪ‪ ،‬ﺗﺴﺘﻮﻋﺐ ﹼ‬ ‫ﻛﻞ ﺃﺣﺪﺍﺛﻬﺎ‬ ‫ﺯﻣﻜﺎﻧﻴﺔ ﻃﻮﻳﻠﺔ‪ ،‬ﺗ ﹼﺘﺴﻊ ﺗﻠﻚ ﹼ‬ ‫ﹼ‬ ‫ﺍﻟﺰ ﹼ‬ ‫ﺍﻟﺮﺣﺎﻟﺔ ﺳﻨﻴﻨﹰﺎ‬ ‫ﻄﻮﺭ ﺍﻟ ﹼﺘﻜﻨﻮﻟﻮﺟﻲ ﺍﻟﺬﻱ‬ ‫ﹰ‬ ‫ﻭﺃﻣﻜﻨﺘﻬﺎ‪ ،‬ﺣﻴﺚ ﻳﻘﴤ ﹼ‬ ‫ﻭﺷﻬﻮﺭﺍ ﰲ ﺭﺣﻠﺘﻪ‪ ،‬ﻭﻣﻊ ﺍﻟ ﹼﺘ ﹼ‬ ‫ﺃﺿﻴﻒ ﳍﺬﺍ ﺍﻷﺩﺏ ﺑﺸﻜﻞ ﺇﺟﺮﺍﺋﻲ ﳏﺘﻮﻡ ﺑﻌﻮﺍﻣﻞ ﹼ‬ ‫ﺍﻟﺴﻔﺮ‬ ‫ﺍﻟﻄﺒﻴﻌﺔ ﻭﺍﻟ ﹼﺘﻘﺪﹼ ﻡ ﺍﻟ ﹼﺘﻜﻨﻮﻟﻮﺟﻲ ﰲ ﹼ‬

‫ﹴ‬ ‫ﺯﻣﻜﺎﻧﻴﺔ ﻫﺬﺍ ﺍﻷﺩﺏ ﺣﺘﻰ ﺻﺎﺭﺕ‬ ‫ﺗﻨﻮﻉ‬ ‫ﻭﺍﻻﺗﹼﺼﺎﻻﺕ‪ ،‬ﺗﻘ ﹼﻠﺼﺖ‬ ‫ﺳﺎﻋﺎﺕ ﻭﺃ ﹼﻳﺎ ﹰﻣﺎ‪ ،‬ﻭﺣﺪﺙ ﹼ‬ ‫ﹼ‬ ‫ﺩﺍﺧﲇ ﰲ ﰲ ﺫﻟﻚ ﺍﻷﺩﺏ‪ ،‬ﺣﻴﺚ ﺍﻧﻔﺼﻠﺖ‬ ‫ﻣﻜﺎﻧﻴﺘﻪ ﻋﻦ‬ ‫ﺯﻣﺎﻧﻴﺘﻪ‪ ،‬ﻓﺘﻌﺪﹼ ﺩﺕ ﺍﻷﻣﻜﻨﺔ ﻭﺗﻘ ﹼﻠﺺ‬ ‫ﹼ‬ ‫ﹼ‬

‫ﺍﻟﺰﻣﻦ‪ ،‬ﺑﻤﻌﻨﻰ ﹼ‬ ‫ﻃﺒﻴﺔ ﺃﻭ‬ ‫ﻣﺴﺎﻓﺮﺍ ﺑﻐﺎﻳﺔ ﲡﺎﺭ ﹼﻳﺔ ﺃﻭ‬ ‫ﺳﻴﺎﺣﻴﺔ ﺃﻭ‬ ‫ﺍﻟﺮﺣﺎﻟﺔ ﺻﺎﺭ‬ ‫ﹼ‬ ‫ﺃﻥ ﹼ‬ ‫ﹰ‬ ‫ﹼ‬ ‫ﺳﻴﺎﺳﻴﺔ ﺃﻭ ﹼ‬ ‫ﹼ‬ ‫ﺷﺨﺼﻴﺔ‪ ،‬ﻓﱪﺃﻳﻲ‪ ،‬ﻭﻃﺒ ﹰﻘﺎ‬ ‫ﻳﺴﻤﻰ ﺑﺄﺩﺏ‬ ‫ﺍﻟﺮﺣﻠﺔ ﻣﻔﺼﻞ ﺟﺪﻳﺪ ﹼ‬ ‫ﹼ‬ ‫ﹼ‬ ‫ﻟﺬﺭﺍﺋﻌﻴﺘﻲ ﹸﻳﻀﺎﻑ ﻷﺩﺏ ﹼ‬

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‫ﺍﻟﺴﻔﺮ‪ ،‬ﻭﻫﺬﺍ ﻣﻔﺼﻞ ﻭﻣﺼﻄﻠﺢ ﺟﺪﻳﺪ ﻗﺎﺑﻞ ﻟﻠ ﹼﻨﻘﺎﺵ‪ ،‬ﻭﺭﻭﺍﻳﺘﻨﺎ ﺍﻟﺘﻲ ﻧﺤﻦ ﺑﺼﺪﺩ ﺗﻨﺎﻭﳍﺎ‬ ‫ﹼ‬

‫ﻷﳖﺎ ﱂ ﺗﻌﺪ ﺭﺣﻠﺔ‪ ،‬ﻭﺇﻧﹼﲈ ﺳﻔﺮ ﺑﻘﺼﺪ ﺍﳍﺠﺮﺓ ﻭﺍﻟ ﹼﺘﻮﻃﲔ‬ ‫ﻧﻘﺪ ‪h‬ﻳﺎ ﻫﻲ ﻣﺸﻬﺪ ﳍﺬﺍ ﺍﳌﻔﺼﻞ ﺍﳉﺪﻳﺪ‪ ،‬ﹼ‬

‫ﺍﻟﺮﻭﺍﻳﺔ ﺃﺷﺎﺭﺕ‬ ‫ﻭﺍﳌﺴﺎﻛﻨﺔ‪ ،‬ﻭﺍﻟﺒﺤﺚ ﻋﻦ ﺍﻟﻌﻤﻞ ﻭﻋﻦ ﻟﻘﻤﺔ ﺍﻟﻌﻴﺶ ﰲ ﺑﻠﺪﺍﻥ ﺃﺧﺮ￯‪ ،‬ﻟﺬﻟﻚ ﹼ‬ ‫ﺍﻟﺴﻔﺮ‪ ،‬ﹼ‬ ‫ﻷﻥ ﻣﺎ ﻓﻌﻠﻪ ﺍﻟﻜﺎﺗﺐ ﺧﻠﻖ ﺍﻧﻔﺼﺎﻡ‬ ‫ﺍﻟﺮﺣﻠﺔ‪ ،‬ﺃﺳﻤﻴ ﹸﺘﻪ ﺃﺩﺏ ﹼ‬ ‫ﺇﱃ ﺟﻨﺲ ﺟﺪﻳﺪ ﻣﻦ ﺃﺩﺏ ﹼ‬

‫ﻭﺍﻟﺰﻣﺎﻥ ﻋﻨﴫﺍﻥ ﻣﺘﺒﺎﻋﺪﺍﻥ ﰲ ﻫﺬﺍ ﺍﳉﻨﺲ ﻋﻨﻬﲈ ﰲ ﺍﳉﻨﺲ‬ ‫ﻣﻜﺎﻧﻴﺔ‪ ،‬ﻓﺼﺎﺭ ﺍﳌﻜﺎﻥ ﹼ‬ ‫ﰲ ﹼ‬ ‫ﺍﻟﺰ ﹼ‬

‫ﺍﻟﺘﺘﺒﻊ ﺍﻟﻘﺪﻳﻢ ﻟﻸﻣﻜﻨﺔ‪ ،‬ﻓﻘﺪ ﺗﻌﺪﹼ ﺩﺕ ﺍﻷﻣﻜﻨﺔ ﻭﺗﻄﺎﺑﻘﺖ‬ ‫ﺍﻟﺮﺣﻠﺔ‪ ،‬ﺍﺧﺘﻔﻰ ﻣﻨﻬﺎ ﹼ‬ ‫ﺍﻷﺻﲇ ﺃﺩﺏ ﹼ‬

‫ﺍﻟﺰﻣﻦ‪ ،‬ﻭﺿﻌﻔﺖ‬ ‫)ﺍﳌﻜﺎﻥ ﺍﻟﺬﻱ ﺍﻧﻄﻠﻖ ﻣﻨﻪ ﺍﳌﺴﺎﻓﺮ ﻳﺸﺒﻪ ﺍﻷﻣﻜﻨﺔ ﺍﻟﺘﻲ ﻭﺻﻞ ﺇﻟﻴﻬﺎ(‪ ،‬ﻓﻘﴫ ﹼ‬

‫ﺍﻟﺮﺣﻠﺔ ﺇﱃ ﺃﺩﺏ‬ ‫ﹼ‬ ‫ﺩﻳﻤﻮﻏﺮﺍﻓﻴﺔ ﺍﳌﺸﺎﻫﺪ ﻋﻨﺪ ﻫﺬﺍ ﺍﻟ ﹼﺘﻄﺎﺑﻖ ﺍﳌﻜﺎﲏ‪ ،‬ﻓﺘﺒﺪﹼ ﻝ ﺍﻷﺩﺏ ﻣﻦ ﺃﺩﺏ ﹼ‬

‫ﺍﻟﴪﺩ ﹼﻳﺔ( ﻓﻴﻪ‪ .‬ﻓﺎﻟﻐﺎﻳﺔ ﻫﻨﺎ )ﺍﳍﺠﺮﺓ ﻭﺍﻟ ﹼﺘﻮﻃﲔ ﻭﺍﳌﺴﺎﻛﻨﺔ‬ ‫ﺍﻟﺴﻔﺮ ﹼ‬ ‫ﻟﺘﻐﲑ ﹼ‬ ‫ﹼ‬ ‫ﺒﺒﻴﺔ )ﺍﳌﻘﺼﺪ ﹼﻳﺔ ﹼ‬ ‫ﺍﻟﺴ ﹼ‬ ‫ﱪﺭ ﺍﳊﺪﺙ‪.‬‬ ‫ﻭﺍﻟﻌﻤﻞ( ﺗ ﹼ‬ ‫]÷‪<ÎÊ]àÈ¢]<ÿÈ◊}<<Vgi^”◊÷<ÌÈfl i]Ñfl ÷]<Ï4ä‬‬ ‫‪fl‬‬ ‫ﻛﻠﻴﺔ ﺍﻵﺩﺍﺏ ﻗﺴﻢ ﺍﻟ ﹼﻠﻐﺔ‬ ‫ﺍﻟﻌﺮﺑﻴﺔ ﺑﺠﺎﻣﻌﺔ ﻋﲔ ﺷﻤﺲ‪ /‬ﺍﻟﻘﺎﻫﺮﺓ ‪١٩٨٥‬ﻡ‪.‬‬ ‫ﹼ‬ ‫* ﻟﻴﺴﺎﻧﺲ ﹼ‬ ‫* ﻛﺎﺗﺐ ﺭﻭﺍﺋﻲ ﻭﻧﺎﻗﺪ ﺃﺩﰊ‪.‬‬

‫* ﻋﻀﻮ ﳎﻠﺲ ﺇﺩﺍﺭﺓ ﻧﻘﺎﺑﺔ ﺍﲢﺎﺩ ﻛﺘﺎﺏ ﻣﴫ‪ /‬ﺭﺋﻴﺲ ﳉﻨﺔ ﺍﻟ ﹼﻨﴩ‪ /‬ﻣﺎﺭﺱ ‪٢٠٠٥‬ﻡ ﻭﺣﺘﻰ‬ ‫ﺍﻵﻥ‪.‬‬

‫ﻣﻘﺮﺭ ﳉﻨﺔ ﺍﻟ ﹼﻨﴩ‪.‬‬ ‫* ﻋﻀﻮ ﳎﻠﺲ ﺇﺩﺍﺭﺓ ﻧﺎﺩﻱ ﹼ‬ ‫ﺍﻟﻘﺼﺔ ﺑﺎﻟﻘﺎﻫﺮﺓ‪ /‬ﹼ‬ ‫ﺑﺎﻟﺼﺤﺎﻓﺔ‬ ‫ﺍﻷﺩﺑﻴﺔ‪.‬‬ ‫* ﻳﻌﻤﻞ ﹼ‬ ‫ﹼ‬ ‫ﺍﻷﺩﺑﻴﺔ ﻭﺍﳌﺴﺎﺑﻘﺎﺕ ﺑﺎﳌﺠﻠﺲ‬ ‫* ﻭﻛﻴﻞ ﻭﺯﺍﺭﺓ ﺍﻟﺜﹼﻘﺎﻓﺔ‪ ،‬ﺭﺋﻴﺲ ﺍﻹﺩﺍﺭﺓ ﺍﳌﺮﻛﺰﻳﺔ ﻟﻠﺸﹼ ﺆﻭﻥ‬ ‫ﹼ‬ ‫ﺍﻷﻋﲆ ﻟﻠﺜﹼﻘﺎﻓﺔ ﺑﺎﻟﻘﺎﻫﺮﺓ‪.‬‬ ‫* ﺭﺋﻴﺲ ﲢﺮﻳﺮ ﳎ ﹼﻠﺔ ﺍﻟﻜﺎﺗﺐ‪ ..‬ﺗﺼﺪﺭ ﻋﻦ ﺍﻟ ﹼﻨﻘﺎﺑﺔ ﺍﻟﻌﺎ ﹼﻣﺔ ﻻﲢﺎﺩ ﻛ ﹼﺘﺎﺏ ﻣﴫ ﺑﺎﻟﻘﺎﻫﺮﺓ‪.‬‬ ‫ﺍﻷﺩﺑﻴﺔ ﺍﻟﺘﻲ ﹼ‬ ‫ﺗﻨﻈﻤﻬﺎ ﺍﻟ ﹼﻨﻘﺎﺑﺔ ﺍﻟﻌﺎ ﹼﻣﺔ ﻻﲢﺎﺩ ﻛ ﹼﺘﺎﺏ ﻣﴫ‪.‬‬ ‫* ﻋﻀﻮ ﳉﻨﺔ ﲢﻜﻴﻢ ﺑﺎﳌﺴﺎﺑﻘﺎﺕ‬ ‫ﹼ‬

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‫‪VhÅ˘]<ºÒ^u<Ó◊¬<Â4⁄^ä⁄‬‬ ‫ﻣﺪﺭﺱ ﺑﻨﺎﺕ – ﺭﻭﺍﻳﺔ‪ -‬ﻣﻜﺘﺒﺔ ﻣﺪﺑﻮﱄ ‪٢٠٠٠‬ﻡ‪.‬‬ ‫*‬ ‫ﻳﻮﻣﻴﺎﺕ ﹼ‬ ‫ﹼ‬ ‫* ﻧﺸﻴﺪ ﺍﳋﻼﺹ – ﻗﺼﺺ‪ -‬ﻃﺒﻌﺔ ﺃﻭﱃ ﻫﻴﺌﺔ ﻗﺼﻮﺭ ﺍﻟﺜﹼﻘﺎﻓﺔ ‪٢٠٠٨‬ﻡ‪.‬‬ ‫* ﺃﺣﻼﻡ ﻋﺎﺋﺸﺔ‪ -‬ﺭﻭﺍﻳﺔ‪ -‬ﺍﳍﻴﺌﺔ ﺍﳌﴫ ﹼﻳﺔ ﺍﻟﻌﺎﻣﺔ ﻟﻠﻜﺘﺎﺏ ‪٢٠٠٣‬ﻡ‪.‬‬ ‫* ﺍﻷﻻﺿﻴﺶ – ﺭﻭﺍﻳﺔ‪ -‬ﺍﳍﻴﺌﺔ ﺍﳌﴫ ﹼﻳﺔ ﺍﻟﻌﺎﻣﺔ ﻟﻠﻜﺘﺎﺏ ‪٢٠٠٤‬ﻡ‪.‬‬ ‫ﺍﻟﻘﺼﺔ ‪٢٠٠٤‬ﻡ‪.‬‬ ‫* ﺃﻭﻻﺩ ﺍﻷﻓﺎﻋﻲ – ﻗﺼﺺ‪ -‬ﺍﻟﻜﺘﺎﺏ ﺍﻟﻔﴤ ﻧﺎﺩﻱ ﹼ‬ ‫* ﻣﴪﺡ ﺍﳌﻮﺍﺟﻬﺔ – ﺩﺭﺍﺳﺔ‪ -‬ﺍﳍﻴﺌﺔ ﺍﳌﴫ ﹼﻳﺔ ﻟﻠﻜﺘﺎﺏ ‪٢٠٠٤‬ﻡ‪.‬‬ ‫ﺍﻟﻌﺮﺑﻴﺔ ﻟﻠﻌﻠﻮﻡ‪.‬‬ ‫ﺍﻟﺼﻤﺖ – ﺭﻭﺍﻳﺔ‪ -‬ﺍﻟﺪﹼ ﺍﺭ‬ ‫* ﻣﻮﺍﻗﻴﺖ ﹼ‬ ‫ﹼ‬ ‫* ﻳﻮﺳﻒ ﺍﻟﺸﹼ ﺎﺭﻭﲏ – ﺩﺭﺍﺳﺔ‪ -‬ﺍﳍﻴﺌﺔ ﺍﳌﴫ ﹼﻳﺔ ﺍﻟﻌﺎ ﹼﻣﺔ ﻟﻠﻜﺘﺎﺏ ‪٢٠٠٩‬ﻡ‪.‬‬ ‫* ﺣﺒﻞ ﺍﻟﻮﺩﺍﺩ – ﻗﺼﺺ‪ -‬ﺍﳍﻴﺌﺔ ﺍﻟﻌﺎ ﹼﻣﺔ ﻟﻘﺼﻮﺭ ﺍﻟﺜﹼﻘﺎﻓﺔ ‪٢٠١٠‬ﻡ‪.‬‬ ‫* ﺳﲑﺓ ﺑﻨﻲ ﺻﺎﻟﺢ – ﺭﻭﺍﻳﺔ‪ -‬ﺩﺍﺭ ﺳﻨﺪﺑﺎﺩ ﻟﻠ ﹼﻨﴩ ﻭﺍﻟ ﹼﺘﻮﺯﻳﻊ ﺑﺎﻟﻘﺎﻫﺮﺓ ‪٢٠١٥‬ﻡ‪.‬‬ ‫ﻣﺆﺳﺴﺔ ﺩﺍﺭ ﺍﳌﻌﺎﺭﻑ ‪٢٠١٩‬ﻡ‪.‬‬ ‫* ﺃ ﹼﻳﺎﻡ ﺑﻐﺪﺍﺩ‪ -‬ﺭﻭﺍﻳﺔ – ﹼ‬ ‫ﲠﻴﺔ – ﺭﻭﺍﻳﺔ ﲢﺖ ﹼ‬ ‫ﺍﻟﻄﺒﻊ‪.‬‬ ‫* ﺧﺎﻟﺘﻲ ﹼ‬ ‫ﻭﺍﻟﻌﺮﺑﻴﺔ‪ ،‬ﻭﺗﺮﲨﺖ‬ ‫ﺍﻷﺩﺑﻴﺔ ﻭﺷﻬﺎﺩﺍﺕ ﺍﻟ ﹼﺘﻘﺪﻳﺮ ﺍﳌﴫ ﹼﻳﺔ‬ ‫ﺣﺎﺋﺰ ﻋﲆ ﺍﻟﻜﺜﲑ ﻣﻦ ﺍﳉﻮﺍﺋﺮ‬ ‫ﹼ‬ ‫ﹼ‬

‫ﺍﻟﻌﺪﻳﺪ ﻣﻦ ﺃﻋﲈﻟﻪ ﺇﱃ ﺍﻹﻧﺠﻠﻴﺰﻳﺔ ﻭﺍﻟﻔﺮﻧﺴﻴﺔ‪.‬‬

‫]÷‪<VÎÜ”À÷]<4Úfj‬‬ ‫ﻭﻫﻮ ﺍﻟﺒﺆﺭﺓ ﺍﻟﺜﹼﺎﺑﺘﺔ ﺃﻭ ﺍﻟﺜﹼﻴﻤﺔ ﺍﻟﺘﻲ ﺃﺧﺘﺎﺭﻫﺎ‬ ‫ﺫﺭﺍﺋﻌﻴﺎ ﻷﻧﻄﻠﻖ ﻣﻨﻬﺎ ﺇﱃ ﺑﺎﻗﻲ ﺍﳌﺴﺘﻮﻳﺎﺕ‬ ‫‪h‬‬

‫ﹼ‬ ‫ﺭﺍﺋﻌﻴﺔ‬ ‫ﻧﺴﺒﻴﺎ‪ ،‬ﻓﻼﺑﺪﹼ ﻣﻦ ﻧﻘﻄﺔ ﺃﺣﺎﻭﻝ ﺗﺜﺒﻴﺘﻬﺎ ﻷﻣﺮﻛﺰ ﻋﻠﻴﻬﺎ ﺩﺭﺍﺳﺘﻲ‪ ،‬ﻓﺘﻜﻮﻥ‬ ‫ﺍﳌﺘﺤﺮﻛﺔ ‪h‬‬ ‫ﺍﻟﺬ ﹼ‬ ‫ﹼ‬ ‫ﻣﻨﻄﻠ ﹰﻘﺎ ﻟﺒﺎﻗﻲ ﺍﳌﺴﺘﻮﻳﺎﺕ‪ ،‬ﺑﺘﺴﻠﺴﻞ ﺩﺍﺋﺮﻱ ﺣﻠﺰﻭﲏ‪ ،‬ﳏﻜﻮﻣﺔ ﺑﺠﺬﺏ ﺍﳌﺴﺘﻮﻳﺎﺕ‬ ‫ﺍﳌﺘﺤﺮﻛﺔ‬ ‫ﹼ‬

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‫ﺣﻮﳍﺎ ﻟﺘﻮﺯﻳﻊ ﺍﻟﺪﻻﻻﺕ ﻋﻠﻴﻬﺎ‪ ،‬ﻓﻬﻲ )ﺍﻟﺒﺆﺭﺓ( ﺍﳌﺴﺆﻭﻟﺔ ﻋﻦ ﺗﻮﺯﻳﻊ ﺍﻟﺪﹼ ﻻﻻﺕ ﻋﲆ ﺍﳌﺴﺘﻮﻳﺎﺕ‬ ‫ﹼ‬ ‫ﺭﺍﺋﻌﻴﺔ ﺍﻟﺪﹼ ﺍﺋﺮﺓ ﺣﻮﳍﺎ ﺣﺴﺐ ﺍﻟﻌﺎﺋﺪ ﹼﻳﺔ‪.‬‬ ‫ﺍﻟﺬ ﹼ‬ ‫ﹼ‬ ‫ﻭﺗﻠﻚ ﺍﳊﺮﻛﺔ ﺍﻟﺪﹼ ﺍﺋﺮﻳﺔ ﲢﻜﻤﻬﺎ ﺛﻼﺙ ﺛﻴﲈﺕ‪،‬‬ ‫ﺍﺧﻠﻴﺔ ﰲ ﺍﻟ ﹼﻨﺺ‪:‬‬ ‫ﻭﺗﺸﻜﻞ ﺍﻟﺒﻨﻴﺔ ﺍﻟﺪﹼ ﹼ‬

‫‪VÇŒ^ fl ÷]<Ì€Èm<IM‬‬ ‫ﻭﻫﻮ ﺍﳌﻨﻬﺞ ﺍﻟ ﹼﻨﻘﺪﻱ ﺍﻟﻌﻠﻤﻲ ﺍﻟﺬﻱ ﻳﺴﺘﻨﺪ ﺇﻟﻴﻪ ﺍﻟ ﹼﻨﺎﻗﺪ ﰲ ﺩﺭﺍﺳﺘﻪ‪ ،‬ﻭﺍﳌﻨﻬﺞ ﹼ‬ ‫ﺍﻟﺬﺭﺍﺋﻌﻲ ﻫﻮ‬

‫ﻣﺎ‬ ‫ﺃﻧﺘﻬﺠﻪ ﰲ ﺩﺭﺍﺳﺎﰐ‪.‬‬ ‫ﹸ‬

‫‪<Vgi^”÷]<Ì€Èm<IN‬‬ ‫ﻭﻫﻮ ﺍﻟﺒﺼﻤﺔ‬ ‫ﲤﻴﺰ ﺍﻟﻜﺎﺗﺐ ﻋﻦ ﻏﲑﻩ‪ ،‬ﻭﻫﻲ ﻣﺴﺘﺸ ﹼﻔﺔ ﻣﻦ ﺍﻷﻓﻜﺎﺭ‬ ‫ﺍﻷﻳﺪﻟﻮﻟﻮﺟﻴﺔ ﺍﻟﺘﻲ ﹼ‬ ‫ﹼ‬ ‫ﻭﺍﳌﻮﺍﺿﻴﻊ ﺍﻟﺘﻲ ﻳﻄﺮﺣﻬﺎ ﰲ ﻛﺘﺎﺑﺎﺗﻪ‪ ،‬ﻭﺍﻟﺘﻲ ﻳﺴﺘﻠﺰﻡ ﲢﺪﻳﺪﻫﺎ ﻣﻦ ﺍﻟ ﹼﻨﺎﻗﺪ ﺃﻥ ﻳﻜﻮﻥ ﹼ‬ ‫ﻠﻌﺎ ﻋﲆ‬ ‫ﻣﻄ ﹰ‬

‫ﻣﻌﻈﻢ ﺃﻋﲈﻝ ﺍﻟﻜﺎﺗﺐ‪ ،‬ﻭﺍﻟﺘﻲ ﻧﺤﺪﹼ ﺩﻫﺎ ﺑـ )ﲡﺮﺑﺔ ﺍﻟﻜﺎﺗﺐ‬ ‫ﺍﻹﺑﺪﺍﻋﻴﺔ(‪.‬‬ ‫ﹼ‬

‫‪Vì fl ÷]<Ì€Èm I< O‬‬ ‫ﺍﻟﺮﺳﺎﻟﺔ ﺍﻟﺘﻲ ﻳﺮﺳﻠﻬﺎ‬ ‫ﻭﻫﻲ ﺍﻷﻓﻜﺎﺭ ﻭﺍﳌﻮﺍﺿﻴﻊ ﺍﻟﺘﻲ ﻳﻄﺮﺣﻬﺎ ﺍﻟﻜﺎﺗﺐ ﰲ ﹼ‬ ‫ﻧﺼﻪ‪ ،‬ﺃﻭ ﹼ‬ ‫ﹺ‬ ‫ﻣﺮﺳﻞ ﺇﻟﻴﻪ )ﺍﳌﺘﻠ ﹼﻘﻲ ﺃﻭ ﺍﻟ ﹼﻨﺎﻗﺪ(‪ ،‬ﻳﺘﺴ ﹼﻠﻤﻬﺎ ﺍﳌﺘﻠ ﹼﻘﻲ ﻛﲈ ﻫﻲ‪ ،‬ﺩﻭﻥ ﺍﳌﺴﺎﺱ‬ ‫ﻣﺮﺳﻞ )ﺍﻟﻜﺎﺗﺐ( ﺇﱃ ﹶ‬

‫ﲠﺎ‪ ،‬ﻓﻬﻲ ﺃﻓﻜﺎﺭﻩ ﺍﻟﺘﻲ ﺍﺋﺘﻤﻨﻨﺎ ﻋﻠﻴﻬﺎ ﻭﺩﻳﻌ ﹰﺔ ﺛﻢ ﻏﺎﺏ‪.‬‬

‫ﻭﺍﻟﻜﺎﺗــﺐ ﰲ ﻫــﺬﺍ ﺍﻟﻌﻤــﻞ )ﺃ ﹼﻳــﺎﻡ ﺑﻐــﺪﺍﺩ( ﻣﻬﻤــﻮﻡ ﺑﺄﺑﻨــﺎﺀ ﻭﻃﻨــﻪ‪ ،‬ﺑﻤﺴــﺘﻘﺒﻠﻬﻢ‬ ‫ﺍﳌﺠﻬــﻮﻝ‪ ،‬ﺑﻐﺮﺑﺘﻬــﻢ ﻭﺷــﻘﺎﺋﻬﻢ ﻭ ﹸﻳ ﹺ‬ ‫ﺘﻤﻬــﻢ ﻋﻨﺪﻣــﺎ ﻳﻠﻔﻈﻬــﻢ ﺍﻟﻮﻃــﻦ ﺧــﺎﺭﺝ ﺣﻀﻨــﻪ‪،‬‬ ‫ﹰ‬ ‫ﻳﻀﻦ ﲠﺎ‬ ‫ﻣﺴــﺘﺜﻘﻼ ﻣﻦ ﺇﻋﺎﺷــﺘﻬﻢ ﻭﺇﻋﻄﺎﺋﻬﻢ ﻗــﻮﺕ ﻳﻮﻣﻬﻢ‪ ،‬ﻣﻦ ﺧــﲑﺍﺕ‬ ‫ﱪ ﹰﻣــﺎ ﲠﻢ‪،‬‬ ‫ﹼ‬ ‫ﻣﺘ ﹼ‬ ‫ﻋــﲆ ﺍﻟﻔﻘــﺮﺍﺀ ﻣﻨﻬــﻢ‪ ،‬ﻭﻳﻜﺘﻔــﻲ ﺑﻤﻨﺤﻬﻢ ﺗﺄﺷــﲑﺍﺕ ﺧــﺮﻭﺝ ﺇﱃ ﺑﻠﺪﺍﻥ ﳎــﺎﻭﺭﺓ ﺗﺄﻛﻠﻬﺎ‬ ‫ﻋﻤﻠﻴﺔ ﹸﲤ ﹼﻴﺰ ﺍﻟﺸــﻌﺐ ﺍﳌﴫﻱ‪ ،‬ﻓﻬــﻮ ﻳﺒﺤﺚ ﻋﻦ ﺍﻟﻌﻤﻞ ﰲ ﺯﻭﺍﻳﺎ‬ ‫ﻗﻀﻴﺔ‬ ‫ﹼ‬ ‫ﺍﳊــﺮﻭﺏ‪ ،‬ﻭﺗﻠﻚ ﹼ‬

‫ﺍﻟﻌــﺎﱂ ﺍﳌﻨﺘﴩﺓ ﻟﻴﺆ ﹼﻣﻦ ﻟﻘﻤﺔ ﻋﻴﺸــﻪ‪ ،‬ﹼ‬ ‫ﻳﺘﻘﺒــﻞ ﺍﻟﺒﻄﺎﻟﺔ ﻣﻄﻠ ﹰﻘﺎ‪ ،‬ﻭﻻ ﻳﻤﺪﹼ ﻳﺪﻩ‬ ‫ﻷﻥ ﺍﳌﴫﻱ ﻻ ﹼ‬

‫ﻟﻠﻌــﻮﺯ‪ ،‬ﻓﺎﻟﻌﻤــﻞ ﻟﺪﻳــﻪ ﴍﻑ ﻳــﺬﻭﺩ ﻋﻨــﻪ‪.‬‬

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‫ﹼ‬ ‫ﳋﺺ ﻫﺬﻩ ﺍﻟﻔﻜﺮﺓ ﰲ ﺑﺪﺍﻳﺔ ﺍﻟﺮﻭﺍﻳﺔ‪ ،‬ﺑﺠﻤﻞ ﻗﺼﲑﺓ ﻭﻣﺪﺭﻭﺳﺔ ﻓﻘﺎﻝ‪:‬‬ ‫ﺍﻟﺮﺻﻴﻒ ﻛﺴﻔﻴﻨﺔ ﻧﻮﺡ‪ ،‬ﻭﻣﻊ ﺫﻟﻚ ﺑﺪﺃ ﺍﻟﺸﹼ ﹼﻚ‬ ‫ﺑﺪﺕ ﹼ‬ ‫ﺍﻟﺮﺍﺑﻀﺔ ﺑﺠﻮﺍﺭ ﹼ‬ ‫ﺍﻟﺴﻔﻴﻨﺔ ﺍﻟﻌﻤﻼﻗﺔ ﹼ‬ ‫ﻟﻠﻄﻮﺍﺑﲑ ﹼ‬ ‫ﻳﺪﺧﻞ ﻗﻠﺒﻪ‪ ،‬ﻭﻫﻮ ﻳﻨﻈﺮ ﹼ‬ ‫ﻣﺮﺓ‪ ،‬ﺛﻢ ﻳﻨﻈﺮ ﻧﺎﺣﻴﺔ ﺑﻄﻦ‬ ‫ﺍﻟﻄﻮﻳﻠﺔ ﺍﻟﺘﻲ ﹼ‬ ‫ﺗﺘﻠﻮ￯ ﺑﻤﻠﻞ ﺍﻻﻧﺘﻈﺎﺭ ﹼ‬

‫ﻣﺮﺓ ﺃﺧﺮ￯‪ ،‬ﻭﺳﺆﺍﻝ ﻳﻤﻸ ﺣﻠﻘﻪ ﺑﻤﺮﺍﺭﺓ‪ :‬ﻫﻞ‬ ‫ﹼ‬ ‫ﺍﻟﺴﻔﻴﻨﺔ ﺍﳌﻔﺘﻮﺡ ﻣﺜﻞ ﻗﱪ ﲨﺎﻋﻲ ﻛﺒﲑ ﻭﻫﺎﺋﻞ ﹼ‬ ‫ﺍﻟﺴﻔﻴﻨﺔ؟!‬ ‫ﻣﴫ ﻛ ﹼﻠﻬﺎ ﻣﺴﺎﻓﺮﺓ ﻋﲆ ﻫﺬﻩ ﹼ‬ ‫ﲢﺮﻙ ﹼ‬ ‫ﺍﻟﻄﻮﺍﺑﲑ ﺍﳍﺎﺋﻠﺔ‪،‬‬ ‫ﻳﺎ ﺍﷲ‪ ..‬ﻗﺎﳍﺎ ﻣﻊ ﺯﻓﺮﺓ ﹼ‬ ‫ﺣﺎﺭﺓ ﲣﺮﺝ ﻣﻦ ﻓﻤﻪ ﻋﻨﺪﻣﺎ ﺷﺎﻫﺪ ﺑﺪﺍﻳﺔ ﹼ‬

‫ﺗﺼﺐ ﺳﻌﲑﻫﺎ ﻋﲆ ﺃﻫﻞ ﺍﻷﺭﺽ ﺍﻟﺬﻳﻦ ﻛﻔﺮﻭﺍ ﲠﺬﺍ ﺍﻟﻮﻃﻦ ﺍﻟﻜﺎﺭﻩ‬ ‫ﻭﺃﺑﺖ ﺍﻟﺸﹼ ﻤﺲ ﺍﳊﺎﺭﻗﺔ ﺃﻥ‬ ‫ﹼ‬

‫ﻷﻫﻠﻪ‪ ،‬ﻭﺍﻟﺬﻱ ﻳﺮﻣﻴﻬﻢ ﻟﻠﻌﺮﺍﻕ‪ ،‬ﻳﻘﺬﻑ ﲠﻢ ﰲ ﺃﺗﻮﻥ ﺟﻬﻨﻢ ﻭﺑﺄﻭﺭﺍﻕ‬ ‫ﺭﺳﻤﻴﺔ‪ ،‬ﻭﺍﳊﺮﺏ ﻣﺸﺘﻌﻠﺔ‬ ‫ﹼ‬

‫ﺍﻟﺒﻮﺍﺑﺔ ﹼ‬ ‫ﺍﻟﴩ ﹼﻗﻴﺔ ﻭﻭﻗﻮﺩﻫﺎ ﺍﻟﻔﻘﺮﺍﺀ‪.‬‬ ‫ﻋﲆ ﹼ‬

‫ﲢﺪﹼ ﺙ ﻋﻦ ﺍﻟﻐﺮﺑﺔ ﺍﻟﺘﻲ ﹼ‬ ‫ﻧﺠﻮﺍ ﻣﻦ‬ ‫ﺗﻠﻒ ﺍﻟﺸﹼ ﺒﺎﺏ ﺍﻟﻌﺎﺋﺪﻳﻦ ﺇﱃ ﺃﻭﻃﺎﳖﻢ‪ ،‬ﺑﻌﺪ ﺃﻥ ﹶ‬

‫ﺗﻠﻢ ﲠﻢ ﻭﺗﻨﺸﺐ‬ ‫ﻣﺼﻴﺪﺓ ﺍﳌﻮﺕ‪ ،‬ﺍﻟﺘﻲ ﺃﻋﺎﺩﺕ ﺍﻟﻜﺜﲑﻳﻦ ﻣﻨﻬﻢ ﰲ ﺗﻮﺍﺑﻴﺖ‪ ،‬ﻭﺍﳊﲑﺓ ﺍﻟﺘﻲ ﹼ‬

‫ﹼ‬ ‫ﻭﺍﳊﺐ ﰲ ﺃﺟﺴﺎﺩﻫﻢ‪،‬‬ ‫ﺗﻀﺦ ﺍﳊﻴﺎﺓ‬ ‫ﺍﳊﺮﺏ ﺑﲔ ﻋﻘﻮﳍﻢ ﻭﻗﻠﻮﲠﻢ‪ ،‬ﻗﻠﻮﲠﻢ ﺍﻟﺘﻲ ﺑﻘﻴﺖ‬ ‫ﹼ‬ ‫ﻗﺪﺭﺍ ﻏﺮﻳ ﹰﺒﺎ ﰲ ﺃﺭﺽ ﻏﺮﻳﺒﺔ‪ ،‬ﻫﻞ ﻳﱰﻙ‬ ‫ﻓﻮﻗﻌﻮﺍ ﰲ ﻫﻮ￯ ﻧﺼﻔﻬﻢ ﺍﻷﻧﺜﻮﻱ ﺍﻟﺬﻱ ﻛﺎﻥ ﹰ‬ ‫ﺣﺒﻪ؟!‬ ‫ﺍﻟﺸﹼ ﺎﺏ ﺃﻫﻠﻪ ﺃﻡ ﹼ‬

‫ﺍﳊﺐ ﺑﺎ ﹶﺑﻪ‪ ،‬ﹼ‬ ‫ﻭﻫﻞ ﻋﻨﺪﻣﺎ ﹼ‬ ‫ﻳﺪﻕ ﹸ‬ ‫ﻋﺮﺍﻗﻴﺔ‪،‬‬ ‫ﻭﳛ ﱡﺐ ﺍﻣﺮﺃﺓ‬ ‫ﺑﻘﻴﺔ ﻋﻤﺮﻩ‬ ‫ﻳﺪﻕ ﹼ‬ ‫ﹼ‬ ‫ﻭﻳﺘﺰﻭﺟﻬﺎ ﻭﻳﻌﻴﺶ ﹼ‬ ‫ﹼ‬

‫ﻭﺣﻴﺪﹰ ﺍ ﻭﻏﺮﻳ ﹰﺒﺎ؟!‬

‫ﻭﻫﻞ ﺳﻴﻜﻤﻞ ﺣﻴﺎﺗﻪ ﻏﺮﻳ ﹰﺒﺎ ﺑﻌﻴﺪﹰ ﺍ ﻋﻦ ﺃ ﹼﻣﻪ ﻭﺃﺧﻮﺍﺗﻪ ﻭﺃﻫﻠﻪ ﻭﺃﺻﺤﺎﺑﻪ؟!‬ ‫ﺃﺳﺌﻠﺔ ﺃﺟﻮﺑﺘﻬﺎ‪ ..‬ﺃﺳﻬﻠﻬﺎ ﹸﻣﺮ‪.‬‬ ‫ﺍﻹﺑﺪﺍﻋﻴﺔ ﻋﱪ‬ ‫ﻣﻦ ﻫﺬﻩ ﺍﻟﺒﺆﺭﺓ ﻧﺴﺎﻓﺮ ﻣﻊ ﺍﻟﻜﺎﺗﺐ ﰲ ﺳﻔﺮﺗﻪ ﺗﻠﻚ‪ ،‬ﻭﻧﺪﺭﺱ ﲡﺮﺑﺘﻪ‬ ‫ﹼ‬ ‫ﺍﳌﺴﺘﻮﻳﺎﺕ ﹼ‬ ‫ﺭﺍﺋﻌﻴﺔ ﺍﻟﺘﺎﻟﻴﺔ‪:‬‬ ‫ﺍﻟﺬ ﹼ‬

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‫]‪<VÍÒÜπ]<Ê_<ÎÜíf÷]<ÔÁjäπ‬‬ ‫ﻭﻳﺸﻤﻞ‪:‬‬ ‫‪VExternal Trend<ÎÜíf÷]<ÿ}Çπ]<IM‬‬ ‫ﺗﺘﻮﺳﻄﻪ ﻟﻮﺣﺔ ﻣﺮﺳﻮﻣﺔ ﻟﻮﺟﻪ )ﺑﻮﺭﺗﺮﻳﻪ(‬ ‫ﺍﻟﻌﺘﺒﺔ ﺍﻟﺒﴫ ﹼﻳﺔ ﺍﻷﻭﱃ ﻭﻫﻲ ﺍﻟﻐﻼﻑ‪ :‬ﺍﻟﺬﻱ ﹼ‬

‫ﻋﺮﺑﻴﺔ ﺍﳌﻼﻣﺢ‪ ،‬ﻭﺍﺳﻌﺔ ﺍﻟﻌﻴﻨﲔ‪ ،‬ﻧﻈﺮﲥﺎ ﺟﺮﻳﺌﺔ‪ ،‬ﺭﻏﻢ ﹼﺃﳖﺎ ﺗﺒﺪﻭ ﺻﺎﻣﺘﺔ‪ ،‬ﻻ ﻧﻠﻤﺢ ﺃﻱ‬ ‫ﺷﺎ ﹼﺑﺔ ﲨﻴﻠﺔ‪ ،‬ﹼ‬ ‫ﻓﻦ‬ ‫ﲡﺮﻳﺪﻱ ﺑﺮﺯ ﻓﻴﻪ ﺍﻟ ﹼﻠﻮﻧﺎﻥ‬ ‫ﻣﻠﻤﺢ ﻻﺑﺘﺴﺎﻣﺔ ﳏﺘﻤﻠﺔ‪،‬‬ ‫ﹼ‬ ‫ﺗﻮﺳﻄﺘﻬﺎ ﺍﻟ ﹼﻠﻮﺣﺔ‪ ،‬ﹼ‬ ‫ﺍﳋﻠﻔﻴﺔ ﺍﳉﺪﺍﺭ ﹼﻳﺔ ﺍﻟﺘﻲ ﹼ‬ ‫ﹼ‬ ‫ﻭﺍﻟﺮﻣﺎﺩﻱ ﺍﻟﻐﺎﻣﻖ‪ ،‬ﲣ ﹼﻠﻠﻬﲈ ﺍﻷﺑﻴﺾ ﺑﺎﻧﺴﺠﺎﻡ ﻣﺮﻳﺢ ﻭﺃﻧﻴﻖ‪ ،‬ﺍﺳﻢ ﺍﻟﻜﺎﺗﺐ ﺃﻋﲆ ﺍﻟ ﹼﻠﻮﺣﺔ‬ ‫ﺍﻷﺻﻔﺮ ﹼ‬ ‫ﻣﻦ ﺟﻬﺔ ﹼ‬ ‫ﺍﳊﺮ ﻣﻦ ﺍﻟﻐﻼﻑ‪ ،‬ﻳﻘﺎﺑﻠﻪ ﻣﺴﺘﻄﻴﻞ ﺃﺧﴬ ﺷﻐﻠﺘﻪ ﻋﺒﺎﺭﺓ )ﺭﻭﺍﻳﺎﺕ ﺍﳌﻌﺎﺭﻑ(‪،‬‬ ‫ﺍﻟﻄﺮﻑ ﹼ‬

‫ﺍﻟﺮﻭﺍﻳﺔ )ﺃ ﹼﻳﺎﻡ ﺑﻐﺪﺍﺩ(‪ ،‬ﻭﺧﺘﻢ ﺩﺍﺋﺮﻱ ﺃﺧﴬ‬ ‫ﺃﺳﻔﻞ ﺍﻟ ﹼﻠﻮﺣﺔ ﻭﺑﺎﻟﺒﻨﻂ ﺍﻟﻜﺒﲑ ﻭﺍﻟ ﹼﻠﻮﻥ ﺍﻷﲪﺮ ﻋﻨﻮﺍﻥ ﹼ‬

‫)ﺍﻟﺮﻭﺍﻳﺔ ﺍﻟﻔﺎﺋﺰﺓ ﺑﺎﳉﺎﺋﺰﺓ ﺍﻷﻭﱃ ﰲ ﻣﺴﺎﺑﻘﺔ ﺇﺣﺴﺎﻥ ﻋﺒﺪ ﺍﻟﻘﺪﹼ ﻭﺱ ‪٢٠١٩‬ﻡ(‪.‬‬ ‫ﻣﻸﺗﻪ ﻋﺒﺎﺭﺓ ﹼ‬

‫ﺍﻟﺮﻭﺍﻳﺔ ﻟﻠﺪﻛﺘﻮﺭ‬ ‫ﺍﻟﻐﻼﻑ ﺍﳋﻠﻔﻲ ﺑﺎﻟ ﹼﻠﻮﻥ ﺍﻷﺑﻴﺾ‪ ،‬ﻓﻴﻪ ﻓﻘﺮﺗﺎﻥ ﴎﺩ ﹼﻳﺘﺎﻥ‪ ،‬ﺍﻷﻭﱃ ﺭﺃﻱ ﰲ ﹼ‬

‫ﻛﻠﻴﺔ ﺍﻟﺒﻨﺎﺕ ﺟﺎﻣﻌﺔ ﻋﲔ ﺷﻤﺲ‪ ،‬ﻭﺍﻟﺜﹼﺎﻧﻴﺔ ﺳﲑﺓ‬ ‫ﺗﻌﺮﻳﻔﻴﺔ‬ ‫ﹼ‬ ‫ﻳﻮﺳﻒ ﻧﻮﻓﻞ‪ ،‬ﺃﺳﺘﺎﺫ ﺍﻟ ﹼﻨﻘﺪ ﺍﻷﺩﰊ ﹼ‬ ‫ﳐﺘﴫﺓ ﺑﺎﻷﺩﻳﺐ ﺧﻠﻴﻞ ﺍﳉﻴﺰﺍﻭﻱ‪ .‬ﺗﺼﻤﻴﻢ ﺍﻟﻐﻼﻑ ﻣﻮ ﹼﻓﻖ ﺑﺄﻟﻮﺍﻧﻪ ﻭﻟﻮﺣﺎﺗﻪ‪.‬‬ ‫ﺍﻟﻌﺘﺒﺔ ﺍﻟﺜﹼﺎﻧﻴﺔ ﺍﻟﻌﻨﻮﺍﻥ ﺳﺄﺗﻜ ﹼﻠﻢ ﻋﻨﻪ ﺑﺎﻟ ﹼﺘﻔﺼﻴﻞ ﰲ ﺍﳌﺴﺘﻮ￯‬ ‫ﺍﳌﺘﺤﺮﻙ‪.‬‬ ‫ﹼ‬ ‫ﻭﻫﻦ‬ ‫ﻋﺮﺍﻗﻴﺎﺕ‬ ‫ﺍﻟﻌﺘﺒﺔ ﺍﻟﺪﹼ ﺍﺧﻠﻴﺔ ﻛﺎﻧﺖ ﺍﻹﻫﺪﺍﺀ‪ ،‬ﺇﻫﺪﺍﺀ ﺇﱃ ﺑﻨﺎﺕ‬ ‫ﺷﺨﺼﻴﺎﺕ‬ ‫ﺑﺄﺳﲈﺋﻬﻦ‪ ،‬ﹼ‬ ‫ﹼ‬ ‫ﹼ‬ ‫ﹼ‬ ‫ﺛﺎﻧﻮ ﹼﻳﺔ ﰲ ﺍﻟﺮﻭﺍ ﹼﻳﺔ ﻣﺎ ﹼ‬ ‫ﻳﺆﻛﺪ ‪-‬ﺃﻭ ﻳﻮﺣﻲ‪ -‬ﹼ‬ ‫ﻭﺍﻗﻌﻴﺔ‬ ‫ﺃﻥ ﺍﻟﺮﻭﺍﻳﺔ‬ ‫ﻭﺫﺍﺗﻴﺔ ﺑﻄﻠﻬﺎ ﺍﻟﻜﺎﺗﺐ‪:‬‬ ‫ﹼ‬ ‫ﹼ‬ ‫ﺍﻹﻫﺪﺍﺀ‬ ‫ﺇﱃ ﺿﺤﻰ ﻭﻛﺮﻳﻤﺔ ﻭﺳﻮﺯﺍﻥ‬ ‫ﺃﲨﻞ ﺑﻨﺎﺕ ﺍﻟﻌﺮﺍﻕ‬ ‫ﻭﺃﺣﲆ ﺃﻳﺎﻡ ﺍﻟﻌﻤﺮ‬ ‫ﺍﳉﻴﺰﺍﻭﻱ‬

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‫ﺍﻟﻌﻤﻞ ﻳﻘﻊ ﰲ ﺳﺒﻌﺔ ﻓﺼﻮﻝ‪ ،‬ﻏﲑ ﻣﻌﻨﻮﻧﺔ‪ ،‬ﻣﻮﺯﹼ ﻋﺔ ﻋﲆ ‪ ٢٥٧‬ﺻﻔﺤﺔ ﻣﻦ ﺍﳊﺠﻢ‬

‫ﻭﺍﻟﺴﻄﻮﺭ ﻭﺍﳉﻤﻞ‬ ‫ﺍﳌﻌﻬﻮﺩ ﻟﻠﺮﻭﺍﻳﺔ‪ ،‬ﺍﻟﺼﻮﺭﺓ ﺍﻟﻌﺎ ﹼﻣﺔ ﹼ‬ ‫ﺟﻴﺪ‪ ،‬ﺍﻟﻔﻘﺮﺍﺕ ﹼ‬ ‫ﻟﻠﺼﻔﺤﺔ ﹼ‬ ‫ﻣﻨﺴﻘﺔ ﺑﺸﻜﻞ ﹼ‬ ‫ﻭﺍﳍﻮﺍﻣﺶ‪ ،‬ﻭﻛﺬﻟﻚ ﺃﺩﻭﺍﺕ ﺍﻟ ﹼﺘﻨﻘﻴﻂ ﹼ‬ ‫ﻣﻨﺴﻖ ﺑﺸﻜﻞ ﺟﻴﺪ‪ ،‬ﺍﻷﺧﻄﺎﺀ ﺍﻹﻣﻼﺋﻴﺔ ﻗﻠﻴﻠﺔ‬ ‫ﻛﻞ ﺫﻟﻚ ﹼ‬ ‫ﺟﺪ‪ h‬ﺍ ﻭﺗﻜﺎﺩ ﺗﻜﻮﻥ ﻣﻌﺪﻭﻣﺔ‪.‬‬

‫ﲡﻨﻴﺲ ﺍﻟﻌﻤﻞ‪ :‬ﺭﻭﺍﻳﺔ ﺃﺩﺏ ﺳﻔﺮ‬ ‫ﺍﻟﻔﻦ ﻟﻠﻤﺠﺘﻤﻊ‪.‬‬ ‫ﻭﺍﻟﺮﻭﺍﻳﺔ ﺗﺘﺒﻊ ﺍﳌﺪﺭﺳﺔ‬ ‫ﺍﻟﻮﺍﻗﻌﻴﺔ ﲢﺖ ﻧﻈﺮ ﹼﻳﺔ ﹼ‬ ‫ﹼ‬ ‫‪<VLinguistic Trend<Ífi^ä◊fl÷]<ÿ}Çπ]<IN‬‬ ‫ﺣﺼﺔ ﺍﻟﺪﹼ ﻻﻻﺕ ﻭﺍﳌﺪﻟﻮﻻﺕ ﻭﺍﳌﻔﺎﻫﻴﻢ ﹼ‬ ‫ﻭﺍﻟﱰﺍﻛﻴﺐ ﺍﻟ ﹼﻠﻐﻮﻳﺔ ﻭﺍﻟ ﹼﻨﻈﻢ ﻭﺍﻹﻣﻼﺀ‪،‬‬ ‫ﹼ‬

‫ﺍﻻﺷﺘﻘﺎﻗﻴﺔ‬ ‫ﻭﺩﺭﺍﺳﺔ ﺗﻮﺍﺑﻌﻬﺎ‬ ‫ﻴﺎﻗﻴﺔ‪ ،‬ﺑﻨﻴﻮ ‪h‬ﻳﺎ‬ ‫ﻭﺗﻮﺍﺻﻠﻴﺎ ﺣﺴﺐ‬ ‫ﻭﺍﻟﻔﻮﻧﻮﻟﻮﺟﻴﺔ‬ ‫‪h‬‬ ‫ﻭﺍﳌﺮﻓﻮﻟﻮﺟﻴﺔ ﹼ‬ ‫ﹼ‬ ‫ﹼ‬ ‫ﻭﺍﻟﺴ ﹼ‬ ‫ﹼ‬ ‫ﺍﳌﻨﻈﻮﺭ ﹼ‬ ‫ﺍﻟﺘﺎﻟﻴﺔ‪:‬‬ ‫ﺍﻟﺬﺭﺍﺋﻌﻲ‪،‬‬ ‫ﹼ‬ ‫ﻧﺘﺤﺼﻞ ﻋﲆ ﺫﻟﻚ ﻋﱪ ﺩﺭﺍﺳﺔ ﺍﻟﺒﻨﻴﺎﺕ ﹼ‬ ‫ﺍﻷﺩﺑﻴﺔ ﹼ‬ ‫‪ G‬ﺍﻟ ﹼﺜﻘﺎﻓﺔ‬ ‫ﺍﻟﺸﺎﻣﻠﺔ ﻟﻠﻜﺎﺗﺐ‪:‬‬ ‫ﹼ‬ ‫ﹼﻘﺎﻓﻴﺔ ﺍﻟﺘﻲ‬ ‫ﻳﺘﺤﺼﻞ ﻋﻠﻴﻬﺎ ﺍﻟﻜﺎﺗﺐ ﰲ ﳐﺘﻠﻒ ﺍﻟﻨﻮﺍﺣﻲ‬ ‫ﹼ‬ ‫ﻭﻧﻌﻨﻲ ﲠﺎ ﺍﳌﻜﺘﺴﺒﺎﺕ ﺍﻟﺜ ﹼ‬ ‫ﺣﻴﺎ‬ ‫ﺍﳌﻬﻨﻴﺔ‪ ،‬ﻭﻣﺪ￯ ﻗﺪﺭﺗﻪ ﻋﲆ ﺗﻮﻇﻴﻔﻬﺎ ﰲ ﻋﻤﻠﻪ ﺍﻷﺩﰊ‪ ،‬ﻣﺎ ﳚﻌﻞ ﺍﻟﻌﻤﻞ ‪h‬‬ ‫ﺍﳊﻴﺎﺗﻴﺔ‪ ،‬ﻭﺃﺑﺮﺯﻫﺎ ﹼ‬ ‫ﹼ‬ ‫ﹰ‬ ‫ﺭﺻﺪﺕ ﺍﻟﻌﺪﻳﺪ ﻣﻦ ﺍﻷﻟﻔﺎﻅ‬ ‫ﻭﺣﺮﻓﻴﺘﻪ‪،‬‬ ‫ﻧﺎﺑﻀﺎ ﻭﻧﺎﻃ ﹰﻘﺎ ﺑﺜﻘﺎﻓﺔ ﺍﻟﻜﺎﺗﺐ‬ ‫ﺍﳌﻬﻨﻴﺔ ﺍﳌﺘﺪﺍﻭﻟﺔ ﻋﻨﺪ‬ ‫ﹸ‬ ‫ﹼ‬ ‫ﹼ‬

‫ﹼ‬ ‫ﻋﲈﻝ ﺍﻟﺒﻨﺎﺀ ﻣﻨﻬﺎ‪:‬‬

‫ ﻋ ﹼﻠﻤﻪ ﻛﻴﻒ ﻳﺮﺑﻂ ﻋﲆ ﻭﺳﻄﻪ ﳐ ﹼﻠﺔ ﺍﳌﺴﺎﻣﲑ‪ ،‬ﻭﺃﻥ ﻳﻀﻊ ﻓﻴﻬﺎ ﹼ‬‫ﻛﻼﺑﺔ‪.‬‬ ‫ ﺭﺃ￯ ﻣﺴﺎﻋﺪ ﻧﺠﺎﺭ ﻣﺴ ﹼﻠﺢ ﻳﻘﻮﻡ ﺑﺘﻨﻈﻴﻒ ﺃﻟﻮﺍﺡ ﺍﳋﺸﺐ‪ ،‬ﻭﺷﺎﻫﺪ ﻣﺴﺎﻋﺪﹰ ﺍ ﺁﺧﺮ ﻳﻘﻮﻡ‬‫ﺑﺘﺠﻠﻴﺦ ﺃﻟﻮﺍﺡ ﺍﳋﺸﺐ ﳑﺎ ﻋﻠﻖ ﺑﻪ ﻣﻦ ﺑﻘﻊ‬ ‫ﺇﺳﻤﻨﺘﻴﺔ‪.‬‬ ‫ﹼ‬

‫ ﺗﻌ ﹼﻠﻤﺖ ﺷﻐﻞ ﻣﺒ ﹼﻠﻂ ﺍﻟﻘﻴﺸﺎﲏ ﰲ ﻣﴫ‪.‬‬‫ﹼ‬ ‫ﺗﻌﻠﻴﻤﻴﺔ ﻧﺎﺟﻌﺔ )ﺍﻹﻏﺮﺍﻕ‬ ‫ﻛﺨﻄﺔ‬ ‫ﻌﻠﻴﻤﻴﺔ‪ ،‬ﻭﻗﺪﹼ ﻣﻬﺎ ﻫﻨﺎ‬ ‫ﺃﻓﺎﺩ ﻣﻦ ﻣﻌﻠﻮﻣﺎﺗﻪ ﻭﺛﻘﺎﻓﺘﻪ ﺍﻟ ﹼﺘ‬ ‫ﹼ‬ ‫ﹼ‬

‫ﺑﺎﻟﺼﺪﻣﺎﺕ(‪:‬‬ ‫ﺍﻟ ﹼﺘﻌﻠﻴﻢ ﹼ‬

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‫ﺑﺎﻟﺼﺪﻣﺎﺕ‪ ،‬ﺑﺎﻟ ﹼﻨﺴﺒﺔ ﻟﻪ ﺿﺤﻰ ﻛﺎﻧﺖ ﺗﺘﻌ ﹼﻠﻢ‬ ‫ ﻫﺬﺍ ﻣﺎ ﻗﺼﺪﺗﻪ ﺑﺴﻴﺎﺳﺔ ﺍﻹﻏﺮﺍﻕ ﻭﺍﻟ ﹼﺘﻌﻠﻴﻢ ﹼ‬‫ﺗﻌﻤﺪ ﺃﺳﺘﺎﺫﻫﺎ ﺃﻥ‬ ‫ﺍﻹﻧﺠﻠﻴﺰﻳﺔ ﰲ ﹼ‬ ‫ﲪﺎﻡ ﺳﺒﺎﺣﺔ ﺻﻐﲑ‪ ،‬ﻭﺣﺼﻴﻠﺘﻬﺎ ﺍﻟ ﹼﻠﻐﻮﻳﺔ ﻗﻠﻴﻠﺔ‪ ،‬ﻭﳍﺬﺍ ﹼ‬ ‫ﹼ‬ ‫ﻭﺍﳊﻞ‬ ‫ﻭﺳﻴﺴﺘﻤﺮ ﻫﻜﺬﺍ ﺃﻛﺜﺮ ﻣﻦ ﺷﻬﺮﻳﻦ‪.‬‬ ‫ﻳﺪﺧﻞ ﻭﻳﴩﺡ ﺍﳌﺤﺎﴐﺓ ﺑﺎﻹﻧﺠﻠﻴﺰﻳﺔ ﻛﺎﻣﻠﺔ‪،‬‬ ‫ﹼ‬ ‫ﺃﻥ ﺗﺘﻌ ﹼﻠﻢ ﺍﻹﻧﺠﻠﻴﺰﻳﺔ ﺑﺎﻟﺒﺤﺮ ﺍﻟﻜﺒﲑ‪ ،‬ﺗﺸﱰﻱ ﳎﻤﻮﻋﺔ ﺭﻭﺍﻳﺎﺕ ﻭﺗﻘﺮﺃﻫﺎ ﺑﺎﻹﻧﺠﻠﻴﺰﻳﺔ‪،‬‬

‫ﺗﺴﻤﻊ ﻧﴩﺍﺕ ﺍﻷﺧﺒﺎﺭ ﺑﺎﻹﻧﺠﻠﻴﺰﻳﺔ‪ ،‬ﺗﺸﺎﻫﺪ ﺍﻷﻓﻼﻡ ﺑﺎﻹﻧﺠﻠﻴﺰﻳﺔ ﺩﻭﻥ ﺗﺮﲨﺔ‪ ،‬ﺳﺎﻋﺘﻬﺎ‬ ‫ﻓﻘﻂ ﺳﺘﺘﻐ ﹼﻠﺐ ﻋﲆ ﻣﺸﻜﻠﺔ ﺍﻟﺪﹼ ﺭﺍﺳﺔ‪.‬‬ ‫ﻧﻘﻞ ﹰ‬ ‫ﻣﺒﺴﻂ‪:‬‬ ‫ﺑﻌﻀﺎ ﻣﻦ ﺛﻘﺎﻓﺘﻪ ﺍﻟ ﹼﺘ ﹼ‬ ‫ﺎﺭﳜﻴﺔ ﻭﺍﻟﻌﻤﺮﺍﻧﻴﺔ ﻋﲆ ﻟﺴﺎﻥ ﺳﺎﺋﻖ‪ ،‬ﻗﺪﹼ ﻣﻬﺎ ﺑﺄﺳﻠﻮﺏ ﹼ‬

‫ﺣﻲ‬ ‫ﻭﺗﻢ‬ ‫ﺍﻷﻋﻈﻤﻴﺔ ﻋﺎﺵ ﺍﻹﻣﺎﻡ ﺍﻷﻋﻈﻢ ﺃﺑﻮ ﺣﻨﻴﻔﺔ ﺍﻟ ﹼﻨﻌﲈﻥ‪ ،‬ﻭﻣﺎﺕ ﻭﺩﻓﻦ ﻓﻴﻪ‪ ،‬ﹼ‬ ‫ﹼ‬ ‫ﰲ ﹼ‬ ‫ﺑﻨﺎﺀ ﺟﺎﻣﻊ ﺍﻟ ﹼﻨﻌﲈﻥ ﺑﺴﺎﻋﺘﻪ ﺍﻟﻜﺒﲑﺓ ﺍﻟﺘﻲ ﹼ‬ ‫ﺗﺪﻕ ﹼ‬ ‫ﻛﻞ ﺳﺎﻋﺔ‪ ،‬ﻣﺌﺬﻧﺘﻪ ﺍﻟﻌﺎﻟﻴﺔ ﺍﻟﺘﻲ ﺑﻨﺎﻫﺎ ﺍﳌﻬﻨﺪﺱ‬ ‫ﻋﺒﺪﺍﻟﺮﺯﺍﻕ ﳏﺴﻮﺏ‪ ،‬ﻭﺍﺭﺗﻔﺎﻋﻬﺎ ﺍﺛﻨﺎﻥ ﻭﻋﴩﻭﻥ ﻣ ﹰ‬ ‫ﱰﺍ‪ ،‬ﻭﺃﻣﺎﻡ ﺍﳉﺎﻣﻊ ﺳﺎﺣﺔ ﻛﺒﲑﺓ ﻭﻭﺍﺳﻌﺔ‪.‬‬

‫ﺣﻲ‬ ‫ﺍﻟﻜﺎﻇﻤﻴﺔ‪،‬‬ ‫ﺍﻷﻋﻈﻤﻴﺔ ﺗﺪﻳﻦ ﺑﻤﺬﻫﺐ ﺃﻫﻞ ﹼ‬ ‫ﹼ‬ ‫ﹼ‬ ‫ﺍﻟﺴ ﹼﻨﺔ‪ ،‬ﻭﰲ ﻣﻘﺎﺑﻠﻬﺎ ﲤﺎ ﹰﻣﺎ ﺑﻌﺪ ﺍﳉﴪ ﹼ‬ ‫ﻭﺟﺎﻣﻊ ﺍﻹﻣﺎﻡ ﻣﻮﺳﻰ ﺍﻟﻜﺎﻇﻢ ﺑﻦ ﺍﻹﻣﺎﻡ ﺟﻌﻔﺮ ﺍﻟﺼﺎﺩﻕ‪،‬‬ ‫ﻭﺍﻟﻜﺎﻇﻤﻴﺔ ﺗﺪﻳﻦ ﺑﻤﺬﻫﺐ ﺃﻫﻞ‬ ‫ﹼ‬ ‫ﺍﻟﺸﹼ ﻴﻌﺔ‪.‬‬

‫ﻣﻬﻨﻴﺔ‪،‬‬ ‫ﺳﻴﺎﺳﻴﺔ‬ ‫ﻟﻘﺪ ﺛﺒﺖ ﺗﺄﺭﺟﺢ ﺍﻟﻜﺎﺗﺐ ﺍﻟﻮﺍﻗﻌﻲ ﺑﺨﻠﻴﻂ ﻣﻦ ﻣﻌﻄﻴﺎﺕ‬ ‫ﹼ‬ ‫ﺇﻧﺴﺎﻧﻴﺔ ﹼ‬ ‫ﹼ‬ ‫ﻭﺛﻘﺎﻓﻴﺔ‪ ،‬ﻭﻫﺬﺍ ﻧﺎﺗﺞ ﻋﻦ ﺳﻌﺔ ﺛﻘﺎﻓﺔ ﺍﻟﻜﺎﺗﺐ ﺍﳌﻨﺒﺜﻘﺔ ﻣﻦ‬ ‫ﻭﺗﺎﺭﳜﻴﺔ‪ ،‬ﻭﻋﻘﺎﺋﺪ ﹼﻳﺔ‪ ،‬ﻭﺍﻗﺘﺼﺎﺩ ﹼﻳﺔ‬ ‫ﹼ‬ ‫ﹼ‬ ‫ﺍﻹﺑﺪﺍﻋﻴﺔ‪ ،‬ﹼ‬ ‫ﻭﻇﻔﻬﺎ ﺑﺸﻜﻞ ﴎﺩﻱ ﻭﺣﻈﻮﺓ ﻋﺎﻟﻴﺔ‬ ‫ﺍﻟﻮﺍﻗﻌﻴﺔ‪ ،‬ﻭﻛﺄﻧﹼﻚ ﺗﺸﻌﺮ ﺑﺄﻧﹼﻪ ﻣﻠﺘﺼﻖ‬ ‫ﲡﺮﺑﺘﻪ‬ ‫ﹼ‬ ‫ﹼ‬ ‫ﻳﻘﺮﺑﻨﺎ ﺇﱃ ﺍﻟﻘﻮﻝ ﺑﺄﻧﻪ ﻳﻜﺘﺐ ﻋﻦ ﻧﻔﺴﻪ‪ ،‬ﻭﺃﻧﻪ ﻋﺎﺵ ﺟﺰ ﹰﺀﺍ ﻣﻦ ﺩﻳﺒﺎﺟﺔ‬ ‫ﺑﺸﺨﺼﻴﺎﺗﻪ ‪h‬‬ ‫ﹼ‬ ‫ﻣﻬﻨﻴﺎ‪ ،‬ﻭﻫﺬﺍ ﻣﺎ ﹼ‬

‫ﺍﻟﺮﻭﺍﻳﺔ‪.‬‬ ‫ﹼ‬

‫ﺍﻷﻛﺎﺩﻳﻤﻴﺔ ﺑﺎﻷﺟﻨﺎﺱ‬ ‫‪ G‬ﺍﳌﻌﺮﻓﺔ‬ ‫ﺍﻷﺩﺑﻴﺔ‪:‬‬ ‫ﹼ‬ ‫ﹼ‬ ‫ﺟﻴﺪﺓ ﺑﺎﻷﺟﻨﺎﺱ‬ ‫ﺍﻟﻜﺎﺗﺐ ﻋﲆ ﻣﻌﺮﻓﺔ‬ ‫ﺍﻷﺩﺑﻴﺔ‪ ،‬ﻭﻫﺬﺍ ﻭﺍﺿﺢ ﺑﺠﻼﺀ ﻣﻦ ﺧﻼﻝ‬ ‫ﹼ‬ ‫ﺃﻛﺎﺩﻳﻤﻴﺔ ﹼ‬ ‫ﹼ‬

‫ﺩﺭﺍﺳﺔ ﺍﳌﺪﺧﻞ ﺍﻟﺒﴫﻱ‪ ،‬ﻭﻣﻄﺎﺑﻘﺘﻪ ﺑﴫ ‪h‬ﻳﺎ ﳉﻨﺲ ﺍﻟﺮﻭﺍﻳﺔ‪ ،‬ﻧﺠﺪﻩ ﹰ‬ ‫ﺃﻳﻀﺎ ﻳﻀﻊ ﺣﻮﺍﺭﺍﺗﻪ ﺃﻣﺎﻡ‬

‫ﺍﻟﴪﺩ‪ ،‬ﻭﺇﺿﻔﺎﺀ ﺇﺿﺎﺀﺓ ﻟﻄﻴﻔﺔ ﻭﺳﻂ‬ ‫ﻣﺴﺆﻭﻟﻴﺎﲥﺎ ﺍﻟﻌﺪﻳﺪﺓ‪ ،‬ﻭﺇﺿﺎﻓﺔ ﺇﱃ ﺩﻭﺭﻫﺎ ﰲ ﻛﴪ ﺭﺗﺎﺑﺔ ﹼ‬ ‫ﹼ‬ ‫ﺍﻟﺼﻔﺤﺔ‪ ،‬ﻧﺠﺪﻩ ﹰ‬ ‫ﺟﺰﺋﻴﺎ‪ ،‬ﻷﻧﹼﻪ‬ ‫ﺍﳌﻌﻠﻮﻣﺎﺗﻴﺔ‬ ‫ﻣﻬﻤﺔ ﲪﻞ ﺍﻟﻮﻇﻴﻔﺔ‬ ‫ﻋﺘﺎﻣﺔ ﹼ‬ ‫ﺃﻳﻀﺎ ﺃﻟﻘﻰ ﻋﲆ ﻛﺎﻫﻠﻬﺎ ﹼ‬ ‫‪h‬‬ ‫ﹼ‬

‫‪١٠٤‬‬

‫ﺳﻴﲈ ﹼ‬ ‫ﻭﺃﻥ ﺍﻟﺮﻭﺍﻳﺔ‬ ‫ﻟﻮ ﺭﻣﺎﻫﺎ ﻛﺎﻣﻠﺔ ﻋﲆ ﻛﺎﻫﻞ ﹼ‬ ‫ﳏﺒﺬ‪ ،‬ﹼ‬ ‫ﺍﻟﴪﺩ ﻷﺻﺒﺢ ﺃﻛﺜﺮ ﺗﻘﺮﻳﺮ ﹼﻳﺔ‪ ،‬ﻭﻫﺬﺍ ﻏﲑ ﹼ‬ ‫ﹰ‬ ‫ﻭﺍﻗﻌﻴﺔ ﻣﺒﺎﴍﺓ ﻷﳖﺎ ﲢﻤﻞ ﻣﻌﻄﻴﺎﺕ ﺳﻔﺮ‪ ،‬ﻓﺎﺳﺘﺨﺪﻡ ﺗﻘﻨﻴﺔ ﺍﳊﻮﺍﺭ ﺍﳌﴪﻭﺩ‬ ‫ﺃﺻﻼ ﻫﻲ ﺭﻭﺍﻳﺔ‬ ‫ﹼ‬ ‫ﺗﴫﻑ )ﻣﻨﻘﻮﻝ ﻛﲈ ﺟﺮ￯ ﲤﺎ ﹰﻣﺎ ﺑﺎﳊﺮﻑ‪ ،‬ﻳﻜﻮﻥ ﺍﻟﻘﻮﻝ ﻣﺴﺒﻮﻕ ﺑﺎﺳﻢ ﺍﻟﺸﹼ‬ ‫ﺨﺼﻴﺔ‬ ‫ﺍﳌﺒﺎﴍ ﺑﺪﻭﻥ ﹼ‬ ‫ﹼ‬ ‫ﲑﺍ ﻣﻦ ﺍﻟﺜﹼﺮﺛﺮﺓ‪ ،‬ﻏﲑ‬ ‫ﺗﺘﻜﺮﺭ ﻓﻴﻪ "ﻗﺎﻝ‪ ،‬ﻗﺎﻟﺖ‪ ،‬ﻗﻠﺖ"‪ .‬ﻭﻫﻲ ﻃﺮﻳﻘﺔ ﺗﻘﱰﺏ ﻛﺜ ﹰ‬ ‫ﺍﳌﺘﻜ ﹼﻠﻤﺔ‪ ،‬ﺃﻭ ﹼ‬ ‫ﺍﻟﺮﻭﺍﻳﺔ(‬ ‫ﻣﺴﺘﺤﺒﺔ‪ ،‬ﹼﺇﻻ ﻋﻨﺪﻣﺎ ﹼ‬ ‫ﻳﺘﻢ ﺗﻘﺪﻳﻢ ﻣﻌﻠﻮﻣﺎﺕ ﻣﻦ ﺧﻼﳍﺎ ﻛﲈ ﻛﺎﻥ ﺍﻟﻮﺿﻊ ﻫﻨﺎ ﰲ ﻫﺬﻩ ﹼ‬ ‫ﻭﻧﺎﻭﺏ ﺑﻴﻨﻪ ﻭﺑﲔ ﺍﳊﻮﺍﺭ ﺍﻟﻌﺎﺩﻱ‪.‬‬

‫ﺍﻟﺴﻔﺮ ﻟﻠﻌﺮﺍﻕ‪ ،‬ﹼ‬ ‫ﺑﺄﻥ ﺍﻟﻌﺮﺍﻕ ﰲ‬ ‫ﻛﺎﻥ ﻗﺪ ﺍﻋﱰﺽ ﻋﲆ ﻛﻼﻡ ﳎﺪﻱ‪ ،‬ﻣﺘﻰ ﻋﺮﺽ ﻋﻠﻴﻪ ﹼ‬

‫ﺣﺮﺏ ﻣﻊ ﺇﻳﺮﺍﻥ ﻣﻨﺬ ﺳﻨﻮﺍﺕ‪ ،‬ﻭﻗﺎﻝ ﻟﻪ ﺃﻛﻴﺪ ﻫﺬﻩ ﺍﳊﺮﺏ ﺃ ﹼﺛﺮﺕ ﻋﲆ ﻓﺮﺹ ﺍﻟﻌﻤﻞ ﻫﻨﺎﻙ‪،‬‬ ‫ﺳﻜﺎﻥ ﺇﻳﺮﺍﻥ ‪ ٥٠‬ﻣﻠﻴﻮﻥ ﻧﺴﻤﺔ‪ ،‬ﺑﻴﻨﲈ ﹼ‬ ‫ﻷﻥ ﹼ‬ ‫ﹼ‬ ‫ﻟﻠﻤﺮﺓ ﺍﻟﺜﹼﺎﻧﻴﺔ ﹼ‬ ‫ﺍﻟﺼﺤﻴﺢ‪ ،‬ﹼ‬ ‫ﺳﻜﺎﻥ‬ ‫ﺃﻥ ﺍﻟﻌﻜﺲ ﻫﻮ ﹼ‬ ‫ﻓﺄﻛﺪ ﹼ‬

‫ﺗﻢ ﲡﻨﻴﺪ ﻣﻌﻈﻢ ﹼ‬ ‫ﺍﻟﺴﻦ‬ ‫ﺳﻜﺎﻥ ﺍﻟﻌﺮﺍﻕ ﰲ ﺍﳉﻴﺶ‪ ،‬ﹼ‬ ‫ﺍﻟﻌﺮﺍﻕ ‪١٧‬ﻣﻠﻴﻮﻥ ﻧﺴﻤﺔ‪ ،‬ﻭﳍﺬﺍ ﹼ‬ ‫ﻓﺘﻢ ﲡﻨﻴﺪ ﻛﺒﺎﺭ ﹼ‬ ‫ﺴﻤﻰ ﺍﳉﻴﺶ ﺍﻟﺸﻌﺒﻲ‪ ،‬ﻭﳍﺬﺍ ﹼ‬ ‫ﺣﻞ ﺍﳌﴫ ﹼﻳﻮﻥ ﹼ‬ ‫ﺍﻟﻌﺮﺍﻗﻴﲔ‬ ‫ﳏﻞ‬ ‫ﺣﺘﻰ ﹼ‬ ‫ﺳﻦ ﺍﳋﻤﺴﲔ ﺳﻨﺔ‪ ،‬ﲢﺖ ﹸﻣ ﹼ‬ ‫ﹼ‬

‫ﺑﺎﻟﻌﻤﻞ ﰲ ﹼ‬ ‫ﺍﳊﻜﻮﻣﻴﺔ ﹼ‬ ‫ﻭﺍﻟﴩﻛﺎﺕ ﺍﻟﻌﺎ ﹼﻣﺔ‬ ‫ﻛﻞ ﺍﳌﺼﺎﻟﺢ‬ ‫ﻭﺍﳋﺎﺻﺔ‪ ،‬ﻣﻦ ﺃﺟﻞ ﻫﺬﺍ ﻓﺘﺢ ﺻﺪﹼ ﺍﻡ‬ ‫ﹼ‬ ‫ﹼ‬ ‫ﺣﺴﲔ ﺣﺪﻭﺩ ﺍﻟﻌﺮﺍﻕ ﺃﻣﺎﻡ ﺍﳌﴫ ﹼﻳﲔ ﻟﻠﻌﻤﻞ ﻭﺑﺪﻭﻥ ﺗﺄﺷﲑﺓ‪ ،‬ﺑﻞ ﺯﺍﺩ ﻋﲈﺩ ﺍﻟﺬﻱ ﻋﺎﺩ ﻣﻨﺬ ﻓﱰﺓ‬ ‫ﻗﻠﻴﻠﺔ ﻣﻦ ﺍﻟﻌﻤﻞ ﺑﺎﻟﻌﺮﺍﻕ ﹰ‬ ‫ﻗﺎﺋﻼ‪:‬‬ ‫ﻭﲣﺮﺝ ﻣﻦ ﻣﺪﺭﺳﺔ ﺍﻟ ﹼﻨﻴﻞ‬ ‫‪ -‬ﺻﺪﹼ ﺍﻡ ﺣﺴﲔ ﻋﺎﺵ ﰲ ﺣﻲ ﺍﻟﺪﹼ ﹼﻗﻲ ﺑﺎﳉﻴﺰﺓ ﻋﺎﻡ ‪ ،١٩٦٠‬ﹼ‬

‫ﻛﻠﻴﺔ ﺍﳊﻘﻮﻕ ﺟﺎﻣﻌﺔ ﺍﻟﻘﺎﻫﺮﺓ ﻋﺎﻡ‬ ‫ﺍﻟﺜﹼﺎﻧﻮ ﹼﻳﺔ ﻟﻠﺒﻨﲔ ﺍﻟﻮﺍﻗﻌﺔ ﰲ ﻣﻴﺪﺍﻥ ﺍﻟﺪﹼ ﹼﻗﻲ‪ ،‬ﺛﻢ ﺍﻧﺘﺴﺐ ﺇﱃ ﹼ‬ ‫‪ ،١٩٦١‬ﻭﻟﻜﻨﻪ ﱂ ﻳﻜﻤﻞ ﺩﺭﺍﺳﺘﻪ‪ ،‬ﻷﻧﻪ ﻋﺎﺩ ﺇﱃ ﺑﻐﺪﺍﺩ ﰲ ﺃﻋﻘﺎﺏ ﺍﻻﻧﻘﻼﺏ ﺍﻟﻌﺴﻜﺮﻱ ﺿﺪﹼ‬

‫ﺗﻢ ﰲ ﻓﱪﺍﻳﺮ ﻋﺎﻡ ‪.....١٩٦٣‬ﺻﻔﺤﺔ ‪.٤٧‬‬ ‫ﻋﺒﺪ ﺍﻟﻜﺮﻳﻢ ﻗﺎﺳﻢ ﺍﻟﺬﻱ ﹼ‬ ‫ﺍﻟﺒﻨﻴﺔ ﺍﻟ ﹼﻠﻐﻮ ﹼﻳﺔ ﻣﻦ ﻣﻔﺮﺩﺍﺕ ﻭﺗﺮﺍﻛﻴﺐ ﻭﺳﻴﺎﻕ‪:‬‬ ‫‪ G‬ﹼ‬

‫ﹰ‬ ‫ﺃﻟﻔﺎﻇﺎ ﺳﻬﻠﺔ‪ ،‬ﺗﻘﱰﺏ ﻣﻦ‬ ‫ﺷﺨﺼﻴﺎﺗﻪ‪ ،‬ﺑﺴﻴﻄﺔ ﻭﻣﺘﺪﺍﻭﻟﺔ‪ ،‬ﻭﻧﻈﻤﻬﺎ ﰲ‬ ‫ﺍﻧﺘﻘﻰ ﺍﻟﻜﺎﺗﺐ‬ ‫ﹼ‬

‫ﺗﻨﻮﻋﺖ ﺑﲔ ﺍﳉﻤﻞ‬ ‫ﺍﳌﺘﻮﺳﻄﺔ ﻭﺍﻟﻘﺼﲑﺓ‪ ،‬ﰲ ﻧﻈﻢ ﻧﺤﻮﻱ ﺳﻠﻴﻢ‪ ،‬ﻻ ﲢﺘﺎﺝ ﻣﻦ ﺍﻟﻘﺎﺭﺉ‬ ‫ﹼ‬ ‫ﺗﺮﺍﻛﻴﺐ ﹼ‬

‫ﻴﻤﻴﺎﺋﻴﺔ‬ ‫ﺍﻟﺴ‬ ‫)ﺍﻟﻘﺎﻣﻮﺳﻴﺔ(‪ ،‬ﻓﻬﻲ ﻧﺎﻃﻘﺔ ﺑﺤﻴﻮﻳﺔ‬ ‫ﺟﻬﺪﹰ ﺍ ﻹﺩﺭﺍﻙ ﻣﻌﺎﻧﻴﻬﺎ‪ ،‬ﻭﻻ ﺗﺘﻌﺪﹼ ￯ ﺍﳌﻌﺎﲏ ﹼ‬ ‫ﹼ‬ ‫ﹼ‬ ‫ﺍﻟﺴﻴﺎﻕ ﺍﻟﺬﻱ ﹸﻭ ﹺﺿ ﹶﻌﺖ ﻓﻴﻪ‪:‬‬ ‫ﹼ‬

‫‪١٠٥‬‬

‫ﻭﺍﻟﺴﻨﺔ‬ ‫ﻛﺎﻧﺖ ﺃﺷﻬﺮ ﹼ‬ ‫ﺍﻟﺼﻴﻒ ﺍﻟﺘﻲ ﻋﻤﻞ ﻓﻴﻬﺎ ﺑﺎﻟﻘﺎﻫﺮﺓ ﻃﻮﺍﻝ ﻣﺮﺣﻠﺔ ﺍﻟﺪﹼ ﺭﺍﺳﺔ ﺍﻟﺜﹼﺎﻧﻮﻳﺔ ﹼ‬ ‫ﺍﻷﻭﱃ ﹼ‬ ‫ﺗﻔﺮ ﺍﻵﻥ ﺃﺷﺠﺎﺭ ﹼ‬ ‫ﺍﻟﻄﺮﻳﻖ‪ ،‬ﻭﺑﴪﻋﺔ ﻛﺒﲑﺓ‬ ‫ﲤﺮ ﺃﻣﺎﻣﻪ ﻛﴩﻳﻂ ﺳﻴﻨﲈﺋﻲ‪ ،‬ﲤﺎ ﹰﻣﺎ ﻣﺜﻠﲈ ﱡ‬ ‫ﺑﺎﻟﻜﻠﻴﺔ ﹼ‬ ‫ﺗﻔﺮ ﻣﻦ ﺃﺳﺪ ﳚﺮﻱ ﻭﺭﺍﺀﻫﺎ‪.‬‬ ‫ﺍﻟﺴﻔﺮ‪ ،‬ﹼ‬ ‫ﺧﻼﻝ ﺭﺣﻠﺔ ﹼ‬ ‫ﻛﺄﳖﺎ ﹼ‬

‫ﻛﺒﻮﺕ‬ ‫ﺍﺳﺘﺨﺪﻡ ﺍﻟﻜﺎﺗﺐ ﺍﻟﻜﺜﲑ ﻣﻦ ﺍﻷﻟﻔﺎﻅ ﺍﻟﺪﹼ ﺍﺭﺟﺔ )ﻛﻮﺗﴚ‪ ،‬ﻣﺎﺭﻛﺎﺕ‪ ،‬ﺍﻟﺸﹼ ﻴﺸﺔ‪ ،‬ﹼ‬ ‫ﺳﻴﲈ‬ ‫ﺍﻟﺴ ﹼﻴﺎﺭﺓ‪ ،‬ﻣﺎﺗﻮﺭ ﹼ‬ ‫ﹼ‬ ‫ﺍﻟﺴ ﹼﻴﺎﺭﺓ ‪ (...‬ﻛﺎﻥ ﻣﻦ ﺍﳌﺴﺘﺤﺴﻦ ﺍﻻﺳﺘﻌﺎﺿﺔ ﻋﻨﻬﺎ ﺑﻤﻘﺎﺑﻼﲥﺎ ﺍﻟﻔﺼﻴﺤﺔ‪ ،‬ﹼ‬

‫ﹼ‬ ‫ﻭﺃﻥ ﺗﻠﻚ ﺍﳌﻘﺎﺑﻼﺕ ﺃﻟﻔﺎﻅ ﺳﻬﻠﺔ ﻭﻣﻌﺮﻭﻓﺔ‪ ،‬ﻭﰲ ﺣﺎﻝ ﺍﺳﺘﺨﺪﺍﻡ ﺗﻠﻚ ﺍﻷﻟﻔﺎﻅ ﺍﻟﺪﹼ ﺍﺭﺟﺔ ﳚﺐ‬

‫ﻭﺿﻌﻬﺎ ﺑﲔ ﻗﻮﺳﲔ ﻹﺧﺮﺍﺟﻬﺎ ﻣﻦ ﺍﳌﺄﻟﻮﻑ‪ ،‬ﻭﺭﺑﻄﻬﺎ ﺑﺎﻟﻐﺮﺍﺑﺔ‪ ،‬ﺇﻥ ﻛﺎﻥ ﺍﳍﺪﻑ ﻣﻦ ﺇﻳﺮﺍﺩﻫﺎ‬ ‫ﺺ‪.‬‬ ‫ﺇﺿﻔﺎﺀ ﻧﻮﻉ ﻣﻦ ﺍﻟﻄﺰﺍﺟﺔ ﻋﲆ ﺍﻟ ﹼﻨ ﹼ‬

‫ﺫﻛﺮ ﺍﻟﻌﺪﻳﺪ ﻣﻦ ﺍﻷﻏﺎﲏ ﺍﳌﴫ ﹼﻳﺔ‬ ‫ﻭﺍﻟﻌﺮﺍﻗﻴﺔ‪ ،‬ﻣﻨﻬﺎ ﻟﻌﺒﺪ ﺍﳊﻠﻴﻢ ﺣﺎﻓﻆ‪ ،‬ﻧﺎﺩﻳﺎ ﻣﺼﻄﻔﻰ‪،‬‬ ‫ﹼ‬

‫ﻭﺳﻌﺪﻭﻥ ﺍﳉﺎﺑﺮ‪.‬‬

‫‪ G‬ﺍﻟﺒﻨﻴﺔ ﺍﳉﲈﻟﻴﺔ ﻭﻣﺘﻌ ﹼﻠﻘﺎﲥﺎ‬ ‫ﺍﻟﺒﻼﻏﻴﺔ – ﻋﻠﻢ ﺍﻟﺒﺪﻳﻊ ﻭﻋﻠﻢ ﺍﻟﺒﻴﺎﻥ‪:‬‬ ‫ﹼ‬ ‫ﺍﻟﺼﻮﺭ‬ ‫ﺍﻟﺮﻭﺍﻳﺔ‪ ،‬ﻭﻛﺎﻥ‬ ‫ﺑﻼﻏﻴﺎ‪ ،‬ﻏﻠﺒﺖ ﺍﻟ ﹼﺘﺸﺎﺑﻴﻪ ﻋﲆ ﻣﻌﻈﻢ ﹼ‬ ‫‪h‬‬ ‫ﹼ‬ ‫ﺍﳉﲈﻟﻴﺔ ﺍﻟﺘﻲ ﻭﺭﺩﺕ ﰲ ﹼ‬

‫ﺍﻻﻧﺰﻳﺎﺡ ﺍﳉﲈﱄ ﳏﺪﻭ ﹰﺩﺍ‪ ،‬ﺍﻗﺘﴫ ﻋﲆ ﺑﻌﺾ ﺍﻟ ﹼﺘﺸﺎﺑﻴﻪ ﻭﺍﻻﺳﺘﻌﺎﺭﺍﺕ‪:‬‬

‫ﺍﻟﺮﺻﻴﻒ ﻛﺴﻔﻴﻨﺔ ﻧﻮﺡ‪ .‬ﺗﺸﺒﻴﻪ‪.‬‬ ‫ ﺑﺪﺕ ﹼ‬‫ﺍﻟﺮﺍﺑﻀﺔ ﺑﺠﻮﺍﺭ ﹼ‬ ‫ﺍﻟﺴﻔﻴﻨﺔ ﺍﻟﻌﻤﻼﻗﺔ ﹼ‬ ‫‪-‬‬

‫ﺍﻟﺴﻔﻴﻨﺔ ﺍﳌﻔﺘﻮﺡ ﻣﺜﻞ ﻛﻬﻒ ﺃﺳﻄﻮﺭﻱ ﺃﻭ ﻗﱪ ﲨﺎﻋﻲ‬ ‫ﻳﺎ ﺍﷲ‪ ..‬ﻗﺎﳍﺎ ﻋﻨﺪﻣﺎ ﺍﻗﱰﺏ ﻣﻦ ﺑﻄﻦ ﹼ‬

‫ﻛﺒﲑ ﻛﺒﲑ‪ .‬ﺗﺸﺒﻴﻪ‪.‬‬

‫ ﺗﻮ ﹼﻗﻔﺖ ﺃﻧﻔﺎﺳﻬﻢ‪ ،‬ﻭﻣﺎﺗﺖ ﹼ‬‫ﺍﻟﻀﺤﻜﺎﺕ ﰲ ﺻﺪﻭﺭﻫﻢ‪ .‬ﺍﺳﺘﻌﺎﺭﺓ‪.‬‬ ‫<]‪Dynamic Level<ÿÈ◊vjfl ÷]<ª<Í“Ü£]<ÔÁjäπ‬‬

‫ﺃﲢﺮﻙ ﻓﻴﻬﲈ ﻣﻠﺘﻘﻄﺔ ﻣﺎ ﻇﻬﺮ ﻓﻴﻬﺎ ﻭﻣﺎ‬ ‫ﺃﺗﻨﺎﻭﻟﻪ ﻣﻦ ﺧﻼﻝ ﺩﺭﺍﺳﺔ ﺍﻟﺒﻨﺎﺋﲔ ﺍﻟﻔ ﹼﻨﻲ ﻭﺍﳉﲈﱄ‪ ،‬ﹼ‬

‫ﺑﻄﻦ ﻣﻦ ﺍﳌﻌﺎﲏ‪ ،‬ﻣﱪﺯﺓ ﺗﻠﻚ ﺍﻻﻟﺘﻘﺎﻃﺎﺕ ﺍﳌﺴﻨﻮﺩﺓ ﻋﲆ ﺫﺭﺍﺋﻊ‪:‬‬

‫‪١٠٦‬‬

‫‪fl‬‬ ‫<‬‫]÷‪<V;À÷]<^flf‬‬ ‫‪ -١‬ﺍﻟﻌﻨﻮﺍﻥ‪/ :‬ﺃ ﹼﻳﺎﻡ ﺑﻐﺪﺍﺩ‪/‬‬ ‫ﺍﻷﻭﻝ ﺯﻣﺎﲏ )ﺃ ﹼﻳﺎﻡ( ﻭﺍﻟﺜﹼﺎﲏ ﻣﻜﺎﲏ )ﺑﻐﺪﺍﺩ(‪ ،‬ﻭﻫﻮ‬ ‫ﻣﻜﻮﻧﺔ ﻣﻦ ﹶﻇﺮﻓﲔ‪ ،‬ﹼ‬ ‫ﲨﻠﺔ ﺍﺳﻤﻴﺔ ﹼ‬ ‫ﺍﻟﺮﻭﺍﻳﺔ ﺍﳌﻜﺘﻮﺑﺔ‪ ،‬ﻭﺍﻟﺘﻲ ﻫﻲ ﻋﺒﺎﺭﺓ ﻋﻦ ﺳﻔﺮ‬ ‫ﻧﺼﻴﺔ ﺗﻌﻤﻞ ﻋﻤﻞ ﹼ‬ ‫ﻋﻼﻣﺔ ﹼ‬ ‫ﻧﺺ ﻣﺸ ﹼﻔﺮ‪ ،‬ﻣﻮﺍ ﹴﺯ ﳌﺘﻦ ﹼ‬

‫ﺍﻟﺰﻣﺎﻧﻴﺔ )ﺃ ﹼﻳﺎﻡ(‪-‬‬ ‫ﺯﻣﻨﻴﺔ ﳏﺪﻭﺩﺓ‪ ،‬ﺑﺘﻮﻇﻴﻒ ﺭﻣﺰﻱ ﻟﻌﻼﻣﺔ ﺍﻟﻮﺣﺪﺓ ﹼ‬ ‫ﺍﻟﺮﻭﺍﻳﺔ ﰲ ﻓﱰﺓ ﹼ‬ ‫ﻗﺎﻡ ﺑﻪ ﺑﻄﻞ ﹼ‬ ‫ﺇﱃ ﻣﻜﺎﻥ ﺗﻮ ﹼﻟﺖ ﻭﻇﻴﻔﺔ ﺗﺮﻣﻴﺰﻩ ﺍﻟﻌﻼﻣﺔ‬ ‫ﺍﳌﻜﺎﻧﻴﺔ )ﺑﻐﺪﺍﺩ(‪ .‬ﻭﻫﻮ ﻋﻨﻮﺍﻥ ﻗﺼﲑ ﻭﺑﺴﻴﻂ‪ ،‬ﺫﻭ‬ ‫ﹼ‬ ‫ﹼ‬ ‫ﺍﻟﺮﻭﺍﻳﺔ‪ ،‬ﹸﻭ ﹼﻓﻖ‬ ‫ﻭﻇﺎﺋﻒ ﺭﻣﺰ ﹼﻳﺔ ﺑﻨﻈﺎﻡ ﻋﻼﻣﺎﰐ ﺩﺍﻝ ﻋﲆ ﺇﺣﺎﻻﺕ ﻋﺪﻳﺪﺓ‪،‬‬ ‫ﻭﻣﻠﺨﺺ ﳌﻮﺿﻮﻉ ﹼ‬ ‫ﺑﻪ ﺍﻟﻜﺎﺗﺐ‪.‬‬

‫‪ -٢‬ﺍﳌﻘﺪﹼ ﻣﺔ‪:‬‬ ‫ﹰ‬ ‫ﺍﺧﺘﺎﺭ ﺍﻟﻜﺎﺗﺐ ﺃﻥ ﺗﻜﻮﻥ ﻣﻘﺪﹼ ﻣﺔ ﺭﻭﺍﻳﺘﻪ ﻣﻘﺪﹼ ﻣﺔ‬ ‫ﺯﻣﻜﺎﻧﻴﺔ‪ ،‬ﻛﺎﻧﺖ ﺗﻌﺮﻳ ﹰﻔﺎ‬ ‫ﺑﺴﻴﻄﺎ ﺑﺰﻣﺎﻥ‬ ‫ﹼ‬

‫ﺗﺪﺭﺝ ﻣﻦ ﺍﻟﻌﺎﻡ ﺇﱃ ﺍﳋﺎﺹ‪:‬‬ ‫ﻭﻣﻜﺎﻥ ﺍﺑﺘﺪﺍﺀ ﺍﻟﺮﻭﺍ ﹼﻳﺔ‪ ،‬ﻓﻴﻪ ﹼ‬ ‫ﻳﻮﻡ ﺟﺪﻳﺪ ﻭﳖﺎﺭ ﺣﺎﺭ ﻻﻓﺢ ﻃﻮﻳﻞ‬ ‫ﺍﻟﺮﺻﻴﻒ ﺍﳌﺸﺒﻊ ﺑﺮﺫﺍﺫ ﻣﻴﺎﻩ ﺍﻟﺒﺤﺮ‪.‬‬ ‫ﻋﲆ ﻃﻮﻝ ﹼ‬

‫ﺍﻟﺮﻭﺍﺋﻲ‪) ،‬ﻃﻮﺍﺑﲑ ﺍﳌﺴﺎﻓﺮﻳﻦ(‪:‬‬ ‫ﻭﻭﻣﻀﺔ ﺗﴚ ﺑﻤﻌﻠﻮﻣﺔ ﺑﺴﻴﻄﺔ ﻋﻦ ﺟﻨﺲ ﺍﻟ ﹼﻨ ﹼ‬ ‫ﺺ ﹼ‬ ‫ﻭﺗﺘﻠﻮ￯ ﻣﻦ ﻃﻮﻝ ﺍﻻﻧﺘﻈﺎﺭ‪.‬‬ ‫ﺍﻟﺮﺻﻴﻒ‪،‬‬ ‫ﹼ‬ ‫ﻭﻛﺎﻧﺖ ﻃﻮﺍﺑﲑ ﺍﳌﺴﺎﻓﺮﻳﻦ ﺗﺘﻤﺪﹼ ﺩ ﺑﻄﻮﻝ ﹼ‬ ‫ﻣﻜﺎﻧﻴﺔ‪:‬‬ ‫‪ -٣‬ﹼ‬ ‫ﺍﻟﺰ ﹼ‬ ‫ﻭﺍﺳﺘﻤﺮﺕ ﺇﱃ ﺁﺧﺮ ﺷﻬﺮ ﺩﻳﺴﻤﱪ ﻣﻦ ﺍﻟﻌﺎﻡ‬ ‫ﺍﻟﺮﻭﺍﻳﺔ ﰲ ﺁﺧﺮ ﺷﻬﺮ ﻳﻮﻧﻴﻪ‪،‬‬ ‫ﹼ‬ ‫ﺟﺮﺕ ﺃﺣﺪﺍﺙ ﹼ‬

‫‪١٩٨٢‬ﻡ‪.‬‬

‫ﻭﺍﳌﻜﺎﻥ‪ :‬ﻣﺪﻥ ﰲ ﻣﴫ )ﺍﻟﻘﺎﻫﺮﺓ ‪ -‬ﺍﻟﺴﻮﻳﺲ( ﻭ ﺍﻷﺭﺩﻥ )ﺍﻟﻌﻘﺒﺔ – ﻋﲈﻥ( ﻭﺍﻟﻌﺮﺍﻕ‬ ‫ﻭﺗﻨﻮﻋﺖ ﺍﻷﻣﺎﻛﻦ ﺍﳌﻐﻠﻘﺔ ﺑﲔ‬ ‫)ﺑﻐﺪﺍﺩ‪ -‬ﺳﺎﻣﺮﺍﺀ – ﺍﳊ ﹼﻠﺔ ‪ -‬ﺍﻟﻨﺠﻒ( ﻛﺄﻣﺎﻛﻦ ﻋﺎ ﹼﻣﺔ ﻣﻔﺘﻮﺣﺔ‪ ،‬ﹼ‬

‫ﺍﻟﺴ ﹼﻴﺎﺭﺓ ‪ -‬ﺍﻟﻔﻨﺪﻕ – ﺍﳉﺎﻣﻌﺔ – ﻭﺳﻜﻦ ﹼ‬ ‫ﺍﻟﻄﻼﺏ ‪.(...‬‬ ‫ﹼ‬ ‫)ﺍﻟﺴﻔﻴﻨﺔ ‪ -‬ﺍﻟﺒﺎﺹ – ﹼ‬

‫‪١٠٧‬‬

‫ﺍﻟﴪﺩﻱ‪:‬‬ ‫‪ -٤‬ﺍﻟ ﹼﺘﺸﺎﺑﻚ ﹼ‬ ‫ﺍﻟﴫﺍﻉ ﺑﲔ ﺍﳋﲑ ﹼ‬ ‫ﺑﺸﺨﺼﻴﺎﺕ ﻳﺼﻨﻌﻬﺎ‬ ‫ﻭﺍﻟﴩ‪ ،‬ﺍﳌﺘﻤﺜﹼﻞ‬ ‫ﺍﻟﴪﺩﻱ ﻋﺒﺎﺭﺓ ﻋﻦ ﹼ‬ ‫»ﺍﻟ ﹼﺘﺸﺎﺑﻚ ﹼ‬ ‫ﹼ‬

‫ﻭﻳﺘﻄﻮﺭ ﻫﺬﺍ ﺍﻟﴫﺍﻉ‬ ‫ﻟﻠﺴﻠﻮﻙ ﺍﻹﻧﺴﺎﲏ ﰲ ﺍﳌﺠﺘﻤﻊ‪،‬‬ ‫ﹼ‬ ‫ﺍﻟﻜﺎﺗﺐ ﻣﺴﺘﻮﺣﺎﺓ ﻣﻦ ﺍﻟﻜﻔﺎﺡ ﺍﻟﻴﻮﻣﻲ ﹼ‬ ‫ﺑﺘﻮﺍﻟﺪ ﺍﻟﺸﹼ‬ ‫ﺍﻟﺮﻭﻱ‪ ،‬ﺣﺘﻰ ﺗﻠﺘﻘﻲ‬ ‫ﺨﺼﻴﺎﺕ ﻣﻦ ﺃﺣﺪﺍﺙ ﺟﺪﻳﺪﺓ ﲢﺪﺙ ﻋﲆ ﻣﴪﺡ‬ ‫ﹼ‬ ‫ﹼ‬ ‫ﺍﻟﻘﺺ ﺃﻭ ﹼ‬ ‫ﺍﻟﴫﺍﻉ‬ ‫ﺍﻟﴫﺍﻋﺎﺕ ﻭﲡﺘﻤﻊ ﲨﻴﻊ ﺧﻴﻮﻃﻬﺎ ﰲ ﻧﻘﻄﺔ ﺍﻟﺘﻘﺎﺀ ﻭﺍﺣﺪﺓ )ﻋﻘﺪﺓ(‪ ،‬ﺗﻘﻠﺐ ﻫﺬﺍ ﹼ‬ ‫ﺗﻠﻚ ﹼ‬

‫ﺭﺃﺳﺎ ﻋﲆ ﻋﻘﺐ‪ ،‬ﻧﺤﻮ ﴏﺍﻉ ﺇﳚﺎﰊ ﻳﺴﻌﻰ ﻧﺤﻮ ﺍﻻﻧﻔﺮﺍﺝ«)‪.(١‬‬ ‫ﹰ‬

‫ﺍﻟﺮﻏﻢ ﻣﻦ ﺗﻮﺍﻟﺪ ﺍﻟﺸﹼ‬ ‫ﺨﺼﻴﺎﺕ‬ ‫ﹼ‬ ‫ﱂ ﻳﻜﻦ ﻫﻨﺎﻙ ﴏﺍﻉ ﺑﺎﳌﻌﻨﻰ ﺍﳌﻌﺮﻭﻑ ﻟﻜﻠﻤﺔ ﴏﺍﻉ‪ ،‬ﻋﲆ ﹼ‬ ‫ﺍﻟﺴﻔﺮ‬ ‫ﺑﺘﻮﺍﱄ ﺍﻷﺣﺪﺍﺙ ﺍﻟﺘﻲ ﻛﺎﻧﺖ ﻋﺒﺎﺭﺓ ﻋﻦ ﺗﺴﻠﺴﻞ ﻣﻨﻄﻘﻲ ﻷﻓﻌﺎﻝ ﻭﺃﺣﺪﺍﺙ ﺗﺮﺍﻓﻖ ﹼ‬ ‫ﻭﺍﻻﻧﺘﻘﺎﻝ ﻣﻦ ﻣﻜﺎﻥ ﺇﱃ ﺁﺧﺮ‪ ،‬ﻭﻣﻦ ﻋﻤﻞ ﺇﱃ ﺁﺧﺮ ﺑﻐﻴﺔ ﺍﻟﻮﺻﻮﻝ ﺇﱃ ﺍﳌﻜﺎﻥ ﺍﻟﺬﻱ ﻳﺘﻮ ﹼﻓﺮ‬

‫ﻓﻴﻪ ﺍﻟﻌﻤﻞ ﺍﻷﻓﻀﻞ‪ ،‬ﱂ ﻳﺼﻄﺪﻡ ﺍﻟﺒﻄﻞ ﺑﻤﻦ ﺃﻭ ﺑﲈ ﻳﻌﻴﻖ ﺳﻔﺮﻩ ﻫﺬﺍ‪ ،‬ﹼ‬ ‫ﻓﻜﻞ ﻣﻦ ﺍﻟﺘﻘﻰ ﲠﻢ ﻣﻦ‬

‫ﺷﺨﺼﻴﺔ ﺳﺎﺋﻖ ﺍﻷﺟﺮﺓ ﺍﻷﺭﺩﲏ ﻣﻦ‬ ‫ﺷﺨﺼﻴﺎﺕ ﻣﺴﺎﻧﺪﺓ‪ ،‬ﻓﻴﲈ ﻋﺪﺍ‬ ‫ﺷﺨﺼﻴﺎﺕ ﺛﺎﻧﻮﻳﺔ ﻛﺎﻧﺖ‬ ‫ﹼ‬ ‫ﹼ‬ ‫ﹼ‬

‫ﺍﻟﺮﻛﺎﺏ ﻭﺃﺧﻠﻒ ﺍﻻﺗﹼﻔﺎﻕ ﺑﻨﻘﻠﻬﻢ ﻣﻦ‬ ‫ﺃﺻﻞ ﻓﻠﺴﻄﻴﻨﻲ ﺍﻟﺬﻱ ﺣﺎﻭﻝ ﺍﺳﺘﻐﻼﻝ ﺍﻟﺒﻄﻞ ﻭﺑﺎﻗﻲ ﹼ‬ ‫ﻣﻴﻨﺎﺀ ﺍﻟﻌﻘﺒﺔ ﺇﱃ ﺑﻐﺪﺍﺩ‪ ،‬ﻣﻜﺘﻔ ﹰﻴﺎ ﺑﻨﻘﻠﻬﻢ ﺇﱃ ﹼ‬ ‫ﻋﲈﻥ ﻓﻘﻂ‪ ،‬ﻧﺸﺐ ﴏﺍﻉ ﺑﻴﻨﻪ ﻭﺑﲔ ﺍﻟﺒﻄﻞ ﺍﻟﺬﻱ ﻃﺎﻟﺒﻪ‬

‫ﺩﺭﺳﺎ ﰲ ﺍﻷﺧﻼﻕ ﻭﺍﻟ ﹼﻨﺰﺍﻫﺔ‪ ،‬ﻭﺍﻧﺘﻬﻰ ﺍﻻﺷﺘﺒﺎﻙ ﻟﺼﺎﻟﺢ ﺍﻟﺒﻄﻞ‪ ،‬ﻓﻴﲈ‬ ‫ﺑﺪﻓﻊ ﻓﺮﻕ ﺍﻷﺟﺮﺓ‪ ،‬ﻭﻟ ﹼﻘﻨﻪ ﹰ‬ ‫ﺇﳚﺎﺑﻴﺔ ﺳﺎﺭﺕ ﻣﻊ‬ ‫ﺷﺨﺼﻴﺎﺕ‬ ‫ﻋﺪﺍ ﺫﻟﻚ ﱂ ﻧﺠﺪ ﺷﺨﺼﻴﺎﺕ ﻣﻨﺎﻭﺋﺔ ﻟﻠﺒﻄﻞ‪ ،‬ﺑﻞ ﻛﺎﻧﺖ ﻛ ﹼﻠﻬﺎ‬ ‫ﹼ‬ ‫ﹼ‬

‫ﺷﺨﺼﻴﺎﺕ ﻣﻨﺎﻭﺋﺔ‪ ،‬ﻭﺑﺎﻟﺘﺎﱄ ﱂ ﻳﻜﻦ ﻫﻨﺎﻙ ﳏﻮﺭ ﻣﻌﺎﺭﺿﺔ‪ ،‬ﻭﺑﻘﻲ‬ ‫ﺍﻷﺣﺪﺍﺙ ﺍﻟﺘﻲ ﱂ ﻳﺘﻮ ﹼﻟﺪ ﻣﻨﻬﺎ‬ ‫ﹼ‬

‫ﳏﻮﺭﺍ ﺍﻟ ﹼﺘﻮﻟﻴﺪ ﻭﺍﻟﺘﻜﻮﻳﻦ ﻣﺘﻮﺍﺯﻳﺎﻥ ﻣﻦ ﺍﻟﺒﺪﺍﻳﺔ ﺇﱃ ﺍﻟ ﹼﻨﻬﺎﻳﺔ ﺍﳌﻔﺘﻮﺣﺔ‪ ،‬ﺩﻭﻥ ﺍﳌﺮﻭﺭ ﺑﻌﻘﺪﺓ‪ ،‬ﻭﻫﻨﺎ‬

‫ﺍﻟﺮﺣﻠﺔ‪ ،‬ﻭﺍﳌﻔﺼﻞ‬ ‫ﻻ ﺗﻜﻮﻥ ﺭﻛﺎﻛﺔ ﰲ ﺍﻟﻌﻤﻞ ﺑﺎﳌﻘﺎﺭﻧﺔ ﺑﲔ ﺍﳌﻔﺼﻞ ﹼ‬ ‫ﺍﻟﴪﺩﻱ ﺍﳊﻘﻴﻘﻲ ﻷﺩﺏ ﹼ‬

‫ﺣﻘﻴﻘﻴﺎ‬ ‫ﴏﺍﻋﺎ‬ ‫ﴏﺍﻋﺎ ﴎﺩ ‪h‬ﻳﺎ‪ ،‬ﺑﻞ‬ ‫ﻭﺍﻟﺴﺒﺐ ﻫﻮ ﺃﻥ ﺍﳍﺪﻑ ﱂ ﻳﻜﻦ‬ ‫ﹰ‬ ‫ﹰ‬ ‫‪h‬‬ ‫ﺍﻟﺴﻔﺮ‪ ،‬ﹼ‬ ‫ﺍﻟﴪﺩﻱ ﻷﺩﺏ ﹼ‬ ‫ﹼ‬ ‫ﹰ‬ ‫ﹰ‬ ‫ﻳﺘﻤﻴﺰ ﻓﻴﻪ‬ ‫ﻟﻠﺒﺤﺚ ﻋﻦ ﻟﻘﻤﺔ ﺍﻟﻌﻴﺶ‪ ،‬ﻭﻫﺬﺍ ﻻ ﳛﺘﺎﺝ ﺿﻐﻄﺎ‬ ‫ﻣﻌﺎﺭﺿﺎ‪ ،‬ﻷﻥ ﹼﺍﻟﻌﻤﻞ ﴍﻑ ﹼ‬ ‫ﺍﻹﻧﺴﺎﻥ‪ ،‬ﻓﻤﻌﺎﺭﺿﺘﻪ ﻫﻲ ﺍﳉﺎﻧﺐ ﺍﳌﺮﻓﻮﺽ‪.‬‬

‫ﺍﻟﺮﺣﻠﺔ‪ ،‬ﹼ‬ ‫ﻷﻥ ﺍﳍﺪﻑ ﻳﻜﻮﻥ‬ ‫ﺍﻟﻘﻮﺓ‬ ‫ﺍﻟﺴﻔﺮ ﺗﻀﻌﻒ ﹼ‬ ‫ﻭﻋﻨﺪ ﻣﻔﺼﻞ ﹼ‬ ‫ﹼ‬ ‫ﺍﻟﺪﻳﻤﻐﺮﺍﻓﻴﺔ ﰲ ﺃﺩﺏ ﹼ‬

‫ﺍﻟﺮﻭﺍﻳﺔ‬ ‫ﺍﻟﺒﺤﺚ ﻋﻦ ﺣﻴﺎﺓ ﺟﺪﻳﺪﺓ ﻃﻠ ﹰﺒﺎ ﹼ‬ ‫ﻟﻠﺮﺯﻕ ﺍﻟﴩﻳﻒ ﻛﲈ ﺃﺳﻠﻔﻨﺎ‪ .‬ﻭﻋﻨﺪﻣﺎ ﻳﺘﺤﺪﹼ ﺙ ﺑﻄﻞ ﹼ‬ ‫)‪ (١‬ﺍﻟﺬﺭﺍﺋﻌﻴﺔ ﰲ ﺍﻟﺘﻄﺒﻴﻖ‪ ،‬ﻃﺒﻌﺔ ﻣﺰﻳﺪﺓ ﻭﻣﻨﻘﺤﺔ‪ ،‬ﺗﺄﻟﻴﻒ‪ :‬ﻋﺒﺪ ﺍﻟﺮﺯﺍﻕ ﻋﻮﺩﺓ ﺍﻟﻐﺎﻟﺒﻲ‪ ،‬ﺗﻄﺒﻴﻖ‪ :‬ﺩ‪ .‬ﻋﺒﲑ ﺧﺎﻟﺪ‪،‬‬ ‫ﺇﺻﺪﺍﺭ ﺩﺍﺭ ﺍﻟﻨﺎﺑﻐﺔ ﻟﻠﻨﴩ‪٢٠١٩ ،‬ﻡ‪ ،‬ﺹ ‪.١٨٢‬‬

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‫ﺍﻟﺴﻴﺎﺣﻴﺔ ﻭﺍﻟﺒﴩﻳﺔ(‪ ،‬ﺑﻞ ﻳﺘﺤﺪﹼ ﺙ ﻋﻦ ﺣﻴﺎﺓ‬ ‫ﻋﻦ ﺳﻔﺮﺗﻪ ﻻ ﻳﺘﺤﺪﹼ ﺙ ﻋﻦ ﺍﻟﺪﹼ‬ ‫ﻳﻤﻐﺮﺍﻓﻴﺔ )ﺍﳌﺸﺎﻫﺪ ﹼ‬ ‫ﹼ‬ ‫ﺟﺪﻳﺪﺓ ﻋﺎﺷﻬﺎ ﺑﺪﻗﺎﺋﻘﻬﺎ ﻭﻋﺎﻧﻰ ﻣﺎ ﻋﺎﻧﺎﻩ‪ ،‬ﺃﻱ ﺳﻜﻦ ﻓﻴﻬﺎ‪ ،‬ﻭﺍﻟﺪﹼ ﻟﻴﻞ ﻋﲆ ﺫﻟﻚ ﹼ‬ ‫ﺃﻥ ﺍﳌﴫﻳﲔ‬ ‫ﺍﻟﻌﺮﺍﻗﻴﺔ –‬ ‫ﺍﻟﻌﺮﺍﻗﻴﲔ ﻭﻳﻼﺕ ﺍﳊﺮﺏ‬ ‫ﺍﻟﺬﻳﻦ ﺳﺎﻓﺮﻭﺍ ﺇﱃ ﺍﻟﻌﺮﺍﻕ ﰲ ﺗﻠﻚ ﺍﳊﻘﺒﺔ ﺷﺎﺭﻛﻮﺍ‬ ‫ﹼ‬ ‫ﹼ‬ ‫ﺍﻹﻳﺮﺍﻧﻴﺔ‪ ،‬ﻭﺍﳊﺼﺎﺭ‪.‬‬ ‫ﹼ‬ ‫ﺑﻨﺎﺀ ﺍﳊﺪﺙ‪:‬‬ ‫ﺑﻨﻰ ﺍﻟﻜﺎﺗﺐ ﺍﳊﺪﺙ ﹼ‬ ‫ﺍﻟﺴﺒﺒﻲ ﺍﳌﻨﻄﻘﻲ ﻣﻦ ﻣﻘﺪﹼ ﻣﺔ‬ ‫ﺑﺎﻟﻄﺮﻳﻘﺔ ﺍﻟ ﹼﺘﻘﻠﻴﺪ ﹼﻳﺔ‪ ،‬ﺑﺎﺗﹼﺒﺎﻉ ﺍﻟ ﹼﺘ ﹼ‬ ‫ﻄﻮﺭ ﹼ‬

‫ﺣﺒﻜﺔ ﻭﳖﺎﻳﺔ‪.‬‬

‫ﺃ ﹼﻣﺎ ﻋﻦ ﴎ ﹼﺩ ﹼﻳﺔ ﺍﳊﺪﺙ‪:‬‬ ‫ﺍﻟﴪﺩ ﺍﳌﺒﺎﴍ‪ ،‬ﴎﺩ ﻓﻴﻬﺎ ﺍﻟﻜﺎﺗﺐ ﺍﻷﺣﺪﺍﺙ ﻋﻦ ﻃﺮﻳﻖ ﺳﺎﺭﺩ ﻋﻠﻴﻢ‪،‬‬ ‫ﻓﻜﺎﻧﺖ ﺑﻄﺮﻳﻘﺔ ﹼ‬ ‫ﺑﺼﻴﻐﺔ ﺿﻤﲑ ﺍﻟﻐﺎﺋﺐ‪ ،‬ﻣﺎ ﺃﺗﺎﺡ ﻟﻪ ﹰ‬ ‫ﺍﳊﺮ ﹼﻳﺔ ﻟﻜﻲ ﳛ ﹼﻠﻞ ﺷﺨﺼﻴﺎﺗﻪ ﻭﺃﻓﻌﺎﳍﺎ‬ ‫ﳎﺎﻻ‬ ‫ﹰ‬ ‫ﻭﺍﺳﻌﺎ ﻣﻦ ﹼ‬ ‫ﹰ‬ ‫ﲢﻠﻴﻼ ﺩﻗﻴ ﹰﻘﺎ‪.‬‬

‫ﺍﳊﺒﻜﺔ‪:‬‬ ‫ﻭﻫﻲ ﺣﺒﻜﺔ ﺑﺴﻴﻄﺔ ﺍﻋﺘﻤﺪ ﻓﻴﻬﺎ ﺍﻟﻜﺎﺗﺐ ﻋﲆ ﺗﺴﻠﺴﻞ ﺍﻷﺣﺪﺍﺙ‪ ،‬ﺍﻟﺘﻲ ﺳﺄﴎﺩﻫﺎ‬

‫ﹼ‬ ‫ﻛﻤﻠﺨﺺ ﺑﺴﻴﻂ ﻭﳎﻤﻞ‪ ،‬ﺍﻟﺮﻭﺍﻳﺔ ﲢﻜﻲ ﻗﺼﺔ )ﳏﻤﺪ( ﺷﺎﺏ ﻣﴫﻱ ﺧﻠﻮﻕ ﻭﺭﺻﲔ ﻭﻣﺘﺪ ﹼﻳﻦ‪،‬‬ ‫ﺑﻜﻠﻴﺔ ﺍﻵﺩﺍﺏ‬ ‫ﻗﺮﺭ ﺃﻥ ﻳﺴﺎﻓﺮ ﺇﱃ ﺍﻟﻌﺮﺍﻕ ﻟﻠﻌﻤﻞ ﻓﻴﻬﺎ‪ ،‬ﻗﺒﻞ ﺻﺪﻭﺭ ﻧﺘﻴﺠﺔ ﺍﻣﺘﺤﺎﻥ ﹼ‬ ‫ﺍﻟﺴﻨﺔ ﺍﻟﺜﹼﺎﻧﻴﺔ ﹼ‬ ‫ﹼ‬ ‫ﺟﺎﻣﻌﺔ ﻋﲔ ﺷﻤﺲ ﻟﻠﻌﺎﻡ ﺍﻟﺪﺭﺍﳼ ‪ ،١٩٨٣ -١٩٨٢‬ﹰ‬ ‫ﺑﺪﻻ ﻣﻦ ﺍﻟﻌﻤﻞ ﻏﲑ ﹼ‬ ‫ﺍﻟﻼﺋﻖ ﻭﻏﲑ‬ ‫ﺍﳌﺜﻤﺮ ﺑﺎﻟﻘﺎﻫﺮﺓ‪ ،‬ﻳﺒﺪﺃ ﻣﺸﻮﺍﺭ ﺍﻟﺴﻔﺮ ﻣﻦ ﻣﻴﻨﺎﺀ ﺍﻟﺴﻮﻳﺲ‪ ،‬ﻣﻊ ﺯﻣﻴﻠﻴﻪ )ﻋﲈﺩ ﻭﳎﺪﻱ( ﺍﻟ ﹼﻠﺬﻳﻦ‬

‫ﺍﻧﻌﺰﻻ ﻋﻨﻪ ﻓﻮﺭ ﺭﻛﻮﲠﻢ ﰲ ﺍﳌﺮﻛﺐ‪ ،‬ﻭﻋﲆ ﻇﻬﺮ ﺍﳌﺮﻛﺐ ﺗﺼﺎﺣﺐ ﻣﻊ ﺫﻛﺮﻳﺎﺗﻪ ﺍﻷﻟﻴﻤﺔ ﰲ‬ ‫ﺳﻮﻕ ﺍﻟﻌﻤﻞ ﺍﻟﺸﹼ ﺤﻴﺢ ﰲ ﺍﻟﻘﺎﻫﺮﺓ‪ ،‬ﻛﺎﻥ‬ ‫ﺍﻟﺼﻴﻒ ﻟﻴﻮ ﹼﻓﺮ ﻧﻔﻘﺎﺕ‬ ‫ﻣﻀﻄﺮﺍ ﻟﻠﻌﻤﻞ ﺧﻼﻝ ﺃﺷﻬﺮ ﹼ‬ ‫‪h‬‬ ‫ﺩﺭﺍﺳﺘﻪ‬ ‫ﺍﻟﺴﻴﺌﺔ ﰲ ﻫﺬﺍ ﺍﳌﻀﲈﺭ‪ ،‬ﻋﲆ ﻇﻬﺮ‬ ‫ﺍﳉﺎﻣﻌﻴﺔ‪ ،‬ﺗﺴﺘﻌﺮﺽ ﺫﺍﻛﺮﺗﻪ ﺍﻟﻌﺪﻳﺪ ﻣﻦ ﺍﻟ ﹼﺘﺠﺎﺭﺏ ﹼ‬ ‫ﹼ‬ ‫ﻳﺘﻌﺮﻑ ﻋﲆ )ﻳﻮﺳﻒ( ‪ -‬ﺷﺎﺏ ﻣﴫﻱ ﺧﻠﻮﻕ ﻳﻌﻤﻞ ﺑﺄﻋﲈﻝ ﺍﻟﺒﻨﺎﺀ ﻣﻊ ﺃﺧﻴﻪ ﺑﺎﳊ ﹼﻠﺔ ‪-‬‬ ‫ﺍﳌﺮﻛﺐ ﹼ‬

‫ﺍﻟﺴﻔﺮ ﺇﱃ ﺍﻟﻌﻘﺒﺔ‪ ،‬ﺛﻢ ﺇﱃ ﹼ‬ ‫ﻋﲈﻥ‪ ،‬ﺛﻢ ﺇﱃ ﺑﻐﺪﺍﺩ‪ ،‬ﻭﻣﻨﻬﺎ ﻳﺘﺠﻪ ﳏﻤﺪ ﺇﱃ‬ ‫ﺳﺎﻣﺮﺍﺀ‬ ‫ﻭﻳﱰﺍﻓﻘﺎﻥ ﹰ‬ ‫ﻣﻌﺎ ﰲ ﹼ‬ ‫ﹼ‬ ‫ﺣﻴﺚ ﻳﻨﺘﻈﺮﻩ ﻋﺎﺩﻝ ﺍﺑﻦ ﺧﺎﻟﺘﻪ‪ ،‬ﻭﻫﻨﺎﻙ ﻳﺴﺄﻝ ﻋﻦ ﻃﺒﻴﻌﺔ ﺍﻷﻋﲈﻝ ﺍﳌﺘﻮ ﹼﻓﺮﺓ‪ ،‬ﳚﺪﻫﺎ ﻻ ﺗﻨﺎﺳﺒﻪ‪،‬‬

‫‪١٠٩‬‬

‫ﻳﻐﺎﺩﺭ‬ ‫ﺍﻷﻋﻈﻤﻴﺔ‪ ،‬ﻭﻫﻨﺎﻙ ﻳﻨﺰﻝ ﻋﻨﺪ )ﺍﳊﺎﺝ ﺟﱪ( ﺍﻟﺬﻱ‬ ‫ﺣﻲ‬ ‫ﹼ‬ ‫ﹼ‬ ‫ﺳﺎﻣﺮﺍﺀ ﺑﻌﺪ ‪ ٥‬ﺃ ﹼﻳﺎﻡ ﺇﱃ ﺑﻐﺪﺍﺩ‪ ،‬ﺇﱃ ﹼ‬ ‫ﻳﺴﻜﻦ ﰲ ﻏﺮﻓﺔ ﰲ ﻓﻨﺪﻕ‪،‬‬

‫ﻳﺒﻘﻲ ﻋﻨﺪﻩ ‪ ٣‬ﺃﻳﺎﻡ ﻳﻌﺮﺽ ﻋﻠﻴﻪ ﺍﳊﺎﺝ ﺟﱪ ﺃﻥ ﻳﻌﻤﻞ ﻣﻌﻪ ﻛﻌﺎﻣﻞ )ﻓﻮﺍﻋﻠﻴﺔ( ﻓﻮﺟﺪﻫﺎ‬ ‫ﹰ‬ ‫ﹰ‬ ‫ﺍﻟﺴﻔﺮ‬ ‫ﺃﻳﻀﺎ‬ ‫ﺗﻜﺒﺪ ﻣﺸ ﹼﻘﺔ ﹼ‬ ‫ﺃﻋﲈﻻ ﻻ ﺗﻨﺎﺳﺒﻪ‪ ،‬ﺭﻏﻢ ﺃﻧﹼﻪ ﻛﺎﻥ ﻳﻘﻮﻡ ﲠﺎ ﻋﻨﺪﻣﺎ ﻛﺎﻥ ﺑﺎﻟﻘﺎﻫﺮﺓ‪ ،‬ﻟﻜ ﹼﻨﻪ ﹼ‬

‫ﻟﻴﻌﻤﻞ ﹰ‬ ‫ﻋﻤﻼ ﻳﻠﻴﻖ ﺑﻪ‪ ،‬ﻏﺎﺩﺭ ﺑﻐﺪﺍﺩ ﺇﱃ ﺍﻟ ﹼﻨﺠﻒ ﺣﻴﺚ ﺍﺑﻦ ﺧﺎﻟﺘﻪ ﻋﲇ ﺍﻟ ﹼﻨﺠﺎﺭ‪ ،‬ﻭﻗﺒﻞ ﺃﻥ ﻳﺼﻞ‬ ‫ﻋﺮﺝ ﺇﱃ ﺍﳊ ﹼﻠﺔ ﻟﻴﺰﻭﺭ ﻳﻮﺳﻒ‪ ،‬ﺍﻟﺬﻱ ﻻﻗﺎﻩ ﹼ‬ ‫ﺑﺎﻟﱰﺣﺎﺏ‪ ،‬ﻫﻮ ﻭﺃﺧﻮﻩ‪ ،‬ﻳﻘﻨﻌﻪ ﻳﻮﺳﻒ‬ ‫ﺍﻟ ﹼﻨﺠﻒ ﹼ‬

‫ﺑﺎﻹﻗﺎﻣﺔ ﻣﻌﻬﻢ‪ ،‬ﻭﺍﻟﻌﻤﻞ ﺑﺄﻋﲈﻝ ﺍﻟﺒﻨﺎﺀ‪ ،‬ﺇﱃ ﺃﻥ ﺃﺻﻴﺒﺖ ﻓﺮﻭﺓ ﺭﺃﺳﻪ ﺏ )ﻓﺴﺎﻓﻴﺲ(‪ ،‬ﺑﺴﺒﺐ‬ ‫ﺑﻜﻤﻴﺎﺕ‬ ‫ﺗﻌﺮﺿﻪ ﻟﻠﺸﹼ ﻤﺲ ﺍﳊﺎﺭﻗﺔ ﻭﺭﻓﻀﻪ ﴍﺏ ﺍﻟ ﹼﻠﺒﻦ ﺍﻟﺮﺍﻳﺐ ﺍﻟﺬﻱ ﺍﻋﺘﺎﺩ ﺍﻟﻌﲈﻝ ﻋﲆ ﴍﺑﻪ‬ ‫ﹼ‬ ‫ﹼ‬

‫ﻛﺒﲑﺓ ﻟﺘﺤﻤﻴﻬﻢ ﻣﻦ ﺍﳉﻔﺎﻑ‪ ،‬ﻭ ﹼﺩﻉ ﻳﻮﺳﻒ‪ ،‬ﹰ‬ ‫ﺃﻳﻀﺎ ﻓﺎﻟﻌﻤﻞ ﻻ ﻳﻨﺎﺳﺒﻪ‪ ،‬ﻭﺍﺻﻞ ﺭﺣﻠﺘﻪ ﺇﱃ ﻣﺪﻳﻨﺔ‬

‫ﺍﻟ ﹼﻨﺠﻒ‪ ،‬ﻭﺍﻟﺘﻘﻰ ﺑﺎﺑﻦ ﺧﺎﻟﺘﻪ ﻋﲇ ﺍﻟ ﹼﻨﺠﺎﺭ ﺍﻟﺬﻱ ﻛﺎﻥ ﻳﻌﻤﻞ‬ ‫ﻣﺪﻳﺮﺍ ﻟﻔﻨﺪﻕ ﻛﺒﲑ ﺃﻣﺎﻡ ﺳﺎﺣﺔ‬ ‫ﹰ‬

‫ﻋﻤﻦ ﻳﻨﻮﺏ ﻋﻨﻪ ﰲ‬ ‫ﻛﺮﻡ ﺍﷲ ﻭﺟﻬﻪ‪ ،‬ﻋﲇ ﺍﻟ ﹼﻨﺠﺎﺭ ﻛﺎﻥ ﻳﺒﺤﺚ ﹼ‬ ‫ﺟﺎﻣﻊ ﹼ‬ ‫ﺳﻴﺪﻧﺎ ﻋﲇ ﺑﻦ ﺃﰊ ﻃﺎﻟﺐ ﹼ‬

‫ﺍﻟﻔﻨﺪﻕ ﻟﻜﻲ ﻳﺴﺎﻓﺮ ﺇﱃ ﻣﴫ‬ ‫ﻋﺮﻓﻪ ﻋﲆ ﺍﳊﺎﺝ ﻋﺒﺪ ﺍﻟﺮﲪﻦ ﺻﺎﺣﺐ ﺍﻟﻔﻨﺪﻕ‪ ،‬ﺍﻟﺬﻱ‬ ‫ﹼ‬ ‫ﻟﻴﺘﺰﻭﺝ‪ ،‬ﹼ‬

‫ﺍﻟﺮﲪﻦ‬ ‫ﻛﺎﻥ ﹼ‬ ‫ﳛﺐ ﺍﳌﴫ ﹼﻳﲔ ﻷﻧﹼﻪ ﺩﺭﺱ ﰲ ﹼ‬ ‫ﻛﻠﻴﺔ ﺍﻟ ﹼﺘﺠﺎﺭﺓ ﰲ ﺟﺎﻣﻌﺔ ﺍﻟﻘﺎﻫﺮﺓ‪ ،‬ﻭﺍﻓﻖ ﺍﳊﺎﺝ ﻋﺒﺪ ﹼ‬ ‫ﻋﲆ ﺃﻥ ﻳﺘﺴ ﹼﻠﻢ ﳏﻤﺪ ﺇﺩﺍﺭﺓ ﺍﻟﻔﻨﺪﻕ ﻣﻦ ﻋﲇ ﺍﻟ ﹼﻨﺠﺎﺭ‪ ،‬ﻋﲆ ﺃﻥ ﻳﻘﻮﻡ ﻋﲇ ﺑﺘﺪﺭﻳﺒﻪ ﳌﺪﺓ ﺃﺳﺒﻮﻋﲔ‪،‬‬ ‫ﺑﻌﺪ ﺍﻧﻘﻀﺎﺀ ﺍﻷﺳﺒﻮﻋﲔ ﻛﺎﻥ ﳏﻤﺪ ﻗﺪ ﺗﻌ ﹼﻠﻢ ﹼ‬ ‫ﻛﻞ ﻣﺎ ﳚﺐ ﻋﲆ ﻣﺪﻳﺮ ﻓﻨﺪﻕ ﺃﻥ ﻳﺘﻘﻨﻪ‪ ،‬ﻭﺍﺳﺘﻄﺎﻉ‬ ‫ﳏﺒﺘﻬﻢ ﻭﺍﺣﱰﺍﻣﻬﻢ‪ ،‬ﻭﺍﺳﺘﻄﺎﻉ ﹰ‬ ‫ﺃﻳﻀﺎ‬ ‫ﺑﺘﻮﺍﺿﻌﻪ ﻭﲢﻔﻴﺰﻩ ﳉﻤﻴﻊ ﺍﻟﻌﺎﻣﻠﲔ ﰲ ﺍﻟﻔﻨﺪﻕ ﺃﻥ ﻳﻜﺴﺐ ﹼ‬ ‫ﺍﻟﺮﲪﻦ ﻣﻦ ﺧﻼﻝ ﺍﻹﺟﺮﺍﺀﺍﺕ ﺍﻟﺘﻲ ﹼﺍﲣﺬﻫﺎ ﻟﺘﻨﻤﻴﺔ ﻣﻮﺍﺭﺩ ﺍﻟﻔﻨﺪﻕ‪،‬‬ ‫ﺃﻥ ﻳﻜﺴﺐ ﺛﻘﺔ ﺍﳊﺎﺝ ﻋﺒﺪ ﹼ‬

‫ﺗﺸﺠﻴﻌﻴﺔ ﺑﺄﺳﻌﺎﺭ ﳐ ﹼﻔﻀﺔ ﰲ ﺍﻷ ﹼﻳﺎﻡ ﺍﻟﺘﻲ ﲥﺒﻂ ﻓﻴﻬﺎ ﻧﺴﺒﺔ ﺇﺷﻐﺎﻝ‬ ‫ﻗﺎﻡ ﺑﻄﺮﺡ ﻋﺮﻭﺽ ﺣﺠﻮﺯﺍﺕ‬ ‫ﹼ‬ ‫ﺍﻟﺪﻳﻨﻴﺔ )ﻛﻴﻮﻡ ﻋﺎﺷﻮﺭﺍﺀ( ﺍﻟﺘﻲ‬ ‫ﺇﺿﺎﻓﻴﺔ ﰲ ﺃ ﹼﻳﺎﻡ ﺍﳌﻨﺎﺳﺒﺎﺕ‬ ‫ﺍﻟﺴﻄﺢ ﻟﻴﻜﻮﻥ ﺇﻗﺎﻣﺔ‬ ‫ﻫﻴﺄ ﹼ‬ ‫ﹼ‬ ‫ﹼ‬ ‫ﺍﻟﻔﻨﺪﻕ‪ ،‬ﹼ‬

‫ﺯﻭﺍﺭ ﺍﻟﻌﺘﺒﺎﺕ ﺍﳌﻘﺪﹼ ﺳﺔ‪ ،‬ﻭﻏﲑﻫﺎ ﺍﻟﻜﺜﲑ ﻣﻦ ﺍﻷﻋﲈﻝ ﺍﻟﺘﻲ ﺣ ﹼﻘﻘﺖ‬ ‫ﺗﺸﻬﺪ ﺇﻗﺒﺎﻝ ﺃﻋﺪﺍﺩ ﻛﺒﲑﺓ ﻣﻦ ﹼ‬ ‫ﻭﺩﺭﺕ ﻋﻠﻴﻪ ﻣﺮﺩﻭ ﹰﺩﺍ ﻣﺎﺩ ‪h‬ﻳﺎ ﻋﺎﻟ ﹰﻴﺎ ﺍﻧﻌﻜﺲ ﺃﺛﺮﻩ ﻋﲆ ﹼ‬ ‫ﻛﻞ ﺍﻟﻌﺎﻣﻠﲔ ﰲ‬ ‫ﺫﺍﺗﻴﺎ‪ ،‬ﹼ‬ ‫ﻟﻠﻔﻨﺪﻕ ﺍﻛﺘﻔﺎ ﹰﺀ ‪h‬‬

‫ﺍﻟﻔﻨﺪﻕ‪.‬‬

‫ﻣﻬﺎﺗﻔﺔ ﺗﺄﺗﻴﻪ ﻣﻦ ﳎﺪﻱ ﳜﱪﻩ ﻓﻴﻬﺎ ﹼ‬ ‫ﺗﻌﺮﻑ‬ ‫ﺃﻥ ﻋﲈﺩ ﻣﺎﺕ‪ ،‬ﻗﺘﻠﻪ ﺯﻭﺝ ﺍﻣﺮﺃﺓ‬ ‫ﹼ‬ ‫ﻋﺮﺍﻗﻴﺔ ﻛﺎﻥ ﻗﺪ ﹼ‬ ‫ﹰ‬ ‫ﺍﳌﺴﻴﺐ‬ ‫ﻋﻠﻴﻬﺎ ﻭﺑﺪﺃ ﻳﻠﺘﻘﻲ ﲠﺎ‪ ،‬ﺯﻭﺟﻬﺎ ﻛﺎﻥ‬ ‫ﺿﺎﺑﻄﺎ ﺑﺎﳉﻴﺶ ﺍﻟﻌﺮﺍﻗﻲ‪ ،‬ﺭﺻﺪﳘﺎ ﻋﲆ ﺟﴪ ﹼ‬

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‫ﹰ‬ ‫ﻟﻴﻼ ﻭﺃﻃﻠﻖ ﺛﻼﺙ ﺭﺻﺎﺻﺎﺕ ﻋﲆ ﺻﺪﺭ ﻭﺑﻄﻦ ﻋﲈﺩ‪ ،‬ﺑﻘﻲ ﻓﱰﺓ ﺑﺎﳌﺴﺘﺸﻔﻰ‪ ،‬ﻭﻗﺒﻞ ﺃﻥ ﻳﻤﻮﺕ‬

‫ﺍﻟﺴﲈﺡ ﻣﻨﻪ‪ ،‬ﻭﺃﻥ ﻳﺪﻓﻦ ﰲ ﻣﴫ‪ ،‬ﺗﻜﻠﻔﺔ ﻧﻘﻞ ﺍﳉﺜﲈﻥ‬ ‫ﺃﻭﴅ ﳎﺪﻱ ﺑﺎﻟﺒﺤﺚ ﻋﻦ ﳏﻤﺪ ﻭﻃﻠﺐ ﹼ‬

‫ﻛﺒﲑﺓ‪ ،‬ﺃ ﹼﻣﻦ ﳎﺪﻱ ﻧﺼﻔﻬﺎ ﻭﺟﺎﺀ ﻳﻄﻠﺐ ﺍﳌﺴﺎﻋﺪﺓ ﺑﺎﻟ ﹼﻨﺼﻒ ﺍﻵﺧﺮ ﻣﻦ ﳏﻤﺪ‪ ،‬ﺍﻟﺬﻱ ﱂ ﳚﺪ ﺑﺪ‪ h‬ﺍ‬ ‫ﺗﻢ ﺷﺤﻦ ﺍﳉﺜﲈﻥ ﹼ‬ ‫ﺑﺎﻟﻄﺎﺋﺮﺓ‪ ،‬ﻭﺇﻗﺎﻣﺔ ﺍﻟﻌﺰﺍﺀ ﺑﻤﺴﺎﻋﺪﺓ‬ ‫ﺍﻟﺮﲪﻦ‪ ،‬ﹼ‬ ‫ﻣﻦ ﻃﻠﺐ ﺍﳌﺴﺎﻋﺪﺓ ﻣﻦ ﺍﳊﺎﺝ ﻋﺒﺪ ﹼ‬ ‫ﺍﻟﺮﲪﻦ ﺍﻟﺬﻱ ﺃﺧﺬ ﻋﲆ ﻋﺎﺗﻘﻪ ﺍﻟﻘﻴﺎﻡ ﹼ‬ ‫ﺑﻜﻞ ﻣﺎ ﻳﻠﺰﻡ‪ ،‬ﺃ ﹼﻣﺎ ﳎﺪﻱ ﻋﻨﺪﻣﺎ ﺳﺄﻟﻪ ﳏﻤﺪ ﻋﻦ‬ ‫ﺍﳊﺎﺝ ﻋﺒﺪ ﹼ‬

‫ﺍﻟﻮﻗﺖ ﺍﻟﺬﻱ ﺳﻴﻌﻮﺩ ﻓﻴﻪ ﺇﱃ ﻣﴫ ﺃﺧﱪﻩ ﺑﺄﻧﹼﻪ ﻭﻋﲈﺩ ﺟﺎﺀﺍ ﺇﱃ ﺍﻟﻌﺮﺍﻕ ﻭﰲ ﹼﻧﻴﺘﻬﲈ ﻋﺪﻡ ﺍﻟﻌﻮﺩﺓ ﺇﱃ‬ ‫ﻭﺗﻢ ﺳﺤﺐ ﺟﻮﺍﺯ ﺳﻔﺮﻩ‪ ،‬ﻭﳛﻤﻞ ﺍﻵﻥ‬ ‫ﺗﺰﻭﺝ ﻣﻦ‬ ‫ﻣﺮﺓ ﺃﺧﺮ￯‪ ،‬ﻭﺃﻧﹼﻪ ‪-‬ﺃﻱ ﳎﺪﻱ‪ -‬ﹼ‬ ‫ﻋﺮﺍﻗﻴﺔ ﹼ‬ ‫ﹼ‬ ‫ﻣﴫ ﹼ‬

‫ﻳﻨﻀﻢ ﻟﺼﻔﻮﻑ ﺍﳉﻴﺶ ﺍﻟﻌﺮﺍﻗﻲ!‬ ‫ﺍﻟﺰﻭﺍﺝ ﻻﺑﺪﹼ ﺃﻥ‬ ‫ﻫﻮ ﹼﻳﺔ ‪ /‬ﺑﻄﺎﻗﺔ‪/‬‬ ‫ﻋﺮﺍﻗﻴﺔ‪ ،‬ﻭﺑﻌﺪ ﺍﻧﺘﻬﺎﺀ ﺷﻬﺮ ﹼ‬ ‫ﹼ‬ ‫ﹼ‬ ‫ﻭﺣﲔ ﺍﺷﺘﺪﹼ ﺃﻭﺍﺭ ﺍﳊﺮﺏ ﻋﲆ ﹼ‬ ‫ﺍﻟﺮﲪﻦ‬ ‫ﺧﻂ ﺍﳉﺒﻬﺔ ﻣﻊ ﺇﻳﺮﺍﻥ‪ ،‬ﻭﺍﺳﺘﺸﻬﺪ ﺃﺣﺪ ﺍﺑﻨﹶﻲ ﺍﳊﺎﺝ ﻋﺒﺪ ﹼ‬

‫ﺍﻟﺮﲪﻦ ﺇﱃ ﹼ‬ ‫ﺍﻟﱰ ﹼﺩﺩ‬ ‫ﺍﻟﺮﲪﻦ ﻭﻗﻔﺔ ﺍﻟﻮﻟﺪ ﻣﻊ ﺍﻟﻮﺍﻟﺪ‪ ،‬ﻭﺩﻋﺎﻩ ﺍﳊﺎﺝ ﻋﺒﺪ ﹼ‬ ‫ﻭﻗﻒ ﳏﻤﺪ ﻣﻊ ﺍﳊﺎﺝ ﻋﺒﺪ ﹼ‬ ‫ﺍﻟﺮﲪﻦ ﹼ‬ ‫ﺍﳉﺎﻣﻌﻴﺔ‬ ‫ﺍﻟﻄﺎﻟﺒﺔ‬ ‫ﹼ‬ ‫ﺗﻌﺮﻑ ﻋﲆ )ﺿﺤﻰ( ﺍﺑﻨﺔ ﺍﳊﺎﺝ ﻋﺒﺪ ﹼ‬ ‫ﻣﺮﺍﺕ ﻋﺪﻳﺪﺓ‪ ،‬ﻭﻫﻨﺎﻙ ﹼ‬ ‫ﻋﲆ ﺑﻴﺘﻪ ﹼ‬

‫ﻛﻠﻴﺔ ﺍﻵﺩﺍﺏ ﻗﺴﻢ ﺍﻟ ﹼﻠﻐﺔ ﺍﻹﻧﻜﻠﻴﺰ ﹼﻳﺔ‪ ،‬ﺍﻟﺘﻲ ﻛﺎﻧﺖ ﺗﺸﻜﻮ ﻣﻦ ﻋﺪﻡ ﺍﺳﺘﻴﻌﺎﺏ ﺍﳌﺤﺎﴐﺍﺕ‪،‬‬ ‫ﰲ ﹼ‬ ‫ﺧﺼﻮﺻﻴﺔ‪ ،‬ﻭﻗﻌﺖ ﺿﺤﻰ ﰲ‬ ‫ﺩﺭﻭﺳﺎ‬ ‫ﺍﻟﺮﲪﻦ ﻣﻦ ﳏﻤﺪ ﻣﺴﺎﻋﺪﲥﺎ ﺑﺈﻋﻄﺎﺋﻬﺎ‬ ‫ﹰ‬ ‫ﹼ‬ ‫ﻓﻄﻠﺐ ﺍﳊﺎﺝ ﻋﺒﺪ ﹼ‬

‫ﺍﳉﺎﻣﻌﻴﺔ‪ ،‬ﻋﺎﺩ ﺇﱃ ﻣﴫ‬ ‫ﺣﺐ ﳏﻤﺪ ﰲ ﺍﻟﻮﻗﺖ ﺍﻟﺬﻱ ﺃﺯﻑ ﻟﻌﻮﺩﺗﻪ ﺇﱃ ﻣﴫ ﻻﺳﺘﺌﻨﺎﻑ ﺩﺭﺍﺳﺘﻪ‬ ‫ﹼ‬ ‫ﹼ‬ ‫ﺍﻟﺮﲪﻦ‪ ،‬ﻭﺑﻮﻋﺪ ﻣﻨﻪ ﻟﻠﺤﺎﺝ ﻋﺒﺪ ﺍﻟﺮﲪﻦ ﺑﺎﻟﻌﻮﺩﺓ ﺇﱃ ﺍﻟﻌﺮﺍﻕ ﰲ‬ ‫ﺑﻤﻜﺎﻓﺄﺓ ﳎﺰﻳﺔ ﻣﻦ ﺍﳊﺎﺝ ﻋﺒﺪ ﹼ‬

‫ﺃﻱ ﻭﺍﺣﺪﺓ ﻣﻨﻬﺎ‪ ،‬ﻷﻧﹼﻪ ﻛﺎﻥ‬ ‫ﺍﻟﺮﺳﺎﺋﻞ‪ ،‬ﱂ ﻳﺮﺩ ﻋﲆ ﹼ‬ ‫ﺍﻟﺼﻴﻒ ﺍﻟﻘﺎﺩﻡ‪ ،‬ﺃﻣﻄﺮﺗﻪ ﺿﺤﻰ ﺑﺎﻟﻜﺜﲑ ﻣﻦ ﹼ‬

‫ﺍﻷﻭﻝ ﺑﺎﳌﻮﺕ‪ ،‬ﻭﺍﻟﺜﹼﺎﲏ‬ ‫ﳜﺸﻰ ﺃﻥ ﻳﻘﻊ ﰲ ﻣﺼﻴﺪﺓ ﹼ‬ ‫ﺍﳊﺐ ﺍﻟﺘﻲ ﻭﻗﻊ ﻓﻴﻬﺎ ﻋﲈﺩ ﻭﳎﺪﻱ‪ ،‬ﻓﻌﻮﻗﺐ ﹼ‬ ‫ﺑﺎﻟﻨﻔﻲ‪ ،‬ﻭﺭﻏﻢ ﺃﻧﹼﻪ ﻭﺍﺟﻪ ﳏﺎﻭﻻﺕ ﻣﻐﺮﻳﺔ ﻣﻦ )ﻛﺮﻳﻤﺔ ﻭﺳﻮﺯﺍﻥ( ﹼ‬ ‫ﻣﻮﻇﻔﺘﺎ ﺍﻻﺳﺘﻘﺒﺎﻝ ﰲ ﺍﻟﻔﻨﺪﻕ‬

‫ﹼ‬ ‫ﻋﺎﻃﻔﻴﺎ‪ ،‬ﺇﻻ ﺃﻧﹼﻪ ﱂ‬ ‫ﻳﺘﺨﻂ ﻣﻌﻬﲈ ﻣﺮﺣﻠﺔ ﺍﻹﻋﺠﺎﺏ‪ ،‬ﻛﲈ ﺃﻧﻪ ﺧﴚ ﺃﻥ ﻳﴘﺀ ﻟﻠﺤﺎﺝ‬ ‫ﻟﻺﻳﻘﺎﻉ ﺑﻪ‬ ‫ﹼ‬

‫ﺍﻟﺮﲪﻦ ﻭﻫﻮ ﺍﻹﻧﺴﺎﻥ ﺍﻟ ﹼﻨﺒﻴﻞ ﺍﻟﺬﻱ ﻋﺎﻣﻠﻪ ﻣﻌﺎﻣﻠﺔ ﺍﻟﻮﺍﻟﺪ ﻟﻮﻟﺪﻩ‪ ،‬ﺧﺎﻑ ﺃﻥ ﹸﻳ ﹼﺘﻬﻢ ﺑﺈﺳﺎﺀﺓ‬ ‫ﻋﺒﺪ ﹼ‬

‫ﺍﻟﺮﲪﻦ ﻭﺩﻋﻮﺓ ﴏﳛﺔ ﻣﻨﻪ ﺑﺘﺬﻛﺮﺓ ﻃﲑﺍﻥ‬ ‫ﺍﻷﻣﺎﻧﺔ‪ ،‬ﻟﻜ ﹼﻨﻪ ﺑﻌﺪ ﻣﻬﺎﺗﻔﺔ ﻭﺩﻭﺩﺓ ﻣﻦ ﺍﳊﺎﺝ ﻋﺒﺪ ﹼ‬ ‫ﺑﻘﻴﺔ ﻋﻤﺮﻩ‬ ‫ﳏﺠﻮﺯﺓ ﺑﺎﺳﻢ ﳏﻤﺪ ﺗﻨﺘﻈﺮ ﻣﻨﻪ ﺗﺄﻛﻴﺪ ﺍﳊﺠﺰ‪ ،‬ﻭﻗﻊ ﺑﲔ ﺑﺮﺍﺛﻦ ﺍﳊﲑﺓ‪ ،‬ﻫﻞ ﻳﻘﴤ ﹼ‬

‫ﻭﺣﻴﺪﹰ ﺍ ﻭﻏﺮﻳ ﹰﺒﺎ ﻋﻦ ﺃﻫﻠﻪ ﻭﺑﻠﺪﻩ؟ ﰲ ﺍﻟﻮﻗﺖ ﺍﻟﺬﻱ ﻛﺎﻧﺖ ﻓﻴﻪ ﺿﺤﻰ ﺗﺴﻜﻦ ﺣﺠﺮﺍﺕ ﻗﻠﺒﻪ؟!‬ ‫ﺍﻟﻌﻘﺪﺓ‪ :‬ﻻ ﺗﻮﺟﺪ‪.‬‬

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‫ﺍﻟ ﹼﻨﻬﺎﻳﺔ‪ :‬ﻣﻔﺘﻮﺣﺔ‪ ...‬ﹼ‬ ‫ﻷﻥ ﺍﳌﴫﻱ ﻣﺎ ﺯﺍﻝ ﻳﺒﺤﺚ ﻋﻦ ﺍﻟﻌﻤﻞ ﺧﺎﺭﺝ ﺑﻠﺪﻩ‪ ،‬ﻭﻣﺎﺯﺍﻝ ﻗﻠﺒﻪ‬

‫ﳛﺒﻪ‪.‬‬ ‫ﳜﻔﻖ ﺑﺎﺣ ﹰﺜﺎ ﻋﻦ ﺍﻻﺳﺘﻘﺮﺍﺭ‪ ،‬ﹼ‬ ‫ﻭﺍﻟﺴﻜﻦ ﺇﱃ ﻗﻠﺐ ﹼ‬ ‫ﻓﺠﺄﺓ ﺳﺄﻟﻪ ﺣﺎﻣﺪ‪:‬‬

‫ﺍﻟﺴﻔﺮ ﻭﺍﻟﻌﻤﻞ ﰲ ﺍﻟﻌﺮﺍﻕ؟!‬ ‫ ﻣﺎﺫﺍ ﹼ‬‫ﻗﺮﺭﺕ ﻳﺎ ﳏﻤﺪ ﰲ ﻣﻮﺿﻮﻉ ﹼ‬ ‫ﻫﺰ ﺭﺃﺳﻪ ﻭﱂ ﳚﺐ‪.‬‬ ‫ﹼ‬ ‫ﻛﺎﻥ ﺣ ‪h‬ﻘﺎ ﻻ ﻳﺰﺍﻝ ﻳﻔﻜﺮ‪...‬‬ ‫ﻭﻛﺎﻧﺖ ﺿﺤﻰ ﺗﺴﻜﻦ ﺣﺠﺮﺍﺕ ﻗﻠﺒﻪ‪.‬‬ ‫<‪VÍ÷^€¢]<^flf÷] -‬‬ ‫ﺍﻷﺳﻠﻮﺏ ‪:Style‬‬ ‫ﹴ‬ ‫ﺍﺳﺘﺨﺪﻡ ﺍﻟﻜﺎﺗﺐ ﺍﻷﺳﻠﻮﺏ ﺍﳌﺒﺎﴍ ﺑﺸﻜﻞ‬ ‫ﴎﺩ ﺳﻬﻞﹴ ﳑﺘﻨﻊ ﻋﲆ ﺍﳌﺘﻠ ﹼﻘﻲ‪ ،‬ﺑﺤﻴﺚ‬

‫ﺍﻟﴪﺩ‪ ،‬ﻳﻮﺍﺯﻱ ﻓﻴﻬﺎ ﺍﻟﻘﺼﺎﺋﺪ‬ ‫ﻳﻌﻢ ﺩﻳﺒﺎﺟﺔ ﺍﻟ ﹼﻨ ﹼ‬ ‫ﹼ‬ ‫ﺺ ﺑﺸﻜﻞ ﻛﺎﻣﻞ‪ ،‬ﻭﺗﻠﻚ ﺻﻔﺔ ﺟﺪﻳﺪﺓ ﺗﻈﻬﺮ ﰲ ﹼ‬ ‫ﹸ‬ ‫ﺍﻟﺸﹼ ﻌﺮﻳﺔ ﺍﻟ ﹼﻨﺰﺍﺭ ﹼﻳﺔ‪ ،‬ﳌﺴﺔ ﻣﻌﴫﻧﺔ ﲢﺴﺐ ﻟﻸﺩﻳﺐ‪.‬‬ ‫ﺍﻟﴪﺩ ‪:Narration‬‬ ‫ﹼ‬ ‫ﻣﺘﻨﻮﻋﺔ‪ ،‬ﻣﻨﻬﺎ ﹼ‬ ‫ﺍﻟﺬﻛﺮﻳﺎﺕ‪،‬‬ ‫ﻋﲆ ﻟﺴﺎﻥ ﺍﻟﺮﺍﻭﻱ ﺍﻟﻌﻠﻴﻢ‪ ،‬ﻣﻊ ﺍﺳﺘﺨﺪﺍﻡ ﺗﻘﻨﻴﺎﺕ ﴎﺩ ﹼﻳﺔ ﹼ‬

‫ﺍﻟﺮﺳﺎﺋﻞ‪.‬‬ ‫ﻭﺍﳊﻮﺍﺭ ﺑﺄﻧﻮﺍﻋﻪ‪ ،‬ﺑﺎﻹﺿﺎﻓﺔ ﺇﱃ ﹼ‬ ‫ﺍﳊﻮﺍﺭ ‪:Dialogue‬‬

‫ﺍﻟﻌﺎﻣﻴﺔ ﺍﳌﴫﻳﺔ ﻭﺍﻟﻌﺮﺍﻗﻴﺔ‪ ،‬ﻭﻫﺬﺍ ﻣﺄﺧﺬ ﻧﻘﺪﻱ ﻋﻠﻴﻪ‪ ،‬ﻭﻗﺪ ﺃﲨﻌﺖ ﹼ‬ ‫ﺟﻞ‬ ‫ﻛﺎﻥ ﺑﺎﻟ ﹼﻠﻬﺠﺔ‬ ‫ﹼ‬ ‫ﺁﺭﺍﺀ ﺍﻟ ﹼﻨﻘﺎﺩ ﻭﺍﻟﺪﹼ ﺍﺭﺳﲔ ﻋﲆ ﴐﻭﺭﺓ ﺍﺳﺘﻌﲈﻝ ﺍﻟ ﹼﻠﻐﺔ‬ ‫ﻷﳖﺎ ﺍﻟ ﹼﻠﻐﺔ‬ ‫ﺍﻟﻌﺮﺑﻴﺔ ﺍﻟﻔﺼﺤﻰ ﰲ ﺍﳊﻮﺍﺭ‪ ،‬ﹼ‬ ‫ﹼ‬

‫ﺍﻟﺮﻏﻢ ﻣﻦ ﻭﺟﻮﺩ ﻗ ﹼﻠﺔ ﻣﻨﻬﻢ ﻳﺪﻋﻮﻥ ﺇﱃ‬ ‫ﺍﻟﻮﺣﻴﺪﺓ ﺍﻟﺘﻲ ﻳﻔﻬﻤﻬﺎ ﺍﳌﺜ ﹼﻘﻔﻮﻥ ﺍﻟﻌﺮﺏ ﻛﺎ ﹼﻓﺔ‪ ،‬ﻋﲆ ﹼ‬ ‫ﺨﺼﻴﺔ ﻣﻦ ﻭﺍﻗﻌﻬﺎ ﺍﳊﻴﺎﰐ‪ ،‬ﻭﺭ ﹼﺩﻧﺎ ﻋﲆ ﺫﻟﻚ ﹼ‬ ‫ﺍﻟﻌﺎﻣﻴﺔ ﺑﺪﻋﻮ￯ ﺗﻘﺮﻳﺐ ﺍﻟﺸﹼ‬ ‫ﺃﻥ ﺍﻟ ﹼﻠﻬﺠﺎﺕ‬ ‫ﺍﺳﺘﻌﲈﻝ‬ ‫ﹼ‬ ‫ﹼ‬ ‫ﳏﻠﻴﺔ(‪ ،‬ﻭﲡﻌﻠﻪ‬ ‫ﺍﳌﺤﻠﻴﺔ ﺗﻘ ﹼﻠﻞ ﻣﻦ ﲨﺎﻫﲑﻳﺔ ﺍﻟ ﹼﻨ ﹼ‬ ‫ﹼ‬ ‫ﺺ ﺍﻷﺩﰊ‪) ،‬ﺍﻟ ﹼﻠﻬﺠﺔ ﻟﻴﺴﺖ ﻟﻐﺔ ﻛﺎﻣﻠﺔ ﻟﻜﻮﳖﺎ ﹼ‬

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‫ﺍﻟﺼﻌﻮﺑﺔ ﺍﺟﺘﻴﺎﺯﻫﺎ ﻟﺸﺪﹼ ﺓ‬ ‫ﺍﻟﻌﺮﺑﻴﺔ‪.‬‬ ‫ﺧﺼﻮﺻﻴﺔ ﺑﻌﺾ ﺍﻟ ﹼﻠﻬﺠﺎﺕ‬ ‫ﹰ‬ ‫ﻣﻨﺤﴫﺍ ﰲ ﺑﻴﺌﺔ ﻭﺍﺣﺪﺓ‪ ،‬ﻣﻦ ﹼ‬ ‫ﹼ‬ ‫ﹼ‬ ‫ﹼ‬ ‫ﺍﻟﺮﻭﺍﻳﺔ‪ ،‬ﻟﻮ‬ ‫ﻭﻷﻥ ﺍﻟ ﹼﻠﻐﺔ ﺍﻟﻔﺼﺤﻰ ﻫﻲ ﺍﻟ ﹼﻠﻐﺔ ﺍﳌﻔﻬﻮﻣﺔ ﺑﲔ ﺍﻟﻘﻄﺮﻳﻦ ﺍﳌﺸﱰﻛﲔ ﰲ ﺩﻳﺒﺎﺟﺔ ﹼ‬ ‫ﹰ‬ ‫ﻟﺘﻐﲑﺕ ﺍﳊﻮﺍﺭﺍﺕ‬ ‫ﺷﻜﻼ ﻭﻟﻐﺔ‪ ،‬ﻟﺬﻟﻚ ﺗﺮﺗﻘﻲ ﺍﳊﻮﺍﺭﺍﺕ‬ ‫ﺃﺑﺪﻟﻨﺎ ﺍﻟﻌﺮﺍﻕ ﺑﺎﳌﻐﺮﺏ ﺃﻭ ﺍﳉﺰﺍﺋﺮ ﹼ‬

‫ﺑﺎﻟﺸﹼ‬ ‫ﺨﺼﻴﺔ ﻧﺤﻮ ﺍﻟﻔﺼﺎﺣﺔ ﺍﻟ ﹼﻠﻐﻮﻳﺔ‪ ،‬ﻛﲈ ﻳﺮﺗﻘﻲ ﺍﻹﻧﺴﺎﻥ ﺍﻟﺒﺴﻴﻂ ﺑﺤﻔﻆ ﺍﻟﻘﺮﺁﻥ ﺍﻟﻜﺮﻳﻢ‬ ‫ﹼ‬ ‫ﺑﺎﻟﻌﺎﻣﻴﺔ‪.‬‬ ‫ﺑﺎﻟﻔﺼﺤﻰ‪ ،‬ﻭﻟﻴﺲ‬ ‫ﹼ‬ ‫ﺗﺮﺍﻭﺣﺖ ﺍﳊﻮﺍﺭﺍﺕ ﺑﲔ ﺍﻟﻘﺼﲑﺓ ﺍﻟﺘﻲ ﺗﻌﺘﻤﺪ ﻋﲆ ﺍﻟﺴﺆﺍﻝ ﻭﺟﻮﺍﺑﻪ‪ ،‬ﻭﺍﻟﻄﻮﻳﻠﺔ ﺍﻟﺘﻲ‬ ‫ﺍﻟﴪﺩ ﹼ‬ ‫ﺍﻟﻄﻮﻳﻞ ﺍﻟ ﹼﺘﻘﺮﻳﺮﻱ‪ ،‬ﻓﻴﲈ ﻟﻮ ﺃﻭﺭﺩﻫﺎ‬ ‫ﻳﻀﻤﻨﻬﺎ ﺍﻟﻜﺎﺗﺐ‬ ‫ﹰ‬ ‫ﹼ‬ ‫ﻧﺼﻮﺻﺎ ﻣﻌﻠﻮﻣﺎﺗﻴﺔ‪ ،‬ﻟﻴﻜﴪ ﺭﺗﺎﺑﺔ ﹼ‬

‫ﴎ ﹰﺩﺍ‪.‬‬

‫ﺺ ‪:Moral Background‬‬ ‫ﺍﳋﻠﻔﻴﺔ‬ ‫ﺍﻷﺧﻼﻗﻴﺔ ﻟﻠ ﹼﻨ ﹼ‬ ‫ﹼ‬ ‫ﹼ‬ ‫ﻛﺎﻥ ﺍﻟﻜﺎﺗﺐ ﺷﺪﻳﺪ ﺍﳊﺮﺹ ﻋﲆ ﺇﻇﻬﺎﺭ ﺍﳉﺎﻧﺐ ﺍﻷﺧﻼﻗﻲ ﰲ ﻋﻤﻠﻪ‪ ،‬ﻭﻋﲆ ﹼ‬ ‫ﻛﻞ‬ ‫ﻴﺎﺳﻴﺔ ﻭﺍﻻﻗﺘﺼﺎﺩ ﹼﻳﺔ‪ ،‬ﻭﰲ ﹼ‬ ‫ﻛﻞ‬ ‫ﺍﳌﺴﺘﻮﻳﺎﺕ‪،‬‬ ‫ﻌﺎﻣﻠﻴﺔ ﻭﺣﺘﻰ ﹼ‬ ‫ﺍﻟﺴ ﹼ‬ ‫ﺍﻻﺟﺘﲈﻋﻴﺔ ﻭﺍﻟﻌﻘﺎﺋﺪ ﹼﻳﺔ ﻭﺍﻟ ﹼﺘ ﹼ‬ ‫ﹼ‬ ‫ﺍﻟﺮﻭﺍﻳﺎﺕ ﺍﻟﺘﻲ‬ ‫ﺍﳌﻮﺍﻗﻒ‪ ،‬ﻭﻗﺪﹼ ﻡ‬ ‫ﹰ‬ ‫ﺃﻧﻤﻮﺫﺟﺎ ﻣﴩﹼ ﹰﻓﺎ ﻋﻦ ﺍﻟﺸﹼ ﺒﺎﺏ ﺍﳌﴫﻱ‪ ،‬ﺧﻼ ﹰﻓﺎ ﻟﻠﻤﺌﺎﺕ ﻣﻦ ﹼ‬ ‫ﻳﻘﺪﹼ ﻡ ﻛ ﹼﺘﺎﲠﺎ ﺍﳉﺎﻧﺐ ﺍﳌﺴﻒ ﻭﺍﳌﴘﺀ ﻟﺴﻤﻌﺔ ﳎﺘﻤﻌﺎﲥﻢ‪ ،‬ﻭﻻ ﺃﺩﺭﻱ ﳌﺎﺫﺍ ﻳﻔﻌﻠﻮﻥ ﺫﻟﻚ‪،‬‬

‫ﺍﻟﻮﺍﻗﻌﻴﺔ‪ ،‬ﺭﻏﻢ ﺃﻧﹼﻪ ﻛﺘﺐ ﻋﻦ ﻗﺎﻉ ﺍﳌﺠﺘﻤﻊ ﺍﳌﴫﻱ‪ ،‬ﻟﻜ ﹼﻨﻪ ﱂ‬ ‫ﻓﻨﺠﻴﺐ ﳏﻔﻮﻅ‪ ،‬ﻭﻫﻮ ﻋﻤﻼﻕ‬ ‫ﹼ‬

‫ﺍﻷﺩﺑﻴﺔ‬ ‫ﺍﻟﻌﺎﳌﻴﺔ‪،‬‬ ‫ﻳﺴﺊ ﳌﺠﺘﻤﻌﻪ‪ ،‬ﺑﻞ ﺃﻧﺼﻒ ﺍﻟﻔﻘﺮ ﻭﺍﳌﺴﻜﻨﺔ‪ ،‬ﻭﱂ ﳜﺮﻕ ﺃﺑﺪﹰ ﺍ ﻣﻨﻈﻮﻣﺔ ﺍﻷﺧﻼﻕ‬ ‫ﹼ‬ ‫ﹼ‬ ‫ﺧﺮﻭﺟﺎ‬ ‫ﺣﺘﻰ ﻟﻮ ﺟﻌﻠﻨﺎ ﻧﺘﻌﺎﻃﻒ ﻣﻊ ﻟﺺ ﰲ ﺭﻭﺍﻳﺔ )ﺍﻟﻠﺺ ﻭﺍﻟﻜﻼﺏ( ﻟﻜﻨﻪ ﱂ ﻳﴩﹼ ﻉ ﻟﻪ‬ ‫ﹰ‬ ‫ﺗﻘﺮ ﻋﻘﺎﲠﺎ ﻣﺴﺒ ﹰﻘﺎ‪،‬‬ ‫ﻣﻦ ﻋﻘﻮﺑﺔ ﺣﻜﻢ ﻗﻀﺎﺋﻲ‪ ،‬ﺣﺴﺐ ﺍﳌﺒﺪﺃ ﺍﻷﺧﻼﻗﻲ ﺍﻟﻌﺎﳌﻲ ﺍﳉﺮﻳﻤﺔ ﹼ‬ ‫ﻓﺎﻟﺬﺭﺍﺋﻌﻴﺔ ﺗﺘﺒ ﹼﻨﻰ ﻣﺒﺪﺃ ﺍﻟ ﹼﺘﻌﻮﻳﺾ ﺍﻷﺧﻼﻗﻲ ‪ .doctrine of compensation‬ﻭﺃﺩﻳﺒﻨﺎ ﺍﺧﺘﺎﺭ‬ ‫ﹼ‬ ‫ﺃﻧﻤﻮﺫﺟﺎ ﻧﺎﻃ ﹰﻘﺎ ﻟﻠﺸﹼ ﺒﺎﺏ ﺍﳌﴫﻱ ﺍﳋﻠﻮﻕ ﺍﳌﺘﺪ ﹼﻳﻦ‪ ،‬ﺍﻟﻌﺼﺎﻣﻲ‪ ،‬ﻋﻔﻴﻒ ﺍﻟ ﹼﻨﻔﺲ‪،‬‬ ‫ﺑﻄﻞ ﺍﻟﺮﻭﺍﻳﺔ‬ ‫ﹰ‬

‫ﻳﻔﺮﻁ ﺑﺤﻘﻮﻗﻪ‪ ،‬ﺍﳌﺨﻠﺺ‪ ،‬ﺍﻷﻣﲔ‪ ،‬ﻭﻫﻮ ﻧﻤﻮﺫﺝ‬ ‫ﺍﳊﺮﻳﺺ ﻋﲆ ﺇﺩﺍﺀ ﻭﺍﺟﺒﺎﺗﻪ‪ ،‬ﻣﻦ ﺩﻭﻥ ﺃﻥ ﹼ‬ ‫ﹰ‬ ‫ﻧﻤﻮﺫﺟﺎ ﹼ‬ ‫ﺃﻗﻞ‬ ‫ﺧﻴﺎﻻ‪ ،‬ﻭﻭﺿﻊ ﺑﻤﻘﺎﺑﻠﻪ‬ ‫ﻧﻀﺠﺎ )ﻋﲈﺩ ﻭﳎﺪﻱ( ﻟﻴﻮﺍﺯﻥ ﻛ ﹼﻔﺘﻲ‬ ‫ﻣﻮﺟﻮﺩ‪ ،‬ﻟﻴﺲ‬ ‫ﹰ‬ ‫ﹰ‬ ‫ﺍﳌﻴﺰﺍﻥ‪ ،‬ﻭﺍﺣﺪ ﻣﻘﺎﺑﻞ ﺍﺛﻨﲔ‪ ،‬ﻭﺍﻟﻐﻠﺒﺔ ﻟﻠﻮﺍﺣﺪ‪ ،‬ﻭﺿﻌﻬﻢ ﺍﻟﻜﺎﺗﺐ ﰲ ﳎﺘﻤﻊ ﻏﺮﻳﺐ ﻋﻨﻬﻢ‪،‬‬

‫ﳏﺮﻣﺔ ﻣﻊ ﺍﻣﺮﺃﺓ‬ ‫ﻣﺘﺰﻭﺟﺔ ﻓﻨﺎﻝ ﺟﺰﺍﺀﻩ‪ ،‬ﻟﻘﻲ ﺣﺘﻔﻪ‬ ‫ﹼ‬ ‫ﻭﺭﺻﺪ ﺣﺮﻛﺘﻬﻢ‪ ،‬ﻋﲈﺩ ﻭﻗﻊ ﰲ ﻋﻼﻗﺔ ﹼ‬ ‫ﻋﲆ ﻳﺪ ﺯﻭﺟﻬﺎ‪ ،‬ﳎﺪﻱ ﹼ‬ ‫ﺗﻨﻜﺮ ﻟﻮﻃﻨﻪ ﺍﻷﻡ‪ ،‬ﻏﺎﺩﺭﻩ ﻧﺎﻭ ﹰﻳﺎ ﻋﺪﻡ ﺍﻟﻌﻮﺩﺓ ﺇﻟﻴﻪ‪ ،‬ﻓﻜﺎﻥ ﺟﺰﺍﺀﻩ ﺍﻟ ﹼﻨﻔﻲ‬

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‫ﺍﻷﺧﻼﻗﻴﺔ‬ ‫ﻭﻓﻘﺪﺍﻥ ﻫﻮ ﹼﻳﺘﻪ ﺍﳌﴫ ﹼﻳﺔ‪ ،‬ﻭﺗﻠﻚ ﳖﺎﻳﺎﺕ ﴎﺩ ﹼﻳﺔ ﺗﻮﺍﺯﻱ ﺍﻟ ﹼﻨﻬﺎﻳﺎﺕ‬ ‫ﺍﻟﻄﺒﻴﻌﻴﺔ ﻟﻠﻤﺒﺪﺃ‬ ‫ﹼ‬ ‫ﹼ‬ ‫ﺍﳌﺬﻛﻮﺭ ﺁﻧ ﹰﻔﺎ‪....‬‬ ‫ﻳﺘﻌﺮﺽ ﻓﻴﻬﺎ‬ ‫ﺗﻄﺮﻕ ﺍﻟﻜﺎﺗﺐ ﻟﻠﻌﺪﻳﺪ ﻣﻦ ﺍﻟﻘﻀﺎﻳﺎ ﹼ‬ ‫ﺍﳊﺴﺎﺳﺔ‪ ،‬ﻣﻨﻬﺎ ﺍﻟﻌﻘﺎﺋﺪ ﹼﻳﺔ‪ ،‬ﱂ ﹼ‬ ‫ﻟﻘﺪ ﹼ‬ ‫ﻷﻱ ﺩﻳﺎﻧﺔ ﺃﻭ ﻃﺎﺋﻔﺔ‪ ،‬ﺭﻏﻢ ﺃﻧﻪ ﻗﺪ ﻋﺮﺽ ﻟﺒﻌﺾ ﺍﻟﻘﺼﺺ ﺍﻟﺘﻲ ﹼ‬ ‫ﺗﺘﻬﻜﻢ ﻓﻴﻬﺎ ﻃﺎﺋﻔﺔ ﻋﲆ‬ ‫ﹼ‬ ‫ﻣﺘﺠﺴﺪﹰ ﺍ ﺑﻤﻮﻗﻒ ﺍﻟﺒﻄﻞ‬ ‫ﺃﺧﺮ￯‪ ،‬ﺃﻭ ﺗ ﹼﺘﻬﻢ ﻓﻴﻬﺎ ﲨﺎﻋﺔ ﺍﻷﺧﺮ￯‪ ،‬ﹼﺇﻻ ﺃﻧﻪ ﺃﻭﺭﺩ ﻣﻮﻗﻔﻪ ﺍﳊﻘﻴﻘﻲ‬ ‫ﹼ‬ ‫ﳏﻤﺪ‪:‬‬

‫ﺍﻟﺴ ﹼﻨﺔ‪ ،‬ﻭﱂ ﺗﻜﻦ ﻋﻨﺪﻩ ﺃﺩﻧﻰ ﻣﺸﻜﻠﺔ ﻣﻊ‬ ‫ﻛﺎﻥ ﳛﺮﺹ ﻋﲆ ﺻﻼﺓ ﺍﳉﻤﻌﺔ ﰲ ﺟﺎﻣﻊ ﺃﻫﻞ ﹼ‬ ‫ﻣﺬﻫﺐ ﺃﻫﻞ ﺍﻟﺸﹼ ﻴﻌﺔ‪ ،‬ﻭﱂ ﻳﺸﻐﻞ ﺑﺎﻟﻪ ﺃﻭ ﻋﻘﻠﻪ ﺃﺑﺪﹰ ﺍ ﺑﻤﺜﻞ ﻫﺬﻩ ﺍﻻﺧﺘﻼﻓﺎﺕ ﹼ‬ ‫ﺎﺋﻔﻴﺔ‪ ،‬ﻭﻛﺎﻥ ﻳﺮ ﹼﺩ‬ ‫ﺍﻟﻄ ﹼ‬

‫ﺩﻭ ﹰﻣﺎ ﻣﻦ ﻳﺴﺄﻟﻪ ﻋﻦ ﺭﺃﻳﻪ ﰲ ﻣﺬﻫﺐ ﺍﻟﺸﹼ ﻴﻌﺔ‪ ،‬ﻭﻛﺎﻥ ﺭ ﹼﺩﻩ‬ ‫ﺟﺎﻫﺰﺍ ﻭﻣﻨﺬ ﺳﻨﻮﺍﺕ ﻛﺜﲑﺓ ﻣﻀﺖ‪:‬‬ ‫ﹰ‬

‫ﹶ‬ ‫ ﺇﺫﺍ ﻛﺎﻥ ﻗﺪ ﻗﺒﹺﻞ ﺃﻥ‬‫ﻳﻌﻴﺶ ﰲ ﻣﴫ ﺑﺠﻮﺍﺭ ﺟﺎﺭﻩ ﺍﳌﺴﻴﺤﻲ ﰲ ﺳﻼﻡ ﺗﺎﻡ‪ ،‬ﻭﻫﻮ ﳜﺘﻠﻒ‬

‫ﺍﻟﺴ ﹼﻨﻲ ﻣﻊ ﺟﺎﺭﻩ ﺍﳌﺴﻠﻢ ﺍﻟﺸﹼ ﻴﻌﻲ‬ ‫ﻣﻌﻪ ﻓﻴﻪ ‪h‬‬ ‫ﻛﻠﻴﺎ ﰲ ﺍﻟﻌﻘﻴﺪﺓ‪ ،‬ﻓﻤﻦ ﺑﺎﺏ ﺃﻭﱃ ﺃﻥ ﻳﻌﻴﺶ ﺍﳌﺴﻠﻢ ﹼ‬

‫ﺍﻟﺬﻱ ﳜﺘﻠﻒ ﻣﻌﻪ ﰲ ﺑﻌﺾ ﺍﻟ ﹼﺘﻔﺎﺻﻴﻞ ﺍﻟﺒﺴﻴﻄﺔ‪ ،‬ﻭﺍﷲ ﻭﺣﺪﻩ ﻫﻮ ﻣﻦ ﻳﻤﻠﻚ ﺣﺴﺎﺏ ﺍﻟﺒﴩ‬ ‫ﲨﻴﻌﺎ ﻓﺎﻟﺪﹼ ﻳﻦ ﷲ ﻭﺍﻟﻮﻃﻦ ﻟﻠﺠﻤﻴﻊ‪.‬‬ ‫ﹰ‬

‫ﻭﻫﺬﺍ ﻧﻮﻉ ﻣﻦ ﺍﻟ ﹼﺘﻌ ﹼﻘﻞ ﺍﻹﻧﺴﺎﲏ ﺍﻟﺬﻱ ﺍﻟﺘﺰﻡ ﺑﻪ ﺍﻷﺩﻳﺐ‪.‬‬ ‫ﺃﺩﺍﻥ ﺍﳊﺮﺏ ﺍﻟﺘﻲ ﺗﻘﺘﻞ ﺷﺒﺎﺏ ﺍﻟﻌﺮﺍﻕ ﻋﲆ ﺍﺧﺘﻼﻑ ﺍﻧﺘﲈﺀﺍﲥﻢ ﻭﻣﺬﺍﻫﺒﻬﻢ‪ ،‬ﻋﻨﺪﻣﺎ ﻋﺎﺩ‬ ‫ﳏﻤﺪ ﺇﱃ ﻣﴫ‪ ،‬ﻭﻛﺈﺟﺮﺍﺀ ﺃﻣﻨﻲ‪ ،‬ﺍﺳﺘﺪﻋﺎﻩ ﺃﻣﻦ ﺍﻟﺪﻭﻟﺔ ﻟﻠ ﹼﺘﺤﻘﻴﻖ ﻣﻌﻪ ﻭﺳﺆﺍﻟﻪ ﹼ‬ ‫ﻋﲈ ﺇﺫﺍ ﺣﺎﻭﻝ‬

‫ﺍﻟﻌﺮﺍﻗﻴﲔ ﺃﻭ ﺍﳌﴫ ﹼﻳﲔ ﺩﻋﻮﺗﻪ ﺃﻭ ﺩﻋﻮﺓ ﺃﺣﺪ ﻳﻌﺮﻓﻪ ﻟﻼﻧﻀﲈﻡ ﺇﱃ ﺣﺰﺏ ﺍﻟﺒﻌﺚ ﺍﻟﻌﺮﺍﻗﻲ‪،‬‬ ‫ﺃﺣﺪ‬ ‫ﹼ‬

‫ﻓﺄﺟﺎﺑﻪ ﺑﺎﻟ ﹼﻨﻔﻲ‪ ،‬ﻭﺃﺭﺩﻑ‪:‬‬

‫ ﺍﻟ ﹼﻨﺎﺱ ﰲ ﺍﻟﻌﺮﺍﻕ ﻛ ﹼﻠﻬﺎ ﻣﺸﻐﻮﻟﺔ ﺑﺎﳊﺮﺏ‪ ،‬ﹼ‬‫ﻳﻤﺮ ﻳﻮﻡ‬ ‫ﻛﻞ ﺍﻟﺸﹼ ﺒﺎﺏ ﺍﻟﻌﺮﺍﻗﻲ ﹼ‬ ‫ﺗﻢ ﲡﻨﻴﺪﻩ‪ ،‬ﻭﻻ ﹼ‬ ‫ﺩﻭﻥ ﺩﻓﻦ ﺃﺣﺪ ﺍﻟﺸﹼ ﻬﺪﺍﺀ‪ ،‬ﺍﻟ ﹼﻨﺎﺱ ﺣﺰﻳﻨﺔ ﺟﺪ‪ h‬ﺍ ﹼ‬ ‫ﻭﻛﻞ ﺑﻴﺖ ﻋﺮﺍﻗﻲ ﻋ ﱞﻠﻖ ﻳﺎﻓﻄﺔ ﺳﻮﺩﺍﺀ ﻋﲆ‬

‫ﳞﺘﻢ ﺑﺎﳌﴫ ﹼﻳﲔ‪ ،‬ﺍﻟﻌﺮﺍﻗﻴﻮﻥ ﻛ ﹼﻠﻬﻢ‬ ‫ﻭﺍﺟﻬﺔ ﺍﻟﺒﻴﺖ ﺑﺎﺳﻢ ﺍﺑﻨﻬﻢ ﺍﻟﺸﹼ ﻬﻴﺪ‪ ،‬ﻻ ﻳﻮﺟﺪ ﺃﺣﺪ ﹼ‬

‫ﻣﺸﻐﻮﻟﻮﻥ ﺑﺎﳊﺮﺏ‪.‬‬

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‫‪V›^j§]<ª‬‬ ‫ﻫﺬﺍ ﺻﻴﺪﻱ ﺃﻋﺮﺿﻪ‪ ،‬ﻭﻻ ﺃﺯﻋﻢ ﺃﻧﻪ ﻭﺍﻓﺮ‪ ،‬ﻭﻟﻜ ﹼﻨﻲ ﺃﺣﺴﺒﻪ ﻓﺮﻳﺪ‪ ،‬ﻓﺮﻉ ﺟﺪﻳﺪ ﻣﻦ ﺃﺩﺏ‬ ‫ﺍﻟﺮﺣﻠﺔ‪ ،‬ﺳﻤﺢ ﱄ ﺍﳌﻨﻬﺞ ﹼ‬ ‫ﺍﻟﺴﻔﺮ‪ .‬ﹼ‬ ‫ﹸ‬ ‫ﻛﻞ‬ ‫ﺃﺑﲔ ﻫﻮ ﹼﻳﺘﻪ‬ ‫ﺍﻟﺬﺭﺍﺋﻌﻲ ﺑﺄﻥ ﹼ‬ ‫ﻭﺃﻃﻠﻖ ﻋﻠﻴﻪ ﻣﺼﻄﻠﺢ‪ :‬ﺃﺩﺏ ﹼ‬ ‫ﹼ‬ ‫ﺍﻟﺸﹼ ﻜﺮ ﻭﺍﻟ ﹼﺘﻘﺪﻳﺮ ﻟﻸﺩﻳﺐ ﺍﻟﻜﺒﲑ ﺧﻠﻴﻞ ﺍﳉﻴﺰﺍﻭﻱ‪ ،‬ﻭﻧﺒﺎﺭﻙ ﻟﻪ ﻓﻮﺯﻩ ﺑﺠﺎﺋﺰﺓ ﺇﺣﺴﺎﻥ ﻋﺒﺪ‬ ‫ﺍﻟﺮﻭﺍﺋﻲ ﺍﳉﺪﻳﺪ‪ ،‬ﻭﺍﻟﺬﻱ‬ ‫ﺍﻟﻘﺪﻭﺱ ﻟﻠﻌﺎﻡ ‪ -٢٠١٩‬ﻭﻫﻮ ﻳﺴﺘﺤ ﹼﻘﻬﺎ ﺑﺠﺪﺍﺭﺓ‪ -‬ﻋﻦ ﻫﺬﺍ ﺍﻟﻌﻤﻞ ﹼ‬

‫ﺫﺭﺍﺋﻌﻴﺎ ﺟﺪﻳﺪﹰ ﺍ‪ ،‬ﻳﻀﺎﻑ ﺇﱃ ﻏﲑﻩ‪ ،‬ﺑﲈ‬ ‫ﺍﻟﺮﺣﻠﺔ‪.‬‬ ‫ﻓﺘﺤﺎ‬ ‫ﺃﺗﺎﺡ ﻟﻨﺎ ﺃﻥ ﻧﻔﺘﺢ ﹰ‬ ‫ﹼ‬ ‫‪h‬‬ ‫ﳜﺘﺺ ﺑﺄﺩﺏ ﹼ‬

‫‪١١٥‬‬

ÌÈÊ]Ü∆ÁµÇ÷]<Ì◊uÜ÷]<hÅ_ DÓœj◊π]E<h^j“ ÌÈäfl¢]<ÌÈ”ËÜ⁄˘]<ÌËÖÁä÷]<Ìfi^”◊÷ Ö]ܬ<^ÊÊ ^qÉÁ¥_ ⁄

‫‪P‬‬ ‫_‪<ÌÈÊ]Ü∆ÁµÇ÷]<Ì◊uÜ÷]<hÅ‬‬ ‫‪DÓœj◊π]E<h<·Áfl√π]<Îá]Áπ]<ìfl÷]<ª<Ì◊uÜ÷]<hÅ_<ÌÈÊ]Ü∆ÁµÅ‬‬ ‫÷◊”^‪KÖ]ܬ<‹È‚]Üe]<^ÊÊ<K<Ìfi‬‬ ‫‪<ÌÈ√Ò]ÖÑ÷]<ÌËıÜ÷]<ª<’Üvjπ]<ÔÁjä€◊÷<^œ⁄ fõ<ÌÈÊ]Ü∆ÁµÅ<Ìâ]ÖÅ‬‬ ‫‪ÍȨ<Ç÷^}4f¬<JÅ<ÌÈ√Ò]ÖÑ÷]<ÏÇŒ^fl÷]<^„⁄Çœi‬‬

‫‪<VÌ⁄Çœ⁄<G‬‬ ‫ﻭﳘﺎ‪:‬‬

‫ﺗﻨﻘﺴﻢ ﺍﻟﻨﺼﻮﺹ ﺍﳌﻜﺘﻮﺑﺔ ﺑﺤﺴﺐ ﺍﻷﺳﻠﻮﺏ ﺍﻟﺬﻱ ﺗﻜﺘﺐ ﺑﻪ ﺇﱃ ﻗﺴﻤﲔ ﺃﺳﺎﺳﻴﲔ‪،‬‬ ‫ﺍﻷﺩﺏ ‪ ،fiction‬ﻭﺍﻟﻼ ﺃﺩﺏ ‪ non fiction‬ﺃﻭ ﺍﻷﺩﺏ ﺍﻹﺧﺒﺎﺭﻱ )ﺍﻟﺘﻘﺮﻳﺮﻱ‬

‫ﺍﻟﻌﻠﻤﻲ(‪.‬‬

‫ﻭﻳﻨﻘﺴﻢ ﺍﻷﺩﺏ ‪ fiction‬ﺇﱃ‪:‬‬ ‫‪ -١‬ﺍﻟﺸﻌﺮ‬

‫‪ -٢‬ﺍﻟﴪﺩ‬

‫ﻭﻳﻨﻘﺴﻢ ﺍﻷﺩﺏ ﺇﱃ‪ :‬ﺷﻌﺮ ﻭﴎﺩ‬ ‫ﻭﻳﻨﻘﺴﻢ ﺍﻟﴪﺩ ﺇﱃ ﺍﻷﺟﻨﺎﺱ ﺍﻟﴪﺩﻳﺔ ﺍﻟﺘﺎﻟﻴﺔ ﺍﻟﺘﺎﻟﻴﺔ‪:‬‬ ‫ ﺍﻟﺮﻭﺍﻳﺔ‬‫ ﺍﻟﻘﺼﺔ ﺍﻟﻘﺼﲑﺓ‬‫ ﺍﻟﻘﺼﺔ ﺍﳌﻜﺜﻔﺔ‬‫‪ -‬ﺍﳌﻘﺎﻣﺔ‬

‫‪١١٩‬‬

‫ ﺍﳌﻘﺎﻟﺔ‬‫ ﺍﳌﴪﺣﻴﺔ‬‫ ﺍﳋﺎﻃﺮﺓ‬‫ ﺍﻟﺮﺳﺎﻟﺔ‬‫ ﺍﻟﻘﺺ ﺍﳌﻘﺎﱄ‬‫ ﺍﳌﻘﻄﻮﻋﺔ ﺍﻟﴪﺩﻳﺔ‬‫ ﺍﳊﻮﺍﺭﻳﺔ ﺍﻟﴪﺩﻳﺔ‬‫ ﺃﺩﺏ ﺍﻟﺮﺣﻠﺔ‬‫ﻭﻳﻨﻘﺴﻢ ﺃﺩﺏ ﺍﻟﺮﺣﻠﺔ ﺇﱃ ﺟﻨﺲ ﺃﺩﰊ ﺭﻭﺍﺋﻲ )ﳛﺘﻮﻱ ﻋﲆ ﺑﻨﺎﺀ ﻓﻨﻲ(‪ ،‬ﻭﺇﱃ ﻣﺸﺎﻫﺪﺍﺕ‬

‫ﺧﺎﺭﺟﺎ ﻋﻦ ﺍﻟﴪﺩ ﺍﻷﺩﰊ(‪.‬‬ ‫ﺩﻳﻤﻐﺮﺍﻓﻴﺔ )ﻋﻨﺪﻣﺎ ﻳﻜﻮﻥ‬ ‫ﹰ‬

‫‪<V^fl∆c‬‬ ‫ﻧﻌﻨﻲ ﺑﺎﻟﺪﻳﻤﻮﻏﺮﻓﻴﺎ ﺧﺮﻭﺝ ﺃﺩﺏ ﺍﻟﺮﺣﻠﺔ ﻣﻦ ﺧﻴﻤﺔ ﺍﻟﻌﻤﻖ ﺍﻷﺩﰊ ﺍﳋﻴﺎﱄ ﻭﺍﻟﺮﻣﺰﻱ‬

‫ﺑﺎﲡﺎﻩ ﺍﻹﺧﺒﺎﺭ‪ ،‬ﻭﳜﺘﺺ ﲠﺬﻩ ﺍﳊﺎﻟﺔ ﺍﻟﺒﻴﻨﻴﺔ ﻋﻠﻢ ﺍﻟﺪﻳﻤﻮﻏﺮﺍﻓﻴﺎ‪.‬‬

‫ﻭﻋﻠﻢ ﺍﻟﺪﻳﻤﻮﻏﺮﺍﻓﻴﺎ )ﻋﻠﻢ ﺍﻟﺴﻜﺎﻥ)‪ (١‬ﺃﻭ ﺍﻟﺪﺭﺍﺳﺎﺕ ﺍﻟﺴﻜﺎﻧﻴﺔ(‪ :‬ﻓﺮﻉ ﻣﻦ ﻋﻠﻢ ﺍﻻﺟﺘﲈﻉ‬

‫ﻭﺍﳉﻐﺮﺍﻓﻴﺎ ﺍﻟﺒﴩﻳﺔ ﺍﻟﺬﻱ ﻳﻘﻮﻡ ﻋﲆ ﺩﺭﺍﺳﺔ ﻋﻠﻤﻴﺔ ﳋﺼﺎﺋﺺ ﺍﻟﺴﻜﺎﻥ ﻣﻦ ﺣﻴﺚ ﺍﻟﻌﺪﺩ‬ ‫ﻭﺍﻟﺘﻮﺯﻳﻊ ﻭﺍﻟﻜﺜﺎﻓﺔ ﻭﺍﻟﱰﻛﻴﺐ ﻭﺍﻷﻋﺮﺍﻕ ﻭﻣﻜﻮﻧﺎﺕ ﺍﻟﻨﻤﻮ )ﺍﻹﻧﺠﺎﺏ ﻭﺍﻟﻮﻓﻴﺎﺕ ﻭﺍﳍﺠﺮﺓ(‪،‬‬ ‫ﻧﺴﺐ ﺍﻷﻣﺮﺍﺽ ﻭﺍﳊﺎﻻﺕ ﺍﻻﻗﺘﺼﺎﺩﻳﺔ ﻭﺍﻻﺟﺘﲈﻋﻴﺔ‪ ،‬ﻭﻧﺴﺐ ﺍﻷﻋﲈﺭ ﻭﺍﳉﻨﺲ ﻭﻣﺴﺘﻮ￯‬

‫ﺍﻟﺪﺧﻞ ﻭﻏﲑ ﺫﻟﻚ ﰲ ﺇﺣﺪ￯ ﺍﳌﻨﺎﻃﻖ ‪ ...‬ﻭﲤﺜﻞ ﺍﻟﺪﺭﺍﺳﺎﺕ ﺍﻟﺴﻜﺎﻧﻴﺔ ﺍﻟﻄﺮﻳﻘﺔ ﺍﳌﺒﺪﺋﻴﺔ ﻟﻔﻬﻢ‬

‫ﺍﳌﺠﺘﻤﻊ ﺍﻟﺒﴩﻱ‪.‬‬

‫)‪ (١‬ﻣﻘﺪﻣﺔ ﰲ ﻋﻠﻢ ﺍﻟﺴﻜﺎﻥ ﻭﺗﻄﺒﻴﻘﺎﺗﻪ‪ ،‬ﻣﺎﺟﺪ ﻋﺜﲈﻥ‪ ،‬ﻣﻮﻗﻊ ﻭﺍﻱ ﺑﺎﻙ ﻣﺸﲔ‪.‬‬

‫‪١٢٠‬‬

‫ﻭﻫﺬﺍ ﺍﻟﻌﻤﻞ ﺍﻟﺬﻱ ﺑﲔ ﺃﻳﺪﻳﻨﺎ‪ ،‬ﻭﺍﳌﻌﻨﻮﻥ ﺑـ )ﺍﳌﻠﺘﻘﻰ( ﻫﻮ ﻧﺺ ﻣﻮﺍﺯﻱ‪ ،‬ﻷﻧﻪ ﻛﺘﺎﺏ‬

‫ﺟﻨﺴﺎ‬ ‫)ﻣﺴﻠﻮﺏ ﺍﳉﻨﺲ‪ ،‬ﻳﻨﺘﻤﻲ ﺇﱃ ﺟﻨﺲ ﻳﻮﺍﺯﻱ ﺍﳉﻨﺲ ﺍﻷﺩﰊ ﻭﺃﺣﻴﺎ ﹰﻧﺎ ﻳﻠﺘﻘﻲ ﻣﻌﻪ‪ ،‬ﻟﻴﺲ ﹰ‬ ‫ﻧﺼﺎ(‪ ،‬ﻓﻬﻮ ﻣﺸﺎﻫﺪﺍﺕ ﻋﻴﻨﻴﺔ ﲣﺘﺺ‬ ‫ﻣﻦ ﺍﻷﺟﻨﺎﺱ ﺍﻟﴪﺩﻳﺔ( ﻭﻟﻴﺲ ﹰ‬ ‫ﻧﺼﺎ )ﺷﺒﻴﻪ ﺑﺎﻟﻨﺺ ﻭﻟﻴﺲ ‪h‬‬ ‫ﺑﺎﳉﲈﻟﻴﺎﺕ ﺍﻟﻠﻐﻮﻳﺔ ﻋﻠﻴﻨﺎ ﻧﻘﺪﻩ ﺑﺸﻜﻞ ﻋﻠﻤﻲ‪ ،‬ﻭﻫﻮ ﻳﻨﺘﻤﻲ ﺇﱃ ﻣﺸﺎﻫﺪﺍﺕ ﺩﻳﻤﻮﻏﺮﺍﻓﻴﺔ ﻣﻘﺎﺭﻧﺔ‬ ‫ﻭﻋﻤﺮﺍﻧﻴﺎ‬ ‫ﻟﺮﺣﻠﺔ ﺑﲔ ﺑﻠﺪﻳﻦ ﳐﺘﻠﻔﲔ ﺟﻐﺮﺍﻓ ﹰﻴﺎ‬ ‫ﻭﲨﺎﻟﻴﺎ‪ ،‬ﻏﺮﰊ ﻭﴍﻗﻲ‪ ،‬ﺑﲔ ﺍﻟﻮﻻﻳﺎﺕ‬ ‫ﻭﺍﺟﺘﲈﻋﻴﺎ‬ ‫‪h‬‬ ‫‪h‬‬ ‫‪h‬‬

‫ﺍﳌﺘﺤﺪﺓ )ﻟﻮﺱ ﺍﻧﺠﻠﻮﺱ( ﻭﺑﲔ ﲨﻬﻮﺭﻳﺔ ﻣﴫ ﺍﻟﻌﺮﺑﻴﺔ )ﺍﻟﻘﺎﻫﺮﺓ – ﺍﻷﻗﴫ – ﺃﺳﻮﺍﻥ ‪-‬‬ ‫ﺍﻻﺳﲈﻋﻴﻠﻴﺔ ‪ -‬ﺍﻟﺴﻮﻳﺲ(‪ ،‬ﺣﻴﺚ ﻗﺎﻣﺖ ﺍﻟﻜﺎﺗﺒﺔ )ﻭﻓﺎﺀ ﺍﺑﺮﺍﻫﻴﻢ ﻋﺮﺍﺭ( ﺍﻟﺪﻣﺸﻘﻴﺔ ﺍﳌﺘﺰﻭﺟﺔ‬ ‫ﻣﻦ ﻣﴫﻱ ﻭﺍﳌﻘﻴﻤﺔ ﰲ ﺃﻣﺮﻳﻜﺎ‪ ،‬ﺑﺘﺴﺠﻴﻞ ﻣﺸﺎﻫﺪﺍﲥﺎ ﺍﻟﺪﻳﻤﻮﻏﺮﺍﻓﻴﺔ ﺑﺸﻜﻞ ﻋﻴﻨﻲ ﻋﻦ ﻃﺮﻳﻖ‬

‫ﻋﺪﺳﺎﺕ ﺍﻟﺘﺼﻮﻳﺮ ﺑﺼﻮﺭ ﳐﺘﻠﻔﺔ‪ ،‬ﻭﺗﺴﺠﻴﻞ ﺣﺮﰲ ﺑﻘﻠﻤﻬﺎ ﺍﻟﺬﻱ ﻳﻘﻊ ﺑﲔ ﺍﻟﺘﻘﺮﻳﺮﻳﺔ ﻭﺍﻷﺩﺑﻴﺔ‪.‬‬ ‫ﻓﺈﺫﻥ ﻫﺬﺍ ﺍﻟﻌﻤﻞ ﺟﻨﺴﻪ ﺃﺩﺏ ﺭﺣﻠﺔ ﰲ ﺇﻃﺎﺭ ﻣﺸﺎﻫﺪﺍﺕ ﺩﻳﻤﻐﺮﺍﻓﻴﺔ‪.‬‬

‫‪<VÌfi^”◊÷<ÌÈi]Ñ÷]<Ï4ä÷]<G‬‬ ‫ﻭﻓﺎﺀ ﺍﺑﺮﺍﻫﻴﻢ ﻋﺮﺍﺭ ﺍﳌﻠﻘﺒﺔ ﺏ ﻭﻓﺎﺀ ﻟﻄﻔﻲ ﰲ ﺃﻣﲑﻛﺎ‪ ،‬ﻛﺎﺗﺒﺔ ﻣﴫﻳﺔ ﻣﻦ ﺃﺻﻞ ﺳﻮﺭﻱ‪،‬‬

‫ﺩﺭﺳﺖ ﰲ ﺟﺎﻣﻌﺔ ﺩﻣﺸﻖ ﰲ ﻛﻠﻴﺔ ﺍﳊﻘﻮﻕ‪ ،‬ﲣﺮﺟﺖ ﻣﻦ ﺟﺎﻣﻌﺔ ﺍﻟﻠﻮﻧﺞ ﻳﺘﺶ ﺑﻜﺎﻟﻴﻔﻮﺭﻧﻴﺎ‬ ‫ﻛﺄﺧﺼﺎﺋﻴﺔ ﺃﻃﻔﺎﻝ ﰲ ﻋﻠﻮﻡ ﺍﻟﻄﻔﻞ‪ ،‬ﻭﻣﻘﻴﻤﺔ ﰲ ﻛﺎﻟﻴﻔﻮﺭﻧﻴﺎ‪ ،‬ﻣﺎﺭﺳﺖ ﺍﻟﺘﺪﺭﻳﺲ ﰲ ﺍﳌﺪﺍﺭﺱ‬ ‫ﺣﺎﻟﻴﺎ‪.‬‬ ‫ﺍﻷﻣﺮﻳﻜﻴﺔ ﻭﺍﻟﻌﺮﺑﻴﺔ ﰲ ﺍﻟﻮﻻﻳﺎﺕ ﺍﳌﺘﺤﺪﺓ ﺍﻷﻣﺮﻳﻜﻴﺔ‪ ،‬ﻣﺘﻔﺮﻏﺔ ﻟﻠﻜﺘﺎﺑﺔ ﻭﺍﻟﱰﺣﺎﻝ ‪h‬‬

‫‪<VÌÈrÈi]3â˜]<G‬‬ ‫ﺃﺭﺍﺩﺕ ﺍﻟﻜﺎﺗﺒﺔ ﰲ ﻣﺸﺎﻫﺪﺍﲥﺎ ﺍﻟﺪﻳﻤﻐﺮﺍﻓﻴﺔ ﻫﺬﻩ ﺃﻥ ﲢﻘﻖ ﻫﺪ ﹰﻓﺎ ﻣﻘﺎﺭ ﹰﻧﺎ ﺑﲔ ﳏﻞ ﺳﻜﻨﻬﺎ‬

‫ﺍﻷﻣﺮﻳﻜﻲ ﻭﳏﻞ ﻣﻨﻄﻠﻘﻬﺎ ﺍﻟﻌﺮﰊ‪ ،‬ﻓﻜﺎﻧﺖ ﻋﻴﻮﳖﺎ ﻛﺎﻣﲑﺍ ﺗﻠﺘﻘﻂ ﻟﻜﻞ ﻣﺸﻬﺪ ﺻﻮﺭﺗﲔ ﻣﻘﺎﺭﻧﺘﲔ‬ ‫ﲤﻴﺰ ﺃﺩﺏ‬ ‫ﻭﳐﺘﻠﻔﺘﲔ ﰲ ﺍﻟﺒﻴﺌﺔ ﻭﺍﳌﻨﺤﺪﺭ ﺍﻟﺪﻳﻤﻮﻏﺮﺍﰲ‪ ،‬ﻭﻫﺬﻩ ﺍﳊﺎﻟﺔ‪ -‬ﺃﻗﺼﺪ ﺍﻟﺪﻳﻤﻮﻏﺮﺍﻓﻴﺔ‪ -‬ﹼ‬ ‫ﺍﻟﺮﺣﻼﺕ ﻋﻦ ﺑﻘﻴﺔ ﺃﺟﻨﺎﺱ ﺃﺩﺏ ﺍﻟﺮﻭﻱ )ﺍﻟﺮﻭﺍﻳﺔ ﻭﺍﻟﻘﺼﺔ ﺍﻟﻘﺼﲑﺓ ﻭﺍﻟﻨﻮﻓﻴﻠﻼ(‪.‬‬

‫ﻓﻬﻲ ﺗﻌﻘﺪ ﻫﺬﻩ ﺍﳌﻘﺎﺭﻧﺎﺕ ﺑﺎﻟﺴﻠﺐ ﻭﺍﻹﳚﺎﺏ ﻣﻨﺬ ﺃﻥ ﻭﻃﺌﺖ ﺃﻗﺪﺍﻣﻬﺎ ﺃﺭﺽ ﻣﴫ‪،‬‬

‫ﻭﺍﻟﺒﺪﺍﻳﺔ ﻣﻦ ﻣﻄﺎﺭ ﺍﻟﻘﺎﻫﺮﺓ ﺍﻟﺪﻭﱄ‪ ،‬ﻣﻦ ﻏﻴﺎﺏ ﺃﻭﻝ ﺻﺪﻗﺔ ﻣﻦ ﺻﺪﻗﺎﺕ ﺍﻟﱰﺣﻴﺐ ﻋﻦ ﻭﺟﻮﻩ‬

‫ﻣﻮﻇﻔﻲ ﺍﻻﺳﺘﻘﺒﺎﻝ ﺍﳌﴫﻳﲔ‪ ،‬ﺍﻻﺑﺘﺴﺎﻣﺔ ﺍﻟﺘﻲ ﻻ ﻳﻤﻜﻦ ﺃﻥ ﺗﻐﻴﺐ ﻋﻦ ﻭﺟﻮﻩ ﻣﻮﻇﻔﻲ ﺍﻻﺳﺘﻘﺒﺎﻝ‬

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‫ﰲ ﻣﻮﻃﻨﻬﺎ ﺍﻷﻣﺮﻳﻜﻲ‪ ،‬ﻣﻊ ﺫﻛﺮﻫﺎ ﻟﻠﺴﺒﺐ ﺍﻟﺒﺎﺭﺍﺩﻭﻛﴘ )ﺍﳌﻌﺎﻧﺎﺓ – ﺍﻟﺮﻓﺎﻫﻴﺔ(‪ ،‬ﻭﻛﺄﳖﺎ ﺗﻜﺘﺐ‬

‫ﻣﻘﺎﻟﺔ ﻋﻦ ﺍﺧﺘﻼﻑ ﺍﻟﺴﻠﻮﻛﲔ ﺍﻟﻌﺮﰊ ﻭﺍﻟﻐﺮﰊ‪ ،‬ﺗﻘﻮﻝ‪:‬‬

‫»ﻣﺮﺭﻧﺎ ﺑﺤﻮﺍﺟﺰ ﺍﻟﺘﻔﺘﻴﺶ ﻋﲆ ﺟﻮﺍﺯﺍﺕ ﺍﻟﺴﻔﺮ‪ ،‬ﻭﻓﻮﺟﺌﻨﺎ ﺑﺄﻥ ﺍﻻﺑﺘﺴﺎﻣﺔ ﻏﺎﺑﺖ‬

‫ﻣﻦ ﻭﺟﻮﻩ ﺍﳌﻮﻇﻔﲔ ﻣﻦ ﻛﺜﺮﺓ ﺍﳌﺴﺆﻭﻟﻴﺎﺕ ﻭﺍﳌﻌﺎﻧﺎﺓ ﺍﻟﺘﻲ ﻳﻌﻴﺸﻬﺎ ﻫﺬﺍ ﺍﻟﺸﻌﺐ‪ ،‬ﻭﻣﻦ ﻛﺜﺮﺓ‬

‫ﺍﻟﺘﺤﺪﻳﺎﺕ ﺍﻟﺘﻲ ﺗﻮﺍﺟﻬﻬﺎ ﺍﻟﺒﻼﺩ‪ ..‬ﲢﺪﺛﺖ ﺇﱃ ﺃﺣﺪ ﺍﻟﻀﺒﺎﻁ‪ ،‬ﻓﺮﻭ￯ ﱄ ﻛﻴﻒ ﺃﻧﻪ ﹸﻧﻘﻞ ﺇﱃ ﺍﳌﻄﺎﺭ‬ ‫ﺑﻌﺪ ﺃﻥ ﺩ ﹼﻣﺮ ﺍﻹﺭﻫﺎﺑﻴﻮﻥ ﻋﺮﺑﺘﻪ ﺍﳋﺎﺻﺔ‪ ،‬ﻭﻛﻴﻒ ﺧﺮﺝ ﻣﻨﻬﺎ ﹰ‬ ‫ﺳﻠﻴﲈ‪ ..‬ﻓﻘﻠﺖ ﰲ ﻧﻔﴘ ﻛﻢ ﻧﺤﻦ‬

‫ﰲ ﺍﳌﻬﺠﺮ ﻣﺮﻓﻬﲔ«‪.‬‬

‫‪<VÌÈÊ]Ü∆ÁµÇ÷]<V≈ÁïÁπ]<G‬‬ ‫ﰲ ﺍﳌﺸﺎﻫﺪ ﺍﻟﺪﻳﻤﻮﻏﺮﺍﻓﻴﺔ ﰲ ﺃﺩﺏ ﺍﻟﺮﺣﻼﺕ‪ ،‬ﳚﺐ ﺃﻥ ﻳﻠﺒﺲ ﺍﻟﻜﺎﺗﺐ ﻫﺬﺍ ﺍﻟﻨﻮﻉ ﻣﻦ‬

‫ﺍﻷﺩﺏ ﺍﻟﴪﺩﻱ ﺑﺜﻮﺏ ﻋﻠﻤﻲ ﻳﺸﻤﻞ ﺍﳉﻐﺮﺍﻓﻴﺔ ﻭﺍﻻﺟﺘﲈﻉ ﻭﺍﻟﺘﺎﺭﻳﺦ ﻭﺍﻟﻌﲈﺭﺓ ﻭﺍﳍﻨﺪﺳﺔ‬

‫ﻭﻣﺎ ﺷﺎﺑﻪ ﻣﻦ ﺍﻟﻌﻠﻮﻡ ﺍﻷﺧﺮ￯‪ ،‬ﻳﺬﻛﺮﻫﺎ ﺍﻟﻜﺎﺗﺐ ﺑﺸﻜﻞ ﺣﻘﺎﺋﻖ ﻋﻠﻤﻴﺔ‪ ،‬ﻭﺑﻤﻘﺎﺭﻧﺔ‬ ‫ﻭﺍﻗﻌﻴﺎ ﻭﺑﺄﺳﻠﻮﺏ ﺃﺩﰊ‪ ،‬ﻭﺗﻠﻚ ﳏﺎﻭﻟﺔ‬ ‫ﺩﻳﻤﻮﻏﺮﺍﻓﻴﺔ ﺑﲔ ﺍﻟﺒﻴﺌﺎﺕ ﺍﳌﺨﺘﻠﻔﺔ‪ ،‬ﹸﻣ ﹺﻘ ‪h‬ﺮﺍ ﺑﻮﺟﻮﺩﻫﺎ‬ ‫‪h‬‬

‫ﺻﻌﺒﺔ ﻻ ﻳﺴﺘﻄﻴﻌﻬﺎ ﺇﻻ ﻣﻦ ﺃﺗﻘﻦ ﺍﻷﺳﻠﻮﺏ ﺍﻷﺩﰊ ﺑﻌﻤﻘﻪ ﺍﳋﻴﺎﱄ ﻭﺑﻤﺒﺎﴍﺗﻪ ﺍﻟﺘﻘﺮﻳﺮﻳﺔ‪،‬‬ ‫ﲑﺍ ﰲ ﺗﺮﺳﻴﺦ ﺗﻠﻚ ﺍﳊﻘﻴﻘﺔ ﺍﳌﺰﺩﻭﺟﺔ ﺑﺎﳌﺰﺝ ﺑﲔ‬ ‫ﻟﺬﻟﻚ ﺃﺟﺪ ﺃﻥ ﺍﻟﻜﺎﺗﺒﺔ ﻗﺪ ﺟﺎﻫﺪﺕ ﻛﺜ ﹰ‬

‫ﻳﻨﻢ ﻋﻦ ﻣﻮﻫﺒﺔ ﻋﻔﻮﻳﺔ ﻟﺒﻠﻮﻍ ﺍﻟﺘﺸﻮﻳﻖ ﺑﻤﻘﺒﻮﻟﻴﺔ‬ ‫ﺍﻹﺧﺒﺎﺭ ﻭﺍﻟﻌﻤﻖ ﺍﻷﺩﰊ ﺑﺸﻜﻞ ﻋﻔﻮﻱ ﹼ‬ ‫ﻣﻨﺎﺳﺒﺔ‪.‬‬ ‫ﻭﻟﻜﻦ ﻛﺎﺗﺒﺘﻨﺎ ﰲ ﻣﻮﺿﻮﻋﻬﺎ ﻫﺬﺍ ﱂ ﲤﺲ ﺟﺎﻧﺐ ﺍﻟﺮﺣﻠﺔ ﺍﻷﺩﰊ ﺑﺒﻨﺎﺋﻴﻪ ﺍﻟﻔﻨﻲ‬ ‫ﻣﻐﺎﻳﺮ ﺍ‪ ،‬ﹼ‬ ‫ﹰ‬ ‫ﺳﻄﺤﺖ ﻛﺘﺎﺑﺎﲥﺎ ﺑﺸﻜﻞ ﻣﺬﻛﺮﺍﺕ ﻋﻦ‬ ‫ﻭﺍﳉﲈﱄ‪ ،‬ﺣﻴﺚ ﺳﻠﻜﺖ‬ ‫ﺳﻠﻮﻛﺎ‬ ‫ﹰ‬ ‫ﻣﺸﺎﻫﺪﺍﲥﺎ ﺍﻟﻴﻮﻣﻴﺔ ﰲ ﺗﻠﻚ ﺍﻟﺮﺣﻠﺔ‪ ،‬ﻭﺳﺠﻠﺘﻬﺎ ﺑﻌﺪﺳﺔ ﺍﻟﻜﺎﻣﲑﺍ ﻭﺍﳌﻌﻠﻮﻣﺎﺗﻴﺔ ﻭﺳﻨﺬﻛﺮ‬ ‫ﺑﻌﺾ ﺗﻠﻚ ﺍﳌﺸﺎﻫﺪﺍﺕ ﺑﺎﻟﺘﻔﺼﻴﻞ‪ ،‬ﻭﻻ ﹼ‬ ‫ﺃﺩﻝ ﻋﲆ ﻣﺎ ﺫﻛﺮﺗﻪ ﺁﻧ ﹰﻔﺎ ﻣﻦ ﻗﻮﳍﺎ ﰲ ﺑﺪﺍﻳﺔ ﻫﺬﺍ‬

‫ﺍﻟﻌﻤﻞ ﺍﻟﻌﺒﺎﺭﺍﺕ ﺍﻟﺘﺎﻟﻴﺔ‪:‬‬

‫»ﻛﺎﻥ ﺫﻫﺎﰊ ﺇﻟﻴﻬﺎ ‪ -‬ﻣﴫ ‪ -‬ﻷﺗﻌﺮﻑ ﻋﲆ ﺍﻟﻨﺎﺱ ﰲ ﻛﻞ ﺃﻧﺤﺎﺋﻬﺎ‪ ،‬ﻭﺃﻋﻴﺶ ﻣﻌﻬﻢ‪،‬‬

‫ﻭﻷﺭﻭﻱ ﻣﺎ ﺷﺎﻫﺪﺗﻪ ﻋﻴﻨﺎﻱ‪،‬‬ ‫ﻭﻷﺣﻮﻝ ﻣﺎ ﺃﺭﺍﻩ ﻣﻦ ﺻﻮﺭ ‪ -‬ﲨﻴﻠﺔ ﻛﺎﻧﺖ ﺃﻡ ﻗﺎﺳﻴﺔ ﰲ ﺑﻌﺾ‬ ‫ﹼ‬

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‫ﺍﻷﺣﻴﺎﻥ ‪ -‬ﺇﱃ ﴍﻳﻂ ﺫﻛﺮﻳﺎﺕ ﻳﻨﺒﻊ ﻣﻦ ﻋﺒﻖ ﺍﳌﺎﴈ ﺍﳉﻤﻴﻞ‪ ،‬ﻷﻧﺴﺞ ﻣﻨﻪ ﺣﻜﺎﻳﺎﺕ ﺭﺃﲥﺎ‬

‫ﻋﻴﻨﺎﻱ ﰲ ﻛﻞ ﻣﻜﺎﻥ ﻭﻃﺄﺗﻪ ﻗﺪﻣﺎﻱ«‪.‬‬

‫‪<VÎÜíf÷]<ÔÁjäπ]<G‬‬ ‫]÷√‪VÕ¯«÷]<V±Ê˘]<Ìfj‬‬ ‫ﺍﻟﻐﻼﻑ ﺍﻷﻣﺎﻣﻲ‪ :‬ﺻﻮﺭﺓ ﻓﻮﺗﻮﻏﺮﺍﻓﻴﺔ ﻟﻸﻫﺮﺍﻣﺎﺕ‪ ،‬ﻭﻋﻨﻮﺍﻥ ﺍﻟﻌﻤﻞ )ﺍﳌﻠﺘﻘﻰ( ﺑﺎﻟﺒﻨﻂ‬

‫ﺍﻟﻌﺮﻳﺾ‪ ،‬ﻭﲢﺘﻪ ﺍﺳﻢ ﺍﻟﻜﺎﺗﺒﺔ )ﻭﻓﺎﺀ ﺇﺑﺮﺍﻫﻴﻢ ﻋﺮﺍﺭ( ﻭﲢﺖ ﺍﻹﺳﻢ ﲡﻨﻴﺲ ﺍﻟﻌﻤﻞ )ﺃﺩﺏ‬ ‫ﺭﺣﻼﺕ( ﻭﺳﻨﺔ ﺍﻹﺻﺪﺍﺭ )‪٢٠١٥‬ﻡ(‪.‬‬

‫ﺍﻟﻐﻼﻑ ﺍﳋﻠﻔﻲ‪ :‬ﺻﻮﺭﺓ ﳌﻌﺒﺪ ﻓﻴﻠﻪ ﰲ ﺟﺰﻳﺮﺓ ﺃﺟﻴﻠﻴﻜﺎ ﰲ ﺃﺳﻮﺍﻥ‪ .‬ﻣﻊ ﻓﻘﺮﺓ ﺗﻠﺨﺺ‬

‫ﻭﺗﺼﻒ ﻓﺤﻮ￯ ﺍﻟﻜﺘﺎﺏ‪ ،‬ﺃﻗﺘﺺ ﻣﻨﻬﺎ ﻣﺎ ﻳﲇ‪:‬‬

‫»ﻫﺬﺍ ﺍﻟﻜﺘﺎﺏ ﻳﺮﻭﻱ ﻛﻴﻒ ﺃﻥ ﺟﺬﻭﺭﻧﺎ ﺗﺄﺧﺬﻧﺎ ﺇﱃ ﺍﻟﺒﻌﻴﺪ‪ ،‬ﺇﱃ ﺃﺑﻌﺪ ﺍﻟﺬﻛﺮﻳﺎﺕ‪ ،‬ﻟﻨﻌﺎﻧﻖ‬

‫ﺍﻷﺭﺽ‪...‬‬

‫ﻭﻛﻴﻒ ﺃﻥ ﺣﺒﻨﺎ ﻟﻸﺭﺽ ﳛﻤﻠﻨﺎ ﻣﻦ ﻏﺮﺑﺘﻨﺎ ﺇﱃ ﺍﻟﻮﻃﻦ ﻷﻧﻪ ﻣﺮﺳﻮﻡ ﻓﻴﻨﺎ‪ ،‬ﰲ ﺃﻏﺎﻧﻴﻨﺎ ﺣﺘﻰ‬

‫ﻭﻭﺍﻗﻌﺎ ﺁﺧﺮ‪ ،‬ﻓﺎﳊﻨﲔ ﻳﺮﻣﻴﻨﺎ ﻭﳛﻤﻠﻨﺎ ﻋﲆ ﺍﻟﻌﻮﺩﺓ ﺇﱃ ﺍﻷﻡ ﻭﺍﻟﺮﺽ ﺍﻟﺘﻲ‬ ‫ﻟﻮ ﺗﺒﻨﻴﻨﺎ ﻟﻐﺔ ﺃﺧﺮ￯‪،‬‬ ‫ﹰ‬ ‫ﺗﺮﻛﻨﺎﻫﺎ ﻟﻨﺮﻭﻱ ﻛﻞ ﺍﳊﻜﺎﻳﺎﺕ ﺍﻟﻘﺪﻳﻤﺔ ﻭﺍﳊﺪﻳﺜﺔ‪ ،‬ﻣﻦ ﻫﻨﺎ‪ ،‬ﻣﻦ ﺃﻣﺮﻳﻜﺎ«‪.‬‬ ‫]÷√‪<V·]Áfl√÷]<Í‚<VÌÈfi^n÷]<Ìfj‬‬ ‫)ﺍﳌﻠﺘﻘﻰ(‪ :‬ﻭﻳﻌﻮﺩ ﺇﱃ ﻋﻨﻮﺍﻥ ﺍﳌﺆﲤﺮ )ﻣﺆﲤﺮ ﺍﳌﻠﺘﻘﻰ ﺍﻟﺮﺍﺑﻊ ﻟﻠﺸﺒﺎﺏ ﺍﳌﴫﻳﲔ ﺍﳌﻐﱰﺑﲔ(‬

‫ﺍﻟﺬﻱ ﹸﺩﻋ ﹶﻴﺖ ﺇﻟﻴﻪ ﺍﻟﻜﺎﺗﺒﺔ ﻣﻊ ﺍﺑﻨﺘﻬﺎ ﺿﻤﻦ ﺍﻟﻮﻓﺪ ﺍﻷﻣﺮﻳﻜﻲ ﻭﺑﻤﺸﺎﺭﻛﺔ ﻣﻦ ﻗﺒﻞ ﻭﺯﺍﺭﺓ ﺍﻟﺸﺒﺎﺏ‬ ‫ﻭﺍﻟﺮﻳﺎﺿﺔ ﺍﳌﴫﻳﺔ ﰲ ﻭﺍﳌﻨﻌﻘﺪ ﰲ ﺍﻟﻔﱰﺓ ﻣﻦ ‪ ٢٢‬ﺩﻳﺴﻤﱪ ‪ ٢٠١٤‬ﻭﺣﺘﻰ ‪ ٢‬ﻳﻨﺎﻳﺮ ‪ ،٢٠١٥‬ﺣﻴﺚ‬

‫ﲡﻮﻟﺖ ﺍﻟﻮﻓﻮﺩ ﺍﻟﺸﺒﺎﺑﻴﺔ ‪ -‬ﺍﻵﺗﻴﺔ ﻣﻦ ﳐﺘﻠﻒ ﺍﻟﺪﻭﻝ ﺍﻟﻐﺮﺑﻴﺔ ‪ -‬ﰲ ﺍﻟﻘﺎﻫﺮﺓ ﻭﺍﻷﻗﴫ ﻭﺃﺳﻮﺍﻥ‬ ‫ﻭﺍﻻﺳﲈﻋﻴﻠﻴﺔ ﻭﺍﻟﺴﻮﻳﺲ‪ ،‬ﻭﻣﻦ ﺧﻼﻝ ﺗﻠﻚ ﺍﻟﺮﺣﻠﺔ ﺳﺠﻠﺖ ﺍﻟﻜﺎﺗﺒﺔ ﻣﺸﺎﻫﺪﺍﲥﺎ ﺍﻟﺪﻳﻤﻮﻏﺮﺍﻓﻴﺔ‪،‬‬

‫ﻓﻜﺎﻧﺖ ﺍﳊﺼﻴﻠﺔ ﻫﺬﺍ ﺍﻟﻌﻤﻞ‪.‬‬

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‫ﻳﻘﻊ ﺍﻟﻌﻤﻞ ﰲ ﺣﻮﺍﱄ ‪ ١٢٢‬ﺻﻔﺤﺔ ﻣﻦ ﺍﻟﻘﻄﻊ ﺍﻟﺼﻐﲑ‪ ،‬ﺣﺎﻓﻞ ﺑﺎﻟﺼﻮﺭ ﺍﻟﻔﻮﺗﻮﻏﺮﺍﻓﻴﺔ‬

‫ﻣﻦ ﻣﺸﺎﻫﺪﺍﺕ ﺍﺟﺘﲈﻋﻴﺔ ﻭﻃﺒﻴﻌﻴﺔ ﻭﻋﻤﺮﺍﻧﻴﺔ ﻭﺗﺎﺭﳜﻴﺔ ﺣﻀﺎﺭﻳﺔ ﻟﻸﻣﻜﻨﺔ ﺍﳌﺬﻛﻮﺭﺓ‪.‬‬ ‫ﺍﻹﻫﺪﺍﺀ‪ :‬ﺑﺴﻴﻂ‪ ،‬ﺧﺎﺹ ﻭﻋﺎﻡ‪:‬‬ ‫ﺍﻹﻫﺪﺍﺀ‬ ‫ﺇﱃ ﲨﻴﻊ ﺍﳌﴫﻳﲔ ﺍﳌﻐﱰﺑﲔ‪..‬‬ ‫ﺇﱃ ﻛﻞ ﻣﻦ ﺟﺎﺀ ﺇﱃ ﺍﳌﻠﺘﻘﻰ‪..‬‬ ‫ﺇﱃ ﲨﻴﻊ ﺍﻟﻌﺎﻣﻠﲔ ﻋﲆ ﻧﺠﺎﺡ ﻫﺬﺍ ﺍﳌﻠﺘﻘﻰ‪..‬‬ ‫ﺇﱃ ﺍﻟﺸﻌﺐ ﺍﳌﴫﻱ ﺍﻷﰊ‬

‫‪VŸ¯„jâ˜]Ê‬‬ ‫ﺗﻠﺨﻴﺼﺎ ﳍﺪﻑ ﺍﻟﻜﺘﺎﺑﺔ‪ ،‬ﻭﲢﺪﻳﺪﹰ ﺍ ﻟﻠﺒﺎﻋﺚ ﻭﺍﳌﺤﻔﺰ ﺍﻟﺬﻱ ﻛﺎﻥ ﺍﻻﺳﺘﺠﺎﺑﺔ ﻟﻪ ﻛﺘﺎﺑﺔ‬ ‫ﻛﺎﻥ‬ ‫ﹰ‬

‫ﻫﺬﺍ ﺍﻟﻌﻤﻞ‪ ،‬ﺗﻘﻮﻝ ﻓﻴﻪ‪:‬‬

‫" ﺃﺭﺩﺕ ﺃﻥ ﺃﻛﺘﺐ ﻋﻦ ﻣﴫ ﺍﻟﺘﻲ ﺃﻋﺮﻓﻬﺎ‪ ،‬ﻓﻮﺟﺪﺕ ﺃﻥ ﻣﴫ ﺃﻛﱪ ﳑﺎ ﻛﻨﺖ ﺃﺗﺼﻮﺭﻫﺎ‪،‬‬

‫ﻭﺃﲏ ﺃﺟﻬﻠﻬﺎ‪.‬‬

‫ﻗﺒﻞ ﺃﻥ ﺃﺑﺪﺃ ﺍﻟﺮﺣﻠﺔ ﻛﻨﺖ ﻣﻨﺸﻐﻠﺔ ﰲ ﻓﻜﺮﺓ ﺍﻟﺴﻔﺮ ﻷﺟﺘﻤﻊ ﻣﻊ ﻛﻞ ﺍﳌﴫﻳﲔ ﺍﳌﻐﱰﺑﲔ‬

‫ﺍﻟﻘﺎﺩﻣﲔ ﻣﻦ ﲨﻴﻊ ﺃﻧﺤﺎﺀ ﺍﻟﻌﺎﱂ‪ ،‬ﻟﻨﺘﻌﺎﺭﻑ ﻋﲆ ﺑﻌﻀﻨﺎ ﺍﻟﺒﻌﺾ‪ ،‬ﻭﻟﻨﻮﺿﺢ ﻟﻠﻌﺎﱂ ﺑﺄﻥ ﻣﴫ ﺃﺃﻣﻦ‬ ‫ﻣﻜﺎﻥ ﻳﻤﻜﻦ ﺃﻥ ﻳﻌﻴﺶ ﻋﻠﻴﻪ ﺇﻧﺴﺎﻥ‪".‬‬

‫ﺣﻮ￯ ﺍﻟﻜﺘﺎﺏ ﻋﲆ ﻋﺪﺩ ﻛﺒﲑ ﻣﻦ ﺍﻟﺼﻮﺭ ﺍﻟﻔﻮﺗﻮﻏﺮﺍﻓﻴﺔ )ﺣﻮﺍﱄ ‪ ٦٧‬ﺻﻮﺭﺓ( ﺗﻨﻮﻋﺖ‬

‫ﺑﲔ ﺻﻮﺭ ﺍﺟﺘﲈﻋﻴﺔ‪ ،‬ﻭﻃﺒﻴﻌﻴﺔ‪ ،‬ﻭﻋﻤﺮﺍﻧﻴﺔ‪ ،‬ﻭﺗﺎﺭﳜﻴﺔ ﺣﻀﺎﺭﻳﺔ‪ ،‬ﻭﺻﻮﺭ ﺷﺨﺼﻴﺔ ﻟﻠﻜﺎﺗﺒﺔ ﻣﻊ‬

‫ﺷﺨﺼﻴﺎﺕ ﺳﻴﺎﺳﻴﺔ ﻭﺛﻘﺎﻓﻴﺔ ﺍﻟﺘﻘﺖ ﲠﻢ ﰲ ﺭﺣﻠﺘﻬﺎ ﻫﺬﻩ‪ ،‬ﻭﺻﻮﺭ ﻟﺸﺒﺎﺏ ﺍﳌﻠﺘﻘﻰ ﰲ ﺃﻣﻜﻨﺔ‬ ‫ﻭﻣﻌﺎﱂ ﺃﺛﺮﻳﺔ‪ ،‬ﻭﻛﺎﻧﺖ ﻫﻨﺎﻙ ﺑﻌﺾ ﺍﻟﺼﻮﺭ ﺍﳌﺄﺧﻮﺫﺓ ﻣﻦ ﳏﺮﻙ ﺍﻟﺒﺤﺚ ﻏﻮﻏﻞ ﻷﻣﺎﻛﻦ ﺗﻢ‬

‫ﻣﻨﻊ ﺍﻟﻜﺎﺗﺒﺔ ﻣﻦ ﺍﻟﺘﺼﻮﻳﺮ ﻓﻴﻬﺎ‪ ،‬ﻣﺜﻞ ﺍﳌﻌﺒﺪ ﻋﺰﺭﺍ ﺍﻟﻴﻬﻮﺩﻱ ﰲ ﻣﴫ ﺍﻟﻘﺪﻳﻤﺔ‪ .‬ﻭﻛﺬﻟﻚ ﻣﻘﱪﺓ‬

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‫ﺭﻣﺴﻴﺲ ﺍﻟﺜﺎﻟﺚ ﻭﺍﻟﺘﻲ ﺍﺳﺘﻌﺎﺿﺖ ﺍﻟﻜﺎﺗﺒﺔ ﻋﻦ ﺗﺼﻮﻳﺮﻫﺎ ﻣﺒﺎﴍﺓ ﺑﺎﻟﺼﻮﺭ ﺍﻟﺘﻲ ﻛﺎﻧﺖ‬

‫ﺗﺒﺎﻉ ﻋﲆ ﺷﻜﻞ ﻣﻮﺳﻮﻋﺔ ﰲ ﳏﻼﺕ ﻟﺒﻴﻊ ﺍﻵﺛﺎﺭ ﺍﳌﺼﻨﻌﺔ ﻟﻠﺴﺎﺋﺤﲔ‪ ،‬ﻭﺃﺭﻓﻘﺖ ﺍﻟﻜﺎﺗﺒﺔ ﻣﻊ‬ ‫ﻫﺬﻩ ﺍﻟﺼﻮﺭ ﺍﻟﻔﻮﺗﻮﻏﺮﺍﻓﻴﺔ ﴍﻭﺣﺎﺕ ﺃﺩﺑﻴﺔ‪ ،‬ﻭﴍﻭﺣﺎﺕ ﻣﻌﻠﻮﻣﺎﺗﻴﺔ‪ ،‬ﻭﻳﻌﺘﱪ ﺫﻟﻚ ﺗﻜﻨﻴﻚ‬ ‫ﺍﻟﺘﻔﺮﺩ ﺑﺎﺑﺘﻜﺎﺭ ﻫﺬﺍ ﺍﻷﺳﻠﻮﺏ ﺍﻟﺘﻮﺍﺻﲇ ﻣﺴﺘﻔﻴﺪﺓ‬ ‫ﺧﺎﺹ ﺑﺘﻠﻚ ﺍﻟﻜﺎﺗﺒﺔ ﺍﻟﺘﻲ ﺍﺳﺘﻄﺎﻋﺖ‬ ‫ﹼ‬ ‫ﻣﻦ ﻣﻨﺘﻮﺟﺎﺕ ﺍﻟﺘﻜﻨﻮﻟﻮﺟﻴﺔ ﺍﳊﺪﻳﺜﺔ‪ ،‬ﺣﻴﺚ ﺍﺧﺘﻠﻔﺖ ﻣﺸﺎﻫﺪﺍﺕ ﺍﻟﻜﺎﺗﺒﺔ ﻋﻦ ﺍﳌﺸﺎﻫﺪﺍﺕ‬

‫ﺍﻟﻜﻼﺳﻴﻜﻴﺔ ﺍﻟﺘﻘﺮﻳﺮﻳﺔ‪ ،‬ﺑﻮﺟﻮﺩ ﺁﻟﺔ ﺍﻟﺘﺼﻮﻳﺮ‪ ،‬ﻭﻣﻮﺳﻮﻋﺔ ﻏﻮﻏﻞ ﺍﳌﻌﻠﻮﻣﺎﺗﻴﺔ‪.‬‬

‫ﲢﺪﹼ ﺛﺖ ﺍﻟﻜﺎﺗﺒﺔ ﻋﻦ ﺭﺣﻠﺘﻬﺎ ﺍﻟﺘﻲ ﺍﺳﺘﻐﺮﻗﺖ ﺣﻮﺍﱄ ﺃﺳﺒﻮﻋﲔ‪ ،‬ﺑﻜﻞ ﺃﺣﺪﺍﺛﻬﺎ ﺍﻟﻴﻮﻣﻴﺔ‬ ‫ﻭﻣﺸﺎﻫﺪﺍﲥﺎ ﻭﺍﻧﻄﺒﺎﻋﺎﲥﺎ‪ ،‬ﺛﻢ ﻭﺟﻬﺖ ﺭﺳﺎﺋﻞ ﺷﻜﺮ ﺇﱃ ﺃﺷﺨﺎﺹ ﺑﺄﺳﲈﺋﻬﻢ ﻭﺃﻭﺻﺎﻓﻬﻢ‪ ،‬ﻭﱂ‬

‫ﺗﻐﻔﻞ ﻋﻦ ﺫﻛﺮ ﺍﻟﺼﻌﻮﺑﺎﺕ ﺍﻟﺘﻲ ﻭﺍﺟﻬﺘﻬﺎ ﻻﺳﺘﺨﺮﺍﺝ ﺭﻗﻤﻬﺎ ﺍﻟﻘﻮﻣﻲ‪ ،‬ﺛﻢ ﺃﳖﺖ ﻛﺘﺎﲠﺎ ﺑﺠﻤﻠﺔ‬ ‫ﻣﻦ ﺍﳌﺪﺭﻛﺎﺕ ﻭﺍﻟﻨﺘﺎﺋﺞ ﺍﻟﻮﺍﻋﻴﺔ ﺍﻟﺘﻲ ﺃﻭﺻﻠﺘﻬﺎ ﺇﻟﻴﻬﺎ ﻫﺬﻩ ﺍﻟﺮﺣﻠﺔ ﺍﻟﻌﺠﻴﺒﺔ ﺍﻟﺘﻲ ﺍﺳﺘﻮﻟﺖ ﻋﲆ‬ ‫ﹼﻟﺒﻬﺎ ﻓﺄﲠﺮﺗﻪ‪ ،‬ﻭﻋﲆ ﻋﻘﻠﻬﺎ ﻓﻤﻸﺗﻪ ﺣﻜﻤﺔ ﹰ‬ ‫ﻭﻋﻠﲈ ﻭﻳﻘﻴﻨﹰﺎ‪ ،‬ﺗﻘﻮﻝ‪:‬‬ ‫" ﺗﺘﻌﻮﺩ ﻋﻴﻨﺎﻱ ﻛﻞ ﻫﺬﺍ ﺍﻟﺼﺨﺐ ﻭﻟﻜﻦ ﺍﻷﻣﺎﻛﻦ ﰲ ﻣﴫ ﺍﳊﺒﻴﺒﺔ ﺗﺸﺪﲏ ﻭﺗﺒﻬﺮﲏ‬

‫ﻟﺸﻌﻮﺭﻱ ﺑﺄﻥ ﻫﻨﺎﻙ ﺣﻴﺎﺓ ﻓﻴﻬﺎ ﺩﻑﺀ ﻭﺣﺐ‪ ،‬ﻭﺗﺎﺭﺓ ﻓﻴﻬﺎ ﻗﺴﻮﺓ ﻣﻦ ﺍﻟﻔﻘﺮ‪ ..‬ﻟﻜﻦ ﺍﳌﺪﻥ ﰲ ﲨﻴﻊ‬ ‫ﺃﻧﺤﺎﺀ ﺍﻟﻌﺎﱂ ﻣﻠﻴﺌﺔ ﺑﺎﻟﻨﺎﺱ ﻣﻦ ﻛﻞ ﺍﻷﺟﻨﺎﺱ ﻓﻤﻨﻬﻢ ﺍﻟﻔﻘﲑ ﻭﻣﻨﻬﻢ ﺍﻟﻐﻨﻲ ﻭﻣﻨﻬﻢ ﺍﳌﺘﻮﺳﻂ ﺍﳊﺎﻝ‪،‬‬ ‫ﻭﺍﻟﻘﺎﻫﺮﺓ ﻋﻴﻨﻬﺎ ﻻ ﺗﻨﺎﻡ ﻛﲈ ﰲ ﻟﻮﺱ ﺃﻧﺠﻠﻮﺱ‪ ،‬ﺑﻞ ﺗﺒﻘﻰ ﻋﻴﻨﻬﺎ ﺳﺎﻫﺮﺓ ﻋﲆ ﺿﻔﺎﻑ ﺍﻟﻨﻴﻞ‪،‬‬ ‫ﻭﰲ ﻛﻞ ﻣﻜﺎﻥ‪ ..‬ﻭﺃﻧﺎ ﻣﺎ ﺯﻟﺖ ﺃﻋﺘﱪ ﻣﴫ ﻫﻲ ﺃﺃﻣﻦ ﻣﻜﺎﻥ ﻳﻤﻜﻦ ﺃﻥ ﻳﻌﻴﺶ ﻋﻠﻴﻪ ﺍﻹﻧﺴﺎﻥ‪...‬‬ ‫ﻭﲢﻴﺎ ﻣﴫ"‪.‬‬

‫‪<V‘Èfl”j÷]<G‬‬ ‫ﹰ‬ ‫ﺗﻜﻨﻴﻜﺎ‬ ‫ﻗﻠﻨﺎ ﺃﻥ ﺍﻟﻜﺎﺗﺒﺔ ﺍﺑﺘﻜﺮﺕ‬ ‫ﺧﺎﺻﺎ ﲠﺎ‪ ،‬ﻭﻫﻮ ﺇﺣﻼﻝ ﺍﻟﺼﻮﺭﺓ ﺍﻟﻔﻮﺗﻮﻏﺮﺍﻓﻴﺔ ﰲ‬ ‫ﹰ‬ ‫ﻣﺸﺎﻫﺪﺍﲥﺎ ﺍﻟﺪﻳﻤﻮﻏﺮﺍﻓﻴﺔ ﻟﺘﻜﻮﻥ ﹰ‬ ‫ﺑﺪﻳﻼ ﻟﻠﻮﺻﻒ ﺍﳉﻐﺮﺍﰲ ﰲ ﺃﺩﺏ ﺍﻟﺮﺣﻠﺔ ﺍﻟﻜﻼﺳﻴﻜﻲ‪،‬‬

‫ﻭﺃﺭﻓﻘﺘﻬﺎ ﺑﴩﻭﺣﺎﺕ ﺃﺩﺑﻴﺔ ﺗﺎﺭﺓ‪ ،‬ﻭﻣﻌﻠﻮﻣﺎﺗﻴﺔ ﺗﺎﺭﺓ ﺃﺧﺮ￯‪ ،‬ﺗﺜﺒﻴ ﹰﺘﺎ ﳊﻘﺎﺋﻖ ﻋﻠﻤﻴﺔ ﺩﻳﻤﻮﻏﺮﺍﻓﻴﺔ‪،‬‬

‫ﻭﺑﺬﻟﻚ ﻗﺎﻣﺖ ﺍﻟﻜﺎﺗﺒﺔ ﺑﺘﺴﺠﻴﻞ ﻣﺸﺎﻫﺪﺍﲥﺎ ﺍﻟﺪﻳﻤﻮﻏﺮﺍﻓﻴﺔ ﺑﺸﻜﻞ ﻣﺮﺋﻲ ﻋﻦ ﻃﺮﻳﻖ ﺻﻮﺭ‬ ‫ﻋﺪﺳﺎﺕ ﺍﻟﺘﺼﻮﻳﺮ‪ ،‬ﻭﺗﺴﺠﻴﻞ ﺣﺮﰲ ﺑﻌﺪﺳﺎﺕ ﺍﻟﻘﻠﻢ‪ ،‬ﳏﺎﻭﻟﺔ ﻣﻨﻬﺎ ﻛﺘﺠﺮﺑﺔ ﻋﴫﻳﺔ ﺑﺈﺩﺧﺎﻝ‬ ‫ﻛﺒﻴﻨﻴﺔ ﻣﻊ ﺍﻟﺼﻮﺭﺓ ﺍﳌﻜﺘﻮﺑﺔ‪ ،‬ﻭﺳﻨﺄﺧﺬ ﹰ‬ ‫ﺑﻌﻀﺎ ﻣﻦ ﺗﻠﻚ ﺍﻟﺼﻮﺭ ﺑﺎﳊﺎﻟﺘﲔ‬ ‫ﺍﻟﺼﻮﺭﺓ ﺍﻟﻔﻮﺗﻮﻏﺮﺍﻓﻴﺔ ﹼ‬ ‫ﻟﻨﻌﻴﺶ ﻣﻌﻬﺎ ﺭﺣﻠﺘﻬﺎ‪:‬‬

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‫ﺑﻴﻨﻴﺔ ﻫﺬﺍ ﺍﻟﺘﻜﻨﻴﻚ‪:‬‬ ‫ﺍﺧﱰﺕ ﺃﺭﺑﻊ ﺻﻮﺭ ﻋﻦ ﹼ‬ ‫‪<VÌÈ√Èfõ<l]Ç‚^é⁄ I< M‬‬ ‫ﺍﺳﺘﻄﺎﻋﺖ ﺻﻮﺭﺓ ﳖﺮ ﺍﻟﻨﻴﻞ ﰲ ﺍﻟﻘﺎﻫﺮﺓ ﺍﻟﺘﻲ ﺍﻟﺘﻘﻄﺘﻬﺎ ﻣﻦ ﺍﻟﻄﺎﺋﺮﺓ ﺃﻥ ﺗﺜﲑ ﻓﻴﻬﺎ ﲨﻠﺔ‬

‫ﻣﻦ ﺍﳌﺸﺎﻋﺮ ﺳﻜﺒﺘﻬﺎ ﻋﲆ ﺑﻴﺎﺽ ﺍﻟﺼﻔﺤﺔ ﺍﻟﺴﺎﺑﻘﺔ ﻟﺼﻔﺤﺔ ﺍﻟﺼﻮﺭﺓ‪ ،‬ﺑﺠﻤﻞ ﺗﻘﱰﺏ ﺇﱃ ﺍﻷﺩﺑﻴﺔ‬

‫ﺃﻛﺜﺮ ﻣﻦ ﺍﻟﺘﻘﺮﻳﺮﻳﺔ‪:‬‬

‫»‪ ...‬ﺣﻠﻘﺖ ﺍﻟﻄﺎﺋﺮﺓ ﻓﻮﻕ ﻣﺪﻳﻨﺔ ﺍﻟﻘﺎﻫﺮﺓ ﺑﺸﻤﺴﻬﺎ ﺍﻟﺪﺍﻓﺌﺔ ﺍﳌﺸﻌﺔ ﻋﲆ ﺃﺭﺍﺿﻴﻬﺎ ﺍﳋﺼﺒﺔ‬ ‫ﹴ‬ ‫ﺍﳋﴬﺍﺀ‪ ،‬ﻭﺻﺤﺮﺍﺋﻬﺎ ﺍﻟﺬﻫﺒﻴﺔ ﺍﳌﻠﺴﺎﺀ‪،‬‬ ‫ﻋﻨﺪﺋﺬ ﺃﺩﺭﻛﺖ ﺑﺄﻧﻨﻲ ﰲ ﺑﻠﺪ ﺍﻟﻨﻴﻞ ﻭﺍﻷﻫﺮﺍﻣﺎﺕ‪ ،‬ﺯﻣﻦ‬

‫ﺗﻘﺖ ﺇﱃ ﻟﻘﻴﺎﻩ‪ ..‬ﺯﻣﻦ ﻏﲑ ﺍﻟﺰﻣﻦ ﺍﻟﺬﻱ ﺗﻌﻮﺩﺗﻪ ﻋﻴﻨﺎﻱ‪ ،‬ﻓﻴﻪ ﻏﺒﺎﺭ ﻭﺗﺮﺍﺏ ﺍﻟﺴﻨﲔ ﺍﳌﱰﺍﻣﻴﺔ ﻓﻮﻕ‬ ‫ﹸ‬ ‫ﺍﳌﺒﺎﲏ ﺍﻟﻘﺪﻳﻤﺔ ﻭﺍﻟﺸﻮﺍﺭﻉ ﺍﳌﻜﺴﻮﺓ ﺑﺎﻹﺳﻔﻠﺖ‪..‬‬

‫ﻛﻨﺖ ﺃﺷﻌﺮ ﻭﺃﻧﺎ ﺃﻧﻈﺮ ﻣﻦ ﺍﻟﻄﺎﺋﺮﺓ ﺑﺄﻥ ﺍﻟﻨﻴﻞ ﻋﻈﻴﻢ ﻭﻛﺒﲑ ﺃﻛﱪ ﳑﺎ ﻛﻨﺖ ﺃﺗﺼﻮﺭﻩ‪،‬‬ ‫ﻭﻛﺬﻟﻚ ﺍﳌﺒﺎﲏ ﺍﳌﺤﻴﻄﺔ ﻋﲆ ﺟﺎﻧﺒﻴﻪ ﺍﻟﺘﻲ ﺗﻜﺎﺩ ﺗﺰﻳﺪﻩ ﹰ‬ ‫ﲨﺎﻻ ﻭﻋﻈﻤﺔ‪ .‬ﻛﻨﺖ ﺃﻋﺘﻘﺪ ﺑﺄﻥ ﺭﺍﺋﺤﺔ‬

‫ﺍﳌﺎﴈ ﺗﺼﻞ ﺇ ﹼﱄ ﻭﺃﻧﺎ ﻣﻦ ﻋﲆ ﻣﺘﻦ ﺍﻟﻄﺎﺋﺮﺓ«‪.‬‬

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‫‪VÌȬ^€jq]<l]Ç‚^é⁄ I< N‬‬ ‫ﻭﺟﻬﺖ ﺍﻟﻜﺎﺗﺒﺔ ﻋﺪﺳﺘﻬﺎ ﺑﺎﲡﺎﻩ ﺍﳌﺴﺘﻮ￯ ﺍﻻﺟﺘﲈﻋﻲ ﹼ‬ ‫ﺗﺄﳌﺖ‪ ،‬ﻭﻗﺎﺭﻧﺖ‬ ‫ﺩﻳﻤﻮﻏﺮﺍﻓﻴﺎ‬ ‫ﺣﻴﻨﲈ ﹼ‬ ‫ﹼ‬ ‫ﺑﲔ ﺑﻠﺪﳞﺎ‪ ،‬ﻣﴫ ﻭﺃﻣﺮﻳﻜﺎ‪ ،‬ﻓﻜﺎﻧﺖ ﻣﺜﻘﻠﺔ ﺑﺘﻌﺎﺳﺔ ﺍﻟﻮﺍﻗﻊ ﺍﻻﺟﺘﲈﻋﻲ ﺍﳌﴫﻱ ﺍﳌﺴﻜﻮﻥ ﺑﺎﻟﻔﻘﺮ‬

‫ﻭﺍﳉﻬﻞ ﻭﺍﳌﺮﺽ‪ ،‬ﺗﻨﴩﺍﻟﺼﻮﺭﺓ ﺍﻟﺘﺎﻟﻴﺔ ﻭﲤﺪﹼ ﻫﺎ ﺑﴩﻭﺣﺎﺕ ﻭﺍﻗﻌﻴﺔ ﺗﻘﺮﻳﺮﻳﺔ ﺑﺈﺭﻫﺎﺻﺎﺕ ﻹﻧﺴﺎﻥ‬

‫ﺗﻌﻤﻘﺖ ﻓﻴﻬﺎ‪ ،‬ﺗﻘﻮﻝ‪:‬‬ ‫ﻋﺮﰊ ﳐﻠﺺ ﳉﻠﺪﺗﻪ‪ ،‬ﻭﱂ ﺗﺴﻠﺨﻬﺎ ﺍﻟﻐﺮﺑﺔ ﻣﻬﲈ ﹼ‬

‫»ﺭﺃﻳﺖ ﺑﻴﻮ ﹰﺗﺎ ﻭﻣﺒﺎﲏ ﻏﲑ ﻣﻜﺘﻤﻠﺔ ﻣﺴﻜﻮﻧﺔ ﻣﻦ ﺯﲪﺔ ﺍﻟﻨﺎﺱ‪ ،‬ﻛﺎﻥ ﻛﻞ ﻣﻨﻬﺎ ﻳﺮﻭﻱ ﺣﻜﺎﻳﺔ‬

‫ﻭﻣﻌﺎﻧﺎﺓ‪ ..‬ﺍﳉﻮﻉ ﻭﺍﻟﻔﻘﺮ ﻭﺍﳉﻬﻞ‪ ..‬ﺗﻠﻚ ﺃﻛﱪ ﻣﺸﺎﻛﻞ ﻣﴫ‪.‬‬

‫ﺭﺃﻳﺖ ﺍﻟﻐﺴﻴﻞ ﻋﲆ ﺃﺳﻄﺢ ﺍﳌﺒﺎﲏ ﺃﻭ ﻣﺘﺪﱄ ﻣﻦ ﺍﻟﴩﻓﺎﺕ‪ ،‬ﻭﺍﻟﺸﻮﺍﺭﻉ ﺗﻀﺞ ﺑﻜﺜﺮﺓ‬

‫ﺍﻷﺻﻮﺍﺕ ﻭﺍﻷﻏﺎﲏ ﺍﳌﺪﺭﺟﺔ ﰲ ﺃﻛﺜﺮ ﺍﳌﺤﻼﺕ‪ ..‬ﻭﺍﻟﺒﺎﻋﺔ ﺍﳌﺘﺠﻮﻟﻮﻥ ﻣﻨﺘﴩﻭﻥ ﰲ ﻛﻞ ﻣﻜﺎﻥ‬

‫ﻓﻼ ﻳﻮﺟﺪ ﺭﺻﻴﻒ ﻟﻴﻤﴚ ﻋﻠﻴﻪ ﺇﻧﺴﺎﻥ‪ ،‬ﻓﺘﺎﺭﺓ ﺗﻌﻠﻮﻩ ﺍﻟﺴﻴﺎﺭﺍﺕ ﺍﳌﺼﻄﻔﺔ‪ ،‬ﻭﺗﺎﺭﺓ ﺃﺧﺮ￯ ﺣﻔﺮ‬ ‫ﻭﺍﻧﻜﺴﺎﺭﺍﺕ ﰲ ﻃﻮﺏ ﺍﻷﺭﺽ‪ ،‬ﺃﻭ ﺑﺎﺋﻊ ﻣﺘﺠﻮﻝ ﺍﺣﺘﻞ ﺍﳌﻜﺎﻥ ﻭﻓﺮﺵ ﺑﻀﺎﻋﺘﻪ ﻋﲆ ﺍﻷﺭﺽ«‪.‬‬

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‫‪VÌÈfi]Ü€¬<l]Ç‚^é⁄<IO‬‬ ‫ﻭﻫﻲ ﻣﻦ ﺍﳌﺸﺎﻫﺪﺍﺕ ﺍﻟﺘﻲ ﻻﻗﺖ ﻋﻨﺪ ﺍﻟﻜﺎﺗﺒﺔ ﺇﻋﺠﺎ ﹰﺑﺎ ﺷﺪﻳﺪﹰ ﺍ‪ ،‬ﻭﺇﻥ ﻛﺎﻥ ﳍﺎ ﻋﻠﻴﻬﺎ ﺑﻌﺾ‬

‫ﺍﳌﻼﺣﻈﺎﺕ ﺍﻟﻄﻔﻴﻔﺔ‪ ،‬ﺃﲠﺮﲥﺎ ﺩﻗﺔ ﻭﴎﻋﺔ ﺇﻧﺠﺎﺯ ﻫﺬﻩ ﺍﳌﺒﺎﲏ ﺍﻟﺘﻲ ﺍﺧﺘﻠﻂ ﻓﻴﻬﺎ ﺍﳊﺪﻳﺚ ﺑﺎﻟﻘﺪﻳﻢ‬

‫ﲢﺖ ﻣﻈﻠﺔ ﺍﻟﻌﺮﺍﻗﺔ ﻭﺍﻟﻔﺨﺎﻣﺔ‪ ،‬ﻭﺩﻗﺔ ﺍﻟﺒﻨﺎﺀ ﻭﴎﻋﺔ ﺍﻹﻧﺠﺎﺯ‪ ،‬ﺗﻘﻮﻝ‪:‬‬

‫»ﻛﲈ ﺭﺃﻳﺖ ﻣﺒﺎﲏ ﻋﺮﻳﻘﺔ ﻭﻓﺨﻤﺔ ﺗﺘﺴﻢ ﺑﺎﻟﻔﻦ ﺍﳌﻌﲈﺭﻱ ﺍﳊﺪﻳﺚ ﰲ ﺷﻮﺍﺭﻉ ﻣﺘﺴﻌﺔ‬

‫ﻭﺃﺣﻴﺎﺀ ﻧﻈﻴﻔﺔ‪ ،‬ﻭﻛﺬﻟﻚ ﺃﺑﻨﻴﺔ ﻗﺪﻳﻤﺔ ﻣﺰﺭﻛﺸﺔ ﳍﺎ ﻃﺎﺑﻊ ﺃﺛﺮﻱ ﻭﻓﻨﻲ ﻗﺪﻳﻢ‪ ،‬ﻓﻘﻂ ﲢﺘﺎﺝ ﺇﱃ‬

‫ﲢﺪﻳﺚ‪ ،‬ﲡﻤﻊ ﺍﳊﺎﴐ ﻭﺍﳌﺎﴈ ﺍﳉﻤﻴﻞ‪.‬‬

‫ﻛﲈ ﻟﻔﺖ ﻧﻈﺮﻱ ﰲ ﺍﻟﻘﺎﻫﺮﺓ ﻋﻈﻤﺔ ﺑﻨﺎﺀ ﺍﳌﻨﺸﺂﺕ ﻭﺍﻟﻔﻨﺎﺩﻕ ﺍﳌﺨﺼﺼﺔ ﻣﺜﻞ ﺩﺍﺭ ﺍﳌﺸﺎﺓ‬

‫ﻭﺩﺍﺭ ﺍﳌﺪﻓﻌﻴﺔ ﻭﺩﺍﺭ ﺍﳌﺪﺭﻋﺎﺕ ﻭﺩﺍﺭ ﺍﻟﺪﻓﺎﻉ ﺍﳉﻮﻱ‪ ،‬ﻓﺠﻤﻴﻊ ﻫﺬﻩ ﺍﻟﺪﻭﺭ ﻓﻨﺎﺩﻕ ﺭﺍﺋﻌﺔ ﰲ ﺃﺻﻮﻝ‬

‫ﺍﻟﺒﻨﺎﺀ ﻭﺍﻟﻔﺨﺎﻣﺔ ﻣﻦ ﺣﻴﺚ ﺍﻹﻧﺠﺎﺯ«‪.‬‬

‫‪١٢٨‬‬

‫‪<VÌËÖ^ñuÊ<ÌÈ≠Ö^i<l]Ç‚^é⁄<IP‬‬ ‫ﻋﻨﺪ ﺍﳊﺪﻳﺚ ﻋﻦ ﺍﳌﺸﺎﻫﺪﺍﺕ ﺍﻟﺘﺎﺭﳜﻴﺔ ﻭﺍﳊﻀﺎﺭﻳﺔ ﺍﺳﺘﺨﺪﻣﺖ ﺍﳌﻌﻠﻮﻣﺎﺗﻴﺔ ﺍﻟﺘﺎﺭﳜﻴﺔ‪،‬‬

‫ﻣﻊ ﺍﻟﴩﻭﺣﺎﺕ ﺍﻟﺘﻘﺮﻳﺮﻳﺔ‪ ،‬ﻫﺬﺍ ﻣﺎ ﺃﺭﻓﻘﺘﻪ ﻣﻊ ﺻﻮﺭﺓ ﻭﺍﺩﻱ ﺍﳌﻠﻮﻙ ﰲ ﻣﺪﻳﻨﺔ ﻃﻴﺒﺔ ﺍﻟﻘﺪﻳﻤﺔ‬

‫)ﺍﻷﻗﴫ(‪:‬‬

‫»‪ ...‬ﻳﻘﻊ ﻭﺍﺩﻱ ﺍﳌﻠﻮﻙ ﰲ ﻣﺪﻳﻨﺔ ﻃﻴﺒﺔ ﺍﻟﻘﺪﻳﻤﺔ ﻋﲆ ﺍﻟﻀﻔﺔ ﺍﻟﻐﺮﺑﻴﺔ ﳌﺪﻳﻨﺔ ﺍﻷﻗﴫ‪.‬‬

‫ﻭﻫﻮ ﻋﺒﺎﺭﺓ ﻋﻦ ﻣﻘﱪﺓ ﻗﺪﻳﻤﺔ ﻓﻴﻬﺎ ﻣﻘﺎﺑﺮ ﺍﻷﴍﺍﻑ‪ ،‬ﻭﻫﻲ ﺃﻛﺜﺮ ﻣﻦ ‪ ٤١١‬ﻣﻘﱪﺓ ﳏﻔﻮﺭﺓ‬

‫ﰲ ﺍﻟﺼﺨﺮ‪ .‬ﺩﺧﻠﻨﺎ ﳑﺮﺍﺕ ﻭﺩﻫﺎﻟﻴﺰ ﻃﻮﻳﻠﺔ ﻭﺳﻼﱂ ﻣﺮﻓﻮﻋﺔ ﻋﻰ ﺃﻋﻤﺪﺓ ﺩﺍﺧﻞ ﺍﻟﻐﺮﻑ‪،‬‬ ‫ﻭﻋﲆ ﺍﳉﺪﺭﺍﻥ ﺭﺳﻮﻣﺎﺕ ﻭﺯﺧﺎﺭﻑ ﻭﺻﻮﺭ ﺑﺄﲨﻞ ﺍﻷﻟﻮﺍﻥ ﻧﻘﺸﺖ ﺑﺄﻳﺪﻱ ﺍﻟﻔﺮﺍﻋﻨﺔ ﲢﻜﻲ‬ ‫ﺣﻜﺎﻳﺎﲥﻢ ﺍﻟﻴﻮﻣﻴﺔ‪ ،‬ﻭﻗﺪ ﻋﺜﺮ ﻋﲆ ‪ ٦٢‬ﻣﻘﱪﺓ ﻭﻋﴩﻭﻥ ﻫﻮﺓ ﻭﱂ ﹺ‬ ‫ﻳﺘﻨﻪ ﺍﻟﻌﻤﻞ ﲠﺎ‪ ،‬ﺳﺒﻊ ﻣﻨﻬﺎ‬ ‫ﰲ ﻭﺍﺩﻱ ﺍﳌﻠﻮﻙ ﺍﻟﻐﺮﰊ ﺍﻟﻜﺒﲑ‪ ،‬ﻭﺑﻘﻴﺘﻬﺎ ﰲ ﻭﺍﺩﻱ ﺍﳌﻠﻮﻙ ﺍﻟﴩﻗﻲ‪ ،‬ﻛﲈ ﺗﻢ ﺍﻛﺘﺸﺎﻑ ﻣﻘﺎﺑﺮ‬

‫ﻷﻭﻻﺩ ﺍﻟﻔﺮﺍﻋﻨﺔ ‪.«...‬‬

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‫‪<VÌfi^”◊÷<ÌȬ]Çe˝]<ÌeÜrj÷]<G‬‬ ‫ﻫﻞ ﻫﻲ ﲡﺮﺑﺔ ﻣﺘﻜﺎﻣﻠﺔ‪ ،‬ﺃﻡ ﳐﺘﻠﻄﺔ‪ ،‬ﺃﻡ ﻧﺎﻗﺼﺔ؟‬ ‫ﻫﻲ ﻟﻴﺴﺖ ﲡﺮﺑﺔ ﻣﺘﻜﺎﻣﻠﺔ ﻷﻧﻪ ﻻ ﻳﻮﺟﺪ ﻓﻴﻬﺎ ﺑﻨﺎﺀ ﻓﻨﻲ‪ ،‬ﻟﻜﻨﻬﺎ ﲡﺮﺑﺔ ﻋﴫﻳﺔ ﱂ ﻳﻤﺴﻬﺎ‬

‫ﺃﺣﺪ ﻣﻦ ﻗﺒﻞ‪ ،‬ﺗﻔﺮﺩﺕ ﻓﻴﻬﺎ ﺍﻟﻜﺎﺗﺒﺔ ﺑﺎﳉﻤﻊ ﺑﲔ ﻋﲔ ﺍﻟﻌﺪﺳﺔ ﻭﺍﻟﻌﲔ ﺍﻟﺒﴩﻳﺔ‪ ،‬ﻋﲔ ﺍﻟﻘﻠﻢ‬ ‫ﻟﺘﻜﻮﻳﻦ ﺻﻮﺭﺓ ﻭﺍﺣﺪﺓ ﺗﴩﺡ ﺇﺭﻫﺎﺻﺎﺕ ﺍﻟﻜﺎﺗﺒﺔ ﺍﻹﻧﺴﺎﻧﻴﺔ‪.‬‬

‫ﻭﺃﻭﳍﺎ‪:‬‬

‫ﻋﻨﺪﻣﺎ ﻧﻘﻮﻝ ﻋﻦ ﻧﺺ ﴎﺩﻱ ﺃﻧﻪ ﺃﺩﺏ ﳚﺐ ﺃﻥ ﻳﻜﻮﻥ ﻣﺘﺼ ﹰﻔﺎ ﺑﺼﻔﺎﺕ ﺍﻷﺩﺏ‪،‬‬

‫ﻗﺼﺎ ﺃﻭ ﺭﻭ ﹰﻳﺎ ﺃﻭ ﹰ‬ ‫ﻣﻘﺎﻻ‪،‬ﻷﻥ ﺍﻷﺟﻨﺎﺱ ﺍﻷﺩﺑﻴﺔ ﲢﻤﻞ‬ ‫ﺃﺩﺑﻴﺎ‪ ،‬ﻛﺄﻥ ﻳﻜﻮﻥ ‪h‬‬ ‫‪ -١‬ﺃﻥ ﻳﻜﻮﻥ ﹰ‬ ‫ﺟﻨﺴﺎ ‪h‬‬ ‫ﺻﻔﺔ ﺍﻷﺩﺏ‬

‫‪ -٢‬ﻭﺍﳌﻨﺠﺰ ﺍﻷﺩﰊ ﳛﺘﻮﻱ ﻋﲆ ﻋﻨﺎﴏ ﺍﳉﻨﺲ ﺍﻷﺩﰊ ﻭﻫﻲ‪:‬‬ ‫‪ -‬ﺍﻟﺒﻨﺎﺀ ﺍﻟﻔﻨﻲ‪ :‬ﺍﻟﺬﻱ ﳛﻮﻱ ﺍﻟﺰﻣﻜﺎﻧﻴﺔ ﻭﺍﻟﴫﺍﻉ ﺍﻟﺪﺭﺍﻣﻲ ﻭﺍﻟﻌﻘﺪﺓ ﻭﺍﻻﻧﻔﺮﺝ ﻭﺍﻟﻨﻬﺎﻳﺔ‬

‫ﺭﻭﺍﺋﻴﺎ ﺃﻭ ﺃﺩﺏ ﺭﺣﻠﺔ‪.‬‬ ‫ﻗﺼﺎ ﻭﺑﺠﻤﻴﻊ ﺃﺷﻜﺎﻟﻪ‪ ،‬ﺳﻮﺍﺀ ﺃﻛﺎﻥ ﺃﺩ ﹶﺑﺎ‬ ‫ﺇﺫﺍ ﻛﺎﻥ ﺭﻭ ﹰﻳﺎ ﺃﻭ ‪h‬‬ ‫‪h‬‬

‫ﱂ ﻳﺘﻮﺍﺟﺪ ﻣﻦ ﻫﺬﺍ ﺍﻟﺒﻨﺎﺀ ﰲ ﻫﺬﺍ ﺍﻟﻌﻤﻞ ﺇﻻ ﺍﻟﺰﻣﻜﺎﻧﻴﺔ‪ ،‬ﻓﻬﻮ ﻋﻤﻞ ﹼ‬ ‫ﻣﺴﻄﺢ ﻳﻘﻊ ﺑﲔ ﺍﳌﻘﺎﻝ‬

‫ﻭﺍﳌﺬﻛﺮﺍﺕ‪ ،‬ﻟﻜﻨﻪ ﳚﺮﻧﺎ ﻧﺤﻮ ﺃﺩﺏ ﺍﻟﺮﺣﻠﺔ ﺑﺸﻜﻠﻪ ﺍﻟﺰﻣﻜﺎﲏ ﺍﻟﻌﺎﻡ‪ ،‬ﻭﺗﻜﻮﻳﻨﻪ ﺍﻟﺪﺍﺧﲇ‪ ،‬ﻟﺬﻟﻚ‬

‫ﺗﺒﻨﻰ ﺍﻟﺪﻳﻤﻮﻏﺮﺍﻓﻴﺔ ﻛﺨﻴﻤﺔ ﻳﺘﻘﻲ ﲠﺎ ﺍﻻﻧﺰﻻﻕ ﺍﻟﻜﺎﻣﻞ ﻧﺤﻮ ﺍﻟﺘﻘﺮﻳﺮﻳﺔ‪.‬‬ ‫‪ -‬ﻭﺍﻟﺒﻨﺎﺀ ﺍﳉﲈﱄ‪ :‬ﻭﻋﻨﺎﴏﻩ ﻫﻲ‪:‬‬

‫ﺍﻟﴪﺩ‪ ،‬ﻭﺍﻷﺳﻠﻮﺏ‪ ،‬ﺍﻟﺸﺨﺼﻴﺎﺕ ‪ ،‬ﺍﳊﻮﺍﺭ‪ ،‬ﻭﺍﳉﲈﻝ ﺍﻟﻠﻐﻮﻱ ﻭﻋﻠﻢ ﺍﳉﲈﻝ‬ ‫‪ -٣‬ﺍﻷﺳﻠﻮﺏ‪ :‬ﳚﺐ ﺃﻥ ﳛﻤﻞ ﺍﻟﻌﻤﻖ ﺍﻷﺩﰊ )ﺍﻟﺴﻴﲈﻧﺘﻴﻚ ﻭﺍﻟﱪﺍﻏﲈﺗﻴﻚ(‬ ‫ﻛﲈ ﺃﳖﺎ ﻟﻴﺴﺖ ﻧﺎﻗﺼﺔ‪ ،‬ﻫﻲ ﲡﺮﺑﺔ ﳐﺘﻠﻄﺔ ﺑﲔ ﺍﻟﺘﻘﺮﻳﺮ ﻭﺍﻟﻌﻤﻖ ﺍﻷﺩﰊ‪ ،‬ﺣﻴﺚ ﻋﻤﻠﺖ‬

‫ﺍﻟﻜﺎﺗﺒﺔ ﺑﲔ ﺣﺎﻟﺘﲔ‪ ،‬ﺑﲔ ﺍﻷﺩﺏ ﻭﺍﻟﺘﻘﺮﻳﺮ‪ ،‬ﻭﻟﻮ ﻣﺎﻟﺖ ﻧﺤﻮ ﺍﻟﺘﻘﺮﻳﺮ ﻛﲈ ﻓﻌﻞ ﺍﺑﻦ ﺑﻄﻮﻃﺔ‬ ‫ﻷﺻﺒﺤﺖ ﺟﻐﺮﺍﻓﻴﺔ‪ ،‬ﻟﻜﻨﻬﺎ ﻣﺰﺟﺖ ﺑﲔ ﺍﻷﺩﺏ ﻭﺍﻟﺘﺎﺭﻳﺦ ﻭﺍﳉﻐﺮﺍﻓﻴﺔ ﻭ ﺍﻟﻌﻠﻮﻡ ﺍﻟﺒﴩﻳﺔ‬

‫‪١٣٠‬‬

‫ﺑﺄﺳﻠﻮﺏ ﺃﺩﰊ‪ ،‬ﻹﻗﺮﺍﺭ ﺍﳊﺮﻛﺔ ﺍﻟﺘﺒﺎﺩﻟﻴﺔ ﻟﻸﺩﺏ ﻣﻊ ﺍﻟﻌﻠﻮﻡ ﺍﳌﺤﻴﻄﺔ ﺑﻪ‪ ،‬ﺑﺬﺭﻳﻌﺔ ﺃﻥ ﻛﻞ ﺍﻟﻌﻠﻮﻡ‬ ‫ﹸﺗﻜﺘﺐ ﺑﺎﻷﺩﺏ ﻛﻮﺳﻴﻂ ﻟﻐﻮﻱ ﳍﺎ‪ ،‬ﻭﺗﻠﻚ ﺍﻟﻌﻠﻮﻡ ﲢﻴﻂ ﺑﺎﻷﺩﺏ ﺑﺸﻜﻞ ﺗﺒﺎﺩﱄ‪ ،‬ﺍﺳﺘﻄﺎﻋﺖ ﺃﻥ‬ ‫ﲤﺰﺝ ﺑﲔ ﺍﻟﻜﻼﺳﻴﻚ ﺍﻟﺘﻘﺮﻳﺮﻱ ﻭﺍﻟﺪﻳﻤﻮﻏﺮﺍﻓﻴﺔ ﺍﳊﺪﻳﺜﺔ ﺑﺄﺳﻠﻮﺏ ﺃﺩﰊ ﺣﺪﻳﺚ‪ ،‬ﻭﻫﺬﻩ ﻧﻘﻄﺔ‬

‫ﲢﺴﺐ ﳍﺎ‪ ،‬ﻫﻲ ﻭﻗﻔﺖ ﰲ ﻣﻨﺘﺼﻒ ﺍﻟﺪﻳﻤﻮﻏﺮﺍﻓﻴﺔ ﺍﻷﺩﺑﻴﺔ‪ ،‬ﻗﺪﻣﺖ ﻣﻦ ﺑﻠﺪ ﺗﻘﻴﻢ ﻓﻴﻪ‪ ،‬ﻭﻧﺰﻟﺖ‬

‫ﰲ ﺑﻠﺪ ﺗﻨﺘﻤﻲ ﺇﻟﻴﻪ‪ ،‬ﺃﻱ ﻗﺴﻤﺖ ﺑﲔ ﻣﺴﺎﺣﺘﲔ‪ ،‬ﻋﻠﻴﻬﺎ ﺃﻥ ﲡﺪ ﺍﻟﻌﻼﻗﺎﺕ ﺍﻹﻧﺴﺎﻧﻴﺔ ﻭﺍﻟﻌﻤﺮﺍﻧﻴﺔ‬ ‫ﻭﺍﳉﻐﺮﺍﻓﻴﺔ ﻭﺍﻟﺘﺎﺭﳜﻴﺔ ﻭﺍﳉﲈﻟﻴﺔ ﺑﻴﻨﻬﲈ‪ ،‬ﻭﻫﺬﺍ ﻋﻤﻞ ﻣﻌﻘﺪ ﳚﺐ ﺃﻥ ﳛﻤﻞ ﺻﺎﺣﺒﻪ ﻋﻴﻮ ﹰﻧﺎ ﻛﻌﺪﺳﺔ‬

‫ﺻﻮﺭﺍ ﳐﺘﻠﻔﺔ ﺃﻭ ﻣﺘﻘﺎﺭﺑﺔ‪ ،‬ﻟﻴﻀﻊ ﻧﻔﺴﻪ ﻛﻤﺤﻮﺭ ﻣﺸﱰﻙ ﺑﲔ ﺑﻴﺌﺘﲔ‪ ،‬ﺍﻟﺒﻴﺌﺔ‬ ‫ﺍﻟﻜﺎﻣﲑﺍ ﻟﻴﻌﻄﻲ‬ ‫ﹰ‬ ‫ﺍﳌﴫﻳﺔ ﻭﺍﻟﺒﻴﺌﺔ ﺍﻷﻣﺮﻳﻜﻴﺔ‪ ،‬ﻭﺃﻥ ﻳﻈﻬﺮ ﺩﺭﺟﺔ ﺍﻧﺒﻬﺎﺭﻩ ﰲ ﺃﳞﲈ‪ .‬ﻭﻗﺪ ﻧﺠﺤﺖ ﺍﻟﻜﺎﺗﺒﺔ ‪ -‬ﺇﱃ ﺣﺪﹼ‬

‫ﻣﺎ ‪ -‬ﰲ ﺫﻟﻚ‪.‬‬

‫‪VÍŒ¯}˘]<gfi^¢]<G‬‬ ‫ﻛﺎﻧﺖ ﻣﻔﺮﺩﺍﺕ ﺍﻟﻜﺎﺗﺒﺔ ﻭﺃﻟﻔﺎﻇﻬﺎ ﻣﻬﺬﺑﺔ ﺗﻨﺘﻤﻲ ﺇﱃ ﺍﳋﻠﻖ ﺍﻟﻌﺮﰊ ﺃﻛﺜﺮ ﻣﻨﻬﺎ ﻟﻸﺧﻼﻕ‬ ‫ﺍﻟﻐﺮﺑﻴﺔ‪ ،‬ﱂ ﺗﺬﻡ ﻋﺮ ﹰﻗﺎ‪ ،‬ﺃﻭ ﺗﺘﺪﺧﻞ ﰲ ﴏﺍﻉ ﺩﻳﻨﻲ ﺃﻭ ﻣﺬﻫﺒﻲ ﺃﻭ ﻃﺎﺋﻔﻴﺔ‪ ،‬ﻓﻜﺎﻧﺖ ﺩﺭﺟﺔ ﺍﻷﺧﻼﻕ‬ ‫ﰲ ﻧﺼﻬﺎ ﻋﺎﻟﻴﺔ ﰲ ﻣﻘﻴﺎﺱ ﺍﳌﻨﻈﻮﻣﺔ ﺍﻷﺧﻼﻗﻴﺔ ﺍﻹﻧﺴﺎﻧﻴﺔ ﺍﻟﻌﺎﳌﻴﺔ‪.‬‬ ‫‪VÌ≥^§]<G‬‬ ‫ﺑﻌﺪ ﺳﻔﺮﻱ ﺍﻟﻄﻮﻳﻞ ﰲ ﻫﺬﻩ ﺍﳌﺸﺎﻫﺪﺍﺕ ﺍﻟﺴﻴﻨﻴﻤﻴﺔ‪ ،‬ﺃﺟﺪﲏ ﻭﺿﻌﺖ ﺭﺃﻳﻲ ﺍﻟﺬﺭﺍﺋﻌﻲ‬

‫ﰲ ﻛﻞ ﺻﻐﲑﺓ ﻭﻛﺒﲑﺓ ﻣﻦ ﻫﺬﺍ ﺍﳌﻮﺿﻮﻉ ﺍﻟﺒﻴﻨﻲ ﺍﻟﺬﻱ ﳚﻤﻊ ﺑﲔ ﺍﻟﻌﻠﻢ ﻭﺍﻷﺩﺏ‪ ،‬ﻋﲆ ﻗﺪﺭ‬

‫ﻣﺒﻠﻐﻲ ﻣﻦ ﺍﻟﻌﻠﻢ‪ ،‬ﻟﺬﺍ ﺃﻗﺪﻡ ﺍﻋﺘﺬﺍﺭﻱ ﻋﻦ ﺃﻱ ﻫ ﹼﻨﺔ ﺃﻭﻏﻔﻠﺔ ﺃﻭ ﻫﻔﻮﺓ ﺑﺪﺭﺕ ﻣﻨﻲ‪ ،‬ﺍﻟﺘﻘﺼﲑ ﻣﻨﻲ‬ ‫ﻭﺍﻟﻜﲈﻝ ﷲ ﻭﺣﺪﻩ‪ ،‬ﻭﲢﻴﺔ ﺍﺣﱰﺍﻡ ﻭﺗﻘﺪﻳﺮ ﻭﺛﻨﺎﺀ ﻋﲆ ﺟﻬﺪ ﺍﻟﻜﺎﺗﺒﺔ ﻭﻓﺎﺀ ﺍﺑﺮﺍﻫﻴﻢ ﻋﺮﺍﺭ ﰲ ﺇﻧﺠﺎﺯ‬

‫ﻫﺬﺍ ﺍﻟﻜﺘﺎﺏ‪.‬‬

‫‪١٣١‬‬

‫]‪ÖÅ^íπ]Ê<ƒq]Üπ‬‬ ‫‪-‬‬

‫ﺃﺩﺏ ﺍﻟﺮﺣﻼﺕ – ﻭﻳﻜﻴﺒﻴﺪﻳﺎ ‪ar.m.wikipedia.org‬‬

‫ ﺃﻳﻦ ﻫﻲ ﺍﳊﺪﻭﺩ ﺍﻟﻔﺎﺻﻠﺔ ﺑﲔ ﺍﻟﺮﻭﺍﻳﺔ ﻭﺍﻟﺴﲑﺓ ﺍﻟﺬﺍﺗﻴﺔ‪ -‬ﻣﻮﻗﻊ ﻋﺮﺏ‪٤٨‬‬‫ ﺍﳌﻮﺳﻮﻋﺔ ﺍﻟﺬﺭﺍﺋﻌﻴﺔ ‪ /‬ﺗﺄﻟﻴﻒ ﻋﺒﺪ ﺍﻟﺮﺯﺍﻕ ﻋﻮﺩﻩ ﺍﻟﻐﺎﻟﺒﻲ ‪/‬ﺍﳌﺠﻠﺪ ﺍﻟﺜﺎﻟﺚ ‪-‬ﺍﻟﺬﺭﺍﺋﻌﻴﺔ ﰲ‬‫ﺍﻟﺘﻄﺒﻴﻖ ﻃﺒﻌﺔ ﻣﺰﻳﺪﺓ ﻣﻨﻘﺤﺔ‪-‬ﺩﺍﺭ ﺍﻟﻨﺎﺑﻐﺔ ﻟﻠﻨﴩ ﻭﺍﻟﺘﻮﺯﻳﻊ ‪٢٠١٩‬‬

‫ ﺍﻷﺳﺘﺎﺫ ﳏﻤﺪ ﻋﺰﺍﻡ ‪ -‬ﺩﺭﺍﺳﺘﻪ ﺷﻌﺮﻳﺔ ﺍﳋﻄﺎﺏ ﺍﻟﴪﺩﻱ ‪ -‬ﻣﻨﺸﻮﺭﺍﺕ ﺇﲢﺎﺩ ﺍﻟﻜﺘﺎﺏ‬‫ﺍﻟﻌﺮﺏ –ﺩﻣﺸﻖ ‪-٢٠٠٥‬‬

‫‪-‬‬

‫ﺍﻟﺪﻛﺘﻮﺭ ﺍﺑﺮﺍﻫﻴﻢ ﻋﻮﺽ –ﻋﻼﻗﺔ ﺍﻷﺩﺏ ﺑﺎﻟﺪﻳﻦ ﻭﺍﻷﺧﻼﻕ – ﺍﻷﻟﻮﻛﺔ ﺭﺍﺑﻂ ‪alukah.‬‬ ‫‪net‬‬

‫ ﺃﲪﺪ ﳐﺘﺎﺭ ﻋﻤﺮ –ﻋﻠﻢ ﺍﻟﺪﻻﻟﺔ –‬‫ ﺍﻟﺬﺭﺍﺋﻌﻴﺔ ﺑﲔ ﺍﳌﻔﻬﻮﻡ ﺍﻟﻔﻠﺴﻔﻲ ﻭﺍﻟﻠﻐﻮﻱ‪ -‬ﺗﺄﻟﻴﻒ‪ /‬ﻋﺒﺪ ﺍﻟﺮﺯﺍﻕ ﻋﻮﺩﻩ ﺍﻟﻐﺎﻟﺒﻲ‪ -‬ﺩﺍﺭ‬‫ﺍﻟﻨﺎﺑﻐﺔ ﻟﻠﻨﴩ ‪٢٠١٩‬‬

‫ ﺍﻟﺬﺭﺍﺋﻌﻴﺔ ﻭﺳﻴﺎﺩﺓ ﺍﻷﺟﻨﺎﺱ ﺍﻷﺩﺑﻴﺔ – ﺗﺄﻟﻴﻒ ‪ /‬ﻋﺒﺪ ﺍﻟﺮﺯﺍﻕ ﻋﻮﺩﻩ ﺍﻟﻐﺎﻟﺒﻲ‪ -‬ﺩﺍﺭ ﺍﻟﻨﺎﺑﻐﺔ‬‫ﻟﻠﻨﴩ ‪٢٠١٩‬‬

‫ ﻣﻘﺪﻣﺔ ﰲ ﻋﻠﻢ ﺍﻟﺴﻜﺎﻥ ﻭﺗﻄﺒﻴﻘﺎﺗﻪ‪ -‬ﻣﺎﺟﺪ ﻋﺜﲈﻥ‪ -‬ﻣﻮﻗﻊ ﻭﺍﻱ ﺑﺎﻙ ﻣﺸﲔ‬‫‪Glossary of linguistic Terminology ,Semiotics , Dictionary of‬‬

‫‪-‬‬

‫‪language p9 Elementary of Semiology, semiotics ,semiology.‬‬

‫‪‬‬

‫‪١٣٣‬‬

‫]‪l^ËÁj-‬‬ ‫ﺍﻹﻫﺪﺍﺀ‬

‫ﺍﳌﻮﺿـﻮﻉ‬

‫ﺗﻘﺪﻳﻢ‬ ‫ﹰ‬ ‫ﺃﻭﻻ‪ :‬ﺍﻟﺮﻭﺍﻳﺔ ﺍﳌﻌﺎﴏﺓ‬

‫ﺍﻟﺼﻔﺤﺔ‬ ‫‪٥‬‬ ‫‪٧‬‬

‫‪١٣‬‬

‫ﺛﺎﻧ ﹰﻴﺎ‪ :‬ﺃﺩﺏ ﺍﻟﺮﺣﻠﺔ ﺍﳌﻌﺎﴏ‬

‫‪١٥‬‬

‫ﺭﺍﺑﻌﺎ‪ :‬ﺃﺩﺏ ﺍﻟﺴﻔﺮ‬ ‫ﹰ‬

‫‪١٨‬‬

‫ﺛﺎﻟ ﹰﺜﺎ‪ :‬ﺃﺩﺏ ﺭﺣﻼﺕ ﺍﻟﺒﺤﺮ‬

‫‪١٧‬‬

‫ﺧﺎﻣﺴﺎ‪ :‬ﺃﺩﺏ ﺍﻟﺪﻳﻤﻮﻏﺮﺍﻓﻴﺔ‬ ‫ﹰ‬

‫‪١٩‬‬

‫ﺩﺭﺍﺳﺎﺕ ﺫﺭﺍﺋﻌﻴﺔ ﻋﲆ ﺃﻧﻮﺍﻉ ﺃﺩﺏ ﺍﻟﺮﺣﻠﺔ ﰲ ﺇﻃﺎﺭ ﺭﻭﺍﺋﻲ ﻣﻌﺎﴏ‬

‫‪٢١‬‬

‫ﺃﻧﻤﻮﺫﺟﺎ‬ ‫ﺍﻟﺒﺤﺎﺭ‬ ‫ﹰ‬ ‫ﻟﻠﻜﺎﺗﺐ ﺍﻟﻌﺮﺍﻗﻲ ﺣﺴﻦ ﹼ‬ ‫ﺃﺩﺏ ﺍﻟﺮﺣﻠﺔ ﰲ ﺇﻃﺎﺭ ﺭﻭﺍﺋﻲ ﻣﻌﺎﴏ‬

‫‪٢٣‬‬

‫ﺇﻏﻨﺎﺀ‬

‫ﺃﺩﺏ ﺭﺣﻼﺕ ﺍﻟﺒﺤﺮ ﺭﻭﺍﻳﺘﺎ‪) :‬ﺑﺤﺮ ﺃﺯﺭﻕ ﻗﻤﺮ ﺃﺑﻴﺾ(‪) ،‬ﺍﻟ ﹼﻨﻮﰐ(‬

‫‪٢٠‬‬

‫ﺭﻭﺍﻳﺔ )ﺑﺤﺮ ﺃﺯﺭﻕ ﻗﻤﺮ ﺃﺑﻴﺾ( ﻟﻠﺮﻭﺍﺋﻲ ﺍﻟﻌﺮﺍﻗﻲ )ﺣﺴﻦ ﺍﻟﺒﺤﺎﺭ(‬ ‫ﺃﻧﻤﻮﺫﺟﺎ‬ ‫ﹰ‬ ‫ﺩﺭﺍﺳﺔ ﺫﺭﺍﺋﻌﻴﺔ ﺑﺂﻟﻴﺔ ﺍﻻﺳﺘﻘﻄﺎﻉ ﻟﻠﻨﺎﻗﺪﺓ ﺍﻟﺬﺭﺍﺋﻌﻴﺔ ﺍﻟﺴﻮﺭﻳﺔ‬ ‫ﹰ‬ ‫ﺃﻭﻻ‪ :‬ﻣﻘﺪﹼ ﻣﺔ ﻭﺇﻏﻨﺎﺀ‬

‫‪٢٥‬‬

‫ﻣﺴﺎﻣﲑ ﻋﲆ ﺣﺎﺋﻂ ﺍﻷﺩﺏ‬

‫‪٢٦‬‬

‫ﺳﲑﺓ ﺍﻟﻜﺎﺗﺐ ﻭﻣﺴﺎﻣﲑﻩ ﻋﲆ ﺣﺎﺋﻂ ﺍﻷﺩﺏ‬

‫ﻣﺴﺘﻮﻳﺎﺕ ﺍﻟﺘﺤﻠﻴﻞ ﺍﻟﺬﺭﺍﺋﻌﻲ‬ ‫ﹰ‬ ‫ﺃﻭﻻ ‪ :‬ﺍﳌﺴﺘﻮ￯ ﺍﻟﺒﴫﻱ ﻭﺍﻟﻠﺴﺎﲏ ﺍﳉﲈﱄ‬ ‫‪ -١‬ﺍﳌﺪﺧﻞ ﺍﻟﺒﴫﻱ‬

‫‪ -٢‬ﺍﳌﺪﺧﻞ ﺍﻟﻠﺴﺎﲏ‬

‫ﺛﺎﻧ ﹰﻴﺎ‪ :‬ﺍﳌﺴﺘﻮ￯ ﺍﻷﺧﻼﻗﻲ‬

‫‪ -١‬ﺍﻟﺒﺆﺭﺓ ﺍﻷﺳﺎﺳﻴﺔ ﺍﻟﺜﺎﺑﺘﺔ ﻟﻠﻨﺺ‬

‫‪٢٥‬‬ ‫‪٢٦‬‬ ‫‪٢٧‬‬ ‫‪٢٧‬‬

‫‪٢٧‬‬ ‫‪٣٠‬‬ ‫‪٣٢‬‬

‫‪٣٢‬‬

‫‪١٣٥‬‬

‫ﺍﳋﺎﲤﺔ‬

‫‪ -٢‬ﺍﳋﻠﻔﻴﺔ ﺍﻷﺧﻼﻗﻴﺔ ﻟﻠﻨﺺ ﺃﻭ ﺍﻟﺜﻴﻤﺔ‬

‫ﺳﻔﺮ ﰲ ﳎﻬﻮ ﹶﻟﲔ‬

‫‪٣٣‬‬ ‫‪٣٣‬‬ ‫‪٣٥‬‬

‫ﺭﺣﻠﺔ ﺍﻟﻨﻮﰐ )ﺣﺴﻦ ﺍﻟﺒﺤﺎﺭ( ﺍﳌﺰﺩﻭﺟﺔ ﰲ ﻋﻮﺍﱂ ﺍﻟﺬﺍﺕ ﻭﻋﻮﺍﱂ ﺃﺩﺏ ﺍﻟﺮﺣﻠﺔ‬

‫‪٣٥‬‬

‫ﺭﻭﺍﻳﺔ ﺍﻟﺴﲑﺓ ﺍﻟﺬﺍﺗﻴﺔ‬

‫‪٣٥‬‬

‫ﻣﺴﺎﻣﲑﻩ ﻋﲆ ﺣﺎﺋﻂ ﺍﻷﺩﺏ‬

‫‪٣٦‬‬

‫ﺇﻏﻨﺎﺀ‬

‫ﺳﲑﺓ ﺗﻌﺮﻳﻔﻴﺔ‬

‫ﻣﺴﺘﻮﻳﺎﺕ ﺍﻟﺘﺤﻠﻴﻞ ﺍﻟﺬﺭﺍﺋﻌﻲ‬ ‫ﹰ‬ ‫ﺃﻭﻻ ‪ :‬ﺍﳌﺴﺘﻮ￯ ﺍﻟﺒﴫﻱ ﻭﺍﻟﻠﺴﺎﲏ ﺍﳉﲈﱄ‬ ‫‪ -١‬ﺍﳌﺪﺧﻞ ﺍﻟﺒﴫﻱ‬

‫‪ -٢‬ﺍﳌﺪﺧﻞ ﺍﻟﻠﺴﺎﲏ‬

‫ﺛﺎﻧ ﹰﻴﺎ‪ :‬ﺍﳌﺴﺘﻮ￯ ﺍﻟﻨﻔﴘ‬

‫‪ -١‬ﺍﳌﺪﺧﻞ ﺍﻟﺴﻠﻮﻛﻲ‬

‫‪ -٢‬ﺍﳌﺪﺧﻞ ﺍﻟﺘﻘﻤﴢ ﻭﺍﻻﺳﺘﻨﺒﺎﻃﻲ‬

‫‪ -٣‬ﺍﳌﺪﺧﻞ ﺍﻟﻌﻘﻼﲏ ﺃﻭ ﺍﻟﺘﻮﻟﻴﺪﻱ‬

‫ﺛﺎﻟ ﹰﺜﺎ‪ :‬ﺍﳌﺴﺘﻮ￯ ﺍﻷﺧﻼﻗﻲ‬

‫‪ -١‬ﺍﻟﺒﺆﺭﺓ ﺍﻟﻔﻜﺮﻳﺔ ﺍﻟﺜﺎﺑﺘﺔ ﺃﻭ ﺍﻟﺘﺒﺌﲑ ﺍﻟﻔﻜﺮﻱ‬ ‫‪ -٢‬ﺍﳋﻠﻔﻴﺔ ﺍﻷﺧﻼﻗﻴﺔ ﻟﻠﻨﺺ ﺃﻭ ﺍﻟﺜﻴﻤﺔ‬

‫ﺭﺍﺑﻌﺎ‪ :‬ﺍﳌﺴﺘﻮ￯ ﺍﳊﺮﻛﻲ ﰲ ﺍﻟﺘﺤﻠﻴﻞ‬ ‫ﹰ‬ ‫‪ -١‬ﺍﻟﺒﻨﺎﺀ ﺍﻟﻔﻨﻲ‬ ‫‪ -٢‬ﺍﻷﺳﻠﻮﺏ‬

‫‪٣٦‬‬ ‫‪٣٦‬‬ ‫‪٣٦‬‬

‫‪٣٧‬‬ ‫‪٤٤‬‬ ‫‪٥١‬‬

‫‪٥١‬‬ ‫‪٥٥‬‬ ‫‪٥٧‬‬ ‫‪٥٩‬‬

‫‪٥٩‬‬ ‫‪٦٢‬‬ ‫‪٦٣‬‬

‫‪٦٤‬‬ ‫‪٧٧‬‬

‫‪ -٣‬ﺍﳊﻮﺍﺭﺍﺕ ﺍﳋﺎﺭﺟﻴﺔ‬

‫‪٧٨‬‬

‫‪ -٥‬ﺍﻟﺘﻐﺬﻳﺔ ﺍﳋﻠﻔﻴﺔ‬

‫‪٨٠‬‬

‫‪ -٤‬ﺍﳊﻮﺍﺭﺍﺕ ﺍﻟﺪﺍﺧﻠﻴﺔ‬

‫‪١٣٦‬‬

‫‪٣٥‬‬

‫‪٧٩‬‬

‫‪ -٦‬ﺗﺪﻓﻖ ﺗﻴﺎﺭ ﺍﻟﻮﻋﻲ‬ ‫‪ -٧‬ﺍﳉﲈﻝ‬

‫ﺧﺎﻣﺴﺎ‪ -‬ﺍﳌﺴﺘﻮ￯ ﺍﻟﺮﻗﻤﻲ ﺃﻭ ﺍﻹﺣﺼﺎﺋﻲ ﺍﻟﺴﺎﻧﺪ‬ ‫ﹰ‬ ‫‪ -١‬ﺍﻟﺘﻘﻴﻴﻢ ﺍﻟﺮﻗﻤﻲ ﺍﻟﺴﺎﻧﺪ‬ ‫‪ -٢‬ﺍﳌﻴﻞ ﺭﻗﻤﻲ ﺍﻟﺬﺭﺍﺋﻌﻲ‬

‫‪٨٠‬‬ ‫‪٨١‬‬ ‫‪٩٣‬‬

‫‪٩٣‬‬ ‫‪٩٣‬‬

‫ﺃﺩﺏ ﺍﻟﺴﻔﺮ ‪ -‬ﺭﻭﺍﻳﺔ )ﺃ ﹼﻳﺎﻡ ﺑﻐﺪﺍﺩ( ﻟﻠﻜﺎﺗﺐ ﺍﳌﴫﻱ ﺧﻠﻴﻞ ﺍﳉﻴﺰﺍﻭﻱ‬ ‫ﺃﻧﻤﻮﺫﺟﺎ‬ ‫ﹰ‬ ‫ﻣﻘﺪﹼ ﻣﺔ‬ ‫ﺍﻟﺴﲑﺓ ﹼ‬ ‫ﺍﺗﻴﺔ ﻟﻠﻜﺎﺗﺐ‪ :‬ﺧﻠﻴﻞ ﺍﳉﻴﺰﺍﻭﻱ‬ ‫ﹼ‬ ‫ﺍﻟﺬ ﹼ‬

‫‪٩٨‬‬

‫ﺍﻟﺘﺒﺌﲑ ﺍﻟﻔﻜﺮﻱ‬

‫‪٩٩‬‬

‫ﻣﺴﺎﻣﲑﻩ ﻋﲆ ﺣﺎﺋﻂ ﺍﻷﺩﺏ‬

‫ﺍﻟ ﹼﻨﺺ‬

‫ﺍﳌﺴﺘﻮ￯ ﺍﻟﺒﴫﻱ ﺃﻭ ﺍﳌﺮﺋﻲ‬

‫‪ -١‬ﺍﳌﺪﺧﻞ ﺍﻟﺒﴫﻱ‬ ‫‪ -٢‬ﺍﳌﺪﺧﻞ ﺍﻟ ﹼﻠﺴﺎﲏ‬

‫ﺍﳌﺴﺘﻮ￯ ﺍﳊﺮﻛﻲ ﰲ ﺍﻟ ﹼﺘﺤﻠﻴﻞ‬

‫ﺃﺩﺏ ﺍﻟﺮﺣﻠﺔ ﺍﻟﺪﻳﻤﻮﻏﺮﺍﻓﻴﺔ ﻛﺘﺎﺏ )ﺍﳌﻠﺘﻘﻰ( ﻟﻠﻜﺎﺗﺒﺔ ﺍﻟﺴﻮﺭﻳﺔ ﺍﻷﻣﺮﻳﻜﻴﺔ ﺍﳉﻨﺴﻴﺔ‬

‫‪٩٥‬‬

‫‪٩٧‬‬

‫‪٩٩‬‬

‫‪١٠٠‬‬

‫‪١٠٢‬‬ ‫‪١٠٢‬‬ ‫‪١٠٣‬‬

‫‪١٠٦‬‬

‫ﺃﻧﻤﻮﺫﺟﺎ‬ ‫ﻭﻓﺎﺀ ﻋﺮﺍﺭ‬ ‫ﹰ‬ ‫ﻣﻘﺪﻣﺔ‬

‫‪١١٩‬‬

‫* ﺍﻟﺴﲑﺓ ﺍﻟﺬﺍﺗﻴﺔ ﻟﻠﻜﺎﺗﺒﺔ‬

‫‪١٢١‬‬

‫* ﺍﳌﻮﺿﻮﻉ‪ :‬ﺍﻟﺪﻳﻤﻮﻏﺮﺍﻓﻴﺔ‬

‫‪١٢٢‬‬

‫* ﺍﻟﺘﻜﻨﻴﻚ‬

‫‪١٢٥‬‬

‫ﺇﻏﻨﺎﺀ‬

‫* ﺍﻻﺳﱰﺍﺗﻴﺠﻴﺔ‬

‫* ﺍﳌﺴﺘﻮ￯ ﺍﻟﺒﴫﻱ‬

‫* ﺍﻟﺘﺠﺮﺑﺔ ﺍﻹﺑﺪﺍﻋﻴﺔ ﻟﻠﻜﺎﺗﺒﺔ‬

‫‪١١٧‬‬

‫‪١٢٠‬‬ ‫‪١٢١‬‬

‫‪١٢٣‬‬

‫‪١٣٠‬‬

‫‪١٣٧‬‬

‫* ﺍﳉﺎﻧﺐ ﺍﻷﺧﻼﻗﻲ‬

‫‪١٣١‬‬

‫ﺍﳌﺮﺍﺟﻊ ﻭﺍﳌﺼﺎﺩﺭ‬

‫‪١٣٣‬‬

‫* ﺍﳋﺎﲤﺔ‬ ‫ﺍﻟﻔﻬﺮﺱ‬

‫‪١٣١‬‬

‫‪١٣٥‬‬

‫]‪ÖÁŞâ<ª<ÌÀ÷ˆπ‬‬ ‫* ﺩ‪ .‬ﻋﺒﲑ ﺧﺎﻟﺪ ﳛﻴﻲ‬ ‫* ﻃﺒﻴﺒﺔ ﺃﺳﻨﺎﻥ ﺳﻮﺭﻳﺔ‬ ‫* ﺧﺮﳚﺔ ﺟﺎﻣﻌﺔ ﺩﻣﺸﻖ – ﻛﻠﻴﺔ ﻃﺐ ﺍﻷﺳﻨﺎﻥ ‪١٩٩٠-١٩٨٩‬ﻡ‪.‬‬ ‫* ﻭﻟﺪﺕ ﰲ ‪ ١٩٦٧/٢/٣‬ﰲ ﻣﺪﻳﻨﺔ ﻃﺮﻃﻮﺱ ﰲ ﺳﻮﺭﻳﺎ‪ ،‬ﻣﻘﻴﻤﺔ ﺣﺎﻟ ﹰﻴﺎ ﺑﺎﻹﺳﻜﻨﺪﺭﻳﺔ ﰲ‬ ‫ﲨﻬﻮﺭﻳﺔ ﻣﴫ ﺍﻟﻌﺮﺑﻴﺔ ‪.‬‬

‫* ﻋﻤﻠﺖ ﺑﻤﻬﻨﺔ ﻃﺐ ﺍﻷﺳﻨﺎﻥ ﻃﻮﺍﻝ ‪ ٢٠‬ﻋﺎ ﹰﻣﺎ ﺑﲔ ﻋﻴﺎﺩﰐ ﺍﳋﺎﺻﺔ ﻭﺍﳌﺮﺍﻛﺰ ﺍﻟﻄﺒﻴﺔ ﺍﻟﺘﺎﺑﻌﺔ‬ ‫ﻟﻮﺯﺍﺭﺓ ﺍﻟﺼﺤﺔ ﰲ ﺍﳉﻤﻬﻮﺭﻳﺔ ﺍﻟﻌﺮﺑﻴﺔ ﺍﻟﺴﻮﺭﻳﺔ‪.‬‬

‫* ﺷﺎﺭﻛﺖ ﺑﺎﻟﻌﺪﻳﺪ ﻣﻦ ﺍﳌﺆﲤﺮﺍﺕ ﺍﻟﻄﺒﻴﺔ‪.‬‬

‫_‪VhÅ˘]<Ÿ^•<ª<^⁄‬‬ ‫* ﻧﺎﻗﺪﺓ ﺫﺭﺍﺋﻌﻴﺔ ‪.‬‬ ‫* ﺷﺎﺭﻛﺖ ﺑﺪﺭﺍﺳﺎﺕ ﻧﻘﺪﻳﺔ ﺗﻄﺒﻴﻘﻴﺔ ﻋﲆ ﺍﻟﻨﻈﺮﻳﺔ ﺍﻟﺬﺭﺍﺋﻌﻴﺔ ﺍﻟﺘﻲ ﻭﺿﻌﻬﺎ ﺍﻟﺪﻛﺘﻮﺭ ﻋﺒﺪ‬ ‫ﺍﻟﺮﺯﺍﻕ ﻋﻮﺩﻩ ﺍﻟﻐﺎﻟﺒﻲ‪ ،‬ﻭﻛﺎﻥ ﱄ ﺍﻟﻘﺴﻢ ﺍﻟﻌﻤﲇ ﰲ ﻛﺘﺎﺑﻪ ) ﺍﻟﺬﺭﺍﺋﻌﻴﺔ ﰲ ﺍﻟﺘﻄﺒﻴﻖ( ﺇﺻﺪﺍﺭ‬ ‫‪. ٢٠١٧‬‬

‫* ﺩﺭﺍﺳﺎﺕ ﻧﻘﺪﻳﺔ ﺗﻄﺒﻴﻘﻴﺔ ﻋﲆ ﺍﻟﻨﻈﺮﻳﺔ ﺍﻟﺬﺭﺍﺋﻌﻴﺔ ﰲ ﺍﳌﻮﺳﻮﻋﺔ ﺍﻟﺬﺭﺍﺋﻌﻴﺔ ﺍﳌﺆﻟﻔﺔ ﻣﻦ ﺛﻼﺛﺔ‬ ‫ﳎﻠﺪﺍﺕ ) ﺍﻟﺬﺭﺍﺋﻌﻴﺔ ﺑﲔ ﺍﳌﻔﻬﻮﻡ ﺍﻟﻔﻠﺴﻔﻲ ﻭﺍﻟﻠﻐﻮﻱ‪ -‬ﺍﻟﺬﺭﺍﺋﻌﻴﺔ ﻭﺍﻷﺟﻨﺎﺱ ﺍﻷﺩﺑﻴﺔ‪-‬‬

‫ﺍﻟﺬﺭﺍﺋﻌﻴﺔ ﰲ ﺍﻟﺘﻄﺒﻴﻘﺔ ﻣﺰﻳﺪﺓ ﻭﻣﻨﻘﺤﺔ( ﺇﺻﺪﺍﺭ ﺩﺍﺭ ﺍﻟﻨﺎﺑﻐﺔ ﻟﻠﻌﺎﻡ ‪٢٠١٨‬‬ ‫* ﻛﺘﺒﺖ ﺍﻟﻌﺪﻳﺪ ﻣﻦ ﺍﳌﻘﺎﻻﺕ ﺍﻷﺩﺑﻴﺔ ﺍﻟﺘﻲ ﻧﴩﺕ ﺑﺎﳌﻮﺍﻗﻊ ﺍﻟﻌﺎﳌﻴﺔ‪.‬‬ ‫* ﻛﺘﺒﺖ ﺍﻟﺸﻌﺮ ﻭﺍﻟﻘﺼﺔ ﺍﻟﻘﺼﲑﺓ ‪.‬‬

‫* ﻛﺘﺒﺖ ﺍﻟﻌﺪﻳﺪ ﻣﻦ ﺍﻟﺪﺭﺍﺳﺎﺕ ﺍﻟﻨﻘﺪﻳﺔ ﺍﻷﺩﺑﻴﺔ ﺣﺴﺐ ﻧﻈﺮﻳﺎﺕ ﻣﺎ ﺑﻌﺪ ﺍﳊﺪﺍﺛﺔ‪ ،‬ﻭﺃﳘﻬﺎ‬ ‫ﺍﻟﺘﻔﻜﻴﻜﻴﺔ ﻟﻨﺼﻮﺹ ﺃﺩﺑﺎﺀ ﻭﺷﻌﺮﺍﺀ ﻋﺮﺏ ﻣﻦ ﳐﺘﻠﻒ ﺍﻟﺒﻠﺪﺍﻥ ﺍﻟﻌﺮﺑﻴﺔ ﺗﺰﻳﺪ ﻋﻦ ﺍﻷﺭﺑﻌﲔ‬

‫ﻧﻘﺪﹰ ﺍ ‪.‬‬

‫‪١٣٩‬‬

‫* ﻛﲈ ﻛﺘﺒﺖ ﺍﻟﻌﺪﻳﺪ ﻣﻦ ﺍﳌﻘﺪﻣﺎﺕ ﻷﺩﺑﺎﺀ ﻭﺷﻌﺮﺍﺀ ﻋﺮﺏ ‪.‬‬ ‫* ﱄ ﺍﻟﻌﺪﻳﺪ ﻣﻦ ﺍﻟﺪﺭﺍﺳﺎﺕ ﺍﻟﻨﻘﺪﻳﺔ ﺍﻟﺬﺭﺍﺋﻌﻴﺔ ﻋﲆ ﺍﻟﻌﺪﻳﺪ ﻣﻦ ﺍﻟﺮﻭﺍﻳﺎﺕ ﻭﺍﻟﺪﻭﺍﻭﻳﻦ‬ ‫ﻭﺍﳌﺠﻤﻮﻋﺎﺕ ﺍﻟﻘﺼﺼﻴﺔ ﻭﺍﻟﻨﺼﻮﺹ ﺍﳌﴪﺣﻴﺔ ﲤﺖ ﻣﻨﺎﻗﺸﺘﻬﺎ ﰲ ﻗﺼﻮﺭ ﺍﻟﺜﻘﺎﻓﺔ ﺍﳌﴫﻳﺔ‬ ‫ﻭﺍﲢﺎﺩ ﺍﻟﻜﺘﺎﺏ ‪.‬‬

‫* ﻗﺪﻣﺖ ﻧﺪﻭﺍﺕ ﻧﻘﺪﻳﺔ ﻋﲆ ﻫﺎﻣﺶ ﻣﻌﺮﺽ ﺍﻟﻘﺎﻫﺮﺓ ﺍﻟﺪﻭﱄ ﻟﻠﻌﺎﻣﲔ ‪٢٠١٩ -٢٠١٨‬‬ ‫ﻭﻃﺒﻌﺖ ﺩﺭﺍﺳﺎﰐ ﰲ ﻛﺘﻴﺐ ﺍﳌﻌﺮﺽ‪.‬‬

‫]÷√‪V<ÌÈeÅ˘]<l^ËÁñ‬‬ ‫* ﻋﻀﻮ ﺍﲢﺎﺩ ﺍﻟﻜﺘﺎﺏ ﺍﳌﴫﻳﲔ‪.‬‬ ‫* ﻋﻀﻮ ﴍﻑ ﰲ ﻣﺆﺳﺴﺔ ﺍﻟﻜﺮﻣﺔ ﻟﻠﺘﻨﻤﻴﺔ ﺍﻟﺜﻘﺎﻓﻴﺔ ﻭﺍﻻﺟﺘﲈﻋﻴﺔ ﰲ ﻣﴫ‪.‬‬ ‫* ﻋﻀﻮ ﺍﲢﺎﺩ ﺍﻷﺩﺑﺎﺀ ﺍﻟﺪﻭﱄ ) ﺍﳌﺮﻛﺰ ﺍﻟﻌﺎﻡ ﺃﻣﺮﻳﻜﺎ (‪.‬‬ ‫* ﻋﻀﻮ ﺍﲢﺎﺩ ﺍﻟﻜﺘﺎﺏ ﻭﺍﳌﺜﻘﻔﲔ ﺍﻟﻌﺮﺏ ‪.‬‬ ‫* ﻣﺪﻳﺮ ﺭﺍﺑﻄﺔ ﺍﻷﺩﺑﺎﺀ ﻭﺍﻟﻨﻘﺎﺩ ﻭﺍﳌﱰﲨﲔ ﺍﻟﻌﺮﺏ ‪.‬‬ ‫* ﻋﻀﻮ ﻣﺆﺳﺲ ﰲ ﺣﺮﻛﺔ ﺍﻟﺘﺼﺤﻴﺢ ﻭﺍﻟﺘﺠﺪﻳﺪ ﻭﺍﻻﺑﺘﻜﺎﺭ ﰲ ﺍﻷﺩﺏ ﺍﻟﻌﺮﰊ‪.‬‬ ‫* ﻋﻀﻮ ﻣﺆﺳﺲ ﰲ ﻣﺒﺎﺩﺭﺓ ﺃﻛﻮﺍ ﻟﻠﻜﺘﺎﺑﺔ ﺍﻹﺑﺪﺍﻋﻴﺔ‬

‫‪V<̬ÁfŞ⁄<l]Ö]Çëc‬‬ ‫‪ -١‬ﺍﻟﺬﺭﺍﺋﻌﻴﺔ ﰲ ﺍﻟﺘﻄﺒﻴﻖ )ﺁﻟﻴﺔ ﻧﻘﺪﻳﺔ ﻋﺮﺑﻴﺔ ( ﺑﺎﻻﺷﱰﺍﻙ ﻣﻊ ﺍﳌﻨﻈﺮ ﺍﻟﻌﺮﺍﻗﻲ ﺍﻟﺪﻛﺘﻮﺭ ﻋﺒﺪ‬ ‫ﺍﻟﺮﺯﺍﻕ ﻋﻮﺩﻩ ﺍﻟﻐﺎﻟﺒﻲ ﺻﺎﺩﺭ ﻋﻦ ﻣﺆﺳﺴﺔ ﺍﻟﻜﺮﻣﺔ ﺍﻟﺜﻘﺎﻓﻴﺔ ﻟﻠﻌﺎﻡ ‪٢٠١٧‬ﻡ‪.‬‬ ‫‪ -٢‬ﻣﻮﺳﻮﻋﺔ ﺍﻟﺬﺭﺍﺋﻌﻴﺔ ﻣﻊ ﺍﳌﻨﻈﺮ ﺍﻟﻌﺮﺍﻗﻲ ﻋﺒﺪ ﺍﻟﺮﺯﺍﻕ ﻋﻮﺩﻩ ﺍﻟﻐﺎﻟﺒﻲ‪ ،‬ﺇﺻﺪﺍﺭ ﺩﺍﺭ ﺍﻟﻨﺎﺑﻐﺔ‬ ‫ﻟﻠﻨﴩ ‪ ،‬ﻟﻠﻌﺎﻡ‪ ٢٠١٨‬ﻭﻫﻲ ﻋﺒﺎﺭﺓ ﻋﻦ ﺛﻼﺛﺔ ﳎﻠﺪﺍﺕ‪:‬‬ ‫ ﺍﻟﺬﺭﺍﺋﻌﻴﺔ ﺍﻟﻠﻐﻮﻳﺔ ﺑﲔ ﺍﳌﻔﻬﻮﻡ ﺍﻟﻔﻠﺴﻔﻲ ﻭﺍﻟﻠﻐﻮﻱ ) ﻣﺸﱰﻙ ﻣﻊ ﺍﻷﺳﺘﺎﺫ ﻋﺒﺪ ﺍﻟﺮﺯﺍﻕ‬‫ﻋﻮﺩﻩ ﺍﻟﻐﺎﻟﺒﻲ(‬ ‫ ﺍﻟﺬﺭﺍﺋﻌﻴﺔ ﻭﺳﻴﺎﺩﺓ ﺍﻷﺟﻨﺎﺱ ﺍﻷﺩﺑﻴﺔ‬‫‪ -‬ﺍﻟﺬﺭﺍﺋﻌﻴﺔ ﰲ ﺍﻟﺘﻄﺒﻴﻖ ﻃﺒﻌﺔ ﻣﺰﻳﺪﺓ ﻣﻨﻘﺤﺔ‬

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‫‪/ -٣‬ﺍﻟﺴﻴﺎﺏ ﻳﻤﻮﺕ ﻏﺪﹰ ﺍ‪ /‬ﺩﺭﺍﺳﺎﺕ ﺫﺭﺍﺋﻌﻴﺔ ﻟﻘﺼﺎﺋﺪ ﻟﻠﺸﺎﻋﺮ ﺍﻟﻌﺮﺍﻗﻲ ﻋﺒﺪ ﺍﳉﺒﺎﺭ ﺍﻟﻔﻴﺎﺽ‬ ‫ﰲ ﺍﻟﻌﺎﻡ ‪٢٠١٧‬‬

‫‪ / -٤‬ﳌﻠﲈﺕ ‪ /‬ﳎﻤﻮﻋﺔ ﻗﺼﺺ ﻣﻜﺜﻔﺔ ﺇﺻﺪﺍﺭ ‪ ٢٠١٦‬ﻣﻨﺸﻮﺭﺓ ﰲ ﻣﻮﻗﻊ ﺃﻣﺎﺯﻭﻥ ﻛﻜﺘﺎﺏ‬ ‫ﺍﻟﻜﱰﻭﲏ‪.‬‬

‫‪ / -٥‬ﻋﻄﺎﻳﺎ ‪ /‬ﳎﻤﻮﻋﺔ ﺷﻌﺮﻳﺔ‪ ،‬ﺷﻌﺮ ﻣﻌﺎﴏ ﺇﺻﺪﺍﺭ‪٢٠١٦‬‬ ‫‪ / -٦‬ﺭﺳﺎﺋﻞ ﻣﻦ ﻣﺎﺽ ﻣﻬﺠﻮﺭ ‪ /‬ﳎﻤﻮﻋﺔ ﻗﺼﺺ ﻗﺼﲑﺓ ﺇﺻﺪﺍﺭ ‪٢٠١٦‬‬ ‫‪ / -٧‬ﻟﻴﻠﺔ ﻧﺎﻡ ﻓﻴﻬﺎ ﺍﻷﺭﻕ ‪ /‬ﳎﻤﻮﻋﺔ ﻗﺼﺺ ﻗﺼﲑﺓ ﺇﺻﺪﺍﺭ ‪٢٠١٨‬‬ ‫‪ / -٨‬ﻗﺼﻴﺪﺓ ﱂ ﺗﻜﺘﻤﻞ ‪ /‬ﳎﻤﻮﻋﺔ ﺷﻌﺮﻳﺔ ﺇﺻﺪﺍﺭ ‪٢٠١٩‬‬ ‫‪ / -٩‬ﺑﲔ ﺣﻴﺎﺗﲔ ‪ /‬ﺭﻭﺍﻳﺔ ﺇﺻﺪﺍﺭ ‪٢٠٢٠‬‬ ‫‪ -١٠‬ﻗﺼﻴﺪﺓ ﺍﻟﻨﺜﺮ ﺍﻟﻌﺮﺑﻴﺔ ﺑﻤﻨﻈﻮﺭ ﺫﺭﺍﺋﻌﻲ ﺇﺻﺪﺍﺭ ‪.٢٠٢١‬‬

‫‪<V<Ì“3é⁄<l]Ö]Çëc‬‬ ‫‪/ -١‬ﳘﺲ ﺍﻟﻨﻮﺍﺭﺱ ﺑﻌﺪﺓ ﺃﺟﺰﺍﺀ‪ /‬ﺩﻳﻮﺍﻥ ﺷﻌﺮ ﻣﺸﱰﻙ‬ ‫‪/ -٢‬ﻣﻘﻬﻮﺭﺍﺕ ﻋﺮﺑﻴﺎﺕ ‪ /‬ﳎﻤﻮﻋﺔ ﻗﺼﺼﻴﺔ ﻣﺸﱰﻛﺔ‬ ‫‪/ -٣‬ﻗﻬﺮ ﺍﻟﺮﺟﺎﻝ ‪/‬ﳎﻤﻮﻋﺔ ﻗﺼﺼﻴﺔ ﻣﺸﱰﻛﺔ‬ ‫‪/ -٤‬ﻛﻠﻴﺐ ‪ / ..‬ﳎﻤﻮﻋﺔ ﻗﺼﺼﻴﺔ ﻣﺸﱰﻛﺔ‬ ‫‪/ -٥‬ﻣﺮﺍﻳﺎ ﻗﺼﺼﻴﺔ‪ /‬ﻣﻊ ﻋﺪﺩ ﻣﻦ ﺍﻷﺩﻳﺒﺎﺕ ﻣﻦ ﳐﺘﻠﻒ ﺃﻗﻄﺎﺭ ﺍﻟﻮﻃﻦ ﺍﻟﻌﺮﰊ‬

‫“^‪V<ÌÈπ^√÷]<ÌÈfiÊ3”÷˝]<ƒŒ]Áπ]<‡⁄<ÇËÇ√÷]<ÔÇ÷<Ìfi‬‬ ‫ ﺍﳊﻮﺍﺭ ﺍﳌﺘﻤﺪﻥ ‪ /‬ﺃﳌﺎﻧﻴﺎ ‪/‬‬‫ ﻣﺮﻛﺰ ﺍﻟﻨﻮﺭ ‪ /‬ﺍﻟﺴﻮﻳﺪ‪/‬‬‫ ﺍﻟﺼﺪ￯ ‪ /‬ﺃﻣﺮﻳﻜﺎ‪/‬‬‫‪ -‬ﺍﳌﺜﻘﻒ ‪ /‬ﺍﺳﱰﺍﻟﻴﺎ ‪/‬‬

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‫ ﻛﺘﺎﺑﺎﺕ‪ ،‬ﻛﺘﺎﺑﺎﺕ ﰲ ﺍﳌﻴﺰﺍﻥ‪ ،‬ﻣﻨﱪ ﺍﻟﻌﺮﺍﻕ ﺍﳊﺮ ‪ /‬ﺍﻟﻌﺮﺍﻕ ‪/‬‬‫ ﻭﺍﻟﻌﺪﻳﺪ ﻣﻦ ﺍﳌﻮﺍﻗﻊ ﺍﻷﺧﺮ￯ ‪.‬‬‫ ﺷﺎﺭﻛﺖ ﺑﺎﻟﻌﺪﻳﺪ ﻣﻦ ﺍﳌﺆﲤﺮﺍﺕ ﻭﺍﳌﻬﺮﺟﺎﻧﺎﺕ ﺍﻟﺪﻭﻟﻴﺔ‪ ،‬ﻣﻨﻬﺎ ﺍﳌﺆﲤﺮ ﺍﻟﺪﻭﱄ ﺍﻟﻌﺎﴍ‬‫ﻟﻠﺠﻤﻌﻴﺔ ﺍﳌﴫﻳﺔ ﻟﻠﺪﺭﺍﺳﺎﺕ ﺍﻟﴪﺩﻳﺔ – ﺟﺎﻣﻌﺔ ﻗﻨﺎﺓ ﺍﻟﺴﻮﻳﺲ ﻭﺍﳌﺆﲤﺮ ﺍﻟﻌﻠﻤﻲ ﺍﻷﻭﻝ‬

‫ﻟﻘﺴﻢ ﺍﻟﻠﻐﺔ ﺍﻟﻌﺮﺑﻴﺔ ﺑﻜﻠﻴﺔ ﺍﻟﱰﺑﻴﺔ – ﺟﺎﻣﻌﺔ ﺩﻣﻨﻬﻮﺭ‪.‬‬

‫ ﻧﴩ ﺑﺤﺜﻲ ﺍﻟﻨﻘﺪﻱ ﹰ‬‫ﻛﺎﻣﻼ ﺑﻜﺘﺎﺏ ﺍﳌﺆﲤﺮ ﺍﳌﺤﻜﻢ‪.‬‬

‫ ﺷﺎﺭﻛﺖ ﺑﻤﻬﺮﺟﺎﻥ ﻟﻺﺑﺪﺍﻉ ﺍﻟﺸﻌﺮﻱ ﰲ ﺗﻮﻧﺲ ﻭﻗﺪﻣﺖ ﳏﺎﴐﺓ ﰲ ﺍﻟﻨﻘﺪ ﺍﻟﺬﺭﺍﺋﻌﻲ‬‫ﺿﻤﻦ ﺑﺮﻧﺎﻣﺞ ﺍﳌﻬﺮﺟﺎﻥ ﰲ ﺍﻟﻌﺎﻡ ‪٢٠١٩‬‬

‫_ ﻛﺎﻥ ﱄ ﻣﺸﺎﺭﻛﺔ ﺑﺒﺤﺚ ﻋﻠﻤﻲ ﺫﺭﺍﺋﻌﻲ ﰲ ﺍﳌﺆﲤﺮ ﺍﻟﺪﻭﱄ ‪/‬ﺍﻹﺳﻬﺎﻣﺎﺕ ﺍﻟﻌﺮﺑﻴﺔ ﰲ‬ ‫ﲡﺪﻳﺪ ﺍﻟﺒﻼﻏﺔ ﻭﲢﻠﻴﻞ ﺍﳋﻄﺎﺏ‪ ،‬ﻗﺮﺍﺀﺓ ﰲ ﺃﻋﲈﻝ ﺍﻟﺪﻛﺘﻮﺭ ﻋﲈﺩ ﻋﺒﺪ ﺍﻟﻠﻄﻴﻒ‪ /‬ﰲ ﺍﳌﺮﻛﺰ‬ ‫ﺍﻷﻛﺎﺩﻳﻤﻲ ﻟﻠﺪﺭﺍﺳﺎﺕ ﺍﻟﺜﻘﺎﻓﻴﺔ ﻭﺍﻷﺑﺤﺎﺙ ﺍﻟﱰﺑﻮﻳﺔ ﺍﳌﻨﻌﻘﺪ ﰲ ﺍﳌﻐﺮﺏ ﺑﺘﺎﺭﻳﺦ ‪ ٧‬ﻣﺎﺭﺱ‬

‫‪ ،٢٠٢٠‬ﻧﴩ ﺍﻟﺒﺤﺚ ﰲ ﻛﺘﺎﺏ ﺍﳌﺆﲤﺮ ﺑﻌﺪ ﲢﻜﻴﻤﻪ‬

‫ ﻓﺰﺕ ﺑﺠﺎﺋﺰﺓ ﺃﺩﺏ ﺍﳌﺮﺃﺓ ) ﻧﻘﺪ ﺃﺩﰊ ( ﰲ ﺍﲢﺎﺩ ﺍﻷﺩﺑﺎﺀ ﺍﻟﺪﻭﱄ ﻣﻘﺮﻩ ﺃﻣﺮﻳﻜﺎ ﻟﻠﻌﺎﻡ ‪٢٠١٦‬‬‫ ﺗﻢ ﺗﻜﺮﻳﻤﻲ ﺑﻤﻮﻗﻊ ) ﺍﳌﺜﻘﻒ‪ -‬ﺍﺳﱰﺍﻟﻴﺎ ﺳﻴﺪﲏ( ﺑﻨﻴﻞ ﺩﺭﻉ ﺍﳌﺜﻘﻒ ﺟﺎﺋﺰﺓ ﺃﺩﺏ ﺍﳌﺮﺃﺓ ) ﻧﻘﺪ‬‫ﺃﺩﰊ( ﻟﻠﻌﺎﻡ ‪٢٠١٨‬‬

‫ ﻓﺰﺕ ﺑﺠﺎﺋﺰﺓ ﻣﺮﻛﺰ ﺍﻟﻨﻮﺭ) ﺍﻟﺴﻮﻳﺪ( ﻟﻠﻌﺎﻡ ‪ ٢٠١٩‬ﺑﻤﺤﻮﺭ ﺩﺭﺍﺳﺎﺕ ﻧﻘﺪﻳﺔ‬‫‪ -‬ﺗﻢ ﺗﻜﺮﻳﻤﻲ ﰲ ﻣﺆﲤﺮ ﺍﲢﺎﺩ ﺍﻷﺩﺑﺎﺀ ﺍﻟﺪﻭﱄ ﰲ ﺍﻟﻘﺎﻫﺮﺓ ﰲ ﺍﻟﻌﺎﻡ ‪٢٠١٩‬‬

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